Yes, it is. I have rewritten it to my iMAC & have two versions now ready, in F or in E-flat. Could also make it in E, the original tonality, but this is published by Billaudot in Paris, I guess. I have the two versions ready now.
#################################################################### Am 14.03.2011 um 13:25 schrieb [email protected]: > This reminds me of the Krufft Sonata. In some ways the piano part is just > as difficult as the Beethoven. At least, as I've been told by pianists. > > -William > > > In a message dated 3/14/2011 6:43:42 A.M. Eastern Daylight Time, > [email protected] writes: > > Thanks, interesting reading on this cursed day. (If you are outside the > US, > it's the first work day of Day Light Savings Time. So instead of getting > up > at 5 AM, it's 4 AM masquerading as 5 AM by act of Congress.) > > -----Original Message----- > From: [email protected] [mailto:[email protected]] On Behalf > Of Gary Greene > Sent: Sunday, March 13, 2011 9:07 PM > To: Horn-List > Subject: [Hornlist] Accompanied Sonatas > > > On 13 March 2011, [email protected] wrote regarding the Beethoven > Sonata "I had always assumed that this work was for solo horn with piano > accompaniment. I was listening to it yesterday and recalled what Hans has > said about the Mozart work for string and horn, the horn was part of the > ensemble. Is that the case the Beethoven that it is a work as much for > piano as it is for horn?" > > The Beethoven sonata, along with his sonatas for cello/piano and > violin/piano are part of the last gasp of a tradition sometimes called the > "accompanied keyboard sonata." In the middle of the 18th century, keyboard > sonatas were often given an "obligato" instrument which accompanied the > keyboard. That is, these were, as Hans points out by given us the original > title of the Beethoven horn sonata, keyboard sonatas accompanied by another > instrument and not sonatas for a solo instrument accompanied by the > keyboard > (which is how we conceptualize them today). These were different from a > parallel tradition that involved a solo instrument accompanied by keyboard, > in which latter case the keyboard part was often simply a thoroughbass line > that the keyboardist was expected to realize. Two different views of a > sonata involving keyboard and solo instrument existing side by side in the > 18th century. > > Having said that, let me add the expected musicological waffling! :-) > > 1. That a work might be entitled something like "sonata for piano with > horn > accompaniment" does not mean that the piano part could be played minus the > horn as a solo sonata. The horn part is obbligato (obligatory). > 2. "Accompaniment" did not then carry the negative weight of being a > lesser > or merely supporting role. The term would have suggested a > partnership--chamber music. > 3. Performers today playing such sonatas therefore should not relegate > their keyboard players to the background reflexively; it's a joint effort. > So, [email protected], the answer to your question is "yes." > 4. But in some cases, the musical content DOES indicate a subordinate > relationship of one performer in favor of another, so...it's not a joint > effort. > > So be aware of these traditions but also look at the music to see if the > composer is communicating a partnership or a lead actor with a supporting > player...and be aware that the supporting player is not necessarily the > keyboard. > > One other lesson here: all of this points up the need to know what the > composer wrote. We usually think of this in terms of pitches and rhythms, > but what a composer calls a piece is very often a clue to his intent. An > 18th-century sinfonie concertante and a concerto for multiple instruments > might strike us today as seeming like pretty much the same thing, but a > composer then was likely thinking of two different kinds of things when he > labeled the pieces as two different genres. Same way when Wagner has an > oveture for Rienzi but a prelude for Lohengrin--both are instrumental > pieces > that open operas, but the terms overture and prelude signal different > conceptualizations. > > Hope these comments are helpful. > > Gary Greene, Ph.D. > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/bgross%40airmail.ne > t > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
