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Chanson d'amour, 2. Milord, 3. Les gens heureux, 4. Petite Fleur, 6. Je t'aime moi non plus, 7. La Mer, 8.

Butterfly, 9. L'amour est bleu, Bilitis, Un homme et une femme, Au clair de la lune, La Marseillaise, A Foggy Day - George Gershwin; 2.

Black Orpheus - Luiz Bonfa; 3. Autumn Leaves - Joseph Kosma; 5. Fascination - F. Marchetti; 7. I Got Rhythm - George Gershwin; 9.

Londonderry Air - Edward Weatherly; Mack The Knife - Kurt Weill; Sandman - Pat Ballard; Night And Day - Cole Porter; Over The Rainbow Harold Arlen; This Masquerade - Leon Russell; Disney Favorites [1.

Circle Of Life, 2. Written in the Stars, 4. Supercalifragilisticexpialidocious, 5. Candle On The Water, 6. Chim Chim Cher-ee, 7. The Big Screen Collection.

Arranged for Solo Piano. Anthem Top Gun - Harold Faltermeyer, 3. Assassin's Tango Mr. And Mrs. Smith - John Powell, 4. Closing Titles Insomnia - David Jklyan, 8.

End Title The International Muse, Prelude Cape Fear - Bernard Herrmann, Salvation Terminator Salvation - Danny Elfman, Sebastian Brideshead Revisited - Adrian Johnston, Telstar Telstar - Joe Meek, The Victor L.

Confidential - Jerry Goldsmith, Theme Armageddon - Trevor Rabin, Title Theme Goldfinger - John Barry, Walter's Etude No.

Angels - Robbie Williams; 3. Angie - Rolling Stones; 4. Hello - Lionel Richie; 9. I Believe - Joana Zimmer; Imagine - John Lennon; Leningrad - Billy Joel; Morning Has Broken - Cat Stevens; She's The One - Robbie Williams; Piano Man - Billy Joel; Tears In Heaven - Eric Clapton; Bigger, 2.

Down To Earth, 3. Favorite Girl, 4. First Dance, 5. Love Me, 6. One Less Lonely Girl, 7. The Broadway Muisical [1.

Anything Can Happen, 2. Being Mrs. Banks Parts 1 and 2 , 3. Cherry Tree Lane, 6. Feed The Birds, 8. Jolly Holiday, 9. Let's Go Fly A Kite, A Man Has Dreams, The Perfect Nanny, Practically Perfect, A Spoonful Of Sugar, Step In Time, Supercalifragilisticexpialidocious, Nordic Theme No.

Preludium in A major; 4. June Waltz; 5. Fairy Tale; 6. Waltz in D minor; 7. Music Picture No. In Three Keys; 9. Remembrance; Timeless; May Waltz; Hymn; Another Story; Voicings; Mayfly; Vida Vingar; 3.

Fridlyst; 4. Gauzy; 5. Bara Vara; 7. Beyond; 8. Vattenspegel; 9. Simple Waltz; Preludium in D major; Pianobells; April Waltz; Sheltered; First Disney Songs.

Fun repertoire for beginner pianists complementing any piano method [1. Beauty And The Beast, 2. Chim Chim Cheree, 3.

Friend Like Me, 4. Hakuna Matata, 5. Lavender Blue Dilly Dilly , 6. Les Poissons, 7. Reflection, 8.

You Can Fly! Destiny Of Love, 2. Love Hurts, 3. Mika's Song, 4. Our Same World, 5. Nocturnal Rainbow, 6. Because I Love You, 7.

Wonder Boy, The Same Old Story, Elegy, Words, One Day Diary, Septemberies, Improvisation, He Knows My Name, Shining Smile, What Beautiful Stars, Leave Behind, Clementine 2 - To My Little Girl 2, Spring Waltz, Lost In Island, Vivace - Broken Blossoms, Autumn Colored Spring 2, Adeste Fidelis, 2.

Er is een Kindeke geboren op aard, 3. Er kwamen drie koningen, 4. Gloria in excelsis Deo, 5. Hoe leit dit kindeke, 6.

Il est ne, le divin Enfant, 7. Jingle bells, 8. Nu zijt wellecome, 9. O dennenboom, Stille Nacht] grade 1 Sinterklaasliedjes [1.

Sinterklaas kapoentje, 2. Sinterklaasje, bonne, bonne, bonne, 3. Zie ginds komt de stoomboot, 4. Daar wordt aan de deur geklopt, 5. Sinterklaasje, kom maar binnen met ke knecht, 6.

Zachtjes gaan de paardenvoetjes, 7. O, kom er eens kijken, 8. Hoor, wie klopt daar kinderen, 9. Hij komt, hij komt, die lieve, goede Sint, De zak van Sinterklaas, Hoor de wind waait door de bomen, Band 3 [1.

La Cucaracha, 5. The Snake Charmer, 7. The Ants Go Marching, 2. Scarborough Fair, 6. Theme from Symphony No. America My Country, 'Tis of Thee , 2.

Marsch, 2. Matrosenlied, 3. Gavotte, 4. Valse noble, 5. Negertanz, 6. Polonaise, 7. Scherzo, 8. Im Zirkus, 9. Idylle, Ballade, Bolero, The Sea And Sinbad's Ship, 2.

The Story of The Calendar Prince, 3. Canto Ilano glosado de 'La Alta', 3. Pavana glosada, 4. Himno 'Ave maris stella', Comunio 'Beata viscera Mariae', Motete glosado 'Jerusalem luge', Diferencias sobre 'Las Vacas', Diferencias sobre 'La Pavana Italiana', Diferencias sobre 'La Gallarda Milanesa', Diferencias sobre 'El Canto llano del Caballero', Discante sobre 'La Pavana Italiana', Diferencias sobre 'La dama le demanda', Jahrhundert 18 Fugues by J.

Manuals only. Book 1 [Preludes: 1. Craig S. LANG Horsley, Book 2 [Preludes: 1. Book 3 [Preludes: 1. Manuals and Pedals.

Book 1 [1. Book 2 [1. Book 3 [1. Eleven Pieces for Solo Organ from the 19th to the 21st Century [1. Dialogue No. Frederick], 9. Postlude pour l'Office de Complies, 2.

Suite monodique Animato - Andante Vivace , 4. Deux Chorals Choral dorien - Choral phrygien , 5. Suite, 2. Intermezzo, 3. Praeludium und Fuge Op.

Legende Op. Duo pour le Cornet et le Cromorne, 3. Quand la minuit sonnait, 3. Adam e sa coumpagno, 4. Choral, 3.

Fantaisie pastorale, 4. Petite Suite scholastique, 2. Von Klassik bis Pop [1. Thema Klavierkonzert Nr. Romanze - Ludwig van Beethoven; Liebestraum Nr.

Ballade Pour Adeline; Rolling Home; Candlelight Waltz; Santa Lucia; O Sole Mio; Dolannes Melodie; La Paloma; Verwehter Glockenklang; Taiga-Melodie; Das einsame Gloeckchen; La Mer; La Sorella; Schlafe, mein Prinzchen, schlaf ein; Swanee River; La Pastorella; La Golondrina; El Condor Pasa; La Montanara; O Mia Bella Napoli; Oh Danny Boy; Granada; Mack The Knife; Capri Fischer; Il Silenzio; Stenka Rassin; Amazing Grace; Guantanamera; Summertime; Lili Marleen; Oh Happy Day; Streets Of London; Greensleeves; Yesterday; A Whiter Shade Of Pale; Candle In The Wind; Song For Guy; Time To Say Goodbye; Conquest Of Paradise; My Way; Spanish Eyes; Summerwind; Bridge Over Troubled Water; The Last Waltz; Strangers In The Night; Only You; Morning Has Broken; Lady In Black; Nights In White Satin; One Moment In Time; Killing Me Softly; Sierra Madre del Sur; Are You Lonesome Tonight; Thank You For The Music; Fernando; Chiquitita; Please Release Me; Something Stupid; Without You; The Thorn 5,70 79,65 14,80 24,40 23,15 23,65 23,65 38,55 35,95 21 Birds Theme; Ol' Man River; Moon River; Tara's Theme; Somewhere My Love; Bilitis; My Heart Will Go On; Don't Cry For Me Argentina; True Love; Walzer Nr.

Ungarischer Tanz Nr. Love Is Blue - Al Martino; Aura Lee - Elvis Presley; Die kleine Kneipe - Peter Alexander; Abendlied - Deutsches Volkslied; Schwarze Augen - Russisches Volkslied; Father And Son Cat Stevens; San Francisco - Scott McKenzie; Angie Rolling Stones; Hello - Lionel Richie; Angels - Robbie Williams; She Loves You - The Beatles; Time After Time - Cyndi Lauper; Mandy - Barry Manilow; Sailing - Rod Stewart; Autumn Leaves - Nat King Cole; Black Orpheus - Antonio Carlos Jobim; Chanson d'amour - Manhattan Transfer; Try To Remember - Harvey Schmidt; Harry Lime Theme; Winnetou-Melodie; Tonight - West Side Story; Morgens um sieben ist die Welt noch in Ordnung - James Last; Der mit dem Wolf tanzt - Der mit dem Wolf tanzt; Circle Of Life -; The Entertainer; What A Feeling; Gabriellas sang; A Celebration with the Accordion [1.

O Little Town of Bethlehem, 2. I Saw Three Ships, 4. O Christmas Tree O Tannenbaum , 5. God Rest Ye Merry Gentlemen, 6.

Away in a Manger, 7. Angels We Have Heard on High, 8. It Came upon the Midnight Clear, 9. Deck the Halls, The First Noel, Auld Lang Syne, Silent Night, The Herald Angels Sing, We Three Kings of Orient Are, Joy to the World, Jingle Bells, What Child Is This?

Bessenschots, 2. Bleuminkwals, 3. De Bredebeek, 4. De Kozak zijn Paard, 6. De Lepelschots, 7. Ezeltjeswals, 8.

Het Binnekomertje, 9. Het Paardespan, Koenraad Frederik Zijn Schots, Larsermars, Mangelwals, Mazurka no. Mazurvals no. Nna Leijden komt Verbleijden, Polka vopor Bertha, Polkaschots, Riessens walsje, Chiquilin de Bachin, 2.

Meditango, 3. Michelangelo 70, 4. Milonga sin palabras, 5. Novitango, 6. Tanguango, 8. Ballo di Mantova, 2. Bergamasco, 3. Ruggero, 5.

Rujero, 6. Saltarello, 7. Saltarello romagnolo, 8. Saltarello romagnolo, 9. Giga, Lanterna magica, Monferrina, Cuntradanza, Galoppa, Manfrine modenesi, Dainter e fora, Galatta, Ballo dei gobbi, Milorda, Questo ballo, Resiana, Manfrina, Puntitacco, Quadriglia, Quadriglia alla siciliana, Ruggeri, Jolla, Fasola, Tubbiana, Abballettu, Ballettu, Tarantella Ballettu , Scotis, Frankie and Johnny, 2.

Good Morning Blues, 3. House of the Rising Sun, 4. Lullaby of Birdland, 5. Number Twelve Tram, 7. Paragon Rag, 8. Smoke Gets in Your Eyes, 9.

Take Five, The Entertainer, The Fascinator, Adios Amor - Andy Borg, 8. Albany - Roger Whittaker, 9. Aloha Oe - Freddy Quinn, Anita - Costa Cordalis, Anneliese - Peter Alexander, Auf der Reeperbahn nachts um halb eins Freddy Quinn, Biene Maja - Karel Gott, Bronze, Silber und Gold - Wolfgang Petry, Bruttosozialprodukt - Geier Sturzflug, Bungalow in Santa Nirgendwo - Die Flippers, Butterfly - Daniel Gerard, Capri-Fischer - Die Flippers, Cowboy und Indianer - Olaf Henning, Deine Spuren im Sand - Howard Carpendale, Die alten Rittersleut - Hot Dogs, Die Fischer von St.

Juan - Andy Borg, Die Gitarre und das Meer - Freddy Quinn, Die kleine Kneipe - Peter Alexander, Die rote Sonne von Barbados - Die Flippers, Du hast mich tausendmal belogen - Andrea Berg, Du kannst nicht immer 17 sein - Chris Roberts, Ein Schiff wird kommen - Andrea Berg, Eviva Espana - Chris Roberts, Fahrende Musikanten - Nina und Mike, Fiesta Mexicana - Rex Gildo, Geh doch wenn du sie liebst Andrea Berg, Hello Again - Howard Carpendale, Herzilein - Wildecker Herzbuben, Valentino, Junge komm bald wieder - Freddy Quinn, Kufsteinlied - Franzl Lang, La Paloma - Freddy Quinn, Lebt denn dr alte Holzmichl noch?

Liebeskummer lohnt sich nicht - Siw Malmkvist, Major Tom - Peter Schilling, Malaika - Die Flippers, Marleen Marianne Rosenberg, Mendocino - Michael Holm, Ramona - Blue Diamonds, Rut sin de Ruse - De Boore, Santa Maria - Roland Kaiser, Schifoan - Wolfgang Ambros, Skandal im Sperrbezirk - Spider Murphy Gang, Sommer in der Stadt - Wolfgang Petry, Spaniens Gitarren - Cindy und Bert, Spiel mir eine alte Melodie - Rita Paul, Tanze Samba mit mir Toni Holiday, Und es war Sommer - Peter Maffay, Verdammt ich lieb dich - Matthias Reim, Verlieben, verloren, vergessen, verzeih'n Wolfgang Petry, Wahnsinn - Wolfgang Petry, Weine nicht kleine Eva - Die Flippers, Wirst du's in meinen Augen sehn - Andrea Berg, It focuses on the core of Aonghas' music: Highland fiddling, with its links to pipe tunes and Gaelic songs.

Some of these tunes have never been published before, while others are available only in out-of-print books or in pipe settings, and the collection also includes a number of tunes composed by Aonghas himself, and tunes composed in honor of Aonghas.

The tunes are fully chorded in a style appropriate to Aonghas' band experience. All these are richly illustrated by transcriptions of Aonghas' bowings, grace-notes, stories, and photos of scenes and people from Aonghas' varied life careers, including old family photos.

Ding Dong! James Bond Theme from Dr. No, 5. Raiders March from Raiders of the Lost Ark, 7. Andrew Mine, Jasper Mine, 2.

Auld Lang Syne, 3. Away In A Manger, 4. Bethl'em Lay A-sleeping, 5. Child In A Manger, 6. Children, Go! Christmas Calypso, 8.

Dance Of The Reed Pipes, 9. Deck The Halls, Merrily On High, God Rest You Merry, Gentlemen, Good King Wenceslas, Hogmanay Reel, I Saw Three Ships, Infant Holy, Infant Lowly, Jingle, Bells, Mary Had A Baby, Christmas Tree, Come, All Ye Faithful, Little Town Of Bethlehem, Once In Royal David's City, Shepherds Watched, Skaters' Waltz, The First Nowell, The Holly And The Ivy, While Shepherds Watched, Soyons heureux; 3.

Chanson ecossaise - Souvenirs; 5. Deux murmure; 7. Dors, mon cher petit; Belle Anna; O Suisse, que tu es belle; Rokycany; Italiana; Danse russienne; Dodo, Dodomino; Valseano, 2.

O vizinho, 3. The Monk and His Cat, 3. Waltz, 2. Pas de deux, 3. Lament, 2. The Secrets of the Old, 3. Arabesque, 3. Sind Sie auf die Sommerferien angewiesen: Erlebnisreisen im Sommer z.

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In one popular collection of published letters, the Roman noblewoman Celia withdraws to her room in order to read her letters in private.

It was however rather unusual that letters were read in solitude. In questa seconda Impressione rivedute, et accresciute.

The letters substitute the presence of the beloved. Petrarca, Canzoniere, a cura di P. Cudini, Milano Garzanti , p. I giorni son longhissimi, et i tempi assai cattivi, et V.

He concluded that to while I am reading them over and over. Opereta amorosa, p. The days are terribly long, times are quite hard, and your lordship promised me to come soon, that helps me a bit, tomorrow is Thursday.

Above all he underlined that words needed the consent of the beloved, because she could be looked at without permission, but if she listened to his words or read them, she had to be in agreement.

Verdi , p. Then, since that sex is tender hearted and easily moved to pity, we shall strive to be as supplicating as possible.

We shall extol her merits and belittle our own, or at any rate mention them with great modesty.

We shall demonstrate intense love joined to deep despair. We shall try by turns moaning, flattery, and despair; at other times we shall make skilful use of selfpraise and promises; we shall employ precedents of famous and honourable women who showed favour to a pure, unfeigned love and to the devotion of youths far beneath them in social condition.

We shall attempt to show of humility we shall beg that if she can in no way deign to give her love in return, she will at least resign herself to being loved without prejudice to herself; we shall add that if this request is not granted, we are resolved to cut short a cruel life by whatever means 31 possible.

Flattery and gifts were also useful, great promises could be used as well, because every woman is ultimately seducible, as Boncompagno shows by refererence to the successful seductions of nuns.

In most pedagogical treatises and advice books on behaviour of the second half of the 16th century, we find allusions to the danger attributed to letters.

Literary and Educational Writings 3. Kelly Sowards, translated by Charles Fantazzi, Toronto , p. Nevertheless in Venice in Mambre had no reservations about having his wife read his correspondence.

Inquisitionis, b. The letters were too powerful against the weekness of a female heart, that is easily impressed.

De Bujanda , Quebec seg. ILI , vol. IX, p. ILI, IX, p. The prohibitions, therefore, functioned only partially. Her familiarity with literary texts certainly influenced her writing, but she appropriated the words for her own use.

Celia warned against the possible misuse of letters with the following words. Tale confesso essere di me avenuto.

In any case, the copying from letter books was widespread. Uffizio, b. Lizzari, Cassandra Ruggiero mentions her case, without talking about the love letter.

Guido Ruggiero, Binding Passions. ASV, S. The collection presented a series of ready-made sentences for all occasions arranged in alphabetical order.

Among the aphorisms, we are told how to express joy upon receiving a letter. By the beginning of 17th century, women and men move between standard expressions in their letters, a highly codified genre.

The writing of letters must always be seen in connection with the various ways in which the same letters might be read.

Epistolary communication cannot be thought of without considering the moral framework in which the letters were written. What must be reconstructed are the circumstances of receiving letters, the role of the inbetweens, the specific tactique De Certeau of appropriating texts, and the meaning the exchange of love letters could have.

The correspondents were quite conscious of their use of readymade phrases. It seems worthwhile to investigate in detail how the letter writers tried to overcome the dilemma of expressing themselves forced to use inevitable standard expressions.

Barthes recognizes behind this dilemma a semantic standard feature. Raccolti da lui per scrivere familiarmente, Roma Vincenzo Valgrisi Dolfi gives a convincing interpretation of this fragment in the introduction to A.

Atti di seminario. Trento, maggio , Roma , pp. Jahrhundert erhoben worden waren. Erst in den achtziger Jahren des Beatrix Bastl, Tugend, Liebe, Ehre.

Faksimiledruck nach den Ausgaben von und Mit einem Nachwort von Reinhard M. Nickisch, Stuttgart Briefkultur im So schreibt Johanna Theresia Harrach, geborene von Lamberg, am Juli an ihren Mann Ferdinand Bonaventura I.

Diese galten aber nicht unbegrenzt und wurden manchmal gnadenlos dechiffriert. Alltag bei Hof im ausgehenden Juni in der Linzer Burg inhaftiert wurde.

Oktober Juni auf dem Platz am Hof in Wien enthauptet. Was mier leider, gott erbarms, mein liebster herr und gemahll vonn seinem leydigen zustandt zugeschriben, das wird mein herr vetter aus beyliegender seiner handtschrift vernehmen, darauf ich umb godt und es jungsten gericht willen mein flehendlichs und hochfreundlichs bidten, mein her vedter wolle sich alsbalt, und in angesicht dieses schreibens aufmachen unnd durchaus in erwegung der hechsten noth nicht ausbleiben Eine Festgabe Hermann Wiesflecker zum Geburtstag, Graz , S.

Juni Erst im So schreibt Helena, die in das Franziskanerinnenkloster Hl. Deine treue schwester bis in tod, Helena von 24 Schallnberg.

Chaufontaines, August 6. Es geht nicht um eine Opposition zwischen Umgangston und Kanzleistil, sondern um den Versuch die Darstellung des Selbst innerhalb des Briefschreibens zu kultivieren.

Sprechinhalte sollten verbal rekonstruiert werden. Jahrhunderts bereits zu beobachten. Jahrhundert29 oder die Korrespondenz zwischen Judith von Ungnad gest.

Adlige Ehen im Purpose and form of epistolary conversation between aristocratic siblings Siena 17th century by Benedetta Borello In recent years, careful analysis carried out on correspondence by historians, anthropologists and linguists has emphasized one of its fundamental functions: the letter creates social relationships.

In particular, family letters have offered very fertile ground for investigation. The letters show us that within the aristocratic families there existed areas of more intense relationships or relations of a different type.

Sigismondo was ten when he moved to Rome, and his moving away from home was indispensable and fairly urgent.

Second child but only and very beloved son of Francesca Piccolomini, since the other children were born from Olimpia Della Ciaia , with an uncle who was Pope, Sigismondo was to take up an ecclesiastic career and become a cardinal at only eighteen.

Departure from Siena gave way to a consistent flow of letters directed to the young prelate. The family archive preserves the correspondence written by Olimpia Chigi, third child of Augusto and Olimpia Della Ciaia, as well as wife of Giulio Gori as of There are about ninety letters written between and , nearly all addressed to her brother.

The letters written by Francesca Piccolomini, numerous and well preserved, bear witness to a very intense relationship.

Their mother, who had stayed in Siena, seemed invested with the duty of managing the family relationships in toto.

Over the following pages I will reconstruct the family networks that the Chigi siblings wove during the second half of the 17th century between Siena and Rome, comparing the two relationship systems with that bound between mother and son.

I would like to show how the scope of the single letters sent by the two women blends with their manners of expression.

Epistolary conversations between siblings served to create a dense area, that integrated well with the overall family equilibrium, with the strategies pursued, and with the primogeniture logic.

Brother and sisters The relationship between siblings, their conflicts and their complicity are a topic that still merits an in-depth study.

Lawrence Stone, for example, suggested various times in his Family, Sex and Marriage in England, the intensity of the sibling relationship in the sixteenth and seventeenth century family.

Following the path marked by Hans Medick and David Sabean and above all by Martine Segalen in their volume,11 the editors of the issue of Quaderni Storici dwelled on the reconstruction and redefinition of the male and female roles at the time of transmission or division of patrimony.

In the inheritance game or in the creation of a circuit of dowries, strongly complementary matters between siblings seem to emerge within families.

Yet the letters also witnessed an on-going play of readjustment to reabsorb asymmetries of power and conflicts, playing with different wording as well.

Secret and confidence In the two epistolaries written by the sisters Chigi to their brother I seem to find a solid bond between siblings who, between Siena and Rome, worked together, each one within their own sphere in the interest in the lineage.

The domestic roles covered by Sigismondo Chigi, Olimpia Chigi Gori and Sister Maria Pulcheria Chigi, cut out precise scopes of action for the siblings and defined their duties.

Nevertheless, the letters show how the functions could work well together, creating alternative spaces yet nonetheless essential to the most traditional family dynamics, characterising the logic of the primogeniture.

The topics of the letters were varied and, naturally, the reasons the two sisters decided to take pen in hand were different.

At times though, the restricted circulation of news could even not take the form of transmitting a secret or a confidence.

Within the family there could actually be a kind of specialisation by topic. Some could be delegated to deal with certain matters in their letters, while others intentionally ignored them.

After the volume edited by Hans Medick and David Sabean, it is superfluous to say that, within these family networks, woven transversally and that could take on various shapes, material interests and affection were indissolubly bound.

This can be seen quite well in a letter written by Sister Maria Pulcheria at the end of This time the letter was the fruit of family collaboration.

Sister Pucheria wrote with her young niece Angela Chigi,17 brought up in the cloisters. The epistolary conversation between the two siblings concerned another Chigi, whom sender and addressee claimed to know well.

Benedetta Borello, Trame sovrapposte. Wife of the only Roman Chigi, Agostino, Maria Virginia had had only one boy and, so far, seven girls.

She was to have four more girls. On 16 November , only Angela was left at Campansi, seven years old. According to what Sister Pulcheria wrote to her brother Sigismondo, aunt and niece had no misgivings.

Regular and necessary correspondence showed each family member the existence of a kinship front where advice, goods and services circulated.

The second part of the letter was dedicated to confidentiality, sending secrets and intimate, personal impressions, which, along with the social aspect, were the other key element of the correspondence.

Her aunt tells about how, after a series of fevers, the little girl recovered and seemed to be enjoying good health.

There is no doubt about the sincerity of these words. This letter, as nearly all the others, talks about the monastery, about Roman relatives who would be guests there, and other matters are touched on that had never been discussed in the correspondence of the other sister, Olimpia Chigi.

The two epistolaries run parallel, almost never intersecting. Reading the nearly twenty years of correspondence of the two women with their brother, there are no more than two mentions of one of them a name or sarcastic comment in the correspondence of the other one.

This is not the case, for example, for Francesca Piccolomini. Nearly all her letters to her son had news about the health of family members, information about the management of the family assets and about the economic situation of the married sisters; it was always Francesca who took care of telling Sigismondo how to behave with the other sister or with the aunts in the monastery, which were places Francesca frequented no less assiduously than the drawing rooms of noble palaces or country villas.

Even though bonded by affection and material interests to their cardinal brother, the two women had woven, within the family atmosphere, networks that were nearly independent and fairly tight knit between them.

The style of their epistolary conversation, the circuits for transmitting news and secrets depicted these two webs of relationships quite differently.

Yet both sisters had an intense and articulate relationship with Sigismondo. Correspondence served to build dense areas of social relations, that could be used to contrast the destructive logic of the primogeniture and maintain a bridge between the new and the old city, between the Roman Curia and Siena.

The two sisters used the pen differently. Aside from the topics, the recounting of events, the confidential information they sent their brother, the form of their letters was different too.

The language she used reveals a fairly good education, which she had at the Campansi monastery at the knee of her aunt, Sister Maria Agnese Chigi.

Yet her handwriting was terrible, at least if compared to that of her sister. Maybe she had little bent for holding a pen, since the handwriting of her aunt was much better.

In writing to her brother, she concealed no detail of her life. She went through her 19 Cf. Girolamo in Campansi zu Siena und SS. Studien zu Ehren von Hermann Hoberg, 1.

Teil, Rome , pp. She also told things that, if expressed publicly or referred to the person concerned, would have offended them.

Her pen was biting even with her family. What Olimpia told in confidence to her brother on 9 December not only put Sister Maria Pulcheria in a bad light, but if it had been made public it could have upset the plans for the destiny of the young Roman Chigi girls.

Suor Maria Pulcheria and maybe part of the Sienese branch would have been kept more at the margins of family life. That did not happen: Sigismondo opportunely kept his silence, not believing his sister and, implicitly, protecting the other sister.

Aside from keeping secrecy, this correspondence reveals clear reciprocity. Olimpia and Sigismondo spoke the same language, knew the same people well and could share secrets.

Brother and sister handled letters in the same manner. Distance could impoverish the baggage of mutual experiences.

And even a different way of handling what was written could damage the solidity of an epistolary bond. Showing a confidential writing, like betraying a secret, was considered a grave offence.

On 1st January , for example, Francesca Piccolomini asked Sigismondo not to show the letter that she had sent him; a week later she insisted with the same request, giving as a reason the low literary level of her compositions, but a more likely reason was to be able to dialogue more freely with her son.

Regular correspondence was, in this case too, conceived as an obligation. It is clear, although, that the exchange of correspondence was less intense in its content, just as the density of the relationships that intertwined in that area of kinship was less intense.

In a few months the matrimony transformed her from a convent girl to the centre of a vast epistolary network that embraced Naples, Milan and the Farnese court of Parma, where her aunts lived.

Steadfast writing was an obligation from which the young woman, like every other aristocrat, could not evade.

Per iscritto. Antropologia delle scritture quotidiane, Lecce , pp. The tone was ceremonious, not unbecoming to an Aldobrandini woman, but quite different to what was used in the Chigi household, at least between Sigismondo and his sisters.

In such cases the letter became precious as a handwritten gift, to exhibit in witness of a bond that could be traced back only by the name and coat of arms.

When compared to those written to Sigismondo, the intimacy and density of relationships between siblings can immediately be seen.

Pulcheria had no qualms about asking her brother for money, even insistently. Money seems to me to be a revealing detail in understanding the confidence and intimacy that there could be between sender and addressee, as can be seen in the two examples that follow, where Olimpia Maidalchini and Olimpia Aldobrandini broached the subject in their letters.

In mid December , Olimpia Maidalchini made a comment to her mother about some expenses made by her brother, Andrea, on the occasion of his marriage.

Between Olimpia and her mother, during the twenties of the seventeenth century, a heavy, confidential epistolary dialogue developed.

The topic of the letter could make this area of kinship more dense. When the wedding had already taken place, Olimpia bitterly scolded her mother for the money wasted on the celebration.

In fact, gold palls had been bought, by then out of fashion. Neither aunts nor niece would have ever dared criticise expenses for clothes or carriages, as Olimpia Maidalchini did.

It is difficult to establish whether this lack could be attributed to scarce intimacy between aunts and niece, or to a total lack of information about the true value of things.

Both possibilities seem likely. Olimpia saw little of the other Aldobrandini women. The sums mentioned in the various letters were different: Sister Maria Pulcheria wanted a small amount for her personal needs, on the other hand Francesca asked about the lifestyle she would lead after the departure of her sons for Rome.

Some conclusions Study of the correspondence, the careful analysis of the expressive forms and the placing of the epistolary gesture in the time of the family and its internal 23 Ibid.

From this point of view, I believe I can identify the more popular channels of transmission of news, affective bonds, exchange of goods and services.

One is certainly that between sister and brother, and I think I can add between sistersand brothers-in-law and at times between sons- and daughters-in-law.

The members of this family used to create intimacy with some of their parents and these dense areas influenced decisions and strategies of the whole family group.

The letters that both wrote are evidence of this work together. Correspondence and therefore dialogue and not only the manner of address 24 Ibid.

Alongside this, I feel that interesting ideas can be obtained from the study of houses and of division of space inside them, from the circulation of knowledge, the consumption of family goods and from devotion.

Ende des Jahrhundert nicht mehr anerkannt. Jahrhundert etwa fl. Karl F. Allerdings war keineswegs sicher, ob derjenige, an den diese Berichte gerichtet waren, der Kaiser, sie jemals zu Gesicht bekam.

Die einzige Antwort, die die Antragsteller zu erwarten hatten und gleichzeitig die einzige, an der sie interessiert waren, war ein positiver Bescheid und letztlich die kaiserliche Verleihung.

Denn vom formalen Gesichtspunkt aus betrachtet handelt es sich eindeutig um Briefe und nicht etwa um Antragsformulare.

Die vor allem im In den bisher eingesehenen Akten lassen sich grob zwei Grundtypen unterscheiden, die sich beide von auch heute noch angewandten rhetorischen Strategien nicht wesentlich zu unterscheiden scheinen.

Daher erschien es notwendig zu sein, nicht nur von den Leistungen, die eine Nobilitierung rechtfertigten, zu berichten, sondern den Kaiser bzw.

Jahrhundert weitgehend fremd. Supplikanten des Obwohl erst zu Beginn des Jahrhunderts, insbesondere von Unternehmern, gemacht wurde.

The letter, which represents a letter of friendship, aimed explicitly at strengthening the ties existing between the two courts.

Komplimentierkunst und Gesellschaftsrituale im altdeutschen Sprachraum, Stuttgart The paying of compliments was appropriate on many specific and special occasions, for instance, on the birth of a prince or a princess, marriages, the new year or for giving condolences.

Over several centuries, they served as indicators of the quality of the diplomatic relationship between courts.

Juni , Stuttgart , pp. Altman, Letter Manual, p. Apart from the use of French in the court sphere, further elements of distinction are, for example, the self-discipline which was required for maintaining correspondences over a long period of time and which even becomes obvious in the specific posture that was needed for the writing of letters.

Steinhausen, Brief, vol. Correspondingly, also contemporaries regarded letter writing as the prerogative of a leisured class.

Furthermore, the maintenance of intensive correspondences, especially when held with famous personalities, contributed to the social prestige of a person.

Similarly, even dynastic plans were very dependent on epistolary knowledge, or, to put it in other words, given the arranging of marriages through letters, even the social reproduction of aristocracy was closely tied to such skills.

The teaching of princely children in epistolary When Prince Friedrich of Baden-Durlach wrote his first letter he was six years old; the first still existing letter which his brother, Karl Ludwig, sent to his father, was written when he aged seven.

But whereas Fouquet does not distinguish these letters from pure ceremonial letters, in my opinion a clear differentiation is possible, as the ceremonial letter cited below will demonstrate.

Steinhausen, Brief, p. The ability to write a letter, especially a ceremonial letter, therefore served to mark social boundaries.

To guarantee such an advantage in time, formal instruction necessarily had to begin at an early age. Unfortunately, there exists no time table for the instruction of the Princes of Baden-Durlach for the time before the oldest prince then was 9 years old, and his younger brother Friedrich was eight.

Nevertheless the time-table points to the great importance which was attributed to the ability of writing letters at court.

As part of her instruction, she had 7 For this term cf. Pierre Bourdieu, La distinction. Critique sociale du jugement, Paris , pp. This distinctive advantage in time was ensured by certain rules of decorum, cf.

The letters cited in the following all refer to the family archive of the Markgrafen resp. These letters, written by French native speakers, were probably regarded as exemplary.

Whereas for her father, the hereditary Prince of Hessen-Darmstadt, Karoline Luise explicitly noted that she should not use more than six lines, the greeting for her grandfather, the ruling Landgraf, was supposed to stretch over seven lines.

For the role of memoria within noble culture cf. Jahrhunderts, Frankfurt a. Abhandlung vom guten Geschmacke in Briefen, published in In any case the abolition of ceremonial letters demanded by Gellert apparently did not have a great effect on court etiquette, at least not earlier than the very last decades of the century.

Wiedau, Kindheit, p. Altman, Letter Manual, pp. These manuals originally followed courtly style. As to Weise cf. Ein Beitrag zu C. Some extracts of his letter manuals next to commentaries are published in: Angelika Ebrecht [et al.

Texte, Kommentare, Essays, Stuttgart , pp. Letters of compliment by princely children As letters of compliment did not so much aim at communicating concrete information as at expressing oneself in a most artificial, stilted way, such letters demanded special epistolary skills.

I and her letter to Friedrich dating from 6 June , no. See 5, Corresp. Of the letters written by the sons to their mother, hardly any have been handed down with the exception of some letters written by Karl Ludwig among which three letters of compliment can be found, in 5A, Corresp.

Charles Louis de Bade. The ceremonial letters written by the young princess Karoline Luise to her father and grandfather use even a more sophisticated and eloquent language, in 5A, Corresp.

Both point to her outstanding social position and her role as ruling princess. Thus the perspective of the outside world regarding his own mother is inculcated and internalised by the young prince.

In fact, occasional letters of princely children can be compared to letters of homage, by which the familiarly dependencies were renewed yearly, exactly as was the case with the dependencies on a political, juridical level.

In other letters, the children explicitly thank their parents for their fatherly or motherly care.

Whereas Beetz thinks that these expressions of submission in letters between children and parents were only used until the first third of the 18th century, those here presented provide a different picture.

Another example for addressing the parents as ruling prince and princess ca be found in the ceremonial letter written by Karl Ludwig to his father on his name-day, dated the 28 January Therefore, by instructing princely children in writing letters to their parents, a certain kind of behaviour is aimed at, which goes beyond the written sphere, penetrating all levels of human relationships.

Correspondingly, letters can be regarded not only as the written expression of relationships but, at the same time, as the means of constructing them.

At the ages of eleven and twelve years, the princes Karl Ludwig and Friedrich wrote their first letters of compliment to their father, which they composed themselves.

Ein Katalog, Marburg , pp. Here, the prince perceives himself objectively in the role of the son who must deserve the love of his mother and be worthy of it.

By learning to subordinate oneself rhetorically, instruction in letter writing also satisfied one of the 33 Cf.

Nickisch, Brief, p. Beetz provides detailed information about the linguistic arrangement of letters, cf. For the Spatium in particular see also Sperber: Sprachgeschichte, p.

The greetings sent to the children by relatives or members of the own court in the letters of their parents and the replies of the children to these greetings helped to successively integrate the princes within court society, even at a very early age.

See the letter from Karoline Luise of 19 July , no. On another occasion the hereditary prince himself mediates the greetings from the administrative personnel to his father, see his letter of 24 October , in 5, Corresp.

The hereditary prince had apparently been asked by his father to report him regularly about the foreign visitors at court,41 and it can be assumed that this request also sharpened his attention for court matters.

So it is for instance striking that the Markgraf, his father, writes to him far more often than to his other sons. Such is the case whenever he informs his father about the health of his brothers and mother and when he points out that his younger brother will also not neglect to write to him.

In this context it is interesting to see that also in contemporary pedagogic literature it was recommended that children should write letters to their parents as this would allow for greater control over the children.

Aus der Geschichte der Disziplinierung, Reinbek bei Hamburg , p. See e. The remembrance of these days, connected with the adoration of the own parents, were used as instruments to develop an awareness of the grandeur of the own dynasty.

Decembre II, Wien , Vol. II, p. XVIII, ad vocem. Edizione eseguita su quella del Tramater di Napoli con giunte e correzioni per cura di Antonio Enrico Mortara, prof.

Bernardo Bellini, prof. Don Gaetano Codogni, Antonio Mainardi ecc. Campi, Gius. IV, ad vocem. XIX, Bologna, Zanichelli, pp. Ancora poco studiati in Italia, i segretari hanno ricevuto maggior attenzione in Francia; cfr.

Chartier ed. Craddock and Charla Hay, Collegues Press, pp. Ad esempio, le Lettere moderne colle loro risposte di Dionigi di Villecomte presentavano un mondo tutto francese di gentiluomini, dame, cavalieri, signori di corte, contesse e marchese.

Molti fra questi forniscono modelli bilingui per il commercio in francese, tedesco o inglese: Il Segretario di banco o lettere mercantili francesi ed italiane.

Con diverse osservazioni da praticarsi per ben comporle, uscito a Livorno nel ; Il segretario de negozianti francese ed italiano secondo lo stile moderno, uscito a Nizza per Floterons nel ; Il segretario di banco per tutti i negozianti, o lettere mercantili in francese ed in italiano, uscito ad Amsterdam per i Reycends nel Famoso Il segretario di banco ovvero lettere di corrispondenza mercantile, spiegato con molte e bellissime Lettere di Negozio in ogni genere di Traffico, di Matthias Kramer, autore di manuali di grammatica e di un vocabolario tedesco-italiano, ripubblicato con numerose edizioni lungo tutto il secolo.

Formigari, Bologna, , pp. Gioia, Nuovo galateo, Milano, Pirotta e Maspero, Nei segretari di primo Ottocento prendono la penna le classi medio-basse: cameriere e padrone, negozianti e commercianti, contadini, affittuari e i rispettivi padroni, sartine, maestre, tutori e pupilli; ma anche funzionari, avvocati e professionisti.

Ad uso dei soldati del R. Esercito, Milano, Colombo, Il nuovo segretario italiano o sia modelli di lettere sopra ogni sorta di argomenti colle loro risposte, Milano, Silvestri, , p.

Modelli di suppliche, biglietti d'ordine e lettere di cambio e un vocabolario di voci dubbie ed avvertimenti grammaticali preceduti da una breve Istruzione sul cerimoniale epistolare e da alcune regole di ortografia appositamente compilate per questa V ed.

Lo scambio epistolare tra servo e padrone, 20 Segretario privato, Milano, Sonzogno, ; Jacopo Gelli, Come devo scrivere le mie lettere?

Esempi di lettere e di scritture private per tutte le circostanze della vita. Con prefazione di Giuseppe Fumagalli, Milano, Hoepli, Introduzione di Umberto Galimberti, Milano, Che Dio le conceda lunga vita, tranquilla e con salute!

Il porsi in modo contrattuale rispetto al padrone, la certificazione burocratica dei bisogni piuttosto argomenti con aggiunta di nozioni sull'ortografia, istruzioni sul cerimoniale epistolare, e sulle diverse specie di componimenti; modelli di biglietti, lettere di commercio, lettere di cambio, obbligazioni, certificati, ricevute, contratti, suppliche, istanze ec.

Tuttavia, nei manuali epistolari a scrivere sono gli uomini, mentre le donne sono destinatarie passive di messaggi concepiti da altri.

Ciononostante, la maggior 24 Augusta Molinari, Le lettere al padrone. Come il linguaggio dei fiori, anche le lettere, specie quelle amorose, sono presentate come modo per gestire i rapporti sociali a proprio vantaggio, in chiave strumentale e utilitaristica.

E sono aperte a tutti: come recita il suo titolo, Il nuovo segretario galante per ambo i sessi e adatto ad ogni ceto non fa distinzioni tra uomini e donne, ricchi o poveri quanto a giochi amorosi.

Ambrogio Cogliati, Il nuovo segretario galante per ambo i sessi e adatto ad ogni ceto, Milano, Lovati, It made sense to examine her published, carefully edited letters.

In the end I found both Luise and the production of a myth. Along with their sisters Therese and Friederike, he was one of the most important recipients of the letters Luise wrote between and , the year of her death.

The next circle of correspondents encompassed servants, ladies of the court, advisers, tutors and the occasional female friend.

A few central letters went to important rulers, among them Tsar Alexander and Napoleon Bonaparte.

The princesses Luise and Friederike of Mecklenburg-Strelitz, who were passing through Frankfurt with their grandmother, were presented to him on 13 March.

On 14 March the sisters met the two princes and after four days of seeing each other at parties hosted by Frankfurt families Friedrich Wilhelm settled upon Luise.

On 19 March the crown prince proposed to Luise, five days after setting eyes upon her for the first time, and she agreed to marry him. From there Luise wrote her first letter to the prince, who was staying at the headquarters of the Prussian troops near Oppenheim, in reply to the letter with which Friedrich Wilhelm had initiated the correspondence.

I would like to begin with the first letter, since it anticipates key elements of the future correspondence.

In the first part of the letter, Luise addresses her betrothed as 4 5 Ibid. Do not be surprised at this; Papa and Grandmama wanted me to show them my letter to you, and the latter particularly advised me not to write too affectionately.

What luck that thoughts and sentiments need not pass through customs, so that no etiquette need be applied. Do you know, dear prince, that I was very pleased to be called friend, and dear Luise; call me what you will, always; never in my wildest dreams would it occur to me to disapprove; quite the contrary, it pleases me.

On the contrary, I am not indifferent to you, and you know my feelings for you, so that I need not repeat that I am welldisposed towards you.

Please always be the same towards me. I promise you, my heart cannot change. If you were still in Trebur I would look forward to many days like the 24th, which was one of the loveliest in my life.

For my part I declare that I owed it to you to tell you the truth. Never cease to love your Luise. Should you receive this letter in company, I implore 8 you not to open it there, otherwise people could think me foolish.

Her grandmother and father represented and guaranteed courtly rules, according to which the letters of royal brides were checked and censored, and writing affectionately was not considered seemly.

By making Friedrich Wilhelm her accomplice in secretly exchanged notes, Luise turns writing into a tender gesture, an exclusive and intimate private matter for two lovers.

For her, naturalness also meant refusing to practice correct and perfectly spelled writing in a notebook: she portrays herself as not having been industrious as a child, as still under the thumb of her grandmother being able to express the feelings in her heart only imperfectly, and spontaneously, as she wrote.

For the topoi of naturalness, simplicity and liveliness in French and by the Enlightenment influenced letter-writing see on 18th century manuals of correspondence John W.

Publications du Centre Universitaire de Luxembourg, 1, , pp. In a later letter she explained to the prince how she had spun a mendacious plan.

Yet I am an angel, as people sometimes assure me, do me a favour and find some order or sense in that. In all my life I have never yet been false.

The language of courtly correspondence was French. The loyal, loving friend and the fool: she is foolish. For only under these conditions could the other Luise, the foolish one, exist in high spirits and laughter.

Thousand pardons. For little acts of cheekiness? In fact, the prince sent the complete version of the cat song in his reply letter.

This becomes clear in the first sentence of the last letter she wrote before setting out for Berlin to be married.

Adieu, I love you. The letter is now a substitute for conversations, it permits the resumption of intimacy in another form.

It might appear as if Luise had put into practice all of the typical elements that had characterised eighteenth-century epistolary culture since Rousseau and Gellert.

She had adopted the cult of friendship, which also marked her letters to her siblings at this period, the ideals of naturalness, authenticity and openness, of spontaneity that came not from the head but from the heart.

Perhaps she had already mastered some of the scenes that the bourgeois stage prepared for her? While she 30 Ibid. Luise had a French governess, and perhaps Rousseau had also been included in her education.

A comparison with the letters to her beloved father and her grandmother, however, also shows that Luise was perfectly capable of deploying the strict set-phrases of submission and extreme courtesy that were apparently still expected of her, and could express her strong feelings towards them in different, older forms.

In these letters, too, though, the little fool occasionally dances across the page and perhaps this was the shape in which Luise sought to escape the one and the other system of rules, or even to turn it on its head?

Translated by Pamela Selwyn 34 Ibid. Efron, Defenders of the Race. Per un magistrale casestudy del processo di trasformazione di un discorso sugli ebrei in discorso politico ebraico cf.

Beller, Vienna and the Jews. Frankel and S. Zipperstein eds. Landucci, Darwinismo a Firenze. Tra scienza e ideologia , Olschki, Firenze , pp.

Vivanti ed. Annali 4. Intellettuali e potere, Einaudi, Torino , p. Govoni, Un pubblico per la scienza. Mantegazza, Il secolo nevrosico , Studio Tesi, Pordenone , p.

Facilissimo, tuttavia, sarebbe stato passare dalla separazione alla distinzione. Toscano ed. Ascoli a P.

Cavaglion, Felice Momigliano Una biografia, Il Mulino, Bologna , p. Casella e G. Lucchini eds. In altri termini, una debita trasformazione delle 12 R.

Taradel e B. Raggi, La segregazione amichevole. Usigli a P. Gli ebrei in Italia, Einaudi, Torino , pp. Guetta Sadun e A.

Di Bello, S. Guetta Sadun, A. Memorie storiche, biografiche, statistiche dal al , Foa, Torino , pp. Sul legame fra statistiche ebraiche e politica sociale comunitaria e inter-comunitaria nella Francia degli anni settanta cf.

Mantegazza a G. September Da rilevare, infine, che Ascoli, almeno nominalmente, non intervenne nel dibattito pubblico.

Negli anni novanta, visioni del 21 U. Passigli, La donna ebrea, Morterra, Trieste , Agli ebrei suoi contemporanei, Passigli 25 B.

Mattioli ed. Passigli], Della circoncisione sotto il punto di vista profilattico e terapeutico, Annunzio, Firenze , pp.

Resta da dire delle risposte mantegazziane al discorso del discepolo. Vale a dire, in questo case-study, le lettere sono state strumento indispensabile per accedere al livello della negoziazione da cui avrebbe potuto prendere vita un discorso ebraico.

Questioni personali si intrecciano qui indissolubilmente con domande politiche e con speranze sul futuro della propria nazione.

La sua diventa una doppia fuga dal dominio brutale del nazi-fascismo. Anzi, addirittura lo negavo, con una veemenza piena di rancore e di odio.

Mi rifiutavo di ponderarne con calma le cause. In una parola: negavo in pieno il problema. La propria storia passata viene misurata sui cambiamenti in corso e sulle aspettative per il futuro.

I pensieri maggiori andavano dunque al loro futuro. Orrori della guerra e sofferenze personali Aspetti esistenziali e insieme politici sono rinvenibili con forza nelle missive inviate da Amelia, soprattutto a due amiche: Gina Lombroso e Laura Orvieto Calloni b.

Due o tre settimane fa si credette veramente che ci si avviasse verso la fine di tanti guai. Addio cara Gina.

Perdonami se ho lasciato passare tanto tempo senza scriverti Ma queste enormi lentezze postali mi scoraggiano tanto!

Ti abbraccio.. Nessuna parola, nessuna Mia cara Gina, addio. Voi sentite come e quanto ho pensato a voi in questi giorni.

E quanto si era parlato di voi con Guglielmo nella speranza, nella fiducia che Guglielmo aveva grandissima di un prossimo ritorno.

Uguale a quello che tortura anche me pensando a Carlo e Nello Addio cara, volevo soltanto dirti quanto penso anche a te, e come ti voglio bene.

Con la liberazione di Firenze il 4 agosto e la fine della guerra in Italia il 25 aprile , vengono dunque ristabilite le comunicazioni fra i fuoriusciti e coloro che erano rimasti in Italia o che avevano preso parte alla Resistenza.

Terminato il conflitto, riprendono i contatti anche postali. Voglio che impari a conoscerti prima di conoscerti. Nota la differenza dei due piani della conoscenza.

Bagnoli, in: Il Vieusseaux, anno IV, n. Amelia Rosselli , Un inedito sui Rosselli. Lettere del e , a cura di C. Del Vivo, in: Il Portolano, n.

Ciufoletti, vol. Marina Calloni e Lorella Cedroni a cura di , Politica e affetti familiari. Lettere dei Rosselli ai Ferrero , Milano: Feltrinelli.

Amelia Rosselli , Memorie, a cura di Marina Calloni. Bologna: il Mulino. Borghi e C. Communication via letters is and has been a delayed mode of communication based on specific forms of transmission between a sender of a letter and one or more addressees.

Communication via letter bridges not only spaces but also time. Clarinet Blues, 3. Jelly Bean Rag, 4.

Lazy Days, 5. Misty Night Blues, 6. Red Rose Rendezvous, 7. Slippin' Around, 8. Persistent Rhythm, 2. Fickle Fourths, 3.

Pine Cone Rag, 4. Taking It Easy, 5. Worrisome Blues, 6. Dandelion Rag, 7. Railroad Street Blues, 8. Low C Boogie, 9. Waterfront Jazz, What A Glorious Day!

Birmingham Blues, 2. Good Time Rag, 3. Grandview Boulevard Strut, 4. Jackson Street Blues, 5. Katy's Dance, 6. Last Chance Blues, 7. Trumpet Man, 8.

Steamboat Rag, 9. Blue Interlude, 2. Hot Potato Rag, 3. Jazz Finale, 4. Memphis Blues, 5. Opening Night Jazz, 6.

Persnickety Rag, 7. River City Blues, 8. Ballett in vier Akten Op. Russischer Tanz, 2. Neapolitanischer Tanz, 3.

Consider Yourself Oliver! Epilogue Piano Concerto No. Speaking Unto Nations Symphony No. Cataract Rag, 2. Tickled to Death, 4. Possum and Taters, 5.

Back to Life; Charles L. Cum Bac Rag, 7. Maple Leaf Rag, 9. Original Rags, Elite Syncopations, Palm Leaf Rag, The CascadesA Rag, LAMB: SensationA Rag, Ethiopia Rag, American Beauty, Ragtime Nightingale, ReindeerRag Time Two Step, Pastime Rag No.

Frog Legs Rag, Kansas City Rag, Great Scott Rag, Hilarity Rag, Evergreen Rag, New Era Rag, Troubadour Rag, Harlem RagTwo Step, The St.

Slippery Elm Rag, Chanson d'amour, 2. Milord, 3. Les gens heureux, 4. Petite Fleur, 6. Je t'aime moi non plus, 7. La Mer, 8. Butterfly, 9.

L'amour est bleu, Bilitis, Un homme et une femme, Au clair de la lune, La Marseillaise, A Foggy Day - George Gershwin; 2. Black Orpheus - Luiz Bonfa; 3.

Autumn Leaves - Joseph Kosma; 5. Fascination - F. Marchetti; 7. I Got Rhythm - George Gershwin; 9. Londonderry Air - Edward Weatherly; Mack The Knife - Kurt Weill; Sandman - Pat Ballard; Night And Day - Cole Porter; Over The Rainbow Harold Arlen; This Masquerade - Leon Russell; Disney Favorites [1.

Circle Of Life, 2. Written in the Stars, 4. Supercalifragilisticexpialidocious, 5. Candle On The Water, 6. Chim Chim Cher-ee, 7.

The Big Screen Collection. Arranged for Solo Piano. Anthem Top Gun - Harold Faltermeyer, 3. Assassin's Tango Mr.

And Mrs. Smith - John Powell, 4. Closing Titles Insomnia - David Jklyan, 8. End Title The International Muse, Prelude Cape Fear - Bernard Herrmann, Salvation Terminator Salvation - Danny Elfman, Sebastian Brideshead Revisited - Adrian Johnston, Telstar Telstar - Joe Meek, The Victor L.

Confidential - Jerry Goldsmith, Theme Armageddon - Trevor Rabin, Title Theme Goldfinger - John Barry, Walter's Etude No.

Angels - Robbie Williams; 3. Angie - Rolling Stones; 4. Hello - Lionel Richie; 9. I Believe - Joana Zimmer; Imagine - John Lennon; Leningrad - Billy Joel; Morning Has Broken - Cat Stevens; She's The One - Robbie Williams; Piano Man - Billy Joel; Tears In Heaven - Eric Clapton; Bigger, 2.

Down To Earth, 3. Favorite Girl, 4. First Dance, 5. Love Me, 6. One Less Lonely Girl, 7. The Broadway Muisical [1.

Anything Can Happen, 2. Being Mrs. Banks Parts 1 and 2 , 3. Cherry Tree Lane, 6. Feed The Birds, 8. Jolly Holiday, 9.

Let's Go Fly A Kite, A Man Has Dreams, The Perfect Nanny, Practically Perfect, A Spoonful Of Sugar, Step In Time, Supercalifragilisticexpialidocious, Nordic Theme No.

Preludium in A major; 4. June Waltz; 5. Fairy Tale; 6. Waltz in D minor; 7. Music Picture No. In Three Keys; 9. Remembrance; Timeless; May Waltz; Hymn; Another Story; Voicings; Mayfly; Vida Vingar; 3.

Fridlyst; 4. Gauzy; 5. Bara Vara; 7. Beyond; 8. Vattenspegel; 9. Simple Waltz; Preludium in D major; Pianobells; April Waltz; Sheltered; First Disney Songs.

Fun repertoire for beginner pianists complementing any piano method [1. Beauty And The Beast, 2. Chim Chim Cheree, 3. Friend Like Me, 4.

Hakuna Matata, 5. Lavender Blue Dilly Dilly , 6. Les Poissons, 7. Reflection, 8. You Can Fly! Destiny Of Love, 2.

Love Hurts, 3. Mika's Song, 4. Our Same World, 5. Nocturnal Rainbow, 6. Because I Love You, 7. Wonder Boy, The Same Old Story, Elegy, Words, One Day Diary, Septemberies, Improvisation, He Knows My Name, Shining Smile, What Beautiful Stars, Leave Behind, Clementine 2 - To My Little Girl 2, Spring Waltz, Lost In Island, Vivace - Broken Blossoms, Autumn Colored Spring 2, Adeste Fidelis, 2.

Er is een Kindeke geboren op aard, 3. Er kwamen drie koningen, 4. Gloria in excelsis Deo, 5. Hoe leit dit kindeke, 6.

Il est ne, le divin Enfant, 7. Jingle bells, 8. Nu zijt wellecome, 9. O dennenboom, Stille Nacht] grade 1 Sinterklaasliedjes [1.

Sinterklaas kapoentje, 2. Sinterklaasje, bonne, bonne, bonne, 3. Zie ginds komt de stoomboot, 4. Daar wordt aan de deur geklopt, 5. Sinterklaasje, kom maar binnen met ke knecht, 6.

Zachtjes gaan de paardenvoetjes, 7. O, kom er eens kijken, 8. Hoor, wie klopt daar kinderen, 9. Hij komt, hij komt, die lieve, goede Sint, De zak van Sinterklaas, Hoor de wind waait door de bomen, Band 3 [1.

La Cucaracha, 5. The Snake Charmer, 7. The Ants Go Marching, 2. Scarborough Fair, 6. Theme from Symphony No. America My Country, 'Tis of Thee , 2.

Marsch, 2. Matrosenlied, 3. Gavotte, 4. Valse noble, 5. Negertanz, 6. Polonaise, 7. Scherzo, 8. Im Zirkus, 9. Idylle, Ballade, Bolero, The Sea And Sinbad's Ship, 2.

The Story of The Calendar Prince, 3. Canto Ilano glosado de 'La Alta', 3. Pavana glosada, 4. Himno 'Ave maris stella', Comunio 'Beata viscera Mariae', Motete glosado 'Jerusalem luge', Diferencias sobre 'Las Vacas', Diferencias sobre 'La Pavana Italiana', Diferencias sobre 'La Gallarda Milanesa', Diferencias sobre 'El Canto llano del Caballero', Discante sobre 'La Pavana Italiana', Diferencias sobre 'La dama le demanda', Jahrhundert 18 Fugues by J.

Manuals only. Book 1 [Preludes: 1. Craig S. LANG Horsley, Book 2 [Preludes: 1. Book 3 [Preludes: 1. Manuals and Pedals.

Book 1 [1. Book 2 [1. Book 3 [1. Eleven Pieces for Solo Organ from the 19th to the 21st Century [1.

Dialogue No. Frederick], 9. Postlude pour l'Office de Complies, 2. Suite monodique Animato - Andante Vivace , 4.

Deux Chorals Choral dorien - Choral phrygien , 5. Suite, 2. Intermezzo, 3. Praeludium und Fuge Op.

Legende Op. Duo pour le Cornet et le Cromorne, 3. Quand la minuit sonnait, 3. Adam e sa coumpagno, 4.

Choral, 3. Fantaisie pastorale, 4. Petite Suite scholastique, 2. Von Klassik bis Pop [1. Thema Klavierkonzert Nr.

Romanze - Ludwig van Beethoven; Liebestraum Nr. Ballade Pour Adeline; Rolling Home; Candlelight Waltz; Santa Lucia; O Sole Mio; Dolannes Melodie; La Paloma; Verwehter Glockenklang; Taiga-Melodie; Das einsame Gloeckchen; La Mer; La Sorella; Schlafe, mein Prinzchen, schlaf ein; Swanee River; La Pastorella; La Golondrina; El Condor Pasa; La Montanara; O Mia Bella Napoli; Oh Danny Boy; Granada; Mack The Knife; Capri Fischer; Il Silenzio; Stenka Rassin; Amazing Grace; Guantanamera; Summertime; Lili Marleen; Oh Happy Day; Streets Of London; Greensleeves; Yesterday; A Whiter Shade Of Pale; Candle In The Wind; Song For Guy; Time To Say Goodbye; Conquest Of Paradise; My Way; Spanish Eyes; Summerwind; Bridge Over Troubled Water; The Last Waltz; Strangers In The Night; Only You; Morning Has Broken; Lady In Black; Nights In White Satin; One Moment In Time; Killing Me Softly; Sierra Madre del Sur; Are You Lonesome Tonight; Thank You For The Music; Fernando; Chiquitita; Please Release Me; Something Stupid; Without You; The Thorn 5,70 79,65 14,80 24,40 23,15 23,65 23,65 38,55 35,95 21 Birds Theme; Ol' Man River; Moon River; Tara's Theme; Somewhere My Love; Bilitis; My Heart Will Go On; Don't Cry For Me Argentina; True Love; Walzer Nr.

Ungarischer Tanz Nr. Love Is Blue - Al Martino; Aura Lee - Elvis Presley; Die kleine Kneipe - Peter Alexander; Abendlied - Deutsches Volkslied; Schwarze Augen - Russisches Volkslied; Father And Son Cat Stevens; San Francisco - Scott McKenzie; Angie Rolling Stones; Hello - Lionel Richie; Angels - Robbie Williams; She Loves You - The Beatles; Time After Time - Cyndi Lauper; Mandy - Barry Manilow; Sailing - Rod Stewart; Autumn Leaves - Nat King Cole; Black Orpheus - Antonio Carlos Jobim; Chanson d'amour - Manhattan Transfer; Try To Remember - Harvey Schmidt; Harry Lime Theme; Winnetou-Melodie; Tonight - West Side Story; Morgens um sieben ist die Welt noch in Ordnung - James Last; Der mit dem Wolf tanzt - Der mit dem Wolf tanzt; Circle Of Life -; The Entertainer; What A Feeling; Gabriellas sang; A Celebration with the Accordion [1.

O Little Town of Bethlehem, 2. I Saw Three Ships, 4. O Christmas Tree O Tannenbaum , 5. God Rest Ye Merry Gentlemen, 6. Away in a Manger, 7.

Angels We Have Heard on High, 8. It Came upon the Midnight Clear, 9. Deck the Halls, The First Noel, Auld Lang Syne, Silent Night, The Herald Angels Sing, We Three Kings of Orient Are, Joy to the World, Jingle Bells, What Child Is This?

Bessenschots, 2. Bleuminkwals, 3. De Bredebeek, 4. De Kozak zijn Paard, 6. De Lepelschots, 7. Ezeltjeswals, 8. Het Binnekomertje, 9.

Het Paardespan, Koenraad Frederik Zijn Schots, Larsermars, Mangelwals, Mazurka no. Mazurvals no. Nna Leijden komt Verbleijden, Polka vopor Bertha, Polkaschots, Riessens walsje, Chiquilin de Bachin, 2.

Meditango, 3. Michelangelo 70, 4. Milonga sin palabras, 5. Novitango, 6. Tanguango, 8. Ballo di Mantova, 2. Bergamasco, 3. Ruggero, 5. Rujero, 6.

Saltarello, 7. Saltarello romagnolo, 8. Saltarello romagnolo, 9. Giga, Lanterna magica, Monferrina, Cuntradanza, Galoppa, Manfrine modenesi, Dainter e fora, Galatta, Ballo dei gobbi, Milorda, Questo ballo, Resiana, Manfrina, Puntitacco, Quadriglia, Quadriglia alla siciliana, Ruggeri, Jolla, Fasola, Tubbiana, Abballettu, Ballettu, Tarantella Ballettu , Scotis, Frankie and Johnny, 2.

Good Morning Blues, 3. House of the Rising Sun, 4. Lullaby of Birdland, 5. Number Twelve Tram, 7. Paragon Rag, 8. Smoke Gets in Your Eyes, 9.

Take Five, The Entertainer, The Fascinator, Adios Amor - Andy Borg, 8. Albany - Roger Whittaker, 9. Aloha Oe - Freddy Quinn, Anita - Costa Cordalis, Anneliese - Peter Alexander, Auf der Reeperbahn nachts um halb eins Freddy Quinn, Biene Maja - Karel Gott, Bronze, Silber und Gold - Wolfgang Petry, Bruttosozialprodukt - Geier Sturzflug, Bungalow in Santa Nirgendwo - Die Flippers, Butterfly - Daniel Gerard, Capri-Fischer - Die Flippers, Cowboy und Indianer - Olaf Henning, Deine Spuren im Sand - Howard Carpendale, Die alten Rittersleut - Hot Dogs, Die Fischer von St.

Juan - Andy Borg, Die Gitarre und das Meer - Freddy Quinn, Die kleine Kneipe - Peter Alexander, Die rote Sonne von Barbados - Die Flippers, Du hast mich tausendmal belogen - Andrea Berg, Du kannst nicht immer 17 sein - Chris Roberts, Ein Schiff wird kommen - Andrea Berg, Eviva Espana - Chris Roberts, Fahrende Musikanten - Nina und Mike, Fiesta Mexicana - Rex Gildo, Geh doch wenn du sie liebst Andrea Berg, Hello Again - Howard Carpendale, Herzilein - Wildecker Herzbuben, Valentino, Junge komm bald wieder - Freddy Quinn, Kufsteinlied - Franzl Lang, La Paloma - Freddy Quinn, Lebt denn dr alte Holzmichl noch?

Liebeskummer lohnt sich nicht - Siw Malmkvist, Major Tom - Peter Schilling, Malaika - Die Flippers, Marleen Marianne Rosenberg, Mendocino - Michael Holm, Ramona - Blue Diamonds, Rut sin de Ruse - De Boore, Santa Maria - Roland Kaiser,

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