Preis: $15.50 (exkl. MWSt.)
Online Verfügbarkeit: Kein Lagerartikel
Bei Übernahme im Musikgeschäft: Kein Lagerartikel. Ware innerhalb 5 Wochen versandbereit

Fišer, Luboš: Sonata VI

The devil for Piano

Spielpartitur

Besetzung: Klavier
Besetzung: piano
Gewicht: 0.092 kg
Verlag: Bärenreiter
Artikelnummer: H7758
Verlagsnummer: H07758
ISMN: 9790260103405
Fišer's eight piano sonatas have a special place in his oeuvre. Fišer subsequently eliminated his second sonata (1956) from his compositional repertoire. From the third sonata onwards (1960), subtitled Fantasia, the composer wrote a two-movement composition, in which he continued to incorporate as his fundamental musical device the confrontation of sharp contrasts in tempo and mood. Beginning with his fourth sonata (1962-1964), Fišer created a single-movement work in an expressive, formally focused composition which betrays a progression towards greater compactness of musical shape in a concise yet effective musical testimony. The fifth sonata was written in 1974, the sixth sonata in 1978. The seventh sonata from 1985 was dedicated to František Maxián, the eighth sonata was written in 1995.
Of a total of eight piano sonatas in Fiser's oeuvre, the sonata with its subtitle Fras (Old Slavonic word for devil ) is his sixth, it was written in 1978, a period when the composer, after his c reative exploits of the 1960s, returned to a more traditional manner of musical expression and notation. Beginning with the fourth sonata (1962-64), Fiser created a one-movement piece which clearly shows a development towards greater density of musical form and a concise, eloquent testimony. Piano Sonata No. 6 is also conceived in one movement, constructed on the principle of contrasting sections and gradation in order to achieve a fitting dramatic effect.
100 Years of Bärenreiter

In the autumn of 1923, a young man produced the first music editions of his newly founded publishing house in his parents’ living room. He named his company Bärenreiter. In the spring of 1924 when Karl Vötterle came of age, he was able to register it with the German Publishers and Booksellers Association. At first, he mainly put out folk song collections, church as well as organ music including early music by Leonhard Lechner and Heinrich Schütz, at the time primarily known in specialist circles.

During the last months of the Second World War, the publishing house in Kassel was destroyed and once more a fresh beginning had to be made. With the start of the extensive German music encyclopaedia MGG – "Musik in Geschichte und Gegenwart" – as well as numerous series of scholarly-critical complete editions such as the “New Mozart Edition” and the “New Bach Edition”, the visionary founder of the publisher created the basis for the further development of Bärenreiter. The musicological editions increasingly aroused interest abroad, and Bärenreiter found itself on an expansion course.

When Karl Votterle died in 1975, his daughter Barbara took over the helm, supported by her husband Leonhard Scheuch. Under their leadership, the catalogue grew significantly and the brand BÄRENREITER URTEXT was established. Finally, in 2003, their son Clemens Scheuch joined the publisher which today he is managing together with his parents. Thus Bärenreiter has remained a family business to this day and has become a company of international standing in the world of classical music.

Wie können wir etwas kaufen?

Online-Kauf:

Sie können Noten unmittelbar aus unserem Web-Shop durch Zahlung mit der Kreditkarte, oder per Nachnahme kaufen, allerdings können Sie so nur solche Ausgaben sofort kaufen, welche gerade verfügbar sind.

 

Persönliche Übernahme im Geschäft:

Wir geben Ihnen die Möglichkeit Ihre Bestellung über unsere Website in einen von Ihnen ausgewählten, herkömmlichen Musikalienhandel zu schicken. In diesem Fall werden Sie Kunde des jeweiligen Geschäftes, können Ihre Bestellung dort entgegennehmen und müssen dort zahlen.

 

Die Art des Kaufs und der Zahlung können Sie hier einstellen.

Kopierverbot für Musiknoten
Bitte beachten Sie, dass das Fotokopieren von geschütztem Notenmaterial verboten ist und nur mit Zustimmung des Rechteinhabers erfolgen darf.
Durch das Fotokopieren wird dem Komponisten/Autor seine ihm zustehende Entlohnung für sein geistiges Eigentum vorenthalten.