https://gacesmitoocheck.ga/4598-trivial-para.php Oblong, 23 x 16 cm, 2 partbooks: Consists of 67 textless duos derived for the most part from masses by a representative selection of composers. Oblong, 21 x 16 cm, 18, 3 partbooks, c.
Grand Duo de Concert op. Part the First of his Posthumous Works. Hardbound, with slip case. Lehman, who owns K. Line-cut of the Ricordi, edition.
Includes 2 Regina celi by Willaert and Rore and instrumental trios in strict contrapuntal style. Introduction in Flem-Eng by Ignace Bossuyt. Oblong, 22 x 16 cm, 3 partbooks, pp. Line-cut of the Venice, edition containing madrigals by Gero and Canzoni francese by Janequin. Some of the missing parts can be completed from concordances found in other collections. Hardbound, in decorative paper with matching slipcase. Liber primus presents 87 beautifully engraved motets preceded by striking initials in woodblock.
The compilation consists of music written by the composers stationed at the Hofkapellen of Graz, Innsbruck, Prague, as well as the Imperial Hofkapelle in Vienna. Wrapperr, with slipcase covered in decorative paper. Line-cut of the Nuremberg edition. Introduction de Marc Signorile. Musique de Chambre, Oblong, 25 x 19 cm, 16, pp. Arranged by the Geminiani for trio sonata. Arranged by Barsanti for trio sonata. Apt for Viols and Voyces. Line-cut of the Hofmeister edition, Leipzig, . Preface by Karl Scheit. Line-cut of the autograph parts. Xerographic reproduction of the London, Line-cut of the Amsterdam,  edition.
Oblong, 36 x 26 cm, iv, 1, 4 pp. Vorgelegt von Gerhard Waterskirchen und Thomas Hochradner. Oblong, 36 x 26 cm, iv, 4 pp. Faksimile-Edition Schermar-Bibliothek Ulm, 3. Line-cut of the Magni edition, Venice, Four motets a4, seven a5, and seven a6. Line-cut of the Augsburg, edition. Wonderful collection of 23 dance numbers all texted for various string and wind instrumental groupings. Line-cut of the Stade, edition. Line-cut of the Walsh 18th c. Arranged for one or two recorders. British Library Manuscript R.
Handel's great outdoor piece for strings and wind band. Halftone of the autograph score, composed for the celebration of the Treaty of Aix-la-Chapelle. The manuscript also bears evidence of arguments over scoring that went on with the civil servants organizing the spectacle. Line-cut of the original Walsh printed parts, London, . Line-cut of the Roger edition, Amsterdam, c. Walsh later produced an official version of op. Revised Edition by Edgar Hunt. Beautiful halftone of the 17th-c. Together with introduction and practical edition. Line-cut of the autograph score.
Line-cut of the John Walsh edition, London, c. Oblong, 23 x 15 cm, 32 pp. Balletii, Galliarden und Intraden mit 4. Line-cut of the Paul Kauffmann edition, Nuremberg, Tenor, altus, quinta and sexta partbooks only. Stimmen mit und ohne Text]. Hassler and Valintin Haussmann. For voices, with or without instruments. Stimmen mit und ohne Text in ein Opusculum zusammen gebracht durch V. Line-cut of the Balthasar Scherff edition, Nuremberg, Faksimile der autographen Partitur. Kommentar von Ingrid Fuchs. Haydn composed a relatively small group of wind concertos 6 in total , two which are lost.
Of special mention is Haydn's note written on the last page of the score stating "in schlaff geschrieben" written while asleep. This is due to a mistake in the scoring of the instruments and was most likely the result of Haydn composing secretly at night, half asleep. Limited edition of copies with beautiful period design coverboards and pasted on etikette. Arnold] Six Duets Vol. Line-cut of the 18th-c. Faksimile der autographen Partitur aus dem Besitz der Erzabtei St. Oblong, 31 x 22 cm, 8, vii pp.
Beautiful halftone of the autograph score. Viol-digambe oder Posaunen gesetzt. Line-cut of the Thorn, edition. Canzon for 8 instruments in mensural notation. Entstehung, Fortgang und ietzige Beschaffenheit der russischen Jagdmusik. Line-cut of the St. This is the only contemporary account of the fascinating and long extinct phenomenon of the Russian Horn Band. Includes detailed illustrations of the horns and six musical examples. Sacrarum melodiarum [tribus vocibus].
It is the largest surviving collection of its kind, most of the pieces are of the pavan-galliard combination. Handsome bibliophile edition produced with vellum-paper boards, with matching slipcase. Line-cut of the 2nd edition, London, Oblong, 24 x 17 cm, 67 pp. Line-cut of the edition published by the composer and Boivin, Paris, Oblong, 29 x 21 cm, ix, 67 pp. Line-cut of the Paris edition. Line-cut of the Paris Paris edition. Line-cut of the Amsterdam, edition, together with a complete translation and afterword in German. Reprint der Amsterdamer Ausgabe von Oblong, 31 x 22 cm, 2 vols, xviii, pp.
Oblong, 27 x 21 cm, 48 pp. Oblong, 27 x 21 cm, 39 pp. Oblong, 31 x 22 cm, 13, 18 pp. Line-cut of Paris, edition. Oblong, 25 x 17 cm, 13 pp. Oblong, 29 x 21 cm, viii, 46 pp. The suite is by Jacques Martin Hotteterre. A Cantata and English Songs. For voice and bc with accompaniment by flute or violin. Musik aus Ostbayern, 3. Oblong, 30 x 21 cm, 21, i pp. Line-cut of the Passau, edition. Hugl points out in the preface the possibility of doubling the melody line with a flute or violin.
Afterword in Ger by Konrad Ruhland. Musik aus Ostbayern, Oblong, 30 x 21 cm, i, 21 pp. Preface in Ger by Konrad Ruhland. Line-cut of the H. Formschneider edition, Nuremberg, The first collection of polyphonic settings of the proprium for the whole liturgical year. Composed for the Hapsburg Royal Chapel. Oblong, 19 x 16 cm, 4 partbooks, xii, pp. Line-cut of Paris, c. Line-cut of the Paris, n. Line-cut of a unique mnuscipt score autograph? Line-cut of the Prag, edition. Neuer lustiger weltlicher Liedlein mit 3. Considered among the finest songs composed in the wake of Hassler.
Faksimile-Edition Canto e Continuo, 5. Line-cut of the Strasbourg, partbooks cantus, altus, tenor, bassus, bassus ad organum. Oblong, 24 x 16 cm, 4 partbooks, c. Contains the masses Ave maris stella, Hercules dux ferrarie, Malheur me bat, La mi baudichon, Una musque de Buscaya, and Dung aultre amer. Hardbound, in decorative paper, with matching slipcase. New edition, with musical portions of the manuscript reproduced in facsimile. Introduction in It by Orlando Cristoforetti.
Wrappers in decorative paper with slip case. Rieger, Augsburg Druck Wagner Ulm. Line-cut of the Ulmg, edition. Scored for SATB, 2 vln, vc, timp, 2 trp, bc organ. Hardbound in decorative paper, with slipcase. Line-cut of the Ulm, edition. Bernhardi iubilio delibatus modisque musicis tribus vocibus]. Faksimile-Edition Schermar-Bibliothek Ulm, 4. Line-cut of the Dillingen, edition. Chamber Music from Georgian England, 5. Flute may substitute for vln I. Ad primum salve regina, cum 2. Zwei Teile in einem Band. Musicis numeris quinque vocum inclusus, eo ordine, quo per totum anni curriculum praecipuis diebus festis in ecclesia cantari solet.
Faksimile Heilbronner Musikschatz, 3. Line-cut of the Dietrich Gerlach edition, Nuremberg, Oblong, 20 x 15 cm, 4 partbooks, pp. Line-cut of the Rohrschach n. Line-cut of the Diabelli edition, Vienna, Introduction by Patrick Denecker. Line-cut of the Naples, edition. Introduction in It-Eng by Maurizio Bignardelli. Oblong, 29 x 21 cm, 32 pp. Line-cut of the Hamburg, c. Wrappers, in decorative paper with matching portfolio. Oblong, 24 x 22 cm, vii, 85 pp. Line-cut of the Ballard edition Paris, printed with movable type and diamond-shaped notes.
Oblong, 24 x 17 cm, xxii, 52 pp. Oblong, 25 x 21 cm, 53 pp. Beautifully engraved edition with distinctive diamond-shaped note heads. Oblong, 24 x 17 cm, xvi, 55 pp. Line-cut of the printed score, Paris, Oblong, 25 x 21 cm, 55 pp. Oblong, 24 x 17 cm, 21, 79 pp. Introduction in Fr by Jean Saint-Arroman. Oblong, 29 x 21 cm, 16 pp. Line-cut of the Boivin edition, Paris, Oblong, 24 x 22 cm, 3 partbooks, vii, pp.
Wrappers in decorative paper, with slipcase. Oblong, 20 x 15 cm, 6 partbooks, pp. Oblong, 19 x 14 cm, 3 partbooks, pp. Line-cut of the A. Berg edition, Munich, Line-cut of the Johannes Laet edition, Antwerp, Contains 18 motets, some of which were undoubtedly written in Italy, but clearly rewritten in Antwerp.
Oblong, 21 x 16 cm, 3 partbooks, 96 pp. Line-cut of the Paris, edition, containing 12 sonatas. Line-cut of the Paris,  edition, containing 12 sonatas. Line-cut of the early Paris edition with a new practical edition for flute. Faksimile Heilbronner Musikschatz, 7. Oblong, 19 x 14 cm, 5 partbooks, c. Schwertel edition, Wittenberg, Hardbound, with slip case. A unique feature of this publication is that most pieces are also given in trio form—two melody instruments with figured bass line. Oblong, 29 x 21 cm, 90 pp. Oblong, 29 x 21 cm, vii, 56 pp.
Preface in It by Luigi Lupo. Oblong, 13 x 9 cm, 5 partbooks, c. Line-cut of the Pierre Ballard edition, Paris, Includes 1 sonata for two harpsichords. In Two Several Varieties: The First 20 are for Two Trebles and a Basse. Oblong, 24 x 19 cm, 3 parts, 36 pp. Line-cut of the London, partbook edition, in staff notation.
London, Walsh, ca Line-cut of the Walsh edition, c. Line-cut of the Walsh edition, Oblong, 30 x 22 cm, pp. Line-cut of the E. Roger edition, Amsterdam, Line-cut of the Walsh upright edition, London, Preface in Ger by Winfried Michel. Line-cut of the F. Modena edition, Vicenza, Introduction in It by F. With 4 fold-out pages with musical examples. Line-cut of a contemporary ms copy, a unique source for this sonata.
Oblong, 26 x 19 cm, 4 partbooks, 56 pp. Line-cut Roger Marchand edition, Amsterdam, . Line-cut of the ms score from the Phildor atelier, the first edition of the instrumental and vocal parts, Paris, and the printed libretto, Paris, Kommentar von Martin Kirnbauer. Faksimile-Edition Theoretica, 7 Suttgart, Oblong, 20 x 16 cm, , xvi pp. Line-cut of the Strasbourg, edition. Besides the Virdung redux it also provides a treatise on mensural notation and polyphonic composition. Faksimile-Edition Schermar-Bibliothek Ulm, 1. Line-cut of the Johan Weidner edition, Jena, Describes many aspects of performance, including ornaments; includes fingerings and trill fingerings.
Oblong, 21 x 15 cm, pp. Halftone of the Nuremberg, edition second, vastly reset edition of Museum Musicum. Fascinating treatment of music theory, including 10 woodcuts of instruments and a glossary of musical terms taken from Greek, Latin, Italian and French. Smith edition, London, n. Preface in It by Giuliano Furlanetto. Line-cut of the third edition by John Walsh, London, n. Edited by John Hsu. Oblong, 21 x 13 cm, 3 partbooks, xiv, pp. With critical apparatus listing all errors and inconsistencies.
Concerti [da Eterio Stinfalico. Oblong, 38 x 28 cm, 6 partbooks, 72 pp. Line-cut of the Augsburg, c. Oblong, 32 x 23 cm, 4 vols, xi, 97 pp. Line-cut of a contemporary ms copy, plus the Paris, edition of the text. Monumenta Brixiensia, Fototypice Expressa, 8. Line-cut of the Gardano edition, Venice, Edizione critica di Rafaello Monterosso.
Introduzione; facsimile; testi letterari-trascrizione in notazione moderna. Line-cut of the Venice, edition, together with a new practical edition. An Anthology of Music for 1, 2 and 3 Soprano Recorders. Oblong, 19 x 10 cm, 19, 54 pp. Most of the works are anonymous. Faksimile-Edition Theoretica, 3 Suttgart, Line-cut of the Salzburg, edition.
Megerle was from Innsbruck and was once a choirboy under Stadlmayer, later a treble singer and organist with the court music ensemble at Innsbruck. Speculum Musico-Mortuale contains a few pages of autobiography but its extraordinary content are mainly its 12 engravings showing a human skull in the center, surrounded emblematic symbols and beautiful depictions of musical instruments almost 50 in all.
Oblong, 20 x 17 cm, 5 partbooks, pp. Oblong, 33 x 24 cm, vii, 16 Line-cut of the Paris, c. In quibus agitur de sonorum natura, causis, et effectibus: Complements the Harmonie universelle. Der Prophet Meyerbeer , op. Flute Violin , Viola, and Guitar. Edited by Brian Torosian. Line-cut of the Jos. Aibl edition, Munich, , together with preface and new practical edition. Line-cut of the G. Fuhrmann edition, Nuremberg, Oblong, 29 x 21 cm, i, 27 pp. Line-cut of the John Johnson edition, London, c.
Line-cut of the Madrid, edition. An instrumental encyclopedia by a pupil of Sanz. Faksimile-Editionen Psalmen und Motetten, 2. Oblong, 25 x 18 cm, 4 partbooks, c. Collection of 26 vocal or instrumental motets by Gombert, Archadelt, Verdelot and their contemporaries. Oblong, 22 x 16 cm, 4 partbooks: A reworked and enlarged edition of Musica nova, to the 21 four-part ricercars, 29 French dances were added.
Edited by Stephen L. Glover and John F. Line-cut of a contemporary ms copy. Oblong, 30 x 22 cm, x, pp. La Cantata Barocca, 8. Introduction in It by Piero Mioli. La Cantata Barocca, 9. La Cantata Barocca, According to composer these pieces are suitable for dancing. Introduction in It-Eng by Iain Fenlon.
Wrappers, with cloth folder. Line-cut of the London,  and London,  editions. Line-cut of the Antonio Gardano edition, Venice, Also contains 9 instrumental fantasies. The Triumphes of Oriana, to 5. Composed by Divers Severall Authors. Newly Published by Thomas Morley. Line-cut of the Thomas Este edition, London, Introduction with dance choreography in Fr-Eng-Ger.
Hippolyte et Aricie parodie ; Arlequin Mogol. Oblong, 20 x 14 cm, 44 pp. Line-cut of the first edition. Laid paper, with wrappers in hand-made marbled paper. Line-cut of the original edition. Les indes chantantes; Les amours anonymes; Le retour de Mars. Oblong, 21 x 15 cm, 40 pp. Oblong, 21 x 15 cm, 38 pp. Edited and with a Foreword by John B. This fascinating work, possibly commissioned for the Viennese hornist Jacob Eisen, is one of a number of incomplete concerti left by Mozart and one that suffered an unfortunate circumstance. In , for the centennial of Mozart's birth, the composer's eldest son, Carl, decided to cut up and give away portions of the autograph first movement as souvenirs to several admirers of his father's music.
Now, years after Carl's strange celebration, eight of a total of nine fragments are preserved in seven libraries, six in Europe and one in the US. This facsimile offers two important reunifications of the concerto's parts. The first one, assembles and reproduces the scattered autograph fragments of the first movement K.
For the second reunification we have to be thankful to Mr. The MS lacked a bifolio that reappeared in Lehman, who owns K. These extraordinary events make this publication an invaluable contribution to Mozart studies and highlight one the prime purposes and advantages of the facsimile edition: Edizione in facsimile a cura di Giacomo Fornari. Manuscrit autographe de Line-cut of the autograph score and first edition published by J.
Manuscrit autographe , Esquisses et fragments manuscrits autographes. Line-cut of the autograph score and sketch Ms. Oblong, 35 x 27 cm, 11, 98 pp. The autograph score dates from c. Scored for 2 oboes, 2 clarinets, 2 basset horns, 2 pairs of horns, 2 bassoons and a contrabass, Mozart exploits all the possible mixtures of sonorities—no instrument is treated in true concertante fashion, but rather each instrument strives to distinguish itself, true to it own character. New second introduction by Richard Floyd.
Handsome two-tone cloth binding. Line-cut of the London, edition no autograph is known. Clementi] Sinfonia in sol minore K Adattamento per 4 strumenti di Muzio Clementi. Oblong, 33 x 27 cm, xxxiii, 23, 77 pp. This is a fascinating document showing the tradition common at the turn of the 18th century of arranging symphonic works for smaller chamber groups. Together with a new printed edition of the score and introduction in It-Eng.
Virtually every sketch and draft that has survived— pages—has been assembled and collated in chronological order for this superb facsimile edition reproduced in full color. Like Band 44 of the Bachgesellschaft edition which contained only reproductions of Bach manuscripts, this publication marks the culmination of the Neue Mozart Edition. The facsimiles are accompanied by careful transcriptions and critical commentary Ger , making them accessible to both layman and specialist.
Deluxe edition with clamshell case covered in burgundy linen and titles in gold lettering. An indispensable resource for any Mozart enthusiast. Hautbois ou violon 1 — Hautbois ou violon 2, alto viola — basse continue. Oblong, 33 x 24 cm, vii, 16 pp. Line-cut of Hamburg, edition. Line-cut of the Girolamo Scotto edition, Venice, Halftone of the Amsterdam, edition. Afterword in Du-Eng by Reine Verhagen. Oblong, 24 x 17 cm, vi, pp. Rules on ornamentation with examples in mensural notation. Divided into two books, part I for the performer of consort music for viols; part II presents several different kinds of compositions for one viol and cimbalo.
Total of 29 works. Introduction by Marco Di Pasquale. Gestelt durch Caspar Orthmayr. Oblong, 18 x 15 cm, 2 partbooks, pp. Wonderful collection 32 duets for instruments or voices. Hardbound in decorative paper, matching portfolio. Faksimile Heilbronner Musikschatz, 4. Hundert ainund zweintzig newe Lieder Oblong, 15 x 9 cm, 5 partbooks, c. A wonderful collection devoted mainly to German secular songs, and a primary source for the music of Ludwig Senfl. Oblong, 18 x 14 cm, 4 partbooks, c. Line-cut of Nuremberg, edition.
Wonderful anthology of German secular songs by Isaac, Senfl, Stoltzer. Halftone of the Leipzig, edition. Line-cut of a Roger edition, Amsterdam, n. Introduction in It by Marcello Castelliani. Oblong, 20 x 15 cm, 4 partbooks, c. Hardbound in vegetable vellum, with matching slipcase. Oblong, 26 x 17 cm, pp. Continuation of Harmonice musices odhecaton A. Laid paper, handsomely bound in white linen.
Digital Sheet Music for Six Easy Duets, Op. A (Flute 1 Part) - Flute 1 by Giuseppe Gariboldi, scored for Two Flutes, id Print and download in PDF or MIDI Six Easy Duets, Op. - Gariboldi. Free sheet music for Flute. Made by ythealien.
Continuation of Odhecaton A and Canti B. Oblong, 24 x 17 cm, ; pp. Notated in quasi score format if frottola fits on single page or choirbook format if spread over an opening. Hardbound, in decorative paper. Bologna, Oblong, 26 x 17 cm, xxviii, pp. Contains the earliest part-music printed from type, and produced by a triple impression process staves, then text, then music ; it is also the earliest instance of a complete volume of part-music.
Includes works by the most important composers of the day: Edited by Stanley Boorman and Ellen S. Introduction by Stanley Boorman. Oblong, 26 x 17 cm, xvii, pp. Line-cut of the third edition, Venice, Oblong, 28 x 17 cm, 83, pp. Halftone reproduction of the Venice, edition, from the copy preserved at the Biblioteca Capitolare Colombina, Seville.
The only anthology of lauda 66 published by Petrucci devoted to a single composer—Innocentius Dammonis, a prior of San Salvador in Venice. Oblong, 23 x 16 cm, pp. Contains 60 setting for 3 and 4 voices by Bartolomeo Tromboncino and his contemporaries. Oblong, 23 x 18 cm, 4 partbooks, pp. Line-cut of 2 Petrucci mass volumes, respectively by Agricola and de la Rue Oblong, 24 x 17 cm, , 22 pp. Motets a4, choirbook format, by Josquin, Compere, Agricola, Brumel and their contemporaries. In this particular Petrucci print from the CMBM four additional pieces were added in manuscript in Contains 30 motet settings by Josquin and his contemporaries.
Oblong, 23 x 16 cm, 4 partbooks, pp. Contains 55 settings counting separate movements for 4 voices by Josquin, Brumel, Obrecht, Mouton and their contemporaries. Includes 91 Italian secular songs in four parts; choirbook format with mensural notation. Premier livre de danseries contenant plusieurs pavanes, passomezo, almandes, le tout convenable sur tous instruments musicals. Musique de Chambre, 5. Oblong, 22 x 15 cm, 4 partbooks, xxx, pp. Line-cut of the P. Premier livre de danseries. Faksimile Heilbronner Musikschatz, 2. Oblong, 19 x 15 cm, 4 partbooks, pp. Line-cut of the Louvain, edition.
Hardbound in vegetable vellum. Oblong, 29 x 21 cm, 25 pp. Oblong, 24 x 22 cm, iii, 51 pp. The edition, printed with type, employs diamond shaped notes. Oblong, 31 x 22 cm, 18, 51 pp. Oblong, 30 x 21 cm, 32 pp. Line-cut of the printed score. Oblong, 27 x 21 cm, 52 pp. Oblong, 27 x 21 cm, 26 pp. Oblong, 27 x 21 cm, 22 pp. Introduction by Giovanni Battista Columbro. Vincenti edition, Venice, Les luthiers et la facture instrumentale. Treats French musical instrument makers, covering the period from the 15th to the 19th century. Oblong, 30 x 21 cm, iv, 37 pp. Line-cut of the Nuremberg, c.
Oblong, 30 x 21 cm, 37 pp. Preface by Peter Holoman. Stimmen, wie solche auff wie II solche auff adelichen Panqueten, auch andern ehrlichen Convivijs und Hochzeyten gemusiciert und auff allen instrumentalischen Sayttenspilen, u. Line-cut of the Regensburg, partbook edition. Miel de Narbonne; II. Enfant de troupe Hardbound in marbled paper, with matching slipcase. Band II, De Organographia. Faksimile-Nachdruck herausgegeben von Wilibald Gurlitt. Kassel, 17 x 24 cm, , iv pp.
This volume, in German, describes the instruments known to the author and includes beautiful woodcut illustrations of them. Reprint der Originalausgaben von und Herausgeben von Arno Forchert. Line-cut of the Winnen edition, Paris, n. Line-cut of the second section of an anonymous treatise originally in seven parts. Includes 45 arrangements for recorder, mostly from the operas of Handel. Afterword by Edgar Hunt. Hardbound, with paper coverboards. Line-cut in reduced format of the Berlin, edition. Faksimile der Ausgabe Berlin Line-cut of the Berlin, edition. Line-cut of the French edition, Berlin, Line-cut of the Dresden,  edition.
Introduction by Antonio Arias. Introduction by Jennifer Carr. Oblong, 31 x 23 cm, xxxi, pp. Line-cut of the Paris, edition short score. Faksimile-Edition Kammermusik des Barock, 5. Oblong, 31 x 23 cm, pp. Line-cut of the score. Line-cut of the B. Cooke edition, London, c. Preface by Marcello Castellani. Line-cut of the William Adams edition, London, Line-cut of the William Stanley edition, London, Line-cut of the William Barley edition, London, Monumenta Musicae Revocata, Herausgegeben von Stefan Fuchs.
Facsimile of the of Paris, edition, together with modern edition. Line-cut of two editions, one printed by Gerlach Nuremberg, , and the other a contemporary manuscript, Stadtbibliothek, Ulm, sign. Contains 16 settings a5 from the printed collection, plus 29 settings a4 and 4 a5 from the manuscript source.
Afterword in Dut-Eng by J. Magnificat octo modorum seu tonorum numero XXV. Line-cut of the Wittemberg, edition. Major collection of polyphonic settings of Latin hymns for voices. The preface is dedicated to the mayor and council of Joachimstal, and credits Mathesius as having proposed and encouraged the work. Thomas Stoltzer is represent by 39 works. Faksimile Heilbronner Musikschatz, 8. Line-cut of the Wittenberg, Oblong, 21 x 15 cm, 3 partbooks, pp. Contains 90 three-part motets and secular pieces by many different composers. Texts are in Latin, French, German and Dutch.
Eingeleitet von Karl Ventzke in Deutsch und Englisch. Line-cut of the Stendal, edition. Quartets in the key of C major, E minor and A minor. Line-cut of a contemporary ms copy both score and parts , copied c. Six sonatas in 2 movements. Line-cut of the Milan, edition. Francesco Rognoni came from a prominent musical family and was himself a virtuoso of several instruments.
Selva contains important expressive devices of the time: Introduction in It by Guglielmo Barblan. Musikaliska Akademiens bibliotek i Stockholm. Line-cut of the printed harpsichord part Stockholm, and handwritten flute and violone parts. Line-cut of a contemporary ms copy, spuriously assigned to Roman. Respectively 26 and 23 settings for four voices; this particular exemplar from the Schermar-Bibliothek contains additional ms material entered on the empty pages at the end of each partbook.
A treatise on counterpoint, complete with music examples. Faksimile Heilbronner Musikschatz, 1. Line-cut of the Christoff Raben edition, Frankfurt, Four German songs a6, eighteen a5, and eight a4, in mensural notation. Line-cut of the Altenburg, edition. Oblong, 20 x 24 cm, 5 partbooks, c. Line-cut of Wolff Seiffert edition, Dresden, Oblong, 24 x 17 cm, 3 partbooks, c. Line-cut of the Francesco Moscheni edition, Milan, For 3 instruments in the cantus, tenor, and bass ranges. Oblong, 32 x 23 cm, ix, 25 pp. Facsimile of the Autograph Manuscripts.
Since then, its immense popularity has continued to grow, so much so that it is now enjoyed by music lovers and the general public alike. Hardbound, with colorful dust jacket. Prag, Georg Nigrinus Oblong, 18 x 15 cm, 5 partbooks, pp. Oblong, 23 x 15 cm, 70 pp. Line-cut of the score, from a contemporary ms copy.
Preface in It by Rossella Rossi. Chamber Music from Georgian England, 6. Line-cut of the Paris,  and Amsterdam,  editions. Wrappers, in decorative paper with matching slipcover. Line-cut of the Paris  edition. Wrappers in marbled paper. Oblong, 21 x 15 cm, 2 partbooks: Oblong, 21 x 14 cm, 2 partbooks, ii, 52 pp. Line-cut of the Roger edition, Amsterdam, n. Oblong, 32 x 25 cm, viii, 91 pp. Collection of 24 sonatas in 24 different keys. Interestingly, Schickhardt employed five different English engravers for the work. Line-cut of the Daniel Starck edition, Stettin, Score, Facsimile and Parts.
Oblong, 13 x 12 cm, 5 partbooks, c. Faksimile des Autographs der Wienbibliothek. Meisterwerke der Musik im Faksimile, Full-color facsimile of the autograph. The work may have been composed for Ferdinand Bogner, a flutist and friend of the composer. Line-cut of the Venice edition. Contains 54 villancicos and some instrumental works for 2 to 5 parts notated in choirbook format.
Capellen sondern auch in andern wolbestalten Stadtkirchen nach beliebung fueglich koennen gebraucht vnd Musiciret werden]. Line-cut of the William Napier edition, London, . Libro de passaggi ascendenti e descendenti. Line-cut of the Endter edition, Nuremberg, Write a customer review. Feedback If you need help or have a question for Customer Service, contact us. Would you like to report poor quality or formatting in this book? Click here Would you like to report this content as inappropriate? Click here Do you believe that this item violates a copyright? Your recently viewed items and featured recommendations.
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