Arrangeur: Siegfried Hinsche. Par HINSCHE SIEGFRIED. / Répertoire / Instruments à Vent en Si et (various Parties provi

Arrangeur: Siegfried Hinsche. Par HINSCHE SIEGFRIED. / Niveau : Débutant / Répertoire / Instruments à Vent en Si et (various Parties provi

Arrangeur: Siegfried Hinsche. Par HINSCHE SIEGFRIED. Popsongs Für Anfängerblasorchester/ Répertoire / Instruments à Vent en Si et (various Parties provi

S?il fallait ne choisir qu?un seul adjectif pour qualifier cette pièce de Wim Laseroms nous choisirions le terme de « varié ». Variousity développe une série de variations sur un thème donné qui apparaît sous différentes formes dans différents tempi et dans divers chiffrages de mesure irréguliers. La diversité un remède sûr contre l?ennui.

S?il fallait ne choisir qu?un seul adjectif pour qualifier cette pièce de Wim Laseroms nous choisirions le terme de « varié ». Variousity développe une série de variations sur un thème donné qui apparaît sous différentes formes dans différents tempi et dans divers chiffrages de mesure irréguliers. La diversité un remède sûr contre l?ennui.

French composer Pierre Max Dubois (1930-1995) significantly contributed to the wind repertoire. His 12 Various Studies for Trumpet was published in 1959 and remains prominent in the instrument's study repertoire. Dubois' 12 Various Studies addresses elements of articulation chromaticism rhythm scales intervals breath control performance directions dynamics range ornamentation and variations in time and key signatures amongst other aspects. 12 Various Studies is essential to the advanced trumpeter to ensure a high standard of technical progression.

Toccatas and various compositions (Biblioteca Nazionale di Torino, Fondo Foà-Giordano Mss. 394 and 401) Editors: Andrea Macinanti, Francesco Tasini Series: Alessandro Scarlatti. Complete Works for Keyboard Publication Date: Second Edition 2007 Pages: pp. 120 There are very few modern editions available of keyboard music by Alessandro Scarlatti (Palermo, 1660 – Napoli, 1725): two facsimiles of 18th century manuscripts – one kept in Naples and the other in Modena – and a few 20th-century editions which are difficult to obtain. While manuscript sources are awkward to play from because of frequent imprecisions, modern editions are sometimes unreliable due to editorial intervention which, in some cases, modifies the original text. Two notable exceptions are constituted by J. S. Shedlock’s, as well as R. Gerlin – C. Sartori’s editions, for their modern methodological approach. However, both of these editions were based on a single manuscript, without there having been a comparative analysis of the numerous existing sources of Scarlatti’s keyboard music. This constitutes a severe restriction, because the analysis of individual manuscripts results in the realization that every single source has fundamental limitations: in the first place, none contains the entire corpus of his keyboard works, and, furthermore, none is devoid of errors. Only a comparative analysis of all sources justifies intervention in ambiguous passages, and at the same time indicates the criteria for not making arbitrary corrections in the case of durezze. In short, the comparison of variations in the text results in the choice of the best possible solution. Thanks to the extensive research conducted by Andrea Macinanti and Francesco Tasini, the Urtext of the complete edition of Alessandro Scarlatti’s keyboard works will finally be available for both musicians and musicologists.