Harry Joelson

From the series: Aurea Amadeus, No. 335.

From the series: Aurea Amadeus, No. 332.

From the series: Aurea Amadeus, No. 333.

The sonatas bubble with musicality: they are witty and easy to perform. They were admired 'throughout the kingdom' and placed on an equal footing with those of Corelli. The pieces were 'even played as...

The publication and frequent performance of the Trii led the composer to 'the first rank of his profession'. The fugues are artfully arranged, the airs original and elegantly conceived.

The trio sonatas were best sellers in their day. The witty pieces were (according to Burney) 'acquired, performed and admired longer than any publications of this kind in the kingdom'.

The list of 487 subscribers to the first printing of 1747 testifies to the esteem in which Boyce was held; it reflects the expectations that were placed in the high quality of these masterpieces - and...

From the series: Aurea Amadeus, No. 336.

Edited after the first printing.

In their passionate character, the pieces are reminiscent of Schumann's Novelletten, while the dreamy vocal parts appear wrapped in an arabesque robe of Chopinian delicacy. Everything has something qu...

The 'newer' masters, into whose works he wants to introduce with his studies, are first and foremost Schumann, Brahms and Wagner. The echoes are audible and it is a pleasure to trace the sources of in...

In Vivaldi's only two-trumpet concerto, which radiates festive splendor, he shows all the tricks of the trade in order not to let the lack of notes (only eleven were available at the time) become noti...

In Vivaldi's only two-trumpet concerto, which radiates festive splendor, he shows all the tricks to make the lack of tones (only eleven were available at the time) imperceptible: imitation, thirds sta...