Text by Louis Fusellier. Two cantatas, one for soprano and violin, the other for bass and violin. Introduction by Jean Saint-Arroman. Oblong, 34 x 24 cm, 4 partbooks, c. Line-cut of the edition. Introduction in It by Hugh Ward-Perkins.
About This Artist
Wrappers in decorative paper with matching slipcase. Abbaye aux Dames - Saintes. Faksimile der autographen Stimmenhandschrift und deren Neuedition vorgelegt von Bernhard Moosbauer. Salzburg, Halftone of the autograph parts, plus new edition in score format. Dramma musicale in drei Akten. Text von Francesco Maria Raffaelini? Halftone of the manuscript score. Historical commentary in Ger. Hardbound, with slipcase in decorative paper.
Faksimile, Erstdruck Wiesentheid. Herausgegeben von Reinhard Goebel.
The Music Salon: "Sonate, que me veux-tu?"
Magdeburg, Line-cut of the first edition, Wiesentheid, Only partita VI is written for violins in normal tuning. Vorgelegt von Bernhard Moosbauer. Halftone of a contemporary ms copy, together with a new practical edition. Mss Vorgelegt von Manfred Hermann Schmid. New color reproduction of the magnificent presentation copy non autograph, sole surviving source , dedicated to the Archbishop Maximilian Gandolph von Khuenberg.
These fifteen wonderful sonatas, abstract commentaries on biblical incidents traditionally grouped into three groups of five—Joyful his early life , Sorrowful his passion , Glorious his ressurection —are noteworthy for their use of scordatura and their powerful preludes. In same manner biblical illustrations—small engraved medallions—were glued in the manuscript at the beginning of each piece.
The work ends with the passacaglia for solo violin, one of the most beautiful and soaring pieces of the German baroque. Introduction in Ger. The Mystery Sonatas. Xerographic reprint of the presentation ms. Salzburg Bad Reichenhall, Oblong, 34 x 24 cm, 63 facs, 12 pp. Line-cut of the original printed edition, Salzburg, Eight beautifully engraved sonatas in all, seven for violin and bc, and one for two violins and bc.
Afterword in Ger, with list of sources. Musica Repartita, Utrecht, Line-cut of the Salzburg, edition. Oblong, 33 x 25 cm, 63 pp. Hardbound, with marbled paper boards. Vorgelegt von Michael Lutz. Halftone of a contemporary ms copy. Biber composed this unusual work—featuring imitations of animal calls nightigall, cuckoo, hen, rooster, cat, etc. Amsterdam s. Archivum Musicum: Flauto Traversiere, 1. Line-cut of the Amsterdam, c. Paris s. Oblong, 24 x 17 cm, viii, pp. Paris, n. Oblong, 25 x 16 cm, 81 pp. Line-cut of the Paris printed edition.
Contains 69 pieces by M. Blavet and other Baroque masters. Olbong, 23 x 31 cm, xi, 85 pp. Faksimile-Edition Kammermusik des Barock, 1. Oblong, 25 x 17 cm, 81 pp. Hardbound in marbled paper. Oblong, 25 x 16 cm, 82 pp. Oblong, 23 x 31 cm, xi, 85 pp. Faksimile-Edition Kammermusik des Barock, 2.
Freiberg s. Line-cut of the Freiberg, c. Introduction in It-Eng by Giuliano Furlanetto. Wrapper with portfolio. Xerographic reprint of the original edition published by Sieber, Paris, c. Paris, Book 1 nos. Xerographic reprint of the original edition. Book 2 nos. Book 3 nos. Book 4 nos. Book 5 nos. Book 6 nos. Book 7 nos. Book 8 nos. Book 9 nos. Book 10 nos. Book 11 nos.
Book 12 nos. Book 13 nos. Book 14 nos. Book 15 nos. Quintet op. Book 16 nos. Books nos. Xerographic reprint. Line-cut of the Paris, n. Biblioteca Classica, Line-cut of the J. Hummel edition, Amsterdam, Line-cut of the Hummel, n. Line-cut of the Stuttgart, edition. Line-cut of the Stuttgart, n. Written for soprano, alto, tenor, bass and continuo, only the continuo part for organ reproduced here survive. Faksimile-Edition Rara, 2. Line-cut of the rare Strasbourg, print. Opus 6, Paris Preface in Fr-Eng-Ger. Opus 26 violoncelle, viole ou basson ; Six sonates, un trio.
Opus 50 violoncelle, viole ou basson. Line-cut of the Paris, and editions. Lisbon, Roma s. Archivum Musicum: Flauto Traversiere, 2. Oblong, 32 x 23 cm, v, 43 pp. Line-cut of the Rome, c. Passaggiate principalmente per la viola bastarda, ma anco per ogni sorte di stromenti e di voci, Venezia Oblong, 24 x 17 cm, xvii, 94 pp. Includes facsimile of contemporary ms copy transmitting passaggiate. The collection features 7 cantatas for soprano, 6 for alto and 2 duets, with violin or bc. Bologna, . Introduction in It by Marta Lucchi. Wrappers, in cloth folder. Collana per la Storia della Musica nel Trentino, 3.
Oblong, 31 x 21 cm, v, 56 pp. Line-cut of the Augusta, c. VII; Invenzioni a violino solo e basso, op. Line-cut of the Amsterdam, n. Preface in It by Daniele Valersi. Opera IV. A due violini, violone, cembalo o arcileuto. Venezia With an Introduction by Frederick Neumann. With Performance Notes by Gabriel Banat. Masters of the Violin, 1.
Wrappers, with protective box. Oblong, 38 x 30 cm. Beautiful full-color facsimile edition of the autograph draft score and fair copy, produced on the occasion of the 80th birthday of the composer. Commentators have pointed out its wonderful hypnotic soundworld, complex rhythmic structure, and sudden bursts of instrumental crossfire, creating such a demand on the performers that some fifty rehearsals were required before its premiere.
Handsome binding in red linen with slipcase. Xerographic reprint of the edition.
With a Bass for the Violoncello and Harpsicord. Chamber Music from Georgian England, 4. Laaber, Oblong, 38 x 30 cm, xviii, pp. Beautiful full-color halftone of the autograph and annotated solo violin part. Hardbound in decorative paper. Baden-Baden, Oblong, 33 x 26 cm, 46 pp. Limited bibliophile edition of copies.
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.
Musica Repartita, 82F. Oblong, 30 x 25 cm. Line-cut of the Offenbach, c. Eingeleitet von Harald Heckmann. Dictionarium Musicum, 1. Hilversum, Halftone of the second edition, Paris, Cloth also available in wrappers. Petrucci, Venedig Oblong, 23 x 17 cm, 4 partbooks, pp. Line-cut of the Petrucci edition, Venice, Hardbound, in decorative paper with slipcase.
Introduction by Rudolf Rasch. Dutch Music Facsimiles, 8. Line-cut of the Leeuwarden, c. Contains 3 keyboard suites, 3 solos with figured bass resp. Wrappers and slipcover in decorative paper. Line-cut of the Rome, edition. Extremely informative treatise on organology with altogether extended descriptions provided in Italian and French. Bilingual indices. Accompanied by superb woodcuts of scenes of musicians with their instruments. Collana di Liuteria e Cultura Musicale, 5. Cremona, Fascinating treatise on varnishes cenese as used on string instruments.
Municipale, Nimes]. Laid paper, with wrappers. Autographus Musicus, 4. Line-cut of a contemporary ms copy. Loose sheets in folder. Opera prima, Opera secunda. Edited by Eva Linfield. Critical Facsimiles, 3. Includes apparatus listing all editorial emendations. Lately Made and Composed into Musicke of 3.
Louis Couperin - Francois Couperin - Armand-Louis Couperin
Faksimile-Edition Laute, Full-color reproduction of three works of Camerlohr, one for solo gallichone a type of bass lute, and two chamber works. Handstitched folios in portfolio with decorative paper boards and ties. Livre second, Livre premier. Line-cut of the Ballard edition, Paris, Faksimile-Edition Canto e Continuo, 7. Hardbound, with boards in decorative paper. Livre second. Faksimile-Edition Schermar-Bibliothek Ulm, Line-cut Gardano edition, Venice, Wrappers, with slipcase.
Faksimile-Edition Capricornus, Line-cut of the Gerjard edition, Nuremberg, Partbook format: vox prima, vox secunda, vox tertia, bassus pro organo. Wrappers, with slipcase in marbled paper. Stuttgart RISM C Faksimile-Edition Capricornus, 3. Wrappers, in portfolio covered with decorative paper. Faksimile-Edition Capricornus, 9. VM1 ]. Faksimile-Edition Capricornus, 8. Line-cut of the Endter edition, Stuttgart, Faksimile-Edition Capricornus, 7. Oblong, 30 x 20 cm, 11 partbooks, c.
Line-cut of the Bencard edition, Frankfurt, Line-cut of the Nuremberg, edition. In einem singenden Schaw-Spiel vorgestellet. Faksimile-Edition Capricornus, 4. Libretto only. Faksimile-Edition Capricornus, 5. Oblong, 28 x 20 cm, 4 partbooks, c. Line-cut of Ammon edition, Frankfurt, Hardbound, with slipcase in marbled paper. Instrumenten gesezt. Instrumentum primum]. Line-cut of the Nuremburg, edition. Only the Violino I part survives. Oblong, 28 x 19 cm, 3 partbooks, 28 pp. Line-cut of the Frankfurt, edition. Oblong, 28 x 19 cm, 3 partbooks, 34 pp. Wrappers, in marbled portfolio.
Faksimile-Edition Capricornus, 2. Oblong, 29 x 20 cm, 8 partbooks, pp. Pars secunda]. Nationale de France, Paris]. Faksimile-Edition Capricornus, 6. Oblong, 28 x 20 cm, 10 partbooks, c. Line-cut of J. Portfolio in marbled paper. Stimmen wie auch 4. Faksimile-Edition Capricornus, 1. Line-cut of the Nuremberg,  edition. Line-cut of the Sieber edition, Paris, c.
Line-cut of the 3rd edition, Paris, c. Contains a comprehensive selection of sonatas and single movements composed by Italian, French, and German masters of the 17th and 18th centuries. Laid paper, handsomely bound in white linen. Selected and Introduced by David L. Line-cut of the Venice, partbooks canto I, canto II, basso , as well as the full score.
Wrappers in decorative paper, with slipcover. Libro secondo, Venezia Line-cut in the original partbook format. Consists of 17 sonatas for various instrumental combinations. Introduction by Peter Holman. Monumenta Bononiensia, Fototypice Expressa, Line-cut of the Francesco Magni edition, Venice Line-cut of the Antonio Pifarri edition, Bologna, Wrappers, with slipcase with marbled paper. Uppsala; Concerto a 5 stromenti, flauto traverso, violino primo, violino secondo, viola e basso, ms. Archivum Musicum: Flauto Traversiere, Oblong, 32 x 22 cm, 5 partbooks, vii, 73 pp.
Line-cut of two contemporary ms copies. Wrappers, in decorative paper with matching slipcase. Gargano y L. Madrid, 23 x 32 cm, 2 vols: pp. Huge synthesis of musical-theoretical topics divided into 22 books. The last book deals with musical enigmas and puzzle canons. Volume 1. Vm1 Halftone of the autograph score. Volume Halftone of the autograph. Oblong, 31 x 22 cm, 10, 72 pp. Discusses transposition for the musette.
Archivum Musicum: Flauto traversiere, Wrappers in decorative paper with slipcover. Del metallo ricercari a due voci per sonare, e cantare. Bicinia nova. Prag, Typis nigricianis RISM 7. Faksimile-Edition Zwickau, 4. Oblong, 20 x 14 cm, 2 partbooks, pp. Line-cut of the Prague, edition. Suitable for different voice ranges, with or without instrumental accompaniment. Hardbound in decorative paper, matching slipcase. Opera XII. Partbooks in handsome cloth portfolio. Opus VII. Oblong, 35 x 24 cm, 49 pp. Line-cut of the London [after. Opera II.
Oblong, 35 x 24 cm, 45 pp. Line-cut of the Paris, editions. For haute-contre, violin, bc. Collection Facsimiles, D1. Gland, A Facsimile of the Rome, [? Oblong, 20 x 14 cm, 40 pp. Laid paper, cloth. Roma, Rome, Halftone, reproduced 2 original pages per page. Introduction in It by Giancarlo Rostirolla. White Plains, Line-cut, reproducing 2 original pages per page. Historical commentary, with bibliography. Hardbound, in marbled paper. Each concerto is named after a European city or region. Opera I. Line-cut of the Estienne Roger edition, Amsterdam, .
Oblong, 34 x 24 cm, v, 62 pp. Line-cut of the G. Santa edition, Rome , together with reprint of the Roger edition Amsterdam, with ornamented adagios. Facsimile Edition. Oblong, 32 x 22 cm, iii, 69 pp. Introduction in Eng-Ger by Edgar Hunt. Corelli, comme il les joue. Line-cut of the Roger edition, Amsterdam, The first part of op. Preface in It by Marcello Castelliani. Walsh and Hare, London, Collection Dominates. Oblong, 32 x 24 cm, 3 vols, 35, 28 pp. The second part of op. Edizione critica a cura di Enrico Gatti. Saggio introduttivo di Guido Olivieri.
Lucca, Oblong, 30 x 22 cm, 82 pp. With new critical performing edition edited by Enrico Gatti. London, Richard Meares. Line-cut of the Richard Meares edition, London, c. Four partbooks vln I, vln II, vc, org , with slipcase. Opera Prima. Xerographic reprint of the Walsh edition. Opera Secunda. Line-cut of the printed partbooks, Rome Wrappers with handsome case in cloth.
Opera Quarta. Opera quarta. Prototipes contains lessons in questions and answer form, and illustrative sonatas for the vln, fl, and descant viol. Edited and Arranged by Simon Wynberg. Bach undertaking is ample testimony to this. Contrary to her programming on the previous two volumes, Hewitt here only performs one complete 'Ordre' Suite — the widely entertaining 13 th with its wicked parody of a perverse masked ball. She also tackles 4 pieces from the 14 th and as if to celebrate her joy at having successfully ended her task, she performs a wide selection of her favourite pieces taken from Suites not previously featured.
Couperin once said; 'I love much better the things which touch me than those which surprise me'. He wanted music to affect people and these pieces do just that. Full of grace, joy, light heartedness and at times even melancholy and tender sadness. People who viewed this item also viewed.
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Pièces de Clavecin 1: Francois Couperin
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