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RECENT ISSUES includes manuscript facsimiles (autographs & copyist manuscripts),
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BACH, Johann Sebastian, 1685-1750

[Christmas Oratorio, BWV 248] Weihnachts-Oratorium / Christmas Oratorio BWV 248. Facsimile of the Autograph Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. Commentary by / Kommentar von Christoph Wolff, Martina Rebmann.
Documenta Musicologica, II/54. Kassel, 2018. 23 x 38 cm, 148, xl pp. Deluxe 4-color facsimile of the autograph score. This is the most authoritative facsimile of the Christmas Oratorio to date, based on the restored manuscript (2002) and new high-quality digital photography (2009). The Oratorio, with its six parts, has become dear to the hearts of countless music lovers all over the world. What sounds today as if it could never have been otherwise, in reality dates back in part to earlier Bach pieces that he re-texted and adapted for the new purpose. The autograph “betrays” Bach’s working methods in the very first chorus: he underlaid the words of a version from the birthday cantata Tönet ihr Pauken only to cross them out and replace them with the famous Jauchzet, frohlocket. Other passages in the autograph likewise reveal traces of self-borrowing. Some corrections allow the reader to look over the composer’s shoulder, as it were, and watch him transforming an aria step by step into its present form or struggling to find a definitive version for a short recitative. In contrast, other pages are written out in an immaculate fair hand. With this publication Bärenreiter’s trilogy of Bach choral masterpieces—Mass in B Minor, St. Matthew Passion and Christmas Oratorium—is now complete and modern, combining advanced 21st-century photolithography with the latest editorial contributions of Christoph Wolff. Limited bibliophile edition, binding with leather spine, boards in decorative paper and pasted title etikette. $389 (more info... ) [item no.9568]


[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 diffents 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]


BARTÓK, Béla, 1881-1945

[Sonata, 2 pianos, percussion, Sz.110, BB115] Sonate für zwei Klaviere und Schlagzeug. Faksimile des Partiturentwurfs und der annotierten Partiturkopie Paul Sachers / Sonata for Two Pianos and Percussion. Facsimile of the Draft Score and Paul Sacher's Annotated Full Score Copy. Edited by Felix Meyer.
Eine Publikation der Paul Sacher Stiftung. London, 2018. 30 x 39 cm, 169 pp. Beautiful color halftone of the autograph draft score. Béla Bartók's Sonata for Two Pianos and Percussion, composed in summer 1937 on a commission from Paul Sacher and premièred in Basel in January 1938, is incontestably one of the supreme creations of modern music. This publication, with introductory essays by Felix Meyer, Robert W. Wason, Lászlo Vikárius, and Wolfgang Rathert, presents two major handwritten sources for this work from the holdings of the Paul Sacher Foundation: the draft score, which offers a fascinating glimpse into the sonata’s genesis, and a “whiteprint” of the fair copy, which contains additions from Bartók and differs substantially from the definitive version at the end of the development section in movement 1. The volume also contains a CD of the radio recording of 1940, with Bartók and his wife Ditta Pásztory playing the piano parts, as well as a new recording of the sonata in its “original” form, played by the Bugallo-Williams Piano Duo with percussionists Matthias Würsch and Christian Dierstein. Linen. $135 (more info... ) [item no.9589]


BEETHOVEN, Ludwig van, 1770-1827

[Concerto, piano, orch, no.3, op.37, C minor] Konzert für Klavier und Orchester Nr.3 c-Moll, opus 37. Faksimileausgabe der autographen Handschrift der Staatsbibliothek zu Berlin – Preussischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv. Mit einem Geleitwort von Mitsuko Uchida. Herausgegeben und kommentiert von Elisabeth Schmierer.
Meisterwerke der Musik im Faksimile, 45. Laaber, 2018. Oblong, 32 x 24 cm, 22, 240 pp. Facsimile, in full-color, of the autograph manuscript preserved in the State Library, Berlin. The piece was composed in 1799-1800 and first performed—Beethoven playing from short score—April 5, 1803. Scholars have pointed out that Mozart's C Minor Concerto K.491, which Beethoven played in public concerts, bore an influence on Beethoven's Concerto. Hardbound. $558 (more info... ) [item no.9508]


[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. $395 (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. $930 (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 1, Nos. 1 to 8 (February 1818 to March 1820).
Woodbridge, 2018. 15 x 24 cm, 400 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 first of a projected 12-volume set. $79 [item no.6822]


[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, 400 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]


[Lodes, Birgit, Elisabeth Reisinger, & John D. Wilson] Musik am Bonner kurfürstlichen Hof, Band 2. Beethoven und andere Hofmusiker seiner Generation. Bericht über den internationalen musikwissenschaftlichen Kongress Bonn, 3. bis 6. Dezember 2015. Herausgegeben von Birgit Lodes, Elisabeth Reisinger und John D. Wilson.
Veröffentlichungen des Beethoven-Hauses, IV/30. Bonn, 2018. 8˚, 169 pp. Hardbound. $82 [item no.6823]


[Lodes, Birgit, Elisabeth Reisinger, & John D. Wilson] Musik am Bonner kurfürstlichen Hof, Band 1. Beethoven und andere Hofmusiker seiner Generation. Bericht über den internationalen musikwissenschaftlichen Kongress Bonn, 3. bis 6. Dezember 2015. Herausgegeben von Birgit Lodes, Elisabeth Reisinger und John D. Wilson.
Veröffentlichungen des Beethoven-Hauses, IV/29. Bonn, 2018. 8˚, 324 pp. Hardbound. $88 [item no.6820]


BODENSCHATZ, Erhard, 1576-1636

Florilegium [selectissimarum cantionum, praestantisimorum aetatis nostrae autorum, 4.5.6.7. & 8. vocum] portense. Leipzig / Abraham Lamberg 1603. [Stadtbibliothek Västerås].
Faksimile-Edition Västerås, 5. Stuttgart, 2018. 16 x 20 cm, 8 partbooks, 1486 pp. Line-cut of the Leipzig, 1603 partbook edition (discantus, altus, tenor, bassus, quinta vox, sexta vox, septima vox, octava vox) with 365 motets by 58 composers. Florilegium portense—literally “anthology from Schulpforta” (where Bodenschatz was cantor)—is a monumental work indispensable for the study of 17th-c. choral music in Saxony and Thuringia. Bach is known to have used it for the Thomanerchor while he was Thomaskantor. This particular exemplar contains contemporary ms entries. Hardbound, with decorative paper boards and matching slipcase. $295 [item no.9576]


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]


[Etude, Méthodes des méthodes, no.1, F minor] Etiuda f-moll z Méthode des Méthodes pour le piano / Etude in F Minor from Méthode des Méthodes pour piano. 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, [36] A /II/Dop.36A/I. Warsaw, 2018. Oblong, 28 x 22 cm, 2 vols, 4, 49 pp. Purchased in an auction in 2008 by the Chopin Institute, and preserved now in the Chopin Museum as MS MC/188, this non-fair copy autograph represents an earlier version of the work. The MS has signs of burn damage on the upper corner which in no way affects the text except for the possibility of the loss of a tempo marking. Notable is the lack of dynamic, agogic, pedal and expression markings, and phrasing only appears at the beginning. It contains corrections and deletions which show the composer was still working out detail. One is most struck by Chopin’s hesitation over the rhythmic shaping of the melodic line and changes in the closure of the piece. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Zofia Chechlińska.. Bound in blue linen, with matching slipcase. $69 (more info... ) [item no.9575]


[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. $69 (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. Wrappers. $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]


Quatuor pour cordes. Manuscrit conservé à la Bibliothèque national de France, département de la Musique.
Fac-similés de Manuscrits de Claude Debussy, [5]. Paris, 2018. 26.5 x 35 cm, 48 pp. 4-color facsimile of the autograph score issued on the occasion of the centenary of Debussy’s death. Wrappers, in special art paper. $74 (more info... ) [item no.9584]


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]


HAIDEN, Hans Christoph, 1572-1617

Ganz neue lustige Täntz vnd Leidlein, [deren Text mehrer theils auff Namen gerichtet, mit vier Stimmen, nicht allein zu singen, sondern auch auff allerhand Instrumenten zu gebrauchen]. Nürnberg / Paul Kauffmann 1601. [Library of Congress, Washington, DC].
Faksimile-Edition Rara, 61. Stuttgart, 2018. 17 x 20 cm, 4 partbooks, 108 pp. Line-cut of the Nuremberg, 1601 edition. Wonderful collection of 23 dance numbers (all texted) for various string and wind instrumental groupings. Partbooks: cantus, altus, tenor, bassus) Wrappers, with portfolio. $75 [item no.9579]


HUME, Tobias, c.1569-1645

Captain Humes; Poeticall Musicke 1607. Edited by Frank Traficante.
Toronto, 2018. 21.5 x 35.5 cm, 52 pp. Line-cut of the London, 1607 edition. In lyra-voil tablature notation. Ring binder. $50 [item no.9615]


KERLL, Johann Caspar von, 1627-1693

Modulatio organica. 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 Munich, 1686 edition; this particular print in the Proske-Bibliothek includes a manuscript addendum of 13 pages in the hand of an unknown copist with the attribution “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]


KOLB, Carlman, 1703-1765

Certamen aonium [id est Lusus vocum inter se innocuè concertantium, continens praeambula, versett: atque cadentias ab oeto tonis. Pars prima]. o.O. / o.D. [Bischöfliche Bibliothek Regensburg]
Faksimile-Edition Rara, 81. Stuttgart, 2018. Oblong, 31 x 24 cm, 49 pp. Line-cut of the Augsburg, [1733] edition. Certamen aonium consists of 8 preludes, each with 3 verses in the form of short fughettas and a cadenza; the music is reminiscent of Gottlieb Muffat. Hardbound, with decorative paper boards. $42 [item no.9610]


KRADENTHALLER [Gradenthaller], Hieronymus, 1637-1700

Deliciarum musicalium. Erster Theil [à 4. Viol, von Sonatinen, Arien, Sarabanden und Giquen allen Music-Freunden zur Delectation], Wolf Eberhard Felßecker Nürnberg 1675; Ander Theil (etlicher Sonatinen, Arien, Sarabanden und Giquen, &c. von sonderlichen Inventionen und Manier à 4 Viol. Allen Music-Freunden zur Delectation], Wolf Eberhard Felßecker Nürnberg 1676. [Fürstlich Thurn und Taxissche Hofbibliothek, Regensburg].
Faksimile-Edition Kammermusik des Barock, 8. Stuttgart, 2018. 22 x 18cm, 5 partbooks, 158 pp. Line-cut of the Nürnberg 1675-1676 partbook edition, for 4 viols with basso continuo (labeled “Violino I”, “Violino II”, “Violetta”, “Violon”, “Cembalo”.Hardboard in beautiful decorative paper with matching slip case. $142 (more info... ) [item no.9573]


[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]


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]


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]


PETRUCCI, Ottaviano, 1466-1539 [publisher]

Frottole Libro secondo. Venedig Ottaviano Petrucci 1507 / Frottole libro tertio Venedig Ottaviano Petrucci 1507. [Bischöfliche Bibliothek, Regensburg].
Faksimile-Edition Rara, 78. Stuttgart, 2018. Oblong, 24 x 17 cm, 111; 127 pp. Line-cut of Petrucci’s 2nd vand 3rd books of frottole both published in Venice, 1507. Comprising 53 & 61 frottole respectively—the word means “trifles” or “unimportant things”—these two books are a repetorial goldmine, with composers such as Rossinus Mantuanus (R.M.), Francesco d’Ana, Nicolo Patavino, Cara, Tromboncino, Pesenti, Honophrius Antenoreus, Peregrinus Cesena, Antonius Rossetus, and others. Notated in quasi score format (if frottola fits on single page) or choirbook format (if spread over an opening). Hardbound, in decorative paper. $88 [item no.9569]


SACRATI, Francesco, 1605-1650

La finta pazza. Partitura in facsimile ed edizione dei libretti. A cura di Nicola Usula.
Drammaturgia Musicale Veneta, 1. Milan, 2018. Oblong, 30 x 23 cm. Line-cut reproduction of a copyist ms. La finta pazza (The feigned Madwomen), with libretto by Giulio Strozzi, was premiered during the Carnival season of 1641 inaugurated by the newly created Teatro Novissimo. A variation on the story of Achilles on Skyros, its incredible success was attributed to the presence of the diva Anna Renzi, the amazing stage machinery of Giacomo Torelli, combined with remarkable music with extremely sophisticated relation between music text. It was the first opera performed at the French court in 1645, leaving a huge impact on the young Louis XIV. Linen. $175 (more info... ) [item no.9588]


SAINT-SAËNS, Camille, 1835-1921

Le carnaval des animaux. Fac-similé du manuscrit autographe / The Carnival of the Animals. Facsimile of the Autograph Manuscripts. Introduction Marie-Gabrielle Soret.
De Main de Maître, 2. Turnhout, 2018. 30 x 36.6 cm, 192 pp ( 127 color). Full-color facsimile of the autograph full score—“Stichvorlage”. The second volume of the series “De main de maître”, a facsimile collection devoted to orchestral scores of the most prestigious sources conserved in the Music Department of the Bibliothèque National de France. If there is one work in all of Saint-Saëns’ musical output that supremely captures the disposition so typical of the composer, it is The Carnival of the Animals, completed in Feb. 1886, and created for friends and performers close to Saint-Saëns and performed about 15 times between 1886 and 1894 to a small audience. Because Saint-Saëns feared that his “zoological fantasy” would damage his reputation, the work was published in its entirety only after his death. Since then, its immense popularity has continued to grow, so much so that it is now enjoyed by music lovers and the general public alike. Marie-Gabrielle Soret, a Saint-Saëns specialist, provides a detailed description of the work and the context of its creation, the facsimile includes the 14 numbers of The Carnival of the Animals. It reveals the composer’s handwriting, all the performance directions as he noted them, and the playful animal drawings with which he decorated his score—a fish for “Aquarium”, the skeleton of a dinosaur for “Fossiles”, and the pale blue pencil silhouette of a swan to illustrate the famous “Swan”. Commentary in Fr-Eng. Hardbound, with colorful dust jacket. $289 (more info... ) [item no.9580]


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]


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, [in prep—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. $795 (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]


ZÖSCHINGER, Ludwig, 1731-1860 [pseud. ”Reschnezgi”]

Concors digitorum discordia [sue IV. Parthiae]. Augsburg / Jacob Lotter 1761. [Bischöfliche Bibliothek Regensburg].
Faksimile-Edition Rara, 82. Stuttgart, 2018. Oblong, 31 x 21 cm, 31 pp. Line-cut of the Augsburg, 1761 edition. Hardbound, with decorative paper boards. $40 [item no.9611]


[Minuet & Trio] XII. Menuet und Trio [welch auf dem Clavi-cembalo mit Accompanierung einer Hand-Gamb, Violin, oder Flauto-Traversiere samt einem Bassetel nach belieben können prudicirt werden, woey zu erinnern, daß der XI. Menuet den Schlag einer Wachtel, und das darauf folgende Trio das Geschrey eines Guggu immitiret]. Augsburg, Johann Jacob Lotter sel.Erben 1760.
Faksimile-Edition Rara, 83. Stuttgart, 2018. Oblong, 21 x 18 cm, 28 pp. Line-cut of the Augsburg, 1760 edition. Harbound with decorative paper boards. $24 [item no.9608]


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]


[Cambrai, Mediathèque Municipale, MSS 125-128] Der Chansonnier von Zeghere van Male.
Faksimile-Edition Rara, 86. Stuttgart, 2018. Oblong, 28 x 20 cm, 4 partbooks, 1224 pp, 40 pp. The Songbook of Zeghere van Male, also known by its call number MS 125-128 in Cambrai's Mediathèque Municipale, consists of four complementary part-books: Superius, Altus, Tenor, & Bass. The chansonnier became part of this public collection after the French Revolution, beforehand it was in the Bibliothèque de Saint-Sépulcre, also in Cambrai.The MS contains 229 compositions, extremely varied, some of them present only in this source. The special aspect of this manuscript is its marriage of music, art and culture: drawings adorn each folio. Executed by quill and with lively colors the drawings describe realistic scenes of daily life, leisurely activities, and include animals and monstrous creatures, obscene depictions and vegetal decorations. With mixed elements inherited from the Middle-Ages, the Antiquity and the vogue of the grotesque, they are a testimony of the prevailing taste in Flemish civil society in the first half of the 16th century. Commentary Ger-Fr-Eng by Fabien Laforge. Hardbound with decorative paper boards and slipcase. $638 (more info... ) [item no.9571]


[“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]


Engelke, Ulrike. Melody as Musical Speech in the 17th and 18th Century. The Most Important Statements about Vocal and Instrumental Performance Practice from Baroque and Pre-Classic Sources / Melodie als Klangrede in der Musik des 17./18. Jahrhunderts. Die wichtigsten Aussagen zur vokalen und instrumentalen Aufführungspraxis aus den barocken und vorklassischen Quellen.
Münster, 2018. 21 x 30 cm, 515 pp All the important composers and theorists of the baroque and rococo periods wrote about how music should be, touching on many aspects of aesthetics, style, embellishment and technique. If there was one concern of overriding importance—whether it be instrumental or vocal music—it was the belief that musical expression should emulate human speech, that music should be “played spoken”. Contemporary reports tell it in many ways with many tips and analogies. Mattheson describes breaking up small motives of a vocal or instrumental melody by shortening syllables into “Klangfüße” using commas, semicolon and the period; other comments are blunter: “play from the soul, not like a trained bird”. This remarkable book by Urike Engelke, a distinguished performer and scholar, is a unique exploration and narrative on the subject, in easy-to-follow bilingual format (Ger-Eng), using more than 1,000 facsimile-examples to make her point and allow the masters to speak for themselves. It's an indispensable work for students and scholars interested in performance practice which can also be used as an exercise book. Handy ring-binder, for easy reading from the music stand. $68 (more info... ) [item no.6833]


[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]


[monodies, ornamented, 1617] Diminuierte Vertonungen von Gedichten Petrarcas und Bembos. Italien 1617. [Stift Kremsmünster].
Faksimile-Edition Kremsmünster, 39. Stuttgart, 2018. Oblong, 29 x 16 cm, 40 pp. Color reproduction of MS L736 Stift Kremsmünster (Austria) containing rare examples of monodies with ornaments fully written out on texts by Petrarca and Bembo. Hardboard with art paper boards. $52 [item no.9572]


Montecassino Archivio dell’Abbazia Cod. 318. Facsimile e commentarii. A cura di Mariano Dell’Omo e Nicola Tangari.
Bibliotheca Mediaevalis, 4. Lucca, 2018. 21 x 30 cm. 258, 320 pp. Color halftone of one of the most important medieval manuscripts of writings about music. MS 318, possibly copied at Montecassino, is an enormous compendium, containing the writings of Guido d’Arezzo, the famous Musica enchiriadis texts and much more. Many items are unique to this MS. There is non-musical matter as well. Contributors to commentary: Mariano Dell’Omo, Francis Newton, Giiulia Orofino, Thomas Forrest Kelly, Angelo Rusconi, Luisa Nardini, Maddalena Sparagna, Nicola Tangari. 2 vols. $179 (more info... ) [item no.9578]


[Viola da Gamba, selected works] Verschiedene Werke für Viola da Gamba und B.C. [Durham Cathedral, Durham].
Faksimile-Edition Rara., 79 Stuttgart, 2018. Oblong, 28 x 22 cm, 340 pp. Line-cut reproduction of MS A27 from Durham Cathedral, an anthology of works by Marais, Schenk, Snep, Hacquart, Heudeline, Blancourt, Simpson, du Faut, Colombe le fils, Colombe le pere, Doubihon, Fiore. Hardbound with decorative paper boards. $114 [item no.9574]


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]


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. 290 volumes published to date. Scores only also available. Please inquire. (more info... ) [item no.6809]


Weill, Kurt (collected edition) Lady in the Dark. Edited by Bruce D. McClung and Elmar Juchem.
The Kurt Weill Edition, I/16. New York, 2018. 30 x 39 cm. 3 vols, 748; 137 pp. Two fateful meetings in Nov. 1939 between Kurt Weill and Moss Hart led inexorably to a new kind of Broadway musical. It was the brainchild of Weill, Hart and lyricist Ira Gershwin, and the opening-night roster included the talented Gertrude Lawrence, Danny Kaye, Victor Mature, Bert Lytell, Natalie Schaefer, MacDonald Carey and producer Sam Harris. The new show, entirely innovative in form and subject matter, used psychoanalysis as the primary plot driver and staged the protagonist's spectacular dreams as one-act operas, giving audiences glimpses of the glamorous worlds of fashion and publishing as well as the intimacies of a psychiatrist's office. Lady in the Dark landed like a bombshell on Broadway in January 1941. Now, for the first time since then, producers and directors can recreate the magic from this new critical edition of the score, book, and lyrics. Through patient and thorough examination of a wealth of archival and other unpublished sources, the editors present a version of the show very close to what hit the boards in 1941. 3 vols, linen bound. (subscriber’s receive 31% discount) $675 (more info... ) [item no.6819]


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]