Orchestra; Violin

SKU: UT.NAP-4

Vol. 1. Critical Edition. Composed by Nicola Fiorenza. Edited by Giovanni Borrelli. Hardback (Cloth Hard Cover). Napoli e l’Europa (Naples and Europe). Classical. Critical commentary. Ut Orpheus #NAP 4. Published by Ut Orpheus (UT.NAP-4).

ISBN 9790215318373. 9 x 12 inches.

Concerto in Mi bem. magg. per Violino principale, 2 Violini, Viola e Basso; Concerto in Re min. per 2 Violini e Basso (1728); Concerto in La magg. per 3 Violini e Basso (1728)_x0008_; Concerto in La min. per 3 Violini e Basso (1727)_x0008_; Concerto in La min. per 3 Violini e Basso; Sinfonia in Fa min. a 2 Violini e Basso; Sinfonia in Sol magg. a 3 Violini e Basso; Sinfonia fugata in Fa min. a 3 Violini e Basso; Sinfonia in Do min. a 4 Violini e Basso; Trio in Si min. per 2 Violini e Cembalo

Nicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the Library of the Conservatorio di Musica S. Pietro a Majella in Naples, is composed of 15 concerts with different instrumental organics, 9 symphonies whose principal instrument is the violin – that sometimes proposes pieces with a lot of virtuosities typical of the solo concert –, some pieces for one or two instruments with continuo and two cantatas.
Skilled virtuoso, Fiorenza had assimilated both the style of the elegant Baroque of French school, and the a terrazze style, the improvised language typical of the Venetian composers. He knew the style of the Concerto Grosso of Corelli very well, to which he joined a dressy counterpoint maybe too much present for the style of that time. Fiorenza elaborated different styles, filtering them through his sensitive predilection towards the Neapolitan party music and the popular melody, developing a personal composite language that doesn’t consider him belonging to one of the schools of his time. From a formal point of view and for the choice of the instrumental organic, his compositions have not a strong stylistic individuality in comparison with the composite canons of the first part of the XVIII century, but the production of Fiorenza seems to reflect the schemes and the composite forms typical of the late Baroque. His choice of the incisive brevity of the thematic figures is typical of the XVII century, that almost never overcomes the breath and the circle of one or few beats. Fiorenza’s solo compositions show his research of virtuosities, but he never lapses into a rash virtuosity, on the contrary he maintains a gallant taste.

Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding and Sacred. Print Music Collection (Book). 407 pages. Published by Hope Publishing Company.
Level: (Moderate).

Arranged by Deborah Greenblatt. String Trio. For cello 3. This edition: spiral-bound. Trios for Strings. Part book. 52 pages. Published by Greenblatt & Seay

Composed by Miguel Llobet. Edited by Stefano Grondona. This edition: Saddle-wire stitching. Sheet music. 1048 pages. MDS (Music Distribution Services) #GHE 900. Published by MDS (Music Distribution Services)

By Johann Sebastian Bach (1685-1750). Piano Personality. Softcover. 128 pages. Published by Cherry Lane Music

Composed by Tom Cipullo. Vocal score. E.C. Schirmer Publishing #8771. Published by E.C. Schirmer Publishing

Book. Published by Music Sales. (YK21004) A unique collection of 46 superb compositions by members of the Bach family.

(Klavierwerke, Band 3. Urtext der Neuen Bach-Ausgabe). By Johann Sebastian Bach (1685-1750). Edited by Georg Von Dadelsen. For Piano/Harpsichord. Neue Bach-Ausgabe. Serie V, Band 3. Collection; Playing Score; Urtext Edition; Complete Edition (cloth bound)

Score

SKU: HL.402078

For Baritone, Violin, Cello, and Piano. Composed by Iain Bell. Vocal. Softcover. 32 pages. Duration 480 seconds. Chester Music #CH88117. Published by Chester Music (HL.402078).

ISBN 9781705160091. UPC: 196288056836. 9.0x12.0 inches.

'Tom O'Bedlam' is one of the best known examples of c.17th mad-song poetry. Part saga, part stream-of-consciousness, in this operatic 'ayre' Tom recounts his descent to madness by virtue of his libidinous lifestyle and speaks of his life begging on the streets of London. The original chamber ensemble version of the work was commissioned by the University of Notre Dame's DeBartolo Performing Arts Center in 2016, before being arranged for trio in 2020 for performance by members of the Britten Sinfonia.