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season
 

from  2010 to 8/4/2014
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

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. $132 [item no.9150]


ARNOLD, Georg, 1621-1676

Psalmi vespertini [a 4, 2, vocibus & violinis concerttantibus, vel 7. 10. aut etiam 15. ad placitum]. Johann Elias Höffling / Wolfgang Eberhard Felsecker, 1663. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 1. Stuttgart, 2013. Oblong, 21 x 17 cm, 6 partbooks, 100 pp. Line-cut of the Bamberg, 1663 edition. 6 partbooks (cantus primus, cantus secundus, altus, tenor, bassus, bassus pro organo). Portfolio. $68 [item no.9347]


AUFSCHNAITTER, Benedikt Anton, 1665-1742

Regulae compositionis fundamentalis musurgiae.
Faksimile-Edition Theoretica, 5 Suttgart, 2011. 22 x 32 cm, 14, 151 pp. Line-cut of the c.1730 manuscript. Rules on composing “good music” by the successor of Georg Muffat as Hof- and Domkapellmeister in Passau. Introduction by Markus Eberhardt. Hardbound in decorative paper. $75 [item no.9255]


BACH, Carl Philipp Emanuel, 1714-1788

Nachlaß-Verzeichnis (1790). Facsimile Edition from the Collections of the Music Division, Library of Congres with an Introduction by Peter Wollny.
Carl Philipp Emanuel Bach, The Complete Works, VII - Facsimile Supplement. Los Altos, 2014. 8°, xviii, 144 pp. Line-cut of the Hamburg, 1790 edition. CPE Bach owned a large music library. The inhertance catalogue “Verzeichnis des musikalischen Nachlasses des verstorbenen Capellmeisters Carl Philipp Emanuel Bach” is a wonderful source for scholars, among the many aids, the possibility to date of many of the composer’s compositions. Wrappers. $34 [item no.9350]


(Richard, Annette) Portrait Collection. Edited by Annette Richard.
Carl Philipp Emanuel Bach, The Complete Works, VIII/4. Los Altos, 2012. 8°, 2 vols, 598 pp. Extensive catalog of portraits of C.P.E. Bach, his family and contemporaries with one volume of fine halftone reproductions. One of the most important C,P.E. Bach iconographies to date. 2 volumes, cloth. $95 (more info... ) [item no.9310]


BACH, Johann Sebastian, 1685-1750

[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. $429 (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.
Kassel, 2011. 24 x 35 cm, viii. 216, xxxvii, 7 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger-Jap. Brown linen boards. $399 (more info... ) [item no.9222]


[St. Matthew’s Passion, BWV 244] Matthäus-Passion BWV 244. Autograph Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. Commentary by / Kommentar von Christoph Wolff, Martina Rebmann. Preface by / Geleitwort von Barbara Schneider-Kemf.
Documenta Musicologica, II/47. Kassel, 2013. 24 x 35 cm, x, 168, 30 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger. Limited bibliophile edition with binding with leather spine and boards in decorative paper. $469 (more info... ) [item no.9327]


[Musical Offering, BWV 1079] Musikalisches Opfer / Musical Offering (Musical Sacrifice). BWV 1079. Score Based on Bach’s First Edition of 1747 with Inserted Facsimile. Edited by Hans-Eberhard Dentler with a Note by Alberto Basso.
Musica Humana, Faszikel 1. Mainz, 2012. 25 x 33 cm, 53, 113, 38 pp. Modern edition in score format with facsimile supplement reproducing the 1747 edition of the instrumental parts. “Regis iussu cantio et reliqua canonica arte resoluta” is Bach’s famous collection of canons and fugues based on a musical theme given to him by Frederick the Great, to whom they are dedicated. The work has its roots in a meeting on May 7, 1747 at the King’s residence in Potsdam, where Carl Philipp Emanual was employed as a court musician. The work comprises 2 ricercars, one a6 and one a3, 10 canons, and a “sonata sopr’li soggetto Reale”, a trio sonata in 4 movements featuring the flute, one of the instruments Frederick played. Introduction and critical notes in Ger-Eng-Fr. Handsome binding in red linen with gold title. $175 (more info... ) [item no.9321]


Sonatas, viola da gamba solo, BWV 1027-1029] Drei Sonaten für Viola da Gamba solo und obligates Cembalo, BWV 1027–29. Faksimile herausgegeben von Hille Perl. In Zusammenarbeit mit der Staatsbibliothek zu Berlin—Preußischer Kulturbesitz.
Magdeburg, 2014. 22 x 34 cm, v, 44 pp. 4-color facsimile of the manuscript sources. Only BWV 1027—with title page “Sonata à Cembalo è Viola da Gamba”—has been preserved in Bach’s autograph. Wrappers. $44 (more info... ) [item no.9370]


[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-Temperedocument 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 d Clavier in Chopin's teaching has been known on the basis of literary sources. The 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]


Bach’s Bible: The Calov Bible, Die Heilige Bible 1681-92. Facsimile of the Original Preserved in Concordia Seminary Library, St. Louis.
Franeker, 2014. 19.5 x 33 cm, 3 vols, 4355 pp + commentary. Full-color deluxe facsimile. The 3-volume Bible commentary compiled by 17th-century theologian Abraham Calov and once in the library of Johann Sebastian Bach has been in the Seminary Library collection since it was given to the Seminary by the Reichle family of Frankenmuth, MI, in the 1930s. The volumes are the only known, i.e., identified, books from the library of Lutheran composer J. S. Bach. Calov is both editor and author of the commentary, using as he does both Martin Luther’s translation of the Bible and primarily Luther’s comments on the text, adding his own commentary when no material is available in Luther’s works. The work was printed in 1681-82. Some 25 marginal annotations of Bach, along with underlining and other marginal markings, are evidence of the composer’s use of the volumes. Careful analysis of the handwriting, as well as technical analysis of the ink done in the 1980s, established the authenticity of Bach’s ownership. Commentary in Eng/Ger/Jap/Dut by Albert Clement. (more info... ) [item no.9355]


Wollny, Peter. Generalbass- und Satzlehre, Kontrapunktstudien, Skizzen und Entwürfe. Herausgegeben von Peter Wollny. Anhang: Aria “Alles mit Gott und nichts ohn’ ihn” BWV 1127. Herausgegeben von Michael Maul.
Neue Ausgabe Sämtlicher Werke, Supplement. Kassel, 2011. 22 x 30 cm, 250 pp (incl. 77 facsimiles). Comprehensive study of Bach’s basso continue practice, documented with full-color reproductions from autograph manuscripts and sketches. Consists of teaching documents in figured bass and counterpoint, and sketches & fragments found in autograph full scores, all accompanied by modern transcriptions. Linen. $334 (more info... ) [item no.9278]


BANCHIERI, Adriano, 1568-1634

Fantaisie overo Canzoni alla francese. Venedig, Ricciardo Amadino 1603.
Faksimile-Edition Rara, 65. Stuttgart, 2014. 17 x 23 cm, 4 partbooks, 96 pp. Line-cut of the Venice, 1603 edition. 21 instrumental canzoni suitable for strings/winds. Wrappers, with portfolio in decorative paper. $51 [item no.9356]


BEETHOVEN, Ludwig van, 1770-1827

[Quartet, strings, op.59, 1st ed.] Trois quatuors pour deux violons, alto et violoncello. Œeuvre 59me [The “Rasumovsky” Quartets]. [private collection].
Performers’ Facsimiles, 280. New York, [2011]. 27 x 35 cm, 4 partbooks, c.136 pp. Line-cut of Vienna [1808] edition (Au Bureau des arts et d'industrie A.' Pesth chez Schreyvogel & Comp. plate nos. 580.584.585). Wrappers. $50 [item no.9215]


[Quartet, strings, op.132, no.15, A minor] Streichquartett a-moll op.132. Vollständige Faksimileausgabe der Handschrift Mus. ms. autogr. Beethoven Mend.-Stift. 11 der Staatsbibliothek zu Berlin—Preußischer Kulturbesitz. Vorwort von András Schiff, Einleitung von Ernst Herttrich.
[Henle Music Facsimiles, 22]. Munich, 2011. Oblong, 35 x 29 cm, 168, xxiv pp. Beautiful 4-color halftone. The heart of Beethoven’s Quartet op. 132 is the “Holy song of thanksgiving”, in which Beethoven takes up old counterpoint techniques and Gregorian simplicity. In this unusually beautiful and well preserved manuscript, Beethoven generously makes the most of the space on its pages. The lavish 4-color printing allows the composer’s occasionally unconventional manner of notation to come to life. It permits a unique insight into the creative process, which continued after it had been written down in the form of multiple additions and changes. The edition is rounded off with a preface by the pianist András Schiff, with whose generous support this valuable facsimile was made possible. Hardbound. $190 (more info... ) [item no.9189]


[Romance, violin, orch, op.50, F major] Romanze für Violine & Orchester F-Dur op.50. Faksimile nach dem Autograph der Library of Congress in Washington. Mit einer Einleitung von Stefan Drees.
Meisterwerke der Musik im Faksimile, 20. Laaber, 2011. Oblong, 32 x 24 cm, xvi, 32 pp. Facsimile, in full-color, of the autograph fair copy, dated by different authorities as either 1798 of 1802. Introduction in Ger-Eng. Hardbound with decorative paper boards. $104 (more info... ) [item no.9264]


[Sonata, piano, no.23, op.57, F minor] Klaviersonate “Appassionata” f-moll op.57. Faksimile nach dem Autograph der Bibliothèque Nationale de France, Paris. Mit einer Einleitung von Wolfram Steinbeck.
Meisterwerke der Musik im Faksimile, 21. Laaber, 2011. Oblong, 32 x 24 cm, xxiv, 48 pp. Full-color halftone of the composer’s autograph (1805-1806), a fair copy with numerous corrections. The autograph contains a fascinating note written by Paul Bigot (husband of the pianist Marie Bigot) which sheds light on the provenance of the ms: "During the journey, he [Beethoven] was surprised by a storm and driving rain, which soaked through the case in which he carried the Sonata in F minor which he had just composed. Following his arrival in Vienna he visited us and, laughing, showed the still wet composition to my wife, who took a closer look at it. Moved by the surprising beginning she sat down at the piano and begin to play it. Beethoven had not expected this and was surprised to see how Mad. Bigot did not let herself be stopped for a moment by the many erasures and changes which he had made. It was the original which he was in the process of taking to the publisher so that it could be engraved. When Mad. Bigot had played it and asked him to give it to her, he agreed and faithfully brought it back for her once it had been engraved". The autograph passed from the Bigot family to the Conservatoire de Musique, and then to the BN in Paris. Introduction in Ger-Eng. Hardbound with handsome paper boards. $116 (more info... ) [item no.9265]


[Sonata, piano, no.30, 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, 2011. Oblong, 31 x 24 cm, xv, 40 pp. Facsimile, in full-color, of the autograph fair copy manuscript (with corrections) entitled “Sonate für das Hammerklavier” and dedicated to his friend Antoine Brentano, also the dedicatee of the Piano Trio WoO 39. This is the first sonata—completed in the fall of 1820—of a trilogy (op.109, 110 & 111) promised to the publisher Schlesinger with operations in Paris and Berlin. Introduction in Ger-Eng. Hardbound with decorative paper boards. $108 (more info... ) [item no.9090]


[Sonata, piano, no.31, op.110, Ab major] Klaviersonate As-Dur op.110. Faksimile nach dem Autograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar von Siegfried Mauser.
Meisterwerke der Musik im Faksimile, 15. Laaber, 2011. Oblong, 32 x 24 cm, xx, 58 pp. Full-color halftone of the composer’s autograph—simultaneously a fair and working copy—completed on Dec. 25, 1821. Although the last piano sonatas op.109, 110 and 111 were planned as a trilogy and offered to the publisher Schlesinger, their composition was not continuous, and it is op.110 that has certain unmistakable links with the Missa Solemnis composed at the same time (sketches of op.110 can be found alongside those of the Credo, the Agnus dei & Dona nobis pacem of the Mass). The sonata was ultimately published by Schlesinger in September of 1822. Introduction in Ger/Eng. Hardbound with handsome boards in grey patterned paper. $132 (more info... ) [item no.9091]


[Sonata, piano, no.32, op.111, C minor] 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, 2011. Oblong, 32 x 24 cm, xv, 42 pp. Facsimile, in full-color, of the autograph manuscript completed in the spring of 1822. Compared to the previous sonatas of the trilogy (op.109, 110 & 111), op.111 had a rather long correction and printing period. After the Schlesinger (son & father) editions appeared in Paris and Berlin respectively Beethoven angrily had the Viennese publisher Diabelli issue a corrected reprint. Introduction in Ger-Eng. Hardbound with decorative paper boards. $108 (more info... ) [item no.9092]


[Symphony, no.5, op.67, C minor, 1st ed.] [Fifth Symphony] Sinfonie pour 2 violons, 2 violes, violoncelle e contre-violon; 2 flûtes, petite flûte, 2 hautbois, 2 clarinetts, 2 bassons, contre-basson, 2 cors, 2 trompettes, timbales et 3 tromps. No 5 des Sinfonies. Oeuv.67. [Nederlands Muziek Instituut, The Hague].
Performers’ Facsimiles, 300. New York, [2011]. 27 x 35 cm, 23 partbooks, 134 pp. Line-cut of the Breitkopf & Härtel edition, pl. no. 1329, Leipzig, 1809. $95 [item no.9231]


[Symphony, no.9, op.125, D minor] Sinfonie No.9 op.125. Autograph. Staatsbibliothek zu Berlin—Preussischer Kulturbesitz, Beethoven-Haus Bonn, Bibliothèque National de France. Commentary by / Kommentar von: Lewis Lockwood, Jonathan Del Mar, Martina Rebmann.
Documenta Musicologica, II/42. Kassel, 2010. 37 x 40 cm, viii, 436, 42 pp. Full-color facsimile of the autograph fair copy in the original format. With his Ninth Symphony Beethoven ventured into new musical dimensions. In the final movement soloists and chorus join forces with the orchestra and Schiller’s “Ode 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. $940 (more info... ) [item no.9177]


[Variations, piano, on a waltz, op.120] 33 Veränderungen C-Dur über einen Walzer von Anton Diabelli für Klavier op.120 / 33 Variations in C major on a Waltz by Anton Diabelli for piano op 120.
Veröffentlichungen des Beethoven-Hauses, III/19. Bonn, 2010. Oblong, 35 x 24 cm, 92, 72, c.30 pp Color facsimile of the autograph working copy and the first edition (Vienna, 1823), based on the exemplar that preserves Beethoven’s handwritten dedication to Prince Lobkowitz. The Beethoven-Haus in Bonn acquired Beethoven’s working manuscript of this last great piano work and his most important cycle of variation in 2009, made possible through an unprecedented joint effort of noted artists and numerous public and private sponsors. The Diabelli Variations op.120 are in many respects extraordinary. The facsimile edition makes this important Beethoven autograph—formerly in private hands—accessible to musicians, scholars and music lovers. This unique autograph comprises 86 handwritten pages. Following the leaf with the prescribed Diabelli theme, it contains the complete cycle of 33 variations, and includes several inserted leaves. Beethoven’s compositional process can be recognized by means of the intensive corrections, the far-reaching conceptional alterations and editorial details down to the finest nuance. Introduction (Ger-Eng) by Kurt Masur, with contributions by William Kinderman, Michael Ladenburger and Bernard R. Appel. Hardbound. $215 (more info... ) [item no.9187]


[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/37. Bonn, 2010. Oblong, 4º, 2 vols, 96, 100 pp. Color 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 been published in English. Linen. $279 (more info... ) [item no.9145]


[sketchbook, “Landsberg 6”] Beethoven’s “Eroica” Sketchbook. A Critical Edition. Transcribed, Edited, and with a Commentary by Lewis Lockwood and Alan Gosman. Volume 1: Facsimile; Volume 2: Transcription, Commentary, Inventory.
Beethoven Sketchbook Series, [2]. Champaign, 2013. 4˚, 2 vols. Complete halftone reproduction and critical edition of the MS, currently in Kraków at the Biblioteka Jagiellońska (formerly Berlin, Staatsbibliothek, Mus. ms. aut. Beethoven Landsberg 6). Once known as “Notierungsbuch E”, Landsberg 6 is perhaps Beethoven’s most famous sketchbook due in part to Nottebohm’s 1880 monograph on this source. This sketchbook documents Beethoven's creative work from sometime late in 1802 until early in 1804, a transformative period in his artistic career. The most significant sketches are those for the “Eroica” Symphony, op.55, the “Waldstein” Sonata, op.53, and for the first five numbers of the opera Leonore as produced in 1805 (later revised and renamed Fidelio). Hardbound. $200 (more info... ) [item no.9266]


Bettermann, Silke. Beethoven im Bild. Die Darstellung des Komponisten in der bildenden Kunst vom 18. bis zum 21. Jahrhundert. Bonn, 2012.
Bonn, 2012. 8°, 416 pp. Comprehensive overview of the encounter between visual artists and Beethoven, ranging from early authentic portraits to modern contemporary interpretations. Includes various genres, painting, graphic art, sculpture, memorial art, medals as well as performance art. With 235 illustrations. Hardbound. $135 (more info... ) [item no.9298]


[Brenner, Daniel] Anton Schindler und sein Einfluss auf die Beethoven-Biographik.
Veröffentlichungen des Beethoven-Hauses, IV/22. Bonn, 2013. 8˚, x, 580 pp. Hardbound. $89 [item no.6747]


[Ronge, Julia] Beethovens Lehrzeit. Kompositionsstudien bei Joseph Haydn, Johann Georg Albrechtsberger und Antonio Salieri.
Veröffentlichungen des Beethoven-Hauses, IV/20. Bonn, 2011. 8˚, 187 pp. Hardbound. $84 [item no.6929]


[Sichardt, Martina] Entwurf einer narratologischen Beethoven-Analytik.
Veröffentlichungen des Beethoven-Hauses, IV/19. Bonn, 2013. 8˚, 300 pp. Hardbound. $84 [item no.6746]


BERG, Alban, 1885-1935

[Concerto, violin, orchestra] Violinkonzert. Faksimile nach dem Autograph der Library of Congress, Washington. Mit einem Kommentar von Douglas Jarman.
Meisterwerke der Musik im Faksimile, 22. Laaber, 2011. 4°, xv, 96 pp. Full-color facsimile of the autograph dated August 11, 1935. The work was written on commission from the violinist Louis Krasner, but is was the death of Manon Gropius (daugther of Alma Mahler and Walter Gropius) that was the main impetus for Berg, setting aside work on Lulu, to complete the concerto. It was dedicated “To the memory of an angel”. Introduction in Ger-Eng. Hardbound. $259 (more info... ) [item no.9228]


BERG (= MONTANUS), Johann, b.?-1563 [publisher]

Diphona amoena et florida, selectore Erasmo Rotenbuchero, boiaro. Nürnberg/ J. Montanus & U. Neuber. [Ratsschulebibliothek, Zwickau].
Faksimile-Edition Zwickau, 8. Stuttgart, 2011. Oblong, 22 x 17 cm, 2 partbooks, 248 pp. Line-cut of the Berg & Neuber edition, Nuremberg, 1549. Wonderful anthology of 99 duos (diphonorum) for soprano & tenor pairings in mensural notation. Composers include Agricola, Fevin, Josquin, Isaac, Ockeghem, Lampadius. Hardbound in decorative paper, matching slipcase. $90 [item no.9262]


BERNARDI, Stefano, c.1585-1636

Encomia sacra. Binis, ternis, quaternis, quintus, senisque vocibus concinenda], op.15. Salzburg / Gregor Kyrner 1634. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 23. Stuttgart, 2013. 23 x 31 cm, 6 partbooks, 188 pp. Line-cut of the Salzburg, 1634 partbooks (cantus 1, cantus 2, altus, tenor, bassus, bc). Collection of sacred motets, 9 setting a2, 17 a3 (mostly cantus/bass), 4 a4, and 5 a6. Wrappers with portfolio in marbled paper. $74 [item no.9336]


BERTALI, Antonio, 1605-1699

Instruction musicalis [Domini Antonÿ Bertalli, 1676]. Ms. [Stift Kremsmünster].
Faksimile-Edition Karemsmünster, 22. Stuttgart, 2012. 17 x 24 cm, 50 pp. Color reproduction of a manuscript dated 1676. Wrappers. $28 [item no.9302]


BOULEZ, Pierre, 1925

Tombeau. Fac-similés de l’épure et de la première mise au net de la partitur / Facsimiles of the Draft Score and the First Fair Copy of the Full Score. Édités par / Edited by Robert Piencikowski.
Eine Publikation der Paul Sacher Stiftung. Vienna, 2010. 38 x 47°, 154 pp. 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 (more info... ) [item no.9165]


BOUTMY, Josse, 1697-1779

Premier livre de pièces de clavecin. Introduction: Henri Vanhulst.
Musica Bruxellensis, VI. Brussels, 2011. 4˚. Line-cut of the Paris, 1738 edition. The first of four publications for clavecin by Boutmy to be published in facsimile. Preface in Eng-Fr. Wrappers. $32 (more info... ) [item no.9257]


BRAHMS, Johannes, 1833-1897

[Lieder, selections] Wiegenlied. “Guten abend, gut’ Nacht”, Opus 49, Nr. 4. Faksimile nach dem Autograph des Glinka-Nationalmuseums für Musikkultur, Moskau. Mit einem Geleitwort von Brigitte Fassbaender und einer Einführung von Wolfgang Sandberger.
Meisterwerke der Musik im Faksimile, 30. Laaber, 2014. Oblong, 25 x 17 cm, xiv, 4 pp. Full-color facsimile of Brahms‘ touching “Lullaby and good night”, the intimate and conforting folk song sung by mothers at their children’s bedside. The precious manuscript is an autograph presentation copy sent by Brahms on July 15, 1868 to a couple in Bonn—Arthur and Bertha Faber—to honor the birth of their second son, Hans. Hardbound in decorative paper with faux title etikette. $65 (more info... ) [item no.9349]


[Concerto, piano, orch, no.2, op.83, Bb Major] Konzert für Klavier und Orchester Nr. 2 B-Dur Opus 83. Faksimile nach dem Autograph der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky. Mit einer Einführung von Jürgen Neubacher und einem Geleitwort von Christoph Eschenbach.
Meisterwerke der Musik im Faksimile, 28. Laaber, 2013. Oblong, 38 x 30 cm, 21, 172 pp. Beautiful full-color halftone of the autograph fair copy. Since its premiere in Budapest on Nov. 9, 1881 with Brhams as soloist the Bb major Concerto has become a mainstay in the repertory. The autograph, like the Symphony No.4, was used for the first performance and exemplar for the first engraved edition and as such is full of "performance & workshop talk" performance instructions, messages, cues, corrections and other revisions that give the manuscript a living and breathing quality. $406 (more info... ) [item no.9333]


[Concerto, violin, orchestra, op.77, D major] Violinkonzert D-Dur Opus 77: mit einer Auswahl aus der Stichvorlage der Violinstimme. Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington mit einem Kommentar von Stefan Drees / With a Selection from the Engraver’s Copy of the Violin Part. Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C. with a Preface by Julia Fischer and an Introduction by Stefan Drees.
Meisterwerke der Musik im Faksimile, 19. Laaber, 2014 Oblong, 38 x 30 cm, xviii, 106 8 6 pp. Beautiful full-color halftone of the autograph. Contains numerous corrections and adjustments (involving phrasing, dynamics and minor note changes) by Brahms’ revered friend Joseph Joachim. Hardbound in decorative paper. $240 (more info... ) [item no.9268]


[Sonata, violin, piano, no.1, op.78, G major] Sonate für Klavier und Violine Nr. 1 G-Dur Opus 78. Faksimile nach dem Autograph der Wienbibliothek im Rathaus, Musiksammlung, Wien. Mit einem Geleitwort von Julia Fischer und einer Einführung von Eberhard Hüppe.
Meisterwerke der Musik im Faksimile, 27. Laaber, 2013. Oblong, 38 x 30 cm, xxii, 36 pp. Sepia halftone of the autograph. (special subscription price) $140 (more info... ) [item no.9332]


Variations, piano, theme by Handel, op.24] Variationen und Fuge über ein Thema von Händel für Klavier B-Dur, op.24. Faksimile nach dem Autograph aus den Sammlungen der Musikabeilung der Library of Congress, Washington / Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C.; In Zusammenarbeit mit der Library of Congress, Washington / Published by Laaber-Verlag in Association with the Library of Congress, Washington, D.C.; Mit einem Geleitwort von Christoph Eschenbach und einer Einführung von Frédéric Döhr / With a Preface by Christoph Eschenbach and an Introduction by Fréderic Döhl.
Meisterwerke der Musik im Faksimile, 18. Laaber, 2014. Oblong, 32 x 24 cm, xvii, , 26 pp. Full-color facsimile of the autograph fair copy dating from September 1861. Entitled “Variationen für eine liebe Freundin” [Clara Schumann], the autograph is a fascinating document abounding in corrections and alterations in tempi, fingerings, dynamics and articulations. Brahms played the piece for the first time in Hamburg 4 Nov. 1861 for a private social gathering at the home of Hermann Wagner. The first public performance was subsequently given by Clara Schumann on 7 Dec. 1861. The imminent music biographer Donald Tovey counts it as among the half dozen greatest sets of variations ever written. Hardbound in decorative paper with faux title etikette. $108 (more info... ) [item no.9366]


BYRD, William, 1543-1623

Masses for 3, 4 and 5 Voices. Christ Church, Oxford, Mus. 489-493. Edited by John Milsom. With an Introduction by Kerry McCarthy.
Oxford, 2012 16 x 21.6 cm, 5 partbooks, 112 pp. Full color facsimile of MS Christ Church, Oxford, Mus. 489-193. Wrappers, with slipcase. $52 (more info... ) [item no.9282]


My Ladye Nevells Book (British Library MS Mus. 1591). Edited by Oliver Neighbour.
Documenta Musicologica, II/44. Kassel, 2012 Oblong, 8°, 394, 7 pp Duo-tone facsimile of one of the most beautifully written music manuscripts to survive from the late 16th c. and is still preserved in its original ornate binding. It was painstakingly compiled by the Windsor-based scribe John Baldwin, who completed work on it on 11 September 1591. Baldwin seems to have worked under the direction of the composer of all the pieces in the book, William Byrd, and clearly thought highly of him, describing him elsewhere as one “whose greate skill and knowledge: dothe excelle all at this tyme: and farre to strange countries: abroade his skill dothe shyne”. By 1591 Byrd was mid-way through his career as composer of church music and secular vocal and instrumental music. The MS provides a snapshot of the keyboard music he had composed by that date and is an exceptionally important source for his music. It contains some of his best-known compositions for keyboard, including variations on the popular tunes 'Sellinger's Round' and 'All in a Garden Green'. It also includes music written by Byrd specially for the dedicatee of the MS, 'Ladye Nevell'. She has recently been identified as Elizabeth, wife of Sir Henry Nevill of Billingbere, Berkshire. Her family's coat of arms adorns a leaf at the front of the MS. The MS was accepted by HM Government in Lieu of Inheritance Tax and allocated to the British Library in April 2006, with additional funding from donors. (adapted from BL description). Commentary in Eng-Ger. Hardbound. $228 (more info... ) [item no.9297]


CACCINI, Francesca, 1587-1640

Il primo libro delle musiche a una, e due voci. [Biblioteca Estense Universitaria, Modena].
Performers’ Facsimiles, 295. New York, [2011]. 27 x 36 cm, 103 pp. Line-cut of the Florence, 1618 edition, containing 36 settings, among them sonetti, madrigali, arie, ottave, motetti, hinni, & conzonetti. Wrappers. $30 (more info... ) [item no.9224]


CAPIROLA, Vincenzo, 1474-d.?

[Intabulations, lute] Vincenzo Capirola Lutebook. Compositione di Meser Vincenzo Capirola gentil homo Bresano. Ca. 1517. [Ms Newberry Library, Chicago].
Lübeck, 2012 21.5 x 31 cm, iii, 76 pp. New full color facsimile produced two up per page. 42 lute intabulations, in Italian tablature, of sacred & secular works from the 15th c. including works by Josquin, Brumel, Obrecht, Agricola, etc. Provides the earliest occurence of legato and non-legato, two kinds of trills and of dynamic indications. Hardbound. $112 (more info... ) [item no.9286]


CARISSIMI, Gian Giacomo, 1605-1674

[Method, keyboard; method, singing & keyboard] Vermehrter und nun zum zweytenmal in Druck befördertet kurzer jedoch gründlicher Wegweiser vermittelst welchen man nicht nur allein aus dem Grund die Kunst, die Orgel recht zu schlagen, sowol was den General-Bass... / Ars cantandi. Richtiger und außführlicher Weg, die Jugend aus dem rechten Grund in der Sing-Kunst zu unterrichten.
Faksimile-Edition Theoretica, 4 Suttgart, 2010. Oblong, 22 x 17 cm, 48; 74 pp. Line-cut of the Augsburg 1692 and 1693 editions. Ars cantandi—after a brief introduction on fundamentals and solmisation—includes an appendix of keyboard pieces (preamboli, intermezzi, versetti, toccate, tastate, variazioni, fughe). Hardbound in decorative paper. $46 [item no.9194]


CAROLO, 17th c.

X Sonates [à 2 violes de gambe & 1 basse continue également bons à jouer sur 2 bassons ou basses de violon]. Rogier, Amsterdam. [Bibliothek des Mariengymnasiums Jever].
Faksimile-Edition Viola da Gambe, 1. Stuttgart, 2014. 21 x 33 cm, 3 partbooks, 42 pp. Line-cut of the Amsterdam, n.d. edition. Wrappers with hardbound porfolio covered in marbled paper. $46 [item no.9367]


CAVALLI, Francesco, 1602-1676

[& A. Stradella] Il novello Giasone. Partitura in facsimile ed edizione dei libretti. A cura di Nicola Usula. Saggio introduttivi di Fausta Antonucci, Lorenzo Bianconi e Nicola Usula.
Drammaturgia Musicale Veneta, 3. Milan, 2013. Oblong, 30 x 23 cm, 2 vols, cxcii, 567 pp. Line-cut reproduction of the Naples copy. Giasone, or Jason, was Cavalli’s tenth and most popular stage work, the most frequently performed of all 17th-c. operas. Linen. $291 [item no.9354]


CAZZATI, Maurizio, c.1620-1677

[Masses a8, op.28] Messe brevi a otto voce [con una concertata a 4. e suoi ripieni à beneplacito, & una à otto da capella]. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 14. Stuttgart, 2011. 16 x 21 cm, 11 partbooks, c.390 pp. Line-cut of the Antonio Pifarri edition, Bologna, 1662. Wrappers, with slipcase with marbled paper. $74 [item no.9253]


CESTI, Antonio, 1623-1669

Il Tito. Partitura in facsimile, ed. del libretto, saggio introduttivo a cura di Giada Viviani.
Drammaturgia Musicale Veneta, 5. Milan, 2012. Oblong, 30 x 23 cm, xc, 306 pp. Presented for the first time during the 1666 carnival at the Venetian theater of St. John & St. Paul, “Il Tito” of Nicolò Beregan and Antonio Cesti is an opera frequently cited in the musicological literature of the last 40 years. Surviving archival materials document the genesis of the score with an unusual precision and have clarified many details necessary for reconstructing the Venetian theater production system of the second “Seicento”. In spite of the importance of the work—a collaboration between a not-so-prolific yet widely appreciated librettist and one of the most popular composers of that epoch, there has never been a complete study of the musical and literary sources. The commentary to this new Drammaturgia Musicale Veneta volume finally fills this lacuna, reproducing the oldest and most complete manuscript score of Tito (preserved in the Biblioteca Nazionale Marciana) together with a critical edition of the libretto and a comparative study of the three other musical sources that have survived. Linen. $216 (more info... ) [item no.9311]


CHOPIN, Frédéric, 1810-1849

[Ballade, piano, op.38/no.2/Kob.602] Ballada F-dur op. 38 / Ballade in F Major, op.38. Wydanie faksymilowe rękopisu ze zbiorów Bibliotheque Nationale w Paryżu. Facsimile Edition of the Manuscript Held in the Bibliotheque Nationale de France in Paris.
Works by Chopin—Facsimile Edition, [15] A /I/38. Warsaw, 2010. Oblong, 28 x 22 cm, 2 vols, 10, 56 pp. Full-color halftone of the autograph composing copy with engraver’s markings consistent with the layout of the musical text in the Troupenas first edition. No title page. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9237]


[Ballade, piano, op.52,3, no.4] Ballada F-Moll op.52 nr.3/ Ballade in F Minor, op.52, no.3. Wydanie faksymilowe rękopisu ze zbiorów odleian Library w Oxfordzie. Facsimile Edition of the Manuscript Held in the Bodleian Library in Oxford.
Works by Chopin—Facsimile Edition, [20] A /I/52/3. Warsaw, 2010. Oblong, 29 x 22 cm, 2 vols, 4. 46 pp. Full-color halftone of the incomplete autograph fair copy (dropping off at bar 138). Title page: “Ballade, pour le piano, dedié à Madame la Baronne C. Nathaniel de Rothschild par F. Chopin”. Includes engraver’s markings consistent with the layout of the musical text in the Breitkopf & Härtel first edition. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9242]


[Mazurkas, piano, op.50] Mazurki op.50 / Mazurkas, op.50. Wydanie faksymilowe rękopisu ze zbiorów Pierpont Morgan Library w Nowym Jorku. Facsimile Edition of the Manuscript Held in the Pierpont Morgan Library in New York.
Works by Chopin—Facsimile Edition, [16] A /IV/50. Warsaw, 2010. Oblong, 29 x 22 cm, 2 vols, 6, 47 pp. Full-color halftone of the autograph fair copy (1842?) dedicated “à Monsieur Leon Szmitkowski”. Consists of 3 mazurkas: G major, A-flat Major, and C-sharp Minor. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9238]


[Nocturne, piano, op.62,1] Nokturnu H-dur op.62 nr 1 / Nocturne in B Major, op.62 No.1 . Wydanie faksymilowe rękopisu ze zbiorów Newberry Library w Chicago / Facsimile Edition of the Manuscript Held in the Newberry Library in Chicago.
Works by Chopin—Facsimile Edition, [18] A /V/1a. Warsaw, 2010. Oblong, 29 x 22 cm, 2 vols, 4, 46 pp. Full-color halftone of the autograph fair copy for the French publisher Brandus et Cie. The musical text is in an advanced stage, including numerous dynamic, pedalling, articulation and phrasing markings. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9240]


[Polonaises, piano, op.26] Polonezy op.26 / Polonaises op.26. Wydanie faksymilowe rękopisu ze zbiorów Pierpont Morgan Library w Nowym Jorku / Facsimile Edition of the Manuscript Held in the Pierpont Morgan Library in New York.
Works by Chopin—Facsimile Edition, [17] A /VI/26. Warsaw, 2010. Oblong, 31 x 24 cm, 2 vols, 12, 46 pp. Full-color halftone of the autograph fair copy (1834 or 1835) dedicated, “à son ami J. Dessauer”. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9239]


[Preludes, piano, op.28/Kob.373ff] Preludia op.28 / Preludes op.28. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie / Facsimile Edition of the Manuscript Held in the National Library in Warsaw. [shelf mark: Mus. 93].
Works by Chopin—Facsimile Edition, [19] A /VII/28. Warsaw, 2010. Oblong, 28 x 21 cm, 2 vols, 44, 71 pp. Full-color halftone of the autograph fair copy with plate number of the Catelin edition. Title and dedication on the upper margin: “24 Preludes pour le piano forte dediés à son ami J.C. Kessler, par F. Chopin”. The musical text shows many deletions and corrections. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Ireny Poniatowskiej and Zofii Chechlińskiej. Bound in blue linen, with matching portfolio. $122 (more info... ) [item no.9241]


[Waltz, op.64, 1] Walc Des-dur op.64 nr 1. / Waltz, op.64 no.1 in D flat Major. Wydanie faksymilowe rękopisu ze zbiorów Bibliotheque Nationale w Paryżu. Facsimile Edition of the Manuscript Held in the Bibliotheque Nationale de France in Paris. [shelf mark: Ms. 111 B]
Works by Chopin—Facsimile Edition, [23] A X/64/1. Warsaw, 2010. Oblong, 21 x 16 cm, 2 vols, 4, 62 pp. Full-color halftone of the presentation autograph fair copy presented to the Rothschild family. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $67 (more info... ) [item no.9260]


[Agresta, Rosalba, et al] Dossier “Chopin à Paris. L’atelier du compositeur”.
Revue de la Bibliothèque National de France, no. 34. Paris, 2010. 8°, 95 pp. Exhibition catalog for “Chopin à Paris. L’atelier du compositeur” presented by the Cité de la Musique and Bibliothèque national de France at the Musée de la Musique 9 March to 6 June 2010, on the occasion of the 200th anniversary of the composer’s birth. Contributions by Rosalba Agresta, Jean-JacquesEigeldinger, Malgorzata Maria Grabczewska, Thierry Maniguet, Catherine Massip, Cécile Reynaud et Éric de Visscher. Wrappers. $48 (more info... ) [item no.9188]


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]


CIARDI, Cesare, 1818-1877

[duos, flutes] 22 duettini per due flauti alla foggia dei principianti. A cura di Rossella Fabbri.
Lucca, 2011. 4°, vi, 22 pp. Line-cut of the Ricordi, 1897 edition. Wrappers. $33 [item no.9304]


CLEMENTI, Muzio, 1752-1832

[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]


CONFORTI, Giovanni Luca, c.1560-d.?

Passaggi sopra tutti li salmi [che ordinariamente canta santa chiesa, ne i vesperi della dominica, & ne i giorni festiui di tutto l’anno. Con il basso sotto per sonare, & cantare con organo, ò con altri stromenti]. Venedig, Angelo Gardano & Fratelli 1607. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 30. Stuttgart, 2014. 16 x 22 cm, 56 pp. Line-cut of the Venice, 1607 edition. This fascinating ornamentation treatise—unlike Conforti’s Rome c.1593 edition—is printed entirely in movable type and addresses the sacred repertoire. Hardbound, in marbled paper. $32 [item no.9363]


CORBETTA, Francesco, c.1614-1681

Scherzi armonici. [trouvati, e facilitati in alcune curiosissime suonate sopra la chitara spagnuola]. Bologna /Giacomo Monti und Carlo Zenero 1639. [Bologna, Biblioteca G.B. Martini].
Faksimile-Edition Laute, 11. Stuttgart, 2013. 16 x 22 cm, 84, 7 pp. Line-cut of the 1639 edition. Alfabeto, with some Italian tablature. Afterword in Eng by Claire Fontijn, with transcription/translation of Corbetta’s foreword. Hardbound with decorative paper boards. $31 (more info... ) [item no.9325]


COUPERIN, François, 1668-1733

[Pièces, harpsichord, book 1] Pièces de clavecin premier livre. [private collection].
Performers’ Facsimiles, 296. New York, [2010]. 27 x 37 cm, 86 pp. Line-cut of the Paris, 1713 edition. Wrappers. $30 [item no.9200]


DEBUSSY, Claude, 1862-1918

Chansons, recueil de mélodies dédiées à Marie-Blanche Vasnier
Fac-similes de Manuscrits de Claude Debussy, [3]. Paris, 2010. 17.5 x 26 cm, 40 pp. 4-color facsimile of the autograph. Wrappers, in beautiful art paper. $145 (more info... ) [item no.9209]


L’isle joyeuse. Kommentar/Commentary: Denis Herlin.
[Henle Music Facsimiles, 24]. Munich, 2012. 27.5 x 37.5 cm, xxii, 18 pp. Deluxe full-color facsimile of the autograph issued on the occasion of the 150th anniversary of Debussy’s birth. This colorful, highly virtuosic piano work is often associated with the island of Jersey, where Debussy secretly spent the summer of 1904 with his new love Emma Bardac. Even if he wrote the autograph during this time, evidence shows that the work was composed at an earlier date and was intended as part of the "Suite bergamasque". During his stay on the island Debussy revised the composition, giving the "Isle joyeuse" its present-day form. Commentary in Ger-Eng. Hardbound in beautiful blue art paper with embossed title in pink lettering. $69 (more info... ) [item no.9250]


Prélude à l’après-midi d’un faune. Fac-similé du manuscrit autographe de la partition d’orchestre. Introduction par Denis Herlin.
De Main de Maître, 1 Turnhout, 2014. 32 x 43 cm, 80 pp. Full-color facsimile of the autograph full score—“Stichvorlage”. Inaugurates the series “De main de maître” (in the hand of the author) from the collection of the Bibliothèque National de France. Hardbound. $225 (more info... ) [item no.9351]


DVOŘÁK, Antonín, 1841-1904

[Concerto, violoncello, orch., op.104, B minor, B.191] Koncerto op.104 pro violoncello s prúvodem orkestru / Concerto op.104 for Violoncello and Orchestra. Commentary: Jan Smaczny. [Narodní Muzeum Prague].
Documenta Musicologica, II/43. Kassel, 2011 Oblong, 4°, 122, 32, 34 pp. Full-color facsimile of the autograph score and autograph piano reduction (B/W reproduction). Now considered to be one of the most popular orchestral works today Dvořák wrote this during his second stay in the U.S. Commentary in Eng-Ger. Hardbound, with decorative paper and linen spine. $435 (more info... ) [item no.9198]


ECCARD, Johann, 1553-1611

[& Paul Emmelius] Zween schöne und trostreiche Sprüche [von dem heiligen Ehestand aus dem 31. Cap. Salomonis mit fünff Stimmen componiert]. Königsberg 1591. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 23. Stuttgart, 2012. Oblong, 20 x 16 cm, 5 partbooks, 20 pp. Line-cut of the Königsberg 1591 edition. A rare source with 2 settings a5 in mensural notation, respectively by Johann Eccard and Paulus Emmelius. Portfolio. $11 [item no.9272]


ECCLES, Henry, c.1675-1735

[Sonata, violin, bc, arr.] Sonate in g-Moll für Violoncello und Basso Continuo. Faksimile und Urtextausgabe herausgegeben von Sven Rössel.
Collegium Musicum—Kölner Reihe alter Musik. Magdeburg, 2010. 4º, 15, 6 pp. Line-cut of the London, 1720 edition, together with new performing edition transcribed for violoncello. Wrappers. $22 [item no.9213]


ERTEL, Sebastian, c.1550-1618

Psalmodiae vespertinae [solemnibus totius anni festivitatibus octonis vocibus, et tam vocum quam variorum instrumentorum usui, accommodatae. Quibus accesserunt canticum deiparse virginis, & singulae eiusdem antiphonae, cum basso ad organum]. München, Nicolaus Heinrich 1617. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 7. Stuttgart, 2014. 16 x 21 cm, 9 partbooks, c.460 pp. Line-cut of the Munich, 1617 partbook edition (Canto/Canto, Alto/Alto, Tenore/Tenore, Basso/Basso, Organo. 22 settings for double choir. Wrappers, with slipcase covered in marbled paper. $145 [item no.9358]


FALLA, Manuel de, 1876-1946

El retablo de Maese Pedro. Edición facsímil de los manuscritos fundamentales del Archivo Manuel de Falla. Edición y estudio de Elena Torre.
Colección “Facsímiles”, Serie “Manuscritos”, 5. Granada, [2011]. 25 x 35 cm. 194 pp. Full-color reproduction of the autograph issued on the occasion of the 20th anniversary of the Archivo Manuel de Falla. Translated “Master Peter’s Puppet Show”, the work, in one act with prologue and epilogue, is based on an episode (chap. 26, part II) from Don Quixote by Miguel de Cervantes. Commentary in Sp. Limited edition of 500 copies. Cloth. $178 (more info... ) [item no.9273]


FERANDIERE, Fernando, 18th c.

[Method, guitar] Arte de tocar la guitarre española por música, Madrid, 1799. Complete Facsimile Edition with an Introduction, English Translation, and Transcription of the Music by Brian Jeffery.
London, 2013 15 x 22 cm, 85, 59, 36 pp. Line-cut of the Madrid, 1799 edition. Wrappers. $38 [item no.9371]


FIORENZA, Nicola, fl.1720

[Concerto, flute, strings, bc] Concerto in la minore per flauto, 2 violini e basso continuo (1729). Facsimile e apparato critico a cura di Dario Benigno.
Bibliotheca Musica Bononiensis, IV/106. Bologna, 2012. Oblong, 4°, 32, 32, pp + 4 partbooks. Facsimile edition together with modern edition and performing parts. Wrappers. $36 (more info... ) [item no.9295]


FIORONI, Gianandrea, 1716-1778

[Regole per il contraponto], in Ottavio Beretta: Una nuova fonte della trattatistica musicale settecentesca : Le Regole per il contraponto del Signor Fioroni Maestro di Capela de Milano.
Musurgiana: Sources and Materials for the History and Theory of Music, 8-9. Lucca, 2010. 8°, xxii, 76, 57 pp. Recently rediscovered manuscript—the only theoretical work of Fiorini, a pupil of Leonardo Leo)—reproduced in facsimile with modern transcription and notes. Wrappers. $68 [item no.9216]


FRANCK, Melchior, c.1579-1639

Viridarium musicum [continens amaenissiomos et fragrantissimo ex sacra scriptura decerptos flosculos, quos ad dei ter optimi maximi laudem, ecclesiae usum quotidianum, depellendamque animae tristissimae melancholiam internam, 5.6.7.8.9. & 10. vocibus, harmonia suavissima composuit, & illustravit, Ducalis Capellae Saxo Coburgicae Praefectus]. Nürnberg, Georg Fuhrmann 1613. [Zentralbibliothek Zürich].
Faksimile-Edition Rara, 62. Stuttgart, 2012. 16 x 21 cm, 8 partbooks, 320 pp. Line-cut of the Nuremberg, 1613 edition. 43 settings with sacred texts including 18 a5, 7 a6, 2 a7, 13 a8, 2 a9, and 3 a10. Wrappers, with slipcase in decorative paper. $104 [item no.9271]


FRANCŒUR, Louis-Joseph, 1738-1804

[Sonatas, violin, bc, book 1] Sonates à violon seul & basse continue. Livre premier.
Shumilov Facsimile Collection. Magdeburg, [2011]. 4˚. 2 partbooks, 94 pp. Line-cut of the Amsterdam, c.1717 edition. Set of 6 sonatas. Wrappers. (extra part provided for violin) $33 [item no.9233]


[Sonatas, violin, bc, book 2, part 1] Sonates à violin seul & basse continüe. IIe livre (sonates I-VI).
Shumilov Facsimile Collection. Magdeburg, [2011]. 4°, 2 partbooks, 94 pp. Line-cut of the Paris, c.1730 edition. The first 6 of a set of 12 sonatas. Wrappers. (extra part provided for violin) $33 [item no.9234]


[Sonatas, violin, bc, book 2, part 2] Sonates à violon seul & basse continue. IIe livre [sonates VII-XII].
Shumilov Facsimile Collection. Magdeburg, [2011]. 4˚, 2 partbooks, 94 pp. Line-cut of the Paris, c.1730 edition. The second 6 of a set of 12 sonatas. The second sonata is for violoncello or viol. Wrappers. (extra part provided for violin). $33 [item no.9235]


FROBERGER, Johann Jacob, 1616-1667

[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]


GALUPPI, Baldassare, 1706-1785

Artaserse. Partitura in facsimile. Edizione del libretto. Saggio introduttivo a cura di Francesca Menchelli-Buttini.
Drammaturgia Musicale Veneta, 20. Milan, 2010. Oblong, 30 x 23 cm, lxvi, 291 pp. Line-cut of the autograph score (Berlin, Staatsbibliothek, Mus. ms. Autogr. B. Galuppi 3). First performed at the Burgtheater in Vienna on 27 January 1749, Artaserse is notable for bearing witness to the success that the composer enjoyed outside his native land, for using the poetry and drama of one of Pietro Metastasio’s most famous librettos and for giving a new form to the close of the first act by placing a quartet there. Of the surviving copies of the score, the autograph is the earliest source, as can be seen from the number of deletions and corrections that it contains, as well as some alternative readings of words and notes. Linen. $225 (more info... ) [item no.9201]


GENERALI, Pietro, 1773-1832

Cecchina suonatice di Ghironda. Partitura in facsimile. Edizione del libretto. Saggio introduttivo a cura di Marco Beghelli.
Drammaturgia Musicale Veneta, 28. Milan, 2010. Oblong, 29 x 23 cm, xcii, 440, i pp. Line-cut of a contemporary manuscript copy. Linen. $225 (more info... ) [item no.9185]


GERLE, Hans, c.1500-1570

Musica teusch, auf die Instrument [der grossen unnd kleinen Geygen, auch Lautten]. Nürnberg, H. Formscheider 1532. [British Library, London].
Faksimile-Edition Laute, 10. Stuttgart, 2012. Oblong, 22 x 17 cm, 128 pp. Line-cut of the 1532 edition. Gerle introduces students to the rudiments of playing the renaissance lute, the viol and rebec, including the way they were tuned, held, and played. Musicologists have called it the first viol tutor. Hardbound with decorative paper boards. $48 [item no.9290]


GESSNER, Veit Albert, 16th c.

Psalmi. [Magnificat. Antiphonae, cum adjunctis litaniis B.V.M.]. Michael Rictius 1632. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 24. Stuttgart, 2013. 23 x 31 cm, 10 partbooks, 228 pp. Line-cut of the Vienna, 1632 partbooks (cantus 1, cantus 2, altus 1, altus 2, tenor 1, tenor 2, bassus 1, bassus 2, bc). Collection of sacred music for double choir. Wrappers with portfolio in marbled paper. $88 [item no.9337]


GRANDI, Alessandro, 1586-c.1630

Salmi a otto brevi. Venedig / Alessandro Vincenti 1629. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 28. Stuttgart, 2013. 16 x 21 cm, 9 partbooks, c.200 pp. Line-cut of the Venice, 1629 partbook edition (Canto/Canto, Alto/Alto, Tenore/Tenore, Basso/Basso, Basso cont. 19 settings for double choir. Wrappers, with slipcase covered in marbled paper. $105 [item no.9344]


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. $98 [item no.9174]


HANDEL, George Frideric, 1685-1759

[Concerti grossi, strings, op.6, HWV 319-330] Twelve Grand Concertos for Violins &c. in Seven Parts. Opera sexta. [private collection].
Performers’ Facsimiles, 270. New York, [2010]. 4°, 7 partbooks, c.202 pp. Line-cut of the Walsh edition, London, [1746] (third issue of the first edition). Scored for solo vln I-II, vc, ripieno vln I-II, vla, vc, bc. Wrappers. $100 [item no.9207]


HASSE, Johann Adolph, 1699-1783

Demetrio. Partitura in facsimile. Edizione dei libretto. A cura di Reinhard Strohm e Francesca Menchelli-Buttini. Saggi introduttivi de Reinhard Strohm e Francesca Menchelli-Buttini. [Biblioteca Marciana, Cod. It. IV, 482 (=10006)].
Drammaturgia Musicale Veneta, 17. Milan, 2014. Oblong, 30 x 23 cm, cixi, 350 pp. Line-cut reproduction of a copyist ms. The Dramma per musica Demetrio was premiered on 10 Feb. 1732 at the Teatro S. Giovanni Grisostomo in Venice. Given during carnival season, it was one of the most lavishly staged works of the season. The success of the opera is attested by the Venetian newsletter Diario ordinario, which praised it as “a marvel, as much for the music as for the magnificent scenes and singers”. Subsequent revivals and the survival of many ms sources show that this characterization was not an exaggeration. Part commentary in Eng (with It summary) and part in It, with Eng summary). Linen. $235 [item no.9362]


HAYDN, Franz Joseph, 1732-1809

[The Creation, Hob. XXI:2, sketches] Die Schöpfung Hob.XXI:2. Skizzen. Herausgegeben von Annette Oppermann.
Joseph Haydn Werke, XXVIII/3/III. Munich, 2012 4°, 104 pp. Beautiful full-color reproduction of 36 sketch pages, hitherto unpublished, to Haydn’s oratorio “The Creation”, preserved in libraries in Vienna, London and New York. The sketches are very revealing: the famous soprano aria “On mighty pens” originally had an entirely different melody. The 5 notated beginnings of the recitative “Our duty we performed now” make it clear that Haydn even pondered very carefully such apparently standardized musical phrases before opting for a variant. The 3 surviving full-score sketches for the overture “The Representation of Chaos” show in turn how Haydn slowly developed the whole movement out of a basic idea initially outlined on only one page and garnished it with ever finer rhythmic and harmonic details. The whole set gives us a wonderful glimpse into workshop of the composer. With diplomatic transcription and notes in German. Handsome clamshell case in linen. $325 (more info... ) [item no.9267]


[Symphony, no.45, “Farewell”, F sharp major, Hob.I:45] Sinfonie Fis-Moll, Hob. I:45 “Abschiedssinfonie” Faksimile nach dem Autograph der Országos Széchényi Könyvtár, Budapest. Mit einem Kommentar von Armin Raab.
Meisterwerke der Musik im Faksimile, 11. Laaber, 2010 21 x 34 cm, xviii, 62 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. $142 (more info... ) [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. $142 (more info... ) [item no.9011]


HECKEL, Wolff, 16th c.

Lautenbuch, Straßburg, Christian Müller 1562. RISM 1562(24). [Universitätsbiblioek Basel; Stadtbibliothek Trier].
Faksimile-Edition Laute, 9. Stuttgart, 2010. Obong, 21 x 17 cm, 2 partbooks, 228; 238 pp. Line-cut of the Straßburg, 1562 edition. Marvelous collection of pieces for two lutes—”discant & tenor”—reproduced from the surviving partbooks in Trier and Basel respectively. One of the very earliest prints of renaissance lute with 111 works notated in German tablature. Heckel’s work is comprised of four sections: “Teütsche stuck”, “Lateinische stuck”, “Frantzösische stuck”, “Italianische stuck”, “Allerley Täntz auff teütsche aufgesetzt”. Hardbound with decorative paper, with matching slipcase. $115 (more info... ) [item no.9210]


HOFMANN, Euchario b.?-1588

[Vyff] Geistlike olde Ostergesenge [van der fröliken vperstandinge van de Doden vnses Heren vnde heilandes Jesu Christi mit 4. stemmen gesettet]. Rostock/ Augustin Ferber 1579. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 2. Stuttgart, 2012. Oblong, 21 x 17 cm, 4 partbooks, 76 pp. Line-cut of the Rostock, 1579 edition. 4 partbooks (discantus, altus, tenor, bassus). Portfolio. $18 [item no.9317]


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]


KINNINGER, Josef Franz, c.18th c.

Cythara David [excitans, Das ist: Kürzlich doch besser gegründete Erweckung unter der Leitter von einen vollkommenen Unterricht zur edlen Choral-Music traumenden Jacob, genaue Reglen untersucht, und mit Fundamenten unterstüzt, zum bessten der in erwhneter Choral-Music sich exerirend - auch die Passiv-Instruction angehende Jungen, allen Fählern vorzubiegen, heraus gegeben]. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 18. Stuttgart, 2011. Oblong, 25 x 17 cm, 90 pp. Line-cut of the Linz, 1745 edition. A little known treatise on choral music. Hardbound with decorative paper boards. $46 [item no.9254]


KIRNBERGER, Johann Philipp, 1721-1783

Die Kunst des reinen Satzes in der Musik (aus sicheren Grundsätzen hergeleitet und mit deutlichen Beyspielen erläutert).
Hildesheim, 2/2010. 8º, 823 pp. Line-cut of the Berlin & Königsberg, 1776-79 edition. Linen. $277 [item no.2548]


KNABE, Martin, b.?-1652

Concert [von drey Stimmen / zusampt dem Basso Continuo, über das bekandte Klaglied dess langwirigen Kriegswesens:] Wenn soll doch mein Lied [sich enden?] Halle/Melchor Oelschlegel 1635. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 3. Stuttgart, 2012. 20 x 29 cm, 34 pp. Line-cut of the Halle, 1635 edition. 4 partbooks (cantus 1, cantus 2, bassus, basso continuo) printed in 1 volume. Knabe was organist at Weißenfels and second-generation student of Heinrich Schütz. $25 [item no.9308]


LASCEUX, Guillaume, 1740-1831

Essai theorique et pratique sur l’art del’orgue. Ms conservé à la Bibliothèque Nationale de France. Présentation par Jean Saint-Arroman.
La Musique Française Classique de 1650 à 1800. Courlay, 2011 24 x 33 cm. viii, 137 pp. Facsimile of the autograph manuscript of 1809. An important theoretical section with text on organ registration. together with 23 works for organ, including a quartet, quintet, oboe concerto, flute concerto, symphonie concertante, Domine salvum fac regem, 3-part plainchant with organ accompaniment. Wrappers. $61 [item no.9236]


LEBÈGUE, Nicolas-Antoine, 1631-1702

[Pièces, harpsichord, book 1] Les pieces de clavecin, Paris 1677. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 21. Stuttgart, 2010. Oblong, 27 x 21 cm, 94 pp. Line-cut of the Paris, 1677 edition. Laid paper, hardbound in decorative paper boards. $46 [item no.9195]


[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. $53 [item no.9164]


[Pièces, harpsichord, book 2] Second livre de clavecin, Amsterdam, E. Rogier o.D. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 22. Stuttgart, 2010. Oblong, 27 x 21 cm, 50 pp. Line-cut of the Amsterdam, [1698] edition. Laid paper, hardbound with decorative paper boards. $39 [item no.9196]


[Pièces, organ & harpsichord] Pieces d’orgue et de clavecin. Jahr-des Privilegs 1675. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 29. Stuttgart, 2014. Oblong, 28 x 21 cm, 90 pp. Line-cut of the Paris, 1675 edition. Beautiful marbled paper boards. $68 [item no.9357]


LECLAIR, Jean-Marie, 1697-1764

[Sonatas, violin/flute, bc, op.1] Premier livre de sonates pour le violon et pour la flute traversiere avec la basse continue [Œuvre I]. [Yale University, New Haven, CT].
Performers’ Facsimiles, 285. New York, [2011]. 27 x 36 cm, 86 pp. Line-cut of the Paris, 1723 edition, containing 12 sonatas. Wrappers. $30 [item no.9223]


[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]


LEDERTZ, Paul, 16th c. [publisher]

[Promptuarii musici, part 1] Promptuarii musici [concentus ecclesiasticos II. III. & IV. vocum... Pars prima]. Paul Ledertz, Straßburg 1622, RISM 1622(2). [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 1. Stuttgart, 2011. 20 x 32 cm, 4 partbooks, 369 pp. Line-cut of the Strasbourg, 1622 partbook edition (vox prima, vox secunda, vox tertia, bassus generalis). An amazingly diverse anthology of 174 sacred motets for 2, 3, and 4 voices, assembled by Johannes Donfried, rector of the Latin School of Rottenburg. Nearly every composer active in the last half of the 16th c. and first quarter of the 17th c. is represented. Hardbound, with marbled paper boards. $168 [item no.9274]


[Promptuarii musici, part 3] Promptuarii musici [concentus ecclesiasticos CCLXXXVI: Selectissimos II. III. & IV. vocum... Pars tertia]. Paul Ledertz, Straßburg 1627, RISM 1627(1). [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 2. Stuttgart, 2012. 20 x 32 cm, 5 partbooks, 1190 pp. Line-cut of the Strasbourg, 1627 partbook edition (vox prima, vox secunda, vox tertia, vox quarta, bassus generalis). An amazingly diverse anthology of sacred motets for 2, 3, and 4 voices, assembled by Johannes Donfried, rector of the Latin School of Rottenburg. Nearly every composer active in the last half of the 16th c. and first quarter of the 17th c. is represented. Hardbound, with marbled paper boards. $240 [item no.9316]


LISZT, Franz, 1811-1886

Rigoletto Konzertparaphrase. Kommentar: Ulrich Scheideler.
[Henle Music Facsimiles, 23]. Munich, 2011. 36 x 24 cm, 22 pp. Deluxe full-color facsimile of the autograph “working copy”, issued on the occasion of the 200th anniversary of Liszt’s birth. Franz Liszt not only wrote a series of opera paraphrases during his virtuoso years, but also composed some in his Weimar years from 1848 onwards. He did not, however, write them for himself but for the pianist friend (who was also his son-in-law) Hans von Bülow. Among these works, the paraphrase on Giuseppe Verdi’s “Rigoletto”, which was published in 1860, occupies a special place on account of its incredible virtuosity and at the same time its filigree texture. Since this is a working manuscript, the facsimile also offers fascinating insights into Liszt’s manner of working. Commentary in Ger-Eng. Handsome black moiré coverboards with Liszt’s signature in red. $82 (more info... ) [item no.9230]


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]


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]


MAHLER, Gustav, 1860-1911

[Rückert Lieder, selections, voice & orch, voice/piano] Ich bin der Welt abhanden gekommen. Facsimile Edition of the Autograph Manuscripts, Gilbert Kaplan, Editor.
New York, [in prep - 2014]. 29 x 37 cm, c.100 pp, CD audio recording. Full-color reproduction of one of Mahler’s most popular and poignant songs, composed in 1901 with a text by Friedrich Rückert. It is the third of the original five-song cycle “Rückert-Lieder”; Mahler himself conducted the first performance in 1905 and described “Ich bin der Welt abhanden gekommen” / “I am lost to the world” as creating “a feeling that rises just up to the lips, but does not pass beyond them... It is my very self”. This carefully executed facsimile will include both the autograph orchestral and voice & piano versions and extensive historical notes by Gilbert Kaplan and Stephen Hefling. The story of the manuscript and its survival has an amazing story. Limited bibliophile edition of 400 copies, of which only 200 will be for the trade. Due date: Fall 2014. $100 [item no.9334]


MARTINI, Giovannni Battista, 1706-1784

Esemplare o sia Saggio fondamentale pratico di contrappunto. Bologna 1774-76. A cura di Elisabetta Pasquini.
Musurgiana: Sources and Materials for the History and Theory of Music, 11. Lucca, 2013. 21 x 27 cm, 2 vols. xxiii, 678 pp. Wrappers. $69 [item no.9330]


MATTHESON, Johann, 1681-1764

Nerone - Nero. Partitura in facsimile. Edizione dei libretti. A cura di Francesco Giuntini. Saggi introduttivi di Francesco Giuntini & di Reinhard Strohm.
Drammaturgia Musicale Veneta, 14. Milan, 2013. Oblong, 30 x 23 cm, cxxi, 129 pp. Nerone, a “tragedia per musica” by Agostino Piovene, received its first staging in Venice in 1721 with music by Giuseppe Maria Orlandini, but won great success two years later in Hamburg in the version by Johann Mattheson, who retained the original arias, translated the recitatives into German and provided new musical settings for them, and added a few pieces of his own composition. In addition to a score corresponding to the Hamburg version (D-B, Mus. ms. 16370), the volume contains editions of the Italian libretto of 1721 and the German one of 1723. The opera is one of the most advanced manifestations of the reformist tendencies of the early eighteenth century: this is a genuine tragedy, inspired by the Britannicus of Racine, that concludes with a simple recitative given to Agrippina accusing her assassins before her killing. Linen. $216 (more info... ) [item no.9326]


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. $205 (more info... ) [item no.9009]


[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 3: August 1832 bis Juli 1834. Herausgegeben und kommentiert von Uta Wald unter Mitarbeit von Juliane Baumgart-Streibert.
Kassel, 2010. 15 x 23 cm, 808 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. 12 volumes projected, 2 per year; only available on subscription. $199 [item no.6890]


[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 4: August 1834 bis Juni 1836. Herausgegeben und kommentiert von Lucian Schiwietz und Sebastian Schmideler.
Kassel, 2011. 15 x 23 cm, 741 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. 12 volumes projected, 2 per year; only available on subscription. $199 [item no.6906]


[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 5: Juli 1836 bis Januar 1838. Herausgegeben und kommentiert von Uta Wald unter Mitarbeit von Thomas Kauba.
Kassel, 2011. 15 x 23 cm, 741 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. 12 volumes projected, 2 per year; only available on subscription. $199 [item no.6947]


[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 6: Februar 1838 bis September 1839. Herausgegeben und kommentiert von Kadja Grönke und Alexander Staub.
Kassel, 2011. 15 x 23 cm, 741 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. 12 volumes projected, 2 per year; only available on subscription. $199 [item no.6948]


[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 7: Oktober 1839 bis Februar 1841. Herausgegeben und kommentiert von Kadja Grönke und Alexander Staub.
Kassel, 2013. 15 x 23 cm, 813 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. 12 volumes projected, 2 per year; only available on subscription. $199 [item no.6754]


[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 8: März 1841 bis August 1842. Herausgegeben und kommentiert von Kadja Grönke und Alexander Staub.
Kassel, 2013. 15 x 23 cm, 820 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. 12 volumes projected, 2 per year; only available on subscription. $199 [item no.6755]


MIROGLIO, Pietro, 18th c.

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. $61 [item no.9163]


MONTEVERDI, Claudio, 1567-1643

L’Incoronazione di Poppea. Facsimile della partitura di Napoli. Edizione del libretto a cura di Lorenzo Bianconi. Saggi introduttivi di Gino Benzoni e Alessandra Chiarelli.
Drammaturgia Musicale Veneta, 2. Milan, 2011. Oblong, 30 x 23 cm, xcvi, 233 pp. Within the history of opera L’incoronazione di Poppea (Venice, 1643), with a libretto by Giovan Francesco Busenello and music attributed to Claudio Monteverdi, holds a special place, being the very first opera on a historical subject: instead of Daphne, Orpheus or Adonis, we meet the emperor Nero, the empress Octavia, the courtesan Sabina Poppea and the philosopher Seneca. A mocking cynicism pervades the opera, which is drawn from the Annals of Tacitus and from a Latin tragedy attributed to Seneca (Octavia): one recognizes in it the imprint of the philosophical and moral libertinism cultivated by the Accademia degli Incogniti. This volume reproduces the manuscript score preserved in Naples. Like the manuscript in the Biblioteca Marciana (already reproduced in facsimile in 1938), this one is the product of several hands: Francesco Cavalli, perhaps Benedetto Ferrari and probably an unknown Neapolitan composer. In his introductory essay, the historian Gino Benzoni delineates the reception during the 17th c. of Tacitus, the main basis of the opera. Alessandra Chiarelli clarifies the complex web of sources for the music and libretto. Lorenzo Bianconi contributes editions of the “scenario” (1643), the text as its author chose to publish it (1656) and the variants of the Neapolitan libretto (1651). Linen. $235 (more info... ) [item no.9226]


Salve regine del Sig. Claudio Monteverde. Facsimile e edizione critica a cura di / Facsimile and Critical Edition by Luigi Collarile.
Bibliotheca Musica Bononiensis, IV/105. Bologna, 2011. 16 x 21 cm & 4°, 4 partbooks, xxvi, 30, 56, 32 pp. Line-cut of the Venice printed partbooks (tenor, alto, basso, continuo) issued by Alessandro Vincenti from the only extant copy, together with a new critical edition. This wonderful Marian hymn going back to the 12th c. is one of four antiphons sung at different times within the Christian calendar. Monteverdi’s moving setting, adroitly set in the modern style, is for 3 voices with basso continuo. Introduction in Eng-It. Wrappers. $60 (more info... ) [item no.9251]


MOUTON, Charles, 18th c.

Concerto à 5. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 23. Stuttgart, 2012. 21 x 32 cm, 5 partbooks, 132 pp. Line-cut of manuscript parts preserved in the library of Kremsmünster Abber in Upper Austria. 10 chamber concertos in Italianate style scored for vlh I, vln II, alto vla, tenor vla, and basso continuo (organ). Wrappers. $77 [item no.9315]


MOZART, Wolfgang Amadeus, 1756-1791

[Concerto, piano, orch, K.491] Piano Concerto in C minor K. 491. Facsimile of the Autograph Score in the Royal College of Music, London. With a commentary by Robert Levin.
Documenta Musicologica, II/48. Kassel, 2014. Oblong, 34 x 25 cm, 74, 40 pp. Beautiful color halftone of the autograph fair copy completed on March 24, 1786. In his fascinating preface Colin Lawson, Director of the Royal College of Music, describes the journey made by Mozart’s autograph following its sale in 1800 by Constanze, Mozart’s widow, to its eventual resting place in London where it is the jewel in the RCM’s extensive collection of historic manuscripts. The Piano Concerto in C minor K. 491 is one of Mozart’s greatest piano concertos not least because of the dramatic character of its minor key (it is one of only two piano concertos composed in minor keys). It also has the largest orchestra he ever used in a piano concerto and the only piano concerto to use both oboes and clarinets. Written in 1786 during a period of almost feverish activity, it was completed only 22 days after the A major concerto K. 488 and during composition of The Marriage of Figaro. The autograph is exceptional in that Mozart records sketches that he later enlarged and extensively revised for the score thus allowing us an insight into his creative process. Mozart’s work appears here for the first time in a color facsimile, making it possible to easily recognize the contrasting colors of ink. The renowned Mozart scholar and pianist Robert Levin has written an illuminating commentary. He explains Mozart’s method of composition and guides the reader page by page through the autograph. This high-quality facsimile truly is a fascinating insight into Mozart’s art of composition. Hardbound with linen spine and decorative paper boards. $274 (more info... ) [item no.9359]


Nannerl Notenbuch. Vollständiges Faksimile aller erhaltenen Teile der Handschrift. Mit einer Einführung und einem Nachwort von Ulrich Leisinger.
Denkmäler der Musik in Salzburg, Faksimile-Ausgaben, 16. Munich, 2010. Oblong, 8°, 120 pp, 2 audio CDs. Full-color facsimile. This famous music book not only documents the musical training of Anna Maria (Nannerl) Mozart and her brother Wolfgang, but also provides the first glimpse of the exceptional talent of the young composer, showing the astounding development from an improvisation, written at the age of 5, to an ambitious sonata and concerto movement penned when he was almost 8. Leopold Mozart used the book to instruct his children up to about 1766; later Nannerl began to copy various works of Mozart as a souvenir of her brother. The volume contains altogether 27 works, most of them by Wolfgang, but there are also works by Leopold Mozart, Georg Christoph Wagenseil, Anton Cajetan Adlgasser, Johann Jakob Paul Küffner, Johann Niklaus Tischer, & Johann Joachim Agrell. With 2 audio CD, performed by Florian Birsak, a respected harpsichord and fortepiano soloist. $150 (more info... ) [item no.9202]


[Serenade, strg orch, “Eine kleine Nachtmusik” K.525] Eine kleine Nachtmusik KV 525. Introduction / Einführung: Wolfgang Rehm.
Documenta Musicologica, II/46. Kassel, 2013. Oblong, 34 x 25 cm, 14, 24 pp. New color facsimile of the autograph score in its original loose bifolio and folio format. Afterword in Eng-Ger. Limited bibliophile edition with beautiful clam shell case covered in moire fabric. $239 (more info... ) [item no.9331]


NOVERRE, Jean-Georges, 1727-1810

Lettere sulla danza, su balletti e sulle arti (1803). A cura di Flavia Pappacena. Traduzione di Alessandra Alberti.
Chorégraphie, Rivista di Ricerca Danza, nuova serie, 6. Lucca, 2012. 17 x 24 cm, 77, 250 pp. Line-cut of the Paris, 1803 edition. Introduction in Eng. Wrappers. $69 [item no.6966]


Lettere sulla danza, su balletti e sulle arti (1803). A cura di Flavia Pappacena. Traduzione di Alessandra Alberti.
Chorégraphie, Rivista di Ricerca Danza, nuova serie, 7. Lucca, 2011. 17 x 24 cm, lxi, 217 pp. New Italian translation with extensive commentary. Wrappers. $44 [item no.6960]


ORLANDINI, Giuseppe Maria, 1676-1760

Nerone - Nero. Partitura in facsimile. Edizione dei libretti. A cura di Francesco Giuntini. Saggi introduttivi di Francesco Giuntini & di Reinhard Strohm.
Drammaturgia Musicale Veneta, 14. Milan, 2013. Oblong, 30 x 23 cm, cxxi, 129 pp. Nerone, a “tragedia per musica” by Agostino Piovene, received its first staging in Venice in 1721 with music by Giuseppe Maria Orlandini, but won great success two years later in Hamburg in the version by Johann Mattheson, who retained the original arias, translated the recitatives into German and provided new musical settings for them, and added a few pieces of his own composition. In addition to a score corresponding to the Hamburg version (D-B, Mus. ms. 16370), the volume contains editions of the Italian libretto of 1721 and the German one of 1723. The opera is one of the most advanced manifestations of the reformist tendencies of the early eighteenth century: this is a genuine tragedy, inspired by the Britannicus of Racine, that concludes with a simple recitative given to Agrippina accusing her assassins before her killing. Linen. $175 (more info... ) [item no.9326]


PANDOLFI-MEALLI, Giovanni Antonio, 17th c.

[Sonatas, violin, bc, op.3-4] Sonate op.III & IV for Violin & BC - Innsbruck 1660. Facsimile, Edited by Enrico Gatti and Fabrizio Longo.
Magdeburger Faksimile Offizin. Magdeburg, 2011. 4º, 30 94 pp. 4-color reproduction of the Innsbruck, 1660 edition. Although the details of Giovanni Antonio Pandolfo Mealli’s life are still largely unknown, his music is no stranger to the concert hall. Unfortunately these beautifully reproduced facsimiles of Sonata Opera Terza and Opera Quarta represent all that the world knows of this great composer and virtuoso violinist. Printed in the movable type of the time—but easy to read by modern performers today—these pieces illustrate the flourishing art of violin playing in central Italy in the heart of the 17th century. Pandolfi often writes out his ornamentation in full—a personal indication of his virtuosity—and so adds an extra dimension of interest for the modern performer. The sonatas have an almost "portrait" quality with endearing titles such as La Stella, La Cesta. La Melana, La Castella, La Monella Romanesca, La Biancuccia, La Vinciolina, etc. These are “nicknames” actual historical figures—many of them virtuosi musicians—to whom Pandolfi Mealli pays special hommage. Commentary in It-Eng. Wrappers. $74 (more info... ) [item no.9212]


PERGOLESI, Giovanni Battista, 1710-1736

Stabat mater für Sopran, Alt, Streicher & Bassso Continuo. Faksimile des Autographs herausgegeben von Tineke Steenbrink.
Magdeburg, 2013. Oblong, 4°, 88 pp. 4-color facsimile of the autograph score preserved in the Benedictine Abbey of Monte Cassino. Although Pergolesi’s œurve is often subject to misattribution, the Stabat mater in C minor is a genuine work (possibly the composer’s last), commissioned by the Confraternità dei Cavalieri di San Luigi di Palazzo (Naples). The Order presented an annual Good Friday meditation in honor of the Virgin Mary and Pergolesi’s setting replaced the one by Alessandro Scarlatti composed only 9 years earlier. This moving setting—in striking “durezze e ligature” style—conveys the story of the suffering of the Virgin Mary at the foot of the cross; it went through numerous reprinting in the 18th c. and inspired many composers including J.S. Bach. Although the work is performed today with soprano and alto solists, string orchestra and basso continuo, the original called for castrati singers (similiar to Mozart’s motet “Exultate Jubilate”). The score has many ambiguous passages, so this facsimile edition, the first of its kind, will be an important asset to scholars and musicians alike. Wrappers. $74 (more info... ) [item no.9318]


PETRUCCI, Ottaviano, 1466-1539 [publisher]

Motetti libro quarto (Venezia, O. Petrucci, 1505). RISM 1505(2). [Wolfenbüttel, Herzog-August Bibliothek].
[Yellow Book Series, 10]. Højbjerg, 2011. Oblong, 23 x 16 cm, 4 partbooks, 256 pp. Line-cut of the Venice, 1505 edition. Contains 55 settings (counting separate movements) for 4 voices by Josquin, Brumel, Obrecht, Mouton and their contemporaries. Wrappers, with slipcase. $130 (more info... ) [item no.9269]


PEZ, Johann Christoph, 1664-1716

Duplex Genius. Five Gallo-Italus Instrumentorum Concentus Opus 1. [12. Constans Symphoniis, 2. Violinis cum archiviala & basso continuo]. E. Roger Marchand / Amsterdam. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 25. Stuttgart, 2013. 21 x 32 cm, 4 partbooks, 106 pp. Line-cut of the Amsterdam, n.d. partbook edition. Scored for vln I, vln II, vc, bc. Wrappers with portfolio in marbled paper. $82 [item no.9346]


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

[Des chansons, bk. 1] Des chansons reduictz en tablature de lut [à deux, trois, et quatre parties. Avecq une brieve & familiaire introduction pour entendre & apprendre par soy mesmes à iouer dudict lut, liure premier]. Löwen/Jaques Bathen und Reynier Velpen 1545. [Bibliothèque d’étude de conservation Besançon].
Faksimile-Edition Laute, 12. Stuttgart, 2014. Oblong, 18 x 22 cm, 96 pp. Line-cut of the Louvain, 1545 edition, the first edition of this distinguished print. 61 pieces for solo lute in French tablature, including preludes, fantasies, French chansons and Dutch songs. Comparison with the 1547 edition provides wonderful insight how the Phalèse printing house reedited the edition, using the same woodcuts but altering the metal type to create a slightly different format. Hardbound in decorative paper. $32 [item no.9365]


PICHELMAIR, Georg, b?-1639

Sacra psalmodia [octonis vocibus concinenda]. Regensburg. Christoph Fischer 1637. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 27. Stuttgart, 2013 21 x 25 cm, 9 partbooks, 208 pp. Line-cut of the Regensburg, 1637 partbooks. Wrappers, in marbled paper slipcase. $106 [item no.9339]


PRINTZ, Wolfgang Caspar, 1641-1717

Exercitationum musicarum. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 19. Stuttgart, 2011. 16 x 31 cm, 55 pp. Line-cut of the Frankfurt & Leipzig, 1687 edition. Hardbound with marbled paper boards. $27 [item no.9256]


PURCELL, Henry, 1659-1695

Orpheus Britannicus. The First Book. A Facsimile of the 1698 London Edition. . . The Second Book. A Facsimile of the 1702 London Edition.
Monuments of Music and Music Literature in Facsimile, I/1. New York, [2011]/1965. 4º, xx, 237 pp. Line-cut of the Playford edition, London, 1698-1702. The first attempt towards a collection of Henry Purcell’s vocal music. Laid paper, clothbound. $100 [item no.511]


RAGAZZI, Angelo c.1680-1750

[Sonatas a 4, strings, bc, op.1] Sonate a quattro per violino primo principale, violino primo di raddoppio, violino secondo, violino terzo o violetta, violone e basso continuo. Op.1 (Roma 1736). Facsimile. [Museo Internazionale e Biblioteca della Musica di Bologna, sign. II.256].
Offenburg, 2013. 4º, 6 partbooks, 112 pp. Beautiful halftone of the Rome, 1736 edition. Ragazzi, trained at the orphanage of S. Maria di Loreto in Naples, later attained the position of concert master at the Neapolitan Court Orchestra. The 12 sonatas feature experimental combinations of sonata, solo concerto and concerto grosso. Wrappers. $98 (more info... ) [item no.9373]


REBEL, Jean-Féry, 1666-1747

Les caractères de la danse, 1715 / La Terpsichore, 1720. Présentation: Dona Borel, CeFEdeM Île-de-France.
La Musique Française Classique de 1650 à 1800, 206. Courlay, 2012. 22 x 30 cm, x, 16 pp. Line-cut of the Paris, 1715 & 1720 editions. Preface in Fr-Eng-Ger. Wrappers. $35 [item no.9275]


REGER, Max, 1873-1916

[Schumann, lieder, op.35, selection, arr.] Zwei Lieder Robert Schumann; bearbeitet von Max Reger für tiefe Singstimme und Orgel ; mit einem Vorwort von Susanne Popp.
Stuttgart, 2011. 24 x 30 cm, 8 pp. Full-color reproduction of the Reger’s autograph Mus. Ms. 085, & Mus. Ms. 179, issued on the occasion of the bicentenary of Schumann’s birth. A curiosity arrangement of “Wer machte dich so krank?” (op.35, no.11) and “Alte Laute” (op.35, no.12)—for organ and voice—showing Reger’s admiration for Schumann. Portfolio. $26 (more info... ) [item no.9229]


RHAU Georg, 1488-1548 [publisher]

Sacrarum hymnorum liber primus. Wittenberg/ Georg Rhau 1542. RISM 1542(12). [Ratsschulebibliothek, Zwickau].
Faksimile-Edition Zwickau, 6. Stuttgart, 2012. Oblong, 19 x 15 cm, 4 partbooks, 550 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. Hardbound in decorative paper, with matching slipcase. $174 [item no.9276]


RIST, Johann, 1607-1667

[& Johann Schop] Himmlische Lieder mit sehr lieblichen und anmuthigen von Johann Schop wolgesetzten Melodien. Nunmehr aufs neue Widrum übersehen. [Ratsbücherei, Lüneburg].
Dokumentation zur Geschichte des deutschen Liedes, 2. Hildesheim, 2/ 2010. 10 x 16 cm, 400 pp. Line-cut of the Lüneburg, 1641-42 edition. Linen. $103 [item no.2576]


ROSSINI, Gioachino, 1792-1868

Petite messe solennelle. Facsimile del manoscritto / Facsimile of the Manuscript.
Milan, 2011. Oblong, 37.5 x 29.5 cm. viii, 252 pp. Full-color reprduction of the original 1863 autograph including the separate parts for harmonium and second piano. Rossini composed two versions of this work, the first (reproduced here in facsimile) for “Twelve singers of three sexes, men, women and castrati... that is, eight for the choir, four soloists, in all twelve cherubim”. The Petite Messe solennelle was dedicated to the Contessa Louise Pillet-Will (the count and countess were close friends of Rossini), and the first performance inaugurated the splendid new residence that the count had commissioned in Paris. The use of two pianos and harmonium may at first seem odd but given its context as a salon piece is appropriate. Rossini composed hardly at all in the period 1829 to 1855 but after returning to Paris in 1855 wrote quite a few works for private audiences. He wittingly referred to them as Péchés de vieillesse (‘sins of old age’), and wrote in the score of the Petite messe solennelle “Good God – behold completed this poor little Mass – is it indeed music for the blest [‘musique Sacrée’] that I have just written, or just some blessed music [‘Sacrée musique’]? Thou knowest well, I was born for comic opera. A little science, a little heart, that is all. So bless Thee and grant me Paradise! G Rossini – Passy 1863”. Limited edition of 310 copies bound in dark brown linen, with matching slipcase with embossed signature of Rossini. $399 (more info... ) [item no.9301]


SALÉ, François, c.1540-1599

Officiorum missalium [Tripertiti operis, quibus introitus, alleluia et comuniones de omnibus omnium sactorum, per totum anni circulum, dicbus & sollenibus quinque & sex vocum continentus]. Prage, Georg Nigrinus 1596. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 20. Stuttgart, 2011. Oblong, 18 x 15 cm, 5 partbooks, 240 pp. Line-cut of the Prague, 1596 edition. 22 settings for 4 to 6 voices in mensural notation. Partbook format (cantus, altus, tenor, bassus, quintus/sextus). Wrappers, with slipcase in decorative paper. $62 [item no.9261]


SANTUCCI, Ercole Perugino, 16-17th c.

Mastro da Ballo (Dancing-Master) 1614. Diviso in tre trattati con il quale scolaro potrà facilmente imparare ogni sorte di ballo, senza altra scola. Manuscript, Perugia 1614. Facsimile. Foreword by Bengt Häger. Introduction by Barbara Sparti.
Hildesheim, 2/ 2011. 8º, xiv, 120, 474 pp. Line-cut of the manuscript. Santucci’s Mastro da Ballo, the latest of the 17th-century dance manuals to have come to light thus far, consists of 474 pages divided into three treatises and includes 214 Rules for Steps and Deportment, gagliarda variations, and 10 choreographies. Santucci’s step rules not only present many important variants on “old” steps but also describe others for the first time that point to a new style, suggesting a bridge between the Italian style of Caroso and Negri and the emerging French noble style. Santucci furthermore provides an extremely clear didactic way of teaching gagliarda “cinque passi” variations, of great help and utility even today. His progression from simple to complex leads to variations that will be a challenge to the most expert dancer. Linen. $142 [item no.9208]


SCHIMPF, Christoph, 16th c.

Mariae antiphonae [et lytaniae à 2,3,4,5. vocibus è 2. Violini]. Innsbruck. Michael Wagner 1658. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 24. Stuttgart, 2013. Oblong, 17 x 23 cm, 4 partbooks, 148 pp. Line-cut of the Insbruck, 1658 partbook edition. Wrappers with portfolio in marbled paper. $70 [item no.9340]


SCHOENBERG, Arnold, 1874-1951

A Survivor from Warsaw opus 46. Edited by Therese Muxeneder. Facsimile Edition of the Autograph from the Collection of the Music Division, Library of Congress, Washington, D..C. With a Preface by Nuria Schoenberg Nono and an Introduction by Therese Muxender.
Meisterwerke der Musik im Faksimile, 29. Laaber, 2013. Oblong, 41 x 27 cm, xxx, 30 pp. Full color reproduction of the autograph short score preserved in the Koussevitzky Collection at the Library of Congress. This deeply inspirational work for narrator, men’s chorus and orchestra, written in just 13 days, is a nice summing up of Schoenberg’s compositional and technical achievements. The handwriting of the 73 year old is shaky, and due to failing eyesight relatively large, but nevertheless there is clear and raw energy in his setting and depiction of the horrific Warsaw ghetto, in his words, “based partly upon reports which I have received directly or indirectly.” Hardbound with photo reproduction of the original binding. $214 (more info... ) [item no.9348]


Variationen für Orchester op. 31. Partitura analizzata da Luigi Nono. Facsimile e DVD, Italiano, Deutsch, English.
Belluno, 2011. 18 x 24 cm, 80, 100, DVD. Line-cut of the Universal 1929 printed study score, extravagantly annotated by Luigi Nono. Produced under the auspices of the Fondazione Archivio Luigi Nono Onlus. Commentary by Nuria Schoenberg Nono, Therese Muxeneder and Claudia Vincis. Accompanying DVD contains an historic radio presentation by Arnold Schoenberg (”Vortrag Radio Frankfurt 22,II.31”). Limited numbered edition of 1000 copies. Wrappers. $125 (more info... ) [item no.9277]


[Arnold Schönberg Center] Schönberg. Pierrot Lunaire Companion. Elke Fess, Therese Muxeneder.
Vienna, 2012. 15 x 22 cm, 80 pp, w/ 42 color illus. Beautifully illustrated catalog produced on the occasion of composition of Arnold Schoenberg’s Pierrot lunaire in Berlin in 1912. The work was commissioned by Albertine Zehme, whose recitations were marked by a highly individual aesthetic, aiming to “recapture the ear’s prerogative in life”. In terms of its genre, Pierrot lunaire was historically unique at the time Schoenberg composed it and marks the high point of his expressionistic period. The famous melodrama is placed in the extreme danger zone of post-Romantic composition. Pierrot, “with waxen countenance”, is a bizarre and nervous figure, enticed into a counterworld of nighttime phantasms and hopeless passions. A cosmos of tonal shading in the colorful realm between singing and speaking. Ger/Eng. Wrappers. $15 (more info... ) [item no.9312]


SCHOP, Johann, b.?-c.1664

[& Johann Rist] Himmlische Lieder mit sehr lieblichen und anmuthigen von Johann Schop wolgesetzten Melodien. Nunmehr aufs neue Widrum übersehen.
Dokumentation zur Geschichte des Deutschen Liedes, 2. Hildesheim, 2/ 2010. 8º, 70, 312 pp. Line-cut of the Lüneburg, 1641-42 edition. Linen. $103 [item no.2576]


SCHUBERT, Franz, 1797-1828

Piano Trio in E flat major op. 100 D 929. Introduction: András Schiff, Andrea Lindmayr-Brandl.
[Henle Music Facsimiles, 25]. Munich, [in prep - 2014]. Deluxe full-color facsimile of the autograph. Schubert’s Trio in Eb major op. 100 underwent many changes during its composition. The manuscript, parts of which were greatly revised, bears eloquent witness to this and offers an opportunity to trace the intricacies of Schubert’s phrasing and articulation. This source is in a private collection and this facsimile makes it accessible to the public for the very first time. In a letter to his publisher in 1828, Schubert explicitly dedicated the work to “no one, save those who find pleasure in it”. Commentary in Ger-Eng. Hardbound. $137 [item no.9360]


[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. Hardbound. $119 (more info... ) [item no.9141]


SCHUBART, Christian Friedrich Daniel, 1739-1791

Schubart’s Karakter von seinem Sohn Ludwig Schubart.
Faksimile-Edition Theoretica, 6 Suttgart, 2011. 11 x 16 cm, 176, xx pp. Line-cut of the 1798 Erlangen edition. Schubart was an outspoken German critic, poet, musician and finally music director in Stuttgart; this is his son’s account of this turbulent life. Afterword by Christoph Öhm-Kühnle. Hardbound in decorative paper. $38 [item no.9263]


SCHUMANN, Robert, 1810-1856

[Lieder, “Zwölf Gedichte nach Justinus Kerner”, op.35, selection, arr.] Zwei Lieder Robert Schumann; bearbeitet von Max Reger für tiefe Singstimme und Orgel ; mit einem Vorwort von Susanne Popp.
Stuttgart, 2011. 24 x 30 cm. Full-color reproduction of the Reger’s autograph Mus. Ms. 085, & Mus. Ms. 179, issued on the occasion of the bicentenary of Schumann’s birth. A curiosity arrangement of “Wer machte dich so krank?” (op.35, no.11) and “Alte Laute” (op.35, no.12—for organ and voice—showing Reger’s admiration for Schumann. Portfolio. $26 (more info... ) [item no.9229]


SELICH, Daniel, 1581-1626

[Concerti, voices/instruments] Opus novum. [Geistlicher Lateinisch und Teutscher Concerten und Psalmen Dauids mit II. III. IV. V. VI. VII. IIX. IX. X. XI. XII. & c. Stimmen Nebenst dem Basso Continuo vor die Orgel Lauten Chitaron etc. Also daß dieselbe nicht allein in Fuerst: Capellen sondern auch in andern wolbestalten Stadtkirchen nach beliebung fueglich koennen gebraucht vnd Musiciret werden]. Hamburg/ Michael Hering 1625. [Universitätsbibliothek, Frankfurt].
Faksimile-Edition Rara, 64. Stuttgart, 2013. 22 x 32 cm, 9 partbooks, c.306 pp. Line-cut of the Hamburg, 1625 edition. 24 sacred concertos. Wrappers, with slipcase in decorative paper. $205 [item no.9319]


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. 8°, 82 pp. Full-color facsimile of the autograph score. This ambitious 4-movement trio in D major is full of vitality and displays an extraordinary eagerness to experiment with regard to the specific conditions and potential of the genre. At the same time it is permeated by a kaleidoscopic variety of themes, which is typical for this spirited composer with her broad education. She intentionally takes on the themes from different traditions and uses them to express many facets of her feelings and ability. Hardbound. $98 (more info... ) [item no.9153]


SOLER, Antonio, 1729-1783

[Sonatas, harpsichord] XXXVII sonatas para clave. [Library of Congress, Washington, DC].
Performers’ Facsimiles, 294. New York, [2010]. Oblong, 34 x 24 cm, ii, 95 pp. Line-cut of the Robert Birchall edition, London, c.1795. Wrappers. $30 [item no.9199]


STADLMAYR, Johann, c.1575-1648

Cantici mariani [septies variati. liber quartus, vocum duodecim, dum triplici basso ad organum accommodato]. Innsbruck / Daniel Agricola 1618. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 25. Stuttgart, 2013 16 x 21 cm, 13 partbooks, 436 pp. Line-cut of the Vienna, 1618 partbooks. Wrappers, in marbled paper slipcase. $148 [item no.9338]


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]


Missae concertatae [a VI. adiuncto choro secundo sive ripieni, ut vocant, pro beneplacito itidem 6. vocum] Innsbruck, Johann Gäch 1631. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 15. Stuttgart, 2011. 17 x 22 cm, 13 partbooks, 582 pp. Line-cut of the Innsbruck, 1631 partbooks. Wrappers, in marbled paper slipcase. $99 [item no.9249]


Missae duodenis vocibus, [cum triplici basso ad organum accommodato]. Liber secundus, Wien, Formica 1616. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 16. Stuttgart, 2011. 17 x 22 cm, 13 partbooks, 436 pp. Line-cut of the Vienna, 1616 partbooks. Wrappers, in marbled paper slipcase. $85 [item no.9248]


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]


STRAUS, Christoph, c.1575-1631

Missae octo, novem, decem, undecim, duodecim, tredecim et viginti, tam vocibus, quam variis instrumentis, et basso generali ad organum accommodato. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 8. Stuttgart, 2011. 19 x 29 cm, 13 partbooks, c.989 pp. Line-cut of the Vienna, 1631 partbooks. Straus, a native Viennese, was Kapellmeister at the Court from 1612-19 and organist at St. Stephen’s Cathedral. Wrappers, in marbled paper slipcase. $295 [item no.9247]


STRAVINSKY, Igor, 1882-1971

Stravinsky's Pulcinella: A Facsimile of the Sources and Sketches. Maureen A. Carr.
Music in Facsimile. Madison, 2010. 23 x 31 cm, ix, 433 pp (250 plates). Halftone monochrome reproduction of all the known musical sources and sketches for Stravinsky’s Pulcinella (1919-1920) from the combined holdings of the Paul Sacher Stiftung and the British Library. The commentary addresses the genesis of the idea for Pulcinella, the sources chosen and discarded by Stravinsky, compositional process and the collaboration of Pabla Picasso and choreographer Léonide Massine in shaping the work. Includes additional essays by Lynn Garafola, Ulrich Mosch, Jeanne Chenault Porter and Richard Taruskin. Wrappers, with colorful artwork. $180 (more info... ) [item no.9270]


The Rite of Spring / Le sacre du printemps (1910-13). Centenary Edition in Three Volumes. Facsimile of the Autograph Full Score Edited by Ulrich Mosch; Facsimile of the Version for Piano Four-Hands Edited by Felix Meyer; Avatar of Modernity: the Rite of Spring Reconsidered Edited by Hermann Danuser and Heidy Zimmermann.
A Publication of the Paul Sacher Foundation. London, 2013. 25 x 32 cm, 3 vols. Full color facsimile edition issued on the occasion of the 100th anniversary of the first performance of the Rite of Spring. It was an epochal moment in the history of both music and ballet, and it signalled the breakthrough into Modernism. Subtitled “Scenes from Pagan Russia”, it is a work of international scope created as a collaboration among leading figures working in multiple genres—and a masterpiece of extraordinary artistic potency. Ger-Eng text. $390 (more info... ) [item no.9305]


STROZZI, Barbara, c.1619-c.1664

Sacra corona [motetti a due, e trè voci di diversi eccelentissimi autori moderni, novamente raccolti & dati in luce da Bartolomeo Marcesso].Venedig, Francesco Magni, 1656. [Library of Congress, Washington, DC].
Faksimile-Edition Strozzi, 9. Stuttgart, 2013. 17 x 21 cm, 4 partbooks, 294 pp. Line-cut of the Venice, 1656 edition. Wonderful anthology of 23 motets for 3 and 2 voices (in various pairings), with basso continuo. Composers include Giovanni Rovetta, Maximiliano Neri, Pietr'Andrea Ziani, Barbara Strozzi, Francesco Cavalli, Biago Marini, Simone Vesi, Horatio Tarditi, Stefano Filippini, Maurizio Cazzati & Natale Monferato. Wrappers, with portfolio in marbled paper. $80 (more info... ) [item no.9314]


STÖTZEL, Johann Georg, 1711-1793

Neu bezogenes Davidisches Harpfen- und Psalter-Spiel... nach dem Würtembergischen Landgesangbuch eingerichtetes Choral-Buch. [Stadtbibliothek, Ulm].
Faksimile-Edition Ulm, 28. Stuttgart, 2011. Oblong, 22 x 18 cm, 268 pp. Line-cut of the Stuttgart, 1777 edition. 245 German chorales notated in keyboard score (soprano clef and basso continuo with F-clef). Part of a long tradition of chorale books beginning with Daniel Speer’s Choralbuch of 1692, Stötzel expanded the repertoire with quite a few songs chiefly from from the Gesangbuch of Johann Anatasius Freylinghausen. Hardbound, in marbled paper. $75 [item no.9221]


TELEMANN, Georg Philipp, 1681-1767

[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 slipcase. $148 (more info... ) [item no.9051]


THADEI, Alexander, 16th c.

Psalmi vespertini. Venedig/ Gardane, Magni 1628. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, [24]. Stuttgart, 2013. 16 x 21 cm, 9 partbooks, c.306 pp. Line-cut of the Venice, 1628 partbooks. Wrappers with slipcase in marbled paper. $114 [item no.9320]


VERDI, Giuseppe, 1813-1901

La musica vocale da camera nelle prime edizioni (Milano, 1838-80). A cura di G. D’Angelo e P. Troian.
Bibliotheca Musica Bononiensis, IV/108. Bologna, 2013. 4°, 218 pp. Line-cut of the Ricordi editions, 1838-1880. These chamber romanzes basically belong to the period dating from his final departure from Busseto immediately following the success of Nabucco. This music gives us a glimpse of Verdi`s formative training, his first points of reference in music terms, and in a larger sense, literature and culture. These works also shed light on his circle of friends and acquaintances, and on the cultural and political milieu in Milan. Wrappers, in portfolio. $73 (more info... ) [item no.9328]


VIOTTI, Giovanni Battista, 1755-1824

[Sonatas, 2 violoncelli/viols/bassoon] Six sérénades pour 2 violons seuls. Opus 23, n°1 (sérénades I, II, III), 1810. Préface et partie de violon I. Présentation par Béatrice Ernwein. [British Library, London].
Collection Dominantes. Courlay, 2014. 22 x 30 cm, 2 partbooks, xii, 28 pp. Line-cut of Imbault edition, Paris, 1810. Introduction in Fr-Eng-Ger. Wrappers. $41 [item no.9361]


WAGNER, Richard, 1813-1883

Kinder-Katechismus zu Kosel’s Geburtstag (WWV 106B). Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Bayreuth. Mit einem Kommentar von Sven Friedrich.
Meisterwerke der Musik im Faksimile, 24. Laaber, 2012. Oblong, 29.7 x 21 cm, xvi, 8 pp. Full-color halftone of the autograph score of Wagner’s tribute to “Kosel” (Cosima), his second wife, on her 36th birthday, 25 December 1873. Introduction in Ger-Eng. Hardbound. $63 (more info... ) [item no.9294]


[Lieder, “Matthilde Wesendonck”, WWV 91A] “Wesendonk-Lieder”, Fünf Gedichte für eine Frauenstimme mit Pianoforte-Begleitung (WWV 91). Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Bayreuth. Mit einem Kommentar von Elisabeth Schmierer.
Meisterwerke der Musik im Faksimile, 25. Laaber, 2012. 27 x 35 cm, xviii, 22 pp. Full-color facsimile of the autograph (piano & voice) of the work that served as the model for Tristan. Individual settings are “Stehe still”, “Der Engel”, “Schmerzen”, “Im Treibhause”, and “Träume”. Introduction in Ger-Eng. Hardbound. $111 (more info... ) [item no.9291]


[Siegfried Idyll, fair copy, WWV 103] Siegfried-Idyll E-Dur. Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Baureuth. Mit einem Kommentar von Sven Friedrich.
Meisterwerke der Musik im Faksimile, 23. Laaber, 2012. Oblong, 29.7 x 21 cm, xviii, 42 pp. Full-color facsimile of the autograph fair copy, first performed December 25, 1870 at his home (Triebschen) on the birthday of his wife. The title refers to their son, Siegfried, at the time, one year old. Introduction in Ger-Eng. Hardbound. $111 (more info... ) [item no.9293]


[Siegfried Idyll, fair copy, WWV 103] Siegfried-Idyll E-Dur. Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Baureuth. Mit einem Kommentar von Sven Friedrich.
Meisterwerke der Musik im Faksimile, 23. Laaber, 2012. Oblong, 29.7 x 21 cm, xviii, 42 pp. Same as above but deluxe version bound in full leather with title embossed in gold. $230 (more info... ) [item no.9292]


[Tristan & Isolde, WWV 90] Tristan & Isolde (WWV 90). Facsimile of the Autograph Score from the National Archive of the Richard-Wagner-Stiftung Bayreuth. With a Commentary by Ulrich Konrad.
Documenta Musicologica, II/45. Kassel, 2012 29.5 x 41 cm, 354, 17, 20 pp. Full-color facsimile of the autograph score issued on the occasion of the 200th anniversary of Wagner's birth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. While working on the score to Tristan und Isolde, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the dawn of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The Tristan manuscript is an example of this but it also bears traces of his working process. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highly-concentrated, powerful and relentless writing. It evokes the aura of a singular individual. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper boards. $840 (more info... ) [item no.9296]


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. $230 (more info... ) [item no.9171]


[Works, lute, complete] Sämtliche Werke für Laute. Band 9: Works from Miscellaneous Manuscripts. Facsimile. Edited by Tim Crawford and Dieter Kirsch.
Das Erbe Deutscher Musik, 15. Kassel, 2013. Oblong, 31 x 24 cm, viii, 567 pp. Halftone of the miscellaneous manuscripts. Linen. $875 (more info... ) [item no.9279]


[Works, lute, complete] Sämtliche Werke für Laute. Band 10: Works from Miscellaneous Manuscripts. Transcription. Edited by Tim Crawford and Dieter Kirsch.
Das Erbe Deutscher Musik, 16. Kassel, 2012. Oblong, 31 x 24 cm, 2 vols, xiv, 288; viii 316 pp. Critical edition in staff notation of the works from miscellaneous manuscripts. Linen. $818 (more info... ) [item no.9280]


COMPOSITE & MISCELLANEOUS SOURCES

The Balcarres Lute Book. Edited by Matthew Spring.
Glasgow, 2010. 25.4 x 35.6 cm, 2 vols, 412 pp. Copied out in Scotland at the close of the 17th c., the Balcarres Lute Book is the largest and most important post-1640 British source of lute music. It contains 252 compositions arranged for the eleven-course instrument, among them settings of native Scots airs and of English popular tunes, and French baroque lute music by mid- and later 17th-c. masters. Possibly compiled by or for Margaret Campbell, fourth wife of Colin Lindsay, third Earl of Balcarres, the manuscript has remained in the Lindsay family, being owned currently by Lord Balniel, son and heir to the present Earl of Crawford and Balcarres, who has deposited it in the National Library of Scotland. It is here published for the first time in a pair of volumes comprising a black-and-white facsimile and a transcription, along with an extended introduction, notes on related musical sources, and an informative critical commentary on each individual piece. Softbound, with slipcase. $165 (more info... ) [item no.9211]


[Burgos, Monasterio de Cistercienses Calatravas de San Felices] Vita adelelmi (Vida de San Lesmes).
Madrid, 2004. 28 x 37 cm, 158, 236 pp. Deluxe full-color facsimile of a codex containing the Vita adelelmi and the official liturgy and music chants for San Lesmes, patron Saint of Burgos. As Burgos is one of the stops of the Camino de Santiago de Compostela, this work nicely dovetails with Codex Calixtinus (transmitting the equivalent rite for Saint James). Commentary by Ángeles García de la Borbolla García de Paredes, Víctor Márquez Paillo, Rafael Sánchez Domingo, Clemente Serna González, & Miguel C. Vivancos Gómez. Limited edition of 230 copies bound in full leather with generous tooling and linen covered slipcase. (first added to OMI’s offerings in 2012) (more info... ) [item no.9220]


[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, 2010. 29 x 40 cm. 365 pp. Proceedings for a special symposium devoted to Codex Chantilly. Wrappers. $100 (more info... ) [item no.6685]


Clavierstücke aus dem Concert-Programmen von Frau Wilhelmine Szarvady geb. Clauss. Werke von Scarlatti, Couperin, Rameau u.a. herausgegeben von Raymond Dittrich.
Stuttgart, 2013. 30 x 42 cm, xx, 104 pp. Color facsimile of the first editions preserved in the British Library, Zentralbibliothek Zürich, Beethovenhaus Bonn, and the Universitätsbibliothek Frankfurt. Wilhelmine Clauss-Szarvady (1834-1907) was a successful concert pianist who frequently included the works of Baroque masters in her programs. Hardbound, in marbled paper. $93 [item no.9364]


A Collection of the Most Celebrated Irish Tunes Proper for the Violin, German Flute or Hautboy. John & William Neal, Dublin, 1724. Second Facsimile Edition Edited by Nicholas Carolan.
Dublin, 2010. 8°, xiv, 118 pp. Illustrated introduction, music (49 melodies), notes on the tunes, appendixes, bibliography, indexes. Hardbound. $79 [item no.9191]


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]


[Dobney, Jayson Kerr] Guitar Heroes: Legendary Craftsmen from Italy to New York. Jayson Kerr Dobney.
The Metropolitan Museum of Art Bulletin, Winter 2011. New York, 2011. 50 pp. Illustrated exhibition catalog with 70 color illustrations. Wrappers. $25 (more info... ) [item no.9227]


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. $399 (more info... ) [item no.9140]


[El Escorial, Bibl. del Monasterio, T.j.1 “E2”] Cantigas de Alfonso X El Sabio.
Colección Scriptorium. Madrid, 2010. 35 x 50 cm, 512 pp + commentary. El Escorial Ms. T.j.I ("E2")—also known as "Códice Rico"—is the third of four surviving manuscripts that preserve the Cantigas repertoire, settings in a narrative format relating to Marian miracles and festivities. Although incomplete "E2" is considered the most important from the point of view of the miniatures. It is made up of 256 folios of parchment in the elegant French script of 13th-c. codices. Originally it contained 200 cantigas, but the loss of some folios has reduced the count to 196. This codex was lavishly illustrated with 1,257 miniatures on 210 of its folios and depicts a vast array of human typology in Spain during the 13th c. Deluxe, totally new, full-color facsimile in the original format, limited to 980 copies, bound in full leather with tooling. (more info... ) [item no.9203]


[Fabricius Lute Book] Petrus Fabricius (1579–1650): Lauten- und Liederbuch, Renaissance-Laute (& Gesang). Faksimile nach der Handschrift in der Königlichen Bibliothek Kopenhagen Signatur: Thott. 4° 841. Gesamtausgaben / Complete Edition. Transkription & Kommentar: Ralf Jarchow.
Glinde, 2013. 21 x 30 cm, 2 vols, 756 pp. An important lute and song anthology from the German-Danish cultural sphere, compiled c.1605-1615 by the pastor Petrus Fabricius. Some of the pieces are unique, while others stand out for their exceptional compositional technique. In addition, the numerous, sometimes quite earthy marginal notes provide insight into the cultural milieu of Fabricius and his time as a student in Rostock. The collection shares concordances the with the Nauclerus lute book. Composer include: Aelst, Ammerbach, Azzaiolo, Babst, Balletti, Besard, Borrono, W. Brade, Brechtel, Burmeister, Cato, Dalza, Dedekind, Demantius, J. Dowland, Drusina, Elsbeth, Gerle, Fabricius, Forster, Franck, Friderici, G.L. Fuhrmann, V. Fuhrmann, Gastoldi, Gutknecht, Haussmann, Heckel, Janequin, Jobin, J. Johnson, Klug, Köpphel, Krengel, Lange, Lauremberg, Lechner, Luther, Malchinger, Meiland, H. & M. Newsidler, Phalèse, Regnart, Reymann, Rhau, Rore, Rotta, Scandello, Selnecker, Spatz, Staricius, Susato, Tertre, Thym, Vento, Waissel, Walter, Wyssenbach, and Zangius. Hardbound. $265 (more info... ) [item no.9341]


[Faenza, Bibl. Comunale, 117] The Codex Faenza 117. Instrumental Polyphony in Late Medieval Italy Vol. I: Introductory Study; Vol. II: Facsimile Edition. Edited by Pedro Memelsdorff.
Ars Nova, Nuova Serie, 3. Lucca, 2012. 18 x 25 cm, 2 vols, 258; 212 pp. Deluxe full-color reproduction. A small unadorned parchment booklet, MS 117 of the Biblioteca Comunale Manfrediana in Faenza deals with a stunning quantity and unique quality of information on 14th- and 15th-c. Italian musical culture. The Codex is composed of two distinct and independent copying layers. The older one contains 50 non-texted intabulated diminutions generally assumed to be instrumental and dated within the first two decades of the 15th century. They comprise diminished versions of Italian and French songs by some of the major composers of the 14th and early 15th c., Jacopo da Bologna, Bartolino da Padova, Francesco Landini, Antonio Zacara da Teramo, Guillaume de Machaut, and Pierre des Molins, as well as polyphonic estampies and diminutions on dance-related and liturgical tenors, including the 3 earliest alternatim mass-pairs that have come down to us. The younger layer is an autograph by the Carmelite friar Johannes Bonadies, who in 1473 and 1474 used empty folios to add 16 music theory treatises, summaries or tables, and 22 mid- or late-fifteenth-century polyphonic settings, mostly composed by John Hothby, Bernardus Ycart, and Johannes de Erfordia, aside with some anonymous settings and a short Kyrie by Bonadies himself. Hardbound. $585 (more info... ) [item no.9299]


Frei, Constance. L’arco sonoro. Articulation et ornamentation: les différentes pratiques d’exécution pour violon en italie au XVIIe siècle.
Lucca, 2010. 8°, 636 pp. Wonderful treatment of the practical application of ornamentation for strings instruments (especially the violin), with hundreds of facsimiles of examples from source material. Indispensable resource for period instrument practice. In Fr. Wrappers. $64 (more info... ) [item no.9287]


Gozzi, Marco. Il graduale Giunta, Venezia 1572. Con facsimile integral dell’esemplare conservato presso la Biblioteca Laurence Feininger di Trento nel CD-ROM allegato.
Monumenta Liturgiae Cantus, 2. Lucca, 2013. 18 x 24 cm, xxxii, 320 pp, CD. Line-cut reproduction of the Venice, 1572 edition, one of many service books by the venerable publisher Lucantonio Giunta il giovane. Inaugurates the series “Monumenta Liturgiae et Cantus”, a series that will present facsimiles accompanied by commentaries of all the liturgical books issued by Giunta. Wrappers. $42 [item no.9353]


[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. $230 (more info... ) [item no.9171]


Intavolatura manoscritta per liuto del duomo di Castelfranco Veneto. A cura / Edited by Franco Rossi. [Civico Museo Bibliografico Musicale, Bologna].
Bibliotheca Musica Bononiensis, IV/103. Bologna, 2012. 4°, 38, 216 pp; CD. Full color facsimile (in CD format) plus B&W monochrome facsimile. This manuscript, beautifully copied by Giovanni Pacolini for an English patron, provides testimony to the repertoire intended for solo lute as well as pieces conceived for the unusual ensemble of three lutes. The collection includes music by the most important composers of the first half of the XVI century, and contains a wealth of extraordinary unica pieces, above all some works by Francesco da Milano. Introduction in It-Eng. Wrappers. $87 (more info... ) [item no.9281]


[Kiel, Universitätsbibliothek, S.H. 8 A.8°] The Offices & Masses of St. Knud Lavard (✝1131) (Kiel, Univ. Lib. MS S.H. 8 A.8°). Reproduced in Facsimile, Transcribed and Edited by John Bergsagel. Volume 1: Facsimile; Vol. 2: Edition. With an Essay on the Historical Background by Thomas Riis.
Musicological Studes, 65/17. Ottawa, 2010. 21 x 30, 2 vols, viii, 145, 72 pp. Full color reproduction of MS Kiel, Universitätsbibliothek S.H. 8 A 8°, compiled around 1202. Preserves the music for the complete monastic cycle of the Office of the Translation of St. Knud Lavard (25 June), as well as for the feast of his Passion (7 January), together with the proper items of their respective Masses..There can be little doubt that it records the words and music that were sung at the Translation of St. Knud Lavard on 25 June, 1170, and that the liturgical celebration of the Feast of the Passion, which was his major feast throughout the Middle Ages, was composed at the same time by the same composer (or team). This remarkable document is probably the earliest music composed in Denmark. Hardbound. $265 [item no.9190]


[Montecassino, Archivio della Badia, ms. 542] Montecassino, Archivio dell'Abbazia, Ms. 542. Antiphonaire, 12eme siècle. Katarina Livljanić.
Paléographie Musicale, I/23. Solesmes, 2014. 4˚, 194 pp. Facsimile, in color, of a 12th c. antiphoner from Monte Cassino. Beneventan notation on dry-point staff, the manuscript is devoted almost entirely to chants of the Gregorian tradition. Introduction and inventory by Katrina Livljanić. Wrappers. $126 (more info... ) [item no.9343]


[Nauclerus lute book] Johannes Nauclerus Lautenbuch. Gesamtfaksimile / Complete Facsimile. Faksimile nach der Lautenhandschrift in der Staatsbibliothek Berlin—Preußischer Kulturbesitz, Signatur: Mus. ms. 40141. Kommentar und Konkordanzen: Ralf Jarchow.
Glinde, 2010. 21 x 30 cm, 208 pp. The lute book of the North Frisian pastor Johannes Nauclerus (1579-1655) was copied between 1607 and c.1620 and it is one of the most frequently cited “student manuscripts” of the time. Apart from pieces for 6- to 8-course lute written in French and some in German tablature, there are 5 pieces for cittern. The extensive research for his biography shows also the acquaintance of the contemporary pastor Petrus Fabricius, to whose well-known song and lute book, there are also numerous concordances. Composers: Adriaenssen, Azzaiolo, Besard, Cutting, Denss, J. Dowland, Fabricius, Fuhrmann, Gastoldi, Haussmann, Holborne, Huet, Lechner, Lorenzini, Luther, Meiland, Nauclerus, Otto, Regnart, Reymann, Robinson, Schröter, Senfl, Thym, Vecchi, Waissel, & Walter. Commentary in Ger-Eng. Hardbound. $98 (more info... ) [item no.9197]


[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol.I: Rondeaux et virelais I. Edition par Cécile Beaupain et Germana Schiassi sous la direction de Raphaël Picazos.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 1. Bologna, 2011. 4º, 127 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $73 [item no.9225]


[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol. II: Ballades I Introductory Texts, Poetic Texts and Critical Notes in French and English.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 2. Bologna, 2013. 24 x 32 cm, 232 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $92 [item no.9322]


[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol. III: Ballades II Introductory Texts, Poetic Texts and Critical Notes in French and English.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 3. Bologna, 2014. 24 x 32 cm, 236 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $97 [item no.9368]


[Osnabrück, Diözesanarchiv, Inv. Nr. Ma 101] Codex Gisle — Gradual of Gisela von Kerssenbrock.
Lucerne, [in prep - 2014]. 35.5 x 26 cm, 344 pp. Of the approximately 500 mss copied by nuns that survive from medieval Germany, none stands out quite like “Codex Gisle”, a Gradual in courtly gothic style with about 1500 Gregorian chants adorned with 53 historiated initials. It gets its name from the Cistercian nun Gisela von Kerssenbrock who, according to the memorial inscription on fol. 1 (in an early 14th c. hand), copied and illuminated it sometime before 1300 for her convent of Marienbrunn in Rulle near Osnabrück. Already known to art connoisseurs through a fine but partial collotype facsimile published in 1926 with the participation of the art historian Martin Wackernagel, the manuscript will now be given its due worth in a complete and exacting fine arts facsimile by Quaternio Verlag of Lucerne. Deluxe edition of 480 copies bound with tooled leather and metal bosses and clasps. (more info... ) [item no.9345]


[Oxford, Bodleian Library, canon. lit. 342] Missale beneventanum notatum ecclesiae cathedralis ragusii. Oxford, Bodleian Library—MS. Canon. Liturg. 342.
Dubrovnik, 2011. 22 x 30 cm, 173, 256 pp. Beautiful full-color facsimile of a 12th c. notated missal from the Cathedral of Saint Mary in Dubrovnik. Though the MS has been in the possession of the Bodleian Library since 1817—part of the sizable collection acquired from the estate of the Jesuit Matteo Luigi Canonici—scholars realized early on of its connection with the city of Dubrovnik based on the inclusion of prayers in honor of three local otherwise unknown martyrs from Kotor: Peter, Andrew and Lawrence. Another connection with Dubrovnik is the cult of St. Blaise. The missale survives with 122 parchment leaves although it is estimated that about a quarter of its original content has been lost. The texts of the MS were copied in rounded Dalmatian Benevantan script, while the music notation to be sung by the ‘scholae cantorum’ is written in cursive Beneventan notation of the Dalmatian style (the Italian version has more detailed liquescent neumes). As the missal is the only book of rites which assembles in one place everything necessary to conduct the Mass this source is of great interest for the history of Dubrovnik Cathedral at a time when each Catholic diocese organized its own liturgy by importing, according to local conditions, adapted texts and rubrics of the Roman rite and adding particular features of its own liturgical traditions. Edited by Miho Demovic; with parallel texts in English. Facsimile volume hardbound, commentary in wrappers; slipcase with reproduction of a page of the original. $185 (more info... ) [item no.9369]


[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. $399 (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. $550 (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) $425 (more info... ) [item no.9142]


[Salamanca, Archivo de la Catedral, ms 2631] Codex Calixtinus de Salamanca.
Madrid, 2012. 27 x 37 cm, 246 pp + commentary. Students and scholars of the camino are now fortunate to have a second facsimile of Codex Calixtinus, based on the Salamanca copy. Known as Ms. S, and copied around 1325 in Santiago de Compostela, this counts as one of four complete (long) versions of the Jacobus compilation and at the same time one of four that are illustrated. According to M. Alison Stones the meagerness of Jacobus transmissions is a bit baffling—compared to about 200 sources for the Historia Turpini (Book IV), so the facsimile of the Salamanca source is all the more welcome. Telltale aspects of Ms. S show it has a slightly different lineage from Ms. C, and in that way the text and illustrations offer the historian new insights and challenges. Salamanca comes down to us without title page and the initial portrait of Pope Calixtus has been vandalized, however, other than this the manscript is beautifully executed and adorned with 5 stunning illuminations, 1 of them a whole page. Although Salamanca provides full texts for the chants for the office and mass of St. James, the compiler didn't get around to enter the pitches for the chant around the a single reference line (usually C or F). Limited edition of 898 copies. Artisan binding in full leather with gold decoration on spine, pasted etikette and buckram-leather covered slipcase. (more info... ) [item no.9323]


[“Schwerin” Lutebook (Landesbibliothek Mecklenburg-Vorpommern, Musik für Barocklaute: Die Handschrift Schwerin Mus 641, [ca. 1650]. François-Pierre Goy; Albert Reyermann.
Lübeck, 2011. 21 x 30 cm, 2 vols. This manuscript contains 86 pieces for Baroque lute and is the main source for the music of the Paris master Germain Pinel of whom we find many unica in this source. Other composers include Dufaut, Denis & Ennemond Gaultier, Strobel, Dubut, Gumprecht and Mercure. The edition comes in 2 volumes and contains a complete reproduction of the manuscript as well as a large essay (in German) and full index and concordances by François-Pierre Goy. French tablature, Baroque tuning. Ring binding. $58 [item no.9246]


[Stradivarius] Antonius Stradivarius / Jost Thöne, Jan Röhrmann.
Cologne, 2010. 32 x 45 cm, 4 vols, 1200 pp, CR-ROM, A chronological catalog of Stradivari stringed instruments, detailing 148 instruments, each entry with photographs in color and details of construction, condition, and ownership. Accompanying electronic resource provides measurements and additional visual aspects. Limited edition of 2000 copies. Linen. $2943 (more info... ) [item no.9342]


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. $140 [item no.9159]


MODERN EDITIONS

Antifonale Ambrosiano. Commune di Milano, Arcidiocesi di Milano. Servizio per la Pastorale liturgica.
Milan, 2011. 17 x 23 cm, 271 pp, audio CD. Wrappers. $60 [item no.6751]


[“Bauyn” manuscript] Paris, Bibliothèque Nationale de France, Ms. Rés. Vm7 674-675: The Bauyn Manuscript. Edited by Bruce Gustafson with R. Peter Wolf.
The Art of the Keyboard, 10. New York, 2014. 4˚, 4 vols. Wrappers. $150 [item no.6784]


Bellini, Vincenco (critical vocal score) La sonnambula. Riduzione per canto e pianoforte condotta sull’edizione critica della partitura a cura di / Reduction for Voice and Piano based on the Critical Edition of the Orchestral Score Edited by Alessandro Roccatagliati and Luca Zoppelli.
[Critical Editions of Vocal Scores]. Milan, 2010. 8º. Wrappers. $46 [item no.6897]


Bernardi, Stefano. Motetti in cantilena a quattro voci con alcune canzoni per sonare con ogni sorte di stromenti, con il basso per l’organo. 1613. Edizione a cura di Marco Materassi, trascrizioni: Flavio Cinquetti.
Lucca, 2012. 4º, xxiv, 105 pp. Critical edition. Wrappers. $45 [item no.6972]


Bononcini, Giovanni. Cantate a Clori. A cura di Sara Diecii.
Musiche Italiane del Settecentro, [6]. Lucca, 2010. 4º, li, 51 pp. Critical edition. Wrappers. $37 [item no.6943]


Bononcini, Giovanni. Cantate con strumenti. vol.1 - (Biblioteca del Monumento Nazionale di Montecassino, ms. 1-C-9/2). A cura di Michele Vannelli.
Musiche Italiane del Settecentro, [5]. Lucca, 2010. 4º, xlv, 79 pp. Critical edition. Wrappers. $37 [item no.6942]


Bononcini, Giovanni. La conversione di Maddalena. Oratorio a quattro con instromenti. A cura di Raffaele Mellace.
Musiche Italiane del Settecentro, [4]. Lucca, 2010. 4º, cxiv, 110 pp. Critical edition. Wrappers. $37 [item no.6941]


Brahms, Johannes (new critical edition) Symphonie Nr. 4 E moll, opus 98. Herausgegeben von Robert Pascall.
Neue Ausgabe sämtlicher Werke, I/4. Munich, 2011. 4º, xxxv, 204 pp. New critical edition. Cloth. $358 [item no.6926]


Brahms, Johannes (new critical edition) Klavierkonzert Nr.2 B-Dur Opus 83. Herausgegeben von Johannes Behr.
Neue Ausgabe sämtlicher Werke, I/8. Munich, 2013. 4º, xxxviii, 243 pp. New critical edition. Cloth. $383 [item no.6749]


Brahms, Johannes (new critical edition) Symphonie Nr.3 F-Dur Opus 90. Arrangement für zwei Klaviere zu vier Händen / Arrangement für ein Klavier zu vier Händen (erstellt von Robert Keller, umgearbeitet vom Komponisten). Herausgegeben von Robert Pascall.
Neue Ausgabe sämtlicher Werke, IA/2. Munich, 2013. 4º, xxiii, 200 pp. New critical edition. Cloth. $311 [item no.6748]


Brahms, Johannes (new critical edition) Symphonie Nr.4 E-Moll Opus 98. Arrangement für zwei Klaviere zu vier Händen. Arrangement für ein Klavier zu vier Händen. Herausgegeben von Robert Pascall.
Neue Ausgabe sämtlicher Werke, IA/3. Munich, 2012. 4º, xx,, 203 pp. New critical edition. Cloth. $343 [item no.6950]


Brahms, Johannes (new critical edition) Serenaden: Nr.1 D-Dir Opus 11. Nr.2 A-Dur Opus 16. Ouvertüren: Akademische Festoouvertüre C-Moll Opus 80; Tragische Ouvertüre D-Moll Opus 81. Arrangements für ein Klavier zu vier Händen. Herausgegeben von Michael Musgrave.
Neue Ausgabe sämtlicher Werke, IA/4. Munich, 2012. 4º, xxi, 271 pp. New critical edition. Cloth. $456 [item no.6951]


Brahms, Johannes (new critical edition) Violonkonzert D-Dur Opus 77. Doppelkonzert A-Moll Opus 102. Klavierauszüge. Herausgegeben von Linda Correell Roesner und Michael Struck.
Neue Ausgabe sämtlicher Werke, IA/7. Munich, 2010. 4º, xx, 228 pp. New critical edition of the violin/piano reduction score for the Violin Concerto op.77 and Double Concerto op.102. Cloth. $339 [item no.6908]


Brahms, Johannes (new critical edition) Sonaten für Klavier und Violoncello, Nr.1 E-Moll Opus 38; Nr.2 F-Dur Opus 99. Sonaten für Klarinette (oder Viola) und Klavier, Nr.1 F-Moll Opus 120 Nr.1, Nr.2 Es-Dur Opus 120 Nr.2. Herausgegeben von Egon Voss und Johannes Behr.
Neue Ausgabe sämtlicher Werke, II/9. Munich, 2010. 4º, xxxvi, 185 pp. New critical edition of opus 38, 99, & 120. Cloth. $268 [item no.6907]


Brahms, Johannes (new critical edition) Klavierstücke. Scherzo Opus 4, Vier Balladen Opus 10, Walzer (zweihändig) Opus 39, Acht Klavierstücke Opus 76, Zwei Rhapsondien Opus 79, Sieben Fantasien Opus 116, Drei Intermezzi Opus 117, Sechs Klavierstücke Opus 118, Vier Klavierstücke Opus 119. Herausgegeben von Katrin Eich.
Neue Ausgabe sämtlicher Werke, III/6. Munich, 2011. 4º, xlvi, 339 pp. New critical edition. Cloth. $586 [item no.6927]


Brahms, Johannes (new critical edition) Arrangements von Werken anderer Komponisten für ein Klavier oder zwei Klaviere zu vier Händen. Herausgegeben von Valerie Woodring Goertzen.
Neue Ausgabe sämtlicher Werke, IX/1. Munich, 2012. 4º, xxxi, 291 pp. New critical edition. Cloth. $494 [item no.6949]


Caldara, Antonio. Due antifone mariane: “Salve regina”, “Te decus virgineum”. A cura di Warren Kirkendale.
Musiche Italiane del Settecentro, [9]. Lucca, 2011. 4º, xxx, 25 pp. Critical edition. Wrappers. $37 [item no.6940]


Cimarosa, Domenico. Li due Baroni. Commedia per musica in 2 atti. Edizione critica a cura di Stefanoo Faglia [e] Franca Maria Saini.
Lucca, 2013. 22 x 32 cm, xci, 442 pp. Critical edition of the full score. Wrappers. $56 [item no.6766]


Composizioni inedite dall’intavolatura d’organo tedesca di Torino. A cura / Edited by di D. Felici.
Bibliotheca Musica Bononiensis, IV/104. Bologna, 2011. Oblong, 4°, xl, 153 pp. Transcription of toccatas and ricercari, to a large extent unpublished, taken from German tablatures for keyboard in the Foà Giordano holdings, preserved in the National Library of Turin. The manuscript contains works by Italian, German and anonymous composers which, despite the variety of styles presented, testify to the rich fabric of exchanges and mutual influences that occurred between northern and southern Europe in the first 30 years of the 17th c.. Introduction in Eng-It. Wrappers. $69 [item no.6923]


Croft, William. Canticles and Anthems with Orchestra. Edited by Donald Burrows.
Musica Britannica, XCI London, 2011. 4º, li, 207, 26 pp. Modern critical edition. William Croft's career as the leading native-born composer of English church music was established in the period between the death of Purcell and the arrival of Handel in London. His education took place among musicians from Purcell's circle, and his style was modified by the influence of Handel's 'Utrecht' Te Deum and Jubilate of 1713. All the music in this volume was composed for various royal church services that took place between 1709 and 1720, in the Chapel Royal at St James's Palace and in St Paul's Cathedral. The contents include the Te Deum and Jubilate Deo, sung at the coronation of George I, and the anthems The Lord is a sun and a shield, O give thanks unto the Lord, and call upon his name, O give thanks unto the Lord, for he is gracious, and Rejoice in the Lord, O ye righteous. Buckram. $164 [item no.6925]


Donizetti, Gaetano (new critical edition) Deux hommes et une femme. A cura di Paolo A. Rossini, con la collaborazione di F. Bellotto. Riduzione per canto e pianoforte / Reduction for voice and piano.
[Critical Editions of Vocal Scores]. Milan, 2010. 8º, 262 pp. Wrappers. $56 [item no.6898]


Donizetti, Gaetano (new critical edition) Betly. Opera comica in un atto / Opera comica in One Act. Edizione critica / Critical Edition a cura di / Edited by Ellen Lockhart e Julia Lockhart. Partitura / Full Score.
Critical Edition of the Works of Gaetano Donizetti, [10]. Milan, 2010. 4º, 2 vols, 614 pp. Cloth. $408 [item no.6905]


Donizetti, Gaetano (new critical edition) Maria di Rohan, melodramma tragico in tre atti. Edizione critica / Critical Edition a cura di / Edited by Marco Zoppello. Partitura / Full Score.
Critical Edition of the Works of Gaetano Donizetti, [11]. Milan, 2012. 4º, 2 vols, 808 pp. Cloth. $452 [item no.6934]


English Keyboard Music c.1600-1625. Edited by Alan Brown
Musica Britannica, XCVI. London, 2014. 4º. Modern critical edition. This volume is the first of two intended to extend the coverage of keyboard music in Musica Britannica comprehensively into the first quarter of the 17th century. The present edition contains music by anonymous and a dozen or so named composers, including the complete keyboard works of Nicholas Carleton, the surviving twenty 'Miserere' canons by Thomas Woodson, and the anonymous 'Pretty ways for young beginners to look on'. The 77 complete pieces are organized by genre, including preludes, plainsong settings, voluntaries, dances and character pieces. Drawing on 22 manuscripts which mostly also transmit music by Byrd and other noted virginalists, this residue of music from these sources shows great diversity and a pleasing level of technical skill and musical interest, sufficient to enhance our wider view of English Renaissance music. Buckram. $175 [item no.6782]


[Florence, Bibl. Naz. Centr., Panciatichi 27] Florence BNC, Ms. Panciatichi 27. Text and Context. Edited by Gioia Filocamo.
Monumenta Musica Europea, II/1. Turnhout, 2010. 4°, xx, 988 pp. 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. $230 [item no.8821]


Gnocchi, Pietro. Sei concerti per archi. Edizione critica a cura di Claudio Toscani.
Collana di Musiche Inedite, 4 Lucca, 2012. 4º, xxiii, 149 pp. Critical edition. Wrappers. $45 [item no.6973]


Goruppi, Giuliano. Christmas Carols. Elaborazioni per coro e strumenti di Giuliano Goruppi.
Milan, 2010. 4º, vii, 129 pp. Traditional Christmas carols for chorus and instruments. Contents: “Conventry Carol”, “Duck in the Hall”, “King Herod and the Cock”, “The Twelve Day of Christas:, “I Saw Three Ships”. Wrappers. $37 [item no.6937]


Greco, Gaetano. 15 toccate. A cura di Friedrich Lippmann.
Musiche Italiane del Settecentro, [10]. Lucca, 2012. 4º, xxxi, 58 pp. Critical edition. Wrappers. $37 [item no.6971]


Ingegneri, Marc’Antonio (complete works) Sacrae cantiones cum quinque vocibus liber primus. Edited by Daniele Sabaino.
Opera Omnia Marc’Antonio Ingegneri, Edizione Critica, I/4. Lucca, 2010. 4º, lxxxiii, 126 pp. Critical edition. Wrappers. $44 [item no.6944]


Jenkins, John. Fantasia-Suites: II. Transcribed and Edited by Andrew Ashbee.
Musica Britannica, LXXVIII. London, 2010. 4º, xxxii, 159 pp. Modern critical edition. This collection includes the fantasia-suites for treble, two basses and organ by John Jenkins. Though it is impossible to date these pieces precisely, the abandonment of the galliard third movement in favor of the corant suggests a provenance later than that of the fantasia-suites in vol.I (MB 78). The virtuoso writing of the “divisions” is among the most demanding of all English consort music, and each of the nine suites commences with an extended fugal section as elaborate as anything found in the composer's viol fantasies—that of the seventh being undoubtedly amongst his finest works. Also included are the 29 surviving bass parts of the Divisions for Treble and Two Basses. Buckram. $146 [item no.6889]


The Mulliner Book (I). Edited by John Caldwell.
Musica Britannica, I London, 2010. 4º, xxxii, 159 pp. Modern critical edition. The Mulliner Book is published in a completely new edition on the occasion of the 60th anniversary of Musica Britannica. A major source of 16th-c. keyboard music, it is also a compilation of music for cittern and gittern, plus a short vocal piece by Mulliner himself, available for the first time complete in one volume with a detailed commentary. The collection is also of importance for the light it sheds on musical tastes and attitudes at a time when the Reformation and its consequences were becoming embedded in the national psyche. Buckram. $168 [item no.6909]


Legrenzi, Giovanni. Zenobia e Radamisto. Dramma in musica in tre atti. Edizione critica a cura di Stefano Faglia [e] Franca Maria Saini.
Lucca, 2013. 22 x 32 cm, cxiii, 224 pp. Critical edition with unrealized basso continuo. Wrappers. $56 [item no.6765]


Pistocchi, Francesco Antonio. Madrigale Gran Dio, Ah, Voi Languite. Edición crítica a cargo de / Edizione critica a cura di Alejandra Béjar Bartolo.
Lucca, 2012. 22 x 32 cm, xv, 12 pp. Wrappers. $28 [item no.6759]


Sainte-Colombe. Concert à deux violes esgales du Sieur de Sainte-Colombe, éd. Paul Hooreman.
Paris, 2/ 2010. 4º, xxii, 232 pp. Modern edition. 7 concerts for 2 bass viols with descriptive titles such as “Le Tembleur”, “Le Retour”, “L’Estonne”, etc. Wrappers. $85 [item no.6919]


Sammartini, Giovanni Battista. Cantate a voce sola a cura di Mariateresa Dellaborra.
Musiche Italiane del Settecentro, [7]. Lucca, 2011. 4º, lxxviii, 108 pp. Critical edition. 9 solo cantatas with keyboard accompaniment, some calling for 2 violins. Wrappers. $37 [item no.6938]


Sammartini, Giovanni Battista. Cantate per la Quaresima. Il pianto degli Angeli della Pace (J-C 119). A cura di Marina Vaccarini Gallarani.
Musiche Italiane del Settecentro, [8]. Lucca, 2011. 4º, lxxiii, 84 pp. Critical edition. Wrappers. $37 [item no.6939]


Songs in British Sources c.1150-1300. Transcribed and Edited by Helen Deeming.
Musica Britannica, XCV. London, 2013. 4º, lx, 226 pp. Modern critical edition. Partly as a result of the nature of their manuscript transmission, songs from the period 1150 to 1300 have remained unknown or unnoticed with the exception of Sumer is icumen in and Angelus ad virginem. The rich variety of content in MB95 is therefore an important corrective and addition to our knowledge of the period, and is evidence for a vigorous interest in the cultivation and preservation of song in the 12th and 13th centuries. Not all the songs edited here originated in Britain, but their presence in MSS of British origin suggests that all were at least sung here. Most items are found uniquely in single music sources, or with text-only concordances, and around half are published for the first time. Buckram. $175 [item no.6757]


Weill, Kurt (collected edition) Johnny Johnson. Edited by Tim Carter.
The Kurt Weill Edition, I/13. New York, 2012. 30 x 39 cm. 348; 116 pp. Originally produced by the legendary Group Theatre in 1936, Johnny Johnson marked Weill's first contribution to the American musical theater. With book and lyrics by Pulitzer Prize-winning playwright Paul Green, the anti-war musical opened in November 1936 on Broadway, where it enchanted audiences and critics alike. Lee Strasberg directed, and the cast included a young Elia Kazan. The edition presents Johnny Johnson in full score, with the complete spoken text placed between the musical numbers. The editor drew on a vast array of surviving source materials, including not only Weill's manuscripts but also rehearsal scores and sets of instrumental parts, often containing several layers of chaotic performance annotations. Carter's introductory essay illuminates the work's genesis and performance history, the editorial process, and performance issues. 11 plates with facsimiles illustrate editorial challenges and solutions. A separate critical report documents every step of the editorial process and provides additional information for future stagings. Linen. $440 (more info... ) [item no.6935]


Weill, Kurt (collected edition) Music with Solo Violin. Edited by Andreas Eichhorn.
The Kurt Weill Edition, II/2. New York, 2010. 30 x 39 cm. 246; 71 pp. This volume contains the full scores of the Concerto for Violin and Wind Orchestra, op. 12, and Der neue Orpheus, op. 16, Weill’s cantata for soprano, solo violin, and orchestra on a text by Iwan Goll. Weill composed the works in 1924 and 1925, respectively. The concerto received its world premiere in 1925 in Paris during the “Exposition internationale des Arts décoratifs et industriels modernes” (the international arts fair that gave rise to the term art “deco”); the cantata was first heard in 1927 when Erich Kleiber conducted it at Berlin's Staatsoper. Although piano reductions appeared during the composer's lifetime, he never saw the works published in full score. In 1965 Universal Edition issued a full score of the concerto, but it was not actually engraved, and it lacked editorial commentary. Linen. $375 (more info... ) [item no.6904]


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

Addessi, Anna Rita, Ignazio Macchiarella, Massimo Privitera, & Marco Rosso. Con-scientia musica. Contrappunti per Rossana Dalmonte e Mario Baroni. A cura di Anna Rita,Addessi, Ignazio Macchiarella, Massimo Privitera, Marco Rosso.
Lucca, 2010. 12º, x, 540 pp. Festschrift in honor of Rossana Dalmonte & Mario Baroni, 28 articles on a whole range of topics, most of them of theoretical content. Wrappers. $74 [item no.6985]


Agresta, Maria Francesca. Il Suono dell’Iteriorità. Daniele Paris per il cinema di Liliana Cavani, Luigi Di Gianni, Lorenza Mazzetti.
Lucca, 2010. 8º, xvii, 166 pp. Wrappers. $39 [item no.6963]


Alberti, Alfonso. La rosa è senza perché. Niccolò Castiglioni, 1966-1996.
Lucca, 2012. 12º, 281 pp. Wrappers. $44 [item no.6984]


Amato, Mauro, Cesare Corsi & Tiziana Grande. ‘Da Napoli a Napoli’. Musica e musicologia senza confini. Contributi sul patrimonio musicale italiano presentati alla IAML Annual Conference, Napoli 20-25 luglio 2008. A cura di Mauro Amato, Cesare Corsi & Tiziana Grande.
Lucca, 2012. 17 x 24 cm, xxii, 364 pp. Wrappers. $42 [item no.6780]


Rossi, Francesco Rocco. De musica mensurabili. Manuale di notazione rinascimentale.
Lucca, 2013. 17 x 24 cm, 11 + 236 pp. Wrappers. $41 [item no.6781]


Ammetto, Fabrizio. Materiales didácticos. Que apoyan el proceso de enseñanza-aprendizaje de disciplinas musicales y musicológicas (con un CD de audio adjunto). Cuerpo Académico de Musicología de la Universidad de Guanajunato, México. Fabrizio Ammetto (ed.).
Lucca, 2012. 12º, viii, 143 pp. Wrappers. $38 [item no.6981]


Angemüller, Rudolph & Elena Biaggi Parodi. Antonio Salieri (1750-1825) e il teatro musical a Vienna. Convenzioni, innovazioni, contaminazioni stilistiche. A cura di Rudolph Angemüller e Elena Biaggi Parodi.
Grooves—Edizioni di Musiche Audiotattili, 1. Lucca, 2012. 17 x 24 cm, x, 461 pp. Wrappers. $70 [item no.6756]


Argentini, Alessandro & Lucia Ludovica de Nardo. Fonti della musica sacra: testi e incisioni discografiche
Quaderni del Laboratorio Mirage, [2]. Lucca, 2011. 7 x 24 cm, 236 pp. Sacred music and the recording industry. Wrappers. $49 [item no.6987]


Arienta, Sonia. Opera - Paesaggi, sonori, visivi, abitati. Ambientazioni, drammaturgia del suono e personaggi nel melodramma italiano dell’Ottocento. A cura di Sonia Arienta.
Quaderni di Musica/Realtà, 59. Lucca, 2011. 8˚, 440 pp. Wrappers. $40 [item no.6955]


Bellia, Angela. Strumenti musicale e oggetti sonori nell’Italia meridionale e in Sicilia (VI-II sec.a.A.). Funzioni rituali e contesti.
Aglaia, 4. Lucca, 2012. 8°, xiv, 156 pp. Wrappers. $45 [item no.6976]


Bertiere, Maria Chiara. I teatri de Ferrara. Il Tosi-Borghi (1857-1912)
Con Notazioni, 11. Lucca, 2012. 8º, lxxx, 616 pp. Wrappers. $91 [item no.6967]


Bissoli, Francesco. La Lina di Ponchielli nel solco di un genere medio.
Lucca, 2010. 8˚, ix, 178 pp. Wrappers. $47 [item no.6962]


Bissoli, Francesco. Storia e fonti della Marion Delorme di Ponchielli.
Strumenti della Ricerca Musicale, 18. Lucca, 2012. 8º, x, 256 pp. Wrappers. $42 [item no.6969]


Sirsch, Licia, Maria Grazia Sità, & Marina Vaccarini. L’insegnamento dei conservatori, la composizione e la vita musicale nell’Europa dell’Ottocento. A cura di Licia Sirch, Maria Grazia Sità, Marina Vaccarini.
Strumenti della Ricerca Musicale, 19. Lucca, 2012. 8º, xxiv, 671 pp. Wrappers. $77 [item no.6970]


Cahiers Debussy. No.33 - 2009.
Paris. 2010. 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]


Cahiers Debussy. No.35 - 2011.
Paris. 2011. 8º, 215 pp. $38 [item no.6924]


Calabretto, Roberto. Andrej Tarkovskij e la musica. A cura di Marco Vincenzi.
Quaderni di Musica/Realtà, 58. Lucca, 2010. 8˚, 309 pp. Wrappers. $46 [item no.6954]


Capra, Marco & Ivano Cavallini. Arturo Toscanini. Il direttore e l’artista mediatico. A cura di Marco Capra e Ivanno Cavallini.
Lucca, 2011. 14 x 21 cm, viii, 333 pp. Wrappers. $44 [item no.6990]


Caraci Vela, Maria. La filologia musicale. Istituzioni, storia, strumenti, critici. Volume III. Antologia di contributi filologici.
Lucca, 2013. 17 x 24 cm, xii, 698 pp. Wrappers. $84 [item no.6763]


Caroprese, Mariantonietta. George Sand, la musica e i musicisti romantici. Atti della Giornata di Studi (Latina, 21 settembre 2007). A cura di Mariantonietta Caroprese.
Lucca, 2010. 12º, xiii, 197 pp. Conference proceedings. Contents: Annarosa Poli: George Sand: una vita troppo nota, un'opera scoperta troppo tardi; Stefano Ragni: “La prima donna” di George Sand: nasce il mito della 'diva'; Mariantonietta Caroprese: George Sand e Franz Liszt tra Parigi, Ginevra e Nohant; Raoul Meloncelli: La multiforme attività artistica di Pauline Vilardot-Garcia egeria di George Sand, nel panorama musicale europeo dell'Ottocento; Danièle Pistone: La musica notturna nella Francia romantica: da Parigi a Nohant; Claudia Colombati: Fryderyk Chopin e George Sand: tra vita e arte; Markus Engelhardt: La lettera aperta di George Sand a Giacomo Meyerbeer. Wrappers. $39 [item no.6893]


Cavallo, Paolo. Le fonti musicali in Piemonte, Vol. III: Asti e Provincia. A cura di Paolo Cavallo.
Cataloghi di Fondi Musicali del Piemonte, 6. Lucca, 2012. 17 x 24 cm, xxxvi, , 428 pp. Wrappers. $58 [item no.6993]


Ballardini, Franco & Fabio Renato d’Ettorre. Mazzini pensatore, umanista, musicista amatore. Trento, Riva del Garda, aprile-ottobre 2005. Nel bicentenario della nascita di Giuseppe Mazzini. Sotto l’egida del Comitato Nazionale per le Celebrazioni del Bicentenario della nascita di Giuseppe Mazzini. Sotto l’Alto Patronato del Presidente della Repubblica. A cura di Franco Ballardini e Fabio Renato d’Ettorre.
Lucca, 2012. 17 x 24 cm, x, 195 pp, audio CD. Wrappers. $56 [item no.6999]


Boella, Daniela Petrobelli. Tra feste e cerimonie. Catalogo di una collezione dispersa. A cura di Daniela Petrobelli Boella.
Lucca, 2012. 17 x 24 cm, xx, 530 pp. Wrappers. $58 [item no.6741]


Cicco, Dario de. Cicco. ‘Amico carissimo...’ Verdi e Fraschini attraverso alcune corrispondenze. A cura di Dario de Cicco.
Lucca, 2013. 14 x 22 cm, xix, 102 pp. Wrappers. $28 [item no.6762]


Colturato, Annarita & Andrea Merlotti. La festa teatrale nel Settecento. Dalla corte di Vienna alle corti d’Italia. Atti del Convegno Internazionale di Studi, Reggia di Venaria, 13-14 novembre 2009. A cura di Annarita Colturato e Andrea Merlotti.
Lucca, 2011. 8º, 345 pp. Wrappers. $60 [item no.6978]


Colturato, Annarita. Mettere in scena la regalità. Le feste teatrali di Gaetano Pugnani al Regio di Torino.
Le Chevalier Errant, Studi sulla degli Antichi Stati Sabaudi e del Piemonte, 8. Lucca, 2012. 17 x 24 cm, 148 pp. Wrappers. $43 [item no.6740]


Cossettini, Luca. Luigi Nono: Studi, edizione, testimonianze.
Quaderni del Laboratorio Mirage. Lucca, 2010. 8˚, xviii, 265 pp. Wrappers. $54 [item no.6964]


Cresti, Renzo. Richard Wagner. La poetica del puro umano.
Lucca, 2012. 8º, xxv, 700 pp. Wrappers. $69 [item no.6977]


Cresti, Renzo. Richard Wagner. The Poetics of the Pure Human.
Lucca, 2012. 12º, 236 pp. Wrappers. $44 [item no.6975]


Curti-Feininger, Danilo & Marco Gozzi. I codici musicali Trentini del Quattrocento. Nuove scopete, nuove edizioni e nuovi strumenti informatici. Atti del convegno internazionale di studi / The Trent Codices: New Findings, New Editions and New Electronic Resources. Trento, Castello del Buonconsiglio, 28-29 novembre 2009. A cura di Danilo Curti-Feininger e Marco Gozzi.
Lucca, 2013. 21 x 24 cm, 175 pp. Contributions: Danilo Curti-Feininger, Armando Tomasi, Bonnie J. Blackburn, Margaret Bent, David Fallows, Jeffrey J. Dean, Antonio Carlini, Marco Gozzi. Wrappers. $28 [item no.6760]


Dalmonte, Rossana. Liszt Pädadogium. Composizioni pianistiche di Franz Liszt. Con varianti, aggiunte e cadenze tratte dall’insegnamento del maestro e notate da Lina Ramann. A cura di Rossana Dalmonte.
Lucca, 2011. Oblong, 14 x 21 cm, xxix, 211 pp. Wrappers. $45 [item no.6750]


De Angelis, Marcello. Si chiude. Anzi. Si apre!. Cronache musicali di “poveri” teatri dal 1960 a oggi.
Lucca, 2010. 12º, xiii, 256 pp. Wrappers. $32 [item no.6894]


De Benedictis, Angela Ida. Presenza storica di Luigi Nono. A cura di Angela Ida De Benedictis con la collaborazione di Laura Zattra.
Quaderni di Musica/Realtà, 60. Lucca, 2011. 8˚, 271 pp. Wrappers. $40 [item no.6956]


De Clavicordio IX. Proceedings of the International Clavichord Symposium. Haydn and the Clavichord. From Clavichord to Fortepiano, a cura, con Bernard Brauchli e Judith Wardman.
Piemonte, 2010. 8º, 250 pp. Articles on all aspects of the clavichord by leading scholars, builders and performers. Wrappers. $92 (more info... ) [item no.6899]


De Clavicordio X. Proceedings of the X International Clavichord Symposium Magnano, 6–10 September 2011 Edited by B. Brauchli, A. Galazzo, J. Wardman.
Piemonte, 2010. 8º, 284 pp. Articles on all aspects of the clavichord by leading scholars, builders and performers. This issue includes an article on the Swedish lute. Wrappers. $92 (more info... ) [item no.6946]


Dellaborra, Mariateresa. “Il ciel non soffre inganni”. Attorno al Demetrio di Mysliveček, “Il Boemo”. A cura di Mariateresa Dellaborra.
Strumenti della Ricerca Musicale, 17. Lucca, 2011. 8º, xii, 167 pp. Wrappers. $45 [item no.6980]


Dellaborra, Mariateresa. Andrea Stefano Fiorè (1686-1732). Musicista dal “vasto talento”. A cura di Mariateresa Dellaborra.
Le Chevalier Errant, Studi sulla degli Antichi Stati Sabaudi e del Piemonte, 6. Lucca, 2010. 17 x 24 cm, xii, 217 pp. Conference proceedings devoted to the music of Andrea Stefano Fiorè (1686-1732). Contents: Sergio Balestracci: Andrea Stefano Fiorè, Maestro di cappella di Vittorio Amedeo II; Mariateresa Dellaborra L´attività teatrale di Fiorè tra Torino e Milano; Sara Dieci: “La vera Scuola de´ Secoli presenti”. Intorno ad alcune cantate di Stefano Fiorè; Piero Gargiulo/Alberto Magnolfi: Il “Miserere” di Andrea Stefano Fiorè (1699?), ovvero il sacro ´in scena´; Giancarlo Marchisio: Gli arcani più profondi dell´arte: fonti d´archivio delle musiche di Andrea Stefano Fiorè. Rosy Moffa: Musici, suonatori e “genti di livrea”: la Cappella Regia Sabauda negli anni di Fiorè; Fabio Bellofiore: Le “Sinfonie da chiesa a tre” opera prima di Andrea Stefano Fiorè. Wrappers. $49 [item no.6995]


Dellaborra, Mariateresa. Alessandro Rolla. Un caposcuola dell’arte violinistica lombarda. Atti del covegno di studi Pavia, Università degli Studi, 4-6 Maggio 2007. A cura di Mariateresa Dellaborra.
Strumenti della Ricerca Musicale, 15. Lucca, 2010. 8º, x, 400 pp. Congress proceedings dedicated to the life and influence of Alessandro Rolla (1757-1841) teacher of Paganini and important innovator of violin and viola technique. Wrappers. $64 [item no.6952]


Dolfi, Teresa & Luciano Vannucci. Catalogo del Fondo Musicale Rospigliosi. A cura di Teresa Dolfi e Luciano Vannucci.
Beni Culturali, Provincia di Pistoia, 50 Lucca, 2011. 12º, xxx, 565 pp. Wrappers. $67 [item no.6983]


Fallows, David. Josquin.
Collection “Épitome Musical”. Turnhout, 2010. 8°, 522 pp. This book assembles and assesses the newly available material. on the life and work of Josquin Desprez. It builds the main works into the narrative of Josquin's life. Appendices include a critical listing of the documents about Josquin, a summary of later literary references to him, summaries of the relevant information about the main figures mentioned in the book, a list of other musicians at the time named Josquin or something similar (35 of them!) and much else. Hardbound. $138 [item no.6932]


Fonti musicali italiane. 15/2010. Edito a cura CIDIM del CIM/UNESCO Comitato Italiano Musica e della SIdM - Società Italiana di Musicologia.
Lucca, 2010. 23 x 23 cm, 378 pp. Contents: Francesco Rocco Rossi: Leonardo, Boezio o David? Le immagini miniate nel Liber Musices di Florentius (I-Mt 2146) e le loro (im)possibili letture iconografiche; Piero Gargiulo: Philippus de Monte nelle testimonianze del primo Seicento: fonti e modelli di citazione; Teresa M. Gialdroni: Arie e cantate nella Biblioteca Comunale di Urbania; Barbara Cipollone: I Monti e la stampa della musica a Bologna nel secondo Seicento; Claudio Bacciagaluppi/Janice Stockigt: Italian Manuscripts of Sacred Music in Dresden: The Neapolitan Collection of 1738-1740; Silvia Caratti: “Della maniera da tenersi per solennizzare le feste dell’università”: la musica all’Ateneo di Torino nel Settecento; Anthony Hart: Monsignor Antonino Reggio, cembalista e compositore del Settecento; Riccardo Giusti: Il Teatro d’Angennes di Torino. Profilo storico, cronologia e catalogo dei libretti (1765-1848); Luca Aversano: Una fonte per la storia musicale del Mezzogiorno d’Italia alla metà del XIX secolo: Il Regno delle Due Sicilie descritto ed illustrato di Filippo Cirelli. Wrappers. $49 [item no.6958]


Frasca, Simona. Birds of Passage. I musicisti Napoletani a New York (1895-1940).
Collana di Studi Musicali Afro-Americana e Popular, 2 Lucca, 2010. 12º, xxix, 215 pp. Wrappers. $34 [item no.6891]


Gagliardi, Maurizio. Sulle ali di un grande vascello. Idee e percorsi storico-musicali per la formzione di base.
Lucca, 2011. 14 x 21 cm, xii, 123 pp. Wrappers. $30 [item no.6752]


Caporaletti, Vincenzo. Jelly Roll Morton, la Old Quadrille e Tiger Rag. Una revisione storiografica / Jelly Roll Morton, the Old Quadrille and Tiger Rag. A Historiographic Revision. Prefazione di / Preface by Bruce Boyd Raeburn.
Grooves—Edizioni di Musiche Audiotattili, 1. Lucca, 2011. 22 x 3b1 cm, xii, 104 pp. Wrappers. $37 [item no.6753]


Guizzi, Febo. Maschere di suoni. Costruzione del caos e affermazione di sé. Per un ‘antropologia sonara della liminarità contemporancea. A cura di Febo Guizzi.
Lucca, 2013. 17 x 24 cm, 471 pp. Wrappers. $49 [item no.6758]


Gulino, Maria Giovanna. Liszt, dopo una lettura de Dante “...quanti dolci pensier, quanto disio menò costoro al doloroso passo!”.
Akademos. Lucca, 2011. 17 x 24 cm, 99 pp. Wrappers. $31 [item no.6989]


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


Imago Musicae XXIV 2011. International Yearbook of Musical Iconography.
Lucca, 2011. 8º, 244 pp. Cloth. $112 (more info... ) [item no.9232]


Imago Musicae XXV 2012. International Yearbook of Musical Iconography.
Lucca, 2012. 8º, 244 pp. Cloth. $112 [item no.9303]


Imago Musicae XXVI 2013. International Yearbook of Musical Iconography.
Lucca, 2012. 8º, 244 pp. Cloth. $115 [item no.9352]


Miscia, Gianfranco. Fedele Fenaroli. Il didatta e il compositore. Atti del Convegno Nazionale, Lanciano, 15-16 novembre 2008. A cura di Gianfranco Miscia. Prefazione di Giudo Salvetti.
Strumenti della Ricerca Musicale, 16. Lucca, 2011. 8º, xvi, 315 pp. Congress proceedings dedicated to the life and influence of Fedele Fenaroli (1730-1818), composer and pedagogue. Wrappers. $64 [item no.6979]


Moffa Bosco, Rosy. Fondi musicali dell’archivio ebraico Terracini. Fondo Saluzzo, Fondo Alessandria, Manoscritti di Musica Sinagogale dell’Ottocento.
Cataloghi di Fondi Musicali del Piemonte, 8. Lucca, 2012. 17 x 24 cm, xlx, , 214 pp. Wrappers. $44 [item no.6988]


Montanari, Claudio. Il campanile e lo spettacolo.
Alia Musica, 16. Lucca, 2011. 8º, 28 pp, audio CD. Wrappers. $27 [item no.6953]


Pasticci, Susanna. Sinfonia di Salmi: l’esperienza del sacro in Stravinskij.
Musicalia, 9. Lucca, 2012. 17 x 24 cm, vi, 192 pp. Wrappers. $43 [item no.6998]


Pestalozza, Luigi. Mie memorie. Vita musica altro.
Lucca, 2013. 17 x 24 cm,, 683 pp. Wrappers. $63 [item no.6764]


Porrino, Stefania. Teatro musicale. Lezioni di regia. Prefazione di Guido Salvetti con contributi di Carla Carretti, Laura Citti, Luciano D’Arpino, Vincenzina Nicastri, Daniela Terreri.
Lucca, 2013. 17 x 24 cm, xv, 335 pp. Wrappers. $56 [item no.6761]


Recercare XX1/1-2 2009. A Patrizio Barbieri per i suoi 70 anni. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].
Lucca, 2010. 8º, 306 pp. Peter Williams : Is music a discrete mode of experience?; Philippe Canguilhem : The madrigal en route to Florence (1540-1545); Arnaldo Morelli : Una nuova fonte per la musica di Ghiselino Danckerts “musico e cantore cappellano della cappella del papa”; Renato Meucci : Alessandro Piccinini e il suo arciliuto; Paolo Gozza : La dialettica dello strumento musicale nell'età moderna; Luigi Ferdinando Tagliavini : Fabio da Bologna, virtuoso costruttore di cembali; Francesco Luisi : Nuovi accertamenti sui quadri e sui violini di Corelli. Storie di collezionismo al tempo di Clemente XI; Giancarlo Rostirolla : Il Mondo novo accresciuto. Trenta nuovi disegni di Pier Leone Ghezzi dal Museo dell'Ermitage di San Pietroburgo; Huub van der Linden : Pistocchi's gift: Traeri's organ (1719) for San Filippo Neri in Forlì. Wrappers. $38 [item no.6895]


Recercare XXII/1-2 2010. A Patrizio Barbieri per i suoi 70 anni. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].
Lucca, 2011. 8º, 196 pp. $35 [item no.6920]


Recercare XXIII/1-2 2011. A Patrizio Barbieri per i suoi 70 anni. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].
Lucca, 2012. 8º, 196 pp. $35 [item no.6936]


Recercare XXIV/1-2 2012. A Patrizio Barbieri per i suoi 70 anni. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].
Lucca, 2013. 8º, 196 pp. $35 [item no.6745]


Rota, Daniela. I Gesuiti e le Tarantole.
Lucca, 2012. 12º, x, 129 pp. Wrappers. $44 [item no.6986]


Ruberti, Giorgio. Il verismo musicale.
Lucca, 2011. 12º, xiv, 280 pp. Wrappers. $44 [item no.6982]


Santarelli, Cristina. La gara degli elementi: acqua, aria, terra e fuoco nelle feste sabaude (1585-1699).
Le Chevalier Errant, Studi sulla degli Antichi Stati Sabaudi e del Piemonte, 7. Lucca, 2010. 17 x 24 cm, xi, 242 pp. Wrappers. $49 [item no.6739]


Sità, Maria Grazia & Corrado Vitale. I Quartetti di Béla Bartók. Contesto, testo, interpretazione.
Repertori Musicali, 4. Lucca, 2012. 14 x 22 cm, viii, 347 pp. Wrappers. $45 [item no.6968]


Tonini, Giuliano. Ferruccio Busoni. Aspetti biografici, estetici e compositivi inediti. A cura di Giuliano Tonini.
Quaderni di Musica/Realtà, 57. Lucca, 2010. 14 x 21 cm, 27, 399 pp. Wrappers. $50 [item no.6997]


Vavoulis, Vassilis. ‘Nel theatro di tutta l’Europa’. Venetian-Hanovererian Patronage in 17th-Century Europe.
Lucca, 2010. 8˚, xlvii, 502 pp. Wrappers. $62 [item no.6961]


Viarengo, Alberto. Catalogo dei Testi per musica della Biblioteca del Teatro Coccia. Archivio di Stato di Novara. A cura di Alberto Viarengo.
Cataloghi di Fondi Musicali del Piemonte, 7. Lucca, 2010. 17 x 24 cm, lvi, , 220 pp. Wrappers. $44 [item no.6994]


Visentini, Olga. Berlioz e il su tempo.
Musica Ragionata, 19. Lucca, 2010. 12º, 2 vols, xvi, 1385 pp. Wrappers. $115 [item no.6892]


Zimei, Francesco. Beyond 50 Years - Certaldo VIII.
Lucca, 2014. 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.6783]