SKU: HL.50511771

ISBN 9790080144770. UPC: 888680917272. 9.0x12.0x0.253 inches. Hungarian, English, German, French. Janos Bali.

An ABRSM syllabus title, 2014-21, Grade 6. Although the recorder was a popular instrument in France at the beginning of the 18th century, relatively few original French pieces for recorder have survived. One reason for this is that the repertoire of the recorder players of that time was largely taken from the flute literature, the pieces being transposed a third higher because of the difference in pitch between the flute and the recorder. Six of the seven suites in this volume - works by Caix d.Hervelois, Dornel, Pierre Philidor, Hotteterre, Naudot and de la Barre - are indeed flute music transposed in accordance with the custom of the period, one suite, however, is an original work for recorder by Dieupart written for the B flat descant recorder and transposed for the C descant recorder in use today. In selecting the works our aim was to provide a stylistic panorama of the French music of the period, featuring the various types of suite.

SKU: FZ.50531

ISBN 9790049505314. 22.00 x 30.00 cm inches.

This facsimile of an original by Nicolas-Antoine Lebegue is part of our French classical music collection. Edition : s. d. =1687. Presentation by Marie Demeilliez : Biography - Le second livre de clavecin - Bibliography (Description of conserved editions) - Manuscript versions and Concordances table - Table od contents. This facsimile reproduces the copy in the British Library, the only complete exemplar. A modern edition, already dated, is based on the incomplete copy from the Bibliotheque Nationale de France. This second book of harpsichord pieces is interesting for several reasons: the very typical pieces of the suite are classical models most of them are of limited difficulty and therefore playable by young pupils these pieces date from a key period during which both pre-classical ornamentation (see the book of motets by Lebegue) and the emerging classical ornamentation were used. The preface by M. D. is remarkably well documented. The engraving is very clear. Anne Fuzeau Productions have published all the period editions of Lebegue's works: 3 organ books, 2 harpsichord books, one book of motets.
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 a copy in the British Library of London (England). Anne Fuzeau Classique propose period copies of classical music scores.

SKU: BR.PB-5581

ISBN 9790004213919. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

SKU: BR.OB-5581-23

ISBN 9790004343234. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

SKU: BR.OB-5581-27

ISBN 9790004343241. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.

SKU: BR.OB-5581-19

ISBN 9790004343227. 10 x 12.5 inches.

A Programmatic Declaration of BeliefFelix Mendelssohn Bartholdy composed his Reformation Symphony for the celebrations marking the 300th anniversary of the Confessio Augustana, the Protestant declaration of faith. Owing to various and only partially explained reasons, there was no performance in 1830, the year in question; it was only two years later that the composer conducted the premiere of his work, now heavily revised, in Berlin. There was only one more performance in Mendelssohn's lifetime, this one conducted by Julius Rietz in Dusseldorf; the composer had since distanced himself from his opus.Conceived for the concert hall, the symphony formulates its theological references through the integration of various motives. This occurs in the finale, for example, in which Mendelssohn quotes the Luther chorale Ein feste Burg in the flute, from where it builds up to a triumphant principal theme. The strong extra-musical aspect must have been one of the reasons for the composer's later avoidance of this score, especially since Mendelssohn was becoming increasingly skeptical about explicitly programmatic music in the instrumental domain. Next to the Dusseldorf performance material of 1837, two scribal copies have been examined for the first time; they transmit the main stages of the version of 1830.