SKU: HL.49027655

ISBN 9790220100093.

With these new editions, all six recorder concertos of John Baston are now available, each with score, piano score and parts. The thor-oughly edited scores follow essentially the first edition printed by John Walsh in London in 1729. Baston was regarded as an excellent recorder and flute player who worked with London opera orchestras in the early 18th century. His easy concertos anticipating the elegant melody of the early classical period enjoy great popularity representing a rewarding task for music school orchestras and advanced recorder players.

SKU: HL.49027054

ISBN 9790001023207.

With this work, Pachelbel, who was born in Nuremberg, created one of the most popular orchestral pieces of the baroque period. In the canon two of the strictest contrapuntal forms are combined: The three violin parts form an extensive canon with entries of two bars distance. To this, a ground bass (basso ostinato) has been added repeating its two-bar tone formula 28 times. The technical mastery of the piece can be ad-mired just as much as its effect lies in the melodic and sensuous power of its string tones. The modest technical demands on the musicians are diametrically opposed to the compositional level: they do not go beyond the third position.

SKU: HL.49027658

ISBN 9790220100154.

With these new editions, all six recorder concertos of John Baston are now available, each with score, piano score and parts. The thor-oughly edited scores follow essentially the first edition printed by John Walsh in London in 1729. Baston was regarded as an excellent recorder and flute player who worked with London opera orchestras in the early 18th century. His easy concertos anticipating the elegant melody of the early classical period enjoy great popularity representing a rewarding task for music school orchestras and advanced recorder players.

SKU: KU.GM-301A

The Albinoni trio sonatas are smashing, with each sonata more beautiful than the last. The violin parts share the melodies, and neither they nor the cello part venture too high, but are full of interesting tonalshifts and rhythmic variations. These are suitable for intermediate...players, and canbe played without a keyboard.--Sarah Freiberg, for STRINGS (March 2011)