SKU: BR.OB-5353-15

ISBN 9790004340707. 10 x 12.5 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.

SKU: BR.PB-5531-07

Beethoven would probably have loved to be able to commission a new edition of his violin concerto from Clive Brown, since he is one of the top specialists, with a profound knowledge and experience of performance practice in Beethoven's day.

ISBN 9790004212608. 6.5 x 9 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.

SKU: BR.OB-5353-27

ISBN 9790004340745. 10 x 12.5 inches.

What with all the traditional editions available on the market, can we still expect new readings? This is what editor Clive Brown asked himself as he meticulously examined the often conflicting sources. The result is a wealth of new readings in the score, which deserve as much attention as the extensively commented arrangement for violin and piano. The treatment of the solo instrument is particularly interesting: next to the Urtext solo part, the edition also contains a historically informed and marked-up part with fingerings and bowings that go back to Franz Clement, the soloist of the premiere performance, and to the Viennese performance tradition of Beethovens time. For violinists of today, this is a treasure trove of new, innovative ideas and suggestions for the individual shaping of the part.

SKU: BR.OB-5230-15

ISBN 9790004331514. 10 x 12.5 inches.

The history of the origins and sources of Beethovens Choral Phantasy is complex and poses considerable difficulties to todays researchers. A definitive final version is not extant. Instead, there are contemporary printed editions which diverge from each other in many details. The English musicologist Clive Brown thus also based part of his text-critical work on his comprehensive knowledge of the performance and notation practice of Beethovens time.Fur Orchester, die gelegentlich mit einem Chor zusammenarbeiten, auf jeden Fall zu empfehlen. Ein gerade in seiner Einmaligkeit interessantes Stuck - und auch nicht besonders schwer. Verwiesen sei noch auf das vorzugliche Vorwort des Herausgebers. (Plischke, Das Liebhaberorchester).

SKU: BR.EB-8118

ISBN 9790004175019. 9 x 12 inches.

Richard Wagner (1813-1883) is rightly considered as the 19th-century music dramatist whose formal and harmonic originality, for example in Tristan and Isolde, provided a significant impetus to the development of 20th-century music. Despite Wagner's fame, his reuvre for piano remains practically unknown. Tobe sure, these primarily early works and occasional compositions hardly even hint at the outstanding characteristics of the later works such as leit-motifs, flowing transitions or original forms. Nonetheless, whoever is acquainted with Wagner's later music dramas will undoubtedly not fail to be impressed by the individual melodic and harmonic traits of his piano works. The Sonata in B-flat Major Op. 1 is of special interest to us today since it is Wagner's first published work, composed in 1831 and printed in 1832 by Breitkopf & Hartel. At that time, Wagner was studying counterpoint with Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig. Weinlig, however, only agreed to give Wagner lessons if he promised to refrain from composing for half a year. In the course of his studies, Wagner was allowed to compose the piano sonata in B-flat Major as a kind of journeyman-work. His teacher Weinlig succeeded in having the work published by Breitkopf & Hartel. Hence the dedication of this piece to Weinlig is not surprising, since the 18-year-old Wagner would otherwise have had great difficulty finding a publisher. This Sonata in B-flat Major, which has long been out of print, is a reproduction of the first edition by Breitkopf & Hartel (plate number 10433). For this reprint, obvious typographical errors have been corrected (missing or wrong accidentals and dynamic indications). The work presents a four-movement classical sonata form and is stylistically reminiscent of Mozart and Beethoven. Shortly before composing this sonata, Wagner wrote a piano reduction of Beethoven's Ninth Symphony, which was easily playable and yet gratifying to hear. This helps explain the octave-doublings typical of piano reductions. Wiesbaden, Fall 1980

Respectfully dedicated to Theodor Weinlig, the choral master and music director of the Thomasschule in Leipzig.