Cembalo Orgel - Flute Violine - Bc-Score with 3 parts (Flute/Oboe/Violin; Basso Continuo with figures (Cello/Bass); Basso Continuo realised with figures (Harpsichord/Organ)Musical text with arrangements by two Handel contemporaries as well as the editor’s own arrangement for Harpsichord or Organ.All editorial additions are clearly marked.Equally effective when performed note-for-note on the Organ.As early as 1743 while Handel was still alive Francesco Geminiani produced an arrangement of the Water Music for Keyboard instruments thereby making it possible to perform this popular work in domestic surroundings. Then presumably in 1749 an unknown musician arranged theMusic for the Royal Fireworks for transverse Flute or Violin and Harpsichord. In addition to these two contemporary versions this edition also contains an arrangement by the editor for Harpsichord or Organ based on the first edition. Though both early sources explicitly mention a Harpsichord the arrangements can also be performed effectively note-for-note on the Organ. As the surviving anonymous version merely places a solo part and a figured Bass on a two-stave system our edition is accompanied by performance material with one part each for transverse Flute/Oboe/Violin and Violoncello/Double Bass plus a figured Bass realisation.

Four Sonatas for the French Dauphine. Par HASSE JOHANN ADOLF. / Date parution : 2022-07-23/ Recueil / Clavecin

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.

Pièces De Clavecin D'Orgue Et De Forte Piano - LP. 52 by C.B Ballastreis 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?Héricourt - La Ségur - La Monmartel ou La Brunoy - La Boullongne - La Castelmore - La Courteille - La Bellaud - La Lamarck - La Berville - La Lugeac - La Suzanne - La Genty - La Malesherbe - La Berryer ou La Lamoignon - La Laporte - La Morisseau - Prélude - Fugue - Sonate en Quatuor, IV: Allegro / Andante Pastoralle / Allegro - La d?Esclignac - Marche des Marseillois et l?Air Ça 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.

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.

Second Livre Für Cembalo-Edited by Denis HerlinWith notes on performance practiceOnce again the French musicologist Denis Herlin who mastered the harpsichord under the tutelage of such keyboard legends as Kenneth Gilbert and Huguette Dreyfus has presented an exemplary edition of a classic from the harpsichord repertoire.?Bärenreiter presents Book II of Couperin?s ?Pièces de clavecin? first published in 1717. In addition the eight preludes and one allemande from his treatise ?L?Art de toucher le clavecin? are included in the appendix. For the first time Denis Herlin has evaluated the many later impressions of the original print most of which he unearthed himself ininternational libraries. By preserving the essential features of the original print while largely dispensing with disruptive page-turns within the pieces the volume brings modern performers close to the special sound of this music. Rounding off this pioneering new edition are an extensive Foreword notes on historical performance practice a comprehensive glossary facsimile pages and a detailed Critical Commentary.Pioneering edition with the first-time evaluation of an extensive body of sourcesIncludes Couperin?s original expression markswith 8 Préludes and 1 Allemande from 'L'Art de toucher le clavecin' (1716 1717)

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

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 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 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 royalfamilies, 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

As a prestigious musician during the early 1700s Royer's Harpsichord Pieces remains a favourite in the instrument's repertoire. Joseph Nicolas Pancrace Royer (1705-1755) was born in Turin however he moved to Paris in 1925 and soon became responsible for the musical education of King Louis XV's children. Royer is particularly known for his extravagant and virtuosic Harpsichord compositions as displayed in La Pupitre's compilation of his Harpsichord Pieces. Comprising famous works by the composer including Suite Bagatelle and March of the Scythes the collectionexemplifies the composer's skills on the Harpsichord. Royer's Harpsichord Pieces is essential to the repertoire of aspiring advanced players of the instrument.

Edited by Alan BrownIn conjunction with MB66 this volume draws on manuscript sources of Tudor keyboard music to create a comprehensive edition of all the material which has not yet found a place in the series or in comparable library editions.First published in 1989.

Ce livre apartien à Mademoiselle de Bloren la cadete Le manuscrit n°108 de la Médiathèque municipale de Roanne est une collection de pièces de clavecin, d'airs et de morceaux de musique de chambre. Il donne un exemple très intéressant de pratique musicale amateur. Le problème est que Mademoiselle de Bloren n'a pas indiqué le nom des compositeurs. Deux pièces seulement portent un titre dans la série de pièces pour clavecin, et aucune date n'apparaît nulle part. Dans le Catalogue des fonds musicaux anciens conservés dans la Région Rhône-Alpes (1998), les extraits d'Amadis de Grèce sur lesquels s'ouvre le recueil sont attribués à André Cardinal Destouches: cela nous assure que la rédaction n'a pu commencer avant 1699. Après quelques recherches dans le répertoire nous avons pu identifier certaines pièces, qui sont du XVIIe siècle. Celles qui restent peuvent retrouver un titre car on y reconnaît des danses ou des formes musicales connues (voir étude parue dans le Bulletin de La Diana du 3e trimestre 2004. La Diana, rue Florimond Robertet, 42600 Montbrison). Nous n'avons pas retenu ici les airs, car la plupart se retrouvent dans une source plus sûre: le Premier Livre de Sébastien Le Camus (1668). Quant aux pièces de musique de chambre, de moindre valeur musicale, elles nécessiteraient d'importantes corrections. Beaucoup sont inachevées. Les pièces de clavecin, en revanche, méritaient une édition moderne pour deux raisons: - Elles complètent le répertoire dont nous disposions avec des pages totalement inconnues et quelques transcriptions inédites. - Elles présentent un intérêt pédagogique majeur en offrant une agréable approche de la musique du XVIIe siècle. Nous sommes intervenus aussi peu que possible sur le texte, que l'interprète (ou son professeur) ne devra pas hésiter à améliorer... Martial Morand Contenu : Forlane, Menuet (transcriptions d'après Campra, L'Europe Galante, 1697 - Gavotte de Lebègue, que l'on retrouve avec quelques variantes dans son Livre de Clavecin (1667) et dans le Manuscrit Bauyn - Menuet transcrit d'après Lully (Trios pour le Coucher du Roi, d'Anglebert en a donné une autre version pour clavecin, plus savante, mais celle de Roanne a le mérite de préserver l'élan de la danse - Menuet dont on trouve une variation dans le Manuscrit de Mademoiselle La Pierre (1687) - Musette - Chaconne transcrite d'après Lully (Acis et Galatée, 1686, d'Anglebert en a sa propre transcription - Menuet - Sarabande - Menuets 1 et 2 - Descente de Mars d'après Lully (Thésée, 1675, une autre transcription pour le clavecin apparaît dans le Ms. de Melle La Pierre - Gavotte de Hardel et Double de L. Couperin (on les trouve dans le Ms. Bauyn) - Prélude dûment titré - Les Folies d'Espagne - Menuet et Double, titrés - Bourrée en rondeau - Sarabande - Sarabande d'après Destouches (/ssé,1697) - Allemande (cette pièce et la suivante apparaissent vers la fin du manuscrit, après les airs et les pièces de musique de chambre, et semblent plus tardives. Le contrepoint à quatre parties de l'allemande n'a certainement pas été pensé pour le clavecin seul et nous proposons une version à deux clavecins) - Gavotte en rondeau Discipline/Instrument : clavecin Support : Partition Style/Genre : classique Date de parution : févr.-06 Nombre de pages : 40

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 companion volume of 16 organ pieces, K43, this collection is an important addition to Stainer

A cura di Cesare Fertonani-The series Eighteenth Century Italian Music includes compositions of special historical and musical significance. Each edition is based on the original sources to offer performers works that satisfy clear critical and musicological criteria. This anthology includes twelve harpsichord sonatas carefully selected from among those written by ten of the most important eighteenth-century Italian composers of keyboard music.

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.