Sonata A Tre D-Dur Op. 2 / 3 Op. 2/3

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

D-Dur. Par PISENDEL JOHANN GEORG. Two sonatas by Johann Georg Pisendel for violin with basso continuo accompaniment have been handed down to us and have now been published for the first time by Carus. Pisendel was the famous concert master of the Dresdner Hofkapelle, which was one of the leading orchestras in the first half of the 18th century. Since he was the leading violinist of his time in Germany to whom renowned composers such as Vivaldi, Albinoni and Telemann Werke dedicated pieces, these two sonatas, written for Pisdendel‘s own chosen instrument, present a challenge to performers as well as a valuable enrichment to baroque violin literature. The D major Sonata is based on the opening and closingmovements of the solo parts from the D major Violin Concerto, which Pisendel had written on the occasion of the dedication of the Catholic Church of the Court in Dresden, in 1751./ Répertoire / Violon et Basse Continue

Par HOOK JAMES. Une contribution pour rendre la musique de la période classique accessible à la trompette : Les pièces et sonates de James Hook (1746-1827) de difficulté moyenne, arrangées par Kristin Thielemann, sont particulièrement adaptées aux leçons ainsi qu'aux représentations et aux concours tels que 'Jugend musiziert'. Certaines des chansons de Hook ont été arrangées comme pièces instrumentales et peuvent servir d'introduction à ce répertoire. Les joueurs plus avancés peuvent se lancer dans les sonates. En plus de la Sonate op. 99/3, souvent jouée, des sonates moins connues deviennent intéressantes pour la trompette en choisissant des tonalités bien placées. Toutes les pièces ont été enregistrées par Prof. Reinhold Friedrich (trompette) et Eriko Takezawa (piano) en version intégrale et en version playback. / Niveau : Facile à Intermédiaire / Recueil / Trompette en Sib et Piano

Flackton, WilliamSonata re maggiore für Violaund Generalbass (Klavier, Cembalo)Partitur und 2 Stimmen / Alto / Doblinger

Pour plus de 200 ans sonates pour piano de Mozart ont fait partie du répertoire de tout pianiste . Les recherches menées au cours des dernières décennies a permis , cependant, d'établir des rencontres plus précise et la commande de ces oeuvres . L'expertise des documents originaux a montré que de nombreuses éditions imprimées du XVIIIe siècle donnent des détails plus fiable que ses propres partitions écrites de Mozart , la plupart de ces oeuvres ont été préparés pourpublication par le compositeur lui-même et marqué avec des indications précises pour la performance à l'égard de l'ornementation , la dynamique et l'articulation. Tout cela, avec la redécouverte des documents qui ne sont devenus à nouveau accessible à la fin du 20ème siècle , donne une raison suffisante pour justifier la publication d'une nouvelle édition Wiener Urtext des Sonates pour piano de Mozart.- . -Pour suivre le deuxième volume, publié au printemps 2003 avec Sonates K 330 K 576, nous présentons aujourd'hui le premier volume , qui contient le Sonates K 279 à K 311. Pour Sonate K 284 , variation XI dans le dernier mouvement est donnée à la fois dans la version qui apparaît dans le manuscrit original et la version utilisée dans la première édition , afin de rendre la musique plus facile à lire , les deux versions sont donnés en impression normale taille . Une musique qui est clair et bien aménagé , avec page se tourne dans des endroits pratiques , rend cette édition extrêmement convivial .Conseils sur la performance par le célèbre Mozart spécialiste Robert D. Levin fournit une nouvelle impulsion à ce qui autrement peut devenir trop souvent une interprétation plutôt fatigué. / Piano

The Schott Violin Library contains eleven varied Baroque sonatas for violin and basso continuo. Including both popular sonatas by Corelli, Vivaldi, Handel and Telemann and lesser known, charming compositions by Dall? Abaco, Pepusch and Finger. Suitable for violinists of intermediate standard. Some of these works can be played entirely in first position, others require only a few position changes and the sonatas by Dall?Abaco, Kirchhoff, Vivaldi and Handel require more fluent shifts between the first three positions. / Violon Et Basse Continue

Bach: Complete Organ Works Vol. 5 Sonatas / Trios / Concertos - ed. by Pieter Dirksen Organ Works Based on Compositions by Bach and Others Genres such as sonata, trio and concerto were initially uncommon in the keyboard music of the early 18th century. Thus it comes as no surprise that many of the pieces in this volume are arrangements by Bach of original compositions and of works by other composers. Next to the Sonatas BWV 525?530 and the Concertos or concerto movements based on pieces by other composers BWV 592?596, the volume also contains the Trio in D minor BWV 583, the Trio settings BWV 585?587 as well as the early versions of BWV 527 and 528. Moreover, the CD-ROM offers eight arrangements of trio movements by Bach made by others. In his detailed introduction, Pieter Dirksen discusses various aspects of these pieces' origins, inasmuch as they help us better understand the works. The organist will especially welcome the comments on performance practice and registration. It is precisely the fact that these works derive from chamber-music models that leads to individual considerations for each work group.

Leichte Vortragsstucke. To every pupil, the first concert is a special experience. The period of intensive preparation, the mixture of trepidation and joyful anticipation, the concentration during the performance, the applause of the audience and the pride after the successful performance. Such impressions will all stick in the pupil's mind and quite often influence his or her entire future development. The choice of the 'right' performance piece is of vital importance: It should be neither too long nor too short, make a strong impression and give great pleasure in practising. The edition My First Concert includes 25 easy and appealing pieces for descant recorder and piano ranging across five centuries; most of these are original recorder pieces, along with a few arrangements. The collection includes not only Renaissance, Baroque and early Classical works, but more recent compositions too, notably various genres from the field of popular music. Pieces range from little dance movements first published by Attaingnant and Susato, with sonata movements by Telemann and Loeillet through to jazzy tunes. Some of these easy pieces will suit players who have had two years of tuition. Slightly more demanding pieces can then be tackled in later lessons. This book offers a wide selection of repertoire for auditions, concert performances and youth music competitions; it offers an ideal complement to any recorder tutorial method. The accompanying CD will give an impression of how the music can sound, making it easier to start practice. With the separately recorded piano accompaniment, pieces can be played even when no pianist is available./ Recueil / Flûte à Bec et Piano

Le deuxième volume de la série Violinissimo, 'La Follia', propose un vaste choix de 25 compositions intermédiaires-avancés originales pour violon et piano. Le matériau s'étend de la période baroque au 21ème siècle et contient des morceaux populaires - de Corelli, Vivaldi et Mozart, Fauré, Brahms et Dvo?ák ainsi que les compositeurs modernes. Doigtés, des suggestions de tempo et d'informations sur les embellissements complètent la collection. La série Violinissimo n'est pas seulement un compagnon idéal pour des leçons, des concerts et des compétitions scolaires, mais aussi un véritable trésor pour les amateurs de musique de violon classique. / Violon Et Piano