Musicians have long treasured the Mozart sonatas for their symmetry and perfection. This volume presents single movements as well as complete sonatas (K. 282, 283, 545 and 570) for study by the advancing pianist. The sonatas provide ample opportunity for developing control, technical facility, a singing style, and balance and voicing. The preface gives Dr. Hinson's helpful suggestions on pedaling, ornamentation, articulation and dynamics, as well as a suggested order of study. Careful editing allows the teacher and student to make informed choices in interpreting these masterpieces.
This edition contains 13 of the most beautiful and useful movements from Beethoven's most popular sonatas. These intermediate to early advanced piano sonata movements are expertly edited by Dr. Maurice Hinson. This volume includes helpful performance suggestions, a suggested order of study, and editorial markings that are easily distinguished from Beethoven's notations.
Musicians have long treasured the Mozart sonatas for their symmetry and perfection. This volume presents single movements as well as complete sonatas (K. 282, 283, 545 and 570) for study by the advancing pianist. The sonatas provide ample opportunity for developing control, technical facility, a singing style, and balance and voicing. The preface gives Dr. Hinson's helpful suggestions on pedaling, ornamentation, articulation and dynamics, as well as a suggested order of study. Careful editing allows the teacher and student to make informed choices in interpreting these masterpieces.
Mozart's four sonatas for one piano, four hands, are the first important works in the piano duet literature. This carefully researched edition contains historical information, in-depth notes on performing Mozart's piano music, editorial fingering and metronome marks, as well as realizations of many ornaments. Titles: * Sonata in D Major, K. 381 (123a) * Sonata in B-flat Major, K. 358 (186c) * Sonata in F Major, K. 497 * Sonata in C Major, K. 521
Mozart's orchestral-inspired Sonata in D Major, K. 311 contains elaborate pianistic treatment and an exciting sonata-rondo finale with a cadenza worthy of one of Mozart's concertos. The flashy third movement is full of many contrasts involving dynamics, mood and texture. Throughout the sonata, the left hand becomes a true partner in all aspects of the composition, and thematic material is spread over different registers of the keyboard.
This carefully graded, pedagogical performance edition contains 12 outstanding classical sonatas by Haydn, Mozart and Beethoven. Each sonata appears in its original form and comes complete with performance notes and clearly presented editorial markings.
Re-engraved, corrected editions by Artur Schnabel, with Schnabel's notes and comments in five languages. Volume One contains Sonatas One through Seventeen and Volume Two contains Sonatas Eighteen through Thirty-Two.
Michael Davidson - author of the highly acclaimed Mozart and the Pianist - casts new light on some of the most masterly sonatas written for the piano and on the uniqueness of these great compositions and their composers. Excepting the considerable literature on Beethoven, few studies are available which explore the interpretation of this much played repertoire. This study is not only a detailed look at fourteen sonatas; one can also learn more about other works by these composers and about aspects of 'style' - that magical quality which differentiates Haydn from Mozart, Beethoven from Schubert, Liszt from Brahms.
The earliest surviving original composition of Johannes Brahms, Scherzo, Op. 4 in E-flat minor, was composed in 1851 when Brahms was only 18 years old. This brilliant scherzo, with its two trios and a coda, remains one of Brahms’s larger solo piano works. Internationally renowned concert pianist Joseph Banowetz edited this work with a special insight as one of his teachers, Carl Friedberg, studied with Clara Schumann, a close friend of Brahms.
Ludwig van Beethoven's Variations on a Swiss Song, K. WoO 64, was composed in 1790, when the composer was not over twenty years of age. This selection, long a favorite of piano students and teachers, becomes even more interesting when the story behind the work is known. To understand exactly how this piece should be performed the first question that needs answering is, "Variations on what Swiss song?" The name of the song is Dursli and Babeli, and the melody and the words may be found in almost any late eighteenth-century or early nineteenth-century collection of old Swiss or German folk tunes. Among the most famous collections that include it are those of Reichardt, Herder and Müller. These sources date between 1781 and 1789. While some nineteenth century sources present the text of this song with as many as eleven verses, and with some changes in the words to the original stanzas, only seven verses were known when Beethoven wrote his variations, and the song was very popular. Goethe was said to be very fond of this song, which he describes as "a charming story of peasant love." The poet Herder wrote, "The melody is light and soaring like a lark, and the dialect swings the words along in a way that can scarcely be appreciated when one simply sees them on paper." Perhaps the most amusing aspect of this work is Beethoven's use of the staccato notes to imitate the clipped Swiss-German dialect. This piece provides an excellent example of the composer's use of three kinds of articulation marks, namely the wedge which indicated a normal staccato (not necessarily accented); the dot which was held a bit longer, and the dot under the slur, which was held still longer. It will be noted by those who have even a slight knowledge of the German language that the dialect used in the poem has staccato characteristics.
