Editor: Heinemann, Ernst-Guenter Towards the end of the 18th century, Clementi increasingly advocated the piano as the successor to the harpsichord. He composed expressly for the new instrument and in 1801 published a piano school. His interest in teaching is also shown by the 'Six progressive Sonatinas' op. 36 ' six sonatinas in ascending order of diffi culty, which are still extremely popular w…

for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is 3 violin quartets' wrote Schumann to Clara Wieck in 1838, stating his reasons in a letter dated 17 March 1838: 'The thought of the quartets gives me pleasure. The piano is getting too narrow for me. In composing now I often hear a lot of things that I can barely suggest. For instance, it is remarkable how I invent almo…

In 1887 Antonin Dvorak revised several of the works he had composed in the 1860s and 1870s, most of which he then published for the first time. In this context he asked the music critic Ludevit Prochazka to return a manuscript copy of the Piano Quintet in A major op. 5 (B 28), composed 15 years earlier. But after thoroughly revising the work he declined to publish it - instead, he wrote a new pian…

It is impossible to imagine today's cello lessons without the works by Jean-Baptiste Bréval (1753-1823).This sonata is the first of the Six Sonates non difficiles pour le violoncelle Op. 40 (1795). To this day it remains popular among cello teachers and pupils alike. Because of its comfortable tonality and technical simplicity, it is an interesting classical sonata for cello students who are exper…

Par CHOPIN FREDERIC. A must for any discerning pianist, Roy Howat?s new critical edition for The Complete Chopin from Edition Peters provides a beautifully presented performing text based on Chopin?s autograph, restoring Chopin?s original text and correcting important pitches wrongly presented in previous editions. Variants are clearly presented as ossias within the main text of each Etude and onl…

The most famous of the fantasies, the 'Wanderer Fantasy?, now appears in a separate edition.While Schubert was playing the Wanderer Fantasy for a circle of friends, he faltered and exclaimed impatiently: The Devil should play this stuff!?Yet it wasn't the Devil but Liszt - like Schumann a great admirer of the piece - who later arranged the 'Wanderer Fantasy? for piano and orchestra and again for t…

The long awaited Sassmannshaus method ?Early Start on the Double Bass? is now here. At last students of the largest instrument in the string family can make use of this tried and tested method for beginners, developed by Egon Sassmannshaus for the other string instruments and applied here to the double bass by Holger Sassmannshaus and J. Peter Close. This method will meet the needs of the growing …

Bärenreiter continues its Urtext edition of the complete Beethoven piano sonatas with three major works at once.They begin with the frequently played op. 2 Sonatas (nos. 1-3) (BA 10859) which stem from his early yet mature oeuvre when he was developing an independent style from the legacy of Mozart and Haydn.They then proceed to the lyrical D major Sonata op. 28 from his middle period (nicknamed '…

Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethove…

à 26 in concerto. Par BIBER HEINRICH IGNAZ FRANZ. This first edition of a mass by Biber offers a new glimpse of the colourful and contrastful world of the Baroque. Since the publication of his 'Missa Salisburgensis' in 1903, no mass with this kind of many-voice scoring has appeared in print. This edition not only enriches the multi-choir repertoire, but also is an important contribution to study o…