#html-body [data-pb-style=V9A2SU9]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Variations on a theme by Corelli F major in the style of Giuseppe Tartini

#html-body [data-pb-style=R1L6VJ6]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}Το P-532 είναι ενα Base Drum Pedal εύκολα ρυθμιζόμενο και αρκετά ευέλικτο ώστε να ταιριάζει σε κάθε Set, ενώ λεπτομέρειες όπως τα δύο επιφανειακά DuoBeaters μεταφέρουν κάθε χτύπημα στο δέρμα  με εκτυφλωτική ακρίβεια. Προσαρμόσιμο σε πρακτικά κάθε στυλ παιξίματος με γνώμονα τον αναπτυσσόμενο ντράμερ, το P-532 σας βοηθά να παίξετε πιο γρήγορα, από την αρχή.
Χαρακτηριστικά :
Drive Cam : Linear Action Double Chain
Beaters : Two Surface Duo-Beaters
Universal Joint : Length Adjustable
Padal Frame : Radius Rods on the Main Pedal, Solid Plate on the Auxiliary
Hoop Clamp : Side Adjustable
Angle Adjustment : Uni-Lock Gearless

The early classical concerto of Friedrich Wilhelm Heinrich Benda that was written around 1775 is virtuoso showing the technical and tonal qualities of the instrument to their best advantage. Instrumentation: viola and strings with harpsichord; 2 horns ad libitum.

#html-body [data-pb-style=BVAA9V8]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}#html-body [data-pb-style=XUDTYAI]{max-width:360px}Franz Liszt (Composer) | Giuseppe Fortunino Francesco Verdi (Composer)RigolettoConcert-Paraphrase about the quartet by Franz LisztPiano
The opera paraphrases take a prominent place among Liszt’s complete works as a self-contained art form alongside original compositions. Feruccio Busoni values the high artistic merit of these compositions in the manner in which their well-considered structural planning in the arrangement of form and contrast and the endeavour to expand and embellish the chosen motifs place Liszt’s opera fantasies apart from the “plebeian potpourri”. The early Verdi paraphrases, particularly this Rigoletto-Paraphrase composed in 1859, are far superior to the later paraphrases (including those based on Don Carlos and Aida). This exceedingly brillant concert piece based on arguably the most famous quartet in the history of opera is particularly significant for the unique way in which Liszt is able to bring together the juxtaposition of extreme contrasts – the Duke’s ardent declaration of love, Maddalena’s prattling rejection, the grief-stricken cantilene of Gilda’s and Rigoletto’s furious parlando – as in Verdi’s original, resulting in a marvellous formal unity.
 

#html-body [data-pb-style=NRDHX04]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}The Firebird Scherzo, Berceuse and Danse Infernale arranged for piano by Soulima Strawinsky