Digital synlighed. Målbart afkast.

W.A. Mozart: Sonata In A Minor K.310

An early Keyboard sonata edited for the ABRSM by Stanley Sadie. Fingering and performance notes by Denis Matthews.

Rondo' C Major After String Quartet G 310

Wolfgang Amadeus Mozart: Piano Sonata In A Minor KV 310

This dark and tragic sonata in A minor, composed in Paris in 1778, tends to be linked with the death of Mozart’s mother on 3 July 1778. While this of course cannot be ruled out, not a single concrete piece of authentic evidence exists that points to such a connection. Use of a minor tonality as the compositional realization of a personal experience of pain is a sort of interpretation that also falls considerably too short, Mozart’s art is far too multifaceted for it to be pinned so one-dimensionally to his biography. The sole authoritative source for the Urtext edition of this much-loved and much-played sonata is Mozart’s autograph manuscript (which in parts is difficultto decipher), as the first edition published in 1781 (together with K. 309 and 311) is riddled with errors.

Piano Sonata in A Minor, K.310 : Schirmer Performance Editions

Concerto in sol maggiore per violino e pianoforte : per violino, archi e basso continuo RV 310 (F. I. 173, P.V. 96)

Rakoczi-Marsch

In the course of his long life Liszt wrote countless arrangements of the Rákóczi March, one of the most popular Hungarian melodies of his time. Among the piano versions for two hands the Fifteenth Hungarian Rhapsody is the most widely known which was published in 1853 by Schlesinger in Berlin (Raabe 106/15a, Grove 244/15a) and which could already draw on several, partly unpublished and partly published arrangements. In 1865 a new symphonic orchestral version, longer and more complex than the previous ones, was first performed (R. 439, G. 117). Liszt himself considered this more significant than all his previous Rákóczi arrangements, which is also indicated by the fact that in1871 he had another two-hand piano version, virtually as an extract of this, published by Schuberth in Leipzig (R. 106/15b, 244/15b), a facilitated two-hand piano arrangement, a four-hand version (R. 310, G 608) as well as an arrangement for two pianos.

Turn It Up And Lay It Down - Baby Steps to Giant Steps (Volume 4)

A must own collection for every serious drummer that wants to learn how to play well with others. This series covers a wide range of musical styles from Rock to Jazz and Latin/Afro-Cuban to Funk and Heavy Metal.These tools are invaluable for the student who can't seem to find available band mates at the drop of a hat. With Turn It Up And Lay It Down, you are the drummer on the song... so you have the flexibility and freedom to create innumerable beats with the Bass, Guitar, and Horn lines without feeling confined by a previously recorded drum performance.Baby Steps to Giant Steps features NYC based jazz musicians on piano, guitar, upright bass and sax swingin' away at tempos starting at 100 bpm and slowly getting faster and faster until your blazing through the changes at 310 bpm. If you dig those smokey bars, Old K's and Round badges... This one's for you!

Wolfgang Amadeus Mozart: Piano Sonata In D Major KV 311 (284c)

This “little” D-major sonata is somewhat the pansy (or violet?) among Mozart’s eighteen piano sonatas. It is “little” in dimensions when compared to the two other sonatas in the same key of D major (K. 284, and especially K. 576). It is very seldom heard in concert, and in piano lessons, too, is played less frequently. Admittedly it is not enveloped by the tragic gloom of the Sonata in A minor K. 310, nor does it have a wonderfully heartfelt slow movement like the Sonata in C major K. 309, these being the two works with which it was printed in Paris in 1778. K. 311, however, is pianistically “worthwhile” in many regards: in the opening movement one can practice several standardtechnical challenges (hand-crossings, effervescent runs, parallel sixths, tremolos at large intervals, etc.). The slow movement (“Andante con espressione”) hones expressiveness, something that does not always come naturally to many keyboardists (a compositional trick also makes a surprise appearance at bar 25). With its lively 6/8 meter, the finale in turn recalls not only the veritable “Hunt Sonata” K. 576 but could almost have come from the solo part of a Mozartean piano concerto. All in all: a worthwhile challenge, this sonata, which sounds much harder than its technical demands require.