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Les Principes du Clavecin Contenant une Explication exacte de tout ce qui concerne la Tablature & le Clavier. Avec des Remarques necessaires pour l'intelligence de plusieurs difficultés de la Musique. Le tout divisé par Chapitres selon l'ordre des matieres
Amsterdam: Estienne Roger. [1710]. Octavo. Early black-speckled dark yellow wrappers. 1f. (title), [iii]-[v] (preface), [vi]-[x] ("Avis"), 142, 1f. (table of contents) pp. + 2 folding engraved plates of music. Uncut. Decorative woodcut device to title and occasional decorative woodcut headpieces and initials. Numerous typeset musical examples in diamond-head notation throughout. The minuet and gavotte at the end of the volume are, in all likelihood, by Saint Lambert. From the collection of André Meyer, with annotation in black ink in the hand of his son to verso of final leaf: "Ce livre a appartenu a la collection musicale d'André Meyer (1884-1974)." Wrappers slightly worn; spine split, with minor loss to head and tail; corners turned with some creasing and slight wear to edges; some very light dampstaining and foxing; small tear to lower edge of pp. 29-30 not affecting text; minor annotations in pencil to blank upper blank of title and blank verso of first diagram. . Second edition, considerably expanded from the 68-page first edition, published in 1702 by Christophe Ballard. Very rare. RISM BII, p. 748 (8 copies, none in North America). Lescat, p. 173. No copies of this edition recorded in Worldcat. Collection Musicale André Meyer, p. 79. Roger-Le Cène catalogs from 1712, 1716, and 1737 advertise Saint Lambert's "Principes pour bien aprendre à jouer du clavecin," perhaps a later edition of "Les Principes du Clavecin." Lesure, "Bibliographie des Éditions Musicales, pp. 49, 78, and facsimile p. 2. Not in Cortot, Gregory-Bartlett, Wolffheim, Hirsch, BUC, or Copac. "Les principes du clavecin was, as its author claimed, the first method book for the harpsichord, antedating François Couperin's L’art de toucher le clavecin by 14 years. Its first 18 chapters, devoted primarily to fundamentals of music, contain significant information regarding the range of the harpsichord, the performance practice of the slur (of particular value for the performance of préludes non mesurés) and a chapter on metre and tempo. Of the remaining chapters, one is devoted to fingering (including a fully fingered minuet and gavotte) and the other nine to ornamentation. By reproducing and commenting on the ornament symbols of four 17th-century keyboard composers – Chambonnières, Nivers, Lebègue and especially D’Anglebert – Saint Lambert provided a useful comparative perspective on the performance practices of his day." Rebecca Harris-Warrick in Grove Music Online. The Meyer collection, formed over a period of some 75 years, was one of the most important collections of printed music, musical autographs, and books on music of the 20th century.
      [Bookseller: J & J Lubrano Music Antiquarians LLC]
Last Found On: 2015-07-05           Check availability:      IOBABooks    

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