In 2020 A-R Editions issued Giovanni Stefani’s song anthologies (RILM Abstracts 2020-14972), which brings together for the first time all three of Stefani’s anthologies in modern transcription, allowing performers to play either from the original alfabeto notation or from a modern realization, given both in modern guitar chord symbols and harmonies in staff notation, making it possible for all instruments to participate in the continuo band.
The three song anthologies of Giovanni Stefani survive as the most abundantly printed seventeenth-century songbooks with the chordal guitar notation known in Italy as alfabeto. Printed in multiple editions from 1618 to 1626, Stefani’s books anthologize nearly one hundred songs, many of which appear copied in numerous other manuscripts, attesting to their widespread appeal in early modern Italy.
While beginners will be drawn to their simplicity, experienced performers will delight in the improvisational opportunities made available by songs built on the spagnoletta, folia, ciaconna, and romanesca.
Above, the cover of Stefani’s first anthology, Affetti amorosi; below, Costanza amorosa as it appears therein.
In 2020 A-R Editions issued Alice Mary Smith: Short orchestral works (RILM Abstracts 2020-1965), which presents three of Smith’s orchestral compositions for the first time in print.
One of the most prolific women composers of her time, Alice Mary Smith produced the greatest number of publicly performed large-scale orchestral and choral works of any of her gender.
The Andante for clarinet and orchestra, Smith’s orchestral transcription of the slow movement of her Sonata for clarinet and piano (1870), was greatly admired by the English clarinetist Henry Lazarus, who performed it multiple times.
The other works included comprise the complete orchestral music from Smith’s grand choral cantata The masque of Pandora, a setting of Henry Wadsworth Longfellow’s epic poem. Designed as independent instrumental movements, Smith fully orchestrated them for a performance in 1879 by the New Philharmonic Society.
The introduction to the edition includes a brief biography of Smith and reproduces numerous reviews and program notes from the various performances of these three works.
Below, the Andante for clarinet and orchestra featuring Angela Malsbury.
Plague, an indiscriminate and deadly disease, was an important aspect of European intellectual and cultural life during the Renaissance. Perennial outbreaks throughout the period, both small and catastrophic, provoked changes and reactions in religion, medicine, government, and the arts—from literature, sculpture and painting, to music.
In 2020 A-R Editions published Songs in times of plague, an anthology that brings together, for the first time, fifteenth- and sixteenth-century motets and madrigals, for three to six voices, written in response to plague (RILM Abstracts 2020-4123). These pieces, with texts commemorating outbreaks and addressing holy figures and secular patrons, reveal how music was imbricated in the wider concerns of societies habitually caught in the grips of pestilence.
Above, The triumph of Death, a 1503 depiction of the death of Petrarca’s Laura; below, one of the works included in the edition, Roland de Lassus’s setting of Petrarca’s Standomi un giorno.
Johann Sigismund Kusser (or, as he was known in England and Ireland, John Sigismond Cousser) was a Hungarian-born musician who, after a varied and successful career in the German-speaking lands of the Holy Roman Empire, settled in Ireland in July 1707.
In Dublin Kusser composed and directed the performances of at least 21 festive serenatas that marked important state occasions in Dublin between 1709 and his death in late 1727. Presented before the elite of local society in semistaged productions featuring costumes, stage machinery, and dancing, these works functioned as something of an operatic substitute in the city’s cultural life.
In 2020 A-R Editions issued Kusser: Serenatas for Dublin (RILM Abstracts 2020-1963), a critical edition comprising the three serenatas for which music remains extant. Two of these can be proven definitively to be of Kusser’s own composition, and the third, due to its musical style, overall structure, and subject matter, is almost certainly his creation as well. These works provide remarkably rare musical evidence of a key component of the artistic offerings of Dublin’s viceregal court during the early decades of the eighteenth century.
Below, “Come, lovely peace, the conqu’ror calls” from An idylle on the peace, one of the works included in the volume.
In 2019 Schott issued The Chanterelle guitar anthology: 40 classical guitar miniatures from Sor to Segovia (RILM Abstracts 2019-16967), which presents 40 miniatures (studies, character pieces, caprices, etc.) from the Classic and Romantic eras through the 20th century. Most of the charming little pieces by well-known composers are from the catalogue of the renowned publisher of guitar music Chanterelle.
The selected pieces are of medium difficulty, ideal for music lessons, performances, and private music-making; the edition contains a detailed English preface with performance instructions for each individual piece. All pieces have been recorded by Alberto Mesirca on the accompanying audio CD.
Below, Fernando Sor’s Leçon op. 31, no. 21, one of the pieces included in the edition.
In 2018 Stainer & Bell issued Restoration music for three violins, bass viol and continuo, a critical edition of a small yet distinctive corpus of instrumental music at the Restoration court of Charles II and in the Catholic chapel of James II.
Introduced to England by the German violinist Thomas Baltzar, the genre was adopted by John Jenkins, whose ten fantasia-suites for three violins, bass viol, and continuo, together with five sonatas for the same group of instruments by Gottfried Finger (above), constitute the bulk of this volume.
Below, Finger’s Sonata in D major, op. 1, no. 9, one of the works included in the collection.
In 2018 A-R Editions issued Livre d’airs et de simphonies mélez de quelques fragmens d’opéra, a critical edition of a collection of works by Pierre Gillier that was first published in 1697.
The appetite for amateur music making in late seventeenth-century France led to an unprecedented demand for published chamber music. Gillier’s volume, comprising 64 small-scale vocal and instrumental works with basso continuo accompaniment, was one of a number of publications designed to meet this demand.
The collection is unusual in offering a variety of genres and is especially noteworthy for Gillier’s strategy of organizing the pieces “in order to make small chamber concerts out of them.”
Below, an excerpt featuring the voice of Sara Macliver.
In 2019 A-R Editions issued Manuel de Sumaya: Villancicos from Mexico City, a critical edition of all 34 villancicos with music by Sumaya conserved at the Catedral Metropolitana de la Asunción de María in Mexico City.
Recognized as the most significant composer from New Spain in the early eighteenth century, Manuel de Sumaya oversaw musical activity at the Cathedral during a time of stylistic change. Locally born and ordained as a priest, Sumaya wrote music that mixes the counterpoint and rhythmic vigor of seventeenth-century Hispanic music with more modern Italianate gestures prescient of international taste in the eighteenth century.
Scored for one to 12 voices with basso continuo and sometimes violins, these pieces communicate theological, doctrinal, and historical ideas about St. Peter, St. Rose of Lima, the Virgin of Guadalupe, Christmas, Corpus Christi, and other celebrations of the Catholic Church. Complete translations of the Baroque texts into English and commentary on historical performance practices included in the edition aim to facilitate revival of this key repertoire of colonial music.
Above, the composer; below, Hoy sube arrebatada, one of the works included in the edition.
In 2019 A-R Editions completed its series Ballet Music from the Mannheim Court with a critical edition of two ballets by Christian Cannabich: Les fêtes du sérail and Angélique et Médor, ou Roland furieux.
Les Fêtes du sérail was probably based on Jean-Georges Noverre’s Les jalousies, ou Les fêtes du sérail, as described in his Lettres sur la danse. The ballet features several movements with “Turkish” instruments and the exotic setting of a harem.
Above, a portrait of Cannabich by Egid Verhelst; below, a suite from Les fêtes du sérail.
In 2019 A-R Editions published Michele Pesenti: Complete works, a critical edition produced by an editorial team including a musicologist, a linguist, and a musicologist-performer.
While earlier musicologists assumed continuities between frottola and madrigal, more recent scholarship has refuted this idea: they were two different genres, cultivated in different centers of patronage, by different composers, and for different audiences.
Pesenti, however, composed in both genres thanks to changing professional circumstances. He composed frottole while working in Ferrara, and later, when he secured an appointment at the court of Pope Leo X, he (or someone acting for him) refashioned several of his frottole as madrigals: Textless lower instrumental lines are provided with text, converting a composition for a vocalist with instrumental accompaniment into one for an ensemble of four vocalists.
This pioneering edition of Pesenti’s complete works offers parallel editions of compositions existing in both these forms, as well as compositions for solo voice and instrumental consort that were later arranged for voice and lute. It further seeks to clarify the procedures used in expanding the abbreviated presentation of the frottola’s texts and music into readily performable forms.
Above, a page from an early edition of Pesenti’s Dal lecto me levava; below, a recording of the work.