Antonio Vivaldi: Concerto G Minor RV 531: String Ensemble: Miniature Score

Rv 497 - F.Viii-7 - Trascrizione per Fagotto e Pianoforte-Antonio Vivaldi's Concerto In A Minor F.VIII 7 transcribed for Bassoon with a Piano reduction of the original Strings and Continuo by Angelo Ephrikian.

Ed. A. Ephrikian - riduzione per oboe e pianoforte-Antonio Vivaldi's Concerto In D minor F.VII No.1 for Oboe with a Piano reduction of the original Strings and Continuo parts transcribed by Angelo Ephrikian.

Antonio Vivaldi's Concerto in A Minor RV498 for Bassoon. This reduction for Bassoon and Piano edited by Leonard Skarrow.

Antonio Vivaldi's Concerto In A minor arranged for late intermediate level Piano solo by James Bastien.

Antonio Vivaldi's Concerto In D Minor RV 535 for two Oboes and Piano. Edited by Robert Paul Block and David Lasocki. Duration: 19'.

Music Minus One Violin Deluxe 2-CD Set-Three beautiful Baroque concerti from the master composer Antonio Vivaldi all part of his famous 'L'Estro Armonico.' Glorious Venetian Baroque music rewarding to study and play. The wonderful 'Double' Concerto includes printed parts for both primo and secondo violin and includes accompaniments with orchestra minus primo violin as well as with orchestra only (minus both violins) for you and a fellow violinist to perform. Suitable for a variety of technical levels. Includes a high-quality printed music score and 2 compact discs with complete and stereo accompaniment recordings. Performed by Geoffrey Applegate violin Lenore Sjoberg 2nd violin Accompaniment: ClassicChamber Orchestra Conductor: Emil Kahn

per flauto archi e cembalo RV 441 (F.VI. No. 11 P.V. 440)-The source of the present edition of the Recorder Concerto in C minor by Antonio Vivaldi is the Collected Works of Vivaldi edited by Malipiero published by Ricordi 1953. The title of the original score is 'Concerto in Do minore per flauto archi e cembalo'; the original setting: Flauto Violini I-II Viole Violoncelli Contrabassi and Cembalo. The arrangement for recorder and piano is kept in accurate conformity with the musical text of the score; the continuo part however has been more freely adapted (of course within the possibilities of baroque style). In contrast to previous arrangements the piano part contains the entire orchestral material in the Tuttis thus the soloist is not obliged to play all the Tutti parts. However in Movement I and III the first and last Tutti may never be omitted by the performer.