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Scarlatti, Domenico: 200 Sonate per clavicembalo (pianoforte) 4

Parte quarta (No. 151-200)

Edited by Balla György
存款: Piano
系列: EMB Urtext
时期: Baroque
语言: Hungarian, English, German
页数: 188 页
Format: 23 x 30,2 cm (Bach)
Weight: 0.566 kg
首次出版: 1979
出版者: Editio Musica Budapest Zeneműkiadó
刊物代码: 8666
ISMN: 9790080086667
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.) ABRSM Cello Syllabus title, 2013-14, Grade 8

This publication is printed on high quality, durable paper made from renewable raw materials in an environmentally friendly way.

内容目录

151.
K 443, L 418
152.
K 444, L 420
153.
K 445, L 385
154.
K 446, L 433
155.
K 449, L 444
156.
K 450, L 338
157.
K 456, L 491
158.
K 457, L 292
159.
K 460, L 324
160.
K 461, L 8
161.
K 466, L 118
162.
K 467, L 476
163.
K 472, L 99
164.
K 473, L 229
165.
K 476, L 340
166.
K 477, L 290
167.
K 478, L 12
168.
K 479, L S.16
169.
K 480, L S. 8
170.
K 484, L 419
171.
K 488, L S. 37
172.
K 489, L S. 41
173.
K 490, L 206
174.
K 491, L 164
175.
K 492, L 14
176.
K 497, L 146
177.
K 498, L 350
178.
K 501, L 137
179.
K 502, L 3
180.
K 507, L 113
181.
K 508, L 19
182.
K 513, L S. 3
183.
K 514, L 1
184.
K 515, L 255
185.
K 518, L 116
186.
K 519, L 475
187.
K 520, L 86
188.
K 521, L 408
189.
K 524, L 283
190.
K 525, L 188
191.
K 530, L 44
192.
K 531, L 430
193.
K 532, L 223
194.
K 533, L 395
195.
K 542, L 167
196.
K 543, L 227
197.
K 544, L 497
198.
K 545, L 500
199.
K 550, L S. 42
200.
K 551, L 396
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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