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Trios for Guitars

score and parts

Selected and transcribed by Mosóczi Miklós
Setting: Guitars
Series: Musica da camera for music schools
Genre: Pedagogical performance pieces
Length: 56 pages
Published: March 2007
Item number: 14561
ISMN: 9790080145616
The new volume in the Musica da camera series has been compiled for a relatively rare type of ensemble, three guitars. This collection spanning the 16th?19th centuries contains not only madrigals by Luca Marenzio, two Bach chorales and Schumann?s Träumerei, but also transcriptions of popular pieces by many other composers (including Händel, Haydn, Schubert and Grieg), enabling music-school guitar students to play familiar, enjoyable works that they have heard performed by other instrumentalists.

Contents

1.
Marenzio, Luca: Madrigal (Amor e ritornato)
2.
Marenzio, Luca: Villanella (Ad una fresca riva)
3.
Friderici, Daniel: Lied (Wir lieben sehr im Herzen)
4.
Cara, Marchetto: Madrigal (Non e tempo d’aspettare)
5.
Certon, Pierre: Chanson (Je ne fus jamais si aise)
6.
Bach, Johann Sebastian: Choral (Befiel du deine Wege)
7.
Bach, Johann Sebastian: Choral (Nun ruhen alle Wälder)
8.
Händel, Georg Friedrich: Sarabande (Suite in d-Moll, HWV 437)
9.
Haydn, Joseph: Menuet (Trio für Baryton, Viola und Violoncello, Hob. XI:25)
10.
Haydn, Joseph: Finale (Trio für Baryton, Viola und Violoncello, Hob.XI:25)
11.
Schubert, Franz: Moment musical (Op. 94, No. 3)
12.
Schumann, Robert: Fantasie-Tanz (Albumblätter, Op. 124, No. 5)
13.
Schumann, Robert: Reverie (Kinderszenen, Op. 15, No. 7)
14.
Grieg, Edvard: Melodie (Lyrische Stücke, Heft IV, Op. 47, No. 3)
Musica da camera
As the title indicates, the volumes in this series include works composed or arranged for chamber ensembles (trios and quartets), specifically designed for music school students. The editors have selected from every period of music literature from the Renaissance to the present day, so this colourful musical material also serves to deepen the youngsters’ knowledge of style. The majority of the works are transcriptions made specifically for this series that are adapted to the technical characteristics and sound of the given ensemble, and even the easiest pieces are of musical value. Of the twelve volumes in the series five are designed for groups consisting of one type of instrument (ensembles of three or four flutes, violins or horns), thus the teachers of each instrument can form chamber groups from among their own pupils. The percussion volume is exceptional within the series, as it includes only contemporary, original compositions for four, five and six performers.
 

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