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As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed...
As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed...
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As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed...
As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed...
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As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed...
As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed...
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As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed...
As to melody, harmony, string setting and particularly the treatment of the miniature form, the work of the sixteen-year-old Schubert shows all characteristics of the later master. It can be performed...
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The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
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The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
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The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
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The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
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The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
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The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
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The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
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The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
The three-movement concerto is a welcome and rewarding example of a double concerto for two flutes (see Fesch). The equally important parts of both flutes present a charming interplay of tonal beauty.
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Apart from his numerous instrumental works, Carl Stamitz left also four horn concertos. For reasons of the playing technique, the concerto was transposed down a semitone in the present edition. This w...
Apart from his numerous instrumental works, Carl Stamitz left also four horn concertos. For reasons of the playing technique, the concerto was transposed down a semitone in the present edition. This w...
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With this lively suite, the Hungarian music -teacher and pupil of Kodaly created a very in-s-tructive piece. Since all parts have independ-ent melodic tasks and are very often opposed to each other on...
With this lively suite, the Hungarian music -teacher and pupil of Kodaly created a very in-s-tructive piece. Since all parts have independ-ent melodic tasks and are very often opposed to each other on...
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With this lively suite, the Hungarian music -teacher and pupil of Kodaly created a very in-s-tructive piece. Since all parts have independ-ent melodic tasks and are very often opposed to each other on...
With this lively suite, the Hungarian music -teacher and pupil of Kodaly created a very in-s-tructive piece. Since all parts have independ-ent melodic tasks and are very often opposed to each other on...
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