A Performer's Guide to Music of the Baroque Period: Theory

Baroque And Classical Period. Par LAUKVIK. Volume 1 is organized into two main sections: Part A treats general technical and musical principles, while Part B explores the stylistic differences of interpretation between music of the early and high Baroque eras, the organ music of J. S. Bach and the late Baroque, as well as the organ music of the Classic era. The enclosed volume of music contains a selection of the works referred to in the book. Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the resultof practical and scholarly research which present to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction./ Répertoire / Orgue

Cette Méthode de Luth Baroque peut vous donner les bases techniques et musicales nécessaires à l’obtention d’une structure assez solide et complète du jeu du luth baroque. Et c’est là tout l’enjeu et le défi de l’écriture de cet ouvrage : donner, au plus grand nombre de passionnés, l’opportunité de s’exprimer à travers le luth baroque, et ce, indépendamment de leur niveau d’apprentissage. Notre livre est destiné non seulement à celui qui n’a jamais joué d’un instrument de musique, mais aussi au guitariste avisé qui veut s’initier aux mystères du luth baroque ! Mode d’emploi Notre Méthode de Luth Baroque est divisée en trois parties. La première partie, plutôt théorique, aidera à mieux comprendre la façon de jouer la musique écrite pour le luth baroque. Nous avons jugé indispensable d’avoir des connaissances élémentaires de solfège occidental mais aussi de la tablature (forme de notation musicale spécifique au luth). Ces connaissances, insuffisantes si étudiées de manière isolée, ont été enrichies d’un lexique des pièces instrumentales ainsi que de biographies de la plupart des compositeurs de musique pour luth baroque à 11 et 13 chœurs. En deuxième partie, nous avons dédié tout un chapitre à l’étude de la technique et de la production sonore du luth. Riche en photos et détails de toutes les étapes techniques que nous devrons franchir, ce chapitre est, sans aucun doute, le plus important de toute notre Méthode pour bien comprendre l’univers sonore du luth baroque ! Ensuite, nous vous proposons 21 exercices, tous d’un niveau élémentaire, mais progressifs, accompagnés de plusieurs pièces de musique. Vous allez d’abord jouer des mélodies pour ensuite ajouter les basses, et seulement après commencer à jouer les ornements. En troisième partie, nous avons choisi près de 250 pièces pour luth baroque à 11 et 13 chœurs. Ces pièces, divisées en trois niveaux, sont d’un degré de difficulté qui s’échelonne du niveau « débutant », « moyen » à « avancé ». Nous avons, tout comme à l’époque baroque, séparé ces pièces selon leurs tonalités et leur nom. Aussi, nous n’avons choisi que très peu de tonalités différentes, afin que le luthiste débutant puisse travailler l’essentiel de son instrument, au lieu de perdre son temps à essayer de s’accorder tout le temps et de jouer des morceaux bien trop complexes pour son niveau. Il n’y a pas de mauvaise musique mais, parfois, il y a de mauvais musiciens ! Faire de la musique n’est simplement pas jouer des notes et réaliser quelques acrobaties, souvent sans intérêt. Un musicien « mûr » se plaît le plus souvent à jouer une simple mélodie et à jouir des merveilles sonores de son instrument ! Nous espérons que cette méthode pourra aider ceux qui n’ont pas accès à un professeur (même si nous leur conseillons d’aller en voir un le plus régulièrement possible), mais aussi tous les professeurs n’ayant pas suffisamment de matériel pour faire travailler, d’une manière systématique, leurs élèves. Bon courage à tous ! Miguel Yisrael - formerly Miguel Serdoura, now carrying the surname of his mother - was born in Lisbon, where he began his musical and artistic career, earning his Diploma in Classical Guitar in 1994. In 1995, he moved to Paris, where he studied the lute with Claire Antonini in the Early Music Department of the Conservatoire Supérieur de Paris - CNR. He also took part in several master classes in his discipline, with Rolf Lislevand and other prestigious artists. From 1999 to 2004, he completed his musical education at the Schola Cantorum Basiliensis in Basel, Switzerland with the grand maestro Hopkinson Smith. As a soloist, Miguel Yisrael has given recitals in France, Portugal, United-Kingdom, Germany, Belgium, Switzerland, China and USA. In 2000, he took part in a television documentary devoted to the lutenist Hopkinson Smith, broadcast by Arte, Mezzo, Classica, RTBF and TSR. He currently lives and teaches baroque and renaissance lute in Paris, where he gives frequent concerts/lectures in the framework of the “Musicien au Musée” program of the Musée de la Musique - Cité de la Musique in Paris. Miguel Yisrael performs on lutes built by Cezar Mateus, Princeton, USA, and with strings from Mimmo Peruffo, Vicenza, Italy. He recorded his first solo CD for the Dutch Label Brilliant Classics in 2008.

15 Vocal Masterworks from the Baroque Era Through the Twenty-First Century-This superb vocal collection features 15 of the world???s best-loved arias from the Baroque era through the 21st Century presented with comprehensive historical information accurate translations IPA pronunciation guides and performance suggestions designed to enhance and educate developing vocalists. Available in Medium High and Medium Low editions with optional piano accompaniment CDs. Songs include: Domine Deus (Vivaldi) Gioite al canto mio (Peri) I Attempt from Love???s Sickness (Purcell) I Got Plenty O??? Nuttin??? (Gershwin) La donna ? mobile (Verdi) Non siate ritrosi (Mozart) O mio babbino caro (Puccini) O Rest in the Lord (Mendelssohn) Ombra mai f?(Handel) Sheep May Safely Graze (Bach) Sorry Her Lot (Gilbert and Sullivan) Time To Say Goodbye (Sartori) Voi che sapete (Mozart) Where???er You Walk (Handel) and You Raise Me Up (L?vland)

Instructional edition with notes on performance style and practice edited by Cinzia Barbagelata-This publication is intended to offer violinists -- whether students professional players or amateurs -- a simple but complete guide for the performance of Antonio Vivaldi's music introducing them to his style and more generally to that of the late Baroque Italian violin repertory with an informed approach to historical performance practices which are largely unfamiliar to players who are not early music specialists. The five sonatas in this volume have been edited for performance on either a modern or a Baroque violin with realizations of the basso continuo part suitable for accompaniment on the piano organ or harpsichord. They are presented in progressive order of difficulty from a fairly linear and direct writing style to one that is more unpredictable and fanciful embracing interpretative possibilities ranging from measured and straightforward to brilliant and mature according to individual preference and ability. When approached in this order their study facilitates the incremental acquisition of meaningful stylistic insight into the composer and his milieu. This volume is an invaluable tool for understanding and exploring the work of Antonio Vivaldi. The imaginative and irresistible vivacity of his music brimming with disarmingly poignant melodies and rendered in a language that is both concise and immediate ensures its extraordinary ability to remain forever fresh through the ages. Intermediate level Downloads on MyLibrary Violin part in 2 colors to differentiate the editor’s marks from Vivaldi’s original text.

This historically accurate edition contains a wealth of background information information on ornamentation, dotted rhythms in the Baroque style, and the recommended tempos and guidelines for performing the works on the piano. Bach's writing is carefully separated from the editorial suggestions in light gray print. A wealth of footnotes compare the various sources consulted. Students, teachers and professional pianists will find this volume invaluable. The Alfred Masterwork CD Editions conveniently combine each exceptional volume with a professionally recorded CD that is sure to inspire artistic performances. Pianist Valery Lloyd-Watts studied at the Conservatory of Music in Toronto and the Royal College of Music in London. She earned a Master of Music degree from the University of Wisconsin, where she studied with Paul Badura-Skoda. She co-authored the text Studying Suzuki Piano: More than Music , which was endorsed by Dr. Suzuki.

Eight of the world's best-loved duets for women are brought together for the first time in one publication. Representing a wide range of styles and composers, these selections from the Baroque, Classical, and Romantic periods are presented with historical information, IPA pronunciation guides, and suggestions for performance. Edited and arranged by Patrick M. Liebergen, this truly valuable collection is an indispensable resource for duet singing. / Voix