Author : George Berg

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Author : George Berg

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Author : Johann Baptist Cramer

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J.B. Cramer's Sonata In C Major for Piano dedicated to Joseph Haydn is a model of classical clarity, and Cramer exploits the full range and sonority of the Fortepiano, with exact indications of pedalling and dynamics.

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Author : Johann Friedrich Fasch

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Carl Fasch was famously hesitant to share his music with the public and even requested the destruction of much of his work. The pieces that have survived bolster the perspective that Fasch was the genuine heir to C. P. E. Bach, with whom he collaborated on keyboard performances at the court of Frederick the Great. The sonata in question, which was published and received acclaim during the composer's lifetime, demonstrates his status as a minor master and a compelling proponent of the diverse expressive style prevalent in Berlin at that time.

Author : Christian Hartmann

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Author : Christian Hartmann

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Author : Antonio Montanari

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The three 'Dresden' sonatas included in this volume are thought to represent the inaugural modern edition of any of his chamber music works. This edition is comprehensive, featuring a preface, textual annotations, a realization of the continuo part, and individual parts for both violin and bass, complete with figured bass notation.

Author : Wolfgang Amadeus Mozart

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This collection features two enigmatic pieces, marking the final discovery of this Mozart year. Following Mozart's death and leading up to the close of the 18th century, it became evident that he had not produced a sufficient number of short, accessible keyboard works to meet the demands of the burgeoning amateur music market. In response, numerous publishers sought to fill this gap by releasing compilations of adaptations, some claiming to be "petites pièces ... composées par W. A. Mozart," while others more openly labeled their offerings as "tirée des Oeuvres de W. A. Mozart." Despite the authenticity of most pieces in these collections being traceable to Mozart's oeuvre, two pieces from the XII petites pièces, published by Artaria for harpsichord and by various Leipzig publishers for piano, remain unaccounted for. This presentation follows the order established by Artaria, placing both mysterious pieces at the forefront of the collection.