Wolfgang Amadeus Mozart
Violin Sonatas Vol. 3
K454, K481, K526, K547 and Variations K359, K360
Wolfgang Amadeus Mozart
Violin Sonatas Vol. 3
K454, K481, K526, K547 and Variations K359, K360
- Formación Violín y piano
- Edición Reducción de piano con partichela(s)
- Compositor Wolfgang Amadeus Mozart
- Editorial Edition Peters
- Editor Cliff Eisen
- Nº de pedido EP7579C
IVA incluido.,
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Descripción:
This complete edition of the Mozart Sonatas for Keyboard and Violin has been researched and prepared by Cliff Eisen, one of the most distinguished Mozart scholars of our time.
Professor Eisen recognises that many of the apparent inconsistencies and idiosyncrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can be misguided.
As he writes in the preface: '…the notion that the classical style represents a model of symmetry, balanceand clarity is for the most part a 19th-century fiction…it has little to do withMozart's actual practice, which is based primarily on variety of both content and articulation.
So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilised by a spurious quest for conformity.
Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisen is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterised by changes - sometimes substantial changes - in the musical text'.
It is the achievement of this edition to indicate how far this freedom of musical expression can extend, andas such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.
Professor Eisen recognises that many of the apparent inconsistencies and idiosyncrasies of Mozart's notation are perfectly deliberate, and that the attempts in many other editions to impose uniformity upon similar phrases or musical paragraphs can be misguided.
As he writes in the preface: '…the notion that the classical style represents a model of symmetry, balanceand clarity is for the most part a 19th-century fiction…it has little to do withMozart's actual practice, which is based primarily on variety of both content and articulation.
So in this new edition, alternative readings found in parallel passages are preserved, rather than being sterilised by a spurious quest for conformity.
Naturally all such instances are noted within the Critical Commentary. The highly individual beaming within Mozart's autographs is also respected in the new edition, as this often contributes to our aural perceptions of phrase structure and accent. Professor Eisen is conscious that there is no single 'Urtext' for this music. On the contrary he believes that 'there is compelling evidence that Mozart's later performances of his works were characterised by changes - sometimes substantial changes - in the musical text'.
It is the achievement of this edition to indicate how far this freedom of musical expression can extend, andas such it is likely to take pride of place in the collections of all those involved in the study and performance of these masterpieces.
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Sonate B-Dur KV 454 (Wien, 21. April 1784)
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Sonate Es-Dur KV 481 (Wien, 12. Dezember 1785)
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Sonate A-Dur KV 526 (Wien, 24. August 1787)
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Sonate F-Dur KV 547 (10. Juli 1788)
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Zwölf Variationen über ""La Bergère Célimène"" KV 359 (374a) (vermutlich Wien, Juni 1781)""
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Sechs Variationen über ""Hélas, j'ai perdu mon amant"" KV 360 (374b) (vermutlich Wien, Juni 1781)""
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