Carl Maria von Weber's fame rests mainly on ?Der Freischütz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as ?Preciosa', ?Oberon', and ?Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music - cantatas, odes and other occasional works - stage works - lieder and vocal works - orchestral works - chamber music - music for piano - piano reductions - miscellanea, arrangements and orchestrations - works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references. / Piano

Grand choix de belles pièces, difficile de trouver un grand nombre ailleurs. Inclus sont clavecin toccatas, Capriccio sur le départ de son frère bien-aimé, Aria variata 'alla Maniera Italiana 'et les 6 Petits Préludes, ainsi que de nombreuses compositions moins connues - plus de 40 en tout. Autorité Breitkopf and Härtel édition.Réimpression de sélections de Werke Johann Sebastian Bach, Série 3, 36, 42, 43, et 44, Breitkopf and Härtel, Leipzig, 1890, 1894 et 1897. / Piano

Volume 4 K.156-205-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.

revised editionCompositeur : Mozart, Wolfgang AmadeusInstrumentation : Piano soloEditeur Musicologique : Scheideler, UllrichCouverture ReliéeContenu : Adagio for Glass Harmonica C major K. 356 (617a)Adagio b minor K. 540Andante for a Musical Clock F major K. 616Andantino E flat major K. 236 (588b)6 German Dances K. 509Fantasies c, d K. 396 (385f), 397 (385g)Fugue for an organ g minor K. 401 (375e)Fuges G, D K. Anh. A 61/62 (154a)Gigue G major K. 574Piano Piece F major K. 33 BKontretanz D Das Donnerwetter K. 534Kontretänze K. deest (269b)London sketchbook K. 15a-qqFuneral March c minor K. 453aMarch C major K. 408/1 (383e)Minuet D major K. 355 (576b)Minuets C, D C major K. 61g II, 94 (73h)8 Minuets K. 315a (315g)12 Minuets K. 103 (61d)Modulierendes Präludium K. deestMozarts pieces from the Nannerl Notenbuch K. 1a–f, 2–5, 9a (5a),6–8Prelude (Fantasy) and Fugue C major K. 394 (383a)Präludium C major K. 284a (395/300g)Rondos D, a K. 485, 511Sonata movements g, B flat B flat major K. 312 (590d), 400 (372a)Suite C major K. 399 (385i)Appendix: 2 Piano pieces B flat, E flat K. Anh. 20 a (626b/25)Ballettmusic from Ascanio in Alba K. 111Sonata [allegro and allegretto] F major K. Anh. 135 (547a)Fragment from the Nannerl Music Book K. 9b (5b)Fragments from the London Sketchbook K. 15 nn, rr, ssFragment (Sarabande) from the Suite K. 399 (385i)

[Klavierwerke - Band 3 : Einzelne Suiten und Stücke. Erste Folge (Nr. 1-22)] / Classique / Editeur : Terence Best / Partition / Cartonné / Plats de carton / Edition Urtext