Schumann as Critic , pp. Nagauta, the Heart of Kabuki Music , pp. Sisman, Haydn and the Classical Variation , pp. Bach, Essay, ed. William J. Mitchell, pp. Chua, pp. Kelley, pp. Bulgarian-Macedonian Folk Music , pp. Klein, and the Concept of Row Derivation, pp. The Sense of Music , pp. Murray Barbour. Turning and Temperament , pp. Music in Mexico: A Historical Survey , pp. Revue musicale trimestrielle , pp. Dent, The Rise of Romantic Opera , pp.
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Andrew Gray, ed. Mary Whittall, pp. Hummel Music-Publishing and Thematic Catalogues. Vol I: Text. Bach, pp. Orchestration , pp. Bohlman, eds. Warren Babb, ed. Claude Palisca, pp. Bertrand, pp. Finson, pp. Collected Anthems , pp. Straus, pp. La Musique instrumentale de la Renaissance , pp. Pieces for Harpsichord , pp. The Organ Controversy in the Netherlands Reformation to , pp.
Bach: Revelations from a New Source , pp. Music in the French Secular Theater, , pp. Patricia Myers, pp. Musical Instruments Through the Ages , p. Meyer, Explaining Music: Essay and Exploration , pp. Manns and Joseph Herl, pp. Three Trios , Op. The Beethoven Quartets. Smith and Charles Humphries. Neue biographische und textkritische Untersuchungen. Teil I: Opus , pp. Zbikowski, pp. The Art of Playing on the Violin , pp.
Dolan, pp. Fassler, pp. A Social History of English Music , pp. A Royal Composer Recovered, pp. Wolf, in collaboration with Jean K. Wolf and Paul Corneilson, pp. Italian Renaissance Paintings with Musical Subjects. Gounod, Mistral, and the Midi, pp. Columba Kelly, O. Gall and its Rhythmical Significance. A Paleographical and Semiological Study , pp. Jahrhunderts , pp. Daviau and George J. Andrews: the Origins of W, pp. Victor MS , pp. Wright, Music at the Court of Burgundy , pp. Wade, pp.
The Evidence of the Sequence Manuscripts, pp. III: Haydn in England, , pp. Keefe, Spring , pp. Le Baroque et la musique , pp. Robbins Landon. Lindenburg, Johannes Regis and J. Hirsch, pp. Schneider, pp. The History of Music , pp. The Anthropology of Music , pp. Baker, The Music of Alexander Scriabin , pp. Polyphonic Theory to the Sixteenth Century , pp. The Untunning oft he Sky. Ideas of Music in English Poetry, , pp. Blackmer and Patricia Juliana Smith, pp. Keyboard Compositions Preserved in Manuscripts. Or the Case of the Anti-Madrigal, pp.
Collected Works , pp. Grunfeld, The Art and Times of the Guitar. An Illustrated History of Guitars and Guitarists , pp. Lewis, pp. III, pp. Jacobus Vaet and His Motets , pp. Levin, pp. Smither, ed. Early Fifteenth-Century Music , pp. Bach to J. Westphal , pp. Anderson Sutton, pp. Contents: Johann Schobert, Sinfonia, Op. Speculum musicae , pp. Snow, pp. Greene, ed. Grant, pp. Beating the Tupan in the Central Balkans , pp. Narodni Pesni ot Zapadnite Pokrainini , pp. Bibliography of Jewish Music , pp.
II: Madrigali a 5 voci, libro primo , pp. Rothenberg, pp. Madrigali a 4 e 5 voci, Canzoni villanesche a 3 e 4 voci. Polifonia napoletana del rinascimento. Musikgeschichte in Bildern, III, 9. Potter, pp. Volume 8, Issues in Organology , pp. I: Description and Analysis. II: Transcriptions , pp. Citron, pp. Part I: Studien. Part II: Notenbeispiele und Verzeichnisse , pp. Juditha Triumphans; Due Concerti , pp. Hewett-Thayer, Hoffmann: Author of the Tales , pp. Volume 1 , by Heinrich Schenker, pp. Merkley and Lora L. Merkley, pp.
Volume 55, No. Fassler and Rebecca A. Baltzer, translated by Elizabeth Aubrey, pp. The Wellsprings of Music , pp. Knocker, pp. Scholes, The Great Dr. Burney , pp. Martial de Limoges, pp. Ramsey Jr. Currie, pp. Boone, pp. Roberts and Morris Swadesh. Wenk, Claude Debussy and the Poets , pp.
Bach , pp. White, ed. Schubert, a Critical Biography , pp. Briefe und Aufzeichnungen , pp. Vial, pp. Theory and Method in Ethnomusicology , pp. Nun last uns Gott , pp. Camus, Military Music of the American Revolution , pp. Coperario, A. Ferrabosco, J. Wilson, W. Corkine, J. Hilton, pp. Sei studii e sei divertimenti per cembalo , pp. Baade, pp. Instrumental Music Printed before A Bibliography , pp. Cumming, pp.
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The Life and Music of Bela Bartok , pp. Hesse, pp. The Hexachord and its Relation to the Tone Row , pp. Hans Schmid, pp. Mueller von Asow, ed. Crocker, The Early Medieval Sequence , pp. I: Resonances, , pp. Joseph, pp. Publications of Mediaeval Musical Manuscripts , pp. Kern Holoman, Berlioz , pp. Locke, pp. Elizabeth C. Bartlet, pp. Sweelinck , pp. Walter Frye and the Contenance Angloise , pp. Mathiesen, pp. Serial Composition and Atonality , pp. The Pelican History of Music , pp. Cochrane, pp. Hummel, pp. Nelson, The Technique of Variation , pp. Bach, Collected Works for Solo Keyboard , ed.
Darrell Berg, pp. The Orchestra from Beethoven to Berlioz , pp. Graun, pp. I: Textteil. Vol II: Notenteil , pp. Peter le Huray and James Day, pp. Harmoniae Morales , pp. Schubert: Thematic Catalogue , pp. Solie, ed. Lowinsky, ed. Kater, pp. Hymni per totum annum3, 3, 5, 6 vocibus , pp. Stravinsky, The Composer and His Works , pp. Ruth M. Stone and Lester Monts, Directors.
Bach and J. Westphal — A Clarification , pp. Musikalische Werke , pp.
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Declaratio musicae disciplinae , pp. Music in the Renaissance , pp. Three Centuries of Harpsichord Making , pp. An Anthology of Musical Criticism , pp. Gregorian Chant , pp. Zak III, pp. Tudor Church Music , pp. Opera omnia , pp. Everett; and Frank Loesser , by Thomas L. Riis, pp. Scott, pp. Harper-Scott, pp. Music in New Hapshire, , pp. Wilhelm A. Tradition, pp. Vai al contenuto. Carl Maria von Weber , pp. Erster Band , and Robert W. Bohlman, pp. Bernstein, ed. The Mulliner Book , pp. Martial to Notre Dame, pp. Die Musik in Geschichte und Gegenwart , pp.
Bibliografia della musica strumentale italiana stampata in Italia fino al , pp. Early Jazz: its Roots and Musical Development, pp. Structural Hearing , pp. The Thematic Process, pp. Harmonic Practice , pp. Music in Bali , pp. Alberto Gallo, eds. Catalogue par Nanie Bridgman , pp. Richard, pp. Score of Gagaku. Japanese Classical Court Music , pp.
Krummel, English Music Printing , pp. Premier Livre de Tabulature de Luth , pp. Der Antwerpener Notendrucker Tylman Susato , pp. Prokofiev , pp. Die Torgauer Walter-Handschriften , pp. Davison and Willi Apel, ed. I, pp. Medieval Polyphony in the Bodleian Library , pp. Associazione Clavicembalistica Bolognese, 6. Rome, Oblong, 30 x 21 cm, 2 parts, xx, 76 pp. Line-cut of a contemporary ms copy, a wonderful transcription for two harpsichoords from the original string version.
Bodin de, [Suites, harpsichord, op. Descriptive pieces arranged as 4 suites, some of which include several couplets. Opera seconda. Introduction: Henri Vanhulst. Musica Bruxellensis, VI. Brussels, The first of four publications for clavecin by Boutmy to be published in facsimile. Preface in Eng-Fr. Oblong, 31 x 23 cm, 4, 26 pp. Oblong, 26 x 20 cm, 78 pp. Three complementary treatises on accompanying with the organ and harpsichord. With a Preface by by J.
Williamsburg, Oblong, 31 x 23 cm, vi, 26 pp. Line-cut of the London edition. A graded collection of pieces including numbers by Nicracci, Lully, Corelli, Larini, Pescatore, and others, together with some rules on playing by Robert Bremner. Wrappers in marbled paper. Willy-Burkhard-Gesellschaft, Jahresgabe Bern, Halftone of the autograph score composed in for the baptism of Christine Judermuhle. Special limited edition on laid paper. With an Introduction by Albert Clement. Exempla Musica Zelandica, I. Middelburg, Line-cut of the Amsterdam, c. Edited by Oliver Neighbour.
It was painstakingly compiled by the Windsor-based scribe John Baldwin, who completed work on it on 11 September By Byrd was mid-way through his career as composer of church music and secular vocal and instrumental music. The MS provides a snapshot of the keyboard music he had composed by that date and is an exceptionally important source for his music.
It contains some of his best-known compositions for keyboard, including variations on the popular tunes 'Sellinger's Round' and 'All in a Garden Green'. Her family's coat of arms adorns a leaf at the front of the MS. Commentary in Eng-Ger. Faksimile-Edition Theoretica, 4 Suttgart, Oblong, 22 x 17 cm, 48; 74 pp. Line-cut of the Augsburg and editions. Ars cantandi—after a brief introduction on fundamentals and solmisation—includes an appendix of keyboard pieces preamboli, intermezzi, versetti, toccate, tastate, variazioni, fughe. Hardbound in decorative paper.
Venezia Archivum Musicum: Strumentalismo Italiano, Line-cut of the Venice, partbooks canto I, canto II, basso , as well as the full score. Introduction in It by Marcello Castellani. Wrappers in decorative paper, with slipcover. Libro secondo, Venezia Line-cut in the original partbook format. Consists of 17 sonatas for various instrumental combinations.
Preface in It by Marcello Castellani. Wrappers and slipcover in decorative paper. Oblong, 31 x 22 cm, 70 pp. The first two books of harpsichord music to be engraved in France. Oblong, 31 x 22 cm, 23, 70 pp. Oblong, 27 x 21 cm, 70 pp. Oblong, 31 x 22 cm, 20, 60 pp. Oblong, 27 x 21 cm, 62 pp. Musica Repartita, 27F. Oblong, 32 x 23 cm, 18, 38 pp.
Line-cut of the Poggiali edition, Florence, c. The only keyboard sonatas by Cherubini. Oblong, 34 x 24 cm, iv, 77 pp. Line-cut of the Rome, edition. Introduction in It by Laura Alvini. Wrappers in decorative paper. Oblong, 27 x 19 cm, 36 pp. Oblong, 27 x 20 cm, 30 pp. Oblong, 25 x 19 cm, 19 pp. Slightly augmented version of the edition. Oblong, 28 x 21 cm, 19 pp. Nationale, Paris]. Oblong, 31 x 22 cm, 28, 19 pp. Walker edition, London, A Facsimile of the Paris, Edition. This work was produced at various times with plates that were either corrected or added to. Laid paper, cloth.
Hildesheim, Line-cut reproduction of the Paris, edition. Livre 1er. Oblong, 29 x 21 cm, 34 pp. Prototipes contains lessons in questions and answer form, and illustrative sonatas for the vln, fl, and descant viol. Oblong, 27 x 21 cm, 55 pp. Arranged into 4 suites. Includes 4 suites with an explanation of passages to be fingered. Develops a whole code of ethics for playing the instrument. With 8 preludes. Line-cut of another surviving print of the Paris, edition this print is possibly earlier than no.
Laid paper with handsome binding in cloth. Laid paper, linen. Inguimbertine, Carpentras]. Line-cut of the Paris, edition, based on the exemplar formerly owned by Ralph Kirkpatrick. Introduced by R. Peter Wolf. New York, 23 x 31 cm, v, 14 pp. Introduction de Davitt Moroney. Manuscrits, Oblong, 22 x 17 cm, 35, pp. Line-cut of a newly discovered ms containing French harpsichord music.
O Filii, chansons de St-Jacques, et carillons. Paris Line-cut of the Paris, and editions. Hardbound, in slipcase. Mademoiselle de Soubise. Oblong, 31 x 22 cm, 11 pp. Line-cut of the John Walsh edition, London, [c. Contains 13 movements from Suittes de clavecin Line-cut of the Roger cembalo version, Amsterdam, Preface in Ger by Winfried Michel. Premier Livre. Paris s. Bologna, Oblong, 35 x 25 cm, 25 pp. Line-cut of the De Grado edition, Naples, Laid paper.
Handsome portfolio in cloth. Oblong, 30 x 22 cm, 24 pp. Line-cut reproduction of the F. Napoli ? Oblong, 31 x 23 cm, ix, 23 pp. Line-cut of the Naples, c. Introduction in It-Eng by Pinuccia Carrer. Granada, . Full-color reproduction of the autograph issued on the occasion of the 20th anniversary of the Archivo Manuel de Falla. Commentary in Sp. Limited edition of copies. Oblong, 30 x 21 cm, 20 pp. Opera Terza. Opera Sesta. Introduction: Marie Cornaz. Musica Bruxellensis, I. Introduction by Henri Vanhulst. Musica Bruxellensis, IV. Line-cut of the Brussel, edition. Preface in Fr-Eng.
Oblong, 30 x 22 cm, 18 pp. Schmidt edition, Braunschweig, Opus II. Oblong, 28 x 21 cm, 67 pp. Line-cut of the second edition, Augsburg, Oblong, 34 x 26 cm, 68 pp. Line-cut of the Augsburg, Dutch Music Facsimiles, Livre premier. Wrappers, in 2 vols. Line-cut of the Colmar edition, Munich, c.
Partite di diverse, arie e corrente, balletti, ciaccone, passaghagli. Libro primo. Archivum Musicum: Strumentalismo Italiano, 3. Preface in It by Laura Alvini. Archivum Musicum: Strumentalismo Italiano, 4. Mainz, Ludwig Bourgeat Faksimile-Edition Krakau, 5. Oblong, 32 x 20 cm, 28 pp. Halftone of the Amsterdam, edition. Oblong, 29 x 20 cm, 44 pp. Line-cut of the Mainz, edition. Oblong, 29 x 20 cm, ii, 28 pp. Musica Repartita, 44F.
Amsterdam, E. Faksimile-Edition Krakau, 6. Oblong, 25 x 18 cm, 40 pp. Oblong, 28 x 20 cm, ii, 40 pp. Line-cut of the Amsterdam, edition. Full-color reproduction of a contemporary ms copy, together with a new engraved edition. This ms resurfaced in and was returned to the archives of the Sing-Akademie in Berlin in It was probably prepared from autograph originals by the Hamburg organist Johann Kortkamp, ca. Ludwig Bourgeat Faksimile-Edition Krakau, 7. Oblong, 32 x 21 cm, 46 pp. Contains 13 works arranged by key.
Libro quinto]. Faksimile-Edition Augsburg, 4. Line-cut of the Venice, edition. Hardbound in marbled paper. Oblong, 23 x 16 cm, 52 pp. Geminiani and Adapted by Himself to that Instrument. Introduction in It by Gabriella Sartini. Geminiani, and Adapted by Himself to that Instrument. Oblong, 29 x 21 cm, i, 37 pp. Line-cut of the John Johnson edition, London, c. Reflects the influence of contemporary Italian composers such as Domenico Scarlatti and Domenico Alberti. Biblioteca Classica, Line-cut of the Preston edition, London, c.
Firenze Oblong, 32 x 23 cm, 73 pp. Line-cut of the Florence, edition. Mantorp, c. Line-cut of Hummel edition, Amsterdam, c. Introduction in Dannish by Gustaf Ruuth. Consists of 12 dance suites corresponding to the 12 months of the year. Oblong, 32 x 23 cm, 25, pp. Oblong, 30 x 23 cm, vi, 73 pp.
Line-cut of the John Johnson edition, London, This present set includes an added piece by Handel, the Sonata in C major G Ring binder. Line-cut of the Walsh edition, London, , arranged for keyboard. Line-cut of the London,  edition. Associazione Clavicembalistica Bolognese, 5. Oblong, 30 x 21 cm, vii, 27 pp. Preface in It-Eng by Paola Bernardi. Oblong, 29 x 21 cm, i, 51 pp. The lessons show elements of the suite, organ voluntary and the sonata.
Opera Oblong, 31 x 22 cm, 88 pp. Line-cut of the Nuremberg, 18th c.
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Collection of three sets of six sonatas, edited by Haffner. Last copy. Line-cut of the Walsh edition, London, c. Reproduktionen Historische Ausgaben, 7. Berlin, c. Line-cut of the London, first edition, arranged for keyboard solo. Troisieme Ovarage. Oblong, 34 x 24 cm, 25 pp.
Line-cut of the Walsh, London, n. Oblong, 28 x 21 cm, 80 pp. Facsimile Edition with an Introduction by Clemens Romijn. Musica Bruxellensis, III. Brussels, 24 x 36 cm, 45 pp. Preface in Fr. Line-cut of the L. Krafft edition, Brussels, . Introduction de Denis Herlin.
Oblong, 26 x 20 cm, xxxiv, pp. Line-cut of the first edition, Paris, containing a few manuscript corrections. Preface detailing various editions and their locations in Fr-Eng. Facsimile of the Paris Edition. Line-cut of the Roger edition, Amsterdam, c. Includes the same music as the earlier oblong editions, but abbreviates the appendix of ornaments.
Edited in Facsimile with an Introduction by Wil Dekker. Line-cut of the Siegfried Markordt edition, c. Part of a composite volume which contained 11 organ works. Line-cut of the Vienna,  edition. Livre premier [-second]. Sonatas in 3 movts. Rotterdam, . Oblong, 30 x 21 cm, 26 pp. Premier livre. Introduction de Carol Bates. Oblong, 28 x 22 cm, x, 83 pp. Recently discovered book consisting of 34 pieces arranged as 4 suites. Marcello, Venice]. Oblong, 31 x 23 cm, 12, 83 pp.
Line-cut of Paris,  edition. Critical Facsimiles, 9. Oblong, 26 x 20 cm, xii, 86, 28 pp. Includes apparatus listing all editorial emendations. Nationale de France, Paris]. Oblong, 31 x 23 cm, xi, 29 pp. Line-cut of Paris, edition. Musique pour le Piano-Forte, IV.
Oblong, 30 x 22 cm, 30 pp. Musikaliska Akademiens bibliotek i Stockholm. Autographus Musicus, Bandhagen, Oblong, 30 x 23 cm, ii, 24 pp. Halftone of the c. Each sonata consists of one movt in two parts. Contains 22 pieces. Jollage was formerly organist of Notre Dame de Paris. Huntingdon, . Oblong, 37 x 26 cm, 45 pp. Line-cut of the Welcker edition, London, Oblong, 37 x 26 cm, ii, 45 pp.
Preface by John R. Line-cut of the Hummel edition, Berlin, . Line-cut of the B. Schmid edition, Nuremberg, c. Oblong, 29 x 21 cm, 16 pp. Line-cut of the Haffner edition, Nuremberg, c. Oblong, 28 x 20 cm, 75 pp. Line-cut of the Wolfgang Moritz Endters edition, Nuremberg, Leipzig Oblong, 25 x 17 cm, 22, pp. Considered the first keyboard sonatas to be published in Germany.
Preface in It-Eng by Laura Alvini. Quarter linen. Erster Theil. Oblong, 25 x 17 cm, 22, 94 pp. Seven sonatas in suite form. Preface It-Eng by Laura Alvini. Partie I, Andrer Theil. Oblong, 25 x 17 cm, 89 pp. Seven sonatas in suite form and one in sonta form.
Description of a harpsichord activated by a dead load and which must have produced a tremolo effect similar to an organ. General observations on the manufacture and the art of playing the harpsichord, followed by a survey of the defects of ordinary-tongued jacks. Premier livre Oblong, 31 x 22 cm, 15, 92 pp. Oblong, 27 x 21 cm, 94 pp. Includes an unmeasured prelude for each key used 5 in all. Faksimile-Edition Krakau, Laid paper, hardbound in decorative paper boards. Oblong, 27 x 21 cm, pp. Paris, Lesclop, s. British Library, London]. Oblong, 30 x 22 cm, x, 96 pp. Rogier o. Oblong, 27 x 21 cm, 50 pp.
Line-cut of the Amsterdam,  edition. Laid paper, hardbound with decorative paper boards. Jahr-des Privilegs Oblong, 28 x 21 cm, 90 pp. Beautiful marbled paper boards. Musica Repartita, F. Amsterdam, A unique feature of this publication is that most pieces are also given in trio form—two melody instruments with figured bass line. Oblong, 29 x 21 cm, 90 pp. Line-cut of another surviving print of the Paris, edition.
Opera prima e terza. Oblong, 30 x 22 cm, 70 pp. Oblong, 35 x 23 cm, 16 pp. Line-cut of the D. Wright edition, London, c. Cambridge, Line-cut of the Thompson edition, London, c. Preface by Peter Holman. Edited by C. David Harris. Critical Facsimiles, 5. Lotter, Augsburg Line-cut of the Augsburg, edition. One of the earliest examples in a printed work where the use of the thumb is designated in keyboard patterns. Hardbound, with handsome decorative paper boards. Line-cut of the London, Oblong, 25 x 17 cm, 30 pp.
Line-cut of the Ballard edition, Paris, Collection of pieces in the form of suites. Oblong, 28 x 21 cm, 15 pp. Opera prima. Oblong, 35 x 24 cm, pp. Anthology including works by Agricola, C. Bach, C. Graun, Kirnberger, F. A Facsimile of the Amsterdam Edition c. Line-cut of the Bologna,  edition. The sonatas alternate between harpsichord and organ.
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Oblong, 31 x 23 cm, 52 pp. Line-cut of the only known printed copy. Line-cut of the third edition, Paris, Facsimile of the London Edition. Volumes I-II. Milan, Oblong, 32 x 24 cm, 34, 36 pp. Line-cut of the Turin? With a new biographical note in It-Eng. Includes new work list. Wrappers with beautiful image of angel figure playing a gamba. These five books contain overtures, concertos, sonatas, dances and picturesque and descriptive pieces. Musica Repartita, 26F. Peters edition, Leipzig, c. An arrangement for piano four hands from the Divertimenti, K.
Line-cut of the Jean Cappi edition, Vienna, The surviving autograph, for piano and violin, only goes as far as the first double bar of the first movement. Stadler finished the Adagio movement, for piano solo, and had it published. Faksimile nach dem Autograph in der Bibliotheca Mozartiana Salzburg.
Oblong, 34 x 25 cm, 18, 12 pp. Full-color halftone of the autograph in the original loose bifolio format. Mozart originally conceived the close of the sonata-rondo finale as a 3-bar cadence following bar before he opted for the longer, more striking final version. Comes with CD recording featuring pianist Alfred Brendel. Handsome portfolio in laid paper with pasted and embossed label. Oblong, 32 x 23 cm, 60, 23 pp.
Line-cut of the Vienna,  edition, a publication supervised by the composer. Vorgelegt von Ernst Hintermaier. Munich, The 2 short pieces were probably composed in the period between and —perhaps between K. Also included is a setting for piano in 3 movements Allegro molto, Menuet and Trio from the violin sonata K. Salzburg, Oblong, 32 x 24 cm, 24 pp.
Color halftone. Limited bibliophile edition. Oktober Oblong, 34 x 27 cm, 8 pp. Color halftone of the first movement of K. The work was original composed in Brussels Oblong, 30 x 22 cm, iv, 22 pp. The first work of Mozart at seven years of age to be engraved. Oblong, 32 x 24 cm, 83, 60 pp. Line-cut of the first edition by Christoph Torricelli, Vienna, . Fingering by Heinz Scholz.
Pierpont Morgan Library, New York]. Halftone, plus new authoritative edition. Mozart K. Studium musicale. Wrappers, with plastic sleeve. Mit einem Geleitwort von Mitsuko Uchida. Meisterwerke der Musik im Faksimile, 2. Laaber, An analysis of the autograph and first edition Torricelli, reveal interesting differences in dynamics, articulations, including a few altered pitches. Introduction in Ger-Eng. Coverboard in decorative paper. Edited in Facsimile with an Introduction by Paul van Reijen. Dutch Music Facsimiles, 9. Oblong, 32 x 23 cm, 4 booklets, v, 55 pp.
Line-cut of the early printed editions. Variations based on operatic numbers by Salieri, Baudron, Paisiello, and Sarti. Wrappers with slipcover. Faksimile nach den autographen Fragmenten und Reproduktion des Erstdrucks. Faksimile des ersten Teils des Autographs, Thema und Variationen 1 bis 7. Oblong, 34 x 27 cm, 7 pp. Color halftone of the autograph—acquired by the Salzburg Mozarteum in —containing the theme and the first 7 of 12 variations.
A Facsimile of the Vienna Edition c. Oblong, 35 x 26 cm, pp. Line-cut of the Vienna, c. Line-cut of the H. A Facsimile of the Vienna Edition. Oblong, 30 x 25 cm, 93 pp. Line-cut of the Vienna, edition. Oblong, 29 x 21 cm, 93 pp. Halftone of a contemporary ms copy. Written as separate parts; together with practical edition of the score. Introduction in Eng. Oblong, 29 x 21 cm, 20 pp. Line-cut of the Simrock edition, Bonn, c. Oblong, 21 x 17 cm, ii, 24 pp. Line-cut of the Paris, edition pp. Introduction by in Fr-Eng. Early Keyboard Music in Facsimile, 3. Innsbruck, Oblong, 23 x 18 cm, 51, iv pp.
Cycle of 6 arias with variations. Oblong, 31 x 22 cm, xiii, 51 pp. Oblong, 26 x 20 cm, 51 pp. Sonate per gravecembalo composte dal Sig. Bernardo Pasquini e scritte di sua mano in questo libro,. Manuscrit autographe L. Line-cut of the autograph manuscript. Together with a CD recording by Emer Buckley.
Oblong, 31 x 21 cm, 58 pp. Nuovamente ristampate con una agionta di alcune correnti et un baletto a tre. Line-cut of the Allessandro Vincenti edition, Venice Oblong, 21 x 16 cm, 61 pp. Presenting new and pleasant Lessons for the Virginals or Harpsycon. Faksimile-Edition Rara, Oblong, 20 x 17 cm, 60 pp.
Line-cut of the John Playford edition, London, Oblong, 23 x 15 cm, 82 pp. Oblong, 23 x 15 cm, 70 pp. Color reproduction of a contemporary ms copy. Offers guidance to students of 17th-c. Hardbound, with cloth spine. Early Keyboard Music in Facsimile, 5.
Innsbruck, nyp. Halftone of the undate print, second half of the 17th c. Collections Dominantes. Line-cut of the autograph score and a contemporary manuscript copy. Oblong, 25 x 17 cm, 69 pp. Laid paper, beautifully bound in white linen. Oblong 29 x 22 cm, 41 pp. Oblong, 31 x 22 cm, xxv, 35 pp. Line-cut of the Paris, edition a re-issue of the collection. Edited by R. Critical Facsimiles, 1. Oblong, 28 x 21 cm, v, 15, iii pp. Line-cut of the Paris, edition contains introduction and apparatus listing editorial emendations.
Oblong, 31 x 22 cm, 25, 20 pp. Oblong, 29 x 21 cm, 32 pp. Mylius edition, Berlin, Musica Repartita, Line-cut of a comtemporary ms copy in the hand of J. Afterword in Dut-Fr by J. Andrez, Introduction: Olivia Wahnon de Oliveira. Musica Bruxellensis, II. Autographus Musicus, 5. Oblong, 37 x 25 cm, 7 pp. Line-cut of the autograph.
Autographus Musicus, 6. Oblong, 31 x 22 cm, 25 pp. Collana Anastatica a cura di L. Genova, Line-cut of a contemporary ms copy. Opera sesta. Oblong, 30 x 21 cm, 27 pp. Line-cut of the Lelio dalla Volpe edition, Bologna, Opera VIII. Oblong, 31 x 22 cm, 39 pp. Line-cut of the Florence, c. Riproduzione del manoscritto della Biblioteca Estense di Modena.
Introduzione di Luigi Ferdinando Tagliavini. Line-cut of the ms. Preface in It. Napoli, s. Oblong, 24 x 22 cm, vii, pp. Line-cut of an 18th-c. Oblong, 30 x 21 cm, i, pp. Line-cut of the Fortier edition, London, Domenico Scarlatti, Oblong, 33 x 25 cm, ii, pp. Line-cut of the first of the Venice mss. Contains 61 sonatas corresponding to K.
Related Corrente Prima, No. 33 from Toccate, canzone ... di cimbalo et organo, Vol. II
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