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Author: Giovanni Battista Viotti
Publisher: A-R Editions, Inc.
ISBN: 0895790769
Category : Music
Languages : en
Pages : 114
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Book Description
Author: Giovanni Battista Viotti
Publisher: A-R Editions, Inc.
ISBN: 0895790769
Category : Music
Languages : en
Pages : 114
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Book Description
Author: Giovanni Battista Viotti
Publisher: A-R Editions, Inc.
ISBN: 0895790777
Category : Music
Languages : en
Pages : 144
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Book Description
Author: Jehoash Hirshberg
Publisher: A-R Editions, Inc.
ISBN: 0895791714
Category : Concertos
Languages : en
Pages : 130
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Book Description
Author: Dr. Shinichi Suzuki
Publisher: Alfred Music
ISBN: 1457402912
Category : Music
Languages : en
Pages : 26
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Book Description
Piano accompaniment for Suzuki Cello School, Volume 1. Titles: * Twinkle, Twinkle, Little Star Variations (Shinichi Suzuki) * French Folk Song (Folk Song) * Lightly Row (Folk Song) * Song of the Wind (Folk Song) * Go Tell Aunt Rhody (Folk Song) * O Come, Little Children (Folk Song) * May Song (Folk Song) * Allegro (Shinichi Suzuki) * Perpetual Motion in D Major (Shinichi Suzuki) * Perpetual Motion in G Major (Shinichi Suzuki) * Long, Long Ago (T.H. Bayly) * Allegretto (Shinichi Suzuki) * Andantino (Shinichi Suzuki) * Rigadoon (H. Purcell) * Etude (Shinichi Suzuki) * The Happy Farmer from Album for the Young, Op. 68, No. 10 (R. Schumann) * Minuet in C, No. 11 in G Major from Notebook for Anna Magdalena Bach, BWV 841 (J.S. Bach) * Minuet No. 2 from Minuet in G Major, BWV 116 (J.S. Bach)
Author: Frederic Barclay Emery
Publisher:
ISBN:
Category : Composers
Languages : en
Pages : 704
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Book Description
Author: C. R. F. Maunder
Publisher: Boydell Press
ISBN: 9781843830719
Category : Music
Languages : en
Pages : 304
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Book Description
Evidence indicates that the concertos of Vivaldi, Bach, Haydn etc were performed as chamber music, not the full orchestral works commonly assumed. The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when. The late Dr RICHARD MAUNDER was Fellow of Christ's College, Cambridge.
Author: Robin Stowell
Publisher: Cambridge University Press
ISBN: 113982497X
Category : Music
Languages : en
Pages : 310
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Book Description
The Cambridge Companion to the Violin offers students, performers, and scholars a fascinating and composite survey of the history and repertory of the instrument from its origins to the present day. The volume comprises fifteen essays, written by a team of specialists, and is intended to develop the violin's historical perspective in breadth and from every relevant angle. The principal subjects discussed include the instrument's structure and development; its fundamental acoustical properties; principal exponents; technique and teaching principles; solo and ensemble repertory; pedagogical literature; traditions in folk music and jazz; and aspects of historical performing practice. The text is supported by numerous illustrations and diagrams as well as music examples, a useful appendix, glossary of technical terms, and an extensive bibliography.
Author: British Museum. Department of Printed Books
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 764
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Book Description
Author: Niccolò Paganini
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Book Description
Author: Georg Christoph Wagenseil
Publisher: A-R Editions, Inc.
ISBN: 1987208609
Category : Music
Languages : en
Pages : 64
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Book Description
Georg Christoph Wagenseil’s (1715–77) concerto for four harpsichords, scored without orchestra, remains the only known work of its kind based on entirely original material. There are no other known works for four harpsichords besides Bach’s concerto in A minor for four harpsichords and strings, BWV 1065, itself an adaptation of Vivaldi’s four-violin concerto in B minor, RV 580. Wagenseil’s concerto provides an interesting footnote in the development of historical keyboard instruments. Alongside a few other Viennese keyboard works, the concerto features large bass intervals necessitating the use of the Viennese short octave—a keyboard configuration with multiply split bass keys unique to mid-18th-century Viennese keyboard building. This fact further establishes the relevance of early Viennese keyboard instruments in historical keyboard performance. Several aspects of performance practice unique to Wagenseil’s concerto are discussed in the introduction to the edition: continuo realization for a keyboard concerto without orchestra, negotiating the requirements of the Viennese short octave on instruments with chromatic keyboards, and interpreting the notational idiosyncrasies of the manuscript source.
