Par SCARLATTI / GILBERT. Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this eleventh and final volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords…

New Edition. Par HARRIS PAUL. Firmly rooted in Paul Harris's Simultaneous Learning approach, this new edition of Improve your sight-reading! Bassoon Grades 1-5 is designed to help overcome all the stumbling blocks to successful sight-reading. Step by step you will build up acomplete picture of each piece, firstly through rhythmic, melodic and technical exercises, then by studying prepared pieces a…

A Requiem For Victims Of Power. Par CUOMO DOUGLAS J.. The text for this piece is derived from the Epistle to the Reader of Sir Thomas Browne’s Hydriotaphia, (1658). Subtitled Urn Burial, the essay is a reflection on the discovery of a Roman urn burial site in Norfolk and the practice of disinterment. I compiled the text by redacting (i.e. eliminating) many of the words of the original, leaving beh…

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Große Credomesse. Par MOZART WOLFGANG AMADEUS. Here, as also in his earlier 'Litte Credo Mass' KV 192, Mozart made use of a church music device which can be traced back in south-German and Austrian church music to the beginning of the 18th century: frequent repetition of the opening words of the 'Credo'. This presupposes that the setting of the words of the intonation 'Credo in unum Deum' as part …

Par GOODIN JIM. Whether guitarists are new to open-tunings or already working with them, fingerstyle specialist Jim Goodin offers a progressive look at the popular D-based harp-like tuning. Classical, Celtic, blues, folk, gospel and several original compositions are represented in the 15 notation/tablature arrangements each arranged proportionately to offer beginning, intermediate and advanced fin…

With this newly-edited, complete edition of the essential book of practice exercises, The Virtuoso Pianist In Sixty Exercises is intended to help pianists acquire essential technical and practical skills. The music and text have been updated with a sleek, modern design and the Download Card features audio demonstrations of every exercise.When Charles Hanon first published these sixty exercises in …

Composed in 1809-10, Beethoven's Sonata op. 81a expresses his very personal feelings. He titled its three movements 'Das Lebewohl? (The Farewell), 'Die Abwesenheit? (The Absence) and 'Das Wiedersehn? (The Return) in reference to the hasty departure of his good friend and patron Archduke Rudolph of Austria who fled Vienna with the imperial family on 4 May 1809 to escape Napoleon's approaching troop…