For 2 flutes which may be played by viola cello or bassoon-Edited by Louis Moyse. Continuo part to be played by Viola Cello or Bassoon.
SKU: AP.6-486176
ISBN 9780486486178. English.
Volume III of this critically acclaimed three-part collection features introductory text and performance notes to 30 Scarlatti sonatas, from Sonata LXI to Sonata XC. The works appear in chronological order and with Kirkpatrick numbers. This Urtext edition preserves the sonatas' original presentation, save for the addition of accidentals and the inversion of treble and bass clefs, in accordance with modern practices.
SKU: AP.6-486087
ISBN 9780486486086. English.
Volume I of this critically acclaimed three-part collection features introductory text and performance notes to 30 Scarlatti sonatas, from Sonata I to Sonata XXX. The works appear in chronological order and with Kirkpatrick numbers. This Urtext edition preserves the sonatas' original presentation, save for the addition of accidentals and the inversion of treble and bass clefs, in accordance with modern practices and ease of playing.
SKU: HL.14029033
ISBN 9780853605812. 8.0x11.5x0.202 inches.
Selected and edited by Stoddard Lincoln. A graded progression of 42 sonatas through style and technique.
SKU: M7.DOHR-15232
ISBN 9790202032329.
SKU: HH.HH451-SOL
ISBN 9790708146582.
At the heart of George Berg's oeuvre are his seven collections of keyboard music. His sonatinas for harpsichord were a by-product of his teaching, appearing in three volumes between 1759 and 1762. Technically fairly simple, these are lively, inventive and finely polished works. Berg's sonatinas are as well suited to the piano as the harpsichord sonatas of Domenico Scarlatti from which they draw so much inspiration, provided that the player makes sparing (or no) use of the sustaining pedal and avoids over-fussy dynamic variation.
SKU: HH.HH450-SOL
ISBN 9790708146575.
At the heart of George Berg’s oeuvre are his seven collections of keyboard music. His sonatinas for harpsichord were a by-product of his teaching, appearing in three volumes between 1759 and 1762. Technically fairly simple, these are lively, inventive and finely polished works. Berg’s sonatinas are as well suited to the piano as the harpsichord sonatas of Domenico Scarlatti from which they draw so much inspiration, provided that the player makes sparing (or no) use of the sustaining pedal and avoids over-fussy dynamic variation.
SKU: BO.B.3649
Padre Antonio Soler is the most important Spanish composer of keyboard instruments of the XVIII century. Born in Olot he was baptized in 1729 and died in El Escorial in 1787. As a young boy he entered the Escolania of Montserrat, where he studied composition and organ, coinciding at the same monastery with the also Spanish composer of that time, Fernando Sor. Padre Soler spent great part of his life in El Escorial as chapel master and organist and met in Madrid Italian composer Domenico Scarlatti with whom he developped a deep friendship inspired on mutual admiration.In spite of the similar styles of both composers the fluid inspiration of Padre Soler excels for his own personality, definitely influenced by Spanish roots. Furthermore, I ask myself if the fact of being at the same monastery of Montserrat with guitarist composer Fernando Sor didn't play an important role in the future development of Padre Soler's style.I have transcribed for two guitars these three sonatas in the hope that also the guitarists can enjoy playing these little jewels, truly musical delights, that Padre Antonio Soler left for us.
