SKU: M7.DUX-898

ISBN 9783868490015.

Mit Werken von Giovanni Maria da Crema, Alessandro Piccinini, Ambrosio Dalza, Marco Dall'Aquila, Francesco da Milano, Michelangelo Galilei, Vincenzo Capirola, Pietro Paolo Borrono.

SKU: HL.48188361

Milanoda Sanvoisin Concert Instrumental Pj384 Spagna 2 Guitars Parts.

SKU: HL.50510155

ISBN 9790080132692. UPC: 073999756111. 9.0x12.0x0.109 inches. Da Canova Francesco Milano; Miklos Mosoczi; Gyorgy Zaszlavik.

14 Fantasie Per Chitarra by Francesco Canova da Milano with pieces set on the ABRSM Guitar syllabus.

SKU: HL.50601319

I met Fausto Romitelli in the early Eighties, while he was still studying composition with Umberto Rotondi at the Conservatory in Milano. Though he was very young, he already showed the signs of a strong and unconventional personality. In a more specific way, besides a very strong bias towards instrumental experimentation, I was impressed by his irresistible urge to explore routes that areunrelated or even contradictory with reference to the rules resulting from the styles and aesthetics of structuralism. So, it seemedto me very natural that he should write music for me: Dia nykta was composed in the wake of a verse written by an ancient Greek poet. The world premiere occurred in Milano on the 18th of December 1983, as part of the concert season of Musica rara at the theatre La Commenda. Anna Maria Morini.

SKU: UT.CH-400

ISBN 9790215328563. 9 x 12 inches.

Musiche di F. Spinacino, J.A. Dalza, V. Capirola, F. da Milano, J. Matelart, P.P. Borrono da Milano, M. dall’Aquila, A. da Mantova, J.M. da Crema, D. Bianchini, P. Fiorentino, F. Dentice, G. Gorzanis, V. Galilei, B.M., G.C. Barbetta, Lorenzino, S. Garsi da Parma, G.B. dalla Gostena, S. Molinaro

SKU: HL.48182389

Francesco da Milano: Fantasia (coll. Guitare No.12) (Guitar solo).

SKU: M7.DUX-894

ISBN 9783934958425.

In dieser Sammlung befindet sich neben den Klassikern dieser Zeit erstmals das Werk Variationen über Greensleeves des Hoflautenisten John Johnson. Dieses Werk spiegelt die Variationskunst der Renaissance.

SKU: HL.50580815

ISBN 9788875929183. 6.5x9.25x0.93 inches. Italian.

In 2008, the whole Studio di Fonolgia di Milano della Rai - including equipment and furniture - was completely reconstructed inside the XXXVI room of the Museum of Musical Instruments at the Sforza Castle in Milan. For the first time, all the productions of the Studio (including not only electronic music compositions but also original soundtracks for radio programmes) were systematically catalogued and made available in this publication.The book contains several updates to the old contributions. In addition, it presents three new essays that provide an interesting reflection on the the preservation of electroacoustic music and its instruments, as well as documentingrecent research that led to the realization of the sounds and the physical interfaces that embody the original instruments of the Studio.The second part of the book contains the catalogue of the musical production at the Studio enriched with a great deal of new data, as well as part of the video productions whose soundtracks were produced or edited at the Studio.This new edition will provide a complete and valuable tool to anyone looking for a better understanding, from both the technical and the musical viewpoint, of an extremely dynamic - if not contradictory - period of Italian and European music history: a very short moment after all, less than thirty years long.

Als 2008 das beruhmte Studio Di Fonologia des Mailander Radios RAI Milano, 1954 von Bruno Maderna und Luciano Berio gegrundet, ins Musikinstrumentemuseum des Castello Sforzesco umzog, ergriff man die Gelegenheit, nicht nur die elektronischen Instrumente und Anlagen, sondern auch die dort entstandenen Aufnahmen zu katalogisieren und einem breiteren Publikum zuganglich zu machen. Das Buch enthalt im ersten Teil eine genaue Beschreibung der elektrotechnischen Anlagen und Instrumente mit vielen Abbildungen, im zweiten Teil den Katalog der Audio- und Videoaufnahmen.Die hier vorliegende neue Ausgabe gewahrt einen moglichst vollstandigen Einblick in die technische undmusikalische Entwicklung einer hoch dynamischen, wenn auch recht kurzen, Phase der italienischen und europaischen Experimentalmusik.

SKU: BT.ALHE32450

French.

SKU: UT.HS-329R

ISBN 9790215327962. 9 x 12 inches.

P erformance Material on Hire

[S olo: Bs - Picc.2.2.2.2 - 2.2.2.0 - Str]

In the second half of the 19th century, in Italy, melodrama was still the most practised musical genre, but space for instrumental production began to grow, especially thanks to the Quartet societies which tried to reduce the gap remaining compared to other European countries, offering it to the public with an energy which was certainly praiseworthy. However, they were not the only institutions where instrumental music was cultivated. In this context it must be remembered that music conservatories also played an important role, especially through the music recitals given by the best students. In one of these, which was held at the Milan Conservatory on 9 July 1884, the concert piece Andante e Polacca for bassoon and orchestra by Simplicio Gualco (1861-1942) was performed, a piece which aroused a great deal of interest as stated in the ‘Gazzetta Musicale di Milano’ of 20 July of that year. After the recital, the piece ended up in the Conservatory archives and was never played again. It was rediscovered recently, thanks to the research work on the composer by the musicologists Italo Vescovo and Flavio Menardi Noguera, both connected to the composer’s hometown.

SKU: HL.50593911

SKU: HL.50600906

ISBN 9788881920204. UPC: 888680699680. 8x10.75 inches.

Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.