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The National Library of Greece (Ethnike Bibliothike tes Ellados) is one of the richest depositories of Byzantine musical manuscripts and is surpassed by its holdings in Greece only by the multitude of manuscripts found in the monasteries of Mount Athos. In spite of being such a rich archive, the National Library has never published a catalogue of its musical manuscripts - not all of which are Byzantine or Greek. It is the purpose of this catalogue to recover or, in some instances, to present for the first time the repertory of the musical sources of the library. This project has been twelve years in the making for Professor Diane Touliatos, involving the discovery and detailed cataloguing of all 241 Western, Ancient Greek, and Byzantine music manuscripts. Not all of these are from Athens or modern Greece, but also encompass Turkey, the Balkans, Italy, Cyprus, and parts of Western Europe. This variety underlines the importance of the catalogue for identifying composers, music and performance practice of different locales. The catalogue includes a detailed listing of the contents as written in the original language as well as the titles of compositions (and/or incipits) with composers, modal signatures, other attributions and information on performance practice. Each manuscript entry includes a commentary in English indicating important highlights and its significance. There is a substantive English checklist that summarizes the contents of each manuscript for non-Greek readers. A bibliography follows containing pertinent citations where the manuscript has been used in references. There is also a glossary that defines terms for the non-specialist. Examples of some of the manuscripts will be photographically displayed. The catalogue will enlighten musicologists and Byzantinists of the rich and varied holdings of some of the most important musical manuscripts in existence, and stimulate more interest and investigation of these sources. As such, it will fill a major ga
This in-depth exploration of key manuscript sources reveals new information about medieval songs and sets them in their original contexts.
This catalogue of the music of Charles Ives contains 728 entries covering all of the prolific composer's works. James Sinclair's book presents information produced by recent Ives scholarship and generous commentary on each of Ives's compositions. It completes the work begun by musicologist John Kirkpatrick in 1955, when Ives's music manuscripts were deposited in the Yale Music Library. Ives's works are arranged alphabetically by title within genres. Whenever possible, each entry includes the main title and any other titles the composer may have used; the forces required; the duration; headings of movements; publication history; citation of the first known performance and first recording; the derivation of the work, listing music on which it may be modeled or from which it may borrow material; the principal literature treating the piece; and commentary on these and other matters. The catalogue also provides musical incipits for all Ives's extant works, seven appendixes (covering his work lists, 'Quality Photo' lists, his songbooks, a chronology of his life, recordings made by Ives, and his private publications and commercial publishers), three concordances, and four extensive indexes (addresses, names, titles, and musical borrowings).
First published in 1953, this book contains a catalogue of musical manuscripts from the collection of Peterhouse College, Cambridge. The manuscripts, all of which originated in the period 1540-1640, are divided into two groups: a set of four Latin partbooks described as the 'Henrician set' and two sets of English partbooks with some Latin insertions called the 'Caroline sets'. Transcripts of two scores are given: Christ rising again by Thomas Wilson and O Sapientia by Robert Ramsey. A contemporary organ book is also included. This volume will be of value to anyone with an interest in the Peterhouse Manuscripts and early English music.
The Austrian writer Stefan Zweig (1881-1942) built up a large collection of autograph manuscripts. At first he concentrated principally on literature and historical documents, but increasingly turned his attention to music, particularly in his later years. Many of the items in the Zweig Collection at the British Library are acquisitions from this period.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1988.
The Music Division of the National Széchényi Library (Budapest) houses 78 music manuscripts and scores, with all or part of each penned in the hand of Franz Liszt, one of Hungary's most prominent native sons. The library is the primary Hungarian public collection of Liszt's works and is among the world's most comprehensive. This book details the collection, classifying the works as (i) Liszt's compositions-autograph manuscripts, manuscript copies, proof-sheets or printed copies with additions and corrections in Liszt's hand (62 items); (ii) Liszt's compositions-printed or manuscript copies with autograph dedications (10 items); and (iii) Liszt's corrections and manuscript notes in and to works by other composers (6 items). Seventy-three music examples and 20 facsimile illustrations are also included. While other catalogues have been devoted to these Liszt compositions, this is the first to take full and accurate account of the collection to date. Thorough philological data of the documents, and descriptions and evaluations among the sources of the given composition are supplied. Maria Eckhardt's insightful additions concerning performance history and Liszt's relationships with dedicatees and fellow composers, based upon her previously published research, provide an enriched understanding of the compositions and their creator.