MLA Chicago — 2009 OMI - Old Manuscripts & Incunabula PO Box ...

OMI - Old Manuscripts & Incunabula PO Box 6019 FDR Station, New York, NY 10150
tel 212/ 758-1946 • fax 593-6186 • http://www.omifacsimiles.com • immels@earthlink.net
MLA Chicago — 2009
Facsimiles and
selected editions
displayed on Table
BACH, Johann Sebastian, 1685-1750
9030 [Art of Fugue, BWV 1080]
Die Kunst der Fuge / L’arte della fuga BWV 1080. Studio introduttivo a
cura di Sergio Vartolo.
Archivum Musicum: Monumenta Musicae Revocata, 37. Florence, 2008. 24 x
34 cm, 4 vols, 99, 40, 72, 20 pp. Line-cut of the autograph score and the
beautifully engraved first edition issued 1751/1752. Introduction in It by
Sergio Vartolo, with abstract in English. Wrappers, with portfolio in cloth and
decorative paper. $128
BIBER, Heinrich Ignaz Franz von, 1644-1704
9028 [Sonatas, violin, bc, “Mystery Sonatas”]
Rosenkranz-Sonaten. Bayerische Staatsbibliothek München, Mus. Mss
4123. Vorgelegt von Manfred Hermann Schmid. [Im Anhang:] Faksimile
der “Türken-Sonate” aus dem Kodex Ms XIV 726 (Nummer 80, Bll. 162r
bis 163v) des Wiener Minoritenkonvents].
Denkmäler der Musik in Salzburg, Faksimile-Ausgaben, 14. Munich, 2008.
Oblong, 30 x 22 cm, 86, xxx, 4 pp + 1 foldout. New color reproduction of the
magnificent presentation copy (non autograph, sole surviving source),
dedicated to the Archbishop Maximilian Gandolph von Khuenberg. These
fifteen wonderful sonatas, abstract commentaries on biblical incidents
traditionally grouped into three groups of five—Joyful (his early life),
Sorrowful (his passion), Glorious (his ressurection)—are noteworthy for their
use of scordatura and their powerful preludes. They originally were
performed in the lecture hall “Aula Academica” of Salzburg University,
which still contains fifteen paintings depicting the mysteries. In like manner
biblical illustrations—small engraved medallions—were glued in the
manuscript at the beginning of each piece. The work ends with the
passacaglia for solo violin, one of the most beautiful and soaring pieces of the
German baroque. This new facsimile edition importantly includes a facsimile
of a concordance of the tenth sonata (from MS XIV 726, Wiener
Minoritenkonvents) — ”Türken-Sonate”—where the same music has
programmatic titles: “Der Türcken Anmarch”, “Der Türcken Belägerung der
Stadt Wien”, “Der Türcken stürmen”, “Anmarsch der Christen”, “Treffen der
Christen”, “Durchgang der Türcken”, “Victori der Christen”. In Ms XIV 726, a
composite source of violin music by Biber, Schmelzer and others, the scribe
attributes the Türken-Sonate to “Schmelzer”. Introduction in Ger. Cloth. $179
http://www.omifacsimiles.com/brochures/biber_ms2.html
CHOPIN, Frédéric, 1810-1849
9022 [Mazurka, piano, op.59,2/Kob.796]
Mazurek Op.59 nr 2 / Mazurka, Op.59, No.2. Wydanie faksymilowe
rękopisu ze zbiorów Biblioteka Opery, Paryż (Rès. 50[1] ). Facsimile
Edition of the Manuscript Held in the Library of the Paris Opera (Rès.
50[1]).
Works by Chopin—Facsimile Edition, [11] A /IV/59/2. Warsaw, 2008.
Oblong, 28 x 22 cm, 2 vols, 5, c.60 pp. Full-color halftone of the autograph
sketch. Commentary (Pol-Eng-Ger-Sp-Fr-Jp) by Jim Samson. Bound in blue
linen, with matching slipcase. $88
http://www.omifacsimiles.com/brochures/chop_maz59,2.html
DEBUSSY, Claude, 1862-1918
9013 Images pour piano, 1re serie.
Fac-similes de Manuscrits de Claude Debussy. Paris, 2008. 27 x 35 cm, 36 pp.
4-color facsimile of the autograph. Wrappers, in beautiful art paper. $148
http://www.omifacsimiles.com/brochures/debussy_img.html
9014 Images pour piano, 2e serie.
Fac-similes de Manuscrits de Claude Debussy. Paris, 2008. 27 x 35 cm, 40 pp.
4-color facsimile of the autograph. Wrappers, in beautiful art paper. $148
http://www.omifacsimiles.com/brochures/debussy_img.html
HANDEL, George Frideric, 1685-1759
8998 [Messiah, oratorio, HWV 56, autograph]
Messiah HWV 56. Autograph. The British Library London. Commentary
by / Kommentar von Donald Burrows.
Documenta Musicologica, II/40. Kassel, 2008. 4°, viii, 284, 56 pp. Full-color
facsimile edition of the autograph score, issued on the occasion of the 250th
anniversary of the composer's death. Commentary in Eng-Ger-Jap. Handsome
bibliophile binding with linen spine and decorative paper boards. Special
OMI price. $499
http://www.omifacsimiles.com/brochures/handel_mess.html
HAYDN, Franz Joseph, 1732-1809
9010 [Symphony, no.45, “Farewell”, F sharp major, Hob.I:45]
Sinfonie Nr. 45 “Abschiedssinfonie”
Faksimile nach dem Autograph in der Nationalbibliothek Budapest. Mit
einer Einleitung (deutsch/englisch) von Armin Raab.
Meisterwerke der Musik im Faksimile, 11. Laaber, 2008. 26 x 41 cm, xvi, 57 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. Special subscription price valid until 12/31/08. $120
9011
[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, 2008. 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. $110
http://www.omifacsimiles.com/brochures/haydn_102.html
9012 [Variations, piano, F minor, Hob.XVII:6]
Variationen F-moll (Sonate) Hob. XVII:6. Introduction: Armin Raab.
[New York Public Library, New York].
[Henle Music Facsimiles, 20]. Munich, 2008. 4°, ca. xiv, 8 pp. Deluxe color
facsimile of the autograph issued on the occasion of the bicentenary of the
composer’s death. Four leaves contain the fair copy of the work, while two
leaves represent a composing copy. Originally entitled “Sonate for Signora de
Ployer” (probably the pianist Barbara Ployer, a piano and composition pupil
of Mozart), the variation movement was apparently intended as the beginning
of a sonata with several movements. As can be seen from the second part of
the autograph score, Haydn later extended the movement, ending it with an
expansive Capriccio Coda. The first printed edition already bears the title
“Variations”. The moving masterpiece has been played all over the world as
“Variations in f minor” ever since. Commentary in Ger-Eng. Wrappers, in
decorative paper. $90
HUBERTY, Anton, c.1722-1791
8953 [Method, viola d’amore]
Neu Method-Messige Viol d’amore Stüke. Wien. Mit einem Kommentar
und Inhaltsverzeichnis von Marianne Rônez. [Sibley Library, Rochester,
NY].
Faksimile-Edition Rara, 56. Stuttgart, 2008. Oblong, 25 x 18 cm, 3 vols, 220, 23
pp. Line-cut of the Vienna, c.1790 edition, based on the unique copy preserved
in the Sibley Library. This rare and fascinating publication, by a professional
double bass player and publisher, offers a treatise on the viola d’amore,
together with a rich collection of music: genre pieces (short dances or
character pieces), 9 sonatas, 1 duo, pieces with bc accompaniment, pieces with
voice. Introduction in Ger-Eng. Hardbound in decorative paper, with
handsome slipcase. $165
JELIC, Vinco, 1596-1636
9031 Parnassia militia [Concertuum unius, duarum, trivum et quattor vocum
tam nativis quam instrumentalibus vocibus, ad organum concinendarum.
Opus primum], Straßburg, Paul Ledertz 1622. [Universitätsbibliothek
Frankfurt].
Faksimile-Edition Canto e Continuo, 5. Stuttgart, 2008. 16 x 22 cm, 5
partbooks, 220 pp. Line-cut of the Strasbourg, 1622 partbooks (cantus, altus,
tenor, bassus, bassus ad organum). Collection of 24 motets for 1 to 4 voices,
plus 4 ricercare for cornetto/violin, trombone/viol & bc). Wrappers, with
portfolio. $61
KAPSBERGER, Johann Hieronymus, c.1575-c.1640
9008 [Intabulations, archlute, book 3]
Intavolatura di chitarrone. Libro 3. Introduction by Franco Pavan.
Bibliotheca Musica Bononiensis, IV/83. Bologna, 2008. 4°, 60 pp. Line-cut of
the Rome, 1626 edition. Wrappers. (expected April 2009)

O M I — tel. 212/ 758-1946 • fax 212/ 593-6186 • http://www.omifacsimiles.com • immels@earthlink.net p.2
MENDELSSOHN-BARTHOLDY, Felix, 1809-1847
9009 [Concerto, violin, orch, op.64, E minor]
Violinkonzert e-Moll. Faksimile nach dem Autograph der Bibliothek der
Jagiellonen-Universität Krakau. Mit einer Einleitung (deutsch/englisch)
von Stefan Drees.
Meisterwerke der Musik im Faksimile, 10. Laaber, 2008. Oblong, 29 x 22 cm,
xx, 69 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. Special subscription price valid until 12/31/08. $210
http://www.omifacsimiles.com/brochures/mendel_vc.html
9033
[Overture, A Midsummers Night’s Dream]
The Overture to A Midsummer Night’s Dream. Facsimile of the
Autograph Score in the Biblioteka Jagiellońska, Krakow. Edited by
Friedhelm Krummacher.
Documenta Musicologica, II/41. Kassel, 2009. 4°, 60, 12 pp. Full-color
facsimile edition of the 1826 autograph score, issued on the occasion of the
200th anniversary of the composer's birth. Commentary in Eng-Ger-Jap.
Handsome bibliophile binding with linen spine and decorative paper boards.
Special OMI price. (to appear April 2009) $426
http://www.omifacsimiles.com/brochures/mendel_mid.html
MONZANI, Tebaldo, 1762-1839
9056 [method, flute]
Instructions for the German Flute. London s.d.; New and Enlarged Edition
of Monzani’s Instructions for the German Flute. London s.d.
Archivum Musicum: Ottocento, 2. Florence, 2008. 24 x 34 cm, 2 vols, x, 50, 72
pp. Line-cut of the London, [1801] and London, [1819] editions. Preface in It
by Marcello Castellani. Wrappers, in decorative paper with matching
portfolio. $78
MOZART, Wolfgang Amadeus, 1756-1791
9043 [Adagio, glass harmonica, K.356 (617a)]
L’autografo dell’ Adagio KV 356 per Glasharmonika nella Bibliothèque
Nationale de France di Parigi (Départment de la Musique, Sammlung Ch.
Maherbe, Signatur: Ms. 220). A cura di Giacomo Ferrari.
Lucca, 2009. 23 x 33 cm, xvi, 2 pp. Color facsimile of the autograph issued on
the occasion of the 250th anniversary of the composer’s birth. Commentary in
It-Eng-Ger. Portfolio. $88
PHALÈSE, Pierre, c.1510-1574 [publisher]
9025 Selectissima elegantissimaque guiterna carmina.
Lübeck, 2008. 4º, 160 pp. Line-cut of the Lyon & Antwerp, 1570 edition.
Important anthology of music for 4-course Renaissance guitar comprising
fantasies galliards, almains, branles, songs and motets from France and Italy,
c.250 works in all. French tablature. Wrappers. $44
SCHMELZER, Johann Heinrich, 1620-1680
9050 [Sonatas,violin, bc]
6 Sonatae unarum fidium. Herausgegeben von Marc Strümper.
Magdeburg, 2009. 4º. Line-cut of the Endter edition, Nuremberg, 1664. The
first collection of violin sonatas published by a German-speaking composer
and a milestone in the history of violin music. The first 6 sonatas are in
variation form; the last two introduce dance movements with wonderful
ruminative monologues. Wrappers. $40
VIVALDI, Antonio, 1678-1741
8993 [Works, selections, viola da gamba & other instruments]
Opere per viola all’inglese (viola da gamba). Recitativo e aria con
“Concerto de’ Viole all’Inglese” da Juditha Triumphans, RV 644; Cantata
in Scena con Viola all’Inglese de L’Incoronazione di Dario, RV 719;
Concerto Funebre in Si bemolle maggiore, RV 579; Concerto con molti
Istromenti in Do maggiore, RV 555. A Cura di Bettina Hoffmann.
Archivum Musicum: Vivaldiana, 4. Florence, 2006. Oblong, 30 x 24 cm, 43, 83
pp. Halftone of 4 autograph scores that include music for viola da gamba.
Introduction in It-Eng. Wrappers, in decorative paper. $86
COMPOSITE & MISCELLANEOUS SOURCES
8908 [Bologna, Museo Internazionale e Biblioteca della Musica, Cod. Q15]
Bologna Q15: The Making and Remaking of a Musical Manuscript.
Introductory Study and Facsimile Edition by Margaret Bent. Volume I:
Introductory Study. Volume II: Facsimile.
Ars Nova, Nuova Seria, 2. Lucca, 2008. 24.5 x 32.5 cm. 2 vols, 400, 686 pp. This
manuscript is the largest international anthology of polyphonic music of the
early 15th century. It was compiled in Padua in the early 1420s (stage I) and
Vicenza in the early 1430s (stages II-III), all copied by a single scribe. The three
illuminations are an unusual luxury for a musical manuscript at this period. It
was acquired by Padre Martini in 1757 and is a major treasure of his library in
Bologna. About half of its 323 compositions are unique; some others are
shared with and complemented by the slightly younger Veneto manuscripts
Bologna, Biblioteca Universitaria 2216 and Oxford, Canon. misc. 213. It is the
most important source for the works of Zacara and Ciconia and for the early
works of Guillaume Du Fay (with 78 works, many of them unica). About 50
composers are represented, including native Italians, and composers from the
north who were sought after and made their careers in Italy. It is primarily a
collection of mass movements (mostly Glorias and Credos, and a few cycles)
and motets. Du Fay's Missa Sancti Jacobi was assembled as a cycle only here,
and can now be linked with the humanist circle around the Venetian patrician
bishop Pietro Emiliani of Vicenza, in which Q15 was compiled. The 109
motets include compositions in honour of doges, bishops and noblemen. 19
French songs were added at the end of stage I, and 11 laude at stage III. Other
late additions are the cycle of 24 hymns (most by Du Fay), 9 Magnificats and 3
sequences. For the first time, the complex codicological history of this
manuscript is unravelled and the importance of its many revisions examined.
The first compilation was originally much larger; the manuscript now
embodies two overlapping, superimposed anthologies. Margaret Bent tells
this story in her extensive introductory study, which also includes
comprehensive indexes and catalogues. She spells out some of the conclusions
to be drawn from the partial destruction of the manuscript by its own creator,
a unique and extraordinary testimony to changing taste and contemporary
reception. Deluxe limited edition, supplied with slipcase. $1425
http://www.omifacsimiles.com/brochures/bologna_q15.html
8503
6685
[Chantilly, Bibliothèque du Château de Chantilly, ms. 564 (olim
1047)]
Codex Chantilly. Bibliothèque du Château de Chantilly, Ms. 564.
Fac-similé. Edité par Yolanda Plumley & Anne Stone. Centre d’Études
Supérieures de la Renaissance.
Collection “Epitome Musical”. Turnhout, 2008. 29 x 40 cm. x, 164; 211 pp.
Full-color facsimile in the original format. Exciting late medieval source with
99 songs and 13 motets, 61 of them unique. These works include some of the
most elaborate surviving examples of the “Ars subtilior” notation, known for
its experimentation in music rhythm. The provenance of this complex ms is
still in dispute, being either 14th century southern France or an early 15th
century Italian copy of a French repertoire. The basic corpus dates from
c.1350-95; the ars subtilior repertoire by papal singers from Avignon and
musicians employed at the Foix and Avignon courts is slightly later.
Composers include Solage, Philippus de Caserta, Trebor, Vaillant, Machaut,
Senleches, Susay, Cordier, Magister Franciscus, and Hasprois. The ms was
owned by a Florentine family (possibly commissioned by them) and remained
in Florence until 1861, at which time it was brought to Chantilly by the Duke
of Aumale. Commentary in Fr-Eng. Handsome binding in black linen with
dust jacket. $350 http://www.omifacsimiles.com/brochures/chantilly.html
[Chantilly, Bibliothèque du Château de Chantilly, ms. 564 (olim
1047)]
A Late Medieval Songbook and its Context: New Perspectives on the
Chantilly Codex (Bibliotheque du Chateau de Chantilly, Ms. 564), edited
by Yolanda Plumley and Anne Stone.
Collection “Epitome Musical”. Turnhout, 2008. 29 x 40 cm. 365 pp.
Proceedings for a special symposium devoted to Codex Chantilly. Wrappers.
$100 http://www.omifacsimiles.com/brochures/chantilly.html

O M I — tel. 212/ 758-1946 • fax 212/ 593-6186 • http://www.omifacsimiles.com • immels@earthlink.net p.3
9015 [Milan, Biblioteca dell’Università Cattolica del S. Cuore, ms. catt. 5]
L’“Antiphonarium letaniarum” ambrosiano del 1492. A cura di Giacomo
Baroffio e Eun Ju Kin e una presentazione di Ellis Sada.
Bibliotheca Mediaevalis, 1 Lucca, 2008. 20.5 x 28 cm, xxxiii, 150 pp. Deluxe
full-color reproduction of a late 15th-c. Ambrosian processional. This
beautifully executed "Antiphonale of the Litanies" in characteristic Ambrosian
script was acquired by Catholic University of the Sacred Heart in 1970, gift of
Father Oblati di Rho. It contains the antiphons of the Rogation week according
to the Milanese ritual, a complex liturgical intinerary celebrated on Monday,
Tuesday and Wednesday after Ascension, that is, at the beginning of the week
preceeding Pentecost. The liturgy provided the singing of the antiphons
during the processional itinerary where both congregation and clergy
participated. The procession lasted 3 days and went to 30 churches; 13
churches during the first day and 11 and 12 (or 14) the following days. The
book was written in 1492 by Antonio de Lampugnano, commissioned by
Cristoforo de Camponibus, a canon of S. Maria della Scala. The later provided
to include the music according to the canonic calligraphy of the gothic
Lombard notation used exclusively in the liturgical Ambrosian books. The
only historiated miniature, at the beginning of the litanies, shows St.
Ambrosio seated with the mitre and pallium. Two miniatures signal the
beginning of the second and third days of the litanies. The topographic index
confirms the local character of the chants. The majority of them are
transmitted solely in the books of the Ambrosian rite; few are common with
the Roman tradition and probably derived from it. Hardbound. $308
http://www.omifacsimiles.com/brochures/proc.html
8927
[Paris, Bibliothèque Nationale, Rothschild 2973]
Le chansonnier de Jean de Montchenu.
Valencia, 2007-2008 Heart shaped, 22 x 16 cm, 144 pp + commentary. This
exceptional MS, closed, is shaped like a heart; it opens into the shape of a
butterfly composed of the hearts of the two lovers who send love messages to
one another in each one of the songs. When the word “heart” appears in the
texts, it is represented by a pictogram. Two full-page illustrations appear in
the codex. In the first, Cupid throws arrows at a young girl while at his side
Fortune spins his wheel. In the other, two lovers approach one another
lovingly. Throughout the MS the pentagrams, music and love poems are
surrounded by borders made up of animals, birds, dogs, cats and all kinds of
flowers and plants highlighted in abundant and delicate gold. The book gets
its name from Jean de Montchenu, a nobleman, apostolic prothonotary,
Bishop of Agen (1477) and later of Vivier (1478-1497) who commissioned the
work. The music repertoire consists of French and Italian songs written by
Dufay, Ockeghem, Busnois and their contemporaries. Limited edition of 1380
copies bound in red velet after the original; 2-part slipcase covered in green
leather. http://www.omifacsimiles.com/brochures/montchen.html
MODERN EDITIONS
6727 Weill, Kurt (collected edition)
Zaubernacht. Edited by Elmar Juchem and Andrew Kuster.
The Kurt Weill Edition, I/0. New York, 2008. 30 x 39 cm. Zaubernacht is an
hour-long stage work scored for an imaginative 9-piece ensemble consisting of
flute, bassoon, percussion, piano and 5 string players. Weill composed this
children's pantomime in 1922, while he was a member of Ferruccio Busoni's
master class in composition in Berlin. Based on a scenario by Wladimir
Boritsch (1891–1954), an elusive writer and impresario from Russia, the
pantomime received its world premiere on 18 Nov. 1922 at Berlin's Theater
am Kurfürstendamm. The work's only other production occurred at New
York City's Garrick Theatre in December 1925, after which the orchestration
disappeared. After 80 years of obscurity, Kurt Weill’s first stage work is
available again in this critical edition thanks to the rediscovery of the original
set of instrumental parts at Yale University in 2006. Cloth. (Subscribers to the
series receive ca.33% discount). $340
http://www.omifacsimiles.com/brochures/weill.html
MONOGRAPHS
6686 [Alamire Foundation]
Yearbook of the Alamire Foundation 6. [Proceedings of “Bruges-Venice:
Music in Two Urban Mosaics”, Bruges, 14-16 December 2001; and part I
of the 17th International Congress of the International Musicological
Society, Leuven, 1-7 August 2002].
Leuven-Neerpelt, 2008. 8º, 432 pp. Contents - Mary E. Wolinski: Drinking
Motets in Medieval Artois and Flanders; Julie E. Cumming: From Variety to
Repetition: The Birth of Imitative Polyphony; Eric Rice: The Role of Acoustics
in the Performance of Renaissance Polyphony at the Collegiate Church of
Saint Mary in Aachen; Katelijne Schiltz: Polyphony and Word-Sound in
Adrian Willaert’s Laus Tibi Sacra Rubens; Luminita Florea: Virtus Scriptoris:
Steps towards a Typology of Illustration Borrowing in Music Theory Treatises
of the Late Middle Ages and the Renaissance; C. Matthew Balensuela: Ut hec
te figura docet: The Transformation of Music Theory Illustrations from
Manuscripts to Print; Thomas Holme Hansen: Change and Continuity in
Twentieth-Century Textbooks on Sixteenth-Century Counterpoint; Donna G.
Cardamone Jackson: Orlando di Lasso et al.: A New Reading of the Roman
Villanella Book (1555); Peter Bergquist: The Two Editions of Lasso’s
Selectissimae Cantiones, 1568 and 1579; Richard Freedman: Who Owned
Lasso’s Chansons?; Bernhold Schmid: ... Nec non tyronibus quàm eius artis
peritioribus summopere inservientes. Zur gedruckten Überlieferung von
Lassos Bicinien; Philippe Canguilhem: Musique et politique à Florence dans la
première moitié du XVIe siècle; Le statut du madrigal à la lumière de
nouvelles sources; Susan Lewis Hammond: Selling the Madrigal: Pierre
Phalèse II and the Four ‘Antwerp Anthologies’. Wrappers. $69
6687
[Alamire Foundation]
Yearbook of the Alamire Foundation 7. [Proceedings of part II of the 17th
International Congress of the International Musicological Society, Leuven,
1-7 August 2002].
Leuven-Neerpelt, 2008. 8º, 432 pp. Contents - Jean-François Goudesenne:
Contexte historique, politique et composition des Historiae en belgica secunda
avant l’an mil; Theodore Karp: Two Belgian Traditions for the
Post–Tridentine Mass Proper; Siegwart Reichwald: Brumel’s Missa et ecce
terrae motus: An Oddity? Andrew Kirkman: Personal Endowments: The
Economic Engine of the ‘Cyclic’ Mass? Paul A. Merkley: Music in the
Demand-Based Economy in Nothern Italy in the Late Fifteenth Century;
Emilio Ros-Fábregas: Flemish Polyphony in Sixteenth-Century Iberian
Manuscripts; Antonio Ezquerro-Esteban: Sources for Works by Orlando di
Lasso in Spain; Jeske Van Dongen: Songs of the Devoot ende profitelijck
boecxken (Antwerp, 1539) Found in Different Sources: Deviation in Melody
and Lyrics in Hoe luyde sanc die leeraer op der tinnen; Pieter Andriessen:
Carel and Philips Hacquart Updating the Biography; Keith Polk: Patronage of
Instrumental Music in Bruges in the Late Middle Ages; Eugeen Schreurs:
Music for Canons, Emperors, Dukes and Prince Bishops in the Collegiate
Church of Maastricht (c.1450–1520). An Updated Overview and Some
Samples; Susan Parisi : The Brussels–Mantua Connection. Vincenzo
Gonzaga’s State Voyages to the Low Countries in 1599 and 1608; Hendrik
Schulze: Love and Politics in Seventeenth-Century Venetian Opera: On the
Differences between the Images of Republican and Monarchist Rulers; Olivia
Wahnon De Oliveira: La circulation de la musique à Liège au XVIIIe siècle.
Wrappers. $69
6692 De clavicordio VIII. The Clavichord on the Iberian Peninsula. Proceedings
of the International Clavichord Symposium, Magnano, 5 - 8 September
2007. Edited by Bernard Brauchli, Alberto Galazzo, Judith Wardman.
Piemonte, 2008. 8º, 256 pp. Articles on all aspects of the clavichord by leading
scholars, builders and performers; authors in this issue include: D. Adlam, P.
Bavington, L. Bemmann, J. Benson, Ch. Besnainou, B. Brauchli, Chr.
D'Alessandro, D. Demel, G. Doderer, M. Erdman, S. Field, L. Gineis, E.
Helenius, U. Henning, A. Huber, H. E. Svensson, M. Tsalka, C. & W.
Ullrich-Eberius, P. Verbeek, and I. Wjuniski. Wrappers. $95
http://www.omifacsimiles.com/brochures/declav_8.html
6696
6694
Dellaborra, Mariateresa, et al.
Interpretare Mozart. Atti del convegno internazionale di studi (Milano,
maggio 2006), a cura di Mariateresa Dellaborra, Guido Salvetti, Claudio
Toscani.
Strumenti della Ricerca Musicale, 12. Lucca, 1994. 8º, xiv, 428 pp. Proceedings
of the international conference, Milan, May 2006. Wrappers. $60
De Luca, Maria Rosa, Salvatore Enrico Failla,, & Giuseppe
Montemagno.
Vincenzo Bellini et la France. Histoire, création, et réception de l’œuvre /
Vincenzo Bellini e la Francia: Storia, creazione e ricezione dell’opera. Actes
du Colloque international / Atti del Convegno Internazionale (Paris -
Sorbonne, Salle des Actes - 5-7 novembre 2001).
Lucca, 2007. 8º, xx, 874 pp. Linen. $138
6710 Recercare XIX 2007. [Rivista per lo studio e la pratica della musica antica
/ Journal for the Study and Practice of Early Music].
Lucca, 2007. 8º, 179 pp. Contents: Anthony M. Cummings, “Clement VII's
musical patronage: evidence and interpretation”; Emily Wilbourne, “’Isabella
ringiovinita’: Virginia Ramponi Andreini before Arianna”; Patrizio Barbieri,
“Pietro Della Valle: the Esthèr oratorio (1639) and other experiments in the
‘stylus metabolicus’. With new documents on triharmonic instruments”;
Barbara Nestola, “L'Egisto fantasma di Cavalli: nuova luce sulla
rappresentazione parigina di Egisto ovvero Chi soffre speri di Mazzocchi e
Marazzoli (1646)”; Antonella D'Ovidio, “’Sonate a tre d'altri stili’. Carlo
Mannelli violinista nella Roma di fine Seicento”; Anthony DelDonna, “An
eighteenth century musical education: Francesco Mancini's Il zelo animato
(1733)”; Luisa Clotilde Gentile, “Orlando di Lasso pellegrino a Loreto (1585):
vicende di un ex voto musicale”. Wrappers. $38
6702
Sarno, Jania.
Le icone che danzano. Transe, musica e firewalking negli Anastenaria greci
all’epoca del postmoderno.
Alia Musica, 13. Lucca, 2008. 8º, xxvi, 672 pp + 1 audio CD. Wrappers. $75
6688 Serdoura, Miguel.
Method for the Baroque Lute. A Practical Guide for Beginning and
Advanced Lutenists
Bologna, 2008. 4˚, 364 pp. Comprehensive tutor for the 11- and 13-course
Baroque lute, including an anthology of 250 pieces divided into 3 levels of
difficulty. Wrappers. $97