Lied- und Tanzvariationen. Par SWEELINCK JAN PIETERSZOON. Following the successful new edition of Scheidt's Tabulatura nova, Harald Vogel now releases his second major project for Breitkopf & Härtel, Jan Pieterszoon Sweelinck's 'Complete Keyboard Works'. Assisting the leading interpreter of 16th- and 17th-century organ music is Pieter Dirksen, the Dutch harpsichordist and Sweelinck scholar. Together, they ensure the highest degree of competence and professionalism. Also highly anticipated is the method of transposition of Sweelinck's notational forms (staff notation and letter tablature), which maintains the characteristic features of the primary sources for the first time ever. No previous edition had ever taken these characteristics into account until now. The edition of the Complete Keyboard Works is a scholarly edition for practical use in four volumes. In addition to the latest findings in the field of performance practice, it contains an extensive preface on Sweelinck's life and his pedagogical legacy./ Répertoire / Orgue ou Clavecin

Choral- und Psalmvariationen. Par SWEELINCK JAN PIETERSZOON. With Volume 3 of Sweelinck's complete works for keyboard instruments, 'Chorale and Psalm Variations, ' editor Harald Vogel presents a group of works that can enhance many of today's religious services. Vogel's approach to the fundamental issues of performance practice in this edition is exceptionally knowledgeable. He begins by supplying a 'practical source edition' of the works, in which he attempts to respect the unique aspects of the notation as much as possible. Moreover, in the appendix he provides the text and origin of all the chorale melodies on which the pieces are based. The second advantage of this new edition is Vogel's comprehensive essay on 'Sweelinck's Organs and the Sources for Registration, ' which provides the current state of Sweelinck scholarship on this problematic area and brings to light a previously unknown source. The organs that play a role in this context are described in detail. From his source studies, Vogel draws the essential conclusion that performance practice should make less use of the tutti and more of 'registrations with few stops' and 'a great variety of tone colors. '/ Répertoire / Orgue ou Clavecin