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原文

Reminiscences. Hans-Martin Linde. Recorder sheet music.

译文

回忆. 汉斯 - 马丁·林德. 录音机乐谱.

原文

Reminiscences. for Recorder Quartet. Composed by Hans-Martin Linde. 1930-. For Recorder Quartet. Originalmusik fur Blockflote. Recorder Library. Score and Parts. 43 pages. Schott Music #OFB202. Published by Schott Music. HL.49011310. Hans-Martin Linde. 1930. is not only one of the best-known recorder players of the twentieth Century, but has enriched the contemporary recorder repertoire with significant works for concert performance and tuition purposes. The composition Reminiscences for Quartet, for the unusual and delightful-sounding combination A. treble. B, uses musical themes from the 15th to 17th Centuries. from a “Prélude à l'imitation” by Froberger, a melody by Claudio Saraceni “Da te parto”, themes from keyboard sonatas by Domenico Scarlatti, the Chanson “Adieu, mes très belles” by Binchois and a ground bass from Purcell's harpsichord collection “Musik's Handmaid”. The composer writes. “In many of my compositions a meeting takes place between old and new. In this Suite, too, present events unfold against the background of the past. Models from early music are mirrored in the present.

译文

回忆. 为记录仪四方. 由汉斯 - 马丁·林德组成. 1930 - . 对于录音四方. Originalmusik毛皮Blockflote. 录音机库. 得分和零件. 43页. Schott Music #OFB202. 出版肖特音乐. HL.49011310. 汉斯 - 马丁·林德. 1930. is not only one of the best-known recorder players of the twentieth Century, but has enriched the contemporary recorder repertoire with significant works for concert performance and tuition purposes. The composition Reminiscences for Quartet, for the unusual and delightful-sounding combination A. 三重. B, uses musical themes from the 15th to 17th Centuries. from a “Prélude à l'imitation” by Froberger, a melody by Claudio Saraceni “Da te parto”, themes from keyboard sonatas by Domenico Scarlatti, the Chanson “Adieu, mes très belles” by Binchois and a ground bass from Purcell's harpsichord collection “Musik's Handmaid”. 作曲家写. “In many of my compositions a meeting takes place between old and new. In this Suite, too, present events unfold against the background of the past. Models from early music are mirrored in the present.