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Sheet music

Sonatas

3 Sonatas ( D ,A, g )
Urtext
flute (violin), obligatory harpsichord (piano); cello ad libitum
Product number: UT50189
Edition: Urtext
£28.50
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Product Details

Description

Franz Xaver Richter (1709-1789) is one of the most important representatives of what is known as the Mannheim School, a style that influenced not only Mozart, but also the young Beethoven and even some of the early Romantic composers. The significance of Richter’s chamber music in the evolution of the major genres of Viennese classicism deserves to be recognised, showing the way as it does from the Baroque trio sonata to the immediate forerunners of the classical string quartet. Richter’s sonatas for flute, harpsichord obbligato and cello are milestones on that road. These pieces were written in the tradition of J. S. Bach’s sonatas with harpsichord obbligato and can bear comparison with the best works of Bach’s son Carl Philipp Emanuel. In this Wiener Urtext edition we present a selection of three sonatas that can also be played with a violin in the place of the flute. The piece may also be performed without the cello if necessary. Susanne Schrage’s advice on interpretation includes plenty of suggestions for an appropriate style of performance and ornamentation, which may be of interest to others besides flautists.

Contents

Sonate D-Dur
Sonate A-Dur
Sonate g-Moll

More Information

Title:
Sonatas
3 Sonatas ( D ,A, g )
Urtext
Edition:
Urtext
Level of difficulty:
lower intermediate - intermediate
Brand:
Wiener Urtext Edition
Series:

Technical Details

Product number:
UT50189
ISMN13:
979-0-50057-236-7
ISBN13:
978-3-85055-577-7
Weight:
0,46 kg

More from this series

Wiener Urtext Edition

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.

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