Koželuch: Six Easy Sonatas

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Selected & Reviewed by ANDREW EALES
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“By 1790, ‘without question the living composer most loved by young and old’ was not Haydn or Mozart but Leopold Koželuch.”

So writes Christopher Hogwood (quoting from Ernst Ludwig Gerber’s Historisch-Biographisches Lexicon der Tonkünstler, Leipzig, 1790) in his deftly compelling introduction to Bärenreiter’s new score Koželuch: Six Easy Sonatas, BA 11565.

This opening claim is not the only surprise in this excellent new publication, which is surely an essential purchase for anyone teaching intermediate pianists, and for players of all ages at this level. So let’s find out more…

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Jakub Metelka: Little Virtuoso

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Reviewing Modern Piano Studies by the acclaimed Czech pianist, teacher and composer Jakub Metelka back in 2019 I concluded:

“Above all, Jakub Metelka’s Modern Piano Studies offers a set of fun little pieces which marry the benefits of piano studies to the delights of musically engaging bonbons suitable for informal performance and student recitals…
I suspect that teachers who try this book with a single student will soon find themselves returning to it with others, and that it will quietly establish itself as an essential studio favourite.”

It is no surprise that Modern Piano Studies has become an international bestseller, and as a follow-up Bärenreiter have now also published his collection Little Virtuoso, which earlier received the Bronze Medal at the Global Music Awards in 2017.

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Beethoven’s Revised Für Elise

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“It’s Für Elise, Jim, but not as we know it!”

Bärenreiter’s new urtext edition of Beethoven’s beloved Bagatelle is one of the most unexpectedly fascinating publications to arrive in a while, offering as it does a radically different version of the piece alongside the one we know so well.

Believed to have been composed between 1808-10, the autograph manuscript of Für Elise remained in private hands until 1865, at which point one Ludwig Nohl discovered it in the possession of a local piano teacher in Munich. Nohl published this version (we’ll call it “Version 1”) in 1867, and it’s the one we all play to this day. It’s really not bad.

How surprising to learn, then, that in 1822/3 Beethoven went back and revisited his earlier sketch, substantially revising it for publication within a planned (but unrealised) collection of 12 Bagatelles. Version 2.0.

Those sketches survive, and for Bärenreiter’s new edition Mario Aschauer presents not only the most authoritative text of Version 1, but also includes his fully performable completion of Version 2.

The review below includes Aschauer’s own recording of Version 2, so you can hear it for yourself and make up your own mind. Be prepared for a bit of a shock, though; right from the start, Beethoven’s revised version is very different to that which we know…

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Variations on a Waltz: The Diabelli Project

The PIANODAO MUSIC LIBRARY
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In early 1819, the well-known composer and music publisher Anton Diabelli (1781-1858), sent a 32-bar waltz to the most reputable composers of the Austrian Empire, together with an invitation to submit their variations for publication as a collaborative collection.

Among those who responded to the call were Czerny, Hummel, Moscheles, Schubert, and the eleven-year-old Franz Liszt, and from their contributions Diabelli was able to assemble a set of 50 Variations on his theme.

We only know for sure of one composer who explicitly declined Diabelli’s invitation to collaborate: Beethoven. It remains unclear why he did not want to participate directly, but he nevertheless composed his own monumental set of 33 Variations, not directly for Diabelli but exploring alternative avenues of publication.

Beethoven’s 33 Variations on a Waltz Op.120 quickly established itself not only as one of his most important keyboard works, but one of the pinnacle summits of the entire classical piano repertoire, entirely overshadowing the rest of the project.

Delivered for the recent Beethoven 250 anniversary year, Mario Aschauer’s landmark new scholarly performing edition of the Beethoven Diabelli Variations is an essential score for serious students of the work, published by Bärenreiter, BA 9657.

Perhaps even more interestingly however, Bärenreiter have also brought us their edition BA 9656, which includes Beethoven’s masterpiece together with Aschauer’s new edition of the 50 Variations on a Waltz composed by his contemporaries in response to Diabelli’s call.

Let’s take a closer look at this ambitious and exciting publication…

Continue reading Variations on a Waltz: The Diabelli Project

Schubert: The Late Sonatas

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Back in June 2018 I reviewed Bärenreiter’s then new issue of Schubert’s G major Fantasy Sonata, concluding:

“I am grateful that this beautifully presented edition of the Fantasy Sonata has given me a fresh opportunity to explore such a magnificent work – and with this Bärenreiter edition to hand, it becomes still more enticing.
The Fantasy Sonata must surely be among Schubert’s greatest piano works, and one of the more accessible of the later Sonatas. And whether for studying or performing this masterpiece, this new edition from Bärenreiter is undoubtedly the one to own!”

Now that edition reappears as the opening work in Volume III of Bärenreiter’s complete Schubert Sonatas edition, in which is is joined by the great Sonatas in C minor, A major and B flat major, D 958, 959 and 960 respectively, surely three of the most hallowed pieces in the entire classical piano repertoire.

Read on for the Pianodao review…

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Is this the definitive KV 331?

The PIANODAO MUSIC LIBRARY
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Published in 1784, Mozart’s Sonata in A major, with its famous Rondo Alla Turca finale, is one of the most popular works in the entire classical piano repertoire.

A couple of years ago, a newly resurfaced section of the lost autograph prompted Bärenreiter to issue an up-to-date Urtext edition of this celebrated piece, which appeared as edition BA 9186.

Now, another source has surfaced with the appearance of a previously unknown contemporaneous copy of the complete manuscript, which has prompted the esteemed publisher to update their urtext edition again.

The newly discovered source by a professional Viennese copyist sheds new light on the numerous discrepancies between autographs and first editions of many Mozart sonatas. It supports the assumption that the revision of the text for the first edition resulted from the change of target group from Mozart’s inner circle to an audience of connoisseurs and amateurs, but that this did not render the original autograph text obsolete; rather, both versions of the sonata represent historical realities.

According to the publishers,

“To achieve a truly faithful scholarly-critical performance edition of Mozart’s sonata, the editor, Mario Aschauer, has set new editorial standards and offers the most innovative methodological approach of our time by presenting the musical texts of the autograph and the original print separately without merging the sources editorially to a new text. On the basis of the newly discovered source, it is possible for the first time to reconstruct the autograph of this famous sonata and offer it to the performer as a self-contained playable version.”

Exciting stuff, so let’s take a closer look!

Continue reading Is this the definitive KV 331?

Beethoven’s Piano Sonatas: the Jonathan Del Mar edition

The PIANODAO MUSIC LIBRARY
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As publishers prepare for the 250th Anniversary of the birth of Beethoven, several have been revisiting his Piano Sonatas, a steady flow of which have been arriving for review over recent months.

First to deliver their new version of the complete cycle are Bärenreiter, whose edition of all 35 Sonatas (including the three early Sonatas WoO 47) is now complete and available in a variety of formats.

An epic achievement, this new edition has already won the hearts and minds of some of the world’s greatest Beethoven interpreters; those giving glowing endorsements include Marc-André Hamelin, Angela Hewitt, Stephen Hough, Robert Levin, Leslie Howard and Igor Levit (whose recording of the cycle I recently reviewed here).

To quote Paul Badura-Skoda:

“Jonathan Del Mar’s Beethoven edition is unparalleled in terms of its precision. What I value most about it is the use of lesser-known or previously unknown sources, the commentary, which is the most extensive to date, and the discussion of problematic sections. I wholeheartedly recommend this new edition of Beethoven piano sonatas.”

So now let’s take a more in-depth look…

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Ravel: Jeux d’eau

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“…the wellspring of all the pianistic innovations which have been thought to be found in my work.”

So said composer Maurice Ravel (1875-1937) of his breakthrough composition Jeux d’Eau, completed on November 11th, 1901 and dedicated to his teacher Gabriel Fauré. As such, the work is surely a milestone not only in Ravel’s compositional development, but also in that of the classical piano repertoire.

In this post I will consider the genesis and significance of Jeux d’Eau before taking a look at Nicolas Southon’s brand new urtext edition of the piece, with fingering and notes on the interpretation by concert pianist Alexandre Tharaud, recently published by Bärenreiter.

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Jakub Metelka: Modern Piano Studies

The PIANODAO MUSIC LIBRARY
Selected & Reviewed by ANDREW EALES
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Jakub Metelka’s Modern Piano Studies is an educationally useful and thoughtfully produced collection of 30 miniature pieces which address aspects both of technique and notation-reading at upper intermediate level.

The book is certainly novel, and may have what it takes to establish itself as a contemporary classic in the pedagogy literature…

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The Piano Music of Otilie Suková

The PIANODAO MUSIC LIBRARY
Selected & Reviewed by ANDREW EALES
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Otilie Suková was the daughter of Antonín Dvořák and the wife of Josef Suk. A gifted musician, she played the piano and wrote several compositions of her own, inspired by her musical surroundings. Four of her piano pieces have survived; three were published in her lifetime, a fourth ‘To Dear Daddy has never previously been published.

Now Bärenreiter have produced a typically gorgeous urtext edition of the four pieces, edited by Eva Prchalová.



I’ve been playing them, and they are lovely. Here’s my review…

Continue reading The Piano Music of Otilie Suková