Music in the Galant Style
For this project, manuscripts are selected with a focus on works that have not been previously published. The music is chosen from the significant composers of the style, such as Baldassare Galuppi, Francesco Durante, Leonardo Leo, and others.
The goal of the Galant Masters Project is not only to add works to the repertoire, but also to educate performers, conductors, and teachers in this style. Our recordings are performed by Baroque-Classical specialists, and our editors are authorities on music of the Galant style. The "Performance Tools" section of this website includes a constantly expanding educational and reference guide with a dedicated performance practice page for each piece published. In addition, members of our editorial staff are available for consultation via phone or email or for performance clinics, all to help ensembles gain the experience of an historically informed performance of this literature.
About the Editors
Thomas J Tropp, D.Mus.
Chicago, Illinois USA
(research, manuscript selection and procurement, music editing, Chicago Galant Consort Music Director and Conductor, recording producer)
Chicago, Illinois USA
(music editing, preparation of realized orchestral parts, Chicago Galant Consort Concertmaster)
(music editing, preparation of continuo realizations)
Zalman Kelber, Oxford, UK
Jason Moy, Chicago, Illinois USA
David Shaler Baton Rouge, Louisiana USA
Christopher Eanes, Cincinnati, Ohio, USA
At the heart of the Galant Masters Project is the recording component. Each score edited is recorded by the Chicago Galant Consort. The recordings are produced by SoundByte Studios , an internationally recognized leader in choral and choral-orchestral recording.
The Chicago Galant Consort, an ensemble specially established for this project, draws together the finest early musicians in the Chicago area and throughout the United States.
The scores for this project are prepared as critical performing editions. Full scores contain editorial commentary, both in narrative format and in the music, and revisions are incorporated in a clean and easily readable manner.
Performance materials are also available. Vocal scores include piano reductions or realized continuo keyboard parts, as appropriate. Additionally, two sets of instrumental parts are prepared for each score: a “standard” version for players familiar with early music performance practice and a “realized” version, instructing the players in how to ornament, embellish, and articulate in a stylistically appropriate manner. The realized parts also come pre-bowed by specialist string players.