Suonate À Doi, Violino & Violadagamba, Con Cembalo, Opera Prima/suonate À Due, Violino et Violadagamba Con Cembalo, Opera secunda/Pièces En Trio Pour Les Flutes, Violon, & Dessus De viole/Clavier Uebung Bestehend Im Praeludio, Fuga, Allemande, Courante, Sarabande Und Gigue/Harmonice Musices Odhecaton A/Six Solos for a Violoncello with a Thorough Bass for the Harpsichord, Opera IX/Six Sonatas for Violoncello and Keyboard, Opp. 9
2004; Music Library Association; Volume: 60; Issue: 4 Linguagem: Inglês
ISSN
1534-150X
Autores Tópico(s)Diverse Musicological Studies
ResumoDieterich Buxtehude. VII. suonatc a do i, violino & violadagamba, con cembalo, opera prima. Edited by Eva Linfield. (Critical Facsimiles, 2.) New York: The Broude Trust, c1999, 1994. [Series description, 1 p.; in trod., p. 3-9; crit. apparatus, p. 11-15; and 3 parts in facsim. (violino, [32] p.; viola da gamba, [24] p.; cembalo, [20] p.). $40.] Dieterich Buxtehude. VII. suonate a due, violino et violadagamba con cembalo, opera secunda. Edited by Eva Linfield. (Critical Facsimiles, 3.) New York: The Broude Trust, c2003, 1994. [Series description, 1 p.; introd., p. 3-9; crit. apparatus, p. 11-19; appendix (title page of U.S. cembalo part-book); and 3 parts in facsim. (violino, 36 p.; viola da gamba, 32 p.; cembalo, 28 p. $40.] Marin Marais. Pieces en trio pour les flutes, violon, & dessus de viole. Edited by John Hsu. (Critical Facsimiles, 4.) New York: The Broude Trust, c2003, 2001. [Series description, 1 p.; introd., p. 3-8; crit. apparatus, p. 9-14; and 3 parts in facsim. (1^sup er^ dessus, 114 p.; 2^sup me^ dessus, 114 p.; basse-continue, 114 p. $50.] Vincent Lubeck. Clavier Uebung bestehend im Praeludio, Fuga, Allemande, Courante, Sarabande und Gigue. Edited by C. David Harris. (Critical Facsimiles, 5.) New York: The Broude Trust, c2000. [Series description, 1 p.; intiod., p. iii; facsim., 11 p.; crit. apparatus, 3 p. $17.50.] Ottaviano Petrucci. Harmonice Musiccs Odhecaton A. Edited by Stanley Boorman and Ellen S. Beebe; introduction by Stanley Boorman. (Critical Facsimiles, 7.) New York: The Broude Trust, c2001. [Series description, 1 p.; contents, p. v; introd., p. ix-xvii; facsim., 207 p.; crit. apparatus, p. 209-28; appendix, p. [229-34]. $45.] Francesco Guerini. Six Solos for a Violoncello with a Thorough Bass for the Harpsichord, Opera IX. Edited by Sarah Freiberg. (Critical Facsimiles, 8.) New York: The Broude Trust, c2001. [Series description, 1 p.; introd., 1 p.; facsim., 35 p.; crit. apparatus, 5 p. $17.50.1 Francesco Guerini. Six Sonatas for Violoncello and Keyboard, Opp. 9. Edited by Sarah Freiberg; figured bass realized by Byron Schenkman. (Classical Series, 6.) Albany, CA: PKB Productions, c2000. [Facsim. reprod. of title page, 1 p.; pref., p. i-ii; score, 49 p.; and 2 parts (cello, basso continue). PRB CL006; ISBN 1-56571-181-5. $27.] Just what are facsimiles lor? Ask any ten musicians and you will probably get at least ten answers, ranging from such comments as they help us get closer to the composer (a credible-sounding if rather nebulous justification proffered by the classically trained musicologist) to the more aesthetically based argument that facsimiles help us better appreciate the art of the engraver or printer. This latter idea is certainly easy to entertain in the case of at least two of the facsimile editions published by the Broude Trust under review here: the beauty and technical skill of Ottaviano Petrucci's Harmonice musices odhecaton A (Critical Facsimiles, 7)-here in the third edition of 1504-have long been valued and marvelled at, while the careful but flowing engraving work of Hierosme (Hierome) on behalf of Marin Marais almost two centuries later in 1692 cannot help but impress the reader-work so highly regarded in its own day to justify the prominent appearance of Gravees par Bonneuil on the opening page of each of the three partbooks (Critical Facsimiles, 4). Of course, in the case of modern editions of medieval and Renaissance sources, where the original notation is decoded and reencoded for today's user, a facsimile page or two from the original source may help in understanding the method of transcription, and consequently may inspire confidence that the editor has done a good job. Furthermore, as all polyphonic music before 1501 and much since was transmitted in manuscript rather than print, facsimiles of a few pages from an original manuscript may well present something of the unique artistic, fantastical, and functional aspects of the manuscript exemplar. …
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