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season
 

from  2011 to 11/26/2014
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 2 years  • last 3 years  •  last year

ALBRECHTSBERGER, Johann Georg, 1736-1809

Fundament zum Orgel und Fliegelspielen. Auth: Albrechtsberger. Ad usum. Ms. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 21. Stuttgart, 2012. Oblong, 22 x 19 cm, 28 pp. Line-cut of a contemporary manuscript. Distilled into 6 sections (Absätze) this useful and practical manual instructs the user, “according to current convention”, on 1) clefs, 2) the notation of tempi, notes & pauses, 3) the execution of ornaments & “manieren”, 4) right & left hand fingerings 5) chordal fingering, 6) tonality. Wrappers. $17 [item no.9307]


ARNOLD, Georg, 1621-1676

Psalmi vespertini [a 4, 2, vocibus & violinis concerttantibus, vel 7. 10. aut etiam 15. ad placitum]. Johann Elias Höffling / Wolfgang Eberhard Felsecker, 1663. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 1. Stuttgart, 2013. Oblong, 21 x 17 cm, 6 partbooks, 100 pp. Line-cut of the Bamberg, 1663 edition. 6 partbooks (cantus primus, cantus secundus, altus, tenor, bassus, bassus pro organo). Portfolio. $68 [item no.9347]


BACH, Carl Philipp Emanuel, 1714-1788

Nachlaß-Verzeichnis (1790). Facsimile Edition from the Collections of the Music Division, Library of Congres with an Introduction by Peter Wollny.
Carl Philipp Emanuel Bach, The Complete Works, VII - Facsimile Supplement. Los Altos, 2014. 8°, xviii, 144 pp. Line-cut of the Hamburg, 1790 edition. CPE Bach owned a large music library. The inhertance catalogue “Verzeichnis des musikalischen Nachlasses des verstorbenen Capellmeisters Carl Philipp Emanuel Bach” is a wonderful source for scholars, among the many aids, the possibility to date of many of the composer’s compositions. Wrappers. $34 [item no.9350]


(Richard, Annette) Portrait Collection. Edited by Annette Richard.
Carl Philipp Emanuel Bach, The Complete Works, VIII/4. Los Altos, 2012. 8°, 2 vols, 598 pp. Extensive catalog of portraits of C.P.E. Bach, his family and contemporaries with one volume of fine halftone reproductions. One of the most important C,P.E. Bach iconographies to date. 2 volumes, cloth. $95 (more info... ) [item no.9310]


BACH, Johann Sebastian, 1685-1750

[St. Matthew’s Passion, BWV 244] Matthäus-Passion BWV 244. Autograph Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. Commentary by / Kommentar von Christoph Wolff, Martina Rebmann. Preface by / Geleitwort von Barbara Schneider-Kemf.
Documenta Musicologica, II/47. Kassel, 2013. 24 x 35 cm, x, 168, 30 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger. Limited bibliophile edition with binding with leather spine and boards in decorative paper. $469 (more info... ) [item no.9327]


[Musical Offering, BWV 1079] Musikalisches Opfer / Musical Offering (Musical Sacrifice). BWV 1079. Score Based on Bach’s First Edition of 1747 with Inserted Facsimile. Edited by Hans-Eberhard Dentler with a Note by Alberto Basso.
Musica Humana, Faszikel 1. Mainz, 2012. 25 x 33 cm, 53, 113, 38 pp. Modern edition in score format with facsimile supplement reproducing the 1747 edition of the instrumental parts. “Regis iussu cantio et reliqua canonica arte resoluta” is Bach’s famous collection of canons and fugues based on a musical theme given to him by Frederick the Great, to whom they are dedicated. The work has its roots in a meeting on May 7, 1747 at the King’s residence in Potsdam, where Carl Philipp Emanual was employed as a court musician. The work comprises 2 ricercars, one a6 and one a3, 10 canons, and a “sonata sopr’li soggetto Reale”, a trio sonata in 4 movements featuring the flute, one of the instruments Frederick played. Introduction and critical notes in Ger-Eng-Fr. Handsome binding in red linen with gold title. $175 (more info... ) [item no.9321]


Sonatas, viola da gamba solo, BWV 1027-1029] Drei Sonaten für Viola da Gamba solo und obligates Cembalo, BWV 1027–29. Faksimile herausgegeben von Hille Perl. In Zusammenarbeit mit der Staatsbibliothek zu Berlin—Preußischer Kulturbesitz.
Magdeburg, 2014. 22 x 34 cm, v, 44 pp. 4-color facsimile of the manuscript sources. Only BWV 1027—with title page “Sonata à Cembalo è Viola da Gamba”—has been preserved in Bach’s autograph. Wrappers. $44 (more info... ) [item no.9370]


[Suites, violoncello, BWV 1007-1012] Six Solos [ou Etudes] pour le Violoncelle. [Ouvrage posthume de J.S. Bach avec le doigter et les coups d’archet indiqués par J.J.F. Dotzauer]. Leipzig, Breitkopf und Härtel. [Bibliothek der Musik- och teaterbiblioteket Stockholm].
Faksimile-Edition Viola da Gambe, 2. Stuttgart, 2014. 26 x 34 cm, 29 pp. Line-cut of the Leipzig [1826] edition. considered the first detailed performing edition of the suites. Justus Johann Friedrich Dotzauer (1783-1860), the editor of this edition, successfully combined a concert and teaching career, with long stints with the Gewandhaus Orchestra and the Dresden Chapel, and played under Carl Maria von Weber and Richard Wagner. He spoke of the importance of musical taste based on simplicity. Hardbound. $44 [item no.9374]


Bach’s Bible: The Calov Bible, Die Heilige Bible 1681-92. Facsimile of the Original Preserved in Concordia Seminary Library, St. Louis.
Franeker, 2014. 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]


BANCHIERI, Adriano, 1568-1634

Fantaisie overo Canzoni alla francese. Venedig, Ricciardo Amadino 1603.
Faksimile-Edition Rara, 65. Stuttgart, 2014. 17 x 23 cm, 4 partbooks, 96 pp. Line-cut of the Venice, 1603 edition. 21 instrumental canzoni suitable for strings/winds. Wrappers, with portfolio in decorative paper. $51 [item no.9356]


BASSANO, Giovanni, c.1550-d.?

Madrigali et canzonette [concertate per potersi cantare con il basso, & soprano nel liuto, & istrumento da pena. Libro primo]. Venedig [Bischöfliche Zentralbibliothek Regensburg].
Faksimile-Edition Canto e Continuo, 8. Stuttgart, 2014. 22 x 33 cm, 32 pp. Line-cut of the Venice, 1602 edition. 14 settings for voice with lute accompaniment, Italian lute tablature. Hardbound, with marbled paper boards. (n.b. according to the publisher of this facsimile there is a printing peculiarity in Regensburg exemplar which has been retained in this facsimile; it concerns the incorrect position of the “tavola”—table of contents—and one upside down page; the print is otherwise completely serviceable and nothing is missing) $35 [item no.9378]


BEETHOVEN, Ludwig van, 1770-1827

[sketchbooks, composition studies with Haydn, Albrechtsberger, Salieri] Kompositionsstudien bei Joseph Haydn, Johann Georg Albrechtsberger und Anton Salieri. Herausgegeben von Julia Ronge. 1. Transkriptionen; 2. Kritischer Bericht; 3. Reproduktionen der Handschriften.
Beethoven Werke, XIII/1. Munich, 2014. Oblong, 31 x 27 cm, 3 vols, xv, 307; 93; 201 pp. The long awaited first volume of Beethoven’s composition studies in facsimile. When Beethoven moved to Vienna in 1792, almost immediately, and likely pre-arranged, he started composition studies with Haydn, who had been freed from his post with the Esterhazys and was now living in Vienna. The studies—exercises in free counterpoint but also concerned with the conception of a piece, movement structure, proportions of the various parts and the art of “sketching”—lasted until 1794 when his teacher recommended additional studies with Albrechtsberger. Here Beethoven acquired a wide range of technical and compositional tools which built on the earlier study. In 1801 Beethoven then turned to Salieri to learn the technique of setting primarily Italian texts to music, an area not covered in the preceding studies. The present volume reproduces for the first time the surviving manuscripts that record those studies. These are remarkable witnesses showing Beethoven under the watchful eyes of his teachers with illuminating comments, corrections or alternative passages. Facsimile, transcription and commentary, 3 volumes, linen bound. $833 (more info... ) [item no.9393]


[sketchbook, “Landsberg 6”] Beethoven’s “Eroica” Sketchbook. A Critical Edition. Transcribed, Edited, and with a Commentary by Lewis Lockwood and Alan Gosman. Volume 1: Facsimile; Volume 2: Transcription, Commentary, Inventory.
Beethoven Sketchbook Series, [2]. Champaign, 2013. 4˚, 2 vols. Complete halftone reproduction and critical edition of the MS, currently in Kraków at the Biblioteka Jagiellońska (formerly Berlin, Staatsbibliothek, Mus. ms. aut. Beethoven Landsberg 6). Once known as “Notierungsbuch E”, Landsberg 6 is perhaps Beethoven’s most famous sketchbook due in part to Nottebohm’s 1880 monograph on this source. This sketchbook documents Beethoven's creative work from sometime late in 1802 until early in 1804, a transformative period in his artistic career. The most significant sketches are those for the “Eroica” Symphony, op.55, the “Waldstein” Sonata, op.53, and for the first five numbers of the opera Leonore as produced in 1805 (later revised and renamed Fidelio). Hardbound. $200 (more info... ) [item no.9266]


Bettermann, Silke. Beethoven im Bild. Die Darstellung des Komponisten in der bildenden Kunst vom 18. bis zum 21. Jahrhundert. Bonn, 2012.
Bonn, 2012. 8°, 416 pp. Comprehensive overview of the encounter between visual artists and Beethoven, ranging from early authentic portraits to modern contemporary interpretations. Includes various genres, painting, graphic art, sculpture, memorial art, medals as well as performance art. With 235 illustrations. Hardbound. $135 (more info... ) [item no.9298]


[Brenner, Daniel] Anton Schindler und sein Einfluss auf die Beethoven-Biographik.
Veröffentlichungen des Beethoven-Hauses, IV/22. Bonn, 2013. 8˚, x, 580 pp. Hardbound. $89 [item no.6747]


Dorfmüller, Kurt, Norbert Gertsch, & Julia Ronge. Ludwig van Beethoven. Thematisch-Bibliographisches Werkverzeichnis
Munich, [2014-in prep]. 8º, 2 vols, 1800 pp. New comprehensive thematic catalog with musical incipits, references to the complete works edition, and valuable information on origin, autographs, ms copies, first and early editions. Indices and bibliographies. Indispensable tool for source studies. Linen. Special subscription price valid until 31 Dec. 2014. [item no.9381]


[Sichardt, Martina] Entwurf einer narratologischen Beethoven-Analytik.
Veröffentlichungen des Beethoven-Hauses, IV/19. Bonn, 2013. 8˚, 300 pp. Hardbound. $84 [item no.6746]


BERNARDI, Stefano, c.1585-1636

Encomia sacra. Binis, ternis, quaternis, quintus, senisque vocibus concinenda], op.15. Salzburg / Gregor Kyrner 1634. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 23. Stuttgart, 2013. 23 x 31 cm, 6 partbooks, 188 pp. Line-cut of the Salzburg, 1634 partbooks (cantus 1, cantus 2, altus, tenor, bassus, bc). Collection of sacred motets, 9 setting a2, 17 a3 (mostly cantus/bass), 4 a4, and 5 a6. Wrappers with portfolio in marbled paper. $74 [item no.9336]


BERTALI, Antonio, 1605-1699

Instruction musicalis [Domini Antonÿ Bertalli, 1676]. Ms. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 22. Stuttgart, 2012. 17 x 24 cm, 50 pp. Color reproduction of a manuscript dated 1676. Wrappers. $28 [item no.9302]


BLAVET, Michel, 1700-1768

[Pièces, 2 flutes/violins/viols, 1st collection] Ier. recueil de pieces... Paris. [Bibliothèque d’étude et de conservation Besançon].
Faksimile-Edition Kammermusik des Barock, 1. Stuttgart, 2014. Oblong, 25 x 17 cm, 81 pp. Line-cut of the Paris printed edition. Contains 69 pieces by M. Blavet and other Baroque masters. Hardbound in marbled paper. $49 [item no.9375]


[Pièces, 2 flutes/violins/viols, 2nd collection] IIe. recueil de pieces... Paris. [Bibliothèque d’étude et de conservation Besançon].
Faksimile-Edition Kammermusik des Barock, 2. Stuttgart, 2014. Oblong, 25 x 17 cm, 81 pp. Line-cut of the Paris printed edition. Wrappers. Hardbound in marbled paper. $49 [item no.9376]


BRAHMS, Johannes, 1833-1897

[Lieder, selections] Wiegenlied. “Guten abend, gut’ Nacht”, Opus 49, Nr. 4. Faksimile nach dem Autograph des Glinka-Nationalmuseums für Musikkultur, Moskau. Mit einem Geleitwort von Brigitte Fassbaender und einer Einführung von Wolfgang Sandberger.
Meisterwerke der Musik im Faksimile, 30. Laaber, 2014. Oblong, 25 x 17 cm, xiv, 4 pp. Full-color facsimile of Brahms‘ touching “Lullaby and good night”, the intimate and conforting folk song sung by mothers at their children’s bedside. The precious manuscript is an autograph presentation copy sent by Brahms on July 15, 1868 to a couple in Bonn—Arthur and Bertha Faber—to honor the birth of their second son, Hans. Hardbound in decorative paper with faux title etikette. $65 (more info... ) [item no.9349]


[Concerto, piano, orch, no.2, op.83, Bb Major] Konzert für Klavier und Orchester Nr. 2 B-Dur Opus 83. Faksimile nach dem Autograph der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky. Mit einer Einführung von Jürgen Neubacher und einem Geleitwort von Christoph Eschenbach.
Meisterwerke der Musik im Faksimile, 28. Laaber, 2013. Oblong, 38 x 30 cm, 21, 172 pp. Beautiful full-color halftone of the autograph fair copy. Since its premiere in Budapest on Nov. 9, 1881 with Brhams as soloist the Bb major Concerto has become a mainstay in the repertory. The autograph, like the Symphony No.4, was used for the first performance and exemplar for the first engraved edition and as such is full of "performance & workshop talk" performance instructions, messages, cues, corrections and other revisions that give the manuscript a living and breathing quality. $406 (more info... ) [item no.9333]


[Concerto, violin, orchestra, op.77, D major] Violinkonzert D-Dur Opus 77: mit einer Auswahl aus der Stichvorlage der Violinstimme. Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington mit einem Kommentar von Stefan Drees / With a Selection from the Engraver’s Copy of the Violin Part. Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C. with a Preface by Julia Fischer and an Introduction by Stefan Drees.
Meisterwerke der Musik im Faksimile, 19. Laaber, 2014 Oblong, 38 x 30 cm, xviii, 106 pp. Beautiful full-color halftone of the autograph. Contains numerous corrections and adjustments (involving phrasing, dynamics and minor note changes) by Brahms’ revered friend Joseph Joachim. Hardbound in decorative paper. $240 (more info... ) [item no.9268]


[Sonata, violin, piano, no.1, op.78, G major] Sonate für Klavier und Violine Nr. 1 G-Dur Opus 78. Faksimile nach dem Autograph der Wienbibliothek im Rathaus, Musiksammlung, Wien. Mit einem Geleitwort von Julia Fischer und einer Einführung von Eberhard Hüppe.
Meisterwerke der Musik im Faksimile, 27. Laaber, 2013. Oblong, 38 x 30 cm, xxii, 36 pp. Sepia halftone of the autograph. (special subscription price) $140 (more info... ) [item no.9332]


Variations, piano, theme by Handel, op.24] Variationen und Fuge über ein Thema von Händel für Klavier B-Dur, op.24. Faksimile nach dem Autograph aus den Sammlungen der Musikabeilung der Library of Congress, Washington / Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C.; In Zusammenarbeit mit der Library of Congress, Washington / Published by Laaber-Verlag in Association with the Library of Congress, Washington, D.C.; Mit einem Geleitwort von Christoph Eschenbach und einer Einführung von Frédéric Döhr / With a Preface by Christoph Eschenbach and an Introduction by Fréderic Döhl.
Meisterwerke der Musik im Faksimile, 18. Laaber, 2014. Oblong, 32 x 24 cm, xvii, 26 pp. Full-color facsimile of the autograph fair copy dating from September 1861. Entitled “Variationen für eine liebe Freundin” [Clara Schumann], the autograph is a fascinating document abounding in corrections and alterations in tempi, fingerings, dynamics and articulations. Brahms played the piece for the first time in Hamburg 4 Nov. 1861 for a private social gathering at the home of Hermann Wagner. The first public performance was subsequently given by Clara Schumann on 7 Dec. 1861. The imminent music biographer Donald Tovey counts it as among the half dozen greatest sets of variations ever written. Hardbound in decorative paper with faux title etikette. $108 (more info... ) [item no.9366]


BYRD, William, 1543-1623

Masses for 3, 4 and 5 Voices. Christ Church, Oxford, Mus. 489-493. Edited by John Milsom. With an Introduction by Kerry McCarthy.
Oxford, 2012 16 x 21.6 cm, 5 partbooks, 112 pp. Full color facsimile of MS Christ Church, Oxford, Mus. 489-193. Wrappers, with slipcase. $52 (more info... ) [item no.9282]


My Ladye Nevells Book (British Library MS Mus. 1591). Edited by Oliver Neighbour.
Documenta Musicologica, II/44. Kassel, 2012 Oblong, 8°, 394, 7 pp Duo-tone facsimile of one of the most beautifully written music manuscripts to survive from the late 16th c. and is still preserved in its original ornate binding. It was painstakingly compiled by the Windsor-based scribe John Baldwin, who completed work on it on 11 September 1591. Baldwin seems to have worked under the direction of the composer of all the pieces in the book, William Byrd, and clearly thought highly of him, describing him elsewhere as one “whose greate skill and knowledge: dothe excelle all at this tyme: and farre to strange countries: abroade his skill dothe shyne”. By 1591 Byrd was mid-way through his career as composer of church music and secular vocal and instrumental music. The MS provides a snapshot of the keyboard music he had composed by that date and is an exceptionally important source for his music. It contains some of his best-known compositions for keyboard, including variations on the popular tunes 'Sellinger's Round' and 'All in a Garden Green'. It also includes music written by Byrd specially for the dedicatee of the MS, 'Ladye Nevell'. She has recently been identified as Elizabeth, wife of Sir Henry Nevill of Billingbere, Berkshire. Her family's coat of arms adorns a leaf at the front of the MS. The MS was accepted by HM Government in Lieu of Inheritance Tax and allocated to the British Library in April 2006, with additional funding from donors. (adapted from BL description). Commentary in Eng-Ger. Hardbound. $228 (more info... ) [item no.9297]


CAPIROLA, Vincenzo, 1474-d.?

[Intabulations, lute] Vincenzo Capirola Lutebook. Compositione di Meser Vincenzo Capirola gentil homo Bresano. Ca. 1517. [Ms Newberry Library, Chicago].
Lübeck, 2012 21.5 x 31 cm, iii, 76 pp. New full color facsimile produced two up per page. 42 lute intabulations, in Italian tablature, of sacred & secular works from the 15th c. including works by Josquin, Brumel, Obrecht, Agricola, etc. Provides the earliest occurence of legato and non-legato, two kinds of trills and of dynamic indications. Hardbound. $112 (more info... ) [item no.9286]


CAPRICORNUS, Samuel Friedrich, 1628-1665

[Sonatas, 2 violins, trombone/viola da gamba] Sonaten und Canzonen [mit 3. Instrumenten gesezt. Instrumentum primum]. Nürnberg, Christoff Gerhard 1660. [Bischöflichen Zentralbibliothek Regensburg].
Faksimile-Edition Capricornus, 16. Stuttgart, 2014. 16 x 22 cm, 24 pp. Line-cut of the Nuremburg, 1660 edition. Rare collection of of 6 sonatas for violins & trombone/viola da gamba. Only the Violino I part survives. Hardbound, with marbled paper boards. $23 [item no.9377]


CAROLO, 17th c.

X Sonates [à 2 violes de gambe & 1 basse continue également bons à jouer sur 2 bassons ou basses de violon]. Rogier, Amsterdam. [Bibliothek des Mariengymnasiums Jever].
Faksimile-Edition Viola da Gambe, 1. Stuttgart, 2014. 21 x 33 cm, 3 partbooks, 42 pp. Line-cut of the Amsterdam, n.d. edition. Wrappers with hardbound porfolio covered in marbled paper. $46 [item no.9367]


CAVALLI, Francesco, 1602-1676

[& A. Stradella] Il novello Giasone. Partitura in facsimile ed edizione dei libretti. A cura di Nicola Usula. Saggio introduttivi di Fausta Antonucci, Lorenzo Bianconi e Nicola Usula.
Drammaturgia Musicale Veneta, 3. Milan, 2013. Oblong, 30 x 23 cm, 2 vols, cxcii, 567 pp. Line-cut reproduction of the Naples copy. Giasone, or Jason, was Cavalli’s tenth and most popular stage work, the most frequently performed of all 17th-c. operas. Linen. $291 [item no.9354]


CESTI, Antonio, 1623-1669

Il Tito. Partitura in facsimile, ed. del libretto, saggio introduttivo a cura di Giada Viviani.
Drammaturgia Musicale Veneta, 5. Milan, 2012. Oblong, 30 x 23 cm, xc, 306 pp. Presented for the first time during the 1666 carnival at the Venetian theater of St. John & St. Paul, “Il Tito” of Nicolò Beregan and Antonio Cesti is an opera frequently cited in the musicological literature of the last 40 years. Surviving archival materials document the genesis of the score with an unusual precision and have clarified many details necessary for reconstructing the Venetian theater production system of the second “Seicento”. In spite of the importance of the work—a collaboration between a not-so-prolific yet widely appreciated librettist and one of the most popular composers of that epoch, there has never been a complete study of the musical and literary sources. The commentary to this new Drammaturgia Musicale Veneta volume finally fills this lacuna, reproducing the oldest and most complete manuscript score of Tito (preserved in the Biblioteca Nazionale Marciana) together with a critical edition of the libretto and a comparative study of the three other musical sources that have survived. Linen. $216 (more info... ) [item no.9311]


CONFORTI, Giovanni Luca, c.1560-d.?

Passaggi sopra tutti li salmi [che ordinariamente canta santa chiesa, ne i vesperi della dominica, & ne i giorni festiui di tutto l’anno. Con il basso sotto per sonare, & cantare con organo, ò con altri stromenti]. Venedig, Angelo Gardano & Fratelli 1607. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 30. Stuttgart, 2014. 16 x 22 cm, 56 pp. Line-cut of the Venice, 1607 edition. This fascinating ornamentation treatise—unlike Conforti’s Rome c.1593 edition—is printed entirely in movable type and addresses the sacred repertoire. Hardbound, in marbled paper. $32 [item no.9363]


CORBETTA, Francesco, c.1614-1681

Scherzi armonici. [trouvati, e facilitati in alcune curiosissime suonate sopra la chitara spagnuola]. Bologna /Giacomo Monti und Carlo Zenero 1639. [Bologna, Biblioteca G.B. Martini].
Faksimile-Edition Laute, 11. Stuttgart, 2013. 16 x 22 cm, 84, 7 pp. Line-cut of the 1639 edition. Alfabeto, with some Italian tablature. Afterword in Eng by Claire Fontijn, with transcription/translation of Corbetta’s foreword. Hardbound with decorative paper boards. $31 (more info... ) [item no.9325]


DEBUSSY, Claude, 1862-1918

L’isle joyeuse. Kommentar/Commentary: Denis Herlin.
[Henle Music Facsimiles, 24]. Munich, 2012. 27.5 x 37.5 cm, xxii, 18 pp. Deluxe full-color facsimile of the autograph issued on the occasion of the 150th anniversary of Debussy’s birth. This colorful, highly virtuosic piano work is often associated with the island of Jersey, where Debussy secretly spent the summer of 1904 with his new love Emma Bardac. Even if he wrote the autograph during this time, evidence shows that the work was composed at an earlier date and was intended as part of the "Suite bergamasque". During his stay on the island Debussy revised the composition, giving the "Isle joyeuse" its present-day form. Commentary in Ger-Eng. Hardbound in beautiful blue art paper with embossed title in pink lettering. $69 (more info... ) [item no.9250]


Prélude à l’après-midi d’un faune. Fac-similé du manuscrit autographe de la partition d’orchestre. Introduction par Denis Herlin.
De Main de Maître, 1 Turnhout, 2014. 32 x 43 cm, 80 pp. Full-color facsimile of the autograph full score—“Stichvorlage”. Inaugurates the series “De main de maître” (in the hand of the author) from the collection of the Bibliothèque National de France. Hardbound. $225 (more info... ) [item no.9351]


ECCARD, Johann, 1553-1611

[& Paul Emmelius] Zween schöne und trostreiche Sprüche [von dem heiligen Ehestand aus dem 31. Cap. Salomonis mit fünff Stimmen componiert]. Königsberg 1591. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 23. Stuttgart, 2012. Oblong, 20 x 16 cm, 5 partbooks, 20 pp. Line-cut of the Königsberg 1591 edition. A rare source with 2 settings a5 in mensural notation, respectively by Johann Eccard and Paulus Emmelius. Portfolio. $11 [item no.9272]


ERTEL, Sebastian, c.1550-1618

Psalmodiae vespertinae [solemnibus totius anni festivitatibus octonis vocibus, et tam vocum quam variorum instrumentorum usui, accommodatae. Quibus accesserunt canticum deiparse virginis, & singulae eiusdem antiphonae, cum basso ad organum]. München, Nicolaus Heinrich 1617. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 7. Stuttgart, 2014. 16 x 21 cm, 9 partbooks, c.460 pp. Line-cut of the Munich, 1617 partbook edition (Canto/Canto, Alto/Alto, Tenore/Tenore, Basso/Basso, Organo. 22 settings for double choir. Wrappers, with slipcase covered in marbled paper. $145 [item no.9358]


FERANDIERE, Fernando, 18th c.

[Method, guitar] Arte de tocar la guitarre española por música, Madrid, 1799. Complete Facsimile Edition with an Introduction, English Translation, and Transcription of the Music by Brian Jeffery.
London, 2013 15 x 22 cm, 85, 59, 36 pp. Line-cut of the Madrid, 1799 edition. Wrappers. $38 [item no.9371]


FIORENZA, Nicola, fl.1720

[Concerto, flute, strings, bc] Concerto in la minore per flauto, 2 violini e basso continuo (1729). Facsimile e apparato critico a cura di Dario Benigno.
Bibliotheca Musica Bononiensis, IV/106. Bologna, 2012. Oblong, 4°, 32, 32, pp + 4 partbooks. Facsimile edition together with modern edition and performing parts. Wrappers. $36 (more info... ) [item no.9295]


FRANCK, Melchior, c.1579-1639

Viridarium musicum [continens amaenissiomos et fragrantissimo ex sacra scriptura decerptos flosculos, quos ad dei ter optimi maximi laudem, ecclesiae usum quotidianum, depellendamque animae tristissimae melancholiam internam, 5.6.7.8.9. & 10. vocibus, harmonia suavissima composuit, & illustravit, Ducalis Capellae Saxo Coburgicae Praefectus]. Nürnberg, Georg Fuhrmann 1613. [Zentralbibliothek Zürich].
Faksimile-Edition Rara, 62. Stuttgart, 2012. 16 x 21 cm, 8 partbooks, 320 pp. Line-cut of the Nuremberg, 1613 edition. 43 settings with sacred texts including 18 a5, 7 a6, 2 a7, 13 a8, 2 a9, and 3 a10. Wrappers, with slipcase in decorative paper. $104 [item no.9271]


GERLE, Hans, c.1500-1570

Musica teusch, auf die Instrument [der grossen unnd kleinen Geygen, auch Lautten]. Nürnberg, H. Formscheider 1532. [British Library, London].
Faksimile-Edition Laute, 10. Stuttgart, 2012. Oblong, 22 x 17 cm, 128 pp. Line-cut of the 1532 edition. Gerle introduces students to the rudiments of playing the renaissance lute, the viol and rebec, including the way they were tuned, held, and played. Musicologists have called it the first viol tutor. Hardbound with decorative paper boards. $48 [item no.9290]


GESSNER, Veit Albert, 16th c.

Psalmi. [Magnificat. Antiphonae, cum adjunctis litaniis B.V.M.]. Michael Rictius 1632. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 24. Stuttgart, 2013. 23 x 31 cm, 10 partbooks, 228 pp. Line-cut of the Vienna, 1632 partbooks (cantus 1, cantus 2, altus 1, altus 2, tenor 1, tenor 2, bassus 1, bassus 2, bc). Collection of sacred music for double choir. Wrappers with portfolio in marbled paper. $88 [item no.9337]


GRANDI, Alessandro, 1586-c.1630

Salmi a otto brevi. Venedig / Alessandro Vincenti 1629. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 28. Stuttgart, 2013. 16 x 21 cm, 9 partbooks, c.200 pp. Line-cut of the Venice, 1629 partbook edition (Canto/Canto, Alto/Alto, Tenore/Tenore, Basso/Basso, Basso cont. 19 settings for double choir. Wrappers, with slipcase covered in marbled paper. $105 [item no.9344]


GRAUN, Carl Heinrich, c.1703-1759

[Concerto, viola da gamba, strgs, GraunWV A:XIII:4, D Major] Concerto per la Viola di Gamba D-Dur (in D major), GraunWV A:XIII:4. Herausgegeben von / Edited by Michael O’Loghlin und Günter von Zadow.
Heidelberg, 2014. 4º, 7, 56 pp. Color facsimile of the viola da gamba part, together with new performing edition (score and solo VdG). Wrappers. $35 [item no.9386]


HASSE, Johann Adolph, 1699-1783

Demetrio. Partitura in facsimile. Edizione dei libretto. A cura di Reinhard Strohm e Francesca Menchelli-Buttini. Saggi introduttivi de Reinhard Strohm e Francesca Menchelli-Buttini. [Biblioteca Marciana, Cod. It. IV, 482 (=10006)].
Drammaturgia Musicale Veneta, 17. Milan, 2014. Oblong, 30 x 23 cm, cixi, 350 pp. Line-cut reproduction of a copyist ms. The Dramma per musica Demetrio was premiered on 10 Feb. 1732 at the Teatro S. Giovanni Grisostomo in Venice. Given during carnival season, it was one of the most lavishly staged works of the season. The success of the opera is attested by the Venetian newsletter Diario ordinario, which praised it as “a marvel, as much for the music as for the magnificent scenes and singers”. Subsequent revivals and the survival of many ms sources show that this characterization was not an exaggeration. Part commentary in Eng (with It summary) and part in It, with Eng summary). Linen. $235 [item no.9362]


HAYDN, Franz Joseph, 1732-1809

[The Creation, Hob. XXI:2, sketches] Die Schöpfung Hob.XXI:2. Skizzen. Herausgegeben von Annette Oppermann.
Joseph Haydn Werke, XXVIII/3/III. Munich, 2012 4°, 104 pp. Beautiful full-color reproduction of 36 sketch pages, hitherto unpublished, to Haydn’s oratorio “The Creation”, preserved in libraries in Vienna, London and New York. The sketches are very revealing: the famous soprano aria “On mighty pens” originally had an entirely different melody. The 5 notated beginnings of the recitative “Our duty we performed now” make it clear that Haydn even pondered very carefully such apparently standardized musical phrases before opting for a variant. The 3 surviving full-score sketches for the overture “The Representation of Chaos” show in turn how Haydn slowly developed the whole movement out of a basic idea initially outlined on only one page and garnished it with ever finer rhythmic and harmonic details. The whole set gives us a wonderful glimpse into workshop of the composer. With diplomatic transcription and notes in German. Handsome clamshell case in linen. $325 (more info... ) [item no.9267]


HOFMANN, Euchario b.?-1588

[Vyff] Geistlike olde Ostergesenge [van der fröliken vperstandinge van de Doden vnses Heren vnde heilandes Jesu Christi mit 4. stemmen gesettet]. Rostock/ Augustin Ferber 1579. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 2. Stuttgart, 2012. Oblong, 21 x 17 cm, 4 partbooks, 76 pp. Line-cut of the Rostock, 1579 edition. 4 partbooks (discantus, altus, tenor, bassus). Portfolio. $18 [item no.9317]


KERN, Joseph Seraphin, 1700-1779

Hortus Marianus [consistens in selectissimus 24. antiphonis beatissimae mariae virginis, per annum integrum. Nempe 6. Ave regina, 6. Regina coeli, 6. Salve regina, 6. Alma redempt. 4. vocibus. 2. violinis. 1. viola, cum duplici basso continuo. Ad primum salve regina, cum 2. clarinis & tympano. Praeterquam, ad primum Ave regina, primum Regina coeli, & primum Alma, cum clar. & tymp. ad libitum]. Hals, Johann Anton Pustätt 1746. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 31. Stuttgart, 2014. 16 x 21 cm, 10 partbooks, 178 pp. Line-cut of the Passau, 1746 partbook edition (Canto/Alto/Tenore/Basso/Violino I/Violino II/Viola/Organo/Clarino/Tympano. 24 Marian settings for choir plus intruments. Kern was Fürstbischöflicher Kammer-Kompositeur in Passau. Wrappers, with portfolio covered in marbled paper. $82 [item no.9380]


KNABE, Martin, b.?-1652

Concert [von drey Stimmen / zusampt dem Basso Continuo, über das bekandte Klaglied dess langwirigen Kriegswesens:] Wenn soll doch mein Lied [sich enden?] Halle/Melchor Oelschlegel 1635. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 3. Stuttgart, 2012. 20 x 29 cm, 34 pp. Line-cut of the Halle, 1635 edition. 4 partbooks (cantus 1, cantus 2, bassus, basso continuo) printed in 1 volume. Knabe was organist at Weißenfels and second-generation student of Heinrich Schütz. $25 [item no.9308]


KÜHNEL, August, 17-18th c.

Pieces for the Viol Lesson. 14 Movements by August Kühnel in Tablature for Two Viols / Stücke für den Gambenunterricht. 4 Sätze von August Kühnel in Tabular für zwei Gamben aus der Sammlung “Israël-Anhang 28” der Universitätsbibliothek Kassel, Landesbibliothek und Murhardschen Bibliothek der Stadt Kassel. Herausgegeben von / Edited by Günter und Leonare von Zadow.
Heidelberg, 2014. 4º, 52 pp. Halftone of a contemporary ms copy, together with modern edition. Commentary Ger/Eng. Wrappers. $29 [item no.9388]


LEBÈGUE, Nicolas-Antoine, 1631-1702

[Pièces, organ & harpsichord] Pieces d’orgue et de clavecin. Jahr-des Privilegs 1675. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 29. Stuttgart, 2014. Oblong, 28 x 21 cm, 90 pp. Line-cut of the Paris, 1675 edition. Beautiful marbled paper boards. $68 [item no.9357]


LEDERTZ, Paul, 16th c. [publisher]

[Promptuarii musici, part 3] Promptuarii musici [concentus ecclesiasticos CCLXXXVI: Selectissimos II. III. & IV. vocum... Pars tertia]. Paul Ledertz, Straßburg 1627, RISM 1627(1). [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 2. Stuttgart, 2012. 20 x 32 cm, 5 partbooks, 1190 pp. Line-cut of the Strasbourg, 1627 partbook edition (vox prima, vox secunda, vox tertia, vox quarta, bassus generalis). An amazingly diverse anthology of sacred motets for 2, 3, and 4 voices, assembled by Johannes Donfried, rector of the Latin School of Rottenburg. Nearly every composer active in the last half of the 16th c. and first quarter of the 17th c. is represented. Hardbound, with marbled paper boards. $240 [item no.9316]


LISZT, Franz, 1811-1886

[Sonata, piano, B minor, S.178] Klaviersonate h-moll / Piano Sonata in B Minor. Faksimile nach dem im Eigentum von Mr. Robert Owen Lehman befindlichen Autograph. Vorwort: Mária Eckhardt; Geleitwort: Claudio Arrau.
[Henle Music Facsimiles, 26]. Munich, [2014-in prep] 27 x 35 cm. Deluxe full-color facsimile. The surviving autograph of Franz Liszt’s b-minor Sonata is a fascinating document that illuminates the compositional process: many cuts and paste-overs show how Liszt refined the architecture of the work. The previously available facsimile of the autograph (OMI #372) also allowed a profound look into this work process—but it was not possible to see what Liszt had originally notated in the passages that were pasted over. These paste-overs have since been removed and this new edition shows for the first time what is hidden behind them. With new introduction by Liszt expert Mária Eckhardt along with the original foreword by Claudio Arrau.. Hardbound with pasted label. [item no.9379]


MAHLER, Gustav, 1860-1911

[Rückert Lieder, selections, voice & orch, voice/piano] Ich bin der Welt abhanden gekommen. Facsimile Edition of the Autograph Manuscripts, Gilbert Kaplan, Editor.
New York, 2014. 29 x 37 cm, c.100 pp, CD audio recording. Full-color reproduction of one of Mahler’s most popular and poignant songs, composed in 1901 with a text by Friedrich Rückert. It is the third of the original five-song cycle “Rückert-Lieder”; Mahler himself conducted the first performance in 1905 and described “Ich bin der Welt abhanden gekommen” / “I am lost to the world” as creating “a feeling that rises just up to the lips, but does not pass beyond them... It is my very self”. This carefully executed facsimile includes both the autograph orchestral and voice & piano versions and extensive historical notes by Gilbert Kaplan and Stephen Hefling. The story of the manuscript and its survival has an amazing story. Limited bibliophile edition of 400 copies, of which only 200 is for the trade. $100 [item no.9334]


MARTINI, Giovannni Battista, 1706-1784

Esemplare o sia Saggio fondamentale pratico di contrappunto. Bologna 1774-76. A cura di Elisabetta Pasquini.
Musurgiana: Sources and Materials for the History and Theory of Music, 11. Lucca, 2013. 21 x 27 cm, 2 vols. xxiii, 678 pp. Wrappers. $69 [item no.9330]


MATTHESON, Johann, 1681-1764

Nerone - Nero. Partitura in facsimile. Edizione dei libretti. A cura di Francesco Giuntini. Saggi introduttivi di Francesco Giuntini & di Reinhard Strohm.
Drammaturgia Musicale Veneta, 14. Milan, 2013. Oblong, 30 x 23 cm, cxxi, 129 pp. Nerone, a “tragedia per musica” by Agostino Piovene, received its first staging in Venice in 1721 with music by Giuseppe Maria Orlandini, but won great success two years later in Hamburg in the version by Johann Mattheson, who retained the original arias, translated the recitatives into German and provided new musical settings for them, and added a few pieces of his own composition. In addition to a score corresponding to the Hamburg version (D-B, Mus. ms. 16370), the volume contains editions of the Italian libretto of 1721 and the German one of 1723. The opera is one of the most advanced manifestations of the reformist tendencies of the early eighteenth century: this is a genuine tragedy, inspired by the Britannicus of Racine, that concludes with a simple recitative given to Agrippina accusing her assassins before her killing. Linen. $216 (more info... ) [item no.9326]


MENDELSSOHN-BARTHOLDY, Felix, 1809-1847

[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 7: Oktober 1839 bis Februar 1841. Herausgegeben und kommentiert von Kadja Grönke und Alexander Staub.
Kassel, 2013. 15 x 23 cm, 813 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.6754]


[Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 8: März 1841 bis August 1842. Herausgegeben und kommentiert von Kadja Grönke und Alexander Staub.
Kassel, 2013. 15 x 23 cm, 820 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.6755]


MOUTON, Charles, 18th c.

Concerto à 5. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 23. Stuttgart, 2012. 21 x 32 cm, 5 partbooks, 132 pp. Line-cut of manuscript parts preserved in the library of Kremsmünster Abber in Upper Austria. 10 chamber concertos in Italianate style scored for vlh I, vln II, alto vla, tenor vla, and basso continuo (organ). Wrappers. $77 [item no.9315]


MOZART, Wolfgang Amadeus, 1756-1791

[Concerto, piano, orch, K.491] Piano Concerto in C minor K. 491. Facsimile of the Autograph Score in the Royal College of Music, London. With a commentary by Robert Levin.
Documenta Musicologica, II/48. Kassel, 2014. Oblong, 34 x 25 cm, 74, 40 pp. Beautiful color halftone of the autograph fair copy completed on March 24, 1786. In his fascinating preface Colin Lawson, Director of the Royal College of Music, describes the journey made by Mozart’s autograph following its sale in 1800 by Constanze, Mozart’s widow, to its eventual resting place in London where it is the jewel in the RCM’s extensive collection of historic manuscripts. The Piano Concerto in C minor K. 491 is one of Mozart’s greatest piano concertos not least because of the dramatic character of its minor key (it is one of only two piano concertos composed in minor keys). It also has the largest orchestra he ever used in a piano concerto and the only piano concerto to use both oboes and clarinets. Written in 1786 during a period of almost feverish activity, it was completed only 22 days after the A major concerto K. 488 and during composition of The Marriage of Figaro. The autograph is exceptional in that Mozart records sketches that he later enlarged and extensively revised for the score thus allowing us an insight into his creative process. Mozart’s work appears here for the first time in a color facsimile, making it possible to easily recognize the contrasting colors of ink. The renowned Mozart scholar and pianist Robert Levin has written an illuminating commentary. He explains Mozart’s method of composition and guides the reader page by page through the autograph. This high-quality facsimile truly is a fascinating insight into Mozart’s art of composition. Hardbound with linen spine and decorative paper boards. $274 (more info... ) [item no.9359]


[Serenade, strg orch, “Eine kleine Nachtmusik” K.525] Eine kleine Nachtmusik KV 525. Introduction / Einführung: Wolfgang Rehm.
Documenta Musicologica, II/46. Kassel, 2013. Oblong, 34 x 25 cm, 14, 24 pp. New color facsimile of the autograph score in its original loose bifolio and folio format. Afterword in Eng-Ger. Limited bibliophile edition with beautiful clam shell case covered in moire fabric. $239 (more info... ) [item no.9331]


NOVERRE, Jean-Georges, 1727-1810

Lettere sulla danza, su balletti e sulle arti (1803). A cura di Flavia Pappacena. Traduzione di Alessandra Alberti.
Chorégraphie, Rivista di Ricerca Danza, nuova serie, 6. Lucca, 2012. 17 x 24 cm, 77, 250 pp. Line-cut of the Paris, 1803 edition. Introduction in Eng. Wrappers. $69 [item no.6966]


ORLANDINI, Giuseppe Maria, 1676-1760

Nerone - Nero. Partitura in facsimile. Edizione dei libretti. A cura di Francesco Giuntini. Saggi introduttivi di Francesco Giuntini & di Reinhard Strohm.
Drammaturgia Musicale Veneta, 14. Milan, 2013. Oblong, 30 x 23 cm, cxxi, 129 pp. Nerone, a “tragedia per musica” by Agostino Piovene, received its first staging in Venice in 1721 with music by Giuseppe Maria Orlandini, but won great success two years later in Hamburg in the version by Johann Mattheson, who retained the original arias, translated the recitatives into German and provided new musical settings for them, and added a few pieces of his own composition. In addition to a score corresponding to the Hamburg version (D-B, Mus. ms. 16370), the volume contains editions of the Italian libretto of 1721 and the German one of 1723. The opera is one of the most advanced manifestations of the reformist tendencies of the early eighteenth century: this is a genuine tragedy, inspired by the Britannicus of Racine, that concludes with a simple recitative given to Agrippina accusing her assassins before her killing. Linen. $175 (more info... ) [item no.9326]


PERGOLESI, Giovanni Battista, 1710-1736

Stabat mater für Sopran, Alt, Streicher & Bassso Continuo. Faksimile des Autographs herausgegeben von Tineke Steenbrink.
Magdeburg, 2013. Oblong, 4°, 88 pp. 4-color facsimile of the autograph score preserved in the Benedictine Abbey of Monte Cassino. Although Pergolesi’s œurve is often subject to misattribution, the Stabat mater in C minor is a genuine work (possibly the composer’s last), commissioned by the Confraternità dei Cavalieri di San Luigi di Palazzo (Naples). The Order presented an annual Good Friday meditation in honor of the Virgin Mary and Pergolesi’s setting replaced the one by Alessandro Scarlatti composed only 9 years earlier. This moving setting—in striking “durezze e ligature” style—conveys the story of the suffering of the Virgin Mary at the foot of the cross; it went through numerous reprinting in the 18th c. and inspired many composers including J.S. Bach. Although the work is performed today with soprano and alto solists, string orchestra and basso continuo, the original called for castrati singers (similiar to Mozart’s motet “Exultate Jubilate”). The score has many ambiguous passages, so this facsimile edition, the first of its kind, will be an important asset to scholars and musicians alike. Wrappers. $74 (more info... ) [item no.9318]


PEZ, Johann Christoph, 1664-1716

Duplex Genius. Five Gallo-Italus Instrumentorum Concentus Opus 1. [12. Constans Symphoniis, 2. Violinis cum archiviala & basso continuo]. E. Roger Marchand / Amsterdam. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 25. Stuttgart, 2013. 21 x 32 cm, 4 partbooks, 106 pp. Line-cut of the Amsterdam, n.d. partbook edition. Scored for vln I, vln II, vc, bc. Wrappers with portfolio in marbled paper. $82 [item no.9346]


PHALÈSE, Pierre, c.1510-1574 [publisher]

[Des chansons, bk. 1] Des chansons reduictz en tablature de lut [à deux, trois, et quatre parties. Avecq une brieve & familiaire introduction pour entendre & apprendre par soy mesmes à iouer dudict lut, liure premier]. Löwen/Jaques Bathen und Reynier Velpen 1545. [Bibliothèque d’étude de conservation Besançon].
Faksimile-Edition Laute, 12. Stuttgart, 2014. Oblong, 18 x 22 cm, 96 pp. Line-cut of the Louvain, 1545 edition, the first edition of this distinguished print. 61 pieces for solo lute in French tablature, including preludes, fantasies, French chansons and Dutch songs. Comparison with the 1547 edition provides wonderful insight how the Phalèse printing house reedited the edition, using the same woodcuts but altering the metal type to create a slightly different format. Hardbound in decorative paper. $32 [item no.9365]


PICHELMAIR, Georg, b?-1639

Sacra psalmodia [octonis vocibus concinenda]. Regensburg. Christoph Fischer 1637. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 27. Stuttgart, 2013 21 x 25 cm, 9 partbooks, 208 pp. Line-cut of the Regensburg, 1637 partbooks. Wrappers, in marbled paper slipcase. $98 [item no.9339]


RAGAZZI, Angelo c.1680-1750

[Sonatas a 4, strings, bc, op.1] Sonate a quattro per violino primo principale, violino primo di raddoppio, violino secondo, violino terzo o violetta, violone e basso continuo. Op.1 (Roma 1736). Facsimile. [Museo Internazionale e Biblioteca della Musica di Bologna, sign. II.256].
Offenburg, 2013. 4º, 6 partbooks, 112 pp. Beautiful halftone of the Rome, 1736 edition. Ragazzi, trained at the orphanage of S. Maria di Loreto in Naples, later attained the position of concert master at the Neapolitan Court Orchestra. The 12 sonatas feature experimental combinations of sonata, solo concerto and concerto grosso. Wrappers. $98 (more info... ) [item no.9373]


REBEL, Jean-Féry, 1666-1747

Les caractères de la danse, 1715 / La Terpsichore, 1720. Présentation: Dona Borel, CeFEdeM Île-de-France.
La Musique Française Classique de 1650 à 1800, 206. Courlay, 2012. 22 x 30 cm, x, 16 pp. Line-cut of the Paris, 1715 & 1720 editions. Preface in Fr-Eng-Ger. Wrappers. $35 [item no.9275]


RHAU Georg, 1488-1548 [publisher]

Sacrarum hymnorum liber primus. Wittenberg/ Georg Rhau 1542. RISM 1542(12). [Ratsschulebibliothek, Zwickau].
Faksimile-Edition Zwickau, 6. Stuttgart, 2012. Oblong, 19 x 15 cm, 4 partbooks, 550 pp. Line-cut of the Wittemberg, 1542 edition. Major collection of polyphonic settings of Latin hymns for 4-6 voices. The preface is dedicated to the mayor and council of Joachimstal, and credits Mathesius as having proposed and encouraged the work. Thomas Stoltzer is represent by 39 works. Hardbound in decorative paper, with matching slipcase. $174 [item no.9276]


SCHIMPF, Christoph, 16th c.

Mariae antiphonae [et lytaniae à 2,3,4,5. vocibus è 2. Violini]. Innsbruck. Michael Wagner 1658. [Biblioteka Jagiellońska, Krakow].
Faksimile-Edition Krakau, 24. Stuttgart, 2013. Oblong, 17 x 23 cm, 4 partbooks, 148 pp. Line-cut of the Insbruck, 1658 partbook edition. Wrappers with portfolio in marbled paper. $70 [item no.9340]


SCHOENBERG, Arnold, 1874-1951

A Survivor from Warsaw opus 46. Edited by Therese Muxeneder. Facsimile Edition of the Autograph from the Collection of the Music Division, Library of Congress, Washington, D..C. With a Preface by Nuria Schoenberg Nono and an Introduction by Therese Muxender.
Meisterwerke der Musik im Faksimile, 29. Laaber, 2013. Oblong, 41 x 27 cm, xxx, 30 pp. Full color reproduction of the autograph short score preserved in the Koussevitzky Collection at the Library of Congress. This deeply inspirational work for narrator, men’s chorus and orchestra, written in just 13 days, is a nice summing up of Schoenberg’s compositional and technical achievements. The handwriting of the 73 year old is shaky, and due to failing eyesight relatively large, but nevertheless there is clear and raw energy in his setting and depiction of the horrific Warsaw ghetto, in his words, “based partly upon reports which I have received directly or indirectly.” Hardbound with photo reproduction of the original binding. $214 (more info... ) [item no.9348]


[Arnold Schönberg Center] Schönberg. Pierrot Lunaire Companion. Elke Fess, Therese Muxeneder.
Vienna, 2012. 15 x 22 cm, 80 pp, w/ 42 color illus. Beautifully illustrated catalog produced on the occasion of composition of Arnold Schoenberg’s Pierrot lunaire in Berlin in 1912. The work was commissioned by Albertine Zehme, whose recitations were marked by a highly individual aesthetic, aiming to “recapture the ear’s prerogative in life”. In terms of its genre, Pierrot lunaire was historically unique at the time Schoenberg composed it and marks the high point of his expressionistic period. The famous melodrama is placed in the extreme danger zone of post-Romantic composition. Pierrot, “with waxen countenance”, is a bizarre and nervous figure, enticed into a counterworld of nighttime phantasms and hopeless passions. A cosmos of tonal shading in the colorful realm between singing and speaking. Ger/Eng. Wrappers. $15 (more info... ) [item no.9312]


SCHUBERT, Franz, 1797-1828

Piano Trio in E flat major op. 100 D 929. Introduction: András Schiff, Andrea Lindmayr-Brandl.
[Henle Music Facsimiles, 25]. Munich, 2014. 29 x 34 cm, 96 pp. Deluxe full-color facsimile of the autograph. Schubert’s Trio in Eb major op. 100 underwent many changes during its composition. The manuscript, parts of which were greatly revised, bears eloquent witness to this and offers an opportunity to trace the intricacies of Schubert’s phrasing and articulation. This source is in a private collection and this facsimile makes it accessible to the public for the very first time. In a letter to his publisher in 1828, Schubert explicitly dedicated the work to “no one, save those who find pleasure in it”. Commentary in Ger-Eng. Hardbound. $137 [item no.9360]


SELICH, Daniel, 1581-1626

[Concerti, voices/instruments] Opus novum. [Geistlicher Lateinisch und Teutscher Concerten und Psalmen Dauids mit II. III. IV. V. VI. VII. IIX. IX. X. XI. XII. & c. Stimmen Nebenst dem Basso Continuo vor die Orgel Lauten Chitaron etc. Also daß dieselbe nicht allein in Fuerst: Capellen sondern auch in andern wolbestalten Stadtkirchen nach beliebung fueglich koennen gebraucht vnd Musiciret werden]. Hamburg/ Michael Hering 1625. [Universitätsbibliothek, Frankfurt].
Faksimile-Edition Rara, 64. Stuttgart, 2013. 22 x 32 cm, 9 partbooks, c.306 pp. Line-cut of the Hamburg, 1625 edition. 24 sacred concertos. Wrappers, with slipcase in decorative paper. $205 [item no.9319]


STADLMAYR, Johann, c.1575-1648

Cantici mariani [septies variati. liber quartus, vocum duodecim, dum triplici basso ad organum accommodato]. Innsbruck / Daniel Agricola 1618. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 25. Stuttgart, 2013 16 x 21 cm, 13 partbooks, 436 pp. Line-cut of the Vienna, 1618 partbooks. Wrappers, in marbled paper slipcase. $148 [item no.9338]


STRAVINSKY, Igor, 1882-1971

The Rite of Spring / Le sacre du printemps (1910-13). Centenary Edition in Three Volumes. Facsimile of the Autograph Full Score Edited by Ulrich Mosch; Facsimile of the Version for Piano Four-Hands Edited by Felix Meyer; Avatar of Modernity: the Rite of Spring Reconsidered Edited by Hermann Danuser and Heidy Zimmermann.
A Publication of the Paul Sacher Foundation. London, 2013. 25 x 32 cm, 3 vols. Full color facsimile edition issued on the occasion of the 100th anniversary of the first performance of the Rite of Spring. It was an epochal moment in the history of both music and ballet, and it signalled the breakthrough into Modernism. Subtitled “Scenes from Pagan Russia”, it is a work of international scope created as a collaboration among leading figures working in multiple genres—and a masterpiece of extraordinary artistic potency. Ger-Eng text. $390 (more info... ) [item no.9305]


STROZZI, Barbara, c.1619-c.1664

Sacra corona [motetti a due, e trè voci di diversi eccelentissimi autori moderni, novamente raccolti & dati in luce da Bartolomeo Marcesso]. Venedig, Francesco Magni, 1656. [Library of Congress, Washington, DC].
Faksimile-Edition Strozzi, 9. Stuttgart, 2013. 17 x 21 cm, 4 partbooks, 294 pp. Line-cut of the Francesco Magni edition, Venice, 1656 edition. Edited by Bartolomeo Barcesso, this wonderful anthology features 23 motets for 3 and 2 voices (in various pairings), with basso continuo. Composers include Giovanni Rovetta, Maximiliano Neri, Pietr'Andrea Ziani, Barbara Strozzi (“Quis dabit mihi”), Francesco Cavalli, Biago Marini, Simone Vesi, Horatio Tarditi, Stefano Filippini, Maurizio Cazzati & Natale Monferato. Wrappers, with portfolio in marbled paper. $80 (more info... ) [item no.9314]


THADEI, Alexander, 16th c.

Psalmi vespertini. Venedig/ Gardane, Magni 1628. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, [24]. Stuttgart, 2013. 16 x 21 cm, 9 partbooks, c.306 pp. Line-cut of the Venice, 1628 partbooks. Wrappers with slipcase in marbled paper. $114 [item no.9320]


TIELKE, Gottfried, 1668-1725

Per la Violadagambe: Neun Stücke für Viola da Gamba und Basso continuo / Nine Pieces for Viola da Gamba and Basso Continuo. Erstausgabe / First Edition. Herausgegeben von / Edited by Günter und Leonore von Zadow.
Heidelberg, 2014. 4º, 12, 28 pp. Halftone of the viola da gamba part (original tablature notation), together with new performing edition. Wrappers. $26 [item no.9387]


ULICH, Johann, 1677-1742

[12 Sonatas, recorder, bc] Sechs Sonaten für Blockflöte und Cembalo. Herausgegeben in zwei Bänden als Neuausgabe und Faksimile von Paul Wåhlberg.
Collegium Musicum—Kölner Reihe alter Musik. Magdeburg, 2014. 4º, 2 vols, 146 pp. Halftone of the Zerbst, 1716 edition, together with new performing edition. Preface in Ger/Eng. Wrappers. $59 [item no.9389]


VERDI, Giuseppe, 1813-1901

La musica vocale da camera nelle prime edizioni (Milano, 1838-80). A cura di G. D’Angelo e P. Troian.
Bibliotheca Musica Bononiensis, IV/108. Bologna, 2013. 4°, 218 pp. Line-cut of the Ricordi editions, 1838-1880. These chamber romanzes basically belong to the period dating from his final departure from Busseto immediately following the success of Nabucco. This music gives us a glimpse of Verdi`s formative training, his first points of reference in music terms, and in a larger sense, literature and culture. These works also shed light on his circle of friends and acquaintances, and on the cultural and political milieu in Milan. Wrappers, in portfolio. $73 (more info... ) [item no.9328]


VIOTTI, Giovanni Battista, 1755-1824

[Sonatas, 2 violoncelli/viols/bassoon] Six sérénades pour 2 violons seuls. Opus 23, n°1 (sérénades I, II, III), 1810. Préface et partie de violon I. Présentation par Béatrice Ernwein. [British Library, London].
Collection Dominantes. Courlay, 2014. 22 x 30 cm, 2 partbooks, xii, 28 pp. Line-cut of Imbault edition, Paris, 1810. Introduction in Fr-Eng-Ger. Wrappers. $41 [item no.9361]


WAGNER, Richard, 1813-1883

Kinder-Katechismus zu Kosel’s Geburtstag (WWV 106B). Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Bayreuth. Mit einem Kommentar von Sven Friedrich.
Meisterwerke der Musik im Faksimile, 24. Laaber, 2012. Oblong, 29.7 x 21 cm, xvi, 8 pp. Full-color halftone of the autograph score of Wagner’s tribute to “Kosel” (Cosima), his second wife, on her 36th birthday, 25 December 1873. Introduction in Ger-Eng. Hardbound. $63 (more info... ) [item no.9294]


[Lieder, “Matthilde Wesendonck”, WWV 91A] “Wesendonk-Lieder”, Fünf Gedichte für eine Frauenstimme mit Pianoforte-Begleitung (WWV 91). Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Bayreuth. Mit einem Kommentar von Elisabeth Schmierer.
Meisterwerke der Musik im Faksimile, 25. Laaber, 2012. 27 x 35 cm, xviii, 22 pp. Full-color facsimile of the autograph (piano & voice) of the work that served as the model for Tristan. Individual settings are “Stehe still”, “Der Engel”, “Schmerzen”, “Im Treibhause”, and “Träume”. Introduction in Ger-Eng. Hardbound. $111 (more info... ) [item no.9291]


[Siegfried Idyll, fair copy, WWV 103] Siegfried-Idyll E-Dur. Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Baureuth. Mit einem Kommentar von Sven Friedrich.
Meisterwerke der Musik im Faksimile, 23. Laaber, 2012. Oblong, 29.7 x 21 cm, xviii, 42 pp. Full-color facsimile of the autograph fair copy, first performed December 25, 1870 at his home (Triebschen) on the birthday of his wife. The title refers to their son, Siegfried, at the time, one year old. Introduction in Ger-Eng. Hardbound. $111 (more info... ) [item no.9293]


[Siegfried Idyll, fair copy, WWV 103] Siegfried-Idyll E-Dur. Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Baureuth. Mit einem Kommentar von Sven Friedrich.
Meisterwerke der Musik im Faksimile, 23. Laaber, 2012. Oblong, 29.7 x 21 cm, xviii, 42 pp. Same as above but deluxe version bound in full leather with title embossed in gold. $230 (more info... ) [item no.9292]


[Tristan & Isolde, WWV 90] Tristan & Isolde (WWV 90). Facsimile of the Autograph Score from the National Archive of the Richard-Wagner-Stiftung Bayreuth. With a Commentary by Ulrich Konrad.
Documenta Musicologica, II/45. Kassel, 2012 29.5 x 41 cm, 354, 17, 20 pp. Full-color facsimile of the autograph score issued on the occasion of the 200th anniversary of Wagner's birth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. While working on the score to Tristan und Isolde, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the dawn of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The Tristan manuscript is an example of this but it also bears traces of his working process. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highly-concentrated, powerful and relentless writing. It evokes the aura of a singular individual. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper boards. $840 (more info... ) [item no.9296]


WEISS, Silvius Leopold, 1686-1750

[Works, lute, complete] Sämtliche Werke für Laute. Band 9: Works from Miscellaneous Manuscripts. Facsimile. Edited by Tim Crawford and Dieter Kirsch.
Das Erbe Deutscher Musik, 15. Kassel, 2013. Oblong, 31 x 24 cm, viii, 567 pp. Halftone of the miscellaneous manuscripts. Linen. $875 (more info... ) [item no.9279]


[Works, lute, complete] Sämtliche Werke für Laute. Band 10: Works from Miscellaneous Manuscripts. Transcription. Edited by Tim Crawford and Dieter Kirsch.
Das Erbe Deutscher Musik, 16. Kassel, 2012. Oblong, 31 x 24 cm, 2 vols, xiv, 288; viii 316 pp. Critical edition in staff notation of the works from miscellaneous manuscripts. Linen. $818 (more info... ) [item no.9280]


COMPOSITE & MISCELLANEOUS SOURCES

[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]


Clavierstücke aus dem Concert-Programmen von Frau Wilhelmine Szarvady geb. Clauss. Werke von Scarlatti, Couperin, Rameau u.a. herausgegeben von Raymond Dittrich.
Stuttgart, 2013. 30 x 42 cm, xx, 104 pp. Color facsimile of the first editions preserved in the British Library, Zentralbibliothek Zürich, Beethovenhaus Bonn, and the Universitätsbibliothek Frankfurt. Wilhelmine Clauss-Szarvady (1834-1907) was a successful concert pianist who frequently included the works of Baroque masters in her programs. Hardbound, in marbled paper. $93 [item no.9364]


[“Danzig” Lutebook] The Danzig Lute Book. Edited by Magdalena Tomsińska.
Lübeck, 2013. 21 x 30 cm, 160 pp. The Danzig Lute Book (Danzig/Gdańsk, tablature 4022) is a collection of early 17th-c. lute music of Gdańsk provenance, now kept in Berlin. This tablature was “lost” during WW2 but has since resurfaced. It turned out that during the war part of the Gdańsk library collection was taken to Moscow, and from there the whole collection was transferred to the Deutsche Staatsbibliothek in East Berlin in the 1950s (it is now in the possession of the Staatsbibliothek Preußischer Staatsbibliothek). The MS contains 222 pieces, mainly dances (Polish, French, English, German, Italian, Netherlands, Hungarian and Ruthenian) and arrangements of popular songs. Hardbound. $84 [item no.9384]


[Fabricius Lute Book] Petrus Fabricius (1579–1650): Lauten- und Liederbuch, Renaissance-Laute (& Gesang). Faksimile nach der Handschrift in der Königlichen Bibliothek Kopenhagen Signatur: Thott. 4° 841. Gesamtausgaben / Complete Edition. Transkription & Kommentar: Ralf Jarchow.
Glinde, 2013. 21 x 30 cm, 2 vols, 756 pp. An important lute and song anthology from the German-Danish cultural sphere, compiled c.1605-1615 by the pastor Petrus Fabricius. Some of the pieces are unique, while others stand out for their exceptional compositional technique. In addition, the numerous, sometimes quite earthy marginal notes provide insight into the cultural milieu of Fabricius and his time as a student in Rostock. The collection shares concordances the with the Nauclerus lute book. Composer include: Aelst, Ammerbach, Azzaiolo, Babst, Balletti, Besard, Borrono, W. Brade, Brechtel, Burmeister, Cato, Dalza, Dedekind, Demantius, J. Dowland, Drusina, Elsbeth, Gerle, Fabricius, Forster, Franck, Friderici, G.L. Fuhrmann, V. Fuhrmann, Gastoldi, Gutknecht, Haussmann, Heckel, Janequin, Jobin, J. Johnson, Klug, Köpphel, Krengel, Lange, Lauremberg, Lechner, Luther, Malchinger, Meiland, H. & M. Newsidler, Phalèse, Regnart, Reymann, Rhau, Rore, Rotta, Scandello, Selnecker, Spatz, Staricius, Susato, Tertre, Thym, Vento, Waissel, Walter, Wyssenbach, and Zangius. Hardbound. $265 (more info... ) [item no.9341]


[Faenza, Bibl. Comunale, 117] The Codex Faenza 117. Instrumental Polyphony in Late Medieval Italy Vol. I: Introductory Study; Vol. II: Facsimile Edition. Edited by Pedro Memelsdorff.
Ars Nova, Nuova Serie, 3. Lucca, 2012. 18 x 25 cm, 2 vols, 258; 212 pp. Deluxe full-color reproduction. A small unadorned parchment booklet, MS 117 of the Biblioteca Comunale Manfrediana in Faenza deals with a stunning quantity and unique quality of information on 14th- and 15th-c. Italian musical culture. The Codex is composed of two distinct and independent copying layers. The older one contains 50 non-texted intabulated diminutions generally assumed to be instrumental and dated within the first two decades of the 15th century. They comprise diminished versions of Italian and French songs by some of the major composers of the 14th and early 15th c., Jacopo da Bologna, Bartolino da Padova, Francesco Landini, Antonio Zacara da Teramo, Guillaume de Machaut, and Pierre des Molins, as well as polyphonic estampies and diminutions on dance-related and liturgical tenors, including the 3 earliest alternatim mass-pairs that have come down to us. The younger layer is an autograph by the Carmelite friar Johannes Bonadies, who in 1473 and 1474 used empty folios to add 16 music theory treatises, summaries or tables, and 22 mid- or late-fifteenth-century polyphonic settings, mostly composed by John Hothby, Bernardus Ycart, and Johannes de Erfordia, aside with some anonymous settings and a short Kyrie by Bonadies himself. Hardbound. $585 (more info... ) [item no.9299]


Gozzi, Marco. Il graduale Giunta, Venezia 1572. Con facsimile integral dell’esemplare conservato presso la Biblioteca Laurence Feininger di Trento nel CD-ROM allegato.
Monumenta Liturgiae Cantus, 2. Lucca, 2013. 18 x 24 cm, xxxii, 320 pp, CD. Line-cut reproduction of the Venice, 1572 edition, one of many service books by the venerable publisher Lucantonio Giunta il giovane. Inaugurates the series “Monumenta Liturgiae et Cantus”, a series that will present facsimiles accompanied by commentaries of all the liturgical books issued by Giunta. Wrappers. $42 [item no.9353]


Intavolatura manoscritta per liuto del duomo di Castelfranco Veneto. A cura / Edited by Franco Rossi. [Civico Museo Bibliografico Musicale, Bologna].
Bibliotheca Musica Bononiensis, IV/103. Bologna, 2012. 4°, 38, 216 pp; CD. Full-color facsimile (in CD format) plus B&W monochrome facsimile. This manuscript, beautifully copied by Giovanni Pacolini for an English patron, provides testimony to the repertoire intended for solo lute as well as pieces conceived for the unusual ensemble of three lutes. The collection includes music by the most important composers of the first half of the XVI century, and contains a wealth of extraordinary unica pieces, above all some works by Francesco da Milano. Introduction in It-Eng. Wrappers. $87 (more info... ) [item no.9281]


Lemmon, Alfred Emmette. French Baroque Music of New Orleans: Spiritual Songs from the Ursuline Convent (1736) / Musique française baroque à la Nouvelle-Orléans. Receuil d’airs spirituels des Ursulines (1736).
New Orleans. 2013 Oblong, 27 x 21 cm, 255 pp. In 1754 the Ursuline nuns of New Orleans received a gift from France, an illustrated manuscript copy entitled “Nouvelles poésies spirituelles et morales”. The ms consists of a compilation of contrafacts—popular melodies reworked with spiritual lyrics. The Historic New Orleans Collection acquired the ms in 1998 and now is pleased to present a full-color facsimile accompanied by in-depth commentaries in English and French. The composers include Couperin, Lully, Clérambault and many others. The contributing essays on sacred parody and music in colonial Louisiana provide scholars and performers alike with new insight into this genre. Hardbound. $110 [item no.9390]


[“Milleran” Ms.] The Milleran Lute Book.
Lübeck, 2014. 18 x 18 cm, 120 pp. Full-color facsimile of a ms copied c.1655, considered to be the finest from the French lute school. Compiled by René Milleran, grammarian and interpreter to Louis XIV, and former student of Ch. Mouton. Pieces by Bocquet, Gallot, Gaultier & Mouton. 11-course baroque lute. Reproduced 2 up per page with black background. Hardbound. $169 [item no.9395]


[Montecassino, Archivio della Badia, ms. 542] Montecassino, Archivio dell'Abbazia, Ms. 542. Antiphonaire, 12eme siècle. Katarina Livljanić.
Paléographie Musicale, I/23. Solesmes, 2014. 4˚, 194 pp. Facsimile, in color, of a 12th c. antiphoner from Monte Cassino. Beneventan notation on dry-point staff, the manuscript is devoted almost entirely to chants of the Gregorian tradition. Introduction and inventory by Katrina Livljanić. Wrappers. $126 (more info... ) [item no.9343]


[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol. II: Ballades I Introductory Texts, Poetic Texts and Critical Notes in French and English.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 2. Bologna, 2013. 24 x 32 cm, 232 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $92 [item no.9322]


[Opus artis novae, polyphonies] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol. III: Ballades II Introductory Texts, Poetic Texts and Critical Notes in French and English.
Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 3. Bologna, 2014. 24 x 32 cm, 236 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $97 [item no.9368]


[Osnabrück, Diözesanarchiv, Inv. Nr. Ma 101] Codex Gisle — Gradual of Gisela von Kerssenbrock.
Lucerne, [in prep - 2014]. 35.5 x 26 cm, 344 pp. Of the approximately 500 mss copied by nuns that survive from medieval Germany, none stands out quite like “Codex Gisle”, a Gradual in courtly gothic style with about 1500 Gregorian chants adorned with 53 historiated initials. It gets its name from the Cistercian nun Gisela von Kerssenbrock who, according to the memorial inscription on fol. 1 (in an early 14th c. hand), copied and illuminated it sometime before 1300 for her convent of Marienbrunn in Rulle near Osnabrück. Already known to art connoisseurs through a fine but partial collotype facsimile published in 1926 with the participation of the art historian Martin Wackernagel, the manuscript will now be given its due worth in a complete and exacting fine arts facsimile by Quaternio Verlag of Lucerne. Deluxe edition of 480 copies bound with tooled leather and metal bosses and clasps. (more info... ) [item no.9345]


[Salamanca, Archivo de la Catedral, ms 2631] Codex Calixtinus de Salamanca.
Burgos, 2012. 27 x 37 cm, 246 pp + commentary. Students and scholars of the camino are now fortunate to have a second facsimile of Codex Calixtinus, based on the Salamanca copy. Known as Ms. S, and copied around 1325 in Santiago de Compostela, this counts as one of four complete (long) versions of the Jacobus compilation and at the same time one of four that are illustrated. According to M. Alison Stones the meagerness of Jacobus transmissions is a bit baffling—compared to about 200 sources for the Historia Turpini (Book IV), so the facsimile of the Salamanca source is all the more welcome. Telltale aspects of Ms. S show it has a slightly different lineage from Ms. C, and in that way the text and illustrations offer the historian new insights and challenges. Salamanca comes down to us without title page and the initial portrait of Pope Calixtus has been vandalized, however, other than this the manscript is beautifully executed and adorned with 5 stunning illuminations, 1 of them a whole page. Although Salamanca provides full texts for the chants for the office and mass of St. James, the compiler didn't get around to enter the pitches for the chant around the a single reference line (usually C or F). Limited edition of 898 copies. Artisan binding in full leather with gold decoration on spine, pasted etikette and buckram-leather covered slipcase. (more info... ) [item no.9323]


MODERN EDITIONS

[“Bauyn” manuscript] Paris, Bibliothèque Nationale de France, Ms. Rés. Vm7 674-675: The Bauyn Manuscript. Edited by Bruce Gustafson with R. Peter Wolf.
The Art of the Keyboard, 10. New York, 2014. 4˚, 4 vols. Wrappers. $150 [item no.6784]


Bernardi, Stefano. Motetti in cantilena a quattro voci con alcune canzoni per sonare con ogni sorte di stromenti, con il basso per l’organo. 1613. Edizione a cura di Marco Materassi, trascrizioni: Flavio Cinquetti.
Lucca, 2012. 4º, xxiv, 105 pp. Critical edition. Wrappers. $45 [item no.6972]


Brahms, Johannes (new critical edition) Klavierkonzert Nr.2 B-Dur Opus 83. Herausgegeben von Johannes Behr.
Neue Ausgabe sämtlicher Werke, I/8. Munich, 2013. 4º, xxxviii, 243 pp. New critical edition. Cloth. $383 [item no.6749]


Brahms, Johannes (new critical edition) Symphonie Nr.3 F-Dur Opus 90. Arrangement für zwei Klaviere zu vier Händen / Arrangement für ein Klavier zu vier Händen (erstellt von Robert Keller, umgearbeitet vom Komponisten). Herausgegeben von Robert Pascall.
Neue Ausgabe sämtlicher Werke, IA/2. Munich, 2013. 4º, xxiii, 200 pp. New critical edition. Cloth. $311 [item no.6748]


Brahms, Johannes (new critical edition) Symphonie Nr.4 E-Moll Opus 98. Arrangement für zwei Klaviere zu vier Händen. Arrangement für ein Klavier zu vier Händen. Herausgegeben von Robert Pascall.
Neue Ausgabe sämtlicher Werke, IA/3. Munich, 2012. 4º, xx,, 203 pp. New critical edition. Cloth. $343 [item no.6950]


Brahms, Johannes (new critical edition) Serenaden: Nr.1 D-Dir Opus 11. Nr.2 A-Dur Opus 16. Ouvertüren: Akademische Festoouvertüre C-Moll Opus 80; Tragische Ouvertüre D-Moll Opus 81. Arrangements für ein Klavier zu vier Händen. Herausgegeben von Michael Musgrave.
Neue Ausgabe sämtlicher Werke, IA/4. Munich, 2012. 4º, xxi, 271 pp. New critical edition. Cloth. $456 [item no.6951]


Brahms, Johannes (new critical edition) Arrangements von Werken anderer Komponisten für ein Klavier oder zwei Klaviere zu vier Händen. Herausgegeben von Valerie Woodring Goertzen.
Neue Ausgabe sämtlicher Werke, IX/1. Munich, 2012. 4º, xxxi, 291 pp. New critical edition. Cloth. $494 [item no.6949]


Cimarosa, Domenico. Li due Baroni. Commedia per musica in 2 atti. Edizione critica a cura di Stefanoo Faglia [e] Franca Maria Saini.
Lucca, 2013. 22 x 32 cm, xci, 442 pp. Critical edition of the full score. Wrappers. $56 [item no.6766]


Donizetti, Gaetano (new critical edition) Maria di Rohan, melodramma tragico in tre atti. Edizione critica / Critical Edition a cura di / Edited by Marco Zoppello. Partitura / Full Score.
Critical Edition of the Works of Gaetano Donizetti, [11]. Milan, 2012. 4º, 2 vols, 808 pp. Cloth. $452 [item no.6934]


English Keyboard Music c.1600-1625. Edited by Alan Brown
Musica Britannica, XCVI. London, 2014. 4º. Modern critical edition. This volume is the first of two intended to extend the coverage of keyboard music in Musica Britannica comprehensively into the first quarter of the 17th century. The present edition contains music by anonymous and a dozen or so named composers, including the complete keyboard works of Nicholas Carleton, the surviving twenty 'Miserere' canons by Thomas Woodson, and the anonymous 'Pretty ways for young beginners to look on'. The 77 complete pieces are organized by genre, including preludes, plainsong settings, voluntaries, dances and character pieces. Drawing on 22 manuscripts which mostly also transmit music by Byrd and other noted virginalists, this residue of music from these sources shows great diversity and a pleasing level of technical skill and musical interest, sufficient to enhance our wider view of English Renaissance music. Buckram. $175 [item no.6782]


Gnocchi, Pietro. Sei concerti per archi. Edizione critica a cura di Claudio Toscani.
Collana di Musiche Inedite, 4 Lucca, 2012. 4º, xxiii, 149 pp. Critical edition. Wrappers. $45 [item no.6973]


Greco, Gaetano. 15 toccate. A cura di Friedrich Lippmann.
Musiche Italiane del Settecentro, [10]. Lucca, 2012. 4º, xxxi, 58 pp. Critical edition. Wrappers. $37 [item no.6971]


Legrenzi, Giovanni. Zenobia e Radamisto. Dramma in musica in tre atti. Edizione critica a cura di Stefano Faglia [e] Franca Maria Saini.
Lucca, 2013. 22 x 32 cm, cxiii, 224 pp. Critical edition with unrealized basso continuo. Wrappers. $56 [item no.6765]


Pistocchi, Francesco Antonio. Madrigale Gran Dio, Ah, Voi Languite. Edición crítica a cargo de / Edizione critica a cura di Alejandra Béjar Bartolo.
Lucca, 2012. 22 x 32 cm, xv, 12 pp. Wrappers. $28 [item no.6759]


Songs in British Sources c.1150-1300. Transcribed and Edited by Helen Deeming.
Musica Britannica, XCV. London, 2013. 4º, lx, 226 pp. Modern critical edition. Partly as a result of the nature of their manuscript transmission, songs from the period 1150 to 1300 have remained unknown or unnoticed with the exception of Sumer is icumen in and Angelus ad virginem. The rich variety of content in MB95 is therefore an important corrective and addition to our knowledge of the period, and is evidence for a vigorous interest in the cultivation and preservation of song in the 12th and 13th centuries. Not all the songs edited here originated in Britain, but their presence in MSS of British origin suggests that all were at least sung here. Most items are found uniquely in single music sources, or with text-only concordances, and around half are published for the first time. Buckram. $175 [item no.6757]


Weill, Kurt (collected edition) Johnny Johnson. Edited by Tim Carter.
The Kurt Weill Edition, I/13. New York, 2012. 30 x 39 cm. 348; 116 pp. Originally produced by the legendary Group Theatre in 1936, Johnny Johnson marked Weill's first contribution to the American musical theater. With book and lyrics by Pulitzer Prize-winning playwright Paul Green, the anti-war musical opened in November 1936 on Broadway, where it enchanted audiences and critics alike. Lee Strasberg directed, and the cast included a young Elia Kazan. The edition presents Johnny Johnson in full score, with the complete spoken text placed between the musical numbers. The editor drew on a vast array of surviving source materials, including not only Weill's manuscripts but also rehearsal scores and sets of instrumental parts, often containing several layers of chaotic performance annotations. Carter's introductory essay illuminates the work's genesis and performance history, the editorial process, and performance issues. 11 plates with facsimiles illustrate editorial challenges and solutions. A separate critical report documents every step of the editorial process and provides additional information for future stagings. Linen. $440 (more info... ) [item no.6935]


MONOGRAPHS

Alberti, Alfonso. La rosa è senza perché. Niccolò Castiglioni, 1966-1996.
Lucca, 2012. 12º, 281 pp. Wrappers. $44 [item no.6984]


Amato, Mauro, Cesare Corsi & Tiziana Grande. ‘Da Napoli a Napoli’. Musica e musicologia senza confini. Contributi sul patrimonio musicale italiano presentati alla IAML Annual Conference, Napoli 20-25 luglio 2008. A cura di Mauro Amato, Cesare Corsi & Tiziana Grande.
Lucca, 2012. 17 x 24 cm, xxii, 364 pp. Wrappers. $42 [item no.6780]


Rossi, Francesco Rocco. De musica mensurabili. Manuale di notazione rinascimentale.
Lucca, 2013. 17 x 24 cm, 11 + 236 pp. Wrappers. $41 [item no.6781]


Ammetto, Fabrizio. Materiales didácticos. Que apoyan el proceso de enseñanza-aprendizaje de disciplinas musicales y musicológicas (con un CD de audio adjunto). Cuerpo Académico de Musicología de la Universidad de Guanajunato, México. Fabrizio Ammetto (ed.).
Lucca, 2012. 12º, viii, 143 pp. Wrappers. $38 [item no.6981]


Angermüller, Rudolph & Elena Biaggi Parodi. Antonio Salieri (1750-1825) e il teatro musical a Vienna. Convenzioni, innovazioni, contaminazioni stilistiche. A cura di Rudolph Angermüller e Elena Biaggi Parodi.
Grooves—Edizioni di Musiche Audiotattili, 1. Lucca, 2012. 17 x 24 cm, x, 461 pp. Wrappers. $70 [item no.6756]


Bellia, Angela. Strumenti musicale e oggetti sonori nell’Italia meridionale e in Sicilia (VI-II sec.a.A.). Funzioni rituali e contesti.
Aglaia, 4. Lucca, 2012. 8°, xiv, 156 pp. Wrappers. $45 [item no.6976]


Bertiere, Maria Chiara. I teatri de Ferrara. Il Tosi-Borghi (1857-1912)
Con Notazioni, 11. Lucca, 2012. 8º, lxxx, 616 pp. Wrappers. $91 [item no.6967]


Bissoli, Francesco. Storia e fonti della Marion Delorme di Ponchielli.
Strumenti della Ricerca Musicale, 18. Lucca, 2012. 8º, x, 256 pp. Wrappers. $42 [item no.6969]


Sirsch, Licia, Maria Grazia Sità, & Marina Vaccarini. L’insegnamento dei conservatori, la composizione e la vita musicale nell’Europa dell’Ottocento. A cura di Licia Sirch, Maria Grazia Sità, Marina Vaccarini.
Strumenti della Ricerca Musicale, 19. Lucca, 2012. 8º, xxiv, 671 pp. Wrappers. $77 [item no.6970]


Caraci Vela, Maria. La filologia musicale. Istituzioni, storia, strumenti, critici. Volume III. Antologia di contributi filologici.
Lucca, 2013. 17 x 24 cm, xii, 698 pp. Wrappers. $84 [item no.6763]


Cavallo, Paolo. Le fonti musicali in Piemonte, Vol. III: Asti e Provincia. A cura di Paolo Cavallo.
Cataloghi di Fondi Musicali del Piemonte, 6. Lucca, 2012. 17 x 24 cm, xxxvi, , 428 pp. Wrappers. $58 [item no.6993]


Ballardini, Franco & Fabio Renato d’Ettorre. Mazzini pensatore, umanista, musicista amatore. Trento, Riva del Garda, aprile-ottobre 2005. Nel bicentenario della nascita di Giuseppe Mazzini. Sotto l’egida del Comitato Nazionale per le Celebrazioni del Bicentenario della nascita di Giuseppe Mazzini. Sotto l’Alto Patronato del Presidente della Repubblica. A cura di Franco Ballardini e Fabio Renato d’Ettorre.
Lucca, 2012. 17 x 24 cm, x, 195 pp, audio CD. Wrappers. $56 [item no.6999]


Boella, Daniela Petrobelli. Tra feste e cerimonie. Catalogo di una collezione dispersa. A cura di Daniela Petrobelli Boella.
Lucca, 2012. 17 x 24 cm, xx, 530 pp. Wrappers. $58 [item no.6741]


Cicco, Dario de. Cicco. ‘Amico carissimo...’ Verdi e Fraschini attraverso alcune corrispondenze. A cura di Dario de Cicco.
Lucca, 2013. 14 x 22 cm, xix, 102 pp. Wrappers. $28 [item no.6762]


Colturato, Annarita. Mettere in scena la regalità. Le feste teatrali di Gaetano Pugnani al Regio di Torino.
Le Chevalier Errant, Studi sulla degli Antichi Stati Sabaudi e del Piemonte, 8. Lucca, 2012. 17 x 24 cm, 148 pp. Wrappers. $43 [item no.6740]


Cresti, Renzo. Richard Wagner. La poetica del puro umano.
Lucca, 2012. 8º, xxv, 700 pp. Wrappers. $69 [item no.6977]


Cresti, Renzo. Richard Wagner. The Poetics of the Pure Human.
Lucca, 2012. 12º, 236 pp. Wrappers. $44 [item no.6975]


Curti-Feininger, Danilo & Marco Gozzi. I codici musicali Trentini del Quattrocento. Nuove scopete, nuove edizioni e nuovi strumenti informatici. Atti del convegno internazionale di studi / The Trent Codices: New Findings, New Editions and New Electronic Resources. Trento, Castello del Buonconsiglio, 28-29 novembre 2009. A cura di Danilo Curti-Feininger e Marco Gozzi.
Lucca, 2013. 21 x 24 cm, 175 pp. Contributions: Danilo Curti-Feininger, Armando Tomasi, Bonnie J. Blackburn, Margaret Bent, David Fallows, Jeffrey J. Dean, Antonio Carlini, Marco Gozzi. Wrappers. $28 [item no.6760]


Guizzi, Febo. Maschere di suoni. Costruzione del caos e affermazione di sé. Per un ‘antropologia sonara della liminarità contemporancea. A cura di Febo Guizzi.
Lucca, 2013. 17 x 24 cm, 471 pp. Wrappers. $49 [item no.6758]


Imago Musicae XXV 2012. International Yearbook of Musical Iconography.
Lucca, 2012. 8º, 244 pp. Cloth. $112 [item no.9303]


Imago Musicae XXVI 2013. International Yearbook of Musical Iconography.
Lucca, 2012. 8º, 244 pp. Cloth. $115 [item no.9352]


Moffa Bosco, Rosy. Fondi musicali dell’archivio ebraico Terracini. Fondo Saluzzo, Fondo Alessandria, Manoscritti di Musica Sinagogale dell’Ottocento.
Cataloghi di Fondi Musicali del Piemonte, 8. Lucca, 2012. 17 x 24 cm, xlx, , 214 pp. Wrappers. $44 [item no.6988]


Pasticci, Susanna. Sinfonia di Salmi: l’esperienza del sacro in Stravinskij.
Musicalia, 9. Lucca, 2012. 17 x 24 cm, vi, 192 pp. Wrappers. $43 [item no.6998]


Pestalozza, Luigi. Mie memorie. Vita musica altro.
Lucca, 2013. 17 x 24 cm,, 683 pp. Wrappers. $63 [item no.6764]


Porrino, Stefania. Teatro musicale. Lezioni di regia. Prefazione di Guido Salvetti con contributi di Carla Carretti, Laura Citti, Luciano D’Arpino, Vincenzina Nicastri, Daniela Terreri.
Lucca, 2013. 17 x 24 cm, xv, 335 pp. Wrappers. $56 [item no.6761]


Recercare XXIII/1-2 2011. 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, 2012. 8º, 196 pp. $35 [item no.6936]


Recercare XXIV/1-2 2012. 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, 2013. 8º, 196 pp. $35 [item no.6745]


Rota, Daniela. I Gesuiti e le Tarantole.
Lucca, 2012. 12º, x, 129 pp. Wrappers. $44 [item no.6986]


Sità, Maria Grazia & Corrado Vitale. I Quartetti di Béla Bartók. Contesto, testo, interpretazione.
Repertori Musicali, 4. Lucca, 2012. 14 x 22 cm, viii, 347 pp. Wrappers. $45 [item no.6968]


Zimei, Francesco. Beyond 50 Years - Certaldo VIII.
Lucca, 2014. 15 x 21 cm, x, 277 pp. Presentazione di Agostino Ziino; John Nadas: Una riflessione generale sulle nuove fonti musicali a cinquant'anni dall'inventario di Kurt von Fischer; Armando Antonelli: Tracce di ballate e madrigali a Bologna tra XIV e XV secolo (con una nota sul meccanismo di copia delle ballate estemporanee); Agostino Ziino: Sulla tradizione musicale della ballata “Per seguir la sperança che m'ancide” di Francesco Landini; Michael Scott Cuthbert: Palimpsests, Sketches, and Extracts: The Organization and Compositions of Seville 5-2-25; Marco Gozzi: Boccaccio, Gherardello e una ballata monodica; Carla Vivarelli: “Ars cantus mensurabilis mensurata per modos iuris” un trattato napoletano di ars subtilior? Pedro Memelsdorff: “Equivocus”. Per una nuova lettura del rapporto testo-musica nel Trecento italiano; Francesco Zimei: Riflessi musicali nella novellistica toscana del Trecento (statistiche e osservazioni); Gianluca D'Agostino: Some musical data from literary sources of the late middle ages; Sandra Dieckmann - Oliver Huck: Metrica e musica nel Trecento. Madrigali, ballate e cacce; Francesco Facchin: Suono e voce in Boccaccio. Wrappers. $70 [item no.6783]