活页乐谱 $65.51

原文

Johann Jacob Froberger. Keyboard & Organ Works, Vol. 5. 2 - Works From Copied Sources. Polyphonic Works. Sheet Music. Harpsichord, Organ. HPCD. ORG. Johann Jacob Froberger.

译文

约翰·雅各布弗罗贝格尔. 键盘. 2 - 作品从复制的源. 复调作品. 乐谱. Harpsichord, Organ. 湖北省交通厅. ORG. 约翰·雅各布弗罗贝格尔.

原文

At the cutting edge of scholarship. Detailed explanatory notes. Johann Jacob Froberger , who lived from 1617 to 1667, developed a style of composition representing a synthesis of Italian, French and English influences, thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music. The text to each volume of the complete edition of Froberger ’s Organ and Keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques. Also, information on performance practice, on instruments of the time and on ornamentation is included, as well as details on Froberger ’s biography. Volume V.2, like the previously published volume V.1, contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity, new readings and two appendices containing works of doubtful authenticity and spurious arrangements.

译文

At the cutting edge of scholarship. Detailed explanatory notes. Johann Jacob Froberger , who lived from 1617 to 1667, developed a style of composition representing a synthesis of Italian, French and English influences, thereby setting new standards at that time. Only Jan Peterszoon Sweelinck can match Froberger in terms of significance for 17th century keyboard music. The text to each volume of the complete edition of Froberger ’s Organ and Keyboard music is published in German and English comprising a critical commentary as well as a detailed foreword explaining the scope and subdivision of the edition and the editorial techniques. Also, information on performance practice, on instruments of the time and on ornamentation is included, as well as details on Froberger ’s biography. Volume V.2, like the previously published volume V.1, contains the musical text from an anonymous 17th century copy which was returned to the Berlin Singakademie from Kiev in 2001. It is divided into works of definitive authenticity, new readings and two appendices containing works of doubtful authenticity and spurious arrangements.