/ Parties Orchestrales
SKU: CA.3440213
ISBN 9790007212650. Key: E flat major. Language: all languages.
Works for keyboard with and without accompaniment make up the core of Johann Christoph Friedrich Bach's oeuvre. The Concerto in E flat major belongs to Bach's last creative period during which he once again concerned himself intensely with orchestral music in the form of symphonies, keyboard concertos and concertos for keyboard with another solo instrument. Score and part available separately - see item CA.3440200.
SKU: CA.3440209
ISBN 9790007212629. Key: E flat major. Language: all languages.
Works for keyboard with and without accompaniment make up the core of Johann Christoph Friedrich Bach's oeuvre. The Concerto in E flat major belongs to Bach's last creative period during which he once again concerned himself intensely with orchestral music in the form of symphonies, keyboard concertos and concertos for keyboard with another solo instrument. Score and parts available separately - see item CA.3440200.
SKU: CA.3440212
ISBN 9790007212643. Key: E flat major. Language: all languages.
SKU: CA.3440214
ISBN 9790007212667. Key: E flat major. Language: all languages.
SKU: CA.3440219
ISBN 9790007144463. Key: E flat major. Language: all languages.
SKU: CA.3440211
ISBN 9790007212636. Key: E flat major. Language: all languages.
SKU: PA.H07554
ISBN 9790006571574. 26 x 19 cm inches.
SKU: HL.49046414
ISBN 9781540090522. UPC: 842819103974.
The American musical patrons Mildred and Robert Wood Bliss were considering which distinguished composer to commission to create a work in celebration of their 30th wedding anniversary in 1938. The couple had made the acquaintance of Igor Stravinsky in April the preceding year at the premiere of his ballet Jeu de Cartes in New York and had subsequently invited the composer to their country home 'Dumbarton Oaks' in Washington D.C. to talk about a new composition. Stravinsky only just managed to complete the work in time for the anniversary celebrations: its date of completion was also the date of its first performance. For his classically styled three-movement work, he selected the title Concerto in E flat, adding the subtitle Dumbarton Oaks as a dedication. The structure of the work references the concerto grosso: it features a soloist ensemble which unites in the tutti sequences but also plays in concertino groups during the solo episodes. Broken chordal structures characterise the central movement whereas the outer movements are distinguished through their use of fugato. Dumbarton Oaks went on to become one of Stravinskys mostsuccessful works, performed widely and delighting Mildred Bliss so much that she immediately issued another commission, for the Symphony in C. Its composer's very public commitment to American cultural life helped pave the way for Stravinskys emigration to the USA in 1945. As early as 1952 Leif Thybo created an arrangement for organ which Stravinsky probably did not know at the time of his life.
SKU: UT.NAP-4
ISBN 9790215318373. 9 x 12 inches.
Concerto in Mi bem. magg. per Violino principale, 2 Violini, Viola e Basso; Concerto in Re min. per 2 Violini e Basso (1728); Concerto in La magg. per 3 Violini e Basso (1728)_x0008_; Concerto in La min. per 3 Violini e Basso (1727)_x0008_; Concerto in La min. per 3 Violini e Basso; Sinfonia in Fa min. a 2 Violini e Basso; Sinfonia in Sol magg. a 3 Violini e Basso; Sinfonia fugata in Fa min. a 3 Violini e Basso; Sinfonia in Do min. a 4 Violini e Basso; Trio in Si min. per 2 Violini e CembaloNicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the Library of the Conservatorio di Musica S. Pietro a Majella in Naples, is composed of 15 concerts with different instrumental organics, 9 symphonies whose principal instrument is the violin – that sometimes proposes pieces with a lot of virtuosities typical of the solo concert –, some pieces for one or two instruments with continuo and two cantatas. Skilled virtuoso, Fiorenza had assimilated both the style of the elegant Baroque of French school, and the a terrazze style, the improvised language typical of the Venetian composers. He knew the style of the Concerto Grosso of Corelli very well, to which he joined a dressy counterpoint maybe too much present for the style of that time. Fiorenza elaborated different styles, filtering them through his sensitive predilection towards the Neapolitan party music and the popular melody, developing a personal composite language that doesn’t consider him belonging to one of the schools of his time. From a formal point of view and for the choice of the instrumental organic, his compositions have not a strong stylistic individuality in comparison with the composite canons of the first part of the XVIII century, but the production of Fiorenza seems to reflect the schemes and the composite forms typical of the late Baroque. His choice of the incisive brevity of the thematic figures is typical of the XVII century, that almost never overcomes the breath and the circle of one or few beats. Fiorenza’s solo compositions show his research of virtuosities, but he never lapses into a rash virtuosity, on the contrary he maintains a gallant taste.
SKU: BA.BA04201-86
ISBN 9790006444878. 32.5 x 25.5 cm inches. Key: B-flat major.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composerâ€℠¢s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BA.TP00167
ISBN 9790006201457. 18.5 x 13.3 cm inches. Key: B-flat major.
Urtext der Hallischen Handel-Ausgabe.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
