| |  Old Manuscripts & Incunabula, PO Box 6019 FDR Station, New York NY 10150 tel 212/ 758-1946 • fax 212/ 593-6186 • http://www.omifacsimiles.com • immels@earthlink.net |  |
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RECENT ISSUES includes manuscript facsimiles (autographs & copyist
manuscripts),facsimiles of first editions & primary sources, and a selection of research material. For ordering information go to: Contact OMI last 3 years • last 2 years • last year ABEL, Carl Friedrich, 1723-1787 A Duet for Two Violoncellos. Faksimile. Einführung von Peter Holoman.Heidelberg, 2008. 4°. Line-cut of the first edition, together with new pratical edition. Preface in Ger-Eng. Wrappers. $28 [item no.9052] ADSON, John, c.1585-1640 Courtly Masquing Ayres, Composed to 5. and 6. Parts, for Violins, Consorts, and Cornets. [Christ Church Library, Oxford University].Performers’ Facsimiles, 293. New York, [2009]. 18 x 23 cm, 6 partbooks, 88 pp. Line-cut of T. Snodham edition, London, 1621. 20 ayres in partbook format, in mensural notation. Wrappers. $33 [item no.9094] AHLE, Johann Rudolf, 1625-1673 Neu-gepflanzten thüringischen Lust-Gartens Ander Theil. [In welschen XXX. neue geistliche musikalische Gewaechse mit 1.2.3.4.5.6.7.8.9.10. und mehr Stimmen...]. Mühlhausen, Johann Hüter 1658. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, [20]. Stuttgart, 2010. 19 x 32 cm, 10 partbooks, c.300 pp. Line-cut of the Mühlhausen, 1658 edition. Wrappers, in slipcase. $142 [item no.9150] ALBERT, Heinrich, 1604-1651 Verschiedene Gelegenheitskom positionen. 1. Auff den Nahmens-Tag Herrn Michael Adersbachen.. 2. Klag- und Tros-Lied... Herrn Georg von der Gröben 3: Braut-Tantz... Herr Barthel Michell Bräutigam 4: Hochzeit=Lied zu Ehren... Sigismund Scharffen... 5: Der Liebe Lob-Gesang, auff den Hochzeitlichen Ehren-Tag. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 10. Stuttgart, 2008. 22 x 33 cm, 2 vols, 56 pp. Line-cut of the Königsberg, 1642-1647 edition. 2 strophic settings a5 and settings for voices, with strings, trombone and bc support. Portfolio, with decorative paper boards. $45 [item no.8964] ALBRECHTSBERGER, Johann Georg, 1736-1809 Gründliche Anweisung zur Composition. Faksimile der ersten Auflage, Leipzig 1790, mit den “Beilagen” der “Dritten Ausgabe”. Mit Einleitung und der Biographie der Ausgaben herausgegeben von Wolfgang Horn.Quellenkataloge zur Musikgeschichte, 42. Wilhelmshaven, 2009. 18 x 28 cm, 538 pp. Line-cut of the Leipzig, 1790 edition. Cloth. $307 [item no.9130] ANTICO, Andrea, c.1480-d.? [publisher] Canzoni nove con alcune scelte de vari libri. Rom, 1510. [Universitätsbibliothek Basel].Faksimile-Edition Rara, 59. Stuttgart, 2009. Oblong, 27 x 20 cm, 86, ivi pp. Line-cut of the Rome, 1510 edition. A unique print—Andrea Antico’s first—in the possession of the Basel University Library, with title page in woodcut that immortalizes the purchaser and first owner of the volume: the humanist Bonifacius Amerbach. The collection, comprised of 41 motets for 3 voices is engraved with incredible skill on wood blocks. Tromboncino is the best represented composer in the collection (18 works). Afterword by Martin Kirnbauer. Hardbound in decorative paper. $44 [item no.9069] AUFSCHNAITTER, Benedikt Anton, 1665-1742 Regulae compositionis fundamentalis musurgiae.Faksimile-Edition Theoretica, 5 Suttgart, 2011. 22 x 32 cm, 14, 151 pp. Line-cut of the c.1730 manuscript. Rules on composing “good music” by the successor of Georg Muffat as Hof- and Domkapellmeister in Passau. Introduction by Markus Eberhardt. Hardbound in decorative paper. $75 [item no.9255] BACH, Carl Philipp Emanuel, 1714-1788 [Sonatas, keyboard, H.30-34, 36, Wq.49, “Württemberg”] Sei Sonate per cembalo dedicate all’Altezza Serenissima di Carlo Eugenio, Duca di Wirtemberg e Teckh. Opera IIda. [Library of Congress, Washington, DC].Performers’ Facsimiles, 284. New York, [2009]. Oblong, 39 x 26 cm, 44 pp. Line-cut of the Nuremberg, 1742 edition. Wrappers. $28 [item no.9101] [Sonatas, keyboard, Wq.63, 1-12] Exempel nebst 18 Probe-Stücken in sechs Sonaten mit sechs neuen Clavier-Stücken. Facsimile Edition with an Introduction by Mark W. Knoll. Carl Philipp Emanuel Bach: The Complete Works, VII, Supplement. Los Altos, 2009. 4°, xi, 35 pp. Beautiful halftone (in slightly reduced format) of the 12 sonatas published as a music supplement in C.P.E. Bach’s “Versuch über die wahre Art das Clavier zu spielen” . The original print—hand engraved—are from Tuft’s University Library and the Sibley Music Library. In contrast to “typeset” music of the time this source has a wonderful human quality and is exceptional in its execution. Wrappers. $21 [item no.9144] BACH, Johann Christian, 1735-1782 [Quartets, fl/vln, vla, vc, op.8, W B51-56] Six Quartettos for a German Flute, Violin, Tenor and Violoncello. Opera VIII. [Yale University Library, New Haven].Performers’ Facsimiles, 283. New York, [2009]. 26 x 33 cm, 4 parts, 54 pp. Line-cut of the London, c.1775 edition. Wrappers. $35 [item no.9100] BACH, Johann Christoph Friedrich, 1732-1795 [Sonata, flute/violin, bc] Sonata per il flauto, violino, e basso.Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 28 pp. Line-cut of the Hamburg, 1770 edition (extracted from Musikalisches Vielerley). Wrappers. $15 [item no.9036] BACH, Johann Sebastian, 1685-1750 [Cantata, 33] “Allein zu Dir, Herr Jesu Christ” BWV 33. Cantata for the 13th Sunday after Trinity. Commentary by Christoph Wolff and Peter Wollny.Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, 5. Kassel/Leipzig, 2010. 4°, 24, 50, 16, 16 pp. Color facsimile of the autograph score, original performing materials and original libretto. Cantata 33 belongs among the unique annual cycle of chorale cantatas composed by Bach in 1724-25, the second year of his Leipzig tenure. The cantata counts among the very few works where all the relevant source materials for the first performance have been preserved—yet dispersed throughout the world: the composing score is kept at the Scheide Library in Princeton, the vocal-instrumental performing parts at the Bach-Archiv in Leipzig, and the original libretto at the Russian National Library in St. Petersburg. The facsimile offers invaluable insight into the composer’s workshop and the changing conditions for performances under his direction. Commentary in Eng-Ger. Limited edition. Boxed set. $429 (more info... ) [item no.9147] [Mass, b minor, BWV 232] Messe in h-moll BWV 232. Mit Sanctus in D-Dur (1724) BWV 232(iii). Autograph Staatsbibliothek zu Berlin Preussischer Kulturbesitz. Kommentar von Christoph Wolff. Kassel, 2011. 24 x 35 cm, viii. 216, xxxvii, 7 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger-Jap. Brown linen boards. $465 (more info... ) [item no.9222] [Art of Fugue, BWV 1080] Die Kunst der Fuge / L’arte della fuga BWV 1080. Studio introduttivo a cura di Sergio Vartolo. Archivum Musicum: Monumenta Musicae Revocata, 37. Florence, 2008. 24 x 34 cm, 4 vols, 99, 40, 72, 20 pp. Line-cut of the autograph score and the beautifully engraved first edition issued 1751/1752. Introduction in It by Sergio Vartolo, with abstract in English. Wrappers, with portfolio in cloth and decorative paper. $131 (more info... ) [item no.9030] [Art of Fugue, BWV 1080, 1st ed.] Die Kunst der Fuge [BWV 1080]. [Library of Congress, Washington, D.C.]. Performers’ Facsimiles, 289. New York, [2009]. Oblong, 41 x 26 cm, 72 pp. Line-cut of the Leipzig, 1751/1752 edition. Wrappers. $30 [item no.9102] [Prelude & fugue, organ, BWV 552, Eb major] Präludium und Fuge Es-Dur BWV 552 aus dem 3. Teil der “Klavierübung”. Faksimile des Originaldrucks von 1739 herausgegeben und mit einer Einführung von Matthias Geuting. Meisterwerke der Musik im Faksimile, 13. Laaber, 2008. Oblong, 4°. xii, 18 pp. New line-cut facsimile, of the first edition published in Leipzig in 1739. Bibliophile edition with commentary in Ger-Eng. Hardbound, with red paper boards and faux title etikette. $91 [item no.9072] [WTC I, piano, BWV 846-869, Richault edition, annotated by F. Chopin] Vingt-quatre préludes et fugues (Le clavier bien tempéré, livre I). Annoté par Fréderic Chopin. Commentaire de Jean-Jacques Eigeldinger. Publications de la Société Française de Musicologie, I/28. Paris, 2010. Oblong, 28 x 21 cm, lxxii, 111 pp. Color facsimile of the Richault edition (one of the four first editions of the work), with autograph emendations by Fredéric Chopin. In his triple activity as composer, performer, and teacher, Chopin constantly turned to Bach as a supreme point of reference. The Well-Tempered Clavier is said to be the only score he took with him to Majorca in the winter of 1838-39, at the time he was completing his 24 Preludes op.28—in other words, at the heart of his career as a composer. Until now the important role played by the Well-Temperedocument published here for the first time confirms it with living proof of a different kind, a live record, so to speak, of his teaching. This precious score, held in a private collection, emanates directly from Pauline Chazaren, a pupil of Chopin and teacher of Cosima Liszt. The score was probably purchased in Lyons around 1843 prior to Pauline's Parisian sojourn and was d Clavier in Chopin's teaching has been known on the basis of literary sources. The brought or sent to Paris, where it was used in the lessons with Chopin. The score shows no trace of interventions that could be ascribed to Pauline or anyone else. Leafing through the pages of this copy of the Well-Tempered Clavier I, one cannot fail to be struck by the neatness with which the signs and words indicating tempo, metronome marks, phrasing, articulation, dynamics, left-hand octaves, and so on, have been notated. All of Czerny's indications (probably taken from the 1843 Veuve Launer edition), save fingerings, have been copied out by Chopin. The systematic copying stops after Prelude 7, as do the sporadic indications in ink. Commentary in Fr/Eng/Pol. Hardbound. $111 (more info... ) [item no.9166] Johann Sebastian Bach. Vier Zeugnisse für Präfekten des Thomanerchores 1743-1749. Faksimile und Transkription herausgegben von / Edited by Andreas Glöckner. Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, 4. Kassel, 2009. 20 x 31 cm, 16 pp. Color reproductions of 4 documents written by Johann Sebastian Bach on behalf of applicants for the “Stipendium Hammerianum”, a scholarship fund established some 150 years earlier by the Austrian physician Dr. Matern Hammer. In his will, the donor stipulated that the cities of Leipzig and Steyr each were to receive from his estate an endowment to benefit two students from each city. Notes in Ger-Eng. Wrappers. $39 [item no.9103] BATHE, William, 1564-1614 A Briefe Introduction to the Skill of Song, c.1587.London, 2008. 13 x 19 cm, 49 pp. Line-cut of the c.1587 revised edition of the now lost 1584 work considered to be the first musical text book to appear in the English language. Bathe abandons the Gamut in favor of his own seven-note sol-fa system. Wrappers. $29 [item no.9217] BEETHOVEN, Ludwig van, 1770-1827 [Quartet, strings, op.59, 1st ed.] Trois quatuors pour deux violons, alto et violoncello. Œeuvre 59me [The “Rasumovsky” Quartets]. [private collection].Performers’ Facsimiles, 280. New York, [2011]. 27 x 35 cm, 4 partbooks, c.136 pp. Line-cut of Vienna [1808] edition (Au Bureau des arts et d'industrie A.' Pesth chez Schreyvogel & Comp. plate nos. 580.584.585). Wrappers. $50 [item no.9215] [Quartet, strings, op.132, no.15, A minor] Streichquartett a-moll op.132. Faksimileausgabe des Autographs im Besitz der Staatsbibliothek zu Berlin. Mit Vorwort von András Schiff und einer Einleitung von Ernst Hertrich. [Henle Music Facsimiles, 22]. Munich, 2010. Oblong, 4°, 168, xxiv pp. Beautiful 4-color halftone. The heart of Beethoven’s Quartet op. 132 is the “Holy song of thanksgiving”, in which Beethoven takes up old counterpoint techniques and Gregorian simplicity. In this unusually beautiful and well preserved manuscript, Beethoven generously makes the most of the space on its pages. The lavish 4-color printing allows the composer’s occasionally unconventional manner of notation to come to life. It permits a unique insight into the creative process, which continued after it had been written down in the form of multiple additions and changes. The edition is rounded off with a preface by the pianist András Schiff, with whose generous support this valuable facsimile was made possible. Hardbound. (in preparation) $190 (more info... ) [item no.9189] [Romance, violin, orch, op.50, F major] Romanze für Violine & Orchester F-Dur op.50. Faksimile nach dem Autograph der Library of Congress in Washington. Mit einer Einleitung von Stefan Drees. Meisterwerke der Musik im Faksimile, 20. Laaber, 2011. Oblong, 32 x 24 cm, xvi, 32 pp. Facsimile, in full-color, of the autograph fair copy, dated by different authorities as either 1798 of 1802. Introduction in Ger-Eng. Hardbound with decorative paper boards. $104 (more info... ) [item no.9264] [Sonata, piano, op.13, C major] Grandes sonates pathétique pour le clavecin ou le piano forte. Œuvre 13. Collection FacsiMusic. Courlay, 2008. Oblong 30 x 21 cm, 24 pp. Line-cut of the Joseph Eder edition, Vienna, 1799. Wrappers. $16 [item no.9035] [Sonata, piano, op.57, F minor] Klaviersonate “Appassionata” f-moll op.57. Faksimile nach dem Autograph der Bibliothèque Nationale de France, Paris. Mit einer Einleitung von Wolfram Steinbeck. Meisterwerke der Musik im Faksimile, 21. Laaber, 2011. Oblong, 32 x 24 cm, xxiv, 48 pp. Full-color halftone of the composer’s autograph (1805-1806), a fair copy with numerous corrections. The autograph contains a fascinating note written by Paul Bigot (husband of the pianist Marie Bigot) which sheds light on the provenance of the ms: "During the journey, he [Beethoven] was surprised by a storm and driving rain, which soaked through the case in which he carried the Sonata in F minor which he had just composed. Following his arrival in Vienna he visited us and, laughing, showed the still wet composition to my wife, who took a closer look at it. Moved by the surprising beginning she sat down at the piano and begin to play it. Beethoven had not expected this and was surprised to see how Mad. Bigot did not let herself be stopped for a moment by the many erasures and changes which he had made. It was the original which he was in the process of taking to the publisher so that it could be engraved. When Mad. Bigot had played it and asked him to give it to her, he agreed and faithfully brought it back for her once it had been engraved". The autograph passed from the Bigot family to the Conservatoire de Musique, and then to the BN in Paris. Introduction in Ger-Eng. Hardbound with handsome paper boards. $114 (more info... ) [item no.9265] [Sonata, piano, op.109, E major] Klaviersonate E-Dur op.109. Faksimile nach dem Autograph der Library of Congress, Washington, D.C. Mit einem Kommentar von Siegfried Mauser. Meisterwerke der Musik im Faksimile, 14. Laaber, 2011. Oblong, 31 x 24 cm, xv, 40 pp. Facsimile, in full-color, of the autograph fair copy manuscript (with corrections) entitled “Sonate für das Hammerklavier” and dedicated to his friend Antoine Brentano, also the dedicatee of the Piano Trio WoO 39. This is the first sonata—completed in the fall of 1820—of a trilogy (op.109, 110 & 111) promised to the publisher Schlesinger with operations in Paris and Berlin. Introduction in Ger-Eng. Hardbound with decorative paper boards. $103 (more info... ) [item no.9090] [Sonata, piano, op.110, Ab major] Klaviersonate As-Dur op.110. Faksimile nach dem Autograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar von Siegfried Mauser. Meisterwerke der Musik im Faksimile, 15. Laaber, 2011. Oblong, 32 x 24 cm, xx, 58 pp. Full-color halftone of the composer’s autograph—simultaneously a fair and working copy—completed on Dec. 25, 1821. Although the last piano sonatas op.109, 110 and 111 were planned as a trilogy and offered to the publisher Schlesinger, their composition was not continuous, and it is op.110 that has certain unmistakable links with the Missa Solemnis composed at the same time (sketches of op.110 can be found alongside those of the Credo, the Agnus dei & Dona nobis pacem of the Mass). The sonata was ultimately published by Schlesinger in September of 1822. Introduction in Ger/Eng. Hardbound with handsome boards in grey patterned paper. $130 (more info... ) [item no.9091] [Sonata, piano, op.111, C minor] Klaviersonate c-Moll op. 111. Das Faksimile Faksimile nach dem Autograph der Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Mit einem Kommentar von Siegfried Mauser. Meisterwerke der Musik im Faksimile, 16. Laaber, 2011. Oblong, 32 x 24 cm, xv, 42 pp. Facsimile, in full-color, of the autograph manuscript completed in the spring of 1822. Compared to the previous sonatas of the trilogy (op.109, 110 & 111), op.111 had a rather long correction and printing period. After the Schlesinger (son & father) editions appeared in Paris and Berlin respectively Beethoven angrily had the Viennese publisher Diabelli issue a corrected reprint. Introduction in Ger-Eng. Hardbound with decorative paper boards. $103 (more info... ) [item no.9092] [Symphony, no.5, op.67, C minor, 1st ed.] [Fifth Symphony] Sinfonie pour 2 violons, 2 violes, violoncelle e contre-violon; 2 flûtes, petite flûte, 2 hautbois, 2 clarinetts, 2 bassons, contre-basson, 2 cors, 2 trompettes, timbales et 3 tromps. No 5 des Sinfonies. Oeuv.67. [Nederlands Muziek Instituut, The Hague]. Performers’ Facsimiles, 300. New York, [2011]. 27 x 35 cm, 23 partbooks, 134 pp. Line-cut of the Breitkopf & Härtel edition, pl. no. 1329, Leipzig, 1809. $95 [item no.9231] [Symphony, no.9, op.125, D minor] Sinfonie No.9 op.125. Autograph. Staatsbibliothek zu Berlin—Preussischer Kulturbesitz, Beethoven-Haus Bonn, Bibliothèque National de France. Commentary by . Kommentar von: Lewis Lockwook, Jonathan Del Mar, Martina Rebmann. Documenta Musicologica, II/42. Kassel, 2010. 37 x 40 cm, viii, 436, 42 pp. Full-color facsimile of the autograph fair copy in the original format. With his Ninth Symphony Beethoven ventured into new musical dimensions. In the final movement soloists and chorus join forces with the orchestra and Schiller’s “Ode to Joy” becomes a global aspiration, a declaration: “Alle Menschen werden Brüder” (all mankind becomes brothers). In his commentary the Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, editor of Beethoven’s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process. Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann, director of the Music Department at the Staatsbibliothek in Berlin traces this story. For the first time the facsimile present all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. Hardbound, with decorative paper and linen spine. Commentary in Eng-Ger-Jap. Special OMI price. (more info... ) [item no.9177] [Variations, piano, on a waltz, op.120] Diabelli-Variations op.120. Faksimile Edition. Veröffentlichungen des Beethoven-Hauses, III/19. Bonn, 2010. Oblong, 35 x 24 cm, 92, 72, c.30 pp Color facsimile of the autograph working copy and the first edition (Vienna, 1823), based on the exemplar that preserves Beethoven’s handwritten dedication to Prince Lobkowitz. The Beethoven-Haus in Bonn acquired Beethoven’s working manuscript of this last great piano work and his most important cycle of variation in 2009, made possible through an unprecedented joint effort of noted artists and numerous public and private sponsors. The Diabelli Variations op.120 are in many respects extraordinary. The facsimile edition makes this important Beethoven autograph—formerly in private hands—accessible to musicians, scholars and music lovers. This unique autograph comprises 86 handwritten pages. Following the leaf with the prescribed Diabelli theme, it contains the complete cycle of 33 variations, and includes several inserted leaves. Beethoven’s compositional process can be recognized by means of the intensive corrections, the far-reaching conceptional alterations and editorial details down to the finest nuance. Introduction (Ger-Eng) by Kurt Masur, with contributions by William Kinderman, Michael Ladenburger and Bernard R. Appel. Hardbound. $215 (more info... ) [item no.9187] [sketchbook, “Artaria 197”] A Sketchbook from the Year 1821 (Artaria 197). Sketches for the Agnus Dei and other Movements of the “Missa solemnis”, the Piano Sonata Op.110 and Op.111, and the Canon WoO 182. Edited by William Drabkin. Vol. I: Facsimile; Vol. II: Transcription and Commentary. Veröffentlichungen des Beethoven-Hauses in Bonn, I/37. Bonn, 2010. Oblong, 4º, 2 vols, 96, 100 pp. Halftone. The sketchbook, well known under the name Artaria 197, has been edited and published for the first time in a complete historical-critical edition by the Beethoven expert William Drabkin. The sketchbook used by Beethoven in 1821 contains drafts of music for prominent later works: to the Missa solemnis and the final two piano sonatas, as well as many hitherto unknown sketches. The edition has been published in English. Linen. $279 [item no.9145] Bonner Beethoven-Studien, Band 7. Herausgegeben von Michael Ladenburger. Friederike Grigat. Die Sammlung Wegeler im Beethoven-Haus Bonn. Kritischer Katalog. Veröffentlichungen des Beethoven-Hauses, V/7. Bonn, 2008. 8˚, 359 pp. Wrappers. $69 [item no.6699] Bonner Beethoven-Studien, Band 8. Herausgegeben von Bernhard R. Appel. Veröffentlichungen des Beethoven-Hauses, V/7. Bonn, 2009. 8˚, 167 pp. Luigi Bellofatto: Henry Edward Krehbiel and His Edition of Alexander W. Thayer's "Life of Beethoven"; Martella Gutiérrez-Denhoff: Beethoven und die Wiener Phäaken. Ludlamiten und Paternostergässler; Nors S. Josephson: Mozart, Haydn und Beethoven: Musikalische Wechselbeziehungen; Heinz von Loesch: 'Die Wut über den verlorenen Groschen' “Gemütlicher Witz” oder Zeichen der "Entfremdung"? Rita Steblin: "A dear, enchanting girl who loves me and whom I love": New Facts about Beethoven's Beloved Piano Pupil Julie Guicciardi. Wrappers. $49 [item no.6859] BERG, Alban, 1885-1935 [Concerto, violin, orchestra] Violinkonzert. Faksimile nach dem Autograph der Library of Congress, Washington. Mit einem Kommentar von Douglas Jarman.Meisterwerke der Musik im Faksimile, 22. Laaber, 2011. 4°, xv, 96 pp. Full-color facsimile of the autograph dated August 11, 1935. The work was written on commission from the violinist Louis Krasner, but is was the death of Manon Gropius (daugther of Alma Mahler and Walter Gropius) that was the main impetus for Berg, setting aside work on Lulu, to complete the concerto. It was dedicated “To the memory of an angel”. Introduction in Ger-Eng. Hardbound. $259 (more info... ) [item no.9228] BERG (= MONTANUS), Johann, b.?-1563 [publisher] Diphona amoena et florida, selectore Erasmo Rotenbuchero, boiaro. Nürnberg/ J. Montanus & U. Neuber. [Ratsschulebibliothek, Zwickau].Faksimile-Edition Zwickau, 8. Stuttgart, 2011. Oblong, 22 x 17 cm, 2 partbooks, 248 pp. Line-cut of the Berg & Neuber edition, Nuremberg, 1549. Wonderful anthology of 99 duos (diphonorum) for soprano & tenor pairings in mensural notation. Composers include Agricola, Fevin, Josquin, Isaac, Ockeghem, Lampadius. Hardbound in decorative paper, matching slipcase. $90 [item no.9262] BIBER, Heinrich Ignaz Franz von, 1644-1704 [Sonatas, violin, bc, “Mystery Sonatas”] Rosenkranz-Sonaten. Bayerische Staatsbibliothek München, Mus. Mss 4123. Vorgelegt von Manfred Hermann Schmid. [Im Anhang:] Faksimile der “Türken-Sonate” aus dem Kodex Ms XIV 726 (Nummer 80, Bll. 162r bis 163v) des Wiener Minoritenkonvents].Denkmäler der Musik in Salzburg, Faksimile-Ausgaben, 14. Munich, 2008. Oblong, 30 x 22 cm, 86, xxx, 4 pp + 1 foldout. New color reproduction of the magnificent presentation copy (non autograph, sole surviving source), dedicated to the Archbishop Maximilian Gandolph von Khuenberg. These fifteen wonderful sonatas, abstract commentaries on biblical incidents traditionally grouped into three groups of five—Joyful (his early life), Sorrowful (his passion), Glorious (his ressurection)—are noteworthy for their use of scordatura and their powerful preludes. They originally were performed in the lecture hall “Aula Academica” of Salzburg University, which still contains fifteen paintings depicting the mysteries. In like manner biblical illustrations—small engraved medallions—were glued in the manuscript at the beginning of each piece. The work ends with the passacaglia for solo violin, one of the most beautiful and soaring pieces of the German baroque. This new facsimile edition importantly includes a facsimile of a concordance of the tenth sonata (from MS XIV 726, Wiener Minoritenkonvents) — ”Türken-Sonate”—where the same music has programmatic titles: “Der Türcken Anmarch”, “Der Türcken Belägerung der Stadt Wien”, “Der Türcken stürmen”, “Anmarsch der Christen”, “Treffen der Christen”, “Durchgang der Türcken”, “Victori der Christen”. In Ms XIV 726, a composite source of violin music by Biber, Schmelzer and others, the scribe attributes the Türken-Sonate to “Schmelzer”. Introduction in Ger. Cloth. $179 (more info... ) [item no.9028] [Sonatas, violin, bc, 1681 ed.] Sonatae Violino solo 1681. [Stift Kremsmünster]. Faksimile-Edition Kremsmünster, 11. Stuttgart, 2009. Oblong, 33 x 25 cm, 63 pp. Line-cut of the Salzburg, 1681 edition. Wrappers. Hardbound, with marbled paper boards. $58 [item no.9112] BITTNER, Jacques, 17th c. Pièces de lut, 1702. Faksimile nach dem Druck- Exemplar der Oberösterreichischen Landesmuseen Linz, Österreich. Herausgegeben von Michael Treder, Hamburg unter Mitarbeit von Francois-Pierre Goy, Paris.Lübeck, 2009. 21 x 30 cm, xxxiv, 39, iv. Line-cut of the Linz, 1702 edition (oblong format), reproduced 3 up a page for ease of reading. The present edition contains 10 suites, in total 55 pieces for 11-course baroque lute. Introduction in Ger. Ring binder. $39 [item no.9093] BLOCH, Ernest, 1880-1959 Piccardi, Carlo. L’occhio del compositore: Ernest Bloch (1880-1959) tra Ticino e Italia.Lucca, 2009. 22 x 22 cm, 136 pp. Beautiful picture documentary produced on the occasion of a special exhibit at the Museo d’Art, Lugano in cooperation with the Ernest Bloch Family. Includes 72 plates, most of them photographs taken 1930-1934 by Roveredo Capriasca. Wrappers. $31 [item no.9158] BONONCINI, Giovanni, 1670-1747 Cantate e duetti (Londra 1721). Introduzione di / Introduction by Paolo Da Col.Bibliotheca Musica Bononiensis, IV/73. Bologna, 2008. Oblong, 4°, xvii, 107 pp. Line-cut of the London, 1721 edition. The collection features 7 cantatas for soprano, 6 for alto and 2 duets, with violin or bc. Wrappers. $59 [item no.9006] BOULEZ, Pierre, 1925 Tombeau. Fac-similés de l’épure et de la première mise au net de la partitur / Facsimiles of the Draft Score and the First Fair Copy of the Full Score. Édités par / Edited by Robert Piencikowski.Eine Publikation der Paul Sacher Stiftung. Vienna, 2010. 38 x 47°, 154 pp. Beautiful full-color facsimile edition of the autograph draft score and the first copy of the full score. Unlike the world première of Marteau sans maître (1952-55), that of Tombeau for orchestra (1959), which took place in Donaueschingen on 17 October 1959, passed almost unnoticed, outshone by Pierre Boulez's unexpected triumph as a conductor when he stepped in to replace Hans Rosbaud at the head of the Südwestfunk Sinfonieorchester. Originally conceived as an individual tribute to Prince Max Egon zu Fürstenberg, who died suddenly in spring 1959, the work was ultimately included in the Pli selon pli cycle (1957-62, 1983, 1990). To celebrate the composer's 85th birthday and the 50th anniversary of the world première, the Paul Sacher Foundation and Universal Edition are now publishing the two original manuscripts of the score for the first time: the pencil draft and a fair copy in different colored inks. These fine examples of high-quality reproductions are also the earliest evidence of Boulez' friendship with Paul Sacher. The composer presented the scores to Sacher in the early 1960s. The facsimiles are prefaced by an introduction, which places the work in a historical and aesthetic context and takes a look at the compositional techniques used. It is illustrated by a selection of manuscripts from different stages of the creative process, as well as other related documents. Linen. $211 (more info... ) [item no.9165] BOUTMY, Josse, 1697-1779 Premier livre de pièces de clavecin. Introduction: Henri Vanhulst.Musica Bruxellensis, VI. Brussels, 2011. 4˚. Line-cut of the Paris, 1738 edition. The first of four publications for clavecin by Boutmy to be published in facsimile. Preface in Eng-Fr. Wrappers. $32 (more info... ) [item no.9257] BRANDISIUS, Markus Dietrich, 16-17th c. Victoria Sveco-Saxonica. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 15. Stuttgart, 2009. 16 x 21 cm, 3 partbooks, 40 pp. Line-cut of the Gregor Ritzsch edition, Leipzig, 1631. Portfolio, with decorative paper boards. $48 [item no.9096] BRÉVAL, Jean-Baptiste Sébastien, 1753-1823 Les nocturnes, ou six airs variés pour un violon et violoncelle. Œuvre IX.Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 16 pp. Line-cut of the Paris, 1782 edition. Wrappers. $13 [item no.9037] CACCINI, Francesca, 1587-1640 Il primo libro delle musiche a una, e due voci. [Biblioteca Estense Universitaria, Modena].Performers’ Facsimiles, 295. New York, [2011]. 27 x 36 cm, 103 pp. Line-cut of the Florence, 1618 edition, containing 36 settings, among them sonetti, madrigali, arie, ottave, motetti, hinni, & conzonetti. Wrappers. $30 [item no.9224] CARISSIMI, Gian Giacomo, 1605-1674 [Method, keyboard; method, singing & keyboard] Vermehrter und nun zum zweytenmal in Druck befördertet kurzer jedoch gründlicher Wegweiser vermittelst welchen man nicht nur allein aus dem Grund die Kunst, die Orgel recht zu schlagen, sowol was den General-Bass... / Ars cantandi. Richtiger und außführlicher Weg, die Jugend aus dem rechten Grund in der Sing-Kunst zu unterrichten.Faksimile-Edition Theoretica, 4 Suttgart, 2010. Oblong, 22 x 17 cm, 48; 74 pp. Line-cut of the Augsburg 1692 and 1693 editions. Ars cantandi—after a brief introduction on fundamentals and solmisation—includes an appendix of keyboard pieces (preamboli, intermezzi, versetti, toccate, tastate, variazioni, fughe). Hardbound in decorative paper. $46 [item no.9194] CARRÉ, Antoine de la Grange, 17th c. Livre de guitarre (1671). Facsimile Edition. Introduction by Monica Hall.Westminster, 2009. 4º, i, 36 pp. Line-cut of the Paris, 1671 edition, reproduced two-up on a page. Preludes, chaconnes, allemandes, sarabandes, folia & gigues, together with an instruction book written in French tablature. Comb binding. $20 [item no.9067] CAZZATI, Maurizio, c.1620-1677 [Masses a8, op.28] Messe brevi a otto voce [con una concertata a 4. e suoi ripieni à beneplacito, & una à otto da capella]. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 14. Stuttgart, 2011. 16 x 21 cm, 11 partbooks, c.390 pp. Line-cut of the Antonio Pifarri edition, Bologna, 1662. Wrappers, with slipcase with marbled paper. $74 [item no.9253] CHÉDEVILLE, Nicolas, 1705-1782 [Sonatas, flute/oboe/violin, bc, op.7] Six sonates pour la flûte traversière, hautbois ou violon, avec la basse. Œuvre VIIe. Paris s.d. [c.1739].Archivum Musicum: L’Art de la Flûte Traversière, 67. Florence, 2008. 24 x 34 cm, iv, 26 pp. Line-cut of the author’s edition, Paris, 1739. Discusses transposition for the musette. Wrappers. Introduction in It by Marcello Castellani. Wrappers, in decorative paper. $42 [item no.8991] CHÉRON, André, 1695-1766 [Trio sonatas, 2 fl/ob/vln, bc, op.1] Sonates en trio p. deux flûtes traversières avec la basse continue. Premier œuvre.Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 3 parts, 84 pp. Line-cut of the Paris, 1727 edition. Wrappers. $40 [item no.9038] CHOPIN, Frédéric, 1810-1849 Allegro de Concert op.46 / Allegro de Concert, op.46. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 227). Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 227).Works by Chopin—Facsimile Edition, [12] A /XI/46. Warsaw, 2008. Oblong, 28 x 22 cm, 2 vols, 20, 67 pp. Full-color halftone of the autograph fair copy. The work, in expansive sonata form in "stile brillante", dates from the early 1830s and stands as testimony to the fact that after completing the concertos in F minor and E minor, that Chopin was thinking of composing a third. The work was first published in 1841 and the manuscript remained in the Breitkopf & Härtel archives until 1939, when it was sold with a group of manuscripts, letters and daguerreotypes to Biblioteka Narodowa. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Irena Poniatowska. Bound in blue linen, with matching slipcase. $86 (more info... ) [item no.9104] [Ballade, piano, op.38/Kob.602] Ballada F-dur op. 38 / Ballade in F Major, op.38. Wydanie faksymilowe rękopisu ze zbiorów Bibliotheque Nationale w Paryżu. Facsimile Edition of the Manuscript Held in the Bibliotheque Nationale de France in Paris. Works by Chopin—Facsimile Edition, [15] A /I/38. Warsaw, 2010. Oblong, 28 x 22 cm, 2 vols, 10, 56 pp. Full-color halftone of the autograph composing copy with engraver’s markings consistent with the layout of the musical text in the Troupenas first edition. No title page. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9237] [Ballade, piano, op.52,3] Ballada F-Moll op.52 nr.3/ Ballade in F Minor, op.52, no.3. Wydanie faksymilowe rękopisu ze zbiorów odleian Library w Oxfordzie. Facsimile Edition of the Manuscript Held in the Bodleian Library in Oxford. Works by Chopin—Facsimile Edition, [20] A /I/52/3. Warsaw, 2010. Oblong, 29 x 22 cm, 2 vols, 4. 46 pp. Full-color halftone of the incomplete autograph fair copy (dropping off at bar 138). Title page: “Ballade, pour le piano, dedié à Madame la Baronne C. Nathaniel de Rothschild par F. Chopin”. Includes engraver’s markings consistent with the layout of the musical text in the Breitkopf & Härtel first edition. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9242] Impromptu As dur op.29 / Impromptu in A Flat Major, op.29. Wydanie faksymilowe rękopisu ze zbiorów Muzeum Fryderyka Chopina w Warszawie, sygn. (M-198, D-22). Facsimile Edition of the Manuscripts Held in the Fryderyk Chopin Museum in Warsaw (M-198, D-22). Works by Chopin—Facsimile Edition, [14] A /III/29. Warsaw, 2008. Oblong, 31 x 24 cm, 12, 40 pp. Full-color halftone of the autograph fair copy completed in 1837, the third of just four impromptus that Chopin wrote. The manuscript was in the possession of the German musician Ludwig Landsberg until his death in 1858; from there it went to the Königliche Bibliothek in Berlin and finally, in 1949, it was presented back to the Polish people. The autograph contains engraver's marks in the form of digits, written either in ordinary lead pencil or in red pencil or crayon, indicating the division of the musical text in the edition into systems and pages. The present manuscript is the only extant autograph of the Impromptu in A flat major, op.29. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Zofia Chechlińska. Bound in blue linen, with matching slipcase. $85 (more info... ) [item no.9106] [Mazurkas, piano, op.24/Kob.280, 285, 288, 293] Mazurki Op.24 / Mazurkas, Op.24. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie (Mus. 216). Facsimile Edition of the Manuscript Held in the National Library in Warsaw (Mus. 216). Works by Chopin—Facsimile Edition, [13] A /IV/24. Warsaw, 2008. Oblong, 31 x 23 cm, 24, 66 pp. Full-color halftone of the autograph fair copy completed in the autumn of 1835 and published—like most of Chopin's compositions—simultaneously in three editions (France, Dec. 1835, Germany, Jan. 1836 and England, Apr. 1836). The manuscript is a rather clean fair copy yet bearing traces of intensive work on the formulation of some details. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Paweł Kamiński. Bound in blue linen, with matching slipcase. $96 (more info... ) [item no.9105] [Mazurkas, piano, op.50] Mazurki op.50 / Mazurkas, op.50. Wydanie faksymilowe rękopisu ze zbiorów Pierpont Morgan Library w Nowym Jorku. Facsimile Edition of the Manuscript Held in the Pierpont Morgan Library in New York. Works by Chopin—Facsimile Edition, [16] A /IV/50. Warsaw, 2010. Oblong, 29 x 22 cm, 2 vols, 6, 47 pp. Full-color halftone of the autograph fair copy (1842?) dedicated “à Monsieur Leon Szmitkowski”. Consists of 3 mazurkas: G major, A-flat Major, and C-sharp Minor. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9238] [Mazurka, piano, op.59,2/Kob.796] Mazurek Op.59 nr 2 / Mazurka, Op.59, No.2. Wydanie faksymilowe rękopisu ze zbiorów Biblioteka Opery, Paryż (Rès. 50[1] ). Facsimile Edition of the Manuscript Held in the Library of the Paris Opera (Rès. 50[1]). Works by Chopin—Facsimile Edition, [11] A /IV/59/2. Warsaw, 2008. Oblong, 28 x 22 cm, 2 vols, 5, c.60 pp. Full-color halftone of the autograph sketch. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $88 (more info... ) [item no.9022] [Mazurka, piano, op.59,3] Mazurek fis-Moll op 59 nr 3/ Mazurka in F Sharp Minor, op.59, no.3. Wydanie faksymilowe rękopisu ze zbiorów British Library. Facsimile Edition of the Manuscript Held in the British Library. Works by Chopin—Facsimile Edition, [22] A /IV/59/3a. Warsaw, 2009. Oblong, 28 x 22 cm, 2 vols, 4, 47 pp. Full-color halftone of the autograph fair copy for the edition first published in November of 1845 (Berlin, Stern & Cie). The manuscript of the Mazurkas op.59 is divided into two parts, no.1 & 2 and no.3—the second part being the autograph reproduced here. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9244] [Nocturne, piano, op.62,1] Nokturnu H-dur op.62 nr 1 / Nocturne in B Major, op.62 No.1 . Wydanie faksymilowe rękopisu ze zbiorów Newberry Library w Chicago / Facsimile Edition of the Manuscript Held in the Newberry Library in Chicago. Works by Chopin—Facsimile Edition, [18] A /V/1a. Warsaw, 2010. Oblong, 29 x 22 cm, 2 vols, 4, 46 pp. Full-color halftone of the autograph fair copy for the French publisher Brandus et Cie. The musical text is in an advanced stage, including numerous dynamic, pedalling, articulation and phrasing markings. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9240] [Polonaises, piano, op.26] Polonezy op.26 / Polonaises op.26. Wydanie faksymilowe rękopisu ze zbiorów Pierpont Morgan Library w Nowym Jorku / Facsimile Edition of the Manuscript Held in the Pierpont Morgan Library in New York. Works by Chopin—Facsimile Edition, [17] A /VI/26. Warsaw, 2010. Oblong, 31 x 24 cm, 2 vols, 12, 46 pp. Full-color halftone of the autograph fair copy (1834 or 1835) dedicated, “à son ami J. Dessauer”. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9239] [Polonaise, piano, op.53] Polonaise As-Dur op.53. Vorwort: Ernst Herttrich. [Henle Music Facsimiles, 21]. Munich, 2009. Oblong 33 x 26 cm, 12, 5 pp. Deluxe color facsimile of the 1842 autograph issued on the occasion of the bicentenary of the composer’s birth. Commentary in Ger-Eng. Hardbound, in decorative paper, with pasted title etikette. $75 (more info... ) [item no.9114] [Preludes, piano, op.28/Kob.373ff] Preludia op.28 / Preludes op.28. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Narodowej w Warszawie / Facsimile Edition of the Manuscript Held in the National Library in Warsaw. [shelf mark: Mus. 93]. Works by Chopin—Facsimile Edition, [19] A /VII/28. Warsaw, 2010. Oblong, 28 x 21 cm, 2 vols, 44, 71 pp. Full-color halftone of the autograph fair copy with plate number of the Catelin edition. Title and dedication on the upper margin: “24 Preludes pour le piano forte dediés à son ami J.C. Kessler, par F. Chopin”. The musical text shows many deletions and corrections. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Ireny Poniatowskiej and Zofii Chechlińskiej. Bound in blue linen, with matching portfolio. $110 (more info... ) [item no.9241] [Scherzo, piano, op.54/Kob.744] Scherzo E-dur op.54 / Scherzo in E Major op.54. Wydanie faksymilowe rękopisu ze zbiorów Biblioteki Jagiellońskiej w Krakowie. Facsimile Edition of the Manuscript Held in the Jagiellonian Library in Cracow. Works by Chopin—Facsimile Edition, [21] A /VIII/54. Warsaw, 2009. Oblong, 29 x 22 cm, 2 vols, 12, 47 pp. Full-color halftone of the autograph fair copy dedicated to Mademoiselle Jeanne de Caraman. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Zofia Chechlińska. Bound in blue linen, with matching slipcase. $110 (more info... ) [item no.9243] [Waltzes, piano, op.18; op.34, 1st ed.] Valses - Recueil n° 1. Opus 18, Grande Valse Brillante; Opus 34 Grande Valse Brillante N°. 1; Grande Valse Brillante N°. 2; Grande Valse Brillante N°. 3. Édition Complète en Fac-similés de l’œure de Frédéric Chopin proposées par Alex Szilasi, 2. Courlay, 2008. 4º, 44 pp. Line-cut (in reduced format) of the Maurice Schlesinger 1834 & 1838 printed editions. Contents: Grande valse brillante op.18 (pl.no. MS 1599); Grande valse brillante, op.34, nos.1-3 (pl.no. 2715-17). Wrappers. $15 [item no.9016] [Waltzes, piano, op.42; op.64, 1st ed.] Valses - Recueil n° 2. Opus 42 Grande Valse; Opus 64 Valse N°.1; Valse N°.2; Valse N°.3. Édition Complète en Fac-similés de l’œure de Frédéric Chopin proposées par Alex Szilasi, 3. Courlay, 2008. 4º, 36 pp. Line-cut (in reduced format) of the Magasin de Musique 1840 & Schlesinger/Brandus 1847 printed editions. Contents: Grande valse brillante, op.42 (pl.no. 3708); Valse, op.64, nos.1-3 (pl.no. 4743). Wrappers. $13 [item no.9017] [Waltz, op.64, 1] Walc Des-dur op.64 nr 1. / Waltz, op.64 no.1 in D flat Major. Wydanie faksymilowe rękopisu ze zbiorów Bibliotheque Nationale w Paryżu. Facsimile Edition of the Manuscript Held in the Bibliotheque Nationale de France in Paris. [shelf mark: Ms. 111 B] Works by Chopin—Facsimile Edition, [23] A X/64/1. Warsaw, 2010. Oblong, 21 x 16 cm, 2 vols, 4, 62 pp. Full-color halftone of the presentation autograph fair copy presented to the Rothschild family. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue linen, with matching slipcase. $67 (more info... ) [item no.9260] [Waltzes, piano, op.69; op.70, op.”KK IVa, nos.10-12”, 1st ed.] Valses - Recueil n° 3. Opus posth. 69 N°. 1; Opus posth. 69 N°. 2; Opus posth. 69 N°. 3; Opus posth. 70 N°. 1; Opus posth. 70 N°. 2; Opus posth. 70 N°. 3; KK IVa Valse N°. 10; KK IVa Valse N°. 11; KK IVa Valse N°. 12. Édition Complète en Fac-similés de l’œure de Frédéric Chopin proposées par Alex Szilasi, 3. Courlay, 2008. 4º, 32 pp. Line-cut (in reduced format) of the Meissonnier 1855 editions (op.69-70), Francis, Day & Hunter 1855 edition (KK IVa 10-11) and Breitkopf & Härtel 1871 edition. Contents: Deux valses, op. post. 69 (pl.no. J.M.3526); Trois valses, op. post. 70 (pl.no. J.M. 3527); Waltzes, KK IVa, nos.10-11 (pl.no. 23100); Waltzer KK IVa, no.12 (C. XIII. 22). Wrappers. $13 [item no.9018] [Agresta, Rosaba, et al] Dossier “Chopin à Paris. L’atelier du compositeur”. Revue de la Bibliothèque National de France, no. 34. Paris, 2010. 8°. Exhibition catalog for “Chopin à Paris. L’atelier du compositeur” presented at the Cité de la Musique and la Bibliothèque national de France au Musée de la Musique 9 March to 6 June 2010, on the occasion of the 200th anniversary of the composer’s birth. Contributions by Rosalba Agresta, Jean-Jacques Eigeldinger, Malgorzata Maria Grabczewska, Thierry Maniguet, Catherine Massip, Cécile Reynaud etÉric de Visscher. Wrappers. $52 [item no.9188] J.S. Bach. Vingt-Quatre préludes et fugues (Le clavier bien tempéré, livre I). Annoté par Fréderic Chopin. Commentaire de Jean-Jacques Eigeldinger. Publications de la Société Française de Musicologie, I/28. Bourg-la-Reine, 2010. Oblong, 28 x 21 cm, lxxii, 111 pp. Color facsimile of the Richault edition (one of the four first editions of the work), with autograph emendations by Fredéric Chopin. In his triple activity as composer, performer, and teacher, Chopin constantly turned to Bach as a supreme point of reference. The Well-Tempered Clavier is said to be the only score he took with him to Majorca in the winter of 1838-39, at the time he was completing his 24 Preludes op.28—in other words, at the heart of his career as a composer. Until now the important role played by the Well-Tempered Clavier in Chopin's teaching has been known on the basis of literary sources. The document published here for the first time confirms it with living proof of a different kind, a live record, so to speak, of his teaching. This precious score, held in a private collection, emanates directly from Pauline Chazaren, a pupil of Chopin and teacher of Cosima Liszt. The score was probably purchased in Lyons around 1843 prior to Pauline's Parisian sojourn and was brought or sent to Paris, where it was used in the lessons with Chopin. The score shows no trace of interventions that could be ascribed to Pauline or anyone else. Leafing through the pages of this copy of the Well-Tempered Clavier I, one cannot fail to be struck by the neatness with which the signs and words indicating tempo, metronome marks, phrasing, articulation, dynamics, left-hand octaves, and so on, have been notated. All of Czerny's indications (probably taken from the 1843 Veuve Launer edition), save fingerings, have been copied out by Chopin. The systematic copying stops after Prelude 7, as do the sporadic indications in ink. Commentary in Fr/Eng/Pol. Hardbound. $111 (more info... ) [item no.9166] CLEMENTI, Muzio, 1752-1832 [Duets, piano 4-hands; sonatas, piano, vln/fl accomp, op.3] Three Duets for Two Performers on One Piano Forte or Harpsichord and Three Sonatas with an Accompanyment for a Flute or Violin. Opera terza. [Yale University, Music Library, New Haven].Performers’ Facsimiles, 269. New York, [2008]. Oblong, 35 x 24 cm, 49 pp. Line-cut of the London [after.1786] edition. Wrappers. $23 [item no.8996] [Sonatas, piano, vln/fl accomp., op.2] Six Sonatas for the Piano Forte or Harpsichord with an Accompanyment for a German Flute or Violin. Opera II. [Yale University, Music Library, New Haven]. Performers’ Facsimiles, 268. New York, [2008]. Oblong, 35 x 24 cm, 45 pp. Line-cut of the London, n.d. edition. Wrappers. $23 [item no.8995] [Correspondence] The Correspondence of Muzio Clementi. Edited by David Rowland. Muzio Clementi, Opera Omnia. Bologna, 2010. 8˚, 692 pp. This critical edition includes some 20 previously-unknown letters by Clementi, in addition to about 30 more that were written to him, his family, associates, or individuals. Furthermore, many letters only previously referred to or partially quoted are published here in full. Clementi’s correspondence opens a window on a number of aspects of his life, the lives of other contemporary musicians, and the international music business of the time. The letters clearly show the extent of Clementi’s contacts with European publishers and instrument sellers, including Artaria, Breitkopf & Härtel, Erard, Naderman, Nägeli, Pleyel, Ricordi and Streicher. One of the most striking features of the correspondence is the esteem in which Clementi was held among musicians all over Europe, as well as the use that he made of his reputation. His relations with Haydn, Dussek and Beethoven are well-known, but other figures emerge, such as Bomtempo, Himmel and Righini, as well as minor figures about whom very little is known, such as Nezot. In summary, the correspondence reveals an intelligent and cultured British citizen, a good friend, an energetic musician who was at the heart of the development of London’s musical institutions, and an extremely astute and well-connected businessman. $227 [item no.6883] CORELLI, Arcangelo, 1653-1713 [Trio sonatas, 2 violins, bc, op.1-4] Sonate a tre. London, Richard Meares. Op.1 RISM C3682; Op.2 RISM C3719; Op.3 RISM C3749; Op.4 RISM C3782. [private collection].Faksimile-Edition Rara, 58. Stuttgart, 2008. 24 x 29 cm, 4 vols, 328 pp. Line-cut of the Richard Meares edition, London, c.1720. The Meares firm became one of Walsh’s chief rivals and its publications rank among the finest of the period. Four partbooks (vln I, vln II, vc, org), with slipcase. $130 [item no.9005] CORRETTE, Michel, 1709-1795 [Sonatas, violoncello/viol/bassoon, bc, op.20] Les délices de la solitude, sonates, pour le violloncelle, viole, basson. Avec la basse continüe chiffrée. Œuvre XX.Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 26 pp. Line-cut of the Paris, 1740 edition. Wrappers. $17 [item no.9039] COUPERIN, François, 1668-1733 [Pièces, harpsichord, book 1] Pièces de clavecin premier livre. [private collection].Performers’ Facsimiles, 296. New York, [2010]. 27 x 37 cm, 86 pp. Line-cut of the Paris, 1713 edition. Wrappers. $30 [item no.9200] [Pièces, harpsichord, book 2] Second livre de pièces de clavecin. [Yale University Music Library, New Haven]. Performers’ Facsimiles, 297. New York, [2009]. 27 x 37 cm, 95 pp. Line-cut of the Paris, 1717 edition, based on the exemplar formerly owned by Ralph Kirkpatrick. Wrappers. $30 [item no.9179] [Pièces, harpsichord, book 3; Concerts royaux] Troisième livre de Pièces de clavecin; Concerts royaux. [private collection]. Performers’ Facsimiles, 298. New York, [2009]. 27 x 37 cm, 75, 29 pp. Line-cut of the Paris, 1722 edition. Wrappers. $30 [item no.9079] [Pièces, harpsichord, book 4] Quatrième livre de pièces de clavecin. [Yale University Music Library, New Haven]. Performers’ Facsimiles, 299. New York, [2009]. 27 x 37 cm, 83 pp. Line-cut of the Paris, 1730 edition, based on the exemplar formerly owned by Ralph Kirkpatrick. Wrappers. $30 [item no.9080] DEBUSSY, Claude, 1862-1918 Chansons, recueil de mélodies dédiées à Marie-Blanche VasnierFac-similes de Manuscrits de Claude Debussy, [3]. Paris, 2010. 17.5 x 26 cm, 40 pp. 4-color facsimile of the autograph. Wrappers, in beautiful art paper. $145 (more info... ) [item no.9209] Images pour piano, 1re serie. Fac-similes de Manuscrits de Claude Debussy, [1]. Paris, 2008. 27 x 35 cm, 36 pp. 4-color facsimile of the autograph. Wrappers, in beautiful art paper. $148 (more info... ) [item no.9013] Images pour piano, 2e serie. Fac-similes de Manuscrits de Claude Debussy, [2]. Paris, 2008. 29 x 40 cm, 40 pp. 4-color facsimile of the autograph. Wrappers, in beautiful art paper. $148 (more info... ) [item no.9014] DVOŘÁK, Antonín, 1841-1904 [Concerto, violoncello, orch., op.104, B minor, B.191] Koncerto op.104 pro violoncello s prúvodem orkestru / Concerto op.104 for Violoncello and Orchestra. Commentary: Jan Smaczny. [Narodní Muzeum Prague].Documenta Musicologica, II/43. Kassel, 2011 Oblong, 4°, 122, 32, 34 pp. Full-color facsimile of the autograph score and autograph piano reduction (B/W reproduction). Now considered to be one of the most popular orchestral works today Dvořák wrote this during his second stay in the U.S. Commentary in Eng-Ger. Hardbound, with decorative paper and linen spine. $435 (more info... ) [item no.9198] ECCLES, John, c.1668-1735 [Sonata, violin, bc, arr.] Sonate in g-Moll für Violoncello und Basso Continuo. Faksimile und Urtextausgabe herausgegeben von Sven Rössel.Collegium Musicum—Kölner Reihe alter Musik. Magdeburg, 2010. 4º, 15, 6 pp. Line-cut of the London, 1720 edition, together with new performing edition transcribed for violoncello. Wrappers. $22 [item no.9213] EGENOLF, Christian, 1502-1555 [publisher] Geminae undeviginti odarum horatii [melodiae, quatuor vocibus probè adornatæ...]. Frankfurt, C. Egenolph 1551. RISM 1551/17. [Musikbibliothek Leipzig].Faksimile-Edition Rara, 55. Stuttgart, 2008. 10 x 14 cm, 221 pp. Line-cut of the Frankfurt, 1551 edition. 53 polyphonic settings a4 on the odes of the Roman poet Horace (Quintus Horatius Flaccus, 65 BC - 8 BC). Hardbound with decorative paper boards. $52 [item no.9059] FALCONIERI, Andrea, 1585-1656 Sacrae modulationes [quinque et sex vocibus]. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 16. Stuttgart, 2009. 17 x 23 cm, 6 parts, 120 pp. Line-cut of the Gardane/Magni edition, Venice, 1619. 14 setting for a5 & a6. Portfolio, with decorative paper boards. $68 [item no.9097] FANTINI, Girolamo, fl.1630-1640 [Method, trumpet] Modo per imparare a sonare di tromba. Tanto di guerra quanto musicalmente in organo, con tromba sordina, col cimbalo, e ogn’altro istrumento (Frankfort, 1638). Facsimile Edition with a Complete English Translation and Critical Commentary by Edward H. Tarr.Vuarmarens, 2/ 2009. 26 x 36 cm, 87, 7 pp. Line-cut of the Frankfurt (Florence?), 1638 edition. A seminal work in the history of the trumpet. Fantini was the first to introduce a new style of playing which made it possible for the trumpet to be accepted into art music. Wrappers. $75 [item no.9126] FASCH, Johann Friedrich, 1688-1758 Ariette pour le clavecin ou pianoforte avec quatorze variations.Collection FacsiMusic. Courlay, 2008. Oblong, 30 x 21 cm, 20 pp. Line-cut of the Berlin & Amsterdam, 1782 edition (Grand Magasin de Musique). Wrappers. $14 [item no.9040] FERRARI, Giacomo Gotifredo, 1763-1842 [Sonatas, piano, op.12] Trois sonates et six ballets pour le piano-forte. Opera XII. [private collection].Performers’ Facsimiles, 254. New York, [2008]. 25 x 32 cm, 26 pp. Line-cut of the London, n.d. edition. Wrappers. $18 [item no.8911] FIOCCO, Joseph Hector, 1703-1741 Pièces de clavecin (Bruxelles, [1731]). Introduction by Henri Vanhulst. [Paris, Bibliothèque Nationale].Musica Bruxellensis, IV. Brussels, 2009. 4˚. Line-cut of the Brussel, 1731 edition. Preface in Fr-Eng. Wrappers. $34 (more info... ) [item no.9146] FIORONI, Gianandrea, 1716-1778 [Regole per il contraponto], in Ottavio Beretta: Una nuova fonte della trattatistica musicale settecentesca : Le Regole per il contraponto del Signor Fioroni Maestro di Capela de Milano.Musurgiana: Sources and Materials for the History and Theory of Music, 8-9. Lucca, 2010. 8°, xxii, 76, 57 pp. Recently rediscovered manuscript—the only theoretical work of Fiorini, a pupil of Leonardo Leo)—reproduced in facsimile with modern transcription and notes. Wrappers. $68 [item no.9216] FRANCŒUR, Louis-Joseph, 1738-1804 [Sonatas, violin, bc, book 1] Sonates à violon seul & basse continue. Livre premier.Shumilov Facsimile Collection. Magdeburg, [2011]. 4˚. 2 partbooks, 94 pp. Line-cut of the Amsterdam, c.1717 edition. Set of 6 sonatas. Wrappers. (extra part provided for violin) $36 [item no.9233] [Sonatas, violin, bc, book 2] Sonates à violin seul & basse continüe. IIe livre (sonates I-VI). Shumilov Facsimile Collection. Magdeburg, [2011]. 4°, 2 partbooks, 94 pp. Line-cut of the Paris, c.1730 edition. The first 6 of a set of 12 sonatas. Wrappers. (extra part provided for violin) $36 [item no.9234] [Sonatas, violin, bc, book 3] Sonates à violon seul & basse continue. IIe livre [sonates VII-XII]. Shumilov Facsimile Collection. Magdeburg, [2011]. 4˚, 2 partbooks, 94 pp. Line-cut of the Paris, c.1730 edition. The second 6 of a set of 12 sonatas. The second sonata is for violoncello or viol. Wrappers. (extra part provided for violin). $36 [item no.9235] FROBERGER, Johann Jacob, 1616-1667 [Partite musicali, keyboard] Diverse ingegnosissime, rarissime & non mai piu viste curiose partite di toccate, canzone, ricerate, alemande, correnti, sarabande e gique, di cimbali, organi e instromenti. [Princeton University Library].Performers’ Facsimiles, 265. New York, [2008]. Oblong, 29 x 20 cm, 44 pp. Line-cut of the Mainz, 1693 edition. Wrappers. $20 [item no.8909] [Partite musicali, keyboard] Partite musicali. Prima continuatione per uso è recreatione de gli amatori di cimbali, organi, instromenti e spinetti. [Staatliche Hochschule für Musik & Darstellende Kunst, Berlin]. Performers’ Facsimiles, 266. New York, [2008]. Oblong, 29 x 20 cm, ii, 28 pp. Line-cut of the Mainz, 1696 edition. Wrappers. $18 [item no.8980] [Suites, keyboard] 10 Suittes de clavessin. [King’s College Library, University of Cambridge]. Performers’ Facsimiles, 267. New York, [2010]. Oblong, 28 x 20 cm, ii, 40 pp. Line-cut of the Amsterdam, 1710 edition. Wrappers. $18 [item no.9160] FÜRSTENAU, Anton Bernhard, 1792-1852 [Fantasy, flute, harp/piano, op.67] Fantaisie pour flûte et harpe ou pianoforte op.67. Leipzig s.d. [c.1828].Archivum Musicum: Ottocento, 3. Florence, 2008. 24 x 34 cm, 2 parts, xii, 21 pp. Line-cut of the Leipzig, c.1828. Preface in It by Marcello Castellani & Loredana Gintoli. Wrappers, in decorative paper with matching portfolio. $49 [item no.9057] GALILEI, Michelangelo, b.?-1631 Il primo libro d’intavolatura di liuto. München 1620. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 13. Stuttgart, 2008. 21 x 33 cm, 116 pp. Line-cut of the Munich, 1620 edition. Printed on the recto pages only, after the original. 56 pieces (mostly dances) for ten course lute in French tablature. Hardbound, with decorative paper boards. Wrappers. $55 [item no.8962] GALLIARD, Johann Ernst, c.1680-1749 [Sonatas, flute, bc, op.1] Sonata a flauto solo e basso continuo. Opera prima. [private collection].Performers’ Facsimiles, 278. New York, [2008]. 25 x 31 cm, 24 pp. Line-cut of the Amsterdam, n.d. edition. Wrappers. $18 [item no.8910] GALUPPI, Baldassare, 1706-1785 Artaserse. Partitura in facsimile. Edizione del libretto. Saggio introduttivo a cura di Francesca Menchelli-Buttini.Drammaturgia Musicale Veneta, 20. Milan, 2010. Oblong, 30 x 23 cm, lxvi, 291 pp. Line-cut of the autograph score (Berlin, Staatsbibliothek, Mus. ms. Autogr. B. Galuppi 3). First performed at the Burgtheater in Vienna on 27 January 1749, Artaserse is notable for bearing witness to the success that the composer enjoyed outside his native land, for using the poetry and drama of one of Pietro Metastasio’s most famous librettos and for giving a new form to the close of the first act by placing a quartet there. Of the surviving copies of the score, the autograph is the earliest source, as can be seen from the number of deletions and corrections that it contains, as well as some alternative readings of words and notes. Linen. $235 [item no.9201] GARDANO, Antonio, 1509-1569 [publisher] Novi thesauri musici liber primus. Venedig. A. Gardane 1568. [Landesbibliothek Mecklenburg-Vorpommern Schwerin].Faksimile-Edition Rara, 57. Stuttgart, 2008. 17 x 24 cm, 6 partbooks, c.968 pp. Line-cut of the Venice, 1568 edition, consisting of cantus, altus, tenor, quintus, sextus, & bassus partbooks. The first of five volumes published in 1568 containing a magnificent collection of 254 5 & 6-voice motets, financed and overseen by Pietro Giovanelli, a member of a wealthy family from the Bergamo region of Italy. Liber primus presents 87 beautifully engraved motets preceded by striking initials in woodblock. The compilation consists of music written by the composers stationed at the Hofkapellen of Graz, Innsbruck, Prague, as well as the Imperial Hofkapelle in Vienna. Besides well-known composers such as Regnart, Vaet, & Lasso the collection contains many outstanding composers who are still virtually unknown today and only known in this collection. Wrapperr, with slipcase covered in decorative paper. $194 [item no.8975] GAULTIER, Denis, c.1597-1672 Livre de tablature des pièces de luth sur plusieurs diferents modes, avec quelques reigles qu’il faut observer pour le bien toucher. [Library of Congress, Washington, DC].Performers’ Facsimiles, 279. New York, [2009]. Oblong, 21 x 14 cm, 88 pp. Line-cut of the Paris, c.1680 edition. One of the main sources of the music by “Gaultier de Paris”, in French tablature, together with pieces by “Vieux Gaultier”. Begins with a short set of instructions. Wrappers. $25 [item no.9095] GENERALI, Pietro, 1773-1832 Cecchina suonatice di Ghironda. Partitura in facsimile. Edizione del libretto. Saggio introduttivo a cura di Marco Beghelli.Drammaturgia Musicale Veneta, 28. Milan, 2010. Oblong, 29 x 23 cm, xcii, 440, i pp. Line-cut of a contemporary manuscript copy. Linen. $264 [item no.9185] GRÄFE, Johann Friedrich, 1711-1787 Sammlung verschiedener und auserlesener Oden zu welchen von den berühmtesten Meisten in der Music eigene Melodeyen verfertigt worden, besorgt und herausgegeben von einem Liebhaber der Music und Poesie / Oden und Schäfergedichte in die Musik gesetzt.Dokumentation zur Geschichte des Deutschen Liedes, 13. Hildesheim, 2008. 8º, lx, 180, 60 pp. Line-cut of the Halle, 1737-43 and Leipzig, 1744 edition. 4 vols in 1. Linen. $142 [item no.3593] HAKE, Hans, 1628-dc.1663 Ander Theil newer Pavanen, [Sonaten, Arien, Balletten, Brandlen, Couranten, und Sarabanden, mit 2.3.4.5. und 8-Instrumenten mit dem basso continuo]. Stade 1654 / Elias Holwein. [British Library, London & Stadtbibliothek Växjö].Faksimile-Edition Rara, 61. Stuttgart, 2010. 16 x 21 cm, 5 partbooks, 222 pp. Line-cut of the Stade, 1654 edition. Wonderful collection of 43 dance movements for various string and wind instrumental groupings (a2 to a5), including 4 for 2 cornetti & 3 trombones and 2 for 5 trombones. Wrappers, with portfolio. $82 [item no.9174] HANDEL, George Frideric, 1685-1759 [Messiah, oratorio, HWV 56, autograph] Messiah HWV 56. Autograph. The British Library London. Commentary by / Kommentar von Donald Burrows.Documenta Musicologica, II/40. Kassel, 2008. 4°, viii, 284, 56 pp. Full-color facsimile edition of the autograph score, issued on the occasion of the 250th anniversary of the composer's death. Commentary in Eng-Ger-Jap. Handsome bibliophile binding with linen spine and decorative paper boards. Special OMI price. $579 (more info... ) [item no.8998] [Concerti grossi, strings, op.6, HWV 319-330] Twelve Grand Concertos for Violins &c. in Seven Parts. Opera sexta. [private collection]. Performers’ Facsimiles, 270. New York, [2010]. 4°, 7 partbooks, c.202 pp. Line-cut of the Walsh edition. Scored for solo vln I-II, vc, ripieno vln I-II, vla, vc, bc. Wrappers. $100 [item no.9207] [Fugues & Voluntaries, keyboard, HWV 605-610] Six Fugues or Voluntarys for the Organ or Harpsicord. Troisieme Ovarage. [private collection]. Performers’ Facsimiles, 272. New York, [2008]. Oblong, 34 x 24 cm, 25 pp. Line-cut of the Walsh edition, London, 1735. Wrappers. $20 [item no.8997] Handel’s Will. Facsimiles and Commentary Edited by Donald Burrows. London, 2008. 25 x 35 cm, 34, 30 pp. The manuscript of Handel’s last will written on 1 June 1750, with the accompanying codicils signed by the composer in 1756, 1757, and 1759 is one of the most important items in the Gerald Coke Handel Collection. It is reproduced here for the first time in full color with commentary by Donald Burrows, Ellen T. Harris and Richard Crewdson, published on the occasion of the 250th anniversary of the composer’s death. Handel died a rich man with a net worth of about $3 million by today’s standards. This incredible document, together with its commentaries and translations of French and German parts of the will provide a fascinating glimpse into the successful career of the composer, his family and close associates. Bound with handsome paper boards, with reproduction of folio 1 of the will. $60 (more info... ) [item no.9109] HAYDN, Franz Joseph, 1732-1809 [Concerto, horn, orch, Hob. VIId:3, D maj] Hornkonzert D-Dur, Hob. VIId:3. Faksimile der autographen Partitur. Kommentar von Ingrid Fuchs.Vienna, 2009. 22 x 32 cm, 28, 39 pp. Beautiful full-color facsimile. A fascinating and important representative of Haydn's entire concerto œuvre comes to light in this brilliant facsimile of the Horn Concerto in D Major, Hob. VIId:3. Haydn composed a relatively small group of wind concertos (6 in total), two which are lost. This work was most likely composed for the horn virtuoso Joseph Leutgeb, and in violation of his contract with the Esterházy House, since it was not written for the court orchestra. Of special mention is Haydn's note written on the last page of the score stating "in schlaff geschrieben" (written while asleep). This is due to a mistake in the scoring of the instruments and was most likely the result of Haydn composing secretly at night, half asleep. Commentary in German-English-Japanese. Limited edition of 500 copies with beautiful period design coverboards and pasted on etikette. $207 (more info... ) [item no.9120] [Quartet, strings, op.76,3] Gott! Erhalte Franz den Kaiser und Streichquartett Op. 76, Nr. 3: Variationensatz. Vollständige Faksimile-Ausgabe im Originalformat der Sammelhandschrift aus dem Besitz der Musiksammlung der Österreichischen Nationalbibliothek (Mus. Hs. 16.501). Herausgegeben und kommentiert von Günther Brosche. Musica Manuscripta, 3a. Graz, 2008 32 x 23 cm, 26, 24 pp. Full-color halftone in original format of a composite ms comprising various versions of the hymn “Gott! erhalte Franz den Kaiser”, which has served as the Austrian National Anthem for more than 140 years. The fascicle contains: 1st ms version of the melody, melody with piano harmonization, fair copy of the harmonized version with Haydn’s signature, complete score for unison voices and orchestra, and 4 variations of the hymn from the “Kaiser” quartet (Hob. III: 77). 1st printed edition of the hymn from 1787 also included. Hardbound. $263 [item no.9027] [Symphony, no.45, “Farewell”, F sharp major, Hob.I:45] Sinfonie Fis-Moll, Hob. I:45 “Abschiedssinfonie” Faksimile nach dem Autograph der Országos Széchényi Könyvtár, Budapest. Mit einem Kommentar von Armin Raab. Meisterwerke der Musik im Faksimile, 11. Laaber, 2010 21 x 34 cm, xviii, 62 pp. Full-color facsimile of the autograph score issued on the occasion of the bicentenary of the composer’s death. Commentary in Ger-Eng. Hardbound in decorative paper. $142 (more info... ) [item no.9010] [Symphony, no.102, Bb major, Hob.I:102] Sinfonie Nr. 102 (”London”) Faksimile nach dem Autograph in der Staatsbibliothek Berlin. Mit einer Einleitung (deutsch/englisch) von Armin Raab. Meisterwerke der Musik im Faksimile, 12. Laaber, 2010 26 x 41 cm, xvi, 57 pp. Full-color facsimile of the autograph fair copy composed in 1794 for Haydn's second London visit. Scored for 2 fl, 2 ob, 2 bsn, 2 hn, 2 tpt, timp, & strings, the work has all the stylistic hallmarks of the late Haydn symphony with its masterly confluence of simplicity and complexity, folkishness and sophistication. There is also the element of thematic surprise as well as orchestral excitement (the drumroll that ushers in the recapitulation in the first movement) and outrageous wit, shown by the violins getting “stuck” on a phrase in the finale and unable to remember what comes next. A fitting tribute for the celebration of the bicentenary of the composer’s death. Commentary in Ger-Eng. Hardbound in decorative paper. $142 (more info... ) [item no.9011] [Variations, piano, F minor, Hob.XVII:6] Variationen F-moll (Sonate) Hob. XVII:6. Introduction: Armin Raab. [New York Public Library, New York]. [Henle Music Facsimiles, 20]. Munich, 2008. Oblong, 33 x 26 cm, x, 12 pp. Deluxe color facsimile of the autograph issued on the occasion of the bicentenary of the composer’s death. Four leaves contain the fair copy of the work, while two leaves represent a composing copy. Originally entitled “Sonate for Signora de Ployer” (probably the pianist Barbara Ployer, a piano and composition pupil of Mozart), the variation movement was apparently intended as the beginning of a sonata with several movements. As can be seen from the second part of the autograph score, Haydn later extended the movement, ending it with an expansive Capriccio Coda. The first printed edition already bears the title “Variations”. The moving masterpiece has been played all over the world as “Variations in f minor” ever since. Commentary in Ger-Eng. Wrappers, in decorative paper. $82 (more info... ) [item no.9012] HECKEL, Wolff, 16th c. Lautenbuch, Straßburg, Christian Müller 1562. RISM 1562(24). [Universitätsbiblioek Basel; Stadtbibliothek Trier].Faksimile-Edition Laute, 9. Stuttgart, 2010. Obong, 21 x 17 cm, 2 partbooks, 228; 238 pp. Line-cut of the Straßburg, 1562 edition. Marvelous collection of pieces for two lutes—”discant & tenor”—reproduced from the surviving partbooks in Trier and Basel respectively. One of the very earliest prints of renaissance lute with 111 works notated in German tablature. Heckel’s work is comprised of four sections: “Teütsche stuck”, “Lateinische stuck”, “Frantzösische stuck”, “Italianische stuck”, “Allerley Täntz auff teütsche aufgesetzt”. Hardbound with decorative paper, with matching slipcase. $115 [item no.9210] HOFFMANN, Ernst Theodor Amadeus, 1786-1822 Der Trank der Unsterblichkeit. Oper in 4 Akten. Libretto: Reichsgraf von Soden. Faksimile-Ausgabe herausgegeben von Peter P. Pachl.Berlin, 2009. 4°, 23, 29 pp. Hoffmann is one of the best-known representatives of German romanticism, a talented author of fantasy and horror, a jurist, composer, music critic, draftsman and caricaturist. He is the subject of Jacques Offenbach’s famous but fictional opera the “Tales of Hoffmann”. The most important and largest part of Hoffmann’s musical output was dedicated to the stage. “Der Trank der Unsterblichkeit”, reproduced here in halftone from the autograph score Mus. ms. autogr. Hoffmann, E.T.5 Staatsbibiothek Berlin, was written in Berlin 1807-08 during one of the worst periods of his life. Hardbound with paper boards. $145 [item no.9081] HOLBORNE, Antony, b.?-1602 Pavans, Galliards, Almains, and other Short Aeirs both Grave and Light, in Five Parts, for Viols, Violins, or other Musicall Winde Instruments. [Christ Church Library, University of Oxford].Performers’ Facsimiles, 263. New York, [2010]. 19 x 23 cm, 5 partbooks, c.180 pp. Line-cut of the 2nd edition, London, 1648. 65 instrumental pieces, suitable for strings & winds, in mensural notation. Wrappers. $45 [item no.9161] HUBERTY, Anton, c.1722-1791 [Method, viola d’amore] Neu Method-Messige Viol d’amore Stüke. Wien. Mit einem Kommentar und Inhaltsverzeichnis von Marianne Rônez. [Sibley Library, Rochester, NY].Faksimile-Edition Rara, 56. Stuttgart, 2008. Oblong, 25 x 18 cm, 3 vols, 220, 23 pp. Line-cut of the Vienna, c.1790 edition, based on the unique copy preserved in the Sibley Library. This rare and fascinating publication, by a professional double bass player and publisher, offers a treatise on the viola d’amore, together with a rich collection of music: genre pieces (short dances or character pieces), 9 sonatas, 1 duo, pieces with bc accompaniment, pieces with voice. Introduction in Ger-Eng. Hardbound in decorative paper, with handsome slipcase. $175 [item no.8953] JACQUET DE LA GUERRE, Élisabeth, 1659-1729 [Pièces, harpsichord, book 1] Edited by Catherine Cessac and Arthur Lawrence. [private collection, Catherine Cessac].Critical Facsimiles, 9. New York, 2009. Oblong, 26 x 20 cm, xii, 86, 28 pp. Line-cut of the Paris, [1687] edition. Includes apparatus listing all editorial emendations. Wrappers. $30 [item no.9111] JELIC, Vinco, 1596-1636 Parnassia militia [Concertuum unius, duarum, trivum et quattor vocum tam nativis quam instrumentalibus vocibus, ad organum concinendarum. Opus primum], Straßburg, Paul Ledertz 1622. [Universitätsbibliothek Frankfurt].Faksimile-Edition Canto e Continuo, 5. Stuttgart, 2008. 16 x 22 cm, 5 partbooks, 220 pp. Line-cut of the Strasbourg, 1622 partbooks (cantus, altus, tenor, bassus, bassus ad organum). Collection of 24 motets for 1 to 4 voices, plus 4 ricercare for cornetto/violin, trombone/viol & bc). Wrappers, with portfolio. $72 [item no.9031] JELLEN, Martin (= Jellen Zuidhof), 18th c. Choralbuch für Ostfriesland: Marten Jellen, 1765, Michael Johann Friedrich Wiedeburg, 1790. Vorgelegt von Winfried Dahlke.Quellenkataloge zu Musikgeschichte. Wilhelmshaven, 2009. 22 x 31 cm, 334 pp. Two complementary chorale books from Friesland published respectively 1765 & 1790. Hardbound. $297 [item no.9124] KAPSBERGER, Johann Hieronymus, c.1575-c.1640 [Intabulations, archlute, book 3] Libro terzo d’intavolatura di chitarrone. Introduzione di / Introduction by Franco Pavan. [Yale University Library, New Haven CT].Bibliotheca Musica Bononiensis, IV/83. Bologna, 2009. 4°, 32, 44 pp. Line-cut of the Rome, 1626 edition. Many had thought this work to be lost but a copy recently surfaced at auction which Yale University Music Library was able to acquire. This facsimile edition reproduces that unique copy. Franco Pavan sketches out the exciting episodes of the appearances and disappearances of an edition that has been often cited during the centuries in the repertories and catalogues of several book collections. He also describes the main features of its important musical as well as theoretical and practical contents. Wrappers $57 [item no.9008] KEISER, Reinhard, 1674-1739 Gemüths-Ergötzung [bestehend in einigen Sing-Gedichten mit einer Stimme und unterschiedlichen Instrumenten]. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 17. Stuttgart, 2009. Oblong, 33 x 20 cm, 3 parts, 135 pp. Line-cut of the Nicolaus Spieringk edition, Hamburg, 1698. 7 solo cantatas for various voice ranges; notated in 2-3 staves (voice with basso continuo), together with 2 supplement violin parts. Portfolio, with decorative paper boards. $65 [item no.9098] KINNINGER, Josef Franz, c.18th c. Cythara David [excitans, Das ist: Kürzlich doch besser gegründete Erweckung unter der Leitter von einen vollkommenen Unterricht zur edlen Choral-Music traumenden Jacob, genaue Reglen untersucht, und mit Fundamenten unterstüzt, zum bessten der in erwhneter Choral-Music sich exerirend - auch die Passiv-Instruction angehende Jungen, allen Fählern vorzubiegen, heraus gegeben]. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 18. Stuttgart, 2011. Oblong, 25 x 17 cm, 90 pp. Line-cut of the Linz, 1745 edition. A little known treatise on choral music. Hardbound with decorative paper boards. $46 [item no.9254] KIRNBERGER, Johann Philipp, 1721-1783 Die Kunst des reinen Satzes in der Musik (aus sicheren Grundsätzen hergeleitet und mit deutlichen Beyspielen erläutert).Hildesheim, 2/2010. 8º, 823 pp. Line-cut of the Berlin & Königsberg, 1776-79 edition. Linen. $277 [item no.2548] KOCH, Heinrich Christoph, 1749-1816 Versuch einer Anleitung zur Composition.Hildesheim, 4/ 2008, 8º, 3 vols: xliv, 374; viii, 464; xii, 465 pp. Line-cut of the Rudolstadt, 1782, 1787 and 1793 editions. Linen. $398 [item no.2559] KOPP, Anton Ernst, 17-18th c. Melodien einiger alten & neuen Lieder [so theils schon in andern Gesang-Büchern zu finden, theils aufs neue verfertiget sind]. [Stadtbibliothek, Ulm].Faksimile-Edition Ulm, 40. Stuttgart, 2009. 11 x 16 cm, 116 pp. Line-cut of the Daniel Bartholomäi edition, Ulm, 1717. Anthology of 175 German songs with their complete melodies notated. Handbound with decorative paper boards. $29 [item no.9099] KUHLAU, Friedrich, 1786-1832 [Grande sonate brillante, flute, piano, op.64] Grande Sonate brillante pour pianoforte et flûte op.64. Hamburg s.d. [c.1825].Archivum Musicum: Ottocento, 4. Florence, 2008. 24 x 34 cm, 2 parts, ix, 43 pp. Line-cut of the Hamburg, c.1825 edition. Preface in It by Marcello Castellani. Wrappers, in decorative paper with matching portfolio. $44 [item no.9058] LAMBERT, Michel, 1610-1696 [Airs, 2 voices, bc] Les airs, corrigez de nouveau de plusieurs fautes de graveure. [Library of Congress, Washington, DC].Performers’ Facsimiles, 258. New York, [2008]. Oblong, 25 x 21 cm, 85 pp. Line-cut of the Paris, 1669 edition. Airs for two voices and basso continuo in elegant staff notation. Wrappers. $23 [item no.8968] LASCEUX, Guillaume, 1740-1831 Essai theorique et pratique sur l’art del’orgue. Ms conservé à la Bibliothèque Nationale de France. Présentation par Jean Saint-Arroman.La Musique Française Classique de 1650 à 1800. Courlay, 2011 24 x 33 cm. viii, 137 pp. Facsimile of the autograph manuscript of 1809. An important theoretical section with text on organ registration. together with 23 works for organ, including a quartet, quintet, oboe concerto, flute concerto, symphonie concertante, Domine salvum fac regem, 3-part plainchant with organ accompaniment. Wrappers. $59 [item no.9236] LEBÈGUE, Nicolas-Antoine, 1631-1702 [Pièces, harpsichord, book 1] Les pieces de clavecin, Paris 1677. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 21. Stuttgart, 2010. Oblong, 27 x 21 cm, 94 pp. Line-cut of the Paris, 1677 edition. Laid paper, hardbound in decorative paper boards. $46 [item no.9195] [Pièces, harpsichord, book 2] Second livre de clavessin. Paris, Lesclop, s.d. (= 1687). Présentation par Marie Demeilliez. (British Library, London]. La Musique Française Classique de 1650 à 1800, 205. Courlay, 2010. Oblong, 30 x 22 cm, x, 96 pp. Line-cut of Paris, 1687 edition. Preface in Fr-Eng-Ger. Wrappers. $49 [item no.9164] [Pièces, harpsichord, book 2] Second livre de clavecin, Amsterdam, E. Rogier o.D. [Biblioteka Jagiellońska, Krakow]. Faksimile-Edition Krakau, 22. Stuttgart, 2010. Oblong, 27 x 21 cm, 50 pp. Line-cut of the Amsterdam, [1698] edition. Laid paper, hardbound with decorative paper boards. $39 [item no.9196] LECLAIR, Jean-Marie, 1697-1764 [Sonatas, violin/flute, bc, op.1] Premier livre de sonates pour le violon et pour la flute traversiere avec la basse continue [Œuvre I]. [Yale University, New Haven, CT].Performers’ Facsimiles, 285. New York, [2011]. 27 x 36 cm, 86 pp. Line-cut of the Paris, 1723 edition, containing 12 sonatas. Wrappers. $30 [item no.9223] [Sonatas, violin/flute, bc, op.2] Second livre de sonates pour le violon et pour la flute traversiere avec la basse continue [Œuvre II]. [Yale University, New Haven, CT]. Performers’ Facsimiles, 286. New York, [2010]. 27 x 36 cm, 90 pp. Line-cut of the Paris, [1728] edition, containing 12 sonatas. Wrappers. $30 [item no.9178] [Sonatas, violin, bc, op.5] Troisieme livre de sonates a violon seul avec la basse continüe. Œuvre V. [Yales University, New Haven, CT]. Performers’ Facsimiles, 287. New York, [2009]. 27 x 36 cm, 87 pp. Line-cut of the Paris, 1734 edition, containing 12 sonatas. Wrappers. $30 [item no.9136] [Sonatas, violin, bc, op.9] Quatrieme livre de sonates a violon seul avec la basse continüe. Œuvre IX. [Yale University, New Haven, CT]. Performers’ Facsimiles, 288. New York, [2009]. 27 x 36 cm, 80 pp. Line-cut of the Paris, [1738] edition, containing 12 sonatas. Wrappers. $30 [item no.9137] LISZT, Franz, 1811-1886 Rigoletto Konzertparaphrase. Kommentar: Ulrich Scheideler.[Henle Music Facsimiles, 23]. Munich, 2011. 36 x 24 cm, 22 pp. Deluxe full-color facsimile of the autograph “working copy”, issued on the occasion of the 200th anniversary of Liszt’s birth. Franz Liszt not only wrote a series of opera paraphrases during his virtuoso years, but also composed some in his Weimar years from 1848 onwards. He did not, however, write them for himself but for the pianist friend (who was also his son-in-law) Hans von Bülow. Among these works, the paraphrase on Giuseppe Verdi’s “Rigoletto”, which was published in 1860, occupies a special place on account of its incredible virtuosity and at the same time its filigree texture. Since this is a working manuscript, the facsimile also offers fascinating insights into Liszt’s manner of working. Commentary in Ger-Eng. Handsome black moiré coverboards with Liszt’s signature in red. $82 (more info... ) [item no.9230] LOCATELLI, Pietro, 1695-1764 [Sonatas, flute, bc, op.2] XII sonate à flauto traversière solo à basso. Opera seconda. [Yale University, New Haven, CT].Performers’ Facsimiles, 291. New York, [2010]. 25 x 32 cm, ii, 51 pp. Line-cut of the Amsterdam, 1732 edition. Wrappers. $20 [item no.9162] LOCKE, Matthew, 1630-1677 [Macbeth, voice, piano, arr.] The Original Music in Macbeth. Arranged from the Score and Adapted for the Piano Forte by B. Jacobs.Faksimile-Edition Rara, 60. Stuttgart, 2010. 24 x 31 cm, 16 pp. Line-cut of the London, n.d. edition. Wrappers. $16 [item no.9173] LÖWE VON EYSENACH, Johann Jakob, 17th c. Einstimmige neue Arien [mit zweystimmigen Rittornellen, über Johann Georg Braunens / C.I.H. Weltliche Lieder]. Nürnberg, Christoph Gerhard 1682. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 18. Stuttgart, 2008. 21 x 32 cm, 3 vols, 86 pp. Line-cut of the Nuremberg, 1682 edition. 21 arias “à voce sola con rittornello à 2. violini” . Wrappers. $60 [item no.9143] MAICHELBECK, Franz Anton, 1702-1750 Die auf dem Clavier lehrende Caecilia op.2. Lotter, Augsburg 1738. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 10. Stuttgart, 2008. 33 x 21 cm, 100 pp. Line-cut of the Augsburg, 1738 edition. Maichelbeck’s most important work, directed towards the amateur keyboard player, presents both theoretical instruction and compositions for performance. One of the earliest examples in a printed work where the use of the thumb is designated in keyboard patterns. Hardbound, with handsome decorative paper boards. $115 [item no.8977] MAROT, Clément, 1495?-1544 Les psaumes en vers francais: avec leurs melodies. Clement Marot et Theodore de Beze. Fac-simile de l’édition genevoise de Michel Blanchier, 1562, publie avec une introdution de Pierre Pidoux. [Bibl. Publique et Universitaire, Neuchâtel].Textes Litteraires Français, 338. Geneva, 2/2008. 8°, 38, 495 pp. Line-cut of the Geneva, 1562 edition. Known as the Psautier de Genève, the tunes are from various sources; the texts are French paraphrases for the Psalms by Marot and Bèze. $128 [item no.2982] MARTUCCI, Giuseppe, 1856-1909 [Works, selection] Gli autografi della Fondazione Pagliara. FacsimiliLucca, 2009. 4°, 2 vols, vii, 219; vii, 171 pp. Line-cut of 7 autograph manuscripts in possession of the Fondazione Pagliara, together with new critical editions: Capriccio per pianoforte op.2; Pensiero musicale per violoncello e pianoforte op.36, no.1; Tre pezzi per pianoforte op.64; Due canti op.68c; La canzone dei Ricordi op.68a; Composizione in re (1902); Terza melodia (1902). Wrappers. $130 [item no.9157] MATTHES, Carl Ludwig, 18th c. [Sonatas, oboe, bc] Deux sonates pour hautbois et basse continue.Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 16 pp. Line-cut of the Hamburg, 1770 edition (extracted from Musikalisches Vielerley). Wrappers. $14 [item no.9041] MEGERLE, Abraham, 1607-1680 Speculum Musico-Mortuale [Das ist: Musicalischer-Todtenspiegel], 1672. [Staatliche Bibliothek, Regenburg].Faksimile-Edition Theoretica, 3 Suttgart, 2008. 11 x 17cm, 54 pp. Line-cut of the Salzburg, 1672 edition. Megerle was from Innsbruck and was once a choir boy under Stadlmayer, later a treble singer and organist with the court music ensemble at Innsbruck. Speculum Musico-Mortuale contains a few pages of autobiography but its extraordinary content are mainly its 12 engravings showing a human skull in the center, surrounded emblematic symbols and beautiful depictions of musical instruments (almost 50 in all). Hardbound in decorative paper. $29 [item no.9070] MENDELSSOHN-BARTHOLDY, Felix, 1809-1847 [Concerto, violin, orch, op.64, E minor] Violinkonzert E-Moll, Opus 64. Faksimile nach dem Autograph der Bibliotheka Jagiellońska, Kraków. Mit einem Kommentar von Stefan Drees.Meisterwerke der Musik im Faksimile, 10. Laaber, 2010. Oblong, 32 x 24 cm, xii, 68 pp. Full-color facsimile of the autograph score dated 16 September 1844. Mendelssohn's popular “Concerto for Violin in E Minor op.64”, a mainstay in the concerto repertoire didn't have an easy birth and is known in two versions, the sole surviving autograph of 1844—reproduced here in facsimile—and the printed edition of 1845, a more brilliant version incorporating many of the changes suggested by Ferdinad David, dedicatee of the piece and his concertmaster at Leipzig. On July 30, 1838, the composer wrote to him: “I would like to write a violin concerto for you next winter. One in E minor goes through my head and the beginning will not leave me in peace." David encouraged Mendelssohn but also expressed a desire for it to be ostentatious, a suitable showcase for the violinist's talents. Mendelssohn was not used to flamboyance for its own sake and this wish conflicted with his musical temperament, prolonging the writing of the concerto. More than six years later with only three months before it was to be performed he confided to David: “Do not laugh at me too much. I feel ashamed in any case, but I cannot help it. I am just groping around.” It was finally premiered on 13 March 1845 and published shorly thereafter by Breitkopf & Härtel. There are well over 100 changes between the two versions, mostly issues concerning tempo, orchestration, and solo parts. While some are outright shocking, where Mendelssohn has taken in the final version the solo line up or down an octave, added entirely new notes to the violin part, or slightly changed the wind writing, no matter which version is considered both are pure Mendelssohn, and all the magical elements that make the Violin Concerto what it is, that make it so beloved and so popular, are completely intact. Commentary in Ger-Eng. Linen. Issued on the occasion of the bicentenary of the composer’s birth. Hardbound with dark blue boards. $205 (more info... ) [item no.9009] [drawings & paintings] Felix Mendelssohn Bartholdy. Schweizer Skizzenbuch 1842. Faksimile herausgegeben von Hans-Günter Klein. Wiesbaden, 2008 Oblong, 30 x 24 cm, 53 pp. Facsimiles of 21 pencil landscape drawings that Mendelssohn made as a sort of diary during a trip to Switzerland in 1842 on the occasion of a music festival. Each drawing is signed and commented on. The album begins with a view of Frankfurt am Main where the group embarked; the trip continued through Lausanne, Chamonix and Martigny ins Rhonetal, finally ending with Interlaken and Zürich. Commentary in Ger-Eng. Hardbound. $85 (more info... ) [item no.9118] [Overture, A Midsummers Night’s Dream, op.21] Ein Sommernachtstraum. Ouvertüre op.21. Autograph, Biblioteka Jagiellońska, Kraków. Commentary by / Kommentar von Friedhelm Krummacher. Documenta Musicologica, II/41. Kassel, 2009. 27 x 37 cm, xiii, 60, 57 pp. Full-color facsimile of the elegant fair copy autograph score (formerly Deutsche Staatsbibliothek, Mus. ms. autogr. Mendelssohn 21), and monochrome reproduction of a fragmentary autograph score (Bodleian Library, Ms. Deneke-Mendelssohn B 5)—the only surviving sources of the overture. This work of youthful genius was written in 1826 during a carefree summer spent at the summer house among his siblings at a time when the composer became immersed in the works of Shakespeare through Schegel and Tieck translations. An enchanted night, virtually fragrant dreams, floating fairies—the sensory associations evoked and fashioned by the music of Mendelssohn’s overture A Midsummer Night’s Dream are almost inexhaustible. This is without doubt Mendelssohn’s most popular concert overture. The score is innovative as well, for example, in the ordering in the instruments—proceeding woodwinds, percussion, strings, with the bass fiddle at the bottom—, though peculiar for the time, coincides with modern accepted convention. The autograph score also calls for the rare "corno inglese di basso", usually substituted by the ophecleide, bass bassoon or bass trombone. Handsome bibliophile edition issued on the occasion of the 200th anniversary of the composer's birth. Handsome binding with decorative paper boards, burgundy linen spine, and pasted title etikette. Commentary in Eng-Ger-Jap. Special OMI price. $465 (more info... ) [item no.9033] [Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 1: 1816 bis Juni 1830. Herausgegeben und kommentiert von Juliette Appold und Regina Back. Kassel, 2008. 15 x 23 cm, 764 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.6738] [Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 2: Juli 1830 bis Juli 1832. Herausgegeben und kommentiert von Anja Morgenstein und Uta Wald. Kassel, 2009. 15 x 23 cm, 788 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.6861] [Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 3: August 1832 bis Juli 1834. Herausgegeben und kommentiert von Uta Wald unter Mitarbeit von Juliane Baumgart-Streibert. Kassel, 2010. 15 x 23 cm, 808 pp. New complete edition of the letters based on the collection compiled by Rudolf Elvers. Hardbound in green linen with signature of the composer embossed on cover. 12 volumes projected, 2 per year; only available on subscription. $199 [item no.6890] [Correspondence, complete] Felix Mendelssohn. Sämtliche Briefe. Band 4: August 1834 bis Juni 1836. Herausgegeben und kommentiert von Lucian Schiwietz und Sebastian Schmideler. Kassel, 2011. 15 x 23 cm, 741 pp. New complete edition of the letters based on the collection compiled by Rudolf Elvers. Hardbound in green linen with signature of the composer embossed on cover. 12 volumes projected, 2 per year; only available on subscription. $199 [item no.6906] MERTZ, Johann Kaspar, 1806-1856 Divertissement über Motive der Oper: Der Prophet (Meyerbeer), op.32. Flute (Violin), Viola, and Guitar. Edited by Brian Torosian.n.p., 2008. 4°, 19, 13 pp. Line-cut of the Jos. Aibl edition, Munich, 1851, together with preface and new practical edition. Meyerbeer’s music was rarely used as a source for guitar arrangements and these works by Mertz provide a pleasing addition to the 19th-c. guitar repertoire. Wrappers. $20 [item no.9086] MERULO, Claudio, 1533-1604 [Canzoni, organ, book 1] Canzoni d’intavolatura d’organo a quattro voci, fatte alle francese (Venezia 1592). Introduzione di / Introduction by Luigi Collarile. [Öffentliche Bibliothek, Basel].Bibliotheca Musica Bononiensis, IV/102. Bologna, 2009. Oblong, 24 x 17 cm, 15, 84 pp. Line-cut of the Gardano edition, Venice, 1592. This publication, featuring 9 canzoni for keyboard instrument, is the only collection of Merulo’s keyboard music published by Gardano while the composer was still alive. Wrappers. $45 [item no.9007] [Toccatas, organ, book 1] Toccate d’intavolatura d’organo libro primo. [Library of Congress, Washington, DC]. Performers’ Facsimiles, 281. New York, [2008]. 26 x 34 cm, 47 pp. Line-cut of the Rome, 1598 edition. Wrappers. $20 [item no.8969] [Toccatas, organ, book 2] Toccate d’intavolatura d’organo libro secondo. [Library of Congress, Washington, DC]. Performers’ Facsimiles, 282. New York, [2008]. 26 x 34 cm, 53 pp. Line-cut of the Rome, 1604 edition. Wrappers. $20 [item no.8970] MEYERBEER, Giacomo, 1791-1864 Alimelek, oder Die beiden Kalifen. Lustspiel mit Gesang in zwei Aufzügen nach einem Märchen der Tausend und einen Nacht von Johann Gottfried Wohlbrück, Hofschauspieler in München. Die Musik von Jakob Meyerbeer, Tonkünstler aus Berlin. Introduced and Edited by Robert Ignatius Letellier. [Staatsbibliothek Preußischer Kulturbesitz, Berlin, Mus. ms. 14410].Middlesex, 2008. 21 x 30 cm, xii, 583 pp. Xerographic line-cut, in reduced format, of a contemporary ms copy that records the composer’s entire conception of the work including material cut from the 1st performance. The subject-matter of Meyerbeer’s second opera Alimelek, written in Munich in 1812, was taken from a tale in The Arabian Nights. The opera is an example of the Oriental or “Turkish” operas which were so popular in Germany during the second third of the eighteenth century. While Meyerbeer’s contemporaries were puzzled by the far-fetched singularity of the Alimelik music, and the work had no success in Stuttgart and Vienna (6 Jan. 1813; 20 Oct. 1814), Weber had the insight to recognize its true significance. He produced it Prague on 20 Oct. 1815, and praised the “active, alert imagination, the well-nigh voluptuous melody, the correct declamation, the entire musical attitude”. He was also impressed by the instrumentation: “It is surprisingly combined, interwoven with great delicacy, and consequently demands almost the care of a quartet performance.” Weber’s enduring admiration meant that he again produced the work in Dresden years later (1820), when he pointed out how this early opera “bears witness to the composer's singular emotional capacity”. Meyerbeer shows astonishing maturity for a composer of 21. Not only the psychic state of the leading characters, but also the conflict of the entire plot, is presented in concentrated style by the aid of recurrent themes. Hardbound, in black buckram. $140 [item no.9073] Emma di Resburgo. Melodramma eroico in due atti. Poesìa di Gaetano Rossi. Musica di Giacomo Meyerbeer. Introduced and Edited by Robert Ignatius Letellier. Middlesex, 2008. Oblong, 27 x 21 cm, xii, 182 pp. Xerographic line-cut, in reduced format, of the piano-vocal score (Berlin: Schlesinger, c.1820). Meyerbeer’s third Italian opera, Emma di Resburgo (Emma of Roxburgh) was premiered at the Teatro San Benedetto in Venice on 26 June 1819 only 3 months after Semiramide had appeared at Turin, and scored a success that far surpassed that of both of its predecessors. It was indeed the work that established Meyerbeer's reputation in Italy, and extended it even beyond the Alps into Germany. It was also the opera that brought him into close contact with Rossini, the most important figure of the second decade of the century, whose work was a major influence on all his contemporaries, Meyerbeer included. Rossini’s Eduardo e Cristina was given on 24 April and Emma on 26 June. Both operas triumphed, and the two composers became very good friends, a relationship that was to continue later in Paris. Meyerbeer’s opera went on to be staged in Venice, Milan, Genoa, Florence and Padua. Translated into German, it was given in Vienna, Dresden, Frankfurt, Berlin and Stuttgart, and even reached Warsaw in 1821. Emma di Resburgo marked a milestone in Meyerbeer’s career and brought him the greatest honour any composer could aspire to in Italy—a commission from La Scala Milan that would result in his next work, Margherita d’Anjou (1820). Hardbound, in black buckram. $88 [item no.9074] Ein Feldlager in Schlesien. Singspiel in drei Aufzügen in Lebensbildern aus der Zeit Friedrich den Großen. Introduced and Edited by Robert Ignatius Letellier. Newcastle, 2008. 20 x 28 cm. Xerographic line-cut, in reduced format. Giacomo Meyerbeer returned to his native city of Berlin from Paris in 1842 to take up his new position of Generalmusikdirektor to King Friedrich Wilhelm IV. He was invited to compose a new work for the festive occasion of the reopening of the opera house on 7 Dec. 1844, on a theme celebrating the king's famous ancestor, Frederick the Great. Eugene Scribe provided the text, in secret, and Ludwig Rellstab translated it. Feldlager was Meyerbeer’s first opera in 30 years on a less serious topic, and using spoken dialogue—in other words a Singspiel. Especially in the first and third acts, it is possible to see the influence of lighter composers, especially Lortzing and Auber. But much of the second act, especially the tremendous finale, is in the style of the grand operas. Hardbound, in black buckram. $140 [item no.9214] Jephtas Gelüdbe. Oper in drei Aufzügen mit Ballett. Gedichtet von Professor Alois Screiber. In Musik Gesetst von Jakob Meyerbeer. Introduced and Edited by Robert Ignatius Letellier. Newcastle, 2008. 20 x 28 cm, xliv, , 685 pp. Xerographic line-cut, in reduced format, of a contemporary ms copy, in a neat calligraphic hand. Meyerbeer’s first opera, Jephtas Gelübde, has a libretto by the German academic Alois Schreiber, based on a Biblical theme taken from chapters 11-12 of the Book of Judges. The conflict between paternal love and love of country intrinsic to this scenario was also chosen by Meyerbeer as the basic theme of his opera, and is reflected in the overture, a symphonic anticipation of the essential features of the action. Jephtas Gelüdbe, whose final rehearsals were conducted by the composer in person, was admirably produced by the Munich Court Opera on 23 December 1812, but on account of its novelty met with indifference, so that it was withdrawn. A newspaper report did, however, observe: “A delicate sensibility, united to a profound and mature insight into the workings of the impassioned human heart, is manifested through¬out in a grand and elevated style that gives promise of something great in the future”. This score contains the seeds of the whole of Meyerbeer’s future development. It is impossible to conceive of Meyerbeer's progress to mastership without the Jephta score. Hardbound, in black buckram. $140 [item no.9075] MILÁN, Luís, c.1500-d.? Libro de música de vihuela de mano intitulado El maestro. Valencia, 1536. [Biblioteca Nacional, Madrid].Madrid, 2008. 20 x 29 cm, xxvi, 202 pp. Full-color reproduction of the Valencia, 1536 edition. Of utmost importance not only to vihuela enthusiasts but also to renaissance lute players and modern classical guitarists. “El Mastro” (“the Teacher”) was created as a method and is the earliest known example of Spanish tablature for the vihuela in print. The music it contains is exquisite: 40 fantasies, 40 preludes, 6 pavanas, 6 Christmas carols for vihuela and voice, 4 old romances and 6 sonnets. El Maestro is presented in levels from simple to complex, so that a beginning vihuelist can proceed from elementary to more complicated pieces as he or she learns. Many are of considerable virtuosity and compositional styles vary from simple homophony to polyphonic with virtuoso passagework. One notices immediately the great care with which the work was created and engraved. Alternate passages are given for players who wish to avoid more virtuosic parts, sections of pieces are indicated as optional, and Milan provides verbal tempo indications. The "vocal" notes in the tablatures for the Christmas carols have been painstakenly printed with red ink (a precursor of Bach’s use of red ink for the Biblical texts of the St. Matthew Passion). The music of Luis Milan is popular with performers to this present-day—both classical guitarists and lutinests regard El Maestro as an integral part of their repertoire. Introduction in Spainish by Gerardo Arriaga. Beautifully hard bound, with coverboards being a replica of the original. $118 (more info... ) [item no.9156] MIROGLIO, Pietro, Sonata a violino e basso. [Opera prima. Gravées par Mle. V[e]ndôme]. Paris. Kommentar von Ernst Kubitschek. [Bibliothèque Nationale de France, Paris].Faksimile-Edition Violino e Continuo, 1 Stuttgart, 2010. 29 x 37 cm, 28, ii pp. Line-cut of the author’s edition, Paris, c.1750. 6 sonatas. Hardbound, with marbled paper boards. $48 [item no.9175] MONTÉCLAIR, Michel Pinolet de, 1667-1737 Brunetes ancienes et modernes apropriées à flûte traversière avec une basse d’accompagnement, c.1725. Présentation par Anne Pichard. [British Library, London].La Musique Française Classique de 1650 à 1800, 204. Courlay, 2010. Oblong, 30 x 22 cm, x, 106 pp. Line-cut of the Paris, c.1725 edition. Preface in Fr-Eng-Ger. Wrappers. $61 [item no.9163] MONTEVERDI, Claudio, 1567-1643 L’Incoronazione di Poppea. Facsimile della partitura di Napoli. Edizione del libretto a cura di Lorenzo Bianconi. Saggi introduttivi di Gino Benzoni e Alessandra Chiarelli.Drammaturgia Musicale Veneta, 2. Milan, 2011. Oblong, 30 x 23 cm, xcvi, 233 pp. Within the history of opera L’incoronazione di Poppea (Venice, 1643), with a libretto by Giovan Francesco Busenello and music attributed to Claudio Monteverdi, holds a special place, being the very first opera on a historical subject: instead of Daphne, Orpheus or Adonis, we meet the emperor Nero, the empress Octavia, the courtesan Sabina Poppea and the philosopher Seneca. A mocking cynicism pervades the opera, which is drawn from the Annals of Tacitus and from a Latin tragedy attributed to Seneca (Octavia): one recognizes in it the imprint of the philosophical and moral libertinism cultivated by the Accademia degli Incogniti. This volume reproduces the manuscript score preserved in Naples. Like the manuscript in the Biblioteca Marciana (already reproduced in facsimile in 1938), this one is the product of several hands: Francesco Cavalli, perhaps Benedetto Ferrari and probably an unknown Neapolitan composer. In his introductory essay, the historian Gino Benzoni delineates the reception during the 17th c. of Tacitus, the main basis of the opera. Alessandra Chiarelli clarifies the complex web of sources for the music and libretto. Lorenzo Bianconi contributes editions of the “scenario” (1643), the text as its author chose to publish it (1656) and the variants of the Neapolitan libretto (1651). Linen. $245 (more info... ) [item no.9226] Salve regina del Sig. Claudio Monteverde. Facsimile e edizione critica a cura di / Facsimile and Critical Edition by Luigi Collarile. Bibliotheca Musica Bononiensis, IV/105. Bologna, 2011. 16 x 21 cm & 4°, 4 partbooks, xxvi, 30, 56, 32 pp. Line-cut of the Venice printed partbooks (tenor, alto, basso, continuo) issued by Alessandro Vincenti from the only extant copy, together with a new critical edition. This wonderful Marian hymn going back to the 12th c. is one of four antiphons sung at different times within the Christian calendar. Monteverdi’s moving setting, adroitly set in the modern style, is for 3 voices with basso continuo. Introduction in Eng-It. Wrappers. $60 (more info... ) [item no.9251] MONZANI, Tebaldo, 1762-1839 [method, flute] Instructions for the German Flute. London s.d.; New and Enlarged Edition of Monzani’s Instructions for the German Flute. London s.d.Archivum Musicum: Ottocento, 2. Florence, 2008. 24 x 34 cm, 2 vols, x, 50, 72 pp. Line-cut of the London, [1801] and London, [1819] editions. Preface in It by Marcello Castellani. Wrappers, in decorative paper with matching portfolio. $68 [item no.9056] MOZART, Wolfgang Amadeus, 1756-1791 [Abduction from the Seraglio, K.384] Die Entführung aus dem Serail K. 384. Facsimile of the Autograph Score, Staatsbibliothek zu Berlin - Preussischer Kulturbesitz, Biblioteka Jagiellońska Krakow (Mus. ms. autogr. W.A. Mozart 384), Stanford University Library, The Juilliard School Library. Introductory Essay by Hendrik Birus; Musicological Introduction by Ulrich Konrad.Mozart Operas in Facsimile, 2. Los Altos, 2008. Oblong, 4°, 2 vols, vii, 119; 492 pp. Full-color reproduction of the autograph score. This "teutsche oper" as Mozart referred to it on "Turkish" subject-matter so popular at the time marked the composer's Vienna debut as a stage composer. After its premiere on 16 July 1782 Die Entführung remained in the Burgtheater's repertoire for the rest of the season and the next one as well. It soon spread beyond Vienna to theaters in Austria and abroad, becoming the longest-lasting theatrical success of Mozart's career. Bibliophile edition, in two volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.9020] La clemenza di Tito : K. 621, Facsimile of the Autograph Score, Staatsbibliothek zu Berlin - Preussischer Kulturbesitz, Biblioteka Jagielloń ska Kraków (Mus. ms. autogr. W.A. Mozart 621), The British Library London, Music Collections (Zweig 62) / Wolfgang Amadeus Mozart; Introductory Essay by Hans Joachim Kreutzer; Musicological Introduction by Sergio Durante. Mozart Operas in Facsimile, 7. Los Altos, 2008. Oblong, 4°, 2 vols, vii, 218; 328 pp. Full-color reproduction of the autograph score. Bibliophile edition, in two volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.9071] Don Giovanni, K.527. Facsimile of the Autograph Score. Bibliothèque nationale de France, Paris, Département de la Musique (Ms. 1548). Introductory Essay by Hans Joachim Kreutzer. Musicological Introduction by Wolfgang Rehm. Mozart Operas in Facsimile, 4. Los Altos, 2009. Oblong, 4°, 3 vols, vii, 148; 576 pp. Full-color reproduction of the autograph score. Bibliophile edition, in two volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.9121] [Magic Flute, K.620] Die Zauberflöte, K.620. Facsimile of the Autograph Score. Staatsbibliothek zu Berlin–Preußischer Kulturbesitz (Mus. ms autogr. W.A. Mozart 620). Introductory Essay by Hans Joachim Kreutzer, Musicological Introduction by Christoph Wolff. Mozart Operas in Facsimile, 6. Los Altos, 2009. Oblong, 4°, 3 vols, vii, 144; 452 pp. Full-color reproduction of the autograph score with the first 28 pages reproduced with photo enhancement, completely restoring the middle voices of the now severely faded manuscript. Die Zauberflöte was the greatest triumph of Mozart’s operatic career, and its success story continued unabated after his death. By 1800 it had been given no fewer than two hundred times at the Freihaus Theater alone. Owing to its unusual degree of popularity, vocal scores of its musical numbers appeared in separate editions from two different publishers in late autumn of 1791. Within the briefest span of time Die Zauberflöte had appeared in London alongside The Beggar’s Opera and in Paris alongside Le mariage de Figaro, thereby becoming “one of the sensations of eighteenth-century theatrical history”. The Zauberflöte autograph is a working manuscript that reveals traces of the compositional process at every turn. This applies not only to the twin layers of short score and orchestrated full score, but also to the later stages in the compositional process. Various kinds of alterations become visible particularly in erasures, overwriting and deletions. Most of the alterations relate to changes in the musical text or its instrumental garb (adapted from Christoph Wolff’s text). Bibliophile edition, in 3 volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.9122] [Operas of Mozart in Facsimile, complete series] Mozart Operas in Facsimile. (Complete facsimile edition of the autograph scores of the seven great operas). Issued on the occasion of the 250th anniversary of the composer's birth. Directed by Ulrich Konrad, David W. Packard, Wolfgang Rehm, and Christoph Wolff. Los Altos, 2006 - 2009. Oblong, 4°, c.6200 pp. Full-color facsimile edition of the seven great operas of Mozart—”Idomeneo”, “Le nozze di Figaro”, “Cosi fan tutte”, “Die Entführung aus dem Serail”, “Don Giovanni”, “Die Zauberflöte”, and “La clemenza di Tito”—sponsored jointly by the Packard Humanities Institute and the International Mozart Stiftung on the occasion of the 250th anniversary of the composer’s birth. Due to generous underwriting by the Packard Humanities Institute the price per opera will be $200, an extraordinary low price for a publication of this size and quality. $1400 (more info... ) [item no.8817] [Adagio, glass harmonica, K.356 (617a)] L’autografo dell’ Adagio KV 356 per Glasharmonika nella Bibliothèque Nationale de France di Parigi (Départment de la Musique, Sammlung Ch. Maherbe, Signatur: Ms. 220). A cura di Giacomo Ferrari. Lucca, 2009. 23 x 33 cm, xvi, 2 pp. Color facsimile of the autograph issued on the occasion of the 250th anniversary of the composer’s birth. Commentary in It-Eng-Ger. Portfolio. $88 [item no.9043] Nannerl Notenbuch. Vollständiges Faksimile aller erhaltenen Teile der Handschrift. Mit einer Einführung und einem Nachwort von Ulrich Leisinger. Denkmäler der Musik in Salzburg, Faksimile-Ausgaben, 16. Munich, 2010. Oblong, 8°, 120 pp, 2 audio CDs. Full-color facsimile. This famous music book not only documents the musical training of Anna Maria (Nannerl) Mozart and her brother Wolfgang, but also provides the first glimpse of the exceptional talent of the young composer, showing the astounding development from an improvisation, written at the age of 5, to an ambitious sonata and concerto movement penned when he was almost 8. Leopold Mozart used the book to instruct his children up to about 1766; later Nannerl began to copy various works of Mozart as a souvenir of her brother. The volume contains altogether 27 works, most of them by Wolfgang, but there are also works by Leopold Mozart, Georg Christoph Wagenseil, Anton Cajetan Adlgasser, Johann Jakob Paul Küffner, Johann Niklaus Tischer, & Johann Joachim Agrell. With 2 audio CD, performed by Florian Birsak, a respected harpsichord and fortepiano soloist. $140 (more info... ) [item no.9202] [Serenade, winds, K.361, Bb major] Gran Partita, K.361 by Wolfgang Amadeus Mozart. A Facsimile of the Holograph in the Whittall Foundation Collection. [Library of Congress, Washington, D.C.]. Chicago, 2008. Oblong, 35 x 27 cm, 11, 98 pp. “Reissue” of Library of Congress 1976 facsimile edition using new full-color digital photography. The autograph score dates from c.1780. Known as the “Great Wind Serenade” or “Serenade for 13 Wind Instruments”, this brilliant 7-movement piece is Mozart’s first major work composed in Vienna. Scored for 2 oboes, 2 clarinets, 2 basset horns, 2 pairs of horns, 2 bassoons and a contrabass, Mozart exploits all the possible mixtures of sonorities—no instrument is treated in true concertante fashion, but rather each instrument strives to distinguish itself, true to it own character. The beautifully crafted serenade—intimate, cheerful, witty and symphonic in style—was obviously written to impress and “open doors” in the composer’s new city. New (second) introduction by Richard Floyd. Handsome two-tone cloth binding. $85 (more info... ) [item no.9019] [Symphony, no.40, K.550] Sinfonie in g-moll KV 550. Faksimile der autographen Partitur in erster und zweiter Fassung (1788). Mit einem Kommentar von Otto Biba. Vienna, 2009. Oblong, 4º, 106, 43 pp. Beautiful color facsimile of both versions of the autograph score, once proudly owned by Johannes Brahms. This facsimile edition sheds light on Mozart’s composing process; the accompanying commentary by Otto Biba addresses the complicated relationship between the two versions and suggests that the first autograph version, rather than representing a different version, may in fact be an intermediate “stadium” of a complicated compositional process. Commentary in Ger-Eng-Jap. Limited bibliophile edition of 500 copies. An indispensable source for all Mozart lovers and researchers. $495 (more info... ) [item no.9119] MUFFAT, Georg, 1653-1704 Apparatus musico organisticus. Johann Baptist Mayr, Salzburg 1690. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 17. Stuttgart, 2008. 30 x 43 cm, 72 pp. Color facsimile of the Salzburg, 1690. Hardbound, with handsome decorative paper boards. $144 [item no.8981] MUFFAT, Gottlieb, 1690-1770 72 Versetl sammt 12 Toccaten besonders zum Kirchen-Dienst bey Choral-Aemtern und Versperen dienlich.Performers’ Facsimiles, 262. New York, [2008]. Oblong, 29 x 21 cm, 93 pp. Line-cut of the Vienna, 1726 edition. Wrappers. $25 [item no.8978] OTTMAYR, Caspar, 1515-1553 [compiler] Bicina sacra. [Schöne geistliche Lieder unnd Psalmen mit zwo Stimmen lieblich zu singen]. Gestelt durch Caspar Orthmayr. Nürnberg/ Berg und Neuber. [Ratsschulebibliothek, Zwickau].Faksimile-Edition Zwickau, 7. Stuttgart, 2009. Oblong, 18 x 15 cm, 2 partbooks, 136 pp. Line-cut of the Berg & Neuber edition, Nuremberg, 1547. Wonderful collection 32 duets for instruments or voices. Hardbound in decorative paper, matching portfolio. $82 [item no.9113] PAISIELLO, Giovanni, 1740-1816 Regole per bene accompagnare il partimento o sia il basso fondamentale sopra il Cembalo. Neuedition und Transkription nach der Ausgabe St. Petersburg 1782 und der Handschrift Rari 3-4-17 des Conservatoria di Musica Napoli. Herausgegeben von Ludwig Holtmeier, Johannes Menke und Felix Diergarten.Quellenkataloge zur Musikgeschichte, 43; Praxis und Theorie des Partimentospiels, 1. Wilhelmshaven, 2009. 21 x 39 cm, 160 pp (44 facs). New edition of the St. Petersburg, 1782 edition and a contemporary ms copy, including 42 color facsimiles. Cloth. $178 [item no.9131] PANDOLFI-MEALLI, Giovanni Antonio, 17th c. [Sonatas, violin, bc, op.3-4] Sonate op.III & IV for Violin & BC - Innsbruck 1660. Facsimile, Edited by Enrico Gatti and Fabrizio Longo.Magdeburg, 2011. 4º, 30 94 pp. 4-color reproduction of the Innsbruck, 1660 edition. Although the details of Giovanni Antonio Pandolfo Mealli’s life are still largely unknown, his music is no stranger to the concert hall. Unfortunately these beautifully reproduced facsimiles of Sonata Opera Terza and Opera Quarta represent all that the world knows of this great composer and virtuoso violinist. Printed in the movable type of the time—but easy to read by modern performers today—these pieces illustrate the flourishing art of violin playing in central Italy in the heart of the 17th century. Pandolfi often writes out his ornamentation in full—a personal indication of his virtuosity—and so adds an extra dimension of interest for the modern performer. The sonatas have an almost "portrait" quality with such endearing titles such as La Stella, La Cesta. La Melana, La Castella, La Monella Romanesca, La Biancuccia, La Vinciolina, etc. These are “nicknames” actual historical figures—many of them virtuosi musicians—to whom Pandolfi Mealli pays special hommage. Commentary in It-Eng. Wrappers. $74 (more info... ) [item no.9212] PICERLI, Silverio, b.?-1662 Specchio primo di musica (1630). Specchio secondo di musica (1631). A cura di Ottavio Beretta.Musurgiana: Sources and Materials for the History and Theory of Music, 8-9. Lucca, 2008. 8°, xxxii, 302 pp. Line-cut of the Naples 1630/1631 edition. Wrappers. $96 [item no.9065] PRINTZ, Wolfgang Caspar, 1641-1717 Exercitationum musicarum. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 19. Stuttgart, 2011. 16 x 31 cm, 55 pp. Line-cut of the Frankfurt & Leipzig, 1687 edition. Hardbound with marbled paper boards. $27 [item no.9256] PUCCINI, Giacomo, 1858-1924 Tosca. Di Victorien Sardou, Giuseppe Giacosa e Luigi Illica. Musica di Giacomo Puccini. Vol. I: facsimile della copia di lavoro del libretto. Vol. II: trascrizione e commento. Edizione e commento a cura di Gabriella Biagi Ravenni.Centro Studi Giacomo Puccini - Testi e documenti, 2. Florence, 2009. 23 x 33 cm, 2 vols, 140, xlii, 140 pp. The complete text of the libretto of Tosca, with additions, corrections, glosses, page proof fragments, musical sketches, and sketches of stage settings. Illica, Giacosa, Ricordi and Puccini worked together on Tosca and established an intense professional relationship, which is brilliantly reconstructed in this well-documented volume. A fascinating insight into the creative process and a detailed description of the genesis of Tosca. Wrappers. $190 (more info... ) [item no.9132] PURCELL, Daniel, c.1660-1717 [Pilgrim, song selections] A Collection of New Songs [with a Through Bass to Each Song for the Harpsichord]. London, Walsh 1700. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 14. Stuttgart, 2008. 21 x 33 cm, 5 pp. Line-cut of the Walsh edition, London, 1700. Two numbers from the comedy Pilgrim (”Chronos Chronos mend mend thy pace”; “Ha! ha! ha! ha well well hast thou done”). Wrappers. $12 [item no.8963] Psalms, Set Full for the Organ or Harpsicord as They are Plaid in Churches and Chappels in the mañer Given Out; as also with their Interludes of Great Variety. [Library of Congress, Washington, DC]. Performers’ Facsimiles, 264. New York, [2008]. Oblong 35 x 24 cm, 26 pp. Line-cut of the Walsh edition, London, [1718]. Wrappers. $18 [item no.8979] REGER, Max, 1873-1916 [Schumann, lieder, selection, arr.] Zwei Schumann-Lieder aus dem Zyklus “Zwölf Gedichte nach Justinus Kerner” op. 35 (G). Wiedergabe des Autographs von Max Reger in hochwertigem Faksimiledruck. Eingeleitet und kommentiert von Susanne Popp / Singstimme, Org. Nr. 11 Wer machte dich so krank? Nr. 12 Alte Laute.Stuttgart, 2011. 4°. Full-color reproduction of the autograph issued on the occasion of the bicentenary of Schumann’s birth. A curiosity arrangement of “Wer machte dich so krank?” and “Alte Laute”—for organ and voice—showing Reger’s admiration for Schumann. Portfolio $26 [item no.9229] RHAU Georg, 1488-1548 [publisher] Sacrorum hymnorum liber primus. Wittenberg. G. Rhaw, 1542. RISM 1542(12). [Vienna, Österreichische Nationalbibliothek].[Yellow Book Series, 9]. Højbjerg, 2009. Oblong, 21 x 15 cm, 4 partbooks: 602 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. Wrappers, in slipcase. $205 [item no.9107] RIST, Johann, 1607-1667 [& Johann Schop] Himmlische Lieder mit sehr lieblichen und anmuthigen von Johann Schop wolgesetzten Melodien. Nunmehr aufs neue Widrum übersehen. [Ratsbücherei, Lüneburg].Dokumentation zur Geschichte des deutschen Liedes, 2. Hildesheim, 2/ 2010. 10 x 16 cm, 400 pp. Line-cut of the Lüneburg, 1641-42 edition. Linen. $103 [item no.2576] SAGGIONE, Giuseppe Fedeli, 1680-1733 [Sonatas, 2 violoncelli/viols/bassoon] Six sonates à deux violoncelles, violes, ou bassons. Vm7 6348. Présentation par Paolo Tognon & Evolène Kiener. [Bibliothèque Nationale, Paris].Collection Dominantes. Courlay, 2009. 23 x 33 cm, x, 36 pp. Line-cut of author’s edition, Paris, 1733. Introduction in Fr-Eng-Ger. Wrappers. $32 [item no.9154] SALE, Franciscus, 16th c. Officiorum missalium [Tripertiti operis, quibus introitus, alleluia et comuniones de omnibus omnium sactorum, per totum anni circulum, dicbus & sollenibus quinque & sex vocum continentus]. Prage, Georg Nigrinus 1596. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 20. Stuttgart, 2011. Oblong, 18 x 15 cm, 5 partbooks, 240 pp. Line-cut of the Prague, 1596 edition. 22 settings for 4 to 6 voices in mensural notation. Partbook format (cantus, altus, tenor, bassus, quintus/sextus). Wrappers, with slipcase in decorative paper. $62 [item no.9261] SANTUCCI, Ercole Perugino, 16-17th c. Mastro da Ballo (Dancing-Master) 1614. Diviso in tre trattati con il quale scolaro potrà facilmente imparare ogni sorte di ballo, senza altra scola. Manuscript, Perugia 1614. Facsimile. Foreword by Bengt Häger. Introduction by Barbara Sparti.Hildesheim, 2/ 2011. 8º, xiv, 120, 474 pp. Line-cut of the manuscript. Santucci’s Mastro da Ballo, the latest of the 17th-century dance manuals to have come to light thus far, consists of 474 pages divided into three treatises and includes 214 Rules for Steps and Deportment, gagliarda variations, and 10 choreographies. Santucci’s step rules not only present many important variants on “old” steps but also describe others for the first time that point to a new style, suggesting a bridge between the Italian style of Caroso and Negri and the emerging French noble style. Santucci furthermore provides an extremely clear didactic way of teaching gagliarda “cinque passi” variations, of great help and utility even today. His progression from simple to complex leads to variations that will be a challenge to the most expert dancer. Linen. $142 [item no.9208] SCHAEFFER, Zacharias, 16th c. Sämtliche Werke in: a) Laurus Philosophica’ b) Eadem Epitaphia Musicis. Tübingen, Georg Gruppenbach 1593. [Ratsschulbibliothek Zwickaul Stadtbibliothek, Ulm].Faksimile-Edition Ulm, 39. Stuttgart, 2008. 17 x 22 cm, 2 vols, 28, 66 pp. Line-cut of the Tübingen, 1593 edition. Contains 4 settings a4 and 3 settings a3 in notated in mensural notation. Portfolio with ties. $49 [item no.8955] SCHMELZER, Johann Heinrich, 1620-1680 [Sonatas,violin, bc] Sonatae unarum fidium. Sechs Sonaten für Violine und B.c. Faksimile, Nürnberg 1664. Herausgegeben von Marc Strümper.Magdeburg, 2009. 4º. viii, 41 pp. Half-tone of the Endter edition, Nuremberg, 1664. The first collection of violin sonatas published by a German-speaking composer and a milestone in the history of violin music. The first 6 sonatas are in variation form; the last two introduce dance movements with wonderful ruminative monologues. Introduction in Ger-Eng. Wrappers. $40 [item no.9050] SCHMIED, Salomon, 17th c. Dialogus wieder böse Verfolger. [Biblioteka Jagiellońska, Krakow].Faksimile-Edition Krakau, 19. Stuttgart, 2009. 14 x 20 cm, 16 pp. Line-cut of the Daniel Starck edition, Stettin, 1665. Wrappers. $10 [item no.9117] SCHOENBERG, Arnold, 1874-1951 [Kleine Klavierstücke, piano, op.19] Six Little Piano Pieces, op.19 (1911). Facsimile Edition. Commentary by Christian Meyer.Vienna, 2009. 4°. Arnold Schoenberg’s “Six Little Piano Pieces,” op. 19, composed in 1911, can be counted among the iconic works of the music of the 20th century. Extreme concision of diction and a immediate will to expression are here combined. This newly released facsimile edition permits a detailed study of the composer’s first written copy and holograph fair copy. The aura of the manuscripts conveyed by the faithful reproduction of the originals gives an impression of the uniqueness of this piece in its time and also in ours. It allows us to follow compositional thought processes and to obtain insight into details of interpretation. Hardbound. $52 (more info... ) [item no.9167] [Kleine Klavierstücke, piano, op.19] Six Little Piano Pieces, op.19 (1911). Facsimile Edition. Commentary by Christian Meyer. Vienna, 2009. 4°. (same as above but softbound version) $25 (more info... ) [item no.9168] SCHOP, Johann, b.?-c.1664 [& Johann Rist] Himmlische Lieder mit sehr lieblichen und anmuthigen von Johann Schop wolgesetzten Melodien. Nunmehr aufs neue Widrum übersehen.Dokumentation zur Geschichte des Deutschen Liedes, 2. Hildesheim, 2/ 2010. 8º, 70, 312 pp. Line-cut of the Lüneburg, 1641-42 edition. Linen. $103 [item no.2576] SCHUBERT, Franz, 1797-1828 [Variations, flute, piano, D.802, E minor] Variationen über “Trockne Blumen” E-Moll für Flöte & Klavier op.160 / D 802. Faksimile des Autographs der Wienbibliothek. Mit einem Kommentar von András Adorján.Meisterwerke der Musik im Faksimile, 17. Laaber, 2010. Oblong, 4°, xii, 24 pp. Full-color facsimile of the autograph. After completing the song cycle Die schöne Müllerin in January of 1824 Schubert set about recasting the 18th song—“Trockne Blumen”—into an introduction and set of seven variations for flute and piano. The work may have been composed for Ferdinand Bogner, a flutist and friend of the composer. Introduction in Ger-Eng. Hardbound. $112 (more info... ) [item no.9141] SCHUBART, Christian Friedrich Daniel, 1739-1791 Schubart’s Karakter von seinem Sohn Ludwig Schubart.Faksimile-Edition Theoretica, 6 Suttgart, 2011. 11 x 16 cm, 176, xx pp. Line-cut of the 1798 Erlangen edition. Schubart was an outspoken German critic, poet, musician and finally music director in Stuttgart; this is his son’s account of this turbulent life. Afterword by Christoph Öhm-Kühnle. Hardbound in decorative paper. $38 [item no.9263] SCHUMANN, Robert, 1810-1856 [Lieder, “Zwölf Gedichte nach Justinus Kerner”, op.35, selection, arr.] Zwei Schumann-Lieder aus dem Zyklus “Zwölf Gedichte nach Justinus Kerner” op. 35 (G). Wiedergabe des Autographs von Max Reger in hochwertigem Faksimiledruck. Eingeleitet und kommentiert von Susanne Popp / Singstimme, Org. Nr. 11 Wer machte dich so krank? Nr. 12 Alte Laute.Stuttgart, 2011. 4°. Full-color reproduction of the autograph issued on the occasion of the bicentenary of Schumann’s birth. A curiosity arrangement by Max Reger of “Wer machte dich so krank?” and “Alte Laute”—for organ and voice—showing Reger’s admiration for Schumann. Portfolio. $26 [item no.9229] [Album for the Young, piano, op.68, 2nd ed.] Robert Schumanns “Album für die Jugend”. Geleitwort von Peter Härtling. Vorwart von Bernhard R. Appel. Mainz, 2008. 4º, 321 pp. Special commemorative edition issued on the occasion of the 150 anniversary of the 1848 first edition. Includes facsimile of the second (enlarged) edition of 1850 which includes “Musikalischen Haus- und Lebensregeln”. Hardbound. $55 [item no.9054] SEIDEL, Johann Christian Heinrich, 1743-1787 De musicae morumque cognatione. [Stadtbibliothek, Ulm].Faksimile-Edition Ulm, 41. Stuttgart, 2009. 18 x 22 cm, 8 pp. Line-cut of the Hessel edition, Altdorf, 1765. Wrappers. $13 [item no.9116] SIMON, Johann Caspar, 1701-1776 [Preludes & fuges; Musikalische Nebenstunden, keyboard] Johann Caspar Simon: a) Leichte Praeludia und Fugen; b) Leichte und wohlklingende Praeludia und Fugen Ander Theil; c) Gemüthsvergnügende musikalische Nebenstunden; d) Gemüthsvergnügende musikalische Nebenstunden Ander Theil. Augsburg, Lotter Erben. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 9. Stuttgart, 2008. Oblong, 33 x 21 cm, 80 pp. Line-cut of two of Simon’s organ works, both in two parts, issued in Augsburg 1750-51 and 1750-52. Hardbound, with marbled paper boards. $70 [item no.9004] SMYTH, Ethel, 1858-1944 String Trio in D, op.6 for Violin, Viola and Violoncello. Faksimile der Handschrift Smyth MSS 1 Durham University Library.Sound Researh of Women Composers: Music of the Romantic. Kassel, 2010. 8°, 82 pp. Full-color facsimile of the autograph score. This ambitious 4-movement trio in D major is full of vitality and displays an extraordinary eagerness to experiment with regard to the specific conditions and potential of the genre. At the same time it is permeated by a kaleidoscopic variety of themes, which is typical for this spirited composer with her broad education. She intentionally takes on the themes from different traditions and uses them to express many facets of her feelings and ability. Hardbound. $98 (more info... ) [item no.9153] SOLER, Antonio, 1729-1783 [Sonatas, harpsichord] XXXVII sonatas para clave. [Library of Congress, Washington, DC].Performers’ Facsimiles, 294. New York, [2010]. Oblong, 34 x 24 cm, ii, 95 pp. Line-cut of the Robert Birchall edition, London, c.1795. Wrappers. $30 [item no.9199] SPOHR, Louis, 1784-1859 [method, violon] Gran metodo per violino. Novara s.d.Archivum Musicum: Ottocento, 1. Florence, 2008. 24 x 34 cm, 11, 247 pp. Line-cut of the Italian edition, Novara, [1832]. Preface in It by Franco Pavan. Wrappers, in decorative paper. $98 [item no.9055] STADELMAYR, Johann, c.1575-1648 Missae concertatae a X. et XII, vocibus et instrumentis cum quatuor partibus pro secundo choro. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 12. Stuttgart, 2010. 15 x 20 cm, 17 partbooks, c.500 pp. Line-cut of the Michael Wagner edition, 1642. 4 concerted masses, two a10 and two a12. Wrappers, with marbled paper slipcase. $115 [item no.9180] Missae concertatae [a VI. adiuncto choro secundo sive ripieni, ut vocant, pro beneplacito itidem 6. vocum] Innsbruck, Johann Gäch 1631. [Stift Kremsmünster]. Faksimile-Edition Kremsmünster, 15. Stuttgart, 2011. 17 x 22 cm, 13 partbooks, 582 pp. Line-cut of the Innsbruck, 1631 partbooks. Wrappers, in marbled paper slipcase. $129 [item no.9249] Missae duodenis vocibus, [cum triplici basso ad organum accommodato]. Liber secundus, Wien, Formica 1616. [Stift Kremsmünster]. Faksimile-Edition Kremsmünster, 16. Stuttgart, 2011. 17 x 22 cm, 13 partbooks, 436 pp. Line-cut of the Vienna, 1616 partbooks. Wrappers, in marbled paper slipcase. $129 [item no.9248] Musica super cantum gregorianum. Pars prima: Ravensburg J. Schröter 1625; Pars secunda: Ravensburg J. Schröter 1626. RISM S4289. [Stift Kremsmünster]. Faksimile-Edition Kremsmünster, 13. Stuttgart, 2010. 16 x 21 cm, 6 partbooks, c.360 pp. Line-cut of the Ravensburg, 1625 & 1626 editions. 102 introit and 9 Gloria Patri settings for 5 voices with bc in mensural notation. Hardbound, with marbled paper boards; slipcase. $239 [item no.9152] STRAUS, Christoph, c.1575-1631 Missae octo, novem, decem, undecim, duodecim, tredecim et viginti, tam vocibus, quam variis instrumentis, et basso generali ad organum accommodato. [Stift Kremsmünster].Faksimile-Edition Kremsmünster, 8. Stuttgart, 2011. 19 x 29 cm, 13 partbooks, c.989 pp. Line-cut of the Vienna, 1631 partbooks. Straus, a native Viennese, was Kapellmeister at the Court from 1612-19 and organist at St. Stephen’s Cathedral. Wrappers, in marbled paper slipcase. $295 [item no.9247] STREICHER, Johann Andreas, 1761-1833 [Kurze Bemerkungen über das] Spielen, Stimmen und Erhalten der Pianoforte. Wien 1802. [Staatsbibliothek zu Berlin].Faksimile-Edition Theoretica, 2 Suttgart, 2008. 11 x 19 cm, 40, 46 pp. Line-cut of the Vienna, 1802 edition. Streicher, a music teacher and pianoforte maker, married Nannette Stein, founder of the famous pianoforte manufacturer in Vienna. In due course the firm became Streicher & Sohn. Every purchaser of a Streicher piano received a copy of this delightful booklet on piano playing, tuning and maintenance. Afterword in Ger-Eng by Christophe Öhm-Kühnle. Hardbound in decorative paper. $42 [item no.9032] STÖTZEL, Johann Georg, 1711-1793 Neu bezogenes Davidisches Harpfen- und Psalter-Spiel... nach dem Würtembergischen Landgesangbuch eingerichtetes Choral-Buch. [Stadtbibliothek, Ulm].Faksimile-Edition Ulm, 28. Stuttgart, 2011. Oblong, 22 x 18 cm, 268 pp. Line-cut of the Stuttgart, 1777 edition. 245 German chorales notated in keyboard score (soprano clef and basso continuo with F-clef). Part of a long tradition of chorale books beginning with Daniel Speer’s Choralbuch of 1692, Stötzel expanded the repertoire with quite a few songs chiefly from from the Gesangbuch of Johann Anatasius Freylinghausen. Hardbound, in marbled paper. $75 [item no.9221] TELEMANN, Georg Philipp, 1681-1767 [Fugues légères & petits, harpsichord, TWV 30:21-26] Fugues légères & petits jeux à clavessin seul.Collection FacsiMusic. Courlay, 2008. 21 x 30 cm, 24 pp. Line-cut of the Hamburg, n.d. edition. Wrappers. $15 [item no.9042] [Musique de table, strings/winds, TWV 50-55] Musique de Table. Tafelmusik in 3 Produktionen. Herausgegeben von Reinhard Goebel. Magdeburg, 2010. 4°, 7 partbooks. Line-cut of the Hamburg, 1733 partbook edition. With the publication of his Tafelmusik, Telemann provides a crowning “trio” of German instrumental music of the late Baroque period, alongside Bach’s Brandenburg Concerti and Handel’s Concerti grossi op.6. The composer shows himself at the zenith of his creative powers. Each part consists of a series of movements (Ouverture, Quatuor, Concert, Trio, Solo, and Conclusion) in various instrumentations—flauto dolce, flauto traversiere, oboe, tromb, strings & fondamento. One masterwork follows the other, forming a logically-built structure, yet each work can also stand alone. Wrappers, in slipcase. $148 (more info... ) [item no.9051] VITZTHUMB, Ignace, 1724-1816 Recueils d’ariettes. Bruxelles, 1775-1777. Introduction Marie Cornaz.Musica Bruxellensis, V. Brussels, 2009. 4˚. 2 vols, 302 pp. Line-cut of the Brussels, 1775-1777 editions. 72 arias from popular operas (Fridzeri, Gluck, Gossec, Grétry, Monsigny & Philidor) arranged for voice, two violins & bc. Preface in Fr-Eng. Wrappers. $76 (more info... ) [item no.9245] VIVALDI, Antonio, 1678-1741 [Concerti, violin, strings, “La Cetra”, op.9] La Cetra concerti. Opera nono.Performers’ Facsimiles, 290. New York, [2009]. 22 x 29 cm, 5 partbooks, 173 pp. Line-cut of the Le Cène edition, Amsterdam, [1727]. Scored for vln I [solo], II, III, vla, vc, & bc. Ryom numbers: 181a, 345, 334, 263a, 358, 348, 359, 238, 530, 300, 198a, & 391. Wrappers. $75 [item no.9066] WEISS, Silvius Leopold, 1686-1750 Lautenmusik aus Schloß Rohrau. Werke von Silvius Leopold Weiss und anderen. Zwei Manuskripte für Barocklaute aus der Graf Harrach’schen Familiensammlung. Als Faksimile herausgegeben und kommentiert von Michael Freimuth, Frank Legl und Markus Lutz.Frankfurt, 2010. Oblong, 4º, xlviii, 268 pp. The world-famous art collection of the Harrach family is preserved in their castle at Rohrau near Vienna. In 2004 the curator of the collection, count Arco-Zinneberg, came across 7 manuscripts (2 of them lute tablatures) preserved together with the art collection. Christoph Angerer and Michael Freimuth were called to evaluate the mss and soon realized the value of the find, particularly of the lute tablatures. The first volume mostly contains works by Sylvius Leopold Weiss, among them 11 suites of several movements that have been previously unknown, 1 complete lute duet in 4 movements, and the suite in A that has so far survived as solo music, but here it is in the form of a trio for violin, lute and bass. The title of the second volume, "Lautenmusik von unbekannten Componisten" (lute music by unknown composers) was obviously caused by the scribe’s ignorance of the music, since already as many as 4 suites could be ascribed to Weiss by concordances. Other suites in the collection are composed in a style that is quite similar to Weiss’ style as well. Quite unexpectedly, the volume also contains 4 pieces for lute in renaissance tuning, notated in Italian tablature. The present volumes, comprising 200 pages, bridge a gap in the group of sources of lute music by Weiss, complementing other Weiss manuscripts in London and Dresden, as they mainly contain pieces of his early creative period. The 2 manuscripts in Rohrau contain a total number of 167 movements for the lute, organized in 26 suite-like sequences. Without doubt, these volumes are of the highest significance both for active lute players and for scholars. $225 (more info... ) [item no.9171] WIEDEBURG, Michael Johann Friedrich, 1720-1800 Choralbuch für Ostfriesland: Marten Jellen, 1765, Michael Johann Friedrich Wiedeburg, 1790. Vorgelegt von Winfried Dahlke.Quellenkataloge zu Musikgeschichte. Wilhelmshaven, 2009. 22 x 31 cm, 334 pp. Two complementary chorale books from Friesland published respectively 1765 & 1790. Hardbound. $297 [item no.9124] Dritter Theil des sich selbstinformierenden Clavier-Spielers, worin gezeiget wird wie ein Liebhaber der Music bey fleißiger Selbst-Information nicht allein nach und nach zum Fantasiren auf der Orgel und dem Clavier, sondern auch zu einer Geschicklichkeit, allerley musicalische Stücke zu seinem und anderer Vergnügen zu verfertigen und zu Componiren gelangen kan ... Faksimile des Erstdrucks Halle 1775. Herausgegeben von Harald Vogel. Quellenkataloge zur Musikgeschichte, 39. Wilhelmshaven, 2008. 18 x 26 cm, 2 vols, 948 pp. Line-cut of the Halle, 1775 edition. Cloth. $548 [item no.9129] ZARLINO, Gioseffo, 1517-1590 Le istituzioni harmoniche. Venezia, 1561. Saggi introduttivi di / Introductory Studies by Iain Fenlon e Paolo Da Col. Varianti dell’edizione del 1589 e indice a cura di / Variants of the 1589 Edition and Index by Paolo Da Col.Bibliotheca Musica Bononiensis, II/39. Bologna, 2/ 2008. 4º, 101, 460 pp. Line-cut of the 1561 edition. Wrappers. $140 [item no.2514] COMPOSITE & MISCELLANEOUS SOURCES The Balcarres Lute Book. Edited by Matthew Spring.Glasgow, 2010. 25.4 x 35.6 cm, 2 vols, 412 pp. Copied out in Scotland at the close of the 17th c., the Balcarres Lute Book is the largest and most important post-1640 British source of lute music. It contains 252 compositions arranged for the eleven-course instrument, among them settings of native Scots airs and of English popular tunes, and French baroque lute music by mid- and later 17th-c. masters. Possibly compiled by or for Margaret Campbell, fourth wife of Colin Lindsay, third Earl of Balcarres, the manuscript has remained in the Lindsay family, being owned currently by Lord Balniel, son and heir to the present Earl of Crawford and Balcarres, who has deposited it in the National Library of Scotland. It is here published for the first time in a pair of volumes comprising a black-and-white facsimile and a transcription, along with an extended introduction, notes on related musical sources, and an informative critical commentary on each individual piece. Softbound, with slipcase. $165 (more info... ) [item no.9211] [Bologna, Museo Internazionale e Biblioteca della Musica, Cod. Q15] Bologna Q15: The Making and Remaking of a Musical Manuscript. Introductory Study and Facsimile Edition by Margaret Bent. Volume I: Introductory Study. Volume II: Facsimile. Ars Nova, Nuova Seria, 2. Lucca, 2008. 24.5 x 32.5 cm. 2 vols, 400, 686 pp. This manuscript is the largest international anthology of polyphonic music of the early 15th century. It was compiled in Padua in the early 1420s (stage I) and Vicenza in the early 1430s (stages II-III), all copied by a single scribe. The three illuminations are an unusual luxury for a musical manuscript at this period. It was acquired by Padre Martini in 1757 and is a major treasure of his library in Bologna. About half of its 323 compositions are unique; some others are shared with and complemented by the slightly younger Veneto manuscripts Bologna, Biblioteca Universitaria 2216 and Oxford, Canon. misc. 213. It is the most important source for the works of Zacara and Ciconia and for the early works of Guillaume Du Fay (with 78 works, many of them unica). About 50 composers are represented, including native Italians, and composers from the north who were sought after and made their careers in Italy. It is primarily a collection of mass movements (mostly Glorias and Credos, and a few cycles) and motets. Du Fay's Missa Sancti Jacobi was assembled as a cycle only here, and can now be linked with the humanist circle around the Venetian patrician bishop Pietro Emiliani of Vicenza, in which Q15 was compiled. The 109 motets include compositions in honour of doges, bishops and noblemen. 19 French songs were added at the end of stage I, and 11 laude at stage III. Other late additions are the cycle of 24 hymns (most by Du Fay), 9 Magnificats and 3 sequences. For the first time, the complex codicological history of this manuscript is unravelled and the importance of its many revisions examined. The first compilation was originally much larger; the manuscript now embodies two overlapping, superimposed anthologies. Margaret Bent tells this story in her extensive introductory study, which also includes comprehensive indexes and catalogues. She spells out some of the conclusions to be drawn from the partial destruction of the manuscript by its own creator, a unique and extraordinary testimony to changing taste and contemporary reception. Deluxe limited edition, supplied with slipcase. $1450 (more info... ) [item no.8908] [Chantilly, Bibliothèque du Château de Chantilly, ms. 564 (olim 1047)] Codex Chantilly. Bibliothèque du Château de Chantilly, Ms. 564. Fac-similé. Edité par Yolanda Plumley & Anne Stone. Centre d’Études Supérieures de la Renaissance. Collection “Epitome Musical”. Turnhout, 2008. 29 x 40 cm. x, 164; 211 pp. Full-color facsimile in the original format. Exciting late medieval source with 99 songs and 13 motets, 61 of them unique. These works include some of the most elaborate surviving examples of the “Ars subtilior” notation, known for its experimentation in music rhythm. The provenance of this complex ms is still in dispute, being either 14th century southern France or an early 15th century Italian copy of a French repertoire. The basic corpus dates from c.1350-95; the ars subtilior repertoire by papal singers from Avignon and musicians employed at the Foix and Avignon courts is slightly later. Composers include Solage, Philippus de Caserta, Trebor, Vaillant, Machaut, Senleches, Susay, Cordier, Magister Franciscus, and Hasprois. The ms was owned by a Florentine family (possibly commissioned by them) and remained in Florence until 1861, at which time it was brought to Chantilly by the Duke of Aumale. Commentary in Fr-Eng. Handsome binding in black linen with dust jacket. $395 (more info... ) [item no.8503] [Chantilly, Bibliothèque du Château de Chantilly, ms. 564 (olim 1047)] A Late Medieval Songbook and its Context: New Perspectives on the Chantilly Codex (Bibliotheque du Chateau de Chantilly, Ms. 564), edited by Yolanda Plumley and Anne Stone. Collection “Epitome Musical”. Turnhout, 2010. 29 x 40 cm. 365 pp. Proceedings for a special symposium devoted to Codex Chantilly. Wrappers. $100 (more info... ) [item no.6685] A Collection of the Most Celebrated Irish Tunes Proper for the Violin, German Flute or Hautboy. John & William Neal, Dublin, 1724. Second Facsimile Edition Edited by Nicholas Carolan. Dublin, 2010. 8°, xiv, 118 pp. Illustrated introduction, music (49 melodies), notes on the tunes, appendixes, bibliography, indexes. Hardbound. $79 [item no.9191] Cygnus terrestris alaudae coelesti [obstrepens 3, hoc est: Alaudae coelestis pars III. Seu Concentus funebres, sex missarum de requiem... Hercinia silva camoenis St. Georgij]. Ulm Beurlein 1709 / Druck Wagner. [Stadtbibliothek, Ulm]. Faksimile-Edition Ulm, 11. Stuttgart, 2010. 16 x 21 cm, 11 parts, c.880 pp. Line-cut of the Beurlin edition, Ulm, 1709. 6 anonymous funeral masses for 1 to 5 voices, strings & bc. Partbooks: cantus 1, cantus 2, altus, tenor, bassus, violinum 1, violinum 2, viola 1, viola 2, violone/fagotto organum. According to Eitner—“Silva, Hercinia, ein Benediktiner-Monch”—was a person-composer, however the words “hercinia silva” on the title page is actually a reference to the Black Forest where the monastery “Camoenis St. Georgij” was located. The monastery was relocated to Villingen; the church at Villingen still exists and originally had an organ by Johann Andreas Silbermann. Wrappers, in slipcase. $159 [item no.9149] [Dobney, Jayson Kerr] Guitar Heroes: Legendary Craftsmen from Italy to New York. Jayson Kerr Dobney. The Metropolitan Museum of Art Bulletin, Winter 2011. New York, 2011. 50 pp. Illustrated exhibition catalog with 70 color illustrations. Wrappers. $25 (more info... ) [item no.9227] The Dow Partbooks, Christ Church, Oxford, MSS 984-988. Facsimile Edition. Introductory Study by John Milsom. Oxford, 2010. Oblong, 19.4 x 14.2 cm, 5 partbooks, c.954 pp + commentary. A full-color facsimile edition of Oxford, Christ Church, MSS 984-988, written in the beautiful calligraphic hand of Robert Dow, a 16th-c. fellow of All Souls, Oxford. These partbooks—discantus, medius, altus, tenor, bassus—are a major source of music by William Byrd, Robert White, Robert Parsons, Alfonso Ferrabosco, John Shepherd, Thomas Tallis, William Mundy, Christopher Tye, Orlandus Lassus, John Taverner, Richard Farrant, and Peter Phillips. Much of the best loved music by William Byrd, Robert Parsons, and Robert White in particular is found in this source, especially pieces such as Byrd's “Ne irascaris”, Parsons' “Ave Maria” and “O bone Jesu”, and White's Lamentations setting for five voices. Many of the works are equally appropriate for viol consort as for vocal ensemble, and the superb presentation of the text and condition of the books makes this an ideal source from which to play and sing. With comprehensive indices and concordance list. Wrappers, with slipcase. $399 (more info... ) [item no.9140] [El Escorial, Bibl. del Monasterio, T.j.1 “E2”] Cantigas de Alfonso X El Sabio. Colección Scriptorium. Madrid, 2010. 35 x 50 cm, 512 pp + commentary. El Escorial Ms. T.j.I ("E2")—also known as "Códice Rico"—is the third of four surviving manuscripts that preserve the Cantigas repertoire, settings in a narrative format relating to Marian miracles and festivities. Although incomplete "E2" is considered the most important from the point of view of the miniatures. It is made up of 256 folios of parchment in the elegant French script of 13th-c. codices. Originally it contained 200 cantigas, but the loss of some folios has reduced the count to 196. This codex was lavishly illustrated with 1,257 miniatures on 210 of its folios and depicts a vast array of human typology in Spain during the 13th c. Deluxe, totally new, full-color facsimile in the original format, limited to 980 copies, bound in full leather with tooling. (more info... ) [item no.9203] Frühe Lautentabulaturen im Faksimile / Early Lute Tablatures in Facsimile. Herausgegeben von Crawford Young und Martin Kimbauer. Redaktion: Thomas Drescher. Pratica Musicale. Veröffentlichungen der Schola Cantorum Basiliensis, 6. Winterthur, 2003. 4º, 285 pp. Facsimiles of some of the earliest lute tablatures (hitherto unpublished) from the late 15th c. up until ca.1525 from Italian and German regions: Ms. Pesaro 1144 (produced in full color); and B/W reproductions of Ms Freibourg CU Cap. Res. 527 (olin Falk Z 105), Ms Vienna Mus.Hs. 41950 (Blindhamers Lautentabulatur), and Ms D-Mu, 4˚ cod. ms. 718 (Das Mathematik- & Tabulaturbuch des Jorg Wiltzell). The Pesaro source is a splendid manuscript in cordiform shape (extremely rare in music history) and transmits Italian poetry and music for lute and lira da braccio. Preface and commentary in Ger-Eng. Binding in leatherette, with handsome dust jacket with picture of an opening from the Pesaro MS; slipcase. $285 (more info... ) [item no.8471] [Harrach Ms.] Lautenmusik aus Schloß Rohrau. Werke von Silvius Leopold Weiss und anderen. Zwei Manuskripte für Barocklaute aus der Graf Harrach’schen Familiensammlung. Als Faksimile herausgegeben und kommentiert von Michael Freimuth, Frank Legl und Markus Lutz. Frankfurt, 2010. Oblong, 4º, xlviii, 268 pp. The world-famous art collection of the Harrach family is preserved in their castle at Rohrau near Vienna. In 2004 the curator of the collection, count Arco-Zinneberg, came across 7 manuscripts (2 of them lute tablatures) preserved together with the art collection. Christoph Angerer and Michael Freimuth were called to evaluate the mss and soon realized the value of the find, particularly of the lute tablatures. The first volume mostly contains works by Sylvius Leopold Weiss, among them 11 suites of several movements that have been previously unknown, 1 complete lute duet in 4 movements, and the suite in A that has so far survived as solo music, but here it is in the form of a trio for violin, lute and bass. The title of the second volume, "Lautenmusik von unbekannten Componisten" (lute music by unknown composers) was obviously caused by the scribe’s ignorance of the music, since already as many as 4 suites could be ascribed to Weiss by concordances. Other suites in the collection are composed in a style that is quite similar to Weiss’ style as well. Quite unexpectedly, the volume also contains 4 pieces for lute in renaissance tuning, notated in Italian tablature. The present volumes, comprising 200 pages, bridge a gap in the group of sources of lute music by Weiss, complementing other Weiss manuscripts in London and Dresden, as they mainly contain pieces of his early creative period. The 2 manuscripts in Rohrau contain a total number of 167 movements for the lute, organized in 26 suite-like sequences. Without doubt, these volumes are of the highest significance both for active lute players and for scholars. $225 (more info... ) [item no.9171] [Holmes lute book] The Matthew Holmes Manuscripts I: Cambridge University Library MS Dd.2.11. The Lute Society Facsimiles, 7. Guildford, 2009. 4º, 3 vols, 200, 78 pp. The crown jewels of the English renaissance lute repertoire, in a beautiful full-color facsimile. 324 pieces, mostly for 6-course lute, some for 7-course lute or bandora, by Dowland, Holborne, Cutting, Pilkington, Bacheler, Allison, Ferrabosco, Francesco da Milano and others. The unique source of 5 pieces by Dowland, and some remarkable anonymous works. A must for any serious devotee of the lute; and even includes some easy pieces for beginners, added by the scribe as page-fillers. Hardbound. $160 [item no.9206] [Kiel, Universitätsbibliothek, S.H. 8 A.8°] The Offices & Masses of St. Knud Lavard (✝1131) (Kiel, Univ. Lib. MS S.H. 8 A.8°). Reproduced in Facsimile, Transcribed and Edited by John Bergsagel. Volume 1: Facsimile; Vol. 2: Edition. With an Essay on the Historical Background by Thomas Riis. Musicological Studes, 65/17. Ottawa, 2010. 21 x 30, 2 vols, viii, 145, 72 pp. Full color reproduction of MS Kiel, Universitätsbibliothek S.H. 8 A 8°, compiled around 1202. Preserves the music for the complete monastic cycle of the Office of the Translation of St. Knud Lavard (25 June), as well as for the feast of his Passion (7 January), together with the proper items of their respective Masses..There can be little doubt that it records the words and music that were sung at the Translation of St. Knud Lavard on 25 June, 1170, and that the liturgical celebration of the Feast of the Passion, which was his major feast throughout the Middle Ages, was composed at the same time by the same composer (or team). This remarkable document is probably the earliest music composed in Denmark. Hardbound. $265 [item no.9190] [London, British Library, Royal MS 11 E XI] Music for King Henry. BL Royal MS 11 E XI. Commentary by Nicolas Bell. Performing Edition by David Skinner. London, 2009. 35 x 50 cm. 36, 120 pp, audio CD. Of all the courtly arts practiced by King Henry VIII, music was undoubtedly his greatest passion. As well as being a talented harpist and composer, Henry was a great patron of the musical arts in Europe, and his reign heralded a golden age in English choral music. Henry employed 58 full-time court musicians, more than any other monarch before or since, including a chapel choir that was said to be “more divine than human”. Many of today’s great English musical institutions such as the choirs of Christ Church, Oxford and King’s College, Cambridge were founded during his reign. Several manuscripts survive to testify to Henry’s love of music, but the most important is the Royal Choirbook, now British Library Royal MS 11 E XI. This magnificent collection of motets was presented to the 27-year-old Henry and Catherine of Aragon in 1518. It is exceptional for the sheer size and luxury of its production, its exquisite and ingenious heraldic illuminations, and not least, its personal significance to Henry. The Royal Choirbook was commissioned and designed by Petrus de Opitiis, an Italian merchant, and his son Benedictus, a talented organist who hoped to gain a position at court. Together they created a magnificent large-format volume of 6 motets. Composed by Benedictus and a musician named Sampson, these motets were written to appeal to the king on the deepest possible level, reflecting both his royal status and his dearest wish: the birth of a male heir. The Choirbook opens with a sumptuous frontispiece, rich in symbolism carefully chosen to celebrate Henry’s lineage. It depicts a rose bush with 3 large blooms. One is the red rose of Lancaster, while the red-and-white rose depicts the union of the houses of York and Lancaster. The crowned rose represents King Henry himself. A pomegranate tree, shown blooming in the garden of England, is the symbol of Catherine of Aragon, while a daisy and a marigold represent Henry’s two sisters, Mary and Margaret. As well as being a breathtaking piece of heraldic art, the frontispiece ingeniously incorporates the texts of the first two motets, Salve radix and Psallite felices, with Henry’s name highlighted in gold leaf. Deluxe facsimile edition limited to 500 copies, in quarter buckram with vegetable parchment boards, with gold and colored foils, edge-gilding and slipcase. With CD recording by the “Alamire Consort” directed by Dr. David Skinner. $845 (more info... ) [item no.9125] [London, Lambeth Palace Library, ms 1] The Arundel Choirbook. A Facsimile & Introduction by David Skinner. [Huttersfield]. 2003. 31 x 41 cm, 230 pp. 3 English choirbooks have survived intact from the early Tudor period: the Eton Choirbook, and the “Caius” and “Lambeth” Choirbooks (now housed at Gonville & Caius College, Cambridge, and Lambeth Palace Library, respectively). While Eton is known to have originated from the great college of that name, the provenance of Caius and Lambeth has, until now, been a complete mystery. The man responsible for their production has long been held to be Edward Higgons, a prominent Tudor lawyer and multiple plurist who was a canon of St. Stephen's, Westminster, where Nicholas Ludford, a principal composer in both manuscripts, was employed from the early 1520s. On the last page of the Caius Choirbook is written the inscription “Ex dono et opere Edwardi Higgons cuius ecclsie canonicis”, which may be translated as “By the gift and work of Edward Higgons, canon of this church”. The “ecclesia” is now believed to be St. Stephen's, although the origins of the Lambeth Choirbooks have been much less well understood. It has, however, been generally accepted that it too was produced for one of the ecclesiastical institutions with which Higgons was associated. This is a story of one music manuscript of thousands that must have circulated in late medieval England; it is also a narrative of only one musical institution from the hundreds that were in existence before the onslaught of Henry VIII's Reformation. The bulk of this Roxburghe Club volume constitutes a full-color facsimile of London, Lambeth Palace Library, MS 1 (“The Arundel Choirbook”), providing a single but significant resource that richly illustrates England's early musical heritage. The manuscript contains 7 masses, 4 magnificat settings and 8 motets. Robert Fayrfax is represented by 8 works, followed by Ludford (2), Sturton (1) and Lambe (1). The Arundel Choirbook is one of just three major choirbooks that survive from c.1490 to 1530. The original size of the choirbook, in “elephant” folio, has been reduced 50%–to 12.5 x 16.5 inches–for this facsimile edition. All text printed in letterset; total edition of 300 copies. Quarter leather bound, wood boards. (few copies remaining). $795 (more info... ) [item no.8361] [Lucca, Archivio di Stato, ms 238; Lucca, Archivio Arcivescovile, ms 97] The Lucca Choirbook. Lucca, Archivio di Stato, MS 238; Lucca, Archivio Arcivescovile, MS 97; Pisa, Archivio Arcivescovile, Bibliotheca Maffi, Cartella 1 1/III. With and Introduction and Inventory by Reinhard Strohm. Late Medieval and Early Renaissance Music in Facsimile, 2. Chicago, 2008. 26 x 36 cm, 208 pp. More than forty years ago in the state archives of Lucca, Italy, Reinhard Strohm noticed that bindings on some of the books consisted of the pages of a centuries-old music manuscript. In the following years, Strohm worked with the archivists to remove these leaves and reassemble as much as possible of the original manuscript, a major cultural recovery now known as The Lucca Choirbook. The recovered volume comprises what remains of a gigantic cathedral codex commissioned in Bruges around 1463 and containing English, Franco-Flemish, and Italian sacred music of the 15th century—including works by Dufay and Isaac. This facsimile of the choirbook includes all the known leaves, ordered according to their proper placement in the original codex. In the introduction, Strohm tells the fascinating story of this choirbook, identifying its early users and reconstructing its travel from Bruges to Lucca. Linen. $185 (more info... ) [item no.7081] [Milan, Biblioteca dell’Università Cattolica del S. Cuore, ms. catt. 5] L’“Antiphonarium letaniarum” ambrosiano del 1492. A cura di Giacomo Baroffio e Eun Ju Kin e una presentazione di Ellis Sada. Bibliotheca Mediaevalis, 1 Lucca, 2008. 20.5 x 28 cm, xxxii, 150 pp. Deluxe full-color reproduction of a late 15th-c. Ambrosian processional. This beautifully executed "Antiphonale of the Litanies" in characteristic Ambrosian script was acquired by Catholic University of the Sacred Heart in 1970, gift of Father Oblati di Rho. It contains the antiphons of the Rogation week according to the Milanese ritual, a complex liturgical intinerary celebrated on Monday, Tuesday and Wednesday after Ascension, that is, at the beginning of the week preceeding Pentecost. The liturgy provided the singing of the antiphons during the processional itinerary where both congregation and clergy participated. The procession lasted 3 days and went to 30 churches; 13 churches during the first day and 11 and 12 (or 14) the following days. The book was written in 1492 by Antonio de Lampugnano, commissioned by Cristoforo de Camponibus, a canon of S. Maria della Scala. The later provided to include the music according to the canonic calligraphy of the gothic Lombard notation used exclusively in the liturgical Ambrosian books. The only historiated miniature, at the beginning of the litanies, shows St. Ambrosio seated with the mitre and pallium. Two miniatures signal the beginning of the second and third days of the litanies. The topographic index confirms the local character of the chants. The majority of them are transmitted solely in the books of the Ambrosian rite; few are common with the Roman tradition and probably derived from it. Hardbound. $280 (more info... ) [item no.9015] [Nauclerus lute book] Johannes Nauclerus Lautenbuch. Gesamtfaksimile / Complete Facsimile. Faksimile nach der Lautenhandschrift in der Staatsbibliothek Berlin—Preußischer Kulturbesitz, Signatur: Mus. ms. 40141. Kommentar und Konkordanzen: Ralf Jarchow. Glinde, 2010. 21 x 30 cm, 208 pp. The lute book of the North Frisian pastor Johannes Nauclerus (1579-1655) was copied between 1607 and c.1620 and it is one of the most frequently cited “student manuscripts” of the time. Apart from pieces for 6- to 8-course lute written in French and some in German tablature, there are 5 pieces for cittern. The extensive research for his biography shows also the acquaintance of the contemporary pastor Petrus Fabricius, to whose well-known song and lute book, there are also numerous concordances. Composers: Adriaenssen, Azzaiolo, Besard, Cutting, Denss, J. Dowland, Fabricius, Fuhrmann, Gastoldi, Haussmann, Holborne, Huet, Lechner, Lorenzini, Luther, Meiland, Nauclerus, Otto, Regnart, Reymann, Robinson, Schröter, Senfl, Thym, Vecchi, Waissel, & Walter. Commentary in Ger-Eng. Hardbound. $102 (more info... ) [item no.9197] Le codex de Chypre (Torino, Biblioteca Universitaria.J.II.9). Vol.I: Rondeaux et virelais I. Edition par Cécile Beaupain et Germana Schiassi sous la direction de Raphaël Picazos. Opus Artis Novae, Polyphonies et Transcription Diplomatique 1300-1500, 1 Bologna, 2011. 4º, 127 pp. New critical edition using diplomatic transcription principles (original clefs, mensural notation). Wrappers. (In process of continuation, standing orders invited). $82 [item no.9225] [Oxford, Christ Church, MSS 984-988] The Dow Partbooks, Christ Church, Oxford, MSS 984-988. Facsimile Edition. Introductory Study by John Milsom. Oxford, 2010. Oblong, 19.4 x 14.2 cm, 5 partbooks, 960 pp; 150 pp. A full-color facsimile edition of Oxford, Christ Church, MSS 984-988, written in the beautiful calligraphic hand of Robert Dow, a 16th-c. fellow of All Souls, Oxford. These partbooks—discantus, medius, altus, tenor, bassus—are a major source of music by William Byrd, Robert White, Robert Parsons, Alfonso Ferrabosco, John Shepherd, Thomas Tallis, William Mundy, Christopher Tye, Orlandus Lassus, John Taverner, Richard Farrant, and Peter Phillips. Much of the best loved music by William Byrd, Robert Parsons, and Robert White in particular is found in this source, especially pieces such as Byrd's “Ne irascaris”, Parsons' “Ave Maria” and “O bone Jesu”, and White's Lamentations setting for five voices. Many of the works are equally appropriate for viol consort as for vocal ensemble, and the superb presentation of the text and condition of the books makes this an ideal source from which to play and sing. With comprehensive indices and concordance list. Wrappers, with slipcase. $399 (more info... ) [item no.9140] [Oxford, Eton College Library, MS 178] The Eton Choirbook. A Full-Colour Facsimile of Eton College Library, MS 178. Oxford, 2010. 30.6 x 42,7 cm, 60 + vi, 252 + vi pp. One of the most iconic of music manuscripts, the Eton Choirbook is of unique importance, both in its own right as a cultural artefact and as a source of English choral polyphony composed during the late 15th and early 16th centuries. Had it perished, along with so many other (less fortunate) pre-Reformation music manuscripts, our knowledge of a critical moment in the history of English music would have been immensely diminished. Ever since it was first copied for use in the college chapel in the early 1500s, the choirbook has been continuously in the possession of Eton College. Several composers whose works were included in it had close associations with the college, not least Robert Wylkynson, who served as the college’s informator choristarum from 1500. Other composers represented include Banastre, Browne, Cornyshe, Davy, Fawkyner, Fayrfax, Hygons, Lambe and Turges. Most of its original contents (67 out of a total of 93 pieces) were votive antiphons, or devotional motets of prayer and praise, sung each evening to the Virgin Mary, the college’s dedicatee. The Salve ceremony, familiar to worshippers throughout Catholic Europe, lay at the heart of Eton College’s raison d’être as a chantry college: the Eton Choirbook is an eloquent witness to this flowering of devotional culture on the eve of the Reformation. The manuscript is also a work of consummate artistry, copied by an experienced scribe on large vellum leaves, and illuminated by a professional limner. Even in its in-complete state (nearly half of its original 224 leaves have been lost), the Eton Choirbook is the undoubted queen of early Tudor music manuscripts. Commentary by Magnus Williamson. Limited edition, bound with buckram or full-leather. $550 (more info... ) [item no.9135] [Oxford, Eton College Library, MS 178] The Eton Choirbook. A Full-Colour Facsimile of Eton College Library, MS 178. Oxford, 2010. 30.6 x 42,7 cm, 60 + vi, 252 + vi pp. (same as above but with binding in full buckram) $425 (more info... ) [item no.9142] [Paris, Bibliothèque Nationale, Rothschild 2973] Le chansonnier Cordiforme de Jean de Montchenu. Valencia, 2007-2008 Heart shaped, 22 x 16 cm, 144 pp + commentary. This exceptional MS, closed, is shaped like a heart; it opens into the shape of a butterfly composed of the hearts of the two lovers who send love messages to one another in each one of the songs. When the word “heart” appears in the texts, it is represented by a pictogram. Two full-page illustrations appear in the codex. In the first, Cupid throws arrows at a young girl while at his side Fortune spins his wheel. In the other, two lovers approach one another lovingly. Throughout the MS the staff lines, music and love poems are surrounded by borders made up of animals, birds, dogs, cats and all kinds of flowers and plants highlighted in abundant and delicate gold. The book gets its name from Jean de Montchenu, a nobleman, apostolic prothonotary, Bishop of Agen (1477) and later of Vivier (1478-1497) who commissioned the work. The music repertoire consists of French and Italian songs written by Dufay, Ockeghem, Busnois and their contemporaries. Limited edition of 1380 copies bound in red velvet after the original; 2-part slipcase covered in black and red leather. (more info... ) [item no.8927] [Paris, Bibliothèque Nationale, Rothschild 2973] Chansonnier de Jean de Montchenu (ca. 1475). Commentary to the Facsimile of the Manuscript Rothschild 2973 (I.5.13) in the Bibliothèque Nationale de France by David Fallows. Valencia, 2008 23 x 32 cm, 163 pp. Commentary volume to the facsimile, available separately. $195 [item no.6728] [”Rost” ms] Manuscrit Rost. Œuvres anonymes et de Abel, Bertali, Cazzatti, Eberlin, Fuchs, Heller, Kerll, Krieger, Majer, Milschewski, Nicolai, Richardo, Rosenmüller, Rosier, Schmelzer, Stoss, Valentini, Vitali, Zamboni. Premier volume 1: Œuvres pour violon, alto, ou viole d’amour, ou viole de gambe, et basse continue. Présentation par Catherine Puig. Collection Dominantes. Courlay, 2008. 23 x 33 cm, 144 pp. Anthology string music by Italian and German masters. Introduction in Fr-Eng-Ger. Wrappers. $56 [item no.8967] [”Schwerin” Lutebook] The Schwerin Lute Book (Ms Mus 641), ca. 1650. Introduction: François-Pierre Goy. Lübeck, 2011. 21 x 30 cm, 2 vols. This manuscript contains 86 pieces for Baroque lute and is the main source for the music of the Paris master Germain Pinel of whom we find many unica in this source. Other composers include Dufaut, Denis & Ennemond Gaultier, Strobel, Dubut, Gumprecht and Mercure. The edition comes in 2 volumes and contains a complete reproduction of the manuscript as well as a large essay (in German) and full index and concordances by François-Pierre Goy. French tablature, Baroque tuning. Ring binding. $72 [item no.9246] Tallin, Eesti Ajaloomuuseum (Tallin, Historical Museum), MS 237.1.228a (XIX.184; 240750. Herausgegeben von / Edited by Victoria Goncharova. Publications of Mediaeval Musical Manuscripts, 35. Ottawa, 2008. 27 x 40, xli, 630 pp. Halftone of a Antiphonal-Gradual from Preetz (near Kiel), copied c. 1525. Written in in “Hufnagel” script, Ms 237.1.228a is a witness to the liturgical practice of one of the largest and most influential Benedictine convents in Schleswig-Holstein. Hardbound. $305 [item no.8965] The Thysius Lute Book / Het Luitboek van Thysius. Facsimile Edition of Leiden, Bibliotheca Thysiana 1666. Volume I: Introduction - Jan W.J. Burgers & Louis Peter Grijp; Concordances - Louis Peter Grijp, Simon Groot & John H. Robinson; Volume II. Facsimile Edition Folios 1-233; Volume III: Facsimile Edition Folios 233v-521v. Muziek uit de Republiek. Leiden & Utrecht, 2009 23 x 33 cm, 3 vols, 158, 380, 477 pp. Halftone. The Thysius Lute Book—taking its name from the Leiden bibliophile who acquired the manuscript in the 19th c.—is the world’s most comprehensive lute volume. Compiled by Adriaen Smout from Rotterdam between the years 1595-1646, the book is a complete international repertoire comprised of Italian dances such as passamezzi and galliardas, fancies, intabulations of madrigals, chansons and motets, psalms and English, French and Dutch ballads and dances. It includes lute music by John Dowland, John Johnson, Thomas Morley, Thomas Robinson, Robin Jones and others, arrangements of chansons by Thomas Crecquillon, Pierre Sandrin, Clemens non Papa, Claudin de Sermisy and Orlando di Lasso, madrigals by Palestrina, Ferretti and Noë Faignient, motets by Peter Phillips, Pietro Lappi, Arcangelo Bussoni, Giulio Belli and others, psalm settings by Jan Pietersz Sweelinck, Claudin le Jeune and Claude Goudimel, and many anonymous settings of ballads and dances. Smout also showed great interest in popular culture and included many peasant ditties and light-hearted song tunes. There are also remarkable lute quartets. All music has been notated in seven-line French lute tablature. 3 vols, hardbound, in slipcase. $299 (more info... ) [item no.9115] Tonini, Giuliano. Scrinium musices. La raccolta di manoscritti e stample musicali Toggenburg di Bolzano (secc. XVIII-XIX) in deposito presso l’Archivio provinciale di Bolzano. / Die Bozner Musikaliensammlung Toggenburg (18.-19. Jahrhundert) im Südtiroler Landesarchiv. Atti del convegno - Bolanzo, Sala Vivaldi, Giovedi, 14 dicembre 2006 / Akten des Vortrasabends -Bozen, Vivaldi-Saal, Donnerstag, 14. Dezember 2006. A cura di / herausgegeben von Giuliano Tonini. Lucca, 2010. 29 x 37 cm, xxxii, 150 pp. Conference proceedings together with full-colorr reproductions of a selection of music works, including Johann Baptist Gänsbacher, Serenade pour Violon ou Flûte et Guitarre op.12 and Leonhard von Call, Serenade pour Violon ou Flûte et Guitarre op.54. Linen. $150 [item no.9159] Tre intermezzi. Le rovine di Troia (Dragontana e Policrone), 1707; Melissa contenta, 1707-1708; Cuoco e Madama (La preziosa ridicola), 1724. Partiture in facsimile, Edizione dei libretti, Saggo introduttivo a cura di Francesca Menchelli-Buttini. Drammaturgia Musicale Veneta, 10. Milan, 2008. Oblong, 29 x 23 cm, lv, 219 pp. Line-cut of contemporary manuscript copies. This 10th volume in the series Drammaturgia Musicale Veneta consists of a facsimile edition of the scores for the intermezzi Le rovine di Troia (Dragontana e Policrone) by Antonio Lotti, Melissa contenta by Lotti or Francesco Gasparini, and Cuoco e Madama (La preziosa ridicola), whose attribution to Antonio Caldara is uncertain. The first two operas, performed at the Teatro San Cassiano, Venice, in 1707-1708, attest to the beginning of a genre, whereas the Viennese setting for Cuoco e Madama, dated 1724, is evidence of its dynamism and popularity. La preziosa ridicola had many revivals, such as the Rome première in 1712 and a production in Venice in 1719. As a consequence, the original scenario was constantly subject to variations, at times significant in terms of form and content. The facsimile reproductions of the ms scores are accompanied by the transcription of the librettos with, as is the modern custom, “notes on the text”, illustrating the general criteria and some specific solutions. The introductory essay comments on both the texts and the music, highlighting aspects such as the wide use of parody, meta-theatre, tradition, intertextuality and the very close relationship between La preziosa ridicola and the original by Molière. Linen. $231 [item no.8976] The Wickhambrook Lute Manuscript : US-NH, New Haven (CT) Yale University Irving S. Gilmore Music Library Music deposit 1 : (formerly Rare Ma21 W632). Introduction by Ian Harwood; Inventory, Notes and Bibliography by John H. Robinson. The Lute Society Facsimiles, 6. Guildford, 2008. 4º, xxii, 32 pp. Large folio-sized ms compiled in the 1590s, perhaps to collect and preserve lute music by John Johnson, who died in 1594, and whose works predominate in this source. It contains what seems to be an autograph of his son, Robert Johnson. It contains 24 pieces, all for 6-course lutes, including 2 duets; 11 by John Johnson, 4 by Dowland (this is the unique source of ŒTarleton’s Resurrection), 2 by Philip van Wilder, 1 each by Holborne, Peter Philips, and Lassus, and 5 by anon. The original hands are beautifully clear and easy to play from. Wrappers. $52 [item no.9205] MODERN EDITIONS Bellini, Vincenco (critical vocal score) La sonnambula. Riduzione per canto e pianoforte condotta sull’edizione critica della partitura a cura di / Reduction for Voice and Piano based on the Critical Edition of the Orchestral Score Edited by Alessandro Roccatagliati and Luca Zoppelli.[Critical Editions of Vocal Scores]. Milan, 2010. 8º. Wrappers. $46 [item no.6897] Bernardi, Stefano. Concerti academici con varie sorte di sinfonie a sei voic. 1615-1619. Trascrizioni: Flavio Cinquetti, Matteo Zenatti. Revisione, introduzione e apparato critico: Maro Materassi. Lucca, 2008. 4º, xx, 151 pp. Critical edition. Wrappers. $45 [item no.6700] Brahms, Johannes (new critical edition) Symphonie Nr. 4 E moll, opus 98. Herausgegeben von Robert Pascall. Neue Ausgabe sämtlicher Werke, I/4. Munich, 2011. 4º, xxxv, 204 pp. New critical edition. Cloth. $358 [item no.6926] Brahms, Johannes (new critical edition) Violonkonzert D-Dur Opus 77. Doppelkonzert A-Moll Opus 102. Klavierauszüge. Herausgegeben von Linda Correell Roesner und Michael Struck. Neue Ausgabe sämtlicher Werke, IA/7. Munich, 2010. 4º, xx, 228 pp. New critical edition of the violin/piano reduction score for the Violin Concerto op.77 and Double Concerto op.102. Cloth. $339 [item no.6908] Brahms, Johannes (new critical edition) Sonaten für Klavier und Violoncello, Nr.1 E-Moll Opus 38; Nr.2 F-Dur Opus 99. Sonaten für Klarinette (oder Viola) und Klavier, Nr.1 F-Moll Opus 120 Nr.1, Nr.2 Es-Dur Opus 120 Nr.2. Herausgegeben von Egon Voss und Johannes Behr. Neue Ausgabe sämtlicher Werke, II/9. Munich, 2010. 4º, xxxvi, 185 pp. New critical edition of opus 38, 99, & 120. Cloth. $268 [item no.6907] Brahms, Johannes (new critical edition) Klavierstücke. Scherzo Opus 4, Vier Balladen Opus 10, Walzer (zweihändig) Opus 39, Acht Klavierstücke Opus 76, Zwei Rhapsondien Opus 79, Sieben Fantasien Opus 116, Drei Intermezzi Opus 117, Sechs Klavierstücke Opus 118, Vier Klavierstücke Opus 119. Herausgegeben von Katrin Eich. Neue Ausgabe sämtlicher Werke, I/4. Munich, 2011. 4º, xlvi, 339 pp. New critical edition. Cloth. $586 [item no.6927] Chambonnières, Jacques Champion de. The Collected Works. Edited by Bruce Gustafson & Denis Herlin. The Art of the Keyboard, 11. New York, 2011. 4˚, 2 vols. Wrappers. [item no.6917] Colusso, Flavio. Missa sancti Andreae Avellino per soli, schola gregoriana, coro di voci bianche e strumenti. Proprium missae della festa del Santo con testi di Valentín Arteaga C.R. e Vincenzo Cosenza C.R. Napoli 2008. Partitura / Full Score / Partitura. A cura di Domenico Antonio D’Alessandro. Musica Theatina, 6. Lucca, 2008. 4º, xxxii, 107 pp + audio CD. Critical edition of three religious settings: Confitebor tibi domine, Laetatus sum & Pastorale per la Novena del Signore. The first of 12 volumes dedicated to this composer. Wrappers. $43 [item no.6737] Composizioni inedite dall’intavolatura d’organo tedesca di Torino. A cura / Edited by di D. Felici. Bibliotheca Musica Bononiensis, IV/104. Bologna, 2011. Oblong, 4°, xl, 153 pp. Transcription of toccatas and ricercari, to a large extent unpublished, taken from German tablatures for keyboard in the Foà Giordano holdings, preserved in the National Library of Turin. The manuscript contains works by Italian, German and anonymous composers which, despite the variety of styles presented, testify to the rich fabric of exchanges and mutual influences that occurred between northern and southern Europe in the first 30 years of the 17th c.. Introduction in Eng-It. Wrappers. $69 [item no.6923] Croft, William. Canticles and Anthems with Orchestra. Edited by Donald Burrows. Musica Britannica, XCI London, 2011. 4º, li, 207, 26 pp. Modern critical edition. Buckram. $164 [item no.6925] Croft, William. Complete Chamber Music. Edited by H. Diack Johnstone. Musica Britannica, LXXXVIII. London, 2009. 4°. xxxvii, 104 pp. Modern edition. Hitherto unpublished, the 4 trio sonatas and 2 five-part sonatas by William Croft, which came to light in 1977, are among the most interesting and rewarding of English chamber works to have been written in the period between the trio sonatas of Purcell and those of Boyce and Arne. Possibly first heard at the concerts of the musical smallcoals man, Thomas Britton, they are complemented by 6 sonatas for 2 solo recorders, and 3 violin sonatas that are amongst the earliest printed works in this genre by an English composer. Buckram. $136 [item no.6841] Dering, Richard. Motets for One, Two or Three Voices and Basso Continuo. Transcribed and Edited by Jonathan P. Wainwright. Musica Britannica, LXXXVII. London, 2008. 4°. 161 pp. Modern edition. The music of Dering forms a lively commentary on the complex artistic interchange between England and the continent in the early 17th century and the picture is extended with this collection of small-scale settings of Latin texts with continuo accompaniment. Performed both in the chapel of Queen Henrietta Maria and in the residential quarters of Oliver Cromwell, these pieces were clearly much in demand for intimate devotional observances. Motets from printed and manuscript sources are included, as well as incomplete works plausibly attributed to the composer. Buckram. $162 [item no.6691] Donizetti, Gaetano (new critical edition) Pia de’ Tolomei. Reduction for Voice and Piano Based on the Critical Edition of the Orchestral Score, Edited by Giorgio Pagannone [Critical Editions of Vocal Scores]. Milan, 2008. 8º. Wrappers. $55 [item no.6842] Donizetti, Gaetano (new critical edition) Deux hommes et une femme. Edizione critica a cura di Paolo Rossini e Francesco Bellotto. Partitura. Critical Edition of the Works of Gaetano Donizetti, [9]. Milan, 2008. 4º, 384 pp. First performed a dozen years after the composer’s death, Deux Hommes et une femme (Rita) has become, in the last 50 years, one of the more frequently performed of all of Donizetti’s operas. Yet the version known to modern audiences reflects apocryphal additions introduced for the posthumous premiere. This new critical edition establishes for the first time the version of the opera conceived by Donizetti. In particular, it restores the French-language spoken dialogue—reconstructed thanks to a recently discovered MS libretto with autograph annotations—dialogue around which the composer constructed this delightful opéra comique. The edition is based on Donizetti's autograph manuscript, which allows for the part of Pepé to be sung either by a tenor or a baritone, and which restores many important details that were lost or ignored when the opera came to be revived. Cloth. $250 [item no.6706] Donizetti, Gaetano (new critical edition) Deux hommes et une femme. A cura di Paolo A. Rossini, con la collaborazione di F. Bellotto. Riduzione per canto e pianoforte / Reduction for voice and piano. [Critical Editions of Vocal Scores]. Milan, 2010. 8º, 262 pp. Wrappers. $56 [item no.6898] Donizetti, Gaetano (new critical edition) Betly. Opera comica in un atto / Opera comica in One Act. Edizione critica / Critical Edition a cura di / Edited by Ellen Lockhart e Julia Lockhart. Partitura / Full Score. Critical Edition of the Works of Gaetano Donizetti, [10]. Milan, 2010. 4º, 2 vols, 614 pp. Cloth. $408 [item no.6905] Storace, Stephen. Gli Equivoci. Musica Britannica, LXXXVI. London, 2008. 4°. xlvi, 399 pp. Modern edition. This is the first published version of a major comic opera written in 1786 for Vienna’s Burgtheater, to a da Ponte libretto adapted from Shakespeare's The Comedy of Errors. A pupil of Mozart, Stephen Storace was a major figure in English opera of the late 18th c. and Gli equivoci is a unique testament to his versatility and promise. The work is issued in a reduction for voices and keyboard, with an English singing translation. Buckram. $198 [item no.6682] [Florence, Bibl. Naz. Centr., Panciatichi 27] Florence BNC, Ms. Panciatichi 27. Text and Context. Edited by Gioia Filocamo. Monumenta Musica Europea, II/1. Turnhout, 2010. 4°, xx, 988 pp. Ms Panciatichi 27 is a combination of two smaller manuscripts (f.1-120; f.121-216) compiled possibly in Mantua or Ferrara at the beginning of the 16th c. Consisting of a mix of secular and sacred works and a wide range of genres (parts of masses, motets, magnificat sections, litanies, lamentations, dances, instrumental pieces, frottole, laude, chansons, etc.) its composers include Agricola, Bergomotius, Brumel, Cara, Tromboncino, Caron, Compère, Dionisius of Piacenza, Dominicus, G. Fogliano, Ghiselin, Hayne van Ghizeghem, Isaac, Japart, Josquin, Musipula, Pamphilus, Peragulfo, Pinarol, Pisano, Renaldo, Stokhem, Tinctoris, Turis, Vilet, Weerbecke, and 114 anonymous pieces. Hardbound. $216 [item no.8821] [Goruppi, Giuliano] Antichi e nuove melodie di natale. Elaborazioni per coro, quattro strumenti a fiato e organo di Giuliano Goruppi. Lucca, 2009. 23 x 31.5 cm, x, 188 pp. Critical edition of 9 Christmas songs. Contents: Luciano Migliavacca “Brilla una luce in cielo”; Tradizionale, “Conventry Carol”; Enrico Capaccioli, “Lieti Pastori”; Settimio Zimarino, “Ninna nanna a Gesù bambino”; Luigi Ricci, “Pastorale”; Carlo Adolfo Bossi, “Puer natus”; Stanko Premrl, “Quem Vidistis”; Jan Kampanus Vodnansky, “Rorando caeli defluant”; Katherine Davis, “The little drummer boy”. Wrappers. $40 [item no.6877] Henry d’Anglebert, Jean. The Collected Works. Edited by C. David Harris. The Art of the Keyboard, 7. New York, 2009. 4˚, 2 vols. Wrappers. $100 [item no.6916] Ingegneri, Marc’Antonio (complete works) Il primo libro de’ madrigali a quattro voci. Edited by Lucia Marchi. Opera Omnia Marc’Antonio Ingegneri, Edizione Critica, II/1. Lucca, 2009. 4º, lvi, 124 pp. Critical edition. Wrappers. $48 [item no.6851] Jenkins, John. Fantasia-Suites: II. Transcribed and Edited by Andrew Ashbee. Musica Britannica, LXXVIII. London, 2010. 4º, xxxii, 159 pp. Modern critical edition. This collection includes the fantasia-suites for treble, two basses and organ by John Jenkins. Though it is impossible to date these pieces precisely, the abandonment of the galliard third movement in favor of the corant suggests a provenance later than that of the fantasia-suites in vol.I (MB 78). The virtuoso writing of the “divisions” is among the most demanding of all English consort music, and each of the nine suites commences with an extended fugal section as elaborate as anything found in the composer's viol fantasies—that of the seventh being undoubtedly amongst his finest works. Also included are the 29 surviving bass parts of the Divisions for Treble and Two Basses. Buckram. $146 [item no.6889] The Mulliner Book (I). Edited by John Caldwell. Musica Britannica, I London, 2010. 4º, xxxii, 159 pp. Modern critical edition. The Mulliner Book is published in a completely new edition on the occasion of the 60th anniversary of Musica Britannica. A major source of 16th-c. keyboard music, it is also a compilation of music for cittern and gittern, plus a short vocal piece by Mulliner himself, available for the first time complete in one volume with a detailed commentary. The collection is also of importance for the light it sheds on musical tastes and attitudes at a time when the Reformation and its consequences were becoming embedded in the national psyche. Buckram. $168 [item no.6909] Libro de diferentes cifras (1705). Cifras para Tañer, 1. Madrid, 2008. 20 x 29 cm, xxiv, 73 pp. Study and transcription by Francisco Alfonso Valdivia. Preserved in the Biblioteca Nacional in Madrid, this important manuscript for 5-string guitar dated 1705 contains 107 anonymous pieces, with the exception of one attributed to Francesco Corbetta. Gaspar Sanz is well represented, both in the literal copy of the Instucción de música as in the reuse of some of its differences; several pieces are related to works of Santiago de Murcia which could mark the first cronological source of this guitarist. There are many French inpired dances together with the genuinely Spanish ones. Wrappers. $41 [item no.6875] [Magnus liber organi (new critical edition)] Les organa et les clausules à deux voix du manuscrit de Wolfenbüttel, Herzog August Bibliothek, Cod. Guelf. 628 Helmst. Édition établie par Edward H. Roesner. Plain-chants établis par Evan Angus MacCarthy et Greta-Mary Hair. Le Magnus Liber Organi de Notre-Dame de Paris, VII. Monaco, 2009. 4º, lvii, 394 pp. Critical edition of the 2-voice Notre Dame organa from W1. Cloth. (This volume is the seventh and last of this important project) $595 [item no.5831] Mazzocchi, Domenico. Madrigali a cinque voci e d’altri varij Concerti 1638. A Cura di Luca Mancini. Lucca, 2009. 4º, xxii, 196 pp. Critical edition. Wrappers. $48 [item no.6867] Mazzocchi. Domenico. Madrigali a cinque voci e d’altri varij concerti 1638. A cura di Luca Mancini. Lucca, 2009. 21 x 31 cm, xxi, 196 pp. Critical edition. Wrappers. $46 [item no.6879] Monteverdi, Claudio. Madrigali, Libro VII. A cura di Andrea Bornstein. Urtext. Claudio Monteverdi, Madrigali, Opera Completa, 7. Bologna, 2008. Score. $85 [item no.6466] Monteverdi, Claudio. Madrigali, Libro VII. A cura di Andrea Bornstein. Urtext. Claudio Monteverdi, Madrigali, Opera Completa, 7. Bologna, 2008. Separate parts. $130 [item no.6713] Naccimbeni, Stefano. Messe a otto voci con la partitura per l’organo. A cura di Licia Mari. Musiche della Basilica di Santa Barbara in Montova, 1. Lucca, 2009. 21 x 31 cm, xviii, 256 pp. Critical edition. Wrappers. $69 [item no.6881] Sainte-Colombe. Concert à deux violes esgales du Sieur de Sainte-Colombe, éd. Paul Hooreman. Paris, 2/2010. 4º, xxii, 232 pp. Modern edition. 7 concerts for 2 bass viols with descriptive titles such as “Le Tembleur”, “Le Retour”, “L’Estonne”, etc. Wrappers. $85 [item no.6919] Turrini, Ferdinando. Sei sonate per cembalo. Raccolta fini. A cura di Giusy De Berardinis. Lucca, 2009. Oblong, 4º, xxiii, 67 pp. Critical edition. Wrappers. $48 [item no.6855] Verdi, Giuseppe. Hymns / Inni. The Piano-Vocal Score Based on the Critical Edition of the Orchestral Score by Roberta Montemorra Marvin. [Critical Editions of Vocal Scores]. Milan, 2009. 8º, 64 pp. Wrappers. $25 [item no.6715] Weill, Kurt (collected edition) Zaubernacht. Edited by Elmar Juchem and Andrew Kuster. The Kurt Weill Edition, I/0. New York, 2008. 30 x 39 cm. Zaubernacht is an hour-long stage work scored for an imaginative 9-piece ensemble consisting of flute, bassoon, percussion, piano and 5 string players. Weill composed this children's pantomime in 1922, while he was a member of Ferruccio Busoni's master class in composition in Berlin. Based on a scenario by Wladimir Boritsch (1891–1954), an elusive writer and impresario from Russia, the pantomime received its world premiere on 18 Nov. 1922 at Berlin's Theater am Kurfürstendamm. The work's only other production occurred at New York City's Garrick Theatre in December 1925, after which the orchestration disappeared. After 80 years of obscurity, Kurt Weill’s first stage work is available again in this critical edition thanks to the rediscovery of the original set of instrumental parts at Yale University in 2006. Cloth. (Subscribers to the series receive a substantial savings). $340 (more info... ) [item no.6727] Weill, Kurt (collected edition) Popular Adaptations, 1927-1950. Edited by Charles Hamm, Elmar Juchem and Kim H. Kowalke. The Kurt Weill Edition, IV/2. New York, 2009. 30 x 39 cm. 326 pp. Thanks to a sustained, multiyear search, every known popular adaptation of Weill's music published during his lifetime is included in a full-color gallery of covers and its catalogue: workers' choruses, virtuosic violin showpieces, sheet music, vocal gems and selections, polyglot songbooks, newspaper supplements, anthologies, dance band and choral arrangements. Particularly prone to physical deterioration and loss over time, some of these items have apparently survived only as unica. The 176 covers tell a colorful tale all on their own, and each of the 38 black-and-white facsimiles is printed at full size and in original format. A magisterial essay by Charles Hamm, one of the foremost scholars of popular music in the 20th century, accompanies the illustrations and discusses each facsimile in detail. As none of Weill’s theatrical works were available in full score, the publication is an essential volume in documenting how Weill's music was transmitted and received during his lifetime. Cloth. (Subscribers to the series receive a substantial savings). $225 (more info... ) [item no.6839] Weill, Kurt (collected edition) Music with Solo Violin. Edited by Andreas Eichhorn. The Kurt Weill Edition, II/2. New York, 2010. 30 x 39 cm. 246; 71 pp. This volume contains the full scores of the Concerto for Violin and Wind Orchestra, op. 12, and Der neue Orpheus, op. 16, Weill’s cantata for soprano, solo violin, and orchestra on a text by Iwan Goll. Weill composed the works in 1924 and 1925, respectively. The concerto received its world premiere in 1925 in Paris during the “Exposition internationale des Arts décoratifs et industriels modernes” (the international arts fair that gave rise to the term art “deco”); the cantata was first heard in 1927 when Erich Kleiber conducted it at Berlin's Staatsoper. Although piano reductions appeared during the composer's lifetime, he never saw the works published in full score. In 1965 Universal Edition issued a full score of the concerto, but it was not actually engraved, and it lacked editorial commentary. Linen. $375 (more info... ) [item no.6904] Wesley, Samuel. Anthems III. Edited by Peter Horton. Musica Britannica, LXXXIX. London, 2010. 4°. xlv, 223 pp. Modern edition. The third and final volume devoted to the anthems of S. S. Wesley completes the canon with 23 original works written in the period between his departure from Exeter Cathedral to become organist of Leeds parish church in 1842 and 1874, the likely date of his final essays in the genre. Moving towards a greater simplicity of style, with less counterpoint and dissonance, but emphasising elements of colour, timbre and texture, these works are in general conceived on a more modest scale than earlier pieces such as The Wilderness. Even so, they show the composer continuing to experiment with the Anglican verse anthem, the evolution of which had been the cornerstone of a creative achievement without equal in the history of the English cathedral tradition between Purcell and Stanford. Buckram. $149 [item no.6876] MONOGRAPHS Agamennone, Maurizio. Su Daniele Paris. Storie e memorie di un direttore d’orchestra.Documenti di Storia Musicale Abruzzese, 6. Lucca, 2009. 8º, 358 pp, audio CD. Wrappers. $65 [item no.6880] [Alamire Foundation] Yearbook of the Alamire Foundation 6. [Proceedings of “Bruges-Venice: Music in Two Urban Mosaics”, Bruges, 14-16 December 2001; and part I of the 17th International Congress of the International Musicological Society, Leuven, 1-7 August 2002]. Leuven-Neerpelt, 2008. 8º, 432 pp. Contents - Mary E. Wolinski: Drinking Motets in Medieval Artois and Flanders; Julie E. Cumming: From Variety to Repetition: The Birth of Imitative Polyphony; Eric Rice: The Role of Acoustics in the Performance of Renaissance Polyphony at the Collegiate Church of Saint Mary in Aachen; Katelijne Schiltz: Polyphony and Word-Sound in Adrian Willaert’s Laus Tibi Sacra Rubens; Luminita Florea: Virtus Scriptoris: Steps towards a Typology of Illustration Borrowing in Music Theory Treatises of the Late Middle Ages and the Renaissance; C. Matthew Balensuela: Ut hec te figura docet: The Transformation of Music Theory Illustrations from Manuscripts to Print; Thomas Holme Hansen: Change and Continuity in Twentieth-Century Textbooks on Sixteenth-Century Counterpoint; Donna G. Cardamone Jackson: Orlando di Lasso et al.: A New Reading of the Roman Villanella Book (1555); Peter Bergquist: The Two Editions of Lasso’s Selectissimae Cantiones, 1568 and 1579; Richard Freedman: Who Owned Lasso’s Chansons?; Bernhold Schmid: ... Nec non tyronibus quàm eius artis peritioribus summopere inservientes. Zurgedruckten Überlieferung von Lassos Bicinien; Philippe Canguilhem: Musique et politique à Florence dans la première moitié du XVIe siècle; Le statut du madrigal à la lumière de nouvelles sources; Susan Lewis Hammond: Selling the Madrigal: Pierre Phalèse II and the Four ‘Antwerp Anthologies’. Wrappers. $69 [item no.6686] [Alamire Foundation] Yearbook of the Alamire Foundation 7. [Proceedings of part II of the 17th International Congress of the International Musicological Society, Leuven, 1-7 August 2002]. Leuven-Neerpelt, 2008. 8º, 432 pp. Contents - Jean-François Goudesenne: Contexte historique, politique et composition des Historiae en belgica secunda avant l’an mil; Theodore Karp: Two Belgian Traditions for the Post–Tridentine Mass Proper; Siegwart Reichwald: Brumel’s Missa et ecce terrae motus: An Oddity? Andrew Kirkman: Personal Endowments: The Economic Engine of the ‘Cyclic’ Mass? Paul A. Merkley: Music in the Demand-Based Economy in Nothern Italy in the Late Fifteenth Century; Emilio Ros-Fábregas: Flemish Polyphony in Sixteenth-Century Iberian Manuscripts; Antonio Ezquerro-Esteban: Sources for Works by Orlando di Lasso in Spain; Jeske Van Dongen: Songs of the Devoot ende profitelijck boecxken (Antwerp, 1539) Found in Different Sources: Deviation in Melody and Lyrics in Hoe luyde sanc die leeraer op der tinnen; Pieter Andriessen: Carel and Philips Hacquart Updating the Biography; Keith Polk: Patronage of Instrumental Music in Bruges in the Late Middle Ages; Eugeen Schreurs: Music for Canons, Emperors, Dukes and Prince Bishops in the Collegiate Church of Maastricht (c.1450–1520). An Updated Overview and Some Samples; Susan Parisi : The Brussels–Mantua Connection. Vincenzo Gonzaga’s State Voyages to the Low Countries in 1599 and 1608; Hendrik Schulze: Love and Politics in Seventeenth-Century Venetian Opera: On the Differences between the Images of Republican and Monarchist Rulers; Olivia Wahnon De Oliveira: La circulation de la musique à Liège au XVIIIe siècle. Wrappers. $69 [item no.6687] Alberti, Alfonso. Le sonate di Claude Debussy. Contesto, testo, interpretazione. Repertori Musicali, 3. Lucca, 2008. 14 x 22 cm, xvii, 231 pp. Hardbound. $30 [item no.6735] Barbieri, Daniele, Luca Marconi & Francesco Spampinato. L’ascolto musicale. Condotte, pratiche, grammatiche. A cura di Daniele Barbieri, Luca Marconi, Francesco Spampinato. Lucca, 2008. 17 x 24 cm, xi, 373 pp. Wrappers. $59 [item no.6731] Baroni, Mario. L’insegnamento come scienza. Ricerce sull didattia della musica a cura di Mario Baroni. Manuali d’Analisi e Teoria Musicale, Collana del G.A.T.M., 3 Lucca, 2009. 8º, xv, 148 pp. Wrappers. $32 [item no.6868] Bianchi, Sergio, Giuliano Bellorini & Paolo Beschi. Le suites per violoncello solo di Johann Sebastian Bach. Analisi, storia, stile e prassi esecutiva. Lucca, 2008. 18 x 26 cm, xx, 184 pp. Wrappers. $59 [item no.6729] Bologna, Alessio. “Collettanee” in morte di Serafino Aquiliano. Edizione a cura di Alessio Bologna. Documenti di Storia Musicale Abruzzese, 5. Lucca, 2009. 8º, xi, 529 pp. Wrappers. $78 [item no.6870] [Busse Berger, Anna Maria and Massimiliano Rossi] Memory and Invention. Medieval and Renaissance Literature, Art and Music. Acts of an International Conference (Florence, Villa I Tatti, May 11, 2006). Edited by Anna Maria Busse Berger and Massimiliano Rossi. Villa i Tatti - The Harvard University Center for Italian Renaissance Studies, 24. Florence, 2009. 8º, xix, 175 pp. The art of memory—ars memorativa—profoundly impacted Western culture throughout the Middle Ages and Renaissance. Ever since Aby Warburg inscribed the word Mnemosyne over the door of the institute that bears his name, modern scholarship has increasingly recognized and explored the central role of memorization, with all its various techniques and applications, in the practice of writers, composers, and artists. This volume presents the papers of a conference held at Villa I Tatti on May 11, 2006, conceived and organized by Anna Maria Busse Berger and Massimiliano Rossi. Ranging from literature and music to painting and architecture, the eight essays collected here pose new questions about the relationship between memory as a tool for creative expression and its formative impact on patterns of thought and modes of organizing knowledge. Hardbound. $37 [item no.6886] Bussi, Francesco. Brahms dopo Brahms. Tracce panoramiche di una discendenza e di un’ eredità. Lucca, 2009. 14 x 21 cm, 132 pp. Wrappers. $24 [item no.6856] Cahiers Debussy. No.31 - 2007. Paris. 2008. 8º, 128 pp. Michel Gribenski : “Chanter comme des personnes naturelles”. Apocope de l’e caduc et synérèse chez Debussy et quelques-uns de ses contemporains. - Aires de Andrade : La première audition de deux œuvres de Debussy au Brésil. - Documents : Les trois dernières lettres connues de Chouchou Debussy. Présentées par José Eduardo Martins. - Chronique. -Bibliographie. - Discographie et vidéographie. - Biographie des auteurs. - Résumés, Abstracts Wrappers. $38 [item no.6847] Cahiers Debussy. No.32 - 2008. Paris. 2009. 8º, 116 pp. Jean-Christophe Branger : Une œuvre de jeunesse inédite de Debussy : la Première Suite d’orchestre. - Alexandre Bleau : Chemins de Mallarmé à Debussy. Un état de la question. - Manoel Corrêa do Lago : Auditions d’œuvres de Claude Debussy au Brésil au début du xxe siècle. - Chronique. - Bibliographie. - Discographie et vidéographie. - Biographie des auteurs. -Résumés, Abstracts. Wrappers. $38 [item no.6848] Cahiers Debussy. No.33 - 2009. Paris. 2010. 8º, 116 pp. Cédric Segond-Genovesi : Exégèse, rhétorique et production(s) du sens : une lecture de Et la lune descend sur le temple qui fut; Gergely Fazekas : Musique “laide” et “malsaine” ou “boussole indiqu[ant] un art plus pur de qualité supérieure” ? La réception de Debussy en Hongrie entre 1900 et 1918; François Raymond : Courcelles-sous-Grignon, berceau des ancêtres de Claude Debussy. Quelques précisions généalogiques; Documents : Une “note de service des chemins de fer couverte d’esquisses musicales”. Étude de F-Pn, Mus. N.L.a. 32bis [9] Présentation par Paolo Dal Molin; Deux lettres inédites de Claude Debussy à René Lenormand. Présentées par Manuel Cornejo et Dimitra Diamantopoulou. - Chronique. - Bibliographie. - Discographie. - Biographie des auteurs. - Résumés, Abstracts. Wrappers. $38 [item no.6862] Cahiers Debussy. No.34 - 2010. Paris. 2009. 8º, 215 pp. Simon-Pierre Perret : Debussy et Dukas: une amitié méconnue; DanickTrottier : La pratique de l’hommage musical chez Debussy; Documents : Une correspondance entre André Schaeffner et Marcel Dietschy. Dialogue et controverses debussystes (1963-1971). Présentation par Nicolas Southon; Chronique : Ventes aux enchères et dans les libraires spécialisées (2005-2010). Cédric Segond-Genovese; In Memoriam Margaret Gallatin Cobb (1907-2010) - Marie Rolf. Bibliographie. - Discographie et vidógraphie - Biographie des auteurs. - Résumés - Abstracts. Wrappers. $38 [item no.6896] Cahiers Debussy. No.35 - 2011. Paris. 2011. 8º, 215 pp. $38 [item no.6924] Careri, Enrico. Dopo l’opera quinta. Studi sulla musica italiana del XVIII secolo. Lucca, 2008. 17 x 24 cm, xv, 299 pp. Wrappers. $37 [item no.6732] Caroccia, Antonio, et al. Giusseppe Martucci e la caduta delle Alpi. A cura di Antonio Caroccia, Paologiovanni Maione e Francesca Seller. Strumenti della Ricerca Musicale, 14. Lucca, 2008. 8º, viii, 449 pp. Wrappers. $64 [item no.6849] Caroprese, Mariantonietta. George Sand, la musica e i musicisti romantici. Atti della Giornata di Studi (Latina, 21 settembre 2007). A cura di Mariantonietta Caroprese. Lucca, 2010. 12º, xiii, 197 pp. Conference proceedings. Contents: Annarosa Poli: George Sand: una vita troppo nota, un'opera scoperta troppo tardi; Stefano Ragni: “La prima donna” di George Sand: nasce il mito della 'diva'; Mariantonietta Caroprese: George Sand e Franz Liszt tra Parigi, Ginevra e Nohant; Raoul Meloncelli: La multiforme attività artistica di Pauline Vilardot-Garcia egeria di George Sand, nel panorama musicale europeo dell'Ottocento; Danièle Pistone: La musica notturna nella Francia romantica: da Parigi a Nohant; Claudia Colombati: Fryderyk Chopin e George Sand: tra vita e arte; Markus Engelhardt: La lettera aperta di George Sand a Giacomo Meyerbeer. Wrappers. $39 [item no.6893] Civra, Ferruccio. Musica poetica. Introduzione alla retorica musicale. Musica Ragionata, 1. Lucca, 2/ 2009. 12º, 215 pp. Wrappers. $37 [item no.5608] Cristiani, Alberto, Aldo Cutroneo & Laura Di Paolo. Šostakovič e il suo tempo. A cura di Alberto Cristiani, Aldo Cutroneo, Laura Di Paolo. Lucca, 2008. 17 x 24 cm, 166 pp. Wrappers. $59 [item no.6730] Curinga, Luisa. La musica del Principe. Studi e prospettive per Carlo Gesualdo. A cura di Luisa Curinga. Lucca, 2008. 17 x 21 cm, xiv, 402 pp. Luigi Sisto: Mutio Effrem e la corte del Principe di Venosa a Gesualdo; Domenico Antonio D'Alessandro: Giovanni de Macque e i musici della Real Cappella napoletana. Nuovi documenti, precisazioni biografiche e una fonte musicale ritrovata; Enrica Donisi: “Fù nei dauni confini, Presso à l'aspra Lucania alto, et immenso ... ” La famiglia Gesualdo: mecenati, scrittori, artisti; Marta Columbro: Il Fondo Gesualdo della Biblioteca Provinciale di Avellino; Elio Durante - Anna Martellotti: Carlo Gesualdo e i poeti di Ferrara: fedeltà infedele al testo poetico; Anthony Newcomb: Gesualdo's Luzzaschi - “D'ogni altro si burla”; Nicolò Maccavino: Le canzonette a cinque voci di Carlo Gesualdo; Giovanni Acciai: Le composizioni sacre di Carlo Gesualdo: un approccio analitico sul piano della retorica musicale. Ma non solo; Maria Manuela Toscano: Caos apparente e struttura dissimulata nei “Responsori di Settimana Santa” di Carlo Gesualdo; Peter Niedermiiller: Toward the reception of Carlo Gesualdo's music in the writings by Giovanni Battista Doni; Massimo Privitera: Madrigali esemplari: analitica gesualdiana prospettica; Marco Della Sciucca: Il “Monumentum pro Gesualdo” di Stravinsky come interpretazione critico-analitica; Luisa Curinga: Trascrizione o trasfigurazione? Elaborazioni di Salvatore Sciarrino da Carlo Gesualdo; Marco Giuliani: Una base di dati multimediale sui madrigali del Principe Carlo Gesualdo da Venosa. Wrappers. $64 [item no.6853] Dalmonte, Rossana. Il nuovo in musica. Estetiche tecnologie linguaggi. Atti del convegno (Trento, 18-20 gennaio 2008). A cura di Rossana Dalmonte, Francesco Spampinato. Lucca, 2008. 17 x 21 cm, xii, 317 pp. Proceedings of the international conference, Trento, January 18-20, 2008. Wrappers. $48 [item no.6850] De Angelis, Marcello. Si chiude. Anzi. Si apre!. Cronache musicali di “poveri” teatri dal 1960 a oggi. Lucca, 2010. 12º, xiii, 256 pp. Wrappers. $32 [item no.6894] De Bartholomaeis, Vincenzo. Origini della poesia drammatica italiana. Ristampa anastatica dell’edizione 1952 a cura e con introduzione di Francesco Zimei. Documenti di Storia Musicale Abruzzese, 6. Lucca, 2009. 8º, xvii, 538 pp. A seminal work on Italian poetry of the late Middle Ages. Wrappers. $65 [item no.6878] De clavicordio VIII. The Clavichord on the Iberian Peninsula. Proceedings of the International Clavichord Symposium, Magnano, 5 - 8 September 2007. Edited by Bernard Brauchli, Alberto Galazzo, Judith Wardman. Piemonte, 2008. 8º, 256 pp. Articles on all aspects of the clavichord by leading scholars, builders and performers; authors in this issue include: D. Adlam, P. Bavington, L. Bemmann, J. Benson, Ch. Besnainou, B. Brauchli, Chr. D'Alessandro, D. Demel, G. Doderer, M. Erdman, S. Field, L. Gineis, E. Helenius, U. Henning, A. Huber, H. E. Svensson, M. Tsalka, C. & W. Ullrich-Eberius, P. Verbeek, and I. Wjuniski. Wrappers. $89 (more info... ) [item no.6692] De Clavicordio IX. Proceedings of the International Clavichord Symposium. Haydn and the Clavichord. From Clavichord to Fortepiano, a cura, con Bernard Brauchli e Judith Wardman. Piemonte, 2010. 8º, 250 pp. Articles on all aspects of the clavichord by leading scholars, builders and performers. Wrappers. $92 (more info... ) [item no.6899] Fassone, Alberto. Carl Orff. Nuova edizione, riveduta ed ampliata. Musica Ragionata, 18. Lucca, 2009. 12º, 661 pp. 2nd revised and enlarged edition. Wrappers. $58 [item no.6872] Filocamo, G., M.J. Bloxam, Uno gentile et subtile ingenio. Studies in Renaissance Music in Honour of Bonnie J. Blackburn. Collection “Épitome Musical”. Turnhout, 2009. 19 x 29 cm, 913 pp. Splendid festschrift in honor of of this repected musicologist with articles divided into 7 subjects: Composition & Counterpoint, Devotion, Lives, Manuscripts, Music, Production & Consumption, Teachers & Theorist. Hardbound. $192 [item no.6921] Frasca, Simona. Birds of Passage. I musicisti Napoletani a New York (1895-1940). Collana di Studi Musicali Afro-Americana e Popular, 2 Lucca, 2010. 12º, xxix, 215 pp. Wrappers. $34 [item no.6891] Imago Musicae XXIII 2006-2010. International Yearbook of Musical Iconography. Lucca, 2010. 8º, 195 pp. Cloth. $99 (more info... ) [item no.9155] Imago Musicae XXIV 2011. International Yearbook of Musical Iconography. Lucca, 2011. 8º, 244 pp. Cloth. $112 (more info... ) [item no.9232] Jeanneret, Christine. L’œuvre en filigrane. Une étude philologique des manuscrits de musique pour clavier à Rome au VIIIe siècle. Historiae Musicae Cultores, 116. Florence, 2009. 8º, ix, 620 pp. Study of 74 17th-c. music manuscripts for keyboard from Frescobaldi’s circle in Rome. Besides being an important catalogue with a precise physical description, contents, concordances and analysis, it also contains the identification of several organists on the grounds of archival research. Among the so far unpublished volumes, 4 original manuscripts of Girolamo Frescobaldi were discovered; these offer a new perspective of the Roman organists’ musical world, at a crossroads between oral and written practices. Wrappers. $76 [item no.6885] La Vina, Vincenzo & Vincenzo Perrellis. Tradita muzikore e Shën Mërtirit / La tradizione musicale di San Martino di Finita. I. vjershe e ajër. Lucca, 2009. 14 x 21 cm, vii, 123 pp, CD. Wrappers. $40 [item no.6869] Mechelli, Paolo. I fili della scena. Alessandro Lanari: il carteggio con impresari e delegati (1820-1830). Lucca, 2009. 8°, xvi, 209 pp, CD. Wrappers. $48 [item no.6871] Montanari, Claudio. Musicisti di campane. Le campane, le bilicature, le forme di suono. Alia Musica, 15. Lucca, 2009. 8º, x, 105 pp, audio CD. Wrappers. $54 [item no.6874] Papi, Marcella Bertuccelli. Luigi Boccherini. Un musicista lucchese alle corte di Madrid. Traduzione di Arianna Bartoli. A cura di Marcella Bertuccelli Papi. Lucca, 2009. 17 x 21 cm, viii, 184 pp. Arianna Bartoli: Tradurre la musica; Jaime Tortella: Boccherini nel bicentenario della morte; Valle Martos - Jaime Tortella: Il volto di Boccherini, specchio di un'anima d'artista; Judith Ortega: Il mecenatismo musicale della casa di Osuna nella seconda metà del Settecento. L'ambiente musicale di Luigi Boccherini a Madrid; German Labrador Lopez de Azcona: La carta “Romani” e la datazione della musica spagnola di fine Settecento (1775-1800). Una nuova prospettiva di ricerca per l'opera di Luigi Boccherini. Wrappers. Carlos José Gosalvez Lara - German Labrador Lopez de Azcona Fonti spagnole per lo studio dell'opera di Luigi Boccherini I fondi manoscritti del Real Conservatorio Superior de Musica di Madrid Elisabeth Le Guin Luigi Boccherini e la teatralità Carlos José Gosalvez Lara Una nuova sonata per violoncello di Boccherini? Wrappers. $24 [item no.6852] Ponzo, Diego. Le fondi musicale in Piemonte, Vol. II - Cuneo e Provincia. A cura di Diego Ponzo. Cataloghi di Fondi Musicali del Piemonte, 5. Lucca, 2009. 17 x 24 cm, xxix, 299 pp. Comprehensive catalog of institutions in Cuneo and Provincia that possess music related material. Comprehensive indices plus 14 color plates of manuscripts, stage designs and instruments. Wrappers. $64 [item no.6858] Recercare XX 2008. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music]. Lucca, 2009. 8º, c. 180 pp. Crawford Young : Antiphon of the Angels: Angelorum psalat tripudium; James Haar/John Nadas : The Medici, the Signoria, the Pope: Sacred Polyphony in Florence, 1432-1448; Gabriele Giacomelli : Il Giudizio universale di Vasari Zuccari fra chiesa, corte e teatro musicale; Luigi Collarile : Nuove prospettive sul contesto editoriale delle Canzoni d'intavolatura d'organo - Libro primo (1592) di Claudio Merulo; Giuliana Montanari : Chromating and Transposing Quilled Keyboard Instruments at the Florentine Grand Ducal Court in the Seventeenth Century; Francesco Carreras/Cinzia Meroni : Giovanni Maria Anciuti: a craftsman at work in Milan and Venice; Kathryn Bosi : More Ocumentation for the Balletti della Duchessa. Wrappers. $38 [item no.6843] Recercare XX1/1-2 2009. A Patrizio Barbieri per i suoi 70 anni. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music]. Lucca, 2010. 8º, 306 pp. Peter Williams : Is music a discrete mode of experience?; Philippe Canguilhem : The madrigal en route to Florence (1540-1545); Arnaldo Morelli : Una nuova fonte per la musica di Ghiselino Danckerts “musico e cantore cappellano della cappella del papa”; Renato Meucci : Alessandro Piccinini e il suo arciliuto; Paolo Gozza : La dialettica dello strumento musicale nell'età moderna; Luigi Ferdinando Tagliavini : Fabio da Bologna, virtuoso costruttore di cembali; Francesco Luisi : Nuovi accertamenti sui quadri e sui violini di Corelli. Storie di collezionismo al tempo di Clemente XI; Giancarlo Rostirolla : Il Mondo novo accresciuto. Trenta nuovi disegni di Pier Leone Ghezzi dal Museo dell'Ermitage di San Pietroburgo; Huub van der Linden : Pistocchi's gift: Traeri's organ (1719) for San Filippo Neri in Forlì. Wrappers. $38 [item no.6895] Recercare XX1/1-2 2009. A Patrizio Barbieri per i suoi 70 anni. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music]. Lucca, 2011. 8º, 196 pp. $38 [item no.6920] Ruffin, Gianni. Il caso Siegfried. Individuazione simbolica di un eroe wagneriano. Lucca, 2009. 12º, x, 200 pp. Wrappers. $31 [item no.6873] Sarno, Jania. Le icone che danzano. Transe, musica e firewalking negli Anastenaria greci all’epoca del postmoderno. Alia Musica, 13. Lucca, 2008. 8º, xxvi, 672 pp + 1 audio CD. Wrappers. $75 [item no.6702] Serdoura, Miguel. Method for the Baroque Lute. A Practical Guide for Beginning and Advanced Lutenists Bologna, 2008. 4˚, 364 pp. Comprehensive tutor for the 11- and 13-course Baroque lute, including an anthology of 250 pieces divided into 3 levels of difficulty. Wrappers. $97 [item no.6688] Vela, Maria Caraci. La filologia musicale. Istituzioni, storia, strumenti critici. I: Fondamenti storici e metodologi della filologia musicale. Volume II. Approfondimenti. Lucca, 2009. 8º, viii, 324 pp. Wrappers. $40 [item no.6857] Vincenzi, Marco. Drammaturgie musicali del Novecento. Teorie e testi. A cura di Marco Vincenzi. Quaderni di Musica/Realtà, 56. Lucca, 2008. 8˚, 397 pp. Wrappers. $52 [item no.6736] Visentini, Olga. Berlioz e il su tempo. Musica Ragionata, 19. Lucca, 2010. 12º, 2 vols, xvi, 1385 pp. Wrappers. $120 [item no.6892] Zimei, Francesco. L’ars nova italiana del trecento - VII. “Dolci e nuove note”. Atti del Quinto Convegno Internazionale in ricordo di Federico Ghisi (1901-1975) (Certaldo, 17-18 dicembre 2005). A cura di Franceso Zimei. Lucca, 2009. 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.6854] |