Piu Forte

SKU: FZ.5803

ISBN 9790230658034. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in two books. Jean-Chretien BACH et Francesco-Pasquale RICCI - Antoine BEMETZRIEDER - Felix-Louis DESPREAUX - C. DREUX - Francois-Guillaume DUCRAY-DUMINIL - Encyclopedie methodique - Joseph NONOT - Francesco-Pasquale RICCI - Jean-Francois TAPRAY - Bernard VIGUERIE - Frederic THIEME. Table of contents: Despreaux Felix-Louis: Cours d'education de clavecin ou pianoforte - 1783. Bach Jean-Chretien et Ricci Francesco-Pasquale: Methode ou recueil de connoissances - 1786. Ricci Francesco-Pasquale: Recueil de connoissances elementaires - s. d. n. l. Ducray-Duminil Francois-Guillaume: Clavier et gamme de clavecin ou pianoforte - 1788. Encyclopedie methodique (edition de Panckouche) - 1788. Tapray Jean-Francois: Premiers elements du clavecin ou du piano - 1789. Bemetzreider Antoine: Nouvelles lecons de clavecin ou pianoforte - c. 1796. Viguerie Bernard: L'art de toucher le piano-forte - c. 1796. Dreux C. : Principe du clavecin ou du piano-forte - 1796. Thieme Frederic: Principes abreges de musique pratique pour le fortepiano - 1796. Nonot Joseph: Lecons methodiques de clavecin ou de forte piano - 1797. 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 copies in the National Library of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the fortepiano.

SKU: HL.1341905

UPC: 809164027799. 18.0x41.0x5.25 inches.

The Forte Port Nylon acoustic-electric guitar delivers the rich, full-bodied tone expected from a nylon-stringed guitar, coupled with modern enhancements for exceptional comfort and playability. Featuring our Forte Port acoustic design, its enhanced top bracing and offset soundhole placement result in both improved sonic performance and playability. The deep cutaway design facilitates fretboard access, enhancing the overall balance and playability of the instrument. Additionally, the modern mahogany neck, along with the ovangkol fretboard, features a comfort “C” profile, narrow 48mm nut and a 12″ radius, making it effortless to transition from a steel-stringed acoustic or electric guitar. The Forte Port Nylon features the Fishman® Presys I preamp, which delivers a superb amplified tone that beautifully complements the warm, natural sound of nylon strings. Its under-saddle Fishman® Sonicore pickup excels at capturing the guitar's full, organic tonal character. Whether you're in the studio or on stage, the Forte Port Nylon delivers exceptional sound quality both unplugged and amplified.

SKU: BT.MSC5007

Dutch.

Deel 7 van Piano Forte! voert je langs bijzondere composities en arrangementen met een uitdagend niveau. Een ontdekkingsreis vol verrassende technieken en bijzondere maatsoorten. Compositievormen en speeltechnieken als contrapunt en quatre-mains laten je weer een andere muzikale wereld zien. Geen saaie kost. Boogie-woogie, rock, pianoballads en swing zijn een paar stijlen die je kunt verwachten en je ongetwijfeld veel plezier zullen bezorgen. Maar je leert ook begeleidingen die je nodig hebt wanneer je pianocomposities van bijvoorbeeld Einaudi en Tiersen wilt spelen. Piano Forte! is te gebruiken op zowel akoestische als moderne elektronische piano's.

SKU: HL.48183951

UPC: 888680853129. 9.0x12.0x0.119 inches.

Allain Gaussin: Eau forte (Quintet-Mixed).

SKU: BT.ALHE32387

English.

Pièces De Clavecin D'Orgue Et De Forte Piano - LP. 52 by C.B Ballastreis a selection of twenty-three pieces chosen by Alan Curtis that can be played by a Harpsichordist, anOrganist or a Pianist with upper-intermediate to advanced skills but seem better suited for a Pianist.

The twenty-three pieces are:
- Fugue
- La de Caze
- La d’Héricourt
- LaSégur
- La Monmartel ou La Brunoy
- La Boullongne
- La Castelmore
- La Courteille
- La Bellaud
- La Lamarck
- La Berville
- La Lugeac
- La Suzanne
-LaGenty
- La Malesherbe
- La Berryer ou La Lamoignon
- La Laporte
- La Morisseau
- Prélude
- Fugue
- Sonate en Quatuor, IV: Allegro / Andante Pastoralle / Allegro
- Lad’Esclignac
- Marche des Marseillois et l’Air Ça ira

C. B. Balbastre (1724-1799) is one of the most famous musicians of his era. He was a great composer who could play theHarpsichord, the Piano and the Organ.

SKU: CA.1601209

ISBN 9790007031534. Key: F major. Language: all languages.

Score available separately - see item CA.1601200.

SKU: FZ.50138

ISBN 9790049501385. 21.00 x 29.70 cm inches.

This facsimile of an original by Franz Anton Hoffmeister is part of our Facsimusic collection. Wien, Artaria, (s. d. = 1799). Theme and variations for forte-piano or harpsichord.
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: FZ.50129

ISBN 9790049501293. 21.00 x 29.70 cm inches.

This facsimile of an origininal by Gervais-Francois Couperin is part of our Facsimusic collection. Piece musicale pour le piano-forte.
Paris, l'Auteur, 1797.
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 National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.

SKU: FZ.50120

ISBN 9790049501200. 21.00 x 29.70 cm inches.

This facsimile of an original by Gervais-Francois Couperin is part of our Facsimusic collection. Piece musicale pour le piano-forte.
Paris, l'Auteur, s. d. = 1797.
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 National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.

SKU: FZ.5804

ISBN 9790230658041. 24.00 x 33.00 cm inches.

These early music methods are in facsimile in two books. Louis ADAM et Ludwig-Wensel LACHNITZ - Ignace PLEYEL et Johann-Ludwig DUSSEK. Table of contents: Pleyel Ignace et Dussek Johann-Ludwig: Methode pour le pianoforte - 1797. Adam Louis et Lachnitz Ludwig-Wensel: Methode ou principe general du doigte (premiere partie de la reedition de 1801). 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 copies in the National Library of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the fortepiano.

SKU: HL.49045484

ISBN 9783795710828. 7.0x10.0x0.408 inches. German.

Thanks to his multifaceted skills, Philipp Carl Hoffmann was able to accomplish something special at very different levels: He not only was a brilliant pianist and violist as well as a successful composer, but also found recognition as a scientist and went down in literature as a highly sensitive teacher. As a musician, he met some of the greatest composers of his time, Haydn, Mozart and Beethoven, and witnessed the sale of Mozart's handwritten estate by his widow. Apart from that, he maintained friendly relations with Friedrich Theodor von Schubert, one of the most renowned astronomers in the early 19th century, and gained detailed insight into perhaps the most important period of fortepiano building in Vienna. Last but not least, we get to know him as a strong personality and a very helpful and warm-hearted person. GERMAN TEXT.

SKU: FZ.1279

ISBN 9790230612791. 24.00 x 33.00 cm inches.

This facsimile of an original by Etienne-Nicolas Mehul is part of our Dominantes collection. Three sonatas for harpsichord or fortepiano, Opus I - Edition : Paris, Jouve, s. d. (=1783). Three sonatas for harpsichord or fortepiano with violin accompaniment, Opus 2 - Editions : Paris, Le Duc, s. d. (=1788). Two volumes: piano part of opus I and II - preface and violin part of opus II. Preface by Joel Pontet: The keyboard sonatas of E. N. Mehul - a precocious talent - remarks on performance (choice of instrument and indications of nuances - articulations - ornaments). The preface sets out the essential points for performance of these youthful works. Editions originales of 1783 and 1788, preserved at the library national of Paris. 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 National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.

SKU: BT.ESZ-01494800

With his Venti pezzi per pianoforte (1938), the Hungarian composer Sándor Veress (1907-92) wanted to create a collection of piano miniatures on folk melodies destined for use in the concert hall as well as for teaching purposes. Each piece is based on one or more songs and dances from different Hungarian speaking areas, which are re-elaborated and presented in a carefully conceived alternation of character, musical writing and technical difficulty. The result is a multi-colored overview of Hungarian folk music: songs of a pathetic or even dramatic nature are contrasted with lighter and high-spirited pieces, interspersed with dances of varying types, among which a homogeneousblock stands out formed by the group of Csárdás, a typical tavern dance also used by Liszt. The Venti pezzi per pianoforte represent the culmination of the extensive ethnomusicological research made by Veress in the ’30s and ‘40s, while working as assistant to László Lajtha and to Béla Bartók, and at the same time carrying out field work in Hungary and neighboring countries. The composer intended that this collection should play a fundamental role of mediation between folklore and western “art” music, by revitalizing the language from within, without resorting to the abstractions of the experimentation being developed in Europe at the time. During his lifetime Veress never succeeded in publishing the complete version of the Venti pezzi per pianoforte, but issued various selections of the pieces, two of which remained totally unpublished. The present critical edition prepared by Giada Viviani reconstructs the complete text of the Venti pezzi per pianoforte on the basis of manuscript sources kept at the Paul Sacher Foundation in Basel: the musical scores, with fingering by Jakub Tchorzewski, are accompanied by an introductory essay on the context in which the collection was created, including a description of the state of the sources and a detailed apparatus criticus of the textual variants.

Con i suoi Venti pezzi per pianoforte (1938), il compositore ungherese Sándor Veress (1907-92) ha voluto creare una raccolta di miniature pianistiche su melodie popolari destinate sia a un uso concertistico, sia all’attivit didattica. In ogni branovengono rielaborati uno o più canti e danze provenienti da diverse aree geografiche di lingua ungherese, che si susseguono in base a una sapiente alternanza di carattere, scrittura musicale, difficolt esecutiva. Viene così offerta una variegatapanoramica della musica popolare di questa nazionalit : a canti di contenuto patetico o addirittura drammatico se ne affiancano di più leggeri e giocosi, avvicendandosi a danze di natura differente, tra cui spicca come un blocco omogeneo il gruppodelle Csárdás, tipica danza da locanda utilizzata anche da Liszt.I Venti pezzi per pianoforte rappresentano il coronamento della ricca attivit etnomusicologica condotta da Veress tra gli anni ’30 e ‘40, sia lavorando come assistente di László Lajtha e di Béla Bartók, sia svolgendo ricerca sul campo in Ungheria enei paesi limitrofi. Per il compositore, questa raccolta doveva svolgere un fondamentale ruolo di mediazione tra il folklore e la musica “colta” occidentale, in maniera da rivitalizzarne il linguaggio dall’interno, senza gli astrattismi dellesperimentazioni allora condotte in Europa.Nel corso della sua vita Veress non riuscì mai a pubblicare la versione integrale dei Venti pezzi per pianoforte, mentre ne fece uscire sul mercato alcune selezioni, lasciando del tutto inediti due brani. La presente edizione critica a cura di GiadaViviani ricostruisce il testo completo dei Venti pezzi per pianoforte in base alle fonti manoscritte conservate presso la Fondazione Paul Sacher di Basilea: gli spartiti musicali, corredati dalla diteggiatura di Jakub Tchorzewski, sono accompagnatida un saggio introduttivo sul contesto di creazione della raccolta, dalla descrizione dello stato delle fonti e da un dettagliato apparato critico delle varianti testuali.

SKU: LM.PB1232

ISBN 3137990012328.

Aime r - Couleur menthe a l'eau - Elisa - Forteresse - Hijo de la luna - Il y a trop de gens qui t'aiment - La Banana - La Boheme - Ma preference - Marina - Petit bonhomme en mousse - Que reste-t-il de nos amours ? - Sous les ponts de Paris - Un Homme heureux - Une ile.