RECENT ACQUISITIONS: Department of Printed ... - British Library

facsimile and transcription, with annotations author.) Mainz: B. Schott's Sohne, [^.1960.]
by Peter Stadlen, Universal Edition (Vienna, 4°. Two vols.
^9"^^^' Printed for rehearsal, with the title News ofthe
K.ii.d.17. /)aj/stamped on the cover of vol. i. No score of
BRITTEN, Benjamin. [The Rape of Lucretia this final revision, with English words, has been
... Op. 37. Vocal score by Henry Boys.] P"^ «" s^*^-
[London:] Boosey £5' Hawkes, [1946.] fol. pp. G.ii82.q.
224.
^ r , 1 r 1 1 -u ScHOENBERG, Arnold. Die Jakobsleiter. [Lo^
Proof sheets, used tor rehearsal, with manu- . , ,, _ , ^^ 1 1 ^^iri
, .. 1 • 1 Aneeles: Mrs. Gertrud Schoenberg, iQb2f\ toi.
script corrections and revisions partly in the ^
composer s autograph. ^^ ^^
K. 11 .d. 14. ^ facsimile of tbe autograph short score,
privately printed.
HENZE, Hans Werner. Jack Pudding. Ballett in
drei Teilen . . . Klavierauszug. Mainz:
B. Schotfs Sohne, [1950?] fol. pp. 48. J^^ACEK, Leos. Osud. Schicksal. Opera o
Printed for rehearsal. No score of this work has pfedehfe, dvou dejstvich a dohfe, v uprave
been put on sale. Kurta Honolky . . . Klavirni vytah. Praha:
h.535.a.(i). ^^^^^^ ^964- 4^- PP- 258.
HiNDEMiTH, Paul. Neues vom Tage. Lustige P""ted for rehearsal. No score of this work has
Oper in zwei Akten . . . Klavierauszug von ^^^^ put on sale.
Franz Willms. (Newly revised edition by the G.io87.q.
Opera Full Scores
Acquisitions in this field amount to well over 200 scores by more than 120 composers. From the
later seventeenth century onwards it was the custom in France to publish operas in score, but
elsewhere scores circulated in manuscript form and publication, if any, usually took the form of a
reduction for voices with keyboard accompaniment. As time went on the relatively cheap vocal
scores became increasingly popular with the public, and from the middle ofthe nineteenth century
French publishers issued vocal scores for sale, printing only very short runs of full scores for hire or
sale to opera houses. A Uttle later the Germans, Austrians, and Italians followed suit, printing
scores that they would earlier have kept in manuscript, but in small numbers and for purely
professional purposes; as late as the 1840s Wagner had to pay for the printing of full scores of his
first three published operas out of his own pocket (the Library has recently acquired one ofthe
twenty-five copies of Rienzi). Scores ofthe later nineteenth and the twentieth centuries are thus in
most cases far rarer than those of eighteenth-century France. The Library is strong in the latter so
that they account for a relatively small proportion of its recent purchases, though almost the last
gaps have been filled in the holdings of operas by Campra, Destouches, Rameau, and Gluck. Ofthe
many later composers represented by one or more scores may be mentioned Rossini, Donizetti,
Halevy, Bellini, Balfe, Thomas, Flotow, Verdi (twenty-four scores, including the first editions of
Otello and Ealstaff), Gounod, Suppc, Offenbach, Lalo, Johann Strauss, Saint-Sacns, Delibes,
Bizet, Musorgsky, Massenet (twenty-nine scores), Faure, Messagcr, Janacek, Humperdinck,
193