| Publishers' Catalogs The main music facsimile publishers Alamire, Broude Brothers, Cornetto, Arnaldo Forni, Fuzeau, LIM, Minkoff and SPES are among OMI's closest long-time partners. Nearly all of their works are stocked in our NYC deposit and are ready for delivery. OMI has organized simple overviews of these publishers' catalogs (prices subject to change). Listings of other publishers of facsimiles can be viewed at the bottom of this page. (The subject catalogs include all publishers)
Click logo for viewing — publisher's name for printing.
| |
| Alamire Publishers, Neerpelt (formerly Peer): From Hildegard to Beethoven, with an emphasis on Renaissance composers from the Low Countries. In conjunction with the Alamire Foundation, an international center for the study of music, Alamire Music Publishers also produces yearbooks, conference proceedings and the monuments series “Monumentae Flandriae Musica”.
| | Broude
Brothers,
New York: The company was founded more than 75 years ago and is devoted to all periods and genres of music. Broude's “Monuments of Music and Music Literature in Facsimile” began in 1965 and set a new standard in publishing, while “Performers' Facsimiles” makes available hundreds of early prints (from the late Renaissance to Classic periods) at an affordable price.
| | Cornetto
Verlag,
Stuttgart: Now celebrating its Jubilee year in publishing Cornetto has filled a tremdous gap in 16th & 17th-century German source material, mainly drawing on the rich holdings of the Schmermar Bibliothek in Ulm, many of them sole surviving exemplars. The facsimiles are organized into series, arranged by library, composer, or genre. Thanks to Cornetto, composers such as Amerbach, Erlebach, Ochsenkun, Steigleder, Wannemacher, etc., can now be studied and performed from primary sources.
| | Arnaldo
Forni
Editore, Bologna: Invaluable collection of Italian musical monuments, practical and theoretical, that draws on the rich collection of the Civico Museo Bibliografico Musicale in Bologna. The series “Bibliotheca Musica Bononiensis” is a mainstay of the music research library. Included in this compilation are the complementary titles of A.M.I.S. (Antiquae Musicae Italianae Studiosi).
| | Éditions
J.M.
Fuzeau, Courlay: Scores and parts by a wide range of French and European masters from 1550 to 1850. The ambitious series “Méthodes & Traités” is a unique resource for performers and scholars alike, presenting composite collections of treatises devoted to individual instruments. Intégrale de l'œuvre théorique de Jean-Philippe Rameau puts all the theoretical writings of Rameau at one's fingertips. The editions typically reproduce multiple sources (providing additional insight into performance practice) & the introductions appear in 3 languages (Fr/Eng/Ger)..
| | LIM–Libreria
Musicale
Italiana, Lucca: LIM has revolutionized the production of facsimile editions of early music by adopting a color process for most of their projects (e.g., Codices Lucca, Squarcialupi, Boverio, Turin J.II.9 and Modena a M.5.24), and accompany their reproductions with first-rate scholarly commentaries. Other publications include important but neglected works from the music literature (“Mursurgiana”), performing scores, and original monographs sponsored by various Italian communales and music organizations. | | Éditions
Minkoff,
Geneva: Minkoff has developed a formidable collection of beautifully printed facsimiles, mostly from sources housed at the Bibliothèque Nationale, Paris, ranging from various masterworks from the lute, harpsichord, and viola da gamba repertoire, the Œuvres Complètes de Marc-Antoine Charpentier, to Stravinsky's magnificent full score of L'oiseau de feu (Firebird Ballet). The company is synonymous with “facsimile edition” and currently offers more than 600 titles.
| | SPES–Studio
per
Edizioni Scelte, Florence: A library without SPES's “Archivum Musicum” (with its various sub-series devoted to individual instruments), is almost unimaginable, considering the breath of this collection and its integral relationship with the resurgence of the early music movement. Their impressive series “Vivaldiana” was directed under the auspices of the Fondazione Giorgio Cini.
|
|
