from 2012 to 7/26/2018
RECENT ISSUES includes manuscript facsimiles (autographs & copyist
facsimiles of first editions & primary sources, and a selection of research
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ANERIO, Felici, c.1560-1614 Canzonette a quattro voci [libro primo]. [Bischöfliche Bibliothek, Regensburg].
Faksimile-Edition Rara, 74. Stuttgart, 2016. 18 x 22 cm, 4 partbooks, 88 pp. Line-cut of the Venice, 1586 edition partbook edition. 22 4-voice settings (canto I, canto II, alto, basso). First ever facsimile of a publication solely dedicated to this important Roman madrigalist. Wrappers, with portfolio in decorative paper. $42 [item no.9526]
BACH, Johann Sebastian, 1685-1750 Cantata BWV 20: “O Ewigkeit, du Donnerwort”. Autograph Score and Performing Parts in the Possession of the Bach Archive, Leipzig. Commentary by Peter Wollny
Documenta Musicologica, II/52 (= Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, ). Kassel, 2017. 24 x 35 cm, 24 + 64; 16 pp. Color facsimile of the autograph score and performing parts. (The score was acquired by the Bach Archive Leipzig in 2016, making it possible, for the first time, to reunite the original performance material and the autograph score.) The work is based on a church hymn by Johann Rist that depicts, in riveting language, the terrors of the Last Judgment and the torments of Hell, followed by an admonition to live a life pleasing to God. The poem inspired Bach to write one of his most impressive church compositions altogether. Scored for solo ATB, SATB chorus, 3 ob, tpt, 2 vln, vla, & cont. The facsimile offers invaluable insight into the composer’s workshop and the changing conditions for performances under his direction. Afterword in Eng-Ger. Limited edition of 250 copies presented in clam shell case. $320 (more info... ) [item no.9534]
[Christmas Oratorio, BWV 248] Weihnachts-Oratorium / Christmas Oratorio BWV 244. Facsimile of the Autograph Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. Commentary by / Kommentar von Christoph Wolff, Martina Rebmann.
Documenta Musicologica, II/54. Kassel, 2018. 23 x 38 cm, 148, xl pp. Deluxe 4-color facsimile of the autograph score. This is the most authoritative facsimile of the Christmas Oratorio to date, based on the restored manuscript and new high-quality digital photography. The Oratorio, with its six parts, has become dear to the hearts of countless music lovers all over the world. What sounds today as if it could never have been otherwise, in reality dates back in part to earlier Bach pieces that he re-texted and adapted for the new purpose. The autograph “betrays” Bach’s working methods in the very first chorus: he underlaid the words of a version from the birthday cantata Tönet ihr Pauken only to cross them out and replace them with the famous Jauchzet, frohlocket. Other passages in the autograph likewise reveal traces of self-borrowing. Some corrections allow the reader to look over the composer’s shoulder, as it were, and watch him transforming an aria step by step into its present form or struggling to find a definitive version for a short recitative. In contrast, other pages are written out in an immaculate fair hand. With this publication Bärenreiter’s trilogy of Bach choral masterpieces—Mass in B Minor, St. Matthew Passion and Christmas Oratorium—is now complete and modern, combining advanced 21st-century photolithography with the latest editorial contributions of Christoph Wolff. Limited bibliophile edition, binding with leather spine, boards in decorative paper and pasted title etikette. $389 (more info... ) [item no.9568]
Bach’s Bible: The Calov Bible, Die Heilige Bible 1681-92. Facsimile of the Original Preserved in Concordia Seminary Library, St. Louis.
Franeker, 2017. 19.5 x 33 cm, 3 vols, 4355 pp + commentary. Full-color deluxe facsimile. The 3-volume Bible commentary compiled by 17th-century theologian Abraham Calov and once in the library of Johann Sebastian Bach has been in the Seminary Library collection since it was given to the Seminary by the Reichle family of Frankenmuth, MI, in the 1930s. The volumes are the only known, i.e., identified, books from the library of Lutheran composer J. S. Bach. Calov is both editor and author of the commentary, using as he does both Martin Luther’s translation of the Bible and primarily Luther’s comments on the text, adding his own commentary when no material is available in Luther’s works. The work was printed in 1681-82. Some 25 marginal annotations of Bach, along with underlining and other marginal markings, are evidence of the composer’s use of the volumes. Careful analysis of the handwriting, as well as technical analysis of the ink done in the 1980s, established the authenticity of Bach’s ownership. Commentary in Eng/Ger/Jap/Dut by Albert Clement. (more info... ) [item no.9355]
Wolff, Christopf. Bach. A Life in Pictures. Edited by Christoph Wolff.
New Bach Edition. Revised Edition, 5 (Supplement: Bach Documents vol. 9) Kassel, 2017. 25 x 30.5 cm, 469 pp. This lavish picture documentary helps to bridge the 300-year historical gap and vividly brings to life Bach’s personal history. The illustrations, mostly in color, present Bach’s life from his beginnings in Eisenach, Ohrdruf and Lüneburg, through his years as an organist in Arnstadt, Mühlhausen and Weimar and his period as Kapellmeister in Cöthen, to his tenure in Leipzig as music director and cantor at St. Thomas’s. The present volume is newly conceived in terms of both content and graphic design, and thus more than merely a revision of volume IV of Bach-Documente (1979). Moreover, its numerous additional illustrations take the results of recent Bach research into account. Linen with dust jacket. $349 (more info... ) [item no.9564]
BARTÓK, Béla, 1881-1945 [Sonata, violin, Sz. 117] Sonate für Violine solo Sz 117 / BB 124). Faksimile nach dem Autograph aus der Paul Sacher Stiftung, Basel. Herausgegeben und kommentiert von Stefen Drees
Meisterwerke der Musik im Faksimile, 26. Laaber, 2017. 28 x 32 cm, xxi, 18 pp. Full-color facsimile of the autograph fair copy along with 15 pp of sketch material. The sonata was commissioned by Yehudi Menuhin in Nov. 1943 and premiered by him in Carnegie Hall Nov. 26, 1944. A wonderful late Bartók virtuoso piece full of Hungarian qualities, biting rhythms, with subtle reference to Bach’s Sei solo a violino senza basso accompagnato BWV 1001-1006, by his use of of movement titles “Tempo di ciaccona” and “Fuga”. Like Bach's Sei solo autograph, it has a clearly-copied text that allows the performer to play directly from it. Introduction in Ger-Eng. Hardbound with decorative paper boards. $164 (more info... ) [item no.9396]
BEETHOVEN, Ludwig van, 1770-1827 [Missa Solemnis, orch, chorus, op.123] Missa Solemnnis Op. 123. Facsimile of the Autograph Score in the Staatsbibliothek zu Berlin—Preußischer Kulturbesitz. With a commentary by Hans-Joachim Hinrichsen and Martina Rebmann.
Documenta Musicologica, II/51. Kassel, 2016. Oblong, 45 x 40 cm, 351, 27 pp. Deluxe 4-color facsimile of the autograph working score. William Drakbin describes the genesis of the mass as “the longest, most arduous struggle in Beethoven’s career as an artist”, with equally complex history of its sale to B. Schott after years of calculating with other publishers. 4 of the 5 movements of the Missa Solemnis survive today, the Kyrie, 50 pp in upright format, and the last three movements, Credo, Agnus and Sanctus, 286 pp in oblong format. The Gloria unfortunately disappeared soon after Beethoven’s death. Deluxe edition with leather spine. $718 (more info... ) [item no.9506]
[Concerto, piano, orch, no.3, op.37, C minor] Konzert für Klavier und Orchester Nr.3 c-Moll, opus 37. Faksimileausgabe der autographen Handschrift der Staatsbibliothek zu Berlin – Preussischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv. Mit einem Geleitwort von Mitsuko Uchida. Herausgegeben und kommentiert von Elisabeth Schmierer.
Meisterwerke der Musik im Faksimile, 45. Laaber, 2018. Oblong, 32 x 24 cm, 22, 240 pp. Facsimile, in full-color, of the autograph manuscript preserved in the State Library, Berlin. The piece was composed in 1799-1800 and first performed—Beethoven playing from short score—April 5, 1803. Scholars have pointed out that Mozart's C Minor Concerto K.491, which Beethoven played in public concerts, bore an influence on Beethoven's Concerto. Hardbound. $558 (more info... ) [item no.9508]
[Symphony, no.7, op.92, A major] Symphonie Nr.7, A-Dur, op. 92. Faksimile nach dem Autograph aus der Biblioteka Jagiellońska, Kraków. Herausgegeben und eingeleitet von Oliver Korte. Mit einem Geleitwort von Lothar Zagrosek. [Mus. ms. autogr. Beethoven. Mendel.-Stift. 9].
Meisterwerke der Musik im Faksimile, 51. Laaber, 2017. Oblong, 32 x 24 cm, 28; 256 pp. Color reproduction of autograph score of Beethoven's Symphony No.7. The work was composed between the period of September 1811 to mid 1812, and its premiere took place on December 8 at the Viennese Universitätssaal together with the premiere of Wellington's Victory. While two copyist manuscripts survive with Beethoven's markings—one of them the fair copy in the hand of Anton Diabelli prepared for the first edition of the publisher Sigmund Anton Steiner—the autograph produced here in facsimile has a very special place because it preserves to a very great extent the text of op. 92 in its final form. This is the conclusion of Jonathan del Mar, based on the type of corrections and modifications seen in the autograph, modifications that were ostensibly transferred to the score during the first rehearsals. Afterword in Ger-Eng. Bound in black linen, with slipcase. $498 (more info... ) [item no.9543]
[sketchbook, “Grasnick 5”] Grasnick 5: Beethoven’s Pocket Sketchbook for the Agnus dei of the Missa Solemnis, Opus 123. [Facsimile Edition] Transcribed, Edited, and with a Commentary by Patrizia Metzler and Fred Stoltzfus. [Staatsbibliothek zu Berlin].
Beethoven Sketchbook Series, . Champaign, 2016. Oblong, 38 x 28 cm, 144 pp. Color facsimile of a pocket sketchbook acquired by the Berlin Royal Library in 1879 as part of the holdings of Friedrich August Grasnick, a gentleman scholar & music collector. Long neglected in scholarship, the so-called Grasnick 5 documents reveal Beethoven working out concepts and ideas, offering fascinating insights into his creative method. This critical edition, the third in the Beethoven Sketchbook Series, offers a facsimile and transcription, spread out side by side, of the contents of the stitched pocket sketchbook started by the 50-year-old master during the summer of 1820. At the time, Beethoven labored over the Missa solemnis, Opus 123. The sketchbook's pages yield the entire record of his early ideas on the Agnus Dei of that work as well as a sketch for part of the Benedictus. Includes 5 pages from Artaria 205, also in side-by-side facsimile-transcription layout. Clothbound. $95 (more info... ) [item no.9490]
[Appel, Bernhard R. & Julia Ronge] Beethoven liest. Herausgegeben von Bernhard R. Appel und Julia Ronge.
Veröffentlichungen des Beethoven-Hauses, IV/28. Bonn, 2016. 8˚, 333 pp. Hardbound. $76 [item no.6808]
[Appel, Bernhard, et al] Beethoven und der Wiener Kongress (1814/15). Bericht über die vierte New Beethoven Research Conference Bonn, 10. bis 12. September 2014.
Veröffentlichungen des Beethoven-Hauses, IV/26. Bonn, 2016. 8˚, 334 pp. Hardbound. $76 [item no.6803]
[Boorman, Patrick] Das Bonner Beethoven-Haus 1933–1945. Eine Kulturinstitution im “Dritten Reich”.
Veröffentlichungen des Beethoven-Hauses, IV/27. Bonn, 2016. 8˚, 367 pp. Hardbound. $76 [item no.6804]
[Lodes, Birgit, Elisabeth Reisinger, & John D. Wilson] Musik am Bonner kurfürstlichen Hof, Band 1. Beethoven und andere Hofmusiker seiner Generation. Bericht über den internationalen musikwissenschaftlichen Kongress Bonn, 3. bis 6. Dezember 2015. Herausgegeben von Birgit Lodes, Elisabeth Reisinger und John D. Wilson.
Veröffentlichungen des Beethoven-Hauses, IV/28. Bonn, 2018. 8˚, 324 pp. Hardbound. $76 [item no.6820]
BERARDI, Angelo, c.1635-1695 Il perche musicale, 1693
[New Delhi], 2016. 19 x 25 cm, 60 pp. Line-cut of the Bologna, 1693 edition. Hardbound. $17 [item no.9499]
BERLIOZ, Hector, 1803-1869 Symphonie fantastique, op. 14. Facsimile of the Autograph Score in the Bibliothèque Nationale de France. With a Commentary by Hugh Macdonald.
Documenta Musicologica, II/53. Kassel, 2017. 24 x 35 cm, 290, 20 pp. Color facsimile of the autograph score, one of the greatest treasures of the Bibliothèque Nationale. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score, which was also used for performances, by pasting strips of paper over the bars or parts in question. This facsimile edition, in high-quality 4-color reproduction, presents the manuscript as it is today—with strips of paper that can be folded out, making both versions visible. Commentary in Eng-Ger-Fr. Hardbound with quarter leather spine and boards in colorful paper. $895 (more info... ) [item no.9541]
BIHLER (Bühler), Gregor, 1760-1823 [treatise, basso continuo] Partitur-Regeln [in einem kurzem Auszuge für Anfänger. Nebst einem Anhange, wie man in alle Töne gehen könne]. Ms. 1793. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 36. Stuttgart, 2017. 17 x 22 cm, 39 pp. Color reproduction of a rare manuscript on basso-continuo practice “for beginners”. Bihler was a German monastic composer; trained in the Minorite monastery in Maihingen, he was a boy soprano at the Benedictine Abbey at Neresheim and in 1801 become cathedral organist at Augsburg. Wrappers. $24 [item no.9556]
BODENSCHATZ, Erhard, 1576-1636 Florilegium [selectissimarum cantionum, praestantisimorum aetatis nostrae autorum, 220.127.116.11. & 8. vocum] portense. Leipzig / Abraham Lamberg 1603. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 5. Stuttgart, 2018. 16 x 20 cm, 8 partbooks, 1486 pp. Line-cut of the Leipzig, 1603 partbook edition (discantus, altus, tenor, bassus, quinta vox, sexta vox, septima vox, octava vox) with 365 motets by 58 composers. Florilegium portense—literally “anthology from Schulpforta” (where Bodenschatz was cantor)—is a monumental work indispensable for the study of 17th-c. choral music in Saxony and Thuringia. Bach is known to have used it for the Thomanerchor while he was Thomaskantor. This particular exemplar contains contemporary ms entries. Hardbound, with decorative paper boards and matching slipcase. $350 [item no.9576]
BON, Anna, 1740-1767? [Sonatas, flute, bc, op.1] VI sonate da camera per il flauto traversiere, e violoncello o cembalo. Opera prima. [Fürstlich Thurn und Taxissche Hofbibliothek, Regensburg].
Faksimile-Edition Kammermusik des Barock, 6. Stuttgart, 2016 26 x 37 cm, 25 pp. Line-cut of the Nuremberg, 1756 edition. Wrappers. $24 [item no.9527]
BUUS, Jacques, b.?-1565 [Canzoni francese] Il primo libro di canzoni francese. Venedig 1543 / Il secondo libro di ricercari. Venedig, Antonio Gardane 154 [Stadtbibliothek Lübeck & Bischöfliche Bibliothek, Regensburg].
Faksimile-Edition Rara, . Stuttgart, 2016. Oblong, 21 x 16, 6 partbooks, 316 pp. Line-cut of the Venice, 1543 & 1549 partbook editions comprised of 30 settings with French texts, and 8 textless ricercari suitable for string & wind ensembles. Decorative paper boards with matching slipcase. $148 [item no.9525]
CAPPUS, Jean-Baptiste, b.?-1751 [Pièces de viole, book 1] Premier livre de pieces de viole [et la basse-continüe]. Paris 1730. [Bibliothèque National de France, Paris].
Faksimile-Edition Viola da Gambe, 9. Stuttgart, 2016. Oblong, 34 x 27 cm, 2 partbooks, 56 pp. Line-cut of the Paris,  edition. Handsome marbled paper boards. $48 [item no.9533]
CHOPIN, Frédéric, 1810-1849 [Etude, op.10 no.7] Etiuda C-dur Op.10 Nr.7 / Etude in C Major, op.10, no.7. Wydanie faksymilowe rękopisu ze zbiorów The Morgan Library & Museum w Nowym Jorku / Facsimile Edition of the Manuscript Held in the Morgan Library & Museum in New York City.
Works by Chopin—Facsimile Edition,  A II/10/7. Warsaw, 2017. Oblong, 35 x 25.5 cm, 2, 33 pp. Full-color halftone of the autograph fair copy (Pierpont Morgan call number MA 2473), basis of the French Schlesinger edition. Signs of the preparation needed for publication abound on the manuscript especially in the form of pencilled numbers that ‘cast off’ the number of bars to appear in a printed system, and the number of systems to appear on the printed page. Surviving correspondence between the French and German publishers of the Etudes informs us of the meticulous care with which Chopin prepared his first set of publications following his arrival in Paris (Kallberg). Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $69 (more info... ) [item no.9551]
[Etudes, piano, op.25, no.4] Etiuda A-Moll Op.25 nr 4 / Etude in A Minor, Op.25 No.4. Wydanie faksymilowe rękopisu ze zbiorów Bibliothèque de l’Opéra w Paryżu. / Facsimile Edition of the Manuscript held in the Bibliothèque de l’Opéra in Paris.
Works by Chopin—Facsimile Edition,  A /II/25/4. Warsaw, 2016. Oblong, 30 x 24 cm, 2 vols, 4, 47 pp. The Etude in A Minor was published with the whole cycle in October 1837, almost simultaneously by three publishers: Maurice Schlesinger in Paris, Breitkopf & Härtel in Leipzig and Wessel in London. The present full-color facsimile is based on the manuscript Rés 50 (2), Bibliothèque de l'Opéra; we know from engraver’s markings showing the exact division into pages and systems that it served as the Stichvorlage for the Schlesinger edition. The pages of the Etude show a significant number of minor corrections; these might indicate haste on the composer's part resulting in slips in the notation. Before the final resolution to an A major chord in bar 65 a whole bar was deleted—could this indicate that Chopin meant to replace some notes before that chord? Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Irena Poniatowska. Bound in blue linen, with matching slipcase. $76 (more info... ) [item no.9513]
[Etude, F minor] Etiuda f-moll z Méthode des Méthodes pour le piano / Etude in F Minor from Méthode des Méthodes pour piano. Wydanie faksymilowe rękopisu ze zbiorów Muzeum Fryderyka Chopina w Warszawie / Facsimile Edition of the Manuscript held in the Fryderyk Chopin Museum in Warsaw.
Works by Chopin—Facsimile Edition,  A /II/Dop.36A/I. Warsaw, 2018. Oblong, 28 x 22 cm, 2 vols, 4, 49 pp. Purchased in an auction in 2008 by the Chopin Institute, and preserved now in the Chopin Museum as MS MC/188, this non-fair copy autograph represents an earlier version of the work. The MS has signs of burn damage on the upper corner which in no way affects the text except for the possibility of the loss of a tempo marking. Notable is the lack of dynamic, agogic, pedal and expression markings, and phrasing only appears at the beginning. It contains corrections and deletions which show the composer was still working out detail. One is most struck by Chopin’s hesitation over the rhythmic shaping of the melodic line and changes in the closure of the piece. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Zofia Chechlińska.. Bound in blue linen, with matching slipcase. $69 (more info... ) [item no.9575]
[Grand duo concertant, violoncello, piano, op.16A] Grand duo concertant E-dur na tematy a opery Giacomo Meyerbeer Robert le Diable / Grand duo concertant E Major on Themes from Meyerbeer’s Opera Robert Le Diable. Wydanie faksymilowe rękopisu ze zbiorów Bibliothèque Nationale de France w Paryżu. / Facsimile Edition of the manuscript held in the Bibliothèque Nationale de France in Paris.
Works by Chopin—Facsimile Edition,  A XIII/Dbop.16A. Warsaw, 2016. Oblong, 35,5 x 25.6 cm, 2 vols, 22, 45 pp. Full-color reproduction of the fair copy autograph. The Grand duo concertant owes its composition to Fryderyk Chopin’s friendship with French cellist Auguste Franchomme. The manuscript being published here comes from the early 1830s and is an editorial autograph intended for the Paris publisher Maurice Schlesinger. The piano part is notated in Chopin’s hand; the title page and ’cello part, in Franchomme’s hand.. Bound in blue linen, with matching slipcase. $93 (more info... ) [item no.9545]
[Impromptu, no.3, op.51, G flat major] Impromptu Ges-dur op.51 / Impromptu in G Flat Major, op.51. Wydanie faksymilowe rękopisu ze zbiorów Library of Congress, Selden-Goth Collection w Waszyngtonie / Facsimile Edition of the Manuscript Held in the Selden-Goth Collection at the Library of Congress, Washington DC.
Works by Chopin—Facsimile Edition,  A III/51. Warsaw, 2017. Oblong, 28 x 22 cm, 4, 47 pp. Full-color halftone of the autograph fair copy dedicated to Madame la Comtesse Esterházy née Comtesse Batthyany. This publication reproduces the manuscript of the Impromptu in G-flat major op. 51 from the Library of Congress (Selden-Goth Collection) in Washington DC. The history of this autograph is convoluted; until 1926, it was held by the Musikhistorisches Museum von Wilhelm Heyer in Cologne; its later owners are unknown. All we know is that as of 1946, the manuscript already belonged to the Selden-Goth collection.. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Zofia Chechlińska. Bound in blue linen, with matching slipcase. $69 (more info... ) [item no.9546]
[Impromptu, no.1 [op.66], C-sharp Minor] Impromptu Cis-Moll [op.66] / Impromptu in C Sharp Minor [op.66]. Wydanie faksymilowe rękopisu ze zbiorów Muzeum Fryderyka Chopina w Warszawie / Facsimile Edition of the Manuscript Held in the Fryderyk Chopin Museum in Warsaw.
Works by Chopin—Facsimile Edition,  A III/66. Warsaw, 2017. Oblong, 33 x 24 cm, 4, 41 pp. Full-color halftone of the autograph fair copy. This impromptu offers us an initial idea of how Chopin understood the genre. According to Fontana the work was composed in 1834 and not intended for publication by the composer, and only issued after his death with the title “Fantaisie-Impromptu”. Designed to a da capo form with coda, in stylistic terms it stands largely within the sphere of the brilliant style. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Zofia Chechlińska. Bound in blue linen, with matching slipcase. $69 (more info... ) [item no.9567]
[Lento, C-sharp minor, op. posth.] Lento con gran espressione Cis Moll / Lento con gran espressione in C Sharp Minor. Wydanie faksymilowe rękopisu ze kolekcji “Fryderyk Chopin i George Sand” w Valldemossie / Facsimile Edition of the Manuscript held in the “Fryderyk Chopin and George Sand” Collection in Valldemossa.
Works by Chopin—Facsimile Edition,  A XI/WN 37. Warsaw, 2017. Oblong, 32 x 25 cm, 2 vols, 2, 45 pp. Full-color reproduction of the presentation autograph manuscript from the “Fryderyk Chopin and George Sand” collection” held by the Carthusian Monastery in Valldemossa on the Isle of Mallorca. Chopin composed the Lento in C-sharp minor in 1830. He probably later offered the manuscript to his pupil, Princess Marcelina Czartoryska née Radziwiłł. Another version of the Lento, an autograph manuscript with a dedication to his sister Ludwika, has disappeared and is known only from copies and facsimiles. The volume is supplied with source commentary authored by Bożena Schmid-Adamczyk. Bound in blue linen, with matching slipcase. $69 (more info... ) [item no.9544]
[Polonaise, piano, op.53] Polonezy op.53 / Polonaises op.53. 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,  A /VI/53. Warsaw, 2016. Oblong, 28 x 22 cm, 2 vols, 12, 63 pp. Full-color halftone of the autograph fair copy formerly in the Breitkopf & Härtel archives (the “working” autograph is now lost). The manuscript contains precise articulation markings which were partly omitted in the first edition. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $90 (more info... ) [item no.9486]
[Variations, op.2, “Là ci darem la mano”] Wariacje B-dur na temat arii “Là ci darem la mano” op.2 / Variations B flat major, on the theme "La ci darem la mano" Op. 2. Wydanie faksymilowe rękopisu ze zbiorów Österreichische Nationalbibliothek w Wiedniu / Facsimile Edition of the Manuscript Held in the Österreichische Nationalbibliothek in Vienna.
Works by Chopin—Facsimile Edition,  A XI/2/a. Warsaw, 2017. Oblong, 35 x 26 cm, 24, 57 pp. Full-color halftone of the autograph fair copy (ONB Cod.16789) with plate no. of the Haslinger first edition. Title page with Chopin’s dedication and signature: “‘Là ci darem la mano’ varié pour le piano=forte avec accompagnement d’orchestre dedié à Mt Titus Woyciechowski par Frédéric Chopin, Oeuvre 2”. Presents the solo parts and orchestral parts in piano reduction with orchestration suggestions. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Norbert Müllemann. Bound in blue linen, with matching slipcase. $106 (more info... ) [item no.9550]
[Waltz, op.70, no.2] Walc f-moll/As-dur, op.70 nr 2 / Waltz in F Minor/A flat Major, Op.70 No.2. Wydanie faksymilowe autografów ze zbiorów Bibliothèque Nationale de France w Paryżu. / Facsimile Edition of the autographs held in the Bibliothèque Nationale de France in Paris.
Works by Chopin—Facsimile Edition,  A X/70/2a-c. Warsaw, 2016. Oblong, 30 x 22 cm, 2 vols, 8, 61 pp. Full-color reproduction of three autographs of the F Minor/A flat Major Waltz: 1) The Krudner autograph BN W.20; 2) The “Rothschild” autograph BN Ms. 110; 3) The Gavard autograph, BN Ms.117. There are numerous variants of substance across the different versions of this pieces. To mention a few: The “Rothschild” autograph is the only version which begins on the downbeat; Phrasing in the Gavard autograph is significantly out of step (and “short-breathed”) with that found in the other autographs. Commentary in Pol-Eng-Ger-Sp-Fr-Jp by Jim Samson. Bound in blue linen, with matching slipcase. $86 (more info... ) [item no.9514]
DEBUSSY, Claude, 1862-1918 Arabesques pour le piano. Manuscrit conservé à la Bibliothèque national de France, département de la Musique—Ms 978.
Fac-similes de Manuscrits de Claude Debussy, . Paris, 2017. 26.5 x 35 cm, iv, 8 pp. 4-color facsimile of the autograph.These two Arabesques, based on Debussy's meticulously copied fair copy, are especially relevant in understanding the composer's compositional arc: composed when he was in his twenties at a time when he was strongly influenced by the Chanteurs de Saint Gervais (a group founded for the study and performance of early music), these pieces embody a melodic gesture the composer called "divine arabesque", in part the musical language of the "primitives": Palestrina, Victoria and Lasso, whose melodic style the composer believed could be traced back to plainchant ("They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints". The early "Arabesques pour le piano" are key to interpreting Debussy's development as a composer. Preface in Fr-Eng by Pierre Boulez. Wrappers with exposed stitching, in special art paper. $56 (more info... ) [item no.9542]
GASTRITZ, Matthias, c.1530-1596 Newe symbola etlicher Fürsten [und Herrn, neben andern mehr schönen liedlein mit fünff und vier Stimmen, auf alle Instrument zu gebrauchen]. Dietrich Gerlatz 1571. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 4. Stuttgart, 2016. 17 x 21 cm, 5 partbooks, 204 pp. Line-cut of the Nuremberg 1571 edition. 5 partbooks (discantus, altus, tenor, vagans, bassus) with 36 settings. Wrappers, with portfolio in decorative paper. $67 [item no.9530]
HAIDEN, Hans Christoph, 1572-1617 Ganz neue lustige Täntz vnd Leidlein, [deren Text mehrer theils auff Namen gerichtet, mit vier Stimmen, nicht allein zu singen, sondern auch auff allerhand Instrumenten zu gebrauchen]. Nürnberg / Paul Kauffmann 1601. [Library of Congress, Washington, DC].
Faksimile-Edition Rara, 61. Stuttgart, 2018. 17 x 20 cm, 4 partbooks, 108 pp. Line-cut of the Nuremberg, 1601 edition. Wonderful collection of 23 dance numbers (all texted) for various string and wind instrumental groupings. Partbooks: cantus, altus, tenor, bassus) Wrappers, with portfolio. $75 [item no.9579]
KRADENTHALLER [Gradenthaller], Hieronymus, 1637-1700 Deliciarum musicalium. Erster Theil [à 4. Viol, von Sonatinen, Arien, Sarabanden und Giquen allen Music-Freunden zur Delectation], Wolf Eberhard Felßecker Nürnberg 1675; Ander Theil (etlicher Sonatinen, Arien, Sarabanden und Giquen, &c. von sonderlichen Inventionen und Manier à 4 Viol. Allen Music-Freunden zur Delectation], Wolf Eberhard Felßecker Nürnberg 1676. [Fürstlich Thurn und Taxissche Hofbibliothek, Regensburg].
Faksimile-Edition Kammermusik des Barock, 7 Stuttgart, 2018. 22 x 18cm, 5 partbooks, 158 pp. Line-cut of the Nürnberg 1675-1676 partbook edition, for 4 viols with basso continuo (labeled “Violino I”, “Violino II”, “Violetta”, “Violon”, “Cembalo”.Hardboard in beautiful decorative paper with matching slip case. $142 (more info... ) [item no.9573]
[Musicalische Recreation; Musicalische Recreation Anderer Theil, violin, bc] Musicalische Recreation [von Alleman, den Sarabanden Gavotten und Boure. Allen Liebhabern und Incipienten der Music componirt und vorgestellet Violino solo è Basso continuo]. Regensburg 1672. [Proske-Bibliothek Regensburg].
Faksimile-Edition Violino e Continuo, 4. Stuttgart, 2017. Oblong, 21 x 16 cm, 2 partbooks, 180 pp. Line-cut of the Regensburg, 1672 edition (includes both parts). 119 settings altogether, including several sonatinas. 4 magnificent woodblock title pages. Hardbound in decorative paper with matching portfolio. $72 [item no.9539]
KURTÁG, György, b.1926 [Games, piano, selected works] Zoli Kocsis’s Manuscript Book / Kocsis Zoli Hangjegyfüzete. The History of the Manuscript Book. Postscript: The Contents of the Manuscript.
Budapest, 2016. 25 x 34 cm, 96, 10/10 pp, audio CD. Full-color facsimile in the original format of a manuscript version of “Games” issued on the occasion of Kurtág’s 90th birthday. “Games” is a series of piano pieces written for both teaching purposes and public performance. In the autumn of 1974 the composer (pupil of Messiaen & Milhaud and a close colleague of György Ligeti) began to copy selected pieces from Games into a special spiral-bound notebook for Zoltán Kocsis, a former piano student and important interpreter of Kurtág’s works. Kocsis played from this notebook in the first public performance of Games in 1974, and since then as well, as the series was expanded over a 30 year period. Koscis writes: “I didn't know that the spiral notebook I received at the premiere would later become, as it were, my permanent companion. That I would take it with me from Japan to Canada, from Australia to Iceland, traveling to the world's most prominent concert halls... that— well beyond the intention of its being 'copied with love'—it would include works and sketches for which this notebook would become the principal source”. The MS-notebook with 65 pieces—one third of them hommages to contemporary composers—provides a wonderful glimpse into Kurtág's workshop, of equal interest to performers and musicologists. The former can understand more from Kurtág's handwriting about the composer's intentions than from the printed score and musicologists can appreciate the historical development of the works as some appear in more than one version and may differ from the printed score. With commentary in Hung-Eng by Zoltán Kocsis, and audio CD with 11 works performed by Kocsis from a recording made in 1982 not previously available. Limited edition of 600 copies issued on the occasion of Kurtág’s 90th birthday. $110 (more info... ) [item no.9505]
LAMPE, John Frederick, 1703-1751 [Method, thoroughbass] A Plain and Compendious Method of Teaching Thorough Bass. A Facsimile of the 1737 London Edition.
New Dehli, 2016. 15 x 22 cm, 144 pp. Line-cut of the London, 1737 edition. Softcover. $30 [item no.9504]
MAHLER, Gustav, 1860-1911 [Lied von der Erde, selection] Der Abschied—Facsimile Edition of the Sixth Movement of Das Lied von der Erde. I: Draft Orchestral Score; II: Particel, Short Score; III: Texts on the Facsimile. [Willem Mengelberg Archive, Nederlands Muziek Institut, The Hague].
The Hague, 2017. Oblong, 35 x 27, 3 vols, 44, 20; 46 pp. Fine bibliophile facsimile of Mahler’s manuscripts of “Der Abschied” (Farewell), the sixth movement of Das Lied von de Erde, issued on the 60th anniversary of the Dutch Mahler Society. The edition includes the manuscripts of both the draft orchestral score and the particel short score. In December 1917, the great Dutch conductor Willem Mengelberg conducted the Vienna Philharmonic Orchestra in a performance of Das Lied and following that performance, Alma Mahler presented Mengelberg with the 2 manuscripts which are the basis of this facsimile. Alma included the note (also provided in facsimile): “To the Friend of Gustav Mahler. . . the most wonderful interpreter of his work, Willem Mengelberg”. The particle represents a relatively early stage of the composition and reveals many aspects of how the movement took shape. The orchestral version is much more complete, but still is considered a draft. Notes by Eveline Nikkels & Frits Zwart, with introduction by Edward Reilly. Limited edition of 400 numbered copies in the original format as presented by Alma Mahler to Mengelberg, 3 volumes, housed in a beautiful box covered with black paper. $148 (more info... ) [item no.9558]
MARTIN CODAX, 13th c. Vindel Parchment. The Morgan Library & Museum, New York. [Pierpont Morgan Library, New York, Ms. M 979].
Barcelona, 2016. 33.6 x 45,2 cm, 224 pp. The Vindel Parchment, latter half of the 13th c, contains 7 cantigas de amigo—a complete work attributed to the Galician composer and performer Martin Codax—with music for 6 of them. They represent songs sung by a maiden awaiting her absent lover in Ría de Vigo. Cantigas de amigo are the most original genre of medieval Galician lyric poetry. In these short, lively ballads belonging to the European “women’s song” genre, a maiden in love sings— alone or accompanied by her female friends, sisters or mother— about her life, hopes and sorrows, and sometimes about nature too. The waves in the sea near Vigo are highly symbolic in Martin Codax’ ballads, imbuing his lyrics with great eroticism. Until the discovery of the Vindel Parchment, the only known medieval Galician cantigas with a musical settings were the religious Cantigas de Santa María of Alfonso X the Wise. The Sharrer Parchment (late 13th or early 14th c.) discovered subsequently, feature 7 poems by King Dinis I of Portugal which were secular and yet belonged to the cantigas de amor genre. It is not yet known which scriptorium made the Vindel Parchment although it must have been well equipped and had skilled scribes. Palaeographic evidence and the musical settings, e.g. similarities between the 6 melodies by Martin Codax and the music of some of the Cantigas de Santa María, suggest that Martin Codax was involved with the Castilian courts of Alfonso X the Wise and Sancho IV. Deluxe facsimile limited to 987 copies. Companion volume directed by Mariña Arbor, with contributions by Antonio Calvia, Antonio Ciaralli, Rip Cohen and Simone Marcenaro; foreword by Harvey L. Sharrer. (more info... ) [item no.9554]
MENDELSSOHN-BARTHOLDY, Felix, 1809-1847 [Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 10: Januar 1844 bis Juni 1845. Herausgegeben und kommentiert von Uta Wald.
Kassel, 2016. 15 x 23 cm, 970 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. Only available as 12-vol set. $179 [item no.6802]
[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 11: Juili 1845 bis Januar 1847. Herausgegeben und kommentiert von Susanne Tomkovič, Christoph Koop, Janina Müller und Mitabeit von Uta Wald.
Kassel, 2016. 15 x 23 cm, 838 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. Only available as 12-vol set. $185 [item no.6807]
[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 12: Februar 1847 bis November 1847. Herausgegeben und kommentiert von Stefan Münnich, Lucian Schiwietz und Uta Wald.
Kassel, 2017. 15 x 23 cm, 632 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. Only available as 12-vol set. $188 [item no.6812]
[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Bände 1-12 CD-ROM.
Kassel, 2017. 1 CD ROM. The complete printed editionfvols 1-12, of the Mendelssohn letters in searchable CD-ROM format. $248 [item no.6813]
MONTEVERDI, Claudio, 1567-1643 Lamento d'Arianna. Faksimile nach dem Erstdruck der Universitätsbibliothek Gent. Herausgegeben und mit einer Einführung von Silke Leopold.
Meisterwerke der Musik im Faksimile, 49. Laaber, 2017. 21.5 x 27.5 cm, 12, 32 pp. Line-cut of Magni edition, Venice, 1623 (sole surviving copy), containing the “Lamento d’Arianna” and two “Lettere amorose” from the seventh book of of madrigals. The Lamento d’Arianna (”Let me die”) is the centerpiece of Monteverdi’s lost second opera L’Arianna first performed in Mantua on May 28, 1608. Contemporary reports describe it as the most beautiful composition in the new genre of opera. Severo Bonini writes in his treatise that there was scarcely a domestic harpsichord in the whole of Italy on which a copy of the Lamento did not lie open. Introduction in Ger/Eng. Hardbound. $93 (more info... ) [item no.9510]
MOZART, Wolfgang Amadeus, 1756-1791 [Adagio, glass harmonica, K.356 (617a)] L’autografo dell’ Adagio KV 356 (617a) per Glasharmonika nella Bibliothèque Nationale de France di Parigi (Départment de la Musique, Fondo Ch. Maherbe, Segnatura: Ms. 220). Edizione in facsimile a cura di Giacomo Fornari.
Lucca, 2/2017. 23 x 33 cm, xvi, 2 pp. This beautiful and exacting facsimile, recreating the tactile experience of the autograph now in the possession of the Bibliothèque Nationale, was first issued in 2008 solely for members of the International Mozart Society. Fortunately the publisher has now re-issued it, making it available to a larger public. Little is known about the origins of the work and the composer failed to enter the piece into his thematic catalog (Verzeichnüß aller meiner Werke). Several clues however suggest that the piece was drafted in the summer of 1791, in the same period as the genesis of La clemenza di Tito and Die Zauberflöte, and that Marianne Kirchgeßner, the esteemed virtuoso of the glass harmonica, blind since the age of four, performed it in Vienna. The instrument itself, a type of mechanical piano with resonating glasses, whose sound is described as "especially sweet, ethereal, melancholic and penetrating", has a facsinating American connection in that it was Benjamin Franklin who perfected the instrument in 1762. Commentary in It-Eng-Ger. Portfolio. $66 (more info... ) [item no.9043]
[Concerto, piano, orch, no.9, K.271] Klavierkonzert “Jenamy” Eb-Dur KV 271. Faksimile nach dem Autograph der Bibliothek der Jagiellońska Kraków. Herausgegeben und mit einer Einführung von Ulrich Konrad.
Meisterwerke der Musik im Faksimile, 38. Laaber, 2017. Oblong, 4°, xxiii, 136 pp. Full-color facsimile of the autograph score. Michael Lorenz describes Mozart's Piano Concerto K. 271 ('Jenamy') as “a miracle of musical originality. In the mastership of its orchestration, its stupendous innovative energy and its effect, despite limited instrumental means, this piece has absolutely no precedent. It is Mozart's first great composition, 'his Eroica' as Alfred Einstein put it, 'which he later would match, but never surpass'. With a creative thrust beyond compare, a kind of musical fulguration (in the sense of the term as coined by Konrad Lorenz), Mozart broke all previous conventions and already in 1777 demonstrated the superior mastery that distinguishes his piano concertos of the Vienna years. Formal surprises are being combined with unbridled melodic exuberance”. Lorenz also made the important discovery in 2003 that the concerto—previously nicknamed “Jeunehomme”—was actually commissioned by Victoire Jenamy, an excellent pianist and daugther of the the famous dance master Jean George Noverre. Introduction in Ger-Eng. Hardbound with decorative paper boards. $279 (more info... ) [item no.9404]
[Concerto, piano, orch, no.15, K.450] Klavierkonzert Nr. 15 B-Dur KV 450. Faksimile nach dem Autograph der Herzogin Anna Amalia Bibliothek, Weimar. Mit einem Kommentar von Hartmut Hein.
Meisterwerke der Musik im Faksimile, 37. Laaber, [in prep—2018]. Oblong, 4°, xxiv, 88 pp. Full-color facsimile of the autograph score. Introduction in Ger-Eng. Hardbound. (subscription price) $205 [item no.9403]
[Concerto, piano, orch, no.16, K.451] Klavierkonzert Nr. 16 D-Dur KV 451. Faksimile nach dem Autograph der Bibliothek der Jagiellonen-Universität Krakau. Mit einem Kommentar von Siegbert Rampe.
Meisterwerke der Musik im Faksimile, 39. Laaber, [in prep—2018]. Oblong, 4°, xxiv, 84 pp. Full-color facsimile of the autograph score. Introduction in Ger-Eng. Hardbound. (subscription price) $191 [item no.9405]
[Concerto, piano, orch, no.27, K.595] Klavierkonzert Nr. 27 B-Dur KV 595. Faksimile nach dem Autograph der Bibliothek der Jagiellonen-Universität Krakau. Mit einem Kommentar von Peter Revers.
Meisterwerke der Musik im Faksimile, 36. Laaber, [in prep—2018]. Oblong, 4°, xxiv, 104 pp. Full-color facsimile of the autograph score. Introduction in Ger-Eng. Hardbound. (subscription price) $229 [item no.9402]
[Concerto, violin & orch, no. 5, K.219, A major] Violinkonzert A-Dur KV 219. Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington, D.C. Herausgegeben und mit einer Einführung Stefan Drees / Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C. Edited and with an Introduction by Stefan Dress.
Meisterwerke der Musik im Faksimile, 35. Laaber, 2016. Oblong, 4°, xxii, 92 pp. Full-color facsimile of the autograph score. Although Mozart was an accomplished violinist, playing the premiere of the Strasboug Concerto, his last concerto was probably fashioned for Antonio Brunetti, with whom Mozart shared the concertmaster position in the orchestra of the Prince and Archbishop of Salzburg. Introduction in Ger-Eng. Hardbound with decorative paper bounds. (subscription price) $189 (more info... ) [item no.9401]
[Symphony, no.38, “Prague”, K.504] Sinfonie Nr.38 KV 504 (“Prager” Sinfonie). Faksimile nach dem Autograph der Bibliothek Jagiellońska Krakau. Herausgegeben und mit einer Einführung von Ulrich Konrad.
Meisterwerke der Musik im Faksimile, 34. Laaber, 2016. Oblong, 4°, xvvi, 74 pp. Color facsimile of the autograph score completed 6 Dec. 1786. The original ms was not among those sold by Constanza to Johann Anton André, but rather took a circuitous route, believed once to be in the hands of the choir director Anton Stoll (or Ferdinand III Grand Duke of Toscana), passing to the Moravian singer Franz Hauser in 1848 and 10 years later into the collection of Franz Liszt, from whom it was transferred to the Royal Library in Berlin. The “Prague”, or third of 7 symphonies from the Vienna decade 1781-1791 occupies a unique position within Mozart’s mature works, calling for pairs of flutes, oboes, bassoons, horns, and trumpets. It’s 3-movement form is also unusual and has produced inexhaustible discussion. Introduction in Ger-Eng. Coverboards in decorative paper. Subscription price valid until 6/30/16. $212 (more info... ) [item no.9400]
MUFFAT, Georg, 1653-1704 Armonico tributo [cioé sonate di camera commondissime a pocchi, ò a molti stromenti]. Salzburg. Giovanni Battista Mayr 1682 [Fürstlich Thurn und Taxissche Hofbibliothek, Regensburg].
Faksimile-Edition Kammermusik des Barock, 7 Stuttgart, 2017. 26 x 37 cm, 5 partbooks, 158 pp. Line-cut of the Salzburg, 1682 edition. Like Biber’s Mystery Sonatas and Sonatas 1681, this set was dedicated to Archbishop Maximilian Gandolph von Khuenberg with whom he was employed for 10 years. Scored for vln I, vln, II, va I, va II, cembalo (bc). The performance markings in the print are nearly unique for the time—perhaps aids to assist German string players with the idiom of cosmopolitan French dance styles—and include meticulous tempo, dynamic, bowing, and solo-ensemble markings. Additional performance instructions are provided in the preface (“Amico Lettore”). Wrappers with portfolio in decorative paper. $87 (more info... ) [item no.9565]
PETRUCCI, Ottaviano, 1466-1539 [publisher] Frottole Libro secondo. Venedig Ottaiano Petrucci 1507 / Frottole libro tertio Venedig Ottaviano Petrucci 1507. [Bischöfliche Bibliothek, Regensburg].
Faksimile-Edition Rara, 78. Stuttgart, 2018. Oblong, 24 x 17 cm, 111; 127 pp. Line-cut of Petrucci’s 2nd and 3rd books of frottole both published in Venice, 1507. Comprising 53 & 61 frottole respectively—the word means “trifles” or “unimportant things”—these two books are a repetorial goldmine, with composers such as Rossinus Mantuanus (R.M.), Francesco d’Ana, Nicolo Patavino, Cara, Tromboncino, Pesenti, Honophrius Antenoreus, Peregrinus Cesena, Antonius Rossetus, and others. Notated in quasi score format (if frottola fits on single page) or choirbook format (if spread over an opening). Hardbound, in decorative paper. $88 [item no.9569]
POSCH, Issac, b.?-1623 Musicalische Ehrenfreudt. [Das ist: Alleyley neuer Balleten, Gagliarden/Couranten und Täntzen teutscher arth, mit 4. Stimmen, wie solche auff wie II solche auff adelichen Panqueten, auch andern ehrlichen Convivijs und Hochzeyten gemusiciert und auff allen instrumentalischen Sayttenspilen, u. zur Fröligkeit gebraucht werden mögen: Erster Theil]. Regenburg 1618. [Bischöfliche Bibliothek, Regensburg].
Faksimile-Edition Rara, 76. Stuttgart, 2017. 18 x 22 cm, 4 partbooks, 160 pp. Line-cut of the Regensburg, 1618 partbook edition. 34 4-voice instrumental settings (canto I, canto II, alto, basso). Wrappers, with portfolio in decorative paper. $46 [item no.9538]
SAINT-SAËNS, Camille, 1835-1921 Le carnaval des animaux. Fac-similé du manuscrit autographe / The Carnival of the Animals. Facsimile of the Autograph Manuscripts. Introduction Marie-Gabrielle Soret.
De Main de Maître, 2. Turnhout, 2018. 30 x 36.6 cm, 192 pp ( 127 color). Full-color facsimile of the autograph full score—“Stichvorlage”. The second volume of the series “De main de maître”, a facsimile collection devoted to orchestral scores of the most prestigious sources conserved in the Music Department of the Bibliothèque National de France. If there is one work in all of Saint-Saëns’ musical output that supremely captures the disposition so typical of the composer, it is The Carnival of the Animals, completed in Feb. 1886, and created for friends and performers close to Saint-Saëns and performed about 15 times between 1886 and 1894 to a small audience. Because Saint-Saëns feared that his “zoological fantasy” would damage his reputation, the work was published in its entirety only after his death. Since then, its immense popularity has continued to grow, so much so that it is now enjoyed by music lovers and the general public alike. Marie-Gabrielle Soret, a Saint-Saëns specialist, provides a detailed description of the work and the context of its creation, the facsimile includes the 14 numbers of The Carnival of the Animals. It reveals the composer’s handwriting, all the performance directions as he noted them, and the playful animal drawings with which he decorated his score—a fish for “Aquarium”, the skeleton of a dinosaur for “Fossiles”, and the pale blue pencil silhouette of a swan to illustrate the famous “Swan”. Commentary in Fr-Eng. Hardbound, with colorful dust jacket. $289 (more info... ) [item no.9580]
SCHUMANN, Robert, 1810-1856 [Lieder, “Myrthen” op.25, selections; Kerner-Lieder op.35, selections] “Widmung” (Rückert) and “Stille Liebe” (Kerner). Facsimile of the Autograph MS with Schumann’s Dedication in The Juilliard Manuscript Collection, New York. With Critical Appreciation by Michael Musgrave.
[Salzburg], 2017. Oblong, 33 x 25 cm, ix, 8, iii pp. Full-color facsimile of the autograph presentation MS of op.25, no.,1 and op.35, no.8. Limited edition, bound in red velvet. $195 (more info... ) [item no.9547]
[Lieder, “Myrthen” op.25, selections; Kerner-Lieder op.35, selections] “Widmung” (Rückert) and “Stille Liebe” (Kerner). Facsimile of the Autograph MS with Schumann’s Dedication in The Juilliard Manuscript Collection, New York. With Critical Appreciation by Michael Musgrave.
[Salzburg], 2017. Oblong, 33 x 25 cm, ix, 8, iii pp. Same as above but bound in red linen. $125 (more info... ) [item no.9548]
[Album for the Young, piano, op.68] Album für die Jugend op.68. Faksimile nach dem Autograph aus dem Robert-Schumann-Haus, Zwickau. Herausgegeben und mit einer Einführung von Michael Beiche.
Meisterwerke der Musik im Faksimile, 43. Laaber, 2017. Oblong, 28.5 x 21.5 cm, xxi, 94 pp. Full-color facsimile of the autograph score, together with some entries by his wife Clara, and two pieces in the hand of Ferdinand, Schumann’s grandson. The MS is the basis of the first edition and thus has the usual engravers pencil markings. Despite being a fair copy it documents some compositional work, especially regarding the conclusions of certain pieces, and also sheds light on the selections process, as not all pieces get included in the final printed edition. The impetus of composing Album for the Young is clear from a diary entry of Clara written 1 September 1848: “The pieces which children learn in piano lessons are so poor that Robert had the idea of composing and publishing a book (a kind of album) entirely with children’s pieces. He has already written a plethora of charming little pieces”. Later that year Clara wrote to their friend Carl Reinecke of the pedagogical importance of the work: “they are thus also easy to execute and I believe these pieces will meet the wishes of many amateurs, of precisely those who do not play well enough to perform Robert’s grander piano compositions”. And in a postscript to this letter Robert writes as a postscript: “I do not know when I ever found myself in such a good mood as when writing these pieces. It truly overwhelmed me”. Introduction in Ger-Eng. Hardbound with boards in decorative paper. (subscription price) $173 (more info... ) [item no.9509]
SILVESTRI, Florido, 17th c. [compiler] Ariette di musica, [a una, e due voci, di eccellentissimi autori. Raccolte dal canonico D. Florido de Silvestris da Barbarano]. Bracciano, Andrea Fei 1646. [Library of Congress, Washington, D.C.].
Faksimile-Edition Rara, 68. Stuttgart, 2016 Oblong, 22 x 11 cm, 153 pp. Line-cut of the Bracciano, 1646 edition. A lovely little book consisting of 10 settings for solo voice and accompaniment (harpsichord or lute), and 6 for for two voices and accompaniment. The arias, each with attribution, is edited by Florido Silestri: Mazzocchi (4), Savioni (2), Boccarini, Cecchelli (2), Luigi Rossi (2), Marciani (2), Silvestri, Carissimi (2), Hardbound, in decorative paper with matching slipcase. $53 [item no.9487]
STADLMAYR, Johann, c.1575-1648 Psalmi integri [a quatuor vocibius concertantibus quatuor aliis accessoriis ad libitum accinendis cum 2, cornet: sive violin.] Wagner/Innsbruck 1641. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 38. Stuttgart, 2017. 17 x 22 cm, 11 partbooks, 368 pp. Line-cut of the Innsbruck, 1641 partbooks. Scoring: SATB soli, SATB ripieni, violin, viol (or horn 1), viol (or horn 2). Wrappers, in marbled paper slipcase. $85 [item no.9563]
STRADIVARIUS, Antonio, 1644-1737 Antonius Stradivarius / Jost Thöne, Jan Röhrmann. [volumes V-VIII].
Cologne, 2016. 32 x 45 cm, 4 vols, 1200 pp, CR-ROM, A chronological catalog of Stradivari stringed instruments, detailing 152 instruments, each entry with photographs in color and details of construction, condition, and ownership. Accompanying electronic resource provides measurements and additional visual aspects. Limited edition of 2000 copies. Linen. (more info... ) [item no.9494]
TELLER, Marcus, 1682-1728 Musica sacra [stylo plane Italico & Cromatico pro compositionis amatoribus]. P. und M. Veith & Joannis Fratrum Her. Augsburg. Druck Wagner Ulm 1733. [Stadtbibliothek, Ulm].
Faksimile-Edition Ulm, 15. Stuttgart, 2017. 21 x 31 cm, 13 partbooks, 512 pp. Line-cut of the 1733 partbook edition. This rare print contains 4 masses & 4 motets scored for concerto/ripieno voices plus strings. Partbooks: canto concert, canto ripieno, alto concert, alto ripieno, tenore concert, tenore ripieno, basso concert, basso ripieno, vln I, vln II, vla, bsn, bc). Wrappers, with slip case in marbled paper. $150 [item no.9555]
VALENTINI, Giovanni, c.1582-1649 Missae quatuor partim octonis [partim oconis, partim duodenis vocibus unà cum basso generali ad placitum]. Venedig, Alessandro Vincenti, 1621. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, . Stuttgart, 2016. 16 x 23 cm, 13 partbooks, 352 pp. Line-cut of the Venice, 1621 partbook edition. Contents: Missa Stabat Mater dolorosa; Missa Susanna; Missa Diligam te Domine; Missa Sine Nomine. Wrappers, with portfolio covered in marbled paper. $89 [item no.9531]
WEISS, Silvius Leopold, 1686-1750 [Works, lute, selections, Vienna Ms] 9 Pieces fom the Vienna Ms (Austrian National Library) A-Wn S.M. 1078. Facsimile Edition.
Lübeck, 2016. Oblong, 30 x 28 cm, 21 pp. Line-cut of 9 pieces from Ms Österreichische Nationalbibliothek Wien Suppl. Mus. 1078: 1) Allemande, 2) Courante, 3) Bourré, 4) Sarabande, 5) Menuet, 6) Gigue, 7) Prélude, 8) Paisane, 9) Mad:la grondeuse, menuet. French tablature with baroque tuning. Wrappers. $20 [item no.9481]
ZUCHINI, Gregorio, c.1540-1615 Promptuarium harmonicum. Venidig, Iacob Vincenti 1616. [Bischöfliche Bibliothek, Regensburg].
Faksimile-Edition Rara, 72. Stuttgart, 2016. 19 x 25 cm, 5 partbooks, 288 pp. Line-cut of the Venice, 1616 edition partbook edition (after the sole surviving copy). 5-voice settings consisting of 2 masses, 12 vespers, 6 motets, & 7 canzoni per sonare with titles “La Barbissona”, “La Massa”, La Montignana”, La Restella”, “La Terhaga”, “La Giordana”, “La Grilla” (apparently nicknames), suitable for strings/winds. Wrappers, with portfolio in decorative paper. $69 [item no.9524]
COMPOSITE & MISCELLANEOUS SOURCES Altfraunhofener Orgelbuch. Kommentar von Karl-Friedrich Wagner.
Faksimile-Edition Rara, 71. Stuttgart, 2016. Oblong, 34 x 26 cm, 8, 40 pp. Color facsimile of a charming MS collection of organ music (mostly preludes) from the early romantic period. Written in a clear and legible hand, the composer attributions include Georg Hamel, Georg Valentin Röder, Justin Heinrich Knecht, Georg Joseph Vogler & Pater Agäus. Hardbound, with decorative paper boards. $57 [item no.9488]
Ars componendi / Regulae componendj . [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 37. Stuttgart, 2017. Oblong, 23 x 19 cm, 87 pp. Color reproduction of 2 fascinating manuscripts on the rules of composition—shelfmark L70; one is dated 1717. Hardbound with decorative marbled boards. $69 [item no.9557]
[Burgos, Monasterio de Cistercienses Calatravas de San Felices] Vita adelelmi (Vida de San Lesmes).
Madrid, 2004. 28 x 37 cm, 158, 236 pp. Deluxe full-color facsimile of a codex containing the Vita adelelmi and the official liturgy and music chants for San Lesmes, patron Saint of Burgos. As Burgos is one of the stops of the Camino de Santiago de Compostela, this work nicely dovetails with Codex Calixtinus (transmitting the equivalent rite for Saint James). Commentary by Ángeles García de la Borbolla García de Paredes, Víctor Márquez Paillo, Rafael Sánchez Domingo, Clemente Serna González, & Miguel C. Vivancos Gómez. Limited edition of 230 copies bound in full leather with generous tooling and linen covered slipcase. (first added to OMI’s offerings in 2012) (more info... ) [item no.9220]
[Cambrai, Mediathèque Municipale, MSS 125-128] Der Chansonnier von Zeghere van Male.
Faksimile-Edition Rara. Stuttgart, 2018. Oblong, 28 x 20 cm, 4 partbooks, 1224 pp. The Songbook of Zeghere van Male, also known by its call number MS 125-128 in Cambrai's Mediathèque Municipale, consists of four complementary part-books: Superius, Altus, Tenor, & Bass. The chansonnier became part of this public collection after the French Revolution, beforehand it was in the Bibliothèque de Saint-Sépulcre, also in Cambrai.The MS contains 229 compositions, extremely varied, some of them present only in this source. The special aspect of this manuscript is its marriage of music, art and culture: drawings adorn each folio. Executed by quill and with lively colors the drawings describe realistic scenes of daily life, leisurely activities, and include animals and monstrous creatures, obscene depictions and vegetal decorations. With mixed elements inherited from the Middle-Ages, the Antiquity and the vogue of the grotesque, they are a testimony of the prevailing taste in Flemish civil society in the first half of the 16th century. Hardbound with decorative paper boards. (Special subscription price until 8/15/2018) (more info... ) [item no.9571]
[Florence, San Lorenzo, Archivio Cap., 2211] The San Lorenzo Palimpsest Florence, Archivio del Capitolo di San Lorenzo Ms. 2211. Introductory Study and Multispectral Images edited by Andreas Janke and John Nádas.
Ars Nova, Nuova Serie, 4. Lucca, 2016. 17 x 24 cm, c.40, 222 pp. New deluxe edition. Like the Squarcialupi codex, this ms (copied 1417-1420) is an anthology of 14th-c. Italian songs, but also includes the most recent works, some of which must have come down to Florence from the council of Constance (1414-1417). Codice 2111, a parchment ms, had been scraped clean in the 16th c. and reused as an account book for the Chapter of San Lorenzo. Fortunately, with the help of UV light its important repertory can be read “beneath” the text of the accounts. Wrappers. $340 (more info... ) [item no.4471]
Lautentabulatur Italien um 1600. [Trento, Biblioteca Comunale].
Faksimile-Edition Laute, 15. Stuttgart, 2016. 27 x 36 cm, 45 pp. Halftone of Trento Ms. 1947 No.5 [RISM B VII, p.333-334] containing 57 pieces for lute and theorbo in French tabulature. Decorative paper boards $38 (more info... ) [item no.9523]
[London, Royal College of Music, Ms. 1070] The Anne Boleyn Music Book. Introduction by Thomas Schmidt and David Skinner with Katja Airaksinen-Monier.
Diamm Facsimiles, 6. Oxford, 2017. 21 x 30 cm. 58, 270 pp. This modestly-sized but beautifully written book contains sacred motets by some of Europe’s most famous composers, specifically those associated with the French Royal Court of the early 16th century. An inscription in an early sixteenth-century English hand reads “M[ist]res A Bolleyene Nowe thus” followed by musical motto of three minims and a longa; that she is referenced “mistress” indicates that the inscription was certainly made before she became queen in 1533; “nowe thus” was the motto of her father. Despite considerable interest by musicologists in past decades, the book remains something of a mystery: clearly made in France, but associated in a yet-to-be-determined way with Henry VIII's second wife. For the facsimile production the RCM removed the MS from its 19th-century binding, making it possible to study the layers and compilation. Commentary includes chapters on the historical context of the book, a new analysis of its structure, the significance of the music it contains with some new ascriptions, an analysis of the decoration, and a list of concordances and editions. Hardbound. $124 (more info... ) [item no.9553]
[Louvain, Alamire Foundation] Leuven Chansonnier. General Editors: David J. Burn & Bart Demuyt ; [study by David J. Burn ; Nederlandse vertaling: Ignace Bossuyt].
Leuven Library of Music in Facsimile, 1. Antwerpen, 2017. 8.5 x 12 cm, 2 vols, 190 pp + commentary. What a story! In 2014, a small Brussels auction-house sold a lot containing a statue, an illuminated initial, and a songbook, to a private art-dealer. The songbook was brought to the Alamire Foundation/KU Leuven Musicology Research Group for further examination. The book, it turned out, was a previously unknown late 15th-c. chansonnier, complete and in its original cloth binding. The rediscovery of such a source in unaltered form is extremely rare, it's been almost a century since the last such discovery. The manuscript was acquired through the Léon Courtin—Marcelle Bouché Fund, administered by the Belgian King Baudouin Foundation. The songbook was subsequently loaned long-term to the Alamire Foundation. Like several other similar chansonniers, this codex has been named after the location where it is preserved. The “Leuven Chansonnier” is a unique witness from the 15th century. What makes this manuscript so special? This very small and yet substantial book, penned more than 500 years ago, is in astonishingly good condition. It contains 50 compositions representing the very best of Franco-Flemish polyphony (by composers including Ockeghem, Binchois, and Busnois). It contains 12 previously unknown songs, thus offering a new perspective on the polyphony of the Low Countries. The present publication offers a full color reproduction of the MS accompanied by a scholarly commentary in Eng/Dut. $75 (more info... ) [item no.9570]
Manuscripts of English Thirteenth-Century Polyphony. Facsimile Edition by William J. Summers and Peter M. Lefferts.
Early English Church Music, 57. London, 2016. 30 x 43 cm. 340 pp. The third facsimile collection to be published by Early English Church Music, Volume 57 attests to the quality and depth of the polyphonic traditions during the long reigns of Henry III and his son Edward I, when the music of English high culture achieved a technical autonomy from the common international Anglo-French repertoire of the period. Assembling within the covers of one publication a set of facsimiles of the extant remains of native origin, it comprises images of more than 60 sources of 13th-c. polyphony, including the Reading rota, the conductus-rondellus Flos regalis, and the Worcester fragments, here reunited from three codices. The large page layout adopted enables almost all the MSS to be reproduced at full size for direct comparison of different sources, layouts and dimensions. Buckram. $275 (more info... ) [item no.9516]
[monodies, ornamented, 1617] Diminuierte Vertonungen von Gedichten Petrarcas und Bembos. Italien 1617. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 39. Stuttgart, 2018. Oblong, 29 x 16 cm, 40 pp. Color reproduction of MS L736 Stift Kremsmünster (Austria) containing rare examples of monodies with ornaments fully written out on texts by Petrarca and Bembo. Hardboard with art paper boards. $52 [item no.9572]
Montecassino Archivio dell’Abbazia Cod. 318. Facsimile e commentarii. A cura di Mariano Dell’Omo e Nicola Tangari.
Bibliotheca Mediaevalis, 4. Lucca, 2018. 21 x 30 cm. 258, 320 pp. Color halftone of one of the most important medieval manuscripts of writings about music. MS 318, possibly copied at Montecassino, is an enormous compendium, containing the writings of Guido d’Arezzo, the famous Music enchiriadis texts and much more. Many items are unique to this MS. There is non-musical matter as well. Contributors to commentary: Mariano Dell’Omo, Francis Newton, Giiulia Orofino, Thomas Forrest Kelly, Angelo Rusconi, Luisa Nardini, Maddalena Sparagna, Nicola Tangari. 2 vols. $199 (more info... ) [item no.9578]
[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol. IV: Ballades III Introductory Texts, Poetic Texts and Critical Notes in French and English.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 3. Bologna, 2016. 24 x 32 cm, 224 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $85 [item no.9528]
Synopsis musicae [or The Musical Inventory. Being a Collection of the choicest and newest Ayres, Jiggs, Borrees, Alemands, Gavots, Entries, Round O’s Horn-pipes, Trumpet Tunes and Scotch Tunes, for the Recorder or Flute. To which are added several new Songs and Catches Compos’d by the most able Masters]. London/Thomas Cross 1693. [Library of Congress, Washington, DC].
Faksimile-Edition Rara, . Stuttgart, 2016. Oblong, 25 x 12.5 cm, 64 pp. Line-cut of the London, 1693 edition. 24 instrumental works and 5 with texts. Attributions to James Hart and Anne Morcott. Hardbound with decorative paper boards. $27 [item no.9529]
[Viola da Gamba, selected works] Verschiedene Werke für Viola da Gamba und B.C. [Durham Cathedral, Durham].
Faksimile-Edition Rara., 79 Stuttgart, 2018. Oblong, 28 x 22 cm, 340 pp. Line-cut reproduction of MS A27 from Durham Cathedral, an anthology of works by Marais, Schenk, Snep, Hacquart, Heudeline, Blancourt, Simpson, du Faut, Colombe le fils, Colombe le pere, Doubihon, Fiore. Hardbound with decorative paper boards. $129 [item no.9574]
MODERN EDITIONS Brahms, Johannes (new critical edition) Sextet in B-flat Major, Op. 18; Sextet in G Major, Op. 36. Editor: Katrin Eich.
Neue Ausgabe sämtlicher Werke, II/1. Munich, 2017. 4º, xxxii, 212 pp. New critical edition. Cloth. $268 [item no.6816]
Brahms, Johannes (new critical edition) Arrangements von Werken anderer Komponisten für Klavier zu zwei Händen oder für die linke Hand allein. Editor: Valerie Woodring Goertzen.
Neue Ausgabe sämtlicher Werke, IX/2. Munich, 2017. 4º, xlviii, 117 New critical edition. Cloth. $214 [item no.6818]
Brahms, Johannes (new critical edition) Horn Trio E Flat Major Op.40 and Clarinet Trio A Minor, Op.114. Editor: Katharina Loose-Einfalt.
Neue Ausgabe sämtlicher Werke, II/7. Munich, 2016. 4º, xxxvi, 152 pp. New critical edition. Cloth. $242 [item no.9515]
Buxtehude, Dietrich. Keyboard Works, Part 3. Preludes, Toccatas, Fugues, and Canzonas for Organ (manualiter), Harpsichord, or Clavichord. Editions by Christoph Wolff.
Dietrich Buxtehude, The Collected Works, 17. New York, 2016. 4˚, xxvi, 128 pp. Hardbound. $125 [item no.6799]
Buxtehude, Dietrich. Keyboard Works, Part 4. Suites and Variations for Harpsichord or Clavichord. Edited by Christoph Wolff.
Dietrich Buxtehude, The Collected Works, 18. New York, 2016. 4˚, xxxviii, 260 pp. Hardbound. $125 [item no.6800]
Donizetti, Gaetano (new critical edition) Les martyrs—opera in quattro atti. Edizione critica a cura di Flora Willson.
Critical Edition of the Works of Gaetano Donizetti, . Milan, 2016. 4º, 2 vols, 969 pp. Cloth. $468 [item no.6798]
Donizetti, Gaetano (new critical edition) Anna Bolena. Tragedia lirica in due atti. Edizione critica a cura di Paolo Fabbri. Partitura.
Critical Edition of the Works of Gaetano Donizetti, . Milan, 2017. 4º, 2 vols, lvii, 944 pp. Cloth. $448 [item no.6810]
Sullivan, Arthur, Sir (new collected works edition) Iolanthe, or the Peer and the Peri. Music Edited by Gerald Hendrie. Introduction by Gerald Hendrie, Dinah Barsham, and Helga J. Perry. Part A: Music: Act I; Part B: Act II; Part C: Commentary.
The Operas, 6. New York, 2017. 27 x 34 cm, 3 vols, 53, 211, 217 pp. New critical edition. Cloth. $375 [item no.6817]
Vivaldi, Antonio (new edition) Vivaldi. Opera omnia instrumental. [Edited by] Olivier Fourés.
Madrid, 2010 - . New acclaimed critical edition of the complete instrument works of Antonio Vivaldi, score and parts. 174 volumes published to date. Scores only also available. Please inquire. (more info... ) [item no.6809]
Weill, Kurt (collected edition) Mahagonny: Ein Songspiel. Edited by Giselher Schubert.
The Kurt Weill Edition, I/3. New York, 2016. 30 x 39 cm. 182; 59 pp. This first collaboration between Weill and Bertolt Brecht would achieve epochal importance in the genre of opera (and music theater in general); it led Weill to form his signature 'Song style,' which would exercise a stylistically formative impact on the music of the Weimar Republic; it brought about a musical breakthrough for Weill's wife Lotte Lenya, whose performance inaugurated a new species of singer-actor; and it represents Brecht's debut as a stage director in the domain of musical theater. In addition the work served as a study for one of the most popular operas of the 20th century, Aufstieg und Fall der Stadt Mahagonny. Linen. $340 (more info... ) [item no.6805]
Weill, Kurt (collected edition) Lady in the Dark. Edited by Bruce D. McClung and Elmar Juchem.
The Kurt Weill Edition, I/16. New York, 2018. 30 x 39 cm. 3 vols, 748; 137 pp. Two fateful meetings in Nov. 1939 between Kurt Weill and Moss Hart led inexorably to a new kind of Broadway musical. It was the brainchild of Weill, Hart and lyricist Ira Gershwin, and the opening-night roster included the talented Gertrude Lawrence, Danny Kaye, Victor Mature, Bert Lytell, Natalie Schaefer, MacDonald Carey and producer Sam Harris. The new show, entirely innovative in form and subject matter, used psychoanalysis as the primary plot driver and staged the protagonist's spectacular dreams as one-act operas, giving audiences glimpses of the glamorous worlds of fashion and publishing as well as the intimacies of a psychiatrist's office. Lady in the Dark landed like a bombshell on Broadway in January 1941. Now, for the first time since then, producers and directors can recreate the magic from this new critical edition of the score, book, and lyrics. Through patient and thorough examination of a wealth of archival and other unpublished sources, the editors present a version of the show very close to what hit the boards in 1941. 3 vols, linen bound. (subscriber’s receive 31% discount) $675 (more info... ) [item no.6819]
MONOGRAPHS De Clavicordio XII. Proceedings of the XII International Clavichord Symposium Magnano, 1-5 September 2015 Edited by B. Brauchli, Judith Wardman and Alberto Galazzo.
Piemonte, 2017. 8º, 127 pp. Articles on all aspects of the clavichord by leading scholars, builders and performers. Wrappers. $79 (more info... ) [item no.6811]
Finscher, Ludwig (ed.) MGG—Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik befründet von Friedrich Blume. Zweite, neubearbeitete Ausgabe herausgegeben von Ludwig Finscher. Subject Encyclopedia (9 vols); Biographical Encyclopedia (17 vols); Index to Biographical Encyclopedia (1 vol); Supplement to Subject Section (1 vol).
Kassel, 1994-2007. 8º, 29 vols. Buckram. Please inquire for special OMI price. Sets at the original 1994 subscription price can still be purchased—limited offer. (more info... ) [item no.6644]
Imago Musicae XXVII-XXVIII 2014-2015. International Yearbook of Musical Iconography.
Lucca, 2016. 8º, 236 pp. Cloth. $104 [item no.9489]
Imago Musicae XXIX 2016. International Yearbook of Musical Iconography.
Lucca, 2017. 8º. 183 pp. Wrappers $84 [item no.9560]
Recercare XXVII/1-2 2015. 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, 2016. 8º, 230 pp. $30 [item no.6814]
Recercare XXVIII/1-2 2016. 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, 2017. 8º, 230 pp. $26 [item no.6815]