ABOUT US

Musedita is a small publishing house set in Albese con Cassano (province Como, Italy).Its owner and artistic director is Alessandro Bares, a professional musician interested in baroque music since 1990, when he started studying baroque violin at the "Centre de Musique Ancienne" in Geneva and musicology at the "Scuola di Paleografia e Filologia Musicale" in Cremona (now"Facoltą di Musicologia", University Pavia).
Musedita has a quite large catalogue, but is also available for transcriptions and/or edition of any kind of music, from harpsichord sonata to opera. We co-operate (or have co-operated) with musicians, theaters (among others Stadttheater in Berlin, Staatsoper in Hamburg, Norske Opera in Oslo, Biennale in Venice) and publishing houses (among others Bärenreiter, Novello, Boosey & Hawkes, Ortus).
Many professional musicians and musicologists co-operate with Musedita, by proposing their own transcriptions, making us know about unknown music, giving us photocopies of ancient manuscripts and prints.
Among others: Monica Pelliciari (baroque violin and viola), Cristiano Contadin (viola da gamba), Vittoria Rosapane (violinist and philologist), Marco Ghirotti (organist), Giuseppe Fochesato (musicologist), Robert Ischer (cornett), Alain Gervreau (baroque cello), William Dongois (cornett), Hans-Jakob Bollinger (cornett), Pasquale Spiniello (organist), GianGiacomo Pinardi (lute and theorbo), Vittorio Ghielmi (viola da gamba), Leonardo Bares (student), Enrico Bissolo (organist), Enrico Gramigna (baroque violin), Giovanna Morabito (violinist), Riccardo Coelati Rama (double bass), Giovanni Zordan (viola), Marco Croci (organist), Jonathan Pia (baroque trumpet), Luca Marzetti (double bass), Francesco Tomei (double bass and viola da gamba), Elinor Frey (baroque cello), Giuseppe Schinaia (recorder).

Musedita's scores are diplomatic-interpretative editions from XVII and XVIII printed and manuscript volumes. We have choosen to change the original text as little as possible. We only correct what appears to us really "evident" mistakes, and where the solutions seems to be "evident". We know very well that philologists disagree with our choice, because their aim is to publish "perfect" scores. Our scores are not perfect: in particular they are affected by our personal knowledge as musicians.

Our ambition is to provide "clean" material, i.e. without arbitrary additions and without too many mistakes. Our customers are mostly musicians, professional and amateurs, more interested in having sheet music for their concerts and recordings (and private pleasure) at reasonable prices and with a big choice than in having a few, very expensive, volumes rich in philological information.
Our scores are printed on paper "Cambridge", 100 g. color ivory (the same of our paper catalogue), 22.5 x 31 cm, with very high definition laser printers.

Our work is at your disposal also for transcription of any kind of music, from ancient to contemporary music, from harpsichord sonata to opera.
We worked for single musicians, for theatres such as Stadttheater in Berlin, Staatsoper in Hamburg, Biennale in Venice, for publishing houses such as Bärenreiter and Novello, providing full scores and orchestral material at the same quality level of works of our catalogue.

 

 

 

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