Since its modest beginnings in 2003, Prima la musica! has expanded its catalogue as more and more editors have joined our team. Going back to original source material, we produce clear editions in modern notation with carefully planned page turns of music by less well-known musicians who worked alongside "the great composers" - often of the highest standard, these works would otherwise remain unperformed, due to the limitations of early notations.

The price shown for each product is for a performing set. That is a master score, a set of single instrumental parts (and extra scores for singers, if it's a vocal piece.) If you only wish to buy a study score, de-select the Performing Set option.

CONTACT DETAILS

Prima la musica!
3 Hamilton Street
Arbroath
DD11 5JA
United Kingdom

PHONE: +44 (0)1241 439616

EMAIL: primalamusica.com@gmail.com

Below you can read about all our editors - if you would like to contact them, please let us know!

 
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Brian trained as a musicologist at St Andrews University in Scotland, and has been a freelance editor and typesetter since 1989. His customers include King's Music, The King's Consort, JOED Music, and some of the world's leading early music ensembles, as well as opera houses and standard orchestras.
 
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Dennis Collins lives in France and works as a translator and musician. His speciality is early 17th-century Italy, and we sell editions by him of music by Donati, Grandi, Monteverdi, Rovetta, Rigatti, Barbara Strozzi and Isabella Leonarda. His own website, Celesti Fiori, gives full details of his editions.
 
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Kim Patrick Clow, a native of Hampton, Virginia, fell in love with early music as a teenager, after hearing David Munrow's score to the BBC series "The Six Wives of Henry VIII." Encouraged by his parents Frances and Les, Kim's love of baroque music lead him in 1983 to research Christoph Graupner's music. After moving to New York City in 2000, Kim currently works as a freelance editor and typesetter, championing the music of the neglected masters such as Graupner, Telemann, Fasch and Stölzel.
 
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Lutenist Richard Stone has performed as soloist and accompanist worldwide. He is founder and co-director of Philadelphia baroque orchestra Tempesta di Mare. In addition to accompanying, Stone also conducts, leading performances from the theorbo in repertoire ranging from Monteverdi's Poppea to Handel's Judas Maccabeus. He is soloist on the world-premiere CD of Weiss lute concerti with Tempesta di Mare on Chandos. Other recording and broadcast credits include Deutsche Grammophon, Polygram, NPR, the BBC and Czech Radio. Richard Stone is instructor of baroque lute and theorbo at the Peabody Conservatory.
 
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Juliane Peetz-Ullman studied musicology in Würzburg; her Masters essay was an edition of David Pohle's sacred vocal works. From 2005 to 2008, she has been working with a database catalogue project for the Düben collection in Uppsala, and now she is employed at the Department of Musicology at Greifswald University, and after a project which will see extracts from The Whitelocke manuscript recorded, she is planning a series of editions of music from 17th- and 18th-century Gdánsk.
 
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Dr Gottfried Gille works as Kantor and Organist in Bad Langensalza, Germany, where he also teaches Religious studies. Having studied church music and religion, and worked for a time, he went to the University of Halle/Saale, where he gained a diploma in musicology. His thesis was on the Life and Works of David Pohle.

The late Jean-Luc Gester worked at the Sorbonne in Paris and specialised in 17th- and 18th-century music in Alsace. For Prima la musica! he edited motets by the Swiss composer, Johann Melchior Gletle.

Nigel Springthorpe studied music at University of Surrey and a took a postgraduate course in conducting and piano at the Royal College of Music. A specialist interest in the 18th century oratorio Passion, resulting from the conducting of several important UK premieres, led to research culminating in the completion of a fellowship thesis on the Passion tradition in Hamburg and a doctoral thesis on the passion tradition in the court of Anhalt-Zerbst. This has led to an ongoing project creating a catalogue of the works of the brothers Johann Georg and Johann Christian Röllig.
 
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Tarsi-Mimi Loustas was born in Thessaloniki, Greece, and holds a PhD in Musicology in the field of historical musicology from King’s College, University of Cambridge. Her PhD thesis, entitled ‘The overture in England from the Restoration to the mid-eighteenth century’ was the first in-depth study in this field. BA (Hons) in Music, MPhil in Musicology, and MA from Fitzwilliam College, Cambridge, followed studies in music theory, harmony and piano at the State Conservatoire of Thessaloniki. Two articles (the first an analytical study of Leo Janácek’s The diary of one who disappeared, and the second on H. Purcell’s and J.-B. Lully’s overtures) are to be published by the Greek musicological journals Mousikologia and Mousikos Logos respectively. Since 2007 has lectured at the School of Fine Arts at the University of Western Macedonia, Greece.

Richard Maunder is the author of Mozart's Requiem (Oxford, 1988), Keyboard instruments in Eighteenth-Century Vienna (Oxford, 1998), and many articles in musicological journals, mainly on the history of instruments and historical performance practice. His latest book is The Scoring of Baroque Concertos (Boydell & Brewer, 2004), in which he surveys the whole concerto repertoire up to about 1750, and shows that most of it was played as chamber music, one to a part. Richard has also published many editions of seventeenth- and eighteenth-century music, including thirteen volumes of J. C. bach's Collected Works (New York and London, 1984-90), and radical new versions of Mozart's Requiem, K. 626 (Oxford, 1988), and C minor Mass, K. 427 (Oxford, 1990). He plays the baroque/classical viola and violone, and was the conductor of the first modern staged performance of J. C. Bach's Endimione (Cambridge, 1994).
 
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Berna Can was born in Istanbul, Turkey and lives in New York. Originally trained as a painter, her love of the visual arts of the Italian Baroque led to a deep interest in the era’s music.. Berna has worked in various corners of the classical music industry since 2002, and currently writes reviews of early music recordings for the publication Early Music America. A devotee of the music of Antonio Caldara, she has been working on editions of the composer’s sacred music for Prima la musica!

Pierre Pascal wrote his thesis on string ensemble music in Salzburg, and he has so far supplied editions of sonatas by Heinrich Biber. Future plans include music by Schmelzer, Muffat and other late 17th-century composers.

Samantha Arten graduated summa cum laude from Washington University in St. Louis with a Bachelor of Music with a concentration in music history.  Her senior honors thesis examined the sacred music of 17th-century Venetian composer Barbara Strozzi.  She now works as the Orchestra Manager and Librarian for the Washington University Symphony Orchestra.  Samantha is a staff singer at the Church of St. Michael and St. George and has performed professionally with several local Baroque and choral ensembles: St. Louis Baroque, Collegium Vocale St. Louis, the Southeast Baroque Ensemble, and the Schola Immaculata.

 
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Maxwell Sobel M.D. became interested in early music and editing during high school. While pursuing a degree in Biological Sciences at Indiana University, he played violin and renaissance woodwinds. After finishing a residency in Psychiatry, he returned to his earlier interest in music editing and research, and founded his own music publishing company, Concerto Editions. A special area of interest is the repertoire of the Dresden orchestra, with its multiple woodwinds. Two CDs based upon his edition of Bonporti’s complete works have been released, and many other CDs containing music edited by Dr. Sobel are currently available.
 
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Marianne Richert Pfau is Professor of Musicology at the University of San Diego, and occasionally guest-teaches at the Musicological Institute of the University of Hamburg. After degrees in historical wind instruments and performance practices at the Hochschule für Musik in her native Hamburg, Marianne went on to the Guildhall School of Music in London for a licentiate in music therapy, and did her Ph.D. in historical musicology at SUNY-Stony Brook.

The monograph Hildegard von Bingen: Der Klang des Himmels with Stefan Morent (Cologne: Boehlau, 2005), which includes an audio-CD, has garnered enthusiastic reviews on both sides of the Atlantic. Her complete edition of Hildegard's Symphonia chants (Bryn Mawr: HPC, 1993-98) is widely used.

Find out more about her ensemble here.
 
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William Kempster completed his Doctorate at the University of Alberta, Canada, in 1999 with a thesis entitled: "Chromatic alteration in the Missa "L'Homme armé" of Pierre de la Rue: A case study in performance practice". He is the founding conductor of the Edmonton-based Chamber Choir Ensemble de la Rue (click here to visit their website), and is currently the Director of Choirs at the University of New Hampshire, USA. William has conducted choral and orchestral performances in Australia, Canada, the USA, France, Belgium, Germany and Bulgaria
 
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Graeme Stevenson is the third successive generation of his family to have become an organist He took up his first organist post when he was 12 at St John's, Dundee, Graeme studied Music at Aberdeen University where he was organ scholar at Kings College. After graduating, he went on to do a Masters degree on Music for the Mass by Johann Ludwig Krebs.
Graeme is currently Director of Music at the University of Dundee. Under his direction, the University Chamber Choir and Bach Consort have recorded CDs.
 
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Michael Schneider is active as performer on historical flutes and as conductor. With his groups La Stagione Frankfurt and Camerata Köln he has made numerous recordings during the last 30 years. As professor he teaches at the Frankfurt "Hochschule für Musik und Darstellende Kunst". Musical editions are a fruit of the research that he regularly does for the composition his programs.
For more information:
Michael's own website
La Stagione
Camerata Köln
The Frankfurt Hochschule
 
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Johanna Schatz trained as a high school teacher and works in Kirchehrenbach (Germany). Singing, listening to music and, of course, going to concerts is a MUST to her. When she became involved with different choirs some years ago, she was startled to discover that lots of people appear to have problems reading music. So she began typing out the music and producing practice and rehearsal CDs for her students and the less talented choir members. What started off as a hobby soon became an obsession and has now turned into a passionate desire to help unearth more apparently-forgotten music. She feels that editing the Graupner cantatas is just as satisfactory as working on an archaeological dig: It's a bit like digging in the dirt, expecting to discover some rusty coins, and then – suddenly! – you strike gold. Johanna claims that she gets 50% of her creative energy from music-related activities, the other 50% from roaming the forests and searching for (preferably collecting) wild edible mushrooms.

Marco Schneider was born and grew up in Frankfurt / Main where he received his first musical education at a very early age. He studied at Dr. Hoch’s conservatory, his main subject at first being the oboe (Nora-Gudrun Spitz). Later, however, he focussed on counterpoint and composition (Gerhard Schedl). Furthermore he took private conducting lessons with Judith Somogi and studied conducting techniques by attending rehearsals with Michael Gielen and Eliahu Inbal. He also went to Sergiu Celibidache’s master courses. Even while he was still at Frankfurt, he began taking an interest in the theory and practice of historical music, attending courses by Michael Levitt and Michael Schneider. In 1989, he founded the chamber choir CoroCantiamo, and, in 2004, the orchestra Capella Regnensis (an ensemble using historical instruments only). His main focus is on music from the 16th to the 18th century. For many years now, Marco Schneider has taken a deep interest in the musical culture of the free Reichsstadt Nürnberg, especially in its tradition of performing music composed for more than one choirs. As for composers, Praetorius, Bach, and – above all – the Darmstadt baroque composer Christoph Graupner (1683 – 1760) form the centre of his attention. More than 30 of Graupner’s compositions have been edited and performed by his vocal and instrumental ensembles. Many of these cantatas will eventually be published by Prima La Musica!, starting with the first cantatas in 2010.
 
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Niels Danielsen studied organ at the Royal Danish Academy of Music, and is now organist in Ballerup near Copenhagen, Denmark. He has a keen interest in unjustfully neglected composers from all periods, especially those of the German baroque like Stölzel, Graupner, and Zelenka. One of his other interests is typography/typesetting, and loves using the latter to promote the former. He will be working his way through some of Christoph Graupner’s many delightful cantatas.
 
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Cosimo Stawiarski was born in 1974 in southern Italy. He studied baroque violin and musicology in Basel, Amsterdam, Leipzig and Kiel. Since then his primary interest has been researching and publishing 17th- and early 18th-century sacred music from central and northern Germany. He founded “Edition Musica Poetica” in 2003, with the express aim of making readily available unknown and hitherto unpublished early modern music available in musicological, Urtext performing editions. Cosimo and his publishing company were instrumental in the re-discovery of the English composer, William Hayes (1708-1777). Since 2010, “Edition Musica Poetica” publications have been produced and distributed by Prima la musica!
In parallel with his publishing activities, Cosimo is still very much a performing baroque violinist. He is a core member of the group “Les Cornets Noirs”, and regularly works with renowned conductors and other early music ensembles – as illustrated by his extensive discography. As a performer, he has visited most of Europe, and also North and South America.
Cosimo Stawiarski lives with his wife near Medellin (in Colombia) and regularly returns to Europe to as his diary demands.
 
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Maik Richter studied Musicology, Italian and Medieval Latin from 2003 to 2008 in Halle (Saale), Germany; in his Master thesis (Magister Artium) he concentrated on the music at the Principate court of Anhalt-Köthen. Since 2009 he has been preparing editions of 18th century music in Germany, especially such from the Church archive St Mary in Weißenfels. In July 2010 he began his PhD thesis about the Central German Latin Mass tradition between 1650 and 1750.
 
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Warren “Chip” Prince
hails originally from Lancaster, New Hampshire; currently he works in New York and on tour as a Broadway pianist and conductor, also moonlighting as a paid chorister whenever the occasion arises. He developed his passion for early music and editing while attending Brigham Young University. His more ‘serious’ New York playing and conducting credits include Coram Boy, Fermat’s Last Tango, Matthew Bourne’s Swan Lake, and the Baz Luhrmann La Bohème. Chip can be heard playing both piano and trumpet on the 2006 cast recording of the Kurt Weill-Bertolt Brecht Happy End.
 
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Jonathan Jager
is a composer, arranger, and conductor based in New York City. He has music directed for the stage and is a former drum major of the Columbia University Marching Band. He holds a degree in Jewish Music from the Jewish Theological Seminary of America.
 
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Yotam Haran is a cellist. He was born in 1992 in Israel, where he is now studying for a B. Mus. degree with Zvi Plesser at the Jerusalem Academy of Music and Dance. Yotam had his first encounter with historically informed performance a few years ago at the early music workshop in Jerusalem, and has since been studying the Baroque Cello with Orit Messer at the Israeli Conservatory of Music in Tel Aviv. He has participated in master classes with various teachers, including Roberto Gini, Alfredo Bernardini, Walter Reiter and Noam Krieger. In the years 2010-2011 he also participated in the Urbino Musica Antica summer course in Italy, where he received instruction from Gaetano Nasillo. Yotam is a recipient of the America-Israel Cultural Foundation scholarships for the years 2009-2012.