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Sonatas for Pianoforte and Violin op. 12 : Nos. 1-3, op. 23, op. 24, Volume I

Sonatas for Pianoforte and Violin op. 12 : Nos. 1-3, op. 23, op. 24, Volume I

Beethoven’s ten sonatas for piano and violin, along with those by Mozart, constitute the heart of this classical music genre. Following the lead of Mozart’s late sonatas, Beethoven lets the violin part become increasingly independent from the piano part. Not only does Clive Brown’s scholarly critical edition offer a meticulously edited text but for the first time it presents a list of sources and a Critical Report. Furthermore Brown documents a great number of passages where, by today’s standards, the notation raises some questions. These passages had previously been overlooked in the autograph but their significance is now clarified. One example can be found in Beethoven’s “Tempo di Minuetto” from Sonata op. 30 No. 3, where he uses a notational idiosyncracy based on C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” to denote a rest. This musical symbol, which was included in the first edition published during Beethoven’s lifetime, has not been addressed in any modern edition to date. In addition, a score through a chord can also not be found in previous modern editions: this denotes an arpeggiated chord.

SEK 504.00
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Concerto

Concerto

FRANZ BERWALD (1796-1868) is regarded today not only as one of Sweden's most important composers, but also, due to his symphonies and his chamber music, as a leading figure in the history of Northern European music of the 19thcentury. His compositions include, in addition to four symphonies and the chamber music, tone poems for orchestra, concertos, operas ('Estrella di Soria' and 'The Queen of Golconda'), cantatas, solo songs with pianoaccompaniment, piano music and much more.Berwald's violin concerto in C sharp minor is the work of a young composer. The autograph score bears the date 1820; Berwald was 24 years old at the time.After thefirstperformance the violin concerto fell into oblivion and was, as far as we know, never again performed in Berwald's lifetime. It was not brought to light again until 1903, when on May 19 the first movement was performed at theAnnual Celebration of the Academy of Music of Stockholm.Urtext of the Berwald Complete EditionFull score (BA4905) and Violin & Piano reduction (BA4905-90) available for salePerformance material(BA4905-72) available for hire

SEK 351.00
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Missa brevis

Missa brevis

“Missa brevis in F in score. This was the first Mass which Mr. Haydn composed whilst still a student”, says an entry in the catalogue of Haydn’s musical estate. Circa 1798/99 Haydn entered the work without anincipit in his working catalogue as “Missa brevis in F. / a due Soprani”. Around 1805/06 he added in shaky, decrepit handwriting to the title “Missa.” on the front page of the organ part of one ofthe set of parts prepared by his copyist Johann Elßler: “Brevis / di me Giuseppe Haydn mpria / 1749”. This date, the earliest yet found on a work by Haydn, corresponds to the title of the Haydn catalogue,whichindicates the eighteenth year of Haydn’s life, i. e. 1749/50, as the starting point of his work: “Catalogue of all those compositions which I happen to remember writing from my 18th to my 73rd year oflife.” In 1805 Haydn set about adding further instruments to the original scoring for two violins and figured organ bass, and by 15th February 1806 the larger instrumentation was ready, as is evidenced by a letterwritten on this very day by the Haydn biographer Georg August Griesinger. It is, however, by no means certain whether the seventy-three-year-old undertook this adaptation himself. - Urtext from Joseph Haydn Werke -Full score, parts (BA4644) and vocal score (BA4644-90) available for sale - Early string version and later version with wind instruments and timpani

SEK 245.00
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