sonhata album for piano book 1

7/17/2019 Sonhata Album for Piano Book 1

http://slidepdf.com/reader/full/sonhata-album-for-piano-book-1 1/188



Digitized

by

the Internet

Archive

in

2008

with

funding

from

IVIicrosoft

Corporation

http://www.archive.org/details/sonataalbumtwent01lebe



Mil

7

06

LEBhiilt

SILGMUND,

SONATA

album;

T-vnN'TY-Sl\

FAVCEITE*

VOL.\

6.00

+

M

NNBK

140378573

MY

MUS

The

Newark

Public

Library

Astor, Lenox and

Tilden

Foundations

NY

PUBLIC

LIBRARy

THE

BRANCH

LIBRARIES

|[|llllllllliinii|nliil

-

3

3333

07427

1913

The

Branch

Libraries

THE

NEW YORK PUBLIC

LIBRARY

AT LINCOLN

CENTER

MY/

111

Amsterdam

Avenue

^

New

York,

N.Y. 10023

MUS

BOOKS

MAY BE

RETURNED

TO

ANY BRANCH

OF THE

NEW

YORK

PUBLIC LIBRARY

ALL

RECORDINGS

MUST

BE

RETURNED

TO

BRANCH

FROM

WHICH BORROWED

NO

RENEWALS

ARE

ALLOWED

FINES

FOR

OVERDUE MATERIAL

PER

CALENDAR

DAY:

Adult

books

10^

Juvenile books

5^

Recordings

lOi)

^^^^

^p^gg

./



SONATA

ALBUM--Bk. 1

Piano

SCHIRMER'S

LIBRARY

OF MUSICAL

CLASSICS

Vol.

329

SONATA

ALBUM

For

the

Piano

Book

I

$6.00



^

SCHIRMER'S

LIBRARY

OF

MUSICAL

CLASSICS

t^

^0^

SONATA

ALBUM

^^^^,_^^,,^^^^Twe^

Favorite

Sonatas

For

the

Piano

By

HAYDN,

MOZART,

and

BEETHOVEN

Edited,

Revised,

and

Fingered

by

SIGMUND

LEBERT,

HANS

VON

BULOW

AND OTHERS

IN

TWO

BOOKS

Book I:

15

SONATAS

—

Library

Volume

329

Book

II:

11

SONATAS

-Library

Volume 340

G.

SCHIRMER

New

York

/London

CopyriGht, 1895,

by

G.

Schirmer,

Inc.

Printed in the

U. S. A.



Contents

Book

I

H a V

d

n

Allepro con

brio

M

o

z

a r

t

2.

3.

4.

Allegro

oon brio.

All<;frro

con

brio._

Pa :e

2.

Pa°:o

13.

I'ui-e 22.

I'a;:.- 30.

PasTi-

37.

Allesrro.

-6

'

-

#

6.

<y<'

i;

r

r

If-

^'>

iM

r

I

|

PaRe46

«J

do/re

'

^P.

Allegrro

Pa

-re

83.

Andante

grazioso.

10.

ih^

n

[X^r

:^

i

fTTr

fU

^

rag,- 96.

Anilante

na a nt

e.

^

,^^,

49.

X? .

^''

it

i^

*

j

jlti^'

I

JgnrP

mt^

Beethoven

Pap:.'

112.

Presto

alia

tedesca.

12.

49.

N9

2.

.\llep-ro.

ma

non

troppo.

Page 120.

Pase

128.

AUcyro.

«e

„,>1:,,,,^^^^^

E

Page

141.

Op.

Allegro.



Contents

Book

n

—

^—

—

t-H

W

5602

•MU5

Allegrretto

innocente.

Haydn

Page «.

17.

Allegro moderato.

AllegTo.

Page

8

Page

ZZ.

Alleg

ro

assa

i.

Mozart

Allegro

.

Page

30.

21.

i^

i'

f

|''~Jj

j

J

J^

J

IJ

I

f

I

Page

t-'

s-

'^

—

'

9Z.

Page

42.

22.

Allegro

maestoso.

1^

Page 63.

Beethoven

Page

102. 25.

Adagio sostenuto.

Page

143.

Andante

con

Variazioni

Page 124.

26. Page

161.



SONATA.

Atbbreviations:

M.

T. signifies

Main

Theme,

Ep.,

Episotle;

ST.,

Sub-Theme;

CI.

T.,

Closinp

Theme; D.

G.,

nevelopment-proup;

Md.

T.,

Mid

-Theme; R.,

Return; Tr., Transition;

Cod.,

Codetta;

1,

II,

III,

signify

1'-',

ZV^,

and

31 '

parts

of a

movement in

song-form

(Liedform.)

\lleg-i'o

con

brio.

(i

=

96.i

M.T.

^

m

-•-

3

i

-* •-

m

2 3 2

JOSEPH HAYDN.

-5

3^

^'i

„

r

r

i

i

i

-r

^-^

I

I

£=«=«=

^

>

—

t—

1 1

ys

^m

3CZ3C

^

3^

^

i

^i=5=r

^

f r

:r

r

^

f

r-

ff

r

r r

^):

fljflS

'JJiL

:lUtfaf:lf

ii«n9r

a> The

short

turn

in

small

notes

is

intended

for

inexpert

players. In

the

original,

these

turns

are

all

marked

thus:

y

r

Prilled

In

then. S. A.



z^^

Tr.

3

2

^m

cresc.

^

r f

rrrrr

lil

ilS

^^3

^iif±

^E^

2

=

rxfrxrr-C^^

I

'

j(tJ7^

^

3 g

I

S.T.

^^

JES

^

^

'^^^

flT r

^

^

i*

3

a

^W

^

EfeE

7^jr^j7^/T8

^

6

^

at^

r

crrrr

i

<

rrrrr

i

•'

•>

cresc.

I

jj-'jj^jTJjj^

Ijjjjj.'ijrrifi

f

c

ar

rf

£te

i

6*

5

4

54

5

^=1:

b-=:

-

^

^r

')

iLf

ijS

^jL,r

^^

f

/-

^

i

^m

3E3;

Tm?

r<l?W

YORK

PTJILIC

IIBEARY

^

aBVERAL

IJKllAHY

OF

THE

PERFORinNG

'ARTa

111

AJtSTEBDAJH AVB.

NBW

lOM 101123.

N. I.



.i

fcn

itenn

*)

^p7^^^^

easier:

j^^^

b) After

the

hold

a fairly long pause

should

be

made.



J

3

3

rf

^^Jlj^l

J

^j''J'PriJ:]

|

i-

B

3

.P'x

rif.

^^^^^^

a)

Adag-io.

fC\

5

4

i

:

3

nr-

11899

^

a)

Sustain

the

hold,

and

then

proceed

without interruption.

v:^



Tempo

I.

M

p

^p

¥

puco

rit.

^

01

Qn

0^1^^

=

m

a)

a

tempo.

O*

>

M.T.

^P

^

m

y:-

Vi/

^

^

i

I 2 3

g

^

3

2

1

^

^

^

d 9^9

8

«

^^

-^-^•J^r^

g

V

•

9

^

f

-^=^

—

«-

This hold

is

long'er than

the

preceding'

one;

before

continuing', a

fairly long' pause

should

be

made.



a.)

S.T.

^^^

4

3

f^^

^

=¥«¥

P

^^^^

^^^^

^D-i

c.rJ

crJ

c

jg

3

i>

•

F

#

»

|»

i

mF

m ^m

£

cresc.

Ji

[jjisj

zsjm

ti^i

ciJ

r

*

4

Jt

V^,\

ilTi ilT^i

I

i

^m

^

I

2

3

^

i

t

*

f-

h>

f

p

^

resc.

y^

i.

^

^

i

P

p^^

€»-

2

3

3

2 3

42

*.

^ffr

cj

^

?^

*,

r

i 1

»'

^TT=f^

*^ fefe

g

^

i

2

^

« 3

r=

S

t t

J

•'

i

r r

r

r

j{

#

^

r ,

f

r

,

r r i r

^

^ru:r:;rc,rj

B-s

g-

r

:j

r

aL^r

Z'

^2

i^

r-

i

./;

r

r.

c

^

^^^^m

t^t^sasW^

^

—

-

p

J'

p

y

i

J

i^

Inexpert

players

may

omit

the

first note of each

turn, as

before.

The

hold

sustained,

and

followed

by

a

brief

pause.



•-.Mm



•i

-i

4

4

4

m

zr

i

5=^

^

^m

S

f

^nffffi^_

p

i

i

i

Duly

subordinate

the

accompaniment,

b)

\ff^'f^rft-*f^^^

easier:

Strike all

the

tones

of

the

chord

in succession,

from

the lowest

to

the highest, and

connect the

preced-

ing-

b

with

the

hig-h c.



/'

-

—

^

fPfj.

V??

r'T

,

fr

rr

,

'iJiVnr.i^

3--^

8,

,

3 -.

,

3

^

5

4

'

'

'^^M

^LEL

.

..^

^^.^^..^

jp

^jjjlmi

jj

jjffS^

3

8

4

^i

A

^

crest:

i

-

•

^

j^

y

kj

t

J

J

^«

/ jf rt rr

rr

I'^J'

J

t

^

B

4

3

4

J _LS2

EflEPEfi

S^

^

;^

y-*

crcsc.

La

B^M

«...

,

4

^

'^^

f

w

i



Finale.

Allegro.

(J.=

63.)

MX.

I

3

11



12

±~~:i-r;^p

nM.T

^

M

m^

i

1

—

I

—

^^ '

m.

m

^

^^

I

^

/

^

^^^

i

^

i

s

£i

^

—

^

w

~

r

^^

^m

^m

^^

^

i

i

^^

^^

^

i

p



13

SONATA.

AUeg^ro

con

brio.

(•:

ii«

a3

a

1

31

^

«3

a

1

^

JOSEPH HAYDN.

»

*

3

8

S

^g

S

^

^ ig

i^

CTPS'C.

^

J

^i

a

5

5

:i:



MJ.T

a)

In

the

original,

mordents

are

given

here;

but

inverted

mordents are

doubtless

intended.

b) After

the

hold,

a

slight

pause should

be

made.

II70B



13

^m

^^

^

A

-4

^

^

^

,

^S.T

^

^

:a^^

=^S5

1

^^

/'

y

m^

^

—

#-

-•

—

#-

^

i»c7^

ir

5

a

^

i

m

m

J

j^

I

Jm

/>

<t

r

S

////•

p

m



10

Mcnuctto.'

(J

-

lot

8.)

-ffimf-'

t

f.

t

f.

-^

I

wm

u

9

1

i

' f

OS

II

•

^

if

3

T

^s

I

i

^

i

P

?

\

•*

I

^

^^

4

^^

Hfii»f

r[^

^^

rtsc.

^^

#=F

^

^

I

u

i

^P

^^

i

if

\

I

4^

fl'////.

/T\C\

^^

f

*=rf

a)

These turns

always

fall

on

the last

note

of the

accompaniment -figure; in

this case,

therefore,

on

the

third

note of

the

second

beat.

b)

Continue

without

further

pause.

11705



17

It tfiiipo

U4^

tj

r_^r

f

Trio.

4 1

;t

L,|-

)

.

TJ^

IS

«^

¥

p

_

<

_

j

i=^S

^

If

?7

h).

^

^fe

?^

^

^^

It

PL

a

Menuetlo

D.

C.



t

Theme.

Presto. (4 :

\T,i.)

2 4

1

I.

18

3

4

^

5

4

m^

^^

U

^

^

:3^

#

#

^'i/

''(/

^^

5£

i

^

^

i

i

^

i

ifac^

.S

\

^

-8

^

^

1

-I

I

'

^

III.

m

t-ir-

H

^

^P

g*'^^

5^^

''

1

orcsr.

g

PC=v

J

M

.^r

«

k*

tf

fe

E

^

•>

4

i

^

^

i^

1

i

#_

-a-4^

*-

»^

^p:

.

I

P

£

xi±

t—

»

1'

> f

-z—

P

i

^

^

a^

^m

St

#

^

^nr^

—

*-

'

^

^

^fe^

•'.

.1

1^

»^«~T¥

I

*

3 . :j

S

^^^

^

^^

^

^ ^'^

vrfsr

^E

^

^^=^

I

^

^=^

^==

^

^

1170li



i

Var.

III.

20

^

^

?t=T

i

i

'-/•

p

^

^

Mr

i pr

l

ip

^

^^ •

:^

$

*=F

i

^

:*:^

t;—

*

^

i

^

crfsc.

i

»

rj ^

<

^

<*'j'

^

2^E

r

rjfii ^

^

P

S:^

^^

cresc.

^

^)-'

g

.

r

.11

i

^

4

^

Us?

1

''i/

^

^

^

t*^

^

-^

^i

Var. IV.

^^ ^

^

^^^=

^

Li

i

r

^Xj

*

^

'

^

^

*

.

ll7o:



#

L

a

S

•

>J^

^

I

i

^

i^

jt

M^

^^

^

^S

y

p

ff

i

.^

s

i

^^

^

^

^

cresc.

M^

»

r

,

f^

:

i

^2)^

^

#

^

[

r^^

f

i

^J

j'

p

:*^

.^

^^

i

1170S



SONATA

Abbreviations: xM.T.

sitrnifies

Main

Theme; Ep.,

Episode; S.T.,

Sub-Theme;

Cl.T.,

Closing Theme; P.G.,

Development

-

irroup; Md.T.,

Mid

Theme,

R.,

Return;

Tr., Transition;

Cod.,

Codetta;

land

II,

is<

and

»nil

parts of

a movement

in

sonjr

-

form (Liedform.)

JOSEPH

HAYDN.

1

.J

2

5

AUi'jjin

cull

l)ri(». (J =

i3«.)

M.T.

fe

'^'

a

1

^^

<<7'

J'

1

1

1

. 5

^

1^

. .

ir^.

-;-^.

'rZ-

'

j^M

d-jlr-_

r

r f r ^

r

f

f

^

r_._c_f_^

g

^

Hi-

>

^>fj'j;^

^^

2'im

^

J,J 3

J'J^ I

^

1

8

«

8

*)

In

view of the

rapid

tempo,

only

an

inverted

mordent, consisting

of 3

equal

notes, accenting-

the first,

can

well

bo played:

117(11

r

X



11701

a)

^



D.r,.

'I'

* ^

r'r

1^-

^u

r

g

1

2

4

r.

8

«

^^

^

I

I

./

jt=?^

1^ i'

j

B^

^

3

2

3_

^^

1

;{

(r-

//•

*•

*•

F^£#^



M.T.

26

ii'

^l

i

^•-^-

^^-

_n-]

i

i»

—

•-

^

v=>ii

g^

7^g;

i m̂

t

^n

J J n

I

i

isssi

^

i^/rrrcr^

j^

i-

^.—

.

>.

i-.

r

Lf

T^

-u

i'.-~

^.

^m

^^

TO

;??]

j7]]

jm

m^jTn.TnjTn

^

i.

^

i

^

T

r

r

i

V'^

r.^

'«

rm r:

1 1

JJJJJJJJJJJ

:^

^

^lesTdlo.

t

5

iL

r

^[

J

-r^

-r

^

^

^r

l

H^[

rp

^^p

5 5

Se

11701



ST.

26

^

I

\

'

\

T

^'

*>

'

fL^^r

*>

f

^

^

'

I i

I

d

i

i

i

^

;

^

ii

J

J

jd

^

^bfcjz

^

1.-^

6*'*

'

.

g^p

I

h'-*^

,

F

f

^

f

^

-c«:gJr^\-^rBt:

I

''

, 7

,

1'li'nr

1 1

^'

J

J?7^-^^^

»

»'

=*»

^

11701



17

Cl.T.

ll

'p

y

ifj

i>l

P

^

/: :

K -J;

^

^

I'

2

4

^

-

LP

LF

jTS

,/

^

«WH

^

S

^

rJf

^

i

i

^

^

Largo

e

sostenuto.

(^

=

69

i

f

rjj ^-J^

^

5

4

3

ii^

15'

^

/lJ

J) iJ^J

P

£

^

jir

-

//////

.

s

^^5

7'

5

3

PP

A

W

/r\

:5t?c

f?

?a>-

bT

^

a)

Strike the

tones in

succession, from

the lowest

to

the

highest,

and hold all down.

b) As

above.

II70I

9-



Finale.

zs

Presto,

ma

noii

froppo.rJ: im.)

M.T.

r'^

i

f- '-t^

hrr^

a) This

accompaniment-fipure

must be kept

duly

subordinate

to

the

mplody.

11701



29

»

.fj

|

.f>iu^jir;rJ|-.f-.;E:^

I

4

3

i#^

1*

I

=x

Lj

7K

:^=S=^

fc^

''/

^^

i'

/

^^

£\

^

P

^

I

^

*^

f

-^M^

^

t

I

4

i

18 2

-t—

M.T.

i

\

li

\l^m

v

Y^^'

^

n^-^7

pp^j-^

i

j^j^

i

j^

J^

^^

g

i:^

/

./

^

1

P7,5

|

WU'

S

I

^^

¥^^S J>

J^l

7 JW J--^^^^

Ifcrrsc.

P

=^

¥-^^

^

^^

•

•

-^1

^

^

^

'

S

^fe

^

j^

I

J

^'vj

CTJ^

fjt^

^

»

Sfcdt

«^

^

^^

^

^

^

^''

iTr-

^^

m

m^

'[x^ftftf

<

o

i

^

fe

i£

^^

j

^^i-rf^

^i

^^

j^

JIM

z.

^

f

t

tpri-f

Ff

^

^*

»»

F^P f

\f^^

tfr\

B

^^

m

I

m

$

>

^H

^^S£g^

1^#-

i

n

^

i

tt

I



30

SONATA.

Abbreviations:

M. T.

sipnifies Main Theme;

Ei>.,

Episode

;

S.

T., bub

-Theme

;

CI.

T.,

Closinfj

Theme

;

D.

G.,

Development-Group;

Md.

T.,

Mid -Therae;

R.,

Return;

Tr.,

Transition;

Cod.,

Codetta

;

1,

II

, 111, siRnify

1*', 21'',

and

31'^

parts

of

a

movement

in

sonjc-form

(Liedforra.)

Moderato. J

=

92.)

=

m^

JOSK

PH

IIaYDN

2 5

'•

H

:i

«

;i,

S-f-^^TP

JJnj

>

J

»

(ti

ijjj/gj

«

i

1

^i

'•f-

^

In this

motive

the sig-n

-v

does

not signify

a turn with

the ordinary

division

^,

J^j^

•

* '*

serves

as

an

.ibbreviation

for

the

fig-ure:

^^^^

whirh,

in

.inalopy

with

the

initial

motive,

must

be

imitated

throug-h-

out the

movement in

all

similar situations.

Ii700r



31

3

a

3

te,

_

«

A ii

3*

ate—

*

3

T

^—

3

cres'c.

^#

i

•?

^

py^

^

-

r^

^^

/-

^^

LO

f .f

'f

fif

F* '

J

.j

^j

d'^^

*8

e

[f#fff

'

•

^^^,.i

^

e

1

3

*-*

^^^

rrttffp

£

ia

i

i

TsJsj

j;^^

p

5=Cr;

S^

'TtI

^E

'*'

P^

''

#

/

1^

ff

-£-

^=^

«

-fit-

P

t]3

3

MM

^^np.fi

£2

^

3C=iB:K

^

^^^

^

i^

^

7'

^

r=^

?=r

^

^j

jii

f

a

»

#

^

1

/O

.Wl

ntr>.

5

'*

?

Bs»

1

iX

?^^^^^

3

«

3,

11700



S'i

4 3 2

'/«

^713..^

4 3 2

^

f

xd

'

Vi

'

»

^

^^B

r

I'fc/]

JT^

crexr.

ijj^grg

1;^

_

M

ffi

f*

I

:

~

; ^

'

^

i

'—

m

rr

pr. rffrr^ .r^rfLr.r.jfLi

tr

r

r

;^

^

TTW^—

'^

7^—h-

-g

- ^

A,

^

W Tl

w

^

^

^

^

~>-^

—_.£_

ifi^LrfX^

^

^

«

S«-

;

n~}

T

V

-^'

-

'J

^

-^

p

^

^

^

-•Mt -

-



H700



Scherzando.

Allcirro

foii

brio. •

-

uo

¥si^'-i:}

^ti

amtir

,

i

jWTiUi)i

I

J' ^

i

.

3t^

tn

j

J

I

i

i

n

f-'

I^^

i

r

J?

P

Lmw^m

mi^,i^<ii

m

f f

11700

^



Mcnuctto.

Modcruto.

•

-

i3i

l

U^

f-f££l*if-fiy

-

./

9--Vi_f^^

mritw

i

*^=#

£=:

t=^=

±=^

;

r

i

rr'

I

f T

^

f^

=^

^ ^ sff

::=

=

—

if

It r.

JeS

^

fz

^

^§^^

III

f-

f-

T^

tit

l-T

r

|

g

C£a'£flJ

•

•

i

H15^

^

^^

^1^

s

ai

Y« i^

f

-'I

i

^

i

/

/'/V/^.

^

^

a

^

^

i

^

^

Trio.

/

If

§

4

»

4-

'fjr

^

i

1

^

2

4

•f

Z

1 ,8 4,

5

,

s

Q

«•—

^

I

^p

#

—

m

£E

i

s

^

x7

X^

^

^

^

3K

—

*i

*

n

r

,

MUUM

J-—

JC

a

1

xJ-

•«•

M

i

n

I J..JJ I

*

m

Mi=*

^

'5

S

i

i

^

^

«/^

•

=w:

c

7

1.

fe

f

.1/

/).

c.

f

¥

^

.

Y5

>i--|

1

^^

t

^

)

Commence with

the

principal

note, as at a). c>

As

above.

r



37

SONATA

Abbreviations:

M.

T., siernifies

Main

Theme;

Ep.,

Episode;

S.

T.,

Sub- Theme;

CI. T.,

Closing Theme;

D.

G.,

Develop-

Md.

T.,

Mid-Theme; R.,

Return;

Tr.

Transition;

Cod.,

Codetta-,

1,

11,

and

HI,

1st, 2nd, and

3rd parts

of a

in

song-form

(Lied-form.)

JOSEPH

HAYDN

Presto.

(J..

.00)

1-^.^^..*,

5

5

,

iU

^

\

iPoro

r,

4

5

a

\

P

^m

fj^fr

mn

m

^^*fi

*i

mm

5

^^

M

—

»-

I

^

fe

(O

eresc.

ssi

i

^

^^'•'j

y

^

fm

* *>i

*1^'-

r^HV

p^

^^

.^i^7?

il

^;^r-^^vf

f.

rr



^

D.

0.

i *f *f

Ti 4

-4-*-

u

g

3

,

»*--

^^

7,

''

I

^

•>

'y

*^

Jj^P^^

a

38

~(/rsr.

^^

U-

^^

^^

-«

rs

^

=t=t

5^

?

*?

^

7

r

^o

jl

^

^

^

^>-g

rXJ^r

=^

a~i

Vfler

the

hold

a

considerable pansp

should

be

made,



39

1

2l3«3

23

3

m

^

^

•1

t

lii

m

4

:»

4

1

Yt^r^

^

''1

^

^T

*fc*

i

r////A

^3

p

t

^^

^

-r-r

^

i±t

After

the

hold,

a

brief

pause should be

made.



Adasrin.

<•

z

so

40

#

ii^i*«^'F'«54^^£^»fbI.v4a7;>f»?J'e'Fff?^

a>

I

^

'.

<.

'i

',

^

f-^^^^^^ f^F^^^^F^

^TTT^^

^^^^^y*

11696



in.d.

^^^^|P,

^.r^sf;,-})

ff^

ff^ p

^

'ittj'^^

3^

^^

y

fl'^i

?

t

i'

^

^^-i-*-

w

•*•

s

atlacca.



4Z

Molto

vivacp.

(*:

1.10)

^

It

uinnrriilriiiiiilt'.

3et

:

»:

:

,0

000

«•

•

^^

FTrf^rr

' La

i

'jj

j

'i

^'

^

LJj

j

i

^.

r

j>ih(jij^y^

i

^^

j^j^

^

^lU*

3

«x-

.

«

#

P-

m

^

H^

i

y^i'

#

^

#

^

ff'

S.

T.

I.?

'

^

S

P

?

jfe

/

^

O

Ja

I

s

^g

is=^

P

^

^^^

^

:£

^

I

s

;J

^

3fc

j^^'J^

ctfi

y;*.

:£

S

S

M

/

^

^

fAsd'1

Duly

subordinate

the

accompaniment.

In rapid tempo,

the

turn

between

two noter

of

'his

value may best

bo

executed

as

follows;

i\i'>>4(->



After

the hold,

make

a

brief

pause.



a> Tontinue

after

a

short pause.

11696



46

r

n

fp^T

r^

1

o^,

t

h

—

r~T—

r

\,

ah

4

-

^

rrrse.

1

—

r~rT

—

r

r r

H-

—

F

—

L=i]

/

f~rf

—

p

f-

-f

—

f

—

7

—

•

II(i96

'

E^g^

^=^

'

'^£U^

1^

^r^

-

f—

m-



'4

6

SONATA

I

W.

A.

MOZART

Abbreviations:

P.

T.,

Principal

Theme,- S.T., Secondary

Close;

D.,

Development;

Coda;

M.T.,

Middle Theme.

Allegro

Or

182)

Abkiirzung en:

HS. bedeutet Hauptsatz.

SS.

Seiten-

satz, SchlS.

Schlusssatz. DS.

Durchfvihrunp-ssatz.

Anh.

Anhang-,

MS. Mittclsatz.

a^

trip

I.

r

ST

i

Z3-

HS.

S

m

1

3 4

12

JJi

JJJ^

l

j

§

X

ff^iP

n^f^

^tfrfffrr^rrrfr;

nip

f

mezzo

pian oj

rather

soft;

viz.,

between

JO

and

w/

I

al

vip

Onrzzo piano,

ziemUchBchwach)

bedeutet

einen

I

Grad

von

Tonstiirke,

welcher

zwischen

p

und

/r(/*steht.

-fj'fl'^'lU*-

Less

skillful

players

may

content themselves

with

the

following

execution:

Schwachere

Spieler

kfinnen sich

mit

folg-endcr

Ausfiihrung

beg'niig'en:

or:

Oder:

or

even

with

an

inverted

mordent.

Copyright.

ift93.

bi/

O.

Schirmer,

Inc.

odrr

auch

mit

einem

Pralltriller.

FrlnfcH

IntheF.S. A.



47

12

1

5

5

5

4

2

^W

m

4

2

5_A1

^

«e

5/4

7^'

4

'

^3 =*

3

i^

^

oresc.

iiiiiiii

a)

^^r[.jt

»p^^^

U) For

less skillful

players

11184

L

j

EJ

^^^^

fiir

schwachere

Spieler:



cresc.

_

'

,—[

|-|

|-|

.—-^a

11134



_«

^

S.T.

SS.

mj)

^^^

m

i

**t

i

**

*

I I I I

T

1-5=

—

JJJJJ^JJJJ

i*'

^

^

^^^^^^^

?

^

JJJJJ^JJJJi^-J-'-

P

tnp

•'/

[̂ ^

-^

a*

^

»J

^f

V*

i»-P

^>

i?&a

'

»

VL

^J

»

S

'4ff-

5/4

«

—

gf'

^c;r'

I

s

^

tt

-i

2

T

z

_

iNqi==^

^

.J'>. >

^

S

'^

jT^

r

-'^

JT^

r

i'

cresc.

mfTTi'^

s

t^tititttt

Close

SchlS.

2/^

'i

S *

4

^3

3

11184



50

Andante

(J

=

8o)

rp

cantabile

cresc.

11134



51

^;

cresc.

^M

-i^

i

i

dm

•

J

*

jjp

^

]^

cresc.



62

11134



53



Rondo

Allegretto

grazioso

(J

=

io4)

54

U134



55



56

SONATA

IV.

Abbreviations,

etc.:

P.

T.

Principal Themt-

; ST., Sec-

1

Abkilrzuiigen: HS.

bedeutft

Hauptsatz.SS. Seitf nsatz.

ondary Thrnie;

Close;

M.

T.,

Middle

Theme.

I

SchS.

Schlusssatz,

MS. Mittelsatz.

Allegro. (J;

i«6i

4

P.

T.

HS

.

|

^:^P- -

iJ

'

ll'lj

'-ft^^

B

i a

/r

_

^

^

0,

i.'J3,^

^

^

^

^

I

z^

^*i

m

^g

'

<—

<r

<r

g^i^

i\£

;

\

l

^%M

4=f

^^

^

i

»

^

i

i. I 1

fe^

to

•^

-^

#

*

^

rZBZB

IZ2

I

4^

e:^

JEl^dl^

»

i>

3

I

^

i

^

1

i

g

pr

»4-

/

a'

Strike

the

a with

the

chord

in

the bass,

b)

1II37

ai

Das a

mnss

gleuhzeitig

mit

dem

Accord

ira

Basse

eintrcten.

C^

^^

^)

fff

ifP

,.

^^

for

less

sK.lled

players.

^^

^

3Ha^Bzt=

daiaMB=

fur

schwachere

Spieler-.

'

'

'



m

k

?

ST.

ss.

V

57

4 3 2 1 S «

4

rf rrrr

^31

g

:

-«

»-

^

4

«,-

—

-1

rf

i

4

3

2

13

2

Ul

f

t

i

^

4

1-

—

.2

^^

^^

^—3.

1.

F-

»#

P^s^

U

-

-

1

S

-^

^

^£L

g

f-

_

4

i

i

j,^

iWr

i

^r

'Itpf

pr

i

^

y^lfliL:

^

^

i

^^

i

^'

—

r

t \

I

i

=^

ri ri r

i

ri ri p

BBB

CBB

^^BS

il

Basso

marcata.

a)

Strike

these appog-piaturas

with

the

accompaniment.

b)

111

3-7

^

_

for

less skilled

players.

\^

a) Diese

Vorschlage gleichzeitijg- mit

der

Begleitung

an-

zuschlagen.

fUr

sfhwachere

Spieler:

| |

|

T

p



PT

HS.

r;

r^rLi;

60

^

^

F-^=^

S:

J.

^^TJJ^

^&

^

*

»

m

^

^^

^

r

ir

m

dolce.

j^

f f %t

i

ij

^^

^^

^

J.

H*^.]??^

M

m

a

i

^

^

^m

*

i

i

^

iF^-^

^

^

^

^

«=:«=:

*

j-j—

P=PE

±

^=U

4-R;

^ g

^

mm

/^

1U37



11137

7.

'f



62

u

^^

u*ija^

9—.

—

^

Close.

z

.1

^SchlS.

1

»

m

^

/

I

^^

s

^

jr'j'

r

fi

;^

s

/^

(mezzo

piano)

rather

soft;

viz..

between

p

ot/'

a)

;7^

(mezzo

piano,

ziemlich

schwaoh)

bcdeufet

ei-

nen

Grad

vou

Tonsiiirke.

welcher

zwischen

p

und

nif

steht.



63

^

8

^

*

qm^a^-te.g^

p

p=t

f

i^^Z^*

f

p^

cresc.

'

ir

ff

f

y^w

\ui

^^

^rTTit

^

e

a tempo

If

cresc.

^

2

4

i i

^

M

I

/[,

^

M

^=f

^

:P-



1113T



65

SONATA

VII.

Abbreviations,

etc.:

P.

T.,

Principal

Theme;

Ep., Ep-

isode;

S. T.,

Secondary

Theme;

Close;

M. T.,

Middle

Theme;

T.,

Transition;

Coda; D.,

Development.

Allee^ro.

(J =

i5a.)

RT.

HS.

Abkurzungen: HS.

bedeutet

Hauptsatz,

ZwS.

Zwi-

schensatz, SS.

Seitensatz,

SchlS.

Schhisssatz,

MS.

Mit-

telsatz, UG.

Ueberga<ng,

Anh. Anhang,

DS. Durehfiih-

rungssatz.

i

i

t

J

)

i

nrrr

-»t

f

,

p

^f^r

TT

cresc.

f

4i

«

^

^

W

-

£

Jz

V

a) In this movement,

the

bass-

notes provided

with

pressure-marks

should

be sustained

during-

the

three

following

eighths,

as

if

half notes.

b)

P

a)

Die mit diesem Dehnungszeichen

versehenen

Bass-

noten

in dem

vorliegenden Satze

werden

am

beaten

noch

wahrend

der

drei

folgenden

Achtel

(also

wfe

die

hal-

ben Noten)

ausgehalten

.

ilUO



a)

Bp

on

the

also

.

poco mar

cat

.

gin thp

appoggiatures

in

both

hands

exactly

up

beat,

and

strike

the

principal

notes

together

b)

11140

a~i

Die

Vorschlttg-snoten

miisflen in

beiden

HiiDden

gleirhzeitig', und

zwar

prnau

auf

den

Taktstrich,

an-

fang'eii,

sowie

hernach

auch

die

Hauptnoten

zt^sammen

anzuschlageD

Bind.



j

j

^

J'

I

67

S

**

m

-S-

m

3=1

.

? a

^

?

a^

9 9 W~

i

i i

^

/

p

^^

/

^,

^

^

^

> J-

J-

-S-

f

w

p

-«»-

/

i

4

a

4

•i

^

^

l|i

'

'^l*f_*;

^^

iza=a===a

^ ^^r

'^^'^

i

/

y

^

r

i

tcp

lu-

^

I

r

4'

S

2

I

^^

^

:s

?

5

^

^

WWl

m,

t

v.

,

y

^^

^f^

K

f-

ft:r

W

&

^

#

—

#

i

#

—

#-

4

3

2

i

f i'

Lr

li

^

•^Tfr>

..OTj

'ih-l

^^-^^

^

^^

S

i i

J

b'k

J

t

<

^^

i-

^

-i

i

J

i

•

(

It

Z2

:2

Tz.

1

5



68

MT

E^

i

M

f^

'24

Aj

5t

^

^^

*

-77-=-

2

*

i

s

^

4

m

3 4 3 1

^

^

te

11140

fz

V

-



i

m

Ep

ZwS.

j'j'jy' f

^

^

/

^;

i

m

m

A

W=0^

i

fc

f

tt

ft

sV

^

^

s

#

If-

fz

n

fi

^

^

,i

1

a

5

-^

I

•

/

^

i

«

3 2

^S

^

s

j *^

i

i

^

Q

-^

^

3*

g

/

^g

*

/.

g

»

g^

^

[jT

I

y

1

0.

4

P^

^

'/k

f'i

» ii

.

p

i^

a

4

^

^*:^

,.

k

i

*-

S.T.

SS.

4t 8l

Sl

if

M

?

E

i^

^^^

^m

m

^

11140

m

:e:p=

^

m

^

^P

5

4



Adag-io.cJ^z

84



78

A)

tUtsi

•

^^f

:f'

li^

^

j

j

t

JL^

fip

Ap

^

^

?»

ten.

# 0—

(Tf.SC.

^^t^tttt

R

crfxf.

Tip

creac.

n_

3

3

,

f^l^

4_^

=ti

^

a)

The

following: sufficps

for

less skilled players-.

b) As

at b.,

on the

next

pa^^e.

c)

Asat

a.)

1U«0

a)

Fijr

schwiichere

Spieler

genii^t:

b)

wie bei

b)

auf

nichster Seite.

C)

Ausfiihrung

wie bei a.)



S.T.

SS.

a

a

a



Allegro

assai.

(J-

96.)

74

hM:ldM

f=ft

i

^

^fe

f'^^r-fz

P

t n ^

41 ^

fe

»

>

^

=

1=

«

3

JT

^rt

^

—

^

—

^

#

—

#—

#

—

^

—

^-i

P

—

^

—

#

—

#

—

^

—

ffi?

(>^

g^^

^^3

i^S

A^=^/z

m

^^

r-f-

#—

b.

^^^-#

fe

^

^

^

¥¥=

S^^

^

.

^

_

^

^

^^

S

^^1

P

i

rrf

EE^qEC

S

$tt

m

^

«^

e

•}^^

m

^

s

^^

O

ife^j^

^

^

m

t^-^

^^

^ ^^

11140

^ 6

^P

^^

/

^

^E

v-:^

—jr

''

VI

if

i^^



mp

wp

(mezzo piano)

rather

soft;

viz.,

between

p

t ^.

_

Ta

b)

a)

;^

(mezzo piano,

ziemlich

schwach) bedeutet

ei-

nen Grad von

Tonstarke,

weleher

zwischen

/?

und tt^

steht

.



$

^

m

m^

I—

I

»

*

—

^

.-

i

^i

j

;

trc

.

ni^m

^^

%

^

P

m

t^ff

^

»

r

» ^

?

IIUO

1

*



m

^

^

i

f

P7?^F?1

i;

3

bj

f

^

g

g^

fz

t

4

»

,

a

^

;^

E

li^il

ir>

^^r^

rrrrFb»«i»,r^\

i

-^

v»-^—

'

*

'k*

*—

-^

-4>T—

w^c^5

-^^j>aj^^^

^-^f

r

t7^

^

^^~'

>-

5*

11140

^



M T.

MS.

—

8.

78

T^

P

p^p

^^^

TEK.

£

g

^

^^

[j

J

tf^f

y*i>

^^

,f

i

f

I'

*

m

^

^^^

cresc

/

1^

I

rr(?5c

.

w>-f-^4

gg^

^

/

£>

1

1.*-.

'

frmr^

^

P

?>

:n=

i

11140

\

TT

i

-

1—

#-

6



m

#—

M^

^fi

'Lijl'..

i

*f

i

*t

fe

m='F^

-

r 4, *>

g-

i

^

^t

^

Wrnrj-j

I

^±

=y^Fy

^

111«0

f

-

J

^'

^

'

P

^^

e

^

^^

=y=^

i

Z2I

B^



80

$

^

J.

m

dolce.

^

^^

*^r^

m

f-$*

^^

/J*

^^^^

ffi

^

^F^

^^

^

lrn4

m

pp

w

A

.

fz

^

fzP_

^

m

/-'^Ep.ZwS.

^ ^

/\

A

ir

f

it;^-

*f-

5>

•a

*i

^^

^

j)

^ ^H

/

s

tttt

I

#

^

^

^^'T'

I

Mi

V

P

A

f

f

^

<

^i

j

^

fffrfff

fffrfff¥

,

f

f'yff

^tti

;ff^,f

f^f

f0.ii

0'r^

iM^'^f

rfi\r:m

m

i

V

*f

*

i

^^^

^^

i

iT

^

ST.

SS.

mp

P

^^

^^

/

P

g

In.

>

E

r

p

^

#

if:

^

#

b*

^

#

-^

^^

^

1140

mf

uM



81

mf

^

i

J.

J)

^

-•

nm.

k

m-ip

^m

^m

p

z

t'

m

, . .^ff

.-

F±

pp

^

m^

^^'

f

ebi

^^

^^

^:

,^

tz^

^^

i

i

I

Close.

SchlS.

*

a

8

b ^

r-

Egi

S

w

^

f

it

^P

^S

^



^m

1*

^s

^m

r^

^^

r

t

^

crjj

i)

i^

^:

^^

\t-

X

J'

^

C

^

\

^^

l'i

U

\

»»

f

^

#

/

^

^T*^

-f

«>-?

^^•'^j

i

.rh

^Hr'r^?

r-:

T''

iS^^^^

^^

^

3a=

W)

J.

' i^-i

£

^^

^^

f^^

^

11140

f

cttlando.

?

m^

pp

/•

/^cco

rtY.

•

3

^



Allegro.

(J-138)

83

SONATA

-

W,

A.

MOZART.

1

1 1

a

.->


http://slidepdf.com/reader/full/sonhata-album-for-piano-book-1 92/188II136



Andante.

(Jrfts.)

PT

:^;jj

jjjjjjrg

^

-..rr^^Ffp

a.)

Notes

marKed

with

a line

(-)

in

this, edition,should br

played

rsther

V.cavily (pressed

out.)

c)

Tci

be

rendered

a&

at

b.

c)

wip

b)

auszufuhren.

a)

T)]f

mit

(-)

bezeichueten

NoteD

sind

hier

und

an

den

ahnlichcD

Stellen

etwas gewichtig

auzuspiclen-

ui»»



87



P

^

:^^

f

4^

Begin

the trill with

the

principal

note.

I

a;

Den TriJler

mit der

Hauptnote

beginnen.



Presto.

(J-rse.)

89

P.T.

HS.

till

i r_fl

5

a »

1

»

^

^

^

2

?

^

P

^

^ I

^_

'J

^

i

§

d±

1

2 1 a

1

2

1

a

1

^B

L

I I

'

m

m

A

U^

1

^

i

i

4

^

^^

^H«.^

^

^

^

t

4 1

3

i

i

^

3

?

^

^

?

fr

^

^rp

f

K 1

f

i

£

p

g

iSi

M

m.

a

?

f

It=^

^

?=^?

g

4

1

4

a

5

I

i

I

^

2=

A

»

^^

1

rz-M

m±:

^E

^

^=^^



^^

—

-J)

90

yrf

i

r^rf

1

2

8

^m

^

^^

»

^

rl-*

i

^

^3E

£

^

^

r-

5

3

^S

-r-

2

\

3

j

^^

^

m

^

i

^

P

1

1

/

m

^

2^r

s^-^

H^

P

^3E

f

tf

P

'•p.

i

«Uf

3

I

k

cta-

^^

SJ

f

•-

5EE

i*=¥^=*=

^

u

j}*l *l

^

^

?

m

J7^

i

8

5^

s

a)

1H3B

.^^??



4*

J «J2

9^

r

Hf

r

^^s

[iJ)i

J)

i

#=f

=«

M

4

i

M.T.

MS.

i

:5=E

^

*} *?

:

1>

*

8

T=?=

1^

i

3 g

1

r

^

r]

^

8 «

1

i'

^

p

^=^

$

ff

^«

^

P

»

1 .

« a

8

^

o

4

/

^

^

^

I

p

^

T=y

=f=y

11135



'

}^j'

M

s^

tt

4

tft

^li^

i

/

f

* li

i'

i

^

T=^

^^^^

^fe^^

^

fcM

2

#=^E'^

^

f^¥44:

^f

^

m

:|

^

Hi

^

^t

^

/

P

^2

^^

^

t

.

g

»/|>

8

^

S

te

^^

#=F

P

9^^=i

^5

p

M

p

t^

^^

?

^p

^f??

2

^

^

7 ^

=¥=^

i

It

4L

i

w

_3

1

a

i

*

/

.1

t

3

P

ni

/

W

i



93

P.T.

HS.

<<r^

^J

p

i

Jl

^

^

^

^

^

E

>

CiPiP

g

m m

m

I

i

i

%

P r-^

^

I

^^

»«*

*

-1^?

S

^^

^^

^M

»

-^

:>.

==*

^^

^5E

=^^

^

i

'^F^



94

$

j-i-'-SJit;

i

^^m

#

'

—

:;z

^

>

*

i

'^

^W^

#

T^«

^

j

^

*t

i

^EE

*

• d

4

J

J

I *

.

»

-*-»f

^

^

*

i

/

^

f

=^=^

^

>^

jz£^

^

i^

i-

J)

^

^

^^

p^r

/

i

^^

ri'

i

i

^

^^m

y

r

T^

'^

i-t

-I

—

1-

t

B

h Mm

f^

t

t

^

^^Jm

^'^

>*

*

=f

^

i

:S

•

.;'

i

w^

1I13S



95

a)

Execute the

arpeggiated

chords

swiftly, the hands

attacking and

quitting

them exactly

together.

11136

a)

Die

Arpegcien

dieser

letzten

zwei Accorde

mils-

sen

in

beiden

Handen

gleichzeitig

anfaugen

und

auf-

hbren,

und

rasch ausgefiihrt

werden.



96

SONATA

IX.

Abbreviations:

P.T.,

Principal

Themi-

S.T.,

Sec-

ondary

Theme.

Tcma.

Andiinte

grazinso.

(j^-

isjo.)

4-

—

^.1

Abkiirzungeu:

H.s.

btdtutit

Haui>T.sulz,

SS.

Si'iteii-

satz.

*-^3

,

a

3^—^

W^r^

f

/rr

r

^

^

r

pr

P

1

4

3

1 Y

\

^

r-Jr

r P

^

f

«

^

i

^r

i

^^

i

^N

/^

^

^=f

£

^^

a)

mp

(vwzzii pin

no,

rather soft)

viz.,

between

p

and

iiif.

ai /////

{iiirzzo

piano,

zicmlich

schwach)

bedeiitet

eineii

Griid

\(iii

Tnn.starke,

welcher

zwi.scheii

puud

m/'stfht.

IHta



97

ii

tf

m

i

f«»CJ

6

4

8

f

3 n

p

î'

f

^

1

;2 1 8

1

^

• #

#

#

^

6-Jyi

8 t

« 1

jy

*•

^¥

.

.n

/

^y

3.

.1

rn>i'^

'

v^^

w^^

^^

i

p

:

»

y

> ^

^

ty

j¥frfriir^r»rV.^

*

8

a

4oN

4 3 2

4

4 3

1,

a

i^

y^m^

p=p

F

-

.'

p

- ^

^=-1'

/»=- '

gttf;^

i

i

if_^

I

'iiSs/â-^^

^îS'^'g^j

^

^

^rÊ^f^â*

i»

cresc.

^j

s^

•>

»

P

^

^5

>

»

F

4

3

a

i^fji

^m

3^

^

;S

=^=T^

^

==1

Ikr-t

dim.

f

''

«

'

LJ

LL;

^ ^

)

'

^

a)

^

3j»

.^

6

5

^J *'t

1114«



98

b)

strike those

appopg-iaturas

exactly

on the

bi-at.

c)

^

easier:

leiohter:

b)

Die

VorsLhlafT'^notp

mil dem

ris obcn

plcichzeitig

anschln^eD, und so

fort.

11)42



99

Var.

III.(J>.

.18.)

A-

^^l^^^fL^f:^f:^fi^^^,l^fi^fL^

^*ig

nf:±

4

K

-

ztut:

:=:

-.;-

m

g

1

i

S^

f- ;

#

ri

I

r l M n

^

11142



100

11112



101

' 1

^*^

5

4,

%

ai

^

nm

n^n

/^^

p.

^m

T

«

i

> *

£ i

p

^

r

I

irf

ri

rjr}

^ ^

J;

^^^

Hi

.

i

.

=f=T^

1^

-i»-

^^

^

^^tf

/

^

f

Var.V.

Adagio.

(A

60.)

3



102

nppin

the

riiiliiHislinicnt

with the

bassflote

a, anil

execute

it

so

quickly,

that

the

principal

note_r

sharp, is struck

before the

entrance

of the r

sharp

in

the bass.

Den Vnrschlap

mit

dem

n

im Basse

zii

bepiniicD,

jedoeh

so schaell

auszufiihren,

dass

die

Iljinptnote ci's noch vor

drni

ris

des

Basses

eintritt.



Var.

VI.

Allegro.

(J

zU6.)

103

h^

.i^^Jm

ff^

/

^>>iii'

p

^P

<

81

6*

8

J

d)

r

^ffiH

^^

^

1

^^

•

P

mi

u

^

a)

Make

these appog-g-iaturas

very

short,

but

distinct;

strike them

exactly

on

the

beat.

b)

The

r sharp

must

enter

with

the

fundcunental note

of

the

left

hand.

All

the

broken

chords

in

this va-

riation

aje

very

emphatic.

^

d) Both hands begin and

end together.

11142

a)

Diese

Varschlage

auf

den Anfang

des

Takttheils,

sehr kurz

aber

deutlich,

b) Mit der

Grundnote

der

linken Hand muss das ci's

in

der

rechten

Hand

eintreten.

Alie

gebrochenen

Ac-

corde

in

dieser

Variation

sehr markirt.

^^

^

^

)

Beide Hande znsammen

anfangen

nnd aufhoren-



104

Menuetto.(Jzii6.)

>tt*

-^

a) Plav

the

first note of

the

embellishment

with

the

bass.

a)

Die

erste VorschlagSDote tritt gleichzeitig

mit

dem

Bass

cin.

11142



105

b)

This

trill is

undoubtedly

intended

to

end with

the

following'

figure in

thirty second

notes,

instead

of

the usual

turn:

f ff rf

rn r'

But

the

customary

•1^

close

is

easier,

and

is

allowable:

=

ffr

-11

b)

Dieser Triller

ist

wohl

ohne

den gewohnliehen

Nachsehlag'

von

unten beabsichtig-t, indem

die fol-

g'enden

Zweiunddreissigstel

die

Stelle dcs

Ictzte-

ren vertreten:

Zur

ErieiehteruDgmag

jedoch

folgende

Ausfiihrung

gewahlt

werden:

j



Trio

106

$

s

^

m

3

»

i

Wy^

y^^^

m

^

0L

P

^^

s::

i

^

^

T

T

a

a

i

^

S3?

T,

»

i

f

f^vf

f.

^^

m

m

3

Z

W

*)

m

^

m

46

4/

—

-.:.

-•

i.

fe

i

M

0.

^

'

P

cresc.

.

Wrj-^-i-^

^

^

^S

¥

1^

¥

r

a)

The

appopeiaturas

on

the beats.

11142

a)

Die Vorschlape auf

den Aiifung

des Takttheils.



107

*ii

r

r V

p

*

m

^^

5

^^#

^

ip

p

p p

i.

^

T

^^^

?^

ft'

l^

6

^f

*

1

-

^

6

4

3

^

—

-^

«—

i

f

t

^

lI/

ri

f

i'r

>>

i'1

K.

'ff

^-f

^

^^

«-^

1

(/im.

1

r^

^^

m

i_s

rr

^

_a

L

S

f^t^

^

*~*

^

mf

^

^

^

i

^

i

11148

Mevuetio

D.C.



Alia

Turca

Allegretto fw-ixc

)

P.T.

HS.

108

Rondo

m

'^m

p

'

U£l

p

^

I

rv

f

f

ii

«f-f

f

«^

W.A.M02ART

g

:&

^^

a)

Always

hepin

the embellishmpnt

on

the

beat.

-11

:

4

b)

c) Play

the

hass with

the

c sharp

in

the

rig-hf

hand,

accent

it

stronplv,

and

so

proceed

througrhout

the ea-

fire

theme.

11148

a)

Den

Vorschlag immcr

mit dem

Takttheil

bepinnen.

c)

Der.

Bass muss

mit

dem

cis der

rechten

Handg'leieh-

zeitip

eintrpten

und

sehr

markirt

pespielt

werden,

auf

gleiche

Weise

durch den

g-anzen

Satz.



109

*t

^^»ai

^

^

^)t

#

t

i

/

»

»

»

^

,i

*(t

I

:E

£.

f

F^

V

i

i^

^

f^».

—^^

1

1

-0

—

—

—

s

• • •

jfLTfLT

11142



no

P.T.

HS.

mif

m

m

p

'

I

r^'

p

<r

fH';

pf^^^-

^^^^^

p

* *

*

m

t

t *

f

, f

a

*

^

J

^mu

m

M

mm

M^F

I

M

/'/ >

^ ^

^

CODA.

*fe

#

^

i

1.

II

s_-

^^

^

^

11142



Ill

4

^

Mm

fit^t^t^

^fc

A)

w

>.M,.it

^r

#—

I*

^

O:

'i

I

#

»

# #

\»

P-P

•

t

1»

^

-I*

# 0—0-

^

*

*4

j'iJ'iJ'-i'i

^

4

S

ff^}{[

^f

f

|

fe

Sustain

the half

ndte c

sharp,

but

otherwise

play

chords

alike

in

hoth hands.

Let the

hands

begin

together,

and

attack

the

hig:hest

note

tog-ether.

:p

c)

The

appog-g-iaturas

as

at b.

a)

Die

AusfiihruHg'

in

der

rechteu

Hand ist

wic

in

der

linken

Hand,

nur

dass

di«

halbe

Note

cis

gehal

ten

wird;

rechte

und

linte Haad

mnss

pleichzeitipbe-

ginnen und

gleichzeitig

auf

dem

ohersten

Ton

eintreffen.

b)

P

c)

Ausfuhriin^

dcs

Vorschlag-s wis

bei

b.



112

Two Easy

Sonatas,

Op.49

No.

1,

in

G

minor

Abbreviations:

M. T.,

sifcnifii's M.iin

Theme; S.

T.,

Sub Theme;

ri.T., ClosinK'

Theme;

D.

(i.,

Development

-KTOup;

R.,

Return; Tr, Transition;

Md.T.,

Mid

-Theme;

Ep,

Episode;

App,

Appemlix.

L.

van

BEETHOVEN.

Aiulanto. (Jzbo.)

,

.

3:

s

Wt

l

vML-r^

^^

^

m

E

^i*

I

^m

^m

rr

^^

///

i//'

^^

i

£1

I:

A

a

?=

^^

a)

A?//^

signifies-, the

first

note

////

the

following-

ones

p.

b)

With

the

comma

we

in<lirate

places where

the

plaj'cr

must

perceptibly mark

the end of a

rhythmic

ffroup

or

section,

by

lifting:

t

he list r.nt

e

just

before

its

time

-value

expires, althouph the

composer

wrote

no

rest.

d) The

left

hand

more

subdued

than

the

rij^ht, but

still

ai-centing- the first

of each

pair

of

16<h-

notes

(i.

e.:the

bass

notes

proper)

somewhat

more

than

the

second.

e)

^r-F~rrT~^

f)

Here

ami

in

the

next

measure

the

left

hand

should

accent

only

the

first

note

in

each

g'roup

of

Itjth.

notes

somewhat

more

than

the

others,

but

in

all cases less

than

the soprano,

g-)

As at

d.)

h) In

these

three

measures

as

at

f.)

Hfi2jr X



As at

if

J

on the

preceding-

Page

^^

The left

hand here

again

more

subdued

than

the right.

As

at

Ca).

In these

twelve

measures the first

and

third notes in

each

group

of

16'h

notes

should

be

made

somewhat

more prominent

than

the

other

notes,

yet

always in subordination

to

the melody,

excepting

the tones marked ==-.



ai From hrri>

throuph

the

next 6

measures

the

li-fl

h.in<l, h.ivin^

the

melotly,

should

predominate

over

the

right

nnd,

where it

has

Z tones,

chiefly

accentuate

the higher

one.

b'

As on

first Pape.

CI

The

next 5 measures as

on

first Page.

d^

Doubtless

literally

meant

neither

for

^f*f

'O'

'^ f

*'^»^

*> *

e')

This

and

the

foUowinp

turns apain

as

on

first

I'dge.

f

'

From

here

onward

as

on

second

Paj;i'.



m

i

uxt

hl-l.f

^

.f-'

^S^

•=F

f^

^^^^

a

a>

ffi

¥^

i>/>

riiln

mil)

.

3

n

r

3r

Rondo.

Alleirro.

(J.:

n^.)

M.T.

^

n^m

2

a

>- f.

m

UiJT]

^^

m

A

m

=5

i*

^>n-j.,

^

^ i

t=#

^i

^^

^

ri

'k m

_4

1

r.

^^

^S

4

3

4

2

^m

J

*

^

-#

^

^^^

M

i

^^

0-

p

^

5? :

g

-r-r

?^

5 Z

p<T'f>

rit.

b)

ntriiipn

g

^N^

ei4

^

*j

M

r

1

^^

f

I

LLfQj

#

#

#

#

^

^

^

i^

^ ^^

^

^

^

r?

±5

l,-4

il^^

S

En.

2

5

^

IS2

P.

-'^

-P

tf

»

^s

:«^

s

f

b

#

J

J

«

U=

£

/

1^

,

•-

-.^

pf¥f

i

^Jti^

S

^*

gig

-l4

:1tv.

-fj

1-

^

Proceed

onlv

after

a

rest.



11C22

a)

In

these

groups of

16th

.

notes, accent each

first note

slightly

more

than the

5

following,

while

subor

-

dinating-

all

to

the

soprano. These

same

accented notes,

too,

(except

in

the fourth

measure)

should

be

held

down

durinfi-

the

second

16th-notf.

b^ Also

subordinate this

accompaniment, but accent

the first note of each triplet,

as the

bass

note

proper,

a.

trifle

more

than the

other

two.



Here,

of

course,

only

the first eighth-note in each

measure should be

accented.



118

f''

.

j

''

I '

^

I

^

t

^'l

^

^

^

**

fe:

^/'

^

^

-

.

.

I

;

'

I

'

—

4«^X^

5^

^

J V

j

^

n

=*^

^:

îL

^

^

»

^

piini

rif

A

1

2 :>

1

:;

l*îj^

\

-r^î*-

l

j -.l

'J/'j;

illiJJ



119

>

tf

J

.PJ

g

mm

14321

CN3

3

^S

^7gr

^

^

i^

:^

^

f^

I

r.

m

^M»Lr,

m^

3

4-a-

3 12

4 1 a

Coda.

4

5

-ff

^

-

—

-

s

^^

2,^

.

2, ,

t

5

3

15

3,.

.2

4 ?

^

r,^

^m

tt

1

^

-

2

^

&^?

^^

f^^

=t5= ;

^

i^

wnr

mm

^m

m^

^

—

)

^W

m

B

i

i^s

i

f*

I

E^

p

^

^

H

S^^ir

g

^^ ^^

^^

^^

dim.

^^ ^^

^

^^

^

S

I

J

^

I

J

^l

^-0

11622

b)

a)

From

here up

to

the

j^

discreetly

subordinate

the

lift

hand

throughout

(also in

the

repetitions of

the fundamental

tone.)

b)

Let

the_^

enter

abruptly

with

the

fourth

eijfhth

-

note,

without

any

previous

crescendo.



U'O

Two

easv

Sonatas.

Op.4y,

N'»

e.

Abbreviations: M.T. Mgnifii-s

Main

Theme;

S.

T., Sub -Theme; CI.

T, Closinf;

Theme;

D.

G.,

Development-Group;

R.,

Return; Tr.,

Transition;

NM.

T.

Miil-Tlieme; Ep.,

Episode.

L.van

BEETHOVEN.

Allt'irro

m;i

nou

truppo. (•

-_

\3i.)

^

^

t

33

*

^-

m

.

u

L^*

i

a

-s>

^#

y\

p

r^

w-»

if

fl

—

r

m

»

•

—

r

•-

^

/^

^^l^'^^

-

^

f* ^

S

^

Tf-t-

or

3_

^

^

p

li

^

f-

i

^

^^^1-^

5

a

1

^

#

'>^M

J

y

^

£

^^^^^m

^

^

8

4 8

ST.

8

«

^^

i .n:

^^

^

^

^^

s

p

p

tip

^

^

^

CT.HT]

TU

I

i

^^

^»*:

>

9

*

*

*

fig

It^TT*^

*

'

;«

i

ft.

i

2

.

a)

or

easier:

b)

^

rr

Copyriffht.

1SU4.

hy

G.

Srhirmor,

Inc.

Copyright

rfW-wnl

a.\.si :nrd,

1923.

to O.

Schirmer,

Inc.

Printrd

ir.

tSp

U.

S.A.



rci

3,^

3

2

'^m

3

3

1^^3

4

3

2

^

Itr

^*f

J

/Trc/Tp

^

^^

gtfj^

*

2

1

(/////

.

^m

^

wi

J

I

J

I

^

^^n

1

3 3 3

3

«

*

1*1*^^

-3

8

9

*-

^J

i j i

^

iJi^nrrrcrr

4

1

(»

^

|»

^ P

^

f-

^

J

S

J

ta

cXJc^cUcli

r

E r^

_i

#^

rr

/rritrJ:D

i

5~

/

/

i

^^m

'

:i

t/

4

Cl.T.

12

J

3

2

^m

^m.

s

s

:^i

I*

2

3T

13

l^

'

F

i

(///,

^

5

• • .

#

-»^

#

»

» m

i

#

—

i-(^

/

pi:

F

»

Strike

all

short

appog-g-iaturas

on

the

beat,

simultaneously,

with

the

accompaniment-

note.

Fj

should be executed

as

a long-,

accented

appog-giatura:



IW

D

G.

a)

4

^

S

^

^

r~y

S

I

I

I

J

I

m

gggîj,

^

;

.

_

f

t

u? t

?

t

'

?i

^

^

-r

-«

1-

•

M

^

^

^

=^^

11^

^r-;^r

i

g

m

«

1

I-

a

^^

I*:

^

^

^

1^

yn

7

VT

?

F

^

S^ m

JTT]

^

000000

0000

0000000

000

#

\

-0

^12

12 12 1

ijl

*

> -

^

|^£££

#^- 1

^

^

M

T

m

m

i

'

tf

^

1^g

3

-|||t|?#g:^:^^

f

1

4

^^

^-

4i

*^

m

«-

I

>

tf

S-

,i

=fr-

g

3^

^

m

^^

^w

îv

i.

^

^

.

m

•

'

•

F=F

1/

i'

|5-

'j^«

Tf

r

M

^

f

m

ff

^m

[TTjfrn

p=#

J

J

^

k

*:

4

*

i»

iS^

Fp.

:^»

:l

:t

./

^

a^

:

)

;

]

^^m

y

.y .y .y

^

:pr»-^

tiJ

î?*

5t^»

li^^

^

» :

a

.

H

\

B

r

#

^ » #

^

f—

ZT»

4

V

^4

:-#

—

i-^

V-'- M

i

P^ » F^

#

IIK-.M

^^

^r? :r^j^^

g^ti^f^

.-r^



U'a

5

-fLJL

5

^

^ J

.5

r

iU^

^

7-

zrnz

f

r

&^

[

is

c^

ciJ

c^

cu

I

fe53^

S.

T.

3

l

1

^

3

tt

1

t

I

*

J

j

>

i

^

i

f

d y

^

^

^^

i'

i*

^

f if if-4#

^

5

#-

4#r-

s

f=^

^

^

^



Tempo (li

Monuetto.

(u

-

wi.)

A

rf

:»

A

^

Ji

t-.

^

m

^^

4

s=

r

f

T'f

^^

M.T.

-^

^^

<J i

fc

t

# # -

*

I

*

*

*

#

#

-

#

I

1

1

1

4

^_^^

1

4 4

^^

i

^ S

i^^

^

4

A

1^

^

4

a 2.

4

3

^^

f

*^

f f

0

—

:22

^

A

««£ A

# -

*

P:F==#

P

a

^

»

—

*t»

—

•

4

i

te?

^

,4^

a'

^

^>»

^

r

r

^^

/'a)

f

^f

^

^^^

#

#

^

BE

^

«

1-

s

s

ti r

n

^

:5 Biti-t^^t

tfL^-M

1^

p

^

M.

^

M. M

M.

i

*

A

-

•«

I

a)

w» (meno

piano,

moderately

soft) sig-nifies

a

deeree

of

tone

-power

midway

between

p

and

mf.

Il«t3



Uo

5

5

3

jioro

rit

.

*

'nr'^^r.

•

•r

#•

jj

pgg

'I'^fTri

a¥rr^

pp

5^

11623



H:

t

M.T.

*

3

120

g

5

i

^

•

m

s

-*^-«-

<

T^^

A*

I

•*•

i

g f

fi

^

^

^

M.il

^

^

#-^

—

t^

s

^s

^^

^

^^

»

#-»^

^

f- f-.f-

i

»

^

^

s »

»

;>'

P=*

*^*^

w

^m

J

i.TlJ'

£

.

r?

^

] _t

^

^^

^

^l

*

*#

*

#

4t

#

s

^

i

^»

¥=¥^

s.T.n.

s

iS

^

^^^

A

M

tf.

i

# -

A

y

f

^m

§

^

t

•i

^'

m

^

m

m

^

i

W.

0.

S

tl

t.

fl

r

I

M

r

^

r

I

r

I

r

p

>

lYf^^

¥^^=W ^

m

^

i

;*^

-I

—

i

—

I-

t

—

i-

f=PF

r

r I f 1

i

^=*

^

^S

^^

11623

t±^

g

^^^

t#=^

^^^

S

•

^

#

41 5«

^

ih

y

diiiiiti

.

fi

g

^



#

127

5^

^

PP

^M

i

Tfrf

EEEE3;

M.T.

:^t=-dz

^rTff

«

f

yf fyf

I

I

S

*

***

r~

rrr

^^v^

5^

m

^^

s

?

^g^

r

pû-

:zz

'.

M

pf^fpf

A #

# #

-#

^s

*f^

i

î^

^

£b

r

r^L/

I*

•

tf ^

(K

S^3

:

///JO

i

*

fe§

ÔXJ^

t

A

#

^

<

^

^

.^

)yi

>

7

^

^^

p

.

•

^

i

i

A

A

4:

^

.r

r.fl

^3Ef

:

JL

Jt

^

#

-

#^

<M^

i

#

- ^

y

^

g

f

^

Coda.

it

^

3

3,

r

i

r

^

—

-^g

^

^

5^

^

d

4

i

3

ffilil

iii

IJ6'23



128

SONATA,

Op.

7'J.

m

resto

ivllci ledesca.

(J.iss'i

a)

^

f

L.

Nan

BKKTHOVEN.

1

o

:i

^

f

&3#

/

fr

pore

i/i

#

-#

- #

^

i

*£*£**

*£*&**

^

i

b^

^

^

5

1

J

tt

J

J

i

ifcK

t

rr

/

sT

rr

^i

ten.

3

Irii.

w

a) It is inipresliDK

to

observe

how

much

more

genius, i.

c..

virility

(yet

without

prejudice

to

its

grace,)

Becthovra

exhibits

in

his

treatment

of

the

characteristic

local

note

of his

Viennese

environment

Uhe

•LanJler, )

when

in

the

mood

for

employing

it,

than does

Franz

Schubert.

The

affinity

of

this

'alia

tedesca

to

the

Intermezzo

of

like

name in

the

grand

String-quartet

Op.

130,

is

also

worthy

of

note:

Op

79.

%

lup.

i:t()|

b)

Avoid

all

useless

time-beating

with

the

left hand,

but

mark the

anticipation

of

the

dominant

harmony

on

the

third beat,

whirh,

as

a

peculiarity

of

the

Master's

later

style,

assures

the

connoisseur

of

Beethoven

with

greater

reliability

than

any

antiquarian

researches,

that

this

Sonatina

is

no

Jugendarbeit

(youthful

work.)

ll«U&r

Printed in

the

IT.

S.

A.



1V9

*

4

ixtoi^^^

=1=^

^

4

1

I

f

f

3

X-1

^^i

pg

a

#

ul

'

^^

fiift

•/

V

^m

. ,tf f

r

4

5

.

tf|i^^g^

f^fff^f

.f¥f^ffr

,fff

a)

%».

*

ie?i.

Ff

a

1.

.

2.

.

ff

W^

f

^ ^

P

1

/

>>»

Fr^rF

i

i

^

-^

/

^:

f=^

/

a)

The

animated

waltz-

rhythm,

in

which

the third

beat

also

has

a

slight

accent,

must be

brought

out

equally

in

both

hands.

b)

This

trill

is

to

be

conceived

simply as an

inverted mordent

with

after-beat

(quintuplet),

and

begun

on

the

prin-

cipal

note.

11628



lao

i

m

r

m

m

^

:±M

u

*^r^ | g» 4m

j

i

1 :t

^

^^

y*

—

îy

2r

/

j(r

f^

a

ly^Tf^

$1

•

_

•

_•

^

^

fesat*

«

«•

^^^^

'

I

//n/i

tnippo

/ffîitn.

a'

r.

a

a

1

i

v=F

F»=l:

'^^

v^r^^

7

/•i>

^^-w

^

^

^

^

# F'v

^>ii.^rjr^

^

^^

3

^

=p^

^

^

^^

/

/

/

i/

i/

#

1=

:CT

:i

4 1

5

-j

'/

Iriniio.

:»

I

.-.

J

\ I

a

1

:i

1

',

1

\

I

m

f^

'^'»iî

F?*?^

-+-

rt^

^

nlre.

b'

^

^

^;^tf

,(i:J

j^>-

^ ^

^

^

*=*

\

V

^/'

r

—

1J

'to.

«

i

3

1

.-.

1

\

\

a

I 5

g

4

1

't 1

5

g 5

I

5

g

4

1

^

'Sii'*

./

?»w

^^?

hA

S

^

M

'

*-

8

g

'to.

/

*

'to.

A//.

//«// trnppi

I

•;•.;•»

/,•//.

/r/r.

a>

The

seeniinply

inconvenienl

fingering

jjiven

by thf

Fditor serves to

urge

the

rijrlit

hand

to

preaf-

er

apility

and an

increase

of sonority

resulting therefrom; and also

b^

to

prevent

collision

with

the superposed

fingers of the left

hand.



i-A\

'

't

:{

r>

-4

't

1

:{

1

5

'J

% i

S>

^^

ilJ

bJ

?

J

:t

5 g

4

1

^m

rase.

>rfrV''r«^

lei.

I

FT*-

^rt#

1

I

I

I

I

=F

I

I '

g

b*

i

^

ilf

M

/ /

i/*

/

piiro

rit.

S

^

it

^

^

5

-j

^

t

?

^

^

dolce.

7 7

I

3^

t 9

»

'F/ii>i

J

•>^l'i^

^

p*1

hJ

J

^

T

si

i

s

i

3^

i

/

ir

'jits.

3

3

5

'i

4

'J

P

^

i

*

r>

-^414

'^

S^^

^^^*^

-ViT^

w

'

-9

#^

s

if

^^

u

^1^^

^^

m

^m

jE

*

I

'£a.

I

I

*

i5

1

:j

1

:^

1

^

d

i

,

^

sz

'w^itJi

w^

/

^

^=^

i'

3ZC

^^

e^:

^

tf

Av/.

l-^b

qiiiisi .s/iirrnfii.

4331

rmi

1

a

^

li^

\>i.

§

^

)

l^y

J

^m

f

fef=^=g

#

^^

F

i*

#\J^'Kri

i

4iir

cresc.

^

1

^

3

^

.T

9 /i

4

3

*

*

*

•

~.

•

_:

7-::::^

—^.

*

_:

^

sufiifo.

dolce.

*ES

t^

I

g

^

^^

*

4

'£iB.

»

11638



VVi

i

1=^

4 A

^

:i

f ^

^^m

=

t*i

'

^*^

l»*i'***

e

*

»

-I

«5PI-

a)

1J£

£

^^

S

*

1

i

i/-

'to.

*

'io.

;

I

: s

i

S

I

i^

'

i

n

li

1

1

i 3

«

—

h#-

I

g

S

cre.sc.

£

f

S

«

—

4

—

*-

4

'to.

f^

m

^

m*^

m

tfii.

1

^

'/<:

^

C

**«:

*

^

^^^

I

I

I

-—

jrf

jrf

,^^

i

*

^

^^^

¥=^=i

=g^

i

=i^

^ ?

1^

1^

f^

m^

';^

•in-

^

flegg-ieramente.

1^

n^i>^

'to.

i

A

1

^^

4^^^

^

^

mflm^

^m

m

^

to.

Here,

as on

the

preceding-

page,

the

F.litor

has

taken

the

liberty

of p'ving

a

different

shading—

promote

animation

in the

4

-measure period, by whose frequerjt

repetition

indifference

is

far

too

induced.

If the

first 3

measures

(tonic)

are played

piaito, the

fourth

(dominant)

may

take

an

in

order

to

distinguish

it

from

the

3

first

measures

of

the after-

phrase

(dominant);

the

same

good

in

the

other

case,

where, by omitting in the

fourth

measure the

sforxatu

given

in

the

three,

the

former

is negatively

emphasized.

•

The

thematic

stretfo

requires

that,

instead

of playing

4

measures

in 3

time, 6

measures

should

if

were

be

played

in

^

time, thus

obtaining

a

grateful variety

of effect.

This

inverted

sliiie

is

executed

simply

thus:

^

/Tr^

^

*he rapid

movement

not

ai'mitting

of

its

as

a

turn.

'

IIH-^



133

i^

1

'i

d

f^r

-i

i

p^

cres-c.

^n It.

r

r

i

i

P

J

j^«^

7=?

^

'):ai.

^

tf

f

i ^

T

i/*

cre,sc.

lj^tif?Tnj -

4fe

^-»

^

I4M.

J

J

^ff*

^

|ff^

t*

**

J

rr=?

4—

t

»

1*^

£i^

tef

»

1

i

>»

;

;^f¥fF

ir

iSnl

^

«^

S

M

I

5^=^

tzz:

'-0-

T

i

4

«

%

^

5

HHI

*#^^1?

^

j9

cresc.

i

1

i/'

/

diniin.

p

creic.

3

^^^2F

^

'

^:

5

4

^«

#

'£a).

4

/<?//.

21

j^

^

#

I

T

^

/

dim.

P

/eii.

P

f

I

I

5t

tf###^

^

^5:a.

1;

ten.

f

^

»

'^-^-ffffi^r

1*

^

s

^

—

'2.

>

^

i

:i=^^

/

{

p

'I

••i

-i

II6-iS



134

Brillante.

lit

t

^^

*

1

'

0-

w-

f—

-i

—

-*

>

1

1

J

1 J

1

%

—

'

—

F

5^1-1

p

P

t^

§-

m

*

1

4

_i

J

1=^

i

-f

—

1

—

f

a

'

^.y

^

[^_|

—

I

—

1

kd

4

'

€

3 2

/•

P

'

'

#

•

«

IJ

f

J

=J

iiiarnilissiinu.

^^

^

=F==-

i

^^

^

i

£

/

/

^^

M^

^^

I

#

—

#

p-

^

T

a^

'

a

*

^

*

P

»

.>.F

F

.y

.y

»

0

#

£3^

?

?

#-=—

5

:j 4

3

z

§^

f

.

*

i=

ir I

/

m

-**-

^

^rr^ri

^

;<

1

;i

1

;t

1

lA

i

Mf^

M

^*

a

„

'»

^^

£i

>

5

-J

3

'^3

.13

/

/

|>

r/('/<r

e

leu.'^i(r.

S

«

»

i

^

^

3

4

Jl

1

5

'»

*=3E

^

\-

^

P

i

r^

^

^

rr

a)

This

rctardat

116ii8

waltz,

like

the

celebrated

waltz

in

\V,.her's

'Freischutz;'

must be

executed

pianissimo

and

with

no

ion

whatever; a

slipht

acceleration

in

tempo

is

admissible.



Andante.

J-

=

sh

135

jjiiri) rif.

I

3

n

Ifiiipt.

^^'l

''IlIk

'i'

p

espresstvo.

m

m

rij

a ) This

movement

may be

reprnrded

as the

prototype

of

the

modern

Song

without

Words,

and

one

hardly

surpassed

in

amiable and original freshness

by any.

Imagine

the

first

subject

executed by

wind

-

instruments

_

say

clarinets and

bassoons;

one measure

be-

fore

the

second

subject,

the muted strings

fall

in,

while oboe

and flute

alternately

bear

tlie

melody.

The

profuseness

in

the

directions

for

the fing-ering

is

justified

by

our

experience, that no play-

er

executes

with

finish

pieces

of

such

apparently easy

technique

until he

recognizes them to

be

dif-

ficult:'

The

change

of

fingers

expressly

called for

in

places

like

is

indispensable for

the

special

reason,

that

the

vis

inertire

of

the

fingers often

causes,

in

execution, mistaken

ideas as

to

the

leading

of

the

parts

IIH-iS



136

t

1^-

^

5*?^^

•

.1

slrntitndo

^ ^

5

//'/r«

/•//

(/

hiiipii.

4K-1

4

•4

3^

=^

iT

?:

r

2

••

As

the

passage

ascends

crescendo,

the quintuplet

is to

be

played:

The

s/ortafii

indubitably

refers

to

the

second

16th-note

E >, not

to

the

third

(£), where

it

would sound

and

tasteless;

its

sharpness

must,

moreover,

be

mitigated

by

a

preceding increase

in

power

ac-

by

a moderate

n'tardnnHu.



Vivace.

'*

z

i3j.)

137

^Ml

III

^0

I

.t

2

r.

^^

j[;

(/o/ce.

^

I

3

4

I

=»

^

>

3

'

^

:>

1

P^^g

#

—

-#

^

J

^

,

3

4

1

L

^

^

^

I

„

a)

•V

-^

-w

^

m

55i

^

—

I

I

^

^

^^

/

t^

^^

i

^

3

?

i

^

i

5_4

-1-^

^

rr

^

b)

«

3

1

iS

^

^

^T

J^D

J

J

^

3

3__±3

w=r^

-0-

if

u

m

^

^

./

y

to.

*

^

I

a

.^-^1

a

SP I

^

ff

f

^

^^

£:

1*^3

f

^m

I

^^

^m

—

0—0-

a

1

3

«

/

^

f

/

3

1

m

^

^^

piicd sleiifandn.

a

I 4

3

=F#

a 3 3 1

4

3 o

m

f

dimin.

S

^

#--1^

^ a^

||^

rrr rr

a)

As

implied

by

the

term

Schneller

(inverted

mordent; lit.

a

snap )

it

is well to

execute

this

grace

with

a

change of

fingers

condurive

to

a

snap:

h)

The

Editor

divides

this

passage

between

the

hands,

and therefore

lets

the

right

hand

lead

off:

llfi-28

re

,

6

I

2.1



13fi

£

p

a)

^

^

^

nTW^

T

:«

1

±-

m-'-

t

,

^^

=<,'.•

^^

H ::£'-f

1

«t

^^P

t

a

^—

-^

m

u

-'-

p:=:?3:

^

^

^

^

—

0-

f

S3

^m

v^r-tp-W

m

0-

:<

/

2

V

.

•

m

•

^

.

•

LifJ'^'i;

i

i

,;jji

i

j

J

i

cu

cm

*-.3

'

^t

rrf,^

p

^

^

(Wrui'i

Animato.

Ft

^m

f

W:

^

liL^t

I

U-J3

-l->-^?

^

^^

FFF^

'yu^.

*

a)

All efforts toward

an

exact

mathematical

proprtriioning

of

thi'

accompanimeni-tripU'ts

to

the

duph

rhythm

of

thr

thiiiif, will hi' vain.

Only

assiduous

^»•pa^atp

lirarti.i-

with

each hand

w

ill

If.ul

to

the

requisite

indep-rJence.

Compare Note

(a)

on

Paf;e

131

(Op.

54),

where

thr

method for

practice

is

discussed.

11612

4



a

tempo.

(J

=

132)

3

139

*^^^

-A

*-

LJ/r

yj

fe

±

M^

%

4

.3

:i

5^

^5^

5

4

^

?

^S

f

^

/

*tti-*

2

>

ilR^lr

§

^

^

?

•

m

P

m

^

This

measure

must

have

the character

of

an

interrogation.

The

answer,

with

the

re-entrance

of the

theme,

follow

as

naively

as

possible.

The

short

appoggiaturas must

also

be

included

in

the

value

of

the

principal

note,

not

fig-uring as

auftakts,

thus:

TWP NEW

YORK

PUBLIC

LIBRARY

m

AMSXBKDAM

AVB.

NBW

lOM

10023.

K.

T.



no

mm

«

..

:»

n

-^

:z

i

^^

i

^

/

*=»

^

^^

m

-.1

^s

^Si

s^^

i

^^

urcelerandu

ma

iiuii

troppo.

Tompi)

I.

11688



141

SONATA.

Baroness

von

BRAUN.

q 14J«^0|

M.T.

signifies

Main

Theme;

S.

T.,

Sub

-Theme;

ri.T.,Closing

Theme;

D.

G.,Development-groupj

R.,

Return;

Transition;

Md.

T.,Mid-Theme;

Ep.,Episode.

L.

van

BEETHOVEN

.

Allegro.cJz

138)

.

^^''^Z^T'

mp

(mezzo piniin,

somewhat

soft) indicates

a

degree

of

power

between

p

and

iiif

To

be

held a

full

quarter-note.

Emphasize

the

forle

and

piano

sharply,

and

accent

the

first

notes

of

the

piano

only

gently.

This

appoggiatura

is to

be executed

within the

duration

of

the

second

quarter-note,

so that

the

E

of

the

34

quarter-

j

h

W*

PrrT -

Copyright,

1894,

by G.

Schirmer,

Inc.

falls

exactly

on

the 3d

beat:

Copyright

renewal assigned,

1923,

to

G.

Schirmer, Inc.

Printed in

the

U.S.

A.



l4;^

i

^

I

«

3

fJ^'

t*T

^=?sy

^

r^

r

»f

p

x^

*

z-i

==*=

:^^

22:

^

ti

:^

i':^

^

^

'

T

L^- ^

^

sy

r

W

*

4

t

6

^

^.-

^

^

j

,

^

'

^^

^J

p

g g

f

g

i

to

ff^

r

T

^ffi

ii

J J

J

4*

*

*

^*

^

^J'^J'J

i.

f

,f

t=s=f^

f^

:,

:t

i

1.

.•

«^

'^

j

,

.'

t^'^

^'^

a^^i

fff-

r

^r

J

i

^

r

^ -

=

if^

-

*

p r

?

1

n.T.

J

5

'f

^

f

i'

yim

f^r

m

J

J

^

^

f

Ubiie

f

a)i



143

*

hh

^ryi

3

2

1

1

3

*

i

J

J

J

^st

3

a

^^

p=5=

n

:5^=^

^E^

r

r

r

r

creac.

_

r

r r

^

ii^

'/

i*

^

^r

j —ir 3t=-I

?

3

^

1 2

4

4

R.(Tr.)

•

•

•

5

4

'/¥»

^»

^:i=S

• •

•

Ef=|=t=^

f=£:

i

-^

m

The slurs over the

soprano, both

here and

in the

parallel passagre

further

on,

are undoubtedly

set

wrongly,and

to

connect

only

the

second

quarter- note

with

the

followinfr half-note;

hence

a fresh attack

is

to

bernnde

Fs

and D^

in

the

two

highest

parts, (as

with

A)}

in

the

third

part),

which

we

have indicated

by

th*;

iotv 'l«if

slur

and

over the

first quarter-note.



144

)

f:kp

r f*' r r rf f

* f 'f

IP

flft

£

ki

^M

'f

<//,.

Oli

OiJ

OJJlPr

11618



145

R.,

fcft

W&

m

s

i

^

=t

f

^_r

''LU

^

>

*

i

i>

* * *

^^

i

^

2Z:

i

«

«

« |C

« «.

15L»-

f

-t

—

«

—

t

*

—

«

—

t-

Of/rr/

iiKirc.

45

rt—

m

3

^

W

•

^=t=±

t±J^'7 f^^f^

tii

V

J

#

«

^

^

*

s

5i«-

^^

^

a)

5

/•//

//// piichfiti

iiri.

i

35

i

ffi»=

iSl-

y

r

f

r

•

UJ yUJ-

LLpVfi/

tf'^

»

EPIF

te=^

^

decrf.sc.

7

J

J

J^ J

J

J

^^

I

«-•-«

2

12

2

12

—

#^#

a

J

f til

{in

S3

:?

^^^

.'E£rP£^>j,rf^:M

I

i^

;^OT

J

i

'>'

I

In this

decresreiidn, too,

the

highest

part

should

predominate slightly over the

accompanying

notes.



146

X

^'

hi

i

4

8

4

1,

j

i

^

-*-«-

^a

M

/

*>-

^&

*

9

*

»

•

P^\

7

A

j^^^^v

^

*

3

y?

m

^^^^

f

• • •

f

f

f

f

#

ft*

»

4i

si

:*K

i_j|

^^

a

2

^m

6

>»

#

^

yyyy

^

^ff

^

i

:l;l

:^

ff

g

ST.

P^

^

^

?J

l^WWWWWWV

irV7VTTV7

a^

This

t(>iinr part shouM

h.-

so

ilistinctly broupht out,

as

to

betoken

its

derivation

from

the

prinrijial

motive.



3

4

2

3

52

1

4

^

^

4

2

>>»i^

tor

^

i

2

3

Cl.T.

^^

^

^^=^

-X-

-t-^

r-

%N^

4-4-

3

4

1

1

4

i

*,

3

5|

*.

T

2

?

•

U

k-

i

f

^^J^

i

^

ya

f

r

[r|

i

r^

^f

^

'

2

'i

I

'

^

«

^

«

'

'3

It

'

34

^

*

*

'=r-

r

r

j»

)--hh

FJ

^

iUt

cresc.

/

i'

?=

:i==:

/

^

^

Coda

1161;;

*¥=i^^

^*

i-^i

X\-\

I4f^-t

a)

See

Poutiiote

b)oii

Second Paje.



u^

All<'irn*tl().('j.z

fio.)

»

1

i

s

^tF?^

^

crt-sr

I

/

£^

^{^g:

?c:#=

_fi

A.

n

^

f

/

5^

^

w

i

—

i

HE

=^

»*^

-

\^.

''

ttiJ'

jintn

n't.

Il«l-'

a)

By

a comma

we

indicate

rhythmical

divisions

or

g^roups,

which

the player

must

make

perreptihle,

although

they

are

not indicated

in

the

rorapfsition bv means

of

rests.



149

T^^f



Rondo.

'''O

Allf|;ji(»

c()mmodn.f«3

:

ib»

p'-

i

gv-^'^

f

'y-hh

r

c

I

I

J

r

w

^

^

^^

y»

^

'»

.

ere

so.

f

^^

,

N

^4lN^^

/2_

^>^»/«

jf-

J

^

/

m

%

S.T.I

^

J*

sfe

^

^

6

'»

.1

5

4 5

2=

^

^^

f

J

ff

i

jin

eTw

^

r^

^

i

S

—

• _:

-

•

If

poro

ril

^

^

8

a

^/

tiiiipo.

^

t

^

1^-

r

^

^P=f

at'cresr.

M.T.

«

#-

E_--4_*L

^^1

=^

^^

1^

PP.r^^P.f:

.y

^

i

^T-fT

^w

^^

crcsr.

^^

J* f^

[^

^

?^

r

^

p.^,

1 ^

^m

'>:

/^f^

.>

^

w

^

m

^

W

fe

11612

-^

t^LJ-



TJ

*

'S:

a

CrrLCrV

5j7^D^I.'K?^

a)

The

sA/rrw/o-mark over

the

first

note

of

each

triplet

signifies,

as

often

happens

in

Beethoven

(and

in

earlier

times stiU

more commonly),

not

a

staccato,

but

a

stronger

accentuation

of

the

respective

notes.

b)

Carefully

observe

this

abrupt

pinmi.



\:,i

I

:j

;â

g

1

i

-*

;

<t.

^•'d^

'•-

^

;i=P

4\0

*\

*

^s

i

i

^

^5^

i

is

¥

?

r

r

t

fcî

^

-i^

-*-^

r-rr

-^-*T-

*

:

:»

^j #^

W

*

V

^

V

^

V

J

^

'%V-Vj

^^

>

*

-

—

»

^r-*^

^s»^

dt'crfur.

^>»

•

»

-'

^^

:?=^

^==1

T

iir

s

r

;r^=it

M

-»--«-

>

:i

'

•«

^3VH^

?

Jr.>

ZSI

^

5*

»û

-»u

;»^

5

^

g

_

•

.^

£

y

T

*

«

<

^

-«-

-w-

+V-

i

TV

TT

*

^

ZS

#

;

#

^

S

d

.

\

.

cpr.sr.

iaU<*

^h^rfJ^P^'g^^-'g

^^^^^^^^^^^

SiS^g^

«

-:

»:*pE;a

lii'iTf.sc.

f piifu

n't.

^*^

-W

-*-

-W-

M.

T.

*

a

Irill

pi

I

TT

TT

TT

:

§^M^

I

=i

M=^

^^

^

^r

r

^

S

^^^^^^^

cresr.

m

d

^*

^w

'J

^^

.ij5

:j

^^jt;^.

.

'>

tf/8

J

f

J

lltil;:



ai

The

bass,

which

here

takes

up

the

principal

motive fin

the

variant appearing- immediately

before in

the right

hand),

should

be played

with peculiar stress.



l.Vl

Baroness

von BRAUN.

SONATA

Abbreviations:

M.T.

signifies

Main

Theme;

S.T.,

Sub-Theme;

CI.

T.,

Closing

Theme; D.

G.,

Development-group;

R.,

Return;

Transition;

Mil.

T.,

Mid -Theme;

Ep.,Episo(ic.

,

L.

van

BEETHOVEN.

j'Alle^ro.'^*:

K4.)

Execute

the

entire

figure

delicately, but

with

such

accentuation

that

its

rhythmic

position

in

the

measure

shall

be

ills

tinctly

defined.

I

I I I

I

CopyrighU

1894. by

G.

Srhirmer.

Inc.

r r

r

llrfe

Ci

^^^^^^_

copyright

r«ne%val

assigned,

1923,

to

G.

Srhirmer

inc.

Printed iu

the U. S.

A.



155

2

5

4

3

i

1 1

f.

y>;tfe;^i^pfp^

fmm^km^m,

'Mhrk'f

^

a) Properly

subordinate

the

inner

part.

Keep

all these syncopated

notes

well

subordinated,

c)

1)613

;

easier:

tt----

-»^

or

thus:

--^

1

^



156

D

>>

^3

\

*

--jr

*-

^t^

^^

'^

#^

Xt.

EE^

I2»:

^

r^i

-Ti

^

h^.

=S=P=

•^J^-

^

|>j>

^\>.

feV^^^

W

^

^

r

T

p

-f^^

t*

^

^^

=^=tg^

-

^~fy

>

-

i-r^-^

I7>

4

1

^l- rt

h

4

4

^^

{i*

*

•. ^ :»

b* ,-^

j^^

-A

S

5

^^

«

f

f

-i

i

»

«

^

4

kg

^

kii ^

i.5

Hecre/iP.

<%

^

;(

i

a

»

G

*^

»'

»

1^

—

^

^

^feii

mairatii

il basso.

uei. *



157

J

J J

«

•^^^^^

J

'J 'J

dj

-^

°^1t

^°?

- ?:

^^°r;

-^ ^^

^^•^^

/

^

m

2-M _

i

i

^j?^;?;;?^

^^

1,

^^^

^

^

J

*

-jL

*

J

^

:

ii^'^

f*Mf>f^^;n

.

^^W

±i

t^

^^

^

^'•^•^^

^-^-^•^

^

m

m

''-*

f.tfi^rf ^

#

1^

1

3

»

^

*

5-

J

»-

if

11613



15fi

^.*V^r

^^¥^T

.M

rrrk

rV'

.fr

n^i^

v-

'tk

'l'~^ee'fe

/*

s

^

?

T-^TX

Tr^r^

^^p

y

^s

st«

fel*

-4^»>..^r:«A^-^:.r'g5g'*»;,»;r^*«^''**«^*«,

^

^^

it

4

*

-feL

J-L

^ ^

lg_fL|tj

JJ^

Jj'jl^'j

g

#

»

'

..:^f

f<f

^'

»

'?

^^

-

*

a.

^j>

fL

U*

^

'

'

^^

'

T*'T

-a*

-*

•-•

rra=::r:

y

4

4*4^4

—

J

'

*

l

^

*4^

^

_1M

^^

£^

/ '•

T4^

IJ

*

:.*-

,

*

~

*

~

:-iL

lltilS



'rffFffff

ir.n

fc^

piico

rit

.

ti

:i,j'

^^=3^=:^

i^^

)/

i>

O

M.T.

i'

y

i

*;

SkL.

T

7

^

^r

—



160

4. .

4

^^7i^

<

8

45

4

m

t

*

.1

a

3

^

n

'

^

cresr.

^^^^

^^-^-^-w'

0-

SSI

.1

--2

:i

—

w

—

d'

m

—

w

:t.*

4

fW^f^^

a

4

a

Properly

subordinate

inner

p.irt.



161

3

5

5

2

^

3



i>yi

i

Andante. (•

r

76.)

Ln

pn'inn

parte

senza

replica.

Teiiin.

s

2

B

4 S

1

4

m

E

4

T

^

^^5

S

h^»?

^^^

^S

f

9

»

f

>

jj»

j

i»

rr

^^

^ss

^

ffH.

^

y

^

J

»

iJ

»

^

/ />

(///

Variation

ner part

*

—

;pr

.senipre leg'nto.

%

g^

(•.Tjw

piii/io.

moderately

soft)

denotes

a degree

of

power

intertneiUato

between

p

and

mf.

In (his

whole

(excepting the 4

closing

measures) the

principal

melody,

whi«h

lies

in

the inner

part (in

the

higher in-

in

the

first

measure

after the

repeat),

must

distinctly

sound

as such.



«:<

# w=^:m

i

^

5^3

^

3:

l/

P

f

P

'^f

P

.sf

s

£

I^

^^

=^

*^

1^^

f'

re,sc.

TTf^

p

f-

-0-

i

i

i

^S

/rri-

i

S

r« fr'' R

f^

Irf''^

'^~f

1/

i'

y^

V^'^^^Uy

^?=^

i?±=r

/>

-<>

J)Fl>t^lf

j,f^

^H

^^^

«3i=Jfef

&

;

7

?

7

ij

^

a#?*^

^

1

—

r

r

ht

./

-

i/-

•1

SEB^

iitiia

P^

\^



ItH

crcsr

r

r.

jfT^^VS

t:

W'

M

^f>T

J^P

KrJ

y

V

m^-

^^

^

^

I

4

3

Ep.

5^^P

m

if

i.y

k^

s

sat

y

j

y

K?

K

^

^

t^^S^^

Si=^

j5^J

*-#

3373

n^

crfs/'

^

^=^=^

/

deckfsr.

i

I, i

ll

F=^

y

p^F^FFFf^

P'Erft'-J

P

'P

piicii

rit^

%

4lt=i

S

^

ff

yi^?

y

f

5=bt

^

r

dfcrfSf.

V

I'^F^F

1

?

y

P

7

f/

y

^

=:5=;^i£

i=±±

E

^=^;r=£

a) The melody-

notes

which

we

have distinguished by

specially

marking'

them as

eighth

-notes

or

quarter-

notes,

must

not merely be held

as

such,

but gently

emphasized;

the first and last

notes,

in each

of

these

figures-

consisting

of 3

16th-

notes,

must

be most

subordinated

even

more

so than the

bass

part.

b)

Kii:fiyrzai,dii

signifies here,

as is often the

case,

a

stronger

emphasis

not

only of a

single

note,

but of

a

11611

whole

passage.



165

d ^^*d W

m

53E

?

>>

f,i:^t^^

i

M^^^^f

pp

^=s^S

11B13

F^

PP

^

7

r^'-h^

*i

r=

KrT

^

f

1^

y/

F

T?

^>

^

i=^=r



166

Scherzo.

Alk'iiio

assai.

'J- r

7b.)

^

)'

M

T

P

^^

^

^

3

L

'--H^

au-P

'

tf

^

-^

^

^^

a

5^i

5^

^^^^

3

a)

The

three

notes of

(his motive

should

be kept

cleanly and

distinctly apart

throughout,

while plainly

mark-

ing'

their

rhythmic

position

in

the

measure

by

proper

(but

never rough)

accentuation,

thus-.

ii'ii:)

but not:

^=

and

not



^^

'f-t

i^

M.T.

i=t

;s

^m

p

;

y

y

^

S

n y

f

t|(

^

^

itit

^^

*

$

i

m

resc.

t

zzt

^=?

2=t

rTf^^p?r?r^f}A^

Tr.

r==[^

^

^

-r-t

y

?

<

^

>=r=t

'i

^

^ I

iL

p

^

i

e

:£

^

*/

i

y

y

-t^

^^

^

lit'

•s/-

^

poco

rif.

^

^

^

1

^

aH l»

w

m

^

]^^

decre

lltii:)



ma

a

teiiipii,

mil iitoio

mossu

iin porhrl/tuo.

(•

•

:

B9

)

Citiilabile.

^^___

—

-—

__

4

q

ST.

II

^ ^^

-=-••

This mere

accompanimert should be more

subdued

than the

hicher

part;

the

later

sustained

notes

should,

be

sure,

be somewhat

emphasized,

but

always

in subordination

to

the

melody



169

7 y

,y

-i

7 y

:^z=^

tt

-T—

i'

cre.sc.

•>»

E^r

*»

pp

^

a

P^

11613

^

<:'/«'

P^

seen

^^1

P

t,;''f^ff

I

do.



170

2

a

-rr-y

m

i

pp

m

^

M^^

2

?

s

p^

Sill

^

^

^/>

I

s

i

crf.sr.

^^

^

f

itt

^^

1?

#

^^

'

'

'^-.

:,

'-y

^m

I

I

~

«

^

B—

B

— s:

B

—

^

i

^

^

i

^

Cl.T.

IrfCiil .

I

S

if

pS'rr.sr.j

\f »

i

r—

r-

»

y

*f

f^'

f f

*r

iiKzai

1^

^

11613

P

/ri:,,t,j.



171

m

3

g

•

•

«^;

5

m

m

7t

ff

^WS^

^

P

y

y

f

y

7

p^

f

^m

m

^^

Coda^

St-

fc^

iz:

€

^E

/

ttf:

ii

Plff^ff'S^

e

'

.

y

y

#

#

54,

Q

I

:i:

^

^

f

tt

i/'

11

5

M.

u

^

^m

^

^^^

ffSff

^Ff

g

^#^^

—

-#

—

#

#

•v/

54

^i

fl

^

It

^

Tf

S

Tf^ff^r

P

mm

mmm

rf^fprp

i^

#

feEE

^

|

P

. n

B^=^

S

ii

FfSffgi^

a)

PP

^^

-r-r

a) Do not

retard.

I

?



ScHiRMER's

Library

of

Musical

Classics

PIANO

SOLO

COLLECTIONS

SERIES

ONE

L.

621

L.

622

L.

623

L. 624

L.

625

L.

1528

L.

5

L.

1509

L.

1653

L.

1

ALBUM

OF

25

PROGRESSIVE

PIANO

CLASSICS

L.

1314

Selections

by

Bach,

Beethoven,

Chopin,

Dussek,

Handel,

Haydn,

Hummel,

Kuh-

lau,

Mendelssohn,

Mozart,

Schubert,

Schumann,

and

Weber.

ALBUM

OF

25

PIANO

CLASSICS

L. 1315

Selections by

Bach,

Beethoven,

Chopin,

Field,

Handel,

Haydn,

Mendelssohn,

Scarlatti-Tausig,

Schubert, and

Schu-

mann.

ANTHOLOGY

OF

32

MODERN

CLASSICS

L.

1264

Selections by

Brahms,

Dvorak,

Grieg.

Henselt,

Jensen,

Liszt,

Moszkowski,

Paderewski,

Rath,

Rubinstein,

Saint-

Saens,

Schiitte,

Schytte,

Sgambati,

Sinding,

and

Tschaikowsky.

ANTHOLOGY

OF

28

PIANO

CLASSICS

L. 1263

Selections

by

Bach,

Beethoven,

Chopin,

Field,

Handel,

Haydn,

Mendelssohn,

Mozart,

Schubert,

Schumann, and

Weber.

BACH,

J.

S.

L.

12

Album.

21

Favorite

Pieces

(Heinze).

L.

1579

Chaconne,

Dm

(trs.

by

Busoni).

L.

22

Chromatic

Fantasy

and

Fugue;

Concerto

in

the

Italian

Style;

Fantasy,

Cm;

Prelude

and

Fugue, Am.

L. 1527

Concerto,

Dm.

2-Piano

Score

(Hughes).

,

L.

17

English

Suites

(Czerny), Bk.

I;

L. 18,

Bk. II.

L.

1494

Fantasie and

Fugue,

Gm

(Liszt-

Hughes).

L 1436

First

Lessons

in

Bach

(Carroll),

Bk.

I;

L.

1437,

Bk. II.

L.

19

French

Suites.

L.

1512

Two-Part

Inventions

(Busoni).

The

Same

(Czerny),

L. 850.

The

Same

(Mason),

L. 379.

L. 1498

Three-Part

Inventions

(Busoni).

The

Same

(Czerny),

L.

851.

The

Same

(Mason),

L.

380.

L.

1574

Two- and

Three-Part

Inventions

(Busoni).

The

Same

(Mason), L.

16.

The

Same

(Czerny),

L.

813.

The

Same

(Bischoff),

L.

1771.

L.

424

18

Little

Preludes

and

Fugues

(Buonamici).

L.

1087

8

Organ

Chorale

Preludes (trs.

by

Henderson).

L.

20

Partitas

(Czerny),

Bk.

I;

L.

21,

Bk.

II.

L. 1475

Prelude

and Fugue, .\m

(Liszt-Hughes).

L.

15

Short

Preludes and

Fugues

(Mason).

L. 1628

Toccata,

C

(trs. by

Busoni).

L.

1629

Toccata

and

Fugue, Dm

(trs. by

Busoni).

L.

1787

Toccata

and

Fugue, Dm

(Dorian)

(trs.

by

Prostakoff).

L.

1528

Toccatas

(Hughes).

L.

1759

The

Well-Tempered Clavier

(Bischoff),

Bk. I.

The Same.

L.

1760,

Bk. II.

L.

13

BARTOK,

B.

L.

1741

L. 1780

BEETHOVEN,

L.

970

Op. 33.

L.

1709

Op.

119,

126.

Op.

15.

Op.

19.

Op.

37.

Op.

58.

Op.

73.

L. 1562

L.6

L.

1511

BERTINI, H.

L. 135

L. 758

Op.

101

BIZET, G.

L.

357

BRAHMS,

J.

L.

1360 Op.

1.

L. 1361 Op.

2.

L. 1561

Op.

5.

L.

1368

Op.

1,2

5.

L. 1599 Op.

10.

L. 1429

Op.

15.

L.

1598

Op.

24.

L.

1450 Op.

35.

L.

1260

Op.

39.

L. 1261 Op.

76.

L.

1080 Op.-

79.

The

Well-Tempered

Clavier

(Czerny),

Bk. I;

L. 14,

Bk.

II.

The

Same

(Hughes), e. sp.

L.

1483,

Bk.

I;

L. 1484,

Bk. II.

Selected

Works for

the

Piano.

For

Children,

Vol. I; L.

1781,

Vol.

II.

L.

VAN

7

Bagatelles.

Bagatelles,

Bk.

II.

Concerto No.

1,

C.

2-Piano

Score (Kul-

lak).

Concerto

No.

2,

Bb.

2-Piano Score

(Kul-

lak).

Concerto

No.

3,

Cm.

2-Piano

Score

(Kullak).

Concerto

No.

4,

G.

2-Piano

Score

(Kul-

lak).

Concerto No.

5,

Eb.

2-Piano Score

(K\'l-

lak).

Contra-Dances

(Seiss).

Easy

Compositions

(Biilow-Lebert).

Ecossaisses

(arr.

by Busoni).

German Dances

(Seiss).

Sonatas

(Biilow-Lebert), Bk.

I;

L.

2,

Bk.

II.

The

Same.

Urtext

Edition. L. 1769,

Bk.

I;

L. 1770.

Bk.

II.

The

Same.

L. 301,

Bk.

I;

L.

302,

Bk.

II;

L. 303,

Bk.

III.

Symphonies (arr.

by

Singer),

Bk.

I;

L. 1563, Bk.

II.

Variations

(Biilow-Lebert),

Bk.

I; L.

7,

Bk.

II.

32

Variations

on

an

Original

Theme

in

C

Minor

(Bulow).

12

Little

Pieces and

Preludes

(Vogrich).

24

Melodious

Pieces.

L'Arlesienne.

2

Concert

Suites.

Sonata,

C

(Whiting).

Sonata,

Ffm

(Whiting).

Sonata,

Fm

(Bauer).

3

Sonatas

(Whiting).

4

Ballads.

Concerto,

Dm.

2-Piano

Score

(Hughes).

Variations

and

Fugue

on

a

Theme by

Handel.

Variations

on a

Theme by

Paganini

(Hughes), Bk.

I;

L. 1451,

Bk. II.

Waltzes

(arr.

by

the

Composer)

(Whit-

ing)-

Capriccios and

Intermezzos

(Whiting).

2

Rhapsodies

(Gebhard;.

G. SCHIRMER

New

York/London

I

COrvniaHT.

ItM. av

«. •CMinMBII. IMC-



^^^^^s

ScHiRMER's

Library

of

Musical

Classics

PIANO

SOLO

COLLECTIONS

SERIES

TWO

HR.AH.MS.

J.

L.

146.-.

Op.

83.

L.

1499

L.

1.-.00

L.

1501

L.

1602

L.

1347

L.

1728

L. 1757

L.

256

Op. 116.

Op.

117.

Op.

118.

Op.

119.

CHAMINADE.

C

L. 211

CHOPIN, F.

L.

33

L.

1350

L.

1351

L. 39

L.

31

L. 38

L.

1039

L.

28

L.

36

L.

30

L.

34

L.

1184

L. 32

L.

27

Op.

11.

Op.

21.

L. 1558

Op.

11.

L. 1557

Op.

21.

I..

1552

L. 1546

L.

1551

L.

1553

L.

1548

L. 1555

L.

1.550

L.

29

L.

1547

L.

1554

L. 1556

L.

35

L.

1549

CLEMENTI. M

L. 811

L.

40

Op.

36.

Op.

36,

37,38.

L.

385

COUPERIN.

F.

L.

1744

A.

nas

Concerto, Bb.

2-Piano

Score

(Hughes).

Fantasies

(Deis).

3

Intermezzi

(Deis).

6

Piano Pieces

(Deis).

4 Piano Pieces (Deis).

.\lbum

of Favorite

Pieces (Wyiiting).

Complete

Works

for

Piano

Solo

in Three

Volumes

(Mandyczewski), Bk.

I;

L.

1729, Bk. II;

L. 1730.

Bk.

III.

Piano

Works

in

Two

Volumes (Sauer),

Vol.

I;

L.

1758,

Vol. II.

Hungarian

Dances

(Scharfenberg), Bk.

I; L. 431, Bk. II.

Selected Compositions.

17

Pieces,

Bk. I;

L.

212, Bk. II.

FRIEDHEIM EDITION

Etudes.

JOSEFFY EDITION

Concerto No.

1,

Em. 2-Piano Score.

Concerto No.

2,

Fm. 2-Piano Score.

Album.

33 Favorite

Compositions.

Ballades.

Concert

Pieces.

Impromptus.

Mazurkas.

Miscellaneous Compositions.

Nocturnes.

Preludes.

Rondos.

Scherzi;

Fantasy,

Fm.

Waltzes.

M

IK

I

LI EDITION

Concerto

No.

1,

Em.

Concerto

No.

2,

Fm.

Ballades.

Concert

Pieces.

Etudes.

Impromptus.

Mazurkas.

.Miscellaneous Compositions.

Nocturnes.

Polonaises.

Preludes.

Rondos.

Scherzi; Fantasy, Fm.

Sonatas.

Waltzes.

6

Sonatinas (Kohler).

12 Sonatinas

(Kiihier).

12

Sonatas

(Buonamici),

Bk.

I;

L.

386,

Bk. II.

Harpsichord

Pieces

(Oesterle-Aldrich).

DEBUSSY.

C.

I..

1795

DIABELLI.

A.

L.

266

Op.

151

168.

DUKAS.

P.

L.

1738

DUSSEK.

J

Suite

Pour le

Piano.

11

Sonatinas (Klee).

The

Sorcerer's

Apprentice (Sander).

L.

L.

41

Op.

20. 6

Sonatinas

(Klee).

EARLY

KEYBOARD

MUSIC

L. 1559

122

Pieces

written for

the

Virginkl, Spi-

net.

Harpsichord

and

Clavichord

by

16th,

17th

and

18th

Centurv

Com-

posers

(Oestcrle),

Bk.

I;

Byrde

to

A.

Scarlatti;

L.

1560,

Bk. II:

Couperin

to

Rameau.

FAURE,

G.

L.

1673

FIELD.

J.

L.

42

FRANCK.

C.

L.

1383

L. 1232

L.

1407

GERMAN.

E.

L.

1335

GODARD

L.

213

GRIEG

L. 198

L.

199

L. 892

L. 201

B.

E.

Op.

3.

Op.

6.

Op.

7.

Op.

12.

L.

1.399

Op.

16.

L.

728

Op.

17.

L.

200 Op.

19.

L.

1373

Op.

24.

L.

1771 Op.

28.

L.

209

Op.

34.

L.

772 Op.

38.

L. 812 Op.

40.

L.

773

Op.

43.

I..

205 Op.

46.

L.

774 Op.

47.

L.

775

Op.

54.

L.

1420 Op.

55.

L.

106

.\lbum

of

Piano

Pieces

(Philipp).

18

Nocturnes

(Liszt).

The

Djinns.

Symphonic

Poem.

£-Piano

Score

(Hughes).

Prelude,

Chorale

and

Fugue

(Pinter).

Variations

Symphoniques.

2-Piano

Score

(Philipp).

3

Dances from

Henry

VIII .

18

Selected

Pieces,

Bk.

I;

L. 214.

Bk.

II

Poetic

Tone-Pictures

(Ruthardt).

Humoresken

(Oesterle).

Sonata

(Gallico).

Lyrical

Pieces

(Ruthardt).

Concerto,

Am.

2-Piano

Score

(Grainger).

Northern

Dances

and

Folk-Tunes

(Ruthardt).

Aus

dem

Volkslebcn.

Sketches

of Nor-

wegian

Life

(Oestcrle).

Ballade.

In

the

form

of

Variations

on a

Norwegian

Melody

(Hughes).

Album-Leaves

(Oesterle).

2

Elegaic

Melodies

(arr.

by the

Com-

poser)

(Oesterle).

Lyrical

Pieces

(Oesterle).

From

Holberg's

Time.

Suite

in

Antique

Style

(Sternberg).

Lyrical

Pieces

(Oesterle).

Peer

C.ynt

Suite

No.

1

(arr.

by

the

Composer).

Lyrical

Pieces

(Oesterle).

Lyrical

Pieces

(Oesterle).

Peer

Gynt

Suite

No. 2

(arr.

by

the

Composer).

45

Selected

Compositions,

Bk.

I;

L.

107,

Bk.

II.

G.

SCHIRMER New

York/London

>>^>^^vvvvvvvv^F^F

>^^y^^-<f^-^^^^

coPmiCMT.

i»M.

»r

«,

acNiawiH.

inc



ScHiRMER'S

Library

of

Musical

Classics

PIANO

SOLO COLLECTIONS

S

K R

I

E

S

F I

\'

E

SCHUMANN,

R.

L.90

Op.

15,

68.

Scenes

from

Childhood;

Album

for

the

Young (Bauer).

L.95

Op.

16.

Kreisleriana

(Bauer).

L.

1163

Op.

17.

Fantasia

(Bauer).

L.

1686

Op.

18,

19.28.

Arabesque;

Blumenstiick;

3 Romances

(Bauer).

L. 102

Op.

20.

Humoreske

(Bauer).

L.98

Op. 21.

Novelletten

(Bauer).

L.105

Op. 22.

Sonata.

Cm and

Presto Passionato

(Bauer).

L.94

Op.

23,

111.

4

Nachtstucke;

3

Fantasiestiicke

(Bauer).

L.99

Op.

26. FaschinRsschwank aus Wien

(Bauer).

L.

1715

Op. 32.

Scherzo.

Gigue, Romance and Fughette

(Bauer).

L.

1358

Op.

54. Concerto, Am. 2-Piano Score

(Hughes).

L.91 Op. 68.

Album

for the Young.

43

Pieces

(Bauer).

L. 1716

Op. 72,

76, 126.

4

Fugues; 4 Marches;

7

Pieces

in

Fughetta

Form (Bauer).

L.

1690

Op. 82.

Forest Scenes (Bauer).

L.

1707 Op.

92,

134.

Introduction

and

.MIegro

Appassionato;

Concert

Allegro

with Introduction.

2-Piano Score

(Bauer).

L.

1275 Op. 99.

Colored

Leaves (Bunte-Blatter)

(Bauer).

L.

1180

Op.

118. 3

Sonatas

for

Young

People

(Bauer).

L.1075

Op.

124.

Album-Leaves

(Bauer).

L.

1688

Op.

133.

Songs

of the

Dawn (Bauer).

L.

100

Album.

22

Pieces.

SCRIABIN, A.

L.

1684 16

Preludes

(Deis)

SELECTED PIANO

SOLOS

BY

ROMANTIC

COMPOSERS

L.1718

Bk.

I:

Elementary;

L.

1719.

Bk. II:

In-

termediate;

L.

1720, Bk.

Ill:

Lower

Advanced.

SELECTED SONATINAS

L.1594

Bk.

I:

ElemenUry;

L.

1595.

Bk. II:

In-

termediate; L.

1596,

Bk. Ill: Lower

Advanced.

SELECTIONS

FROM

SIX FAVORITE OPERAS

L.

1638 Excerpts

from Carmen ,

Aida ,

La

Traviata , The

Tales

of HolTmann .

The

Bat , The .Marriage of Figaro .

A.

1191

SONATA

ALBUM

L. 329

26 Sonatas

by Haydn.

Mozart and

Beethoven,

Bk. I;

L.

340,

Bk. 11.

SONATINA

ALBUM

L.

51 30

Favorite

Sonatinas,

Rondos

and

Pieces

(Kohler).

L.

265

15

Favorite

Sonatinas.

Abridged Version.

SONATINA AND

SALON

ALBUM

L. 305 15 Sonatinas and .Miscellaneous

Pieces

(Scharfenbcrg).

SONATINAS

AND

RONDOS

L.

693

22

Pieces

(Kleinmichel).

STRAUSS,

J.

L.

131

28

Favorite

Dances, Bk. I;

L.

132,

Bk.

II;

L.

133,

Bk.

in.

SWIFT, N.

L.823

12

Children's

Pieces.

TCHAIKOVSKY, P. I.

L. 1045

Op.

23.

Concerto No.

1,

Bbm.

2-Piano

Score

(JosefTy).

L.

909

Op.

37a.

The Seasons.

12

Characteristic Pieces

(Ruthardt).

L.

816

Op.

39.

Album

for the

Young.

24

Easy Pieces

(Ruthardt).

L.

1447

Op.

71a. The

Nutcracker Suite (EsipofT-Deis).

L. 1634 Selected

Compositions.

TOCCATA

ALBUM

L.

1793

WAGNER, R.

L.

1103

L. 1636

L.57

By

Antheil, Bach, Buxtehude,

Czerny,

Frescobaldi,

Froberger,

Gabrieli,

Hoi-

by,

Khatchaturian,

Padovano,

Paradisi,

Pollini,

Prokofieff,

Purcell,

Rhcinber-

ger, Scarlatti

and

Schumann.

(Ba-

logh).

Album.

20

Pieces

(Oesterle).

Selections

from

Operas. Bk. I.

Wagner-Lisit

Album.

9

Transcriptions

from

Wagner's Operas.

WEBER,

C.

M. Von

L.

1382

Op.

72.

Polonaise Brillante.

2-Piano

Score

(Liszt-Spencer).

L. 1189

Op. 79.

Concertstiick.

2-Puiiio Score (Sternberg).

L.

1667

Miscellaneous

Compositions

(Mason).

G.

SCHIRMER

New

York

/London



%

sonhata album for piano book 1

Documents

r r i r

f r ff r r r

s t t j i r r r rj

r crrrr

allegro assa i

r f rrrrrlil ils

r ilf ijs

jj j j j