Pièces de viole (Forqueray, Antoine)

Contents

Performances

Sheet Music

Scores and Parts

Suites Nos.1-5

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Publisher. Info. Paris: Antoine Forqueray, 1747.
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Arrangements and Transcriptions

For Harpsichord solo (J.-B. Forqueray)

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Publisher. Info. Paris: Chez l'Auteur, la V[euv]e Boivin, le S[ieu]r Leclerc, n.d. [1747]
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Selections

Suite No.1 (D minor)
For Harpsichord solo (J.-B. Forqueray)

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5 more: 2. La Forqueray • 3. La Cottin • 4. La Bellmont • 5. La Portugaise • 6. La Couperin

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Arranger Jean-Baptiste-Antoine Forqueray
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For Cello and Piano (Kasler and Prodhomme)

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Suite No.2 (G major)
For Harpsichord solo (J.-B. Forqueray)

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4 more: 2. La Mandoline • 3. La Dubreuil • 4. La Leclair • 5. La Buisson. Chaconne

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Suite No.3 (D major)
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6 more: 2. La Régente • 3. La Tronchin • 4. La Angrave* • 5. La du Vaucel* • 6. La Eynaud • 7. La Morangis ou la Plissay. Chaconne*

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Suite No.4 (G minor)
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6 more: 2. La Clément • 3. La d'Aubonne. Sarabande • 4. La Bournonville • 5. La Sainscy • 6. Le Carillon de Passy • 7. La Latour

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Suite No.5 (C minor)
For Harpsichord solo (J.-B. Forqueray)

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6 more: 2. La Guignon • 3. La Léon. Sarabande • 4. La Boisson • 5. La Montigni • 6. La Sylva • 7. Jupiter

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General Information

Work Title Pièces de Viole, Composées par Mr Forqueray Le Père, Mises en Pièces de Clavecin par Mr Forqueray Le Fils
Alternative. Title Pieces de Clavecin
Composer Forqueray, Antoine
I-Catalogue NumberI-Cat. No. IAF 2
Movements/SectionsMov'ts/Sec's 32 pieces in 5 suites
First Publication. 1747
Composer Time PeriodComp. Period Baroque
Piece Style Baroque
Instrumentation viola da gamba, harpsichord

Navigation etc.

29 pieces have been transcribed for harpsichord solo by Jean-Baptiste Forqueray, his son. Three pieces (*) of the third suite are original pieces by Jean-Baptiste.

  • Suite No.1 (in D minor)
La La Borde - Allemande (Noblement et avec Sentiment)
La Forqueray (Vivement et d'aplomb)
La Cottin (Galamment sans lenteur)
La Bellmont (avec Goût et sans lenteur)
La Portugaise (Marqué et d'aplomb)
La Couperin (Noblement et marqué)
  • Suite No.2 (in G Major)
La Bouron (Vivement et détaché)
La Mandoline (point trop vite et d'aplomb)
La du Breüil (Louré)
La Leclair (très Vivement et détaché)
La Buisson - Chaconne (Gratieusement)
  • Suite No.3 (in D Major)
La Ferrand (Détaché, et d'une belle exécution)
La Régente (Noblement et soutenu)
La Tronchin (Mouvement aisé)
La Angrave* (très vivement)
La du Vaucel* (très tendrement)
La Eynaud (fièrement)
La Morangis ou La Plissay* (mouvement de Chaconne)
  • Suite No.4 (in G minor)
La Marella (Vivement et Marqué)
La Clément (Noblement et détaché)
La D'Aubonne - Sarabande
La Bournonville (mouvement élevé)
La Sainscy (Gracieusement et avec Esprit)
Le Carillon de Passy (Légèrement sans vitesse)
La Latour (d'un movement un peu plus vif que la prédédente pièce)
  • Suite No.5 (in C minor)
La Rameau (Majestueusement)
La Guignon (Vivement et détaché)
La Léon - Sarabande (Tendrement)
La Boisson (Vivement, les pincés bien soutenus)
La Montigni (Galamment sans lenteur)
La Sylva (très tendrement)
Jupiter (Modérément)