PARTITIONS GRATUITES : TROMBONE OU TUBA OU EUPHONIUM, PIANO OU ORGUE
- Sonata, M.17

Composed by Franz Joseph Haydn (1732-1809). Edited by Bernhard Moosbauer / Holger M. Stuwe. This edition: urtext edition. Paperback. Barenreiter Urtext. Performance score, anthology. Baerenreiter Verlag #BA10804. Published by Baerenreiter Verlag (BA.BA10804).

By Carl Philipp Emanuel Bach. Edited by Darrel M. Berg. Piano (Harpsichord), 2-hands. Pages: VIII and 112. Urtext edition-paper bound. Published by G. Henle.

With Comments inEnglish. By Ludwig van Beethoven. Edited by N. Gertsch, M. Perahia. For piano solo. This edition: HN754. Piano (Harpsichord), 2-hands. Henle Music Folios. Pages: VII and 26. Urtext edition (Paper-bound). 34 pages. Published by G. Henle.

Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Zsigmond Szathmary. Free organ music. German title: 17 Kirchensonaten fur Orgel solo. Free organ music. Compact Disc. Composed 1844. 700 pages. Carus Verlag #CV 18.067/99. Published by Carus Verlag (CA.1806799).

Piano

SKU: BT.EMBZ14505A

Suppl. 10. By Adrienne Kaczmarczyk_Ágnes Sas. By Franz Liszt. EMB New Listz Edition. Book Hardcover. Composed 2014. 224 pages. Editio Musica Budapest #EMBZ14505A. Published by Editio Musica Budapest (BT.EMBZ14505A).

English-German-Hungari an.

Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included.

Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement” that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthe Complete Edition volume in colth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume.

Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.