Catalogue of Publications in English,
French and German
Catalogue of Publications in English, French and German
Colour facsimile editions of the Italian
sources of Ars Nova
Texts in Italian and English
Biblioteca Apostolica Vaticana Ms. Urbinate Latino 1411. Facsimile edition.
Introduction by Adalbert Roth (in Italian). 17.5×24.5, pp. 36 with 53 colour plates (Codices e Vaticanis Selecti Series Minor, 9).
ISBN 978-88-7096-472-1 (2006)
€ 200
Citta del Vaticano Ms. Urbinas Latinus 1411. Critical edition by James Haar.
17×24, pp. 75, with 6 colour plates, English texts.
ISBN 978-88-7096-400-4 (2006)
€ 25
HAAR, JAMES.
The manuscript here studied is a small, unprepossessing though not unattractive volume. It
seems to have been copied in Florence, ca. 1440-1445. Neither a presentation manuscript nor a
substantial reportorial collection, Vat. 1411 may be a lone survivor of a kind of small, informal
assemblage that was meant for private circles of music lovers or that represented a musician’s
personal collection, to be shared with his colleagues or to be copied for his patrons or employers. Several things about Vat. 1411 give it special interest and distinction. Its collection of
chansons by Gilles Binchois probably marks the arrival of that composer’s music in Florence
and the concurrent establishment there of the courtly, ‘Burgundian’ chanson as the choice of
discerning connoisseurs […] (from the author’s introduction).
Bologna Q15. The Making and Remaking of a Musical Manuscript. Introductory Study and
Facsimile Edition by Margaret Bent. 2 vols., 24.5×32.5, Vol. I: Introductory Study, pp. XXVIII+388.
Vol II: Facsimile Edition, pp. 686. (Ars Nova, Nuova serie, 2). Winner of the Claude V. Palisca
Award for outstanding edition or translation (2009), American Musicological Society.
ISBN 978-88-7096-513-1 (2008)
€ 1000
This manuscript is the largest international anthology of polyphonic music of the early 15th
century. It was compiled in the Veneto, in Padua in the early 1420s (stage I) and Vicenza in
the early 1430s (stages II-III), all copied by a single scribe between 1420 and 1435. The three
illuminations are an unusual luxury for a musical manuscript at this period. It was acquired by
Padre Martini in 1757 and is one of the great treasures 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, nearly a quarter of the manuscript, 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 circle in which Q15 was
compiled. The 109 motets include compositions in honour of Gianfrancesco Gonzaga, the Ve�
netian doges Steno, Mocenigo and Foscari, the prelates Stefano Carrara, Albano Michiel, Pietro
Marcello, Francesco Malipiero, Francesco Zabarella, Antonio Correr, Giovanni Contarini; the
Dominicans and Leonardo Dati; Pandolfo Malatesta da Pesaro, Cleofe Malatesta; Eugenius IV,
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Colour facsimileTexts
editions
in Italian
of theand
Italian
English
sources of Ars Nova
Eugenius and the Emperor Sigismund. 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 (including the earliest form of
Du Fay’s cycle), 9 Magnificats and 3 sequences (from the author’s introduction).
Codice Franco-Cipriota J.II.9 della Biblioteca Nazionale Universitaria di Torino (Il). Introductory study and facsimile edition by Isabella Data, Karl Kügle and Agostino Ziino. English and
Italian texts. 29.5×41, pp. 437, 320 colour plates, hard cover (Ars Nova, 4).
ISBN 978-88-7096-158-4 (1999)
€ 500
This codex preserves music from the royal court of Januys of Lusignan (r. 1398–1432) and Charlotte of Bourbon (r. 1411–1422). The source is the largest collection of French, or at least French-derived settings of the early fifteen century. Moreover, it contains one of the earliest cantus
firmus-Masses composed outside the British Isles, copied in what appears to be a Savoyard
hand. Thus, its importance for our understanding of European music history during the early
Quattrocento can hardly be overestimated. Karl Kügle’s introduction to the facsimile discusses
the codicological structure of the manuscript and attempts a re-evaluation of Codex J.ii.9 in light
of new historical evidence on the relationships between Cyprus, Savoy, and the great powers of
Europe against the background of the Hundred Years’ War and the Church Councils of the early
fifteenth century (from the author’s introduction).
Rossi Codex 215 (Biblioteca Apostolica Vaticana) (The). Con i frammenti della Fondazione
Opera Pia don Giuseppe Greggiati di Ostiglia. Introductory study and facsimile edition by
Nino Pirrotta. English and Italian texts. 21×29.5, pp. 156, 36 colour plates, hard cover (Ars Nova,
2).
ISBN 978-88-7096-033-4 (1992)
€ 90
The Rossi Codex, universally acknowledged to be the earliest source of the Italian Ars Nova,
has survived almost complete thanks to the efforts of two eminent nineteenth-century book
collectors: Giovan Francesco de Rossi and Giuseppe Greggiati. It was almost certainly compiled
in the Veneto area, and includes thirty-seven compositions of unknown provenance that distinguish themselves from the mainstream repertoire in both textual structure and compositional
style. From the formal point of view, most of the pieces can be described as two-voice madrigals
(one of which – a canon – could be termed a caccia-madrigal). Of the remaining compositions,
one is a caccia with the two higher voices in canon over a textless tenor, another rare Italian
example of two-part rondellus. Finally, there are five monophonic ballatas. The wide-ranging
introduction includes a catalogue of the compositions and a complete transcription of the poetic
texts (of considerable interest from both the linguistic and metrical points of view) (from the
author’s introduction).
Codice Squarcialupi della Biblioteca Medicea Laurenziana, ms Med. Pal. 87. Colour illuminated facsimile with embossed gilding, 410 x 285 mm., 220 pp., hand-bound in leather. Volume
of critical studies (English and Italian texts) edited by F. Alberto Gallo, 287 pp. Limited edition of
998 numbered copies, in collaboration with the publisher Giunti Barbèra, Florence (1993). PRICE
ON DEMAND
The largest and most refined of all the Italian Ars Nova anthologies, planned and executed with
meticulous care in Florence in the second decade of the fifteenth century. The codex – which
belonged to the celebrated organist Antonio Squarcialupi before coming into the hands of Giuliano de’ Medici – contains more than three hundred pieces, almost half of which are known
only through this source. The works of the following Trecento composers are represented in this
collection of unparalleled completeness: Giovanni da Cascia, Jacopo da Bologna, Gherardello da
Firenze, Vincenzo da Rimini, Lorenzo Masini, Paolo Tenorista, Donato da Firenze, Niccolò da
Perugia, Bartolino da Padova, Francesco Landini, Egidio and Guglielmo, Zacara da Teramo, Andrea dei Servi and Giovanni Mazzuoli. The accompanying volume includes the largest body of
3
Catalogue of Publications in English, French and German
historical and critical studies ever devoted to the Squarcialupi Codex, examining the work from
all angles: musicological, paleographic, literary and art-historical. The contributors include John
Nádas, Kurt von Fischer, Luciano Bellosi, Margherita Ferro Luraghi, Giulio Cattin, Giuseppe
Tavani, Nino Pirrotta and Agostino Ziino (from the author’s introduction).
Codice T. iii. 2 della Biblioteca Nazionale Universitaria di Torino (Codice Boverio) (Il). Introductory study and facsimile edition by Agostino Ziino. English and Italian texts. In-4, 172 pp., 52
colour plates, hard cover (Ars Nova, 3).
ISBN 978-88-7096-034-1 (1994)
€ 100
This volume consists of the fifteen surviving bifolios of a musical codex drawn up presumably
in the early years of the fifteenth century in an area between Savoy and Milan or Pavia. With
nine parts that can be reconstructed, this important source presents elements of outstanding
historical interest. It is written in the typical notation of the Ars Subtilior and includes forty-eight religious and secular pieces on French, Italian and Latin texts, twenty-nine of which are not
recorded elsewhere. With a single exception “Frater Petrus de Sancto Seveno Ordinis Minorum
Fratrum”, the otherwise unknown composer of one of the compositions – all the pieces are
anonymous, though concordances with other manuscripts enable us to make attributions to Suzoy, Filippotto da Caserta, Antonello da Cividale and, above all, Antonio Zacara da Teramo (for
the knowledge of whose work the source is of particular value).Apart from a number of troped
Glorias (very rare in the Italian tradition), what is remarkable is to find secular Italian and French pieces side by side in this way. This confirms that many north Italian centres not only acted
as intermediaries between local and French compositional traditions, but also promoted a new
musical culture and style based on models from beyond the Alps.
Ferrarese Chansonnier (A). Roma, Biblioteca Casanatense 2856. ≪Canzoniere di Isabella d’Este≫. Edited by Lewis Lockwood, 24.5×34, pp. XXXII+331, 1 colour table + 331 b/w photographic
reproductions, cloth-bound. English texts.
ISBN 978-88-7096-340-3 (2002)
€ 300
The manuscript is the sole surviving Ferrarese chansonnier of the late fifteenth century, the
period of the reign of Duke Ercole I d’Este, who ruled Ferrara from 1471 to his death in 1505. Dating from about 1480, and made originally in connection with the betrothal of Isabella d’Este to
Francesco Gonzaga, it is one of the most important and representative secular manuscripts that
we possess from any Italian court of this period. It contains a rich legacy of three-and four-voice
secular pieces by major composers of the period 1460-1480, most of them active in Italy, and
including such masters as Josquin Desprez, Johannes Japart, and Johannes Martini. It also seems
evident that it provides an example of the contemporary collecting of chansons not in the form
of pieces designed to be sung, with their original texts, but rather the manuscript was intended
for use by the brilliant band of wind-players who were active at the Ferrarese court. Some of
the material in the manuscript is originally texted in other sources, but a number of its pieces
were undoubtedly intended from the beginning as instrumental music. Thus Casanatense 2856
is both of general importance for its content and at the same time has a special significance as a
repertoire of music reflecting the instrumental practice of the late 15th century (from the Preface
by Lewis Lockwood).
Lucca Codex (The). Codice Mancini. Lucca, Archivio di Stato, ms 184 – Perugia, Biblioteca Comunale “Augusta”, ms 3065. Introductory study and facsimile edition by John Nádas and Agostino Ziino. English texts. In-4, 228 pp., 92 colour plates and 18 UV b/w photographs, hard cover (Ars
Nova, 1).
ISBN 978-88-7096-009-9 (1990)
€ 155
The Lucca (Mancini) Codex is an incomplete source, the surviving pages of which are now preserved in Lucca and Perugia. It testifies eloquently to the flowering of composition in north and
4
Colour facsimileTexts
editions
in Italian
of theand
Italian
English
sources of Ars Nova
central Italy at the end of the fourteenth and the beginning of the fifteenth century. Included
are a number of otherwise unknown works of the late Ars Nova. The text accompanying the
present edition examines the origins of the source and its content within the historical and cultural contexts of the north Italian courts of Giangaleazzo Visconti (Pavia) and Francesco Carrara
(Padua). Towards the end of the first decade of the fifteenth century, the collection was taken
south, possibly coming into contact with the papal chapels of Pisa and Bologna, before arriving
in Florence where pieces by local composers were copied onto its final pages. The introduction
reconstructs the original appearance of the source, and gives a full inventory of its contents.
Also included are comparative tables, transcriptions of four pieces and ultraviolet photographs
of the more damaged sheets.
Manuscript Modena, Biblioteca Estense,α.M.5.24 (The). Vol. I, facsimile edition, 30×21.5, pp.
15+106. Vol. II, Commentary by Anne Stone, with an essay by Federica Toniolo. English texts.
(Ars Nova, Nuova serie, n. 1). Reprint.
ISBN 978-88-7096-735-7 Vol. I - II
€ 90
Manuscript α.M.5.24 of the Biblioteca Estense in Modena (ModA) is one of the few
surviving sources of sacred and secular polyphony from the turn of the fifteenth century. To a greater degree than other surviving manuscripts, it bears witness to the
importance of French song composition, style, and notation among Italian composers
working in courts and monasteries of Lombardy, the Veneto, and Tuscany, and contains
some of the most extensive explorations of the complex rhythmic practice of the Ars
subtilior in Italy. Five complete quinterns survive, and 66 of its compositions are unique
to the manuscript. Among these unica are 30 compositions by Matteo da Perugina, six
of eight surviving French song of Antonello da Caserta, and works by well-known
composers like Antonio Zacara da Teramo, Jaquemin de Senleches, and Johannes Cicoria, as well as the lesser-known figures Bartolomeo da Bologna, Johannes de Janua,
Magister Egardus, and Magister Egidius (from the Introduction by Anne Stone).
Codex Faenza 117 (The). Instrumental Polyphony in Late Medieval Italy. Introductory Study
and facsimile edition by Pedro Memelsdorff.
ISBN 978-88-7096-701-2
€ 450
A small, unadorned parchment booklet, the manuscript 117 of the Biblioteca Comunale Manfrediana in Faenza encloses a stunning quantity and unique quality of information on 14th- and
15th-century Italian musical culture. The Codex is composed of two distinct and independent
copying layers. The older one contains 50 non-texted intabulated diminutions generally assumed to be instrumental and dated within the first two decades of the 15th century. They
comprise diminished versions of Italian and French songs by some of the major composers of
the 14th and early 15th centuries, Jacopo da Bologna, Bartolino da Padova, Francesco Landini,
Antonio Zacara da Teramo, Guillaume de Machaut, and Pierre des Molins, as well as polyphonic
estampies and diminutions on dance-related and liturgical tenors, including the three earliest
alternatim mass-pairs that have come down to us. The younger layer is an autograph by the
Carmelite friar Johannes Bonadies, who in 1473 and 1474 used empty folios to add 16 music
theory treatises, summaries or tables, and 22 mid- or late-fifteenth-century polyphonic settings,
mostly composed by John Hothby, Bernardus Ycart, and Johannes de Erfordia, aside with some
anonymous settings and a short Kyrie by Bonadies himself. The principal aim of the present study is to supply the first full-colour photographic reproduction of Codex Faenza with a general
reconsideration of its historiography, and with an in-depth codicological analysis of the source.
5
Catalogue of Publications in English, French and German
Colour facsimile editions
Texts in English and Italian
MOZART, WOLFGANG AMADEUS.
Sinfonia in sol minore k 550: adattamento per quattro strumenti di Muzio Clementi. Edited by Remo Giazotto. English and Italian texts. xxxiv + 110 + 88
pp., 23 colour plates, slipcase (L’Arte Armonica / Fonti, 1).
ISBN 88–7096–035–8. Facsimile, score and parts € 50
Colour facsimile of Clementi’s autograph score, preceded by an extensive historical and critical
introduction. Includes a modern edition of the score with individual parts (flute, violin, cello and
piano).
Il barbiere di Siviglia. Edited by Philip Gossett. 3 colours facsimile of the
autograph manuscript in the Civico Museo Bibliografico Musicale, Bologna (original format, cm
29×23). 3 vols.: Vol. I, facsimile ff. 1-208 (pp. 416); Vol. II, facsimile ff. 1-130 (pp. 260); Vol. III, crit�ical commentary in Italian and English (pp. 115 with 12 colour plates). Slipcase (L’Arte Armonica
/ Fonti, 2).
ISBN 978-88-7096-073-0 (1993) € 300
ROSSINI, GIOACHINO.
Texts in Italian, English and German
L’autografo dei quartetti ‘milanesi’ KV 155 (134a)-160 (159a)
della Musikabteilung della Staatsbibliothek (Preusischer Kulturbesitz) di Berlino. (Segnatura: Mus. ms. autogr. W. A. Mozart 155-160). Das Autograph der ‘Mailander’ Streich�quartette KV 155 (134a)-160 (159a) der Musikabteilung der Staatsbibliothek (Preusischer
Kulturbesitz) von Berlin (Signatur: Mus. ms. autogr. W. A. Mozart 155-160). Facsimile edition edited by Giacomo Fornari. Texts in Italian, English and German. 34×24, pp. 38+111 colour
plates.
ISBN 978-88-7096-474-5 (2006)
€ 150
MOZART, WOLFGANG AMADEUS.
MOZART, WOLFGANG AMADEUS.
L’autografo del mottetto ≪Exultate, Jubilate≫ (KV 165/158a)
della Biblioteka Jagiellońska di Cracovia. – Das Autograf der Motette ≪Exultate, jubilate≫ (KV 165/158a) der Jagiellonen-Bibliothek in Krakau. – The Autograph of the Motet
≪Exultate, jubilate≫ (KV 165/158a) of the Biblioteka Jagiellońska of Krakow. Facsimile
edition edited by Domenico Antonio D’Alessandro and Flavio Colusso. Texts in Italian, English
and German. With an essay by Rudolph Angermuller (Musica Theatina, III), pp. 47+46 colour
plates, includes audio CD (Mariella Devia, soprano; Cappella Musicale Theatina, dir. Flavio Colusso)
ISBN 978-88-7096-463-9 (2006)
€ 100
L’autografo dell’Adagio KV356 (617a) per Glasharmonika
nella Bibliotheque nationale de France di Parigi (Departement de la Musique, Sammlung
Ch. Mahlerbe, Signatur: Ms. 220). Facsimile edition edited by Giacomo Fornari. pp. 4×4 + 1
colour plate. Texts in Italian, German and English.
ISBN 978-88-7096-501-8 (2008)
€ 60
MOZART, WOLFGANG AMADEUS.
6
Texts
Colour
in Italian
facsimile
andeditions
German
Texts in Italian and German
Scrinium Musices. La raccolta di manoscritti e stampe musicali Toggenburg di Bolzano
(secc. XVIII- XIX) in deposito presso l’Archivio provinciale di Bolzano. Die Bozner Musikaliensammlung Toggenburg (18.–19. Jahrhundert) im Sudtiroler Landesarchiv. Collection
of papers from the conference held in Bolzano, 14 December 2006; Akten des Vortragsabends
– Bozen, Vivaldi-Saal, Donnerstag, 14 Dezember 2006. Edited by/ herausgegeben von Giuliano
Tonini, 28.6×36.6, pp. 100. Colour photographic reproduction. Texts in Italian and German. Hardcover, with audio CD.
ISBN 978-88-7096-576-6 (2009)
€ 100
Giacomo Fornari, La musica come (micro)storia. Il caso Toggenburg; Musikgeschichte als Microhistoire am Beispiel der Sammlung Toggenburg
Hans Heiss, Musikkultur und Stadtgeschichte. Bozen um 1800; Cultura musicale e storia cittadi�na. Bolzano attorno al 1800
Giuliano Tonini, A vent’anni dalla pubblicazione del catalogo a stampa del fondo musicale Toggenburg; Zum 20. Jahrestag der Veroffentlichung des Katalogs der Musikaliensammlung
Toggenburg
Tarcisio Chini, La catalogazione del fondo musicale Toggenburg, Die Katalogisierung der Musikaliensammlung Toggenburg
P. Urban Stillhard O.S.B., Verborgene Schatze: kultureller Reichtum unseres Landes; Tesori nascosti: i beni culturali della nostra provinci
Bianca Maria Antolini, La ricerca sulle fonti musicali in Italia: alcune osservazioni su esperienze
recenti; Uberlegungen zur Erforschung der musikalischen Quellen in Italien: ein Erfahrungsbericht
Johann Baptist Gansbacher, Serenade pour Violon ou Flute et Guitarre Op. 12 (Edizione in facsimile / Faksimile-Ausgabe)
Leonhard von Call, Serenade pour Violon ou Flute et Guitarre Op. 54 (Edizione in facsimile / Faksimile-Ausgabe)
In the audio CD:
Il salotto musicale di Annette von Menz – Der musikalische Salon der Annette von Menz
Johann Baptist Gansbacher, Serenade pour Violon ou Flute et Guitarre, Op. 12
Joseph Ewald Reiner, VIII Grandes Variations pour la Guitarre, Oev. 6
Johann Nepomuk Huber, Marche de l’Opera: La Vestale de Spontini arrangée pour la Guitarre
Leonhard von Call, Serenade pour Violon ou Flute et Guitarre, Op. 54; Sonata II in la minore
dalle / aus der Trois Sonates pour une Guitarre seule Op. 22
Giuseppe Carrer, chitarra / Gitarre
Luigi Lupo, flauto traversiere / Querflote
7
Catalogue of Publications in English, French and German
Dance
Texts in Italian and English
BLASIS, CARLO. L’uomo fisico, intellettuale e morale. Edited by Ornella Di Tondo and Flavia Pap-
pacena. 17×24, pp. 119+107. Texts in Italian and English (Choregraphie, Rivista di ricerca sulla
danza, nuova serie, n. 5, 2005).
ISBN 978-88-7096-510-0 € 38
Carlo Blasis (1795-1878) is one of the most significant figures in nineteenth-century ballet. A
dancer with a dynamic and virtuoso technique and refined style, a sensitive choreographer and
enlightened theorist, he was one of the most appreciated teachers of the century, especially as
director at the Imperial Regia Accademia di Ballo of the Teatro alla Scala (1837-1850), training
great numbers of skilled primi ballerini and ballerine and setting out the new didactic line
of the Italian School. In the sphere of his extraordinary literary production, which occuped a
considerable section of his life (1820-1872). L’Uomo fisico, intellettuale e morale, of which this
reproduction is from the second edition in 1868, marked his definitive consecration as a man of
letters and philosopher, a singular status in ballet circles at the time.
La Stenochoregraphie 1852. Edited by Flavia Pappacena. 21×28, with b/w
plates, pp. 219, Texts in Italian and English (Choregraphie, Rivista di ricerca sulla danza, nuova
serie: n. 4, 2004).
ISBN 978-88-7096-442-4 € 25
SAINT-LEON, ARTHUR.
Arthur Saint-Léon, creator of the famous ballet Coppelia, was the dominant figure in European
ballet in the 1860s and one of the most versatile artists of the whole 19th century. In the introductory chapters Flavia Pappacena examines the innovative system of analysing and notating
movement and reconstructs the 23 famous exercises of Adagio, Allegro and pointe, though which the master handed down the late 18th century academic tradition to the new generations
and inspired Enrico Cecchetti and Agrippina Viganova, the founders of the 20th century dance
teaching.
Texts in Italian, English and French
BOURNONVILLE, AUGUST. Etudes Chorégraphiques (1848, 1855, 1861). Edited by Knud Arne Jur-
gensen and Francesca Falcone. 18.5×26.5, pp. 330. Texts in Italian, English and French.
ISBN 978-88-7096-401-1 (2005)
€ 80
The three versions of the Etudes Chorégraphiques, is greatest legacy as a dance theorist, begin
with his original interpretation of the historical categories of the danse proprement dite in the
Etudes Chorégraphiques of 1848 and extend to the revival of the exercices d’école in the version
of 1861. The Etudes Chorégraphiques of 1855 stand as the veritable epicenter of his thinking. We
are confident, therefore, that the publication of the three versions will significantly help to give
a key figure in the nineteenth-century ballet scene his due place in history.
8
German
Dancetexts
NOVERRE, JEAN-GEORGES. Lettres sur la Danse, sur les Ballets et les Arts (1803). Edited by Flavia
Pappacena, 17×24, pp. 576, French texts (Choregraphie, Ricerche sulla danza, n. 6, 2012).
ISBN 978-88-7096-648-0
€ 45
Acclaimed throughout Europe as the reformer of ballet, Noverre published a new edition of
his Lettres sur la danse in 1803, adding some twenty new letters to the fifteen already published
in 1760. In these, he draws attention to his own pivotal role in ballet reform at the end of the
1750s and discusses the innovations brought about through his ballets during the 1760s and
1770s (Medee, Les Danaides, La Mort d’Agamemnon, Le Horaces et les Curiaces), in which he aims
at opening up new paths for the reformed ballet. In her introductory essays, Flavia Pappacena
analyses the theoretical basis of Noverre’s reform, retracing its link to contemporary culture
and, by means of a comparison of the Lettres with the libretti from Noverre’s ballets, providing
an original comparative analysis of theory and practice.
German texts
Die Sarabande Tanzgattung und musikalischer Topos. 16×23, pp. 235, Ger��man texts (Bibliotheca Musicologica – Universitat Innsbruck, 2).
ISBN 978-88-7096-216-7 (1997)
€ 25
GSTREIN, RAINER.
Die Sarabande ist der wohl widerspruchlichste Tanz aus dem Zeitalter des Barock. Von ihrem
spanischen Ursprung – der pantomimischen Darstellung des Geschlechtsverkehrs – mutierte
sie im Laufe des 18. Jahrhunderts zu einem gravitatischen Schreittanz der gehobenen sozialen
Schicht. So spiegelt die Sarabande wichtige Aspekte europaischer Sittengeschichte vom 16. bis
18. Jahrhundert wider.
9
Catalogue of Publications in English, French and German
Essays
English Essays
Singing in the Garden: Music and culture in the Tuscan Trecento. 16×23,
pp. 179, English texts (Bibliotheca Musicologica - Universitat Innsbruck, 3).
ISBN 978-88-7096-050-1 (1998)
€ 26
BECK, ELEONORA M.
This book has an interdisciplinary vision of music history: drawing on such masterpieces as
Boccaccio’s Decameron and the frescos of Ambrogio Lorenzetti and Andrea di Bonaiuto, Eleonora Beck explores the meaning of music for the society of the period. The picture that emerges
from her study is of a musical culture that was clearly susceptible to the broad influences of its
day and highly distinctive in both the sacred and secular domains, as the masterly compositions
of Francesco Landini and Lorenzo Masini well illustrate.
Operatic Reform at Turin’s Teatro Regio. Aspects of Production
and Stylistic Change in the 1760s. 17×24, pp. XXXII+348, English texts (Le Chevalier Errant,
Studi sulla musica degli Antichi Stati Sabaudi del Piemonte, 2).
ISBN 978-88-7096-288-8 (2002)
€ 42
BUTLER, MARGARET RUTH.
Margaret Ruth Butler explores innovations that occurred in Turinese opera during the mid-eighteenth century. Operas produced at Turin during this decade illustrate the interest on the
part of the theater’s directorship in revolutionary stylistic changes occurring at operatic centers
elsewhere in Europe at the time –an interest commonly assumed not to have been shared by
Italian theaters. The discussion focuses on four operas that clearly demonstrate this interest,
and treats aspects of their music, libretto, scene design, and dance. Drawing on archival material
produced by the theater’s administrative body, multiple copies of printed libretti, and largely
unexplored collections of manuscript musical materials from in and around Turin, this study
examines operatic production at the Regio during a critical decade in the history of opera.
Rachmaninoff and the Symphony. 16×23, pp. 170, English texts (Bibliotheca Musicologica – Universitat Innsbruck, 4).
ISBN 978-88-7096-231-4 (2000)
€ 26
CANNATA, DAVID BUTLER.
The music of Rachmaninoff is, to this day, both praised and disdained: while its enormous popular appeal insures box-office sales, some have yet to reckon the oeuvre within the Western
musical canon, and fewer still can understand why the Soviet authorities thought it subversive
enough to ban. In Rachmaninoff and the Symphony, David Butler Cannata surveys Rachmaninoff as composer, and, using the symphonic music as his base of discussion, traces the genesis of
several of the large symphonic structures, placing them in the continuing context of the Russian
post-Wagnerian tradition.
CAPORALETTI, VINCENZO.
Jelly Roll Morton, la ‘Old Quadrille’ e ‘Tiger Rag’. Una revisione
storiografica, 21×29.7, pp. 104, English and Italian texts (Grooves – Edizioni di Musiche Audiotattili, 1)
ISBN 978-88-7096-627-5 (2011)
€ 25
10
Essays in French
Essays
– Textes en Français
In the present volume, Vincenzo Caporaletti’s investigation of the provenance of “Tiger Rag”
not only lends credence to Stewart’s conclusion, it goes beyond it in demonstrating the coherence of LaRocca’s handicraft in musicological terms, while also providing a blow-by-blow account of the historiographical debates that have often sidetracked musical considerations. It is
a laudable study, with assiduous attention to detail, and Caporaletti’s conclusion is justifiably
compelling (from Bruce Boyd Raeburn’s preface).
CRESTI, RENZO.
Richard Wagner. The Poetics of the Pure Human. 14×21, pp. VI+236. English
texts, traslation by Helen Askham.
ISBN 978-88-7096-612-1 (2012)
€ 30
Wagner was well aware that the coherence of a compositional system is the presupposition
required for formal order but that it is not enough in itself. The work must vibrate with real
life and be fed with the humus of life’s experiences and cultural upbringing, by the pathos of
emotions and the pure human.
DELL’ANTONIO, ANDREA. Syntax, form and genre in sonatas and canzonas 1621–1635. 308 pp.,
mus. ex., English texts, paperback (Quaderni di Musica/Realtà, 38). Latina International Award
for Musical Studies, 1994.
ISBN 978-88–7096–182–9 (1997)
€ 19
Through an analysis of Castello’s Primo Libro and of three other collections of small-ensemble
instrumental music from the ensuing fifteen years – by Picchi (1652), Scarani (1630) and Frescobaldi (1635) – the author identifies a repertory of compositional devices and formal procedures
that characterize the “modern style” instrumental sonata/canzona. Extensive analyses reveal
important structural and formal elements in the sonata “in stil moderno” previously understood
primarily as a disorganized sequence of contrasting and Kaleidoscopic episodes. In the course
of the analyses, the repertory is also examined with regard to issues of recent genre theory, and
especially the concept of the “generic contract”.
VAVOULIS, VASSILIS.‘Nel
Theatro di Tutta L’Europa’. Venetian-Hanoverian Patronage in
17th-Century Europe. 17×24, pp. XLVII+500 (Preface and Introduction in English).
ISBN 978-88-7096-621-3 (2011)
€ 40
This study aims to make available to the scholarly community an important corpus
of diplomatic correspondence relating to Venetian history in the late 17th century. It
also hopes to promote further investigation of the letters by providing an accurate
text, in-depth commentary, and a contextual study of patronage as a framework for
understanding the documents. The 330 letters presented here were sent from Venice to
Hanover in 1669–79, and should be understood in the context of the strong political and
cultural ties between the Guelph Dukes of Brunswick and the Venetian Republic. They
were written during the reign of the Hanoverian Johann Friedrich of Brunswick-Luneburg, who succeeded to the duchy in 1665 and continued the long-established political
alliance with Venice as well as developing a personal affinity with the city.
Essays in French – Textes en Français
Le chant et la Sainte Patronne. La fete de la vara a Fiumedinisi
(Sicile). 17×24, pp. IX+256, French texts. Prix international “Latina” d’études musicales, 2000.
ISBN 978-88-7096-309-0 (2004)
€ 21
BORNEUF, ANNE-FLORENCE.
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Catalogue of Publications in English, French and German
Pourquoi un village de Sicile célèbre-t-il sa sainte Patronne à travers une grande fête? Les deux
chants qui y sont entonnes guident l’enquête. Leur substance musicale, leur apprentissage et
leur perception mettent en évidence le caractère mixte du rituel: oscillant constamment entre
terre et Ciel, entre profane et sacre, entre sociopolitique et religieux, entre quotidien et festif
entre humain et divin, il se présente comme un acte nécessaire au maintien d’une communauté
villageoise.
L’arco sonoro. Articulation et ornementation : les différentes pratiques
d’exécution pour violon en Italie au XVIIe siècle. 17×24, pp. XXII+636, French texts.
ISBN 978-88-7096-649-7 (2011)
€ 40
FREI, CONSTANCE.
L’Arco Sonoro a pour but d’établir une histoire de la technique d’archet violonistique basée sur
l’analyse des différentes pratiques d’exécution à travers une étude « systématique » des sources
musicales italiennes – pratiques et théoriques – du XVIIe siècle. Cette étude permet, d’une part,
de saisir et de distinguer les nombreuses traditions musicales locales et, d’autre part, de tirer des
conclusions sur l’évolution des différentes traditions d’exécution en Italie au XVIIe siècle. Un
catalogue aussi exhaustif que possible des recueils musicaux d’auteurs italiens présente plus de
250 recueils imprimés conservés dans les bibliothèques de Bologne (Conservatoire et Accademia
Filarmonica), de Modène (Estense) et enfin de Wroclaw (Universytecka).
LONCKE, SANDRINE. Les chemins de la voix peule. L’esthétique musicale des pasteurs semi-no-
mades du Jelgooji (Nord-Burkina Faso). 17×24. pp. XIX+115, French texts. Includes CD. Prix
international “Latina” d’études musicales, 1996.
ISBN 978-88-7096-295-6(2002)
€ 21
Les pasteurs peuls du Jelgooji (nord Burkina Faso) pratiquent un genre vocal – le doohi – que
tous s’accordent à considérer comme pure activité ludique réservée aux seuls jeunes gens. Du
point de vue aussi bien formel que des règles de conduites qui l’entourent, il apparait cependant
qu’il participe d’une dynamique de production de différences –entre communautés villageoises,
entre groupes d’âge, entre hommes et femmes –qui contribue finalement a l’instauration et a
la perpétuation d’un ordre social et du système de valeurs caractérisant l’ensemble du groupe.
L’ouvrage est accompagné d’un CD de 18 plages illustrant le répertoire étudié: chants de femmes et variantes locales de doohi.
Essays in German
Die Verzierungen zu Arcangelo Corellis Violinsonaten Op. 5. Ein analytischer Vergleich unter besonderer Berucksichtigung der Beziehung von Notation und
Realisation. 14×21, pp. 86, German texts (Quaderni di Musica/Realta, 35). Premio internazionale
Latina di studi musicali, 1992.
ISBN 978-88-7096-178-2 (1997)
€ 16
FIKENTSCHER, SASKIA.
Von Interpretierenden hochbarocker italienischer Solosonaten wird heute im allgemeinen
erwartet, das sie die langsamen Satze mit eigenen “stilgerechten” Verzierungen versehen. Der
Frage, wie diese Art zu verzieren gelehrt und gelernt sein soll, geht die Autorin unter Zuhilfenahme musikhistorischer Dokumente und derer moderner musikwissenschaftlichen Analyse
nach. Hierbei wird erstmalig die Problematik der Beziehung zwischen Notation und Realisation
angesprochen und ein möglicher systematisch-analytischer Losungsweg entwickelt, der auf historischen Quellen basiert. Eine exemplarische Untersuchung und Auswertung der Verzierungen hilft das Verstandnis dieser Musizierpraxis zu vertiefen und regt zu einer “stilgerechten”Interpretation an.
12
EssaysEssays
in German
Der Ball. Eine Kulturgeschichte des Gesellschaftstanzes im 18. und 19. Jahrhundert. 16×23, pp. 237, German texts (Bibliotheca Musicologica – Universitat Innsbruck, 1).
ISBN 978-88-7096-162-1 (1996)
€ 25
FINK, MONIKA.
Balle sind ein zentrales Phanomen der europaischen Musik- und Kulturgeschichte. In diesem
Buch werden erstmals nicht nur die Balle und ihre Tanze untersucht, sondern auch die Voraussetzungen, die fur die Entfaltung einer Ballkultur gegeben sein mussen. Dabei werden die
vielfaltigen Ballarten auch in Hinblick auf ihre sozialen und gesellschaftspolitischen Strukturen
erfast und die Ballkultur von allen Seiten beleuchtet. Die Fulle an musik-, tanz- und sozialgeschichtlichen, kunsthistorischen und volkskundlichen Quellen sowie die zahlreichen Abblidungen geben diesem Buch seinen besonderen Wert.
Studien zur Musikpflege in der Stadt Weisenfels und am Hofe der Herzoge
von Sachsen-Weisenfels. 14×21, pp. 217, German texts (Quaderni di Musica/Realta, 36). Premio
internazionale Latina di studi musicali, 1992.
ISBN 978-88-7096-179-9 (1997)
€ 16
FUCHS, TORSTEN.
Diese Studie prasentiert einen musikgeschichtlichen Uberblick des Herzogtums Sachsen-Weisenfels, vor allem den Zeitraum von 1680 bis 1746 seinerzeit als herzogliche Residenzstadt
umfassend. Besonderes Augenmerk richtet der Autor auf die hofische Musikpflege unter Berucksichtigung der Oper, die in Weisenfels wesentliche Beitrage in ihrer Entwicklung zum fruhdeutschen Musikdrama erfuhr. Eine unentbehrliche Bereicherung fur zukunftige Forschungen
bilden die Anlagen, die u.a. erstmalig Werkverzeichnisse von Johann Philipp Krieger und David
Heinrich Garthoff enthalten.
GSTREIN, RAINER. Die
Sarabande Tanzgattung und musikalischer
Topos. 16×23, pp. 235, German texts (Bibliotheca Musicologica - Universitat Innsbruck, 2).
ISBN 978-88-7096-216-7 (1997)
€ 25
Die Sarabande ist der wohl widerspruchlichste Tanz aus dem Zeitalter des Barock. Von ihrem
spanischen Ursprung – der pantomimischen Darstellung des Geschlechtsverkehrs – mutierte
sie im Laufe des 18. Jahrhunderts zu einem gravitatischen Schreittanz der gehobenen sozialen
Schicht. So spiegelt die Sarabande wichtige Aspekte europaischer Sittengeschichte vom 16. bis
18. Jahrhundert wider.
Funktion und Bedeutung der Symmetrie in den Werken Bela Bartoks.
14×21, pp. 216, German texts (Quaderni di Musica/Realta, 40). Premio internazionale Latina di
studi musicali,
1994.
ISBN 978-88-7096-180-5 (1997)
€ 16
HENTSCHEL, FRANK.
Geteilt in zwei Teile ist die Betrachtung der Symmetrie in den Kompositionen Bela Bartoks, die
sowohl in ihrer strukturellen als auch ihrer asthetischen Seite in Augenschein genommen wird.
So versucht der Autor die Funktion der Symmetrie anhand diverser Werkanalysen wie beispielsweise des Streichquartetts IV zu ermitteln und geht der Bedeutung der Symmetrie gemas
Bartoks eigenen Aussagen nach.
Keine Chance für Mozart. Fürsterzbischof Hieronymus Colloredo und sein letzter Hofkapellmeister
Luigi Gatti (1740-1817). Symposiumsbericht Herausgegeben von Eva Neumayr und Lars E. Laubhold unter der Projektleitung von Ernst Hintermaier. Wissenschaftliche Mitarbeit: Alessandro
Lattanzi. Veröffentl- ichungen zur Salzburger Musikgeschichte • Band 10 zugleich Musicolog-
13
Catalogue of Publications in English, French and German
ica Transalpina • Band 2 zugleich Schriftenreihe des Archivs der Erzdiözese Sal- zburg • Band
12. 17×24, pp. xi+498, ill. German texts.
ISBN 978-88-7096-758-6 (2014)
€ 50
Thomas Mitterecker, Vom Barock zur Aufklärung. Das Erzstift Salzburg unter Hierony- mus Graf
Colloredo 1772–1803
Ernst Hintermaier, Luigi (Maria Baldassare) Gatti (1740−1817). Salzburgs letzter Hofkapellmeister
Andrea Gottdang, Keine Chance für Kunst? Bildtheologie und Barockkritik in Salzburg zur Zeit
Colloredos
Michael Malkiewicz, 18 Duette für den Erzbischof. Hafeneder – Haydn/Mozart – Gatti
Lars E. Laubhold, Luigi Gatti, Hieronymus Colloredo und die Salzburger Trompetenmusik ihrer
Zeit
Giuliano Tonini, Musiche e musicisti della cappella di corte salisburghese a Bolzano nel Settecento
Irene Brandenburg, Luigi Gatti und die Sänger der Salzburger Hofmusik zur Zeit Colloredos
Adriana De Feo – Thomas Hochradner, Giuseppe Francesco Lolli. Prügelknabe und Wegbereiter?
Anja Morgenstern, Das Verhältnis von Leopold Mozart und Fürsterzbischof Hieronymus Colloredo. Neue Quellenfunde zu Mozarts Tätigkeiten als Vizekapellmeister
Milada Jonášová, Neue Archivfunde zu Michael Haydn, Luigi Gatti und zur Salzburger Kopi�stenpraxis im frühen 19. Jahrhundert
Christoph Grosspietsch, Mozart aus Gattis Händen? Geplante Frühdrucke nach Salzburger Quellen
Alessandro Lattanzi, Luigi Gatti and Anton Theodor Colloredo, Archbishop of Olomouc
Luca Aversano, The works for violin and orchestra by Luigi Gatti
Ulrich Leisinger, Die Vesperkompositionen von Luigi Gatti. Ein Zwischenbericht
Eva Neumayr, Die Requiemkompositionen Luigi Gattis (1740–1817)
Petrus Eder, OSB, Luigi Gattis Rupertusmesse für das Erzstiftsjubiläum 1782
Alfred Quellmalz und seine Sudtiroler Feldforschungen (1940-42).
Eine Studie zur musikalischen Volkskunde unter dem Nationalsozialismus. 16×23, pp.
390, German texts (Bibliotheca Musicologica – Universitat Innsbruck, 6).
ISBN 978-88-7096-253-2 (2001)
€ 37
NUSSBAUMER, THOMAS.
Alfred Quellmalz leitete in den Jahren 1940-42 im Südtirol der options- und Umsiedlungszeit
eine volksmusikalische Sammel-aktion, die methodisch, aber auch aufnahmetechnisch eine Pionierleistung darstellt und in Europa singulär ist.
PALAND, RALPH.“Die gluckliche Hand” von Arnold Schonberg. Formale Konzeption in der fru-
hen Atonalitat. 17×24, pp. X+196, German texts. Premio internazionale Latina di studi musicali,
1998.
ISBN 978-88-7096-293-2 (2002)
€ 21
Das 1913 vollendete Drama mit Musik “Die gluckliche Hand” stellt neben dem Monodram
“Erwartung” das musikdramatische Hauptwerk aus Arnold Schonbergs expressionistischer
Schaffensphase dar: Angesiedelt im geistigen Umfeld der asthetischen und weltanschaulichen
Konzepte Arthur Schopenhauers, August Strindbergs, Otto Weiningers und Wassily Kandinskys
und beeinflusst von theosophischem Gedankengut, verbinden sich hier Musik, Gestik, Buhnenbild, Licht und Sprache zu einem neuartigen “Gesamtkunstwerk”, in dessen gedanklichem
Zentrum die ungeschlichtete Spannung zwischen Welt und Kunst, Eros und schopferischer Inspiration, sinnlicher und ubersinnlicher Bestimmung des Menschen steht.
14
EssaysEssays
in German
Zwischen Kirche und Karneval. Biographie, soziales Umfeld und
Werk des romanischen Kapellmeisters Virgilio Mazzocchi (1597-1646). 15×21, pp. 399, German texts. Premio internazionale Latina di studi musicali, 2000.
ISBN 978-88-7096-285-7 (2002) € 21
SCHRAMMEK, BERNHARD.
Der Kapellmeister Virgilio Mazzocchi (1597-1646) zahlte wahrend der Regierung Papst Urbans
VIII. (1623 1644) zu den bedeutendsten Musikern Roms. Er leitete 17 Jahre lang die Cappella
Giulia am Petersdom und koordinierte die musikalischen Aktivitaten am Hof des einflusreichen Papstneffen Kardinal Francesco Barberini, an dessen jeweils zum Karneval stattfindenden
Opernproduktionen er masgeblich beteiligt war. Bernhard Schrammek zeichnet die Biographie
Mazzocchis nach, analysiert ausgewahlte Kompositionen und beschreibt anschaulich die musikalischen und sozialen Strukturen der Institutionen, an denen der Kapellmeister beschaftigt
war. Daruber hinaus skizziert er die auserordentliche Bedeutung der Stadt Rom fur die Musikentwicklung im fruhen 17. Jahrhundert.
15
Catalogue of Publications in English, French and German
Musurgiana - Facsimile Editions
of Music History and Theory
Texts in English and Italian
adami, andrea. Osservazioni per ben regolare il coro de i cantori della Cappella Pontificia.
Roma 1711. Edited by di Giancarlo Rostirolla. 17.4x24, pp. [xxi]+xlvi+215+[12], hard cover, (Musurgiana, 1).
ISBN 88–7096–000–5 € 25
The volume contains norms governing music in the papal and cardinalate rituals, collected with
the aim of celebrating and telling the story of one of the most famous musical institutions of all
time. Includes a biographical and bibliographical “catalogue” of papal singers until the time of
Clement xi.
algarotti, francesco. Saggio sopra l’opera in musica: le edizioni di Venezia (1755) e di
Livorno (1763). Venezia 1755 and Livorno 1763. Edited by Annalisa Bini. 11x18.5, pp. [liv]+157,
hard cover, (Musurgiana, 6).
ISBN 88–7096–005–6 € 25
The best-known of the programmes advocating opera reform (put into practice shortly after by
Gluck and Calzabigi). An important volume for musicologists, who may here compare the rare
1755 edition with the more famous one of 1763.
bontempi, giovanni andrea angelini. Nova quatuor vocibus componendi methodus.
Dresden 1660. Edited by Wolfgang Witzenmann. 14.7x19, pp. [xxviii]+44, hard cover, (Musurgiana, 19).
ISBN 88–7096–041–2 € 19
Dedicated to Heinrich Schütz (Kapellmeister in Dresden, where Bontempi was a singer), this
work lays down the basic principles of polyphonic composition and sets out to simplify the learning process by explaining certain original, “mechanical” procedures to ensure correct part-writing.
cerone, pietro. Le regole più necessarie per l’introduttione del canto fermo. Napoli 1609.
Edited by Bonifacio G. Baroffio. 13.5x22, pp. [xxii]+78, hard cover, (Musurgiana, 4).
ISBN 88–7096–003–X€ 13
A handy reference book originally written for ecclesiastics, which includes practical observations on the performance of the daily services. Here the author of the better known Melopeo focuses on the singing of the hours, and in particular problems concerning antiphons and psalms.
cerreto, scipione. Dell’albore musicale: facsimile dell’esemplare appartenuto a padre
Martini. Napoli 1608. Edited by Francesco Luisi. 16.6x26.8, pp. [xvii]+47, hard cover, (Musurgiana, 12).
16
Musurgiana - Facsimile
Texts inEditionsof
English and
Music
Italian
History and Theory
ISBN 88–7096–007–2
€ 15
The well-known author of the Prattica vocale e strumentale assesses the musical professions according to a scale of values that assigns different degrees of importance to performers and their
instruments. The city of Naples is known as the principal musical centre of Italy and Europe.
colonna, fabio linceo. La sambuca lincea, overo Dell’istromento musico perfetto. Con annotazioni critiche manoscritte di Scipione Stella (1618–1624). Napoli 1618. Edited by Patrizio
Barbieri. 14.5x21, pp. [lxiv]+171, hard cover, (Musurgiana, 24).
ISBN 88–7096–026–9 € 31
The sambuca lincea was an enharmonic harpsichord with 31-key octaves built in Naples in
1610–5, based on the example of Vicentino’s archicembalo. As it turned out, it was a piece of
blatant plagiarism of an original model by Scipione Stella. The work also includes enharmonic
music expressly composed for the instrument by Ascanio Majone.
dentice, luigi. Duo dialoghi della musica […] delli quali l’uno tratta della theorica, et
l’altro della pratica: raccolti da diversi autori greci, et latini. Roma 1553. Edited by Patrizio
Barbieri. 15.4x20.7, pp. [xv]+80, hard cover, (Musurgiana, 3).
ISBN 88–7096–002–1
€ 15
The treatise, based on Pythagorean theories, is followed by a discussion of contemporary aesthetics and performance practice, including the description of a vocal and instrumental concert
held at the house of Giovanna d’Aragona, with performances by the leading musicians active
in Naples.
gaffurio, franchino. Theoricum opus musice discipline. Napoli 1480. Edited by Cesarino
Ruini. 16.5x22.9, pp. [xxiv]+244, hard cover, (Musurgiana, 15).
ISBN 88–7096–039–0 € 42
The first work of this Lombard musician and humanist reflects his growing interest in Greek
music theory and paves the way for that collaboration between Greek scholars and musicians
involved in rediscovering the sources of ancient music theory: a collaboration that in the course
of the seventeenth century contributed towards bridging the gap between official culture and
the musical world.
GEMINIANI, FRANCESCO SAVERIO. The art of playing the guitar or cittra. Edited by Carlo Mascilli
Migliorini. 24×34, pp. VIII+51 (Musurgiana, 20).
ISBN 978-88-7096-306-9 (2002)
€ 26
GROSSATESTA, GAETANO.
Balletti in occasione delle felicissime Nozze di Sua Eccellenza la Signora Loredana Duodo con Sua Eccellenza il Signor Antonio Grimani Composti da Gaetano Grossatesta Maestro di Ballo in Venezia e dallo stesso Presentati all’Eccellentissimo
Sposo. Edited by Gloria Giordano. Translation by Ken Hurry, with translation from 18th century
dance sources by Angene Feves. 18×24, pp. 127. Includes CD (Musurgiana, 21).
ISBN 978-88-7096-399-1 (2005)
€ 33
This manuscript appears here in facsimile edition more than 270 years after it was written in
1726 and over 15 years after its ‘rediscovery’. This is a significant milestone in the history of early eighteenth-century choreographic sources since at present Gaetano Grossatesta’s manuscript
is the only extant Italian choreography known based on French dance composition and style
and transcribed in Beauchamps-Feuillet notation. To date, the manuscript is the sole testimonial
of the event for which it was written.
17
Catalogue of Publications in English, French and German
ivanovich, cristoforo. Memorie teatrali di Venezia: contengono diversi trattenimenti piacevoli della città, l’introduzione de’ teatri, il titolo di tutti i drami rappresentati, col nome
degli autori di poesia, e di musica fino questo anno 1687. Venezia 1688 (second edition).
Edited by Norbert Dubowy. 10.5x16.5, pp. [lxvi]+98, hard cover, (Musurgiana, 27).
ISBN 88–7096–046–3 € 22
A lively account of the origins and development of opera in Venetian public theatres: the aspects
of organisation, production, style and fashion, as seen through the eyes of an acute contemporary observer. Including the earliest chronology of performances in Venice.
lazzarini, sebastiano. Sacra melodia d’oratorii musicali. Roma 1678. Edited by Arnaldo
Morelli, 29.9x21, pp. [xviii]+ 75 pp. of photographic reproductions of the original manuscript,
(Musurgiana, 18).
ISBN 88–7096–040–4 € 21
Ten oratorio librettos well illustrating the poetic and dramatic style that helds way in Rome in
the 1670s. They were set to music by some of the principal Roman maestri di cappella – Pasquini,
Celani, Foggia, etc. – and often taken up by composers working in other cities, such as Lucca
and Foligno.
lieto, bartolomeo. Dialogo quarto di musica dove si ragiona sotto un piacevole discorso
delle cose pertinenti per intavolare le opere di musica et esercitarle con la viola a mano
over liuto con sue tavole ordinate per diversi gradi alti e bassi. Napoli 1559, 14.5x19, pp.
[xxxiv]+40, hard cover, (Musurgiana, 10).
ISBN 88–7096–037–4 € 19
A work that confirms the strong links between the Kingdoms of Naples and Spain in the sixteenth century. It includes an interesting description of a tablature for the viola da mano (most
likely a vihuela or six-course guitar) and lute. It also discusses fret positioning on these instruments and the construction ratios adopted by the instrument makers of the day.
lusitano, vincenzo. Introduttione facilissima et novissima di canto fermo, figurato, contraponto semplice, et in concerto, con regole generali per far fughe. Roma 1553. Edited by
Giuliana Gialdroni. 16.5x26.8, pp. [xvii]+52, hard cover, (Musurgiana, 7).
ISBN 88–7096–006–4 € 15
Generally known for his theoretical attack on Nicola Vicentino (in which he was declared the
victor), Lusitano here turns to more practical matters. His exposition of the rules of polyphonic
composition and counterpoint is illustrated with musical examples of considerable interest.
pisa, agostino. Breve dichiaratione della battuta musicale (1611), con alcuni estratti da/with
extacts from Battuta della musica (1611). Edited by Piero Gargiulo. 14.5x20.4, pp. [xxviii]+51,
hard cover, (Musurgiana, 26).
ISBN 88–7096–119–2 € 21
This treatise – well known for the polemic it aroused between theoretical and practical musicians in the early seventeenth century, above all in Rome – is compared to the complementary
Battuta della musica (Rome, 1611) by the same author. Large sections of the latter have been
transcribed so as to reconstruct the theorist’s views on problems of musical rhythm.
pitoni, giuseppe ottavio. Guida armonica: facsimile dell’unicum appartenuto a padre
Martini. Roma [ca. 1690]. Edited by Francesco Luisi. 27.5x44.5, pp. [xiii]+108+[4], hard cover,
(Musurgiana, 16).
18
Musurgiana
Musical
- Facsimile
Editions
Editionsof
with English
Music
Commentary
History and Theory
ISBN 88–7096–008–0 € 42
Although this work (the only surviving copy of which belonged to Padre Martini) developes as
a “guide” to composition, it also serves as a historical survey of the theory of styles. Many of the
musical examples, taken from the works of famous and lesser known composers of the sixteenth
to eighteenth centuries, are otherwise undocumented.
spagna, arcangelo. Oratorii, overo Melodrami sacri con un discorso dogmatico intorno
l’istessa materia. Roma 1706. Edited by Johann Herczog jr. 23x32, pp. [xxxi]+ 85 pp. of photographic reproductions of the original manuscript, (Musurgiana, 25).
ISBN 88–7096–045–5 € 26,00
Arcangelo Spagna was a canon from Viterbo, member of the Arcadian Academy and man of
letters belonging to Cardinal Ottoboni’s entourage in Corelli’s day. The present volume collects
twenty-four of his librettos, preceded by an important “Dogmatic Discourse on Oratorios”, the
first historical survey of the birth and development of the genre.
todini, michele. Dichiaratione della Galleria Armonica eretta in Roma. Roma, 1676. Edited
by Patrizio Barbieri. 10.3x15.5, pp. [xxii]+92, hard cover, (Musurgiana, 2).
ISBN 88–7096–001–3 € 13,00
Todini here describes the history and the marvellous properties of his masterpiece of “musical
engineering”, the Galleria Armonica: the machine actually existed and was capable of playing
simultaneously a harpsichord, three types of spinet, an organ, a violin and a bowed lyre – all by
means of a single keyboard.
uberti, grazioso. Contrasto musico: opera dilettevole. Roma 1630. Edited by Giancarlo Rostirolla. 10.5x16.5, pp. [lxx]+xii+152, hard cover, (Musurgiana, 5).
ISBN 88–7096–004–8 € 31
The music of the past and present recounted in a work written for “pleasure”, reflecting the taste
and customs of an erudite jurist and keen music-lover living at the end of the sixteenth and the
beginning of the seventeenth century.
Musical Editions with English Commentary
AMODEI, CATALDO.
Composizioni Liturgiche. Edited by Flavio Colusso and Domenico Antonio
D’Alessandro. 24×34. pp. LIX + 88. Includes CD. (Musica Theatina, I).
ISBN 978-88-7096-354-3 (2003)
€ 31
Concerto in si minore per flauto traverse, archi e basso continuo.
Reconstruction by Francesco Zimei. 22.5×31.5, pp. XIV+40. Includes separate flute part.
ISBN 978-88-7096-505-6 (2008)
€ 20
BACH, JOHANN SEBASTIAN.
Cantate a Clori. Edited by Sara Dieci. 22×31.5, pp. LI+51 (Fondazione Arcadia, Musiche italiane del Settecento,VI).
ISBN 978-88-7096-617-6 (2010) € 25
BONONCINI, GIOVANNI.
Cantate con strumenti, Vol. I (Biblioteca del Monumento Nazionale di
Montecassino, ms. 1-C-9/2). Edited by Michele Vannelli. 22×31.5, pp. XLV+79 (Fondazione Arcadia, Musiche italiane del Settecento, V).
BONONCINI, GIOVANNI.
19
Catalogue of Publications in English, French and German
ISBN 978-88-7096-618-3 (2010) € 25
La conversione di Maddalena. Oratorio a quattro con istromenti. Edited by Raffaele Mellace. 22×31.5, pp. CXIV+110 (Fondazione Arcadia, Musiche italiane del Settecento, IV).
ISBN 978-88-7096-616-9 (2010)
€ 25
BONONCINI, GIOVANNI.
Due Antifone Mariane: “Salve Regina”per soprano, due violini, viola,
basso, due trombe, due corni; “Te decus virgineum”per contralto, violinni unisoni, basso e
organo. Edited by Warren Kirkendale, with a commentary in English and Italian and a bibliography on the“Salve Regina”. 22×31.5, pp. XXX + 6 colour plates + 25 (Fondazione Arcadia, Musiche
italiane del Settecento, IX).
ISBN 978-88-7096-637-4 (2011) € 25
CALDARA, ANTONIO.
Cappella Giulia (La), Volume I: I Vespri nel XVIII secolo. Introduction and transcription by Jean
Lionnet. 22.5×30, pp. XXXII + 150 (L’Arte Armonica/Musica Palatina, 2).
ISBN 978-88-7096-120-1 (1995) € 20
BENCINI, PIETRO PAOLO. Dixit dominus, Beatus vir, Laudate pueri dominum; 5 antifone per il comune
della Beata Vergine; 5 antifone per il II vespro dell’Assunzione; 5 antifone per il II vespro della Nativita; Ave maris stella; Magnificat;Magnificat.
LORENZANI, PAOLO. Motetto; Custodi me domine; Motetto; O sacrum convivium;Motetto; O sacrum convivium.
GALAVOTTI, GIROLAMO. Offertorio; Portas caeli.
GRASSI, FRANCESCO. Magnificat; Magnificat.
Cappella Regia di Torino nel secolo XVIII (La). Edited by Sergio Balestracci. 22.5×30, pp.
LXXXIII+237 (L’Arte Armonica/Musica Palatina,5).
ISBN 978-88-7096-186-7 (1996) € 30
FIORE’, ANDREA STEFANO. Vespro de’ Defonti; Salmo 114: Dilexi; Salmo 119: Ad Dominum; Salmo 120:
Levavi oculos meos; Salmo 129: De profundis; Salmo 137: Confitebor; Magnificat; Quantae poenae.
GIAJ, GIOVANNI ANTONIO. Chirie e Gloria a piu voci in Pastorale.
GIAJ, FRANCESCO SAVERIO. Stabat mater; Lezione prima del Mercoledi Santo; Lezione seconda del Mercoledi Santo; Lezione terza del Mercoledi Santo.
COLUSSO, FLAVIO. Missa Sancti Andreae Avellino, per soli, schola gregoriana, coro di voci bian-
che e strumenti. Proprium Missa della festa del Santo con testi di Valentin Arteaga C.R.
e Vincenzo Cosenza C.R. Edited by Domenico Antonio D’Alessandro. 23×32.5, pp. XXXII+108
(Musica Theatina, VI). Includes CD.
ISBN 978-88-7096-543-8 (2008)
€ 30
DURANTE, FRANCESCO. Sonate per cembalo, divise in studii e divertimenti. Napoli [1732?]. Edi-
ted by Pinuccia Carrer. 31.5×22.7, pp. XI+24 (Essercizi di Musica, 2).
ISBN 978-88-7096-012-9 (1988) € 12
The Inchanted Forrest. Edited by Enrico Careri. 23×31, pp. X +
71, sheet music (Biblioteca Musicale LIM/Le Delizie Musicali, 1).
ISBN 978-88-7096-142-3 (1996)
€ 24
GEMINIANI, FRANCESCO SAVERIO.
Veni sponsa Christi Antifona. Edited by Ugo Gironacci
and Italo Vescovo. 22.5×31.5, pp. XXIV+22 (Opera Omnia, Serie II, Volume I).
ISBN 978-88-7096-458-5 (2007) € 25
GIORDANI, GIUSEPPE [GIORDANIELLO].
GIORDANI, GIUSEPPE [GIORDANIELLO].
Tantum ergo I e II in mi bemolle Maggiore. Edited by
20
Musurgiana
Musical
- Facsimile
Editions
Editionsof
with English
Music
Commentary
History and Theory
Francesco Paolo Russo. 22.5×31.5, pp. XXVII+108 (Giuseppe Giordani. Opera omnia, Serie I, Volume II).
ISBN 978-88-7096-511-7 (2008)
€ 25
INGEGNERI, MARC’ANTONIO. Il primo libro dei madrigali a quattro voci. Edited by Lucia Marchi.
24×34, pp. LVI+124(Marc’Antonio Ingegneri. Opera omnia, Serie II, I)
ISBN 978-88-7096-556-8 (2009) € 30
INGEGNERI, MARC’ANTONIO. Il secondo libro de madrigali a quattro voci. Edited by Maria Tere-
sa Rosa-Barezzani and Mila De Santis. 24×34, pp. LII+106 (Marc’Antonio Ingegneri. Opera omnia,
Serie II, II).
ISBN 978-88-7096-232-1 (1999)
€ 26
INGEGNERI, MARC’ANTONIO. Il terzo libro dei madrigali a cinque voci. Edited by Marco Manga-
ni. 24×34, pp. LV+94 (Marc’Antonio Ingegneri. Opera omnia, Serie II, III).
ISBN 978-88-7096-056-3 (1994)
€ 26
Liber secundus hymnorum. Edited by Marina Toffetti. 24×34, pp.
CX+94 (Marc’Antonio Ingegneri. Opera omnia, Serie I, VIII).
ISBN 978-88-7096-122-5 (2002) € 26
INGEGNERI, MARC’ANTONIO.
Liber primus missarum cum quinque et octo vocibus. Edited by
Rodobaldo Tibaldi. 24×34, pp. XL+182 (Marc’Antonio Ingegneri. Opera omnia, Serie I, I).
ISBN 978-88-7096-055-6 (1995)
€ 26
INGEGNERI, MARC’ANTONIO.
Sacrae Cantiones. Edited by Daniele Sabaino. 24×34, pp. XCVI+125,
(Marc’Antonio Ingegneri. Opera omnia, Serie I, IV) 90.
ISBN 978-88-7096-600-8 (2010) € 26
INGEGNERI, MARC’ANTONIO.
Sacrae cantiones senis vocibus decantandae. Edited by Daniele
Sabaino. 24×34, pp. LX+153 (Marc’Antonio Ingegneri. Opera omnia, Serie I, V).
ISBN 978-88-7096-123-2 (1994) € 26
INGEGNERI, MARC’ANTONIO.
Quinto libro di madrigali a 5 voci. Edited by Gloria Joriini and
Marco Mangani. 24×34, pp. LII+84 (Marc’Antonio Ingegneri. Opera omnia, Serie II, V).
ISBN 978-88-7096-435-6 (2006)
€ 26
INGEGNERI, MARC’ANTONIO.
5 Fantaisies variees pour flute seule. Napoli [ca. 1841-1848]. Edited by
Maurizio Bignardelli. 24.2×32.9, pp. VIII+36, (Essercizi di Musica, 5).
ISBN 978-88-7096-015-0 (1988) € 12
KRAKAMP, EMMANUELE.
Dodici melodie preparatorie al canto drammatico con accompagnamento di pianoforte, dedicate a Adelaide Gambaro. Napoli e Milano [ca. 1864]. Edited by
Paola Pisa. 22.9×31.5,
pp. XIV+56 (Essercizi di Musica, 6).
ISBN 978-88-7096-023-5 (1991) € 13
MERCADANTE, SAVERIO.
Dodici melodie preparatorie al canto drammatico con accompagnamento di pianoforte, dedicate a Therese Tietjens. Napoli e Milano [ca. 1864]. Edited by Paola
Pisa. 22.9×31.5,
pp. XIV+72 (Essercizi di Musica, 7).
ISBN 978-88-7096-024-2 (1991) € 13
MERCADANTE, SAVERIO.
21
Catalogue of Publications in English, French and German
Musici di Roma e il Madrigale (I). Dolci affetti (1582) e Le gioie (1589). Edited by Nino Pirrotta
and Giuliana Gialdroni. 22.5×30, pp. XLVII+186 (L’Arte Armonica/Musica Palatina,1).
ISBN 978-88-7096-089-1 (1994)
€ 20
SAMMARTINI, GIOVANNI BATTISTA. Cantate per la Quaresima. Il Pianto degli Angeli della Pace
(J-C 119). Edited by Marina Vaccarini Gallarani. 22×31.5, pp. LXXIV+84 (Fondazione Arcadia,
Musiche italiane del Settecento, VIII).
ISBN 978-88-7096-643-5 (2011) € 25
Cantate per la Quaresima. Il pianto delle Pie Donne (J-C
118). Edited by Marina Vaccarini Gallarani. 22×31.5 (Fondazione Arcadia, Musiche italiane del
Settecento,III).
ISBN 978-88-7096-480-0 (2007)
€ 25
SAMMARTINI, GIOVANNI BATTISTA.
Cantate per la Quaresima. Il pianto di S. Pietro (J-C 117).
Edited by Marina Vaccarini Gallarani. 22×31.5, pp. LI + 45 (Fondazione Arcadia, Musiche italiane
del Settecento,II).
ISBN 978-88-7096-415-8 (2005) € 25
SAMMARTINI, GIOVANNI BATTISTA.
Cantate per la Quaresima. L’Addolorata Divina Madre
e Desolatissima nella Soledad (J-C 123). Edited by Marina Vaccarini Gallarani. 22×31.5, pp.
XLIV+60 (Fondazione Arcadia, Musiche italiane del Settecento, I).
ISBN 978-88-7096-424-0 (2005)
€ 25
SAMMARTINI, GIOVANNI BATTISTA.
SAMMARTINI, GIUSEPPE. Cantate a voce sola. Edited by Mariateresa Dellaborra. 22×31.5, pp. LXX-
VII+108 (Fondazione Arcadia, Musiche italiane del Settecento, VII).
ISBN 978-88-7096-634-3 (2011)
€ 25
STELLA, SCIPIONE. Inni a cinque voci (Napoli 1610). Edited by Flavio Colusso and Domenico An-
tonio D’Alessandro. 23×32.5, pp. CLXXII+102. Includes CD (Musica Theatina, II).
ISBN 978-88-7096-490-5 (2007)
€ 50
TESSARINI, CARLO. Gramatica di musica: insegna il modo facile, e breve per bene imparare di
suonare il violino. Urbino 1741. Edited by Luigi Rovighi. 30×21.9, pp. XVII+(22)+(23) (Essercizi
di Musica, 1).
ISBN 978-88-7096-011-2 (1988)
€ 15
UCCELLINI, MARCO. Sonate over canzoni da farsi a violino solo e basso continuo. Opera quinta.
Edited by Piotr Wilk. 24×34, pp. XLIII+ 72 (Marco Uccellini. Opera Omnia, volume IV).
ISBN 978-88-7096-313-7 (2002)
€ 30
22
Imago
PERIODICALS
Musicae
PERIODICALS
Imago Musicae
Imago Musicae, the International Yearbook of Musical Iconography, publishes articles on the relationship between music and the visual arts. Founded in 1984 and directed by Tilman Seebass, it gathers
substantial contributions on aesthetics, iconography and organology. This yearbook includes essays
and articles in the main European languages refereed by well recognized experts, a selection of book
reviews and thematic catalogues. Imago is therefore an irreplaceable instrument for music historians,
ethnomusicologists, art historians, organologists and cultural historians.
Supervision and direction: Tilman Seebass.
Editors: Björn R. Tammen, with Gabriela Ilnitchi Currie, Nicoletta Guidobaldi, Philippe Vendrix.
Recercare
Since 1989, Recercare publishes articles on Italian music and musical culture as well as on the
musical relations between Italy and other countries, from the fourteenth to the early nineteenth
centuries. Articles include topics such as performance practice, history of instruments and organology, music iconography, archival studies, theory and practice of music notation, musical
dramaturgy and aesthetics. The section Music and Books contains reviews and critical papers
on recent publications, both essays and practical music. Recercare publishes articles mainly in
Italian or English. Italian and English summaries are provided for all articles. Recercare is a highly-ranked journal included in all international academic assessments.
Editor: Arnaldo Morelli
Advisory board: Patrizio Barbieri, Mauro Calcagno, Philippe Canguilhem, Ivano Cavallini,
Étienne Darbellay, Marco Di Pasquale, Norbert Dubowy, Lowell Lindgren, Lewis Lockwood,
Stefano Lorenzetti, Renato Meucci, Margaret Murata, John Nádas, Noel O’Regan, Franco Piperno, Giancarlo Rostirolla, Luca Zoppelli
23