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Beethoven's Complete Pianoforte Sonatas, edited by Harold Craxton, are published as part of ABRSM's 'Signature' Series - a series of authoritative performing editions of standard keyboard works, prepared from original sources by leading scholars. Includes informative introductions and performance notes.
Musicians have long treasured the Mozart sonatas for their symmetry and perfection. This volume presents single movements as well as complete sonatas (K. 282, 283, 545 and 570) for study by the advancing pianist. The sonatas provide ample opportunity for developing control, technical facility, a singing style, and balance and voicing. The preface gives Dr. Hinson's helpful suggestions on pedaling, ornamentation, articulation and dynamics, as well as a suggested order of study. Careful editing allows the teacher and student to make informed choices in interpreting these masterpieces.
Eighty-three popular piano classics arranged for the beginning student are accompanied by a short history of each piece and advice on playing each arrangement.5NjBwBT
These three volumes, in practical urtext-pedagogical editions, are designed with the idea that these precious works will be performed on the modern piano. With respect to the original text, Dr. Hinson offers many valuable, stylistically faithful suggestions for interpretation. Volume I is appropriate for progressing intermediate students, and provides a most effective introduction to the great Viennese Classical style. The comb binding creates a lay-flat book that is perfect for study and performance.
Beethoven’s piano sonatas are a cornerstone of the piano repertoire and favourites of both the concert hall and recording studio. The sonatas have been the subject of much scholarship, but no single study gives an adequate account of the processes by which these sonatas were composed and published. With source materials such as sketches and correspondence increasingly available, the time is ripe for a close study of the history of these works. Barry Cooper, who in 2007 produced a new edition of all 35 sonatas, including three that are often overlooked, examines each sonata in turn, addressing questions such as: Why were they written? Why did they turn out as they did? How did they come into being and how did they reach their final form? Drawing on the composer’s sketches, autograph scores and early printed editions, as well as contextual material such as correspondence, Cooper explores the links between the notes and symbols found in the musical texts of the sonatas, and the environment that brought them about. The result is a biography not of the composer, but of the works themselves.
Mozart's orchestral-inspired Sonata in D Major, K. 311 contains elaborate pianistic treatment and an exciting sonata-rondo finale with a cadenza worthy of one of Mozart's concertos. The flashy third movement is full of many contrasts involving dynamics, mood and texture. Throughout the sonata, the left hand becomes a true partner in all aspects of the composition, and thematic material is spread over different registers of the keyboard.