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Opera
 

Thursday, 21 September 2017
Manuscript facsimiles (autographs & copyist manuscripts), facsimiles
of first editions & primary source materials, together with a selection of
critical editions & studies. For ordering information go to Contact OMI


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ADLGASSER, Anton Cajetan, 1729-1777

Pietas in deum. Tragödie in 5 Akten. Faksimile der autographen Partitur aus dem Besitz der Erzabtei St. Peter Salzburg. Erste Aufführung in Salzburg am 8. Juli 1772 auf der Universitätsbühne (Große Aula). Text, Kommentar und Perioche des Schauspiels (lateinisch/deutsch) vorgelegt von Werner Rainer und Franz Witek.
Denkmäler der Musik in Salzburg, Faksimile-Ausgaben, 11. Salzburg, 2004. Oblong 33 x 25 cm, 2 vols, 108, 136 pp. Duotone halftone of the autograph full score. Historical commentary in Ger. Stiff wrappers in decorative paper. $115 (more info... ) [item no.8567]


BARTÓK, Béla, 1881-1945

Duke Bluebeard’s Castle Opus 11, 1911. Autograph Draft. Edited by László Vikárius.
Budapest, 2006. 4°, 58, 51 pp. Full-color facsimile of the autograph working copy (short score). Issued on the occasion of the 125th anniversary of the composer’s birth. Cloth. $135 (more info... ) [item no.8907]


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


BERIO, Luigi, 1924-2003

Cronaca del luogo. Azione musicale. Testo di Talia P. Berio (1999). Partitura.
Milan, 2006. 32 x 46 cm. iv, 229 pp. Line-cut of the composer’s fair copy full score. Commissioned by the Salzburg Festival in 1999, Berio’s “Cronaca del luogo” (Chronical of the Place) consists of a prologue and 5 scenes set within a biblical landscape. It is the composer’s celebration of a special place—the “Felsenreitschule”, a stage carved out of a rock on a mountainside—and an extraordinary voice, expressed through the composer’s distinct music-theater called “azione musicale”. The work’s most dominant visible element is the musically ever-changing wall (stage) of immutable memories—where the story of Jericho, the tower of Babel, etc., unfold and define the place or luogo, chronicling through sound and light the varying manifestations of the presence of God in human life. Cloth. $269 [item no.8706]


BERLIOZ, Hector, 1803-1869

(Braam, Gunther) The Portraits of Hector Berlioz. Edited by Gunther Braam in Collaboration with Richard Macnutt and John Warrack.
New Edition of the Complete Works, 26. Kassel, 2004 19 x 27 cm, xxvii, 401 pp. Beautiful picture documentary containing 122 portraits of the composer. Includes paintings, medals, busts, woodcuts, drawings, lithographs, photographs and caricatures. Cloth. $306 [item no.8472]


BIBER, Heinrich Ignaz Franz von, 1644-1704

Chi la dura la vince (Wer ausharrt, siegt). Dramma musicale in drei Akten. Text von Francesco Maria Raffaelini(?). Faksimile der Partitur Hs 560 aus dem Besitz des Salzburger Museums Carolino Augusteum. Einführung von Sibylle Dahms.
Denkmäler der Musik in Salzburg, Faksimile-Ausgaben, 10. Salzburg, 2004. 22 x 32 cm, 156, 107 pp. Halftone of the manuscript score. Historical commentary in Ger. Hardbound, with slipcase in decorative paper. $139 [item no.8470]


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, [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 (more info... ) [item no.9224]


CAMPRA, André, 1660-1744

Tancrède. Tragédie en musique. Introduction by Antonia L. Banducci, with a Section on André Campra by James R. Anthony and Section on Eighteenth-Century Dance by Judith L. Schwartz.
French Opera in the 17th and 18th Centuries, 18. Stuyvesant, 2006. 4º. lx, 417 pp. The full orchestral score (reproduced in line-cut facsimile) dates from 1738 and reflects Campra's revision from a five-part to a four-part string texture. To provide scholars and performers with complete access to the original work, an appendix to the edition offers a transcription of the original fifth part (the quinte de violon) as well as several other sections of the original, which Danchet and Campra subsequently revised. Cloth. $100 [item no.8701]


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, [2011]. 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]


GAUDIO, Antonio dal, fl.1669-1682

Almerico in Cipro. Partitura dell’opera in facsimile, edizione del libretto, saggio introduttivo a cura di Giovanni Morelli.
Drammaturgia Musicale Veneta, 7. Milan, 2005. Oblong, 30 x 23 cm, lxvi, 207 pp. Line-cut of a contemporary ms copy (full score), and first edition of the libretto. Almerico in Cipro is a representative opera from a long period in which the Venetian Republic experienced military and political setbacks; the opera’s sentimental and extremely intricate plot, containing many absurdities, is woven around royal characters from the Mediterranean area. The musical treatment seems to hint at the emergent “da capo” aria soon to blossom. Although there is a lack of any relationship between the contemporary historical events that affected the life of the city and state (here, the war in the Peloponnese) and the fictional stories of the opera, there does exist a typically Venetian allegorical dimension. Introduction in It with Eng summary. Linen. $231 (more info... ) [item no.8586]


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]


LOTTI, Antonio, 1667-1740

L’umiltà coronata in Ester. Partitura dell’oratorio in facsimile. Edizione del libretto. Saggio introduttivo a cura di Laura Zanella. [Ms. 17671, Österreichische Nationalbibliothek, Vienna].
Drammaturgia Musicale Veneta, 11. Milan, 2004. Oblong, 30 x 23 cm, xxvii, 243 pp. Line-cut of a contemporary ms copy (full score). Pietro Pariati’s oratorio set to music by Antonio Lotti and dedicated to Esther, Racine’s famous character, was composed in 1714. Intended for performance in Vienna, it was in reality Venetian by birth, being a remake of an oratorio performed in 1712 at the Mendicanti Hospital, entitled “Humilitas exaltata seu Esther regina”. The opera retains the strong “theatrical” character of its origins (implicit, but not over the top), so typical of the Venetian Hospital oratorios. This opera is a forerunner of Zeno’s “sacred musical tragedy”. Indeed, if one considers the specific musical form of Lotti’s truly dramatic intonation, it is a specimen of one of the first steps in the process that very gradually led to the genre of oratorio to merge with the theatrical repertoire over the course of the 1700s, as evinced by the great Pre-Romantic and Romantic “sacred dramas”. Introduction in It with Eng summary. Linen. $233 (more info... ) [item no.8449]


LULLY, Jean-Baptiste, 1632-1687

Achille et Polixene. Tragédie. Facsimile of the First Edition, Paris, 1687. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 15. Williamstown, 2007. 23.5 x 34 cm. viii, 358 pp. Line-cut of the Paris, 1687 edition. Cloth. $200 [item no.8487]


Alceste. Tragédie mise en musique. Facsimile Edition of the First Edition, Paris, 1708. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 2. Williamstown, 2007. 23.5 x 34 cm. ix, 267 pp. Line-cut of the Paris, 1708 edition. Cloth. $200 [item no.8474]


Amadis. Tragédie mise en musique. Facsimile of the First Edition, Paris, 1684. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 11. Williamstown, 2007. 23.5 x 34 cm. viii, 322 pp. Line-cut of the Paris, 1684 edition. Cloth. $200 [item no.8483]


Isis. Tragédie mise en musique. Facsimile of the First Edition, Paris, 1719. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 5. Williamstown, 2007. 23.5 x 34 cm. viii, 296 pp. Line-cut of the Paris, 1719 edition. Cloth. $200 [item no.8477]


Proserpine. Tragédie mise en musique. Facsimile of the First Edition, Paris, 1680. Preface by François Lesure.
Jean-Baptiste Lully: The Tragédies Lyriques, 8. Williamstown, 2004. 23.5 x 34 cm, ix, 360 pp. Line-cut of the Paris, 1680 full score. Cloth. $200 [item no.8480]


Psyché. Tragédie mise en musique. Facsimile of the First Edition, Paris, 1720. Preface by Elma Sanders.
Jean-Baptiste Lully: The Tragédies Lyriques, 6. Williamstown, 2004. 23.5 x 34 cm. viii, 212 pp. Line-cut of the Paris, 1678 full score. Cloth. $200 [item no.8478]


MAHLER, Gustav, 1860-1911

[Rückert Lieder, selections, voice & orch, voice/piano] Ich bin der Welt abhanden gekommen. Facsimile Edition of the Autograph Manuscripts, Gilbert Kaplan, Editor.
New York, 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. Please inquire. (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]


MENDELSSOHN-BARTHOLDY, Felix, 1809-1847

Die erste Walpurgisnacht. Ballade von Goethe für Chor und Orchester, op.60. A Full-Color Facsimile of the Autograph Piano-Vocal Score Held in the Museum of Educational Heritage at Tamagawa University. Edited with Commentary by Hiromi Hoshino.
Tokyo, 2005. 24.4 x 32 cm, xii, 48, 76 pp. Full-color facsimile edition of the recently rediscovered autograph score, a fair copy with numerous revisions and corrections on almost every page. Die erst Walpurgisnacht is considered one of Mendelssohn’s finest pieces and the composer lavished much care on its composition which spanned from 1830 until 1843, finally being published in 1844. This autograph of Die erste Walpurgisnacht was presented to the late Spanish cellist, Gaspar Cassadó by his patron, Giulietta Gordigiani von Mendelssohn, and upon Cassadó’s death it was inherited by his Japanese wife, the late pianist Chieko Hara. Subsequently it was donated by her family to Tamagawa University as part of a large collection of Cassadó’s former possessions. Critical commentary in Eng-Jap. Clothbound. $468 (more info... ) [item no.8670]


MEYERBEER, Giacomo, 1791-1864

L’Africaine. The Manuscript Facsimile. Introduced and Edited by Robert Letellier.
Middlesex, 2005. Oblong, 4°, xvi, 887 pp. Line-cut, in reduced format, of the composer's ms—clearly written and hardly annotated at all—providing Meyerbeer's original intentions. L'Africaine, Meyerbeer's last opera, was first considered in 1837 when Scribe presented him with two new libretti. The first—Le Prophète—he began composing immediately and by 1843 a piano score was ready for L'Africaine, but the subject as it stood then, concerning Fernando da Soto explorations in West Africa, did not satisfy Meyerbeer. Scribe was asked to rewrite the libretto in 1851, with the hero changed to Vasco da Gama, and focussed on his epic voyage around the Cape of Good Hope to India. A new contract was signed in 1857, and the greater part of the opera was written between 1857 and 1863, in spite of the Meyerbeer's growing debility. A copy of the full score was delivered to composer the day before he died on 2 May 1864. The opera was performed in a version prepared by François-Joseph Fétis a year later, 28 April 1865, and was a glorious posthumous tribute to its creators. It became enormously popular, being performed 60 times in the first four seasons and receiving 485 performances in Paris up until the end of the century. Hardbound, in black buckram. (special price, reg. $195) $137 [item no.8693]


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]


Les Huguenots: The Manuscript Facsimile. Introduced and Edited by Robert Letellier.
Middlesex, 2005. Oblong, 29 x 20 cm, xx, 981 pp. Line-cut, in reduced format, of the composer's ms. Meyerbeer's Les Huguenots is the first panel of a central diptych on the Reformation, and the heart of the wider tetralogy of Meyerbeer's grand operas, where issues of power, religion and love are examined in a variety of modes. It is a gigantic drama, partly adapted by Scribe from Merimée's Chronique de Charles IX. Most of the vivid details gleaned from every available document related to the time, were the composer's contribution to Les Huguenots. The music for this sombre tapestry of the Saint Bartholomew Massacre creates a panoramic alternation of moods and captures the tragedy of religious intolerance and personal anguish in one of the most fraught events in history when some 30,000 French Protestants were murdered during the night of 24 August 1574. The opera became enormously popular, its various arias a touchstone of operatic lyricism, and by 1936 had been performed 1120 times in at the Paris Opéra alone. The facsimile edition of the manuscript, for so long kept private and then thought lost after the Second World War, enables lovers of opera to examine for themselves the compositional procedure of its great and often misunderstood creator. One can see the extent to which curtailment of the original conception was needed on the eve of the premiere: in the ensembles of both act 1 and 3 Meyerbeer's complex developments had to be reduced. The ever present problem of censorship also meant that the original idea of depicting Catherine de' Medici on stage as the instigator of the massacre had to be radically altered and her role substituted by the Comte de Saint Bris. The famous viola d'amore accompaniment to Raoul's rhapsodic act 1 romance ("Plus blanche que la blanche hermine") was originally conceived for the cello. Hardbound, in black buckram. (special price, reg. $195) $137 [item no.8694]


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]


Le Prophète: The Manuscript Facsimile. Introduced and Edited by Robert Letellier.
Middlesex, 2005. Oblong, 29 x 20 cm, xv, 963 pp. Line-cut, in reduced format, of the composer's ms. Le Prophète is the second panel of Meyerbeer's Reformation diptych, his darkest and most mysterious opera. It explores issues of power and religion, fanaticism and faith, betrayal and trust, the demonic forces of history and the witness of little people caught up in them—the ultimate and enduring sacrificial power of love. The plot is based on the revolt of the Westphalian Anabaptists under the leadership of the Leyden tailor Johann Bockholdt in 1537-38. Meyerbeer, as usual, studied the historical period carefully, and the opera is especially remarkable for its vivid human portraiture, its psychological realism mixed with religious mysticism, prophecy, dreams, unconscious promptings, telepathy, aspiration, conversion, rich in mythical resonance. The opera was a worldwide success. The beauty of the Breughelesque recreation of 16th-c. Netherlandish scenery and costumes, as well as the glory of the Cathedral Scene, constituted nothing less than an apotheosis in the history of theatrical mise en scène. It was performed 573 times in Paris until 1912, and some individual numbers like the famous Coronation March, the Skaters' Ballet and the two arias of Fides became extremely popular. The manuscript shows how Meyerbeer had to make many musical adaptations to fit in with the stringent temporal regulations of the Paris Opéra, and the exigencies of his soloists. Jean's role in act 3 was considerably reduced to conserve the singers' stamina, as was the full version of Berthe's suicide in act 5, to save on performing time. Several scenes of real historical interest or dramaturgical importance had to be sacrificed and their restoration, together with the dark-hued but brilliantly virtuosic overture, should be considered for future productions. Hardbound, in black buckram. (special price, reg. $195) $137 [item no.8695]


Robert le Diable: The Manuscript Facsimile. Introduced and Edited by Robert Letellier. [Staatsbibliothek Preußischer Kulturbesitz, Berlin].
Middlesex, 2005. Oblong, 29 x 20 cm, xiv, 636 pp. Line-cut, in reduced format, of the composer's autograph score. The première on 21 November 1831 of Robert le Diable was one of the most sensational in the annals of opera, and its success throughout the 19th c. universal and enduring. Not only did the composer sum up the various impulses of the splendid French lyrico-dramatic tradition of grand opéra, and introduce widely influential, structural, melodic and orchestral ideas into general operatic currency, but he seemed to address the very soul and aspiration of the people of his age. The opera based on a legend, became a legend in its own right. The facsimile edition of the manuscript of this famous work, for so long kept private and then thought lost after the Second World War, enables lovers of opera to examine for themselves the compositional procedure of its great and often misunderstood creator. The admired pieces like Bertram's Évocation, Isabelle's cavatina of grace, the sensational Ballet of the Nuns in the ruins of a moonlit cloister, the decisive trio of redemption in the last act, can all be seen at their very inception. Meyerbeer produced a work “that changed the face of opera” (William J. Collins). The full significance of this score in the history of opera must still be properly assessed. Hardbound, in black buckram. (special price, reg. $157) $110 [item no.8698]


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]


[Madrigals, a3, bc, book 8] Madrigali guerrieri, et amorosi. Libro VIII (Venezia, 1638). Introduzione di Iain Fenlon.
Bibliotheca Musica Bononiensis, IV/99. Bologna, 2005. 4°, 8 partbooks, 480 pp. Line-cut of the Venice, 1638 partbook edition. Among his secular collections, Libro VIII is the most imposing and also the one in which the composer exploits the “modern practice”. Divided into “canti guerrieri” and “amorosi” the collection includes not only the more customary madrigals “without gesture”, but also works belonging to the “theatrical genre”, among them, the warlike “Combattimento di Tancredi e Clorinda” and the amorous and allegorical “Ballo delle ingrate”. Introduction in Eng-It. Wrappers, with slipcase. $117 (more info... ) [item no.8593]


Il ritorno di Ulisse in patria. Ms. Wien. Saggio introduttivo e libretti a cura di Sergio Vartolo.
Musica Drammatica, 9. Florence, 2006. Oblong, 28 x 21 cm, 2 vols, 269, 197 pp. Line-cut of a MS score from the Österreichische Nationalbibliothek, Vienna. A wonderful composite edition, reproducing the full score (in the hand of a comtemporary copyist) and all the relevant texts and libretti. Introduction in It-Eng. Wrappers. $62 (more info... ) [item no.8783]


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]


Così fan tutte, ossia, La scuola degli amanti, K.588. Facsimile of the Autograph Score, Staatsbibliothek zu Berlin-Preussischer Kulturbesitz, Biblioteka Jagiellońska Kraków (Mus. ms. autogr. W.A. Mozart 588), Stadt- und Universitätsbibliothek Frankfurt am Main (Mus. Hs 2350. Introductory Essay by Norbert Miller; Musicological Introduction by John A. Rice.
Mozart Operas in Facsimile, 5. Los Altos, 2007. Oblong, 4°, 3 vols, vii, 108; 635 pp. Full-color reproduction of the autograph score. This popular opera buffa exploring romantic love and sexual attraction has delighted audiences for more than two hundred years. Compared to the two earlier operas with Da Ponte's collaboration, there is scant detailed evidence regarding the genesis of Così fan tutte. Interestingly, in Mozart's own autograph catalog "Vereichnüß aller meiner Werke" a single number from the opera —"An aria intended for the opera Così fan tutte... Rivolgete à me lo sguardo"—preceeds the entry for the complete opera, somewhat an anomally for the thematic catalogue. In any case the composition of the opera seems to have occurred over a short period of time and in keeping with other operas, Mozart composed and revised it while rehearsals were already going on. Different ink tints in the autograph (showing vocal lines with bass in one ink tint and orchestration in another) support this idea and agrees with testimony by Eybler who supervised rehearsals for singers from "parti cantanti". Besides this aspect of the autograph there are also some interesting musical changes, carefully documented in the introductory essay by John A. Rice. After an instrumental rehearsal of the opera on 20 January 1790 in the company of Haydn, the premiere took place six days later in Vienna's Burg Theater, Mozart conducting, and performed by the best singers the Royal-Imperial National and Court Theater had to offer. It was an immediate successs, being repeated numerable times and revived as well in the decades after the composer's death. A copyist manuscript from the atelier of Wenzel Sukowtay—Österreichische Nationalbibliothek, Ms. OA 146—basically a copy of Mozart's autograph is also an important source of the opera, showing how it evolved in later years; Ms. OA 146 is the principal source for most of the music missing from the autograph. It also serves as the most reliable record of changes made to the opera during the rehearsals and performances, some by Mozart or with his approval. Parts of Ms. OA 146 as well as surviving sketches and drafts are reproduced in this facsimile. Bibliophile edition, in three volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.8876]


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]


Idomeneo. K.366, with Ballet K.367. Facsimile of the Autograph Score. Staatsbibliothek zu Berlin—Preußischer Kulturbesitz, Biblioteka Jagiellońska Kraków (Mus. ms. autogr. W.A. Mozart 366, 367, 489 and 490). Introductory Essay by Hans Joachim Kreutzer. Musicological Introduction by Bruce Alan Brown.
Mozart Operas in Facsimile, 1. Los Altos, 2006. Oblong, 4°, 3 vols, vii, 108; 773 pp. A beautiful and exacting full-color reproduction of the autograph score composed between September of 1780 and January of 1781, with additions and corrections as late as 1786. The facsimile reunites Acts I & II preserved today in the Biblioteka Jagiellońska Kraków, and the Act III and the ballet music (K.367) held by the Staatsbibliothek zu Berlin. Mozart's score, written in a clear and neat handwritting, served as the source for a copyist's score used for the premiere. Yet by no means is Mozart’s autograph score a fair copy, as it represents a fascinating mixture of completely stable portions with ones that show clear signs of fluidity and development, with numerous crossouts, multiple versions, even versions that appear as rehearsal trials. The nature of the commission and the relatively strict time frame imposed on the composer must have turned the Palatine Elector Carl Theodor's residence into a noisy production studio, with various rehearsals going on simultaneously, copyists preparing parts, Mozart coaching and cajoling singers, all the while he was still composing the work. The opera saw, in addition to its Munich performance, a concert version in Vienna in 1786 with orchestra and tenor, portions of which are also documented in the facsimile. This beautiful bibliophile edition, in three volumes, bound in dark brown quarter leather with beige linen boards, inagurates the series "Mozart Operas in Facsimiles". $200 (more info... ) [item no.8623]


[Magic Flute, selection, K.620] Die Zauberflöte Aria: “Ein Mädchen oder Weibchen wünscht Papageno sich”. Faksimile und Klavierauszug. Nachwort von Silke Leopold. [Staatsbibliothek Preußischer Kulturbesitz, Berlin, Mus. ms. autogr. W.A. Mozart 620].
Kassel, 2005. Oblong, 4°, 36 pp. 4-color halftone facsimile of the autograph score (fols. 157-160 of the opera), one of the best known arias in the history of music. Together with modern edition in vocal score format. The opera owes its success in no small part to the role of Papageno, a mixture of buffoon and harlequin, of mythical beast and child of nature, uniting many theatrical traditions: the wily servant and fool of the commedia dell’arte, Prince Tamino and his grudging servant, Papageno the Bird-Catcher, are the same pairing opposites as Don Giovanni and Leporello, etc. Schikaneder actually wrote the part of the Bird-Catcher to showcase his own talents. Mozart captures a humorous account of a performance of the work at the Freihaus-Theater in a letter to Constanze, dated 9 Oct. 1791: “During Papageno’s aria with the glockenspiel I went behind the stage, as I felt a sort of impulse today to play it myself. Well, just for fun, at the point where Schikaneder has a pause, I played an arpeggio. He was startled, looked into the wings and saw me. When he had his next pause, I played no arpeggio. This time he stopped and refused to go on. I guessed what he was thinking and again played a chord. He then struck the glockenspiel and said ‘Shut up’. Whereupon everyone laughed. I am inclined to think that this joke taught many of the audience for the first time that Papageno does not play the instrument himself.” Commentary in Ger-Eng-Jap. With attractive binding red linen. $32 (more info... ) [item no.8630]


[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]


[Marriage of Figaro, K.492] Le nozze di Figaro, K.492. Facsimile of the Autograph Score, Staatsbibliothek zu Berlin--Preussischer Kulturbesitz, Biblioteka Jagiellońska Kraków (Mus. ms. autogr. W.A. Mozart 492) . Introductory Essay by Norbert Miller; Musicological Introduction by Dexter Edge.
Mozart Operas in Facsimile, 3. Los Altos, 2007. Oblong, 4°, 3 vols, vii, 124; 613 pp. Full-color reproduction of the autograph score completed in the spring of 1786. Le nozze di Figaro is the first in the great triology of Italian operas that Mozart produced together with the librettist Lorenzo da Ponte. It is based on Beaumarchais' politically incendiary play Le mariage de Figaro, written in 1781 and first performed in 1784. Mozart's opera is held by many to be one of the greatest operas of all time, and is notable for its sublime yet profoundly human portrayal of love, jealousy, infidelity, and forgivness. Figaro has never fallen out of the operatic repertoire; in the 19th century it was perhaps second in popularity only to Don Giovanni among Mozart's Italian operas, and it is now one of the most frequently performed of all his operas. The discovery in the early 1990s of the original orchestral parts and the working score of the opera from its first production in Vienna in 1786 has shed much new light on the early history of the opera. This facsimile edition reunites the first two acts preserved in the Staatsbibliothek zu Berlin and the third and fourth acts in possession of the Biblioteka Jagiellońska in Krakow. Besides reproducing the composer's fair copy score, the edition provides all pertinent sketches and drafts, as well as passages from copyists mss that supplement the autograph. Bibliophile edition, in three volumes, bound in dark brown quarter leather with beige linen boards. $200 (more info... ) [item no.8966]


[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, [10]. 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 [1800]. 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]


[Masonic Funeral Music, K.477] L’autografo della musica funebre massonica KV 477 (479a) della Musikabteilung della Staatsbibliothek (Preußischer Kulturbesitz) di Berlino. Das Autograph der “Maurerische Trauermusik KV 477 (479a) der Musikabteilung der Staatsbibliothek (Preußischer Kulturbesitz) von Berlin. Edizione in facsimile a cura di Giacomo Fornari.
Lucca, 2006. Color facsimile of the autograph issued on the occasion of the 250th anniversary of the composer’s birth. Composed around November 1785, and scored for strings, 2 oboes, 2 clarinets, 2 horns & basset horn, Masonic Funeral Music was written for the Masonic Lodge “Zur gekrönten Hoffnung” in Vienna, and was dedicated to the memory of Esterházy, a fallen brother. The composer’s autograph includes the characteristic Mason symbol (a square and compass); the “corno di bassetto” (basset horn) has special significance in the mason tradition. (in preparation) [item no.8708]


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]


PAËR, Ferdinando, 1771-1839

Sargino, ossia L’allievo d’amore. Braunschweig s.d.
Musica Drammatica, 8. Florence, 2005. Oblong, 30 x 21 cm, xv, 114 pp. Line-cut of the Braunschweig, 1805 edition, issued in piano-vocal format. Introduction in It by Piero Mioli. Wrappers, in decorative paper. $74 [item no.4583]


PAISIELLO, Giovanni, 1740-1816

I giuochi d’Agrigento. Partitura dell’opera in facsimile. Edizione del libretto. Saggio introduttivo a cura di Lorenzo Mattei.
Drammaturgia Musicale Veneta, 27. Milan, 2007. Oblong, 29 x 23 cm, 2 vols, lvii, 604 pp. Line-cut of a contemporary manuscript copy. I giochi di Agrigento by Paisiello and Pepoli was the work that inaugurated the Fenice Opera House in Venice, on May 16, 1792. As Mattei writes in his essay, the work became the archetype of a ‘neo-classical’ species of opera capable of uniting the monumentality of a façade to a pathetic-sentimental (already romantic) substratum, and of introducing formal innovation beneath a stylistic and dramatic surface that was backward-looking and grandiose in the outward appearance. Introduction in It. Linen. $348 (more info... ) [item no.8819]


PUCCINI, Giacomo, 1858-1924

Tosca. A cura di/Edited by Ilaria Narici. [Casa Ricordi, Milan].
[Archivio Storico Ricordi]. Milan, 2004. 35,5 x 53,5 cm, 4 vols, 528 + 96 pp. Full-color facsimile of the autograph score in 3 volumes as preserved in their original folio format in the Ricordi archives, accompanied by one volume on the history and iconography of the opera by Roger Parker (’’Easy reading is damned hard writing’: Puccini at Work”) and Mercedes Viale Ferrero (”Tosca Viewed”). Quarter leather with golden lettering and ornaments (after the original), in handsome clamshell case covered in brown cloth. Commentary vol. in wrappers. Bibliophile edition of 100 numbered copies. (publisher’s price: euro 5,500--please inquire for special OMI price). (more info... ) [item no.8491]


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. Ballet réduit à quatre grands concerts. 1735-1736. Présentation par Pascal Duc. [Bibl. Municipale, Lyon].
La Musique Française Classique de 1650 à 1800, 166. Courlay, 2005. Oblong, 31 x 23 cm, xxxi, 230 pp. Line-cut of the Paris, 1735-1736 edition (short score). Introduction in Fr-Eng-Ger. Wrappers. $93 [item no.8572]


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]


[Correspondence, complete, v.3a] Lettere e documenti. Volume IIIa, 18 febbrario 1812 - 22 giugno 1830. A cura di Bruno Cagli e Sergio Ragni.
Pesaro, 2004. 8º, xx, 535 pp. Linen. $88 [item no.6594]


Iconografia Rossiniana. Alessandro Sanquirico, “Il Rossini della pittura scenica”. A cura di Mercedes Viale Ferrero, Maria Ida Biggi, Maria Rosaria Corchia.
Iconografia Rossiniana, 4. Pesaro, 2007. 4º, lxxxii, 274 pp. The fourth volume of IR focuses on the greatest scenographer of the 19th century, Alessandro Sanquirico, who was justly called “the Rossini of scenography”. This volume is the most important scientific contribution on this artist and presents analysis and reproductions of the artists work in a body of research unique to its genre. Wrappers. $148 (more info... ) [item no.9285]


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

Andromeda liberata. Partitura della serenata in facsimile. Edizione del testo letterario. Saggio introduttivo a cura di Michael Talbot. [Conservatorio Statale di Musica “Benedetto Marcello”].
Drammaturgia Musicale Veneta, 16. Milan, 2006. Oblong, 29 x 23 cm, xlvii, 226 pp. Line-cut of a contemporary manuscript copy. Andromeda liberata, a Venetian pasticcio-serenata based on a libretto by Vincenzo Cassani (c.1677-c.1736), is a genre distinct from opera and the chamber cantata, rarely acted in costume in a purpose-built theater with scenery, and performed by singers reading from music in a stationary position in improvised surroundings. Although the team of composers responsible for the music is not recorded, the work is presumed to be by Porpora, Albinoni, Porta, and Lotti. Linen. $231 (more info... ) [item no.8727]


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) Dom Sébastien, roi de Portugal. Reduction for Voice and Piano Based on the Critical Edition of the Orchestral Score, Edited by Mary Ann Smart.
[Critical Editions of Vocal Scores]. Milan, 2005. 8º, lxix, 447 pp. Wrappers. $50 [item no.6723]


Donizetti, Gaetano (new critical edition) Linda di Chamounix. Melodramma in tre atti. Edizione criticia a cura di Gabriele Dotto. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [7]. Milan, 2006. 4º, 2 vols, lviii, 845 pp. Linda di Chamounix provides a fascinating case study of Donizetti's habit of frequent rewriting, as it underwent three significant revisions in the year following its 1842 premiere. This critical edition, using sources that in some cases have never before been studied, allows performers and scholars to reconstruct all three versions. Appendixes include a contemporary orchestration of the stage band part and an early version of the first-act tenor aria which was replaced before the premiere and never performed. Cloth. $430 [item no.6638]


Donizetti, Gaetano (new critical edition) Pia de’Tolomei. Edizione criticia a cura di Giorgio Pagannone. Partitura.
Critical Edition of the Works of Gaetano Donizetti, [8]. Milan, 2006. 4º, 2 vols, c.850 pp. By the mid 1830s, as he began to dominate European stages, Gaetano Donizetti was pushing the boundaries of heightened romanticism in music, seeking texts that featured increasingly melodramatic and violent emotions and the savage consequences of irrational passion. Pia de’ Tolomei ranks among his more disquietingly intense and fast-paced works. As one historian has observed, there is ample reason to recognize Pia as one of the most strikingly pre-Verdian of all Donizetti’s operas. Yet Pia was also a protean text, having no stable form, but changing in shape according to each new venue, as Donizetti returned to the score on a number of occasions. This critical edition reconstructs the premiere Venice version (1837) as the base text, but it offers in appendixes the possibility of reconstructing the two other principal versions, of Senigallia (1837) and Naples (1838). Cloth. $497 [item no.6679]


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. $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, [10]. 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, [11]. 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, [12]. Milan, 2016. 4º, 2 vols, 969 pp. Cloth. $468 [item no.6798]


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]


Rossini, Giachino (critical vocal score) Ermione. Vocal Score Based on the Critical Edition of the Orchestral Score, Edited by Patricia Brauner and Philip Gossett.
[Critical Editions of Vocal Scores]. Milan, 2006. 8º, xl, 338 pp. Wrappers. $40 [item no.6725]


Rossini, Giachino (critical vocal score) L’occasione fa il ladro / A Thief by Chance (1812). Libretto by Luigi Prividali after a play by Eugène Scribe. Piano-Vocal Score based on the critical edition by Giovanni Carli Ballola, Patricia B. Brauner, and Philip Gossett. English translation by Mark Herman & Ronnie Apter.
[Critical Editions of Vocal Scores]. Milan, 2007. 8º, xliii, 248 pp. Wrappers. $35 [item no.6726]


Rossini, Giachino (critical vocal score) Viaggio a Reims. Vocal Score Based on the Critical Edition of the Orchestral Score, Edited by Janet Johnson.
[Critical Editions of Vocal Scores]. Milan, 2006. 8º, ci, 523 pp. Wrappers. $57 [item no.6724]


Sammartini, Giovanni Battista. Cantate per la Quaresima. L’Addolorata Divina Madre e Desolatissima nella Soledad (J-C 123). A cura di Marina Vaccarini Gallarani.
Musiche Italiane del Settecentro, [1]. Lucca, 2005. 4º, xliv. 60 pp. Critical edition. Wrappers. $37 [item no.6570]


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, [8]. Lucca, 2011. 4º, lxxiii, 84 pp. Critical edition. Wrappers. $37 [item no.6939]


Sammartini, Giovanni Battista. Cantate per la Quaresima. Il pianto di S. Pietro (J-C 117). A cura di Marina Vaccarini Gallarani.
Musiche Italiane del Settecentro, [2]. Lucca, 2005. 4º, xxv. 45 pp. Critical edition. Wrappers. $37 [item no.6590]


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]


Vecchi, Orazio. L’Amfiparnaso. Il testo letterario e il testo musicale. A cura di Renzo Bez.
Bibliotheca Musica Bononiensis, IV/100. Bologna, 2007. 4°, 50, 94 pp. New critical edition (score) of the musical comedy printed by Orazio Vecchi in 1597. This polyphonic masterpiece owes part of its success over the centuries to its attempt to unite the two Parnassus’s, that of music and that of comic poetry, to which the allegorical title (”double Parnassus”) explicitly alludes. Wrappers. $63 [item no.8825]


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]


Verdi, Giuseppe. Luisa Miller (1849). Libretto by Salvadore Cammarano, based on Kabale und Liebe [Intrigue and Love] by Friedrich von Schiller. Critical edition by Jeffrey Kallberg. English translation by Mark Herman & Ronnie Apter.
[Critical Editions of Vocal Scores]. Milan, 2004. 8º, 480 pp. Wrappers. $50 [item no.6716]


Verdi, Giuseppe. Macbeth. Melodramma in Four Acts by Francesco Maria Piave and Andrea Maffei. The Piano-Vocal Score Edited by David Lawton.
[Critical Editions of Vocal Scores]. Milan, 2007. 8º, 2 vols, 650 pp. Wrappers. $71 [item no.6717]


Verdi, Giuseppe. I masnadieri. Melodramma tragico in Four Parts by Andrea Maffei. The Piano-Vocal Score Based on the Critical Edition of the Orchestral Score by Roberta Montemorra Marvin.
[Critical Editions of Vocal Scores]. Milan, 2004. 8º, 380 pp. Wrappers. $45 [item no.6714]


Verdi, Giuseppe. Stiffelio. Dramma Lirico in Three Acts by Francesco Maria Piave. The Piano-Vocal Score Edited by Kathleen Kuzmick Hansell.
[Critical Editions of Vocal Scores]. Milan, 2007. 8º, 420 pp. Wrappers. $50 [item no.6718]


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) Der Protagonist. Edited by Gunther Diehl and Jürgen Selk.
The Kurt Weill Edition, I/1. New York, 2007. 30 x 39 cm, 2 vols, 377, 56 pp. Weill’s first opera, a one-act work from 1925 with libretto by Georg Kaiser, an outstanding representative of expressionist drama. It belongs to a series of early compositions that systematically explored almost every musical genre: chamber music, choral music, lieder, orchestral works, and ballet. With the successful premiere of the opera on 27 March 1926, conducted by Fritz Busch, Weill not only achieved a spectacular breakthrough as a composer but also rose to prominence among the young composers identified at the time with the renewal of opera. Hardbound. (Subscribers to the series receive a substantial savings). $475 (more info... ) [item no.6645]


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) 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

Attardi, Francesco. Viaggio intorno al Flauto Magico.
Musica Ragionata, 17. Lucca, 2006. 12º, xvi, 432 pp. Wrappers. $42 [item no.6629]


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]


Boggio, Enrico. Il fondo musiche dell’Archivio Borromeo dell’Isola Bella. Presentazione di Carlo Alessandro Pisoni. Introduzione di Stefano Baldi.
Cataloghi di Fondi Musicali del Piemonte, 3. Lucca, 2004. 4º, xliii, 190 pp. Full inventory of holdings with music incipits. Wrappers. $40 [item no.6566]


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. Le fondi musicale in Piemonte, Vol. I - Torino. A cura Annarita Colturato.
Cataloghi di Fondi Musicali del Piemonte, 4. Lucca, 2006. 17 x 24 cm, xliii, 472 pp. Comprehensive catalog of institutions in Turin that possess music related material. Comprehensive indices plus 18 color plates of manuscripts, stage designs and instruments. Wrappers. $80 [item no.6632]


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]


De Luca, Maria Rosa, Salvatore Enrico Failla,, & Giuseppe Montemagno. Vincenzo Bellini et la France. Histoire, création, et réception de l’œuvre / Vincenzo Bellini e la Francia: Storia, creazione e ricezione dell’opera. Actes du Colloque international / Atti del Convegno Internazionale (Paris - Sorbonne, Salle des Actes - 5-7 novembre 2001).
Lucca, 2007. 8º, xx, 874 pp. Linen. $138 [item no.6694]


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]


Fabbri, Paolo. I teatri di Ferrara. Il Comunale. A cura di Paolo Fabbri.
Con Notazioni, 10. Lucca, [2005]. 8º, 2 vols: xxv, 422, 478 pp. Wrappers. $128 [item no.6575]


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]


Jürgensen, Knud Arne & Francesca Falcone. August Bournonville: Études chorégraphiques (1848, 1855, 1861). A cura di/sous la direction/edited by Knud Arne Jürgensen e/et/and Francesca Falcone. Tradotto dal francese d/traduit du français par/tranlated from the French by Francesca Falcone e/et/and Patricia N. McAndrew.
Lucca, 2005. 8º, 330 pp. A tri-lingual publication of the 3 versions of Bournonville’s “Études Chorégraphiques”. Linen. $128 [item no.6579]


Loreto, Alessandro. I libretti musicali della Biblioteca Alagoniana di Siracusa.
Lucca, 2006. 17 x 24 cm, l, 411 pp. Wrappers. $80 [item no.6612]


[Maione, Paologiovanni & Marta Columbro] Domenico Cimarosa, un ‘napoletano’ in Europa. A cura di Paologiovanni Maione e Marta Columbro. I: Gli studi; II: Le fonti.
Lucca, 2004. 8º, 2 vols, xii, vi, 1243 pp. Wrappers. $128 [item no.6494]


Mariani, Antonio. Giuseppe Frezzolini. Principe de’ bassi comici.
Akademos. Lucca, 2004. 8º, x, 124 pp. Wrappers. $19 [item no.6497]


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]


Mioli, Piero. Padre Martini. Musicista e musicografo de Bologna all’Europa (1706-1784).
Lucca, 2006. 12º, 125 pp. Wrappers. $21 [item no.6631]


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]


Parodi Biggi, Elena. Catalogo tematico delle composizioni teatrali di Antonio Salieri. Gli autografi.
Strumenti della Ricerca Musicale, 8. Lucca, 2005. 17 x 24 cm, c.200 pp. The first thematic catalog of Salieri’s autograph stage works. Wrappers. $144 [item no.6597]


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]


Russo, Luigi. Giovanni Paisiello e la cultura europea del suo tempo. Convegno Internazionale di Studi, Tarranto, 20-23 Giugno 2002. A cura di Francesco Paolo Russo.
Strumenti della Ricerca Musicale, 10. Lucca, 2007. 17 x 24 cm, 412 pp. Wrappers. $48 [item no.6650]


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]


Sità, Maria Grazia. Ballo teatrale, Opera romantica, Recupero dell’antico. Tre contributi per las storia della musica in Italia. A cura di Maria Grazia Sità.
Quaderni del Corso di Musicologia del Conservatorio “G. Verdi” di Milano, 7. Lucca, 2004. 8º, 295 pp. Essays by Elena Previdi, “Fonti musicali del ‘ballo intermezzo’ settecentesco”; Paola Carlomagno, “Produzione e recezione dell’opera seria a Milano nei primi anni della Restaurazione”; Michelangelo Gabbrielli, “La polifonia antica nelle edizioni dell’Ottocento in Italia”. Wrappers. $26 [item no.6553]


Toffetti, Marina. Gli Ardemanio e la musica in Santa Maria della Scala di Milano della prima metà del seicento.
Quaderni dell’Archivio per la Storia della Musica in Lombaria, 2 Lucca, [2004]. 8°, xvi, 303 pp. Wrappers. $40 [item no.6565]


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]


Torelli, Daniele. Benedetto Binago e il mottett a Milano tra cinque e seicento.
Quaderni dell’Archivio per la Storia della Musica in Lombardia, 3 Lucca, 2004. 4º, 252 pp. Wrappers. $40 [item no.6567]


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]