Marpurg. Abhandlung von der Fuge (LR 1)
Abhandlung von der Fuge. Nach den Grundsätzen und Exempeln der besten deutschen und ausländischen Meister entworfen. Mit CXXII Notentafeln. Mit einer Einführung (deutsch/englisch) von Michael Heinemann.
Laaber-Reprint, 1. Laaber, 2004. 16 x 21 cm, xvi, 542 pp. Line-cut of the Berlin, Hamburg edition. Wrappers. $109 [item no.8499]

Werckmeister. Musiktheoretische Schriften (LR 2)
Musiktheoretische Schriften: Harmonologia musica. Musicalische Paradoxal-Discourse. Faksimile der Ausgaben Frankfurt/Leipzig 1702 und Quedlinburg, 1707. Mit einer Einführung (deustch-englisch) von Dietrich Bartel.
Laaber-Reprint, 2. Laaber, 2/ 2007. 15 x 21 cm, xxi, 296 pp. Line-cut of the Frankfurt, 1702 and Quedlinburg 1707 editions. Wrappers. $73 [item no.8507]

Mattheson. Die drei Orchestre-Schriften (LR 3)
Die drei Orchestre-Schriften: Das Neu=Eröffnete Orchestre; Das Beschütze Orchestre; Das Forschende Orchestre. Faksimile der Ausgaben Hamburg 1713, 1717 und 1721. Mit einer Einführung (deutsch/englisch) von Dietrich Bartel.
Laaber-Reprint, 3. Laaber, 3/ 2007. 15 x 21 cm, 3 vols, xlix, 912 pp. Line-cut of the Hamburg, 1713, 1717 and 1721 editions. Wrappers. $222 [item no.8508]

Mattheson. Critica musica (LR 4)
Critica musica. Reprint der Ausgabe Hamburg 1722-1725. Einführung von Sven Hiemke.
Laaber-Reprint, 4. Laaber, 2003. 15 x 21 cm, 2 vols, xxxvii, 804 pp. Line-cut of the Hamburg, 1722 edition. Wrappers. $132 [item no.8500]

Mattheson. Kleine Generalbass-Schule (LR 5)
Kleine Generalbass-Schule. Mit einer Einführung (deutsch/englisch) von Sven Hiemke.
Laaber-Reprint, 5. Laaber, 2003. 15 x 21 cm, xxiv, 280 pp. Line-cut of the Joh. Christoph Kißner edition, Hamburg 1739. Wrappers. [item no.8371]

Türk. Anweisung zum Generalbaßspielen (LR 6)
Anweisung zum Generalbaßspielen. Herausgegeben und mit einer Einführung (deutsch/englisch) von Rainer Bayreuther.
Laaber-Reprint, 6. Laaber, 2005. 16 x 21 cm, xxxvi, 402 pp. Line-cut of the Halle, 1800 edition. With introduction in Ger-Eng. Wrappers. $92 [item no.8506]

Burmeister. Musica poetica (LR 7)
Musica poetica. Herausgegeben und mit einer Einführung (deutsch/englisch) von Rainer Bayreuther. Übersetzung von Philipp Kallenberger.
Laaber-Reprint, 7. Laaber, 2004. 16 x 21 cm, xxiii, 92, 78 pp. Line-cut of the Rostock, 1606 edition, together with new translation into German. Wrappers. $59 [item no.8501]

Forkel. Allgemeine Geschichte der Musik (LR 8)
Allgemeine Geschichte der Musik. Herausgegeben und mit einer Einführung (deustch-englisch) von Claudia maria Knispel.
Laaber-Reprint, 8. Laaber, 2005. 15 x 21 cm, 2 vols, xviii, 1449 pp. Line-cut of the Leipzig, 1788-1801 edition. Wrappers. $231 [item no.8509]

Monteverdi. L’Orfeo. Favola in musica. Faksimile (MMF 1)
L’Orfeo. Favola in musica. Faksimile des Erstdrucks Venedig 1609 herausgegeben von Elisabeth Schmierer. [Biblioteca Nazionale, Florence].
Meisterwerke der Musik im Faksimile, 1. Laaber, 1998. 24 x 34 cm, xvi, 104 pp. Line-cut of Venice, 1609 edition. Laid paper. Hardbound. $58 [item no.4617]

Mozart. Klaviersonate B-Dur K.333 (MMF 2)
Klaviersonate B-Dur KV 333. Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Geleitwort von Mitsuko Uchida. Herausgegeben und mit einer Einführung von Claudia Maria Knispel.
Meisterwerke der Musik im Faksimile, 2. Laaber, 2005. 24 x 31 cm, 19, 6 pp. Full-color (and full-sized) facsimile of the autograph score issued on the occasion of “Mozart Year 2006”. Mozart’s notation is wonderfully fluid and free, yet almost completely free of corrections. An analysis of the autograph and first edition (Torricelli, 1784) reveal interesting differences in dynamics, articulations, including a few altered pitches. Introduction in Ger-Eng. Coverboard in decorative paper. $89 (more info... ) [item no.7830]

Bach. Kantate Nr.61 “Nun komm, der Heiden” (MMF 3)
Kantate Nr.61 “Nun komm, der Heiden Heiland” BWV 61. Faksimile der Originalpartitur mit einem Vorwort herausgegeben von Peter Wollny.
Meisterwerke der Musik im Faksimile, 3. Laaber, 2000. 21 x 33 cm, xvi, 12 pp. Halftone of the autograph score. Introduction in Ger-Eng. Hardbound with decorative paper boards. $89 [item no.7719]

Beethoven. Symphonie Nr.5 C-Moll Op.67. Faks. (MdM 4)
Symphonie Nr.5 C-Moll Opus 67. Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar herausgegeben von Rainer Cadenbach. [Mus. ms. autogr. Beethoven. Mendel.-Stift. 8 & 20].
Meisterwerke der Musik im Faksimile, 4. Laaber, 2002. Oblong, 33 x 24 cm, 342, 38 pp. New full-color reproduction of the autograph score. This is the composer’s “working” ms from 1808, including a 38 page segment of the third movt (not issued in the 1942 facsimile), showing traces of intensive compositional elaboration, corrections and revisions. Afterword in Ger-Eng. Linen, with slipcase. $890 (more info... ) [item no.7784]

Beethoven. Symphonie Nr.5 C-Moll Op.67. Faks. (MdM 4)
Symphonie Nr.5 C-Moll Opus 67. Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar herausgegeben von Rainer Cadenbach. [Mus. ms. autogr. Beethoven. Mendel.-Stift. 8 & 20].
Meisterwerke der Musik im Faksimile, 4. Laaber, 2002. Oblong, 33 x 24 cm, 342, 38 pp. Same as above but softbound version without slipcase. $399 (more info... ) [item no.8738]

Bach. Die Achtzehn Grossen Orgelchoräle (MMF 5)
Die Achtzehn Grossen Orgelchoräle BWV 651-668 und Canonische Veränderungen über “Vom Himmel Hoch” BWV 769. Faksimile der Originalhandschrift mit einem Vorwart herausgegeben von Peter Wollny. [Staatsbibliothek, Berlin, Bach P. 271].
Meisterwerke der Musik im Faksimile, 5. Laaber, 1999. 4º, xix, 54 pp. Fine color reproduction of the autograph score (the second part of MS P 271. Includes the 18 Great “great” (Leipzig) organ chorales, plus “Vom Himmel Hoch” (S.769) and “Nun komm, der Heiden Heiland” (S.660a). Introduction in Ger-Eng. Hardbound. [item no.7720]

Bach. Orgelbüchlein, BWV 599-644 (MMF 6)
Orgelbüchlein BWV 599-644. Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einer Einführung von Sven Hiemke. [Signatur Mus. ms. autogr. Bach P 283].
Meisterwerke der Musik im Faksimile, 6. Laaber, 2004. Oblong, 20 x 17 cm, xxix, 188 pp. New full-color reproduction of the autograph. The Orgelbüchlein represents 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 that Bach 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 Ger-Eng, with a table showing the chronology and development of the collection. Hardbound, with handsome boards in decorative blue paper. $224 (more info... ) [item no.8408]

Beethoven. Konzert für Klavier & Orch. Es-Dur Op.73 (MMF 7)
Konzert für Klavier und Orchester Es-Dur Opus 73. Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar herausgegeben von Hartmut Hein und einem Vorwort von Alfred Brendel. [Mus. ms. autogr. Beethoven 15].
Meisterwerke der Musik im Faksimile, 7. Laaber, 2005. Oblong, 32 x 24 cm, xxiv, 240 pp. Facsimile, in full-color, of the autograph manuscript preseved in the State Library, Berlin. Beethoven called his last piano concerto, written in the same key as the Eroica, E-flat major, “a grand concerto”. It was influenced by the political and social events of the time, originally intended as the people’s call to arms against Napoleon. Beethoven’s 1809 autograph score documents not only the compositional process of the work written over a period of more than a year, but also provides a fascinating biographical testimony, as it was in the same year, sadly, that the composer had to discontinue his own public performances as a pianist due to his ever worsening deafness. This tragic break in his performing career caused him to develop a much more detailed autograph of the Fifth Piano Concerto than those of his earlier works. Clothbound. $599 (more info... ) [item no.8446]

Bach. Sei solo a violino senza basso accomp (MMF 8)
Sei solo a violino senza basso accompagnato, BWV 1001-1006. Faksimile nach der autographen Handschrift in der Staatsbibliothek zu Berlin – Preußischer Kulturbesitz. Mit einem Geleitwort von Julia Fischer herausgegeben und mit einer Einführung von Sven Hiemke. [Signatur ms. aut. Bach P. 967].
Meisterwerke der Musik im Faksimile, 8. Laaber, 2006. 21 x 33 cm, 19, 48 pp. New full-color facsimile, in the original format, of the autograph score prepared in 1720. One of the most beautiful and meticulous of all of Bach's manuscripts, “Sei solo à violino senza basso accompagnato” are a delight for the scholar and perfomer alike. Bach clearly has taken performance from the autograph into consideration—by using comparatively large note heads, detailed articulation and phrasing marks, "custodes" that sit nearly throughout the manuscript at the end of each staff and anticipate the pitch at the beginning of the following staff, and by deligently planning the page layout with only few page turns, which are accompanied with the instruction "volti subito" (turn immediately). Bibliophile edition with commentary in Ger-Eng. Hardbound with blue paper boards and faux title etikett. $105 (more info... ) [item no.8624]

Schumann. Dichterliebe op.48 (MMF 9)
Dichterliebe, opus 48. Liederkreis aus Heinrich Heines Buch der Liede. Faksimile nach dem Autograph in der Staatsbibliothek zu Berlin Preussischer Kulturbesitz. Mit einem Geleitwort von Brigitte Fassbaender. Herausgegeben und mit einer Einführung von Elisabeth Schmierer.
Meisterwerke der Musik im Faksimile, 9. Laaber, 2005. 25 x 33 cm, 14, 44 pp. Full-color facsimile of the autograph score (Mus. ms. autog. R. Schumann 16,2) issued on the occasion of “Schumann Year 2006”. Dichterliebe (”Poet’s Love”), a cycle of 20 settings on poetry by Heinrich Heine (“Book of Songs”), is undoubtedly Schumann’s masterpiece of song writing. It was written in the short period of a week, during what is called Schumann’s “year of songs”, 1840 (the same year as the Eichendorff Songs, op.30 Myrten, op.25, Frauenliebe und -leben, op.42 and Heine-Liederkreis op.24). The cycle was first performed by Julius Stockhausen with Brahms accompanying at the piano. Hardbound, with decorative paper boards. Introduction in Ger-Eng. Hardbound with boards in decorative paper. (temporarily out of print) $117 (more info... ) [item no.8625]

Mendelssohn. Violinkonzert E-Moll. Faksimile (MMF 10)
Violinkonzert E-Moll, Opus 64. Faksimile nach dem Autograph der Bibliotheka Jagiellońska, Kraków. Mit einem Kommentar von Stefan Drees.
Meisterwerke der Musik im Faksimile, 10. Laaber, 2010. Oblong, 32 x 24 cm, xii, 68 pp. Full-color facsimile of the autograph score dated 16 September 1844. Mendelssohn's popular "Concerto for Violin in E Minor op.64", a mainstay in the concerto repertoire didn't have an easy birth and is known in two versions, the sole surviving autograph of 1844—reproduced here in facsimile—and the printed edition of 1845, a more brilliant version incorporating many of the changes suggested by Ferdinad David, dedicatee of the piece and his concertmaster at Leipzig. On July 30, 1838, the composer wrote to him: "I would like to write a violin concerto for you next winter. One in E minor goes through my head and the beginning will not leave me in peace." David encouraged Mendelssohn but also expressed a desire for it to be ostentatious, a suitable showcase for the violinist's talents. Mendelssohn was not used to flamboyance for its own sake and this wish conflicted with his musical temperament, prolonging the writing of the concerto. More than six years later with only three months before it was to be performed he confided to David: "Do not laugh at me too much. I feel ashamed in any case, but I cannot help it. I am just groping around." It was finally premiered on 13 March 1845 and published shorly thereafter by Breitkopf & Härtel. There are well over 100 changes between the two versions, mostly issues concerning tempo, orchestration, and solo parts. While some are outright shocking, where Mendelssohn has taken in the final version the solo line up or down an octave, added entirely new notes to the violin part, or slightly changed the wind writing, no matter which version is considered both are pure Mendelssohn, and all the magical elements that make the Violin Concerto what it is, that make it so beloved and so popular, are completely intact. Commentary in Ger-Eng. Linen. Issued on the occasion of the bicentenary of the composer’s birth. Hardbound with dark blue boards. $174 (more info... ) [item no.9009]

Haydn. Sinfonie Nr.45 “Abschiedssinfonie” (MMF 11)
Sinfonie Nr. 45 “Abschiedssinfonie” Faksimile nach dem Autograph in der Nationalbibliothek Budapest. Mit einer Einleitung (deutsch/englisch) von Armin Raab.
Meisterwerke der Musik im Faksimile, 11. Laaber, 2010 26 x 41 cm, xvi, 57 pp. Full-color facsimile of the autograph score issued on the occasion of the bicentenary of the composer’s death. Commentary in Ger-Eng. Hardbound in decorative paper. $132 [item no.9010]

Haydn. Sinfonie Nr.102 “London” (MMF 12)
Sinfonie Nr. 102 (”London”) Faksimile nach dem Autograph in der Staatsbibliothek Berlin. Mit einer Einleitung (deutsch/englisch) von Armin Raab.
Meisterwerke der Musik im Faksimile, 12. Laaber, 2010 26 x 41 cm, xvi, 57 pp. Full-color facsimile of the autograph fair copy composed in 1794 for Haydn's second London visit. Scored for 2 fl, 2 ob, 2 bsn, 2 hn, 2 tpt, timp, & strings, the work has all the stylistic hallmarks of the late Haydn symphony with its masterly confluence of simplicity and complexity, folkishness and sophistication. There is also the element of thematic surprise as well as orchestral excitement (the drumroll that ushers in the recapitulation in the first movement) and outrageous wit, shown by the violins getting "stuck" on a phrase in the finale and unable to remember what comes next. A fitting tribute for the celebration of the bicentenary of the composer’s death. Commentary in Ger-Eng. Hardbound in decorative paper. $132 (more info... ) [item no.9011]

Bach. Präludium und Fuge Es-Dur BWV 552 (MMF 13)
Präludium und Fuge Es-Dur BWV 552 aus dem 3. Teil der “Klavierübung”. Faksimile des Originaldrucks von 1739 herausgegeben und mit einer Einführung von Matthias Geuting.
Meisterwerke der Musik im Faksimile, 13. Laaber, 2008. Oblong, 4°. xii, 18 pp. New line-cut facsimile, of the first edition published in Leipzig in 1739. Bibliophile edition with commentary in Ger-Eng. Hardbound, with red paper boards and faux title etikette. $83 [item no.9072]

Beethoven. Klaviersonate E-Dur op.109 (MMF 14)
Klaviersonate E-Dur op.109. Faksimile nach dem Autograph der Library of Congress, Washington, D.C. Mit einem Kommentar von Siegfried Mauser.
Meisterwerke der Musik im Faksimile, 14. Laaber, 2010. Oblong, 32 x 24 cm, xv, 40 pp. Facsimile, in full-color, of the autograph manuscript. Subscription price. $112 [item no.9090]

Beethoven. Klaviersonate As-Dur op.110 (MMF 15)
Klaviersonate As-Dur op. 110. Das Faksimile Faksimile nach dem Autograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar von Siegfried Mauser.
Meisterwerke der Musik im Faksimile, 15. Laaber, 2010. Oblong, 32 x 24 cm, xx, 58 pp. Facsimile, in full-color, of the autograph manuscript. Subscription price. $140 [item no.9091]

Beethoven. Klaviersonate c-Moll op.111 (MMF 16)
Klaviersonate As-Dur op. 110. Das Faksimile Klaviersonate c-Moll op. 111. Das Faksimile Faksimile nach dem Autograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar von Siegfried Mauser
Meisterwerke der Musik im Faksimile, 16. Laaber, 2010. Oblong, 32 x 24 cm, xv, 42 pp. Facsimile, in full-color, of the autograph manuscript. Subscription price. $140 [item no.9092]

Schubert. Variationen über “Trockne Blumen”, Fl/Klav. (MMF 17)
Variationen über “Trockne Blumen” E-Moll für Flöte & Klavier op.160 / D 802. Faksimile des Autographs der Wienbibliothek. Mit einem Kommentar von András Adorján.
Meisterwerke der Musik im Faksimile, 17. Laaber, 2010. Oblong, 4°, xii, 24 pp. Full-color facsimile of the autograph. After completing the song cycle Die schöne Müllerin in January of 1824 Schubert set about recasting the 18th song—“Trockne Blumen”—into an introduction and set of seven variations for flute and piano. The work may have been composed for Ferdinand Bogner, a flutist and friend of the composer. Introduction in Ger-Eng. (Special subscription price valid until 6/30/2010) $99 [item no.9141]