Works
op. 1 - 2 Sonatas for Harpsichord, Violine ad libitum
op. 2 - 2 Sonatas for Harpsichord, with violin obbligato
op. 3 - 2 Sonatas for Harpsichord, Violin ad libitum
op. 4 - 2 Sonatas for Harpsichord
op. 5 - 2 Sonatas for Harpsichord, Violin ad libitum
op. 6 - 3 Triosonatas for Harpsichord, Violin and Violoncello ad libitum
op. 7 - 3 Sonatas en quatuor, Harpsichord, 2 Violins and Violoncello ad libitum
op. 8 - 2 Sonatas for Harpsichord with Violin obbligato
op. 9 - 3 Sinfonies for Harpsichord, Violine and 2 Horns ad libitum
op. 10 - 3 Sinfonies for Harpsichord, Violin and 2 Horns ad libitum
op. 11 - Concerto I for Harpsichord, 2 Violins, Viola, Violoncello, 2 Horns ad libitum
op. 12 - Concerto II for Harpsichord, 2 Violins, Viola, Violoncello, 2 Oboes, 2 Horns ad libitum
op. 13 - Concerto III pastorale for Harpsichord, 2 Violins, 2 Horns ad libitum, Viola, Violoncello
op. 14 - 6 Sonatas for Harpsichord, Violine ad libitum (Nr. 1 with Violin and Viola ad libitum)
op. 15 - Concerto IV for Harpsichord, Violine and 2 Horns ad libitum
op. 16 - 4 Sonatas for Harpsichord, Violin and Violoncello
op. 17 - 4 Sonatas for Harpsichord, Violin
op. 18 - Concerto V for Harpsichord and 2 Violins
op. 19 - 2 Sonatas for Harpsichord or Pianoforte, Violin (posthumous)
op. 20 - 3 Sonatas for Harpsichord and Violin (probably by T. Giordani)
(New Grove Dictionary of Music and Musicians)
Read more about this topic: Johann Schobert
Famous quotes containing the word works:
“The mind, in short, works on the data it receives very much as a sculptor works on his block of stone. In a sense the statue stood there from eternity. But there were a thousand different ones beside it, and the sculptor alone is to thank for having extricated this one from the rest.”
—William James (1842–1910)
“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)