Muzio Clementi (1752?1832) was a famed composer, pianist, pedagogue, conductor, music publisher, editor, and piano manufacturer. Although born in Italy, he spent most of his life in England. In his time, he was known as "the father of the pianoforte," "father of modern piano technique," and "father of Romantic pianistic virtuosity." This is Volume 1 of Clementi's Sonatas and includes: Opus 2, No. 1 in C major * Opus 12, No. 1 in B-flat major * Opus 26, No. 2 in F-sharp minor * Opus 26, No. 3 in D major * Opus 34, No. 1 in C major * Opus 36, No. 1 in A major * Opus 36, No. 2 in F major.

The Anthology of Baroque Keyboard Music is paired with the DVD Performance Practices in Baroque Keyboard Music for a comprehensive look at the literature and performing conventions of the Baroque era. The comb binding creates a lay-flat book that is perfect for study and performance. On the DVD, Dr. Hinson performs music from the Anthology, and relates invaluable information on basic touches, articulations, dynamics and ornamentation that will help the performer create a more historically-informed performance. Also on this DVD is a lecture on the history of Baroque dance and the relationship between dance and music, with nine of the most popular court dances performed to Dr. Hinson's keyboard accompaniment by dancers in Baroque costume.

(E.B. Marks). 51 songs, including music from Casino Paradise, Dynamite Tonite, Greatshot, The Wind in the Willows, Ancient Cabaret, Minicabs, Songs to Dance, and songs not from a show, set, or cycle ("Lime Jello Marshmallow Cottage Cheese Surprise" and more). With notes on the songs, manuscript facsimiles, and composer comments. Includes several first editions and first-time transpositions. There are different songlists for the High Voice and Medium/Low Voice editions.

Three volumes in the acclaimed Notes On series about the life and key works of the world's greatest composers.

This new collection of Albéniz's piano gems joins the composer's Ibéria and España, the classic Dover edition already in its ninth printing. Here is a new gathering of brilliant keyboard music steeped in the lyric and rhythmic spirit of Spain. Contents: Suite española; Six spanish dances; The seasons; Rapsodia española and Rapsodia cubana; Mallorca; Zortzico (Basque Dance); the Third Suite Antigua (Minuetto and Gavotta); and the brilliant La Vega. Dover Original compilation of authoritative early editions.

This ambitious study offers a panoramic survey of musical thought in the eighteenth century and, at the same time, a close analysis of the important theoretical topics of the period. The result is the most comprehensive account ever given of the theory behind the music of late Baroque and early Classical composers from Bach to Beethoven. While giving preeminent theorists their due, Joel Lester also examines the works of over one hundred eighteenth- and seventeenth-century writers to show how prominent theories were received and applied in actual teaching situations. Beginning with the influence of Zarlino and seventeenth-century theorists, Lester goes on to focus on central traditions emerging from definitive works in the early eighteenth century: species counterpoint in the writings of Fux; thoroughbass as presented by Niedt and Heinichen; Rameau's harmonic theories and Mattheson's views on melodic structure. The author traces the development and interactions of these traditions over the remainder of the century, through the writings of Albrechtsberger, C. P. E. Bach, Kirnberger, Koch, Marpurg, Martini, Nichelmann, Riepel, and many others. This historical overview is leavened throughout with accounts of individual composers grappling with theoretical issues - Haydn's careful study of Fux's treatise, Mozart's instructions on harmony to his composition students, Beethoven's own student exercises. The links between various theoretical traditions, the pervasive influence of Rameau's harmonic thinking, and the harmonic theories of Koch are just some of the numerous topics given their first full treatment here. Many of the theorists Lester cites are either unknown or often misunderstoodtoday. By bringing their contributions to light and placing them within the context of theoretical tradition, Lester offers a fresh perspective, one that will inform and enhance any future study of this magnificent era in Western music.

This is truly beautiful music ideal for weddings, church services or a recital to demonstrate lyrical playing. The key has been altered from the original to allow for easier performance. The range is very limited which allows for maximum musicality and beauty of sound to be brought forward.