Jan Sweelinck (1562-1621) was among the most famous organists of seventeenth century Europe and an influential composer in the Dutch and North German tradition. Bridging both Renaissance and Baroque styles the Dutch composer is best remembered for the inventive sparkling music he wrote for organ and other keyboard instruments. This remarkable treasury includes nearly all of Sweelinck's brilliant keyboard works most of which have survived only in widely scattered seventeenth century manuscripts. In Sweelinck's day these were some of Europe's most popular pieces for organ and keyboard. Nowadays they retain every bit of their original intensity and vigour. Reproduced inthis authoritative complete-resource edition they will be welcomed by serious keyboard artists who will find them as praiseworthy today as they were when first known and played in Europe over three hundred years ago.

Vista is the first in a planned sequence of pieces all to include piano. The sequence will form a musical reflection or interpretation of aspects of Italian renaissance and baroque gardens typically derived from mythology as filtered through Ovid in his Metamorphoses.

Journey Through the Classics Complete est une compilation commode de tous les 98 pièces de Livres 1-4 de cette série populaire.Les morceaux gradués sont présentées dans un ordre progressif et disposent d'une variété de plats classiques essentiel de fondation éducative tout étudiant de piano.Le répertoire authentique est idéale pour les auditions et récitals, et chaque niveau comprend un tableau de référence pratique avec la clé, compositeur, période stylistique, et les éléments énumérés défi pour chaque pièce.Qualité et la valeur de ce volume font un compagnon idéal pour toute méthode classique! / Piano

Par . Ce recueil propose 35 magnifiques solos pour votre plus grand plaisir et celui de votre entourage ! Les morceaux proviennent de compositeurs contemporains tels que David Lanz, Michele McLaughlin, Ola Gjeilo, Yann Tiersen ou Philip Wesley. / Date parution : 2023-06-01/ Recueil / Piano

Sheet Music Edition. Par DAVIES PETER MAXWELL. Sir Peter Maxwell Davies is universally acknowledged as one of the foremost composers of our time and as he reaches his 75th birthday in 2009 he remains prolific. The sonata for violin and piano was written for the virtuoso violinist, Ilya Gringolts and first performed at the St Magnus Festival in Orkney in 2008. The work is principally concerned with Italian architecture and the music takes both performers and audience across an imaginary walkway over Rome as proposed by the architect Giuseppe Rebecchini. Starting at the 17th Century Chiesa Nuova the exceptional journey passes Renaissance churches, exhibition spaces, the river Tiber, glass façades, sculptures and even a prison where a Lazio folk tune can be heard echoing from behind the walls. The journey ends 15 minutes later at Gianicolo, an area where one can take in breathtaking views over the whole city./ Répertoire / Violon et Piano

Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of the best of these pre-Baroque masterpieces. Carefully graded.It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the DeadSea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbled miraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the

It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the Dead Sea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbledmiraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to lookbeyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance withavant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on periodinstruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the practices that were once fundamental to the craft. On balance however the potential for a major

A Selection of Renaissance Tunes Instrument : treble recorder and piano Nombre de Pages : 56 Steven Rosenberg writes in the preface: This book is intended to give recorder players a repertoire of solo pieces from the Renaissance. Solo literature for the recorder is often dominated by music of the baroque era, while the music of Renaissance is primarily preformed by consorts. I hope that this collection will expand the solo repertoire by bringing to recorder players some of the most beautiful melodies of this period. I have performed all of these pieces in public and have taken care only to include music that is of performance quality. Some of the pieces are grouped in suites, but you should feel free to play them in the order of your choice. For those of you equally at home on descant (soprano) and treble (alto), fell free to intersperse pieces from the companion book for descant recorder. The edition is part of the ABRSM Summer 2006 syllabus (grades 1-3) and the Trinity syllabus 2007 (grade 6). Content : Four Elizabethan Masque Dances: 1. The Fairy Masque (Johnson) - Four Elizabethan Masque Dances: 2. Wilson's Love (Anon) - Four Elizabethan Masque Dances: 3. The Witches - Second Dance (Anon) - Four Elizabethan Masque Dances: 4. The King's Mistress (Anon) - Three English Country Dances from John Playford's Dancing Master: 1. The Merry Milkmaids - Three English Country Dances from John Playford's Dancing Master: 2. Dissembling Love (or The Lost Heart) - Three English Country Dances from John Playford's Dancing Master: 3. Newcastle - Two Country Dances from John Playford collection: 1. Bellamira - Two Country Dances from John Playford collection: 2. Pell-mell - Allemande (1) (Susato) - Allemande (2) (Susato) - Lady Bannings Almand (Sturte) - Le coeur est bon (Susato) - Pass et medio (Susato) - Pavane Mille regretz (Susato) - Recercada quinta (Ortiz) - Recercada segunda (Ortiz) - Recercada segunda sobre 'O Felici Occhi Miei' (Ortiz) - Ronde Mon amy (Susato) - Ronde III (Susato) - Ronde IV (Susato) - Ronde V (Susato) - Ronde VI (Susato) - The Leaves be Green (Phalese) - What if a Day (Dowland) - Woodycock (Anon)

This treasury of part songs and sacred music for one to six voices will delight all lovers of medieval and Renaissance music. Containing a wealth of both religious and secular music from the 12th to the 17th centuries the collection covers a broad range of moods. Approximately half the songs are secular some from the popular tradition and others from the courtly poets and musicians surrounding such musically inclined monarchs. Some of the music contained is printed for the first time. Edited by Noah Greenberg

Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano

Easy pieces to play together-This collection features a wide selection of original works from the Renaissance Baroque and Modern eras arranged for Piano 4-hands. Focusing on easy repertoire Duets for Fun will provide hours of enjoyment for aspiring musicians wishing to discover new material as well as develop their playing. This collection is ideal for use as teaching material or for playing at home or in a concert with a friend. This title was previously published as 'Duo-Schatzkiste' (A Treasure Chest of Duos).