Collection de 45 ?uvres de W.A.Mozart des symphonies aux concertos, en passant par les opéras et ?uvres pour piano. Partitions pour piano solo de niveau internmédiaire à avancé. / Classique / Partition /

Vol 1 Ut 50226 + Vol 2 Ut 50227-For more than 200 years Mozart’s piano sonatas have been part of every pianist’s repertoire. Research done over the last few decades has made it possible however to establish more accurate dating and ordering of these works. Expert examination of original documents has shown that many printed editions from the eighteenth Century give more reliable detail than Mozart’s own written scores; many of these works were prepared for publication by the composer himself and marked with precise indications for performance with regard to ornamentation dynamics and articulation. All this together with the rediscovery of documents that only becameaccessible again at the end of the 20th Century gives reason enough to justify the publication of a new Wiener Urtext edition of Mozart’s Piano Sonatas.To follow the second volume published in the spring of 2003 with Sonatas K 330 to K 576 we now present the first volume which contains the Sonatas K 279 to K 311. For Sonata K 284 variation XI in the final movement is given both in the version that appears in the original manuscript and in the version used in the first edition; in order to make the music easier to read both versions are given in normal print size. Music that is clear and well laid out with page turns in convenient places makes this edition extremely user-friendly.Advice on performance by the renowned Mozart specialist Robert D. Levin provides fresh stimulus for what can otherwise too often become a rather tired interpretation.

PIANO SONATA NO. 4 from the years 1962–1964 is dedicated to the memory of Fiser’s friend, the pianist Antonín Jemelík, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70,by Alexander Scriabin. The tragedy of the death of the composer’s friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestraand Fifteen Prints after Dürer’s Apocalypseand has earned its rightful place alongside them as masterpieces of Fiser’s œuvre. The work was first performed by Pavel Stepán in Prague’s Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969); only with regard to a few inconsistencies in the score was it necessary to consult the composer’s manuscript (kept at the National Museum – Czech Museum of Music, acquisition number 297/2006). H 7988, ISMN 979-2601-0447-1

PIANO SONATA NO. 3 was written in 1960 during the composer’s studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser’s musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Dürer’s Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser’s compositions from the mid-1960s onwards. The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bílek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer’s manuscript (kept at the National Museum – Czech Museum of Music, acquisition number 297/2006). H 7957, ISMN 979-2601-0446-4

Une excellente sélection des meilleurs chefs d'oeuvres par Felix Mendelssohn, arrangés pour piano solo. / Classique / Partition /

Cet album contient neuf pièces de ABRSM de 2013 et 2014 syllabus Piano Grade 8. Caractéristiques principales: Trois pièces de chacune des listes A, B et C. Répertoire attrayant et varié. Edité avec soin et clairement présentées tout au long. Informations utiles sur les pièces et l'examen. Performances mettant en vedette CD par les plus grands pianistes professionnels. / Piano

The early sonatas. Par SCHUBERT FRANZ. Schubert was visibly adventurous in his early piano sonatas, as is apparent in their wide-ranging key schemes, diverging versions of many movements or entire sonatas, and numerous works left incomplete. This revised Urtext edition contains the sonatas he composed between 1815 and 1817. An updated preface and valuable notes on central questions of performance practice (e.g. articulation, pedalling and embellishments), with a special emphasis on his idiosyncratic treatment of accent-like diminuendo hairpins, form a useful introduction to the sonatas. Schubert?s drafts and fragments can be accessed on the Bärenreiter website. - Urtext edition based on the ?New Schubert Edition?, with drafts and fragments accessible on the Bärenreiter website (see BA 9642: Extras) - Reader-friendly engraving with practical page-turns and running titles to facilitate the location of sonatas and movements - Valuable notes on performance practice in Schubert?s day (Ger/Eng) - Critical Commentary with readings relevant to performance, especially regarding Schubert?s notation of accents (Eng) / Date parution : 2022-07-30/ Recueil / Piano

Sonata for Bass Clarinet and Piano was commissioned by virtuoso former Houston Symphony clarinetist Richard Nunemaker, and takes full advantage of his prodigious technique and the instrument's extraordinary range. Although the sonata is traditional in its structure - with three movements whose tempi are ordered as fast, slow, fast - it is highly original in its musical content.
The first movement draws upon two rather disparate sources for its material - Dizzy Gillespie's bebop standard Salt Peanut , and Frank Zappa's art-rock masterpiece Eric Dolphy Memorial Barbeque , hence the title, Salt Peanut Memorial Barbeque. The second movement uses a technique much, much older, that of the isorhythmic motet. The piano accompaniment has a talea of five rhythmic events serving a color of four pitch events. The clarinet cantillates a monody against this that is comprised primarily of the pitches not displayed in the accompaniment; hence the title Motet - Ancient Incantations. The third movement is a bebob and boogie-woogie tour-de-force for the two instruments, at once paying homage to Eric Dolphy and to one of the great songs of his era, Green Dolphin Street , and hence the title, Green Dolphy Street Boogie. / Partitions classique / Bois / Clarinette / ALEA PUBLISHING

Piano duet score. 1st performance Ellesmere College January 1986 by Richard Markham and David Nettle. Duration c.24 minutes. The work is in three movements and the musical thought is symphonic. The first movement (based entirely on the opening motive) goes through a series of paragraphs which eventually culminate in an extended melodic line played entirely by the treble player. The middle movement is a playful Scherzo with a rather sardonic waltz for its Trio. The slow movement (which comes last) is much more relaxed and concentrates on a D major motive with sharpened fourths but the more intense moods of the first movement return in a suddenly impassioned middle section.

Fantasie über das Rondo aus der Klaviersonate in A-Dur KV 331 von Wolfgang Amadeus Mozart. Par SAY FAZIL / CETINER YUDUM (Arr.). The final movement of the Sonata in A major KV 331 by Wolfgang Amadeus Mozart, the Rondo Alla Turca, is one of the most famous piano pieces of all time. Once only familiar to musical experts, later a universal piece for all piano pupils, its opening melody is now even omnipresent as an alienated sinus tone-like mobile phone ring tone. Fazil Say's arrangement, originally created as an effective encore, follows on from this popularity. After the first eight bars have been presented in original form, typical elements of jazz superimposed on the still recognisable classical foundations can be discovered, such as syncopation of the top notes and ornamentation through chromatic blue notes, embedded in the at times frenzied chains of semiquavers. In the spirit of the work's improvisatory character, Say likes to perfom his Alla Turca Jazz in different combinations, for example accompanied by jazz singers of with orchestra. It may appear strange that Fazil Say, who was born in Turkey and - when not on tour - is still resident in that country, does not bring back Mozart's interpretation of genuine Turkish music closer to its own roots, particularly as many of his compositions such as Black Earth or the Violin Sonata are characterised by a subtle amalgamation of the Classical-Romantic tradition, Turkish folk music and elements of jazz. In a further Mozart arrangement, the ballet music Patara premiered in Vienna in 2006, composed on the basis of the Rococo-like theme from the first movement of the same A-major Sonata (wich enjoys almost as great popularity as the Alla Turca theme), Say utilised the connection which was absent in Alla Turca, albeit in the opposite direction. In the ballet music, the piano symbolises Western culture and the Ney flute Oriental culture, communcated atmosperically by austere percussion instrumentation and soprano vocalisation. / Date parution : 2021-12-09/ Répertoire / 2 Pianos

This songbook contains 15 Beethoven masterpieces arranged for solo guitar in standard notation and TAB. The arrangements in this book are carefully written for intermediate-level guitarists. Each solo combines melody and harmony in one superb fingerpicking arrangement. The book also includes an easy introduction to basic fingerstyle guitar. Songs include: Bagatelle Op. 119 No. 1 • Für Elise • Minuet in G Major • Piano Sonata No. 14 in C# Minor (?Moonlight?) Op. 27 No. 2 First Movement Theme • Ode to Joy • Piano Sonata No. 8 Op. 13 (?Pathetique?) 2nd Movement • Symphony No. 6 in F Major (?Pastoral?) First Movement Excerpt • Turkish March • Violin Concerto in D Major • and more!

Viulusonaatti. Par KILPINEN YRJO. Yrjö Kilpinen (1892-1959) is most known for his hundreds of lieds and song cycles. His instrumental compositions have been less know, ie. the six piano sonatas and suite for gamba and piano. Large-scale Sonata for violin and piano is dated in 1935 with opus number 87. The work was never finished, and National Library in Helsinki holds several sketches and versions in its Kilpinen collection. In 2015 violinist Frida Backman commissioned a completion of the Sonata from composer Walter Wolff. Wolff worked on the sketches and versions until 2018, when the work was completed and the Sonata premiered. The present publication is the first publication of the Sonata. It sheds light to Kilpinen as an instrumental composer. The movements are: Allegro - Andante - Andante Moderato - Allegro / Date parution : 2022-05-31/ Répertoire / Violon et Piano