PARTITIONS GRATUITES :
- Dan Burgess

compiled by Dr. Ed Whitcomb. For Fiddle. songbook. Canadian. Level: Beginning-Intermediate. Book. Size 8.75x11.75. 224 pages. Published by Mel Bay Publications, Inc.

By Dan Burgess. For Choir. (SATB). Choral Octavo. Level: Moderate (grade III). Choral Octavo. 8 pages. Published by Alfred Publishing.

By Burgess Speed. For Guitar. Guitar Method or Supplement. National Guitar Workshop. Multicultural. Book

Harpsichord or organ, strings, basso continuo

SKU: HH.HH546-FSC

Composed by Henry Junior Burgess. Edited by Michael Talbot. Full score. Edition HH Music Publishers #HH546-FSC. Published by Edition HH Music Publishers (HH.HH546-FSC).

ISBN 9790708185611.

Burg ess’s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-responseà ¢â‚¬â„¢ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions.

Harpsichord or organ, strings, basso continuo

SKU: HH.HH546-IPT

Composed by Henry Junior Burgess. Edited by Michael Talbot. Instrumental parts. Edition HH Music Publishers #HH546-IPT. Published by Edition HH Music Publishers (HH.HH546-IPT).

Burgess’ s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-responseà ¢â‚¬â„¢ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions.

Harpsichord or organ, strings, basso continuo

SKU: HH.HH545-FSC

Composed by Henry Junior Burgess. Edited by Michael Talbot. Full score. Edition HH Music Publishers #HH545-FSC. Published by Edition HH Music Publishers (HH.HH545-FSC).

ISBN 9790708185604.

Burg ess’s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-responseà ¢â‚¬â„¢ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions.

Harpsichord or organ, strings, basso continuo

SKU: HH.HH545-IPT

Composed by Henry Junior Burgess. Edited by Michael Talbot. Instrumental parts. Edition HH Music Publishers #HH545-IPT. Published by Edition HH Music Publishers (HH.HH545-IPT).

Burgess’ s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-responseà ¢â‚¬â„¢ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions.