Editée au cours de l'exercice 2011-2012 par les éditions Fertile Plaine, la partition qui a pour titre Reflets baroques du compositeur Nierenberger Michel a été cataloguée sous la référence FP 1308 par l'éditeur. Cette oeuvre est écrite pour Clavecin. En 3 clics et quelques jours elle peut être chez vous. / Clavecin / Partition

Jean-Henri d'Anglebert (1629-1691) was one of the foremost composers of Keyboard music of his day. Therefore the collection of his works Pieces for Harpsichord is essential to all players of early Baroque Keyboard music. D'Anglebert's Pieces for Harpsichord represents some of the finest achievements of the French Harpsichord school and shows the composer's mastery of counterpoint as well as his ability to experiment with texture to achieve orchestral sonority. Moreover d'Anglebert's collection contains a table of ornaments which formed the basis of those of J. S. Bach and other significantcomposers. The first volume of Pieces for Harpsichord comprises four Harpsichord Suites composed by d'Anglebert each of which consist of the usual dance movements together with transcriptions from Lully's operas. Furthermore the three unmeasured preludes included in Suites one two and three are truly remarkable examples of their kind. With a descriptive preface in French English and German volume one of d'Anglebert's Pieces for Harpsichord is a sublime addition to the repertoire of early Baroque Keyboard music.

The complete Harpsichord work - Volume 2 by Louis Couperin is the second of a series of volumes with suites for Harpsichord. Composed in a Baroque style the whole series features 133 pieces for advanced players. Louis Couperin (1626-1661) was a French composer and performer who created many pieces for Organ and for Harpsichord who later became musician at the court. He invented the genre of Unmeasured Prelude for which he created a form of notation where the harpsichordist can choose how long each note lasts. François Couperin Louis’ nephew is also a very famous musician who played the Harpsichord.

Par BLOW JOHN. Selected from Musica Britannica Volume 73. Edited by Robert Klakowich. Amateur and professional players with an interest in Baroque repertoire will welcome this generous selection of 25 harpsichord pieces by John Blow (1649-1708). Blow stands as the dominant figure of English harpsichord composition in the late seventeenth century, the master of an individual school that merged continental influences into a vigorous native tradition of keyboard writing. There are preludes, dances and grounds in this anthology, which is selected from Volume 73 of Musica Britannica, and also includes advice on ornamentation and a comprehensive editorial note. Along with its companionvolume of 16 organ pieces, K43, this collection is an important addition to Stainer & Bell's landmark Early English Keyboard series./ Répertoire / Clavecin

This edition of Harpsichord Music features the three volumes composed by Jean-Philippe Rameau: “Livre de Piece de clavecin” “Pieces de Clavessin” and “Nouvelle suite de Pieces de clavecin”. The second and third volumes are divided into 2 parts each and the whole book has a total duration of 2 hours and 10 minutes (22 minutes for the first book 52 and 53 minutes for the following ones). For upper intermediate and above level. Harpsichord Music has a baroque style as most of the music byJean-Philippe Rameau (1683-1764) who was one of the most famous composers of that era. Hereplaced Lully' as the main composer of the Opera.

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 ninth volume is indispensable toperformers 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 ofScarlatti'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 ninth volume, comprising Sonatas 408-457,includes many of the popular and recognised Sonatas in a variety of keys. 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 tworoyal 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. / Clavecin / Heugel

Here is a winning combination of old and new. This three-movement sonata contrasts the traditional sound of the harpsichord with tonality and syncopation's common to popular music and jazz. There are guitar-like moments in the first and third movements while the second alternates between the baroque and the modern. McLean brings all the character of the instrument to light.

facile - easy - leicht-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 of Selected Sonatas 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 first volume of Selected Sonatas compiled by Kenneth Gilbert includes many of the popular and recognised sonatas. 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 FROBERGER / SCHOTT. The first volume of the second tome of the Complete Harpsichord Work by Johann Jakob Froberger, this volume is a set of sixteen pieces for Harpsichord. Edited by Howard Schott, the book has its preface and information in French, English and German. It features sixteen pieces features eight Toccatas, five Capriccios, a Fantasia and two Ricercars. The works are of medium difficulty and can be played by intermediate players. Johann Jakob Froberger (1616-1667) was a German Baroque composer. He was a really famous musician amongst his peers and influenced many of them./ Répertoire / Clavecin

The first volume of the second tome of the Complete Harpsichord Work by Johann Jakob Froberger this volume is a set of sixteen pieces for Harpsichord. Edited by Howard Schott the book has its preface and information in French English and German. It features sixteen pieces features eight Toccatas five Capriccios a Fantasia and two Ricercars. The works are of medium difficulty and can be played by intermediate players. Johann Jakob Froberger (1616-1667) was a German Baroque composer. He was a really famous musician amongst his peers and influenced many of them.

facile - easy - leicht. 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 first volume of Selected Sonatas 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 first volume of Selected Sonatas, compiled by Kenneth Gilbert, includes many of the popular and recognised sonatas. 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. / Niveau : Facile / Répertoire / Clavecin ou Piano

A Harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed. The instrument was widely used in Renaissance and Baroque music. During the late 18th century it gradually disappeared from the musical scene with the rise of the Piano. In the 20th century it made a resurgence being used in historically informed performances of older music in new (contemporary) compositions and inpopular culture.This piece is perfect for anyone who wants to discover this unique instrument. Composed in 1966 by Elizabeth Maconchy the upbeat allegro of Notebook For Harpsichord takesapproximately 8 minutes to perform.

Par SIEGEL RICHARD. Richard Siegel won prizes for the Harpsichord and Chamber Music at the Paris Conservatoire before going on the win first prize in the 1977 International Harpsichord Competition. He has since recorded over 30 CDs and his passion for the instrument has been further apparent in his production of Apprendre à Toucher le Clavecin. As stated in the preface, the study of the Harpsichord has long been reserved, frequently dismissed as an 'old-fashioned' instrument. However, a recent rise in the popularity of early music has rekindled interest in the Harpsichord. In Apprendre à Toucher le Clavecin, volume 1 beingthe first of two helpful volumes to aid student's learning and progression, Siegel enables Harpsichord beginners to learn through repertoire pieces themselves, drawn from the Keyboard masters of the Baroque period. The pupil will be guided towards an understanding of technique and style suited to the Harpsichord. Furthermore, Apprendre à Toucher le Clavecin, which is accompanied by a CD, enables adults who learnt the instrument as a child to return to the instrument and have the instant feeling of making music./ Méthode / Clavecin