Article: The Magic Flute is a celebrated opera composed in 1791 by Wolfgang Amadeus Mozart. Mozart employed a libretto written by his close colleague Emanuel Schikaneder, who was also the director of the Theater auf der Wieden at which the opera premiered in the same year. (He played the role of Papageno as well). Grout and Williams describe the libretto thus:
Schikaneder, a kind of literary magpie, filched characters, scenes, incidents, and situations from others' plays and novels and with Mozart's assistance organized them into a libretto that ranges all the way from buffoonery to high solemnity, from childish faerie to sublime human aspiration -- in short from the circus to the temple, but never neglecting an opportunity for effective theater along the way.
Sources
The sources for the work fall into (at least) four categories: works of literature, earlier productions of Schikaneder's theater company, Freemasonry, and the 18th century tradition of popular theater in Vienna.
Literary sources
In work with D. D. Roy Owen, Peter Branscombe notes strong resemblances between the opening scenes of The Magic Flute and episodes of the medieval romance Yvain by Chrétien de Troyes (c. 1177). This work attracted attraction in Mozart and Schikaneder's time and appeared in a 1786–7 German translation by K. J. Michaeler, a member of the same Masonic lodge as Mozart. Yvain offers the following possible models: an imperiled hero in a desolate countryside, carrying a bow and rendered unconscious, rescued by three ladies, who bring him to a high-born mistress who is in need of a hero's services. In another scene of Yvain (which Owen and Branscombe suggest Schikaneder conflated with the first), the hero encounters a sort of wild man in dress so outlandish that he doubts his humanity; like Papageno, this wild man must assure the hero that he is human.
A major source appears to have been the 1731 novel Sethos ("Life of Sethos, taken from private memoirs of the ancient Egyptians") by the French author Jean Terrasson. The work appeared in a German translation by Matthias Claudius in 1777–8. Branscombe sees this a possible source for the serpent that appears in the opening scene, for the trials of water and fire, for the words sung by the Two Armed Men, and for the text of Sarastro's hymn "O Isis und Osiris." The connection is sufficiently close that Branscombe even suggests that modern directors attempting a new production should consult Sethos carefully for the hints it provides concerning what Mozart and Schikaneder would have wanted in terms of production and stage design.
The long essay "Über die Mysterien der Ägypter" ("On the mysteries of the Egyptians"), published by the Vienna scientist and Freemason Ignaz von Born in the first issue of the Masonic journal Journal für Freymaurer in 1784. This work describes among other things the worship of Isis and Osiris, the gods to whom Sarastro and his priests pray. It also is a possible source for the passages of overt misogyny, discussed below, that often perturb modern readers of Schikaneder's libretto.
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The series of three books entitled Dschinnestan published by Christoph Martin Wieland in 1786-1789 contains a total of 19 fairy tales. Some of these are retold stories, others were made up by Wieland or by his collaborator J. A. Liebeskind. Various of these stories -- which were being separately published in Vienna at the time The Magic Flute was being written -- are held to have influenced Schikaneder's Magic Flute libretto.
"Adis und Dahy" contains a model for the character Monostatos; he is a black slave who watches over the heroine and is later punished by his master.
"Neangir und seine Brüder" ("Neangir and his brothers") provides a model for Tamino's famous aria "Dies Bildnis ist bezaubernd schön": a hero falls in love with a woman merely by seeing her portrait and sets off to rescue her. As Branscombe notes, this situation is common enough in literature, but "Neangir" contains many of the actual words used in the text Schikaneder wrote for this aria.
"Die klugen Knaben" ("The clever boys") is perhaps the model for the Three Boys. They give wise advice to characters in the story, including a somewhat more verbose version of Schikaneder's "Sei standhaft, duldsam, und verschwiegen" ("Be steadfast, resolute, and discreet"). They also descend from the skies "on a white shining cloud to prevent a tragic outcome", perhaps the model for the Three Boys' interventions to prevent the intended suicides of Pamina and Papageno.
"Lulu, oder die Zauberflöte" ("Lulu, or the Magic Flute"). Branscombe takes the view that this story provided little more than the title of the opera.
Earlier theatrical productions
The Schikaneder troupe prior to the premiere of The Magic Flute had developed considerable experience with performing fairy tale operas with similar plots, characters, and singers. Two bear a particularly strong relationship to The Magic Flute:
Oberon, a romantic Singspiel in five acts by Friederike Sophie Seyler, premiered in a plagiarized version by Karl Ludwig Giesecke, later the first First Slave in The Magic Flute. Its source is a verse epic of the same title by Wieland.
Der Stein der Weisen oder Die Zauberinsel, premiered 1790. This, too, was based on a source in Wieland's Dschinnestan".
Freemasonry
A very long tradition asserts that Freemasonry plays a major role in the content of Schikaneder's libretto. Mozart was an active Mason in Vienna, and wrote a substantial quantity of music for his own lodge, including in 1791 (see Mozart and Freemasonry). Schikaneder had been a Mason in Regensburg (1786-7) for a few months before his lodge suspended him.
The simpler accounts of Masonic influence in The Magic Flute assume that Masonry provided a system of values, symbolism, and ritual for the opera, but no part of the narrative. More elaborate accounts suggest that the opera was intended as an allegory with a hidden Masonic agenda. For instance, the evil Queen of the Night is sometimes taken to be an emblem for the empress Maria Theresia, who was hostile to Freemasonry in Austria during her reign (1740-1780).
It remains a near-consensus that the opera is in a sense Masonic. However, the Mozart scholar David J. Buch has expressed a contrarian view, suggesting that Masonic interpretations have been oversold. His key point is that careful study of some of the other possible sources, such as those mentioned above, provides alternative origins for elements of the libretto thought to be Masonic. Buch is particularly skeptical of allegorical Masonic interpretations, since libretti with such hidden agendas do not appear to have been commonly created in Mozart and Schickaneder's day.
Viennese popular theater
The Hanswurst character was a mainstay of the popular theater tradition in Vienna, dating back decades before 1791. This character is earthy, wily, and charming, and Papageno survives in modern times as the best known representative of his type. Viennese popular theater in this tradition often included improvisation, and there is evidence that Schikaneder may have improvised some of his part when he premiered the role of Papageno. For instance, when Mozart played a practical joke on him during his performance of "Ein Mädchen oder Weibchen", Schikaneder quickly went off-script and turned the joke to his own advantage. Mozart related the story in a letter to his wife:
Today I had such a yen to play the Glockenspiel myself I went on stage. Just for fun, at the point where Schikaneder has a pause, I played an arpeggio. He was startled, looked into the wings and saw me. When he had his next pause I played no arpeggio. This time he stopped and refused to go on. I guessed what he was thinking and again played a chord. He then struck the magic bells and said, "Shut up!" This made everyone laugh.
Mozart's background
The experiences and background of the composer, who liked to have considerable input into the libretto (see The Abduction from the Seraglio for testimony), are also relevant.
Mozart is known to have visited the Temple of Isis at Pompeii in 1769, just a few years after it was unearthed and when Mozart was himself just 13 years old. His visit and the memories of the site are considered to have inspired him 20 years later in his composition of The Magic Flute.
The play Thamos, King of Egypt by , with themes similar to those in The Magic Flute, premiered in Vienna in 1774. Between 1773 and 1780, Mozart wrote incidental music, K. 345/336a, for this work.
Sexism and misogyny
A matter that perturbs many who encounter the opera is sexism and misogyny, particularly as expressed by the priests of Sarastro's order. (Racism, as expressed in the character of Monostatos, is also a matter of wide concern.)
Many critics have weighed in this question. Branscombe (1991), though deploring these elements in the libretto, might nevertheless be considered to represent something of an apologist view. Hunter (2008:109) offers a middle-of-the-road course, and Brown-Montesano (2007) provides a consistent and forcefully-expressed refutation of the apologists. David Cairns takes yet another view, one that distinguishes Schikaneder's contributions from Mozart's. In Cairns's judgment, Schikaneder himself was an unredeemable sexist, in addition to being (as the historical record indicates; see Emanuel Schikaneder) a womanizer: "Schikaneder appreciated women, no doubt of that, but not exactly in a spirit of emancipation." But Mozart, according to Cairns, consistently worked at improving the libretto in this respect, by omitting the worst of what Schikaneder wrote and more generally by enriching and enobling the character of Pamina. The elevation of Pamina's character indeed matches Mozart's lifelong practice, as Cairns suggests:
How could Mozart have done otherwise? [His portrayal of Pamina] is one more example of the thread that runs through the operas -- what Daniel Heartz has called Mozart's "infinite care to create strong and deeply moving female characters in [ ... ] all of his operas.
Authorship
Mainstream scholarship views Schikaneder as the highly probable author. For a marginally-supported alternative candidate, see Karl Ludwig Giesecke.
Assessment
The starting point of assessments of the libretto of The Magic Flute is that it is of dreadful quality. Thus Bauman writes, "The libretto has been generally regarded, in Dent's words, as "one of the most absurd specimens of that form of literature [i.e. libretti] in which absurdity is regarded as matter of course." With occasional exceptions, critics voice harsh views on the quality of Schikaneder's German versification as well. Defenders of the libretto generally do not defend it on its own terms (as if it could stand independently as a work of theater), but rather as a vehicle that served as a great inspiration for Mozart for composition, particularly in its assertion of high ideals and the portrayal of selfless love in the characters of Pamina and Tamino.
See alsoBelmont und Constanze. Sources for another Mozart opera.Vestas Feuer. A libretto Schikaneder prepared for Ludwig van Beethoven.
Notes References
Branscombe, Peter (1991) W. A. Mozart: Die Zauberflöte. Cambridge: Cambridge University Press. ISBN 9780521319164
Buch, David J. (2004) Die Zauberflöte, masonic opera, and other fairy tales. Acta Musicologica 76:193-219. Available on line: .
Chailley, Jacques (1972) The Magic Flute, Masonic Opera, translated from the original French by Herbert Weinstock. London: Gollancz.
"P. J. B" (1972) Review of Chailley (1972). Music & Letters'', Vol. 53, No. 4 (October), pp. 434-436. On line at JSTOR: . |
Source: Amherst Early MusicFestival - 2012Facsimiles &selected editionsOMI - Old Manuscripts & Incunabula PO Box 6019 FDR Station, New York, NY 10150tel 212/ 758-1946 fax 593-6186 http://www.omifacsimiles.com immels@earthlink.netANTICO, Andrea, c.1480-d.? [publisher]9069Canzoni nove con alcune scelte de vari libri. Rom, 1510.[Universitätsbibliothek Basel].Faksimile-Edition Rara, 59. Stuttgart, 2009. Oblong, 27 x 20 cm, 86, ivi pp.Line-cut of the Rome, 1510 edition. A unique print—Andrea Antico’s first—inthe possession of the Basel University Library, with title page in woodcut thatimmortalizes the purchaser and first owner of the volume: the humanistBonifacius Amerbach. The collection, comprised of 41 motets for 3 voices isengraved with incredible skill on wood blocks. Tromboncino is the bestrepresented composer in the collection (18 works). Afterword by MartinKirnbauer. Hardbound in decorative paper. $44BACH, Johann Sebastian, 1685-17508757Messe in h-moll BWV 232. 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The piece, in 7 movements orpartitas and principally scored for 2 violins and bc (1 partita is for 2 violed’amore & bass) employs scordatura tunings (”harmonia artificioso”) in theupper parts. Only partita VI is written for violins in normal tuning. Wrappers.$79 http://www.omifacsimiles.com/brochures/biber_harm.html9028Rosenkranz-Sonaten. Bayerische Staatsbibliothek München, Mus. Mss4123. Vorgelegt von Manfred Hermann Schmid. [Im Anhang:] Faksimileder “Türken-Sonate” aus dem Kodex Ms XIV 726 (Nummer 80, Bll. 162rbis 163v) des Wiener Minoritenkonvents].[Sonatas, violin, bc, “Mystery Sonatas”]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 themagnificent presentation copy (non autograph, sole surviving source),dedicated to the Archbishop Maximilian Gandolph von Khuenberg. 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Wrappers, with slipcase. $52http://www.omifacsimiles.com/brochures/byrd.htmlCAPIROLA, Vincenzo, 1474-d.?9286Vincenzo Capirola Lutebook. Compositione di Meser Vincenzo Capirolagentil homo Bresano. Ca. 1517. [Ms Newberry Library, Chicago].[Intabulations, lute]Lübeck, 2012 21.5 x 31 cm, iii, 76 pp. New full color facsimile produced two upper page. 42 lute intabulations, in Italian tablature, of sacred & secular worksfrom the 15th c. including works by Josquin, Brumel, Obrecht, Agricola, etc.Provides the earliest occurence of legato and non-legato, two kinds of trillsand of dynamic indications. Hardbound. $118http://www.omifacsimiles.com/brochures/capirola2.htmlFORMSCHNEIDER, Hieronymus, b.?-1556 [publisher]7310Novum et insigne opus musicum. [Stadtarchiv, Heilbronn].[Novum et insigne, part 1]Faksimile Heilbronner Musikschatz, 10. Stuttgart, 1996. Oblong, 20 x 15 cm, 6partbooks. Line-cut of the Nuremberg, 1537 edition. Hardbound in marbledpaper with matching slipcase. $191FRANCŒUR, Louis-Joseph, 1738-18049233Sonates à violon seul & basse continue. Livre premier.[Sonatas, violin, bc, book 1]Shumilov Facsimile Collection. Magdeburg, [2011]. 4˚. 2 partbooks, 94 pp.Line-cut of the Amsterdam, c.1717 edition. Set of 6 sonatas. Wrappers. (extrapart provided for violin) $369234Sonates à violin seul & basse continüe. IIe livre (sonates I-VI).[Sonatas, violin, bc, book 2, part 1]Shumilov Facsimile Collection. Magdeburg, [2011]. 4°, 2 partbooks, 94 pp.Line-cut of the Paris, c.1730 edition. The first 6 of a set of 12 sonatas.Wrappers. (extra part provided for violin) $369235Sonates à violon seul & basse continue. IIe livre [sonates VII-XII].[Sonatas, violin, bc, book 2, part 2]Shumilov Facsimile Collection. Magdeburg, [2011]. 4˚, 2 partbooks, 94 pp.Line-cut of the Paris, c.1730 edition. The second 6 of a set of 12 sonatas. Thesecond sonata is for violoncello or viol. Wrappers. 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O M I — tel. 212/ 758-1946 fax 212/ 593-6186 http://www.omifacsimiles.com immels@earthlink.netp.2FROBERGER, Johann Jacob, 1616-16678447Toccatten, Suiten, Lamenti. The Manuscript SA 4450 from the BerlinSing-Akademie zu Berlin. Facsimile and Transcription Edited by PeterWollny and the Berlin Sing-Akademie zu Berlin.Documenta Musicologica, II/31. Kassel, 2004. 25 x 35 cm, xxv, 75, 55 pp.Full-color reproduction of a contemporary ms copy, together with a newengraved edition. This ms resurfaced in 1999 and was returned to the archivesof the Sing-Akademie in Berlin in 2001. It was probably prepared fromautograph originals by the Hamburg organist Johann Kortkamp, ca.1665-1670and contains a total of 21 authentic Froberger compositions (6 toccatas, 13suites, 2 lamenti). Besides providing the first reliable readings for most of theworks, it also contains titles, explanations (especially elucidating the piecewith “26 numbered Passages”) and dedications that shed valuable light onFroberger’s life. Preface in Ger/Eng. Hardbound. $112http://www.omifacsimiles.com/brochures/froberger.htmlGAFURIO, Franchino, 1451-15223801Theoricum opus musice discipline. Napoli 1480. A cura di Cesarino Ruini.Musurgiana: Sources and Materials for the History and Theory of Music, 15.Lucca, 1996. 8º, xxiv, 244 pp. Line-cut of the Naples, 1480 incunabulum. Thefirst printed book of this Lombard musician. Shows the author’s growinginterest in Greek music theory and contains one of the most exhaustiveRenaissance studies of proportions. Introduction, bibliography, and index.Cloth. $67GARDANO, Antonio, 1509-1569 [publisher]4155Il primo libro a due voci de diversi autori. RISM 1543(19).[Duos, winds/strings][Yellow Book Series, 5]. Højbjerg, 1991. Oblong, 23 x 16 cm, 2 partbooks: 80pp. Line-cut of the Venice, 1543 edition. Consists of 67 textless duos derivedfor the most part from masses by a representative selection of composers.Wrappers. $44GUMPELZHAIMER, Adam, 1559-16257573Neue teutsche geistliche Lieder mit dreien Stimmen. [Schermar Bibliothek,Stadtbibliothek, Ulm].Faksimile-Edition Schermar-Bibliothek Ulm, 39. Stuttgart, 1998. 16 x 20 cm, 3partbooks, c.120 pp. Line-cut of the Valentin Schönigf edition, Augsburg,1591. 27 secular settings a3 in the Italian style. Wrappers. $40HANDEL, George Frideric, 1685-17598998Messiah HWV 56. Autograph. The British Library London. Commentaryby / Kommentar von Donald Burrows.[Messiah, oratorio, HWV 56, autograph]Documenta Musicologica, II/40. Kassel, 2008. 4°, viii, 284, 56 pp. Full-colorfacsimile edition of the autograph score, issued on the occasion of the 250thanniversary of the composer's death. Commentary in Eng-Ger-Jap. Handsomebibliophile binding with linen spine and decorative paper boards. SpecialOMI price. $579http://www.omifacsimiles.com/brochures/handel_mess.htmlHASSLER, Hans Leo, 1562-16127608Lustgarten neuer teutscher Gesäng. Balletii, Galliarden und Intraden mit4.5.6. und 8. Stimmen. [Schermar Bibliothek, Stadtbibliothek, Ulm].Faksimile-Edition Schermar-Bibliothek Ulm, 45. Stuttgart, 1998. 16 x 20 cm, 4partbooks, c.230 pp. Line-cut of the Paul Kauffmann edition, Nuremberg,1610. 15 settings a4, 13 a5, 8 a6, 3 a8 and 6 instrumental Intraden a6. Tenor,altus, quinta and sexta partbooks only. Wrappers, with portfolio in marbledpaper. $727583Venusgarten [oder Neue lustige liebliche Täntz teutscher und polnischerart auch Galliarden und Intraden mit 4.5.6. Stimmen mit und ohne Text].[Schermar Bibliothek, Stadtbibliothek, Ulm].Faksimile-Edition Schermar-Bibliothek Ulm, 46. Stuttgart, 1998. 15 x 21 cm, 3partbooks, c.240 pp. Line-cut of the Paul Kauffmann edition, Nuremberg,1615. 36 texted settings a5 and 11 a4 textless settings by J.L. Hassler andValintin Haussmann. For voices, with or without instruments. Wrappers. $40HAUSSMANN, Valentin, c.1565-c.16147524Außzug aus Valentini Haußmanns [Gerbipol. zweyen unterschiedlichenWercken als der teutschen Täntz mit 4. Stimmen und des ersten Theilspolnischer Täntz so Venusgarten tituliert mit 5. Stimmen mit und ohneText in ein Opusculum zusammen gebracht durch V. Haußmann].Schermar-Bibliothek, Stadtbibliothek, Ulm].[Dances, German & Polish]Faksimile-Edition Schermar-Bibliothek Ulm, 26. Stuttgart, 1997. 15 x 19 cm, 5partbooks, c.284 pp. Line-cut of the Balthasar Scherff edition, Nuremberg,1609. 11 dances a4, 28 a5, plus 59 purely instrumental dances a4. Wrappers,with handsome portfolio in marbled paper. $115HILDEGARD VON BINGEN, 1098-11793893Symphonia harmoniae caelestium revelationum. Dendermonde, St.-Pieters& Paulusabdij, Ms. Cod. 9. Introduction: Peter van Poucke.Facsimile Series: I/A.8. 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Stuttgart, 1997. 15 x 19 cm, 3partbooks, 72 pp. Line-cut of the Abraham Wagenmann edition, Nuremberg,1605. 19 settings a3 with sacred texts. Wrappers. $34ISAAC, Heinrich, c.1450-15173897Coralis constantini, primus tomus. Introduction: Edward R. Lerner.[Bayerische Staatsbibl., Munich].Facsimile Series, III/14. Peer, 1991. 8º, 4 partbooks: xii, 540 pp. Line-cut of theH. Formschneider edition, Nuremberg, 1550. The first collection of polyphonicsettings of the proprium for the whole liturgical year. Composed for theHapsburg Royal Chapel. Senfl, Isaac’s pupil, is credited with completing someof the unfinished compositions. Wrappers, & slipcase. $75http://www.omifacsimiles.com/brochures/isaac.htmlJEEP, Johannes, 1581-16447382Studentengärtleins [erster Theil. Neuer lustiger weltlicher Liedlein mit3.4. und 5. Stimmen]. [Schermar-Bibliothek, Stadtbibliothek, Ulm].Faksimile-Edition Schermar-Bibliothek Ulm, 14. Stuttgart, 1997. 15 x 19 cm, 4partbooks, c.98 pp. Line-cut of the Nuremberg, 1614 edition. 34 entirelyhomophonic, strophic setting in mensural notation. Considered among thefinest songs composed in the wake of Hassler. Wrappers. $67KNÖFEL, Johann, fl.1571-15927181Cantus choralis. Musicis numeris quinque vocum inclusus, eo ordine, quoper totum anni curriculum praecipuis diebus festis in ecclesia cantari solet.[Stadtarchiv, Heilbronn].Faksimile Heilbronner Musikschatz, 3. Stuttgart, 1995. Oblong, 20 x 15 cm, 5partbooks, 438 pp. Line-cut of the Dietrich Gerlach edition, Nuremberg, 1575.14 sacred settings for five voices, in mensural notation, arranged by theliturgical calendar. Wrappers. $122LASSO, Orlando di, 1532-15948781Moduli nondum prius editi monachi boioariae ternis vocibus, ab OrlandoLasso Compositi. RISM L.886. [London, British Library].[Yellow Book Series, 8]. Højbjerg, 2006. Oblong, 21 x 16 cm, 3 partbooks, 96pp. Line-cut of the Ballard edition, Paris, 1576. 15 motet settings in partbookformat (Superius, Tenor, Bassus) in mensural notation. Contents: Ave reginacaelorum, Beati omnes, Cantate Dominio, Christus resurgens, Domine non est,Deus tu scis, Ego sum resurrectio, Exaudi me Domine, Ego sum pauper, Egodixi Domine, Exaudi Deus, Haec quae ter triplici, Laetatus sum, O Mariaclausus, Sancta & immaculata. Wrappers, with slipcase. $82LYTTICH Johann, c.1581-16117296Venus-Glöcklein, oder Newe weltliche Gesänge mit anmuthtigen Melodienund lustigen Texten auff vier und fünff Stimmen. [Schermar-Bibliothek,Stadtbibliothek, Ulm].Faksimile-Edition Schermar-Bibliothek Ulm, 1. Stuttgart, 1996. 14 x 19 cm, 5partbooks, 350 pp. Line-cut of the Johan Weidner edition, Jena, 1610. 20 songsa4 & a5, and 13 instrumental pieces. Mensural notation. Wrappers. $67MATTHYSZ, Paulus, 1613-1684 [publisher]4552Der Goden Fluit-hemel. Amsterdam 1644. An Anthology of Music for 1, 2and 3 Soprano Recorders. Facsimile Edition with an Introduction byThiemo Wind.[Der Goden Fluit-hemel, 1, 2 & 3 recorders]Utrecht, 1993. Oblong, 19 x 10 cm, 19, 54 pp. Line-cut of the Amsterdam, 1644edition. Wonderful anthology–literally “Flute Heaven of the Gods”–consistingof dance music and popular vocal tunes arranged into 23 duets, 8 trios, and 25solos, all for the recorder. Most of the works are anonymous. Wrappers. $19
O M I — tel. 212/ 758-1946 fax 212/ 593-6186 http://www.omifacsimiles.com immels@earthlink.netp.3MILÁN, Luís, c.1500-d.?9156Libro de música de vihuela de mano intitulado El maestro. Valencia, 1536.[Biblioteca Nacional, Madrid].Madrid, 2008. 20 x 29 cm, xxvi, 202 pp. Full-color reproduction of theValencia, 1536 edition. Of utmost importance not only to vihuela enthusiastsbut also to renaissance lute players and modern classical guitarists. “ElMastro” (“the Teacher”) was created as a method and is the earliest knownexample of Spanish tablature for the vihuela in print. The music it contains isexquisite: 40 fantasies, 40 preludes, 6 pavanas, 6 Christmas carols for vihuelaand voice, 4 old romances and 6 sonnets. El Maestro is presented in levelsfrom simple to complex, so that a beginning vihuelist can proceed fromelementary to more complicated pieces as he or she learns. Many are ofconsiderable virtuosity and compositional styles vary from simplehomophony to polyphonic with virtuoso passagework. One noticesimmediately the great care with which the work was created and engraved.Alternate passages are given for players who wish to avoid more virtuosicparts, sections of pieces are indicated as optional, and Milan provides verbaltempo indications. The "vocal" notes in the tablatures for the Christmas carolshave been painstakenly printed with red ink (a precursor of Bach’s use of redink for the Biblical texts of the St. Matthew Passion). The music of Luis Milanis popular with performers to this present-day—both classical guitarists andlutinests regard El Maestro as an integral part of their repertoire. Introductionin Spainish by Gerardo Arriaga. Beautifully hard bound, with coverboardsbeing a replica of the original. $118http://www.omifacsimiles.com/brochures/milan.htmlMOZART, Wolfgang Amadeus, 1756-17918630Die Zauberflöte Aria: “Ein Mädchen oder Weibchen wünscht Papagenosich”. Faksimile und Klavierauszug. Nachwort von Silke Leopold.[Staatsbibliothek Preußischer Kulturbesitz, Berlin, Mus. ms. autogr. W.A.Mozart 620].[Magic Flute, selection, K.620]Kassel, 2005. Oblong, 4°, 36 pp. 4-color halftone facsimile of the autographscore (fols. 157-160 of the opera), one of the best known arias in the history ofmusic. Together with modern edition in vocal score format. The opera owesits success in no small part to the role of Papageno, a mixture of buffoon andharlequin, of mythical beast and child of nature, uniting many theatricaltraditions: the wily servant and fool of the commedia dell’arte, Prince Taminoand his grudging servant, Papageno the Bird-Catcher, are the same pairingopposites as Don Giovanni and Leporello, etc. Schikaneder actually wrote thepart of the Bird-Catcher to showcase his own talents. Mozart captures ahumorous account of a performance of the work at the Freihaus-Theater in aletter to Constanze, dated 9 Oct. 1791: “During Papageno’s aria with theglockenspiel I went behind the stage, as I felt a sort of impulse today to play itmyself. Well, just for fun, at the point where Schikaneder has a pause, I playedan arpeggio. He was startled, looked into the wings and saw me. When hehad his next pause, I played no arpeggio. This time he stopped and refused togo on. I guessed what he was thinking and again played a chord. He thenstruck the glockenspiel and said ‘Shut up’. Whereupon everyone laughed. Iam inclined to think that this joke taught many of the audience for the firsttime that Papageno does not play the instrument himself.” Commentary inGer-Eng-Jap. With attractive binding red linen. $32http://www.omifacsimiles.com/brochures/moz_mad.htmlOTHMAYR, Caspar, 1515-15537185Symbola, illustrissimorum principum, nobilium, aliorumque doctrina, acvirtutum ornamentis praestantium virorum, musicis numeris explicata.[Stadtarchiv, Heilbronn].Faksimile Heilbronner Musikschatz, 4. Stuttgart, 1995. Oblong, 20 x 15 cm, 5partbooks, 358 pp. Line-cut of the Montanus & Neuber edition, Nuremberg,1547. 34 motets a5 featuring texts with heraldic mottoes, or symbola, ofillustrious men of the day, the publisher among them. Wrappers. $139PANDOLFI-MEALLI, Giovanni Antonio, 17th c.9212Sonate op.III & IV for Violin & BC - Innsbruck 1660. Facsimile, Edited byEnrico Gatti and Fabrizio Longo.[Sonatas, violin, bc, op.3-4]Magdeburger Faksimile Offizin. Magdeburg, 2011. 4º, 30 94 pp. 4-colorreproduction of the Innsbruck, 1660 edition. Although the details of GiovanniAntonio Pandolfo Mealli’s life are still largely unknown, his music is nostranger to the concert hall. Unfortunately these beautifully reproducedfacsimiles of Sonata Opera Terza and Opera Quarta represent all that theworld knows of this great composer and virtuoso violinist. Printed in themovable type of the time—but easy to read by modern performerstoday—these pieces illustrate the flourishing art of violin playing in centralItaly in the heart of the 17th century. Pandolfi often writes out hisornamentation in full—a personal indication of his virtuosity—and so adds anextra dimension of interest for the modern performer. The sonatas have analmost "portrait" quality with such endearing titles such as La Stella, La Cesta.La Melana, La Castella, La Monella Romanesca, La Biancuccia, La Vinciolina,etc. These are “nicknames” actual historical figures—many of them virtuosimusicians—to whom Pandolfi Mealli pays special hommage. Commentary inIt-Eng. Wrappers. $74http://www.omifacsimiles.com/brochures/pandolfi.htmlPETRUCCI, Ottaviano, 1466-1539 [publisher]8439Lamentationum Jeremie... liber primus und secundus. Venezia, O.Petrucci 1506. [Civico Museo Bibliografico Musicale, Bologna].Faksimile-Edition Rara, 45. Stuttgart, 2004. Oblong, 24 x 17 cm, 204 pp.Line-cut of the Venice, 1506/1506 edition. Two books of lamentations settingsa4, notated in choirbook format, by Agricola, Tinctoris, Bernhard Ycart,Marbrianus de Orto, Johannes de Quadris, Tromboncino, Gaspar, Francescod’Ana, Erasmus Lapicida and others. Hardbound, in decorative paper. $64http://www.omifacsimiles.com/brochures/petrucci_lam.html8725Laude libro secondo (Venezia, O. Petrucci, 1507). RISM 1508(3).[Biblioteca Colombina, Seville].[Yellow Book Series, 7]. Højbjerg, 2006. Oblong, 23 x 16 cm, 112 pp. Line-cut ofthe Venice, 1507 edition. Contains 60 setting for 3 and 4 voices by BartolomeoTromboncino and his contemporaries. Wrappers. $58http://www.omifacsimiles.com/brochures/petrucci_laudes.html8425Motetti A, numero trentatre. Petrucci, Venezia 1502. [Civico MuseoBibliografico Musicale, Bologna].Faksimile-Edition Rara, 44. Stuttgart, 2004. Oblong, 24 x 17 cm, 112, 22 pp.Line-cut of the Venice, 1502 edition. Motets a4, choirbook format, by Josquin,Compere, Agricola, Brumel and their contemporaries. In this particularPetrucci print from the CMBM four additional pieces were added inmanuscript in 1850. Hardbound, in decorative paper. $629269Motetti libro quarto (Venezia, O. Petrucci, 1505). RISM 1505(2).[Wolfenbüttel, Herzog-August Bibliothek].[Yellow Book Series, 10]. Højbjerg, 2011. Oblong, 23 x 16 cm, 4 partbooks, 256pp. Line-cut of the Venice, 1505 edition. Contains 55 settings (countingseparate movements) for 4 voices by Josquin, Brumel, Obrecht, Mouton andtheir contemporaries. Wrappers, with slipcase. $130http://www.omifacsimiles.com/brochures/petrucci_motetti4.html4156Strambotti, ode, frottole, sonetti, et modo de cantar versi latini e capituli.Libro quarto. RISM 1507(2).[Yellow Book Series, 3]. Højbjerg, 1991. Oblong, 23 x 16 cm, 112 pp. Line-cut ofthe Venice, 1507 edition. Includes 91 Italian secular songs in four parts;choirbook format with mensural notation. Wrappers. $44http://www.omifacsimiles.com/brochures/petrucci_stram.htmlREBEL, Jean-Féry, 1666-17479077Les éléments. Simphonie nouvelle. Neuausgabe. Faksimile derPisendel-Abschrift. Herausgegeben von Stefan Fuchs.Magdeburger Faksimile Offizin. Magdeburg, 2005. 4º. Facsimile of the ofParis, 1737 edition, together with modern edition. Wrappers. $56RHAU Georg, 1488-1548 [publisher]9276Sacrarum hymnorum liber primus. Wittenberg/ Georg Rhau 1542. RISM1542(12). [Ratsschulebibliothek, Zwickau].Faksimile-Edition Zwickau, 6. Stuttgart, 2012. Oblong, 19 x 15 cm, 4partbooks, 550 pp. Line-cut of the Wittemberg, 1542 edition. Major collectionof polyphonic settings of Latin hymns for 4-6 voices. The preface is dedicatedto the mayor and council of Joachimstal, and credits Mathesius as havingproposed and encouraged the work. Thomas Stoltzer is represent by 39works. Hardbound in decorative paper, with matching slipcase. $174ROSTHIUS, Nicolaus, c.1542-16227182Fröliche neuwe teutsche Gesäng, so zum Theil geistlich, zum Theil auchsonst kurtzweilig, mit vier, fünff und sechtz Stimmen. [Stadtarchiv,Heilbronn & Bibliothek der Gesamthochschule, Kassel].Faksimile Heilbronner Musikschatz, 1. Stuttgart, 1995. Oblong, 20 x 15 cm, 6partbooks, 286 pp. Line-cut of the Christoff Raben edition, Frankfurt, 1583.Four German songs a6, eighteen a5, and eight a4, in mensural notation.Hardbound, in slipcase. $183RUHE, Johann Friedrich, 1699-17767976Quattro suonate par viola da gamba et fondamento. Herausgegeben vonBernd Musil und dem Thüringischen Staatsarchiv Greiz.[Sonatas, viola da gamba, bc]Magdeburg, 2001. 4º, 2 partbooks: 6, 48 pp. Halftone of the autograph parts.Wrappers. $367977Suite pour viole de gambe et violoncello. Herausgegeben von Bernd Musilund dem Thüringischen Staatsarchiv Greiz.[Suite, viola da gamba, violoncello]Magdeburg, 2001. 4º, 4, 8 pp. Halftone of the autograph score. Wrappers. $18
O M I — tel. 212/ 758-1946 fax 212/ 593-6186 http://www.omifacsimiles.com immels@earthlink.netp.4SCHMELZER, Johann Heinrich, 1620-16809050Sonatae unarum fidium. Sechs Sonaten für Violine und B.c. Faksimile,Nürnberg 1664. Herausgegeben von Marc Strümper.[Sonatas, violin, bc]Magdeburg, 2009. 4º. viii, 41 pp. Halftone of the Endter edition, Nuremberg,1664. The first collection of violin sonatas published by a German-speakingcomposer and a milestone in the history of violin music. The first 6 sonatas arein variation form; the last two introduce dance movements with wonderfulruminative monologues. Introduction in Ger-Eng. Wrappers. $40http://www.omifacsimiles.com/brochures/schmelzer.htmlSCOTTO, Girolamo, c.1505-1572 [publisher]1678Villancicos de diversos autores, a dos, y a tres, y a quatro, y a cinco bozes.RISM 1556(30). [Universitetsbibliotek, Uppsala].[“Cancionero de Uppsala”][Yellow Book Series, 1]. Højbjerg, 2/ 1991. 15 x 21 cm, 131 pp. Line-cut of theVenice 1556 edition. Contains 54 villancicos and some instrumental works for2 to 5 parts notated in choirbook format. Also known as the “Cancionero delDuque de Calabria” or “Cancionero de Uppsala”. Wrappers. $43http://www.omifacsimiles.com/brochures/scotto.htmlTELEMANN, Georg Philipp, 1681-1767311912 Fantasias for Solo Flute (with Facsimile). [Conservatoire Royal,Brussels, lit. T 5823 W].[Fantasias, flute, TWV 40:2-13]Monteux, 1987. 4º, vi, 12, 24 pp. Line-cut of the sole surviving print fromc.1728 (possibly Telemann’s first attempt at engraving), together with a newpractical edition. Although someone has added a title page that reads“Fantasie per il violino, senza basso”, Barthold Kuijken believes they wereintended for transverse flute on account of their range. Wrappers. $137978Fantasie per il violino senza Basso TWV 40:15-25. Herausgegeben vonBrit Reipsch. [Staatsbibliothek Preußischer Kulturbesitz Berlin,Ms.21788].[Fantasies, violin, TWV 40:15-25]Magdeburg, 2001. 4º, 9, 15 pp. Halftone of a contemporary ms copy. Preface inGer-Eng. Wrappers. $298520Der Getreue Music-Meister (1728-1729). Présentation por MichelGiboureau.Collections Dominantes. Courlay, 2004. 4º, xvi, 108 pp. Halftone of theHamburg, 1728 edition. The first German musical edition published byinstallments and model for Birnstiel’s Musikalisches Allerley and CPE Bach’sMusikalisches Vielerey. Telemann prepared the pewter plates himself; he firstwrote the music down in pencil (in mirror image) and then engraved over thepencil, taking advantage of a ruler and other engraver’s tools which resultedin greater consistency. Includes: TWV 40:1, 107-111; TWV 41:C1, C2, d1, D1,D4, D5, D6, E2, E3, f1, F2, g4, g5, G6, a3, A2, B3, B4, h2; TWV 42:C1. Wrappers.$53 http://www.omifacsimiles.com/brochures/telemann_gm.html9051Musique de Table. Tafelmusik in 3 Produktionen. Herausgegeben vonReinhard Goebel.[Musique de table, strings/winds, TWV 50-55]Magdeburg, 2010. 4°, 7 partbooks. Line-cut of the Hamburg, 1733 partbookedition. With the publication of his Tafelmusik, Telemann provides acrowning “trio” of German instrumental music of the late Baroque period,alongside Bach’s Brandenburg Concerti and Handel’s Concerti grossi op.6.The composer shows himself at the zenith of his creative powers. Each partconsists of a series of movements (Ouverture, Quatuor, Concert, Trio, Solo,and Conclusion) in various instrumentations—flauto dolce, flauto traversiere,oboe, tromb, strings & fondamento. One masterwork follows the other,forming a logically-built structure, yet each work can also stand alone.Wrappers, in slipcase. $148http://www.omifacsimiles.com/brochures/telemann_mdt.html8374Sechs Ouverturen nebst zween Folgesätzen. TWV 32:5-10 fürs Clavier.Herausgegeben von Brit Reipsch. Faksimile. [Sächsische Landesbibl.Sachsen; Staats- & Universitätsbibl. Dresden].[Overtures, keyboard, TWV 32:5-10]Magdeburg, 2003. 4º, 8, 19 pp. Halftone of the Balthasar Schmid edition,Nuremberg, c.1740-49. Preface in Ger-Eng. Wrappers. $29VICTORIA, Tomás Luis, 1548-16118608Officium defunctorum a seis voces. Estudio y transcripción: Samuel Rubio.Avila, 2000. 28 x 41 cm, 2 vols, i, 60, 103 pp. Full-color facsimile, in the originalformat, of the 1605, Madrid edition. This beautiful and rare print—only fourexemplars survive—is the last known work of Victoria (composed in 1603)and was printed by the “Imprenta Real de Madrid” in large, easy-to-readchoirbook format. The exemplar used for this edition, from the archives of theCatedral de Segorbe, contains a few annotations in manuscript, showing thatit was actually used for performance. Together with introduction in Spanishand modern transcription. Limited edition of 2000 copies, handsomely boundin burgundy linen with gold lettering. $195http://www.omifacsimiles.com/brochures/victoria.htmlWIDMANN, Erasmus, 1572-16347305Musicalischer Tugendspiegel [gantz newer Gesäng mit schönenhistorischen und poetischen Texten sehr nutzlich zu lesen und lieblich zusingen]. [[Schermar-Bibliothek, Stadtbibliothek, Ulm].Faksimile-Edition Schermar-Bibliothek Ulm, 6. Stuttgart, 1996. 15 x 19 cm, 5partbooks, 170 pp. Line-cut of the Nuremberg, 1613 edition. 40 secular settingsa4 & 5 suitable for voices and instruments. Wrappers, with handsome slipcasein marbled paper. $69COMPOSITE & MISCELLANEOUS SOURCES2802Chansonnier of Marguerite of Austria. Brussel, Koninklijke Bibliotheek,Ms. 11 239. Introduction: Martin Picker.[Brussels, Bibl. Royale Albert I, 11239]Facsimile Series, I/A.4. Peer, 1988. 14 x 20 cm, viii, 70 pp. Halftone. From theworkshop of Petrus Alamire. Begins with 4 “Regretz”-chansons, obviouslyhighly regarded by Marguerite. Chansons by Brumel, Josquin, Isaac, de laRue, Agricola, Ockeghem, and others. Hardbound. $466685A Late Medieval Songbook and its Context: New Perspectives on theChantilly Codex (Bibliotheque du Chateau de Chantilly, Ms. 564), editedby Yolanda Plumley and Anne Stone.[Chantilly, Bibliothèque du Château de Chantilly, ms. 564 (olim1047)]Collection “Epitome Musical”. Turnhout, 2010. 29 x 40 cm. 365 pp.Proceedings for a special symposium devoted to Codex Chantilly. Wrappers.$100 http://www.omifacsimiles.com/brochures/chantilly.html7081The Lucca Choirbook. Lucca, Archivio di Stato, MS 238; Lucca, ArchivioArcivescovile, MS 97; Pisa, Archivio Arcivescovile, Bibliotheca Maffi,Cartella 1 1/III. With and Introduction and Inventory by ReinhardStrohm.[Lucca, Archivio di Stato, ms 238; Lucca, Archivio Arcivescovile, ms97]Late Medieval and Early Renaissance Music in Facsimile, 2. Chicago, 2008. 26x 36 cm, 208 pp. More than forty years ago in the state archives of Lucca, Italy,Reinhard Strohm noticed that bindings on some of the books consisted of thepages of a centuries-old music manuscript. In the following years, Strohmworked with the archivists to remove these leaves and reassemble as much aspossible of the original manuscript, a major cultural recovery now known asThe Lucca Choirbook. The recovered volume comprises what remains of agigantic cathedral codex commissioned in Bruges around 1463 andcontaining English, Franco-Flemish, and Italian sacred music of the 15thcentury—including works by Dufay and Isaac. This facsimile of the choirbookincludes all the known leaves, ordered according to their proper placement inthe original codex. In the introduction, Strohm tells the fascinating story ofthis choirbook, identifying its early users and reconstructing its travel fromBruges to Lucca. Linen. $185http://www.omifacsimiles.com/brochures/lucca.html8392Les 3 méthodes de flute a bec en France à l’époque baroque recueillies etprésentées par Laurence Pottier. Loulié, Freillon Poncein, Hotteterre.[Methods, recorder]Bourg-la-Reine, 1996. 4˚, vi, 50 pp. New edition of “Méthode pour apprendre àjouer de la flûte douce” (Loulié), and line-cut reproductions of “La veritablemanière d’apprendre a jouer” (Freillon Poncein, recorder section only) and“Principes de la flûte traversière” (Hotteterre). Introduction in Fr. Cloth. $485889Le livre d’orgue de Montréal. Un manuscrit de musique françaiseclassique. Étude critique et historique par Elizabeth Gallat-Morin.[“Montreal organ book”]Collection la Vie Musicale en Nouvelle France, II. Montreal, 1988. 8º, xiv, 459pp. Critical commentary to above. Thematic catalog and bibliography.Wrappers. $85
O M I — tel. 212/ 758-1946 fax 212/ 593-6186 http://www.omifacsimiles.com immels@earthlink.netp.57079Oxford, Bodleian Library, MS Canon. Misc. 213. With an Introductionand Inventory by David Fallows.Late Medieval and Early Renaissance Music in Facsimile, 1. Chicago, 1995. 26x 36 cm, 376 pp. Beautiful halftone reproduction based on newlycommissioned photography. Copied probably in Venice around 1430, theOxford manuscript contains the most comprehensive surviving collection ofsecular songs of the late 14th and early 15th centuries. Of the 326 pieces, 216are unica. Including works by Guillaume Dufay, Binchois, and nearly all otherleading composers of their generation, it is central to an understanding of15th-c. song traditions. Because of the copyist's clear and distinctive hand, it isalso significant for studies of late medieval musical notation. David Fallows'introduction includes a history of the manuscript, analysis of its preparation,and survey of its choice of repertory, as well as a full inventory of the musicand alphabetical indexes by title and composer. The original-size facsimileincludes beta-radiographs of all watermarks, as well as ultraviolet photos thatshow the copyist's changes and revisions. Cloth. $260http://www.omifacsimiles.com/brochures/oxford.html9142The Eton Choirbook. A Full-Colour Facsimile of Eton College Library, MS178.[Oxford, Eton College Library, MS 178]Oxford, 2010. 30.6 x 42,7 cm, 60 + vi, 252 + vi pp. (same as above but withbinding in full buckram) $425http://www.omifacsimiles.com/brochures/eton.html4635Chansonnier de la Lorraine. Paris, Bibliothèque Nationale, fonds français1597.[Paris, Bibl. Nationale, fr. 1597]Waiblingen, c.1991. 15 x 21 cm, 158, iii pp. Line-cut reproduction of a centralFrench chansonnier (Agricola circle) documenting the change from 3 to4-voice texture. In choirbook format with mensural notation. Coverboards inparchment paper with handsome cloth spine. $967735Das Liederbuch des Johannes Herr von Glarus.[Saint Gall, Stiftsbibliothek, 462]Faksimile-Edition Rara, 7. Stuttgart, 1999. Oblong, 26 x 20 cm, 172, i pp. St.Gall 462 appears to be the copybook of Johannes Heer, a musician and citizenof Glarus, and student in Paris. Contains many famous chansons from the15th and 16th centuries, lacking attributions; included among them isJosquin’s royal piece with a complete French text and marginal note at the endof the bass part “Parisius 1510 pro festo corpore”, Harbound, with vellumpaper boards. $1447596The Art of the Unmeasured Prelude for Harpsichord. France 1660-1720.Tilney, Colin.London, 1991. 4º, 3 vols, 117, 109, 54 pp. Detailed study of the unmeasuredprelude. One volume of facsimiles, and a volume each of transcriptions andcommentary. Wrappers, with slipcase. $1157264Die mittelalterliche Musik-Handschrift W1. VollständigeReproduktion des “Notre Dame”-Manuskripts der Herzog AugustBibliothek Wolfenbüttel, Cod. Guelf. 628. Helmst. Mit einemVorwort (deutsch und englisch) herausgegeben von MartinStaehelin.[Wolfenbüttel, Herzog-August-Bibl., 628, “W1”]Wolfenbütteler Mittelalter-Studien, 9. Wiesbaden, 1995. 8º, 50, 394 pp. Newhalftone reproduction in the original size with full margins. The third largestms representing the “central” Notre Dame tradition, transmitting organumand conductus. Includes repertory of settings on chants from the Ordinary,clearly of insular origin. Probably copied at St. Andrew’s in Scotland between1250 and 1300. Hardbound. $188http://www.omifacsimiles.com/brochures/w1.htmlMODERN EDITIONS6933Selected Works for Keyboard. Edited by Gerhard Doderer & Miguel BernalRipoll.Cabezón, Antonio de.Kassel, 1967. 4°. Modern edition. Wrappers. $1566511Fantasias for Viols in Four Parts. Edited by Andrew Ashbee and BruceBellingham.Ferrabosco, A.Musica Britannica, LXII. London, 1992. Modern edition. The first of threevolumes presenting the surviving instrumental music of Alfonso Ferraboscothe Younger. Contrapuntally sophisticated, his fantasias were admiredthroughout Europe and laid the foundations for the development of 17th-c.English consort music. Wrappers. $1496875Libro de diferentes cifras (1705).Cifras para Tañer, 1. Madrid, 2008. 20 x 29 cm, xxiv, 73 pp. Study andtranscription by Francisco Alfonso Valdivia. Preserved in the BibliotecaNacional in Madrid, this important manuscript for 5-string guitar dated 1705contains 107 anonymous pieces, with the exception of one attributed toFrancesco Corbetta. Gaspar Sanz is well represented, both in the literal copyof the Instucción de música as in the reuse of some of its differences; severalpieces are related to works of Santiago de Murcia which could mark the firstcronological source of this guitarist. There are many French inpired dancestogether with the genuinely Spanish ones. Wrappers. $416919Concert à deux violes esgales du Sieur de Sainte-Colombe, éd. PaulHooreman.Sainte-Colombe.Paris, 2/2010. 4º, xxii, 232 pp. Modern edition. 7 concerts for 2 bass viols withdescriptive titles such as “Le Tembleur”, “Le Retour”, “L’Estonne”, etc.Wrappers. $85MONOGRAPHS6388Théorie et analyses musicales: 1450-1650. Actes du collogue internationalLouvain-la-Neuve, 23-25 septembre 1999 / Music Theory and Analysis.Proceedings, of the International Conference Louvain-la-Neuve, 23-25September 1999. Publiés sous la direction de Anne-EmmanuelleCeulemans et Bonnie J. Blackburn.Ceulemans, A.-E. & B.J. Blackburn.Publications d’histoire de l’art et d’archéologie de l’Université Catholique deLouvain; C. Musicologica neolovaniensia, Studia, 9. Louvain 2001 8˚ 440 ppArticles by Blackburn, Woodley, Bent, van Benthem, Magani & Rossi, Tacaille,Judd, Otalola, McKinney, Schiltz, Bonniffet, Phipps & Rasch. Index. $256932Josquin.Fallows, David.Collection “Épitome Musical”. Turnhout, 2010. 8°, 522 pp. This bookassembles and assesses the newly available material. on the life and work ofJosquin Desprez. It builds the main works into the narrative of Josquin's life.Appendices include a critical listing of the documents about Josquin, asummary of later literary references to him, summaries of the relevantinformation about the main figures mentioned in the book, a list of othermusicians at the time named Josquin or something similar (35 of them!) andmuch else. Hardbound. $1387166An Anthology of Music Fragments from the Low Countries (MiddleAges–Renaissance). Polyphony, Monophony and Slate Fragments inFacsimile.Schreurs, Eugeen.Facsimile Series, I/A.11. Peer, 1995. 23 x 33 cm, xxiv, 132, 4 pp. Full-colorreproductions of fragments of medieval and renaissance music and musictheory uncovered in the archives and libraries of the Low Countries. Themainly polyphonic music fragments include compositional sketches anddidactic drafts as well as simple polyphony, sacred and secular monophonyand slate fragments. Introduction in Flem-Eng. Linen. $123http://www.omifacsimiles.com/brochures/schreurs.html6688Method for the Baroque Lute. A Practical Guide for Beginning andAdvanced LutenistsSerdoura, Miguel.Bologna, 2008. 4˚, 364 pp. Comprehensive tutor for the 11- and 13-courseBaroque lute, including an anthology of 250 pieces divided into 3 levels ofdifficulty. Wrappers. $97 |