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.

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.

talian 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 second 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 second volume, comprising Sonatas 53-103,includes the popular and recognised Sonatas in F minor (K. 69) and B minor (K. 87). 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 theservice 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. / Partitions classique / Piano - instruments à clavier / 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 eleventh and final volume is indispensableto 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 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 eleventh volume, comprising Sonatas 507-55,includes the popular and recognisable Sonata in E major (K. 531). 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. / Partitions classique / Piano - instruments à clavier / 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 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

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.

An important 18th-century Harpsichord instruction book Couperin's The Art of Playing the Harpsichord contains valuable information on technique fingering phrasing ornamentation and keyboard performance style. The eight preludes used by Couperin to illustrate his approach are musical gems rarely found in other collections. Selected for the ABRSM Harpsichord Grade 5 Syllabus.

Par GREEN MAURICE. The suites, lessons and miscellaneous short pieces for harpsichord by Maurice Greene published in MB106 form an important corpus of eighteenth-century English keyboard music, complementary to the works of Handel, Thomas Roseingrave and Greene?s mentor Giovanni Bononcini, and also showing the influence of Domenico Scarlatti. The volume also includes a set of six overtures for the harpsichord, ?Being proper Pieces for the Improvement of the Hand?, which were first published in 1745 and are arrangements of earlier orchestral originals. / Date parution : 2022-10-25/ Recueil / Clavecin

This volume contains some attractive yet almost totally unfamiliar keyboard pieces by Handel five of them here published for the first time. Seven are original keyboard compositions three are arrangements by the composer himself of opera arias and the 'Folio' is completed by a movement which occurs in orchestral form in Handel's first opera Almira and by the famous Air from the Water Music. Edited by Terence Best.

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.

Edited by Denis StevensChoosing for their first volume of Musica Britannica a unique collection of 16th-century keyboard music the original editors established the high standard of scholarship and presentation that have continued as the guiding principles for the entire series. This historic publication contains 120 compositions for organ or virginals.First published in 1951 revised 1954 and reprinted with corrections 1962. Further reprints 1973 1983.