![Sonatas of three Parts. For Two Violins with a Thorough Bass for the Harpsichord or Violoncello, made from the Solos of F. Geminiani. [Parts.] PDF](https://books.google.com/books/content/images/frontcover/4M0mEJz8yvkC?fife=w150-h200)
Author: Francesco GeminianiPublisher:
ISBN:
Category :
Languages : en
Pages : 46
Book Description
Sonatas of three Parts. For Two Violins with a Thorough Bass for the Harpsichord or Violoncello, made from the Solos of F. Geminiani. [Parts.]
![Sonatas of three Parts. For Two Violins with a Thorough Bass for the Harpsichord or Violoncello, made from the Solos of F. Geminiani. [Parts.] PDF](https://books.google.com/books/content/images/frontcover/4M0mEJz8yvkC?fife=w80-h100)
Author: Francesco GeminianiSonatas of three parts for two violins with a thorough bass for the harpsicord or violoncello, made from the solos of Francesco Geminiani
Author: Francesco GeminianiPublisher:
ISBN:
Category : Trio-sonatas (2 violins, continuo), Arranged
Languages : en
Pages :
Book Description
Sonatas of three parts for two violins
Author: Francesco GeminianiPublisher:
ISBN:
Category : Trio-sonatas (2 violins, continuo), Arranged
Languages : en
Pages :
Book Description
Catalogue of Printed Music Published Between 1487 and 1800 Now in the British Museum: A-K.- v. 2. L-Z and First supplement
Author: British Museum. Department of Printed BooksPublisher:
ISBN:
Category : Music
Languages : en
Pages : 788
Book Description
The Scoring of Baroque Concertos
Author: C. R. F. MaunderPublisher: Boydell Press
ISBN: 9781843830719
Category : Music
Languages : en
Pages : 304
Book Description
Evidence indicates that the concertos of Vivaldi, Bach, Haydn etc were performed as chamber music, not the full orchestral works commonly assumed. The concertos of Vivaldi, Bach, Handel and their contemporaries are some of the most popular, and the most frequently performed, pieces of classical music; and the assumption has always been they were full orchestral works. This book takes issue with this orthodox opinion to argue quite the reverse: that contemporaries regarded the concerto as chamber music. The author surveys the evidence, from surviving printed and manuscript performance material, from concerts throughout Europe between 1685 and 1750 (the heyday of the concerto), demonstrating that concertos were nearly always played one-to-a-part at that time. He makes a particularly close study of the scoring of the bass line, discussing the question of what instruments were most appropriate and what was used when. The late Dr RICHARD MAUNDER was Fellow of Christ's College, Cambridge.
Catalogs
Author: Harold Reeves (Firm)Publisher:
ISBN:
Category : Music
Languages : en
Pages : 620
Book Description
Library of Congress Catalog
Author: Library of CongressPublisher:
ISBN:
Category : Music
Languages : en
Pages : 528
Book Description
A cumulative list of works represented by Library of Congress printed cards.
A Short-Title Catalogue of Music Printed Before 1825 in the Fitzwilliam Museum, Cambridge
Author: Fitzwilliam MuseumPublisher: Cambridge University Press
ISBN: 9780521415354
Category : Music
Languages : en
Pages : 216
Book Description
The collection of pre-1825 printed music in the Fitzwilliam Museum, Cambridge, here catalogued for the first time.
The Catalogue of Printed Music in the British Library to 1980
Author: British Library. Department of Printed BooksPublisher:
ISBN:
Category : Music
Languages : en
Pages : 416
Book Description
Author: