Biblioteca del Conservatorio di Musica di Vicenza “Arrigo Pedrollo”

Abstract: 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. (Fonte editoriale)

Abstract: A new edition of Pierre Du Mage’s only publication, Premier livre d’orgue contenant une suite du premier ton. Published in 1708, Du Mage’s short suite of organ pieces proves him to be one of the most erudite of Grand siècle composers. The preface examines the music and aspects of performance style such as ornamentation, registration and notes inégales. Two versions of the music are provided. The first employs modern conventions, while the second retains all aspects of the original imprint (including clefs) to allow for a deeper connexion with the music and its composer. (Fonte editoriale)

Abstract: 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. (Fonte editoriale)

Abstract: In the first of a series of editions featuring Bach family members, Heinrich Bach’s Fünf Choralbearbeitungen are collated from a variety of sources including two by a distant cousin of J. S. Bach, J. G. Walther. Heinrich Bach held the position of court and town musician at Arnstadt from 1641, where his duties included playing the organ at the Liebfrauenkirche and Barfüßerkirche. Bach lived and worked in Arnstadt for 50 years until his death on 10 July 1692, after which he was succeeded by his son-in-law, Christoph Herthum. Bach’s funeral sermon, which was delivered at his grave by Johann Gottfried Olearius, described him as an organist who ‘touched the heart’ and a ‘musicus practicus famous for his art’. (Fonte editoriale)

Abstract: In a few decades José de Nebra, previously almost completely unknown to musicians and amateurs - outside a narrow circle of connoisseurs -, has become one of the most appreciated Spanish composers in history. Famous and renowned during his lifetime, his music has been forgotten - except for one composition - for more than two centuries, but the publication of a certain number of editions of his music, especially theatrical and religious, since the 1990s has contributed to giving him back a preeminent role in the history of Spanish music and to providing him with a certain presence in concert programs and recordings. As for Nebra’s keyboard music, which from the start was to be his main occupation, we have a sad panorama of scattered, late sources, and often of doubtful - if not erroneous - attribution, until the appearance and subsequent study of the manuscript to which the present edition is dedicated. This notebook was discovered in the Music Archive of the Cathedrals of Zaragoza. The content of the manuscript consists of a set of thirty-one pieces grouped in eight large works in several movements, which often depart somewhat from the Scarlattian sonata model so common in eighteenth-century Iberian keyboard music and which link with other traditions of keyboard music: the purely Hispanic (in some examples of great intentos or fugues, imitative compositions derived from the ancient tientos) and also other European traditions, such as the French, detectable in numerous dance movements. Nebra gives the name ‘sinfonía’ to two of these large-scale compositions in several movements, so that in this edition, respecting the name given by the author, the editor used such a name for the series of eight pieces, which could probably also have been called suites, ordres or even sonatas.

Abstract: Gaspard Corrette published Messe du 8e Ton at the beginning of 1703. It is the last of the great French organ masses, a tradition that began in the 1660s and which has an impeccable pedigree that includes the composers Guillaume-Gabriel Nivers, Nicolas Lebègue and François Couperin. - Corrette’s music is both erudite and colourful and is here published in a modern edition for the first time in over a century. Editor Jon Baxendale has carefully reproduced as many visual aspects of the original edition as possible. However, the masses have been provided twice, using modern conventions for the first and the original clefs for the second, thereby allowing performers a closer connexion with the music. - A detailed preface looks at Corrette’s compositions and assesses the information the composer provided on registration, the character of the music and ornamentation. Further notes discuss notes inégales, fingering and liturgical contexts. (Fonte editoriale)