Lute music from Terzi's 2 compilations, originally published 1593 and 1599. Includes original works, and intabulations of works by other composers.

This book approaches opera fantasias – instrumental works that use themes from a single opera as the body of their virtuosic and flamboyant material – both historically and theoretically, concentrating on compositions for and by woodwind-instrument performers in Italy in the nineteenth century. Important overlapping strands include the concept of virtuosity and its gradual demonization, the strong gendered overtones of individual woodwind instruments and of virtuosity, the distinct Italian context of these fantasias, the presentation and alteration of opera narratives in opera fantasias, and the technical and social development of woodwind instruments. Like opera itself, the opera fantasia is a popular art form, stylistically predictable yet formally flexible, based heavily on past operatic tradition and prefabricated materials. Through archival research in Italy, theoretical analysis, and exploration of European cultural contexts, this book clarifies a genre that has been consciously stifled and societal resonances that still impact music reception and performance today.

Over 20 of the composer's best-loved, most often performed compositions, including the Toccata and Fugue in D minor, BWV 565; Passacaglia and Fugue in C minor, BWV 582; the Fugue in B minor on a theme of Corelli, BWV 579, and many more. Reproduced directly from the authoritative Bach-Gesellschaft edition.

These paperback editions makes Peter Williams's influential scholarship available to a wider field of readers, including those with an interest in the ever-expanding discussions of original instrumentation and its implications for modern performance. Professor Williams examines Bach's organ works piece-by-piece, reconstructing for the present-day performer and listener the original context of the work. Form and style are analysed, with abundant musical examples and frequent allusions to the views of other commentators. Each volume contains a preface, calendar, lists of musical sources and references, and an index.

Here are 25 Ricercars and Fantasias from the Renaissance composed by Francesco da Milano, known as "Il Divino" transcribed for the baritone ukulele, Renaissance guitar, low G ukelele and many other four course instruments. Of course, they may all be played on the guitar.

Transcribed from facsimilies of the original manuscript for guitar and ukulele here are three songs and six Fantasias from Renaissance Spain for the intermediate to advanced player. Although Miguel de Fuenllana wrote primarilly for the six course vihuella, the composer specifically included these nine pieces written specifically for the Renaissance four course guitar. These are beautiful pieces which may be played on either the guitar or ukulele.

Here are Six Pavanes and Four Fantasias by Luis Milan transcribed for the baritone ukulele. Most are also playable on the tenor and soprano ukulele and, of course, may be played on the guitar. The pieces are fairly easy and were composed to help you improve your skills as a performer and take you to the next level.

This collection of 36 Telemann fantasias features works of great artistic merit and only intermediate-level complexity. It forms a fine introduction to Baroque keyboard works. Authoritative Verlag von Martin Breslauer edition.