SKU: HL.51480526
UPC: 196288278733. 9.0x12.0x0.119 inches.
In 1735 Bach published the Italian Concerto, presented here in a revised separate edition, together with the French Overture in the second part of his “Clavier Übung”. The two works were intended to respectively exemplify the Italian and French styles. Thus, the “Concerto” unmistakably imitates an Italian solo concerto, using only the means of the harpsichord. Tutti and solo passages can be heard as well as the dynamic gradations of the sound layers, which Bach explicitly marked with piano and forte. Energetic outer movements frame an Andante, in which a melancholy cantilena unfolds over unadorned chords. For the revision of this Bach classic, editor Ullrich Scheideler also evaluated, in addition to the prints, early manuscript copies which allowed interesting conclusions about the lost autograph.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: HL.51481526
UPC: 196288278719. 9.0x12.0x0.116 inches.
SKU: CY.CC3108
ISBN 9790530110850. 8.5 x 11 in inches.
The Italian Concerto BWV 971 was composed in 1735 for a solo two-manual harpsichord. It is one of Bach's more popular keyboard works and is in three movements (Allegro, Andante, Presto) about 16 minutes in length and appropriate for advanced performers. Christian Birkness has done a brilliant job of arranging this magnificent music for three Tubas (suggested 2 Tubas in F and 1 in C).
SKU: AP.1-ADV7476
ISBN 9783954810154. UPC: 805095074765. English.
In this adaptation of Bach's keyboard work, Italian Concerto (BWV 971), all players serve in a variety of roles as soloist, as a small group within the ensemble, and as a tutti ensemble. For the sake of authenticity, all of Bach's original instructions, embellishments, and articulations have been included and adjusted as necessary. Arranged for SATBar saxophone quartet.
SKU: HL.400379
ISBN 9781596153479. UPC: 884088188894. 9.0x12.0x0.056 inches.
Italian Baroque Master Tomaso Albinoni is sometimes overlooked due to his fellow countryman Vivaldi's immense popularity, but this collection demonstrates the immense gifts which Albinoni exhibited as a composer. These three concerti are representative of his beautiful Baroque style. Includes a high-quality printed music score and recordings containing a complete performance with soloist, then a second version with the orchestral accompaniment, minus the soloist. Performed by Frantisek Kimmel, oboe Accompaniment: Czech Symphony Chamber Orchestra Conductor: Mario Klemens Audio is accessed online using the unique code inside the book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
SKU: HH.HH496-FSP
ISBN 9790708185062.
In spite of their drastically reduced instrumental resources, these works are indeed ‘Italian’ concertos, and feature distinguishable solo episodes and ritornellos. As do Boismortier’s other surviving concertos, they provide evidence of the composer’s ingenuity and originality, and his ability to write what are normally largescale instrumental works with the simplest of means.
SKU: HH.HH591-FSC
ISBN 9781914137242.
Ordinary violin sonatas formed the backbone of the series of ten collections that the Italian violinist Michel Mascitti (1663/4–1760), born in southern Italy but permanently resident in Paris from 1703, committed to print between 1704 and 1738. His Op. 7 (1727) opens with eight such sonatas but ends with four concertos for strings in six parts that, alongside a collection of concertos for five flutes (!) by J.B. de Boismortier published in the same year, inaugurate the proud tradition of concertos created on French soil. Amazingly, Mascitti’s concertos have been neglected not merely by publishers and performers but also by commentators. In particular, the first two concertos display great musical merit in an original idiom that combines Italian and French influences in a very personal way. Further, their Italianate elements juxtapose features familiar from the concertos of Corelli, Mascitti’s reputed teacher, with ones more usually associated with Vivaldi. Both concertos are laden with emotion, albeit never at the expense of the polish and attention to detail that are the hallmark of Mascitti’s craft.
SKU: ST.C504
ISBN 9790570815043.
Concerto IX. Woodcock’s only surviving musical compositions are a set of twelve concertos (3 for flute, 3 for recorder, and 3 for oboe) published by Walsh and Hare in London circa 1727. The concertos were originally published under the title: XII Concertos. The three flute concertos in this set are the earliest known published for that instrument, and the three oboe concertos are the first known by an English composer. Vivaldi published his opus 10 flute concertos shortly thereafter, in c.1728, and the earliest oboe concertos were published by the Italian composer Albinoni in 1715.This Concerto is available in two versions:C504 (this version)Piano ReductionKeyboard score (Piano/Harpsichord)with Flute part.C505Full Score and PartsIncludes score and set of parts for Flute, Violins 1 & 2 and VioloncelloThe Optional Basso Continuo Part is available to downloadfrom www.CliftonEdition.com/C504Grades 4–5Former Spartan Press Cat. No.: PP92A.
