Piano Sonata C major K. 309 (284b) Editor: Ernst Herttrich Fingering: Hans-Martin Theopold I wish to do it to reflect the character of Mad:selle Rose, Mozart replied when asked how he intended to set out the Andante of his Sonata in C major. In autumn 1777 he had got to know Rosina Cannabich in Mannheim and during her lessons immediately introduced her to the Sonata K. 309 that he had composed for her. Indeed, in December 1777 according to her teacher she was already able to perform it excellently. So that a great many other pupils might follow in her footsteps, we are now publishing this small gem that shows Mozart‘s great skill in composing for the piano as a single edition with a new preface by the editor; it was previously only available in the complete volumes (HN 1 and 3). FIRST MOVEMENT The first movement of the C major Sonata K 309 is a model teaching sonata form structure. With sonata forms, as with Bach fugues, no formal dogmas underlie the process of composition, but each sonata varies anew a basic principle. For Mozart, this entailed strict adherence to certain fundamental patterns without his creative freedom. In his sonata movements in major keys, for example he favoured a distinct second subject in the dominant as most contemporary composers did. Haydn, on the other hand, reveled in experiment at this point. A brief analysis may help to demonstrate Mozart's standard sonata allegro form and the first movement of it is an ideal example for such an investigation. The first subject is a distinctive, marcato opening followed by a five-bar response. The falling fourth and rising sixth of the opening is one of Mozart's favourite motifs, his common melodic device. He often uses it in the minor as well as the major, and many of his themes start with this motif (e.g. the second movement of the A major Sonata K 331, the Adagio in B minor K 540, and subjects in the Symphonies K 114, 124, 319/II and 551/II). The seven measures of the main theme are repeated, slightly varied. Measures 15 to 21 conclude the first subject group with an answering phrase (3+3 bars). The transition consists of new material and then, in measure 35 (after two measures of preparation comes a second cantabile theme, in the dominant (G major) comprising 2x4 bars, which is also repeated and proceeds to a spirited closing theme (concluding group) using passage-work (m. 43) and incorporating a delightful diminuation of measures 35 36 in measure 45. The exposition ends with a codetta of five bars. The development presents the opening motif first in g minor, and then the various ideas of the first subject are worked out. With this procedure Mozart is keeping much more closely to textbook principles than he usually does. Two further statements of the opening motif lead back to the recapitulation in measure 94. The second subject, now in the tonic, has surprisingly changed place with its accompaniment. The opening is recalled again in an effectively assertive coda. SECOND MOVEMENT The second movement of this sonata is an introspective Andante un poco adagio. In a letter Mozart stated his desire to make this Andante match the character of the young pianist Rosa Cannabich for whom he wrote it: ...she is a sweet, pretty girl, just like the andante. For her age she is sensible and level-headed; she is serious, and doesn't talk too much, though what she says is pleasing and sympathetic. THIRD MOVEMENT An elegant and smoothly flowing Rondo of unusually large proportions concludes this Sonata. Paul and Eva Badura-Skoda

Cahier 3A Piano-Conceived for Piano beginners who have already been introduced to music reading Le Voyage magique - Niveau 3A Aventurier follows up on Le Voyage magique - Niveau 2B Explorateur. Fifth in a series of eight it familiarises the students to more complex melodies and rhythms and to the techniques of playing. This volume uses the same characters as the previous books who evolve through new illustrations which guide the young pianists. Le Voyage magique is the translation and adaptation by Stéphane Blet of the American series Piano Discoveries by Janet Vogt and Leon Bates. The pedagogy of this bookhas been studied to be quite close to the language of children in order to develop their interest and concentration. A CD is provided to accompany the player while learning with Le Voyage magique offering some small melodic pieces to develop a musical ear. Janet Vogt is an American pianist professor at the College-Conservatory of Music. She also composed pieces for Keyboards for Choirs and some pop music. Leon Bates (born 1949) is a renowned American pianist who performed with the New York Symphony the Cleveland Symphony and many others. He is also a professor and participated to the conception of this method. Stéphane Blet is an international solo pianist who decided to focus on the composition of pieces and on teaching. He is currently professor in the École Normale de Musique “Alfred Cortot”.

Left Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29 2016 Cologne. Programme Note: I was born with a right hand that is not fully functional and though it never prevented me from loving playing the piano as well as I could with this physical limitation it hasobviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth. My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor. Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand but rather by a composer who can only play with the left hand. The title Left alone contains all kinds of references not only to the obvious fact that the left hand is playing alone. Left alone is divided into two large parts each consisting of three smaller movements – in effect six in total. The work was commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans

Trio (Op. 10) was composed c.1940 and first published in 1943. It is scored for Clarinet Cello and Piano. One of Frankel’s earliest works it is light and pleasing showing how the composer was first influenced by jazz and classical chamber music before he later turned to larger symphonic works and started experimenting with serialism. Benjamin Frankel (1906-1973) was a British composer and musician. He is best remembered for writing over one hundred film and television scores including The Man In The White Suit and The Battle Of The Bulge but he also wrote eight symphonies and many smaller works such as his ViolinSonata and Concerto which were written for Max Rostal.