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 Mil 7 06
LEBhiilt SILGMUND,
SONATA album;
T-vnN'TY-Sl\ FAVCEITE*
VOL.\ 6.00 + M
NNBK 140378573
MY
MUS
The Newark
Public Library
Astor, Lenox and Tilden Foundations
NY PUBLIC LIBRARy THE BRANCH LIBRARIES
""""|[|llllllllliinii|nliil -

3 3333 07427 1913

The Branch Libraries

THE NEW YORK PUBLIC LIBRARY
AT LINCOLN CENTER MY/ ./

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BOOKS MAY BE RETURNED TO ANY BRANCH
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 SONATA ALBUM--Bk. 1 Piano

SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS

Vol. 329

SONATA ALBUM
For the Piano

Book I

$6.00

-^'t>-\>A>A>:!'t>^t>^t>^t>\>A^^^
 ^
t^ ^0^
SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS

SONATA ALBUM
^^^^,_^^,,^^^^Twe^ Favorite Sonatas
For the Piano

By

HAYDN, MOZART, and BEETHOVEN

Edited, Revised, and Fingered by

SIGMUND LEBERT, HANS VON BULOW

AND OTHERS

IN TWO BOOKS
Book I: 15 SONATAS — Library Volume 329

Book II: 11 SONATAS -Library Volume 340

G. SCHIRMER
New York /London

CopyriGht, 1895, by G. Schirmer, Inc.

Printed in the U. S. A.
 Contents
Book I

HaVdn Moz a r t

Allepro con brio

Allesrro.
-6 '
- #
Pa":e 2. 6. <y<'
i;
r r If- ^'> iM r ^P.
I

PaRe46
|

'
«J do/re

Allegro oon brio. Allegrro

2. Pa°:o 13.

All<;frro con brio._

3. I'ui-e 22.

4. I'a;:.- 30. Pa -re 83.

Andante grazioso.

PasTi- 37. 10. ih^ n [X^r :^ i fTTr fU ^ rag,- 96.

Beethoven
Presto alia tedesca.
Ana a nt e.
Anilante ^ ,^^,

Op. 49. X?!. ^'' it

i^ *

mt^
j jlti^'
I

JgnrP
Pap:.' 112. Pase 128.

.\llep-ro. ma non troppo. AUcyro. «e

12.
Op. 49. N9 2. Page 120.
„,>1:,,,,^^^^^E Page 141.

Allegro.

Op.
 — . .

W 5602

•MU5
Contents

—^—— nBook
t-H

Haydn
Allegrretto innocente. AllegTo.
Page «. 17. Page 8

Allegro moderato.

Page ZZ.

Mozart
Alleg ro assa i. Allegro

Page 30. 21. i^ i'

f
|''~Jj j J J^ J IJ I

f I
Page 9Z.
t-' s-
'^ — '

Allegro maestoso.
1^
Page 42. 22. Page 63.

Beethoven
Adagio sostenuto.
Page 102. 25. Page 143.

Andante con Variazioni

Page 124. 26. Page 161.
 SONATA.
Atbbreviations: M. T. signifies Main Theme, Ep., Episotle; ST., Sub-Theme; CI. T., Closinp Theme; D. G.,
nevelopment-proup; Md. T., Mid -Theme; R., Return; Tr., Transition; Cod., Codetta; 1, II, III, signify 1'-',
ZV^, and 31"' parts of a movement in song-form (Liedform.)

\lleg-i'o con brio. (i = 96.i

JOSEPH HAYDN.
M.T. 3 i -5 3^ ^'i „
2 3 2
m -•- -* •- ^-^
^ I
I

ys
m £=«=«=
->
—t—
r
r i i
^
i -r

^m ^ 3^
1 1
3CZ3C
^ i ^i=5=r

^ f r :r r ^ f r- ff r r r

^): fljflS 'JJiL :lUtfaf:lf

ii«n9r

a> The short turn in small notes is intended for inexpert players. In the original, these turns are all marked
thus: y
r Prilled In then. S. A.
 z^^
Tr.
3 2 I 2

XT
cresc.
^m ^ r f rrrrr ^E^
lil ilS ^^3^iif± = rxfrxrr-C^^

^ ^^^ ^ ^
S.T.
I '
j(tJ7^ :^
3 g I

JES

'^^^

^
flT r
^W ^
3 a
EfeE
i*

6
7^jr^j7^/T8 ^

^ at^ r
t <
rrrrr
•' •>
i
cresc.
crrrr i

t^jr-'j:-'jTJjji3 I
jj-'jj^jTJjj^ Ijjjjj.'ijrrifi
54 5

ii
f c arrf te i
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5

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4

b-=: -

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f
^ ^
/-

i
Tm? r<l?W YORK PTJILIC IIBEARY
aBVERAL IJKllAHY OF THE PERFORinNG 'ARTa
111 AJtSTEBDAJH AVB. NBW lOM 101123. N. I.
 fcn
.i

itenn

*) ^p7^^^^ easier: "j^^^ b) After the hold a fairly long pause should be made.
 J 3 3

a) Adag-io.
B 3 .P'x" rif.
fC\ 5 4

rf
^^Jlj^l J ^j''J'PriJ:] |
^^^^^^
i-

3: -nr-
i 3
11899 ^ v:^
a) Sustain the hold, and then proceed without interruption.
 Tempo a) a tempo.

M
I.
puco rit. O* M.T.

^ 01 Qn 0^1^^ ^P
>

p
=
m
\ ^p ¥ m ^ ^
Vi/
^
y:-

*^ ^
i ^ d
I 2

9^9
3 g

^ 3 2

^^
1

lt«9»
^^
a) This hold is
8 «

long'er
-^-^•J^r^ ^-^=^—«-

than the preceding' one;

V •
g

9
f
before continuing', a fairly long' pause should be made.
^ S.T.
a.)

^^^
4

f^^
3

^ =¥«¥
P
3 ^^^^ ^^^^ 3 i>
^D-i c.rJ crJ c jg

mF m ^m • F #» |»

P £ £ i
cresc. Ji

^^^^m
ilTi
[jjisj
ilT^i
zsjm ti^i ciJ r
*

4
Jt V^,\
i ^m ^ I
I
^ it * f- h > f
2 3

p
^
g ^ cresc. y^

i -€»-
i.
^P p^^
2 3 42 *. "?^
^TT=f^ *^
2 3 *,
P g

^
3 ^ffr cj ^ r i 1 »' ! fefe

^S t t
i
J
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^ 2

r
«

r
3

r
r=

Z'
j{ # ^ r , f r , r r i r
^
^2
^
i^
^ru:r:;rc,rj B-s
r-
g- r :j r aL^r
./;

r r. c ^
i

^^^^m
p J' p
t^t^sasW^ y" ^ — -

i i J i^

a) Inexpert players may omit the first note of each turn, as before.
b') The hold sustained, and followed by a brief pause.
IIK9S
•-.Mm
 4 4 4
•i -i

m zr
^ ^m S f^nffffi^_
p
5=^
i
i i
i

11699
a) Duly subordinate the accompaniment, b) \ff^'f^rft-*f^^^ easier:

C) Strike all the tones of the chord in succession, from the lowest to the highest, and connect the preced-
ing- b with the hig-h c.
 /' - — ^

fPfj. V??
r'T ,
fr rr

j'
,
'iJiVnr.i^
(

3--^ 8, 3 -. 3 5
, 4

'^^M
,

i#
^ "'" '
f^LEL
A

^ .
^i jp^jjjlmi jj jjffS^
..^^^.^^..^

4
B 4 3 4
J!_LS2«...
B^M
^ crest:
i - •"

w
3 ,
* 4
8

^
^"-^^
y
j^ kj y-*
/"jf rt rr rr I'^J' J
EflEPEfi S^
crcsc.
^ ;^
t

La

•>L t J J ^« ^ '^^
f i
Finale. 11

Allegro. (J.= 63.)

MX.
I 3
 f

12

nM.T
±~~:i-r;^p

^^m m /
^ M m^
i ^ ^^ "1
——
I
^^ ' m.
I

^
^ ^ i ^—^w s
y^ £i ^^^ i

^
r^
7~ r

m^^ ^m ^^
^m ^^
^
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fe ^ i ^^ i p

11699
 13

SONATA.
AUeg^ro con brio.

^^
31

S^
^
a3
(•: ii«
a 1

^ ^g ^ ^i«3 a 1

CTPS'C.
JOSEPH HAYDN.
» *
8
^
> a 5
3

S
ig i^ J •:i: 5

11706
 MJ.T

a) In the original, mordents are given here; but inverted mordents are doubtless intended.
b) After the hold, a slight pause should be made.
II70B
 13

^m ^^ ^ ^ ^
A
^S.T

i
^ P
-4 ^
^
:a^^
,

^
y
^ -^ — #- -•— =^S5 #-
^^^ m^
1
/'

^
m
5 a

l
(^' i»c7^
m ir

J j^ I
Jm i
Sp
/>

m
////•

^>- <t r
11705
 10

Mcnuctto.' (J - lot
)8.)

-^

^
-ffimf-' t f.
t f.

OS

wm u
9 1
'"f II •
i
I ^s
"if

I P i
3 T

?^ ^
\ •* I
i

^^ ^^ 4

r[^ ^^
S
^^ #=F
ertsc.

^
Hfii»f

I
u i
^P
i 4^
"if \ I

^^
fl'////.
/T\C\

f *=rf ^^
a) These turns always fall on the last note of the accompaniment -figure; in this case, therefore, on the third
note of the second beat.
b) Continue without further pause.
11705
 17

It tfiiipo

U4^

tj r_^r

^
f
Trio. 4 1 ;t

IS «^ i=^S ?7 ?^

L,|- ) . TJ^
¥ p _ _j
< .

^ ^
h).
^fe ^^ It PL

^^ If !^ a

Menuetlo D. C.

11706
 t
18
Theme.
Presto. (4 : \T,i.)

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2

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4

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1

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tt-ir-
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1170li
11705
 r
20

^^
Var. III.

i ^ _
Mr i pr l
ip

^ ^^
'-/• p
^
?t=T ii :^

^
•

t;—
$
*=F
i
:*:^ *
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crfsc.

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r rjfii"^ ^ ^ S:^
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^
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1

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Var.

^^^=
r
IV.

^ Li
i
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ll7o:
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y
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p
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cresc.

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i ^
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i
1170S
 SONATA
Abbreviations: xM.T. sitrnifiesMain Theme; Ep., Episode; S.T., Sub-Theme; Cl.T., Closing" Theme; P.G.,
Development - irroup; Md.T., Mid Theme, R., Return; Tr., Transition; Cod., Codetta; land II, is< and »nil
parts of a movement in sonjr - form (Liedform.)

AUi'jjin cull l)ri(». (J = i3«.) JOSEPH HAYDN.

M.T. 1 2

^
.J
5

^
1 1 1 . 5

'rZ-j^M
'

'^' a 1 "^^ <<7' J'

1^ . .
ir^. -;-^. d-jlr-_
fe f ^ r_._c_f_^ r r f r ^ r f
g

Hi- ^>
^>fj'j;^ ^^ 2'im ^
1
J,J"3
8
J'J^
« 8
I

*) In view of the rapid tempo, only an inverted mordent, consisting of 3 equal notes, accenting- the first,

can well bo played:

117(11 r X
11701 a) ^
 1

^^
1^- 4 r.
2
D.r,.
^u r 8 «

^ 'I'
* ^ r'r
;^ I
g
I

k
1^
jt=?^
i'j
./

B^ ^ 3 2 3_

^^
*• *•
1 ;{
(r- //•

F^£#^
 26

^
M.T.
i
ii' ^l ^•-^- ^^- _n-
— i»
•-
]
i E

v=>ii
g^
7^g; i^ m i t
isssi ^ ^n J J n I

i- i-.
^.— . >. i'.-~ ^.

j
i^/rrrcr^j^ r Lf T^ -u
I
^m ^ ^^ TO ;??] j7]] jm m^jTn.TnjTn

^ i.

^
i
T !r r i V'^
^
r.^
'«
rm
^ r: 1 1 JJJJJJJJJJJ ^ :

^lesTdlo.

t 5 •^ ^r r ^[ J -r^
iL
-r ^
l H^[rp ^^p 5 5 Se

11701
 ST. 26

^ I \
'

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'
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*>

f
^
^ ' I i I d i i i ^ ; ^ ii J J jd ^ ^
^bfcjz

1.-^
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6*'* ' .
g^p -c«:gJr^\-^rBt:
I

/ h'-*^ , F f ^ f ^
,"7 1'li'nr ^' • » »'
=*» ^
I
''

, 1 1
J J?7^-^^^

11701
 .

17

Cl.T.

"ll 'p y
ifj i>l ^
i

%
P
^
/:

^2
4
: K -J;
I'

^ -
LP LF jTS S ^ rJf ^ i

(^ ^
,/

«WH ^ i ^ ^
Largo e sostenuto. (^ = 69

f rjj ^-J^ ^ 3 ii^

5 4

W
i
15' 7' PP

^ i/lJ J)

P £
iJ^J
^ jir

s
bT
^^5
f?
- ////// 5
3

A
^
/r\

:5t?c
?a>-

9-

a) Strike the tones in succession, from the lowest to the highest, and hold all down.
b) As above.
II70I
 Finale. zs
Presto, ma noii froppo.rJ: im.)
M.T.

r'^ i
f- '-t^ hrr^

a) This accompaniment-fipure must be kept duly subordinate to the mplody.

11701
 ^
29
4
3

» .fj .f>iu^jir;rJ|-.f-.;
HE:^ ^=x I i#^ 1* I :^=S=^
Lj 7K

^ ^
|

fc^
''/

^^ i'

^ *^
P f
!/

^^
^
£\
^ -^M^

I 4
18-t— 2 M.T.

t^v I ^ i
n^-^7 pp^j-^ j^j^ j^ J^ ^^ g i li \l^m

S
i i \

Y^^'
/ ./ (Ifcrrsc. P
'>* ^ 1
i:^

P7,5 |
W U' ^^
I
¥^^S J> J^l 7 JW J-- ^^^^ =^

^^^
^ ¥-^^
k '
* »
^^
S ^fe
• •

^
^
-^1

j^ I
^^
J ^'vj CTJ^ fjt^
^
#
Sfcdt
«^ ^
2
^^ ^ ^ ^
mm^ o
y'lt
h.
^''
iTr-
^^ '[x^ftftf i
<

^
fr^^tf fe i£ ^^ ^^i-rf^
JIM ^
j

^i ^^ j^
z.
-^* f tpri-f
t

^ Ff

F^P f \f^"
P^ tfr\
»» ^B ^^ m m $ ^ I

^H ^^S£g^ 1^#-
i
n i

11701 >
tt I
 }
30

M. T. sipnifies Main Theme; Ei>., Episode

Abbreviations:
SONATA.
S. T., bub -Theme CI. T., Closinfj Theme
; ; ; D. G.,
Development-Group; Md. T., Mid -Therae; R., Return; Tr., Transition; Cod., Codetta 1, II 111, siRnify ; , 1*', 21'',
and 31'^ parts of a movement in sonjc-form (Liedforra.)

Moderato. J = 92.) =m^ JOSK PH IIaYDN

2 5 '• H :i « ;i,

JJnj > ijjj/gj «

S-f-^^TP J » (ti i 1
^i
'•f-

^ In this motive the sig-n -v does not signify a turn with the ordinary division ^, J^j^ • *"'* serves as
an .ibbreviation for the fig-ure: ^^^^ whirh, in .inalopy with the initial motive, must be imitated throug-h-
out the movement in all similar situations.

Ii700r
 f
31

3* 3 T ^—
A ii 3 a ate—
3 _ te, «
*
3

LO f .f 'f fif F*!'

^^
cres'c. /-
X- r^ ^^

^# i •? ^ py^ ^ J .j ^j d'^^
*-* ^^^
^
1
3

*8e [f#fff ^^^,.i

e
rrttffpia
£ $ TsJsjj;^^
p
•

'
i5=Cr; i

/ ff -£-
S^
V'TtI ^E '*'
P^
#
''

-« -fit-
1^ ^=^
P t]3 3

MM
^ £2 ^^np.fi
^^^ ^
^
3C=iB:K

^
7'

i^ ^ r=^ ^
?=r
^j jii # f
^ 1
a »
/O 5 '* 3 « 3,
? Bs»
.Wl ntr>. 1 iX ?^^^^^

11700
 —
S'i

'/« ^713..^
4 3 2
4

^
^ 3 2

f xd '

r
crexr.
I'fc/] JT^
'')-
Vi '
»
^^B ijj^grg

iw^ 1;^
M ffi f*
" I
:
~ ; ^ '
^i
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'—
m rr pr. rffrr^ .r^rfLr.r.jfLi

g^^ ^^ TTW^—
tr r r
;^
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7^—h-
-g -"^ A, ^ W
^
Tl w
^
^ ^
~>-^ —_.£_

^^^^Pn~} ifi^LrfX^

^^ ^ « S«- ;
V -^' -
'J ^ -^ p ^
T^
^
-•Mt"- -

11700
H700
 Scherzando.
Allcirro foii brio. • - uo

i ¥si^'-i:} ^ti amtir jWTiUi)i , i

J'"^ i .
3t^ tn j J
I

i i n
mi^,i^<ii
f-' I^^ i
r
J? Lmw^m
P 11700 ^
m f f
 » J #

Mcnuctto.
Modcruto. • - i3i

rj^U^
P fl f-f££l*if-fiy- mritw
rr' I
f T
=—
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f^ =^ ^"^"sff
./ ::= "if
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It r.

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*^=#
t=^= ±=^
£=:
r i JeS
f-
^ T^
fz

tit
f-

I-
^§^^ ai
l-Tr
III

| g C£a'£flJ
• •
i H15^
^
/
^^ ^1^
s
/'/V/^.

Y« i^ i
f
-'I
^
i
^ ^
'fjr
a ^ ^
i ^ ^
Trio.

^ Q
2 4

^s
4 » Z ,8 4, 5
4- •f 1
,

§
/ If
i
r 1
«•—

^
I
^p #—
m ^
x7
£E
1^
i
^
X^
s

^ 3K MUUM
— *i * n r ,

xJ-
a

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1

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J-— Mi
^m * '5 m
JC

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7
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£.Y5
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.1/ /). c.

f
1

b) Commence with the principal note, as at a). c> As above. r

 37

SONATA
Abbreviations: M. T., siernifies Main Theme; Ep., Episode; S. T., Sub- Theme; CI. T., Closing Theme; D. G., Develop-

ment-group; Md. T.,Mid-Theme; R., Return; Tr. Transition; Cod., Codetta-, 1, 11, and HI, 1st, 2nd, and 3rd parts of a
movement in song-form (Lied-form.)
JOSEPH HAYDN
Presto. (J.. .00)
1-^.^^..*, 5 5 , iU ^ \ iPoro

r,

P
4 5 a \

^m & ^^*fi
mmfj^fr mn
^m
^
*i

5
— eresc.

S ^^ I fm fe M »-

p
ssi
(O
*!*>i *1^'- r^HV i ^ ^^'•'j
y ^ p^
^^ .^i^7?il^;^r-^^vf f. rr

ll()!);>rX
 u a 38 U-
^
D. 0.

i *f *f
Ti
-4-*-
4

^ •> 'y

*^ ^^ -«

5^ ? *?
rs
^ 7 jl ^ ^
I
^^ ^ ^o ^
~(/rsr. ^^ r
3 , »*--

g ^^ 77, ''
Jj^P^^
=t=t

irJ-Tirfrffrrm
^>-g rXJ^r =^
a~i Vfler the hold a considerable pansp should be made,
 39
1 2l3«3 23 3

m^ ^ lii
•1

m
t
Yt^r^ ^
4

^3
:» 4
1

''1 ^
*fc*
^T

«i
ai
t"
After the hold, a brief pause should be made.
^^ ^
r////A

-r-r
^ p
i±t
 40
Adasrin. <• z so"

ii^i*«^'F'«54^^£^»fbI.v4a7;>f»?J'e'Fff?^
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Molto vivacp. (*: 1.10)

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Duly subordinate the accompaniment.

In
M
rapid tempo, the turn between two noter of 'his value may
/
f^
^
fAsd'1

best bo executed as follows;

i\i'>>4(->
11696

a; After the hold, make a brief pause.

a> Tontinue after a short pause.
11696
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—
46

,j»'ff n fp^T r^H- ———

"h—r~T
1 o^, t
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 '4 6

SONATA I W. A. MOZART
Abbreviations: P. T., Principal Theme,- S.T., Secondary Abkiirzung"en: HS. bedeutet Hauptsatz. SS. Seiten-
Themej Close; D., Development; Coda; M.T., Middle Theme. satz, SchlS. Schlusssatz. DS. Durchfvihrunp-ssatz. Anh.
Anhang-, MS. Mittclsatz.

Allegro Or 182)

a^
trip I.
Z3-

r ST i

Sm HS. B 1 3 4 12
JJi JJJ^
j l

X
§ ff^iP n^f^ ^tfrfffrr^rrrfr;

a) nip fmezzo pi an oj rather soft; viz., between JO and w/" I al vip Onrzzo piano, ziemUchBchwach) bedeutet einen
I
Grad von Tonstiirke, welcher zwischen p und /r(/*steht.

-fj'fl'^'lU*- Less skillful players may content themselves with the following execution: or:
b) Oder:
Schwachere Spieler kfinnen sich mit folg-endcr Ausfiihrung" beg'niig'en:
or even with an inverted mordent.
111S4 Copyright. ift93. bi/ O. Schirmer, Inc. odrr auch mit einem Pralltriller.
FrlnfcH IntheF.S. A.
 47
5 5 4 2
12 1 5
^3 =* 3

^W 4 2 5_A1
^
«e 5/4
i^
^
oresc.

m 7^'
'

4 iiiiiiii

a) ^^r[.jt »p^^^ U) For less skillful players

L
j EJ ^^^^ fiirschwachere Spieler:
11184
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11134
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SS. mj)1-5=—
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m i **t ** *
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JJJJJ^JJJJ
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^ ^ ^
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i'
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cresc.
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^ ^
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t^tititttt
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jT^ r
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JT^ r mfTTi'^ s

Close
SchlS.
2/^ 'i
S"* 4 ^3 3

11184
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Andante (J = 8o)
rp cantabile

cresc.

11134
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^; cresc.

^-i^
^M
^m jjp
i • dm • J * i

]^
^

cresc.

(1134
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11134
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11134
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Rondo
Allegretto grazioso (J = io4)

U134
 55

11134
 .

56

SONATA IV.
Abbreviations, etc.: P. T. Principal Themt- ST., Sec-
; 1 Abkilrzuiigen: HS. bedeutft Hauptsatz.SS. Seitf nsatz.
ondary Thrnie; Close; M. T., Middle Theme. I
SchS. Schlusssatz, MS. Mittelsatz.

Allegro. (J; i«6i

P. T. HS
4
'

B i.'J3,^ ^ ^
^ ^ ^
^:^P-!- 0, z^
|
ci a
iJ ll'lj
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^ /r _

^ ^g
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i\£; l \

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i i. I 1
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fe^
•^ -^

^rZBZB
# *

^
I §^ 4^ JEl^dl^ » i>
-»4- 3 ^
ii g
/ 1I
pr

a' Strike the a with the chord in the bass, ai Das a mnss gleuhzeitig dem Accord
mit ira Basse
eintrcten.

b)

1II37
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^)
fffifP
3Ha^Bzt=
,. ^^
daiaMB=
for less sK.lled players.
fur schwachere Spieler-.
^^
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57

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ss.
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il
^=^
I
Basso marcata.
i ri ri r i ri ri p
BBB CBB ^^BS

a) Strike these appog-piaturas with the accompaniment. a) Diese Vorschlage gleichzeitijg- mit der Begleitung an-
zuschlagen.

b)
^ _ for less skilled players. \^
fUr sfhwachere Spieler: | |
|
T p
111 3-7
 V
60
PT HS.

r; r^rLi; ^ J.
S:
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1 »
9—.

fefe^ I^^ s ^ jr'j'

r fi ;^
s

al /^ (mezzo piano) rather soft; viz.. between p a) ;7^ (mezzo piano, ziemlich schwaoh) bcdeufet ei-
and ot/' nen Grad vou Tonsiiirke. welcher zwischen p
und
1U37
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 63
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f
^ 8 ^ *

qm^a^-te.g^ p
p=t
p^
f

cresc.

If
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ff y^w \ui ^^^rTTit e
f
% If
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^=f 2
4
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11137
1113T
 .

65

SONATA VII.

Abbreviations, etc.: P. T., Principal Theme; Ep., Ep- Abkurzungen: HS. bedeutet Hauptsatz, ZwS. Zwi-
isode; S. T., Secondary Theme; Close; M. T., Middle schensatz, SS. Seitensatz, SchlS. Schhisssatz, MS. Mit-
Theme; T., Transition; Coda; D., Development. telsatz, UG. Ueberga<ng, Anh. Anhang, DS. Durehfiih-
rungssatz.

Allee^ro. (J = i5a.)
RT. HS.

J ) i nrrr -»t

i i p ^f^r t TT f
^ ^
f,
cresc. f
^ W -
4i «

Jz V
£

a) In this movement, the bass- notes provided with
pressure-marks should be sustained during- the three
following eighths, as if half notes.
b)
a) Die mit diesem Dehnungszeichen versehenen Bass-
noten indem vorliegenden Satze werden am beaten noch
wahrend der drei folgenden Achtel (also wfe die hal-
ben Noten) ausgehalten

ilUO
P
 .

poco mar cat .

a) Bp gin thp appoggiatures in both hands exactly up a~i Die Vorschlttg-snoten miisflen in beiden HiiDden
on the beat, and strike the principal notes together gleirhzeitig', und zwar prnau auf den Taktstrich, an-
also fang'eii, sowie hernach auch die Hauptnoten zt^sammen
anzuschlageD Bind.
b)
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Tip creac.

n_ 3 3 , f^l^ 4_^

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a) The following: sufficps

a) Fijr schwiichere Spieler genii^t:
for less skilled players-.

b) As at b., on the next pa^^e. b) wie bei b) auf nichster Seite.

c)Asat a.) C) Ausfiihrung wie bei a.)

1U«0
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a a a
 ^ ^ ^
74
Allegro assai. (J- 96.)

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 83

Allegro. (J-138)
SONATA - W, A. MOZART.

1 1 1 a .->
II136
 Andante. (Jrfts.)
PT

:^;jj jjjjjjrg ^
-..rr^^Ffp

a.)Notes marKed with a line (-) in this, edition, should br a) T)]f mit (-) bezeichueten NoteD sind hier und an
played rsther V.cavily (pressed out.) den ahnlichcD Stellen etwas gewichtig auzuspiclen-

c) Tci be rendered a& at b.

c) wip b) auszufuhren.

ui»»
87
11136 P ^ :^^
f
4^ Begin the trill with the principal note. a; Den TriJler mit der Hauptnote beginnen.
I
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a
Presto. (J-rse.) 89

P.T.

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 95

a) Execute the arpeggiated chords swiftly, the hands a) Die Arpegcien dieser letzten zwei Accorde mils-
attacking and quitting them exactly together. sen in beiden Handen gleichzeitig anfaugen und auf-
hbren, und rasch ausgefiihrt werden.
11136
 96

SONATA IX.
Abbreviations: P.T., Principal Themi-! S.T., Sec- Abkiirzungeu: H.s. btdtutit Haui>T.sulz, SS. Si'iteii-

ondary Theme. satz.

Tcma.

^^
Andiinte grazinso. (j^- isjo.)
4-— ^.1 *-^3 , a 3^—^
f /rr r

W^r^ 1
r pr4 P
3 1 Y \

^ r-Jr^ r P f «
^ i
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^=f£
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a) mp (vwzzii pin no, rather soft) viz., between ai ///// {iiirzzo piano, zicmlich schwach) bedeiitet

p and iiif.
eineii Griid \(iii Tnn.starke, welcher zwi.scheii puud
m/'stfht.

IHta
 '

97

6 4

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a)

1114«
^ 6 5
 98

b) strike those appopg-iaturas exactly on the bi-at. b) Die VorsLhlafT'^notp mil dem ris obcn plcichzeitig
"^
easier: anschln^eD, und so fort.
c)
leiohter:
11)42
 99

Var. III.(J>. .18.)

A-

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3
 102

nppin the riiiliiHislinicnt with the bassflote a, anil execute it so quickly, that the principal
note_r sharp, is struck before the entrance of the r sharp in the bass.

Den Vnrschlap mit dem n im Basse zii bepiniicD, jedoeh so schaell auszufiihren, dass
die Iljinptnote ci's noch vor drni ris des Basses eintritt.
 103
Var. VI.
Allegro. (J zU6.)

d) r

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a)
strike
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a) Diese Varschlage auf den
sehr kurz aber deutlich,
1 ^^ •

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Anfang des Takttheils,

b) The r sharp must enter with the fundcunental note b) Mit der Grundnote der linken Hand muss das ci's

of the left hand. All the broken chords in this va- in der rechten Hand eintreten. Alie gebrochenen Ac-
riation aje very emphatic.

^
corde in dieser Variation sehr markirt.

d)
11142
Both hands begin and end together.
^^
d)
^^
Beide Hande znsammen anfangen nnd aufhoren-
 104

Menuetto.(Jzii6.)

>tt* -^

a) Plav the first note of the embellishment with the a) Die erste VorschlagSDote tritt gleichzeitig mit
bass. dem Bass cin.

11142
 105

b) This trill is undoubtedly intended to end with the b) Dieser Triller ist wohl ohne den gewohnliehen
following' figure in thirty second notes, instead of Nachsehlag' von unten beabsichtig-t, indem die fol-
the usual turn: f ff rf rn r' But the customary g'enden Zweiunddreissigstel die Stelle dcs Ictzte-
•1^
ren vertreten: Zur ErieiehteruDgmag
close is easier, and is allowable: = ffr -11
jedoch folgende Ausfiihrung gewahlt werden: j
 106
Trio

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-11 : 4

b)

c) Play the "hass with the c sharp in the rig-hf hand, c) Der. Bass muss mit dem cis der rechten Handg'leieh-
accent it stronplv, and so proceed througrhout the ea- zeitip eintrpten und sehr markirt pespielt werden, auf
fire theme. gleiche Weise durch den g-anzen Satz.

11148
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a) Sustain the half ndte c sharp, but otherwise play a) Die AusfiihruHg' in der rechteu Hand ist wic in
the chords alike in hoth hands. Let the hands begin der linken Hand, nur dass di« halbe Note cis gehal
exactly together, and attack the hig:hest note tog-ether. ten wird; rechte und linte Haad mnss pleichzeitipbe-
ginnen und gleichzeitig auf dem ohersten Ton eintreffen.

b) :p c) The appog-g-iaturas as at b. b) P c) Ausfuhriin^ dcs Vorschlag-s wis bei b.

 112

Two Easy Sonatas, Op.49

No. 1, in G minor
Abbreviations: M. T., sifcnifii's M.iin Theme; S. T., Sub Theme; ri.T., ClosinK' Theme; D. (i., Development -KTOup;
R., Return; Tr, Transition; Md.T., Mid -Theme; Ep, Episode; App, Appemlix.
L. van BEETHOVEN.

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b) With the comma we in<lirate places where the plaj'cr must perceptibly mark the end of a rhythmic ffroup
or section, by lifting: t he list r.nt e just before its time -value expires, althouph the composer wrote no rest.

d) The left hand more subdued than the rij^ht, but still ai-centing- the first of each pair of 16<h- notes
(i. e.:the bass notes proper) somewhat more than the second.
e) ^r-F~rrT~^

f) Here ami in the next measure the left hand should accent only the first note in each g'roup of Itjth. notes

somewhat more than the others, but in all cases less than the soprano,
g-) As at d.)
h) In these three measures as at f.)
Hfi2jr X
11622
a) As at if J on the preceding- Page

^'

C)
^^
The left hand here again more subdued than the right.
d) As at Ca).

e) In these twelve measures the first and third notes in each group of 16'h notes should be made somewhat
more prominent than the other notes, yet always in subordination to the melody, excepting the tones marked ==-.
 '

ai From hrri> throuph the next 6 measures the li-fl h.in<l, h.ivin^ the melotly, should predominate over the right
nnd, where it has Z tones, chiefly accentuate the higher one.
b' As on first Pape.
CI The next 5 measures as on first Page.

d^ Doubtless literally meant neither for ^f*f 'O' '^"f *'^»^ *>"*

e') This and the foUowinp turns apain as on first I'dge.

f From here onward as on second Paj;i'.

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b' Proceed onlv after a rest.

11C22
a) In these groups of 16th .notes, accent each first note slightly more than the 5 following, while subor -
dinating- all to the soprano. These same accented notes, too, (except in the fourth measure) should be held
down durinfi- the second 16th-notf.
b^ Also subordinate this accompaniment, but accent the first note of each triplet, as the bass note proper,
a. trifle more than the other two.
b) Here, of course, only the first eighth-note in each measure should be accented.
 g 118
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b) Let the_^ enter abruptly with the fourth eijfhth - note, without any previous crescendo.
 ^

U'O

Two easv Sonatas.

Op.4y, N'» e.

Abbreviations: M.T. Mgnifii-s Main Theme; S. T., Sub -Theme; CI. T, Closinf; Theme; D. G., Development-Group;
R., Return; Tr., Transition; NM. T. Miil-Tlieme; Ep., Episode.
L.van BEETHOVEN.
Allt'irro m;i nou truppo. (• -_ \3i.) ^ ^

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Printrd ir. tSp U. S.A.
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b) Fj! should be executed as a long-, accented appog-giatura:
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 128

SONATA,
Op. 7'J.

BKKTHOVEN.

^
L. Nan
Presto ivllci ledesca. (J.iss'i

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a) It is inipresliDK to observe how much more genius, i. c.. prejudice to its grace,) Becthovra
virility (yet without
exhibits in his treatment of the characteristic local note of his Viennese environment Uhe •LanJler,") when in
tedesca" to the Intermezzo of
the mood for employing it, than does Franz Schubert. The affinity of this 'alia

like name in the grand String-quartet Op. 130, is also worthy of note:

Op 79.
% lup. i:t()|

b)Avoid all useless time-beating with the left hand, but mark the anticipation of the dominant harmony on
a peculiarity of the Master's later style, assures the connoisseur of Beethoven
the third beat, whirh, as with
greater reliability than any antiquarian researches, that this Sonatina is no "Jugendarbeit" (youthful work.)

ll«U&r Printed in the IT. S. A.

 1V9

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a) The animated waltz- rhythm, in which the third beat also has a slight accent, must be brought out

equally in both hands.

b) This trill is to be conceived simply as an inverted mordent with after-beat (quintuplet), and begun on the prin-
cipal note.
11628
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b^ to prevent collision with the superposed fingers of the left hand.
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page, the F.litor has taken the liberty of p'ving a different shading—
-measure period, by whose frequerjt repetition indifference is far too
easily induced. If the first 3 measures (tonic) are played piaito, the fourth (dominant) may take an
accent, in order to distinguish it from the 3 first measures of the after- phrase (dominant); the same
holds good in the other case, where, by omitting in the fourth measure the sforxatu given in the
first three, the former is negatively emphasized.
b) The thematic "stretfo" requires that, instead of playing 4 measures in 3 time, 6 measures
• should
ns if were be played in ^ time, thus obtaining a grateful variety of effect.

P This inverted sliiie is executed simply thus: ^ /Tr^^

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*he rapid movement not ai'mitting of its

treotment as a turn.

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a) This waltz, like the celebrated waltz in \V,.her's 'Freischutz;' must be executed pianissimo and with no
rctardat ion whatever; a slipht acceleration in tempo is admissible.
116ii8
 135
Andante. J- = sh jjiiri) rif.
I 3
n Ifiiipt.

i ''IlIk
^^'lespresstvo.
p
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mm rij

a") This movement may be reprnrded as the prototype of the modern "Song" without Words, and one
hardly surpassed in amiable and original freshness by any.
Imagine the first subject executed by wind - instruments _ say clarinets and bassoons; one measure be-
fore the second subject, the muted strings fall in, while oboe and flute alternately bear tlie melody.

b) The profuseness in the directions for the fing-ering is justified by our experience, that no play-
er executes with finish pieces of such apparently easy technique until he recognizes them to be "dif-
ficult:' The change of fingers expressly called for in places like is indispensable for

the special reason, that the "vis inertire" of the fingers often causes, in execution, mistaken ideas as

to the leading of the parts

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a) As the passage ascends crescendo, the quintuplet is to be played:

b) The s/ortafii indubitably refers to the second 16th-note E!>, not to the third (£), where it would sound
conrse and tasteless; its sharpness must, moreover, be mitigated by a preceding increase in power ac-
companied by a moderate n'tardnnHu.
 ^^ ^
137
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a) As implied by the term "Schneller" (inverted mordent; lit. a "snap") it is well to execute this grace
with a change of fingers condurive to a snap:

h) The Editor divides

llfi-28
this re
passage between the hands, ,
and therefore lets the right
6 hand lead off:

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a) All efforts toward an exact mathematical proprtriioning of thi' accompanimeni-tripU'ts to the duph rhythm
of thr thiiiif, will hi' vain. Only assiduous ^»•pa^atp lirarti.i- with each hand w ill If.ul to the requisite indep-rJence.
Compare Note (a) on Paf;e 131 (Op. 54), where thr method for practice is discussed.

11612 !4
 139
a tempo. (J = 132)
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a) This measure must have the character of an interrogation. The answer, with the re-entrance of the theme,
must follow as naively as possible.
b) The short appoggiaturas must also be included in the value of the principal note,
not fig-uring as auftakts,
but thus:

!l6!i8 TWP NEW YORK PUBLIC LIBRARY

m AMSXBKDAM AVB. NBW lOM 10023. K. T.

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11688
 141

BRAUN.
SONATA.
To Baroness von q 14J«^0|
Abbreviations: M.T. signifies Main Theme; S. T., Sub -Theme; ri.T.,Closing Theme; D. G.,Development-groupj R., Return;
Md. T.,Mid-Theme; Ep.,Episode.
Tr., Transition;
L. van BEETHOVEN .

Allegro.cJz 138) . ^^''^Z^T'"

a) mp (mezzo piniin, somewhat soft) indicates a degree of power between p and iiif

b)
c) To be held a full quarter-note.

d) Emphasize the forle and piano sharply, and accent the first notes of the piano only gently.

e) This appoggiatura is be executed within the duration of the second quarter-note, so that the E of the 34 quarter-
to
j" h W*! PrrT"- Copyright, 1894, by G. Schirmer, Inc.
note falls exactly on the 3d beat: Copyright renewal assigned, 1923, to G. Schirmer, Inc.
iieiijr Printed in the U.S. A.
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a) The slurs over the soprano, both here and in the parallel passagre further on, are undoubtedly set wrongly,and
ought to connect only the second quarter- note with the followinfr half-note; hence a fresh attack is to bernnde
with Fs and D^ in the two highest parts, (as with A)} in the third part), which we have indicated by th*; iotv"'l«if
the slur and over the first quarter-note.
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/ 146

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a) By a comma we indicate rhythmical divisions or g^roups, which the player must make perreptihle, although
they are not indicated in the rorapfsition bv means of rests.
 149

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a)The sA/rrw/o-mark over the first note of each triplet signifies, as often happens in Beethoven (and in earlier times stiU

more commonly), not a staccato, but a stronger accentuation of the respective notes.
b) Carefully observe this abrupt pinmi.
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ai The bass, which here takes up the principal motive fin the variant appearing- immediately before in the right hand),
should be played with peculiar stress.
 l.Vl

SONATA
To Baroness von BRAUN.
Abbreviations: M.T. signifies Main Theme; S.T., Sub-Theme; CI. T., Closing Theme; D. G., Development-group; R., Return;
Tr., Transition; Mil. T., Mid -Theme; Ep.,Episo(ic.
,
L. van BEETHOVEN.
j'Alle^ro.'^*: K4.)

a> Execute the entire figure delicately, but with such accentuation that its rhythmic position in the measure shall be ills

tinctly defined.
I
I I I
I CopyrighU 1894. by G. Srhirmer. Inc.
b^ r r r llrfe Ci
^^^^^^_ copyright r«ne%val assigned, 1923, to G. Srhirmer inc.
Printed iu the U. S. A.
 155

2 5 4 3
i 1 1

f. y>;tfe;^i^pfp^ fmm^km^m, 'Mhrk'f ^

a) Properly subordinate the inner part.

b) Keep all these syncopated notes well subordinated, c) ; easier: tt---- -»^ or thus: --^
"^
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 161
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Ln pn'inn parte senza replica.
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a) /"/> (/// (•.Tjw piii/io. moderately soft) denotes a degree of power intertneiUato between p and mf. In (his whole
Variation (excepting the 4 closing measures) the principal melody, whi«h lies in the inner part (in the higher in-
ner part in the first measure after the repeat), must distinctly sound as such.
ntil3
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 ScHiRMER's Library
of Musical Classics
PIANO SOLO COLLECTIONS
SERIES ONE
ALBUM OF 25 PROGRESSIVE PIANO CLASSICS L. 13 The Well-Tempered Clavier (Czerny),
Bk. I; L. 14, Bk. II.
L. 1314 Selections by Bach, Beethoven, Chopin,
The Same (Hughes), e. sp. L. 1483, Bk.
Dussek, Handel, Haydn, Hummel, Kuh-
lau, Mendelssohn, Mozart, Schubert, I; L. 1484, Bk. II.
Schumann, and Weber.
BARTOK, B.
ALBUM OF 25 PIANO CLASSICS L. 1741 Selected Works for the Piano.
L. 1315 Selections by Bach, Beethoven, Chopin, L. 1780 For Children, Vol. I; L. 1781, Vol. II.

Field, Handel, Haydn, Mendelssohn,

Scarlatti-Tausig, Schubert, and Schu- BEETHOVEN, L. VAN
mann. 7 Bagatelles.
L. 970 Op. 33.
L. 1709 Op. 119,
ANTHOLOGY OF 32 MODERN CLASSICS 126. Bagatelles, Bk. II.

L. 1264 Selections by Brahms, Dvorak, Grieg. L. 621 Op. 15. Concerto No. 1, C. 2-Piano Score (Kul-
Henselt, Jensen, Liszt, Moszkowski, lak).
Paderewski, Rath, Rubinstein, Saint-
L. 622 Op. 19. Concerto No. 2, Bb. 2-Piano Score (Kul-
Saens, Schiitte, Schytte, Sgambati,
lak).
Sinding, and Tschaikowsky.
L. 623 Op. 37. Concerto No. 3, Cm. 2-Piano Score
(Kullak).
ANTHOLOGY OF 28 PIANO CLASSICS L. 624 Op. 58. Concerto No. 4, G. 2-Piano Score (Kul-
L. 1263 Selections by Bach, Beethoven, Chopin, lak).
Field, Handel, Haydn, Mendelssohn,
L. 625 Op. 73. Concerto No. 5, Eb. 2-Piano Score (K\'l-
Mozart, Schubert, Schumann, and
lak).
Weber.
L. 1528 Contra-Dances (Seiss).
L. 5 Easy Compositions (Biilow-Lebert).
BACH, J. S.
L. 1509 Ecossaisses (arr. by Busoni).
L. 12 Album. 21 Favorite Pieces (Heinze).
L. 1653 German Dances (Seiss).
L. 1579 Chaconne, Dm (trs. by Busoni). L. 1 Sonatas (Biilow-Lebert), Bk. I; L. 2,
L. 22 Chromatic Fantasy and Fugue; Concerto Bk. II.
in the Italian Style; Fantasy, Cm; The Same. Urtext Edition. L. 1769, Bk. I;
Prelude and Fugue, Am. L. 1770. Bk. II.
L. 1527 Concerto, Dm. 2-Piano Score (Hughes). L. 302, Bk. II;
,

The Same. L. 301, Bk. I;

L. 17 English Suites (Czerny), Bk. I; L. 18, L. 303, Bk. III.
Bk. II.
L. 1562 Symphonies (arr. by Singer), Bk. I;
L. 1494 Fantasie and Fugue, Gm (Liszt-
L. 1563, Bk. II.
Hughes).
First Lessons in Bach (Carroll), Bk. I; L.6 Variations (Biilow-Lebert), Bk. I; L. 7,
L 1436
Bk. II.
L. 1437, Bk. II.
French Suites. L. 1511 32 Variations on an Original Theme in
L. 19
C Minor (Bulow).
L. 1512 Two-Part Inventions (Busoni).
The Same (Czerny), L. 850.
The Same (Mason), L. 379. BERTINI, H.
L. 1498 Three-Part Inventions (Busoni). L. 135 12 Little Pieces and Preludes (Vogrich).
The Same (Czerny), L. 851. L. 758 Op. 101 24 Melodious Pieces.
The Same (Mason), L. 380.
L. 1574 Two- and Three-Part Inventions BIZET, G.
(Busoni).
L. 357 L'Arlesienne. 2 Concert Suites.
The Same (Mason), L. 16.
The Same (Czerny), L. 813.
The Same (Bischoff), L. 1771. BRAHMS, J.
L. 424 18 Little Preludes and Fugues L. 1360 Op. 1. Sonata, C (Whiting).
(Buonamici). Sonata, Ffm (Whiting).
L. 1361 Op. 2.
L. 1087 8 Organ Chorale Preludes (trs. by Sonata, Fm (Bauer).
L. 1561 Op. 5.
Henderson).
L. 1368 Op. 1,2
L. 20 Partitas (Czerny), Bk. I; L. 21, Bk. II.
5. 3 Sonatas (Whiting).
L. 1475 Prelude and Fugue, .\m (Liszt-Hughes).
L. 1599 Op. 10. 4 Ballads.
L. 15 Short Preludes and Fugues (Mason).
L. 1429 Op. 15. Concerto, Dm. 2-Piano Score (Hughes).
L. 1628 Toccata, C (trs. by Busoni).
L. 1598 Op. 24. Variations and Fugue on a Theme by
L. 1629 Toccata and Fugue, Dm (trs. by Busoni). Handel.
L. 1787 Toccata and Fugue, Dm (Dorian) (trs. Op. 35. Variations on a Theme by Paganini
L. 1450
by Prostakoff). (Hughes), Bk. I; L. 1451, Bk. II.
L. 1528 Toccatas (Hughes). Op. 39. Waltzes (arr. by the Composer) (Whit-
L. 1260
L. 1759 The Well-Tempered Clavier (Bischoff), ing)-
Bk. I.
L. 1261 Op. 76. Capriccios and Intermezzos (Whiting).
The Same. L. 1760, Bk. II.
L. 1080 Op.- 79. 2 Rhapsodies (Gebhard;.

G. SCHIRMER New York/London

I COrvniaHT. ItM. av «. •CMinMBII. IMC-

 ^^^^^s
ScHiRMER's Library
of Musical Classics
PIANO SOLO COLLECTIONS
SERIES TWO
HR.AH.MS. J. DEBUSSY. C.
I.. 1795 Suite Pour le Piano.
L. 146.-. Op. 83. Concerto, Bb. 2-Piano Score (Hughes).
L. 1499 Op. 116. Fantasies (Deis). DIABELLI. A.
L. 1.-.00 Op. 117. 3 Intermezzi (Deis). L. 266 Op. 151
L. 1501 Op. 118. 6 Piano Pieces (Deis). 168. 11 Sonatinas (Klee).
1602 Op. 4 Piano Pieces (Deis).
L. 119.
DUKAS. P.
L. 1347 .\lbum of Favorite Pieces (Wyiiting).
L. 1738 The Sorcerer's Apprentice (Sander).
L. 1728 Complete Works for Piano Solo in Three
Volumes (Mandyczewski), Bk. I; DUSSEK. J L.
L. 1729, Bk. II; L. 1730. Bk. III. L. 41 Op. 20. 6 Sonatinas (Klee).
L. 1757 Piano Works in Two Volumes (Sauer), EARLY KEYBOARD MUSIC
Vol. I; L. 1758, Vol. II.
L. 1559 122 Pieces written for the Virginkl, Spi-
L. 256 Hungarian Dances (Scharfenberg), Bk. net. Harpsichord and Clavichord by
I; L. 431, Bk. II.
16th, 17th and 18th Centurv Com-
CHAMINADE. C posers (Oestcrle), Bk. I; Byrde to A.
Scarlatti; L. 1560, Bk. II: Couperin to
L. 211 Selected Compositions. 17 Pieces, Bk. I;
Rameau.
L. 212, Bk. II.

CHOPIN, F.
FAURE, G.
L. 1673 .\lbum of Piano Pieces (Philipp).
FRIEDHEIM EDITION
L. 33 Etudes. FIELD. J.
JOSEFFY EDITION L. 42 18 Nocturnes (Liszt).
L. 1350 Op. 11. Concerto No. 1, Em. 2-Piano Score.
FRANCK. C.
L. 1351 Op. 21. Concerto No. 2, Fm. 2-Piano Score.
L. 1383 The Djinns. Symphonic Poem. £-Piano
L. 39 Album. 33 Favorite Compositions. Score (Hughes).
L. 31 Ballades. Prelude, Chorale and Fugue (Pinter).
L. 1232
L. 38 Concert Pieces. Variations Symphoniques. 2-Piano Score
L. 1407
L. 1039 Impromptus. (Philipp).
L. 28 Mazurkas.
L. 36 Miscellaneous Compositions. GERMAN. E.
L. 30 Nocturnes. L. 1335 3 Dances from "Henry VIII".
Preludes.
L. 34
L. 1184 Rondos.
GODARD B.
L. 213 18 Selected Pieces, Bk. I; L. 214. Bk. II
L. 32 Scherzi; Fantasy, Fm.
L. 27 Waltzes. GRIEG E.
M IK I LI EDITION L. 198 Op. 3. Poetic Tone-Pictures (Ruthardt).
L. 1558 Op. 11. Concerto No. 1, Em. L. 199 Op. 6. Humoresken (Oesterle).
L. 1557 Op. 21. Concerto No. 2, Fm. L. 892 Op. 7. Sonata (Gallico).
I.. 1552 Ballades. Lyrical Pieces (Ruthardt).
L. 201 Op. 12.
L. 1546 Concert Pieces. Concerto, Am. 2-Piano Score (Grainger).
L. 1.399 Op. 16.
L. 1551 Etudes. L. 728 Op. 17. Northern Dances and Folk-Tunes
L. 1553 Impromptus. (Ruthardt).
L. 1548 Mazurkas. L. 200 Op. 19. Aus dem Volkslebcn. Sketches of Nor-
.Miscellaneous Compositions. wegian Life (Oestcrle).
L. 1555
L. 1.550 Nocturnes. L. 1373 Op. 24. Ballade. In the form of Variations on a
Norwegian Melody (Hughes).
L. 29 Polonaises.
L. 1771 Op. 28. Album-Leaves (Oesterle).
L. 1547 Preludes.
L. 209 Op. 34. 2 Elegaic Melodies (arr. by the Com-
L. 1554 Rondos.
poser) (Oesterle).
L. 1556 Scherzi; Fantasy, Fm. Lyrical Pieces (Oesterle).
L. 772 Op. 38.
L. 35 Sonatas.
L. 812 Op. 40. From Holberg's Time. Suite in Antique
L. 1549 Waltzes. Style (Sternberg).

CLEMENTI. M L. 773 Op. 43. Lyrical Pieces (Oesterle).

L. 811 Op. 36. 6 Sonatinas (Kohler). I.. 205 Op. 46. "Peer C.ynt" Suite No. 1 (arr. by the
L. 40
Composer).
Op. 36,
37,38. 12 Sonatinas (Kiihier). L. 774 Op. 47. Lyrical Pieces (Oesterle).
L. 385 12 Sonatas (Buonamici), Bk. I; L. 386,
L. 775 Op. 54. Lyrical Pieces (Oesterle).
Bk. II. by the
L. 1420 Op. 55. "Peer Gynt" Suite No. 2 (arr.
COUPERIN. F. Composer).
L. 1744 Harpsichord Pieces (Oesterle-Aldrich). L. 106 45 Selected Compositions, Bk. I; L. 107,

A. nas Bk. II.

SCHIRMER New York/London G.

olffiSM
>>^>^^vvvvvvvv^F^F>^^y^^-<f^-^^^^
coPmiCMT. i»M. »r «, acNiawiH. inc
 ScHiRMER'S Library
of Musical Classics
PIANO SOLO COLLECTIONS
S K R I ES F I \' E

SCHUMANN, R. SONATA ALBUM

L. 329 26 Sonatas by Haydn. Mozart and
L.90 Op. 15, Beethoven, Bk. I; L. 340, Bk. 11.
68. Scenes from Childhood; Album for the
Young (Bauer). SONATINA ALBUM
L.95 Op. 16. Kreisleriana (Bauer).
L. 51 30 Favorite Sonatinas, Rondos and
L. 1163 Op. 17. Fantasia (Bauer).
Pieces (Kohler).
L. 1686 Op. 18,
19.28. Arabesque; Blumenstiick; 3 Romances L. 265 15 Favorite Sonatinas. Abridged Version.
(Bauer).
L. 102 Op. 20. Humoreske (Bauer). SONATINA AND SALON ALBUM
L.98 Op. 21. Novelletten (Bauer). L. 305 15 Sonatinas and .Miscellaneous Pieces

L.105 Op. 22. Sonata. Cm and Presto Passionato (Scharfenbcrg).

(Bauer).
L.94 Op. 23,
SONATINAS AND RONDOS
111. 4 Nachtstucke; 3 Fantasiestiicke L. 693 22 Pieces (Kleinmichel).
(Bauer).
L.99 Op. 26. FaschinRsschwank aus Wien (Bauer). STRAUSS, J.

L. 1715 Op. 32. Scherzo. Gigue, Romance and Fughette L. 131 28 Favorite Dances, Bk. I; L. 132, Bk. II;
(Bauer). L. 133, Bk. in.
L. 1358 Op. 54. Concerto, Am. 2-Piano Score (Hughes).
L.91 Op. 68. Album for the Young. 43 Pieces SWIFT, N.
(Bauer). L.823 12 Children's Pieces.
L. 1716 Op. 72,
76, 126. 4 Fugues; 4 Marches; 7 Pieces in TCHAIKOVSKY, P. I.
Fughetta Form (Bauer).
L. 1045 Op. 23. Concerto No. 1, Bbm. 2-Piano Score
L. 1690 Op. 82. Forest Scenes (Bauer).
(JosefTy).
L. 1707 Op. 92,
Introduction and .MIegro Appassionato;
L. 909 Op. 37a. The Seasons. 12 Characteristic Pieces
134.
(Ruthardt).
Concert Allegro with Introduction.
2-Piano Score (Bauer). L. 816 Op. 39. Album for the Young. 24 Easy Pieces
L. 1275 Op. 99. Colored Leaves (Bunte-Blatter) (Bauer). (Ruthardt).
L. 1180 Op. 118. 3 Sonatas for Young People (Bauer). L. 1447 Op. 71a. The Nutcracker Suite (EsipofT-Deis).
L.1075 Op. 124. Album-Leaves (Bauer). L. 1634 Selected Compositions.
L. 1688 Op. 133. Songs of the Dawn (Bauer).
L. 100 Album. 22 Pieces. TOCCATA ALBUM
L. 1793 By Antheil, Bach, Buxtehude, Czerny,
SCRIABIN, A. Frescobaldi, Froberger, Gabrieli, Hoi-
L. 1684 16 Preludes (Deis) by, Khatchaturian, Padovano, Paradisi,
Pollini, Prokofieff, Purcell, Rhcinber-
SELECTED PIANO SOLOS BY ROMANTIC ger, Scarlatti and Schumann. (Ba-
COMPOSERS logh).
L.1718 Bk. I: Elementary; L. 1719. Bk. II: In-
termediate; L. 1720, Bk. Ill: Lower WAGNER, R.
Advanced.
L. 1103 Album. 20 Pieces (Oesterle).
SELECTED SONATINAS L. 1636 Selections from Operas. Bk. I.

L.1594 Bk. I: ElemenUry; L. 1595. Bk. II: In-

L.57 Wagner-Lisit Album. 9 Transcriptions
termediate; L. 1596, Bk. Ill: Lower from Wagner's Operas.
Advanced.

SELECTIONS FROM SIX FAVORITE OPERAS WEBER, C. M. Von

L. 1382 Op. 72. Polonaise Brillante. 2-Piano Score
L. 1638 Excerpts from "Carmen", "Aida", "La
(Liszt-Spencer).
Traviata", "The Tales of HolTmann".
L. 1189 Op. 79. Concertstiick. 2-Puiiio Score (Sternberg).
"The Bat", "The .Marriage of Figaro".
A. 1191 L. 1667 Miscellaneous Compositions (Mason).

rr,y^ G. SCHIRMER New York /London

%
i