This remarkable collection of 10 Passagagli, the only known composition by the Neapolitan string teacher Gaetano Francone (fl. 1688–1717), is a unique example of a virtuoso school for the cello, as well as an extraordinary source of knowledge on improvisation for scholars and for performers, on both baroque and modern instruments. Although the term ‘violoncello’ appears in the work’s title, the music indicates that the composer was writing for a non-standard instrument, one tuned a tone lower than the modern cello. To perform these works with the original left-hand position, today’s players should either adopt the Bb1–F–c–g tuning or transpose each work one tone higher. Francone’s method stands as precious testimony to the advanced technical level of cello playing in 17th-century Naples.
A programme of moods and characters runs through Bayo’s Way. On a hot summer’s night, Bayo, the eponymous hero, tumbles and floats his way through a wild, jazz-fuelled pilgrimage. Imagine the bustle of Ronnie Scott’s club in London’s Soho morphing into an all-night party. Bayo glides through it all, spreading happy chaos and appreciative joy as he goes.
Composer:Jeremy Arden Publication date: May 2021 Instruments: Piano Format: Playing score Duration:c.11'40'' Series:Contemporary Pages: v/15 ISMN: 979 0 708185 42 0 Code:HH530.SOL Price: £10.50
The Six Trio Sonatas of the Italian composer and violinist Michele Mascitti (1663/4–1760), published alongside eight violin sonatas in his Op. 4, are four- or five-movement works that felicitously mix the ‘church’ and ‘chamber’ styles in various configurations. This is the most ‘social’ music imaginable and will give great enjoyment in both a recreational and a concert setting.
Next in the series of C. D. Stegmann’s piano arrangements of Haydn symphonies is the celebrated ‘Drumroll’, whose successful orchestral premiere took place in London on 2 March 1795. As The Morning Chronicle reported: ‘Another new Overture [Symphony], by the fertile and enchanting HAYDN, was performed; which, as usual, had continual strokes of genius, both in air and harmony. The Introduction excited the deepest attention, the Allegro charmed, the Andante was encored, the Minuets, especially the Trio, were playful and sweet, and the last movement was equal, if not superior to the preceding.’
Hummel’s arrangement of the Piano Concerto in D major, K537, the fifth in the series to appear, was published in 1835. The lead-in (Eingänge) models that he provided are particularly valuable in the case of K537, which is among those concertos for which Mozart left no written-out examples. Equally importantly, Hummel might well have witnessed the work’s compositional process and first performance, and thus his own contributions could be considered as authoritative.Read full description