Compiled by Richard Charteris
When Archbishop Narcissus Marsh (1638-1713) saw the completion of his library in the early years of the 18th century, he could never have foreseen that within three hundred years its rich collection of over 25,000 books and 300 manuscripts would have become relatively unknown in the world of scholarship. It is certain that lack of a published full catalogue of the library's holdings is mostly to blame for the neglect of such fine material.
Dr Charteris' Catalogue attempts to remedy this lack as it applies to the small but valuable section, Music and Books on Music. The Catalogue has a short introduction by the compiler, and separate sections: Printed Books on Music, with 44 entries (giving such information as author, title, place of printing, printer, date and format, provenance and comments); Printed Music, 48 entries; Music Manuscripts, 15 entries which have page-by-page, folio-by-folio, or piece-by-piece notes. There is an Contents of authors, compilers, composers, owners, printers and publishers, and 14 full page illustrations of important title and other pages.
|9 x 7 inches||160 pp|
|Hardbound in cloth||ISBN 0 86314 017 3||£32|
Transcribed and edited by Richard Charteris
John Coprario (c. 1575-1626) was the favourite composer of Charles I. Much of Coprario's music has been edited by Dr Charteris and is available in print. The Six-part Consorts and Madrigals are here published in score and separate part-books. Three of the pieces have organ parts which allow for performance with fewer than six instruments if desired. There are eight pieces in all, with two Italian madrigals available (as in the original scores) for either vocal or instrumental performance. This is a group of very fine pieces which will interest viols players and singers.
|Score||12 x 8 1/4 inches||104 pp||hardbound|
|Seven part-books (one organ)||12 x 8 1/4 inches||124 pp||card covers|
|Score and parts||ISBN 0 86314 019 X||£64|
|Score only||ISBN 0 86314 051 3||£32|
|Set of seven part-books only||ISBN 0 86314 052 1||£32|
Transcribed and edited by Richard Charteris
Thomas Lupo (born about 1570) was in 1591 appointed musician for life at the court of Queen Elizabeth. He continued to serve at the English court (with promotion in 1621 to composer for violins) until his death in 1628. Lupo's vocal music reveals the same competency, lyricism and charm as is found in his instrumental music. This new volume contains some fine pieces which until now have not been available in print. Of his six five-part motets his setting of O vos omnes is especially outstanding, like his moving anthems Hear my prayer, O Lord and Out of the deep have I called unto thee (both for five voices). Besides these two anthems (and three others for five voices and one for four voices), this volume contains two masque songs, a solo ayre and a fine six-part English madrigal (Ay me, can love and beauty so conspire).
|12 x 8 1/4 inches||178 pp|
|Hardbound||ISBN 0 86314 050 5||£32|
Return to Editions Contents
Transcribed and introduced by Richard Charteris
This volume includes 2 duos for "two trebbles", 26 fantasias and airs, 4 three-part pavans, 2 three-part dance suites and a single dance movement for two instruments.
|Score||9 1/2 x 7 1/4 inches||176 pp||Sewn paperback|
|Three part-books||9 1/2 x 71/4 inches||164 pp||card covers|
|Score and parts||ISBN 0 86314 057 2||£42|
|Score only||ISBN 0 86314 106 2||£21|
|Set of parts||ISBN 0 86314 107 2||£21|
Transcribed and Introduced by Richard Charteris
This volume contains 13 fantasias and airs some of which (like several of the three-part pieces) incorporate dance elements into their design.
|Score||9 1/2 x 7 1/4 inches||100 pp||Sewn paperback|
|Four part-books||9 1/2 x 7 1/4 inches||88 pp||card covers|
|Score and parts||ISBN 0 86314 056 4||£45|
|Score only||ISBN 0 86314 076 9||£24|
|Set of four part books||ISBN 0 86314 077 9||£24|
Transcribed and edited by Ian Payne
The unique source of these motets, which are Ramsey's only known Latin compositions for six voices, is a set of six early seventeenth-century manuscript part-books (Cantus, Quintus, Altus, Sextus, Tenor and Bassus) devoted to 'Cantiones a sex voces' by the composer and found in the Euing Music Collection, Glasgow University Library. The editor has provided a statement on editorial method and a textual commentary.
|9 1/2 x 7 1/4 inches||32 pp|
|Card cover||ISBN 0 86314 089 0||£9|
Collected and edited by Christopher J. Pountain and Christine J. Whitbourn
This collection comprises 40 songs from the Spanish Golden Age in 2, 3, 4 and 5 parts, transposed to suit modern vocal ranges. Each song is newly transcribed from its original source. Although care has been taken to give full palaeographic information, the needs of the performer have been uppermost in the authors' minds. Underlay is clearly set out; each song is prefaced with brief editorial notes and a guide to performance, and there is a comprehensive pronunciation key.
Dr Pountain and Miss Whitbourn were colleagues in the Department of Hispanic Studies in the University of Nottingham from 1973 to 1979. During this time they organised a departmental choir as well as singing together in a smaller group, the Quodlibet Singers. Both groups performed a high proportion of secular and sacred music from the Spanish Golden Age, and Dr Pountain and Miss Whitbourn became convinced of an urgent need for an edition of the secular songs of the period tailored to the needs of performers. On the basis of their experience of what proved popular with audiences, they have assembled this collection.
|9 1/2 x 7 1/4 inches||174 pp|
|Section-sewn, card covers||ISBN 0 86314 132 3||£18|
Transcribed and edited by Gordon J. Callon,
School of Music, Acadia University, Nova Scotia.
The first edition complete of the music of Nicholas Lanier, 1588-1666,
lutenist, composer, first Master of the King's Music, painter and poet.
Twenty-one solo songs, 5 dialogues, 6 part songs, 4 instrumental works,
and the canon Thus, thus at last (from his Self Portrait)
as well as his poem Come Loyal Hearts.
There are seven reproductions, including his Self Portrait, with detail.
Lanier is remembered primarily as one of the composers who introduced the style of Italian monody to England. This he encountered during 1611 when as a domestic musician to Robert Cecil he accompanied Cecil's son William on a tour of northern Italy. Later, 1625-68, he again visited northern Italy, particularly Venice, as representative and agent of Charles I in the purchase of a large part of the art collection of the Dukes of Mantua.
Two songs appear with tabulature: Bring away this sacred tree, which was printed with lute tabulature and bass line, and Amorosa Pargoletta, of which the solo version has accompaniment for theorbo.
The remainder of Lanier's music provides accompaniment as a thorough bass. In the seventeenth century this normally would have been played on a theorbo, or a lute, or some other finger-plucked instrument. For the convenience of singers, the thorough bass in this edition is realised for keyboard.
Several of the sources of Lanier's music contain symbols indicating the use of ornaments, in addition to written out ornamentation and embellishment. Some manuscripts have a multitude of symbols and divisions, in the musical score itself, and in the margins and following individual pieces. Marginal and other extra embellishment of the copy-texts are given in the score when this will not disrupt the rhythmic structure. Included in this edition is a complete critical commentary listing musical sources, variants, and sources of the lyrics, with a discussion of the context of each item.
|12 x 8 1/2 inches||220pp|
|Section sewn, laminated card covers||ISBN 0 86314 224 9||£28|
T. J. Walsh (1911-1988)
This is the second volume of the official history of the Monte Carlo Opera covering the years 1879 to 1951. This present volume spans the theatre's fortunes under the reigns of three Princes, Albert I, Louis II, Rainier III. It vividly describes the increasing variety of productions there, contrasted with the disruption caused by two world wars and the depression of the early thirties, and ends at the retirement of Monte Carlo's colourful director, Raoul Gunsbourg.
Once again, Dr Walsh had complete access both to the relevant documents in the theatre and to all private letters and documents in the archives of the Palace. The book has a lengthy introduction (about 70,000 words), seven detailed appendixes dealing with performers, performances, contracts, fees, hotels and such like, and is profusely illustrated with photographs.
Dr Tom Walsh, writer, lecturer and broadcaster, spent his adult life combining the practice of medicine with the pursuit of opera. He studied singing under Professor A. G. Viani; in 1951 he founded the international Wexford Opera Festival and remained its artistic director for sixteen years.
|9 x 6 inches||460 pp||150 photographs|
|Hard covers in full library |
cloth, gold blocked, d.j.
|ISBN 0 86314 099 8||£38|