Donizetti. Don Pasquale dramma buffo in 3 atti (AA I/3 [ASR 1])

Don Pasquale. Dramma buffo in tre atti di Giovanni Ruffini. Facsimile dell’autografo Milano, Archivio storico Ricordi (M.I.13). Con un saggio di Philip Gossett.
[Archivio Storico Ricordi]. L’Arte Armonica, I/3. Milan, 1999. Oblong, 33 x 25 cm, 147, 434 pp. Deluxe full-color facsimile of the full “working” score, issued on the occasion of the two hundred anniversary of the composer’s birth. The history and genesis of this fascinating work, premiered at Teatro alla Scala 17 April 1843 is carefully analyzed by Philip Gossett’s companionwork. Limited deluxe edition with binding that reproduces the original; handsome clamshell case in green cloth with pasted label. $825 (more info... ) [item no. 7802]

Verdi. Otello [Deluxe Facsimile, Casa Ricordi Milan] [ASR 2]

Otello. L’Otello di Verdi e Casa Ricordi / Verdi’s Otello and Casa Ricordi. Saggi/Essays by Gabriele Dotto, Maria Pia Ferraris, Mercedes Viale Ferrero. A cura di/Edited by Ilaria Narici. [Casa Ricordi Milan].
[Archivio Storico Ricordi]. Milan, 2002. 28 x 36 cm, 6 vols, 971 pp. Full-color facsimile of the autograph score in 4 volumes as preserved in the Ricordi archives; a portfolio containing the facsimile of the 2 fascicles of the ballet music and finale III (Paris, 1894) and a volume on the history and iconography of the opera. Deluxe bibliophile edition of 100 numbered copies.Quarter leather with paper boards (after the original) , in 2 clamshell cloth cases. (publisher’s price: euro 5,288--please inquire for SPECIAL OMI price). (more info... ) [item no. 8178]

Puccini. Tosca [Deluxe Facsimile, Casa Ricordi] [ASR 3]

Tosca. A cura di/Edited by Ilaria Narici. [Casa Ricordi, Milan].
[Archivio Storico Ricordi]. Milan, 2004. 35,5 x 53,5 cm, 4 vols, 528 + 96 pp. Full-color facsimile of the autograph score in 3 volumes as preserved in their original folio format in the Ricordi archives, accompanied by one volume on the history and iconography of the opera by Roger Parker (’’Easy reading is damned hard writing’: Puccini at Work”) and Mercedes Viale Ferrero(”Tosca Viewed”). Quarter leather with golden lettering and ornaments (after the original), in handsome clamshell case covered in brown cloth. Commentary vol. in wrappers. Bibliophile edition of 100 numbered copies. (publisher’s price: euro 5,500--please inquire for special OMI price). (more info... ) [item no. 8491]

Sketches and Photographs from the Ricordi Historical Archives [ASR 4]

Sketches and Photographs from the Ricordi Historical Archives.
[Archivio Storico Ricordi] Milan, 2006. Oblong, 48 x 33 cm, 16 plates. A selection of fine reproductions of original material preserved in the Ricordi Historical Archives, Milan, an Italian National Heritage Site. The bibliophile-quality, large-format and faithful-to-the-original reproductions—from the golden period of Italian opera—are suitable for framing or, in a library environment, provide an excellent resource for scholars. The collection consists of 12 sketches (mostly scene designs) and 4 photographs. Contents: Mascagni/Iris (act III); Mulè/Liola (act I); Respighi/La Fiamma; La Scala; Puccini/La Boheme, Puccini/Madama Butterfly (act I) Puccini/Il Tarbarro; Puccini/Tosca (act III); Puccini/Turnandot; Zandonai/I Cavalieri di Ekebu (act I); Zandonai/Conchita (act III); Zondonai/Melenis (act III); Photos: Puccini in New York; Puccini in Automobile; Verdi with a Parasol; Verdi in the Garden at Sant’Agata.  (more info... ) [item no. 8728]

Donizetti. Maria Stuarda. Score/Crit. Commentary [CED 1]

Maria Stuarda: tragedia lirica in due atti.
Critical Edition of the Works of Gaetano Donizetti, [1]. Milan, 1991. 4º, 2 vols. Linen. $285 [item no. 5796]

Donizetti. Il campanello. Partitura, ed. Narici [CED 2]

Il campanello. Farsa, parole e musica di Gaetano Donizetti. A cura di Ilaria Narici. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [2]. Milan, 1996. 4º, xxxii, 318 pp. rs. $150 [item no. 5797]

Donizetti. La favorite, opéra, ed. Harris-Warrick [CED 3]

La favorite. Opéra en quatre actes di Alphonse Royer, Gustave Vaëz e Eugène Scribe. A cura di Rebecca Harris-Warrick. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [3]. Milan, 1997. 4º, 2 vols, xlvii, 903 pp. Linen. $295 [item no. 6052]

Donizetti. La favorite, opéra. Critical piano-vocal score

La favorite. Reduction for Voice and Piano Based on the Critical Edition of the Orchestral Score, Edited by Rebecca Harris-Warrick.
Critical Edition of the Works of Gaetano Donizetti, [3]. Milan, 1997. 8º, 495 pp. Linen. $35 [item no. 6721]

Donizetti. Poliuto. Tragedia, ed. Ashbrook/Parker [CED 4]

Poliuto. Tragedia lirica in tre atti di Salvatore Cammarano. Edizione critica a cura di William Ashbrook e Roger Parker. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [4]. Milan, 2000. 4º, 2 vols, xxvii, 633 pp. Poliuto, throughout a convoluted history including French renditions and official censorship, has undergone numerous unauthorized alterations and additions. This critical edition finally presents the opera in the form originally conceived by the composer and adheres to his autographscore, along with an appendix containing the overture written for the Paris version and a replacement cabaletta for the soprano. Linen. $375 [item no. 6320]

Donizetti. Le convenienze. Score/Crit. Commentary [CED 5]

Le convenienze ed inconvenienze teatrali. Dramma giocoso in un atto di Domenico Gilardni. Edizione critica a cura di Roger Parker e Anders Wiklund. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [5]. Milan, 2002. 4º, 2 vols, xxxii, 669 pp. Le convenienze ed inconvenienze teatrali is surely one of history's wittiest operatic treatments of the foibles of opera itself: it depicts a rehearsal thrown into chaos by stage mother—played by a bass in woman's costume—who wishes her own daughter to upstage the prima donna. Thiscritical edition is the first to assemble all versions of the opera with which Donizetti himself was involved. The base text is the second version performed in Naples in 1831; its musical numbers can be connected with by spoken dialogue or by contemporary recitatives, both provided here. In addition, extensive appendices contain all extant materials for the first version of 1827,as well as several pieces that Donizetti composed for revivals of the opera during the 1830s. Linen. $325 [item no. 6397]

Donizetti. Dom Sébastien, roi de Portugal, ed. Smart [CED 6]

Dom Sébastien, roi de Portugal. Opéra en cinq actes di Eugène Scribe. Edizione critica a cura di Mary Ann Smart. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [6]. Milan, 2003. 4º, 2 vols, xxxviii, 965 pp. Donizetti's moving and tragic opera Dom Sébastien, a full five-act grand opéra, was his last and perhaps most ambitious project. He had taken Paris by storm in previous years with a volley of triumphs and planned Dom Sébastien as an impressive and innovative artistic statement. Yetthe project was plagued by demands for cuts and alterations during the rehearsal period. While the 1843 Paris premiere was a success, the dissatisfied composer made several changes for the opera's 1845 Vienna premiere. For the 1847 Milan production, however, changes and misreadings generated an altered version in Italian—the version commonly known today—and Donizetti's failinghealth prevented his involvement then or later. Recent musicological speculation about this distorted version has generated further misunderstanding. This new critical edition restores the original French text as Donizetti planned it and provides scholars and musicians with a definitive edition of the composer’s last great masterwork. Appendixes include his variants from the 1845Viennese production, most notably the new ensemble piece added to the finale of the third act. Commentary in Eng. Cloth. $425 [item no. 6549]

Donizetti. Linda di Chamounix, ed. G. Dotto [CED 7]

Linda di Chamounix. Melodramma in tre atti. Edizione criticia a cura di Gabriele Dotto. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [7]. Milan, 2006. 4º, 2 vols, lviii, 845 pp. Linda di Chamounix provides a fascinating case study of Donizetti's habit of frequent rewriting, as it underwent three significant revisions in the year following its 1842 premiere. This critical edition, using sources that in some cases have never before been studied, allowsperformers and scholars to reconstruct all three versions. Appendixes include a contemporary orchestration of the stage band part and an early version of the first-act tenor aria which was replaced before the premiere and never performed. Cloth. $430 [item no. 6638]

Donizetti. Pia de’Tolomei, ed. G. Pagannone [CED 8]

Pia de’Tolomei. Edizione criticia a cura di Giorgio Pagannone. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [8]. Milan, 2006. 4º, 2 vols, c.850 pp. By the mid 1830s, as he began to dominate European stages, Gaetano Donizetti was pushing the boundaries of heightened romanticism in music, seeking texts that featured increasingly melodramatic and violent emotions and the savage consequences of irrational passion. Pia de’ Tolomei ranksamong his more disquietingly intense and fast-paced works. As one historian has observed, there is ample reason to recognize Pia as one of the most strikingly pre-Verdian of all Donizetti’s operas. Yet Pia was also a protean text, having no stable form, but changing in shape according to each new venue, as Donizetti returned to the score on a number of occasions. This criticaledition reconstructs the premiere Venice version (1837) as the base text, but it offers in appendixes the possibility of reconstructing the two other principal versions, of Senigallia (1837) and Naples (1838). Cloth. $497 [item no. 6679]

Donizetti. Deux hommes et une femme [CED 9]

Deux hommes et une femme. Edizione critica a cura di Paolo Rossini e Francesco Bellotto. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [9]. Milan, 2008. 4º, 384 pp. First performed a dozen years after the composer’s death, Deux Hommes et une femme (Rita) has become, in the last 50 years, one of the more frequently performed of all of Donizetti’s operas. Yet the version known to modern audiences reflects apocryphal additions introduced for the posthumouspremiere. This new critical edition establishes for the first time the version of the opera conceived by Donizetti. In particular, it restores the French-language spoken dialogue—reconstructed thanks to a recently discovered MS libretto with autograph annotations—dialogue around which the composer constructed this delightful opéra comique. The edition is based on Donizetti'sautograph manuscript, which allows for the part of Pepé to be sung either by a tenor or a baritone, and which restores many important details that were lost or ignored when the opera came to be revived. Cloth. $325 [item no. 6706]

Donizetti. Betly. Opera comica [CED 10]

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. $400 [item no. 6905]

Donizetti. Maria di Rohan [CED 11]

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]

Donizetti. Les martyrs - Opera in 4 atti [CED 12]

Les martyrs—opera in quattro atti. Edizione critica a cura di Flora Willson.
Critical Edition of the Works of Gaetano Donizetti, [12]. Milan, 2016. 4º, 2 vols, 969 pp. Cloth. $468 [item no. 6798]

Donizetti. Anna Bolena, tragedia lirica in 2 atti [CED 13]

Anna Bolena. Tragedia lirica in due atti. Edizione critica a cura di Paolo Fabbri. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [13]. Milan, 2017. 4º, 2 vols, lvii, 944 pp. Cloth. $448 [item no. 6810]

Donizetti. Lucrezia Borgia, Melodramma [CED 14]

Lucrezia Borgia, Melodramma in un prolongo e due att. Edizione critica a cura di Roger Parker e Rosie Ward. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [14]. Milan, 2019. 4º, 2 vols, lvii, 944 pp. Originally premiering at La Scala on Dec. 26, 1833, Lucrezia Borgia is considered one of Donizetti’s most innovative operas and by the late 1830s it had become one of the composer’s most popular operas in Italy and abroad. Lucrezia Borgia spotlights an unconventional heroine, who’sbold and strong-willed; an unusual multitude of characters caught up in their own moral turmoil; and hard-fought musical dramaturgy that succeeds in blending comic and tragic. The new critical edition of Lucrezia Borgia takes the 1998 critical edition a step further. The earlier version was based solely on the original manuscript of the score, and limited itself to areconstruction of the 1833 premiere. But now, for the first time, Parker and Ward’s critical edition brings back all the changes made by Donizetti over the course of at least ten years. His revisions were done partly to adapt the opera to the demands of new singers and new venues in cities like Florence, London, Milano, Paris, Rome, Metz, to name just a few; and partly as a wayto experiment with new dramaturgical solutions, especially in the finale. Cloth. $458 [item no. 6834]

Donizetti. La fille du régiment opera comique [CED 15]

La fille du régiment. Opéra comique en deux actes di Jules-Henri Vernoy de Saint-Georges e Jean-Françcois-Alfred Bayard. Edizione critica a cura di Claudio Toscani. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [15]. Milan, 2021. 4º, 2 vols, lii, 599 pp. Cloth. $538 [item no. 9655]

Donizetti. Lucia di Lammermoor [CED 16]

Lucia di Lammermoor. Dramma tragico in tre atti di Salvadore Cammarano. Edizione critica a cura di Roger Parker. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [16]. Milan, 2021. 4º, 2 vols, xliv, 648 pp. Cloth. $511 [item no. 9685]

Donizetti. Roberto Devereux [CED 17]

Roberto Devereux. Tragedia lirica in tre atti di Salvadore Cammarano. Edizione critica a cura di Julia Lockhart. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [17]. Milan, 2022. 4º, 2 vols, xl, 559 pp. Cloth. $412 [item no. 9709]

Rossini. Il barbiere di Siviglia. Crit. piano-vocal score (CEVS)

Il barbiere di Siviglia (The Barber of Seville). Riduzione per canto e pianoforte condotta sull’edizione critica della partitura a cura di Alberto Zedda.
Critical Editions of Vocal Scores. Milan, 1997. 8º, liii, 488 pp. Wrappers. $40 [item no. 6016]

Rossini. Ermione. Critical piano-vocal score (CEVS)

Ermione. Vocal Score Based on the Critical Edition of the Orchestral Score, Edited by Patricia Brauner and Philip Gossett.
[Critical Editions of Vocal Scores]. Milan, 2006. 8º, xl, 338 pp. Wrappers. $40 [item no. 6725]

Rossini. La gazza ladra. Critical piano-vocal score (CEVS)

La gazza ladra (The Thieving Magpie). English Version by Tom Hammond Edited and Revised by T. Hawkes and P. Gossett. English Version of the Variant Arias by A. Jacobs. Reduction for Voice and Piano Based on the Critical Edition of the Orchestral Score Published by the Fondazione Rossini of Pesaro Edited by Alberto Zedda.
[Critical Editions of Vocal Scores]. Milan, 1989. 8º, lii, 696 pp. Wrappers. $40 [item no. 5782]

Rossini. L’Italiana in Algeri. Critical piano-vocal score (CEVS)

L’Italiana in Algeri (The Italian Girl in Algiers). New English Version by Arthur Jacobs. Reduction for Voice and Piano by Azio Corghi Based on the Critical Edition of the Orchestral Score Published by the Fondazione Rossini of Pesaro. Edited by Azio Corghi.
[Critical Editions of Vocal Scores]. Milan, 1992. 8º, li, 529 pp. Wrappers. $38 [item no. 5783]

Rossini. Occasione fa il Ladro. Crit.piano-vocal score (CEVS)

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

Rossini. La scala di seta. Critical piano-vocal score (CEVS)

La scala di seta. Vocal Score Based on the Critical Edition of the Orchestral Score, Edited by Anders Wiklund.
[Critical Editions of Vocal Scores]. Milan, 2003. 8º, xxix, 247 pp. Wrappers. $40 [item no. 6722]

Rossini. Il signor Bruschino. Crit. piano-vocal score (CEVS)

Il signo Bruschino ossia Il figlio per azzardo (Signor Bruschino or The Would-Be Son). English Version by Kate Singleton. Reduction for Voice and Piano Based on the Critical Edition of the Orchestral Score Published by the Fondazione Rossini of Pesaro Edited by Arrigo Gazzaniga.
[Critical Editions of Vocal Scores]. Milan, 1994. 8º, xxvii, 234 pp. Wrappers. $41 [item no. 5784]

Rossini. Tancredi. Critical piano-vocal score (CEVS)

Tancredi. Melodramma Eroico in Two Acts. Reduction for Voice and Piano Based on the Critical Edition of the Orchestral Score Published by the Fondazione Rossini of Pesaro, Edited by Philip Gossett.
[Critical Editions of Vocal Scores]. Milan, 1991. 8º, lxvii, 549 pp. Wrappers. $65 [item no. 5785]

Rossini. Viaggio a Reins. Critical piano-vocal score (CEVS)

Viaggio a Reims. Vocal Score Based on the Critical Edition of the Orchestral Score, Edited by Janet Johnson.
[Critical Editions of Vocal Scores]. Milan, 2006. 8º, ci, 523 pp. Wrappers. $57 [item no. 6724]

Verdi. Alzira. Critical piano-vocal score (CEVS)

Alzira. Tragedia lirica in tre atti Salvadore Cammarano. Riduzioine per canto e pianoforte condotta sull’edizione critica / Vocal Score Based on the Critical Edition. A cura / Edited by Stefano Castelvecchi. Con la collaborazione di / with the Collaborationof Jonathan Cheskin.
[Critical Editions of Vocal Scores]. Milan, 2002. 8º, lxvii, 279 pp. Wrappers. $50 [item no. 6435]

Verdi. Il corsaro. Critical piano-vocal score (CEVS)

Il corsaro. Melodramma tragico in Three Acts. Libretto by Francesco Maria Piave. he Piano-Vocal Score Based on the Critical Edition of the Orchestral Score by Elizabeth Hudson.
[Critical Editions of Vocal Scores]. Milan, 2003. 8º, 376 pp. Wrappers. $45 [item no. 6719]

Verdi. Ernani. Critical piano-vocal score (CEVS)

Ernani (1844). Libretto by Francesco Maria Piave, based on Hernani by Victor Hugo. Critical edition by Claudio Gallico. English translation by Mark Herman & Ronnie Apter.
[Critical Editions of Vocal Scores]. Milan, 1995. 8º, lxi, 408 pp. Wrappers. $50 [item no. 6014]

Sacrati. La finta pazza (DMV 1)

La finta pazza. Partitura in facsimile ed edizione dei libretti. A cura di Nicola Usula.
Drammaturgia Musicale Veneta, 1. Milan, 2018. Oblong, 30 x 23 cm. Line-cut reproduction of a copyist ms. La finta pazza (The feigned Madwomen), with libretto by Giulio Strozzi, was premiered during the Carnival season of 1641 inaugurated by the newly created Teatro Novissimo. A variation on the story of Achilles on Skyros, its incredible success was attributed to the presence ofthe diva Anna Renzi, the amazing stage machinery of Giacomo Torelli, combined with remarkable music with extremely sophisticated relation between music text. It was the first opera performed at the French court in 1645, leaving a huge impact on the young Louis XIV. Linen. $175 (more info... ) [item no. 9588]

Monteverdi. L’Incoronazione di Poppea (DMV 2)

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, theempress 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 scorepreserved 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.  (more info... ) [item no. 9226]

Cavalli. Il novello Giasone (DMV 3)

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]

Lucio. Il Medoro. Partitura dell’opera (DMV 4)

Il Medoro. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di Giovanni Morelli e Thomas Walker. [Ms. Bibl. Nazionale Marciana di Venezia].
Drammaturgia Musicale Veneta, 4. Milan, 1984. 27 x 23 cm, lvii, 69, cxci, 207 pp. Halftone. Includes Aria a voce sola which contains a dozen strophic songs and madrigals (ms in the Civico Museo Bibliografico Musicale di Bologna). Essays in It-Eng. Linen. $162 (more info... ) [item no. 378 ]

Cesti. Il Tito (DMV 5)

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 anunusual 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 literarysources. 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]

Sartorio. L’Orfeo. Partitura dell’opera (DMV 6)

L’Orfeo. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di Ellen Rosand. [Ms. Bibl. Nazionale Marciana, Venice].
Drammaturgia Musicale Veneta, 6. Milan, 1983. 29 x 23 cm, lxxxv, 178 pp. Line-cut. Text in Eng-It. Linen. $125 [item no. 549 ]

Gaudio. Almerico in cipro (DMV 7)

Almerico in Cipro. Partitura dell’opera in facsimile, edizione del libretto, saggio introduttivo a cura di Giovanni Morelli.
Drammaturgia Musicale Veneta, 7. Milan, 2005. Oblong, 30 x 23 cm, lxvi, 207 pp. Line-cut of a contemporary ms copy (full score), and first edition of the libretto. Almerico in Cipro is a representative opera from a long period in which the Venetian Republic experienced military and political setbacks; the opera’s sentimental and extremely intricate plot, containing manyabsurdities, is woven around royal characters from the Mediterranean area. The musical treatment seems to hint at the emergent “da capo” aria soon to blossom. Although there is a lack of any relationship between the contemporary historical events that affected the life of the city and state (here, the war in the Peloponnese) and the fictional stories of the opera, there doesexist a typically Venetian allegoricaldimension. Introduction in It with Eng summary. Linen. $231 (more info... ) [item no. 8586]

Pallavicino. Messalina. Partitura dell’opera (DMV 8)

Messalina. Partitura dell’ opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di Eleanor Selfridge-Field.
Drammaturgia Musicale Veneta, 8. Milan, 2001. Oblong, 29 x 22 cm, lxxiv, 224, ii pp. Line-cut of a contemporary ms copy (full score). Messalina is a masterpiece of 17th-c. theatre for its mixing of the genres of comedy, satire, drama and portrayal of historical characters in the playfully pornographic manner of late 17th-c. Venetian opera. It also represents a key moment forexemplifying and establishing the form of the da capo aria. The score is accompanied by an edition of the libretto. Introduction in Eng. Hardbound. $231 [item no. 8104]

Pollarolo. Il Faramondo (DMV 9)

Il Faramondo / [libretto di] Apostolo Zeno ; [musica di] Carlo Francesco Pollarolo ; edizione del libretto, saggio introduttivo a cura di Carlo Vitali ; con una nota su un'aria perduta di Handel per Il Faramondo a cura di John H. Roberts.
Drammaturgia Musicale Veneta, 9. Milan, 1987. Oblong, 29 x 23 cm, 78, 337 pp. Halftone of the c.1699 ms. Combines a “modern” French classicistic style with a Venetian libretto. Linen. $177 (more info... ) [item no. 504 ]

Tre intermezzi. A cura F. Menchelli-Buttini (DMV 10)

Tre intermezzi. Le rovine di Troia (Dragontana e Policrone), 1707; Melissa contenta, 1707-1708; Cuoco e Madama (La preziosa ridicola), 1724. Partiture in facsimile, edizione dei libretti, saggo introduttivo a cura di Francesca Menchelli-Buttini.
Drammaturgia Musicale Veneta, 10. Milan, 2008. Oblong, 29 x 23 cm,f lv, 219 pp. Line-cut of contemporary manuscript copies. This 10th volume in the series Drammaturgia Musicale Veneta consists of a facsimile edition of the scores for the intermezzi Le rovine di Troia (Dragontana e Policrone) by Antonio Lotti, Melissa contenta by Lotti or Francesco Gasparini, and Cuoco e Madama(La preziosa ridicola), whose attribution to Antonio Caldara is uncertain. The first two operas, performed at the Teatro San Cassiano, Venice, in 1707-1708, attest to the beginning of a genre, whereas the Viennese setting for Cuoco e Madama, dated 1724, is evidence of its dynamism and popularity. La preziosa ridicola had many revivals, such as the Rome première in 1712 and aproduction in Venice in 1719. As a consequence, the original scenario was constantly subject to variations, at times significant in terms of form and content. The facsimile reproductions of the ms scores are accompanied by the transcription of the librettos with, as is the modern custom, “notes on the text”, illustrating the general criteria and some specific solutions. Theintroductory essay comments on both the texts and the music, highlighting aspects such as the wide use of parody, meta-theatre, tradition, intertextuality and the very close relationship between La preziosa ridicola and the original by Molière. Linen. $205 (more info... ) [item no. 8976]

Lotti. L’umiltà coronata in Ester (DMV 11)

L’umiltà coronata in Ester. Partitura dell’oratorio in facsimile. Edizione del libretto. Saggio introduttivo a cura di Laura Zanella. [Ms. 17671, Österreichische Nationalbibliothek, Vienna].
Drammaturgia Musicale Veneta, 11. Milan, 2004. Oblong, 30 x 23 cm, xxvii, 243 pp. Line-cut of a contemporary ms copy (full score). Pietro Pariati’s oratorio set to music by Antonio Lotti and dedicated to Esther, Racine’s famous character, was composed in 1714. Intended for performance in Vienna, it was in reality Venetian by birth, being a remake of an oratorio performed in 1712at the Mendicanti Hospital, entitled “Humilitas exaltata seu Esther regina”. The opera retains the strong “theatrical” character of its origins (implicit, but not over the top), so typical of the Venetian Hospital oratorios. This opera is a forerunner of Zeno’s “sacred musical tragedy”. Indeed, if one considers the specific musical form of Lotti’s truly dramatic intonation, it isa specimen of one of the first steps in the process that very gradually led to the genre of oratorio to merge with the theatrical repertoire over the course of the 1700s, as evinced by the great Pre-Romantic and Romantic “sacred dramas”. Introduction in It with Eng summary. Linen. $233 (more info... ) [item no. 8449]

Vivaldi. Ottone in Villa. Partitura dell’opera (DMV 12)

Ottone in Villa. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di John Walter Hill. [Ms. Bibl. Nazionale, Turin].
Drammaturgia Musicale Veneta, 12. Milan, 1983. Oblong, 29 x 23 cm, xxxvii, lix, lxxxi, 235 pp. Halftone of Vivaldi’s first opera, presented in 1713. Includes several essays on historical and musical problems. Linen. $123 (more info... ) [item no. 651 ]

Pollarolo. Ariodante (DMV 13)

Ariodante. Partitura dell'opera in facsimile / [testo di] Antonio Salvi ; [musica di] Carlo Francesco Pollarolo ; edizione del libretto, saggio introduttivo a cura di Olga Termini.
Drammaturgia Musicale Veneta, 13. Milan, 1986. Oblong, 30 x 23 cm, cv, 321 pp. Halftone of the ms preserved in the Staatsbibliothek der Preussischer Kulturbesitz, Berlin (shelfmark: Mus. ms. 17744). First performed in Venice, 1718. Linen. $162 (more info... ) [item no. 503 ]

Orlandini/Mattheson. Nerone - Nero (DMV 14)

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 andprovided 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 agenuine 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]

Orlandini/Mattheson. Nerone - Nero (DMV 14)

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 andprovided 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 agenuine 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]

Vivaldi. Due serenate. Partiture in facsimile (DMV 15)

Due serenate. Partiture in facsimile. Saggio introduttivo a cura di Michael Talbot e Paul Everett con l’edizione dei testi poetici.
Drammaturgia Musicale Veneta, 15. Milan, 1995. Oblong, 29 x 23 cm, lxxxvii, 284 pp. Halftone of autograph score, Venice, 1725 and c.1726. Introduction in It-Eng. Linen. $259 (more info... ) [item no. 7192]

Autori diversi. Andromeda liberata (DVM 16)

Andromeda liberata. Partitura della serenata in facsimile. Edizione del testo letterario. Saggio introduttivo a cura di Michael Talbot. [Conservatorio Statale di Musica “Benedetto Marcello”].
Drammaturgia Musicale Veneta, 16. Milan, 2006. Oblong, 29 x 23 cm, xlvii, 226 pp. Line-cut of a contemporary manuscript copy. Andromeda liberata, a Venetian pasticcio-serenata based on a libretto by Vincenzo Cassani (c.1677-c.1736), is a genre distinct from opera and the chamber cantata, rarely acted in costume in a purpose-built theater with scenery, and performed by singersreading from music in a stationary position in improvised surroundings. Although the team of composers responsible for the music is not recorded, the work is presumed to be by Porpora, Albinoni, Porta, and Lotti. Linen. $231 (more info... ) [item no. 8727]

Hasse. Demetrio (DMV 17)

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 newsletterDiario 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. $205 [item no. 9362]

Giacomelli. La Merope. Partitura dell’opera (DMV 18)

La Merope. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di Sylvie Mamy. [Ms. Bibl. du Conservatoire Royal de Musique, Bruxelles].
Drammaturgia Musicale Veneta, 18. Milan, 1984. 30 x 23 cm, liii, cxxxi, 386 pp. Line-cut. Essays on the role of singers in the Venetian system, the libretto, and the repertoire of the Grimani Theater. Text in Eng-It. Linen. $177 (more info... ) [item no. 301 ]

Cocchi. La Maestra. Partitura dell’opera (DMV 19)

La Maestra. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura de Anna Laura Belina.
Drammaturgia Musicale Veneta, 19. Milan, 1987. Oblong, 29 x 23 cm, 96, 422 pp. Line-cut of the Naples, 1747 ms. Linen. $215 (more info... ) [item no. 2371]

Galuppi. Artaserse (DMV 20)

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 oneof 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]

Galuppi. L’Inimico delle donne (DMV 21.1-3)

L'inimico delle donne / [libretto di] Giovanni Bertati ; [musica di] Baldassarre Galuppi ; edizione del libretto, saggio introduttivo a cura di Helen Geyer-Kiefl.
Drammaturgia Musicale Veneta, 21.1-3. Milan, 1986. Oblong, 30 x 23 cm, 3 vols, cccxxvii, 815 pp. Halftone. Comic opera of exotic character first performed in 1771. Linen. 3 vols. $425 (more info... ) [item no. 291 ]

Rousseau. Pygmalion (DMV 22)

Pygmalion / Pimmalione. Partiture del mélodrame e della lirica in facsimile. Edizione dei libretti, saggio introduttivo a cura di Emilio Sala.
Drammaturgia Musicale Veneta, 22. Milan, 1996. Oblong, 29 x 23 cm, xc, 186 pp. Line-cut of Rousseau’s autograph score, composed during the summer and autumn of 1762. Linen. $265 (more info... ) [item no. 7354]

Bertoni. Orfeo ed Euridice. Partitura autogr.(DMV 23)

Orfeo ed Euridice. Partitura autografa in facsimile. Edizione del libretto. Saggio introduttivo a cura di Paolo Cattelan.
Drammaturgia Musicale Veneta, 23. Milan, 1989. Oblong, 29 x 22 cm, cxiv, 302 pp. Line-cut of the autograph score. Introduction in It. Linen. $255 (more info... ) [item no. 3822]

Anfossi. Adriano in Siria. Partitura dell’opera (DMV 24)

Adriano in Siria. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di Jacques Joly. [Ms. Bibl. del Conservatorio “Pollini”, Padova].
Drammaturgia Musicale Veneta, 24. Milan, 1983. Oblong, 30 x 23 cm, lxxxiii, 466 pp. Line-cut and halftone reproductions. One of the leading composers for the Venetian stage during the 1770s. Text in It-Eng. Linen. $199 (more info... ) [item no. 5 ]

Bianchi. La morte di Cesare. Part. dell’opera (DMV 25)

La morte di Cesare. Partitura dell’opera in facsimile. Edizione dei libretti. Saggio introduttivo a cura di Piero Weiss. [Brussels Royal Conservatory Library, Ms. 2046 K].
Drammaturgia Musicale Veneta, 25. Milan, 1999. Oblong, 29 x 23 cm, 2 vols, lxxxviii, 654 pp. Line-cut of a copyist’s fair copy (full score) of this melodramma tragico by Gaetano Sertor and Francesco Bianchi, representing the transformation of the opera seria at the end of the century. The text of the libretto is based on Voltaire's drama-writing style bent to politicalpropaganda, while the score corresponds to the theatrical revision of the vocal registers. The most important features of this Morte di Cesare are both the conservation of the manuscript of the 1789 version of Jacobinical and the variants used—by the authors themselves—for the creation of the first performance in the second Republic of Venice, the democratica one, at Teatro LaFenice, in 1797. Commentary in It-Eng. Cloth. $862 (more info... ) [item no. 7742]

Andreozzi. Amleto. Partitura dell’opera (DMV 26)

Amleto. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di Marcello Conati. [Ms. Bibl. del Conservatorio “Pollini”, Padova].
Drammaturgia Musicale Veneta, 26. Milan, 1984. Oblong, 30 x 23 cm, xlviii, 323 pp. Line-cut. Text in It-Eng. Linen. $146 (more info... ) [item no. 4 ]

Paisiello. I giuochi d’Agrigento (DVM 27)

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

Generali. Cecchina suonatice di Ghironda (DVM 28)

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]

Portogallo. Gli orazi e i curiazi (DMV 29)

Gli orazi e i curiazi. Partitura dell’opera in facsimile. Edizione del libretto. Catalogo cronologico degli spettacoli a Venezia (1897-1815). A cura di Maria Giovanna Miggiani.
Drammaturgia Musicale Veneta, 29. Milan, 2003. Oblong, 30 x 23 cm, 2 vols, ccclxiii, xxiii, 541 pp. Line-cut of a contemporary ms (full score). Cimarosa's “Gli Orazi e i Curiazi” represents the climax of his search for a “new genre” in Italian operatic tragedy and, at the same time, the setting and basic lyrics are emblematic of the development of new vocal personalities and newtheatrical roles found in new vocal styles, especially that of the dramatic penetrating contralto, Giuseppina Grassini, and that of the new young heroic tenor, Matteo Babbini. The huge, long-lasting success of this work is known to all, but what's less known is the fact that the La Fenice Theatre and the new Napoleonic Ferrara Theatre jointly produced a second setting to music ofSografi's libretto for the same singers, but with the music of a promising young composer, Marco Portogallo, whose style foreshadowed evolution in the so-called pre-Rossini style of serious vocal dramatic composition. The success of Cimarosa's Orazi was also thanks to many grafted sections with Portogallo's intonation, favoured and preferred by the singers. The aim of thisfacsimile of Portogallo's work is to provide a glimpse into the evolution of the Italian pre-Romantic opera drawing on original materials showing the dynamics of its birth. Commentary in It-Eng. Linen. $466 (more info... ) [item no. 8394]

Balli teatrali a Venezia, 1746-1859 (DVM 30)

Balli teatrali a Venezia (1746-1859). Partiture di sei balli pantomimici di Brighenti, Angiolini e Viganò. Saggio introduttivo a cura di José Sasportes. Catalogo generale cronologico dei balli teatrali a Venezia a cura di Elena Ruffin e Giovanni Trentin.
Drammaturgia Musicale Veneta, 30. Milan, 1994. Oblong, 29 x 23 cm, 2 vols, cccxliv, 390 pp. Line-cut of scores to 6 pantomine dances: 2 by Giacomo Brighenti for the operas Andromaca & Partenope, 2 by Gaspare Angiolini for Antigono & Lucio Vero, and 2 by Onorato Viganò for Calliroe. Commentary consists of complete descriptive catalog of the Venetian theatrical dance repertoirefrom the first appearances of narrative subjects in choregraphic entertainments until the closure of the Fenice theater in 1859. Indispensable for the study of dance in Italy. Linen. $499 (more info... ) [item no. 4833]

Gabrieli,A. Intro.-Gli anni di A. Gabrieli (ENG I)

Introduzione storico-critica. Gli anni di Andrea Gabrieli: biografia e cronologia, a cura di Gino Benzoni, David Bryant, Martin Morell.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, I. Milan, 1988. 4º, 104 pp. Linen. $65 [item no. 5798]

Gabrieli,A. 2. libro di madrigali a 5 /Butchart (ENG 3)

Il secondo libro di madrigali a cinque voci insieme doi a sei et uno dialogo a otto. Venezia, li figliuoli di Antonio Gardano 1570. A cura di David Butchart.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 3. Milan, 1996. 4º, 286 pp. Linen. $216 [item no. 6049]

Gabrieli,A. 1. libro de madrigali a 3 voci (ENG 6)

Libro primo de madrigali a tre voci. Venezia, li figliuoli di Antonio Gardano 1575 a cura di Alessandra Andreotti.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 6. Milan, 1999. 4º, 108 pp. Linen. $118 [item no. 6275]

Gabrieli,A. Ecclesiasticarum cantionum 4 vocum (ENG 7)

Ecclesiasticarum cantionum quatuor vocum omnibus sanctorum solemnitatibus deservientium a cura di David Bryant e Elena Quaranta.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 7. Milan, 2005. 4º, 148 pp. Linen. $124 [item no. 6707]

Gabrieli,A. 2. libro de madrigali a 6 voci (ENG 8)

Il secondo libro de madrigali a sei voci (1580) a cura di Franco Colussi.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 8. Milan, 2001. 4º, 184 pp. Linen. $191 [item no. 6708]

Gabrieli,A. Psalmi Davidici 1583 /Arnold-Bryant (ENG 9)

Psalmi Davidici, qui poenitentiales nuncupantur, tum omnis generis instrumentorum, tum ad vocis modulationem accommodati, sex vocum. Venezia, Angelo Gardano 1583, a cura di Denis Arnold e David Bryant.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 9. Milan, 1988. 4º, 189 pp. Linen. $108 [item no. 5799]

Gabrieli,A. Concerti, Venice 1587: 1 /Bryant (ENG 11/1)

Concerti di Andrea, et di Gio: Gabrieli organisti della Sereniss. Sig. di Venetia. Continenti musica di chiesa, madrigali, et altro, per voci, et stromenti musicali; à 6. 7. 8. 10. 12. et 16. . . Libro 1. et 2. . . Venezia, Angelo Gardano 1587. A cura d David Bryant. Tomo I.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 11/1. Milan, 1989. 4º, 319 pp. Linen. $158 [item no. 5800]

Gabrieli,A. Concerti, Venice 1587: 2 /Bryant (ENG 11/2)

Concerti di Andrea, et di Gio: Gabrieli organisti della Sereniss. Sig. di Venetia. Continenti musica di chiesa, madrigali, et altro, per voci, et stromenti musicali; à 6. 7. 8. 10. 12. et 16. . . Libro 1. et 2. . . Venezia,, Angelo Gardano 1587. A cura d David Bryant. Tomo II.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 11/2. Milan, 1989. 4º, 320 pp. Linen. $158 [item no. 5801]

Gabrieli,A. Cori per Edipo Tiranno (ENG 12)

Cori per Edipo Tiranno (1588). Con solennissimo apparato. Venezia, Angelo Gardano 1588; a cura di Nino Pirrotta.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 12. Milan, 1995. 4º, 138 pp. Linen. $108 [item no. 6709]

Gabrieli,A. Composizioni vocali in intav.(ENG 17/1)

Le composizioni vocali di Andrea Gabrieli in intavolature per tastiera e liuto, a cura di Dinko Fabris. Tomo I (“L’intavolatura di Torino”); Riproduzione dell’originale.
Edizione Nazionale delle Opere di Andrea Gabrieli; Edizione Critica, 17/1. Milan, 1993. 4º (upright & oblong), 2 vols, 200, 131 pp. Edition in linen, facsimile in wrappers. $192 [item no. 5802]