SKU: M7.DOHR-17600
ISBN 9790202036006.
Von der Existenz der sieben verschollenen Klaviersonaten Hob. XVI: 2a-e und g-h wissen wir lediglich durch die Eintragungen in den sogenannten Entwurf-Katalog, dessen Hauptteil Ende 1765 entstand. Haydn führte den Katalog bis 1777 fort, indem er von Zeit zu Zeit die jeweils neu komponierten Werke ergänzte. Entstanden sind die Sonaten vermutlich in der Zeit zwischen 1766 und 1772. Die Tatsache, dass die Sonaten verschollen sind, wird häufig mit dem Brand, dem Haydns Haus in Eisenstadt im Jahr 1768 zum Opfer fiel, in Verbindung gebracht. Der Zeitraum 1766 bis 1772 deckt sich ziemlich genau mit der häufig, jedoch nur unzureichend charakterisierend Sturm und Drang-Zeit genannten Schaffensphase des Komponisten, die den Höhepunkt einer Phase intensiven Experimentierens und Suchens nach neuen Wegen auf fast allen für Haydn besonders bedeutsamen Gebieten der Instrumentalmusik, der Symphonie, dem Streichquartett und der Klaviersonate, bildet. Da die Eintragungen im Entwurf-Katalog lediglich die ersten zwei bis vier Takte der je ersten Sätze der Sonaten wiedergeben, musste der Verfasser nicht nur den restlichen Verlauf der Eröffnungssätze weitgehend selbst erdichten, er war auch bei der Gesamtanlage der Sonaten (Anzahl und musikalischer Inhalt der übrigen Sätze) insofern auf sich allein gestellt, als der Entwurf-Katalog hierüber keine Auskunft gibt. Als stilistische Vorbilder dienten naturgemäß die im genannten Zeitraum komponierten und erhaltenen Sonaten. Darüber hinaus hat der Verfasser versucht, eine möglichst große Bandbreite der verschiedenen Formen, die in Haydns Musik dieses Zeitraums zu finden sind, abzubilden. Ebenso differenziert und zur Nachahmung herausfordernd ist der Abwechslungsreichtum der Satztechniken, die Haydn verwendet. Dem Vorbild Haydns folgend sind vor allem die dynamischen Angaben auf ein Minimum reduziert und sollen bewusst Raum zur eigenen fantasievollen Interpretation lassen. (Thomas Enselein).
SKU: HL.49015131
ISBN 9790001054539. 9.0x12.0x0.16 inches.
SKU: HL.49033329
ISBN 9783795757342. 9.25x12.0x0.275 inches. German - English.
In this volume, Hans-Gunter Heumann presents a selection of 18 easy popular classical sonatinas, a Kabalevsky sonatina and a jazz sonatina by Eduard Putz. The educational value of these excellent and sensitive sonatina movements lies in the training of melody and form as well as in a versatile technical training.The volume includes works by Andre, Attwood, Beethoven, Benda, Cimarosa, Clementi, Diabelli, Gurlitt, Haslinger, Haydn, Kabalevsky, Kohler, Kuhlau, Mozart, Pleyel, Putz, Scarlatti, Turk and Vanhal.
SKU: CA.4600800
ISBN 9790007222031.
SKU: HL.49010936
ISBN 9790001097703. UPC: 842819115168. 9.0x12.0x0.143 inches.
SKU: IS.G6763EM
ISBN 9790365067633.
This sonata (WeissSW No. 25, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIX comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIX comes from Weissâ??s middle â??productiveâ?? period, around 1720. The Sonata has seven movements: Prelude, Allemande (andante), Passepied, Bourée, Sarabande, Menuet, and it ends with a Gigue. There is another copy of this Sonata, known as Suite XIX, in a London Manuscript (British Library Ms. Add. 30387). The London version does not include a Prelude, and the Sarabande is completely different. The other movements are similar to those in the Dresden Manuscript. The Sonata in this Edition is based on the Dresden Manuscript. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden and London manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. The Prelude in this particular Sonata cannot be regarded as integral. It has been added later, either by the compiler of the volumes or perhaps by Weiss himself. Originally, the Sonata is written in G minor, a key not often used by Weiss, but considered appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: HL.49004606
ISBN 9790001048323. UPC: 884088059071. 9.25x12.0x0.379 inches.
SKU: IS.G6761EM
ISBN 9790365067619.
This sonata (WeissSW No. 48, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIII comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIII is a large and mature piece. It probably dates to the last period of the life of Weiss. The Sonata has seven movements: Prelude, Allemande (andante), Courante, Bourée, Sarabande (andante), Menuet, and it ends with a Presto. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. The purpose of beginning a lute sonata with a Prelude is to introduce the specific key and the harmonic design of the sonata. However, not every sonata in the Dresden manuscripts has a Prelude. About one third of the 34 Dresden Sonatas opens with a Prelude, but only six of them may be considered truly integral to the sonata. The other Preludes are composed in a rather â??rudimentaryâ?? style, as a model for the less experienced lute player to improvise on the central key and theme. They may have been added later in the copying process. The Prelude of this particular Sonata is regarded as spurious, in respect to composition, a rather weak addition. I have included the Prelude in this Edition, leaving it to the guitar player to judge whether it fits with the musical style and idiom of the Sonata or not. Originally, the Sonata is written in F sharp minor, a key often used by Weiss as it is appropriate for playing the lute, but rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a major second lower to E minor. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 2nd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 1st fret.
SKU: HL.49019380
ISBN 9783795744960. UPC: 841886018808. 9.0x12.0x0.285 inches. German.
This volume contains original compositions from the Renaissance, Baroque and modern eras. It is aimed at recorder players who possess profound basic knowledge. As material to be used in lessons, the pieces train the player's sense of style and the interpretation of music from different epochs. In addition, they deal with all aspects of duet playing, such as confidence in leading one's own part, performance for a balanced sound, intonation and improvement of the player's physical condition. These original pieces are also perfect for concerts, auditions, and competitions.
SKU: IS.G6765EM
ISBN 9790365067657.
This sonata (WeissSW No. 4, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
SKU: BA.BA04028
ISBN 9790006443321. 33 x 25.6 cm inches.
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SKU: IS.G6766EM
ISBN 9790365067664.
This sonata (WeissSW No. 52, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXXIII is a unique copy. It comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXXIII is in the fifth volume. It belongs to a group of large and mature Sonatas of the late â??productiveâ?? period of Weissâ??s life, probably after 1740. The Sonata has six movements: Ouverture , Courante assai moderato, Bourée, Siciliana (a slow dance, but more cheerful than a Sarabande), Menuet, and it ends with a Presto. The Ouverture substitutes the traditional Allemande. It is more complex in structure, and includes a Largo, an Allegro (in the style of a Fugue), and a Vivace. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in C minor, a key appropriate for playing a Baroque lute tuned in the D minor chord. However it is rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to A minor. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.
