Georg Philipp Telemann : Partitions moyen

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'har...

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'har...

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'har...

Right at the beginning of the overture, Telemann comes up with a surprising idea. After the -'bare' entry of the wind section, the string tutti do not join in the playing until the third bar. The 'har...

Was mit Affettuoso und 'Vivace' und mit einem 'Grave' als 3. Satz dem Formplan der Sonata da chiesa folgt, deklariert sich in dem abschließenden 'Me-nuett und Trio' als reizvolles Werk einer Übergangs...

Ausgabe für Horn und Klavier.

extrait de la cantate pour le cycle annuel "Musicalisches Lob Gottes in der Gemeine des Herrn"

Telemann's work in Sorau as music director in the court of Count Erdmann von Promnitz and the trips involved as far as Cracow put him in touch with Polish folk music. One example of his artistic exami...

Telemann's work in Sorau as music director in the court of Count Erdmann von Promnitz and the trips involved as far as Cracow put him in touch with Polish folk music. One example of his artistic exami...

Telemann's work in Sorau as music director in the court of Count Erdmann von Promnitz and the trips involved as far as Cracow put him in touch with Polish folk music. One example of his artistic exami...

Telemann's work in Sorau as music director in the court of Count Erdmann von Promnitz and the trips involved as far as Cracow put him in touch with Polish folk music. One example of his artistic exami...