CONTINUO METHOD
others. These manuals contain practical tips for playing from a figured bass. Christensen then adds comments and examples of his own.
Christensen, Jesper Bøje 18 th Century Continuo Playing A Historical Guide to the Basics. Translated by J. B. Robinson (2002). 155 pages; hardcover English edition BA 8177 French edition BA 8176 In recent years there has been a huge increase of interest in historical performance practice. Groundbreaking research and a heightened awareness have greatly influenced the way continuo is played. In his figured bass tutor, Jesper Bøje Christensen, a teacher at
the Schola Cantorum in Basle, shows readers how to produce stylistically accurate figured bass realisations, whether written beforehand or improvised in performance. He takes an unusual approach: Christensen presents the various figured bass manuals of the early eighteenth century by Dandrieu, St. Lambert, Heinichen, Telemann and
In addition to demonstrating how musicians played at the time, Christensen succinctly summarizes the way figured bass was taught and studied, which can be of great help for performers today.
“ … an instructive and illuminating book, one which belongs on the music rack of even experienced continuo players.” (Notes)
Wolfgang Amadeus Mozart Piano Concerto in C minor K. 491 BÄRENREITER FACSIMILE NEW 2014
Facsimile of the autograph score held at the Royal College of Music, London. With a commentary by Robert Levin Documenta musicologica II:48 74 pp. of facsimile and approx. 40 pp. of commentary (Eng/Ger), half-leather binding ISBN 978-3-7618-1927-2 To appear in May 2014
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When composing his Piano Concerto K. 491 Mozart made an exception by producing sketches that he later enlarged and extensively revised for the score. On the one hand this allows us to retrace his creative process, on the other hand in some passages the definitive readings are almost illegible, especially in the piano part.
This facsimile edition enables everyone to form their own opinion of the questionable passages. Mozart’s work appears here for the first time in a colour facsimile, making it possible to easily recognise the contrasting colours of ink. A fascinating insight into Mozart’s art of composition