The ‘tabula compositoria’: opening bars of Verdelot’s motet ‘Sancta Maria succurre miseris’, in score, from the treatise ‘Compendium musices’ (1537) by Lampadius
The ‘tabula compositoria’: opening bars of Verdelot’s motet ‘Sancta Maria succurre miseris’, in score, from the treatise ‘Compendium musices’ (1537) by Lampadius
The second complete printed opera score, Peri’s ‘Euridice’ (1601); instruments double the chorus at the top of the page, though they are not separately notated, while the continuo appears under the solo part below
The second complete printed opera score, Peri’s ‘Euridice’ (1601); instruments double the chorus at the top of the page, though they are not separately notated, while the continuo appears under the solo part below
Opening of the first movement of the autograph MS (now dispersed) of Mozart’s Serenade k185/167a (1773), scored for violins 1 and 2, violas, oboes 1 and 2, horns, trumpets and basses
Opening of the first movement of the autograph MS (now dispersed) of Mozart’s Serenade k185/167a (1773), scored for violins 1 and 2, violas, oboes 1 and 2, horns, trumpets and basses
Opening of Act 1 of ‘Die Meistersinger von Nürnberg’ in Wagner’s autograph: horns are placed among the woodwind, and the organ directly below the voice staves (and above the cellos)
Opening of Act 1 of ‘Die Meistersinger von Nürnberg’ in Wagner’s autograph: horns are placed among the woodwind, and the organ directly below the voice staves (and above the cellos)
Leger lines in M.A. Cavazzoni’s ’Recerchari, motetti, canzoni’ (1523)
Leger lines in M.A. Cavazzoni’s ’Recerchari, motetti, canzoni’ (1523)
