SKU: BT.DHP-1135497-215
9x12 inches. English-German-French-Dutch.
Robert van Beringen chose a classical theme for this funeral march. For this reason, within the trio of this melancholy piece we find echoes of Albinoni’s Adagio which - according to the latest research was actually composed by his biographer Remo Giazotto. Thanks to the four-part variable instrumentation (with ad lib. drums) this funeral march can be played by pretty much any ensemble - whether at a funeral on the way from the church to the cemetery, in the church itself or indeed on stage as part of a memorial concert.Robert van Beringen maakt in het trio van zijn Funeral March gebruik van de bekende melodie ‘Adagio van Albinoni’, en waarvan sinds kort blijkt dat het eigenlijk werd geschreven door Giazotto. Door de _x001E_exibele, vierstemmige bezetting kan dit werk gespeeld worden door elk orkest. Het is geschikt als begeleiding van de kerk naar het kerkhof of in de kerk als een moment van bezinning of eerbetoon. Robert van Beringen wählte für diesen Trauermarsch ein klassisches Thema. So _x001D_finden sich im Trio dieses melancholischen Stückes Anklänge an das Adagio“ von Albinoni, das nach neueren Erkenntnissen aber von dessen Biograf Remo Giazotto zu stammen scheint. Dank der vierstimmig variablen Instrumentierung (mit Schlagzeug ad lib.) kann der Trauermarsch von jeder Besetzung gespielt werden - ob bei einer Beerdigung auf dem Weg von der Kirche zum Friedhof, in der Kirche selbst oder auf der Konzertbühne bei einem Gedenkkonzert.Robert van Beringen s’est inspiré d’un grand thème classique pour cette marche de funérailles, dont le trio mélancolique nous rappelle l’Adagio qui semblerait en fait avoir été composé, selon de récentes découvertes, par le musicologue Remo Giazotto d’après un fragment d’une sonate d’Albinoni retrouvé parmi les ruines de la bibliothèque de Dresde, après son bombardement durant la Seconde Guerre mondiale. Écrite dans une version pour instrumentation variable quatre voix (avec percussion ad libitum), Funeral March pourra être interprété lors d’une cérémonie funéraire, d’une procession de l’église au cimetière, ou lors d’un concert commémoratif.Per questa marcia funebre, Robert van Beringen si è ispirato ad un tema classico. Il malinconico trio ricorda l’Adagio di Albinoni che secondo scoperte recenti sembra sia stato composto dal biografo Remo Giazotto. Scritta per strumentazione variabile a quattro voci (con percussioni ad libitum), Funeral March può essere eseguita in occasione di una cerimonia funebre, di una processione o di un concerto commemorativo.
SKU: BT.DHP-1135497-015
Robert van Beringen chose a classical theme for this funeral march. For this reason, within the trio of this melancholy piece we find echoes of Albinoniâ??s Adagio which - according to the latest research was actually composed by his biographer Remo Giazotto. Thanks to the four-part variable instrumentation (with ad lib. drums) this funeral march can be played by pretty much any ensemble - whether at a funeral on the way from the church to the cemetery, in the church itself or indeed on stage as part of a memorial concert.Robert van Beringen maakt in het trio van zijn Funeral March gebruik van de bekende melodie â??Adagio van Albinoniâ??, en waarvan sinds kort blijkt dat het eigenlijk werd geschreven door Giazotto. Door de _x001E_exibele, vierstemmige bezetting kan dit werk gespeeld worden door elk orkest. Het is geschikt als begeleiding van de kerk naar het kerkhof of in de kerk als een moment van bezinning of eerbetoon. Robert van Beringen wählte fu?r diesen Trauermarsch ein klassisches Thema. So _x001D_finden sich im Trio dieses melancholischen Stu?ckes Anklänge an das Adagioâ?? von Albinoni, das nach neueren Erkenntnissen aber von dessen Biograf Remo Giazotto zu stammen scheint. Dank der vierstimmig variablen Instrumentierung (mit Schlagzeug ad lib.) kann der Trauermarsch von jeder Besetzung gespielt werden - ob bei einer Beerdigung auf dem Weg von der Kirche zum Friedhof, in der Kirche selbst oder auf der Konzertbu?hne bei einem Gedenkkonzert.Robert van Beringen sâ??est inspiré dâ??un grand thème classique pour cette marche de funérailles, dont le trio mélancolique nous rappelle lâ??Adagio qui semblerait en fait avoir été composé, selon de récentes découvertes, par le musicologue Remo Giazotto dâ??après un fragment dâ??une sonate dâ??Albinoni retrouvé parmi les ruines de la bibliothèque de Dresde, après son bombardement durant la Seconde Guerre mondiale. Ã?crite dans une version pour instrumentation variable quatre voix (avec percussion ad libitum), Funeral March pourra être interprété lors dâ??une cérémonie funéraire, dâ??une procession de lâ??église au cimetière, ou lors dâ??un concert commémoratif.Per questa marcia funebre, Robert van Beringen si è ispirato ad un tema classico. Il malinconico trio ricorda lâ??Adagio di Albinoni che secondo scoperte recenti sembra sia stato composto dal biografo Remo Giazotto. Scritta per strumentazione variabile a quattro voci (con percussioni ad libitum), Funeral March può essere eseguita in occasione di una cerimonia funebre, di una processione o di un concerto commemorativo.
SKU: AP.36-A758701
ISBN 9798892703239. UPC: 659359500466. English.
Tomaso Albinoni (1671-1751) wrote some of the first Italian music for oboe. The second concerto of Albinoni's 12 Concerti a cinque is Oboe Concerto in D minor, Op. 9, No. 2. Albinoni dedicated this collection of concerti to Maximilian II Emanuel, the Duke of Bavaria. Published by Michel-Charles Le Cene in Amsterdam in 1722, the slow movement of this concerto is the most popular. This edition is edited by Fritz Kneusslin. Instrumentation: Str (2-2-2-1-1 in set): Hpchd in set: Solo Oboe in set. Reprint edition.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A758702
UPC: 659359563256. English.
SKU: AP.36-A758748
ISBN 9798892703222. UPC: 659359702624. English.
SKU: HH.HH143-FSP
ISBN 9790708041948.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the ever popular subject of the separation of lovers. It records the departure of Irene from 'Adria' the conventional Arcadian code word for Venice and doubtless was written to commemorate a genuine parting of, say, members of a court. Throughout, Albinoni maintains the simple, lightly elegiac mood that is the hallmark of his style.
SKU: HH.HH152-FSP
ISBN 9790708059066.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the familiar subject of the separation of lovers. The protagonist is the male lover about to depart, who expresses pain at leaving his beloved, promises to remain true to her and finally begs her to dry her tears since he is confident that, somehow, they will be reunited. Unusually for Albinoni, there are three arias, the third of which is dance like in the composer's best faux naïf vein. The first aria is noteworthy for its vigorous bass line, whose jagged quality contrasts strongly with the smoothness of the vocal line.
SKU: HH.HH141-FSP
ISBN 9790708041924.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the subject of the lover's separation from his (or it could be her) beloved, one of the most recurrent themes in the Baroque cantata. An introductory recitative expressing the pain of separation is followed by an extended aria in slow tempo that is among Albinoni's most accomplished and is remarkable for its modulations to distant keys. After a second recitative, which ends with a vivid evocation of Cupid's dart, we arrive at the lover's second aria, which is more tranquil in mood than the first, since he (or she) now looks forward to the expected reunion.
SKU: HH.HH153-FSP
ISBN 9790708059073.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, takes the form of a lover's plea to Clori, who is proving 'hard to get'. He begs her finally to yield to his love. Even if she does not reciprocate it, she should at least soothe his pain temporarily by glancing in his direction. As so often in Baroque cantatas, the exaggerated emotion seems to be ironised to some extent: Albinoni and his poet simultaneously express and critically observe the lover's feelings. The two arias are nicely contrasted, the first containing a large amount of written in vocal ornamentation and the second, in contrast, conveying a bluff breeziness.
SKU: HH.HH145-FSP
ISBN 9790708041962.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on a more serious subject than most. Standing at the deathbed of Lidio, who has undeviatingly loved her without reciprocation all his life, Clori is stricken by remorse at her ingratitude and enjoins others to surrender to Cupid. As usual, Albinoni does not wallow in the lachrymose, but there is an affecting tenderness that suffuses the whole cantata.
SKU: HH.HH146-FSP
ISBN 9790708041979.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the ever popular subject of a timid lover who, in the course of three arias and two recitatives, eventually plucks up the courage to declare his love openly. His progress from confusion via self pity to a growing confidence is charted in the well contrasted arias, which show Albinoni's lyrical gift at its best.
SKU: BU.EBR-A091
ISBN 9790560151939. 8.58 x 12.48 inches.
La collection ANACROUSE offre aux pianistes novices et confirmés un large choix d’œuvres classiques, allant de la Renaissance à l’époque moderne.Proposer tout à la fois des « incontournables » du répertoire classique et des pièces de compositeurs parfois oubliés, toutes d’une valeur pédagogique indéniable, tels sont les objectifs que nous nous sommes fixés. Chaque pièce, vendue à l’unité, a fait l’objet d’un travail éditorial attentif, tant sur le plan de l’établissement du texte musical que de sa gravure, afin de garantir aux musiciens les conditions indispensables aux plaisirs tirés du commerce fréquent de ces œuvres.Les partitions sont proposées sous la forme d’ouvrages traditionnels (feuillets papier), et disponibles également par téléchargement.Si Tomaso Albinoni est célèbre aujourd'hui, c'est principalement grâce à son fameux Adagio en sol mineur pour orchestre à cordes et orgue. Pourtant c'est une œuvre dont il n'est pas complètement l'auteur. Il s'agit en réalité d'un arrangement écrit par son biographe italien Remo Giazotto. Selon ce dernier, on aurait découvert en 1945, au milieu des ruines de la bibliothèque de Dresde bombardée pendant la Deuxième Guerre Mondiale, une «Sonate en trio» composée par Tomaso Albinoni. Remo Giazotto se serait basé sur le mouvement lent de cette sonate pour écrire l'Adagio, qui nous paraît si familier à présent puisqu'il est cité dans plusieurs musiques populaires, ainsi que dans des bandes originales de films.Cette œuvre au tempo lent a pour introduction une mélodie à l’orgue soutenue par les violoncelles et les contrebasses en pizzicato. Vient ensuite le thème en tutti puis une cadence effectuée par le violon soliste accompagné par l’orgue. On reprend ensuite le début de l'œuvre, puis le tutti rentre dans un élan tragique. L’œuvre se termine par un court solo de violon, toujours soutenu par le tapis sonore de l’orgue et de l’orchestre.
SKU: HH.HH154-FSP
ISBN 9790708059080.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the common subject of a lover's jealousy. Clori falls in love with Fileno at first sight, but he proves unfaithful to her and a lovers' quarrel ensues. The music, by turns wistful and assertive, follows Clori's see sawing emotions, ending with a show of defiance. Albinoni's finely chiseled, undulating vocal line demonstrates his great gifts as a melodist.
SKU: HH.HH150-FSP
ISBN 9790708059042.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, describes how Clori, seeing her beloved Clizio asleep in a grassy meadow, begs him to awake – since only then will her love pangs be stilled. The verse may be banal, but the lightness and grace of Albinoni’s setting turns it into something delightful – a precursor, almost, of the versions by Brahms and Wolf of In dem Schatten meiner Locken.
SKU: HH.HH148-FSP
ISBN 9790708041993.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is a rare example, for this composer, of a Sujetkantate - the term coined by the music historian Eugen Schmitz for a cantata that re-enacts an episode taken from mythology or history. Here, the subject is Ariadne, who awakes to find her lover, Theseus, gone. Rushing to the shore, she sees his departing ship and curses his faithlessness - though not without betraying her continuing love for him. Albinoni rises to the occasion in music of power and eloquence.
SKU: HH.HH149-FSP
ISBN 9790708059035.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the evergreen subject of unrequited love. Elmindo, whose overtures to Irene are producing no result, masochistically begs her to look at him. His game plan is to weep even more profusely as a result, thereby provoking her into taking pity on him and reciprocating his affections. This is Albinoni at his most wistful and charming - with enough ironic detachment to prevent the emotion from becoming overblown.
SKU: HH.HH144-FSP
ISBN 9790708041955.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, belongs in spirit to the subgenre known as the lezione amorosa, or 'lesson in love'. The singer represents a lover who, in a homily addressed to his friend Fileno, reproaches his beloved for her doubts about his fidelity, a quality that he then proceeds to extol. As usual, Albinoni does not allow the mood to grow too intense: this is, after all, civilised conversation, not moral philosophy!
SKU: HH.HH147-FSP
ISBN 9790708041986.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is the opening work of the set. A shepherd receives a glance that he believes to be significant from Irene, on whom he has set his affections. Was this glance genuinely meant or only teasing? In two recitatives and two arias, variously playful and reflective, Albinoni explores the possibilities.
SKU: HH.HH142-FSP
ISBN 9790708041931.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, is on the subject of the parting of lovers. Dalinda, forced to part from Tirsi, vows fidelity to him and asks for the same in return. With not only two da capo arias but also a final cavata (a fugue like section), this is one of Albinoni's more extended chamber cantatas, full of harmonic and tonal variety.
SKU: HH.HH547-FSP
ISBN 9790708185628.
It is not often that previously unknown instrumental compositions by Albinoni (1671–1751) turn up, but Michael Talbot recently found two violin sonatas – one from the very start of his career and the other from the period of his maturity – among the anonymous manuscripts of the Este Collection in the Austrian National Library.
SKU: HL.49016024
ISBN 9780793526048. UPC: 073999302806. 305 X 229 inches.
Contents: Adagio (Wagner) • Adagio from Concerto, K.622 (Mozart) • Adagio (Spohr) • Adagio (Baermann) • Adagio and Allegro (Handel) • Allegro (Albinoni) • Allegro (Bach) • At the Brook(Starokadomsky) • Etude (Baermann) • Fantasy Piece (Schumann) • First Movement from Flute Concerto in D (Vivaldi) • Gavotte (Lully) • Gavotte and Minuet (Stanley) • Intermezzo (Starokadomsky) •Larghetto from Quintet, K.581 (Mozart) • Romance (Stamitz) • Second Movement from Concerto No. 1 in F Minor (Weber) • Second Movement from Concerto Militaire (Baermann) • Sonata in G Major (Marcello) •Tambourin (Gossec) • Valse Triste (Gliere).Selected and edited by Arthur H. Christmann. A collection of 20 pieces of medium difficulty, many of which were originally written for the clarinet. With piano accompaniment. Contents: Adagio (Wagner) • Adagio from Concerto, K.622 (Mozart) • Adagio (Spohr) • Adagio (Baermann) • Adagio and Allegro (Handel) • Allegro (Albinoni) • Allegro (Bach) • At the Brook(Starokadomsky) • Etude (Baermann) • Fantasy Piece (Schumann) • First Movement from Flute Concerto in D (Vivaldi) • Gavotte (Lully) • Gavotte and Minuet (Stanley) • Intermezzo (Starokadomsky) •Larghetto from Quintet, K.581 (Mozart) • Romance (Stamitz) • Second Movement from Concerto No. 1 in F Minor (Weber) • Second Movement from Concerto Militaire (Baermann) • Sonata in G Major (Marcello) •Tambourin (Gossec) • Valse Triste (Gliere).
SKU: KU.GM-301A
The Albinoni trio sonatas are smashing, with each sonata more beautiful than the last. The violin parts share the melodies, and neither they nor the cello part venture too high, but are full of interesting tonalshifts and rhythmic variations. These are suitable for intermediate...players, and canbe played without a keyboard.--Sarah Freiberg, for STRINGS (March 2011)
SKU: AP.1-ADV7041
UPC: 805095070415. English. Transcribed by; ed. Trent Kynaston.
Concerto in D Minor Op. 9, No. 2 by Tomaso Albinoni has been transcribed, edited, and arranged for soprano or tenor saxophone and piano.
SKU: KU.GM-301B
The Albinoni trio sonatas are smashing, with each sonata more beautiful than the last. The violin parts share the melodies, and neither they nor the cello part venture too high, but are full of interesting tonal shifts and rhythmic variations. These are suitable for intermediate...players, and can be played without a keyboard.--Sarah Freiberg, for STRINGS (March 2011)
SKU: HH.HH151-FSP
ISBN 9790708059059.
This cantata, from an important manuscript in Berlin containing 18 Albinoni cantatas for soprano and continuo, describes a disappointed lover's repudiation of Cupid. The form is notably concise, having only three movements: two arias enclosing a recitative. The first aria, expressing the lover's unhappiness in love, employs an ostinato bass a speciality of the composer very eloquently, while the second aria playfully, almost flirtatiously, heaps opprobrium on Cupid, even though one suspects that sooner or later the lover will be grateful again for his services.
