Cheap, Choice, Brave and New
Vince Kelly’s Music Editions
At Ye Recorder and Curtall
Canada T6E 0N6
Tel : 1-780-436-9064
e-mail : email@example.com
Cheap Choice Brave and New Music Editions - Following in the footsteps of Petrucci, Playford and Walsh in bringing music in a convenient form to a wide public, I publish editions of early-music repertoire and sources for recorders and other instruments. Titles are currently available as hard copies and a number of publications will shortly be available in a user-friendly CD-ROM format. Custom Editions (Sibelius 3) also undertaken - please email for details.
Please contact me to order any items not currently listed on Ebay.
Basic editorial principles are normally to provide a clean urtext edition from a single historical source. Editorial additions are kept to a minimum and shown in the usual ways (brackets, accidentals above the stave etc.) with alterations from the source signalled in footnotes or in a brief commentary. Where appropriate, parts are provided in a variety of clefs and/or transpositions for a range of different instruments. Words are always included in full for vocal music with translations and guidance on pronunciation if necessary. Page turns are designed to be manageable by instrumentalists! A facsimile of the original source is provided where possible for reference. Alongside the urtext, some editions also contain editorial ornamented versions based on a named historical source.
Publications List No. 2 July 2006
All editions are presented as score and parts. Ensemble music editions have parts for recorders (including alto recorder at sounding pitch) and where appropriate voices. Most also have parts in viol clefs. Editions listed below are available now. For forthcoming editions see my CCBN Forthcoming Editions page.
CCBN 16001 (FMS) - Victoria: Motet O Quam Gloriosum (Motecta Totius Anni 1585)
A facsimiles made simple edition for 4 voices, viols or recorders SATB. Victoria’s famous motet is here presented in a facsimile of parts from the 1585 edition plus a fully modernized score and parts with modern clefs and halved note values. The music can simply be enjoyed from the modern edition. Alternatively, to create a graded approach to reading from the facsimile, 4 sets of semi-modernized parts are also provided, which introduce the difficulties of renaissance notation (long note values, no barlines, old clefs) one by one until performers are comfortable using the facsimile itself. A guide is also provided to reading ligatures in the facsimile. [Moderately Straightforward]
CCBN 16002 - Josquin des Prez: Motet Absalon Fili Mi
For 4 voices, viols or recorders ATTB. This celebrated motet attributed to Josquin des Prez exists in two versions, one very high and one very low. Here it is presented at a pitch between those of the two sources so it may be comfortably performed by voices or instruments. Parts are provided in the halved note values normal today as well as in the original note values. [Moderately Straightforward ]
CCBN 16003 (V) - Byrd: O God Give Eare
For 5 voices, viols or recorders (ATTTB). A richly sonorous piece from Byrd’s first solo collection “Psalms Sonets and Songs” of 1588. In the words of psalm 55, the composer laments how his enemies are conspiring against him and calls for aid. As a catholic in the midst of protestant England, it is easy to imagine how these words must have been close to Byrd’s heart. A splendid piece for recorders or viols in the unusual combination of ATTTB. With suggestions on Elizabethan pronunciation for singers. [Moderately Straightforward]
CCBN 17001 (RO) - Lully: Overture Le Bourgeois Gentilhomme
For 4/5 recorders, strings, viols or wind instruments. Lully's overture was written in 1670 as part of incidental music for Moliere's play. A lively piece of medium difficulty and an excellent introduction to French baroque music. Suggestions for performance in the proper French style can be found in the Editor's notes. May be played by string orchestra, recorders, oboe band, viols or any other suitable instruments. Setting for recorders is for SSATB. The bass part can be played on a great bass in C, but alternative notes are provided for the regular F-Bass. Can also be played in 4 parts (omitting tenor). Parts 3 and 4 also provided in C3 (alto) clef for violas or viols. This piece sounds especially good played by a recorder orchestra. [Medium]
CCBN 17002 V - Thomas Lupo: Fantasia for 3 bass viols or 3 recorders (or 3 bassoons/cellos/oboes/violins etc.)
A superb fantasia for the unusual combination of three equal instruments. With transposed parts for 3 recorders SSS, AAA, TTT or BBB. The use of the full recorder range and 3 flats (for recorders in F, 2 flats for recorders in C) makes this piece challenging for recorder players, but the wide range of moods encompassed in this glorious music is well worth the effort. [Challenging for recorders; medium difficulty for viols]
CCBN 17003 (SCHM7) - Sweelinck: Psalm 105 for 7 voices, viols or recorders
Have you ever had a consort of 7 recorder players, played the famous Schmelzer sonata and looked around for something else to play? This edition is the first in a series of music for 7 designed to fill that gap. A lively piece of medium difficulty, Sweelinck's psalm comes with a score and 7 separate parts with full text underlay that can be used by recorders, voices, viols or other instruments. Setting for recorders is for SSATTBB (with an alternative alto part not requiring reading up an octave) - the 2 tenor parts could also be played on altos. [Medium]
CCBN 19001 - Bruckner: Graduale Locus Iste
For 4 voices or recorders SATB. A superb piece which is effective as a solo quartet and sounds even better played by a recorder orchestra. Amazingly rich and effective music, not difficult to play. [Moderately Straightforward]
EUT 001 - J.S. Bach: Sonata in Bb for alto recorder and obbligato harpsichord
An arrangement from the violin and harpsichord sonata in A Major BWV 1015, this sonata fits on the alto recorder with a minimum of alteration. An exciting addition to the repertoire of Bach sonatas arranged for recorder. [Challenging]
EUT 002 - Gluck: Trio Sonata IV in Eb
From Gluck’s six delightful trio sonatas of around 1746. A refreshingly different experience from the usual baroque trio sonatas. Possibly originally written with orchestral performance in mind, these trios are harmonically complete in themselves so there is no need for a continuo instrument. Arranged for 2 alto recorders and bass recorder (or bassoon/cello/viola da gamba). A simplified bass recorder part avoiding many of the higher notes is also provided. [Moderately Challenging]
EUT 003 - Handel: Chandos Overtures X and XIa for 3 recorders ATB (or 2 oboes + bassoon/ 2 violins + cello)
From Handel’s overtures to the anthems written for the private chapel of James Brydges, Duke of Chandos, in 1717. These attractive pieces were originally written for 2 violins, oboe (mostly doubling violin) and continuo but are effective as trios and form a useful addition to the limited baroque trio repertoire for recorders. As well as Handel’s original bass line, an adapted part is provided for bass recorder. [Medium]
VF 004 - Mattheson: Sonata IV (1720) for voice flute/ alto recorder/ flute or violin + BC
Known and loved by recorder players for his Opus 1 duets and trios, Mattheson’s other music has tended to be neglected. The present sonata IV comes from a collection published in Hamburg in 1720 which was among the first music published in Germany for the newly-fashionable transverse flute. Refreshingly different baroque music that is often less predictable than Corelli, Bach or even Handel. The only available edition in modern notation that reproduces the composer’s original text. 2 complete versions of the music - in the original key of D major for flute or violin and transposed to F major for Alto recorder. By mixing the 2 sets of parts you can play the music on a Voice Flute, (or Tenor recorder in D) without complex mental transposition. [Moderately Challenging]
VF 013 - De La Barre: Suites XX and XXI (12th book of duets 1725 complete) for2 voice flutes/ 2 transverse flutes or violins/ 2 alto recorders
De La Barre was a flautist contemporary of Couperin and Hotteterre who published the first music specifically designed for the baroque flute and later made a specialty of flute duets. The present two suites are from his 12th and final duet book. De La Barre’s music is melodious, subtle and finely crafted. Without being unduly difficult, the music avoids the excessive simplicity of some of the French duet repertoire and is highly enjoyable to play. Two complete versions of the suites are provided - in the original key of D major for voice flutes/ transverse flutes or violins and transposed to F major for alto recorders. By using the alto recorder parts and alto recorder fingerings, you can play both parts on voice flutes, (or tenor recorders in D) without complex mental transposition. By mixing the parts, you can play using one voice flute and one transverse flute/violin. [Medium]
Original music for recorders :
MPC 001 - James Paisible: Sonata pour 4 Fluti (for 4 alto recorders and BC)
One of the few original works for 4 alto recorders and continuo, this sonata is the first of a series - The Most Pleasant Companion - devoted to English music for recorder from the late seventeenth and early eighteenth centuries. This delightful sonata is now available for the first time in an urtext edition and is a must for all recorder players. A straightforward keyboard realization is provided, though the music works equally well with just 4 alto recorders and bass. [Moderately Straightforward]
Music for other instruments:
PB 001 - De Selma: Fantasia V (1638) for bass curtal or bassoon (or cello/viola da gamba) and BC
Bartolomeo de Selma e Salaverde was a Spanish Augustinian friar who was also a composer and a celebrated virtuoso on the early bassoon. This Fantasia (from a collection he published in 1638) fully explores the different characteristics of the bassoon from virtuoso to lyrical to humorous. Moderate difficulty for the modern bassoon, quite difficult on a Bass Curtal!
PB 002 - De La Barre: Suites XX and XXI (12th book of duets 1725 complete) For 2 bassoons/cellos/bass viols
Little repertoire was published specifically for the baroque bassoon, so players would have adapted music originally written for other instruments, in this case the flute. De La Barre was a flautist contemporary of Couperin and Hotteterre who published the first music specifically designed for the baroque flute and later made a specialty of flute duets. The present two suites are from his 12th and final duet book. De La Barre’s music is melodious, subtle and finely crafted. Without being unduly difficult, the music avoids the excessive simplicity of some of the French duet repertoire and is highly enjoyable to play. It is effective on bassoons, cellos or bass viols and may of course also be played on 2 treble or 2 tenor viols reading as basses. [Medium]
SH 001 - De La Barre: Suites XX and XXI (12th book of duets 1725 complete) for 2 oboes/C recorders/ violins
Little repertoire was published specifically for the baroque oboe, so players would have adapted music originally written for other instruments, in this case the flute. According to Quantz, oboists often transposed flute music down a tone. This is done here, the resulting key of C being more comfortable and effective for the oboe than the original D major. De La Barre was a flautist contemporary of Couperin and Hotteterre who published the first music specifically designed for the baroque flute and later made a specialty of flute duets. The present two suites are from his 12th and final duet book. De La Barre’s music is melodious, subtle and finely crafted. Without being unduly difficult, the music avoids the excessive simplicity of some of the French duet repertoire and is highly enjoyable to play. [Medium]
CCBN Morley 1 - Thomas Morley: A Plaine and Easie Introduction to Practicall Musicke.
Morley’s book is a mine of information and is probably the best and most straightforward introduction to renaissance musical theory (notation, hexachords, counterpoint etc.) but has recently been very difficult to obtain. Spiral-bound facsimile of the 1st edition of 1597.
How difficult is a piece of music? There will probably be as many answers as players. The following guide does not aim to be definitive but should offer some guidance.
For the benefit of UK readers, a very approximate indication is given in terms of the Grade system applied by the Associated Board and Trinity College. This is conceived mainly in terms of recorder syllabuses. It should be emphasized that neither the Associated Board nor Trinity College endorses these comparisons (or CCBN editions themselves) in any way.
Straightforward (Level 1) [Associated Board/Trinity Grade 1]
Simple melodies, ensemble pieces mainly moving in block chords.
Moderately Straightforward (Level 2) [AB/Trinity Grade 2-3]
Many 16th century chansons, madrigals and dances. The simplest baroque sonatas such as Bingham’s suites, Marcello’s Op. 2 or movements from these.
Medium (Level 3) [AB/Trinity Grade 4/5]
Moderately Challenging (Level 4) [AB/Trinity Grade 6-7]
May use more difficult keys - up to 4 flats/3 sharps and incorporate elements of virtuosity in terms of fast notes and/or challenging rhythms.
Challenging (Level 5) [AB/Trinity Grade 8/Performer’s Diploma]
Requires a very competent amateur/semi-professional technique to perform well.
Very Challenging (Level 6) [AB/Trinity Licentiate/Fellow Diplomas]
Music that requires a fully professional technique to perform well. It may require extreme virtuosity and/or incorporate avant garde techniques.
Last updated: 1 September 2006