Günter Kehr

Pietro Nardini was the most important pupil of Tartini regarding both violin playing and composition. Like his teacher, he attached special significance to the beauty of sound and the -suitability for...

Pietro Nardini was the most important pupil of Tartini regarding both violin playing and composition. Like his teacher, he attached special significance to the beauty of sound and the -suitability for...

Pietro Nardini was the most important pupil of Tartini regarding both violin playing and composition. Like his teacher, he attached special significance to the beauty of sound and the -suitability for...

The famous concerto for three violins, viola, violoncello and bass is published in this practical edition with bowing indications and fingerings. Its peculiarity results from the characteristic titles...

The famous concerto for three violins, viola, violoncello and bass is published in this practical edition with bowing indications and fingerings. Its peculiarity results from the characteristic titles...

The famous concerto for three violins, viola, violoncello and bass is published in this practical edition with bowing indications and fingerings. Its peculiarity results from the characteristic titles...

The famous concerto for three violins, viola, violoncello and bass is published in this practical edition with bowing indications and fingerings. Its peculiarity results from the characteristic titles...

The famous concerto for three violins, viola, violoncello and bass is published in this practical edition with bowing indications and fingerings. Its peculiarity results from the characteristic titles...

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'har...

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'har...

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'har...

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'har...

This concerto represents, as most of the com-poser's works, the fully matured Italian music of the 17th to 18th century. Even nowadays, this music still fascinates by its expressive character and the...

This concerto represents, as most of the com-poser's works, the fully matured Italian music of the 17th to 18th century. Even nowadays, this music still fascinates by its expressive character and the...

This concerto represents, as most of the com-poser's works, the fully matured Italian music of the 17th to 18th century. Even nowadays, this music still fascinates by its expressive character and the...

This concerto represents, as most of the com-poser's works, the fully matured Italian music of the 17th to 18th century. Even nowadays, this music still fascinates by its expressive character and the...

In this symphony, C.Ph.E. Bach appears as pioneer of the Viennese Classicism. Just in the first movement, we encounter a theme of individual form, a seven-bar (!) combination of syncopated tone repeti...

In this symphony, C.Ph.E. Bach appears as pioneer of the Viennese Classicism. Just in the first movement, we encounter a theme of individual form, a seven-bar (!) combination of syncopated tone repeti...

In this symphony, C.Ph.E. Bach appears as pioneer of the Viennese Classicism. Just in the first movement, we encounter a theme of individual form, a seven-bar (!) combination of syncopated tone repeti...

In this symphony, C.Ph.E. Bach appears as pioneer of the Viennese Classicism. Just in the first movement, we encounter a theme of individual form, a seven-bar (!) combination of syncopated tone repeti...

In this symphony, C.Ph.E. Bach appears as pioneer of the Viennese Classicism. Just in the first movement, we encounter a theme of individual form, a seven-bar (!) combination of syncopated tone repeti...

In this symphony, C.Ph.E. Bach appears as pioneer of the Viennese Classicism. Just in the first movement, we encounter a theme of individual form, a seven-bar (!) combination of syncopated tone repeti...