a-Moll. Par BUXTEHUDE DIETRICH. Einzige Quelle für die Suite in a ist der 1704 in Breitenberg bei Itzehoe entstandene Teil einer Sammelhandschrift des Organisten Johann Kruse. Aufgrund der Autorenangabe 'D. B. H. ', die in entsprechender Weise auch bei Stücken anderer Komponisten vorgenommen worden ist und sich bestätigt hat, ist es naheliegend, das Werk Dieterich Buxtehude zuzuweisen, zumal Kruse in Hamburg aller Wahrscheinlichkeit nach auch Kontakt zu ihm hatte. Unter den Buxtehude zugeschriebenen Cembalosuiten steht die hier erstmals veröffentlichte wegen der Kürze ihrer vier Sätze den ihr zugrundeliegenden Tanz-Grundmustern am nächsten - ein klein dimensioniertes, aber kunstvolles Werk./ 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 SOLER ANTONIO. Soler (1729-83) was one of the outstanding keyboard composers of 18th-century Spain. His sonatas show great brilliance and originality, many of them influenced by the characteristic colours of Iberian popular music. This edition offers a selection of 14 of the best sonatas from the set given by the composer to Viscount Fitzwilliam in 1772, as well as editorial notes from Kenneth Gilbert. **ABRSM selected piece (Piano 2019-2020): Sonata in D minor, R. 25  / Piano Music / Recueil / Clavecin

Anne Fuzeau Classique vous propose tous les textes théoriques, méthodes, traités, articles, partitions de musique classique concernant le clavecin.Ces méthodes anciennes sont reproduites en fac-similé et regroupés en - deux volumes.Volume - 1 (Réf. 5834) : Anonyme - - Jean-Henry d'ANGLEBERT - - - François COUPERIN (1-2) - Jean-Joseph Cassanéa de MONDONVILLE - - Michel CORRETTE (1) - Jacques Champion de CHAMBONNIERES - - - - François DAGINCOURT - - Jean-François DANDRIEU - - - Louis Claude DAQUIN - - Jean II DENIS - - - François DIEUPART - - Louis-Antoine DORNEL - - - Antoine FORQUERAY - - Antoine FURETIERE - Charles Alexandre JOLLAGE - - - Nicolas-Antoine LEBEGUE - - Jean Léonor LE GALLOIS - - Gaspard - LE ROUX - - - Marin MERSENNE - Jean-Philippe RAMEAU (1-2-3) - - Pancrace ROYER - - Michel de SAINT LAMBERT - - Charles Joseph VAN HELMONT.Volume - 2 (Réf. 5835) : ANCELET - Antoine BEMETZIEDER (1-2) - Jean-Laurent de BETHISY - Michel CORRETTE (2) - Denis DIDEROT - Jacques DUPHLY (1-2) - Encyclopédie - Encyclopédie méthodique - Louis-Joseph le neveu FRANCOEUR - Pierre Claude FOUCQUET (1-2) - François-Alexandre-Pierre de GARSAULT - Jean-Benjamin de LABORDE - Philippe MACQUER - Friedrich Wilhelm MARPURG - Jean-Philippe RAMEAU (4) - Jean-Jacques ROUSSEAU - Simon SIMON.Table des matières : Volume 1 : Mersenne Marin : Harmonie universelle - 1636Denis Jean II : Traité de l'accord de l'espinette - 1650Chambonnières Jacques Champion de : Les pièces de clavessin - 1670Anonyme : Tablature pour le clavecin - s.dLebègue Nicolas-Antoine : Les pieces de clavessin - 1677Le Gallois Jean Léonor : Lettre de Mr Le Gallois - 1680Anglebert Jean-Henry d' : Pièces de clavecin - 1689Furetière Antoine : Dictionnaire universel - 1690Dieupart François : Six suittes de clavessin - 1701Saint-Lambert Michel de : Les principes du clavecin - 1702Le Roux Gaspard : Pièces de clavessin - 1705Couperin François : Pieces de clavecin - 1713Couperin François : L'art de toucher le clavecin - 1717Rameau Jean-Philippe : Pieces de clavecin - 1724Dandrieu Jean-François : Livre de pieces de clavecin - 1724Rameau Jean-Philippe : Nouvelles suites de pièces de clavecin - 1728Dornel Louis Antoine : Pieces de clavecin - 1731Dagincourt François : Pieces de clavecin - 1733Corrette Michel : Premier livre de pieces de clavecin - 1734Daquin Louis Claude : 1er livre de pieces de clavecin - 1735Rameau Jean-Philippe : Pieces de clavecin - 1736Van Helmont Charles Joseph : Pieces de clavecin - 1737Jollage Charles Alexandre : Premier livre de pieces de clavecin - 1738Royer Pancrace : Pieces de clavecin - 1737Forqueray Antoine : Pieces de viole (...) mises en pieces de clavecin - 1747Mondonville Jean-Joseph Cassanéa de : Pieces de clavecin avec voix ou violon - 1748Volume 2 :Corrette Michel : Les amusements du Parnasse - 1749Foucquet Pierre Claude : Les caractères de la paix - 1749Foucquet Pierre Claude : Second livre de pieces de clavecin - 1751Encyclopédie : Encyclopédie ou dictionnaire raisonné - 1751/1772Duphly Jacques : Troisième livre de pieces de clavecin - 1756Ancelet : Observations sur la musique - 1757Rameau Jean-Philippe : Code de musique pratique - 1760Garsault François-Alexandre-Pierre de : Notionnaire - 1761Simon Simon : Pieces de clavecin - 1761Béthisy Jean-Laurent de : Exposition de la théorie - 1764Rousseau Jean-Jacques : Dictionnaire de la musique - 1768Duphly Jacques : Du doigter - c.1769Diderot Denis : Manuscrit autographe - s.d.Bemetzrieder Antoine : Leçons de clavecin - 1771Francoeur Louis-Joseph le neveu : Diapason général - 1772Macquer Philippe : Dictionnaire raisonné - 1773Laborde Jean-Benjamin de : Essai sur la musique - 1780Bemetzrieder Antoine : Nouvelles leçons de clavecin - 1783Encyclopédie méthodique : Encyclopédie méthodique, arts et métiers mécaniques - 1788Marpurg Friedrich Wilhelm : L'art de toucher le clavecin - c.1797Téléchargez le catalogue Anne Fuzeau Classique / Clavecin / 448 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

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

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.

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. Hereplaced Lully' as the main composer of the Opera.

Par DUPHLY JACQUES / PETIT. Duphly 's Harpsichord Pieces is in two volumes and the compilation remains a favourite in the Harpsichord repertoire. Jacques Duphly (1715-1789) studied the Harpsichord and Organ as a boy, becoming a virtuoso of both instruments. Comprising Gavottes, Menuets, and other works, this second volume of La Pupite's collection of Duphly 's Harpsichord Pieces, , exemplifies the composer's skills on the Harpsichord. The second volume of Harpsichord Pieces also helpfully contains a table of ornaments, demonstrating how each should be performed. Duphly 's Harpsichord Pieces isessential to the repertoire of aspiring players of the instrument./ Répertoire / Clavecin

Par JACQUET DE LA GUERRE ELISABETH. De La Guerre 's Harpsichord Pieces was composed in 1687. The compilation remains a favourite in the Harpsichord repertoire. Elisabeth Jacquet de La Guerre (1665-1729) was born into an important family of musicians in Paris. Comprising four Suites, de La Guerre exemplified in her compositions her own skills on the Harpsichord. Each of the Suites begin with a Prelude, Allemande, two Courantes, Sarabande and a Gigue. The following movements include a Cannaris, Chaconne Gavott and Menuet. Pieces for Harpsichord is essential to the repertoire of aspiring players of the instrument./ Répertoire / Clavecin

Par COUPERIN FRANCOIS / GILBERT. Harpsichord work - Volume 4, LP. 24 by Francois Couperin is the fourth in a series of 4 volumes of suites for Harpsichord. Published in 1930, three years before Couperin 's death, when he was very ill, this volume initially presented some small mistakes and some white pages. It features seven Ordres, from the 20th to the 27th, with a total of 43 pieces. For upper-intermediate players, this volume was edited by Kenneth Gilbert. François Couperin was a very famous French composer who played the Harpsichord, the Organ. Coming from a famous family of musicians, he was nicknamed ; Couperin le Grand ('Couperin the Great')./ Répertoire / 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 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