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Complete scores of five great Beethoven piano concertos, with all cadenzas as he wrote them, reproduced from authoritative Breitkopf & Härtel edition. Includes new table of contents.
Many of Mozart's own cadenzas are preserved, but many more that he improvised in performance were never written down. In that spirit, famed pianist Lili Kraus sensed an obligation and a challenge to follow the tradition of using her own cadenzas where no original was available. This collection, then contains Mozart's original cadenzas as well as editorial versions by Ms. Kraus for Concertos 1-27.
This more concise cadenza combines Beethoven's three cadenzas into one for those who find Beethoven's third cadenza too long.
This collection of cadenzas from Beethoven's concertos for piano and orchestra includes three from Concerto No. 1, one from Concerto No. 2, one from Concerto No. 3, and three from Concerto No. 4, as well as several others taken from the Violin Concerto and from Mozart's Concerto in D Major.
Contents: Schulhoff's cadenzas for the first movements of Beethoven's Piano Concertos Nos. 1-4, and for the third movement of Concerto No. 4. With a preface in German, English and French. Schulhoff composed these cadenzas in 1923 while in Berlin.
Clara Schumann's cadenzas to piano concertos by Beethoven (Opp. 37 and 58) and Mozart (K466) not only give a unique insight into her performing and composing style; they also throw light on her relationship with Johannes Brahms, whose cadenzas have considerable similarities to those of Schumann. This Urtext edition of the cadenzas includes a preface in which the renowned Canadian pianist Ludwig Sémerjian explores the interaction between Schumann and Brahms. The edition also marks the first publication of Clara Schumann's early cadenzas for Mozart's D minor Piano Concerto, previously only available in the manuscript in the Library of Congress in Washington DC.
This book is a history of the cadenza in the Classical keyboard concerto. Whitmore focuses attention on the changing relations between performer and composer and between performer and audience in the course of the Classical period. The greater part of the book consists of an attempt to situate the concertos and cadenzas produced during the period within the broad historical development outlined in the first few chapters, placing particular emphasis on the contributions of C.P.E. Bach, Mozart, and Beethoven.