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The piano sonatas are regarded as the central works of Alexander Skrjabin’s compositional output. No other composer after Beethoven reshaped this genre so radically, thereby reinvigorating the tradition of the sonata. Skrjabin’s desire not simply to continue the existing tradition, but to surpass it, is evident as early as his first sonatas. These are exciting works from the pianist’s perspective and in their abundance of expression and wealth of imagination. Up to the third sonata Skrjabin developed a distinctive feeling for structural coherence and cyclical unity which at the same time revealed poetic qualities.This volume contains the earlier works; sonatas officially published during the composer’s lifetime as No. 1 op. 6, No. 2 (Sonate-Fantaisie) op. 19 and No. 3 op. 23 as well as the sonatas written during his youth, in G-sharp minor (1886) and E-flat minor (1887-89). The edition also includes the virtually unknown fragment of a sonata in C-sharp minor (1887) and the reconstructed parts of a sonata in G-sharp minor (1892) never previously published.The editor Christoph Flamm draws on autograph manuscripts, first printed editions and on Russian editions of the 1920s. For the first time the recordings of Sonatas nos. 2 and 3 which Skrjabin made in 1908 on paper rolls for the Hupfeld company, Leipzig are also taken into account.
 
Foreword
 
Vorwort
 
Preface
 
Plates
 
Composer / Author: Skrjabin, Aleksandr
Sonata-Fantaisie in G-sharp minor
 
Composer / Author: Skrjabin, Aleksandr
Sonata in E-flat minor
 
Composer / Author: Skrjabin, Aleksandr
Sonata no. 1 op. 6
 
Composer / Author: Skrjabin, Aleksandr
Sonata-Fantaisie op. 19
Sonata No. 2
 
Composer / Author: Skrjabin, Aleksandr
Sonata no. 3 op. 23
 
Appendix:
Composer / Author: Skrjabin, Aleksandr
Sonata in C-sharp minor
Fragment
Composer / Author: Skrjabin, Aleksandr
Sonata in G-sharp minor
Fragment

All eight concertos [BA 5224-BA 5231] are presented in piano reductions with separate orchestra parts. Not only is the piano reduction suitable for conducting from the harpsichord, but it also enables the works to be played on two harpsichords.All of Bach’s solo harpsichord concertos are now available with the “ Urtext ” of the New Bach Edition.

A large number of works have survived bearing the name of Johann Sebastian Bach, the authenticity of which has been called into question on various occasions. This edition now combines all those pieces where Bach’s authorship has been either verified by the musicologists at the “ New Bach Edition” or where there is a degree of certainty about this. The edition gathers together a range of different types of composition: as well as numerous preludes and fugues, there are toccatas, dance and concert works. Two adaptations after the violin solo sonatas BWV 1003 and 1005 are worth special mention. These two works demonstrate particularly clearly what applies to all the other works in this volume: whether Bach’s authorship is doubtful or not, there is no question that this is a collection of fascinating music.This performing edition corresponds to the complete edition volume of the “ New Bach Edition” BA 5296 (Series V, Vol. 12), published in 2006.
 
Vorwort
 
Preface
 
Faksimilia / Facsimiles: Suite B-Dur BWV 821, Fantasie und Fuge B-Dur BWV 907, Sonate d-Moll BWV 964
 
Composer / Author: Bach, Johann Sebastian
Suite B-Dur BWV 821
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Toccatina d-Moll bestehend aus / consulting of Präludium d-Moll BWV 899/1, Fuge d-Moll BWV 900/02, Adagio und Presto a-Moll BWV 923a, Allegretto scherzando d-Moll BWV 844, Andante g-Moll BWV 969, Presto d-Moll BWV 970
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Scherzo e-Moll BWV 844a
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fantasie und Fuge d-Moll BWV 905
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fantasie und Fughetta B-Dur BWV 907
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fantasie und Fughetta D-Dur BWV 908
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Konzert und Fuge c-Moll BWV 909
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Präludium c-Moll BWV 919
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Vier kleine Präludien BWV 939-942:
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Präludium 1 C-Dur BWV 939
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Präludium 2 d-Moll BWV 940
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Präludium 3 e-Moll BWV 941
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Präludium 4 a-Moll BWV 942
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Präludium C-Dur BWV 943
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fuge a-Moll BWV 947
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fuge B-Dur BWV 955
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fuge B-Dur, Frühere Fassung / Earlier version, BWV 955a
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fuge e-Moll BWV 956
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fuge a-Moll BWV 958
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Sonate d-Moll BWV 964 (nach BWV 1003)
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Adagio G-Dur BWV 968 (nach BWV 1005/1)
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Sarabanda con Partite BWV 990
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Polonaise d-Moll (nach BWV 1067)
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Toccata f-Moll, Fassung A / Version A, BWV Anh. 85
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Toccata f-Moll, Emendierte Fassung B / Emended version B, BWV Anh. 85
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fuge g-Moll BWV Anh. 101
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Präludium und Fuge Es-Dur BWV Anh. 177
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fughetta d-Moll BWV deest
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fantasie h-Moll BWV deest
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Menuet und Trio a-Moll BWV deest
Instrumentation: Orgel, Klavier, Cembalo
 
Composer / Author: Bach, Johann Sebastian
Fantasie h-Moll BWV deest
Instrumentation: Orgel, Klavier, Cembalo

Liszt’s reputation as perhaps the greatest pianist of all time is powerfully supported by his dazzling body of work for solo piano. The undiminished popularity of his etudes with pianists and audiences alike have made them among the most performed and recorded works for solo piano in the romantic repertoire.This superbly produced yet inexpensive two-volume edition presents all of Liszt’s etudes as edited by the great pianist, composer, and musical scholar Ferruccio Busoni for the Franz Liszt Society and published by Breitkopf and Härtel in Leipzig in 1910–11.This first volume, Series I, includes many of Liszt’s most inspired piano works. The Etude en 12 Exercises and the 12 Grandes Etudes can both be regarded as early versions of the Etudes d’ Exécution Transcendante (Transcendental Etudes). Each set is a highly successful work in its own terms, and both generally surpass the famous final version in difficulty. The separate “Mazeppa” is yet another working of one of the etudes from these sets. The individual etudes range dramatically in style from the delicate refinement of “Feux Follets” to the startling bravura of “Wilde Jagd” (both from the Transcendental Etudes). Each will bring to pianists and their listeners a moving encounter with the genius of this towering musical personality.
Reprint of the Breitkopf & Härtel, Leipzig, 1910–1911 editions.
272 Pages