Mozart : Piano Sonatas - Volume II

Piano Sonatas Volume I-A highly authoritative Urtext edition of Mozart's Piano Sonatas with thoroughly detailed editorial markings and suggestions as edited by Ernst Herttrich and fingered by Hans-Martin Theopold. This is the first volume ofMozart's Piano Sonatas and includes sonatas from Nos.1-9 all giving the most accurate realisation of the composer's original intentions.

Edition without Fingering-Published in a two-volume edition (HN1 and HN2) Wolfgang Amadeus Mozart's 18 Piano Sonatas were the very first pieces in the Henle catalogue. These popular sonatas remain part of the core repertory of everypianist. In the intervening decades since the release of the original Urtext edition both volumes have been revised several times in order to keep pace with the current state of research. The latest update concerning K.331 the “Alla turca” sonata from volume 2 dates from 2015. The editor’s preface and critical report provide detailed information on all the sources and textual issues. HN1 and HN2 include fingerings; here Henlepresents both volumes without fingerings for pianists who want to find their own way into Mozart’s Piano universe. 

(Aurnhammer) Urtextausgabe mit einer bezeichneten und einer unbezeichneten Streicherstimme-This is the second volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his six sonatas for Piano and Violin K.296 and K.376-80 also known as the Aurnhammer SonatasOp.2.This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert with fingerings by Walther Lampe and Karl Rohrig and provides you with the most accurate realisation of thecomposer’s original intentions with thoroughly comprehensive and detailed editorial markings and suggestions.

A highly comprehensive edition of Mozart's Piano Sonatas in two volumes as edited by Stanley Sadie and fingered by Denis Matthews. Includes detailed editorial commentaries markings and suggestions. Volume 2.

As early as the age of four Mozart amazed his father with his quickness of mind as regards Piano-playing. The first works are easy dance movements by the five-year-old who developed with extraordinary speed. During his lifetime he created several Piano pieces apart from the sonatas and variations. The pieces from his youth most of them written down in the music book for Maria Anna Mozart and in the so-called London sketch book are mostly short dance movements but there are already lengthy individual movements as well. From the mid-1770s there are mainly larger individual works including fantasias and rondos which can stand as equals to the sonatas andvariations of the Viennese period.Volume 1 contains the pieces from Mozart's youth which are ideally suited for elementary teaching; they constitute a varied repertoire of alternatives to the few frequently played Piano pieces by young Mozart which of course are contained in this volume as well.

(Kurfürstin) Urtextausgabe mit einer bezeichneten und einer unbezeichneten Streicherstimme-This is the first volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his six sonatas for Piano and Violin K.301-306 also known as the Kurfustin Sonatas Op.1. This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert with fingerings by Walther Lampe and Karl Rohrig and provides you with the most accurate realisation of the composer’soriginal intentions with thoroughly comprehensive and detailed editorial markings and suggestions.

This complete edition of the Mozart sonatas for violin and keyboard has been researched and prepared by Cliff Eisen one of the most distinguished Mozart scholars of our time. Professor Eisen recognizes that many of the apparent inconsistencies and idiosynchrasies of Mozart's notation are perfectly deliberate and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can bemisguided. As he writes in the preface '...the notion that the classical style represents a model of symmetry balance and clarity is for the most part an 19th-century fiction...it has little to do with Mozart's actual practice which is basedprimarily on variety of both content and articulation.' So in this new edition alternative readings found in parallel passages are preserved rather than being sterilized by a spurious quest for conformity. Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisenis is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterized by changes--sometimes substantial changes--in the musical text.' It is the achievement of this edition to indicate how far this freedom of musical expression can extend and as such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.Contents: Sonatas K296 K376-K380; Andante and Fugue K402 (completed by Stadler); Sonata K403 (completed by Stadler).

Wunderkind Sonatas I K. 6-9 for Piano and Violin-At the time Mozart?s genius recognised at an early age could only be explained as being God-given. Wolfgang Amadeus and his sister Maria Anna older by five years were admired as being 'Wunderkinder' (prodigies) on theirtravels through Western Europe between 1763 and 1766. The piano sonatas ?with a violin accompaniment? K. 6 9 were composed in Paris. It is wonderfully fresh and varied music. The piano is joined by a violin that adds colour butnot as an equal partner unlike in the later great violin sonatas (see HN 77 80). This music is not only ideally suitable for piano and violin teaching purposes but will also allow musicians who already know ?everything? todiscover some treasures.With marked and unmarked string parts

Pour plus de 200 ans sonates pour piano de Mozart ont fait partie du répertoire de tout pianiste . Les recherches menées au cours des dernières décennies a permis , cependant, d'établir des rencontres plus précise et la commande de ces oeuvres . L'expertise des documents originaux a montré que de nombreuses éditions imprimées du XVIIIe siècle donnent des détails plus fiable que ses propres partitions écrites de Mozart , la plupart de ces oeuvres ont été préparés pourpublication par le compositeur lui-même et marqué avec des indications précises pour la performance à l'égard de l'ornementation , la dynamique et l'articulation. Tout cela, avec la redécouverte des documents qui ne sont devenus à nouveau accessible à la fin du 20ème siècle , donne une raison suffisante pour justifier la publication d'une nouvelle édition Wiener Urtext des Sonates pour piano de Mozart.- . -Pour suivre le deuxième volume, publié au printemps 2003 avec Sonates K 330 K 576, nous présentons aujourd'hui le premier volume , qui contient le Sonates K 279 à K 311. Pour Sonate K 284 , variation XI dans le dernier mouvement est donnée à la fois dans la version qui apparaît dans le manuscrit original et la version utilisée dans la première édition , afin de rendre la musique plus facile à lire , les deux versions sont donnés en impression normale taille . Une musique qui est clair et bien aménagé , avec page se tourne dans des endroits pratiques , rend cette édition extrêmement convivial .Conseils sur la performance par le célèbre Mozart spécialiste Robert D. Levin fournit une nouvelle impulsion à ce qui autrement peut devenir trop souvent une interprétation plutôt fatigué. / Piano

En 1764, Mozart, alors âgé de huit ans, composa à Londres les six Sonates K. 10?15.

Pour Leopold Mozart, les dons exceptionnels de son fils ne pouvaient être qu?un don du bon Dieu: «que mon garçon [?] sait, du haut de ses 8 ans, tout ce qu?on peut exiger d?un homme de 40 ans. Bref: sans le voir et l?entendre, il est impossible d?y croire».

Comme leur titre l?indique, on peut exécuter ces six sonates sous trois formes différentes (trio avec piano, sonate pour piano et violon, sonate pour piano seul).

Puisque la version en trio et celle pour piano et violon sont déjà publiées (HN1078), il ne nous reste ici qu?à vous présenter la partition Urtext de la version pour piano seul. / [Sonates Wunderkind volume II K. 10-15] / Classique / Partition / Agrafé /

Compositeur : Mozart, Wolfgang Amadeus Instrumentation : Piano solo Editeur Musicologique : Herttrich, Ernst Couverture Reliée Contenu : Sonata C major K. 279 (189d) Sonata F major K. 280 (189e) Sonata B flat major K. 281 (189f) Sonata E flat major K. 282 (189g) Sonata G major K. 283 (189h) Sonata D major K. 284 (205b) Sonata C major K. 309 (284b) Sonata a minor K. 310 (300d) Sonata D major K. 311 (284c)

When Christa Landon presented the first printed version of her edition of Joseph Haydn's Piano sonatas Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition for over the course of more than forty years new sources have come to light and questions of authenticity have been resolved not least because the editorial principles for 18th-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice.

When Christa Landon presented the first printed version of her edition of Joseph Haydn's Piano sonatas Haydn's sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then Haydn's sonatas have progressed from the teaching rooms to the concert halls and Landon's edition has played a crucial role in that process. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this 'legendary' edition for over the course of more than forty years new sources have come to light and questions of authenticity have been resolved not least because the editorial principles for 18th-centurymusic have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes the content of each volume being compatible with the volumes of the previous edition. Volumes 1 and 2 contain the early sonatas. In the Notes on Interpretation Robert D. Levin explains important aspects of Haydn's performance practice.

Early Sonatas / Frühe Sonaten 1764-1779-This new two volume publication contains all the completed works by Wolfgang Amadeus Mozart for Violin and Piano (BA5761 BA5762). Several works by Mozart which are not found in competing editions are presented in the new B?renreiter Edition with the Urtext of the New Mozart Edition: Sonatas 6–9 Sonatas 26–31 the Andante and Allegretto in C major K. 404 as well as the three sonata fragments K. 372 403 and 402 completed by Maximilian Stadler. All this with the Urtext of the New Mozart Edition and in the large format 24 3 x 31 cm plus a new preface by the Mozart scholar Dietrich Berke. Not just some but all the works for Violinand Piano Urtext violin part plus an additional violin part prepared with fingerings and bowings Large format 24 3 x 31 cm New informative preface by Mozart scholar Dietrich Berke 'The result is impressive and should have a widerspread appeal among scholars and performers alike… Thankfully B?renreiter have made it far easier for amateurs students and professional musicians alike to choose their own course and free themselves from such intervention.' (The Concort Summer 2007) '...a highly researched performing edition that will be of great interest to all violonists ...' (ESTA – News Views“ Spring 2006) Volume 1 contains: Sonatas KV 6-9 Sonatas KV 26-31 Sonatas KV 301-306 Sonata in C-Dur KV 296 Sonata in B-Dur KV 378

Vol 1 Ut 50226 + Vol 2 Ut 50227-For more than 200 years Mozart’s piano sonatas have been part of every pianist’s repertoire. Research done over the last few decades has made it possible however to establish more accurate dating and ordering of these works. Expert examination of original documents has shown that many printed editions from the eighteenth Century give more reliable detail than Mozart’s own written scores; many of these works were prepared for publication by the composer himself and marked with precise indications for performance with regard to ornamentation dynamics and articulation. All this together with the rediscovery of documents that only becameaccessible again at the end of the 20th Century gives reason enough to justify the publication of a new Wiener Urtext edition of Mozart’s Piano Sonatas.To follow the second volume published in the spring of 2003 with Sonatas K 330 to K 576 we now present the first volume which contains the Sonatas K 279 to K 311. For Sonata K 284 variation XI in the final movement is given both in the version that appears in the original manuscript and in the version used in the first edition; in order to make the music easier to read both versions are given in normal print size. Music that is clear and well laid out with page turns in convenient places makes this edition extremely user-friendly.Advice on performance by the renowned Mozart specialist Robert D. Levin provides fresh stimulus for what can otherwise too often become a rather tired interpretation.