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

Par PURCELL HENRY. Book 2 of Henry Purcell's Complete Harpsichord Works - contains a magnificent miscellany of pieces edited by Howard Ferguson. Includes 18 pieces from The Second Part of Musick's Handmaid, 1689; 6 pieces from A Choice Collection of Lessons, 1696/99 and other pieces from various sources. Selected for the ABRSM examinations grades 4 and 5./ Répertoire / Clavecin

Par COUPERIN LOUIS / CURTIS. 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./ Répertoire / Clavecin

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

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

Par ANGLEBERT D' / GILBERT. 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./ Recueil / Clavecin

Par COUPERIN FRANCOIS / GILBERT. The second volume of Couperin 's Pieces for Harpsichord does not contain a date of publication, however, it is thought to have been composed during 1716-1717, due to the address which the composer gave on his other Harpsichord compositions. Yet, the compilation remains a favourite. François Couperin (1668-1733) is often nicknamed 'Couperin the Great' to distinguish him from other members of the musical family. Many of the composer's works have picturesque titles. Examples of this in his second volume of Pieces for Harpsichord include, Le Moucheron (The Gnat), L'Adolescente (The Teenager) and La Fringante(The Elegant). Couperin 's moods are expressed through choices of keys, adventurous harmonies and discords. With a significant amount of variation and inspiration, Pieces for Harpsichord are essential to the repertoire of aspiring players of the instrument./ Répertoire / Clavecin

Par RAMEAU JEAN-PHILIPPE / GILBERT. 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 by Jean-Philippe Rameau (1683-1764) who was one of the most famous composers of that era. Hereplaced Lully' as the main composer of the Opera./ Répertoire / Clavecin

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

Par DUPHLY JACQUES / PETIT. This first volume of Harpsichord Work by Jacques Duphly is the first of a series of two which includes the two parts of Volume 1. Featuring 19 pieces, this work for Harpsichord was reviewed and edited by Françoise Petit. With a preface in French, English and German that sets the context of the work and presents the composer, this first book offers a set of pieces for intermediate players. With simple rhythms, it includes few accidental alterations and some arpeggios. Jacques Duphly (1715-1789) was a French organist who was living during the period of Jean-Jacques Rousseau./ Répertoire / Clavecin

Par TAKAHASHI YUJI. Elec Harpsichord, Cello (Amp), Bass Drum, Castanets - Durée: 7 min / Contemporain / Répertoire / Clavecin

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

Par BACH JOHANN SEBASTIAN. / Date parution : 2022-06-08/ Répertoire / Clavecin