| |  Old Manuscripts & Incunabula, PO Box 6019 FDR Station, New York NY 10150 tel 212/ 758-1946 • fax 212/ 593-6186 • http://www.omifacsimiles.com • immels@earthlink.net |  |
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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 year • last 3 years • last 2 years AHLE, Johann Rudolf, 1625-1673 Neu-gepflanzten thüringischen Lust-Gartens Ander Theil. [In welschen XXX. neue geistliche musikalische Gewaechse mit 1.2.3.4.5.6.7.8.9.10. und mehr Stimmen...]. Mühlhausen, Johann Hüter 1658. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, [20]. Stuttgart, 2010. 19 x 32 cm, 10 partbooks, c.300 pp. Line-cut of the Mühlhausen, 1658 edition. Wrappers, in slipcase. $142 [item no.9150] 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, 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. $465 (more info... ) [item no.9222] [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] 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. Faksimileausgabe des Autographs im Besitz der Staatsbibliothek zu Berlin. Mit Vorwort von András Schiff und einer Einleitung von Ernst Hertrich. [Henle Music Facsimiles, 22]. Munich, 2010. Oblong, 4°, 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. (in preparation) $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, 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. $114 (more info... ) [item no.9265] [Sonata, piano, op.109, E major] Klaviersonate E-Dur op.109. Faksimile nach dem Autograph der Library of Congress, Washington, D.C. Mit einem Kommentar von Siegfried Mauser. Meisterwerke der Musik im Faksimile, 14. Laaber, 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. $103 (more info... ) [item no.9090] [Sonata, piano, 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. $130 (more info... ) [item no.9091] [Sonata, piano, 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. $103 (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 Lockwook, 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. (more info... ) [item no.9177] [Variations, piano, on a waltz, op.120] Diabelli-Variations op.120. Faksimile Edition. 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. 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 [item no.9145] 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] 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] 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 [item no.9224] 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] 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] CHOPIN, Frédéric, 1810-1849 [Ballade, piano, op.38/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] 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. $110 (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, Rosaba, et al] Dossier “Chopin à Paris. L’atelier du compositeur”. Revue de la Bibliothèque National de France, no. 34. Paris, 2010. 8°. Exhibition catalog for “Chopin à Paris. L’atelier du compositeur” presented at the Cité de la Musique and la Bibliothèque national de France au 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-Jacques Eigeldinger, Malgorzata Maria Grabczewska, Thierry Maniguet, Catherine Massip, Cécile Reynaud etÉric de Visscher. Wrappers. $52 [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] 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] 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 VasnierFac-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] 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] ECCLES, John, c.1668-1735 [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] 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] 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) $36 [item no.9233] [Sonatas, violin, bc, book 2] 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) $36 [item no.9234] [Sonatas, violin, bc, book 3] 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). $36 [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. $235 [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. $264 [item no.9185] HAKE, Hans, 1628-dc.1663 Ander Theil newer Pavanen, [Sonaten, Arien, Balletten, Brandlen, Couranten, und Sarabanden, mit 2.3.4.5. und 8-Instrumenten mit dem basso continuo]. Stade 1654 / Elias Holwein. [British Library, London & Stadtbibliothek Växjö].Faksimile-Edition Rara, 61. Stuttgart, 2010. 16 x 21 cm, 5 partbooks, 222 pp. Line-cut of the Stade, 1654 edition. Wonderful collection of 43 dance movements for various string and wind instrumental groupings (a2 to a5), including 4 for 2 cornetti & 3 trombones and 2 for 5 trombones. Wrappers, with portfolio. $82 [item no.9174] HANDEL, George Frideric, 1685-1759 [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. Scored for solo vln I-II, vc, ripieno vln I-II, vla, vc, bc. Wrappers. $100 [item no.9207] HAYDN, Franz Joseph, 1732-1809 [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 [item no.9210] 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] 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. $59 [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. $49 [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] 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] 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] 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] MIROGLIO, Pietro, Sonata a violino e basso. [Opera prima. Gravées par Mle. V[e]ndôme]. Paris. Kommentar von Ernst Kubitschek. [Bibliothèque Nationale de France, Paris].Faksimile-Edition Violino e Continuo, 1 Stuttgart, 2010. 29 x 37 cm, 28, ii pp. Line-cut of the author’s edition, Paris, c.1750. 6 sonatas. Hardbound, with marbled paper boards. $48 [item no.9175] MONTÉCLAIR, Michel Pinolet de, 1667-1737 Brunetes ancienes et modernes apropriées à flûte traversière avec une basse d’accompagnement, c.1725. Présentation par Anne Pichard. [British Library, London].La Musique Française Classique de 1650 à 1800, 204. Courlay, 2010. Oblong, 30 x 22 cm, x, 106 pp. Line-cut of the Paris, c.1725 edition. Preface in Fr-Eng-Ger. Wrappers. $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. $245 (more info... ) [item no.9226] Salve regina 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] MOZART, Wolfgang Amadeus, 1756-1791 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. $140 (more info... ) [item no.9202] 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.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 such 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] 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] REGER, Max, 1873-1916 [Schumann, lieder, selection, arr.] Zwei Schumann-Lieder aus dem Zyklus “Zwölf Gedichte nach Justinus Kerner” op. 35 (G). Wiedergabe des Autographs von Max Reger in hochwertigem Faksimiledruck. Eingeleitet und kommentiert von Susanne Popp / Singstimme, Org. Nr. 11 Wer machte dich so krank? Nr. 12 Alte Laute.Stuttgart, 2011. 4°. Full-color reproduction of the autograph issued on the occasion of the bicentenary of Schumann’s birth. A curiosity arrangement of “Wer machte dich so krank?” and “Alte Laute”—for organ and voice—showing Reger’s admiration for Schumann. Portfolio $26 [item no.9229] 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] SALE, Franciscus, 16th c. 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] 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 [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. $112 (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 Schumann-Lieder aus dem Zyklus “Zwölf Gedichte nach Justinus Kerner” op. 35 (G). Wiedergabe des Autographs von Max Reger in hochwertigem Faksimiledruck. Eingeleitet und kommentiert von Susanne Popp / Singstimme, Org. Nr. 11 Wer machte dich so krank? Nr. 12 Alte Laute.Stuttgart, 2011. 4°. Full-color reproduction of the autograph issued on the occasion of the bicentenary of Schumann’s birth. A curiosity arrangement by Max Reger of “Wer machte dich so krank?” and “Alte Laute”—for organ and voice—showing Reger’s admiration for Schumann. Portfolio. $26 [item no.9229] 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] STADELMAYR, Johann, c.1575-1648 Missae concertatae a X. et XII, vocibus et instrumentis cum quatuor partibus pro secundo choro. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 12. Stuttgart, 2010. 15 x 20 cm, 17 partbooks, c.500 pp. Line-cut of the Michael Wagner edition, 1642. 4 concerted masses, two a10 and two a12. Wrappers, with marbled paper slipcase. $115 [item no.9180] 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. $129 [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. $129 [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] 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] 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. $225 (more info... ) [item no.9171] 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] [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] 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] [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. $225 (more info... ) [item no.9171] [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] [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. $102 (more info... ) [item no.9197] 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). $82 [item no.9225] [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] [”Schwerin” Lutebook] The Schwerin Lute Book (Ms Mus 641), ca. 1650. Introduction: François-Pierre Goy. 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. $72 [item no.9246] Tonini, Giuliano. Scrinium musices. La raccolta di manoscritti e stample musicali Toggenburg di Bolzano (secc. XVIII-XIX) in deposito presso l’Archivio provinciale di Bolzano. / Die Bozner Musikaliensammlung Toggenburg (18.-19. Jahrhundert) im Südtiroler Landesarchiv. Atti del convegno - Bolanzo, Sala Vivaldi, Giovedi, 14 dicembre 2006 / Akten des Vortrasabends -Bozen, Vivaldi-Saal, Donnerstag, 14. Dezember 2006. A cura di / herausgegeben von Giuliano Tonini. Lucca, 2010. 29 x 37 cm, xxxii, 150 pp. Conference proceedings together with full-colorr reproductions of a selection of music works, including Johann Baptist Gänsbacher, Serenade pour Violon ou Flûte et Guitarre op.12 and Leonhard von Call, Serenade pour Violon ou Flûte et Guitarre op.54. Linen. $150 [item no.9159] MODERN EDITIONS 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] 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) 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, I/4. Munich, 2011. 4º, xlvi, 339 pp. New critical edition. Cloth. $586 [item no.6927] Chambonnières, Jacques Champion de. The Collected Works. Edited by Bruce Gustafson & Denis Herlin. The Art of the Keyboard, 11. New York, 2011. 4˚, 2 vols. Wrappers. [item no.6917] 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. 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] [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. $216 [item no.8821] 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] 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] 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 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] 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] 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 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] 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] 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] 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 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, 2011. 8º, 196 pp. $38 [item no.6920] Visentini, Olga. Berlioz e il su tempo. Musica Ragionata, 19. Lucca, 2010. 12º, 2 vols, xvi, 1385 pp. Wrappers. $120 [item no.6892] |