To say that 'Samantha's Seduction' is written in the erotic romance paranormal genre would be a misnomer though having said that there is a lot of sex in the manuscript. I like to think of the story as a social commentary on the state of things in the world today. The story follows the life of Samantha as she is plucked from her dead end job in the cubicle hell of a clerk typist and transported into the world of wealth and luxury by Asmodeus, who...

Volume 1 of two volumes of excellent Breitkopf & Hartel edition includes Hoboken Nos. 1-29 arranged in chronological sequence based on recent scholarship. Sonata No. 1 in C Major (before 1760) through Sonata No. 29 in F Major (ca 1774-1776). Extremely clear and readable, with ample space for notes.

Explore the other two opus 31 sonatas: no. 16 in G (which literally saved the life of pianist Claude Frank) and no. 18 in E flat. We also look at the opus 49 pair: no. 19 in G Minor and no. 20 in G; both were published against Beethoven's wishes and have since become favorites of young players.

While the groundbreaking Third Symphony was Beethoven's public declaration of his "new path" as a composer, the piano sonatas were, collectively, his workshop for getting there. None more so than Sonata no. 17 in D Minor, op. 31, no. 2 (Tempest).

Focus on one of Beethoven's most popular piano sonatas: no. 8 in C Minor, op. 13 (Pathetique). Professor Greenberg shows how time and popularity can trivialize even the most revolutionary creation, rendering us immune to what was once considered new and shocking.

Continuing your exploration of Beethoven's often overlooked piano sonatas, study no. 25 in G, op. 79, and no. 27 in E Minor, op. 90. The opening movement of op. 79 is a parody of Classically styled piano sonatas, while op. 90 opens with great pathos and tenderness.

Beethoven's last three piano sonatas owe much to his epic Missa Solemnis ("Solemn Mass") which was also composed in the period 1820-1822. Explore the spiritual and compositional links to the Missa Solemnis, particularly as they relate to sonatas no. 30 in E, op. 109, and no. 31 in A flat, op. 110.

Continuing your study of Beethoven's grand sonatas, examine Sonata no. 3 in C, no. 3, op. 2, and Sonata no. 4 in E flat, op. 7. In both these works, we see Beethoven's early artistic declaration that he was not interested in slavishly following the Classical tradition.

Piano Sonata no. 6 in F, op. 10, no. 2 remained a special favorite of Beethoven's for many years after its composition. Examine the elements that make it seem so playful, before turning to the grander work that concludes the opus 10 set: Piano Sonata no. 7 in D.

Likened to Dante's Inferno and Shakespeare's King Lear, Sonata no. 23 in F Minor, op. 57 (Appassionata) is not only esteemed by audiences, it was also one of Beethoven's favorites among his piano works. With the Waldstein, it is a quintessential example of Beethoven's "heroic" style.