Francesco Zappa - Works

Works

  • Duets:
    • 6 Sonatas for keyboard/harpsichord, as Opus 4a (Paris, n.d.)
    • 6 Duos (violin, cello/2 violins) (Paris, n.d.)
    • Duo for 2 cellos, Ms., m. 5740, Sammlung Hausbibliothek
  • Trio sonatas, 2 violins and bass:
    • 6 Trios (London, 1765), as Opus 1 (The Hague, n.d.)
    • 6 Trios as Opus 2 (London, ca. 1767)
    • 6 Trios as Opus 3 (Paris, n.d.)
    • 6 Trios as Opus 4 (London, n.d.)
    • 6 Sonates à deux Violons & Basse, (The Hague, n.d.), Sammlung Thulemeyer
  • Other Works:
    • 6 Keyboard Sonatas, Opus 6 (Paris 1776), mentioned by Mendel (1879)
    • 6 Symphonies (Paris, n.d.)
    • 2 Romances, 1 violin, piano, as Opus 4 (The Hague, n.d.)
    • 2 Romances, 1 violin (The Hague)
    • Sonata for cello, Mus. ms. 23490, Berlin Stiftung Preußischer Kulturbesitz
    • Sinfonia con Violoncello obbligato No. 1 for 2 violins, viola, violoncello obbligato, 2 oboes, 2 horns, Ms., m. 5737, Sammlung Hausbibliothek
    • Quartetto Concertante for 2 violins, viola, cello, "composta all Aya li 8 Liuglio 1788," Ms. m. 5740, Sammlung Hausbibliothek
    • 27 Pieces, 2 for piano, 5 for 1 violin, piano, as Opus 11 (The Hague, n.d.)
    • 2 Sonata à tre for violin, violoncello obbligato, bass, in Early Cello Series, xxiii (London, 1983)
    • Other works: Vienna Gesellschaft der Musikfreunde, Bad Schwalbach Evangelisches Pfarrarchiv, Milan Conservatorio di Musica Giuseppe Verdi

Read more about this topic:  Francesco Zappa

Famous quotes containing the word works:

    “A complete woman is probably not a very admirable creature. She is manipulative, uses other people to get her own way, and works within whatever system she is in.”
    —Anita Brookner (b. 1938)

    “The discovery of Pennsylvania’s coal and iron was the deathblow to Allaire. The works were moved to Pennsylvania so hurriedly that for years pianos and the larger pieces of furniture stood in the deserted houses.”
    —For the State of New Jersey, U.S. public relief program (1935-1943)

    “Was it an intellectual consequence of this ‘rebirth,’ of this new dignity and rigor, that, at about the same time, his sense of beauty was observed to undergo an almost excessive resurgence, that his style took on the noble purity, simplicity and symmetry that were to set upon all his subsequent works that so evident and evidently intentional stamp of the classical master.”
    —Thomas Mann (1875–1955)