Complete Piano Sonatas
Product Details
Description
publication by the composer himself and marked with precise indications for performance with regard to ornamentation, dynamics and articulation. All this, together with the rediscovery of documents that only became accessible again at the end of the 20th Century, gives reason enough to justify the publication of a new Wiener Urtext edition of Mozart’s Piano Sonatas.
To follow the second volume, published in the spring of 2003 with Sonatas K 330 to K 576, we now present the first volume, which contains the Sonatas K 279 to K 311. For Sonata K 284, variation XI in the final movement is given both in the version that appears in the original manuscript and in the version used in the first edition; in order to make the music easier to read, both versions are given in normal print size. Music that is clear and well laid out, with page turns in convenient places, makes this edition extremely user-friendly.
Advice on performance by the renowned Mozart specialist Robert D. Levin provides fresh stimulus for what can otherwise too often become a rather tired interpretation.
Content
F-Dur, KV 189e (280)
B-Dur, KV 189f (281)
Es-Dur, KV 189g (282)
G-Dur, KV 189h (283)
D-Dur, KV 205b (284)
C-Dur, KV 284b (309)
a-Moll, KV 300d (310)
D-Dur, KV 284c (311)
Band 2: Sonate KV 330
Sonate KV 331
Sonate KV 332
Sonate KV 333
Fantasie und Sonate KV 475/457
Sonate KV 533
Sonate KV 545
Sonate KV 570
Sonate KV 576
Sonate KV Anh. 135 / KV 547a
More Information
Technical Details
More from this series
Standard works of music literature in the original text
The Wiener Urtext Edition is a scientific critical edition for prac-tice and differs from other editions declared as "original text" in that it contains extensive textual informa-tion in German and English (partly French):
Its preface informs about the work, its genesis and significance for the history of music, about written records and problems of the wording of the text as well as about the respective method applied for editing. Despite their necessary briefness, the critical annotations clearly account for editorial decisions and mention textual divergence going back to the author himself. The music text itself was produced on the basis of an exact checking of all sources by experienced musico-logists. Autographs, first editions, copies and patterns for engravings were used.
In some cases, these materials were analysed completely for the first time. Editions for teaching, studies, concert practice, including comprehensive information about the works by detailed introductions and editorial notes and notes on interpretation. Prepared for practice by interpreters resp. educationalists of international repute.