traditional and digital publishing of Music from 1750 to 1850

    Edition Parnassus Harmonicus' intention as a music publisher is to bring neglected composers and compositions back to academia and audience. It has been established in 1997 and started its work with a    ffortissimo opening: the great g-minor piano concerto of Jan Ladislav Dussek.

Catalog

OUR COMPOSERS ARE NOW ON A SEPARATE PAGE:

forte e piano

Lumière et Liberté

Primus inter Pares

coming soon (editions in progress)

our guideline

our publishing

our sources

our equipment

our software

Important!!! printing tips!!! and sample pages (PDF)

a note on copyright

pricing and payment

the most popular music of the French Revolution for free download

order by e-mail or fax

our on-line catalogue
(updated regularly)

forte e piano

Music for the Fortepiano and the Clavichord from 1730 - 1830

General Editor: Richard Fuller

Jan Ladislav Dussek (1760 - 1812):

Johann Nepomuk Hummel (1778 - 1837)

Jan Krtitel Vanhal (Johann Baptist Vanhal)

Johann Christoph Friedrich Bach (1732 - 1795)

Hyacinthe Jadin (1776 - 1800)

Ernst Wilhelm Wolf (1735 - 1792)

Christian Gottlob Neefe (1776 - 1800)

Lumière et Liberté

Music from the Age of Enlightenment and the (French) Revolution

The original and official French revolutionary music from the
Magasin de Musique à l'usage des Fêtes Nationales (1794 - 1795):

1ere Livraison: 20 Germinal l'an 2 = April 9, 1794 (1999)

2eme Livraison:

François-Joseph Gossec (1734 - 1829):

Paul Wranitzky (1756 - 1808):

Othon Joseph van den Broek (1758 - 1832):

Primus inter Pares

Symphonies and Instrumental Concertos

François-Joseph Gossec:

Johann Baptist Vanhal:

Paul Wranitzky (1756 - 1808):


coming soon (2000)

our publishing guideline

Edition Parnassus Harmonicus is devoted to the culmination of music in the classical and early romantic era. Monuments of Europe´s culture created by masters from all European nations are rediscovered and republished. Our noble aim is to provide editions of the contemporaries of Haydn, Mozart, Beethoven and Schubert for both research and performance, to invite prominent and ambitious musicians and musicologists as editors and to print works exceeding the production capabilities of traditional, commercially-oriented music publishers. Most of our editions are first prints or at least first editions in score.

Let us remove (once and for all) the blinders
from the eyes of the musicological high priests
who have served up to now only the cult of titans!

Note to deconstructivists: For Edition Parnassus Harmonicus, musical excellence is defined by genius, not by gender. We do not accept editors working in the devastated field of politically correct deconstruction. Minimum knowledge of at least one European foreign language is as well required.

traditional and digital publishing

   The printing of music in scores and parts has been revolutionized by the possibilities of computer notation setting and printing.
However, modern notation software does not offer all refinements of traditional engraving. Our notation is additionally based on the book of H. Chlapik, Die Praxis des Notengraphikers, Wien: Doblinger 1991, and the dissertation of H. Wanske, Musiknotation, Mainz: Schott 1988, which give a perfect compilation of the musical notation rules.
  To prevent unauthorized redistribution of our scores, the music is only available as personalized printed material and as Adobe Acrobat PDF file. The printed material can be ordered world-wide directly from us. The Adobe Acrobat PDF files are submitted on 1.44 MB IBM PC-formatted floppy disks that can be read also by MacOS or UNIX computers, or by e-mail attachment. The PDF scores are more moderately priced compared to the printed scores.

the sources

   Sources are:

  1. the autograph: This is of course the most original, but not always the best source and it has survived only in rare cases (Wranitzky, masonic symphony)

  2. a copyist's manuscript corrected by the composer serving as the base for a contemporary print

  3. a printed score (Gossec, requiem)

  4. a copyist's manuscript of the score, where there are at least no measures omitted (Wranitzky, thunderstorm symphony)

  5. manuscript parts (Vanhal, piano concerto in C)

  6. printed parts, by different publishers (Dussek, piano concerto in g)

our equipment

  We use very simple equipment: an industrial standard personal computer (233 MHz), a soundcard of 1994 with 2 MB wavetable sounds, a Roland MIDI-compatible digital piano, a very high resolution PostScript laser printer and a flatbed scanner for the graphic illustrations.

our notation software

  We use the most advanced software currently available: Sibelius for Windows (and before Sibelius had been available we used Encore). But it is not the software, it's still the skilled eye of the engraver that makes the difference. Music engraving is extremely demanding to achieve the perfect results of the late 19th century's master engravers.

A NOTE ON COPYRIGHT

   

  In general, national copyright laws vary in the protection of musical editions. Two important countries have to be mentioned above all:

U. S. Copyright protects all works, i. e. also musical editions, created by U. S. citizen living in the USA and abroad, for the creator's lifetime + 50 years. This means that royalties are collectible for performance, broadcasting, and recording based on material of such editions, and also for recordings issued in other countries but available in the USA.

U. S. copyright is applicable to US editors and their editions and edition series published by Edition Parnassus Harmonicus

Richard Fuller, fortepianist:

Dussek, piano concertos; Jadin, piano concertos; Wolf, piano concertos, and future projects

Virginia F. Strauss and John F. Strauss, Professors of Music, teaching at Luther College, Decorah, Iowa

Hummel, Pleyel, Vanhal: concertos

German Copyright protects musical editions for 25 years after publication if done by German citizens living in Germany or abroad. This means that royalties are collectible for performance, broadcasting, recording based on material of such editions or forphotocopying of the editions, and also for recordings issued in other countries but available in the Germany.

  Copies of the scores are requested by the collections and libraries providing the sources and the revision material, and to libraries providing sources for new editions we donate editions for free.
   For musicological and educational purposes, there are special academic conditions for redistribution within the institution. The printouts from the institution's library may be handled over to music teachers, music students and members of the academic music ensembles without any additional charges (except the usual charge for the photocopies).
   If an orchestra has purchased the score and the parts, as many printouts and photocopies as necessary for practice, rehearsal and performance may be made as well. If orchestral parts are not available from us or other publishers, feel free to contact your nearest digital copyist for setting. You will find a world-wide directory in the ARA Digital Engravers page.
   The submission of concert programs (2 copies minimum) and of recordings (commercially available digital or analogue audio and video disks or tapes) to the publisher is required and will be highly appreciated.   

please remember:
we print on your demand -
your score will bear your name

Important!! Read carefully these printing hints!

   The Adobe Acrobat PDF scores require much less storage space than printed copies and they can be printed into an infinite number of printouts (for your own use, see above).
   If you use PostScript printers on a PC, Mac, or UNIX system, you will get the best results in the shortest time.
  With the more common HP-PCL compatible laser and inkjet printers, the professional-level 32 bit-operating system Windows NT (3.51 and 4.0) also does not make problems by omitting some score elements, as rests or cue notes, however, dynamic hairpins are printed as hair lines, and system lines may print with different thickness. Opening or closing another acrobat file during printing may confuse the spooler and results in strange geometric artwork with note heads, beams, and slurs. Inkjet printers are slow and may not deliver the "engraved" appeareance.
   Windows 95 with its 16 bit-printing system will give quite good-looking results on PCL 5e compatible printers set to 600 dpi. It requires the setting "print true type as bitmaps" and the "raster" graphics mode. Some inkjet printer drivers will deliver only garbage just as from Windows 3.1x.
   Windows 3.1x behaves disobediently: Inkjet printers using the universal printer driver or a PCL 3-compatible driver print garbage notes without staff lines on the printout. 300 dpi laser printers (at least PCL 5 compatible) may print the staff lines, but only partly the cue notes. And even with the most advanced original PCL6 600 dpi desktop laser printer with sufficient printer memory, there are rests and parts of the staff lines just omitted.
    OS/2 3.0 and 4.0 print slowly, with smooth slurs and even line widths (there is apparently a different routine of rasterizing for OS/2). Set the spooler priority to 189 for fastest spooling.

   Unfortunately, the pages' complex structure originates from the notation software and, of course, the notation itself. (Before the introduction of computer setting, a perfect appearance could only be achieved by engraving and punching into pewter metal plates, in the 1970s also by stamping or dry-rub lettering, and notation graphics was an extremely expensive handicraft).

There are, however, these ways to obtain correct printing output:

Download sample.pdf (143473 bytes) containing four pages, three with engraving tool size 7 and one with engraving tool size 8. If you do not get satisfactory printing output from non-PostScript printers, try GhostScript/GSview instead to view and print the file.

pricing and payment

   The full prices listed above have to be paid from all E.C. and EFTA countries, from the USA, Canada, from Japan, Australia and New Zealand, from Israel and from the oil-exporting Arab countries. Add 10 - 20 $ for overseas shipping and handling (2nd class, surface mail), we will notify you about the exact total sum. Payment should be done in advance by mail order only (somewhat traditional). 
   For countries with developing economies, there are reduced prices. Please inquire for the extent of reduction.

the Demophon ouverture in f minor

by Johann Christoph Vogel (1758 - 1788) had been the most popular piece during the time of the French Revolution (1789 - 1799). We therefore offer it in both score and parts for free download of our edition (by Josef Wagner) dedicated to Sir John Eliot Gardiner.

e-mail-order

   Please specify composer, title, quantity and if you prefer bound copies or PDF-files. Or print out the catalogue, mark the items and send me a fax order at +43 2243 30874. A PDF order form will follow soon!

Send comments and inspirations to handerle@klosterneuburg.net.

Last modification: February 4, 2000