FMPNmBnr14

.A Baroque Sampler
for Organ
in  Five Volumes 


      Vol. I   Music  of   Johann  Sebastian  Bach  (37  pages)

       Vol. II     Music  of   George Frideric Handel    (39  pages)

     Vol. III  Music  from  The Continent  and  The British Isles  (40 pages)
Juan Bautista Jose Cabanilles  (1644-1712)
Narcís Casanoves i Beltran  (1747-1799)
Jeremiah Clarke (b. ca. 1673, d. 1707)
Francois Couperin (1668-1733)
Louis Couperin  (b.  ca. 1626, d. 1661)

     Vol. IV   Music  from  The Continent  and  The British Isles   (40 pages)
Louis-Claude D’Aquin (1694-1772)
Joseph Hector Fiocco (1703-1741)
Johann Caspar Ferdinand Fischer (b. ca. 1665, d. 1746)
Jose Lidon (1752-1827)
Bernardo Pasquini  (1637-1710)
Andre Raison  (b. before 1650, d. 1719)

     Vol. V   Music  from  The Continent  and  The British Isles   (39 pages)
Henry Purcell  (b. ca. 1659, d. 1695)
Domenico Scarlatti  (1685-1757
Jan Pieterszoon Sweelinck  (1562-1621)
Antonio Vivaldi  (1678-1741)

 
Title Pages, Tables of Contents, Notes, Music, Afterword
 Softbound  8 ½ x 11

Foreword


Gathered here are works – sacred, secular and ceremonial – originally written for solo clavier, solo organ or voice and organ, also including sinfonias and overtures, two concertos, suites and serenades, various cantata and oratorio movements and exerpts, as well as a cadenza and numerous improvisatorial elaborations, all arranged and transcribed for organ.  Many exemplary compositional structures, styles and mannerisms are represented, with multiple examples of theme and variations, cha-connes and ground bass, rondeaux, dance suites, marches, keyboard toccatas, chorale preludes, and preludes and fugues of varied natures.  While many of the selections are demanding in some technical aspects, there are also several charmingly transparent Baroque samplings included that a student player could approach with comfort, in company with greater challenges for the undaunted virtuoso.
        Notes and a Postscript
for each volume are available in the printed scores.

Afterword


  N.B.  In  keeping  with  Baroque  performance  practices,  ornamentations  have  been  added, some written out with notes and others signaled by the use of historically traditional symbols. Ornamentations from numerous schools have been combined into an eclectic mix, with occasionally imported special definitions or explanations appearing in footnotes. ◊  Neighboring tones – whether harmonic or nonharmonic – should generally be in proper chromatic accord with prevailing modulatory trends.  ◊  When grace notes occur, they are intended to be sounded on the main beat to which they are attached.  ◊  When the notation for a simple trill appears below the lower – or lowest – note of a harmonic interval, triad, or chord, the actual trill is intended for the lower note and its upper neighboring tone, whether chromatic or diatonic.  In some scores, a diagonal slash between two notes of a harmonic interval indicates a double appogiatura, or a slide between two notes that makes a passing-tone of the inner pitch(es), while in others the same effect is signaled by a tilted half arc preceding the active chord or interval. * Bracketed tempo markings offer contemporary metronomic range equivalents and pulse note values to supplement or clarify composers' original generic markings.   Frequent double-dotted rhythms, particularly at cadences, are editorial additions arising from considerations of period performance practices. Cadential hemiola patterns are often denoted by groupings of three dotted-line brackets applied under appropriate bass clef beats. ◊ Occasional dotted-line brackets appear above groupings of treble clef notes, suggesting possible use of varied touches to achieve contrasts or echoes of repeated phrases, motivic repetitions and sequences.   Specific registrations for organ performance have been avoided in this edition, allowing for greater adaptability to a wide variety of instruments. ◊ All orchestral and/or instrumental markings that appear in ensemble transcriptions are drawn from source materials wherever practical and overlaid in conjunction with boundary corner brackets and a plethora of traditional signs and terminology.    All original repeats have been retained, although in some instances a perfomer might choose to abbreviate a performance with occasional judicious omissions.



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