The tenth concerto in B minor in L'Estro Armonico (best translated as The Harmonious Inspiration) which is edited here in A minor - for four solo guitars - is one of the most famous in the entire collection -- indeed inVivaldi's entire output. Scored for four solo violins two solo violas solo violoncello and an strings orchestra. Johann Sebastian Bach not only admired Vivaldi's Opus 3; he copied it openly. In a general sense the Vivaldipieces gave impetus to much that is in the German master's Brandenburg Concertos. More particulary six concertos of Vivaldi's Opus 3 were copied by Bach as the basis for six of his concertos: two for 0rgan (BWV 593 and 596 basedon Opus 3 nos. 8 and 11 respectively) three for solo harpsichord ) BWV 978 972 and 976 based on Opus 3 nos. 3 9 and 12 respectively) and one for four harpsichords and orchestra in A minor (BWV 1065 based on Opus 3 no. 10).Bach frequently rewrote concertos scored for one kind of instrument substituting another. It is evident that Bach thought not so much in terms of the violinistic nature of the originals but in their harmonic and rhythmicpotential which could be realized on any instrument. Since Bach has already justified an arrangement of Opus 3 number 10 by the great aesthetic success of his four-harpsichord version it serves to reason that an arrangementfor four guitars is equally valid. Just as Bach preserved everything of the original Vivaldi and added only a few doubling to accomodate the left hands of the harpsichordists so in this version the substitution of guitars is donewith little or no change of original-notes. The arpeggios especially prominent in the second movement lend themselves ideally to guitar playing and the ability of the guitar to play both lyrical lines as well as passage worksuits the violinistic lines and passages of the original.

Critical Edition by Frederic Zigante-Les Ã?ditions Max Eschig présentent le quatrième volume de lâ??édition critique des oeuvres pour guitare du compositeur brésilien Heitor Villa-Lobos dirigée par Frédéric Zigante. Les oeuvres proposées sont le célèbre Chôros n° 1 pour guitar et engrande première deux oeuvres de jeunesse inédites Simples (1911) et Valsa Concerto n° 2 op. 8 (1904).Cette édition est le fruit dâ??une étude de lâ??ensemble des sources disponibles et est enrichie dâ??une longue préface au caractère historiqueet musicologique (en français en anglais et en italien) accompagnée dâ??un commentaire qui propose toutes les autres versions existantes du Chôros n° 1.

Facilement identifiable par son ISBN 9790201840918 cette pièce Piano Concertos II No. 4 and 5 (with critical report) appartient à la collection désormais incontournable Küthen, Hans-Werner.Composée pour Piano par le célèbre compositeur Beethoven Ludwig Van ce sont les éditions Henle qui on eu l'honneur d'imprimer cette partition. / Piano / Edition Complète

Le légendaire violoniste génois Niccolò Paganini (Gênes, 27 octobre 1782 - Nice, 27 mai 1840) est probablement l'unique grand compositeur du passé à avoir voué une attention constante à la guitare et, quoiqu'il n'en ait jamais joué dans des concerts publics, divers témoignages nous sont parvenus sur son habileté de guitariste. La guitare a représenté pour le maître génois l'instrument harmonique et accompagnateur par excellence, au point qu'elle occupe dans sa production le rôle que les compositeurs de son temps confiaient normalement au piano. Paganini a écrit 140 pièces pour guitare seule et presque toutes ses oeuvres pour cordes (pour violon, principalement : sonates, duos, trios, quatuors et même certains concertos pour violon et orchestre) furent conçues avec un accompagnement de guitare. Le choix anthologique est basé sur l'intention d'extraire de cette surabondance dispersive les pièces qui représentent au mieux l'esprit et l'originalité de Paganini. De nos jours il faut, pour rendre cette musique accessible à n'importe quel interprète, la compléter par une réalisation polyphonique des parties : cette édition se conforme au style des éditeurs viennois de l'époque de Mauro Giuliani, c'est-à-dire qu'elle écrit séparément la voix supérieure et la basse, reliant tous les remplissages harmoniques à ces deux voix principales. C'est du reste à ce type d'écriture, que s'appliquent toutes les pratiques d'exécution en vigueur à cheval entre la fin du XVIIIe et les premières années du XIXe siècle. / Guitare

Agustin Pio Barrios Ferreyra, a Paraguayan composer and guitarist, is nowadays known as the creator of the Mangorean or Indo-American school of the Guitar. 'The name, Mangoré, was adopted in honor of the great chieftain Mangoré, an important personage of the Paraguayan jungles'.Mangoré used for his works popular folkloristic themes of South America as well as sounds of nature ('the still waters of ['] the Amazon', 'the song of the birds'). But Magnoré also was inspired by European music: He composed gavottes, minuets and waltzes: 'It was in J.S.Bach where Barrios discovered the source of his universality [']'.Admired by many but despised by more was his way of stringing his guitar: '['] the way he attacked the strings with the fingers sideward, with very little use of the fingernails'. He also invented some kind of a muffler: He put 'small balls of rubber on the Pirastro steel string'. Jesus Benites R. who collected Magnoré's works for this edition says about him: 'Magnore is the genius of South America'. He was a strong influence for many composers and musicians, such as Heitor Villa-Lobos, Manuel Ponce and Andres Segovia. Vol. 1 of this 4 book collection contains 23 pieces, including Chôro da saudade, Danza Paraguaya, La Catedral and Madrigal (Gavota). Contenu - El sueno de la muneca - Estudio No. 2 und 3 - Minueto en La - Arabescos - Medallón antiguo - Vals Estudio No. 1 - Oración - Escala y Preludio - Confesión - London carapé - Tú y yo - Madrigal - Vals No. 3 - Canción de la Hilandera - Choro da saudade - Jha, che valle - Preludio en Do menor - Estudio de Concierto No. 2 - Caazapá - Danza paraguaya No. 1 (1. u. 2. versión) - La Catedral

Guitar Solo-A marvelous collection of music for guitar arranged at the easy to intermediate level of difficulty. All pieces are arranged for flat picked style guitar. Contents: Piano Concerto No. 3 Op. 37 · Leonore Overture No. 3 Op. 72A · Violin Concerto Op. 61 · Symphony No. 3 Op. 55 · Symphony No. 9 Op. 125 · Symphony No. 6 Op. 68 · Coriolan Overture Op. 49 No. 1 · Piano Sonata Op. 49 No. 1 · Piano Sonata No. 14 Op. 27 · Die Ehre Gottes In Der Natur Op. 48 No. 4 · Piano Sonata No. 8 Op. 13 · Piano Concerto No. 1 Op. 15 · Piano Concerto No. 2 Op. 19 · Piano Concerto No. 1 Op.15 · Piano Sonata No. 1 Op. 2 No. 1 · Ich Liebe Dich · An Die Ferne Geliebte Op. 98 No. 3.

Mauro Giuliani is considered today to have been the most important guitarist-composer of the early nineteenth century. Not only was Giuliani the foremost player of his day: his fame reached far beyond the realm of guitar enthusiasts, earning him a place among the musical élite as a complete, versatile musician. Even so, by the end of the nineteenth century he was largely forgotten and his music managed to retain little more than a marginal presence in the repertory of the great guitarists of the early twentieth century. The current revitalization of his work owes its origins to the monumental research begun by Thomas Heck in 1971 and continued by Ruggero Chiesa, Mario Torta, Marco Riboni, and Gerhard Pen. Thanks to the dedication of these scholars, Giuliani's music has progressively returned to its erstwhile prominence in the performing repertory. Giuliani wrote some 230 works, of which 150 carry opus numbers. They consist above all of pieces for solo guitar and a considerable quantity of chamber music for guitar and violin, flute, piano, or voice, as well as three guitar concertos. Based on the texts of the first published editions, the pieces in this collection have been revised only with the addition of fingering (according to the technique documented in Giuliani's method (Studio per la chitarra opus 1) and his Esercizio per la chitarra contenente 24 pezzi della maggiore difficoltà, diversi preludi passaggi ed assolo opus 48, published by Steiner in 1813) and the correction of obvious typographical errors. / 1 Ou 2 Guitare(s)

Ludwig van Beethoven (1770 1827) was a German composer and pianist and arguably the most famous composer of all time. He was the last great figure of the Classical era and helped pave the way for the Romantic style that followed. His compositions include 9 Symphonies 5 Piano Concertos 1 Violin Concerto 32 Piano Sonatas and 16 String Quartets. Beethoven?s Adagio from his Piano Sonata No. 8 in C minor ?Pathetique? (Op. 13) is one of his most celebrated compositions. It has been arranged for the Guitar by the Spanish guitarist pianist and composer Francisco Tárrega (1852-1909). Tárrega is known for revolutionisingclassical Guitar technique and also for transcribing many keyboard works for Guitar from the great classical composers including Beethoven Mendelssohn and Chopin.

The title of Julian Anderson's first piece for guitar refers to a painting by Joan Miró in which the dominant element is a vivid blue. Fragments of objects can be detected: guitar strings, the orange of a Catalan barretina, a smoking pipe. It is the elemental quality of the painting that Anderson was drawn to in writing Catalan Peasant with Guitar. This piece is part of a series of three pieces by Anderson relating to the colour blue (though not musically related), beginning with his violin concerto, In lieblicher Bläue, and ending with Van Gogh Blue. / Guitare

Une belle sélection de morceaux classiques assez connu, arrangée pour l'interprétation facile du piano, par Stephen Duro.Inclus les oeuvres de Bach, Schubert, Bizet, Mozart, Puccini, Elgar, et Verdi. / Guitare / 48 pages / Partition Cd

Joaquín Rodrigo a composé de la musique dans tous les genres, de l'opéra aux pages vocales et aux oeuvres de chambre, en passant par de nombreuses pièces solistes et plusieurs concertos pour instrument seul et orchestre. Ses oeuvres pour et avec guitare sont sans aucun doute les plus connues et les plus interprétées parmi ses compositions, bien qu'en général l'attention des concertistes ne se focalise que sur deux ou trois titres. Par ailleurs la musique de Rodrigo n'a pas fait jusqu'ici l'objet d'études approfondies et a trop souvent pâti, au niveau interprétatif notamment, d'une approche superficielle qui semble ignorer, au profit de ses éléments pittoresques et de pure virtuosité, la stratification culturelle dont le compositeur est indéniablement porteur. La musique pour guitare de Joaquín Rodrigo, vingt-trois titres dont trois sonates, a été créée sur une longue durée qui va de 1926, date de composition de la Zarabanda lejana (a la vihuela de Luis Milán), jusqu'à 1987, date de ses dernières pièces guitaristiques, Dos pequeñas fantasias (Ecos de Sefarad et ¡Qué buen caminito! ). L'edition inclut les principales oeuvres pour guitare seule de Joaquín Rodrigo, proposées ici dans un ordre strictement chronologique. / 1 Ou 2 Guitares

Agustin Pio Barrios Ferreyra, a Paraguayan composer and guitarist, is nowadays known as the creator of the Mangorean or Indo-American school of the Guitar. ?The name, Mangoré, was adopted in honor of the great chieftain Mangoré, an important personage of the Paraguayan jungles?.Mangoré used for his works popular folkloristic themes of South America as well as sounds of nature (?the still waters of [?] the Amazon?, ?the song of the birds?). But Magnoré also was inspired by European music: He composed gavottes, minuets and waltzes: ?It was in J.S.Bach where Barrios discovered the source of his universality [?]?.Admired by many but despised by more was his way of stringing his guitar: ?[?] the way he attacked the strings with the fingers sideward, with very little use of the fingernails?. He also invented some kind of a muffler: He put ?small balls of rubber on the Pirastro steel string?. Jesus Benites R. who collected Magnoré?s works for this edition says about him: ?Magnore is the genius of South America?. He was a strong influence for many composers and musicians, such as Heitor Villa-Lobos, Manuel Ponce and Andres Segovia. Vol. 1 of this 4 book collection contains 23 pieces, including Chôro da saudade, Danza Paraguaya, La Catedral and Madrigal (Gavota).
Contenu
- El sueno de la muneca
- Estudio No. 2 und 3
- Minueto en La
- Arabescos
- Medallón antiguo
- Vals Estudio No. 1
- Oración
- Escala y Preludio
- Confesión
- London carapé
- Tú y yo
- Madrigal
- Vals No. 3
- Canción de la Hilandera
- Choro da saudade
- Jha, che valle
- Preludio en Do menor
- Estudio de Concierto No. 2
- Caazapá
- Danza paraguaya No. 1 (1. u. 2. versión)
- La Catedral / Partitions classique / Guitare - luth / Guitare / ZEN-ON