| |
 Old Manuscripts & Incunabula, PO Box 6019 FDR Station, New York NY 10150 |
 |
| |
• BF = Bärenreiter Facsimile (inaugurated Nov., 2005--) • DM = Documenta Musicologica subseries I: “prints” subseries II: “manuscripts” • DTV = Deutscher Taschen Verlag (paperback facsimiles in reduced format) • EdM = Erbe Deutscher Musik (facsimiles with Bärenreiter imprint) • MGG = Die Musik in Geschichte und Gegenwart, Allgemeine Enzyklopädie der Musik n.b. Items without price are out of print and not deliverable at the present time; “nyp” = not yet published
Mozart. Sinfonie in C KV 551 “Jupiter”, ed. Konrad [BF 1]
Bärenreiter Facsimile, [1]. Kassel, 2005. Oblong, 33 x 25 cm, 103, 64 pp. Beautiful full-color halftone reproduction of the autograph score based on newly commissioned photographs. This new edition greatly improves the readability of many faint passages in the original, which, over the years have faded and lost their legibility. At the same timethis greater fidelity allows one to see different copying “layers” based on different intensities of the ink (for example, Mozart often copies the highest and lowest parts first, then later fills in the inner parts). Commentary in Eng-Ger-Jap. Handsome bibliophile edition printed on deckel-edged laid paper. Quarter linen, decorative paper boardsand embossed/pasted title etikette. Inaugurates the new high-quality facsimile series “Bärenreiter Facsimile”.
(more info... )
[item no.8611]
Bach. Messe in h-moll. BWV 232 [BF 2]
Bärenreiter Facsimile, [2] (= Documenta Musicologica, II/35). Kassel, 2007. 24 x 35 cm, viii. 216, xxxvii, 7 pp. New color facsimile of the autograph score based on newly commissioned photographs. Limited edition of 500 numbered copies. Afterword in Eng-Ger-Jap. Handsome binding with linen spine and boards in decorative paper.(more info... )
[item no.8757*]
Messiah HWV 56. Autograph.The British Library [BF 3]
Bärenreiter Facsimile, [3] (= Documenta Musicologica, II/40). Kassel, 2008. 4°, viii, 284, 56 pp. Full-color facsimile edition of the autograph score, issued on the occasion of the 250th anniversary of the composer's death. Commentary in Eng-Ger-Jap. Handsome bibliophile binding with linen spine and decorative paper boards. Special OMI price.$575 (more info... )
[item no.8998*]
Mendelssohn. Overture to A Midsummer Night’s Dream [BF 4]
Bärenreiter Facsimile, [4] (= Documenta Musicologica, II/41). Kassel, 2009. 27 x 37 cm, xiii, 60, 57 pp. Full-color facsimile of the elegant fair copy autograph score (formerly Deutsche Staatsbibliothek, Mus. ms. autogr. Mendelssohn 21), and monochrome reproduction of a fragmentary autograph score (Bodleian Library, Ms. Deneke-Mendelssohn B5)—the only surviving sources of the overture. This work of youthful genius was written in 1826 during a carefree summer spent at the summer house among his siblings at a time when the composer became immersed in the works of Shakespeare through Schegel and Tieck translations. An enchanted night, virtually fragrant dreams, floating fairies—thesensory associations evoked and fashioned by the music of Mendelssohn’s overture A Midsummer Night’s Dream are almost inexhaustible. This is without doubt Mendelssohn’s most popular concert overture. The score is innovative as well, for example, in the ordering in the instruments—proceeding woodwinds, percussion, strings, with the bass fiddle atthe bottom—, though peculiar for the time, coincides with modern accepted convention. The autograph score also calls for the rare "corno inglese di basso", usually substituted by the ophecleide, bass bassoon or bass trombone. Handsome bibliophile edition issued on the occasion of the 200th anniversary of the composer's birth. Handsome bindingwith decorative paper boards, burgundy linen spine, and pasted title etikette. Commentary in Eng-Ger-Jap. Special OMI price. $169
(more info... )
[item no.9033*]
Beethoven. Sinfonie No.9 op.125 [BF 5]
Bärenreiter Facsimile, [5] (= Documenta Musicologica, II/42). Kassel, 2010. 37 x 40 cm, viii, 436, 42 pp. Full-color facsimile of the autograph fair copy in the original format. With his Ninth Symphony Beethoven ventured into new musical dimensions. In the final movement soloists and chorus join forces with the orchestra and Schiller’s “Ode toJoy” becomes a global aspiration, a declaration: “Alle Menschen werden Brüder” (all mankind becomes brothers). In his commentary the Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, editor of Beethoven’s works,comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process. Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right downto the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann, director of the Music Department at the Staatsbibliothek in Berlintraces this story. For the first time the facsimile present all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. Hardbound, with decorative paper and linen spine. Commentary in Eng-Ger-Jap. Special OMI price. $995
(more info... )
[item no.9595*]
Wagner. Tristan und Isolde [BF 6]
Bärenreiter Facsimile, [6] (= Documenta Musicologica, II/45). Kassel, 2012 29.5 x 41 cm, 354, 17, 20 pp. Full-color facsimile of the autograph score issued on the occasion of the 200th anniversary of Wagner's birth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages thatWagner rejected while composing and later used for sketches. While working on the score to Tristan und Isolde, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the dawn of the modern era and tothis day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The Tristan manuscript is an example of this but it also bears traces of his working process. It is precisely this aspect of the autograph that makesit fascinating. Reading it, one is witness to Wagner’s highly-concentrated, powerful and relentless writing. It evokes the aura of a singular individual. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper boards. $977
(more info... )
[item no.9296*]
Mozart. Eine kleine Nachtmusik, Serenade K.525 [BF 7]
Bärenreiter Facsimile, [7] (= Documenta Musicologica, II/46). Kassel, 2013. Oblong, 34 x 25 cm, 14, 24 pp. New color facsimile of the autograph score in its original loose bifolio and folio format. Afterword in Eng-Ger. Limited bibliophile edition with beautiful clam shell case covered in moire fabric. $239(more info... )
[item no.9331*]
Bach. Matthäus-Passion BWV 244 [BF 8]
Bärenreiter Facsimile, [8] (= Documenta Musicologica, II/47). Kassel, 2013. 24 x 35 cm, x, 168, 30 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger.. Limited bibliophile edition with binding with leather spine and boards in decorative paper. Out of print.(more info... )
[item no.9327*]
Mozart. Piano Concerto in C minor K. 491 [BF 9]
Bärenreiter Facsimile, [9] (= Documenta Musicologica, II/48). Kassel, 2014. Oblong, 34 x 25 cm, 74, 40 pp. Beautiful color halftone of the autograph fair copy completed on March 24, 1786. In his fascinating preface Colin Lawson, Director of the Royal College of Music, describes the journey made by Mozart’s autograph following its sale in 1800 byConstanze, Mozart’s widow, to its eventual resting place in London where it is the jewel in the RCM’s extensive collection of historic manuscripts. The Piano Concerto in C minor K. 491 is one of Mozart’s greatest piano concertos not least because of the dramatic character of its minor key (it is one of only two piano concertos composed in minorkeys). It also has the largest orchestra he ever used in a piano concerto and the only piano concerto to use both oboes and clarinets. Written in 1786 during a period of almost feverish activity, it was completed only 22 days after the A major concerto K. 488 and during composition of The Marriage of Figaro. The autograph is exceptional in thatMozart records sketches that he later enlarged and extensively revised for the score thus allowing us an insight into his creative process. Mozart’s work appears here for the first time in a color facsimile, making it possible to easily recognize the contrasting colors of ink. The renowned Mozart scholar and pianist Robert Levin has written anilluminating commentary. He explains Mozart’s method of composition and guides the reader page by page through the autograph. This high-quality facsimile truly is a fascinating insight into Mozart’s art of composition. Hardbound with linen spine and decorative paper boards. $289
(more info... )
[item no.9359*]
Mozart. Requiem.. K.626 [BF 10]
Bärenreiter Facsimile, [10]. Kassel, 2015. Oblong, 35 x 26 cm, 40, 200 pp. New deluxe facsimile edition of the autograph parts and sketches with the finishing work of Süßmayr and others. Commentary in Eng-Ger by Christoph Wolff and Günter Brosche. Limited bibliophile edition produced on natural paper with individually trimmed pages. Quarterleather with decorative paper boards. $595(more info... )
[item no.9414]
Bach. Wohltemperirtes Clavier. 1. Teil (BF 11]
Bärenreiter Facsimile, [11] (= Documenta Musicologica, II/50). Kassel, 2015. 20 x 32 cm, xxx, 90 pp. Deluxe 4-color facsimile of the autograph score based on newly commissioned photographs. The preludes and fugues of The Well-Tempered Clavier embrace an entire cosmos of compositional devices and musical characters—the ne plus ultra of ‘unitythrough diversity’. Here Bach not only presented the sum total of keyboard artistry in his day but foresaw its future evolution. His treatment of the keys marked a turning point in music history. The autograph score, originally a fair copy, contains later revisions and alterations reflecting the composer at work. Bach authority Christoph Wolffprovides a commentary to the work’s genesis and the characteristics of Bach’s handwriting. Martina Rebmann (Staatsbibliothek Berlin) describes the subsequent history of the autograph. Afterword in Eng-Ger. Limited bibliophile edition, binding with leather spine, boards in decorative paper and pasted title etikette. A note on the MS and itsfacsimiles: Previous facsimile editions (1962-1989) exhibit on some pages a "screen" effect, the result of a silk chiffon overlay that curators applied to Bach's MS to prevent crumbling of the paper. Curators discovered that the chiffon was actually damaging the paper more, so in the early 80s the original MS was withdrawn from public view. Tofinally solve the problem of deterioration—much of it due to the corrosive quality of the ink—curators turned to a method called "paper splitting", where front and reverse side of each leaf is split, and an alkali-buffered paper laid in between; during the process imperfections in the leaves are repaired with the finest cellulose fibers. The leafis also treated with a chemical to stop the process of corrosion; in the end the damaging silk chiffon could be completely removed. This new facsimile edition presents the MS—for the first time—in its post-restoration state, without silk chiffon, significantly improving the vividness of Bach's handwriting, a true joy for Bach lovers. Out ofprint.
(more info... )
[item no.9413*]
Beethoven. Missa Solemnis (BF 12)
Bärenreiter Facsimile, [12] (= Documenta Musicologica, II/51). Kassel, 2016. 45 x 40 cm, 351, 27 pp. Deluxe 4-color facsimile of the autograph working score. William Drakbin describes the genesis of the mass as “the longest, most arduous struggle in Beethoven’s career as an artist”, with equally complex history of its sale to B. Schott afteryears after scheming with other publishers. 4 of the 5 movements of the Missa Solemnis survive today, the Kyrie, 50 pp in upright format, and the last three movements, Credo, Agnus and Sanctus, 286 pp in oblong format. The Gloria unfortunately disappeared soon after Beethoven’s death. Deluxe edition with leather spine. $895(more info... )
[item no.9506*]
Berlioz. Symphonie fantastique op.14 (BF 13)
Bärenreiter Facsimile, [13] (= Documenta Musicologica, II/53). Kassel, 2017. 24 x 35 cm, 290, 20 pp. Color facsimile of the autograph score, one of the greatest treasures of the Bibliothèque Nationale. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score,which was also used for performances, by pasting strips of paper over the bars or parts in question. This facsimile edition, in high-quality 4-color reproduction, presents the manuscript as it is today—with strips of paper that can be folded out, making both versions visible. Commentary in Eng-Ger-Fr. Hardbound with quarter leather spine andboards in colorful paper. $922
(more info... )
[item no.9541*]
Beethoven. String Quartet op.130 / Große Fugue (BF 14)
Bärenreiter Facsimile, [14] (= Documenta Musicologica, II/55). Kassel, 2019. Oblong, 4°. viii, 252, 26 pp. Full-color facsimile of the autograph, dispersed now among six libraries around the world (movt I - Bibl. Jagiellońska Kraków; II - Library of Congress Washington; III - Bibliothèque Nationale Paris & Badische Landesbibl. Karlsruhe; IV -Maravské zemské muzeum Brno; V & VI - Staatsbibliothek zu Berlin. The autograph ranges from fair copy to composing copy and includes 7 paste-over corrections (2 of them full page), meticulously reproduced in this exceptional facsimile. A truly remarkable contribution to Beethoven research and gift to Beethoven lovers, this facsimile reunites thevarious movements after 190 years. Commentary in Eng-Ger. Quarter leather with boards in decorative paper. $425
(more info... )
[item no.9596*]
Wagner. Parsifal (BF 15)
Bärenreiter Facsimile, [15] (= Documenta Musicologica, II/56). Kassel, 2020. 29.5 x 41 cm, 340, c.50 pp. Full-color facsimile of the autograph score, the same score Hermann Levi conducted from for the work’s premier on July 26, 1882. Wagner wrote the autograph score almost entirely in violet ink, a color he preferred to use in the final years ofhis life. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The opera, Wagner’s last work, is about healing and compassion and is in many ways it represents the summation of the composer’s creative career. Commentary in Eng-Ger. Hardbound, withleather spine and decorative paper Full-color facsimile of the autograph score, the very score Hermann Levi conducted from for the work’s premiere on July 26, 1882. Wagner wrote the autograph almost entirely in violet ink, a color he preferred to use in the final years of his life. Throughout his life, Richard Wagner was proud of his even clearhandwriting, always striving to produce manuscripts of a high calligraphic standard. The opera, Wagner’s last work, is about healing and compassion and in many ways reflects the summation of the composer’s creative career. The idea was already in the back of his mind in the early 1840s when he first read the medieval epic “Parzival” by Wolframvon Eschenbach; that character became one of the main roles in Tannhäuser (1845). Parsifal’s son is the protagonist of Lohengrin (1848), and in the same ope the ending (“The Narrative of the Grail”) sets forth the Grail story. With Parsifal Wagner can now tell that full story, armed with a rich musical language that he developed from writing ofthe Ring, Tristan and other operas. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper boards. 10% discount for early subscribers. $835
(more info... )
[item no.9605*]
Rhau. Enchiridion utriusque musicae practicae (DM I/1)
Documenta Musicologica, I/1. Kassel, 1951. 10 x 15 cm, 103, ii pp. Line-cut of the 1538 edition. This is the second part of Rhau’s work dealing with problems of mensural theory, first published in 1518. Wrappers.
[item no.2848]
Quantz. Versuch einer Anweisung Flöte zu spielen (DM I/2)
Documenta Musicologica, I/2. Kassel, 1986. Line-cut.
[item no.516]
Walther. Musikalisches Lexikon (DM I/3)
Documenta Musicologica, I/3. Kassel, 5/ 1993. 13 x 21 cm, 702, ii pp. Line-cut of the Leipzig, 1732 edition. One of the first comprehensive dictionaries of music. Walther took great pleasure in supplementing Brossard’s meager “listings” and in doing so produced a truly valuable original source. Afterword in Ger. Coverboards in laid paper.
[item no.2117]
Adlung. Anleitung zu der musikal. Gelahrheit (DM I/4)
Documenta Musicologica, I/4. Kassel, 1953. 12 x 19 cm, 878 facs, ii pp. Line-cut of the Erfurt, 1758 edition. Chronologically one of the first important critical bibliographies of music literature. Coverboards in paper.
[item no.2849]
Mattheson. Der vollkommene Capellmeister (DM I/5)
Documenta Musicologica, I/5. Kassel, 5/ 1991. 14 x 23 cm, 534, ii pp. Line-cut of the Hamburg, 1739 edition. Sets forth the precepts and knowledge necessary for an 18th-c. director of a musical organization. Afterword in Ger. Coverboards in decorative paper. $85
[item no.2850]
Bourgeois. Le droict chemin de musique (DM I/6)
Documenta Musicologica, I/6. Kassel, 1954. 9 x 14 cm, 63 facs, ii pp. Line-cut of the Geneva, 1550 edition. Coverboards in decorative paper.
[item no.2852]
L’Estocart. Cent cinquante pseaumes de David (DM I/7)
Documenta Musicologica, I/7. Kassel, 1954. Oblong, 8°, 5 partbooks, 689 pp. Line-cut. 5 partbooks in cassette. $295
[item no.2854]
Majer. Museum musicum theoretico practicum (DM I/8)
Documenta Musicologica, I/8. Kassel, 1954. Oblong, 21 x 17 cm, 124, ii pp. Halftone of the 1732 edition. Fascinating treatment of music theory, including 10 woodcuts of instruments and a glossary of musical terms taken from Greek, Latin, Italian and French. Hardbound. $55
[item no.2853]
Coclico. Compendium musices (DM I/9)
Documenta Musicologica, I/9. Kassel, 1954. 14 x 21 cm, 119, iv pp. Line-cut of the Montanus & Neuber edition, Nuremberg 1552. Afterword in Ger-Eng. Hardbound. $52
[item no.2586]
Burmeister. Musica poetica, Rostock 1606 (DM I/10)
Documenta Musicologica, I/10. Kassel, 1955. 15 x 19 cm, 91 facs, ii pp. Line-cut of the Rostock, 1606 edition. Hardbound with coverboards in paper. $57
[item no.1643]
Bermudo. Declaración de instrumentos mus. 1555 (DM I/11)
Documenta Musicologica, I/11. Kassel, 1957. 19 x 30 cm, 284 facs, ii pp. Line-cut. Combines instruction in keyboard playing, musical rudiments, and tuning. Significant reworking and enlargement of the earlier edition of 1549. Hardbound with coverboards in paper.
[item no.2684]
Bovicelli. Regole passaggi di musica 1594 (DM I/12)
Documenta Musicologica, I/12. Kassel, 1957. 18 x 27 cm, 88 facs, ii pp. Line-cut of one of the most informative treatises on vocal and instrumental embellishments from the period of Palestrina and de Rore. Coverboards in vellum. Rare.
[item no.1318]
Salinas. De musica (DM I/13)
Documenta Musicologica, I/13. Kassel, 1958. 18 x 26 cm, 472, iv pp. Line-cut of the 1577 edition. A valuable and informative treatise addressing a wide range of topics. Includes precise explanations of the mathematical ratios of sounds in various systems of tuning (accompanied by beautiful geometrical illustrations). Salinas illustrates hischapters on music in relation to classical prosody with numerous Spanish popular songs, together with a few heard in Rome and Naples. Hardbound.
[item no.2855]
Praetorius. Syntagma musicum 2, Organographia (DM I/14)
Documenta Musicologica, I/14. Kassel, 6/ 1985. 17 x 24 cm, 311, iv pp. Line-cut. This volume, in German, describes the instruments known to the author and includes beautiful woodcut illustrations of them. Hardbound. $87
[item no.1889]
Praetorius. Syntagma musicum 3, Termini musici (DM I/15)
Documenta Musicologica, I/15. Kassel, 4/ 1988. 17 x 24 cm, 275, ii pp. Line-cut. Treats contemporary music in Italy, France, England, & Germany with directions for reading music and an explanation of Italian terms. Coverboards in Laid paper. $76
[item no.1890]
Pontio. Ragionamenti de musica (DM I/16)
Documenta Musicologica, I/16. Kassel, 1959. 14 x 23 cm, ii, 168, iii pp. Line-cut of the Parma, 1588 edition. Afterword in Fr. Coverboards in decorative paper. $69
[item no.2856]
Vicentino. L’antica musica ridotta (DM I/17)
Documenta Musicologica, I/17. Kassel, 1959. 20 x 30 cm, 303, 5 foldouts, ii pp. Line-cut of the Rome, 1555 edition. A proponent of the “ancient” Greek diatonic, chromatic and enharmonic system. Possibly reflecting the greater degree of emotions inherent in the words of vocal compositions of his time, Vicentino advances the free useof chromaticm.Includes an account of a dispute with the theorist Lusitano and a method for the “archicembalo” (created by Vicentino) that is able to play the smallest intervals. Laid paper, with wrappers.
[item no.2857]
Adlung. Musica mechanica organoedi (DM I/18)
Documenta Musicologica, I/18. Kassel, 1961. 19 x 24 cm, 512 facs, iii pp. (Rpt. of Kassel, 1931 edition). Line-cut of the Berlin, 1768 edition. Coverboards in decorative paper.
[item no.2858]
Burney. Tagebuch e. musikal.Reise d.Frankreich (DM I/19)
Documenta Musicologica, I/19. Kassel, 1959. Line-cut. Coverboards in decorative paper.
[item no.2859]
Burney. Tagebuch einer musikal. Reise (rev.ed.) (DM I/19)
Documenta Musicologica, I/19. Kassel, 2003. Oblong, 21 x 17 cm, 19, 355 pp. Line-cut of the Hamburg, 1772 edition. Introduction in Ger. Coverboards in decorative paper. $52
[item no.8333]
Spohr. Violinschule. Faksimile (DM I/20)
Documenta Musicologica, I/20. Kassel. 4º, Line-cut of Vienna, 1833 edition. Hardbound.
[item no.1240]
Praetorius. Syntagma musicum 1, Musicae artis (DM I/21)
Documenta Musicologica, I/21. Kassel, 3/ 1986. 17 x 24 cm, 537, 30, ii pp. (Rpt. of Kassel, 1929 edition). Line-cut. Hardbound. $105
[item no.1888]
Weigel. Musicalisches theatrum (DM I/22)
Documenta Musicologica, I/22. Kassel, 1/ 1961. 22 x 36 cm, 36, xii pp. Line-cut of the original copper engravings of musicians with their instruments. This facsimile brings together for the first time four separate groups of surviving single sheets from this publisher. Mattheson’s Das neu-eröffnete Orchestre (specifically the chapter “Von denmusicalischen Instrumenten”) evidently served as a guide for its planning. The engravings date from c.1715-1725. Afterword in Ger-Eng-Fr. Coverboards and slipcase in decorative paper. $95
[item no.4622]
Weigel. Musicalisches theatrum (DM I/22)
Documenta Musicologica, I/22. Kassel, 2/ 1964. 22 x 36 cm, 36, xii pp. Line-cut of the original copper engravings of musicians with their instruments. This facsimile brings together for the first time four separate groups of surviving single sheets from this publisher. $77
[item no.2861]
Türk. Klavierschule. Faksimile (DM I/23)
Documenta Musicologica, I/23. Kassel, 1962. 18 x 23 cm, 442, [4] pp. Line-cut of the 1789 edition. Coverboards in decorative paper.
[item no.942]
Bédos de C. L’art du facteur d’orgues (DM I/24-26)
Documenta Musicologica, I/24-26. Kassel, 2/ 1976. 4º, 4 vols, 708 facs, 137 plates pp. Line-cut, in reduced format, of the Paris, 1776-1778 edition. Richly illustrated treatise with beautifully executed plates addressing the structure of the organ, methods of organ building, needs of the organist and characteristics of various instruments.Hardbound.
[item no.1744]
Prelleur. The Modern Musick-Master (DM I/27)
Documenta Musicologica, I/27. Kassel, 1965. 15 x 23 cm, 333, , vi pp. Line-cut in the original format. This beautifully printed edition contains a brief history of music (condensed from Bontempi’s Historia), advice for singers, as well as instructions for playing the recorder, German flute, oboe, violin and harpsichord, replete with manyexcellent tunes for each. Afterword in Eng-Ger. Coverboards in decorative paper. $95
[item no.509]
Vanneus. Recanetum de musica aurea (DM I/28)
Documenta Musicologica, I/28. Kassel, 1970. 21 x 29 cm, ii, 194, iv pp. Line-cut of the 1533 edition. Afterword in Fr. Coverboards in decorative paper. $67
[item no.2585]
Aron. Toscanello in musica (DM I/29)
Documenta Musicologica, I/29. Kassel, 1970. 8º, 72 facs, ii pp. Line-cut of the Venice, 1539 edition. Afterword in Ger. Coverboards in decorative paper.
[item no.2584]
Werckmeister. Erweiterte & verb. Orgel-Probe (DM I/30)
Documenta Musicologica, I/30. Kassel, 1970. 16 x 22 cm, 109, vi pp. Line-cut of the Quedlinburg, 1698 edition. Afterword in Ger. Coverboards in decorative paper.
[item no.947]
Virdung. Musica getutscht 1511 (DM I/31)
Documenta Musicologica, I/31. Kassel, 1970. Oblong, 21 x 15 cm, ii, 111, iv pp. (Rpt. of Kassel, 1931 edition). Line-cut. Coverboards in decorative paper.
[item no.1896]
Schlichtegroll. Mozart’s Leben (DM I/32)
Documenta Musicologica, I/32. Kassel, 1974. 12 x 18 cm, 32, iv pp. Line-cut of the Graz, 1794 edition, which itself was an unchanged re-issue of the Nekrolog auf das Jahr 1791 (Gotha 1793). Schlichtegroll based his biographical work on evidence from three sources: documents from Mozart’s sister Maria Anna, the recollections of Johann AndreasSchachtner set forth in a letter to Maria Anna, and, in the words Schlichtegroll, testimony of “those who knew him”. Afterword in Ger. Coverboards in vellum paper. $62
[item no.477]
Walter. Das geistliche Gesangbüchlein. Stimmen (DM I/33)
Documenta Musicologica, I/33. Kassel, 1979. Oblong, 16 x 13 cm, 5 partbooks: viii, 288 pp. Line-cut in the original partbook format. Contains 43 pieces for “youthful singers”, 29 a4, 12 a5 and 2 a3. The 23 motets with texts by Luther are all cantus firmus pieces. Includes 5 Latin motets. The first systematic compendium of Lutheran songs.Introduction in Ger. Wrappers, with slipcase.
[item no.1307]
Hotteterre. Principes de la flûte traversière (DM I/34)
Documenta Musicologica, I/34. Kassel, 2/ 1965. 12 x 19 cm, 51, 48 & 5 foldouts pp. Line-cut of the Amsterdam, 1710 edition, together with a complete translation and afterword in German. Wrappers. $31
[item no.777]
Das Klug’sche Gesangbuch 1533 (DM I/35)
Documenta Musicologica, I/35. Kassel, 3/ 1983. 8 x 11 cm, 375, 36 pp. Line-cut of the Wittenburg, 1533 edition (an earlier edition of 1529 has not survived). Edited by Luther himself, the collection contains 50 lieder, attesting to the rapidly growing Lutheran song repertoire by the third decade of the 16th c. Coverboardsin vellum paper, inslipcase.
[item no.1302]
Das Erfurter Enchiridion (DM I/36)
Documenta Musicologica, I/36. Kassel, 1983. 12 x 16 cm, 47, xv pp. (Rpt. of Cassel, 1929 edition). Line-cut of the 1524 edition, together with afterword in Ger/Eng. Coverboards in decorative paper.
[item no.1297]
Tinctoris. Terminorum musicae diffinitorium (DM I/37)
Documenta Musicologica, I/37. Kassel, 1983. 15 x 21 cm, 30, 42 pp. Line-cut of the Treviso, 1495 incunabulum. With translation into Ger and afterword. Linen. $28
[item no.2851]
Babstsches Gesangbuch von 1545 (DM I/38)
Documenta Musicologica, I/38. Kassel, 3/ 1988. 11 x 16 cm, 560 facs, with 27 woodcuts, xvi pp. Coverboards in laid paper. $99
[item no.1295]
Monteverdi. L’Orfeo. Favola in musica (DM I/39)
Documenta Musicologica, I/39. Kassel, 1998. 25 x 32 cm, xvi, 112 pp. Halftone of the Ricciardo Amadino print (Venice, 1609), and Act V of the libretto. The edition is remarkable for a number of reasons. For one, it is an unusual presentation of the music—in score—not altogether unknown, but relatively rare at this date, where the music centers onharmony and the basso continuo. Secondly, the print is a “commemorative” or “souvenir” edition”; the title page states that it was first performed “in Mantua l’anno 1607”, taking place under the protection of Prince Francesco Gonzaga in the “Academia degl’Invaghiti”. Several annotations in the score, usually in past tense, underline this peculiaraspect: “this chorus was accompanied by ...”, “this dance number was sung to the accompaniment...”, this ritornello was played...”, etc. Preface (Ger-Eng), including a detailed critical apparatus, by one of the great Monteverdi specialists. Hardbound with reproduction of the composer’s portrait on the front cover. $58
(more info... )
[item no.7625]
Heinichen. Neu erfundene & Gründliche Anweisung (DM I/40)
Documenta Musicologica, I/40. Kassel, 1999. 8º, Line-cut of the Hamburg, 1711 edition. Introduction in Ger-Eng-Fr. Hardbound. $70
[item no.7874]
Silesius. Heilige Seelen-Lust (DM I/41)
Documenta Musicologica, I/41. Kassel, 2004. 16˚, 53, 724 pp. Line-cut of the Breslau, 1668 edition. Collection of Counter-Reformation songs belonging to the a tradition of religious pastoral in which Jesus is portrayed as the shepard, and the soul as his longing bride. The songs are mostly by Georg Joseph; the texts are of a simple lyric styleset with various common strophic forms. Hardbound. $75
[item no.8489]
Scheibe. Ueber die musikalische Composition (DM I/42)
Documenta Musicologica, I/42. Kassel, 2006. 8˚, 708 pp. Line-cut of the Leipzig, 1773 edition. Scheibe, composer and publicist, wrote this important treatise—considered one of the most comprehensive treatments of 18th-c. music and its fundamentals—near the end of his life; he was only able to finish the first part, reproduced here in itsentirety. Hardbound. $109
[item no.8758]
Deutsche Gesangstraktate des 17. Jh (DM I/43)
Documenta Musicologica, I/43. Kassel, 2006. 16˚, 53, 724 pp. Line-cut of 3 complementary vocal treatises published in Germany in the 17th century. Hardbound. $50
[item no.8672]
Das Buxheimer Orgelbuch (DM II/1)
Documenta Musicologica, II/1. Kassel, 1955. 23 x 31 cm, 349, vii pp. Halftone of the most complete repositories of early Renaissance keyboard music notated in tablature. Pieces ranging from drinking songs to settings of Gregorian melodies.
[item no.1405]
Codex Escorial, Ms. V.III.24 (DM II/2)
Documenta Musicologica, II/2. Kassel, 1958. 17 x 25 cm, 124, 5 pp. 2-color line-cut of a North Burgundian chansonnier from the Dufay-Binchois period. Collection of 62 pieces. Afterword in Ger. Coverboards in beautiful vellum paper. $225
[item no.1398]
Lochamer-Liederbuch / Fundamentum organisandi (DM II/3)
Documenta Musicologica, II/3. Kassel, 1972. 18 x 24 cm, 96, 16 pp. (Rpt. of Berlin, 1925 edition). 15th c. German chansonnier, bound together with an organ collection notated in tablature. 47 anonymous pieces with music, 44 of them are lieder: 35 a1, 2 a2, and 7 a3. Revised/abridged afterword (lacks the diagrams and discussion of watermarks ofthe 1925 edition); bibliography and index of compositions. Coverboards in beautiful vellum-like paper.
[item no.1415]
Les traités d’Henri-Arnault de Zwolle (DM II/4)
Documenta Musicologica, II/4. Kassel, 1972. 25 x 35 cm, 60, 23 plates pp. (Rpt. of Paris, 1932 edition). Halftone. Afterword in Fr. Coverboards in decorative paper.
[item no.1404]
Bendinelli. Tutta l’arte della trombetta 1614 (DM II/5)
Documenta Musicologica, II/5. Kassel, 1975. 28 x 41 cm, ii, 116 facs, v pp. Halftone of the 1614 ms. One of earliest treatises on trumpet playing by the leader of the trumpet ensemble at the princely court in Munich from 1580-1617. Includes 27 ricercare & 27 toccatas for solo trumpet, as well as over 330 sonatas for various trumpet ensembles.Afterword in Ger. Coverboards in decorative paper. $148
[item no.1163]
Schubert. 3 Sym.-Fragmente D.615, 708A, 936A (DM II/6)
Documenta Musicologica, II/6. Kassel, 1978. Oblong, 35 x 27 cm, 26, v pp. Monochrome halftone. Afterword in Ger-Eng. Limited numbered edition of 1000 copies. Coverboards in decorative paper.
[item no.572]
Mozart. Die Zauberflöte (DM II/7)
Documenta Musicologica, II/7. Leipzig/Kassel, 1979. 33 x 26 cm, 454 pp. 3-color halftone of the autograph score. Separate commentary booklet in Ger-Fr-Eng. Linen, with slipcase in decorative paper.
[item no.444]
Mozart. Sinfonie in C KV 551 (“Jupiter”) (DM II/8)
Documenta Musicologica, II/8. Kassel, 1978. Oblong, 33 x 25 cm, 28 (booklet), 103 pp. Beautiful 3-color collotype issued on the occasion of the return of the ms to the Deutsche Staatsbibliothek in 1977. Commentary in Ger-Eng-Fr. Linen. (also see OMI #470 which is identical except for different title page). $175(more info... )
[item no.471]
Mozart. Messe c-moll KV 427 (417a) (DM II/9)
Documenta Musicologica, II/9. Kassel, 1983. Oblong, 33 x 25 cm, 146, vi pp. 2-color collotype of the autograph score dating from 1783. This magnificent mass was actually begun in the summer of 1782 just before the time of his marriage to Constanze Weber in August, and Mozart vowed to perform it in honor of their wedding. Like the Requiem,however, it was never finished: if written as intended, like Bach’s B Minor Mass, which the composer had recently encountered through Baron von Swieten—it would be an hour and a half in length. Only the Kyrie and Gloria were complete, the Credo had only two of its movements, both of which needed some parts to be orchestrated, and the Sanctus andBenedictus needed the music of the second chorus to be filled in where the chorus divides (modern editions today take care of these shortcomings in more or less convincing ways). Mozart wrote to his sister that Constanze loved this kind of music (i.e. the fugal-laced choral music of Bach and Handel). Constanze, trained as a singer, sang at theOct. 1782 premiere of the mass the demanding first soprano part including the famous, difficult, and ethereal "Et incarnatus est" (adapted from Martin Pearlman). Afterword in Ger by Karl-Heinz Köhler. Printed on fine natural paper with handsome binding in linen.
(more info... )
[item no.441]
Bach. Konzert c-Moll, 2 Cemb./Sonate A-Dur (DM II/10)
Documenta Musicologica, II/10. Kassel, 1979. 22 x 36 cm, 26, 40 pp. Four-color reproduction. Title page in the hand of C.P.E. Bach. Introduction (Ger-Eng). Coverboards in brown-marbled paper. $55
[item no.102]
Bach. Orgelbüchlein, BWV 599-644 (DM II/11)
Documenta Musicologica, II/11. Kassel, 4/ 1999. Oblong, 20 x 17 cm, xxviii, 184 pp. 2-color collotype reproduction of the autograph manuscript. The most important and comprehensive chorale collection in the organ repertory. Codicologically the manuscript—a torso—tells us a lot about the developmental process of the collection and suggests thatBach had been compiling the Orgelbüchlein over several years. Although an anthology of 164 chorale arrangements was intended, only about one third that amount was actually copied. Nearly all of these originate from the Weimar period (1708-1717). Introduction in German, with index. Hardbound.(more info... )
[item no.78]
Bach. Orgelbüchlein, BWV 599-644 (DM II/11)
Documenta Musicologica, II/11. Kassel, 1981. Oblong, 20 x 17 cm, xxviii, 184 pp. 2-color reproduction of the most important chorale collection in the organ repertory. Introduction in Ger-Eng-Fr and complete index. Linen with slip case in marbled paper.(more info... )
[item no.9566]
Bach. Orgelbüchlein, BWV 599-644 (DM II/11)
Documenta Musicologica, II/11. Kassel, 2/1984. Oblong, 20 x 17 cm, xxviii, 184 pp. 2-color reproduction of the most important chorale collection in the organ repertory. Introduction in Ger-Eng-Fr and complete index. Linen with slip case in marbled paper.(more info... )
[item no.9591]
Bach. Messe in h-moll. BWV 232 (DM II/12)
Documenta Musicologica, II/12. Kassel, 1965. 24 x 37 cm, 188 facs, 12 pp. (Rpt. of Leipzig, 1924 edition). Halftone. Foreword in Ger-Eng. Coverboards in vellum paper, with slipcase.
[item no.7597]
Bach. Messe in h-moll. BWV 232 (DM II/12)
Documenta Musicologica, II/12. Kassel, 2/ 1984. 24 x 37 cm, 188 facs, 12 pp. (Rpt. of Leipzig, 1924 edition). Halftone of the autograph score. Foreword in Ger-Eng. Coverboards in vellum paper, with slipcase.
[item no.42]
Bach. Christmas Oratorium BWV 248 (DM II/13)
Documenta Musicologica, II/13. Kassel, 1960. 23 x 38 cm, 148 facs, xii pp. Fine 2-color collotype. Afterword in Ger-Eng. Coverboards in beautiful vegetable paper with title embossed on blue leather label. Slipcase. $275
[item no.50]
Bach. Christmas Oratorium BWV 248 (DM II/13)
Documenta Musicologica, II/13. Kassel, 2/ 1984. 23 x 38 cm, 148, xii pp. (Rpt. of Casel, 1960 edition). 2-color collotype of the autograph score. The longest (mear;u 3 hours in duration) and most complex of 3 oratorios written 1734-35, incorporating music from earlier works including two secular and one church cantata (BWV 248a). In 6 parts, eachpart intended for performance on one of the major feast days of the Christmas period:. 1) birth of Christ; 2) annunciation of the shepherds; 3) adoration of the shepherds; circumcision and naming of Jesus; 5) journey of the Magi; 6) adoration of the Magi. Afterword in Ger-Eng. Coverboards in beautiful turquoise paper with embossed title.(more info... )
[item no.3948]
Bach. Unser Mund sei voll Lachens, BWV 110 (DM II/14)
Documenta Musicologica, II/14. Kassel, 1990. 23 x 37 cm, xi, 40 pp. Collotype of the autograph score. Composed in December 1725 for the first Christmas day feast. Scored for solo SATB, SATB chorus, 2 fl, 3 ob, ob d’amore, ob da caccia, bsn, 3 tpt, timp, strs, org & bc. The introductory movement is based on the Overture in D major (BWV 1069). Thereworking of the middle part is considered one of the best examples of Bach’s recasting skills. Introduction in Ger-Eng. Portfolio in green linen.
[item no.4028]
Rostock Liederbuch: Niederdeutsche Hs (DM II/18)
Documenta Musicologica, II/18. Kassel, 1987. 17 x 24, Oblong, 23 x 15 cm, 113, 5; 44 pp. 2-color halftone of the c.1475 songbook. Includes 27 monophonic pieces and 2 a 2. Forms 6 concordances with the “Lochaimer Liederbuch”. Together with a reprint of the important study by Ranke and Müller-Blattau (Halle, 1927). Cloth.
[item no.3975]
Bach. 6 Sonaten für Orgel BWV 525-530 (DM II/19)
Documenta Musicologica, II/19. Kassel, 1988. 22 x 36 cm, viii, 56 pp. 2-color halftone of the autograph score. This splendid autograph is considered one of the most instructive of all Bach mss, not only by the harmony of the music and its graphic depiction, but also by the way it highlights the way the master copied. According to Forkel they werecomposed for Bach’s eldest son, Wilhelm Friedemann. Introduction in Ger-Eng. Handsome binding in grey linen, with titles embossed in gold. (recommended alternate: OMI item no.2016)(more info... )
[item no.2819]
Mozart. Klavierkonzert F-Dur KV 459 (DM II/20)
Documenta Musicologica, II/20. Kassel, 1988. Oblong, 33 x 24 cm, 91, x pp. Halftone of the autograph score. This was the sixth concerto for piano that Mozart composed in 1784. In its form and appearance this autograph is a good example of the composer’s first and final copy–there is no evidence of any intermediate stages. Afterword in Ger-Eng.Coverboards in laid paper. Rare.
[item no.1669]
Mozart. “Bella mia fiamma” KV 528 (DM II/21)
Documenta Musicologica, II/21. Kassel, 1989. Oblong, 33 x 24 cm, 24, 16 pp. Halftone of the autograph score signed “Praga li 3 di Nove / 1787”. Written for the soprano Josefa Duschek, a friend of the composer. Scored for strings, flute, oboes, & horns. Helmut Hell has established that the text was drawn from a festa teatrale, Cerere placta(1772), by Niccolò Jommelli. Afterword in Ger-Eng. Coverboards in laid paper.
[item no.1667]
Mozart. “Misero! O sogno”-“Aura, che intorno”(DM II/22)
Documenta Musicologica, II/22. Kassel, 1988. Oblong, 33 x 24 cm, 32, xiii pp. Halftone of the autograph score. This popular concert aria is believed to have been first performed in a concert organized by Mozart himself in 1783. Although the author of the text is unknown, it seems that it may have formed part of an opera seria. Afterword inGer-Eng. Coverboards in laid paper. $56
[item no.1668]
Mozart. Klavierkonzert B-dur K.595 (DM II/23)
Documenta Musicologica, II/23. Kassel, 1989. Oblong, 33 x 25 cm, 103, 11 pp. Halftone of the autograph score of Mozart’s last piano concerto, together with the original cadenzas to the first and third movements and the lead-in to the first fermata in the last movement. Afterword in Ger-Eng. Coverboards in decorative paper.
[item no.3046]
Bach. Sei solo a violino senza basso accomp.(DM II/24)
Documenta Musicologica, II/24. Kassel, 1988. 21 x 33 cm, 16, 44 pp. Halftone (offset). Reprint of 1958 edition with a completely new introduction in Ger-Fr-Eng. Coverboards in laid paper. $62
[item no.3194]
Bach. Klavierbüchlein für Anna Magd. Bach (DM II/25)
Documenta Musicologica, II/25. Kassel, 1988. Oblong, 28 x 21 cm, 146 facs. xxii pp. Superb 4-color halftone in the original format. Arias, minuets, polonaises, marches and other short pieces of “galanterie” by Bach, his children, and a few visitors in the Bach home. Pieces arranged chronologically (except for the last section) with the earliestcompositions from 1725 and the latest from the late 1740s. Almost every member of Bach family has helped to copy the Buchlein–only Wilhelm Friedemann is absent. Afterword in Ger-Eng-Fr. Index with identification of the copyist of each piece. Handsome binding with green glossy paper boards and gold trim. $72(more info... )
[item no.3047]
Mozart. Eine kleine Nachtmusik, Serenade (DM II/26)
Documenta Musicologica, II/26. Kassel, 1989. Oblong, 33 x 25 cm, 14, 5 pp. (Rpt. of Cassel, 1955 edition). Halftone, with new introduction in Ger-Eng-Fr. Coverboards in paper. $75
[item no.3645]
Mozart. Requiem. Faksimile-Ausgabe (DM II/27; MM 6)
Documenta Musicologica, II/27 = Musica Manuscripta, VI. Graz & Kassel, 1990. Oblong, 35 x 26 cm, 3 vols, 200, 40 pp. First complete facsimile of the autograph parts and sketches with the finishing work of Süßmayr and others. 3 volumes, 2 of autographs plus commentary in Eng-Ger by Günter Brosche. Superb 4-color halftone in the original format.Wrappers in period design with slipcase in decorative paper.(more info... )
[item no.3657]
Schumann. Klavierkonzert a-Moll, op.54 (DM II/28)
Documenta Musicologica, II/28. Kassel, 1996. Oblong, 33 x 25 cm, 192, 25 pp. Halftone of the autograph score (composing copy). Documents the evolution of the piece, from its original one-movement conception (Phantasie für Clavier) through various reworkings and the addition of the intermezzo, rondo finale, and a section connecting the second andthird movements, notated in the original by a pasted in page. Afterword in Ger-Eng. Hardbound.
[item no.7230]
Schubert. Mass No.6 E-flat Major D 950 (DM II/29)
Documenta Musicologica, II/29. Kassel, 1996. Oblong, 32 x 24 cm, xviii, 168 pp. Halftone reproduction of the full score (complete working copy) completed in the summer of 1828, 6 months before the composer’s death. Includes all extant drafts. considered one of Schuberts most expressive sacred works. Commentary in Eng-Ger. Hardbound. $124(more info... )
[item no.7313]
Mozart. Missa in C KV 317. Krönungsmesse (DM II/30)
Documenta Musicologica, II/30. Kassel, 1998. Oblong, 25 x 20 cm, 116, 12 pp. Full-color halftone of the autograph, issued on the occasion of the 1200th anniversary of the founding of Archdiocese of Salzburg. The Mass in C, Mozart's most popular sacred work from his Salzburg years, was composed according to the terms of his contract as organist atthe Salzburg court for Easter Sunday, 4 April 1779. Structurally it conformed to the type of “Solemn and Short Mass” preferred by the Archbishop Hieronymus. Mozart nicely describes the nature of this mass in a letter to Padre Martini: “Our church music is very different from that of Italy, all the more so since a mass with all movements... evenfor the most solemn occasions, when the sovereign himself reads the mass, must not last more than 3 quarters of an hour. One needs a special training for this type of composition, and it must also be a mass with all instruments - war trumpets, tympani etc. . . .” The “special training” to which Mozart is referring is the structural compactnessand unity of form, for instance in the rondo design of the Credo or in the recalling of themes in the Kyrie and Dona nobis pacem (E. Hintermaier). (This facsimile was distributed in two separate issues, one by the Internationale Stiftung Mozarteum Salzburg, and the other by Bärenreiter-Verlag, Kasssel in the series Documenta Musicologica, v.II/30. Red linen binding with gold lettering.)
(more info... )
[item no.3953]
Froberger. Toccatas, Suites, Lamenti. Ms. SA 4450 (DM II/31)
Documenta Musicologica, II/31. Kassel, 2004. 25 x 35 cm, xxv, 75, 55 pp. Full-color reproduction of a contemporary ms copy, together with a new engraved edition. This ms resurfaced in 1999 and was returned to the archives of the Sing-Akademie in Berlin in 2001. It was probably prepared from autograph originals by the Hamburg organist JohannKortkamp, ca.1665-1670 and contains a total of 21 authentic Froberger compositions (6 toccatas, 13 suites, 2 lamenti). Besides providing the first reliable readings for most of the works, it also contains titles, explanations (especially elucidating the piece with “26 numbered Passages”) and dedications that shed valuable light on Froberger’slife. Preface in Ger/Eng. Hardbound.
(more info... )
[item no.8447]
Handel. Musick for the Royal Fireworks (DM II/32)
Documenta Musicologica, II/32. Kassel, 2004. 4˚, 26, 70 pp. Handel's great outdoor piece for strings and wind band. Halftone of the 1749 autograph score, composed for the celebration of the Treaty of Aix-la-Chapelle. The overture is the longest single instrumental movement that Handel wrote and is scored for tpt 1-3 (x3), hn 1-3 (x3), ob 1-3(x12, x8, x4), bsn 1-2 (x8, x4), timp (3 pairs), & bc. The manuscript also includes 2 concerti, HWV 335a and 335b, intended as interludes during oratorio performances, scored for strings, 2 ob, 2 tpt (only HWV 335a), 4 hn, bsn, timp, & bc (organ). This is a fascinating score, in Handel’s forceful script, showing his erasures by smudging, hisclarifications by writing note letters over a correction, and his normal abbreviations for colla parte using custodes. The manuscript also bears evidence of arguments over scoring that went on with the civil servants organizing the spectacle. Preface in Ger/Eng. Hardbound. $68
(more info... )
[item no.8448]
Bach. “Alles mit Gott & nichts ohn’ ihn” BWV 1127 (DM II/33 & FRnf)
Documenta Musicologica, II/33 (= Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge). Kassel, 2005. 4°, 8, 15 pp + audio CD. Color halftone facsimile of the autograph manuscript rediscovered in May 2005 in Weimar. The aria, consisting of 12 verses, was composed in 1713 to celebrate the 53rd birthday of Duke Wilhelm Ernst ofSaxe-Weimar. Together with CD containing the world premiere recording with soprano Elin Manahan Thomas and the English Baroque Soloists conducted by Sir John Eliot Gardiner. Afterword in Ger-Eng. Decorative marbled paper coverboards with pasted title etiquette and red linen spine. $70(more info... )
[item no.8629]
Handel. Crudel tiranno amor. Cantata (DM II/34)
Documenta Musicologica, II/34. Kassel, 2006. Oblong, 4˚, iv, 12, 24 pp. Color facsimile of the recently rediscovered autograph fair copy. This exciting find was made in 2004 by Berthold Over and presents a different version of the aria arranged for solo soprano and realized keyboard (it was originally written for solo voice and orchestra). Thethree arias and two recitatives are transposed up one step from the orchestral version. The Munich autograph also has been given additional ornaments including numerous trills and slides in the vocal part. The new source is also very instructive for questions regarding performance practice, as Handel did not merely reduce the musical texture ofthe aria to an instrumental upper voice, vocal part, and bass, but the left hand of the keyboard part is often in two voices, whether in real two-part counterpoint or in doubled octaves. The autograph realization departs in several respects from realizations commonly used today, being very full in its sonority, and sometimes both the the rightand left hands have to play multi-note chords. The realization—in the “full-voiced accompaniment”—makes no attempt to avoid doubled thirds or parallel fifths and octaves. Preface in Ger/Eng, together with practical edition. Hardbound. $63
(more info... )
[item no.8697]
Bach. Messe in h-moll. BWV 232 (DM II/35 & FRnf 2)
Documenta Musicologica, II/35 (= Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, [2]). Kassel, 2007. 24 x 35 cm, viii. 216, xxxvii, 7 pp. New color facsimile of the autograph score based on newly commissioned photographs. Limited bibliophile edition of 500 numbered copies. Afterword in Eng-Ger-Jap. Handsome binding with leatherspine and boards in decorative paper. $427 (more info... )
[item no.8757]
Elgar. Concerto for Violoncello & Orchestra op.85 (DM II/36)
Documenta Musicologica, II/36. Kassel, 2007. 25 x 34 cm, xix, 134 pp. Facsimile of the autograph score issued on the 150th anniversary of the composer’s birth. Reproduces Elgar’s numerous colored corrections and additions as well as preparations for the printed score and last minute changes. One of the great concertos of the cello repertoire,the work, composed shortly before the death of the composer’s wife in 1920 and in the aftermath of a ghastly war, is considered by many as his last masterpiece. Introduction in Eng-Ger. Handsome binding with torquise paper boards with reproduction of Cuno Amiet’s “The Cellist”. $144(more info... )
[item no.8808]
Buxtehude. Herr, ich lasse dich nicht BuxWV36 (DM II/37)
Documenta Musicologica, II/37. Kassel, 2007. 4°, 34 pp. Full-color facsimile of the autograph parts—recently identified by Peter Wollny—for the dialogue cantata “Herr, ich lasse nicht” from the Düben Collection of Uppsala University Library. This source represents the only known set of original performance material for a work by Buxtehude.Together with a new critical edition. Commentary in Ger-Eng. Hardbound. $70
[item no.8809]
Tabulatur Lüdingworth. Norddeutsche Orgelmusik (DM II/38)
Documenta Musicologica, II/38. Kassel, 2007. 4°, xxi, 8, 6 pp. These recently rediscovered leaves, reproduced here in a full-color facsimile edition, contain the earliest known organ chorale by a Lutheran organist (associated with the world famous Arp Schnitger organ in Lüdingworth) and documents the earliest available sources of late Germanorgan tablature. Together with a new critical edition. Commentary in Ger-Eng. Hardbound. $53
[item no.8866]
Weimarer Orgeltabulatur (DM II/39 & FRnf 3)
Documenta Musicologica, II/39 (= Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, 3]. Kassel, 2007. 23 x 30 cm, xxxv, 48 pp; 18 pp. Recently rediscovered manuscript in the Herzogin Anna Amalia Bibliothek, Kassel consisting of four fascicles notated in organ tabulature: I) Johann Adam Reinken, “An Wasserflüssen Babylon”; II) DietrichBuxtehude, “Nun freut euch lieben Christen g’mein”; III) Johann Pachelbel, “An Wasserflüssen Babylon”; IV) Johann Pachelbel, “Kyrie Gott Vater in Ewigkeit” + Fuga. The Bach portion of this rare source—fascicles I & II—has been dated c.1700, making it the earliest testimony we have of the master’s autograph. The colophon at the end of fascicle Iconveys, for the first time, specific information underscoring the significance of Bach’s stay in Lüneburg for the transmission of North German organ music in Thuringia. Preface in Ger-Eng, together with new critical edition. Wrappers/portfolios, in box.
[item no.8797]
Handel. Messiah HWV 56. Autograph (DM II/40)
Documenta Musicologica, II/40. Kassel, 2008. 4°, viii, 284, 56 pp. Full-color facsimile edition of the autograph score, issued on the occasion of the 250th anniversary of the composer's death. Commentary in Eng-Ger-Jap. Handsome bibliophile binding with linen spine and decorative paper boards. Special OMI price. $575(more info... )
[item no.8998]
Mendelssohn. Overture to A Midsummer Night’s Dream (DM II/41)
Documenta Musicologica, II/41. Kassel, 2009. 27 x 37 cm, xiii, 60, 57 pp. Full-color facsimile of the elegant fair copy autograph score (formerly Deutsche Staatsbibliothek, Mus. ms. autogr. Mendelssohn 21), and monochrome reproduction of a fragmentary autograph score (Bodleian Library, Ms. Deneke-Mendelssohn B 5)—the only surviving sources of theoverture. This work of youthful genius was written in 1826 during a carefree summer spent at the summer house among his siblings at a time when the composer became immersed in the works of Shakespeare through Schegel and Tieck translations. An enchanted night, virtually fragrant dreams, floating fairies—the sensory associations evoked andfashioned by the music of Mendelssohn’s overture A Midsummer Night’s Dream are almost inexhaustible. This is without doubt Mendelssohn’s most popular concert overture. The score is innovative as well, for example, in the ordering in the instruments—proceeding woodwinds, percussion, strings, with the bass fiddle at the bottom—, though peculiar forthe time, coincides with modern accepted convention. The autograph score also calls for the rare "corno inglese di basso", usually substituted by the ophecleide, bass bassoon or bass trombone. Handsome bibliophile edition issued on the occasion of the 200th anniversary of the composer's birth. Handsome binding with decorative paper boards,burgundy linen spine, and pasted title etikette. Commentary in Eng-Ger-Jap. Special OMI price. $169
(more info... )
[item no.9033]
Beethoven. Sinfonie No.9 op.125 (DM II/42)
Documenta Musicologica, II/42. Kassel, 2/ 2019. 37 x 40 cm, viii, 436, 42 pp. Full-color facsimile of the autograph fair copy in the original format. With his Ninth Symphony Beethoven ventured into new musical dimensions. In the final movement soloists and chorus join forces with the orchestra and Schiller’s “Ode to Joy” becomes a globalaspiration, a declaration: “Alle Menschen werden Brüder” (all mankind becomes brothers). In his commentary the Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, editor of Beethoven’s works, comments onnoteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process. Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the lastdetail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann, director of the Music Department at the Staatsbibliothek in Berlin traces thisstory. For the first time the facsimile present all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. Hardbound, with decorative paper and linen spine. Commentary in Eng-Ger-Jap. Special OMI price. $995
(more info... )
[item no.9595]
Dvořák. Koncerto op.104 pro violoncello (DM II/43)
Documenta Musicologica, II/43. Kassel, 2011 Oblong, 4°, 122, 32, 34 pp. Full-color facsimile of the autograph score and autograph piano reduction (B/W reproduction). Now considered to be one of the most popular orchestral works today Dvořák wrote this during his second stay in the U.S. Commentary in Eng-Ger. Hardbound, with decorative paper andlinen spine. Out of print, few copies remaining.(more info... )
[item no.9198]
[Byrd] My Ladye Nevells Booke (DM II/44)
Documenta Musicologica, II/44. Kassel, 2012 Oblong, 8°, 394, 7 pp Duo-tone facsimile of one of the most beautifully written music manuscripts to survive from the late 16th c. and is still preserved in its original ornate binding. It was painstakingly compiled by the Windsor-based scribe John Baldwin, who completed work on it on 11 September 1591.Baldwin seems to have worked under the direction of the composer of all the pieces in the book, William Byrd, and clearly thought highly of him, describing him elsewhere as one “whose greate skill and knowledge: dothe excelle all at this tyme: and farre to strange countries: abroade his skill dothe shyne”. By 1591 Byrd was mid-way through hiscareer as composer of church music and secular vocal and instrumental music. The MS provides a snapshot of the keyboard music he had composed by that date and is an exceptionally important source for his music. It contains some of his best-known compositions for keyboard, including variations on the popular tunes 'Sellinger's Round' and 'All in aGarden Green'. It also includes music written by Byrd specially for the dedicatee of the MS, 'Ladye Nevell'. She has recently been identified as Elizabeth, wife of Sir Henry Nevill of Billingbere, Berkshire. Her family's coat of arms adorns a leaf at the front of the MS. The MS was accepted by HM Government in Lieu of Inheritance Tax andallocated to the British Library in April 2006, with additional funding from donors. (adapted from BL description). Commentary in Eng-Ger. Hardbound. $228
(more info... )
[item no.9297]
Wagner. Tristan und Isolde (DM II/45)
Documenta Musicologica, II/45. Kassel, 2012 29.5 x 41 cm, 354, 17, 20 pp. Full-color facsimile of the autograph score issued on the occasion of the 200th anniversary of Wagner's birth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composingand later used for sketches. While working on the score to Tristan und Isolde, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the dawn of the modern era and to this day it has not lost any ofits fascination. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The Tristan manuscript is an example of this but it also bears traces of his working process. It is precisely this aspect of the autograph that makes it fascinating. Reading it, oneis witness to Wagner’s highly-concentrated, powerful and relentless writing. It evokes the aura of a singular individual. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper boards. $977
(more info... )
[item no.9296]
Mozart. Eine kleine Nachtmusik, Serenade K.525 (DM II/46)
Documenta Musicologica, II/46. Kassel, 2013. Oblong, 34 x 25 cm, 14, 24 pp. New color facsimile of the autograph score in its original loose bifolio and folio format. Afterword in Eng-Ger. Limited bibliophile edition with beautiful clam shell case covered in moire fabric. $239(more info... )
[item no.9331]
Bach. Matthäus-Passion BWV 244 (DM II/47)
Documenta Musicologica, II/47. Kassel, 2013. 24 x 35 cm, x, 168, 30 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger. Limited bibliophile edition with binding with leather spine and boards in decorative paper. Out of print.(more info... )
[item no.9327]
Mozart. Piano Concerto in C minor K.491 (DM II/48)
Documenta Musicologica, II/48. Kassel, 2014. Oblong, 34 x 25 cm, 74, 40 pp. Beautiful color halftone of the autograph fair copy completed on March 24, 1786. In his fascinating preface Colin Lawson, Director of the Royal College of Music, describes the journey made by Mozart’s autograph following its sale in 1800 by Constanze, Mozart’s widow, toits eventual resting place in London where it is the jewel in the RCM’s extensive collection of historic manuscripts. The Piano Concerto in C minor K. 491 is one of Mozart’s greatest piano concertos not least because of the dramatic character of its minor key (it is one of only two piano concertos composed in minor keys). It also has the largestorchestra he ever used in a piano concerto and the only piano concerto to use both oboes and clarinets. Written in 1786 during a period of almost feverish activity, it was completed only 22 days after the A major concerto K. 488 and during composition of The Marriage of Figaro. The autograph is exceptional in that Mozart records sketches that helater enlarged and extensively revised for the score thus allowing us an insight into his creative process. Mozart’s work appears here for the first time in a color facsimile, making it possible to easily recognize the contrasting colors of ink. The renowned Mozart scholar and pianist Robert Levin has written an illuminating commentary. Heexplains Mozart’s method of composition and guides the reader page by page through the autograph. This high-quality facsimile truly is a fascinating insight into Mozart’s art of composition. Hardbound with linen spine and decorative paper boards. $289
(more info... )
[item no.9359]
Die “Liebeslieder-Walzer” von Brahms. Faksimile (DM II/49)
Documenta Musicologica, II/49. Kassel, 2014. Oblong, 34 x 25 cm, 28, 71 pp, w/41 illus, & CD. Beautiful full-color facsimile of the autograph, issued on the occasion of a special symposium held at the Zentralbibliothek Zürich when the ms was officially placed on permanent loan by the Swiss bank UBS. This valuable manuscript, completed inRüschlikon outside of Zürich in the summer of 1874, and lost until 1991, is Brahms’ second set of love songs, building on his successful Liebeslieder Walzer op.52. Written for a vocal quartet and four-hand piano duo and intended as chamber music for use at home, the Neue Liebesliederwalzer are an eclectic mix of love-poems from many lands,including Turkey, Poland, Latvia, and Sicily (trans. into German by George Friedrich Daumer); the work concludes with Goethe’s “Zum Schluß”. The humorous casting of solo parts includes: bass as enraptured paramour, alto as jilted lover, tenor as Lothario, and soprano, a woman repeatedly unlucky in love. Commentary (in Ger) with 41 illustrationsby Urs Fischer, Urs A. Müller-Lhotska, Otto Biba, Ingrid Fuchs, Wolfgang Sandberger, Inga Mai Groote, and Christiane Wiesenfeldt. Facsimile printed on fine laid paper with hand-stiched binding (after the original), housed with commentary and audio CD in a handsome clamshell case. $158
(more info... )
[item no.9407]
Bach. Wohltemperirtes Clavier. 1. Teil (DM II/50)
Documenta Musicologica, II/50. Kassel, 2015. 20 x 32 cm, xxx, 90 pp. Deluxe 4-color facsimile of the autograph score based on newly commissioned photographs. The preludes and fugues of The Well-Tempered Clavier embrace an entire cosmos of compositional devices and musical characters—the ne plus ultra of ‘unity through diversity’. Here Bach notonly presented the sum total of keyboard artistry in his day but foresaw its future evolution. His treatment of the keys marked a turning point in music history. The autograph score, originally a fair copy, contains later revisions and alterations reflecting the composer at work. Bach authority Christoph Wolff provides a commentary to the work’sgenesis and the characteristics of Bach’s handwriting. Martina Rebmann (Staatsbibliothek Berlin) describes the subsequent history of the autograph. Afterword in Eng-Ger. Limited bibliophile edition, binding with leather spine, boards in decorative paper and pasted title etikette. A note on the MS and its facsimiles: Previous facsimile editions (1962-1989) exhibit on some pages a "screen" effect, the result of a silk chiffon overlay that curators applied to Bach's MS to prevent crumbling of the paper. Curators discovered that the chiffon was actually damaging the paper more, so in the early 80s the original MS was withdrawn from public view. To finally solve the problem ofdeterioration—much of it due to the corrosive quality of the ink—curators turned to a method called "paper splitting", where front and reverse side of each leaf is split, and an alkali-buffered paper laid in between; during the process imperfections in the leaves are repaired with the finest cellulose fibers. The leaf is also treated with achemical to stop the process of corrosion; in the end the damaging silk chiffon could be completely removed. This new facsimile edition presents the MS—for the first time—in its post-restoration state, without silk chiffon, significantly improving the vividness of Bach's handwriting, a true joy for Bach lovers. Out of print.
(more info... )
[item no.9413]
Beethoven. Missa Solemnis (DM II/51)
Documenta Musicologica, II/51. Kassel, 2016. Oblong, 45 x 40 cm, 351, 27 pp. Deluxe 4-color facsimile of the autograph working score. William Drakbin describes the genesis of the mass as “the longest, most arduous struggle in Beethoven’s career as an artist”, with equally complex history of its sale to B. Schott after years of calculating withother publishers. 4 of the 5 movements of the Missa Solemnis survive today, the Kyrie, 50 pp in upright format, and the last three movements, Credo, Agnus and Sanctus, 286 pp in oblong format. The Gloria unfortunately disappeared soon after Beethoven’s death. Deluxe edition with leather spine. $895(more info... )
[item no.9506]
Bach. Cantata BWV 20 O Ewigkeit, du Donnerwort (DM II/52 & FRnf 9)
Documenta Musicologica, II/52 (= Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, [9]). Kassel, 2017. 24 x 35 cm, 24 + 64; 16 pp. Color facsimile of the autograph score and performing parts. (The score was acquired by the Bach Archive Leipzig in 2016, making it possible, for the first time, to reunite the original performancematerial and the autograph score.) The work is based on a church hymn by Johann Rist that depicts, in riveting language, the terrors of the Last Judgment and the torments of Hell, followed by an admonition to live a life pleasing to God. The poem inspired Bach to write one of his most impressive church compositions altogether. Scored for soloATB, SATB chorus, 3 ob, tpt, 2 vln, vla, & cont. The facsimile offers invaluable insight into the composer’s workshop and the changing conditions for performances under his direction. Afterword in Eng-Ger. Limited edition of 250 copies presented in clam shell case. $369
(more info... )
[item no.9534]
Berlioz. Symphonie fantastique op.14 (DM II/53)
Documenta Musicologica, II/53. Kassel, 2017. 24 x 35 cm, 290, 20 pp. Color facsimile of the autograph score, one of the greatest treasures of the Bibliothèque Nationale. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score, which was also used forperformances, by pasting strips of paper over the bars or parts in question. This facsimile edition, in high-quality 4-color reproduction, presents the manuscript as it is today—with strips of paper that can be folded out, making both versions visible. Commentary in Eng-Ger-Fr. Hardbound with quarter leather spine and boards in colorful paper.$922
(more info... )
[item no.9541]
Bach. Christmas Oratorio BWV 248 (DM II/54)
Documenta Musicologica, II/54. Kassel, 2018. 23 x 38 cm, 148, xl pp. Deluxe 4-color facsimile of the autograph score. This is the most authoritative facsimile of the Christmas Oratorio to date, based on the restored manuscript (2002) and new high-quality digital photography (2009). The Oratorio, with its six parts, has become dear to the heartsof countless music lovers all over the world. What sounds today as if it could never have been otherwise, in reality dates back in part to earlier Bach pieces that he re-texted and adapted for the new purpose. The autograph “betrays” Bach’s working methods in the very first chorus: he underlaid the words of a version from the birthday cantataTönet ihr Pauken only to cross them out and replace them with the famous Jauchzet, frohlocket. Other passages in the autograph likewise reveal traces of self-borrowing. Some corrections allow the reader to look over the composer’s shoulder, as it were, and watch him transforming an aria step by step into its present form or struggling to find adefinitive version for a short recitative. In contrast, other pages are written out in an immaculate fair hand. With this publication Bärenreiter’s trilogy of Bach choral masterpieces—Mass in B Minor, St. Matthew Passion and Christmas Oratorium—is now complete and modern, combining advanced 21st-century photolithography with the latest editorialcontributions of Christoph Wolff. Limited bibliophile edition, binding with leather spine, boards in decorative paper and pasted title etikette. $444
(more info... )
[item no.9568]
Beethoven. String Quartet op.130 / Große Fugue (DM II/55)
Documenta Musicologica, II/55. Kassel, 2019. Oblong, 4°. viii, 252, 26 pp. Full-color facsimile of the autograph, dispersed now among six libraries around the world (movt I - Bibl. Jagiellońska Kraków; II - Library of Congress Washington; III - Bibliothèque Nationale Paris & Badische Landesbibl. Karlsruhe; IV - Maravské zemské muzeum Brno; V & VI
-Staatsbibliothek zu Berlin. The autograph ranges from fair copy to composing copy and includes 7 paste-over corrections (2 of them full page), meticulously reproduced in this exceptional facsimile. A truly remarkable contribution to Beethoven research and gift to Beethoven lovers, this facsimile reunites the various movements after 190 years.
Commentary in Eng-Ger. Quarter leather with boards in decorative paper. $425(more info... )
[item no.9596]
Wagner. Parsifal (DM II/56)
Documenta Musicologica, II/56. Kassel, 2020. 29.5 x 41 cm, 340, c.50 pp. Full-color facsimile of the autograph score, the same score Hermann Levi conducted from for the work’s premier on July 26, 1882. Wagner wrote the autograph score almost entirely in violet ink, a color he preferred to use in the final years of his life. Throughout his life,Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The opera, Wagner’s last work, is about healing and compassion and is in many ways it represents the summation of the composer’s creative career. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paperFull-color facsimile of the autograph score, the very score Hermann Levi conducted from for the work’s premiere on July 26, 1882. Wagner wrote the autograph almost entirely in violet ink, a color he preferred to use in the final years of his life. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving toproduce manuscripts of a high calligraphic standard. The opera, Wagner’s last work, is about healing and compassion and in many ways reflects the summation of the composer’s creative career. The idea was already in the back of his mind in the early 1840s when he first read the medieval epic “Parzival” by Wolfram von Eschenbach; that characterbecame one of the main roles in Tannhäuser (1845). Parsifal’s son is the protagonist of Lohengrin (1848), and in the same ope the ending (“The Narrative of the Grail”) sets forth the Grail story. With Parsifal Wagner can now tell that full story, armed with a rich musical language that he developed from writing of the Ring, Tristan and otheroperas. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper boards. 10% discount for early subscribers. $835
(more info... )
[item no.9605]
Bach. Concerti a Cembalo obligato BWV 1052-1059 (DM II/57)
Documenta Musicologica, II/57. Kassel, 2021. 24 x 40 cm, viii, 106, 28 pp. Deluxe 4-color facsimile of the autograph (collective) score mus. ms. aut. Bach P. 234. Johann Sebastian Bach composed not only for the nobility and the church, but also for bourgeois musical culture. Among these works are the harpsichord concertos, “music for a Leipzig‘coffee house”. They are notated in a 1738 manuscript that is a unique and probably the most important document for the instrumental repertoire of the Leipzig “Collegium Musicum”. The concerto movements are arranged in such a way that the harpsichord is given a solo part that exploits the instrument’s “clavieristic” possibilities to the full.These works thus fix a decisive moment in the early history of the piano concerto genre which received significant impulses from Bach and his circle of students. Hardbound, with leather spine and decorative paper boards. 10% discount for early subscribers. $345
(more info... )
[item no.9665]
Agricola. Anleitung zur Singkunst, 1757 (dtv)
Kassel, 200?. 12˚, xxix, xiv, 283 pp. Line-cut of the 1757 edition. Wrappers. $33
[item no.8325]
Bach,CPE. Versuch über die wahre Art Klavier zu spielen (dtv)
Kassel, 1994. 12˚, 592 pp. Line-cut of the first printed edition. “Versuch” was, in the German-speaking countries, the most important treatise of the period on playing keyboard instruments. Linen. $31
[item no.8324]
Hotteterre. Principes de la flûte traversière (dtv)
Kassel, 1998. 12 x 19 cm, xii, 55, 52 pp. Line-cut of the Amsterdam, 1728 edition, together with a complete translation and afterword in German. Wrappers. $16
[item no.8322]
Mozart,L. Versuch einer gründlichen Violinschule (dtv)
Kassel, 1995. 12˚, 321 pp. Line-cut in reduced format of the author’s edition, Augsburg, 1756. Wrappers $22
[item no.8323]
Praetorius. Syntagma musicum, Bands 1-3 (dtv)
Kassel, 2001. 8º, 3 vols, 1153 pp. Line-cut. Wrappers. $95
[item no.7972]
Quantz. Versuch einer Anweisung Flöte zu spielen (dtv)
Kassel, 3/ 2000. 12°, 450 pp. Line-cut in reduced format of the Berlin, 1752 edition. Wrappers. $21
[item no.3942]
Türk. Klavierschule oder Anweisung zum Klavierspielen (dtv)
Kassel, 1997. 8º, xiii, 442, 15 pp. Line-cut of the Leipzig & Halle, 1789 edition. Wrappers. $26
[item no.7459]
Weiss. Sämtliche Werke f.Laute, 5: Dresden Ms, I (EdM 11)
Das Erbe Deutscher Musik, 11. Kassel, 2002. Oblong, 31 x 24 cm, xxvii, 254 pp. Halftone of the first 3 volumes of Dresden, Sächische Landesbibliothek, Mus. 2841-V-1. New diplomatic transcription of illegible pages. Linen. (last copy) $299(more info... )
[item no.8377]
Weiss. Sämtliche Werke f.Laute, 6: Dresden Ms, II (EdM 12)
Das Erbe Deutscher Musik, 12. Kassel, 2003. Oblong, 31 x 24 cm, 210 pp. Halftone of the second section (vols. 4-6) of Dresden, Sächsische Landesbibliothek, Mus. 2841-V-1. New diplomatic transcription of illegible pages. Linen.(more info... )
[item no.8378]
Weiss. Sämtliche Werke f.Laute, 7: Dresden, Übert.1 (EdM 13)
Das Erbe Deutscher Musik, 13. Kassel, 2007. Oblong, 31 x 24 cm, xii, 234 pp. Critical edition of the first 3 volumes of Dresden, Sächische Landesbibliothek, Mus. 2841-V-1. Linen. $359(more info... )
[item no.9182]
Weiss. Sämtliche Werke f.Laute, 8: Dresden, Übert.2 (EdM 14)
Das Erbe Deutscher Musik, 14. Kassel, 2007. Oblong, 31 x 24 cm, 292 pp. Critical edition of the second section (vols. 4-6) of Dresden, Sächsische Landesbibliothek, Mus. 2841-V-1. Linen. $373(more info... )
[item no.9183]
Weiss. Sämtliche Werke f.Laute, 9: Misc.Works, Facs. (EdM 15)
Das Erbe Deutscher Musik, 15. Kassel, 2013. Oblong, 31 x 24 cm, viii, 567 pp. Halftone of the miscellaneous manuscripts. Linen. $818(more info... )
[item no.9279]
Weiss. Sämtliche Werke f.Laute, 10: Misc.Works, Trans.(EdM 16)
Das Erbe Deutscher Musik, 16. Kassel, 2012. Oblong, 31 x 24 cm, 2 vols, xiv, 288; viii 316 pp. Critical edition in staff notation of the works from miscellaneous manuscripts. Linen. $878(more info... )
[item no.9280]
Handschrift London, Brit. Mus. Add. 27630 (EdM 52-53)
Das Erbe Deutscher Musik, 52-53. Kassel, 1972. Oblong & upright, 33 x 25 cm, I: 218, II: xii, 75 pp. Halftone of a ms written c.1350-1400, probably in a South German Augustinian cloister. Mainly polyphonic settings. Introduction, indices, transcriptions and critical notes. 2 vols. Linen.
[item no.1471]
Das Liederbuch des Dr. H. Schedel. Faksimile (EdM 84)
Das Erbe Deutscher Musik, 84. Kassel, 1978. Oblong, 33 x 25 cm, vi, 174, 4 pp. Halftone of an important German songbook copied during the 1460s by the Nuremberg doctor and historian, Hartmann Schedel. 128 pieces with music, 68 of which are polyphonic lieder. The collection includes works by Dufay, Ockeghem, Busnois, and other Franco-Flemishcomposers. 26 concordances with the Buxheimer Orgelbuch. Linen. $198
[item no.1413]
Graduale Pataviense, Wien 1511. Faksimile (EdM 87)
Das Erbe Deutscher Musik, 87. Kassel, 1982. Oblong, 33 x 25 cm, vi, 297, 13 pp. Halftone in reduced format, with one opening per page. Important printed Gradual preserving the rite from Passau around 1500. One of the main chant sources for Heinrich Isaac’s Choralis Constantinus and works by Senfl. Historical introduction in Ger. Inventory. Linen.$280
[item no.1538]
Antiphonale Pataviense, Wien 1519 (EdM 88)
Das Erbe Deutscher Musik, 88. Kassel, 1985. Oblong, 33 x 25 cm, vii, 277, 25 pp. Halftone in reduced format, with one opening per page. One of the last publications of this important Viennese printer. Preserves the rite of the influential diocese of Passau around 1500. The basic texts and melodies correspond to the Roman-Frankish tradition ofMetz. Historical introduction in Ger. Inventory. Linen. $272
[item no.1530]
Die Musik in Geschichte & Gegenwart, 29 volumes (MGG)
Kassel, 1994-2007. 8º, 29 vols. Buckram. Please inquire for special OMI price. Sets at the original 1994 subscription price can still be purchased—limited offer.(more info... )
[item no.6644]
|