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Bach BWV 893 Well-Tempered Clavier Book II No.24 Prelude & Fugue B minor 巴哈 平均律 Score Sheet 譜 【Kero】
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Bach BWV 893 Well-Tempered Clavier Book II BWV870-893
No.24 Prelude & Fugue in B minor, BWV 893
巴哈 十二平均律 鍵盤曲集
巴哈 十二平均律 键盘曲集
Bach El clave bien temperado
バッハ 平均律 クラヴィーア曲集
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Bach #Well-Tempered #Clavier
00:00 Prelude
01:24 Fugue
Book I
No. 1: Prelude and Fugue in C major, BWV 846
No. 2: Prelude and Fugue in C minor, BWV 847
No. 3: Prelude and Fugue in C♯ major, BWV 848
No. 4: Prelude and Fugue in C♯ minor, BWV 849
No. 5: Prelude and Fugue in D major, BWV 850
No. 6: Prelude and Fugue in D minor, BWV 851
No. 7: Prelude and Fugue in E♭ major, BWV 852
No. 8: Prelude in E♭ minor and Fugue in D♯ minor, BWV 853
No. 9: Prelude and Fugue in E major, BWV 854
No. 10: Prelude and Fugue in E minor, BWV 855
No. 11: Prelude and Fugue in F major, BWV 856
No. 12: Prelude and Fugue in F minor, BWV 857
No. 13: Prelude and Fugue in F♯ major, BWV 858
No. 14: Prelude and Fugue in F♯ minor, BWV 859
No. 15: Prelude and Fugue in G major, BWV 860
No. 16: Prelude and Fugue in G minor, BWV 861
No. 17: Prelude and Fugue in A♭ major, BWV 862
No. 18: Prelude and Fugue in G♯ minor, BWV 863
No. 19: Prelude and Fugue in A major, BWV 864
No. 20: Prelude and Fugue in A minor, BWV 865
No. 21: Prelude and Fugue in B♭ major, BWV 866
No. 22: Prelude and Fugue in B♭ minor, BWV 867
No. 23: Prelude and Fugue in B major, BWV 868
No. 24: Prelude and Fugue in B minor, BWV 869
Book II
No. 1: Prelude and Fugue in C major, BWV 870
No. 2: Prelude and Fugue in C minor, BWV 871
No. 3: Prelude and Fugue in C♯ major, BWV 872
No. 4: Prelude and Fugue in C♯ minor, BWV 873
No. 5: Prelude and Fugue in D major, BWV 874
No. 6: Prelude and Fugue in D minor, BWV 875
No. 7: Prelude and Fugue in E♭ major, BWV 876
No. 8: Prelude and Fugue in D♯ minor, BWV 877
No. 9: Prelude and Fugue in E major, BWV 878
No. 10: Prelude and Fugue in E minor, BWV 879
No. 11: Prelude and Fugue in F major, BWV 880
No. 12: Prelude and Fugue in F minor, BWV 881
No. 13: Prelude and Fugue in F♯ major, BWV 882
No. 14: Prelude and Fugue in F♯ minor, BWV 883
No. 15: Prelude and Fugue in G major, BWV 884
No. 16: Prelude and Fugue in G minor, BWV 885
No. 17: Prelude and Fugue in A♭ major, BWV 886
No. 18: Prelude and Fugue in G♯ minor, BWV 887
No. 19: Prelude and Fugue in A major, BWV 888
No. 20: Prelude and Fugue in A minor, BWV 889
No. 21: Prelude and Fugue in B♭ major, BWV 890
No. 22: Prelude and Fugue in B♭ minor, BWV 891
No. 23: Prelude and Fugue in B major, BWV 892
No. 24: Prelude and Fugue in B minor, BWV 893
《平均律鍵盤曲集》(Das Wohltemperierte Klavier)，作品號BWV 846–893，是一組由約翰·塞巴斯蒂安·巴赫為鍵盤獨奏樂器而創作的音樂。最初，巴赫於1722年創作了一組在全部二十四個大小調上的前奏曲與賦格，標題上寫著「為使好學的音樂青年從中獲益，特別是供熟悉此類技巧的人消遣」。巴赫後來於1742年又創作了同樣形式的第二組樂曲，但標題僅為「二十四首前奏曲與賦格」。現在，這兩組作品通常作為第一卷和第二卷被合稱作「平均律鍵盤曲集」。《平均律鍵盤曲集》被廣泛看作是西方古典音樂歷史上最具影響力的作品之一。
* Note:
1. There are 24 pieces in both Book I & 2, totaling 48 pieces. (BWV846-893).
2. Each of the 24 pieces is in a different key.
3. Each piece consists of a prelude & a fugue.
The Well-Tempered Clavier, BWV 846–893, is two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier, meaning keyboard, referred to a variety of instruments, most typically the harpsichord or clavichord but not excluding the organ).
The modern German spelling for the collection is Das wohltemperierte Klavier . Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Some 20 years later Bach compiled a second book of the same kind, which became known as The Well-Tempered Clavier, Part Two.
Modern editions usually refer to both parts as The Well-Tempered Clavier, Book I (WTC I) and The Well-Tempered Clavier, Book II (WTC II), respectively. Some modern sources regard the collection as being among the most important works in the history of classical music.
Each set contains twenty-four pairs of prelude and fugue. The first pair is in C major, the second in C minor, the third in major, the fourth in minor, and so on. The rising chromaticpattern continues until every key has been represented, finishing with a B minor fugue. The first set was compiled in 1722 during Bach's appointment in Köthen); the second followed 20 years later in 1742 while he was in Leipzig.
...
https://www.youtube.com/watch?v=KDcRcV15e1Q
Bach BWV 893 Well-Tempered Clavier Book II BWV870-893
No.24 Prelude & Fugue in B minor, BWV 893
巴哈 十二平均律 鍵盤曲集
巴哈 十二平均律 键盘曲集
Bach El clave bien temperado
バッハ 平均律 クラヴィーア曲集
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Bach #Well-Tempered #Clavier
00:00 Prelude
01:24 Fugue
Book I
No. 1: Prelude and Fugue in C major, BWV 846
No. 2: Prelude and Fugue in C minor, BWV 847
No. 3: Prelude and Fugue in C♯ major, BWV 848
No. 4: Prelude and Fugue in C♯ minor, BWV 849
No. 5: Prelude and Fugue in D major, BWV 850
No. 6: Prelude and Fugue in D minor, BWV 851
No. 7: Prelude and Fugue in E♭ major, BWV 852
No. 8: Prelude in E♭ minor and Fugue in D♯ minor, BWV 853
No. 9: Prelude and Fugue in E major, BWV 854
No. 10: Prelude and Fugue in E minor, BWV 855
No. 11: Prelude and Fugue in F major, BWV 856
No. 12: Prelude and Fugue in F minor, BWV 857
No. 13: Prelude and Fugue in F♯ major, BWV 858
No. 14: Prelude and Fugue in F♯ minor, BWV 859
No. 15: Prelude and Fugue in G major, BWV 860
No. 16: Prelude and Fugue in G minor, BWV 861
No. 17: Prelude and Fugue in A♭ major, BWV 862
No. 18: Prelude and Fugue in G♯ minor, BWV 863
No. 19: Prelude and Fugue in A major, BWV 864
No. 20: Prelude and Fugue in A minor, BWV 865
No. 21: Prelude and Fugue in B♭ major, BWV 866
No. 22: Prelude and Fugue in B♭ minor, BWV 867
No. 23: Prelude and Fugue in B major, BWV 868
No. 24: Prelude and Fugue in B minor, BWV 869
Book II
No. 1: Prelude and Fugue in C major, BWV 870
No. 2: Prelude and Fugue in C minor, BWV 871
No. 3: Prelude and Fugue in C♯ major, BWV 872
No. 4: Prelude and Fugue in C♯ minor, BWV 873
No. 5: Prelude and Fugue in D major, BWV 874
No. 6: Prelude and Fugue in D minor, BWV 875
No. 7: Prelude and Fugue in E♭ major, BWV 876
No. 8: Prelude and Fugue in D♯ minor, BWV 877
No. 9: Prelude and Fugue in E major, BWV 878
No. 10: Prelude and Fugue in E minor, BWV 879
No. 11: Prelude and Fugue in F major, BWV 880
No. 12: Prelude and Fugue in F minor, BWV 881
No. 13: Prelude and Fugue in F♯ major, BWV 882
No. 14: Prelude and Fugue in F♯ minor, BWV 883
No. 15: Prelude and Fugue in G major, BWV 884
No. 16: Prelude and Fugue in G minor, BWV 885
No. 17: Prelude and Fugue in A♭ major, BWV 886
No. 18: Prelude and Fugue in G♯ minor, BWV 887
No. 19: Prelude and Fugue in A major, BWV 888
No. 20: Prelude and Fugue in A minor, BWV 889
No. 21: Prelude and Fugue in B♭ major, BWV 890
No. 22: Prelude and Fugue in B♭ minor, BWV 891
No. 23: Prelude and Fugue in B major, BWV 892
No. 24: Prelude and Fugue in B minor, BWV 893
《平均律鍵盤曲集》(Das Wohltemperierte Klavier)，作品號BWV 846–893，是一組由約翰·塞巴斯蒂安·巴赫為鍵盤獨奏樂器而創作的音樂。最初，巴赫於1722年創作了一組在全部二十四個大小調上的前奏曲與賦格，標題上寫著「為使好學的音樂青年從中獲益，特別是供熟悉此類技巧的人消遣」。巴赫後來於1742年又創作了同樣形式的第二組樂曲，但標題僅為「二十四首前奏曲與賦格」。現在，這兩組作品通常作為第一卷和第二卷被合稱作「平均律鍵盤曲集」。《平均律鍵盤曲集》被廣泛看作是西方古典音樂歷史上最具影響力的作品之一。
* Note:
1. There are 24 pieces in both Book I & 2, totaling 48 pieces. (BWV846-893).
2. Each of the 24 pieces is in a different key.
3. Each piece consists of a prelude & a fugue.
The Well-Tempered Clavier, BWV 846–893, is two sets of preludes and fugues in all 24 major and minor keys for keyboard by Johann Sebastian Bach. In the composer's time clavier, meaning keyboard, referred to a variety of instruments, most typically the harpsichord or clavichord but not excluding the organ).
The modern German spelling for the collection is Das wohltemperierte Klavier . Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 keys, major and minor, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Some 20 years later Bach compiled a second book of the same kind, which became known as The Well-Tempered Clavier, Part Two.
Modern editions usually refer to both parts as The Well-Tempered Clavier, Book I (WTC I) and The Well-Tempered Clavier, Book II (WTC II), respectively. Some modern sources regard the collection as being among the most important works in the history of classical music.
Each set contains twenty-four pairs of prelude and fugue. The first pair is in C major, the second in C minor, the third in major, the fourth in minor, and so on. The rising chromaticpattern continues until every key has been represented, finishing with a B minor fugue. The first set was compiled in 1722 during Bach's appointment in Köthen); the second followed 20 years later in 1742 while he was in Leipzig.
...
https://www.youtube.com/watch?v=KDcRcV15e1Q
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beethoven-piano-sonata-no.1-op.2-no.1
【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Beethoven Piano Sonata No.1 Op.2 No.1 in F minor
貝多芬 鋼琴 奏嗚曲 第1號 作品2-1 F小調
贝多芬 钢琴 奏呜曲 第1号 作品2-1 F小调
Beethoven Sonata para piano n.º 1 en fa menor
ベートーヴェン ピアノソナタ第1番 ヘ短調 作品2-1
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Beethoven #Piano #Sonata
00:00 I Allegro
03:35 II Adagio
08:44 III Menuetto Allegretto
09:45 Trio
11:24 IV Prestissimo
Ludwig van Beethoven's Piano Sonata No. 1 in F minor, Op. 2, No. 1, was written in 1795 and dedicated to Joseph Haydn. It was published simultaneously with his second and third piano sonatas in 1796.
Sir Donald Francis Tovey wrote, "Sir Hubert Parry has aptly compared the opening of [this sonata] with that of the finale of Mozart's G minor symphony to show how much closer Beethoven's texture is. The slow movement ... well illustrates the rare cases in which Beethoven imitates Mozart to the detriment of his own proper richness of tone and thought, while the finale in its central episode brings a misapplied and somewhat diffuse structure in Mozart's style into a direct conflict with themes as Beethovenish in their terseness as in their sombre passion".
The sonata is in four movements.
I. Allegro
The first movement, in cut common time, is in the tonic key of F minor and in conventional sonata form, as was typical at Beethoven's time. A tense, agitated feel is ubiquitous throughout the movement. The piece opens with an ascending arpeggiated figure (a so-called Mannheim Rocket, like that opening the fourth movement of Mozart's Symphony No. 40), culminating in a sixteenth-note triplet turn. This theme was used by Arnold Schoenberg for his initial example of sentence form.
II. Adagio
The second movement opens with a highly ornamented lyrical theme in time in F major. This movement is in ternary form. This is followed by a more agitated transitional passage in D minor accompanied by quiet parallel thirds, followed by a passage full of demisemiquavers in C major. This leads back to a more embellished form of the F major theme, which is followed by an F major variation of the C major section. This Adagio (along with two themes from his sonata Op. 2, No. 3) is the earliest composition by Beethoven now in general circulation; it was adapted from the slow movement of his Piano Quartet No. 3 in C major from 1785.
III. Menuetto and Trio (Allegretto)
The third movement, a minuet in F minor, is conventional in form. It contains two repeated sections, followed by a trio in F major in two repeated sections, after which the first minuet returns. The minuet is characterized by syncopations, dramatic pauses and sharp dynamic contrast, and like many minor-key minuets has a somewhat melancholy tone spanning major and minor tonality. The trio is built around longer, more lyric phrases that pass between the right and left hands in imitative polyphony. The main material is reprised after the trio.
IV. Prestissimo
The fourth movement, like the first and third, is in the tonic-minor key (F minor), is in cut common time and bears the tempo marking prestissimo ("very fast"). It has the form of a modified sonata-allegro movement, in which the development section has been replaced with a contrasting middle section. The movement opens with fast triplet eighth-note arpeggios on the left hand, over which the main three-chord motif in staccato quarter notes is introduced two beats later.
...
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Rieding-5-Violin-Concertino
【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Rieding Violin Concertino Op.5 in D major
黎丁 小提琴 協奏曲 作品5 D大調
黎丁 小提琴 协奏曲 作品5 D大调
リーディング ヴァイオリン 協奏曲 ニ長調
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Rieding #Concertino #Violin
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【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Mazas Op.46 No.1 46-1 Duos faciles et progressifs
馬薩斯 簡單 漸進 二重奏
马萨斯 简单 渐进 二重奏
マザス 6つの二重奏曲
violin violín ヴァイオリン 小提琴
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Mazas #Duo #Violin
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sibelius-7-songs-op.13-no.3-13-3
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Sibelius 7 Songs Op.13
No.3 13-3 Hjärtats morgon (The Heart's Morning)
西貝流士 7首 歌曲 作品13
西贝流士 7首 歌曲 作品13
Sibelius Siete canciones sobre textos de Runeberg
シベリウス 7つ の 歌
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Sibelius #西貝流士 #Song
No.1 13-1 Under strandens granar ('Neath the Fir Trees)
No.2 13-2 Kyssens hopp (Kiss's Hope)
No.3 13-3 Hjärtats morgon (The Heart's Morning)
No.4 13-4 Våren flyktar hastigt (Spring is Flying)
No.5 13-5 Drömmen (The Dream)
No.6 13-6 Till Frigga (To Fricka)
No.7 13-7 Jägargossen (The Young Sportsman)
...
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鈴
鈴木-suzuki-8-5-pugnani-largo
Suzuki 8-5 Violin School Book Volume 8
Pugnani Largo Expressivo
鈴木 小提琴 教本 第八冊
普格納尼 蒲亞尼 壯大的最緩板
铃木 小提琴 教本 第八册
普格纳尼 蒲亚尼 壮大的最缓板
鈴木 ヴァイオリン 指導曲集 教本 8
プニャーニ ラルゴ・エスプレッシーヴ
Suzuki Método para Violín Libro 8
Pugnani Largo Expressivo
#Suzuki #Book8 #鈴木
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CHOPI
chopin-introduction-and-polonaise
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Chopin Introduction and Polonaise brillante Op.3 for Cello and Piano in C major
蕭邦 序奏 與 華麗的 波蘭舞曲 作品3 大提琴 鋼琴 C大調
萧邦 序奏 与 华丽的 波兰舞曲 作品3 大提琴 钢琴 C大调
Chopin Introducción y polonesa brillante Op. 3 para cello y piano en do mayor
ショパン 序奏 と 華麗なる ポロネーズ ハ長調
ピアノ 鋼琴 钢琴 Piano
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Chopin #Polonaise #Brillante
Introduction and Polonaise brillante in C major, Op. 3, is a composition for cello and piano by Frédéric Chopin. It was one of Chopin's first published compositions.
The Polonaise was written between 20 and 28 October 1829 during a visit to the estate of Antoni Radziwiłł in Antonin. In a letter to Chopin's friend Tytus Woyciechowski, Chopin indicated that he wanted Princess Wanda, the daughter of Prince Antoni, to practice it. The Introduction was written in April 1830. The work was published in 1831 and dedicated to the Austrian cellist Joseph Merk. In a letter, Chopin wrote "On Thursday there was a soiree at Fuchs’s, when Limmer introduced some of his own compositions for four violoncellos. Merk as usual made them more beautiful than they really were by his playing, which is so full of soul. He is the only violoncellist I really respect".
A typical performance lasts about eight and a half minutes, although the total performance time may vary. Due to the relative simplicity of the cello part, many cellists often heavily embellish the melody, sometimes to the point of complete distinction from the original melody.
Jean Françaix orchestrated the work in 1951 in collaboration with Maurice Gendron. The score is published by Schott Music.
...
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chopin-mazurka-no.6-op.7-no.2-7-2-a
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Chopin Mazurka
No.6 Op.7 No.2 7-2 in A minor 第6號 A小調 n.º 6 en la menor 第6番 イ短調
蕭邦 馬祖卡 馬厝卡 舞曲
萧邦 马祖卡 马厝卡 舞曲
Chopin Mazurca
ショパン マズルカ
ピアノ 鋼琴 钢琴 Piano
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Chopin #Mazurka #馬厝卡
No.5 Op.7 No.1 7-1 in B flat minor 第5號 降B小調 n.º 5 en si bemol menor 第5番 変ロ短調
No.6 Op.7 No.2 7-2 in A minor 第6號 A小調 n.º 6 en la menor 第6番 イ短調
No.7 Op.7 No.3 7-3 in F minor 第7號 F小調 n.º 7 en fa menor 第7番 ヘ短調
No.8 Op.7 No.4 7-4 in A flat major 第8號 降A大調 n.º 8 en la bemol mayor 第8番 変イ長調
No.9 Op.7 No.5 7-5 in C major 第9號 C大調 n.º 9 en do mayor 第9番 ハ長調
The Mazurkas, Op. 7 are a set of five mazurkas by Frédéric Chopin. The mazurkas were written in 1830 – 1832. A typical performance of all five mazurkas takes a little over eleven minutes.
No. 6 in A minor
Despite the Vivo, ma non troppo marking, the mazurka is usually slowly performed, and the main theme is relatively mild.
...
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【Kero】Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Respighi Ancient Airs & Dances Suite No.2
No.1 2-1 Laura soave: balletto con gagliarda, saltarello e canario
雷史畢基 古代風格組曲 第2號
雷史毕基 古代风格组曲 第2号
Respighi Suites de Aires Antiguos y Danzas No.2
レスピーギ リュートのための 古風な 舞曲 と アリア 第1番
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Respighi #Ancient #Dances
00:00 Balletto
01:14 Gagliarda
02:04 Saltarello
02:38 Canario
Suite No.1 P.109
No.1 1-1 Balletto: "Il Conte Orlando"
No.2 1-2 Gagliarda
No.3 1-3 Villanella
No.4 1-4 Passo mezzo e mascherada
Suite No.2 P.138
No.1 2-1 Laura soave: balletto con gagliarda, saltarello e canario
No.2 2-2 Danza rustica
No.3 2-3 Campanae parisienses
No.4 2-4 Bergamasca
Suite No.3 P.172
No.1 3-1 Italiana
No.2 3-2 Arie di corte
No.3 3-3 Siciliana
No.4 3-4 Passacaglia
Ancient Airs and Dances is a set of three orchestral suites by Italian composer Ottorino Respighi, freely transcribed from original pieces for lute. In addition to being a renowned composer and conductor, Respighi was also a notable musicologist. His interest in Italian music of the 16th, 17th, and 18th centuries led him to compose works inspired by the music of these periods.
Suite No. 1 P 109 was composed in 1917. It was based on Renaissance lute pieces by Simone Molinaro, Vincenzo Galilei (father of Galileo Galilei) and additional anonymous composers.
Suite No. 2, P 138 was composed in 1923. It was based on pieces for lute, archlute, and viol by Fabritio Caroso, Jean-Baptiste Besard, Bernardo Gianoncelli, and an anonymous composer. It also includes an aria attributed to Marin Mersenne.
Suite No. 3, P 172 was composed in 1931. It differs from the previous two suites in that it is arranged for strings only and somewhat melancholy in overall mood. (A note by the composer in the printed score states that the work may also be performed by a string quartet, completely omitting the double-bass part.) It is based on lute songs by Besard, a piece for Baroque guitar by Ludovico Roncalli, and lute pieces by Santino Garsi da Parma and additional anonymous composers.
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LISZT
liszt-etude-en-douze-exercices-s.136-4
【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き
Liszt Étude en douze exercices S.136
12 Etudes
No.5 136-5 Moderato (B♭ minor)
李斯特 12首 練習曲 作品136
李斯特 12首 练习曲 作品136
Liszt 2 Études en douze exercices dans tous les tons majeurs et mineurs S136
リスト すべての長短調のための48の 練習曲
Piano 鋼琴钢琴 ピアノ Etude Study Études
Classical music Música clásica クラッシック 古典音樂 古典音乐
#Liszt #Etude #Étude
Liszt Étude en douze exercices, 12 pieces, S136
No.1 136-1 Allegro con fuoco (C major)
No.2 136-2 Allegro non molto (A minor)
No.3 136-3 Allegro sempre legato (F major)
No.4 136-4 Allegretto (D minor)
No.5 136-5 Moderato (B♭ minor)
No.6 136-6 Molto agitato (G minor)
No.7 136-7 Allegretto con molto espressione (E♭ major)
No.8 136-8 Allegro con spirito (C minor)
No.9 136-9 Allegro grazioso (A♭ major)
No.10 136-10 Moderato (F minor)
No.11 136-11 Allegro grazioso (D♭ major)
No.12 136-12 Allegro non troppo (B♭ minor)
The genesis of the Transcendental Études goes back to 1826, when 15-year-old Liszt wrote a set of youthful exercises called the Étude en douze exercices (Study in twelve exercises), S.136. These pieces were not particularly technically demanding. Liszt then returned to these pieces for thematic ideas, elaborating on them considerably, in the composition of the Douze Grandes Études (Twelve Grand Studies), S.137, which were published in 1837.
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