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Sonata In A Major D 959

Konzert in A-Dur - Concerto In A Major TWV 53 : Kontrabass

Konzert in A-Dur - Concerto In A Major TWV 53 : Cello

Konzert in A-Dur - Concerto In A Major TWV 53 : Viola

Fascination Organ Improvisation : A Study and Practice Book

Konzert in A-Dur - Concerto In A Major TWV 53 : Flöte Solo

Konzert in A-Dur - Concerto In A Major TWV 53 : Violine Solo

Konzert in A-Dur - Concerto In A Major TWV 53 : Violine 1

Konzert in A-Dur - Concerto In A Major TWV 53 : Violine 2

Mass for Double Choir A Cappella

Lelio (Le retour a la vie) : Musikalisches Monodram

A Taste Of Schubert : For High Voice

A Taste Of Schubert : For Medium Voice

Sonate A-Dur KV 331 (300i) : Alla Turca

Sonate A-Dur KV 331 (300i) : Alla Turca

Published in 1784, Mozart’s Sonata in A major “for clavier solo”, with its famous “Alla Turca” finale, is one of the most popular works in the entire piano literature. After a section of the lost autograph was rediscovered a few years ago, another important source has surfaced with the appearance of a previously unknown contemporary copy of the complete autograph, which has prompted Bärenreiter to issue an up-to-date Urtext edition of this celebrated piece.The copy by a professional Viennese copyist throws new light on the problem of the numerous discrepancies between autographs and first editions of many Mozart sonatas. It supports the assumption that the revision of thetext for the first edition resulted from the change of target group from Mozart's inner circle to an audience of connoisseurs and amateurs, but that this did not render the original (autograph) text obsolete: rather, both versions of the sonata represent historical realities. To achieve a truly faithful scholarly-critical performance edition of Mozart's sonata, the editor, Mario Aschauer, has set new editorial standards and offers the most innovative methodological approach of our time by presenting the musical text of the autograph and the original print separately without merging the sources editorially to a new text. On the basis of the newly discovered source, it is possible for the first time to reconstruct the autograph transmission of this famous sonata and offer it to the performer as a self-contained playable version.The preface allows surprising new insights into the form and source situation of the sonata (Ger / Eng). The edition is supplemented by a chapter on performance practice providing in-depth information on piano playing in Mozart’s time (Ger / Eng). Variants and editorial decisions are documented in the Critical Commentary.

SEK 196.00
1

Clarinet Concerto In A K.622

Clarinet Concerto In A K.622

Clarinet Concerto In A K.622

Clarinet Concerto In A K.622

Clarinet Concerto In A K.622

Ode a la Musique

Ode a la Musique

Ode à la Musique (1961)for Baritone, 4-part mixed chorus, trumpet, two horns, three trombones, piano and double bass Frank Martin (1890-1974) Frank Martin was born in Geneva, Switzerland, on 15September 1890. He was the tenth and youngest child of a clergyman’s family. He played and improvised on the piano even before he went to school. By the age of nine he had composed charming children’s songs thatwere perfectly balanced without ever having been taught musical forms or harmony. A performance of Bach’s St. Matthew Passion, heard at the age of twelve, left a lasting impression on the composer, for whom J.S. Bachremainedthe true master. He attended classical languages high school and, to please his parents, went on to study mathematics and physics at the University of Geneva for two years. Simultaneously he started studying piano andcomposition with Joseph Lauber, who initiated him in the “craft”, especially in instrumentation. Between 1918 and 1926 Frank Martin lived in Zurich, Rome and Paris, working on his own, searching for a personal musicallanguage. In 1926 he founded the “Société de Musique de Chambre de Genève” which he led as pianist and harpsichord player for ten years. He taught improvisation and theory of rhythm at the“Institut Jacques-Dalcroze” and chamber music at the Geneva Conservatory of Music. He was artistic director of the “Technicum Moderne de Musique” from 1933 to 1940 and president of the Swiss Association ofMusicians between 1942 and 1946. In 1932 he became interested in the 12-tone technique of Arnold Schönberg. He incorporated certain elements into his own musical language, creating a synthesis of the chromatic andtwelve-tone techniques, without however abandoning the sense of tone – that is, the hierarchical relations between notes. Le Vin Herbé (1941) was the first important work in which he completely mastered this verypersonal idiom. Together with the Petite Symphonie Concertante (1944-45) it established his international reputation. Martin’s many musical activities in Switzerland interfered with the peace and

SEK 255.00
1

Symphony No.4 In A Op.90 - Italian