In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland). In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. This edition was published by Bärenreiter in Germany over 25 years ago and is in the public domain in its country of origin. Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. It will very likely teach something different to everyone.This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Music of such wealth and beauty is always first and foremost educational. Altogether, these are fundamentally works meant to provide entertainment, but it is never a vain pastime. The violin (naturally an equal partner) frequently shapes the colour, or even functions as a ‘character instrument’. It opens sections, presents themes, shows off its unaffected, ‘rippling’ virtuosity. They are all labelled by the composer as sonatas for piano and violin, and, indeed, we frequently get the impression that the piano plays the leading role. It is only on the level of expert interpretation that the composer’s genius can fully be revealed. Mozart did the same on a subtle local scale, nearly imperceptibly, through details and nuances. Beethoven would break away from formal models in general. Of the vast multitude of ideas, each has influence on the originality of the form. Mozart’s violin sonatas, though light and easy to listen to, are hard to analyse and describe, which reflects the actual, extremely sophisticated and complex nature of this music.
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