Harpsichord Pieces, Book 3, Suite 14, No. 5: La Julliet

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Without a noble patron and hence a dedicatee , Le Roux would have had to take on the financial risk of publication himself, possibly splitting the initial expense with Foucault. This format presents the music in a way that is instantly accessible to non- keyboardists, thus enabling Le Roux and Foucault to target a much larger clientele and potentially sell more copies of the edition than if it had been engraved as a collection for solo harpsichord only.

Moreover, his decision to include five fully-realized models of contreparties for a second harpsichord—each corresponding to a solo movement from earlier in the collection—must have been carefully weighed against the additional expense of having those pages engraved. In other words, Le Roux clearly felt that these examples constituted an indispensible part of his work. In addition to the five model contreparties, Le Roux also included a gigue in G major for harpsichord duet. This is also true of the four unmeasured preludes Figure 3.

In spite of this, Le Roux unconventionally provided occasional figures under key harmonic notes in the bass of the preludes. In his preface, Le Roux draws special attention to one other movement that is particularly exceptional: It is arguably the most remarkable piece in the entire collection, at least in terms of its formal structure; the sarabande is presented as a set of variations with no less than twelve increasingly virtuosic couplets.

A trio arrangement is provided for the first couplet, while the second, third, and fourth have only accompanying basse continue parts. The remaining eight couplets feature only the music for harpsichord solo. He did, however, include the contrepartie examples, but printed them in a separate companion volume. This layout would have better facilitated performances of the movements with corresponding contreparties as harpsichord duets since each performer would have had his or her own copy of the music from which to play. It is especially perplexing that Roger chose not to include the trio arrangements given that several of his other editions of keyboard music employed variations of this idiosyncratic layout.

Unlike Le 5 The exact date of this edition is unknown. This can largely be attributed to the fact that many of the notated dance movements of this period were actually derived from improvisatory tropes that were common in the public domain. The improvisatory, highly adaptive qualities of seventeenth-century music-making were gradually becoming less spontaneous and more prescriptive. That is to say, he so diversified them with all these different niceties that he always revealed new graces. Indeed, in the account quoted above, Gallois also mentions performances of harpsichord and lute duets—a genre that is frequently referred to in seventeenth-century sources, but for which no scores survive.

In the decades that followed, French composers increasingly sanctioned flexible or adaptive instrumentations in their published works to such an extent that by the turn of the eighteenth century not doing so was more the exception than the rule. It was hoped that I would provide the treble and the bass of each of these pieces. This will be of great aid to those who wish to sing and play accompaniments before learning them from the score, which will then become quite easy, having reviewed the melody and the rhythm.

I have also added a contrepartie for ensemble playing. Generally speaking, a contrepartie refers to a descant line or a countermelody that is added to an otherwise integral musical texture, and is therefore ultimately non- essential. In England in particular, the convention was widespread in the consort and lyra-viol ensemble repertoires of the early seventeenth century, and is manifest in numerous works by Thomas Ford, Alfonso Ferrabosco, and William Lawes among others. The courante was extremely popular throughout the seventeenth century and survives today in over thirty unique manuscript copies.

Although there are many other such examples of fully notated contreparties that specifically belong to the lute repertoire, their prevalence should not be misconstrued as an indication that the practice was implemented more frequently by lutenists than by other musicians; instead, it is probably more indicative of the fact that tablature is not a convenient notational basis from which to extemporize, therefore necessitating fully written- out parts. The stylistic idiosyncrasies that accompanied and characterized such conventions would likewise have been second nature to these musicians.

Given that the transmission of these ephemeral practices and, by extension, the genre itself went into decline long before the advent of recording technology, we are somewhat at a loss for engaging with them in our own day and age. It would have been impractical for Le Roux to create and provide contrepartie realizations for all of his pieces; doing so would have entailed a great expense of time in terms of writing out the parts and money in terms of their publication. By leaving the notational formation of harpsichord duets purposely incomplete, Le Roux merely embraced the spirit of 1 Butt, Playing with History, — The extemporized realization of [un]figured thoroughbasses is perhaps the most obvious and well-known expression of this inclination.

As such, the fact that he provided fully-realized contreparties in the first place could even be seen as verging on gratuitous. By extension, the original presumably Parisian consumers of the Foucault edition would have shared this outlook, not only on account of the fact that Le Roux explicitly presented the contreparties as examples in his preface, but also as a result of the pervasive culture of adaptation and extemporization mentioned above.

In the absence of an explanatory preface, and—crucially—without the simultaneous presentation of the pieces in trio arrangements, the significance of their notation as example is lost. According to this model, the conventional a priori conception of notation is inverted in favour of an a posteriori one such that the notation of a work seeks to describe and perhaps evoke pre-existing performance traditions rather than to prescribe or embody a conceptually unique, notationally ossified musical object.

Whereas Le Roux and the musical public for whom he published his pieces would have engaged with the contrepartie realizations as examples, they are perhaps most insightful to us—at least initially—in this third mode, as a record of performance traditions. An example thereof will be found in the six pieces that are at the end of the volume. As harpsichordists Bibiane Lapointe and Thierry Maeder note: For didactic reasons he chose to present five essential genres: The first of the six contrepartie examples, the gigue in G major Figure 4.

As usual, Le Roux has also provided a trio reduction at the bottom of the page, thus giving a summation of the performative possibilities to which his music may give rise at a single glance. Interestingly, the only performance scenario to which the gigue does not readily lend itself is that of the harpsichord solo; because the premier clavecin part alternately fulfils both a melodic role as in mm.

There is little doubt that Le Roux conceived of this movement as a duet from the very beginning. Pieces for Harpsichord, xxviii. Contrepartie of the G minor courante. The gigue succinctly demonstrates the fundamentals of this procedure: Either way, it is perhaps deliberately obvious from the gigue that the part is meant to be ad libitum in character. Although the left hand duplicates the premier clavecin at times as in mm. Not only is the bass G of the first measure extended to form a harmonic pedal—a completely original feature not found in any of the other parts—but the entire tessitura of the bassline has been brought down an octave from its analogues in the premier clavecin and the basse continue of the trio.

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As indicated in Figure 4. Rather than demonstrating the derivation of parts or introducing new techniques for extemporizing contreparties not already manifest in the previous two movements, they serve to further exemplify and reinforce the various ways in which the unadorned contrepartie and basse continue parts of the trio may be idiomatically realized.

As Lapointe and Maeder noted earlier, the formal variety of these movements is surely by design rather than by happenstance. The second menuet then follows. This task is greatly simplified, however, since the realized left-hand part Le Roux provided for the first menuet can be reused in its double; the harpsichordist need only adapt the right hand to the contrepartie of the trio.

Trio arrangement of the first A minor menuet. Trio arrangement of the double of the A minor menuet. Contrepartie of the first and second A minor menuets. Whether Le Roux so intended or not, it is a fitting summation of the harpsichord duet performance practice and a testament to the efficacy of his contrepartie scheme.

But interrogating such conventions within a purely documentary framework using only these notated contrepartie realizations as an epistemological basis ultimately yields little meaningful insight into what they actually may have been like in practice. Doing so privileges notationally salient features of these conventions while completely disregarding latent but equally important ones that are only manifest in the performative act; we inevitably lose sight of the wood for the trees.

Thus, even as it is important to recognize the contrepartie realizations as a record of performance tradition, so too is it imperative to acknowledge that the record they constitute is necessarily incomplete; that rather than a summation of a practice, they are merely vestiges of one. As is the case with any musical performance, there is a wealth of information latent within these recordings. We soon discovered that this would not be a simple matter, even though both of us are quite experienced both in French harpsichord style and in improvisation.

Many expressive and interpretive features characteristic of harpsichord playing in the French style—such as various types of arpeggiation and ornamentation—are not easily captured in notation, and consequently no attempt has been made to denote them in a contrived or artificial way. Similarly, slight variations between repetitions of binary sections are suppressed in order to highlight the fundamental constructs of the extemporized contreparties to better facilitate comparison, which is the primary purpose of these transcriptions. Although the premier clavecin is clearly influenced by the text for harpsichord solo especially in the case of the left hand , it is manifestly less polyphonic and chordal.

This results in an overall texture that is on the thinner side, but that is nevertheless, on account of the contrepartie, somewhat more ornate than the solo version alone. Prominent features of their approach in the allemande include the treatment of the contrepartie in m. Crawford and Meyerson take yet another approach that incorporates elements of the previous two.

In spite of these differences, it is clear that some of the perceived challenges involved with the practice are common. In other instances, the texts of the solo harpsichord and of the trio are at odds such that performers are compelled to enact some kind of reconciliation between the two in order to avoid irrational discord. Ultimately, the value of comparing these performances does not lie in the apprehension of any particular method or approach to extemporizing duets, but rather in the acknowledgement that there is no one ideal way to confront the challenges inherent to this practice.

But, if considered in isolation, these lines of inquiry ultimately reveal little about the nature and substance of the performance traditions they concomitantly intersect. It is only when considered in conjunction that they achieve a meaningful measure of cohesion and offer penetrating insights into otherwise intractable performance traditions. Accordingly, the preceding accounts of Le Roux, his music, and its performance as harpsichord duets have not been presented here under any pretence of comprehensiveness, but rather with the intention that the aggregate understanding to which this study gives rise will be greater than the sum of its parts.

The connective thread that lies behind this understanding is often more implicit than it is explicit; the history and substance of improvisatory arts are, by their very nature, difficult to reconstruct. Similarly, the fragmentary and often speculative aspect of this subject matter resists empirical concatenation. No; but neither can such performances reasonably be deemed grossly misrepresentative or wholly irrelevant.

Not in precise terms; but it seems clear that his representation of this performance tradition is of a more conventional than exceptional nature. Not necessarily; but scrutinizing the circumstances within which he lived and worked allows a practicable context to be established that, in turn, can help substantiate these other lines of inquiry.

Any historical account of these issues, therefore, should not be regarded as a teleological endeavour or an end in itself, but rather as a point of departure. What, then, can ultimately be synthesized from the various lines of inquiry presented here? As a young musician trying to make his way without noble patronage, Le Roux most likely earned his living as a church organist, supplemented perhaps with freelance work as a harpsichordist and continuo player in the secular sphere. Although adaptation and improvisation would have been regular features of his performances at the harpsichord as both a soloist to which his unmeasured preludes—the epitome of transcribed improvisations—attest and also as a continuo player, the constant need to extemporize music in his capacity as a church organist leaves little doubt that these skills were highly developed and well-honed.

He either moved to Paris or, having come of age there, finally established himself within its musical community by the last decade of the seventeenth century, continuing to work as an organist and church musician, but also increasingly as a pedagogue as his experience and renown grew. Regardless, he, the other musicians in his circle, and music-savvy members of the public would have considered these practices neither especially innovative nor novel, but rather a natural extension of the conventions of adaptation and extemporization that permeated all aspects of the musical culture of the time.

Moreover, thinking of contrepartie-based harpsichord duets or the use of adaptive instrumentation as discrete performance traditions is very much a product of the retrospective, a posteriori viewpoint of our own age; such thinking would surely have seemed artificial to Le Roux and his contemporaries. I perform them with my family and students with great success; that is, by playing the first treble part and the bass on one of the harpsichords, and the second treble with the same bass on another in unison.

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It is true that this necessitates having two copies 1 Anthony, French Baroque Music, But I also find that it is often easier to bring together two instruments than four individuals who make a profession of music. The question therefore remains: The answer, of course, is that he was the only one to show by means of notation how this otherwise unnotated practice worked. Consequentially, his realized contreparties have been elevated to the highest echelon of this genre, and rightly so: As Richard Taruskin aptly observed, traditions, according to any informed definition, modify what they transmit virtually by definition, if not necessarily by design, working their transformations not only through the active intervention of the critical faculty, but also by what we might call interference.

Oral traditions, especially in a musical culture as variegated as the Western fine art of music has become, are multiple, always contaminated, and highly suggestible, receptive to outside influence. French Source Texts [1] Nous sommes dans un temps tout saint. Mercure Galant, March , 17— Moreri, Le grand dictionnaire historique, Harpsichord Duet Performances 1. Most pieces performed as harpsichord duets Crawford, Lisa and Mit Meyerson.

Harmonia Mundi France hmc Haas, Arthur and William Christie. Suites pour deux clavecins. Harmonia Mundi France hma Disques Pierre Verany pv Some pieces performed as harpsichord duets, others performed as solos Akutagawa, Naoko and Glen Wilson. Complete Works for One and Two Harpsichords. Only pieces with accompanying contreparties performed as harpsichord duets Pappas, Iakovos and Pascal Baylac. Extracts performed as harpsichord duets Kipnis, Igor and Thurston Dart.

Music for Two Harpsichords. A due cembali obligati. Music for two harpsichords. Harpsichord Solo Recordings 2. Overtone Records ov Bach and the French clavecinistes. Archiv Produktion Facsimile, transcription and commentary, 3 volumes, linen bound. British Museum Additional Manuscript , ff. Edited by Joseph Kerman. Oblong, 36 x 27 cm, I: Greatest single repository of sketches and drafts of early Beethoven compositions, Op. Includes 7 fold-out pages. Separate introduction, inventory and transcription vol. Beige buckram cover, title embossed in gold. Gesellschaft der Musikfreunde, Wien].

Publikationen der Sammlungen der Gesellschaft der Musikfreunde in Wien, 2. Oblong, 31 x 23 cm, , x pp. Beautiful halftone of the autograph. Includes parts of Symphony No. Bibliophile edition of copies printed on laid paper and bound with Ingres marbled paper boards. Oblong, 31 x 23 cm, 2 vols, ; , x pp. Halftone on beautiful laid paper. Edition of copies. Beethoven Sketchbook Series, [2]. This sketchbook documents Beethoven's creative work from sometime late in until early in , a transformative period in his artistic career. Oblong, 31 x 27 cm, 2 vols, 94 facs; 88 pp.

Sketches for the String Quartets Op. Edited by Richard Kramer. The sketchbook has been reconstructed from manuscripts currently housed in 11 separate collections. Since the original photographs were taken three leaves have been bought by private collectors and are now inaccessible. Edited by Susan Kagan. A , and Vienna, Gesellschaft der Musikfreunde, Ms. Music of the Nineteenth and Early Twentieth Centuries, Beethovens Klaviersonaten und ihre Deutung. This book-conversation outlines some of his experiences and approach to interpreting Beethoven, informed by autographs, early editions and facsimiles.

A cura di Davide Marsano. Prefazione di Sergio Vartolo. This line-cut facsimile provides the same settings in manuscript form. A Facsimile of the Paris Edition. Afterword in Dut by Rudolf Bruhin. Faksimile des Autographs in der Bayerischen Staatsbibliothek. Beautiful 2 color line-cut of the autograph fair copy arranged for chamber ensemble.

Beautiful 2 color line-cut of the autograph fair copy arranged for chamber ensemble, together with modern edition. Oblong, 25 x 17 cm, 31 pp. Line-cut of the Giacomo Vincenti edition, Venice, Line-cut of the Hildesheim, edition. Bihler was a German monastic composer; trained in the Minorite monastery in Maihingen, he was a boy soprano at the Benedictine Abbey at Neresheim and in become cathedral organist at Augsburg. Bland edition, London, c. Line-cut of the Berlin, edition. In Telemann began, with Geteuer Music-Meister, a trend in musical editions published by installments that catered to both professional and amateur musicians.

Musikalisches Allerley is the leadingserial and one of the first of such from Berlin, offering the newest works for keyboard instruments and songs with keyboard accompaniment. Compendio musicale, Ferrara Line-cut of the holograph. Bismantova touches on many issues in his little compendium: Two complementary treatises on the early piano. Associazione Clavicembalistica Bolognese, 6. Oblong, 30 x 21 cm, 2 parts, xx, 76 pp. Line-cut of a contemporary ms copy, a wonderful transcription for two harpsichoords from the original string version.

Line-cut of the Paris, n. Hummel edition, Amsterdam, Line-cut of the Hummel, n. Musique pour le Piano-Forte, XI. Line-cut of the Pleyel edition, Paris, []. Bodin de, [Suites, harpsichord, op. Descriptive pieces arranged as 4 suites, some of which include several couplets. Oblong, 32 x 23 cm, v, 43 pp. Line-cut of the Rome, c. Introduction in It by Marcello Castellani. Wrappers, in decorative paper. Line-cut of the Venice, edition. The first of four publications for clavecin by Boutmy to be published in facsimile. Oblong, 31 x 23 cm, 4, 26 pp. Oblong, 26 x 20 cm, 78 pp.

Three complementary treatises on accompanying with the organ and harpsichord. Written for a vocal quartet and four-hand piano duo and intended as chamber music for use at home, the Neue Liebesliederwalzer are an eclectic mix of love-poems from many lands, including Turkey, Poland, Latvia, and Sicily trans. The humorous casting of solo parts includes: Facsimile printed on fine laid paper with hand-stiched binding after the original , housed with commentary and audio CD in a handsome clamshell case. Oblong, 38 x 30 cm, 21, pp.

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Beautiful full-color halftone of the autograph fair copy. Since its premiere in Budapest on Nov. The autograph, like the Symphony No. Oblong, 34 x 28 cm, 24 facs, 8 pp. This is the only surviving source for op. Afterword in Ger-Eng by Bernhard Stockmann. Fingering by Christoph Eschenbach. Sammlungen der Gesellschaft der Musikfreunde, Wien].

Halftone of the autograph, with new authoritative edition. Mit einem Nachwort von Friedrich G. Oblong, 30 x 21 cm, 16,pp. This opus composed in Bad Ischl in May and June of was the composer's last composition for solo piano. Although a fair copy of the work with Brahms' annotations survives in the Juilliard School Library, this facsimile reproduces the only known autograph of the E minor and C major Intermezzi.

Wrappers with handsome linen paper with pasted title etikette. Faksimile des Autographs herausgegeben von Margot Wetzstein. Oblong, 35 x 27 cm, 8 facs, 7 pp. Attractive 3-color collotype of the autograph. This is the earliest work of Brahms known to survive in manuscript op. Handsome binding with coverboards in decorative paper. Oblong, 38 x 30 cm, xxii, 36 pp. Its melancholic mood has been recently connected with Brahms' sadness over the deteriorating health and eventual death of his godson, Felix Schumann—son of Clara and Robert—who intermittently strove to become a violinist.

The autograph is teeming with corrections and alterations, most likely made shortly after the first performance of the piece in August given by Brahms and Joachim in a private setting. Beautiful 2-color halftone of the autograph score. Faksimile des Autographs und Werkbericht von Alfons Ott. Sammlungen der Gesellschaft der Musikfreunde, Vienna].

Oblong, 35 x 27 cm, 14, 32 pp. Outstanding halftone of the elegant autograph score. The work premiered on This facsimile represents the publishing debut of the venerable music publisher Dr. Handsome bibliophile edition of copies bound in grey linen with ivory colored boards. Oblong, 32 x 24 cm, xvii, 26 pp. Full-color facsimile of the autograph fair copy dating from September Brahms played the piece for the first time in Hamburg 4 Nov.

The first public performance was subsequently given by Clara Schumann on 7 Dec. The imminent music biographer Donald Tovey counts it as among the half dozen greatest sets of variations ever written. Hardbound in decorative paper with faux title etikette. Schriftenreihe zu Musik, 1. Oblong, 35 x 25 cm, xvii, 19 pp. Line-cut of the autograph. Although it is not known for sure if the piano version op. Wrappers, with reproduction of a woodcut of Tutzing on the cover. Library of Congress, Washington, D. Halftone reproduction together with a new authoritative edition.

Herausgegeben von Otto Biba. Beautiful period border decorations. Oblong, 30 x 25 cm.

Editorial Reviews

Line-cut of the Offenbach, c. Facsimile Edition Edited by Jan ten Bokum. Dutch Music Facsimiles, 3. With a Preface by by J. Oblong, 31 x 23 cm, vi, 26 pp. Line-cut of the London edition. A graded collection of pieces including numbers by Nicracci, Lully, Corelli, Larini, Pescatore, and others, together with some rules on playing by Robert Bremner.

Wrappers in marbled paper. Eingeleitet von Harald Heckmann. Halftone of the second edition, Paris, Cloth also available in wrappers. With an Introduction by Albert Clement. Exempla Musica Zelandica, 3. Line-cut of the Alsbach editions, Amsterdam, c. Introduction by Rudolf Rasch. Dutch Music Facsimiles, 8. Line-cut of the Leeuwarden, c. Contains 3 keyboard suites, 3 solos with figured bass resp. Kurze Vorstellung von Verbesserung des Orgelwerkes. Line-cut of the Strasbourg, edition.

Bilingual text, in Latin and German. Extremely informative treatise on organology with altogether extended descriptions provided in Italian and French. Accompanied by superb woodcuts of scenes of musicians with their instruments. Halftone of the autograph score, composed in for the marriage of his brother-in-law Karl Ludwig Schmalz and Vreneli Gerber.

Halftone of the autograph score composed in for the baptism of Christine Judermuhle. Special limited edition on laid paper. Raccolti da Alessandro Busi.

Line-cut of the n. Works by Martini, Santelli, Giovagnoni, G. Colonna, Incerto and Gajani. Herausgegeben von Jutta Theurich. Franzpeter Goebels , Sonderheft. Halftone of the autograph, together with new practical edition. Introduction in Ger by J. Exempla Musica Zelandica, I. Line-cut of the Amsterdam, c. Edizione della partitura a cura di Liuwe Tamminga.

Line-cut of the Venice, edition [Libro primo], with modern transcription. The 1st of the 4 ricerars included in this collection is in fact an intabulation by the composer himself of a work that had already appeared in Il secondo Libro de recercari da cantare et sonare d'organo et altri stromenti a quatro voci A.

Gardane, , in which the 4 voices making up the polyphonic texture were printed in partbook format. Wrappers in handsome portfolio. Edited by Michael Belotti. Includes apparatus listing all editorial emendations. Edited by Eva Linfield. Generalbassaussetzung von Dankwart von Zadow. Halftone of a contemporary ms copy, together with a new performing edition. Introduction by Jan ten Bokum. Dutch Music Facsimiles, 7.

Line-cut of the Weinberger, edition. Edited by Oliver Neighbour. It was painstakingly compiled by the Windsor-based scribe John Baldwin, who completed work on it on 11 September By Byrd was mid-way through his career as composer of church music and secular vocal and instrumental music. The MS provides a snapshot of the keyboard music he had composed by that date and is an exceptionally important source for his music. It contains some of his best-known compositions for keyboard, including variations on the popular tunes 'Sellinger's Round' and 'All in a Garden Green'.

Her family's coat of arms adorns a leaf at the front of the MS. Oblong, 32 x 22 cm, 34 pp. Line-cut of the Milan, edition. With 21 short pieces. Faksimile-Edition Theoretica, 4 Suttgart, Oblong, 22 x 17 cm, 48; 74 pp. Line-cut of the Augsburg and editions. Ars cantandi—after a brief introduction on fundamentals and solmisation—includes an appendix of keyboard pieces preamboli, intermezzi, versetti, toccate, tastate, variazioni, fughe. Hardbound in decorative paper. Die phantastischen Erfindungen des Salomon de Caus.

Line-cut of Frankfurt, edition. Kunst der Mechanik also includes a madrigal by Alessandro Strigio, beautifully engraved in keyboard tablature by Pierre Filippe. Afterword by Stefan Gugenhan. A Facsimile of the [Venice, ] Edition. Oblong, 24 x 17 cm, 73 pp. Line-cut of the Bernardus Vercellensis edition, Venice, , from the only complete copy known to exist since the first impression of This collection of organ tablatures was printed with type and metal-block in two impressions, and contains the earliest known use of chords and ties.

Madrid, 23 x 32 cm, 2 vols: Huge synthesis of musical-theoretical topics divided into 22 books. The last book deals with musical enigmas and puzzle canons. Line-cut of the Naples, edition. Preface in It by Giuseppe Vecchi. Oblong, 31 x 22 cm, 70 pp. The first two books of harpsichord music to be engraved in France.

Oblong, 31 x 22 cm, 23, 70 pp. Oblong, 27 x 21 cm, 70 pp. Oblong, 31 x 22 cm, 20, 60 pp. Oblong, 27 x 21 cm, 62 pp. Oblong, 32 x 23 cm, 18, 38 pp. Line-cut of the Poggiali edition, Florence, c. The only keyboard sonatas by Cherubini. Oblong, 28 x 22 cm, 2 vols, 20, 67 pp. Full-color halftone of the autograph fair copy.

The work, in expansive sonata form in "stile brillante", dates from the early s and stands as testimony to the fact that after completing the concertos in F minor and E minor, that Chopin was thinking of composing a third.

Bound in blue linen, with matching slipcase. National, Paris, fonds du Conservatoire Nationale de Musique, mus. Faksymilowane Wydanie Autografow F. Oblong, 35 x 28 cm, vii, 10 pp. Oblong, 35 x 28 cm, 10, iv pp. Oblong, 28 x 22 cm, 2 vols, 10, 56 pp.

Oblong, 35 x 28 cm, vii, 14 pp. Oblong, 29 x 22 cm, 2 vols, 4. Full-color halftone of the incomplete autograph fair copy dropping off at bar , the only known autograph except for another in private hands that ends at bar Nathaniel de Rothschild par F. Oblong, 28 x 22 cm, 2 vols, 8, 59 pp. The manuscript has been meticulously notated, with a wealth of performance details, dynamic markings and expression marks.

Oblong, 35 x 29 cm, 2 vols, , 76 pp. Bound in blue linen with matching portfolio. Oblong, 35 x 26 cm, 2 vols, 26, 58 pp. Full-color halftone of the autograph fair copies of six etudes from op. Dated by Jan Ekier c. Halftone of the autograph faircopy, with new authoritative edition. Oblong, 35 x Full-color halftone of the autograph fair copy Pierpont Morgan call number MA , basis of the French Schlesinger edition.

Surviving correspondence between the French and German publishers of the Etudes informs us of the meticulous care with which Chopin prepared his first set of publications following his arrival in Paris Kallberg. Oblong, 30 x 24 cm, 2 vols, 54, 47 pp. This set consists of 2 fair copies entirely in the hand of Chopin nos. Oblong, 30 x 24 cm, 2 vols, 4, 47 pp.

The Etude in A Minor was published with the whole cycle in October , almost simultaneously by three publishers: The pages of the Etude show a significant number of minor corrections; these might indicate haste on the composer's part resulting in slips in the notation. Before the final resolution to an A major chord in bar 65 a whole bar was deleted—could this indicate that Chopin meant to replace some notes before that chord?

Oblong, 28 x 22 cm, 2 vols, 4, 49 pp. The MS has signs of burn damage on the upper corner which in no way affects the text except for the possibility of the loss of a tempo marking. Notable is the lack of dynamic, agogic, pedal and expression markings, and phrasing only appears at the beginning. It contains corrections and deletions which show the composer was still working out detail. Oblong, 27 x 21 cm, 2 vols, 20, 66 pp. Oblong, 29 x 23 cm, xxxi, 36 pp. Chopin paid conspicuous attention to the art of counterpoint. The autograph manuscript of this transcription—published for the first time in this volume—was long preserved, unknown, in a private collection; it is to be counted among the relatively rare manuscripts that Chopin set down with special attention in regard calligraphy.

Bach and with the Well-Tempered Clavier. The volume also features a number musical examples, illustrations including portraits of Cherubini and of Chopin at his desk , facsimiles, and transcriptions of further rare contrapuntal studies by Chopin including counterpoint exercises on given melodies of Cherubini and a fragment of a canon at the octave made in preparation for the Sonata, op. Oblong, 35,5 x Full-color reproduction of the fair copy autograph. The manuscript being published here comes from the early s and is an editorial autograph intended for the Paris publisher Maurice Schlesinger.

Oblong, 31 x 24 cm, 12, 40 pp. Full-color halftone of the autograph fair copy completed in , the third of just four impromptus that Chopin wrote. The autograph contains engraver's marks in the form of digits, written either in ordinary lead pencil or in red pencil or crayon, indicating the division of the musical text in the edition into systems and pages. The present manuscript is the only extant autograph of the Impromptu in A flat major, op. Oblong, 28 x 22 cm, 4, 47 pp. This publication reproduces the manuscript of the Impromptu in G-flat major op.

The history of this autograph is convoluted; until , it was held by the Musikhistorisches Museum von Wilhelm Heyer in Cologne; its later owners are unknown. All we know is that as of , the manuscript already belonged to the Selden-Goth collection.. Oblong, 33 x 24 cm, 4, 41 pp. This impromptu offers us an initial idea of how Chopin understood the genre. Designed to a da capo form with coda, in stylistic terms it stands largely within the sphere of the brilliant style.

Oblong, 32 x 25 cm, 2 vols, 2, 45 pp. Chopin composed the Lento in C-sharp minor in Another version of the Lento, an autograph manuscript with a dedication to his sister Ludwika, has disappeared and is known only from copies and facsimiles. Warsaw, , Oblong, 21 x 16 cm, 2 vols: The only evidence we have of its date is a handwritten annotation that appears on the ms: The composition is written on a small sheet of paper which the composer probably folded into four and enclosed with a letter, sent to Wilhelm Kolberg.

Oblong, 31 x 23 cm, 24, 66 pp. Full-color halftone of the autograph fair copy completed in the autumn of and published—like most of Chopin's compositions—simultaneously in three editions France, Dec. The manuscript is a rather clean fair copy yet bearing traces of intensive work on the formulation of some details. Oblong, 30 x 23 cm, 2 vols, 18, 68 pp. Full-color halftone of the autograph fair copy with dedication: Oblong, 29 x 22 cm, 2 vols, 6, 47 pp.

Full-color halftone of the autograph fair copy ? Consists of 3 mazurkas: G major, A-flat Major, and C-sharp Minor. Oblong, 28 x 22 cm, 2 vols, 5, c. Full-color halftone of the autograph sketch. Oblong, 28 x 22 cm, 2 vols, 4, 47 pp. The manuscript of the Mazurkas op. Oblong, 17 x 11 cm, 2 vols, 2, 47 pp. The autograph bears the date , three years after Maria had died; it is believed that Chopin presented the work to her daughter, Celina Mickliewicz, who pasted it into the Album. Oblong, 30 x 23 cm, 2 vols, 8, 48 pp.

It is the only known Chopin manuscript of this work. Halftone of the autograph fair copy, together with a new authoritative edition. Oblong, 29 x 22 cm, 2 vols, 4, 46 pp. Full-color halftone of the autograph fair copy for the French publisher Brandus et Cie. The musical text is in an advanced stage, including numerous dynamic, pedalling, articulation and phrasing markings.

Oblong, 31 x 24 cm, 2 vols, 12, 46 pp. Oblong, 28 x 22 cm, 2 vols, 8, 46 pp. Full-color halftone of the autograph fair copy held by the British Library in London under shelf number MS Oblong 33 x 26 cm, 12, 5 pp. Hardbound, in decorative paper, with pasted title etikette. Oblong, 28 x 22 cm, 2 vols, 12, 63 pp. The manuscript contains precise articulation markings which were partly omitted in the first edition.

Oblong, 29 x 22 cm, 2 vols, 8, 64 pp. Facsimile printed on laid paper. Bound in blue linen, with matching portfolio. Oblong, 28 x 21 cm, 2 vols, 44, 71 pp. Full-color halftone of the autograph fair copy with plate number of the Catelin edition. Title and dedication on the upper margin: The musical text shows many deletions and corrections. Oblong, 29 x 22 cm, 2 vols, 12, 47 pp. Full-color halftone of the autograph fair copy dedicated to Mademoiselle Jeanne de Caraman.

Oblong, 29 x 22 cm, 2 vols, 32, 52 pp. The Sonata in B minor, composed in , is the last of three sonatas written for piano. Oblong, 35 x 26 cm, 24, 57 pp. Full-color halftone of the autograph fair copy ONB Cod. Presents the solo parts and orchestral parts in piano reduction with orchestration suggestions. Compiled and Annotated by Jan Bogdan Drath. This remarkable work collates, in facsimile, all the available manuscripts, holographs and 19th-c. Indispensable research tool for establishing authoritative texts of these works.

Grande valse brillante op. MS ; Grande valse brillante, op. Grande valse brillante, op. Oblong, 21 x 16 cm, 2 vols, 4, 62 pp. Full-color halftone of the presentation autograph fair copy presented to the Rothschild family. Oblong, 28 x 22 cm, 2 vols, 2, 47 pp.. It is precisely because Chopin made presentation mss of this type that the source studies for some of the waltzes are so complex. Complete autographs include this one and another in Basel in private hands. The Basel version, twice corrected by Chopin, served as the Stichvorlage for the first French edition by Brandus published in It differs in several very significant respects from the autograph presented here, and clearly represents a revision and refinement of the work.

This gives special interest to the present manuscript which includes no upbeat, has a smoother less-urgent melodic line in the central section, and a recapitulation that consists only of a figuration fragment of the first section; furthermore this version has no tempo or pedaling indications. Line-cut in reduced format of the Meissonnier editions op. Oblong, 30 x 22 cm, 2 vols, 8, 61 pp. There are numerous variants of substance across the different versions of this pieces. To mention a few: Until now the important role played by the Well-Tempered Clavier in Chopin's teaching has been known on the basis of literary sources.

The document published here for the first time confirms it with living proof of a different kind, a live record, so to speak, of his teaching. The score was probably purchased in Lyons around prior to Pauline's Parisian sojourn and was brought or sent to Paris, where it was used in the lessons with Chopin. Oblong, 34 x 24 cm, iv, 77 pp. Oblong, 27 x 19 cm, 36 pp. Oblong, 35 x 24 cm, 49 pp.

Line-cut of the London [after. Line-cut of the Pleyel edition, Paris, c. Line-cut of the Bologna, n. Oblong, 32 x 22 cm, pp. Line-cut of the London, n. Voluntaries, fugues, canons and other short works. Oblong, 35 x 24 cm, 45 pp. Oblong, 31 x 22 cm, xxiii, 31 pp. Oblong, 27 x 20 cm, 30 pp. Oblong, 25 x 19 cm, 19 pp. Slightly augmented version of the edition. Oblong, 28 x 21 cm, 19 pp. Oblong, 31 x 22 cm, 28, 19 pp.

Con annotazioni critiche manoscritte di Scipione Stella A cura di Patrizio Barbieri. Sources and Materials for the History and Theory of Music, It is actually a blatant plagiarism of a design by Scipione Stella, whose annotations in his copy of the Sambuca lincea Library of Congress, Washington, D. Walker edition, London, Line-cut of the Alcala, edition. Organ tablature with a very original theoretical and technical part, followed by some 70 pieces—tientos glosas and variations.

Oblong, 31 x 22 cm, 32, 52 pp. A Facsimile of the Paris, Edition. This work was produced at various times with plates that were either corrected or added to. Line-cut reproduction of the Paris, edition. Oblong, 29 x 21 cm, 34 pp. Prototipes contains lessons in questions and answer form, and illustrative sonatas for the vln, fl, and descant viol. Oblong, 27 x 21 cm, 55 pp. Arranged into 4 suites. Includes 4 suites with an explanation of passages to be fingered. Develops a whole code of ethics for playing the instrument. Line-cut of another surviving print of the Paris, edition this print is possibly earlier than no.

Laid paper with handsome binding in cloth. Line-cut of the Paris, edition, based on the exemplar formerly owned by Ralph Kirkpatrick. Oblong, 24 x 17 cm, xxi, 39 pp. Oblong, 30 x 21 cm, 44 pp. Oblong, 24 x 17 cm, xx, 39 pp. New York, 23 x 31 cm, v, 14 pp. Musique pour le Piano-Forte, VI. Introduction de Davitt Moroney. Oblong, 22 x 17 cm, 35, pp. Line-cut of a newly discovered ms containing French harpsichord music. Line-cut of the Birchall edition, London, c.

Line-cut of the Vienna, c. Oblong, 25 x 24 cm, 57 pp. Hardbound, in decorative paper.

Couperin : Complete Works For Harpsichord by Olivier Baumont on Amazon Music - www.farmersmarketmusic.com

Reproduktionen Historische Ausgaben, Line-cut of the Diabelli, edition. Faksimile-Ausgabe, herausgegeben und mit einer Einleitung versehen von Ulrich Mahlert. Line-cut of the second edition, Vienna, c. Faksimile-Ausgabe herausgegeben und mit einer Einleitung versehen von Ulrich Mahlert. Opera quinta, libro primo. Line-cut of the Roger edition, Amsterdam, c. Preface in It-Eng by Laura Ochs. Wrappers with portfolio in quarter linen and ties. Oblong, 32 x 23 cm, 18, 83 pp.

O Filii, chansons de St-Jacques, et carillons. Line-cut of the Paris, and editions. Premessa alla ristampa di Paolo Marenzi. Oblong, 31 x 22 cm, iv, 42 pp. Line-cut of Milan, n. Due sinfonie, suonatina, tre elevazioni, pastorale. Oblong, 35 x 25 cm, viii, 65 pp. Line-cut of the Ricordi, printed edition. Fac-similes de Manuscrits de Claude Debussy, [4].

These two Arabesques, based on Debussy's meticulously copied fair copy, are especially relevant in understanding the composer's compositional arc: Palestrina, Victoria and Lasso, whose melodic style the composer believed could be traced back to plainchant "They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints". The early "Arabesques pour le piano" are key to interpreting Debussy's development as a composer.

Preface in Fr-Eng by Pierre Boulez. Wrappers with exposed stitching, in special art paper. Piano Solo Realized by Roy Howat. Line-cut, together with a new authoritative edition. Introduction de Roy Howat. Line-cut of the autograph of the working draft, replete with revisions. This facsimile reunites, for the first time in 55 years, the constituent parts of the manuscript. Halftone, together with a new authoritative edition.

Fac-similes de Manuscrits de Claude Debussy, [1]. Wrappers, in beautiful art paper. Fac-similes de Manuscrits de Claude Debussy, [2]. This colorful, highly virtuosic piano work is often associated with the island of Jersey, where Debussy secretly spent the summer of with his new love Emma Bardac. Even if he wrote the autograph during this time, evidence shows that the work was composed at an earlier date and was intended as part of the "Suite bergamasque". During his stay on the island Debussy revised the composition, giving the "Isle joyeuse" its present-day form. Hardbound in beautiful blue art paper with embossed title in pink lettering.

Oblong, 31 x 22 cm, 11 pp. Line-cut of the John Walsh edition, London, [c. Contains 13 movements from Suittes de clavecin Newly revised critical edition of the original suites for harpsichord alone Amsterdam, , and line-cut facsimile of the optional Roger parts for violin or recorder and viol or archlute, mises en concert Amsterdam, Line-cut of the Roger partbooks, Amsterdam, , for violin or recorder and viol or archlute.

Line-cut of the Roger cembalo version, Amsterdam, Preface in Ger by Winfried Michel. Part I e II. Believed to be the first thorough going method written for organists and cembalists. Introduction in It by Luisa Cervelli. Soehnlen and Murray C. Line-cut, in reduced format, of the Venice, and Venice, editions. Line-cut of the Antonio Francesco Gori edition Florence, Cloth, in 2 vols. Oblong, 31 x 22 cm, xvii, 21 pp. Line-cut of the Paris edition. Oblong, 35 x 25 cm, 25 pp. Line-cut of the De Grado edition, Naples, Handsome portfolio in cloth.

Oblong, 30 x 22 cm, 24 pp. Line-cut reproduction of the F. Oblong, 31 x 23 cm, ix, 23 pp. Line-cut of the Naples, c. Introduction in It-Eng by Pinuccia Carrer. Line-cut of the Sieber edition, Paris, c. Line-cut of the Dale edition, London, [] edition. Kuntze edition, Amsterdam, c. Beautiful full-color facsimile of the autograph score composed during a two month period in the summer of The ms is both a fair copy and working copy, as the composer revisited it several times, first before its premiere in , then before a performance in and then prior to its publication in Hardbound with red laid paper boards.

Oblong, 34 x 22 cm, xv, 60 pp. Halftone of the Augsburg, edition. Oblong, 32 x 24 cm, 25, 52 pp. Eckhardt gave his sonatas to the Mozart family and it is interesting to note that the fourth sonata of op. Full-color reproduction of the autograph sketches, composing copy and fair copy including extensive revisions , plus new critical edition. The work was written in hommage to Wanda Landowsky for her indispensable role in the 20th century resurgence of the harpsichord.

Full-color reproduction of the autograph. Full-color reproduction of the autograph issued on the occasion of the 20th anniversary of the Archivo Manuel de Falla. Line-cut of the Frankfurt Florence? A seminal work in the history of the trumpet. Fantini was the first to introduce a new style of playing which made it possible for the trumpet to be accepted into art music. New York [] 24 x 33 cm, 87 pp. Line-cut of the Frankfurt [Florence? Oblong, 30 x 21 cm, 20 pp. Oblong, 32 x 22 cm, 2 vols, , pp. Line-cut of the Madrid, edition. The earliest known manual devoted mainly to the harp.

Gives instructions for the diatonic harp with one string row and the chromatic harp with two. Includes popular dances of the day notated in Spanish keyboardtablature. Line-cut of the London, [after ] edition. Introduction in It by Daniele Valersi. Composed in on the occasion of the 50th anniversary of the founding of the Royal Academy and the installation of a new organ in its concert hall. An important precursor of St. Line-cut of the Henri Lemoine edition, Paris, Observations based on works by Dussek, Clementi, Hummel and Kalkbrenner.

Also examines the technique of contemporary virtuosi such as Cramer, Moscheles, Chopin, Thalberg and Liszt. Introduction by Henri Vanhulst. Line-cut of the Brussel, edition. Oblong, 30 x 22 cm, 18 pp. Schmidt edition, Braunschweig, Oblong, 28 x 20 cm, 52 pp. Line-cut of the second edition, Augsburg, Oblong, 34 x 26 cm, 46 pp. Line-cut of the Augsburg, Preludes and fugues set on the 8 ecclesiastical tones. Oblong, 28 x 21 cm, 67 pp. Oblong, 34 x 26 cm, 68 pp. Dutch Music Facsimiles, Oblong, 29 x 21 cm, 17 pp. Line-cut of Paris, [] edition.

Wrappers, in 2 vols. Introduction and Annotations by Emory Fanning. Line-cut of the autographs. Royale Albert Ier, mus. Line-cut of the autograph, undated, used for engraving purposes. Line-cut of the Colmar edition, Munich, c. Introduzione di Luigi Ferdinando Tagliavini. Partite di diverse, arie e corrente, balletti, ciaccone, passaghagli. Preface in It by Laura Alvini. Mainz, Ludwig Bourgeat Oblong, 32 x 20 cm, 28 pp. Halftone of the Amsterdam, edition. Oblong, 29 x 20 cm, 44 pp. Line-cut of the Mainz, edition.

Oblong, 29 x 20 cm, ii, 28 pp. Oblong, 25 x 18 cm, 40 pp. Oblong, 28 x 20 cm, ii, 40 pp. Full-color reproduction of a contemporary ms copy, together with a new engraved edition. This ms resurfaced in and was returned to the archives of the Sing-Akademie in Berlin in

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