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).- Urtext of the New Bach Edition- Full scores and performing material to the five concertos for Harpsichord and Strings BWV 1052-1056 (BA5224-BA5228) the concerto for Harpsichord two Recorders and Strings BWV 1057 (BA5229) as well as the concerto BWV 1058 (BA5230) also for Harpsichordand Strings based on the Violin concerto in A minor are available for sale.- Study score of the Complete Concertos for Keyboard format 22.5 x 16.5cm (TP410)

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.

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

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.

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

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.

D major BWV 1054-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 D-major Concerto BWV 1054 originated as a transcription of Bach’s Violin Concerto in E major BWV 1042. The principal source for our edition is the autograph score of Bach’s harpsichord concertos preserved in the Berlin Staatsbibliothek (Mus. ms. Bach P 234) where BWV 1054 forms the third item. Toaccommodate the upper limit of the harpsichord keyboard Bach decided to transpose the piece down a whole tone which allowed him to retain the frequently occurring peak pitch e3 without altering the melodic line.The D-major Concerto owes its popularity to the clear and straightforward formal design of its movements no less than its overall mood of relaxed merriment. This mood also finds expression in Bach’s choice of the rondo form for the final movement a form otherwise seldom encountered in his concertos.Urtext of the New Bach EditionFull score & parts (BA5226) two-keyboard reduction (BA5226-90) and study score (TP410) format 22.5 x 16.5cm (all 6 concertos) available for sale

The court organist Antonio de Cabezón (ca. 1510-1566) who was appointed to Queen Isabella’s court chapel in Toledo at the young age of 16 was rightly regarded by his contemporaries as the leading Spanish organist and keyboard player of the 16th century. His hymns and versets are based on short decorated harmonisations of the psalm tones. In the tientos the transformation from vocal motet style to a style of writing suitable for keyboard instruments is perfectly executed. This Urtext edition contains a selection of Cabezon's best known works and consists of four volumes. It has been prepared by two editors working at Portuguese andSpanish universities who are both leading scholars of the works of Cabezón and reflects the latest research findings.

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

The Books of 1705-6 and 1724-This three volume edition is the first complete edition of the keyboard works of Jean-Philippe Rameau to incorporate all the printed collections of harpsichord music published under his supervision as well as his clavier arrangement of Les Indes Galantes (In book 3 - BA6583).It also includes many new insights into performance practice (e.g. the handling of repeat signs in the original prints) and presents the music entirely in modern clefs. The result is a reliable and unique edition for today’s performers that does full justice to recent findings in historical performance practice.For the first time all accidentals and expressionmarks are reproduced exactly as they appear in the sources. All of Rameau’s written comments a key source on performance practice are reproduced in the original French with translations into German and English.Rounding off the edition are instructive facsimiles and a detailed preface in which the editor the celebrated harpsichordist and conductor Siegbert Rampe discusses the sources editorial method and important aspects of performance.Complete scholarly-critical Urtext edition in modern clefsIncludes the latest findings in performance practiceIncludes Rameau’s written comments and explanations in the original and in translations in English and GermanIdeal format (24.3 x 31 cm)

Girolamo Frescobaldi?s music profoundly influenced such composers as Froberger Buxtehude Johann Sebastian Bach and Muffat. The well-known Pidoux edition is now joined by Bärenreiter?s definitive new Urtext edition in six volumes. It offers professional musicians musicologists and music lovers an unrivalled musical text that satisfies the needs of performers while providing a full account of the works? genesis and surviving sources.Each volume in this new edition features a detailed Foreword on the genesis of the works the situation regarding sources performance practice as well as the editorial method employed. A Critical Commentary rounds off eachvolume.Definitive Urtext edition in six volumes.At the cutting edge of musical scholarship.Detailed Foreword Critical Commentary and list of sources (Ger/Eng)

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.

for Harpsichord and Strings-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