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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.

DKK 404.00
1

String Quartet No. 12 In F Major : Op. 96 American Quartet

String Quartet No. 12 In F Major : Op. 96 American Quartet

Dvorak String Quartet No.12 in F major Op.96 (American) (Parts) Dvorák composed his twelfth string quartet in F major Op.96, known as the “American” Quartet, in just twelve days during his summer vacation in Spillville, Iowa in June 1893.  This immensely uplifting quartet has become one of the composer’s most popular works because of its immediate musical appeal. The work was issued by the publisher Simrock in Berlin in 1894; Johannes Brahms read the corrections, but the correction copy has unfortunately not survived.  The editor therefore used the autograph as well as the score and parts of the first print. In accordance with current practice, the violoncello part of this edition refrains from using the false treble clef which raises the music an octave higher.  Instead, the tenor clef is used. - New Urtext Edition of the “American” Quartet - Standard notation used in the violoncello part - Detailed Foreword (Ger/Cz/Eng) and Critical Commentary (Eng) by the editor - Study score (TP538) and parts (BA11538) available for sale

DKK 175.00
1

Sonatas for Pianoforte and Violin op. 30 : Nos. 1-3, op. 47, op. 96 - Volume II

Sonatas for Pianoforte and Violin op. 30 : Nos. 1-3, op. 47, op. 96 - Volume II

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.

DKK 451.00
1