Antonio Vivaldi Knihy

(Dowani Book/CD). Dowani 3 Tempi Play Along is an effective and time-tested method of practicing that offers more than conventional play-along editions. Dowani 3 Tempi Play Along enables you to learn a work systematically and with accompaniment at different tempi. The first thing you hear on the CD is the concert version in a first-class recording with solo instrument and orchestral, continuo, or piano accompaniment. Then the piano or harpsichord accompaniment follows in slow and medium tempo for practice purposes with the solo instrument heard softly in the background at a slow tempo. Finally, you can play at the original tempo to the accompaniment of an orchestra, piano, or basso continuo. All versions appearing on the CD were recorded live by renowned soloists, accompanists, and orchestras. There are no synthesised sounds in a Dowani edition!

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

(Music Sales America). Vocal score of Vivaldi's Gloria , for soprano and alto soloists, SATB choir and orchestra. Edited by Jasmin Cameron. A well-established piece in the modern choral repertoire, Vivaldi's Gloria was, like much of his music, ignored from his death until relatively recently.

For either viola or cello solo, this concerto is easily accessible to middle school players. In C major, with a few chromatic diversions, the solo part can be played in first position. All of the ornaments may be considered optional.

(Vocal Score). The present reduction derives from the critical edition of the score, published in this catalog in November 2019. Antonio Vivaldi's La Dorilla, a heroic-pastoral opera on a libretto by Antonio Maria Lucchini, was premiered at the Teatro Sant Angelo in Venice on 6 November 1726. Six years later it was revived in a much shortened and altered form at the Sporck Theatre in Prague. In 1734 it returned for the last time to the Venetian stage at the Teatro Sant Angelo, where, despite being greatly revised, it was once again successful. Many of its recitatives had been shortened and several arias replaced, some with movements borrowed from other operas byVivaldi and some with arias taken from ones by other composers, such as Johann Adolf Hasse, Geminiano Giacomelli, Domenico Sarro andLeonardo Leo. The adaptation was the work of the Venetian man of letters Bartolomeo Vitturi, who adjusted the libretto with the precise aim of satisfying the demands of the public, which wished to hear the most famous pieces by the composers who were fashionable in those years. This vocal-score edition includes a synthetic introduction of the historical context, the description ofthe main source employed and a choice of the critical Notes to the musical text.