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Wednesday, 14 September 2022
Manuscript facsimiles (autographs & copyist manuscripts), facsimiles of first and early editions,
together with a selection of critical editions & studies. For ordering information go to Contact OMI

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BACH, Carl Philipp Emanuel, 1714-1788

[Cantata, Wq./H deest] Ich bin vergnügt mit meinem Stande. Cantata for Solo Bass, Strings, and Basso Continuo. Facsimile Edition with an Introduction by Peter Wollny.

Carl Philipp Emanuel Bach, The Complete Works, V, Supplement. Los Altos, 2011. 25 x 32 cm, xii, 16, 18 pp. Halftone of autograph score from c.1733. together with a modern edition. In terms of style the cantata “is a work on the brink of new departures”, and the autograph showing almost manic corrections and revisions reveals the high artistic standards of the 20-year-old composer. Wrappers. $31 [item no.9651]

[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]

[Magnificat, Wq. 215, Berlin version] Magnificat. Facsimile Edition of the Autograph Score with an Introduction by Christine Blanken.

Carl Philipp Emanuel Bach, The Complete Works, V, Supplement. Los Altos, 2011. 25 x 32 cm, xv, 112 pp. Beautiful halftone of autograph score from 1749, the earliest major vocal work of the composer. It was also the unofficial “audition piece” for the position of Thomaskantor in Leipzig. Wrappers. $40 [item no.9652]

[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]

BACH, Johann Sebastian, 1685-1750

[Cantata 9] “Es ist das Heil uns kommen her” BWV 9. Kantate zum 6. Sonntag nach Trinitatis. Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington, D.C. = Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C.; In Zusammenarbeit mit der Library of Congress, Washington, D.C. Herausgegeben und mit einer Einführung von Daniel Boomhower.

Meisterwerke der Musik im Faksimile,40. Laaber, 2015. 21 x 33 cm, 16, 18 pp. Color halftone of the beautifully preserved autograph score composed most likely between 1734-1735. Scored for solo SATB, SATB chorus, vln I-II, vla, trav. fl, ob d’amore, bc. Introduction in Ger-Eng. Hardbound with decorative paper boards. $99 (more info... ) [item no.9448]

[Cantata 10] “Meine Seel’ erhebt den Herren!” BWV 10. Kantate zum Fest Mariae Heimsuchung. Faksimile nach dem Autograph aus der Gertrude Whittall Foundation Collection in der Musikabteilung der Library of Congress, Washington, D.C. = Facsimile of the Autograph from the Gertrude Whittall Foundation Collection in the Music Division, Library of Congress, Washington, D.C.; In Zusammenarbeit mit der Library of Congress, Washington, D.C. Herausgegeben und mit einer Einführung von Daniel Boomhower.

Meisterwerke der Musik im Faksimile,41. Laaber, 2015. 21 x 33 cm. xvi, 24 pp. Color halftone of the autograph score composed for the Feast of the Visitation of Mary. Introduction in Ger-Eng. Scored for solo SATB, SATB chorus, vln I-II, vla, tpt, 2 ob, bc. Hardbound with decorative paper boards. $108 (more info... ) [item no.9449]

Cantata BWV 20: “O Ewigkeit, du Donnerwort”. Autograph Score and Performing Parts in the Possession of the Bach Archive, Leipzig. Commentary by Peter Wollny

Documenta Musicologica, II/52 (= Faksimile-Reihe Bachscher Werke und Schriftstücke, Neue Folge, [9]). Kassel, 2017. 24 x 35 cm, 24 + 64; 16 pp. Color facsimile of the autograph score and performing parts. (The score was acquired by the Bach Archive Leipzig in 2016, making it possible, for the first time, to reunite the original performance material and the autograph score.) The work is based on a church hymn by Johann Rist that depicts, in riveting language, the terrors of the Last Judgment and the torments of Hell, followed by an admonition to live a life pleasing to God. The poem inspired Bach to write one of his most impressive church compositions altogether. Scored for solo ATB, SATB chorus, 3 ob, tpt, 2 vln, vla, & cont. The facsimile offers invaluable insight into the composer’s workshop and the changing conditions for performances under his direction. Afterword in Eng-Ger. Limited edition of 250 copies presented in clam shell case. $369 (more info... ) [item no.9534]

[Mass, b minor, BWV 232] Messe in h-moll BWV 232. Mit Sanctus in D-Dur (1724) BWV 232(iii). Autograph Staatsbibliothek zu Berlin Preussischer Kulturbesitz. Kommentar von Christoph Wolff.

Kassel, 2011. 24 x 35 cm, viii. 216, xxxvii, 7 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger-Jap. Brown linen boards. $429 (more info... ) [item no.9222]

[St. Matthew’s Passion, BWV 244] Matthäus-Passion BWV 244. Autograph Staatsbibliothek zu Berlin, Preußischer Kulturbesitz. Commentary by / Kommentar von Christoph Wolff, Martina Rebmann. Preface by / Geleitwort von Barbara Schneider-Kemf.

Documenta Musicologica, II/47. Kassel, 2013. 24 x 35 cm, x, 168, 30 pp. New color facsimile of the autograph score based on newly commissioned photographs. Afterword in Eng-Ger. Limited bibliophile edition with binding with leather spine and boards in decorative paper. $456 (more info... ) [item no.9327]

[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. $444 (more info... ) [item no.9568]

[Christmas Oratorio, BWV 248, libretto] Oratorium, welches die heilige Weyhnacht über in beiden Haupt-Kirchen zu Leipzig musiciret wurde. Anno 1734.

Stuttgart, 2009. 30 pp. Facsimile of the 1734 libretto. $10 [item no.9258]

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

Documenta Musicologica, II/57. Kassel, 2021. 24 x 40 cm, viii, 106, 28 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]

[Musical Offering, BWV 1079] Musikalisches Opfer / Musical Offering (Musical Sacrifice). BWV 1079. Score Based on Bach’s First Edition of 1747 with Inserted Facsimile. Edited by Hans-Eberhard Dentler with a Note by Alberto Basso.

Musica Humana, Faszikel 1. Mainz, 2012. 25 x 33 cm, 53, 113, 38 pp. Modern edition in score format with facsimile supplement reproducing the 1747 edition of the instrumental parts. “Regis iussu cantio et reliqua canonica arte resoluta” is Bach’s famous collection of canons and fugues based on a musical theme given to him by Frederick the Great, to whom they are dedicated. The work has its roots in a meeting on May 7, 1747 at the King’s residence in Potsdam, where Carl Philipp Emanual was employed as a court musician. The work comprises 2 ricercars, one a6 and one a3, 10 canons, and a “sonata sopr’li soggetto Reale”, a trio sonata in 4 movements featuring the flute, one of the instruments Frederick played. Introduction and critical notes in Ger-Eng-Fr. Handsome binding in red linen with gold title. $152 (more info... ) [item no.9321]

Wollny, Peter. Generalbass- und Satzlehre, Kontrapunktstudien, Skizzen und Entwürfe. Herausgegeben von Peter Wollny. Anhang: Aria “Alles mit Gott und nichts ohn’ ihn” BWV 1127. Herausgegeben von Michael Maul.

Neue Ausgabe Sämtlicher Werke, Supplement. Kassel, 2011. 22 x 30 cm, 250 pp (incl. 77 facsimiles). Comprehensive study of Bach’s basso continue practice, documented with full-color reproductions from autograph manuscripts and sketches. Consists of teaching documents in figured bass and counterpoint, and sketches & fragments found in autograph full scores, all accompanied by modern transcriptions. Linen. $495 (more info... ) [item no.9278]

BEETHOVEN, Ludwig van, 1770-1827

[Missa Solemnis, orch, chorus, op.123] Missa Solemnnis Op. 123. Facsimile of the Autograph Score in the Staatsbibliothek zu Berlin—Preußischer Kulturbesitz. With a commentary by Hans-Joachim Hinrichsen and Martina Rebmann.

Documenta Musicologica, II/51. Kassel, 2016. Oblong, 45 x 40 cm, 351, 27 pp. Deluxe 4-color facsimile of the autograph working score. William Drakbin describes the genesis of the mass as “the longest, most arduous struggle in Beethoven’s career as an artist”, with equally complex history of its sale to B. Schott after years of calculating with other publishers. 4 of the 5 movements of the Missa Solemnis survive today, the Kyrie, 50 pp in upright format, and the last three movements, Credo, Agnus and Sanctus, 286 pp in oblong format. The Gloria unfortunately disappeared soon after Beethoven’s death. Deluxe edition with leather spine. $895 (more info... ) [item no.9506]

[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]

[Romance, violin, orch, op.50, F major] Romanze für Violine & Orchester F-Dur op.50. Faksimile nach dem Autograph der Library of Congress in Washington. Mit einer Einleitung von Stefan Drees.

Meisterwerke der Musik im Faksimile, 20. Laaber, 2011. Oblong, 32 x 24 cm, xvi, 32 pp. Facsimile, in full-color, of the autograph fair copy, dated by different authorities as either 1798 of 1802. Introduction in Ger-Eng. Hardbound with decorative paper boards. $104 (more info... ) [item no.9264]

[Symphony, no.5, op.67, C minor, 1st ed.] [Fifth Symphony] Sinfonie pour 2 violons, 2 violes, violoncelle e contre-violon; 2 flûtes, petite flûte, 2 hautbois, 2 clarinetts, 2 bassons, contre-basson, 2 cors, 2 trompettes, timbales et 3 tromps. No 5 des Sinfonies. Oeuv.67. [Nederlands Muziek Instituut, The Hague].

Performers’ Facsimiles, 300. New York, [2011]. 27 x 35 cm, 23 partbooks, 134 pp. Line-cut of the Breitkopf & Härtel edition, pl. no. 1329, Leipzig, 1809. $95 [item no.9231]

[Symphony, no.7, op.92, A major] Symphonie Nr.7, A-Dur, op. 92. Faksimile nach dem Autograph aus der Biblioteka Jagiellońska, Kraków. Herausgegeben und eingeleitet von Oliver Korte. Mit einem Geleitwort von Lothar Zagrosek. [Mus. ms. autogr. Beethoven. Mendel.-Stift. 9].

Meisterwerke der Musik im Faksimile, 51. Laaber, 2017. Oblong, 32 x 24 cm, 28; 256 pp. Color reproduction of autograph score of Beethoven's Symphony No.7. The work was composed between the period of September 1811 to mid 1812, and its premiere took place on December 8 at the Viennese Universitätssaal together with the premiere of Wellington's Victory. While two copyist manuscripts survive with Beethoven's markings—one of them the fair copy in the hand of Anton Diabelli prepared for the first edition of the publisher Sigmund Anton Steiner—the autograph produced here in facsimile has a very special place because it preserves to a very great extent the text of op. 92 in its final form. This is the conclusion of Jonathan del Mar, based on the type of corrections and modifications seen in the autograph, modifications that were ostensibly transferred to the score during the first rehearsals. Afterword in Ger-Eng. Bound in black linen, with slipcase. $498 (more info... ) [item no.9543]

[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]

[sketchbook, “Artaria 197”] A Sketchbook from the Year 1821 (Artaria 197). Sketches for the Agnus Dei and other Movements of the “Missa solemnis”, the Piano Sonata Op.110 and Op.111, and the Canon WoO 182. Edited by William Drabkin. Vol. I: Facsimile; Vol. II: Transcription and Commentary.

Veröffentlichungen des Beethoven-Hauses in Bonn, I/37. Bonn, 2010. Oblong, 4º, 2 vols, 96, 100 pp. Color halftone. The sketchbook, well known under the name Artaria 197, has been edited and published for the first time in a complete historical-critical edition by the Beethoven expert William Drabkin. The sketchbook used by Beethoven in 1821 contains drafts of music for prominent later works: to the Missa solemnis and the final two piano sonatas, as well as many hitherto unknown sketches. The edition has been published in English. Linen. $279 (more info... ) [item no.9145]

[sketchbooks, composition studies with Haydn, Albrechtsberger, Salieri] Kompositionsstudien bei Joseph Haydn, Johann Georg Albrechtsberger und Anton Salieri. Herausgegeben von Julia Ronge. 1. Transkriptionen; 2. Kritischer Bericht; 3. Reproduktionen der Handschriften.

Beethoven Werke, XIII/1. Munich, 2014. Oblong, 31 x 27 cm, 3 vols, xv, 307; 93; 201 pp. When Beethoven moved to Vienna in 1792, almost immediately, and likely pre-arranged, he started composition studies with Haydn, who had been freed from his post with the Esterhazys and was now living in Vienna. The studies—exercises in free counterpoint but also concerned with the conception of a piece, movement structure, proportions of the various parts and the art of “sketching”—lasted until 1794 when his teacher recommended additional studies with Albrechtsberger; with him Beethoven acquired a wide range of technical and compositional tools building on the earlier study. In 1801 Beethoven then turned to Salieri to learn the technique of setting primarily Italian texts to music, an area not covered in the preceding studies. The present volume reproduces for the first time the surviving manuscripts that record those studies. These are remarkable witnesses showing Beethoven under the watchful eyes of his teachers with illuminating comments, corrections or alternative passages. Facsimile, transcription and commentary, 3 volumes, linen bound. $833 (more info... ) [item no.9393]

[sketchbook, “Grasnick 5”] Grasnick 5: Beethoven’s Pocket Sketchbook for the Agnus dei of the Missa Solemnis, Opus 123. [Facsimile Edition] Transcribed, Edited, and with a Commentary by Patrizia Metzler and Fred Stoltzfus. [Staatsbibliothek zu Berlin].

Beethoven Sketchbook Series, [3]. Champaign, 2016. Oblong, 38 x 28 cm, 144 pp. Color facsimile of a pocket sketchbook acquired by the Berlin Royal Library in 1879 as part of the holdings of Friedrich August Grasnick, a gentleman scholar & music collector. Long neglected in scholarship, the so-called Grasnick 5 documents reveal Beethoven working out concepts and ideas, offering fascinating insights into his creative method. This critical edition, the third in the Beethoven Sketchbook Series, offers a facsimile and transcription, spread out side by side, of the contents of the stitched pocket sketchbook started by the 50-year-old master during the summer of 1820. At the time, Beethoven labored over the Missa solemnis, Opus 123. The sketchbook's pages yield the entire record of his early ideas on the Agnus Dei of that work as well as a sketch for part of the Benedictus. Includes 5 pages from Artaria 205, also in side-by-side facsimile-transcription layout. Clothbound. $95 (more info... ) [item no.9490]

[sketchbook, “Landsberg 6”] Beethoven’s “Eroica” Sketchbook. A Critical Edition. Transcribed, Edited, and with a Commentary by Lewis Lockwood and Alan Gosman. Volume 1: Facsimile; Volume 2: Transcription, Commentary, Inventory.

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

BERG, Alban, 1885-1935

[Concerto, violin, orchestra] Violinkonzert. Faksimile nach dem Autograph der Library of Congress, Washington. Mit einem Kommentar von Douglas Jarman.

Meisterwerke der Musik im Faksimile, 22. Laaber, 2011. 4°, xv, 96 pp. Full-color facsimile of the autograph dated August 11, 1935. The work was written on commission from the violinist Louis Krasner, but is was the death of Manon Gropius (daugther of Alma Mahler and Walter Gropius) that was the main impetus for Berg, setting aside work on Lulu, to complete the concerto. It was dedicated “To the memory of an angel”. Introduction in Ger-Eng. Hardbound. $249 (more info... ) [item no.9228]

Lulu, Particell des III. Aktes (Faksimile). Vorgelegt von Thomas Ertelt. [Mss. Stadt- und Landesbibl. Wien & Österreichische Nationalbibl.].

Alban Berg Sämtliche Werke, I/2, Lulu Supplement. Vienna, 2013. 27 x 37 cm, ix, 2, 144 pp. Fine 4-color facsimile of the holograph with paste-overs lifted and photographed separately. This is Berg’s relatively clean condensed score for Act III of Lulu, but the work was left incomplete at his death. This volume contains a short commentary and documents relating to the surviving manuscript. Commentary in Ger/Eng. Green linen. (Rarely found separately, because this volume is normally available only as part of a subscription to the Berg Sämtliche Werke) $360 (more info... ) [item no.9559]

BERLIOZ, Hector, 1803-1869

Symphonie fantastique, op.14. Facsimile of the Autograph Score in the Bibliothèque Nationale de France. With a Commentary by Hugh Macdonald.

Documenta Musicologica, II/53. Kassel, 2017. 24 x 35 cm, 290, 20 pp. Color facsimile of the autograph score, one of the greatest treasures of the Bibliothèque Nationale. Berlioz revised the work for years before it finally reached its definitive version. He entered many of these changes in the autograph score, which was also used for performances, by pasting strips of paper over the bars or parts in question. This facsimile edition, in high-quality 4-color reproduction, presents the manuscript as it is today—with strips of paper that can be folded out, making both versions visible. Commentary in Eng-Ger-Fr. Hardbound with quarter leather spine and boards in colorful paper. $922 (more info... ) [item no.9541]

BOULEZ, Pierre, 1925

Tombeau. Fac-similés de l’épure et de la première mise au net de la partitur / Facsimiles of the Draft Score and the First Fair Copy of the Full Score. Édités par / Edited by Robert Piencikowski.

Eine Publikation der Paul Sacher Stiftung. Vienna, 2010. 38 x 47°, 154 pp. Beautiful full-color facsimile edition of the autograph draft score and the first copy of the full score. Unlike the world première of Marteau sans maître (1952-55), that of Tombeau for orchestra (1959), which took place in Donaueschingen on 17 October 1959, passed almost unnoticed, outshone by Pierre Boulez's unexpected triumph as a conductor when he stepped in to replace Hans Rosbaud at the head of the Südwestfunk Sinfonieorchester. Originally conceived as an individual tribute to Prince Max Egon zu Fürstenberg, who died suddenly in spring 1959, the work was ultimately included in the Pli selon pli cycle (1957-62, 1983, 1990). To celebrate the composer's 85th birthday and the 50th anniversary of the world première, the Paul Sacher Foundation and Universal Edition are now publishing the two original manuscripts of the score for the first time: the pencil draft and a fair copy in different colored inks. These fine examples of high-quality reproductions are also the earliest evidence of Boulez' friendship with Paul Sacher. The composer presented the scores to Sacher in the early 1960s. The facsimiles are prefaced by an introduction, which places the work in a historical and aesthetic context and takes a look at the compositional techniques used. It is illustrated by a selection of manuscripts from different stages of the creative process, as well as other related documents. Linen. $211 (more info... ) [item no.9165]

BRAHMS, Johannes, 1833-1897

[Concerto, piano, orch, no.2, op.83, Bb major] Konzert für Klavier und Orchester Nr. 2 B-Dur Opus 83. Faksimile nach dem Autograph der Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky. Mit einer Einführung von Jürgen Neubacher und einem Geleitwort von Christoph Eschenbach.

Meisterwerke der Musik im Faksimile, 28. Laaber, 2013. Oblong, 38 x 30 cm, 21, 172 pp. Beautiful full-color halftone of the autograph fair copy. Since its premiere in Budapest on Nov. 9, 1881 with Brhams as soloist the Bb major Concerto has become a mainstay in the repertory. The autograph, like the Symphony No.4, was used for the first performance and exemplar for the first engraved edition and as such is full of “performance & workshop talk”—performance instructions, messages, cues, corrections and other revisions that give the manuscript a living and breathing quality. $429 (more info... ) [item no.9333]

[Concerto, violin, orchestra, op.77, D major] Violinkonzert D-Dur Opus 77: With a Selection from the Engraver’s Copy of the Violin Part. Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C. with a Preface by Julia Fischer and an Introduction by Stefan Drees / Mit einer Auswahl aus der Stichvorlage der Violinstimme. Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington mit einem Kommentar von Stefan Drees.

Meisterwerke der Musik im Faksimile, 19. Laaber, 2014 Oblong, 38 x 30 cm, xviii, 106 pp. Beautiful full-color halftone of the autograph and annotated solo violin part. Contains numerous corrections and adjustments (involving phrasing, dynamics and minor note changes) by Brahms’ revered friend Joseph Joachim. Hardbound in decorative paper. $249 (more info... ) [item no.9268]

BRUCKNER, Anton, 1824-1896

[Kitzler Study Book] The „Kitzler Study Book“. Anton Bruckner’s Studies in Harmony and Instrumentation Theory with Otto Kitzler (1861-63). Facsimile of the Autograph kept in the Music Collection of the Austrian National Library, Edited with an Essay by Paul Hawkshaw and Erich Wolfgang Partsch.

Sämtliche Werke Anton Bruckner, Bd.25. Vienna, 2014. Oblong, 38 x 32 cm, 326, 20 pp. Full-color facsimile of the complete manuscript acquired in 2013 by the Austrian National Library. Contains compositional studies from 1861-1863 while under the tutelage of the Linz Capellmeister Otto Kitzler. In addition there is a string quartet, Rondo in C minor, 4 piano fantasies, Three Pieces for Orchestra and Overture in G minor. Hardbound, with slipcase. $428 (more info... ) [item no.9412]

CAMPRA, André, 1660-1744

[L’Europe galante, 1724 ed.] L’Europe galante. Paris / Jean-Baptiste-Christope Ballard, 1724. [Bibliothèque d’étude et de conservation Besançon].

Faksimile-Edition Kammermusik des Barock, 4. Stuttgart, 2014. 24 x 37 cm, 269 pp. Line-cut of the Paris, 1724 edition. Hardbound, with boards in decorative paper. $130 [item no.9411]

DEBUSSY, Claude, 1862-1918

Prélude à l’après-midi d’un faune. Fac-similé du manuscrit autographe de la partition d’orchestre. Introduction par Denis Herlin.

De Main de Maître, 1. Turnhout, 2014. 32 x 43 cm, 80 pp. Full-color facsimile of the autograph full score—“Stichvorlage”. Inaugurates the series “De main de maître” (in the hand of the author) from the collection of the Bibliothèque National de France. Hardbound. $225 (more info... ) [item no.9351]


Snow White and the Seven Dwarfs Master Score. Music by Frank E. Churchill, Lyrics by Larry Mory and Additional Underscore by Leigh Harline and Paul J. Smith.

2015. 4°, 208 pp. Full-color facsimile of the master score for the 1937 film. Based on the fairy tale by the Brothers Grimm, Snow White and the Seven Dwarfs is the first full-length animated feature film and the earliest in the Walt Disney Animated Classics series. The story was adapted by Dorothy Ann Blank, Richard Creedon, Merrill De Maris, Otto Englander, Earl Hurd, Dick Rickard, Ted Sears and Webb Smith, with David Hand as supervising director. The songs including “Heigh-Ho”, “Some Day My Prince Will Come”, and “Whistle While You Work” were composed by Frank Churchill and Larry Morey. Further incidental music was provided by Paul J. Smith and Leigh Harline. This is the first time that this material is available to the public. Explore every sequence from the film, from the first scene to the last and see, first hand, how the music and animation (tempos, scene length, camera movement, action, and sound) where synchronized. Limited edition of 459 copies. $295 (more info... ) [item no.9435]

DVOŘÁK, Antonín, 1841-1904

[Concerto, violoncello, orch., op.104, B minor, B.191] Koncerto op.104 pro violoncello s prúvodem orkestru / Concerto op.104 for Violoncello and Orchestra. Commentary: Jan Smaczny. [Narodní Muzeum Prague].

Documenta Musicologica, II/43. Kassel, 2011 Oblong, 4°, 122, 32, 34 pp. Full-color facsimile of the autograph score and autograph piano reduction (B/W reproduction). Now considered to be one of the most popular orchestral works today Dvořák wrote this during his second stay in the U.S. Commentary in Eng-Ger. Hardbound, with decorative paper and linen spine. Out of print, few copies remaining. (more info... ) [item no.9198]

HANDEL, George Frideric, 1685-1759

[Concerti grossi, strings, op.6, HWV 319-330] Twelve Grand Concertos for Violins &c. in Seven Parts. Opera sexta. [private collection].

Performers’ Facsimiles, 270. New York, [2010]. 4°, 7 partbooks, c.202 pp. Line-cut of the Walsh edition, London, [1746] (third issue of the first edition). Scored for solo vln I-II, vc, ripieno vln I-II, vla, vc, bc. Wrappers. $100 [item no.9207]

HAYDN, Franz Joseph, 1732-1809

[The Creation, Hob. XXI:2, sketches] Die Schöpfung Hob.XXI:2. Skizzen. Herausgegeben von Annette Oppermann.

Joseph Haydn Werke, XXVIII/3/III. Munich, 2012 4°, 104 pp. Beautiful full-color reproduction of 36 sketch pages, hitherto unpublished, to Haydn’s oratorio “The Creation”, preserved in libraries in Vienna, London and New York. The sketches are very revealing: the famous soprano aria “On mighty pens” originally had an entirely different melody. The 5 notated beginnings of the recitative “Our duty we performed now” make it clear that Haydn even pondered very carefully such apparently standardized musical phrases before opting for a variant. The 3 surviving full-score sketches for the overture “The Representation of Chaos” show in turn how Haydn slowly developed the whole movement out of a basic idea initially outlined on only one page and garnished it with ever finer rhythmic and harmonic details. The whole set gives us a wonderful glimpse into workshop of the composer. With diplomatic transcription and notes in German. Handsome clamshell case in linen. $325 (more info... ) [item no.9267]

[Concerto, horn, orch, Hob. VIId:3, D major] Hornkonzert D-Dur, Hob. VIId:3. Faksimile der autographen Partitur. Kommentar von Ingrid Fuchs.

Vienna, 2009. 22 x 32 cm, 28, 39 pp. Beautiful full-color facsimile. A fascinating and important representative of Haydn's entire concerto œuvre comes to light in this brilliant facsimile of the Horn Concerto in D Major, Hob. VIId:3. Haydn composed a relatively small group of wind concertos (6 in total), two which are lost. This work was most likely composed for the horn virtuoso Joseph Leutgeb, and in violation of his contract with the Esterházy House, since it was not written for the court orchestra. Of special mention is Haydn's note written on the last page of the score stating "in schlaff geschrieben" (written while asleep). This is due to a mistake in the scoring of the instruments and was most likely the result of Haydn composing secretly at night, half asleep. Commentary in German-English-Japanese. Limited edition of 500 copies with beautiful period design coverboards and pasted on etikette. $207 (more info... ) [item no.9120]

[Symphony, no.45, “Farewell”, F sharp major, Hob.I:45] Sinfonie Fis-Moll, Hob. I:45 “Abschiedssinfonie” Faksimile nach dem Autograph der Országos Széchényi Könyvtár, Budapest. Mit einem Kommentar von Armin Raab.

Meisterwerke der Musik im Faksimile, 11. Laaber, 2010 21 x 34 cm, xviii, 62 pp. Full-color facsimile of the autograph score issued on the occasion of the bicentenary of the composer’s death. Commentary in Ger-Eng. Hardbound in decorative paper. $149 (more info... ) [item no.9010]

[Symphony, no.102, Bb major, Hob.I:102] Sinfonie Nr. 102 (”London”) Faksimile nach dem Autograph in der Staatsbibliothek Berlin. Mit einer Einleitung (deutsch/englisch) von Armin Raab.

Meisterwerke der Musik im Faksimile, 12. Laaber, 2010 26 x 41 cm, xvi, 57 pp. Full-color facsimile of the autograph fair copy composed in 1794 for Haydn's second London visit. Scored for 2 fl, 2 ob, 2 bsn, 2 hn, 2 tpt, timp, & strings, the work has all the stylistic hallmarks of the late Haydn symphony with its masterly confluence of simplicity and complexity, folkishness and sophistication. There is also the element of thematic surprise as well as orchestral excitement (the drumroll that ushers in the recapitulation in the first movement) and outrageous wit, shown by the violins getting “stuck” on a phrase in the finale and unable to remember what comes next. A fitting tribute for the celebration of the bicentenary of the composer’s death. Commentary in Ger-Eng. Hardbound in decorative paper. $142 (more info... ) [item no.9011]

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]

MAHLER, Gustav, 1860-1911

[Lied von der Erde, selection] Der Abschied—Facsimile Edition of the Sixth Movement of Das Lied von der Erde. I: Draft Orchestral Score; II: Particel, Short Score; III: Texts on the Facsimile. [Willem Mengelberg Archive, Nederlands Muziek Institut, The Hague].

The Hague, 2017. Oblong, 35 x 27, 3 vols, 44, 20; 46 pp. Fine bibliophile facsimile of Mahler’s manuscripts of “Der Abschied” (Farewell), the sixth movement of Das Lied von de Erde, issued on the 60th anniversary of the Dutch Mahler Society. The edition includes the manuscripts of both the draft orchestral score and the particel short score. In December 1917, the great Dutch conductor Willem Mengelberg conducted the Vienna Philharmonic Orchestra in a performance of Das Lied and following that performance, Alma Mahler presented Mengelberg with the 2 manuscripts which are the basis of this facsimile. Alma included the note (also provided in facsimile): “To the Friend of Gustav Mahler. . . the most wonderful interpreter of his work, Willem Mengelberg”. The particle represents a relatively early stage of the composition and reveals many aspects of how the movement took shape. The orchestral version is much more complete, but still is considered a draft. Notes by Eveline Nikkels & Frits Zwart, with introduction by Edward Reilly. Limited edition of 400 numbered copies in the original format as presented by Alma Mahler to Mengelberg, 3 volumes, housed in a beautiful box covered with black paper. (more info... ) [item no.9558]

Martner, Knud. Mahler’s Concerts.

New York, 2010. 22 x 28 cm, 287 pp. Provides the first detailed history of Mahler on the podium. A carefully researched listing of more than 300 performance arranged chronologically. Illustrated with reproductions of original playbills, programs or transcriptions thereof. Hardbound. $50 [item no.9424]


[Concerto, violin, orch, op.64, E minor] Violinkonzert E-Moll, Opus 64. Faksimile nach dem Autograph der Bibliotheka Jagiellońska, Kraków. Mit einem Kommentar von Stefan Drees.

Meisterwerke der Musik im Faksimile, 10. Laaber, 2010. Oblong, 32 x 24 cm, xii, 68 pp. Full-color facsimile of the autograph score dated 16 September 1844. Mendelssohn's popular “Concerto for Violin in E Minor op.64”, a mainstay in the concerto repertoire didn't have an easy birth and is known in two versions, the sole surviving autograph of 1844—reproduced here in facsimile—and the printed edition of 1845, a more brilliant version incorporating many of the changes suggested by Ferdinad David, dedicatee of the piece and his concertmaster at Leipzig. On July 30, 1838, the composer wrote to him: “I would like to write a violin concerto for you next winter. One in E minor goes through my head and the beginning will not leave me in peace." David encouraged Mendelssohn but also expressed a desire for it to be ostentatious, a suitable showcase for the violinist's talents. Mendelssohn was not used to flamboyance for its own sake and this wish conflicted with his musical temperament, prolonging the writing of the concerto. More than six years later with only three months before it was to be performed he confided to David: “Do not laugh at me too much. I feel ashamed in any case, but I cannot help it. I am just groping around.” It was finally premiered on 13 March 1845 and published shorly thereafter by Breitkopf & Härtel. There are well over 100 changes between the two versions, mostly issues concerning tempo, orchestration, and solo parts. While some are outright shocking, where Mendelssohn has taken in the final version the solo line up or down an octave, added entirely new notes to the violin part, or slightly changed the wind writing, no matter which version is considered both are pure Mendelssohn, and all the magical elements that make the Violin Concerto what it is, that make it so beloved and so popular, are completely intact. Commentary in Ger-Eng. Linen. Issued on the occasion of the bicentenary of the composer’s birth. Hardbound with dark blue boards. (more info... ) [item no.9009]

[Overture, A Midsummers Night’s Dream, op.21] Ein Sommernachtstraum. Ouvertüre op.21. Autograph, Biblioteka Jagiellońska, Kraków. Commentary by / Kommentar von Friedhelm Krummacher.

Documenta Musicologica, II/41. Kassel, 2009. 27 x 37 cm, xiii, 60, 57 pp. Full-color facsimile of the elegant fair copy autograph score (formerly Deutsche Staatsbibliothek, Mus. ms. autogr. Mendelssohn 21), and monochrome reproduction of a fragmentary autograph score (Bodleian Library, Ms. Deneke-Mendelssohn B 5)—the only surviving sources of the overture. This work of youthful genius was written in 1826 during a carefree summer spent at the summer house among his siblings at a time when the composer became immersed in the works of Shakespeare through Schegel and Tieck translations. An enchanted night, virtually fragrant dreams, floating fairies—the sensory associations evoked and fashioned by the music of Mendelssohn’s overture A Midsummer Night’s Dream are almost inexhaustible. This is without doubt Mendelssohn’s most popular concert overture. The score is innovative as well, for example, in the ordering in the instruments—proceeding woodwinds, percussion, strings, with the bass fiddle at the bottom—, though peculiar for the time, coincides with modern accepted convention. The autograph score also calls for the rare "corno inglese di basso", usually substituted by the ophecleide, bass bassoon or bass trombone. Handsome bibliophile edition issued on the occasion of the 200th anniversary of the composer's birth. Handsome binding with decorative paper boards, burgundy linen spine, and pasted title etikette. Commentary in Eng-Ger-Jap. Special OMI price. $169 (more info... ) [item no.9033]

MOUTON, Charles, 18th c.

Concerto à 5. [Stift Kremsmünster].

Faksimile-Edition Kremsmünster, 23. Stuttgart, 2012. 21 x 32 cm, 5 partbooks, 132 pp. Line-cut of manuscript parts preserved in the library of Kremsmünster Abber in Upper Austria. 10 chamber concertos in Italianate style scored for vlh I, vln II, alto vla, tenor vla, and basso continuo (organ). Wrappers. $77 [item no.9315]

MOZART, Wolfgang Amadeus, 1756-1791

[Requiem mass, K.626] Requiem. K.626. Facsimile of the autograph score held in the Austrian National Library. With a commentary by Christoph Wolff and Günter Brosche.

Bärenreiter Facsimile, [10]. Kassel, 2015. Oblong, 35 x 26 cm, 40, 200 pp. New deluxe facsimile edition of the autograph parts and sketches with the finishing work of Süßmayr and others. Commentary in Eng-Ger by Christoph Wolff and Günter Brosche. Limited bibliophile edition produced on natural paper with individually trimmed pages. Quarter leather with decorative paper boards. $595 (more info... ) [item no.9414]

[Requiem mass, K.626, 1st ed.] Requiem KV 626 - W.A. Mozarti: Missa pro defunctis / W.A. Mozarts Seelenmesse. Breitkopf & Härtel, Leipzig [1800]. Herausgegeben und mit einem Nachwort von Markus Eberhardt. [Archiv des Bistrums Passau].

Faksimile-Edition Rara, 67. Stuttgart, 2015. Oblong, 35 x 26 cm, 178, vi pp. Line-cut of the first edition, Leipzig, 1800. Although there have been many attempts of reconstructing the text of the Requiem, the 1800 printed version, largely based on Süssmayr’s work, remains the prime historical document. It is interesting that Breitkopf & Härtel provides no credit to Süssmayr for the completion of the work although correspondence in early 1800 between Gottfreid Christoph Härtel and Süssmayr clearly establishes the extent of his role. Hardbound in decorative paper which reproduces the original 1800 binding. $100 (more info... ) [item no.9443]

[Concerto, piano, orch, no.9, K.271] Klavierkonzert “Jenamy” Eb-Dur KV 271. Faksimile nach dem Autograph der Bibliothek der Jagiellońska Kraków. Herausgegeben und mit einer Einführung von Ulrich Konrad.

Meisterwerke der Musik im Faksimile, 38. Laaber, 2017. Oblong, 4°, xxiii, 136 pp. Full-color facsimile of the autograph score. Michael Lorenz describes Mozart's Piano Concerto K. 271 ('Jenamy') as “a miracle of musical originality. In the mastership of its orchestration, its stupendous innovative energy and its effect, despite limited instrumental means, this piece has absolutely no precedent. It is Mozart's first great composition, 'his Eroica' as Alfred Einstein put it, 'which he later would match, but never surpass'. With a creative thrust beyond compare, a kind of musical fulguration (in the sense of the term as coined by Konrad Lorenz), Mozart broke all previous conventions and already in 1777 demonstrated the superior mastery that distinguishes his piano concertos of the Vienna years. Formal surprises are being combined with unbridled melodic exuberance”. Lorenz also made the important discovery in 2003 that the concerto—previously nicknamed “Jeunehomme”—was actually commissioned by Victoire Jenamy, an excellent pianist and daugther of the the famous dance master Jean George Noverre. Introduction in Ger-Eng. Hardbound with decorative paper boards. $279 (more info... ) [item no.9404]

[Concerto, piano, orch, no.24, K.491] Piano Concerto in C minor K.491. Facsimile of the Autograph Score in the Royal College of Music, London. With a commentary by Robert Levin.

Documenta Musicologica, II/48. Kassel, 2014. Oblong, 34 x 25 cm, 74, 40 pp. Beautiful color halftone of the autograph fair copy completed on March 24, 1786. In his fascinating preface Colin Lawson, Director of the Royal College of Music, describes the journey made by Mozart’s autograph following its sale in 1800 by Constanze, Mozart’s widow, to its eventual resting place in London where it is the jewel in the RCM’s extensive collection of historic manuscripts. The Piano Concerto in C minor K. 491 is one of Mozart’s greatest piano concertos not least because of the dramatic character of its minor key (it is one of only two piano concertos composed in minor keys). It also has the largest orchestra he ever used in a piano concerto and the only piano concerto to use both oboes and clarinets. Written in 1786 during a period of almost feverish activity, it was completed only 22 days after the A major concerto K. 488 and during composition of The Marriage of Figaro. The autograph is exceptional in that Mozart records sketches that he later enlarged and extensively revised for the score thus allowing us an insight into his creative process. Mozart’s work appears here for the first time in a color facsimile, making it possible to easily recognize the contrasting colors of ink. The renowned Mozart scholar and pianist Robert Levin has written an illuminating commentary. He explains Mozart’s method of composition and guides the reader page by page through the autograph. This high-quality facsimile truly is a fascinating insight into Mozart’s art of composition. Hardbound with linen spine and decorative paper boards. $281 (more info... ) [item no.9359]

[Concerti, violin, orch, complete] The Mozart Violin Concerti. A Facsimile Edition of the Autographs. Edited and with an Introduction by Gabriel Banat. [Mss. Jagiellonian University Library, Krakow; Library of Congress, Washington, D.C. & Staatsbibliothek Preußischer Kulturbesitz Berlin].

Mineola, 2015. Oblong, 32 x 26 cm, 29, 400 pp. Unabridged republication of the 1986 Raven Press edition. Halftone. Includes all 5 violin concerti, K.207, 211, 216, 218, & 219, the Adagio in E, K.261, and the Rondo in B-flat, K.216a. Red cloth with composer’s signature embossed in gold on the cover. $75 (more info... ) [item no.9454]

[Concerto, violin & orch, no. 5, K.219, A major] Violinkonzert A-Dur KV 219. Faksimile nach dem Autograph aus den Sammlungen der Musikabteilung der Library of Congress, Washington, D.C. Herausgegeben und mit einer Einführung Stefan Drees / Facsimile of the Autograph from the Collections of the Music Division, Library of Congress, Washington, D.C. Edited and with an Introduction by Stefan Dress.

Meisterwerke der Musik im Faksimile, 35. Laaber, 2016. Oblong, 4°, xxii, 92 pp. Full-color facsimile of the autograph score. Although Mozart was an accomplished violinist, playing the premiere of the Strasboug Concerto, his last concerto was probably fashioned for Antonio Brunetti, with whom Mozart shared the concertmaster position in the orchestra of the Prince and Archbishop of Salzburg. Introduction in Ger-Eng. Hardbound with decorative paper bounds. (subscription price) $189 (more info... ) [item no.9401]

[Serenade, strg orch, “Eine kleine Nachtmusik” K.525] Eine kleine Nachtmusik KV 525. Introduction / Einführung: Wolfgang Rehm.

Documenta Musicologica, II/46. Kassel, 2013. Oblong, 34 x 25 cm, 14, 24 pp. New color facsimile of the autograph score in its original loose bifolio and folio format. Afterword in Eng-Ger. Limited bibliophile edition with beautiful clam shell case covered in moire fabric. $239 (more info... ) [item no.9331]

[Symphony, K.291/MH 287, D maj.] Fugato in D von Johann Michael Haydn in der Handschrift von Wolfgang Amadé Mozart KV 291/MH 287. Mit der Ergänzung von Simon Sechter (1828), in einer Abschrift von Maximilian Stadler aus dem Besitz der Stiftung Mozarteum Salzburg. Faksimile mit einer Einführung von Ulrich Leisinger.

Salzburg, 2011. Oblong, 32 x 24 cm, 44 pp. Color halftone of the autograph, a transcription of the Finale of the Symphony in D (MH 287) by Johann Michael Haydn. Mozart made his very last visit to Salzburg the end of July 1783 to end of October to introduce Constanze to his father and sister. Immediately on the return journey to Vienna in November he began the copy of the Finale in order to perform it for Baron Gottfried van Swieten’s circle in Vienna. Mozart had participated regularly in the matinees and concerts that van Swieten, the prefect of the Imperial Library in Vienna, had privately organized. Commentary in Ger/Eng/Fr by Ulrich Leisinger. Limited bibliophile edition. $59 (more info... ) [item no.9474]

[Symphony, no.38, “Prague”, K.504] Sinfonie Nr.38 KV 504 (“Prager” Sinfonie). Faksimile nach dem Autograph der Bibliothek Jagiellońska Krakau. Herausgegeben und mit einer Einführung von Ulrich Konrad.

Meisterwerke der Musik im Faksimile, 34. Laaber, 2016. Oblong, 4°, xvvi, 74 pp. Color facsimile of the autograph score completed 6 Dec. 1786. The original ms was not among those sold by Constanza to Johann Anton André, but rather took a circuitous route, believed once to be in the hands of the choir director Anton Stoll (or Ferdinand III Grand Duke of Toscana), passing to the Moravian singer Franz Hauser in 1848 and 10 years later into the collection of Franz Liszt, from whom it was transferred to the Royal Library in Berlin. The “Prague”, or third of 7 symphonies from the Vienna decade 1781-1791 occupies a unique position within Mozart’s mature works, calling for pairs of flutes, oboes, bassoons, horns, and trumpets. It’s 3-movement form is also unusual and has produced inexhaustible discussion. Introduction in Ger-Eng. Coverboards in decorative paper. Subscription price valid until 6/30/16. $212 (more info... ) [item no.9400]

[Symphony, no.40, K.550] Sinfonie in g-moll KV 550. Faksimile der autographen Partitur in erster und zweiter Fassung (1788). Mit einem Kommentar von Otto Biba.

Vienna, 2009. Oblong, 4º, 106, 43 pp. Beautiful color facsimile of both versions of the autograph score, once proudly owned by Johannes Brahms. This facsimile edition sheds light on Mozart’s composing process; the accompanying commentary by Otto Biba addresses the complicated relationship between the two versions and suggests that the first autograph version, rather than representing a different version, may in fact be an intermediate “stadium” of a complicated compositional process. Commentary in Ger-Eng-Jap. Limited bibliophile edition of 500 copies. An indispensable source for all Mozart lovers and researchers. $495 (more info... ) [item no.9119]

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]

PERGOLESI, Giovanni Battista, 1710-1736

Stabat mater für Sopran, Alt, Streicher & Bassso Continuo. Faksimile des Autographs herausgegeben von Tineke Steenbrink.

Magdeburg, 2013. Oblong, 4°, 88 pp. 4-color facsimile of the autograph score preserved in the Benedictine Abbey of Monte Cassino. Although Pergolesi’s œurve is often subject to misattribution, the Stabat mater in C minor is a genuine work (possibly the composer’s last), commissioned by the Confraternità dei Cavalieri di San Luigi di Palazzo (Naples). The Order presented an annual Good Friday meditation in honor of the Virgin Mary and Pergolesi’s setting replaced the one by Alessandro Scarlatti composed only 9 years earlier. This moving setting—in striking “durezze e ligature” style—conveys the story of the suffering of the Virgin Mary at the foot of the cross; it went through numerous reprinting in the 18th c. and inspired many composers including J.S. Bach. Although the work is performed today with soprano and alto solists, string orchestra and basso continuo, the original called for castrati singers (similiar to Mozart’s motet “Exultate Jubilate”). The score has many ambiguous passages, so this facsimile edition, the first of its kind, will be an important asset to scholars and musicians alike. Wrappers. $54 (more info... ) [item no.9318]

ROSSINI, Gioachino, 1792-1868

Petite messe solennelle. Facsimile del manoscritto / Facsimile of the Manuscript.

Milan, 2011. Oblong, 37.5 x 29.5 cm. viii, 252 pp. Full-color reproduction of the original 1863 autograph including the separate parts for harmonium and second piano. Rossini composed two versions of this work, the first (reproduced here in facsimile) for “Twelve singers of three sexes, men, women and castrati... that is, eight for the choir, four soloists, in all twelve cherubim”. The Petite Messe solennelle was dedicated to the Contessa Louise Pillet-Will (the count and countess were close friends of Rossini), and the first performance inaugurated the splendid new residence that the count had commissioned in Paris. The use of two pianos and harmonium may at first seem odd but given its context as a salon piece is appropriate. Rossini composed hardly at all in the period 1829 to 1855 but after returning to Paris in 1855 wrote quite a few works for private audiences. He wittingly referred to them as Péchés de vieillesse (‘sins of old age’), and wrote in the score of the Petite messe solennelle “Good God – behold completed this poor little Mass – is it indeed music for the blest [‘musique Sacrée’] that I have just written, or just some blessed music [‘Sacrée musique’]? Thou knowest well, I was born for comic opera. A little science, a little heart, that is all. So bless Thee and grant me Paradise! G Rossini – Passy 1863”. Limited edition of 310 copies bound in dark brown linen, with matching slipcase with embossed signature of Rossini. $399 (more info... ) [item no.9301]

ROTA, Nino (Giovanni), 1911-1979

Nino Rota: La dolce vita. Sources of the Creative Process. Giada Viviani.

The Composer’s Workshop, 1 Turnhout, 2018. 25 x 35 cm, 214 pp (105 color illus). Based on the rich collection of sources held at the Fondazione Giorgio Cini, Venice, Giada Viviani has reconstructed the most significant phases of the compositional process of the La dolce vita soundtrack and documented the close relationship between Rota and Fellini. The book illustrates the compositional process of the audiovisual sequences, the genesis of the music for the introductory titles and final credits, the management of sound effects and improvised episodes, and the adoption of pre-existing material. The introductory essay presents the composer in the context of the times, early reviews, the film narrative structure and the role of the music in the overall drama. The text is complemented by a wide selection of sources reproduced in facsimile. Hardbound. $185 (more info... ) [item no.9626]

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]

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]

SCHOENBERG, Arnold, 1874-1951

A Survivor from Warsaw opus 46. Edited by Therese Muxeneder. Facsimile Edition of the Autograph from the Collection of the Music Division, Library of Congress, Washington, D..C. With a Preface by Nuria Schoenberg Nono and an Introduction by Therese Muxender.

Meisterwerke der Musik im Faksimile, 29. Laaber, 2013. Oblong, 41 x 27 cm, xxx, 30 pp. Full color reproduction of the autograph short score preserved in the Koussevitzky Collection at the Library of Congress. This deeply inspirational work for narrator, men’s chorus and orchestra, written in just 13 days, is a nice summing up of Schoenberg’s compositional and technical achievements. The handwriting of the 73 year old is shaky, and due to failing eyesight relatively large, but nevertheless there is clear and raw energy in his setting and depiction of the horrific Warsaw ghetto, in his words, “based partly upon reports which I have received directly or indirectly.” Hardbound with photo reproduction of the original binding. $214 (more info... ) [item no.9348]

SIBELIUS, Jean, 1865-1957

Luonnotar op. 70. Facsimile of the Autograph Score and the Piano Reduction / Faksimile der autographen Partitur und des Klavierauszugs. Edited by T. Virtanen.

Jean Sibelius Werke, Sonderband. Wiesbaden, 2015. 25 x 32 cm, 88 pp. Special edition issued on the occasion of the 150th birthday of the composer. The large orchestral song Luonnotar is considered one of the boldest works of Jean Sibelius. This alone would be reason enough to print the autograph sources (full score and piano reduction) as a color facsimile for the Sibelius Anniversary Year 2015. In addition, the autograph score also has a special significance for the transmission: it ensured the survival of the entire work after World War II; the source material for the printer compiled by Breitkopf & Härtel had been destroyed in an air-raid bombing in 1943. The meticulously elucidated volume is the first complete facsimile edition of an orchestral work by Jean Sibelius – a milestone in Sibelius editorial history that meaningfully supplements the complete edition Jean Sibelius Works as a truly special volume. Linen. $99 (more info... ) [item no.9430]

STRAVINSKY, Igor, 1882-1971

Stravinsky's Pulcinella: A Facsimile of the Sources and Sketches. Maureen A. Carr.

Music in Facsimile. Madison, 2010. 23 x 31 cm, ix, 433 pp (250 plates). Halftone monochrome reproduction of all the known musical sources and sketches for Stravinsky’s Pulcinella (1919-1920) from the combined holdings of the Paul Sacher Stiftung and the British Library. The commentary addresses the genesis of the idea for Pulcinella, the sources chosen and discarded by Stravinsky, compositional process and the collaboration of Pabla Picasso and choreographer Léonide Massine in shaping the work. Includes additional essays by Lynn Garafola, Ulrich Mosch, Jeanne Chenault Porter and Richard Taruskin. Wrappers, with colorful artwork. $180 (more info... ) [item no.9270]

The Rite of Spring / Le sacre du printemps (1910-13). Centenary Edition in Three Volumes. Facsimile of the Autograph Full Score Edited by Ulrich Mosch; Facsimile of the Version for Piano Four-Hands Edited by Felix Meyer; Avatar of Modernity: the Rite of Spring Reconsidered Edited by Hermann Danuser and Heidy Zimmermann.

A Publication of the Paul Sacher Foundation. London, 2013. 25 x 32 cm, 3 vols. Full color facsimile edition issued on the occasion of the 100th anniversary of the first performance of the Rite of Spring. It was an epochal moment in the history of both music and ballet, and it signalled the breakthrough into Modernism. Subtitled “Scenes from Pagan Russia”, it is a work of international scope created as a collaboration among leading figures working in multiple genres—and a masterpiece of extraordinary artistic potency. Ger-Eng text. (more info... ) [item no.9305]

VIVALDI, Antonio, 1678-1741

[Concerti, violin, strings, “La Cetra”, op.9] La Cetra concerti. Opera nono.

Performers’ Facsimiles, 290. New York, [2009]. 22 x 29 cm, 5 partbooks, 173 pp. Line-cut of the Le Cène edition, Amsterdam, [1727]. Scored for vln I [solo], II, III, vla, vc, & bc. Ryom numbers: 181a, 345, 334, 263a, 358, 348, 359, 238, 530, 300, 198a, & 391. Wrappers. $75 [item no.9066]

WAGNER, Richard, 1813-1883

Kinder-Katechismus zu Kosel’s Geburtstag (WWV 106B). Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Bayreuth. Mit einem Kommentar von Sven Friedrich.

Meisterwerke der Musik im Faksimile, 24. Laaber, 2012. Oblong, 29.7 x 21 cm, xvi, 8 pp. Full-color halftone of the autograph score of Wagner’s tribute to “Kosel” (Cosima), his second wife, on her 36th birthday, 25 December 1873. Introduction in Ger-Eng. Hardbound. $63 (more info... ) [item no.9294]

[Siegfried Idyll, fair copy, WWV 103] Siegfried-Idyll E-Dur. Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Baureuth. Mit einem Kommentar von Sven Friedrich.

Meisterwerke der Musik im Faksimile, 23. Laaber, 2012. Oblong, 29.7 x 21 cm, xviii, 42 pp. Full-color facsimile of the autograph fair copy, first performed December 25, 1870 at his home (Triebschen) on the birthday of his wife. The title refers to their son, Siegfried, at the time, one year old. Introduction in Ger-Eng. Hardbound. $150 (more info... ) [item no.9293]

[Siegfried Idyll, fair copy, WWV 103] Siegfried-Idyll E-Dur. Faksimile nach dem Autograph des Nationalarchivs der Richard-Wagner-Stiftung Baureuth. Mit einem Kommentar von Sven Friedrich.

Meisterwerke der Musik im Faksimile, 23. Laaber, 2012. Oblong, 29.7 x 21 cm, xviii, 42 pp. Same as above but deluxe version bound in full leather with title embossed in gold. $230 (more info... ) [item no.9292]


Brahms, Johannes (new critical edition) Symphonie Nr. 4 E moll, opus 98. Herausgegeben von Robert Pascall.

Neue Ausgabe sämtlicher Werke, I/4. Munich, 2011. 4º, xxxv, 204 pp. New critical edition. Cloth. $358 [item no.6926]

Brahms, Johannes (new critical edition) Klavierkonzert Nr.2 B-Dur Opus 83. Herausgegeben von Johannes Behr.

Neue Ausgabe sämtlicher Werke, I/8. Munich, 2013. 4º, xxxviii, 243 pp. New critical edition. Cloth. $383 [item no.6749]

Brahms, Johannes (new critical edition) Symphonie Nr.3 F-Dur Opus 90. Arrangement für zwei Klaviere zu vier Händen / Arrangement für ein Klavier zu vier Händen (erstellt von Robert Keller, umgearbeitet vom Komponisten). Herausgegeben von Robert Pascall.

Neue Ausgabe sämtlicher Werke, IA/2. Munich, 2013. 4º, xxiii, 200 pp. New critical edition. Cloth. $311 [item no.6748]

Brahms, Johannes (new critical edition) Symphonie Nr.4 E-Moll Opus 98. Arrangement für zwei Klaviere zu vier Händen. Arrangement für ein Klavier zu vier Händen. Herausgegeben von Robert Pascall.

Neue Ausgabe sämtlicher Werke, IA/3. Munich, 2012. 4º, xx,, 203 pp. New critical edition. Cloth. $343 [item no.6950]

Brahms, Johannes (new critical edition) Serenaden: Nr.1 D-Dir Opus 11. Nr.2 A-Dur Opus 16. Ouvertüren: Akademische Festoouvertüre C-Moll Opus 80; Tragische Ouvertüre D-Moll Opus 81. Arrangements für ein Klavier zu vier Händen. Herausgegeben von Michael Musgrave.

Neue Ausgabe sämtlicher Werke, IA/4. Munich, 2012. 4º, xxi, 271 pp. New critical edition. Cloth. $456 [item no.6951]

Brahms, Johannes (new critical edition) Violonkonzert D-Dur Opus 77. Doppelkonzert A-Moll Opus 102. Klavierauszüge. Herausgegeben von Linda Correell Roesner und Michael Struck.

Neue Ausgabe sämtlicher Werke, IA/7. Munich, 2010. 4º, xx, 228 pp. New critical edition of the violin/piano reduction score for the Violin Concerto op.77 and Double Concerto op.102. Cloth. $339 [item no.6909]

Croft, William. Canticles and Anthems with Orchestra. Edited by Donald Burrows.

Musica Britannica, XCI London, 2011. 4º, li, 207, 26 pp. Modern critical edition. William Croft's career as the leading native-born composer of English church music was established in the period between the death of Purcell and the arrival of Handel in London. His education took place among musicians from Purcell's circle, and his style was modified by the influence of Handel's 'Utrecht' Te Deum and Jubilate of 1713. All the music in this volume was composed for various royal church services that took place between 1709 and 1720, in the Chapel Royal at St James's Palace and in St Paul's Cathedral. The contents include the Te Deum and Jubilate Deo, sung at the coronation of George I, and the anthems The Lord is a sun and a shield, O give thanks unto the Lord, and call upon his name, O give thanks unto the Lord, for he is gracious, and Rejoice in the Lord, O ye righteous. Buckram. $164 [item no.6925]

Gnocchi, Pietro. Sei concerti per archi. Edizione critica a cura di Claudio Toscani.

Collana di Musiche Inedite, 4 Lucca, 2012. 4º, xxiii, 149 pp. Critical edition. Wrappers. $45 [item no.6973]

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


Agamennone, Maurizio. Su Daniele Paris. Storie e memorie di un direttore d’orchestra.

Documenti di Storia Musicale Abruzzese, 6. Lucca, 2009. 8º, 358 pp, audio CD. Wrappers. $65 [item no.6880]

Agresta, Maria Francesca. Il Suono dell’Iteriorità. Daniele Paris per il cinema di Liliana Cavani, Luigi Di Gianni, Lorenza Mazzetti.

Lucca, 2010. 8º, xvii, 166 pp. Wrappers. $39 [item no.6963]

Capra, Marco & Ivano Cavallini. Arturo Toscanini. Il direttore e l’artista mediatico. A cura di Marco Capra e Ivanno Cavallini.

Lucca, 2011. 14 x 21 cm, viii, 333 pp. Wrappers. $44 [item no.6990]

Cossettini, Luca. Luigi Nono: Studi, edizione, testimonianze.

Quaderni del Laboratorio Mirage. Lucca, 2010. 8˚, xviii, 265 pp. Wrappers. $54 [item no.6964]

De Benedictis, Angela Ida. Presenza storica di Luigi Nono. A cura di Angela Ida De Benedictis con la collaborazione di Laura Zattra.

Quaderni di Musica/Realtà, 60. Lucca, 2011. 8˚, 271 pp. Wrappers. $40 [item no.6956]

Fassone, Alberto. Carl Orff. Nuova edizione, riveduta ed ampliata.

Musica Ragionata, 18. Lucca, 2009. 12º, 661 pp. 2nd revised and enlarged edition. Wrappers. $58 [item no.6872]

Fassone, Alberto. Come un suono di natura.. Saggi su Mahler

Musica Ragionata, 20. Lucca, 2015. 12º, 401 pp. Wrappers. $38 [item no.6801]

Visentini, Olga. Berlioz e il su tempo.

Musica Ragionata, 19. Lucca, 2010. 12º, 2 vols, xvi, 1385 pp. Wrappers. $115 [item no.6892]