Lyrebird Music

1290 pages in three volumes Complete background notes Notes on performance style Full critical commentary The Fitzwilliam Virginal Book is the most important source of Elizabethan and early Jacobean keyboard literature to have come down to us. Its 297 pieces represent the most influential composers of the age, and such names as William Byrd, John Bull, Peter Philips and Giles Farnaby stand alongside slightly lesser-known figures such as Giovanni Picchi and Jehan Oystermayre. It is the only source of many of the pieces it contains and stands as a testament to the remarkable variety of English music of the sixteenth and seventeenth centuries. Dated c. 1614-1617, the manuscript was copied by the catholic recusant, Francis Tregian, reputedly during his incarceration in London’s notorious Fleet Prison, where he was held for the non-payment of debt. Yet it would be nearly 300 years before the first edition was made available to the public, which was undertaken in 1899 by William Barclay Squire and John Alexander Fuller Maitland. Although pieces from the FVB have appeared in various anthologies including the renowned Musica Britannica series, no new version (apart from a slight revision of Barclay Squire and Fuller Maitland’s books) has been published. Representing over 18 months of work by its editors, Francis Knights and Jon Baxendale, this new edition corrects the 10,000 errors found in the manuscript. The new edition is presented in three volumes with a substantial preface heading the first. It examines: The background to the period in which the known FVB composers lived. A detailed discussion of the manuscript and its notation. Notes on genre and instrumentation. Information on performance style (ornamentation, fingering, black notation and time signatures). An overview of instruments available to musicians of the period. In comparison with the 1899 edition, the editors have returned the notation to a near facsimile of the manuscript. Their philosophy is that this allows the player a more intimate connexion to the music. This means that: The original beaming and appearance of chords have been reinstated. Original time signatures have been restored. The black notation associated with ‘compound time’ pieces has been retained. All other features of the manuscript such as accidentals and their placing appear as they did originally.

120 pages Edited by John O’Donnell A new reading of JS Bach’s 1742 manuscript of Die Kunst der Fuga Both keyboard reduction and open-score formats (latter retains original clefs) Full critical commentary

274 pages Edited by Jon Baxendale and Francis Knights The first complete edition of My Ladye Nevells Booke for nearly 100 years. Retains original notation style, time signatures and mensural notation Detailed preface containing information on the composer, the manuscript, performance and instruments Full critical commentary

120 pages Edited by John O’Donnell A new and authoritative edition of Thomas Billington’s arrangements of Corelli’s Opus VI concerti Detailed preface Full critical commentary

125 pages total Edited by Francis Knights Two-volume set consisting of prima and seconda books All the known duos from J. S. Bach and his sons

41 pages Edited by Richard Brasier The first in a series of editions featuring Bach family members Detailed preface containing information on the music and its performance Presented using both modern conventions and, as a second part, using the original clefs Soft-bound cover

161 page s Edited by Jon Baxendale Two organ masses with appropriate plainsong settings Detailed notes on background, performance and registration in English and French Full commentary Critically acclaimed in peer-reviewed journals

302 pages. Edited by Andrew Woolley A first edition of keyboard music by William Babell Contains eleven toccatas, three suites, six preludes, the Allemande and Sonata Detailed preface containing information on the sources, the music, its performance and instruments Full critical commentary

130 pages Edited by Jon Baxendale Seven suites for solo harpsichord Duo for two harpsichords Full critical commentary Extensive background notes Notes on performance by David Ledbetter

130 pages 44 harpsichord duos arranged for two harpsichords using the models provided by Gaspard Le Roux in his Pièces de Clavessin .

119 pages Edited by Jon Baxendale Full score of all three parts Photocopiable parts for ensemble use Premier partie for treble instrument Contrepartie for treble instrument Troisième partie for bass instrument Bass continuo

234 pages Edited by Jon Baxendale Organ Mass Five hymn settings Appropriate plainsong for mass and hymns taken from relevant sources Background notes Detailed notes on performance style and use in liturgical contexts

Edited by Jon Baxendale and Francis Knights A new edition based on the 1612–13 and early 1620s imprints. Pseudo-facsimile, retaining the the original notation, beaming and barring. Detailed preface discussing the publications, their music and its performance. Includes photocopyable bass viol parts for Parthenia In-Violata.

410 pages Preface, Bibliography and nos. 1–75 First complete edition in 120 years Maintains original notation Full commentary Information on the manuscript and performance practice

416 pages The second volume of the three-book series which contains nos. 74–162 Full commentary (background and performance practice found in Volume 1) Maintains original notation

416 pages The third volume of the three-book series which contains nos. 163–297 Full commentary (background and performance practice found in Volume 1) Maintains original notation

302 pages Edited by Jon Baxendale The first-ever edition of Anne Dawson, Her Book (1716) Contains full transcriptions of eleven Vivaldi concerti, occasional pieces and keyboard toccatas Detailed preface containing information on the manuscript, its music, performance notes and instruments Full critical commentary

Edited by Jon Baxendale A handsome edition available in hardback and wire-bound volumes The first complete edition of Louis Couperin’s harpsichord pieces since 1985 The only commercially available edition Full preface and commentary that discusses the composer, genre and aspects of performance style that includes ornamentation, notes inégales and playing the preludes Louis Couperin is one of the most erudite composers of seventeenth-century France. Uncle to François, he moved to Paris in c. 1650, became a viol player at the court of Louis XIV and was appointed organist at the important church of Saint-Gervais in 1653, only to die an untimely death in 1661. His legacy as a harpsichord composer cannot be overstated: his so-called préludes non mesurés, which are unbarred and contain no rhythm, have been baffling performers since Couperin was ‘rediscovered’ in the early twentieth century; the dances are bold and innovative and display a variety of influences that include lute music and the composers Johan Jacob Froberger and Girolamo Frescobaldi. This is the first complete edition of Couperin’s harpsichord pieces since 1985. It uses the two most important French collections of seventeenth-century keyboard music as its principal sources, the Bauyn and Parville manuscripts. In a lengthy preface, editor Jon Baxendale takes a detailed look at the sources and the music and provides notes on performance, including a comprehensive look at the preludes and their interpretation.

A new edition of Louis-Claude Daquin’s Nouveau livre de Noëls (1757) Full background notes with an examination of aspects of performance practice Music arranged for easy page turning Full critical commentary Louis-Claude Daquin’s remarkable keyboard style was the wonder of Paris, if not beyond, with accounts of his improvisation filling popular press articles and the pages of books. He published only two books in a life that spanned nearly eighty years, a collection of harpsichord suites (1735) and the twelve noëls contained in this volume. In the first edition for nearly 70 years, Daquin’s music has been given a much-needed reworking in this Lyrebird publication. In the preface, editor Jon Baxendale examines the achievements of Daquin, discusses the music, its role, registration and performance. While keeping to Lyrebird’s pioneering practices of retaining as many visual aspects of the original imprint as possible, this new publication has been organised to facilitate page turns without interrupting the flow of a performance.

A new and exciting discovery of unknown French organ music from 1707 Both English and French versions available (please using the dropdown options below) Detailed preface containing information on the manuscript, its music, performance notes and instruments Full critical commentary Until this edition, Le Manuscrit Caumont Orgue (1707) has been entirely unknown to organists and students of French Classical organ literature. Its pages contain some music we can identify and whose composers are familiar to us, though the wealth of its contents lies in over 80 pieces that are unique to this one volume. Although no composer is identified, Caumont Orgue’s editor, Jon Baxendale, has searched for a possible candidate and has discovered them to be by the Rouanaisse organist and composer Jacques Boyvin. This Lyrebird Music edition is the first time these works have seen the light of day for over three centuries. A substantial preface examines both the manuscript and its music and discusses such performance issues as registration, fingering, notes inégales and ornamentation using sources contemporary to the manuscript itself.

Two volumes ( prima and seconda ), 434 pages total Edited and arranged by Francis Knights A handsome hardback set of two volumes An arrangement for two keyboards of JS Bach’s monumental The Art of Fugue Organised for easy page turning Contains Donald Tovey’s completion and his realisations of the invertible fugues on four subjects Bach completed his first version of the Art of Fugue in 1742 (Lyrebird Music LBMP-013), at about the same time as composing or collecting together the 24 Preludes and Fugues that comprise the second book of the Well-Tempered Clavier . However, he decided to continue working on and greatly expanding the Art of Fugue , a process that he had nearly completed by his death eight years later. The work was then engraved and published by C. P. E. Bach, with a slightly revised edition being printed in 1752. Although almost all of the work can be played on a single keyboard instrument, a pair of harpsichords, clavichords, organs or other keyboards provide an effective medium for the complete work, and this new arrangement is supplemented by the completion of the final fugue made by Donald Tovey (1931), and the quadruple invertible fugue he composed to fulfil the Obituary’s description of the work’s missing final fugue. Francis Knights is a Fellow of Fitzwilliam College, University of Cambridge, Chairman of the National Early Music Association and Editor of Harpsichord & Fortepiano . His research interests include manuscript studies, performance practice, music analysis, pedagogy, and early keyboard instruments. He has recently performed cycles of all Bach’s clavier works and of the complete Fitzwilliam Virginal Book, and over the past decade he has taken part in nearly forty early keyboard duet concerts, on harpsichord, spinet, clavichord and chamber organ.

One volume 413 pages total Edited by Jon Baxendale and Francis Knights The first ever edition of a major source of English music for the virginals A handsome hardback book designed for years of use. Perfect for harpsichords, virginals, organs, clavichords or pianos.

147 pages total Arranged by Olivier Vernet and Cédric Meckler Available in hardback, wire binding and in PDF format (single download only) Three arrangements for organ duet – four hands and four feet Two versions of the Suite in B minor, allowing for performance at two separate instruments with (photocopiable seconda)

Two volumes ( prima and seconda ), 201 pages total Edited and arranged by Francis Knights A handsome hardback set of two volumes: prima and seconda An arrangement for two keyboards of Bach’s six trio sonatas Perfect for two harpsichords, clavichords or pianos.