Music Genre Catalogs

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These particular catalogs—ranging from 10 to 55 pp are organized by subject (10 are devoted to a single composer, i.e., Bach, Beethoven, Brahms, Chopin, Handel, Haydn, Mozart, Schubert, Telemann & Vivaldi); they list all currently available titles, including rare and out-of-print items in stock. If you need a specific listing (not included below) you may request it by email or telephone (212) 758-1946. All prices subject to change.

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	Recent Issues: compilation of recent publications, all genres and centuries included		Amherst '19: Amherst Early Music Workshop—New London CT, July 19-21, 2019—if you would like to have a listing of our book display you can download it here. For PDFs of other exhibitions please go to events calendar
	Bach: facsimiles of autographs, primary sources, first editions & a selection of research material		Beethoven: facsimiles of autographs, primary sources, first editions & a selection of research material
	Brahms: facsimiles of autographs, primary sources, first editions & a selection of research material		Chopin: facsimiles of autographs, primary sources, first editions & a selection of research material
	Dance: dance music, ballets, masques, treatises and literature		Ethnomusicology: a selection of publications on ethnomusicological and folkloric subjects (few facsimiles)
	Gamba/Cello/Viola: music for viola da gamba, violoncello and viola, including methods and literature		Handel: facsimiles of autographs, primary sources, first editions & a selection of research material
	Haydn: facsimiles of autographs, primary sources, first editions & a selection of research material		Iconography: music iconographic material, handwriting, letters, mss collections, exhibition & thematic catalogs
	Keyboard: music for piano, harpsichord, clavichord & organ, including methods and literature		Mozart: facsimiles of autographs, primary sources, first editions & a selection of research material
	Opera/Theater: opera, staged works, scenographic studies, theater construction and literature		Orchestra: symphonies, concertos, cantatas and religious works with orchestra
	Plainsong: the important monuments of chant from the 9th to the 16th centuries, including theoretic works and literature		Plucked Strings: music for lute, guitar, vihuela, mandora, mandoline, cittern and harp, including methods and literature
	Schubert: facsimiles of autographs, primary sources, first editions & a selection of research material		Strings: music for violin and string ensembles, cantatas with string “symphonies”, late Renaissance generic works, methods and literature
	Telemann: facsimiles of autographs, primary sources, first editions & a selection of research material		T heory : theoretical works and music criticism from the 9th to the 20th centuries
	Twentieth Century: a catalog devoted exclusively to facsimiles of contemporary music—from Mahler onwards—all genres included		Vivaldi: facsimiles of autographs, primary sources, first editions & a selection of research material
	Vocal 1: Medieval polyphony & lyric song, Renaissance polyphony & homophony, and literature		Vocal 2: Early Baroque through the Rococo, including lute songs, airs de cour, monodies, cantatas, operas, voice treatises and literature
	Vocal 3: Mozart to the present, including cantatas, operas, lieder and literature		Winds: music for recorder, flute, oboe, clarinet, bassoon, cornetto and trumpet, including cantatas with wind “symphonies”, late Renaissance generic works, methods and literature
	Women: music by women composers, & works and collections influenced by women		Deluxe Music Facsimiles: special bibliophile editions, press books & manuscripts with significant illuminations or decorations.

"The payback of reading baroque and classical music from facsimiles, performers soon learned, was that the text conveyed precisely the degree of information contemporary musicians needed to make a convincing intepretation—no more and no less. If the text lacked editorial hints on performance, that only encouraged us to search for appropriate directions in contemporary tutors. If it contained mistakes, there was nothing for it but to think up our own solutions. And in cases where the composer notated only a sketch, such as in the figured bass parts, decisions as to what notes to play fell once more on the performer, as intended."

Ardal Powell, "Select Music Facsimiles from Italy", Traverso, vol. 11 no. 3.