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Instrumental works were first sorted by category, instrumentation and key (beginning with C Major), and then assigned sequential numbers. For example, Vivaldi's celebrated Four Seasons, made up of four violin concertos (not sequentially numbered because they are in different keys), and his famous lute concerto are named and numbered as follows:
Lost – mentioned in Vivaldi's autograph thematic catalog Concerto: Violin, strings: A major: 744: Fragment, end of first and second movements only Concerto: Violin ...
Violin Concerto/Fantasiestück Opus 152 (published by Forberg, 1870s, before 1876) (Koninklijke Bibliotheek of the Hague, University of Rochester Voyager Catalog Archived 2002-09-13 at the Wayback Machine which notes that it is dedicated to Eugène Ysaÿe)
violin, cello and piano: lost; formerly Op. 13/1 26 – 1871–72: Klavírní trio: Piano Trio: violin, cello and piano: lost; formerly Op. 13/2 27: 30: 1872: Dědicové bilé hory: The Heirs of the White Mountain: chorus and orchestra: secular cantata after a poem by Vítězslav Hálek; revised in 1880, B. 102 and in 1883, B. 134; formerly Op ...
item in IBM catalog: 12: Romance: for violin and piano: Chamber Music: Duos for Violin and Piano: 1910: item in IBM catalog: 13: Concerto: for violin and piano: Chamber Music: Duos for Violin and Piano: 1910: item in IBM catalog: 14: Two Little Songs in the Folk Tone: Vocal Music: Works for Solo Voice and Piano: 25 April 1910: item in IBM ...
The 'Violin Sonatas', KV 10–15, are unique in that they include an ad lib. cello part along with the score for violin and keyboard. The Neue Mozart-Ausgabe (1966) therefore includes them along with the other keyboard trios, although the Köchel catalogue (K 6 , 1964) lists them as normal violin sonatas.
A violin made in 1714 by the legendary luthier Antonio Stradivari sold for $11.3 million at an auction in New York on Friday, short of estimates that would have made it the most expensive ...
Bartók assigned opus numbers to his works three times. He ended this practice with the Violin Sonata No. 1, Op. 21 in 1921, because of the difficulty of distinguishing between original works and ethnographic arrangements, and between major and minor works. Since his death, three attempts—two full and one partial—have been made at cataloguing.
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