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Future Projects

In November 2012 a number of aims remain unrealized, mainly additions to the website that would enhance recital performances from this wonderful repertoire.  These projects are particularly suitable for graduate student work, using sources accessible through this website. 

For example:

Preparation of performance editions of arias from the numerous Graupner cantatas that now have autograph or contemporary transcriptions on-line. Scores are often in Graupner’s autograph hand, with parts by a court copyist.  Texts of eighteenth century cantatas generally require transcription from the old German Handschrift.

Similar work on arias from the Georg Gebel cantatas for both oboe and bassoon in Rudolstadt, a beautiful classical town in Thüringen that merits a visit.  See incipits in the Schröter Werkverzeichniss.

Working editions from numerous unpublished Telemann cantatas that are now accessible in the Sauer microfiche series, especially works that disappeared to Kiev from 1945 to 1999.

Arias from the Stölzel cantatas in Sondershausen, accessible there on microfilm, provide similar opportunities.  RISM gives detailed incipits.

The CPE Bach aria “Willkommen Heiland”, from his Auferstehung und Himmelfahrt Jesu, is formidable on a contemporary bassoon in the original Ab major.  Sources at the Gesellschaft der Musikfreunde in Wien indicate that for the Mozart presentation in 1788 a transposition of this aria to G major was made, with virtually no other changes.  Keyboard reductions of both the Ab and G major versions could become valued recital pieces.

Performance material for the 1786 Hiller revision with bassoon abbligato of "If God be for us, who can be against us" from Handel's Messiah. With keyboard reduction, this could become a valued recital piece.  With string parts, this version could be included in performances of the full work.  The material from the Ricordi score of c. 1856 is on-line here.

There appears to be no accessible reduction in the original French, for soprano, bassoon and keyboard of Neris' aria from Cherubini's Medea, “Ah! nos peines”  "Only to shed a tear with you" "Solo un pianto"  "Lass mich nur mit dir weinen" .

Performance material with keyboard reduction of arias such as

Friedrich Heinrich Himmel’s “Deh tergi quel pianto”,

Vincenzo Righini’s “Bella de’ Boschi diva” from Atalanta e Meleagro, and

Antonio Sacchini”s "Mentre il cor conmeste voci” from Artaserse would be valuable repertoire additions.

All three of these arias also appeared with liturgical texts - see composer listings.

Presentation on a website such as this, with due acknowledgement, could make a conventional publisher redundant.  Libraries are generally supportive of such initiatives, provided they receive copies of the result.