Gekeler Method for Oboe, Book II
Gekeler Method for Oboe, Book II

Author: Kenneth Gekeler

Publisher: Alfred Music

Published: 1999-10-16

Total Pages: 52

ISBN-13: 9781457450853

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The material in the Gekeler Method for Oboe is divided in two parts. The studies in Part I are for the purpose of developing musical style and interpretation; those in Part II are for the study of scales and intervals, and for improvement of articulation.

The Four Seasons and Other Violin Concertos in Full Score
The Four Seasons and Other Violin Concertos in Full Score

Author: Antonio Vivaldi

Publisher: Courier Corporation

Published: 2013-01-23

Total Pages: 258

ISBN-13: 0486171396

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Authoritative version contains complete Four Seasons plus the rest of Vivaldi's Opus 8. Includes new English translations of the original sonnets and extensive editorial notes on the composer's life and work.

The Concerto
The Concerto

Author: Stephan D. Lindeman

Publisher: Routledge

Published: 2006-11-06

Total Pages: 666

ISBN-13: 1135922055

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Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.

"The four seasons" and other violin concertos

Author: Antonio Vivaldi

Publisher: Courier Corporation

Published: 1995-01-01

Total Pages: 258

ISBN-13: 048628638X

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This authoritative version contains the complete Four Seasons plus the rest of Vivaldi's Opus 8, including "The Storm at Sea," "Pleasure," and "The Hunt." Printed from new plates, this crisp, pristine edition includes new English translations of the original sonnets and extensive editorial notes on the composer's life and work.

The Scoring of Baroque Concertos
The Scoring of Baroque Concertos

Author: C. R. F. Maunder

Publisher: Boydell Press

Published: 2004

Total Pages: 304

ISBN-13: 9781843830719

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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.