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Sinfonia concertante in E-flat major K.364

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 334.00
1

Sinfonia concertante in E-flat major K.364

Sinfonia concertante in E-flat major K.364

There is no reference to the origin, occasion or a performance of the Sinfonia concertante in E-flat for Violin, Viola and Orchestra, K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer orearly autumn, 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the “Symphonie concertante” his special attention. On April 5,1778, he wrote to his father: “Now I shall write a sinfonie concertante for flute wendling, oboe Ramm, Punto horn, and Ritter bassoon”.Even more discouraging must have been the fact that he hadsimilardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels, Le Gros, contrary to his promise, did not include the mentioned “sinfonie concertante”in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart’s return to Salzburg, he might have been eager to introduce the new genre there, especially since adequate instrumentalistswere available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the NewMozart Edition- Full score & parts (BA4900), study score format 22.5 x 16.5cm (TP176), violin, viola and piano reduction (BA4900-90) available for sale

SEK 271.00
1

HP Newquist/Rich Maloof: The Way They Play - The Acoustic Rock Masters

HP Newquist/Rich Maloof: The Way They Play - The Acoustic Rock Masters

The Way They Play Includes Lessons on CD. This great book/CD pack lets you explore the work of ten guitar heroes who span the entire acoustic-rock spectrum: Neil Young, Dave Matthews, Eagles, Tom Petty, Keith Richards, Paul Simon, Peter Buck, George Harrison, James Taylor and Pete Townshend.You'll discover the secrets of their picking and fingering styles, learn how they played their most famous lines, find out how they forged their unique styles, and get tips on miking and recording. The accompanying CD walks you note by note through licks that characterize the signature sounds of these world-class musicians. Just as these guitar greats have inspired one another, this book will inspire you.

SEK 246.00
1