Beethoven variations III - pour piano - Partition

Was haben Beethoven und das Kinderlied Fuchs Du hast die Gans gestohlen miteinander zu tun? Eigentlich nichts. Das Lied wurde zwar schon 1824 geschrieben (und theoretisch kÃ¶nnte es Beethoven gekannt haben), aber tiefere Spuren hat es in seinem OEuvre nicht hinterlassen. Doch was wÃ¤re, wenn er es gekannt hÃ¤tte? Wolfgang Birtel ist dieser Frage nachgegangen und hat als Antwort eine Sinfonie fÃ¼r Streichquartett konzipiert: Bei jedem Satz hat ein Beethovensches Sinfonie-Original Pate gestanden (gewÃ¼rzt mit weiteren Zitaten aus anderen Opera). So taucht das Kinderlied als Hauptthema im Schluss-Satz der 1. Sinfonie auf, im berÃ¼hmten Trauermarsch der Eroica, das Schicksal pocht in Erinnerung an die 5. Sinfonie an die (GÃ¤nsestall-)TÃ¼r und mit der Ode an den GÃ¤nsebraten (9. Sinfonie) klingt das Werk aus. Eine witzige und geistreich arrangierte Collage, ein Spiel- und HÃ¶rvergnÃ¼gen auf den Spuren Beethovens.Schwierigkeitsgrad: 3

Fox, you've stolen the goose - as Ludwig van Beethoven could (possibly) have composed it. string quartet. Partition et parties.

With more than 1, 200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. Instrumentation : orchestra op. 124

Eulenburg Miniature Scores

Symphony no. 2 d major op. 36 poche+cd

Originally, Beethoven wrote Sonata Op. 17 for horn and piano. This composition was intended for the famous horn virtuoso Johann Wenzel Stich who called himself Giovanni Punto. Punto had greatly expanded the playing techniques on the natural horn. Accordingly, Beethoven tailored the solo part completely to the unique playing skills of this virtuoso musician. Punto performed the work several times ; to other hornists, however, it remained unaccessible at that time because of its difficulties. That probably was the reason why this work was published in a version for horn or violoncello one year after the world premiere already. It is deemed to be fairly certain that this arrangement goes back to Beethoven himself. Carl Czerny already ranked this sonata among Beethoven's original cello sonatas and listed it chronologically as No. 3. Like the 1801 edition of the Viennese publisher Tranquillo Mollo, the Wiener Urtext Edition publishes the sonata for horn or violoncello and piano. Whereas the horn sonata was very difficult to play at the time of creation, the arrangement for violoncello, curiously enough, is one of the easiest among Beethoven's cello sonatas. For this reason, the composition is increasingly popular among cellists as an accessible approach to Beethoven's oeuvre for violoncello and piano. Consequently, the work is now available in the Wiener Urtext Edition series as separate edition as well. Instrumentation : horn or cello and piano op. 17

Sonata - op. 17. horn or cello and piano.

In 1796 Beethoven travelled to Prague where he met the Countess Josephine of Clary-Aldringen (later Countess Clamm-Gallas) who played the mandolin. For her, he wrote several works for mandolin and piano, four of which are still extant and have been arranged by Julius Berger for violoncello and piano. As Beethoven had written pieces for a mandolin tuned to G-D-A-E, it was unproblematic to transcribe them for the violoncello. The arrangements are written in the original keys and keep as close to the original as possible. These elegant works are little shining gems. Headed 'Adagio' and written in one movement at first, 'Sonatina' WoO 43a in the tragic C minor key with a bright C major section in the middle is followed by a marvellous 'Adagio ma non troppo' WoO 43b of religious depth. Instrumentation : cello and piano WoO 43b (179b)

Edition Schott

New Urtext Edition Instrumentation : piano and orchestra op. 73

Beethoven variations III - pour piano - Partition

Plus de livres de Ludwig van Beethoven

Critiques

Ce livre n'a pas encore de critiques