Composed by Anton Diabelli (1781-1858). Classical Guitar Ensemble; Masterworks. Kalmus Edition. Classical Period. Set of performance parts (includes separate pull-out guitar solo part). With solo part and piano accompaniment. 52 pages. Kalmus Classic Edition #00-K04845. Published by Kalmus Classic Edition

By Antonio Vivaldi (1678-1741). For guitar and piano. Classical. Score. Published by Editions Combre

Guitar and Piano. By Luigi Boccherini. Arranged by G. David C. Y Marlu. Schott. 45 pages. Published by Schott.

By Anton Diabelli (1781-1858). Edited by Fabio Rizza. For Piano and Guitar. Score and Parts. 52 pages

By Ludwig van Beethoven. For Piano and Guitar. Score and Parts. Published by Ut Orpheus. (CH 30)

By Adrian Andrei. For guitar and piano. Level 3. 36 pages. Published by Les Productions d'OZ

By Erik Marchelie (1957-). For guitar and piano. Oeuvres commentees. Classical. Score. Published by Editions Combre

By Annette Kruisbrink (1958-). For guitar and piano. 4. Published by Les Productions d'OZ

Volume 1. By Anton Diabelli. Arranged by Georg Meier. Schott. Size 9x12 inches. 25 pages. Published by Schott.

By Malcolm Arnold. For Guitar, Piano. 20th Century. Sheet Music. Published by Paterson Ltd.

By Erik Marchelie (1957-). For Guitar & Piano. Level 3. Published by Les Productions d'OZ

Guitar; Piano

SKU: HL.49046522

For Guitar and Piano. Composed by Joaquin Rodrigo. Ediciones Joaquin Rodrigo. Classical. Softcover. 52 pages. Ediciones Joaquin Rodrigo #EJR190114. Published by Ediciones Joaquin Rodrigo (HL.49046522).

ISBN 9781705111888. UPC: 840126940275. 9.0x12.25x0.172 inches.

Guitar and Piano

SKU: BT.DV-21627

By Antonio Sgueglia. By Ferdinando Carulli. Classical. Part. Composed 2019. 24 pages. Da Vinci Publishing #DV 21627. Published by Da Vinci Publishing (BT.DV-21627).

Guitar

SKU: UT.CH-131

Composed by Francesco Molino. Edited by Fabio Rizza. Saddle stitching. Classical. Score and Parts. Ut Orpheus #CH 131. Published by Ut Orpheus (UT.CH-131).

ISBN 9790215318915. 9 x 12 inches.

Guitar

SKU: UT.CH-322

Composed by Giovanni Scapecchi. Edited by Raffaello Ravasio. Saddle stitching. Piero Bonaguri Collection. Classical. Score and Parts. Ut Orpheus #CH 322. Published by Ut Orpheus (UT.CH-322).

ISBN 9790215326309. 9 x 12 inches.

I am delighted to include in this series â?? so far almost totally made up of pieces written for me â?? this piece for guitar and piano composed by Giovanni Scapecchi and dedicated to the duo made up of my former student Raffaello Ravasio, who edited the fingering of the guitar part, and of Samuele Amidei. I am also particularly delighted because this piece was commissioned by the Duo Ravasio-Amidei as part of their full project in homage to Mario Castelnuovo-Tedesco on the fiftieth anniversary of his death.
In this composition, there are many references to the figure and work of Mario Castelnuovo-Tedesco. First of all the duo guitar-piano is the same as in Fantasia Op. 145 by Castelnuovo-Tedesco (written for Andrés Segovia and Paquita Madrigueira), the most famous piece of the twentieth century composed for this formation. The piece by Giovanni Scapecchi, in the form of a Suite of dances, refers explicitly to the one by the famous dedicatee by means of some references which appear in the Sarabanda and in the Giga. The Crete mentioned in the title are, of course, the famous Senese clays which, with their colours and shapes, make up a remarkable part of the Tuscan landscape. Furthermore, profound meanings are attributed by Giovanni Scapecchi to the earth which makes up the clays (like Castelnuovo-Tedesco, he is a native of Tuscany, where he still lives). The Composer recalls first of all that the book of Genesis tells us that the first man was taken from the earth (there is therefore this primordial connection between man and earth). Moreover, the historic man, Mario Castelnuovo-Tedesco, honoured here, maintained a deep relationship with his homeland â?? despite the dramatic separation due to the enforced exile to the USA, which took place in 1939 following the racial laws. Stylistically, I then found a further link between this piece and its dedicatee â?? who was influenced in his early works by musical Impressionism â?? in a certain French atmosphere running through the Suite.
(Piero Bonaguri).