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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

COLLECTIONS

(sources given for all anonymous pieces; see also under composers for other sources)

The Collections are listed by country:

Below the General Collections (I) you will find the remaining collections by country : II. Austria III. Czech Republic IV. France IV. Germany VI. Great Britain, Ireland and North-America VII. Hungary VIII. Iberia (Spain and Portugal) IX. Italy X. The Low Countries (The Netherlands and Belgium) XI. Poland XII. Russia XIII. Scandinavia (Denmark and Sweden) XIV. Slovakia XV. Switzerland

sections per country:

NB: some countries have 1 or 2 sections only a) Manuscripts b) Early Prints c) Modern Collections (alphabetical order of library sigla) (chronological order) (alphabetical order of titles)

© 2004-2008 by MEINDERT C. DE HEER. All rights reserved

Page 1 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

I: GENERAL COLLECTIONS

NB: no sections a) and b) in this list!

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Anthologia Organi, vol. I arr. by Margittay; vol. I: The Beginnings A. Agricola: Tota pulcra es Binchois: Deposuit Brumann: Carmen in sol Buchner: Recordare Busnois: rondeau G. Dufay: Du dtout m'éstoie J. Dunstable: chanson P. Hofhaimer: Ave maris stella H. Isaac: Zwischen Berg und tiefem Tal Josquin: Agnus dei Kotter: Fantasia in ut Leoninus: Haec dies Nachtigall: Fortuna in fa J. Obrecht: Fors seulement; trio J. Ockeghem: Fors seulement C. Paumann: Kyrie angelicum Perotinus: organum Resinarius: Nun bitten wir den heiligen Geist A. Schlick: Maria zart von edler Art L. Senfl: Also heilig ist der Tag F. Sicher: Rersonet in laudibus Eighteenth-Century Women Composers ed. B. Harbach

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volume I: 1. E. de Gambarini: "Lover, go and calm thy sighs" (aria, gavotte and variations, gigue) from: "Lessons for the harpsichord, intermix'd with Italian and English songs, op.2" (1745) 2. M.H. Park: Sonata no. 1 in F (allegro-tempo di minuetto) from: "Two sonatas for the pianoforte or harpsichord...op. 4" 3. "a Lady": Lesson VI in D from: "Six lessons for harpsichord" volume II: 1. M. Martinez: Sonata in A op.5: Allegro-Adagio-Tempo di minuetto (1765) 2. M.H. Park: Sonata in C op. 7 (c.1796)

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European Organ Music of the 16th & 17th Centuries

18 volumes; general ed. J. Dalton

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vol. 1: England, c.1510 - 1590 ed. G. Cox 1a-b. Two anonymous pieces (c.1530) 2. anonymous (J. Redford?): Magnificat: the viii tune in C faut 3. J. Redford: Agnus Dei Brookes 2062 4. J. Redford: O quam glorifica (a very good vers called redfords meane) 5. Th. Preston: Felix namque

Brookes 2100

© 2004-2008 by MEINDERT C. DE HEER. All rights reserved

Page 2 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

6. Th. Preston: Benedictus sit Deus Pater Brookes 2036 7. anonymous: Voluntary in three parts (mid-16th c.?) 8. Th. Tallis (J. Bull?): Alleluia: Per te Dei Genitrix Brookes 1161 9. Th. Tallis: Ecce tempus idoneum Brookes 2202 10. W. Blitheman: Three parts Brookes 1125 11. W. Blitheman: Gloria tibi Trinitas 12. W. Byrd: Clarifica me Pater Sources: GB-Lbl Add. 29996 (2, 5, 6) GB-Lbl Add. 30485 (12) GB-Lbl Add. 30513: the Mulliner Book (9, 11) GB-Lbl Add. 31403 (10) GB-Lbl Roy.App. 56 (1a-b) GB-Ob mus.sch. C.93 (4) GB-Och 371 (3, 8) GB-Och 1034A (8: bars 1-55 only) GB-Och 1142A (11: anon) US-Nyp Drexel 5612 (7)

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vol. 2: England 1590 - 1650 ed. G. Cox 1. W. Byrd: A Fancy 2a-b. Th. Weelkes: Two voluntaries 3-5. O. Gibbons: 3. A Fancy in C fa ut 4. A Fancy in Gamut flatt 5. A Short Preludio of four parts 6. J. Bull: Gloria tibi Trinitas 7. W. Browne: Toccata 8. B. Cosyn: Voluntary 9a-b. anonymous: 2 Voluntaries 10. Th. Tomkins: Verse 11. Th. Tomkins: A Fantasy 12. R. Portman: Verse for double organ Sources: F-Pn Rés 1122 (6, 11) GB-Lbl Add. 30485 (1) GB-Lbl Add. 36661 (5) GB-Lbl R.M. 23.1.4 (3, 4) GB-Och 89 (7) GB-Och 1113 (8, 9a-b, 10) GB-Och 1142A (5: untitled, anon) GB-W P.10 (12) US-Nyp Drexel 5612 (2a-b) Brookes 2339-2340

Brookes 1132

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vol. 3: England 1660 - 1710 ed. G. Cox 1. Chr. Gibbons: Voluntary in a for double organ (shorter version) Brookes 1694 2. M. Locke: Vonutary in a 3. M. Locke: Voluntery in a (from: "Melothesia": "For the organ") 4. J. Blow: Voluntary in C 5. J. Blow: Cornet voluntary in a 6. Anonymous (Blow or Purcell?): Trumpet voluntary in D ("Ten select voluntaries": no. 9)

© 2004-2008 by MEINDERT C. DE HEER. All rights reserved

Page 3 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

7. H. Purcell: Voluntary in d for double organ 8. H. Purcell: Voluntary in G 9. anonymous (J. Blow?): Verse in g 10. W. Croft: Voluntary in a for double organ 11. W. Croft: Voluntary in d Sources: GB-Cfm mu. 735 (2) GB-H 30.B.1 (10) GB-Lbl Add. 5336 (10: anon and bars 64-93 only; 11: anon) GB-Lbl Add. 17852 (10: untitled, anon; 11: anon) GB-Lbl Add. 31403 (9: anon) GB-Lbl Add. 31446 (4) GB-Lbl Add. 31468 (4: first mvt. only; 7) GB-Lbl Add. 34695 (4, 8; 11: anon) GB-Lbl Egerton 2959 (5) GB-Och 47 and 1176 (1: shorter version of no. 1 from "Ten select voluntaries...", c.1780) J-Tn N-3/35 (9) 1673: "Melothesia", London (3) c.1780: "Ten select voluntaries for the organ, cojposed by Orlando (= Chr.) Gibbons, Blow, Purcell, doctr. Green, doctr. Boyce, mr. Jams. Martin Smith, organst. of Gloucester & J. Stafford Smith, Bpook IIId", London, Longman & Broderip (1: longer version; 6)

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vol. 4: Spain & Portugal c.1550 - 1620 ed. J. Dalton 1. A. Carreira: Tento do 8° tom 2. H. de Paiva: Tento do 3° tom 3. H. de Paiva: Tento do 4° tom 4. J. Bermudo: Veni creator spiritus 5. J. Bermudo: Pange lingua 6. anonymous: Tiento de 5° tono 7. F.F. Palero: Tiento de 7° tono super Philomena 8-11. T. de Santa Maria: 8. Del modo de tañer a corcheas 9. Fuga a dos voces 10. Fuga a tres voces 11. Fuga a cuatro voces 12-14. A. de Cabezón: 12. Beata viscera Mariae virginis 13. Versos del 8° tono de Magnificat 14. Tiento sobre Cum sancto spiritu 15. M.R. Coelho: Verso do 3° tom 16. M.R. Coelho: Tento do 2° tom Sources: P-Cug M.242 (1-3) 1555: J. Bermudo: "Declaración de instrumentos musicales" (4, 5) 1557: L. Venegas de Henestrosa: "Libro de cifra nueva para tecla" (6, 7) 1565: T. de Santa Maria: "Arte de tañer fantasia" (8-11) 1578: A. de Cabezón: "Obras de música para tecla" (12-14) 1620: M.R. Coelho: "Flores de Musica" (15, 16) vol. 5: Spain & Portugal c.1620 - c.1670 ed. J. Dalton

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© 2004-2008 by MEINDERT C. DE HEER. All rights reserved

Page 4 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

1-3. F. Correa de Arauxo: 1. Tiento de 5° tono 2. Tiento de medio registro de baxon de 1° tono 3. Tiento de medio registro de dos tiples de 2° tono 4. S. Aguilera de Heredia: Tiento de 4° tono de falsas 5. S. Aguilera de Heredia: Registo baixo do 1° tom 6. G. dos Reis?: Concertado no. 3 sobre Ave maris stella 7. G. dos Reis: Tençao sobre o 5° Kyrie 8. M.G. de Olagué: Fabordão e versos de 1° tom 9. P. de Araújo: Obra do 6° tom 10. P. de Araújo: Obra de passo solto 8° tom Sources: E-E L.P.30: formerly ms. 2187 (4) P-BRp 964 (9, 10) P-Pm MM41 (6-7) P-Pm MM42 (5, 8) 1626: F. Correa de Arauxo: "Libro de tientos" (1-3)

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vol. 6: Spain & Portugal c.1650 - c.1710 ed. J. Dalton 1-4. P. Bruna: 1. Tiento de 1° tono de mano derecha 2. Tiento de falsas de 2° tono 3. Pange lingua, 5° tono 4. Otra pange lingua, 5° tono 5. anonymous: Obra de 8° tono, medio registro, mano izquierda (17th c.) 6. anonymous: Obra de falsas cromáticas de 1° tono (17th c.) 7-10. J. Cabanilles: 7. Tiento de 4° tono lleno 8. Tiento de falsas de 4° tono 9. Pange lingua 10. Tiento de batalla de 8° tono Sources: E-Bbc M.386 (8, 10) E-Bbc M.387 (7, 9, 10) E-Bbc M.729 (1, 2) E-Bbc M.751 (3, 4) E-Mn M.1357 (5, 6) E-Mn M.1359 (3)

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vol. 7: France 1531 - 1660 ed. J. Dalton 1. P. Attaingnant: Sanctus & Benedictus form: Missa Kyrie fons bonitatis 2. P. Attaingnant: Magnificat quarti toni 3. P. Attaingnant: Parce Domine 4. anonymous: Magnificat secundi toni 5. J. Titelouze: Ad coenam Agni providi: 2 versets 6. J. Titelouze: Magnificat quinti toni: 3 versets 7. Ch. Racquet: Fantaisie 8. F. Roberday: Fugue & Caprice no. 3 9. anonymous: Ave maris stella: 2 versets Sources: F-P Cons. des Arts et Métiers, of M. Mersenne's "Harmonie universell", 1636 (7)

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Page 5 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

F-Psg 2348 (9) GB-Lbl Add. 29486 (4) 1530/31: "Magnificat sur les huit tons...", Paris, P. Attaingnant (2) 1531: "Tablature pour le jeu Dorgues...", Paris, P. Attaingnant (1) 1531: "Treze motetz musicaulx avec ung prelude...", Paris, Attaingnant (3) 1623: J. Titelouze: "Hymnes de l'Eglise", Paris (5) 1626: J. Titelouze: "Le Magnificat...", Paris (6) 1660: F. Roberday: "Fugues & Caprices à 4 parties", Paris: no.3 (8)

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vol. 8: France 1650 - 1690 ed. J. Dalton 1. L. Couperin: Fantaisie, in g 2. L. Couperin: Duo, in g 3. H. Dumont: Prélude à 2 (for violin, bc) 4. H. Dumont: Allemande, in a 5. J.-H. d'Anglebert: Fugue grave 6. J.-H. d'Anglebert: Quatuor sur le Kyrie 7. G.-G. Nivers: Hymne: Ave maris stella 8a-c. N. Lebègue: a. Cromhorne ou tierce en taille b. Trio à 3 claviers c. Dessus de cromhorne ou de trompette 9. N. Lebègue: Offertoire en C 10. N. Lebègue: Une Vierge pucelle 11. N. Gigault: Kyrie double à 5 parties 12. N. Gigault: Fugue grave recherchée sur le Kyrie à 4 13. A. Raison: Kyrie (from: Messe du 1er ton) 14. A. Raison: Élevation en C bémol (from: Messe du 8e ton) 15. G. Jullien: Dessus de voix humaine 16. G. Jullien: Basse de trompette Sources: F-Pn Vm7. 674-675: ms. Bauyn (1, 2) 1661: :H. Dumont: "Meslanges a 2, 3, 4 et 5 parties avec la besse continue", Paris (3) 1667: G.G. Nivers: "2. Livre d'orgue", Paris (7) 1668: H. Dumont: "Motets a 2 voix avec la basse-continue", Paris (4) 1676: N. Lebègue: "Les pieces d'orgue", Paris (8a-c) 1685: N. Lebègue: "Troisieme livre d'orgue", Paris (9, 10) 1685: N. Gigault: "Livre de musique pour l'orgue", Paris (11, 12) 1688: A. Raison: "Livre d'orgue", Paris (13, 14) 1688: G. Jullien: "Premier livre d'orgue" (15, 16) 1689: d'Anglebert: "Pieces de clavecin...Livre premier", Paris (5, 6)

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vol. 9: France 1690 - 1710 ed. J. Dalton 1. J. Boyvin: Suite du 5e ton 2a-c. F. Couperin: a. Plein chant du premier Kyrie, en taille (form: Messe pour les paroisses) b. Fugue sur les jeux d'anches (idem) c. Dialogue en trio du cornet et de la tierce (idem) 3a-b. F. Couperin: a. Dialogue sur la trompette du grand clavier et sur le montre... (form: Messe pour les convents) b. Petite fugue sur le cromhorne (idem) 4. L. Marchand: Bassses de trompette

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Page 6 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

5a-b. J.-A. Guilain: a. Dialogue du 2e ton (form: 2e Suite) b. Petit plein jeu (idem) 6a-c. N. de Grigny: a. Récit de tierce en taille (Gloria, 4e couplet) b. Dialogue pour la communion à 2 tailles de cormhorne et 2 dessus de cornet c. Deo gratias 7. N. de Grigny: Pange lingua, en taille à 4 8a-c. G. Corrette: a. Prélude à deux choeurs b. Basse de trompette ou de cromhorne c. Dessus de tierce par accords 9a-b. L.-N. Clérambault: a. Récits de ceromhorne, et de cornet séparé en dialogue b. Dialogue sur les grands jeux Sources: D-B mus.ms. AmB 529: "Pieces pour le Magnificat..par mr...Guillain" (5a-b) 1690: J. Boyvin: "Premier livre d'orgue", Paris (1) 1690: F. Couperin: "Pieces d'orgue consistants en deux messes", Paris (2a-c, 3a-b) 1699: N. de Grigny: "Premier livre d'orgue", Paris (6a-c, 7) 1703: G. Corrette: "Messe du 8e ton pour l'orgue", Paris (8a-c) c.1710: L.-N. Clérambault: "Premier livre d'orgue", Paris (9a-c) c.1740: L. Marchand: "Pieces choisies pour l'orgue", Paris (4)

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vol. 10: The Netherlands & N. Germany c.1590 - c.1650 ed. H. Glahn and H. Elmer 1. J.Pz. Sweelinck: Toccata secundi toni 2. J.Pz. Sweelinck: Fantasia, in d 3. H. Speuy: Duo van den psalm 24: Die aerd is onses Gods voorwaer 4. P. Cornet: Fantasia, in G 5. A. van Noordt: Psalm 24 6. A. van den Kerckhoven: Kyrie-Christe-Kyrie 7. S. Scheidt: Christe qui lux es et dies Sources: B-Br 3326.II (6) D-B Lynar A 1 (1, 4) GB-Cfm mus. 168: Fitzwilliam virginal book (2) 1610: H. Speuy: "De psalmen Davids", Dordrecht (3) 1624: S. Scheidt: "Tabulatura Nova, III. et ultima pars", Hamburg (7) 1659: A. van Noordt: "Tabulatuurboeck van psalmen en fantasyen", Amsterdam (5) vol. 11: The Netherlands & N. Germany c.1610 - c.1700 ed. H. Glahn and H. Elmer 1. H. Praetorius: Kyrie martyrum 2. J. Praetorius: Magnificat secundi toni: verse 2 3. H. Scheidemann: Praeambulum 4. H. Scheidemann: Vater unser im Himmelreich 5. F. Tunder: Komm, heiliger Geist, Herre Gott 6. D. Buxtehude: Ich ruf zu dir, Herr Jesu Christ BuxWV 196 7. D. Buxtehude: Praeludium, in a BuxWV 153 Sources: D-B mus.ms. 2681 (7) D-Lr KN 207/15 (3)

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Page 7 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

D-Lr KN 208/2 (4) D-Lr KN 209 (5) DK-Kk Clausholm fragments (2) RUS-Kau coll. Gotthold 15839 (6) S-VIl Petri organ tablature (1)

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vol. 12: The Netherlands & N. Germany c.1650 - 1710 ed. H. Glahn and H. Elmer 1. M. Weckmann: Gelobet seist du, Jesu Christ 2. D. Buxtehude: Ciacona in c BuxWV 159 3. D. Buxtehude: Mensch, willt du leben seliglich BuxWV 206 4. N. Bruhns: Praeludium, in e 5. G. Böhm: Vater unser im Himmelreich 6. G. Böhm: Praeludium con fuga, in a Sources: D-B mus.ms. 30381 (6) D-B mus.ms. 40294/4 (4) D-B mus.ms. Bach P 802 (5) D-Lr KN 207/21 (1) D-Lem III.8.4: Andreas Bach Book (2) NL-DHgm 4.G.14 (3) vol. 13: South Germany & Austria 1512 - 1577 ed. S. Wollenberg 1-3. A. Schlick: 1. Da pacem 2. Hoe losteleck 3. Maria zart 4. P. Hofhaimer: Carmen 5-8. L. Kleber: 5. Praeambulum 6. Finale 7-8. Praeambulum 9-13. H. Kotter: 9. Proemium in re 10. Preludium in fa 11. Fantasia in ut 12. Proemium in re 13. Aus tiefer Not 14-16. H. Buchner: 14. Sanctus ad trium regum 15. Kyrie festivum 16. Puer natus est 17-18. B. Schmid sr: 17. Ein guter Wein ist lobenswerdt 18. Sicut mater consolatur Sources: CH-Bu F.I.8a (14-16) CH-Bu F.IX.22: Kotter tablature (9-13) D-B mus.ms. 40026: Kleber organ tablature (5-8) US-Ca Isham Mem. Library: copy of lost Kraków ms. (4) 1512: A. Schlick: Ttabulaturen etlicher lob gesang" (1-3) 1577: B. Schmid sr: "Tabulatur auff Orgel und Instrument", Strasbourg (17, 18)

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Page 8 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

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vol. 14: South Germany & Austria c.1600 - c.1660 ed. S. Wollenberg 1-3. S. Lohet: 1. Nun welche hie ihr Hoffnung gar 2. Decima fuga 3. Media vita in morte 4. Chr. Michael: Toccata 2 5. J. Klemm: Fuga XVIII a 3 6-10. J. Kindermann: 6. Praeambulum 1 & 2 toni 7. Fuga super Ach wie sehnlich 8. Praeambulum 9 & 10 toni 9. Dreifache Fuga super Chirst lag in Todesbanden / Christus der uns selig macht / Du Jesus an dem Creuze stundt 10. Magnificat octavi toni 11-14. J.J. Froberger: 11. Toccata 12. Toccata da sonarsi alla levatione 13. Fantasia sopra sol la re 14. Capriccio Sources: A-Wn mus. 16560 (14) A-Wn mus. 18706 (11-13) 1617: J. Woltz: "Tabulatur Buch", Basel (1-3) 1631: J. Klemm: "Partitura seu Tabulatura Italica", Dresden (5) 1645: Chr. Michael: "Tabulatura", Leipzig (4) 1645: J. Kindermann: "Harmonia organica", Nürnberg (6-10)

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vol. 15: South Germany & Austria c.1660 - c.1700 ed. S. Wollenberg 1-3. A. Poglietti: 1. Praeludium 1. toni, Cadenza 1. toni, Fuga 1. toni, Toccatina 3. Toni, Cadenza 3. toni, Fuga 3. toni, Toccatina 7. toni , Cadenza 7. toni , Fuga 7. toni 2. Toccatina per l'introito 3. Recercar primi toni 4. J.C. Kerll: Toccata IV cromatica con durezze e ligature 5. J.C. Kerll: Toccata primi toni 6. F.X. Murschhauser: Praeambulum octavi toni: 5 fugues & finale 7-11. J. Pachelbel: 7. Wie schön leuchtet der Morgenstern PWC 46 8. Wir glauben all an einen Gott PWC 49 9. Fuga, in a PWC 162 10. Fuga, in F PWC 156 11. Magnificat septimi toni: 4 versets 12-13. Georg Muffat: 12. Toccata decima 13. Ciacona Sources: A-GÖ Kerl 2 (4) A-KR L 146 (1, 2) A-Wm XIV.710 (3) A-Wm XIV.730 (1)

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

D-Lem II.2.51 (9) D-Mbs mus.ms. 1177 (9, 10) D-Mbs mus.ms. 5368 (5) GB-Lbl Add. 31221 (9, 11) US-NH L.M. 5056 (10) 1690: Muffat: "Apparatus musico-organisticus" (12, 13) 1693: J. Pachelbel: "Erster Theil etlicher Choräle", Nürnberg (6-8) 1696: Murschhauser: "Octi-tonium novum organicum", Augsburg (6)

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vol. 16: Italy 1517 - 1599 ed. J. Dalton 1. A. Antico: Chi non crede 2. M.-A. Cavazzoni: L'autre jour par un matin 3. G. Cavazzoni: Hymn: Christe Redemptor omnium 4. G. Cavazzoni: Magnificat quarti toni 5. R. Rodio: Ave maris stella 6. A. Valente: Versi sopra il re 7. S. Bertoldo: Ricercar del sesto tuono 8. A. Gabrieli: Intonazione del sesto tono 9. A. Gabrieli: Ricercare del settimo tono 10. C. Merulo: Toccata quarta del secondo tuono 11. L. Luzzaschi?: Toccata del quarto tuono 12. V. Pellegrini: Canzon detta la Capricciosa Sources: 1517: A. Antico: "Frottole intabualte da sonare organi. Libro primo", Venice (1) 1523: M.-A. Cavazzoni: "Recerchari, motetti, canzoni...Libro primo", Venice (2) 1542: G. Cavazzoni: "Intavolatura...Libro primo", Venice (3) 1543: G. Cavazzoni: "Intavolatura d'organo...Libro secondo", Venice (4) 1575: R. Rodio: "Libro de ricercate a 4 voci...con alcune fantasie", Naples (5) 1580: A. Valente: "Versi spirituali...per sonar ne gli organi", Naples (6) 1591: S. Bertoldo: "Tocate, ricercari et canzoni francese per sonar d'organo", Venice (7) 1593: A. Gabrieli: "Intonazioni d'organo", Venice (8) 1595: A. Gabrieli: "Ricercari...Libro secondo", Venice (9) 1597: G. Diruta: "Il Transilvano", Venice (11) 1598: C. Merulo: "Toccate d'intavolatura d'organo...Libro primo", Roma (10) 1599: V. Pellegrini: "Canzoni de intavolatura d'organo", Venice (12)

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vol. 17: Italy c.1600 - 1635 ed. J. Dalton 1. E. Pasquini: Toccata 2. G. de Macque: Seconde stravaganze 3. A. Mayone: Ricercar primo 4. A. Mayone: Toccata quarta 5. G.M. Trabaci: Canzona franzesa settima cromatica 6. G.M. Trabaci: Toccata prima à quattro 7. G.P. Cima: Canzon quarta: La Pace 8. G.P. Cima: Ricercare à quattro 9. G. Diruta: Ricercare del settimo tuono 10-12. A. Banchieri: 10. Gloria in excelsis 11. Prima toccata del terzo tuono autentico alla le vatione del Santissimo Sacramento 12. Secondo Dialogo 13a-d. G. Frescobaldi:

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

a. Toccata avnati la Mess della Domenica b. Kyrie della Domenica c. Toccata cromatica per le levatione d. Canzon post il comune Sources: GB-Lbl Add. 30491 (2) I-Trfeininger in I-TRmp s.s. (1, 4) 1603: A. Mayone: "Primo libro di diversi capricci", Naples (3) 1603: G.M. Trabaci: "Ricercare, canzone franzes, capricci...Libro primo", Naples (5) 1606: G.P. Cima: "Partito de ricercari", Milan (7) 1611: A. Banchieri: "L'Organo suonarino, op. 25", Venice (11, 12) 1615: G.M. Trabaci: "Il secondo libro de ricercate...",Naples (6) 1622: G.P. Cima: "Regola del contraponto della musical compositione...con 2 ricercari", Milan (8) 1622: G. Diruta: "Seconda parte del Transilvano", Venice (9) 1635: G. Frescobaldi: Fiori musicali", Venice (13a-d) 1638: A. Banchieri: "Appendice all' Organo suonarino...opera 43", Venice (10) 34,50

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vol. 18: Italy 1615 - c.1700 ed. J. Dalton 1. G. Frescobaldi: Toccata sesta per l'organo sopra i pedali, e senza 2. G. Frescobaldi: Recercar sesto sopra fa fa sol la fa 3. M. Rossi: Toccata prima 4. G. Salvatore: Toccata seconda del nono tuono naturale 5. G. Salvatore: Versi sopra il Kyrie (Messa della Domenica) 6. G.B. Fasolo: Canzon quarta del quarto tono naturale 7. G.B. Fasolo: Hinne per la ascensione del terzo tono: Jesu nostra redemptio 8. L. Battiferri: Ricercare nono con tre soggetti 9. P.A. Ziani?: Capriccio 10. B. Pasquini: Toccata Sources: GB-Lbl Add. 36661 (10) 1615: G. Frescobaldi: "Recercari et canzoni franzese...Libro primo", Roma (2) 1626: G. Frescobaldi: "Il secondo libro di toccate", Roma (1) 1641: G. Salvatore: "Ricercari a quattro voci...Libro primo", Naples (4, 5) 1645: G.B. Fasolo: "Annuale...opera ottava", Venice (6, 7) 1657: M. Rossi: "Toccata e correnti", Roma (3) 1669: L. Battiferri: "Ricercari a 4, a 5 e a 6...Opera terza", Bologna (8) c.1697: "Sonate da organo di varii autori", Bologna (9) Folies d'Espagne ed. F. Goebels Three sets of variations of the "Folies d'Espagne" theme: 1. B. Pasquini: Partite diverse (14) sopra la Aria della Folia de Espagna (from D-B Landsberg 215) 2. A. Scarlatti: Variazioni (29) sulla Folia di Spagna (from the Naples manuscript) 3. C.Ph.E. Bach: Zwölf Variations auf die Folie d'Espagne Wq 118,9 / H 263

34,50

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18,75

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Gothic Organ Masters (arrangements by H. Klotz) 1. Dufay: Alma redemptoris mater 2. anonymous: Chirst ist erstanden 3. H. Isaac: Süsser Vater, Herre Gott

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Page 11 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

4. Josquin: Benedictus qui venit 5. P. Hofhaimer: Ave maris stella 6. L. Senfl: Also heilig ist der Tag

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Historical organ techniques and repertoire, vol. 3: Late-Medieval before 1460; ed. K. Marshall Introduction: on late-medieval organs, their tuning, and on the primary sources. 40 compositions from the following manuscripts: 1-4. Robertsbridge Codex (GB-Lbl Add.28550, ff.43-44): (Estampie); Retrové; Adesto / Firmissime / Alleluya benedictus; Tribum quem / Merito / Quoniam 5-6. NL-G Incunabulum no. 70: Asperance; Empris domoyrs 7-14. Faenza Codex (I-FZc 117): De ce fol penser (8); Or sus, vous dormés trop (16); Tumpes (21); Biance flour (24); Che pena quest (35); Bel fiore dança (36); Non ara may pieta questa mia dona (37); Kyrie Cunctipotens (40) 15-20. Tablature of Adam Ileborgh, 1448 (Philadelphia, Curtis Inst. mus.libr.): 5 Praeambula; Mensura sex notarum sopra tenorem Frowe al myn hoffen an dyr lyed 21-24. Lochamer Liederbuch (D-B mus.ms. 40613): Mit ganczem Willen wünsch ich dir; Domit ein gut Jare; Wilhelmus Legrant; Praeambulum super re 25-40. Buxheimer Orgelbuch (D-Mbs Cim. 352b): Con lacrime M.C.C. (38); O rosa bella (39); Portigaler (43); Se le fatze ay pale (83); Lardant desire (133); Adyeu matres belle (144); (J'ay pris amours) (239); Se la phase pale (255); Annabasanna 3m. (90); Magnificat octavt toni (77); Kyrieleyson de S. Maria v. (150); Redeuntes in La (234b); Praeambulum super C (232); Redeuntes in idem (231); Praeambulum super mi (233); Praeambulum super f (234)

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Introduction to the Keyboard Sonatina ed. M. Halford 11. Classical sonatinas by Th. Attwood (in F), A. Biehl (19th century), A.F.C. Kollmann (in A), A. Beczwarzowsky (in F), G. Benda (in a), J. Hook, J. Camidge (in D), Beethoven (WoO. 51 and 52), J. Haydn (Hob. XVI: 11) and Diabelli (op.151, no.3)

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Keyboard Intabulations of Music by Josquin Des Prez ed. Th. Warburton · 21 Keybaord intabulations from 6 organ tablatures: I. from the Kleber organ tablature (D-B mus.sm. 40026): 1. Ave Maria 2. Mente tota tibi supplicate (from: Vultum tuum) 3. Fortuna d'un grande tempo II. from the Sicher organ tablature (CH-SGs Codex 530): 4. Magnificat 4. toni 5. Virgo prudentissima 6. Germinavit radix Jesse 7. Ecce Maria genuit 8. Tribulatio et angustia 9. Victimae paschali 10. Adieu mes amours

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Page 12 of 285

MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

11. Omnia postposui ( = Bergerette Savoyenne) III. from A. de Cabezón's "Obras de musica para tecla", 1578: 12. Cum sancto spiritu (from: Missa De Beata Virgine) 13-15. Benedictus, Hosanna & Agnus Dei III (from: Missa L'Homme armé super voces musicales) 16-17. Stabat mater (2 settings; the second "con diferente glosa") IV. from the organ tablature of Clemens Hör (D-B mus.ms. Z.26): 18. Duo Agnus Dei II (from: Missa De Beata Virgine) V. from the Cracow organ tablature (lost; copies in US-CA Isham): 19. Cum sancto spiritu a3 (from: Missa De Beata Virgine) 20. Cum sancto spiritu a4 (from: Missa De Beata Virgine) VI. from the Ammerbach organ tablature: 21. Cum sancto spiritu (from: Missa De Beata Virgine)

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Keyboard music of ancient times, 1350 - 1650 reprint of ed. W. Apel (1934) Germany: 1. C. Paumann: Mit ganczem Willen wünsch ich dir (from "Fundamentum organisandi", 1452) 2. C. Paumann: Paumgartner: (from the Buxheim organ book, 1460) 3. anonymous: Quant ien congneu a ma pense (from D-Mbs mus.ms. 2987; c.1500) 4. H. Judenkunig: Ode prima. Maecenas atavis (for lute; c.1500) 5. H. Kotter: Preambulum in fa (from Kotter tablature CH-Bu F.X.22; 1513) 6. H. Kotter: Preambulum in fa (same source as no. 5) 7. L.Kleber: Preambulum in re (from the Kleber tablature: D-B 40026; 1520) 8. L. Kleber: Finale in re seu preambalon (same source as no.7) 9-10. H. Neusiedler: Der Zeuner tantz / Hup auff & Judentanz / Hup aff (for lute; 1540, 1544) 11-12. E. Ammerbach: Passametzo d'Angleterre & Passametzo (from his 1571 tablature) 13-16. A. Nörmiger: Meine Seele erhebt den Herrn & Hertz lieb ich thu euch fragen & Churf. Sächs.Witwen Mummerey Tanntz & Der Mohren Auftzugkh (from his 1598 tablature) 17. Bassa imperiale & Saltarello (from tabl. of Clara Im Hoff, c.1620 18-19. S. Scheidt: Cantio belgica: Wehe Windgen wehe & Da Jesus an dem kreuze stund (1624) 20-22. E. Kindermann: Preambulum 11. Et 12. Toni & Sarrabanda, in c & Ballet, in e (1645) Italy: 1-2. J.A. Dalza: Tastar de corde & Pavana alla Venetiana (for lute; 1508) 3. F. Bossinensis: Ricercar (for lute; 1509) 4-8. G. Cavazzoni: Gloria from: Missa Apostolorum (1543) 9. Le forze d'Hercole (form: "Intabulatura nova di balli", 1551) 10-11. F. Bendusi: Desiderata & Cortesana padoana (1553) 12-13. G. Gabrieli: Intonatione nono tono & Intonatione undicesimo tono (1593) 14. G. Diruta: 2 Inni del primo tuono: Pange lingua & Ave maris stella (1609) 15. G.M. Trabaci: 3 versi from: "Il secondo libro de ricercate", 1615 16-17. A. Banchieri: Bizaria del primo tono & Battaglia (from: "Organo suonarino, op. 25) 18-19. G. Frescobaldi: Corrente & Paritte sopra Folia (from: "Toccate", 1637) England: 1-2. Estampie (punctus 1-4) from the Robertsbridge Codex, c.1350 3. H. Aston: A Hornepype (from GB-Lbl R.A. 58; c.1500) 4. J. Bull: A Gigge (Doctor Bull's my selfe) (from the Fitzwilliam Virginal Book, c.1600) 5. W. Byrd: A Gigg (from the Fitzwilliam Virginal Book, c .1600) 6-8. Alman & Daunce & Corranto (from Fitzwilliam Virginal Book, nos. 202, 206, 201) 9. W. Byrd: Pavane: the early of Salisbury (from: "Parthenia", 1611) 10. Corrant by "sergeant majore Kennedy" (from PL-Kj mus. ms. 40316; c.1620) Spain:

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MUZIEKHANDEL SAUL B. GROEN

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1-2. L. Milan: 2 Pavanas for vihuela (1536) 3. L. de Narváez: Quatro diferencias sobre: Guardame las vacas (for vihuela; 1538) 4. A. de Valderrabasno: Fantasia for vihuela (1547) 5. M. Fuenllana: Duo for vihuela (1554) 6-11. A. de Cabezon: 2 Duos, 2 versos (1. / 4. Tono), fabordon y glosas del 8. Tono, verso de magnificat del 7. Tono (1578) France: 1-3. P. Attaingnant: basse dance and 2 gaillardes from "14 Gaillards...", 1550 4. Attaingnant: Tant que vivray (for lute; from "Très brève Introduction", 1529) 5-6. J.-B. Besard: 2 preludes for lute (1603) 7-8. J.Ch. de Chambonnières: Sarabande in C & Rondeau in F 9. D. Gaultier: Tombeau de mons. De Lenclos (for lute; from: "Rhétorique des Dieux") 10-11. L. Couperin: Canaris in d & Sarabande in C

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Keyboard Music of the Baroque and Rococo, volume III ed. W. Georgii 1. B. Galuppi: Sonata in D, op. 1, no.4: Adagio-Allegro-Spiritoso e staccato-Giga: allegro 2. G.B. Martini: Sonata in e, op. 2, no.7 (first 2 movements only): Preludio-Fuga: allegro 3. G.B. Martini: Gavotta from sonata in F op. 12, no.12 4. P.D. Paradies (Paradisi): Sonata no.10 from: 12 "Sonate di gravicembalo", 1754: Vivace-Presto 5. É.-N. Méhul: Menuet from sonata in A op. 1, no.3 (1783) 6. G.C.Wagenseil: Divertimento in f: Ricercata-Allegro assai-Menuet / Trio, in F-Presto (ms. D-Dl) 7. J. Schobert: Sinfonie in Eb op. 10, no.1: Allegro assai-Minuetto / Trio, in c-Allegro molto 8-9. W.F. Bach: Fugues nos.3-4 in D-d from Fk 31: "Huit Fugues", Berlin, 1778 10. W.F. Bach: Polonaise no. 6 in e b, from: "12 Polonoises" Fk 12 11. C.Ph.E. Bach: Württemberg sonata no. 3 in e: Allegro-Adagio, in E-Vivace Wq 49.3 / H 33 12. C.Ph.E. Bach: Rondo in Bb & Fantasia in Eb from the 4th "Sammlung für Kenner" Wq 58.5, 6 13. C.Ph.E.Bach: Rondo in c & Fantasia in C from the 5th "Sammlung für Kenner..." Wq 59.4, 6 14. J.Chr. Bach: Sonata in c, op. 17, no.2: Allegro-Andante, in Eb-Prestissimo BR A 8 15. G. Benda: 2nd and 3rd movement (Largo, in f-Presto, in F) from the 4th sonata of the 1757 set 16. J.W. Hässler: Grande Gigue op. 31 in d: Allegro assai

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Keyboard Music of the 14th and 15th Centuries ed. W. Apel; CEKM 1 1-6. Robertsbridge Codex (GB-Lbl Add. 28550): fragments from a register of the Robertsbridge Abbey, c.1320; NB: vocal models for nos. 4 and 5 printed below the intabulations 1. Conclusion of an estampie 2. Estampie (1. / 2. / 3. / 4. punctus) 3. Retrové (1. / 2. / 3. / 4. / 5. punctus) 4. Adesto (intabulation of a motet; the vocal mode is: Adest / Firmissime / Alleluya; from: Roman de Fauvel: F-Pn f.fr. 146) 5. Tribum quem (intabulation of: Quoniam / Tribum / Merito; from: Roman de Fauvel 6. Flos vernalis (intabulation of a hymn) 7. Felix namque from: GB-Ob Douce 381: a parchement leaf used for book binding; c.1400 8. Kyrie from: A-Wn Codex 3617; c.1520-1560 9. Gloria from: PL-WRu Breslau 1 Qu 438; a book-binding leaf; 10-11. from PL-WRu Breslau I Qu 42; fragment from the Dominican Monastery of Wroclaw: 10. (fragment) 11. Incipit fundamentum bonum p(edaliter) in c d a 12. (A composition based on a German song); from: D-Mbs cod.lat. 7755

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13. Magnificat 8vi toni quatuor notarum from: D-Mbs cod.lat. 5963 14-17. D-B theol.quart. 290: a collection of sermons by Ludolf Wilkins, some bearing the indication: "in Wysnem" (Windsheim?); dated: 1431 14. Wol up ghesellen yst an der tyet IV notarum 15. Summum Sanctus 16. f(r?)ysicum 17. Patrem 18. (another, incomplete elaboration of the c.f. used in no. 16) 19-23. PL-WRu Breslau IF 687; a fragment from the Dominican Monastery of Wroclaw: 19. Incipit bo(nus tenor) Leohardi 20. Incipit tenor bonus (?) III. Petri 21. 27 Clausulae 22. Sequitur nunc tenor bonus trium notarum videlicet Der Winter der wil weychen 23. Sequitur tenor generis maioris Mit gaczem Willen 24-32. D-Hs ND VI 3225: this manuscript was destroyed in WW II: 24. Ascensus & Descensus 25. Ornamenting formulae divided into 7 chapters 26. Magnificat primi toni 27. Magnificat octavi toni 28. Sequitur fundamentum bonum et utile pro cantu chorali valens videlicet octo notarum Wolfgangi de nova domo 29. Incipit fundamentum sub secunda mensura minoris prolacionis 30. Preambulum super g 31. Sequitur tenor bonus duarum mensurarum vz. sub secunda mensura brevis (?) prolationis 32. (untitled piece, with:) Repetitio huius tenoris 33-40. US-PHci: Tablature of Adam Ileborgh, 1448: 33. Praeambulum in c et potest variari in d f g a 34. Praeambulum bonum super c manualiter et variatur ad omnes 35. Praeambulum bonum pedale seu manuale in d 36. Praeambulum super d a f et g 37. Aliud praeambulum super d manulatier et variatur super a g f et c 38. Mensura trium notarum supra tenorem Frowe al myn hoffen an dyr lyed 39. Mensura duorum notarum eiusdem tenoris 40. Mensura sex notarum eiusdem tenoris 41-57. D-B mus.ms. 40613: Lochamer Liederbuch & Paumann's Fundamentum, to which 16 compositions are added (nos. 51-57 in later hands): 41. Fundamentum organisandi magistri Conradi Paumans Ceci de Nürenberga Anno 1452 42. Magnificat sexti toni 43. En avois 44. Wach auff mein hort der leucht dorther 45. Mit ganczem Willen wünsch ich dir 46. O cle(mens) 47. Des Klaffers neyden 48. Ellend du hast 49. Sequitur tenor: Benedicite almechtiger got 50. Domit ein gut Jare 51. Tenor: Mein hercz in hohen freuden ist per me Georg de Putenheim 52. C(on) l(agreme) 53. Wilhelmus Legrant 54. Paumgartner 55. Praeambulum super f 56. Praeambulum super fa 57. Praeambulum super re

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MUZIEKHANDEL SAUL B. GROEN

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58-60. 3 Preludes (no. 60 incomplete) from D-ERu 554 This edition is out of print only available as print-off sheets

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"Das Musikwerk", vol. 22: "Die Fantasie I / II" ed. & introd. by P. Schleuning Volume 22 of this historical collection of musical examples contains the following fantasies: 1. L. Kleber: Fantasy in fa, for organ (1524) 2. L. Milan: Fantasia, for vihuela (1535) 3. H. Newsidler: Preambel oder Fantasey, for lute (1536) 4. Francesco da Milano: Fantasia, for lute (1536) 5. A. Gabrieli: Fantasia allegra, for organ (1596) 6. G. Frescobaldi: Fantasia sopra quattro soggetti, for keyboard (1608) 7. J. Bull: Ut, re, mi, fa, sol, la, for keyboard (c.1610) 8. G. Farnaby: Fantasia, for keyboard 9. J. Pz. Sweelinck: Fantasia, for organ 10. P. Cornet: Fantasia, for organ 11. A. van Noordt: Fantasia, for organ (1639) 12. M. Weckmann: (Fantasia): Es ist das Heil uns kommen her, versus 6 organ 13. J. Krieger: Fantasia, for keyboard (1697) 14. J. Pachelbel: Fantasia in Eb, for keyboard PWC 127 15. A. Vivaldi: Fantasia: presto (last movement from violin sonata op. 2, no.11) 16. G.F. Kaufmann: Fantasia, in G for keyboard 17. G.Ph. Telemann: Fantasia in C, for harpsichord TWV 33: 14 18. G.A. Sorge: Fantasia: moderato, in G for keyboard 19. G.Chr. Wagenseil: Fantasia maestoso, in D (1st mvt. from son. WWV 24) 20. J.S. Bach: Fantasia cromatica: part of the cadenza; keyboard BWV 903 21. J.L. Krebs: Chromatische Fantasie, in a (without fugue); keyboard 22. J.E. Bach: Fantasia: allegro, in a (without fugue); keyboard 23. G.S. Löhlein: Fantasia, in a (1st mvt. from sonata op. 2, no. 4); keyboard 24a. C.Ph.E. Bach: Fantasia: allegretto, in d; keyboard Wq 114.7 / H 234 24b. J.C.F. Rellstab: realized version of the preceding fantasia by C.P.E. Bach 25. C.Ph.E. Bach: Fantasia: allegro moderato, in g; keyboard Wq 117.13 26. C.Ph.E. Bach: Fantasie "Empfindungen" in f# (1st part only)Wq 67 / H 300 27. W.F. Bach: Fantasia, in a; keyboard Fk 23 28. J.G. Müthel: (Fantasia), in g; for organ with pedal 29a. E.W. Wolf: Fantasia: allegro di molto, in Bb; for clavier (1785) 29b. E.W. Wolf: Fantasia, in C; for clavier (1769) 30. J.C. Kellner: Fantasia con expressione, in a; for clavier (1784) 31. J.C. Kittel: Fantasia: grave,in F; for piano (1789) 32a. W.A. Mozart: Fantasia in f K 383c (fragment) 32b. W.A. Mozart: Adagio für ein Orgelwerk, in d K 593a (fragment) 32c. W.A. Mozart: Fantasia, in C K 616a (fragment) 33. Chr.G. Neefe: Fantasia pr il clavicembalo, in f (1797) 34. J.W. Hässler: Fantasia op. 17 for piano (c.1803) 35. A. Reicha: Fantaisie op. 59, no. 2; piano (c.1805) 36. F. Schubert: Fantasia in c; piano D 2e (formerly D 993) (1811) 37. F. Kalkbrenner: Grande fantaisie "Effusio Musica", op. 68 (1st part only) 38-42. These works fall outside the limits of this catalogue Sources: D-B mus.ms. 12013/4 (21) D-B mus.ms. 15762/1: collection of Müthel sketches (28) D-B mus.ms. 40026: f.56r-58r (1)

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

D-B mus.ms. Bach P 365: p.213-215 (25) D-B mus.ms. Bach P zu 404 (22: anonymous) D-B mus.ms. Bach P 801: p.513 ff (16) D-B mus.ms. Lynar A 1: no. 72 (10) D-Dl mus.ms. 1-T-17 (19) D-LEm ms. "Sonatinen, Fantasien, Toccatinen und Sinfonien": no. 7 (18) GB-Cfm mu. 268: The Fitzwilliam Virginal Book (7, 8) 1535: L. Milan: "Libro de musica de vihuela de mano", Valencia (2) 1536: H. Newsidler: "Ein newgeordent künstlich Lautenbuch", Nürnberg (3) 1546: "Intabolatura de leuto di Francesco da Milano...libro primo", Venice (4) 1596: A. Gabrieli: "Il III° libro de recercari", Venice (5) 1608: G. Frescobaldi: "Il primo libro delle fantasie", Milan (6) 1659: A. van Noordt: "Tabulatuur-Boeck", Amsterdam (11) 1697: J. Krieger: "Sechs musicalische Partien" (13) 1768: G.S. Löhlein: "Sei soante con variate repetizioni, op. 2", Leizpig (23) 1768: C.Ph.E. Bach: "Kurze und liechte Klavierstücke mit veränderten Reprisen...2e Sammlung", Leipzig (24a) 1769: J.A. Hiller: "Wöchentliche Nachrichten und Anmerkungen die Musik betreffende, Bd. III", Leipzig (29b) 1785: E.W. Wolf: "Eine Sonatine, vier affectvolle Sonaten, und ein dreyzehnmal variirtes Thema, welches sich mit einer kurzen freyen Fantasie anfängt und endiget. Fürs Clavier...", Leipzig (29a) 1789: "Anthologie zur Musikalischen Real-Zeitung für das Jahr 1789", Speier, H. Bossler (30) 1789: J.C. Kittel: "Sechs Klavier-Sonaten von verschiedener Art nebst einer Fantasie, 1. Sammlung", Gera, Beckmann (31) 1790: J.C.F. Rellstab: "Anleitung für Clavierspieler", Berlin (24b) 1797: C.G. Neefe: "Fantasia per il clavicembalo", Bonn, Simrock (33) c.1803: J.W. Hässler: "Fantaisie et sonate pour le clavecin ou pianoforte, op. 17", Moscow, n.p. (34) n.d. A. Reicha: "Fantaisie pour le pianoforte", op. 59, no. 2; Leipzig (35) n.d. F. Kalkbrenner: "Effusio musica. Grande fantaisie...",Leipzig, Peters (37) 1903: J. Pachelbel: "Orgelkompositionen", ed. M. Seiffert (14) 1942: M. Weckmann: "Gesammelte Werke", ed. G. Ilgner (12) 1943: Sweelinck: "Werken van J.Pz. Sweelinck", ed. Seiffert (9) 1950: C.Ph.E. Bach: "Zwei Klavierstücke", ed. Kreuz, Mainz (26) 1953: A. Vivaldi: Violin sonatas op. 2; ed. W. Hillemann (15) 1972: W.F. Bach: "Fantasien für Klavier", ed. P. Schleuning (27) n.d. G.Ph. Telemann: "Drei Dutzend Fantasien", ed. M. Seiffert (17) n.d. J.S. Bach: Chromatic fantasias and fugue, ed. Kreuz, Mainz (20) n.d. "Otto Taussig's Schubert Foundation", Malmö (36)

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Organ Music by Women before 1800 ed. B. Harbach 1. Gracia Baptista: Conditor alme (c.1557) 2-3. Caterina Assandra: Ave verum corpus; Ego flos campi (early 17th c.) 4. miss Steemson: A Dirge for funerals (c.1780)

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Organum Antiquum ed. M. Radulescu Organ works from the 14th and 15th centuries: 1-3. from the Robertsbridge Codex (GB-Lbl Add. 28550; c.1320): 1. Estampie (1. / 2. / 3. / 4. punctus) 2. Retrové (1. / 2. / 3. / 4. / 5. punctus) 3. Adesto (intabulation of motet; the vocal mode is: Adest / Firmissime fuden teneamus / Alleluya; from: Roman de Fauvel: F-Pn f.fr. 146) 4-8. from the Faenza Codex (I-FZc 117; c.1400): 4. De ce fol penser (in ms.: no. 8) 5. Bel fiore dança (no. 36) 6. Non ara pieta questa mia dona (no. 37) 7-8. Kyrie - Gloria (nos. 40-41) 9. from the collection of sermons by Ludolf Wilkins (D-B Theol.q.290; 1431): Wol up ghesellen yst ander tyen IIII.or notarum 10-12. from the Ileborgh tablature (US-PHci; 1448): 10. Sequitur praeambulum in C et potest variari in d-f-g-a 11. Praeambulum super d-a-f-g 12. Mensura trium notarum super illum tenorem: Frowe al myn hoffen an dyr lyed App,: from the ms. of the "Roman de Fauvel": Adesto-Firmissime-Alleluia (vocal model of no.3)

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Six Keyboard Sonatas from the Classical Era ed. W.S. Newman 1. H.J. Rigel: Sonata in D op.13, no.6: Allegretto-Polonese-Minuet, in d-Allemande stirienne (1777) 2. N. Séjan: Sonata in c, op.1, no.6: Allegro-Andante, in Eb-Giga (1772) 3. N.-J. Hüllmandel: Sonatain g op.10, no.3: Adagio / Presto-Tempo di minuetto 4. G.M.P. Rutini: Sonata no d op. 3, no.4: Risoluto-Giga: vivace-Tempo di minuetto (c.1757) 5. F. Turini: Sonata in g, no. form the set of c.1780: Presto-Allegretto affettuoso 6. E.W. Wolf: Sonata in g, no.2 from the 1774 set: Allegro-Alla Siciliana, in g-Allegro assai Sonatinas; ed. E. Herttrich Urtext edition; fingering by Kraus

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Volume I: The Baroque and Pre-Classical Era 1-3. D. Scarlatti: 3 Sonatas in d-c-Bb (K: 34, 40, 42) from: "XLII Suites de pièces pour le clavecin", London, B. Cooke, 1739 4-9. C.Ph.E. Bach: 6 Sonatinas in G-E-D-Bb-F-d, Wq 63: 7-12 from the 1787 edition of his "Versuch über die wahre Art das Clavier zu spielen" 1-11. G. Benda: 2 Sonatinas in F-c from "Sammlung vermischter Clavier- und Gesangstücke für geübte Spieler...Vierter Theil", Leipzig, Schwikcert, 1784 12. G.F. Händel: Sonatina in d from US-NYp Drexel 5856 = final movement (not printed) for suite no. 3 in the 1733 set (HWV 436) 13. L. Giustini: Sonata in Bb from: "Sonate da cimbalo di piano e forte detto volgarmente di martelletti", Florence, 1732 14-16. D. Scarlatti: Sonatas in f#-G-F (Pastorale), K: 67, 168 and 446 17. G.B. Platti: Sonata in F, no. 3 from: "VI Sonates pour le clavessin sur le gout italien" 18-19. G.A. Paganelli: Sonatas no.s 1 and 6 in D-A from: "Divertissement de le beau sexe ou six sonates pour le clavecin", Amsterdam, Hummel, 1759 20-21. C.Ph.E. Bach: Sonats Wq 53: 1 and Wq 53: 3 in C-a from: "Sechs leichte Sonaten", Leipzig, Breitkopf, 1766 22. G. Benda: Sonatina in C from: "Rondeaux und Lieder auch kleine und grössere Clavierstücken,

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dritter Theil", Leipzig, Schwickert, 1782 23-24. A. Soler: Sonatas in D-G from: "27 Sonatas para clave", London, Birchall, c.1796 25. J.Chr.F. Bach: Sonata in C HW XI/3, no. 1 from: "Sechs leichte Sonaten fürs Clavier", Leipzig, Verlag der Buchhandlung der Gelehrten, 1785 26. J. Haydn (?): Sonata in Eb Hob XVI: 16 Volume II: The Classical Era 1-6. I. Pleyel: 6 Sonatinas from: "Twelve easy sonatinas for the piano-forte", London, Harrison, Cluse & Co., 1800: nos. 1, 3, 4, 8, 9, 12: arrangements by Pleyel of short excerpts from some of his own chamber and orchestral works no. 1 in C: Allegretto no. 3 in G: Allegretto no. 4 in Bb: Adagio ma non troppo no. 8 in E: Minuetto no. 9 in a: Andantino no. 12 in A: Siciliano: andantino grazioso 7-8. J. Hook: 2 Sonatinas from "Twelve sonatinas for the harpsichord or piano-forte for the use of scholars", London, Thompson, c.1775: in D: Pastorale Siciliani-Rondo: allegretto con spirito in E: Andantino: pastorale-Rondo: allegro 9. J. Haydn: Sonata in E Hob. XVI: 13 10-12. D. Cimarosa: 3 Sonatas: nos. 1, 33 and 18 from: "Raccolta di varie sonate per il fortepiano" (I-Fc ms. B.1881): no. 1 in Bb: Allegro no. 33 in Eb: Andantino no. 18 in Bb: Allegro 13-14. M. Clementi: Sonatinas op. 36, nos. 4 and 6 15. F.A. Hoffmeister: Sonatine in Eb from: "III Nouvelles sonatines, faciles, agréables et progressives pour le piano-forte à l'usage des commençans...Livre I", Leipzig, Kühnel, 1803: Allegro-Allegro vivace 16-18. I. Pleyel: 3 Sonatas from: "Drei leichte Clavier-Sonaten", Leipzig, Breitkopf & Härtel, 1800: no. 1 in a: Andante-Allegretto no. 2 in F: Andantino-Rondo: allegretto no. 3 in G: Adagio-Rondo: allegro 19. A. Eberl: "Sonatine pour le piano-forte à l'usage des commençans...Edition corrigée", Leipzig, A. Kühnel, c.1807 (op. 5; later version of the sonata op. 6 published in 1797) in C: Allegro-Andante-Rondo: allegretto 20. A. Diabelli: Sonatina no. 5 from: "Musikalische Morgenstunden einer Woche. 7 Sonatinen für das Piano-Forte allein oder mit willkürlicher Begleitung einer Violine...168.tes Werk", Vienna, A. Diabell & Comp., 1839: in D: Tempo di marcia-Marcia funebre: andante maestoso-Rondo militaire: allegro 21. F. Kuhlau: Sonata no. 2 from: "Trois sonates non difficiles mèlées de trois thèmes variées... Oeuv. 60", Hamburg, A. Cranz, c.1824: in A: Allegro con spirito-Thème de Rossini: allegro moderato (with 4 variations) Three Labyrinths for Clavier ed. J. Jacobi 1. B. Marcello: Laberinto musicale sopra il clavicembalo ("consiste nell'esser composto ad uno tratto cambiamenti di chiave, ora in basso, ora in soprano, tenore, contralto, e violino. Peraltro va eseguita con entrambe le mani") (from: A-Graz 24; I-Bc) 2. G.H. Stölzel: Enharmonische Claviersonate: Largo arpeggiato-Fuga-Dolce (from: "Musikali-

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sches Allerley", 1761-1763) 3. G.A. Sorge: Toccata per omnem circulum: 24 modorum fürs Clavier (from: D-LEm II.8.64)

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Le Trésor des Pianistes out of print ed. J. & L. Farrenc reprint of the 23 volumes of the 1861-1872 edition XVIII. I. Preliminaries; History of the piano; Treatise on ornaments II. "Parthenia"; Merulo; Frescobaldi; Muffat; Chambonnières; d'Anglebert III. Kuhnau; H. Purcell; Froberger; L. Couperin; Lebègue; B. Pasquini; Kerll; A. Scarlatti IV. F. Couperin V. F. Couperin; Händel VI-VII. D. Scarlatti VIII. J.S. Bach; Rameau; Porpora (6 fugues) IX. Durante; Dandrieu; Marcello; Telemann; Pescetti; Daquin; G.B. Martini; J.L. Krebs X. W.F. Bach; Gottlieb Muffat; Nichelmann (11 sonatas) XI. Goldberg (prelude & fugue); Eberlin; Mattheson; Zipoli; J.Chr. Smith (9 suites), Schaffrath XII-XIII. C.Ph.E. Bach XIV. Paraddies; Duphly; Kirnberger; Buttstedt (2 sonatas); G. Benda XV. J.Ch.F. Bach; J. Haydn; Albrechtsberger (30 fugues), K. Fasch (2 sonatas & piece) XVI. Clementi(12 sonatas from op. 2, 7, 8, 9, 10, 14); J.W. Hässler (2 fantasias, 9 sonatas, 4 solos); O.A. Lindemann (various pieces) XVII. W.A. Mozart XVIII. J.Christian Bach; J.L. Dussek (3 sonatas op. 35; sonata op. 64); J.G. Wernicke (5 pieces); J. Schwanenberg (2 minuets); D. Steibelt (sonata op. 64); J.B. Cramer (3 sonatas) XIX-XXI. Beethoven XXII. J.N. Hummel (7 sets of variations; op. 13, 18, 19, 20, 81, 109) XXIII. F. Ries (sonata op. 26); C.M. v. Weber; Mendelssohn; Chopin out of print op. 64), J.B. Cramer (3 sonatas). Vols. XIX-XXI: Beethoven. Vol. XXII: Hummel (7 sets of var.; introd. and rondo op. 19; rondo brilliant op. 109; sonatas opp. 13, 20, 81; fantasia op. 18). Vol. XXIII: F.Ries (son. op. 26: "l'Infortunée"),C.M.v.Weber, Mendelssohn, Chopin. each vol.:

out of pr.

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Women Composers through the ages, vol. III Composers born between 1700 and 1799 facsimile editions; NB: not all these works have been included complete! Keyboard works by M.T. Agnesi, E. de Gambarini, A. Bon, E. Hardin, J. Reichardt, Mme Krumpholtz, J.B. von Auernhammer, M.Th. von Paradis, J. Savage, M. d'Auenbrugg, A. Valentine, J.M. Guest (mrs. Miles), E.W. Billington, V. Cianchettini, Mlle Benaut, C.M. Barthélemon, S. Dussek, F. Krumpholtz Pittar, M. Szymanowska, G. van den Bergh, H.R. Liebmann, O. Dussek Bulkley.

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II. AUSTRIA

a) Manuscripts:

A-Kla 4/3 Kärnten Organ Tablature The Kärnten organ tablature, c.1560-1570, contains intabulations of works by Josquin, Senfl, Verdelot, de la Rue, a praeambulum by Senfl, and some anonymous compositions. Edition: · 2 Pieces: 1. L. Senfl: Praeambulum 2. Exercitatio bona 4 vocum ° A. Wilhelmer; MAM 9 A-KR L 26 The Kremsmünster Organ Book Written about 1730; 146 pages, containing many short pieces in the 8 tones under the titles: Präludium, Präambulum Fuga, Versus, Verseto, Versus contra, Exercitium Exercitium extra, Ultima, Finale; most pieces are anonymous; some are attributed to J.K.F. Fischer and F.X. Murschhauser Edition: Edition: · Selection of some 170 anonymous pieces ° ed. W. Fürlinger A-LIsm 9647 The Linz Organ Tablature German organ tablature, compiled in 1611-1613, containing 127 secular pieces: 42 dances with "Nachtanz / Proportio", 29 intabulatiions of German songs, 29 corantas, 15 intradas, 13 padouanes, 4 galliardes, 4 englossas, 4 settings of madrigals, 2 ballets, 2 praeambula, bergamasca, saltarello, brandle. Editions: ° Facsimile edition of the complete manuscript; hardback ° Selection of 77 pieces; ed. Schächer (on order and nos. of the ms.): 3. Coranta a 4 voc. 4. Praeambulum a 4 voc. 6. Padoana; Dantz Hausmanni & Nachdantz 7. Madrigale songuesti crespicrime questi il 14. Cupido was wie doch dein Pfeil (V. Hausmann) 15-16. Tantz - nachtantz 17. Pergamasco 18-19. Englossa 22. Dantz. Ich wolt mit mir eins 23. Danntz: Zur muetter sprach das Töchterlein & Nachtantz 23a. Brandle

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24. Tantz & Nachtantz 25. Intrada 26. Curanta frachesa 29. Intrada Peurlini (P. Peuerl) 30. Tantz & Nachtantz 31. Paduana 32. Tantz & Nachtantz & Tantz & Proportio 34. Intrada Landgraf Boritz 37. Tantz & Nachtantz 38. Galliarda 39. Curanta Anglicana 40. Tantz & Nachtantz 41. Intrada 42. Neuer Dantz & Nachtanz 43. Neuer Pickelhäring & Nachtantz 44. Französch Tannz & Nachtantz 45. Trostlose Seel 46. Für alles Laijdt 47. Neuer Tantz & Nachtantz 47a. Praeambulum, in C 49. Paduana Peüerlin (P.Peuerl) 50. Auf mein Gesang & Nachdantz 51. Intrada 52. Gar sehr ist mir mein Hertz entzindt (V. Hausmann) 53. Tantz & Nachtantz 54. Tantz: Jesu Du zartes Lämblein & Proportio 55. Paduana 56. Tantz & Nachtanz 57. Paduana Peurlini (P. Peuerl) 58. Galliarda 60. Curanta Francesquina 61. Ach wehe dem Hertzen mein 62. Neuer Tantz & Nachtantz 63. Galliarda 64. Fortuna weil unmüglich ist 65. Bolletta Mercurij (Mercure) 68. Englischer Aufzug 69. Curanta 71. Ein feines Tänzlein & Nachtantz 72. Mein traurn ach Gott ist ohn Endt 73. Curranta 74. Tantz & Nachtantz 75. Ach Lieb in Laidt 76. Intrada 77. Mein Hertz ist in der Lieb entzindt 78. Mit Seufzen un mit Klagen 80-81. Dantz & Nachdanz 82. Es flog ein kleins Waldvögelein & Nachtanz 83. Sol dann die Treue mein 85. Mein gmüet ist mir verwirret 86. Nun bin Ich einmal frey 87a-b. Passò mezo & Saltarello 90. Il cor che mi robasti

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91. Mein junges Leben hatt ein Endt 92. Padouan 94. Die Schäfferin 99. Prinzenstanerische Curranta 100. Paduana Aloyson 102. Padouanaa de Sacradent

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° Selection of 47 pieces; ed. Petri: 1. Padoana 2. Madrigal: Songuesti crespicrime guesti il 3. Tantz 4. Dantz Hausmanni 5. Cupido 6. Tantz 7. Pergamasco 8. Englossa 9. Danntz: Zur muetter sprach das Töchterlein 10. Brandle 11. Tantz 12. Curanta francesca 13. Intrada 14. Paduana 15. Tantz 16. Neuer Danz 17. Neuer Pickelhäring 18. Französch Tannz 19. Padouan 20. Auf mein Gsang 21. Intrada 22. Gar fest ist mir mein hertx entzündt 23. Tannz: Jesu Du zartes Lämblein 24. Paduana 25. Tanz 26. Galliarda 27. Ach wehe dem herzen mein 28. Fortuna weil unmöglich ist 29. Balletta Marcury 30. Neuer Tanz: Pickelhäring 31. Englischer Aufzug 32. Ein feines Tänzlein 33. Mein trauern ach Gott ist ohn Endt 34. Curanta 35. Tantz 36. Ach Lieb in Laidt 37. Intrada 38. Mein Hertz ist in der Lieb entzündth 39. Mit Seufzen und mit Klagen 40. Dantz 41. Es flog ein kleines Waldvöglein 42. So dann die Treue mein appendix: Pergamasco

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b) Early Prints:

1824 Vaterländischer Künstlerverein · "Vaterländischer Künstlerverein: 50 Veränderungen für das Piano-Forte über ein vorgelegtes Thema, componiert von den vorzüglichsten Tonsetzern und Virtuosen Wien's und der k.k. oesterreichischen Staaten...", Vienna, a. Diabelle & Co., 1824 50 variations by 50 composers on a theme by Anton Diabelli: 1. I. Assmayer 2. C.M. von Böcklet 3. L.E. Czapek 4. C. Czerny 5. J. Czerny 6. M. Graf von Dietrichstein 7. J. Drechsler 8. A.E. Förster 9. J. Freystaedtler 10. J. Gänsbacher 11. J. Gelinek 12. A. Halm 13. J. Hoffmann 14. J. Horzalka 15. J. Huglmann 16. J.N. Hummel 17. A. Hüttenbrenner 18. F. Kalkbrenner 19. F.A. Kanne 20. J. Kerzkowsky 21. C. Kreutzer 22. baron E. Lannoy 23. M.J. Leidesdorf 24. F. Liszt 25. J. Mayseder 26. I. Moscheles 27. J. von Mosel 28. F.X. Mozart 29. J. Panny 30. H. Payer 31. J.P. Pixis 32. W. Plachy 33. G. Rieger 34. P.J. Riotte 35. F. Roser 36. J. Schenk 37. F. Schoberlechner 38. F. Schubert 39. S. Sechter 40. Rudolf archduke of Austria 41. M. Stadler 42. J. von Szàlay 43. W. Tomaschek

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44. M. Umlauff 45. F.D. Weber 46. Fr. Weber 47. Ch.A. von Winkhler 48. F. Weiss 49. J. Wittasek 50. J.H. Vorisek Coda: C. Czerny Editions: · nos. 1-50 & coda: ° Facsimile of the 1824 edition; this ed. includes as well the facsimile edition of Beethoven's 33 variations on the same theme op. 120; ed. by L. Alvini; set of 2 volumes ° ed. G. Brosche; Denklmäler der Tonkunst in Österreich, vol. 136 (1983)

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c) Modern Collections:

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Keyboard music at the 18th-century Viennese court ed. F. Di Lernia 1-10. A. Caldara: 1. Capriccio, in F 2-10. Fugues in F-F-c-A-G-a-E-F-a 11-13. F.A. Römer: 11. Prelude, in g 12. Fugue, in g 13. Fugue, in F 14-16. F. Schmidt: 14. Fugue, in G 15. Prelude, in C 16. Fugue, in a Sources: D-B mus.ms. 2785: "23 Fughe di Caldara" (2-10) D-B mus.ms. 2788 (1) H-Bn mus. 749 (11-16)

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Lasst uns das Kindelein wiegen Austrian Christmas music of the 17th century for Clavier ed. J. Jacobi 1. A. Estendorffer: Cappricio super Der tag der ist so freüdenreich (with 5 variations) 2. A. Poglietti: Ricercare no. 11 5ti toni: Der Tag der ist so freudenreich 3. A. Estendorffer: (7) Variationes super Joseph lieber Joseph mein 4. A. Estendorffer: Capritio super cantum vulgarem: Lasst uns das kündelein wiegen, das Hertz im Krüppelein biegen &c. 5. F.X. Murschhauser: (6) Variationes super cant. Last unss dass Kindelein wiegen per imitationem cuculi · Sources: D-B mus.ms. 17670 (2) D-OB Mus. MO 1037 (1, 3, 4) 1696: Murschhauser: "Octi tonium novum organicum, op. 1" (5)

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Organ and Keyboard Music at the Salzburg Court, 1500-1800 ed. S. Rampe 1-2. P. Hofhaimer: 1. Was ich durch Gluck 2. Mein ainigs A 3-4. L. Zangius: 3. Conzon, in a 4. Conzon, in C 5. J. Feldmair: Magnificat a 6 vo(ci) 6. J. Stadlmayer: Conzon, in a 7-11. C. von der Hoven: 7. Toccata primi toni 8. Toccata secundi toni 9. Ricercar 3. toni 10. Alia Fuga, in e 11. Fantasia, in a 12-13. S. Bernardi: 12. Sonata Quarta, in G 13. Sonata Quinta, in g 14. Georg Muffat: Toccata prima 15. F.X. Neumüller: Parthia ex B (Bb): Entree-Gavotte-SarabandeMenuet I/II-Guique 16. J.E. Eberlin: Sonata, in A: Allegretto-Andante-Minuetto / Trio-Fuga 17. L. Mozart: Sonata in Bb: Allegro assai-Andante in F-Allegro 18-20. W.A. Mozart: 18. Fuga, in g KV 401 (375e) incomplete; last bars by Maximilian Stadler 19. Two Versus, in D KV 154a 20. Fuga KV Anh. 41 (375g) incomplete; final bars by the editor 21. J.M. Haydn: Cadenzen und Versetten in den 8 Kirchentonarten MH 176 Sources: A-Wm XIV.714 (3-6; 12-13) CH-Bu Autogr.-Slg. Geigy-Hgb. Nr. 2457 (18) CH-BuX.22 (1-2) D-Hs ND VI 3209: Mattsee keyboard book, 1738 (15) D-Mbs mus.ms. 1581 (7-10) D-Mbs mus.ms. 6521: autograph J.M. Haydn (21) GB-Cfm mus. 606: Mozart autograph (20) I-Tn Giordano 7 (11) I-Vnm mus. 39: fragment of an early imprint of "Apparatus" (14) US-NYpm Cary 210: Mozart autograph (19) 1760: "Oeuvres melees contenant VI sonates pour le clavessin d'autant de plus celebres compositeurs, rangés en order alphabetique. Partie VI", Nürnberg, J.U. Haffner (16-17)

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Organ and Keyboard Music of the Imperial Court Chapel Vienna, 1500-1700 collection of first editions by S. Rampe 1. H. Isaac: In pace in idipsum, in G 2. J. Buchner: Expexta ung pauca, in F 3-4. Th. Bodenstein (c.1600): 3. Conzon, in g 4. Ballet, in d

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5. J. Hassler: Fantasie noni toni, in a 6. Chr. Strauss: Conzon, in C 7-13. Giovanni Valentini: 7. Conzon a6, in d 8. Conzon a6, in d 9. Conzon a 6 voci, in G 10. Conzon a6, in g 11. Conzon a6, in g 12. Conzon, in G 13. Conzon Le bon â 5 voci, in d 14. J.J. Froberger: Toccata 2di toni, in g FbWV 130 15. C.F. Simonelli (c.1617-1653): Toccata, in a 16-18. J.H. Schmelzer: 16. Partita, in d: Sonata-Allemand-Courant-Saraband-Gigue 17. Partita, in d: Allemande-Aria-Montirande-Saraband 18. Partita, in e: Sonatina-Allemand-Courant-Treza-Sarabande-Gigue 19-20. F.T. Richter: 19. Partita, in d: Toccatina-Allemande-Bourree-Sarabande-Menuetto-Gique 20. Partita, in D: Entrée-Allemande-Courante-Minue-Sarabande-Bourée-Gique Sources: A-Wm XIV 714: keyboard book, Prague?, c.1630 (3, 6-13) A-Wm 743: keyboard book, Kloster Pulgarn, 1708/9 (19-20) CH-Bu F.IX.22: Amerbach tablature (1, 2) D-Hs ND VI 3209: keyboard book of J.A. Graf, 1738 (14) D-LEm II.6.19: tablature, Nürnberg?, 1681 (16-18) I-Tn Giordano 7: German tablature, Augsburg?, c.1638 (5) PL-Kj mus.ms. 40316: keyboard book, Brussels?, 1620s (4) 1708: "The Lady's Entertainment or Banquet of Musick being a choice collection of the newest and most airy lessons for the harpsichord or spinnet...", London, Walsh, Hare & Randal (15)

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Salzburger Klaviermusik des 18. Jahrhunderts ed. P. Eder Denkmälder der Musik in Salzburg. Bd. 16 A. Anonymous pieces from keyboard books: 1-47. From "Notenbuch des Johann Georg Alt", c.1760 (A-Ssp Ntb. 1): 1. Menuet, in F 2. Trio, in C 3. Menuet, in F 4. Trio, in C 4bis. Menuet, in C (from "Notenbuch der J.A. von Langemantel) 5. Gavotte, in C 6. Menuet ,in C 7. Menuet, in C 8. Menuet, in C 9. Menuet, in C 10. Menuet, in C 11. Arietta, in G 12. Menuet, in C 13. Aria, in C 14. Gavotte, in C 15. Aria, in C 16. Aria, in C

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17. Aria, in a 18. Menuet, in C 19. Aria, in G 20. Aria, in a 21. Aria, in D 22. Aria, in F 23. Aria, in C 24. Aria, in G 25. Aria, in a 26. Arietta, in G 27. Pastorello, in G 28. Aria, in G 29. Aria, in C 30. Menuet, in Bb 31. Aria, in F 32. Aria, in G 33. Aria, in C 34. Aria, in G 35. Aria, in g 36. Aria, in C 37. Aria, in C 38. Menuet, in F 39. Menuet, in G 40. Aria, in G 41. Aria, in d 42. Allegro, in F 43. Aria, in a 44. Allegro, in C 45. Arietta, in G 46. Aria, in F 47. Allegro, in F 48-56. From "Clavichordbuch des Benedikt Kammel" (A-Ssp Ntb. 36): 48. Pantomime, in G 49. Harlequin, in G 50. Andante, in Bb 51. Allegro, in Bb 52. Staccato, in C 53. Allegro, in C 54. Andante, in D 55. Allegro, in G 56. Ballo, in G B. Sonatas, Suites and Miscellaneous Pieces: 57. F.X. Neumüller: Parthia in Bb: Entree-Gavotte-Sarabanda-Menuet-Gigue 58-61. J.E. Eberlin: 58. Aria in A 59. Aria, in F 60. Sonata, in G: Vivace-Andantino-Allegro 61. Sonata in A: Allegretto-Andante-Minuetto / Trio-Fuga 62-67. A.C. Adlgasser: 62. Sonata, in A: Allegro-Andante, in E-Allegro assai WV 17.01 63. Sonata, in Bb: Allegro-Andantino: tempo giusto, in Eb-Minuetto / Trio WV 17.02 64. Andante, in A WV deest

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65. Andantino, in G WV deest 66. Andantino, in F WV 17.05 67. Allegro assai, in C WV 17.05 68. N.J. Meissner: Marche, in C 69-72. J.M. Haydn: 69. Klavierstück in Eb MH 468 70. Allegretto in F für eine Orgel in einer Uhr MH 471 71. Andante aus der "Hochzeit auf der Alm", in C MH 107 72. Marcia turchese, in C MH 601 73-77. F.A. Paris: 73. Eleven organ works: I. Praeludium, in Bb II. Praeludium, in Eb III. Fuga, in C IV. Fuga, in c V. Fuga, in F VI. Fuga, in F VII. Fuga, in G VIII. Fuga, in G IX. Fuga, in g X. Fuga, in Bb XI. Fuga, in b 74. Andante, in D 75. Allegro, in F 76. Andante, in Bb 77. Sonata per il cembalo, in C: Allegro moderato-Andante-Menuet-Finale: tempo di menuet C. Sonatas with accompaniment (Concerti) 78. A.C. Adlgasser: Concerto in C for harpsichord, 2 violins, bass WV 16.01 Allegro-Andante-Tempo di menuetto 79. A.F. Paris: Concerto in C for harpsichord and 2 violins: Allegro-Adagio, in G-Finale Sources A-Sm Notenbuch für Nannerl Mozart (2-4) A-Sm Rara Hs. Adl 1: copied by Benedikt Kammel (66-68, 71) A-Sn (9) XIX.13: ms. organ music, c.1760 (27, 38, 39, 45, 64, 65) A-Sn (9) XIX.14: Notenbuch der Johanna Antonia von Langenmantel, 1766 (4bis) mantel, 1766 (4bis) A-Sn (9) XIX.36: Notenbuch der Frau Cäcilia von Pichl (27) A-Sn (9) XIX.37: Notenbuch, cop. by I. Lipp, c.1760 (21, 28, 45) A-Ssp Ntb 1: Notenbuch des J.G. Alt, 1761 (1-47) A-Ssp Ntb 2: Notenbuch des Felix Millbacher, 1775-1778 (5-7, 9, 10, 12-15, 23, 32, 39) A-Ssp Ntb 3 & 9 & A-Sn XIX.21, copied by I. Lipp, c.1760 (16, 30, 32, 45) A-Ssp Ntb 5: Notenbuch des Modest Steiner (1, 3, 4) A-Ssp Ntb 32: Klavierhefte des P. Martin Bischofreiter (74, 75) A-Ssp Ntb 36: Clavichordbuch des Benedikt Kammel, 1773 (1-4, 44, 48-56) A-Ssp Adl 250.1 (78) A-Ssp Hay: 2096 (72) and 2097 (69) A-Ssp Paris autographs: Par: 140.1 (79), 145.1 (77), 150.1 (76), 151.1, (73/IV & VI & X & XI), 152.1 (73/VII & IX), 153.1 (73?III & V & VIII), 154.1 (73?I-II). D-Hs ND VI 3209: Orgelbuch von J.A. Graf, 1738 (57-59)

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D-Mbs mus.ms. 3745 (70) 1757/58: "Oeuvres melées contenant VI sonates pour le clavessin d'autant de plus celebres compositeurs, rangés en ordre alphabetique. Partie IV", Nürnberg, J.U. Haffner (60) 1759: "Oeuvres melées contenant VI sonates pour le clavessin d'autant de plus celebres compositeurs, rangés en ordere alphabetique. Partie V", Nürnberg, J.U. Haffner (62) 1758-1761: "Oeuvres melées VI. sonates pour le clavessin d'autant de plus celebres compositeurs, rangés en ordre alphabetique. Partie VI", Nürnberg, J.U. Haffner (61) 1761: "Oeuvres melées contenant VI sonates pour le clavessin d'autant de plus celebres composituers, rangés en ordere laphabetique. Parite VIII", Nürnberg, J.U. Haffner (63)

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Six Pastoral Pieces for Organ ed. O. Biba 1. J.G. Albrechtsberger: Pastorale, in C 2. J.G. Albrechtsberger: Der Tag, der ist so freudenreich: fugue in Bb 3. I. Assmayer: Pastoral-Preludium, in G: andante 4. J.B. Schiedermayr: Praeludium in C für die heilige Weihnachtszeit, op. 76/ 2 5. J.B. Schiedermayr: Praeludium in D für die heilige Weihnachtszeit, op. 76/ 6 6. F. Schneider: Fuge "Der Tag, der ist so freudenreich", in G Sources: A-Wgm Q 11618 (2) A-Wn misc. ms.3245 - qu. 4° (1, 2) D-B mus.ms. 20021: "3 Fuge, 6 Preludi, 8 Preludi, et 24 Versetti composti da sigr. Francesco Schneider, organista in Melk" (6) 1827: Assmayer:"Pastoral, Fuge und Preludium für die Orgel", Vienna, T. Haslinger, pl.no.5089 (3) 1827: Schiedermayr: "VI Orgel-Stücke; Praeludien für die heilige Weihnachtszeit...76tes Werk", Vienna, T. Haslinger, pl.no. 5090 (4, 5)

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Variations on Ballet Themes facsimile of first editons; introduction by L. Alvini; set of 6 volumes 1. J. von Aurnhammer: "VIII Variazioni sopra la contradanza del ballo intitolato: La Figlia mal custodita, del sigr. Vignao" 2. L. van Beethoven: "XII Variazioni sul menuetto ballato dalla sig.ra Venturini e sigr. Chechi nel ballo delle Nozze disturbate" WoO 68 3. L. van Beethoven: "XII Variations sur la danse Russe dansé par M.lle Cassentini dans le ballet: Das Waldmädchen" WoO 71 4. J. Gelinek: "VIII Variations sur le menuet dansé par M.lle Venturini dals he ballet: Le Nozze disturbate" 5. J.B. Vanhal: "Variations sur un thème favori de la pantomime: Arlequin et Columbine sur les Alpes"

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Variations on Opera Themes facsimile of first editons; introduction by L. Alvini; set of 8 volumes 1. J. von Aurnhammer: "VI Variazioni per il clavicembalo della Opera Molinara" 2. L. van Beethoven: "Variazioni della thema: Quant'è più bello l'Amor contadino dell' Opera La Molinara, op. II" WoO 69 3. L. van Beethoven: "Variazioni sopra il duetto: Nel cor più non mi sento dell' Opera Molinara,

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op. III" WoO 70 3. E.A. Förster: "Rondeau et variations du duo: Pace caro mio sposo, de l'opera: Una cosa rara" 4. J. Gelinek: "VI Variazioni sul duetto: Nel cor più non mi sento, nell Opera La Molinara" 5. J. Gelinek: "12 Variations sur le trio: Pria che l'impegno, tiré de l'opera: l'Amor marinaro" 6. F. Himmel: "VI Variations sur le thème du ballet de l'opera Semiramis" 7. D. Steibelt: "Romance et Pastorale de Nina par Paisiello avec 8 variations"

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Viennese Keyboard Music of the 2nd Half of the 17th Century ed. H. Botstiber Denkmäler der Tonkunst in Österreich, volume 27; 1906; R/1959 see under composers for further details a) by A. Poglietti: 1. Il Rossignolo (cycle of 7 works) 2. Suite in e "sopra la Ribellione di Ungheria" 3. Canzon & Capriccio über dass Henner und Hannergeschreÿ - Dass Hannengeschraÿ in g b) by F.T. Richter: 4. Toccata primi toni 5-7. Three Suites in d-d-F c) by G. Reutter sr. (nos. 8-13 and17 have later been attributed to N.A. Strungk): 8-13. Six Capricci 14-15. Two Canzonas 16. Fugue 17. Ricercar 18. Toccata

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Viennese Organ Music around 1600 ed. E. Benedikt 1. Ph. de Monte: Tu es gloria mea / Deus judex justus 2. Ph. de Monte: Ahi chi rompe 3. J. de Kerle: Similitudo vultus a5 / Facies autem bovis 4. C. Luython: Fantasia a5 5. C. Luython: Ricercar, in g 6. C. Luython: Fantasia, in F 7. C. Luython: Fantasia, in F 8. B. Ammon: Sacrificate sacrificium a6 / Immola Deo et redde Altissimo vota 9. B. Ammon: Introitus in festo Pentecostes a5 10. B. Ammon: Introitus in festo SS. Trinitatis a5 11. B. Ammon: Introitus in festo Corporis Christi a5 12. B. Ammon: Kyrie paschale 13. Th. Bodenstein: Canzon, in g 14. E. Bassenge: De profundis 15. C. Strauss: Canzon, in F 16. C. Strauss: Symphonia ad imitationem campanae a7 17. C. Strauss: Gloria a9 Sources: A-Wm XIV.714 (4-7, 9-13, 15) PL-PE 304-306: the Pelplin tablatures (1-3, 8) C. Strauss: Missa pro defunctis: introduction for 7 strings, bc; intab. by the editor (16) C. Strauss: Missa O sacrum convivium: Gloria, intabulated by the editor (17) ed. R. Hopfner (14)

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Viennese organ music around 1650 ed. E. Benedikt 1. G. Priuli: Canzona a6, in a: Presto (from his "Sacrorum concentuum pars prima", 1619) 2. G. Priuli: Canzona a6, in d: Presto (from his "Sacrorum concentuum pars prima", 1619) 3-7. G. Valentini: 3. Canzona a6, in d 4. Canzona a6, in g 5. Canzona a6, in d 6. Canzona a4, in a 7. Sonata a5, in g 8. A. Bertali: Sonata a5, in d 9. A. Bertali: Capriccio, in G 10-13. W. Ebner: 10. Toccata tertij toni 11. Praeludium I sexti toni 12. Praeludium II sexti toni 13. Partite sopra l'Aria Favorita 14. anonymous: Toccata octavi toni 15-17. J.H. Schmelzer: 15. Sonata I a4 from "Sacro-profaus concentus musicus", 1652 16. Arie Viennensi I-V, 1667 17. Sonata a7, in G 18. J.C. Kerll?: Fuga: Clamor grillorum campestrium, in D Sources: A-Wm XIV.714 (1-5, 9: keyboard intabulations) A-Wm XIV.718 (18) A-Wm XIV.725 (10-12, 14) A-Wm XIV.731 (13) A-Wn 16583 (16) D-Kl ms. lost; cf. ed. Riemann as "sonata enharmonica" in "Old chamber music", London, 1910 (9) PL-PE 304-306 Pelplin tablatures (6) S-Uu ms. (17) intabulations by E. Benedikt (8, 15)

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Viennese organ music around 1700 ed. E. Benedikt 1. A. Poglietti: Ricercar (per lo Rossignolo), in D / Syncopazione del Ricercar 2. anonymous: Ricercar, in d 3. anonymous: Ricercata del primo tono, in d 4a-b. anonymous: Praeambulum Viennense, in g / Fuga Bona Viennensis, in g 6. Emperor Leopold I: Suite 14 in E/e (Arie nos. 80-89): Intrada-Sarabande-Treza-GagliardaAria-Minuett-Gavotte-Allemanda-Bouré-Ritirada (originally for melody instrument and bass) 7. J. Bull: Salve regina, in d (from the bedroom library of Emperor Leopold I; A-Wn 17771) 8. C. Jäger: Fuga, in d 9. F. Lind: Capriccio sopra un soggetto, in e 10. F.T. Richter: Toccatina 1mi toni - Allemanda, in d 11. F.T. Richter: Suite in D: Entrée-Alemanda-Courrente-Minuett-Sarabande-Bourée-Gigue 12. F.M. Techelmann: Allemanda dell'allegrezze alla liberazione di Vienna, in C 13. G. Reutter sr.: Gigue, in F 14-15. G. Reutter sr.: Fuga I-II, in F

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16. G. Reutter sr.: Preambulum secundi toni: 11 versets & 2 preludes in g 17a-c. F.W. Schwabpauer: Pro Elevatione, in c; Pro Elevatione sexti toni, in F; Pro Elevatione sexti toni in tremol:, in F 18. J.J. Fux: Sonata pastorale a tre in A, K 396 for 2 violins, bassoon, organ; intabulation for organ by the editor 19. F. Conti: Allemande, Aria & Gigue, in g 20. J.J. Will: Toccata in a 21. J.J. Will: (12) Schlag-Stücke in B und h Sources: A-Wm XIV: 713 (17), 727 (2-4), 730 (19), 731 (9), 734 (8), 743 (13-16) A-Wn 16731 (10-11), 17771 (7), 18770 (6), 19167 (12) and 19248 (1) A-Wn SM 3660 (18) J.J. Will: "Chirologia organico-musica", Nürnberg, 1711 (20-21)

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Viennese organ music around 1750 ed. E. Benedikt 1-5. Gottlieb Muffat: 1. Toccata XV mit Capriccio "desperato", in a 2. Ricercata XXXII, in d 3. Canzona VII, n g 4. Fuga a4, in G 5. Ciacona, in b 6-7. G.M. Monn: 6. Preludio e fuga, in a 7. Fuga, in C 8. W.R. Pirck: Fuga (cromatica), in e 9-13. G.Ch. Wagenseil: 9. Praeludium primi toni, in d 10. Praeludium secundi toni, in g 11. Fuga, in d 12. Das Glockengeläut zu Rom dem Vatican, in c 13. Andante ma molto, in d (op.1, no.3) 14-15. J.A. Stepan: 14. Preludium, in Eb 15. Allegro, in G 16-18. C.F. Stary: 16.Praeludium et fuga secundi toni, in g 17. Praeludium et fuga tertii toni, in a 18. Praeludium primi toni, in d 19. J. Seger: Praeludium, in Ab Sources: a) manuscripts: A-SEI mss: U 201 (16-18) and U 203 (7); A-Wgm mss: XIV: 712 (2-3) and XIV: 715 (1); A-Wn mss: 1869 (5), 18662 (11), 18687 (19) and 18765 (12); A-Wn 5.m.0210 (14-15); D-B mus.mss: 14630/2 (6) and 15780 (2); D-B mus.ms. autogr. Wagenseil (9-10) b) prints: G. Muffat: "Componimenti musicali" (4: from the last suite); (2) "Trattenimenti per clavicembalo scritti da Vincislao Birck...", vienna, a. Bernardi, 1757 (8); Wagenseil: Divertimenti op.1 (in Divertimento no.3: Andante WV 38 (13)

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Viennese Organ Music around 1800 ed. E. Benedikt 1-14. J.G. Albrechtsberger: 1. Prelude & Fugue, in C no.1 from: "Sei Fughe e Preludie per il clavicembalo o organo op. 6", Vienna, 1787 2-4. Fugues, in f-G-g nos.2-4 from: "Sei Fughe per il clavicembalo o organo. Opera XI", Vienna, 1802 5. Prelude, in Eb no. 5 from: "6 Präludien für die Orgel oder das Pianofrote", op. 12/2 or 13; Vienna, 1803 6-7. Two Preludes in a nos. 2 and 6 form: "Präludien für das Pianoforte. Op. 12, 3. Lieferung", Vienna, 1790 8. Fugue, in Eb no.1 from: "Six Préludes et Fugues pour le clavecin ou piano-forte...(op.15)", Vienna 9-10. Fugue, in b & Galanteriefugue, in F: "Der Lipp under der Lenz" no. 3 and 6 form: "6 Fugues pour le piano-forte ou l'orgue...op. 17", Vienna, 1810 11. Fuga plagal, in e no. 6 from: "Six Fugues pour le piano-forte ou l'orgue...18me et dernier oeuvre", Vienna 12. Preludium, in a from: A-SEI ms. U 201: "Varia Praeludia ac Fugae. Ab authoribus diversis:, 1780 13. Fugue, in a form: A-Wn S.m. 0210: coll. of organ music by J.G. Fügerl, 1843 14. Fugue, in d from: A-Wn mus. 19236 15-16. G. Pasterwitz: 15. Fugue, in g on: "Christus ist erstanden" (no. 7 from: "VIII Fughe no. 7 from: "VIII Fughe secondo l'A.B.C. di musica per l'organo o clavicembalo...Op. II", Vienna, 1790 16. Fugue, in C on: "Komm, heiliger Geist, mit deiner Gnad" no. 2 from: A-Wn mus. 42610: "VIII Fughe per l'organo o clavicembalo. Op. III", 1792 17-19. M. Stadler: 17-18. Two Preludes, in the 3rd and 7th tone nos. 6 and 8 from: D-B: autogr. M. Stadler 3: "8 Präludien für die Orgel mit Pedal", 1773 19. Fugue no. 3 from: "Tre Fughe per l'organo o piano-forte...Opera I", Vienna, 1802 20. J.B. Vanhal: Fiugue, in Bb no. 4 from: "Sechs Fugen für die Orgel oder Clavier", Vienna, 1810 21. J. Lipavsky: Fugue, in a no. 4 from: "Six Fugues pour les orgues ou le piano-forte...Oeuvre 29", Vienna, 1805 Viennese Organ Works from the Beginning of the 19th Century ed. E. Benedikt in 2 volumes (see for source information under composers)

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volume I 1-2. E.A. Förster: 2 Preludes 3. L. van Beethoven: Prelude in G from op. 125 4-6. A. Rieder: 4. Prelude & Fughetta in a from op. 82 5. Fugue in e from op. 83 6. Prelude, Fugue & Postlude in Eb from op. 86 7. F. Schubert: Fugue in d D.13 8. C. Pichler: Prelude in C from op. 1

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9-13. S. Sechter: 9-10. Fugues in A and g from op. 1 11. Fugue in Eb from op. 4 12-13. Fugues in E and B from op. 5

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volume II 14-15. A. Rieder: Prelude & Fugue in g from op. 156 16-26. S. Sechter: 16. Fugue in B from op. 9 17-18. Preludes in C and b from op. 8 19. Fugue in C from op. 12 20. Prelude, Fugue, Canon & Rondeau in C from op. 16 21-22. Preludes in b and g from op. 26 23. Fugue in d on: "Christus ist erstanden" from op. 44 24-25. Preludes in f and Gb from op. 52 / 3 26. "Trauerfuge" in g from op. 55 27. J.B. Schiedemayr: Pastorale in C from op. 76 28. G. Peyer: Fugue on B-A-C-H from op. 72 Viennese Pieces for Flute Clockwork transcr. and ed. by H. Kowar 15 pieces: nos. 1-7 from a clock (c.1800) with the inventory number Br.1608 in the Geymüllerschlössel (an annex of Vienna's "Museum für angewandte Kunst") nos. 8-15 from a clock (c.1815) in a private collection in Vienna

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III. CZECH REPUBLIC

a) Manuscripts:

CZ-KU Minuets from Kuttenberg 15 Minuets from an anonymous mid-18th-c.manuscript from the collection of the Wocel Society (now in CZ-Pnm) containing progressive harpsichord pieces and an introduction to bc-playing. Edition: ° 15 Minuets (ed. by J. Snizkova, with added tempo indications, ties, dynamic markings, fingering, phrasing and realizations of ornamental signs)

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c) Modern Collections:

Bohemian Keyboard Music of the Classical Era ed. P. Roggenkamp; 2 volumes

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volume I: G. Benda: Sonata J.L. Dussek: L'amour est enfant trompeur: Andantino moderato & 4 variations, op. 6, no.1 V.J. Tomasek: Rhapsody op. 41, no.1; Eglogue op. 63, no.1; volume II: J. Myslivecek: Sonata in D, no. 6 from: "6 Easly lessons", 1784 Evans / Dearling D2 A. Rejcha: Fugue on a theme by D. Scarlatti op. 36, no.9 J.H. Vorisek: 6 Variations op. 19; Rondeau mignon op. 18, no.2; Impromptu op.7, no.2 Bohemian Sonatinas (ed. J. Racek; rev. by O. Kredba) 1-3. G. Benda: 1. Rondeau: andante in D ( = sonatina no. 1) 2. Allegro in a ( = sonatina no. 3) 3. Sonata in D: Allegro (from: sonata no. 6 of 6 Sonatas, 1757) 4-5. F.X Dusek: 4. Minuetto form sonata I in B (Prague, 1774) 5. Presto from sonata II in Bb (Prague, 1796) 6. J.L. Dussek: Menuet du carême, from "Fantasie pour le pianoforte...op. 76" (1811; C. 248) 7. L.A. Kozeluch: Allegro from Sonata in F "op. 35" (no. 1 of 3 Sonatas, Vienna, the author, 1786); Postolka XII:23 8-11. J. Myslivecek: 4 Divertimentos from "Six easy divertimentos...", London, 1777 12-14. J. Myslivecek; 3 Lessons (of 2 only the 2nd movement) from "6 Easy Lessons...", Edinburgh, Corri & Sutherland, 1784 15-19. J.B. Vanhal: 15. Allegretto and Andante from Sonatina op. 1/1 16. Andante from Sonatina op. 1/2 17. Allegro from Sonatina op. 2/1

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MUZIEKHANDEL SAUL B. GROEN

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18. Andante from Sonatina op. 2/5 19. Tempo di marcia and Allegretto from Sonata op. 2/6 20. J.H. Vorisek: Rondo in G, no. 1 from: "2 Rondeaux mignons, op. 18"

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Bohemian Variations of the 18th century (ed. D. Setková) 1. J.A. Stepán: Tempo di minuetto with 12 variations in C/c (= movement of a sonata from: 6 Sonatas op. 2; c.1759-1760) 2. A.F. Becvarovsky: Andantino with 3 variations in Bb (from his "Kleine practische Klavier-Schule", c.1812) 3. J.B. Vanhal: Andantino with 8 variations in A 4. L. Kozeluch: Andante with 5 variations in Bb (2nd movement from "La Chasse", op. 5; 1781; Postolka XIII: 2 5. J.L. Dussek: Andantino moderato with 4 variations in Bb ("L'amour est enfant trompeur"; no. 1 from: "Petits airs connus, variée pour le clavecin ou forte piano... Oeuvre 6", 1788; C.44) 6. J. Lipavsky: Andantino with 10 variations in F

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Classici Boemici Bohemian organ works selected and edited by J. Reinberger Musica Antiqua Bohemica, vol. I/12 1. B.M. Cernohorský: Fugue in g# (from a copy of the ms. from the Zeliv Monastery) 2. J. Zach: Prelude & Fugue in c (from: "Museum für Orgelspieler", ed. Pitsch, Prague, 1832-34) 3. J. Seger: Prfelude & Fugue in C (from the same source as no. 2) 4. J. Seger: Fugue in f (from the same source as no. 2) 5. J.I. Linka: Praeambulum in C (from the mss. in the church archives at Bakov and Jizerou) 6. F.X. Brixi: Prelude in F (from the same source as no. 2; this is actually no. 7 from Albrechtsberger's "12 Themata vel preludia" from A-SEI U 218) 7. F.X. Brixi: Fugue in g (from the same source as no. 2) 8. F.X. Brixi: Fugue in c (from the same source as no. 2) 9. F.X. Brixi: Toccata (from the same source as no. 2) 10. J.B. Vanhal: Simple Fugue (from: "Fugen und Praeludien von älteren väterländischen Kompositoren", ed. Führer / Schütz / Vitásek, 1832) 11. J.K. Kuchar: Fantasia in g (from a copy made in 1846 by Radonice, donated to the Lepicovský of Radonice; ed. by J. Wowes) 12. K. Kopriva: Fugue in f (from the same source as no. 2) 13. A. Rejcha: Fughetta in a free style (from the same source as no. 10) 14. A. Rejcha: Fugue with six counter-subjects (from: H.G. Nägeli's "Die Contrapunktisten des 19. Jahrhunderts", Zürich) 15. K.F. Pitsch: Fugue in Eb (from the same source as no. 2)

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From Organ Books by Old Czech Schoolmasters ed. P. Koukal 1. Praelude pro duplici claviatura, in C (Doksy - Dobrovice?) 2. Fuga 4ta, in C (Doksy - Dobrovice?) 3. Transitus per omnes tonus (Bakov) 4. Fuga, in C (Plzensko) 5. (Fuga), in C (Plzen - J. Follprocht?) 6. Preludium, in C (Breznice) 7. Fuga, in C (Sebranice)

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8. Ite missa est. Adagio, in d (Sojka; Mostiste) 9. (Fuga), in C (Jemnice) 10. (Preludium), in D (Jemnice) 11. (Fuga), in g (Slavkov u Opavy) 12. (Fuga): Andante moderato, in C (Beránek; Slavkov u Opavy) 13. (Preludium), in Bb (Slavkov u Opavy) 14. Fuga, in C (Telc) 15. J.E. Kypta: Allegretto, in a 16.a-q. A. Schreyer: Organ fugues a. Allegretto, in C b. Allegro, in D c. Allegro, in D d. Larghetto-Allegro, in Eb e. Allegro, in g f. Allegro, in g g. Alleretto, in Eb h. Allegro, in Eb i. Andante, in g - Allegro, in G j. Allegro, in f k. Allegretto, in F l. Allegro, in d m. Allegro, in F n. Allegretto, in a o. Allegro, in Eb p. allegretto, in G q. Allegretto, in Bb Sources (from the 18th and 19th centuries): CZ-Bm A 9585 (8) CZ-Bm A 49.713 (9, 10) CZ-Bm A 50.516 (7) CZ-BA J.I. Linka (3) CZ-OP A 519 (11, 13) CZ-OP A 1243 (12) CZ-Pnm E 116 (1, 2) CZ-PLa H 585 (6) CZ-PLa H 1505 (4) CZ-PLm 8422 (5) CZ-STa Ji S 358 (14) 1861: Kypta: "Nauka o souhlasu", Brno, K. Winkler (15) 1869: A. Schreyer: "Kirchenlieder-Kranz", Olomouc, E. Hölzel (16a-q)

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Jewels of Organ Music by Old Czech Masters ed. V. Belský and P. Koukal 1. B.M. Cernohorský: Toccata, in C 2. anonymous: Fuga, in a 3. J.F.N. Seger: Toccata, in D & Fuga, in G 4. F.X. Brixi: Preludium, in C 5. F.X. Brixi: Preludium, in F 6. F.X. Brixi: Seykorka ( = titmouse), in C (from a harpsichord suite) 7. K.B. Kopriva: Fuga-Pastorale, in C 8. J.I. Linek: Preambulum, in C 9. J.K. Vanhal: Fuga, in d

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MUZIEKHANDEL SAUL B. GROEN

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10. J.K. Kuchar: Andante, in a 11. J.E. Kypta (1813-1868): Preludium, in d 12. J.E. Kypta: Fuga, i f Sources: CZ-Pnm MB: The Bakov Book; ms. written prob. by J.I. Linek (4, 5, 7) CZ-Pnm I B 920 J: print, Prague, n.d., n.p. (9) CZ-Telc county archives, music coll. S 358 (8, 12) and S 359 (11) CZ-private collection: ms. copies by J.N. Kolár (10) 1793: Seger: "Acht Toccaten und Fugen", Leizpig (3) 1834: "Museum för Orgelspieler, III" (ed. Pitsch), Prague, M. Berra (2) 1900: "Ausgewählte Orgelstücke Alt-Böhmischer Meister", ed. O. Schmid (1) 1960: P. Eben & J. Burghauser: "Ctení a hra partitur", Prague (6)

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Old Czech Organ Music for Christmas ed. J. Smolka 1-5. J. Seger: 1. Toccata pastorale in D 2. Fugue in G on a Christmas carol 3. Prelude in a 4. Fugue in C 5. Fuga De tempore Natalis in C 6. J.V. Paus: Pastorale in C 7-9. F.X. Brixi: 7. Pastorale in C 8. Prelude in D 9. Fugue in C 10. J. Gelinek: Fugue in G 11. J.bBVanhal: Fugue in F 12. J.K. Kuchar: Pastorale in D 13. K.B. Kopriva: Fugue & Pastorale in C

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Organistae Bohemici ed. M. Slechta 1. J. Zach: Fugue in a 2-3. J.B. Vanhal: Fugues in C-Bb 4-5. F.X. Brixi: Fugues in g-a 6. J. Kuchar: Preludium in G 7. J. Kuchar: Pastorela in D 8-10. K.B. Kopriva: 8. Fuga-pastorela in C 9. Fuga supra cognomen Debefe, in d 10. Fugue in a

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Orgelkompositionen alter Böhmischer Meister (ed. B. Geist and M. Kampelsheimer); MVH 21 1. F.X. Brixi: Fuga, in C 2. F.X. Brixi: Preludium, in D 3. J.K. Vanhal: Fuga, in C 4. J.K. Vanhal: Fuga, in F 5. J.K. Vanhal: Fuga, in E

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8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

6. J.K. Kuchar: Fantasie, in d 7. J.K. Kuchar: Adagio, in Ab 8. K.F. Pitsch: Fantasie & Fuge an den Tod Felix Mendelssohn-Bartholdys, in d 9. K.F. Pitsch: Preludium no. 6, in c sources: CZ-Pk autograph mss. Pitsch (8-9) CZ-Pst (now in: CZ-Pnm) ms. s.s. (6-7) Vanhal: "Six fugues pour l'orgue ou piano-forte", Vienna, Imprimerie Chimique, pl.no.1379 (3-4) Vanhal: "6 Fugen für die Orgel", Vienna, Maisch, pl.no.397 (5) "Museum für Orgelspieler", vol. III; Prague, Berra (1-2)

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Six Sonatas from the Waldstein Archive ed. M. Rutová Ch.S. Binder: Sonata in b P.M.L. Cardena: Sonata in g in one movement; 1744 (CZ-Pnm Doksy XXXIV.D.120) F.X. Dusek: Sonata in G (CZ-Pnm Doksy XXX.E.61) B. Marcello: Sonata in G in 4 movements (CZ-Pnm Doksy XXXIV.B.52) F.X. Partsch: Sonata in F (CZ-Pnm Doksy XXXIV.E.193) G.B. Sammartini: Sonata in G (CZ-Pnm Doksy XXXIV.C.356)

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Twenty-four Czech Organ Fugues of the Baroque and Classical Period ed. J. Smolka and J. Reinberger out of print 1-3. B.M. Cernohorský: 1. Fugue in F 2. Fugue in a, with chromatic subject 3. Fugue in g# / D 4-5. J. Zach: 4. Fugue in D 5. Fuga d'imitazione in g 6-8. anonymous: 6. Fugue in g 7. Fugue in f on a theme (from BWV 857) of J.S. Bach 8. Fugue in d 9-10. F.X. Brixi: Fugues in a and D 11-15. Anonymous (later ascribed to J. Slavík): 11. Fuga de tempore Natalis, in C 12. Fuga ad Offertorium, in d 13-14. Fugues in G-e 15. anonymous: Fugue in F 16. anonymous: Prelude & Fugue in D 17-21. J.B. Vanhal: Fugues in C-D-d-Bb-D 22. B.M. Cernohorský: Exposition of a fugue in C 23. anonymous: Fuga(to) in C with an irregular answer to the theme 24. J. Seger (?): Fuga(to) in a with two constant counter-movements out of print

out of print

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IV. FRANCE

a) Manuscripts:

B-Bc 27220 Pièces de Clavecin, c.1670-1685 With a single exception (no. 96), the entire contents of this manuscript are anonymous. The majority of the identifications of the 115 pieces were made by Bruce Gustafson. Nine unmeasured preludes are unica; generally excellent readings of 12 pieces by Chambonnières and 2 by Richard; no. 4 by Couperin de Turin? On the evidence of quality and style several pieces may be attributed to Chambonnières 1. End of an allemande 2. some measures from Lully's Psyché LWV 45/36 3. Chambonnières: Courante (book I, no. 9) 4. Monnard?: Sarabande (Couperin de Turin?) 5. unmeasures prelude in d 6. Allemande in d 7. Courante in d 8. "Veut on a Paphos voyager" 9. Rondeau pour quatre Nations; from Lully's Ercole amante LWV 17/27 10. La Gaillarde in d after A. Leborgne's Gagliarde du Sr. Artus 11. Pavanne in d (fragment) 12. La marche in G (fragment) 13. Aymable bergere (from: Les Clef des chansonniers, 1717) 14. (Monsieur) le Capitaine (from: La clef des chansonniers, 1717) 15. Philis (as: Iris était tendre et belle, in: la clef des chansonniers, 1717) 16. C'est en vain que je suis fidelle 17. Les Menuez, in a 18. Gavotte in d 19. Menuez, in a 20. Richard: Allemande in a (ed. Gustafson, no. 3) 21. Richard: Courante in a (ed. Gustafson, no 4) 22. Noel: Une ieune pucelle, in d 23. Le Bransle de St. Nicolas (with 2 var.) 24. Tout ravit, in a 25. Le berger philene mourant de langueur 26. La Gavotte du ballet (Vous savez l'amour extrême, from Lully's Ballet des Muses, LWV 3/27 27. Les Menüez de St Germain (from Lully's Ballet des Muses, LWV 32/8-9) 28. Gavotte in G 29. La belle Iris, in G 30. La bourée, in a 26a. Double de la Gavotte du ballet, in G 31. Menüez, in a 32. unmeasured prelude in C 33. Allemande in C (variant of allemande in Bb by Louis Couperin (ed. Moroney no. 35) 34. Courante in C 35. Chambonnières: Sarabande in C (book I, no.17) 36. Sarabande in C

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37. (Musette) in C 38. Qu'il est doux (contrafact of Charpentier's lost music for Molière's Le Médecin malgré lui) 39. Quittons ce berger trompeur, in d 40. Menuez in C 41. La Guerre (from Lully's Ballet d'Alcidiane, LWV 9/24) 42. unmeasured prelude in G 43. unmeasured prelude in C 44. unmeasured prelude in d 45. Les Mariniers (from Lully's Le Grand Divertissement royal de Versailles, LWV 38/6) 46. Quoy que vous coules sans bruit 47. Les flustes (from Lully's Le Grand Divertissements...LWV 38/2) 48. Les Suisses (from Lully's Ballet de l'impatience, LWV 14/42) 49. Allemande in C 50. Courante in C 51. Sarabande in C (by Pinel; ed. Rollin, no. 63) 52. Chaconne in F (Chambonnières?; L. Couperin?) 53. Menüet in C (from Lully's Ballet de Flore, LWV 40/29) 54. Sarabande in a (Chambonnières, book I, no.5) 55. unmeasured prelude in a 56. unmeasured prelude in F 57. Allemande in F & double 58. Courante in F (Chambonnières, book I ) 59. Les plaisirs derobez, in d & double 60. Bourée (from Lully's Le Carnaval, LWV 36/5) 61. Menüez (from Lully's Ballet de Flore, LWV 40/11) 62. Courante du Ballet (from Lully's Ballet de Flore, LWV 40/5) 63. Bourée du Ballet (from Lully's Ballet de Flore, LWV 40/7) 64. Ballet (from Lully's Le Carnaval, LWV 36/4) 65. Menuet (from Lully's Ballet des muses, LWV 32/27) 66. Menüet (from Lully's Le Divertissement royal, LWV 42/20) 67. Ballet I (from Lully's Le Divertissement royal, LWV 42/4) 68. Ballet II (from Lully's Le Divertissement royal, LWV 42/6) 69. Ballet III (from Lully's Ballet de Flore, LWV 40/33) 70. O temps heureux ou la terre et l'onde (from F. Collin de Blamont: Les festes grecques et romaines, 1723; melody and text only) 71. Les hommes arméz, 4. Ballet (from Lully's Le divertissement royal, LWV 42/31) 72. Les maistres a dancer (from Lully's Le Divertissement de Chambord, LWV 41/6) 73. Le Combattans (from Lully's Le Divertissement de Chambord, LWV 41/7) 74. Solitaires jardins retraite du silence (melody and text only) 75. unmeasured prelude in g 76. Joüissons des plaisirs (from Lully's Le Divertissememnt royal, LWV 42/21) 77. Menüet in g 78. Menüet in G (Chambonnières, book II, no.30) 79. Sarabande in F (Chambonnièrees, book I, no.23) 80. Sarabande in D 81. Menüet in C (from Lully's Le Bourgeois gentilhomme, LWV 43/37) 82. Menüet in C (from Lully's Le Bourgeois gentilhomme, LWV 43/38) 83. Allemande in C (Chambonnières, book II, no. 1) 84. Courante in C (Chambonnières, book I, no. 8) 85. Sarabande in C (Pinel; ed. Rollin, p. 196) 86. unmeasured prelude in C 87. Menüet I in C (from Lully's Psyché, LWV 45/7) 88. Menüet II in C (from Lully's Psyché, LWV 45/6)

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kb.220

89. Aymable Jeunesse (from Lully's Psyché, LWV 45/16) 90. Apollon (from Lully's Psyché, LWV 45/25) 91. Les Bacchanalles (from Lully's Psyché, LWV 45/28) 92. Les Fées (from Lully's Psyché, LWV 45/30) 93. Les Rondeaux des Trompettes & 2. Air des trompettes (from Lully's Psyché, LWV 45/36) 94. Allemande in G (different reading from Chambonnières, book II, no.24) 95. Courante in G (different reading from Chambonnières, book II, no.26) 96. Les Zephirs de Mr. de Chambonniere (Chambonnièrs, book II, no. 29) 97. Ouverture Proserpine (from Lully's Proserpine, LWV 58/1) 98. Menuet in d (from Lully's Bellérophone, LWV 57/7) & double 99. Aria italianno: Splendete luci belle (melody and text only) 100.(Lully: Ouverture to Bellérophon, LWV 57/1) 101. Je me plaignois d'une inhumaine (melody and text only) 102. Les amazones (from Lully's Bellérophon, LWV 57/23) 103. Atis, ouverture (Lully LWV 53/1) 104. Alceste, ouverture (Lully, LWV 50/1) 105. Ouverture du triomfe de lamour (Lully LWV 59/1) 106. Les Folies despagne, in d (16 couplets) 107. Chaconne in G (Lully?) 108. Canaries in G (Chambonnières, book I, no.30) 109. Gigue in G (Chambonnières, book I, no. 29) 110. Bachus nous inspire (from L. de la Coste: Philomèle; melody and text only) 111. Les vents (from Lully's Le triomphe de l'amour, LWV 59/25) 112. Gavotte in g (from Luly's Le Triomphe de l'amour, LWV 59/26) 113. Entree (from Lully's Le triomphe de 'amour, LWV 59/20) 114. Les trompettes (from Lully's Le triomphe de l'amour, LWV 59/14) 115. Bourre (from Lully's Triomphe de l'amour, LWV 59/13) Edition: · nos. 1-115: ° Facsimile edition of the manuscript; introduction, inventory and concordances by D. Fuller CDN Le Livre d'Orgue de Montréal This manuscript, since 1950 belonging to the Girouard Collection of the Fondation Lionel-Groulx, was written by an anonymous scribe at the end of the 17th or the beginning of the 18th century. Some 20 of the 398 pieces exist in 2 versions, often transposed, sometimes modified or lengthened. The manuscript contains 16 variants of pieces by N. Lebègue (nos. 189-196 are from Lebègue's first organ book, nos. 202-206 from his second book, nos. 323 and 326 from his 3rd organ book, and no. 269 occurs in another manuscript); all the other pieces are anonymous. 1-7. Magnificat, in D: Prélude-Duo-Recit-Basse de trompette-(Plein jeu)-Dialogue-Plein jeu 8-13. Magnificat, in D: Plein jeu-Dessus (de) V.(oix) hum(aine)-Cornet-Basse-Recit-Dialogue 14-21. in D: Recit-Dialogue-Fugue-Recit-Duo-Basse-Dialogue-Duo 22-28. (Magnificat) du Premier: Prelude-Duo-Cornet-Recit-Trio-Trio (cf. no.175)-Dialogue 29. Basse de trompette 30-35. Magnificat, in C: (Plein jeu)-Duo-Trio-Basse (incplt.)-Recit-Dialogue 36. Recit (cf. no. 158) 37-45. in C: Prelude-Duo-Trio-Cornet-(Fugue a3)-Dialogue- (Duo)-Recit de trompette-Duo 46. Fugue, in e 47-48. Duo, in C-Trio, in C 49-51. (Fugue à 3 ou Trio)-(Tierce en taille)-(Dialogue) 52-58. Magnificat en C sol ut: Prelude-Duo-(Basse)-(Recit)-(Tierce en taille)-(Trio)-(Dialogue) 59-61. Plein jeu-Duo-Recit-Dialogue

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MUZIEKHANDEL SAUL B. GROEN

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62. Dialogue: grand jeu 63. Plein jeu, in G 64-69. Magnificat du 6e: Plein jeu-Duo-Basse-Recit-Trio-Dialogue 70. du 2e ton (Dialogue) 71-86. Te Deum: Plein jeu (Te Dominum)-Dessus de tierce (Tibi omnes)-Petit plein jeu (Sanctus)Dialogue (Sanctus Dominus)-Duo (Te gloriosus)-Basse (Te martirum)-(Plein jeu: Patrem)Fugue (Sanctum quoque)-Cornet (Tu patris; cf. no.244))-Dessus de trompette (Tu devicto; cf. no.245)-Voix humaine (Judex crederis; cf. no.246)-Plein jeu (Aeterna fac; cf. no.247)Recit (Et rege Eos; cf. no.248)-Trio (Et laudamus; cf. no.249)-Recit (Miserere; cf. no.250)Dialogue (In te Domine) 87-92. Magnificat en G.4: Plein jeu en g. bémol-Fugue-Duo-Recit-Pour la voix humaine-Dialogue 93-99. (Magnificat en g. bémol): Prelude-Duo-Recit-Basse-Cornet-Dialogue-Plein jeu 100-106. (Magnificat en g. bémol): Plein jeu-Duo-Recit-Basse-Cornet-Dialogue-Plein jeu 107-115. Recit-Duo-Basse-Cornet-Recit-Cornet-Basse-Dialogue-Plein jeu 116-120. (Messe en g. b): Kyrie I (cf. no.134)-Fugue-Trio-Tierce en taille (cf. no.188)-Dialogue 121-129. Plein jeu-Tierce du positif-Fugue-Duo-Basse-Dialogue-Dialogue de recit-Trio (cf. no. 136)-Plein jeu 130-131. Prelude-Basse 132-133. (Plein jeu)-Dialogue (cf. no.141) 134-142. Plein jeu en (cf.116)-Duo (cf.152)-Trio (cf.128)-Recit-Recit de cromorne (cf.61)-Trio (cf. 179; incplt.)-Basse de trompette (cf.146)-Dialogue (cf.133)-(Dialogue; cf.62) 143-153. (Magnificat en g. bécarre): Prelude en g. bécarre-Duo-Trompette-Basse de trompetteTrio-Dialogue-Dialogue-(Dialogue de récits)-Prelude en G. bécarre-Duo (cf.135)-Récit 154-161. Magnificat en G. bécarre: Plein jeu-Duo-Basse-Voix humaine-Recit (cf.36)-TrioDialogue-Dialogue 162-196. Magnificat en g. b.: Prelude-Duo-(Voix humaine)-Trio-Recit-Dialogue-Prelude-(Fugue)Trio-Dialogue-(Duo)-(Plein jeu)-Grand jeu-Trio du 1.er (cf.26)-Trio du 2e-Trio du 3eTrio du 5e-Trio du 6e (cf.139)-Trio du 8e-Tierce en taille en A mi la re-Tierce en taille en D-Tierce en taille in f-Tierce en taille in D-Tierce en taille en g.b.-Tierce en taille, in ATierce en taile, in C-Tierce en taille en g. bécarre (cf.119)-Tierce en taille en D (Lebègue) Cromorne en taille en D (by Lebègue)-Cromorne en taille ou tierce en g.g. (Lebègue)Tierce en taille en A (Lebègue)-Cromhorne ou tierce en taille en E (Lebègue)-Tierce en taille en C (Lebègue)-Tierce en taille en F (Lebègue)-Cromhorne en taille du 7 (Lebègue) 197-201. Magnificat en A: Prelude-Duo-Recit-(Basse de trompette-Cornet + fragment 202-206. (Magnificat) en g.b (from Lebègue's 2nd organ book): Plein jeu-Duo-Basse-Recit-Trio 207-214. (Magnificat en a): Prelude en a-Duo-Recit-Cornet-Basse-Dialogue-Jeu doux-Plein jeu 215-232. Magnificat en A dièse: Prelude-Duo-Recit-Trio-Basse-Sialogue-Plein jeu-(Petit plein jeu)-(Dialogue)-Plein jeu en A dièse (cf.398)-Dialogue-Duo (cf.394)-Duo-BasseFantaisie pour la basse et le dessus de trompette avec le cornet-Recit cromorne-DuoDialogue gay + fragment 233-236. Magnificat: (Plein jeu-Duo-Basse-Dessus de cornet) 237-269. (Versets de Te Deum): Plein jeu-Recit-Plein jeu-Grand jeu-Recit-(duo)-(Plein jeu)(Cornet; cf.79)-(Dessus de trompette en dialogue (cf.80)-(Voix humaine; cf.81)-(Plein jeu; cf.82)-(Recit; cf.83)-(Trio; cf.94)-(Recit; cf.84)-Agnus: plein jeu-Voix humaine en D dièse-Basse-Dialogue fort grave-Duo-Recit-Trio-Recit-Basse de trompette-DialogueDialogue-Recit sur la trompette et basse-Recit-Dialogue-Basse-Basse-Duo-Dessus de tierce-Offertoire en f ut fa (Lebègue; not printed) 270-288. Pange lingua: (Plein jeu)-Recit Sur le meme chant-Dialogue sur le meme chant-FugueFugue en A-Fugue in A-10 Fugues-(Flûtes)-Voix humaine-Dialogue 289-306. Messe en g. bécarre: (Plein jeu)-Fugue-Recit-Duo-Dialogue-Plein jeu (Et in terra)-Petit plein jeu (Benedicamus te)-Trompette et cornet-Trio-Basse-Recit de voix humaineDialogue-Dessus de tierce (Tu solus)-Pleine jeu (In gloria)-Petit plein jeu (Sanctus)-Recit (3e Sanctus)-Plein jeu (Agnus Dei)-(Dialogue: dernier Agnus)

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307-326. Messe double: (Plein jeu: Kyrie I)-Fugue grave: 2e Kyrie-Duo: 3e Kyrie-Pour la basse de trompette: 3e Kyrie-(Plein jeu): 5e et dernier Kyrie-(Plein jeu): Et in terra pax)-Fugue: Benedicamus te-Dessus de cromorne: Glorificamus te-Pour la basse de voix humaine: Domine Deus Rex-Duo: Domine Deus Agnus-Plain chant: Qui tollis-Fugue pour la tierce avec le tremblant: Quoniam tu solus-Pour la basse de cromhorne: Tu solus altissimusPlein chant: In gloria-(Plein jeu): premier Sanctus-Fugue: 2e. Sanctus-Petite Elévation en A mi la: Trio (Lebègue)-(Plein jeu)-(Dialogue) a 2 choeurs: 2e Agnus-Offertoire en C sol ut b (Lebègue) 327-345. Messe du 4e ton: Plein jeu: 1er Kyrie-Fugue: 2e Kyrie-Recit: Chrsite-Basse de trompette: 4e Kyrie-Dialogue: dernier Kyrie-(Plein jeu): Et in terra pax-(Petit plein jeu(: Benedicamus-(Trio): Glorificamus-Voix humaine: Domine deus-Duo: Domine deus-Basse: Quoniam-Dessus de tierce, basse trompette: Tu solus-Plein jeu: In gloria-(Plein jeu): Sanctus-Recit: 3e Sanctus-(Plein jue): Agnus Dei-Dialogue: dernier Agnus-(Plein jeu): Et in terra 346-364. Messe en E si my: (Plein jeu): Premier Kyrie-Fugue: 2e Kyrie-Recit: Christus-Trio: 3e Kyrie- (Dialogue): Dernier Kyrie-(Plein jeu): Et in terra pax-Petit plein jeu: Benedicamus te-Petite fugue: Glorificamus te-Duo: Domine Deus-Basse: Domine unigenite-Voix humaine: Qui tollis-Trio: Quoniam-Cornet: Tu solus-Dialogue: In gloria-(Plein jeu): premier Sanctus-Recit: 2e Sanctus-(Plein jeu): Agnsu Dei-Dialogue: Dernier Agnus 382-398. Te Deum: Plein jeu: Te dominum-Recit: Tibi omnes angeli-Plein jeu: Sanctus-Trompette et cornet: Sanctus Dominus-Duo: Te gloriosus-Recit: Te martyrum-Voix humaine: PatremBasse: Sanctum quoque-(Trio): Tu patris-Cornet: Tu devicto-Grosse tierce et tremblant: Judex crederis-Plein jeu: Aeterna fac-Duo: Et rege eos (cf.226)-Trio: Et laudamus-Recit: Miserere- Dialogue: In te domine speravi-Plein jeu en a dièse (cf.224) Edition: · nos. 1-398: ° Facsimile of the manuscript; preface by E. Gallat-Morin F-Coussergues Recueil de pièces choisies...apartenant à Mlle De Sarret Manuscript, compiled c.1780, at Château de Coussergues. 1. L'Ouverture des Troqueurs (A. d'Auvergne) 2. La Chasse de Zaide (arr. from P. Royer's opera: act II/5) 3. La Preignes 4. La Sarret 5. La Coussergues 6. Chasse 7. Ouverture La Rillieux 8. La Basset 9. Minuetto 10. Aria gratisosa 11. Sonata (in F) del Galuppi 12. Sonata (in Bb) del Galuppi 13. Sonata (in Bb) del Le Grand (by L.-A. Le Grand) 14. Sonata (in G) del Alberti (Domenico Alberti) 15. Ouverture des trois Sigisbés (arr. from N. Resta's "Li tre cicisbei ridicoli", 1748) 16. Chasse 17. Amoroso 18. Allegro & var. 19. Aria: gratioso 20. Aria: andante 21. Minuetto & var.

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22. La Isoire 23. Aria: amoroso 24-25. Aria: gratioso 26. Andante 27. Giga: allegro 28. Aria 29. Allegro 30. 2me Reprise de La Lamarck par Charpentier ( = J.J. Beauvarlet-Charpentier?) 31. La De Latour 32. La De Laroüe par Coignet 33. Allegro 34. Amoroso 35. Allegro 36. Andante 37. Presto 38-39. Allegro 40. L'Ouverture des Fettes de Paphos (arr. from Mondonville's opera) 41. La Cardinal 42. Aria: gratioso 43. Minuetto 44. Allegro 45. La Lacombe 46-47. Allegro 48. Aria & var. 49. Aria ( = Ah, vous dirai-je, maman") & var. 50. Air tendre 51. Allegro (in F) d'Alberti 52. Allegro Edition: · nos. 1-52: ° Facsimile of the manuscript; introduction by Ch. Hainsworth out of print F-Druent Livre de Tablature de Clavescin, de Mr. de Druent, écrit par Couperin

out of print

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Ms. written (c.1695) by Marc Roger Normand (1663-1734), first cousin of F. Couperin-le-Grand. Collection of 51 pieces; the composers of 31 pieces are known; a few more may also be tentatively attributed; most of the unattributed works are probably adoptations from stage works and composed in Turin by "Couperin" (Normand). The ms. contains works by Normand (c. 20 pieces + probably Lully transcriptions), Lebègue (2), Chambonnières (6), Militon (sarabande), Hardel (gavotte), d'Anglebert (chaconne), Lully (transcriptions of 6 of his pieces) and members of the de La Pierrefamily (16). See for details under the names of the composers. Edition: ° Facsimile of the manuscript (in a private collection, Italy) with an introduction by D. Moroney F-LG 255 Livre d'Orgue de Limoges "Livre d'Orgue de Limoges": Limoges, Bibl.mun. Ms. 255 (1710-1725) 51 pieces, all without ascription in the manuscript; of 11 pieces the composers are known: G. Corrette (nos. 9 and 46-49 from his organ mass in the 8th tone), G. Jullien (nos. 22 and 42), and A. Raison (nos.13-14 from his organ mass in the 1st tone; nos. 28-29 from his organ mass in the 2nd tone.

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kb.225 kb.490 kb.491

Ton I: 1.Prélude cromatique 2.Fugue cromatique 3.Ave maris stella 4.Récit de nazard ou de tierce 5.Tierce en taille 6.Duo: gayment 6.Sur le Kyrie: fugue grave 7.Fugue 8.Trio 9.Elevation cromorne en taille 10.Fugue 11.Trio a 3 claviers 12.Dialogue 13.Plein-jeu avec trompette en taille 14.Duo 15. Duo: gayment 16.Dialogue 17.Duo 18.Trio 19.Basse et trompette 20.Trio 21.Duo 22.Fantaisie cromatique Ton II: 23.Duo cornet/cromorne 24.Grand jeu 25.Grand jeu 26.Trio 27.Basse et trompette: jeu doux: 28.Trio en passacaille 29.Fugue 30.Quatuor Ton IV: 31. Quatuor 32. Fugue 33. Duo 34. L'humne de l'avant, Conditor: canon 35. Tierce en bas dessus Ton VI: 36.Dialogue de basse de trompette et de cornet: jeu doux 37. Trio a 3 claviers 38. fragments of a duo. Ton VIII: 39. Duo 40. Dialogue 41. title cut off 42.Trio 43. Fugue renversée 44.Dialogue 45. Tierce en taille 46. Récit tendre pour le nazard 47. Cromorne en taille 48.Fugue 49.Dialogue de voix humaine 50. Trio 51. Dialogue a 2 choeurs Editions: ° Facsimile edition of the manuscript; introduction by G. Marissal; hardback ° ed. N. Gorenstein in 2 volumes: volume I: nos. 1-22 volume II: nos. 23-51 F-Pc Rés. 89ter autograph of J.-H. d'Anglebert This manuscript contains 48 pieces by d'Anglebert and others in the neat hand of this composer, and several later unrelated fragments, probably from the mid-18th century. Twenty of the 48 pieces are by d'Anglebert, of which 13 appear, with minor variants, in the engraved 1689 edition (especially the variants in the 3 unmeasured preludes are of interest). The remaining 28 pieces are: 7 pieces from Chambonnières' 1670 harpsichord books I and II (here with added doubles in the style of d'Anglebert, and some corrections in the simples ) and transcriptions of pieces by Marais, Lully, Richard, Louis Couperin and some lute composers (E. and D. Gautier, Mésangeau, Pinel; for some of these pieces this is their unique source!). Bauyn = occurring also in ms. Bauyn (F-Pn Vm7 674-75) Chamb. I-II = printed in Chambonnières: "Pièces de Clavecin", 1670: book I-II The pieces printed in his 1689 edition and also present in this manuscript are: from Suite no. 1 in G: prélude, gigue, gaillarde, gavotte, menuet from Suite no. 2 in g: prélude from Suite no. 3 in d: prélude, sarabande, passacaille, folies d'Espagne See for list of contents and editions under: J.-H. d'Anglebert: nos. 31 - 65

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F-Pn Rés. 2094 Livre d'Orgue de Marguerite Thiery Manuscript from the end of the 17th century, containing the following anonymous works: 1. La Messe de 2. Classe, in g: Prelude-Fugue-Recit.-Grand jeu-Plein jeu-Et in terra-AdoramusFugue-Cornet-Diminution de la Basse-Duo-Plein Jeu-Offerte-Sanctus-Fugue-Récit-AgnusCornet 2. Magnificat du 5e ton: Prelude-Recit.-Fugue-Duo-Cornet-Grand Jeu-Plein Jeu 3. (Magnificat du 8 e ton): Prelude-fugue-Cornet-Duo-Recit.-Plein Jeu-Grand Jeu

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4. Messe de Ier Classe: Prélude-Fugue-Christe-Grand Jeu-plein Jeu-Et in terra-Adoramus-FugueRecit.-Duo-Cornet-Plein Jeu-OfferteSanctus-Fugue-Benedictus-Agnus-Fugue 5. (Magnificat du 2d ton): Prelude-fugue-Cornet-Duo-Recit-Dialogue-Plein Jeu-Veni Creator Spiritus-Recit de Veni creator-Duo de Veni creator-Pange lingua-Recit (du Pange lingua)Fugue (du Pange lingua) 6. Te deum laudamus: Te dominum-Tibi omnes angeli-1. Sanctus-3. Sanctus-Te Martirum... patrem-Sanctum-Tu patris-Tu devicto-Judex-Et rege-Fugue-Grand Jeu (incomplete) Edition: · nos. 1-6: ° ed. J. Bonfils; introduction by P. Hardouin F-Pn Rés. Vm7. 674-675

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Manuscrit Bauyn (c.1690)

Abbreviations of concordances: Bab: Babell manuscript; GB-Lbl Add. 39569 Brx: B-Bc 27220 LC: London Couperin ms.: GB-L private coll. Guy Oldham: Oldham ms. Par: Parville manuscript (US-Bem 778) Rés. 89ter: F-Pn Rés. 89ter 2348/54: F-Psg mss. 2348 and 2353 2356: F-Psg ms. 2356 1649: J.J. Froberger: "Libro secondo" (A-Wn mus. 18706) 1656: J.J Froberger: "Libro quarto" (A-Wn mus. 18707) 1658: J.J. Froberger: "Libro terzo" (A-Wn mus. 16560) 1670/1: Chambonnières: "Pièces de clavecin", book I, Paris 1670/2: Chambonnières: "Pièces de clavecin", book II, Paris 1693: J.J. Froberger: "Diverse curiose e rarissime partite", Mainz, Bourgeat 1698: J.J. Froberger: "10 Suittes de clavecin", Amsterdam No concordance indicated means: only found in Ms. Bauyn. List of Contents: ·Part I: Pieces by J.Ch. de Chambonnières: 1-29. in C: 1. Allemande Le Moutier (Par; Bab; Lc) 2. Double du Moutier par mr. (L.) Couperin (Par; Bab) 3. Allemande 4. Allemande La Dunquerque (1670/1) 5. Allemande 6. Allemande (1670/2; Brx) 7. Courante 8. Courante La Sotise (Par; bab) 9. Courante 10. Courante Iris (1670/1; 2356; Par; Bab) 11-13. Courantes 14. Courante (1670/2) 15-17. Courantes 18. Sarabande (Brx) 19. Sarabande 20. Sarabande de la Reyne (1670/1) 21. Sarabande grave (1670/2) 22. Gigue 23. Gigue La Verdinguette (1670/2; Rés 89ter) 24. Courante (1670/1; Par; Rés.89ter; Brx)

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25-28. Courantes 29. Chaconne 30-45. in d: 30. Allemande (1670/2; 2348/53) 31. Allemande La Loureuse (1670/1; Par; Bab; LC) 32. Courante La toute belle (1670/1; Par; LC) 33-34. Courantes 35. Autre Courante de Madame (1670/1; Par; LC) 36. Courante (Bab) 37. Double 38. Courante les Barricades = gigue? (1670/1) 39. Courante (1670/1; bab; LC) 40. Sarabande (1670/1) 41. Sarabande (1670/2) 42. Sarabande (LC) 43. Sarabande 44. Pavanne 45. Sarabande 46-60. in D: 46. Allemande La Mignonne 47. Courante (2348/53) 48. Courante 49. Courante (2348/53) 50. Courante 51. Courante (2348/53) 52. Courante (1670/2) 53. Courante 54. Sarabande (2348/53) 55. Sarabande (1670/2) 56. Courante 57. Courante (1670/2; 2348/53) 58. Gigue La Madelainette (1670/1) 59. Gigue Bruscanbille 60. Gigue (1670/1) 61. in e: Gigue (Par) 62-88. in F: 62. Allemande (1670/1) 63. Allemande (1670/2) 64. Courante (1670/1; 2348/53) 65. Courante (2348/53; Brx) 66. Courante 67-68. Courantes (1670/1) 69-70. Courantes 71. Courante (2348/53) 72. Courante (Par) 73. Courante 74. Courante (1670/2; 2348/53) 75. Courante 76. Rondeau *2348/53) 77. Courante 78. Courante (1670/2; 2348/53) 79. Courante 80. Sarabande

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81. Sarabande (1670/1; Par; Brx) 82. Volte or Sarabande O beau Jardin (Par; Rés.89ter) 83. Sarabande (2348/53) 84. Sarabande 85. Chaconne (Par; Brx) 86. Brusque (2348/53) 87. Autre Brusque (2348/53) 88. Chaconne (2348/53) 89-102. in G: 89. Courante 90. Courante (1670/2; Par; 2348/53; LC) 91-92. Courantes 93. Courante (1670/2; Par; Rés.89ter) 94. Courante (1670/2; Par; Bab; Rés.89ter) 95. Sarabande (2348/53) 96. Courante 97. Sarabande (1670/1) 98. Sarabande Jeunes Zephirs (1670/2; Par; Rés.89ter; LC; Brx) 99. Sarabande (Par) 100. Canaries (1670/1; 2348/53) 101. Gigue (Par) 102. Chaconne 103-109. in g: 103. Allemande dit L'Affligée 104. Courante (1670/2; 2348/53) 105-106. Gigues 107. Pavane dit Entretien des Dieux (1670/1) 108. Pavanne 109. Pavanne (1670/2) 110-123. in a: 110. Allemande La Rare (1670/1; LC) 111. La Drollerie 112. Courante & double (1670/1; LC) 113-115. Courantes 116. Courante (1670/1; 2348/53; LC) 117. Sarabande (1670/1; Brx) 118. Sarabande (1670/1; LC) 119-120. Sarabandes (2348/53) 121. Sarabande 122. Gigue La Coquette or la Vetille (LC; 2356) 123. Gaillarde (1670/1) 124-127. in Bb: 124. Allemande 125. Courante 126. Sarabande 127. Gaillarde & double (LC) · Part II: Pieces by Louis Couperin: 1-14. Préludes: in C-C-D-d-e-F-F-g-a-a (Par) 15-18. Préludes: in g-g-a-a 19-33. in C: 19. Allemande 20-23. Courantes 24-30. Sarabandes

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31. Chaconne 32. Passacaille 33. Menuet 34-38. in c: 34. Allemande (La Précieuse) (Par) 35. Courante (Par) 36. Sarabande (Par) 37. Gigue (Par) 38. Chaconne (La Bergeronette) (Par) 39-59. in d: 39. Allemande (Par) 40. Courante (Par) 41. Courante (Par; Bab) 42. Sarabande (Par) 43. Canarie (Par) 44. La Pastourelle (Par) 45. Chaconne (Par) 46. Chaconne (La Complaignante) (Par) 47. Allemande 48. Pièces de trois sortes de mouvements 49-52. Courantes 50-56. Sarabandes 57. Sarabande en canon 58. Volte 59. Gigue (Par; 2356) 60-64. in D: 60. Allemande (grave) (Par) 61. Courante 62. Sarabande (Par) 63. Gaillarde 64. Chaconne (Par) 65-. in e: 65. Allemande (de la Paix) (Par) 66. Courante (Par) 67. Sarabande (Par) 68. Gaillarde (Par) 69. Allemande 70-72. Courantes 73. Branle de Basque 74-75. Sarabandes 76-77. Gigues 78-79. Chaconnes 80. Tombeau de mr. De Blancrocher 81. Pavanne in f# 82-92. in G: 82. Allemande (Par; Bab; Rés.89ter; 2356) 83. Allemande 84. Courante (Par; Bab) 85-86. Courantes 87. Sarabande (Par; Bab) 88. Gaillarde (Par) 89. Chaconne (Par) 90-91. Courantes (2348/53)

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92. Courante 93-101. in g: 93. Allemande (par) 94. Courante (Par) 95. Sarabande (2348/53) 96. Chaconne ou Passacaille (Par) 97. Sarabande (Par) 98. Fantaisie (LC) 99. Duo (LC) 100. Passcaille 101. Chaconne 102-114. in a: 102-103. Allemandes 104. Allemande L'Aimable (Par; 2356) 105. La Piémontoise 106-107. Courantes 108. Courante La Mignonne (Par; 2356) 109. Courante 110-111. Sarabandes 112. Sarabande (Par; LC) 113. Sarabande 114. Menuet de Poitou & double (Par) 115-117. in A: 115. Courante 116. Sarabande 117. Gigue 118-120. in b: 118. Allemande (Par) 119. Courante (Par) 120. Sarabande (Par) 121-122. in Bb: 121. Allemande (Brx) 122. Courante · Part III: Anthology: 1-9. Louis Couperin: 1-2. Fantaisies pour les violes, in d 3-4. Pseaumes, in F 5-7. Simphonies, in a-d-d 8. Double of Hardel's Gavotte in a (Par; Bab) 9. Double of Lebègue's Gavotte in C (Par) 10. J.H. d'Anglebert: Sarabande en forme de gaillarde, in C (Rés.89ter; see d'Anglebert no. 37) 11-18. H. Dumont: 11. Allemande grave, in C (also in his: "Cantica sacra", 1652) 12. Allemande, in a (D-Mbs mus. 1503) 13-14. Allemandes, in C 15-16. Allemandes, in d 17. Courante, in d 18. Pavanne, in d 19-22. G. Frescobaldi: 19-20. Capriccios, in G 21. Fantaisie, in a phrygian 22. Trio, in g 23-. J.J. Froberger:

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23-25. in 1649: Tocade, in G; Allemande, in d; Courante, in d 26-27. in 1649 & 1693: Tocade, in a; Toccata fatto a Bruxelles anno 1650, in d 28. in 1658: Fugue fait à Paris ( = Ricercar in D) 29-32. in 1693: Toccatas in C-D-F-g (originally nos. 2-5) 33-38. in 1698: from suite I in d: Allemande & Gigue; from suite VII in g: allemande, courante, sarabande, gigue 39. Gigue, in e (Par; Bab; 1656) 40. Sarabande, in a (2356) 41. Allemande, in D (D-Lem II.6.0; A-Wn mus. 17698) 42. Allemande, in a 43. Gigue, in a 44. Gigue, in D 45. Double de l'allemande cy dessous, in D 46-47. Gautier: Sarabande and Canaries, in C 48-54. J. Hardel: 48. Allemande, in d (Par; Bab) 49. Courante, in d (LC) 50-51. Courantes, in d 52. Sarabande, in d (Bab) 53. Gigue, in d (Bab) 54. Gavotte, in a (Par; Bab) 55-58. J.Ch. De La Barre: 2 Allemandes, in C-d with 2nd versions as Gigues, in C-d 59. N.-A. Lebègue: Gavotte, in C (Par; bab) 60. de Lorency: Fantaisie, in a 61-62. R. Mezangeau: 61. Sarabande, in C (Rés.89ter) 62. Sarabande, in C 63-64. R. Mico: Duo, in g and Fantaisie Du,o in d (both from: GB-Ckc Rowe 112-3) 65-67. Monnard: 65a-b. Courante, in C 2 versions 66. Courante, in a (LC) 67. Sarabande, in C (Bab; 2348/53; Brx) 68. G?. Pinel: Sarabande, in C (Par; Rés.89ter; Bex; 2356) 69. Vincent: Pavane, in a 70-. Richard: 71. Allemande, in a (Brx) 72. Courante, in a (Par; Brx) 73. Sarabande, in a (LC) 74-76. Allemandes, in d-d-G 77. Courante, in d 78-79. Gigues, in G-g 80-81. Préludes, in d-a 82. L. Rossi: Passacaille, in a (Par; Bab) Editions: see also under names of composers! · Parts I-II-III: ° Facsimile edition with an introduction by D. Moroney · Part I: ° Facsimile edition; preface by B. Porot · Part II: · nos. 1-122: ° Facsimile edition; preface by B. Porot · nos. 1-18:

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° see: Collections France: "The Arto of the French Unmeasured Prelude" · Part III: ° Facsimile edition; preface by B. Porot F-Pn Rés. Vma. 851 Bourdeney Codex Late-16th century manuscript of vocal polyphony, containing as well in open score 17 ricercars. Anthony Newcombe ascribes 14 of them to Giaches Brumel and 1 to F. Dentici. Edition: · All 17 Ricercars; ed. A. Newcombe; available in 2 ways: ° in open score ° in keyboard score F-Pn Rés. Vma. mus. 1071 Organ book of the Augustine convent of Vitré Manuscript (1735-1750) containing 204 pieces, about half of them by well-known composers. Edition: ° Selection of 65 of the 101 anonymous compositions, ed. P.-M. Bédard: (ms.nos. in brackets): 1. Noël: À la venuë du Sauveur (6) 2-16. (Messe du 1er ton): 15 movements (7-21) 17-29. (Messe du 2me ton): 13 movements (22-34) 30-49. (Messe Cunctipotens Genitor Deus): 19 movements (36-45, 47-52, 54-56) 50. Nivers: Messe du tme ton en Gérésol ou d 8. par Mr. de Nivers, 1744: 8me veret du Gloria: jeu de flutes (89) 51-58. Messe du cinquième en D la re ou du 7e ton: 8 mov.ts (93, 97, 100, 101, 104, 106, 107) 59-60. Messe du 2me ton: 2 movements (123, 127) 61. Magnificat du 3me ton pour le jour de Paque (137) 62-65. Messe du Ier ton: 4 movements (149, 151, 156, 160) Appendix: Rondeau d-minor for harpsichord (3) F-Pn Rés. Vmd. ms.18 The Mademoiselle La Pierre Harpsichord Manuscript This manuscript (olim F-Pthibault) comes from the possession of M.lle de La Pierre ("Mademoiselle de La Pierre a commancé d'apprendre a joüer du clavessin le sixiesme jour du mois de septembre, 1687"); the reverse part of the manuscript has been collected by Mademoiselle Le Noble ("Fin de touttes les leçons de Mad.lle Le Noble, 29 janvier 1730"). Description of the contents (taken from "A Catalogue of French harpsichord music, 1699-1780", by B. Gustafson and D. Fuller): Nos. 1-31: Miscellaneous harpsichord pieces and opera transcriptions Nos. 32-43: Pieces copied from nos. 1-31 Nos. 44-69: Miscellaneous pieces, most copied from nos. 1-31 (this is the reverse section) 1. (32; 47). Prélude, in C 2. (33). Monnard: Sarabande, in C 3. (34; 54). Menuet, in C 4. Folies d'Espagne: 6 couplets 5. (46). Gigue d'Angleterre, in d 6. Courante en d la re, in d 7. (35; 55). Canaris, in C 8. (36; 51). Rigaudon, in C (arr. from Lully's "Acis et Galathée" LWV 73/6) 9. (37; 52). Second Rigaudon, in C (arr. form Lully's "Acis et Galathée" LWV 73/7)

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10. (38; 53). Favier: Rigaudon, in C (attr. to Purcell in: "The second part of Musick's Hand-maid") 11. Noel, in d (À la venu de Noël) 12. (40; 57). Chambonnières: Courante & double, in C 13. (64). Menuet en g re sol#, in G 14. (66). Menuet D Amadis en G re sol #, in G (arr. from Lully's "Amadis" LWV 63/12) 15. (63). Chaconne de Phaëton / Mon pauvre pere, in G (arr. from Lully's "Phaëton" LWV 61/40) 16. (65). Menuet en suitte, in G 17. (39; 56). Prélude en C sol ut, in C 18. (43; 60). Bouré La Siamoise, in C 19. (41; 58). Menuet & double, in C 20. Menuet en trio, in C (arr. from Lully's "Roland" LWV 65/63) 21. Gavotte Ma merre mariez moy, in a 22. Chambonnières: Sarabande Les jeunes Zéphirs, in G 23. (48). Descente de Mars, in C (arr. from Lully's "Thésée" LWV 51/5) 24. (50). Marche des trompettes, in C (arr. from Lully's "Thésée" LWV 51/30) 25. Le sacreifice de Mars, in C (arr. from Lully's "Cadmus" LWV 49/42) 26. (42). Flon flon flon la rira don daine, in C 27. Margueritte La Ratiseuse de Navets, in G 28. Hardel: Allemande, in d 29. Hardel: Premiere Courante, in d 30. La Barre: Prélude, in d 31. Folies d'Espagne: 14 couplets, in d 44. Prélude en d la ré, in d 45. Folies d'Espagne: 14 couplets, in d (8e couplet: "de l'invention de mademoiselle Le Noble") 49. Menüet, in C (arr. from Lully's "Thésée" LWV 51/7) 59. Marche des Mousquetaires (arr. of Lully LWV 10) 61. Menüet, in C 62. Prélude, in G 67. C-R. Montalant: Rigaudon, in G 68. Rigaudon des Veissaux, in g 69. Second Rigaudon, in g Edition: see also under Hardel , Monnard and Chambonnières · nos. 1-69: ° Facsimile edition of the manuscript; introduction by P. Féruselle: F-Psg 2372 Organ book of père Pingré Apart from 8 pieces from J. Boyvin's "Second livre d'orgue" (1700) this manuscript contains 34 anonymous pieces from the 18th century: 1-3. Préludes 4. Prélude à 2 choeurs 5-8. Dialogues 9. Concert de flûtes 10-13. Fugues graves 14. Fugue 15-19. Duos 20-21. Trios 22. Récit de cornet 23. Cornet de récit 24. Récit de tierce 25-27. Basse de trompette

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28. Tierce en taille 29. Cromorne en taille 30. Basse de cromorne 31-33. Basse de trompette 34. Dialogue de voix humaine Edition: ° ed. J. Bonfils F-RO 108 Le Manuscrit de M.lle de Bloren Médiathèque municipale de Roanne, ms. 108: "Le manuscript de M.lle de Bloren" (c.1700). Collection of harpsichord pieces, airs and chamber music. All works are anonymous (names of composers from ed. Morand); the pieces for harpsichord are: 1. A. Campra: Forlane, in C (transcr. form: "L'Europe galante", 1697) 2. A. Campra: Menuet, in C (transcr. from: "L'Europe galante", 1697) 3. N. Lebègue: Gavotte, in C (from his "Livre de clavecin", 1667; also in ms. Bauyn) 4. J.-B. Lully: Menuet: Dans nos bois, in C (from: "Trios pour le coucher du Roi") 5. Menuet, in C 6. (Musette), in C 7. J.-B. Lully: Chaconne, in C (transcr. from: "Acis et Galatée", 1686) 8. (Menuet), in C 9. (Sarabande), in G 10. (Menuet I / II), in g / G 11. J.-B. Lully: Descente de Mars, in C (trascr. from "Thésée", 1675) 12a-b. J. Hardel: Gavotte, in a & double by L. Couperin (both also in ms. Bauyn) 13. Prélude, in d (unmeasured prelude) 14. Les Folies d'Espagne, in d (without couplets ) 15. Menuet, in d & double 16. (Bourrée en rondeau), in d 17. (Sarabande), in g 18. A. Destouches: Sarabande, in g (transcr. from: "Issée", 1697) later additions: 19. (Allemande), in D for 2 harpsichords? 20. (Gavotte en rondeau), in D Edition: · nos. 1-20: ° ed. M. Morand; with corrections of mistakes in the manuscript F-TO 1772 Manuscript of c.1700-1730, containing ca. 100 anonymous pieces for organ and 8 for harpsichord. Edition: ° ed. Hallot / Hogun; selection of 78 organ pieces: 1. Récit 2. Deo gratias 3. Récit dessus de cromhorne 4. Grand jeu 5. Duo 6. Prélude 7. Fugue 8. Trompette 9. Plein jeu 4e ton

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10. Dialogue 11. Récit 4e ton 12. Plein jeu 1er ton 13. Fond d'orgue 14. Trompette bon goux 15. Récit 16. (Trompette) 17. (Duo) 18. (Grand jeu) 19. (Dialogue) 20. Pour les semi doubles (Orbis factor) 21. Mëme Kyrie à 4 parties 22. Duo 23. Cornet jolis 24. Plain jeu 25. Trio 26. Grand jeu 27. Cornet 28. Trio 29. (no title) 30. Fugue de 2e ton pour Kyrie 31. Trio 4e ton 32. Duo 33. Trio 34. Cornet jolis du 4e ton 35. Cornet 36. Grand jeu 37. La gloria du 1er ton 38. Benedicamus te 39. Glorificamus te 40. Dominus Deus rex 41. Dominus Deus agni Dei 42. Qui tollis 43. Quoniam tu solus 44. Tu solus altissimus 45. In gloria Dei patris amen 46. Sanctus 47. Dernier sanctus 48. Offertoire 49. Grand jeu 5e ton 50. Passable du R. Père Dorin 51. Veni Creator Spiritus 52. Duo 53. 6e Ton Plein jeu 54. Duo 55. (Récit de voix humaine) 56. Cornet jolis 57. Offertoire Elle est très gracieuse 58. Ce cy est d'un bon gout 59. (Plein jeu) 60. Plein jeu 6e ton 61. Offertoire des 6me tons 62. Duo

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63. Cornet 64. Basse fort jolie 65. Trio 66. Grand jeu 67. Plain jeu du 8e ton Nunc dimittis 3e verset pour l'orgue 68. Duo 69. Trio 70. Fugue 71. Plain jeu 6e ton et 8e ton 72. Trompette du 7e ton 73. Trompette du 7e ton 74. Trompette 7e ton basse 75. Fugue du 1er ton plus bas 76. Grand jeu 77. Pange lingua gloriosi 78. Plein jeu du 4e ton GB-Lbl Add. 29486 Manuscript of French or Belgian provenance, c.1618 1-10. Preludes 11-18. Dixit Dominus: 8 settings 19-21. Three Masses (without Credo) 22. Te Deum 23. Fantasia 24-30. Magnificat settings in 7 of the 8 modes 31-36. Magnificat settings "quator pedum" in 6 of the 8 modes 37-48. Preludes in the 12 modes 49-101. Fugues in modes 1-6 and 8 102. J.Pz. Sweelinck: Fantasia in the 4th mnode (early version of SwWV 298) 103. short piece without title 104. Fantaisa in the 2nd mode Editions: · nos. 19-21: ° ed. W.P. Hays in his dissertation on this manuscript · Magnificat secundi toni: ° see: Collections France: "French organ music 1531-1660", ed. Dalton

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b) Early Prints:

1787 Trois Sonates · "Trois Sonates pour le Clavecin ou Piano-forte, composées par Mademoiselle Edelman, Monsieur Darondeau, & Monsieur Pin", Leipzig, C.G. Hilscher (1787) 3 sonatas by: Mlle Edelmann, in G / C: Grazioso-Minuetto con (4) variazioni-Rondo B. Darondeau, in Bb: Andantino-Rondo: allegro H.-L. Le Pin, in d: Andante maestoso-Minuetto: andante-Allegretto Edition: · nos. 1-3:

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° Facsimile of the 1787 edition; preface by P. Raspé 1831 Une soirée de Carnaval, 1831 · "Une soirée de Carnaval ou Choix de valses, galoppes, écossaises, contredances, etc.", 1831 Edition: ° ed. Martino piano

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The Art of the French Unmeasured Prelude (1660-1720) ed. C. Tilney; boxed set of 3 volumes Volume I: Facsimiles Volume II: Commentary Volume III: Modern Transcriptions: The music in facsimile and modern transcription is: 1-16 Preludes by Louis Couperin: 14 from ms. Bauyn and 2 from ms. Parville 1-14. Preludes from ms. Bauyn: 10 also in ms. Parville (in C-C-D-d-e-F-F-g-a-a) and 4 only in ms. Bauyn (in g-g-a-a) 15-16. Preludes from ms. Parville 17-38. Preludes from printed books: 17-21. from N. Lebègue's "Pièces de clavessin", 1677 22-25. from E. Jacquet de la Guerre's "Pièces de clavessin", 1687 26a-29a. by d'Anglebert from his "Pièces de clavecin", 1689 26b-29b. from F-Pn Rés. 89ter (other versions of nos. 40a-43a) 30-31. from Clérambault's "Premier livre de pièces de clavecin", 1704 32. from L. Marchand's "Pièces de clavecin, livre second", 1703 33-36. from G. Le Roux's "Pièces de clavessin", 1705 37. by J.Ph. Rameau from his: "Premier livre de pièces de clavecin", 1706 38. By Siret from his "Second livre de pièces de clavecin", 1719 38-61. Anonymous preludes from manuscript sources: 39-40. in d-C; from US-Bem manuscript La Barre 41-44. in C-F-G and one by La Barre; from US-Bem 778: ms. Parville 45-46. in D-d; from US-Cn ms. Roper 47. in C; from GB-Ob mus. E.426 48. in d; from F-Pn Vm7. 1879bis: ms. Boudault 49-53. in C-C-d-d-G; from F-Pn Rés. Vmd. Ms. 18: ms. M.lle de La Pierre 54-56. in C-G-g; from ms. Humeau (in private collection) 57-58. in d-G; from F-Psg ms. Paignon 59. in a; from F-Pn Vm8. 1139: ms. Saint-Georges 60. in a; from F-Pn Cons. 4°.y.1: ms. Forqueray 61. in a; from F-Pn Rés. 2671 Appendix: list of the 19 umeasured preludes not included in this edition Les Pré-Classiques Français ed. J. Bonfils and G. Litaize

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volume I: 1. Thomelin: Allemande, in g

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2-4. Monnard: 2. Courante, in C 3. Sarabande, in C 4. Courante, in a 5-17. Richard: 5. Prélude, in d 6. Allemande, in d 7. Allemande, in d 8. Courante, in d 9. Gigue, in g 10. Allemande, in G 11. Gigue, in G 12. Prélude de mr. Richard de St. Jacques, in a 13. Allemande, in a 14. Sarabande, in a 15. Courante, in a 16. Courante & double, in a 17. Sarabande & double, in G 18-24. La Barre: 18. Allemande, in C 19. Courante, in C 20. Allemande, in a 21. Courante, in a 22. Courante, in d 23. Courante, in d & double, in d 24. Sarabande & double, in e 25-30. anonymous pieces: 25. Ave maris stella: plain chant en taille du 1.er ton 26. (Ave maris stella): à 3 jeux différents, plain chant en taille, du 1.er ton 27. (Ave maris stella): autre plain chant pour le petit plain jeu & la péd.de fluste 28. Fugue grave pour la trompette & le clairon du 1. Ton 29. Autre fugue à 3 du 1. Ton 30. Pange lingua: plain jeu du positif avec la pedale de fluste Sources: F-Pn Vm7. 1817bis (1) F-Pn Vm7. 674/2 (2-4, 7-11, 14, 15, 19, 21) F-Pn Vm7. 675 (5, 6, 12, 13, 18, 20) F-Pn Rés. 89ter (17) F-Psg 2348 (25-29) F-Psg 2353 (30) F-Psg 2356 (16) GB-Och mus. 1177 (24) GB-Och mus. 1236 (22, 23) volume II: 1. La Barre: Courante for lute from Besard: "Novus partus" (1617); modern transcr. by S. Wallon 2. La Barre: Courante for lute (from ms. Saizenay); modern transcrp. by S. Wallon 3. La Barre: "Tu crois, ô beau soleil", with 8 vars. (chanson by king Louis XIII, set by La Barre) 4-24. Twenty anonymous pieces from F-Psg 2348, 2353 and 2356: 4-7. Duos 8-21. Préludes 22. Trio 23. Récit 24. (Basse de trompette ou de cromorne)

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volume III: 1-8. Eight Courantes from D-B Lynar A 1 (3 by La Barre, 1 each by Gautier and Ballard, and 3 anonymous courantes of which the last one, "La Vignon", is given in 2 versions (the second version comes from DK-Kk g.klg.slg. 379) Works by Cl. de Bourges, N. de la Grotte, Ch. Raquet and D. Gaultier ed. J. Bonfils 1-2. Clément de Bourges: 1. intabulation of Arcadelt's madrigal "Da bei rami" (from J. Paix's organ tablature, 1583; NB: Bonfils gives as well the vocal model a4) 2. Fantasia (from B-Bc Fétis 2072) 3. Nicolas de La Grotte: Fantasia a4 sopra "Ancor che col partire" (+ vocal model a4 by de Rore) 4-16. Charles Racquet: 4. (Fantaisie): untitled work on a single theme "treated contrapuntally over some 100 bars, culminating in brilliant passage-work" (E. Higginbottum); source: manuscript supplement to Mersenne's own copy of his "Harmonie universelle" 5-16. Versets de psaume en duo (in: Mersenne: "Harmonie universelle", 1636/37) 17. D. Gautier: Pavane ou Tombeau de Mr. Racquette (from: "Rhétorique des Dieux"); orginally for lute; modern keyboard transcription by A. Tessier

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V. GERMANY

a) Manuscripts:

Alphabetical list of quoted manuscripts with special titles: Organ Tablature of Ludolf Bödeker D-OLl Cim. I.39 Brasov Organ Tablature of Daniel Croner RO-BRm mus.ms. 808 Bulyowksi Collection of Suites D-Dl mus. 1-T-595 Buxheim Organ Book D-Mbs Cim. 352b Celller Clavierbuch D-CEmb DO 618 Celle Organ Tablature D-B mus.ms. 40318 Organ Tablature of Daniel Croner RO-BRm mus.ms. 808 Codex "E.B. 1688" US-NH L.M. 5056 Göttingen Tablature D-Gms s.s. Herwart Organ Tablature D-Mbs mus.ms. 2987 Hintze Manuscscript US-NH Ma.21.H.59 Husum Organ Book DK-Kk C I,90. mu.7503.0231-0337 Regina Clar Im Hoff Tablature Book A-Wn 18491 Kleber Organ Tablature D-B mus.ms. 40026 Langloz Manuscript D-B mus.ms. Bach P 296 Leutschau Organ Tablature SK-BRsav Tablature of Christoph Löffelholz D-B mus.ms. 40034 Lüdingworth Tablature D-Lüdingworth Lüneburg Organ Tablatures D-Lr KN 208 I & KN 208 II Neresheim Organ Tablature D-Rtt FK.21-24 Organ Tablature of Neustadt a.d. Aisch D-NS 394 / N I 28 Nürnberg Organ Tablature D-Mbs mus.ms. 4485 Ochsenhausen Organ Book US-NH Irving S. Gilmore Libr. misc. ms. 150 Visby Organ Tablature S-VIl H 3 Wappen Organ Tablature D-As 2° Cod. 469 Weimar Tablature D-WRtl s.s. Witzendorff Tablature D-Lr KN 148 A-Wn 18491 Tabulaturbuch der Regina Clara Im Hoff Manuscript, dated 1649, containing more than 100 pieces notated in new German organ tablature. This music was used by a member of the Fugger family to gain competence at the keyboard. Apart from 3 compositions by David Schedlich (1607-1687) and a couranta by Frescobaldi, all pieces are anonymous. Contents: 103 songs and dances (13 sarabandas, 15 ballets, 18 courantas, 6 alamandas, 7 Tänze & Nachtänze, bergamasca, galliard englisa, mascarada, 2 Aufzüge, 28 songs) and 14 separately numbered sacred chorales and hymns. Editions: ° Selection of 57 pieces ed. by S. Catlin Park (nos. as in ms.): 1. Bergamasca 4. Bassa Imperiale / Saltarello del Bassa imperiale 5. Volta 16. Alamanda

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17. Daphnis 21. Prisacher Lied 22. Sarabanda 24. Ballet 25. Piccolominis Lied 26. Couranta 27. La Francoisa 28 .Alamanda 31. Couranta 32. Der höffischen Aufzug 33. Ballet 34. Couranta 35. Sarabanda 36. Couranta 37. Couranta 38. Ein Liedle 39. Alamanda 40. Couranta 41. Flagiolet / Lass ab, lass ab mein Cavalier 42. Courant 43. Ballet 44. Courante Da: Sch: ( = D. Schedlich) 45. Ballet 46. Sarabanda 47. Ballet 49. Schwarz ist mein Farb 53. Ein österreichisch Liedle 55. Mascarada 57. Couranta Frescobaldi 60. Liebe, die du mich besessen 65. Ein Aufzug D.S. (D. Schedlich) 71. Mein Unbeständigkeit 72. Seuffzen in mir 84. Doch zeige mir 86. Hat mich das Glück 90. Ballet Nobliman 91. Alamanda 100. Alamand. des Herrn H.K. sein Liedt 103. Ballet A: David Schedlich chorales and hymns: 1. Danket den Herren 2. Herr Gott nun sei gepreiset 3. Nun komb der Heiden Heiland 4. Ein Kind geboren in Bethlehem 5. Christ der du bist Tag und Licht 6. Erstanden ist der Hei: Christ 7. Hör liebe Seel 8. Hinweg, hinweg Melancholey 9. Jesus du mein liebstes Leben 10. Nun lob mein Seel den Herren 11. Christus der uns seelig macht 12. Christ lag in Todes Banden 13. Da Jesus an den Kreuze stund

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14. Wie nach einer Wasserquelle ° Bassa Imperiale / Saltarello del Bassa imperiale: see: Collections General: "Keyboard music of ancient times, 1350-1650" D-As 2° Cod. 469 Wappen Organ Tablature Heraldic manuscript, written c.1590, containing 24 anonymous dances in organ tablature 1. Wienner Dantz / Nach Danntz 2. Bin ich ein armes Bruederlin. Hofdantz / Nach Danntz 3. Wölches ist dir lieber. Danntz / Nac Danntz 4. Schwester Dorothea / Nach Danntz 5. Der alten Weiber Dant / Nachdantz 6. Amor cecho colei 7. Saltarello angloso 8. Passo e mezo comun 9. Saltarello comun 10. Der Poland 11. Es hat ein medlein ein schreiber hold 12. Studentenn Dantz / Nach Danntz 13. Mit lieb bin ich umfangen 14. Ach herzigs Hertz 15. M. Hainehofers danntz / Nach danz 16. Da der Deber deberin nam 17. La cara cossa. Galliarda 18. Chi passa. Galiarda 19. Ich hab mir ein Medlin ausserwölt 20. So wünsch ich Ir ain guete Nacht 21. Es ist auf Erden kein schwereres Leiden 22. Mir liebt der grüne Mayen 23. Ungerischen und auch Bauern Danntz / Nach Dantz 24. Salva Puella. Dantz / Nachdanz Editions: · nos. 1-24: ° Facsimile edition of the manuscript ° ed. Schächer of the 24 dances D-CEmb DO 618 Celler Clavierbuch (c.1662) "Celler Clavierbuch" (c.1662); D-CEmb DO 618 Edition: ° Selection of 33 pieces edited by M. Böcker; with original fingerings: 1-15. H. Scheidemann: 1. Alimanda in d 2. Courante in d 3. allemand & la doble, in c 4. Courrent & variatio contrapunct, in d 5. Courrent & variatio, in d/D 6. Courrent & Variation contrapunct, in F 7. Courrente & Variatio prima / secunda, in a 8. Courente & Varitio contrapunct, in d 9. Courrent, in d

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10. Courrent, in a 11. Courante Frantz, in F 12. Ballet, in F 13. Allemand, in G 14. Courant, in G 15. Allemande, in d/D 16-24. W. Wessnitzer: 16-22. Seven sets of "Tantz-Nach Tantz" in C-F-a-d-F-a-e 23. Aria varyrt, in a 24. Liedt variret; with 3 variations 25. J. Schop: Courante, in d 26. J. Loewe von Eisenach: Ballet, in G 27-28. "F.G.": Allemand I - II 29-22. anonymous pieces: 29. Courrent & Variatio a1 / 2a / 3a, in G 30. Englische Nachtigal, in C 31. Sarabanda & Düble, in e 32. Nachtigal, in C 33. Lied & Variatio, in d D-B mus.ms. 40026 Kleber Organ Tablature ed. K. Berg-Kotterba list of concordances by M. Staehelin Das Erbe deutscher Musik, volumes 91 and 92 (set of 2 hardback volumes) D-B mus.ms. 40026; finished in 1524; 170 p. 113 pieces, mostly 3- and 4-part intabulations of works by Hofhaimer, Brumel, Buchner, Finck, Isaac, Josquin, Nachtigall, Obrecht, Senfl. Nos. 1-51 manualiter; nos. 52-113 pedaliter · List of compositions: 1. Preambalum in ut 2. Ach brecht die zyt 3. Uf diser erd (cf. CH-SGs 463: no. 82, and Oeglin, c.1513: no. 19) 4. Preambalum in re 5. (H. Buchner): Ach hilf mich laid. in re (cf. CH-SGs 462: p. 148) 6. Preambalum in mi 7. (H. Isaac): Fortuna. in mi 8. (H. Buchner after Isaac): Philephos avec. in fa (= Fille vous avez mal gardé) 9. Preambalum in sol # durum 10. Preambalum in sol b molle 11. Carmen in sol ( = De tous biens plaine; cf. "Canti C", Petrucci, 1504) 12. (L. Compère): O vos omnes. in la 12a. (cadenza) 13. (P. Hofhaimer): Tanndernack. in la 14. (Josquin): Fortuna de grande 15. (Hayne van Ghizeghem): Ales regres. in fa 16. In fide recta. in fa 17. (P. Hofhaimer): Was ich durch glück. in sol b 18. Cursus manuale superascendens 19. (J. Barbireau / H. Isaac): Ain frewlich wesen. in sol 20. O. Nachtigal (O. Luscinius): Ain frewlich wesen. in re 21. La spania. in re

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22. Carmen italicum: Lemit le jor. in sol # (= Nuit et jour) 23. Fors seulement. in la # 24. Ach iupiter. in ut 25. A.L.B.: Zart schene fraw. in sol 26. Mein hertz hat sich mit lieb verpflicht 27. (J. Obrecht): Si sumpsero. in ut 28. A. Brumel: Tandernack. in la 29. (A. Agricola): Tota pulchra es. in la 30. (Josquin): Mente tota. in sol (= 5th part of: Vultum tuum deprecabuntur) 31. H. Buchner: Zart schöne fraw. in sol (trium vocum, im discant der tenor) 32. Illetadum bonum ( = Il estait un bon homme) 33. (H. Isaac): Lalahe. in ut ( = Benedictus from Missa Chargé de deul) 34. Genefay pluis (by: Busnois?; Compère?; G. Mureau?) 35. A. Brumel: Tandernack (coloratum etc. a magistro Hans Buchner) 36. Fantasy in fa 36a-b. (2 cadenzas) 37. C. Brumann: Pleni sunt celi 38. (C. Brumann? or U. Steigleder sr.?): Carmen in sol 39. H. Buchner: La spania. in re 40. Je suis amie. in sol # 41. Ursprung der lieb. in re 42. H. Buchner: Fortuna. in ut 43. (U. Steigleder sr.?): Preambalon in re 44. (U. Steigleder sr.?): Preambalum in sol 45a-c. (3 passages) 46. (P. Hofhaimer, intab. U. Steigleder sr.?): Zucht eer und lob 46a. (passage) 47. Jörg Schapf: Preambalon in fa 48. Finale in sol b 49. Preambalon in la # 50. Preambalum in la b 51. P. Hofhaimer (after J. Barbireau): Ain frewlich wesenn. in re 52. (A. Agricola): Tota pulchra es. in sol b 53. Preambalon in fa (quator vocum) 54. L. Kleber (intab.): Sancta maria. in fa (trium vocum, tenor in discantu) 55. L. Kleber (intab.): Preambalum in sol b molle (quatuor vocum) 56. P. Hofhaimer: Alde mit laid. in sol b (quatuor vocum) 57. Ecce tu pulchra es. in sol (quinque vocum) 58. Stella maris. in re 59. (Josquin): Ave maria. in ut (quatuor vocum) 60. Descendi in ortum nucum. in fa (quatuor vocum) 61. Nisi tu domine servabis nos. in sol (quatuor vocum) 62. (H. Isaac): Argentum et aurum. in sol (quatuor vocum) 63. (H. Isaac): Argentum et aurum. in sol b (quatuor vocum) 64. (H. Buchner after) H. Isaac: Argentum et aurum. in sol b (quatuor vocum) 65. (H. Buchner?): Ach hilf mich laid. in sol b (quatuor vocum) 66. (P. de La Rue): Troplus secret. in sol b (quatuor vocum) 67. Josquin: Inter natos mulierum. in re (quinque vocum) 68. Preambalon in re 69. Maria Zart. in re (quatuor vocum) 70. H. Buchner: Hodie mecum cras tecum. in re (quatuor vocum) 71. (H. Isaac): Te matrem dei. in re (quatuor vocum) (= Es wolt ein maidlein grasen gan)

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72. Adie mezamrous. in sol (quatuor vocum) 73. (J. Barbireau): Frewlich wesen. in sol (quatuor vocum) 74. H. Buchner (after H. Isaac): Zwischen berg und tiefen tal. in sol 75. (H. Isaac): Decem precepta. in sol (trium vocum) 76. (H. Isaac): Decem precepta (trium vocum, non coloratum) 77. (J. Obrecht): Lo torlidore. in sol (quatuor vocum) (= Wat willen wij) 78. O. Nachtigal (O. Luscinius): In pacinetia (paciencia) vestra. in sol (trium vocum) 79. A la batalia. in sol (trium vocum) 80. H. Buchner: Mein müterlin. in sol (trium vocum) cf. "Trium vocum carmina", 1538 (no. 38) 81. P. Hofhaimer: Die brünle. in sol (trium vocum) 82. (P. Hofhaimer): Fraw bin ich dein. in sol (trium vocum) 83. Fantasy in re (trium vocum) 84. H. Buchner: Recordare. in re / Ab hac familia (trium vocum, tenor in bassu) 85. P. Hofhaimer: Recordare / Ab hac familia (trium vocum, tenor in discantu) 86. H. Buchner: Fruintlich und milt zart raines bildt. in re (trium vocum) 87. H. Buchner: Sancta maria. in fa 88. (A. Busnois?): Fortuna. in fa (quatuor vocum) 89. O. Nachtigal (O. Luscinius): Fortuna. in fa (trium vocum, tenor pedaliter) 89a. (cadenza) 90. H. Buchner (after Josquin): Fortuna. in fa (trium vocum, tenor in basso) (= Agnus II from Missa Fortuna) 91. Kum hayliger gaist. in fa (trium vocum, tenor in discantu) 92. H. Isaac / H. Buchner: O sanctissima. in fa (trium vocum) (= Al mein mut) 93. (P. Hofhaimer): Zucht eer und lob. in fa (trium vocum) 94. H. Buchner (after P. Hofhaimer): Mein ainigs A. in fa (quatuor vocum) 95. Bergerete. in fa (quatuor vocum) 96. H. Isaac / Organista Fryburgensis: Frater conradus . in fa (quatuor vocum) ( = Agnus III from Missa Carminum) 97. H. Buchner: Preambalum in sol b (quatuor vocum) 98. Organista Fryburgensis (after La Rue): Touslens Regres. in sol (4 vocum) 99. H. Isaac / Organista Fryburgensis: In meinem Sinn. in sol (quatuor vocum) 100. H. Finck: In meinem Sinn. in re (trium vocum) 101. L. Senfl: Ich stund an ainem morgen. in re (trium vocum) 102. Preambulum in la b (quatuor vocum) 103. H. Buchner (after L. Senfl): Maria Zart von Edler art. in la (Fuga optima quatuor vocum) 104. L. Kleber (intab.): Ach hilf mich laid. in la 105. Ave sanctissima maria. in mi / Ora pro me (quatuor vocum) 106. (H. Buchner): Es gieng ain man den berg uff. in ut (quatuor vocum) 107. Ich seuftz unnd klag. in sol (trium vocum) 108. Erst wais ich waz die liebe ist. in sol (trium vocum) 109. Wa ich mit lyb. in fa (trium vocum) 110. Ain yder hat sein aigen lust. in la (quinque vocum) 111. Finale seu preambalon in re 112. (J. Obrecht?): Dien quant straie. in sol (Muteta quatuor vocum) 113. (P. Hofhaimer): Alde mit laid ich von dir schaid · Concordances with other intabulations: a) Manuscripts: A-Wn Cod. 18688: 25, 26, 66, 74 CH-Bu F.IX.22: 5, 7, 13, 14, 17, 19 (51, 73), 29, (52), 56 (113), 94, 100 CH-Bu F.VI.26c: 14 CH-Bu F.IX.57: 13

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CH-SGs 530: 8, 13, 27, 30, 56 (113), 59, 61, 65, 66, 75 (76),87, 96, 99, 101, 106. CH-Zz S 284 a/b: 62, 64 CH-Zz Z XI 301: 82, 94 D-B mus.ms. 40588: 25 D-LEm I. 8°. 191: 25, 94 D-Mu 4° Cod. ms. 718: 19 (51, 73), 25, 46, 56 (113), 88, 94 D-WEMl: Mus. 6: 74 F-Pn Thibault ms. Tl. 1: 34, 88 I-PESo 1144: 89 PL-Kp 1716: tablature by Johannes of Lublin: 5, 61 PL-Kk s.s.: 101 US-Cn: Case ms. VM C.25: the Capirola lute tablature: 15 b) Prints: 1507: F. Spinacino: "Intabulatura de lauto, libro primo", Venice, Petrucci: 14, 34, 59. 1507: F. Spinacino: "Intabulatura de lauto, libro 2°", Venice, Petrucci: 89 151?: H. Judenkünig: "Utilis et compendiaria introductio", Vienna: 25 1523: H. Judenkünig: "Ain schone kunstliche underweisung", Vienna: 46 1529: "Livre plaisant et très utile pour apprendre à faire et ordonner toutes tabulatures", Antwerpen, Vorsterman: 19 (51, 73) 1532: H. Gerle: "Musica Teutsch", Nürnberg, Formschneider: 81 1533: H. Gerle: "Tabulatur auff die Laudten", Nürnberg, Formschneider: 15 1536: H. Newsidler: "Ein newgeordent künstlich Lautenbuch", Nürnberg, Petreius: 25, 26, 46, 81, 94 1536: H. Newsidler: "Der ander Theil des Lautenbuchs", Nürnberg, Petreius: 27, 81, 94. 1540: H. Newsidler: "Ein newes Lautenbüchlein", Nürnberg, Guldenmundt: 26 1562: W. Heckel: "Lautten Buch", Strasbourg, Müller: 19 (51, 73), 25, 26 1568: "Een seer schoon boecxken om te leeren maken alderhande tabulaturen" Antwerpen, van Ghelen: 19 (51, 73) 1583: J. Paix: "Ein schön nutz unnd gebreüchlich Orgel Tablaturbuch", Lauingen, Reinmichel: 46 D-B mus.ms. 40034 Christoph Löffelholtz: Tabulaturbuch, 1585 1.Passa mezo Venetiania & Saltarello 2. Domine dominus noster a5 3. Omnia quia fecisti a5 4. Ein gutter Neyer danncz & Der Nachdanncz 5. Paduana & Saltarello 6. Galliarda fraw maria 7. Anchor che coll partir (C. de Rore) 8. Ein gutter Neysidlischer danncz & Der Nachdanncz 9. Venus du und dein khindt (J. Regnart) 10. Allein nach dir Herr 11. Wir trincken Alle gehren & Der Nachdanncz 12. Galliarda 13. Frelich zu sein sein ist mein manir / Wer frisch will sein der sing mit mir 14. Wie mecht ich frelich werden & Der Nachdanncz 15. Mir liebt in gruna mayen 16. Doulce memoria

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17. Ein gutter danncz & Der Nachdanncz 18. Galliarda 19. Suzanna ung jour (Lassus) 20. Es het ein Baur sein freylien verlohren & Der Nachdancz 21. Chi passa per questa strada 22. Jou mi son giove neta (C. de Rore) 23. Herzlich lieb hab ich dich o herr 24. Von Berlein war die hauben & Der nachdancz 25. Die kleine schlacht 26. Die schena Somer Zeytt & Der Nachdanncz 27. Im mayen hort man die hanna kreen 28. Habn wir nit so wollen wir lassen hollen & Der Nachdanncz 29. Dancket dem Hern 30. Dess dancken wir gott in Ewikaytt 31. Dancz maidlein danncz & Der Nachdanncz 32. Ein gutter polnisher danncz & Der Nachdancz 33. Ung geyber gier 34. Bewar mich Herr 35. Von netten ist. Danncz weyss (Regnart) & Der nachdanncz 36. Nasce la pena mia (A. Striggio) 37. Pour ung playsier 38. Veni in hortum meum Orlandi 39. Gott gruess mir die im grunen rokk. A4 (Lechner) 40. Wo iemandt Lust zum bulen hatt a4 (lLchner) 41. Ein mägdlein zu dem Brunen gieng / Das Mägdlein tregt Pantofl an (Lassus) 42. Ist kheiner hie der spricht zu mir (Lassus) 43. Galliarda a 4 voucm I 44. Galliardo II 45. Galliardo a 4 III 46. Gott behütte dich (F.J. Brechtel) 47. Der dienst bien ich müedt (F.J. Brechtel) 48. Calluinischen Tanncz & Der nachtanncz Edition: · nos. 4-6, 8, 11, 12, 4, 15, 17, 20, 21, 24-26, 28, 30-32, 35, 38, 43, 48: ° see: Collections Germany: "Der Tanz in den deutschen Tabulaturbüchern" D-B mus.ms. 40115 Anonymous organ tablature, dated 1593 1-6. Fragments only 7. Tancz, was woln wir uff den abendt thun & Sprungk 8. Geissler Tanz & Sprungk 9. Tanz & Sprungk 10. Tanz. Frolich in allen ehren & Saltarello 11. Galliard. Es war ein gottseliges. Alias Dorothea 12. Galliard 13. Intrata 14. Intrada 15. Tantz. Ach Amor wir wiederwertig sein 16. Intrada. Ach banden hardt 17. Intrada 18. Alter Intrada 19. Nu grus dich gott

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20. Andere Intrada 21-23. 3 pieces without titles 24. Ich weis das mein erlöser lebt 25. Allein nach dir herr. Alias: Se tu guardo 26. Secunda pars, super: Repleatur os meum 27. Gehe deinen weg. Auff rechtem Steg 28. Passemezo & Saltarello 29. Ach Elsgen 30. Passamezo & Saltarello 31. Tantz Antoe 32. Passemezo & Saltarello 33. Präambulum 34. Fuga 35. Allein nach dir herr (almost identical to no. 25) 36. Herzok Mortiz Tantz & Saltarello 37. Pol. Tantz & Proprz 38. Sien (?) spricht kan auch ein mutter 39. Pater noster 40. Allein Gott inder Höhe sey Ehr. Der 2 Verss 41. Galliard 42. Amavit eum dominus a6 (J. Handl) 43. Giulio Eremita, Fuo. a5 44. Hodie nobis coelorum rex a4 45. Amavit eum dominum a6 (J. Handl; cf. no. 42) 46. Amavit eum dominus a6 (J. Handl; cf. nos. 42 and 45) 47. Festiva colli (Palestrina) 48. Pavana Jacobi Lossi (fragment) 49. Vantasia (fragment) 50. Tantz 51. Galliarda 52. Der 8. Psalm: O höchster Gott 53-80. Incipits of German sacred songs Editions: · nos. 7-20, 28, 29, 31, 33, 34, 36, 37, 50, 51: ° see: Collections Germany: "Der Tanz in den deutschen Tabulaturbüchern" · nos. 7 and 14: ° see: Collections Germany: "Ein guter neuer Dantz" D-B mus.ms. 40318 Celle Organ Tablature German organ tablature, dated 1601, containing 63 mostly anonymous works; on alphabet: 1-3. Ach Gott vom Himmel sieh darein (3 settings; one by J. Steffens) 4-9. Allein Gott in der Höh sei Ehr (6 settings) 10-13. Allein zu dir, Herr Jesu Christ (4 settings) 14. A soli ortus cardine 15. Christe, der du bist Tag und Licht 16. Christe, du Lamm Gottes 17-18. Dies sind die heilgen zehn Gebot (2 settings) 19-21. Erbarm dich mein (3 settings) 22-23. Erhalt uns, Herr (2 settings) 24-25. Es ist das Heil (2 settings) 26. Es wollt uns Gott genädig sein

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27. Gott sei gelobt 28-30. Herr Christ, der einig Gottes Sohn (3 settings) 31-34. Ich ruf zu dir (4 settings) 35-40. Jesus Christus, unser Heiland (6 settings; 1 by J. Steffens 41. Kommt her zu mir 42. Kyrie dominicale 43. Mag ich Unglück nicht widerstehn 44. Magnificat 6. toni 45. Magnificat 7. toni 46. Magnificat 8. toni 47. Mensch, willst du leben seliglich 48. Meine Seel erhebt den Herren 49-50. O Herre Gott, begnade mich (2 settings) 50. O Lamm Gottes unschuldig 51-55. Vater unser im Himmelreich (5 settings) 56-58. O Gott, wir danken deiner Güte (2 settings) 59-62. Wir glauben all (4 settings) 63. Wohl dem, der in Gotts Fürchten steht Edition: · nos. 1-63: ° ed. W. Apel in modern keyboard notation; CEKM 17; out of print; only available as print-off sheets D-B mus.ms. Bach P 296 The Langloz Manuscript This large collection of partimento fugues (1700-1720) bears an attribution to J.S. Bach; it contains: 43 fugues, 2 preludes, 15 preludes & fugues, and 1 aria, all in figured bass notation. These works appear to be of Thuringian origin and may stem from J.F. Niedt, J.N. Bach and J.S. Bach; they show the method by which the art of thorough bass provided a foundation for extemporized fugue. Edition: ° edition, introduction and performance notes by W. Renwick; incl. as well compl. facsimile of ms Psalm variations from D-B Lynar B7 (c.1620/40) ed. Dirksen see under "Low Countries" D-Dl mus. 1-B-104 Anonymous harpsichord manuscript from Dresden

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° Selection of 26 dances, ed. by K. Herrmann: 17 menuets, 3 gigues, suite in g (allemande-courante-gigue), presto and 2 "Ländliche Tänze" D-Dl mus. 1-T-595 The Bulyowksi Collection of Suites (1675) 1-13. J.J. Froberger: Suites ( = ed. Adler II: nos. 19, 13, 27, 17, 18, 28, 14, ed. Rampe FbWV 602, FbWV 611, ed. Adler II: no. 23, ed. Rampe FbWV 601, ed. Adler II: nos. 15, 16. 14. J.J. Froberger?: Suite in A published here for the first time 15-18. V. Strobel: 4 Suites in c-c-F-G 19. J. Mercure: Suiste in Bb 20. A. Poglietti: Suite in a (first edition)

14,50

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21. M. Bulyowsky: 22. J.-F. Dandrieu: Edition: · nos. 1-22: ° ed. R. Rasch

Suite in b b La Favorite (from one of his printed collections)

92,50 D-Gms s.s. The Göttingen Tablature

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Tablature (s.s.) in the Bibliothek des Göttinger Musikwissenschaftlichen Seminars. Written in the middle of the 17th century; 17 of the 18 works occur only in this manuscript. (no. 17 is a shortened parody of Sweelinck's toccata Dirksen 18 / Leonhardt 19) 1. J.E. Kindermann: Toccata in C 2-4. Praeambulum ex C#-C#-D# 5. S. Scheidt: Toccata ex C# (incomplete: 29 first measures only) SSWV 575 6-7. Fuga C#-Cb 8. Praeludium D# 9. S. Scheidt: Praeludium Db SSWV 576 10-11. Praeludium Cb-Db 12. Toccata Db 13-15. Praeludium E-Fb-Db 16. J.E. Kindermann: Toccata ex G 17. (J.P. Sweelinck): Praeludium C# (shortened version of Toccata L.19) 18. Praeludium E Editions: · nos. 1-18: ° ed. R. Schächer (no. 5 completed by the editor) ° Complete facsimile edition included in the article by J. Heidrich on this recently discovered source in "Schütz-Jahrbuch 2000" D-KA Harpsichord Book of Duchess Wilhelmina Magdalena of Würrtemberg, 1697

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° Selection of 34 pieces; ed. K. Herrmann: 1. Aria, in D 2. Gigue, in G 3. Rondeau, in A 4. Menuett, in d 5. Bourrée, in F 6. Bauerntanz, in D 7. Marsch, in C 8. Trezza, in G 9. Steirischer Tanz / Nachtanz, in G 10. Marsch, in C 11. Sarabande, in d 12. Bourrée, in a 13. Sarabande, in c 14. Menuett, in F 15. Gavotte, in c 16. Menuett, in G 17. Aria, in A 18. Marsch, in G 19. Aria, in g

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20. Rigaudon, in F 21. Menuett, in G 22. Aria, in d 23. Aria, in F 24. Menuett, in A 25. Aria, in d 26. Gigue, in F 27. Menuett, in C 28. Aria, in a 29. Menuett, in G 30. Aria, in F 31. Gigue, in G 32. Sarabande, in c 33. Aria, in Bb 34. Rondeau, in c D-Lr KN 148 Witzendorf Tablature, 1655 1. Applikatio ex F-G-A-E-D 2. Pargamasch 3. Unlengst ich meine Chloris fandt 4. Zerspallte nicht betrücktes Hertz 5. Courant: Ach schönste Matresse 6. O wir armen Sünder 7. Christ lag in Todes Banden 8. Werde munter mein Gemüthe 9. Gott der du selber bist das Licht 10. Kom heiliger Geist, Herre Gott 11. Allemand 12. Courant 13. Wol dem der weit von hohen Dingen 14. Coridon der ging betrübt 15. Allemand, 2da variatio (by H. Scheidemann) 16. Woll dem der seine Thagh 17. Woll dem der seinen Thagh 18. Was Lobes sollen wir dir o Vater singen 19. Curant Frantzösisch 20. Saraband: Wenn ich gedencke der vorigen Zeiten 21. Wer sich auf das Wasser begibt 22. Nuhn lasst uns Gott den Herren 23. Nuhn kompt der Heiden Heilandt 24. More Palatino 25. Frantzosiche Allemod. & 8 Var. 26. In dulci jubilo 27. Vom Himmel hoch da kom ich her 28. Aus meines Hertzens Grunde 29. O Lamb Gottes unschuldig 30. Ach Amarillis hastu den 31. Wie schön leuchtet der Morgenstern 32. Itzund kompt die Nacht herbey. Proportio 33. Ach Phillis mein auserwählter Schatz 34. Courant Lavion

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35. Englisch Mascarad oder dass Glück gantz wanckelmüthig ist 36. Surrexit Christus Dominus, oder: Wir dancken dir Herr Jesu Christ etcc. 37. Nuhn freudt euch liebe Christen gemein 38. Nu Lob mein Sehl den Herren 39. Nun bitten wir den Heiligen Geist 40. Hertzlich thuet mich verlangen 41. Von Gott will ich nicht lassen, oder: Helfft mir Gottes Güte preisen 42. Englische Nachtigall 43. Saraband 44. Saraband 45. Allemand 46. Ein Frantzösisch Tantz. Proportio 47. Taniek Polskij. Proportio 48. Ein Tantz von der Fortuna. Proportio 49. Ballett 50. Der Hamburger Crawal. Proportio 51. Ballett. Curant auff vorgehendes Ballett 52. Du Frieden Fürst Herr Jesu Christ 53. Curant; 2da Variatio contrapunct. 54-56. Saraband 57. Ballet 58. Ballett Frantzösisch 59. Gelobet seistu Jesu Christ 60. Curante; 2. / 3. Variatio 61. Curant. Secunda Variatio 62. Christus der uns selig macht 63. Ballett du Roy 64. Saraband 65. Allemand 66. Ros Ballett 67. 1.- 16. Auffzug der Behren Tantz 68. Ballett der Helden 69. Saraband & 8 Var. 70. Aria Galica 71. Gavotte 72-74. Saraband 75. Saraband. Mein Lieb ist schön gnung vor meinen Augen 76. Saraband 77. Curant 78. Ein Liedt. Willtu nicht vom Bräutgam hören 79. Courant 80. Auff meinen lieben Gott 81. Ballett 82. Saraband. Variatio 83. Gavotte 84. Ein Liedt. Jungfräulein ich vermeine 85. Saraband, oder: Es hat Kuntz Klotz, oder: Es liess sich ein Bauer den alt Rock schneiden 86. Türkische Intrada 87. Curant 88. Courant 89. Courant. La roine de Angleterre (by H. Scheidemann?) 90-91. Curant 92. Allemand

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93-94. Curant 95. Curant Gomboniere 96. Ein Liedt 97-98. Allemand 99. Ein Liedt 100. Curant Messauger 101. Amor hat mich zum süssen Possen 102. Ein Liedt im Mayen 103. Saraband 104. Curant Editions: · nos. 1-104: ° ed. J. Jacobi; set of 2 volumes · nos. 35, 53, 60, 61, 90, 92: ° see: H. Scheidemann: Harpsichord Works: nos. 8, 13, 21, 22, 24, 30 D-Lr KN 208 I Lüneburg Tablature 208 I German organ tablature, written in 1652 -1656; containing: 1-8. H. Scheidemann: 1. Vater unser im Himmelreich 2. Jesu, du wollest uns weisen 3. In dich hab ich gehoffet, Herr 4. Komm, Heiliger Geist 5. Toccata, in G 6. Fugue, in d 7. Gott sei gelobet und gebenedeit 8. Alleluja, in A 9-41. anonymous works: 9-15. Seven Preludes 16. Praeambulum or Fugue 17. Toccata or Praeambulum 18-19. Two Toccatas 20. Fugue 21. Ein feste Burg ist unser Gott 22. Christ lag in Todesbanden 23. Komm, heiliger Geist 24. Resonet in laudibus 25. Gelobet seist du, Jesu Christ 26. Christe, der du bist Tag und Licht 27. O wir armen Sünder 28. Vita sanctorum 29. Veni creator spiritus 30. O lux beata Trinitas 31. Nun komm, der Heiden Heiland 32. Hosianna dem Sohne David 33. Christum wir sollen loben schon 34. Nun freut euch, lieben Christen gmein 35. O Lamm Gottes, unschuldig 36. Vater unser im Himmelreich 37. Veni creator spiritus (2 versets) 38. Christ unser Herr zum Jordan kam

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39. Aeterno grtias patri 40. Herr Gott, dich loben wir 41. Judex crederis / Aeterna fac Edition: · nos. 1-41: ° ed. M. Reimann; with facsimile of 5 pages of the organ tablature; EdM 36 D-Lr KN 208 II Lüneburg Tablature 208 II German organ tablature, written c.1650; containing: 1-2. H. Scheidemann: 1. Vater unser im Himmelreich 2. Praeambulum, in D 3-4. Two Scheidt pasticcios: 3. A solis ortus cardine 4. Vita sanctorum 5-42. anonymous works: 5-9. Five Praeambula 10. Kyrie 11. Te Deum laudamus (15 versets) 12. Kyrie fons bonitatis (3 versets) 13. Allein Gott in der Höh sei Ehr 14. Jesus Christus unser Heiland (2 versets) 15. Vater unser im Himmelreich 16. Ich ruf zu dir, Herr Jesu Christ (2 versets) 17. Allein zu dir, Herr Jesu Christ (2 versets) 18. Ein feste Burg ist unser Gott (2 versets) 19. Meine Seele erhebet den Herern (3 versets) 20. Wo Gott der Herr nicht bei uns hält (2 versets) 21. Jesus Christus, unser Heiland 22. Dies sind die heilgen sehn Gebot (2 versets) 23. Ach Gott vom Himmel seih darein (2 versets) 24. Was kann uns kommen an für Not (2 versets) 25. O Lamm Gottes unschuldig 26. O lux beata Trinitas (2 versets) 27. Erbarm dich mein, o Herre Gott 28. Aus tiefer Not schrei ich zu dir 29. Nun freut euch, lieben Christen gmein 30. Nun komm, der Heiden Heiland (2 versets) 31. Veni redemptor gentium (2 versets) 32. Gelobet seist du, Jesu (2 versets) 33. Vom Himmel hoch, da komm ich her (2 versets) 34. Christe, der du bist Tag und Licht (3 versets) 35. Nun lob, mein Seel, den Herren (2 versets) 36. Christe der du bist Tag und Licht (2 versets) 37. O, wir armen Sünder 38. Hilf Gott, dass mir's gelinge 39. Da Jesus an dem Kreuze stund 40. Christus, der uns selig macht 41. Christ lag in Todes Banden (2 versets) 42. Vita sanctorum Edition:

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· nos. 1-42: ° ed. M. Reimann; EdM 40; hardback D-Lüdingworth Tabulatur Lüdingworth Fragment: 2 surviving bifolia, 1560-1590, in Lüdingworth, near Cuxhaven; notation: new German organ tablature. Recoverable fragments: 2. P. Russmann: Allein tho di Herr Jesu Christ (first 11 bars only) 3. in d (Gratias: O Christ, wy dancken dyner güd (last 7 bars only) 4. H. thor Molen?: (ps. 23, verse 3 (first 20 bars only) 5. Ascendendo (8 cadenzas) 6. fragment in F Edition: · nos. 1-6: ° Facsimile of the manuscript fragments; critical edition and introduction by K. Küster; Documenta Musicologica, XXXVIII; hardback D-Mbs Cim.352b Buxheim Organ Book · Large collection of intabulations of Lieder and chansons, liturgical compositions, 16 praeambula, containing as well Paumann's Fundamentum ; compiled around 1470. (see also under Binchois, Dufay and Dunstable for works by them intabulated here) alphabetical list of contents: 1. Ach guter gesell 2. Ad primum morsum 3-5. Adyeu matres belle (3 settings) 6. Allegalea 7. Amen 8-11. Annavasanna (4 settings) 12. Arrogamer 13-14. Ave regina 15. Begib mich nit 16. Bekenne myn klag 17-21. Benedicite 22. Biss wolgemüt 23. Bougartner 24. Christeleyson 25-26. Christus resurrexit 27-30. Con lacrime (4 settings; 1 by C. Paumann) 31-32. Collinit (2 settings) 33. Creature 34. Crist ist erstanden 35. Cristus surrexit 36. Damadame 37. Der dickel 38. Der einen lieben bulen hatt 39. Der füterer 40. Der Sumer 41-43. Der winter (3 settings) 44. Descendi in ortum micum 45. Des Klaffers nyd

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46-47. Des meyen Zyt (2 settings) 48. Die ich erwelt 49. Dies est leticie 50. Die süss nachtigall 51. Die vassnacht bringt 52. Die wie lang 53-54. Dulongesux (2 settings) 55-56. Ein froülin edel (2 settings) 57. Ein güt selig Jar 58. Einiger trost 59-66. Elend (8 settings) 67. Entrepris 68-69. Eschlave (2 settings) 70. Es fúr ein buer 71. Ess ist vor las 72. Et in terra pax 73. Fates moy 74. Fortune 75. Füren Jo myn hertz 76. Franckurgenti 77. Frow, myn willen 78. Fundamentum M.C.P.C (by C.. Paumann) 79. (Aliud) Fundamentum 80. Fundamentum organizandi 81. Fundamentum magistri Conradi pauman Contrapuncti (by C. Paumann) 82. Gantz itel trew 83. Gaudeamus 84. Gedenck daran 85. Gedencken mir vil senen bringt 86. Geloymors 87. Geytes 88. Gragrandolor 89. Hertz mut und all 90. Ich begir nit mer (by C. Paumann) 91-93. Ich bin by Ir (3 settings) 94. Ich lass nit ab 95-96. Ich sah ein bild (2 settings) 97. In wunniglichem schertzen 98. Jacobus viletti Ein buer gein holtze (after J. Viletti) 99. Jhesu bone 100-102. Jeloymors (3 settings) 103. Jo. Tonrroutt 104. Kem mir ein trost 105. Ker uber her 106-111. Kyrie 112-113. Lardant desier (2 settings) 114. Lesouenir 115-117. Leucht leucht wünniglich (3 settings) 118-119. Le servituer (2 settings) 120. Lieb ist aller welt 121. Lieblich vernüwet 122-123. Lungus tenor (2 settings) 124. Losa Hennsslin

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125-126. Luffil (2 settings) 127-129. Magnificat octavi toni 130. Magnificat primi toni cum differentia 131. Maria tu solacium 132. Mille bon jores 133. Min Liebste zart 134-136. Min freüd mocht (3 settings) 137. Min froüd stet 138. Min Hertz das hätt sich ser gefrowet 139. Min Hertz hatt lange 140-141. Min hertz in hohen fröuden (2settings) 142. Min lieby zart 143. Min synn die sind 144. Min troutt geselle 145. Mir ist zerstört 146. Mit ganczem willen 147-149. Mi ut re ut (3 settings) 150. Möcht ich dich 151. Möcht mich gedencken 152. Modocomo Bystu di rechte, Repeticio 153. Modocomor, Repeticio 154. Mombin Imperfay 155. Nach diner Lieby 156. Ob lieb din Lieb 157. O florens rosa 158-159. O gloriosa domina (2 setitngs) 160-169. "ohne Titel": 10 pieces without titles 170. O Intemerata virginitas 171. O regina glorie 172-174. O Rosa bella (J. Dunstable) 175. O werder trost 176. Pange lingua 177-178. Par le regart (2 settings) 179. Patrem omnipotentem 180. Portigaler 181-196. (16) Praeambula super C-C-C-C vel G vel Cc-D-d-re-mi-F-F-F-F-F-G-G-sol 197. Puisque mammor (J. Dunstable) 198. Pulcherrima de virgine 199. Quatuons 200. Qui vult messite 201. Recht begirlich 202. Rorate coeli 203. Salve radix Josophanie 204-205. Salve regina 206. Salve sancta parens 207. Sanctus angelicum 208. Sans oblier 209. Scilicet in alio choro 210. Se belle anglicum 211-212. Se la fasse ay pale (2 settings) 213. Seyd ich dich 214. Signit 215. Sig seld und heil

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216. Spyra 217-218. Stübli (2 settings) 219-220. Sub tuam protectionem (2 settings) (J. Dunstable) 221. Sur toutes 222. Tant part 223. Thun Jors 224. Trinck und gib 225. Veni creator spiritus 226. Veni virgo 227-228. Vierhundert Jare (2 settings) 229-233. Vil liber zit (5 settings) (J. Gotz) 234. Virginem mire 235-236. Wach uff myn hort (2 settings) (Oswald von Wolkenstein) 237. Wann ich betracht der vasenacht 238-243. Wass ich begynn (6 settings) 244. Wilhelmus legrant 245. W.J.b.d.d.V 246-248. Wolhin lass vögelin (3 settings) 249. Woluff gesell von hinnen 250. Wunschlichen schön 251. Zum newen Jare Edition: · nos. 1-251: ° Complete edition in 3 cloth volumes by Wallner; Erbe deutscher Musik 37-39: volume I: nos. 1-77 out of print volume II: nos. 78-180 volume III: nos. 181-251 · nos. 7, 23, 40, 50, 74, 90, 98, 131, 138, 146, 158, 170, 172, 197, 198, 213, 219, 224, 227, 229, 235: ° Selected pieces from the Buxheim organ book; ed. Booth / Lewis (1959): volume II · nos. 17, 34, 35, 72, 106-108, 127, 176, 204, 207: ° Selected pieces from the Buxheim organ book; ed. Booth / Lewis (1959): volume I out of print · Selection of chanson intabulations and basse danse settings ° ed. B. Thomas out of print D-Mbs mus.ms. 1581 An anthology of 103 keyboard compositions from a South-German organ tablature (c. 1620) Edition: ° ed. C.G. Rayner of all the works not to be found in the Pidoux edition of Frescobaldi and in four other volumes of the CEKM series: Rayner's ed. of Erbach, Shindle's edition of Frescobaldi's manuscript pieces, Apel's edition of the Celle Tablature, and Peterson's edition of S. Lohet. The numbers in parentheses indicate the numbering in the manuscript. · Volume I: Miscellaneous compositions and Fantasias: (out of print; only availabe as off-print sheets) a) Miscellaneous Compositions: 1. J.L. Hassler: Canzon (2) 2. Ricercar (3) 3. G. Gabrieli: Fuga octavi toni (6) 4. Himnus Ave maris stella (7) 5. Ricercar (8) 6. G. Gabrieli: Ricercar (9) 7. Fuga (12)

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8. Fuga duodecimi toni (13) 9. Fuga octavi toni (15) 10. Ave maris stella (39) b) Anonymous Fantasias: 11a-f. Six fantasias primi toni (22-27) 12a-g. Seven fantasias secundi toni (28-34) 13a-g. Seven fantasias tertii toni (35-42) 14-ag. Seven fantasias quarti toni (43-48, 48a; one by J. Steffens) c) Miscellaneous Compositions: 15. Fuga (51) 16. Fuga tertii toni (52) 17. Ricercar (53) 18. Carl von der Hofen: Ricercar primi toni (54) 19. C. von der Hofen: Toccata primi toni (55) 20. Ricercar tertii toni (56) 21. C. von der Hofen: Toccata secundi toni (57) 22. Alia fuga (58) 23. Fuga (64) 24. Kyrie-Christe-Kyrie from Missa XI: Orbis factor (65, 65b, 66) 25. A. Mortaro: Fuga tertii toni (68) 26. Fuga quarti toni (69) · Volume II: Liturgical Compositions a) Magnificats: 27. J.L. Hassler: Magnificat primi toni (70) 28. Magnificat quarti toni (74) 29. Magnificat sexti toni (76) 30. Magnificat septimi toni (77) 31. Magnificat septimi toni (78) b) Mass movements: 32. Kyrie totius anni duplex (Missa IV: Cunctipotnes genitor Deus) (80-85) 33. Aliud kyrie duplex (Missa XIV: Jesu redemptor) (91-93) 34. Gloria (Missa II: Kyrie fons bonitatis) (94) 35. Kyrie Beatae Virginis (Missa IX: Cum jubilo) (100-102) 36. Kyrie Paschale (Missa I: Lux et origo) (103-108) 37. Gloria (Missa I: Lux et origo) (109) 38. Sanctus totius anni duplex (Missa IV: Cuncti potens genitor Deus) (115) 39. Sanctus duplex (Missa XVII: for the sundays of Advent and Lent) (116) 40. Sanctus Dominus (Missa XVII: for the sundays of Advent and Lent) (117) 41. Sanctus duplicium (Missa XVII: for the sundays of Advent and Lent) (118) 42. Sanctus Dominus (Missa XVII: for the sundays of Advent and Lent) (119) 43. Sanctus Dominus (Missa IX: Cum jubilo) (120) 44. Sanctus simplex (Missa XVII: for the sundays of Advent and Lent) (121) 45. Sanctus de Beata Virg. (Missa V: Kyrie magnae Deus potentiae) (122) 46. Sanctus Dominus Deus (Missa II: Kyrie fons bonitatis) (123) 47. Agnus Dei duplex (Missa II: Kyrie fons bonitatis) (124) 48. Agnus Dei (Missa II: Kyrie fons bonitatis) (125) 49. Agnus Dei simplex (Missa II: Kyrie fons bonitatis) (126) 50. (Gloria) (129) c) Sequence: 51. Sequentia victime paschali (128) d) Hymns: 52. Hymnus de martyribus (130) 53. Hymnus Lucis Creator (131)

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54. Pange lingua (132) 55. Hymnus de nativitate (A solis ortus cardine) (133) 56. (Hymnus de nativitate) Alio modo (A solis ortus cardine) (134) 57. Hymnus Ad coenam agni providi (135) 58. Ave maris stella (136) · Volume III: Miscellaneous Compositions & Fantasias (out of print; only availabe as off-print sheets) 59. Ricercar primi toni (super Vater unser in Himmelreich) (138) 60. Ricercar quinti toni (139) 61. B. Wolck: Fuga...da Jesus an dem (Creuze stund) (140) 62. Ricercar (142) 63. Fantasia gramatica (150) 64. Fantasia cromatica (152) 65. A. Holzner: Canzon (153) 66. Ricercar primi toni (154) 67. Ricercar cromatica (156) 68. Ricercar secundi toni (157) 69. A. Banchieri: Ricercar (cromatico) tertii toni (158) 70-72. Canzon (161-163) 73. A. Holzner: Canzon (164) 74. H. Pfendner: Canzon (165) 75. F. Stivori: Canzon octavi toni (166) 76. Canzon (168) 77. A. Holzner: Canzon octavi toni (169) 78. H. Pfendner?: Canzon (170) 79. Ricercar primi toni (172) 80. C. von der Hofen?: Toccata primi toni (173) 81. Canzon (184) D-Mbs mus.ms. 2987 Herwart Organ Tablature Copied about 1540. Containing anonymous intabulations of chansons: 1-4. Sandrin: 1. Quant j'eu congneu en ma pensée 2. Je ne puis bonnement penser 3. Sy pour aymer 4. Quant ung bien, par long temps est attendu 5. C. Janequin: Martin menait son pourceau au marché 6. J. Descaudin: Vray dieu d'aymer, mauldit soit la journée 7. Mittantier: Moyns je la veulx, plus m'en croist la désir 8. G. Le Pelletier: sy mon malheur, m'y continu 9. N. Gombert: Hors envyeux, retirez-vous d'ici Edition: · nos. 1-9: ° ed. J. Bonfils; together with all vocal models D-Mbs mus.ms. 4485 The Nürnberg Organ Tablature This German organ tablature (c.1650) contains 106 pieces, 33 of which are a2. Edition: ° ed. R. Schächer of 70 pieces (with indication of original order in the ms.):

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1. Schönst Amarylli ein Kron der Wälder 2. Niederländisches Liedgen 3. Niederländisches Liedgen 4. Jess und kompt die Nacht herbey 6. Sarabanda 8. Baletto 9. Sarabanda 10. Unlängst ich meine Doris fanndt 11. Couranta 12. Cincopals 14. Allmanda 15. Ballet 16. Courant 18. Courant 20. Sarabande 21. Ballet 22. Englische Balleto 24. Canzon a2 3. toni 28. Courant 31. Courant 32. Filli die schöne Schäfferin 33. Mündlein und schön 34. Ballet Lapin 35. Giovanni Valentini: Echo a3 37. Ballet 41. Wohl dem der weiss von hohen Dingen 52. Galliarda Auf euer schönen grünen Auen 53. Intrada 54. Simphonia 59. Praeludium G b moll 60. Praeludium sive Fuga 61. Praeludium g b moll 62. Mohrenauffzug 63. Galliarda Englesa 64. Bassa Imperiale 65. Saltarello del Bassa Imperiale 66. J. Staden: Alamanda J.S. 67. Chorea 68. Praeambulum 69. J. Staden: Alamanda J.S. 70. Sarabanda 71. Ballet 72. Couranta 73. Mein traurigs Herz thut euch bezwingen 74. Aria 75. Tanz Meiner Seelen Sonnenschein 76. Der Nachtanz 79. J. Staden: Alamanda 80. La Francoisa 83. Ballet 84. Sarabanda 85. Schmidmaur Tanz 86. Der Nachtanz

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87. Couranta francesa 88. Couranta 89. Ballet 91. D. Schedlich: Sirenea 92. Ballet 93. Alamanda 94. Ach weh, nun all mein Freud 95. Picolominis Liedt 96. Auffzug 97. Mirtillo mein Desia 98. Relation, relation 99. Der edle Schäffer Coridon 100. O Coridon lass dein Schalmey 103. Couranta 104. Tanz 105. Der Nachtanz 106. Sarabanda D-MY s.s. Mylau Tablature Book Manuscript kept in the church archives of the town of Mylau, containing 176 keyboard pieces, mainly by middle-German composers active in the last quarter of the 17th century. Editon: ° ed. J.R. Shannon of 40 pieces: 1-3. J. Pachelbel: Fuga, in C; Prael. & Fuga, in c; Prael, & Fuga, in d (PWC 413/2, 414, 415) 4-10. N. Vetter: 7 Fugues: 4 in C, 2 in G, 1 in g 11-13. Chr.F. Witte: Fugue, in d; Prelude & Fugue, in D; Fugue, in e 14-25. J.E. Pestel: 11 Praeludia, in C-D-d-Eb-F-G-g-A-a-Bb-B; Prelude & Fugue, in c 26. A. Kneller: Prelude & Fugue, in F 27. A. Werckmeister: Prelude & Fugue, in G 28. C. de Monteforte: Fantasie, in d 29-40. anonymous pieces: Fantasie, in d; 2 Arias, in d-F; Sonata, in e; 2 Fugues, in g; Ricercar, in g; 3 Praeludia, in G-Bb-Bb; Canzon, in c D-NS 3494 / N I 28 Organ tablature in the church library at Neustadt a.d. Aisch Mid-17th-century German organ tablature containing only anonymous works: 1-15. Preludes & Toccatas in the 8 tones 16-37. Suite movements: 16. In G: Ballet 17-21. in a: Allemande; Ballet; Capriccio; Ballet; Allemande 22-26. in d: Ballet; Courante; Ballet; Courante; Sonata 27-29. in F: Allemand; Cuorante; Ballet 30-33. in G: Aria; Branle; Chanson; Courante 34-35. in C: Sarabande; Sarabande 36-37. in a: Allemanda; Courante Edition: · nos. 1-37: ° ed. H. Wiessner D-OLl Cim.I.39

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Organ Tablature of Ludolf Bödeker · Collection of liturgical and theological texts around 1450, containing as well intabulations of the following pieces: f.57: 1. Preambulum ( fragment) f.91: 2-5. Preambulum super ff; Super g pulchrum; Super a; Super E f.93: 6. Fundamentum quatuor notarum collectum a Ludolpho Lyngentis: ascendens et descendens ieusdem; prima regula; 2a regula; 3a regula; 4a regula; 5a regula; ascensus / descensus f.94/98: 7-10. Probacio tactuum in carmine; Aliud; Preambulum super d fantasia plenurij; (Credo) / Et resurrexit, notarum quatuor / Et vitam / Amen Edition: · nos. 1-10: ° in: "Die Orgeltabulatur des Ludolf Bödeker. Eine unbekannte Quelle zur Orgelmusik des mittleren 15. Jahrhunderts" by M. Staehelin: study on, facsimile and transcription of the music; containing as well transcriptions of some musical pieces from D-W Cod. Guelf 19.26.3 Aug 4° (framgent of 48 bars) and D-B ms. Theol.lat.qu.290 (Credo: Patrem, and fragment of 7 bars of Factorum) D-Rtt FK.21-24 Neresheim Organ Tablatures German organ tablature, written about 1590-1630. 522 pieces: 17 Praeambula, 427 intabulations of motets, 68 intabulations of works on liturgical texts; intabulations of French chansons Many compositions are anonymous. Composers of which works have been intabuated here are: Agazzari, Aichinger, Alder, Asola, Assandra, Avert, Baumhauer, Belli, Bendinelli, Bonhomius, Cantonus, Clavius, Clemens non Papa, Columbanus, Cornetti, Deiss, Engelsdorffer, Erbach, Erthel, Gabrieli, Gastoldi, Gesius, Giovanelli, Gumpelzhaimer, Hassler, Hollander, Kerle, Las Infantas, O. de Lasso (106 works!), Le Febure, Manchicourt, Maulgreo, Mechi, Merulo, Moro, Mortaro, Münnich, Naldi, Neander, Oliverio, Pacelli, Palestrina, Parma, Petrinus, Philips, Piccini, Praetorius, B. & J. Prenner, Regius, Reiner, Richafort, Rogier, Ruffo, Sandrin, Savetta, Scaletta, Senfl, Sermisy, Stabile, Tonsor, Untedal, Orazio & Orfeo Vecchi, Victorinus, Walter, Zallamella, Zirler, Zucchinio. Editions: · Selection of 22 pieces; ° ed. Schächer: 1. Je prens engre 2. Praemabulum in d et A 3. Praeambulum in fa 4. Cest a grant tort 5. Doulce memoire 6. Bewahr mich herr 7. Susanne un giur 8. Sidera Maria 9. Dies est laetitia 10. Pater peccavi in caelum 11. O salutaris hostia 12. De confessoribus hymnus: Iste confessor 13. Hymnus: Veni creator spiritus 14. Praeambulum in g 15. De Apostolis Hymnus: Exultet caelum laudibus 16. Languir me fais 17. Pange lingua 18. Contingat illis

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19. Tristis est anima mea 20. Allein nach dir Herr 21. Musica cantatrix 22. Hymnus: Hostis Herodes impie · Selection of 16 pieces; ° ed. E. Kraus in: "Orgelmusik in Benediktinerklöstern", vol. III: 1-9. Praeambula I-IX 10. Je prens engre 11. Introitus in festo Nativitatis Jesu 12. Kyrie, Beata Virgine Maria 13. Gloria 14. Christe redemptor omnium 15. Gaude civitas Augusta 16. Magnificat viii. Toni, versus 1, 3, 5, 7, 9, 11 · 2 Works: 1. anon.: Resurrexi 2. G. Asola: Victimae paschali laudes ° in: "Die Orgel im Kirchenjahr, II: Ostern", ed. E. Kraus · 2 Works: 1. H.L. Hassler: Verbum caro factum est 2. Deus qui sedes ° in: "Die Orgel im Kirchenjahr, III: Zwischen Weihnachten und Ostern"; ed. E. Kraus · 2 Anonymous works: 1. Salve sancta Parens 2. Tota pulchra es amica ° in: "Die Orgel im Kirchenjahr, IV: Marienfeste"; ed. E. Kraus D-WRtl s.s. The Weimar Tablature · "Tabulatur Buch Geistlicher Gesänge D. Martini Lutheri und anderer gottseliger Männer sambt beygefügten Choral Fugen durch das gantze Jahr. Allen Liebhabern des Claviers componiret von Johann Pachelbeln, Organistein zu S. Sebald in Nürnberg, 1704" Manuscript in D-WRtl (now in: D-WRz) 79 sacred songs; for each: a fugue & a figured bass chorale Composed by J. Pachelbel and composers from his circle Alphabetical list of chorales (number in manuscript in parentheses): Ach Herr, mich armen Sünder (47) Ach was soll ich Sünder machen? (66) Allein Gott in der Höh sei Ehr (39) Allein zu dir, Herr Jesu Christ (61) Als der gütige Gott (30) An Wasserflüssen Babylon (56) Auf meinen lieben Gott (77) Aus Jakobs Stamm ein Stern sehr klar (14) Aus tiefer Not schrei ich zu dir (62) Christ, der du bist der helle Tag (70) Christ lag in Todesbanden (31) Christ unser Herr zum Jordan kam (60) Christe, der du bist Tag und Licht (16) Christe, du Lamm Gottes (20) Christus der uns selig macht (18) Da Jesus an dem Kreuze stund (17) Das alte Jahr vergangen ist (11)

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Der Herr ist mein getreuer Hirt (49) Dies sind die heiligen zehn Gebot (57) Ein feste Burg ist unser Gott (53) Erbarm dich mein, o Herre Gott (63) Erhalt uns Herr bei deinem Wort (73) Es spricht der unweisen Mund wohl (48) Es stehn vor Gottes Throne (44) Es wolle uns Gott gnädig sein (54) Gelobet seist du, Jesu Christ (4) Gleich wie ein Hirsch begehret (50) Gleich wie sich fein ein Vögelein (21) Gott der Vater wohn uns bei (40) Gottes Sohn ist kommen (2) Helft mir Gotts Güte preisen ( = Von Gott will ich nicht lassen) (13) Herr Christ, der einig Gotts Sohn (10) Herr Gott, dich loben alle wir (43) Herr Gott dich loben wir (Te Deum) (72) Herr Jesu Christ, dich zu uns wend (75) Herzliebster Jesu, was hast du verbrochen? (25) Ich hab mein Sach Gott heimgestellt (79) Ich ruf zu dir, Herr Jesu Christ (68) In dich hab ich gehoffet, Herr (51) In dir ist Freude (12) Jesaja dem Propheten das geschah (41) Jesus Christ, unser Heiland der den Tod überwand (32) Kaiser Augsut leget an (6) Komm, heiliger Geist, Herre Gott (34) Kommt her zu mir, spricht Gottes Sohn (64) Kyrie eleison (27) Kyrie, Gott Vater in Ewigkeit / Christe, aller Welt Trost / Kyrie, Gott heiliger Geist (36-38) Lob sei dem allmächtigen Gott (3) Lob sei Gott in des Himmels Thron (8) Lobt Gott, ihr Christen allzugleich (9) Mein Seel, o Gott, muss loben dich (42) Meinen Jesum lass ich nicht (67) Mit Fried und Freud ich fahr dahin (15) Nun bitten wir den heiligen Geist (35) Nun freut euch, lieben Christen g'mein ( = Es ist gewisslich an der Zeit) (33) Nun komm, der Heiden Heiland (1) Nun lasst uns Gott dem Herren (71) O Lamm Gottes, unschuldig (19) O Mensch bewein dein Sünde gross (26) O Traurigkeit, o Herzeleid! (24) O wir armen Sünder (28) Schaffe in mir, Gott ein reines Herze (69) Sei gegrüsset, Jesu gütig (29) Vater unser im Himmelreich (59) Vom Himmel hoch, da komm ich her (5) Vom Himmel kam der Engel Schar (7) Wär Gott nicht mit uns diese Zeit (55) Warum betrübst du dich mein Herz? (16) Wenn meine Sünd' mich kränken (23)

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Wenn mein Stündlein vorhanden ist (78) Wer Gott vertraut (74) Wie schön leuchtet der Morgenstern (96) Wir danken dir, Herr Jesu Christ (22) Wir glauben all an einen Gott (58) Wo Gott der Herr nicht bei uns hält (46) Wo Gott zum Haus nicht gibt sein Gunst (45) Wo soll ich fliehen hin? (65) Edition: ka.1750 ° ed. S. Schwenkedel; 2 vol. set: volume I: introduction and music; volume II: critical commentary DK-Kk C I,90, mu.7503.0231-7503.,0337 Husum Organ Book The Husum Organ Book, 1758; collection assembled by B.F. Zinck 1. anonymous: Prelude-Fugue-Allegro / Adagio-Chaconne, in c 2. H. Zinck: Prelude-Fugue-Adagio-Chaconne, in D 3. N. Bruhns: Adagio, in D 4. Ch.W. Druckenmüller: Concerto, in G 5. M.Ph. Zeyhold: Concerto, in E 6-7. Ch.W. Druckenmüller: 2 Concertos, in F-D 8. Ch.W. Druckenmüller: Prelude-Chaconne, in D 9. anonymous: Concerto, in G 10. M.Ph. Zeyhold: Fugue, in D 11. M.Ph. Zeyhold: Concerto, in Bb 12. anonymous: Concerto, in d 13. M.Ph. Zeyhold: Concerto, in A 14. Ch.W. Druckenmüller: Concerto, in A 15-17. anonymous: 3 Concertos, in a-g-D Edition: · nos. 1-17: ° critical edition and introduction by K. Küster NL-DHgm 21 E 47 Southern German Organ Tablature, 1609 1. Recercar noni toni (H.L. Hassler?) 2. Galliarda La Farraresa 3. G. Croce: Candidi gigli a4 4. (A. Holborne): Galliard Anglese 5. (H.L. Hassler): Canzon a4 6. I. Sabino: Chi mi consola a4 7. V. Neriti di Salo: Non posso haver più vita a4 8. G. Croce: Mi parto ohime a4 9. "M.R.": Pavana 10. H.L. Hassler: Galliard 11. H. Steuccius (Steucke): Intrada 12. H. Steuccius: Intrada 13. (B. Schmid jr.): Galliard alias...(?) 14. O. Vecchi: Risposta il core a4 15. (B. Schmid jr.): Galliard 16. H.L. Hassler: Ridon di maggio a4 17. (S. Lohet): Canzon a D, A, T & B

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18. anonymous: Canzon Francese 19. Morsolini: Fuga 20. anonymous: Passo e mezo Itaiano, in D 21. (J. Dowland): Pavana care lachrimae: Tab. V. B. S(chmid) 22. (B. Schmid jr.): Fuga super Prificiat ihr lieben Herren 23. anonymous: Der Strassburger Tanz Edition: · nos. 1-23: ° ed. Poot RO-BRm mus.ms. 808 The Brasov Organ Tablature of Daniel Croner (1680-1684) · "Tabulatura fugarum, praeludiorum, canzonum, tocatarum et phantasiarum, comparata Daniele Cronero, Coronense, Transylvano. Anno: 1681, die 30. Janu: Wratislava" The Brasov Tablature is unusual in that it presents considerable information on the keyboard fingering technique of the late 17th century, and because it contains one of the earliest sets of preludes in successive keys (by J.H. Kittel: nos. 71-82). 13 Preludes with original fingering. * = by J. E. Kindermann; ** = by J.E. Kindermann from his: "Harmonia Organica", 1645. 0. Applicaturae: Kurtzer Unterricht der Application auff Instrumenten, zum unter u. hinauff lauffen, in beyden Händen. Geschrieben zu Breslau im Febr. 1680. Die 31. Januar. 1. Praeambulum supra Ich ruff zu dir Herr Jesu Christ 2. Praeludium ex E (by Chr. Michel) 3. Praeambulum ex D 4. Praeambulum ex C 5. Praeambulum ex A 6. Praeambulum ex A 7. Praeambulum ex F 8. Fantasia ex F 9. Tocata in G 10. Fuga ex D 11. Fuga ex C 12. Fuga ex G 13. Tocata ex E 14. Fuga in G 15. Fuga in G Die 1. Febr. 16. Tocata ex D 17. Praelud. ex G 18. Praeludi. ex Gb 19. Praeludi. ex Gb 20. Praeludi. ex A 21. Fuga ex A 22. Fuga ex D 23. Praeludi. ex E 24. Principium ex G. 8 toni 25. Fuga in F 26. Fuga ex D 27. Fuga Aolij ex A 28. Fuga in A 29. Praelu. ex G 30. Tocata 2di toni in G 31. Fuga 2di toni ex G 32. Concordantiae ex C

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33. *Fuga in G 34. Fuga 2di toni ex D 35. Praeludi. 4ti toni ex E 36. Praelu. 6. toni ex F 37. **Praeamb. 7. et 8. toni per 2dam 38. **Fuga ex G 39. **Praelud. 1. et 2. to. in G. Die 2. Febr. 40. **Praeamb. 11. et 12. toni ex C 41. *Fuga 3. et 4. ton. ex A 42. *Fuga 7. et 8. to. ex C 43. **Praeludi. 5. et 6. toni ex B 44. *Fuga 9. et 10. to. ex D 45. **Praeludi. 11. et 12. to. ex F 46. **Praeamb. 11. et 12. toni ex D 47. **Praeamb. 9. et 10. ton. ex A 48. **Praeamb. 7. et 8. ton. ex G 49.** Fuga super Ach wie sehnlich, ex G 50. **Fuga ex D 51. **Intonatio Magnificat 4. toni, ex E 52. **Magnificat 8. toni, 1. Versus ex G 53. **Secundus Versus, Coral in Discant mit 2. Clavierung in G 54. **Tertius Versus inb. G 55. **Quintus Versus im Bass Coral, in G 56. **Sextus Versus Tutti 57. **Fuga ex D 58. **Fuga supra Was mein Gott will, ex A 59. Tocata ex C. Die 5. Febr. 60. Praelud. ex G 61. Fuga ex G 62. Fuga ex C supra Allein zu Dir Herr. Auth. Jo. Ul. Org. Witteb. (by J. Ulich) 63. Fuga ex E supra Erbarm dich mein o H. Gott. Auth. Joh. Ulich (J. Ulich) 64. Fuga ex D 65. Fuga vel Variatio ex F. super Wo Gott zum Hauss nicht graben 66. Fuga di sign. Geor. Frob. (by J.J. Froberger; final part only of toccata FbWV 105) 67. Toccata 3tii toni durch Mordantam. B. Meyer (by Bernhard Meyer) 68. Fuga simplex tertii modi. B. Meyer (by Bernhard Meyer) 69. Fuga ex A. B. Meyer (by Bernhard Meyer) 70. Praeludium ex E 71-83. Folgen Numr. 12 Preamb. durch alle Claves auf clavichordien und Instrum: zu gebrauchen (by Johann Heinrich Kittel): 71. Praeamb. ex Cb moll 72. Praeludium ex C 73. Praeamb. ex Db 74. Praeludium ex D 75. Praeamb. ex E 76. Praelud. ex F 77. Praeamb. ex Gb 78. Praelud. ex G 79. Praeamb. ex Ab 80. Praeludium ex A 81. Praeamb. ex B 82. Praeludium ex H 83. Capriccio supra brevem bassum b a g f (e flat) d c f

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84. Fuga ex E. Dan. Cron. Ao. 84.d.20. Nov. (by Daniel Croner) Editions: · nos. 0-84: ° ed. J.H. Baron · nos. 1-84: ° ed. Pernye / Benko / Fittler · nos. 8, 9, 16, 22, 30, 71-82, 6 preludes and 11 fugues: ° ed. A. Porfetye · nos. 37-40, 43, 45-58: ° see. J.E. Kindermann: "Harmonia Organica", 1645 S-VIl H 3 Visby Organ Tablature German organ tablature, written by B. Petri, 1611 1-3. J. Bahr: 1. Magnificat 8. Toni 2. O lux beata Trinitas 3. Befiehle dem Herren deinen Weg 4-5. J. Praetorius II: 4. Magnificat Germanice 5. Grates nunc omnes / alio modo Huic oportet 6-14. H. Praetorius: 6. Magnificat primi toni: versus (= v.) 1-3 7. Magnificat secundi toni: v.1-3 8. Magnificat tertii toni: v.1-4 9. Magnificat quarti toni: v.1-3 10. Magnificat quinti toni: v.1-3 11. Magnificat sexti toni: v.1-3 12. Magnificat septimi toni: v.1-4 13. Magnificat octavi toni: v.1-4 14. anonymous: Magnificat primi toni (H. Praetorius?) 15-54. Anonymous works, ascribed to H. Praetorius: 15. Aeterne gratias tibi: v.1-2 16. Aeterno gratias patri: v.1-2 17. A solis ortus cardine: v.1-2 18. Christe qui lux es et dies: v.1-4 19. Deus creator omnium: v.1-2 20. Deus creator omnium: v.1-2 21. Festum nunc celebre: v.1-2 22. Fit porta Christi pervia: v.1-2 23. Herodes hostis impie: v.1-2 24. Jesu nostra redemptio: v.1-3 25. Jesu redemptor saeculi: v.1-2 26. Lucis creator optime: v.1-2 27. O lux beata trinitas: v.1-2 28. Fex Christe factor omnium: v.1-2 29. Te lucis ante terminum: v.1-2 30. Veni creator spiritus: v.1-3 31. Veni redemptor gentium: v.1-2 32. Vexilla regis prodeunt: v.1-2 33. Vita sanctorum: v.1-2 34. Kyrie Apostolicum: v.1-4

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35. Kyrie Magne Deus: v.1-4 36. Myrie Maius Dominicale: v.1-4 37. Kyrie Maius Virginum: v.1-4 38. Kyrie Martyrum: v.1-4 39. Kyrie Minus Dominicale I: v.1-4 40. Kyrie Minus Dominicale II: v.1-4 41. Kyrie o Christi pietas, short version: v.1-4 42. Kyrie Paschale: v.1-4 43. Kyrie Summum, 1603 (v.1-4) 44. Gloria; 7 movements: Et in terra pax; Benedicimus te; Glorificamus te; Domine Deus rex coelestis; Domine Deus agnus Dei; Qui sedes ad dexteram patris; Tu solus dominus 45. Sanctus Summum: v.1-4 46. Agnus Dei: v.1-3 47. Ave praeclarum mundi lumen: v.1-8 48. Grates nunc omnes: v.1-3 49. Sancti Spiritus adsit nobis gratia: v.1-4 50. Victimae Paschali laudes: v.1-3 51. In exitu Israel de Aegpypto: v.1-2 52. Magnificat germanice: v.1-2 (1609) 53. Incomplete sequentia: Summi triumphum regis: v.1-4 54. Incomplete sequentia: Benedicta semper sancta: v.1-4 Editions: · nos. 1-54: ° J.T. Kite-Powell with introd. study (120 pp.); set of 2 volumes; hardback · nos. 15-33: ° The 19 Hymns; ed. J.T. Kite-Powell SK-BRsav Leutschau Organ Tablature The Leutschau organ tablature (1676): 141 anonymous pieces (the initials "S M" indicate probably Samuel Marckfelner who was organist at Leutschau = Lecova, in Slovakia). NB: 51 dances in this collection were taken from J.C. Horn's collection of ensemble suites "Parergon Musicum oder Musicalisches Neben-Werck", Erfurt, 1663 Edition: · Selection of 85 dances and chorales, ed. R. Schächer after the ed. Burlas / Fiser / Horejs (1954), now out of print; the many printing errors of this ed. have been emended here; the tablature is now in the library of the Slovakian Academy of Sciences, Bratislava). The nos. of the piececs are those in the 1954 edition.; * = alson in Horn's "Parergon Musicum", 1663: 1. Christ ist erstanden von des Todes Banden 2. Erstanden ist der Heilige Christ 3. Current 4. Christo dem Osterlem 5. Heutt triumphiret Gottes Sohn 7. Jesus Christus unser Heiland 8. Aria 9. Volta 10. Galiard 11. Christus ist erstanden hatt überwonden 13. Chorea pollonica nova 14. Lilia mia cor mio 15. Variatio 16. Sarabanda

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17. Saltus Styriacus 18. Moresca 20. Treza 21. Tagweis 22. Curranta drauf 23. Chorea Hungarica 24. Proportio 28. Balleth 29. Sarabande 30. Semitta 31. Serenada 32. Sarabande 33. Chorea pollonica 34. Aria 37. Balleth 38. *Allemanda 40. Gavotte 42. Der Tag bricht an und zeiget sich 43. Aus meines Hertzen Grunde 45. Danck sey Gott in der Höhe 44. Wie schön leuchtet der Morgenstern 46. Die Nacht ist kommen 47. Spiritus Sancti gratia 48. Nun bitten wir den Heiligen Geist 49. Allein Gott in der Höh sey Ehr 51. Du Frieden Fürst Herr Jesu Christ 52. Herr Jesu Christ du höchstes Gutt 53. Lobet Gott unsern Herren 54. Herr straff mich nicht in deinem Zorn 55. Jesu meine Freude 56. Saltirella 59. Herr Gott nun sey gepreyset 60. O Traurigkeit 61. Ach was soll ich sünder machen 62. Chorea pollonica 64. Kompt her zu mir spricht Gottes Sohn 65. *Allemanda 66. *Curranta 67. *Sarabanda 69. Ach Gott und Herr 70. Intrada 71. Chorea ex A 72. Chorea ex B 73. Chorea ex C 74. Chorea ex D 75. Chorea ex E 76. Chorea ed F 77. Chorea ex G 78. Chorea ex # 79. *Scientia ex nihilo 81. *Saltirelle 82. Chorea Kozacky 83. Chorea M. Stanislawa Lubomierskego starosty Spikego

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84. *Bufonata 85. *Grand Ballo 86. *Sarabande 87. *Ballo 88. *Peccunia Marschupio 89. *Intrada 90. *Appetitus Kalb fleisch 91. Praeambulum 92. *Fuga saltatoria 94. *Gaudium 99. *Amor 105. *Ballo 109. *Ballo 113. *Ballo 117. *Ballo 126. *Ballo 130. *Ballo 140. *Ballo US-NH Ma.21.H 59 The Hintze Manuscript Autograph collection of Matthias Weckmann, ca. 1650, containing 28 pieces ("Franzosche Art Instrument Stücklein") by contemporaries of his: 1. J. Tresure: Allemande plörant, in e 2. J. Tresure: Cour(ante), in e 3. J. Tresure?: Sarabande, in e 4. J.C. Kerll: Toccata, in G 5. J.J. Froberger, Meditation fait sur ma mort future, in d 6. B. Erben: Passagaglia. Aus Sivers buch 7. Gavotte Royale, in C 8. Triscottes de Paris, in g 9 Tricottes de Blois, in d 10. Amarillis, in d 11. P.? La Barre: Courant, in d 12. B. Erben: Courante, in a 13. B. Erben: Sarabande d'Erben, in a 14. Allemande, in C 15. J.Ch. de Chambonnières: Courante (Iris),in C 16. La Altesse (sarabande), in C 17. La Duchesse, in d 18. Sarabande, in d 19. Allemande, in G 20. Courant, in G 21. Sarabande, in G 22. J.J. Froberger: Courante, in D 23. Sarabande, in D 24. Artus ( = Arthur Aux Cousteaux?): Petite Boureè, in D 25. Cour(ante), in D 26. Courante, in D 27. Courante, in D 28. Ballo di Mantova, in d Edition:

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· nos. 1-28: ° see: M. Weckmann: Freely-composed organ and keyboard works: ed. S. Rampe: appendix US-NH L.M. 5056 Codex E.B. 1688 "Codex E.B. 1688": collection written (according to K. Snyder) by Emanuel Benisch, organist in Dresden (c.1655-1725); 96 keyboard pieces Edition: ° Selection of 8 works (7 published here for the first time) by R. Schächer: 1. B. Weissthoma: Toccata in C 2-5. anonymous (by Benisch?): Ricercar in g; Toccata in e; Toccata in d; Ricercar in C 6. B. Pasquini: Toccata in d 7-8. A. Poglietti: Canzona del 2° tuono; Toccata fatt sopra l'assedio di Filipsburgo US-NH L.M. 4843 Manuscript ("Chorale di Seb. Bach") written c.1800 by J.C.H. Rinck containing 19 organ chorales by J.S. Bach and members from his Thüringen circle. NB: * = unicum 1-5. J.S. Bach: 1. *Aria: Ich ruf zu dir, Herr Jesu Christ Emans 111 2. *Komm heiliger Geist, erfüll die Herzen Emans 122 3.* Arioso: Auf meinen lieben Gott Emans 30 4. Herr Christ, der eingi Gottes Sohn Emans 86 (ascr. To R.E. Adlung in D-B mus.ms. 338) 5. *Aria: Herr Christ, der einig Gottes Sohn Emans 85 6. J.G. Walther: Durch Adams Fall ist ganz verderbt 7. J.S. Bach: Christe, der du bist Tag und Licht BWV 766/1-5, 7 8. *anonymous: Nun komm der Heiden Heiland Emans 140 9. *anonymous: Dies sind die heilgen zehn Gebot Emans 55 10. *anon. (N. Vetter?): Nun freut euch, lieben Christen gmein Emans 137 11. (J. Pachelbel): Ach Herr, mich armen Sünder Emans 16 PWC 4 12. *anonymous: Erhalt uns Herr, bei deinem Wort Emans 63 13. J. Pachelbel? / N. Vetter?: Christus, der uns selig macht Emans 46 PWC 69bis 14. *anon. (N. Vetter?): Jesu, meines Lebens Leben Emans 121 15. *anon. (N. Vetter?): Kommt her zu mir, spricht Gottes Sohn Emans 125 16. *anon. (N. Vetter?): Herzliebster jesu, was hast du verbrochen Emans 105 17. J.H. Buttstett?: Fuga: Aus tiefer Not schrei ich zu dir Emans 34 18. *anonymous: Da Jesus an dem Kreuze stund Emans 48 19. N. Vetter: Allein Gott in der Höh sei Ehr Emans 22/8 Edition: · nos. 1-19: ° ed. P. Wollny and J.-C. Zehnder; first editions, except for nos. 6, 7, 11, 19 US-NH Irving S. Gilmore Library Misc. ms. 150 The Ochsenhausen Organ Book · "Harmonia Organica" (1735); organ manuscript written by a member of the Ochshausen monastery; this music was meant to be played on the large organ for this foudation, finished in 1734 by Joseph Gabler. The handwritten volume falls into 3 sections. At the beginning are the title page, the dedication and the dedicatlory epistle, all in Latin (f. 1r-5r). This is followed by directions in German for employ-

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ing particular stops and for playing the manuals (f. 6r-14r). The volume ends with compositions exemplifying the preceding theoretical discussion for use in performance (gf. 14v-73v). The music consists of 40 "pièces à toucher" and 4 fugues, all of them anononymous. This repertoire is divided into groups, 19 of which are preceded by a diagram of the complex 4-keyboard console of this organ, indicating the stops and couplers to be pulled and the division of the hands among the manuals. 1. Pedale di pleno coro: piece without title in C-Postilion, in F-Phantasia, in CEcho, in C-Fuga, in C 2. Unda maris: Andante in F-Siciliano, in c 3. Viola di gamba: Praeambulum, in G-Courante, in G 4. Trombone: Marche, in F-Gavotte, in F 5. Fagotto: Sarabande, in D 6. Flaschinetle: Allegro, in F-Carnary, in F 7. Schalmoy: Paysan, in F-Polonaise, in F 8. Vox humana: Veni Sancte Spiritus, in C 9. Flutraversier: Courante, in F 10. Quintathön con Tremulant: Allemande, in g-Phantasia, in g 11. Hautbois con Fagotto: Marche, in C 12. Soliicinale: Allemande, in A-Chanter: adagio, in A 13. Bombard: Gavotte, in F 14. Rohrflautten: Courante, in Bb 15. Cornua: Venatio, in G-Ligneur, in G 16. Principal: Allemande, in G 17. Octav: Sarabande, in F 18. Flauta-Dus: Menuet, in F 19. Octav: Phantasia, in Bb 20. Copel-Dus: Allemande, in C 21. Spitzflautten (con borduen): Rondeaux, in G 22. Schwebel-Pfeiffen (con borduen): Andante, in G 23. Spitzflautten: Capriccio, in C 24. Nacht-Horn: Rondeaux, in C 25. Borduen: Lamento, in Eb 26. Sonaglion: piece in F 27. Tintinnabl: piece in F 28. (Pedale di pleno coro): Marche, in C Appendix: 29. Fuga I in d 30. Fuga II in C 31. Fuga III in F 32. Fuga IV in G (fragment) Edition: · nos. 1-32: ° Facsimile in colours of the manuscript, and complete critical edition of all the music with introduction, by K.K. Weigele; 2 hardback volumes in cassette 193,--

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b) Early Prints:

1583. The Rühling Organ Tablature · "Tabulaturbuch auff Orgeln und Instrument darinnen auff alle Sontage und hohen Fest durchs gantze Jhar auserlesene / liebliche und kuenstliche Moteten so mit den Evangelijs / Episteln / Introitibus, Responsorijs, antiphonis, Oder derselben Historien uberein kommen unnd eintreffen / der Fürnembsten unnd berümsten Componisten / verfasset / und also geornet / wie dieselben von den Autoribus im Gesang ohne Coloraturen gesetzt worden / damit ein jeglicher Organist solche Tabulatur auff seine application bringen / und füglich brauchen kan. Mit sonderlichem fleis' auserlesen / in eine richtige Ordnung bracht / abgesatzt / und in Druck vorfertiget / durch Johannem Rühling von Born / Organist zu Döbeln. Der Erste Theil", Leipzig, J. Beyer,1583 86 intabulations 0f 81 Latin motets and 5 German songs (NB: volume II has only survived in manuscript (CH-Bu F.IX44) and contains 65 intabulations: of 58 Latin motets and 7 German songs) 1. J. Regnart: Intuemini quantus sit istae a5 2. J. Cemens non Papa" Hierusalem surge a5 3. Ecce Dominus veniet a5 4. J. Vaet: Ecce apparebit Dominus a5 5. J. Schlegel: Populus qui ambulat in tenebris a5 6. J. Clemens non Papa: Vox clamantis in deserto a5 7. C. Canis: Castae parentis viscera a6 8. O. de Lassus: In principio erat verbum a6 9. O. de Lassus: Verbum caro factum est a5 10. O. de Lassus: Angelus ab pastores ait a5 11. O. de Lassus: Ecce Maria genuit nobis Salvatorem a5 12. W. Thalmann: Nascitur in mundi a5 13. W. Thalmann: Ein Kindelein so löbelich a5 14. J. a Burck: Postquam consummati a5 15. J. a Burck: In Bethlehem Herodes iratus a5 16. J. Clemens non Papa: Ab oriente venerunt magi a5 17. J. Clemens non Papa: Super ripam Jordanis a5 18. O. de Lassus: Deus qui sedes a5 19. O. de Lassus: Nuptiae factae sunt in Cana Galileae a6 20. G. de Wert: Nolite esse prudentes apud vos met ipsos a5 21. P. Schede: Ingressus erat Jesus navim a5 22. H. Herpol: Doine nonne bonum semen seminastis in agro tuo a5 23. Th. Crecquillon: Deus virtutum convertere a5 24. J. Clemens non Papa: Servus tuus ego sum a5 25. G. de Wert: Traseunte Domino a5 26. Th. Crecquillon: Adiuva nos Deus salutaris noster a5 27. G. Dressler: Dixit Jesus mulieri Cananae a5 28. O. de Lassus: Dixit Joseph undecim fratribus suis a6 29. D. Köler: Dancket dem Herren denn er ist freundlich a5 30. D. Phinot: Cerne meos esse gemitus a6 31. J. Clemens non Papa: Fremuit Spiritu Jesus a6 32. L. Senfl: Vita in ligno a5 33. Nos autem gloriari oportet a5 34. O Jesu Christ dein Nam der ist a5 35. M. Le Maistre: Christus est anima mea a4

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36. In nomine Jesu omne genuflectatur a4 37. J. Clemens non Papa: Maria Magdalena a5 38. J. de Cleve: Dum transisset Sabbathum a6 39. O. de Lassus: Congratulamini mihi omnes a6 40. M. Tonsor: Dum trasisset Sabbathum a5 41. J. Meiland: Mane nobiscum Domine a5 42. J. a Burck: Christus excitatus est a mortuis a5 43. G.B. Pinello di Ghirardi: Domine quid multiplicati sunt a5 44. W. Thalmann: Christ lag in Todes Banden a5 45. O. de Lassus: Surgesn Jesus a6 46. G. Dressler: Oves meae vocem meam audiunt a4 47. P. Colin: Jubilate Deo omnis terra (prima pars) a5 48. P. Colin: Populus eius & oves pascuae (2da pars) a5 49. M. Tonsor: Cantate Domino canticum novum a4 50. Domus mea domus orationis vocabitur a4 51. L. Paminger: Ascendit Deus in iubilatione a6 52. O. de Lassus: Tempus est ut revertar a6 53. G. de Wert: Paracletus autem Spiritus Sanctus a5 54. Josquin: Veni Sancte Spiritus a6 55. J. Arcadelt: Dum complerentur dies Pentecostes a5 56. P. Preschner: Also hat Gott die Welt geliebt a5 57. Scheifler: Sic Deus dilexit mundum a6 58. Chr. Hollander: Te Deum Patrem ingenitum a6 59. O. de Lassus: Tibi laus tibi gloria a5 60. L. Schroeter: Homo quidam erat dives a5 61. J. Bultel: Homo quidam fecit coenam magnam a6 62. Pater peccavi in coelum & coram te a4 63. H. Herpol: Estote misericordes a5 64. J. de Cleve: Mirabilia testimonia tua Domine a6 65. O. de Lassus: Legem pone mihi Domine a5 66. O. de Lassus: Gustate & videte a5 67. O. de Lassus: Non vos me elegistis a5 68. G. de Wert: Divitas & paupertatem a6 69. J. Richafort: Hierusalem luge a5 70. A. Feist: Emendemus in melius a5 71. J. Clemens non Papa: Deus in adiutorium meum intende a6 72. Th. Crecquillon: Tua est potentia a5 73. N. Gombert: Cum transiret Jesus quoddam castellum a5 74. G. Dressler: Nolite quarere a4 75. Ph. Verdelot: Si bona suscempimus a5 76. J. Clemens non Papa: Discite a me quia mitis sum a5 77. Th. Crecquillon: Congregati sunt inimici nostri a6 78. J. Walter: Salus populi ego sum a5 79. O. de Lassus: Omnia quae fecisti nobis a5 80. J. Clemens non Papa: O bone Jesu a5 81. L. Senfl: De profundis clamavi a5 82. H. Herpol: Magister scimus quia verax es a5 83. Si bona suscepimus a6 84. Virgines prudentes ornate lampades vestras a4 85. Th. Crecquillon: Sint lumbi vestri precincti a5 86. J. Clemens non Papa: Assumpsit Jesus Pretrum & Jacobum a5 Edition: · nos. 1-86:

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° Facsimile (hardb.) of the copy in D-W (Sign.2.1 Mus. 2°) of the 1583 edition; this copy contains a hand-written supplement with the following works: Lassus: Surrexit pastor bonus (a5); (87. O. de Lassus: Surrexit pastor bonus a5 88. O. de Lassus: Dum transisset Sabbathum 89. O. de Lassus: Mane nobiscum Domine 90. O. de Lassus: Missa Congratulamini mihi (copied in 1601) 91. J. Arcadelt: Dum complerentur dies Pentecostes a5 ( = no. 55!) (the music of the missing fol.90 has been supplied here in hand writing) 1604

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· "Melodeyen Gesangbuch Darinn D. Luthers und ander Christen gebreuchlichsten Gesenge ihren gewöhnlichen Melodeyen nach durch H. Praetorium, J. Deckerum, J. Praetorium, D. Scheidemannium...in vier Stimmen übergesetzt" (1604) 88 four-part settings of chorale melodies: 23 by H. Praetorius, 30 by Joachim Decker, 18 by Jacob Praetorius II, 12 by D. Scheidemann and 5 anonymous settings Edition: ° ed. Ladda out of print 1617 Organ Tablature of Johann Woltz · "Nova Musices Organicae Tabulatura. Das ist: Ein newe art teutscher Tabulatur / etlicher ausserlesenen Latinisch: und Teutschen Motteten und geistlichen Gesängen / auch schönen lieblichen Fugen / und Canzoni alla Francese, von den berühmbtesten Musicis und Organisten Teutsch: und Welsch Landen / mt 4.5.6.7.8.10.12 und mehr Stimmen componirt: welche bey christlichen Versammlungen / undsonsten ins gemein zu Gottes Lob / erweck: und auffmunterung gottseliger gemüter / auff Orgeln / Positiff / und andern clavirten musicalischen Instrumenten nutzlich können gebraucht werden: Also mit den obrsiten und undristen volkommenen Stimmen zusammen gesetzt dass ein jeder der Kunst zimlicher massen erfahrene / mit undermischung der ubrigen Stimmen solche gar leicht ergreiffen mag: Durch Johann Woltzen / Bürgern / alten Organisten und jetziger zeit Pfarverwaltern der loblichen Reichsstatt Haylbronn", Basel, J.J. Genath, 1617 I. Latin Motets: · "Erster Theil...Ausserlesene Lateinische Motteten / und geistliche Gesang der berhümbtesten Componisten und Organisten von 5.6.7.8.10.12. und mehr Stimmen auff eine besondere gantz neuwe und leichte art zu schlagen / auss den Noten abgesetzt / verfasst und begriffen": All intabulations are a4, except for nos. 29 and 85 a5: 1. F. Bianciardi: Laudate Dominum 2. F. Binaciardi: Venite Filii 3. H.L. Hassler: Cantate Domino 4. A. Trombetti: Paratum cor meum 5. F. Dentice: Ad flebilem vitam 6. O. de Lassus: Peccata mea, Domine 7-8. H.L. Hassler: Quem in coelo et in terra / Ecce enim qui a te deficiunt pereunt a6: 9. O. de Lassus: Salve Rex regum 10. O. de Lassus: Benedictio et claritas 11. O. de Lassus: Laudate Dominum 12. O. de Lassus: Ad te levavi Domine animam meam 13. C. Merulo: Jubilate Deo omnis terra 14. A. Gabrieli: O Filii Dei succurre miseris 15. A. Gabrieli: O gloriose Domine excelse super sidera

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16. G. Gabrieli: Cantate Domino canticum novum 17. G. Gabrieli: Exaudi Domine 18. G. Gabrieli: O Jesu Christe archiëpiscope 19. G. Aichinger: Suscepimus, Deus, misericordiam tuam 20. H.L. Hassler: Si bona suscepimus 21. H.L. Hassler: Deus meus ad te de luce vigilo 22. L. Daser: Dominus regit me 23. L. Lechner: In convertendo Dominus captivitatem Syon 24. M. Franck: Quem in coelo et in terra a7: 25. A. Gabrieli: Domine Deus meus in te speravi (intabulation a5) 26. G. Gabrieli: Exaudi Deus orationem meam 27. G. Gabrieli: O quam suavis est Dominus 28. G. Gabrieli: O Filii Dei succurre miseris 29. Chr. Erbach: Dominus illuminatio mea 30. C. Merulo: Cantate Domino canticum novum a8: 31. A. Gabrieli: Exurgat Deus, et dissipentur inimici ejus 32. A. Gabrieli: Benedictus dominus deus noster 33. A. Gabrieli: Jubilate Deo omnis terra 34. G. Gabrieli: O domine Jesu Christe 35. G. Gabrieli: Misericordias domini in aeternum cantabo 36. G. Gabrieli: Exultate justi in domino 37. G. Gabrieli: Attendite, popule meus, legem meam 38. G. Gabrieli: Jubilate Deo opnis terra 39. G. Gabrieli: Domine dominus nsoter 40. G. Gabrieli: Beati immaculati 41. G. Gabrieli: Beati omnes, qui timent dominum 42. G. Croce: Veni in hortum meum 43. G. Croce: Laudate Dominum in sanctis ejus 44. G. Croce: Benedicti, qui pugnant in nomine 45. G. Croce: Anima mea liquefacta est 46. G. Croce: Deus misereatur nostri 47. C. Merulo: Confiteantur tibi populi Deus 48. C. Merulo: In tribulatione mea 49. C. Merulo: Deus noster refugium et virtus 50. C. Merulo: Laudate Dominum in sanctis ejus 51. L. Marenzio: Exsurgat Deus, et dissipentur inimici ejus 52. L. Marenzio: Jubilate Deo omnis terra (1. pars) 53a-b. L. Marenzio: Populus ejus, et oves pascuae ejus (2. pars) / Gloria Patri (3. pars) 54. L. Marenzio: Laudate Dominum in sanctis ejus 55. H.L. Hassler: Laudate Dominum in sanctis ejus 56. H.L. Hassler: Alleluia: cantate Domino 57. H.L. Hassler: Confitebor tibi Domine 58. H.L. Hassler: Beati omnes qui timent 59.J. Gallus (after O. de Lassus): Veni in hortum meum 60. J. Hassler: Domine dominus noster, quam admirabile est nomen tuum 61. C. von der Höfen: In te Domine speravi 62. A. Stabile: Hi sunt, qui venerunt de tribulatione magna 63. A. Stabile: Dignus es Domine Dues noster accipere gloriam (2. pars) 64. Ph. de Monte: Cantate Domino canticum novum 65. A. Trombetti: Laudem dicite Deo nostro omnes sancti ejus 66. N. Faignient: Laudate Dominum omnes gentes

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67. M. Franck: Benedicam Dominum in omni tempore 68. G. Aichigner: Duo Seraphim a10: 69. A. Gabrieli: Laudate Dominum in sanctis ejus 70. A. Gabrieli: Exultate justi in Domino 71. G. Gabrieli: Benedicam Dominum, in omni tempore 72. G. Gabrieli: Domine exaudi orationem meam 73. G. Gabrieli: Deus deus meus ad te de luce vigilo 74. O. Vecchi: Ecce quam bonum a12: 75. A. Gabrieli: Deus misereatur nostri 76. A. Gabrieli: Benedicam Dominum in omni tempore 77. G. Gabrieli: Plaudite, jubilate Deo omnis terra 78. G. Gabrieli: Exaudi Deus orationem meam 79. H.L. Hassler: Duo Seraphin 80. H.L. Hassler: Jubilate Deo omnis terra 81. H.L. Hassler: Benedicam Dominum in omni tempore a13-a16-a19: 82. G. Gabrieli: Confitebor tibi Domine a13 83. H.L. Hassler: Exultate justi in Domino a16 84. G. Gabrieli: Omnes gentes plaudite manibus a16 85. G. Gabrieli: Buccinate in neomenia tuba a19 (intabulation a5) II. German Motets: · "Der ander Theil / dieses Tabulatur Buchs. Welcher / etliche schöne und liebliche Teutsche geistliche / Motteten und Gesäng / von vornehmen Musicis mit 4.5.6. und 8. Stimmen / theils auff Fugen weiss / componirt / in sich / begreifft" All intabulations are a4, except for nos. 92 and 93 a4: 86a-h. H.L. Hassler: Vatter unser im Himmelreich, mit 8 Theilen (d: Coral im Dischant; e: Coral im Basso; f: Coral im Pedal) 87. H.L. Hassler: In dich hab ich gehoffet Herr 88. H.L. Hassler: Auss tieffer Noth 89a-d. H.L. Hassler: Ejusdem psalmi (Aus tieffer Noth) alia compositio, mit 4 Theilen (b: Choral in Tenore; c: Choral in Discanto) 90. H.L. Hassler: Herr wie lang wilt vergessen mein 91. H.L. Hassler: Wer in dem Schutz des Höchsten ist 92. H.L. Hassler: Ejusdem Psalmi (Wer in dem Schutz...) compositio in hypodiapentem transposita, per duas voces continuas (intabulation a2) 93. Th.C. Walliser: Ejusdem Psalmi (Wer in dem Schutz...) composition a5 (intabulation a5) 94. H.L. Hassler: Wo Gott der Herr nicht gibt sein Gunst 95. H.L. Hassler: Wo Gott der Herr nicht bey uns helt 96. H.L. Hassler: Durch Adams Fahl ist gantz verderbt 97. H.L. Hassler: Allein zu dir Herr Jesu Christ mein Hoffnung steht auff Erden 98. H.L. Hassler: Wann mein Stündlein vorhanden ist 99. S. Lohet: Erbarm dich mein o Herre Gott 100. S. Lohet: Nun welche hie ihr Hoffnung gar auff Gott den Herren legen a5: 101. Th.C. Walliser: Herr Gott der du erforschest mich 102. Th.C. Walliser: Hilff Herre Gott dem deinen Knecht 103. Th.C. Walliser: An Wasserflüssen Babylon 104. M. Franck: Canticum Zachariae: Gelobet sey der Herr, der Gott Israel 105. M. Franck: Es sollen wol Berge weichen und Hügel hinfallen 106. M. Franck: Wirff dein anligen auff den Herren, der wirdt dich versorgen

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a6: 107. M .Franck: Kompt her zu mir alle die ihr mein begehrt 108. M. Franck: Verlass mich nith Gott im Alter 109. M. Franck: Ach bleib bey uns Herr Jesu Christ 110. M. Franck: Förchte dich nicht dann du wolt nicht zu schanden werden 111. L. Daser: Herr wie lang wiltu mein so gar vergessen 112. L. Daser: Schauwe doch und erhöre mich Herr mein Gott (2. pars) a7: 113. M. Franck: Lobet den Herrn in seinem Heiligthumb a8: 114. M. Franck: Lobet ihr Himmel den Herren 115. M. Franck: Ich will den Herren loben alle Zeit 116. M. Franck: Gehe deinen Weg auff rechtem Steg 117. M. Franck: Was mein Gott will das gschech allzeit 118. M. Franck: Sion spricht: Der Herr hat mich verlassen 119. M. Praetorius: Zu dir von Hertzen Grunde rüff ich auss tieffer Noth 120. M. Praetorius: Nun lob mein Seel den Herrn a13-a17 (1. pars) 121. M. Praetorius: Er hat uns wissen lassen (2. pars) 122. M. Praetorius: Wie sich ein Mann erbarmet (3. pars) 123. M. Praetorius: Die Gottes Gnad alleine (4. pars) 124. M. Praetorius: Sey Lob und Preyss mit Ehren (5. pars) 125. M. Praetorius: Allein Gott in der Höhe sey Ehr 126. M. Franck: Lobet den Herren denn er ist sehr freundtlich 127. H.L. Hassler: Hertzlich lieb hab ich dich ô Herr (per 2 choros, welche auff zweyen Claviren können abgewechselt werden) 128. J. Gallus: Lobet den Herrn in seinem Heiligthumb III. Canzonas & Fugues · "Dritter Theil / dieses Tabulatur Buchs: / In sich haltendt / schöne / liebliche / ausserlesene Fugen / und Concert / oder wie solche die Italianer zu nennen plfgen / Canzoni alla Francese, underschiedlicher vortrefflicher / Autorum" all intabulations are a4 129-138. F. Maschera: from: "Libro primo de canzoni da sonare a quattor voci", 1584: 129. La Capriola 130. La Maschera 131. Al S. Pompeio Coradello 132. La Rosa 133. La Martinenga 134. La Duranda 135. La Maggia 136. L'Averolda 137. La Villachiara 138. Canzona alla francese 139-142. G. de Macque: Canzoni alla francese I-IV (the Woltz tabl. is the only source for all 4) 143-152. C. Merulo (nos. 144-149 and 151-152 from: "Canzoni d'intavolatura d'organo, fatte alla francese, libro primo", 1492): 143. Canzona alla francese I 144. La Benvenuta 145. L'Albergata 146. La Gratiosa 147. Petit Jacquet 148. La Rolanda 149. La Cortese 150. Canzona alla francese VIII

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151. La Leonora 152. La Zambeccara 153-167. C. Antegnati: Canzoni alla francese, only known from this tablature: 153. La Pellegrina 154. La Morata 155. La Bottana 156. La Solda 157. La Savalla 158. La Regonasca 159. La Borga 160. La Longena 161. La Foresta 162. La Capitania 163. La Secca 164. La Poncarala 165. L'Antegnata 166. La Spina 167. La Martinenga 168-169. F. Tresti: 2 Canzoni alla francese, only known from the Woltz tablature: 168. La Comaschina 169. La Bignamina 170-172. A. Banchieri: from: "Canzoni alla francese a 4 voci...libro secondo", 1596: 170. L'Alcinagina 171. La Feliciana 172. La Pomponazza 173-174. G. Guami: 173. La Guamina 174. Canzon 2 175. G. Gabrieli: Canzona 176. Ph. de Monte: Canzona 177-178. A. Gabrieli: 177. L'Ariosa 178. La Castelleta 179-198. S. Lohet: 20 Fugues ("Fugas sequentes à clarissimo viro, aulae Wirtembergicae quondam organoedo celeberrimo, domino Simone Lohet, cum quo mihi non nulla intercessit familiaritas, olim communicatas, in honorificam ipsius memoriam, aliis gratiosè inserviendo, hûc apponere placuit quae musices amatori non displicebunt") 199. S. Lohet: Canzon 200. S. Lohet: Media vita in morte; Coral in Basso 201. S. Lohet: Compositio super Coral Ps. 9: De tout mon coeur 202. (S. Lohet or A. Steigleder?): Fuga colorata 203. A. Steigleder: Fuga colorata 204. C. Luython: Fuga suavissima octavi toni 205. A. Steigleder: Toccata primi toni Editions: · nos. 1-205: ° Facsimile of the 1617 edition in German organ tablature · nos. 1, 29, 85, 93, 127: ° Selected compositions from the Woltz tablature; ed. M. Hug; vol. V: intabulations of motets · nos. 86a-h, 87, 88, 89a-d: ° Selected compositions from the Woltz tablature; ed. M. Hug; vol. II: motets by Hassler · nos. 99, 100, 179-201:

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° Selected compositions from the Woltz tablature; ed. M. Hug; vol. IV: the works by S. Lohet · nos. 139-142, 168-174, 176-178: ° Selected compositions from the Woltz tablature; ed. M. Hug; vol. I: Canzonas · nos. 202, 203, 205: ° Selected compositions from the Woltz tablature; ed. M. Hug; vol. III: works by A. Steigleder; this volume contains as well his other 3 keyboard works from D-Mbs mus.ms. 4480: Passa è mezzo, Galliarda & Congratulamini nunc omnes 1710 "VI Suittes, divers airs...et fugues", Amsterdam 1710 · "VI Suittes, divers airs avec leurs variations et fugues pour le clavessin de divers excellents maîtres. Choisies & mises en ordre par Estienne Roger", Amsterdam, E. Roger, 1710 1. (J.A. Reincken ?): Suite I in a: Allemande-Courante-Sarabande-Gigue 2. (D. Buxtehude): Suite II in d: Allemande-Courante-Sarabande-Gigue 3. (G. Böhm?): Suite III in F: Allemande-Courante-Sarabande + double-Gigue 4. (Chr. Ritter?): Suite IV in c: Allemande-Courante-Sarabande-Gigue 5. (G. Böhm?): Suite V in Eb: Prélude-Allemande-Courante-Air: adagio & var.-Sarabande & var.-Bourée-Menuet-Gigue 6. (G. Böhm): Suite VI in f: Allemande-Courante-Sarabande-Passacaille 7. (G. Böhm): Air avec diveres variations (Jesu du bist allzu schöne): 13 variations 8. (J.A. Reincken): Air (Holländische Nachtigahl): with variation 9. (J.A. Reincken): Air avec diverses variations (La Meyerin): 18 variations 10. (J. Pachelbel): Fuga in d PWC 268 11. (J. Pachelbel): Fuga in f PWC 263 (in all other sources in d) 12. (J. Pachelbel): Fuga in F PWC 156 Editions: see also under names of composers · nos. 1-12: ° ed. P. Dirksen; ascriptions by Dirksen and H. Joelson-Strohbach ° Facsimile of the 1710 edition in preparation; not yet available 1755 - c.1765 Oeuvres mélées · "Oeuvres mélées contenant VI sonates pour le clavecin de tant de plus célèbres compositeurs rangés en ordre alphabétique. Partie Ire / IInde / III / IV / V / VI / VII / VIII / IX / X / XI / XII", Nürnberg, J.U. Haffner, 1755-c.1765 72 sonatas by: J. Agrell, C.A. Adelgasser (2), G.A. Appel (3), C.Ph.E. Bach (7), J.C.F. Bach, J.E. Bach, G. Benda, C.S. Binder (2), J.J. Brand, F.V. Buttstett (3), G.F. Daube, G.E. Eberlin (2), P. Fischer (2), J.D. Hardt, F.F. Hengstberger di Engelsberg, G.G. Hertel, B. Houpfeld (2), H.F. Johnson, G.B. Kehl (4), J.F. Kleinknecht (2), G.G. Krebs, A.K. Kunzen, G.G. Lang (4), J.Ch. Mann (Monn), L. Mozart (3), G. Palschau, F. le Roi, C. Schaffrath, G.A. Scheibe (2), J. Schobert, J.G. Seyfert, E.F. Spitz, F.A. Stadler, G.F. Timer (3), J.N. Tischer, G. Umstatt, G.C. Wagenseil (2), J.C. Walther, C.G. Weber, J.F.W. Wenkel, F.W. Zachariä, J. Zack, and 1 anonymous composer Edition: ° ed. L. Cerutti of 5 sonatas from these 12 collections: by J.D. Hardt (in G), F.F. Hengstberger (in F), J.Chr. Monn (in F), F.A. Stadler (in C) and F.C. Rackemann (in Eb) 1756-1757 Raccolta delle piu nuove composizioni

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· "Raccolta delle piu nuove composizioni di clavicembalodi differenti maestre ed autori per l'anno 1756 / 1757, fatta stampare del sig. Feder. Guiglielmo Marpurg", Leipzig, J.G.I. Breitkopf, 1756-1757. The 1756 collection contains: 11 partitas, a cantata and 6 canzonettas by Agricola The 1757 collection contains: 11 partitas, a cantata ( = partita XII) by C. Graun, 3 canzonettas by 3 canzonettas by Marpurg Twelve of the 23 partitas have been composed by more composers. The composers of the keyboard partitas (see for details under names of composers) are: F.W. Marpurg, J.G. Seyfert, F.C. Rackemann, J.Ph. Kirnberger, C.Ph.E. Bach, J.Ph. Sack, G.B. Martini, Chr. Nichelmann, C.F. Schale, P. Février, J.-Ph. Rameau, J.C. Richter, Silbermann, J. Duphly, F.W. Zachariä and anonymi Edition: · Complete: ° Facsimile of the editions of both collections (1756 & 1757) · 8 Pieces: ° see: Collections Germany: "Keyboard music around Frederick the Great", vol. II: nos.1, 14-16, 18, 19, 23 and 24. 1761 - 1763 Musikalisches Allerley · "Musikalisches Allerley von verschiedenen Tonkünstlern; Iste Sammlung - 9te Sammlung", Berlin, F.W. Birnstiel, 1761-1763 Apart from many vocal pieces and works for stringed and wind instruments (see corresponding sections) this collection contains the following keyboard works: C.Ph.E. Bach: La Xenophon - La Sybille, in c# H 123 / Wq 117/29 La Complaisante, in Bb H 109 / Wq 117/28 La Capricieuse, in e H 113 / Wq 117/33 Les Langeurs tendres, in f H 110 / Wq 117/30 L'Irresoluë, in G H 111 / Wq 117/31 La Journalìere, in c H 112 / Wq 117/32 Claviersonate, in e: Allemande-Courante-Sarabande-Menuet I/II/III-Gique H 66 / Wq 62/12 Claviersonate, in G: Allegretto-Andante, in g-Allegro H 63 / Wq 62/11 Claviersonate, in f: Allegro-Andante, F-Spirituoso e staccato H 40 / Wq 62/6 Veränderungen über: Ich schlief, da träumte mir, in a (variations 1-17 only; variations 18-24 in: "Musikalisches Vielerley", 1770) H 69 / Wq 118/1 Claviersonate, in Bb: Presto-Andante, in g-Allegro assai H 2 / Wq 62/1 Clavierstück mit Veränderungen, in A (variations 1-17 only; variations 18-22 in: "Musikalisches Vielerley", 1770; variations nos. 12, 15 and 16 are by C.F. Fasck) H 155 / Wq 118/2 Cramer (Hochfürstl. Sachsen-Gothaischer Kammermusicus): Claviersynfonie, in F: Allegro di molto-Affettuoso, in Bb-Presto J.-F. Dandrieu: Kirmessttanz: Gavotte en rondeau, in D Allemande, in A C.F. Fasch: Clavierstück mit Veränderungen, in A: variations nos. 12, 15 and 16 (others by C.Ph.E. Bach) P.-C. Fouquet: Tempo di menuetto, in G A.B.V. Herbing: Marsch, in D J.G. Janitsch:

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Sonata a 3 per l'organo, in d: Poco largo-Allegro moderato-Grazioso, in F-Allegro J.Ph. Kirnberger: Veränderungen über: Ich schlief, da träumte mir, in F (variations 1-10) Marsch, in Eb 4 Polonoises in D-d-D-D Allemande, in a Gelobet seyst du, Jesu Christ Gique, in c Corrente, in Ab 9 Menuets in D-D-A-A-C-C-D-D-Bb Vivace, in a Herzlich thut mich verlangen Was Gott thut, das ist wohlgethan Wer nur den lieben Gott lässt walten Allegro für die Singuhr, in Ab F.W. Marpurg: Menuet, in F Menuet I/II, in C/c Rondeau, in D Tempo di minuetto, in C/c Rondeau I/II, in G/Bb Müller (Hoforganist in Dessau): Claviersonate, in C: Allegro assai-Andante, in G-Presto-Tempo di minuetto Chr. Nichelmann: La Gaillarde, in C & La Tendre, in c Claviersuite, in C: Allegro-Sarabande, in c-Gique Allegro fürs Clavier, in Eb J.-Ph. Rameau: Tambourin, in A J.H. Rolle: Claviersonate, in G: Allegro-Largo, in e-Presto Claviersolo, in Eb: Allegro-Adagio ma non troppo, in c-Presto C.F. Schale: Claviersolo, in Bb: Allegro-Un poco andante, in g-Vivace Sonatine, in F: Andantino-Menuet-Allegro assai-Presto instr + bc, or clavier Der Seufzer der Chloris, in a: Poco andante 2 Polonoises, in D-Bb Angloise, in D 2 Menuet, in E-D Tempo di Menuet, in g Allegro, in Bb Ballet, in G Mlle Schale: 2 Menuets, in D G.H. Stölzel: Enharmonische Claviersonate: Largo-Fuga-Dolce G.C. Wagenseil: Menuet I-II in E-e J.F.W. Wenckel: Menuet, in A Menuet I/II, in D Edition: ° Facsimile of the 1760 edition of all 9 "Sammlungen"

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1770 Musikalisches Vielerley · "Musikalisches Vielerley, herausgegeben von Herrn Carl Philip Emanuel Bach, Musik-Director zu Hamburg", Hamburg, gedruckt und verlegt von Michael Christian Bock, 1770 Large collection of vocal and instrumental music (see sections: voice, bc; voice and obl. clavier; keyboard; violin, bc; 2 violins, bc; cello, bc; viola and keybard; violin, viola, bc; flute and violin; flute, violin, bc; flute and keyboard; oboe, bc; wind quartet). The works relevant to this section are: anonymous: Fuga, in c C.Ph.E. Bach: Einige noch unbekannte Veränderungen über: Ich schlief da träumte mir, in F: variations nos. 18-24 (others in "Mus. Allerley") H 69 / Wq 118/1 Einige noch unbekannte Veränderungen über eine Ariette, in A: variations nos. 18-22 (others in "Mus. Allerley") H 155 / Wq 118/2 Clavier-Sonate, in g H 210 / Wq 62/23 2 Abwechselnde Menuetten, in D/b H 214 / Wq 116/3 Alla Polacca, in C H 215 / Wq 116/4 2 Abwechselnde Menuetten, in C/c H 216 / Wq 116/5 Alla Polacca, in D H 217 / Wq 116/6 2 Abwechselnde Menuetten, in F/f H 218 / Wq 116/7 Alla Polacca, in G H 219 / Wq116/8 Solfeggio, in c H 220 / Wq 117/2 (271) Solfeggio, in Eb H 221 / Wq 117/3 Solfeggio, in A H 222 / Wq 117/4 Fantasia, in G H 223 / Wq 117/11 Fantasia, in g H 225 / Wq 117/13 Sinfonia, in F (1766) H 227 / Wq 122/5 Clavier-Sonate mit veränderten Reprisen, in F H 240 / Wq 62/24 Clavierstück für die rechte oder link Hand allein, in A H 241 / Wq 117/1 J.C.F. Bach: 5 Dances BR A 46-50: Menet zum Tanz, in D Alla Polacca, in G Menuet & Trio, in F 2 Abwechselnde Menuetten zum Tanz, in D Alla Polacca, in F Clavier-Sonate, in F: Allegro maestoso-Andante: innocentemente, in f-Allegretto BR A 1 Clavier-Sonate, in C: Allegretto-Andante alla siciliana, in c-Allegro BR A 2 J.E. Bach: Fantasie & Fuge fürs Clavier, in F C.F. Cramer: Orgel-Sonate, in C: Allegro moderato-Adagio, in a-Allegro Orgel-Sonate, in G: Allegro moderato 2 Abwechselnde Menuetten, in C/c. C.F. Fasch: La Cecchina, in E Sonata per il cembalo, in F: Allegro di molto-Larghetto, in C-Presto Clavier-Sonate, in C: Allegro-Adagio, in c-Presto Hien (Cammer-Virtuose at the Würtenberg court): Clavier-Sonate, in F: Allegro / Andante un poco / Grazioso & 3 variations

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J.Ph. Kirnberger: Ich dank dir schon organ Komm Gott Schöpfer, heilger Geist Allegro fürs Clavier, in G Editions: ° see under composers ° Facsimile of the 1770 edition

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1783 Blumenlese für Klavierliebhaber · "Blumenlese für Klavierliebhaber, eine musikalische Wochenschrift. Erster / Zweiter Theil", Speyer, H.Ph. Bossler, 1783 for voice with clavier, unless otherwise indicated Erster Theil 1. J.A. Schmittbaur: Am ersten Jenner: In den weiten gränzenlosen Raum 2. Schmittbaur: Allegro, in G clavier 3. A. Rosetti: An Mutter Natur: Mutter ist ein süsses Lied! 4. Rosetti: Romance, in Eb: adagio non tanto clavier 5. J.F.Christmann: Die Nachtigall und der Esel(Stelzer): Einst sang die Nachtigal 6. Rosetti: Wiegenlied: Schlaf Kind, sieh hier an meinem Herzen 7. C.L. Junker: Arcadienne: andantino, in Eb clavier 9. J.Ch. Walther: Kronhelm an Sophie (Buri): Schlummre sanft 10. J.Ch. Walther: Menuetto, in Eb / Trio in e b clavier 11. Ch.F.D. Schubart: Die Henne: Es ard 'mal eine Henne fein 12. Schmittbaur: Der entschlossene Soldat: Ich gehe dahin voice, flute, 2 violins, viola, bass 13. Schmittbaur: Allegro, in G clavier 14. Rosetti: An einen Wassertrinker (Gleim): Trink, betrübter, todtenblasser 15. Chr. Rheineck: Andante con (3) variationi, in Bb clavier 16. L.G. Weber: An ein Veilchen im Hornung (Gleim): Das arme Veilchen! 17. J.R. Zumsteeg: An den Früling: Willkommen schöner Jüngling 18. Rheineck: Adagio, in G clavier 19. Zumsteeg: Lida (Klopstock): Dein süsses Bild, o Lida! 20. Schmittbaur: Meine Mutter ("G.J."): Sie ist erscheinen mir im Bilde 21. Schmittbaur: Allemande, in C clavier 22. F. Beck (or I. von Beecke?): Menuetto / Trio, in Eb clavier 23. Rosetti: Der Zufriedne (Gleim): Meine Wünsche sind gestillt! 24. Koehler: Rondo, in D clavier 25. Schmittbaur: An die Bücher (Weisse): Wie lieb ich euch 26. Schmittbaur: Alla Polacca, un poco allegretto, in G clavier 27. (Zumsteeg): Geschwisterlied (Christmann): Auf ihr Schwestern! 28. Christmann: Rondò: presto, in Eb clavier 29. Schmittbaur: Ermunterung zum Lobe Gottes: Tausend Melodienzungen 30. Rosetti: Nachtigallenlied (v. Bertuch): Heut Morgen als ich lauschend schlich 31. Rheineck: Andante con 4 Variazioni, in F clavier 32. Schmittbaur: Empfindung bei dem ersten Schlag der Nachtigall (Caroline v. Sachsen): Gesang du süsse Philomele voice, flute, 2 violins, viola, bass 33. Rosetti: Das Leben ist ein Traum! (Gleim) 34. Rosetti: Capriccio: allegro spiritoso, in f clavier 35. J.B. Vanhall: Sonata cembalo solo, C: Allegro-Andantino, in c-Finale clavier 36. Schubart: Die Macht der Tonkunst (Schubart): Göttin der Tonkunst! 37. Christmann: An den Mai (Christmann): Ha! liber Mai! 38. Rosetti: Romance: andante, in A clavier

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39. Zumsteeg: Der Landmann an die Nachtigall: Komst spät du liebe Nachtigal 40. Rheineck: Adagio, in c clavier 41. C.L. Junker: Genofeva im Thurm clavier; with declamation 42. Schmittbaur: Salgar an Dauras Grab: Ach da modern deine schöne 43. Schmittbaur: Tedsecho: presto, in F clavier 44. Rosetti: Die Sonne beim Aufgange: Sei mir gegrüsst 45. Betscher: Rondo: andantino, in A clavier 46. Rheineck: An die Nachtigall (Stäudlin): Wenn sein duftendes Gefieder 47. Rheineck: Adagio, in c clavier 48. Rosetti: An ein kleines Mädchen (Schink): Tanze liebe Kleine! 49. Rosetti: Allegro assai, in F clavier 50. Schmittbaur: Wiegenlied: Schlaf wohl mein Kind 51. (Schmittbaur?): Allemande, in F clavier 52. Rosetti: Das eitle Mädchen (Hahn): O, wie viel gebricht mir 53. Rosetti: Romance: andantino in Bb clavier 54. Schubart: Fluch des Vatermörders (Schubart): Ihr Mädels kommt! 55. Schmittbaur: Auf dem Tod eines Wohltäters: Töne traurig voice, flute, clav. 56. Schmittbaur: Praeludium fugando, in F clavier 57. Rosetti: Der glückliche Bauer (Gleim): Ihr, schwäzt mir da von 58. C. de Penasse: Menuetto / Trio, in D / G clavier (in most copies of no. 38 has been inserted here again as no. 58) Zweiter Theil 59. Caroline von Sachsen: An die Buche: Du bist es nur geliebte schöne Buche 60. Rosetti: Menuet: maiestoso, in F clavier 61. Rheineck: An ein kleines melancholisches Mädchen: Hüpfe, singe 62. Rheineck: Andantino, in E clavier 63. Schmittbaur: Am Morgen (v. Beroldingen): Auf ihrem hohen Siegeswagen 64. Schmittbaur: Allegro brillante, in D clavier 65. Rosetti: Am Fenster beim Mondschein (Filidor): Nacht und still ist 66. Rosetti: Allegro, in D clavier 67. Rheineck: Die Forelle (Schubart): In einem Bächlein helle 68. Rheineck: Allegretto, in Bb clavier 69. J.L. Rudolph: Die Vergänglichkeit (Jacobi): Sagt, wo sind die Veilchen hin 70. J. Fiala: Rondò in F, arrangé pour le clavecin de J.B. Sidler clavier, violin 71. J. Fiala, arr. Sidler: Allegro, in F clavier, violin 72. Christmann: David und Goliath (Claudius): War einst ein Riese Goliath 73. F.A. Eilenstein: Rondo grazioso, in F clavier 74. Weber: An das Klavier: Bereite much zum Schlummer (from: Fanny Wilkes) 75. C.L. Junker: Menuetto / Trio in Eb / Ab clavier 76. Rheineck: Dreschlerlied: Der Morgen weht kalt 77. Rheineck: Rondo allegretto, in C clavier 78. Rosetti: Abschied an Theonen: Nun Theone naht die Stunde 79. Christmann: Auf den Tod einer Wachtel: Weint ihr Kinder 80. G.B. Vanhall: Sonata cembalo solo, in G: allegro-andante, in g-Finale 81. J.G. Lang: Largo: rondo in Bb clavier 82. Schmittbaur: Der arme Mann (Weise): Bruder! sieh dem armen Mann 83. Rosetti: Doris an Lotten: Du fliehst! umringt von Schmerzen 84. Rosetti: Rondeau: allegro, in Eb / c clavier 85. Schmittbaur: Die Zeit: So wie ein Tropfen in dem Bach! 86. Schmittbaur: Allegretto, in Eb clavier 87. J.A. Sulzer: Wiegenlied: Schlummer mein Püppchen! 88. Rosetti: Rondo allegretto, in G clavier 89. Rheineck: An einen Akazienbaum (Lang): Unter deinen schlancken Aesten

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90. Rheineck: Menuetto / Trio, in A / a clavier 91. Rosetti: Grazioso, in G clavier 92. Michl: Abendlied eines Jünglings: So flüchtig voice, violin, clavier 93. Sauerbrey: Menuetto / Trio, in d / F clavier 94. L. van Beethoven: Schilderung eines Mädchen: Schildern willst du, Freund 95. (L. van Beethoven): Rondo allegretto, in C clavier 96. Rosetti: Karlinchen ein Jahr alt (Ph. Engelhard): Sieh! er kommt im frohen 97. Rheineck: Auf meinen Herbstaufnethalt zu E...im Rh...: Holder Aufenthalt 98. Rheineck: Allegretto, in F clavier 99. Christmann: Lied (Graf Stollberg): Des Lebens Tag ist schwer und schwül 100. Schmittbaur:Die Sonne in ihrem Aufgang (Goublaire):Du Gott des Schlafes 101. Schmittbaur: Capriccio, in F clavier 102. Köhler: An Minna (W.G. Becker): Blümchen woltest du auf meinen Reisen 103. Christmann: Marche, in D clavier 104. Rosetti: Die Biene und der Rosskäfer: Ein Bienchen sass im sanften Schose 105. K.A. Ensslin: An mein Klavier (Schubart): Sanftes Klavier! 106. J.Chr. Reinhart: Menuetto, in C clavier 107. C.F.D. Schubart: Schwäbisches Bauernlied: So herzig wie mein Liesel 108. Schmittbaur: Der Regenbogen (Goublaire): Schön wie Lunens Hauptgeschmuk 109. Schmittbaur: Romance, in A clavier 110. (Schubart): Provisorlied (Schubart): Mein liebes deutsches Vaterland 111. F. Beck: Menuet, in D clavier 112. Rosetti: Der Winter (Aemilia): Nicht dir o Lenz! 113. J.C. Walther: Menuetto, in C / G clavier 114. Schubart: Die Kazen (Schubart): Ein Junker spürte viele Kazen 115. J.A. Sulzer: Rondò: andantino in D clavier 116. J.C. Walther: Die Zufriedenheit (Miller): Was frag' ich viel nach Geld 117. F. Beck: Menuet / Trio, in F / Bb clavier 118. Christmann: Menuetto / Trio, in C / F clavier 119. Köhler: Rondo: poco allegretto in G clavier 120. G.J. Vogler: Beim Mondschein: Vertrauter meines Schmerzens 121. Rosetti: Jost mit der Schelle. Bettellied: Für'n armen Jost sei mildreich 122. Christmann: Meine Wünsche (Voss): An Kaiser Joseph Plaz zu sein 123. Rosetti: Menuet / Trio, in D / G clavier 124. Rosetti: Guter Muth: Und wenn ich auch kein König bin Edition: · nos. 1-124: ° Facsimile of the 1783 edition; introduction and indexes by M. Staehlin; EdM 111; cloth

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c) Modern Collections:

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Altbaierische Orgelmusik, I: Oberpfalz, 1 ed. E. Kraus 15th- to 18th- century works from the Oberpfalz: 1-3. H. Erdelauer: 3 pieces from Codex St. Emmeram 4. U. Kungsprung: Kyrie magnae Deus potentiae (from Codex St. Emmeram) 5-6. G. Forster: Fuga in omophonia: Dominum omnes Sancti eius, and bicinium: O weh der Zeit (both from: "Bicinia gallica latina et germania", 1545) 7. S. Virdung: O heilige, unbefleckte, zart innige Jungfrau Maria (from: "Musica getutscht", 1511) 8-13. C. Othmayr: 6 Bicinia from "Bicinia sacra", 1547: Vater unser im Himmelreich; Ach Gott,

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vom Himmel sieh darein; Wo Gott zum Haus nicht gibt sein Gunst; Nun freut euch, lieben Christen g'mein; Mit Fried und Freud fahr ich dahin; Wo Gott der Herr nit bei uns wär 14. J. vom Brandt: Oppressit reducem (from Ochsenkuhn's tablature, 1558) 15. M. Gastriz: Non est bonum, hominem esse solum (from Pleninger's tabl.) 16. P. Homberger: Wenn mich sünd, Schmerz und Tod (from Pleninger's tabl.) 17-19. A. Raselius: 3 worsk from the Regensburg Cantionale of 1588: Christum wir sollen loben schon; Jesus Christus unser Heiland ,der den Tod überwand; Nun freut euch lieben Christen g'mein 20. G. Aichinger: Praesul Sancte Dei Udalrice (intab. from D-Mbs mus.pr.264) 21-23. M. Königsperger: 3 works from his 1755 prints

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Altbaierische Orgelmusik, volume II Oberpfalz, part II; pieces from the 18th to 20 th c.; ed. E. Kraus 1. anonymous: Suite sexti toni (from the Oberpfalz organ book; 18th c. ms. in private coll. of editor) 2. S. Prixner: 7 Versets in A (from: "Kann man nicht in 2 oder 3 Monaten die Orgel gut und regelmässig schlagen lernen?", 1789) 3-5. Th. Grünberger: 3 Pastorell-Orgelstücke from his: "12 Preludi per organ" (ms. I-BGi) (6-9. Compositions by composers of the 19th / 20th century: J. Hanisch, M. Haller, J. Renner)

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Arias with Variations by South-German Masters ed. R. Walter 1. J.C.F. Fischer: Aria in G with 8 variations (from: "Musicalisches Blumen-Büschlein", 1698) 2. J. Pachelbel: Arietta in F with 9 variations (from: "Hexachordum Apollinis", 1698) 3. Gottlieb Muffat: Aria in f with 3 variations (from ms. in D-BEU) 4-6. J. Speth: 3 Arias from the third part of: "Ars magna", 1693: 4. sopra l'aria la Todesca, in F with 6 variations 5. sopra l'aria detta la Pasquina, in a with 6 variations 6. sopra la Spagnioletta, in a, with 6 variations

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Baroque Christmas Music ed. Fedtke Variations on Christmas carols: 1. G.F. Kauffmann: Nun komm, der Heiden Heiland: 4 variations & chorale 2. G. Böhm: Gelobet seist du, Jesu Christ: chorale & 5 variations 3. F.W. Zachow: Vom Himmel hoch, da komm ich her: 3 variations & chorale 4. J.G. Walther: Lobt Gott, ihr Christen alle gleich: 8 variations & chorale 5. 5.S. Scheidt: Wie schön leucht't uns der Morgenstern: chorale & 7 variations 6. J.Ch.F. Bach: Allegretto con xviii variazioni "Morgen kommt der Weihnachtsmann" ( = Ah, vous dirai-je Maman) Sources: D-B mus.ms. 22541: J.G. Walther autograph (1, 2; 3: first two variations only; 4) D-B mus.ms. Bach P 329 (6) D-B ms.fol.Z.37 (3: third variation only) D-LEm II.2.51 (5) 25,50

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Baroque Keyboard Pieces from Nürnberg ed. K. Herrmann 1-2. J.E. Kindermann: Courante in e; Sarabande in g (from D-B mus.ms. 40147)

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3-10. J. Krieger: 8 dances from "Musicalische Partien", 1697 11-18. J. Pachelbel: 11. Aria, in b (from PWC 448) 12. Sarabande, in F (from PWC 437) 13. Bourrée, in Bb (from PWC 447) 14. Gavotte, in Eb (from PWC 443) 15. Ballett, in g (from PWC 442) 16-17. Gavotte & Sarabande, in f# (from PWC 439) 18. Aria, in c# (from PWC 430) 19-21. B. Schultheiss: 3 danaces from "Muth'und Geist-ermuntrender Clavier-Lust, 1. Theil", 1679: 19. Sarabande, in C 20. Sarabande, in a 21. Gigue, in G 22-23. J.J. de Neufville: Menuet & Courante from suite in g (D-B mus.ms. Bach P 801) 24-27. J.M. Leffloth: 4 dances from: "Divertimento musicale consistente in una partita da cembalo": 24. Menuet, in C 25. Menuet, in c 26. Rondeau, in C 27. Rondeau, in C

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Classical & Early Romantic organ music, vol. I ed. E. Hofmann a) Ch.S. Binder: 7 Praeludia (g-c-g-F-e-A-C) from his 72 "Praeludia, vor die Orgel oder Cembalo ...aus Fugen und ausgeführten Choraelen bestehend" (D-Dlb mus. 441-U-1) b) K.G. Umbreit: 12 Pieces from collection "Bindersleben" (D-Dl mus. 4005-U-503): Moderato in C; Lento in a; Fantasia in C; Moderato in C; Moderato in e; Allegretto in D; Sostenuto in a; Con gravità in A; Cantabile in a; Moderato in Bb; Andante moderato in F; Moderato in Eb c) J.G. Vierling: 8 Pieces from the coll. "Bindersleben" (D-Dlb mus. 4005-U-503): Fürs volle Werk, in C; Moderato in a; Allegro moderato in F; Allegro über "Nun lobe, mein Seel, den Herren" in Bb; Allegro in Eb; Allegro in C; Andante (Trio) in C

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Clavierstücke für Anfänger ed. A. Kreutz of easy 18th-century keyboard pieces J.Chr.F. Bach: 2 Schwaebisch; Angloise; Allegro C.L.Tr. Gläser: Angloise; Minuetto G.S. Loehlein: Balletto J.Ph. Kirnberger: 4 Minuettos; Gavotte; Fughetta Ch. Nichelmann: 2 Minuettos; Polonaise Ch.G. Neefe: Allegretto; Scherzo C.F. Rudorf: Polonaise Chr.F. Schale: Polonaise; 2 Minuettos D.G. Türk: Arioso J.O. Uhde: 2 minuettos J.G. Witthauer: Gavotte; 2 Allegrettos; Polonaise; Poco vivace; Allegro scherzando

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Das Deutsche Gesellschaftslied in Österreich von 1480 - 1550 1960 reprint of the 1930 edition by L. Nowak, A. Koczirz (tablatures) and A. Pfalz (texts); Denkmäler der Tonkunst in Österreich, volume 72

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This volume contains 96 Lieder a2-a6, and 28 settings from keyboard and lute tablatures; see for a complete list of the songs in the catalogue of vocal music. The 28 keyboard intabulations are: H. Finck: Ich wird erlost W. Grefinger: Ach Gott wem soll ichs klagen; Ach meidlein rein; Kein ding uff erd; Woll kombt der may P. Hofhaimer: Ach edler Hort; Ach lieb mit leid; Ade mit leid; Erst wais ich waz die liebe ist; Fraw bin ich dain; Hertzliebstes Bild; Mein einigs A; Nach willen dein; Tröstlich lieb; Was ich durch glück; Zucht eer und lob; Magistri Pauli carmen; Ain frewlich Wesenn; Andernack uf dem Rin lag. E. Lapicida: Tannernack S. Mahu: Ich armes keutzlein G. Peschin: Die aller holdseligst auft erden; Dort niden an dem Rheyne; Und wer der Winter noch so kalt Th. Stoltzer: Entlaubet ist der walde; Ich klag den tag; So wünsch ich jr ein gute nacht Sources: a) manuscripts: A-Wn 18688: the lute book of Stephan Craus; D-B mus.ms.40026: the organ Kleber tablature; CH-Bu F.IX.22: the Kotter organ tablature; PL-Wn: the Krakow organ book, 1548; D-Mbs mus. ms.1512: lute tablature; CH-SGs 530: the Sicher organ tablature; CH-Zz Z.XIII.301: lute tablature; D-Zr ms.2: organ tablature b) printed editions (in chronological order): A. Schlick: "Tabulaturen etlicher Lobgesang", A. Schlick, 1512 H. Judenkünig: "Underweisung auff der Lauten...", 1523 Lute tablature by H. Gerle, 1532/37 Lute tablatures by H. Newsidler of 1536, 1540 and 1544 Lute tablature by S. Ochsenkun, 1558 Lute tablature by W. Heckel, 1562 Organ tablature by E.N. Ammerbach, 1571 Lute tablature by M. Newsidler, 1574 Organ tablature by J. Paix, 1583 "Der Tanz in den deutschen Tabulaturbüchern" · Wilhelm Merian: "Der Tanz in den deutschen Tabulaturbüchern. Mit thematischen Verzeichnissen, Beispielen zur Intavolationspraxis und einer Studie über die Anfänge des Klavierstils", Leipzig, 1927; second reprint in 2004; hardback. This study concerns 9 German tablatures; apart from complete thematic indexes Merian gives transcriptions of a selection of pieces (see for details under authors and manuscripts ): I. CH-Bu F.IX.22 and F.IX.58: tablatures of 1513-1517from the possession of the Basel humanist Bonifacius Amerbach, mainly written by Hans Kotter; Merian gives transcriptions of 21 of the 64 pieces II. The tablature published by Nikolaus Ammerbach (Leipzig, 1571): transcr. of 5 of the 90 pieces. III. Tablature published by B. Schmid sr. in 1577: transcriptions of 16 of the 65 pieces. IV. Tablature published by Jacob Paix in 1583: transcriptions of 20 of the 88 pieces. V. D-B mus.ms. 40034: the tablature of Christian Löffelholtz, 1585: transcr. of 22 of the 48 pieces VI. D-B mus.ms. 40115: anonymous tablature of 1593: transcriptions of 23 of the 52 pieces. VII. Tablature by August Nörminger, 1598 (D-B mus.ms. 40098): transcr. of 69 of the 210 pieces. VIII. Tablature published by B. Schmid jr. in 1607: transcription of: Pass'è mezzo in C & Saltarello IX. Tablature by Samuel Mareschall, 1640 (GH-Bu F.IX.49): 4 of the 67 pieces

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Drei Unika Norddeutscher Orgelmeister ed. K. Beckmann

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1. J. Steffens: Fantasia, in a (from D-Mbs mus.ms. 1581) 2. J. Praetorius: Von allen Menschen abgewandt (from D-W Cod. Guelf 8 Noviss. 2°) 3. J.A. Reincken: Toccata, in g (from B-Br Fétis 2072 C)

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Easy Variation Works from the Baroque and Classical Era Urtext ed. by E. Herttrich; fingering by Kraus 1. C.Ph.E. Bach: 6 Variations Wq 118.5 2. J.Chr. Bach: Allegretto & 3 variations from: sonata in G op. 5, no. 3 3. L. van Beethoven: 9 Variations on "Quant' è più bello" from Paisiello's "La Molinara" WoO 69 4. G.F. Händel: Aria con 5 varaizioni, from Suite in Bb HWV 434 5. J. Haydn: 12 Variations in Eb Hob. XVII: 3 6. W.A. Mozart: 7 Variations on "Willem van Nassau", in D KV 25 Eight chorale settings for organ by Sweelinck and his school from Lynar B2 ed. Dirksen: see under "Low Countries"

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Eighty Chorale Preludes of 17th- and 18th-century German masters ed. H. Keller J.F. Alberti: Herzlich lieb hab ich dich, o Herr anonymous: Es ist das Heil uns kommen her A. Armsdorf: Komm, heiliger Geist, Herre Gott J.Christoph Bach: Aus meines Herzens Grunde / In dich hab ich gehoffet, Herr / Mit Fried und Freud ich fahr dahin / Wenn wir in höchsten Nöten sein J.M. Bach: Wenn mein Stündlein vorhanden ist J.S. Bach?: Es ist gewisslich an der Zeit G. Böhm: Ach wie flüchtig, ach wie nichtig / Freu dich sehr, o meine Seele / Herr Jesu Christ, dich zu uns wend / Wer nur den lieben Gott lässt walten J.H. Buttstett: Gelobet seist du, Jesu Christ D. Buxtehude: Auf meinen lieben Gott / Herzlich tut mich verlangen J.C.F. Fischer: Christ ist verstanden G.F. Kaufmann: Valet will ich dir geben J.E. Kindermann: Was mein Gott will, gescheh allzeit J.L. Krebs: Es ist gewisslich an der Zeit J. Krieger: Vater unser im Himmelreich J. Pachelbel: Ach Gott, vom Himmel sieh darein / Allein zu dir, Herr Jesu Christ / Alle Menschen müssen

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sterben / An Wasserflüssen Babylon / Aus tiefer Not schrei ich zu dir / Christus, der ist mein Leben / Der Tag, der ist so freudenreich / Ein feste Burg ist unser Gott / Herr Gott, dich loben all wir / Nun lasst uns Gott dem Herren / O Lamm Gottes unschuldig M. Praetorius: Ein feste Burg ist unser Gott H. Scheidemann: Gott sei gelobet und gebenedeiet S. Scheidt: Aus tiefer Not schrei ich zu dir / Christ lag in Todesbanden / Gelobet seist du, Jesu Christ / Gott der Vater wohn uns bei / Mitten wir im Leben sind / Warum betrübst du dich mein Herz / Wir glauben all an einen Gott A.N. Vetter: Allein Gott in der Höh sei Ehr / Nun komm, der Heiden Heiland J.G. Walther: Ach Gott und Herr / Allein Gott in der Höh sei Ehr / Ein feste Burg / Erhalt uns herr, bei deinem Wort / Erschienen ist der herrliche Tag / Gott des Himmels und der Erden / Herzlich tut mich verlangen / Jesu, meine Freude / Liebster Jesu, wir sind hier / Lobe den Herren, den mächtigen König der Ehren / Lobt Gott, ihr Christen, allzugleich I-II / Machs mit mir, Gott, nach deiner Güt / Nun bitten wir den heiligen Geist / Nun lob, mein Seel, den Herren / O Welt,ich muss dich lassen / Schmücke dich, o liebe Seele / Wachet auf, ruft uns die Stimme / Warum sollt ich mich denn grämen / Was Gott tut, das ist wohlgetan / Werde munter, mein Gemüte M. Weckmann: Nun freut euch, liebe Christen g'mein F.W. Zachow: Allein Gott in der Höh sei Ehr / Aus tiefer Not schrei ich zu dir / Christ lag in Todesbanden / In dulci jubilo / Jesu, meines Lebens Leben / Komm, heiliger Geist, Herre Gott / Vom Himmel hoch, da komm ich her I-II

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Ein guter neuer Dantz 9 pieces from German organ tablatures; ed. H. Haselböck: 1-2. Intrada & Tanz, was woln wir uff den abendt thun (from D-B mus.ms. 40115; tablature, 1593) 3. Ein guter neuer Dantz (from B. Schmid sr.'s organ tablature, 1577) 4-5. Daunce & Corranto (from the Fitzwilliam Virginal Book; c.1600) 6. Churf. Sächs. Witwen Erster Mummerey Tantz (from Nörmiger's tablature, 1598) 7. Der Mohren Auftzugkh (from A. Nörmiger's tablature, 1598) 8. Ungarescha (from J. Paix's organ tablature, 1583) 9. Bassa imperiale & Saltarello (from A-W 18491: Regina Clara im Hoff tablature)

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Five Fugues on the Name B-A-C-H by Members of the Bach Family ed. T. Fedtke 1. J.S. Bach (now ascr. to J.H. Knecht): "Fuga für die Orgel über die Buchstaben des Namens BACH BWV Anh. 45 2. J.S. Bach: Contrapunctus alla decima: BACH BWV Anh. 109 3. C.Ph.E. Bach: "Fuge über BACH" BWV Anh. 108 (attr. G.A. Sorge in GB-Lbl Add.31307) 4. J.Chr.F. Bach: Fugne on H(ans) C(hristoph) B(ückeburger) BACH HW XX/4 5. J.Chr. Bach: "Fuga über die Buchstaben seines Namens BACH" CW YA 50 (T. 348/4) Sources: D-B mus.ms. Bach P 291 (4) D-B mus.ms. Bach P 313 (1, 2) D-B mus.ms. Bach P 615 (1) D-B mus.ms. Bach P 721 (3)

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c.1809: J.C. Bach: "Fuga über die Buchstaben seines Namens BACH", Leipzig (5) Frankish Organ Masters of the 17th Century ed. A. Reichling

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volume I: 1. V. Dretzel: Introitus, in C 2-5. J. Staden: 4 Toccatas in d-e-g-G 6. H. Pfendner: Canzona, in G

12,-volume II:

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7-8. H.L. Hassler: Intonationi, in d-e 9-11. V. Dretzel: 2 Sonatas, in C-a and a Capriccio, in a 12-14. J. Staden: Balletto, in a-Courante, in a-Allamanda varirt, in C

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Free organ works of the North-German Baroque era ed. K. Beckmann 1. P. Hasse: Praeambulum, in F 2. Jacob Praetorius: Praeambulum, in F 3. M. Radeck: Praeambulum, in d 4. M. Weckmann: Fantasia, in d 5. J. Bölsche: Praeambulum, in E 6. M. Radeck: Canzona, in D 7. W. Karges: Praeludium 4. toni 8. A. Werckmeister: Canzona, in a 9. Ch. Ritter: Sonatina, in d 10. P. Heidorn: Fugue, in G 11. A.M. Brunckhorst: Praeludium, in e 12. G.W.D. Saxer: Praeludium, in D Sources: D-B AmB. 340 (7) D-B Lynar B 3 (1) D-Dl mus.ms. 2015-T-1 (10) D-Lr KN 207/15 (2) D-Lr KN 209 (4) D-LEm II.2.51 (8, 11, 12) D-LEm III.8.4:: Andreas Bach Book (9) US-NH L.M. 5056 (3, 5, 6)

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German Organ and Keyboard Music from Bach's Period Collection of first editions ed. S. Rampe 1-4. D. Alberizi: 1. Toccatina, in E 2. Fuga inversa, in e 3. Toccatina, in F 4. Fuga, in C 5-6. J.S. Bach: 5. Toccata col pedale obligato, in F BWV 540 / 1a 6. Pièce d'Orgue, in G BWV 572a 7-9. H.N. Gerber: 7. Suitte 6, in d: Allemande-Courente-Gavotte I / II

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8a. Vom Himmel hoch da komm ich her: 3 Versus (the 3rd versus incplt.) 8b. Idem 2. Version 9. Wer nur den lieben Gott lässt walten 10. Chr. Graupner: Partita in c: Praeludium-Allemande-Courante-Sarabande-Menuet-Aria & 6 variations GWV 133 11-16. J.M. Molter: 11. Hertzlich thut mich verlangen, in Tenore MWV XII/2a 12. Hertzlich thut mich verlangen, in Soprano MWV XII/2b 13. Nun komm der Heyden Heylandgt, in a MWV XII/1 14. Freu dich sehr, o meine Seele, in G MWV XII/4 15. Liebster Jesu wir sind hier & chorale, in Bb MWV XII/3 16. Allein Gott in der Höh' sei Ehr, in G MWV XII/5 17. F.E. Niedt: Partita, in C: Praeludium-Allemanda I/II-Courante I & double-Courante II & double-Sarabanda-Sarabanda II-Menuet I/II/III-Gique I/II 18-21. J.Th. Roemhildt: 18. Praeludim zum Eingange, in G RoemV 243,11 19. Praeludium, in F RoemV 243,12 20. Praeludium, in F RoemV 243,13 21. Zum Ausgannge, in D RoemV 243,19 22-23. J.A. Scheibe: 22. Sonata, in Bb: Moderato-Andante, in g-Vivace 23. Concerto per il cembalo, in Bb: Vivace-Amoroso-Tempo di menuetto Sources: A-Wm XIV.719: organ book of A. Giessel, c.1713-1715 (1, 2, 4) A-Wm XIV.720: organ book of A. Giessel, c.1713-1715 (3) D-B mus.ms. Bach P 801 (6) D-B mus.ms. Bach P 803 (5) D-B M.1989.100 and mus.ms. 35: ms. copy by K. Pauke, early 20th c. (18-21) D-DS mus. 1231/18 (10) D-KA mus. 443: autograph ms. Of Molter, after 1742 (11-16) US-Pru C 0199: keyboard book of H.N. Gerber, 1727 ff (7-9, 23) 1706: F.E. Niedt: "Handleitung zur Variation, wie man den General-Bass...verfertigen könne" (17) 1760: "Oeuvres melées contenant VI sonates pour le clavessin...partie VI", Nürnberg, Haffner (22) German organ and keyboard music of the 17th century in first editions ed. S. Rampe

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Volume I: 1. anonymous: Fantasia in F 2. H.I.F. Biber: Partita in D: Intrada-Menuete-Bourre-Courant-Saraband-Gigue 3. Ph.F. Bödecker: Fantasia (auf 2 Clavier) in G 4. J.V. Eckelt: Ciacona ex C 5. Ph.H. Erlebach: Suite in f: Allamanda-Sarabanda-Courante 6. Ferdinand III of Habsburg: Sarabande in d 7. W. Karges: Praeludium E quarti toni 8. W. Karges: Fantasia in d 9. W. Karges & J.J. Froberger: Capriccio in G 10. W. Karges: Allein Gott (in der Höh sei Ehr) â 3 vocum & per fugas 11. J. Pachelbel?: Praeludium in e 12. J.M. Radeck: Suite in G: Praeambulum-Allemand-Corant-Saraband-Gique-Chiacona vell passgal 13. G.W.D. Saxer: Praeludium ex D.fis 14. G.W.D. Saxer?: Praeludium ex D

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15. G.W.D. Saxer: Prelüde ex E b 16. G.W.D. Saxer: Praeludium ex F 17. G.W.D. Saxer?: Praeludium ex B 18. S. Scheidt: Toccata ex C # (fragment) 19. S. Scheidt: Praeludium D b 20. H. Scheidemann?: Fantasia A 21. J. Theile: Partita in g: Allemand-Courant-Saraband 22. G.C. Wecker: Partita in a: Praeludium-Allemand-Ballet-Aria-Courant-Saraband 23. G.C. Wecker & J.Christoph Bach?: Intonatio & Fuga C 24. G.C. Wecker & J. Christoph Bach?: Intonatio & Fuga C 25. G.C. Wecker?: Fuga in C 26. G.C. Wecker & J. Christoph Bach?: Intonatio & Fuga in d 27. G.C. Wecker & J. Christoph Bach?: Praeludium & Fuga in Bb Sources: A-Wm XIV.731: Clavierbuch of V. Sstanteyski (6) D-B AmB 340: tablature; autograph of Karges? (1, 3, 7-9, 20) D-B Lynar B 1 (10) D-Gms: the Husmann tablature (18, 19) D-Hs ND VI 3287 (27) D-LEm II.2.51 (13-17) D-LEm II.6.19: anon. tabl. of 1681 (2, 22) D-MY: the Mylau organ tablature (25) PL-Kj mus.ms. 40035: tablature of J.V. Eckelt (4, 5, 25, 27) S-L Wenster G 29: Clavierbuch of M.V. Kraus (12) S-Uu Ihre 285: the 1679 tablature of Th.N. Ihre (21) US-NH LM 4982: Clavierbuch by J. Christoph Bach (11, 23, 24, 26, 27) US-PRu C 0199: Clavierbuch of H.N. Gerber (4) W. Volckmar: "Orgel-Album" (Leipzig, 1860s), vol. II (26) A.G. Ritter: "Zur Gechichte des Orgelspiels", 1884, vol. II: Beispiele (26) Volume II: 1. anonymous: Praeludium 1.mi toni vol spel, in d 2. anonymous: Trompet, in d 3. anonymous: Cornet, in d 4. anonymous: Praeludium 2di toni, in g 5. anonymous: Fantasia 2di toni, in g 6. anonymous: Toccata 6. toni, in F 7. anonymous: Fantasia auff 2 Clavier, in F 8. H. Brehme: Paduana in C 9. J.H. Buttstett: Gelobet seÿstu Jesu Christ ex G 10. J.H. Buttstett: Vom Himmel hoch da kom ich her ex C 11. P. Cornet: Fantasie 4.ti toni, in e 12. P. Cornet: Den lustelyiken may, in G 13. Chr. Erbach: Canzon in E 14. C. Hassler: Fantasia â 4, in C 15. Chr. Herbig: Canzon: Vater unser im Himmelreich, in d 16. Chr. Herbig: Canzon: Wir glauben all an einen Gott, in d 17. Chr. Herbig: Canzon supra Nun kom der Heÿden Heyland, in g 18. Chr. Herbig: Canzon supra Christ lag in Todes Banden, in d 19. J.E. Kindermann: Toccata, in C 20. J.E. Kindermann: Toccata ex G 21. M. Kinigl: Toccata, in C 22. J. Kuhnau: Praeludium, in d 23. S. Michaelis: Toccata â 3 ex F

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24. M. Olter: Canzon, in f 25. P. Philips?: Almande d'amor, in g 26. P. Philips?: Che fa, in d 27. P. Philips?: Den lusteliken mie, in G 28. P. Philips?: Liquide perle amor, in G 29. P. Philips?: Madrigal Horatio Vechi: Se desio di fugir, in d 30. anonymous & D. Schädlich: Partita in C: Allemand-Couranta nova-Sarabanda-BalletSirenea (Allemand only anonymous) 31. N.A. Strungk: Capriccio Imi tuoni, in d (1686) 32. N.A. Strungk: Ricercar sopra la morte della mia carissima madere Catharina Maria Stubenrauen, in G (1685) 33. Christoph Walter: Paduan, in F 34. Chr. Walter: Fantasia 1. toni, in d 35. Chr. Walter?: Fantasia 1. toni, in d 36. Chr. Walter?: Fantasia 2. toni, in g 37. Chr. Walter?: Fantasia 3. toni, in a 38. Chr. Walter?: Fantasia 5. toni, in F 39. B. Weisthoma: Toccata, in d 40. B. Weisthoma: Toccata, in C 41. M. Woltmann: Von Gott wil ich nicht lassen, auff 2 Clavier · Sources: A-Wm XIV.714 (6; 25, 27 and 28: anon.; 34-38), XIV 718 (22, 39) and XIV 719 (13) D-B Lynar A 1 (26: anon.) D-B mus.ms. 40158: tablature by D. Schmidt, 1676 (23) D-B mus.ms. 40316: keyboard book, Brussels, 1620s (29: anon.) D-B mus.ms. AmB 340: autograph? tabl. of W. Karges (7) D-Bs GKl F 234: tablature from coll. Graues Kloster (14) D-Gms: Husmann tablature (19, 20) D-Hs ND VI 2365d: organ book, c.1700 (9, 10) D-Lr mus.ant.pract. KN 207/15: tabl. by H.B. Wedemann (24) D-Lr mus.ant.pract. KN 209: tablature by H.B. Wedemann (41) GB-Lbl Add. 29468: organ book, 1618, from the southern Netherlands (5) I-Tn Giordano G1: German tabulature from Augsburg? (21) PL-Kj mus.ms. 40147: the Tappert tablature, c.1670 (30) S-Uu vok.mus.hs. 132: tablature from Wittenberg, 1602 (8, 33) US-NH 533: keyboard book, c.1651, from southern Netherlands (1-4, 11, 12) US-NH LM 5005: keyboard book from Weimar?, c.1700 (15-18) US-NH LM 5056: keyboard book of E. Behnisch, 1688 (31, 32, 40)

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Hundred-and-twenty Chorale Arrangements of the 17th and 18th century ed. Franke Some 23 works at the moment only available in this collection (listed below). The 95 remaining compositions, also elsewhere available, are by: Armsdorf, J.Christoph Bach, J.M. Bach, J.S. Bach, G. Böhm, Buttstett, Buxtehude, A. Düben, Flor, Karges, Kauffmann, J.L. Krebs, Leyding, A. van Noordt, Pachelbel, H. Praetorius, H. Purcell, Scheidemann, Scheidt, H. Speuy, J.U. Steigleder, D. Strungk, Sweelinck, Telemann, Vetter, Walther, Weckmann, Zachow. The 23 chorales at the moment only available in this anthology are: J.R. Ahle: 3 chorales from Ritter's copy of the Grobe tablature (D-BEU mus.ms. 1): Ich ruf zu dir, Herr Jesu Christ; Nun komm der Heiden Heiland; Vater unser im Himmelreich J.S. Beyer: Heut triumphieret Gottes Sohn (from his: "Musicalischer Vorrath neu-variirter FestChoral-Gesänge, auf dem Clavier, im Canto und Basso...ander Theil", 1720) Q. van Blankenburg: Pslam 84 (from his: "Livre de clavecin et d'orgues...", Den-Haag, 1745

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W.C. Briegel: Christ lag in Todesbanden (from D-LEm PM 4736) J.Chr. Graf: Der du bist drei in Einigkeit (from D-B mus.ms. autogr. J.L. Krebs 5) D.M. Gronau: 2 chorales: Ein feste Burg ist unser Gott & Was Gott tut, das ist wohlgetan (both from the 1927 Frotscher ed. as the Danzig manuscript is lost) J.P. Kellner: Nun danket alle Gott (from NL-DHgm 4.G.14 and D-B For.Bü 244/2) J.Ph. Kirnberger: Lobet den Herren, den mächtigen König (from D-B AmB. 389 and 396) P. Mohrhardt?: Du Friedefürst, Herr Jesu Christ (from D-Lr KN 209) G.H. Reichardt: Wenn wir in höchsten Nöten sein (original source unknown; from ed. Franke / Sandmann, 1929) J.H. Ritz: Christe, du Lamm Gottes (from D-B mus.ms. 40268) N.A. Strungk: 2 chorales: Christ ist erstanden (from D-B mus.ms. 30112) & Ich dank dir schon durch deinen Sohn (from US-NH L.M. 5056) Ch.F. Witte: Aus tiefer Not schrei ich zu dir (from D-B Fot.Bü 127/2 and D-B mus.ms. 30245) "M.W.C.B.M.": O Mensch, bewein dein Sünde gross (from D-B Lynar B 3) 5 anonymous chorales: Aus meines Herzens Grunde (from D-Lr mus.ant.pract. 1198) Erstanden ist der heilig Chirst (from US-NH L.M. 4983; by Pachelbel?) Jesu meines Lebens Leben (from D-Lr mus.ant.pract. 1198) Jesus Chr. unser Heiland der von uns den Gotteszorn (from D-Lr KN 209) Psalm 8 (from DK-Kk GKS 376) In Organo Works by17th- & 18th-c. South-German organ masters; ed. G. Klaus

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Volume I: Preludes, Fugues & Versets 1-2. F.X. Murschhauser: Prelude-5 Fugues-Finale in the 3rd and 6th tones from "Octi-tonium novum organicum", 1696 3-5. F.X. Murschhauser: Intonatio-3 Fugues in 1st mode / Prelude-Fugue in 3rh tone & Finale: fugue in 7th tone; all from: "Prototypon longo-breve", 1707 6. J.J. Will (P. Justinus): Toccata in a and Fugue in e from: "Chirologia", 1711 7. J.X. Nauss: Prelude & Fugue primi toni, from: "Die spielende Muse", 1748 8. M. Königsperger: Prelude & Fugue 7i toni; from: "Der wohl-unterwiesene Clavier-Schüler", 1755 9. J.B.A. Vallade: Prelude & Fugue in the 7th tone; from: "Dreifaches musikalisches Exertium auf die Orgel", 1768 Volume II: Ricercari & Fugues 10. Chr. Erbach: Ricercare secundi toni; from the Turin organ tablatures 11. F.X. Murschhauser: Fuga secunda duodecimi toni; from: "Prototypon", 1707 12. J.J. Will: Fuga in f; from: "Chirologia organico-musica", 1711 13. J.X. Nauss: Fuga quarti toni; from: "Die spielende Muse", 1748 14-16. J.J. Froberger: Ricercare in d; Capriccio in g; Ricerare in G 17-19. G. Pasterwitz: Fugues in d and e, nos. 1 and 4 from: "VIII Fughe", op. 1, 1792; Fugue in A, no. 1 from "VIII fughe secondo l'A.B.C.", 1792 20-23. J.G. Albrechtsberger: Fugues in G and A, nos. 2 and 6 from: "Sei fughe op. 8"; Fugues in G and F, nos. 5 and 4 from: "Six fugues op. 16" Volume III: Variations 1. J.J. Froberger: Fantasia sopra ut re mi fa sol la (from his: "Libro secondo"; ed. Adler: fantasia I) 2. J.J. Froberger: Capriccio, in F (from his: "Libro quarto"; ed. Adler: capriccio XVI) 3. J.C. Kerll: Variations, in d ( = ed. Harris no. 22: Suite in G) 4. Georg Muffat: Ciacona quarti toni (5 vars.)

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(from the organ ms. by H. Reich (D-OB MO 1037) 5. Georg Muffat: Ciacona octavi toni (10 vars.) (from the organ ms. by H. Reich (D-OB MO 1037) 6. F.X.A. Murschhauser: Variationes super cantilenam "Gegrüsst seyst du, o Jesulein" (4 vars.) (no. 12 from his: "Octi tonium novum organicum", 1696) 7. A. Estendorffer: Galliarda secundi toni 8. A. Estendorffer: Ciacona quinti toni (5 vars.) 9. A. Estendorffer: Capriccio super "Christ ist erstanden" (9 vars.) (nos. 7-9 = ed. K. Ruhland: nos. 3, 6, 13) 10. J.C.F. Fischer: Chaconne: andante con molto (see list of works: in a) VIII)

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Volume IV: Organ masters from 18th-c. Schwaben 1. J.M. Dreyer: Andante con (6) variazioni, in G from: "VI kurze und lEIchte Orgel-Sonaten. III. Theil", Augsburg, 1803 2. J.E. Eberlin: Drei Musikstücke für die Wasserorgel des mechansichen Theaters in Schloss Hellbrunn bei Salzburg: Andante, in F-Concert: vivace, in F-Allegro: presto in F source: ms. in D-Mbs: Haslberger: "Historiae ecclesiae Salisburgensis, III", 1782 3. J.H. Knecht: Cantables Duett in Eb zwischen einer Diskant- und Tenorstimme für Geübtere from: "Vollständige Orgelschule in drei Abtheilungen", 1795/96/98 4. J. Lederer: Phantasia, in D from: "Apparatus musicus oder: Musikalischer Vorrath...zum Besten der Anfänger auf dem Clavier", Augsburg, 1781 5-6. F.X. Nauss: Aria primi toni & Aria tertii toni from: "Die spielende Muse, welche die der Musik ergebene Jungedn in leichten Praeludien, nach denen Kirchentönen eingerichteten Versetten, Fugen, Arien und Pastorellen auf dem Clavier nach der kurtzen Octave übet, Teil, I" 7. L. Zöschinger: Parthia, in C: Andantino, in a-Allegro from: "Philomela organica in cymbalis canora seu parthiae sex moderno stylo, et facili accomodatae", Augsburg, 1769 Keyboard Music around J.S. Bach ed. R. Wilhlem 1. anonymous / Telemann: Concerto del sign. Telemann appropriato al organo (arrangement of concerto TWV 51: B2 for violin solo, 2 violins, bc) 2. J.P. Kellner: Fugue in G 3. J.Ph. Kirnberger: Praeludium in c 4.J.Chr. Kellner: "Six Fugues pour les orgues ou le clavecin...", The Hague, Hummel, c.1802 5. J.Chr. Kellner: Fantasie & Fugue in g 6. D.T. Nicolai: Fugue in Bb ( = close imitation of Händel's fugue in Bb, no. 3 from his: "Six fugues or voluntarys for the organ or harpsicord", 1735) 7. W.H. Pachelbel: Fugue in F Sources: D-B mus.ms. autogr. Kirnberger 2 (3) D-B mus.ms. Bach P 804 (1) D-B mus.ms. 11632 (3) D-B mus.ms. 30194 (3) D-LEm III.8.57 (6: autograph) D-W Cod. Guelf. 339 (7) US-NH L.M. 4876p (2) 1784: "Neue Blumenlese für Klavierliebhaber; eine musikalische Wochenschrift, Erster Theil", Speier, Bossler (5)

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c.1802: J.Chr. Kellner: "Six Fugues pour les orgues ou le clavecin...", The Hague, Hummel (4) c.1810: "Cäcilia. Tonstücke für die Orgel, hrsg. von C.F. Becker, Leizpig, volume I (6) Keyboard music around Frederick the Great ed. H. Fischer and F. Oberdoerffer volume I: out of print volume II: 1. C.Ph.E. Bach: La Pott Wq 117.18 2. J.Ph. Kirnberger: Minuet in D / d 4. Chr. Nichelmann: Allegro fürs Clavier, in Eb 5-13. J.F.W. Wenckel: Marsch, in C; Gavotte, in D; Musette, in G; Cantabile, in A; Masch, in Eb; Andante, in Ab; Menuett, in d; Bourree, in G; Menuett, in A 14-15. J.G. Seyfert: Ballett, in D; Gavotte, in A 16-17. F.W. Marpurg: Menuett in a / A; Menuett, in F 18. J.Ph. Sack: Menuett, in A / a 19. Ch.F. Rackemann: Menuett, in E / e 20. anonymous: Allegro, in F 21. M.lle Schale: Menuett, in D 22-24. Ch.F. Schale: Sonatina in F (andantino-menuet-allegro assai); Menuett, in C / c; Allegretto con 6 variazioni, in A Sources: 1756/57: "Raccolta delle piu nuove composizioni di clavicembalo di differenti maestri ed autori per l'anno 1756/57", Leipzig, Breitkopf (1, 14-16, 18, 19, 23, 24) 1761/62: "Musikalisches Allerley von verschiedenen Tonkünstlern", Berlin, Birnstiel (3,13,17,21,22) 1762/63: "Musikalisches Mancherley", Berlin, Winter, 1762/63 (20) 1765: J.F. Wenkel: "Versuche in Clavierstücken verschiedener Art", Berlin, Stendel (5-12) D-B mus.ms. Bach P 295 (2) Keyboard Music from the Andreas Bach Book and the Möller Manuscript a) Möller Manuscript: inventory; b) Andreas Bach Book: inventory; c) Editions a) Möller Manuscript: (D-B mus.ms. 40644; compiled by J. Christoph Bach, c.1703-1713) ( * = unicum) 1. *J.A. Coberg: Ouverture in C a4: (Ouverture)-Synfonia-Air-Ballo / Trio-Gavotte-Menuet-Gigue 2-3. T. Albinoni: Triosonatas op. 1, nos. 1-2 for 2 violins, bc 4. *J.Chr. Pez: Suite in g for string ensemble: Intrada-Adagio-Presto-Rondeaux-Gigue-Aria: adagio-Gigue: presto-Chaconne (end lost) 5. J.A. Bach: Capriccio, in c on B-A-C-H (last 9 bars only) 6. *J.A. Reincken: Suite in G: Allemande-Courante-Sarabande-Gigue (ed. Beckmann: no. 7) 7. G. Böhm: Suite in f: Allamande-Courante-Sarabanda-Ciaccona (ed. Beckmann: no. 6) 8. (J. Mattheson): Suite in f: Allemande-Courante-Sarabande (exp. version in "Pièces de clav.") 9. *G. Böhm: Suite in G: Praeludium-Allemande-Courante-Sarabanda en rondeau-Gigue (ed. Beckmann nos. 14 and 12) 10. *Chr. Ritter: Suite in c: Allemanda in discessum Caroli XI-Courande-Sarabanda-Gique 11. *G. Böhm: suite in F: Allamanda-Courante-Sarabanda & double-Gique (ed. Beckmann no.5) 12. G. Böhm: Prelude in F (ed. Beckamnn no. 15) 13. *G. Böhm: Capriccio in D (ed. Beckmann no. 8) 14. *anon.: Suite in Eb: Allemande-Courante-Sarabande-Gigue (ed. Beckmann: Böhm no.11) 15.* J.A. Reincken: Suite in C: Allemand-Courante-Sarabanda-Gigue (ed. Beckmann no. 4) 16. *G. Böhm: Prelude in d (ed. Beckmann: organ works: no.2) 17. *P. Heidorn: Fugue in d

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18. P. Heidorn: Fugue in g (also in D-Dl mus. 2015-T-1) 19.* J.A. Coberg: Fugue in d 20.* (J.A. Reincken?): Suite in d: Allemanda-Courante-Sarabanda-Gigue (ed. Beckmann no. 2) 21. G. Böhm: Partite diverse sopra l'aria: Jesu du bist all zo schöne (in ed. Beckmann: organ works) 22. C. Dieupart: ornamentation table from his "Six Suittes de clavessin", 1701/02 23. *J.S. Bach: Prelude & Fugue in g BWV 535a 24. J.-B. Lully: Chaconne in G, transcr. from his opera "Phaeton", 1683 25. D. Buxtehude: Prelude in A BuxWV 26. Chr. Flor: Suite in d: Fuga-*Allemand-*Courant-*Sarabande & double-*Gigue 27. J.S. Bach: Canzona in d BWV 588 28. J.S. Bach: Toccat in D BWV 912a 29. D. Buxtehude: Toccata in G BuxWV 165 30. N. Bruhns: Preludein G (ed. Beckmann: no.3) 31. *Chr. Flor: Suite in C: Praeludium-Aria & double-Courante & doule-Srabande & doublegigue 32. J.S. Bach: Prelude & Fuge in C BWV 531 33. J.S. Bach: Sonata in a BWV 967 34. J.S. Bach: Prelude & Fugue in A BWV 896 35. J.S. Bach: Capriccio sopra la lontananza del frato dilettissimo BWV 992 36. A. Steffani: Ouverture in a: Ouverture-*Entree-*Gigue-*Entree (transcr. fr. opera "Briseide") 37. *W Fabricius: Gigue in c 38. J.S. Bach: Suite in A BWV 832 (first 2 movements only) 39. anonymous: (overture a5 & chaconne a5) in C (fragment only) 40. *J.A. Bach: Allegro in D (composing score) 41. *J. Pachelbel: Toccata in C PWV 458 42. *J.S. Bach: Prelude & Fugue, in d BWV 549a 43. J.S. Bach: Wie schön leuchtet der Morgenstern BWV 739 44. *J.S. Bach: Suite in F BWV 833: Praeludium et partita del tuono terzo-Andante-AllemandeCourante-Sarabande & double: allegro-Air: allegro 45. *F.W. Zachow: Suite in b: Allemande-Courante-Sarabande-Fuga finalis 46-50. N. Lebègue: Suites in g-d-a-C-F (from: "Pièces de clavessin", 1677) 51. N. Lebègue: ornamentation table (source as for 46-50) 52. J.S. Bach: Fantasia in g BWV 917 53. N. Bruhns: Prelude in e (ed. Beckmann: organ works: no.1) 54. *M. Edelmann: Toccata in D (fragment; first 31 bars only) b) Andreas Bach Book: (D-LEm III.8.4) 1-5. J. Kuhnau: Biblical Sonatas nos. 1, 2, 3, 5, 6 (bars 1-122 of sonata 1 are missing) 6. G. Böhm: Prelude in g (ed. Beckmann: no.9) 7. G.Ph. Telemann: Ouverture in Eb TWV Anh. 32:1 (keyboard transcr. of an orchestral suite) 8. *G. Böhm: Suite in D: Ouverture-Air-Rigaudon / Trio, in d-Rondeau-Menuet-Chaconne (ed. Beckmann: no.8) 9. D. Buxtehude: Chaconne in c BuxWV 159 10. *C.F. Pollarolo: Capriccio in D 11. *anonymous: Courante in Bb 12. *G.E. Pestel: Suite in D: Entré-Menuet-Bouré-Passepied-Gavotte-Sarabande & 2 vras. 13. J.S. Bach: Ouvertre in F BWV 820 14. J.A. Reincken: Ballet & 12 variations, in e (ed. Beckmann: no.10) 15. J.A. Reincken: Toccata in G (ed. Beckmann: no.12) 16. *G. Böhm: Suite in Eb: Allemande-Courante-Sarabande-Gigue (ed. Beckmann: no.2) 17. *G. Böhm: Suite in c: Allemande-Courante-Sarabande-Gique (ed. Beckmann: no.1) 18. G. Böhm: Suite in a: Allemande-Courante-Sarabanda-Gique (ed. Beckmann: no.6)

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19. J.S. Bach: Fugue in A BWV 949 20. J.S. Bach: Toccata in f# BWV 910 21. J. Pachelbel: Toccata in C PWC 455 22. J. Pachelbel: Toccata in C PWC 456 23. *D. Buxtehude: Prelude in g BuxWV 150 24. J.S. Bach: Passacaglia in c BWV 582 25. J.S. Bach: Toccata in c BWV 911 26. *D. Buxtehude: Fugue in C BuxWV 174 27. J.S. Bach: Toccata in G BWV 916 28. J.S. Bach: Fugue in g BWV 578 29. *J. Pachelbel: Chaconne in d & 16 variations PWC 41 30. *J.S. Bach: Gott durch deine Güthe BWV 724 31. J. Pachelbel: Toccata & Fugue in d PWC 469 32. J.S. Bach: Prelude in c BWV 921 33. *J.S. Bach: Fantasia in c BWV Anh.205 (in autogr. tabl.; ed. M. Seiffert: Organum IV/10) 34. *C.F. Witte: Capricio in e 35. *Chr. Ritter: Sonatina in d 36. J.S. Bach: Aria variata alla maniera Italiana in a BWV 989 37. anonymous: "Marques et demonstration des agrements" (ornamentation table) 38. M. Marais: Symphonie de l'opera d'Alcide, in G: Ouverture-Prologue-Air de trompetteMarche-Air-Aire-Passepeid-Air-Sarabande-Air-Air-Air-Air-Marche pour les pastres-Rigodon-Gay-Menuet 39. L. Marchand: Suite in d (as printed in "Pièces de clavecin...livre premier", 1702) 40. *.H. Buttstett: Fugue in e 41. *anonymous: (Auf meinen lieben Gott) 42. *D. Buxtehude: Chaconne in e BuxWV 160 43. *Chr. Ritter: Suite in f#: Allemande-Courante-Sarabande & 2 variartions-(Gigue) 44. *C.F. Pollarolo: Capriccio in C 45. J.S. Bach: Fantasia in C BWV 570 46. J.A. Reincken: Partite diverse sopra l'aira: Schweiget mir von Weiber nehmen, etc., altrimente chiamata La Meÿerin (ed. Beckmann: no.11) 47. J.C.F. Fischer: Prelude & Chaconne in G 48. anonymous (A. Armsdorff): Fugue in G 49. *J.G. Küchenthal: Chant berceau in C 50. J.S. Bach: Fugue on a them of Legrenzi in c BWV 574b 51. *D. Buxtehude: Passacaglia in d BuxWV 161 52. J.S. Bach: Fantasia in b BWV 563 53. *D. Buxtehude: O Lux beata Trinitas, col pedali, in d BuxWV 216 54. J.H. Buttstett: Prelude in G 55. *D. Buxtehude: Prelude in C BuxWV 137 56. J.S. Bach: Fantasia & Fugue in a BWV 944 57. *anonymous: Fugue in e BWV 960 (fragment; end missing) Editions: (MM = Möller ms; ABB = Andreas Bach Book) (see also under names of composers) · MM: 6, 7, 10, 17-20, 22-26, 28, 31, 33, 34, 36-38, 41-45, 51, 52, 54 ABB: 7, 10-13, 19, 21, 22, 24, 29-34, 35, 37, 39, 40, 41, 43-45, 48, 49, 52, 54 ° "Keyboard Music from the Andreas Bach Book and the Möller Manuscript"; criticaled. and introduction by R. Hill; harvard Publications in Music, vol. 16 Keyboard music from the Voigtländer Tablature ed. H. Glahn

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6 Works from the manuscript supplement to Voigtländer's "Oden und Lieder", Copenhagen, 1642 in the copy in DK-Kk: 1. M. Schildt: Gleichwie das Feur 2. M. Schildt: Paduana lachrymae 3. H. Scheidemann: Englischer Mascarada oder Judentanz 4. J.R. Radeck: Courant. Saraband ex A 5. J.R. Radeck: Englische Mascharada ex G 6. anonymous: Frantzöasisches Liedlein ex G

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Keyboard Transcriptions from the Bach Circle ed. R. Stinson 14 Transcriptions (5 organ trios and 9 keyboard concertos) of works by J.S. Bach, Locatelli, Vivaldi, Tartini and Telemann: I. Trio in G/Adagio (Berlin, SPK. Mus.ms. Bach P.804/12): first movement of Bach's trio sonata for 2 violins and bc. (putative lost orig. version of work complex BWV. 1027/1039), transcribed by J. P. Kellner or a member of his circle as an organ trio II. Trio in G (Berlin SPK. Mus.ms. Bach P.288/4): second movement of the same work (see I), transcribed by J.P. Kellner or a member of his circle as an organ trio. III. Trio in G (Leipzig, Mus.bibl., Ms. 7/3): fourth movement of the same work (see I), transcribed by J.N. Mempell or J.P. Kellner as an organ trio IV. Trio in b-minor (Leipzig, Mus.bibl. Ms. 1/10, Sammlung Scheibner): 3-part invention (sinfonia) BWV. 790, probably transcribed by L. Frischmuth or J.P. Kellner as an organ trio. V. Trio in G (Leipzig, Mus.bibl.Ms. S x 11, Sammlung Mempell-Preller): after lost chamber work by P. Locatelli?; possibly transcribed by J.N. Mempell as an organ trio. VI. Vivaldi's Concerto A-major for 2 violins, op. 3/5, RV. 519 (Berlin SPK. Mus.ms.22396/15): possibly transcribed by J.A. Scheibe. VII. Telemann:Concerto Bb-major for 3 violins TWV. 51:B2 (Berlin SPK. Mus.ms. Bach P 804/6) transcribed by J.G. Walther or a member of his circle. VIII. Telemann: a lost concerto in G (Berlin SB., Mus.ms.30500) transcribed by J.B. Tzschirich or H.R. Krause. IX-XIV. "VI Concerti del Signor G. Tartini accommodati per il cembalo (da) L. Frischmuth. Opera Quarta" (Amsterdam, Olofsen): transcriptions of 6 violin concertos: D.: 9, 32, 50, 63, 81, 98.

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Kleine Klavierstücke aus dem Umkreis von J.S. Bach um 1745 all from: D-B mus.ms. Bach P 672 ed. F. Sindermann * = first edition 1. anonymous: Aria: Ruhig und zufrieden sein (from: "Klavierbüchlein für Johann Christian Bach") soprano, violin, bc 2. J.S. Bach: Präludium no. 1 in C BWV 933 3. J.S. Bach: Präludium no. 2 in c BWV 934 4. J.S. Bach: Präludium no. 3 in E BWV 937 5. J.S. Bach: Präludium no. 4 in c BWV 938 6. J.Chr. Bach: Polonoise in Bb BR A 23 7. *anonymous: Menuetto in Bb 8. J.S. Bach: Polonoise in d (after orchestr. suite no. 2 BWV 1067) 9. J.Chr. Bach: Menuetto in c BR A 24 10. C.Ph.E. Bach: Menuetto in Eb Wq 116/1 / BR JUV 2/1 11. *J.Chr. Altnickol: Polonoise in d 12. J.Chr. Bach: Menuetto in C BR A 25 13. J.Chr. Bach: Polonoise in g BR A 26

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14. J.Chr. Bach: Aria in a BR A 27 15. J.Chr. Bach: Menuetto in d BR A 28 16. *anonymous: Menuetto "Breslau Redout" in C 17. *J.Chr. Altnickol: Menuetto in C 18. *J.Chr. Altnickol: Polonoise in C 19. *J.Chr. Altnickol: Menuetto in Bb 20. *J.Chr. Altnickol: Menuetto in F 21. *J.Chr. Altnickol: Menuetto in Bb 22.* J.Chr. Altnickol: Menuetto in Eb 23. J.S. Bach: Menuetto in Bb BWV 825/6 24. J.S. Bach: Menuetto in Bb BWV 825/5 25. J.Chr. Bach: Menuetto & Trio in g BR A 29 26. *anonymous: Polonoise in g 27. J.Chr. Bach: Menuetto & Trio in C BR A 30 28. *anonymous: Polonoise in C 29. J.Chr. Bach: Menuetto in C BR A 31 30. *J.Chr.F. Bach: Polonoise in G BR A 121 31. *J.Chr.F. Bach: Menuetto in F BR A 122 32. *J.Chr.F. Bach: Polonoise in F BR A 123 33. J.Chr.F. Bach: Menuetto in G BR A 124 34. *J.Chr.F. Bach: Menuetto in A BR A 125 35. *anonymous: Menuetto in Eb 36. *anonymous: Polonoise in g 37. *anonymous: Menuetto in D 38. *anonymous: Menuetto in G 39. *anonymous: Polonoise in G 40. *anonymous: Menuetto in G & Trio in g 41. *C.Ph.E. Bach: Polonoise in G BR JUV 2/2 42. *anonymous: Menuetto in G 43.* anonymous: Menuetto in G & Trio in g

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Kleine leichte Clavierstücke verschiedener Art ed. A. Kreutz; short easy pieces form the 2nd half of the 18th century

J.A. Hiller: Musetto; 3 Minuetti J.H. Rolle: Minuetto J.B. Vanhal: Minuetto; Cantabile Ch.G. Neelfe: Arioso J.F. Reichardt: Allegretto; Un poco presto e scherzando G. Benda: 2 sonatinas C.D. von Dittersdorf: Allegro J.G. Krebs: Allegro; Allegro D.G. Türk: Andantino J.W. Hässler: Allegro I-II S. Schmiedt: Vivace

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Kleinmeister der Klassik (ed. P. Donath) M. Clementi: Valse J.W. Hässler: Anglaise J.A. Hiller: Ballet

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J.N. Hummel: Ländler J.Ph. Kirnberger: Vivace F.A. Maichelbeck: Buffone G.M. Monn: Allegretto L. Mozart: Menuett; Morqui A.E. Müller: Larghetto con moto I. Pleyel: Menuett J.F. Reichardt: Der Schmachtende J.A.P. Schulz: Pfingstreihen G.Chr. Wagenseil: Allegro J.G. Witthauer: Larghetto J. Woelfl: Walzer C.F. Zelter: Nur wer die Sehnsucht kennt

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"Leipziger Orgelmusik aus der Thomaskirche", volume I ed. A.M. Gurgel a) A.E. Müller: Adagio in d; Andante in d; Mit schwachen Registern, in a; Für das volle Werk, in G Mit schwachen Registern, in d; Fugiertes Vorspiel für das volle Werk, in C all 6 pieces from his: "Sammlung von Orgelstücken, enthaltend 12 leichte und 6 schwerere Sätze...Erstes Heft", Leizpig, Breitkopf & Härtel, 1798 b) F. Schneider: 6 Trios from his "Handbuch des Organisten. Vierter Theil. Höhere Orgelschule... 48 Orgel-Trios", Leipzig, Brüggemann'schen Verlags-Expedition, 1832; nos. 6, 7, 9, 11, 14 and 35: Allegretto in F; Andantino in Bb; Allegretto in D; Larghetto in A; Adagio in F; Andantino in b c) Ch.Th. Weinlig: 3 chorale preludes from his "Theoretisch-praktische Anleitung zur Fuge, für den Selbstunterricht verfasset und allenthalben durch Notenbeispiele vollständig erläutert...", Dresden, G. Rotter, 1845; from volume II: Jesu, geh voran; Ein Lämmlein geht und trägt die Schuld; Lass mich dein sein und bleiben

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North-German anonymous organ compositions ed. M. Seiffert 1. Fugue, in e (D-Lr KN. 208) 2-4. Praeambula, in G-C-G (D-Lr KN. 207/15) 5. Praeambulum, in F (D-Lr KN. 207/16) 6. Fantasia in c (D-LEm ms. III.8.4) now attributed to J.S. Bach: BWV 1121 (formerly BWV Anh. II 205)

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North-German Chorale Settings from the Baroque Era ed. K. Beckmann 1-3. J. Steffens: 1. Ach Gott, vom Himmel sieh darein 2. Jesus Christus, unser Heila nd 3. Veni redemptor gentium 4. A. Neunhaber: Ich ruf zu dir, Herr Jesu Christ 5. E. Hintz: Allein zu dir, Herr Jesu Christ 6. J. Kortkamp: Herr Gott, dich loben wir 7-8. Chr. Flor: 7. Ein feste Burg ist unser Gott 8. Herr jesu Christ, du höchster Gut 9-10. M. Radeck: Jesus Christus, unser Heiland (2 settings)

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11-13. Chr. Geist: 11. Allein Gott in der Höh sei Ehr 12. Aus tiefer Not schrei ich zu dir 13. Gelobet seist du, Jesu Christ 14-16. D. Erich: 14. Allein zu dir, Herr Jesu Christ 15. Christum wir sollen loben schon 16. Es ist das Heil uns kommen her 17. J.Chr. Schieferdecker: Meine Seele erhebet den Herren Sources: D-B mus.ms. 6473 (9, 10) D-B mus.ms. 40318: Celle organ tablature (1-2) D-B Lynar B 8 (4) D-B Fot.Bü. 129: copies of the lost Plauen organ book (16) D-Czu Ze 1: Zellerfeld tablature (3) D-Lr KN 207 and KN 209: Lüneburg tablatures (6, 7, 8) D=Lüh mus. T 71 / anhang (17) NL-DHgm 4.G.14: Walther manuscript (14) PL-PE 304: Pelplin tablature (5) RUS-KAu Gotthold 15839 (14) S-Uu vmhs 86: 4 (11, 12, 13) US-NH L.M. 4708 (15) Organ Music around J.S. Bach ed. R. Wilhlem

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Volume I: 1. J.C. Altnikol: Ricercare, in C 2. anonymous: Erbarm dich mein, o Herre Gott 3. J. Adlung: Trio, in a 4. J. Adlung: Christus, der ist mein leben 5. H.N. Gerber: Concerto II, in G 6. H.N. Gerber: Freu dich sehr, o meine Seele 7. J.Chr. Kellner: Preludium, in C 8. J.Chr. Kellner: Jesu, meine Freude 9. J.P. Kellner: Wer nun den lieben Gott lässt walten 10. J.C. Kittel: Fantasia, in a 11. J. Ringk: Praeludium, in C 12. J. Schneider: Trio, in a 13. J. Schneider: Mein Gott, das herze bring ich dir 14. J.G. Schübler: Trio, in D Sources: D-B mus.ms. 11544/1 (9) D-B mus.ms. 20089 (13) D-B mus.ms. 30190 (7) D-B mus.ms. 30194 (2, 14) D-B msu.ms. 30334 (11) D-B mus.ms. 30377 (12) D-F Mus.pr. Q 50/382 (8) D-Gb xerox copies of a manuscript in a private collection (4, 6) D-LEm III.8.14 (10) GB-Cfm mu. 78/433 (1) US-NH L.M. 4941 (3)

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1734: H.N. Gerber: "VI Concerttrios", Sondershausen (5)

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Volume II: 1. J. Adlung: Ermuntre dich, mein schwacher Geist 2. anonymous: Ich ruf zu dir, Herr Jesu Christ 3. anonymous: Nun ruhen alle Wälder 4. anonymous: Was Gott tut, das ist wohlgetan BWV Anh. II / 67 5. L. Frischmuth: Jesu, meine Freude 6. H.N. Gerber: Mach mit mir, Gott, nach deiner Güt 7. G.F. Händel: Trio, in g (18th-c. arrangement of the first movement of trio sonata op. 2, no.1) 8. J.W. Hässler: Praeludium fürs volle Werk, in C 9. J.P. Kellner: Praeludium, in C 10. J.Chr. Kellner: Jesu, meine Freude 11. J.P. Kellner: Praeludium und Fuge pro Organo pleno, in C 12. J.P. Kellner: Prealudium pro Organo pleno, in F 13. J.P. Kellner: Praeludium und Fuge pro Organo pleno, n F 14. J.P. Kellner: Prealudium und Fugette pro Organo pleno, in g 15. J.P. Kellner: Meinen Jesum lass ich nicht, in C 16. G. Kirchhof: Ciacona sopra: Ach Herr, mich armen Sünder 17. J.C. Kittel: Praeludium, in Ab 18. J.C. Kittel: So gehst du nun mein Jesu hin 19. J. Ringk: Helft mir Gotts Güte preisen Sources: D-B mus.ms. autogr. Johannes Rinck (19) D-B mus.ms. 30289 (8) D-B mus.ms. 30377 (7) D-B mus.ms. 40037 (16) D-LEm Ms. 4: Heft 3 (2) and Heft 5 (3, 5) US-NH L.M. 4645 (1) US-NH L.M. 4704 (6, 10) US-NH L.M. 4876 (11-15) 1801-1808: J.C. Kittel: "Der angehende praktische Organist" (18) Organ Music of the Era of the Reformation ed. J.H. Schmidt 1-2. H. Buchner: Kyrie Magnae Deus potentiae (verses 1-5); Sancta Maria wohn uns bei 3-6. A. Schlick: Da pacem (3 settings) 7. H. Kotter: Aus tiefer Not 8-9. John of Lublin: De profundis; Deus qui sedes super thronum 10. Mikolaj z Krakow: Ave Jerarchia 11. H. Isaac, intab. Ochsenkuhn: Herr Gott, lass dich erbarmen 12. H. Isaac, intab. Ammerbach: Innsbruck ich muss dich lassen 13. H. Isaac, intab. Nörmiger: O Welt ich muss dich lassen 14. Josquin, intab. Sicher: Tribulatio et angustia

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Organon 86 Fughettas and Versets, ed. K. Wüstfeld containing also later works; only numbers listed within the limits of this catalogue nos.: 3, 21, 25, 28, 35, 43, 63. J. Graetz: in C-G-G-G-D-A-Bb 5, 7, 24, 75, 82. J.C.F. Fischer: in C-C-G-g-c

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8. J.Ch.H. Rinck: in C 9-11, 13, 22, 23, 26, 34, 37, 38, 44-46, 48, 51, 62, 65-68, 70, 72, 73, 77-79. J.E. Rembt: in C-C-a-a-G-G-G-D-D-D-F-F-F-F-d-Bb-Bb-g-g-g-g-g-g-Eb-Eb-Eb 14, 18, 27, 33, 36, 40, 41, 55, 64, 74. Gottlieb Muffat: in a-a-G-e-D-A-A-d-Bb-g 15. J.X. Nauss: in a 16, 17, 19, 32, 42, 81. J.G. Vierling: in a-a-a-e-A-Eb 20. J.S. Bach: in G 31. J. Seeger: in e 47, 80. C. Kolb: in F-Eb 59. G. Pasterwitz: in F (shortened) 52-54, 69. after C. Ett: in d-d-d-g 56. G. Frescobaldi: in d 57. C. de Zachariis: in d 58. F.X. Murschhauser: in d 59. Carissimi: in d 71. J.E. Eberlin: in g 76. D. Zipoli: in g 83-85. G.F. Händel: f-f-f (transposed) Orgel-Meister ed. M. Seiffert

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Volume I all pieces from D-Lr KN 207/15 1-3. J. Praetorius: 3 Praeambula in c-F-d 4-5. M. Schildt: 2 Praeambula, in g-G 6. J. Decker: Praeambulum, in e 7. D. Meyer: Praeludium, in b 8. M. Olter: Canzon, in c 9-10. Chr. Flor: 2 Praeludiua, in e-e 11. P. Siefert: Fantasia a5 Volume II from the Andreas Bach Book, D-LEm III.8.4 12. A. Reincken: Toccata, in G 13. Ch. Ritter: Sonatina, in d Volume III 14. A.M. Bruckhorst: Prelude & Fugue in e (from D-LEm II.2.51) 15. A. Kneller: Prelude & Fugue (from D-B mus.ms. 30439) 16-17. G.D. Leyding: 2 Praeludia in C-Eb (from PL-Kj mus.ms. 40295: Schmahl organ tablature) Volume IV 19. S. Scheidt: Toccata (from D-B GK 1 F 234) 20-21. A. Düben: 2 Praeludia (from D-B Lynar B 3) 22-23. D. Äbel: 2 Praeludia (from D-B Lynar B 3) 24-25. P. Hasse sr.: Praeludium pedaliter, in F (from D-B Lynar B 3) 26-27. W. Karges: Fantasia; Capriccio (comp. with Froberger), in G; Praeludium quarti toni (all from D-B AmB 340: tablature; autograph of Karges?) 27. P. Hasse jr: Praeludium ex d fis con pedale (fragment?) Orgelmusik im Baierischen Raum Cantantibus Organis, vol. 3; ed. E. Kraus 1. anonymous: Praeambulum quinti toni, in C 2. Gottlieb Muffat: Toccata nona mit 6 Versetl, in c

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3. J.E. Eberlin: Praeludium, 6 Versetten und Finale, in D 4. F.X. Murschhauser: Praeambulum, in d 5. abbé G.J. Vogler: Prélude, in Eb: allegro 6a. C. Ett: Praeludium, in E: adagio 6b. J. Grätz: 2 Versette, in E 7. F.A. Hugl: Prélude et 4 Fugae sexti toni, in F 8. C. Kolb: Praeludium, 3 Versi, cadenza octavi toni 9. anonymous: Préambulum secondi toni, in g 10. J.E. Eberlin: Praeludium, 6 Versetten und Finale, in a 11. F.A. Hugl: Fuga ex B, in Bb 12. G.J. Vogler: Prélude, in b: allegro Sources: Manuscript in the collection of the editor; dated 1771, "gehörig K. Kolb" (1, 9) 1703: F.X.A. Murschhauser: "Prototypon longo-breve organicum. Pars I" (4) 1726: Gottlieb Muffat: "72 Versetl sammt 12 Toccaten für Orgel" (2) 1733: "Fugae et canzones necnon toccatae diversae a gnrs.D.Dis. authoribus quibusquam regularibus et approbatis pertinentes ad Carolum Joannem Ernestum Hartmann: aulaemusicum et p.tp. principalis consilli aulici Passaviensis cancellistam", Passau (7, 11) 1733: C. Kolb: "Certamen aonium. Pars prima" (8) 1806: G.J. Vogler: "32 Préludes pour l'orgue" (5, 12) n.d.: J.C. Ett: "Cadenzen, Versette, Präludien und Fugen", München (6a-b) c.1830: J.E. Eberlin: "65 Vor- und Nachspiele, Versetten und Fugen...in den bekannten 8 Kirchen-Tonarten" (3, 10)

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Orgelpräludien vom Barock zur Klassik ed. E. Hofmann 1. J.L. Krebs: Fuge über B-A-C-H: alla breve, in Bb (ed. Weinberger: no. II/23) 2. J.Ph. Kirnberger: Praeludium & Fuge, in C (no. 1 from: "Huit fugues", c.1770) 3. J.F. Greiss: Präludium, in D 4. J.G. Albrechtsberger: Präludium: poco andante, in g 5. J.G. Albrechtsberger: Präludium: adagio, in F 6. J.G. Albrechtsberger: Präludium: adagio, in Eb 7. J.F. Doles: Dir, dir o Höchster will ich singen, in C 8. J.F. Doles: Sollt ich meinem Gott nicht singen, in c 9. J.F. Doles: Ein feste Burg ist unser Gott, in C 10. J.F. Doles: Vom Himmel hoch, da komm ich her, in C 11. K.G. Umbreit: Wie schön leuchtet der Morgenstern: adagio, in F 12. K.G. Umbreit: Moderato, in e (from collection Bindresleben) 13. J.E. Rembt: Fughetta, in F (nos. 13-16 all from: "50 Vierstimmige Fughetten", 1791) 14. J.E. Rembt: Fughetta, in F 15. J.E. Rembt: Fughetta, in g 16. J.E. Rembt: Fughetta, in F

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Österliche Orgelmusik süddeutscher Meister ed. R. Walter 1-5. Five pieces on: Christe ist erstanden: 1. Christus surrexit (from the Buxheim organ book) 2. H. Buchner: Christ ist erstanden, choralis in discantu, pedaliter ( from CH-Bu F.IX.8) 3. J.C.F. Fischer: Ricercar super initium cantilenae Christ ist erstanden ("Ariadne Musica", 1715) 4. J.G. Albrechtsberger: Fuga Christus ist erstanden (no. 1 from: "Tre fughe per l'organo o pianoforte in occasione delle feste di Pasqua, op. XXI", Vienna, 1802)

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5. J.E. Habert (late-19th century): Christ ist erstanden 6. H.L. Hassler: Wach auf, mein Herz, die Nacht ist hin (from: "Psalmen und christliche Gesäng... fugweis componirt", Nürnberg, 1607) 7. G. Erythraeus: Erschienen ist der herrliche Tag (from his: "Psalmen und Lieder", 1608) 8. J. Pachelbel: Christ lag in Todesbanden, in d (from D-B mus.sm. 22541) 9. J. Pachelbel: Jesus Christus, unser Heiland, der den Tod überwand, in D (D-B mus.ms. 22541) 10. anonymous: Freu dich, du werte Christenheit, in D (from: F. Commer: "Musica sacra I", 1839) 11. J. Degen: Freu dich, du Himmelskönigin (from: "Catholisches Gesangbuch", Bamberg, 1628) 12. H. Buchner: Introitus in resurr. Domini: Resurrexi et adhuc tecum sum (choralis in omnibus vocibus, pedaliter) & Gloria Patri in la quarti toni, pedaliter (from CH-Bu F.IX.8) 13. H. Buchner: Kyrie versets (all from CH-Bu F.IX.8): a) Kyrie eleison paschale primum (choralis in tenore et discauntu, manualiter) b) Kyrie tertium (choralis in discantu, manualiter) c) Christe eleison (manualiter) d) Kyrie penultimum (choralis indiscantu; manualiter) e) Kyrie ultimum (choralis in discant et aliis vocibus; manualiter) 14. H. Buchner: Gloria versets (all from CH-Bu F.IX.8): a) Et in terra paschale (choralis in discantu, manualiter) b) Domine Deus, Rex coelestis (manualiter) c) Domine Deus, Agnus Dei d) Qui sedes ad dexteram Patris e) Tu solus Dominus f) Cum Sancto Spiritu 15. H. Buchner: Graduale: Haec dies, quam fecit Dominus / Confitemini Domino, quoniam bonus 16. H. Buchner: Versets on the sequence:Victimae paschali laudes (all from CH-Bu F.IX.8): a) Victimae paschali laudes (choralis in omnibus vocibus, manuaiter) b) Mors et vita duello (choralis in fuga, manualiter) c) Angelicos testes, sudarium, et vestes (manualiter) d) Scimus Christum surrexisse (manualiter) 17. H. Buchner: Sanctus versets (all from CH-Bu F.IX.8): a) Sanctus festive in die resurrectionis (choralis in tenore, manualiter) b) Sanctus Dominus Deus (choralis in tenore) c) Osanna in excelsis primum (choralis in tenore et discantu fugat in quinta) d) Osanna in excelsis secundum (choralis in excelsis secundum (choralis in basso; manualiter) 18. H. Buchner: Agnus Dei versets (from CH-Bu F.IX.8): a) Agnus Dei primum in resurrectione Domini (pedaliter) b) Agnus (Dei) ultimum fugat in octavis (manualiter) 19. G. Muffat: II Alleluja per la Resurrectione (from: "72 Versetl...", 1726) 20. J.G. Albrechtsberger: Fuge über das österliche Alleluja, op. 21/2 (source: as no. 4) 21. J.G. Albrechtsberger: Fuga Ite missa est, alleluja: Allegro moderato, op. 21/3 (source: as 4) 22. I. Assmayer: Fuga Ite missa est, alleluja: Allegro (from A-Wn S.m. 5001) 23. (A. Brumel): Regina caeli laetare (1501) (from the Sicher organ tablature) 24. anonymous: Te Deum laudamus à 4 (1630; from A-Wm XIV.713) 26,-kb.465

Pastoralmusik bayerischer Komponisten des 18. Jahrhunderts ed. O. Biba 1-3. Th. Grünberger: 3 Pastoralstücke: 1. Allegretto in Bb; 2. Allegro e più assai in Eb; 3. Allegro con brio-Andantino-Allegro con brio C 4-7. J.A. Kobrich: 4 Pastorellas in G-D-D-G 8. M. Königsperger: Aria pastorella in G: grave 9-10. G. Schreyer: 2 Pastorellas: Tempo giusto-Moderato in D 11-13. J. Will: 3 Arie pastorelle in E-F-G

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14. L. Zöschinger: Pastorella in F: Allegro Sources: A-Sn XIX.19: organ ms., 2nd half 18th century (9-10) 1723: J. Will: "Musicalische Arbeith und Kurtz-Weil...", Augsburg / Dillingen, widow and heirs of J.C. Bencard: p. 107, 109, 111 (11-13) 1755: Königsperger: "Der wohlunterwiesene Clavier-Schüler...", Augsburg, heirs of J.J. Lotter: pp.40-43 (8) 1758: Kobrich: "Der Clavierspielende Schäfer...theils in Pastorellen...", Augsburg, heirs of J.J. Lotter: nos. 1, 9, 7 and 2 (4-7) 1769: Zöschinger: "Philomela organica...", Augsburg, J.J. Lotter: 2nd and last movement of Parthia no. 5 (14) 1799: Grünberger: "Neue Pastorel-Orgelstücke, 1. Heft", München, M. Falter, ed.no. 17: nos. 3-5 (1-3) Pro Organo et Cembalo 18th-century works from South-German monasteries and churches; ed. G. Weinberger

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volume I: 1-3. Th. Grünberger: 3 Masses in F-A-Bb; nos. 3, 5 and 6 from "Neue Orgelstücke nach der Ordnung unter dem Amte der heiligen Messe zu spielen. Heft 3 / 5 / 6", München, Falter, pl.nos. 2-6 (1787/98) 4-8. G. Hiebler: 5 Schlagstücke in C-c-C-F-F from the Rottenbuch organ book, 1763 (D-Mbs) 9-11. J.H. Knecht: 3 works from his "Vollständige Orgelschule...I-III", 1795-1798: 9. Kleines Flötenconcert 10. Kleines Hoboeconcert 11. Rondomässiges Duett 12. J.H. Knecht: Romanze, in Ab; from: "Neue vollständige Sammlung aller Arten von Vor- und Nachspielen...Heft I-VIII", c.1790 volume II: 13. S. Bachmann: Fuga septima à quatri mani; from his: "X Fugues celebres" (ms. in D-Mbs) 14-18. B. Holzapfel: 5 Schlagstücke in C-Eb-F-A-Bb; from his: "XXIV Clavier- oder SchlagStück, I", 1755 19. I. Kayser: Parthia in Bb; from his: "Concors digitorum discordia...", 1746 20. M.G. Monn: Preludio e Fuga ex D-dur; from his: "Preludj e Fughe..." (ms. in D-B) 21-25. L. Zöschnger: 5 Parthien in C-C ("Der Wachtelrulf")-F ("Die Henne")-C-Bb; from his: "Philomela organica in cymbalis canora...:", 1769 and "Concors digitorum discordia", 1761 South-German organ music for Christmas works from the first half of the 19th century; ed. O. Biba 1. J.C. Aiblinger: Pastorale (c.1815) 2-3. K.F. Pitsch: Preludes nos. 2 and 4 from: "6 Pastoral-Präludien mit obl. Pedal, op. 7/I", c.1838 4-5. J.B. Schiedermayr: Preludes nos. 3 and 5 from: "6 Orgelstücke, op. 76", 1827 6. S. Sechter: Fuga pastorella a 3 voci, in g (c.1827) (7. R. Führer) Sweelinck School: Chorale Arrangements & Free Organ Works ed. Moser / Fedtke volume I: 1. H. Scheidemann: Praeludium, in c 2. D. Äbel: Praeludium & Fuga, in d (the fugue is actually by S. Lohet) 3. A. Düben: Praeludium ex E vel A pedaliter

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4. A. Düben: Wo Gott der Herr nicht bei uns halt 5. W. Karges: Vater unser im Himmelreich 6. W. Karges: O Mensch beweine deine Sünde gross 7. P. Siefert: Nun komm der Heiden Heiland 8. P. Siefert: Puer natus in Bethlehem sources: D-B Lynar B 1 (4, 7, 8) and B 3 (1-3, 5, 6) out of print volume II: 1. A. Düben: Erstanden ist der heilige Christ: chorale & var. 2. G.W. Druckenmüller: Nun lobe meine Seele den Herren: chorale fantasia 3. J. Lorentz: Herr Christ, der eingi Gottes Sohn 4. J. Lorentz: Vater unser ilm Himmelreich: 2 vars. 5. J. Lorentz: Praeludium dorisch 6. J. Lorentz: Fantasia, in C 7. H. Scheidemann: Toccata uaf 2 Clavier manualiter 8. J.Pz. Sweelinck: Praeludium pedaliter 9. J.Pz. Sweelinck / S. Scheidt: Paduana Hispanica 10. J.Pz. Sweelinck: Fantasia & Fuga "auff die manier von ein Echo" sources: D-B Lynar B 1 (1, 2, 10), B 3 (3-6, 8) and B 6 (7) D-Bgk 52 (9)

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Sweelinck School: Variations on Songs and Dances ed. W. Breig 1. anonymous: Die flichtig Nimphae 2. Niederlendisch Liedgen (by S. Scheidt?) 3. Französisches Liedlein (by S. Scheidt) 4. P. Siefert: Paduana 5. M. Schildt: Gleich wie das Feuer 6. M. Schildt: Paduana lachrymae 7. anonymous: Paduana lachrymae (by H. Scheidemann?) 8. H. Scheidemann: Galliarda ex D 9. H. Scheidemann: Englische Mascarata oder Judentanz 10. "M.W." ( = M. Weckmann?): Lucidor einst hüt't der Schaf sources: A-Wm XIV.714 (7, 9) D-B Lynar A 1 (1) D-W mus.ms. 227 (2) DK-Kk appendix in manuscript supplement to Voigtländer's "Oden und Lieder", 1642 (3, 5, 6) S-Uu imhs. 408 (4, 8)

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Sweelinck School: 20 Variatons on "Allein Gott in der Höh sei Ehr" ed. Moser / Fedtke Variations on "Allein Gott in der Höh sei Ehr" frm D-B Lynar B 1 by: Jacob Praetorius (4), A. Düben (5), P. Hasse I (2), Gottfried Scheidt (6) , S. Scheidt (1) and W. Karges (2)

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Three Musical Circles 3 works that run through all keys; ed. Rudolf Rasch 1. J.D. Heinichen: Un poco allegro, ma cantabile; from his "Der General-Bass in der Composition", Dresden, 1728

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2. G.A. Sorge: Toccata per omnem circulum; from D-LEm ms. III.8.64 3. J.Ph. Kirnberger: "Musikalischer Circul für das Clavier, die Violine oder Flute traversiere"; from an undated printed double leaf (unique copy at D-HEms); in spite of the title, this piece is hardly fit for performance on either violin or flute with a bass

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Thirteen Late-18th century Organ Fugues on B-A-C-H ed. F. Friedrich 1-3. G.A. Sorge: "Drey Fugen über den Nahmen BACH gesetzet von G.A. Sorge, Hoforg. zu Lobenstein" (GB-Lbl Add. 31307; D0B mus. 20901, 30069 and Bach P 721) 3 fugues in C-C-c BWV Anh. II/107, 108 and 110 4. J.-P. Kellner: "Fuga B# über den Nahmen Bach" WV O 10:01 B-Bc U 6322 MSM 5. B.Ch. Weber: Praeludium & Fugue in g; from B-Bc U 28:37 (autograph his "Das wohl temperirte Clavier oder Praeludia und Fugen durch alle Tone und Semitonia...") 6. J.L. Krebs: "Fuga Thema B.A.C.H.; in Bb (D-B mus.ms. 12034, 30112 and 30387; A-Wn mus. S.m. 23975) 7. C.Ph.E. Bach: "Fughette über CFEBACH" in Bb Wq 121 / H 285 (B-Bc 5895 MSM) 8. J.Chr.F. Bach: "Fughette über HCFBACH" in C (D-B mus.ms. Bach P 291) 9. J.Chr. Bach: "Fuge über BACH" in F CW YA 50 / Terry 348/4 (anonymous in: "Opere scielte d'alcune sonate et altri pezzi di galanteria per il cembalo solo dei compositori tedeschi et italiani, op. 1", Nürngberg, Haffner, 1756 10. J.G. Albrechtsberger: "Fuga in G.mol" (autograph: A-Wn mus. 19236) 11. J.H. Knecht:: "Fuga. Das Thema von dem Namen Bach genommen und neu bearbeitet" (autograph: D-Biberach: Wieland Museum WA 3810; D-B mus. Bach P 313 and P 615; D-DS mus. 1320: attrib. to J.Chr. Bach) 12. anonymous: "Contrapunctus alla decima über BACH" BWV Anh. II 109 (D-B mus.ms. Bach P 308) 13. J.S. Bach: "Praeludium und Fuge B-dur über den Namen BACH" BWV 898 (D-B mus.ms. Bach P 291)

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Twenty-five Praeambula of the 15th and 16th centuries ed. A. Reichling 1-2. Preludes in C-D 3-4. Preludes in d-F 5-7. Preludes in d-d-F 8-12. Preludes in d-d-G-g-a 13-14. Preludes in e-g 15-17. Preludes in D-d-d 18. Ch. Erbach: Prelude 19-21. Preludes in d-e-a 22-25. Preludes in C-d-e-F from D-Eru 554 from D-Mbs Cim.352b: Buxheim organ book from CH-Bu F.IX.22: Kotter tablature from D-B mus.ms. 40026: the Kleber tablature from CH-Bu F.IX.49: tablature of S. Mareschall from D-Mbs mus.ms. 1581 from D-Mbs mus.ms. 1581 from I-Tn Giordano 2 (by A. Gabrieli?) from I-Tn Giordano 1

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Vor- und Nachspiele für Orgel manualiter ed. E. Hofmann 1. F.X. Richter: Präludium, in C 2-3. J.B. Vanhal: 2. Praeludium: andante, in C 3. Praeludium: andante, in c 4-5. S. Wesley:

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4. Voluntary, in e/E: Slow: diapasons-Chearful, not brisk-Diapasons and principal-Add the 16th stop- Add the 12th stop 5. God save the King, in D 6-9. A.-P.-F. Boëly: 6. Offertoire: allegro moderato, in Bb 7. Trio. Dessus de cromorne et basse de tierce: moderato, in g 8. Allegro fugato, in c 9. Fughetta, in C (10. J.-N. Lemmens: Fuguette: allegro, in C)

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Weihnachtliche Claviermusik ed. R. Wilhelm 1. P. Siefert: Puer natus in Bethlehem (with 8 variations) 2. S. Scheidt: Puer natus in Bethlehem SSWV 447 3a-b. V. Rathgeber: 2 Pastorellen 4. S. Scheidt: In dulci jubilo 5. anonymous (16th c.): In dulci jubilo 6. anonymous (16th c.): Resonet in laudibus 7a-b. Th. Grünberger: 2 "Neue Pastoralstücke": Andantino & Allegro con brio 8. F.X.A. Murschhauser: Lasst uns das Kindlein wiegen: variationes per imitationem cuculi (with 6 variations) 9. F.X.A. Murschhauser: Aria pastoralis variata (with 7 variations) 10. J.L. Krebs: Vom Himmel hoch da komm ich her 11. S. Scheidt: Vom Himmel hoch da komm ich her Sources: CH-SGs Cod. 530: Sicher tablature (5, 6) D-B ms. autogr. J.L. Krebs 5 (10) D-B Lynar B 1 (1) 1650: Scheidt: "Tabulaturbuch hundert geistlicher Psalmen", Görlitz (2, 4, 11) 1696: Murschhauser: "Octi tonium novum organicum" (8, 9) 1743: Rathgeber: "Musikalischer Zeitvertreib", Hannover (3a-b) 1982: Grünberger:"Neue Orgelstücke", ed. Scarpat (7a-b)

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VI. GREAT BRITAIN

IRELAND

NORTH AMERICA

a) Manuscripts:

Alphabetical list of quoted manuscripts with special titles:

John Blow's Anthology Priscilla Bunbury's Virginal Book Dublin Virginal Manuscript Elizabeth Edgeworth Harpsichord Book Fitzwilliam Virginal Book Clement Mattchett's Virginal Book Mulliner Book Peter Pelham Manuscript Elizabeth Rogers her Virginal Book Tisdale's Virginal Book Tomkins holograph

B-Bc 15418 GB-Bunbury IRL-Dtc 410/2 B-Bc 15418 GB-Cfm mu. 168 GB-En 9448 GB-Lbl Add. 30513 US-WGw GB-Lbl Add. 10337 GB-Cfm mu. 782 F-Pn Rés. 1122

B-Bc 15418 The Elizabeth Edgeworth Harpsichord Book (John Blow's Anthology) This manuscript was compiled by John Blow (1700-1708) and inscribed by his daughuter, Elizabeth Edgeworth (1719); 20 works: J.J. Froberger: Suite, no. 18 in ed. Adler vol.II, transposed; Fantasia on Sol La Re, FbWV 204; Ricercar FbWV.407; Fantasia FbWV.202; Capriccios ed.Adler nos. 9 and 10: first sections only; 8 Toccatas: FbWV. 101 - 102; ed. Adler nos. 13 - 18 J.C.F. Fischer: from "Musicalisches Blumen-Büschlein", 1698: Chaconne from suite no. 8; Prelude and Ballet from suite no. 2; Prelude and Aria with variations from suite no.5; Suite no. 6 N.A. Strungk: Capriccio in F J. Blow: the (incomplete) Ground in e Editions: ° Facsimile edition of the manuscript; hardback ° ed. Th. Dart as "John Blow's Anthology" D-B Lynar A 1 Manuscript compiled c.1630 by Matthias Weckmann, containing 81 keyboard pieces. Edition: · 12 English pieces from this manuscript (nos. 5-8, 10 and 12 are unica ): 1. J. Bull (or G. Farnaby): Bonni swet Robin B.1620 2. G. Farnaby: Kempes Moris B.1649 3. R. Farnaby: Fleet Street ( = Nobody's Gigge) B.1671 4. (O. Gibbons): (The Queene's Command) B.1762 5. (Corant) B.15

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6. (Masque) B.16 7. (J. Bull?): O Neybour Robert B.834 8. (J. Bull?): Robin B.941 9. (B. Cosyn): A Toy B.1520 10. (Corant) B.17 11. J. Bull: (My Grief) B.1269 12. L. Woodson: Malle Siemon B.2377 ° ed. P. Dirksen ("The Lynar virginal book") F-Pn Rés. 1122 The Tomkins Holograph 75 Pieces, in the hand of Thomas Tomkins, for organ and harpsichord; ca. 50 pieces by himself, but including as well pieces by Bull (11) and Byrd (5) and some reductions of cnsort music. Notes Tomkins family. The second part of the manuscript is unique for this period: a composer's document containing many corrections, revisions and sketches. Here are listed only the numbers as given to these works in the catalogue of V. Brookes (see bibligraphy); see for titles under the names of the composers. by J. Bull: B.1249-1256 and 1258-1260 (all: In Nomines) by W. Byrd: B.1357, 1359, 1366 (all 3: fantasias); 1473 (Ut re mi fa sol la); 1474 (Verse) by Th. Tomkins: B.2238, 2239, 2242-2250, 2253-2259, 2262-2269, 2274-2280, 2282-2287, 2291, 2292, 2294-2299, 2301, 2307 Edition: ° Facslimile of the manuscript; introduction by F. Lesure GB-Bunbury Priscilla Bunbury's Virginal Book Manuscript (c.1635-1640); in the library of the late Roger Lancelyn Green, Poulton Hall, Poulton-Lancelyn, Bebington, Wirral; most pieces are meticulously fingered. B = no. in the catalogue by V. Brookes (see bibliography) 1. O. Gibbons: no title (Whoop, do me no harm good man) B.1764 2. The white Ribbin B.1081 3. The friends Good Night B.565 4. (O. Gibbons): The Celebran B.1763 5. A Jigg (short setting) B.680 6. Put up thy dagger Jemmy B.924 7. Money is a Gallant thinge B.792 8. Rappaks Jig (long setting) B.680 9. The Maukin B.777 10. George B.598 11. La Holland B.630 12. Mrs. Prissilla Bunbure hir Delight B.796 13. O. Gibbons: Almaine B.1750 14. R. Jewett: no title B.1826 15. (O. Gibbons): A Maske (Alman) B.1703 16. Berchen Greene Hollan B.389 17. A French Lesson B.563 18. Swinnertons Almaine B.363 19. A Maske B.707 20. Coranto B.419 21. (S. Ives): The Buildinges B.1811

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22. R. Jewett: Chrutons farwell B.1828 23. R. Jewett: Almaine B.1827 24. (O. Gibbons): Grayes Inn Maske B.1746 25. The new Rant B.814 26. The parson of the parrish B.841 27. Captaine Owens Delight B.406 28. R.H. (R. Hall): A horne pipe B.1771 29. W. Byrd: The Battle B.1343 30. (S. Ives): The buildinge (other setting of B.1811) 31. R. Hall: Frogg galliard B.1770 32. R. Hall: The Pleasing Widdow B.1774 33. R. Hall: Mock widdow B.1772 34. (R. Hall): My Choyce is made and I desire no change 35. The nightingaill B.816a Edition: · nos. 1-35: ° ed. V. Brookes GB-Cfm mu. 168

B.1773

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Fitzwilliam Virginal Book

olim 32.G.29. This manuscript (1609-1619) compiled by Francis Tregian during his stay in prison, contains 297 keyboard pieces (some wrongly ascribed; 37 are anonymous): by W. Blitheman, J. Bull (49), W. Byrd (72), B. Cosyn (2), G. Farnaby (50), R. Farnaby (4), Galeazzo, O. Gibbons (3), E. Hooper (2), W. Inglot (2), E. Johnson, R. Johnson II (2), Marchant, Th. Morley (7), J. Mundy (5), Th. Oldfield, J. Oystermayre, R. Parsons, M. Peerson (4), P. Philips (19), G. Picchi, F. Richardson (8), N. Strogers, J.Pz. Sweelinck (4), Th. Tallis (2), W. Tisdale (5), Th. Tomkins (6), F. Tregian and Th. Warrock (2); 37 anonymous pieces, on alphabet of titles: 7 Almains; Barafostus' Dream; Can shee (excuse); 9 Corrantos; Daunce; Galiarda; The Irish Dumpe; The Irish Ho-Hoane; The King's Morisco; Lady Riche Corranto; Mall Sims; Martin sayd to his Man; Muscadin; Nowel's Galliard; Pakington's Pownde; Praeludium El. Kiderminster; 4 Preludes; 2 Toys; Watkins Ale;Why aske you; two pieces without title. These anonymous pieces correspond, in the same order, to the following nos. in the catalogue by Brookes: B.308-314, 379, 403, 420-426 (2 twice: 420 and 423), 489, 567, 657, 659, 690, 476, 737, 741, 798, 588, 839, 875, 871-874, 1024-1025, 1071, 1085, 18-19. Numbered list of contents (order of the manuscript): B = number in the catalogue by V. Brookes (see bibliography) 1. J. Bull: (no title) (Walsingham) B.1323 2. J. Mundy: Fantasia B.1980 3. J. Mundy: Fantaisa (Faire wether; Lightning; Thunder; A cleare day) B.1981 4. F. Richardson: Pavana B.2123 5. F. Richardson: Variatio (to no.4) B.2126 6. F. Richardson: Galliardo B.2120 7. F. Richardson: Variatio (to no.6) B.2127 8. W. Byrd: Fantasia B.1358 9. Th. Morley: Goe from my window B.1970 10. W. Byrd: John come kiss me now B.1416 11. J. Bull: Galliarda to my L. Lumleys Pavana B.1231 12. Th. Morley: Nancie B.1971 13. J. Bull: Pavana B.1291 14. Alman B.308 15. J. Mundy: Robin B.1983 16. Mal Sims B.736

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17. J. Bull: Gagliarda B.1246 18. Barafostus' dreame B.379 19. Muscadin B.798 20. Alman B.309 21. Galiarda B.567 22. Praeludium B.871 23. Praeludium, El. Kiderminster B.875 24. (W. Byrd): Praeludium B.1463 25. Praeludium B.872 26. The Irish Ho-hoane B.659 27-28. F. Richardson: Pavane & Variatio B.2124 & B.2128 29-30. F. Richardson: Galiardo & Variatio B.2121 & B.2129 31-32. J. Bull: Quadran Pavan & Variation & Variation B.1285-B.2187 33. J. Bull: Galliard to the Quadran Pavan & (Variation) & (Variation) B.1236-B.1238 34-35. J. Bull: Pavana & Galiard to the pavana B.1282 and B.1227 36. J. Bull: St. Thomas Wake B.1242 37. J. Bull: In nomine B.1260 38. J. Bull: (Veni redemptor) B.1320 39. G. Farnaby: Pavana Rob. Johnson sett by G.F. B.1652 40.(O. Gibbons): The woods so wild B.1765 41. J. Bull: Pavana of my L. Lumly B.1283 (forms pair with no.11: galiard) 42. J. Mundy (attrib.): Goe from my window ( = no.9 by Morley; only variation no. 8 is peculiar to this version) B.1970 43. J. Bull: Praeludium B.1293 44. J. Bull: Gloria tibi Trinitas B.1259 45. J. Bull: Salvator mundi B.1310 46-47. J. Bull: Galliarda & Variatio B.1240-B.1241 48. J. Bull: Galliard to the pavan B.1537 (attr. tu B. Cosyn in GB-Lbl R.M. 23.1.4) 49. Th. Oldfield: Praeludium B.1988 50. J. Blitheman: In nomine B.1120 51. J. Bull: Ut re mi fa sol la B.1317 52. W. Byrd: Fantasia B.1359 53. G. Farnaby: The King's Hunt B.1642 54. G. Farnaby: Spagnioletta B.1662 55. G. Farnaby: For 2 virginals B.1618 56-57. W. Byrd: Passamezzo pavan & Galiarda B.1457 and B.1397 58. W. Byrd: The Carmans whistle B.1347 59. W. Byrd: The hunt's up B.1410 60. W. Byrd: Treg(ian's) Ground B.1409 61-62. W. Byrd: Monsieurs Alman & Variatio B.1339 and B.1340 63. W. Byrd: Alman B.1335 64. W. Byrd: Sellingers Round B.1464 65. W. Byrd: Fortune B.1367 66. W. Byrd: O mistris myne B.1429 67. W. Byrd: The woods so wild (1590) B.1477 68. W. Byrd: Walsingham B.1476 69. W. Byrd: The bells B.1344 70-72. P. Philips: Tirsi di L. Marenzio intavolata di P. Philippi, 1a / 2d / 3a parte (Tirsi / Freno / Cosi moriro) B.2028, 2009 and B.2001 73. P. Philips: Fece da voi a6 B.2008 74. P. Philips: Pavana Paggett B.2025 75. P. Philips: Galiarda B.2015 76-77. P. Philips: Passamezzo Pavana & Gagliarda, 1592 B.2026 and B.2017

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78. P. Philips: Chi fara fede al cielo, di A. Striggio B.2000 79. P. Philips: Bon jour mn cueur di Orlando, 1602 B.1999 80-81. P. Philips: Pavana dolorosa & Galiarda dolorosa, 1593 B.2024 and B.2017 82. P. Philips: Amarilli di Julia Romano, 1603 B.1997 83. P. Philips: Margott laborez B.2020 84. P. Philips: Fantasia B.2004 85. P. Philips: Pavana, 1580 B.2022 86. P. Philips: La Rossignuolo, 1592 B.2027 87. P. Philips: Galliardo B.2016 88. P. Philips: Fantasia, 1582 B.2005 89. N. Stro(w)gers: Fantasia B.2188 90. M. Peerson: Alman B.1991 91-92. W. Byrd: Pavana Bray & Galiarda B.1451 and B.1370 93-94. W. Byrd: Pavana Ph. Tr(egian) & Galiarda B.1458 and B.1371 95. G. Picchi: Toccata B.2030 96. J.Pz. Sweelinck: Praeludium Toccata I B.2195 97-98. Th. Warrock: Pavana & Galiarda B.2336 and B.2334 99. Galeazzo: Praeludium B.1688 100. W. Byrd: Praeludium to ye Fancie (to no.52) B.1464 101. W. Byrd: Ut re mi fa sol la B.1472 102. W. Byrd: Ut mi re B.1471 103. W. Byrd: Fantasia B.1360 104. W. Byrd: All in a garden green B.1334 105. "Fre" ( = Francis Tregian?): Heaven and earth B.1685 106. J. Bull: Praeludium B.1294 107. (J. Bull): Veni (redemptor gentium) B.1321 108. J. Bull: Fantasia B.1200 109. Th. Tallis: Felix namque, 1562 B.2205 110. Th. Tallis: Felix namque, 1564 B.2206 111. (no title) B.18 112. G. Farnaby: Daphne B.1622 113. G. Farnaby: Pawles Wharfe B.1658 114. G. Farnaby: Quodlings delyte B.1661 115. J. Bull: Praeludium B.1295 116. J. Bul: Praeludium B.1306 117. Praeludium B.873 118. J.Pz. Sweelinck: ut re mi fa sol la a 4 voci B.2197 119. J. Bull: In nomine B.1257 120. Praeludium B.874 121. J. Dowland, set by W. Byrd: Pavan lachrymae B.1455 122. J. Harding, set by W. Byrd: Galiarda B.1393 123. Th. Tomkins: Pavana I B.2273 124. Th. Morley: Fantasia b.1965 125. J. Bull: Christe redemptor B.1178 126. W. Byrd: The maydens song B.1421 127. G. Farnaby: Put up thy dagger Jemy B.1660 128. G. Farnaby: Bonny sweet Robin B.1620 129. G. Farnaby: Fantasia B.1623 130. Th. Tomkins: A Grounde B.2260 131. Th. Tomkins: Barafostus dreame B.2237 132. Th. Tomkins: The hunting galliard B.2251 133. W. Byrd: Quadran pavan B.1459 134. W. Byrd: Gallaird to the Quadran pavan B.1398

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135. J. Bull: The Kings Hunt B.1263 136. J. Bull: Pavana B.1274 137. J. Bull: Galiarda B.1217 138. J. Bull: Dr. Bulls Juell B.1270 139. J. Bull: The Spanish pavan B.1289 140. W. Byrd (here attr. to Parsons): In nomine B.1413 141. G. Farnaby: Wooddy-cock B.1667 142. J. Bull: The Duke of Brunswicks alman B.1167 143. J. Bull or G. Farnaby?: Rosasolis B.1309 144. J.Pz. Sweelinck: Psalm 3 B.2196 145. R. Johnson II: Alman B.1835 146. R. Johnson IIL A(l)man B.1833 147. R. Johnson II, set by G. Farnaby: Alman B.1617 148. G. Farnaby: The new Sa-hoo B.1650 149. R. Farnaby (son to G. Farnaby)L Nobodyes gigge b.1671 150. W. Byrd: Malt's come down B.1422 151. (W. Byrd?): Praeludium B.1465 152. Th. Morley: Alman B.1962 153. Th. Morley: Pavana B.1973 154. Th. Morley: Galiarda B.1966 155. W. Byrd: La Volta B.1417 156. W. Byrd: Alman b.1336 157. W. Byrd: Wolseys Wilde B.1478 158. W. Byrd: Calino Casturame B.1345 159. W. Byrd: La Volta: Lady Morley B.1418 160. W. Byrd: Rowland B.1419 161. Why ask you B.1985 162. W. Byrd: The Ghost B.1400 163. W. Byrd: Alman B.1337 164. W. Byrd: Galiard B.1372 165. W. Byrd: Pavana B.1430 166. W. Byrd: Galiarda B.1373 167. W. Byrd: Pavana; in margin: "the first that ever hee made" B.1431 168. W. Byrd: Galiarda B.1375 169. W. Byrd (here attr. to Th. Morley): Pavana B.1432 170. Th. Morley: Galliarda B.1967 171. W. Byrd: The Queens alman B.1341 172. W. Byrd: Medley B.1423 173. W. Byrd: Pavana B.1433 174. W. Byrd: Galliarda B.1375 175. W. Byrd: Miserere 3 parts B.1349 176. W. Byrd: Miserere 4 parts B.1350 177. Pakingtons Pownde B.839 178. The Irish Dumpe B.657 179. Watkins Ale B.1071 180. W. Byrd: A Gigg; in margin: "F.Tr." B.1415 181. M. Peerson: Pipers paven B.1993 182-183. J. Bull: Pipers galliard & Variatio ejusdem B.1233-B.1234 184. J. Bull: Praeludium D B.1307 185. J. Bull: Galiarda B.1216 186. J. Bull: Galiarda B.1225 187. Marchant: Almanda B.1937 188. Can shee (excuse) B.403

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189. J. Bull: A Gigge. Doctor Bulls my selfe B.1272 190. J. Bull: A Gigge B.1269 191. W. Byrd: Sr. John Grayes galiard B.1399 192. J. Bull: Praeludium B.1296 193. A Toy (almost identical to no. 204) B.420 194. G. Farnaby: Giles Farnabys dreame b.1637 195. G. Farnaby: His Rest Galliard B.1669 196. G. Farnaby: His humour B.1639 197. R. Farnaby: Fain would I wedd B.1669 198. G. Farnaby: Maske B.1645 199. G. Farnaby: A Maske 200. An Almain B.310 201. (B. Cosyn): Corranto B.1520 202. Alman B.311 203. Corranto B.1708a; variant of O. Gibbons' corranto B.1708 204. Corranto (almost identical to no. 193) B.420 205. Corranto B.421 206. Dance B.489 207.Th. Tomkins: Worster Braules B.2310 208. G. Farnaby: Fantasia b.1624 209. G. Farnaby: Maske B.1647 210. J. Bull: Praeludium B.1297 211. (no title) B.19 212. Martin sayd to his man B.741 213. W. Tisdale: Almand B.2230 214. W. Tisdale: Pavana Chromatica; in margin: Mrs. Katherin Tregians Paven 215. J. Bull: Ut re mi fa sol la B.1318 216. W. Byrd: Gipsies Round B.1407 217. J.Pz. Sweelinck: Fantasia B.2194 218. W. Byrd: Corranto B.1352 219. W. Tisdale: Pavana Clement Cotton B.2234 220. W. Tisdale: Pavana B.2232 221. Corranto B.422 222. E. Hooper: Alman B.1800 223. Corranto (see also no. 264) B.423 224. Corranto B.424 225. Corranto B.425 226. Corranto B.426 227. Alman B.312 228. E. Hooper: Corranto B.1902 229. G. Farnaby: Fantasia b.1625 230. G. Farnaby: Loth to depart B.1643 231. G. Farnaby: Fantasia B.1626 232. G. Farnaby: Fantasia B.1627 233-234. G. Farnaby: (no title) B.236-B.237 235. G. Farnaby: Walter Earls Pavan B.1657 236. G. Farnaby: (no title) B.1630 237. G. Farnaby: Fantasia B.1631 238. G. Farnaby: Fantasia B.1632 239. G. Farnaby: The L. Zouches Maske B.1648 240. G. Farnaby: Grounde B.1638 241. W. Byrd: Coranto B.1351 242. G. Farnaby: Up T(ails) all B.1665

B.2233

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243. E. Johnson: Johnsons medley B.1829 244. Nowels Galiard B.588 245. G. Farnaby: Tower Hill B.1664 246. G. Farnaby: Praeludium B.1659 247. The Kings Morisco B.690 248. R. Farnaby: A Duo B.1668 249. Alman B.313 250. W. Inglot: A Galliard Ground B.1808 251. W. Inglot: The Leaves bee greene B.1809 252. W. Byrd: Pavana B.1434 253. W. Byrd: Galiard B.1376 254. W. Byrd: Pavana B.1435 255. W. Byrd: Galiarda B.1377 267. W. Byrd: Pavana B.1436 257. W. Byrd: Pavana Fant. B.1437 258. W. Byrd: Galiarda B.1378 259. W. Byrd: The Earl of Oxfords Marche B.1343a 260. J. Oystermayre: Galiarda B.1989 261. W. Byrd: Fantasia B.1356 262. J. Bull: The Duchess of Brunswicks Toye B.1194 263. A Toye B.1024 264. Corranto (almost identical to no. 223) B.423 265. Corrento Lady Riche B.476 266. (G. Farnaby): Corranto B.1621 267. G. Farnaby: Jigg B.1641 268. A Toy B.1025 269. G. Farnaby: Galiardo B.1635 270. Th. Tomkins (here attr. to G. Farnaby): A Toye B.2290 271. M. Peerson: The Primerose B.1994 272. M. Peerson: The fall of the leafe B.1992 273. G. Farnaby: Farnabys conceit B.1634 274. Allemande B.314 275. W. Byrd: Pavana Canon, 2 pts. in one B.1438 276. W. Byrd: Peascodd time B.1461 277. E. Johnson, set by W. Byrd: Pavana Delight B.1452 278. E. Johnson, set by W. Byrd: Galiarda b.1379 279. J. Bull: Miserere 3 pts. B.1265 280. G. Farnaby: Tell me Daphne B.1663 281. G. Farnaby: Mal Sims B.1644 282. J. Mundy: Mundays joy B.1982 283. G. Farnaby (set by): Rosseters Galiard B.1636 284. G. Farnaby: The flatt pavan B.1655 285. G. Farnaby: Pavane B.1653 286. G. Farnaby: Why aske you B.1666 287. G. Farnaby: Farmers Pavan B.1654 288. (J. Bull): Dalling Alman B.1166 289. G. Farnaby: The old Spagnoletta B.1651 290. J. Dowland, set by G. Farnaby: Lachrimae Pavan B.1656 291. J. Bull (here: set by G. Farnaby): Meridian Alman B.1168 292. O. Gibbons: (no title; Pavan Lord Salisbury) B.1754 293. G. Farnaby: Muscadin B.1649 294. W. Byrd: Lady Monteagles Pavan B.1456 295. W. Tisdale: Galiarda B.2231

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296. G. Farnaby: Fantasia B.1633 297. R. Farnaby: Hanskin B.1670 Editions: · nos. 1-297: ° Reprint of th edition in 2 volumes (1899) by J.A. Fuller Maitland and W. Barclay Squire: kb.237a volume I: nos. 1-109 kb.237b volume II: nos. 110-297 · nos. 14, 19, 26, 87, 90, 145, 146, 161, 179, 180, 188, 193, 197, 200, 202, 203, 205, 211, 222, 226, 228, 244, 271, 272: kb.238 ° Selection of 24 pieces; ed. Th. Dart GB-Cfm mu. 782 Tisdale's Virginal Book Manuscript bound for John Bull, c.1600, with additions up to the late 17th century. Contents of the 124 folios: ff. 1-74: transcriptions a5 of Italian madrigals; not included in ed. Brown ff. 74v-98: the 20 pieces listed below ff.98v-124: vocal music, psalms and prayers; not included in ed. Browun The main keyboard section, perhaps in the hand of William Tisdale, contains the following pieces: (B = no. in catalogue by V. Brookes) 1. W. Randall: Jonsons Medley B.2054 2. Dowlands Lachrimae, out of my cosine Maryes booke B.857a 3. no title (a section of the repeat to strain 5 of Johnsons Medley) B.2054 4-5. W. Tisdale: pieces without title B.2228 and B.2229 6. W. Randall: Mr. Newmans Pavan B.2056 7. J. Marchant: Pavane B.1940 8. Galliard can she excuse and may serve to lachrymae B.580 9. W. Byrd: Corrigiter: or ye old hunts upp ( = The hunt's up) B.1410 10. W. Randall: Dowlands Lachrimae sett by Mr. Randall B.2055 11. Passmezo d'italie B.858 12. Galliard del passmezo B.589 13. Susanne un jour a 5 voc. (with text) B.1007a 14. W. Byrd: Pavane B.1458 15. Th. Morley: Pasmeasz Pavan B.1974 16. Pavan Mr. Morley: sett by Mr. Heyborne B.1972 17. Th. Morley: The Galliard to the Pavan before B.1968 18. Paules Wharf B.844 19. R. Johnson: Pavana B.1839 20. J. Holmes: Pavan: Robin Smarts Delight Edition: · nos. 1-20: ° ed. A. Brown GB-Chogwood M 1471 "fitt for the Manicorde" English collection of keyboard music, ca. 1680; manuscript in the private collection of Christopher Hogwood ( M 1471); formerly in the possession of Thurston Dart. 1-1b. (Almand & Variation) in C 2-2b. (Almond & Variation) in C 3. (Air) in G 4. (Air) in G

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5. (Jigg) in G 6-9b. Suite in G: (Almand)-(Jigg-Almaine)-(Almand, by J. Roberts?)-(Corant and Variation by J. Roberts?) (no. 6 = French Balletto in Eliz. Rogers' virginal book: no. 7; no. 8, 9 and 9b as in GB-Och 1177, attrib. to Roberts by C. Bailey) 10-12b. Suite in d: (Corant & Variation by La Barre)-(Jigg & Variation)-(Corant & Variation) (nos.10-10b as by La Barre in D-B Lynar A-1 and I-Rvat Chigi Q IV 24) 13-16b. Suite in d: Prelude-Allemande-Courante-Sarabande & (Variation) 17-21. Suite in C: (Prelude)-(Almand)-(Corant)-(Sarabanda & Variation)-(Bergamask) 22. (Air) in G 23. (Gavotte) in C (by Lully = chorus "La beauté la plus sévère" from: Atys) 24. (Sarabande) in Bb 25. (Courante) in C 26-26b. (Sarabande & Variation) in G 27. (Almand) in D 28. An Overture, which the organist of Chichister desired to have set) in c (from Th. Farmer's "A consort of muscik in 4 parts", 1686) 29-30b. Suite in C: An Allemande-A Courante-A Variation 31-33. Suite in G: An Allemande-A french Eare-A variation-An Eare or a Courante (no. 33 = Coranto la Chabotte in "Musick's Hand-maid", 1663) 34-36b. Suite in D: An Allemande-A Courante-A Variation-A litle courant (sarabande?)-Variation 37-38b. Suite in d: An Allemande-A Courante & Variation (by La Barre) (nos.38-38b as by La Barre in GB-Och 1236 & US-NYp Drexel 5611) 39-41. Suite in F: An Allemande & Variation-A Courant-A Courante 42. An Allemande fitt for the Manicorde in c 43. An Allemande fitt for the Manicorde in c 44-45b. Suite in a: A short Eare in way of a Prelude, to be play'd before the other Eare-An Eare & Variation 46. A Courante in b 47-49. Suite in C: An Eare or Allemande-An Eare-An Eare 50. Corrantt in d 51. (Hornpipe) in d 52. (Sarabande) in g 53. Jigg in D 54. (Trumpet Air) in C 55. (Variations on La Follia) in d 56. (Variations on a ground) in d 57. Prayse ye our Lord God on strings and Organs. Psalme 150, v. 4 in C 58. Prayse ye our Lord God in the sound of a Trumpet. Psalme 150, v.3 in C Edition: · nos. 1-58: ° ed. Chr. Hogwood appendixes: a) Sketches, fragments and exercises; b) Th. Farmer: Overture a4 (from GB-Lbl K.7.c.4; viola part lacking) GB-En 9448 Clement Mattchett's Virginal Book Manuscript (1612) by Clement Mattchett ("per me Clementem Matchett"). B = no. in the catalogue by V. Brookes (see bibliography) 1. My Ladyes lefte hande B.804 2. Nans' Thinge B.807 3. Tille valley monye growe B.1018

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4. W. Byrd: The whislinge carman B.1347 5. W. Byrd: Mounsieurs Allmayne B.1339 6. W. Byrd: Farewell delighte: Fortune my foe B.1367 7. W. Byrd: The Ghoste B.1400 8. J. Bull: My choice I will not change B.1268 9. Preludium B.876 10. A Grownde B.613 11. (J. Bull): Pegge Ramsye B.1173 12. Mr. Willoughbye ( = J. Wilbye): The Frogge (Galliard) Edition: · nos. 1-12: ° 2nd rev. ed.by Th. Dart:

B.2346

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GB-Lbl Add. 10337 Elizabeth Rogers hir Virginall Booke Virginal book that belonged to Elizabeth Fayre and was competed before 1656; contains 75 keyboard pieces and 18 vocal lessons B. = catalogue number by V. Brookes; see bibliography 1-75. Pieces for keyboard solo 1. J. Tillott: Sir Thomas Fairfax Marche B.2227 2. (O. Gibbons): Nanns Mask B.1748 3. Almaygne B.320 4. (O. Gibbons): The fairest Nimphes the valleys or mountains ever bred B.1746 5. The Scotts Marche B.995 6. Prince Ruperts March B.904 7. (Ch. Coleman): One of ye symphonies B.1502 8. (W. Lawes): One of ye symphonies B.1890 9. Selabrand B.954 10. When the king enjoys his owne againe B.1079 11. Almaygne B.321 12. A trumpett tune B.1040 13. Essex last Goodnight B.511 14. Th. Strengthfield: Almaygne B.2180 15. Th. Strengthfield: Corrant to ye last Almaygne B.2183 16. Ruperts Retraite B.944 17. Th. Strengthfield: Almaygne B.2181 18. Th. Strengthfield: Corrant to ye former Almaygne B.2184 19. (Ch. Coleman): (no title; = Saraband) B.1501 20. The Nightingale B.816 21. (La Barre): Corrant Beare B.1858 22. (La Barre): Selebrand Beare B.1872 23. (La Barre): Corrant Beare B.1859 24. (R. Johnson II): Allmayne B.1834 25. (O. Gibbons): Corrant B.1709 26. (La Barre): Corrant Beare B.1860 27. (La Barre): Corrant Beare B.1861 28. (W. Byrd): The Battaile B.1343b-o 29. Corrant B.428 30. (B. Cosyn): Selebrand B.1556 31. W. Lawes: A Maske B.1891 32. Corrant B.429 33. Selebrand B.955

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34. The Chesnut B.411 35-36. Corrants B.430 & B.431 37. Maske B.744 38. Corrant B.432 39. Almaygne B.322 40. Th. Lupo: Ayre B.1936 41. (O. Gibbons; here attr. to R. Johnson): Almaygne B.1745 42. Mock-Nightingale B.791 43. What if the King should come to ye City B.1075 44. The Kings complaint B.687 45. Almaygne B.323 46. Corrant B.433 47. (W. Lawes): Selebrand B.1885 48. (W. Byrd): fragment which corresponds with the first bars of Earl of Oxford's march B.1434a 49. My Delight B.800 50. A Scotts tune B.904 ( = no.6) 51. An Irish Toy B.661 52. Allmayne B.324 53. The Spanyard B.1004 54. (no title) B.51 55. A Selabrand B.956 56. The Finnex B.867 57. The faithful Brothers B.518 58. (La Barre): A Corrant B.1859 59. Hornpipe B.632 60. (Th. Strengthfield): Almaygne B.2182 61. Th. Strengthfield: Corrant B.2185 62. Selebrand B.957 63. Almaine B.325 64. Corant B.434 65. Almaygne B.322 (= no.39) 66. (no title; Air) B.296 67. Th. Strengthfield: Selebrand B.2186 68. Love is strange B.707 69. J. Mercure: Almaygne Mercure B.1948 70. The Glory of the North B.603 71. (no title) B.52 72. Mercure: (no title; Saraband) B.1958 73-74. Corrants B.435-B.436 75. (S. Ives): Phil: Porters Lamentation B.1815 76-93. Vocal lessons for voice and bass: 76. (W. Lawes): Psalm 42: Lord, as the hart (arr. of anthem a3) 77. Must you faire inflaming eye 78. Since tis my fate to bee thy slave 79. J. Wilson: No flattring pellow downy beed 80. W. (Lawes?): Baloo my boy 81. Ile wish no more, thou shouldst nove me 82. Deerest ove I doo not goe 83. J. Wilson: No noe I tell ye no 84. Th. Brewer: O that myne eyes could melt into a flod 85. Th. Brewer: Yes I could love, could I but finde 86. (W. Lawes): Lett god the god of Battaile rize (arr. of anthem a3) 87. (W. Lawes): Sing to the king of kungs (arr. of anthem a3)

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88. W.L. (W. Lawes): Psalme 19: When man ffor sinne thy judgments feeles 89. H. Lawes: I pretthe sweete to mee be kind 90. N. Lanier: Fyer: loe here I burne in such desire 91. Th. Campion: Come you pritty false eyd wanton 92. All you forsake lovers come & pitty my distresse 93. Think not deare love that ill reveale (incomplete) Editions: · nos. 1-93: ° 2nd revised edition by Ch. Cofone · nos. 1-75: ° ed. G. Sargent; CEKM 19 GB-Lbl Add. 30486 Early-17th-century manuscript containing the following 14 virginal pieces: 1-7. W. Byrd: 1. Walsingham B.1476 2-3. Passing-measures Paven & Galliard B.1457 and B.1397 4-5. Pavan & Galliard B.1460 & B.1393 6. without title (Pavan Kinborough Good) B.1454 7. The Carman's Whistle B.1347 8-14. anonymous pieces: 8. A Gigge B.1023 9. Mall Sims B.737 10. Hoope do me no harm B.1083 11. Tomboy B.1021 12. Wanton season B.1070 ( = other version of: Mal Sims) 13. Goe no more a-rushing B.606 ( = Telle me, Daphne) 14. Coranto B.437 Editions: · nos. 1-7: ° see under: W. Byrd · nos. 1-3, 5, 7: ° see: Collections Great Britain: Manuscripts: GB-Cfm mu. 168: Fitzwilliam virginal book: nos. 68, 56, 57, 122 and 58 · nos. 8-14: ° ed. Dawes GB-Lbl Add. 30513 The Mulliner Book Manuscript (c.1550 - 1575) compiled by Thomas Mulliner. 101 Pieces ascribed to a composer (Allwood: 5; Blitheman: 15; N. Carleton: 2; Edwards: 3; Farrant: 2; Heath: 1; R. Johnson I: 3; Munday: 1; Newman: 2; J. Redford: 35; Selbye: 2; Sheppard: 8; Tallis: 18; Taverner: 1; Tye: 2; R. White: 1) and 20 anonymous pieces: alphabetical list of titles: As I deserve, (Galliard), I smile to see how you devise, La bounette, La shy myze, La doune cella, Like as the chained wight, My friends, O Lord turn not away, O ye happy dames, a Pavon, Of wise heads, Rejoice in the Lord always, Since thou art false to me, The bitter sweet, (The maiden's song), The wretched wandering prince of Troy, When Cressid went from Troy, Whose faithful service; 2 pieces without title (B.69 and B.70) B = numbers in the catalogue by V. Brookes (see bibliography) * = piece only known from this manuscript 0. O ye happy dames B.838

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1. *(The Maiden's Song) B.735 2. *(Galliard) B.571 3. *N. Carleton: Gloria tibi Trinityas B.1481 4. *N. Carleton: (Audi benigne conditor) B.1480 5. *(J. Redford): (Ex more docti mistico B.2072 6. *(J. Redford): (Exultet coelum laudibus) B.2073 7. (J. Redford): (Miserere) B.2090 8.*(J. Redford): (Miserere) B.2097 9. *Th. Tallis: Natus est nobis B.2213 10. Newman: Fancy B.1986 11. *Whose faithful service B.1084 12. *no title B.69 13. *La bounette B.395 14. *La dounecella B.498 15. *La shy myze B.1001 16. *no title B.70 17. *Alwood: Voluntary B.11 18. *Allwood: Claro paschali gaudio B.6 19. *R. Farrant: Felix namque B.1672 20. *R. Farrant: Voluntary B.1673 21. *Alwood: Claro pascahli gaudio B.7 22. *J. Blitheman: Christe qui lux es B.1115 23. *Allwood: In nomine B.10 24. J. Sheppard: Quia fecit B.2172 25. Th. Tallis: fond youth is a bubble B.2207 26. *J. Redford: Eterne rex altissime B.2061 27. *J. Blitheman: no title B.1113 28. *J. Redford: O lux on the faburden B.2098 29. *J. Redford: O lux with a meane B.2099 30. *J. Redford: Exultet celum laudibus with a meane B.2074 31. J. Redford: Christe qui lux B.2067d 32. *J. Blitheman: An excellent meane (Felix namque) B.1117 33. *J. Sheppard: A poynte B.2171 34. *W. Shelby: Felix namque B.2167 35. J. Taverner: In nomine B.2223 36. *J. Redford: Salvator withe a meane B.2108 37. *J. Redford: Lucem tuam B.2084 38. *J. Redford: (Te lucis ante terminum) B.2113 39. *J. Redford: Lucem tuam B.2085 40. *J. Redford: Christe qui lux withe a meane B.2068 41. *W. Shelby: Miserere B.2167 42. *Allwood: without title B.5 43. Th. Tallis: Remember not o Lorde God B.2218 44. (J. Sheppard): I geve yo a new comandment B.2168 45. R. Johnson I: In nomine B.1832 46. *(J. Redford?): Sermone blando angelus B.2110 47. J. Redford: Veni redemptor B.2115c 48. *J. Redford: Iste confessor, withe a meane B.2078 49. *J. Blitheman: Eterne rerum conditor B.1114a 50-52. *J. Blitheman: Eterne rerum alias B.1114a-b-c 53. *J. Redford: Miserere, withe a meane B.2095 54. J. Redford: Glorificamus B.2077 55-57. *(J. Sheppard): Versus B.2173 - B.2175

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58. *(J. Redford): no title B.2057 59. J. Redford: Tibi omnes B.2111f 60. J. Redford: Te per orbem terrarum B.2111h 61. (J. Redford): Tu ad liberandum B.2111j 62. (J. Redford): Salvum fac B.2111 l 63. *J. Redford: Iste confessor withe a meane B.2079 64. *(J. Redford?): A pointe B.2101 65. *(J. Redford): Poynte B.2102 66. J. Redford: Verbum supernum, withe a meane B.2117c 67. *J. Redford: A meane B.2086 68. *(J. Redford?): A poynte B.2103 69. *(J. Redford?): A poynte B.2104 70. My friends B.802 71. *Lyke as the chayned wyght B.701 72. *J. Redford: Salvator withe a meane B.2109 73. *J. Redford: Aurora lucis with a meane B.2065 74. *J. Redford: Eterne rerum conditor B.2060 75. *J. Redford: Jam lucis orto sydere B.2080 76. *Rejoyce in the lorde allwayes B.931 77. *J. Blitheman: Te Deum B.1124a-p 78. *Of wise heads B.825 79. Edwards: O the silly man B.1586 80. R. Johnson I: Defiled is my name B.1831 81. (Edwards): In goinge to my naked bedde B.1585 82. (J. Sheppard): the man is blest B.2169 83. Th. Tallis: O ye tender babes B.2215 84. R. Johnson I: benedicam domino B.1830 85. (Th. Tallis): When shall my sorrowful syghing B.2221 86. *Th. Tallis: Jam lucis orto sydere B.2210 87. (R. White): In nomine B.2343 88. *I smyle to see howe you devyse b.662 89. *The wretched wandringe prince of Troye B.1091 90. *When Cressyde wente from Troye B.1078 91-96. J. Blytheman: Gliria tibi trinitas: 6 settings *B.1118, B.1119, B.1120, *B.1121, *B.1121, *B.1123 97. *Th. Tallis: Veni redemtor B.2219 98. *Th. Tallis: Ex more docti mistico b.2204 99. *Th. Tallis: (Clarifica me pater) B.2199 100. *Th. Tallis: Ecce tempus B.2202 101. *Th. Tallis: (Clarifica me pater) B.2200 102. Th. Tallis: Veni redemptor B.2220 103. *Th. Tallis: A poynte B.2217 104. *Th. Tallis: (Clarifica me pater) B.2201 105. *(Th. Tallis): Tempus ydoneum B.2203 106. *Th. Tallis: Iste confessor B.2209 107. *Heath: Christe qui lux es et dies B.1790 108. *(J. Blytheman?): Christe redemptor omnium B.1116 109. *O Lorde turne not awaye B.831 110. Since thow art false to me B.1003 111. J. Sheppard: O happy Dames B.2170 112. *(Chr. Tye): (When that the fifty day) B.2330 113. (Edwards?): When grypinge griefes B.1587 114. The bitter sweet B.390

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115. Th. Tallis: Lyke as the dolefull dove B.2211 116. *Newman: A pavyon B.1987 117. Chr. Tye: I lift my heart B.2327 118. *As I deserve B.368 119. Th. Tallis: Per haec nos B.2216 120. *J. Munday: Tres partes in una b.1984 Editions: · nos. 1-120: ° ed. D. Stevens (1951; revised 1954 and reprinted with corrections in 1962; further repirnts: 1973 and 1983); with index and list of concordances; Musica Britannica, vol. I · nos. 1, 3, 9, 13-15, 17, 19, 25, 28, 40, 47-52, 54, 73, 80, 81, 83, 86-88, 91-96, 98, 113, 107 and 116: ° Selection of 35 pieces from the Stevens edition IRL-Dtc 410/2 Dublin Virginal Manuscript The first 270 pages of this ms. contains the so-called Dallis Lute Book; the keyboard section (p. 271-342) dates from c.1570 and comprises 30 anonymous pieces without titles (except nos.3-4); the titles in parentheses are those given by Ward, taken from concordances, and are commented upon in his extensive commentary B = no. in the catalogue by V. Brookes (see bibliography) 1-2. (Pavan & Galliard on the passamezzo antico) B.22-B.23 3-4. Master Taylor: (Pavan & Galliard) B.2224-B.2225 5-6. (Pavan & Galliard), in F B.24-B.25 7-8. (Pavan & Galliard), in g B.26-B.27 9. (Variations on the Romanesca) B.925a 10. (Division on the Goodnight ground) B.28 11. (Tintelore d'Angleterre / the Earl of Essex Measure) B.853c 12. (Branle Hoboken) V,29 13. (Almande guerre guerre gay / Was not good king Solomon) B.30 14. (Branle) B.31 15-16. (Almande du Prince & Reprise) b.358-B.358b 17. (Gaiilard), in d B.32 18. (Almande Le pied de cheval) B.33 19. (Almande Bruynsmedelijn) B.354a 20. (Branle L'Homme arm/e / Lumber me) B.34 21-22. (Pavan & Galliard), in g B.35-B.36 23. (Galliard), in G 24. (Like as the lark within the merlion's foot) B.38 25. (Gentil madonna / the Gods of Love / Turkeyloney) B.853a 26-27. (Pavan & Galliard), in g B.39-B.40 28. (Branle), in G B.41 29. (Branle), in D B.42 30. (Chi passa per questa strada) B.594a Edition: · nos. 1-30: ° critical ed. by J. Ward; also included in this edition: a) Pieces from other manuscripts, included in Ward's introduction: 1. J. Alcester: Hornpipe B.2 (from the Evesham Abbey Bible) 2. Galliard B.572 (from GB-Lbl Add. 60577) 3. O ye hapye dames B.838 (from GB-Lbl Add. 30513) 4. My hearte ys leifd on the londe for lute (from GB-Lbl Stowe 389)

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b) Parallel pieces included in Ward's commentary: to no.1: Passing measures pavan for lute from Raphe Bowle's ms (GB-Lbl Stowe 389) to no.2: Ennglisch Tanntz & Nach Lauff for lute from D-Usch ms.131b (Meyer no.17) to no.9: Romanesca variations for lute from GB-Lbl Stowe 389 and "Queen Maries Dumpe" from F-Pn. Rés.1186 (Brookes 925) to no.10: Divisions on the Goodnight ground for cittern from GB-Cu Dd.4.23 to no.11: Tintelore d'Angleterre from J. d' Estrée's "Tiers livre de danceries", Paris, 1559, and from the Dallis lute book to no.12: Branle Hoboken for cittern from S. Vreedman's "Carminum quae cythara pulsantur liber secundus", Leuven, 1569 to no.13: Almande guerre guerre for cittern (also from Vreedman) to no.14: Robin Hood, for bandora from GB-Cu Dd.9.33 to no.15-16: Almande du prince & Reprinse for cittern (also from Vreedman) to no.18: (Almande Le pied de cheval) from: "Carminum quae chely vel testudine canuntur, liber primus", Leuven, Phalèse, 1549 and from "Tiers livre de tabulature de guiterre", Paris, Le Roy, 1552 to no.19: Almande Bruynsmedelijn for cittern (also from Vreedman) to no.20: L'Humme armé, for cittern (also from Vreedman) to no.24: Lyk as the lark within the marleon's foot; from the Taitt manuscript (US-LAuc) to no.25: Gentil Madonna, from A. Rotta's "Intabolatura de lauto", Venice, 1546 & "Turkeylony" (The God of love that sits above) from the Ballet lute book (IRL-Dtc ms. 1121) to no.28: Almande courante from "Liber primus leviorum carminum", Leuven, Phalèse, 1571 to no.29: Branle moresque from "Selectissima in guiterna ludenda carmina", Phalèse, 1570 to no.30: Qui passa ("The famous Prince of Macedon") from GB-Lbl K.2.d.2 US-NYp Drexel 5612 English Court and Country Dances English court and country dances of the early baroque from Ms. Drexel 5612 (c.1620-1660). ca. 150 pieces by or arranged from: Amner, Bartlet, Bateman, Blitheman, Bull, Byrd, East, G. Farnaby, O. Gibbons, Harding, Holmes, Hooper, W. Lawes, Mell, Morley, Price, G. Tomkins, Th. Tomkins, Chr. Tye and Weelkes. Edition: ° Selection of 69 pieces (mostly anonymous) by Hilda Gervers; CEKM 44 (B. = number in catalogue of V. Brookes; see bibliography) 1. The Scottish Gigg B.680 (also in F-Pn Rés.1186 & US-Nyp Drexel 5609) 2. R. Bateman: Bates Mask B.1102 (also in GB-Lbl Add. 10444) 3. B. ( = Batesman?): A Mask B.1103 4. Alman B.333 5-7. Three Toys B.1027-B.1029 8. The Higlanders Marche B.629 (also in Playford's "Dancing Master") 9. (H. Facey): An Almayne B.1608 10. The Tobarto pipe B.1019 11. Th. Warrock: Mask B.2335 12. The princes delight B.905 13. Alman B.335 14. Pritty Polley B.901 15. Doe then B.497 16. Toy B.1030 17. Th. Holmes: Sarabran b.1798 18. Th. Holmes: Allmaine B.1793 19. The virgyne B.1056

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20. (D. Mell): Almaine B.1944 21. D. Mell: Saraband B.1947 22. An Almayne B.336 23. The mayde B.734 24. My pleasure B.806 25. W. Lawes: Mr. Lawes flat tune B.1884 (consort version in GB-Lbl Add. 29410-15 and 17798; VdGS: Lawes-7: no.73) 26. The Gentle woman B.597 27. "E": A Toy B.1031 28. Little Dick B.702 29. Tom A Bedlam B.1022 (GB-Lbl Add. 38539 & US-Nyp Drexel 4257) 30. Th. Holmes: A Toy B.1799 31. E. Hooper: Allmaine b.1801 32. (R. Hall): The pleasant widdow B.1774 (also in Priscilla Bunbury's virginal book and in GB-Lbl Add. 36661) 33. (R. Hall): The Mock widdow B.1772 (see fro other sources of nos.32) 34. (no title) B.135 35. Toy B.1033 36. (Ch. Coleman; here attr. to Lawes): Alman Law B.1499 37. (Lawes): Coranto B.1881 38. Alman B.337 39. (no title) B.138 40. D. Mell: Mels Alman B.1945 41. Coranto b.482 42. Saraban B.966 43-45. (no title) B.139-B.141 46. Toy B.1034 47-48. (no title) B.143-B.144 49. Blewcapp B.393 (in Playford's "Dancing master" & US-Nyp Drexel 4257 50. The Trums B.499 ("The Twins") 51. The noble Shirve B.817 52. D. Mells: (no title) B.1943 53. New hidd parke B.810 (also in Playford's "Dancing master") 54. (no title) B.145 55. J. Bartlett: The Earle of Hartfords Muse: A Pavion B.1101 56. (J. Harding): James his Galliard B.1824 (consort version in GB-Lbl Add. 17786-89 and 17791) 57. (O. Gibbons): Pavin B.1752 58-63. (no title) B.146, B.148, B.149, B.1893 (by Lawes), B.150, B.152 64. A Pavion Solus com so la B.862 (also in GB-Cu Dd.2.11.B for lute, and in GB-Lcm 1145 for consort) 65. Lord? Luce? Mask? B.754 (title very unclear; here published as: "Sweet Lusesina lend me thine ayde"; also in Playford's "Dancing Master") 66. Coran B.449 67. (no title) B.153 68. Giles Tomkins: Coran B.2235 69. (no title) B.154 only available as off-print sheets US-WGw The Peter Pelham Manuscript of 1744 Williamsburg Foundation, manuscript in the John D. Rockefeller jr. Library An early American keyboard tutor

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1. King George's March (from act III of Handel's opera Rinaldo, 1711) 2. Minuet, in F (by Pelham?) 3. Allmand, in C (from ballet "Fragments de mr. Lully" by Campra & Danchet) 4. Minuet by mr. Valentine, in C (by R. Valentine) 5. The modest question set by mr. Russel (song: Can love be controul'd; from: Gentleman's Magazine, vol. XII, London, 1742) 6. Thro' the wood laddie 7. Gavotte by Mr. Handel (middle section of the overture to the opera: Ottone) 8. A song in the masque of Comus: The wanton god who pierces hearts (Arne) 9. Minuet by Mr. Lully set by J.B. Loeillet in his "Pièces de clavecin") 10. no title ( = no. 5 from Handel's Water Music) 11. no title ( = no. 11 from Handel's Water Music) 12. Minuet, in C (by Pelham?) 13. A song on a lady of quality set to musick by Mr. Marchant: In Ancient Greece when Sappho sung 14. A song in the masque of Comus (by Th. Arne): Fly swiftly ye minutes 15. Combatti da forte in the opera of Rinaldo by mr. Handel 16. A song set to musick by mr. Chas. Th're Pachelbel: God of Sleep for whom I languish (by Charles Theodore Pachelbel) 17. The happy shepherd set by doct'r Greene: Come fair nymphs to this sweet grove (M. Greene) 18. Bonny Jean, a Scotch tune 19. Allexis, a cantata by doct'r Pepush: See! from the silent grove Allexis flies (from J. Pepusch: "Six English Cantatas", 1710 Edition: ° ed. H.J. Butler; the appendix to this edition contains: a) Minuet by Pelham from the Hubard Papers, Univ. of N. Carolina Library b) complete version of no. 9 from "The harpsicord or spinnet miscellany. Being a gradation of proper lessons...", London, R. Bremner, 1761 c) minuet related to no. 12 from an anon. 1739 copy book, Philadelphia Free Library d) Ch.Th. Pachelbel: Bass minuet in C (from the same source as c) )

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b) Early Prints:

1612 - 1613 Parthenia · "Parthenia or The Maydenhead of the first musicke that ever was printed for the virginalls, composed by three famous masters: William Byrd, Dr. John Bull & Orlando Gibbons, gentilmen of his ma.ties most illustrious chappell. Ingraven by William Hole", London, print: for M.ris: Dor: Evans. Are to be sould by G. Lowe, printer in Loathberry B = no. in the catalogue by V. Brookes (see bibliography) 1-8. W. Byrd: 1. Preludium I B.1462 2. Pavana Sr. Wm. Petre b.1460 3. Galiardo III B.1368 4. Preludium IIII B.1463 5. Galiardo M.ris Marye Brownlo V B.1396 6. Pavana The Earl of Salisbury VI B.1453 7. Galiardo VII B.1392 8. Galiardo secundo Mris. Marye Brownlo VIII B.1369 9-15. J. Bull:

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9. Preludium IX B.1292 10. Pavana St. Thomas Wake X B.1288 11. Galiardo St. Thomas Wake XI B.1242 12. Pavana XII B.1279 13. Galiardo XIII B.1222 14. Galiardo XIIII B.1223 15. Galiardo XV B.1216 16-21. O. Gibbons: 16. Galiardo XVI B.1736 17. Fantazia of four parts XVII B.1754 18. The Lord of Salisbury his Pavin XVIII B.1754 19. Galiardo XIX B.1743 20. The Queenes comand XX B.1762 21. Preludium XXI B.1756 Editions: · nos. 1-21: ° Facsimile of the 1612 / 1613 edition ° ed. Th. Dart 1663 (The First Part of) Musicks Hand-maid · "Musicks Hand-maide presenting new and pleasant lesson for the virginals or harpsycon", London, printed for John Playford, 1663; 2/c.1668; 3/1678 The 1663 edition consists of 53 pieces (number 53 is missing) and 4 psalm tunes. The 1678 edition adds 22 pieces (but leaves, however, the 4 psalm tunes out) B. = nos. in the catalogue of V. Brookes (see ibliography) A. The 53 (52) pieces of the 1653 edition: 1. (after J. Bull): Preludium B.1298 2. The Canaries or the Hay B.401c 3.-6. (B. Sandley: suite in G): An Ayre-Corant-Saraband-A Jigg B.2162, 2163, 2165, 2164 7-9. (W. Lawes: suite in G): An Ayre-Corant-Saraband B.1875, 1879, 1887 10. Selengers Round B.997 11. Scotish March B.996 12. Freemans Delight B.562 13-15. (suite in G): Allmaine-Corant-Saraband B.352, B.468, B.984 16. Corant La Mountague B.477 17. The Pleasant Spring B.869 18. (B. Rogers): Saraband, in G B.2159 19. (B. Rogers): A Jegge, in g B.2154 20. A Countrie Dance B.485 21. The Grange B.611 22. Duke of Yorks March B.501 23. Saraband B.985 24. The Kings Delight B.688 25. Parthenia B.843 26. Coranto La Mounser B.478 27. Corante La Chabott B.469 28. Jacobella B.665 29. Italian Rant B.566 30. Bow Bells B.397 31. Gerard's Mistress B.599 32-33. First / Second Saraband B.986-B.987

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34. Glory of the West B.604 35. (Th. Gibbs): The Lord Monck's March B.1769 (attr. Gibbs in "Courtly masquing ayres", 1662) 36. Montrose's March B.793 37. Hunsdon House B.637 38. M. Locke: The Simerons Dance B.1906 39. M. Locke: An Antic Dance B.1903 40. The Highlanders March B.629 41. Lady Sand's Delight B.697 42. B. Rogers: Ayre, in C B.2147 43. (La Barre): Coranto, in C B.1859 44. The Mitter Rant B.790 45. W. Lawes: Golden Grove B.1877 46. W. Lawes: Coranto, in a B.1878 47. Saraband B.965 48. (W. Lawes): Symphony B.1893 49. W. Lawes: Saraband, in g B.1889 50. (D. Mell): A Jigg B.1946 51. (J. Moss): A Jigg B.1977 52. (M. Locke): Apes Dance B.1904 53. (missing) 54. (M. Locke): The Bondmans Dance B.1905 78. The tune of the 25th psalm B.920 79. The tune of the 71st psalm, called York-tune B.922 80. The tune of the 6th psalm, called: Windsor-tune B.921 81. The tune of the 95th psalm, or St. Davids-tune B.704 B. The pieces added to the 1678 edition: 55. (missing) 56. Princess Royal B.906 57. The Queens Maske B.767 58. Sarabrand B.988 59-61. A. Bryne: suite in a: Ayre-Corant-Saraband B.1138, B.1148, B.1157 62-63. A. Bryne: set in a: Ayre-Sarabnd B.1139, B.1158 64-65. M. Locke: set in G: Allman-Saraband B.1900, B.1912 66-67. M. Locke: set in F: Ayre-Saraband B.1898, B.1910 68-69. M. Locke: set in C: Ayre-Saraband B.1899, B.1911 70-71. Th. Pratt: set in a: An ayre called Corke-Saraband to Corke B.2032, B.2033 72. Saraband Royall B.989 73. The Running Boore B.943 74. The new Minnet B.812 75. Digbys farwell B.494 76. Holis Farwell B.631 77. J. Jackson: A Simphony B.1820 Editions: · nos. 1-54 and 78-81: ° Facsimile of the 1663 edition; hardback · nos. 1-77: ° Facsimile of the 1678 edition · nos. 1-81: ° ed. Th. Dart of the ed. 1663/1678

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1673 Melothesia · "Melothesia: or, Certain general Rules for playing upon a continued-bass with a choice collection of Lessons for the Harpsicord and Organ of all sorts: Never before published. All carefully reviewed by M. Locke, composer in ordinary to His Majesty, and organist of Her Majesties Chappel. The First Part", London, printed for John Carr, 1673 Introductions: Advertisements to the reader; General rules for playing on a continued bass; The examples of the precepts in the rules for playing on a continued basse. 1-21. M. Locke: Prelude, in C 2. Saraband, in C 3-7. Suite in C: Prelude-Almain-Corant-Gavott-Country Dance 8-11. Locke: Suite in g: Almain-Saraband-Virago-Roundo 12-16. Suite in C: Prelude-Almain-Corant-Saraband-Jig 17-21. Suite in D: Prelude-Almain-Corant-Saraband-Rant 22-25. Chr. Preston: Suite in C: Prelude-Almain-Corant-Saraband 26-30. J. Roberts: Suite in e: Prelude-Almain-Corant-Corant-Saraband 31-34. Suite in d: 31-33. W. Gregory: Almain-Corant-Saraband 34. M. Locke: Horne Pipe 35-37. W. Gregory: Suite in D: Almain-Corant-Gavott 38-41. W. Thatcher: Suite in a: An Ayre-Saraband-(no title)-A Jigge 42-45. Suite in G: 42. W. Hall: Corant 43. R. Smith: (no title) 44-45. arr. by R. Smith: (Digbys Farewell)-(Holles Farewell) 46-48. Suite in C: 46-47. arr. W. Thatcher: An Ayre-Gavott 48. J. Banister: (Jig) 49-53. W. Thatcher: Suite in d: (no title)- (no title)-Charity-(no title)-(no title) 54-57. J. Moss: Suite in F: Almain-Corant-Saraband (by Moss?)-A Jig Almain 58-61. G. Diessener: Suite in C: Almain-Jigg 60-61. Chr. Preston: 2 Horn-Pipes in d-a 62-68. M. Locke: organ music: 62-67. For the Organ in e-F-a-d-G-a 68. For a Double Organ Editions: ° Facsimile of the 1673 edition ° Critical ed. by Chr. Hogwood; music transcribed; all texts in facsimile 1689 The Second Part of Musicks Hand-maid · "The Second Part of Musicks Hand-maid: Containing the Newest Lessons, grounds, sarabands, minuetts and jiggs, set for the virginals, harpsichord, and spinet", London, H. Playford, 1689 This collection includes works by: J. Blow: Jigg in d; Gavot in C; Saraband, in C; Gavot in gamut, in G, Saraband, in C fa ut; Theatre tune by William Mountfort, in d; Mortlack's ground, in G (in our list of harpsichord works nos. 3, 4, 10, 25, 40, 60, 67) G.B. Draghi: Ground "Scocca pur" F. Forcer: Almand; ?Corant R. Motley: Motleys Maggot

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H. Purcell: A new Irish tune in G (Z.546); (March) in C (Z.647), March in C (Z.648); Minuet in a (Z.649); A Minuet in a (Z.650); A new Scotch tune in G (Z.665); Sefauchi's farewell (Z.656); Suite of lessons in C: prelude-almond-corant-saraband-jigg (Z.665); A new ground in e (Z.682); Minuet in d (Z.688); New minuet in d (Z.689); Song tune in C (Z.694); A Song tune in C (Z.695) M. Snow: Jigg; Chaconne W. Turner: Air Verdier: Chaconne Editions: ° Facsimile of the 1689 edition ° ed. Th. Dart 1697 The Harpsicord Master (first book) · "The Harpsicord Master. Containing plain & easy instructions for learners on the spinnet or harpsicord; written by the late famous Mr. H. Purcell at the request of a particular Friend, and taken from his own manuscript, never before publish'd, being the best extant, together with a choice Collection of the newest Aires and Song-Tunes, compos'd by the best masters, and fitted for the harpsicord, spinnet or harp, by those that compos'd them, all graven on copper plates", London, J. Walsh, 1697 1. H. Purcell: Prelude for the fingering, in C (with original fingering) Z. deest 2. H. Purcell: Aire, in C Z. 630/6 (from The Indian Queen: I come to sing great Zempoalla's story) 3. H. Purcell: New Sebell, in C Z. T678 4. J. Clarke: The Duke of Glocester's March, in C Taylor 430 (also in GB-Lbl Add.22099) 5. Th. Morgan: Minuett, in C 6. J. Clarke: Scotch trumpet tune, in C Taylor 434 (arr. of his "Jockey was as brisk and blith a lad") 7. J. Clarke: the Country Man's Jigg, in C Taylor 451 (arr. of his song: "Hark the cock crow'd") 8. J. Clarke: Aire, in F Taylor 451 (also in GB-Lbl Add.22099) 9-12. J. Barrett: Set in F: Aire-Minuett-Scotch Aire-Jigg 13. J. Clarke: The bonny gray ey'd morn, in Bb Taylor 363 (from D'Urfey's play "A fond husband") 14. anonymous: New Aire, in Bb 15. Th. Morgan: Twas when the sheep was shearing, in Bb (from D'Urfey's play: "Cinthia and Endimion") 16. anonymous: Aire, in g 17. J. Clarke: Round O Minuett, in g Taylor 492 (also in: "Theater Musick", Walsh, 1698) 18. J. Clarke: almand, in d Taylor deest 19. J. Clarke: Round O, in d Taylor deest 20. R. King: piece without title, in d 21. R. King: Minuet, in d Edition: ° Critical edition with an introduction by R. Petre 1700 A Choice Collection of Ayres · "A Choice Collection of Ayres for the Harpsichord or Spinett with very plain & easy directions for young beginners never before published. Composed by these eminent masters. viz Dr John Blow, master of the boys & organist to the chappel-royal & St Peters Westminster, Mr. Francis Piggot, also organist of the kings chappel & the temple; Mr. Jeremiah Clarke, organist of St. Paul's cathedral & composer of the musick used in the theatre royal; Mr. John Barrett, musick master & organist to Christ's Hospital & St Mary Hill Church & Mr. William Crofts. Carefully

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corrected by each master and fairly engraven on copper-plates", London, J. Young, 1700 contents: Directions to the learner Example of the time or length of notes Rules for the graces 1. J. Blow: A sett, in d: Almande-Corant-Minuett 2. W. Croft: Sarabrand, in d 3. W. Croft: Jigg, in A 4. F. Piggot: A set, in C: Prelude-Almand-Corant-Sarabrand-Jigg-A March-Minuet 5. J. Clarke: A trumpett minnuett, in C 6. J. Clarke: A March, in C 7. J. Clarke: An Ayre, in C 8. J. Clarke: The Emperour of Germanys March, in D 9. J. Clarke: The Serenade, in D 10. J. Clarke: The Prince of Denmark's March, in D 11. J. Barrett: A set of ayers, in A: Almand-Corant-Sarabrand-The St. Catherine 12. W. Croft: A set, in c: Almand-Sarabrand-Corant 13. W. Croft: A set, in e: Almand-Corant-Sarabrand Editions: ° Facsimile of the 1700 edition; paperback ° Facsimile of the 1700 edition; hardback 1700 The Second Book of the Harpsicord Master · "The Second Book of the Harpsicord Master containing a choice collection of lessons for the harpsicord or spinnett as almands, corants, sarabands, ayres, minuetts, and jiggs, by Dr. Blow, Mr. Courtivall, Mr. Clark, Mr. Barretts & Mr. Croffts. To which is added plain & easy rules for learners. The whole fairly engraven", London, I. Walsh, 1700 Pieces included: J. Barrett: Almand, Corant, Sarabrand and Minuet in b Sarabrand & The Catherine: a country dance in A Aire, Aire and Jigg in b J. Blow: Almand, Sarabrand and Aire in g J. Clarke: Trumpet minuet, March aire and March in C R. Courteville: Almand, Corant and Aire in C W. Croft: Almand, Corant, Aire and (Minuet) in c Edition: ° Facsimile of "The Harpsichord Master", books II & III (eds. 1700 / 1702); introduction by R. Ratall; hardback 1702 The Third Book of the Harpsicord Master · "The Third Book of the Harpsicord Master being a collection of choice lessons with song tunes and town ayres fitted to the harpsicord or spinnet by Mr. Jer. Clark, Mr. Barrett, Mr. Croft and other masters. The ayres and lessons plac'd on five lines, it being now the generall way of practice, likewise at the end of the book is added plain and easy rules for learners, made by the late famous Mr. Hen. Purcell. The whole engraven in a very fair character", London, Walsh, 1702 Pieces included: J. Barrett: The Pilgrim and Minuet (unattributed) in A Minuet in c J. Clarke: The King's March and minuet in D

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Minuet (unattributed) in g A Trip to Case-Horten in d Round O Minuet in F A Farewell, Aire and Hornpipe in f Gavott in f W. Croft: Song tune and Aire in g Scotch tune in G Minuet (unattributed) in g Aire in D Mr. Wood: Maggett in e Anonymous pieces: Scotch Aire, The English Paspy and Round O in G Minuet: Madame Subligny and Jigg in g Aire slow and Round O in a Edition: ° Facsimile of "The Harpsichord Master", books II & III (eds. 1700 / 1702); introduction by R. Ratall; hardback 1708 The Ist Book of The Ladys Entertainment · "The Ist Book of The Ladys Entertainment or Banquet of Musick being a Choice Collection of the Newest and most Airy Lessons for the Harpsicord or Spinnet together with several excellent Preludes Tocats and the most favourite Song Tunes in the Opera's...", London, Walsh (1708) 1. A Prelude, in g 2. Can you leave rang'ing 3. Ever merry gay and ayry 4. Never let your heart 5. Tocata del signr. Amadori, in G 6. When one is gone 7. Shou'd ere the fair 8. A Lover near dispairing 9. Toccata del sigr. Simonelli, in a 10. Bright wonder of Nature 11. In vain is complaining 12. You who for wedlock 13. Saltarella 14. Woud you charm us 15. Farewell love 16. Oh I must fly 17. Pretty warbler 18. Lets laugh and dance 19. Be gay my eyes 20. Sweet lillies and roses 21. What lover ever can hope 22. I love a plai lass 23. No more tryall nor denyall 24. My fatal charmer Edition: · nos. 1-24: ° Facsimile of the 1708 edition

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1708 The 2d. Book of The Ladys Entertainment · "The 2nd Book of The Ladys Entertainment or Banquet of Musick being a Choice Collection of the Newest and most Airy Lessons for the Harpsicord or Spinnet together with several excellent Preludes Tocats and the most favourite Song Tunes in the Opera's...", London, Walsh (1708) 1. The Symphony or Overture in Camilla 2. Kindly thus my treasure 3. Toccata del sigr. Fontana 4. Charmer why do you fly me 5. Give way to peasure 6. My poor heart 7. A Set of Lessons for the harpsicord composd by the late mr. H. Hall of Hereford, in d: Allmand-Corant-Gavot-Minuet 8. Toccata 9. Why should allarm me 10. Gavotte 11. Minuett 12. Allmand by mr. Richardson of Winton 13. Saraband 14. Toccata by mr. D. Purcell 15. Strike me Fte 16. A While tho conquest 17. Pleasure calls 18. Since in vain 19. In vain is delay 20. Gently treat my sorrow NB: see for vols. 3 and 4 of "The Ladys Entertainment" under Composers A-Z: Babell, W. Edition: · nos. 1-20: ° Facsimile of the 1708 edition

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c) Modern Collections:

Anthology of Early American Keyboard Music 1787-1830 ed. J.B. Clark in 2 volumes

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Volume I: 1. W. Brown: Rondo III (1787) 2-5. B. Carr: 2. Sonata VI (1796) 3. The Maid of Lodi, with variations (1809) 4. The Siege of Tripoli (1804-5) 5. Voluntary for the organ (c.1801) 6. Ch. Gilfert: Ah! What is the bosom's commotion, with variations (c.1813) 7-11. J. Hewitt: 7. Sonatina III (1799?) 8. The New Federal Overture (1797) 9. Thema with 30 variations (1803-6) 10. Trip to Nahant, a favorite ronde (c.1811) 11. Yankee Doodle, with variations (1807-1810)

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12. T.L. Holden: The Copenhagen Waltz, with variations (1811-1817) 13. J.Chr. Moller: Medley with the most favorite airs and variations (1795-97) 14. J.Chr. Moller: Rondo (c.1800) 15. E.C. Murden: March (1815?) 16. Mr. Newman: Sonata III (1807-1010) 17.S. Sicard: The President of the United States March (1789) 18. R. Taylor: Divertimento II (1797) Volume II: 19. A. Clifton: An original air with variations (1820) 20. F.A. Getze: Saxon Rondo (1821?) 21. J.F. Hance: 2d Grand Fantasie, introduction & brilliant varaitions to the Russian dance (1826) 22. A.Ph. Heinrich: The Debarkation March (1825-26) 22. A.Ph. Heinrich: Capriciosa (1823) 23. Ch.F. Hupfeld: A Favortie Waltz (Hungarian air) with variations for the piano forte (1817) 24. F. Johnson: Honour to the brave (1824) 25. F. Johnson: Johnson's New Cotillions (1824) 26. Chr. Meineke: Divertimento (c.1825) 27. Chr. Meineke: Variations to the favourite air Au clair de la lune (1827) 28. J. Metz: Petit pot pourri (1821-23) 29. P.K. Moran: A Fantasia (1818-1821) 30. P.K. Moran: Moran's Favorite Variations to the Suabian Air (1817-1819) 31. O. Shaw: Welcome the nation's guest, a military divertimento (1824) 32. W. Taylor: Clinton's Triumph (1824?) 33. Ch. Thibault: L'Adieu, a rondo (1824) 34. Ch. Thibault: La Bretonne (1824) 35. Ch. Zeuner: Grand Centennial March (1830) Early Scottish Keyboard Music ed. K. Elliott 10 keyboard pieces and some pieces for cittern and for violin (see relevant sections) Keyboard pieces, all (except no.10) from GB-En 9447: Duncan Burnett's Music Book (c.1600): 1-2. W. Kinloch: The Long Pavan & Galliard B.1851 and B.1847 3. W. Kinloch: Fantasia B.1846 4. D. Burnett: piece without title B.1329 5. D. Burnett: Pavan Johnson's Delight B.1330 6. anonymous setting of O. de Lassus: Susanne un jour B.1007b 7. The Queine of Ingland's Lessoune B.928 8. (Galliard) B.48 9. (Coranto) B.49 10. Almaine B.316 (from GB-En 9449: Lady Jean Campbell's Booke

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Early Tudor Organ Music for the Mass ed. D. Stevens; "Early Tudor organ music", I; EECM 10 (1969) (B = number in catalogue by V. Brookes; see bibliography) 1-4. Felix namque I-IV (nos. 3-4 incomplete) B.550 - B.553 5. Beata viscera B.382 6. Kyrie B.692 7. Ph. Ap Rhys: Felix namque B.1093 8. Ph. Ap Rhys: Missa in Dei Sanctae Trinitas B.1095 9. R. Coxsun: Laetamini in Domino B.1563 10. R. Coxsun: Veritas mea B.1564

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11-23. Th. Preston B.2035 - B.2048: 11. Benedictus sit 12. Confessio et pulchritudo 13. Diffusa est gratia 14-21. Felix namque: 8 settings 22. Missa in Die Pasche 23. Reges Tharsis 24-30. J. Redford: 24. Agnus Dei B.2062 25. Kyrie B.2082 26-27. Felix namque I-II B.2075-B.2076 28. Justus et palma B.2081 29. Precatus est Moyses B.2105 30. Tui sunt calei B.2114 31. J. Thorne: Exsultabunt Sancti B.2226 Sources: GB-Lbl Add. 5465 (1 - 4) GB-Lbl R.A. 56 (5, 6) GB-Lbl Add. 15233 (30) GB-Lbl Add. 29996 (7 - 23, 26 - 29, 31) GB-Och mus. 371 (24, 25)

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Early Tudor Organ Music for the Office ed. J. Caldwell; volume I of "Early Tudor organ music"; EECM 6 (1966) B = no. in the catalogue of V. Brookes (see bibliography) a) anonymous pieces: 1. Aeternae rerum conditor B.292 2. A solis ortus cardine B.369 3. Audi benigne conditor B.373 4-5. Bina caelestis I-II B.387-B.388 6-7. Christe qui lux es et dies I-II B.412-B.413 8. Christe redemptor omnium B.414 9. Conditor alme siderum B.416 10. Ex more docti mystico B.514 11. Glorificamus B.602 12-13. Hostis Herodes impie I-II B.635-B.636 14. Iste confessor B.663 15-16. Lucis creator optime I-II B.709-B.710 17. Magnificat B.715 18. Miserere I-II (B.786) 19. Primo dierum omnium B.902 20. Salvator mundi I-II-III B.946-B.948 21. Sancte Dei pretiose B.952 22. Summi largitor praemii B.1006 23. Te lucis ante terminum B.1013 24. Veni redemptor gentium B.1047 25. Verbum supernum prodiens B.1049 26. Vox clara ecce intonat B.1067 27. Miserere B.787 28. Vexilla regis B.1053 29. Ph. Ap Rhys: Miserere B.1094 30. A. Burton: Te Deum B 1331

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31. Kyrton (?): Miserere B 1855 32. Th. Preston: Beatus Laurentius B 2035 33-48. John Redford: 33. Ad cenam agni providi B.2058 34. Primo dierum omnium B.2106 35-36. Te Deum I-II B.2111-B.2112 37. Tui sunt caeli B.2114 38. Aeterne rerum conditor B.2059 39. A solis ortus cardine B.2064 40. Chorus novae Jerusalem B.2066 41. Christe qui lux es et dies B.2067 42. Christe redemptor omnium B.2069 43. Conditor alme siderum B.2070 44. Deus creator omnium B.2071 45. Lucem tuam B.2083 46-53. Miserere I-VIII: 8 settings B.2087-B.2089, B.2091-B.2094, B.2096 54. Primo dierum omnium B.2107 55. Te Deum B.2112 56. Veni redemptor gentium B.2115 57. Verbum supernum prodiens B.2117 58. O quam glorifica B.2100 59. Angulare fundamentum B.2063 60. Veni redemptor gentium B.2116 61. E. Strogers: Miserere B.2187 62. Woodson: Miserere B.2376 63. R. Wynslate: Lucem tuam B.2379 Sources: GB-Lbl Add. 15233: Redford ms., c.1540 (33 - 37) GB-Lbl Add. 29996: c.1600-c.1650, owned by Th. Tomkins (1 - 26, 29 - 32, 38 - 57, 61, 63) GB-Lbl R.A. 56: ms. of c.1530 (27) GB-Ob mus.sch. C.93 (58) GB-Och mu. 371: ms. of c.1570 (28, 59, 60, 62)

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Elizabethan keyboard music, c.1575-1600 ed. A. Brown; Musica Britannica, vol.55 (1989) B = number in the catalogue by V. Brookes (see bibliography) A. 43 Original pieces: 1. Prelude, in G B.877 2. Prelude? (fragment) B.155 3. Prelude, in F (by W. Byrd?) B.878 4. Prelude, in G (by W. Byrd?) B.874 5. Aeterne rex altissime B.65 6. Miserere B.66 7a-b. Pavan & Galliard, in G B.847 and B.570 8a-b. Lavecchia Pavan & Galliard (by W. Byrd?) B.1332 and B.1338 9a-b. Quadran Pavan & Galliard B.861 and B.591 10a-b. Pavan & Galliard,in C (by W. Byrd?) B.1440 and B.1381 11a-b. W. Kinloch: Pavan & Galliard, in G B.1852 and B.1849 12a-b. J. Marchant: Pavan & Galliard B.1941 and B.1938 13a-b. F. Richardson: Pavan & Galliard B.2125 and B.2122 14a-b-c-d. F. Richardson: Pavan, in d and Variatio & Galliard in d and Variatio B.2123, B.2126, B.2120 and B.2127

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15. Pavan, in d B.845 16. Pavan, in a B.846 17. Bickerells: Pavan, in a B.1112 18. W. Inglott: Pavan, in G B.1807 19. Th. Morley: Quadran Pavan B.1975 20. J. Dowland, set by?: Lachrymae Pavan B.857a 21. J. Johnson, set by?: Flat Pavan B.1840 (ascribed to by R. Johnson II) 22. Galliard, in C B.577 23. Quadran Galliard B.592 24. Th. Morley: Galliard, in G B.1969 25. Th. Weelkes: Galliard, in d B.2337 26. J. Dowland, set by ?: If my complaints; or: Piper's Galliard B.1394 27. A. Holborne, set by?: Galliard: The Queen's New Year's Gift B.928 28. W. Byrd?: Alman, in G B.1333 29. Alman, in g B.117 30. Alman, in C (by W. Byrd?) (B.332) 31. Th. Morley: Alman, in C B.1962 32. F. Richardson: Alman, in G B.2119 33. J. Dowland, set by?: Lady Layton's Alman B.1581 34. J. Marchant: Marchant's Dream b.1939 35. J. Johnson, set by W. Byrd?: Johnson's Medley B.1332 36. New Medley B.811 37. Rogero B.942 38. Ground in G (by th. Weelkes?) B.64 39. Rowland (by Th. Weelkes?) B.67 40. Watkin's Ale B.1071 41. (J. Bull): Why ask you B.1327 42. Jig, in F B.669 43. Toy, in G B.21 B. Coloured transcriptions (anonymous) of chansons and a motet: 44. O. de Lassus: Susanne un jour B.1007 45. Ph. van Wilder: Shall I despair B.998 46. Ph. van Wilder: Las que feray B.698 47. Si je me plains B.1002 48. W. Byrd: O quam gloriosum est regnum: prima pars / secunda pars B.114-B.115 C. Arrangements (anonymous) of songs by W. Byrd: 49. My mind to me a kingdom is B.118 50. Susanna fair B.116 51. If that a sinne'rs sighs B.1412 52. Care for thy soul B.1346 (by Byrd?) 53. Lullaby, my sweet little baby B.1420 (by Byrd?) 54. O God, but God B.1428 (by Byrd?) D. Keyboard scores (anonymous) of instrumental consorts: 55. W. Byrd: Fantasia, in g B.1366 56. A. Ferrabosco I: Fantasia, in g B.1674 57. J. Harding: Fantasia I, in d B.1775 58. J. Harding: Fantasia II, in d B.1776 59. R. Paradiso: Fantasia, in g B.2118 E. Keyboard score (anonymous) of a motet: 60. W. Byrd?: Miserere mei Deus B.1424 Sources: F-Pn Rés. 1122 (55) F-Pn Rés. 1186bis (41)

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GB-Cfm mus. 168: Fitzwilliam Virginal Book (4, 14a-d, 31, 40, 41) GB-Cu Dd.4.22 (43) GB-En 9447: Duncan Burnett's music book (9a-b, 27) GB-Lbl Add. 29485: Suzanne van Soldt's keyboard book (44) GB-Lbl Add. 30485: Wray manuscript (1, 5, 6, 7a-b, 9a-b, 10a-b, 11a-b, 12a-b, 13a-b, 14a, 14c, 15-17, 20, 21, 25, 27, 32, 38, 39, 42, 44-47, 51-54, 56-59) GB-Lbl Add. 31402: Bevin manuscript (60) GB-Lbl R.M. 24.d.4: Will Forster's virginal book (3, 4, 8a-b, 18, 19, 24, 26, 28-31, 34-37, 40, 41, 48-50) GB-Ob mus. D.143 (2, 23, 33) US-Nyp Drexel 5612 (20, 53)

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English Keyboard Music, 1663-1702 a collection of easy pieces edited by R. Jones 1. W. Lawes: Golden Grove 2. W. Lawes: Coranto, in a 3. B. Rogers: Jigg, in D 4. M. Locke: Alman, in G 5. A. Bryne: Saraband, in a 6. anonymous: Italian Rant, in a 7. Th. Pratt: Saraband to "Corke", in a 8. J. Blow: (Round O), in d 9. H. Purcell: Prelude, in G Z 660/1 10. H. Purcell: Minuet, in e Z 649 11. H. Purcell: March, in C Z 647 12. H. Purcell: Minuet, in d Z T.688 13. H. Purcell: Song Tune, in C Z T.694 14. H. Purcell: Minuet, in a Z 650 15. H. Purcell: Riggadoon, in C Z 653 16. H. Purcell: Corant, in G Z 660/3 17. H. Purcell: A New Scotch Tune, in G Z 655 18. H. Purcell: Saraband, in C Z 665/4 19. H. Purcell: Jigg, in C Z 665/5 20. J. Clarke: Round O, in d 21. R. King: (Air), in d 22. Th. Morgan: Twas when the sheep wa shearing, in Bb 23. J. Barrett: Minuett, in A 24. anonymous: The English Paspy, in G 25. R. Courteville: Minuett, in C 26. R. Courteville: Aire, in C 27. D. Purcell: Hornpipe, in d 28. W. Croft: Aire, in D Sources: GB-Lbl Egerton 2959 (8) 1663: "Musicks Hand-maide", London, 1663 (1-3, 6) 1678: "Musicks Hand-maide", 2nd ed.; London, 1678 (4, 5, 7) 1689: "The second part of Musick's Hand-maid", London (10-15, 17-19) 1696: "A choice collection of lessons for the harpsichord or spinnet" (9, 16) 1697: "The harpsicord master", London (20-22) 1700: "The second book of the harpsicord master", London (25, 26) 1702: "The third book of the harpsicord master", London (23, 24, 28) 1702: "A collection of lessons and aires", London (27)

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English Organ Music; ed. R. Langley

An Anthology from four centuries in 10 volumes

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I. From the Reformation to the Restoration, 1: John Ambrose to John Bull 1. J. Ambrose: (Fantasia) B.12 2. anonymous: Beata viscera B.382 3-6. J. Redford: 3. Christe redemptor omnium B.2069 4. Precatus est Moyses B.2105 5. Primo dierum omnium B.2106 6. Miserere B.2090 7. Kyrton: Miserere B.1855 8. anonymous: Miserere B.786 9. Th. Preston: Felix namque V B.2043 10. Th. Preston: Resurrexi III B.2047a 11. anonymous (Th .Preston?): Lucis creator optime B.710 12. anonymous (B. Cosyn?): A Voluntary B.1516 13. R. Alwood: Voluntary B.11 14a-c. Th. Tallis: (Clarifica me pater), I-III B.2199-2111 15. anonymous (W. Byrd?): Christe qui lux es et dies B.412 16. W. Byrd: (Salvator mundi), II B.1468 17. W. Byrd: Fantasia B.1360 18. N. Strogers: Fantasia B.2188 19. J. Bull: (Voluntary; Fantasia) B.1208 20. J. Bull: Fantasia sexti toni a 4 B.1204 Sources: GB-Abergavenny: My Ladye Nevells Boke (17) GB-Cfm mu. 168: Fitzwilliam Virginal Book (17, 18) GB-Lbl Add. 15233 (5) GB-Lbl Add. 23623 (20) GB-Lbl Add. 29996 (3, 4, 6-11) GB-Lbl Add. 30485 (16) GB-Lbl Add. 30513: the Mulliner Book (13, 14a-c) GB-Lbl R.A. 56 (2) GB-Lcm 2093 (12) GB-Och 371 (6, 15) GB-Och 1034A (1) GB-Och 1113 (12, 19) II. From the Reformation to the Restoration, 2: O. Gibbons to M. Locke: 1-3. O. Gibbons (see for sources under his name): 1. Fantasia 2. Fantasia of four parts B.1718 3. Fancy for a double organ B.1723 4-5. B. Cosyn: 2 pieces from a group of 7 pieces without title (B.1511-1517): 4. (Verse) 5. (Fantasia) 6-9. Th. Tomkins (see for sources under his name): 6. Voluntary B.2302 7. Voluntary B.2303 8. Clarifica me Pater B.2239 9. Gloria tibi Trinitas 10. J. Hingeston: Double Voluntary

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11-14. Chr. Gibbons: 11. A Verse for the organ B.1695 12. in A B.1692 13. Verse for the double organ B.1694 14. Verse for single organ B.1696 15-17. M. Locke: 15. Verse 16. Voluntary 17. Voluntary Sources: GB-Cfm mu. 735 (17) GB-Lbl Add. 31466 (13) GB-Lbl Add. 31468 (13) GB-Och 47 (10, 13) GB-Och 1092 (12) GB-Och 1113 (4, 5) GB-Och 1142A (11) GB-Och 1179 (12) GB-WB P 10 (14) 1673: M. Locke: "Melothesia", London (15, 16) III: The John Reading Manuscripts at Dulwich College. From John Blow to John Stanley: 1. J. Blow: Voluntary for full organ 2. J. Blow: A double voluntary 3. W. Croft: A Voluntary 4-8. J. Reading: 4-5. Trumpet airs 6. Voluntary for the 2 diapasons or full organ 7. Air for French horns and flutes 8. A (double) Voluntary 9. M. Greene: Voluntary for full organ 10. anonymous (J. james?): A Voluntary 10. H. James: Voluntary for the full swell & cornet, in a: Slow (diapasons)-Vivace (cornet)-Fugue 11. H. James: Voluntary, in G: Slow (full swell)-Andante (cornet)-Slow (diapasons) 12. H. James?: Voluntary for full swell, cornet & flute, in C (anonymous; by James?): 13. G.F. Händel: Fugue 14-19. J. Stanley: 7 Voluntaries (early versions of voluntaries from op. 5, 6, 7) Source: GB-Ldc 92a, 92b and 92d (1-19) IV: From Henry Purcell to John Stanley: (see for sources under composers A-Z) 1. H. Purcell: "in C" 2. J. Barrett: Voluntary, in C 3. W. Croft: A (double) Voluntary 4. W. Croft: Voluntary no. 3 from London, Brit.Libr.Add.Ms.5336 5. G.F. Händel: Fugue no. 3 in Bb HWV 607 6. G.F. Händel: Fugue in F (c.1705) HWV 611 7-10. Th. Roseingrave (nos. 1, 8, 13 and 19 from the list of works under his name): 7. Fugue, in f 8. Voluntary, in g 9. Fugue, in e 10. Fuga 4, in e 11. M. Greene: Voluntary in Bb; no. 6 from: "12 Voluntaries", c.1780 12. M. Greene: Voluntary in c / C from GB-Ldc ms. 92a

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13. H. James: Voluntary in b: Adagio (diapason)-Allegro (cornet) 14. H. James: Voluntary in e: Adagio (diapason)-Vivace (cornet) 15. H. James / Stanley: Voluntary in C (Largo staccato (full or diapasons)-Allegro (fuga) 16. W. Boyce: Voluntary no. 1 in D from: "10 Voluntaries", 1785 17. J. Stanley: Voluntary (= Ouverture to his "The Power of Music"; arranger not known) V: From John Stanley to John Keeble: (see for sources under composers A-Z) 1. J. Stanley: Voluntary op. 5, no. 1 2. H. Heron: Voluntary from: "Ten voluntaries", c.1765 3-6. W. Walond: 4 Voluntaries: op. 1, nos. 5-6 and op. 2, nos. 2 and 5 7. J. Nares: Fugue in G, no. 4 from "Six Fugues", 1772 8. J. Nares: Fugue per Arsin & Thesin 9. J.A. Arne: Introduction and Fugue from Concerto I 10. J. Keeble: Voluntary no. 1 in G from "Select pieces for the organ", 1777 VI: from John Keeble to Samuel Wesley: (see for sources under composers A-Z) 1. J. Keeble: Voluntary no. 16 from: "A Third set of selected pieces for the organ", 1778 2. J. Kirkman: Voluntary no. 6 from: "A collection of 6 voluntaries...op. 9", 1790 3. J. Hook: A Voluntary...composed & dedicated to Samuel Wesley (c.1812) 4. W. Russell: Voluntary in D, no. 4 from: "12 Voluntaries...Book I", 1804 5. Th. Adams: Voluntary no. 4 in Bb from: "Three voluntaries...Book II", 1824 6. Th. Adams: Grand Organ Piece (1824) 7-8. S. Wesley: Voluntaries nos. 3 and 6 from: "12 Voluntaries op. 6, Book I", 1805 10. S. Wesley: "S. Wesley 1810 S.D.G." 11. S. Wesley: A Melody for M.B. VII: see section : "Keyboard Duets" VIII: The Concerto Repertoire 1740-1815 (see for sources under composers A-Z) 1. W. Felton: Organ concerto op. 7, no. 4 2. W. Hayes: Organ concerto in G 3. J. Stanley: Organ concerto op. 10, no. 2 4. Ch. Wesley: Organ concerto, no. 1 from the 2nd Set 5. J. Hook: Organ concerto no. 1 IX: From Rococo to Romanticism, 1: Th. Attwood to Th.A. Walmisley: 1. Th. Attwood: A Dirge 2-3. W. Russell: Voluntaries nos. 2 and 11 from: "12 Voluntaries...Book I", 1804 4-5. W. Russell: Voluntaries nos. 3 and 12 from: "12 Voluntaries...Book II", 1812 6. Th. Adams: Organ piece in c, no. 1 from: "Six organ pieces inscribed to Th. Attwood", 1825 7. Th. Adams: Voluntary in E, no. 12 from: "Three voluntaries...Book IV", 1824 (8-10. works by S.S. Wesley, E. Webbe and T.A. Walmisley) X: (19th-century works by S.S. Wesley) English Pastime Music, 1630-1660 ed. M. Maas 119 English pieces selected from 3 Paris manuscripts: 73 pieces form : F-Pn Rés. 1186: written in the 1630s; popular songs and dances; 2 canzonettas; compiled by R. Creighton sr.; ca. 160 pieces in all 13 dances from: F-Pn Rés. 1186bis II: Second book; also from the 1630s 33 pieces from: F-Pn Rés. 1185: 2nd part of ms. written in 1652 by Benjamin Cosyn (B. = number in the catalogue of V. Brookes; see bibliography) 1-73. from F-Pn Rés. 1186: 1. (no title) B.272

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2. Good morrow Valentine B.607 3. R. Creighton: What if a day or a month or a yeare B.1573 4. Thomas ye cannot B.1015 5. Barrow Faustus B.379 6. R. Creighton: (no title) B.1569 7. Tell me Susan B.1012 8. R. Johnson II: Johsons Gallaird B.1836 9. Welladay B.1073 10. R. Johnson II: (The flat) Pavine B.1840 11. Trenchmore B.1035 12. A French Coranto B.474 13. Another French Coranto B.475 14. The Queene of Bohemia's Dumpe B.926 15. The Nightingale B.816 16. A Dance ( = The Milkmaid) B.783 17. Ye faierest Nymphes ye valleys B.760 18. (no title; = Gray's Inn Maske) B.762 19. Ye canaries B.401d 20. Up and downe B.1042 21. H. Loosemore: A Coranto B.1914 22. (no title; A Scottish jigge) B.123 23. (no title; Paven) B.124 24. A Scottish Jigge B.681 25. (W. Byrd): A Paven B.1449 26. Jumpe at my Cozen B.683 27. My love shee dwells not here B.805 28. (no title) B.126 29. (B. Cosyn): (no title) B.1510 30. Over ye mountaines B.837 31. M:ris mine well may ye fare B.789 32. Amidst ye fairest mountaine toppes B.367 33. (no title) B.127 34. (no title) B.128 35. When Daphne did from Phoebus flie B.490 36. When all ye Gods had made a fesast B.1077 37. A 1000 kisses winne my heart from mee B.1017 38. What if I live for love of thee B.1074 39. With my love my life was nested B.1090 40. Troy towne B.1038 41. (R. Creighton): (no title; The hunt's up) B.1568 42. In sad & ashie weeds B.652 43. The Ladie Weston's Allmaine B.361 44. Say prettie wanton B.990 45. (W. Byrd): A Coranto Mr. Lever B.1338 46. A Lute lesson B.712 47. Can you not hitt it my good man? B.404 48. (no title) B.276 49. The Ne(a)therlands B.809 50. I gott ye coate B.640 51. Tutte venite armati B.1041 52. (R. Creighton): Vezzosette Nymphe belle B.1572 53. (no title; = A man had three sons; also know as: Under and over) 54. Thomas you cannot B.1016

B.738

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55. Open ye door to three B.836 56. Faire maide are you walking? B.517 57. (no title; = Sellinger's Round) B.997 58. The Morris B.794 59. Churchyards galliard B.581 60. Ye rich Jew B.939 61. Pakington's Pound B.839 62. Greenesleeves B.612 63. R. Clarke: Galliard B.1490 64. R. Creighton: (ni title; = Nutmegs and ginger) B.1565 65. (B. Coysn; here attr. to J. Bull): Why aske you? B.1562 66. J. Dowland (set by?): Lachrymae B.857c 67. Excuse mee B.513 68. Farewell deare love B.549 69. Welladay B.1072 70. Mal Sims B.737 71. J. Dowland (set by?): Lady Layton's Allmaine B.1581 72. The merry cuckold B.779 73. A.R. (= R. Allison?): Williams his Allmaine B.1 74-86. from F-Pn Rés. 1186bis II: 74. (O. Gibbons): Allmayne B.1700: Air 75. The princess Jigg (The Skippng Jigge) B.678 76. Allmaine B.348 77. The Spanish pavin B.863 78. Almaine B.349 79. Almayne B.350 80. The Ladyes Delight B.694 81. The Quens Jigge B.679 82. Hide Parke B.638 83. The Tempell Maske B.768 84. (G. Kennedy): Howells Delight B.1842 85. Galliardo B.578 86. Grays Inn Maske B.761 87-119. from F-Pn Rés. 1185: 87. Coranto B.462 88. Almaine B.344 89. Coranto B.464 90. Sellabrand B.979 91. (O. Gibbons; attrib. here to Mr. Tresure): Coranto B.1707a 92. Allmaine B.345 93. P. de La Barre: A Masque ("Mr Bares Allmaine) B.1871 94. When ye Kinge injoyeth his owne againe B.1079 95. (R. Johnson II): The Lady Hattons Allmaine B.1834 96. Allmaine B.327 97. W. Young: Allmaine B.2380 98. (W. Young): Coranto to itt B.3281 99. B. Cosyn: Sellabrand B.1557 100. (Ch. Coleman): Allmaine B.1497 101. (La Barre): Coranto B.1870 102. Sellabrand B.981 103. (Ch. Coleman): Sellabrand B.1501 104. (J. Dowland, set by?): A re Lachrime Pavin B.857d 105. W. Lawes ( = by O. Gibbons, but with varied repeats by B. Cosyn?): Allmaine

B.1703

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106. Coranto to itt B.466 107. (W. Lawes): Sellabrand B.1889 108. Fuge B.566 109. The Chessnut B.411 110. Serabrand B.982 111. (B. Cosyn): C fa ut Allmaine B.1519 112. (B. Cosyn): Coranto B.1523 113. (B. Coysn): Serabrand B.1556 114. (B. Cosyn): Allmaine B.1544 115. (La Barre): Coranto B.1859 116. S. Ives: Serabrand B.1816 117. (B. Coysn): The Skotch covinant B.1558 118. The Ladies Daughter B.693 119. A Maske B.757

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Four early keyboard sonatas by English women composers ed. S. Fortino 4 Sonatas by C. Barthélemon, E. Billington, mrs. Dussek-Cianchetti and M.H. Park 48,--

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Late-17th-century English Keyboard Music ed. C. Bailey Complete edition of all 84 pieces from GB-Ob mus.sch. D.219 and GB-Och mus. 1177; these 2 manuscripts, along with M. Locke's "Melothesia" (1673), represent the most sophisticated kyeboard music of the early Restoration period; many unica; concordances given. tion period; many unica; concordances given. B. = nos. in the catalogue of V. Brookes (see ibliography) nos. 1-25: from GB-Ob mus.sch. D.219: 1-12. A. Bryne: 1-4. set in d: (Alman)-Corant-Saraband- Jigg Alman B.1136, 1146, 1155, 1149 5-8. set in D: Allmaine-Corant-Saraband-Jigg Allmaine B.1141, 1147, 1153, 1150 9-12. set in d: Allmaine ( = no.55)-Corant-Saraband-Jigg Allmaine B.1142, 1145, 1154, 1151 13. anonymous: A Ground for ye organ or harpsicord, in a 14. anonymous: A Ground for ye harpsicord, in D 15. (M. Locke): An Ayre, in F (from "Cupid and Death) B.1898 16. (M. Locke): Mr. Locks Saraband (from "Cupid and Death") B.1910 17-20. anonymous: 17. A Ground in D sol re 18. The New Tune, in C 19. Corant, in C 20. Saraband, in C 21. (J. Banister?): Banisters tune, in C 22. (W. Lawes): The Kings Ayre, in d B.1876 23. (W. Lawes): The Kings Coranto, in d B.1882 24. anonymous: Saraband, in d 25. (M. Locke): Mr. Locks Coranto, in a B.1902 nos. 26-84: from GB-Och 1177: 26. R. Portman: Saraband, in c (or by O. Gibbons?) B.1763 27. La Barre: Saraband, in d 28. anonymous: (Freeman's Delight), in G B.562 29. E. Lowe: (Saraband), in d 30. anonymous: (Saraband), in a

*

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31-32. R. Gibbs: Allmain, in a - Corant, in a 33. anonymous: The Kings Ayre, in F 34. anonymous: (Corant), in F 35. A. Bryne: Saraband, in F B.1156 36. anonymous: A Scots Aire, in C 37. anonymous: A Horne pipe, in F 38. anonymous: (Aire), in C 39. anonymous: (Saraband), in C 40. anonymous: (Saraband), in C 41. anonymous: Aire, in C 42. anonymous: (Saraband), in C 43. anonymous: (Jigg), in C 44. anonymous: (Almain), in G 45. anonymous: Jigg, in a 46. anonymous: Saraband, in a 47. anonymous: Saraband, in C 48. anonymous: Corant, in G 49-51. J. Roberts: set in d: Almain-(Corant)-Jigg 52. (Chr. Preston): (Almain), in G 53-54. (J. Roberts?): set in G: Ayre-(Corant) 55. A. Bryne: Almain, in a (= no.9) B.1142 56. anonymous: (Corant), in d 57. anonymous: Jigg, in C 58. anonymous: Jigg, in C 59. anonymous: Jigg, in d 60. J. Blow: (Verse), in g 61. J. Blow: Prelude, in C 62-64. G.B. Draghi: set in d: Almaine-Corant-Saraband 65. M. Locke: Almand, in G B.1900 66. J. Blow: Corant, in G 67. J. Blow: Almaine, in D 68. J. Blow: Almaine, in d 69-74. H. Purcell: 69. (Ground), in c Z.681 70. (Ground "Scocca pur"), in c Z. A6 (after J.-B. Lully LWV 76) 71-73. Prelude-Allmand-Corant from suite no. 3 in G B.662 74. Saraband, in a Z.654 75. anonymous: Trumpet Almand, in D 76-78. H. Purcell: 76. Prelude, in a Z. A12 77-78. Almand-Corant from suite no. 4 in a Z.663 79. (G.B. Draghi or J. Blow): (Almain), in d 80. (H. Purcell): Saraband to the lesson before, in a Z. A13 81. J. Blow: Morlake Ground, in G 82. J. Blow: Ground, in g 83. G. Diessener: Ground, in C 84. anonymous: Ground, in b (by H. Purcell?) Z. A11

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Old English Organ Music for Manuals ed. C.H. Trevor in 6 volumes; no source information

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Volume I J. Alcock: Grave Th. Arne: Con spirito J. Battishill: Air J. Bennett: Trumpet voluntary W. Boyce: Voluntary in C Ch. Burney: Fugue in f M. Camidge: Gavotte W. Croft: Voluntary in d S. Goodwin: 3 Interludes W. Heron: Voluntary in G J. Keeble: Diapason movement J. Travers: Cornet voluntary W. Walond: Siciliana Ch. Wesley: Pastorale

23,-Volume II

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J. Alcock: Grave J. Battishill: Voluntary in Bb J. Bennett: Adagio W. Boyce: Voluntary in a; Diapason movement Th. S. Dupuis: Fugue in e S. Goodwin: Trumpet voluntary; Diapason movement M. Greene: Andante Ph. Hayes: Pastorale W. Heron: Cornet voluntary J. Keeble: Diapason movement F. Linley: Prelude in G Th. Roseingrave: Voluntary in g J. Stanley: Voluntary in e Th. Thorley: Flute piece J. Travers: Largo S. Wesley: Hornpipe Volume III J. Alcock jr.: Siciliano Th. Arne: Allegro J. Bennett: Adagio; Voluntary in F W. Boyce: Voluntary in d M. Camidge: Gavotte Th. S. Dupuis: Trumpet voluntary S. Goodwin: 3 Interludes W. Hine: Flute piece J. James: Voluntary in a M. Greene: Diapason movement W. Walond: Cornet voluntary Volume IV J. Bennett: Diapason movement W. Boyce: Voluntary in G Ch. Burney: Fughetta in A S. Goodwin: Cornet voluntary M. Greene: Voluntary in Bb

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W. Heron: Trumpet voluntary; Interlude W. Hine: Voluntarty in F; Interlude J. Stanley: Siciliano; Diapason movement J. Travers: Adagio; Interlude W. Walond: Diapason movement S. Wesly: Two pieces J. Worgan: Short voluntary Volume V

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anonymous: Voluntary in a; Felix namque J. Alcock: Voluntary in D G. Berg: Cornet voluntary M. Greene: Diapason movement S. Long: Voluntary in g J. Chr. Pepusch: Fuga a 2 voci H. Purcell: Air W. Selby: Voluntary in A J. Sheppard: A Poynte Th. Tallis: Natus est nobis J. Travers: Trumpet voluntary Volume VI J. Alcock: Lento R. Alwood: In nomine anonymous: Voluntary in a; Cornet voluntary W. Croft: Voluntary in D O. Gibbons: A short voluntary S. Goodwin: 3 Interludes M. Greene: 2 Diapason movements W. Heron: Voluntary in G S. Long: Voluntary in d J. Redford: Hymnus; Versus S. Stubley: trumpet voluntary Th. Tallis: A Poyncte Organ Music in Restoration England ed. R. Langley 8 anonymous pieces: 1. A Verse to play after Prayer, in d (by H. Purcell?) 2. (Verse), in d 3. Verse, in G 4. Verse, in C 5. (Verse), in a 6. (Verse), in D 7. (Voluntary for cornet and diapasons), ind 8. (For the cornet stop), in d Sources: GB-Lbl Add.31403 (1, 3, 4), 31446 (2, 6, 8) and 34695 (5, 6, 8) GB-Hereford Cath. 30.B.2 (7)

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Ten Eighteenth-century Voluntaries ed. G. Beechey J. Bennett: W. Hine: 6 voluntaries in b-A-d-g-F-D Voluntary in F

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W. Walond: 3 Voluntaries in G-G-d

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Ten pieces by Hugh Aston and others ed. F. Dawes; reprint leaving out the commentary 1. La belle fyne B 383 2. H. Aston: A Hornpipe B 1096 3. (H. Aston?): My lady Carey's dompe B 1098 4. (H. Aston?): The short mesure off my lady Wynkfylds rownde B 1097 5. The Empororse Pavyn B 855 6. A Galyarde B 573 7. Kyng Harry the VIIIth Pavyn B 856 8. The Crocke B 487 9. The Kyngs Marke ( = Maske) B 765 10. A Galyard B 574 (source for all pieces: GB-Lbl Roy.App. 58)

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Three Organists of St. Dionis Backchurch, London ed. P. Marr J. Bennett: Voluntary no. 2 in b-minor Ch. Burney: Introduction for the diapasons in e-minor; Voluntary no. 1 in e-minor; Fugue f-minor Ph. Hart: Fugue in A-major

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Thirteen Pieces from GB-Lbl Add. 29996 and "Parthenia" (1612) ed. E. Kraus for organ; Cantantibus Organis, 16 1. W. Byrd: Preludium, in g (B.1462) 2. W. Byrd: Preludium, in G (B.1463) 3. J. Bull: Preludium, in G (B.1292) 4. O. Gibbons: Fantazia of foure parts, in a (B.1754) 5. O. Gibbons: Preludium, in G (B.1756) 6. Th. Tomkins: A short verse, in G (B.2300) 7. A. Ferrabosco: Fantasia ut re mi fa sol la La sol fa mi re ut (Charteris 218) 8. A. Philips: On a ground, in d (this piece is now ascribed to Th. Tomkins; B.2261) 9. N. Carleton: Praeludium, in d (B.1482) 10. N. Carleton: A verse of four parts, in C (B.1485) 11. W. Byrd: Fantazia 6 voc., in a ( = consort fantasy a6: no. 2; B.1362; not in ed. Brown) 12. W. Byrd: Another fan 6 voc., in a ( = consort fantasy a6: no. 3; B.1363; not in Brown) 13. W. Byrd: A Fancy of three parts, in a (B.1357; ed. Brown no. 26) sources: 1612: "Parthenia or the maidenhead", London (1-5) GB-Lbl Add. 29996 (6-13)

19,50

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Thirteen Preludes and Voluntaries with Original Fingering ed. M. Boxall 1. Prelude B.879 2-3. J. Bull: Prelude B.1298 in 2 versions 4-7. Voluntaries B.1060 - B.1063 8. J. Blow: "Dr. Blows Voluntary" (ed. Klakowich: no.14) 9-11. J. Bull: Preludes B.1292, B.1298 and B.1300 12-13. E. Bevin: Preludes B.1110-B.1111

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sources: GB-Lbl Add. 31403 (9-13) GB-Lcm 2093 (1-8)

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Tudor keyboard music, c.1520 - 1580 ed. J. Caldwell; Musica Britannica vol. 66 · Complete English repertoire of this period: 92 original works, 7 fragmentary works, 7 related pieces not for keyboard, 3 reconstructions of original works. B = no. in the catalogue of V. Brookes (see bibliography) A. 19 Liturgical and other Plainsong settings: 1. (Alleluia: per te Dei genitrix) B.95 2. Th. Tallis: (Alleluia: per te Dei genitrix) B.2198 3. Aurora lucis rutilat B.376 4. Th. Tallis: Felix namque I B.2205 5. Th. Tallis: Felix namque II B.2206 6. J. Taverner: In nomine B.2223 7. Th. Tallis: Gloria tibi trinitas: ij parts on a rownd tyme B.2208 8. N. Strogers: In nomine I B.2189 9. N. Strogers: In nomine II B.2190 10. Alwood: In nomine I B.8 11. Alwood: In nomine II B.9 12. In nomine B.651 13. In nomine B.649 14. In nomine B.650 15. R. Parsons (anonymous setting): In nomine B.1990 16. W. Byrd (anonymous setting): In nomine B.1414 17. R. White: Ut re mi fa soul la B.2344 18. N. Strogers: Upon ut re my fa soul la ij longe B.2192 19a-b. Two pieces without title on the same plainsong (B. Appendix 2a-b) B. 12 Freely composed pieces in contrapuntal style: 20-25. pieces without title B.104 - B.109 26. J. White: piece without title B.2342 27. J. Ambrose: piece without title B.12 28. J. Blitheman: 3 parts B.1125 29. piece without title B.246 30. N. Strogers: Fantasia B.2188 31. A. Ferrabosco I: A Fancy B.1675 C. 26 Dances, grounds, and settings of secular tunes: 32. Non expecto B.820 33. (J. Alcetur?): Non exspectat B.3 34. (J. Alcetur?): The trowmppettus B.4 35. J. Alcetur: (A ground) B.2 36. H. Aston: A Hornepype B.1096 37. (H. Aston?): My lady Careys dompe B.1098 38. (H. Aston?): The short mesure off my lady Wynkfylds rownde B.1097 39. The Empororse Pavyn B.855 40. A Galyarde B.573 41. The Kynges Pavyn B.856 42. The Crocke B.487 43. The Kynges Maske B.765 44. A Galyard B.574 45. Uppon la m ire B.1043

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46. (H. Aston?): (Hugh Ashtons maske), set by Whytbrook B.2341 47. (Galyard) B.86 48-49. pieces without title B.87 - B.88 50. Galyard B.572 51-53. pieces without title B.90 - B.92 54. piece without title B. deest 55. piece without title B.93 56. Wakefild on a greene B.1069 57. A Ground B.614 D. 35 Intabulations of vocal models: 58. C. de Sermisy: Apre de vowse ( = Auprés de vous) B.374 59. C. de Sermisy: Dum vincella ( = Dont vient cela) B.496 60. (De retourner) B.110 61. piece without title B.111 62. Roquelay: Grace and vertwe ( = Grace, vertu) B.610 63. Fortune unkynde B.561 64. Myne cuckes co B.784 65. A litell god fayth B.703 66. La bell fyne B.383 67. Ph. Verdelot (set by Tye?): (Madonna, somm' acorto) B.2329 68. Ph. van Wilder (set by Tye?): (Doulce est la mort) B.2325 69. Ph. van Wilder (set by Tye?): Amor me poynte B.2328 70. piece without title ("Corus") B.483a 71. (Chr. Tye?): piece without title B.2326 72. piece without title B.185 73. Ph. van Wilder: Fayre lady might ye ( = Un jeune moyne) B.516 74. O death rock me aslepe B.516 (keyboard version and lute-accompanied song version) 75. Attend my people (If care do cause men cry) B.372 (Attend my prayer) 76. Remember well B.932 77. Psalme 81 (Be light and glad) B.923 78. I heard one cry B.641 79. A voice Jesu B.375 80. The hapie life B.623 81. (J. Sheppard): Vaine all our lyfe (with surviving cantus part) B. deest 82. (W. Byrd): In fields abrode B.647 (keyboard version and consort version) 83. C. de Sermisy: Dont vient cela B.496 (keyboard version and vocal version) 84. C. de Sermisy: Tant que vivray B. deest (keyboard version and vocal version) 85. Amis, soufrés B. deest (keyboard version and vocal version) 86. P. Sandrin: Si mon travel B. deest (keyboard version and vocal version) 87. P. Sandrin: La volunté B. deest (keyboard version and vocal version) 88. C. de Sermisy: C'est a grand tort B. deest (keyboard version and vocal version) 89. The God of peace ald love B. deest (keyboard version and vocal version) 90. piece without title B.289 91. Th. Tallis: When shall my sorofull sighthyng slak B.2221 92. Ph. van Wilder: (Je file) B.2347 Appendix I: 7 Fragmentary works: 1. Ave Maria B. app.1 2. Felix namque B. app.2 3-4. Te Deum I - II B. app.3 5. (J. Taverner): (Agnus Dei) B.2222 6. (N. Strogers?): (In nomine) B.2191 7. (P. Sandrin): Douce mémoire B. deest Appendix II: 7 Related works not for keyboard (no B nos.):

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1. Ormavoyt (a1) 2-4. pieces without title 5-6. pieces without title 7a. Pavane lesquercade 7b. The kyngs pawvyon

(a1) (a2) (a4) (a4) Appendix III: 3 Reconstructions of original works: 1. O death, rock me asleep voice and 4 instruments see no.74 2. If care do cause men cyr / Attend my people keyboard version and vocal version see no.75 3. (J. Sheppard): Vain, all our life we spend in vain vocal version a4 see no.81 Appendix IV: Plainsongs used as cantus firmi. SOURCES: a) Manuscript sources: F-Pc Rés.1185: the Bull manuscript (3) GB-Cfm mu. 168: Fitzwilliam Virginal Book (4, 5, 30) GB-Cfm mu. 278: Tisdale's Virginal Book (68, 69) GB-Cu Dd.9.33: lute tablature (5) GB-DRu E OCT C27R (app.I: 1-2) GB-Evesham Almonry Museum: Alcetur's "Matthew" Bible: ms. supplement (33-35; app.II: 1) GB-Lbl Add. 15117: ms. after 1614 (74; app.III: 1) GB-Lbl Add. 15166 (81; app.III: 3) GB-Lbl Add. 29996: ms. owned by Th. Tomkins (15, 16, 45) GB-Lbl Add. 30485: Wray ms., the "pseudo-Nevell book" (5, 10, 11, 31, 56, 57) GB-Lbl Add. 30513: the Mulliner Book (91) GB-Lbl Add. 31390: Bevin ms. (67, 92) GB-Lbl Add. 31403: Bevin ms. (5, 28) GB-Lbl Add. 60577: the Winchester anthology (1, 26, 46 - 55) GB-Lbl R.A. 56: ms. of c.1530 (20 - 25, 32, 58 - 65; app.I: 5) GB-Lbl R.A. 58: the Swarland Book, c.1530 (36 - 44, 66, 74; app.III: 1) GB-Lbl R.M. 23.1.4: Benjamin Cosyn's virginal book (5) GB-Lbl R.M. 24.d.3: Will Forster's virginal book (5) GB-Lbl Stowe 389 (41, 75; app.II: 7; app.III: 2) GB-Lpro E 36/170: Court book from Burnham (75) GB-NO the Willoughby lute book (92) GB-Obc fragments 142 and 156 (app.I: 3, 4) GB-Och mus. 371: ms. of c.1570 (2, 6 - 9, 17, 18, 67 - 74) GB-Och mus. 984-988: the Robert Dow partbooks (67, 82, 92) GB-Och mus. 1034A: late 16th- or early 17th-c. manuscript (2, 27) GB-Och mus. 1142A (12 - 14, 29) GB-Y M.91 (67, 76 - 92; app.I: 7; app.II: 5-6) IRL-Dtc 278 (19) b) Early printed sources of vocal models: 1528: "Chansons nouvelles en musiqe, à 4 parties...", Paris, Attaingnant " (59, 83, 84, 88) c.1529: "32 Chansons musicales à 4 parties...", Paris, Attaingnant (62) 1529: "32 Chansons musicales à 4 parties...", Paris, Attaingnant (60) 1529: "42 Chansons musicales à 3 parties...", Paris, Attaingnant (85) 1536: "Second livre contenant 31 chansons musicales...", Paris, Attaingnant (62) 1538: "Second livre contenant 27 chansons nouvelles à 4 parties...", Paris, Attaingnant/Jullet (86) 1538: "Di i Madrigali di Verdelotto et de altir eccellentissimi auttori a 5 voci, libro secondo", Venice, Scotto (67) 1543: "Quatorsiesme livre contenant 29 chansons nouvelles à 4 parties", Paris, Attaingnant (87) 1552: "La Fleur de chansons et quatriesme livre à 4 parties...", Antwerpen, Susato (69) 1571: "Liber primus leviorum carminum...", Louvain/Antwerpen, Phalèse/Bellère (App.II: 7a) 1572: "Mellange de chansons...", Paris, A. Le Roy/R. Ballard (73, 92)

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VII. HUNGARY

Modern Collections:

kv.536

Hungarian Dances (1784-1832) ed. by F. Bónis 1-3. J. Bengraf: 1. Ballet hongrois: allegro animoso, in D (1784) 2. Danse hongroise: adagio, in a (1790) 3. Danse hongroise: allegro, in C (1790) 4. anonymous: Magyar tántz: (allegretto), in a / A (1791) 5-6. S. Ossowsky: 5. Danse hongroise: (allegretto), in d (1791) 6. Danse hongroise: (allegro), in d (1791) 7-8. F. Kauer: 7. Hongroise: (allegretto), in d (1792) 8. Hongroise: (allegretto), in C (1792) 9. J. Koschovitz: Danse hongroise: (adagio), in c (1794) 10-11. anonymous: 10. Ungarischer Nationaltanz: adagio, in c (1800) 11. Ungarischer Nationaltanz: poco adagio, in c (1800) 12-15. anonymous (from Galantha): Ungarische Nationaltänze in d-D-A-a (1803) 16-18. J.N. Hummel: 3 Balli ongaresi, from op. 23 (1806): 16. Ballo ongarese: andante (Ballo patetico), in A 17. Ballo ongarese: allegro (Ballo vivace), in d 18. Ballo ongarese: allegro (Ballo vivace), in D 19-22. anonymous: Originelle ungarische Nationaltänze (1807 / 1812): 19. Presto, in d (1807) 20. Allegro, in e-a (1807) 21. Adagio, in g (1812) 22. Presto, in G (1812) 23-24. J. Bihari: 23. Ungarischer Tanz oder Werbung: andante moderato, in D (1807) 24. Ungarischer Tanz oder Werbung: andante moderato, in a (1807) 25-26. F. Kauer: 25. Hongroise: allegro comodo, in f# (1808) 26. Hongrose: allegro comodo, in D (1808) 27-28. J.B. Vanhal: 27. Ungarischer Tanz: (allegretto), in a (1808/09) 28. Ungarischer Tanz: (allegretto), in a (1808/09) 29. A.G. Csermák: Verbunk: (andante), in D (1809/10) 30. J. Lavotta: Verbunkos nóta oder aecht ungarischer National-Tanz & 2 Trios, in G (1814) 31. anonymous: Rákótzky nótája: adagio mesto / allegretto, in D (1826) 32. M. Rózsavölgyi: Lassú Magyar és friss (Hungarian slow and quick dance), in c (1828) 33. I. Ruzitska: Butsuzó (Farewell): moderato / allegretto, in d / D (1832) Sources: H-Bn mus. ms. autogr. Csermák 6 (29)

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1784: J. Bengraf: "Trois divertissements pour le clavesin seul avec un ballet hongrois", Pest, Weingand & Koepf / Vienna, Chr. Torricella (1) 1790: J. Bengraf: "XII Magyar Tántzok klávicembalomra valók.../ Dances hongroises pour le clavecin ou piano-forte...", Vienna, Artaria, pl.no. 308, 1790 (2-3) 1791: music supplement to the magazine "Hadi és más nevezetes történetek" (4) 1791: S. Ossowsky: "VI Danses hongroises pour le fortepiano ou clavecin", Vienna, A. Hoffmeister: nos. 1 and 5 (5-6) 1794: J. Koschovitz: "XII Dances hongroises pour le clavecin ou piano-forte", Vienna, Artaria: no. 12 (9) 1797: F. Kauer: "12 Hongroises pour le clavecin ou piano forte...Oeuvr. XX", Vienna, Kozeluch: nos. 7 and 10 (7-8) 1800: in: H. Klein: "Ueber die Nationaltänze der Ungarn" in "Leipziger Allgemeine Musikalische Zeitung", May 28 1800 (10-11) 1803: "Ausgesuchte ungarische Nationaltaenze in Clavierauszug von verschiedenen Zigeunern aus Galantha", Vienna, I. Sauer: nos. 1, 24, 13, 14 (12-15) 1806: J.N. Hummel: "Balli Ongaresi per pianoforte...Op. 23", Vienna, Kunst- und Industrie-Comptoir, pl.no. 527: nos. 1, 4, 5 (16-18) 1807/1812: "Originelle unagrische Nationaltänze für das Clavier, Heft I-IV", Vienna, Chemische Druckerey, pl.nos. 281, 521, 1743, 1744: nos. I/6, II/4, III/12 and IV/2 (19-22) 1807: J. Bihari: "2 Ungarische Tänze oder Werbung fürs Forte-Piano von Herrn Biháxy", Vienna, Artaria & Comp. (23-24) 1808: F. Kauer: "XII Hongroises pour le piano-forte publiées à l'occasion du couronnement de s.m. imp. royl. Maria Luoisea Presbourg le 7. Septembre 1808", Veinna, Th .Weigl, pl.no. 1017: nos. 4 and 3 (25-26) 1808/09: J.B. Vanhal: "Sechs ungarische Tänze für das Piano-Forte", Vienna, J. Traeg, pl.no. 404: nos. 1-2 (27-28) 1814: J. Lavotta: "Verbunkós Noták oder Aecht ungarische National-Tänze. Tänze von Herrn Lavotta, für das Piano-Fforte eingerichtet von Herrn Abbé Gelinek", Vienna, Artaria, pl.no. 2362: no. 1 (30) 1826: G. Mátray-Rothkrepf: "Pannonien: auserlesene Sammlung ungarischer Tänze, III" (31) 1828: "Magyar Nóták Veszprém Vármegyéböl", vols. 12: nos.94-95 (32) and volume 15: nos. 132-133 (33)

kb.344

23,--

Musica Antiqua Hungarica ed. Szigeti Praeambulum from the Franciscan organ tablature of Buda, c.1500-1525 (H-Bn Clmae 432) from H-Bn mus.ms.749: 8 Fugues super Ite missa est secundum Missale fratrum minorum S. Francisci provinciae S. Mariae Hungaricae; Planctus Illyrilcus from ms. Nagycenk: Interludium J. Wohlmuth: Pastorale, praeludium and chorale F.M. Novotny: 3 Praeludia; A. Müller: Praeludium et fuga; Postludium out of print out of print

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VIII. IBERIA

Spain & Portugal a) Manuscripts:

kb.542

E-Bbc 123 Música Aragonesa para tecla siglo XVIII ed. J.M. Muneta Martínez de Morentin; Tecla Aragonesa, VIII 1. (R. Ferreñac?): Pastoral, in C 2. R. Ferreñac: Adagio, in C 3. J. Lidón: Sonata, in D: Allegro: clarines 4. (R. Ferreñac?): Sonata de octavo tono: Allegro, in G 5. (R. Ferreñac?): Allegro-presto, in F 6. J. Laseca: Sonata, in C 7. (J. Laseca?): (Sonata), in b 8. (R. Ferreñac?): Verso de octavo tono 9. (R. Ferreñac): Sonata de octavo tono 10. (J. Laseca?): Sonata de sexto tono 11-13. (M. Gaudán): Pange lingua 14. M. Gaudán: Pange lingua 15. (M. Gaudán): Pange lingua 16. (J. Laseca?): Adagio, in C 17. (J. Laseca?): (Sonata), in G: cornetas magnuas & trompas reales 18. (J. Laseca?): Sonata: Allegro, in C 19. (J. Laseca?): Sonata: Allegro, in F; 2/4 20. (J. Laseca?): Sonata: Allegro, in F; 4/4 21. (J. Laseca?): Sonata de quinto tono punto alto 22. R. Ferreñac: 7 Versos de octavo tno para el Benedictus 23. (R. Ferreñac?): Rondo: Andante, in Eb 24. (J. Laseca?): (Sonata): Allegro, in C 25. (R. Ferreñac?): Presto: clarines, in C 26. Allegro, in C 27. R. Ferreñac: Batalla para el día de la aparición del apóstol Santiago: Lengüetería, in Eb Source: E-Bbc 123 (ms. end 18th / beginning 19th c. that belonged to Martín Gaudán; contents: 33 keyboard works) E-Felanitx Keyboard music from the Felanitx manuscripts ed. N. Lee, volume I: 161 of the 305 pieces

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kb.407

volume I: 161 of the 305 pieces contained in ms. 173 of the Fundació Cosme Bançà at Telanitx, Mallorca: 159 versets for mass and vespers in the first and second mode (152 by Cabanilles, 5 by Esteve, 2 by Bruna) and 2 pieces by Cabanilles: Gallardas de 1. tono de todo gusto and Toccata de 1. tono. volumes II:-V in preparation E-Mn mus. 1357-1361 The 5 Manuscripts by Antonio Martín y Coll

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kb411

kb412

The 4 manuscript collections by Antonio Martín y Coll, containing mostly anonymous works: E-Mn 1357: "Flores de música, obras y versos de varios organistas, escriptas por f. Antonio Martín Coll, organista de San Diego de Alcalá, 1706" E-Mn 1358: "Pensil deleitoso de subabes flores de música, recogidas de varios organistas por f. Antonio Martín, organista...de Alcalá, 1707" E-Mn 1359: "Huerto ameno de varias flores de música recogidas de muchos organistas por fray Antonio Martín, 1708" E-Mn 1360: "Huerto ameno de varias flores de música recogidas de varios organistas por fray Antonio Martín, 1709" E-Mn 1361: "Ramillete oloroso suabes flores de música para órgano compuestas por fray Antonio Martín, 1709"; this ms. contains Martín y Coll's own compositions. Editions: ° Selection in 3 volumes; ed. by J. Sagasta: Volume I: Fabordones Glosados Obra de 1. tono por b fa be mi blanca Medio registro de un tiple Obra de 1. tono mano derecha Obra de segundo tono Tiento de segundo tono partiendo de mano derecha tiento de 3. tono 2 Obras de 4. tono 2 Obras de 5. tono 2 Obras de 6. tono Obra de 7. tono Obra de 8. tono Tiento de octavillo Xacara 2 Passacalles de 1. tono Obra de clarin Entrada de clarines antes de tocar canciones Minue frances Batalla famosa Batalla de 5. tono de 7. tono; Obra de 8. tono; Tiento de octavillo; Xacara; 2 Passacalles de 1. tono; Obra de Volume II: Juego de versos de todos tonos Obra de 1. tono de ecos 2 Obras de lleno de 1. tono Obra de 1. tono de mano derecha Obra de 1. tono de mano izquierda Tiento de lleno de 2. tono Obra de 2. tono mano izquiera y 2 bajos Medio registro de mano izquierda de 2. tono Obra en lleno de 3. tono Obra de lleno de 4. tono Obra de lleno de 5. tono Obra de 5. tono punto alto Obra de 6. tono Medio registro de 7. tono 2 Obras de 8. tono Diferencias sobre la gayta

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Capocio: Gallarda D. Xarava: Ydea vuena por a, la, mi, re D. Xavara: Fuga

kb413

52,-volume III:

kb416

kb414

kb415

Obra de primer tono Septima obra de lleno de primer tono J. Jimenez: Novena obra de lleno de primer tono sin paso Discurso de mano derecha para corneta y ecos Temblante estilo Italiano Obra de primer tono de medio registro de mano derecha Tiento de primer tono medio registro de mano izquierda Tiento de segundo tono por la mediacion Partido de mano derecha. Obra de tercer tono. Cancion Obra de clarines: partido de mano derecha Cancion de dos clarines Otra cancion para ecos Otra cancion Decima obra de sexto tono Septima obra de sexto tono Obra de octavo tono Obra de octavo tono. Timbales Obra de clarines octavo tono mano derecha Cancion Catalana ° Selection of 20 pieces; ed. by Stella / Vinay: D. Xarava: Ydea vuena por a la mi re; Obra en lleno de 3. tono A. Lorente: Obra de primero tono de medio registro de mano derecha; Tiento lleno de senugdillo; Medio regstro de dos tiples de 1. tono mano derecha; Otro...de un baxo mano izquierda de 1. tono; Diferencias sobre las Bacas anonymous: Obra de lleno de 1. tono; Obra de falsas cromaticas de 1. tono; Missa de N. Señora; Pavana; Chacona; Bayle del gran duque; Españoleta; Las Folías; 6a Obra de lleno de 1. tono; 5a Obra de lleno de 4. tono; 6a Obra de lleno de 5. tono; 3a Obra de lleno de 6. tono. ° Selection; in 2 volumes; ed. Fortino: volume I: J. Cabanilles: Tiento de falsas, 1° tono Tiento lleno, 6° tono Tiento lleno, 6° tono S. Aguilera de Heredia: Tiento lleno, 1° tono Tiento de falsas, 4° tono Tiento lleno, 6° tono Tiento de 8° tono por D la sol re P. Bruna: Tiento lleno, 5° tono Tiento lleno, 6° tono Bernabé: Tiento de falsas, 7° tono B. Clavijo del Castillo: Tiento de 2° tono per G sol re ut volume II: 9 Tientos and "O admirable Sacramento" ° Pieces included in "Nueva Biblioteca de música de teclado" ed. A. Baciero; see: cat.nos.: kb.394 to kb. 400 in volume I: Juego de (7) zarabandas Suite cortesana: Las vacas-Alamanda-Un aire alegre-Zarabanda-Danza del acha-CanariosEl villano (suite formed by editor from separate pieces)

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in volume II: Obra de primer tono de medio registro de mano derecha; Medio registro de mano izquierda 2. tono in volume III: Chinfonia; El Ratatá; Cuando podré logarte; Matachina; Al prado de San Jerónimo; Rueda la bola; Chacona in volume IV: Pasacalles, Zarabande, Alemanda; Las Lolías in volume V: Pavana; Bayle di dama; Minuetes; Hespañoleta; Bayle del gran duque in volume VI: 7 Diferencias sobre La Folia; Obra de primer tono de dos tiples; Obra de medio registro de dos tiples; la Chacona; Entrada (by Bretons); Obra de Fancy (by W. Byrd); Jaboste ( = gavotte by Hardel); Marcha (by Gaultier). in volume VII: 30 Canciones diversas a dos clarines; Pieza (by A. Corelli) P-Om 1576 "Tenção de João da Costa de Lisboa Oporto , Biblioteca Municipal, ms. 1576 Col. B/5; written c.1630. 1-12. J. da Costa: 12 Exercícios sobre canto chão a4 13-19. J. da Costa: 7 Fugas sobre canto chão 20-29. frei André da Costa: 10 Exercícios sobre canto chão a4 30-31. G. dos Reis: 2 Fugas a3 32. G. dos Reis: Concerto sobre canto chão a5 33-50. G. dos Reis: 18 Exercícios sobre canto chão a4 51-100. G. dos Reis: Fugas: 51-60. 10 Fugas sobre canto chão a3 61-74. 14 Fugas sobre o canto chão às avessas a3 75-93. 19 Fugas sobre o canto chão às avessas a4 94-96. 3 Fugas sobre o canto chão (em posição normal) a5 97. Fuga sobre o canto chão a6 98-100. 3 Fugas sobre o canto chão a4 101. G. dos Reis: Concertado sobre "Ave maris stella" a4 102. G. dos Reis: Clausulas diferentes a3, 4, 5 e 6 103-108. G. dos Reis: 6 Exemplos de ligaduras 109-123. G. dos Reis: Tenções: 109. Tenção 1a. sobre o tema "Pues mi sol se Auzenta morrirê de pena" a4 110. Tenção 2a. sobre o tema anterior a4 111. Tenção 3a. a4 112. Tenção 4a. Música sobre o canto chão a4 113-123. Tenção 5a. / 6a. / 7a. / 8a. / 9a. / 10a. / 11a. / 12a. / 13a. / 14a. / 15a. sobre o canto chão a4 124-135. G. dos Reis: 12 Concertados sobre a canto chão às avessas a4 136-147. G. dos Reis: 12 Concertados sobre o canto chão de Ave Maris Stella a4 148. M. Romero: Tenção "La sola de mi querida" a4 149-153. G. dos Reis: 5 Tenções sobre o 5o Kyrio da missa de Sta Maria a4 154. G. dos Reis: 5 Concertos sobre o sol, lá, si, dó, ré, mi a3 155. G. dos Reis: 8 Concertos sobre o dó, ré, mi fá, sol, lá a3 156. G. dos Reis: 8 Concertos, sobre o sol, lá, si, dó, ré, mi a3 157. G. dos Reis: 37 Concertos, sobre o sol, lá, si, dó, ré, mi, a3 com dous lás 158. G. dos Reis: Concerto, sobre o dó, ré, mi fá, sol, lá a3 159. G. dos Reis: 6 Concertos, sobre o dó, ré, mi fá, sol, lá a4

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ka.769

160. G. dos Reis: Tento a 4 com outava 161-165. G. dos Reis: 5 Concertos: 161. Concerto 1.o a 3 sem outava 162. Concerto 2.o a 3 sem outava 163. Concerto 3.o a3 164. Concerto 4.o para só um tiple e canto chão, dó, ré, mi, fá, sol, lá 165. Concerto 5.o para só um tiple e canto chão, dó, ré, mi, fá, sol, lá 166-168. G. dos Reis: Liçoes a uma voz sobre o canto chão: 166. 5 Lições, sobre o dó, ré, mi fá, sol, lá 167. 5 Lições, sobre o dó, ré, mi fá, sol, lá (com valores dobrados) 168. 11 Lições, sobre o mi, ré, dó, si, lá, sol 168-202. G. dos Reis: 35 Concertos: 168. Concerto 1.o, sobre o sol, lá, si, dó, ré, mi a4 169. Concerto 2.o, sobre o sol, lá, si, dó, ré, mi a4 170. Concerto 3.o, sobre o Saeculorum do 1.o tom a4 171. Concerto 4.o, sobre o 1.o tom a3 172. Concerto 5.o sobre o Saeculorum do 2.o tom a3 173. Concerto 6.o, sobre o Saeculorum, do 2.o tom a4 174. Concerto 7.o, sobre o Saeculorum do 3.o tom a4 175. Concerto 8.o, sobre o 3.o tom a3 176. Concerto 9.o, sobre o princípio do 4.o tom a4 177. Concerto 10.o, sobre o 4.o tom a3 178. Concerto 11.o, sobre o 5.o tom a3 179. Concerto 12.o, sobre o Saeculorum do 5.o tom a4 180. Concerto 13.o, sobre o Saeculorum do 6.o tom a4 181. Concerto 14.o, sobre o princípio do 7.o tom a4 182. Concerto 15.o, sobre o princípio do 8.o tom a4 183. Concerto 16.o, sobre o Saeculorum do 1.o tom a4 184. Concerto 17.o, sobre o 2.o tom a4 185. Concerto 18.o, sobre o 2.o tom a4 186. Concerto 19.o, sobre o Saeculorum do 2.o tom a4 187. Concerto 20.o, sobre o 2.o tom a4 188. Concerto 21.o, sobre o 2.o tom a4 189. Concerto 22.o, sobre o Saeculorum do 3.o tom a3 190. Concerto 23.o, sobre o 3.o tom a4 191. Concerto 24.o, sobre o 3.o tom a4 192. Concerto 25.o, sobre o princípio do 4.o tom a4 193. Concerto 26.o, sobre o 4.o tom a4 194. Concerto 27.o, sobre o 4.o tom a4 195. Concerto 28.o, sobre o Saeculorum do 5.o tom a4 196. Concerto 29.o, sobre o 5.o tom a4 197. Concerto 30.o, sobre o 5.o tom a4 198. Concerto 31.o, sobre o 6.o tom a4 199. Concerto 32.o, sobre o 6.o tom a4 200. Concerto 33.o, sobre o 6.o tom a4 201. Concerto 34.o, sobre o 7.o tom a4 202. Concerto 35.o, sobre o 7.o tom a4 Edition: · nos. 1-6, 20-24, 32, 109, 111, 124, 126, 132, 135, 136, 143, 147-149, 151, 152, 157 (1 concerto only), 160-162, 168, 171-173, 177, 181, 182, 189, 198, 201, 202: ° ed. C. Rosado Fernandes; Portugaliae Musica, 7

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b) Early Prints:

1557 L. Venegas de Henestrosa: "Libro de cifra nueva" · "Libro de cifra nueva para tecla, harpa, y vihuela, en el qual se enseña brevemente cantar llano, y canto de organo, y algunos avisos para contrapunto. Compuesto per Luys Venegas de Henestrosa...", Alcalà, J. de Brocar, 1557 A = Antonio de Cabezón M = A. Mudarra N = L. de Narváez P = F.F. Palero V = E. de Valderrábano vih = for vihulea 1. Pange lingua © 2. Sacris solemnis 3-4. Tresi I - II 5. Tres III sobre el canto llano de la alta (A) 6-15. Fabordones llanos I. - VIII. / VII. / I. tonus 16. Tiento I. tono (A) 17-24. Dixit Dominus I. - VIII. tonus (fabordones glosados) 25. Fabordon glosado, otro octavo 26. Tiento (A) 27. Tiento (vih) 28. Dic nobis Maria, fabordon glosada (A) 29-33. Tientos III - VII (A) 34-37. Tientos primer tono (A) 38-39. Otro tiento I - II (by Vila) 40. Tiento primer tono (A) 41. Tiento II. tono 42. Tiento III. tono 43. Tiento IV. tono sobre Malheur me bat (A) 44. Tiento IV. tono 45. Tiento IV. tono (by G. Segni) 46. Otro tiento IV. tono (G. Segni) 47. Tiento V. tono 48. Verso de Morales del V. tono glosado de Palero (P) 49-50. Tientos VI. tono (by F. de Soto) 51-52. Tientos VI. tono (A) 53. Tiento super Philomena VII. tono (P) 54. Tiento VII. tono sobre cum sancto Spiritu de Jusquin de beata virgine (glosado de P.) 55. Tiento VIII. tono (P) 56. Fantesia de vih. I. tono (M) 57. Fantesia de vih. II. tono (M) 58. Otra fantesia de vih. II. tono sobre fa mu ut re (M) 59-60. Fantesia de vih. III. tono I - II (M) 61-62. Fantesia de vih. IV. tono I - II (M) 63. Tercera fantesia de vih. IV. tono (V) 64-65. Fantesia de vih. V. tono I - II (M) 66. Tercera fantesia de vih: fantesia de consonancia del V. tono (N) 67. Primera fantesia de vih. VI. tono (N)

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68. Segunda fantesia de vih. VI. tono (M) 69. Primera fantesia de vih. VII. tono sobre ut re mi fa mi (N) 70. Segunda fantesia de vih. VII. tono (M) 71-73. Fantesia I-II-III de vih. VIII. tono (M) 74. Fabordon de vih. VII. tono (M; = Nisi Dominus; Venegas omits voice part) 75. Fabordon de vih. In exitu Israel de Egipto ( = Dixit Dominus domino, by D. Pisador) 76-79. Pange lingua I - IV (A) 80. Pange lingua de Urreda glosada de Antonio (A) 81-86. Ave maris stella I - VI (A) 87. Ave maris stella VII (P) 88. O gloriosa 89. O lux beata Trinitas (A) 90. Jesu Christo hombre y Dios 91. Veni redemptor quaesumus (P) 92. Sacris solemniis, para la fiesta del sanctissimo virgen (by C. Morales) 93. Cum invocarem, para las completas de quaresma 94. Non accedet ad te malum (by L. Alberto) 95. In pace in idipsum (by L. Alberto) 96. Te lucis ante terminum (A) 97. Secundum verbum tuum 98. Salve regina (A) 99. O gloriosa domina 100. Primer Kyrie de Jusquin glosado (P) 101. Tercer Kyrie (de Jusquin) 102. Quem terra pontus (A) 103. Pues no me quereys hablar (A) 104. Mira Nero de Tarpeya (P) 105. Passeavase el rey moro (P) 106. Un tres glosado (by L. Alberto) 107. Conditor alme (by: Gracia Baptista, monja) 108-109. Final I - II (A) 110. Sacris solemnis (A) 111. Belle sans pere (Th. Crecquillon) "a doze para dos instrumentos" (for 2 keyboards) 112. Unum colle Deum ne iures vana per eum; Fuga a quarenta 113. Miralo come llora 114. Aspice Domine (P) 115. Si bona suscepimus (Verdelot; glosado de P) 116. Queramus a quatro glosado (Mouton; glosado de P) 117. Conde Claros & 5 diferencias 118. Las vacas & 5 diferencias 119. Para quien crie you cabellos (A) 120. Rugier glosado (A) 121. Pavana (A) 122. De la virgen que pario 123. Revellebu ( = Janequin's "Les Oyseaux": Reveillez vous) 124. Alix (avoit aux dens; Th. Crecquillon) 125. Je prens en grei (Clemens non Papa) 126. Un gai bergier (Th. Crecquillon) 127. Ade mi mort (Clemens non Papa) 128. Demandes vous (Th. Crecquillon) 129. Io vous 130. Pour un plaiser (Th .Crecquillon) 131. Frasqui gallard (Clemens non Papa: Frais et gaillard)

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132. Mort ma prive (glosado de P) 133. Mundo que me puedes dar 134-136. Entrada I - II - III 137. Ar rebuelo de una garça 138. Te matrem Dei laudamus Edition: see also under names of composers · nos. 1-138: ° Reprint of the ed. Higinio Anglés in modern staff notation; 4 volumes complete

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Anonymous 18th-century keyboard compositions from Aragon ed. D. Preciado 1. Sonata de 5.° punto alto, in D: 3/8 2. Sonata de 5.° punto alto, in D: 2/4 3. Sonata en si menor, in b: 2/4 4. Sonata en sol mayor, in G: 3/8 5. Sonata en sol mayor, in G: 4/4 6. Sonata de 4.° tono punto bajo, in c: 3/8 7. Sonata en re mayor, in D: 4/4 8. Allegro de 1.er tono, in d: 3/4 9. Allegro de 5.° tono de Zaragoza, in C: 6/8 10. Allegro de 5.° tono, in C: 3/4 11. Sonata de Jaca de 5.° tono punto alto, in G: 3/4 12. Sonata en do mayor, in C: 4/4 13. Sonata de 5.° punto bajo, in Bb: 4/4 14. Lleno de 5.° tono punto alto, in D: 4/4 15. Sonata en sol menor, in g: 4/4 Sources: Ms. musical de Valderrobres, no. 1 (1, 2, 13, 15) Ms. musical de Valderrobres, no. 2 (3-7, 12, 14) Ms. musical de Salvatierra de Alava, no. 1 (8-11) Anthology of Spanish Organists of the Seventeenth Century ed. H. Anglés; reprint in 6 volumes of the 1965-1966 edition (Anglés vol. I = reprint vols. I-II; Anglés II = III-IV; Anglés III = V-VI; Anglés IV = VII-VIII) see for sources under names of composers

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Volume I 1-4. S. Aguilera de Heredia: 1. Pange lingua 2. Tiento de falsas de 4° tono 3. Tiento lleno de 1° tono 4. Tiento lleno de 1° tono 5. F. Correa de Arauxo: Tiento de medio registro de tiple, 7° tono 6. F. Correa de Arauxo: Tiento de 6° tono por fe fa ut sobre la Batalla de Morales 7. J. Jiménez: Folias con 20 diferencias Volume II 26. J. Perandreu: Medio registro de dos tiples, 8° alto

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27. G. Menalt: Tiento de falsas, 6° tono 28. G. Menalt: Tiento de dos manos, 1° tono 29-31. P. Bruna: 29. Tiento de falsas, 2° tono 30. Tiento lleno, 6° tono 31. Tiento sobre la letanía de la Virgen, 2° tono por G sol re ut 32. J. Cabanilles: Tiento de falsas, 1° tono 33. J. Cabanilles: Pasacalles de 1° tono kb.521 Volume III (erroneously on front page: "book 4") 1-3. S. Aguilera de Heredia: 1. Tiento lleno de 4° tono 2. Salve 1° tono por de la sol re 3. Tiento de dos bajos, 8° tono 4. J. Jiménez: Tiento lleno, 1° tono 5-7. G. Menalt: 5. Tiento partido de mano izquierda, 1° tono 6. Tiento partido de mano izquierda, 8° tono 7. Tiento partido de mano derecha, 8° tono 8. J. Sebastián: Tiento de 2° tono por ge sol re ut 9-11. P. Bruna: 9. Tiento de falsas, 6° tono kb.522 Volume IV 10. Tiento de mano derecha y al medio a dos tiples, 1° tono 11. Tiento lleno, 6° tono 12. J. Cabanilles: Tiento de falsas, 1° tono 13. J. Cabanilles: Corriente italiana 14. J. Baseya: Tiento partido de dos tiples, 8° tono 15. J. Baseya: Tiento partido de mano derecha, 1° tono 16. Bernabé: Tiento de falsas, 7° tono 17. D. Xarava: Tiento accidental 18. S. Durón: Gaitilla de mano izquierda kb.522a Volumes III and IV in one volume kb.534 Volume V 1. B. Clavijo del Castillo: Tiento de 2° tono por Ge sol re ut 2-5. S. Aguilera de Heredia: 2. Pange lingua por ce sol fa ut 3. Tiento de medio registro de bajo, 1° tono 4. Tiento de falsas, 4° tono 5. Tiento de 8° tono por De la sol re 6-10. anonymous: 6. Tiento lleno, 1 tono (S. Aguilera de Heredia?) 7. Tiento de falsas, 2° tono por Ge sol re (By Bernabé?) 8. Tiento de falsas, 2° tono (by J. Cabanilles?) 9. Tiento lleno de 3° tono por e la mi (by J. Jiménez?) 10. Tiento lleno, 4° tono (by P. Bruna?) kb.535 Volume VI 11-15. anonymous: 11. Tiento lleno, 5° tono (by S. Aguilera de Heredia?) 12. Tiento de 6° tono (by J. Cabanilles?) 13. Tiento lleno de 6° tono (by S. Aguilera de Heredia) 14. Tiento lleno de 7° tono (by S. Aguilera de Heredia) 15. Tineto lleno de 8° tono (by S. Aguilera de Heredia?) 16-19. P. Bruna:

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16. Pange lingua 17. Tiento de dos tiples, 6° tono 18. Tiento de medio registro de bajo 19. Tiento lleno de 5° tono

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Volume VII 1. S. Aguilera de Heredia: Tiento de bajo 1° tono 2. P. Bruna: Tiento de falsas, 1° tono 3-10. anonymous: 3. Tiento lleno 2° tono por e la mi (by J. Baseya?) 4. Tiento lleno 2° tono (by J. Cabanilles?) 5. Tiento lleno 3° tono por e la mi (by J. Cabanilles?) 6. Ligaduras de 3° tono, para la Elevación (by J. Cabanilles?) 7. Tiento lleno 4° tono (by P. Bruna?) 8. Tiento de falsas, 4° tono (by J. Cabanilles?) 9. Tiento de falsas, 5° tono (by J. Cabanilles?) 10. Tiento lleno 5° tono (by P. Bruna?) Volume VIII 11. S. Aguilera de Herdia: Tiento de falsas, 6° tono 12. P. Bruna: Tiento lleno 6° tono 13. anonymous (P. Bruna?): Tiento lleno 7° tono 14. anonymous (Aguilera de Heredia?): Tiento de batalla, 8° tono 15. J. Serrano: Tiento lleno 8° tono 16. P. Bruna: Tiento lleno 8° tono por ce sol fa mi 17. S. Aguilera de Herdia: Obra de 8° tono alto: Ensalada Basque Keyboard Music of the 18th Century (ed. A. Ruiz-Pipó) after the transcriptions of J.A. Donostia; with added dynamic signs, ties and ornamentation by the editor; no further sources indicated. 1-3. J. Oxinaga: 1. Sonata in C 2-3. Minuet I-II in F-a 4-8. J. Larrañaga: 4. Sonata in C 5. La Valenciana: Presto, in F 6. Sonata in D: Andantino 7. Sonata in G 8. Sonata in d 9-10. M. de Gamarra: 9. Sonata in a: Allegro 10. Verso, in C 11. I. de Echeverria: Soanta in Bb 12. J.A. Lonbide: Sonata in D 13. M. de Sostoa: Allegro in D 14. F. Eguiguren: Conceirto airoso: Maestoso, in D Collection of 17th-century Spanish organ works ed. Alvarez (no sources indicated) 1-17. F. Andréu: 1. Versos I-V de 5. tono para Kyries 2. Versos I-IX de 5. tono para Gloria 3. Verso para después de la Epístola 4. Versos I-V de 5. tono para Kyries

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5. Versos I-IX de 5. tono para Gloria 6. Verso para la Epístola 7. Versos I-V de 1. tono para Kyries 8. Versos I_-X de 4. tono para Gloria 9. Verso de 4. tono para después de la Epístola 10. Verso I-III para Sanctus 11. Versos I-V de 1. tono para Kiries 12. Versos I-VII de 1.tono para Salve Regina 13. Versos I-IV de 6. tono para Regina Coeli 14. Música de 5. tono como versos para Kyries 15. Tiento lleno a tres 16. Tiento partido de mano derecha a tres 17. Tiento a tres sobre el himno Ave maris stella 18-21. J. Cabanilles: 18. Tiento de 1.tono 19. Versos I-III de 6.tono para Sanctus 20. Versos I-IV para Agnus e Ite missa est 21. Tiento lleno de 6.tono 22-24. J. Saló: 22. Versos I-V de 1.tono para Kyries 23. Versos I-IX de 4.tono para Gloria 24. Verso a la Epístola 25-27. R. Llistosellas: 25. Versos I-V de 1.tono para Salmodia 26. Versos I-II de 2.tono 27. Versos I-III de 1.tono para Salmodia 28-29. fray R. Crest: 28. Versos I-II para Salmodia 29. Versos I-V de 8.tono 30-31. I. Serrada: 30. Versos I-IX de 4.tono para Gloria 31. Verso de 1.tono para después de la Epístola 32-33 fray P. Nassarre: 32. Tiento a cuatro partido de mano derecha 33. Versos I-II para Sanctus 34-35. fray P. Rouxa: 34. Versos I-V de 4.tono para Salmodia 35. Versos I-IV para el himno Ave maris stella 36-38. S. Viladrosa: 36. Versos I-V de 1.tono 37. Versos I-IX de 4.tono para Gloria 38. Verso de 6.tono para después de la Epístola 39. F. Llusá: Tiento partido de mano izquierda 40-48. F. Vilar: 41. Tiento de falsas 42. Obra de falsas 43. Versos I-V para Kyries 44. Versos I-IX de 4.tono para Gloria 45. Versos I-III de 6.tono para Sanctus 46. Versos I-III de 6.tono para Agnus Dei 47. Versos I-V de 1.tono 48. Versos I-VI de 7.tono para Gloria 49. J. Elías: Obra de 5.tono lleno

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50-. anonymous works: 50. Versos I-VII para Vísperas 51. Versos I-III In Ascensione Domini 52. Versos I-III In festo omnium sanctorum, Nativitate Domini, Sanctorum innocentium, In Epiphania Domini vel in transfiguratione Domini ad Vesperas 53. Versos I-IV In festo Trinitatis, In festo Sancti Venantii, Sanctae Mariae Magdalenae, Sancti Jacobi Apostoli commune apostolorum vl unius martiris 54. Versos I-V In festo Sancti Justi et Pastoris, Sancti Rafaelis Archagelis 55. Versos I-IV In festo Sancti Joseph, Sancti Martini, Sancti Hermenegildi, Angelorum Custodium, comune plurinorum mariturm ad Vesperas 56. Versos I-XVII para Te Deum Cravistas Portuguezes Old Portuguese keyboard music ed. M.S. Kastner

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Volume I 1. M.R. Coelho: Primeiro tento do primeiro tom 2. frei Jacinto: Toccata re menor 3-14. C. Seixas: 12 Toccatas in f-g-C-d-c-c-Bb-g-e-D-b-d 3. Allegro, in f 4. Allegro, in g-Minuet, in a 5. Allegro, in C 6. Allegro, in d-Minuet, in f 7. Allegro, in c 8. Allegro, in c-Minuet I/II, in c 9. Allegro, in Bb-Minuet I/II, in Bb 10. Moderato, in g-Giga: allegro, in F-Minuet, in d 11. Allegro, in e-Adagio, in G-Minuet, in e 12. Allegro, in D-Minuet, in D 13. Allegro, in b-Minuet, in C 14. Largo, in d-Allegro, in d 15. anonymous: Toccata do maior: Andante, in C 16. J.S. Carvalho: Toccata, in g: (Allegro)-Andante Sources (not indicated for no.15): 1620: Coelho: "Flores de musica", Lisbõa (1) P-Ln MM.321 (16) P-Ln MM.338 (2) P-Ln MM.5010 (3-14) Volume II 1. P. de Araújo: Tento do segundo tom, in g 2. frei Jacinto: Sonata, in d 3-C. Seixas: Sonatas: 3. Allegretto, in A-Adagio, in e-Allegro, in A 4. A tempo assai, in a 5. Moderato, in f-Minuet, in F 6. (Allegro), in g 7. (Allegro), in C-(Tempo di minuetto), in C 8. (Allegro), in C-Adagio, in a-(Minuete), in C 9. (Allegretto), in c 10. (Moderato), in c 11. (Allegro), in a 12. (Allgro), in Bb

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13. (Allegro), in g 14. (Allegro), in e 15. Fuga, in a: allegro Sources (for no. 3 not indicated): P-Cug 57: "Tocatas de orgão author J.A.C. de Seixas..." (4, 7-14) P-La 48-I-12: "Sonatas para orgão e cravo do sr. José António Carlos (4, 15) P-Ln 337: "Toccattas per organo" (5) P-Ln 338: "Sonatas para cravo de sr. Francisco Xavier Baptista" (2, 6) P-Pm 1607 Loc. G.7: "Livro de obras de orgão juntas pella coriosidade do p.p. fr. Roque da Concei/cão, 1695" (1) Dances and Instrumental Diferencias in Spain during the 17th and early 18th Centuries ed. M. Esses This edition consists of 3 volumes: I: History and background, music and dance; vol. I: History and background, music and dance vol. II: Musical Transcriptions vol. III: The notes in Spanish and other languages from the sources Pieces transcribed into modern staff notation: a) 495 Spanish dances and diferencias b) 228 Spanish passacalles Abbreviations: v = vihuela; gr = rasguedo guitar; gp = punteado guitar; h = harp; k = keyboard; m = unspecified melodic instrument Arabic numbers = dances and diferencias ; Roman numbers: passacalles Sources in chronological order: 1536: L. Milán: "Libro de vihuela de mano, intitulado El Maestro" (v: 6) 1538: L. de Narváez: "Los seys libro de música de cifras" (v: 2) 1546: A. Mudarra: "Tres libros de música en cifras par vihuela" (v: 5; fourcoure guitar: 2) 1547: E. de Valderrábano: "Libro de música de vihuela" (v: 6; 2 v: 1) 1552: D. Pisador: "Libro de música de vihuela" (v: 3) 1557: L. Venegas de Henestrosa: "Libro de cifra nueva" (k: 4) 1578: A. de Cabezón: "Obras de música" (k: 7) ca. 1590: A-Wn: ms. additions to Cabezón (v: 3) 1593: E-Mn ms. 6001 (v: 5) ca. 1596: J.C. Amat: "Guitarra española y vandola en dos maneras e guitarra, castellana, y cathalana de cinco órdenes"; earliest extant edition: 1626 (gr: 1; gr: I) 1626: L. de Briçeño: "Método mui facilíssimo para aprender a tañer la guitarra a lo español" (gr: 30; gr: XIII) ca. 1635: E-Mn R. 14069: ms. additions to Correa de Arauxo (k: 1; k: III) 1640: N. Doizi de Velasco: "Nuevo modo de cifra para tañer la guitarra con variedad, y perfeccion, y se muestra ser instrumento perfecto, y abundantíssimo" (gr: 1; gr: I) 1659: E-Mn M. 2618' (violin: 9) 1674: G. Sanz: "Instrucción de música sobre la guitarra española", books I and II (gp: 30; gp: IV) ca. 1675: G. Sanz, book III (gp: XII) 1677: L. Ruiz de Ribayaz: "Luz y norte musical" (gp: 15; gp: XIV; h: 22; h: XIV) ca. 1690: E-E ms. 29 (k: 8) 1694: F. Guerau: "Poema harmónico" (gp: 10; gp: XXX)

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ga.166 ga.167 kb.406

ca. 1697: E-Bc M. 387 (k: 6; k: XV) ca. 1699: E-Mn M. 2209 (gp: 12; gp: XII) ca. 1701: "Canciones francesas, de todos ayres, para todos los instrumentos: sacadas de diversos autores, y puestas por el orden de los tonos nuevamente impressas", Madrid, n.d. (unspecified: 1) 1702/04: D. Fernández de Huete: "Compendio numeroso de zifras armónico" (h: 30; h: XXVIII) 1705: E-Mn M. 811(gr: 18; gp: 42; gp: VIII) ca. 1705: E-Mn M. 816 (h: 12; h: IV) 1706: E-Mn M. 1357 (k: 7; k: II) 1707: E-Mn M. 1358 (k: 9; k: III) 1708: E-Mn M. 1359 (k: 11) 1709: E-Mn M. 1360 (k: 23; k: I) ca. 1710: US-Wc Mk. 290 (h: 11; h: II) ca. 1712: P-Pm 1577 Loc. B,5 (k: 8; k: IX) 1714: S. de Murcia: "Resumen de acompañar la parte con la guitarra" (gp: 13) ca. 1718: E-Mn M.2262 (k: 1) ca.1720: P-B 964 (k: 5; k: I) 1721: E-Mn M.815 (k: 14) 1722: E-Bc M. 386 (k: 1) 1730: B-Bc 5615 (gp: 1) ca. 1731: E-Bc M.1452 (m: 20; m: I) ca. 1731: E-Bc M.741/22 (h: 1; m: 19) 1732: GB-Lbl Add. 31640 (gp: 11; gp: XXVIII) ca. 1754: P. Minguet y Irol: "Reglas y advertencias generales" (gr: 6; gp: 2; bandurria: 1; violin: 1) · volume II: Musical Transcriptions · complete set of 3 volumes Early Iberian Versos ed. G. Doderer; Organa Hispanica, vol. 3 1-2. A. de Cabezón: 1. 5 Versos del primer tono 2. Fabordón y 4 glosas del quarto tono 3. M.R. Coelho: 5 Kyrios de primeiro tom 4. A. de Sola: 4 Versos de oitavo tom 5. M. Gracia de Olague: Fabordão e 6 versos de segundo tom 6. J. Urros: 5 Versos de primeiro tom de meio registo 7. M. López: 4 Versos del séptimo tono Sources: 1578: Cabezón: "Obras de música para tecla...": nos. 56 and 67 (1-2) 1620: Coelho: "Flores de musica...", Lisboa: nos. 58-62 (3) E-Boc 37 (7) P-Pm M.1577 (4-6)

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Eighteenth-century keyboard works from the monastery S. Pedro de las Dueñas ed. L. Morales from ms. V (c.1785) · Juan Moreno y Polo: 4 Sonatas: 1. Sonata 6° tono 2. Sonata 5° tono 3. Sonata 5° tono

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4. Sonata 5° tono punto bajo 5. S. Tomás: Sonata in D 6-8. anonymous sonatas: 6. Sonata de 5° tono punto alto 7. (Sonata in D) 8. Sonata de 6° tono punto bajo

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El Arpa en el siglo XVIII Español ed. R. Calvo-Manzano Volume I: "El arpa in Ávila" (vol. II = study in Spanish) · Facsimile edition of 3 manuscripts (E-Asa 49-51) containing works for keyboard and for harp: a) ms.49: "Sonatas y versos para organo de gran gusta y moderno estilo": some 20 sonatas by Gaspar Smit (or: Esmit) e.a.? and versets by P. Carera; 10 waltzes by F. Moretti, 1 by Mozart, and 2 sonatas by Haydn (Hob. XVI: 20 and 37) XVI: 20 and 37) b) ms.50: some 25 organ sonatas by G. Smit e.a.; 1 sonata by D. Scarlatti c) ms.51: vocal compositions

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Eleven Spanish Organ Works ed. G. Doderer; sources not indicated 1. D. de Alvarado: Tiento sobre el Pange lingua Español (from R. da Conceição's organ book) 2. S. Durón: Gaitilla de mano izquierda (from the Jaca manuscript) 3. A. de Sola: Tiento de 1° tono de mano derecha (from P-Pm 1577) 4. F. Correa de Arauxo: Tiento de 6° tono (from his "Libro de Tientos", 1226) 5. J. Cabanilles: Tiento de falsas de 4° tono (from E-Bbc 386) 6. J. Elías: 5 Versos del 4° tono (from E-Mn 812) 7. N. Casanoves: Paso de 1° tono 8. A. Soler: Sonata de clarines, in C (from E-MO 483) (9-11: works by late-19th-century composers)

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Ilustración Valenciana: Obras para órgano ed. V. Ros and M. Voortman Música de Tecla Valenciana, vol. V 1-9. V. Rodríguez Monllor: 9 Versos sobre el Pange lingua: 1. (Lleno) 2. Otro lleno 3. En el órgano las trompas en la cadireta el orlo y corneta esto en la derecha, en la yzquierda los nazardos con el canto llano 4. En la cadireta el orlo de mano derecha junto con la corneta, y en la izquierda el órgano con la trompeta bastarda 5. 9/4 6. Clarín con el órgano, y orlo en la cadireta 7. Otro lleno 8. Para cuando levantan a Dios, 'rogano con los clarines la derecha, y la izquierda nasrados y la cadireta 9. Pastorela a elección del tañador 10-27. V. Hervás Catalá: Colección de versos: 10-13. Versos de primer tono en canto llano 14-18. Versos de primer tono para misas y también para salmos

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19-20. Entrada de 2° tono para salmos / 2° Verso de 2° tono 21. Verso de 2° partido 22-25. Versos de 5° tono para misas 26-27. Pange lingua 28-30. M. Narro Campos: Sonata and 2 Toccatas: 28. Sonata de (regist)ro ygual, in Bb 29. Tocata de lengüetería, in G 30. Tocata de 8° tono de mano derecha, in G 31-33. fray N.P. Roig: 3 Sonatas: 31. Sonata de primer tono 32. Sonata de 5° tono 33. Sonata de 5° tono punto bajo 34-35. F. Juan: 2 Organ works: 34. Pange lingua (Sacris solemniis), in D 35. Sonata de 8° tono 36-47. J.B. Alfonso: Versos: 36-47. 12 Versos de 8° tono por la mediación, para el Te Deum, De trompetería 48. B. Rico: Sonata de 8° tono por G sol re ut 49. J. Borrás: Tocata de clarines (1754) 50. V. Martín y Soler: Sonata, in C (overture to: "Una cosa rara", arr. by G.A. Camerani) Sources: E-Bbc M.1011 (10-27) E-Bbc M.2248 (28-30, 36-47, 49) E-V Sna Chelva: archivo: mss. s.s. (34-35) E-V San Nicolás: archivo musical: caja 7 (1-9) E-Ranch family: ms. s.s. (31-33, 48)

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Keyboard works from E-Bbc M.387 and M.1011 ed. by J. Menendez-Zarroca These manuscripts (c.1697) were compiled by one of Cabanilles' Valencian students. Selection of 19 anonymous compositions: 1. La Marcha del Conde de Palma 2. Marcha de Carabineros 3. La Marcha del Duque de Baviera 4. La Marcha de Dragones de Osuna 5. Burea 6. Tocata 7. Minuet 8. Minuet 9. Minuet de 5° tono 10. Otro Minué 11. Otro Minué 12. Minuet Alemán 13. Minué de 2° tono 14. Minuet 15. Danza Italiana 16. Danza Italiana 17. Otra Danza Italiana 18. Danza Italiana 19. Diferencai de la Toccata Alemana

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Keyboard music from the cathedral of Albarracín ed. by J. Muneta from mss. in E-ALB; incl. study (Sp.) by M. M. de Morentin volume I: 1-6. J. Lidón?: 1. Preludio y Pange lingua 2. Preludio y Pange lingua 3. Sonata I Pange lingua 4. Sonata II Sacris solemniis 5. Sonata III Pange lingua 6. Sonata IV Sacris solemniis 7. J. de Arce: Partido de mano izquierda 8. J. Lidón?: Intento a 4 sobre el Ave maris stella 9. J. Lidón?: Intento 10. E. Narvajas: Cuatro versos para Salve 11. E. Narvajas?: Cuatro versos kb.419b volume II: 1. Sonata in D (18th c.) 2. Sonata in B (18th c.) 3. Sonata de 8. tono (18th c.) 4-7. J. Castel: 4 Sonatas in G-C-C-C 8. Sonata in C: minuetto 9. Sonata in D: rondo 10. Sonata in Bb 11. Sonata in C 12. R. Ustariz: Sonata in Bb: allegro-rondo 13. R. Ustariz: Sonata in c: andante moderato kb.419c volume III: 1. J. Coley Embid: Obra sobre el Avemaristella (preludio; paso a4; intento; intento y paso; canto llano del tono) 2. La gran Batalla de Marengo 3. Vals con varaiciones 4. Vals de la Reyna de España 5. Andante con variaciones 6. Andante con variaciones sobre un tema de Paisiello 7. Juetes 8. Concierto in D 9. Concerto in C

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Musica Hispanica ed. C. Stella 1-4. A. de Cabezón: 1. Pavana 2. Pavana Italiana 3. Differencias sobre la gallarda Milanese 4. Differencias sobre el canto llano del cavallero 5-8. Correa de Arauxo: 5. Tiento y discurso 2° tono 6. 2° Tiento de 4° tono 7. 5° Tiento de medio registro 8. Tres glosas sobre el canto llano de la Immaculada 9-10. J. Jiménez: 1a & 2a Batalla de 6° tono

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11. A de Sola: Medio registro de mano derecha de 1° tono 12. Cabanilles: Xacara 13. J. Elias: Entrada para el Te Deum

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Musicos Aragoneses en Valencia en el siglo XVIII ed. V. Ros; Tecla Aragonesa, VII 1-11. F. Vicente Cervera: 1. Pange lingua de 5° tono, punto alto 2. Otra Pange lingua, llena, a 4 3. 3.a Pange lingua 4. 4.a Pange lingua 5. 5.a Pange lingua, llena, a quatro 6. 6.a Pange lingua a tres, llena 7. 7.a Pange lingua a tres 8. 8.a Pange lingua a tres 9. 9.a Pange lingua a tres 10. 10a. Pange lingua a tres 11. 11.a Pange lingua 12. J. de Nebra: Pange lingua 13-17. J. Moreno y Polo: 13. Obra orgánica sobre el verso "Fac ut ardeat" de Pergolesi 14. Obra orgánica, in D 15. Paso: moderato, in c 16. Sonata I, in Bb 17. Sonata II, in D Sources: E-Bbc M 1014 (14, 15), 1015 (12, 13, 15) and 1102 (1-11) E-Badalona: Ayuntamento: "Quaderno de tres yntentos..." (13, 14) private collection of the Ranch family: "Quaderno de sonatas, para el uso de Pascual Nácher. Año. 1778 (16, 17)

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Nueva Biblioteca Española de música de teclado

ed. A. Baciero in 7 volumes

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Volume I 1-10. Tomás de Santa María: 10 Fantasías 11-13. A. de Cabezón: Obra sobre el canto llano del Ave maris stella I-III 14-27. J. Cabanilles: 14 Versos; in tono: 1-1-1-2-2-4-4-5-6-6-7-7-7-8 28. anonymous (17th century): Juego de (7) zarabandas 29. anonymous (17th century): Suite cortesana no. 1: Las vacas-Alamanda-Un aire alegreZarabanda-Danza del acha-Canarios-El villano (suite formed by editor from separate pieces) 30. S. de Albero: Recercata, Fuga & Sonata, in d/D 31. J. Prieto: Sonata in C: Spiritoso-Andante con espresione, in F-Rondo: allegretto 32. G.B. Pergolesi: Verso, in g Sources: 1565: T. de Santa María: "Arte de tañer fantasía", Valladolid (1-10) E-E (14-27, 32) E-Mc ms. "Obras para clavicordio o piano forte" by S. de Albero (30) E-Mn mus. 1357: "Huerto ameno de varias flores recogidas de muchos organistas por fray Antonio Martín (y Coll)", 1706 (28, 29) E-Mn mus. 1360: "Pensil deleitoso de suaves flores de música", ms. collection by A. Martín y Coll,

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1707 (11-13: semi-tones and ornamentation differ from the printed sources) Volume II 1-6. J. Bermudo: 6 Pieces from his "Declaración de instrumentos", 1555 7-13. J. Jimenez: 7-9. Pange lingua I-III 10. Obra de primer tono de lleno 11. Medio registro de primer tono de tiple 12. Medio registro de primer tono de bajo 13. Medio registro de bajo 6. tono 14. S. Albero: Recercata, fuga y sonata, in C (from manuscript in E-Mc with 6 recercatas etc.) 15-16. Two anonymous works (P-Cug 242) from the school of Correa de Arauxo: 15. Obra de primero tono de medio registro de mano derecah 16. Medio registro de mano izquierda de 2. tono Appendix: 2 minuets by J. Haydn Volume III 1-2. P. Bruna: Two works from E-E LP 30: 1. Obra de medio registro de tiple, 1. tono 2. Obra de 5. tono por Cesalfaut 3. D. Xarava: Obra en lleno de 3. tono (from E-Mn 1357-1360) 4-10. D. Scarlatti: Seven sonatas from E-V 11. J. Prieto: Sonata, in F 12-14. Three anonymous works from P-Cug 242: 12. Obra de primer tono sobre el canto llano del Ave maris stella 13. Fantasia sobre un tema de cancion 14. Obra de 6. tono 15-21. Seven anonymous works from Martín y Coll's manuscripts E-Mn 1357-1360: 15. Chinfonia 16. El Ratatá 17. Cuando podré logarte 18. Matachina 19. Al prado de San Jerónimo 20. Rueda la bola 21. Chacona Appendix: sonata by J.Chr. Bach Volume IV 1-6. Hernando de Cabezón: 6 Examples from A. de Cabezón's "Obras de música", 1578: 1. Exemplo del b quadro 2. Exemplo del bemol 3. Exemplo de la proporción ternaria de tres semibreves 4. Exemplo de la proporción ternaria de tres mínimas 5. Exemplo de la proproción sesquialtera 6. Exemplo de la proporción sesquiquinta 7-8. P. de Tafalla (from E-E): 7. Medio registro alto de 2. tono 8. Tiento de 7. tono de dos tiples 9-15. D. de Torrijos: Organ works from mss. in E-E: 9. Pange lingua sobre el bajo 10. Pange lingua en el tiple 11. Medio registro alto a 3 12-13. Tientos de 8° tono 14. Obra de primer tono 15. Obra de 8° tono de lleno 16. S. Albero: Recercata, fuga y sonata, in Bb (from manuscript in E-Mc with 6 recercatas etc.)

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17-20. Four anonymous pieces from Martín y Soler's manuscripts (E-Mn 1357-1350): 17. Pasacalles 18. Zarabanda 19. Alemanda 20. Las Folías Appendix: J.F. Edelman: Sonata in Eb Volume V 1-7. T. de Santa Maria: 7 Fantasias from his: "Arte de tañer fantasía", 1565 8-15. J. Jimenez: Eight works from E-E 2187: 8-11. Pange lingua I - IV 12. Registro bajo a tres 13. Obra de 8. tono de tiple 14. Obra de 8. tono dos bajos 15. Sacris solemnis 16-18. Cristóbal de San Jerónimo: 3 organ works from a manuscript in E-E: 16. Obra de todo jeugo de 8. tono 17. Tiento de 2° tono 18. Tiento de tonadas 19. S. Albero: Recercata, fuga y sonata, in E (from manuscript in E-Mc with 6 recercatas etc.) 20. J. Prieto: Sonata in G 21-25. Five anonymous pieces from Martín y Soler's manuscripts (E-Mn 1357-1350): 21. Pavana 22. Bayle di dama 23. Minuetes 24. Hespañoleta 25. Bayle del gran duque Appendix: Sonata in Bb by "maestro Bach" ( = J.Chr. Bach) Volume VI 1. anonymous (A. de Cabezón?): 15 Versos sobre el Te Deum 2. anonymous (16th / 17th c.): 7 Diferencias sobre La Folia 3. anonymous (17th .c): Obra de primer tono de dos tiples 4. anonymous (school of Correa de Arauxo): Obra de medio registro de dos tiples 5. anonymous (17th .c): La Chacona 6. Anonymous (B. de Zala?): Diferencias sobre Marizapalos 7. S. de Albero: Recercata, fuga y sonata (allegro) in G 8. S. de Albero: Recercata, fuga, in a & sonata, in A (allegro) 9. A. Viola: Sonata de octavo tono (in G) 10. E. Redondo (17th c.): Sonata, in C 11. anonymous (18th c.): Sonata, in G 12. anonymous (end 18th c.): Sonata de octavo tono (in G) 13. anonymous (18th c.): Sonata de octavo tono (in G) 14. Félix Máximo López: Sonata en quinto tono: Andantino (in Bb) 15. Oxinagas: Sonata de octavo tono (in G) 16. R. Anglés: Sonata: Allegro no mucho, in G Appendix: 17. Bretons (?): Entrada, in C 18. anonymous (W. Byrd): Obra de Fancy, in C 19. Ardel ( = Hardel): Jaboste ( = Gavotte), in a 20. Gaultier: Marcha, in C Sources: E-GU ms. s.s. (9-12, 14-16) E-Mc ms. with 6 ricercars etc. by S. de Albero (7, 8) E-Mn mus. 1357-1360: Martin y Coll: "Flores de música" (2-5, 17-20)

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E-Mn mus. 1360: Martín y Coll: "Huerto ameno" (5) E-Mn ms. (14) E-MO AM.63. (9) E-PAMc "Libro de arpa de Bernardo de Zala y Galdiano", ms., 1700 (6) P-Cug 1242 (1) ms. in the collection of the editor (13) Volume VII 1-25. Tomás de Santa María: 25 Fantasias 26-28. Three large anonymous works (16th century): 26. Obra de primer tono 27. Obra de primer tono 28. Obra de quinto tono 29. J. Jimenez: 4 Versos del 6° tono 30. anonymous (17th century): 30 Canciones diversas a dos clarines 31-36. Anon. works from "Libro de cifras" of Bernardo de Zala y Galdiano: 31. Suite I, in C: Paseos par el do-Minue I/II-Rigodon-Minue de clarines 32. Suite II, in d: Minue I-Corrienta primero tono-Sarabanda-Minue IICorrineta por er re-Minue con su glosa 33. Suite III, in G: Desmayos-Baile la Greca-Laberinto-Correnta-Bailete de la gavota 34-36. Tres minues caracteristicos: 34. Dime por que 35. Minue ciegato 36. Minue del rey 37. anonymous: 20 "Minues amatorios" (by F. de Tejeda?): I. Suspende el rumor II. Suspended canoras aves III. En cadenas amorosas IV. Triunfe el amor V. Por alentar VI. Aveja que officiosa VII. La noche tenebrosa VIII. Gilguerillo IX. Dexa las flechas X. Cuidado fenisa XI. No corras liquida XII. Vença el amor XIII. Que festivo XIV. No vengo ingrata ninfa XV. Inconstante fortuna XVI. libre arroyuelo XVII. Aora que a solas XVIII. Dueño hermoso XIX. Risueña funetecilla XX. Triste memoria 38. B. de Zala: Giata Gallega 39. A. Corelli: Pieza Sources: E-E 2187 (29) E-Mn 1359: "Huerto ameno de varias flores recogidas de muchos organistas por fray Antonio Martín (y Coll"), vol. III (30, 39) E-Navarra: private coll.: ms. "Libro de cifras" of Bernardo de Zala y Galdiano:, Pamplona, 1700 (31-36)

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P-Cug 242 (26-28) 1565: T. de Santa María: "Libro llamado arte de tañer fantasía" (1-25) 1721: Francisco de Tejada: "Libro de musica del clavicembalo", Sevilla? (37-38)

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Old Spanish masters of the organ (ed. P. Piedelièvre) 12 Works by Cabezón, Jimenez, Cabanilles, F. Palero, F. Llussá, M. Lopez, Oxinagas and Soler 21,--

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Organistas de las catedrales de Zaragoza (siglo XVIII) ed. J.V. Gonzalez Valle 1-3. anonymous: 1. Seis contrapuntos, in F 2. (4 Versos de primer modo, punto bajo) 3. 14 Versos de octavo tono 4-5. F. Ferrreñac: 4. Partido de dos bajos, in F (1790) 5. Sonata de VIII tono para organo para las vísperas de Ntra. Sra. del Pilar, in G (1796) 6-7. anonymous: 6. Sonata de sexto tono: (Allegrísimo), in F 7. Sonata de sexto tono: (Allegro), in F 8. J. Laseca: Sonata de quinto tono: (Allegro), in C Sources: E-Zac A-1 ms. 1 (3, 6) E-Zac A-1 ms. 2 (7) E-Zac A-1 ms. 3 (8) E-Zac B-2 ms. 29 (4, 5) E-Zac B-2 ms. 33 (1, 2)

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Organistes de Barcelona del segle XVIII ed. M. Voortman 1. Rafael Crest: Partit de mà dreta del 8è to ("Gaÿtilla 8° tono") 2. J. Elias: Peça 10 en forma d' ària, in A: C-Vivo-Tocata partido: grave-Allegro 3. Josep Closells: Tocata en mi major 4. Francesc Vilar: Pange lingua I (Ple) 5. Francesc Vilar: Pange lingua II (Ple) 6. Francesc Vilar: Pange lingua III (Ple) 7. Francesc Vilar: Pange lingua IV (Partit de dos tibles) 8. Francesc Vilar: Pange lingua V (Partit de dos baixos) 9. Francesc Vilar: Pange lingua VI (Ple) 10. Francesc Vilar: Verso 6° tono per Entrada de clarins del 6è to 11. Joan Vila: Obra cromàtica del 1r to punt alt 12. Joan Vila: Sonata en sol menor: Allegretto 13. Francesc Mariner: Obra de ple sobre la Salve del 2n to 14. Anton Mestres: Obra de ple del 3r to Sources: E-Bbc M.450 (2), M.729 (1), 736/5 (9), 751/11 (4-8) E-Bim microfilm 132 (12) E-Cervera box 33/6 (11) and box 33/11 (14) E-La Seu de Manresa ms. 247 (3)

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E-MO 1205 (10), 1418 (13) and 2065 (10)

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Portuguese organ music (16th to 19th century) ed. G. Dodeder; Vox Humana vol. 5 1. A. Carreira: Fantasia em lá-ré 2. M.R. Coelho: Versos de Kyrie do 1.tom 3. P. de Araújo: Batalha de 6.tom 4. Diogo da Conceição: Tento de meio registo alto de 2.tom 5. C. Seixas: Sonata em lá major 6. José da Madre de Deus: Fuga em ré menor 7. Jacinto do Sacramento: Toccata em ré menor 8. anonymous: Minuete em lá menor 9. Soror da Piedade: Discurso de 1.tom 10. anonymous: Toccata em dó menor 11. José Marques e Silva: Prelúdio Sources: P-BRg 964 (3) P-Cug 242 (1) P-Lf 93-13 (6) P-Ln CIC 110 (5) P-Ln MM 144 (11) P-Ln MM 338 (7, 8) P-Ln MM 4451 (10) P-Pm 1607 (4) private collection of G. Doderer (9) 1620: Coelho: "Flores de musica", Lisboa (2)

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Portuguese Sonatas, Toccatas and Minuets of the 18th century ed. G. Doderer; Organa Hispanica, vol. 2 1. J. de S. Carvalho: Sonata in D: Allegro-Larghetto, in G-Allegro 2. J. de S. Carvalho: Sonata in F: Allegro-Andante, in d-Allegro 3. anonymous: Toccata in c: 3/8 4. anonymous: Toccata in C: Allegro 5. anonymous: Toccata in G: 4/4 6. anonymous: Minuete, in G 7. F.X. Baptista: Minuete, in Eb 8. J.Cordeiro da Silva: Minuete, in D 9. M. de Santo Elias: Minuete, in D Sources: P-Ln M.321 (1-2, 4-6) P-Ln M.338 (3, 7) P-Ln M.69/49 (8) P-Ln M.86/28 (9) Silva Ibérica de música para tecla de los siglos XVI, XVII y XVIII ed. M.S. Kastner

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Volume I 1. A. Mudarra: Tiento para harpa u órgano 2. A. de Cabezón: Hinno a 3

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3. A. Valente: La Romanesca con cinque mutanze 4. Yepes: Canção (after Crecquillon's: Je prens en gré) 5. A. da Cruz: Verso de 8° tom por d-sol-re 6. L. Pujol: Obra de 6° ton; Tiento 7. anonymous: Galharda de 1° tom 8. anonymous: Xácara de 1° tom 9. B. de Olagué: Xácara de 1° tono 10. B. Pasquini: Partite sopra la aria della Folia da Espagna 11. Freixanet: Sonata: Andante moderato, in Bb 12. J. de S. Carvalho: Allegro, in D 13. M. de Santo Elías: Sonata para cimbalo: Allegro, in Eb 14. J. Lidon: Sonata de 1° tono para órgano con trompeta real y para clave: Allegro, in d Sources: 1546: Mudarra: "Tres libros de música en cifra para vihuela", Sevilla (1) 1576: Valente: "Intavolatura de cimbalo", Naples: no. 17 (3) E-Boc s.s. (11) E-CROc M.2 (14) E-Mn Raros 14069: ms. supplement to Correa de Arauxo's "Facultad Orgánica", Alcalá, 1626 (8) P-BRp 964 (10) P-Cug 242 (2, 4, 9) P-C ms. from the former monastery of Santa Cruz (5) P-Ln mus. 321: "Sonatas e tocatas del sig. G. de Souza Carvalho" (12) P-Ln s.s. (13) P-Pm 1577 Coloc.B 5: "Libro de cyfra adonde se contém varios jogos de versos e boras e outras coriosidades de varios autores" (6, 7)

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Volume II 1. A. Carreira: Tento, in d 2. A. Carreira: Canção a4, in F 3. A. de Cabezón: Diferencias sobre la Gallarda Milanesa 4. A. de Cabezón: Diferencias sobre Guàrdame las vacas 5. A. de Cabezón: Otras diferencias sobre Guárdame las vacas 6. A. Valente: Lo Ballo dell' Intorcia 7. P. van Dalem: Canzona franzese, primo tono 8. B. Clavijo del Castillo: Tiento de 2° tono por Gesolreut 9. G.M. Trabaci: Gagliarda quarta a 5, alla Spagnola 10. S. Aguilera de Herdia: Registo baixo de 1° tom: tiento de medio registro de bajo Sources: 1576: Valente: "Intavolatura de cimbalo", Naples: no. 14 (6) 1578: Cabezón: "Obras de música de tecla...": nos. 160, 165 and 166 (3-5) 1615: Trabaci: "Secondo libro de ricercate", Naples: no. 124 (9) E-E s.s. (8) I-Nc 61.1.1 (7) P-Cug 242 (1-2) P-Pm 1577 Col.B 5 (10) Spanish and Portuguese Sonatas of the 18th century ed. G. Doderer; Organa Hispanica, vol. 6 1. F.X. Baptista: Sonata in g: Allegro-Allegro comodo con variazioni 2. J. Cordeiro de Silva: Allegro, in C

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3. A.J. Gomes da Silva: Sonata in e: Allegro-Minuet: and. nell stille della chitarra Portughesse 4. C. Seixas: Sonata in d: Allegro-Adagio, in F-Minuet 5. V. Rodriguez: Sonata in Ab: 2/4 6. A. Viola: Sonata in D: 2/4 7. F.M. López: Sonata in g: Allegretto (flautados con octabas) 8. A. Soler: Sonata de clarines, in C: Allegro moderato Sources: c.1765/77: F.X. Baptista: "Dodeci sonate, variazioni, minuetti per cembalo di Francesco Zav° Battista", Lisboa: no. 1 (1) c.1770: Gomes da Silva: "Sei sonate per cembalo composte per il sig.re Alberto Giuseppe Gomes da Silva", Lisboa : no. 4 (3) E-Boc 12-VII-21: "Libro de tocatas para cimbalo": no.19 (5) E-Mn M.769 (7) E-MO AM 63: sonata no.13 (6) E-MO AM.483: sonata no.6 (8) F-Pn 95597 (2) P-Cug MM.57 (4)

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Spanish Organ Masters after Antonio de Cabezón ed. W. Apel; CEKM 14 1-5. Hernando de Cabezón: 1. Ave maristela (llano en el bajo) 2. Dulce memoriae 3. Ye pres en grey (Clemens non Papa) 4. Susana un jour (O. de Lassus) 5. Pis ne me pulvenir (Th. Crecquillon) 6. J. Peraza: Obra de 8° tono 7. E. Lacerna: Tiento 6° tom por ut 8. F. Peraza: Medio registro alto, 1° tono 9. B. Clavijo: Tiento de 2° tono por gesolreut 10-26. Aguilera de Heredia: 10. Pange lingua a tres sobre vajo 11. Salbe de lleno, 1° tono 12. Salbe de 1° tono por delasolre 13. Tiento de 4° tono de falsas 14. Tiento de 4° tono de falsas 15. Falsas de 6° tono 16. Obra de 1° tono 17. Obra de 1° tono 18. Tiento de 4° tono 19. Obra de 8° tono por gesolreut 20. Tiento de 8° tono por delasolre 21. Obra de 8° tono alto. Ensalada 22. Vajo, 1° tono 23. Vajo de 1° tono 24. Registo baixo de 2° ton 25. Dos vajos de 8° tono 26. Pange lingua Sources: E-Bbc M.450 (26) E-E 2187 (8-17, 19-23, 25)

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E-E 2186 (18) P-Pm 1577 (22, 24) 1578: A. de Cabezón: "Obras de música" (1-5) 1626: F. Correa de Arauxo: "Libro de tientos": ms. supplement to a copy in P-La (6-7) At the moment only available as off-print sheets

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Tientos de medio registro ed. G. Doderer; Organ Hispanica, vol. 5 1. F. de Peraza: Tiento de registro alto de 1° tono 2. S. Aguilera de Hereda: Tento de registo baixo de 1° tono 3. B. de Olague: Tento de registo alto de 4° tom 4. F. Correa de Arauxo: Tiento de medio registro de baxón de 2° tono 5. F. Correa de Arauxo: Tiento de medio registro de baxón de 7° tono 6. P. de San Lorenzo: Obra de 1° tono de registro de mano izquierda 7. D. da Conceição: Tento de medio registo alto de 2° tom 8. P. de Araújo: Meio registo de 2° tom de dois tiples 9. A. de Sola: Tiento de medio registro de mano derecha de 1° tono Sources: 1626: Correa de Araxo: "Libro de tientos", Alcalá (4-5) E-E ms. 1 (1 P-BRp 964 (6) P-Pm 1577 (2-3, 9) P-Pm 1607 (7-8)

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Tientos, Fantasias and Diferencias of the 16th century ed. G. Doderer; Organa Hispanica, vol. 4 1. H. de Paiva: Tento do 3° tom 2. A. Carreira: Tento do 1° tom 3. A. Carreira: Tento sobre "Con qué la lavré la flor de la mi cara" 4. A. Carreira?: Canção, in F 5. A. Carreira: Tento do 1° tom 6. A. Carreira: Tento do 6° tom 7. J. Bermudo: Tento del modo primero con resabios de quarto 8. T. de Santa Maria: Fantasia de 1° tono 9. T. de Santa Maria: Fantasia de 8° tono 10. T. de Santa Maria: Fantasia de 7° tono 11. T. de Santa Maria: Fantasia de 6° tono 12. F. de Soto: Tiento de 6° tono 13. A. de Macedo: Tento, in d 14. J. Peraza: Obra de 8° tono 15. A. de Cabezón: Diferencias sobre la pavana italiana 16. A. de Cabezón: Diferencias sobre la gallarda milanesa 17. A. de Cabezón: Diferencias sobre el canto del caballero 18. A. de Cabezón: D'où vient cela Sources: 1555: Bermudo: "Declaración de instrumentos musicales", Osuna (7) 1565: T. de Santa Maria: "Arte de tañer fantasia", Valladolid (8-11) 1578: A. de Cabezón: "Obras de música", Madrid (15-18) 1626: app. to a copy in P-La of Correa de Arauxo's "Libro de tientos" (14) P-Cug 48 (12) P-Cug 242 (1-6, 13)

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Unpublished Organ Music of the Spanish Baroque ed.Stella / Vinay of fifteen 17th-c. works 1. anonymous: Fabordones llanos para los ocho tonos 2. anonymous: Diferencias sobre Guárdame las vacas 3-6. D. de Torrijos: 3-5. Tientos I - III 6. Canción 7. J. Jimenez: Diferencias sobre Las Folías de 1° tono 8. P. Bruna: Tiento de medio registro de tiple de 8 tono Sources: E-E T.29 (1-7) E-E Partituras Antiguas, f.47v-49v (8)

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Unpublished sonatas by J. Herrando, F. Corselli, A. Massa and D. Scarlatti ed. R. Álvarez Sonatas by J. Herrando, F. Corselli, A. Massa and D. Scarlatti, and a "Batalla de clarines" by J. de Nebra out of print

out of print

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Works by A. de Cabezon and contemporaries ed. M.S. Kastner 1-8. A. de Cabezón: 1. Tiento a 4 de primer tono 2. Tiento a 4 del octavo tono 3. Salve Regina (secunda pars) a quatro 4. Versillo a cuatro 5. Himno a tres 6. Obra a tres sobre un tema de canción 7. Canción francesa de Clement non Papa glosada 8. Obra a 4 sobre cantus firmus 9-11. anonymous (by A. Carreira?): 9. Obra a 4 sobre cantus firmus 10. Ocho fabordones 11. Tiento a 4 en la-re 12. F. de Soto: Tiento a 4 de sexto tno 13. Jean des Grez: Ricece'car Sources: P-Cug 48 (12) P-Cug 242 (1-6, 8-11) S-Uu imhs 87: Codex Carminum Gallicorum (13) 1578: A. de Cabezón: "Obras de múcisa" (7)

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IX. ITALY

a) Manuscripts:

D-B mus.ant.pract. 21 German organ tablature of around 1616. Editions: · 8 Anonymous Canzonas and Ricercars from this manuscript: 1. Canzon Excellentissima 2. Canzon a quattro 3. Ricercar X 4. Ricercar XX 5. Ricercar V 6. Ricercar XII 7. Ricercar IV 8. Ricercar XV (incomplete) ° ed. A. Carideo · 12 Works: 1-4. G. Pallavacino: Toccata La Gonzaga; Fantasia La Loda; 2 Ricercars a4 5-9. F. Stivori: Canzone III; Ricercar XI; 2 Ricercari a quattro; Ricercar VII 10-12. anonymous: Fantasia a4; Fantasia XV; Fantasia XVIII ° ed. A. Carideo; appendix: 2 incomplete pieces by Stivori (Ricercar XIII) and Pallavacino (Fantasia L'Acquina Napolitana) D-Mbs mus.ms. 9437 North-Italian organ tablature of the mid-16th century. 1. C. Festa: Così estrema la doglia a6 (the beginning is missing; from: "La piu divina, et bella musica...", Venice, Gardane, 1541) 2. Chirie primo de li apostoli 3. V. Ruffo: Per monti alpestri solitarii et hermi (not complete; from "Il primo libro de madrigali a5") 4. Intonazione del settimo tono 5-6. T. Susato: Si de present peine ("Premier livre de chansons a4", Antwerpen, Susato, 1543) 7. Th. Crecquillon: Alix avoit aux dens ("Le 8me livre des chansons a 4 parties", Susato, 1545) 8. Passereau: Je n'en puis plus durer ("Quart livre contenant 27 chansons", Attaingnant, 1538) 9. Giulio da Modena: Recercar a3 (see: "Musica Nova", 1540) 10. (no title; not complete) 11. P. Certon: Que n'est elle aupres de moy ("9me Livre...27 chansons", Attaingnant, 1540) 12. C. de Rore: Quando lieta sperai ("Musica sopra le stanze del Petrarcha", Venice, 1548) 13. C. de Morales: Sancta et immaculata virginitas ("Gomberti excellentissimi...musica 4 vocum", Venice, 1541) 14a. P. de Manchicourt: Ung diable blanc; fragment only 14b. (fragment; no title) 14c. Clemens non Papa: Iuvons beau ieu; fragment only (same vocal source as no. 7) 15. J. Courtois: Faisons ung coup ("Tiers livre contenant 28 chansons", Attaingnanty, 1538) 16. Th. Crecquillon: Orsus a cop (same source as no. 7) 17. C. de Rore: Anchor che col partire ("Primo libro de madrigali a 4 voci di Perissone Cambio",

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Venice, 1547) 18. D. Phinot: Pater moster ("Liber II mutetarum 5 voc.", Garadano, 1555) 19. (fragment; no title) 20. C. de Rore: Qual' è piu grand ("Primo libro de madrigali a 4 voci", 1550) 21. Josselme: L'aultre jour ung gentil galland ("Troisiesme livre contenant 19 chansons", Att., 1543) 22. Recercar; fragment only 23. V. Ruffo: Donna s'io piango spesso ("Primo libro de madrigali a 5 voci", 1553) 24. Recercar di maestro Jo. L....i; fragment only 25. Passereau: Ung petit coup ("27 Chansons musicales...", Paris, Attaingnant, 1533) 26. (fragment; no title) 27. Chirie; fragment only 28. Benedicimus te; from G. Cavazzoni's Missa Apostolorum (in his: Intabulatura... Libro II, 1543) 29-32. fragments; no titles Edition: · nos. 1-32: ° Critical ed. of the music by M.L. Göllner with introductory study ("Eine neue Quelle zur Italienischen Orgelmusik des Cinquecento"); all known vocal models are printed above the keyboard version hardback GB-Lbl Add. 30491 Luigi Rossi Manuscript Manuscript in the hand of Luigi Rossi, containing keyboard works by Neapolitan composers. All compositions in this manuscript (dated 1617) are written in full score on 4 staves (only no. 7 on 2 staves); however, the ms. seems to be addressed to keyboard players, though some pieces for the viola bastarda, the range of the different voices and the note "Canzone for violas" (in a later hand) point to a performance by a consort of viols. 1. G. de Macque: Partita sopra il Ruggiero 2. G. de Macque: Capriccietto 3. G. de Macque: Canzon chiamata le due Sorelle / Seconda parte 4. G. de Macque: Prime Stravaganze 5. G. de Macque: Prima Gagilarda 6. G. de Macque: Seconda Gagliarda 7. G. de Macque: Capriccio sopra rè fa mi sol 8. G. de Macque: Seconda Canzon 9. G. de Macque: Toccata a modo di trombette 10. G. de Macque: Seconde Stravaganze 11. S. Stella: Partite sopra la Romanesca 12. Rinaldo dall'Arpa: Partite sopra Zefiro 13. Francesco Lambardo: Toccata, in g 14. I. Tartaglino: Canzon 15. I. Tartaglino: Canzon sopra Susanna 16. S. Stella: Prima Canzon 17. F. Fillimarino: Canzon Cromatica 18. S. Stella: Seconda breve Canzon 19. G.M. Trabaci: Prima Gagliarda 20. F. Lambardo: Gagliarda, in g 21. G.M. Trabaci: Seconda Gagliarda 22. Rinaldo dall'Arpa: Canzon 23. C. Gesualdo: Canzon francese del Principe 24. C. Gesualdo: Canzon francese del Principe, con le fioriture 25. F. Lambardo: Partite sopra Fidele, in g Edition (see also under names of composers):

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· nos. 1-25: ° ed. for keyboard by C. Contadin and M. Pelliciari · nos. 11-18, 20, 22-25: ° Neapolitan Keyboard Composers; ed. R. Jackson; CEKM 24 GB-Och 1113

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I-AN 41 Intavolatura di Ancona (1644) 1. To(c)ata avanti il Kyrie per la Madonna 2. P(er) la Gloria P(atri) 3. Balletto p(er) Ballare 4. (G. Frescobaldi): Toc(cat)a ( = first 10 bars of toccata no. 8 from book II) 5. Toccata 6. t(on)o 6. Ballo del Cavallo p(er) C. 7. Ballo del Cavallo 8. Ballo della Regina p(er) D. 9. Ballo della Regina p(er) C. 10. La sua Sarabanda 11. Ciaccona 12. Balletto (I) 13. (G.B. Ferrini): Ballo di Mantova p(er) D (I) (also in I-Rvat ms.mus. 569) 14. (G.B. Ferrini): Ballo di Mantova p(er) D. (II) (also in I-Rvat ms.mus. 569 and I-Rv Z.121) 15. (G.B. Ferrini): Ballo di Mantova p(er) A. (I) (also in I-Rvat ms.mus. 569 and I-Rv Z.121) 16-17. Ballo di Mantova p(er) A. (I-III) (also in I-Rv Z.121) 18-19. La Burè (I-II) 20-21. Canario (I-II) 22-23. Venetiana (I-II) 24. Colonà 25. Balletto (II) 26. Brando Tedesco 27. (Cuch)ù 28. Villan di Spagna 29. Balletto (III) 30. Giga 31. Monica 32. (G.B. Ferrini): Aria di Fiorenza (I) (also in I-Rvat ms.msu. 569 and I-Rvat Chigi Q.IV) 33. (G.B. Ferrini): Aria di Fiorenza (II) (also in I-Rvat ms.mus. 569, I-Rvat Chigi Q.IV, and GB-Och 1113) 34. Rotta di Fiorenza (also in I-Rvat Chigi Q.IV) 35-36. Passagalli (I-II) 37. Pastorale facile p(er) G. 38. (G.B. Camerini): Toccata p(er) G. sol re ut Del Camerini 39. Ballo del Gran Duca 40. (Toccata)

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41-46. fragments without title Edition: · nos. 1-46: ° Critical edition by A. Coen; preface by A. Cavicchi I-Bc DD.53 "Varij Autori Toccate e Sonate per Cembalo" Manuscript (end of 17th century) containing 66 Pieces; of 24 of them the composer is known: a) 20 by J. C. Kerll (with nos. of the list of his works in the alphabetical section): 1-8. Toccata I-VIII 9-14. Canzona I-VI 15, 15a, 15b. Capriccio sopra'il cucu (3 versions) 16. Battaglia 17. Ciaccona 18. Passacaglia 19. Suite I in D: Allamande-Courante-Sarabande-Gigue 20. Suite II in F: Allamande only b) 2 by Pasquini (with nos. of the list of his works in the alphabetical section): Toccata 2° tuono Primo tuono sonata 7 c) C.F. Pollarolo Sonata 1. tono, in d d) T. Merula: Sonata cromatica e) anonymous pieces: Preludio 1° tuono Arpeggio Preludio 2° 2° tuono Preludio Arpeggio 3° 3° tuono Preludio 4° Arpeggio 4° tuono Preludio 5° 5° tuono Arpeggio Preludio 6° 6° tuono Preludio 7° 7° tuono Preludio 8° 8° tuono Ricercare I-II 2° tuono Sonata 2a 2° tuono Sonata 3a 3° tuono Sonata 4° 4° tuono Suonata 6a 6° tuono Sonata 8a 1° tuono Sonata 9a 2° tuono Sonata Sonata 1° tuono Sonata 6° tuono Sonata 3a Sonata 4a Sonata 2° tuono Sonata 5° tuono un più alto Sonata 8° tuono un più alto Sonata Sonata 1° tuono Toccata 1° tono Toccata 8° tuono

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Toccata 5° tuono Toccata 5a 3° tuono Toccata 2° tuono (Versetti) I - VIII 1° - 8° tono (Versetto) 5° tuono un più alto (Versetto) 8° tuono un più alto (Versetto) 5° un più basso (piece without title) Edition: see also under names of composers ° Facsimile edition of the manuscript; introduction by U. Forni; hardback I-CARcc Keyboard music at Castell' Arquato from the manuscripts at I-CARcc ed. H.C. Slim; CEKM. 37 Manuscripts dating from the early 16th to the early 17th c.: works by G. Fogliano da Modena, G. Segni, J. Brumel, C. Veggio e.a. Volume I from fascicle III: 1. Pavana - Saltarello de la pavana - La coda 2. Ripresa 3. Ripresa 4. Pavana II - Saltarello de la pavana - La coda 5. Pavana - Saltarello de la pavana - Ripresa 6. Pavana - Saltarello de la pavana - la Coda 7. Pavana - Saltarello de la pavana - Ripresa 8. Pavana - Saltarello della pavana - Ripresa 9. Ricercada 10. Io mo sono gioveneta a4: 2a pars 11. Ricercada 12. Pavana - Saltarello de la pavana - Ripresa 13. Pavana - Saltarello de la pavana - Ripresa 14. Pavana - Saltarello de la pavana - Ripresa 15. Pavana - Saltarello de la pavana - la Coda 16. Pavana - Saltarello de la pavana - la Coda 17. Pavana - Saltarello de la pavana - la Coda 18. Pavana - Saltarello de la pavana - Ripresa a c(apite) 19. Uno saltarello - Coda from fascicle VII: 20. La pavana - Saltarello de la pavana 21. La Delfina 22. Gazollo - Represa di Gazolo 23. Il puliselo 24. La moretta 25. Il cramoneso 26. Zorzo 27. Di gentil madona pars ultima - Ripresa di Gentil madona 28. Recerchato del villano 29. Pavana - Il saltarello della pavana - Represa 30. Il Caselle 31. Caza la veglia / milanese

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32. Il ber(sanello) 33. Il milaneso 34. Ciel turchin 35. La posa borela (?) - Alla represa 36. Hoime che la non me vole 37. Al carmonese 38. Zorzo 39. Non ti partir da me 40. Al milanese 41. Liciolo 42. La ultima chi tocha la canela on a detached folio: 43. (untitled) - alla (ripresa?) 44. Ciel turchin

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only available as off-print sheets Volume II

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from fascicle IVa: 1. Missa dell'Apostoli 2. (Christe? from Missa de Beata Virgine) 3. Recercare 4. Primo versetto del Credo 5. untitled vocal work 6. (Passamezzo antico setting) 7. (Romanesca setting) 8. (Bergamasca setting) 9-10. (two passamezzo antico settings) from fascicle IVb: 11. (Ancor che col partire; by Cipriano de Rore) 12. Canti donque qui meco ogni persona 13. S 'io credesse (per morte essere scharco; by Anselmo de Reulx) 14. O gloriosa domina (by A. Willaert) 15. Assumpta est (Maria in celum) from fascicle VI: 16. (Magnificat) cum quatuor vocibus (by de Lassus) 17. G. Cavazzoni: Christe redemptor omnium 18. Fit porta Christi pervia (by de Lassus or J. Regnart) 19. Ego dormio 20. Scoprirò (l'ardor mio) del (G.M.) Nanino 21. Adoramus te Christe fasc. VIII: 22. Missa I solemnitatibus Beate Maria 23. Agnus Dei 24. Il carmoneso 25. Pavana de la bataglia - Il saltarello de la batagila - La tedeschina from fascicle IX: 26. (Credo cardinalis) Patrem Appendix: Five fragments from fascicles IVa, VI and IX Volume III Ricercari, Mass movements & Motet, Chanson and Madrigal Arrangements from fascicles I, II and V (first half 16th century) from fascicle I: 1. Occhi miei lassi ben (J. Arcadelt) 2. G. Fogliano: Ricerchare 3. G. Fogliano: Ricercare

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4. M.A. Cavazzoni: Ricercada de maca in bologna 5. Jaches (Brumel): Ricerchare 6. Jaches (Brumel): Ricerchare 7. G. Segni: Ricerchare per musica ficta in sol per la via di G sol re ut from fascicle II: 8. G. Fogliano: Ricerchare 9. G. Fogliano: Ricerchada 10. Jaches (Brumel?): Missa de la dominica from fascicle V (some 15 pages are lacking): 11. (C. Veggio?): (conclusion of ?motet) 12. (C. Veggio): La fugitiva Claudius a4 13. (C. Veggio?): Tant que vivray a4 (C. de Sermisy) 14. C. Veggio: Recercar de l'otavo tono 15. (C. Veggio?): (incomplete ?ricercar) 16. (C. Veggio?): Quand'io pens'al martire (J. Arcadelt) 17. C. Veggio: Donna, per dio vi giuro 18. C. Veggio: Recercada per b quadro del primo tono 19. C. Veggio: Recercada per b mollo del primo tono 20. (falsobordone) 21. (C. Veggio?): Se per colpa del vostro fiero sdegno (J. Arcadelt) 22. (C. Veggio?): Tu es Petrus; motete a4 (anon.) 23. (?Giuseppe Villano; ?C. Veggio?): C. Recercada Vil 24. (C. Veggio?): Vi' (?Villano?) Recercada 25. C. Veggio: Recercar del primo tono 26. C. Veggio: Recercar del primo tono per b mollo 27. C. Veggio: Recercada per b quadro del quarto tono 28. C. Veggio: Recercar del quinto tono per b mollo (incomplete) Appendix: Fragments from fascicle V: a. (C. Veggio): untitled b. (C. Veggio?): Or vien ça vien (C. Janequin) c. untitled; conclusion of a dance? d. (Kyrie Cunctipotens) e. untitled vocal? work a6 I-FZc 117 Codex Faenza c. 1410/1420; contains 47 keyboard settings of ballades, virelias, madrigals, ballate, dances, and 2 cycles of Kyrie and Gloria; notation in an early type of keyboard tablature. a) = keyboard piece; b) = vocal model + source(s) (see for list of sources below): 1-2. Kyrie & Gloria "Cunctipotens Genitor Deus" I 3. a) Indescort b) A descort sont désir et espérance: anon. ballade a3 (PR; U) 4. a) Hont paur b) Honte, paour, doubtance: ballade no.25 by G. de Machaut a3 (PM.1-2-3, FP, Vg, Trem) 5. a) De tout flors b) De toutes flours: ballade no.31 by Machaut a3-4 (a3: PM.1-2, Pit FP, Mod, Morg, Vg; a4: PM.3, PR, Trem, Str) 6. a) Aspire refus b) Aspre refus: anon. ballade a3 (Str) 7. Elas mon cuer I 8. a) De ce fol penser b) De ce que fol pense: ballade a3 by P. des Molins (Ch, Ca, FP, Pit, PR, McV, Mn2,

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Trem, Str, Br, PT) 9. a) Jay grant espoir b) J'ay grant désespoir de ma vie: anon. ballade a3 (PR, Trem) 10. Constantia 11. Le Ior 12. a) Jour mour lanie b) Jour a jour la vie: anon. rondeau a2 (Pit), a3 (LC, FP, Str, Trem) or a4 (PR,Mn, Wo, WoB) 13. Viver ne puis 14. Elas mon cuor II 15. a) (Deduto sey) b) Deduto sey a quel che may non fusti: anon. ballata a2 (PN) or a3 (Bo; ballata by A. Zacara da Teramo) 16. a) (Or sus, vous dormés trop) b) Or sus vous dormés trop, ma dame joliete: anon. virelai a3 (Iv, PR, Pit, Lo, PadC, Str) 17. (without title) 18. Jaime la biaute 19. a) Iorlevie b) Jour a jour la vie: anon. rondeau: see no.12 20. a) (Rosetta) b) Rosetta che non cançi may colore: ballata a2 by Antonio Zacara da Teramo (PN, Luc) 21. Tu pes (?) 22. Sangilio (?) 23. (no title) 24. Biance Flour 25. (Benedicamus Domino, I) 26. a) Soto limperio del posente prinçe b) Sotto l'imperio del possente prinçe: madrigal a3 by Jacopo da Bologna (FP, Sq, Pit, PR) 27. a) Qualle leçe move b) Qual lege move la volubil rota: madrigal a2 by Bartolino da Padova (PR, Sq, Lo) 28. a) La dolçe sere b) La douce cere d'un fior animal: madrigal by Bartolino da Padova a2 (Pit) or a3 (FP, Sq, PR, Lo, Luc) 29. a) O ciecho mondo b) O cieco mondo di lusinghe pieno: madrigal a2 with 2 ritornelli by Jacopo da Bologna (FP, Sq, PR, Pit, PadC, OP) 30. a) Aquila altera b) Aquila altera/Uccel di Dio/Creatura gentil: madrigal a3 by Jacopo da Bologna (FP, Sq, Pit, PR) 31. a) In perial sedendo b) Imperiale sedendo fra più stelle: madrigal by Bartolina da Padova a2 (PR, Pit, Sq, Mod) or a3 (Luc) 32. a) Io me son uno che per le frasche b) madrigal a2 by Jacopo da Bologna (FP, Sq, PR) 33. a) Non na el so amante b) Non al suo amante piu Diana piacque: madrigal a2 by Jacopo da Bologna (FP, Sq, PR, Pit) 34. Kyrie 35. a) Che pena questa b) Che pene è quest'al cor: ballata by Landini a3 (FP, Sq, Pit) or a2 (PN) 36. Bel fiore dança 37. a) Non ara may pieta questa mia dona b) ballata a3 by Landini (FP, Sq, PR, Pit, Lo) 38. a) (Un fiore gentil m'apparse) b) ballata a3 by A. Zaccara da Teramo (LucP: incomplete)

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39. a) (Rosetta II) b) Rosetta che non cançi may colore: ballata a2 by A. Zaccara da Teramo (PN, Luc) 40-41. (Kyrie & Gloria "Cunctipotens genitor Deus", II) 42-46. (no titles); vocal sources not found 47. (Ave maris stella) 48. (Benedicamus Domino II) Sources of the vocal models: Bo = I-Bu Cod. 2216 Br = B-Bc 27932 Ca = F-CA 1328 (1176) Ch = F-CH 564: ms. Chantilly FP = I-Fn Panciatichi 26 Iv = I-IV Codex 115: Ivrea Codex LC = GB-Lbl Cotton titus A XXVI Lo = GB-Lbl Add. 29987 Luc = I-La 184 LucP = I-Pec 278: Nuovo Fondo McV = GB-Lbl Add. 41677: the McVeagh fragment Mn = D-Mbs Clm. 14274 Mod = I-Moe alpha M.5.24 (Lat.568) Morg = US-NYpm Cod. 396 OP = GB-Ob Can.Pat.lat. 229 PadC = I-Pu Cod. 658 Pit = F-Pn f.it. 568 PM1 = F-Pn f.fr. 1584 PM2 = F-Pn f.fr. 22546 PM3 = F-Pn f.fr. 9221 PN = F-Pn n.acq.fr. 4917 PR = F-Pn n.acq.fr. 6771: Reina Codex PT = F-Pn n.acq.fr. 6221 Sq = I-Fl Pal.87: Squarcialupi Codex Str = F-Sm 222 (lost; copy of part of the ms. Extant) Trem = F-SERc: ms. De La Trémoïlle U = NL-Uu 6 E 37 Vg = US-NYw ms. Of the Marquis de Vogüé Wo = A-Wn Cod. 2777 WoB = A-Iu: Wolkenstein Codex Editions: · nos. 1-48a-b: ° ed. D. Plamenac of all keybaord pieces in modern transcriptions, and of their known vocal models only available as off-print sheets · nos. 1, 3-5, 8, 9, 12, 14, 16, 24-33, 35-37, 39, 48: ° The second part of M. Kugler's study on this manuscript ("Die Tastenmusik im Codex Faenza") gives a literal transcription (2 staves of 6 lines; C-clefs) of these 24 pieces. · nos. 8, 36, 37, 40, 41: ° see: General Collections: "Organum antiquum", ed. Radulescu I-Gl A.7b.63 Cass Manuscript from the beginning of the 18th century. Edition: ° ed. G. Oost of 5 toccatas from this manuscript: 3 toccatas (D-F-d) ascribed to Handel, but probably by A. Scarlatti, a toccata in G by Handel,

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and a toccata in C probably by Handel with an introduction by F. Durante I-MTc Venturi B.8 Manuscript from the end of the 17th or the beginning of the 18th century containing 96 anonymous dances, arias and versetti; nos. 1-84 are for one or two instruments or for instrument and bass; nos. 85-97, added in two later hands, are apparently meant for keyboard: 85-92. Versetti 93. Minuè 94. Allegro 95. (Minuetto) 96. Alla Alemanda Edition: · nos. 85-96: ° ed. I. Conforzi I-Rvat mus. 569 Roman Keyboard Music of the 17th Century critical ed. by B. Johnsson; hardback · "Liber Virginij Mutij J.V.D. discipulis D. Bonaventurae Mini et Fabritij Fontanae, 1663" 1. G.B. Ferrini: Toccata per organo, in d 2. Gagliarda, in a 3. Corrente, in F 4. Rotta, in d 5. F. Fontana: Corrente, in g 6. Ferrini: Coorente, in e 7-8. Ferrini: Balletto 1°-2°, in e 9. Ferrini: Toccata per il cembalo, in d 10-12. Ballo di Mantoua 1°-2°-3°, in a 13. Bernardo (Pasquini): Tastata arpeggiata longa, in c 14. Bernardo (Pasquini): Tastata 2a, in d 15. Ferrini: Trombetta, in D 16. Ferrini: Corrente, in a 17. Ferrini: Aria di Fiorenza, in G 18. Ferrini: La Rotta, in G 19. Ferrini: Tastata per cemablo, in d 20-21. Ferrini: Spagnoletta 1a-2a, in a 22. Toccata 2a per organo, in C 23. Canzona, in C 24. Corrente, in d 25. P. Arno: Corrente, in g 26. P. Arno: Capriccio toccata, in F 27. Courante l'Avignone 1a parte, in d 27a ( = 30). Variation 1a parte della Corrente l'Avignone, in d 28. Sarabande pr.a parte, in d 29. Courante La Duchesse, in a 31. Ver. in f fa ut, in F 32. Arpeggiata, in a 33. Branle, in G 34. Battaglia, in C 35. Pange lingua, in d

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I-Tn Giordano 1 The Turin tablature Giordano 1; written c.1637 in German organ tablature notation. Containing works by: V. Bellavere: Toccata G. Diruta: Toccata del xi. et xii. tuono; Praeambulum primi toni; 2 Praeambula; Praeambulum con pedale; 6 Toccatas V. Dretzel: Introitus Chr. Erbach: Toccata secondo; Toccata del 1. et 2. tono; 3 Toccatas 1. toni; 2 Toccate del secondo tono; Toccata 3. toni; Toccata 4. toni; Toccata del 5. tono; Toccata del 7. tono; Toccata 8vi tono G. Frescobaldi: many toccatas A. Gabrieli: Toccata del x. tono G. Guami: Toccata del 2do tono J. Hassler: Toccata di 4to toni; Toccata H.L. Hassler: Introitus; Introitus primi toni; Introitus quarto toni; Introitus sexti toni; Introitus octavi toni; Toccata de secondo tono; Toccata noni toni; Toccata M. Kinigl da Linz: Toccata P. Quagliati: Toccata del octavo tno A. Romanini: Toccata del octavo tno B. Spirindio: Toccata J.Pz. Sweelinck: 6 Toccatas?; see: Opera omnia I/1, ed. Leonhardt Edition: ° Facsimile edition of the manuscript; hardback I-Tn Giordano & Foà Musica Italiana nella Germania del Seicento C. Felici: "Musica Italiana nella Germania del Seicento. I ricercari dell'intavolatura d'organo tedesca di Torino". This study contains editions of the following works from the Turin organ tablatures (some with differing printed versions): A. Padovano: Ricercare del primo tono & Ricercare del terzo tono in 3 versions: a) "Di Annibale Padovano...Il Primo Libro de Ricerari a quattro voci...", Venice, A. Gardano, 1556 b) "Tocate, ricercari et canzoni francese intavolate per sonar d'organo da Sperindio Bertoldo", Venice, G. Vincenti, 1591 c) Torino: Giordano 6 G.M. Radino: Ricercar primo a 4 Turin version (Giordano 8) ("Concerti per sonare et cantare", Venice, 1607) A. Willaert: Ricercare no. I a3 Turin version (Giordano 8) and printed version ("Fantasie recercari contrapunti a tre voci", Venice, 1559) anonymous: Fugues from Toccatas nos. I-XI from Foà 2 Unpublished anonymous toccatas and preambula (by G. Diruta?): a. Preambulum primi toni (Giordano 1, no. 47) b. Preambulum (Giordano 1, no. 48) c. Preambulum (Giordano 1, no. 49) d. Preambulum con pedale (Giordano 1, no. 50) e. Toccata (Giordano 1, no. 51) f. Toccata a 3 (Giordano 1, no. 54) g. Toccata (Giordano 1, no. 65) h. Toccata (Giordano 1, no. 66)

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I-TRc 1947 / 2 The Trento Organ Tablature Organ tablature written ca. 1500, containing 4 works in the style of Paul Hofhaimer: 1. Salve Regina I (Salve regina-Ad te clamamus-Eya ergo-O clemens-O dulcis) 2. Praeambulum in d 3. Salve Regina II (Salve regina-Ad te clamamus-Eya ergo-Alia Eya ergo-O clemens-O dulcis) 4. Magnificat octavi toni (Quia respexit humilitatem-Deposuit potentes) Edition: · nos. 1-4: ° ed. R. Schächer NL-R accardi Raccolta di sonate per organo This manuscript volume (in the collection of G. Accardi) was bound together from several smaller collections or organ music, probably at the end of the 18th century. In some cases the author is given by the initials N.V. only, once with the additional specification "fiorentino" and in another case together with the date 1767. The initials N.V. could refer to Niccolò Valenti; all the pieces seem to belong to the same circle of some florentine organist from the latter half of the century. The original volume contains 136 pages of music. The pieces in the selection below have editorial page numbers (in parentheses) which refer to the ordering of the pages of the entire original volume. Edition: ka.2332 ° Selection of 10 pieces; facsimile edition: 1. Toccata per l'offertorio: Allegro, in F (22-23) 2. Elevazione: Adagio, in Bb (24-25) 3. Toccata: Allegro, in G (38) 4. Toccata & Fuga, in Bb (39-41) 5. Adagio, in g (42-43) 6. Toccata: Allegro, in A (122-123) 7. Sonata per organo di N.V., in C (63) 8. Toccata: Allegro & Fuga, in C (9-11) 9.Grave, in c (14-15) 10. Pastorale, in D: Adagio-Allegro: flauto-Adagio (18-20) P-BRp 964 Manuscript from the end of the 17th century, notated in score of 4 staves. Contents: pieces by P. de Araujo, L. Coutinho, P. de San Lorenzo, B. Pasquini e.a., and many anonymous compositions.. Edition: · 8 Compositions from the Pasquini school in this manuscript; ° ed. G. Doderer for keyboard: 1-7. anonymous: Aria del organo di Frascati; Variationi sopra la aria di ciacona; Pepe vienmi a trovare; A colascione; Aria con variationi; Spagnoletta 8. B. Pasquini: Partite sopra la aria della folia da Espagna

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versi eccellentissimi musici", Venice, al segno del pozzo,1540 Except for the bass part (in I-Bc) this print in partbooks is lost; however, the ricercars have been reprinted in "Musicque de Ioye", Lyon, J. Moderne, c.1550, in 4 partbooks as well. 21 Ricercari by A. Willaert (nos. 1, 10, 14), G. Segni (2-6, 8-9, 11-13, 15-16, 19), N. Benoist (7) G. Golin (no.17), G. Parabosco (nos.18; 21: Da pacem) and G. Cavazzoni (no. 20) Edition: · nos. 1-21: ° ed. in modern keyboard version by L. Tamminga 1551 Intavolatura nova di balli · "Intabolatura nova di varie sorte de balli da sonare per arpichordi, clavicembali, spinette, & manachordi, raccolti da diversi eccellentissimi autori, novamente data in luce & per Antonio Gardane con ogni diligentia stampata", Venice, A. Gardane, 1551 Venice, A. Gardane, 1551 25 pieces in Italian keyboard tablature: 1-3. Pass'e mezo nuovo I-III 4. Cathaccio, gagliarda 5. L'herba fresca, gagliarda 6. Gamba, gagliarda 7. Le forze d'hercole (gagliarda) 8. Tu te parti, gagliarda 9. A la o 10. Lodesana, gagliarda 11. Meza notte, gagliarda 12. Fusi, pavana piana 13. La vien dal porto, gagliarda 14-16. Pass'e mezo antico I-III 17. Moneghina, gagliarda 18. La Canella, gagliarda 19. Venetiana, gagliarda 20. Saltarello del Re 21. El Poverin, gagliarda 22. Gonella, gagliarda 23. Fantina, gaglairda 24. Comadrina, gagliarda 25. Fornerina, gagliarda Editions: · nos. 1-25: ° Facsimile of the 1551 edition ° ed. Oxenbury / Dart · nos. 1-4: ° see: E.N. Ammerbach: "Orgel oder Instrument Tabulatur", 1571: nos. 62-65 1577 Musica de diversi autori · "Musica de diversi autori: La Bataglia Francese et canzon delli ucelli insieme alcune canzoni francese, partite in caselle per sonar d'instromento perfetto", Venice, Gardano, 1577 13 chansons (without text) in open score: 1. C. Janequin: La Battaglia Francese (La Guerre) 2. C. Janequin: La Canzon delli uccelli (Chant des oiseaux)

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3. Th. Crecquillon: Ung gay bergier 4. Th. Crecquillon: Petite fleur coincte 5. Clemens non Papa: Mais languiraige 6. Clemens non Papa: Frais et gaillart 7. J. Courtois: Petit Jaquet 8. Clemens non Papa: Rossignolet que cantes 9. Clemens non Papa: Je prens en gre 10. Ph. Rogier: Doulce meoire 11. C. Janequin: Martin menoit 12. O. de Lassus: Je lay me bien 13. Avecque vous (O. de Lassus) Edition: · nos. 1-13: ° Facsimile of the 1577 edition; hardback 1593 / 1622 G. Diruta: Il Transilvano · "Il Transilvano. Dialogo sopra il vero modo di sonar organi et istromenti da penna,...Nel quale facilmente, & presto s'impara di conoscere sopra la tastatura il luogo di ciascuna parte, & come nel diminuire si deveno portar le mani, & il modo d'intendere la intavolatura; provando la verità & necessità delle sue regole, con le toccate di diversi eccellenti organisti, post nel fine del libro", Venice, G. Vincenti, 1593 & "Seconda Parte del Transilvano. Dialogo diviso in quattro libri ...Nel quale si contiene il vero modo, & la vera regola d'intavolar ciascun canto, semplice, & diminuito con ogni sorte di diminutioni: & nel fin dell'ultimo libro v'è la regola, la quale scopre con brevita e facilità il modo d'imparar presto à cantare", Venice, A. Vincenti, 1622. contents: · Music theory; introduction to organ playing; anthology of comtemporary pieces for the organ. Compositions included: Prima parte, 1593: 1. Diruta: Toccata di grado del primo tuono 2. Diruta: Toccata di salto buono del secondo tuono 3. C. Merulo: Toccata der terzo tuono 4. A. Gabrieli: Toccata del sesto tuono 5. Diruta: Toccata di salto cattivo del VI. tuono 6. G. Gabrieli: Toccata del secondo tuono 7. L. Luzzachi: Toccata del quarto tuono 8. Antonio Romanino: Toccata dell'ottavo tuono 9. P. Quagliati: Toccata dell'ottavo tuono 10. V. Bell'Havere: Toccata del primo tuono 11. G. Guami: Toccata del secondo tuono 12. A. Gabrieli: Toccata del decimo tuono 13. Diruta: Toccata del XI. et XII. tuono Seconda parte, 1622: 14. Diruta: Partitura à due voci 15. Diruta: Partitura & intavolatura à tre voci 16. Diruta: Ricercata a 4 (partitura & intavolatura) 17. Diruta: Sogetto: Minuta sopra la parte de soprano / Alio modo / Minuta sopra la parte del basso / Alio modo / Minueta sopra la parte del tenore / Alio modo 'Minuta sopra la parte del contralto / Alio modo 18. G. Gabrieli: Canzone detta la Spiritata (with diminutions by Diruta) 19. A. Mortaro: Canzone l'Albergona (with diminutions by Diruta) 20. L. Luzzaschi: Ricercare del primo tuono a 4

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21. L. Luzzaschi: Ricercare del secondo tuono a 4 22. G. Picchi: Ricercare del terzo tuono a 4 23. G. Picchi: Ricercare del quarto tuono 24. A. Banchieri: Ricercare de quinto tuono a 4 25. A. Banchieri: Ricercare del sesto tuono a 4 26. Diruta: Ricercare del settimo tuono 27. Diruta: Ricercare del ottavo tuono 28. G. Fatorini: Ricercare del nono tuono 29. G. Fatorini: Ricercare del decimo tuono 30. Diruta: Ricercare del undecimo tuono 31. Diruta: Ricercare del duodecimo tuono 32-37. Diruta: Inni del primo tuono: 32. Christe Redemptor omnium 33. Pange lingua gloriosi 34. Ut queant laxis 35. Ave maris stella 36. Tibi Christe splendor patris 37. Jesu corona virginum 38. Diruta: Deus morum dux minorum (Inno del secondo tuono) 39-41. Diruta: Inni del terzo tuono: 39. Deus tuorum militus 40. Sanctorum meritis 41. Concinat plebs fidelium 42-45. Diruta: Inni del quarto tuono: 42. Jesu nostra redemptio 43. Aurea luce 44. Exultet caelum laudibus 45. Huius obtentu 46-47:Diruta: Inni del settimo tuono: 46. Veni Creator Spiritus 47. Lucis creator optime 48-50. Diruta: Inni del ottavo tuono: 48. Hostis Herodes impie 49. O lux beata trinitas 50. Iste confessor 51. Diruta: Engratulemur hodie (Inno del undecimo tuono) 52. Diruta: Ad coenam agni providi (Inno del duodecimo tuono) 53. Diruta: Magnificat primi toni (with transpositions) 54. Diruta: Magnificat secundi toni (with transpositions) 55. Diruta: Magnificat tertii toni 56. Diruta: Magnificat quarti toni (with transpositions) 57. Diruta: Magnificat quinti toni (with transpositions) 58. Diruta: Magnificat sexti toni (with transpositions) 59. Diruta: Magnificat settimi toni (with transpositions) 60. Diruta: Magnificat ottavi toni (with transpositions) Editions: (see also under names of composers) · nos. 1-60: ° Facsimile edition; hardback; introducyion by L. Cervelli ° Transcription of the music; ed. Zászkaliczky · nos. 1, 2, 5, 13, 14, 30-32, 52:

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° in: "Orgelmusik der Franziskaner, II", ed. E. Kraus · no. 5: ° see: B. Schmid jr.: "Tabulatur Buch" c. 1697 Sonate da organo di varii autori · "Sonate da organo di varii autori dedicate all' ill.mo e rev.ro mons.re D. Antonio Vidman...", (Bologna, c.1697); probably collected by G.C. Arresti (who signed the preface) edition of very large size; upper stave 5 or 7 lines; lower stave 7 or 8 lines 1. P.A. Ziani: Capriccio in G 2. C.F. Pollarolo: Sonata in d 3. J.K. Kerll ("Cherli"): Sonata in d 4. G.B. Bassani: Sonata in F 5. M. Giustiniani: Sonata in d 6. Schiava di Lucca: Sonata in G 7. G.P. Colonna: Sonata in d 8. G.P. Colonna: Sonata in G 9. B. Monari: Sonata piena in A 10. B. Monari: Sonata in A 11. B. Monari: Elevatione in g 12. B. Pasquini ("N.N. di Roma): Fuga vivace in d 13. B. Pasquini: Elevazione: adagio in e 14. B. Pasquini: Sonata in C 15. "N.N. di Piacenza": Sonata in G 16. G.C. Arresti: Elevazione sopra il Pange lingua, in d 17. G.C. Arresti: Sonata cromatica in e 18. G.C. Arresti: Sonata piena in A Editions: (see also under names of composers) · nos. 1-18: ° Facsimile of the Bologna edition (hardback) ° ed. Fedtke (from the pirated edition: "17 Sonates pour l'orgue ou le clavessin composez par mrs. Siani, Polaroli, Bassani, Colonna et autres fameux maistres d'Italie", Amsterdam, c.1701) · nos. 2-7 and 14-17: ° ed. A. Reichling c.1716 Volentarys & Fugues · "Volentarys & Fugues made on purpose for the Organ or Harpsichord by Ziani, Pollaroli, Bassani and other Famous Authors, engraven in a fair character", London, J. Walsh/P. Randall/J. Hare, c.1716 12 voluntaries by P.A. Ziani, C.F. Pollarolo, G.B. Bassani, P.D. Chiava (2), G.P. Colonna (2), B. Monari (3), and anon. = B. Pasquini (2) Edition: · nos. 1-12: ° Facsimile of the edition of c.1716 1757 - 1762 Raccolta Musicale · "Raccolta musicale contenente VI Sonate per il cembalo solo d'altretenati celebri compositori

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Italiani messi nell' ordine alfabetico co' loro nomi e titoli, Opera I.ma / II.da / III.za", Nürnberg, alle spes di G.U. Haffner, suonatore di liuto, 1757-1762 Opera I: 1. B. Galuppi: sonata in A: Andantino-Allegro-Presto 2. A.G. Pamponi: sonata in G: Allegro-Andantino-Allegro assai/Fugato 3. F. Peroti: sonata in Bb: Allegro-Andante-Allegro ma non tanto presto 4. G.B. Pescetti: sonata in c: Allegro mà non presto-Moderato-Presto 5. G.M. Rutini: sonata in G: Andante cantabile-Allegro espressivo-Minuetto/Trio 6. G.B. Serini: sonata in C: Andante-Lento-Allegro assai Opera II: 1. F. Bertoni: sonata in Eb: Andante-andantino-Allegro 2. B. Galuppi: sonata in c: Larghetto-Allegro-Allegro assai 3. G.A. Paganelli: sonata in G: Moderato-Presto 4. G.M. Rutini: sonata in C: Spiritoso-Minuetto-Leggero e con molto brio 5. D. Scarlatti: sonata in C: Allegro 6. G.B. Serini: sonata in Bb: Allegro-Andantino-Allegro-Allegro grazioso Opera III: 1. F. Krafft: sonata in C: Spiritoso-Larghetto-Tempo di minuetto 2. G.A. Paganelli: sonata in F: Allegro-Teompo di minuetto 3. G. Palladini: sonata in Bb: Allegro-Andante-Allegro 4. G.M. Rutini: sonata in A: Allegro spiritoso-Andante-Giga 5. P. Sales: sonata in C: Con spirito-Andante-Tempo di minuetto 6. G.B. Serini: sonata in E: Allegro assai-Andantino grazioso-Allegro-Fuga a tempo Edition: ° Facsimile of the 1757-1762 ed. of opera I-III; hardback

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c) Modern Collections:

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Anonymous Organ Music from 18th-century Pistoia 2nd ed. by U. Pineschi with extensive introduction on the music, instruments, registration and ornaments Anonymous works of the 2nd half of the 18th century from I-PS ms. 226/8: 1. Messa de' morti: Versetti per la Dies irae; Per l'Elevazione I; Post Communio I; Offertorio II; Post Communio II 2. Messa in quinto tuono: Versetti; Per l'Offertorio; Elevazione I; Post Communio I; Toccata; Post Communio II 3. Messa in sesto tuono: Versetti; Per l'Offertorio; Pel Post Communio I; Fuga per l'Offertorio; Post Communio II 4. Messa del doppio: Versetti; Per l'Offertorio I; Pel Post Communio I; Per l'Offertorio II; Per l'Elevazione II; Pel Post Communio II; Toccata 5. Messa di Natale: Offertorio pastorale; Post Communio pastorale; Pastorale

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Anthology of 18th-century Organ Music from Pistoia ed. U. Pineschi 1. G.B. Oradini: Pastorale, in D (1770) 2. G.B. Oradini: Suonata, in Bb (1783) 3. V. Panerai: Offertorio xviii, in C 4. C. Casini: Offertorio, in C

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5-9. G. Gherardeschi: 5. Per Offertorio, in D 6. Per Elevazione, in D 7. Per il Postcomunio, in D 8. Elevazione, in C 9. Versetti concertati solenni: 5-8. 1° tono: Allegro; Allegretto; Andantino; Allegretto 9. 2° tono: Adagio 10-12. 4° tono: Allegro; Andantino; Allegro 13-17. 5° tono: Allegro; Affettuoso; Allegro; Allegretto 18-19. 6° tono: Larghetto; Allegretto 20-21. 7° tono: Allegretto; Andantino 22-24. 8° tono: Allegro; Allegro; Tempo di marcia 10. Elafà: Andantino 11. Tempo di marcia Sources: I-Fn Rossi-Cassigoli XXIII,13 (9) I-Fn Rossi-Cassigoli XXIII,14 (10, 11) I-MTventuri A 22/c (1) I-MTventuri A 22/d (2) I-MTventuri A.29 (3) I-PS B.181,2 (4) I-PS B.181,6 (5) I-PS B.181,7 (6) I-PS B.181,21 (7) I-PS B.181,26 (8)

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Balli per Cembalo 90 keyboard pieces from early Italian manuscripts ed. Chr. Hogwood 1-41. from I-Vnm It. IV 1227 (written c.1540; all pieces are anonymous): 1. Padoana in piva 2. La bella franceschina 3. Tuo la straza 4. Pavana in paso e mezo 5. Saltarello 6. La gastalda 7. El pomo 8. Fa la danza 9. O dio ch'fato il ciel con la fortuna 10. La cara cossa 11. La bella berssanina 12. Le roto el caro 13. La svizera 14. Ocelino bel ocelino 15. Donne impresteme el v(ost)ro burato 16. Bernardo non puol star 17. La barcha del mio amore 18. La man 19. La traditora la vol ch'io mora (incomplete) 20. Munaro in piva (incomplete) 21. Passo e mezo

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MUZIEKHANDEL SAUL B. GROEN

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22. La canella 23. Son quel duca de Milano 24. La torza: over tu te parti cor mio caro 25. A Comarina 26. La lumbarda 27. Salterello de roÿ 28. Todero. Over tuotene mamina 29. Cornetto 30. La franzoxina 31. El marchexe de Saultio 32. El torexam 33. La lodesana 34. De che le morta la mia signora 35. Cavalca caval baiardo 36. Balla le ocche 37. El pescador 38. Vegnando da bologna 39. Margaritum 40. Veni creator spiritus 41. Et exultavit spiritus meus 42-65. from I-Fn Magl.XIX.115 (c.1600-1620; 24 transcriptions of arias and dances): 42. La Violetta 43. Anime liete 44. La 3a rima 45. Pavaniglia: balletto spag(nolett)o 46. Amare Donna ch'è bella Nap(oletan)a 47. Gagliarda 48. Perchè t'en fuggi 49. La pis(an)a o calata 50. Il B(allo dell)a C(alata) 51. Era di Maggio 52. Aria di Santino (Garsi) daa Parma 53. Aria franzese 54. 3a Rima 55. Dalla porta d'Oriente 56. Corrente 57. La Monaca 58. O miei giorni fugaci 59. La Spagnoletta 60. Rom(anesc)a pos(t)a et semp(lic)e 61. Se li tuoi sguardi 62. (Passamezzo moderno) 63. Mentr' amor dentr' al mio petto: aria 64. Il cor che mi rubasti 65. Aria di sonetti 66-89. from I-Fn Magl.XIX.138 (c.1600-1620; transcriptions of 23 laudi, arias, dances): 66. Non sì belle son le stelle 67. Son fonti e fiumi 68. Pass' in mezo 69. (Pass'in mezo 2) 70. Pavana 71. (Pavana 2) 72. (Pavana 3)

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73. Mentre Gesu ti miro 74. Poi ch' l'humil capprata 75. Gesu Gesu de l'alma mia refugio 76. Ferito m'ha Giesu 77. Pavoniglia 78. (Canzona) 79. La Monaca 80. Lungo sta verde riva 81. La violetta ch'in su l'erbetta 82. Terza rima 83. Ruggiero 84. Spagnoletta 85. Gagliarda di Santino Garsi) da Parma 86. Gagliarda 87. Contadina 88. Ritornelli 89. Romanesca 90. M. Facoli: Passamezo di nome anticho (from GB-Lcm 2088 ) Classici Marchigiani 18th-c organ works from Le Marche

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vol. I ; ed. A. Jacolenna from mss. in the collection of the editor 1-4. L. Bottoni: 1. Preambulum, in d 2. Largo, in C 3. Pastorale, in C 4. Sonata: Larghetto, in C 5. P. Giovagnoni Bolognese: Andante, in D 6. S. Boselli: Sonata da organo, o cembalo per principianti, in G: Largo-Allegro 7. (N.) Bonanni or Bonari?: Allegretto, in G vol. II ; ed. P. Bizzarri from manuscripts in I-API 1-7. N. Bonanni: 1. Sonata per organo o cembalo: Allegro, in C 2. Sonata per organo col flauto in 8a solo "Chucchù": Andante, in F 3. Sonata: Andante / Allegretto, in G (by Bonanni?) 4. Sonata per organo (no. 90): Allegro, in G 5. Rondò: Andante, in A 6. Andante, in C 7. Sonata: Andante, in F 8. P. Morandi: Sonata I, in F: Allegro con spirito-Adagio, in Bb-Allegretto, in C 9. "G.M.": Pastorale del sig. M° G.M.: Andante, in G (1831?) Dal Clavicembalo al Pianoforte a Firenze facsimile editions; ed. U. Pineschi 1-6. G. Sborgi: "Sei sonate da cembalo...Opera prima", Firenze, c.1780 7-8. A. Magnelli: 2 "Sonate a cimbalo ad uso d'una dilettante" (ms. In I-MT Venturi coll.) 9. N. Moriani: "Sonata prima per cimbalo a piano-forte...da occolò Moriani", Firenze

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Die Italienische Orgelmusik am Anfang des Cinquecento

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ed. K. Jeppesen; volume II (vol. I contains text only) a) M.A. Cavazzoni: "Recerchari motetti canzoni. Libro primo", 1523: 1. Rercercare primo 2. Salve virgo 3. Recercare secondo 4. O stella maris 5. Perdone. moi. sie. folie. 6. Madame vous, aves, mon .cuor. 7. Plus. ne regres 8. Lautre. yor. per un matin. b) from the Castell'Arquato keyboard tablatures I-CARcc (fascicles I and II): 9. J. Fogliano: Ricercare, in g 10. J. Fogliano: Ricercare, in g 11. M.A. Cavazzoni: Ricercada 12. Jaches (Brumel): Ricercare 13. Julio Segni: Ricercare 14. J. Fogliano: Ricercare, in F 15. J. Fogliano: Ricercare, in F 16. Jaches (Brumel): Messa de la dominica

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Early Italian Organ Masters (arr. M.E. Bossi; bad edition) G.B. Bassani: Larghetto C.F. Pollarolo: Fugue, in d G. Frescobaldi: 3 toccatas and a canzon Palafuti: Elevazione, in D G.B. Martini: Adagio from 2nd sonata in D and 2 movements from 7th sonata in e G.B. Pescetti: Allegro from a sonata D. Zipoli: Elevazione anonymous: Aria da chiesa

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Eleven 18th-century Italian Organ Works ed. A. Sacchetti; Vox Humana, vol. 7 1. P. Anfossi: Capriccio d'organo, in a 2. F. Corbisiero: Legatura per organo, in g 3. C. Contumacci: Ligatura per organo, in g 4. F. Fenaroli: Trattenimento d'organo, in g 5. G. Furno: Apertura d'organo, i A 6. L. Leo: Trattenimento d'organo 7. N.V. Piccinni: Sinfonia a cembalo o sia organo, in Bb 8. G. Sigismondo: Sonata per organo, in D 9. A. Speranza: Trattenimento - Fugato per organo, in G 10. S. Valente: Divertimento per organo, in a 11. N. Zingarelli: Pastorale, in D Sources: I-Bl s.s. (10) I-Bsf FC.P.I.26 (7) I-Mc Noseda 10214 (11) I-Mc Noseda L,36-9 (5) I-Mc Noseda R,11-4 (9)

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I-Mc Noseda R,11-9 (3) I-Mc Noseda R,40-2 (4) I-Nc 33.1.1 (8) I-Nc 49.a2.14 (1, 2) I-PAc 34509, CA-I-10 (6)

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Fifteen Italian Organ pieces of the 17th- and 18th century (ed.E. Cominetti; no indication of sources) 1-6. Anonymous compositios from Como (from mss. in I-COd; all 6 are also available in kb.478: "Organo a Como nel Seicento"): 1. Toccata in ecco per l'elevazione 2. Introdutione del VIII. tuono 3. Toccata del I. tono 4. Toccata del II. tono 5. Toccata del III. tono 6. Ricercare 7. G. Carissimi: Toccata, in g 8. G.P. Colonna: Fugue 9. G. Carissimi: Toccatina, in Bb 10. A. Poglietti: Praeludium - Cadenza - Fuga primi toni 11. D. Scarlatti: Sonata in D K 287 12-13. G.A. Santelli: Andante, in g & Sonata, in C 14. anonymous (18th c.): Sonata, in g 15. D. Scarlatti: Sonata in G K 328

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Itinerari Italiani

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vol. I: Friuli nel Settecento ed. M. Rossi 1-6. B. Cordans: 1. Fuga, in a 2. Suonatina da farsi all'elevazione: Adagio, in g 3. Pezzo fugato, in C 4. Toccatina: Allegro assai, in C 5. Suonatina allegra: Allegro, in F 6a-p. (Preludio) & 15 Versetti 7-12. P.A. Pavona: 7. Pezzo fugato, in g 8. Fuga, in C 9. Allegro, in C 10. Pastorale, in F (by Pavona?) 11. Pastorale, in D 12. Pastorale: Andante, in F (1784) Sources: manuscripts in I-UDc vol. II: Lucca nel Settecento ed. E. Maggini and M. Rossi 1-10. anonymous pieces from manuscripts in I-Ls: 1. without title, in G 2. without title, in g 3. without title, in g 4. without title, in G 5. Elevazione: Adagio, in d

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6. without title, in c 7. Elevazione: Adagio, in e 8. Elevazione: Adagio, in a 9. Fuga, in g 10. Adagio ma non troppo, in E 11-13. F. Geminiani, from his: "The Second Collection of Pièces for the Harpsichord. Taken from different works of F. Geminiani. And adapted by Himself to that Instrument", London, printed for the author by mrs. Johnson (1762): 11. Per l'organo. Allegro, in D (after violin sonata op. 1, no. 4: mvt. 4) 12. Allegro moderato, in C (after op. 1, no. 1: 4th mvt.) 13. Allegro: Fuga per l'organo, in A (after violin sonata op. 1, no. 1: 2nd mvt.) ka.3010 volume III: Organo in Sicilia nel Settecento ed. F. Paradiso and M. Rossi Works by Paolo Altieri (1745-1820) from mss. in I-NT 1-13."Sonate brevi per cembalo ed organo adatte a principianti ed adulti", 1801 1. Andante, in C 2. Andante / Allegro, in F 3. Andante, in d 4. Andante, in Bb 5. Allegro, in C 6. Andante, in a 7. Con moto, in a 8. Allegretto, in C 9. Andante, in D 10. Allegretto, in Bb 11. Andantino, in f 12. Andantino, in c 13. Allegro assai, in D 14. "Sonata per organo" (1806): Allegretto, in D 15.-17 "Pastorali per organo, 1806": 15. Andante, in A 16. Andantino, in F 17. Andante, in Eb kb.499 volume IV: Organo in Lombardia nel Settecento ed. M. Rossi and G.N. Vessai from: "Libro di suonate d'organo di diversi autori ad uso di Giacomo Poffa da Cremona, l'anno 1743" (B-Bc 15138) 1. G.A. Fioroni: Sonata in A 2. O. Polaroli: Sonata in C terza maggiore 3. G. Gonelli: Sonata col flauto, in G 4. anonymous: Sonata in C terza maggiore 5. G. Gonelli: Soata in A terza minore 6. P. Chiarini: Sonata in F terza maggiore 7. G. Gonelli: Elevatione in C terza maggiore 8. A. Calamani: Sonata in F terza maggiore 9. S. Galli: Sonata in F terza maggiore 10. A. Rainone: Sonata in D terza maggiore 11. G. Carcani: Sonata a soggetto, in E kb.500 Volume V: Pastorale in Lombardia nel '700 ed. M. Rossi and G.N. Vessia from: "Libro di suonate d'organo di diversi autori ad uso di Giacomo Poffa da Cremona, l'anno 1743" (B-Bc 15138) 1. G. Aleotti: Pastorale, in G: largo

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2. G. Aleotti: Pastorale, in F 3. G. Aleotti: Pastorale, in G: largo 4. G. Carcani: Pastorale, in G 5. anonymous: Pastorale, in G 6. anonymous: Pastorale, in A 7. Narciso da Milano: (Pastorale), in G 8. G.D. Catenacci: Pastorale, in A: adagio assai-tempo di minuetto-allegretto 9. anonymous: Pastorale, in G: andantino volume VI: Versetti d'organo in terra Veneta ed. M. Rossi and G. Radole 45 versetti by: 1-2. D. Cimoso from I-TSsg (in: I-TSci) 3-18. G. Valerj from I-Pc 19-20. anonymous from I-TSsg 21-27. G. De Vit from I-UD 28-29. M. Andrizzi from I-TSsg 30-41. anonymous from I-TSsg 42-45. G. Pera from I-Vc fondo Giustinian volume VII: Trieste nell'Ottocento ed. G. Radole and M. Rossi works by C.G. Lickl and F.C. Lickle (19th century) volume VIII: L'Organo nelle Marche tra '700 e primo '800 ed. P. Peretti from manuscripts in I-AP 1-4. C.A. Cristiani: 1. Sonata in C: Andante spiritoso 2. Sonata in C: Allegro 3. Sonata in D: Adagio 4. Andante, in G 5-7. G.B. Mastini: 5. Sonata in C: (allegro) 6. Sonata in G: (largo) 7. Pastorale, in G: (moderato) 8-11. P. Ciaffoni: 8. Organo pieno: Allegro con brio, in D 9. Sonata, in F: Allegro vivace 10. Pastorale, in G: Andante comodo 11. Sonata, in D: Allegro con molto brio volume IX: G.B. Candotti (1809-1876) Volume X: L'Organo in Piemonte tra '700 e '800 ed. M. Rossi and G.N. Vessia 1-4. Q. Gasparini (from B-Bc ms. 15138): 1. Sonata, in F 2. Sonata, in C: Prestissimo 3. Sonata in C 4. Sonata, in G 5. B. Franzosini: Pastorale, in A: Larghetto-Ballo de' pastori (I-Mfd busta 133) 6. G. Cerruti (1803-1869) 7-9. G.M. Pelazza (1845 - ?) 10-11. G. Cagliero (1838-1926) volume XI: La Scuola Barocca Bolognese ed. M.G. Genesi 1. A. Banchieri: Ingresso di ripieno (from: "L'Organo suonarino")

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2. G.P. Colonna: Sonata quarta (from "Sonate da organo di aut. var", Bologna, c.1697) 3-10. G.A. Perti: 3. 7 Fughe tribus vocibus per organo o clavicembalo (autogr. I-Bc) 4. 2 Fughe a quattro voci (from I-Bc II.14) 5. Fuga in D (from G.B. Martini's "Saggio do contrappunto") 6. Elevazione, in e (from I-Bc) 7. Elevazione cromatica, in f (from I-Bc) 8. Aria spirituale, in C (from B-Bc) 9. 2 Versetti per organo (from a ms. treatise by G.B. Martini in I-Bc) 10. Pastorale, in G (from the oratorio "San Petronio preconizzato da Dio vescovo di Bologna")

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Keyboard music from 18th-century Cremona ed. F. Caporali with extensive introd. (in It.) on composers, esp. on Chiarini 1-2. A. Calamani: 1. Aria, in D 2. Sonata, in F 3-8. P. Chiarini: 3. Allegro con violoncello, cornetti e tromboncini in risposta, in Bb 4. Allegro, in Bb 5. Marsch per il cembalo, in D 6. Sinfonia, in D: Allegro-Andante spiccato, in d-Allegro (originally for strings and 2 horns) 7. Sonata, in F: Allegro 8. Sonata, in G: Allegro-Andante, in g-Minuetto 9-13. S. Galli: 9. Aria, in F (2/4) 10. Aria, in F (4/4) 11. Aria, in F (3/4) 12. Giga, in A 13. Sonata, in F Sources: B-Bc 15138: "Libro di suonate d'organo di diversi autori ad uso di G. Poffa da Cremona, l'anno 1743" (1, 2, 7-13) D-DS mus.ms. 1223/32 (5) GB-Lbl Add. 5595/I: ms. with 34 sonatas by Italian composers (4) I-BGc Fondo Mayr 356/23 (6) I-Nc 70 (3)

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La Scuola di Bologna 17th- to 19th-century organ music from Bologna; ed. A. Macinanti 1-4. A. Banchieri: 1. Riercata del primo tuono 2. Ricercata del secondo tuono 3. Seconda canzone Italiana 4. Seconda toccata del quinto tuono plagale 5. G. Vignali: Pastorale 6. G.B. Martini: Sonata in F (Introduzione-Allegro con flauti) 7. F. Bertocchi (19th century): Offertorium 8-9. B. Monari: 8. Vivace con flauti 9. Allegro con flauti

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8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

10. G.F. Modonesi: Sonata per l'offertorio 11-12. G.B. Predieri: 11. Sonata per l'offertorio in C 12. Sonata in f 13. G. Vignali: Elevazione 14. S. Mattei: Largo, in c 15. anonymous: Sonata in F Sources: I-Bc ms. CC 232 (8, 9, 15) I-Bc ms. HH 36 (6) I-Bc ms. KK 304: "Sonate del sig. Gabrielle Vignali" (5, 13) I-Bc ms. II 238/9 (10-12) I-Bl Bertocchi mss. X 106 (14) and Z 47 (7) 1611: A. Banchieri: "L'Organo Suonarino...op. 25", Venice, R. Amadino (1-4)

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Musiche Organistiche del Settecento Italiano ed. E. Cominetti 1. F. Pugliani: Sonata per organo pieno concertata con flautino in G 2. anonymous: Sonata in F: Non tanto largo-Allegro 3. C. Monza: Sonata per organo pieno in G 4. C. Monza: Sonata in A per organo e clavicembalo: Allegro (duet for organ and harpsichord) 5. F. Piazza: Sonata in F: Spiritoso 6. G. Piazza: Sonata per organo pieno: Allegro 7. G. Rotondi: Rondò in D: Allegro Sources: I-Mc: A 42-1-18 (2), A 42-31-19 (1), Q 28-19 (3), Q 28-20 (4), Q 29-16 (5), Q 29-21 (6) and 9-4-6 (7) Musiche per gli organi della Serenissima ed. M. Machella

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74 Venitian organ works from the 18th century by: Q. Gasparini, G. Pinz, A. Tinazzoli, A.G. Pamponi, F. Gasparini, G. Paolucci, B. Marcello, Vivaldi/ / anon, A. Vivaldi / J.Gruytters, G.B. Pescetti, D.P. Pavona, D. Alberti, A.Grazioli, B. Galuppi, G. Nebl, L. Meneghetti, B. Regona, P. Boemo (?), Bertoni and 35 pieces by anonymous composers this edition is temporarily out of print reprinting

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Nine 18th-century Italian Pastorales for Organ ed. A. Carideo 1. Toccata e pastorale (G.D.M. - 1705) 2. Sonata pastorale da organo del sigr. Benedetto Santi 3. Pastorale 4. F. Serra: Pastorale del 1768 in Roma 5. F. Serra?: 9 Versetti in pastorale 6. Pastorale: a tempo giusto 7. Pastorale per l'organo per il Santo Natale 8. Pastorale: andante-allegro 9. Pastorale: ad uso di Giuseppe Troncalli, roma Soruces: D-B mus.ms. 20745 (4-10) D-B mus.ms. Anon. 12 (3) D-B Landsberg 310/1 (2)

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

D-B Landsberg 310/3 (1)

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Organ Music from Bergamo and Passau "Orgelmusik an Europäischen Kathedralen", III; ed. E. Kraus 1. A. Scandello: Ich weiss mir ein festes gebautes Haus 2. P. Pontio: 15 Cadenzas in the 6 tones 3-5. P. Vinci: 3. Ricercar quinto 4. Ricercar ottava 5. Fa mi la mi sol la 6-11. G. Cavaccio: 6. Ricercar secondo à 4 7. Toccata prima à 4 detta la Licina 8. Ricercar primo à 3 9. Ricercar secondo à 3 10. Prima canzon francese à 4 11. Octavo canzon francese 12. G. Brignoli: Fuga, in C 13. P.A. Ziani: Capriccio, in C 14. G.B. Bassani: Sonata, in F 15-20. S. Mayr: 15. Trio, in Eb 16. Praeludium, in d 17. Praeludium, in D 18. Praeludium, in D 19. Praeludium, in Eb 20. Gran preludio, in g 21-23. F.A. Hugl: 21. Prelude et fugae quarti toni 22. Exercitium per ligaturas 23. Fuga, in C 24-26. P. Hofhaimer: 24. Ach edler Hort 25. Tröstlicher Lieb stets ich mich üb 26. Herzliebstes Bild Sources: I-BGi autograph by S. Mayr: "Essercizi per il maneggio meccanico ed intelletuale del pedale" (15) ms. in collection of the editor: "Fugae et canzones necnon toccatae diversae a gnrs. d. dis. authoribus quibusquam regularibus et approbatis pertinentes ad Carolum Joannem Ernestum Hertmann: Aulae-Musicum et p.t. principalis consilii aulici Passaviensis cancellistam 1733" (21-23) I-BGi autograph by S. Mayr: "12 Preludi per organo" (16-20) 1571: E.N. Ammerbach: "Orgel oder Instrument Tabualtur", Leipzig (1, 24-26) 1588: P. Ponzio: "Ragionamento di musica", Parma (2) 1591: P. Vinci: "Il secondo libro de motetti e ricercari a 3 voci", Venice (3-5) 1607: :B. Schmid jr: "Tabulatur Buch...", Strasbourg (12) 1626: G. Cavaccio: "Sudori musicali", Venice (6-11) c.1697: "Sonate da organo di varii autori" (13, 14)

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Organ Music from 18th-century Lucca ed. Duella

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

1-2. M. Bonuccelli: 2 Offertorios, in g 3. L. Bonuccelli: Offertorio, in e 4-10. P. Tomeoni: 4. Elevazione, in g 5. Offertorio, in C 6. Offertorio, in e 7. Offertorio, in G 8. Post Comunio, in D 9. Post Comunio, in G 10. Versetti per il secondo tono I-XI Source : manuscript from the archive of the Convento della Verna (1770)

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Organ Music from Pistoia ed. U. Pineschi 1-12. anonymous: 1-2. Per l'Offertorio II & Elevazione II (from: Messa de' morti) 3. Elevazione II (from: Messa in quinto tuono 4-5. Per l'Elevazione I & Elevazione II (from: Messa in sesto tuono) 6. Per l'Elevazione I (from: Messa del doppio) 7. Versetti 1. - 8. tono 8. Offertorio per organo 9-12. Offertorio - Elevazione - Postcommunio - Ite missa est (from: Messa piano per organo con registri a piacere) 13. G. Gherardeschi: Versetti concertati solenni: 1.tono: Andantino un poco adagio 2./3. tono: Allegretto; Adagio; Allegro; Allegretto vivace 4.tono: Allegro; Andante 5.tono: Organo aperto; Allegro; Allegro 6.tono: Tempo di marcia; Andantino 7.tono: Allegro; Andantino 8.tono: Allegretto; Andantino; Elafà: allegro giusto; Allegro giusto; Larghetto; Allegro moderato; Andantino per Benedizione, in Bb 14. G.P. Baldi: Sonata scritta per il grand'organo di S. Pietro di Pistoia con accompagnamento di corni, contrabbbasso e trombone ad libitum: Allegro in F Sources: I-Fn R.C. XXIII/13 and XXIII/14 (13) I-PS 181/2, 181/6, 181/21 and 181/26 (13) I-PS 226/8 (1-6) I-PS 330/2 (14) I-MTventuri 29 (8-12) I-MTventuri 31a (7)

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Organo a Como nel Seicento ed. M. Rossi 1. anonymous (F.S. Rusca?): (Sonata) in G 2-20. anonymous: 2. Toccata per l'organo del 1° tono 3. Toccata del 2° tono 4. Toccata del 3° tono: verso I-III 5. Toccata del 3° tono 6. Toccata di ripieno del 5° tono

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

7. Toccata in ecco per l'elevazione 8. Primo tuono e (3) Versetti 9. Versetti per il tuono I-III 10. Versetti per il III tuono I-II 11. Veretti per il IV tuono I-II 12. Versetti per il V tuono I-II 13. Versetti per il VI tuono I-III 14. (Versetto) (icomplete) 15. Introdutione dell' 8 tuono 16. (Ricercare), in D 17. (Intermezzo), in G 18. (Pastorale), in a 19. (Balletti I-IV 20. Gagliarda 21. M. de La Barre: Sarabanda 22. Pestalozzo?: Baletto e sua corrente 23-25. anonymous: 23. (Fugato), in D 24. (Ouverture) in D 25. Menuets I-VIII Sources: I-COd ADCo AA: 21 (2-6, 20), 30 (23-25), 42 (18), 55 (1), 62 (7-17, 19) I-COd ADCo V: 21 (21), 49 (22)

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Organum Italicum

critical ed. by A. Macinanti and F. Tasini

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Vol. I: Padua, Veneto, Lombardia; 15th to 17th century a) Scuola Padana 1. anonymous: Ave maris stella 2. J. Fogliano da Modena: Recerchada 3. G. Segni: Recerchare per mussica ficta in Sol per la via di G sol re ut 4. M.A. Cavazzoni: Recercada de maca in bologna 5. M.A. Cavazzoni: Madame vous aves mon cuor 6. G. Cavazzoni: Hymnus. Ave maris stella 7. G. Cavazzoni: Canzon sopra I le bel e bon 8. G. Cavazzoni: Recercar III 9. A. Banchieri: Canzon undecima. La organistina bella. In eccho 10. anonymous: Pastorale, in G: Largo / Adagio-Aria: allegro 11. anonymous: Pastorale, in G: Adagio 12. E. Pasquini: Canzon b) Scuola Veneta 13. A. Gabrieli: Intonazione del terzo tono 14. A. Gabrieli: Ricercare del terzo tuono 15. A. Gabrieli: Canzon deta Qui la dira Tabulata 16. G. Gabrieli: Toccata de secondo tuono 17. A. Padovano: Toccata del primo tono 18. C. Merulo: Ricercar del primo tono 19. C. Merulo: Toccata secunda - primo tuono c) Scuola Lombarda 20. V. Pellgrini: Canzon detta la L'Archangiola 21. G.P. Cima: La pace. Canzon IV 22. G.P. Cima: Fantasia VII

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

23. T. Merula: Sonata Cromatica Sources: I-Bc DD 54 (10-11) I-Bc DD 53 (23) I-CARc scatola 1, fasc. 2 (2-4) I-FZc ms. 117: the Faenza Codex (1) I-RAc ms. 545 (12) 1523: M.A. Cavazozni: "Recerchari motetti canzoni Libro primo", Venice , B. Vercelensis (5) 1543: G. Cavazzoni: "Intavolatura cioe recercari canzoni himni magnificati...libro primo", Venice, s.n. (6-8) 1567/1605: C. Merulo: "Ricercari d'intabolatura d'organo libro primo", Venice (18) 1598: C. Merulo: "Toccate d'intavolatura d'organo. Libro I", Roma (19) 1593: G. & A. Gabrieli: "Intonationi d'organo...Libro primo", Venice, A. Gardano (13) 1593: G. Diruta: "Il Transilvano", Venice (16) 1595: A. Gabrieli: "Ricercari...Libro secondo", Venice (14) 1596: A. Banchieri: "Canzoni alla francese a 4 voci per sonare", Venice (9) 1599: V. Pellegrini: "Canzoni de intavolatura d'organo", Venice (20) 1604: A. Padovano: "Toccate et ricercari d'organo", Venice, Gardano (17) 1605: A. Gabrieli: "Canzoni alla francese per sonar...Libro sesto & ultimo", Venice (15) 1606: G.P. Cima: "Partito de ricercari & canzoni alla frances", Milan (21-22) Vol. II: Tuscan, Roman and Southern Schools, 15th-17th c. 1. C. Malvezzi: Fuga secunda à 4 2. F. Bianciardi: Exultate Deo adjutori nostro à 4 3. G. De Macque: Capriccio sopra rè, fà mi sol 4. A. Valente: Sopra il Mi verso I-VI 5. A. Mayone: Recercar sopra Ave maris stella 6. G.M. Trabaci: Capriccio sopra la, fa, sol, la 7. G.M. Trabaci: Durezze et ligature 8. G. Strozzi: Toccata prima per cembali, & organi, con pedarole e senza 9. B. Storace: Passacagli sopra Fe fa ut per b 10. G.B. Fasolo: Benedictus et ellevatio 11. G.B. Fasolo: Girometta Fuga seconda 12. G. Frescobaldi: Toccata quarta 13. G. Frescobaldi: Capriccio fatto sopra la pastorale 14. G. Frescobaldi: Toccata terza per l'organo de sonarsi alla levatione 15. G. Frescobaldi: Magnificat primi toni 16. G. Frescobaldi: Canzon sesta detta la Pesenti 17. G. Frescobaldi: Capriccio IV sopra La, sol, fa, re, mi 18. M. Rossi: Settima toccata 19. B. Pasquini: Bergamasca 20. B. Pasquini: Partite di Bergamasca Sources: D-B Landsberg 215 (19, 20) GB-Lbl Add. 30491 (3) 1580: A. Valente: "Versi spirituali...Libro secondo", Naples, M. Cancer (4) 1603: Trabaci: "Ricercate, canzone franzese...Libro primo", Naples (6, 7) 1607: B. Schmid: "Tabulatur Buch", Strasbourg, L. Zetzner (1, 2) 1609: A. Mayone: "Secondo libro di diversi capricci per sonare", Naples (5) 1626: Frescobaldi: "Il primo libro di capricci", Venice (17) 1637: Frescobaldi: "Toccate d'intavolatura...Libro primo", Rome (12, 13) 1637: Frescobaldi: "Il secondo libro di toccate", Rome (14, 15) 1645: Fasolo: "Annuale...Opera ottava", Venice, A. Vincenti (10, 11) 1645: Frescobaldi: "Canzoni alla francese...Libro quarto", Venice (16)

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1657: M. Rossi: "Toccate e correnti d'intavolatura...", Rome (18) 1664: Storace: "Selva di varie compositioni d'intavolatura...", Venice (9) 1687: Strozzi: "Capricci da sonare cembali et organi..Opera 4a", Naples (8) Volume III: Northern Italy, 18th century a) Scuola Lombarda: 1. B. Franzosini: Pastorale in A: Larghetto / Ballo de' pastori / Primo tempo 2. C. Monza: Sonata in D: Allegro 3. G.B. Sammartini: Sonata in G (Allegro) 4. G.D. Catenacci: Organo pieno concertato con trombe: sonata XII, in F 5. G.D. Catenacci: 6 Versetti sopra la cantilena dell'inno Pange lingua 6. F.P. Ricci: Elevazione: Grave, in d 7. F.P. Ricci: Dialogue, in D & Rondò, in d 8. G.B. Serini: Fuga in E b) Scuola Veneta: 9. G. Valerj: Sonata X in Bb: Cantabile 10. G. Valerj: Sonata XII: Fuga, in g 11. F. Bertoni: Sonata in D: Allegro 12. B. Galuppi: Andante, in F 13. G.B. Pescetti: Sonata seconda, in G (Allegro) 14. B. Marcello: Suonata IV in g (Cantabile e largo) - (Allegro)-Vivace e presto-Giga 15. A. Vivaldi: Largo, in A ( = Preludio from violin sonata RV 758) 16. L. De Grassi: Fuga 1a per organo, in C 17. G. Carcani: Pastorale: adagio, in G 18. G.B. Platti: Adagio in Eb ( = 2nd movement from sonata op. 4, no. 8) c) Scuola Emiliana: 19. G. Corsini: Allegro in F 20. A. Corelli: Sonata V, in d (from trio sonata op. 1 no. 11): Grave-Allegro- fuga-AdagioAllegro (with figured bass) 21. M. de Leonardis: Toccata per organo, in d (1713) 22. P.G.G. Boni: Sonata sesta, in E: Largo assai-Largo, in c#-Spiritoso 23. I. Cirri: Sonata V in c: Andante-Allegro 24. G.B. Martini: Adagio in D (from sonata op. 2 no. 2) 25. G.B. Martini: Sonata II per organo, in g: Allegro-Adagio 26. G. Ridolfi: Concerto per organo senza strumenti, in D: (Allegro)-Andantino in Bb- Presto 27. anonymous: Elevazione, in g 28. anonymous: Post Comunio, in G 29. P. Morandi: Pastorale in D: Andantino maestoso 30. G. Vignali: Andante in C 31. G.B. Predieri: Largo in d (from a sonata for 2 harpsichords) d) Scuola Ligure: 32. A.M. Tasso: Sonata con flauti, in F Sources: GB-Lbl Add. 32161: "Toccate per cembalo di varij autori" (2, 3) I-Bc DD 54 (11, 12) I-Bc DD 186 (22) I-Bc HH 287 (27, 28) I-Bc KK 304 (30) I-Bc II 238 (31) I-Gl A.7b.63.cass. (32) I-LUi ms. s.s.: "Sonate per organo" by Morandi (29) I-Mfd busta 133: no. 4 (1) I-MOe Fondo Campori, pacco 2348 (21) I-PAp ms. s.s.: "Tre concerti per organo senza strumenti" (26)

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

I-Vc mss. s.s. (13, 15, 17) I-Vnm Fondo Canal It.IV, no. 960: 10 sonatas (14) I-Vnm: "Otto fughe per organo del maestro De Grassi" (16) 1742: G.B. Sammartini: "Sonate d'intavolatura per l'organo, op. 2", Amsterdam, Le Cène (24) c.1746: G.B. Platti: "Sei sonate per cembalo solo, op. 4", Nürnberg (18) 1747: G.B. Sammartini: "Sei sonate per l'organo (op. 3)", Bologna (25) 1756-1765: "Raccolta musicale...per il cembalo solo d'altretanti celebri compositori italiani...Op. 3" Nürnberg, J.U. Haffner (8) c.1763: Cirri: "Dodici sonate per l'organo, op. 1", London (23) 1785: G. Valerj: "Dodici sonate per organo...(op. 1)", Padova (9, 10) c.1785: Corelli: "Six sonatas opera 1mo, adapted for the organ....by Edward Miller", London, Longman & Broderip (20) c.1788: F.P. Ricci: "Méthode...pour le forte-piano ou clavecin", Paris (6, 7) 1792: G.D. Catenacci: "XII Sonate in organo pieno", Milan (4) 1794: G.D. Catenacci: "Raccolta di verestti ideali...", Milan (5)

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Pagine d'Organo del '700 Italiano ed. G.N. Vessia and F. Dorsi

13 Works from mss. in I-Mc, I-Bl and I-BRs (no further indications given by the editors): 1. anonymous: Largo in e 2-4. F. Feroci: 3 Versetti; Elevazione in D; Offertorio in F 5. G.A. Fioroni: Sonata ottava in D (ms. in I-BRs) 6. G.B. Martini: Andante in C (ms. in I-Bc) 7. C. Monza: Sonata in G 8. V. Palafuti: Elevazione (from I-PEsp) 9. F. Pugliani: Sonata in D (ms. in I-Mc) 10-11. P.G. Sandoni: Largo in d; Allemanda in d 12-13. G.A. Santelli: Ripieno in D; Preludio in c (ms. in I-Bl)

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Roman 17th-century Harpsichord Music from the Vatican Library ed. B. Johnsson 1. Corrente con variazioni, in d 2. Senza nome, in C 3. Corrente, in G 4. (G. Frescobaldi?): Corrente, in g 5. Corrente, in g 6. F. Fontana: Corrente, in g 7. G.B. Ferrini: Corrente, in e 8. Courante L'Avignon con double, in d 9. Sarabande con variazione, in d 10. G.B. Ferrini: Ballo di Mantoua, in a 11. Passacaglia sopra la mi, in E 12. B. Pasquini: Tastata arpeggiata longa, in c 13. G.B. Ferrini: Balletto, in e 14. G.B. Ferrini: Toccata per il cembalo, in d 15. Rotta, in d Sources: I-Rvat Barb.lat. 4288 (5) I-Rvat Chigi Q IV 24 (1, 2, 11) I-Rvat Chigi Q IV 28 (3)

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MUZIEKHANDEL SAUL B. GROEN

8 FERD BOLSTRAAT 1072 LJ AMSTERDAM TEL +31 (0)20-6762240 FAX +31 (0)20-6762240 E-MAIL: [email protected] INTERNET: WWW.SAULBGROEN.NL _______________

I-Rvat Chigi Q VIII 205 (4) I-Rvat Vat.mus. 569 (6-10, 12-15) Sette Sonate per Cembalo e Organo · "VII Sonate per cembalo e organo di diversi autori" Manuscript copy originating from one of those publishing firms (Florence?; end of the 18th century) which were dealing mostly in hand-written music; this ms. is now kept in the Muscia Antica Collection of G. Accardi (Rotterdam) 7 sonatas: 1. A. Botti: in D: Allegro con brio 2. G. Rigogli: in C: Allegro vivace; pieno 3. G. Rigogli: in F: Largo; principale e voce umana 4. G. Rigogli: in C: Andantino 5. G. Rigogli: in G: Pastorale: Largo-Allegro-Finale 6. N. Moriani: in G: Allegro; flauto 7. V. Ciullini: in F: Allegretto; flauto Edition: ° Facsimile of the manuscript Seventeenth-century Keyboard Music in the Chigi mss. of the Vatican Library ed. H.B. Lincoln Volume I 1. Ave maris stella (Nelle feste della Madonna) (I-Rvat Chigi Q IV 24) 2. Iste Confessor (Nelle feste de Confessori) (Q IV 24) 3. Kyrie delli Apostoli (Q IV 24) 4. Introito della messa del Doppio ciouè solenne se benli versetti contengono poche battute: Kyrie I/II/III/IV-Gloria in excelsis-Credo (Q IV 27) 5. Kyrie I/II/III/IV/V-Gloria de Santi Doppij (Q VIII206) 6. Recercare - Canzona (Q IV 24) 7. Recercare - Canzona (Q IV 24) 8. Recercare - Canzona (Q IV 24) 9. Recercare (Q IV 24) 10. (Fantasia) (Q IV 27) 11. Recercare (Q IV 29) 12. Recercare - Canzona (Q IV 29) 13. Recercare - Canzona (Q IV 29) 14. Fantasia (Q VIII 205) 15. Recercare (Q VIII 205) 16. Canzona D.Fr. (Q IV 24) 17. Fuga D.Fr. (Q IV 24) 18. Canzona Francese del terzo tuono (Q IV 27) 19. Canzona (Q IV 29) 20. Canzona (A VIII 205) kb.365b Volume II 21. Toccata sopra li pedali (Q IV 24) 22. (Toccata) (Q IV 24) 23. (Toccata) (Q IV 24) 24. Tocata di Gio. Batta ( = G.B. Ferrini?) (Q IV 24) 25. Tocchata (by Frescobaldi?) (Q IV 27) 26. Tocata (by Frescobaldi?) (Q IV 29) 27. Tocata (by Frescobaldi?( (Q IV 29)

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MUZIEKHANDEL SAUL B. GROEN

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28. Tocata per levatione (by Frescobaldi?) (Q IV 29) 29. Tocata (by Frescobaldi?) (Q IV 29) 30. Toccata (Q VIII 205) 31. Toccata (Q VIII 205) 32. Toccata (Q VIII 206) 33. Toc. breve (Q IV 27) 34. Balletto 2° (by Frescobaldi) (Q IV 24) 35. Balletto P.P. (Q IV 24) 36. Balletto (Q IV 28) 37. Corente del Baletto (by Frescobaldi; follows no. 34) (Q IV 24) 38. (Corrente) (Q IV 24) 39. Corente di Monsu della Bara (Q IV 24) 40. (Corrente) del Med.mo (Q IV 24) 41. Sarabanda del M° (Q IV 24) 42. Corrente (Q IV 26) 43. Corrente (Q IV 26) 44. Corrente (Q IV 27) 45. Corente (Q IV 28) 46. Corrente (Q IV 28) 47. Corrente (Q IV 28) 48. Corrente (by Frescobaldi?) (Q VIII 205) 49. Galiarda (Q IV 26) 50. Galiarda (Q IV 27) 51. (Gagliarda) (Q IV 27) 52. Galiarda (Q IV 28) 53. Ballo del gran Duca (Q VIII 205) 54. Saltarello (Q IV 28) 55. Spagnioletta (Q VIII 206) 56. Tenor di Napoli (Q VIII 206) 57. Pavaniglia (Q VIII 206) 58. Battaglia (Q IV 28) 59. Girometta (Q IV 28) 60. Lanturlara (Q IV 28) 61. O Gloria (Q IV 28) 62. La Piva (Q IV 28) Volume III kb.365c 63. Romanesca (in 3 parts with ritornelli) (Q IV 28) 64. Romanesca (in 6 parts) (Q VIII 205) 65. Romanesca (in 3 parts with ritornelli) (Q VIII 206) 66. (Ruggiero) (Q IV 24) 67. (Ruggiero) (Q IV 29) 68. Ruggiero (Q IV 29) 69. Ruggiero (Q VIII 205) 70. Ruggiero (Q VIII 205) 71. Ruggiero (Q VIII 205) 72. Ruggiero (Q VIII 205) 73. Passagalli (! IV 24) 74. Passagalli (Q IV 24) 75. Ciacona (Q IV 24) 76. Aria di Fiorenza (in 4 parts) (Q IV 26) 77. Aria di Fiorenza (with variation) (Q VIII 205) 78. Aria di Fiorenza (with 3 variations) (Q VIII 205) 79. Favorita (in 3 parts) (Q IV 28)

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80. La Moniche (in 3 parts) (Q IV 29) 81. (Dance with variations) (Q IV 24) 82. Twenty-nine untitles pieces from ms. Q IV 27 in various keys with similar bass line: in C-C-c-D-D-d-d-Eb-Eb-d-E-F-G-G-G-G-G-g-g-a-a-a-aA-Bb-Bb-Bb-b-b only available as off-print sheets Splendori del '700 Napoletano ed. M. Machella

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Volume I 1. G. Salvatore: Toccata, in a 2. A. Scarlatti: Toccata per studio, in F 3. F. Durante: Overtura per organo, in C 4. F. Durante: Toccata, in C 5-7. G.B. Pergolesi: 3 Organ sonatas in G-F-C 8. I. Fiorillo: Sonata-Fuga, in a 9. G. Insanguine: Sonata, in C 10. G. Sigismondo: Sonata in D Sources: manuscripts in I-Nc (1, 2, 4-7, 9, 10) and D-MÜp (3); early printed edition (8) Volume II 1. F. Durante: Sonata, in D: Partite-Giga-Giga 2. N. Porpora: Fuga, in G 3a-e. C. Cotumacci: 5 Sonatas: a. Allegro, in D b. Andante, in G c. in A, 3/4 d. in C, 4/4 e. in d, 4/4 4. G.B. Pergolesi: Sonata, in A 4/4 5. P. Guglielmi: Toccata: tempo giusto, in C 6. P. Guglielmi: Toccata: allegro, in C 7-10. G. Sborgi: 7. sonata I, in C: Andante-Rondò alla francese 8. Sonata II, in Eb: Allegro-Allegro 9. Sonata III, in A: Allegro 10. Minué, in A & 8 variazioni: allegro moderato Sources: I-Nc mss. 1327 (3a-e), 1889 (1), 2911 (5), 2913 (6), 6981 (4), 7507 (2), 9442 (7-10) Thirteen 18th-century Organ Sonatas from the Ospedaletto ed. J. Scarpa from manuscript in I-Vire 1-11. Anonymous pieces: 1. Tempest di mare, in c (Marcia) 2. Allegro, in C 3. Adagio, in C 4. Brillante, in Bb 5. Allegro, in C 6. Grave per organo, in G 7. Suonata per organo, in C 8. Marchia, in D 9. (Allegro), in F

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10. Adagio (con corni), in C 11. Sinfonia brillante, in D 12. G. Paisiello: Suonata per organo, in Bb: Andantino 13. maestro Moretti: Adagio, in Eb

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Two Collections of Versets ed. E. Bellotti a) "Intavolatura d'organo facilissima accommodata in versetti sopra gli otto tuoni ecclesiastici, con la quale si può giustamente risponder à Messe, à Salmi, & à tutto quello ch è necessario al Choro", Venice, Vincenti, 1598: 16 anonymous versets, 2 in each tone. b) 11 Versets from I-Bc ms. DD.53 ("Sonate d'autori diversi"; end 17th century) Appendix: from Diruta's "Il Transilvano": "breve & facile regola del contrapunto commune & osservato"; from Banchieri's "L'Organo Suonarino", 1605: Cadenze sugli 8 toni, and Sonata ottava in aria francese; from A. Poglietti's "Compendium oder kurtzer begriff, und Einführung zur Musica", 1676 (ms. in A-KR): "Explication der 12 Thon" Unbekannte Orgelmusik aus Italien aus dem 17. / 18. Jahrhundert; ed. H. Paulmichl; no sources indicated

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Volume I 1. A.G. Pampani: Toccata in D 2. G.B. Bassani: Präludium in F 3. A. Lucchesi: Rondo in C: allegro 4. G. Pera: Sonata in C 5. F. Gasparini: Sonata in d 6. B. Galuppi: Sonata in G: andantino-allegro 7. G.B. Pescetti: Sonata in C: con spirito-adagio-Tempo giusto-allegro moderato Volume II 1. A. Lucchesi: Sonata in F: allegretto 2. G.B. Cervellini: Sonata in F: allegro 3. P.G. Sandoni: Sonata in G: allegro 4. G. Tartini: Sonata in G: allegro 5. anonymous: Präludium in d 6. P.G. Sandoni: Sonata in C: andante 7. A. Lucchesi: Sonata in F: allegro 8. anonymous: Sonata in G 9. B. Galuppi: Sonata in Bb: allegro Volume III 1. G.B. Pescetti: Sonata in g 2. B. Marcello: Cantabile 3. B. Marcello: Sonata in G 4. B. Galuppi: Sonata in d 5. B. Galuppi: Sonata in g 6. F. Gasparini: Sonata in F 7. F. Gasparini: Sonata per l'Elevazione 8. L. Rossi: Toccata in C 9. B. Pasquini: Toccata in g Volume IV 1. B. Galuppi: Sonata in F 2. B. Galuppi: Andante in G 3. B. Galuppi: Andante in d 4. G.B. Pescetti: Sonata in c

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5. G.B. Pescetti: Sonata in G 6. anonymous: Sonata in C 7. G. Pera: Sonata in G 8. D. Cimarosa: Sonata in Bb 9. P.D. Paradisi: Toccata in A

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19,-Venetian harpsichord sonatas from I-Vlevi C.F.C.26 critical ed. V. dal Maso

1. B. Galuppi: Sonata in Bb: Andante-Presto 2. G. Jozzi: Sonata in Bb: Allegro moderato-Allegro assai 3. G. Bergamini: Sonata in F: Allegro moderato-Andante-Allegro 4. D. Alberti: Sonata in G op. 1, no. 1: Andante-Andante

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X. THE LOW COUNTRIES

The Netherlands & Belgium

a) Manuscripts:

B-Ac 17761 Gruytters Carillon Manuscript The Carillon Manuscript of Johan de Gruytters : "Andanten, marchen, gavotten, ariaen, giguen correnten, contre-dansen, allegros, preludies, menuetten, trios, &. &. voor den Beÿart ofte KlokSpil" (1746): 194 pieces, many after famous masters as: Corelli (giga), F. Couperin (La Bourbonnaise; Les Bergeries; Les Vendangeuses; sicilienne, 2 gigues), D. Raick (4 andantes; vivace; 2 menuets), Locatelli (menuets), H.-J. de Croes (14 menuets; 2 andantes; gigue), H. Renotte (andante), Lully (courante), W. de Fesch (2 menuets, gavotta con variatio), Fiocco (2 gavottes; l'Angloise), Vivaldi (violin concerto RV. 310), etc. Edition: ° Facsimile edition of the manuscript out of print out of print B-Ak "Beÿart 1728" "Beÿart 1728: carillon manuscript recently discovered by M. Halsted; 49 Christmas carols, probably compiled by Th. Everaerts for the Antwerp Cathedral Carillon where he played (1719-1739) Alphabetical list of titles: 1. Ach vind ick u hier in eenen stal 2. Ach wat hoor ick voor soet geklanck 3. Aensiet hoe Jesus schrijt 4. Aldersoetsten nacht 5. Al weent dit soete kindt 6. Ave Jesu magne 7. Comt naer den stal Messias is geboren 8. Comt verwondert u hier menschen 9. Coridon tis tijdt men gaet den peijs verkonden 10. Den salighmaecker is nu gebaert 11. Een kindeken is ons geboren 12. Engeltiens van boven 13. Festum diem hodie 14. Heden is ons een kindeken geboren 15. Herderkens en herderinnekens van Bethleem 16. Herderkens herderkens sa sa naer Bethleem 17. Herderkens hij is geboren 18. Herderkens laet u bockxkens en u scaepen 19. Herderkens wilt toch vrij binnen gaen 20. Herders comt al naer den stal 21. Herders hebt gij niet vernomen 22. Herders komt dit kintien soeken 23. Herders wilt wat stille staen 24. Her quamen drij koningen

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25. Hoort o menschen hoort dit wonder 26. Illibata ter beata Iesu natalita 27. In den stillen middernacht 28. Kintien soet wilt gij dan heden 29. Laet nu alle droefheijt vaeren 30. Laet ons gaen om te besoeken 31. Maeckt plaets o herderkens 32. Met desen nieuwe jare 33. Naer derthien droeve nachten 34. Noijt en wasser blijder nacht 35. O aldersoetsten nacht 36. O herders al soeten 37. O mijnen heer 38. O soete kint 39. O soeten nacht 40. O wonderijck mirakel 41. Plaudite gentes 42. Quam Mariam dulcibus ocellis 43. Saligh heijligh Bethleem 44. Sa vlijtigh naer den stal 45. Victoria victoria 46. Vrolijck vrolijck vrolijck lieve herderkens 47. Willekom kindeken 48. Willekom kindeken uijtverkoren 49. Willekom kintien soet. Edition: · nos. 1-49: ° Facsimile of the manuscript; transcriptions and study (NL / E): "Aspecten van de 18de-eeuwse beiaardkunst in de Nederlanden" by M. Halsted; ed. of 500 numbered copies B-Br III.1508 Organ book from the first half of the 18th century, originating from Brabant or Liège. Edition: ° Selection of pieces, ed. by S. Schoonbroodt: 1. Messe du 8me ton: Kyrie-Fugue légère-Récit-Duo-Dialogue (by Corrette)-Gloria-DuoTrio-Fond d'orgue-Basse de cromhorne-Dialogue de voix humaineDessus de tierce ou de petit cornet en vitesse-Récti de cromhorne-Dialogue 2. Suite in a: Prélude-Duo-Récit de nazard-Trio-Voix humaine-Grand jeu 3. Suite in C: Prélude-Duo-Cornet légèrement-Trio-Récit de nazard-Autre duo-Grand jeu 4. Suite in F: Prélude-Duo-Récit de tierce-Flûtes-Trio-Grand jeu 5. Suite in g: Prélude-Duo-Récit-Trio-Récit de cornet-Grand jeu 6. Suite in d: Prélude-Duo-Air louré en rondeau-Récit de flûtes-Trio-Basse et desseus de trompette ou de cornet-Grand jeu 7. Prélude 8. Te Deum 9. Noël: O dites nous Marie 10. Noël: Où s'en vont ces gais bergers D-B mus.ms. Lynar B 7 Six Psalm variations from Lynar B 7 ed. P. Dirksen

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Six anonymous psalm variations from the Lübbenau organ tablature Lynar B 7 (c.1620-1640) 1. Psalm 5 2. Psalm 24 3. Psalm 66 4. Psalm 100 5. Psalm 116 6. Erhalt uns, Herr, bei deinem Wort GB-Lbl Add. 29485 Susanna van Soldt Manuscript Collection of 33 keyboard pieces, signed with the date "1599" on the title page by Susanna van Soldt, daugther of the Antwerp Protestant refugee in London Hans van Soldt. This is the only source for Dutch keyboard music before Sweelinck. Alan Curtis suggests that it might have been written (in Holland of England?) by a Dutch music teacher; nos. 30-33 have been copied by a later, but nearly contemporary hand, who also added a table of notation, the fingering at the beginning of the first piece, and the Guidonian syllables to the lines and spaces of no. 20 as a pedagogical aid; is this second hand the one of Susanna's English music teacher? Contents: 1. Brande champanje, in G 2. Almande de symmerman, in G 3. Almande de La nonette, in g ( = the Queen's Alman) 4. De frans galliard, in g (also in the Thysius lutebook) 5. Galliarde quÿ passe, in g 6. Myn siele wylt den Herre met lof sanch prijsen, 103 sallem, in G 7. Als een hert gejaecht, den 42 sallem, in F 8. Myn God voet mij als myn herder ghepressen, 23 sallem, in g 9. Uut de diepte o Heere, 130 sallem, in D 10. Susanna uung jour, in g (after O. de Lassus) 11. Pavana Bassano, in F (after a consort piece by Augustine of Jerome Bassano?) 12. Galliarde Bassanni, in F (idem) 13. Almande Brun Smeedelyn, in d 14. Almande prynce, in g 15. Almande de amour, in d 16. Almande, in D (closely related to a branle a4 in E. du Tertre's 7th book of dances (1557) 17. Brabanschen gronden dans ofte Brand, in g 18. Ontfarmt U over mij arme sondaer, den 51 sallem / Ich bydde U helpt mij o God, den 69 sallem 19. Pavane dan Vers, in G (consisting of 2 unrelated pieces known as Turkeylony and Tintelore) 20. tobyas om sterven gheneghen, in d 21. Almande trycottee, in C 22. De quadre pavanne, in G 23. De quadre galliard, in G 24. Heer ich wil U uut 's herten gront, den 9 sallem, in D 25. Ghij volcheren des aertrijcx al, den 100 sallem, in a 26. Bewaert mij Heer weest doch myn toeverlaet, den 16 sallem, in C 27. Des boosdoenders will seer quat, den 36 sallem / Satet op Heer toont U onversacht, 68 sallem 28. Godt die der goden Heer is sprechen sal, den 50 sallem, in F 29. Ghij Herder Israels wylt hooren, den 80 sallem, in a 30. Preludium, in G 31. (untitled piece), in G 32. Allemande Loreyne, in G 33. Pavane Prymera, in F Edition: · nos. 1-33:

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° in: "Dutch keyboard music of the 16th and 17th centuries"; ed. A. Curtis; Monumenta Musica Neerlandica, III; containing all 33 pieces from the Susanna van Soldt manuscript (1599), 17 pieces from the Leningrad manuscript (1646), 6 secular pieces from the Camphuysen manuscript (mid-17th c.) and 26 pieces from the Gresse manuscript (1680s) NL-A Andriessen Keyboard book of Jeannette Elisabeth Andriessen (1805) ed. M. Prick van Wely in 2 vols. (vol. 2 has not been published) Volume I: 20 very elementary pieces, musically almost non valeur 1. Voorspel: moderato 2. Menuet / Trio: con moto 3. Studie: andante 4. Dans: allegro 5. Tambourin: moderato 6. Melodie: allegro 7. Oefening I: moderato 8. Oefening II: moderato 9. Thema met variaties: allegro 10. Vrolijke dans: vivo 11. Air: andante 12. Wals: moderato 13. Angloise: allegro molto 14. Air "Vive la fillette!": moderato 15. Air "La camisole courte" 16. Allemande: allegro moderato 17. Contredans: moderatn 18. Engelse contredans: gezwind 19. Walzer: moderato 20. La Perigordinne: allegro molto NL-At 208 A 4 The Anna Maria van Eyl Manuscript This manuscript, dated 1671, belonged to Anna Maria van Eyl from Arnhem, and was compiled by the organist Gisbert (van) Steenwick (her music teacher?). 1. G. Steenwick: Tricabijlie, in d & 3 variations 2. G. Steenwick: Puer natus in Bethleem, in G & 2 variations 3. G. Steenwick: More Palatino, in C & 3 variations 4. Allemand Tresoor, in C 5. G. Steenwick: Serband, in a & 8 variations 6. G. Steenwick: Allemand, in C & variation 7. Serband, in C & variation 8. Amarilles, in d & 2 variations 9. Air, in Bb & variation 10. G. Steenwick: La Grevelinde, in d & 2 variations 11. G. Steenwick: Heiligh, saligh Bethlehem, in g & 2 variations 12. La Princesse, in g & 3 variations 13. G. Steenwick: Serband, in d & 3 variations ("Mocht ick, ô Swaentjen") 14. G. Steenwick: Allemand, in d & variation 15. G. Berff: Ballet, in d & 2 variations 16. B. Broeckhuysen: Saraband, in d & 5 variations (var. 5 by G. Berff) 17. J.J. Froberger: Allemand, in e & variation (FbWV 623a)

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18. (J. Schop): Courante Schop, in d 19. H. Scheidemann: Ballett, in d & variation 20. G. Berff: La Princesse, in g & variation 21. Minuet, in G (from Lully's "Le bourgeois gentilhomme") 22. Air, in d 23. Air, in d 24. Petite bergere, in d 25. Bel Iris, in g (from Lully's "Ballet de l'Impatience", 1661) 26. La Gallardyse, in g 27. (Air), in g 28. De Maij (die komt ons bij), in G (melody also in Valerius: "Gedenckclanck", 1626) 29. (Air), in G (in D-Lr KN. 149 as saraband) 30. after J.J. Froberger: Saraband, in e (FbWV 623b) 31. J.C. Kerll: La Batal, in C (a section only) 32. Saraband, in d * variation 33. Aerdenburgh, in d Edition: · nos. 1-33: ° critical ed. by F. Noske (1959; rev. 1976); MMN 2 · nos. 17 and 30: ° see: J.J. Froberger (several editions) · no. 31: ° see: J.C. Kerll: no. 16 (several editions) NL-DEta P 1015 The Keyboard Book of Quirijn and Jacoba Elizabeth van Bambeek van Strijen (1752) Description of contents according to ed. R. Rasch: 1-3. C.F. Hurlebusch: 1. Sonatina in D: 3 movements from suite no. 1 of his Compositioni of 1732 2. Sonata in D; incomplete version of the printed sonata op. 5, no. 1 3. Sonata in F; incomplete version of the printed sonata op. 5, no. 3 4-10. Keyboard arrangements of odes from J.F.Gräfe's "Sammlung verschiedener und auserlesener Oden", 1737-1743: 4. Ariette: Etwas lieben und entbehren 5. Polonoise: Alles, alles nehm ich an 6. Ariette: Schönste, schmerzlich sind die Stunden 7. Scherzo: Komm, Doris, mein Verlangen 8. Larghetto: Auge, nehme grüne Zweige 9. Canzonetta: Wie selig ein frey Gemüthe 10. Cantabile: Lass Kummer, Schmerz und Trauren fahren 11. P.A. Locatelli: Minuet with 5 var. from sonata op. 2, no.10, originally for flute and bass 12. G.B. Pescetti: Tempo di minuetto 13. D. Alberti: Tempo giusto: minuet with 2 variations 14. F. Chelleri: Giga from sonata no. 1 in "Sonate di galanteria per il cembalo", c.1730 15. F. Chelleri: Allegro (not from his printed music) 16-17. J.A. Hasse: Allegro and Alla breve; neither from his printed set of 6 sonatas 18. F. Venturini: Allemande: keyboard transcription of the 2nd movement of sonata no.3 in his "Concerti di camera a4, 5, 6, 7, 8 e 9 instromenti", Amsterdam, Roger, 1716 19. G.F. Händel: Allegro HWV 574 from "Preludio et Allegro pour le clavecin", Amsterdam, Witvogel, 1732 20-22. Anonymous: three pieces, all unica: Allemande, in d; Courante, in d; Gavotta, in Bb

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Edition: · nos. 1-22 ° critical ed. by R. Rasch NL-DHgm 6 J 53 "12 Pièces pour orgue"; manuscript from the Southern Netherlands, c.1675-1700. 1. Prélude du quatriesme ton 2. (Basse de trompette et clairon ou du cromhorne du positif) 3. Pour jouer sur le cornet, un jeu doux pour la droite comensant bourdon et monstre 4. Prélude du cinquiesme ton 5. Un duo que jourez gayment au cor 6. Pour jouer sur la grosse tierce nazart, bourdon, monstre, flutte, doucement 7. (Basse de trompette et clairon ou cromhorne du positif) 8. Pour jouer par Echo 9. Pour jouer sur la voix humaine; jouer cette pièce gayement 10. Prélude du sixiesme ton 11. Duo 12. (Fugue grave) 13. (Basse de cromhorne du positif ou trojpette et clairon) Edition: · nos. 1-13: ° ed. J. Zoutendijk NL-Uim The Camphuysen Manuscript The Camphuysen Manuscript (priv. libr. of the late Hans Brandts Buys), mid-17th century, is almost entirely devoted to keyboard settings of tunes (by Gastoldi, Caccini, Dowland etc.) associated with the devotional poems in D.R. Camphuysen's "Stichtelycke Rymen" (1624). 1. De Mensch wiens Hert gelijck vruchtbaer aerd is 2. Wanneer het Hert 3. Een dorstig hert (ps.42) 4. Aij mij wat plagen 5. Daer en is niet in mijn Leven (ps.139) 6. Door eijgen liefdes 7. Ps. 8 8. Wel aen o alle vromen 9. Alleen niet 't kruijs van Godes Sone 10. Hoe ongelijcken lot 11. Aij mij wat plagen (cf. no. 4) 12. Wel aen o alle vromen (cf. no. 8) 13. Hoor na mij 14. De Soete Meeremin ( = intabulation of Gastoldi's: "Questa dolce sirena": balletto a5) 15. De Mens wiens Hert (more ornamented than no. 1) 16. Brabantse Dragonders Mars 17. Moetm. in alles sich verzaken 18. Gij die uyt 's werelts droom 19. Godt schiep den Mens vol eere 20. Een dorstig hert (cf. no. 3) 21. Godt schiep den Mens vol Eere (more ornamented than no. 19) 22. Psalm 74 23. De Mensch wiens Hert (cf. nos. 1 and 15)

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24. Blijtschap van mij vliedt 25. Wel aen o allen vroomen (cf. nos. 8 and 12) 26. Psalm 146 27. Bewaert mij Godt 28. De Engelsche Fortuijn 29. Hoe ongelijcken Lot 30. Daphne 31. Psalm 65 32. Psalm 116 33. Psalm 23 34. Psalm 100 35. Psalm 5 36. Psalm 8 Edition: · nos. 14, 16, 17, 28-30: ° in: "Dutch keyboard music of the 16th and 17th centuries"; ed. A. Curtis; Monumenta Musica Neerlandica, III; containing all 33 pieces from the Susanna van Soldt manuscript (1599), 17 pieces from the Leningrad manuscript (1646), 6 secular pieces from the Camphuysen manuscript (mid-17th c.) and 26 pieces from the Gresse manuscript (1680s) NL-Uim q-1 The Gresse Manuscript The Gresse Manuscript from the private library of the late Hans Brandts Buys; c.1680s/90s; Curtis assumes that the ms. belonged to Jb. Gresse or to one of his students. The 53 pieces have been copied by two hands; the first section is musically insignificant and its repertoire resembles that of the Broekhuijzen manuscript (1668/69); the second section has been compiled after 1677 and shows a wide sampling of 17th-century keyboard music. I. 1-15: 1. Bergamasko 2. Stockendans 3. Tricoté 4. La Bouré Dartus 5. Balet 6. La Moustarde 7. La Moustarde Reformé 8. La Grideliné 9. Le Minuette 10. Herders hij is geboren 11. O Herders alsoetjes 12. Welkom kindeken Jesu zoet 13. La Coquille 14. La Canari 15. La Lande II. 16-53: 16. Praeludium, in G 17. Almande J.S. , in G 18. Courante, in G 19. Sarabande, in G 20. Air: Dans un bois, in C (after Lully) 21. Almande, L.B., in d ( = by Leonard Beer?; or La Barre?) 22. Courante, in d (by Leonard Beer? or La Barre?) 23. Sarabande, in d (by Leonard Beer? or La Barre?)

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niet!

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24-27. in G: Almande-Courante-Sarabande-Jegg (by B. Sandley; printed in "Musick's Handmaide", London, J. Playford, 1663) 28. Menuets du Dauphin, in d 29. Alcide, in C (arr. of an aria from Lully's Alceste, 1674: Alcide est vainqueur) 30-34 in a: Praeludium-Almande-Courante-Sarabande-Jigg 35. Sarabande de la Royne, in g 36. Allemande, in D Jb. Gresse (by J. Gresse) 37. Les plaisirs, in d (arr. from Lully's Isis, 1677) 38. Aij mez profitez, in g (arr. from Lully's Isis, 1677) 39. Canzonna, in G 40. Que ces lieux, in g 41-43. Jb. Gresse, in d: Allemande-Courante-Sarabande 44. (no title), in g (arr. from Lully?) 45. Canzon, in a 46-48. J. Gresse, in d: Allemande-Courante-Sarabande 49. Preludium, in a (arr. of the opening section of toccata XX by J.J. Froberger) 50. Preludium, in a 51. Allemande Jb gresse, in A (by J. Gresse) 52. (no title), in C (different version of no. 16, copied in a different hand) 53. (untitled piece a2 in the style of a French overture), in C Editions: nos. 16-34, 36, 39-43, 45-48, 50, 51: ° in: "Dutch keyboard music of the 16th and 17th centuries"; ed. A. Curtis; Monumenta Musica Neerlandica, III; containing all 33 pieces from the Susanna van Soldt manuscript (1599), 17 pieces from the Leningrad manuscript (1646), 6 secular pieces from the Camphuysen manuscript (mid-17th c.) and 26 pieces from the Gresse manuscript (1680s) · nos. 24-27: ° see: Collections Great Britain: Prints 1663: "Musick's Hand-maide" RUS-SPan QN.204 The Leningrad Manuscript The Leningrad Manuscript (St. Petersburg, Nat. Ac., ms.QN.204), dated 1646. The provenance of the ms. ins unknown; the book originated in Germany, but its final section was compiled by a Dutchman. It is likely (also due to the very modest binding) that the book belonged to amateurs of the well-to-do bourgeoisie, possible Hanseatic merchants (it being now in a Russina library). Contents: 36 pieces divided in 3 sections: I. 1-17: German music in keyboard score: 1. Curant, in D 2. Saraband, in G 3. Ein Lied, in G 4-5. Sarb., in G 6. Curant, in a (by H. Scheidemann) 7. Ballet Jacob Fuckart, in G ( = same composer as in "'t Uitnement Kabinet, II"?) 8. Mascarada, in G (by H. Scheidemann) 9. Ach Ich armes Mägdlein klage, in G ( = G. Voigtlander: "Oden", 1642: no. 80; known in England as: "The Health"; similar keyboard setting in Anne Cromwell's virginal book) 10. Tantz, in C 11. Mascarada, in G ( = " Kits'Allemand"; in Germany: "Judentanz" or "Das gluck ganz wanckelmütig ist) 12. Sarb, in a ( = D-Lr KN 148: Witzendorff tablature: no. 58) 13. Tantz & Proporz, in D 14. Curant, in G ( = "Courante de Monsieur" or "La Chabotte")

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15-16. Curant, in G 17. Fantasia, in F (incomplete) II. 18-19. German music in tablature: 18. Fantasia ex G dur H.S.M. 19 February Anno 1650 (by H. Scheidemann; unique source) 19. Courant Frantz, in d & Variatio E.C.D. (by H. Scheidemann) III. 20-36. Dutch music in keyboard score: 20. Courante, in d 21. Echo, in a 22. Serbande, in d 23. Courante Serbande, in a 24. Droevige Princesse, in d 25. Ach Amerillis, in g 26. Courante Daphne, in d 27. Rosemont, in G 28. Hoe schoon licht ons d'morgen Steere, in F 29. Engels Voishe, in D 30. Courante, in d 31. Fantazia Mr. Jan Pijtters, in g (by J.Pz. Sweelinck) 32. Toccata, Mr. Jan Pijtters, in G (by J.Pz. Sweelinck) 33. Malle Sijmen, Mr. J.P., in d (by J.Pz. Sweelinck) 34. Pavana Hispania, in d 35. Wilhelmus, in G (the earliest preserved keyboar setting of the Dutch national anthem) 36. Ballet Bronckhorst, in g Editions: · nos. 8, 12, 19: ° see: Collections Germany: Manuscript D-Lr KN 148: Witzendorff Tablature: nos. 15, 58, 89 · nos. 6, 8, 18, 19: ° see: H. Scheidemann: Harpsichord Works: nos. 3, 10, 21, 30) · nos. 20-36: ° in: "Dutch keyboard music of the 16th and 17th centuries"; ed. A. Curtis; Monumenta Musica Neerlandica, III; containing all 33 pieces from the Susanna van Soldt manuscript (1599), 17 pieces from the Leningrad manuscript (1646), 6 secular pieces from the Camphuysen manuscript (mid-17th c.) and 26 pieces from the Gresse manuscript (1680s) · nos. 31-33: ° see: J.Pz. Sweelinck: Keyboard Works: nos. 272, 290, 323

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b) Early Prints:

1732-1733 3 "Recueils de Menuets" a) "Premier Recueil de menuets, marches et polonnaises avec la basse continue, en partiture pour servir aux clavesin au violon et à des autres instrumens...", Amsterdam, G.F. Witvogel, pl.no. 12 F. Geminiani: Menuet in D with 4 variations; 22 anonymous pieces: 15 menuets, 4 marches, 3 polonaises b) "Second recueil de menuets, marches et polonnaises avec la basse continue, en partiture pour servir aux clavesin au violon et à des autres instrumens...", Amsterdam, G.F. Witvogel, pl.no. 13 26 anonymous pieces: 20 menuets, 2 marches, 4 polonoises c) "Troisieme recueil de menuets, pour servir au clavesin avec la basse continue en partiture, et pour servir au violon, au flaute traversiere et a d'autres instruments. Composées par differents auteurs...", Amsterdam, G.F. Witvogel, pl.no. 22:

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54 anonymous menuets Edition: ° Facsimile of the 1732-1733 editions of Recueils I-III; introduction by J.H. van Krevelen 1756 Pieces Choisies · "Pieces Choisies pour le clavecin, avec un canon circulaire, composées par de celebres auteurs, Livre Premier", Amsterdam, J.J. Hummel (1756) 1. F.G. Michelet: Canon circulaire 2. J. Agrell: Allegro, in C 3. W.G. Enderle: Menuet altern., in D/d 4. F.G. Michelet: Murki, in Bb 5. J. Agrell: Allegro, in D 6. J.S. Bach: Menuet, in E from the 6th French suite BWV 817 (variant) 7. W.G. Enderle: Polonese altern., in C/a 8. anonynous: Arietta, in G 9. Forster: Allegro, in e 10. Hollefeldt: Menuet, in g 11. J. Agrell: Allegro, in F 12. F. Chelleri: Polonese altern., in c/Eb 13. F.G. Michelet: Menuet, in f Edition: ° Facsimile of the 1756 edition; introduction and solution of no. 1 by J.H. van Krevelen

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c) Modern Collections:

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Dutch Baroque Keyboard Music ed. G. Oost 1. J.W. Lustig: Fantaise in a, op. 1, no. 3 2. C.F. Hurlebusch: Sonata in G, op. 6, no. 3: Andante moderato-allegro assai-Adagio, in gVivace-Minuetto I / II, in g-Scherzo: presto 3. Q. van Blankenburg: Psalms 21, 24, 29 and 99 from: "Clavecimbel- en orgelboek der Gereformeerde Psalmen en Kerkgezangen", 1732 4. C.G. Geilfus: Suite, in d; compilation of movements from the sonatas op. 1 and sonatinas op. 2 (c.1735): Allegro-Menuet-Courante-Gavotte I / II, Aria I / IIAllegro 5. 3 Sets of variations transcribed from a Dutch barrel organ (built by D.N. Winckel in 1819, now in Utrecht): a. Willem van Nassau, in G (3 variations) b. God save the ing (4 variations) c. Menuet from Mozart's Don Giovanni (3 variations) 6. J. Lootens: Divertissement no. 2 in F: Maestoso-Menuet / Trio-Andantino con (6) variazioni 7. J.W. Lustig: Sonata in C, op. 1, no. 2: Fantaisie-Animé-Tendrement, in c-Promptement

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kb.285

Eight chorale settings for organ by Sweelinck and his school ed. P. Dirksen All 8 chorales com from D-B mus.ms. Lynar B 2:

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1-3. J.Pz. Sweelinck: 1. O God die onse Vader bist 2. Psalm 23 3. De Tien Geboden Gods 4-8. Anonymous (by Sweelinck pupils?): 4. Wie schön leuchtet der Morgenstern 5. Nun komm, der Heiden Heiland 6. Ach Gott, vom Himmel sieh' darein 7. Nun freut euch lieben Christen gemein 8. O Lux Beata Trinitas

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Harpsichord Music of the Southern Low Countries crit. ed. G. Spiessens & I. Cornelis; MFM 4; hardback with extensive intruduction (with English translation) Keyboard music from three manuscripts from the second half of the 17th century: I. The Arendonk Keyboard Book: (B-Aa fonds OGA Arendonk 4847) 1. Bergamasco - Alio modo 2. Corante vanden wijn 3. La botte Royal 4. Trecotte 5. La mostarde 6. La nouvou (!) Trecotte 7. Blyschap van mij vliet 8. O Coridon 9a-e. De X brandekens I - V 10. Geluckich is den mensch I 11. Van 2 Boerinnen 12. Edel Prince Cardinael 13. La Chason I 14. Geluckich is den mensch II 15. Amarillis 16. Maria schoon 17. Aldegondis 18. La Chason II 19. De sancta Adlegonde 20. Sarabande (with variation) 21. Courante Slapen gaen / Mesmes chanson 22. Lanckx de kanten vander sinnen 23. La Vignionne 24. (without title) 25. Orainge Courante 26. La bottelei 27. La pastorelle 28. Gramballe 29. O Jesu verum gaudium 30. Och liefste Lief 31. Courante Conde nouvelle 32. (without title) 33. Ich heb menich pint en can 34. Courante Princesse 35. La Duches

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36. (without title) 37. Den meij 38. Daphne 39. La Battaille 40. (without title) 41. Primi toni Delasolre - volspel 42. Fuga 2 43. (Fuga) 3 44. Fuga 4 45. (Fuga) 5. Volspel 46. Versus quarti toni - Volspel 47. Fuga II. Dimpna Isabella Reijnders Keyboard Book (B-Aa Fonds de Menten de Horne 729) 48. S. Bernardus & Variatie van 't voorgaende 49. Courante - Allegro 50. (without title) 51. Drij bouren 52. Allemande 53. Leijsem 54. (without title) 55. Ballet 56. (without title) 57. Bergamasken 58. Leijsem 59. Follie de Spagne & 7 variations 60-64. (5 pieces without titles) 65. Ciaconne & 2 variations 66-67. (2 pieces without titles) 68. Trompet 69. Trompet 70. De geeste(lijcke) Meij 71. Opera 72. De naervolgen(de) air 73. Rugedon 74. (without title). Het naervolgen(de) moet saemen met de voorgane(de) gespelt worden 75. Opera 76. Allemande La Chapel 77. Haut bois 78. Courante 79. Van den Mechelaers 80. Van den Clock 81. Battaglia. Eerst een trompet liedeken 82. Trompet air 83-91. (9 pieces withtout titles) 92. Leijsem 93-94. (2 pieces without titles) 95. La Bataglia de Duc d. Luxembourgh 96. De doot van den koninck van Engelandt 97. Daphne 98-99. (2 pieces without titles) 100. De Mars van de Topsche Dragonders 101. Sarabande

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102-104. (3 pieces without titles) 105. Preludium voor de liedekens voleijndende in dlasolre met bmol 106. Preludium voor de liedekens voleijndende in d met de suiten 107. Praeludium voor de liedekens voleijndende in g met bmol 108. Preludium voor de liedekens voleijndende in g sonder bmol 109. Praeludium voleijndende in c III. The Maria Therese Reijnders Keyboad Book B-Aa Fonds de Menten de Horne 748bis 110. Prelude 111. Sarabande 112. Fanfare 113. Minuet 114. Bourée 115. Ballet 116. Lof sij Joseph 117. Ider mach hem nu verblijden 118. La Bataille 119. Herders comt dit 120-121. (2 pieces withtout titles) 122. La Britannie 123. Allemande 124-125. (2 pieces without titles) 126. Menuet 127. (without title) 128. Menuet 129-131. (3 pieces without titles)

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Keyboard Works by Ch. Guillet, G. de Macque and C. Luython reprint of ed. Watelet / Piscaer (1938); MMB 4 1-12. Ch. Guillet: 12 Fantaisies dans les modes naturels 1. Première fantasie Mode dorien, autentique 2. Seconde fantasie Mode sous-dorien, plagal 3. Troisiesme fantasie Mode phrygien, autentique 4. Quatriesme fantasie Mode sous-phrygien, plagal 5. Cinquiesme fantasie Mode lydien, autentique 6. Sixiesme fantasie Mode sous-lydien, plagal 7. Septiesme fantasie Mode mixolydien, autentique 8. Huictiesme fantasie Mode sous-mixolydien, plagal 9. Neufiesme fantasie Mode ionien, autentique 10. Dixiesme fantasie Mode sous-ionien, plagal 11. Unziesme fantasie Mode eolien, autentique 12. Dousiesme fantasie Mode sous-eolien, plagale 21-33. G. de Macque: 13. Capriccio sopra re-fa-mi-sol 14. Partite sopra Ruggiero 15. Partite sopra Zefiro de Rinaldo 16. Capricietto 17. Canzon chiamata le due sorelle 18-19. Stravaganze I - II 20-21. Galiarda I - II 22-23. Canzona I - II 24. Toccata a modo di trombetta

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25-28. Canzona alla francese I - IV 29. Consonanze stravaganti 30. Durezze e ligature 31. Capriccio sopra un soggetto 32. Capriccio sopra tre soggetti 33. Canzona francese 34-42. Ch. Luython: 34-36. Fantasia I - III 37. Ricercar 38. Canzona 39-40. Ricercar I - II 41. Fuga suavissima 42. Fuga-Ricercare a4 (in open score) Sources: D-B mus.ms. 40316 (39, 40) W-Wm Codex XIV.714 (34-38) GB-Lbl Add. 30491 (13-24) I-Nc 34.528 (29-33) I-Pu 1982 (42)

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Nine 18th-century Organ Pieces from the Southern Low Countries ed. J. Zoutendijk 1. Trompet en cornet 2. Marche 3. Gavotte 4. Almande en suitte 5. (without title) 6. Aria Cornette 7. Fuga 8. Den geestelijcken Meij 9. Versus tusschen Te Deum Sources: B-Ac TCV 108.279 (1) B-Ac TCV 108.280 (7) B-Lu Van Elewyckfonds no. P 195-34 (2-5) B-Lu Di Martinellifonds P. 206 (9) B-L manuscript copy of the lost ms. of the Alexians at Leuven (8)

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Spanish Netherlands Keyboard Music, vol. I ed. R. Vendome 1. P. Philips: Veni Sancte Spiritus 2-5. P. Cornet: 2. Regina caeli 3. Fantasia 8i toni 4. Te Deum (incomplete) source: GB-Och mus. 89 Appendix: metrical realizaton the chant "Veni Sancte Spiritus"

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Variations on "Willem van Nassau" ed. P. van Reijen

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1. C.F. Ruppe: "8 Nieuwe Variatien voor het Forte-Piano op het Nederlands Volkslied Wilhelmus van Nassau..." (1814) 2. S.A. Hempenius: "Wilhelmus van Nassauen, air varié pour le piano" (Amsterdam, 1815)

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XI. POLAND

a) Manuscripts:

LT-Va F 15-284 The Oliva Organ Tablature Codex (c.1619) from the Oliva monastery, written by Jacobus Apfell, containing 329 compositions: 4 praeambula, 6 fugues, 5 canzonas, dances and strict intabulations of motets, mass movements, madrigals, chansons and Lieder by O. de Lassus, H.L. Hassler, Agazzari, G. Croce and Hakenberger. Editions: · Selected pieces, ° ed. Janca in 2 volumes: volume I: P. Drusinski: 2 Praeambula; Veni redemptor gentium; Resonet in laudibus; Deus in adiutorium meum intende Domine D. Cato: Canzona (C. Merulo): Fuga in F anonymous: Lemma; Fuga a4; Praeambulum ex F; Melos; Fantasia in G out of print out of print volume II: intabulations of vocal works by A. Gabrieli, G. Gabrieli, C. Antegnat, H.L. Hassler (Canzona) and anonymous dances out of print out of print PL-PE 304 - 308 and 308a The Pelplin Organ Tablatures PL-PE 304-308 and 308a: 6 volumes written in the 1620s and containing intabulations of 797 vocal works and 91 instrumental (ensemble) works. The supplement with organ works was copied 1650-1680 and contains 12 chorale settings by: H. Scheidemann: Allein zu dir; Ein feste Burg; Gott der Vater wohn uns bei; Jesus Christus , unser Heiland I - II E. Hintz: Allein zu dir N. Hasse: Allein Gott in der Höh sei Ehr; Jesus Christus, unser Heiland I - II; Komm, heiliger Geist F. Tunder: Christ lag in Todesbanden; Was kann uns kommen an für Not anoynmous: intabulation of J. Eccard's: Wer sein Vertrauen auf zeitlich Gut Editions: kb.556 ° Facsimile edition of all 6 tablatures; set of 6 volumes; AMIP 2-7 kb.325 ° Transcriptions of the 91 instrumental works; ed. H. Feicht kb.325a ° Transcriptions of the intabulations of the vocal works by A. Hakenberger; ed. J. Wecowski; see for list of titles under A-Z: A. Hackenberger kb.325b ° Transcriptions of the intabulations of the vocal works by P. Philips and M. Vulpius; ed. J. Golos and T. Maciejewksi PL-Wtm I/220 Organ Tablature of the Warsaw Musical Society "Leopolita Organ Tablature" Organ tablature written c.1580; photo copies at US-CA Isham Memorial Library; 75 liturgical compositions, most of them genuine organ music (so not intabulations of vocal models): 47 introits, 8 sequences, 12 pieces for the Mass ordinary and 8 magnifcats; plus 15 incomplete compositions.

kb.323

kb.324

750,- 150,- 185,- 189,--

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Only a few pieces are marked by initials: J.S. (Jakub Sowa?), M.L. (Marcin Leopolita?), M.W. (Marcin Wartecki?), C.C. (Krzysztof Klabon?). 1. Kirie surrexit Christus a morte eleison 2. Rorate 3. Celi enarrant 4. Kirie premum - Aliud Christe - Ultimum Kirie 5. J.S. (Sowa?): J.S. (without title) 6. (Resurrexi) 7. J.S. (Sowa?): Salve Regina mater misericordiae 2 Bassi 8. Mors et vita duello - Angelicos testes - (Credendum fallaci) 9. (without title) 10. (J.S.) (Sowa): Resurrexi et adhuc tecum sum 11. J.S. (Sowa?): Kirie paschale 12. C.C. (K. Klabon?): Aliud (Kirie) D.C.C.S.R.M. musici cap. mag. - Christe - Kirie ultimum 13. Aliud Kirie Paschale - Christe - (Kirie?) - Ultimum Kirie 14. Et in terra pax hominibus - Domine Deus 15. Lauda Sijon - (Laudis thema) - (Ecce panis) - (?) - (Tu qui cuncta scis) - (Caro cibus) - (Sub diversis speciebus) - (A sumente non concisus) - (Sumunt boni) - (Fracto demum) 16. Prosa de Resurrectione D.N.J.C. Victimae pasch. - Agnus redemit oves - Dic nobis Maria Tropus ad placitum - Credendum est magis - Finitur prosa Victimae 17. Resurrexi et adhuc tecum sum 18. Benedicta sit sancta Trinitas 19. M.W. (Wartecki?): Introitus de S. Cruce Nos autem gloriari oportet 20. Kirie Sollenne - Secundum Kirie - Christe - Kirie ultimum 21. Et in terra Sollenne - Dominus Deus 22. Sanctus Sollenne - Secundum Sanctus - Osanna 23. M.L. (Leopolita?): Spiritus domini replevit orbium terrarum - Gloria Patri 24. In die Sancti Stephanis introitus Et enim sederunt-Idem introitus alio modo - Versus Gloria Patri 25. In festo Sancti joannis Evangelistae introitus (In medio Ecclesiae) - Gloria Patri et Filio et S.S. 26. Idem introitus alio modo In medio Ecclesiae 27. Introitus Dominica intra octavum Nativitatis Domini Dum medium silentium tenerent omnia Versus Gloria Patri et Filio 28. Introitus in festo trium regum Ecce advenit dominator Dominus - Gloria Patri et Filio et S.S. 29. Introitus Laetare Hierusalem - Versus Gloria Patri et Filio et S.S. 30. Introitus infra octavam Epiphaniarum In excelso trono vidi sedere virum quem adorat multitudo Angelorum - Versus Gloria Patri et Filio et S.S. 31. Prosa Victime pascahli laudes immolent Christ. - Mors et vita duello conflixere - Gloria P. et F. 32. Introitus Resurrexi et adhuc sum tecum Alleluja - Angelicos testes sudarium eet vestes - Scimus Christum surexisse a mortuis vere 33. Prosa alio modo Victime paschali laudes - Mors et vita duello - Angelicos testes - Scimus Christum surrexisse 34. Feria 2a paschae Introduxit vos Dominus 35. Feria 3a post pascha Introitus Aqua Sapientiae 36. Dominica in albis Introitus Quasi modo geniti - Versus 37. Introitus Dominica 2a post Pascha Misericordiae Domini plena est terra - (Versus) 38. Dominica 3a post Pascham Introitus Jubilate Deo omnis terra 39. Introitus in die ascensionis Domini Viri Galilaei quid admiramini 40. In Die festo Pentecosten Introitus Spiritus Domini replevit orbem terrarum Alleluja - Gloria Patri 41. Prosa Veni Sancte Spiritus et emitte caelitus lucis - In labore requies - Sine tuo nomne, nihil est in homine - Flecte quod est - (Da virtutis) 42. Feria 2a pentecosten Introitus Cibavit eos ex apide frumenti 43. Feria 3a post Pentecostem Accipite iucunditatem 44. Benedicta sit Sancta Trinitas

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45. Lauda Sion salvatorem - Quem in sacra mensa - (In hac mensa) - Docti sacris - Quod non capis - Caro cibus sanguis potus - Sumit unus, sumunt mille - Mors est malis vita bonisNulla rei fit scissura - Tu qui cuncta scis et vales 46. De Apostolis Mihi autem nimis - Versus 47. Exclamaverunt ad te Domine 48. Statuit ei Dominus 49. Salve Sancta Parens 50. Me expectaverunt peccatores 51. Suscepimus Deus misericordiam tuam 52. Vultum tuum deprecabuntur 53. Protexisti me deus a conventu malignanti 54. Non autem gloriari oportet in cruce Dom. - Versus 55. De ventre matris meae 56. Nunc scio vere 57. Sapientiam sanctorum 58. Cognovi domine quia aequitas judicia tua 59. Illuxerunt corruscationes orbis terrae - (Versus) 60. Confessio et pulchritudo in conspectu ejus 61. Benedicite Dominum omnes Angeli ejus 62. Gaudeamus omnes in Domine diem festum celebrantes 63. Loquebar de testimoniis tuis in conspectu regum 64. Terribilis est locus iste 65. Rorate coeli de super et nubes pluant justum 66. Verbum caro fatum est Responsorium 67. Salve Regina misericoridae - Ad te clamamus - Eia ergo advocata nostra - O clemens 68. Magnificat octati toni 69. Magnificat septimi toni 70. Sexti toni Magnificat 71. Quinti toni Magnificat 72. Magnificat quarti toni 73. Magnificat tercij toni 74. Magnificat 2di toni 75. Magniricat primi toni Fragments: Christe; 2 Agnus Dei; 3 In die S. Laurentii (Confessio et pulchritudo); Veni Sancte Spiritus; O lux beatissima; (Introtius Puer natus); Gloria Patri; (Et enim sederunt); 4 fragments witout titles. Edition: · nos. 1-75 + fragments: ° ed. J. Golos; AMIO 15 US-CA Isham The Kraków Organ Tablature The Kraków Organ Tablature (c.1548); lost; photographic copy in the Isham Memorial Library at the Harvard University, US-Cambrdige. Contents according to ed. Golos / Moryto: 1-9. Praeambula: 1. Praeambulum magnum 2. Mikolaj z Krakowa: Praeambulm pro introductione pedum aplicationis 3. Mikolaj z Krakowa: Aliud Praeambulum 4. Aliud praeambulum super concordantias 5. Praeambulum in principes cantus faciendus 6. Aliud praeambulum

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7-9. (praeambula) 10-15. Fugues: 10-12. Fuga I-III 13-15. "Fuga Josquin" I-III 16-23. Mass movements: 16. Et in terra pax, 1548 17. "N.Z.": Kyrie eleison fons bonitatis 18. Cum sancto spiritu ex offio I - II (Josquin) 19. Mikolaj z Krakowa: Kyrie paschale 20. Benedictus 21. "N.Z.": Sanctus solemne 22. Aliud Sanctus 23-27. Introits and Sequences: 23. Infunde unctionem 24. "N.Z.": Ecce panis angelorum 25. Da pacem (L. Sweyzer) 26. "N.Z.": Gaudeamus 27. "N.Z.": Gloria eiusdem 28-38. Hymns and Antiphons: 28. "N.Z.": Tantum ergo sacramentum 29. Mikolaj z Krakowa: Sub tuum praesidium 30-31. "N.": Et valde mane una sabatorum 2 settings 32. Gaude Dei genetrix equalit 33. Salve Regina 34-35. Non vos relinquam orphanos 2 settings 36. "N.Z.": Crux fidelis 37. Ingresso Zacharie in templum Domini 38. Patris sapientia 39-54. Motets and Other Sacred Pieces: 39-40. Deus qui sedes 2 settings 41. Capellae Leonis papae 42. Quod dudum immensis ardet mea pectora 43. Mikolaj z Krakowa: Ortus de Polonia 44. Ortus 45. "N.Z.": Ortus 46. O sacrum misterium (Finck) 47. Melchisedech (Finck) 48. Quotidie eram apud vos 49-51. Vita in ligno moritur 3 settings 52. Dominus secundum actus nostros noli nos judicare 53. De Sancto Spiritu muteta 54. Surge Petre 55-62. Psalm settings: 55. Deus laudem meam ne taceuris 56. Beatus vir qui non abiit 57. Beati omnes qui timent Dominum 58. Credidi propter quod locutus 59. Benedictus Dominus qui docet manus meas 60. Domine non est exaltatum cor meum 61. Jubilate Deo omnis terra (Breitengasser) 62. Ecce quam bonum 63-66. Polish Songs: 63. Przesz thwe szwyete szmarthwywystanye

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64. Nas sbawyczyel Pan Bóg 65. Mikolaj z Krakowa: Nasz Sbawycyel 66. O Królachpolskich 67-74. Compositions of German origin: 67. Aus guthen gronth 68. Ich stund (an einem Morge) (L. Senfl) 69. "N.Z.": Christus iam surrexit 70. Trocz lychyer 71. Magistri pauli carmen 72. Josquin mith Ganczer 73. Eyn fest (Burg) isth unzer got 74. Ach ich nycht 75-78. Compositions of Italian Origin: 75. Per mio bente veder Italicum 76. Animosa meo desiderio 77. Fuge cor meum 78. Con lacrime sospir (Verdelot) 79. Belli franciae 80-94. Works of uncertain identity: 80. Miresone 81. Virgo decus mundi 82. Panis transpositus ad minorem tactum 83. Pulcherrima unde feta 84. Tribularer 85. Flecte manus / Secunda sequitur 86. Per merita sancti Adalberti 87. Oratio 88. Non est vestrum verbum nisi habet vitam 89. Quam dura arma cupidinis 90. Invocate nomen domini omnes gentes 91. Et universi pulveris 92. Nyewyem 93. Fladrasens 94. (without title) ° ed. in 2 volumes by J. Golos / Moryto: volume I: nos. 1-54 volume II: nos. 55-94

c) Modern Collections:

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Musica Antiqua Polonica: The Renaissance, IV: Keyboard Music ed. P. Pozniak e.a. 1. Mykolaj z Chrzanowa: Protexisti me Deus 2. M. Leopolita: Resurgente Christo Domino 3. M. Leopolita: Mihi autem 4. M. Wartecki (?): Nos autem gloriari oportet 5. Milolaj z Krakowa: Wesel sie, Polska Korona (Rejoice, o Polish crown) 6. anonymous: O królach poslkich (On Polish kings) 7-12. from the organ tablature of Johannes of Lublin: 7. Radem temu (I'm glad of that)

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8. Sluszna jest rzecz (It's right) 9. Wesól (Joyful) 10. Zalosc i radosc (Sorrow and joy) 11. Dziwny sposób (A strange way) 12. Mikolaj z Krakowa: Alec nade mna Wenus (Why, Venus above me) 13. anonymous: Per merita sancti Adalberti 14. N.Z. Cracoviensis ( = Mikolaj z Krakowa?): Ortus de Polonia 15. Jakub Sowa: Salve Regina 16. Mikolaj z Krakowa: Ave jerarchia 17. Mikolja z Krakowna: Ach, hilf mich leid 18. N.Z. Cracoviensis ( = Mikolaj z Krakowa?): Nasz Zbawiciel (Our Saviour) 19. Johannes of Lublin: Colenda 20. Sweryn Kón: Colenda 21. Mikolaj z Krakowa: Preambulum, in d 22. Mikolaj z Krakowa: Preambulum, in F 23. Diomedes Cato: Fuga, in d 24. Diomodes Cato: Fantasia, in a Sources: PL-Kp 1716: tablature of Johannes of Lublin (1, 5, 7-12, 16, 17, 19-22) PL-Tm XIV,13a:"Künstlich Tabulaturbuch" by Jan Fischer from Morag (23-24) P-Wn photocopy of lost organ tablature c.1548 from Krakow (6, 13, 14, 18) PL-Wtm: photocpies of lost organ tablature from Lowicz (4, 15) PL-WR: photocopy of a lost organ tablature, ms. II-107 (2) S-Uu 89: organ tablature (3) Organ Music from Polish Manuscripts ed. J. Golos and A. Sutykowski; CEKM 10

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Volume I: from the Pelplin organ tablature 1. Ewaldt: Allein zu dir Herr jesu Christ 2. N. Hasse: Allein Gott in der Höh sei Ehr 3. N. Hasse: Jesus Christus unser Heiland 4. N. Hasse: Komm Heiliger Geist Herre Gott (auf 2 Clav.) 5. N. Hasse: Jesus Christus (unser Heialnd; pro 3 Clav.) only available as off-print sheets Volume II: from the Pelplin organ tablature 6. H. Scheidemann: Ein feste Burg (this work is however by F. Tunder) 7. H. Scheidemann: Jesus Christus unser Heiland 8. H. Scheidemann: Allein zu dir Herr Jesu Christ, pro 2 Clav. (this work is also by F. Tunder) 9. F. Tunder: Was kan uns kommen an für Noth, 2 Clav. Ped. 10. F. Tunder: Christ lag in Todtes Banden only available as off-print sheets Volume III anonymous fantasias (1591) from Archiwum Wojewodzkie, Gdansk: ms. 300.R.Vv.123 by C. Schmiedeke? 11. Phanthasia primi toni 12. Alia phanthasia primi toni 13. Phanthasia secundi toni 14. Phanthasia tertii toni 15. Alia phanthasia toni tertii 16. Alia toni tertii phanthasia 17. Phanthasia quarti toni 18. Phanthasia quinti toni 19. Alia phanthasia quinti toni 20. Alia phanthasia quinti toni

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21. Phanthasia sexti toni 22. Alia phanthasia sexti toni 23. Alia phanthasia sexti toni 24. Phnathasia aliqua 25. Phanthasia septimi toni 26. Phanthasia octavi toni 27. Phanthasia octavi toni

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29,-Volume IV

28-30. from PL-Wtm I/220: 28. M. Wartecki: Kyrie sollenne 29. M. Wartecki: Et in terra sollenne 30. anon.: Magnificat octavi toni 31. D. Cato: Muteta Diomedis 32. D. Cato: Fuga Diomedis 33. J. Podbielski: Praeludium 34-46. anonymous (from the Oliva organ tablature): 34. Canzona 35. Canzona primi toni 36. Preludium primi toni 37. Fuga 38. Preludium 39. Fuga 40. Toccata 41. Preludium 42. Preludium 43. Canzona 44. Canzon A.Z. 45. Vesoli nam dzien nastal ( = "Joyous day") 46. Placz ze dzisiaj ( = "Weep today") 47. P. Zelechowski: Fantasia sopra primo tono

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Organ Music of the 16th to 18th Century from Gdansk ed. Kessler 1-40. Gdansk Organ Tablature (1591; PL-GDaop 300 R Vr.123; probably by C. Schmiedeke): 1-16. Fantasias I - XVI in toni I - VIII: 2-1-3-1-3-2-1-2; 1 aliqua) 17. Vater unser im Himmelreich 18-30. Intabulations: 18-19. Sandrin: Dulcis memoria; O combien aut sir 20-24. O. de Lassus: Susanna se videns; Margot labourez; Ardant amour; Veni in hortum meum; Deus in adiutorium 25. Donato: Allein nach dir 26-29. J. Clemens non Papa: Gott ist mein Licht; Je prens engré; Pater peccavi; Deus in adiutorium 30. J. Walter: Josef, lieber Josef mein 31. Ferrabosco: Io mi son giovinetta 32. J. De Latre: Donnes secours 33. J. Berchem: O sio potessi 34. G. de Wert: Speremus 35. J. Utendal: Hispanum ad coenam 36-40. anonymous: Lesses me; Gaudete filiae Jerusalem; Paduan Das Mägdlein; Bewahr mich Herr

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41. D.M. Gronau: Christ ist erstanden (chorale partita) 42-48. F.Chr. Mohrheim: Seven Organ trios (mss. in D-B): 1. Trio a 2 Clavier & Pedal, in G: (Allegro moderato) 2. Trio a 2 Clavier & Pedal, in G: Andante 3. Trio a 2 Clavier & Pedal, in Bb: (Alla breve) 3. Trio 4. Trio a 2 Clavier & Pedal, in A: (Allegro) 5. Trio "Eine feste Burg ist unser Gott" a 2 Clavier & Pedal, in C: Andante 6. Trio "Wer nur den lieben Gott lässt walten" a 2 Clavier & Pedal, in a 7. Trio "Jesu, der du meine Seele" a 2 Clavier & Pedal, in g: Adagio 49. P. Siefert: Benedicam Dominum (O. de Lassus) "Paul Sivert color." (same source as nos.1-40) 50. Th.A. Voclkmar: sonata no. 1 form: "7 Kirchen-Sonaten auff eine aus drey Clavieren und Pedal bestehende Orgel" (1717)

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The Polish Renaissance, vol. 7: Dances ed. P. Pozniak NB: all tablature pieces in staff notation only 1. Mikolaj of Cracow (c.1540): Bona calata organ 2. Nigdym temu wierzyc nie chcial (I would never believe it): passamezzo & saltarello lute 3. D. Cato: Passamezzo, in g lute 4. D. Cato: Galliarde I lute 5. J. Polak: Galliarde III lute 6. T. Hume: Duke John of Poland his galliard viola da gamba 7-10. J. Polak: 7. Volte VI lute 8. Courante I lute 9. Branle de Saint Nicolas lute 10. Sarabande lute 11-15. Mikolaj of Cracow: 11. Chorea - Szewczyk idzie po ulicy (The shoemaker is walking) organ 12. Szewczyk idzie po ulicy (The shoemaker is walking along the street) organ 13. Zaklulam sie tarniem (I've got pricked with a thorn) organ 14. Chorea ad novem saltus organ 15. Chorea super duos saltus organ 16. W. Dlugoraj: Polnischer Tanz lute 17. D. Cato: Tanz a3 18. D. Cato: Chorea polonica III lute 19-33. anonymous: 19. Poznania organ 20. Polnischer Tanz a4 21. Der polnische Tanz lute 22. Der polnische Tanz a4 23. Ein polnishcer Tanz, pator organ 24. Ein guter polnischer Tanz organ 25. Polnischer Tanz lute 26. Polnischer Tanz organ 27. Ein feiner polnischer Tanz organ 28-30. Ein ander polnischer Tanz organ 31. Ballo polacco lute 32. Polnischer Tanz zither 33. Danza polacca lute 34-36. V. Haussmann: Polnischer Tanz a5

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37. anonymous: Polnischer Tanz lute 38-39. C. Demantius: Der ander / Der vierte polnischer Tanz a6 40. anonymous: Polonaise Volte lute 41. Dlugoraj: Chorea polonica lute Sources: D-B mus.ms. 40034: Chr. Löffelholz organ tablature, 1585 (24) D-B mus.ms. 40089: Nörmiger's organ tablature, 1598 (26-30) D-Dl mus.ms. J. 307m: "Tabulatur Buch auf dem Instrument Christianus Herzogk zu Sachssen", end 16th c. (32) D-LEm II.6.15: Dlugoraj tablature (41) D-Mbs mus.ms. 1516: partbooks from c.1540 D-Usch 236: partbooks, after 1560 (22) D-W Cod.Guelf. 18.7-8 Aug 2°: Philip Hainhofer lute manuscript (16) DK-Kk Thott 841 4°: lute manuscript of P. Fabricius, 1605-8 (37) GB-Cfm mu 3-1956: lute tablature of lord Herbert of Cherbury (5, 7, 10) PL-Kj mus.ms. 40115: organ tablature "AF M B", 1593-97 (26) PL-Kp 1716: organ tablature of Jan of Lublin, c.1540 (1, 11-15, 19) S-Kkma Tyska kyrkan 32: manuscript supplement to printed partbooks (17) UA-LVu 1400/I: the Cracow lute tablature (2) 1544: H. Newsidler: "Das ander Buch", Nürnberg (21) 1583: E.N. Ammerbach: "Orgel oder Instrument Tabulaturbuch", Nürnberg (23) 1592: M. Waissel: "Lautenbuch", Frankfurt / Oder (25) 1599: G.A. Terzi: "Il secondo libro de intavolatura di liuto", Venice (31) 1603: J.B. Besard: "Thesaurus harmonicus", Köln (4, 8, 18) 1605: T. Hume: "The first part of ayres", London (6) 1608: V. Haussmann: "Ausszug auss...unterschiedlichen Wercken" (34-36) 1608: Chr. Demantius: "Conviviorum deliciae", Nürnberg (38, 39) 1615: G.L. Fuhrmann: "Testudo Gallo-Germanica", Nürnberg (3, 9, 40) 1890: O. Chilesotti: "Da un codice Lauten-Buch del Cinquecento", Leizpig: after a lost lute tablature from the end of the 16th century (33)

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XII. RUSSIA

Modern Collection:

Russian keyboard music, 1780-1820 ed. A. Lubimow in 2 volumes

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volume I 1. V.F. Trutowskij: 12 Variations on the song "Ein stattlicher, guter Jüngling war's", in G 2-4. D.S. Bortnyansky: 2. Sonata in C (1784): Allegro moderato-Adagio, in F-Rondo 3. Sonata in F (1784): Allegro 4. Sonata in Bb (1784): Allegro moderato sources: 1780: V.F. Trutowskij: (24) "Variatsii na (2) russkiye pesni", St. Petersburg (1) 1903: almanac "Musikalische Altertümer", vol. I, St. Petersburg (2) 1917: 2 sonatas by Bortnyansky, ed. Ukranian Publishing House (3-4) volume II 5. I.Y. Khandoshkin: 5 Variations on the song "Zum Flüsschen draussen geh ich hin", in d (1795) 6. anonymous: 7 Variations on the song "Als schönes Mädchen galt Katinka wohl im ganzen Dorf", in D (1796) 7. Peter Biron, prince de Courlande: Song with 9 variations, in c 8. C. de Licoschin: Polonaise, in a 9. Kayser (?): 5 Variations on the song "Schweigt still, ihr reinen Ströme", in g 10. L.S. Gurilyov: 18 Variations on the song "Was geschah dem Mädchen", in Eb sources: 1795: "Auswahlband für Musikliebhaber", J.D. Gerstenberg, St. Petersburg (5) 1796: "Auswahlband für Musikliebhaber", J.D. Gerstenberg, St. Petersburg (6) 1805: prince de Courlande: "Air russe varié pour le forte-paino. Seconde édition", St. Petersburg, Dalmaz, éditeur du Troubadour du Nord, Journal de Musique (7) n.d.: C. de Licoschin: "Six polonoises et six ecossaises...pour le piano-forte...", St Petersburg, F.A. Dittmar: no. 6 (8) 1815: Kayser: "Air Russe...avec variations pour le pianoforte", St. Petersburg, Paez (9) c.1810/15: Gurilyov: "Chanson Russe..variée pour le piano-forte", Moscow, C.F. Schildbach (10)

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XIII. SCANDINAVIA

Denmark & Sweden

a) Manuscripts:

D-Lr The Clausholm Fragments Fragments in German organ tablature (1638-9) of the following works: 1-4. J.R. Radeck: 1. Magnificat Dorii sivi primi toni 1638 2. Magnificat B. toni 3.Magnificat VII. toni 1639 4. Herr Christ, der einig Gotts Sohn 5-10. Jacob Praetorius: Magnificat-settings in tone I, II / VIII, III, IV, VI and VIII 11-12. H. Scheidemann: intabulations of 2 motets: Benedicam Dominum (Lasso) & Dic nobis Maria (G. Bassano) 13-...anonymous works Edition: ° ed. Glahn / Sörensen S-VIl H 3 The Visby Organ Tablature see section V: Germany S-Uu imhs 408 The Tablature of Anders von Düben This collection, started in 1641, contains 21 compositions; those marked by * are unica: 1. J. Dowland, set by P. Siefert: Pavan La mia Barbara 2. *Galliarda & variations, in d 3. J. Bull: Pavan, in a (ed. Dart / Steele: no. 88a) B.1276 4. J. Bull: Galliard, in d (ed. Dart / Steele: no. 73) B.1225 5. Th. Tomkins, set by P. Philips: Pavana Anglica for consort a5 B.2023a 6-7. P. Philips: Paduana Dolorsa & Galliard Dolorosa B.2024 and B.2017 8-9. P. Philips: Pavana & Galliard Scharlabaget ( = Paget) B.2025 and B.2015 10-11. W. Byrd: Paduana & Galliarda Sir William Petre (ed. Browne: 3a-b) B.1460 and B.1368 12. Pavana Hispanica with 7 variations: nos.1, 4, 6, 7 by Sweelinck, nos. 2, 3, 5 by S. Scheidt 13. J. Dowland, set by M. Schildt: Pavan Lachrymae (see also: Voigländer tablature) 14. J.J. Froberger: Toccata, in G (ed. Adler: vol. III: no.14) 15. *F. Anerio, set by?: Mio cor se vera sei salamandra (originally madrigal from "De floridi virtuosi d'Italia madrigali a 5 voci...", Antwerpen, 1600 16. H. Scheidemann: Praeambulum, in d 17. *A. Striggio, set by?: Nasce la pena mia (orig. madrigal from his first book of madrigals, 1560 18. J.J. Froberger: Ricercare, in G (ed. Adler: vol. III: no.7) 19. *G. (Frescobaldi?): Prelude, in g 20. G. Frescobaldi: Canzona, in g 21. *anonymous: Dixit Dominus (with pedal part; incomplete)

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Edition: see also under names of composers · nos. 1-21: ° critical ed. J. Irving; with concordances

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c) Modern Collections:

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A Collection of Swedish harpsichord sonatas from the 18th century Facsimile editions; introduction by E. Nordenfelt-Åberg 1. J. Agrell: Sonata no.4 in e: Allegro-Affettuoso-Allegro-Menuetto / Trio from: "Sei soante per il cembalo", London, Walsh (c.1748) 2. J. Agrell: Sonata no.5 in A: Allegro-Presto-Andante-Mineutto I /I I) from: "A Collection of lessons for the harpsichord...Book II", London, Walsh, c.1762 3. H.Ph. Johnsen: Sonata no.5 in a: Allegro assai-Adagio-Poco presto from: "Oeuvres mêlées contenant VI sonates pour le clavecin d'autant de plus célèbres compositeurs...Partie III", Nürnberg, J.U. Haffner, 1757 4. F. Chelleri: Sonata no.1 in g: Entrée-Corente-Giga-Minue I / II from: "Sonate di Galanteria", Kassel 5. J.H. Roman: Sonata (suite) in D: Lento-Carillon: allegro-Non troppo adagio-AllegrettoPresto-Villanella; no.4 from the manuscript at S-Skma 6. F. Uttini: Sonata no.4 in A: Allegro-Grazioso-Fuga-Rondeau: allegro form: "6 Sonates pour le clavessin", Stockholm, 1764

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Keyboard music from the Voigtländer Tablature ed. H. Glahn 6 Works from the manuscript supplement to Voigtländer's "Oden und Lieder", Copenhagen, 1642 in the copy in DK-Kk: 1. M. Schildt: Gleichwie das Feur 2. M. Schildt: Paduana lachrymae 3. H. Scheidemann: Englischer Mascarada oder Judentanz 4. J.R. Radeck: Courant. Saraband ex A 5. J.R. Radeck: Englische Mascharada ex G 6. anonymous: Frantzöasisches Liedlein ex G

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XIV. SLOVAKIA

a) Manuscripts:

SK-BRa s.s. The Leutschau Organ Tablature The Leutschau organ tablature (1676): 141 anonymous pieces (the initials "S M" indicate probably Samuel Marckfelner who was organist at Leutschau = Lecova, in Slovakia). Edition: ° Selection of 85 dances and chorales; ed. R. Schächer after ed. Burlas / Fiser / Horejs (1954) now out of print; the many printing errors of this ed. have been emended here; the tablature is now in the library of the Slovakian Academy of Sciences, Bratislava). The nos. of the piececs are those in the 1954 edition: 1. Christ ist erstanden von des Todesbanden 2. Erstanden ist der Heilige Christ 3. Current 4. Christo dem Osterlem 5. Heutt triumphiret Gottes Sohn 7. Jesus Christus unser Heiland 8. Aria 9. Volta 10. Galiard 11. Christus ist erstanden hatt überwonden 13. Chorea pollonica nova 14. Lilia mia cor mio 15. Variatio 16. Sarabanda 17. Saltus Styriacus 18. Moresca 20. Treza 21. Tagweis 22. Curranta drauf 23. Chorea Hungarica 24. Proportio 28. Balleth 29. Sarabande 30. Semitta 31. Serenada 32. Sarabande 33. Chorea pollonica 34. Aria 37. Balleth 38. Allemanda 40. Gavotte 42. Der Tag bricht an und zeiget sich 32. Aus meines Hertzen Grunde 44. Wie schön leüchtet der Morgenstern

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45. Danck sey Gott in der Höhe 46. Die Nacht ist kommen 47. Spiritus Sancti gratia 48. Nun bitten wir den Heiligen Geist 49. Allein Gott in der Höh sey Ehr 51. Du Frieden Fürst Herr Jesu Christ 52. Herr Jesu Christ du höchstes Gutt 53. Lobet Gott unsern Herren 54. Herr straff nicht in deinem Zorn 55. Jesu meine Freude 56. Saltirella 59. Herr Gott nun sey gepreyset 60. O Traurigkeit 61. Ach was soll ich Sünder machen 62. Chorea pollonica 64. Kompt her zu mir spricht Gottes Sohn 65. Allemanda 66. Currante 67. Sarabanda 69. Ach Gott und Herr 70. Intrada 71. Chorea ex A 72. Chorea ex B 73. Chorea ex C 74. Chorea ex D 75. Chorea ex E 76. Chorea ex F 77. Chorea ex G 78. Chorea ex # 79. Scientia ex nihilo 81. Saltirelle 82. Chorea Kozacky 83. Chorea Mp. Stanislawa Lubomierskego starosty Spikego 84. Bufonata 85. Grand Ballo 86. Sarabande 87. Ballo 88. Peccunia Marscupio 89. Intrada 90. Appetitus Kalb fleisch 91. Praeambulum 92. Fuga saltatoria 94. Gaudium 99. Amor 105. Ballo 109. Ballo 113. Ballo 117. Ballo 126. Ballo 130. Ballo 140. Ballo NB: 51 dances in this collection were taken from J.C. Horn's collection of ensemble suites "Parergon Musicum oder Musicalisches Neben-Werck", Erfurt, 1663 etc (in this selection the nos. 38, 65,

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66, 67, 79, 81, 84-90, 92, 94, 99, 105, 109, 113, 117, 126, 130, 140) SK-KE Keyboard music from Kezmarok ed. Schächer Keyboard music from Kezmarok, Slovakia from several manuscripts in SK-KE: a) from: "Musical. Büchl, vorinnen verschiedene sovohl Galanterie als auch andere Stücke, wie auch Arien zu finden, Johann Schnur, Stad Musicum Anno 1756": 1. Menuet, in C (no.1) 2. Menuet, in D (no.4) 3. Galantri, in C (no.5) 4. Aria en polonaise, in C (no.12) 5. Tanzaria, in F (no.17) 6. Menuett, in F (no.18) 7. Polonoise, in F (no.20) 8. Polonoise, in d (no.21) 9. Aria, in F (no.22) 10. Polonoise, in G (no.23) 11. Polonoise ex b (no.24) 12. Menuet, in C (no.29) 13. Menuet, in G (no.30) b) from: "Notenbuch des Johannes Marcus, Anno 1788": 14. Menuett, in C 15. Menuetto, in C 16. Menuett, in C 17. Polonese, in C 18-20. Menuett, in C 21. Menuett, in a 22. Menuetto, in F 23. Menuett, in G 24. Contra Dancz, in C 25. Rondeau, in G 26. Menuett / Trio, in C 27. Aria: Dir fliehet fort, in a 30. Menuett, in G 31-33. Allegro, in C 34. Variazioni: Tempo di menuett, in Eb c) 35. Samuelis Loysch: Sonata in G (1790): Andante-Allegro-Allegro d) from: "Notenbuch der Anna Susanna Ballzerin, Anno 1795": 36. Aria, in D 37. Murki, in C 38. Murki, in F 39. Menuet / trio, in Bb 40. Aria, in F 41. March, in D 42. Rebelle, in F 43. Polonoise, in F e) F.W. Wagner (1815-1887): from "Beispielsammlung zur Theorie des einfachen Contrapunctes, der Imitation, Inversion, der einfachen Fugen, des doppelten Contrapunctes, der Doppelfuge und des Canons": Orgelfuge à quattro all ottava in D; Fuga in d im Contrapunkt der decima; Fuga alla decima in G; Orgelfuge alla decima in Bb

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c) Modern Collections:

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Organ music in Slovakia in the 17th and 18th centuries ed. L. Kacic 1. Matka Rozkossna from: H-Bn mus.ms. Bártfa 27), published here in the transcription of Terrayová and Rybaric and the realisation of Rusó; the bare text is supplied on a separate sheet. 2-8. S. Marckfelner (from his organ tablature SK-BRa s.s.): 2. Fuga 6. Thoni 3. Praeludium ex A 4. Praeludium ex C 5. Fuga, in F 6. Praeludium, in G 7. Aliud (praeludium, in G) 8. Aliud (praeludium, in F) 9. J. Zarewutius: Benedicamus Dominicale (from H-Bn mus.ms Bártfa 31) 10-14. Ján Francisci (from: H-Bn mus.ms. Bártfa 31): 10. Praelude ex C duro 11. Praelude ex Dis 12. Praelude ex D 13. Praelude ex D moll 14. (Praelude) ex D duro 15-24. P. Roskovsky: 15-22. 8 Fugae super Ite missa est, secundum missale fratrum minorum S. Francisci Provinciae S. Mariae Hungariae (from H-Bn ms.mus. 749: autograph: "Musaeum Pantaleonianum") 23. Fuga finaliter cum coronaliter (1773; from the same ms.) 24. Praelude (1769; from SK-BRn mus. VII-233) 25-26. F.P. Rigler: 2 Sonatas: Allegro moderato in C & Poco allegro, in f from: "Anleitung zum Gesange und dem Klaviere, oder de Orgel zu spielen", 1798 27. A. Zimmermann: Preludio in G (from SK-Mms D-IV-64) 28. K.S. von Seidel: Pastorella in D# vor dem ersten Seegen, zum Metten Amt, in der Heil. Christnacht (from photographs of the lost manuscript)

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XV. SWITZERLAND

Manuscripts:

CH-Bu F.IX.22 and F.IX.58 Hans Kotter Tablatures · The Organ Tablatures from the possession of the Basel humanist Bonifacius Amerbach, written mainly by Hans Kotter; c.1513-1517 F.IX.22: 1. Tirstitia vestra (H. Isaac) 2. In pace in idipsum (H. Isaac) 3. Nil nest plasier (H. Isaac) 4. Was ich durch gluck (P. Hofhaimer) 5. Graciensi plaisat (H. Isaac: Gracieuse plaisante) 6. H. Kotter: Harmonia in sol 7. Betreubt ist mir min hercz (N. Craen?) 8. Min aings A (P. Hofhaimer) 9. Si dedero (H. Isaac) 10. Fortuna in mi I (H. Isaac) 11. Fortuna dum grand tiempo (Josquin) 12. Die zit nimpt (Schonlief) (J. Barbireau) 13. Ein frölich wesen (H. Isaac) 14. In minen sinn (H. Isaac) 15. Tandernak uf dem Rin lag (P. Hofhaimer) 16. La Martinella (J. Martini) 17. Benedictus (H. Isaac) 18. La morra (H. Isaac) 19. Si dormiero (H. Isaac) 20. H. Kotter: Fantasia in ut 21. Adiu mes amors (Josquin) 22. Ade mit leid (P. Hofhaimer) 23. H. Kotter: Spanieler 24. Fortuna in mi II (H. Isaac) 25. Tota pulchra es (A. Agricola) 26. H. Kotter: Prooemium in re 2-31. H. Kotter: Salve regina / Ad te clamamus / Eia ergo / O clemens / O dulcis Maria 32. H. Kotter: Preludium in la 33. H. Kotter: Anabole in fa 34. H. Kotter: Preambulum in fa 35. H. Kotter: Proemium in re 36. H. Kotter: Preludium in fa 37. H. Kotter: Preambulum in sol 38. Tancz der schwarcz knab (J. Weck) 39. Der Hopp tancz (J. Weck) 40. H. Kotter: Carmen in sol 41. Pleni 42. Zucht, eer und lob (P. Hofhaimer)

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43. Kan ich kein freid (S. Dietrich) 44. H. Buchner: Dantz moss. Benczenauher 45. (H. Buchner): Expecta ung pauco I 46. H. Buchner: Ach hulf mich leid 47. Jay trop ayme 48. Amy souffre que je vous ame (P. Moulu) 49. Est ilcz conclud 50. Je my plains fort 51. Sicut malus 52. Nach willen din (P. Hofhaimer) 53. Expecta ung pauco II 54. H. Kotter: Uss tieffer nodt schrey ich zu dir 55. Spaniol Kochersperg. 56. Andernak. Altus von eim andern dazu zuschlagen F.IX.58: 57a. Spanyöler Tancz (J. Weck) 57b. Hopper dancz 58a. Ein ander dancz (J. Weck) 58b. Hopper dancz 59. H. Buchner: Spaniol 60. O Herre got begnade mich 61. Au boys de deul, en lombre dung (C. de Sermisy) 62. Sur le bon bon bon (J. Rousse) 55a. Der Kochersperger Spanieler = no.55 with a few variants 63. En est iltz ung qui ayme 64. Jay mis mon coeur Editions: · nos. 1-64: ° ed. Marx; Schweizerische Musikdenkmäler, vol. 6 out of print ° ed. Ch. Jacobs out of print · nos. 6, 8, 20, 23, 24, 26, 32-40, 42, 44, 55, 57a-b, 58a-b, 59: ° see: Collections Germany: "Der Tanz in den deutschen Tabulaturbüchern", ed. Merian CH-FF UK The Organ Book of St. Katharinental 18th-century Organ book containing: 1. P. Keller: Aria, in F 2-21. anonymous pieces: 2 preludes in F, 2 fugues in F-C, 3 arias in C-F-Bb, aria in C with 2 variations, aria in d with 6 variations, sonatina in C (allegro / andante / variatio / gique), andamento in C, alamand in C, 5 minuets in F-C-C-G-F, tripla in F, allegro in F, march in F Edition: · nos. 1-21: ° ed. H. Walti CH-SGs Codex 530 The Organ Tablature of Fridolin Sicher Tablature from the possession of Fridolin Sicher; c.1512-c.1521; supplement 1531. Most of the 176 pieces are intabulations of vocal works: 1. Ach Jupiter 2. So wend wir auf den Berg

out of print

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3. Salve regina (J. Schremm) 4. Tristitia vestra (H. Isaac) 5. Der Hund (H. Isaac) 6. Ave sanctissima 7-8. (no titles) 9. (no title (M. Vogelmaier) 10. Dies est laetitiae (M. Vogelmaier) 11. Exaudi 12. Sancta Maria (J. Schremm) 13. Adieu fillette (H. Isaac) 14. Diva parens (A. Agricola) 15. Parce Domino (J. Obrecht) 16. Imprepal frantaz ( = Benedictus by J. Obrecht) 17. Fa chio fi gir sy fa oresti (Tromboncini?) 18. Mater patris labores ( = Ave ancilla trinitatis, by A. Brumel) 19. Si dedero (A. Agricola) 20. Et incarnatus est 21. Si sumpsero pennas (J. Obrecht) 22. In dulci jubilo 23. Resonet in laudibus 24. Salve regina (P. Hofhaimer) 25. Et incarnatus est, II 26. Duo 27. T'Andernaken (P. Hofhaimer) 28. Mon coeur languit 29. Nun denk ich sehr viel hin und her 30. Helas (H. Isaac) 31. Cardinal 32. (no title) 33. Ich stund an einem Morgen (L. Senfl) 34. Resonet (Sicher) 35-36. Resonet I - II (B. von Salem) 37. Inviolata 38. Ein fröhlich Wesen (M. Pipelaere) 39. Benedicata es (J. Mouton) 40. Noli flere Maria, I (J. Mouton) 41. O pulcherrima mulierum (J. Mouton) 42. Magnificat quinti toni 43. Magnificat quarti toni (Josquin) 44. Fortuna in mi pedaliter (h. Buchner) 45. A solis ortus cardine 46. Es ging ein Mann den Berg uff pedaliter (H. Buchner) 47. Was soll ich machen 48. Te Deum 49. (no title) 50. Resonet (Sicher / Hans Orgelmacher) 51. Carmen 52. Noli flere Maria, II (J. Mouton) 53. Quis dabit oculis (J. Mouton) 54. Ich stund an einem Morgen 55. Ecce video coelos (N. Craen) 56. Parce Domine (J. Obrecht) 57. Parce Domine (H. Isaac)

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58. Tribulatio et angustia (Josquin) 59. Exsultet caelum 60-61. Christe, sanctorum decus I - II 62-64. Veni creator 65-66. Pange lingua I - II 67. Ut queant laxis I 68. Mamenche vel mabuche (J. Obrecht) 69. Ic ret my not spacieren (J. Obrecht) 70. Cela sans plus (japart?) 71. Hic est vere martir (M. Pipelaere) 72. Mins lefkins bruyn ooghen (N. Craen) 73. Vray dieu d'amours (M. Pipelaere) 74. Vray dieu, quel paine (M. Pipelaere) 75. On est bien maldi pour amour trop (Busnois) 76. Da pace domine in diebus I 77. Cela sans plus non sufi pas (Japart) 78. Ung franc archier (L. Compère) 79. Ave Maria gratia plena (L. Compère) 80. Verlangen tut umgeben mich 81. Sparge fidelibus tuis verbum 82. Lieb's Maitli gut 83. In Gottes Namen I (H. Isaac) 84. Was wär's das (Bentz von Rischlach) 85. Mente tota (Josquin) 86. Troplus secret (La Rue) 87. Allein ohn End 88. Sub tuum praesidium (H. Isaac) 89. Neuciozza mia (Japart) 90. Pourquoy non (La Rue) 91. Nisi tu Domine 92. Pourquoy je ne puis dire (Stokem) 93. Propter gravanmen (l. Compère) 94. Die zechen Gebot' IH. Isaac) 95. Je n'ay deul (A. Agricola) 96. Praeambulum super d 97. Virgo prudentissima (Josquin) 98. Erkennen tu (H. Isaac) 99. Descendi in hortum meum 100. (no title) 101. Adonay sanctissime (G. van Weerbeke) 102. Parce domine (H. Isaac) 103. Meskin es hu (J. Obrecht) 104. D'un autre amer / Victimae paschali (Josquin) 105. O Sancte Sebastiane 106. Benedicta sit creatrix et gubernatrix 107. Ade mit Leid (P. Hofhaimer) 108. Regina es coeli (A. Brumel) 109. Ave Maria gratia plena (N. Craen) 110. Virgo Maria (G. van Weerbeke) 111. Et qui la dira (H. Isaac) 112. Adieu mes amours (Josquin) 113. Min Mütterlin, min Mütterlin (H. Isaac) 114. J'ay pris amours (Japart)

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115. Maria, Jungfrau, hochgebor'n (H. Isaac) 116. Das lang' Ave Maria (Josquin) 117. Lamorra (H. Isaac) 118. Lourdault, lourdault (L. Compère) 119. Helogierons nous (H. Isaac) 120. Jam fulsit. Quator (A. Agricola) 121-122. In minem sin I - II 123. Fors seulement (M. Pipelaere) 124. Salva nos Domine 125. Quae est ista (H. Isaac) 126. (no title) (J. Fuchswild) 127. Tota pulchra es amica mea (H. Isaac) 128. Trina Domine 129. Fama malum 130. Da pacem II 131. Uss Herzen Grund 132. In Gottes Namen II (H. Isaac) 133. Virgo dei genetrix quem totus 134. Spem in alium numquam habui 135. Virgo mater 136. Paranimphus salutat virginem (L. Compère) 137. (no title) 138. Am ersten Mal lang mir wohl 139. Carmen in A 140. Ave regina coelorum 141. Ave regina coelorum (H. Isaac) 142. Hilf, Frau van Ach 143. Brunette m'amiette (Stokem) 144. Ut queant laxis II 145. Nobis natus 146. Salve crux 147. Christ ist erstanden 148. Fortuna d'un grand tempo (Japart) 149. Ach hülf mich Leid 150. Wie kummt's uff' Erd 151. Kemet fegen 152. Bruder Conrad (H. Isaac) 153. A solis ortus cardine II 154. Ave maris stella 155. Nobile sidus celesti sub arce 156. Par un chies do cure (H. Isaac) 157. Frau, glaub, dass ich von Herzen mich 158. Ave ancilla trinitatis (H. Isaac) 159. We congre ( ? = Je ne puis vivre; H. Isaac) 160. Omnia postposui ( = Bergerette savoyenne; Josquin) 161. (no title) (Jacquet of Mantua?) 162. Fill vous aves (U. Isaac) 163. O dulcedo virignalis ( = A la battaglia; H. Isaac) 164. Prophetarum maxime (H. Isaac) 165. Inter natos mulierum (H. Isaac) 166. O admirabile commercium (Josquin) 167. Quando natus est (Josquin) 168. Rubum quem viderat Moyses (Josquin)

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169. Germinavit radix Jess (Josquin) 170. Ecce Maria genuit nobis Salvatorem (Josquin) 171. Laetatus sum in his (A. de Silva 172. Fraw Ding uf Erd' mich erfreuen tut (W. Grefinger) 173. Ave sanctissima (W. Grefinger) 174. Sancta Maria virgo 175. Patrem omnipotentem (A. Brumel) 176. Salve Maria Edition: · nos. 176: ° ed. H.J. Marx / Warburton; Schweizerische Musikdenkmäler, vol. 8; hardback CH-Zz Z.XI.301 The Organ Tablature of Clemens Hör Organ tablature (c.1535) from the possession of Clemens Hör 1. Herz einigs Lieb (S. Dietrich) 2. Je ne scay 3. Allein din Huld (L. Senfl) 4. Anfang ist lieben 5. Kein Lieb ohn Treu (L. Senfl) 6. All min Lebtag 7. Ja freilich bin ich da 8. Patientiam muss ich han (l. Senfl) 9. Was brucht min Glück 10. Wo ich ausfahr 11. Din Lieb hat mich (L. Senfl?) 12. Aus schwerer Pein 13. Nach Willen dein (P. Hofhaimer) 14. Ein Freuwlein fein 15. Früntlicher Gruss 16. Verschütt' hab ich das Habermus (M. Greiter) 17. Ein Meydlin an ein Ladin lag (S. Dietrich) 18. Ich weiss mir ein feins brauns Meidelin (H. Fritz?) 19. Froh bin ich dein (P. Hofhaimer) 20. Ein seltsam nüwer abenteur (M. Greiter) 21. Herbei, herbei was Löffel sei (M. Greiter) 22. A du min Trost (P. Hofhaimer?) 23. Erwählt han ich 24. Duo (Josquin: Agnus Dei II from Missa de Beata Virgine) 25. Ein anderes Duo (Josquin?) 26. Ursach und Fug 27. Ich weiss mir ein hübsche Gräserin (M. Greiter) 28. Ach werte Frucht (L. Senfl) 29. Herr nun heb den Wagen I (H. Zwingli?) 30. Herr nun heb den Wagen II (H. Zwingli?) 31. Mag ich Unglück nit widerstahn (L. Senfl) 32. (no title) (Josquin?) 33. Letzt scheiden 34. Nach Lust hat ich mir userwählt 35. Das Kalb gaht siner Nahrung nach 36. Rosina wo was din Gestalt 37. Ach Jupiter (Adam von Fulda)

350,--

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MUZIEKHANDEL SAUL B. GROEN

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38. Ich werd erlöst (H. Fritz?) 39. Ob allem Wert uf dieser Erd 40. Mein einigs A (P. Hofhaimer) 41. Mein herzigs A (P. Hofhaimer) 42. Innsbruck (H. Isaac) 43. Amy souffre 44. Tesn mes amys 45. Lay qui moy fay 46. Scaramella 47. Schwarz Kalb Edition: · nos. 1-47: ° ed. H.J. Marx; Schweizerische Musikdenkmäler, vol. 7; hardback

75,--

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