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デジタル楽譜

Scarlatti, Domenico: 200 Sonate per clavicembalo (pianoforte) 3

Parte terza (No. 101-150)

Edited by Balla György
編成: Piano
シリーズ: EMB Urtext
時代: Baroque
言語: Hungarian, English, German
ページ数: 168ページ
形式: 23 x 30,2 cm (Bach)
重量: 0.507 kg
出版年: 1978年11月1日
出版社: Editio Musica Budapest Zeneműkiadó
カタログ番号: 8480
ISMN: 9790080084809
The sonatas are not grouped according to their degree of difficulty, they are given in the order which corresponds with the Kirkpatrick numbering. This is approximately identical with the order in which they were composed. In this way it became possible for the pairs of sonatas included in the selection to be placed closely after one another. Apart from inevitable minor alterations this edition follows the original text and its markings exactly. This does not apply to the fingering which is entirely an editorial addition. (In the original there is no fingering.)

目次

101.
K 308, L 359
102.
K 309, L 454
103.
K 318, L 31
104.
K 319, L 35
105.
K 320, L 341
106.
K 321, L 258
107.
K 322, L 483
108.
K 323, L 95
109.
K 335, L S. 10
110.
K 336, L 337
111.
K 337, L S. 26
112.
K 338, L 87
113.
K 343, L 291
114.
K 344, L 295
115.
K 347, L 126
116.
K 348, L 127
117.
K 358, L 412
118.
K 359, L 448
119.
K 366, L 119
120.
K 367, L 172
121.
K 376, L 34
122.
K 377, L 263
123.
K 378, L 276
124.
K 379, L 73
125.
K 380, L 23
ABRSM Grade 7.A.10 Piano (2023-), ABRSM Grade 7.A.14 Piano (2025-)
126.
K 381, L 225
127.
K 386, L 171
128.
K 387, L 175
129.
K 402, L 427
130.
K 403, L 470
131.
K 404, L 222
132.
K 405, L 43
133.
K 406, L 5
134.
K 407, L S. 4
135.
K 408, L 346
136.
K 409, L 150
137.
K 415, L S. 11
138.
K 416, L 149
139.
K 420, L S. 2
140.
K 421, L 252
141.
K 422, L 451
142.
K 423, L 102
143.
K 430, L 463
144.
K 432, L 288
145.
K 433, L 453
146.
K 434, L 343
147.
K 435, L 361
148.
K 436, L 109
149.
K 441, L S. 39
150.
K 442, L 319
EMB Urtext Series
The volumes of this series go back to the contemporary sources and attempt to come as near as possible to the composers' original intentions, stripping the works of the frequently arbitrary editorial markings which they became burdened with over the course of several decades. The necessary emendations and information on techniques are distinguished unambiguously from the original music text. The use of urtext editions appear as basic requirements on the part of music teachers and performers alike.
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