Sonata, Allegro and Largo

SKU: TM.650-3004SET

Includes adlib cello. Sonata No. 7 Allegro – Grave – Allegro; Sonata No. 8 Grave – Allegro – Largo – Vivace; Sonata No. 9 Allegro – Allegro – Adagio.

SKU: HL.48183155

UPC: 888680984397. 9.0x12.0x0.09 inches.

“Sona ta in F is a piece for Saxophone duet by Jean-Marie Leclair. Arranged and adapted by Jean-Marie Londeix, this sonata is perfect for intermediate players and is a great piece to play in a recital. It lasts 11?30 minutes and is divided in four parts: Andante, Allegro, Largo and Allegro ma non troppo. More lyrical than the first one, the second part contains two repeat signs and the third one is surely the shortest. The piece is very cheerful and really nice to listen to. The book features score and parts. Jean-Marie Londeix is a musician who studied the Saxophone and the Piano. He also had some strong knowledge of chamber music, harmonies and of music history and obtained a First Prize and a Prize of Honour at the Paris Conservatoire.”.

SKU: TM.00625SC

Revision by Paul Bazelaire; Key of e; solo in set. Largo, Allegro, Largo, Allegro vivace.

SKU: TM.00625SET

Revision by Paul Bazelaire; Key of e; solo in set. Largo, Allegro, Largo, Allegro vivace.

SKU: M7.BP-2723

ISBN 9790015272301.

SKU: HL.49045870

ISBN 9790001177948. UPC: 841886034525. 9.0x12.0x0.161 inches.

Nikolai Kapustin, born in 1937, is regarded as pioneer of the Soviet jazz scene. In his music he combines typical jazz idioms with classical forms. Sonata Op. 69 for viola and piano was written in 1992. Contents: Allegro Largo Vivace.

SKU: SU.80103040

A major work by this highly respected but seldom played composer. The three movements are marked Allegro, Largo, and Scherzo. The edition is by Joel Krosnick and Gilbert Kalish. 56 pages Published by: Columbia University Music Press.

SKU: IS.G6765EM

ISBN 9790365067657.

This sonata (WeissSW No. 4, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXIV comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXIV comes from Weissâ??s late â??productiveâ?? period, after 1730. The Sonata has six movements: Prelude, Ouverture (including allegro and largo), Courante, Bourée, Menuet and Gavotte. There is another copy of this Sonata, known as Parte (or Partita) no. 11, in a London Manuscript (British Library Ms. Add. 30387). The London Manuscript seems to be incomplete. It does not include a Menuet and a Gavotte. The Sonata in this Edition is based on the Dresden Manuscript. However, both the Prelude and the Bourée are coming from the London copy. The Dresden Prelude is regarded as spurious, and the London Bourée is more lively and in balance with the other movements. In a few passages of the Ouverture and the Courante I have made some adaptions on the basis of the London manuscript, to create the best of the two versions. In the Ouverture I have omitted the repeat indications. There are two Menuets in the Dresden Sonata. One has been crossed in the original manuscript with the accompanying note: ist nicht von Mr Weis. The other one has been added later, probably by the compiler of the volumes. The original London Prelude of this particular Sonata is composed in a â??simplifiedâ?? style; a common practice for adding preludes to lute sonatas in the 18th century. I have added the original example to my transcribed version. Perhaps it invites others to make their own arrangement. Originally, the Sonata is written in B flat major, a key often used by Weiss as it is appropriate for playing the lute. With the guitar, however, the key is rather awkward. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to G major. To create more concordance with the baroque tuning of the lute, the G string is lowered by a semitone to F sharp. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

SKU: IS.G6766EM

ISBN 9790365067664.

This sonata (WeissSW No. 52, Dresden) is one of a new series of eight sonatas by Silvius Leopold Weiss arranged for the first time for guitar and published by Metropolis Music. Sonata XXXIII is a unique copy. It comes from a set of tablature manuscript volumes in the Sächsisches Landesbibliothek in Dresden (Ms. Mus. 2841-â?V-â?1). There are five volumes with a total of 34 sonatas of Weiss for solo lute. The sonatas are ordered by key and further sorted by size or complexity. Sonata XXXIII is in the fifth volume. It belongs to a group of large and mature Sonatas of the late â??productiveâ?? period of Weissâ??s life, probably after 1740. The Sonata has six movements: Ouverture , Courante assai moderato, Bourée, Siciliana (a slow dance, but more cheerful than a Sarabande), Menuet, and it ends with a Presto. The Ouverture substitutes the traditional Allemande. It is more complex in structure, and includes a Largo, an Allegro (in the style of a Fugue), and a Vivace. The use of tempo indications for French dance movements is characteristic for the later work of Weiss. Originally, the Sonata is written in C minor, a key appropriate for playing a Baroque lute tuned in the D minor chord. However it is rather awkward with the guitar. For ease and effectiveness of playing, I have transposed the Sonata a minor third lower to A minor. I suggest using a capodastro to achieve the original pitch. Based on the present standard of A at 440 Hertz, the capo should be placed at the 3rd fret. However, during Weissâ??s lifetime, it was more common in many parts of Germany to use a standard of A at 415 Hertz -â? a semitone lower. So, to hear the pitch heard by Weiss and his contemporaries, the capo should then be positioned at the 2nd fret.

SKU: FZ.5845

ISBN 9790230658454. 22.00 x 31.00 cm inches.

These original publications of Mancini, Telemann, Chedeville and Haendel are in facsimile on Fac-similes et Enseignement collection. Mancini Francesco : XII Solos for a flute or violin with a thorough bass. London, Walsh and Hare, 1727. Sonate XII : Allegro, Largo, Allegro. Telemann Georg Philipp : Der getreue Music-Meister. Hamburg, 1728. Neunzehnte Lection : Cantabile, Allegro, Grave, Vivace. Chedeville Nicolas : Il pastor fido. Sonates pour la musette, viole, flute, hautbois, violon, avec la basse continue. Paris, Bovin, 1737. Sonata VI : Vivace, Allabreve, Largo, Allegro ma non presto. Haendel Georg Friedrich : Sonates pour un traversiere, un violon ou hautbois con basso continuo. Amsterdam, Roger, 1727. Sonata VII : Larghetto, Allegro, Larghetto, Allegro. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. This facsimile was realized by Susi Mohlmeier and Frederique Thouvenot for recorder. Facsimile of copies from: - British Library of London (England). - National Library of Paris (France). - Bayerische Staatsbibliothek of Munich (Germany). Anne Fuzeau Classique propose period copies of classical music scores.

SKU: TM.640-6209SET

No. 7 Preludio (Largo) – Allemanda (Allegro) – Sarbanda (Andante) – Giga (Presto); No. 8 Preludio (Largo) – Corrente (Allegro) – Grave – Giga (Allegro); No. 9 Preludio (Allegro) – Adagio – Allemanda (Allegro) – Corrente (Presto); No. 10 Preludio (Adaio) – Allemanda (Allegro) – Gavotta (Presto)l; No. 11 Preludio (Andante) – Corrente (Allegro) – Giga (Allegro) – Gavotta (Presto); No. 12 Folia No. 1 Adagio – No. 2 Andante – No. 3 Allegro – No. 4, No. 5, No. 6, No. 7, No. 8, No. 9 Adagio, No. 10 Vivace, No. 11 Allegro, No. 12 Larghetto, No. 13 Allegro, No. 14, No. 15 Adagio, No. 16 Allegro, No. 17, No. 18, No. 19, No. 20.

SKU: HL.48185432

UPC: 888680834012. 9.0x12.0x0.1 inches.

“6 Favourite Pieces: Adagio, Larghetto et Final, from Violin Sonata No.4; Allegro, from Flute Sonata No.3; Allegro, Largo et Final, from Violin Sonata No.3; Gavottes; Largo; Sicilienne et Gigue, from Flute Sonata No.5”.

SKU: FZ.5844

ISBN 9790230658447. 22.00 x 31.00 cm inches.

These original publications of Loeillet, Fischer, Haendel and Croft are in facsimile on Fac-similes et Enseignement collection. Loeillet John : XII Solos six for a common flute and six for a german flute with a thorough bass. London, Walsh and Hare, c. 1729. Sonata IV : Largo, Poco Allegro, Adagio, Allegro, Presto. Fischer Johann : Musikalisch Divertissement bestehend in einigen Ouverturen und Suiten mit 2 Stimmen auff Violen/Haubois oder Fleutes douces zu gebrauchen. Dresden, J. Riedeln, 1699/1700. Suite en sol mineur, Ouverture, Air, Menuet, Menuet, Chique, Bourree, Menuet, Menuet. Handel Georg Friedrich : Sonates pour un traversiere, un violon ou hautbois con basso continuo. Amsterdam, Roger, 1727. Sonata XI : Larghetto, Allegro, Siciliana, Allegro. Croft William : Six sonates or solos three for a violin and three for the flute with a thorough bass. London, Walsh and Hare, 1700. Sonata I. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. This facsimile was realized by Susi Mohlmeier and Frederique Thouvenot for recorder. Facsimile of copies from: - British Library of London (England). - Herzog August Library of Wolfenbuttel (Germany). - National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.

SKU: FZ.5910

ISBN 9790230659109. 22.00 x 31.00 cm inches.

Anne Fuzeau Classique propose you period copies of classical music scores. These original publications of Loeillet, Telemann and Bellinzani are in facsimile on Fac-similes et Enseignement collection. Loeillet Jean-Baptiste : XII Sonates a une flute & basse continue. Amsterdam, Estienne Roger, s. d. Opus I. Sonata III : Largo, Allegro, Adagio, Gavotta Allegro. Telemann Georg Philipp : Die kleine Kammermusik - 1728. Partita 5 : Andante, Vivace, Presto, Vivace, Siciliana, Vivace, Presto. Bellinzani Paolo Benedetto : Sonate a flauto solo con cembalo, o violoncello. Opera terza. Venezia, Antonio Bortoli, 1720. Sonata quinta : Largo, C barre, Affetuoso, 2/4. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. This facsimile was realized by Susi Mohlmeier and Frederique Thouvenot for recorder. Facsimile of copies from: - National Library of Paris (France). - Hessische Landes und Hoch-Schulbibliothek of Darmstadt (Germany). - Civico Museo Bibliographico Musicale of Bologna (Italy).

SKU: AP.6-411621

ISBN 9780486411620. English.

This unique compilation of the best of Sibelius's piano music features a carefully chosen selection of unjustly neglected compositions for piano, including Sonata in F, Op. 12; Three Sonatinas, Op. 67; Kyllikki (Three Lyric Pieces), Op. 41; Two Rondinos, Op. 68; Five Flower Pieces, Op. 88; Romance in D-flat; and many more. 160 pgs.

SKU: HH.HH447-FSP

ISBN 9790708146544.

Sona ta 5, in A major, is the only work in the set to feature the ‘classic’ three-movement design in its symmetrical Fast–Slow–F ast configuration. Its opening Vivace makes considerable demands on the flautist’s technique, and the accompanist, too, has some lively interventions. A short Andante, in A minor, recaptures the style of the slow movement of an operatic sinfonia. High spirits return in the concluding Allegro comodo, which manages to be frothy and substantial at the same time. Sonata 6 is in G minor, traditionally a key for serious utterances. Its muscular opening Largo packs in a wealth of interesting rhythmic designs and articulations for the flautist. The influence of violinistic style is clearly seen in the Allegro that follows. The finale is composite: its ‘frame’ is an Affettuoso in minuet rhythm, but its ‘core’ is a Poco Allegro in G major with the character of a second minuet. Despite its outward charm, this movement retains much of the heft of the first two movements.

SKU: M7.IFO-72652

SKU: HH.HH438-FSP

ISBN 9781910359471.

In Sonata 3 in F major the opening Largo is styled as a Siciliana, this species of movement being especially common in the flute repertory on account of the instrument’s pastoral associations. The Spiritoso that follows is a movement both tuneful and energetic. A concluding Presto ramps up the excitement, introducing some piquant harmonies. Sonata 4 is in the shady key of C minor, relatively rare in flute music of the eighteenth century because of intonation difficulties. The opening Arioso is attractively plaintive. The Allegro moderato that follows has some very effective imitative interplay between flute and bass. For the finale, Balicourt writes a soulful Cantabile in minuet style that recalls similar C minor movements in the music of Alessandro Scarlatti and Francesco Geminiani.