Trio Sonata in D Major Op. 37 No. 3 (Viola da Gamba/Bassoon/Cello Part)

Oblong, 22 x 18 cm, 19 pp. Viol-digambe oder Posaunen gesetzt. Line-cut of the Thorn, edition. Canzon for 8 instruments in mensural notation. Livres I et II. Line-cut of the Leipzig, c. 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, 31 x 22 cm, 2 vols, xviii, pp.

Oblong, 31 x 22 cm, 13, 18 pp. Line-cut of Paris, edition. Oblong, 25 x 18 cm, 3 vols, , 23 pp. Line-cut of the Vienna, c. Hardbound in decorative paper, with handsome slipcase. Four suites including pictorial pieces. With an Introduction by Frank Traficante. For voice with instrumental accompaniment, and instruments alone in various combinations.

London, British Library, Ms. Contains 9 duets, 2 fantasias and 6 ayres. In addition, there are two anonymous fantasias and works of John Ward Introduction by Piet Stryckers. Oblong, 31 x 22 cm, 64 pp. Line-cut of the Prag, edition. Faksimile-Edition Canto e Continuo, 5. Line-cut of the Strasbourg, partbooks cantus, altus, tenor, bassus, bassus ad organum. Over 60 monodies among the 3 publications, the first and third from engraved plates, the second in movable type.

Italian lute tablature occurs only the arias of book I, otherwise staff notation has been employed. Introduction in It by Orlando Cristoforetti. Wrappers in decorative paper with slip case. Line-cut of the Munich, c. Hardbound in decorative paper, with slipcase. Zwei Teile in einem Band.

1. Sheet music: Sonata (Viola da Gamba) III g minor BWV (Cello, Piano).
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Faksimile-Edition Kammermusik des Barock, 7 Stuttgart, Hardboard in beautiful decorative paper with matching slip case. Stuttgart, Paul Treu Wrappers, with slipcase covered in marbled paper. Pieces for the Viol Lesson. Halftone of a contemporary ms copy, together with modern edition. Line-cut of the Kassel, edition. Oblong, 21 x 15 cm, xi, pp. Line-cut of the Lodovico Britannico edition, Brescia, Introduction in It by Giuseppe Massera. 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, 31 x 22 cm, 38 pp. Line-cut of the Bologna, 18th-c. Collection of 12 sonatas. Examination and inventory of the Lawes manuscript British Library, Add. MS , together with a selection of halftone plates with autograph examples and music of his contemporaries. Line-cut of the Paris, edition, containing 12 sonatas. Line-cut of the Paris, [] edition, containing 12 sonatas. Line-cut of the Paris, edition, containing 6 sonatas which, according to the title page, can also be played on 2 violes. On peut jouer ces sonates a deux violes.

Line-cut of the Paris, edition, containing 6 sonatas. Line-cut of the Paris, [] edition, containing 6 sonatas. Libro terzo, opera ottava. Xerographic reprint of the Giacomo Monti edition, Bologna, Viole de Gambe, IX. Faksimile-Edition Schermar-Bibliothek Ulm, Oblong, 13 x 9 cm, 5 partbooks, c. Line-cut of the Pierre Ballard edition, Paris, Wrappers, with handsome slipcase in marbled paper.

Early Cello Series, 1. Dialogo quarto di musica [dove si ragiona sotto un piacevole discorso sulle cose pertinenti per intavolare le opere di musica et esercitarle con la viola a mano over liuto con sue tavole ordinate per diversi gradi alti e bassi]. A cura di Patrizio Barbieri. Sources and Materials for the History and Theory of Music, Short treatise explaining how to transcribe any contrapuntal score into tabulature for viola a mano or lute.

Includes 14 tables showing the gamut, clefs, staves, accidentals, and the corresponding signs for Italian lute tablature. Xerographic reprint of the Jeanne Roger edition, Amsterdam, []. Reprint of the Amsterdam Edition. Introduction by Paul van Reijen. Line-cut of the violin solo and basso continuo parts. These orchestral parts supplement the violin solo and basso parts previously published by Saul B. Dedicate al molto illustre signore il signor Abraham Croock. 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.

Arcangelo Corelli: Trio Sonatas, Op. 3

Line-cut of a contemporary ms copy, a unique source for this sonata. 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. Hardbound in decorative paper. Early Cello Series, 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. Oblong, 30 x 20 cm, 2 partbooks, , iv pp. Oblong, 32 x 23 cm, 2 partbooks, xvi, , pp. Line-cut of the Paris, editions.

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Oblong, 30 x 20 cm, 2 partbooks, , vi pp. Oblong, 32 x 23 cm, 2 partbooks, 10, pp. Livre pour la viole. Livre pour la basse continue, Oblong, 30 x 20 cm, 2 partbooks: Oblong, 32 x 23 cm, 2 partbooks, xv, pp. Oblong, 30 x 20 cm, , iv pp. Oblong, 32 x 23 cm, 2 partbooks, 16, pp. Oblong, 21 x 15 cm, 3 partbooks, xii, pp. Wrappers in decorative paper with slipcover. Edited by John Hsu. Oblong, 21 x 13 cm, 3 partbooks, xiv, pp.

Viole de Gambe, XIV. A suite of dances, mostly minuets. Introduction on how to play the two instruments. Concerti [da Eterio Stinfalico. Oblong, 38 x 28 cm, 6 partbooks, 72 pp. Line-cut of the Augsburg, c. Line-cut of the Amsterdam, c. Introduction de Vittorio Ghielmi. Line-cut of the Gardano edition, Venice, Introduction in It by Marcello Castelliani.

Monumenta Brixiensia, Fototypice Expressa, 8. Line-cut of 7 autograph manuscripts in possession of the Fondazione Pagliara, together with new critical editions: Capriccio per pianoforte op. Line-cut of Paris, c. Ridotti ad intavolatura a due violini e viola. Line-cut of the Milan, edition.

Mattei, pupil of Martini and professor of counterpoint at the Liceo from its foundation in , was the teacher of Rossini, Donizetti and many others. Bassi numerati consists of lovely musical miniatures: Contains 29 fantasias for viola da gamba by Lupo, Gibbons, Coprario and Daman. Instrumental pieces for bass viol and lute. With an Introduction by Jon Newsom. Composed when Mendelssohn was 16 years old, this work was the first of its type in the literature. Although it is an extremely clean copy, it contains a number of markings and passages that were ultimately removed for the first edition.

Quarter linen and decorative paper with signature of the composer in gold on the cover. 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.

According to composer these pieces are suitable for dancing. Also contains 9 instrumental fantasies. Le petit boucquet, de frise orientale, contenant quelques chansonnettes musicales pour toucher du luth join deux violes de gambas parmy les vois: Contains French chansons for soprano, bass and lute French tablature , 1 Dutch polyphonic song and pavanes for descant and bass viol with lute accompaniment. Faksimile des von F. Peters als Verlagsnummer 1 einbrachte. Fine line-cut of the Vienna, edition.

This work, especially the fugue section, has a clear connection to the music of Bach, introduced to him in It is a transcription for strings of his Fugue in C minor for two pianos, K. This beautiful facsimile attempts to recreate the look of an 18th print, showing the impression of the printing plates on the paper and utilizing fine paper the exact size of the original with irregular deckel edges.

Peters the facsimile is a tribute to both composer one of few works published within his lifetime and the publisher. With green silk string securing the four bifolios together. Manuscrit autographe de Line-cut of the autograph score and first edition published by J. Oblong, 34 x 25 cm, 14, 40 pp. Halftone of the autograph score dated 16 October The instrumental force called for here—cembalo fortepiano , violin, viola, and violoncello—was practically a novelty at that time.

The manuscript shows a visible alteration in the viola part from a treble clef to an alto clef at the beginning of the first, second and third movements, suggesting that Mozart first thought of scoring the work with two violins. In any case the viola voice adds a wonderful sonorous element that Mozart exploits. Handsome binding with green laid paper boards and embossed label.

Edizione in facsimile a cura di Giacomo Fornari. Oblong, 34 x 24 cm, 45, pp. Hardbound, with coverboards that duplicate the original binding. Oblong, 25 x 20 cm, 24, vi pp. Beautiful 3-color halftone of the autograph score. Bibliophile editon in laid paper; handsome brown laid paper boards with pasted label. Composti e dedicati al Signor Giuseppe Haydn. Line-cut of the Vienna, edition.

Serenade in G-Dur KV Faksimile der autographen Partitur. Arthur Wilhelm Collection, Switzerland]. Oblong, 33 x 25 cm, xiii, 14 pp. Collotype of the autograph score completed August 10, This celebrated serenade or "party music" in four movements originally had a fifth movement—two minuets and their trio are now lost.

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The autograph calls for 2 violins, viola, violoncello and bass string quintet but it is often performed by a larger orchestra. It is now in private hands in Basel. Handsome binding in linen with red and gold title stamp. Oblong, 33 x 25 cm, 14, 5 pp. Halftone, with new introduction in Ger-Eng-Fr.

Oblong, 34 x 25 cm, 14, 24 pp. New color facsimile of the autograph score in its original loose bifolio and folio format. Limited bibliophile edition with beautiful clam shell case covered in moire fabric. 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. Oblong, 32 x 24 cm, 26 pp. Fine monochrome collotype of the autograph score. Beautiful deckle-edged paper, with original marbled coverboards water stains on cover.

Together with performing edition and parts completed by Franz Beyer. 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. Line-cut of the Ulm, edition. 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. Nova arte de viola que ensina a tocalla com fundamento sem mestre, dividida em duas partes, huma especulativa, e outra practica. Com estampas das posturas, ou pontos naturaes, e acidentaes; e com alguns minuettes, e modinhas por musica, e por cifra. Line-cut of the Coimbra, edition.

Arcangelo Corelli: Trio Sonatas, Op. 3 | Smithsonian Chamber Music Society

Scored for vln I, vln II, vc, bc. Wrappers with portfolio in marbled paper. Line-cut of the A. Vincenti edition, Venice, Les luthiers et la facture instrumentale. Treats French musical instrument makers, covering the period from the 15th to the 19th century. Opera prima e seconda, Bologna Together with a reproduction of a ms that transmits the violin part for sonatas a 3. Oblong, 30 x 21 cm, 96 pp. Line-cut of the autograph fair copy score , dated 3 December Oblong, 33 x 24 cm, 26, 54 pp. Line-cut of a contemporary ms copy containing 12 sonatas. Oblong, 22 x 17 cm, 86 pp.

Line-cut of the first edition, London, Hardbound with marbled paper boards. Line-cut of the second edition, London, Line-cut of the London, edition, in the original partbook format. 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. Livre premier; Livre second [Music Library Sweden]. Line-cut of the E. Roger edition, Amsterdam, c. The Dutch plagiarized version of A Collection of Ayres. Fortunately Roger had access to the errata sheet printed with the publication as the worst errors in the original printing are avoided.

Two Viollins and Basse: Line-cut of the score. Both methods treat bowing, fingering, ornaments and cadenzas. Corrette emphasizes the superiority of the instrument for the execution of throughbass.

Line-cut of the William Adams edition, London, Line-cut of the William Stanley edition, London, Line-cut of the William Barley edition, London, Herausgegeben von Stefan Fuchs. Facsimile of the of Paris, edition, together with modern edition. Line-cut of the Paris, edition, along with material in manuscript.

Oblong, 17 x 13 cm, i, 68 pp. Foreword by Ottmar Schreiber. Wrappers, with beautiful presentation folder. Line-cut of the J. Bland edition, London, [? Oblong, 21 x 15 cm, 4 partbooks, pp.

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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. Oblong, 19 x 15 cm, 4 partbooks, pp.

Hardbound in decorative paper, with matching slipcase. 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. 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.

Oblong, 22 x 16 cm, pp. Six sonatas in 2 movements. 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. Songs by Thomas Campion arranged for voice, lute and bass viol in table-book format. Basic work for studying the French viol and its technique.

Faksimile der Ausgabe Paris Line-cut, together with commentary and translation into Ger. Both autographs contain numerous corrections and annotations in pencil. 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. Halftone of the autograph parts. Early Cello Series, 8. Oblong, 31 x 23 cm, 33 pp. Line-cut of a contemporary ms copy, c. Faksimile-Edition Viola da Gambe, 7.

Oblong, 35 x 24 cm, 50 pp. Wrappers, with handsome marbled paper boards with ties. Faksimile-Edition Viola da Gambe, 6. Faksimile-Edition Viola da Gambe, 5. Oblong, 35 x 24 cm, 2 partbooks, 84 pp. Faksimile-Edition Viola da Gambe, 4. The set is beautifully engraved and includes an elaborate frontis piece. Line-cut of the Roger edition, Amsterdam, n.

Early Cello Series, 6. Halftone of the Leipzig, c. Faksimile nach dem Partitur-Autograph Schweizer Privatbesitz. Einleitung von Andrea Lindmayr-Brandl. Oblong, 35 x 29 cm, xxi, 74 pp. Deluxe full-color facsimile of the autograph. This source is in a private collection and this facsimile makes it accessible to the public for the very first time. Wrappers, in slipcase covered in marbled paper. As is the case with other works of Shostakovich, quotations from his other compositions as well as quotations and reminiscences from works by other composers play an important role in the Viola Sonata.

During the days of its composition the composer wrote an open letter to the musicians of the world: Xerographic reprint of the improved 2nd edition, London, Line-cut of the London, edition in English only. Sound Researh of Women Composers: Music of the Romantic. Full-color facsimile of the autograph score. This ambitious 4-movement trio in D major is full of vitality and displays an extraordinary eagerness to experiment with regard to the specific conditions and potential of the genre. At the same time it is permeated by a kaleidoscopic variety of themes, which is typical for this spirited composer with her broad education.

She intentionally takes on the themes from different traditions and uses them to express many facets of her feelings and ability. Line-cut of the manuscript parts housed at the Library of El Escorial. Line-cut of the partbooks of two contemporary editions, one published in Frankfurt by Haueisen, the other in Paris by Heina. Skizzen, Fassungen, Dokumente, Essays.

Beautiful full-color reproduction, documenting all the compositional stages of this important work: Dedicated to Albi Rosenthal on his 80th birthday. Clarinette, ou violoncelle, et piano. Line-cut of the autograph and contemporary ms material. Gimo , , 3 , Universitetsbibl. Monumenta Musicae Revocata, 4. Oblong, 31 x 23 cm, 6 partbooks, ix, pp.

Line-cut of the ms partbooks, in a contemporary hand. Introduction in It-Eng by Marcello Castellani. Wrappers with quarter linen portfolio. Halftone of the Hamburg, edition. Printed boards with linen spine. Halftone of the first printed edition, together with a new practical edition. Continuo-Aussetzung von Willy Hess. Faksimile des Erstdrucks, Paris This is the edition engraved by Telemann himself, comprising TWV Herausgegeben von Winfried Michel.

Halftone of the 18th-c. Halftone of the viola da gamba part original tablature notation , together with new performing edition. Dichiarazione della Galleria Armonica, Roma, Edizione a curae di Patrizio Barbieri. Sources and Materials for the History and Theory of Music, 2. Introduction, bibliography and index. Edited by CRF Maunder. Published by Dovehouse Editions L1. By Joseph Bodin de Boismortier. Edited by Hugo Ruf. For 3 melodic instruments flutes, violins, oboes or string orchestra and basso continuo; harpsichord piano , cello viola da gamba, bassoon ad lib.

Edited by Bernhard Pauler. For flute, viola da gamba viola and basso continuo. Published by Amadeus Verlag. Composed by Johann Melchior Molter Edited by Paul M. For flute, soprano viola da gamba and basso continuo. Baroque Chamber Music Series. For 3 melodic instruments flutes, violins, oboes or string orchestra and basso continuo; harpsichord piano , cello viola da gamba, bassoon ad lib..

Arranged by Hugo Ruf. Published by Schott Music. Like his father, Carl Philipp Emanuel Bach wrote three sonatas for viola da gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent viola da gamba player in the court orchestra an. Twelve pieces for Viola and Piano accompaniment, Grades standard. Includes from the Renaissance to the present day. This superbly produced volume brings together nine of Bach's most performed compositions: Reprinted from the definitive Bach-Gesellschaft edition.

The collection of manuscripts D. This Sonatas belong to the most precious works by Abel for viola da gamba and they remarkably differ from his. German, English Product format: Performance score s , Set of parts Includes the following individual parts: D minor - G minor Instrumentation: Johann Sebastian Bach did not write any cello concertos. Many of his music manuscripts disappeared after his death. Included in that lost treasure may have been a couple of cello concertos. Bach wrote six suites for cel. A minor - treble recorder, violin and basso continuo piano, harpsichord. Murgier, Henri l Kiss, Georges.

Description The present Method, devised as an anthology divided into five sections, intends to help satisfy a need, felt by many, for texts for didactic use for the Viola da gamba. It is addressed to those students and teachers wh. Be respectful of artists, readers, and your fellow reviewers. Please do not use inappropriate language, including profanity, vulgarity, or obscenity.

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