Sonatas (4)(Original)

SKU: HL.49030380

ISBN 9790220119200. 9.0x12.0x0.224 inches.

The 6 Trio Sonatas, Op. V, for 2 Violins or Flutes and Basso continuo were originally published in Amsterdam in 1736 under the supervision of the composer. The present edition - edited by Piera Federici with realization of the Basso continuo by Filippo Ravizza - is based on the text of the Critical Edition published in association with the Stichting-Fondazione Pietro Antonio Locatelli, Amsterdam-Cremona, under the direction of Albert Dunning.

SKU: BT.EMBZ2839

Sonata for Two Pianos was written in 1942 by Pál Járdányi at the young age of twenty-two years old when he had recently graduated from the Academy of Music. It is a quintessential showy concert piece which György Ligeti evaluated in 1949, when the sheet music was first released, as the 'worthy companion' of Bartók's and Hindemith's two-piano sonatas. The composition, originally written for string quartet, was reworked into an arrangement for keyboard instruments by Járdányi on Kodály's advice, preserving the musical language of the work which refers to Bartók in many places, and in which the features of Járdányi's later style can already be seen.

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: BT.EMBZ8480

English-German-Hungarian.

The sonatas are not grouped according to their degree of difficulty, they are given in the order which corresponds with the Kirkpatrick nimbering. This is approximately identical with the order in which they were composed. In this way it became possible for the pairs of sonatas included in the selection to be placed closely after one another. Apart from inevitable minor alterations this edition follows the original text and its markings exactly. This does not apply to the fingering which is entirely an editorial addition. (In the original there is no fingering.).

SKU: HL.48188386

UPC: 888680866136. 9.0x12.0x0.565 inches.

Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this fourth volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royal families. The fourth volume, comprising Sonatas 156-205, includes the popular and recognisable Sonata in C major (K. 159). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre. .

SKU: M7.BP-2835

ISBN 9790015283505.

The 18 sonatas are written in church sonata form. They are short, their movements usually slow-fast-slow-fast. This music is based on the dialogue of the two voices, held together by the third voice. Despite their standard structure, these sonatas are varied, original and melodious.