SKU: BO.B.3649
Padre Antonio Soler is the most important Spanish composer of keyboard instruments of the XVIII century. Born in Olot he was baptized in 1729 and died in El Escorial in 1787. As a young boy he entered the Escolania of Montserrat, where he studied composition and organ, coinciding at the same monastery with the also Spanish composer of that time, Fernando Sor. Padre Soler spent great part of his life in El Escorial as chapel master and organist and met in Madrid Italian composer Domenico Scarlatti with whom he developped a deep friendship inspired on mutual admiration.In spite of the similar styles of both composers the fluid inspiration of Padre Soler excels for his own personality, definitely influenced by Spanish roots. Furthermore, I ask myself if the fact of being at the same monastery of Montserrat with guitarist composer Fernando Sor didn't play an important role in the future development of Padre Soler's style.I have transcribed for two guitars these three sonatas in the hope that also the guitarists can enjoy playing these little jewels, truly musical delights, that Padre Antonio Soler left for us.
SKU: DZ.DZ-1500
ISBN 9782896553990.
SKU: HL.50494665
ANTOLOGIA DI PEZZI FACILI PER 2 CHITARRE. FASCICOLO 1 (FACILISSIMO).
SKU: M7.GHE-910
ISBN 9783890449104. English.
This volume contains three very interesting first publications: De Rogatis' Chacarera, Aguirre's Huella - dedication to Arthur Rubinstein, and finally, 93 years after he transcribed it, Llobet's transcription of Villa Lobos' Terezinha: Ciranda no. 1 (after Llobet's death to be published in a very similar arrangement by Emilio Pujol and published by Max Eschig!. Llobet's 22 transcriptions for his famous duo with MarÃa Luisa Anido are contained in Volumes 9-12 of the Llobet edition, eight of these titles are published for the first time.
SKU: HL.48189487
UPC: 888680885830. 8.25x12.0x0.37 inches.
Pour 2 Guitares Notissimo Editeur.
SKU: BT.SINF544
ISBN 9788884004710.
SKU: PR.11440785S
UPC: 680160012091.
The composition of the work began as a few improvisational thoughts on a short phrase from a Beethoven piano sonata, which eventually developed into a six-minute fantasia that ultimately bears little audible relation to the original Beethoven phrase. The work is in four sections, of which the first and last are nocturnal, prelude, and postlude respectively. The main second section grows from a simple imitative idea to a chordal climax that subsides into a chorale and soliloquy which is elegiac in nature.
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