THEAUTHORITATIVE NEW STUDYSCOREEDTTION FORTHI M U SI CSTUDEN T- RE CORD COLLE CTOR-C O NCE RT GOE 14. BACHi* The Well-T€mpered Clavier, Part I 1b. BACH:' The Well-TemderedClavier.Parr It 2. BACH:* lThe 6 Sonatasfor Violin Solo lThe 6 Suitesfor Cello Solo 3a. BEETHOVEN:+ Violin-Piano Sonatasl-6 3b. BEETHOVENTT Violin-Piano Sonatas ?-10 4. BACHTi The 6 Violin-HarDsichor(l Sonatas 6. CHOPIN: lThe 26 Preludei (OD.28.O o.46r: {2 Piano sonatas (oi. 36: o;. b8i: [Fantasy I minor (Ob. 49) !. !Ert!!lt!9'1 The violin-Piano Sonatas(complete) ?, BRAHMS:t JThe 2 Cello-PianoSonatas lThe 2 Clarinet-PianoSonatas 8. SCHUMANN: Calnaval, Op.9; FantaAiestitcke. Oo. 12: SymphonicEtu(les,Op. lg; Fanrssy,Op. t? 9. BACH!'The 6 EnsliFh & 6 French Suitis' 10. AACH:* JThe 3 Ccllo-ClevierSonstas l7 Flute-Clavier Sonatas f1-15. BEETSOVEN:t The 32 Plano SohataB IEach vol.,98ai the 6 vols. complete,93.98] fsonatas t-6 (ll);7-12 <12); t3-2Oil3); 2r-27 <ra>i 28-32 (15)l 16a. MOZART:t Violin-Piano Sonatss.Vol. I 16b, MOZART:i Violin-Piano Sonatas. Vol. II 16c. MOZART:t Violin-Piano Sonatas. Vol. III 1?, SCHUBERTTi Complete Violin-Piano Works (Op. ?oi OD. tsi/t-}:Oo, t69: OD.162) f8. BEETIIOVEN:+ The Celio-PianoSonatasacomDlete) 19. BRAEMS:f Piano Variations.Oo.9 rSchumanrit: 9p.?lj gp-.24 (Hiindel); oi. 36 (Pasaninii; up. Doo ( dayon) 20. SCHUMANN: Humoresque,Op. 20; Davidsbundler. Op.6; Kinderszenen,Op. 16; Kreisleriana,Op. 16; Toccab. OD. ? 21. BACE:. Cdldb;ra Vsristions; Itslian Concerto; 15 Two-Patt & 16 Three-Part Inventions 22. BACH:'The 6 Partihs; French Overture; Chrcm. Fantasy & Fuaue; Fanhsy in C minoi 23. SCHUBERT:i 2 Song Cyclea: "Schiine MiilleriD" & ..Schwanengesans,,fEnrllsh Texts Add€dl 24. SCHUBERT:i "Die Winte;reise" [Enr. Texts Addedl 25. SCHUMANN:t 4 Song Cycles: "Dichterliebe," "Frsuenliebe & te6enl"'Liederkreis" (H;ine), "Liederkreis" (Eichendorff ) f En(lbh Texts Aadedl 26. BACH:. fte Musical OfferinFi 3 Trio Sonatrs 2?. BACH:. BrandenburgConce*os 1,2,3 28. RACH:* BrandenburaConceltos4,5.6 29. SCHUBERT:I f"wai,ler€r" Fanta6y, Op. l5; i Eiaht Impromptus,Op.90,142i IMohents Musicaux,Op. 94 30. BEETHOVEN:i Variations,Op.34; Op. g6 {.,Eroica'); Op. ?6; Op. r20 ("Diabelli") (C 191 minor); Gr. 189 Cr. 31-38. BACU;* Th€ Complet€ Orson Works: 31. Claviertibung,Part lll ("Oryan Mass') 32. Chorale Preludcs ("Orgelbiichlein") & Variations 33. Chorale Preludes (Kimberger Collection, & others) 34. Six Orgun Sonataq;Six Preludes& Fugucs Jb. lwelve freluoes c lugues 96. Six "SchUbler" & 18 Other Chomle8 3?. Passacaglia, Pastoraie, 4 Organ Conccrtos, 3 Toccatas, etc. 38, Fantasies,8 Little Prelud€s & Fugues, etc. 39. MOZART:i Conplete Piano Sonatas & Fanrasies. I 40. MOZARTf Completc Piano Sonatas & Fantasies; II 41. SCHUBERTT+Complere'PianoSonaras,Vol. I CompletcPiano sonatas;vot. It 1& qqU!l!!EI+ 43. SCHUBERT:t CompletePiano Sonstss.Vol. III 44. CHOPIN+ All Etudes (Op.10, Op.26, Op, posth.) 46. BACH:' Suit$, Sonata, Toccatas, Fantas-ies& Fu;rues. Preludes & Furucs lFor Clnvterl 46, BACHf Arie variita, Cirpriccios,Fa;tasies, FuRues,Prelu(lesfFo; Clsvi€r1 47. MENDELSS(rHN:i Sonss Without-Words(ComDlete) 48. MENDELSS()HN:t ComplereWorks for OrEah' <rBach.Cadl..hat.cd,i
lAilar,ed,i
J9. MOZART:t CompletoPiann Tilos. Vol. I {Nos. 1-41 60, MOZAIIT:i CompletePisno Trios: Vut. lI (No{.6-ri) 61. SCHUBERT:t Cohplete StrihE Quertcts.I (Nos. l-6) 62, SCHUBERT:f CompleteStrin& ousrtetB: II tNos. ?-i1l 53. SCIIUBERT:t CohDleteSrrini duartetB:III {Nos. l2-i6) 64. HINDnL+i Eleven ConcertiCr6ssl (OD. B Nos, i-01 F€ast', Concerto; Concefo; 4 6therr) "Alexsnder's Fesst" 6theu) __ _ . _llAtelgndfr's 66. BACH:| Tho FouI Sult€s for Orch6.str& 66. BACHTT The Two Concertl for Three Clavlers (D minor, C hajor) 57. BRAHMS:t The Comi,lete Ptsno-Sonstas 68. S_CIIUBpRTli Piano Piece6 (complete), Vol. II 69. M(IZAR'It+ (complcte) i MOZAR'frt Ldsd€r Liad.arlor Voice & Piirno Piano (domptcte) 60. BnETHOVXN:f Lieder for Volce & Piano (incl. An dle fern€ Cellebte, & othorg) [Encltrh TfxtF Addedl 6l-64. BEETHOVENTT'l'he l7 Strlng Quarte!4 complote 61. ODus18 Nos. 1-6 62. Oirus69 Non, l-3 ("Rasoumovrky"Quartets) q3. gp. ?4 ("Ilarel'), Op.96 ("Serjoso"), o"), Op. l2?, 127,OF. Op.130 I30 64. op. 13I, OD.182,Op. 188(cesso Fu{e). OD.lg6 186 66. BEETHOVEN:f Piano Pleces, cohilete' (Bagatelles, comiLtd (Baqatelles. te Fsvori, Minuets,ctc.) 66. BRAEMS:1 BRAHMS:1 Plano PieccsOo.76. Or.79. ).79, Oor. Opp. 116. 116,l1?, tti. rr8. tr8, I t9 (Copricci,lntermezzt;Rhspsd{ll€s; {li€s,B;narte, Balla(le,itomincei Romance) 6?. CHOPIN:+ The 4 Ballades & 4 $cherzi 68. BACH:'Clavier Pi€ces(SupJlehcntary Vol.): 2 Toccutas, !ugues, Uonccno e ! uga, Sch€rzo,etc, 69. BACH:*The l6 Conccili forHarpsichord (aftcrVivsl(ti an{l other mastersl ?0. HANDEL:i+ 'I'he 16 Sonatss of Op. I (? Flute Sohatxs. 6 Violin Soilatas,2 Oboe Sonatas)i Three Early Flrtc Sonatls; Sonab for Viols rla Gsmbu ?1. HANDEL:tt Concerticrcssi Op. VI Nos. t-0 ?2. HANDEL:ii ConcertiGrcssi Ob. VI Nos. ?-12 ?3. BACH:+ Die Xunst rler Fu[e (Th€ Art of Futue] ?4. BACH:' Songsand Arias (Sacrcd& Oth€r),aomplcte ?6. BACH:' 185 Four-Pan ChoraleslEnrlleh'l'extt Addedl ?6. BACH:' The Motets, Vol. I (Nirg. l-3),N ??. BACH:* The Motets,Vol, II (Nos. 4'6 & Appendix)S
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SCHTIMAl\I\ THE P'ANO SONATAS, COMPLETE (No . t , N F #M' NO R,O P . lt ; No . 2 , N G M, N O R ,O P . 2 2 ; No. 3 ,N F MINOR,OP. l4)
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SonataNo. I in /f minor, Op. ll S ogataN o.2i ngmi nor,Op.2 2.
... . . . 27
SonataNo. 3 (ConcertoWithout Orchestra) in f minor, Op. 14. . . 59
NOTES Rosenr Scuurvranr (1810-1856), like his {ellow romanticists Mendelssohn and chopin, expressed himself mainly in small forms in his prodigious output for tle piano. When he did come to grips with the sonata, the major medium of his classical predecessors and models, he created music that will live on in the repertoire for its beauty, though in formal respects it is not above criticism. we are reminded of schuma'nn's criticism ol one of chopin's sonatas, which he greatly admired though he thought it hardly merited the title sazola. Both Op. ll and Op. 22 have a somewhat piecemeal genesis. The Allegro uiaace part of the first movement of op. 1I was written in 1g32 as a separate piece, under the title Fandango:Rhapsod.ie pour le pianolorte, Oeuu. 4. The second movement is closely based on an early (l82?-g) song by Schumann, "An Anna" (without opus number and first published in lB93), and the slow introduction of the first movement, added to the Fandango in lg34 or '3s. is also related to the song. The Andantino movement of op. 22, written in lBB0, is likewise based on an earl y song of S chumann's,"l m H e rbs te' , (In A utumn), w i th w ords by J us ti nus Kerner (who also wrote those of ro Anna). The first and third movements date from June 1833, the Finale hom October 1835. The {anciful sub'title concert sans orchestre under which the sonata op. 14 was first published, in 1836,was one of those bright publisher's ideas (Haslinger's of vienna in this instance) to which we owe not a {ew of the familiar names oI masterpieces. Haslinger even insisted on leaving out the scierzo so as to have more nearly a concerto. The complete sonata was not published until twenty years later. Its third moyement is a set of variations on a theme by clara wieck, who became Schumann's wife. In addition to the three sonatas in this volume, schumann also wrote ?[ree S onatasl or the Y oung (Op. l l 8).* * S ee Lea P ocket S core N o.95.
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