SCHOTT

The 1725 Notebook of Anna Magdalena Bach is chiefly famous for pieces such as the two minuets in G major and G minor (Nos. 4 and 5 in the present collection) and the Aria di Giovannini. These three, indeed the majority of the pieces, were not composed by J. S. Bach but by other, often fairly unknown musicians. Though begun by her husband, Anna Magdalena Bach compiled the Notebook for her own domestic use. A definite asset to the collection is the Suite de Clavecin by Christian Petzold, organist at the Dresden court, which contains the two minuets mentioned above.
Komponist unbekannt: Menuet (BWV Anh. 113)
C. Petzold: Menuet (BWV Anh. 114)
C. Petzold: Menuet (BWV Anh. 115)
F. Couperin: Rondeau (Les Bergeries) (BWV Anh. 183)
Komponist unbekannt: Menuet (BWV Anh. 116)
Polonoise (BWV Anh. 117a)
Polonoise (BWV Anh. 117b)
Polonoise (BWV Anh. 119)
J.S. Bach: Choral (Wer nun den lieben Gott lässt walten) (BWV 691)
Gib dich zufrieden und sei stille (BWV 510-512)
Komponist unbekannt: Menuet (BWV Anh. 120)
Menuet (BWV Anh. 121)
C.P.E. Bach: Marche (BWV Anh. 122
Polonoise (BWV Anh. 123)
Marche (BWV Anh. 124)
Polonoise (BWV Anh. 125)
J.G.H. Bach?: Aria (So oft ich meine Tobackspfeife) (BWV 515)
Menuet fait par Mons. Böhm
Komponist unbekannt: Musette (BWV Anh. 126)
C.P.E. Bach: Marche (BWV Anh. 127)
Komponist unbekannt: Polonoise (BWV Anh. 128)
G.H. Stölzel: Bist du bei mir (Fassung für Singstimme und Tasteninstrument) (BWV 508)
Bist du bei mir (Fassung für Tasteninstrument) (BWV 508) -J.S. Bach: Aria (BWV 988/1)
C.P.E. Bach: Solo per il Cembalo (BWV Anh. 129)
J.A. Hasse: Polonoise (BWV Anh. 130)
J.S. Bach: Praeludium (BWV 846/1)
Komponist unbekannt: Warum betrübst du dich (BWV 516)
J.S. Bach: Rezitativo und Aria (aus BWV 82)
Komponist unbekannt: Schaf’s mit mir, Gott (BWV 514)
Komponist unbekannt: Menuet (BWV Anh. 132)
Aria di Giovannini (BWV 518)
J.S. Bach: Choral (BWV 299)
Choral (Notation für Tasteninstrument) (BWV 299)
Choral (BWV 299)
Komponist unbekannt: Wie wohl ist mir (BWV 517)
Aria (BWV 509)
O Ewig, du Donnerwort (BWV 513) (Bass: J.S. Bach)
Anhang: C. Petzold: Suite de Clavecin: Prélude
Allemande
Courante
Sarabande
Bourrée
Menuet alternativement
Menuet 2
Gigue
Passepied alternativement
Trio

With the new Urtext Primo series, Wiener Urtext Edition intends to bridge the gap between studying a piano method and taking additional lessons. Beginning with a performance level which is outlined by pieces such as Bach’s Minuet in G (BWV Anh. 116), Mozart’s Minuet in F (KV 5) or Schumann’s Wilder Reiter (Op. 68/8), works by three different composers are selected for each volume in the series, with the aim of offering piano pupils (or even adults who want to resume piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills.
The pieces’ range of levels of difficulty is relatively narrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons, but also lesser known works which are in no way of less importance for piano lessons.
The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles, music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces.
This volume presents easy pieces for piano by great virtuosos. It unites the two greatest, and perhaps best-known, pianists of the 19th century, Frédéric Chopin and Franz Liszt. The technical requirements of these works are very moderate without muting the stylistic characteristics of these two composers. The ability to play an original composition by Liszt in the first years of lessons can be very motivating for the piano student. Also featured in this collection are works by the virtuoso Ferdinand Hiller, to whom Robert Schumann dedicated his Piano Concerto. As in many of the works by Liszt and Chopin, Hiller’s works are frequently reminiscent of folk music. His Irländisches Lied and Fandango, included in the collection, are fine examples of 19th-century ‘world music’.
Chopin Frédéric: Bourée I in G (KK VIIb/1)
Chopin Frédéric: Bourée II in A (KK VIIb/2)
Chopin Frédéric: Cantabile in B (KK IVb/6)
Chopin Frédéric: Walzer / Waltz / Valse in a (KK IVb/11)
Chopin Frédéric: Sostenuto in Es (KK IVb/10)
Chopin Frédéric: Prélude in e (op. 28/4)
Chopin Frédéric: Prélude in h (op. 28/6)
Chopin Frédéric: Prélude in A (op. 28/7)
Chopin Frédéric: Prélude in c (op. 28/20)
Chopin Frédéric: Polonaise in B (KK IVa/1
Chopin Frédéric: Mazurka in g (op. 67/2)
Chopin Frédéric: Mazurka in F (op. 68/3)
Chopin Frédéric: Mazurka in As (op. 7/4a)
Liszt Franz: La cloche sonne
Liszt Franz: Ländler in As
Liszt Franz: Andantino in As
Liszt Franz: Ich liebe Dich
Liszt Franz: Andante in Des
Liszt Franz: Wiegenlied / Lullaby / Chant du berceau
Liszt Franz: Sancta Dorothea
Liszt Franz: Ave Maria
Liszt Franz: Weihnachtslied / Christmas carol / Chant de Noel
Liszt Franz: Die Hirten an der Krippe / The shepherds at the manger / Les Bergers à la crèche
Liszt Franz: Adagio religioso
Hiller Ferdinand von: Irländisches Lied / Irish Song / Chant irlandais (op. 117/2)
Hiller Ferdinand von: Schottisches Lied / Scottish Song / Chant écossais (op. 117/19)
Hiller Ferdinand von: Italienisches Lied / Italien Song / Chant italien (op. 117/31)
Hiller Ferdinand von: Polnisches Lied / Polish Song / Chant polonaise (op. 117/18)
Hiller Ferdinand von: Russisches Lied / Russian Song / Chant russe (op. 117/26)
Hiller Ferdinand von: Fandango (op. 117/28)
Hiller Ferdinand von: Ballade (op. 117/16)
Hiller Ferdinand von: Schlummerlied / Slumber Song / Berceuse (op. 66/I/2)
Hiller Ferdinand von: Lied / Song (op. 66/II/2)

This volume builds on the progress achieved by following the outlines and good practice established in Book 1. This book helps to establish the habit of regular sight-reading, generally recognized as a vital skill in all fields of music. To this end, the exercises are progressive and structured to increase the pupil’s awareness of new rhythms, keys and range of notes.
Changes of hand position are introduced gradually, as is the recognition of and familiarity with chord shapes in both 2- and 3-note groups. – A progressive approach based on self-learning- 150 graduated exercises- Both hands treated equally for melody and chord playing- Hands together used throughout
Simple hands together
no position moves
Semiquavers in 2/4 time
Semiquavers in 3/8 time
Position changes in the right hand
Position changes in the left hand
Simple position changes in both hands
Introducing chords
2nds and 3rds
Introducing chords
4ths and 6ths
Introducing chords
5ths and 6ths
Introducing chords
5ths and 7ths
Introducing various 2-note chords
Introducing triads and inversions
Introducing dominant 7th chords
The key of E minor
The key of B minor
The key of B flat major
The key of G minor

This book of pieces aims to establish good practice and provide an early introduction to the essential skill of sight-reading. In Part 1 the basic keys of C, G, F and D major and A and D minor are explored while keeping movement limited to steps, skips and repeated notes in a 5-note range.
Preface
Part 1:
Preparation
Three steps to success
Patterns: 5-finger shapes and sequences frequently used
Sight-reading exercises
Part 2:
Four steps to success
Introducing intervals of 4ths and 5ths
More sight-reading exercises
Ties and simple syncopations
Simple exercises with hands together

Περιεχόμενα

Moderato Legato
Scherzo
Moderato
Allegro
ViF
Moderato
Comme une Valse lente
Moderato
Adagio – D’ apres Mozart
Allegro Moderato
Pocoto – D’ apre’s Barmann

Σελίδες: 24Γλώσσα: Αγγλικά, Γερμανικά, ΓαλλικάΕκδόσεις: Schott