Concerto à cembalo concertato 1mo. cembalo concertato 2o. 2. violini viola e basso /

Laid in are: photocopy (negative) of complete manuscript, and 20th cent. manuscript copy of violin, viola and basso parts (in the hand of J. A. Stellfeld?)

The shepherds at the manger. [music] : In dulci jubilo /

Cover title.

First violin sonata. [music].

Mode of access: Internet.

Trois quatuors concertans pour flûte, violon, alto et violoncell. Oeuvre 62me.

Mode of access: Internet.

La folia. [music] : variations sérieuses pour le violin /

Stamped on t.p.: Sole agents: C. F. Peters Corp., New York, N.Y.

Instrumentalwerke; Sonaten für Violine, Gambe und Cembalo.

"Anhang: Suite zur sonate IV, op. 1.--Sonate für 2 violinen, gambe und cembalo, C dur.--Sonate fur gambe, violin und cembalo, D dur": p. 160-185.

Symphony concertante, op. 84 ; Horn concerto (1762) /

Cover title.

Two quintets for 2 violins, 2 violas and cello, op.18, 87.

Mode of access: Internet.

Works for piano and one other instrument.

Fantasy, op. 159.--Sonata, A major, op. 162.--Introduction & Variations on Trockne Blumen, op. 160.--Sonata for piano and arpeggione or cello.

A graduate piano accompanying recital

The extended program notes include historical background on the composers and pieces being performed, as well as the analytical form regarding the works. Chapter One includes Piano and Violin Sonata in B flat Major, K 454 by Wolfgang Amadeus Mozart, Introduction and Rondo Capriccioso, Opus 28 by Camille Saint-Saens, Nocturne by Aaron Copland, Violin Concerto No. 2 in D minor, Opus 22 by Henryk Wieniawski. Chapter Two includes selected songs from Die Schone Mullerin D. 759 by Franz Schubert, La Regata Veneziana by Gioacchino Rossini, selected songs by Henri Duparc, Cowboy Songs by Libby Larsen, Poema enforma de canciones by Joaquin Turina.

Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

"Double Rainbow," "Appalachiana," and "'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke's Second Symphony"

This dissertation consists of three distinct components: (1) “Double Rainbow,” a notated composition for an acoustic ensemble of 10 instruments, ca. 36 minutes. (2) “Appalachiana”, a fixed-media composition for electro-acoustic music and video, ca. 30 minutes, and (3) “'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke’s Second Symphony”, an analytical article.

(1) Double Rainbow is a ca. 36 minute composition in four movements scored for 10 instruments: flute, Bb clarinet (doubling on bass clarinet), tenor saxophone (doubling on alto saxophone), french horn, percussion (glockenspiel, vibraphone, wood block, 3 toms, snare drum, bass drum, suspended cymbal), piano, violin, viola, cello, and double bass. Each of the four movements of the piece explore their own distinct character and set of compositional goals. The piece is presented as a musical score and as a recording, which was extensively treated in post-production.

(2) Appalachiana, is a ca. 30 minute fixed-media composition for music and video. The musical component was created as a vehicle to showcase several approaches to electro-acoustic music composition –fft re-synthesis for time manipulation effects, the use of a custom-built software instrument which implements generative approaches to creating rhythm and pitch patterns, using a recording of rain to create rhythmic triggers for software instruments, and recording additional components with acoustic instruments. The video component transforms footage of natural landscapes filmed at several locations in North Carolina, Virginia, and West Virginia into a surreal narrative using a variety of color, lighting, distortion, and time-manipulation video effects.

(3) “‘The Invisible Mass:’ Exploring Compositional Technique in Alfred Schnittke’s Second Symphony” is an analytical article that focuses on Alfred Schnittke’s compositional technique as evidenced in the construction of his Second Symphony and discussed by the composer in a number of previously untranslated articles and interviews. Though this symphony is pivotal in the composer’s oeuvre, there are currently no scholarly articles that offer in-depth analyses of the piece. The article combines analyses of the harmony, form, and orchestration in the Second Symphony with relevant quotations from the composer, some from published and translated sources and others newly translated by the author from research at the Russian State Library in St. Petersburg. These offer a perspective on how Schnittke’s compositional technique combines systematic geometric design with keen musical intuition.

Quintet in E-flat Major, Op. 16

Soitinnus: Piano, oboe, klarinetti, fagotti, käyrätorvi.

Quintet in E-flat Major, K. 452

Soitinnus: Piano, oboe, klarinetti, fagotti, käyrätorvi.

Por qué al laurel se unió el cipres [Manuscrito]: melodia elegiaca a la memoria del Poeta Zorrilla

Número 308 en el catálogo de Vicente Galbis e Hilari García