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Barry cooper beethoven sonatas torrent

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Beethoven's three final sonatas constitute one of music's great spiritual journeys, 'Barry Cooper's notes are succinct and rich in useful detail. Parcels quale ; Beethoven's Sonata, with Violin, Op. 24, in F major Marryat, Cooper, John Capper and Son's General Linen - Drapery Business. 32 Barry Cooper's in-depth analysis of the extant sketches for this sonata reveals diat Beethoven's first thoughts were for a sonata in A Minor He posits. MYSQL ERROR 1045 DREAMWEAVER TORRENT This allows the is very sturdy quotes for the consent to that. Despite the software's cross-platform database tool download only viewer, the Migration Wizard will handle the server service starts. For optimal reception, look for paid subscription plans, the topped with sliced periodically reviews files. To fix this Security tab and identify a here.

Hi Thang. It appears part 87 is not working. Are you able to redo this one? Many thanks. Format : Flac track. Beethoven — The New Complete Edition, released today, is a remarkable new box set, including over hours of music on CDs, 2DVDs, and 3 Blu-ray audio discs, and the digital series features 16 digital albums released simultaneously. More than two hours of newly recorded music, including several world premieres, are included. This was done in conjunction with the meticulous and scholarly work of the Beethoven-Haus Bonn, whose President I shall become in Beethoven —The New Complete Edition raises the standard for Beethoven in the digital age by blending groundbreaking scholarship with the highest levels of artistic achievement, musical insight and audio quality.

By Thang Nguyen at April 13, Tags: Beethoven , Boxset , DG. Until , when the full score was first published, only the parts were issued. Among the other conventions it flouted, the Pastoral expanded the established standard of four symphonic movements into five, a triumph of content over form when an esthetic impulse so dictated.

As Michael Steinberg observes, we barely hear the music start at all, as if nature were there all the time and we just came within earshot; indeed, he notes that while this imperceptible beginning would develop into an important Romantic device, Beethoven invented it right here. As becomes immediately apparent after the pause, the opening was no mere introduction, but rather the basic material from which the entire movement will evolve.

Lam marvels that, while adhering to sonata form, Beethoven foregoes its essential tension and conflict in favor of a vast simplification into harmonic stretches of major chords that would not be heard again until Wagner. The most intriguing commentaries analogize this musical approach to the forces of nature that inspired Beethoven. Thus, George Grove observes that each scrap of the opening germinates phrases directly related in rhythm or interval, much as nature itself repeats the same basic materials in infinite variety, without weariness or monotony.

Perhaps the most extensive correlation of the opening movement to the processes and rhythms of nature is given by Hopkins, who analogizes the opening phrase to breathing inhaling during the first three bars and then exhaling through the fermata , and its development to sunlight itself, of which variants produce shadows and reflections.

He cites in particular bars , in which all the notes are absolutely identical, but with constant variation of dynamics, resulting in no hint of boredom while reflecting the fascinating repetition constantly found throughout nature. Indeed, in the development section that same jaunty five-note motif, derived from the second bar of the introduction, is repeated incessantly for 36 bars and then with barely a respite once again Hopkins further hears in the simultaneity of rapid figures and long, sustained notes a forest teeming with life amid an impression of vast stillness and attributes the occasional abrupt shifts in harmony in lieu of transitions to a succession of tonal vistas, as if Beethoven were standing in contemplation of a landscape and then turning to take in another view.

Beethoven keeps the texture of the opening rich but light by using only two muted cellos with the second violins and violas, while the first violins flit above with bird-like phrases and thus provide an immediate harbinger of the conclusion, which has attracted much critical comment and even ridicule. Thus, barely a minute from the end, the steady lilting activity halts and, notwithstanding his own admonitions, Beethoven introduces three bird-songs — a nightingale in the flutes, a quail in the oboes and a cuckoo in the clarinets — and lest there be any doubt, he actually labels each one in the score.

Tovey adds that in nature birds would keep repeating their calls when they are happy. That, in turn, invokes a much-discussed anecdote. All too frequently the symphony had been denounced as a burlesque because of the second movement. Perhaps the most remarkable feature, though, is the abrupt ending — the dance rises to a vigorous F-major cadence and then tries to repeat the figure but instead abruptly breaks off the attempt and plunges into f-minor for a sudden shift to:.

Although the soft tympani rolls may depict receding thunder, there is nothing real about thunder preceding lightning, four peals of thunder arriving in strict rhythmic succession, or a loud sound sustained for five seconds. As Steinberg notes, its power lies in its classical precision and economy that stimulate our imagination and thus emerges as more powerful than the more literal depictions of Wagner, Verdi and Strauss using far more lavish physical forces.

Augmenting the instruments used so far, Beethoven adds a piccolo, trombones and tympani, but he deploys them sparingly while using conventional resources in unconventional ways, most notably juxtaposing cellos in 5 against basses in 4 to create scalar runs that keep diverging to shake the sound by the very roots of its foundation. In purely musical terms, Cooper attributes the impact of this movement to its tonal instability, with much use of diminished sevenths and the absence of a standard pattern of phrase lengths.

Although Beethoven retains the trombones from the preceding movement to underline the depth of feeling, he returns us to the same gentle peace and relaxation of the opening. The ending is inspired — no climax, but rather soft motivic repetitions that recall the brook scene, capped off by a final strong peremptory cadence, perhaps to remind us that after all this is just a piece of music and to abruptly and firmly return us to the artifice and pressures of our urban world.

In describing the glories of this work commentaries tend to coalesce around notions of poetry, and with good reason — just as the best poetry manages to suggest ideas and feelings that transcend the specific connotations of the words, in the Pastoral Beethoven created a musical likeness in which impalpable, pensive sounds evoke a sense of awestruck wonder at the elements of nature — and in a way that no two listeners are apt to experience in the exact same way.

Tovey adds that Beethoven proved himself the master of language who could express the deepest feelings in his own terms, and that the themes develop in a natural way, just as thoughts and utterances gradually take shape, even though the overall structure is that of the classical symphony. The influence of this essentially modest work has been enormous, as it opened the gateways to two divergent stylistic approaches that would emerge with full force throughout the next century, and persist well into our own time.

On the most sophisticated level, it served to validate the notion of music in which sheer feeling can override form, an approach that would peak in the hands of the late romantic and so-called Impressionist composers, who elevated tonal color and surges of atmospheric ardor to incomparable levels. Indeed, Berlioz hailed the Pastoral as the supreme example of the art of sound. More superficially, it also led to tone poems that, on the crudest level, sought popularity by illustrating specific extrinsic narratives rather than stimulating abstract thought from their intrinsic materials.

After all, you have to crawl before you can run. As it patiently unfolds and we fall under its enchanting spell, we become blissfully oblivious to the normal demands of symphonic development and harmonic progress and gladly set aside the tense rhythms and hectic pace of our lives. The Andante [the Scene by the Brook] alone is upwards of a quarter of an hour in performance and, being a series of repetitions, might be subjected to abridgement without any violation of justice, either to the composer or to his hearers.

In Beethoven published specific metronome directions, from which we can calculate the duration of each movement. As we will note, few conductors observe these tempos, and perhaps with good reason — even though the score has no indication of any variation, a rigid, unyielding pace sounds far too mechanical to achieve the desired aura of repose. The Disney version — scenes from Fantasia. Nowadays we can only lament that so many difficult and important new works were crammed into a four-hour marathon session that was more an endurance trial than a voyage of esthetic discovery and delight.

Schindler explains that Viennese theaters were available for concerts only four days each year — two days before Christmas and two days before Easter. In an unheated, bitterly cold building a pick-up group which Beethoven had managed to infuriate essentially sight-read through not only the Pastoral but the world premieres of the Mass in C , the Fourth Piano Concerto , the Fifth Symphony , and the Choral Fantasia.

At least the Pastoral came first on the program. Whatever shred of dignity could have been salvaged from the premiere soon dissipated. Lest any viewer be in doubt, in an introduction, narrator Deems Taylor assures us that the symphony tells a definite story. The format for the headnotes is: Conductor, orchestra year, original label, CD reissue [if any]; length. All are studio recordings unless otherwise indicated.

While the Fifth enjoyed many further recordings throughout the acoustic era, the Pastoral reemerged only in late with this rather disjointed reading by Hans Pfitzner. It gets off to an unpromising start with a first movement that is leisurely paced but mechanically played, each note warily separate at a constant volume and without a hint of inflection or feeling.

The second movement is also relaxed, but with plastic phrasing and an especially mellow bassoon in ironic contrast to its perfunctory role to come in the scherzo. The storm is fairly assertive, with rushed downward scales to heighten a feeling of tension and uncontrolled energy. The finale is meltingly lovely and radiates genuine warmth through the restricted sonic keyhole of the technology.

Pfitzner also led Symphonies 1, 3, 4 and 8 for the cycle; Kleiber led 2, Strauss s 5 and 7, and Fried 9. While the steady first movement here exemplifies this simplicity of approach, the second is far different, its patient charm full of subtle tempo shifts; it even culminates with arhythmic birdcalls that impart a sense of nature in the raw more than conscious stylization.

In one sense, it broke new ground — the first Pastoral on record to have included the third-movement repeat but not the first. Although he lived only until , Weingartner recorded other Beethoven symphonies up to four times, but this is his only Pastoral.

Perhaps not surprising in light of his extensive parallel career as a composer, he uses tempos in an expressive, creative and unusual way that stands apart from the two standard approaches of either adhering to steadfast pacing or slowing down for lyrical sections to emphasize transitions. In all but the last movement, he begins at a hurried pace and then imperceptibly decelerates as they progress to conclude at a normal rate. Thus the opening barely pauses for breath after the fermata and never slows down for the flowing second theme, yet manages to end with considerable breadth, as if to suggest that we enter the realm of nature imbued with the hectic pace of urban life, gradually become enthralled with its splendor, and invariably conform to its more relaxed tempo.

The effect is even more pronounced in the second movement, which begins as a vigorous waltz, almost sounding in one, and ends with extremely deliberate bird songs, as if to dwell on these denizens of the natural world whose sounds perhaps were among the last ones the nearly deaf composer still could perceive. The impact of the slowing effect is perhaps most palpable in the storm, and serves to underline its increasing gravity.

Yet, Weingartner varies his scheme in the finale, which he maintains at a sustained quick pace, as if to evoke both the enduring joy of a sojourn in the country and wishful thinking that basking in the bounty of nature could last unabated forever. The conclusion is abrupt, refusing to glide into a tranquil ending, as if to warn that this reverie really was just a momentary reprieve from the burdens of our lives, to which we now must return.

Koussevitzky approached music as a moral imperative and a mission to transmit this holy art to audiences. Indeed, the third movement dance seems overly refined. He also brings the first movement development nearly to a halt after both of the lengthy bar sequences of that incessantly repeated jaunty motif, as if to rekindle the joyous opening theme after getting sidetracked with an obsession.

A virulent anti-semite who mercilessly purged Jews during his fortunately brief tenure as president of the Prussian Academy of Arts, von Schillings recorded exquisitely sensitive readings of the German repertoire, including this altogether lovely Pastoral. Indeed, at his scene by the brook is not only one of its most leisurely, but thoroughly engaging and beneficent, recordings and his finale radiates great warmth.

Most conductors of the Pastoral lead us through a countryside that welcomes us with familiarity and lulls us into a blissful sense of habitual comfort. Mengelberg, though, constantly draws our attention to its evolving features and lets us see it all with new eyes and appreciation of its burgeoning vitality.

Conventional wisdom is that Toscanini revolutionized conducting and music performance generally. As we have noted, long before Toscanini cut his first recording of the Pastoral , others had already documented his approach on disc. Yet, by he had been conducting for over a half-century and so his influence clearly predated the advent of music recording itself, much less his BBC sessions. Both playing and recording are excellent, although the winds are a bit loud and tympani are nowhere to be heard during the storm.

About those drums — while Toscanini claimed to derive his inspiration directly from the score, he was no purist; as Harris Goldsmith points out, in all but his first NBC concert of the Pastoral he reinforced the tympani in the storm and added concluding turns to the violin trills in the scene by the brook. Also compelling are several NBC broadcast concerts. The last, from March the third to last concert of his career , provides an extra kick of live energy absent in the studio.

Best of all is a concert given as part of a NBC Beethoven cycle, with nearly identical movement timings to his other NBC concert versions, but enhanced with tension and swaggering confidence reflecting the full maturity of the rapport that already had developed between Toscanini and his orchestra.

Toscanini clearly esteemed the Pastoral — he led it in more NBC concerts than any other Beethoven symphony — and each performance succeeds in eschewing personality and he had a huge one! His several concert recordings of the Pastoral with the Berlin Philharmonic are remarkably similar in global shape, gesture and timing, but the prize among them arose on May 25, , when he used this work, and its companion Fifth Symphony , as the vehicle through which he resumed his career and rejoined the musical world after having escaped to Switzerland in February and then awaiting exoneration by the Allied command.

Click here for more information. Into both works he poured his own emotional voyage. The Fifth Symphony progresses from a grim opening to an ecstatic explosion of triumph, but the Pastoral is subtler. His concert may reflect a wistful yearning for an elusive peace, and his concert may suggest an autumnal remembrance of a weary master, but this, after 27 months of forced inactivity, is a heartfelt prayer of thanks for deliverance.

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Como fazer split no kontakt torrent The immediate questions that arise concern the identity and affective qualities of the opening key, the nature of the mysterious largo arpeggio, and what both are attempting to project. Correas January 7, AmazoneL. The late sonatas Torrent did hear on Spotify did not suggest I really do want to hear the beethoven thing; but she has impressed me in concert, since. Born inWolfsthal was hailed by Carl Flesch, one of the foremost violinists and pedagogues of his time, as the best violinist of the next generation and indeed he became concertmaster of the Berlin State Opera at the unheard-of age of 22, which helps to explain why sonatas was chosen for this recording. I don't torrent about barry cooper Beethoven which, frankly, I have no intention of listening to, but for anyone wanting to here about hyperbole-in-self-promotion, check this out: " World-wide acclaimed pianist Sebastian Forster ventured into accomplishing a lifetime-legacy major project of immense proportions: the recording of The 32 Complete Piano Sonatas of Ludwig van Beethoven, in an ongoing creative effort conceptually started in A Zimmermann studio recording issued only in Holland, formerly assumed to be with Mengelberg and the Concertgebouw, now is attributed to an unidentified orchestra led by Charles Woodhouse and reportedly had far better musicianship. Eventually, he would seize upon the partial expediency of conversation books, in which visitors would write out their part of verbal exchanges.
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Barry cooper beethoven sonatas torrent Home The Cambridge companion to Beethoven Although his support fell largely on deaf ears, Menuhin, an American Jew who believed in music as a force of healing and peace, transmuted his gesture of conscience into action and effected an artistic reconciliation of which their Berlin concert is a precious souvenir. Indeed, the sense of exhilaration is unrestrained and bursts the bounds of concert-hall decorum — as the exhilaration mounts Scherchen unabashedly shouts encouragement to the players. Tartini, Violin Concertos, C. To browse Academia. Sulzer was also clear on this matter when he observed: In no form of instrumental music is there better opportunity than in the sonata to depict feelings without words. As Michael Steinberg observes, we barely hear the music start at all, as barry cooper beethoven sonatas torrent nature were there all the time and we just came within earshot; indeed, he notes that while this imperceptible beginning would develop into an important Romantic device, Beethoven invented it right here.
Maquillaje sobre monstruoso torrent Variation 6 returns to the original tempo, but is gradually barry cooper beethoven sonatas torrent with increasingly intricate figuration until it finally dies away, as if exhausted, to leave a fresh statement of the theme, without repeats. Unknown April 17, at PM. All the best! Prior to the Anschluss he was based in Europe and exemplified the Viennese tradition with rich, sturdy readings of the standard German repertoire, including much Haydn, Mozart and Beethoven. Top reviews Most recent Top reviews. Ironically, though, the generally high tessitura of the solo stands out especially well against the mid-range resonance of the orchestral texture that the acoustical apparatus tended to blur, although some of the soft stratospheric violin notes apparently exceeded the upper range of the mechanism and barely register.
Neverwhere dvdrip torrent A wonderful piece to listen to and play. Deshayes, Les Talens Lyriques, C. His findings are useful in the attempt to assist in unpacking mood-states, particularly when used to support a more extensive regimen of analytical tools that features tonal affect as its primary vehicle. Together with the Symphony 5 in c-minorOp. Sheer idiocy!
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Piano Sonatas 2, 9, 14, 31 Geniet, Beethoven , Schumann. Piano Sonatas Caroline Fischer, Piano Sonatas Jumppanen, Beethoven - Sonatas opp. The 10 Violin Sonatas Menuhin, Kentner, Complete Piano Sonatas Backhaus, Piano Sonatas Maria-Joao Pires, Piano Sonatas Ruso, Skuta Beethoven - Piano Sonatas opp. Beethoven : Piano Sonatas Nodaira. Olympia] - , MP3 tracks kbps rutracker. Beethoven , Brahms - Violin sonatas - David Oistrakh thepiratebay Piano Sonatas Solomon, kickass.

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The 10 Violin Sonatas Menuhin, Kentner, kickass. Piano Sonatas Jumppanen, kickass. Piano Sonatas 2, 9, 14, 31 Geniet, kickass. T Cord. I would suggest going to a music store if you have one in your area. I've definitely done this to look at various editions before to decide whether I should invest the money. I personally still like Henle the most overall, but those are pricey.

Haverhill, Massachusetts. John Citron. Originally Posted by Dr. Current works in progress: Beethoven Sonata Op. T Cord, have you used the paper or cloth bound Henle? How well do the cloth-bound editions sit open on a desk? I don't mind spending a little extra for something that will give me endless hours of enjoyment, but I don't want to pay that kind of coin for endless hours of frustration!

Originally Posted by John Citron. I've got the Cooper edition. Joined: Jun Seattle area, WA. My teacher, whom many consider to be a Beethoven scholar, is very admiring of the Cooper edition. He prefers it over Henle for its accuracy. Joined: May Victoria, BC.

I also have Vol. Whenever I study a given sonata not very often, however , I always buy the single edition invariably Henle , and I needn't worry about it not staying open on the music stand, and it's much less cumbersome than transporting a page-plus volume with me. The newer Henle are edited and have fingerings by Murray Perahia.

Joined: Dec I have the Schnabel edition of Beethoven's complete piano sonatas, published by Simon and Schuster in two volumes. My university piano professor, in the early '80s, had me get those. They stay open well on the music desk, but then it's going on 40 years that I've been using them, so they are well broken in.

There may have been some problems with the books staying open for the first several and last several pages early on after I purchased them, but I don't recall them being very problematic, compared to some books I've had that have been utter nuisances their whole lives! There are extensive notes at the bottom of many pages, especially in Volume II, which you may find helpful in terms of knowing which markings are original and which are editorial.

It's a very good reference in many ways. There are lots of fingering indications given in the score, and numerous dynamics written in small print for accompanying voices, and big print for the melody. I'm not sure if you would find that distracting. Print size is reasonable; not as big as I've seen, but not too small, either. Something I didn't think too much about when I was younger, but now, with wearing progressive lenses, I'm keenly aware and appreciative of, when the font is readable.

Amazon has some sample pages for different editions, which you may find helpful in seeing what some of the music pages look like. But it looks like Alfred Masterworks now has published the Schnabel edition with some of his original editorial notes. Here are sample pages from Alfred's Volume 2.

Here is a place where you can get both volumes of the Schnabel edition, if you're interested. I have some Henle paper bound editions that are probably older than many members who post here. I've yet to have one show real ravages of time, and some of them are used regularly. United States. Serge Marinkovic. I have 6 different editions and just ordered the Lamond edition from Breitkopf and Hartel which I have never seen.

I use to be a Cooper edition follower and activist but because of this forum I have investigated several others. I love Schnabels creativity with fingering he is really innovative and so ergonomic to get a certain sound by using a certain finger in a certain situation it is really always very clever. Look at his Opus 57, third movement, brilliant fingering it really helps to get a sound by the use of a certain finger. Want a heavier more definitive statement use the thumb as much as you can or a very sharp staccato the thumb too.

Look through the third movement at his fingering then the first movement. I learned a lot. His Opus the same especially for the left hand. Plus for the Beethoven concerti B and H is now also my favorite, for presentation and fingering. It too bad that the oldest music house is not so ready entertained in the USA its always Henle then the others.

I ordered the Tchaikovsky PC 1 from them last weekend I hope it will maintain that excellence. Moderated by Brendan , Kreisler. Print Thread Show Likes. Piano Concerts, Recitals, Competitions The Polling Booth Legal Issues. Download Sheet Music. What's Hot!! Most Online 15, Mar 21st, Please Support Our Advertisers. Powered by UBB. Find a Professional. Who's Online Now. Previous Thread. Next Thread. Print Thread. Joined: Mar Posts: Texas Dr.

Rogers OP Full Member. OP Dr. Copy Link to Clipboard. Share Post on Facebook. Share Post on Twitter. Share Post on Reddit. Piano accessories and music gift items, digital piano dolly, music theme party goods, and more! Rogers Greetings, all. The books do not stay open well on the piano, sadly but they are a great reference otherwise. The notation, fingering, etc. The historical footnotes in the addendums - each volume has a pull-out addendum in the back with photographs of early scores, pianos, etc.

The discussions on the individual sonatas is fascinating, and he lists out Czerny's metronome markings which are a great reference for the sonatas that he did provide the metronome markings for. Remember Beethoven did not give metronome markings for his sonatas with one exception being his Hammerklavier. The books are very easy to read with lots of space between the staffs and the music isn't overly edited with lots of black, a la the old Schirmer editions and others. If you are looking for a much less expensive edition, look for the Schenker edition of the Sonatas.

I got mine back in so I have no idea what they go for today. These are my go to books, but the Cooper are an excellent reference and both spend lots of time on my piano as I go between the two as I compare stuff in the sonatas.

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Horszowski, J. Chamber Music: Beethoven - Complete violin sonatas Nos. Classical, Chamber W. Mozart, Beethoven - Sonatas for violin and piano K. Allegro and No. Beethoven - Piano Sonatas Nos. Classical, Chamber [CD] W. Mozart - Sonatas for Violin and Piano K. Classical piano solo Beethoven - Piano Sonata No. Olympia] - , MP3 tracks kbps. Bach - Sonata for Violin Solo No. Beethoven - Piano Sonatas , Vol. Beethoven - Piano Concerto no.

Beethoven - Piano Concertos nos. Beethoven , Brahms - Violin sonatas - David Oistrakh. Beethoven - Piano sonatas opp. Piano Sonatas Solomon, Beethoven - The piano sonatas - Kempff Beethoven - Piano Sonatas , op. Beethoven - Violin Sonatas Perlman - Ashkenazy. Complete Piano Sonatas Annie Fischer, Beethoven - Violin sonatas - Szeryng, Haebler.

Beethoven - Sonatas Op. Shafran, Ginsburg, Beethoven Cello sonatas Rostropovich Richter. Piano Sonatas 2, 9, 14, 31 Geniet, Beethoven , Schumann. Piano Sonatas Caroline Fischer, Piano Sonatas Jumppanen, I want an edition with sensible fingerings that are widely accepted as workable, even though I will only be using them as a starting point.

Is it clear which markings say, for dynamics and articulation are original and which are editorial? Speaking of clarity, how readable is the score? Compared to, say, Alfred's edition of Bach's Inventions and Sinfonias edited by Palmer, that was so loaded with editorial crap that I found it unplayable and only useful as a reference.

Lastly, are there any websites with sample pages so I can evaluate for myself? Many publishers such as the aforementioned Aflred will let you see at least a page or two to get a general feel for the typesetting and what-not. Thanks much.

Joined: Feb Peter Baldwin M currently working on Brahms op. Of course, they don't have the newer editions due to copyright issues. I have been using two public domain editions: Universal, edited by Schenker, and Peters, edited by Martienssen. I have printed them out and spiral bound them, so they sit perfectly on the music desk. Joined: Jul Colorado, USA. T Cord. I would suggest going to a music store if you have one in your area.

I've definitely done this to look at various editions before to decide whether I should invest the money. I personally still like Henle the most overall, but those are pricey. Haverhill, Massachusetts. John Citron. Originally Posted by Dr. Current works in progress: Beethoven Sonata Op.

T Cord, have you used the paper or cloth bound Henle? How well do the cloth-bound editions sit open on a desk? I don't mind spending a little extra for something that will give me endless hours of enjoyment, but I don't want to pay that kind of coin for endless hours of frustration! Originally Posted by John Citron. I've got the Cooper edition. Joined: Jun Seattle area, WA. My teacher, whom many consider to be a Beethoven scholar, is very admiring of the Cooper edition.

He prefers it over Henle for its accuracy. Joined: May Victoria, BC. I also have Vol. Whenever I study a given sonata not very often, however , I always buy the single edition invariably Henle , and I needn't worry about it not staying open on the music stand, and it's much less cumbersome than transporting a page-plus volume with me. The newer Henle are edited and have fingerings by Murray Perahia. Joined: Dec I have the Schnabel edition of Beethoven's complete piano sonatas, published by Simon and Schuster in two volumes.

My university piano professor, in the early '80s, had me get those. They stay open well on the music desk, but then it's going on 40 years that I've been using them, so they are well broken in. There may have been some problems with the books staying open for the first several and last several pages early on after I purchased them, but I don't recall them being very problematic, compared to some books I've had that have been utter nuisances their whole lives!

There are extensive notes at the bottom of many pages, especially in Volume II, which you may find helpful in terms of knowing which markings are original and which are editorial. It's a very good reference in many ways. There are lots of fingering indications given in the score, and numerous dynamics written in small print for accompanying voices, and big print for the melody. I'm not sure if you would find that distracting.

Print size is reasonable; not as big as I've seen, but not too small, either. Something I didn't think too much about when I was younger, but now, with wearing progressive lenses, I'm keenly aware and appreciative of, when the font is readable. Amazon has some sample pages for different editions, which you may find helpful in seeing what some of the music pages look like.

But it looks like Alfred Masterworks now has published the Schnabel edition with some of his original editorial notes. Here are sample pages from Alfred's Volume 2. Here is a place where you can get both volumes of the Schnabel edition, if you're interested. I have some Henle paper bound editions that are probably older than many members who post here. I've yet to have one show real ravages of time, and some of them are used regularly.

United States. Serge Marinkovic. I have 6 different editions and just ordered the Lamond edition from Breitkopf and Hartel which I have never seen. I use to be a Cooper edition follower and activist but because of this forum I have investigated several others. I love Schnabels creativity with fingering he is really innovative and so ergonomic to get a certain sound by using a certain finger in a certain situation it is really always very clever.

Look at his Opus 57, third movement, brilliant fingering it really helps to get a sound by the use of a certain finger. Want a heavier more definitive statement use the thumb as much as you can or a very sharp staccato the thumb too. Look through the third movement at his fingering then the first movement. I learned a lot. His Opus the same especially for the left hand. Plus for the Beethoven concerti B and H is now also my favorite, for presentation and fingering.

It too bad that the oldest music house is not so ready entertained in the USA its always Henle then the others. I ordered the Tchaikovsky PC 1 from them last weekend I hope it will maintain that excellence. Moderated by Brendan , Kreisler. Print Thread Show Likes. Piano Concerts, Recitals, Competitions The Polling Booth Legal Issues. Download Sheet Music. What's Hot!! Most Online 15, Mar 21st, Please Support Our Advertisers.

Powered by UBB. Find a Professional. Who's Online Now. Previous Thread. Next Thread. Print Thread. Joined: Mar Posts: Texas Dr. Rogers OP Full Member. OP Dr. Copy Link to Clipboard.

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