Harvard Publications in Music
Below is a list of in-print works in this collection, presented in series order or publication order as applicable.
Music for Lute and Bandora
This is the first modern edition of the complete lute and bandora works of the sixteenth-century English composer, Anthony Holborne. Holborne’s lute music is equal in quality to that of his more famous contemporary, John Dowland, and he was one of the few Elizabethans to write works for the bandora. Each of the seventy-one pieces in this volume appears in two forms: the original tablature notation and a transcription into modern notation. The editor’s Introduction presents all that is known of Holborne’s life, and his notes give valuable information about the printed and manuscript sources of each piece.
Music for Cittern
Scholars and lovers of Renaissance music will welcome this volume of music for the cittern, an instrument of the guitar family which used to be played by customers of English barbershops while they waited. One of the few extant sources for this instrument, Anthony Holborne’s Cittharn Schoole of 1597, is reproduced in this edition along with other cittern pieces by the same composer which are known today. Each of the pieces in the volume appears in the original tablature and in modern staff notation.
The Operas of Alessandro Scarlatti, Volume V: Massimo Puppieno
In this fifth volume of the series, Colin Slim provides a definitive edition of Massimo Puppieno, an opera from the middle years of Scarlatti’s career. In his Introduction he discusses the opera and performance practices of the day.
The Operas of Alessandro Scarlatti, Volume VI: La Caduta de’ Decemviri
La Caduta (1697) is a pivotal work, bridging Scarlatti’s middle and late stylistic periods. It is the first of several collaborations with librettist Silvio Stampiglia, whose characteristic intermingling of serious and comic elements is particularly effective here. In her Introduction, Williams discusses the opera itself and performance practices.
The Operas of Alessandro Scarlatti, Volume VII: Gli Equivoci nel Sembiante
Gli Equivoci nel Sembiante (1679), Scarlatti’s first opera, is a comedy of mistaken identities and amorous intrigue in the pastoral mode. It was one of the most popular works of the composer’s career. In preparing the score, D’Accone compared the 6 extant manuscripts. His Introduction sketches the opera’s history and discusses performance practice.
The Operas of Alessandro Scarlatti, Volume VIII: Tigrane
A tale of love and honor in the opera seria tradition, Tigrane was first performed at Naples in 1715. This edition of it will please performance groups and music historians alike.
The Operas of Alessandro Scarlatti, Volume IX: La Statira
La Statira was first performed in Rome in January 1690. The opera, with libretto by Cardinal Ottoboni, recounts the story of Alexander the Great’s defeat of Darius, King of Persia, and his love for Statira, daughter of Darius. In his Introduction, William Holmes sketches the opera’s history and discusses performance questions.
Keyboard Music from the Andreas Bach Book and the Möller Manuscript
This anthology presents keyboard works by the young J. S. Bach which are either little known or are earlier versions of better known works (for example, the Passacaglia in C Minor, BWV 582). Also included are all the unpublished keyboard works in the two manuscripts, as well as works by lesser known composers for which modern editions are not easily accessible. Rounding out the picture are works by well-known contemporaries for which the transmission in the young Bach’s circle proves particularly significant.
Music of My Future: The Schoenberg Quartets and Trio
Schoenberg’s quartets and trio, composed over a nearly forty-year period, occupy a central position among twentieth-century chamber music. This volume, based on papers presented at a conference in honor of David Lewin, collects a wide range of approaches to Schoenberg’s pieces.
Music and the Aesthetics of Modernity: Essays
This book encourages a debate over musical modernity; a debate considering the question whether an examination of the history of European art music may enrich our picture of modernity and whether our understanding of music’s development may be transformed by insights into the nature of modernity provided by other historical disciplines.
The Century of Bach & Mozart: Perspectives on Historiography, Composition, Theory & Performance
For many today Johann Sebastian Bach and Wolfgang Amadeus Mozart stand as towering representatives of European music of the eighteenth century, composers whose works reflect intellectual, religious, and aesthetic trends of the period. This collection of essays by leading authorities in the field offers a variety of new perspectives on the two composers, as well as some of their important contemporaries, Haydn in particular.
City, Chant, and the Topography of Early Music
City, Chant, and the Topography of Early Music explores how space, urban life, landscape, and time transformed plainchant and other musical forms. Thirteen essays address a wide range of topics and regions—from Beneventan chant in Italy and Dalmatia, to music theory in medieval France, to later transformations of chant in Iceland and Spain.
Music in Time: Phenomenology, Perception, Performance
Music in Time probes the temporality of music from many perspectives, in response to Christopher F. Hasty’s groundbreaking Meter as Rhythm. The essays bridge the conventional divides between theory, history, ethnomusicology, aesthetics, performance practice, cognitive psychology, and dance studies.
Out of Bounds: Ethnography, History, Music
Out of Bounds examines Kay Kaufman Shelemay’s impact as a pioneer of musical diaspora studies on a generation of scholars. The wide-ranging essays treat such diverse topics as cantorial life in America, gender and fertility among Ethiopians in Israel, transnational performance itineraries of griots and Korean drummers, and video games.