omi logo

Old Manuscripts & Incunabula, PO Box 6019 FDR Station, New York NY 10150
tel/fax 212/ 758-1946 • http://www.omifacsimiles.comimmels@earthlink.net

season
 

from  2016 to 11/20/2021
RECENT ISSUES includes manuscript facsimiles (autographs & copyist manuscripts),
facsimiles of first editions & primary sources, and a selection of research material.
For ordering information go to Contact OMI


last year  • last 3 years  •  last 2 years

BACH, Carl Philipp Emanuel, 1714-1788

[Concerto, harpsichord & fortepiano, orch, Wq. 47] Double Concerto in E-flat Major, Wq 47. Facsimile Edition of the Autograph Score with an Introduction by Robert D. Levin.

Carl Philipp Emanuel Bach, The Complete Works, III, Supplement. Los Altos, 2019. 25 x 32 cm, xix, 94 pp. Beautiful halftone facsimile of autograph score of 1788 from the original in the Staatsbibliothek zu Berlin Preußischer Kulturbesitz. Wrappers $37 [item no.9648]


[Klopstocks Morgengesang, Wq. 239] Klopstocks Morgengesang am Schöpfungsfest. Facsimile Edition with an Introduction by Bertil Van Boer.

Carl Philipp Emanuel Bach, The Complete Works, VI, Supplement. Los Altos, 2021. 25 x 32 cm, xii, 44 pp. Beautiful halftone facsimile of Leipzig, 1784 edition. Wrappers. $31 [item no.9653]


[Oratorio, Wq. 240] Die Auferstehung und Himmelfahr Jesu. Facsimile Edition of the Autograph Score with an Introduction by Ulrich Leisinger.

Carl Philipp Emanuel Bach, The Complete Works, IV, Supplement. Los Altos, 2020. 25 x 32 cm, xv, 191 pp. Beautiful halftone facsimile of autograph score composed during the composer’s last years in Hamburg. The original resides in the Deutsche Staatsbibliothek, Berlin. The work was intended for non-liturgical purposes. Wrappers. $62 [item no.9649]


[Sonatas, keyboard, H.136-140; Wq.50] Six sonates pour le clavecin avec des reprises variées. Bach’s Copy of Wq 50 with His Embellishments. Facsimile Edition with an Introduction by Jaoson B. Grant.

Carl Philipp Emanuel Bach, The Complete Works, I, Supplement. Los Altos, 2019. 25 x 32 cm, xiv, 40 pp. Beautiful halftone facsimile of the Berlin, 1760 edition based on the composer’s annotated personal copy. A fascinating documents that records numerous corrections and additions that Bach added in the margins. Wrappers $32 [item no.9647]


BACH, Johann Sebastian, 1685-1750

[Concerti, harpsichord, strgs, BWV 1052, -53, -54, -55, -56, -57, -58, -59] Concerti a Cembalo obligato BWV 1052-1059. Facsimile of the Autograph Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. Commentary by / Kommentar von Christoph Wolff, Martina Rebmann.

Documenta Musicologica, II/57. Kassel, 2021. 23 x 38 cm, c.152 pp Deluxe 4-color facsimile of the autograph (collective) score mus. ms. aut. Bach P. 234. Johann Sebastian Bach composed not only for the nobility and the church, but also for bourgeois musical culture. Among these works are the harpsichord concertos, “music for a Leipzig ‘coffee house”. They are notated in a 1738 manuscript that is a unique and probably the most important document for the instrumental repertoire of the Leipzig “Collegium Musicum”. The concerto movements are arranged in such a way that the harpsichord is given a solo part that exploits the instrument’s “clavieristic” possibilities to the full. These works thus fix a decisive moment in the early history of the piano concerto genre which received significant impulses from Bach and his circle of students. Hardbound, with leather spine and decorative paper boards. 10% discount for early subscribers. $345 (more info... ) [item no.9665]


[WTC I, piano, BWV 846-869, Richault edition, annotated by F. Chopin] Vingt-quatre préludes et fugues (Le clavier bien tempéré, livre I). Annoté par Fréderic Chopin. Commentaire de Jean-Jacques Eigeldinger.

Publications de la Société Française de Musicologie, I/28. Paris, 2/ 2020. Oblong, 28 x 21 cm, lxxii, 111 pp. Color facsimile of the Richault edition (one of the four first editions of the work), with autograph emendations by Fredéric Chopin. In his triple activity as composer, performer, and teacher, Chopin constantly turned to Bach as a supreme point of reference. The Well-Tempered Clavier is said to be the only score he took with him to Majorca in the winter of 1838-39, at the time he was completing his 24 Preludes op.28—in other words, at the heart of his career as a composer. Until now the important role played by the Well-Temperedocument published here for the first time confirms it with living proof of a different kind, a live record, so to speak, of his teaching. This precious score, held in a private collection, emanates directly from Pauline Chazaren, a pupil of Chopin and teacher of Cosima Liszt. The score was probably purchased in Lyons around 1843 prior to Pauline's Parisian sojourn and was d Clavier in Chopin's teaching has been known on the basis of literary sources. The brought or sent to Paris, where it was used in the lessons with Chopin. The score shows no trace of interventions that could be ascribed to Pauline or anyone else. Leafing through the pages of this copy of the Well-Tempered Clavier I, one cannot fail to be struck by the neatness with which the signs and words indicating tempo, metronome marks, phrasing, articulation, dynamics, left-hand octaves, and so on, have been notated. All of Czerny's indications (probably taken from the 1843 Veuve Launer edition), save fingerings, have been copied out by Chopin. The systematic copying stops after Prelude 7, as do the sporadic indications in ink. Commentary in Fr/Eng/Pol. Wrappers. $79 (more info... ) [item no.9613]


BALLARD, Christophe, 1641-1715 [publisher]

Recueil d’airs [serieux et a boire de differents auteurs pour l’anne - 1702]. Paris / Ballard 1702. [Bibliothèque de Toulouse].

Faksimile-Edition Rara, 90. Stuttgart, 2020. Oblong, 16 x 13 cm, 22, i pp. Line-cut of the Paris, 1702 edition. For solo voice and basse-continue in staff notation (plucked or other continuo instrument). Humorous settings by De la Tour, Dubuisson, Hubert, Monsieur G..., Du Parc, Dubreuil, Duplessis, & 2 anonymous sources. Hardbound with decorative paper boards. $15 [item no.9623]


BEETHOVEN, Ludwig van, 1770-1827

[Quartet, strings, op.130, no.13, B-flat major; Great Fugue, op.133] Streichquartett B-dur op.130 / Grande Fugue B-dur Op.133. Autograph: Staatsbibliothek zu Berlin—Preussischer Kulturbesitz; Moravské Zemské Muzeum, Brno; Badische Landesbibliothek, Karlsruhe; Biblioteka Jagiellońska, Kraków; Bibliothèque Nationale de France, Paris; Library of Congress, Washington, D.C. Commentary - Kommentar Ulrich Konrad.

Documenta Musicologica, II/55. Kassel, 2019. Oblong, 4°. viii, 252, 26 pp. Full-color facsimile of the autograph, dispersed now among six libraries around the world (movt I - Bibl. Jagiellońska Kraków; II - Library of Congress Washington; III - Bibliothèque Nationale Paris & Badische Landesbibl. Karlsruhe; IV - Maravské zemské muzeum Brno; V & VI - Staatsbibliothek zu Berlin. The autograph ranges from fair copy to composing copy and includes 7 paste-over corrections (2 of them full page), meticulously reproduced in this exceptional facsimile. A truly remarkable contribution to Beethoven research and gift to Beethoven lovers, this facsimile reunites the various movements after 190 years. Commentary in Eng-Ger. Quarter leather with boards in decorative paper. $425 (more info... ) [item no.9596]


[Symphony, no.9, op.125, D minor] Sinfonie No.9 op.125. Autograph. Staatsbibliothek zu Berlin—Preussischer Kulturbesitz, Beethoven-Haus Bonn, Bibliothèque National de France. Commentary by / Kommentar von: Lewis Lockwood, Jonathan Del Mar, Martina Rebmann.

Documenta Musicologica, II/42. Kassel, 2/ 2019. 37 x 40 cm, viii, 436, 42 pp. Full-color facsimile of the autograph fair copy in the original format. With his Ninth Symphony Beethoven ventured into new musical dimensions. In the final movement soloists and chorus join forces with the orchestra and Schiller’s “Ode to Joy” becomes a global aspiration, a declaration: “Alle Menschen werden Brüder” (all mankind becomes brothers). In his commentary the Beethoven scholar Lewis Lockwood describes the plea which Beethoven wanted to deliver at that time with this work and how views of this have changed over the centuries. Jonathan Del Mar, editor of Beethoven’s works, comments on noteworthy passages in the autograph manuscript and allows the reader to share in the composer’s working process. Already the large-format paper which Beethoven used for some passages makes the large forces clear. Cuts, sometimes reversed later, show how he wrestled with the final version of the musical text and refined it right down to the last detail. The history of the autograph manuscript reflects an episode in German history: after storage in various places because of the war, the major parts were returned to Berlin but were initially divided by the Berlin Wall and only reunited in 1990. Martina Rebmann, director of the Music Department at the Staatsbibliothek in Berlin traces this story. For the first time the facsimile present all the parts of the manuscript including pages preserved in Bonn and Paris as well as the trombone and contrabassoon parts. Hardbound, with decorative paper and linen spine. Commentary in Eng-Ger-Jap. Special OMI price. $995 (more info... ) [item no.9595]


[Trio, piano, vln & vc, op.97, Bb minor, “Archduke”] Klaviertrio B-dur Opus 97 “Erzherog”-Trio. 1. und 2. Satz. / 3. und 4. Satz. Faksimile nach dem Partiturautograph Biblioteka Jagiellonska, Krakau. Geleitwort von Mitsuko Uchida. Einleitung von Julia Ronge.

[Henle Music Facsimiles, 28]. Munich, 2019. Oblong & upright, 34 x 26, 26.5 x 39 cm, 2 vols, xx, 34; 32 pp. Beautiful 4-color halftone of the “Archduke” Trio, a work dedicated to Archduke Rudolph of Austria, and regarded as the greatest of all works for this combination of instruments. The Trio in B-flat was probably performed at the Archduke's palace soon after it was written, but its public premiere did not take place until April 11, 1814, on which occasion the violinist was Ignaz Schuppanzigh (leader of the famous string quartet that introduced many of Beethoven's quartets and later some of Schubert's), the cellist was Joseph Linke (for whom Beethoven composed sonatas), and the pianist was Beethoven himself, in his last public appearance at the keyboard (Richard Freed). It’s unclear whether this autograph, with inscription “Trio am 3ten März 1811”, is actually from 1811 or whether the inscription was added later. Despite the presence of editorial/publisher’s markings this copy does not seems to to have served as the faircopy. Hardbound with decorative paper boards and pasted title etikette, produced on the occasion of the 250th anniversary of Beethoven birth. $196 (more info... ) [item no.9604]


[Correspondence, Conversation Books, complete ed.] Beethoven's Conversation Books. Edited and Translated by Theodore Albrecht. Volume 2, Nos. 9 to 16 (March 1820 to September 1820).

Woodbridge, 2019. 15 x 24 cm, 451 pp. By 1818, Beethoven had begun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theater, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. Hardbound. The second of a projected 12-volume set. $79 [item no.6826]


[Correspondence, Conversation Books, complete ed.] Beethoven's Conversation Books. Edited and Translated by Theodore Albrecht. Volume 3, Nos. 17 to 31 (May 1822 to May 1823).

Woodbridge, 2020. 15 x 24 cm, 459 pp. By 1818, Beethoven had begun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theater, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. Hardbound. The third of a projected 12-volume set. $79 [item no.9642]


[Correspondence, Conversation Books, complete ed.] Beethoven's Conversation Books. Edited and Translated by Theodore Albrecht. Volume 4, Nos. 32 to 43 (May 1823 to September 1823).

Woodbridge, 2021. 15 x 24 cm, 256 pp. By 1818, Beethoven had begun carrying blank booklets with him, for his acquaintances to jot their sides of conversations, while he answered aloud. Often, he himself used the pocket-sized booklets to make shopping lists and other reminders, including occasional early sketches for his compositions. Today, 139 of these booklets survive, covering the years 1818 up to the composer's death in 1827 and including such topics as music, history, politics, art, literature, theater, religion, and education as perceived on a day-to-day basis in post-Napoleonic Europe. Hardbound. The fourth of a projected 12-volume set. $79 [item no.9663]


[Reisinger, Elizabeth] Musik machen—fördern—sammeln. Erzherzog Maximilian Franz im Wiener und Bonner Musikleben von Elisabeth Reisinger.

Veröffentlichungen des Beethoven-Hauses, IV/31. Bonn, 2020. 8˚, 264 pp. Hardbound. $89 [item no.9654]


BURTIUS, Nicolaus, c.1450-d.?

Opusculum musicum. Ugo Rugeri / Bologna 1487 [private collection].

Faksimile-Edition Theoretica, 8 Suttgart, 2021 Oblong, 16 x 22 cm, 133 pp. Full color facsimile of the Bologna, 1487 incunabulum, printed by Ugo de Rugeriis. Contains the earliest example of polyphonic music, complete with staves, printed by woodblock. Defends the system of hexachords as used by Guido d’Arezzo. Preface in It. Hardbound in decorative paper. $52 (more info... ) [item no.9643]


CHOPIN, Frédéric, 1810-1849

[Etudes, Méthodes des méthodes, 1-3] Manuscrits autografs musicals. Segona edició facsímil dels manuscrits autògrafs musicals de Frédéric Chopin conservats a la Cartoixa de Valldemossa.

Mallorca, 2019. Oblong, 28 x 22 cm. vi, 20 pp. Full color facsimile edition of six Chopin autographs held in the Museu Frederic Chopin y George Sand de Valldemossa: 1) Nocturne, op. post. =Lento con gran espressione; 2-4) 3 Etudes for Méthode des Méthodes [fair copies w/ engraver’s markings]; 5) Fugue in A minor, 1841, 70 bars; 6) Nocturne, op. 62 no.2 [heavily emendated fair copy for Brandus edition]. Commentary in Catalan & Spanish by Miquel Estelrich i Serralta. Handsomely bound in blue cloth with gold lettering. $82 (more info... ) [item no.9598]


[Fugue, A minor, op. post., 1841] Manuscrits autografs musicals. Segona edició facsímil dels manuscrits autògrafs musicals de Frédéric Chopin conservats a la Cartoixa de Valldemossa.

Mallorca, 2019. Oblong, 28 x 22 cm. vi, 20 pp. Full color facsimile edition of six Chopin autographs held in the Museu Frederic Chopin y George Sand de Valldemossa: 1) Nocturne, op. post. =Lento con gran espressione; 2-4) 3 Etudes for Méthode des Méthodes [fair copies w/ engraver’s markings]; 5) Fugue in A minor, 1841, 70 bars; 6) Nocturne, op. 62 no.2 [heavily emendated fair copy for Brandus edition]. Commentary in Catalan & Spanish by Miquel Estelrich i Serralta. Handsomely bound in blue cloth with gold lettering. $82 (more info... ) [item no.9598]


[Mazurka, piano, op.59,3, Morgan Library] Mazurek op 59 nr 3/ Mazurka, op.59, no.3. Wydanie faksymilowe rękopisu ze zbiorów Morgan Library & Museum w Nowym Jorku / Facsimile Edition of the Manuscript Held in Morgan Library & Museum in New York.

Works by Chopin—Facsimile Edition, [38] A IV/59/3/2. Warsaw, 2019. Oblong, 28 x 22 cm, 2 vols, 4, 47 pp. Full-color halftone of the “rejected public autograph” (a careful comprehensible rendering of the piece put aside for some unknown reason). This version is written in the original key of G minor, with differences in melodic and rhythmic details from the published version, including a 4-bar section before the coda that was ultimately scrapped. This rare ms passed into Ferdinand Hiller possession after Chopin’s death (thus the inscription “p[our] Mr. Hiller”), and later into the Musik-Bibliothek Peters as is evidenced by stamps in the ms. Comparison of this source with the British Library copy (no.22 of this series), reveals a lot about Chopin’s compositional practice. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jeffrey Kallberg. Bound in blue linen, with matching slipcase. $69 (more info... ) [item no.9602]


[Nocturne, op.62,2] Manuscrits autografs musicals. Segona edició facsímil dels manuscrits autògrafs musicals de Frédéric Chopin conservats a la Cartoixa de Valldemossa.

Mallorca, 2019. Oblong, 28 x 22 cm. vi, 20 pp. Full color facsimile edition of six Chopin autographs held in the Museu Frederic Chopin y George Sand de Valldemossa: 1) Nocturne, op. post. =Lento con gran espressione; 2-4) 3 Etudes for Méthode des Méthodes [fair copies w/ engraver’s markings]; 5) Fugue in A minor, 1841, 70 bars; 6) Nocturne, op. 62 no.2 [heavily emendated fair copy for Brandus edition]. Commentary in Catalan & Spanish by Miquel Estelrich i Serralta. Handsomely bound in blue cloth with gold lettering. $82 (more info... ) [item no.9598]


Tarantela op.43 /Tarantella op.43. Wydanie faksymilowe rękopisu ze zbiorów Muzeum Fryderyka Chopina w Warszawie / Facsimile Edition of the Manuscript held in the Fryderyk Chopin Museum in Warsaw.

Works by Chopin—Facsimile Edition, [37] A/XI/43. Warsaw, 2019. Oblong, 28 x 22 cm, 2 vols, 8, 47 pp. Color facsimile of MC/187 in the Chopin Museum, the only known autograph of this work (a source in the hand of Julian Fontana also exists). Chopin started the piece probably in Paris and finished it just after arriving in Nohant in June of 1841. Chopin was clearly adapting the dance-vocal ‘tarantella’ to the domain of the piano, as is clear from a letter he wrote to Julian Fontana with the manuscript of the Tarantella (to be copied): “Take a look at the Recueil of Rossini songs. . . where the Tarantella (en la) appears. I don’t know if it was written in 6/8 or 2/8. Both versions are in use, but I’d prefer it to be like the Rossini”. Chopin wrote the whole piece in a single breath, and essentially in a single rhythm. The precious autograph, miraculously surviving the London Blitz (as is shown by the singeing marks on the upper corners) was purchased by the Chopin Institute in Dec. 2008. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Marita Albán Juárez. Bound in blue linen, with matching slipcase. $82 (more info... ) [item no.9599]


J.S. Bach. Vingt-Quatre préludes et fugues (Le clavier bien tempéré, livre I). Annoté par Fréderic Chopin. Commentaire de Jean-Jacques Eigeldinger.

Publications de la Société Française de Musicologie, I/28. Bourg-la-Reine, 2/ 2020. Oblong, 28 x 21 cm, lxxii, 111 pp. Color facsimile of the Richault edition (one of the four first editions of the work), with autograph emendations by Fredéric Chopin. In his triple activity as composer, performer, and teacher, Chopin constantly turned to Bach as a supreme point of reference. The Well-Tempered Clavier is said to be the only score he took with him to Majorca in the winter of 1838-39, at the time he was completing his 24 Preludes op.28—in other words, at the heart of his career as a composer. Until now the important role played by the Well-Tempered Clavier in Chopin's teaching has been known on the basis of literary sources. The document published here for the first time confirms it with living proof of a different kind, a live record, so to speak, of his teaching. This precious score, held in a private collection, emanates directly from Pauline Chazaren, a pupil of Chopin and teacher of Cosima Liszt. The score was probably purchased in Lyons around 1843 prior to Pauline's Parisian sojourn and was brought or sent to Paris, where it was used in the lessons with Chopin. The score shows no trace of interventions that could be ascribed to Pauline or anyone else. Leafing through the pages of this copy of the Well-Tempered Clavier I, one cannot fail to be struck by the neatness with which the signs and words indicating tempo, metronome marks, phrasing, articulation, dynamics, left-hand octaves, and so on, have been notated. All of Czerny's indications (probably taken from the 1843 Veuve Launer edition), save fingerings, have been copied out by Chopin. The systematic copying stops after Prelude 7, as do the sporadic indications in ink. Commentary in Fr/Eng/Pol. Hardbound. $79 (more info... ) [item no.9613]


DEBUSSY, Claude, 1862-1918

Estampes [pour le piano]: Pagodes, La Sorée dans Grenade..., Jardins sous la pluie. [Fac-similé du] manuscrit conservé à la Bibliothèque Nationale de France, département de la Musique - MS-988.

Fac-similés de Manuscrits de Claude Debussy, [6]. Paris, 2019. 26.5 x 35 cm, vi, 30 pp. 4-color facsimile of the autograph, written in 1903 and dedicated to his friend the painter Jacques-Émile Blanche. A triptique of 3 short pieces entitled “Pagodes” (Pagodas), “La soirée dans Grenade” (The Evening in Granada) and “Jardins sous la pluie” (Gardens in the Rain). Estampes (or ”Prints”) are not a random selection but the distinctive sound pictures of three locations: A Javanese gamelan, a Spanish habanera and French children’s songs. Preface in Fr/Eng by Pierre Boulez. Wrappers with exposed stitching, in special art paper. $74 (more info... ) [item no.9597]


FURCHHEIM, Johann Wilhelm, c.1635-1682

Musikalische Taffel-Bedienung. [mit 5. Instrumenten, als 2. Violinen, 2. Violen, 1. Violon, benebenst dem General-Bass]. Paul August Hamann / Dresden 1674. [Jever, Bibl. des Marien-Gymnasiums].

Faksimile-Edition Kammermusik des Barock, 79. Stuttgart, 2020. 23 x 33 cm, 6 partbooks, 88 pp. Line-cut of the Dresden, 1674 edition. A great set of six lively sonatas by a student of Heinrich Schütz written for the Dresden Court. Wrappers with portfolio in marbled paper. $68 [item no.9618]


JOSQUIN DES PRÉS, c.1440-1521

[Masses, book 1] Liber primus missarum. Ottaviano Petrucci / 29. Mai 1516. [Library of Congress, Washington DC].

Faksimile-Edition Rara, 94. Stuttgart, [2021]. Oblong, 8º, 4 partbooks, 126 pp. Line-cut of the Petrucci edition, Venice, 1516 [RISM J668]. An immensely popular set of masses which went through six separate printings. Contents: L’homme armé super voces musicales; La.sol.fa.re.mi.; Gaudeamus; Fortuna desperata; L’homme armé sextitoni. Wrappers with portfolio covered with decorative paper and tie strings. $54 [item no.9644]


KERLL, Johann Caspar von, 1627-1693

Modulatio organica [super magnificat octo ecclesiaticis tonis respondens]. Michael Wening / München 1686. [Proske-Bibliothek Regensburg, AN64].

Faksimile-Edition Rara, 88. Stuttgart, 2020. Oblong, 24 x 19 cm, 90; 13 pp. Line-cut of the elegant Munich, 1686 edition; this particular print in the holdings of the Proske-Bibliothek includes additional music—ca. 5 toccatas—in manuscript (approx. 272 bars), added at the end; the unknown copyist has added the inscription “Gugi [or Giegi] Caspar Kerl”. Hardbound, with decorative paper boards. $63 [item no.9624]


KINDERMANN, Johann Erasmus, 1616-1655

Cantiones pathetikai [h.e. Ad memoriam passionis domini nostre Jesus Christi, dei & hominis repraesentandam, ternis 7 quaternis vocibus, etiam cum basso continuo]. Nürnberg / Johannes Friedrich Sartori 1639. [Proske-Bibliothek Regensburg, AR.9].

Faksimile-Edition Rara, 85. Stuttgart, 2020. 20 x 33 cm, 4 partbooks, 64 pp. Line-cut of the Nuremberg, 1639 partbook edition (cantus/altus/tenor/bassus-bassus ad organum). Wonderful collection of 23 dance numbers (all texted) for various string and wind instrumental groupings. Wrappers, with portfolio with marbled boards. $43 [item no.9617]


Des Erlösers Christi [und sündigen Menschens heylsames Gespräch]. Nürnberg / Wolfgang Endter [1643]. [Proske-Bibliothek Regensburg, A40b].

Faksimile-Edition Rara, 87. Stuttgart, 2020. 21 x 33 cm, 28, i pp. Line-cut of the Nuremberg, 1643 edition. Oratorio setting on the spiritual poetry “Salutary Conversation of the Redeemer Christ and Sinful Man”, consisting of 7-part chorus, soloists and instrumental accompaniment and instrumental “symphonias”. The print is in many ways an unrealized short score with performance queues typical of the period. Hardbound in decorative paper boards. $39 [item no.9620]


Opitianischer Orpheus, das ist musicalischer Ergetzligkeitene, erster Theil mitt 1. und 2. Stimmen ne., von dem General Baß darzu noch 3 Violn in Rittornelli. . . Cantus sive Tenor et Bassus Continuus / Opitianischer Orpheus, das ist Musicalischer Ergetzligkeiten Ander Theil mit einer signden Stimm/sampreinem amorosischen Dialogo, mit zwenen/neben dem Basso Generali, für einen Organ-Theorb ober Lauteniisten accommodirt. . . cantus sive tenor, & Bassus continuus]. Nürnberg / Wolfgang Endter 1642. [Proske-Bibliothek Regensburg, A40a].

Faksimile-Edition Rara, 86. Stuttgart, 2020. 21 x 33 cm, 26, 24, i pp. Line-cut of the Nuremberg, 1642 edition. 27 strophic settings for 1-2 voices (mainly for “cantus or tenor”, but some for tenor or baritone alone) and basso continuo. With instrumental rittornelli for violins, viols & theorbo. “Opitianischer Orpheus” = songs based on poetry by Martin Opitz. Hardbound in decorative paper boards. $39 [item no.9619]


KOBRICH, Johann Anton, 1714-1791

XII. Pange lingua. Augsburg / Johann Jacob Lotter 1783. [Private collection].

Faksimile-Edition Rara, 87. Stuttgart, 2020. 21 x 34 cm, 80 pp. Line-cut of the Augsburg, 1783 edition. 12 strophic settings on the medieval Latin hymn “Pange lingua”. Set of parts bound together: SATB voices, vln I, vln II, clarino I, clarino II, organ/violoncello bc. Hardbound, in decorative paper boards. $69 [item no.9625]


KRADENTHALLER [Gradenthaller], Hieronymus, 1637-1700

[Die Sieg-prachtende Liebe und Beherrscherin der ganzen Welt in einer] Sing-Ode. Christoff Fischer / Regenburg 1672. [Proske-Bibliothek Regensburg, AN87].

Faksimile-Edition Rara, 89. Stuttgart, 2020. 16 x 21 cm, 4, i pp. Line-cut of the Regensburg, 1672 edition. Aria for canto solo with basso continuo. Stiff paper binding with exposed thread. $8 [item no.9622]


MARAIS, Marin, 1656-1728

[Pièces, viol, bc, book 2] Pièces de violes, 2e livre; basse-continues du second livre de pièces de viole.

Magdeburg, 2019. Oblong, 30 x 20 cm, 2 partbooks, 267, vi pp. Line-cut of the Paris, 1701 edition. 8 suites, with altogether 142 movements. Index. Wrappers. $76 [item no.9639]


[Pièces, viol, bc, book 3] Pièces de violes, 3e livre; basse-continues de 3e livre de pièces de viole.

Magdeburg, 2019. Oblong, 30 x 20 cm, 2 partbooks, 242, iv pp. Line-cut of the Paris, 1711 edition. Index. Wrappers. $74 [item no.9640]


[Pièces, viol, bc, book 5] Pièces de violes, Ve livre; basse-continues du 5e livre de pièces de viole.

Magdeburg, 2019. Oblong, 30 x 20 cm, 214, iv pp. Line-cut of the Paris, 1725 edition. 8 suites, altogether 142 movements. Includes the humourous “Le tableau de l’operation de la taille–Les relevailles”. Index. Wrappers. $73 [item no.9636]


MELLI, Domenico Maria, 16-17th c.

Musiche di Domenico Maria Melio Reggiano. Composte sopra alcuni madrigali di diversi. Per cantare nel chittarone, clavicecembalo, & altri istromenti / Musiche di Domenico Maria Megli, Reggiano. Nelle quali si contengono madrigali, canzonette, arie, & dialoghi, à una & due voci. Per cantare nel chittarone, clavicecembalo, & altri istromenti, sì in soprano, come in tenore, & trasportate, comode per qual parte più piace. Giacomo Vincenti, Venedig 1602.

Faksimile-Edition Rara, 88. Stuttgart, 2020. 22 x 32 cm, 20; 30; i pp. Line-cut of the 1602 & 1602 editions, respectively with 18 & 23 monodies for 1-2 voices and basso continuo in staff notation. Hardbound in decorative paper boards. $45 (more info... ) [item no.9621]


MOZART, Wolfgang Amadeus, 1756-1791

[Concerto, piano, orch, no.15, K.450] Klavierkonzert Nr. 15 B-Dur KV 450. Faksimile nach dem Autograph der Herzogin Anna Amalia Bibliothek, Weimar. Mit einem Kommentar von Hartmut Hein.

Meisterwerke der Musik im Faksimile, 37. Laaber, [in prep—2020]. Oblong, 4°, xxiv, 88 pp. Full-color facsimile of the autograph score. Introduction in Ger-Eng. Hardbound. (subscription price) $205 [item no.9403]


[Concerto, piano, orch, no.16, K.451] Klavierkonzert Nr. 16 D-Dur KV 451. Faksimile nach dem Autograph der Bibliothek der Jagiellonen-Universität Krakau. Mit einem Kommentar von Siegbert Rampe.

Meisterwerke der Musik im Faksimile, 39. Laaber, [in prep—2020]. Oblong, 4°, xxiv, 84 pp. Full-color facsimile of the autograph score. Introduction in Ger-Eng. Hardbound. (subscription price) $191 [item no.9405]


[Concerto, piano, orch, no.27, K.595] Klavierkonzert Nr. 27 B-Dur KV 595. Faksimile nach dem Autograph der Bibliothek der Jagiellonen-Universität Krakau. Mit einem Kommentar von Peter Revers.

Meisterwerke der Musik im Faksimile, 36. Laaber, [in prep—2020]. Oblong, 4°, xxiv, 104 pp. Full-color facsimile of the autograph score. Introduction in Ger-Eng. Hardbound. (subscription price) $229 [item no.9402]


[correspondence, to Constanze Mozart] Eine schöne, prächtige Stadt.—Wolfgang Amadé Mozart. Brief vom 28. September 1790. Faksimile, herausgegeben und kommentierrt von Ulrich Konrad.

Kassel, 2020, 8°, 1 leaf, 24 pp. Full-color facsimile of the autograph letter in The National Library of Israel, sign. Rare Collection Ms. Mus. 50 (1), together with extensive commentary in Ger/Eng. Mozart took on a huge financial burden to travel to Frankfurt to witness the coronation of Leopold on the 5th of October 1790. Around 25,000 people stayed for weeks in the city to see the ceremony and attend various festivities. Mozart no doubt was there to hobnob, whether or not he was successful is not known. The letter to Contanze is very sweet and includes his impressions of Regensburg (”we dined magnificently at midday, had divine table music...”), Nuremberg (”an ugly town”), Würzburg (”a beautiful, magnificent town”), and Aschaffenburg (”the esteemed innkeeper saw fit to take grievous advantage of us”). Konrad’s excellent commentary explores Mozart’s motives and the sheer tenacity. Wrappers. $26 [item no.9629]


MUSSORGSKY, Modest Petrovich, 1839-1881

[Pictures at an Exposition, original piano solo version] Bilder einer Ausstellung. Faksimile nach dem Autograph aus der Nationalbibliothek Russland, St. Petersburg. Herausgegeben und mit einer Einführung von Christoph Flamm.

Meisterwerke der Musik im Faksimile, 44. Laaber, 2019. Oblong, 40 x 27 cm, 18, 32 pp. Full-color facsimile of the autograph fair copy dating from September 1861, inspired by Victor Hartmann’s drawings: Paris catacombs; Design for Kiev city gate; Sketches of costumes for J. Gerber’s ballet Trilby; A rich Jew in a fur hat; A poor Jew (and old man); Baba-Yaga’s hut on hen’s legs. Commentary in Ger-Eng. Hardbound with attractive paper boards. $122 (more info... ) [item no.9585]


PASTERWIZ, Georg {Giorgio), 1730-1803

Werke für Cembalo und Piano [Stift Kremsmünster].

Faksimile-Edition Kremsmünster, 39. Stuttgart, 2020. Oblong, 34 x 24 cm, 36, 2 pp. Line-cut of the autograph score containing 3 delightful compositions: Divertimento per il cembalo; XII Variazioni per il Forte piano; [17] Variazioni per il Clavi Cembalo. Hardbound with marbled boards. $37 [item no.9616]


PEZEL, Johann Christoph, 1639-1694

[Neue Arien] [Schöne lustiger und anmuthige] Neue Arien [über die uberflüfzigen Gedancken von einer Vocal-Stimme begenst ihren Ritonellen, auf zwey Violinen, zwey Viole u. einen Fagot oder Violon, samt de Bc]. [Biblioteka Jagiellońska, Krakow].

Faksimile-Edition Krakau, 24. Stuttgart, 2021. 21 x 31 cm, 84 pp. Line-cut of the Leipzig, 1672 edition. 12 strophic songs in declamatory style with bc accompaniment, with separate parts for vln I, vln II, vla I, vla II, bsn/vc, bsn bound in. Hardbound with marbled paper boards. $51 [item no.9661]


SAINT-SAËNS, Camille, 1835-1921

Un esprit libre. Marie-Gabrielle Soret.

Paris, 2020. 22 x 27 cm, 192 (140 illus). Outstanding and well-researched exhibition catalog issued on the occasion of the centenary of the composer’s death comprised of letters, autograph manuscripts, photographs, maquettes of costume and designs from the rich collection of the Bibliothèque nationale de France. Contributors: Marie-Gabrielle Soret: “Saint-Saëns, un esprit Libre - Introduction”; Fabien Guilloux: “De l’enfant prodige à l’artiste accompli”; Catherine Massip: “Soixante-quinze ans de carrière pianistique. Interprétation et répertoire”; Denis Tchorek: “Le premier organiste du monde”; Michael Stegemann: “L’imprévisible: Camille Saint-Saëns et son oeuvre”; Elizabeth Giuliani: “Un pionnier du disque”; Denis Herlin: “De la Société nationale de musique à l’éditiion des oeuvres complètes de Rameau”; Nicolas Dufetel: “Passages culturels. D’Orient en Occident, du passé vers l’avenir”; Stéphanie Leteuré: “Une vie en voyage: Les chemins de la glorie et de la liberté”; Sarah Barbedette: “Du beau sous toutes des formes. Regards du musicien sur la littérature et les beaux-arts”; Mathias Auclair: “Saint-Saëns à l’Opéra”. Hardbound. $44 (more info... ) [item no.9650]


SCARLATTI, Domenico, 1685-1757

[Sonatas, harpsichord, complete, Venice sources] Sonate per cembalo del Cavalier Dn. Domenico Scarlatti, 1742. [Biblioteca Nazionale Marciana di Venezia, ms. 9770].

Archivum Musicum: Monumenta Musicae Revocata, 1/I. Magdeburg, 2/ [2019]. Oblong, 33 x 25 cm, ii, 249 pp. Line-cut of the first of the Venice mss. Contains 61 sonatas corresponding to K.43-93. Preface in It-Eng by Laura Alvini. Wrappers. $85 (more info... ) [item no.9603]


SCHUMANN, Clara, 1819-1896

[Lieder, selections, op.12 & WoO 17] Vier Gedichte von Rückert. Opus 12 und WoO 17. Faksimile nach dem Autograph aus dem Robert-Schumann-Haus, Zwickau. Mit einem Geleitwort von Manfred Jung. Herausgegeben und mit einer Einführung von Thomas Synofzik.

Meisterwerke der Musik im Faksimile, 42. Laaber, 2020. Oblong, 24 x 16.5 cm, xxi, 24 pp. Full-color facsimile of the autograph. “Four poems by Rückert for my beloved husband on 8th June, 1841, composed by his Clara”, is what Clara wrote on the flyleaf of this charming music book, on the occasion of Robert’s 41th birthday. In some ways is was her response to his gift of songs () present to her on the occasion of the couple’s marriage and a choice of Rückert poems was appropriate, as the poet himself had dedicated thi poetry to his bride 20 years before. Contents: Er ist gekommen in Sturm und Regen, Liebst Du um Schönheit, Warum willst Du And’re fragen; Die gute Nacht, ir ivh fit dshr. Introduction in Ger-Eng. Hardbound with boards in decorative paper. $72 (more info... ) [item no.9609]


STADLMAYR, Johann, c.1575-1648

Missae breves [a. IV. cum una pro defunctis, et alia. V. voc: concertatae]. [Stift Kremsmünster].

Faksimile-Edition Kremsmünster, 25. Stuttgart, 2021 16 x 21 cm, 5 partbooks, 172 pp. Line-cut of the Vienna, 1618 partbooks (cantus, altus, tenor, bassus, bassus continuus). Wrappers, in marbled paper portfolio. $59 [item no.9646]


WAGNER, Richard, 1813-1883

Parsifal (WWV 111). Facsimile of the Autograph Score from the National Archive of the Richard-Wagner-Stiftung Bayreuth. With a Commentary by Ulrich Konrad.

Documenta Musicologica, II/56. Kassel, 2020. 29.5 x 41 cm, 340, c.50 pp. Full-color facsimile of the autograph score, the same score Hermann Levi conducted from for the work’s premier on July 26, 1882. Wagner wrote the autograph score almost entirely in violet ink, a color he preferred to use in the final years of his life. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The opera, Wagner’s last work, is about healing and compassion and is in many ways it represents the summation of the composer’s creative career. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper Full-color facsimile of the autograph score, the very score Hermann Levi conducted from for the work’s premiere on July 26, 1882. Wagner wrote the autograph almost entirely in violet ink, a color he preferred to use in the final years of his life. Throughout his life, Richard Wagner was proud of his even clear handwriting, always striving to produce manuscripts of a high calligraphic standard. The opera, Wagner’s last work, is about healing and compassion and in many ways reflects the summation of the composer’s creative career. The idea was already in the back of his mind in the early 1840s when he first read the medieval epic “Parzival” by Wolfram von Eschenbach; that character became one of the main roles in Tannhäuser (1845). Parsifal’s son is the protagonist of Lohengrin (1848), and in the same ope the ending (“The Narrative of the Grail”) sets forth the Grail story. With Parsifal Wagner can now tell that full story, armed with a rich musical language that he developed from writing of the Ring, Tristan and other operas. Commentary in Eng-Ger. Hardbound, with leather spine and decorative paper boards. 10% discount for early subscribers. $835 (more info... ) [item no.9605]


WILTBERGER, August, 1850-1928

Orgel-Trio op.61 und op.65. Schwann / Düsseldorf. [private collection].

Faksimile-Edition Rara, 84. Stuttgart, 2019. Oblong, 21 x 16 cm, 42 pp. Line-cut of the Düsseldorf, c.1895-96 edition. Hardbound, with decorative paper boards. $27 [item no.9612]


COMPOSITE & MISCELLANEOUS SOURCES

[Berlin, Staatsbibl. der SPKB, SA 4060] Lautenhandschrift Berlin SA 4060 der Singakademie Berlin. Faksimile in 85% der originalen Grösse.

Lübeck, 2019. 24 x 31 cm, 404 pp. Sharp halftone monochrome, reproduced 2 up. Pieces for baroque lute. French tablature notation, baroque tuning. Note, index and concordances in German. Hardbound. $148 [item no.9590]


[Brussels, Bibl. Royale Albert I, 215-16] A Choirbook for the Seven Sorrows / Een Koorboek voor de Zeven Smarten. Royal Library of Belgium / Koninklije Bibliothek van België MS 215-16. Facsimile. Study / Studie: Emily Thelen.

Leuven Library of Music in Facsimile, 2. Antwerpen, 2019. 32 x 43 cm, 2 vols, 98, 102 pp Full size facsimile and study of Brussel MS 215-16, one of only two anthologies with masses, motets and office plainchant that was prepared for actual use at sacred services in the Low Countries, in this case for some chapel in Brussels. It is dedicated to the Seven Sorrows of Mary and has two masses specifically for the chapel. This sumptuous parchment choirbook comes from the workshop of Petrus Alamire and features the music De la Rue, Josquin, Pipelare and anonymous composers. The present publication offers a full color reproduction of the MS accompanied by a scholarly commentary in Eng/Fla. Hardbound, with paper boards that reproduce the original binding. $133 (more info... ) [item no.9586]


[Burgos, Monasterio de Cistercienses Calatravas de San Felices] Vita adelelmi (Vida de San Lesmes).

Madrid, 2004. 28 x 37 cm, 158, 236 pp. Deluxe full-color facsimile of a codex containing the Vita adelelmi and the official liturgy and music chants for San Lesmes, patron Saint of Burgos. As Burgos is one of the stops of the Camino de Santiago de Compostela, this work nicely dovetails with Codex Calixtinus (transmitting the equivalent rite for Saint James). Commentary by Ángeles García de la Borbolla García de Paredes, Víctor Márquez Paillo, Rafael Sánchez Domingo, Clemente Serna González, & Miguel C. Vivancos Gómez. Limited edition of 230 copies bound in full leather with generous tooling and linen covered slipcase. (first added to OMI’s offerings in 2012) (more info... ) [item no.9220]


[“Cherbury” lute book] Herbert of Cherbury’s Lute Manuscript, 1624-1640. Facsimile of MU.MS.689, Cambridge, Fitzwilliam Museum. Introduction with Index and Concordances by Francois-Pierre Goy, Craig Hartley and John H. Robinson.

The Lute Society Facsimiles, 8. Guildford, 2019 25 x 34 cm, 2 vols, 180 pp. Color facsimile. The last great English lute manuscript, compiled c.1616-1640, with 242 of the highest quality pieces for lutes from 6 to 10 courses, by French, English and Italian composers including Gaultier, Bacheler, Despont, Perrichon, Saman, Robert Johnson, Dowland and some of Lord Herbert's own compositions (he records that he learned to play the lute at an early age). By the 1620s, when this book may have been started, the Golden Age of the lute in England was over. The mixture of old English and newer French pieces found here may well reflect Lord Herbert's years in Paris as ambassador. In 1624, dismissed from his post, he came back to England, where he had time for more intellectual pursuits. Wrappers. $124 (more info... ) [item no.9606]


Irseer-Orgeltabulatur. [Passau State Library].

Faksimile-Edition Rara, 95. Stuttgart, 2021. 24 x 36 cm, 226 pp. Color facsimile of a rare and unique organ tablature MS from 1590 containing 83 pieces. According to an inscription in the book it was created for Abbot Carolus Andreae, a Benedictine monk active at the Kloster of Irsee, Ostallgäu, Bavaria (Andreae is credited with initiating the installation of a new organ by the Irsee organ builder Daniel Hayl in 1612). The MS comprises an anthology organ adaptations of vocal music from the last decades of the 16th c., including works by Hans Leo Hassler, Orlando di Lasso, Johannes Eccard, Joachim a Burck, Michael Tonsor, Jakob Regnart, Heinricus de la Court, Philippe le Duc, Sebastian Hasenknopf, and Alexander Utendal. The aim of the intabulations (a notation very similar to German lute tablature) is not clear—they may have been written for study, or rehearsal purposes, or most likely, for possible insertion in a liturgical setting. The MS ends with one piece in “modern” staff notation. Hardbound in decorative paper boards. $125 (more info... ) [item no.9662]


Italienische geistliche Konzerte. [Stifts Kremsmünster, Ms. I.76].

Faksimile-Edition Kremsmünster, 39. Stuttgart, 2021. Oblong, 22 x 18 cm, 162 pp. Fascinating manuscript collection of 24 motet settings in monodic style for 1 and 2 voices and basso continuo. For the most part all of the passaggiate and ornaments are written out, shedding light on contemporary performance practice. Hardbound with marbled boards. $65 [item no.9645]


[Ivrea, Biblioteca Capitolare, MS 115 -lv] The Manuscript Ivrea, Biblioteca Cap. 115. Commentary and Facsimile by Karl Kügle.

Ars Nova, Nuova Seria, 5. Lucca, 2019. 25.5 x 35.5 cm. 90, 138 pp. Full color facsimile of the celebrated “Ivrea Codex”, a 14th c. manuscript containing 37 motets, 25 masses and a handful of secular songs (11 rondeaux, 1 virelais & 4 chaces). While its origin is debated (between Avignon or Ivrea), the 1365-70 ms clearly reflects the reception in Italy of mainstream French ars nova music. While no dates or composer attributions are given, concordances with Codex d’Apt or Trésor 16bis place it around 1365-1370. 2 motets have a relationship to Gaston Fébus, Count of Foix, 1331-1391, and other works clearly span the years 1320 to 1370; composers include Philippe de Vitry, Guillaume de Machaut, Magister Heinricus, Bararipton, Depansis, Matheus de Sancto Johanne, Chipre, Orles, Sortes, & Loys. Well worn and apparently written for practical use, one finds interesting variations in format, where single motet parts are usually written across an opening (triplum on verso, motetus on recto) while mass movements and old motets may be written with the pages divided into two by a line down the middle. Shorter works are usually written in the left over spaces left at the bottom of the pages of larger pieces. It’s a real treat to have this facsimile join the ranks of Rossi 215, Modena M.5.24, Faenza 117, Bologna Q15, Turin T.III.2 & J.II.9, Lucca Codex and Squarcialupi Codex, all published in the same series. Wrappers. $299 (more info... ) [item no.9601]


[Mechelen, Stadsarchief, Ms s.s] Mechelen Choirbook MS s.s. Facsimile and Commentary. General Editors: David J. Burn & Bart Demuyt.

Leuven Library of Music in Facsimile, 3. Antwerpen, [in prep—2020]. 44 x 66 cm, 2 vols, 220 pp + commentary. Facsimile and study of the so-called Mechels Koorboek. This magnificent parchment choirbook comes from the esteemed workshop of Petrus Alamire and most likely was made on the occasion of the coming of age and coronation of Charles V in 1515-1516. It contains exquisite miniatures by Gerard Horenbout and 6 masses by La Rue and 1 by Pierre de Pipelare, notated in classic choirbook format. The present publication offers a full color reproduction of the MS accompanied by a scholarly commentary in Eng/Dut. To appear in the course of 2019. (more info... ) [item no.9587]


MODERN EDITIONS

Brahms, Johannes (new critical edition) Streichquintett Nr.1 F-Dur Opus 88; Streichquintett Nr.2 D-Dur Opus 116; Klarinettenquintett H-Moll Opus 115. Editor: Kathrin Kirsch.

Neue Ausgabe sämtlicher Werke, II/2. Munich, 2019. 4º, xlvii, 236 pp. New critical edition. Cloth. $319 [item no.6832]


Donizetti, Gaetano (new critical edition) Lucrezia Borgia, Melodramma in un prolongo e due att. Edizione critica a cura di Roger Parker e Rosie Ward. Partitura.

Critical Edition of the Works of Gaetano Donizetti, [14]. Milan, 2019. 4º, 2 vols, lvii, 944 pp. Originally premiering at La Scala on Dec. 26, 1833, Lucrezia Borgia is considered one of Donizetti’s most innovative operas and by the late 1830s it had become one of the composer’s most popular operas in Italy and abroad. Lucrezia Borgia spotlights an unconventional heroine, who’s bold and strong-willed; an unusual multitude of characters caught up in their own moral turmoil; and hard-fought musical dramaturgy that succeeds in blending comic and tragic. The new critical edition of Lucrezia Borgia takes the 1998 critical edition a step further. The earlier version was based solely on the original manuscript of the score, and limited itself to a reconstruction of the 1833 premiere. But now, for the first time, Parker and Ward’s critical edition brings back all the changes made by Donizetti over the course of at least ten years. His revisions were done partly to adapt the opera to the demands of new singers and new venues in cities like Florence, London, Milano, Paris, Rome, Metz, to name just a few; and partly as a way to experiment with new dramaturgical solutions, especially in the finale. Cloth. $458 [item no.6834]


Donizetti, Gaetano (new critical edition) La fille du régiment. Opéra comique en deux actes di Jules-Henri Vernoy de Saint-Georges e Jean-Françcois-Alfred Bayard. Edizione critica a cura di Claudio Toscani. Partitura.

Critical Edition of the Works of Gaetano Donizetti, [14]. Milan, 2021. 4º, 2 vols, lii, 599pp. Cloth. $538 [item no.9655]


Vivaldi, Antonio (new edition) Vivaldi. Opera omnia instrumental. [Edited by] Olivier Fourés.

Madrid, 2010 - . New acclaimed critical edition of the complete instrument works of Antonio Vivaldi, score and parts. 378 volumes published to date. Scores only also available. Please inquire. (more info... ) [item no.6809]


Weill, Kurt (collected edition) Happy End. ein Stück mit Musik in drei Akten von Elisabeth Hauptmann. Edited by Stephen Hinton and Elmar Juchem.

The Kurt Weill Edition, I/6. New York, 2020. 30 x 39 cm. 2 vols, 240, 61 pp. Hardbound. $450 (more info... ) [item no.6835]


MONOGRAPHS

Finscher, Ludwig (ed.) MGG—Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik befründet von Friedrich Blume. Zweite, neubearbeitete Ausgabe herausgegeben von Ludwig Finscher. Subject Encyclopedia (9 vols); Biographical Encyclopedia (17 vols); Index to Biographical Encyclopedia (1 vol); Supplement to Subject Section (1 vol).

Kassel, 1994-2007. 8º, 29 vols. Buckram. Please inquire for special OMI price. Sets at the original 1994 subscription price can still be purchased—limited offer. (more info... ) [item no.6644]


Recercare XXX/1-2 2018. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].

Lucca, 2019. 8º, $36 [item no.6837]


Recercare XXXI/1-2 2019. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].

Lucca, 2020. 8º, 230 pp. Marco di Pasquale: Silvestro Ganassi: A Documented Biography; Paolo Alberto Rismondo: Antonio Grimani “Musico Galileiano” tra Venezia e Roma; Michael Klapper: An Italian in Paris: Giovanni Bentivoglio (1611–1694) and a Neglected Source for Seventeenth-Century Italian Cantata Poetry; Alessio Ruffatti: “Un libro Dorato Pieno di ariette”: Produzione e circolazione di manoscritti musicali tra Roma, Parigi e Venezia nel primo seicento; Giacomo Silvesti: Un nuovo flauto diritto contralto di Castel a Perugia. Wrappers. $36 [item no.6838]


Recercare XXXII/1-2 2020. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].

Lucca, 2020. 8º, 246 pp. Elena Abramov-Van Rijk, “To whom did Francesco Landini address his madrigal Deh, dimmi tu?”; Patrizio Barbieri, “Music printing and selling in Rome: new findings on Palestrina, Kerle and Guidotti, 1554–1574”; Franco Pavan, “La musica per chitarrone di Giacomo Antonio Pfender. Nuove acquisizioni”; Maddalena Bonechi, “Parole, immagini e musica nelle pratiche devozionali della compagnia di San Benedetto Bianco a Firenze”; Lucas G. Harris – Robert l. Kendrick, “Of nuns fictitious and real: revisiting Philomela Angelica (1688)”; Valerio Morucci, “L’orbita musicale di Cristina di Svezia e la circolazione di cantanti nella seconda metà del seicento”; Colleen Reardon, “Writing a tenor’s voice: Cesare Grandi and the Siena production of Il Farnaspe (1750)”. Wrappers. $39 [item no.9630]


Recercare XXXIII/1-2 2021. [Rivista per lo studio e la pratica della musica antica / Journal for the Study and Practice of Early Music].

Lucca, 2021. 8º, 201 pp. Martino Zaltron: “Polso e musica negli scritti di teoria musicale tra la fine del Quattrocento e la metà del Seicento”; Adriano Giardina: “Un catalogue pour improviser: les Ricercari d’intavolatura d’organo de Claudio Merulo”; Nicola Usula: “Dafne in alloro di Benedetto Ferrari: drammaturgia ‘alla veneziana’ per Ferdinando III (Vienna, 1652)”; Inês de Avena Braga – Claudio Ribeiro: “A newly discovered recorder sonata attributed to Vivaldi: considerations on authorship”; Marco Tanzi: “La ‘gentildama’ e liutista bolognese Lucia Garzoni in un ritratto di Lavinia Fontana. Con una ‘Nota Storico-musicale’ di Dinko Fabris ‘Elementi musicali nel Ritratto di Lucia Bonasoni Garzoni’”. Wrappers. $39 [item no.9660]