PARTITIONS GRATUITES : QUINTETTE à VENT : FLûTE, CLARINETTE, HAUTBOIS, COR, BASSON
- Sonata IV

Composed by Alexandr Skrjabin. Edited by Christoph Flamm. For piano. This edition: Urtext edition. Paperback. Complete Piano Sonatas, Volume 4. Level 5. Performance score, anthology. Text Language: German/English. Published by Baerenreiter Verlag

Guitar Solo

SKU: IS.G6765EM

Composed by Silvio Leopold Weiss. Arranged by Ben Beuming. Plucked - Guitar. Metropolis Music Publishers #G6765EM. Published by Metropolis Music Publishers (IS.G6765EM).

ISBN 9790365067657.

This sonata (WeissSW No. 4, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

For Violin and Basso Continuo (Violoncello ad lib.). By Antonio Vivaldi. Arranged by Willi Hillemann. Schott. Size 9x12 inches. 76 pages. Published by Schott.

By Robert Kail (Editor). For Violin. Classical. 176 pages. Published by Music Sales. 14 sonatas for violin and piano, including works by Paganini, Mozart, Handel, Purcell, Bach, Weber, Telemann, and Tartini.

Violin; Harpsichord

SKU: UT.HS-281

Composed by Michel Corrette. Edited by Eloise Ameruoso. Saddle stitching. Classical. Score and Parts. Ut Orpheus #HS 281. Published by Ut Orpheus (UT.HS-281).

ISBN 9790215326385. 9 x 12 inches.

Sonata I (Les Fêtes de Flore); Sonata II (Les Champs Elisées); Sonata III (Le Jardin des Hesperides); Sonata IV (Les Amusemens d’Apollon chez Le Roi Admète); Sonata V (Les Jeux Olympiques); Sonata VI (Les Voyages d’Ulysse)
< br>Published in 1742 by the author with Boivin, Le Clerc and de Bretonne, Corrette’s Op. 25 was committed to the Knight of Orleans. It contains six sonatas with violin accompaniment. Nevertheless, on the frontispiece, Corrette reminds the possibility to perform these sonatas also for solo harpsichord; violin accompaniment is therefore considered as collateral and not crucial even though two instruments complete each other and continuously dialogue in a charming way. The composer declares the effect he requires to obtain at the beginning of sonata punctuating that the violin must play mezzo piano way and giving, once again, a great relevance to the keyboard. Despite the notices, imitations and plots between the instruments are so pleasant and constant that it is very improbable to imagine that violin role has considered as unsubstantial.
In the fourth sonata, the only one written in minor tonality, Corrette supposes flute accompaniment as alternative to the violin. In this case, Italian style is evident, for example, in the third movement where the composer imitates Vivaldi with frequent unison passages.
On technical plan, the harpsichordist is occupied in recurring hands crossing, playing suddenly overall keyboard.

Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edition: urtext edition. Stapled. Barenreiter Urtext. Performance score, Part(s) (2). Opus 24. Baerenreiter Verlag #BA10937. Published by Baerenreiter Verlag

Sonate a-moll TWV 41:a3, Sonate g-moll TWV 41:g5, Lhiver TWV 41:d1, Air Trompette TWV 41:C1, Niaise TWV 41:E2, Napolitana TWV 41:B4 - Sonata in A minor TWV 41:a3, Sonata in G minor TWV 41:g5, Lhiver TWV 41:d1, Air Trompette TWV 41:C1, Niaise TWV 41:E2, Napolitana TWV 41:B4. By Georg Philipp Telemann. Edited by Degen, Dietz. For Flute/Oboe/Violin, Basso Continuo. Hortus Musicus. Playing Score; Single Part. Published by Hortus Musicus (German import).

Composed by Johannes Brahms (1833-1897). Edited by Clive Brown; Neal Peres Da Costa. For clarinet and piano. Score with parts. Opus 120. Published by Baerenreiter Verlag