(Serie IV - Italie 1600-1800). Edited by Alessandro Moccia. For Violin. Facsimil...(+)
(Serie IV - Italie
1600-1800). Edited by
Alessandro Moccia. For
Violin. Facsimiles.
Methodes and Traites.
Grade 0. 904 pages.
Published by Anne Fuzeau
Productions - France
A violin method for children. Composed by Egon Saßmannshaus and Kurt Sassmann...(+)
A violin method for
children.
Composed by Egon
Saßmannshaus
and Kurt Sassmannshaus.
Stapled. With a Chinese
text
booklet. Performance
score.
Baerenreiter Verlag
#BA10754.
Published by Baerenreiter
Verlag
A violin method for children age four and older. Composed by Egon Saßmannshau...(+)
A violin method for
children
age four and older.
Composed
by Egon Saßmannshaus and
Kurt
Sassmannshaus. Stapled.
With a
Chinese text booklet.
Performance score.
Baerenreiter Verlag
#BA10753.
Published by Baerenreiter
Verlag
Violin SKU: FZ.5827 Serie IV - Italy 1600-1800. Edited by Alessand...(+)
Violin
SKU:
FZ.5827
Serie IV -
Italy 1600-1800.
Edited by Alessandro
Moccia. This edition:
Facsimile. Methodes &
Traites. Score. Published
by Anne Fuzeau
Productions - France
(FZ.5827).
ISBN
9790230658270. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in three books.
Anonyme - Bartolomeo
CAMPAGNOLI (1) -
Francesco GALEAZZI -
Pietro LEONE- Antonio
LOLLI - Vicenzo PANERAI-
Giovanni Batista RANGONI
- Pietro SIGNORETTI -
Giuseppe TARTINI (2-3) -
Carlo TESSARINI (2-3) -
Carlo ZUCCARI. Table of
contents: Tessarini
Carlo: Nouvelle methode
pour apprendre par
theorie - c. 1760.
Zuccari Carlo: The tru
method of playing - 1762.
Tessarini Carlo: An
accurate method - 1765.
Leone Pietro: Methode
raisonnee - 1768. Tartini
Giuseppe: Lettera del
defonto signor Giuseppe
Tartini - 1770. Tartini
Giuseppe: Traite des
agremens - 1771.
Signoretti Pietro:
Methode contenant les
principes - 1777. Panerai
Vicenzo: Principi di
musica - c. 1780.
Anonyme: Riflessioni d'un
professore - 1780. Lolli
Antonio: L'ecole du
violon en quatuor - c.
1784. Rangoni Giovanni
Batista: Saggio sul gusto
della musica - 1790.
Campagnoli Batolomeo:
L'art d'inventer a
l'improviste - c. 1790.
Galeazzi Francesco:
Elementi teorico-pratici
- 1796. Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from: - National
Library of Paris
(France). - British
Library of London
(England). - Civico Museo
Bibliografico Musicale of
Bologna (Italy). -
Conservatory Library of
Music Benedetto Marcello
of Venice (Italy). -
Staatlische Hochschule
fur Musik und
darstellende Kunst of
Berlin (Germany). -
Conservatory Library of
Music Giuseppe Verdi of
Milan (Italy). Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the violin.
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more.
SKU:
PR.416411770
For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770).
UPC:
680160091508.
I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting.
For Violin. Classical (duets). Contains printed music score and a compact disc f...(+)
For Violin. Classical
(duets). Contains printed
music score and a compact
disc featuring all the
works in split-channel
stereo, with the first
violin on the right
channel, the second
violin on the left. By
adjusting the balance,
the soloist can remove
either violin and play
the other. Published by
Music Minus One.