SKU: HH.HH380-FSP
ISBN 9790708041085.
Boismortier has imbued his Op. 28 sonatas with the same elegance, melodic and harmonic interest, and contrapuntal ability that characterise his other â??Italianâ?? trio sonatas, and the works are technically accessible to competent players. As with Op. 41, these compositions are simply unlike similar trio sonatas for the same instrumental combination; it is hoped they will be welcomed enthusiastically by baroque and modern oboists.
SKU: CY.CC2793
Purcell's Trio Sonatas of 1683 are a blend or hybrid of French and Italian Baroque 17th Century musical styles. The six Sonatas of Volume 2 alternate between major and minor keys. Each work consists of several short movements, ranging between melancholy and joyous. Volume 2 is a continuation of the six sonatas from volume one, with more surprises and enjoyment for performers and listeners alike.Especially delightful are the dissonances that the composer intersperses throughout each work.Each Sonata is about 6-7 minutes in length and they are an absolute delight to perform.For advanced performers.
SKU: CY.CC2784
Purcell's Trio Sonatas of 1683 are a blend or hybrid of French and Italian Baroque 17th Century musical styles. The six Sonatas of Volume 1 alternate between major and minor keys. Each work consists of several short movements, ranging between melancholy and joyous.Especially delightful are the dissonances that the composer intersperses throughout each work. Each Sonata is about 6-7 minutes in length and they are an absolute delight to perform.For advanced performers.
SKU: HH.HH586-FSP
ISBN 9790708213017.
Saint Pancras refers to the original name of the Hooglandse Kerk in Leiden, the Netherlands, where Emma is composer in residence.
SKU: HH.HH587-FSP
ISBN 9790708213024.
Fisher’s Op. 2 set is externally very similar to its Op. 1 predecessor in its combinations of movement types and musical language, but now has an added spaciousness and audacity born of greater maturity. Everything is wonderfully blended: the fugal movements are melodious; the ‘singing allegros’ are harmonically rich and contrapuntally charged; the dance-like movements, full of happy surprises, fizz and purr. Op. 2 appeared in print only in the year following Fisher’s death. Surprisingly in the circumstances, the level of accuracy in the engraved parts matched the high standard set by Op. 1. This would have gratified the composer, who was so evidently a perfectionist in all he undertook.
SKU: ST.PC4
ISBN 9790220223426.
Highly appealing to scholars and amateur and professional performers alike, the nine pieces in this collection comprise all the known trio sonatas that survive complete and appear to have been written in England during the reign of Charles II by composers other than Purcell. John Blow's G minor Ground and Sonata in A, and a G minor sonata by Draghi, not only stand comparison with music of the younger composer, but also, in their varied approach to form, throw fascinating light on his more Italianate approach to the genre. All the sonatas - works by Robert King (a Sonetta after the Italion way), Johann Gottfried Keller, Nicola Matteis senior and Gerhard Diesineer - are attractive to play and listen to, and the collection, also including surviving violin parts from works by Blackwell and Eastwick, significantly extends our understanding of the context in which Purcell's famed sonatas arose. Performing material is available.
SKU: HH.HH379-FSP
ISBN 9790708092995.
Boismortier has imbued his Op. 28 sonatas with the same elegance, melodic and harmonic interest, and contrapuntal ability that characterise his other ‘Italian’ trio sonatas, and the works are technically accessible to competent players. As with Op. 41, these compositions are simply unlike similar trio sonatas for the same instrumental combination; it is hoped they will be welcomed enthusiastically by baroque and modern oboists.
SKU: HH.HH373-FSP
ISBN 9781910359051.
While one tends to associate the trio sonata for two violins and continuo with Italy, the trio sonata for flute, violin and continuo was largely the province of German composers (including Telemann, J.S. Bach, Handel, and then later Quantz, C.Ph.E. Bach, C.H. Graun and other musicians attached to the court of Frederick the Great). It is therefore surprising to discover that one of the very first collections of trio sonatas for this particular scoring was composed by the Frenchman Joseph Bodin de Boismortier (1689-1755), whose sonatas were moreover intentionally written in the ‘Italian style’.
