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For doubts about Sammartini's authorship see the comment above. Publisher's catalogue printed to foot ot title same as above. Printed ascriptions in caption titles of Violino primo part: nos.

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Sammartini identified as "Sigr. Martini" or. Secondary numbering of sonatas as "87" to "92" in ink. Some soiling along spine; slightly foxed; small stains to title of Violino primo part; most leaves detached; repair to title of Violino secondo part.

In Mozart's Words

The sonata no. The other ascriptions are correct; the two remaining Sammartini sonatas are identical with his symphonies listed by Jenkins-Churgin as nos.

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The present edition dated according to Jenkins-Churgin p. Lampugnani, perhaps best known as an opera composer, also wrote instrumental music and was an accomplished harpsichordist and singing teacher. Bach and Padre Martini; Bach mentioned him in a letter to Martini written in During the first three performances he played second harpsichord and in subsequent performances directed the orchestra himself. Robinson et al in Grove Music Online. The string trios for two violins and bass form the largest and most important group, and were extremely popular, as the many surviving copies indicate.

The relation between the instrumental parts especially the violins varies considerably from the complete domination of the first violin to frequent dialogue and imitation, none of the sonatas being consistently imitative in late Baroque fashion. Nota de la Premier [! Modern red marbled boards with dark red morocco label to spine with titling gilt. Publisher's signature to lower right corner of title. Somewhat worn, browned and soiled; stains to title; final leaf stained and slightly dampstained at lower right corner; pages [1]-2 frayed at outer margin.

The catalogue to p.

Scarlatti - Sonatas Volume 2

The Six sonates pour violons op. Their harmonic structure and design show his growing awareness of the Classical style. One finds passages for the G string only, examples of scordatura nos. Piano part in black cloth-backed purple marbled boards with cut paper label with manuscript titling in pencil to upper, string parts laid in. Piano: [1] title , , [i] blank pp. Handstamp, "G. Schirmer, New York, Broadway" to foot of title and first page of each string part; early owner's handstamp, "H.

Kortheuer," across Schirmer handstamp. Cloth spine mostly lacking. Somewhat brittle and browned; impression occasionally light; Piano and Violino parts dampstained at spine. First Edition, probable later issue. WorldCat 2 copies only in the U. The first issue was published in While the total impression is favourable, he says, the deficiencies of the work emerge upon closer examination The upper voice predominates, and there is little polyphonic interest, as if the composer could simply not break away from the more familiar environment of supporting a soloist in opera with a subordinate accompaniment Dean Palmer in Grove Music Online.

Hermann O. Kortheuer was a pianist and composer, best known as a teacher.

Sonate Per Clavicembalo - Volume 2

Born in Germany, he immigrated to the U. He studied with Liszt. Publisher's handstamp signature style to lower right corner of title of Violino primo part. Slightly browned and with other very minor defects. An early edition, probably a reprint of the first. Not in RISM.

source link Other copies, apparently otherwise identical, carry the imprints "l'Auteur" or "aux adresses ordinaires. Trois Duos concertans pour Deux Violons Londres: R. Publisher's small circular handstamp to foot of both title pages. Numbers "34" and 35" in red crayon to head of first page of music of both parts of each quartet, respectively. Fingering and a few notational corrections added in pencil to Violino primo part; annotations in German scheduling of a violin teacher in pencil to final blank page of Violino primo part.

Uniformly browned; most leaves detached; small ink stain to p.

Krystian Zimerman plays Mozart Sonata No. 10 in C Major, K 330 (Complete)

WorldCat 1 complete set only, at Brandeis. Maurer was a German violinist and composer mostly active in Russia. He combined technical features of the French and German violin schools In Germany, his playing was criticized as too French, Maurer's music for the violin displays ambitious compositional technique His duo op. The development section modulates from the home key of C major as far as D-flat minor and E major. Prix f 3 C. Fingering in pencil to Violoncello part; measure numbers added in pencil in a modern hand throughout.

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Some wear and soiling, especially to edges; Pianoforte part frayed at spine, with repairs to title and final leaf and black stain to p. WorldCat 3 copies only in the U. The first edition was published in under the imprint of S. Steiner see Weinmann: Senefelder-Steiner-Haslinger 1, p. Tentatively dated according to imprint; the Tobias or "Tobie" Haslinger imprint was used from to As a virtuoso violinist and violin teacher he occupied a central position His piano trios are quite ambitious chamber music, sometimes with a virtuosic piano part in the manner of Hummel.

Prix f 2. Violino 1mo: [1] title , , [i] blank pp.

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Mayseder, Op. Slightly worn and foxed; title browned; tears to spine with tape repairs; some leaves frayed at edges. Weinmann: Senefelder-Steiner-Haslinger 3, p. Many of his musically ambitious works date from the years after London: G. Goulding [PN ], [WM ]. Keyboard part worn and somewhat soiled; paper repairs to first and least leaves; closely trimmed but with no loss of music; occasional minor defects.

RISM M An English composer of Corsican origin, "Mazzinghi published a vast number of sonatas and variations for pianoforte, with optional accompaniments for violin or flute. Many of these were written for and dedicated to his numerous pupils, among whom he counted the Princess of Wales, later Queen Caroline. Grand Quatuor concertant pour deux Violons, Alto et Violoncelle. Unbound, as issued. Title to viola part. Some very light wear and soiling; two small binder's holes to inner blank margins. In very good condition overall.

Not in Krause. Mendelssohn Papers III, Hoboken 10, His musical style, fully developed before he was 20, drew upon a variety of influences, including the complex chromatic counterpoint of Bach, the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber Between and [he] composed six string quartets, and had begun work on a seventh at the end of his life The first two, op.

To the Swedish musician Adolf Lindblad Mendelssohn explained his concern for the organic relationship of the various movements to the whole. In op. Larry Todd in Grove Music Online. I: 13, 11, 11, 9 pp. With fine decorative titles printed in sepia to each quartet. Staining mostly marginal to first few leaves of first quartet, including title, and outer edges of third quartet, otherwise very good copies. First Editions. Very scarce. Hoboken , , Bodleian Cat.