691 Results for : notation
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Fiori Italiani
During the Renaissance in Italy, solo music for the lute was considered one of the most refined expressions of the musical arts. Virtuoso players and composers for this instrument were often considered state, or even national treasures. For example, several of the pieces on this recording are by the Italian lutenist/composer Francesco da Milano (1486-1534). Known as 'Il divino' in his own lifetime, Francesco captured a sense of musical balance and proportion in his fantasias and ricercares, which is mirrored in the artwork of contemporary painters, such as Leonardo da Vinci, Michelangelo, and Raphael. From almost out of nowhere, lute tablature (a system of musical notation specific to the lute) seems to have sprung fully formed from the Renaissance presses of the Venetian printer Ottaviano Petrucci. Prior to Petrucci's lute publications from the first years of the 16th-century, only fragments of lute tablature remain. A true musical connoisseur, Petrucci published works by northern Italy's finest lutenists, including Francesco Spinacino and Joan Ambrosio Dalza, both heard on this recording. Included on this recording is music from the Vincenzo Capirola Lute Book,an Italian manuscript compiled around 1517. Capirola was an Italian lute virtuoso of great renown, whose music is set stylistically between the first polyphonic lute compositions published by Petrucci and the music of Francesco da Milano and his circle composing in the 1520's and 30's. The Capirola collection is one of the earliest manuscript sources of music for the solo Renaissance lute and the manuscript is itself a visual work of art. Filled with colorful forest animals and country folk penned about the borders of each page, the artist Vidal was a practical soul who notes in the he preface of the book, '...I have adorned [the manuscript] with such noble paintings, so that if it should be owned by somebody with no knowledge in [the musical field], he would keep it for the beauty of the pictures...' Almost nothing is known of the life of the 16th century lutenist and composer Giovanni Maria da Crema. His solo lute music is of a very high quality and his stature as a lutenist must surely have been significant in his own day. His work appears in two mid-sixteenth century prints that include music by Francesco Il divino. Of the lutenist/composers represented on this recording, Francesco da Milano is surely the most eminent, though all of these diversi autori enjoyed great renown during their lifetimes. P.R. January 2003 Phillip Rukavina has performed widely as a lute and vihuela soloist, ensemble performer, and as a continuo lutenist. He studied lute with Hopkinson Smith at the Academie Musical in Villecroze, France and in Basel, Switzerland. He regularly teaches on the faculty of the Lute Society of America's summer seminars in Cleveland, Ohio and directed the event in 2008. He has released two solo recordings on the Studio395 label. Phillip is a founding member of the Venere Lute Quartet. He is a frequent guest instrumentalist with the Rose Ensemble and with the St. Paul Chamber Orchestra.- Shop: odax
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Shine
My Name is Alex Balla and I've been involved in music since I was in the second grade. I got my first guitar when I was seven and I've been playing ever since. For the past few years I've been writing mostly pop and folk songs, but recently I have been taking my music in a different direction. Using a notation program and Garageband I have been able to compose and edit classically influenced electronic works. I do mostly everything strictly by ear, including the compositions I have just released in my first album entitled Shine (*IMPORTANT* 'Shine' is currently being sold on mini CD's). I have a sparse background in theory and mostly let the music take the direction it wants to go in. I still write pop and folk songs and I still play my guitar everyday. Hopefully in the near future I'll be releasing tracks that fuse classical composition and electronic music with the pop and folk songs I've been writing for most of my life. I hope you enjoy my work as much as I've enjoyed creating it.- Shop: odax
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Piano Works of Ehsan Saboohi
About the Album Piano Works of Ehsan Saboohi are a collection of his compositions in contemporary music, which can be classified Experimental, Eye-Music and Free Tonal music. An innovative form in Music-Haiku, visual elements and notation graphics in Metamorphosis, and developing harmonic cells in Symphony No.1, can be considered as main features of this album. Music-Haiku Music-Haiku, an innovative title suggested by the composer, can be used and developed as a new form along with other known forms (Binary, Ternary and Rondo). The core idea of this form is inspired by Haiku poetry. In Haiku there are three verses with five, seven and five syllables respectively. In Music-Haiku, musical sounds in the form of chords or center-less tones take the place of words and syllables. Music-Haiku is made of smallest elements existed on formal music (Rhythmic, Homophonic and Melodic cells). Metamorphosis Second collection, "Metamorphosis" is composed based on the idea of "Music of the eyes". In Metamorphosis, the partitur is not only a notation, but it appears as a painting in the eyes of the composer and the player. In the "eye music", the partitur is a part of the composer's composition. Metamorphosis takes place in seven parts and it's basic cells are represented in each of these parts. Symphony No 1 for two pianos Symphony No 1 in two movements has been composed for symphonic orchestra as the composer's dissertation for M.A. degree (under the supervision of Hamidreza Dibazar). Like many of the classic composers of the world, Saboohi has re arranged his symphony for piano and smaller ensembles. This symphony has been composed in two movements and the version recorded in this album is arranged by the composer for two pianos.- Shop: odax
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Kulaya (Sending Light)
Solaro's Kulaya (Sending Light) rise into the fusion zone with the opener "Passion." This uptempo jumps with thrust. CD continues to escalate in finding global connections throughout sound board. All songs enjoys a nice rhythm structure in directing the sound focus. Solaro de Kulaya (fasòng guang) pásheng dào rónghé qu de shou chang "jiqíng."Zhè jiakuài jiézòu tiàoyuè de tuilì. Cái tán huì jìxù shengjí xúnzhao quánqiú liánjie zhenggè yin ban. Suoyou gequ xiangyou hen hao de jiézòu jiégòu de shengyin zài zhihui de jiaodian. Solaro's Kulaya (verzenden Light) klimt in de fusie-zone met de opener 'Passion.' Dit uptempo springt met stuwkracht. CD blijft escaleren in het vinden van mondiale verbindingen in de hele klankbord. Alle nummers heeft een aardig ritme structuur in de leiding van de klankbeeld. Solaro's Kulaya (Nagpapadala ng Light) climbs sa fusion zone na may pambukas 'Passion.' Ito uptempo jumps na may malakas na tulak. CD ay patuloy na padamihin sa paghahanap ng mga global na koneksyon sa buong sound board. Lahat ng songs enjoys ng isang magandang istraktura sa ritmo na nagtutulak sa mga tunog focus. Kulaya Solaro de (envoyer de la lumière) grimpe dans la zone de fusion avec l'ouverture 'Passion'. Cette sauts uptempo avec la poussée. CD continue de s'intensifier dans la recherche connexions mondiales à travers la carte son. Toutes les chansons bénéficie d'une structure rythmique agréable à diriger la mise au point de son. Solaro's Kulaya (Senden Light) steigt in der Schmelzzone mit dem Opener 'Passion'. Dieser Uptempo Sprünge mit Schub. CD weiterhin bei der Suche nach globalen Verbindungen i'm gesamten Resonanzboden eskalieren. Alle Songs genießt einen schönen Rhythmus Struktur, den Schall zu konzentrieren SOLARO hai Kulaya (bhejana la'i?a) salami ballebaja ke satha vilaya k?etra me?' jununa. ' Jora ke satha yaha uptempo kudata hai ca?hate hai?. Si?i ke li'e dhvani bor?a bhara me? vaisvika kaneksana khojane me? ??araba raha hai. Sabhi gane dhvani dhyana nirdesana me? eka acchi laya sanracana prapta hai. Solaro's Kulaya (Mengirim Cahaya) naik ke zona fusi dengan pembuka ini melompat uptempo dengan daya dorong 'Passion.'. CD terus meningkat dalam menemukan jaringan global di seluruh papan suara. Semua lagu menikmati struktur irama yang bagus dalam mengarahkan fokus suara. Soraro no Kulaya wa (soshin-ko) kaimaku-sen to no yugo zon ni' passhon' suiryoku kono apputenpo no janpu nobotte ikimasu. CD ni wa, saundobodo zentai no gurobaruna setsuzoku o mitsukeru tame ni esukareto shi tsuzukete imasu. Subete no kyoku wa, saundofokasu o enshutsu de sutekina rizumu kozo o tanoshinde imasu. Solaro ui Kulaya eun ( jeonsong laiteu ) ttagae wa yunghab yeong-yeog e ' yeoljeong . ' chulyeog gwa i ppaleun tempolo naogo jeompeu issdaeyo . CD saundeu bodeu e geolchyeo geullobeol yeongyeol eul chajneun sangseung hago issseubnida. Modeun nolae neun solie chojeom eul jisi e joh-eun lideum gujo leul jeulgibnida . Kulaya Solaro's (envio de Luz) sobe para a zona de fusão com a abertura da 'Paixão'. uptempo Este saltos com impulso. CD continua a sua escalada na busca de conexões globais em toda placa de som. Todas as músicas tem uma estrutura ritmo agradável para dirigir o foco de som. Kulaya Solaro's (envio de Luz) sobe para a zona de fusão com a abertura da 'Paixão'. uptempo Este saltos com impulso. CD continua a sua escalada na busca de conexões globais em toda placa de som. Todas as músicas tem uma estrutura ritmo agradável para dirigir o foco de som. Solaro's Kulaya (Kutuma Mwanga) climbs katika eneo fusion na kopo 'Passion.' jumps Hii uptempo na kutia. CD inaendelea kusambaa katika kutafuta uhusiano wa kimataifa katika ubao sound. Nyimbo zote anafurahia nice dansi katika mfumo wa kuongoza mwelekeo sound. Solaro k-hxng Kulaya (s-'ng s-æng) climbs ni son fiwch?'n k?b kher?-'xng peid' Passion. ' Kradod uptempo nimi ræng k-h?b CD y?ng khng banplay ni kar h-a kar che?-'xm t'x th?'w lok tlxd th?ng kh?a krrmkar s-eiyng Thuk phelng chxb khorngs-rang c?ngh-wa di ni kar x?nwy kar fok's- s-eiyng Google Translate for my: SearchesVideosEmailPhoneChatBusiness. Please Note ! Our Special Thank You To All And Especially To: Michelle & Ryan Eck (Jewel Case Art Design - Front) Pierre Bee (Jewel Case Art Design - Inside & Back) Kulaya J. (Song Consulting) Candice Carroll (Design Consulting) Sarika Pujari (Notes, Text, & Story Line) Tiffany Combs & Arron Avallon (Sales Consultants) Jarvo Lassiter (Music Consulting) Melissa & Kenji Yamada (Production Consulting) Nancy Nakamura (Score Notation & Copyrighting/SPI) Mike Allison (Marketing Development) Keith Cameron & Paul Carruba (Audio Mix Down Engineering) Sound Lab West (Mastering)- Shop: odax
- Price: 19.69 EUR excl. shipping
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Corps Femenin-die Avantgarde Des Duc De Berry
A long-awaited new release of one of the world's most respected medieval music ensembles, Crawford Young's Ferrara Ensemble continues its interpretation of late Gothic composers Trebor, Solages, Senleches and others. First recording ever of what has been called the Mt. Everest of music notation puzzles - Angelorum psalat of the Codex Chantilly, recently published in a new edition by Crawford Young.- Shop: odax
- Price: 19.41 EUR excl. shipping
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Classic Ragtime arranged for Fingerstyle Guitar V
Classic Ragtime Arranged for Fingerstyle Guitar Volume 2 presents staples of the ragtime repertoire as interpreted by David Laibman. The "rags" are presented in standard music notation as well as tablature. The book includes three CDs worth of instructional audio covering each of the five pieces broken down section-by-section. These are complex and challenging arrangements but ones that will certainly tickle your fingers!- Shop: odax
- Price: 27.72 EUR excl. shipping
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Pianosketches 1 (Morning Breeze)
Perhaps the most intriguing aspect in PianoSketches 1 (Morning Breeze) seem to be the intimate musical experience of sound colors. The album is a big sound canvas for the color combination found. It's fresh outlook, becomes a workout for your mind and spirit in transforming sound into energy and images. Yexu zuì youqù de fangmiàn zài PianoSketches 1(mò níng bùléi zi) sìhu shì qinmì de yinyuè tiyàn shengyin de yánsè. Zhè zhang zhuanjí shì yigè hen dà de shengyin fanbù de yánsè zuhé faxiàn. Ta de xinxian miànmào, chéngwéi yigè duànliàn ni de tóunao hé jingshén zhuanhuà wéi néngliàng de shengyin hé tú xiàng. Marahil ang pinaka nakakaintriga aspeto sa PianoSketches 1 (Morning simoy) tila sa maaari ang intimate musikal na karanasan ng tunog na kulay. Ang album ay isang malaking sound canvas para sa mga kumbinasyon ng kulay na natagpuan. It's sariwang pananaw, nagiging isang eehersisiyo para sa iyong isip at espiritu sa transforming sound sa enerhiya at mga imahe. Sayada eka PianoSketches 1 (subaha ki hava) me? sabase pecida pahalu ko dhvani ra?ga ki antara?ga sa?gita ka anubhava karane lagate hai?. Paya elabama ra?ga sanyojana ke li'e eka ba?i dhvani kainavasa hai. Isaki taja dr???iko?a, urja aura chaviyo? me? dhvani badalane me? apane mana aura atma ke li'e eka kasarata ho jata hai. Mungkin aspek yang paling menarik di PianoSketches 1 (Breeze Pagi) tampaknya menjadi pengalaman musik intim warna suara. Album ini adalah sebuah kanvas suara besar untuk kombinasi warna yang ditemukan. Pandangan segar It's, menjadi latihan untuk pikiran dan jiwa dalam mengubah suara menjadi energi dan gambar. PianoSketches 1 (moninguburizu) de osoraku mottomo miryoku-tekina sokumen wa,-on no iro no shinmitsuna ongaku taiken shite iru yoda. Arubamu wa,-shoku no kumiawase ni okina oto ga kyanbasudesuga mitsukarimashita. Shinsen'na mitoshi wa, enerugi ya gazo ni onsei o henkan suru sai, anata no kokoro to seishin no tame no toreningu ni narimasu. PianoSketches 1 (achim mipung)eseo ama gajang heungmiloun bubun-eun soli saegsang-ui chinmilhan eum-agjeog gyeongheom-i doel geos gatseubnida. Aelbeom-ui saegsang johab-e daehan keun soli kaenbeoseudoegoissneun geos-eulo natanassseub. Sinseonhan jeonmang, eneoji mich imijilo solileul byeonhyeong-e dangsin-ui ma-eumgwa yeonghon-eul-wihan undong-idoenda. Tal vez el aspecto más intrigante en PianoSketches 1 (Morning Breeze) parece ser la íntima experiencia musical de los colores de sonido. El álbum es un gran lienzo de sonido para la combinación de colores que se encuentran. Su nueva perspectiva, se convierte en un entrenamiento para la mente y el espíritu en la transformación en energía de sonido e imágenes. Labda zaidi kipengele intriguing katika PianoSketches 1 (Morning Breeze) wanaonekana kuwa ndani ya muziki uzoefu wa rangi sound. Albamu hii ni kubwa sauti Canvas kwa macho ya rangi found. Mtazamo wake safi, inakuwa Workout kwa akili yako na roho katika kubadilisha sauti katika nishati na picha. Bangthi r?k mak thi's-ud ni dan PianoSketches 1 (Morning Breeze) duh-em?-xn ca pen pras-bkar?? dntri thi' kilchid k-hxng s-i s-eiyng X?lb?m nih-em?-xn p?haph k-heiyn s-eiyng k-hnad h-i?' s-?h-r?b kar p-hs-m s-i thi' phb Outlook s-d k-hxng m?n ca klay pen xxkk?l?ng kay s-?h-r?b citci læa cit wi??a? k-hxng khu? ni kar peli'yn pen phl?ngngan s-eiyng læa p?haph. Please Note ! Our Special Thank You To All And Especially To: Marryann Go (Jewel Case Art Design - Front & Back) Nee (Jewel Case Art Design - Inside) Candice Carroll (Design Consulting) Riako Kimura (Notes, Text, & Story Line) Tiffany Combs & Arron Avallon (Sales Consultants) Evan Filler (Music Consulting) Melissa & Ken Yamada (Production Consulting) Nancy Nakamura (Score Notation & Copyrighting/SPI) Mike Allison (Marketing Development) Keith Cameron & Paul Carruba (Audio Mix Down Engineering) Sound Lab West (Mastering)- Shop: odax
- Price: 23.07 EUR excl. shipping
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Voodoo Fire & Other Works by Derek Strahan
'VOODOO FIRE & OTHER WORKS BY DEREK STRAHAN RDS 006 Total duration: 73.42 Program notes by composer for 'VOODOO FIRE', 'CHINA SPRING'. SOLOCELLO SUITE #1, 'ATLANTIS' and 'CLARINET CONCERTO #1, 3rd Movement. See end for composer's biography 'VOODOO FIRE' (1996) for Clarinet, Percussion and Keyboard. Performance by Alan Vivian, clarinet, Michael Askill, percussion, Susanne Powell, keyboards. LIVE RECORDING OF PREMIER PERFORMANCE AT CANBERRA SCHOOL OF MUSIC 21/04/1996. Duration 16.18 The work was commissioned by the Canberra School of Music for performance by clarinetist Alan Vivian and colleagues, as the result of discussions between Alan and myself over a number of years, following from Alan's splendid work recording my Clarinet Quintet No. 1 in D ('The Princess') in 1981. 15 years passed before the opportunity arose for me to write a piece especially for Alan. When he suggested I write a Trio for clarinet, percussion and keyboards, this gave me the opportunity to advance a particular interest of mine - the fusion of Western melodic counterpoint with African rhythmic counterpoint. In an arc stretching from Brazil to the Caribbean, the animist religious beliefs of Africa remain alive in South and Central America and in the deep south of the USA. The Haitian version of this religion is the best known probably because it inspired the only successful slave revolt in the world, and also because of it's supposed link with black magic. However, as in most religions, there are two clear paths which can be taken, that of the common good, and that of manipulative individual will. Central to Voodoo practice is the belief that, through ceremony and ritual the gods will possess participants and speak through them. Music and dance induce a trance state so that possession will occur. Specific dances and rites invoke specific gods. African music is distinguished by it's use of polyrhythms in drumming. A complex 'engine' of interacting rhythms produces a basis for unison chant. When Western music absorbed African influence to produce 'jazz' the following process seems to have occurred. 1) The polyrhythmic component was rejected, because it was alien to the Western harmonic system. In this, 'harmony' is achieved by vertical alignment of tones in a uni-rhythmic music where the coincidence of tones produces 'chords'. 'Jazz' as it has evolved requires performers to follow a 'chord sequence'. 2) One of the superficial effects of polyrhythm was retained - the displaced accent. Coming before the beat, this was called syncopation. In African drumming much of what sounds like syncopation is a side-effect of the concurrence of different rhythms. I have attempted in this piece to apply African rhythmic counterpoint to Western melodic counterpoint. The resulting fusion is not 'program music', nor is it, of course, true music of the Voodoo. However, in order to compose it, I did study music for which I have the greatest respect, accessed through commercially available recordings of authentic Voodoo ceremonies that took place in Haiti. As these recordings were made with the specific permission of Voodoo hougans (priests), it is right that I acknowledge the source of the musical techniques I have attempted to apply (see below). Shango is the Voodoo god of thunder and lightning, consequently also of fire. In writing music dedicated to Shango, I, a European Australian, am expressing my appreciation of the Voodoo attitude to a deity embodying this element. Shango is still worshipped as a very powerful spirit not only in Haiti, and in Brazil (as Xango) but also among the Yoruba of Nigeria, from whom Voodoo (or 'Vodun') is thought to originate. The mythology surrounding Shango is complex and colorful and can be quickly accessed in detail by googling his name on the internet. Derived from an historical figure, posthumously deified, Shango is the son of Aganju, a ferryman and god of fire. He once threw himself into fire to prove his lineage. He also has aspects of a thunder god, and, by analogy, of many Western fire gods, since, through the fire of lightning, Shango reveals "truth that hurts" by illuminating what was hidden. In Western culture gods of fire were also illuminators, who offered humans the fire of Enlightenment and Knowledge. According to our various myths, the chief gods guarded Knowledge and kept it hidden from humans. It fell to the rebellious fire god to share it with us, and he was always punished for his disobedience - demoted to being a demi-god (half-human), or demonized. Some of the names of the fire god in Western culture are: Prometheus, Loke (Loge of Wagner's "Ring") and Lucifer, the latter known also as the Light-Bringer and known also as the Fallen Angel, who was expelled from Paradise. By contrast, neither the fire god, nor any Voodoo gods are thought of as being either good or evil. Voodoo gods may at times behave with malice, since 'they embrace all aspects inherent in their physical and spiritual existence'(*). It is up to humans to induce the gods to act on their behalf, and this is done through ritual which embodies dance. Significantly, Shango is also god of the drums and dance. His power over the elements equates with the caprice and creative experience of human sexuality. Generic Voodoo terms for their gods are the 'lao', gods of earth and the underworld, and the "Orishas' gods of sky and heaven, among whom Shango is prominent. But all Voodoo gods are offspring of the Creator-God Mawu who is 'understood in his entirety' (*). The serpent figures strongly in the Voodoo faith. In it's many spellings "Voodoo" means "spirit and also 'the snake under whose auspices gather all who share the faith". Thus it would seem that the Voodoo attitude to the Creator-God is somewhat similar to the philosophy which underlies the heretical Gnostic version of Christianity. Gnostics view the Wise Serpent of Eden as a benefactor, an intermediary who intercedes to connect humans with the true God, by revealing Hidden Knowledge (Gnosis). No wonder the Gnostics were persecuted as heretics!. Voodoo, as a religion, was banned during the era of slavery, but survived by syncretism within the slave owners' faith, especially within Catholicism. For example, the gate to the 'Laos' is protected by a barrier whose guardian is 'Papa Legba' and who is also indicative of Saint Peter, since Voodoo 'effortlessly incorporates aspects of other religions'. Voodoo, Vodoun, Vudu or Vudun dates from the beginning of human civilization, and is estimated to be over 10,000 years old. On Thursday, April 10, 2003, Voodoo was officially sanctioned as a religion by the government of Haiti. Acknowledgements: 1) Sound recordings collected in Haiti and the island of La Tortue by Maurice Bitter with the agreement of the Hougans (priests) during actual Voodoo ceremonies. As released on LP, 'Voodoo Ceremony in Haiti', Olympic records. 2) Book: 'Voodoo, Africa's Secret Power' by Gert Chesi, published by Perlinger Verlag, 1979. (In 1964 Gert Chesi spent 8 months in Lambarene as the guest of distinguished author and Christian missionary Albert Schweitzer. It was during that time Chesi developed a deep interest in African tribes and their traditions). (*) Indicates quotations from this book. "Voodoo Fire" is written in three sections, played continuously, which correspond to a ritual performance, beginning with Offerings to the god, a Dance leading to Possession by the god and culminating in a prayer to Shango, the melody of which is freely adapted from a genuine Voodoo chant sung by the hougan with operatic fervour against energetic inspirational drumming. Within the work's musical structure there is some mirror imagery, where a passage is later repeated but with it's metre and notation played in reverse, leading to a reprise of the opening passage. The technicalities of this and other cyclic structural elements are described in detail in the educational Music Kit available for this work. 1. Invocation of the Fir- Shop: odax
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Belder, P: Fitzwilliam Virginal Book Vol.2
Among the most prized exhibits of Fitzwilliam College, Cambridge, stands the Fitzwilliam Virginal Book, the largest surviving anthology of Elizabethan and Jacobean keyboard music. Dating from a period during which theory and notation were undergoing radical change, the collection was probably compiled by Francis Tregian and falls just short of 300 compositions. These include a number by William Byrd, the foremost composer of the Elizabethan age.Bringing together all of Byrd's works as featured in the anthology, this release contains many sets of variations -- including the infamous Walsingham MB8, which comprises no less than 22 embellished statements of the theme. The piece ranks among the most virtuosic of the composer's keyboard compositions, and appears alongside several instrumental dances such as the Pavan and Galliard. Often modal in flavour, these abound in rhythmic energy and continuity -- important features considering the static harmony and repetitive nature of the material. The Carman's Whistle also makes an appearance, a piece first popularised by Arthur Rubinstein during his historical recital programmes and which was later arranged by Percy Grainger.A leading expert in the field of early music, Pieter-Jan Belder has recorded widely for Brilliant Classics over the years and returns once again to perform this illustrious programme of works. The release is an engaging follow-up to the first volume in the series, extending its instrumental range to include performances on a 1604 virginal by Ruckers as well as a chest organ, and comprises essential listening for keyboardists and early music aficionados alike.Other information:- Second volume of a unique project: the first complete recording of the Fitzwilliam Virginal Book, dedicated to William Byrd.- Recorded 19 &, 20 October 2011, Westvestkerk Schiedam (CD1), 26 May &, 1 June 2012, Doopsgezinde gemeente Dordrecht (CD2).- A great achievement of Pieter-Jan Belder, one of the most respected and frequently recorded keyboard (harpsichord, clavichord, virginal, organ, hammerklavier) players of today. His recordings of Bach, Rameau, CPE Bach and Scarlatti (complete Sonatas!) have met with great critical acclaim in the international press.- Belder plays a unique original Ruckers instrument from 1604, the details of which are described in the extensive liner notes in the booklet.- Includes detailed notes on the history of the Fitzwilliam Virginal Book and the 1604 virginal used in the recording, notes on William Byrd's contribution to the anthology, and an artist biography- Shop: odax
- Price: 11.65 EUR excl. shipping
