Music Facsimiles: Listing of Recent Music Facsimile Editions Distributed by OMI

Old Manuscripts & Incunabula, PO Box 6019 FDR Station, New York NY 10150
tel 212/ 758-1946 • fax 212/ 593-6186 • http://www.omifacsimiles.com • immels@earthlink.net

from 2006 to 7/28/2010

RECENT ISSUES includes manuscript facsimiles (autographs & copyist manuscripts),
facsimiles of first editions & primary sources, and a selection of research material.
For ordering information go to: Contact OMI

last 3 years • last 2 years • last year

ABEL, Carl Friedrich, 1723-1787

A Duet for Two Violoncellos. Faksimile. Einführung von Peter Holoman.
Heidelberg, 2008. 4°. Line-cut of the first edition, together with new pratical edition. Preface in Ger-Eng. Wrappers. $28 [item no.9052]

ADSON, John, c.1585-1640

Courtly Masquing Ayres, Composed to 5. and 6. Parts, for Violins, Consorts, and Cornets. [Christ Church Library, Oxford University].
Performers’ Facsimiles, 293. New York, [2009]. 18 x 23 cm, 6 partbooks, 88 pp. Line-cut of T. Snodham edition, London, 1621. 20 ayres in partbook format. Wrappers. $33 [item no.9094]

AHLE, Johann Rudolf, 1625-1673

Neu-gepflanzten thüringischen Lust-Gartens Ander Theil. [In welschen XXX. neue geistliche musikalische Gewaechse mit 1.2.3.4.5.6.7.8.9.10. und mehr Stimmen...]. Mühlhausen, Johann Hüter 1658. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, [20]. Stuttgart, 2010. 19 x 32 cm, 10 partbooks, c.300 pp. Line-cut of the Mühlhausen, 1658 edition. Wrappers, in slipcase. $142 [item no.9150]

ALBERT, Heinrich, 1604-1651

Verschiedene Gelegenheitskom positionen. 1. Auff den Nahmens-Tag Herrn Michael Adersbachen.. 2. Klag- und Tros-Lied... Herrn Georg von der Gröben 3: Braut-Tantz... Herr Barthel Michell Bräutigam 4: Hochzeit=Lied zu Ehren... Sigismund Scharffen... 5: Der Liebe Lob-Gesang, auff den Hochzeitlichen Ehren-Tag. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 10. Stuttgart, 2008. 22 x 33 cm, 2 vols, 56 pp. Line-cut of the Königsberg, 1642-1647 edition. 2 strophic settings a5 and settings for voices, with strings, trombone and bc support. Portfolio, with decorative paper boards. $45 [item no.8964]

ALBRECHTSBERGER, Johann Georg, 1736-1809

Gründliche Anweisung zur Composition. Faksimile der ersten Auflage, Leipzig 1790, mit den “Beilagen” der “Dritten Ausgabe”. Mit Einleitung und der Biographie der Ausgaben herausgegeben von Wolfgang Horn.
Quellenkataloge zur Musikgeschichte, 42. Wilhelmshaven, 2009. 18 x 28 cm, 538 pp. Line-cut of the Leipzig, 1790 edition. Cloth. $307 [item no.9130]

[Preludes & fuges, harpsichord/piano] Six préludes et fugues pour le clavecin ou piano-forte.
Collection FacsiMusic. Courlay, 2007. Oblong, 30 x 21 cm, 28 pp. Line-cut of the Vienna, “Au magasin de musique”, edition. Wrappers. $12 [item no.8841]

ANTICO, Andrea, c.1480-d.? [publisher]

Canzoni nove con alcune scelte de vari libri. Rom, 1510. [Universitätsbibliothek Basel].
Faksimile-Edition Rara, 59. Stuttgart, 2009. Oblong, 27 x 20 cm, 86, ivi pp. Line-cut of the Rome, 1510 edition. A unique print—Andrea Antico’s first—in the possession of the Basel University Library, with title page in woodcut that immortalizes the purchaser and first owner of the volume: the humanist Bonifacius Amerbach. The collection, comprised of 41 motets for 3 voices is engraved with incredible skill on wood blocks. Tromboncino is the best represented composer in the collection (18 works). Afterword by Martin Kirnbauer. Hardbound in decorative paper. $42 [item no.9069]

ARNE, Thomas A., 1710-1778

[Comus, masque] The Songs, Duet & Trio in the Masque of Comus. Set for the Violin, German Flute and Harpsichord. [private collection John H. Burkhalter III].
Britannia’s Invitation: A Treasury of 18th Century English Vocal Music, 5. Hebden Bridge, 2007. 21 x 30 cm, 23 pp. Line-cut of the London, n.d. edition. Wrappers. $20 [item no.8920]

The New Songs Sung at Vaux-Hall. [private collection John H. Burkhalter III].
Britannia’s Invitation: A Treasury of 18th Century English Vocal Music, 3. Hebden Bridge, 2007. 21 x 30 cm, 12 pp. Line-cut of the London, n.d. edition. 6 songs for voice and bc (optional guitar accompaniment also provided). Contents: “Phillis to whom”; “Hapless lover’s”; “When lately I offered”; “When Hobbinel”; “Shall I wasting in dispair”. Wrappers. $15 [item no.8918]

[Thomas & Sally, selections] Overture with Songs in Thomas and Sally, as Performed at the Theatre Roal in Covent Garden. [private collection John H. Burkhalter III].
Britannia’s Invitation: A Treasury of 18th Century English Vocal Music, 7. Hebden Bridge, 2007. 21 x 30 cm, 18 pp. Line-cut of the London, n.d. edition. Vocal score with flute or violin accompaniment. Wrappers. $17 [item no.8922]

ATYS, fl. 1750-1760

[Sonatas, 2 fl/vln/vdg, op.1] Six sonates en duo en forme de conversation pour deux flûtes traversieres [qui se peuvent facilement executer sur le violon et le pardessus de viole]. Paris, s.d.
Archivum Musicum: L’Art de la Flûte Traversière, 65. Florence, 2007. 24 x 34 cm, vi, 31 pp. Line-cut of the Paris, c.1754 edition. Preface in It by Marcello Castellani. Wrappers in decorative paper. $27 [item no.8872]

AUBERT, Jacques, 1689-1753

[Pièces, 2 flutes/violins, bc] Pièces à deux flûtes traversières ou à deux violons, 1723. 1ère suitte.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 16 pp. Line-cut of the author’s and Boivin edition, Paris, 1723. Wrappers. $10 [item no.8842]

AVISON, Charles, 1709-1770

[Concerti, after Scarlatti, arr.] 12 Concertos in Seven Parts Arranged from Harpsichord Sonatas by Domenico Scarlatti.
Offenburg 2007. 4º, 9 partbooks, 175 pp. Line-cut of the London, 1744 edition. Arranged for solo vln I, II, vlc, kbd; ripieno vln I, II, vla, vlc, db. Wrappers. $146 [item no.8999]

BACH, Carl Philipp Emanuel, 1714-1788

[Kurze & leichte Clavierstücke, keyboard, Wq.113-114] Pièces courtes et faciles pour le clavier, 1766 et 1768.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 40 pp. Line-cut of the Berlin, 1766-68. Wrappers. $15 [item no.8940]

[Sonata, keyboard/harp, H.386] Sonate pour le clavecin, forte piano, orgue ou harpe qui représent le bataille de Bergen - 1776.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 12 pp. Line-cut of the Paris, [1776] edition. Programmatic music depicting the beginning of a battle, the fire of the canons and musketry, the cavalry attack, and the wailing of the wounded. Wrappers. $11 [item no.8934]

[Sonatas, keyboard, H.30-34, 36, Wq.49, “Württemberg”] Sei Sonate per cembalo dedicate all’Altezza Serenissima di Carlo Eugenio, Duca di Wirtemberg e Teckh. Opera IIda. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 284. New York, [2009]. Oblong, 39 x 26 cm, 44 pp. Line-cut of the Nuremberg, 1742 edition. Wrappers. $28 [item no.9101]

[Sonatas, keyboard, Wq.63, 1-12] Exempel nebst 18 Probe-Stücken in sechs Sonaten mit sechs neuen Clavier-Stücken. Facsimile Edition with an Introduction by Mark W. Knoll.
Carl Philipp Emanuel Bach: The Complete Works, VII, Supplement. Los Altos, 2009. 4°, xi, 35 pp. Beautiful halftone (in slightly reduced format) of the 12 sonatas published as a music supplement in C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” . The original print—hand engraved—are from Tuft’s University Library and the Sibley Music Library. In contrast to “typeset” music of the time this source has a wonderful human quality and is exceptional in its execution. Wrappers. $21 [item no.9144]

BACH, Johann Christian, 1735-1782

[Quartets, fl/vln, vla, vc, op.8, W B51-56] Six Quartettos for a German Flute, Violin, Tenor and Violoncello. Opera VIII. [Yale University Library, New Haven].
Performers’ Facsimiles, 283. New York, [2009]. 26 x 33 cm, 4 parts, 54 pp. Line-cut of the London, c.1775 edition. Wrappers. $35 [item no.9100]

BACH, Johann Christoph Friedrich, 1732-1795

[Sonata, flute/violin, bc] Sonata per il flauto, violino, e basso.
Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 28 pp. Line-cut of the Hamburg, 1770 edition (extracted from Musikalisches Vielerley). Wrappers. $15 [item no.9036]

[Sonatas, violoncello, bc] Violoncell-solo [sonate pour violoncelle et basse continue - 1770.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 12 pp. Line-cut of the Hamburg, 1770 edition (extracted from Musikalisches Vielerley). Wrappers. $11 [item no.8943]

BACH, Johann Sebastian, 1685-1750

[Oratorio, BVW 11] Himmelfahrtsoratorium [“Lobet Gott in seinen Reichen”]. Oratorio Festo Ascensionis Christi BWV 11. Faksimile nach dem Partiturautograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit Einführungen von Martin Petzold und Peter Wollny. Festgabe anlässlich des Jubiläums 100 Jahre Bachhaus Eisenach Museum der Neuen Bachgesellschaft e.V.
Stuttgart, 2007. 22 x 32 cm, viii, 34 pp. 4-color facsimile of the elegant autograph score, reproduced in the original loose bi-folio format. The Ascension Day Oratorio's festive orchestration calls for solo SATB, SATB chorus, 3 trumpets, timpani, flutes, oboes, violins, viola, & bc. Although it was first performed on May 19, 1735 for Ascension Day, according to indications in the autograph it is actually a copy of the score of the composer’s inauguration piece of 1732 (or name-day cantata of 1733) with new underlayed text. The work bears striking similarities with the Christmas Oratorio (BWV 248), completed only six months earlier. Introduction in Ger-Eng-Fr. Issued on the occasion of the 100th anniversary of the founding of the Bachhaus Eisenach Museum of the Neue Bachgesellschaft. Portfolio. $106 (more info... ) [item no.8831]

[Cantata, 33] “Allein zu Dir, Herr Jesu Christ” BWV 33. Cantata for the 13th Sunday after Trinity. Commentary by Christoph Wolff and Peter Wollny.
Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, 5. Kassel/Leipzig, 2010. 4°, 24, 50, 16, 16 pp. Color facsimile of the autograph score, original performing materials and original libretto. Cantata 33 belongs among the unique annual cycle of chorale cantatas composed by Bach in 1724-25, the second year of his Leipzig tenure. The cantata counts among the very few works where all the relevant source materials for the first performance have been preserved—yet dispersed throughout the world: the composing score is kept at the Scheide Library in Princeton, the vocal-instrumental performing parts at the Bach-Archiv in Leipzig, and the original libretto at the Russian National Library in St. Petersburg. The facsimile offers invaluable insight into the composer’s workshop and the changing conditions for performances under his direction. Commentary in Eng-Ger. Limited edition. Boxed set. (special subscription price until 1 June 2010) $355 (more info... ) [item no.9147]

[Mass, b minor, BWV 232] Messe in h-moll BWV 232. Mit Sanctus in D-Dur (1724) BWV 232(iii). Autograph Staatsbibliothek zu Berlin Preussischer Kulturbesitz. Kommentar von Christoph Wolff. Bärenreiter Facsimile.
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 edition of 500 copies. Afterword in Eng-Ger-Jap. Handsome binding with linen spine and boards in decorative paper. $565 (more info... ) [item no.8757]

[Art of Fugue, BWV 1080] Die Kunst der Fuge / L’arte della fuga BWV 1080. Studio introduttivo a cura di Sergio Vartolo.
Archivum Musicum: Monumenta Musicae Revocata, 37. Florence, 2008. 24 x 34 cm, 4 vols, 99, 40, 72, 20 pp. Line-cut of the autograph score and the beautifully engraved first edition issued 1751/1752. Introduction in It by Sergio Vartolo, with abstract in English. Wrappers, with portfolio in cloth and decorative paper. $121 [item no.9030]

[Art of Fugue, BWV 1080, 1st ed.] Die Kunst der Fuge [BWV 1080]. [Library of Congress, Washington, D.C.].
Performers’ Facsimiles, 289. New York, [2009]. Oblong, 41 x 26 cm, 72 pp. Line-cut of the Leipzig, 1751/1752 edition. Wrappers. $30 [item no.9102]

[Organ transcriptions] Weimarer Orgeltablatur. Die frühesten Notenhandschriften Johann Sebastian Bach sowie Abschriften seines Schülers Johann Martin Schubart. Mit Werken von Dietrich Buxtehude, Johann Adam Reinken und Johann Pachelbel. Vorwort und Übertragung herausgegeben von Michael Maul und Peter Wollny.
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) Dietrich Buxtehude, “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 I conveys, 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. $129 [item no.8797]

[Prelude & fugue, organ, BWV 552, Eb major] 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]

[WTC I, piano, BWV 846-869, Richault edition, annotated by F. Chopin] Vingt-quatre préludes et fugues (Le clavier bien tempéré, livre I). Annoté par Fréderic Chopin. Commentaire de Jean-Jacques Eigeldinger.
Publications de la Société Française de Musicologie, I/28. Paris, 2010. Oblong, 28 x 21 cm, lxxii, 111 pp. Color facsimile of the Richault edition (one of the four first editions of the work), with autograph emendations by Fredéric Chopin. In his triple activity as composer, performer, and teacher, Chopin constantly turned to Bach as a supreme point of reference. The Well-Tempered Clavier is said to be the only score he took with him to Majorca in the winter of 1838-39, at the time he was completing his 24 Preludes op.28—in other words, at the heart of his career as a composer. Until now the important role played by the Well-Tempered Clavier in Chopin's teaching has been known on the basis of literary sources. The document published here for the first time confirms it with living proof of a different kind, a live record, so to speak, of his teaching. This precious score, held in a private collection, emanates directly from Pauline Chazaren, a pupil of Chopin and teacher of Cosima Liszt. The score was probably purchased in Lyons around 1843 prior to Pauline's Parisian sojourn and was brought or sent to Paris, where it was used in the lessons with Chopin. The score shows no trace of interventions that could be ascribed to Pauline or anyone else. Leafing through the pages of this copy of the Well-Tempered Clavier I, one cannot fail to be struck by the neatness with which the signs and words indicating tempo, metronome marks, phrasing, articulation, dynamics, left-hand octaves, and so on, have been notated. All of Czerny's indications (probably taken from the 1843 Veuve Launer edition), save fingerings, have been copied out by Chopin. The systematic copying stops after Prelude 7, as do the sporadic indications in ink. Commentary in Fr/Eng/Pol. Hardbound. $111 (more info... ) [item no.9166]

Johann Sebastian Bach. Vier Zeugnisse für Präfekten des Thomanerchores 1743-1749. Faksimile und Transkription herausgegben von / Edited by Andreas Glöckner.
Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, 4. Kassel, 2009. 20 x 31 cm, 16 pp. Color reproductions of 4 documents written by Johann Sebastian Bach on behalf of applicants for the “Stipendium Hammerianum”, a scholarship fund established some 150 years earlier by the Austrian physician Dr. Matern Hammer. In his will, the donor stipulated that the cities of Leipzig and Steyr each were to receive from his estate an endowment to benefit two students from each city. Notes in Ger-Eng. Wrappers. $39 [item no.9103]

Kobayashi, Yoshitake & Kirsten Beisswenger. Die Kopisten Johann Sebastian Bachs. Katalog und Dokumentation von Yoshitake Kobayashi und Kirsten Beisswenger. [I] Texband; [2] Abbildungen.
Neue Ausgabe sämtlicher Werke, IX/3. Kassel, 2007. 26 x 33 cm, 2 vols, xxiv, 243; vii, 379 pp. A careful and detailed study and catalog of all the copyists of J.S. Bach’s, together with a volume devoted to halftone reproductions that includes altogether 259 MS examples. An indispensable resource for Bach manuscript study. Linen. $575 [item no.8973]

BALBASTRE, Claude-Bénigne, 1729-1799

[Pièces, harpsichord, book 1] Pièces de clavecin - Premier livre - 1759.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 36 pp. Line-cut of the Paris, 1759 edition. Wrappers. $14 [item no.8933]

BARBARINO, Bartolomeo, c.1568-?

Il secondo libro delli motetti a voce sola, soprano o tenore. Venezia, 1614.
Archivum Musicum: Monumenta Musicae Revocata, 36. Florence, 2007. 24 x 34 cm, 2 vols, 15, 110 pp. Line-cut of the Venice, 1614 edition, which includes a separate solo part and a score (spatitura). 25 motets for solo voice, “either for soprano or tenor, as the singer prefers”. Preface in It-Eng by Vania Dal Maso. Wrappers with portfolio in quarter linen and ties. $94 [item no.8989]

BARRIÈRE, Jean, c.1705-1747

[Sonatas, violoncello, bc, book 2] Sonates pour le violoncelle, avec la basse continue. Livre II (1733).
La Musique Française Classique de 1650 à 1800, 201. Courlay, 2007. 22 x 31 cm, 40 pp. Line-cut of Paris, [1733] edition. Introduction in Fr-Eng-Ger by Philippe Lescat. Wrappers. $26 [item no.8948]

[Sonatas, violoncello, bc, book 3] Sonates pour le violoncelle, avec la basse continue. Livre III (1739).
La Musique Française Classique de 1650 à 1800, 202. Courlay, 2007. 22 x 31 cm, 36 pp. Line-cut of Paris, [1739] edition. Introduction in Fr-Eng-Ger by Philippe Lescat. Wrappers. $24 [item no.8949]

BEETHOVEN, Ludwig van, 1770-1827

[Sonata, piano, op.13, C major] Grandes sonates pathétique pour le clavecin ou le piano forte. Œuvre 13.
Collection FacsiMusic. Courlay, 2008. Oblong 30 x 21 cm, 24 pp. Line-cut of the Joseph Eder edition, Vienna, 1799. Wrappers. $13 [item no.9035]

[Sonata, piano, op.109, E major] 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]

[Sonata, piano, op.110, Ab major] 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]

[Sonata, piano, op.111, C minor] 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]

[Symphony, no.9, op.125, D minor] Symphony No.9 op.125. Facsimile of the Autograph Score in the Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, the Beethoven-Haus Bonn and the Bibliothèque National de France. Commentary by Lewis Lockwook, Jonathan Del Mar and Martina Rebmann.
Documenta Musicologica, II/42. Kassel, 2010. 40 x 37 cm, 433, c.45 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 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 down to 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 Berlin traces 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. (more info... ) [item no.9177]

[sketchbook, “Artaria 197”] A Sketchbook from the Year 1821 (Artaria 197). Sketches for the Agnus Dei and other Movements of the “Missa solemnis”, the Piano Sonata Op.110 and Op.111, and the Canon WoO 182. Edited by William Drabkin. Vol. I: Facsimile; Vol. II: Transcription and Commentary.
Veröffentlichungen des Beethoven-Hauses in Bonn, I/137. Bonn, 2010. 4º, 2 vols, 96, 100 pp. Halftone. The sketchbook, well known under the name Artaria 197, has been edited and published for the first time in a complete historical-critical edition by the Beethoven expert William Drabkin. The sketchbook used by Beethoven in 1821 contains drafts of music for prominent later works: to the Missa solemnis and the final two piano sonatas, as well as many hitherto unknown sketches. The edition has be published in English. Linen. [item no.9145]

Bonner Beethoven-Studien, Band 6. Herausgegeben von Bernhard R. Appel.
Veröffentlichungen des Beethoven-Hauses, V/5. Bonn, 2007. 8˚, 213 pp. Luigi Bellofatto: Beethovens letzte Lebensstunden und das Schwarzspanierhaus. Einige neue Erkenntnisse aus dem Nachlass von Alexander Wheelock Thayer; Helmut Hell: Textgebundenheit in den instrumentalen Stücken von Beethovens Egmont-Musik; Hans-Joachim Hinrichsen: Pathos und Selbstbehauptung. Beethovens Grande Sonate pathétique op. 13 und der Kunstdiskurs am Anfang des 18. Jahrhunderts; Klaus Martin Kopitz: Ein unbekanntes Gesuch Beethovens an Kaiser Franz I. Arnold Pistiak: Gebändigt? Ungebändigt? Überlegungen zum Verhältnis von Beethoven und Goethe; Rita Steblin: “Auf diese Art mit A geht alles zu Grunde.” A New Look at Beethoven's Diary and the “Immortal Beloved”; Dagmar Skwara und Rita Steblin. Ein Brief Christoph Freiherr von Stackelbergs an Josephine Deym-Stackelberg; Ludwig Finscher: Rückblick nach vorn. Musikalische Denkmäler und Musikleben. Wrappers. $45 [item no.6698]

Bonner Beethoven-Studien, Band 7. Herausgegeben von Michael Ladenburger. Friederike Grigat. Die Sammlung Wegeler im Beethoven-Haus Bonn. Kritischer Katalog.
Veröffentlichungen des Beethoven-Hauses, V/7. Bonn, 2008. 8˚, 359 pp. Wrappers. $69 [item no.6699]

Bonner Beethoven-Studien, Band 8. Herausgegeben von Bernhard R. Appel.
Veröffentlichungen des Beethoven-Hauses, V/7. Bonn, 2009. 8˚, 167 pp. Luigi Bellofatto: Henry Edward Krehbiel and His Edition of Alexander W. Thayer's "Life of Beethoven"; Martella Gutiérrez-Denhoff: Beethoven und die Wiener Phäaken. Ludlamiten und Paternostergässler; Nors S. Josephson: Mozart, Haydn und Beethoven: Musikalische Wechselbeziehungen; Heinz von Loesch: 'Die Wut über den verlorenen Groschen' “Gemütlicher Witz” oder Zeichen der "Entfremdung"? Rita Steblin: "A dear, enchanting girl who loves me and whom I love": New Facts about Beethoven's Beloved Piano Pupil Julie Guicciardi. Wrappers. $49 [item no.6859]

BERBIGUIER, Antoine Tranquille, 1782-1838

[Cavatina, 3 flutes, op.110] An Original Cavatina as a Trio for Three Flutes. Op. 110.
Collection Dominantes. Courlay, 2007. 21 x 30 cm, 24 pp. Line-cut of the London, c.1830 edition. Preface in Fr-Eng-Ger. Wrappers. $19 [item no.8944]

BERNHARDT, Christoph, 1628-1692

Geistliche Harmonien [erster Theil, begreifende zwanzig deutsche Concerten von 2.3.4. und 5. Stimmen. Opus primum]. Dresden/Wolfgang Seyffert 1665. [Bibl. Jagiellońska, Krakow].
Faksimile-Edition Krakau, 9. Stuttgart, 2007. 21 x 33 cm, 7 partbooks, 138 pp. Line-cut of the Dresden, 1665 edition. Collection of 12 sacred settings (3 a2, 1 a3, 5 a4, 2 a5, & 1 a6), with violin and viola da gamba accompaniment. Printed in partbook format: 1. Sing-Stimme, 2. Sing-Stimme, 3. Sing-Stimme, 4. Sing-Stimme, 1. Instrument, Anderes Instrument, Basso Continuo. Wrappers, in marbled paper slipcase. $65 [item no.8830]

BERNIER, Nicolas, 1664-1734

[Cantatas, voice, bc, book 3, selection] Le caffé (cantate extraite du IIIe livre) - 1703.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 32 pp. Line-cut of the Paris, [1703] edition. Wrappers. $14 [item no.8935]

BIBER, Heinrich Ignaz Franz von, 1644-1704

[Partitas, 2 violins, bc] Harmonia artificioso-ariosa. Diversimodè accordata. VII Partien à tre. Faksimile, Erstdruck 1696 (Wiesentheid). Herausgegeben von Reinhard Goebel. [Stadtbibliothek, Wiesentheid].
Magdeburg, 2007. Oblong, 4º, 3 partbooks, xv, 100 pp. Line-cut of the first edition, Wiesentheid, 1696. The recently rediscovered first edition—now available for the first time in facsimile—does not have some of the errors made by the editors of the Denkmäler edition. The piece, in 7 movements or partitas and principally scored for 2 violins and bc (1 partita is for 2 viole d’amore & bass) employs scordatura tunings (”harmonia artificioso”) in the upper parts. Only partita VI is written for violins in normal tuning. Wrappers. $79 [item no.8873]

[Sonatas, violin, bc, “Mystery Sonatas”] Rosenkranz-Sonaten. Bayerische Staatsbibliothek München, Mus. Mss 4123. Vorgelegt von Manfred Hermann Schmid. [Im Anhang:] Faksimile der “Türken-Sonate” aus dem Kodex Ms XIV 726 (Nummer 80, Bll. 162r bis 163v) des Wiener Minoritenkonvents].
Denkmäler der Musik in Salzburg, Faksimile-Ausgaben, 14. Munich, 2008. Oblong, 30 x 22 cm, 86, xxx, 4 pp + 1 foldout. New color reproduction of the magnificent presentation copy (non autograph, sole surviving source), dedicated to the Archbishop Maximilian Gandolph von Khuenberg. These fifteen wonderful sonatas, abstract commentaries on biblical incidents traditionally grouped into three groups of five—Joyful (his early life), Sorrowful (his passion), Glorious (his ressurection)—are noteworthy for their use of scordatura and their powerful preludes. They originally were performed in the lecture hall “Aula Academica” of Salzburg University, which still contains fifteen paintings depicting the mysteries. In like manner biblical illustrations—small engraved medallions—were glued in the manuscript at the beginning of each piece. The work ends with the passacaglia for solo violin, one of the most beautiful and soaring pieces of the German baroque. This new facsimile edition importantly includes a facsimile of a concordance of the tenth sonata (from MS XIV 726, Wiener Minoritenkonvents) — ”Türken-Sonate”—where the same music has programmatic titles: “Der Türcken Anmarch”, “Der Türcken Belägerung der Stadt Wien”, “Der Türcken stürmen”, “Anmarsch der Christen”, “Treffen der Christen”, “Durchgang der Türcken”, “Victori der Christen”. In Ms XIV 726, a composite source of violin music by Biber, Schmelzer and others, the scribe attributes the Türken-Sonate to “Schmelzer”. Introduction in Ger. Cloth. $179 (more info... ) [item no.9028]

[Sonatas, violin, bc, 1681 ed.] Sonatae Violino solo 1681. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 11. Stuttgart, 2009. Oblong, 33 x 25 cm, 63 pp. Line-cut of the Salzburg, 1681 edition. Wrappers. Hardbound, with marbled paper boards. $58 [item no.9112]

BITTNER, Jacques, 17th c.

Pièces de lut, 1702. Faksimile nach dem Druck- Exemplar der Oberösterreichischen Landesmuseen Linz, Österreich. Herausgegeben von Michael Treder, Hamburg unter Mitarbeit von Francois-Pierre Goy, Paris.
Lübeck, 2009. 21 x 30 cm, xxxiv, 39, iv. Line-cut of the Linz, 1702 edition (oblong format), reproduced 3 up a page for ease of reading. The present edition contains 10 suites, in total 55 pieces for 11-course baroque lute. Introduction in Ger. Ring binder. $39 [item no.9093]

BIZET, Georges, 1838-1875

Chants des Pyrennées (chants populaires harmonisés). 1867. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 6 pp. Line-cut of the Paris, 1867 edition. Contents: Mon doux ami; La-haut sur la montagne; De mes brebis la plus charmante; La haute montagne; Rossignolet; Connaissez-vois ma bergere? Wrappers. $10 [item no.8798]

BLAINVILLE, Charles-Henri de, c.1711-c.1769

[Sonatas, 2 violoncellos, book 2] Second livre de sonates à deux violoncelles.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 28 pp. Line-cut of the Paris, c.1750 edition. Wrappers. $12 [item no.8879]

BLASIS, Carlo, 1803-1878

L’uomo fisico, intellettuale e morale. A cura / Edited by Ornella Di Tondo e / and Flavia Pappacena.
Chorégraphie, Rivista di Ricerca Danza, nuova serie, 5/2005. Lucca, 2007. 8º, 120, 331 pp. Line-cut of the 1868 edition. Preface in It-Eng. Wrappers. $57 [item no.9045]

BLOCH, Ernest, 1880-1959

Piccardi, Carlo. L’occhio del compositore: Ernest Bloch (1880-1959) tra Ticino e Italia.
Lucca, 2009. 22 x 22 cm, 136 pp. Beautiful picture documentary produced on the occasion of a special exhibit at the Museo d’Art, Lugano in cooperation with the Ernest Bloch Family. Includes 72 plates, most of them photographs taken 1930-1934 by Roveredo Capriasca. Wrappers. $31 [item no.9158]

BOISMORTIER, J.B. Bodin de, 1691-1755

[Divers pièces, 2 flutes] Divers pièces pour une flûte-traversière seule avec des preludes sur tous les tons, et des seconds dessus adjoûté, 1728. Présentation par Pauline van Agt et Lara Reynaud (CeFEdeM Île-de-France).
La Musique Française Classique de 1650 à 1800, 195. Courlay, 2007. 21 x 30 cm, xiii, 24 pp. Line-cut of the Paris, 1728 edition. For 2 solo flutes. Preface in Fr-Eng-Ger. Wrappers. $24 [item no.8895]

[Sonatas, 2 flutes, op.1] Sonates a deux flûtes traversieres sans basse. Œuvre premier, 1724. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 26 pp. Line-cut of the Paris, 1724 edition. Wrappers. $12 [item no.8799]

[Sonatas, 2 flutes, op.6] Sonates à deux flûtes traversières sans basse. Opus 6, 1725.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 28 pp. Line-cut of the author’s, Boivin & Leclerc edition, Paris, 1725. Wrappers. $12 [item no.8843]

[Sonatas, 2 flutes, op.8] Sonates a deux flûtes traversières sans opus 8.
La Musique Française Classique de 1650 à 1800, 200. Courlay, 2007. 4º, 40 pp. Line-cut of the Paris, 1725 edition. Introduction in Fr-Eng-Ger. Wrappers. $26 [item no.8947]

[Sonatas, flute, bc, op.9] Sonates pour la flûte-traversiere avec la basse. Œuvre neuvième, 1725. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 26 pp. Line-cut of the Paris, 1725 edition. Wrappers. $12 [item no.8800]

[Sonatas, flute, violin, op.51] VI sonates pour une flûte traversière, et un violon par accords, sans basse. 1734. Présentation par Marion Delorme et Pauline van Agt (etudiantes au CeFEdeM Île-de-France).
La Musique Française Classique de 1650 à 1800. Courlay, 2007. 21 x 30 cm, ix, 24 pp. Line-cut of the Paris, 1734 edition. Preface in Fr-Eng-Ger. Wrappers. $24 [item no.8894]

[Suites, harpsichord, op.59] Les pièces de clavecin - Livre second.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 28 pp. Line-cut of the Paris, 1736 edition. Wrappers. $13 [item no.8932]

BONONCINI, Giovanni, 1670-1747

Cantate e duetti (Londra 1721). Introduzione di / Introduction by Paolo Da Col.
Bibliotheca Musica Bononiensis, IV/73. Bologna, 2008. Oblong, 4°, xvii, 107 pp. Line-cut of the London, 1721 edition. The collection features 7 cantatas for soprano, 6 for alto and 2 duets, with violin or bc. Wrappers. $59 [item no.9006]

BOUFFIL, Jacques Jules, 1783-1868

[Duos, 2 clarinets, op.5] Trois duos pour deux clarinettes. Opus 5.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 32 pp. Line-cut of the Gaveaux edition, Paris, n.d. Wrappers. $13 [item no.8844]

BOULEZ, Pierre, 1925

Tombeau. Nr.5 aus dem Zyklus “Pli selon pli”. Edited by Robert Piencikowski.
Eine Publikation der Paul Sacher Stiftung. Vienna, 2010. 4°. Beautiful full-color facsimile edition of the autograph draft score and the first copy of the full score. Unlike the world première of Marteau sans maître (1952-55), that of Tombeau for orchestra (1959), which took place in Donaueschingen on 17 October 1959, passed almost unnoticed, outshone by Pierre Boulez's unexpected triumph as a conductor when he stepped in to replace Hans Rosbaud at the head of the Südwestfunk Sinfonieorchester. Originally conceived as an individual tribute to Prince Max Egon zu Fürstenberg, who died suddenly in spring 1959, the work was ultimately included in the Pli selon pli cycle (1957-62, 1983, 1990). To celebrate the composer's 85th birthday and the 50th anniversary of the world première, the Paul Sacher Foundation and Universal Edition are now publishing the two original manuscripts of the score for the first time: the pencil draft and a fair copy in different colored inks. These fine examples of high-quality reproductions are also the earliest evidence of Boulez' friendship with Paul Sacher. The composer presented the scores to Sacher in the early 1960s. The facsimiles are prefaced by an introduction, which places the work in a historical and aesthetic context and takes a look at the compositional techniques used. It is illustrated by a selection of manuscripts from different stages of the creative process, as well as other related documents. Linen. $211 [item no.9165]

BRANDISIUS, Markus Dietrich, 16-17th c.

Victoria Sveco-Saxonica. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 15. Stuttgart, 2009. 16 x 21 cm, 3 partbooks, 40 pp. Line-cut of the Gregor Ritzsch edition, Leipzig, 1631. Portfolio, with decorative paper boards. $48 [item no.9096]

BRÉVAL, Jean-Baptiste Sébastien, 1753-1823

Les nocturnes, ou six airs variés pour un violon et violoncelle. Œuvre IX.
Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 16 pp. Line-cut of the Paris, 1782 edition. Wrappers. $13 [item no.9037]

BRUNI, Antonio Bartolomeo, 1757-1821

[Caprices, violin, op.1] Caprices et airs variés en forme d’étude pour un violon seul — Œuvre 1er.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 32 pp. Line-cut of the Paris, 1787 edition. 23 caprices & 6 airs variés. Wrappers. $13 [item no.8880]

BUXTEHUDE, Dietrich, 1637-1707

Herr, ich lasse dich nicht, BuxWV36. Facsimile of the Autograph Set of Parts in the Uppsala University Library, including a New Full Score Critical Edition. Edited by Peter Wollny.
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]

CAMPION, Thomas, 1567-1620

[Maske, for Lord Hayes] The Discription of a Maske Presented before the Kinges Maiestie at White-Hall, on Twelfh Night Last, in Honour of the Lord Hayes, and His Bride. [private collection].
Performers’ Facsimiles, 259. New York, [2007]. 17 x 23 cm, 40 pp. Line-cut of the London, 1607 edition. Wrappers. $15 [item no.8833]

CANAVAS, Jean-Baptiste, 1713-1784

[Sonatas, violoncello, bc, op.2] Sonates pour le violoncelle avec la basse continue — Opéra II.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 32 pp. Line-cut of the Paris, 1773 edition. 6 sonatas for cello and bc. Wrappers. $13 [item no.8881]

CARRÉ, Antoine de la Grange, 17th c.

Livre de guitarre (1671). Facsimile Edition. Introduction by Monica Hall.
Westminster, 2009. 4º, i, 36 pp. Line-cut of the Paris, 1671 edition, reproduced two-up on a page. Preludes, chaconnes, allemandes, sarabandes, folia & gigues, together with an instruction book. Comb binding. $20 [item no.9067]

CARTIER, Jean-Baptiste, 1765-1841

[Airs, viola] Trois airs variés pour l’alto.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 12 pp. Line-cut of the Sieber edition, Paris, c.1822. Wrappers. $9 [item no.8845]

CERONE, Pietro, c.1560-1625

El melopeo y maestro : (Napoles, J.B. Gargano y L. Nucci, 1613) / Pedro Cerone ; Antonio Ezquerro Esteban, ed.
Monumentos de la Música Española, 74. Madrid, 2007 23 x 32 cm, 2 vols: 1392 pp. Line-cut of the Naples, 1613 edition based on exemplars preserved in the Biblioteca “Jose Maria Lafragua” de la Benmerita Universidad Autonoma de Puebla (Puebla de los Angeles, Mexico), and in the Biblioteca Publica del Estadoo “Fray Francisco de Burgoa” de la Universidad Autonoma “Benito Juarez” de Oaxaca (Oaxaca, Mexico). Huge synthesis of musical-theoretical topics divided into 22 books. Deals with plainsong, mensural theory, vocal and instrumental variation, counterpoint, canon & fugue, problems of composition, mensuration and “tonality”. The last book deals with musical enigmas and puzzle canons. Contains numerous references to composers and detailed musical examples, including a careful analysis of Palestrina’s Missa L’homme armé. Hardbound. $295 [item no.9151]

CHAMBONNIÈRES, Jacques Champion de, c.1602-1672

[Pièces, harpsichord, book 2] Les pièces de clavecin - Livre second.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 36 pp. Line-cut of the Paris, 1670 edition. Wrappers. $15 [item no.8931]

CHÉDEVILLE, Nicolas, 1705-1782

[Sonatas, flute/oboe/violin, bc, op.7] Six sonates pour la flûte traversière, hautbois ou violon, avec la basse. Œuvre VIIe. Paris s.d. [c.1739].
Archivum Musicum: L’Art de la Flûte Traversière, 67. Florence, 2008. 24 x 34 cm, iv, 26 pp. Line-cut of the author’s edition, Paris, 1739. Discusses transposition for the musette. Wrappers. Introduction in It by Marcello Castellani. Wrappers, in decorative paper. $36 [item no.8991]

CHÉRON, André, 1695-1766

[Trio sonatas, 2 fl/ob/vln, bc, op.1] Sonates en trio p. deux flûtes traversières avec la basse continue. Premier œuvre.
Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 3 parts, 84 pp. Line-cut of the Paris, 1727 edition. Wrappers. $40 [item no.9038]

CHOPIN, Frédéric, 1810-1849

Allegro de Concert op.46 / Allegro de Concert, op.46. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 227). Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 227).
Works by Chopin—Facsimile Edition, [12] A /XI/46. Warsaw, 2008. Oblong, 28 x 22 cm, 2 vols, 20, 67 pp. Full-color halftone of the autograph fair copy. The work, in expansive sonata form in "stile brillante", dates from the early 1830s and stands as testimony to the fact that after completing the concertos in F minor and E minor, that Chopin was thinking of composing a third. The work was first published in 1841 and the manuscript remained in the Breitkopf & Härtel archives until 1939, when it was sold with a group of manuscripts, letters and daguerreotypes to Biblioteka Narodowa. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Irena Poniatowska. Bound in blue linen, with matching slipcase. $86 (more info... ) [item no.9104]

[Barcarole, piano, op.60/Kob.808] Barkarola Fis-dur Op.60 / Barcarolle in F-Sharp Major, Op.60. Wydanie faksymilowe rękopisu ze zbiorów Bibliotece Jagiellońskiej w Krakowie (Muz. Rkp 2204). Facsimile Edition of the Manuscript Held in the Jagiellonian Library in Kraków (Muz. Rkp 2204).
Works by Chopin—Facsimile Edition, [7] A /XI/60a. Warsaw, 2007. Oblong, 28 x 22 cm, 2 vols, 8, 59 pp. Full-color halftone of the autograph fair copy produced for the French publisher Brandus & Cie, Paris. The autograph lay in the publisher’s archive until purchased some time later by Jane Stirling, and after her death it passed from Thomas Tellefsen, to Édouard Gamche, to the Deutsche Staatsbibliothek Berlin, finally ending up in the Jagiellonian Library in Kraków. The manuscript has been meticulously notated, with a wealth of performance details, dynamic markings and expression marks. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Artur Szklener. Bound in blue linen, with matching slipcase. $92 (more info... ) [item no.8982]

[Etudes, op.10, nos. 3,5,6,8,9,10] Etiudy Op.10, Nr 3, 5, 6, 8, 9, 10 / Etudes, Op.10, Nos. 3, 5, 6, 8, 9 and 10. Wydanie faksymilowe rękopisu ze zbiorów Muzeum Fryderyka Chopina w Warszawie (M 192-197, D16-21). Facsimile Edition of the Manuscripts Held in the Fryderyk Chopin Museum in Warsaw (M 192-197, D16-21).
Works by Chopin—Facsimile Edition, [9] A /II/10/3,5,6,8,9,10. Warsaw, 2007. Oblong, 35 x 26 cm, 2 vols, 26, 58 pp. Full-color halftone of the autograph fair copies of six etudes from op.10, the only extant fair copies for op.10. Dated by Jan Ekier c.1829-1832, the provenance of these etudes are difficult to establish and the etudes nos. 8, 9 & 10 most probably constituted at one time a separate group. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Irena Poniatowska. Bound in blue linen, with matching slipcase. $105 (more info... ) [item no.8983]

[Etudes, piano, op.25] Etiudy Op.25 / Etudes, Op.25. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 217 Cim.). Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 217 Cim.).
Works by Chopin—Facsimile Edition, [10] A /II/25. Warsaw, 2007. Oblong, 30 x 24 cm, 2 vols, 54, 47 pp. Full-color halftone of the fair copies prepared for Breitkopf & Härtel. This set consists of 2 fair copies entirely in the hand of Chopin (nos. 1 & 8), and 10 etudes in a copyist’s hand, authorized, corrected and supplemented by the composer. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Zofia Chechlińska. Bound in blue linen, with matching slipcase. $95 (more info... ) [item no.8984]

[Fantasy, piano, op.49/Kob.702] Fantazja F-Moll Op.49 / Fantasy in F Minor Op.49. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 228 Cim.). Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 228 Cim.).
Works by Chopin—Facsimile Edition, [8] A /XI/49. Warsaw, 2007. Oblong, 27 x 21 cm, 2 vols, 20, 66 pp. Full-color halftone of the autograph fair copy prepared for Breitkopf & Härtel. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Mieczysław Tomaszewski. Bound in blue linen, with matching slipcase. $92 (more info... ) [item no.8985]

Impromptu As dur op.29 / Impromptu in A Flat Major, op.29. Wydanie faksymilowe rękopisu ze zbiorów Muzeum Fryderyka Chopina w Warszawie, sygn. (M-198, D-22). Facsimile Edition of the Manuscripts Held in the Fryderyk Chopin Museum in Warsaw (M-198, D-22).
Works by Chopin—Facsimile Edition, [14] A /III/29. Warsaw, 2008. Oblong, 31 x 24 cm, 12, 40 pp. Full-color halftone of the autograph fair copy completed in 1837, the third of just four impromptus that Chopin wrote. The manuscript was in the possession of the German musician Ludwig Landsberg until his death in 1858; from there it went to the Königliche Bibliothek in Berlin and finally, in 1949, it was presented back to the Polish people. The autograph contains engraver's marks in the form of digits, written either in ordinary lead pencil or in red pencil or crayon, indicating the division of the musical text in the edition into systems and pages. The present manuscript is the only extant autograph of the Impromptu in A flat major, op.29. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Zofia Chechlińska. Bound in blue linen, with matching slipcase. $85 (more info... ) [item no.9106]

[Mazurkas, piano, op.24/Kob.280, 285, 288, 293] Mazurki Op.24 / Mazurkas, Op.24. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 216). Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 216).
Works by Chopin—Facsimile Edition, [13] A /IV/24. Warsaw, 2008. Oblong, 31 x 23 cm, 24, 66 pp. Full-color halftone of the autograph fair copy completed in the autumn of 1835 and published—like most of Chopin's compositions—simultaneously in three editions (France, Dec. 1835, Germany, Jan. 1836 and England, Apr. 1836). The manuscript is a rather clean fair copy yet bearing traces of intensive work on the formulation of some details. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Paweł Kamiński. Bound in blue linen, with matching slipcase. $96 (more info... ) [item no.9105]

[Mazurkas, piano, op.33/Kob.520, 528, 536, 541] Mazurki Op.33 / Mazurkas, Op.33. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 221 Cim.). Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 221 Cim.)
Works by Chopin—Facsimile Edition, [6] A /IV/33. Warsaw, 2007. Oblong, 30 x 23 cm, 2 vols, 18, 68 pp. Full-color halftone of the autograph fair copy (four mazurkas) formerly in the possession of Breitkopf & Härtel. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Pawel Kamiński. Bound in blue linen, with matching slipcase. $92 (more info... ) [item no.8926]

[Mazurka, piano, op.59,2/Kob.796] Mazurek Op.59 nr 2 / Mazurka, Op.59, No.2. Wydanie faksymilowe rękopisu ze zbiorów Biblioteka Opery, Paryż (Rès. 50[1] ). Facsimile Edition of the Manuscript Held in the Library of the Paris Opera (Rès. 50[1]).
Works by Chopin—Facsimile Edition, [11] A /IV/59/2. Warsaw, 2008. Oblong, 28 x 22 cm, 2 vols, 5, c.60 pp. Full-color halftone of the autograph sketch. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $88 (more info... ) [item no.9022]

[Nocturne, piano, op.27, no.2/Kob.364] Nokturn Des-Dur Op. 27 Nr 2 / Nocturne in D Flat Major, Op.27 No.2. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 218 Cim.). Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 218 Cim.)
Works by Chopin—Facsimile Edition, [5] A /V/27/2. Warsaw, 2007. Oblong, 30 x 23 cm, 2 vols, 8, 48 pp. Full-color halftone of the 1836 autograph fair copy formerly in the possession of Breitkopf & Härtel. It is the only known Chopin manuscript of this work. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Mieczysław Tomaszewski. Bound in blue linen, with matching slipcase. $90 (more info... ) [item no.8925]

[Polonaise, piano, op.53] Polonaise As-Dur op.53. Vorwort: Ernst Herttrich.
[Henle Music Facsimiles, 21]. Munich, 2009. Oblong. Deluxe color facsimile of the autograph issued on the occasion of the bicentenary of the composer’s birth. Commentary in Ger-Eng. Hardbound, in decorative paper, with pasted title etikette. (in preparation) $75 [item no.9114]

[Polonaise-fantasy, piano, op.61/Kob.817] Polonez-Fantazja Op.61 / Polonaise-fantasy, Op.61. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 233 Cim.) / Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 233 Cim.)
Works by Chopin—Facsimile Edition, [4] A /XI 61a. Warsaw, 2007. Oblong, 29 x 22 cm, 2 vols, 8, 64 pp. Full-color halftone of the autograph fair copy formerly in the possession of Breitkopf & Härtel. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Facsimile printed on laid paper. Bound in blue linen, with matching portfolio. $94 (more info... ) [item no.8924]

[Waltzes, piano, op.18; op.34, 1st ed.] Valses - Recueil n° 1. Opus 18, Grande Valse Brillante; Opus 34 Grande Valse Brillante N°. 1; Grande Valse Brillante N°. 2; Grande Valse Brillante N°. 3.
Édition Complète en Fac-similés de l’œure de Frédéric Chopin proposées par Alex Szilasi, 2. Courlay, 2008. 4º, 44 pp. Line-cut (in reduced format) of the Maurice Schlesinger 1834 & 1838 printed editions. Contents: Grande valse brillante op.18 (pl.no. MS 1599); Grande valse brillante, op.34, nos.1-3 (pl.no. 2715-17). Wrappers. $15 [item no.9016]

[Waltzes, piano, op.42; op.64, 1st ed.] Valses - Recueil n° 2. Opus 42 Grande Valse; Opus 64 Valse N°.1; Valse N°.2; Valse N°.3.
Édition Complète en Fac-similés de l’œure de Frédéric Chopin proposées par Alex Szilasi, 3. Courlay, 2008. 4º, 36 pp. Line-cut (in reduced format) of the Magasin de Musique 1840 & Schlesinger/Brandus 1847 printed editions. Contents: Grande valse brillante, op.42 (pl.no. 3708); Valse, op.64, nos.1-3 (pl.no. 4743). Wrappers. $13 [item no.9017]

[Waltzes, piano, op.69; op.70, op.”KK IVa, nos.10-12”, 1st ed.] Valses - Recueil n° 3. Opus posth. 69 N°. 1; Opus posth. 69 N°. 2; Opus posth. 69 N°. 3; Opus posth. 70 N°. 1; Opus posth. 70 N°. 2; Opus posth. 70 N°. 3; KK IVa Valse N°. 10; KK IVa Valse N°. 11; KK IVa Valse N°. 12.
Édition Complète en Fac-similés de l’œure de Frédéric Chopin proposées par Alex Szilasi, 3. Courlay, 2008. 4º, 32 pp. Line-cut (in reduced format) of the Meissonnier 1855 editions (op.69-70), Francis, Day & Hunter 1855 edition (KK IVa 10-11) and Breitkopf & Härtel 1871 edition. Contents: Deux valses, op. post. 69 (pl.no. J.M.3526); Trois valses, op. post. 70 (pl.no. J.M. 3527); Waltzes, KK IVa, nos.10-11 (pl.no. 23100); Waltzer KK IVa, no.12 (C. XIII. 22). Wrappers. $13 [item no.9018]

J.S. Bach. Vingt-Quatre préludes et fugues (Le clavier bien tempéré, livre I). Annoté par Fréderic Chopin. Commentaire de Jean-Jacques Eigeldinger.
Publications de la Société Française de Musicologie, I/28. Bourg-la-Reine, 2010. Oblong, 28 x 21 cm, lxxii, 111 pp. Color facsimile of the Richault edition (one of the four first editions of the work), with autograph emendations by Fredéric Chopin. In his triple activity as composer, performer, and teacher, Chopin constantly turned to Bach as a supreme point of reference. The Well-Tempered Clavier is said to be the only score he took with him to Majorca in the winter of 1838-39, at the time he was completing his 24 Preludes op.28—in other words, at the heart of his career as a composer. Until now the important role played by the Well-Tempered Clavier in Chopin's teaching has been known on the basis of literary sources. The document published here for the first time confirms it with living proof of a different kind, a live record, so to speak, of his teaching. This precious score, held in a private collection, emanates directly from Pauline Chazaren, a pupil of Chopin and teacher of Cosima Liszt. The score was probably purchased in Lyons around 1843 prior to Pauline's Parisian sojourn and was brought or sent to Paris, where it was used in the lessons with Chopin. The score shows no trace of interventions that could be ascribed to Pauline or anyone else. Leafing through the pages of this copy of the Well-Tempered Clavier I, one cannot fail to be struck by the neatness with which the signs and words indicating tempo, metronome marks, phrasing, articulation, dynamics, left-hand octaves, and so on, have been notated. All of Czerny's indications (probably taken from the 1843 Veuve Launer edition), save fingerings, have been copied out by Chopin. The systematic copying stops after Prelude 7, as do the sporadic indications in ink. Commentary in Fr/Eng/Pol. Hardbound. $111 (more info... ) [item no.9166]

CLEMENTI, Muzio, 1752-1832

[Duets, piano 4-hands; sonatas, piano, vln/fl accomp, op.3] Three Duets for Two Performers on One Piano Forte or Harpsichord and Three Sonatas with an Accompanyment for a Flute or Violin. Opera terza. [Yale University, Music Library, New Haven].
Performers’ Facsimiles, 269. New York, [2008]. Oblong, 35 x 24 cm, 49 pp. Line-cut of the London [after.1786] edition. Wrappers. $23 [item no.8996]

[Sonatas, piano, op.36] Six Progressive Sonatinas for the Piano Forte Op.36. [Yale University, Music Library, New Haven].
Performers’ Facsimiles, 292. New York, [2007]. 26 x 33 cm, 31 pp. Line-cut of the London, n.d. edition. Wrappers. $18 [item no.8834]

[Sonatas, piano, vln/fl accomp., op.2] Six Sonatas for the Piano Forte or Harpsichord with an Accompanyment for a German Flute or Violin. Opera II. [Yale University, Music Library, New Haven].
Performers’ Facsimiles, 268. New York, [2008]. Oblong, 35 x 24 cm, 45 pp. Line-cut of the London, n.d. edition. Wrappers. $23 [item no.8995]

[Correspondence] The Correspondence of Muzio Clementi. Edited by David Rowland.
Muzio Clementi, Opera Omnia. Bologna, 2010. 8˚, 692 pp. This critical edition includes some 20 previously-unknown letters by Clementi, in addition to about 30 more that were written to him, his family, associates, or individuals. Furthermore, many letters only previously referred to or partially quoted are published here in full. Clementi’s correspondence opens a window on a number of aspects of his life, the lives of other contemporary musicians, and the international music business of the time. The letters clearly show the extent of Clementi’s contacts with European publishers and instrument sellers, including Artaria, Breitkopf & Härtel, Erard, Naderman, Nägeli, Pleyel, Ricordi and Streicher. One of the most striking features of the correspondence is the esteem in which Clementi was held among musicians all over Europe, as well as the use that he made of his reputation. His relations with Haydn, Dussek and Beethoven are well-known, but other figures emerge, such as Bomtempo, Himmel and Righini, as well as minor figures about whom very little is known, such as Nezot. In summary, the correspondence reveals an intelligent and cultured British citizen, a good friend, an energetic musician who was at the heart of the development of London’s musical institutions, and an extremely astute and well-connected businessman. $227 [item no.6883]

CORELLI, Arcangelo, 1653-1713

[Trio sonatas, 2 violins, bc, op.1-4] Sonate a tre. London, Richard Meares. Op.1 RISM C3682; Op.2 RISM C3719; Op.3 RISM C3749; Op.4 RISM C3782. [private collection].
Faksimile-Edition Rara, 58. Stuttgart, 2008. 24 x 29 cm, 4 vols, 328 pp. Line-cut of the Richard Meares edition, London, c.1720. The Meares firm became one of Walsh’s chief rivals and its publications rank among the finest of the period. Four partbooks (vln I, vln II, vc, org), with slipcase. $130 [item no.9005]

[Trio sonatas, 2 violins, bc, op.2] Sonate da camera à tre. Due violini e violone col basso per l’organo. Opera seconda. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 260. New York, [2007]. 4º, 4 partbooks, 58 pp. Line-cut of the Roger edition, Amsterdam, 1713. Wrappers. $50 [item no.8822]

[Trio sonatas, 2 violins, bc, op.4] Sonate da camera à tre. Due violini e violone col basso per l’organo. Opera quarta. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 261. New York, [2007]. 4º, 4 partbooks, 63 pp. Line-cut of the Roger edition, Amsterdam, 1713. Wrappers. $50 [item no.8823]

CORRETTE, Michel, 1709-1795

[Method, keyboard] Les Amusements du Parnasse [Methode courte et facile pour apprendre à toucher la clavecin avec les plus jolis airs a la mode où les doigts sont chiffés pour les commençans]. Livre 1er. 1749. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. Oblong, 29 x 21 cm, 34 pp. Line-cut of the Paris, 1749 edition. Wrappers. $13 [item no.8802]

[Pièces, harpsichord, book 1, op.12] Premier livre de pièces de clavecin. 1734. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 29 pp. Line-cut of the author’s, Boivin, & LeClerc edition, Paris, 1734. 4 suites with an explanation of passages to be fingered. Wrappers. $13 [item no.8801]

[Pièces, organ] Pièces pour l’orgue dans un genre nouveau, à l’usage des Dames religieuses et à ceux qui touchent l’orgue. Avec le mélange des jeux et la manière d’imiter le tonnerre.
La Musique Française Classique de 1650 à 1800, 198. Courlay, 2007. 21 x 29 cm, 60 pp. Line-cut of the Paris, [1787] edition. Wrappers. $31 [item no.8945]

[Sonatas, violoncello/viol/bassoon, bc, op.20] Les délices de la solitude, sonates, pour le violloncelle, viole, basson. Avec la basse continüe chiffrée. Œuvre XX.
Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 26 pp. Line-cut of the Paris, 1740 edition. Wrappers. $17 [item no.9039]

COUPERIN, François, 1668-1733

[Pièces, harpsichord, book 4] Second livre de pièces de clavecin. [Yale University Music Library, New Haven].
Performers’ Facsimiles, 297. New York, [2009]. 27 x 37 cm, 95 pp. Line-cut of the Paris, 1717 edition, based on the exemplar formerly owned by Ralph Kirkpatrick. Wrappers. $30 [item no.9179]

[Pièces, harpsichord, book 3; Concerts royaux] Troisième livre de Pièces de clavecin; Concerts royaux. [private collection].
Performers’ Facsimiles, 298. New York, [2009]. 27 x 37 cm, 75, 29 pp. Line-cut of the Paris, 1722 edition. Wrappers. $30 [item no.9079]

[Pièces, harpsichord, book 4] Quatrième livre de pièces de clavecin. [Yale University Music Library, New Haven].
Performers’ Facsimiles, 299. New York, [2009]. 27 x 37 cm, 83 pp. Line-cut of the Paris, 1730 edition, based on the exemplar formerly owned by Ralph Kirkpatrick. Wrappers. $30 [item no.9080]

[Pièces, organ, book 1] Pièces d’orgue - Messes à l’usage des paroisses.
Collection FacsiMusic. Courlay, 2007. Oblong, 30 x 21 cm, 44 pp. Line-cut of the Paris, [1690] edition. Wrappers. $16 [item no.8937]

COUPERIN, Gervais-François, 1759-1826

Les incroyables. Piano-forte 1797. Œuvre VI.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 12 pp. Line-cut of the author’s edition, Paris, [1797]. Wrappers. $9 [item no.8846]

Les merveilleuses. Piano-forte 1797. Œuvre VII.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 12 pp. Line-cut of the author’s edition, Paris, [1797]. Wrappers. $9 [item no.8847]

DALL’ABACO, Evaristo Felice, 1675-1742

[Concerti, vln, vla, bsn, bc, op.5] [VI] Concerti a più strumenti. Opera quinta, libro primo. Amsterdam s.d.
Archivum Musicum: Monumenta Musicae Revocata, 34. Florence, 2007. 24 x 34 cm, 7 partbooks, 19, 143 pp. Line-cut of the Roger edition, Amsterdam, c.1716 edition. Partbooks: vln I, vln II, vln I ripieno, vln, II ripieno, vla, bsn, org/bc. Preface in It-Eng by Laura Ochs. Wrappers with portfolio in quarter linen and ties. $128 [item no.8988]

DANZI, Franz, 1763-1826

[Duos, viola, violoncello, op.9] Trois duos pour alto et violoncelle, livre I.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 2 parts, 40 pp. Line-cut of the Paris, n.d. edition. Wrappers. $16 [item no.8901]

DEBUSSY, Claude, 1862-1918

Images pour piano, 1re serie.
Fac-similes de Manuscrits de Claude Debussy. Paris, 2008. 27 x 35 cm, 36 pp. 4-color facsimile of the autograph. Wrappers, in beautiful art paper. $148 (more info... ) [item no.9013]

Images pour piano, 2e serie.
Fac-similes de Manuscrits de Claude Debussy. Paris, 2008. 27 x 35 cm, 40 pp. 4-color facsimile of the autograph. Wrappers, in beautiful art paper. $148 (more info... ) [item no.9014]

DEVIENNE, François, 1759-1803

[Duos concertants, 2 bassoons, op.3] Six duos concertants pour deux bassoons. Opus 3.
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 32 pp. Line-cut of the Sieber edition, Paris, n.d. Wrappers. $13 [item no.8849]

DOLLÉ, Charles, 18th c.

[Pièces, viola da gamba & bc, op.2] Pièces de viole avec la basse continue. Œuvre IIe, 1737. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 28 pp. Line-cut of the Paris, 1737 edition. Wrappers. $13 [item no.8803]

DU PHLY, Jacques, 1715-1789

[Pièces, harpsichord, book 4] Quatrième livre de pièces de clavecin - Paris 1768.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 20 pp. Line-cut of the Paris, 1768 edition. Wrappers. $12 [item no.8938]

EGENOLF, Christian, 1502-1555 [publisher]

Geminae undeviginti odarum horatii [melodiae, quatuor vocibus probè adornatæ...]. Frankfurt, C. Egenolph 1551. RISM 1551/17. [Musikbibliothek Leipzig].
Faksimile-Edition Rara, 55. Stuttgart, 2008. 10 x 14 cm, 221 pp. Line-cut of the Frankfurt, 1551 edition. 53 polyphonic settings a4 on the odes of the Roman poet Horace (Quintus Horatius Flaccus, 65 BC - 8 BC). Hardbound with decorative paper boards. $52 [item no.9059]

EISENHUT, Thomas, 1644-1702

Musicalisches Fundament. Ex Ducali Typographia Campidonensi 1682. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 6. Stuttgart, 2007. 18 x 23 cm, 73 pp. Line-cut of the Kempten, 1682. Theoretical work, organized in two parts, addressed to the music education of young boys; deals with notation, the church modes, simple vocal exercises, and exercises in solmization. Hardbound, with marbled paper boards. $45 [item no.8905]

ELGAR, Edward, 1857-1934

Concerto for Violoncello and Orchestra in E Minor, Op. 85. Royal College of Music London MS 402. Facsimile. Introduction by Jonathan Del Mar; Foreword by Steven Isserlis.
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”. $124 (more info... ) [item no.8808]

EYCK, Jhr Jacob van, c.1589-1657

Euterpe oft Speel-goddinne, Amsterdam 1644. Facsimile Edition with an Introduction by Thiemo Wind.
Utrecht, 2007. Oblong, 20 x 11 cm, vii, 90 pp. Line-cut of the 1644 edition. “Euterpe oft Speel-goddinne” (Euterpe of the Goddess of Instrumental Music) is the first half of Jacob van Eyck’s famous collection of solo variations, preludes and fantasias, containing 55 pieces. Issued on the occasion of the 350th anniversary of Van Eyck’s death. Wrappers. $35 [item no.9024]

FALCONIERI, Andrea, 1585-1656

Sacrae modulationes [quinque et sex vocibus]. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 16. Stuttgart, 2009. 17 x 23 cm, 6 parts, 120 pp. Line-cut of the Gardane/Magni edition, Venice, 1619. 14 setting for a5 & a6. Portfolio, with decorative paper boards. $68 [item no.9097]

FANTINI, Girolamo, fl.1630-1640

[Method, trumpet] Modo per imparare a sonare di tromba. Tanto di guerra quanto musicalmente in organo, con tromba sordina, col cimbalo, e ogn’altro istrumento (Frankfort, 1638). Facsimile Edition with a Complete English Translation and Critical Commentary by Edward H. Tarr.
Vuarmarens, 2/ 2009. 26 x 36 cm, 87, 7 pp. Line-cut of the Frankfurt (Florence?), 1638 edition. A seminal work in the history of the trumpet. Fantini was the first to introduce a new style of playing which made it possible for the trumpet to be accepted into art music. Wrappers. $75 [item no.9126]

FASCH, Johann Friedrich, 1688-1758

Ariette pour le clavecin ou pianoforte avec quatorze variations.
Collection FacsiMusic. Courlay, 2008. Oblong, 30 x 21 cm, 20 pp. Line-cut of the Berlin & Amsterdam, 1782 edition (Grand Magasin de Musique). Wrappers. $14 [item no.9040]

FERRARI, Giacomo Gotifredo, 1763-1842

[Sonatas, piano, op.12] Trois sonates et six ballets pour le piano-forte. Opera XII. [private collection].
Performers’ Facsimiles, 254. New York, [2008]. 25 x 32 cm, 26 pp. Line-cut of the London, n.d. edition. Wrappers. $18 [item no.8911]

FIOCCO, Joseph Hector, 1703-1741

Pièces de clavecin (Bruxelles, [1731]). Introduction by Henri Vanhulst. [Paris, Bibliothèque Nationale].
Musica Bruxellensis, IV. Brussels, 2009. 4˚. Line-cut of the Brussel, 1731 edition. Preface in Fr-Eng. Wrappers. $34 [item no.9146]

FIORILLO, Federigo, 1755-1823

Étude pour le violon formant 36 caprices.
Offenburg, 2007. 4°. Line-cut of the Sieber edition, c.1785, Paris. Wrappers. $25 [item no.9002]

FISCHER, Johann Caspar Ferdinand, c.1670-1746

[Musicalisch Divertissement, rec/fl/ob/vln/bsn, bc] Musicalisch Divertissement (flûte à bec ou flûte traversière ou hautbois ou violon et basse).
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 32 pp. Line-cut of the J. Riedeln edition, Dresden, 1699/1700. Wrappers. $13 [item no.8850]

FOUCQUET, Pierre-Claude, 1694-1772

[Pieces, harpsichord, op.1] Les caractères de la paix. Pièces de clavecin. Œuvre Per - 1752. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. Oblong, 29 x 21 cm, 17 pp. Line-cut of Paris, [1752] edition. An eight-movement piece (two movements with violin and one with viol & violin accompaniment), preceded by a method. Wrappers. $11 [item no.8804]

FROBERGER, Johann Jacob, 1616-1667

[Partite musicali, keyboard] Diverse ingegnosissime, rarissime & non mai piu viste curiose partite di toccate, canzone, ricerate, alemande, correnti, sarabande e gique, di cimbali, organi e instromenti. [Princeton University Library].
Performers’ Facsimiles, 265. New York, [2008]. Oblong, 29 x 20 cm, 44 pp. Line-cut of the Mainz, 1693 edition. Wrappers. $20 [item no.8909]

[Partite musicali, keyboard] Partite musicali. Prima continuatione per uso è recreatione de gli amatori di cimbali, organi, instromenti e spinetti. [Staatliche Hochschule für Musik & Darstellende Kunst, Berlin].
Performers’ Facsimiles, 266. New York, [2008]. Oblong, 29 x 20 cm, ii, 28 pp. Line-cut of the Mainz, 1696 edition. Wrappers. $18 [item no.8980]

[Suites, keyboard] 10 Suittes de clavessin. [King’s College Library, University of Cambridge].
Performers’ Facsimiles, 267. New York, [2010]. Oblong, 28 x 20 cm, ii, 40 pp. Line-cut of the Amsterdam, 1710 edition. Wrappers. $18 [item no.9160]

FÜRSTENAU, Anton Bernhard, 1792-1852

[Fantasy, flute, harp/piano, op.67] Fantaisie pour flûte et harpe ou pianoforte op.67. Leipzig s.d. [c.1828].
Archivum Musicum: Ottocento, 3. Florence, 2008. 24 x 34 cm, 2 parts, xii, 21 pp. Line-cut of the Leipzig, c.1828. Preface in It by Marcello Castellani & Loredana Gintoli. Wrappers, in decorative paper with matching portfolio. $49 [item no.9057]

GABRIELI, Andrea, c.1510-1586

[Ricercari, keyboard] Ricercari composti e tabulati per ogni sorte di stromento da tasti.
Bibliotheca Musica Bononiensis, IV/47. Bologna, 2/ 2007 Oblong, 17 x 25 cm, 88 pp. Line-cut of the 1595 edition. Contains 13 works arranged by key. Cloth. $47 [item no.856]

GALILEI, Michelangelo, b.?-1631

Il primo libro d’intavolatura di liuto. München 1620. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 13. Stuttgart, 2008. 21 x 33 cm, 116 pp. Line-cut of the Munich, 1620 edition. Printed on the recto pages only, after the original. 56 pieces (mostly dances) for ten course lute. Hardbound, with decorative paper boards. Wrappers. $55 [item no.8962]

GALLIARD, Johann Ernst, c.1680-1749

[Sonatas, bassoon/violoncello, bc] Six Sonatas for the Bassoon or Violoncello with a Thorough Bass for the Harpsichord. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 255. New York, [2007]. 24 x 31 cm, 26 pp. Line-cut of the Walsh edition, London, [1733]. Wrappers. $18 [item no.8811]

[Sonatas, flute, bc, op.1] Sonata a flauto solo e basso continuo. Opera prima. [private collection].
Performers’ Facsimiles, 278. New York, [2008]. 25 x 31 cm, 24 pp. Line-cut of the Amsterdam, n.d. edition. Wrappers. $18 [item no.8910]

GARDANO, Antonio, 1509-1569 [publisher]

Novi thesauri musici liber primus. Venedig. A. Gardane 1568. [Landesbibliothek Mecklenburg-Vorpommern Schwerin].
Faksimile-Edition Rara, 57. Stuttgart, 2008. 17 x 24 cm, 6 partbooks, c.968 pp. Line-cut of the Venice, 1568 edition, constiting of cantus, altus, tenor, quintus, sextus, & bassus partbooks. The first of five volumes published in 1568 containing a magnificent collection of 254 5 & 6-voice motets, financed and overseen by Pietro Giovanelli, a member of a wealthy family from the Bergamo region of Italy. Liber primus presents 87 beautifully engraved motets preceded by striking initials in woodblock. The compilation consists of music written by the composers stationed at the Hofkapellen of Graz, Innsbruck, Prague, as well as the Imperial Hofkapelle in Vienna. Besides well-known composers such as Regnart, Vaet, & Lasso the collection contains many outstanding composers who are still virtually unknown today and only known in this collection. Wrapperr, with slipcase covered in decorative paper. $194 [item no.8975]

GAULTIER, Denis, c.1597-1672

Livre de tablature des pièces de luth sur plusieurs diferents modes, avec quelques reigles qu’il faut observer pour le bien toucher. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 279. New York, [2009]. Oblong, 21 x 14 cm, 88 pp. Line-cut of the Paris, c.1680 edition. One of the main sources of the music by “Gaultier de Paris”, together with pieces by “Vieux Gaultier”. Begins with a short set of instructions. Wrappers. $25 [item no.9095]

GAVINIÈS, Pierre, 1728-1800

[Matinées, violin] Les vingt quatre matinées—Exercises pour le violon.
Offenburg, 2007. 4°. Line-cut of the Imbault edition (after 790). Gaviniès was one of the most important violin virtuosi of the 2nd half of the 18th c. and the first professor of violin at the Paris Conservatoire. Wrappers. $49 [item no.9003]

[Sonatas, violin, bc, op.1] Six sonates à violon seul et basse - Ier œuvre.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 32 pp. Line-cut of the Paris, [1760] edition. Wrappers. $13 [item no.8882]

GEMINIANI, Francesco, c.1680-1762

[Sonatas, violoncello, bc, op.5] Sonates pour le violoncelle et basse continue. 1746. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 28 pp. Line-cut of the Paris, 1746 edition. Wrappers. $13 [item no.8805]

GIARDINI, Felice (de), 1716-1796

[Sonatas, violin, bc, op.4] Sei sonate da camera [a violino solo col basso. Opera IV]. Paris, Bayard u.a. um 1760. [private collection].
Stuttgart, 2007. 26 x 35 cm, 40 pp. Line-cut of the Paris, c.1760 edition. Burney called Giardini “the greatest performer in Europe” and credits him for initiating a “new discipline and a new style of playing”. Laid paper with marbled paper coverboards and pasted etiquette. $53 [item no.8818]

GRÄFE, Johann Friedrich, 1711-1787

Sammlung verschiedener und auserlesener Oden zu welchen von den berühmtesten Meisten in der Music eigene Melodeyen verfertigt worden, besorgt und herausgegeben von einem Liebhaber der Music und Poesie / Oden und Schäfergedichte in die Musik gesetzt.
Dokumentation zur Geschichte des Deutschen Liedes, 13. Hildesheim, 2008. 8º, lx, 180, 60 pp. Line-cut of the Halle, 1737-43 and Leipzig, 1744 edition. 4 vols in 1. Linen. $142 [item no.3593]

GREENE, Maurice, 1696-1755

A Cantata and Four English Songs. [private collection John H. Burkhalter III].
Britannia’s Invitation: A Treasury of 18th Century English Vocal Music 1. Hebden Bridge, 2007. 21 x 30 cm, 14 pp. Line-cut of the London, n.d. edition. Scored for voice and bc. Cantata: “Let ‘em censure, what care I?”. Songs: “Go rose, my Chloe’s bosom grace”; “Anacreon’s Dream”; “Orpheus with his lute made trees”; “The Merchant to secure his treasure”. Wrappers. $15 [item no.8916]

A Cantata and English Songs. Book II. [private collection John H. Burkhalter III].
Britannia’s Invitation: A Treasury of 18th Century English Vocal Music, 2. Hebden Bridge, 2007. 21 x 30 cm, 19 pp. Line-cut of the London, n.d. edition. Contents: “Beauty, an Ode” (voice, vln I-II, vla, bc). Songs (voice & bc): “Amoroso”; “The Je ne scay quoi”; “The Poet’s Picture of his love”; “Astrea”. Wrappers. $16 [item no.8917]

GRIEG, Edvard, 1843-1907

[Peer Gynt, orchestra, selections] Morgenstimmung aus der Bühnen zu “Peter Gynt”. Opus 23 Nr. 13. Faksimile der autographen Partitur. Orchesterfassung von 1886. (Original in der Königlischen Bibliothek Kopenhagen). Erstveröffentlichung.
Frankfurt, 2007. 23 x 30 cm, 16, iv. Handsome color facsimile of the autograph full score (revised version, 1886), issued on the ocassion of the 100th anniversary of the composer’s death.Afterword in Ger-eng by Finn Benestad. Wrappers. $75 [item no.8828]

GUILLEMANT, Benoît, 18th c.

[Pièces, 2 bassoons/violoncellos, op.3] Pièces à deux bassons ou violoncelles — Opus 3.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 32 pp. Line-cut of the Paris, c.1748 edition. 6 sonatas for 2 bassoons or violoncellos without bc. Wrappers. $13 [item no.8883]

HAKE, Hans, 1628-dc.1663

Ander Theil newer Pavanen, [Sonaten, Arien, Balletten, Brandlen, Couranten, und Sarabanden, mit 2.3.4.5. und 8-Instrumenten mit dem basso continuo]. Stade 1654 / Elias Holwein. [British Library, London & Stadtbibliothek Växjö].
Faksimile-Edition Rara, 61. Stuttgart, 2010. 16 x 21 cm, 5 partbooks, 222 pp. Line-cut of the Stade, 1654 edition. Wonderful collection of 43 dance movements for various string and wind instrumental groupings (a2 to a5), including 4 for 2 cornetti & 3 trombones and 2 for 5 trombones. Wrappers, with portfolio. $82 [item no.9174]

HANDEL, George Frideric, 1685-1759

[Acis & Galatea, masque, HWV 49, selections] The Songs & Symphony’s in the Masque of Acis & Galatea, Made and Perform’d for His Grace the Duke of Chandos. [private collection John H. Burkhalter III].
Britannia’s Invitation: A Treasury of 18th Century English Vocal Music, 8. Hebden Bridge, 2007. 21 x 30 cm, 38 pp. Line-cut of the London, n.d. edition. Wrappers. $26 [item no.8923]

[Messiah, oratorio, HWV 56, autograph] Messiah HWV 56. Autograph. The British Library London. Commentary by / Kommentar von Donald Burrows.
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. $499 (more info... ) [item no.8998]

[Fugues & Voluntaries, keyboard, HWV 605-610] Six Fugues or Voluntarys for the Organ or Harpsicord. Troisieme Ovarage. [private collection].
Performers’ Facsimiles, 272. New York, [2008]. Oblong, 34 x 24 cm, 25 pp. Line-cut of the Walsh edition, London, 1735. Wrappers. $20 [item no.8997]

Handel’s Will. Facsimiles and Commentary Edited by Donald Burrows.
London, 2008. 25 x 35 cm, 34, 30 pp. The manuscript of Handel’s last will written on 1 June 1750, with the accompanying codicils signed by the composer in 1756, 1757, and 1759 is one of the most important items in the Gerald Coke Handel Collection. It is reproduced here for the first time in full color with commentary by Donald Burrows, Ellen T. Harris and Richard Crewdson, published on the occasion of the 250th anniversary of the composer’s death. Handel died a rich man with a net worth of about $3 million by today’s standards. This incredible document, together with its commentaries and translations of French and German parts of the will provide a fascinating glimpse into the successful career of the composer, his family and close associates. Bound with handsome paper boards, with reproduction of folio 1 of the will. $60 (more info... ) [item no.9109]

HASSE, Johann Adolph, 1699-1783

[Sonatas, flute/violin, bc, op.2] Solos for a German Flute or Violin with a Through Bass for the Harpsicord or Violoncello. Opera Seconda. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 271. New York, [2007]. 25 x 31 cm, 31 pp. Line-cut of the London, [1740] edition. Wrappers. $20 [item no.8812]

HAYDN, Franz Joseph, 1732-1809

[Concerto, horn, orch, Hob. VIId:3, D maj] Hornkonzert D-Dur, Hob. VIId:3. Faksimile der autographen Partitur. Kommentar von Ingrid Fuchs.
Vienna, 2009. Oblong, 4º, 28, 39 pp. Beautiful color facsimile of the autograph score. Commentary in Ger-Eng-Jap. Limited bibliophile edition of 500 copies. $207 (more info... ) [item no.9120]

[Duos, 2 violins] Trois grand duo.
Offenburg, 2007. 4°, Line-cut. An arrangement for 2 violins, published during the composer’s lifetime, of a combination of quartet movements, symphonies and piano trios, including the Andante from the “Surprise Symphony”. Wrappers. $48 [item no.9000]

[Quartet, strings, op.76,3] Gott! Erhalte Franz den Kaiser und Streichquartett Op. 76, Nr. 3: Variationensatz. Vollständige Faksimile-Ausgabe im Originalformat der Sammelhandschrift aus dem Besitz der Musiksammlung der Österreichischen Nationalbibliothek (Mus. Hs. 16.501). Herausgegeben und kommentiert von Günther Brosche.
Musica Manuscripta, 3a. Graz, 2008 32 x 23 cm, 26, 24 pp. Full-color halftone in original format of a composite ms comprising various versions of the hymn “Gott! erhalte Franz den Kaiser”, which has served as the Austrian National Anthem for more than 140 years. The fascicle contains: 1st ms version of the melody, melody with piano harmonization, fair copy of the harmonized version with Haydn’s signature, complete score for unison voices and orchestra, and 4 variations of the hymn from the “Kaiser” quartet (Hob. III: 77). 1st printed edition of the hymn from 1787 also included. Hardbound. $263 [item no.9027]

[Symphony, no.45, “Farewell”, F sharp major, Hob.I:45] 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]

[Symphony, no.102, Bb major, Hob.I:102] 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]

[Variations, piano, F minor, Hob.XVII:6] Variationen F-moll (Sonate) Hob. XVII:6. Introduction: Armin Raab. [New York Public Library, New York].
[Henle Music Facsimiles, 20]. Munich, 2008. Oblong, 33 x 26 cm, x, 12 pp. Deluxe color facsimile of the autograph issued on the occasion of the bicentenary of the composer’s death. Four leaves contain the fair copy of the work, while two leaves represent a composing copy. Originally entitled “Sonate for Signora de Ployer” (probably the pianist Barbara Ployer, a piano and composition pupil of Mozart), the variation movement was apparently intended as the beginning of a sonata with several movements. As can be seen from the second part of the autograph score, Haydn later extended the movement, ending it with an expansive Capriccio Coda. The first printed edition already bears the title “Variations”. The moving masterpiece has been played all over the world as “Variations in f minor” ever since. Commentary in Ger-Eng. Wrappers, in decorative paper. $82 (more info... ) [item no.9012]

HELMONT, Charles-Joseph van, 1715-1790

Pièces de clavecin, 1737.
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 16 pp. Line-cut of the L. Krafft edition, Brussels, [1737]. Wrappers. $11 [item no.8860]

HOFFMANN, Ernst Theodor Amadeus, 1786-1822

Der Trank der Unsterblichkeit. Oper in 4 Akten. Libretto: Reichsgraf von Soden. Faksimile-Ausgabe herausgegeben von Peter P. Pachl.
Berlin, 2009. 4°, 23, 29 pp. Hoffmann is one of the best-known representatives of German romanticism, a talented author of fantasy and horror, a jurist, composer, music critic, draftsman and caricaturist. He is the subject of Jacques Offenbach’s famous but fictional opera the “Tales of Hoffmann”. The most important and largest part of Hoffmann’s musical output was dedicated to the stage. “Der Trank der Unsterblichkeit”, reproduced here in halftone from the autograph score Mus. ms. autogr. Hoffmann, E.T.5 Staatsbibiothek Berlin, was written in Berlin 1807-08 during one of the worst periods of his life. Hardbound with paper boards. $135 [item no.9081]

HOFFMEISTER, Franz Anton, 1754-1812

[Caprices, violin] Six caprices pour violon seul - c.1800.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 16 pp. Line-cut of the London, [c.1800] edition. Wrappers. $11 [item no.8942]

[Variations, keyboard] Variazioni per il clavicembalo o piano forte.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 16 pp. Line-cut of the Vienna, [1799] edition. Wrappers. $10 [item no.8884]

HOLBORNE, Antony, b.?-1602

Pavans, Galliards, Almains, and other Short Aeirs both Grave and Light, in Five Parts, for Viols, Violins, or other Musicall Winde Instruments. [Christ Church Library, University of Oxford].
Performers’ Facsimiles, 263. New York, [2010]. 19 x 23 cm, 5 partbooks, c.180 pp. Line-cut of the 2nd edition, London, 1648. 65 instrumental pieces, suitable for strings & winds, in mensural notation. Wrappers. $45 [item no.9161]

HOTTETERRE, Jean, b.?-1720

[Pièces, musette/flute/oboe, bc, op. post.] Pièces pour la muzette qui peuvent aussi se jouer sur la flûte, œuvre posthume. Paris 1722.
Archivum Musicum: L’Art de la Flûte Traversière, 66. Florence, 2007. Oblong, 29 x 21 cm, viii, 46 pp. Line-cut of the edition published by Jacques Martin Hotteterre and Boivin, Paris, 1722. The suite is by Jacques Martin Hotteterre. Introduction in It by Marcello Castellani. Wrappers, in decorative paper. $35 [item no.8987]

HOWARD, Samuel, 18th c.

A Cantata and English Songs. [private collection John H. Burkhalter III].
Britannia’s Invitation: A Treasury of 18th Century English Vocal Music, 6. Hebden Bridge, 2007. 21 x 30 cm, 13 pp. Line-cut of the London, n.d. edition. For voice and bc with accompaniment by flute or violin. Wrappers. $15 [item no.8921]

HUBERTY, Anton, c.1722-1791

[Method, viola d’amore] Neu Method-Messige Viol d’amore Stüke. Wien. Mit einem Kommentar und Inhaltsverzeichnis von Marianne Rônez. [Sibley Library, Rochester, NY].
Faksimile-Edition Rara, 56. Stuttgart, 2008. Oblong, 25 x 18 cm, 3 vols, 220, 23 pp. Line-cut of the Vienna, c.1790 edition, based on the unique copy preserved in the Sibley Library. This rare and fascinating publication, by a professional double bass player and publisher, offers a treatise on the viola d’amore, together with a rich collection of music: genre pieces (short dances or character pieces), 9 sonatas, 1 duo, pieces with bc accompaniment, pieces with voice. Introduction in Ger-Eng. Hardbound in decorative paper, with handsome slipcase. $175 [item no.8953]

JACQUET DE LA GUERRE, Élisabeth, 1659-1729

[Pièces, harpsichord, book 1] Edited by Catherine Cessac and Arthur Lawrence. [private collection, Catherine Cessac].
Critical Facsimiles, 9. New York, 2009. Oblong, 26 x 20 cm, xii, 86, 28 pp. Line-cut of the Paris, [1687] edition. Includes apparatus listing all editorial emendations. Wrappers. $30 [item no.9111]

JELIC, Vinco, 1596-1636

Parnassia militia [Concertuum unius, duarum, trivum et quattor vocum tam nativis quam instrumentalibus vocibus, ad organum concinendarum. Opus primum], Straßburg, Paul Ledertz 1622. [Universitätsbibliothek Frankfurt].
Faksimile-Edition Canto e Continuo, 5. Stuttgart, 2008. 16 x 22 cm, 5 partbooks, 220 pp. Line-cut of the Strasbourg, 1622 partbooks (cantus, altus, tenor, bassus, bassus ad organum). Collection of 24 motets for 1 to 4 voices, plus 4 ricercare for cornetto/violin, trombone/viol & bc). Wrappers, with portfolio. $72 [item no.9031]

JELLEN, Martin (= Jellen Zuidhof), 18th c.

Choralbuch für Ostfriesland: Marten Jellen, 1765, Michael Johann Friedrich Wiedeburg, 1790. Vorgelegt von Winfried Dahlke.
Quellenkataloge zu Musikgeschichte. Wilhelmshaven, 2009. 22 x 31 cm, 334 pp. Two complementary chorale books from Friesland published respectively 1765 & 1790. Hardbound. $297 [item no.9124]

JOLLAGE, Charles Alexandre, b.?-1761

[Pièces, harpsichord, book 1] Premier livre de pièces de clavecin. 1738. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 34 pp. Line-cut of the Paris, 1738 edition. Contains 22 pieces. Jollage was formerly organist of Notre Dame de Paris. Wrappers. $13 [item no.8806]

KAPSBERGER, Johann Hieronymus, c.1575-c.1640

[Intabulations, archlute, book 3] Libro terzo d’intavolatura di chitarrone. Introduzione di / Introduction by Franco Pavan. [Yale University Library, New Haven CT].
Bibliotheca Musica Bononiensis, IV/83. Bologna, 2009. 4°, 32, 44 pp. Line-cut of the Rome, 1626 edition. Many had thought this work to be lost but a copy recently surfaced at auction which Yale University Music Library was able to acquire. This facsimile edition reproduces that unique copy. Franco Pavan sketches out the exciting episodes of the appearances and disappearances of an edition that has been often cited during the centuries in the repertories and catalogues of several book collections. He also describes the main features of its important musical as well as theoretical and practical contents. Wrappers $57 [item no.9008]

KEISER, Reinhard, 1674-1739

Gemüths-Ergötzung [bestehend in einigen Sing-Gedichten mit einer Stimme und unterschiedlichen Instrumenten]. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 17. Stuttgart, 2009. Oblong, 33 x 20 cm, 3 parts, 135 pp. Line-cut of the Nicolaus Spieringk edition, Hamburg, 1698. 7 solo cantatas for various voice ranges; notated in 2-3 staves (voice with basso continuo), together with 2 supplement violin parts. Portfolio, with decorative paper boards. $65 [item no.9098]

KINDERMANN, Johann Erasmus, 1616-1655

Harmonia organica [in tabulaturam germanicam composita: I. Praeambula per omnes tonos figurales, II. Fantasiae, III. Fuga, IV. Intonationes, V. Magnificat], Nürnberg, 1645. [Bibl. Jagiellońska, Krakow].
Faksimile-Edition Krakau, 11. Stuttgart, 2007. 21 x 32 cm, 56 pp. 25 short pieces in contrapuntal style, of which 14 are preludes in the 7 authentic and plagal modes, and 1 is a triple fugue on 3 chorale melodies. One of the first German organ collections to be engraved. Laid paper. Hardbound, with marbled paper boards. $44 [item no.8871]

KIRNBERGER, Johann Philipp, 1721-1783

[Fuges, keyboard] Huit fugues pour les clavecin ou l’orgue - 1777.
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 16 pp. Line-cut of the Hummel edition, Berlin, [1777]. Wrappers. $10 [item no.8851]

KOPP, Anton Ernst, 17-18th c.

Melodien einiger alten & neuen Lieder [so theils schon in andern Gesang-Büchern zu finden, theils aufs neue verfertiget sind]. [Stadtbibliothek, Ulm].
Faksimile-Edition Ulm, 40. Stuttgart, 2009. 11 x 16 cm, 116 pp. Line-cut of the Daniel Bartholomäi edition, Ulm, 1717. Anthology of 175 German songs with their complete melodies notated. Handbound with decorative paper boards. $29 [item no.9099]

KREBS, Johann Ludwig, 1713-1780

[Clavier-Übung, keyboard, part 1] Clavier-Übung. Préludes et chorals pour orgue (1e partie) - c.1744.
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 28 pp. Line-cut of the B. Schmid edition, Nuremberg, c.1744. Wrappers. $12 [item no.8852]

[Clavier-Übung, keyboard, part 2] Clavier-Übung (IIe partie - Suite pour clavecin), c. 1744.
Collection FacsiMusic. Courlay, 2007. Oblong, 29 x 21 cm, 16 pp. Line-cut of the Haffner edition, Nuremberg, c.1744. Wrappers. $10 [item no.8853]

[Clavier-Übung, keyboard, part 3] Clavier-Übung (IIIe partie - 6 sonatines), c. 1744.
Collection FacsiMusic. Courlay, 2007. Oblong, 29 x 21 cm, 16 pp. Line-cut of the Haffner edition, Nuremberg, c.1744. Wrappers. $10 [item no.8854]

KREUTZER, Rodolphe, 1766-1831

40 études, ou caprices pour le violon.
Offenburg, 2007. 4°. Line-cut of the “Magasin de musique” edition, Paris, c.1805. Wrappers. $49 [item no.9001]

KUHLAU, Friedrich, 1786-1832

[Grande sonate brillante, flute, piano, op.64] Grande Sonate brillante pour pianoforte et flûte op.64. Hamburg s.d. [c.1825].
Archivum Musicum: Ottocento, 4. Florence, 2008. 24 x 34 cm, 2 parts, ix, 43 pp. Line-cut of the Hamburg, c.1825 edition. Preface in It by Marcello Castellani. Wrappers, in decorative paper with matching portfolio. $41 [item no.9058]

LA BARRE, Michel de, 1674-1744

[Suites, 2 flutes, book 10] Deux suites à deux flûtes traversières sans bc, 10ème livre.
Collection FacsiMusic. Courlay, 2007. Oblong, 29 x 21 cm, 16 pp. Line-cut of the Boivin edition, Paris, 1722. Wrappers. $10 [item no.8848]

LAMBERT, Michel, 1610-1696

[Airs, 2 voices, bc] Les airs, corrigez de nouveau de plusieurs fautes de graveure. [Library of Congress, Washingtoin, DC].
Performers’ Facsimiles, 258. New York, [2008]. Oblong, 25 x 21 cm, 85 pp. Line-cut of the Paris, 1669 edition. Airs for two voices and basso continuo. Wrappers. $23 [item no.8968]

LEBÈGUE, Nicolas-Antoine, 1631-1702

[Pièces, harpsichord, book 1] Les pièces de clavessin [Premier livre]. [Yale Music Library, New Haven].
Performers’ Facsimiles, 256. New York, [2007]. Oblong, 27 x 21 cm, 94 pp. Line-cut of the Paris, 1677 edition. Includes an unmeasured prelude for each key used (5 in all). Wrappers. $25 [item no.8838]

[Pièces, harpsichord, book 2] Second livre de clavessin.livre. [British Library, London].
Performers’ Facsimiles, 257. New York, [2007]. Oblong, 27 x 21 cm, 100 pp. Line-cut of the Paris, 1687 edition. Wrappers. $25 [item no.8839]

[Pièces, harpsichord, book 2] Second livre de clavessin. Paris, Lesclop, s.d. (= 1687). Présentation par Marie Demeilliez. (British Library, London].
La Musique Française Classique de 1650 à 1800, 205. Courlay, 2010. Oblong, 30 x 22 cm, x, 96 pp. Line-cut of Paris, 1687 edition. Preface in Fr-Eng-Ger. Wrappers. $49 [item no.9164]

LECLAIR, Jean-Marie, 1697-1764

[Sonatas, violin/flute, bc, op.2] Second livre de sonates pour le violon et pour la flute traversiere avec la basse continue [Œuvre II]. [Yale University, New Haven, CT].
Performers’ Facsimiles, 286. New York, [2010]. 27 x 36 cm, 90 pp. Line-cut of the Paris, [1728] edition, containing 12 sonatas. Wrappers. $30 [item no.9178]

[Sonatas, violin, bc, op.5] Troisieme livre de sonates a violon seul avec la basse continüe. Œuvre V. [Yales University, New Haven, CT].
Performers’ Facsimiles, 287. New York, [2009]. 27 x 36 cm, 87 pp. Line-cut of the Paris, 1734 edition, containing 12 sonatas. Wrappers. $30 [item no.9136]

[Sonatas, violin, bc, op.9] Quatrieme livre de sonates a violon seul avec la basse continüe. Œuvre IX. [Yale University, New Haven, CT].
Performers’ Facsimiles, 288. New York, [2009]. 27 x 36 cm, 80 pp. Line-cut of the Paris, [1738] edition, containing 12 sonatas. Wrappers. $30 [item no.9137]

LEPIN, Henri-Noël, 18th c.

[Sonatas, violoncello] Six sonates pour le violoncelle, 1772.
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 32 pp. Line-cut of the author’s edition, Paris, 1772. Wrappers. $13 [item no.8855]

LISZT, Franz, 1811-1886

[Lied, “Wenn die letzten Sterne bleichen, soprano & piano] “Wenn die letzten Sterne bleichen”. Lied für Singstimme und Klavier op. post. Vorwort: Rolf Griebel; Kommentar: Sigrid von Moisy, Sabine Kurth.
[Henle Music Facsimiles, 19]. Munich, 2007. Oblong, 30 x 26 cm, xviii, 4, vi pp. Deluxe color facsimile, issued on the occasion of the rediscovery of the manuscript in 2007. The piece dates from 1843 and is dedicated to Graf Franz von Pocci of Munich. Commentary in Ger-Eng, together with modern edition. Handsome binding with blue paper boards, and pasted label. $82 (more info... ) [item no.8836]

LOCATELLI, Pietro, 1695-1764

[Sonatas, flute, bc, op.2] XII sonate à flauto traversière solo à basso. Opera seconda. [Yale University, New Haven, CT].
Performers’ Facsimiles, 291. New York, [2010]. 25 x 32 cm, ii, 51 pp. Line-cut of the Amsterdam, 1732 edition. Wrappers. $20 [item no.9162]

[Trio sonatas, 2 violins/flutes, bc, op.5] Sei sonate à trè - Opus V.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 64 pp. Line-cut of the Paris, n.d. edition. Wrappers. $24 [item no.8929]

LOCKE, Matthew, 1630-1677

[Macbeth, voice, piano, arr.] The Original Music in Macbeth. Arranged from the Score and Adapted for the Piano Forte by B. Jacobs.
Faksimile-Edition Rara, 60. Stuttgart, 2010. 24 x 31 cm, 16 pp. Line-cut of the London, n.d. edition. Wrappers. $16 [item no.9173]

LÖWE VON EYSENACH, Johann Jakob, 17th c.

Einstimmige neue Arien [mit zweystimmigen Rittornellen, über Johann Georg Braunens / C.I.H. Weltliche Lieder]. Nürnberg, Christoph Gerhard 1682. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 18. Stuttgart, 2008. 21 x 32 cm, 3 vols, 86 pp. Line-cut of the Nuremberg, 1682 edition. 21 arias “à voce sola con rittornello à 2. violini” . Wrappers. $60 [item no.9143]

LULLY, Jean-Baptiste, 1632-1687

Achille et Polixene. Tragédie. Facsimile of the First Edition, Paris, 1687. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 15. Williamstown, 2007. 23.5 x 34 cm. viii, 358 pp. Line-cut of the Paris, 1687 edition. Cloth. $200 [item no.8487]

Alceste. Tragédie mise en musique. Facsimile Edition of the First Edition, Paris, 1708. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 2. Williamstown, 2007. 23.5 x 34 cm. ix, 267 pp. Line-cut of the Paris, 1708 edition. Cloth. $200 [item no.8474]

Amadis. Tragédie mise en musique. Facsimile of the First Edition, Paris, 1684. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 11. Williamstown, 2007. 23.5 x 34 cm. viii, 322 pp. Line-cut of the Paris, 1684 edition. Cloth. $200 [item no.8483]

Isis. Tragédie mise en musique. Facsimile of the First Edition, Paris, 1719. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 5. Williamstown, 2007. 23.5 x 34 cm. viii, 296 pp. Line-cut of the Paris, 1719 edition. Cloth. $200 [item no.8477]

MAICHELBECK, Franz Anton, 1702-1750

Die auf dem Clavier lehrende Caecilia op.2. Lotter, Augsburg 1738. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 10. Stuttgart, 2008. 33 x 21 cm, 100 pp. Line-cut of the Augsburg, 1738 edition. Maichelbeck’s most important work, directed towards the amateur keyboard player, presents both theoretical instruction and compositions for performance. One of the earliest examples in a printed work where the use of the thumb is designated in keyboard patterns. Hardbound, with handsome decorative paper boards. $115 [item no.8977]

MAROT, Clément, 1495?-1544

Les psaumes en vers francais: avec leurs melodies. Clement Marot et Theodore de Beze. Fac-simile de l’édition genevoise de Michel Blanchier, 1562, publie avec une introdution de Pierre Pidoux. [Bibl. Publique et Universitaire, Neuchâtel].
Textes Litteraires Français, 338. Geneva, 2/2008. 8°, 38, 495 pp. Line-cut of the Geneva, 1562 edition. Known as the Psautier de Genève, the tunes are from various sources; the texts are French paraphrases for the Psalms by Marot and Bèze. $128 [item no.2982]

MARPURG, Friedrich Wilhelm, 1718-1795

Versuch in figurierter Chorälen.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 24 pp. Line-cut of the J.J. Hummel edition, Berlin/Amsterdam, c.1789. 21 chorales variés for organ or harpsichord. Wrappers. $11 [item no.8885]

Zweyter Versuch in figurierter Chorälen und Fugen.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 24 pp. Line-cut of the J.J. Hummel edition, Berlin/Amsterdam, c.1793. 15 chorales variés and fugues for organ or harpsichord. Wrappers. $11 [item no.8886]

MARTUCCI, Giuseppe, 1856-1909

[Works, selection] Gli autografi della Fondazione Pagliara. Facsimili
Lucca, 2009. 4°, 2 vols, vii, 219; vii, 171 pp. Line-cut of 7 autograph manuscripts in possession of the Fondazione Pagliara, together with new critical editions: Capriccio per pianoforte op.2; Pensiero musicale per violoncello e pianoforte op.36, no.1; Tre pezzi per pianoforte op.64; Due canti op.68c; La canzone dei Ricordi op.68a; Composizione in re (1902); Terza melodia (1902). Wrappers. $130 [item no.9157]

MATTHES, Carl Ludwig, 18th c.

[Sonatas, oboe, bc] Deux sonates pour hautbois et basse continue.
Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 16 pp. Line-cut of the Hamburg, 1770 edition (extracted from Musikalisches Vielerley). Wrappers. $14 [item no.9041]

MATTHESON, Johann, 1681-1764

[”Orchestre” writings, integrale edition] 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]

MEGERLE, Abraham, 1607-1680

Speculum Musico-Mortuale [Das ist: Musicalischer-Todtenspiegel], 1672. [Staatliche Bibliothek, Regenburg].
Faksimile-Edition Theoretica, 3 Suttgart, 2008. 11 x 17cm, 54 pp. Line-cut of the Salzburg, 1672 edition. Megerle was from Innsbruck and was once a choir boy under Stadlmayer, later a treble singer and organist with the court music ensemble at Innsbruck. Speculum Musico-Mortuale contains a few pages of autobiography but its extraordinary content are mainly its 12 engravings showing a human skull in the center, surrounded emblematic symbols and beautiful depictions of musical instruments (almost 50 in all). Hardbound in decorative paper. $29 [item no.9070]

MENDELSSOHN-BARTHOLDY, Felix, 1809-1847

[Concerto, violin, orch, op.64, E minor] 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]

[drawings & paintings] Felix Mendelssohn Bartholdy. Schweizer Skizzenbuch 1842. Faksimile herausgegeben von Hans-Günter Klein.
Wiesbaden, 2008 Oblong, 30 x 24 cm, 53 pp. Facsimiles of 21 pencil landscape drawings that Mendelssohn made as a sort of diary during a trip to Switzerland in 1842 on the occasion of a music festival. Each drawing is signed and commented on. The album begins with a view of Frankfurt am Main where the group embarked; the trip continued through Lausanne, Chamonix and Martigny ins Rhonetal, finally ending with Interlaken and Zürich. Commentary in Ger-Eng. Hardbound. $85 (more info... ) [item no.9118]

[Overture, A Midsummers Night’s Dream, op.21] Ein Sommernachtstraum. Ouvertüre op.21. Autograph, Biblioteka Jagiellońska, Kraków. Commentary by / Kommentar von Friedhelm Krummacher.
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 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—the sensory 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 at the 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 binding with decorative paper boards, burgundy linen spine, and pasted title etikette. Commentary in Eng-Ger-Jap. Special OMI price. $399 (more info... ) [item no.9033]

[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 1: 1816 bis Juni 1830. Herausgegeben und kommentiert von Juliette Appold und Regina Back.
Kassel, 2008. 15 x 23 cm, 764 pp. New complete edition of the letters based on the collection compiled by Rudolf Elvers. Hardbound in green linen with signature of the composer embossed on cover. 9 volumes projected, 2 per year; only available on subscription. $199 [item no.6738]

[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 2: Juli 1830 bis Juli 1832. Herausgegeben und kommentiert von Anja Morgenstein und Uta Wald.
Kassel, 2009. 15 x 23 cm, 788 pp. New complete edition of the letters based on the collection compiled by Rudolf Elvers. Hardbound in green linen with signature of the composer embossed on cover. 9 volumes projected, 2 per year; only available on subscription. $199 [item no.6861]

MERTZ, Johann Kaspar, 1806-1856

Divertissement über Motive der Oper: Der Prophet (Meyerbeer), op.32. Flute (Violin), Viola, and Guitar. Edited by Brian Torosian.
n.p., 2008. 4°, 19, 13 pp. Line-cut of the Jos. Aibl edition, Munich, 1851, together with preface and new practical edition. Meyerbeer’s music was rarely used as a source for guitar arrangements and these works by Mertz provide a pleasing addition to the 19th-c. guitar repertoire. Wrappers. $20 [item no.9086]

Opern-Revue, Op.8, Nos.9-16. Volume II. Edited by Brian Torosian.
n.p., 2007. 4°, 17, 84 pp. Line-cut of the Vienna, 1843-1844 edition. The works in this volume illustrate a significant elevation of musical and technical demands compared to those of vol. I, and represent Mertz’ longest and most virtuosic works published during his lifetime. The composers included here are: Balfe, Bellini, Donizetti, Stradella, Adam, & Verdi. Preface. Wrappers. $20 [item no.9088]

MERULO, Claudio, 1533-1604

[Canzoni, organ, book 1] Canzoni d’intavolatura d’organo a quattro voci, fatte alle francese (Venezia 1592). Introduzione di / Introduction by Luigi Collarile. [Öffentliche Bibliothek, Basel].
Bibliotheca Musica Bononiensis, IV/102. Bologna, 2009. Oblong, 24 x 17 cm, 15, 84 pp. Line-cut of the Gardano edition, Venice, 1592. This publication, featuring 9 canzoni for keyboard instrument, is the only collection of Merulo’s keyboard music published by Gardano while the composer was still alive. Wrappers. $45 [item no.9007]

[Toccatas, organ, book 1] Toccate d’intavolatura d’organo libro primo. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 281. New York, [2008]. 26 x 34 cm, 47 pp. Line-cut of the Rome, 1598 edition. Wrappers. $20 [item no.8969]

[Toccatas, organ, book 2] Toccate d’intavolatura d’organo libro secondo. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 282. New York, [2008]. 26 x 34 cm, 53 pp. Line-cut of the Rome, 1604 edition. Wrappers. $20 [item no.8970]

MEYERBEER, Giacomo, 1791-1864

Alimelek, oder Die beiden Kalifen. Lustspiel mit Gesang in zwei Aufzügen nach einem Märchen der Tausend und einen Nacht von Johann Gottfried Wohlbrück, Hofschauspieler in München. Die Musik von Jakob Meyerbeer, Tonkünstler aus Berlin. Introduced and Edited by Robert Ignatius Letellier. [Staatsbibliothek Preußischer Kulturbesitz, Berlin, Mus. ms. 14410].
Middlesex, 2008. 21 x 30 cm, xii, 583 pp. Xerographic line-cut, in reduced format, of a contemporary ms copy that records the composer’s entire conception of the work including material cut from the 1st performance. The subject-matter of Meyerbeer’s second opera Alimelek, written in Munich in 1812, was taken from a tale in The Arabian Nights. The opera is an example of the Oriental or “Turkish” operas which were so popular in Germany during the second third of the eighteenth century. While Meyerbeer’s contemporaries were puzzled by the far-fetched singularity of the Alimelik music, and the work had no success in Stuttgart and Vienna (6 Jan. 1813; 20 Oct. 1814), Weber had the insight to recognize its true significance. He produced it Prague on 20 Oct. 1815, and praised the “active, alert imagination, the well-nigh voluptuous melody, the correct declamation, the entire musical attitude”. He was also impressed by the instrumentation: “It is surprisingly combined, interwoven with great delicacy, and consequently demands almost the care of a quartet performance.” Weber’s enduring admiration meant that he again produced the work in Dresden years later (1820), when he pointed out how this early opera “bears witness to the composer's singular emotional capacity”. Meyerbeer shows astonishing maturity for a composer of 21. Not only the psychic state of the leading characters, but also the conflict of the entire plot, is presented in concentrated style by the aid of recurrent themes. Hardbound, in black buckram. $140 [item no.9073]

Emma di Resburgo. Melodramma eroico in due atti. Poesìa di Gaetano Rossi. Musica di Giacomo Meyerbeer. Introduced and Edited by Robert Ignatius Letellier.
Middlesex, 2008. Oblong, 27 x 21 cm, xii, 182 pp. Xerographic line-cut, in reduced format, of the piano-vocal score (Berlin: Schlesinger, c.1820). Meyerbeer’s third Italian opera, Emma di Resburgo (Emma of Roxburgh) was premiered at the Teatro San Benedetto in Venice on 26 June 1819 only 3 months after Semiramide had appeared at Turin, and scored a success that far surpassed that of both of its predecessors. It was indeed the work that established Meyerbeer's reputation in Italy, and extended it even beyond the Alps into Germany. It was also the opera that brought him into close contact with Rossini, the most important figure of the second decade of the century, whose work was a major influence on all his contemporaries, Meyerbeer included. Rossini’s Eduardo e Cristina was given on 24 April and Emma on 26 June. Both operas triumphed, and the two composers became very good friends, a relationship that was to continue later in Paris. Meyerbeer’s opera went on to be staged in Venice, Milan, Genoa, Florence and Padua. Translated into German, it was given in Vienna, Dresden, Frankfurt, Berlin and Stuttgart, and even reached Warsaw in 1821. Emma di Resburgo marked a milestone in Meyerbeer’s career and brought him the greatest honour any composer could aspire to in Italy—a commission from La Scala Milan that would result in his next work, Margherita d’Anjou (1820). Hardbound, in black buckram. $88 [item no.9074]

Jephtas Gelüdbe. Oper in drei Aufzügen mit Ballett. Gedichtet von Professor Alois Screiber. In Musik Gesetst von Jakob Meyerbeer. Introduced and Edited by Robert Ignatius Letellier.
Newcastle, 2008. 20 x 28 cm, xliv, , 685 pp. Xerographic line-cut, in reduced format, of a contemporary ms copy, in a neat calligraphic hand. Meyerbeer’s first opera, Jephtas Gelübde, has a libretto by the German academic Alois Schreiber, based on a Biblical theme taken from chapters 11-12 of the Book of Judges. The conflict between paternal love and love of country intrinsic to this scenario was also chosen by Meyerbeer as the basic theme of his opera, and is reflected in the overture, a symphonic anticipation of the essential features of the action. Jephtas Gelüdbe, whose final rehearsals were conducted by the composer in person, was admirably produced by the Munich Court Opera on 23 December 1812, but on account of its novelty met with indifference, so that it was withdrawn. A newspaper report did, however, observe: “A delicate sensibility, united to a profound and mature insight into the workings of the impassioned human heart, is manifested through¬out in a grand and elevated style that gives promise of something great in the future”. This score contains the seeds of the whole of Meyerbeer’s future development. It is impossible to conceive of Meyerbeer's progress to mastership without the Jephta score. Hardbound, in black buckram. $140 [item no.9075]

MILÁN, Luís, c.1500-d.?

Libro de música de vihuela de mano intitulado El maestro. Valencia, 1536. [Biblioteca Nacional, Madrid].
Madrid, 2008. 20 x 29 cm, xxvi, 202 pp. Full-color reproduction of the Valencia, 1536 edition. With prologue describing the main principles of vihuela playing. Contains 50 works in Italian lute tablature for vihuela solo (fantasias, pavans, tentos) and 22 for voice and vihuela (villancicos, romances, Italian sonnets). Introduction by Gerardo Arriaga. Wrappers. $118 [item no.9156]

MIROGLIO, Pietro,

Sonata a violino e basso. [Opera prima. Gravées par Mle. V[e]ndôme]. Paris. Kommentar von Ernst Kubitschek. [Bibliothèque Nationale de France, Paris].
Faksimile-Edition Violino e Continuo, 1 Stuttgart, 2010. 29 x 37 cm, 28, ii pp. Line-cut of the author’s edition, Paris, c.1750. 6 sonatas. Hardbound, with marbled paper boards. $48 [item no.9175]

MONTÉCLAIR, Michel Pinolet de, 1667-1737

Brunetes ancienes et modernes apropriées à flûte traversière avec une basse d’accompagnement, c.1725. Présentation par Anne Pichard. [British Library, London].
La Musique Française Classique de 1650 à 1800, 204. Courlay, 2010. Oblong, 30 x 22 cm, x, 106 pp. Line-cut of the Paris, c.1725 edition. Preface in Fr-Eng-Ger. Wrappers. $48 [item no.9163]

MONZANI, Tebaldo, 1762-1839

[method, flute] Instructions for the German Flute. London s.d.; New and Enlarged Edition of Monzani’s Instructions for the German Flute. London s.d.
Archivum Musicum: Ottocento, 2. Florence, 2008. 24 x 34 cm, 2 vols, x, 50, 72 pp. Line-cut of the London, [1801] and London, [1819] editions. Preface in It by Marcello Castellani. Wrappers, in decorative paper with matching portfolio. $68 [item no.9056]

MOURET, Jean-Joseph, 1682-1738

[Fanfares, winds/strings] Fanfares pour des trompettes, timbales, violons et hautbois avec une suite de symphonies melées de cors de chasse — livre second.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 28 pp. Line-cut of the Paris, 1729 edition. Wrappers. $12 [item no.8887]

MOZART, Wolfgang Amadeus, 1756-1791

[Abduction from the Seraglio, K.384] Die Entführung aus dem Serail K. 384. Facsimile of the Autograph Score, Staatsbibliothek zu Berlin - Preussischer Kulturbesitz, Biblioteka Jagiellońska Krakow (Mus. ms. autogr. W.A. Mozart 384), Stanford University Library, The Juilliard School Library. Introductory Essay by Hendrik Birus; Musicological Introduction by Ulrich Konrad.
Mozart Operas in Facsimile, 2. Los Altos, 2008. Oblong, 4°, 2 vols, vii, 119; 492 pp. Full-color reproduction of the autograph score. This "teutsche oper" as Mozart referred to it on "Turkish" subject-matter so popular at the time marked the composer's Vienna debut as a stage composer. After its premiere on 16 July 1782 Die Entführung remained in the Burgtheater's repertoire for the rest of the season and the next one as well. It soon spread beyond Vienna to theaters in Austria and abroad, becoming the longest-lasting theatrical success of Mozart's career. Bibliophile edition, in two volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.9020]

La clemenza di Tito : K. 621, Facsimile of the Autograph Score, Staatsbibliothek zu Berlin - Preussischer Kulturbesitz, Biblioteka Jagielloń ska Kraków (Mus. ms. autogr. W.A. Mozart 621), The British Library London, Music Collections (Zweig 62) / Wolfgang Amadeus Mozart; Introductory Essay by Hans Joachim Kreutzer; Musicological Introduction by Sergio Durante.
Mozart Operas in Facsimile, 7. Los Altos, 2008. Oblong, 4°, 2 vols, vii, 218; 328 pp. Full-color reproduction of the autograph score. Bibliophile edition, in two volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.9071]

Così fan tutte, ossia, La scuola degli amanti, K.588. Facsimile of the Autograph Score, Staatsbibliothek zu Berlin-Preussischer Kulturbesitz, Biblioteka Jagiellońska Kraków (Mus. ms. autogr. W.A. Mozart 588), Stadt- und Universitätsbibliothek Frankfurt am Main (Mus. Hs 2350. Introductory Essay by Norbert Miller; Musicological Introduction by John A. Rice.
Mozart Operas in Facsimile, 5. Los Altos, 2007. Oblong, 4°, 3 vols, vii, 108; 635 pp. Full-color reproduction of the autograph score. This popular opera buffa exploring romantic love and sexual attraction has delighted audiences for more than two hundred years. Compared to the two earlier operas with Da Ponte's collaboration, there is scant detailed evidence regarding the genesis of Così fan tutte. Interestingly, in Mozart's own autograph catalog "Vereichnüß aller meiner Werke" a single number from the opera —"An aria intended for the opera Così fan tutte... Rivolgete à me lo sguardo"—preceeds the entry for the complete opera, somewhat an anomally for the thematic catalogue. In any case the composition of the opera seems to have occurred over a short period of time and in keeping with other operas, Mozart composed and revised it while rehearsals were already going on. Different ink tints in the autograph (showing vocal lines with bass in one ink tint and orchestration in another) support this idea and agrees with testimony by Eybler who supervised rehearsals for singers from "parti cantanti". Besides this aspect of the autograph there are also some interesting musical changes, carefully documented in the introductory essay by John A. Rice. After an instrumental rehearsal of the opera on 20 January 1790 in the company of Haydn, the premiere took place six days later in Vienna's Burg Theater, Mozart conducting, and performed by the best singers the Royal-Imperial National and Court Theater had to offer. It was an immediate successs, being repeated numerable times and revived as well in the decades after the composer's death. A copyist manuscript from the atelier of Wenzel Sukowtay—Österreichische Nationalbibliothek, Ms. OA 146—basically a copy of Mozart's autograph is also an important source of the opera, showing how it evolved in later years; Ms. OA 146 is the principal source for most of the music missing from the autograph. It also serves as the most reliable record of changes made to the opera during the rehearsals and performances, some by Mozart or with his approval. Parts of Ms. OA 146 as well as surviving sketches and drafts are reproduced in this facsimile. Bibliophile edition, in three volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.8876]

Don Giovanni, K.527. Facsimile of the Autograph Score. Bibliothèque nationale de France, Paris, Département de la Musique (Ms. 1548). Introductory Essay by Hans Joachim Kreutzer. Musicological Introduction by Wolfgang Rehm.
Mozart Operas in Facsimile, 4. Los Altos, 2009. Oblong, 4°, 3 vols, vii, 148; 576 pp. Full-color reproduction of the autograph score. Bibliophile edition, in two volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.9121]

[Magic Flute, K.620] Die Zauberflöte, K.620. Facsimile of the Autograph Score. Staatsbibliothek zu Berlin–Preußischer Kulturbesitz (Mus. ms autogr. W.A. Mozart 620). Introductory Essay by Hans Joachim Kreutzer, Musicological Introduction by Christoph Wolff.
Mozart Operas in Facsimile, 6. Los Altos, 2009. Oblong, 4°, 3 vols, vii, 144; 452 pp. Full-color reproduction of the autograph score with the first 28 pages reproduced with photo enhancement, completely restoring the middle voices of the now severely faded manuscript. Die Zauberflöte was the greatest triumph of Mozart’s operatic career, and its success story continued unabated after his death. By 1800 it had been given no fewer than two hundred times at the Freihaus Theater alone. Owing to its unusual degree of popularity, vocal scores of its musical numbers appeared in separate editions from two different publishers in late autumn of 1791. Within the briefest span of time Die Zauberflöte had appeared in London alongside The Beggar’s Opera and in Paris alongside Le mariage de Figaro, thereby becoming “one of the sensations of eighteenth-century theatrical history”. The Zauberflöte autograph is a working manuscript that reveals traces of the compositional process at every turn. This applies not only to the twin layers of short score and orchestrated full score, but also to the later stages in the compositional process. Various kinds of alterations become visible particularly in erasures, overwriting and deletions. Most of the alterations relate to changes in the musical text or its instrumental garb (adapted from Christoph Wolff’s text). Bibliophile edition, in 3 volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.9122]

[Marriage of Figaro, K.492] Le nozze di Figaro, K.492. Facsimile of the Autograph Score, Staatsbibliothek zu Berlin--Preussischer Kulturbesitz, Biblioteka Jagiellońska Kraków (Mus. ms. autogr. W.A. Mozart 492) . Introductory Essay by Norbert Miller; Musicological Introduction by Dexter Edge.
Mozart Operas in Facsimile, 3. Los Altos, 2007. Oblong, 4°, 3 vols, vii, 124; 613 pp. Full-color reproduction of the autograph score completed in the spring of 1786. Le nozze di Figaro is the first in the great triology of Italian operas that Mozart produced together with the librettist Lorenzo da Ponte. It is based on Beaumarchais' politically incendiary play Le mariage de Figaro, written in 1781 and first performed in 1784. Mozart's opera is held by many to be one of the greatest operas of all time, and is notable for its sublime yet profoundly human portrayal of love, jealousy, infidelity, and forgivness. Figaro has never fallen out of the operatic repertoire; in the 19th century it was perhaps second in popularity only to Don Giovanni among Mozart's Italian operas, and it is now one of the most frequently performed of all his operas. The discovery in the early 1990s of the original orchestral parts and the working score of the opera from its first production in Vienna in 1786 has shed much new light on the early history of the opera. This facsimile edition reunites the first two acts preserved in the Staatsbibliothek zu Berlin and the third and fourth acts in possession of the Biblioteka Jagiellońska in Krakow. Besides reproducing the composer's fair copy score, the edition provides all pertinent sketches and drafts, as well as passages from copyists mss that supplement the autograph. Bibliophile edition, in three volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.8966]

[Operas of Mozart in Facsimile, complete series] Mozart Operas in Facsimile. (Complete facsimile edition of the autograph scores of the seven great operas). Issued on the occasion of the 250th anniversary of the composer's birth. Directed by Ulrich Konrad, David W. Packard, Wolfgang Rehm, and Christoph Wolff.
Los Altos, 2006 - 2009. Oblong, 4°, c.6200 pp. Full-color facsimile edition of the seven great operas of Mozart—”Idomeneo”, “Le nozze di Figaro”, “Cosi fan tutte”, “Die Entführung aus dem Serail”, “Don Giovanni”, “Die Zauberflöte”, and “La clemenza di Tito”—sponsored jointly by the Packard Humanities Institute and the International Mozart Stiftung on the occasion of the 250th anniversary of the composer’s birth. Due to generous underwriting by the Packard Humanities Institute the price per opera will be $200, an extraordinary low price for a publication of this size and quality. $1400 (more info... ) [item no.8817]

[Adagio, glass harmonica, K.356 (617a)] L’autografo dell’ Adagio KV 356 per Glasharmonika nella Bibliothèque Nationale de France di Parigi (Départment de la Musique, Sammlung Ch. Maherbe, Signatur: Ms. 220). A cura di Giacomo Ferrari.
Lucca, 2009. 23 x 33 cm, xvi, 2 pp. Color facsimile of the autograph issued on the occasion of the 250th anniversary of the composer’s birth. Commentary in It-Eng-Ger. Portfolio. $88 [item no.9043]

[Serenade, winds, K.361, Bb major] Gran Partita, K.361 by Wolfgang Amadeus Mozart. A Facsimile of the Holograph in the Whittall Foundation Collection. [Library of Congress, Washington, D.C.].
Chicago, 2008. Oblong, 35 x 27 cm, 11, 98 pp. “Reissue” of Library of Congress 1976 facsimile edition using new full-color digital photography. The autograph score dates from c.1780. Known as the “Great Wind Serenade” or “Serenade for 13 Wind Instruments”, this brilliant 7-movement piece is Mozart’s first major work composed in Vienna. Scored for 2 oboes, 2 clarinets, 2 basset horns, 2 pairs of horns, 2 bassoons and a contrabass, Mozart exploits all the possible mixtures of sonorities—no instrument is treated in true concertante fashion, but rather each instrument strives to distinguish itself, true to it own character. The beautifully crafted serenade—intimate, cheerful, witty and symphonic in style—was obviously written to impress and “open doors” in the composer’s new city. New (second) introduction by Richard Floyd. Handsome two-tone cloth binding. $85 (more info... ) [item no.9019]

[Symphony, no.40, K.550] Sinfonie in g-moll KV 550. Faksimile der autographen Partitur in erster und zweiter Fassung (1788). Mit einem Kommentar von Otto Biba.
Vienna, 2009. Oblong, 4º, 106, 43 pp. Beautiful color facsimile of both versions of the autograph score, once proudly owned by Johannes Brahms. This facsimile edition sheds light on Mozart’s composing process; the accompanying commentary by Otto Biba addresses the complicated relationship between the two versions and suggests that the first autograph version, rather than representing a different version, may in fact be an intermediate “stadium” of a complicated compositional process. Commentary in Ger-Eng-Jap. Limited bibliophile edition of 500 copies. An indispensable source for all Mozart lovers and researchers. $495 (more info... ) [item no.9119]

MUFFAT, Georg, 1653-1704

Apparatus musico organisticus. Johann Baptist Mayr, Salzburg 1690. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 17. Stuttgart, 2008. 30 x 43 cm, 72 pp. Color facsimile of the Salzburg, 1690. Hardbound, with handsome decorative paper boards. $144 [item no.8981]

MUFFAT, Gottlieb, 1690-1770

XII kleine Fugen sammt 2 Toccaten.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 12 pp. Line-cut of the H. Löschenkohl edition, Vienna, n.d. Wrappers. $9 [item no.8888]

72 Versetl sammt 12 Toccaten besonders zum Kirchen-Dienst bey Choral-Aemtern und Versperen dienlich.
Performers’ Facsimiles, 262. New York, [2008]. Oblong, 29 x 21 cm, 93 pp. Line-cut of the Vienna, 1726 edition. Wrappers. $25 [item no.8978]

NARDINI, Pietro, 1722-1793

[Sonatas, violin, bc, integral source] VII sonates pour violon et basse avec les adagio brodés. Dernière edition. A cura / Edited by Enrico Gatti. Realizzazione e restauro di / Realization and Restoration by Carlo Denti. Con un’Appendice comparativa di sonate manoscritte inedite / With a Comparative Appendix of Manuscript Sonatas.
Bologna, 2007. 4°, 4 vols, xxxi, 172 pp. Line-cut of the Decombe third edition, Paris, c.1800-1806, in score and parbook format (violin, bass). This facsimile also includes the 4 sonatas in manuscript: Seitenstetten, Stiftsbibliothek, V 535 n.5/n.8; Vienna, Gesellschaft der Musikfreunde, Ms Q 16736 n.3; Venice, Bibl. Naz. Marciana, Ms 11652, n.2. Preface in It-Eng. Wrappers, in portfolio. $83 [item no.8877]

NAUDOT, Jacques-Christophe, c.1690-1762

[Concerti, flute, strings, op.11] Six concertos à sept parties (flûte-traversière, trois violons, alto, basson, basse continue). Vers 1737. Présentation par Mi-Sung Kim et Emilie Stahl (etudiantes au CeFEdeM Île-de-France).
La Musique Française Classique de 1650 à 1800, 197. Courlay, 2007. 21 x 30 cm, 7 parts, 136 pp. Line-cut of the Paris, c.1737 edition. Preface in Fr-Eng-Ger. Wrappers. $51 [item no.8896]

NEEFE, Christian Gottlob, 1748-1798

Fantasia per il clavicembalo, c. 1778.
Collection FacsiMusic. Courlay, 2007. Oblong, 29 x 21 cm, 20 pp. Line-cut of the Simrock edition, Bonn, c.1798. Wrappers. $11 [item no.8856]

ONSLOW, Georg, 1784-1853

[Quintet, 2 vlns, 2 vla, vc, op.78] 32e quintette pour deux violons, deux altos et violoncelle - Op. 78.
Collection Dominantes. Courlay, 2007. 5 parts, 23 x 33 cm, 128 pp. Line-cut of Brandus edition, Paris, [1851]. Introduction in Fr-Eng-Ger. Wrappers. $54 [item no.8950]

[Quintet, 2 vlns, 2 vla, vc, op.80] 33e quintette pour deux violons, deux altos et violoncelle - Op. 80.
Collection Dominantes. Courlay, 2007. 5 parts, 23 x 33 cm, 204 pp. Line-cut of Brandus edition, Paris, [1852]. Introduction in Fr-Eng-Ger. Wrappers. $75 [item no.8951]

[Quintet, 2 vlns, 2 vla, vc, op.82] 34e quintette pour deux violons, deux altos et violoncelle - Op. 82.
Collection Dominantes. Courlay, 2007. 5 parts, 23 x 33 cm, 120 pp. Line-cut of Brandus edition, Paris, [1852]. Introduction in Fr-Eng-Ger. Wrappers. $51 [item no.8952]

OTTMAYR, Caspar, 1515-1553 [compiler]

Bicina sacra. [Schöne geistliche Lieder unnd Psalmen mit zwo Stimmen lieblich zu singen]. Gestelt durch Caspar Orthmayr. Nürnberg/ Berg und Neuber. [Ratsschulebibliothek, Zwickau].
Faksimile-Edition Zwickau, 7. Stuttgart, 2009. Oblong, 18 x 15 cm, 2 partbooks, 136 pp. Line-cut of the Berg & Neuber edition, Nuremberg, 1547. Wonderful collection 32 duets for instruments or voices. Hardbound in decorative paper, matching portfolio. $82 [item no.9113]

PACHELBEL, Johann, 1653-1706

Freu dich sehr o meine Seele cum 12 Variationibus für Orgel (oder Cembalo). Herausgegeben von Jolando Scarpa.
Frutti Musicali. Magdeburg, 2007. 4º, 17 pp. New practical edition, together with facsimile, in reduced format, of Gerber’s manuscript copy, making this masterwork organ partita available for the first time in its original form. Wrappers. $22 [item no.8897]

PAISIELLO, Giovanni, 1740-1816

I giuochi d’Agrigento. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di Lorenzo Mattei.
Drammaturgia Musicale Veneta, 27. Milan, 2007. Oblong, 29 x 23 cm, 2 vols, lvii, 604 pp. Line-cut of a contemporary manuscript copy. I giochi di Agrigento by Paisiello and Pepoli was the work that inaugurated the Fenice Opera House in Venice, on May 16, 1792. As Mattei writes in his essay, the work became the archetype of a ‘neo-classical’ species of opera capable of uniting the monumentality of a façade to a pathetic-sentimental (already romantic) substratum, and of introducing formal innovation beneath a stylistic and dramatic surface that was backward-looking and grandiose in the outward appearance. Introduction in It. Linen. $348 [item no.8819]

Regole per bene accompagnare il partimento o sia il basso fondamentale sopra il Cembalo. Neuedition und Transkription nach der Ausgabe St. Petersburg 1782 und der Handschrift Rari 3-4-17 des Conservatoria di Musica Napoli. Herausgegeben von Ludwig Holtmeier, Johannes Menke und Felix Diergarten.
Quellenkataloge zur Musikgeschichte, 43. Wilhelmshaven, 2009. 21 x 39 cm, 160 pp. New edition of the St. Petersburg, 1782 edition and a contemporary ms copy, including 42 color facsimiles. Cloth. $199 [item no.9131]

PETRUCCI, Ottaviano, 1466-1539 [publisher]

[Masses, 1504, 1503] Alexander Agricola: Misse. Venezia, Petrucci 1504 / Pierre de la Rue: Misse. Venezia 1503. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, [12]. Stuttgart, 2007. Oblong, 23 x 18 cm, 4 partbooks, 192 pp. Line-cut of 2 Petrucci mass volumes, respectively by Agricola (1504) and de la Rue (1503). Contents: Misse Alexandri Agricole—Le serviteur, Je ne demande, Mal heur me bat, Primi toni, Secundi toni; Misse Petri de la Rue—De beata virgine, Puer natus, Sexti ut fa, Lomme arme, Nunquam fue pena maior. Hardbound, in decorative paper, with matching slipcase. $175 [item no.8915]

PHALÈSE, Pierre, c.1510-1574 [publisher]

Selectissima elegantissimaque guiterna carmina, 1570. Fantasien, Lieder & Tänze für 4-chörige Renaissance-Gitarre. Reproduktion von Musica XVI-58 Universitätsbibliothek Rostock.
Lübeck, 2007. 4º, iv, 87 pp (= 170 pp). Line-cut of the Lyon & Antwerp, 1570 edition, reproduced two-up on a page. Important anthology of music for 4-course Renaissance guitar comprising fantasies, galliards, almains, branles, songs and motets from France and Italy, c.250 works in all. French tablature. Wrappers. $44 [item no.9025]

PHILIDOR, André Danican, 1681-1728

[Pièces, fl/rec/ob/vln, bc] 1. livre de pièces pour la flûte traversiere, flûte a bec, violons et hautbois, avec la basse continue, 1712. [Bibliothèque Nationale, Paris].
Collection FacsiMusic. Courlay, 2007. Oblong, 29 x 21 cm, 25 pp. Line-cut of the author’s, Roussel & Foucault edition, Paris, 1712. Wrappers. $12 [item no.8807]

PHILIDOR, François Danican, 1689-c.1717

[Pièces, flute/violin, bc, book 1] Pièces pour la flûte traversière (ou le violon) - 1716.
Collection FacsiMusic. Courlay, 2007. Oblong, 30 x 21 cm, 32 pp. Line-cut of the Paris, 1716 edition. Wrappers. $14 [item no.8939]

PHILIDOR, Pierre Danican, 1681-1731

[Suites, 2 flutes; Suites, oboe/flute/violin, bc, op.1] Premier œuvre contenant III. suittes a II. flûtes traversieres seules avec III. autres suittes dessus et basse, pour les hautbois, flûtes, violons, &c. [private collection].
Performers’ Facsimiles, 275. New York, [2007]. Oblong, 27 x 21 cm, 52 pp. Line-cut of the Paris, 1717 edition. Wrappers. $20 [item no.8902]

[Suites, 2 flutes; Suites, oboe/flute/violin, bc, op.2] Deuxiéme œuvre contenant II. suittes a 2. flûtes-traversieres seules avec II. autres suittes deßus et baßse, pour les hautbois, flûtes, violons, &c. [private collection].
Performers’ Facsimiles, 276. New York, [2007]. Oblong, 27 x 21 cm, 26 pp. Line-cut of the Paris, 1718 edition. Wrappers. $15 [item no.8903]

[Suite, 2 flutes; Suite, oboe/flute/violin, bc, op.3] Troisiéme œuvre contenant une suitte a deux flûtes-traversieres seules, et une autre suitte dessus et basse, pour les hautbois, flûtes, violons, &c. Avec une réduction de la chaße. [private collection].
Performers’ Facsimiles, 277. New York, [2007]. Oblong, 27 x 21 cm, 22 pp. Line-cut of the Paris, 1718 edition. Wrappers. $13 [item no.8904]

PICERLI, Silverio, b.?-1662

Specchio primo di musica (1630). Specchio secondo di musica (1631). A cura di Ottavio Beretta.
Musurgiana: Sources and Materials for the History and Theory of Music, 8-9. Lucca, 2008. 8°, xxxii, 302 pp. Line-cut of the Naples 1630/1631 edition. Wrappers. $96 [item no.9065]

POGLIETTI, Alessandro, b.?-1683

Compendium [oder kurtzer Begriff, und Einführung zur Musica], Ms. 1676. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 5. Stuttgart, 2007. 26 x 31 cm, 134 pp. Color reproduction of a contemporary ms copy. Offers guidance to students of 17th-c. keyboard practice and an introduction to the art of composition. Includes 12 ricercares, models of the strict style, important compositions that stand in the tradition of Frescobaldi’s Fiori musicali and Bach’s Die Kunst der Fuge. The compendium also includes many themes “all manner of capriccios”, variously imitating on an instrument the songs of birds and other sounds (nightingale, canary, cuckoo, cock and hen) and of the sounds of bells, work and war. Hardbound, with cloth spine. $155 [item no.8913]

PRANZER, Joseph, 17-19th c.

[Duos, 2 clarinets] Trois duos concertants pour deux clarinettes.
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 32 pp. Line-cut of the Winnen edition, Paris, n.d. Wrappers. $13 [item no.8857]

PUCCINI, Giacomo, 1858-1924

Tosca. Di Victorien Sardou, Giuseppe Giacosa e Luigi Illica. Musica di Giacomo Puccini. Vol. I: facsimile della copia di lavoro del libretto. Vol. II: trascrizione e commento. Edizione e commento a cura di Gabriella Biagi Ravenni.
Centro Studi Giacomo Puccini - Testi e documenti, 2. Florence, 2009. 23 x 33 cm, 2 vols, 140, xlii, 140 pp. The complete text of the libretto of Tosca, with additions, corrections, glosses, page proof fragments, musical sketches, and sketches of stage settings. Illica, Giacosa, Ricordi and Puccini worked together on Tosca and established an intense professional relationship, which is brilliantly reconstructed in this well-documented volume. A fascinating insight into the creative process and a detailed description of the genesis of Tosca. Wrappers. $190 (more info... ) [item no.9132]

PURCELL, Daniel, c.1660-1717

[Pilgrim, song selections] A Collection of New Songs [with a Through Bass to Each Song for the Harpsichord]. London, Walsh 1700. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 14. Stuttgart, 2008. 21 x 33 cm, 5 pp. Line-cut of the Walsh edition, London, 1700. Two numbers from the comedy Pilgrim (”Chronos Chronos mend mend thy pace”; “Ha! ha! ha! ha well well hast thou done”). Wrappers. $12 [item no.8963]

Psalms, Set Full for the Organ or Harpsicord as They are Plaid in Churches and Chappels in the mañer Given Out; as also with their Interludes of Great Variety. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 264. New York, [2008]. Oblong 35 x 24 cm, 26 pp. Line-cut of the Walsh edition, London, [1718]. Wrappers. $18 [item no.8979]

QUANTZ, Johann Joachim, 1697-1773

[Sonatas, flute, cembalo, op.1, QV 1:152, 153, 16, 48, 77, 49 Sei sonate a flauto traversière solo, e cembalo – Opéra prima.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm,x 32 pp. Line-cut of the Dresden, [1734] edition. Wrappers. $13 [item no.8889]

RAMEAU, Jean-Philippe, 1683-1764

[Cantatas, voice, violins, bc, book 1] Cantates françoises à voix seule avec simphonie - 1729.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 44 pp. Line-cut of the Paris, 1729 edition. Contents: Le berger fidèle; Aquilon et Orithie, Wrappers. $16 [item no.8930]

REBEL, Jean-Féry, 1666-1747

Les caractères de la dance. Fantaisie (1715). Grand chœur / Petit chœur. Neuausgabe. Faksimile der Pisendel-Abschrift. Faksimile Erstdruck. Neuauflage 1727/1733. Herausgegeben von Stefan Fuchs.
Magdeburger Faksimile Offizin. Magdeburg, 2007. 4º, 41 pp. Facsimile of Pisendel’s manuscript copy, plus the first edition (Le Clerc, 1727/1733), together with a new practical edition of the score. This fantasie, from 1715, is considered one of the great monuments of Baroque dance music (even performed by Handel in London), and can be performed ”petit choeur” (i.e. as a trio sonata) or “grand choeur” with extra inner voices. Wrappers. $54 [item no.8898]

REICHARDT, Johann Friedrich, 1752-1814

[Sonatas, keyboard] Sei sonate per il clavicembalo, tomo II. 1778.
Collection FacsiMusic. Courlay, 2007. Oblong, 29 x 21 cm, 32 pp. Line-cut of the A. Mylius edition, Berlin, 1778. Wrappers. $13 [item no.8858]

REINAGLE, Alexander, 1756-1809

[Sonatas, violoncello] Six Favorite Solos for the Violoncello. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 274. New York, [2007]. 26 x 33 cm, 40 pp. Line-cut of the J. Bland edition, London, [178?]. Wrappers. $20 [item no.8835]

RHAU Georg, 1488-1548 [publisher]

Sacrorum hymnorum liber primus. Wittenberg. G. Rhaw, 1542. RISM 1542(12). [Vienna, Österreichische Nationalbibliothek].
[Yellow Book Series, 9]. Højbjerg, 2009. Oblong, 21 x 15 cm, 6 partbooks: 602 pp. Line-cut of the Wittemberg, 1542 edition. Major collection of polyphonic settings of Latin hymns for 4-6 voices. The preface is dedicated to the mayor and council of Joachimstal, and credits Mathesius as having proposed and encouraged the work. Thomas Stoltzer is represent by 39 works. Wrappers, in slipcase. $205 [item no.9107]

ROLLA, Alessandro, 1757-1841

[Duos concertants violin, viola, book 4] Trois duos concertants pour violon et alto - 4e livre.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 56 pp. Line-cut of the Paris, [c.1809] edition. Wrappers. $18 [item no.8941]

SAGGIONE, Giuseppe Fedeli, 1680-1733

[Sonatas, 2 violoncelli/viols/bassoon] Six sonates à deux violoncelles, violes, ou bassons. Vm7 6348. Présentation par Paolo Tognon & Evolène Kiener. [Bibliothèque Nationale, Paris].
Collection Dominantes. Courlay, 2009. 23 x 33 cm, x, 36 pp. Line-cut of author’s edition, Paris, 1733. Introduction in Fr-Eng-Ger. Wrappers. $32 [item no.9154]

SCHAEFFER, Zacharias, 16th c.

Sämtliche Werke in: a) Laurus Philosophica’ b) Eadem Epitaphia Musicis. Tübingen, Georg Gruppenbach 1593. [Ratsschulbibliothek Zwickaul Stadtbibliothek, Ulm].
Faksimile-Edition Ulm, 39. Stuttgart, 2008. 17 x 22 cm, 2 vols, 28, 66 pp. Line-cut of the Tübingen, 1593 edition. Contains 4 settings a4 and 3 settings a3 in notated in mensural notation. Portfolio with ties. $49 [item no.8955]

SCHMELZER, Johann Heinrich, 1620-1680

[Sonatas,violin, bc] Sonatae unarum fidium. Sechs Sonaten für Violine und B.c. Faksimile, Nürnberg 1664. Herausgegeben von Marc Strümper.
Magdeburg, 2009. 4º. viii, 41 pp. Half-tone of the Endter edition, Nuremberg, 1664. The first collection of violin sonatas published by a German-speaking composer and a milestone in the history of violin music. The first 6 sonatas are in variation form; the last two introduce dance movements with wonderful ruminative monologues. Introduction in Ger-Eng. Wrappers. $40 [item no.9050]

SCHMIED, Salomon, 17th c.

Dialogus wieder böse Verfolger. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 19. Stuttgart, 2009. 14 x 20 cm, 16 pp. Line-cut of the Daniel Starck edition, Stettin, 1665. Wrappers. $10 [item no.9117]

SCHOBERT, Johann, 1735-1767

[Sonatas, harpsichord, violin, op.17] IV sonates pour le clavecin (avec violon ad lib.) - Opus XVII.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 40 pp. Line-cut of the Paris, n.d. edition. Wrappers. $15 [item no.8936]

SCHOENBERG, Arnold, 1874-1951

[Kleine Klavierstücke, piano, op.19] Six Little Piano Pieces, op.19 (1911). Facsimile Edition. Commentary by Christian Meyer.
Vienna, 2009. 4°. Arnold Schoenberg’s “Six Little Piano Pieces,” op. 19, composed in 1911, can be counted among the iconic works of the music of the 20th century. Extreme concision of diction and a immediate will to expression are here combined. This newly released facsimile edition permits a detailed study of the composer’s first written copy and holograph fair copy. The aura of the manuscripts conveyed by the faithful reproduction of the originals gives an impression of the uniqueness of this piece in its time and also in ours. It allows us to follow compositional thought processes and to obtain insight into details of interpretation. Hardbound. $52 [item no.9167]

[Kleine Klavierstücke, piano, op.19] Six Little Piano Pieces, op.19 (1911). Facsimile Edition. Commentary by Christian Meyer.
Vienna, 2009. 4°. (same as above but softbound version) $25 [item no.9168]

SCHUBERT, Franz, 1797-1828

[Variations, flute, piano, D.802, E minor] 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]

SCHUMANN, Robert, 1810-1856

[Album for the Young, piano, op.68, 2nd ed.] Robert Schumanns “Album für die Jugend”. Geleitwort von Peter Härtling. Vorwart von Bernhard R. Appel.
Mainz, 2008. 4º, 321 pp. Special commemorative edition issued on the occasion of the 150 anniversary of the 1848 first edition. Includes facsimile of the second (enlarged) edition of 1850 which includes “Musikalischen Haus- und Lebensregeln”. Hardbound. $55 [item no.9054]

SEIDEL, Johann Christian Heinrich, 1743-1787

De musicae morumque cognatione. [Stadtbibliothek, Ulm].
Faksimile-Edition Ulm, 41. Stuttgart, 2009. 18 x 22 cm, 8 pp. Line-cut of the Hessel edition, Altdorf, 1765. Wrappers. $9 [item no.9116]

SIMON, Johann Caspar, 1701-1776

[Preludes & fuges; Musikalische Nebenstunden, keyboard] Johann Caspar Simon: a) Leichte Praeludia und Fugen; b) Leichte und wohlklingende Praeludia und Fugen Ander Theil; c) Gemüthsvergnügende musikalische Nebenstunden; d) Gemüthsvergnügende musikalische Nebenstunden Ander Theil. Augsburg, Lotter Erben. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 9. Stuttgart, 2008. Oblong, 33 x 21 cm, 80 pp. Line-cut of two of Simon’s organ works, both in two parts, issued in Augsburg 1750-51 and 1750-52. Hardbound, with marbled paper boards. $70 [item no.9004]

SMYTH, Ethel, 1858-1944

String Trio in D, op.6 for Violin, Viola and Violoncello. Faksimile der Handschrift Smyth MSS 1 Durham University Library.
Sound Researh of Women Composers: Music of the Romantic. Kassel, 2010. Oblong, 8°, 82 pp. Full-color facsimile of the autograph score. Wrappers. $88 (more info... ) [item no.9153]

SOR, Ferdinando, 1778-1839

Les folies d’Espagne avec variations et un menuet.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 8 pp. Line-cut of the Simrock 2nd edition, Bonn/Cologne, c.1824-25. Wrappers. $9 [item no.8890]

SPADI, Giovanni Battista, 17th c.

Libro de passaggi ascendenti e descendenti.
Bibliotheca Musica Bononiensis, II/55. Bologna, 3/ 2007. 17 x 25 cm, 31 pp. Line-cut of the A. Vincenti edition, Venice, 1624. Wrappers. $38 [item no.1285]

SPOHR, Louis, 1784-1859

[method, violon] Gran metodo per violino. Novara s.d.
Archivum Musicum: Ottocento, 1. Florence, 2008. 24 x 34 cm, 11, 247 pp. Line-cut of the Italian edition, Novara, [1832]. Preface in It by Franco Pavan. Wrappers, in decorative paper. $90 [item no.9055]

STADELMAYR, Johann, c.1575-1648

Missae concertatae a X. et XII, vocibus et instrumentis cum quatuor partibus pro secundo choro. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 12. Stuttgart, 2010. 15 x 20 cm, 17 partbooks, c.500 pp. Line-cut of the Michael Wagner edition, 1642. 4 concerted masses, two a10 and two a12. Wrappers, with marbled paper slipcase. $115 [item no.9180]

Musica super cantum gregorianum. Pars prima: Ravensburg J. Schröter 1625; Pars secunda: Ravensburg J. Schröter 1626. RISM S4289. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 13. Stuttgart, 2010. 16 x 21 cm, 6 partbooks, c.360 pp. Line-cut of the Ravensburg, 1625 & 1626 editions. 102 introit and 9 Gloria Patri settings for 5 voices with bc in mensural notation. Hardbound, with marbled paper boards; slipcase. $239 [item no.9152]

STREICHER, Johann Andreas, 1761-1833

[Kurze Bemerkungen über das] Spielen, Stimmen und Erhalten der Pianoforte. Wien 1802. [Staatsbibliothek zu Berlin].
Faksimile-Edition Theoretica, 2 Suttgart, 2008. 11 x 19 cm, 40, 46 pp. Line-cut of the Vienna, 1802 edition. Streicher, a music teacher and pianoforte maker, married Nannette Stein, founder of the famous pianoforte manufacturer in Vienna. In due course the firm became Streicher & Sohn. Every purchaser of a Streicher piano received a copy of this delightful booklet on piano playing, tuning and maintenance. Afterword in Ger-Eng by Christophe Öhm-Kühnle. Hardbound in decorative paper. $42 [item no.9032]

TAPRAY, Jean-François, 1738-1800

Les sauvages avec de variations pour le clavecin.
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 12 pp. Line-cut of the Paris, [1770] edition. Wrappers. $9 [item no.8891]

TARTINI, Giuseppe, 1692-1770

L’arte dell’arco (violon seul), 1758.
Collection FacsiMusic. Courlay, 2007. 21 x 29 cm, 16 pp. Line-cut of the L. Maarescalchi edition, Naples, [1758]. Wrappers. $10 [item no.8859]

TELEMANN, Georg Philipp, 1681-1767

[Fugues légères & petits, harpsichord, TWV 30:21-26] Fugues légères & petits jeux à clavessin seul.
Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 24 pp. Line-cut of the Hamburg, n.d. edition. Wrappers. $15 [item no.9042]

[Musique de table, strings/winds, TWV 50-55] Musique de Table. Tafelmusik in 3 Produktionen. Herausgegeben von Reinhard Goebel.
Magdeburg, 2010. 4°, 7 partbooks. Line-cut of the Hamburg, 1733 partbook edition. With the publication of his Tafelmusik, Telemann provides a crowning “trio” of German instrumental music of the late Baroque period, alongside Bach’s Brandenburg Concerti and Handel’s Concerti grossi op.6. The composer shows himself at the zenith of his creative powers. Each part consists of a series of movements (Ouverture, Quatuor, Concert, Trio, Solo, and Conclusion) in various instrumentations—flauto dolce, flauto traversiere, oboe, tromb, strings & fondamento. One masterwork follows the other, forming a logically-built structure, yet each work can also stand alone. Wrappers, in portfolio. $148 [item no.9051]

TRAVENOL, Louis Antoine, c.1698-1783

[Sonatas, violin, bc, book 1] Premier livre de sonates à violon seul avec la basse continue.
La Musique Française Classique de 1650 à 1800, 199. Courlay, 2007. 21 x 29 cm, 64 pp. Line-cut of the Paris, [1739] edition. Wrappers. $33 [item no.8946]

VALENTINI, Giuseppe, 1681-c.1759

[Sonatas, violin, violoncello (or cembalo), op.4] Idee per camera a violino e violone o cembalo, opera quarta. Amsterdam s.d.
Archivum Musicum: Strumentalismo Italiano, 92. Florence, 2007. 24 x 34 cm, 9, 49 pp. Line-cut of the Roger edition, Amsterdam, 1706. 7 “Idee” or sonatas notated in score. Introduction in It by Enrico Parizzi Wrappers, in decorative paper. $44 [item no.8990]

[Sonatas, violin, bc, op.8] Allettamenti per camera a violino, e violoncello, o cembalo. Opera ottava. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 3. Stuttgart, 2007. 24 x 31 cm, 53 pp. Line-cut of the Roger edition. Amsterdam, [1714]. 12 sonatas notated in score. Hardbound, with marbled paper boards. $52 [item no.8870]

VICTORIA, Tomás Luis, 1548-1611

Officium defunctorum a seis voces. Estudio y transcripción: Samuel Rubio.
Avila, 2000. 28 x 41 cm, 2 vols, i, 60, 103 pp. Full-color facsimile, in the original format, of the 1605, Madrid edition. This beautiful and rare print—only four exemplars survive—is the last known work of Victoria (composed in 1603) and was printed by the “Imprenta Real de Madrid” in large, easy-to-read choirbook format. The exemplar used for this edition, from the archives of the Catedral de Segorbe, contains a few annotations in manuscript, showing that it was actually used for performance. Together with introduction in Spanish and modern transcription. Limited edition of 2000 copies, handsomely bound in burgundy linen with gold lettering. $195 (more info... ) [item no.8608]

VIVALDI, Antonio, 1678-1741

[Concerti, RV 540, 552, 558, & Sinfonia, RV 149] Concerti con molti istromenti. Manoscritto Dresden, Sächische Landesbibliothek - Staats- und Landesbibliothek. Concerto in Do maggiore per 2 violini “in tromba marina”, 2 flauti [dritti], 2 mandolini, 2 chalumeaux, 2 tiorbe, violoncello, archi e basso continuo, RV 558; Concerto in La maggiore per violino principale. 3 violini in eco, archi e basso continuo, RV 552; Concerto in Re minore per viola d’amore, liuto, archi e basso continuo, RV 540; Sinfonia in Sol maggiore per archi e basso continuo, RV 149. A cura di Karl Heller.
Archivum Musicum: Vivaldiana, 5. Florence, 2007. Oblong, 30 x 24 cm, 38, 158 pp. Halftone of a copyist MS (being the work of 2 scribes) which offers an interesting glimpse into a multi-work “concert program” rather than a single work. Introduction in It-Ger. Wrappers, in decorative paper. $78 [item no.8994]

[Concerti, violin, strings, “La Cetra”, op.9] La Cetra concerti. Opera nono.
Performers’ Facsimiles, 290. New York, [2009]. 22 x 29 cm, 5 partbooks, 173 pp. Line-cut of the Le Cène edition, Amsterdam, [1727]. Scored for vln I [solo], II, III, vla, vc, & bc. Ryom numbers: 181a, 345, 334, 263a, 358, 348, 359, 238, 530, 300, 198a, & 391. Wrappers. $75 [item no.9066]

WALOND, William, c.1725-1770

Six Voluntaries for Organ or Harpsichord.
Brewood, 2007. Oblong, 4°. 21 pp. Line-cut of the London, 1752 edition. Little is known of William Walond; he took his BMus at Oxford in the late 1750s and published two sets of voluntaries. The title pages of both these volumes describe him as Organist in Oxford. Ring binder. $29 [item no.8820]

WEBER, Carl Maria von, 1786-1826

[Quintet, cl, 2 vln, vla, vc, op.34] Quintetto pour clarinette, deux violons, alto & violoncelle, op.34. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 273. New York, [2007]. 26 x 34 cm, 5 parts, 42 pp. Line-cut of the Berlin, [1816] edition. Wrappers. $25 [item no.8813]

WECKER, Georg Caspar, 1632-1695

XVIII. geistliche Concerten [mit 2. bis 4. Vocal-Stimmen und 5. Instrumentis ad libitum, zu musicieren...]. Nürnberg, Moritz Endter 1695. [Bibl. Jagiellońska, Krakow].
Faksimile-Edition Krakau, 8. Stuttgart, 2007. 20 x 26 cm, 19 partbooks, c.500 pp. Line-cut of the Nuremberg, 1695 edition. Wrappers, in marbled paper slipcase. $128 [item no.8829]

WEISS, Silvius Leopold, 1686-1750

Lautenmusik aus Schloß Rohrau. Werke von Silvius Leopold Weiss und anderen. Zwei Manuskripte für Barocklaute aus der Graf Harrach’schen Familiensammlung. Als Faksimile herausgegeben und kommentiert von Michael Freimuth, Frank Legl und Markus Lutz.
Frankfurt, 2010. Oblong, 4º, xlviii, 268 pp. The world-famous art collection of the Harrach family is preserved in their castle at Rohrau near Vienna. In 2004 the curator of the collection, count Arco-Zinneberg, came across 7 manuscripts (2 of them lute tablatures) preserved together with the art collection. Christoph Angerer and Michael Freimuth were called to evaluate the mss and soon realized the value of the find, particularly of the lute tablatures. The first volume mostly contains works by Sylvius Leopold Weiss, among them 11 suites of several movements that have been previously unknown, 1 complete lute duet in 4 movements, and the suite in A that has so far survived as solo music, but here it is in the form of a trio for violin, lute and bass. The title of the second volume, "Lautenmusik von unbekannten Componisten" (lute music by unknown composers) was obviously caused by the scribe’s ignorance of the music, since already as many as 4 suites could be ascribed to Weiss by concordances. Other suites in the collection are composed in a style that is quite similar to Weiss’ style as well. Quite unexpectedly, the volume also contains 4 pieces for lute in renaissance tuning, notated in Italian tablature. The present volumes, comprising 200 pages, bridge a gap in the group of sources of lute music by Weiss, complementing other Weiss manuscripts in London and Dresden, as they mainly contain pieces of his early creative period. The 2 manuscripts in Rohrau contain a total number of 167 movements for the lute, organized in 26 suite-like sequences. Without doubt, these volumes are of the highest significance both for active lute players and for scholars. $196 [item no.9171]

[Works, lute, complete] Sämtliche Werke für Laute. Band 7: Die Handschrift, Übertragung. Teil I. Herausgegeben von Tim Crawford / Complete Works for Lute. Volume 5. The Dresden Manuscript, Transcription of the Tablature, Part I. Edited by Tim Crawford.
Das Erbe Deutscher Musik, 13. Kassel, 2007. Oblong, 31 x 24 cm. Critical edition of the first 3 volumes of Dresden, Sächische Landesbibliothek, Mus. 2841-V-1. Linen. $320 [item no.9182]

[Works, lute, complete] Sämtliche Werke für Laute. Band 8: Die Handschrift, Übertragung Teil II. Herausgegeben von Tim Crawford / Complete Works for Lute. Volume 6. The Dresden Manuscript, Transcription of the Tablature, Part II. Edited by Tim Crawford.
Das Erbe Deutscher Musik, 14. Kassel, 2007. Oblong, 31 x 24 cm. Critical edition of the second section (vols. 4-6) of Dresden, Sächsische Landesbibliothek, Mus. 2841-V-1. Linen. $373 [item no.9183]

WERCKMEISTER, Andreas, 1645-1706

[Harmonologia musica; Musicalische Paradoxal-Discourse] 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]

WIEDEBURG, Michael Johann Friedrich, 1720-1800

Dritter Theil des sich selbstinformierenden Clavier-Spielers, worin gezeiget wird wie ein Liebhaber der Music bey fleißiger Selbst-Information nicht allein nach und nach zum Fantasiren auf der Orgel und dem Clavier, sondern auch zu einer Geschicklichkeit, allerley musicalische Stücke zu seinem und anderer Vergnügen zu verfertigen und zu Componiren gelangen kan ... Faksimile des Erstdrucks Halle 1775. Herausgegeben von Harald Vogel.
Quellenkataloge zur Musikgeschichte, 39. Wilhelmshaven, 2008. 18 x 26 cm, 2 vols, 948 pp. Line-cut of the Halle, 1775 edition. Cloth. $617 [item no.9129]

WOLDEMAR, Michel, 1750-1815

Études ou caprices pour le violon (seul).
Collection FacsiMusic. Courlay, 2007. 21 x 30 cm, 12 pp. Line-cut of the Paris, [1800] edition. Wrappers. $9 [item no.8892]

ZANETTI, Francesco, c.1737-?

[Sonatas, flute/violin, bc] VI Solos for a German-Flute or Violin with a Thorough Bass for the Harpsichord. London 1763.
Archivum Musicum: Flauto Traversiere, 41. Florence, 2007. 22 x 31 cm, vi, 20 pp. Line-cut of the London, 1763 edition. Introduction in It by Mario Folena. Wrappers, in decorative paper. $32 [item no.8992]

ZARLINO, Gioseffo, 1517-1590

Le istituzioni harmoniche. Venezia, 1561. Saggi introduttivi di / Introductory Studies by Iain Fenlon e Paolo Da Col. Varianti dell’edizione del 1589 e indice a cura di / Variants of the 1589 Edition and Index by Paolo Da Col.
Bibliotheca Musica Bononiensis, II/39. Bologna, 2/ 2008. 4º, 101, 460 pp. Line-cut of the 1561 edition. Wrappers. $140 [item no.2514]

COMPOSITE & MISCELLANEOUS SOURCES

[Bologna, Museo Internazionale e Biblioteca della Musica, Cod. Q15] Bologna Q15: The Making and Remaking of a Musical Manuscript. Introductory Study and Facsimile Edition by Margaret Bent. Volume I: Introductory Study. Volume II: Facsimile.
Ars Nova, Nuova Seria, 2. Lucca, 2008. 24.5 x 32.5 cm. 2 vols, 400, 686 pp. This manuscript is the largest international anthology of polyphonic music of the early 15th century. It was compiled in Padua in the early 1420s (stage I) and Vicenza in the early 1430s (stages II-III), all copied by a single scribe. The three illuminations are an unusual luxury for a musical manuscript at this period. It was acquired by Padre Martini in 1757 and is a major treasure of his library in Bologna. About half of its 323 compositions are unique; some others are shared with and complemented by the slightly younger Veneto manuscripts Bologna, Biblioteca Universitaria 2216 and Oxford, Canon. misc. 213. It is the most important source for the works of Zacara and Ciconia and for the early works of Guillaume Du Fay (with 78 works, many of them unica). About 50 composers are represented, including native Italians, and composers from the north who were sought after and made their careers in Italy. It is primarily a collection of mass movements (mostly Glorias and Credos, and a few cycles) and motets. Du Fay's Missa Sancti Jacobi was assembled as a cycle only here, and can now be linked with the humanist circle around the Venetian patrician bishop Pietro Emiliani of Vicenza, in which Q15 was compiled. The 109 motets include compositions in honour of doges, bishops and noblemen. 19 French songs were added at the end of stage I, and 11 laude at stage III. Other late additions are the cycle of 24 hymns (most by Du Fay), 9 Magnificats and 3 sequences. For the first time, the complex codicological history of this manuscript is unravelled and the importance of its many revisions examined. The first compilation was originally much larger; the manuscript now embodies two overlapping, superimposed anthologies. Margaret Bent tells this story in her extensive introductory study, which also includes comprehensive indexes and catalogues. She spells out some of the conclusions to be drawn from the partial destruction of the manuscript by its own creator, a unique and extraordinary testimony to changing taste and contemporary reception. Deluxe limited edition, supplied with slipcase. $1295 (more info... ) [item no.8908]

[Cambridge, Corpus Christi, Ms. 473] The Winchester Troper. Facsimile Edition and Introduction by Susan Rankin.
Early English Church Music, 50. London, 2007. 30 x 43 cm. 104, 102 pp. The Winchester Troper, compiled in the early 11th century and added to until the early 12th, was originally copied out and used at Winchester Cathedral. It is regarded a seminal text for the study of Anglo-Saxon musical and liturgical practice. The introduction explains how and why the book was made, and how its liturgical contents were designed. Studies of the hands of over 50 text scribes are accompanied by the first full account of Anglo-Saxon musical notation, and a study of the most innovative element of the collection, a series of 174 organa, representing a musical practice not recorded elsewhere in Europe before the 13th century. Hardbound. $190 (more info... ) [item no.8906]

[Chantilly, Bibliothèque du Château de Chantilly, ms. 564 (olim 1047)] Codex Chantilly. Bibliothèque du Château de Chantilly, Ms. 564. Fac-similé. Edité par Yolanda Plumley & Anne Stone. Centre d’Études Supérieures de la Renaissance.
Collection “Epitome Musical”. Turnhout, 2008. 29 x 40 cm. x, 164; 211 pp. Full-color facsimile in the original format. Exciting late medieval source with 99 songs and 13 motets, 61 of them unique. These works include some of the most elaborate surviving examples of the “Ars subtilior” notation, known for its experimentation in music rhythm. The provenance of this complex ms is still in dispute, being either 14th century southern France or an early 15th century Italian copy of a French repertoire. The basic corpus dates from c.1350-95; the ars subtilior repertoire by papal singers from Avignon and musicians employed at the Foix and Avignon courts is slightly later. Composers include Solage, Philippus de Caserta, Trebor, Vaillant, Machaut, Senleches, Susay, Cordier, Magister Franciscus, and Hasprois. The ms was owned by a Florentine family (possibly commissioned by them) and remained in Florence until 1861, at which time it was brought to Chantilly by the Duke of Aumale. Commentary in Fr-Eng. Handsome binding in black linen with dust jacket. $350 (more info... ) [item no.8503]

[Chantilly, Bibliothèque du Château de Chantilly, ms. 564 (olim 1047)] A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliotheque du Chateau de Chantilly, Ms. 564), edited by Yolanda Plumley and Anne Stone.
Collection “Epitome Musical”. Turnhout, 2008. 29 x 40 cm. 365 pp. Proceedings for a special symposium devoted to Codex Chantilly. Wrappers. (in preparation, scheduled for September 2009) $100 (more info... ) [item no.6685]

The Chaplet, being a Collection of Twelve English Songs. [private collection John H. Burkhalter III].
Britannia’s Invitation: A Treasury of 18th Century English Vocal Music, 4. Hebden Bridge, 2007. 21 x 30 cm, 39 pp. Line-cut of the London, n.d. edition. 12 settings for voice and bc. Contents: “The Chaplet”; “A Plague”; “Life is Chequer’d”; “Ye Sons of the Platter”; “Phoebe the Rose”; “In vain the Force”; “Hence thou deceiver”; “The Flea”; “Sweet Annie”; “Jealous Amie”; “Fair Sally”; “Hob was come down”. Wrappers. $26 [item no.8919]

Cygnus terrestris alaudae coelesti [obstrepens 3, hoc est: Alaudae coelestis pars III. Seu Concentus funebres, sex missarum de requiem... Hercinia silva camoenis St. Georgij]. Ulm Beurlein 1709 / Druck Wagner. [Stadtbibliothek, Ulm].
Faksimile-Edition Ulm, 11. Stuttgart, 2010. 16 x 21 cm, 11 parts, c.880 pp. Line-cut of the Beurlin edition, Ulm, 1709. 6 anonymous funeral masses for 1 to 5 voices, strings & bc. Partbooks: cantus 1, cantus 2, altus, tenor, bassus, violinum 1, violinum 2, viola 1, viola 2, violone/fagotto organum. According to Eitner—“Silva, Hercinia, ein Benediktiner-Monch”—was a person-composer, however the words “hercinia silva” on the title page is actually a reference to the Black Forest where the monastery “Camoenis St. Georgij” was located. The monastery was relocated to Villingen; the church at Villingen still exists and originally had an organ by Johann Andreas Silbermann. Wrappers, in slipcase. $159 [item no.9149]

The Dow Partbooks, Christ Church, Oxford, MSS 984-988. Facsimile Edition. Introductory Study by John Milsom.
Oxford, 2010. Oblong, 19.4 x 14.2 cm, 5 partbooks, c.954 pp + commentary. A full-color facsimile edition of Oxford, Christ Church, MSS 984-988, written in the beautiful calligraphic hand of Robert Dow, a 16th-c. fellow of All Souls, Oxford. These partbooks—discantus, medius, altus, tenor, bassus—are a major source of music by William Byrd, Robert White, Robert Parsons, Alfonso Ferrabosco, John Shepherd, Thomas Tallis, William Mundy, Christopher Tye, Orlandus Lassus, John Taverner, Richard Farrant, and Peter Phillips. Much of the best loved music by William Byrd, Robert Parsons, and Robert White in particular is found in this source, especially pieces such as Byrd's “Ne irascaris”, Parsons' “Ave Maria” and “O bone Jesu”, and White's Lamentations setting for five voices. Many of the works are equally appropriate for viol consort as for vocal ensemble, and the superb presentation of the text and condition of the books makes this an ideal source from which to play and sing. With comprehensive indices and concordance list. Wrappers, with slipcase. (more info... ) [item no.9140]

[Florence, Bibl. Naz. Centr., Panciatichi 27] Florence Biblioteca Nazionale Centrale, Ms. Panciatichi 27. Text and Context, Edited by Gioia Filocamo.
Monumenta Musica Europea, II/1. Turnhout, 2009. 4°, 2 vols. Ms Panciatichi 27 is a combination of two smaller manuscripts (f.1-120; f.121-216) compiled possibly in Mantua or Ferrara at the beginning of the 16th c. Consisting of a mix of secular and sacred works and a wide range of genres (parts of masses, motets, magnificat sections, litanies, lamentations, dances, instrumental pieces, frottole, laude, chansons, etc.) its composers include Agricola, Bergomotius, Brumel, Cara, Tromboncino, Caron, Compère, Dionisius of Piacenza, Dominicus, G. Fogliano, Ghiselin, Hayne van Ghizeghem, Isaac, Japart, Josquin, Musipula, Pamphilus, Peragulfo, Pinarol, Pisano, Renaldo, Stokhem, Tinctoris, Turis, Vilet, Weerbecke, and 114 anonymous pieces. Hardbound. (in preparation, scheduled for March 2010) $162 [item no.8821]

Frühe Lautentabulaturen im Faksimile / Early Lute Tablatures in Facsimile. Herausgegeben von Crawford Young und Martin Kimbauer. Redaktion: Thomas Drescher.
Pratica Musicale. Veröffentlichungen der Schola Cantorum Basiliensis, 6. Winterthur, 2003. 4º, 285 pp. Facsimiles of some of the earliest lute tablatures (hitherto unpublished) from the late 15th c. up until ca.1525 from Italian and German regions: Ms. Pesaro 1144 (produced in full color); and B/W reproductions of Ms Freibourg CU Cap. Res. 527 (olin Falk Z 105), Ms Vienna Mus.Hs. 41950 (Blindhamers Lautentabulatur), and Ms D-Mu, 4˚ cod. ms. 718 (Das Mathematik- & Tabulaturbuch des Jorg Wiltzell). The Pesaro source is a splendid manuscript in cordiform shape (extremely rare in music history) and transmits Italian poetry and music for lute and lira da braccio. Preface and commentary in Ger-Eng. Binding in leatherette, with handsome dust jacket with picture of an opening from the Pesaro MS; slipcase. $285 (more info... ) [item no.8471]

[Harrach Ms.] Lautenmusik aus Schloß Rohrau. Werke von Silvius Leopold Weiss und anderen. Zwei Manuskripte für Barocklaute aus der Graf Harrach’schen Familiensammlung. Als Faksimile herausgegeben und kommentiert von Michael Freimuth, Frank Legl und Markus Lutz.
Frankfurt, 2010. Oblong, 4º, xlviii, 268 pp. The world-famous art collection of the Harrach family is preserved in their castle at Rohrau near Vienna. In 2004 the curator of the collection, count Arco-Zinneberg, came across 7 manuscripts (2 of them lute tablatures) preserved together with the art collection. Christoph Angerer and Michael Freimuth were called to evaluate the mss and soon realized the value of the find, particularly of the lute tablatures. The first volume mostly contains works by Sylvius Leopold Weiss, among them 11 suites of several movements that have been previously unknown, 1 complete lute duet in 4 movements, and the suite in A that has so far survived as solo music, but here it is in the form of a trio for violin, lute and bass. The title of the second volume, "Lautenmusik von unbekannten Componisten" (lute music by unknown composers) was obviously caused by the scribe’s ignorance of the music, since already as many as 4 suites could be ascribed to Weiss by concordances. Other suites in the collection are composed in a style that is quite similar to Weiss’ style as well. Quite unexpectedly, the volume also contains 4 pieces for lute in renaissance tuning, notated in Italian tablature. The present volumes, comprising 200 pages, bridge a gap in the group of sources of lute music by Weiss, complementing other Weiss manuscripts in London and Dresden, as they mainly contain pieces of his early creative period. The 2 manuscripts in Rohrau contain a total number of 167 movements for the lute, organized in 26 suite-like sequences. Without doubt, these volumes are of the highest significance both for active lute players and for scholars. $196 [item no.9171]

[London, British Library, Royal MS 11 E XI] Music for King Henry. BL Royal MS 11 E XI. Commentary by Nicolas Bell. Performing Edition by David Skinner.
London, 2009. 35 x 50 cm. 36, 120 pp, audio CD. Of all the courtly arts practiced by King Henry VIII, music was undoubtedly his greatest passion. As well as being a talented harpist and composer, Henry was a great patron of the musical arts in Europe, and his reign heralded a golden age in English choral music. Henry employed 58 full-time court musicians, more than any other monarch before or since, including a chapel choir that was said to be “more divine than human”. Many of today’s great English musical institutions such as the choirs of Christ Church, Oxford and King’s College, Cambridge were founded during his reign. Several manuscripts survive to testify to Henry’s love of music, but the most important is the Royal Choirbook, now British Library Royal MS 11 E XI. This magnificent collection of motets was presented to the 27-year-old Henry and Catherine of Aragon in 1518. It is exceptional for the sheer size and luxury of its production, its exquisite and ingenious heraldic illuminations, and not least, its personal significance to Henry. The Royal Choirbook was commissioned and designed by Petrus de Opitiis, an Italian merchant, and his son Benedictus, a talented organist who hoped to gain a position at court. Together they created a magnificent large-format volume of 6 motets. Composed by Benedictus and a musician named Sampson, these motets were written to appeal to the king on the deepest possible level, reflecting both his royal status and his dearest wish: the birth of a male heir. The Choirbook opens with a sumptuous frontispiece, rich in symbolism carefully chosen to celebrate Henry’s lineage. It depicts a rose bush with 3 large blooms. One is the red rose of Lancaster, while the red-and-white rose depicts the union of the houses of York and Lancaster. The crowned rose represents King Henry himself. A pomegranate tree, shown blooming in the garden of England, is the symbol of Catherine of Aragon, while a daisy and a marigold represent Henry’s two sisters, Mary and Margaret. As well as being a breathtaking piece of heraldic art, the frontispiece ingeniously incorporates the texts of the first two motets, Salve radix and Psallite felices, with Henry’s name highlighted in gold leaf. Deluxe facsimile edition limited to 500 copies, in quarter buckram with vegetable parchment boards, with gold and colored foils, edge-gilding and slipcase. With CD recording by the “Alamire Consort” directed by Dr. David Skinner. $795 (more info... ) [item no.9125]

[London, Lambeth Palace Library, ms 1] The Arundel Choirbook. A Facsimile & Introduction by David Skinner.
[Huttersfield]. 2003. 31 x 41 cm, 230 pp. 3 English choirbooks have survived intact from the early Tudor period: the Eton Choirbook, and the “Caius” and “Lambeth” Choirbooks (now housed at Gonville & Caius College, Cambridge, and Lambeth Palace Library, respectively). While Eton is known to have originated from the great college of that name, the provenance of Caius and Lambeth has, until now, been a complete mystery. The man responsible for their production has long been held to be Edward Higgons, a prominent Tudor lawyer and multiple plurist who was a canon of St. Stephen's, Westminster, where Nicholas Ludford, a principal composer in both manuscripts, was employed from the early 1520s. On the last page of the Caius Choirbook is written the inscription “Ex dono et opere Edwardi Higgons cuius ecclsie canonicis”, which may be translated as “By the gift and work of Edward Higgons, canon of this church”. The “ecclesia” is now believed to be St. Stephen's, although the origins of the Lambeth Choirbooks have been much less well understood. It has, however, been generally accepted that it too was produced for one of the ecclesiastical institutions with which Higgons was associated. This is a story of one music manuscript of thousands that must have circulated in late medieval England; it is also a narrative of only one musical institution from the hundreds that were in existence before the onslaught of Henry VIII's Reformation. The bulk of this Roxburghe Club volume constitutes a full-color facsimile of London, Lambeth Palace Library, MS 1 (“The Arundel Choirbook”), providing a single but significant resource that richly illustrates England's early musical heritage. The manuscript contains 7 masses, 4 magnificat settings and 8 motets. Robert Fayrfax is represented by 8 works, followed by Ludford (2), Sturton (1) and Lambe (1). The Arundel Choirbook is one of just three major choirbooks that survive from c.1490 to 1530. The original size of the choirbook, in “elephant” folio, has been reduced 50%–to 12.5 x 16.5 inches–for this facsimile edition. All text printed in letterset; total edition of 300 copies. Quarter leather bound, wood boards. (few copies remaining). $795 (more info... ) [item no.8361]

[Lucca, Archivio di Stato, ms 238; Lucca, Archivio Arcivescovile, ms 97] The Lucca Choirbook. Lucca, Archivio di Stato, MS 238; Lucca, Archivio Arcivescovile, MS 97; Pisa, Archivio Arcivescovile, Bibliotheca Maffi, Cartella 1 1/III. With and Introduction and Inventory by Reinhard Strohm.
Late Medieval and Early Renaissance Music in Facsimile, 2. Chicago, 2008. 26 x 36 cm, 208 pp. More than forty years ago in the state archives of Lucca, Italy, Reinhard Strohm noticed that bindings on some of the books consisted of the pages of a centuries-old music manuscript. In the following years, Strohm worked with the archivists to remove these leaves and reassemble as much as possible of the original manuscript, a major cultural recovery now known as The Lucca Choirbook. The recovered volume comprises what remains of a gigantic cathedral codex commissioned in Bruges around 1463 and containing English, Franco-Flemish, and Italian sacred music of the 15th century—including works by Dufay and Isaac. This facsimile of the choirbook includes all the known leaves, ordered according to their proper placement in the original codex. In the introduction, Strohm tells the fascinating story of this choirbook, identifying its early users and reconstructing its travel from Bruges to Lucca. Linen. $185 [item no.7081]

[Lüdingworth Organ Tabulature] Tabulatur Lüdingworth. Norddeutsche Orgelmusik des 16. Jahrhunderts. Faksimile und Übertragung herausgegeben und kommentiert von Konrad Küster.
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 German organ tablature. Together with a new critical edition. Commentary in Ger-Eng. Hardbound. $48 [item no.8866]

[Methods, violin. Germany-Austria, 1600-1800, part 1] Violon. The Complete Theoretic Documentation on the Violin in 4 Books. Realisation by Siegbert Rampe & Dominik Sackmann.
Méthodes et Traités, VII. Courlay, 2007. 4º, 272 pp. Line-cut of 10 original articles or treatises on the violin, including works by Hans Gerle, Matthias Kelz, Johann Jacob Prinner, Georg Muffat (2), Daniel Speer, Joseph Friedrich Bernhard Caspar Majer, Johann Philipp Eisel, Maurus Buohl, and one anonymous treatise. Wrappers. $84 [item no.8861]

[Methods, violin. Germany-Austria, 1600-1800, part 2] Violon. The Complete Theoretic Documentation on the Violin in 4 Books. Realisation by Siegbert Rampe & Dominik Sackmann.
Méthodes et Traités, VII. Courlay, 2007. 4º, 304 pp. Line-cut of Leopold Mozart’s treatise on the violin. Wrappers. $91 [item no.8862]

[Methods, violin. Germany-Austria, 1600-1800, part 3] Violon. The Complete Theoretic Documentation on the Violin in 4 Books. Realisation by Siegbert Rampe & Dominik Sackmann.
Méthodes et Traités, VII. Courlay, 2007. 4º, 200 pp. Line-cut of 3 original articles or treatises on the violin, including works by George Simon Löhlein, Johann Friedrich Reichardt, and Karl Tauber von Tauberfurt. Wrappers. $73 [item no.8863]

[Methods, violin. Germany-Austria, 1600-1800, part 4] Violon. The Complete Theoretic Documentation on the Violin in 4 Books. Realisation by Siegbert Rampe & Dominik Sackmann.
Méthodes et Traités, VII. Courlay, 2007. 4º, 304 pp. Line-cut of 6 original articles or treatises on the violin, including works by Francesco Geminiani, Giuseppe Tartini, F.A.W. (anonymous), Johann Adam Hiller, Ignaz Schweigl, and George Simon Löhlein. Wrappers. $91 [item no.8864]

[Milan, Biblioteca dell’Università Cattolica del S. Cuore, ms. catt. 5] L’“Antiphonarium letaniarum” ambrosiano del 1492. A cura di Giacomo Baroffio e Eun Ju Kin e una presentazione di Ellis Sada.
Bibliotheca Mediaevalis, 1 Lucca, 2008. 20.5 x 28 cm, xxxii, 150 pp. Deluxe full-color reproduction of a late 15th-c. Ambrosian processional. This beautifully executed "Antiphonale of the Litanies" in characteristic Ambrosian script was acquired by Catholic University of the Sacred Heart in 1970, gift of Father Oblati di Rho. It contains the antiphons of the Rogation week according to the Milanese ritual, a complex liturgical intinerary celebrated on Monday, Tuesday and Wednesday after Ascension, that is, at the beginning of the week preceeding Pentecost. The liturgy provided the singing of the antiphons during the processional itinerary where both congregation and clergy participated. The procession lasted 3 days and went to 30 churches; 13 churches during the first day and 11 and 12 (or 14) the following days. The book was written in 1492 by Antonio de Lampugnano, commissioned by Cristoforo de Camponibus, a canon of S. Maria della Scala. The later provided to include the music according to the canonic calligraphy of the gothic Lombard notation used exclusively in the liturgical Ambrosian books. The only historiated miniature, at the beginning of the litanies, shows St. Ambrosio seated with the mitre and pallium. Two miniatures signal the beginning of the second and third days of the litanies. The topographic index confirms the local character of the chants. The majority of them are transmitted solely in the books of the Ambrosian rite; few are common with the Roman tradition and probably derived from it. Hardbound. $280 (more info... ) [item no.9015]

[Oxford, Christ Church, MSS 984-988] The Dow Partbooks, Christ Church, Oxford, MSS 984-988. Facsimile Edition. Introductory Study by John Milsom.
Oxford, 2010. Oblong, 19.4 x 14.2 cm, 5 partbooks, 960 pp; 150 pp. A full-color facsimile edition of Oxford, Christ Church, MSS 984-988, written in the beautiful calligraphic hand of Robert Dow, a 16th-c. fellow of All Souls, Oxford. These partbooks—discantus, medius, altus, tenor, bassus—are a major source of music by William Byrd, Robert White, Robert Parsons, Alfonso Ferrabosco, John Shepherd, Thomas Tallis, William Mundy, Christopher Tye, Orlandus Lassus, John Taverner, Richard Farrant, and Peter Phillips. Much of the best loved music by William Byrd, Robert Parsons, and Robert White in particular is found in this source, especially pieces such as Byrd's “Ne irascaris”, Parsons' “Ave Maria” and “O bone Jesu”, and White's Lamentations setting for five voices. Many of the works are equally appropriate for viol consort as for vocal ensemble, and the superb presentation of the text and condition of the books makes this an ideal source from which to play and sing. With comprehensive indices and concordance list. Wrappers, with slipcase. (more info... ) [item no.9140]

[Oxford, Eton College Library, MS 178] The Eton Choirbook. A Full-Colour Facsimile of Eton College Library, MS 178.
Oxford, 2010. 30.6 x 42,7 cm, 60 + vi, 252 + vi pp. One of the most iconic of music manuscripts, the Eton Choirbook is of unique importance, both in its own right as a cultural artefact and as a source of English choral polyphony composed during the late 15th and early 16th centuries. Had it perished, along with so many other (less fortunate) pre-Reformation music manuscripts, our knowledge of a critical moment in the history of English music would have been immensely diminished. Ever since it was first copied for use in the college chapel in the early 1500s, the choirbook has been continuously in the possession of Eton College. Several composers whose works were included in it had close associations with the college, not least Robert Wylkynson, who served as the college’s informator choristarum from 1500. Other composers represented include Banastre, Browne, Cornyshe, Davy, Fawkyner, Fayrfax, Hygons, Lambe and Turges. Most of its original contents (67 out of a total of 93 pieces) were votive antiphons, or devotional motets of prayer and praise, sung each evening to the Virgin Mary, the college’s dedicatee. The Salve ceremony, familiar to worshippers throughout Catholic Europe, lay at the heart of Eton College’s raison d’être as a chantry college: the Eton Choirbook is an eloquent witness to this flowering of devotional culture on the eve of the Reformation. The manuscript is also a work of consummate artistry, copied by an experienced scribe on large vellum leaves, and illuminated by a professional limner. Even in its in-complete state (nearly half of its original 224 leaves have been lost), the Eton Choirbook is the undoubted queen of early Tudor music manuscripts. Commentary by Magnus Williamson. Limited edition, bound with buckram or full-leather. (more info... ) [item no.9135]

[Oxford, Eton College Library, MS 178] The Eton Choirbook. A Full-Colour Facsimile of Eton College Library, MS 178.
Oxford, 2010. 30.6 x 42,7 cm, 60 + vi, 252 + vi pp. (same as above but with binding in full buckram) (more info... ) [item no.9142]

[Paris, Bibliothèque Nationale, Rothschild 2973] Le chansonnier de Jean de Montchenu.
Valencia, 2007-2008 Heart shaped, 22 x 16 cm, 144 pp + commentary. This exceptional MS, closed, is shaped like a heart; it opens into the shape of a butterfly composed of the hearts of the two lovers who send love messages to one another in each one of the songs. When the word “heart” appears in the texts, it is represented by a pictogram. Two full-page illustrations appear in the codex. In the first, Cupid throws arrows at a young girl while at his side Fortune spins his wheel. In the other, two lovers approach one another lovingly. Throughout the MS the staff lines, music and love poems are surrounded by borders made up of animals, birds, dogs, cats and all kinds of flowers and plants highlighted in abundant and delicate gold. The book gets its name from Jean de Montchenu, a nobleman, apostolic prothonotary, Bishop of Agen (1477) and later of Vivier (1478-1497) who commissioned the work. The music repertoire consists of French and Italian songs written by Dufay, Ockeghem, Busnois and their contemporaries. Limited edition of 1380 copies bound in red velvet after the original; 2-part slipcase covered in black and red leather. (more info... ) [item no.8927]

[Paris, Bibliothèque Nationale, Rothschild 2973] Chansonnier de Jean de Montchenu (ca. 1475). Commentary to the Facsimile of the Manuscript Rothschild 2973 (I.5.13) in the Bibliothèque Nationale de France by David Fallows.
Valencia, 2008 23 x 32 cm, 163 pp. Commentary volume to the facsimile, available separately. $195 [item no.6728]

[Porto, Biblioteca Pública Municipal, ms. 714] Porto 714: Um manuscrito precioso. Manuel Pedro Ferreira.
Porto, 2001. 15.5 x 23 cm, 240 pp. Color halftone of a lovely renaissance manuscript probably written in Ferrara around 1465. This source actually consists of two parts, a theoretical section, fols.1-50 (a tract on solmization, tones and modes and the “Libellus cantus mensurabilis” by the celebrated theorist Johannes de Muris), and a collection of polyphonic songs with Italian or French texts, fols.51-79, copied in choirbook format. The music notation for the song section—executed in solid black and red ink—figures—is unusual for this time period. The composers include Robert de Anglia (2), Galfridus de Anglia (2), John Bedyngham (3), Guillaume Dufay (8) and Gilles Joye (1). The ms features 30 decorated initials executed in gold, blue, red and green ink. Commentary and codicological remarks in Portuguese and English. Bound in dark brown cloth with embossed title. $62 (more info... ) [item no.8594]

[”Rost” ms] Manuscrit Rost. Œuvres anonymes et de Abel, Bertali, Cazzatti, Eberlin, Fuchs, Heller, Kerll, Krieger, Majer, Milschewski, Nicolai, Richardo, Rosenmüller, Rosier, Schmelzer, Stoss, Valentini, Vitali, Zamboni. Premier volume 1: Œuvres pour violon, alto, ou viole d’amour, ou viole de gambe, et basse continue. Présentation par Catherine Puig.
Collection Dominantes. Courlay, 2008. 23 x 33 cm, 144 pp. Anthology string music by Italian and German masters. Introduction in Fr-Eng-Ger. Wrappers. $56 [item no.8967]

Tallin, Eesti Ajaloomuuseum (Tallin, Historical Museum), MS 237.1.228a (XIX.184; 240750. Herausgegeben von / Edited by Victoria Goncharova.
Publications of Mediaeval Musical Manuscripts, 35. Ottawa, 2008. 27 x 40, xli, 630 pp. Halftone of a Antiphonal-Gradual from Preetz (near Kiel), copied c. 1525. Written in in “Hufnagel” script, Ms 237.1.228a is a witness to the liturgical practice of one of the largest and most influential Benedictine convents in Schleswig-Holstein. Hardbound. $305 [item no.8965]

The Thysius Lute Book / Het Luitboek van Thysius. Facsimile Edition of Leiden, Bibliotheca Thysiana 1666. Volume I: Introduction - Jan W.J. Burgers & Louis Peter Grijp; Concordances - Louis Peter Grijp, Simon Groot & John H. Robinson; Volume II. Facsimile Edition Folios 1-233; Volume III: Facsimile Edition Folios 233v-521v.
Muziek uit de Republiek. Leiden & Utrecht, 2009 23 x 33 cm, 3 vols, 158, 380, 477 pp. Halftone. The Thysius Lute Book—taking its name from the Leiden bibliophile who acquired the manuscript in the 19th c.—is the world’s most comprehensive lute volume. Compiled by Adriaen Smout from Rotterdam between the years 1595-1646, the book is a complete international repertoire comprised of Italian dances such as passamezzi and galliardas, fancies, intabulations of madrigals, chansons and motets, psalms and English, French and Dutch ballads and dances. It includes lute music by John Dowland, John Johnson, Thomas Morley, Thomas Robinson, Robin Jones and others, arrangements of chansons by Thomas Crecquillon, Pierre Sandrin, Clemens non Papa, Claudin de Sermisy and Orlando di Lasso, madrigals by Palestrina, Ferretti and Noë Faignient, motets by Peter Phillips, Pietro Lappi, Arcangelo Bussoni, Giulio Belli and others, psalm settings by Jan Pietersz Sweelinck, Claudin le Jeune and Claude Goudimel, and many anonymous settings of ballads and dances. Smout also showed great interest in popular culture and included many peasant ditties and light-hearted song tunes. There are also remarkable lute quartets. All music has been notated in seven-line French lute tablature. 3 vols, hardbound, in slipcase. $279 (more info... ) [item no.9115]

Tonini, Giuliano. Scrinium musices. La raccolta di manoscritti e stample musicali Toggenburg di Bolzano (secc. XVIII-XIX) in deposito presso l’Archivio provinciale di Bolzano. / Die Bozner Musikaliensammlung Toggenburg (18.-19. Jahrhundert) im Südtiroler Landesarchiv. Atti del convegno - Bolanzo, Sala Vivaldi, Giovedi, 14 dicembre 2006 / Akten des Vortrasabends - Bozen, Vivaldi-Saal, Donnerstag, 14. Dezember 2006. A cura di / herausgegeben von Giuliano Tonini.
Lucca, 2010. 29 x 37 cm, xxxii, 150 pp. Conference proceedings together with full-colorr reproductions of a selection of music works, including Johann Baptist Gänsbacher, Serenade pour Violon ou Flûte et Guitarre op.12 and Leonhard von Call, Serenade pour Violon ou Flûte et Guitarre op.54. Linen. $150 (more info... ) [item no.9159]

Tre intermezzi. Le rovine di Troia (Dragontana e Policrone), 1707; Melissa contenta, 1707-1708; Cuoco e Madama (La preziosa ridicola), 1724. Partiture in facsimile, Edizione dei libretti, Saggo introduttivo a cura di Francesca Menchelli-Buttini.
Drammaturgia Musicale Veneta, 10. Milan, 2008. Oblong, 29 x 23 cm, lv, 219 pp. Line-cut of contemporary manuscript copies (in score) of 3 intermezzi with music by Antonio Lotti, Francesco Gasparini and Antonio Caldara. Linen. $231 [item no.8976]

MODERN EDITIONS

Bernardi, Stefano. Concerti academici con varie sorte di sinfonie a sei voic. 1615-1619. Trascrizioni: Flavio Cinquetti, Matteo Zenatti. Revisione, introduzione e apparato critico: Maro Materassi.
Lucca, 2008. 4º, xx, 151 pp. Critical edition. Wrappers. $45 [item no.6700]

Brahms, Johannes (new critical edition) Klavierwerke ohne Opuszahl. Herausgegeben von Camilla Cai.
Neue Ausgabe sämtlicher Werke, III/7. Munich, 2007. 4º, xxxv, 224 pp. New critical edition. Contents: Ungarishce Tänze WoO 1, 51 Übungen WoO 6, Rákóczi-Marsch, 2 Suitenfragmente, Varia, Kadenzen zu Klavierkonzerten (Bach, Beethoven, Mozart). Cloth. $302 [item no.6680]

Colusso, Flavio. Missa sancti Andreae Avellino per soli, schola gregoriana, coro di voci bianche e strumenti. Proprium missae della festa del Santo con testi di Valentín Arteaga C.R. e Vincenzo Cosenza C.R. Napoli 2008. Partitura / Full Score / Partitura. A cura di Domenico Antonio D’Alessandro.
Musica Theatina, 6. Lucca, 2008. 4º, xxxii, 107 pp + audio CD. Critical edition of three religious settings: Confitebor tibi domine, Laetatus sum & Pastorale per la Novena del Signore. The first of 12 volumes dedicated to this composer. Wrappers. $43 [item no.6737]

Croft, William. Complete Chamber Music. Edited by H. Diack Johnstone.
Musica Britannica, LXXXVIII. London, 2009. 4°. xxxvii, 104 pp. Modern edition. Hitherto unpublished, the 4 trio sonatas and 2 five-part sonatas by William Croft, which came to light in 1977, are among the most interesting and rewarding of English chamber works to have been written in the period between the trio sonatas of Purcell and those of Boyce and Arne. Possibly first heard at the concerts of the musical smallcoals man, Thomas Britton, they are complemented by 6 sonatas for 2 solo recorders, and 3 violin sonatas that are amongst the earliest printed works in this genre by an English composer. Buckram. $136 [item no.6841]

Dering, Richard. Motets for One, Two or Three Voices and Basso Continuo. Transcribed and Edited by Jonathan P. Wainwright.
Musica Britannica, LXXXVII. London, 2008. 4°. 161 pp. Modern edition. The music of Dering forms a lively commentary on the complex artistic interchange between England and the continent in the early 17th century and the picture is extended with this collection of small-scale settings of Latin texts with continuo accompaniment. Performed both in the chapel of Queen Henrietta Maria and in the residential quarters of Oliver Cromwell, these pieces were clearly much in demand for intimate devotional observances. Motets from printed and manuscript sources are included, as well as incomplete works plausibly attributed to the composer. Buckram. $162 [item no.6691]

Donizetti, Gaetano (new critical edition) Pia de’ Tolomei. Reduction for Voice and Piano Based on the Critical Edition of the Orchestral Score, Edited by Giorgio Pagannone
[Critical Editions of Vocal Scores]. Milan, 2008. 8º. Wrappers. $55 [item no.6842]

Donizetti, Gaetano (new critical edition) Deux hommes et une femme. Edizione critica a cura di Paolo Rossini e Francesco Bellotto. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [9]. Milan, 2008. 4º, 384 pp. First performed a dozen years after the composer’s death, Deux Hommes et une femme (Rita) has become, in the last 50 years, one of the more frequently performed of all of Donizetti’s operas. Yet the version known to modern audiences reflects apocryphal additions introduced for the posthumous premiere. This new critical edition establishes for the first time the version of the opera conceived by Donizetti. In particular, it restores the French-language spoken dialogue—reconstructed thanks to a recently discovered MS libretto with autograph annotations—dialogue around which the composer constructed this delightful opéra comique. The edition is based on Donizetti's autograph manuscript, which allows for the part of Pepé to be sung either by a tenor or a baritone, and which restores many important details that were lost or ignored when the opera came to be revived. Cloth. $250 [item no.6706]

Eighteenth-Century Psalmody. Edited by Nicholas Temperley and Sally Drage.
Musica Britannica, LXXXV. London, 2007. 4°. xlvi, 345 pp. Modern edition. The contents of this volume give a comprehensive account of the great variety of musical forms used in the parish church and Nonconformist worship in the 18th century. Each of the 103 pieces has been chosen because the editors believe it to be both rewarding to perform and to listen to. At the same time, they have sought to represent every important development in English psalmody during this period of profound social and artistic change. Buckram. $190 [item no.6654]

Storace, Stephen. Gli Equivoci.
Musica Britannica, LXXXVI. London, 2008. 4°. xlvi, 399 pp. Modern edition. This is the first published version of a major comic opera written in 1786 for Vienna’s Burgtheater, to a da Ponte libretto adapted from Shakespeare's The Comedy of Errors. A pupil of Mozart, Stephen Storace was a major figure in English opera of the late 18th c. and Gli equivoci is a unique testament to his versatility and promise. The work is issued in a reduction for voices and keyboard, with an English singing translation. Buckram. $198 [item no.6682]

50 Renaissance & Baroque Standards – English Version. With Variants, Examples & Advice for Playing & Improvising on Any Instrument.
Courlay, 2007. 21 x 30 cm, 144 pp. Here, brought together for the first time, are 50 renaissance and baroque ostinato basses, songs and dances upon which composers wrote variations over the course of decades or even centuries. These pieces circulated from country to country, from one publication or manuscript to another, and also served as a basis for improvisation by performing musicians of the time. Wrappers. $24 [item no.8893]

50 Standards, Renaissance & Baroque. Avec variantes examples & conseils pour jouer & improviser sur tout instruments.
Courlay, 2007. 21 x 30 cm, 144 pp. Same as above, but French version. $24 [item no.8899]

Geoffroy, Jean-Nicolas. Paris, Bibliothèque Nationale de France, Ms. Rés. 475, Works by Jean Nicolas Geoffroy Edited by Mary Tilton.
The Art of the Keyboard, 9. New York, 2007. 4˚, 2 vols, 197, 217 pp. This ms is the largest collection of 17th century French harpischord music devoted to music by a single composer. 213 distinct pieces, including suites for harpsichord, string trios for 3 viols, quartets for harpsichord & 3 viols, & organ music. Wrappers. $100 [item no.6677]

[Goruppi, Giuliano] Antichi e nuove melodie di natale. Elaborazioni per coro, quattro strumenti a fiato e organo di Giuliano Goruppi.
Lucca, 2009. 23 x 31.5 cm, x, 188 pp. Critical edition of 9 Christmas songs. Contents: Luciano Migliavacca “Brilla una luce in cielo”; Tradizionale, “Conventry Carol”; Enrico Capaccioli, “Lieti Pastori”; Settimio Zimarino, “Ninna nanna a Gesù bambino”; Luigi Ricci, “Pastorale”; Carlo Adolfo Bossi, “Puer natus”; Stanko Premrl, “Quem Vidistis”; Jan Kampanus Vodnansky, “Rorando caeli defluant”; Katherine Davis, “The little drummer boy”. Wrappers. $40 [item no.6877]

Ingegneri, Marc’Antonio (complete works) Il primo libro de’ madrigali a quattro voci. Edited by Lucia Marchi.
Opera Omnia Marc’Antonio Ingegneri, Edizione Critica, II/1. Lucca, 2009. 4º, lvi, 124 pp. Critical edition. Wrappers. $48 [item no.6851]

Libro de diferentes cifras (1705).
Cifras para Tañer, 1. Madrid, 2008. 20 x 29 cm, xxiv, 73 pp. Study and transcription by Francisco Alfonso Valdivia. Preserved in the Biblioteca Nacional in Madrid, this important manuscript for 5-string guitar dated 1705 contains 107 anonymous pieces, with the exception of one attributed to Francesco Corbetta. Gaspar Sanz is well represented, both in the literal copy of the Instucción de música as in the reuse of some of its differences; several pieces are related to works of Santiago de Murcia which could mark the first cronological source of this guitarist. There are many French inpired dances together with the genuinely Spanish ones. Wrappers. $40 [item no.6875]

[Luzzaschi, Luzzasco] Le “Sacrae cantiones” di Luzzasco Luzzaschi [a cura di Elio Durante & Anna Martellotti].
Archivum Musicum: Collana di Studi, L. Florence, 2007 8º, li, 154 pp. Critical edition of Luzzaschi’s “Sacrarum cantionum, liber primus, quinis vocibus” (1598). Wrappers. $77 [item no.6657]

[Magnus liber organi (new critical edition)] Les organa et les clausules à deux voix du manuscrit de Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 628 Helmst. Édition établie par Edward H. Roesner. Plain-chants établis par Evan Angus MacCarthy et Greta-Mary Hair.
Le Magnus Liber Organi de Notre-Dame de Paris, VII. Monaco, 2009. 4º, lvii, 394 pp. Critical edition of the 2-voice Notre Dame organa from W1. Cloth. (This volume is the seventh and last of this important project) $595 [item no.5831]

Mazzocchi, Domenico. Madrigali a cinque voci e d’altri varij Concerti 1638. A Cura di Luca Mancini.
Lucca, 2009. 4º, xxii, 196 pp. Critical edition. Wrappers. $48 [item no.6867]

Mazzocchi. Domenico. Madrigali a cinque voci e d’altri varij concerti 1638. A cura di Luca Mancini.
Lucca, 2009. 21 x 31 cm, xxi, 196 pp. Critical edition. Wrappers. $46 [item no.6879]

Monteverdi, Claudio. Madrigali, Libro VII. A cura di Andrea Bornstein. Urtext.
Claudio Monteverdi, Madrigali, Opera Completa, 7. Bologna, 2008. Score. $85 [item no.6466]

Monteverdi, Claudio. Madrigali, Libro VII. A cura di Andrea Bornstein. Urtext.
Claudio Monteverdi, Madrigali, Opera Completa, 7. Bologna, 2008. Separate parts. $130 [item no.6713]

Naccimbeni, Stefano. Messe a otto voci con la partitura per l’organo. A cura di Licia Mari.
Musiche della Basilica di Santa Barbara in Montova, 1. Lucca, 2009. 21 x 31 cm, xviii, 256 pp. Critical edition. Wrappers. $69 [item no.6881]

Rossini, Giachino (critical vocal score) L’occasione fa il ladro / A Thief by Chance (1812). Libretto by Luigi Prividali after a play by Eugène Scribe. Piano-Vocal Score based on the critical edition by Giovanni Carli Ballola, Patricia B. Brauner, and Philip Gossett. English translation by Mark Herman & Ronnie Apter.
[Critical Editions of Vocal Scores]. Milan, 2007. 8º, xliii, 248 pp. Wrappers. $35 [item no.6726]

Turrini, Ferdinando. Sei sonate per cembalo. Raccolta fini. A cura di Giusy De Berardinis.
Lucca, 2009. Oblong, 4º, xxiii, 67 pp. Critical edition. Wrappers. $48 [item no.6855]

Vecchi, Orazio. L’Amfiparnaso. Il testo letterario e il testo musicale. A cura di Renzo Bez.
Bibliotheca Musica Bononiensis, IV/100. Bologna, 2007. 4°, 50, 94 pp. New critical edition (score) of the musical comedy printed by Orazio Vecchi in 1597. This polyphonic masterpiece owes part of its success over the centuries to its attempt to unite the two Parnassus’s, that of music and that of comic poetry, to which the allegorical title (”double Parnassus”) explicitly alludes. Wrappers. $63 [item no.8825]

Verdi, Giuseppe. Hymns / Inni. The Piano-Vocal Score Based on the Critical Edition of the Orchestral Score by Roberta Montemorra Marvin.
[Critical Editions of Vocal Scores]. Milan, 2009. 8º, 64 pp. Wrappers. $25 [item no.6715]

Verdi, Giuseppe. Macbeth. Melodramma in Four Acts by Francesco Maria Piave and Andrea Maffei. The Piano-Vocal Score Edited by David Lawton.
[Critical Editions of Vocal Scores]. Milan, 2007. 8º, 2 vols, 650 pp. Wrappers. $71 [item no.6717]

Verdi, Giuseppe. Stiffelio. Dramma Lirico in Three Acts by Francesco Maria Piave. The Piano-Vocal Score Edited by Kathleen Kuzmick Hansell.
[Critical Editions of Vocal Scores]. Milan, 2007. 8º, 420 pp. Wrappers. $50 [item no.6718]

Vivaldi, Antonio (new edition) Invicti Bellate RV 628. Edizione critica a cura di Federico Maria Sardelli.
Antonio Vivaldi, Opere Incomplete, Edizione Critica, 7. Florence, 2007. 8º, xxx, 27 pp. New critical edition of the score prepared under the auspices of the Fondazione Giorgio Cini, Istituto Italiano Antonio Vivaldi. Scored for alto solo, violins I-II, viola, & basso. Wrappers. $27 [item no.6690]

Weill, Kurt (collected edition) Zaubernacht. Edited by Elmar Juchem and Andrew Kuster.
The Kurt Weill Edition, I/0. New York, 2008. 30 x 39 cm. Zaubernacht is an hour-long stage work scored for an imaginative 9-piece ensemble consisting of flute, bassoon, percussion, piano and 5 string players. Weill composed this children's pantomime in 1922, while he was a member of Ferruccio Busoni's master class in composition in Berlin. Based on a scenario by Wladimir Boritsch (1891–1954), an elusive writer and impresario from Russia, the pantomime received its world premiere on 18 Nov. 1922 at Berlin's Theater am Kurfürstendamm. The work's only other production occurred at New York City's Garrick Theatre in December 1925, after which the orchestration disappeared. After 80 years of obscurity, Kurt Weill’s first stage work is available again in this critical edition thanks to the rediscovery of the original set of instrumental parts at Yale University in 2006. Cloth. (Subscribers to the series receive a substantial savings). $340 (more info... ) [item no.6727]

Weill, Kurt (collected edition) Der Protagonist. Edited by Gunther Diehl and Jürgen Selk.
The Kurt Weill Edition, I/1. New York, 2007. 30 x 39 cm, 2 vols, 377, 56 pp. Weill’s first opera, a one-act work from 1925 with libretto by Georg Kaiser, an outstanding representative of expressionist drama. It belongs to a series of early compositions that systematically explored almost every musical genre: chamber music, choral music, lieder, orchestral works, and ballet. With the successful premiere of the opera on 27 March 1926, conducted by Fritz Busch, Weill not only achieved a spectacular breakthrough as a composer but also rose to prominence among the young composers identified at the time with the renewal of opera. Hardbound. (Subscribers to the series receive a substantial savings). $475 (more info... ) [item no.6645]

Weill, Kurt (collected edition) Popular Adaptations, 1927-1950. Edited by Charles Hamm, Elmar Juchem and Kim H. Kowalke.
The Kurt Weill Edition, IV/2. New York, 2009. 30 x 39 cm. 326 pp. Thanks to a sustained, multiyear search, every known popular adaptation of Weill's music published during his lifetime is included in a full-color gallery of covers and its catalogue: workers' choruses, virtuosic violin showpieces, sheet music, vocal gems and selections, polyglot songbooks, newspaper supplements, anthologies, dance band and choral arrangements. Particularly prone to physical deterioration and loss over time, some of these items have apparently survived only as unica. The 176 covers tell a colorful tale all on their own, and each of the 38 black-and-white facsimiles is printed at full size and in original format. A magisterial essay by Charles Hamm, one of the foremost scholars of popular music in the 20th century, accompanies the illustrations and discusses each facsimile in detail. As none of Weill’s theatrical works were available in full score, the publication is an essential volume in documenting how Weill's music was transmitted and received during his lifetime. Cloth. (Subscribers to the series receive a substantial savings). $225 (more info... ) [item no.6839]

Wesley, Samuel. Anthems III. Edited by Peter Horton.
Musica Britannica, LXXXIX. London, 2010. 4°. xlv, 223 pp. Modern edition. The third and final volume devoted to the anthems of S. S. Wesley completes the canon with 23 original works written in the period between his departure from Exeter Cathedral to become organist of Leeds parish church in 1842 and 1874, the likely date of his final essays in the genre. Moving towards a greater simplicity of style, with less counterpoint and dissonance, but emphasising elements of colour, timbre and texture, these works are in general conceived on a more modest scale than earlier pieces such as The Wilderness. Even so, they show the composer continuing to experiment with the Anglican verse anthem, the evolution of which had been the cornerstone of a creative achievement without equal in the history of the English cathedral tradition between Purcell and Stanford. Buckram. $149 [item no.6876]

MONOGRAPHS

Agamennone, Maurizio. Su Daniele Paris. Storie e memorie di un direttore d’orchestra.
Documenti di Storia Musicale Abruzzese, 6. Lucca, 2009. 8º, 358 pp, audio CD. Wrappers. $65 [item no.6880]

[Alamire Foundation] Yearbook of the Alamire Foundation 6. [Proceedings of “Bruges-Venice: Music in Two Urban Mosaics”, Bruges, 14-16 December 2001; and part I of the 17th International Congress of the International Musicological Society, Leuven, 1-7 August 2002].
Leuven-Neerpelt, 2008. 8º, 432 pp. Contents - Mary E. Wolinski: Drinking Motets in Medieval Artois and Flanders; Julie E. Cumming: From Variety to Repetition: The Birth of Imitative Polyphony; Eric Rice: The Role of Acoustics in the Performance of Renaissance Polyphony at the Collegiate Church of Saint Mary in Aachen; Katelijne Schiltz: Polyphony and Word-Sound in Adrian Willaert’s Laus Tibi Sacra Rubens; Luminita Florea: Virtus Scriptoris: Steps towards a Typology of Illustration Borrowing in Music Theory Treatises of the Late Middle Ages and the Renaissance; C. Matthew Balensuela: Ut hec te figura docet: The Transformation of Music Theory Illustrations from Manuscripts to Print; Thomas Holme Hansen: Change and Continuity in Twentieth-Century Textbooks on Sixteenth-Century Counterpoint; Donna G. Cardamone Jackson: Orlando di Lasso et al.: A New Reading of the Roman Villanella Book (1555); Peter Bergquist: The Two Editions of Lasso’s Selectissimae Cantiones, 1568 and 1579; Richard Freedman: Who Owned Lasso’s Chansons?; Bernhold Schmid: ... Nec non tyronibus quàm eius artis peritioribus summopere inservientes. Zur gedruckten Überlieferung von Lassos Bicinien; Philippe Canguilhem: Musique et politique à Florence dans la première moitié du XVIe siècle; Le statut du madrigal à la lumière de nouvelles sources; Susan Lewis Hammond: Selling the Madrigal: Pierre Phalèse II and the Four ‘Antwerp Anthologies’. Wrappers. $69 [item no.6686]

[Alamire Foundation] Yearbook of the Alamire Foundation 7. [Proceedings of part II of the 17th International Congress of the International Musicological Society, Leuven, 1-7 August 2002].
Leuven-Neerpelt, 2008. 8º, 432 pp. Contents - Jean-François Goudesenne: Contexte historique, politique et composition des Historiae en belgica secunda avant l’an mil; Theodore Karp: Two Belgian Traditions for the Post–Tridentine Mass Proper; Siegwart Reichwald: Brumel’s Missa et ecce terrae motus: An Oddity? Andrew Kirkman: Personal Endowments: The Economic Engine of the ‘Cyclic’ Mass? Paul A. Merkley: Music in the Demand-Based Economy in Nothern Italy in the Late Fifteenth Century; Emilio Ros-Fábregas: Flemish Polyphony in Sixteenth-Century Iberian Manuscripts; Antonio Ezquerro-Esteban: Sources for Works by Orlando di Lasso in Spain; Jeske Van Dongen: Songs of the Devoot ende profitelijck boecxken (Antwerp, 1539) Found in Different Sources: Deviation in Melody and Lyrics in Hoe luyde sanc die leeraer op der tinnen; Pieter Andriessen: Carel and Philips Hacquart Updating the Biography; Keith Polk: Patronage of Instrumental Music in Bruges in the Late Middle Ages; Eugeen Schreurs: Music for Canons, Emperors, Dukes and Prince Bishops in the Collegiate Church of Maastricht (c.1450–1520). An Updated Overview and Some Samples; Susan Parisi : The Brussels–Mantua Connection. Vincenzo Gonzaga’s State Voyages to the Low Countries in 1599 and 1608; Hendrik Schulze: Love and Politics in Seventeenth-Century Venetian Opera: On the Differences between the Images of Republican and Monarchist Rulers; Olivia Wahnon De Oliveira: La circulation de la musique à Liège au XVIIIe siècle. Wrappers. $69 [item no.6687]

Alberti, Alfonso. Le sonate di Claude Debussy. Contesto, testo, interpretazione.
Repertori Musicali, 3. Lucca, 2008. 14 x 22 cm, xvii, 231 pp. Hardbound. $30 [item no.6735]

Barbieri, Daniele, Luca Marconi & Francesco Spampinato. L’ascolto musicale. Condotte, pratiche, grammatiche. A cura di Daniele Barbieri, Luca Marconi, Francesco Spampinato.
Lucca, 2008. 17 x 24 cm, xi, 373 pp. Wrappers. $59 [item no.6731]

Baroni, Mario. L’insegnamento come scienza. Ricerce sull didattia della musica a cura di Mario Baroni.
Manuali d’Analisi e Teoria Musicale, Collana del G.A.T.M., 3 Lucca, 2009. 8º, xv, 148 pp. Wrappers. $32 [item no.6868]

Bianchi, Sergio, Giuliano Bellorini & Paolo Beschi. Le suites per violoncello solo di Johann Sebastian Bach. Analisi, storia, stile e prassi esecutiva.
Lucca, 2008. 18 x 26 cm, xx, 184 pp. Wrappers. $59 [item no.6729]

Bologna, Alessio. “Collettanee” in morte di Serafino Aquiliano. Edizione a cura di Alessio Bologna.
Documenti di Storia Musicale Abruzzese, 5. Lucca, 2009. 8º, xi, 529 pp. Wrappers. $78 [item no.6870]

Bouckaert, Bruno. Cantus 21. Mémoires du chant. Le livre de musique d’Isidore de Séville à Edmond de Coussemaker. Sous la direction de Bruno Bouckaert. Contributeurs: Florence Albaret, Véronique Denolf, Sandrine Dumont, Nele Gabriëls, Valérie Guéant, Barbara Haggh-Huglo, Thiphaine Hébert, Sofie Taes, Bruno Bouckaert, Johan Eeckeloo, Michel Huglo, Gilbert Huybens, Pierre-Jacques Lamblin, Christian Meyer, Damien Top.
Cantus 21: Patrimoine Musical du Nord de la France. Neerpelt, 2007. 24 x 29 cm, 240pp. From 19 Nov. 2005 to 18 Feb. 2006 four exhibitions, entitled “Cantus21. Patrimoine musical du Nord de la France”, were organized in Cambrai (Maison Falleur/Médiathèque municipale), Douai (Bibl. municipale and Musée de la Chartreuse) and Bailleul (Musée Benoît-De-Puydt). This exceptionally beautiful and illustrated publication is the scholarly outcome of this event containing detailed descriptions of, and commentaries on more than 150 manuscripts, prints, treatises and archival documents. 2 sections are dedicated mainly to plainchant sources and liturgical manuscripts, one elaborates on sources of polyphony and music theory from the North of France and a final section is dedicated to Charles Edmond Henri de Coussemaker (1805-1876), who was a pioneer in listing and studying music sources from the North of France. A lot of attention is paid to his vast private collection (more than 1600 books, prints and mss) and to the large number of pieces which found their way into the collections of the Brussels Royal Library and the Library of the Brussels Royal Conservatory. Wrappers. $59 [item no.8928]

[Busse Berger, Anna Maria and Massimiliano Rossi] Memory and Invention. Medieval and Renaissance Literature, Art and Music. Acts of an International Conference (Florence, Villa I Tatti, May 11, 2006). Edited by Anna Maria Busse Berger and Massimiliano Rossi.
Villa i Tatti - The Harvard University Center for Italian Renaissance Studies, 24. Florence, 2009. 8º, xix, 175 pp. The art of memory—ars memorativa—profoundly impacted Western culture throughout the Middle Ages and Renaissance. Ever since Aby Warburg inscribed the word Mnemosyne over the door of the institute that bears his name, modern scholarship has increasingly recognized and explored the central role of memorization, with all its various techniques and applications, in the practice of writers, composers, and artists. This volume presents the papers of a conference held at Villa I Tatti on May 11, 2006, conceived and organized by Anna Maria Busse Berger and Massimiliano Rossi. Ranging from literature and music to painting and architecture, the eight essays collected here pose new questions about the relationship between memory as a tool for creative expression and its formative impact on patterns of thought and modes of organizing knowledge. Hardbound. $37 [item no.6886]

Bussi, Francesco. Brahms dopo Brahms. Tracce panoramiche di una discendenza e di un’ eredità.
Lucca, 2009. 14 x 21 cm, 132 pp. Wrappers. $24 [item no.6856]

Cahiers Debussy. No.30 - 2006.
Paris. 2007. 8º, 158 pp. Yannick Simon : Claude de France, notre Wagner. Le culte de Debussy sous l'Occupation. - Yvan Nommick : La présence de Debussy dans la vie et l'œuvre de Manuel de Falla. Essai d'interprétation. - Documents : An Interview with Debussy : The New York Times, 16 May 1909. With an introduction and notes by Deborah Priest. - André Hellé et La Boîte à joujoux : interview, conférence et texte intégral de L’Histoire d’une boîte à joujoux. Réunis et présentés par Denis Herlin. - Bibliographie. - Discographie et vidéographie. - Biographie des auteurs. - Résumés, Abstracts. Wrappers. $38 [item no.6846]

Cahiers Debussy. No.31 - 2007.
Paris. 2008. 8º, 128 pp. Michel Gribenski : “Chanter comme des personnes naturelles”. Apocope de l’e caduc et synérèse chez Debussy et quelques-uns de ses contemporains. - Aires de Andrade : La première audition de deux œuvres de Debussy au Brésil. - Documents : Les trois dernières lettres connues de Chouchou Debussy. Présentées par José Eduardo Martins. - Chronique. - Bibliographie. - Discographie et vidéographie. - Biographie des auteurs. - Résumés, Abstracts Wrappers. $38 [item no.6847]

Cahiers Debussy. No.32 - 2008.
Paris. 2009. 8º, 116 pp. Jean-Christophe Branger : Une œuvre de jeunesse inédite de Debussy : la Première Suite d’orchestre. - Alexandre Bleau : Chemins de Mallarmé à Debussy. Un état de la question. - Manoel Corrêa do Lago : Auditions d’œuvres de Claude Debussy au Brésil au début du xxe siècle. - Chronique. - Bibliographie. - Discographie et vidéographie. - Biographie des auteurs. -Résumés, Abstracts. Wrappers. $38 [item no.6848]

Cahiers Debussy. No.33 - 2009.
Paris. 2009. 8º, 116 pp. Cédric Segond-Genovesi : Exégèse, rhétorique et production(s) du sens : une lecture de Et la lune descend sur le temple qui fut; Gergely Fazekas : Musique “laide” et “malsaine” ou “boussole indiqu[ant] un art plus pur de qualité supérieure” ? La réception de Debussy en Hongrie entre 1900 et 1918; François Raymond : Courcelles-sous-Grignon, berceau des ancêtres de Claude Debussy. Quelques précisions généalogiques; Documents : Une “note de service des chemins de fer couverte d’esquisses musicales”. Étude de F-Pn, Mus. N.L.a. 32bis [9] Présentation par Paolo Dal Molin; Deux lettres inédites de Claude Debussy à René Lenormand. Présentées par Manuel Cornejo et Dimitra Diamantopoulou. - Chronique. - Bibliographie. - Discographie. - Biographie des auteurs. - Résumés, Abstracts. Wrappers. $38 [item no.6862]

Careri, Enrico. Dopo l’opera quinta. Studi sulla musica italiana del XVIII secolo.
Lucca, 2008. 17 x 24 cm, xv, 299 pp. Wrappers. $37 [item no.6732]

Caroccia, Antonio, et al. Giusseppe Martucci e la caduta delle Alpi. A cura di Antonio Caroccia, Paologiovanni Maione e Francesca Seller.
Strumenti della Ricerca Musicale, 14. Lucca, 2008. 8º, viii, 449 pp. Wrappers. $64 [item no.6849]

Civra, Ferruccio. Musica poetica. Introduzione alla retorica musicale.
Musica Ragionata, 1. Lucca, 2/ 2009. 12º, 215 pp. Wrappers. $37 [item no.5608]

Cristiani, Alberto, Aldo Cutroneo & Laura Di Paolo. Šostakovič e il suo tempo. A cura di Alberto Cristiani, Aldo Cutroneo, Laura Di Paolo.
Lucca, 2008. 17 x 24 cm, 166 pp. Wrappers. $59 [item no.6730]

Curinga, Luisa. La musica del Principe. Studi e prospettive per Carlo Gesualdo. A cura di Luisa Curinga.
Lucca, 2008. 17 x 21 cm, xiv, 402 pp. Luigi Sisto: Mutio Effrem e la corte del Principe di Venosa a Gesualdo; Domenico Antonio D'Alessandro: Giovanni de Macque e i musici della Real Cappella napoletana. Nuovi documenti, precisazioni biografiche e una fonte musicale ritrovata; Enrica Donisi: “Fù nei dauni confini, Presso à l'aspra Lucania alto, et immenso ... ” La famiglia Gesualdo: mecenati, scrittori, artisti; Marta Columbro: Il Fondo Gesualdo della Biblioteca Provinciale di Avellino; Elio Durante - Anna Martellotti: Carlo Gesualdo e i poeti di Ferrara: fedeltà infedele al testo poetico; Anthony Newcomb: Gesualdo's Luzzaschi - “D'ogni altro si burla”; Nicolò Maccavino: Le canzonette a cinque voci di Carlo Gesualdo; Giovanni Acciai: Le composizioni sacre di Carlo Gesualdo: un approccio analitico sul piano della retorica musicale. Ma non solo; Maria Manuela Toscano: Caos apparente e struttura dissimulata nei “Responsori di Settimana Santa” di Carlo Gesualdo; Peter Niedermiiller: Toward the reception of Carlo Gesualdo's music in the writings by Giovanni Battista Doni; Massimo Privitera: Madrigali esemplari: analitica gesualdiana prospettica; Marco Della Sciucca: Il “Monumentum pro Gesualdo” di Stravinsky come interpretazione critico-analitica; Luisa Curinga: Trascrizione o trasfigurazione? Elaborazioni di Salvatore Sciarrino da Carlo Gesualdo; Marco Giuliani: Una base di dati multimediale sui madrigali del Principe Carlo Gesualdo da Venosa. Wrappers. $64 [item no.6853]

Dalmonte, Rossana. Il nuovo in musica. Estetiche tecnologie linguaggi. Atti del convegno (Trento, 18-20 gennaio 2008). A cura di Rossana Dalmonte, Francesco Spampinato.
Lucca, 2008. 17 x 21 cm, xii, 317 pp. Proceedings of the international conference, Trento, January 18-20, 2008. Wrappers. $48 [item no.6850]

De Bartholomaeis, Vincenzo. Origini della poesia drammatica italiana. Ristampa anastatica dell’edizione 1952 a cura e con introduzione di Francesco Zimei.
Documenti di Storia Musicale Abruzzese, 6. Lucca, 2009. 8º, xvii, 538 pp. A seminal work on Italian poetry of the late Middle Ages. Wrappers. $65 [item no.6878]

De clavicordio VIII. The Clavichord on the Iberian Peninsula. Proceedings of the International Clavichord Symposium, Magnano, 5 - 8 September 2007. Edited by Bernard Brauchli, Alberto Galazzo, Judith Wardman.
Piemonte, 2008. 8º, 256 pp. Articles on all aspects of the clavichord by leading scholars, builders and performers; authors in this issue include: D. Adlam, P. Bavington, L. Bemmann, J. Benson, Ch. Besnainou, B. Brauchli, Chr. D'Alessandro, D. Demel, G. Doderer, M. Erdman, S. Field, L. Gineis, E. Helenius, U. Henning, A. Huber, H. E. Svensson, M. Tsalka, C. & W. Ullrich-Eberius, P. Verbeek, and I. Wjuniski. Wrappers. $95 (more info... ) [item no.6692]

Del Fra, Luca. Commercio di lettere intorno ai Principj dell’Armonia fra il Signor Giuseppe Tartini; ed il Co. Giordano Riccati. A cura di Luca Del Fra.
Musicalia, [8]. Lucca, 2007. 8º, 181 pp. Wrappers. $40 [item no.6651]

De Luca, Maria Rosa, Salvatore Enrico Failla,, & Giuseppe Montemagno. Vincenzo Bellini et la France. Histoire, création, et réception de l’œuvre / Vincenzo Bellini e la Francia: Storia, creazione e ricezione dell’opera. Actes du Colloque international / Atti del Convegno Internazionale (Paris - Sorbonne, Salle des Actes - 5-7 novembre 2001).
Lucca, 2007. 8º, xx, 874 pp. Linen. $138 [item no.6694]

Fassone, Alberto. Carl Orff. Nuova edizione, riveduta ed ampliata.
Musica Ragionata, 18. Lucca, 2009. 12º, 661 pp. 2nd revised and enlarged edition. Wrappers. $58 [item no.6872]

[Fondazione Giorgio Cini] Studi Vivaldiani 7 - 2007. Rivista annuale dell’Istituto Italiano Antonio Vivaldi della Fondazione Giorgio Cini.
Florence, 2007. 8º, 192 pp. Contents: Janice Stockigt: The Music Catalogue of the Dresden Hofkirche; Robert Kintzel: Vivaldi’s Oratorios: L’Adorazione delli Tre Re Magi; Nikolaus Delius: Anmerkungen zu RV 806 und zu RV 759; Federico Maria Sardelli: Da RV Anh. 76 a RV 808: Un nuovo concerto di Vivaldi. Wrappers (in process of continuation, standing orders invited) $50 [item no.6689]

Imago Musicae XXIII 2006-2010. International Yearbook of Musical Iconography.
Lucca, 2010. 8º, 195 pp. Cloth. $99 (more info... ) [item no.9155]

Jeanneret, Christine. L’œuvre en filigrane. Une étude philologique des manuscrits de musique pour clavier à Rome au VIIIe siècle.
Historiae Musicae Cultores, 116. Florence, 2009. 8º, ix, 620 pp. Study of 74 17th-c. music manuscripts for keyboard from Frescobaldi’s circle in Rome. Besides being an important catalogue with a precise physical description, contents, concordances and analysis, it also contains the identification of several organists on the grounds of archival research. Among the so far unpublished volumes, 4 original manuscripts of Girolamo Frescobaldi were discovered; these offer a new perspective of the Roman organists’ musical world, at a crossroads between oral and written practices. Wrappers. $76 [item no.6885]

La Vina, Vincenzo & Vincenzo Perrellis. Tradita muzikore e Shën Mërtirit / La tradizione musicale di San Martino di Finita. I. vjershe e ajër.
Lucca, 2009. 14 x 21 cm, vii, 123 pp, CD. Wrappers. $40 [item no.6869]

Mechelli, Paolo. I fili della scena. Alessandro Lanari: il carteggio con impresari e delegati (1820-1830).
Lucca, 2009. 8°, xvi, 209 pp, CD. Wrappers. $48 [item no.6871]

Montanari, Claudio. Il campanaro musicista. La tradizione delle campane dell'area bolognese.
Alia Musica, 12. Lucca, 2007. 8º, xvi, 265 pp + 2 audio CDs. Wrappers. $80 [item no.6711]

Montanari, Claudio. Musicisti di campane. Le campane, le bilicature, le forme di suono.
Alia Musica, 15. Lucca, 2009. 8º, x, 105 pp, audio CD. Wrappers. $54 [item no.6874]

Papi, Marcella Bertuccelli. Luigi Boccherini. Un musicista lucchese alle corte di Madrid. Traduzione di Arianna Bartoli. A cura di Marcella Bertuccelli Papi.
Lucca, 2009. 17 x 21 cm, viii, 184 pp. Arianna Bartoli: Tradurre la musica; Jaime Tortella: Boccherini nel bicentenario della morte; Valle Martos - Jaime Tortella: Il volto di Boccherini, specchio di un'anima d'artista; Judith Ortega: Il mecenatismo musicale della casa di Osuna nella seconda metà del Settecento. L'ambiente musicale di Luigi Boccherini a Madrid; German Labrador Lopez de Azcona: La carta “Romani” e la datazione della musica spagnola di fine Settecento (1775-1800). Una nuova prospettiva di ricerca per l'opera di Luigi Boccherini. Wrappers. Carlos José Gosalvez Lara - German Labrador Lopez de Azcona Fonti spagnole per lo studio dell'opera di Luigi Boccherini I fondi manoscritti del Real Conservatorio Superior de Musica di Madrid Elisabeth Le Guin Luigi Boccherini e la teatralità Carlos José Gosalvez Lara Una nuova sonata per violoncello di Boccherini? Wrappers. $24 [item no.6852]

Ponzo, Diego. Le fondi musicale in Piemonte, Vol. II - Cuneo e Provincia. A cura di Diego Ponzo.
Cataloghi di Fondi Musicali del Piemonte, 5. Lucca, 2009. 17 x 24 cm, xxix, 299 pp. Comprehensive catalog of institutions in Cuneo and Provincia that possess music related material. Comprehensive indices plus 14 color plates of manuscripts, stage designs and instruments. Wrappers. $64 [item no.6858]

Recercare XVIII 2006. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].
Lucca, 2007. 8º, 179 pp. Contents: Luca Della Libera, “I concerti sacri di Alessandro Scarlatti”; Davide Verga, “Besozzi-Farinelli: origini di un sodalizio artistico nella Parma del tramonto farnesiano”; Gastone Vio, “L’arte dei sonadori e l’insegnamento della musica a Venezia”; Claudio Bacciagaluppi, “’Con quegli ‘Gloria, gloria’ non la finiscono mai’; The reception of the Neapolitan mass between Rome and Northern Europe”. Wrappers. $38 [item no.6649]

Recercare XIX 2007. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].
Lucca, 2007. 8º, 179 pp. Contents: Anthony M. Cummings, “Clement VII's musical patronage: evidence and interpretation”; Emily Wilbourne, “’Isabella ringiovinita’: Virginia Ramponi Andreini before Arianna”; Patrizio Barbieri, “Pietro Della Valle: the Esthèr oratorio (1639) and other experiments in the ‘stylus metabolicus’. With new documents on triharmonic instruments”; Barbara Nestola, “L'Egisto fantasma di Cavalli: nuova luce sulla rappresentazione parigina di Egisto ovvero Chi soffre speri di Mazzocchi e Marazzoli (1646)”; Antonella D'Ovidio, “’Sonate a tre d'altri stili’. Carlo Mannelli violinista nella Roma di fine Seicento”; Anthony DelDonna, “An eighteenth century musical education: Francesco Mancini's Il zelo animato (1733)”; Luisa Clotilde Gentile, “Orlando di Lasso pellegrino a Loreto (1585): vicende di un ex voto musicale”. Wrappers. $38 [item no.6710]

Recercare XX 2008. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].
Lucca, 2009. 8º, c. 180 pp. Contents: Crawford Young: “Antiphon of the Angels: Angelorum psalat tripudium”; James Haar/John Nadas: “The Medici, the Signoria, the Pope: Sacred Polyphony in Florence, 1432-1448”; Gabriele Giacomelli: “Il Giudizio universale di Vasari Zuccari fra chiesa, corte e teatro musicale”; Luigi Collarile: “Nuove prospettive sul contesto editoriale delle Canzoni d'intavolatura d'organo - Libro primo (1592) di Claudio Merulo”; Giuliana Montanari: “Chromating and Transposing Quilled Keyboard Instruments at the Florentine Grand Ducal Court in the Seventeenth Ccentury”; Francesco Carreras/Cinzia Meroni, “Giovanni Maria Anciuti: a craftsman at work in Milan and Venice”; Kathryn Bosi: “More Ocumentation for the Balletti della Duchessa”. Wrappers. $38 [item no.6843]

Ruffin, Gianni. Il caso Siegfried. Individuazione simbolica di un eroe wagneriano.
Lucca, 2009. 12º, x, 200 pp. Wrappers. $31 [item no.6873]

Russo, Luigi. Giovanni Paisiello e la cultura europea del suo tempo. Convegno Internazionale di Studi, Tarranto, 20-23 Giugno 2002. A cura di Francesco Paolo Russo.
Strumenti della Ricerca Musicale, 10. Lucca, 2007. 17 x 24 cm, 412 pp. Wrappers. $48 [item no.6650]

Sarno, Jania. Le icone che danzano. Transe, musica e firewalking negli Anastenaria greci all’epoca del postmoderno.
Alia Musica, 13. Lucca, 2008. 8º, xxvi, 672 pp + 1 audio CD. Wrappers. $75 [item no.6702]

Schiltz, Katelijne & Bonnie J. Blackburn] Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History. Proceedings of the International Conference, Leuven, 4-6 October 2005. Edited by K. Schiltz and Bonnie J. Blackburn.
Analysis in Context. Leuven Studies in Musicology, 1. Louvain, 2007. 8 °, xxvi, 498 pp. Although canons pervade music of the Middle Ages and the Renaissance, they have not received proportionate attention in the musicological literature. The 22 contributions in this book shed light on canons and canonic techniques from a wide range of perspectives, such as music theory and analysis, compositional and performance practice, palaeography and notation, as well as listening expectations and strategies. Wrappers. (in process of continuation, standing orders invited) $128 [item no.6656]

Serdoura, Miguel. Method for the Baroque Lute. A Practical Guide for Beginning and Advanced Lutenists
Bologna, 2008. 4˚, 364 pp. Comprehensive tutor for the 11- and 13-course Baroque lute, including an anthology of 250 pieces divided into 3 levels of difficulty. Wrappers. $97 [item no.6688]

Tarquino, Gianluca. Dal ‘cilindro’ di Tosti. Discografia generale dei compositori abruzzesi. Note biografiche a cura di Marilde Cavuto. Prefazione di Francesco Sanvitale.
Documenti di Storia Musicale Abruzzese, 4. Lucca, 2007. 8º, xlvii, 588 pp. Comprehensive discography (2363 items) of 20th-c. southern Italian composers. Wrappers. $74 [item no.6734]

Vela, Maria Caraci. La filologia musicale. Istituzioni, storia, strumenti critici. I: Fondamenti storici e metodologi della filologia musicale. Volume II. Approfondimenti.
Lucca, 2009. 8º, viii, 324 pp. Wrappers. $40 [item no.6857]

Vincenzi, Marco. Drammaturgie musicali del Novecento. Teorie e testi. A cura di Marco Vincenzi.
Quaderni di Musica/Realtà, 56. Lucca, 2008. 8˚, 397 pp. Wrappers. $52 [item no.6736]

Zimei, Francesco. Antonio Caroccia. I corrispondenti abruzzesi di Florimo. Selezione dall'Epistolario. Prefazione di Francesco Zimei. A cura di Francesco Zimei.
Documenti di Storia Musicale Abruzzese, 3. Lucca, 2007. 8º, lxii, 146 pp. Wrappers. $37 [item no.6733]

Zimei, Francesco. L’ars nova italiana del trecento - VII. “Dolci e nuove note”. Atti del Quinto Convegno Internazionale in ricordo di Federico Ghisi (1901-1975) (Certaldo, 17-18 dicembre 2005). A cura di Franceso Zimei.
Lucca, 2009. 15 x 21 cm, x, 277 pp. Presentazione di Agostino Ziino; John Nadas: Una riflessione generale sulle nuove fonti musicali a cinquant'anni dall'inventario di Kurt von Fischer; Armando Antonelli: Tracce di ballate e madrigali a Bologna tra XIV e XV secolo (con una nota sul meccanismo di copia delle ballate estemporanee); Agostino Ziino: Sulla tradizione musicale della ballata “Per seguir la sperança che m'ancide” di Francesco Landini; Michael Scott Cuthbert: Palimpsests, Sketches, and Extracts: The Organization and Compositions of Seville 5-2-25; Marco Gozzi: Boccaccio, Gherardello e una ballata monodica; Carla Vivarelli: “Ars cantus mensurabilis mensurata per modos iuris” un trattato napoletano di ars subtilior? Pedro Memelsdorff: “Equivocus”. Per una nuova lettura del rapporto testo-musica nel Trecento italiano; Francesco Zimei: Riflessi musicali nella novellistica toscana del Trecento (statistiche e osservazioni); Gianluca D'Agostino: Some musical data from literary sources of the late middle ages; Sandra Dieckmann - Oliver Huck: Metrica e musica nel Trecento. Madrigali, ballate e cacce; Francesco Facchin: Suono e voce in Boccaccio. Wrappers. $70 [item no.6854]