Keyboard

These seven voluntaries from Melothesia comprise Matthew Locke's complete organ works, and form the first volume of an edition of his keyboard music. Transcribed and edited by Thurston Dart. Contents: Voluntary in A (No. 4 in Vol.) Voluntary in A (No. 5 in Vol.) Voluntary in D Voluntary in E Voluntary in F Voluntary in G Voluntary for a double Organ

A collection of all Philips' known music for keyboard instruments contained in sources other than the Fitzwilliam Virginal Book. Transcribed and edited by John Harley. Contents: Almande Benedicam Dominum Chi fara fed’al ciel Deggio dunque partire Ecco l’aurora con l’aurate fronte Fantasia Pavana Anglica Veni Sancte Spiritus

Newly transcribed and edited by John Harley from: The Harpsichord Master (1697) The Second Book of the Harpsichord Master (1700) A Choice Collection of Ayres (1700) The Third Book of the Harpsichord Master (1702) The Ladys Banquet (1702) and the manuscript sources. Contents: Aire, T45C; An Aire, T451; An Ayre T452; Almand; The Bonny Gray Ey’d Morn, T363; Chacone, T420; Cibelle, T453; A New Cebell, T462; Come Sweet Lass, T336; A Farewell, T454; King James’s Farewell, T457; Gavott, T455; Hornpipe, T456; The Country Mans Jigg, T342; Mdm. Subligny’s Jigg, T458; A March, T433; The Prince of Denmark’s March, T435; Prince Eugene’s March, T436; The Emperour of Germany’s March, T431; The Duke of Glocester’s March, T430; The Kings March, T432; Minuet, T459; Minuett, T460; Round O Minuett, T 492; Round O Minuett, T464; Round O; Scotch Aire, T465; A New Scotch Tune, T463; The Serenade, T437; A Trip to Berry, T466; A Trip to Case-horten, T467; A Trumpet Minnuett, T439; Trumpet Tune, T438; Scotch Trumpet Tune, T434; Untitled, T408.5

Eighty-odd keyboard pieces, by Benjamin Sandley, William Lawes, Benjamin Rogers, Matthew Locke, Albertus Bryan et al. This collection includes favourite country-dance tunes as well as other music from the Commonwealth and Restoration periods. Transcribed and edited by Thurston Dart from Playford’s original publication of 1663.

20 Easy Pieces

arranged for Organ by O. H. Peasgood

Toccata and Fugue in D Minor BWV 565 Prelude and Fugue in D Major BWV 532 Prelude and Fugue in F Minor BWV 534 Prelude and 'St Anne' Fugue in E flat BWV 552

“The present edition, which refrains from all editorial directions that hamper the player, restores to the Well-Tempered Clavier the freedom of interpretation proper to the Baroque period.”

30 Pieces for Harpsichord, Virginals or Clavichord edited by Christopher Hogwood

Harpsichord pieces by Joseph-Hector Fiocco.

Volume 2 of Jean-Henri D'Anglebert's pieces for harpsichord.

Volume 2 of Pieces for Harpsichord by Francois Couperin.

Stool for Bentside Spinet after Hitchcock by Stephen Robinson made from solid walnut.

*ITALIAN TEXT ONLY* UOEDM68 Contents: Preliminary Remarks The Touch Ornaments Scales Extensions - Arpeggios Alternating Hands Repeated Notes Double Notes - Polyphony - Octaves Leap - Cross-overs Hints on Performance Agility Etudes This manual sets out to analyse and tackle the key problems posed by harpsichord technique. Since people often begin to study the harpsichord after spending years learning the piano or the organ and playing music of the 19th and 20th centuries, they invariably come up against all sorts of technical problems. The technique used on the piano and organ is simply not suitable for an instrument in which the strings are plucked. The harpsichord is in fact a totally different instrument, with its own characteristics and requiring a specific technique. A misguided technical approach can have fatal consequences for the quality of the sound produced by the aspiring harpsichordist. The sound cannot be properly calibrated in the service of interpretation, and may well be marred by extraneous mechanical noises. In extreme cases, even when the performer is aiming to be stylistically correct, the technical problems can make for a performance which is at best laboured and may simply prove unattainable; it may also result in damage to the instrument. Thus it is vitally important for teacher and student to dedicate time to rethinking and rebuilding the student’s technique. The principles outlined here can be applied with just a few modifications to the clavichord and the fortepiano. The student will find three types of musical excerpts: purely technical exercises, which isolate the specific movement to be mastered; short fragments – what François Couperin styled évolutions – in which the movement is practised in a more authentic context; and studies which are more complex in scope. The author has chosen not to start from the elementary stage, since this is dealt with in other methods, but rather to go in some detail into the intermediate and advanced levels. The material has been largely transcribed or adapted from the harpsichord repertoire; in some cases Baiano has composed it himself. Except when it comes to scales, the author has deliberately avoided quoting from the recognised manuals. In the historical literature technical instructions tend to be of a general nature, while Baiano's aim here is to ‘take students by the hand’ and help them gradually to acquire (or perfect) the fundamental mechanisms which are indispensable for successful harpsichord playing. The author has also deliberately kept the section devoted to interpretation quite short: if one were to go in depth into all the problems concerned with style and expression (and could one ever cover them all?), this would require a massive volume all to itself. Besides, the danger is always for a written text to turn into dogma, laying down sterile rules which cannot possibly encompass all the infinite variables that crop up in musical discourse. Music has to be made; it can only be explained up to a point. Thus Baiano has chosen to restrict himself to a few words of advice, just to start the performer off, aware that whatever he says will have its limits in practice. He remains convinced that personal experience and work alongside a teacher are immeasurably more fruitful.

This is the third volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his five sonatas for Piano and Violin K.454, K.481, K.526 and K.547, also known as Die spateren Wiener Sonatas , and also includes the Violin Sonata In B Flat K.570 . This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert, with fingerings by Walther Lampe and Karl Rohrig, and provides you with the most accurate realisation of the composer’s original intentions, with thoroughly comprehensive and detailed editorial markings and suggestions.

This is the first volume of Mozart’s Complete Sonatas for Piano and Violin and contains fully revised versions of his six sonatas for Piano and Violin K.301-306, also known as the Kurfustin Sonatas Op.1 . This authoritative Henle Urtext edition has been carefully edited by Wolf-Dieter Seiffert, with fingerings by Walther Lampe and Karl Rohrig, and provides you with the most accurate realisation of the composer’s original intentions, with thoroughly comprehensive and detailed editorial markings and suggestions.

Bizzi Studio harpsichord. The most affordable harpsichord on the market! Excellent for students and continuo players! Fine Italianate sound, easily transportable. Available in different finishes, red, green, blue etc. Compass: B1 - D5, 52 notes Delivered with tool box and spare parts. Compass: B 1 - D 5, 52 keys Studio-Two: 2 x 8' stop plus buff stop Pitch: 415 Hz - 440 Hz Case and lid: poplar and beech 3 beech legs screwed to the instrument, in style Soundboard: red resonance spruce from Val di Fiemme Soundboard wood grain: Fine Keyboard: spruce, Italian boxwood (diatonic keys) and (chromatic keys) Jacks: pearwood with delrin or celcon plectra Tuning pins: forged iron, historical type, with hole Strings: yellow brass Brush painting in two colours with Volute decoration on exterior Dimensions: 170 x 77 x 21 cm Weight: 25 kg Included: Matching adjustable bench Rose decoration Italian Volute flower decoration on the exterior sides High protection Transport cover Leg bag Tool box, including tools and spare parts DVD Instruction Manual

A graded repertory of Handel's easier keyboard works and best-loved selections from his oratorios. Includes “Where'ver You Walk,” “The Harmonious Blacksmith,” “The Trumpet Shall Sound,” and more.