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He is best known for three sets of concerti grossi, his Opus 2 , Opus 3 and Opus 7 , there are 42 concerti in all which introduce the viola as a member of the concertino group of soloists, making them essentially concerti for string quartet. These works are deeply contrapuntal to please a London audience still in love with Corelli, compared to the galant work that was fashionable on the Continent at the time of their composition.

Geminiani also reworked a group of violin sonatas from his teacher Corelli into concerti grossi. His Art of Playing the Violin published in London is the best-known summation of the 18th century Italian method of violin playing, and is an invaluable source for study of late Baroque performance practice, giving detailed information on vibrato, trills, and other violin techniques. His Guida harmonica c. There are patterns in all, and at the end of each pattern is a page number reference for a potential next pattern; thus a student composer studying the book would have an idea of all the subsequent possibilities available after any given short bass line.

Geminiani published a number of solos for the violin, three sets of violin concerti, twelve violin trios, The Art of Accompaniment on the Harpsichord, Organ, etc. Text source : Wikipedia Hide extended text Read all. More information. Skills Define one or more skills -- Followers none member follow this artist None follower for the moment. No licenses Propose some and earn money. You've Selected:. Connect to add to a playlist.

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Corelli, Arcangelo : Trio Sonatas Op. Cello Sonata in A major H. Cello Sonata in A minor H. Cello Sonata in B-flat major H. Harmonical miscellany. Concerto Grosso in B-flat major H. Cello Sonata in D minor H. Cello Sonata in C major H. Line-cut of the Walsh edition, London, Line-cut of the Paris, []. Introduction in Fr by Paul Fustier. Opus Edited by Adrienne Fried Block. Music of the United States of America, 3. Madison, New critical edition, together with halftone of the draft score. Line-cut of the Hamburg, edition. Line-cut of the Hamburg, edition, together with new edition.

Musica Manuscripta, I. Graz, Oblong, 34 x 24 cm, 55, pp. The Violin Concerto in D Major of Ludwig van Beethoven—probably the most famous of all violin concerti—has a complicated history. Written on rather short notice for his friend Fanz Clement in late , and completed only hours before the concert was to begin sight read by Clement according to some sources , the work was nearly forgotten until its rediscovery in by the vituoso Josef Joachim, who performed it with various orchestras conducted by Felix Mendelssohn.

No violin cadenzas were written by Beethoven though cadenzas were written by him for the piano version published shortly after the edition for violin. It is one of the most fascinating Beethoven autographs, since it not only shows the usual corrections during and after the writing process, but also the first stages of the revisions of the violin solo part and the sketches of its transformation into a piano part. The faint colors of the main text in the autograph score—mat brown on ivory paper—and the latter autograph additions with strong ink, red crayon and pencil, reproduced here with utmost fidelity, allow scholar and musician alike to take a fascinating journey into the composer's creative process.

Duo Galant in D major, Op. 5, No. 6 Sheet Music by Esprit Philippe Chédeville

Deluxe 5-color halftone of the autograph score, edited and introduced by Franz Grasberger. Limited edition of copies in half-leather binding that duplicates a former binding of the original. Handsome slipcase in full linen with gold lettering. Same as above but special bibliophile edition of copies on laid paper. Includes printed score from the Neue Beethoven-Gesamtausgabe and phonograph record. Bound in vellum. Vorwort von Willy Hess.

Winterthur, Halftone of the autograph score, together with a new practical edition. The jocular title seems to mean that the piece was written for 2 bespectacled players. Beethoven Grasnick 2]. Bonn, Oblong, 34 x 27 cm, 2 vols, 90 facs, pp. Separate commentary-edition vol.

Program Notes

Limited issue of copies. Line-cut of Vienna [] edition Au Bureau des arts et d'industrie A. Faksimileausgabe der Handschriften. Kommentar von Ulrich Konrad. Kassel, [in prep—]. Full-color facsimile of the autograph, dispersed now among six libraries around the world movt I - Bibl. A truly remarkable contribution to Beethoven research and gift to Beethoven lovers, this facsimile reunites the various movements after years.

Beethoven Mend. Munich, Oblong, 35 x 29 cm, , xxiv pp. Beautiful 4-color halftone. In this unusually beautiful and well preserved manuscript, Beethoven generously makes the most of the space on its pages. It permits a unique insight into the creative process, which continued after it had been written down in the form of multiple additions and changes.

Halftone of the autograph score reproduced 2 originals per page , together with new practical edition for violin and piano. Faksimile nach dem Autograph der Library of Congress in Washington.


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Mit einer Einleitung von Stefan Drees. Oblong, 32 x 24 cm, xvi, 32 pp. Facsimile, in full-color, of the autograph fair copy, dated by different authorities as either of Revised and Edited by Matanya Ophee. Boston, Historical introduction. MS With an Introduction by Alan Tyson. London, Oblong, 37 x 28 cm, viii, 40 pp.

Beautifully printed duotone of the autograph score, completed in the first half of That edition contains additional expression marks and trill indications. As in the case of almost every Beethoven autograph there is evidence in the score reproduced here of compositional changes and improvements carried out after he had already begun to write out the final version. Handsomely bound in blue buckram with gold lettering. British Museum Additional Manuscript , ff. Edited by Joseph Kerman. Oblong, 36 x 27 cm, I: xxxix, ; II: xxi, pp. Greatest single repository of sketches and drafts of early Beethoven compositions, Op.

Includes 7 fold-out pages. Separate introduction, inventory and transcription vol. Beige buckram cover, title embossed in gold. Gesellschaft der Musikfreunde, Wien]. Publikationen der Sammlungen der Gesellschaft der Musikfreunde in Wien, 2. Oblong, 31 x 23 cm, , x pp. Beautiful halftone of the autograph. Includes parts of Symphony No. Bibliophile edition of copies printed on laid paper and bound with Ingres marbled paper boards. Oblong, 31 x 23 cm, 2 vols, ; , x pp. Halftone on beautiful laid paper. Edition of copies. Sketches for the String Quartets Op. Edited by Richard Kramer.

The sketchbook has been reconstructed from manuscripts currently housed in 11 separate collections. Since the original photographs were taken three leaves have been bought by private collectors and are now inaccessible. Edited by Susan Kagan. A , and Vienna, Gesellschaft der Musikfreunde, Ms.

Q ]. Music of the Nineteenth and Early Twentieth Centuries, Libro primo, opera settima. Oblong, 30 x 21 cm, 98 pp. Line-cut of the Giacomo Monti edition, Bologna, Six canzoni notated in score treble plus basso continuo. Faksimile nach dem Autograph der Library of Congress, Washington.

Mit einem Kommentar von Douglas Jarman. Full-color facsimile of the autograph dated August 11, The work was written on commission from the violinist Louis Krasner, but is was the death of Manon Gropius daugther of Alma Mahler and Walter Gropius that was the main impetus for Berg, setting aside work on Lulu, to complete the concerto.

Faksimile des Autographs in der Bayerischen Staatsbibliothek. Jahrhundert, 2. Vienna, Beautiful 2 color line-cut of the autograph fair copy arranged for chamber ensemble. Beautiful 2 color line-cut of the autograph fair copy arranged for chamber ensemble, together with modern edition. Opus primum]. Faksimile-Edition Krakau, 9. Line-cut of the Dresden, edition. Printed in partbook format: 1. Sing-Stimme, 2. Sing-Stimme, 3. Sing-Stimme, 4. Sing-Stimme, 1.

Instrument, Anderes Instrument, Basso Continuo. Wrappers, in marbled paper slipcase. Line-cut of the Paris, [] edition. Geneva, Line-cut of the Foucault edition, Paris, c. Cantata for soprano, bass and continuo. Text by Louis Fusellier. Two cantatas, one for soprano and violin, the other for bass and violin.

Introduction by Jean Saint-Arroman. Oblong, 34 x 24 cm, 4 partbooks, c. Line-cut of the edition. Introduction in It by Hugh Ward-Perkins. Wrappers in decorative paper with matching slipcase. Abbaye aux Dames - Saintes. Faksimile der autographen Stimmenhandschrift und deren Neuedition vorgelegt von Bernhard Moosbauer.

Salzburg, Halftone of the autograph parts, plus new edition in score format. Dramma musicale in drei Akten. Text von Francesco Maria Raffaelini? Halftone of the manuscript score. Historical commentary in Ger. Hardbound, with slipcase in decorative paper. Faksimile, Erstdruck Wiesentheid. Herausgegeben von Reinhard Goebel. Magdeburg, Line-cut of the first edition, Wiesentheid, Only partita VI is written for violins in normal tuning.

Vorgelegt von Bernhard Moosbauer. Halftone of a contemporary ms copy, together with a new practical edition. Mss Vorgelegt von Manfred Hermann Schmid. New color reproduction of the magnificent presentation copy non autograph, sole surviving source , dedicated to the Archbishop Maximilian Gandolph von Khuenberg. These fifteen wonderful sonatas, abstract commentaries on biblical incidents traditionally grouped into three groups of five—Joyful his early life , Sorrowful his passion , Glorious his ressurection —are noteworthy for their use of scordatura and their powerful preludes.

In same manner biblical illustrations—small engraved medallions—were glued in the manuscript at the beginning of each piece. The work ends with the passacaglia for solo violin, one of the most beautiful and soaring pieces of the German baroque. Introduction in Ger. The Mystery Sonatas. Xerographic reprint of the presentation ms. Salzburg Bad Reichenhall, Oblong, 34 x 24 cm, 63 facs, 12 pp. Line-cut of the original printed edition, Salzburg, Eight beautifully engraved sonatas in all, seven for violin and bc, and one for two violins and bc. Afterword in Ger, with list of sources. Musica Repartita, Utrecht, Line-cut of the Salzburg, edition.

Oblong, 33 x 25 cm, 63 pp. Hardbound, with marbled paper boards. Vorgelegt von Michael Lutz. Halftone of a contemporary ms copy. Biber composed this unusual work—featuring imitations of animal calls nightigall, cuckoo, hen, rooster, cat, etc. Amsterdam s. Archivum Musicum: Flauto Traversiere, 1. Line-cut of the Amsterdam, c. Paris s. Oblong, 24 x 17 cm, viii, pp. Paris, n.

Oblong, 25 x 16 cm, 81 pp. Line-cut of the Paris printed edition. Contains 69 pieces by M. Blavet and other Baroque masters. Olbong, 23 x 31 cm, xi, 85 pp. Faksimile-Edition Kammermusik des Barock, 1. Oblong, 25 x 17 cm, 81 pp. Hardbound in marbled paper. Oblong, 25 x 16 cm, 82 pp. Oblong, 23 x 31 cm, xi, 85 pp. Faksimile-Edition Kammermusik des Barock, 2. Freiberg s. Line-cut of the Freiberg, c. Introduction in It-Eng by Giuliano Furlanetto. Wrapper with portfolio. Xerographic reprint of the original edition published by Sieber, Paris, c. Paris, Book 1 nos. Xerographic reprint of the original edition.

Book 2 nos. Book 3 nos. Book 4 nos. Book 5 nos. Book 6 nos.

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Book 7 nos. Book 8 nos. Book 9 nos. Book 10 nos. Book 11 nos. Book 12 nos. Book 13 nos. Book 14 nos. Book 15 nos. Quintet op. Book 16 nos. Books nos. Xerographic reprint. Line-cut of the Paris, n. Biblioteca Classica, Line-cut of the J. Hummel edition, Amsterdam, Line-cut of the Hummel, n. Line-cut of the Stuttgart, edition. Line-cut of the Stuttgart, n. Written for soprano, alto, tenor, bass and continuo, only the continuo part for organ reproduced here survive. Faksimile-Edition Rara, 2.

Line-cut of the rare Strasbourg, print. Opus 6, Paris Preface in Fr-Eng-Ger. Opus 26 violoncelle, viole ou basson ; Six sonates, un trio. Opus 50 violoncelle, viole ou basson. Line-cut of the Paris, and editions. Lisbon, Roma s. Archivum Musicum: Flauto Traversiere, 2. Oblong, 32 x 23 cm, v, 43 pp. Line-cut of the Rome, c. Passaggiate principalmente per la viola bastarda, ma anco per ogni sorte di stromenti e di voci, Venezia Oblong, 24 x 17 cm, xvii, 94 pp.

Includes facsimile of contemporary ms copy transmitting passaggiate. The collection features 7 cantatas for soprano, 6 for alto and 2 duets, with violin or bc. Bologna, []. Introduction in It by Marta Lucchi. Wrappers, in cloth folder. Collana per la Storia della Musica nel Trentino, 3. Oblong, 31 x 21 cm, v, 56 pp. Line-cut of the Augusta, c. VII; Invenzioni a violino solo e basso, op. Line-cut of the Amsterdam, n. Preface in It by Daniele Valersi. Opera IV. A due violini, violone, cembalo o arcileuto. Venezia With an Introduction by Frederick Neumann. With Performance Notes by Gabriel Banat.

Masters of the Violin, 1. Wrappers, with protective box.

Brahms Op. 118 No. 6

Oblong, 38 x 30 cm. Beautiful full-color facsimile edition of the autograph draft score and fair copy, produced on the occasion of the 80th birthday of the composer. Commentators have pointed out its wonderful hypnotic soundworld, complex rhythmic structure, and sudden bursts of instrumental crossfire, creating such a demand on the performers that some fifty rehearsals were required before its premiere. Handsome binding in red linen with slipcase.

Xerographic reprint of the edition. With a Bass for the Violoncello and Harpsicord. Chamber Music from Georgian England, 4. Laaber, Oblong, 38 x 30 cm, xviii, pp. Beautiful full-color halftone of the autograph and annotated solo violin part. Hardbound in decorative paper. Baden-Baden, Oblong, 33 x 26 cm, 46 pp. Limited bibliophile edition of copies. Oblong, 38 x 30 cm, xxii, 36 pp. Its melancholic mood has been recently connected with Brahms' sadness over the deteriorating health and eventual death of his godson, Felix Schumann—son of Clara and Robert—who intermittently strove to become a violinist.

The autograph is teeming with corrections and alterations, most likely made shortly after the first performance of the piece in August given by Brahms and Joachim in a private setting. Musica Repartita, 82F. Oblong, 30 x 25 cm. Line-cut of the Offenbach, c. Eingeleitet von Harald Heckmann. Dictionarium Musicum, 1. Hilversum, Halftone of the second edition, Paris, Cloth also available in wrappers. Petrucci, Venedig Oblong, 23 x 17 cm, 4 partbooks, pp. Line-cut of the Petrucci edition, Venice, Hardbound, in decorative paper with slipcase.

Introduction by Rudolf Rasch.

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Dutch Music Facsimiles, 8. Line-cut of the Leeuwarden, c. Contains 3 keyboard suites, 3 solos with figured bass resp. Wrappers and slipcover in decorative paper. Line-cut of the Rome, edition. Extremely informative treatise on organology with altogether extended descriptions provided in Italian and French. Bilingual indices. Accompanied by superb woodcuts of scenes of musicians with their instruments. Collana di Liuteria e Cultura Musicale, 5. Cremona, Fascinating treatise on varnishes cenese as used on string instruments. Municipale, Nimes].

Laid paper, with wrappers. Autographus Musicus, 4. Line-cut of a contemporary ms copy. Loose sheets in folder. Opera prima, Opera secunda. Edited by Eva Linfield. Critical Facsimiles, 3. Includes apparatus listing all editorial emendations. Lately Made and Composed into Musicke of 3. Faksimile-Edition Laute, Full-color reproduction of three works of Camerlohr, one for solo gallichone a type of bass lute, and two chamber works.

Handstitched folios in portfolio with decorative paper boards and ties. Livre second, Livre premier. Line-cut of the Ballard edition, Paris, Faksimile-Edition Canto e Continuo, 7. Hardbound, with boards in decorative paper. Livre second. Faksimile-Edition Schermar-Bibliothek Ulm, Line-cut Gardano edition, Venice, Wrappers, with slipcase. Faksimile-Edition Capricornus, Line-cut of the Gerjard edition, Nuremberg, Partbook format: vox prima, vox secunda, vox tertia, bassus pro organo.

Wrappers, with slipcase in marbled paper. Stuttgart RISM C Faksimile-Edition Capricornus, 3. Wrappers, in portfolio covered with decorative paper. Faksimile-Edition Capricornus, 9. VM1 ]. Faksimile-Edition Capricornus, 8. Line-cut of the Endter edition, Stuttgart, Faksimile-Edition Capricornus, 7. Oblong, 30 x 20 cm, 11 partbooks, c. Line-cut of the Bencard edition, Frankfurt, Line-cut of the Nuremberg, edition.

In einem singenden Schaw-Spiel vorgestellet. Faksimile-Edition Capricornus, 4. Libretto only. Faksimile-Edition Capricornus, 5. Oblong, 28 x 20 cm, 4 partbooks, c. Line-cut of Ammon edition, Frankfurt, Hardbound, with slipcase in marbled paper. Instrumenten gesezt. Instrumentum primum]. Line-cut of the Nuremburg, edition. Only the Violino I part survives. Oblong, 28 x 19 cm, 3 partbooks, 28 pp. Line-cut of the Frankfurt, edition.

Oblong, 28 x 19 cm, 3 partbooks, 34 pp. Wrappers, in marbled portfolio. Faksimile-Edition Capricornus, 2. Oblong, 29 x 20 cm, 8 partbooks, pp. Pars secunda]. Nationale de France, Paris]. Faksimile-Edition Capricornus, 6. Oblong, 28 x 20 cm, 10 partbooks, c.

Line-cut of J. Portfolio in marbled paper. Stimmen wie auch 4. Faksimile-Edition Capricornus, 1. Line-cut of the Nuremberg, [] edition. Line-cut of the Sieber edition, Paris, c. Line-cut of the 3rd edition, Paris, c.

Six Galant Duos Op.5 - Orpheus Music

Contains a comprehensive selection of sonatas and single movements composed by Italian, French, and German masters of the 17th and 18th centuries. Laid paper, handsomely bound in white linen. Selected and Introduced by David L. Line-cut of the Venice, partbooks canto I, canto II, basso , as well as the full score. Wrappers in decorative paper, with slipcover. Libro secondo, Venezia Line-cut in the original partbook format. Consists of 17 sonatas for various instrumental combinations. Introduction by Peter Holman. Monumenta Bononiensia, Fototypice Expressa, Line-cut of the Francesco Magni edition, Venice Line-cut of the Antonio Pifarri edition, Bologna, Wrappers, with slipcase with marbled paper.

Uppsala; Concerto a 5 stromenti, flauto traverso, violino primo, violino secondo, viola e basso, ms. Archivum Musicum: Flauto Traversiere, Oblong, 32 x 22 cm, 5 partbooks, vii, 73 pp. Line-cut of two contemporary ms copies. Wrappers, in decorative paper with matching slipcase. Gargano y L. Madrid, 23 x 32 cm, 2 vols: pp. Huge synthesis of musical-theoretical topics divided into 22 books. The last book deals with musical enigmas and puzzle canons. Volume 1. Vm1 Halftone of the autograph score. Volume Halftone of the autograph. Oblong, 31 x 22 cm, 10, 72 pp. Discusses transposition for the musette.

Archivum Musicum: Flauto traversiere, Wrappers in decorative paper with slipcover. Del metallo ricercari a due voci per sonare, e cantare. Bicinia nova. Prag, Typis nigricianis RISM 7. Faksimile-Edition Zwickau, 4. Oblong, 20 x 14 cm, 2 partbooks, pp. Line-cut of the Prague, edition. Suitable for different voice ranges, with or without instrumental accompaniment. Hardbound in decorative paper, matching slipcase.

Opera XII. Partbooks in handsome cloth portfolio. Opus VII. Oblong, 35 x 24 cm, 49 pp. Line-cut of the London [after. Opera II. Oblong, 35 x 24 cm, 45 pp. Line-cut of the Paris, editions. For haute-contre, violin, bc. Collection Facsimiles, D1. Gland, A Facsimile of the Rome, [?

Oblong, 20 x 14 cm, 40 pp. Laid paper, cloth. Roma, Rome, Halftone, reproduced 2 original pages per page. Introduction in It by Giancarlo Rostirolla. White Plains, Line-cut, reproducing 2 original pages per page. Historical commentary, with bibliography. Hardbound, in marbled paper. Each concerto is named after a European city or region. Opera I. Line-cut of the Estienne Roger edition, Amsterdam, []. Oblong, 34 x 24 cm, v, 62 pp. Line-cut of the G. Santa edition, Rome , together with reprint of the Roger edition Amsterdam, with ornamented adagios. Facsimile Edition. Oblong, 32 x 22 cm, iii, 69 pp.

Introduction in Eng-Ger by Edgar Hunt. Corelli, comme il les joue. Line-cut of the Roger edition, Amsterdam, The first part of op. Preface in It by Marcello Castelliani. Walsh and Hare, London, Collection Dominates. Oblong, 32 x 24 cm, 3 vols, 35, 28 pp. The second part of op. Edizione critica a cura di Enrico Gatti. Saggio introduttivo di Guido Olivieri.

Lucca, Oblong, 30 x 22 cm, 82 pp. With new critical performing edition edited by Enrico Gatti. London, Richard Meares. Line-cut of the Richard Meares edition, London, c. Four partbooks vln I, vln II, vc, org , with slipcase. Opera Prima. Xerographic reprint of the Walsh edition. Opera Secunda. Line-cut of the printed partbooks, Rome Wrappers with handsome case in cloth.

Opera Quarta. Opera quarta. Prototipes contains lessons in questions and answer form, and illustrative sonatas for the vln, fl, and descant viol. Edited and Arranged by Simon Wynberg. New edition. Line-cut of another surviving print of the Paris, edition. Introduction by Don Hulbert. Madrid, Basel, c. Musique pour Viole de Gambe, 1 Paris, Preface in Fr by Jean-Louis Charbonnier. On y a joint le verset qui dat nivem, du pseaume lauda Jerusalem, Oblong, 31 x 22 cm, xiv, 34 pp.

Line-cut of the Chr. Ballard edition, Paris, Set for voice s , flutes, and continuo. Line-cut of the engraved edition from the Bibl. Nationale in Paris and two non-autograph manuscripts resp. Nationale, Paris and Bibl. Municipale, Lyon ; both of which pre-date the printed edition. Les Nations. Monaco, Line-cut of the Paris, edition, together with newly revised critical edition. Sonades; et suites de simphonies en trio. Wrappers, with folder. Nationale, Ms. Critical notes.

Line-cut of the Paris c. Preface in It-Eng by Laura Ochs. Quarter linen. Opera quinta, libro primo. Wrappers with portfolio in quarter linen and ties. Six sonatas, each consisting of six movts with Italian terminology. Henri Foucault, Paris, Faksimile-Edition Kammermusik des Barock, 3.

Wrappers, in special art paper. It includes line-cut reproductions in reduced format—nearly bars—of all the sketches dedicated to Quatuor a cordes. Line-cut of the Paris, , Paris, n. Line-cut of the Paris, , edition parts , and newly edited full score. Newly revised critical edition of the original suites for harpsichord alone Amsterdam, , and line-cut facsimile of the optional Roger parts for violin or recorder and viol or archlute, mises en concert Amsterdam, Line-cut of the Roger partbooks, Amsterdam, , for violin or recorder and viol or archlute.

Musical Sources, 5. Aberystwyth, Halftone of the London, edition. Printed in table-book format. Some pieces can be played as lute solos. Line-cut of the Gerlach edition, Nuremberg, Hardbound in vellum paper, with matching slipcase. Line-cut of the Paris edition. Hamburg, Line-cut of the Dale edition, London, [] edition. Afterword in Eng. Facsimile of the Score with Revised Parts. Prague, Full-color facsimile of the autograph score, together with modern performance parts.

The Favourite Minuets. Xerographic reprint of the London, score. Scored for 2 vln, vc, db, 2 cl, 2 hn. Mit einem Beitrag von Walter Blankenburg.