SKU: HL.14002305

ISBN 9780853605034.

Audi Filia was written for the celebrations for St Cecilia's Day in Rome in October 1720. It was originally part of a much larger mass setting for the event, which is considered to be one of the finest pieces of music to survive from the Baroque era. This movement, intended for the gradual, is one of the more popular sections and is often performed as a stand-alone piece. It is scored for 2 Oboes, Strings, Organ, and Soprano solo.

Alessandro Scarlatti (1660-1725) was an Italian composer in the Baroque style, who mostly wrote for choral groups. He is best remembered for his operas and oratorios, but he also wrote several hundred chambercantatas for solo Voice.

SKU: HL.50020560

UPC: 073999317619. 9.0x12.0x0.122 inches.

Contents: Speranze mie * Elitropio d'amor * Io morirei contento * Fermate omai fermate.

SKU: SU.00220616

This CD Sheet Music collection brings together solo keyboard works by two important composers of the Baroque and Classical periods. Also includes helpful cross-reference for the various cataloging systems. SCARLATTI: 550 sonatas plus supplemental materials HAYDN: 52 sonatas (in Hoboken order) Also includes composer biographies and relevant articles from the 1911 edition of Grovess Dictionary of Music and Musicians 2500+ pages.

SKU: HL.49029927

ISBN 9790220111136.

SKU: HL.49029930

ISBN 9790220111167.

SKU: HL.49029935

ISBN 9790220111211.

SKU: HL.49029926

ISBN 9790220111129.

SKU: HL.49029932

ISBN 9790220111181.

SKU: HL.49029934

ISBN 9790220111204.

SKU: UT.MS-40B

ISBN 9790215314924. 9 x 12 inches.

Alessandro Scarlatti ventured four times with the Salve Regina text, of which he draws compositions for various ensembles. The treatment of the text in this version obeys to the usual practice for the motets of a certain length: the antiphon is divided into ‘numbers’ of contrasting character alternatively entrusted to the duet and to the solos. In line with the modern style, Scarlatti choose to not emphasize the most remarkable moments of the text, but instead to provide an internal coherence to each section, keeping the expressive expedients to enhance a few elements and relying instead upon an harmony and melody rich writing and upon the virtuosity of the vocal parts.
The present edition is based on the manuscript kept at the Biblioteca del Conservatorio S. Pietro a Majella of Naples, compared to the 19th Century copy, less precise, that is part of the Noseda Fund of the Biblioteca del Conservatorio in Milan. The Napolitan drafting appears very meticulous, particularly in respect to the dynamic marks and expression marks (such as staccatos, slurs etc.) that lay out an execution full of contrasts and unexpected dynamic changes.

SKU: UT.HS-282

ISBN 9790215326446. 9 x 12 inches.

The two-part composition has always been an essential stage in didactic treatises for teaching counterpoint; the Duo has been of fundamental importance, since the early decades of the sixteenth century, in the teaching of singing and in instrumental practice.
The interpretation and performance of Scarlatti’s Fughe a Due require on the one hand a correct and prompt interpretation of the chords which are the basis of the movement and the relationship between the two parts, and on the other an indispensable invention of a third or even a fourth part (to ensure, above all, full and significant harmony).
An indication of this practice of filling in is offered by the same ms. source containing Scarlatti’s Fughe a Due. In Fugue II in D minor, in the first eleven bars, we find indicated above the Bass a series of numbers showing the interval in relation to the respective upper line. These indications should not be confused with the numerical marking typical of the basso continuo and of the partimento, for they establish a clear sign of the usual practice exercised in the teaching of counterpoint in order to guide the student visually to pass safely and speedily from two to three or more parts; this type of numbering is often found in the counterpoint methods of the time, in particular in the section illustrating the Contrapunto semplice e Diminuito.
These fifteen Fughe a Due, unlike the many Duos and Duets which figure in the counterpoint methods, are not a simple display of formulas, but they assert themselves as a calculated sample of characterized styles and genres, a series of pieces conceived with an exquisite sense of form.