Partituras para instrumentos de cuerdas

La Sonatina en sol mayor, H. 262, fue compuesta en 1937 por Bohuslav Martinu (1890-1959) durante un periodo de creciente reconocimiento internacional, poco antes de su emigración de Europa ante el aum...

Originally written in 1926 for cellist May Mukle with piano accompaniment, this collection follows the same format for each of the six English folk songs: presentation of the tune in the solo line, fo...

Cuando Max Reinhardt fue contratado para dirigir una producción en alemán de MUCH ADO ABOUT NOTHING de Shakespeare en la Volksbühne de Viena en 1918, pidió a Korngold que compusiera la música incident...

«Talahassee», Op. 73, n.º 4, fue compuesta hacia 1911 por Cyril Scott (1879-1970) como parte de un conjunto de piezas de carácter que reflejan su fascinación por el exotismo, el misticismo y el color...

Dr. Lawrence Golan's edition of Bach's masterpieces for solo violin combines the authenticity and accuracy of a Scholarly Urtext Edition with the practicality and helpfulness of a Performing Edition....

This new piano reduction (edited by Jani Kyllönen) is based on the Urtext orchestral version. Misprints and misinterpretations found in earlier editions have also been corrected.

Other Finnish works for violin contains twelve pieces for violin and piano. Though brief in duration, most of them were written for concert use, being rich and expressive and, in some cases, technical...

Kalevi Aho's Three pieces for young violin players (2023) celebrates the full potential of open strings, first position, glissandos that end up on natural harmonics. The young violin player gets the t...

Apostroph is solo music of rare intensity.

Unlike many of Eberl's lesser contemporaries, in its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, his Op.14 shares much of the musical ambitio...

Among Vienna's many composers and pianists of the time, Anton Eberl (1765-1807) was the one considered most worthy of comparison with Beethoven. His Sonata in F major, op. 49, probably the first of se...

These works contain some of Boismortier's finest and most accomplished music. Written in the 'Italian' style, they are an extension of his sonata writing for one or two instruments and continuo, and y...

Only a handful of Schreivogel's compositions for his instrument have survived. Among them is this impressive and forward-looking three-movement sonata for violin and continuo in E minor, evidently com...

Joseph Bodin de Boismortier's Op. 20 sonatas for solo violin and basso continuo (1727) are the least known of all his sets of sonatas for one or more violins and accompaniment. These very fine works a...

Joseph Bodin de Boismortier's Op. 20 sonatas for solo violin and basso continuo (1727) are the least known of all his sets of sonatas for one or more violins and accompaniment. These very fine works a...

For nearly 150 years Bach's ever-popular Concerto in D minor for harpsichord (BWV 1052) has been regarded as a transcription of a much earlier violin concerto. Numerous published reconstructions of th...

The six Sonate a due violini e basso, published here for the first time, and known to us through a single non-autograph manuscript preserved in Sweden, are his only compositions in this last-mentioned...

The six trio sonatas published alongside eight violin sonatas in his Op. 4 are works in four or five movements that felicitously mix the 'church' and 'chamber' styles in various configurations. This i...

Henry Holcombe (1690–1756), born in Chester as the son of a silk weaver, became between 1720 and his death one of the leading English composers in small-scale forms, mainly vocal but also instrumental...

Henry Holcombe (1690–1756), born in Chester as the son of a silk weaver, became between 1720 and his death one of the leading English composers in small-scale forms, mainly vocal but also instrumental...

Boismortier’s Six Sonates a deux violons Op. 71 were published in 1738, but it can be assumed that few copies were printed; all recent catalogues of Boismortier’s compositions describe Op. 71 as being...