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.HH033-FSP
ISBN 9790708024897.
This little known sonata by the great opera composer is here published for the first time with keyboard realization and basso part.
SKU: HH.HH007-KBD
ISBN 9790708024248.
A solemn introductory Grave where the solo violin occasionally breaks out from the repeated chords with short cantabile sections, is followed by a fluent Allegro with difficult sounding passage work, excellently written for the violin. An emotive Grave recitative leads into the final Allegro which arrests attention by the simple device of alternating triplets with semiquaver passages. Eminently suited to amateur and school orchestras!
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.HH233--FSP
ISBN 9790708059776.
This subtle dialogue in the composer's distinctive language will add colour and originality to any recital.
SKU: HH.HH014-KBD
ISBN 9790708024538.
A wonderful concerto in the galant manner.
SKU: HH.HH020-KBD
ISBN 9790708024378.
Prepared from all four known sources, this concerto from Tartini's first compositional period emerges as a masterpiece.
SKU: HH.HH012-KBD
ISBN 9790708024033.
An 'operatic' concerto full of drama. Wonderfully violinistic throughout and a delight to play for intermediate and virtuoso alike. The vivid ritornellos and extrovert solo episodes makes this a highly effective work.
SKU: HH.HH423-FSP
ISBN 9790708146247.
Eberl's Sonata in D major, Op. 20, the sixth of seven sonatas with violin, was composed around 1803 and dedicated to Dorothea Ertmann, the highly regarded pianist who many have suggested as Beethoven's 'Immortal Beloved', and to whom that composer dedicated his Piano Sonata in A major, Op. 101. Unlike many of Eberl's lesser contemporaries, in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, his Op. 20 shares much of the musical ambition and quality of Beethoven's works in this genre. 1803 saw the publication of Eberl's Op. 20, and Beethoven's set of three sonatas with violin, Op. 30, all produced by the Bureau des Arts et d'Industrie firm in Vienna. Beethoven's set were advertised for sale in the Wiener Zeitung in May 1803, days after the premiere of his Op. 47 sonata with violin (given by George Bridgetower and Beethoven, but later dedicated to Rudolphe Kreutzer). Eberl's Op. 20 was advertised in the Wiener Zeitung six weeks later, in July 1803.
SKU: HH.HH473-FSP
ISBN 9790708146841.
The model for this sonata is Mozart, specifically his Sonata in B flat major, K.454, written in 1784. Eberl borrows many structural and stylistic features from K.454: the grand, slow introduction of the first movement; the song-like second movement opening over rocking accompaniment; and the gavotte-like closing rondo. Eberl even quotes directly from K.454. But the work also looks forward to Beethoven’s contributions to the genre, and in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, Op.50 shares much of the musical ambition and quality of Beethoven’s early works in this genre.
SKU: HH.HH424-FSP
ISBN 9790708146254.
Among Vienna’s many composers and pianists of the time, Anton Eberl (1765–1807) was the one considered most worthy of comparison with Beethoven. His Sonata in B flat major, Op.35, his last of seven sonatas with violin, was composed around 1805 and dedicated to Maria Walburga, the Princess Bretzenheim. This was one Eberl’s last works, as he died prematurely, at the age of forty-one, in 1807. Unlike many of Eberl’s lesser contemporaries, in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, his Op.35 shares much of the musical ambition and quality of Beethoven’s works in this genre.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
