Danke!
Die Martinu Sonatine gibt es bei Bärenreiter, bzw. die noch erhältlichen Ausgaben sind von Bärenreiter.
www.musikalienhandel.de/pdb/system/image...notenbildba_6983.jpg
Zu den Sonatinen von Clementi (op 36 1 -3)
icking-music-archive.org/scores/clementi/opus36/cl36.pdf, denen Reger eine Violinstimme beigefügt hat, habe ich folgende Besprechung gefunden:
"Three Sonatinas for Piano, Op. 36, Nos. 1–3 by Muzio Clementi, with added violin part by Max Reger. Edited by Franziska Matz. C.F. Peters, $17.95.
Max Reger wrote these “arrangements” of Clementi’s sonatinas in 1895 for Hans Riemann, a violin student and the son of his friend and teacher, Hugo Riemann. Reger’s purpose was educational rather than aesthetic, focused on strengthening young Riemann’s sense of rhythm and ensemble. The violin parts are simple and can be played entirely in first position, though familiarity with the third and second positions would help the player to bring out phrasing and the tone colors of the different strings.
Reger evidently wanted to compose in Clementi’s style, so there is no evidence of his own heavily chromatic, somewhat turgid writing. He uses imitation and contrary motion to good effect, though the passage work frequently proceeds in parallel thirds and sixths. Except for brief rests for canonic entrances, the violin plays constantly, which tends to diminish—rather than to enhance—its contribution.
The first sonatina and the finale of the second have the best, most independently contrapuntal violin parts; in the third sonatina, the violin part is inventive but undistinguished, more like “filler” than an addition.
The violin parts were published first by Augener in 1895 and then Schott in 1911. In 2000, Sternscher Musikverlag published a “performing edition” of an undated, considerably different earlier version.
In this new Peters edition, the print is clear and widely spaced: in the second sonatina, the violin part has a three-page foldout to avoid a page turn; there are both bar numbers and rehearsal letters.
The piano part has abundant but unattributed fingerings, which might be Clementi’s own.
The violin part, edited by Franziska Matz, has bowings and fingerings that go into third, and a few times, into second position. Though functional, many students and teachers may want to improve on them.
It is the musical indications—such as dynamics, phrasing, and articulation—that are problematic. Clementi’s original contains very few dynamics and hardly any slurs. Reger, however, added copious dynamics to the violin parts, especially crescendo and diminuendo hairpins. The score reproduces his text of the earlier 1895 edition.
In the separate violin part, the editor, as she explains in her preface, has provided her own, different markings “for teaching purposes.” Moreover, she has altered Clementi’s original markings “for consistency with the violin part.” However, the articulation marked in the violin part is completely different from that in the piano part, a decided obstacle to homogeneity of ensemble.
Nevertheless, these “arrangements” are a welcome addition to the lamentably scant literature for teaching ensemble playing. —Edith Eisler "
www.stringsmagazine.com/article/default....42&printable=yes
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