{"title":"THIS MONTH'S SELECTIONS","description":"\u003cp\u003eThese titles will be available for members to download from September 22 to October 21. \u003c\/p\u003e","products":[{"product_id":"bach-j-s-8-sonatas-for-diverse-instruments-the-aulos-ensemble","title":"BACH: 8 SONATAS FOR DIVERSE INSTRUMENTS - The Aulos Ensemble","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48441139167540,"sku":"196626781628","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkc161b168-aaa9-43bb-940a-839b4e829d1c-LARGE_850e2793-5a65-4e7c-b456-bbe841a981fb.jpg?v=1737676714"},{"product_id":"chopin-ballade-nocturne-etudes-op-10-scherzo-in-b-flat-minor-cecile-licad","title":"Chopin: Ballade, Nocturne, Etudes, Op. 10 \u0026 Scherzo in B-Flat Minor - Cecile Licad","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48449517682996,"sku":"884385533526","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/cecilelicadchopin_3.jpg?v=1790080016"},{"product_id":"german-baroque-violin-concertos-heinchen-pisendel-handel-fasch-roman-totenberg-vienna-chamber-orchestra","title":"German Baroque Violin Concertos (Heinchen, Pisendel, Handel, Fasch) - Roman Totenberg, Vienna Chamber Orchestra","description":"\u003cp\u003e\u003cimg\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48449713504564,"sku":"196925064163","price":9.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworka333ee60-fe63-4633-86c9-9d530b2907b9.jpg?v=1773257011"},{"product_id":"haydn-the-london-symphonies-symphonies-93-104-vienna-chamber-orchestra-ernst-marzendorfer","title":"HAYDN: THE \"LONDON\" SYMPHONIES (Symphonies 93-104) - Vienna Chamber Orchestra, Ernst Märzendorfer","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48457662660916,"sku":"196006301873","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworka05d0fea-5584-435b-b370-514377722d13-LARGE_51eaed5d-52e1-4649-8288-63f1fe5dc2f1.jpg?v=1738792855"},{"product_id":"purcell-excerpts-from-the-fairy-queen-odes-and-elegies-for-queen-mary-new-york-ensemble-for-early-musics-grande-bande-frederick-renz","title":"Purcell: Excerpts from The Fairy Queen; Odes and Elegies for Queen Mary - New York Ensemble for Early Music's Grande Bande, Frederick Renz","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48459296440628,"sku":"016126018829","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork5c7c63c6-1d27-4562-a21e-3e2337dc4117-LARGE_aac25275-1dd9-445c-a9da-e7983bfe805e.jpg?v=1738856000"},{"product_id":"telemann-ouverture-suite-don-quixote-concertos-for-oboe-viola-and-flute-orchestra-of-st-lukes","title":"Telemann: Ouverture-Suite \"Don Quixote\", Concertos for Oboe, Viola and Flute - Orchestra of St. Luke's","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48470276931892,"sku":"884385538125","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork1c314575-f29e-4882-9d02-5725b539851a-LARGE_3d2e1e7a-8ad6-4ce4-aa9b-a228bc100691.jpg?v=1739550554"},{"product_id":"haydn-complete-keyboard-music-vol-10-artur-balsam","title":"Haydn: Complete Keyboard Music, Vol. 10 - Artur Balsam","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48536563220788,"sku":"196006398354","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkd4a75d70-34d9-41fa-b3e3-f90e7efe5752-LARGE_b1b0544a-44d3-4e69-ac63-4e41c666fe46.jpg?v=1749141518"},{"product_id":"stamitz-orchestral-quartets-vienna-chamber-orchestra","title":"Stamitz: Orchestral Quartets - Vienna Chamber Orchestra","description":"\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e\"Stamitz climbed gradually -- following a dramatic plan not drawn up by every \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eKapellmeister\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e -- from the ears into the heart, as though from Allegros into Adagios; this great composer sweeps in narrower and narrower circles about the breast that holds a heart until he finally reaches it and in ecstasy embraces it. . . With silent tears whose flowing no one saw, Horion abandoned his battered heart to the lofty Adagios, which spread themselves with warm eider-down wings over all his wounds.\" With these words, the novelist Jean Paul described a \"Garden Concert by Stamitz,\" which he attended in August, 1792, although the quotation is from a chapter of his novel \"Hesperus,\" which he was writing at the time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eAnother, pithier, and somewhat less flattering picture of Karl Stamitz, and his younger brother Anton, was written by Mozart to his father on July 9, 1778: \"Of the two Stamitz brothers, only the younger one is here, the elder (the real composer à la Hafeneder*) is in London. They indeed are two wretched scribblers, gamblers, swillers and adulterers -- not the kind of people for me.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48869882757428,"sku":"024791e0-309b-4e54-88ca-447e3e72fa55","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkd5e9a31d-09b0-4913-b6ba-dea35570cfb7-LARGE.jpg?v=1770842287"},{"product_id":"graun-graupner-pez-baroque-wind-concertos","title":"Baroque Concertos for Wind Instruments (Graun, Graupner, Pez) - Austrian Tonkunstler Orchestra","description":"\u003cp\u003eHILDE LANGFORT, harpsichord \u003cbr\u003eAUSTRIAN T0NKUENSTLER ORCHESTRA, VIENNA \u003cbr\u003eZLATKO TOPOLSKI, conductor\u003c\/p\u003e\n\u003cp\u003eHANS MARIA KNEIHS \u0026amp;\u003cbr\u003eELISABETH TONCOURT, recorders\u003c\/p\u003e\n\u003cp\u003eALFRED HERTEL, oboe d'amore \u003c\/p\u003e\n\u003cp\u003eHERMANN STIEDL, bassoon\u003c\/p\u003e\n\u003cp\u003eThe three baroque concertos recorded here have one thing in common: in all of them, the solo instruments are pitted against an orchestral body. \u003cbr\u003e  \u003cbr\u003eThe oldest of the three concertos is the one by Johann Christoph Pez (or Petz), who was probably a pupil of Kerll. He was employed as singer and violinist successively at St. Peter's, Munich (the city of his birth), Liege, Bonn, and Stuttgart. In Stuttgart he finally became Court Conductor to the Duke of Wurttemberg, and it was in this city that he died. \u003c\/p\u003e\n\u003cp\u003eHis F major Concerto is still in the old style. Though concertante elements alternate with orchestral ones in the usual concerto manner, structurally the seven movements point to the suite form rather than to that of the concerto. The large Passacaglia near the end is a formal device which was especially dear to Couperin. The performance recorded here is based on the edition of the original score first printed in the Denkmaler der Tonkunst in Bavaria in 1928.\u003c\/p\u003e\n\u003cp\u003eThe Graun concerto, later in date, is in the regular three-movement concerto form. Johann  Gottlieb  Graun   studied  the   violin first with Pisendel and later in Italy with Tartini. His first post was as a violinist in the Dresden Court Orchestra. Later he became concertmaster at Merseburg, where he was the teacher of Wilhelm Friedemann Bach. Finally he went to Berlin, and he stayed there till his death, filling the post of conductor of Frederick the Great' s Royal Orchestra. Graun's two brothers, August Friedrich and Karl Heinrich, were also well-known composers. This recording of his D major Concerto is based on the instrumental parts in the Library of the Swedish Music Academy. \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48880804692276,"sku":"a8240101-2c70-4a34-854a-dff075510631","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork985e0378-78ff-44df-994b-fc0aa7b28cc1.jpg?v=1770394249"},{"product_id":"schoenberg-string-quartet-no-1-in-d-minor-op-7","title":"Schoenberg: String Quartet No. 1 in D Minor, Op. 7 - Mendelssohn String Quartet","description":"\u003cp\u003eString Quartet No. 1 In D Minor, Op. 7    \u003cbr\u003e1        Nicht Zu Rasch    12:47\u003cbr\u003e2        Kräftig    12:19\u003cbr\u003e3        Massig Langsam Viertel    12:48\u003cbr\u003e4        Massig Heiter    8:46\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eFew composers have had as great an influence on the course of musical development as Arnold Schoenberg. In retrospect, Schoenberg's compositions follow a logical evolution in Western music. Both the final step away from the traditional system of tonality in 1907 and the first ordering of this new \"atonality\" into the 12-tone method were revolutionary concepts which had a tremendous impact not only on his own disciples, Webern and Berg, but on the entire musical community from the turn of the century to the present.\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA direction-ltr align-justify para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eIn 1874, Arnold Schoenberg was born into a musical world where traditional coordinates of structure and harmony were being stretched to their limits. Schoenberg's rejection of tonality, heard for the first time in the final movements of his Second String Quartet, was an extraordinary act which he significantly called \"the emancipation of dissonance.\"\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48916561592628,"sku":"199806280539","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork997e4270-db8b-430c-bf25-491b5d619584-LARGE_2280b7ad-5543-4ed2-9d76-b4f330696338.jpg?v=1760296602"},{"product_id":"dvorak-mendelssohn-works-for-string-quartet-mendelssohn-string-quartet","title":"Dvorak \u0026 Mendelssohn: Works for String Quartet - Mendelssohn String Quartet","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48916587708724,"sku":"0ffbc15a-f6af-47de-9448-19cba3d8d0ff","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork4c561482-9cbc-4476-8cf2-88433a269c29-LARGE_67104f68-57d8-4abf-8ec2-1c52536d71a8.jpg?v=1760302277"},{"product_id":"janacek-the-two-string-quartets","title":"Janáček: The Two String Quartets - The New World String Quartet","description":"\u003cp\u003eLeos Janacek was a man born too soon. Success did not come to him until late in life; the majority of his best music was written after his 60th year. As a young man, his musical studies were hampered by a constant lack of funds. He had no money to buy study scores or attend concerts, or even for a practice piano. Even in matters of the heart, Janacek had to wait long to find his soul mate. At age 27, he married a young piano pupil, Zdenka Schulzova, but the union soured almost immediately and remained stormy for the rest of their lives. Janacek's true love would not even be born until 11 years after his wedding. His musical instinct, too, was ahead of his time. Much of his earlier music met with little success, partly because Janacek tried to force his 20th-century sensibilities into 19th-century molds.\u003c\/p\u003e\n\u003cp\u003eAll that began to change in 1915 when, after years of struggle and behind-the-scenes machinations on his behalf, his opera Jenufa was finally accepted by the Prague National Opera. The premiere was a success and Janacek, now in his 60s, was encouraged to begin the creative outpouring which would last the rest of his life and result in his best music, including the two String Quartets. But while his new and rapidly expanding success provided the outlet for his music to be heard, the fuel for this astonishing creative explosion came from an altogether different source: Janacek fell in love. \u003c\/p\u003e\n\u003cp\u003eString Quartet No. 1 \u003cbr\u003e(after Tolstoy's The Kreutzer Sonata), 1923 \u003cbr\u003e[1] First Movement: Adagio: Con moto \u003cbr\u003e[2] Second Movement: Con moto \u003cbr\u003e[3] Third Movement: Con moto \u003cbr\u003e[4] Fourth Movement: Con moto \u003c\/p\u003e\n\u003cp\u003eString Quartet No. 2 (\"Intimate Letters\"), 1928\u003cbr\u003e[5] First Movement: Andante\u003cbr\u003e[6] Second Movement: Adagio \u003cbr\u003e[7] Third Movement: Moderato \u003cbr\u003e[8] Fourth Movement: Allegro\u003c\/p\u003e\n\u003cp\u003eThe New World String Quartet \u003cbr\u003eCurtis Macomber, Vahn Armstrong, Violins \u003cbr\u003eRobert Dan, Viola; \u003cbr\u003eRoss Harbaugh, Cello\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48966587384116,"sku":"199806151174","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/janaceksqcoverredo.jpg?v=1773324855"},{"product_id":"ars-perfecta-motets-by-josquin-despres-and-antoine-brumel","title":"Ars Perfecta: Motets by Josquin desPres and Antoine Brumel - Harvard Glee Club","description":"","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":48997191483700,"sku":"7480bb4a-8112-4195-8329-8f9e73a54824","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork6b6ca401-1928-4ebf-a199-2ea9aac2f5a8-LARGE_1e2b54b1-760c-4979-aa7c-e1f654dd0933.jpg?v=1768501067"},{"product_id":"marais-sonnerie-de-sainte-genevieve-suite-no-1-suite-no-4","title":"Marais: Sonnerie de Sainte Genevieve; Suite No. 1; Suite No. 4 - Nikolaus Harnoncourt, Alice Harnoncourt, Herbert Tachezi, Leopold Statsny","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49024741769524,"sku":"a7427876-e25f-4d38-be8f-59890fc3f4a8","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworke44130d0-90a8-4c95-9106-6a2dd403a76f-LARGE_6c971cad-8b8d-48ae-b34b-1be9c30de274.jpg?v=1769789936"},{"product_id":"masterpieces-of-20th-century-piano-music-schoenberg-berg-stravinsky","title":"Masterpieces of 20th Century Piano Music (Schoenberg, Webern, Berg, Stravinsky)","description":"","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49037754630452,"sku":"820200230515","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork4b7ffc2a-ce6a-49ee-bfa9-482f4b53cf7b.jpg?v=1784903680"},{"product_id":"mozart-the-complete-piano-sonatas-vol-5","title":"Mozart: The Complete Piano Sonatas, Vol. 5","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49046252126516,"sku":"820200314178","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork78782044-c43e-4567-9e75-2edc679bcb6d.jpg?v=1772480954"},{"product_id":"mozart-the-complete-piano-sonatas-vol-6","title":"Mozart: The Complete Piano Sonatas, Vol. 6","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49046253175092,"sku":"820200378927","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkc36af1ca-3b46-45cb-a0d8-b4e26cb27c52.jpg?v=1772480862"},{"product_id":"handel-organ-concertos-op-4-nos-1-4-hwv-289-292","title":"Handel: Organ Concertos, Op. 4, Nos. 1-4 HWV 289-292 - Munich Bach Consort, Werner Nutzel","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49170517885236,"sku":"b65d6a92-00eb-4c16-8392-088f8fa922f4","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworkd0f9bd3f-b5c9-4fd5-976c-afe577718926-LARGE.jpg?v=1782313583"},{"product_id":"bayley-a-new-royal-harmony-the-colonial-singers-and-players","title":"Bayley: A New Royal Harmony - The Colonial Singers and Players","description":"\u003cp\u003eDaniel Bayley (1725?-1792?) of Newburyport, Massachusetts, was a potter, music publisher and organist. A New Royal Harmony was the second of two books of anthems and psalm tunes that he published in 1773. Discovered in a barn in the 1930's, A New Royal Harmony survives in only one square-shaped copy at the Library of Congress, and among its twelve anthems and six psalm or hymn tunes (not all presented on this recording) there are several compositions not found in any other eighteenth century American tune books. Perhaps the most startling of these unique pieces are the anthems \"bow thine ear O Lord\" and \"We will rejoice in thy salvation\" by English Renaissance composer William Byrd and eighteenth century English cathedral composer William Croft, respectively. Like other American compilers, Bayley drew on several English publications for most of the music in A New Royal Harmony and added a few compositions by Americans. In general, however, his book displays a more sophisticated harmonic and contrapuntal technique than is found in other eighteenth century American compilations, and A New Royal Harmony must be considered an anthology of Anglo-American parish church and cathedral music for choirs with advanced skills.\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49190196904244,"sku":"539b69e3-5030-42c1-8467-34bad779ae7d","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworke950c001-159b-432d-a500-686e85722549-LARGE.jpg?v=1783958591"},{"product_id":"virtuoso-chamber-music-from-17th-century-italy","title":"Virtuoso Chamber Music from 17th Century Italy","description":"\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eBartolomeo Montalbano (ca. 1600-1651) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e1. Sintonia Quarta for Solo Violin and Basso Continuo (\"Geloso\") \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Sinf\u003c\/span\u003e\u003cspan\u003eonie ad uno, e doi violini, a doi, e trombone, con il partimento per l'organo,\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003econ alcune a quattro viole, Palermo, 1629) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eDomenico Gabrielli (1651-1690) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e2. Ricercar VII for Solo Violoncello \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eDario Castello (fl. early 17th century) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e3. Sonata seconda for Solo Violin and Basso Continuo \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Sonate concertate in stil moderno per sonar nel organo overo spineta con diversi instrumenti...libro secondo, Venice, 1629) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e4. Sonata terza for Two Violins and Basso Continuo \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Sonate concertate in stil moderno...libro primo, Venice, 1621) \u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e5. Sonata nona for Two Violins, Bassoon and Basso Continuo \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Sonate concertate in stil moderno..libro primo, Venice, 1621) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eBiagio Marini (ca. 1587-1663) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e6\u003c\/span\u003e\u003cspan\u003e. Sonata for Violin, Violoncello and Basso Continuo \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Per \u003c\/span\u003e\u003cspan\u003eogni sorte di strumento musicale diversi generi di sonate, da chiesa. e da camerz Venice, 1655)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e7\u003c\/span\u003e\u003cspan\u003e. Sonata sopra fuggi dolente cor for Two Violins and Basso Continuo \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Per ogni sorte di strumento musicale diversi generi di sonate, da chiesa. e ca a-: Venice, 1655) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eGiovanni Antonio Bertoli (fl. ca. 1639-1645) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e8\u003c\/span\u003e\u003cspan\u003e. Sonata prima for Bassoon and Basso Continuo \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Compositioni musicali..fatte per sonare col fagotto solo, Venice. 1645) \u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv\u003e\n\u003cspan\u003e\u003c\/span\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eGiovanni Battista Fontata (d. ca. 1630) \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e9. Sonata terza for Solo Violin and Basso Continuo \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Sonate a 1. 2. 3. per il v\u003c\/span\u003e\u003cspan\u003eiolino,\u003c\/span\u003e\u003cspan\u003e o cornetto, fagotto, chitarone, violoncino o\u003c\/span\u003e\u003cspan\u003e similie altro istromento, Venice, 1641)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e10\u003c\/span\u003e\u003cspan\u003e. Sonata nona for Violin, Bassoon and Basso Continuo \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003e(from Sonate a 1. 2. 3. per il violino, \u003c\/span\u003e\u003cspan\u003eo cornetto, fag\u003c\/span\u003e\u003cspan\u003eotto, chitarone. violoncino o similie altro istromento, Venice, 1641)\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp\u003e\u003cspan\u003eTuning: Meantone Temperament: a'= 415\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eMembers of the\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-center para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eTafeimusik Baroque Orchestra:\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-start para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eJean Lamon. Violin (Gio. Paoio Maggini, ca. 1610. restored to original specifications by W. Bouman, The Haque 1975)\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-start para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eChristina Mahler, Violoncello (Anon Florentine instrument. ca. 1800. in original condition)\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-start para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eCharlotte Nediger. Harpsichord (Willard Martin, Bethlehem, PA, 1980: copy of an early 18th-century French single manual harpsichord,\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-start para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eMarc Destrubé, Violin (Georg Kioz ca. 1790. restored to original specifications by Denis Cormier, 1979)\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-start para-style-body\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eSusan Graves. Bassoon (After J.C. Denner by B. Stanley and G.L. Jones)\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49248010731828,"sku":"434d5885-1e43-4b3f-bcee-a21a1d9e927f","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork3347c4ea-f037-4ad6-87f1-0040dc592406-LARGE.jpg?v=1786894672"},{"product_id":"variations-on-rule-britannia-and-other-piano-music-from-early-19th-century-england","title":"Variations on \"Rule Britannia\" and Other Piano Music from Early 19th Century England","description":"\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eEarly 19\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none font-size-modifier vertical-align\"\u003eth\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e century London attracted a host of stellar pianist composers from the Continent -- Clementi, Dussek, Cramer, Hummel, Moscheles, Ries, Kalkbrenner -- many of whom remained as residents.\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eToday these names turn up more frequently in history books than on concert programs. By a quirk of fate their life spans coincided with the decline of the sonata and a shift in musical fashions, as result of the electrifying bravura of Paganini, to more exhibitionistic forms, paraphrases, potpourris, variations, and operatic fantasies. Hummel's music, in fact, was already becoming passé in his lifetime. \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eLa Revue Musicale\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e in l831 observed \"The concerts of Monsieur Hummel were not at all productive this year, all attention was fixed on Pağanini.\" The music of these preromantics, slowly making its way back into the active repertoire, is currently being rediscovered and appreciated as much more than just the \"missing link\" between the classical and romantic periods.\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eThe catchy Varitions on \"Rule Britannia,\" a composite work by Moscheles. Cramer, Hummel, and Kalkbrenner, was probably composed in 1830 during Hummel's April-August tour in Egland. Using the well-known theme written by Thomas Arne in 1740, each of the composers contributed a variation,\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003esuch\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003ejoint\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eventures\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003ebeing\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003enot uncommon in that era. (The Hexameron by Liszt, Thalberg, Pixis, Herz. Czerny, and Chopin is another example.) The result was a set of alternately spirited, expressive, and glittering variations, very characteristic of their individual composers: Moscheles' \"Maestoso\" reminiscent of Beethoven, Cramer’s \"Marziale\" sparkling though fussy, Hummel's distinguished by its arching melodic line and expressive passagework, and Kalkbrenner's the showiest and most extroverted of all.\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49266144313652,"sku":"2ef53249-6537-437d-abec-110b2dcb1344","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork6224de72-5586-401d-8589-a22f56880720-LARGE.jpg?v=1787530924"},{"product_id":"17th-century-italian-trombone-sonatas","title":"17th Century Italian Trombone Sonatas - Ronald Borror","description":null,"brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49266159190324,"sku":"1c34765a-8720-4383-be97-67443e18c096","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork7f78314f-23c1-41be-9045-bececb10c0ee-LARGE.jpg?v=1787534615"},{"product_id":"haydn-the-complete-sonatas-for-piano-with-violin","title":"Haydn: The Complete Sonatas for Piano with Violin - Şahan Arzruni \u0026 Anahid Ajemian","description":"\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e is intriguing that this album is the first complete recording of Haydn's piano-violin sonatas. Until recently, duo sonatas, as conceived by violinists, were considered to be vehicles to show off fiddlers' virtuosic abilities. In many instances, the piano part was treated as secondary in importance, and performances were tailored to favor the stringed instrumentalist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eHowever, there was a time when the roles were reversed, the keyboard instrument taking the lead and the violin playing a subordinate part. The accompanied keyboard sonata was a phenomenon peculiar to the Classic period The expression itself was first used by Charles Avison in 1764. Subsequently, this genre became one of the standard settings of that time, and was particularly popular between 1760 and 1785, when it was used by virtually every major composer, including Bocherini, Clementi, Haydn and Mozart. William S. Newman, in his exhaustive work, \u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eA history of the Sonata Idea\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003e, traces the emergence and development of this genre with great insight.\u003c\/span\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e \u003c\/p\u003e\n\u003cp class=\"cvGsUA block-font-kerning-normal block-font-feature-liga-off block-font-feature-clig-off block-font-feature-calt-off direction-ltr align-justify\"\u003e\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"\u003eReports of harpsichordists “accompanied\" by violinists go back as far as the 1730s. In all likelihood, the term referred either to settings in which the violin imply doubled the keyboard line or applied to a situation where the keyboard player realized the thorough bass merely by playing one of the upper parts of a trio sonata with his right hand while the violinist played the other. Perhaps, the violin was used to complement the transparent keyboard texture of the light, elegant gallant style and then, again, it may have been to provide a musical line simple and unexposed enough for the dilettante violinist to play when he wanted to join in. Apropos of the preceding, it is highly amusing to read an advertisement in the Wiener-Zeitung in 1789: \"Wanted by nobleman a servant who plays the violin well and is able to accompany difficult piano sonatas.\" One wonders who was in need of whom!\u003cspan class=\"a_GcMg font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none white-space-prewrap\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49272694440244,"sku":"197188445584","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artwork6ab1d5d4-89dd-4c6b-bbf9-e7d396a1e738-LARGE.jpg?v=1788189660"},{"product_id":"beethoven-string-trios-op-3-op-9-nos-1-3","title":"Beethoven: String Trios, Op. 3 \u0026 Op. 9, Nos. 1-3","description":"\u003cp\u003eDuring the last decade of the eighteenth century, Ludwig van Beethoven, then in his 20's, channelled much of his creative energy into the composition of chamber music. Many of these works were designed for certainly unusual, if not categorically bizarre, combinations of instruments. As a result, most of these early chamber works are rarely heard and represent, along with the lieder, the least known aspect of Beethoven's oeuvre.\u003c\/p\u003e\n\u003cp\u003eWhat about those \"'weird' pieces, the Trio in C, Op. 87, and the Variations on \"La ci darem la mano'\" for two oboes and English horn, for example? Those two compositions, written in the mid-1790's. were probably designed specifically for the Teimer brothers who ranked among Europe's finest wind players at the time. Particular pieces for particular players--not an uncornmon motive for these early chamber works. That Beethoven did not consider the instrumentation to be fixed like stars in the heavens is indicated by his authorization of transcriptions of the C Major Trio for two violins and viola and also for piano and violin, retitled Sonata, though in this last incarnation it is not included in the canon of the Violin Sonatas.\u003c\/p\u003e\n\u003cp\u003eChamber music in Vienna, in fact throughout Europe, was in a state of flux in the 1790's. The Trio Sonata so dear to Bach, Handel, and Corelli three quarters of a century before was now an extinct animal, a musical woolly mammoth. So, too, had the figured basso continuo disappeared, replaced by fully written out, independent keyboard parts or done away with altogether. Haydn and Mozart, and to a certain degree Boccherini, had developed the string quartet into an established art form--an enduring one at that, but the other chamber music forms, at least as far as instrumentation was concerned, were far from settled. Always a gallant experimenter and certainly influenced by the needs of specific musicians, Beethoven played an important role in the determination of the instrumental combinations that were to become 'standard''--in the final analysis the string quartet and the so-called piano trio (piano, violin, and 'cello). Beethoven, of course, was not the sole arbiter, but the influence of his compositions was weighty and reinforced the standardizing trend begun, in essence, by Haydn and Mozart with the publication of their quartets and piano trios. \u003c\/p\u003e","brand":"The Musical Heritage Society","offers":[{"title":"Default Title","offer_id":49285263982900,"sku":"9ca0fe5f-97da-4035-8ee7-8abf86fe2db6","price":9.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/files\/artworka2d9295b-65e7-4a9e-8509-92b99ef00db0-LARGE.jpg?v=1789131873"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/5740\/5748\/collections\/mhs_square_logo_invisible_1__png.png?v=1790089100","url":"https:\/\/themusicalheritagesociety.com\/collections\/selections-sep-oct-2026.oembed","provider":"The Musical Heritage Society","version":"1.0","type":"link"}