Atelier Philidor

restores, edits and publishes first-class Early Music Performers' Facsimiles (repertoire before 1800) intended for musicians who wish to play and study important works of the past in faithful copies of the publications in which they were first issued. Its mission: to make accessible Early Music Treasures and offer to musicians the pleasure of playing from original notation.


LOWER SHIPPING RATES... Atelier Philidor is now working with CHIT CHATS to ship your orders worldwide. This means: Lower Rates – Full Tracking – Shorter Delivery Times. Please keep in mind that, due to COVID-19, packages are delayed with all carriers.


Atelier Philidor publications are available in Europe, at the music bookshop AUX NOTES D'ORPHÉE in Montpellier (France). Contact them to order facsimiles hard copies.


just published...

NEW 2020
Jenkins, John | Ayres for solo lyra-viol (c1660)

Jenkins, John | Ayres for solo lyra-viol (c1660)

NEW 2020
Boccherini, Luigi | Six sonatas for the violoncello (sd)

Boccherini, Luigi | Six sonatas for the violoncello (c1770)

NEW 2020
Telemann | Trio TWV 42:D1
NEW 2020
Charpentier, Marc-Antoine | Elévation O amor | H.253
NEW 2020
Marais, Marin | Pièces en trio | Suite #1 (1692)
NEW 2020
Caix, Barthélémy de | VI Sonates pour deux pardessus de viole à cinq cordes (1751)
Montéclair, Michel Pignolet de | Pyrame et Thisbé | Cantate à 3 voix (1713)
NEW 2020
Telemann, Georg Philipp | Fugues légères & Petits jeux à clavessin seul (1738)
NEW 2020
Aubert, Jacques | Pièces à deux flutes traversières (1723)


Modern editions of earlier repertoire, being themselves already interpretations, can easily mislead the player into taking stylistic wrong turns.

Rolf Lislevand, lutenist [In: Album Alfabeto, Label Naïve]

I'm not so convinced that a competent continuo player is always better off reading from a score than from an original figured bass part. My own experience is that one listens more carefully and integrates better in an ensemble—that is, functions less as an "accompanist" (or coach/accompanist) in the modern sense—when reading from such a part. Clearly the character of one's continuo realization will be different when one responds to what one hears other instruments do than when one manufactures the part on the basis of one's reading and analysis of the full score.

Alexander Silbiger, harpsichordist, Professor at Duke University [In: Historical Performance Vol. 7, No.2, Fall 1994]


harbors more than 3000 scores & books of early music.


works awaiting restoration.


works restored to date.


works restored in 2020.