| |
arranjos para dois pianos de quatro mãos
Título por Autor: Goldberg Variations (Arrangement for Two Pianos Four Hands), BWV 988
Instrumentação |
Piano |
Composição para |
2 pianos, 4 mãos |
Tipo de composição |
Partitura piano |
chave |
Sol (G) maior |
Arrajador |
Josef Gabriel Rheinberger |
Editora |
F. Kistner |
dificuldade |
Advanced |
Gênero |
Clássico/Arranjo |
arranjos para dois pianos de quatro mãos
Título por Autor: Goldberg Variations, for Two Pianos Four Hands, BWV 988
Instrumentação |
Piano |
Composição para |
2 pianos, 4 mãos |
Tipo de composição |
Partitura completa |
chave |
Sol (G) maior |
Arrajador |
Josef Gabriel Rheinberger |
Editora |
F. Kistner |
dificuldade |
Advanced |
Gênero |
Clássico/Arranjo |
Arrangement for piano by C. Czerny
Título por Autor: Goldberg Variations (Arrangement for Piano by C. Czerny), BWV 988
Instrumentação |
Piano |
Composição para |
Solo |
Tipo de composição |
Partitura piano |
chave |
Sol (G) maior |
Arrajador |
Carl Czerny |
Editora |
C.F. Peters |
dificuldade |
Advanced |
arranjos para piano de quatro mãos
Título por Autor: Goldberg Variations (Arrangement for Piano Four Hands), BWV 988
Instrumentação |
Piano |
Composição para |
1 piano, 4 mãos |
Tipo de composição |
Partitura piano |
chave |
Sol (G) maior |
Arrajador |
Karel Eichler |
Editora |
Carl Grüninger |
dificuldade |
Advanced |
Gênero |
Clássico/Arranjo |
Arrangement for piano by F. Busoni
Título por Autor: Goldberg Variations (Arrangement for Piano by F. Busoni), BWV 988
Instrumentação |
Piano |
Composição para |
Solo |
Tipo de composição |
Partitura piano |
chave |
Sol (G) maior |
Arrajador |
Ferruccio Busoni |
Editora |
Breitkopf und Härtel |
dificuldade |
Advanced |
Arrangement for SATB saxophone quartet
Título por Autor: The Goldberg Variations (complete) arranged for SATB saxophone quartet, BWV 988
Instrumentação |
Saxophone alto, Saxofone Tenor, Saxofone Barítono, Saxofone soprano |
Composição para |
Quarteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Sol (G) maior |
movimento(s) |
1 para 32 de 32 |
Arrajador |
Paul Wehage |
Editora |
Musik Fabrik |
dificuldade |
Difficult |
duração |
75'0 |
Ano de composição |
1741 |
Gênero |
Clássico/Música de Câmara |
The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own.
The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet.
It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. Goldberg was indeed a student of C. P. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. S. Bach ».
In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form.. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising...
For flute trio – score, parts
Título por Autor: The Complete Goldberg Variations for flute trio, BWV 988
Instrumentação |
Flauta, Alto Flute, Flauta baixo |
Composição para |
Trio |
Tipo de composição |
Partitura completa, Partes |
Arrajador |
John Devitt |
Editora |
John Devitt |
dificuldade |
Advanced |
Ano de composição |
1741 |
Gênero |
Clássico/Música de Câmara |
The Goldberg Variations, BWV 988, is a work originally for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer. They form a pivotal point in Bach’s work, being the first in a series of more abstract, theoretically oriented works which are typical of the last ten years of his life and include the Canonische Variaties, the Musicalisches Opfer and Die Kunst der Fuge.
The tale of how the Goldberg variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel:[1]
[For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. … Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, such also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: 'Dear Goldberg, do play me one of my variations.' Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 louis-d'or. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for.
Forkel wrote his biography in 1802, more than 60 years after the events related, and its accuracy has been questioned. The lack of dedication on the title page also makes the tale of the commission unlikely. Goldberg's age at the time of publication (14 years) has also been cited as grounds for doubting Forkel's tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader. In a recent book-length study,[2]keyboardist and Bach scholar Peter Williams contends that the Forkel story is entirely spurious. (from Wikipedia http://en.wikipedia.org/wiki/Goldberg_Variations)
Having loved playing Bach's Sinfonias (three part inventions) together with two colleagues on three alto flutes, I was inspired to arrange this work for concert, alto and bass flutes. The original keys (G major & g minor) are maintained throughout. There’s no addition of either dynamics or articulation. It’s up to the performers to use their knowledge, insight and good taste in applying these.
Variation XIX, vocal score
Título por Autor: Vocalise Goldberg Variation XIX
Instrumentação |
Coro feminino: Soprano, Contratenor/Alto; Coro infantil: Soprano, Contratenor/Alto |
Composição para |
Trio, Coral |
Tipo de composição |
Partitura vocal |
chave |
Sol (G) maior |
movimento(s) |
1 para 1 de 1 |
Arrajador |
Joan Yakkey |
Lírico |
Joan Yakkey |
Editora |
Joan Yakkey |
idioma |
Inglês |
dificuldade |
Medium |
duração |
1'55 |
Ano de composição |
1993 |
Gênero |
Clássico/Arranjo |
This is a fun setting for 3 treble or female voices of J. S. Bach's nineteenth Goldberg Variation, originally written as part of a collection of Variations for Harpsichord. The arrangement is in the style of the Swingle Singers, a vocalise with invented text syllables. The piece can be performed a cappella or with a keyboard accompaniment (taken from the original Bach score of the Goldberg Variation).
para flauta e piano
Título por Autor: The Complete Goldberg Variations for flute and piano, BWV 988
Instrumentação |
Piano, Cravo, Flauta, Oboé, Violino |
Composição para |
Dueto |
Tipo de composição |
Partitura completa, Partes |
Arrajador |
John Devitt |
Editora |
John Devitt |
dificuldade |
Advanced |
Ano de composição |
1741 |
Gênero |
Clássico/Música de Câmara |
The Goldberg Variations, BWV 988, is a work originally for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer. They form a pivotal point in Bach’s work, being the first in a series of more abstract, theoretically oriented works which are typical of the last ten years of his life and include the Canonische Variaties, the Musicalisches Opfer and Die Kunst der Fuge.
The tale of how the Goldberg variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel:[1]
[For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. … Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, such also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: 'Dear Goldberg, do play me one of my variations.' Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 louis-d'or. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for.
Forkel wrote his biography in 1802, more than 60 years after the events related, and its accuracy has been questioned. The lack of dedication on the title page also makes the tale of the commission unlikely. Goldberg's age at the time of publication (14 years) has also been cited as grounds for doubting Forkel's tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader. In a recent book-length study,[2]keyboardist and Bach scholar Peter Williams contends that the Forkel story is entirely spurious. (from Wikipedia http://en.wikipedia.org/wiki/Goldberg_Variations)
Having already published an arrangement of the variations for flute trio, I decided to go ahead and do an arrangement for flute and piano. The original keys (G major & g minor) are maintained throughout, with octave transposition kept to a minimum in the flute part.There’s no addition of either dynamics or articulation. It’s up to the performers to use their knowledge, insight and good taste in applying these.
para cravo
Título por Autor: Goldberg Variations, BWV 988
Instrumentação |
Cravo |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
Editora |
C.F. Peters |
dificuldade |
Advanced |
para cravo
Título por Autor: The Goldberg Variations, BWV 988
Instrumentação |
Cravo |
Tipo de composição |
For a single performer |
dificuldade |
Advanced |
Score for piano of the work for harpsichord written by Johann Sebastian Bach, consisting of an aria and a set of 30 variations.
________
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para cravo
Título por Autor: Goldberg Variations for Harpsihord, BWV 988
Instrumentação |
Cravo |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
Editora |
Balthasar Schmid |
dificuldade |
Advanced |
para cravo
Título por Autor: Goldberg Variations in G Major for Harpsiсhord, BWV 988
Instrumentação |
Cravo |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
Editora |
Bach-Gesellschaft Ausgabe |
dificuldade |
Advanced |
Para Piano
Título por Autor: Johann Sebastian Bach - Goldberg Variations (Air with 30 Variations)
Instrumentação |
Piano |
Composição para |
Solo |
Tipo de composição |
For a single performer |
Gênero |
Clássico/Instrumental |
Johann Sebastian Bach - Goldberg Variations (Air with 30 Variations)
Set for flute, oboe and bassoon
Título por Autor: Bach Goldberg Variations set for Flute, Oboe and Bassoon, BWV 988
Instrumentação |
Flauta, Fagote, Oboé |
Composição para |
Trio |
Tipo de composição |
Partitura completa, Partes |
movimento(s) |
1 para 30 de 30 |
Arrajador |
John Gibson |
Editora |
John Gibson |
dificuldade |
Difficult |
duração |
45'0 |
Ano de composição |
1741 |
Gênero |
Clássico/Música de Câmara |
J. S. Bach’s Goldberg Variations were first published in 1741 as an Aria and 30 Variations. It was named for Johann Gottlieb Goldberg who was an excellent keyboardist. It is a large work, taking about 45 minutes to perform even without repeats. It was probably written with a two manual harpsichord in mind as it has many instances of hand crossing which are difficult on a one manual keyboard, but simplified with two manuals. Perhaps due to this tendency, the pieces are often in three distinct parts which make it a rich source for transcribing for a trio of woodwinds or strings. In this setting I chose to make some use of Ferruccio Busoni’s edition of 1915 where he made simple alterations to make the music more playable on a single manual keyboard, thereby clarifying the three part structure. However, he also made some rather large changes and even added a coda with very Romantic period styling. In many of these I choose to stay close to the original Bach editions. There are few dynamic markings and ornaments in this edition, so players are encouraged to add what they believe are useful for their performance. In addition, due to its great length you may consider leaving the repeats out as well as deciding to play only certain variations as a matter of keeping to performance time limitations. I suggest that the beginning aria definitely be included, however. (The audio sample is of portions of the aria and several variations.) -John Gibson
Aria and Variations (Nos.1-5). Editor Pavel Popov
Título por Autor: J.S. Bach. Goldberg Variations. Editor Pavel Popov / Part 1 - Aria and Variations (Nos.1-5), BWV 988
Instrumentação |
Piano, Clavicórdio, Piano elétrico, Cravo, Teclado, Pedal Piano |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
movimento(s) |
1 para 5 de 30 |
Arrajador |
Pavel Popov |
Editora |
Pavel Popov |
dificuldade |
Advanced |
Ano de composição |
2008 |
Gênero |
Clássico/Instrumental |
In this edition of J.S. Bach`s "Goldberg Variations" a teacher of musical theoretical subjects, instrumentation and composition Popov Pavel proposed the original ("The Well-Tempered") fingering system developed in accordance with the rules of transposition, existed in polyphonic improvisation clavier Baroque period in the development of musical culture of Europe.
Variations (Nos.6-10). Editor Pavel Popov
Título por Autor: J.S. Bach. Goldberg Variations. Editor Pavel Popov / Part 2 - Variations (Nos.6-10), BWV 988
Instrumentação |
Piano, Clavicórdio, Piano elétrico, Cravo, Teclado, Pedal Piano |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
movimento(s) |
6 para 10 de 30 |
Arrajador |
Pavel Popov |
Editora |
Pavel Popov |
dificuldade |
Advanced |
Ano de composição |
2008 |
Gênero |
Clássico/Instrumental |
In this edition of J.S. Bach`s "Goldberg Variations" a teacher of musical theoretical subjects, instrumentation and composition Popov Pavel proposed the original ("The Well-Tempered") fingering system developed in accordance with the rules of transposition, existed in polyphonic improvisation clavier Baroque period in the development of musical culture of Europe.
Variations (Nos.16-20). Editor Pavel Popov
Título por Autor: J.S. Bach. Goldberg Variations. Editor Pavel Popov / Part 4 - Variations (Nos.16-20), BWV 988
Instrumentação |
Piano, Clavicórdio, Piano elétrico, Cravo, Teclado, Pedal Piano |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
movimento(s) |
16 para 20 de 30 |
Arrajador |
Pavel Popov |
Editora |
Pavel Popov |
dificuldade |
Advanced |
Ano de composição |
2008 |
Gênero |
Clássico/Instrumental |
In this edition of J.S. Bach`s "Goldberg Variations" a teacher of musical theoretical subjects, instrumentation and composition Popov Pavel proposed the original ("The Well-Tempered") fingering system developed in accordance with the rules of transposition, existed in polyphonic improvisation clavier Baroque period in the development of musical culture of Europe.
Variations (Nos.11-15). Editor Pavel Popov
Título por Autor: J.S. Bach. Goldberg Variations. Editor Pavel Popov / Part 3 - Variations (Nos.11-15), BWV 988
Instrumentação |
Piano, Clavicórdio, Piano elétrico, Cravo, Teclado, Pedal Piano |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
movimento(s) |
11 para 15 de 30 |
Arrajador |
Pavel Popov |
Editora |
Pavel Popov |
dificuldade |
Advanced |
Ano de composição |
2008 |
Gênero |
Clássico/Instrumental |
In this edition of J.S. Bach`s "Goldberg Variations" a teacher of musical theoretical subjects, instrumentation and composition Popov Pavel proposed the original ("The Well-Tempered") fingering system developed in accordance with the rules of transposition, existed in polyphonic improvisation clavier Baroque period in the development of musical culture of Europe.
Variations (Nos.21-25). Editor Pavel Popov
Título por Autor: J.S. Bach. Goldberg Variations. Editor Pavel Popov / Part 5 - Variations (Nos.21-25), BWV 988
Instrumentação |
Piano, Clavicórdio, Piano elétrico, Cravo, Teclado, Pedal Piano |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
movimento(s) |
21 para 25 de 30 |
Arrajador |
Pavel Popov |
Editora |
Pavel Popov |
dificuldade |
Advanced |
Ano de composição |
2008 |
Gênero |
Clássico/Instrumental |
In this edition of J.S. Bach`s "Goldberg Variations" a teacher of musical theoretical subjects, instrumentation and composition Popov Pavel proposed the original ("The Well-Tempered") fingering system developed in accordance with the rules of transposition, existed in polyphonic improvisation clavier Baroque period in the development of musical culture of Europe.
Variations (Nos.26-30) and Aria. Editor Pavel Popov
Título por Autor: J.S. Bach. Goldberg Variations. Editor Pavel Popov / Part 6 - Variations (Nos.26-30) + Aria, BWV 988
Instrumentação |
Piano, Clavicórdio, Piano elétrico, Teclado, Pedal Piano, Pedal harpsichord |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
movimento(s) |
26 para 30 de 30 |
Arrajador |
Pavel Popov |
Editora |
Pavel Popov |
dificuldade |
Difficult |
Ano de composição |
2008 |
Gênero |
Clássico/Instrumental |
In this edition of J.S. Bach`s "Goldberg Variations" a teacher of musical theoretical subjects, instrumentation and composition Popov Pavel proposed the original ("The Well-Tempered") fingering system developed in accordance with the rules of transposition, existed in polyphonic improvisation clavier Baroque period in the development of musical culture of Europe.
Para quarteto de sopro
Título por Autor: J.S. Bach. Goldberg variations, BWV 988
Instrumentação |
Clarinete, Basset, Clarinete baixo |
Composição para |
Quarteto |
Tipo de composição |
Partitura completa, Partes |
chave |
Fá (F) maior |
Arrajador |
Pavel Struck |
Editora |
Pavel Struck |
dificuldade |
Difficult |
duração |
45'0 |
Gênero |
Clássico/Instrumental |
J.S.Bach. Goldberg variations. Arranged for Clarinet quartet by P. Struck. 2 Clarinets in Bb, Basset Horn and Bass Clarinet. You can play this famous work by J.S.Bach with Clarinets and enjoy how this score can sound like a small pipe organ-soft and brilliant, smooth and bright.
Aria for harpsichord
Título por Autor: Goldberg Variations for Harpsichord. Aria, BWV 988
Instrumentação |
Cravo |
Composição para |
Solo |
Tipo de composição |
For a single performer |
chave |
Sol (G) maior |
dificuldade |
Advanced |
Instrumentação |
Piano |
dificuldade |
Easy |
Gênero |
Clássico |
Aria, for guitar (with tab)
Instrumentação |
Guitarra clássica |
Tipo de composição |
Tablatura |
Gênero |
Clássico |
Aria, for accordion (or bayan)
Título por Autor: Aria
Instrumentação |
Acordeão, Bayan |
Composição para |
Solo |
Tipo de composição |
For a single performer |
Arrajador |
Norbert Sprave |
Editora |
Norbert Sprave |
dificuldade |
Advanced |
Gênero |
Clássico/Instrumental |
Aria aus den Goldbergvariationen mit kleinen Veränderungen für Akkordeon Solo (Akkordeon MII)
Aria, for easy guitar (with tab)
Instrumentação |
Guitarra clássica |
Tipo de composição |
Tablatura |
dificuldade |
Easy |
Gênero |
Clássico |
Instrumentação |
Piano |
Gênero |
Clássico |
Instrumentação |
Piano |
Gênero |
Pop |
Instrumentação |
Piano |
Gênero |
Clássico |
Instrumentação |
Piano |
Gênero |
Clássico |
Instrumentação |
Piano |
Gênero |
Clássico |
No.1
Título por Autor: Goldbergvariationen Nr.1
Instrumentação |
Piano, Acordeão, Bayan |
Composição para |
Solo |
Tipo de composição |
For a single performer |
Editora |
Norbert Sprave |
dificuldade |
Difficult |
Gênero |
Clássico/Instrumental |
für Akkordeon MII
No.3
Título por Autor: Goldbergvariationen Nr.3
Instrumentação |
Piano, Acordeão, Bayan, Flauta, Violino |
Composição para |
Dueto |
Tipo de composição |
Partitura completa |
Arrajador |
Norbert Sprave |
Editora |
Norbert Sprave |
dificuldade |
Advanced |
Gênero |
Clássico/Instrumental |
Goldbergvariationen Nr.3 arrangiert für Klavier oder Akkordeon MIII und Soloinstrument
No.2
Título por Autor: Goldbergvariationen Nr.2
Instrumentação |
Piano, Acordeão, Bayan, Flauta, Violino |
Composição para |
Dueto |
Tipo de composição |
Partitura completa |
Arrajador |
Norbert Sprave |
Editora |
Norbert Sprave |
dificuldade |
Advanced |
Gênero |
Clássico/Instrumental |
Goldbergvariationen Nr.2 arrangiert für Klavier oder Akkordeon MIII und Soloinstrument.
Instrumentação |
Piano |
Gênero |
Clássico |
Instrumentação |
Piano |
Gênero |
Clássico |
Carla Finelli 18 jul 2016 14:23
One of my favourite arias so far. Bach's style is adorable, needless to say, but at the same time it's one of those masterpieces that are pleasant to arrange and that sound great on almost any musical instrument known. However, harpsichord and piano give it the most authentic sounding, in my view
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gravações 37
- arranjos para dois pianos de quatro mãos
- arranjos para dois pianos de quatro mãos
- Arrangement for piano by C. Czerny
- arranjos para piano de quatro mãos
- Arrangement for piano by F. Busoni
- Arrangement for SATB saxophone quartet
- For flute trio – score, parts
- Variation XIX, vocal score
- para flauta e piano
- para cravo
- para cravo
- para cravo
- para cravo
- Para Piano
- Set for flute, oboe and bassoon
- Aria and Variations (Nos.1-5). Editor Pavel Popov
- Variations (Nos.6-10). Editor Pavel Popov
- Variations (Nos.16-20). Editor Pavel Popov
- Variations (Nos.11-15). Editor Pavel Popov
- Variations (Nos.21-25). Editor Pavel Popov
- Variations (Nos.26-30) and Aria. Editor Pavel Popov
- Para quarteto de sopro
- Aria for harpsichord
- Aria, para piano
- Aria, for guitar (with tab)
- Aria, for accordion (or bayan)
- Aria, for easy guitar (with tab)
- Aria, para piano
- Aria, para piano
- Aria, para piano
- Aria, para piano
- Aria, para piano
- No.1
- No.3
- No.2
- No.18, for piano
- No.19, for piano
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