{"id":2743,"date":"2016-06-06T19:47:01","date_gmt":"2016-06-06T19:47:01","guid":{"rendered":"http:\/\/faculty.wagner.edu\/david-schulenberg\/?p=2743"},"modified":"2021-12-08T13:54:25","modified_gmt":"2021-12-08T13:54:25","slug":"editions","status":"publish","type":"post","link":"https:\/\/faculty.wagner.edu\/david-schulenberg\/editions\/","title":{"rendered":"Editions"},"content":{"rendered":"

Editions<\/strong><\/p>\n

Below are links to scores that I have prepared in connection with performances and research. I’ve played some of these compositions; others are works that I’ve written about or studied when modern editions were not available. A few of these scores are accompanied by commentaries about sources and readings, but most were not intended to serve as critical editions. They are listed alphabetically by composer. Pieces are for solo keyboard if not otherwise designated.<\/p>\n

Anonymous<\/strong>
\nCourantes from the Lynar manuscript<\/a>: keyboard pieces attributed to La Barre, Gautier, and Ballard from an early 17th-century German (?)\u00a0manuscript (midi file<\/a>)
\nDances from GB Lbl Add. 23623<\/a>: a courante “La Reine” (Elizabeth of Bohemia), an untitled piece, a Canarie, and a rigadoun (?) from an early 17th-century Dutch manuscript (midi file<\/a>)
\n<\/strong>Fantasia from GB Lbl Add. 29486:<\/a>\u00a0a keyboard piece from an early 17th-century English (?) manuscript
\nFantasia and suite in A minor from the Lynar manuscript<\/a>: keyboard pieces sometimes attributed to Froberger<\/p>\n

Ariosti, Attilio<\/strong>
\nIl naufragio,<\/em> cantata for alto, 2 violins, and continuo<\/a> (parts: vn1<\/a>, vn2<\/a>, bc<\/a>)<\/p>\n

Bach, Carl Philipp Emanuel
\n<\/strong>Keyboard sonatas, concertos, and other works<\/a>\u00a0(listed in separate file)<\/p>\n

Bach, Johann Christian<\/strong>
\nEarly works for solo keyboard
\n—Sonata in A minor<\/a>
\n—Sonata in A-flat<\/a>
\n—Toccata in B-flat minor<\/a>
\n—Sonata in B-flat<\/a>
\nSonata in G for two keyboards, op. 15, no. 5<\/a><\/p>\n

Bach, Johann Sebastian
\n<\/strong>Completions of fragmentary keyboard\u00a0works<\/a>
\n
\n<\/strong>Suites, sonatas, and partitas for solo instruments, arranged for keyboard<\/a><\/p>\n

Songs, Arias, and Chorales from the Little Keyboard Book for Anna Magdalena Bach, 1725<\/a>: realizations and arrangements for solo keyboard<\/p>\n

Flute sonatas: BWV 1032 in A<\/a> (completion of first movement; part: fl<\/a>)
\nBWV 1034 in E minor (complete score with continuo realization<\/a>)
\nBWV 1035 in E (complete score with continuo realization<\/a>)<\/p>\n

Cantata Selig ist der Mann<\/em> BWV 57<\/a> (parts: vn1\/ob1<\/a>; vn2\/ob2<\/a>; va\/ob3<\/a>; vc\/bn\/bs<\/a>; b.c. realization<\/a>)
\nCantata\u00a0Ich habe genung<\/em> BWV 82<\/a>\u00a0(reconstruction of version in E minor for soprano with flute and strings) (parts: fl<\/a>; vn1<\/a>; vn2<\/a>; va<\/a>; vc\/bs<\/a>; b.c. realization<\/a>)<\/p>\n

Triple concerto BWV 1044<\/a> (with reconstructions of possible early forms of the 2d movement; parts: fl<\/a>; solo vn<\/a>; vn1<\/a>; vn2<\/a>; va<\/a>; vc\/bs<\/a>; solo keyboard<\/a>).<\/p>\n

Trio sonata in G BWV 1038, attributed to J.S. Bach but possibly composed jointly by himself and C.P.E. Bach: reconstruction of putative original version for violin, viola, and basso continuo
\nscore<\/a>; parts: violin<\/a>; viola<\/a>; basso<\/a>; basso continuo with realization<\/a>
\nrecording<\/a> (scroll down or search for “BWV 1038”)<\/p>\n

Bach, Wilhelm Friedemann
\n<\/strong>Keyboard pieces, concertos, and a major vocal composition<\/a>\u00a0(listed in separate file); included here are compositions\u00a0identified since the publication of my book on the composer in 2010<\/p>\n

Benda, Franz<\/strong>
\nSonata in C minor for viola and basso continuo
\nscore<\/a>
\nscore with continuo realization<\/a>
\neditorial commentary<\/a>
\nclick here<\/a> for a recorded performance by Georgina McKay Lodge (viola) with the author<\/p>\n

Bernier, Nicolas<\/strong>
\nLe caff\u00e9<\/em>, cantata for soprano, flute or violin, and basso continuo
\nscore<\/a>
\nscore with basso continuo realization<\/a>
\nparts: flute or violin<\/a>; basso continuo<\/a>
\nrecording<\/a> (Sylvia Maisonet, soprano; live performance, Wagner College, Oct. 25, 2017)<\/p>\n

Biffi, Antonio<\/strong>
\nAmante moribondo<\/a>: a cantata for soprano and basso continuo, the latter realized by J. S. Bach (reconstruction of Bach’s fragmentary copy included as an appendix in a paper on that subject)<\/p>\n

Bull, John<\/strong> (various things\u00a0left out of the edition of his\u00a0keyboard music in Musica britannica<\/em>)
\nChromatic Pavan (“Queen Elizabeth’s Pavan”)<\/a>: alternate variation of final strain by Benjamin Cosyn (midi file<\/a>)
\nFantasia 3 on “Vestiva i colli”<\/a>: Bull’s third composition based on subjects from Palestrina’s madrigal (midi file<\/a>)
\nPavan and Galliard “Sinfonia”<\/a> (midi file<\/a>)
\nSix courantes from GB Lbl Add. 23623<\/a>: dances with somewhat doubtful attributions from the “Messaus” manuscript (midi file<\/a>)<\/p>\n

Byrd, William.<\/strong> These scores illustrate\u00a0points I have tried to make in several talks and publications about sources, editions, and performance of Byrd’s keyboard music.
\nPrelude and Fantasia in A minor, BK 12-13<\/a>\u00a0(midi file<\/a>)
\nLachrymae Pavan and Harding’s Galliard, BK 54-55<\/a>: elaborated keyboard versions of pieces by John Dowland and James Harding (midi files: Dowland<\/a>; Harding<\/a>)<\/p>\n

Caccini, Francesca<\/strong>
\nSix vocal works<\/a>: O vive rose; Chi desia di saper (with guitar); Dov’io credea (aria di Romanesca); Deh chi gia mai potra (ottave di Romanesca); La pastorella mia (ottave di Romanesca); Laudate Dominum (motet)<\/p>\n

Frescobaldi, Girolamo
\n<\/strong>Three toccatas from Chigi 25<\/a>
\n“Toccata di Roma” (attributed to “Hieronimo Ferrabosco”)<\/a>
\nCanzona 1 from “Fioretti di Frescobaldi”<\/a> (performance version)<\/p>\n

Froberger, Johann Jacob<\/strong>
\nFantasia and Suite in A minor from LyA, pp. 327-31<\/a> (sometimes attributed to Froberger)
\nTwo\u00a0“Partien”\u00a0(suites) with programmatic titles bearing unlikely attributions to Froberger:
\nDer Clavier Trampler<\/a> (Partie in E)
\nDer naseweise Orgelprobierer<\/a> (Partie in B-flat)<\/p>\n

Gesualdo, Carlo<\/strong>
\nCanzon franzese del principe<\/a> (simple and embellished versions shown together)<\/p>\n

Graun, Carl Heinrich<\/strong>
\nSonata in C for cello and basso continuo, GraunWV B.17.53
\nscore<\/a>\u00a0 score with realized basso continuo<\/a>
\nclick here<\/a> for a recorded performance by Eva Lymenstull (cello) with the author<\/p>\n

Graun, Johann Gottlieb<\/strong>
\nQuartet in D for viola or viola da gamba, flute or violin, second violin, and basso continuo GraunWV A:14:1 (this work treats the viola\/gamba as the principal or solo part; there are distinct versions for viola and for gamba respectively)
\nscore and commentary<\/a> (both versions)
\nparts (for viola version): flute\/violin<\/a>; violin 2<\/a>; viola<\/a>; continuo<\/a>; realized continuo<\/a>
\nrecording<\/a> (Georgina McKay Lodge, viola; live performance, Wagner College, Oct. 25, 2017)<\/p>\n

Sonata in A for violin and obbligato keyboard GraunWV C.15.90<\/a>
\nThis work is also preserved as a trio sonata for flute and violin, or two violins, with continuo.<\/p>\n

Sonata in B-flat for viola and obbligato keyboard GraunWV Cv.15.132<\/a><\/p>\n

Sonata in B-flat for violin and obbligato keyboard GraunWV Av.15.46<\/a>
\npart: violin<\/a>
\neditorial commentary<\/a>
\nperformance version including cadenzas, etc.<\/a>
\nrecording<\/a> by Augusta McKay Lodge with the author
\n
\n<\/strong>Sonata in C minor for viola and obbligato keyboard GraunWV Av.15.20<\/a>
\npart: viola<\/a>
\nrecording<\/a> by Georgina McKay Lodge with the author<\/p>\n

Trio sonata in A for violin, viola, and basso continuo GraunWV Av.15.42
\nscore<\/a>
\nparts: violin<\/a>; viola;<\/a> basso;<\/a>\u00a0basso continuo with realization<\/a>
\neditorial commentary<\/a><\/p>\n

Trio sonata in B-flat for violin, viola, and basso continuo GraunWV A.15.16<\/a>
\nThis work is also playable as a duet for viola and obbligato keyboard, and it is preserved in alternate versions for flute and violin or flute and viola (with continuo)<\/p>\n

Trio sonata in G for two violins and continuo GraunWV A.15.11<\/a> (described in one source as “Sanguineus and Melancholicus,” like the Programm-Trio<\/em> by C.P.E. Bach)
\nparts: violin 1<\/a>; violin 2<\/a>; continuo<\/a>
\nrecording<\/a> (played on violin and obbligato harpsichord, Jude Ziliak, violin)
\nversion for flute, violin, and continuo<\/a>; parts: flute<\/a>; violin<\/a>; continuo<\/a><\/p>\n

Handel, George Frideric
\n<\/strong>Armida abbandonata<\/em> HWV 105, cantata for soprano, 2 violins, and basso continuo:
\nscore<\/a>
\nscore with basso continuo realization<\/a>
\nstring parts<\/a> (players will probably prefer to play from scores except in the aria no. 5)
\nrecording<\/a> (Sylvia Maisonet, soprano: live performance, Wagner College, Oct. 25, 2017)
\nOrgan concerto in F, op. 4, no. 4 (HWV 292, arrangement for solo keyboard with embellishments and cadenzas)<\/a>
\nSuite in C minor for two harpsichords HWV 446 (with reconstruction of first part)<\/a>
\nQuartet in B-flat for flute, violin, viola, and basso continuo (assuredly not by Handel, but attributed to him in a manuscript copy that is of interest as having belonged to Sara Levy; see p. 1 of the score): score<\/a>; audio (midi)<\/a><\/p>\n

Hasse, Johann Adolf<\/strong>
\nBell’Aurora<\/a>, cantata for alto, flute, and continuo (part: fl<\/a>)
\n“Digli ch’io son fedele” from\u00a0Cleofide<\/em>,<\/a> with embellishments and cadenza by Frederick II “the Great” of Prussia<\/p>\n

Jacquet de La Guerre, Elizabeth<\/strong>
\nSusanne,<\/em><\/a> cantata for soprano and basso continuo<\/a>; score with continuo realization<\/a>; text and translation<\/a><\/p>\n

Janitsch, Johann Gottlieb<\/strong>
\nTrio sonata in G minor for violin, viola, and basso continuo
\nscore<\/a>
\nparts: violin<\/a>\u00a0 viola<\/a>\u00a0 basso<\/a>\u00a0 basso continuo (realized)<\/a><\/p>\n

Kirnberger, Johann Philipp<\/strong>
\nSonata in C for cello and continuo<\/a><\/p>\n

Krebs, Johann Ludwig<\/strong>
\nDouble concerto in B minor for keyboard, flute (?), and strings (score)<\/a>
\nflute part<\/a><\/p>\n

Mara, Ignaz<\/strong>
\nConcerto in E-flat for viola, strings, and continuo<\/a>
\n—same, with a hypothetical reconstruction of the\u00a0solo\u00a0part for cello<\/a><\/p>\n

Pasquini, Bernardo<\/strong>
\nSuite in F<\/a> (no. 3 from the autograph manuscript Berlin, Staatsbibliothek, L.215)<\/p>\n

Pasquini, Ercole<\/strong>
\nRomanesche (keyboard variations on\u00a0La Romanesca<\/em>)<\/a>
\nToccata in G (Shindle no. 6, Kenyon no. 8)<\/a><\/p>\n

Purcell, Henry<\/strong>
\n“Dido’s Lament”<\/a> from Dido and Aeneas<\/em>,\u00a0for soprano,\u00a0strings, and continuo (parts: vn1<\/a>, vn2<\/a>, va<\/a>, bc<\/a>)<\/p>\n

Racquet, Charles<\/strong>
\nFantasia in d<\/a> (from a manuscript inserted into a Paris copy of Mersenne’s\u00a0Harmonie universelle)<\/em> (midi file<\/a>)<\/p>\n

Quantz, Johann Joachim<\/strong>
\nSonata in B minor for flute 1, flute 2 or violin, and continuo, QV 2:43<\/a> (parts: fl1<\/a>, fl2\/vn<\/a>, vc<\/a>; cadenza for mvt. 3<\/a>)
\nSonata in C for flute, recorder, and continuo, QV 2:Anh.3<\/a> (parts: fl<\/a>, rec<\/a>, vc<\/a>; cadenza for mvt. 3<\/a>)<\/p>\n

Soncino, Emanuel<\/strong>
\nTwo pieces<\/a>: a fragmentary prelude,\u00a0completed editorially, and a chromatic fantasia, both from early seventeenth-century English manuscripts (midi file<\/a>)<\/p>\n

Telemann, Georg Philipp<\/strong>
\nConcerto in G for two concertato violins, two ripieno violins, viola, and continuo, TWV 52:G2<\/a>, preserved in, and in part edited from, a manuscript copy by J.S. Bach (midi audio file<\/a>)
\nIch will den Kreuzweg gerne gehen<\/em>, TWV 1:884<\/a>,\u00a0a very early cantata for bass voice, violin, and basso continuo, on a text by Erdmann Neumeister (part: vn<\/a>) (midi audio file<\/a>)
\n“Horche nur, dort regt sich was,” the opening aria from the cantata TWV 1:806<\/a>, which C.P.E. Bach praised for so vividly depicting fear and astonishment that the words are unnecessary (midi audio file<\/a>)
\nSonata (Concerto) in A for flute, violin (or oboe d’amore), and basso continuo, TWV 42:A9<\/a> (parts: fl<\/a>, vn\/ob<\/a>, b.c.<\/a>). I discussed this piece, probably one of Telemann’s earliest flute works, in an article in\u00a0Bach Perspectives<\/em>, vol. 7 (2008). From a performance at Chapel Hill, Jan. 13, 1998: mvt. 1<\/a>; mvt. 2<\/a>; mvt. 3<\/a><\/p>\n

Woltman, Melchior<\/strong>
\nLucidor<\/a>: a mysterious piece attributed to “MW” in a German (?) early seventeenth-century manuscript (probably\u00a0not<\/em> Matthias Weckmann) (midi file<\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"

Editions Below are links to scores that I have prepared in connection with performances and research. I’ve played some of these compositions; others are works that I’ve written about or studied when modern editions were not available. A few of … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":12,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-2743","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/posts\/2743","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/comments?post=2743"}],"version-history":[{"count":0,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/posts\/2743\/revisions"}],"wp:attachment":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/media?parent=2743"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/categories?post=2743"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/tags?post=2743"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}