In the Baroque Era the term “clavier” referred to all keyboard instruments: virginal clavichord harpsichord fortepiano and others. The Bärenreiter Baroque Piano Album presents a representative selection of the major forms of Baroque clavier music from England Italy France and Germany . The anthology is divided into these four countries and illustrated with pictures of historical instruments to convey an impression of music making in the country concerned. The volume begins with the Italian composer Girolamo Frescobaldi whose keyboard works exemplify the stylistic transition from the Renaissance to theBaroque. It then moves on to the English virginalists and the French clavecinistes and ends with the epochal of Johann Sebastian Bach. Apart from traits which prevailed in each of these countries piano pupils will learn about the various stages of the Early High and Late Baroque period as well as about the major musical genres from dance to fugue. Special care was taken in the selection of the pieces to ensure that they could be played on the modern piano. Since Baroque ornaments must be executed differently for each composer practical suggestions are included in the musical text. Reliable fingering has been added to make the volume ideal for use in piano lessons. Representative overview of the major styles in Baroque clavier music 44 easy-to-play pieces Colour illustrations of historical keyboard instruments Musical text includes suggestions for ornaments Reliable fingering

Instrumentation : KlavKEYBOARDMUSIC BAROQUE/ROCOCO 2 - PIANOEditor : Georgii, W.

With electronic keyboards synthesizers and MIDI available today this new collection of seven hymns arranged at medium-difficulty level is the perfect vehicle to utilize harpsichord sounds. And if you are blessed with a realharpsichord all the better. Baroque and classical era mordants trills and other ornamentations are carefully explained and written out in the foreword. This book will be a refreshing change of pace for keyboard players. Titlesinclude: Fairest Lord Jesus • God Rest Ye Merry Gentlemen • Jesus the Very Thought of Thee • O God Our Help in Ages Past • and more.

Grade 8+-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

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

Blue Baroque Cello-Mike Cornick's Blue Baroque offers cellists the chance to explore adaptations from the Baroque repertoire in various modern styles. His selection includes items from the Orchestral Vocal and Keyboard repertoires of the period and can be welcomed and enjoyed by middle grade to more advanced players.

Par SCARLATTI / GILBERT. Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this fourth volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti 's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royal families. The fourth volume, comprising Sonatas 156-205, includes the popular and recognisable Sonata in C major (K. 159). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre./ Répertoire / Clavier

Par SCARLATTI / GILBERT. Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this eleventh and final volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti 's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portugueseroyal families. The eleventh volume, comprising Sonatas 507-55, includes the popular and recognisable Sonata in E major (K. 531). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre./ Répertoire / Clavier

Volume 1 K.1-52-Italian composer Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day and it is for this reason that this first volume is indispensable to performers of the genre. Originally composed for the Harpsichord Organ or early Pianoforte the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti's Keyboard music contains influences of Iberian music considering that he spent much of his working life in the service of the Spanish and Portuguese royal families.This first volume comprising Sonatas 1-52 includes the popular and recognised Sonatas in D minor (K. 9) E major (K. 20) and B minor (K. 27). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day so much so that he was employed in the service of two royal families his Sonatas are composed with much experience understanding and expertise creating an essential addition to the repertoire of all Keyboard players of the Baroque genre.

Par SCARLATTI / GILBERT. Italian composer, Domenico Scarlatti (1685-1757) is well-known for his Keyboard compositions. His 555 Keyboard Sonatas remain ever popular to this day, and it is for this reason that this tenth volume is indispensable to performers of the genre. Originally composed for the Harpsichord, Organ or early Pianoforte, the Sonatas display the riveting use of discords and unconventional modulations to remote keys. It is also thought that much of Scarlatti 's Keyboard music contains influences of Iberian music, considering that he spent much of his working life in the service of the Spanish and Portuguese royal families. The tenth volume, comprising Sonatas 458-506, includes the popular and recognisable Sonata in F minor (K. 466). Bearing in mind that Domenico Scarlatti was a highly competent and popular Keyboard player in his day, so much so that he was employed in the service of two royal families, his Sonatas are composed with much experience, understanding and expertise, creating an essential addition to the repertoire of all Keyboard players of the Baroque genre./ Répertoire / Clavier

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.