Sunday, 24 June 2018
Manuscript facsimiles (autographs & copyist manuscripts), facsimiles
of first editions & primary source materials, together with a selection
critical editions & studies. For ordering information
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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 [sketchbook, “Landsberg 6”] Beethoven’s “Eroica” Sketchbook. A Critical Edition. Transcribed, Edited, and with a Commentary by Lewis Lockwood and Alan Gosman. Volume 1: Facsimile; Volume 2: Transcription, Commentary, Inventory.
Beethoven Sketchbook Series, . Champaign, 2013. 4˚, 2 vols. Complete halftone reproduction and critical edition of the MS, currently in Kraków at the Biblioteka Jagiellońska (formerly Berlin, Staatsbibliothek, Mus. ms. aut. Beethoven Landsberg 6). Once known as “Notierungsbuch E”, Landsberg 6 is perhaps Beethoven’s most famous sketchbook due in part to Nottebohm’s 1880 monograph on this source. This sketchbook documents Beethoven's creative work from sometime late in 1802 until early in 1804, a transformative period in his artistic career. The most significant sketches are those for the “Eroica” Symphony, op.55, the “Waldstein” Sonata, op.53, and for the first five numbers of the opera Leonore as produced in 1805 (later revised and renamed Fidelio). Hardbound. $200 (more info... ) [item no.9266]
BERG, Alban, 1885-1935 Lulu, Particell des III. Aktes (Faksimile). Vorgelegt von Thomas Ertelt. [Mss. Stadt- und Landesbibl. Wien & Österreichische Nationalbibl.].
Alban Berg Sämtliche Werke, I/2, Lulu Supplement. Vienna, 2013. 27 x 37 cm, ix, 2, 144 pp. Fine 4-color facsimile of the holograph with paste-overs lifted and photographed separately. This is Berg’s relatively clean condensed score for Act III of Lulu, but the work was left incomplete at his death. This volume contains a short commentary and documents relating to the surviving manuscript. Commentary in Ger/Eng. Green linen. (Rarely found separately, because this volume is normally available only as part of a subscription to the Berg Sämtliche Werke) $360 (more info... ) [item no.9559]
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]
CACCINI, Francesca, 1587-1640 Il primo libro delle musiche a una, e due voci. [Biblioteca Estense Universitaria, Modena].
Performers’ Facsimiles, 295. New York, . 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 (more info... ) [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]
CAVALLI, Francesco, 1602-1676 [& A. Stradella] Il novello Giasone. Partitura in facsimile ed edizione dei libretti. A cura di Nicola Usula. Saggio introduttivi di Fausta Antonucci, Lorenzo Bianconi e Nicola Usula.
Drammaturgia Musicale Veneta, 3. Milan, 2013. Oblong, 30 x 23 cm, 2 vols, cxcii, 567 pp. Line-cut reproduction of the Naples copy. Giasone, or Jason, was Cavalli’s tenth and most popular stage work, the most frequently performed of all 17th-c. operas. Linen. $291 [item no.9354]
CESTI, Antonio, 1623-1669 Il Tito. Partitura in facsimile, ed. del libretto, saggio introduttivo a cura di Giada Viviani.
Drammaturgia Musicale Veneta, 5. Milan, 2012. Oblong, 30 x 23 cm, xc, 306 pp. Presented for the first time during the 1666 carnival at the Venetian theater of St. John & St. Paul, “Il Tito” of Nicolò Beregan and Antonio Cesti is an opera frequently cited in the musicological literature of the last 40 years. Surviving archival materials document the genesis of the score with an unusual precision and have clarified many details necessary for reconstructing the Venetian theater production system of the second “Seicento”. In spite of the importance of the work—a collaboration between a not-so-prolific yet widely appreciated librettist and one of the most popular composers of that epoch, there has never been a complete study of the musical and literary sources. The commentary to this new Drammaturgia Musicale Veneta volume finally fills this lacuna, reproducing the oldest and most complete manuscript score of Tito (preserved in the Biblioteca Nazionale Marciana) together with a critical edition of the libretto and a comparative study of the three other musical sources that have survived. Linen. $216 (more info... ) [item no.9311]
DISNEY PRODUCTIONS Snow White and the Seven Dwarfs Master Score. Music by Frank E. Churchill, Lyrics by Larry Mory and Additional Underscore by Leigh Harline and Paul J. Smith.
2015. 4°, 208 pp. Full-color facsimile of the master score for the 1937 film. Based on the fairy tale by the Brothers Grimm, Snow White and the Seven Dwarfs is the first full-length animated feature film and the earliest in the Walt Disney Animated Classics series. The story was adapted by Dorothy Ann Blank, Richard Creedon, Merrill De Maris, Otto Englander, Earl Hurd, Dick Rickard, Ted Sears and Webb Smith, with David Hand as supervising director. The songs including “Heigh-Ho”, “Some Day My Prince Will Come”, and “Whistle While You Work” were composed by Frank Churchill and Larry Morey. Further incidental music was provided by Paul J. Smith and Leigh Harline. This is the first time that this material is available to the public. Explore every sequence from the film, from the first scene to the last and see, first hand, how the music and animation (tempos, scene length, camera movement, action, and sound) where synchronized. Limited edition of 459 copies. $295 (more info... ) [item no.9435]
FALLA, Manuel de, 1876-1946 El retablo de Maese Pedro. Edición facsímil de los manuscritos fundamentales del Archivo Manuel de Falla. Edición y estudio de Elena Torre.
Colección “Facsímiles”, Serie “Manuscritos”, 5. Granada, . 25 x 35 cm. 194 pp. Full-color reproduction of the autograph issued on the occasion of the 20th anniversary of the Archivo Manuel de Falla. Translated “Master Peter’s Puppet Show”, the work, in one act with prologue and epilogue, is based on an episode (chap. 26, part II) from Don Quixote by Miguel de Cervantes. Commentary in Sp. Limited edition of 500 copies. Cloth. $178 (more info... ) [item no.9273]
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. $225 (more info... ) [item no.9201]
GENERALI, Pietro, 1773-1832 Cecchina suonatice di Ghironda. Partitura in facsimile. Edizione del libretto. Saggio introduttivo a cura di Marco Beghelli.
Drammaturgia Musicale Veneta, 28. Milan, 2010. Oblong, 29 x 23 cm, xcii, 440, i pp. Line-cut of a contemporary manuscript copy. Linen. $225 (more info... ) [item no.9185]
HANDEL, George Frideric, 1685-1759 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. $85 (more info... ) [item no.9109]
HASSE, Johann Adolph, 1699-1783 Demetrio. Partitura in facsimile. Edizione dei libretto. A cura di Reinhard Strohm e Francesca Menchelli-Buttini. Saggi introduttivi de Reinhard Strohm e Francesca Menchelli-Buttini. [Biblioteca Marciana, Cod. It. IV, 482 (=10006)].
Drammaturgia Musicale Veneta, 17. Milan, 2014. Oblong, 30 x 23 cm, cixi, 350 pp. Line-cut reproduction of a copyist ms. The Dramma per musica Demetrio was premiered on 10 Feb. 1732 at the Teatro S. Giovanni Grisostomo in Venice. Given during carnival season, it was one of the most lavishly staged works of the season. The success of the opera is attested by the Venetian newsletter Diario ordinario, which praised it as “a marvel, as much for the music as for the magnificent scenes and singers”. Subsequent revivals and the survival of many ms sources show that this characterization was not an exaggeration. Part commentary in Eng (with It summary) and part in It, with Eng summary). Linen. $205 [item no.9362]
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]
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]
MAHLER, Gustav, 1860-1911 [Lied von der Erde, selection] Der Abschied—Facsimile Edition of the Sixth Movement of Das Lied von der Erde. I: Draft Orchestral Score; II: Particel, Short Score; III: Texts on the Facsimile. [Willem Mengelberg Archive, Nederlands Muziek Institut, The Hague].
The Hague, 2017. Oblong, 35 x 27, 3 vols, 44, 20; 46 pp. Fine bibliophile facsimile of Mahler’s manuscripts of “Der Abschied” (Farewell), the sixth movement of Das Lied von de Erde, issued on the 60th anniversary of the Dutch Mahler Society. The edition includes the manuscripts of both the draft orchestral score and the particel short score. In December 1917, the great Dutch conductor Willem Mengelberg conducted the Vienna Philharmonic Orchestra in a performance of Das Lied and following that performance, Alma Mahler presented Mengelberg with the 2 manuscripts which are the basis of this facsimile. Alma included the note (also provided in facsimile): “To the Friend of Gustav Mahler. . . the most wonderful interpreter of his work, Willem Mengelberg”. The particle represents a relatively early stage of the composition and reveals many aspects of how the movement took shape. The orchestral version is much more complete, but still is considered a draft. Notes by Eveline Nikkels & Frits Zwart, with introduction by Edward Reilly. Limited edition of 400 numbered copies in the original format as presented by Alma Mahler to Mengelberg, 3 volumes, housed in a beautiful box covered with black paper. $138 (more info... ) [item no.9558]
[Rückert Lieder, selections, voice & orch, voice/piano] Ich bin der Welt abhanden gekommen. Facsimile Edition of the Autograph Manuscripts, Gilbert Kaplan, Editor.
New York, 2015. 29 x 37 cm, 92 pp, CD audio recording. Full-color reproduction of one of Mahler’s most popular and poignant songs, composed in 1901 with a text by Friedrich Rückert. It is the third of the original five-song cycle “Rückert-Lieder”; Mahler himself conducted the first performance in 1905 and described “Ich bin der Welt abhanden gekommen” / “I am lost to the world” as creating “a feeling that rises just up to the lips, but does not pass beyond them... It is my very self”. This carefully executed facsimile includes the orchestra & piano-vocal autograph versions, sketches, incomplete fair copy in the hand of Alma Mahler, and extensive historical notes and documentation by Gilbert Kaplan and Stephen Hefling. The manuscript and its survival has an amazing story. Limited bibliophile edition of 400 copies, only 200 for the trade. Clothbound with slipcase. $100 (more info... ) [item no.9334]
MATTHESON, Johann, 1681-1764 Nerone - Nero. Partitura in facsimile. Edizione dei libretti. A cura di Francesco Giuntini. Saggi introduttivi di Francesco Giuntini & di Reinhard Strohm.
Drammaturgia Musicale Veneta, 14. Milan, 2013. Oblong, 30 x 23 cm, cxxi, 129 pp. Nerone, a “tragedia per musica” by Agostino Piovene, received its first staging in Venice in 1721 with music by Giuseppe Maria Orlandini, but won great success two years later in Hamburg in the version by Johann Mattheson, who retained the original arias, translated the recitatives into German and provided new musical settings for them, and added a few pieces of his own composition. In addition to a score corresponding to the Hamburg version (D-B, Mus. ms. 16370), the volume contains editions of the Italian libretto of 1721 and the German one of 1723. The opera is one of the most advanced manifestations of the reformist tendencies of the early eighteenth century: this is a genuine tragedy, inspired by the Britannicus of Racine, that concludes with a simple recitative given to Agrippina accusing her assassins before her killing. Linen. $216 (more info... ) [item no.9326]
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. $95 [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. $152 [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]
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. $185 (more info... ) [item no.9226]
Lamento d'Arianna. Faksimile nach dem Erstdruck der Universitätsbibliothek Gent. Herausgegeben und mit einer Einführung von Silke Leopold.
Meisterwerke der Musik im Faksimile, 49. Laaber, 2017. 21.5 x 27.5 cm, 12, 32 pp. Line-cut of Magni edition, Venice, 1623 (sole surviving copy), containing the “Lamento d’Arianna” and two “Lettere amorose” from the seventh book of of madrigals. The Lamento d’Arianna (”Let me die”) is the centerpiece of Monteverdi’s lost second opera L’Arianna first performed in Mantua on May 28, 1608. Contemporary reports describe it as the most beautiful composition in the new genre of opera. Severo Bonini writes in his treatise that there was scarcely a domestic harpsichord in the whole of Italy on which a copy of the Lamento did not lie open. Introduction in Ger/Eng. Hardbound. $93 (more info... ) [item no.9510]
MOZART, Wolfgang Amadeus, 1756-1791 [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. $215 (more info... ) [item no.9020]
La clemenza di Tito : K.621, Facsimile of the Autograph Score, Staatsbibliothek zu Berlin - Preussischer Kulturbesitz, Biblioteka Jagiellońska 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. $215 (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. $215 (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. $215 (more info... ) [item no.9122]
[Requiem mass, K.626] Requiem. K.626. Facsimile of the autograph score held in the Austrian National Library. With a commentary by Christoph Wolff and Günter Brosche.
Bärenreiter Facsimile, . Kassel, 2015. Oblong, 35 x 26 cm, 40, 200 pp. New deluxe facsimile edition of the autograph parts and sketches with the finishing work of Süßmayr and others. Commentary in Eng-Ger by Christoph Wolff and Günter Brosche. Limited bibliophile edition produced on natural paper with individually trimmed pages. Quarter leather with decorative paper boards. $499 (more info... ) [item no.9414]
[Requiem mass, K.626, 1st ed.] Requiem KV 626 - W.A. Mozarti: Missa pro defunctis / W.A. Mozarts Seelenmesse. Breitkopf & Härtel, Leipzig . Herausgegeben und mit einem Nachwort von Markus Eberhardt. [Archiv des Bistrums Passau].
Faksimile-Edition Rara, 67. Stuttgart, 2015. Oblong, 35 x 26 cm, 178, vi pp. Line-cut of the first edition, Leipzig, 1800. Although there have been many attempts of reconstructing the text of the Requiem, the 1800 printed version, largely based on Süssmayr’s work, remains the prime historical document. It is interesting that Breitkopf & Härtel provides no credit to Süssmayr for the completion of the work although correspondence in early 1800 between Gottfreid Christoph Härtel and Süssmayr clearly establishes the extent of his role. Hardbound in decorative paper which reproduces the original 1800 binding. $100 (more info... ) [item no.9443]
ORLANDINI, Giuseppe Maria, 1676-1760 Nerone - Nero. Partitura in facsimile. Edizione dei libretti. A cura di Francesco Giuntini. Saggi introduttivi di Francesco Giuntini & di Reinhard Strohm.
Drammaturgia Musicale Veneta, 14. Milan, 2013. Oblong, 30 x 23 cm, cxxi, 129 pp. Nerone, a “tragedia per musica” by Agostino Piovene, received its first staging in Venice in 1721 with music by Giuseppe Maria Orlandini, but won great success two years later in Hamburg in the version by Johann Mattheson, who retained the original arias, translated the recitatives into German and provided new musical settings for them, and added a few pieces of his own composition. In addition to a score corresponding to the Hamburg version (D-B, Mus. ms. 16370), the volume contains editions of the Italian libretto of 1721 and the German one of 1723. The opera is one of the most advanced manifestations of the reformist tendencies of the early eighteenth century: this is a genuine tragedy, inspired by the Britannicus of Racine, that concludes with a simple recitative given to Agrippina accusing her assassins before her killing. Linen. $175 (more info... ) [item no.9326]
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]
RAMEAU, Jean-Philippe, 1683-1764 Les Indes galantes. Paris. [Bibliothèque d’étude et de conservation Besançon].
Faksimile-Edition Kammermusik des Barock, 5. Stuttgart, 2015. Oblong, 31 x 23 cm, 226 pp. Line-cut of the Paris, 1735-1736 edition (short score). Hardbound, with boards in decorative paper. $83 [item no.9427]
ROSSINI, Gioachino, 1792-1868 Petite messe solennelle. Facsimile del manoscritto / Facsimile of the Manuscript.
Milan, 2011. Oblong, 37.5 x 29.5 cm. viii, 252 pp. Full-color reproduction of the original 1863 autograph including the separate parts for harmonium and second piano. Rossini composed two versions of this work, the first (reproduced here in facsimile) for “Twelve singers of three sexes, men, women and castrati... that is, eight for the choir, four soloists, in all twelve cherubim”. The Petite Messe solennelle was dedicated to the Contessa Louise Pillet-Will (the count and countess were close friends of Rossini), and the first performance inaugurated the splendid new residence that the count had commissioned in Paris. The use of two pianos and harmonium may at first seem odd but given its context as a salon piece is appropriate. Rossini composed hardly at all in the period 1829 to 1855 but after returning to Paris in 1855 wrote quite a few works for private audiences. He wittingly referred to them as Péchés de vieillesse (‘sins of old age’), and wrote in the score of the Petite messe solennelle “Good God – behold completed this poor little Mass – is it indeed music for the blest [‘musique Sacrée’] that I have just written, or just some blessed music [‘Sacrée musique’]? Thou knowest well, I was born for comic opera. A little science, a little heart, that is all. So bless Thee and grant me Paradise! G Rossini – Passy 1863”. Limited edition of 310 copies bound in dark brown linen, with matching slipcase with embossed signature of Rossini. $399 (more info... ) [item no.9301]
WAGNER, Richard, 1813-1883 [Lieder, “Matthilde Wesendonck”, WWV 91A] “Wesendonk-Lieder”, Fünf Gedichte für eine Frauenstimme mit Pianoforte-Begleitung (WWV 91). Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Bayreuth. Mit einem Kommentar von Elisabeth Schmierer.
Meisterwerke der Musik im Faksimile, 25. Laaber, 2012. 27 x 35 cm, xviii, 22 pp. Full-color facsimile of the autograph (piano & voice) of the work that served as the model for Tristan. Individual settings are “Stehe still”, “Der Engel”, “Schmerzen”, “Im Treibhause”, and “Träume”. Introduction in Ger-Eng. Hardbound. $111 (more info... ) [item no.9291]
[Tristan & Isolde, WWV 90] Tristan & Isolde (WWV 90). Facsimile of the Autograph Score from the National Archive of the Richard-Wagner-Stiftung Bayreuth. With a Commentary by Ulrich Konrad.
Documenta Musicologica, II/45. Kassel, 2012 29.5 x 41 cm, 354, 17, 20 pp. Full-color facsimile of the autograph score issued on the occasion of the 200th anniversary of Wagner's birth. In addition to the complete score, the edition includes the autograph concert ending of the Vorspiel as well as three pages that Wagner rejected while composing and later used for sketches. While working on the score to Tristan und Isolde, Richard Wagner expressed his excitement and elation about his new musical drama. Indeed, the radical originality of the work proved to be both unique and forward-looking: Over 150 years ago it signified the dawn of the modern era and to this day it has not lost any of its fascination. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The Tristan manuscript is an example of this but it also bears traces of his working process. It is precisely this aspect of the autograph that makes it fascinating. Reading it, one is witness to Wagner’s highly-concentrated, powerful and relentless writing. It evokes the aura of a singular individual. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper boards. $840 (more info... ) [item no.9296]
COMPOSITE & MISCELLANEOUS SOURCES 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,f 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. $205 (more info... ) [item no.8976]
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]
Cimarosa, Domenico. Li due Baroni. Commedia per musica in 2 atti. Edizione critica a cura di Stefanoo Faglia [e] Franca Maria Saini.
Lucca, 2013. 22 x 32 cm, xci, 442 pp. Critical edition of the full score. Wrappers. $56 [item no.6766]
Croft, William. Canticles and Anthems with Orchestra. Edited by Donald Burrows.
Musica Britannica, XCI London, 2011. 4º, li, 207, 26 pp. Modern critical edition. William Croft's career as the leading native-born composer of English church music was established in the period between the death of Purcell and the arrival of Handel in London. His education took place among musicians from Purcell's circle, and his style was modified by the influence of Handel's 'Utrecht' Te Deum and Jubilate of 1713. All the music in this volume was composed for various royal church services that took place between 1709 and 1720, in the Chapel Royal at St James's Palace and in St Paul's Cathedral. The contents include the Te Deum and Jubilate Deo, sung at the coronation of George I, and the anthems The Lord is a sun and a shield, O give thanks unto the Lord, and call upon his name, O give thanks unto the Lord, for he is gracious, and Rejoice in the Lord, O ye righteous. Buckram. $164 [item no.6925]
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, . 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. $325 [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, . Milan, 2010. 4º, 2 vols, 614 pp. Cloth. $400 [item no.6905]
Donizetti, Gaetano (new critical edition) Maria di Rohan, melodramma tragico in tre atti. Edizione critica / Critical Edition a cura di / Edited by Marco Zoppello. Partitura / Full Score.
Critical Edition of the Works of Gaetano Donizetti, . Milan, 2012. 4º, 2 vols, 808 pp. Cloth. $452 [item no.6934]
Donizetti, Gaetano (new critical edition) Les martyrs—opera in quattro atti. Edizione critica a cura di Flora Willson.
Critical Edition of the Works of Gaetano Donizetti, . Milan, 2016. 4º, 2 vols, 969 pp. Cloth. $468 [item no.6798]
Donizetti, Gaetano (new critical edition) Anna Bolena. Tragedia lirica in due atti. Edizione critica a cura di Paolo Fabbri. Partitura.
Critical Edition of the Works of Gaetano Donizetti, . Milan, 2017. 4º, 2 vols, lvii, 944 pp. Cloth. $448 [item no.6810]
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]
Legrenzi, Giovanni. Zenobia e Radamisto. Dramma in musica in tre atti. Edizione critica a cura di Stefano Faglia [e] Franca Maria Saini.
Lucca, 2013. 22 x 32 cm, cxiii, 224 pp. Critical edition with unrealized basso continuo. Wrappers. $56 [item no.6765]
Sammartini, Giovanni Battista. Cantate per la Quaresima. Il pianto degli Angeli della Pace (J-C 119). A cura di Marina Vaccarini Gallarani.
Musiche Italiane del Settecentro, . Lucca, 2011. 4º, lxxiii, 84 pp. Critical edition. Wrappers. $37 [item no.6939]
Savoy Curtain-Raisers. Edited by Christopher O'Brien.
Musica Britannica, XCVIII. London, 2015. 4º. 276 pp. Shedding light on a little-known aspect of late-Victorian theatre, this volume offers full scores and librettos of two one-act operettas, produced at the Savoy Theatre and written to precede as curtain-raisers the main, full-length work of the evening. Richard D’Oyly Carte did much to cultivate the genre, initiated by Trial by Jury in 1875, and featured regularly at the Savoy Theatre between 1878 and 1908. Though all but forgotten today, the composers François Cellier (1849-1914) and Ernest Ford (1858-1919) had strong connections with Sullivan, and wrote a number of one-act works, of which only Captain Billy (1891) and Mr Jericho (1893) respectively are known to have survived. Buckram. $162 [item no.6797]
Sullivan, Arthur, Sir (new collected works edition) Iolanthe, or the Peer and the Peri. Music Edited by Gerald Hendrie. Introduction by Gerald Hendrie, Dinah Barsham, and Helga J. Perry. Part A: Music: Act I; Part B: Act II; Part C: Commentary.
The Operas, 6. New York, 2017. 27 x 34 cm, 3 vols, 53, 211, 217 pp. New critical edition. Cloth. $375 [item no.6817]
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, 2 vols, 224, 72 pp. 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) Mahagonny: Ein Songspiel. Edited by Giselher Schubert.
The Kurt Weill Edition, I/3. New York, 2016. 30 x 39 cm. 182; 59 pp. This first collaboration between Weill and Bertolt Brecht would achieve epochal importance in the genre of opera (and music theater in general); it led Weill to form his signature 'Song style,' which would exercise a stylistically formative impact on the music of the Weimar Republic; it brought about a musical breakthrough for Weill's wife Lotte Lenya, whose performance inaugurated a new species of singer-actor; and it represents Brecht's debut as a stage director in the domain of musical theater. In addition the work served as a study for one of the most popular operas of the 20th century, Aufstieg und Fall der Stadt Mahagonny. Linen. $340 (more info... ) [item no.6805]
Weill, Kurt (collected edition) Johnny Johnson. Edited by Tim Carter.
The Kurt Weill Edition, I/13. New York, 2012. 30 x 39 cm. 348; 116 pp. Originally produced by the legendary Group Theatre in 1936, Johnny Johnson marked Weill's first contribution to the American musical theater. With book and lyrics by Pulitzer Prize-winning playwright Paul Green, the anti-war musical opened in November 1936 on Broadway, where it enchanted audiences and critics alike. Lee Strasberg directed, and the cast included a young Elia Kazan. The edition presents Johnny Johnson in full score, with the complete spoken text placed between the musical numbers. The editor drew on a vast array of surviving source materials, including not only Weill's manuscripts but also rehearsal scores and sets of instrumental parts, often containing several layers of chaotic performance annotations. Carter's introductory essay illuminates the work's genesis and performance history, the editorial process, and performance issues. 11 plates with facsimiles illustrate editorial challenges and solutions. A separate critical report documents every step of the editorial process and provides additional information for future stagings. Linen. $440 (more info... ) [item no.6935]
Weill, Kurt (collected edition) Lady in the Dark. Edited by Bruce D. McClung and Elmar Juchem.
The Kurt Weill Edition, I/16. New York, 2018. 30 x 39 cm. 3 vols, 748; 137 pp. Two fateful meetings in Nov. 1939 between Kurt Weill and Moss Hart led inexorably to a new kind of Broadway musical. It was the brainchild of Weill, Hart and lyricist Ira Gershwin, and the opening-night roster included the talented Gertrude Lawrence, Danny Kaye, Victor Mature, Bert Lytell, Natalie Schaefer, MacDonald Carey and producer Sam Harris. The new show, entirely innovative in form and subject matter, used psychoanalysis as the primary plot driver and staged the protagonist's spectacular dreams as one-act operas, giving audiences glimpses of the glamorous worlds of fashion and publishing as well as the intimacies of a psychiatrist's office. Lady in the Dark landed like a bombshell on Broadway in January 1941. Now, for the first time since then, producers and directors can recreate the magic from this new critical edition of the score, book, and lyrics. Through patient and thorough examination of a wealth of archival and other unpublished sources, the editors present a version of the show very close to what hit the boards in 1941. 3 vols, linen bound. (subscriber’s receive 31% discount) $675 (more info... ) [item no.6819]
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]
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]
MONOGRAPHS Arienta, Sonia. Opera - Paesaggi, sonori, visivi, abitati. Ambientazioni, drammaturgia del suono e personaggi nel melodramma italiano dell’Ottocento. A cura di Sonia Arienta.
Quaderni di Musica/Realtà, 59. Lucca, 2011. 8˚, 440 pp. Wrappers. $40 [item no.6955]
Bertiere, Maria Chiara. I teatri di Ferrara. Il Tosi-Borghi (1857-1912)
Con Notazioni, 11. Lucca, 2012. 8º, lxxx, 616 pp. Wrappers. $91 [item no.6967]
Bissoli, Francesco. La Lina di Ponchielli nel solco di un genere medio.
Lucca, 2010. 8˚, ix, 178 pp. Wrappers. $47 [item no.6962]
Bissoli, Francesco. Storia e fonti della Marion Delorme di Ponchielli.
Strumenti della Ricerca Musicale, 18. Lucca, 2012. 8º, x, 256 pp. Wrappers. $42 [item no.6969]
Sirsch, Licia, Maria Grazia Sità, & Marina Vaccarini. L’insegnamento dei conservatori, la composizione e la vita musicale nell’Europa dell’Ottocento. A cura di Licia Sirch, Maria Grazia Sità, Marina Vaccarini.
Strumenti della Ricerca Musicale, 19. Lucca, 2012. 8º, xxiv, 671 pp. Wrappers. $77 [item no.6970]
Calabretto, Roberto. Andrej Tarkovskij e la musica. A cura di Marco Vincenzi.
Quaderni di Musica/Realtà, 58. Lucca, 2010. 8˚, 309 pp. Wrappers. $46 [item no.6954]
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]
Cavallo, Paolo. Le fonti musicali in Piemonte, Vol. III: Asti e Provincia. A cura di Paolo Cavallo.
Cataloghi di Fondi Musicali del Piemonte, 6. Lucca, 2012. 17 x 24 cm, xxxvi, , 428 pp. Wrappers. $58 [item no.6993]
Boella, Daniela Petrobelli. Tra feste e cerimonie. Catalogo di una collezione dispersa. A cura di Daniela Petrobelli Boella.
Lucca, 2012. 17 x 24 cm, xx, 530 pp. Wrappers. $58 [item no.6741]
Cicco, Dario de. Cicco. ‘Amico carissimo...’ Verdi e Fraschini attraverso alcune corrispondenze. A cura di Dario de Cicco.
Lucca, 2013. 14 x 22 cm, xix, 102 pp. Wrappers. $28 [item no.6762]
Colturato, Annarita & Andrea Merlotti. La festa teatrale nel Settecento. Dalla corte di Vienna alle corti d’Italia. Atti del Convegno Internazionale di Studi, Reggia di Venaria, 13-14 novembre 2009. A cura di Annarita Colturato e Andrea Merlotti.
Lucca, 2011. 8º, 345 pp. Wrappers. $60 [item no.6978]
Colturato, Annarita. Mettere in scena la regalità. Le feste teatrali di Gaetano Pugnani al Regio di Torino.
Le Chevalier Errant, Studi sulla degli Antichi Stati Sabaudi e del Piemonte, 8. Lucca, 2012. 17 x 24 cm, 148 pp. Wrappers. $43 [item no.6740]
Cresti, Renzo. Richard Wagner. La poetica del puro umano.
Lucca, 2012. 8º, xxv, 700 pp. Wrappers. $69 [item no.6977]
Cresti, Renzo. Richard Wagner. The Poetics of the Pure Human.
Lucca, 2012. 12º, 236 pp. Wrappers. $44 [item no.6975]
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]
Dellaborra, Mariateresa. “Il ciel non soffre inganni”. Attorno al Demetrio di Mysliveček, “Il Boemo”. A cura di Mariateresa Dellaborra.
Strumenti della Ricerca Musicale, 17. Lucca, 2011. 8º, xii, 167 pp. Wrappers. $45 [item no.6980]
Dolfi, Teresa & Luciano Vannucci. Catalogo del Fondo Musicale Rospigliosi. A cura di Teresa Dolfi e Luciano Vannucci.
Beni Culturali, Provincia di Pistoia, 50 Lucca, 2011. 12º, xxx, 565 pp. Wrappers. $67 [item no.6983]
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]
Fassone, Alberto. Come un suono di natura.. Saggi su Mahler
Musica Ragionata, 20. Lucca, 2015. 12º, 401 pp. Wrappers. $38 [item no.6801]
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]
Moffa Bosco, Rosy. Fondi musicali dell’archivio ebraico Terracini. Fondo Saluzzo, Fondo Alessandria, Manoscritti di Musica Sinagogale dell’Ottocento.
Cataloghi di Fondi Musicali del Piemonte, 8. Lucca, 2012. 17 x 24 cm, xlx, , 214 pp. Wrappers. $44 [item no.6988]
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. $57 [item no.6858]
Porrino, Stefania. Teatro musicale. Lezioni di regia. Prefazione di Guido Salvetti con contributi di Carla Carretti, Laura Citti, Luciano D’Arpino, Vincenzina Nicastri, Daniela Terreri.
Lucca, 2013. 17 x 24 cm, xv, 335 pp. Wrappers. $56 [item no.6761]
Ruberti, Giorgio. Il verismo musicale.
Lucca, 2011. 12º, xiv, 280 pp. Wrappers. $44 [item no.6982]
Ruffin, Gianni. Il caso Siegfried. Individuazione simbolica di un eroe wagneriano.
Lucca, 2009. 12º, x, 200 pp. Wrappers. $31 [item no.6873]
Santarelli, Cristina. La gara degli elementi: acqua, aria, terra e fuoco nelle feste sabaude (1585-1699).
Le Chevalier Errant, Studi sulla degli Antichi Stati Sabaudi e del Piemonte, 7. Lucca, 2010. 17 x 24 cm, xi, 242 pp. Wrappers. $49 [item no.6739]
Tonini, Giuliano. Ferruccio Busoni. Aspetti biografici, estetici e compositivi inediti. A cura di Giuliano Tonini.
Quaderni di Musica/Realtà, 57. Lucca, 2010. 14 x 21 cm, 27, 399 pp. Wrappers. $50 [item no.6997]
Vavoulis, Vassilis. ‘Nel theatro di tutta l’Europa’. Venetian-Hanovererian Patronage in 17th-Century Europe.
Lucca, 2010. 8˚, xlvii, 502 pp. Wrappers. $62 [item no.6961]
Viarengo, Alberto. Catalogo dei Testi per musica della Biblioteca del Teatro Coccia. Archivio di Stato di Novara. A cura di Alberto Viarengo.
Cataloghi di Fondi Musicali del Piemonte, 7. Lucca, 2010. 17 x 24 cm, lvi, , 220 pp. Wrappers. $44 [item no.6994]
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]