France 1-This brand-new series is intended as a guide to the keyboard music of the 16th to 19th centuries for pupils of the piano and the harpsichord as well as of other early keyboard instruments. Each volume contains pieces by well-known and lesser-known composers from one country or region. The main purpose of the series is to extend the repertoire and stylistic knowledge of both pianists and harpsichordists while also presenting fine pieces and typical genres based on original sources. Our edition retains the performance indications of the composers' manuscripts and contemporary editions. Each volume includes:- suggestions for stylistically appropriate performance bothon the piano and on period instruments- suggested elaborated versions of some pieces and excerpts- a fold-out list of ornamentation signs and the composers' own tables of ornamentation signs- biographies of the composers and the sources of the pieces- translations of foreign-language performance indications. The two volumes devoted to French keyboard music includes close to 50 showy and relatively easy works - preludes dances suites rondeaux and character pieces - from the early 16th until the late 18th century (ordered chronologically).This publication is printed on high-quality age-resistant paper that is produced in an environmentally-friendly climate-neutral manner using renewable raw materials.

Par POGLIETTI ALESSANDRO. Intégrale des sources.Présentation de Peter Waldner : Il Rossignolo - les sources - bibliographie - éditions. / Niveau : Facile / Répertoire / Clavecin et Orgue (Fac-similé)

Six sonates pour le clavecin ou le piano forte. Oeuvre V - - Editions : (c.1766)Six sonatas for the harpsichord or piano forte. Opera XVII - Edition : Londres, s.d. = (c.1779)Présentation par Jeanne Roudet : introduction - éléments d'interprétation (ornementation, dynamique) - appendice 1 (erreurs et approximations) - appendice 2 (aménagements proposés).Ces sonates peuvent être interprétées aussi bien sur un clavecin que sur un piano forte. / Clavecin Et Piano-Forte / 136 pages / niveau : 1 / Fac-Similés - Format: 23.5 X 32.5

Bernardo Storace (sec. XVII) Selva di Varie Compositioni d'intavolatura per cimbalo ed organo. Venezia 1664 Edizione critica secondo le fonti originali A cura di / Edited by Marco Ghirotti CONTENUTO Prefazione Note critiche Preface Capriccio Sopra il Passo e Mezzo Passo e Mezzo Altro Passo e Mezzo Romanesca Aria sopra la Spagnoletta Monica Capriccio Sopra Ruggiero Partite sopra li cinque Passi Follia Passagagli sopra A, la mi re 1a. 2a. 3a. 4a. 5a. e 6a. Partita Passagagli sopra C, sol fa ut per b 1a. 2a. 3a. Partita Passagagli sopra D, sol re per # 1a. P.ta e 2a. in modo Pastorale Passagagli sopra A, la mi re per # 1a. 2a. 3a. e 4a. Partita Passagagli sopra E, la mi per # 1a. P.ta e 2a. in modo Pastorale Passagagli sopra B, mi prima, e seconda Partita Passagagli sopra Fe, fa ut per b Passagagli sopra B, fab mi per b Passagagli sopra B, fa Ciaccona 1a. 2a. 3a. e 4a. Parte Balletto P.mo S.do T.zo Q.to Qui.to e S.to Ballo della Battaglia Corrente Corrente Toccata Canzon Toccata e Canzon Recercar Recercar di legature Pastorale P.ma S.da T.za e quarta Parte

Essercizi per gravicembalo - A cura di M. Moiraghi (supervisione E. Fadini). The 10th volume of Domenico Scarlatti?s Sonate per clavicembalo represents a crucial landmark of this series, i.e. the thirty Essercizi per gravicembalo (London, 1738-39) at the heart of the composer?s production. For a long time, the style of these sonatas and their role in the history of keyboard music has been debated. But nobody had ever examined thoroughly the key aspects of textual criticism, intended not only as a detailed reconstruction of the text, but as a philological study with a full scope. This volume is the first step in such direction. The musical text of this edition is the result of a systematic comparison of all the eighteenth century printed and manuscript sources preserving Scarlatti?s treasured Essercizi. In some cases, the edition presents an alternative version of the same sonata, based on the sources? examination and sometimes showing an intricate web of authorial variants. The detailed Critical Notes take into account all the variants handed down by the sources. Many topics are discussed in the rich Introduction, first and foremost the historical context and the genesis of Scarlatti?s sonatas. Furthermore, other important topics are investigated, such as: the relationship between the Essercizi and the rival Londonese edition by Roseingrave: the role and chronology of the contemporary French editions, known under the name of Boivin: the early interventions of anonymous performers.

Par BALBASTRE CLAUDE / CURTIS. Pièces De Clavecin D'Orgue Et De Forte Piano - LP. 52 by C. B Ballastre is a selection of twenty-three pieces chosen by Alan Curtis that can be played by a Harpsichordist, an Organist or a Pianist with upper-intermediate to advanced skills but seem better suited for a Pianist. The twenty-three pieces are: - Fugue - La de Caze - La d'Hericourt - La Segur - La Monmartel ou La Brunoy - La Boullongne - La Castelmore - La Courteille - La Bellaud - La Lamarck - La Berville - La Lugeac - La Suzanne - LaGenty - La Malesherbe - La Berryer ou La Lamoignon - La Laporte - La Morisseau - Prelude - Fugue - Sonate en Quatuor, IV: Allegro / Andante Pastoralle / Allegro - La d'Esclignac - Marche des Marseillois et l'Air C; a ira C. B. Balbastre (1724-1799) is one of the most famous musicians of his era. He was a great composer who could play the Harpsichord, the Piano and the Organ./ Répertoire / Clavecin

Six Partitas BWV 825-830-Each one of Bach?s Six Partitas features seven great single movements predominantly in the sequence: Präludium - Allemande - Courante - Sarabande - [two free dances] - Gigue. These partitas canjustifiably be described as Bach?s ?ultimate? cycle of suites. As regards the artistic and manual demands it goes far beyond its ?English? (HN 100) and ?French? (HN 71) siblings that are also frequently played. It is nocoincidence that Bach only had these six partitas printed (1731) and what is more as ?Opus 1'.

Canaanite Fantasy No. 3. Par LEEF YINAM. Similiar to its two sister-works, ELEGY looks back to the past and to ancient musical colors and ideals, combining musical ornamentations of nature within contemporary Western modes of expression. The composer accounts that 'the most interesting and attractive challenge for me was to try to relate to the special characteristics of the harpsichord - its rather confined range of dynamics on the one hand, and the great richness of the single tone on the other - and to attempt to formulate a contemporary view towards the historical and stylistic connotations of this instrument. The work combines some typical music structures, such as repetitions and sequential patterns, within ageneral improvisatory feeling, and leads, as the climax resolves, to a short quation from J.S. Bach's 'The Art of Fugue', which gradually disintegrates into the central motif of the work. The title ELEGY invokes a looking backwards, with a sense of longing and maybe even sadness, to a world of sounds that has perhaps lost its glitter, to a past era, but not without a certain hope for its renewal.'/ Répertoire / Clavecin

[Orgel- und Klavierwerke - Gesamtausgabe - Band 4 : Das zweite Buch der Toccaten, Canzonen usw von 1637] / Classique / Editeur : Pierre Pidoux / Partition / Cartonné / Plats de carton /

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.

Harpsichord Pieces LP. 78 is a set of works for Harpsichord written by Joseph Hector Fiocco and edited by Diana Petech. This edition includes a really complete preface with comments and advice to work through this book and explanations of all the symbols that can be found in it. It features 24 pieces divided in two suites with the second suite set in a more traditional layout than the first one. The name of each piece is also not especially appropriate regarding their style. First suite: - L’anglaise - L’harmonieuse - La plaintive - La villageoise - Les promenades - L’inconfiante - L’italienne - La française - L’adagio - L’alegro - L’andante - La vivace Second suite: - L’alemande - La legère - La guigue - La farabande - L’inquiette - La gavotte - Les menuets - Les sautèrelles - L’agitée - Les zéphirs - La musette - La fringuante Joseph Hector Fiocco (1703-1741) is a Belgian harpsichordist who had Italian origins.He was Deputy Choir Master at the court and resigned to become Choir Master in another French city. He composed numerous religious music works.

for Harpsichord and Strings. Par BACH JOHANN SEBASTIAN. In early 1729 Bach became director of the so-called 'Scottish Collegium Musician' a music organization of students and local citizens. The remarkable results of this undertaking are the concertos for harpsichord. Today it is almost certain that practically all of these concertos were transcribed from concertos for melody instruments (mostly violin or oboe). The Concerto in F minor, BWV 1056, is the fifth of the harpsichord concertos contained in the autograph score that Bach wrote out in or around 1738 (Berlin Staatsbibliothek, Mus. ms. Bach P 234). It is one of those harpsichord concertos that reveal themselves to be transcriptions even though the original model is nowlost. - Urtext of the New Bach Edition - Full score & parts (BA5228), two-keyboard reduction (BA5228-90) and study score (TP410) format 22. 5 x 16. 5cm (all 6 concertos) available for sale/ Répertoire / Clavecin et Instruments à Cordes

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.