Search results for ""Wiener Urtext Edition, Musikverlag GesmbH Co. KG""

Beethoven''s Sonata in F major Op. 10/2, like its sister in C minor Op. 10/1, is one of the most frequently played works in piano lessons or piano studies. In contrast to the darker and more abrupt tones of opus 10/1, the Sonata in F major is characterised by cheerfulness, even sparkling humour, which is only interrupted by more pensive tones in the F minor middle movement. The new edition is based on the first edition published in 1798 - the autograph is lost - but also draws on contemporary early printings to back up the musical text. Variants that only appeared in the later 19th century are eliminated from the musical text, but their origin is explained in the Critical Notes. The edition thus offers an excellent working basis for lessons and concerts.Instrumentation:pianoop. 10/2

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This sonata is easier to study than any of the earlier ones, and has therefore always been extremely popular. (Carl Czerny). Indeed, the Grande Sonate pathétique is the one with the most moderate demands in terms of playing technique among Beethoven''s famous piano sonatas. But it is also popular for its pathetic expression, which captivates the listener from the very first chords.The new edition is published as a single edition following the revised new edition of all Beethoven''s piano sonatas published in 2018/19. The edition is based on the first edition published in 1799, the second edition by the original publisher published soon afterwards and some early reprints. The latter are particularly important as supplementary sources, since neither the autograph nor copies of them have survived. The Critical Report (in German and English) informs about the importance of the sources and the editorial decisions. The trilingual preface provides historical background information. In additio

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Johann Sebastian Bach’s Inventions and Sinfonias, better known as two- and three-part inventions, were an integral part of the teaching repertoire used in the composer’s piano lessons. And they still are! For piano pupils, there is no getting away from them, for their basic demands, that is ‘to learn to play in tune’ and ‘to achieve to play in a cantabile style’, are still valid. The new edition of the Wiener Urtext Edition follows consistently Bach’s autograph fair copy. Ornamented versions from copies by Bach’s pupils providing an insight into Bach’s ornamentation have been printed separately; any mixing of the different versions has been deliberately avoided. A suggestion has been made, by means of an example, for the realization of the ornament signs of Sinfonia No. 5. The notes on interpretation and the critical remarks provide information on further aspects of the performance practice. They are to be considered as suggestions

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When Christa Landon presented the first printed version of her edition of Joseph Haydn''s piano sonatas, Haydn''s sonata oeuvre was still overshadowed by the works of Mozart and Beethoven. Since then, Haydn''s sonatas have progressed from the teaching rooms to the concert halls and Landon''s edition has played a crucial role in that process. The Haydn anniversary in 2009 is a welcome occasion to thoroughly revise this ''legendary'' edition for, over the course of more than forty years, new sources have come to light and questions of authenticity have been resolved, not least because the editorial principles for 18th-century music have changed considerably. The new edition comprises all works of the previous Wiener Urtext edition plus the sonata Hob. XVI:16 edited by Landon, along with the Sonata in F major which was rediscovered in Bozen a few years ago and attributed to Joseph Haydn. The new edition is published in four volumes, the content of each volume being compatible with the vo

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Franz Schubert''s Impromptus Op. 90 (D 899) are among the most frequently played of his piano works and have become well-established in music lessons and in the concert repertoire. This Wiener Urtext Edition presents a new edition based on the latest research and performance practice.Closely following Schubert''s original manuscript, numerous details have been added to the text, solving fundamental problems such as the distinction between accents and crescendo hairpins or the adjustment of dotted rhythms to triplets. The edition also includes notes on interpretation by Robert D. Levin, looking into even the most subtle shades of meaning of expression markings. The score and page layout have been designed in a user-friendly way.Instrumentation:pianoop. 90D 899

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At the request of many customers, Wiener Urtext Edition now publishes the much sought-after two-volume edition of the Etudes by Frédéric Chopin (Etudes Op. 10, Etudes Op. 25, and Trois Nouvelles Etudes), edited by Paul Badura-Skoda, in one volume. The edition therefore meets the demands and needs of teachers who will welcome these works in one, user-friendly volume.Instrumentation:pianoop. 10 + 25

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