Log in

Relevant bibliographies by topics / Arranged Flute and cello music

Contents

Journal articles
Dissertations / Theses
Books
Book chapters

Academic literature on the topic 'Arranged Flute and cello music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Arranged Flute and cello music.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Arranged Flute and cello music"

1

Gottlieb, Jane, and Barbara Kolb. "Extremes for Flute and Cello (1989)." Notes 50, no. 2 (December 1993): 762. http://dx.doi.org/10.2307/898521.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Miller, Malcolm. "Jerusalem, Music Centre: Andre Hajdu." Tempo 67, no. 264 (April 2013): 78. http://dx.doi.org/10.1017/s004029821300017x.

Full text

Abstract:

An 80th birthday concert full of the spirit of youthful exploration reflected the innovative interactive aesthetic of Andre Hajdu, the Hungarian-Israeli composer, whose oeuvre is gradually gaining wider international exposure. Presented by the Jerusalem Music Centre on 29 March 2012, the programme featured works from the last quarter of a century for chamber duo and solo piano, including two premières, culminating in an improvisational interactive jam session by an array of students and colleagues, joined by the composer himself at the piano. To begin was Hajdu's Sonatine for Flute and Cello (1990) ‘in the French style’ performed with panache by the flautist Yossi Arnheim and cellist Amir Eldan. It is an elegantly written work radiating the spirit of Hajdu's teachers Milhaud and (less overtly) Messiaen, with whom he studied in Paris in the 1950s and 60s. Beneath the light-hearted veneer of polyphonic textures is a serious, plangent expressiveness. The first movement, libre et gai, moves from the chirpy, Poulenc-like delicacy of a cat-and-mouse imitative chase, building tension towards a final stretto. In the second movement, molto moderato, Arnheim wove a lyrical cantilena for flute over gentle cello accompaniments, giving way to rarified high cello registers shadowed by eloquent lower lines of the flute. An exuberant dance-like finale, Libre mais un peu rythmé, increased in drama before receding to a tranquil conclusion.

APA, Harvard, Vancouver, ISO, and other styles

3

Zhang, Fawen, Chelsea Benson, and Steven J. Cahn. "Cortical Encoding of Timbre Changes in Cochlear Implant Users." Journal of the American Academy of Audiology 24, no. 01 (January 2013): 046–58. http://dx.doi.org/10.3766/jaaa.24.1.6.

Full text

Abstract:

Background: Most cochlear implant (CI) users describe music as a noise-like and unpleasant sound. Using behavioral tests, most prior studies have shown that perception of pitch-based melody and timbre is poor in CI users. Purpose: This article will focus on cortical encoding of timbre changes in CI users, which may allow us to find solutions to further improve CI benefits. Furthermore, the value of using objective measures to reveal neural encoding of timbre changes may be reflected in this study. Research Design: A case-control study of the mismatch negativity (MMN) using electrophysiological technique was conducted. To derive MMNs, three randomly arranged oddball paradigms consisting of standard/deviant instrumental pairs: saxophone/piano, cello/trombone, and flute/French horn, respectively, were presented. Study Sample: Ten CI users and ten normal-hearing (NH) listeners participated in this study. Data Collection and Analysis: After filtering, epoching, and baseline correction, independent component analysis (ICA) was performed to remove artifacts. The averaged waveforms in response to the standard stimuli (STANDARD waveform) and the deviant stimuli (DEVIANT waveform) in each condition were separately derived. The responses from nine electrodes in the fronto-central area were averaged to form one waveform. The STANDARD waveform was subtracted from the DEVIANT waveform to derive the difference waveform, for which the MMN was judged to be present or absent. The measures used to evaluate the MMN included the MMN peak latency and amplitude as well as MMN duration. Results: The MMN, which reflects the ability to automatically detect acoustic changes, was present in all NH listeners but only approximately half of CI users. In CI users with present MMNs, the MMN peak amplitude and duration were significantly smaller and shorter compared to those in NH listeners. Conclusions: Our electrophysiological results were consistent with prior behavioral results that CI users' performance in timbre perception was significantly poorer than that in NH listeners. Our results may suggest that timbre information is poorly registered in the auditory cortex of CI users and the capability of automatic detection of timbre changes is degraded in CI users. Although there are some limitations of the MMN in CI users, along with other objective auditory evoked potential tools, the MMN may be a useful objective tool to indicate the extent of sound registration in auditory cortex in the future efforts of improving CI design and speech strategy.

APA, Harvard, Vancouver, ISO, and other styles

4

Thow, John, and Aaron Jay Kernis. "Delicate Songs for Flute [Piccolo and Alto Flute], Violin, and Cello (1988)." Notes 50, no. 1 (September 1993): 390. http://dx.doi.org/10.2307/898780.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Olúrántí, Ayọ̀. "African Rhythms for flute, clarinet, violin, cello, percussion and piano." Journal of the Musical Arts in Africa 14, no. 1-2 (July 3, 2017): 87–93. http://dx.doi.org/10.2989/18121004.2017.1415659.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Tannenbaum, Peter, Claude Vivier, Paul Gerrits, and Marie Levesque. "Paramirabo [For] Flute, Violin, Cello and Piano (1978)." Notes 51, no. 3 (March 1995): 1145. http://dx.doi.org/10.2307/899348.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Luyendijk-Crankshaw, Amy. "From the Valley of Desolation, for flute, cello and prepared piano." Journal of the Musical Arts in Africa 12, no. 1-2 (July 3, 2015): 89–91. http://dx.doi.org/10.2989/18121004.2015.1129152.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Harley, James. "The String Quartets of Iannis Xenakis." Tempo, no. 203 (January 1998): 2–10. http://dx.doi.org/10.1017/s0040298200049470.

Full text

Abstract:

He clung to the few experiences he had shared with her: the gift of a flute whose sounds had astonished him, her wish that he should enjoy music and especially play the cello. He refused to let her go.If the tenderness of Anton Webern's musical expression at the loss of his mother is difficult for some listeners to hear in his scores, how much more so for the iconoclastic music of Iannis Xenakis? Be that as it may, Matossian's revelation of this intimate memory from his childhood provides a clue to the composer's attraction to the cello, and, by extension, to the chamber string genre, particularly the string quartet. This perhaps surprising personal inspiration is reinforced in the recently published interviews with Bálint András Varga.

APA, Harvard, Vancouver, ISO, and other styles

9

Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

Full text

Abstract:

MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

APA, Harvard, Vancouver, ISO, and other styles

10

Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (October 2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

Full text

Abstract:

‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Classics CC0039.MUSGRAVE: Memento Vitae; Helios; Night Music; The Seasons. Nicholas Daniel (ob), Scottish Chamber Orchestra c. Nicholas Kraemer; BBC Symphony Orchestra c. Jac van Steen. NMC (ANCORA+) D074.‘Oriental Landscapes’. MUSGRAVE: Journey Through a Japanese Landscape. CHEN YI: Percussion Concerto. ZHOU LONG: Out of Tang Court. HOVHANESS: Fantasy on Japanese Wood Prints. Evelyn Glennie (perc), Singapore Symphony Orchestra c. Lan Shui. BIS CD 1222.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Arranged Flute and cello music"

1

Burkhardt, Rick. "Pipeline : for voice, bass flute, cello, and percussion /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236631.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Sharp, Barry Shelton. "Sizhu for flute, clarinet in B-flat, violin, cello, piano, and percussion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1751.

Full text

Abstract:

Sizhu was written for the standard Pierrot ensemble though with percussion replacing the singer. This particular ensemble is capable of producing a multitude of colors while maintaining the balance inherent to a chamber group. The Chinese name, si’zhu, is a literal and figurative metaphor for these elements of the ensemble. Literally translated “silk” (sī) and “bamboo” (zhú), the word is a generalization for Chinese classical music developed in the Jiangsu province (Jiāngnán sīzhú) that utilizes strings, or “silk” instruments, and flutes, or “bamboo,” instruments in combination. A typical work involves two or more players of either ilk. In reference to the work presented here, Sizhu is a metaphor for the western instruments (flute and clarinet as “bamboo,” and violin and cello as “silk”) that are employed within the piece. It also refers to my use of a Chinese melody in the compositional process. The song, Er Quan Ying Yue (The Moon Reflected In Second Spring), was composed and performed regularly on the streets by the blind erhu player A Bing. The song has been fragmented, stretched, and varied to the point of near inscrutability, though it becomes more comprehensible following the mid-point. It inspires both structural and local events. The work also employs aspects of the spectral style. The first section is a slow distortion and transformation of the A harmonic spectrum; specific partials are emphasized as the spectrum expands and contracts. Additionally, fragments of the Chinese melody appear within the confines of each specific harmonic structure. The second part completely diverges utilizing assimilated pentatonic scale permutations. Finally, the third section synthesizes these two elements of musical material within the piece as the instruments morendo into silence.

APA, Harvard, Vancouver, ISO, and other styles

3

Sloan, Steven Ernest. "The Seasons: 30 Haiku for Flute, Clarinet, Violin, Cello, Mezzo-Soprano, and Baritone." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491382981518334.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Pillman, Laura 1990. "Transcription and Critical Edition of Carl Nielsen's Songs, Op. 4 and 10 for Flute and Piano." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538733/.

Full text

Abstract:

Widely regarded as one of the most significant composers of the late nineteenth and early twentieth centuries, Carl Nielsen and his music have come to define the early twentieth-century musical traditions of Denmark. His original songs for voice and piano are often revered as popular folk tunes and contributed to his status as a national icon. My dissertation explores Nielsen's vocal repertoire through a multipart project that includes transcribing and editing eleven of Nielsen's early songs from Op. 4 (1891) and Op. 10 (1894), originally for voice and piano, for flute and piano. I discuss the reception history and context of Nielsen's Songs, the important role of transcription in flute literature, and provide full score transcription of the original works for flute and piano. Many vocal works have been transcribed for flute from the original vocal score, providing variety in programming and attracting diverse audiences to performances. Transcription offers scholars a new view into a work, by determining what elements of the piece are integral to maintain the composer's intentions.

APA, Harvard, Vancouver, ISO, and other styles

5

Cheng, Chien-Wen. "Snow spell an interactive composition for erhu, flute, piano, cello and Max/MSP /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3989.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

Full text

Abstract:

Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.
The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.
"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.
'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."

APA, Harvard, Vancouver, ISO, and other styles

7

Gutierrez, Jason. "The Prayer of Daniel: for flute (with alto flute), clarinet (with bass clarinet), violin, cello, doumbek, percussion, piano, bass-baritone voice, and men's chorus." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/gutierrez%5Fjason/index.htm.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Potts, Elizabeth (Elizabeth Ann). "The Mozart Flute: Old and New Transcriptions of KV. 10-15." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984277/.

Full text

Abstract:

My lecture serves as a critical examination of the Six Sonatas Op. 3, KV. 10-15 by W.A. Mozart. I will engage the variances between the first edition of Op. 3 and those by Joseph Bopp and Louis Moyse edited specifically for the flute in hopes of providing another perspective for students, performers, and pedagogues alike. This study will (1) provide background information regarding the creation of KV. 10-15, (2) include a brief analysis of each sonata, (3) compare adaptions between the first edition, according to NMA, and two modern flute transcriptions, and (4) produce two new transcriptions. My new transcriptions of Sonatas KV. 10 and 13 represent a closer interpretation to the first edition and alerts students and teachers to the differences between the editions by Joseph Bopp and Louis Moyse to that of the first and NMA editions. The goal is to stimulate performers to reappraise their approach to this particular repertoire and to encourage more authentic performances of these engaging sonatas.

APA, Harvard, Vancouver, ISO, and other styles

9

Hannesson, Mark Joel. "Folie à deux : a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13908.

Full text

Abstract:

Folie à deux is a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing. It explores the idea of musical influence through the metaphor of shared delusion. This dissertation is made up of four main sections. The first will look at the background to the piece, the historical and personal influences that led to its composition. The second section will discuss those aspects of the piece that are somewhat unique as well as an examination of how it does not correspond to standard practices. Next, a detailed examination of the steps taken to bring the piece to fruition will be explored. Finally, some concluding remarks will be made about the piece and the future creative directions that may be followed in its wake.

APA, Harvard, Vancouver, ISO, and other styles

10

Chen, Der-Shiuan. "Interpretation and Execution of Chords on the Double Bass from Select Movements of the Bach Cello Suites." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248443/.

Full text

Abstract:

The Bach Cello Suites have become widely transcribed and studied on the double bass. They have also become essential teaching material as most US orchestra auditions demand solo Bach for bass auditions. Transcribing the chords in Bach Cello Suites presents many difficulties on the bass because of the different tuning of our instrument (cello in 5ths; double bass in 4ths). There is no unified solution to all the problems presented in chord playing at this time. The purpose of this project, therefore is to give bass players solutions to the problems by looking at historical interpretation of chords, technical execution of the chords on cello and bass, tonal and resonance considerations and fingering solutions. The chords chosen represent the most common and most difficult to transcribe to the double bass from the Cello Suites.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Arranged Flute and cello music"

1

Tann, Hilary. Llef: For flute and cello. New York: Oxford University Press, 1995.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Kolb, Barbara. Extremes: For flute and cello. [New York]: Boosey & Hawkes, 1990.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Carter, Elliott. Enchanted preludes: For flute and cello. [New York]: Hendon, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Willoughby, Robert. French flute favorites. Nashville, TN: Gasparo, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Schickele, Peter. Dream dances: For flute, oboe, and cello. Bryn Mawr, Pa: Elkan-Vogel, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Joseph, Haydn. 6 Trios für Flöte, Violine und Violoncello. Heidelberg: Güntersberg, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Joseph, Haydn. Sechs Trios für Violine oder Oboe (Flöte), Viola und Violoncello =: Six trios for violin or oboe (flute), viola, and violoncello. Winterthur, Schweiz: Amadeus, 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Shchedrin, Rodion Konstantinovich. Music for cello and piano. Wyastone Leys, Monmouth, UK: Nimbus Records, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Bach, Johann Sebastian. Cello suites nos. 1, 2, and 3, for guitar. New York: International Music Co., 1999.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Clardy, Mary Karen. Classic duets for flute. Wien: Universal Edition, 1997.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Arranged Flute and cello music"

1

Wranitzky, Paul. "Six Sextets for Flute, Oboe, Violin, Two Violas, and Cello." In Recent Researches in the Music of the Classical Era, 87. A-R Editions, 2012. http://dx.doi.org/10.31022/c087.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Duffek. Jr., Mihály. "Performance and Transcription of Baroque Solo Pieces for Bassoon." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/9.

Full text

Abstract:

This essay examines the sources of the autograph and other copies of two selected solo pieces, J. S. Bach's Cello Suites and Georg Philipp Telemann's Fantasies for Solo Flute used to make a bassoon transcription. Using the special literature on the subject of the Baroque style of playing in general, the articulation, ornamentation, dynamics and tempi of the two pieces were determined. along with the role and playing possibilities of the period bassoon. Aspects of the transcription include: a brief description of the habitual Baroque transcription and its tradition, presentation and evaluation of other bassoon transcriptions of the selected pieces, detailed aspects of the author’s transcription of the articulation, ornaments, dynamics, tempi and breathing. Also discussed are the purpose of the completed transcription, its role in education, and its place in the bassoon repertoire. Keywords: bassoon, solo bassoon, baroque, transcription, Bach, Telemann

APA, Harvard, Vancouver, ISO, and other styles

3

Schulenberg, David. "Bach the Capellmeister." In Bach, 149–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0009.

Full text

Abstract:

As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!