Basso continuo accompaniment calls upon a complex tapestry of harmonic, rhythmic, compositional, analytical and improvisational skills. The evolving knowledge that underpinned the performance of basso continuo was built up and transmitted from the late 1500s to the second half of the eighteenth century, when changes in instruments together with the assertion of control by composers over their works brought about its demise.

By tracing the development of basso continuo over time and across the regions of Italy where differing practices emerged, Giulia Nuti accesses this body of musical usage. Sources include the music itself, introductions and specific instructions and requirements in song books and operas, contemporary accounts of performances and, in the later period of basso continuo, description and instruction offered in theoretical treatises. Changes in instruments and instrumental usage and the resulting sounds available to composers and performers are considered, as well as the altering relationship between the improvising continuo player and the composer.

Extensive documentation from both manuscript and printed sources, some very rare and others better known, in the original language, followed by a precise English translation, is offered in support of the arguments. There are also many musical examples, transcribed and in facsimile.

Giulia Nuti provides both a scholarly account of the history of basso continuo and a performance-driven interpretation of how this music might be played.

Gran Bretaña, 2007. 164 pp. Idioma: inglés. Encuadernación: cartoné con sobrecubierta.

After decades of stagnation during the reign of his father, the 'Barracks King', the performing arts began to flourish in Berlin under Frederick the Great. Even before his coronation in 1740, the crown prince commenced recruitment of a group of musician-composers who were to form the basis of a brilliant court ensemble. Several composers, including C.P.E. Bach and the Graun brothers, wrote music for the viola da gamba, an instrument which was already becoming obsolete elsewhere. They were encouraged in this endeavour by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last gamba virtuosi, who was described in 1766 as 'unquestionably the finest gambist in Europe'. This study shows how the unique situation in Berlin produced the last major corpus of music written for the viola da gamba, and how the more virtuosic works were probably the result of close collaboration between Hesse and the Berlin School composers. The reader is also introduced to the more approachable pieces which were written and arranged for amateur viol players, including the king's nephew and ultimate successor, Frederick William II.

O'Loghlin argues that the aesthetic circumstances which prevailed in Berlin brought forth a specific style that is reflected not only in the music for viola da gamba. Characteristics of this Berlin style are identified with reference to a broad selection of original written sources, many of which are hardly accessible to English-speaking readers. There is also a discussion of the rather contradictory reception history of the Berlin School and some of its composers. The book concludes with a complete thematic catalogue of the Berlin gamba music, with a listing of original manuscript sources and modern publications.

Gran Bretaña, 2008. 272 pp. Idioma: inglés. Encuadernación: cartoné con sobrecubierta.

Federico Maria Sardelli writes from the perspective of a professional baroque flautist and recorder-player, as well as from that of an experienced and committed scholar, in order to shed light on the bewildering array of sizes and tunings of the recorder and transverse flute families as they relate to Antonio Vivaldi's compositions. Sardelli draws copiously on primary documents to analyse and place in context the capable and surprisingly progressive instrumental technique displayed in Vivaldi's music.

The book includes a discussion of the much-disputed chronology of Vivaldi's works, drawing on both internal and external evidence. Each known piece by him in which the flute or the recorder appears is evaluated fully from historical, biographical, technical and aesthetic standpoints. This book is designed to appeal not only to Vivaldi scholars and lovers of the composer's music, but also to players of the two instruments, students of organology and those with an interest in late baroque music in general.

Vivaldi is a composer who constantly springs surprises as, even today, new pieces are discovered or old ones reinterpreted. Much has happened since Sardelli's book was first published in Italian, and this new English version takes full account of all these new discoveries and developments. The reader will be left with a much fuller picture of the composer and his times, and the knowledge and insights gained from minutely examining his music for these two wind instruments will be found to have a wider relevance for his work as a whole. Generous music examples and illustrations bring the book's arguments to life.

Traducción al inglés a cargo de Michael Talbot del original en italiano publicado en Florencia en 2001.

Gran Bretaña, 2007. 358pp. Idionma: inglés. Encuadernación: cartoné con sobrecubierta.

In this collection of essays Mary Cyr explores some of the written and unwritten performance conventions that applied to French and English music of the 17th and early 18th centuries. Using composers' own notations, marks added by 18th-century performers, historical treatises, and pictorial evidence, she investigates both vocal and instrumental genres, including opera, cantatas, instrumental chamber music, and solo music for the viol and violin. Some of the performance conventions remain controversial, such as the use of gesture by the French opera chorus, and others are still little-known, such as the use of the double bass for rhythmic and harmonic support in early 18th-century French opera. As many of these essays demonstrate, French Baroque music allowed performers a wider latitude of nuance and expression than is often assumed today.

The essays in this volume will be of particular interest to scholars and performers who are interested in adopting a historically-informed approach to performing music by Henry Purcell, Élisabeth-Claude Jacquet de La Guerre, Jean-Philippe Rameau, and their contemporaries. Several studies also deal with attributions, sources, and the discovery of a cantata by Rameau.

Gran Bretaña, 2008. 344 pp. Idioma: inglés.

Diccionario biográfico – bibliográfico – histórico – crítico de guitarras (instrumentos afines), guitarristas (profesores, compositores, concertistas, lahudistas, amateurs), guitarreros (luthiers), danzas y cantos, terminología. Buenos Aires, 1934.

Introducción a cargo de Matanya Ophée. 488 pp. Encuadernado en tela.

Edición a cargo de Siegbert Rampe. Reimpresión de la edición de 1967. Idioma: alemán.

Yale university press, 2007. 192pp. Encuadernación: cartoné con sobrecubierta. Idioma: inglés.

Partitura general + partes.

Edición a cargo de Jean-Paul C. Montagnier (cantatas); Sylvie Bouissou (cánones).

This is the first complete survey of the historical pitch standards used by musicians during the last four centuries. Written from a practical perspective and addressed to performers it is the first book to attach frequency values to pitch names and describe where, when, and why various historical pitch levels were used. It surveys a period from the 16th century to the present and focuses on Italy, France, Germany, the northern and southern Netherlands, and the Habsburg Lands, following the developments in the design and function of instruments and how they influenced and were influenced by pitch changes.

The History of Performing Pitch explores the relationships between pitches like Chorton, Cammerton, and Consort-Pitch and what pitch frequencies they represented at various times and places. It also examines what effect pitch differences had on musical notation and choice of key, and discusses practical considerations musicians would have had to make when transposing, especially with regards to the range of singers' voices.

What distinguishes this book from previous pitch studies is that it has been written since the rise of the early music revival within the context of the growing understanding of how "early" instruments work. This development has provided a new source of empirical information not previously available, which allows this book to base its conclusions on a much larger and more relevant sample than has ever been possible before. It refers to the original pitches of some 1,382 historical instruments, including cornetts, Renaissance flutes, traversos, recorders, clarinets, organs, pitchpipes, and automatic instruments from all over Europe and compares this information with music and written texts. While this study avoids categorical answers where historical information is not yet sufficient to justify them, it locates a number of historical pitch levels, discovers several that were previously unnoticed, and disproves several common myths about pitch.

Lanham, Maryland y Oxford, 2002. 632pp. Encuadernación: cartoné. Idioma: inglés.

Edición, notas y un ensayo previo a cargo de Alfonso de Vicente.

Investigar la vida de Tomás Luis de Victoria es enfrentarse a un mosaico de datos que nunca acaban de encajar; siempre falta la tesela clave que saque a la luz la figura cuyos contornos no terminan de cerrarse. Parece que se han ido borrando los documentos más precisos; sólo el de la muerte en Madrid el 27 de Agosto de 1611 no pudo borrarse. En la nueva capital de la monarquía hispánica tuvo su residencia el compositor los últimos 25 ó 26 años de su vida. Es la ciudad en que más tiempo pasó sin que sepamos muy bien qué lo ocupó. En mil cosas, como puede verse en la cronología adjunta, y en ninguna. Pero lo encontramos en lugares claves de la música madrileña durante los reinados de Felipe II y Felipe III. Los epígrafes que siguen quieren evocar, a modo de abocetadas estampas, algunos de esos lugares, como ambiente de un músico cuya biografía resulta hoy por hoy casi imposible de trazar.

Madrid, 2008. 127pp. Idioma: castellano.

Edición a cargo de Pablo L. Rodríguez.

Música de la capilla del Monte de Piedad de Madrid. Patrimonio musical español. Madrid, 2003.

Edición musical de Álvaro Torrente; Edición literaria de: Rafael Zafra y Esther Borrego.

El texto literario utilizado perteneció a una compañía teatral no identificada y está depositado actualmente en la Biblioteca Municipal de Madrid. Por su parte, la música se ha conservado en el Manuscrito de la Cofradía de la Novena, perteneciente al Gremio de Representantes de Madrid y hoy depositado en el Museo del Teatro de Almagro.

Madrid, 2001.

"El presente libro constituye la guía más completa disponible para conocer la historia de la música culta occidental, desde sus orígenes hasta nuestros días. Al lado de una historia diacrónica de los distintos periodos, estilos, movimientos y autores, esta obra introduce los conceptos fundamentales sobre composición y formas musicales básicas, así como sobre los instrumentos musicales históricamente considerados. El libro se acompaña con la edición de 6 CD's que recogen en su conjunto la totalidad de las audiciones propuestas y comentadas, imprescindible hilo conductor para comprender la Historia de la Música."

Madrid, 2009. 586 pp. Encuadernación: cartoné con sobrecubierta.

Traverso barroco marca Aulos AF3 imitación marfil a´=415 Hz. Basado en un modelo de Stanesby Junior. Ideal como primer instrumento para músicos que necesiten afinar a 415Hz, como alternativa por su precio más económico y bajas necesidades de mantenimiento. Gracias al material de alta densidad el resultado es un sonido consistente con una buena afinación.

Se entrega con estuche rígido a medida y gamuza de limpieza.

Edición facsímil.

Un libro práctico y útil para intérpretes y aficionados. Las inquietudes, dudas y reflexiones de un maestro de capilla, José Español, en La Rioja del siglo XVIII. Con tablas, advertencias, consejos, datos de interés, soporte informático para facilitar al lector la comprensión y la buena interpretación de todas sus obras conocidas, casi medio centenar de cantadas, villancicos, dúos y canciones.

G. Torrellas Liébana. Logroño, 2008. Incluye CD-Rom con las partituras en formato pdf.
 

G. Torrellas Liébana. Logroño, 2008. Incluye CD-Rom con las partituras en formato pdf.
 

Contiene CD. Estudio, transcripción y grabación para guitarra barroca a cargo de Thomas Schmitt.

FACSÍMIL.

Introducción y estudio a cargo de Sergio Vartolo (idioma: italiano). Editado en 4 volúmenes en los que  se incluye el referido estudio, las reproducciones facsimilares de la edición manuscrita de Bach con 3 apéndices y la primera edición de 1751/1752.

Selección de piezas transcritas a cuatro y cinco voces para conjunto de guitarras. Incluye obras de J. S. Bach, Purcell, Vivaldi, Händel, Mozart, Respighi, Fauré, Grieg, Dvorak, Gustav Holst y Johann Schmelzer.

Selección y transcripción a cargo de José Manuel Fernández y Masud Razei.

Partitura general. Madrid, 2008. 156pp. Encuadernado en espiral.