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Antonio Vivaldi

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32 kirjaa

Kirjojen julkaisuvuodet: 2004–2025.

Vivaldi - Bach. Concerto in A Minor. RV 522.BWV 593. Arranged for Piano and String Orchestra.Transcribed for Two Pianos
This is the first publication of a piano version of Vivaldi's string concerto known also in Bach's arrangement for organ. The transcription for piano and string orchestra, realized by the American pianist Julia Zilberquit, is an important contribution to the piano repertoire. In this publication, the transcription is presented in two-piano version. The edition is provided by comments. For use in educational practice in music colleges and conservatoires, as well as for concert performance.
Gloria, RV 589

Gloria, RV 589

Antonio Vivaldi

Serenissima Music
2018
pokkari
By far the most famous of three known settings of the Gloria text by Vivaldi, this one most likely dates from early in the composer's tenure at the Ospedale della Piet in Venice (ca.1715). It's also notable for the borrowing of the "Cum Sancto Spiritu" chorus in the setting by Vivaldi's fellow Venetian - Giovanni Maria Ruggieri. This newly engraved Full score from Richard W. Sargeant, Jr. is a vast improvement over many previous editions. Based on the most authoritative sources this corrected score is a must for choral enthusiasts. IMSLP page Wikipedia article
Antonio Vivaldi: The Harmonic Inspiration; 4 Concertos for Piano

Antonio Vivaldi: The Harmonic Inspiration; 4 Concertos for Piano

Antonio Vivaldi; Jose Valladares

Createspace Independent Publishing Platform
2018
nidottu
Antonio Vivaldi published L'estro arm nico(The harmonic inspiration) Op. 3 in Amsterdam in 1711. He published 12 Concertos for stringed instruments. We have included top four most popular concertos arranged for solo Piano. Concerto No. 3, RV 310 Concerto No. 4, RV 550 Concerto No. 6, RV 356 Concerto No. 8, RV 522
Antonio Vivaldi - The Four Seasons, Complete

Antonio Vivaldi - The Four Seasons, Complete

Antonio Vivaldi

Createspace Independent Publishing Platform
2017
pokkari

Halvin toimitettuna 23,80 €

The four seasons were composed by Antonio Vivaldi, an Italian composer. These are four violin concertos that give musical expression to the seasons of the year. It was published as 'Il cimento dell'armonia e dell'inventione' ("The contest between Harmony and Invention"). The compositions were a revolution in musical concepts, each concerti included sonnets(poems possibly written by Vivaldi), and in his work he demonstrated musical representation of singing birds, buzzing flies, barking dogs, storms, landscapes, and warm winter fires. The Four Seasons: Violin Concerto No. 1 in E major, RV 269 'La primavera' ("Spring")I. AllegroII. LargoIII. Danza pastoraleViolin Concerto No. 2 in G minor, RV 315 'L'estate' ("Summer")I. Allegro non moltoII. Adagio e piano - Presto e forteIII. PrestoViolin Concerto No. 3 in F major, RV 293 'L'autunno' ("Autumn")I. AllegroII. Adagio moltoIII. AllegroViolin Concerto No. 4 in F minor, RV 297 'L'inverno' ("Winter")I. Allegro non moltoII. LargoIII. AllegroThese four violin concertos have been arranged for the piano. The sonnets are included before each concerto, and I hope you enjoy getting to know the perfect harmony between music and poetry
Antonio Vivaldi - Las Cuatro Estaciones, Completa: para Solo Piano

Antonio Vivaldi - Las Cuatro Estaciones, Completa: para Solo Piano

Antonio Vivaldi

Createspace Independent Publishing Platform
2017
nidottu
Las cuatro estaciones fueron compuestas por Antonio Vivaldi, un compositor italiano. Estos son cuatro conciertos para viol n que dan expresi n musical a las estaciones del a o. Fue publicado como 'Il cimento dell'armonia e dell'inventione' ("El concurso entre Harmony and Invention"). Las composiciones fueron una revoluci n en los conceptos musicales, cada concierto incluy sonetos (poemas posiblemente escritos por Vivaldi), y en su trabajo demostr la representaci n musical de p jaros cantando, moscas zumbando, perros ladrando, tormentas, paisajes y c lidos incendios de invierno. Las Cuatro Estaciones: Violin Concerto No. 1 en Mi mayor, RV 269 'La primavera' I. Allegro II. Largo III. Danza pastorale Violin Concerto No. 2 en Sol menor, RV 315 'El verano' I. Allegro non molto II. Adagio e piano - Presto e forte III. Presto Violin Concerto No. 3 en Fa mayor, RV 293 'El oto o' I. Allegro II. Adagio molto III. Allegro Violin Concerto No. 4 en Fa menor, RV 297 'El inverno' I. Allegro non molto II. Largo III. Allegro Estos cuatro conciertos para viol n han sido arreglados para el piano. Los sonetos est n incluidos antes de cada concierto, y espero que disfrutes de conocer la armon a perfecta entre la m sica y la poes a.
Masterpieces of Solo Piano

Masterpieces of Solo Piano

Johann Sebastian Bach; George Frideric Handel; Jean-Philippe Rameau; Domenico Scarlatti; Antonio Vivaldi; Henry Purcell; Georg Philipp Telemann

Dover Publications Inc.
2017
nidottu
This inexpensive compilation draws upon authoritative sources to present favorite piano works of the Baroque era. Unlike many other anthologies of music from the era, which vary widely in the quality of their content, this collection comprises only the greatest works of the period. Intermediate and advanced pianists will find these carefully chosen pieces a rewarding and satisfying reflection of the glories of the Baroque. Selections include Johann Sebastian Bach's Chromatic Fantasia and Fugue as well as the French Suite No. 5; Fantasia in C Minor, BWV 906; and preludes and fugues from The Well-Tempered Clavier. Other works by Bach include the great composer's transcriptions for keyboard of five violin concertos by Vivaldi, reprinted from the definitive Bach-Gesellschaft edition. Other selections include several pieces by Handel, among them the popular Air and Variations known as The Harmonious Blacksmith; four sonatas by Scarlatti; and works by Telemann, Rameau, and Purcell.
Concerto for Violin, Strings and Basso Continuo - Rv239, Op. 6 No. 6: Critical Edition Score
(String Ensemble). Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest even to assume that the collection was published without the composer's assistance and perhaps even his agreement these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.
Concerto for Violin, Strings and Basso Continuo - Rv280, Op. 6 No. 5: Critical Edition Score
(String Ensemble). Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest even to assume that the collection was published without the composer's assistance and perhaps even his agreement these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.
Concerto for Violin, Strings and Basso Continuo - Rv216, Op. 6 No. 4: Critical Edition Score
(String Ensemble). Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest even to assume that the collection was published without the composer's assistance and perhaps even his agreement these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.
Concerto for Violin, Strings and Basso Continuo - RV 259 Op. 6 No. 2: Critical Edition Score
(String Ensemble). Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest even to assume that the collection was published without the composer's assistance and perhaps even his agreement these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.
Concerto for Violin, Strings and Basso Continuo - Rv324, Op. 6 No. 1: Critical Edition Score
(String Ensemble). Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest even to assume that the collection was published without the composer's assistance and perhaps even his agreement these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.