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: BR.EB-8993
ISBN 9790004187227. 9 x 12 inches.
The three piano sonatas by Joachim Raff (1822-1882), representing his three main creative phases, occupy a special position among his more than 100 piano pieces. They reflect a significant compositional aspiration whereas Raff otherwise frequently leans towards the salon-music genre in his piano music. Raff composed the early sonata op. 14 in 1844 after his first works were positively evaluated and Felix Mendelssohn Bartholdy had encouraged him to venture a career as a composer. The Fantasie-Sonate [Fantasy Sonata] in d minor op. 168, Raff wrote in 1871 at the height of his fame as one of Germany's then most-played composers. Its dedication to Camille Saint-Saens shows his opposition to the rampant German disapproval of France and its music representatives in the wake of the Franco-Prussian war of 1870/71. The second version of the sonata op. 14, composed in the fall of 1881, had only the opus number in common with the earlier version. In this late work Raff had created an entirely new sonata. ,,Beautifully presented on cream paper, with exceptional clarity and generous spacing. The Fantasie-Sonate in D minor Op. 168, in particular, is a masterpiece which manifests both considerable power and exquisite craftsmanship. (www.pianodao.com).
SKU: HH.HH423-FSP
ISBN 9790708146247.
Eberl's Sonata in D major, Op. 20, the sixth of seven sonatas with violin, was composed around 1803 and dedicated to Dorothea Ertmann, the highly regarded pianist who many have suggested as Beethoven's 'Immortal Beloved', and to whom that composer dedicated his Piano Sonata in A major, Op. 101. Unlike many of Eberl's lesser contemporaries, in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, his Op. 20 shares much of the musical ambition and quality of Beethoven's works in this genre. 1803 saw the publication of Eberl's Op. 20, and Beethoven's set of three sonatas with violin, Op. 30, all produced by the Bureau des Arts et d'Industrie firm in Vienna. Beethoven's set were advertised for sale in the Wiener Zeitung in May 1803, days after the premiere of his Op. 47 sonata with violin (given by George Bridgetower and Beethoven, but later dedicated to Rudolphe Kreutzer). Eberl's Op. 20 was advertised in the Wiener Zeitung six weeks later, in July 1803.
SKU: PR.ZM11090
UPC: 680160647156.
SKU: HL.1459766
ISBN 9781638873648. UPC: 196288211020. 9.0x12.0x0.525 inches.
Michael Haydn (1737-1806), younger brother of Josef Haydn, had been in the employ of Colloredo, Archbishop in Salzburg as Court Composer and Leader (Concertmaster) of the court orchestra. In 1783, he was commissioned - or a better word perhaps - ordered by Colloredo to compose a series of six duets for violin and viola. Due to serious illness, he was unable to complete the series. Haydn was concerned that the Archbishop would cancel his fee. Haydn asked his friend Wolfgang Amadeus Mozart (1756-1791) to complete the work by writing the remaining two duets. Mozart composed the duets in a few days, in time to meet the Archbishop's timeline. For this reason, all six duets were delivered under Michael Haydn's name. The present edition is the first that reunites the six duets - naturally with the correct attributions. Included in volume 1: 4. Duet in B flat Major K 424 (W.A. Mozart); 5. Sonata Nr. 3 in F Major MH 337 (M. Haydn); 6. Sonata Nr. 4 in E Major MH 338 (M. Haydn).
SKU: HL.1459765
ISBN 9781638873624. UPC: 196288211013. 9.0x12.0x0.458 inches.
Michael Haydn (1737-1806), younger brother of Josef Haydn, had been in the employ of Colloredo, Archbishop in Salzburg as Court Composer and Leader (Concertmaster) of the court orchestra. In 1783, he was commissioned - or a better word perhaps - ordered by Colloredo to compose a series of six duets for violin and viola. Due to serious illness, he was unable to complete the series. Haydn was concerned that the Archbishop would cancel his fee. Haydn asked his friend Wolfgang Amadeus Mozart (1756-1791) to complete the work by writing the remaining two duets. Mozart composed the duets in a few days, in time to meet the Archbishop's timeline. For this reason, all six duets were delivered under Michael Haydn's name. The present edition is the first that reunites the six duets - naturally with the correct attributions. Included in volume 1: 1. Duet in G Major K 423 (W.A. Mozart); 2. Sonata Nr. 1 in C Major MH335 (M. Haydn); 3. Sonata Nr. 2 in D Major MH 336 (M. Haydn).
SKU: BR.EB-4757
ISBN 9790004163146. 9 x 12 inches.
Julius Rietz succeeded Felix Mendelssohn Bartholdy as conductor in Dusseldorf in 1835, and was also stylistically indebted to Mendelssohn as a composer as well. Rietz began working in Leipzig in 1847, heading not only the Singakademie there, but also the Gewandhaus concerts beginning in 1848. He also taught composition at the Leipzig Conservatory. In 1860 Rietz moved to Dresden, where he was active as court Kapellmeister and later also assumed the directorship of the Conservatory. One finds works of all genres in his oeuvre. The Sonata in G minor op. 42 for flute and piano was originally published by Breitkopf & Hartel in 1876.
SKU: NR.93185
Sonatas no. 1-3 : for violin solo, opus 82,, opus 95, opus 126, Fikhtengol'ts, M., ed, Pikaizen, V., ed.
SKU: UT.QC-2
ISBN 9788881094585. 6.5 x 9.5 inches.
The career of Muzio Clementi (1752-1832) spanned the lives of both Mozart and Beethoven and was exceptionally diverse. It encompassed performing on the keyboard, conducting, teaching, business activities and composition in the realms of keyboard, chamber and orchestral music. This book focuses on Clementi’s keyboard sonatas and aims to shed new light on their relationship with the complex cross-currents of late eighteenth-century musical style, both in England, where Clementi was active for much of his career, and the continent, which he visited periodically.The first chapter summarises Clementi’s historical reputation as it developed in the nineteenth and twentieth centuries, and evaluates the impact on it of the significant developments in Clementi scholarship since 2000. The aim is to stress the deficiencies of the established view of Clementi as a keyboard pedagogue and to stress the importance of liberating him as much as possible from this ingrained perception. This is attempted, in the remaining chapters, through close, analytical readings of a variety of keyboard sonatas from all stages of his career, comparing them with a range of works by Haydn, Mozart, Beethoven and other contemporaries such as Jan Ladislav Dussek (1760-1812). The comparisons are made from the perspectives of distinguishing features of Clementi’s style such as his unusually intense deployment of strict counterpoint in the later keyboard sonatas; his cultivation of irregularity in recapitulations; his use of the ‘three-key’ exposition in the middle-to-later stages of his career that seems to anticipate nineteenth-century developments, and also his assimilation of heightened virtuosity into the earlier sonatas, often in the form of cadenzas more suggestive of the keyboard concerto – a genre Clementi seems, rather strangely, to have neglected. The book has been envisaged as a direct response, not only to the most recent scholarship on Clementi, but also to current approaches to eighteenth-century music in general, including the interdisciplinary work of Annette Richards.
SKU: HL.50512433
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