SKU: FZ.5828

ISBN 9790230658287. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in three books. Bartolomeo CAMPAGNOLI (2) - Francesco FANZAGO - Giuseppe TARTINI (4-5). Table of contents: Fanzago Francesco: Elogi di Giuseppe Tartini - 1792. Tartini Giuseppe: Libro de regole, ed esempi - s. d. Tartini Giuseppe: Regole per arrivare a saper ben suonare - s. d. Campagnoli Bartolomeo: Nuovo metodo della mecanica - 1797. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - Conservatory Library of Music Benedetto Marcello of Venice (Italy).
- University of California (USA). - Conservatory Library of Music Giuseppe Verdi of Milan (Italy). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

SKU: FZ.6392

ISBN 9790049063920. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in four books. Francesco GEMINIANI - Giuseppe TARTINI - F. A. W. ANONYME - Johann Adam HILLER - Ignaz SCHWEIGL (2) - George Simon LoHLEIN. Table of contents: Geminiani Francesco: Grundliche Anleitung oder Violin Schule 1782. Tartini Giuseppe: Brief des Joseph Tartini an Magdalena Lombardini 1786. Anonyme: Anmerkungen uber die Violin und den Violinspieler 1788. Hiller Johann Adam: Anweisung zum Violinspielen, fur Schulen, und zum Selbstunterrichte c. 1792. Schweigl Ignaz: Grundlehre der Violin. Erster Theil 1794. Schweigl Ignaz: Grundlehre der Violin. Zweiter Theil 1795. Lohlein George Simon: George Simon Lohlein's Anweisung zum Violinspielen (. . . ) mit Verbesserungen und Zusatzen - 1797. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of copies from: - British Library of London (England). - Royal Library of Brussels (Belgium). - Bayerische Staatsbibliothek of Munich (Germany). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the violin.

SKU: HL.50510822

ISBN 9790080136324. UPC: 073999918878. 9.0x12.0x0.06 inches. Giuseppe Tartini; Friedrich Grutzmacher; Arpad Pejtsik.

Medium difficulty.

SKU: HH.HH011-KBD

ISBN 9790708024286.

From Tartini's third compositional period, this concerto in three movements has been prepared using the primary source of Tartini's autograph. A beautiful central Larghetto for violins alone is framed by the vivacious opening Presto and the buoyant Allegro assai. An historically important concerto published for the first time.

SKU: HH.HH011-STR

From Tartini's third compositional period, this concerto in three movements has been prepared using the primary source of Tartini's autograph. A beautiful central Larghetto for violins alone is framed by the vivacious opening Presto and the buoyant Allegro assai. An historically important concerto published for the first time.

SKU: HH.HH016-KBD

ISBN 9790708024347.

Over the beautiful second movement Tartini wrote I know you have no mercy using his secret code With the outer movements this concerto is a first class representative of the 18th century concerto. Carefully edited from Tartini's autograph and checked against the only other known source.

SKU: HH.HH011-IPT

ISBN 9790708024668.

From Tartini's third compositional period, this concerto in three movements has been prepared using the primary source of Tartini's autograph. A beautiful central Larghetto for violins alone is framed by the vivacious opening Presto and the buoyant Allegro assai. An historically important concerto published for the first time.

SKU: HH.HH010-STR

Written by Tartini as a young man, this concerto offers the soloist rewarding opportunities to dazzle. In the initial Allegro, polyphonic writing alternates with virtuouso sections full of runs and double stops. After a brief cadenza, an island of calm is created by the short Largo for violin and cello solo. The final Allegro plays enchantingly with the sicilian dance rhythm, and after a final solo cadenza this charming concerto comes to a close.