SKU: HL.49014922

ISBN 9790220118906. UPC: 073999743944. 8.25x11.75x0.07 inches.

'This piece for solo harpsichord (1995, duration 10 minutes) was commissioned by Maggie Cole. '... I have offered many options with ornamentation, suggesting some, writing out others completely, but also encouraging the player to use their invention and instincts to add others where not specified and generally to adopt an open approach to the piece.'.

SKU: SU.60000970

Commissioned by Laurette Goldberg to be played alongside Sweelinck’s variations on the same theme. harpsichord Duration: 8 ' Composed: 1972 Published by: J.B. Elkus Music.

SKU: HL.265678

14.5x10.0x0.4 inches.

Anna Thorvaldsdottir's Impressions for prepared harpsichord. Written for Gudrun Oskarsdottir. The first performance was given on 30 January 2016 at Harpa Centre, Reykjavik, Iceland.

SKU: HL.48188422

UPC: 888680948566. 9.0x12.0x0.787 inches. French.

â??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. He replaced Lully' as the main composer of the Opera.â?.

SKU: PR.110418390

ISBN 9781491134603. UPC: 680160685158.

Eric Ewazen’s THREE INVENTIONS were inspired by Bach’s Two-part Inventions, yet they sound thoroughly like Ewazen. Composed for harpsichord (with a piano adaptation following later), Ewazen’s inventions maintain a pure “one note per hand” texture until their final chord, with strong-but-free imitative counterpoint between the two voices. While Ewazen may be best known for his wind music, he is a pianist himself, and composers’ works for their own instrument are a direct insight into how they write for their own performances. The piano adaptation of THREE INVENTIONS is also available as a separate publication.
THREE INVENTIONS was written for my dear friend Maria Rojas, who premiered the work on a faculty recital at Juilliard. Maria is both a pianist and a harpsichordist, and I first met her when she gave a demonstration of the harpsichord for the students in my theory classes.I’ve always been captivated by Bach’s series of Two-Part and Three-Part Inventions. With the Two-Part Inventions, I’m amazed how Bach could create such wonderful intricacy and counterpoint with only two voices. I consequently modeled my inventions after the counterpoint of Bach, involving the traditional contrapuntal devices he used: imitation, development, harmonic and modal shifts, fragmentation, and sequence, essentially creating a dialog between two completely equal voices conversing with each other!Bach wrote 15 Two-Part Inventions (as well as 15 Three-Part Inventions, not to mention the 48 preludes and fugues in The Well-Tempered Clavier!), and that’s just the start of his voluminous repertoire for the keyboard! I was happy just to write three!!!Each of my inventions has a distinctive mood. The first is in a relaxed, yet cheerful C Major tonality (as a nod to Bach’s Invention No. 1 in C Major); the second is heartfelt and lyrical; and the third invention (involving a Gigue rhythm in the compound meter of 12/8) is energetic, and full of life and spontaneity. The third is primarily in a minor tonality, resulting in a feeling of drama, bringing the THREE INVENTIONS to an exciting finale.

SKU: HL.49005686

ISBN 9790001061261. 9.0x12.0x0.099 inches.

SKU: HL.49005687

ISBN 9790001061278. 9.0x12.0x0.091 inches.

SKU: FG.55011-499-9

ISBN 9790550114999.

Sonata da chiesa III was commissioned by Petteri Pitko, who played the first perfor-mance in Kemionsaaren Musiikkijuhlat in the summer of 2016. The sonata has three movements, each of which has a definite liturgical character and a choral tune as a can-tus firmus. Hence the music can be performed either in a concert or as a part of liturgy.

From the composer's foreword: The first movement, Kyrie, has got an introvert mood. The choral melody is veiled, an indirect part of arpeggiated texture. The Gloria is open, even brilliant: the cantus firmus is worked out to a virtuosic, dance-like texture. The third movement closes the music by means of polyphony and bird singing. Concerning the harpsichord, for me it is essen-tial not to use equal temperament: the possibility to play with pure or almost pure in-tervals is crucial to the sound, having very high and strong overtones.

Duration c. 12'.