Langue : Français
Les Ornements les plus utilisés . . . . . . . . . . . . . . . . . 4 Quelques précisions sur les ornements dans la musique baroque . . . . . . . . . . . . . . . . . 5 1. Prélude en Ut (BWV 939) J.S. Bach . . . . . . . . . 7 2. Allegro G.P. Telemann . . . . 8 3. Rigaudon en la C. Graupner . . . . . 9 4. Balletto – Corrente – Passacagli G. Frescobaldi . . 10 5. Petit Prélude en Fa (BWV 927) J.S. Bach . . . . . . . . 12 6. Air des Démons J.H. d’Anglebert . 13 7. Les Zephirs J.F. Dandrieu . . . . 14 8. Polonaise C. Petzold . . . . . . 16 9. Presto G.P. Telemann . . . 18 10. Gavotte en Sol C. Graupner . . . . 20 11. Allegro G.P. Telemann . . . 21 12. Prélude (BWV 999) J.S. Bach . . . . . . . . 22 13. Gavotte J.P. Kirnberger . . 24 14. La Coquète J.F. Dandrieu . . . . 25 15. Menuets 1 et 2 L.Cl. Daquin . . . . 26 16. Premier Prélude F. Couperin . . . . . . 28 17. Air de Ballet J.H. d’Anglebert . 29 18. Sonate no 14 en Sol D. Cimarosa . . . . . 30 19. Marche des Épicuriens L.A. Dornel . . . . . 31 20. Prélude non mesuré G. Leroux . . . . . . 32 21. Canaris J. Champion de Chambonnières . 33 22. Petit Prélude en ré (BWV 926) J.S. Bach . . . . . . . . 34 23. Minuet (Rondo) J. Loeillet . . . . . . 36 24. Allemande J.N. Geoffroy . . . 37 25. Studio J.Ch. F. Bach . . . . . 38 26. Prélude en ré (BWV 935) J.S. Bach . . . . . . . . 40 27. Prélude (de la 5e Suite) H. Purcell . . . . . . 42 28. Sarabande G.F. Händel . . . . . 44 29. Le Caquet J.F. Dandrieu . . . . 46 Les principaux compositeurs pour le clavecin . . . . . . . . . . . . . . . . 48 30. Allegro W.F. Bach . . . . . . . 50 31. Gigue en ré J.J. Froberger . . . . 51 32. The Duchesse of Brunswick’s Toye J. Bull . . . . . . . . . . 52 33. Toccata C. Seixas . . . . . . . . 53 34. La Gémissante J.F. Dandrieu . . . . 54 35. A Toye G. Farnaby . . . . . . 55 36. Prélude (de la 3e Suite) H. Purcell . . . . . . 56 37. Solfeggio C.P.E. Bach . . . . . 58
SKU: HL.48188975
UPC: 888680948825. 9x12 inches. French.
?Richard Siegel won prizes for the Harpsichord and Chamber Music at the Paris Conservatoire before going on the win first prize in the 1977 International Harpsichord Competition. He has since recorded over 30 CDs and his passion for the instrument has been apparent further in his production of Learn to Play the Harpsichord. As stated in the preface, the study of the Harpsichord has long been reserved, frequently dismissed as an 'old-fashioned' instrument. However, a recent rise in the popularity of early music has rekindled interest in it. In Learn to Play the Harpsichord Volume 2 being the second of two helpful volumes to aid student's learning and progression, Siegel enables Harpsichord beginners to learn through repertoire pieces themselves, drawn from the Keyboard masters of the Baroque period. The pupil will be guided towards an understanding of technique and style suited to the Harpsichord. Furthermore, Learn to Play the Harpsichord enables adults who learnt the instrument as a child to return to the instrument and have the instant feeling of ??music making??. andrdquo.