Volume 11, K. 507-555. Composed by Domenico Scarlatti (1685-1757). Leduc. Cla...(+)
Volume 11, K. 507-555.
Composed by Domenico
Scarlatti (1685-1757).
Leduc.
Classical. Softcover. 195
pages. Heugel and Cie
#HE32298.
Published by Heugel and
Cie
Volume 10, K.458-506. Composed by Domenico Scarlatti (1685-1757). Leduc. Baro...(+)
Volume 10, K.458-506.
Composed by Domenico
Scarlatti (1685-1757).
Leduc.
Baroque. Softcover. 210
pages. Heugel and Cie
#HE32210.
Published by Heugel and
Cie
By George Frideric Handel (1685-1759). Edited by Terence Best. For harpsichord. ...(+)
By George Frideric Handel
(1685-1759). Edited by
Terence Best. For
harpsichord. This
edition: Stapled, Urtext
edition. Replaces BA
4207, BA 4018 is not
compatible. Single part.
HWV 348-350. 23 pages.
Duration 58 minutes.
Published by Baerenreiter
Verlag (. single part.
Composed by Johann Sebastian Bach (1685-1750). Edited by Werner Neumann. For har...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Werner Neumann. For
harpsichord. This
edition: Urtext edition.
Stapled. Single part. BWV
212. 24 pages. Published
by Baerenreiter Verlag
Composed
by Georg Philipp
Telemann. Edited by
Wolfgang Hirschmann.
Arranged by Wolfgang
Hirschmann. Stuttgart
Urtext edition. German
title: Violinkonzert In
A. Single Part,
Cello/Double Bass. TWV
51:A3. 4 pages. Duration
10 minutes. Carus Verlag
#CV 39.805/15. Published
by Carus Verlag
(CA.3980515).
ISBN
9790007057039. Key: A
major. Language: all
languages.
Harpsichord SKU: FZ.5834 Serie I - France 1600-1800. Edited by Phi...(+)
Harpsichord
SKU:
FZ.5834
Serie I -
France 1600-1800.
Edited by Philippe
Lescat, Jean
Saint-Arroman. This
edition: Facsimile.
Methodes & Traites.
Score. Published by Anne
Fuzeau Productions -
France (FZ.5834).
ISBN
9790230658348. 24.00 x
33.00 cm
inches.
These early
music methods are in
facsimile in two books.
Anonyme - Jean-Henry
d'ANGLEBERT - Francois
COUPERIN (1-2) -
Jean-Joseph Cassanea de
MONDONVILLE - Michel
CORRETTE (1) - Jacques
Champion de CHAMBONNIERES
- Francois DAGINCOURT -
Jean-Francois DANDRIEU -
Louis Claude DAQUIN -
Jean II DENIS - Francois
DIEUPART - Louis-Antoine
DORNEL - Antoine
FORQUERAY - Antoine
FURETIERE - Charles
Alexandre JOLLAGE -
Nicolas-Antoine LEBEGUE -
Jean Leonor LE GALLOIS -
Gaspard LE ROUX - Marin
MERSENNE - Jean-Philippe
RAMEAU (1-2-3) - Pancrace
ROYER - Michel de SAINT
LAMBERT - Charles Joseph
VAN HELMONT. Table of
contents: Mersenne Marin:
Harmonie universelle -
1636. Denis Jean II:
Traite de l'accord de
l'espinette - 1650.
Chambonnieres Jacques
Champion de: Les pieces
de clavessin - 1670.
Anonyme: Tablature pour
le clavecin - s. d.
Lebegue Nicolas-Antoine:
Les pieces de clavessin -
1677. Le Gallois Jean
Leonor: Lettre de Mr Le
Gallois - 1680. Anglebert
Jean-Henry d': Pieces de
clavecin - 1689.
Furetiere Antoine:
Dictionnaire universel -
1690. Dieupart Francois:
Six suittes de clavessin
- 1701. Saint-Lambert
Michel de: Les principes
du clavecin - 1702. Le
Roux Gaspard: Pieces de
clavessin - 1705.
Couperin Francois: Pieces
de clavecin - 1713.
Couperin Francois: L'art
de toucher le clavecin -
1717. Rameau
Jean-Philippe: Pieces de
clavecin - 1724. Dandrieu
Jean-Francois: Livre de
pieces de clavecin -
1724. Rameau
Jean-Philippe: Nouvelles
suites de pieces de
clavecin - 1728. Dornel
Louis Antoine: Pieces de
clavecin - 1731.
Dagincourt Francois:
Pieces de clavecin -
1733. Corrette Michel:
Premier livre de pieces
de clavecin - 1734.
Daquin Louis Claude: 1er
livre de pieces de
clavecin - 1735. Rameau
Jean-Philippe: Pieces de
clavecin - 1736. Van
Helmont Charles Joseph:
Pieces de clavecin -
1737. Jollage Charles
Alexandre: Premier livre
de pieces de clavecin -
1738. Royer Pancrace:
Pieces de clavecin -
1737. Forqueray Antoine:
Pieces de viole (. . . )
mises en pieces de
clavecin - 1747.
Mondonville Jean-Joseph
Cassanea de: Pieces de
clavecin avec voix ou
violon - 1748. Collection
supervised by the
musicologist Jean
Saint-Arroman, professor
at the Conservatoire
National Superieur de
Musique et de Danse of
Paris and at the CEFEDEM
Ile de France (Training
Centre for Music
Teachers). He is the
author of the majority of
our prefaces and has also
been involved in library
searches. Facsimile of
copies from:-
Inguimbertine Library of
Carpentras (France). -
Municipal Library of Lyon
(France). - National
Library of Paris
(France). - Sainte
Genevieve Library of
Paris (France). - British
Library of London
(England). - Municipal
Library of Grenoble
(France). - Municipal
Library of Bordeaux
(France). - Gemmente
Museum of The Hague
(Netherlands). - In
Private collection. Anne
Fuzeau Classique propose
the complete theoretic
documentation, methods,
classical music scores on
the harpsichord.
Piano or Harpsichord SKU: BT.EMBZ20018 France 1. By Szilvia Elek_A...(+)
Piano or Harpsichord
SKU: BT.EMBZ20018
France 1. By
Szilvia Elek_Anikó
Horváth. By Szilvia
Elek. Classical. Book
Only. Composed 2020. 108
pages. Editio Musica
Budapest #EMBZ20018.
Published by Editio
Musica Budapest
(BT.EMBZ20018).
Hungarian-English-Germ
an-French.
This
brand-new series is
intended as a guide to
the keyboard music of the
16th to 19th centuries
for pupils of the piano
and the harpsichord, as
well as of other early
keyboard instruments.
Each volume contains
pieces by well-known and
lesser-known composers
from one country or
region. The main purpose
of the series is to
extend the repertoire and
stylistic knowledge of
both pianists and
harpsichordists while
also presenting fine
pieces and typical genres
based on original
sources. Our edition
retains the performance
indications of the
composers' manuscripts
and contemporary
editions. Each volume
includes:- suggestions
for stylistically
appropriate performance
bothon the piano and on
period instruments-
suggested elaborated
versions of some pieces
and excerpts- a fold-out
list of ornamentation
signs and the composers'
own tables of
ornamentation signs-
biographies of the
composers and the sources
of the pieces-
translations of
foreign-language
performance indications.
The two volumes devoted
to French keyboard music
includes close to 50
showy and relatively easy
works - preludes, dances,
suites, rondeaux, and
character pieces - from
the early 16th until the
late 18th century
(ordered
chronologically).This
publication is printed on
high-quality,
age-resistant paper that
is produced in an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials.
Una nuova collana
ideata per offrire una
guida alla scoperta della
musica per pianoforte e
clavicembalo dal
sedicesimo al
diciannovesimo secolo.
Ogni volume include brani
di compositori di una
specifica nazione o area
geografica. L'intento
è amplicare la
conoscenza e il
repertorio di ogni
musicista. Inoltre in
ogni edizione sono
riportati fedelmente i
suggerimenti per
l'interpretazione e le
indicazioni presenti sui
manoscritti originali. I
due volumi dedicati alla
musica francese includono
circa 50 brani
significativi - preludi,
danze, suites, rondò e
altri - che risalgono
all'inizio del sedicesimo
secolo fino alla fine del
diciottesimo secolo,
rigorosamente inordine
cronologico.
By Jean-Philippe Rameau (1683-1764). Edited by Jean Saint-Arroman, Philippe Lesc...(+)
By Jean-Philippe Rameau
(1683-1764). Edited by
Jean Saint-Arroman,
Philippe Lescat.
Harpsichord solo. For
Harpsichord. Facsimiles.
La Musique Francaise
Classique de 1650 a 1800.
Grade 0. 64 pages
Harpsichord SKU: FG.55011-764-8 Composed by Esa Pietilä. Classical, co...(+)
Harpsichord
SKU:
FG.55011-764-8
Composed by Esa
Pietilä. Classical,
contemporary. Book.
Fennica Gehrman
#55011-764-8. Published
by Fennica Gehrman
(FG.55011-764-8).
ISBN
9790550117648.
The
title of Esa
Pietilä’s solo
harpsichord work Fata
morgana (2019) refers to
a special weather
con-dition, which creates
illusory effect of
mirage-like fairy
castle-like monuments in
the horizon of the sea.
The piece brings forth
the frightening bass
sonority on double
manual, full size
harpsichord and the
brightness on the treble
and makes a dialogue out
of them. “I got
fasci-nated by the
sonority, character and
power of the low register
sound on the instrument,
es-pecially when used in
non-traditional way and
found some kind of
especially delightful and
outlandish cluster-mud
and airy glimmering
things which seem to play
together, the com-poser
describes. The challenges
of the piece lie in
rhythmical ideas, which
are surprisingly
multi-faceted and in the
short, improvised
section.
Duration: c.
6’
Esa
Pietilän
soolo-cembalolle tehdyn
sävellyksen otsikko
Fata morgana (2019)
viittaa erityisen
sääil-miön
aiheuttamaan
illusatoriseen
kangastuksen tapaiseen
efektiin, joka tuo esiin
satulinnojen kaltaisten
rakennelmien
ilmaantumisen meren
horisonttiin. Sävellys
tuo esiin cembalon
bas-sorekisterin
pelottavuuden sekä
diskantin kirkkauden ja
käy niillä
vuoropuhelua. Haltioiduin
cembalon alarekisterin
erityisestä soinnista,
karakteerista ja
voimasta, jos sitä
käyttää hyvinkin
ei-perinteisesti.
Löysin myös
erityisen hauskasti
soivaa klusteri-mutaa ja
ilmavaa kimallusta, jotka
sointuvat yhteen,
Pietilä kuvaa
sävellystään.
Kappaleen haasteena ovat
rytmisesti
yllät-tävät ja
monitahoiset ideat
sekä lyhyt
improvisaatiojakso.
Harpsichord SKU: FG.55011-499-9 Composed by Jyrki Linjama. Fennica Gehrma...(+)
Harpsichord
SKU:
FG.55011-499-9
Composed by Jyrki
Linjama. Fennica Gehrman
#55011-499-9. Published
by Fennica Gehrman
(FG.55011-499-9).
ISBN
9790550114999.
Sona
ta 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.
By Louis Marchand (1669-1732). Edited by Jean Saint-Arroman, Philippe Lescat. Ha...(+)
By Louis Marchand
(1669-1732). Edited by
Jean Saint-Arroman,
Philippe Lescat.
Harpsichord solo. For
Harpsichord. Facsimiles.
La Musique Francaise
Classique de 1650 a 1800.
Grade 0. 64 pages
By Francois Couperin (1668-1733). Edited by Jean Saint-Arroman, Philippe Lescat....(+)
By Francois Couperin
(1668-1733). Edited by
Jean Saint-Arroman,
Philippe Lescat.
Harpsichord solo. For
Harpsichord. Facsimiles.
La Musique Francaise
Classique de 1650 a 1800.
Grade 0. 112 pages.
Published by Anne Fuzeau
Productions - France
By Francois Couperin (1668-1733). Edited by Jean Saint-Arroman, Philippe Lescat....(+)
By Francois Couperin
(1668-1733). Edited by
Jean Saint-Arroman,
Philippe Lescat.
Harpsichord solo. For
Harpsichord. Facsimiles.
La Musique Francaise
Classique de 1650 a 1800.
Grade 0. 124 pages.
Published by Anne Fuzeau
Productions - France
By Nicolas Clerambault. Edited by Jean Saint-Arroman, Philippe Lescat. Harpsicho...(+)
By Nicolas Clerambault.
Edited by Jean
Saint-Arroman, Philippe
Lescat. Harpsichord solo.
For Harpsichord.
Facsimiles. La Musique
Francaise Classique de
1650 a 1800. Grade 0. 52
pages
By Jacques Duphly (1715-1789). Edited by Jean Saint-Arroman, Philippe Lescat. Ha...(+)
By Jacques Duphly
(1715-1789). Edited by
Jean Saint-Arroman,
Philippe Lescat.
Harpsichord solo. For
Harpsichord. Facsimiles.
La Musique Francaise
Classique de 1650 a 1800.
Grade 0. 44 pages
By Jacques Duphly (1715-1789). Edited by Jean Saint-Arroman, Philippe Lescat. Ha...(+)
By Jacques Duphly
(1715-1789). Edited by
Jean Saint-Arroman,
Philippe Lescat.
Harpsichord solo. For
Harpsichord. Facsimiles.
La Musique Francaise
Classique de 1650 a 1800.
Grade 0. 46 pages