Early German (23 results)

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Soft cover. Condition: Very Good. 176 pages. Illustrated. Voices and Instruments: Soloists and Ensembles in the 15th Century (pp. 179-198) Keith Polk Musical Acoustics in the Middle Ages (pp. 199-210) Dorothea Baumann and Barbara Haggh Minstrel Schools in the Late Middle Ages (pp. 212-216) Maricarmen Gómez and Barbara Haggh Writing, Reading and Memorizing: The Transmission and Resolution of Retrograde Canons from the 14th and Early 15th Centuries (pp. 218-221+223-234) Virginia Newes Some Aspects of the Notation and Performance of German Song around 1400 (pp. 235-246) Lorenz Welker and Barbara Haggh The Wedding of Archduke Charles and Maria of Bavaria in 1571 (pp. 253-255+257-259+261-269) Robert Lindell Josquin's "Missa Pange Lingua": A Note on Agnus Dei III (pp. 271-273+275) Richard Sherr.

Soft cover. Condition: Very Good. 144 pages. Illustrated. Johann Sebastian Bach's Orchestra: Some Unanswered Questions (pp. 3-15) Hans-Joachim Schulze The Dresden Hofkapelle during the Lifetime of Johann Sebastian Bach (pp. 17-30) Ortrun Landmann The Editorial Transmission of C.P.E. Bach's Music (pp. 32-41) E. Eugene Helm A Chaconne by Georg Böhm: A Note on German Composers and French Styles (pp. 43-54) Peter Williams Türk, Touch and Slurring: Finding a Rationale (pp. 55-59) Daniel M. Raessler Early Fingering: Some Editing Problems and Some New Readings for J.S. Bach and John Bull (pp. 60-69) Mark Lindley The Rules for 'Through Bass' and for Tuning Attributed to Handel (pp. 70-74+77) Jane Troy Johnson.

Pictorial Wraps. Condition: Very Good. No Jacket. Engravings (illustrator). No date, [18--]--company existed from 1860-1903 according to DNB. 4.5 x 3 inches (11.5 x 7.5 cm). Green paper wraps printed in black ink, light soil and mild wear. Moralistic stories for children with 7 engravings. I could not locate any institutional copies. Size: 48mo.

1975. (Hardcover) Very good plus in very good plus dust jacket. 216pp. Illustrations, notes. Preliminary pp.iii-iv has been removed and there is a "booksale" stamp on the title page, the dust jacket has minor edgewear. Articles by Per Nykrog, Pierre Jonin, Michelle Augier and Marie-Louise Ollier are in French. Time Period Middle Ages. Contributors include F.R.P. Akehurst (The Troubadours As Intellectuals), T.M. Andersson (The Emergence of Vernacular Literature in Iceland), Michelle Augier (A Propos de Quelques Conversions feminines dans l'Epopee francaise), M.S. Batts (The Emergence" of Medieval German Literature), R. Howard Bloch (The Text As Inquest: Form and Function in the Pseudo-Map Cycle), Robert Hollander (Babytalk in Dante's Commedia), W.T.H. Jackson (Persona and Audience in Two Medieval Love-lyrics), David L. Jeffrey (Franciscan Spirituality and the Rise of Early English Drama), Michael J. Jeffreys (The Literary Emergence of Vernacular Greek), Pierre Jonin (La " Clere" Espagne de Blancandrin), M. Dominica Legge (The Rise and Fall of Anglo-Norman Literature), Jeanne S. Martin (Character As Emblem: Generic Transformations in the Middle English Saint's Life), Per Nykrog (Le Jeu d'Adam: Une interpretation), Marie-Louise Ollier (Demande Sociale et Constitution d'un "Genre": la situation dans la France du XII siecle), D. Paloma (Chaucer, Cervantes, and the Birth of the Novel), Zumthor (Birth of a Language and Birth of a Literature). Some text in French Language. (Essays).

Hard back binding in publisher's original brown paper covers, black lettering to the spine and the upper panel, colour onlay to the upper panel. 8vo 8'' x 6¼'' 77 pp. Eight colour plates. Slight rubbing of the paper across spine ends and in Very Good condition, no dust wrapper. Member of the P.B.F.A. ART [German].

FOTO, EIGENHÄNDIG SIGNIERT - SCHÖN ! (photo-postcard signed / verschiedene Motive vorhanden; Abbildung zeigt Muster).

Publisher's original plan grey card wrap covers [soft back], maroon title and author lettering to the front, spine and rear covers, small circular onlay to the front cover. 8vo. 7½'' x 5¼''. Contains 136 + iv printed pages of French text with 24 monochrome photographs on coated paper. Age tanning to the covers and page margins, small bump to the centre of the front spine edge and in near Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. ART [German].

Ephemera. Condition: Very Good+. (Size: 290 x 200mm).

FOTO, EIGENHÄNDIG SIGNIERT Berlin, 9.3.1918.

Frühe Porträtpostkarte, eigenhändig signiert (dito : E.Albumblatt mit Empfehlung, Datum, Unterschrift Sept. 05 , mit Original-Fotopostkarte als DON CARLOS unter Passepartout gerahmt 1 S. 4° Euro 45,-) (dito : E.Brief (1,5 S. 8°) in lila Tinte mit Datum, Unterschrift signiert 7. Mai (19)08 - an einen Doctor ".Am 22. Mai ist unsere letzte Premiere. Da ich jeden Tag beschäftigt bin.daß sich die Proben in den letzten Tagen vor der Premiere bis in den Nachmittag hinein ausdehnen werden.muß ich leider aus diesem Grunde die liebenswürdige Einladung zum 18. Mai.ablehnen." Euro 95,-).

108 pages of text, illustrated throughout; 93 pages of mainly advertising, all printed on medium glossy paper; a doublepage tinted cardborad with tipped-on drawing of the first Lloyd-Dampfer 'Bremen' 1857 and a fold-out menu of 'S. S. Columbus' bound inbetween the advertisement-section. - Publisher's silver-titled blue cloth-binding; 4to.(ca. 31 x 23 cm; ca. 1,3 kg.). *** [FRÜHLINGSVERKAUF-Endspurt, noch bis Montag den 25.05.2026 / Ultimate SPRING-SALE, only until Monday May 25th 2026: um über 45% REDUZIERTER PREIS / PRICE-REDUCTION of over 45%; ehemaliger Preis / previously EUR 180,-] --- FIRST EDITION, LARGESIZE CLOTHBOUND PORTUGUESE VERSION OF THE LLOYD-JUBILEE-BOOK, printed for the South-American Continent. - Binding partly slightly sunned, ends of frontjoint with short teard (1-2 cm), endpapers with minimal foxing; OVERALL A VERY GOOD COPY.

Hard back binding in stunning full burgundy leather covers, raised bands with gilt title, author lettering and gilt designs to the spine, magnificent hand tooled symmetrical gilt and scarlet design and green polka dots to the front and rear covers, pastel pink and purple curl end papers. Quarto 10'' x 8''. 1500 copies on fine cartridge paper, this is copy No. 1382. Contains 148 [i] printed pages of French text with two tone illustrations throughout. One small area of rubbing to the front cover and in very near Fine condition. Member of the P.B.F.A. FRANCE [Literature & History).

Condition: Good. 8vo. Three Quarter Leather on Marbled Boards. 462 pp. Very Good. Inked inscriptions from previous owners on FFEP. Rebound.

4to. 4 pp. on bifolium. Via Carl Klingemann to the German Orientalist Friedrich Rosen (1805-1837) in London, sharing his observations on the cold and malicious nature of the Berliners. The composer laments about the way the denizens seem to make it a point to treat the artists poorly during performances: "On the Festival you already know the details from Klingemann; it has become one of our dearest recollections, and I think it is my best composition. A few weeks later the surgeon declared my knee to be completely cured, and I thought I would be leaving shortly, but then the bitter cold came and I postponed the journey and began a large work (a symphony for orchestra, on which I worked a lot every day; it isn't quite finished, but I hope I can finish it before my departure, as I have already begun the last movement. My illness surprised me a few days before my departure, I had already taken my leave and had started to pack; now I'll have to postpone that at least a fortnight longer, but then I think I can leave; my plan is to go from here via Weimar to Munich, then through the Tyrol to Vienna; from Vienna I intend to go to Venice and Upper Italy in the middle or toward the end of summer, and then I think I'll spend next winter in Rome and Naples, then in the spring, if it is permitted to spend so much time on a plan, go to Paris and then to London from time to time, where there may be much smoke and fog and great crowds and poverty, but where pretty nice people live, too, and where I wasn't so bad off for a year. But will I find the same people there then? On this, as on your whole Let (that is Sanscrit for the future) I ask you to let [me] know a lot, also about everything which is dear and precious to me in London, and about our friends at some length. For you have a sharp eye, professor, and when you are sitting on the blue sofa, or silently making tea, or modestly gliding to and fro in the halls of the university with a light red [folder] and a long black robe, you will still make your accurate remarks and comments, and I expect more from you than from many a Berlin lady. What I have to tell you about Berlin, at last, is little and not pleasant, the people are cold, malicious, and make it a point of honor never to be content; even when [Henriette] Sonntag performed recently she was received quite coldly and was palpably slighted in favor of the others in the cast; her sister, who performed the next evening, was almost completely hissed from the stage, for which the other faction took revenge, and in their first scene (in Othello), all the participants were hissed at and Mme. Sonntag had a curtain call, and at that they speak, think, and do nothing differently than Mme. Sonntag and the factions for and against her. But is such formation of factions something a reasonable and interested public should do and doesn't it spoil any enjoyment of the work of art and all joy of the artist? But that's how they are in big and little things, and the Flower Market that opened yesterday in the University Gardens, for which a single gardener has obtained a monopoly, is just as good a proof of it as the dearth of operas other than by Spontini and Auber for which the Royal Theater has in turn obtained a monopoly, and like the monotony of the parties and conversations here; God will improve this when He has nothing to do but that, but I'm afraid He'll get other things and so much to reform that the Berliners' turn won't come for a long time, so for now they are good enough. Let me know what the Johnstons are doing, whether Ritter is still the same as back then, and whether Mühlenfels has been successfully introduced to society and speaks French with Federita. Let me know, too, about the stone monkeys, the wooden chairs from King Edmund the Cannibal's time, and the scraped-off portraits. My chests from England arrived a few days ago and filled me with longing again. Have you been back to Atwood's again since then, and did you entertain the fellow with some Ikojan Atchi? You see how I have learned from you. In short, write me about each and every thing, but especially, write me [.]" (transl.). - Friedrich Rosen became Professor of Sanscrit at the University of London (later University College) in 1827, at the age of twenty-two. Carl Klingemann was Mendelssohn's close friend and collaborator who wrote the words for many of the composer's songs. Karl Wilhelm Ludwig Heyse had been Mendelssohn's tutor until 1827. The Festival is possibly the Grosse Festmusik zum Dareifest (Grand Festive Music for the Durer Celebration) of 1828. The Symphony may be the Fingal's Cave Overture written in 1830. One of the Liechtenstein songs is doubtless Frühlingslied (Song of Spring), op. 19, no. 1.

Soft cover. Condition: Very Good. No Jacket. Neue Garten-Lust: das ist grundliche Vorstellung wie en Lust-Küchen-und Baum-Garten unter unserm Teutschen Climate füglich anzurichten; allerhand so wohi fremde als einheimische Blumen, Kräuter, Gewächse und Bäume darinnen zu erziehcn und zu warten. Damit es ein recht vollkommenes Garten-Buch seyn möge, mit sehr nützlichen Anmerckungen, und zweyen Anhängen, zu dem ersten und dritten Theile, wie auch mit dem gantzen vierdten Theile, als Beschreibung eines Artzney-Gartens. . . bey dieser letztern Aufflage mit einem neuen Anhange eines Garten- Memorials, wie auch mit drey nützlichcn Registern versehen durch Theodorum Phytologum. Leipzig, Johann Ludwig Gleditsch, 1703. Small 4to. [6] + 392 + [47]p. Title in red and black. 10 engraved plates, 1 signed by A. C. Böcklin. Contemporary vellum boards, gilt title on spine. Heinrich Hesse produced this important horticultural work and invaluable source book as a result of his experience as head gardener to the Elector of Mainz for over 20 years. It was specially intended for German-speaking peoples, and with their soil and climate in mind; where possible Latin and foreign words have been translated into the vernacular, and a dictionary has also been appended. The four sections deal with the cultivation and choice of plants including citrus fruits and other tender and exotic species, flowers, shrubs, vegetables and pot-herbs, ornamental, nut and fruit trees, as well as some 4pp on varieties of tobacco plant. There are many plant lists, with fruit trees noticeably of French origin; reputable seed merchants and florists arc named including Hans Georg Krauß of Augsburg, whose carnation catalogue is supplied. The plates depict five garden designs attached to modest country villas, illustrations of specimen plants (the signed plate is apparently a giant English artichoke), horticultural operations and two interesting early examples of greenhouses (see K. Lemmon, The Covered Garden, 1962, p 41. The garden layouts are also of interest in reflecting the Dutch taste for small country houses subordinate to a garden scheme and completely surrounded by canals. Theodorus Phytologus who has contributed the preface as well as additional material, remarks on Hesse s connections with Count John of Nassau (1604- 79), the renowned Dutch Stadtholder and innovative garden designer whose ideas had much influence in parts of northern Germany. Loudon in his selected catalogue of useful German reference works (Encyclopaedia of Gardening, 1827), lists an edition of 1713. A good copy, the centre pages uniformly toned because of paper condition. Not in Pritzel, or Hunt. Seguier, Bibliotheca Botanica, 5740 lists a 1696 edition.

FRANZ MOOR Eine Studium. Amalthea-Verlag Zürich, Leipzig, Wien 1. Auflage 1918, ERSTAUSGABE, 81 SS. gebunden (Hardcover 8°) 1. Auflage. Gr. 8° (23 x 15,5 cm). Fronispiz Portrait Waldens, 81 S. Original-Halbpergamentband mit marmoiertem Überzugspapier. VORZUGSAUSGABE # 24 von 160 Exemplaren auf reinem Hadernpapier und vom Autor unter seinem ganzseitigem Fotoportrait in Tinte eigenhändig signiert.

Condition: Very Good. Weimar, im Verlage des Landes Industrie Comptoirs, 1802 [but 1803]. An engraved map (printed surface 174 × 221 mm, sheet size 211 × 260 mm, here with ample margins). Two vertical creases; some light tanning, with a few tiny spots of foxing; evidence of previous mounting at the edge of the left-hand margin; in excellent condition. A rare German map of the early settlements of New South Wales, including Sydney, Paramatta [sic] and Bankstown, published in 'Allgemeine Geographische Ephemeriden', Volume 11, in 1803. It is largely copied from a map in David Collins' 'An Account of the English Colony in New South Wales' (1798-1802), itself based on John Hunter's 'Chart of the Coast between Botany Bay and Broken Bay surveyed in 1788 and 89 .' (1793).

LeatherBound. Condition: New. BOOKS ARE EXEMPT FROM IMPORT DUTIES AND TARIFFS; NO EXTRA CHARGES APPLY. LeatherBound edition. Condition: New. Reprinted from 1872 edition. Leather Binding on Spine and Corners with Golden leaf printing on spine. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. Pages: 163 As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. Pages: 163 Language: English.

108 written pages on 88 sheets of different sizes and different papers varying between small-8vo and small-4to (Maire's autographs) / 60+ pages on 60 sheets (Maire's poetry written by another hand of the period) / 144 pages on 94 sm-4to sheets (Facsimile of 'Rimes feminines. . .', in a different order than in the printed book). - All bound together (Facsimile > Maire's autographs > Other writer, with a few M's inbetween) in a private black halfcloth binding with dark marbled panels, tipped-on the printed part of the original frontcover of 'Rimes feminines. . .' with Rasenberger's added autograph ''Handschrift-Faksimile! Am Schluss Original-Handschriften!''(transl.: ''Manuscript-facsimile! At the End Original-Manuscripts'') surrounded by an ornamental section of the frontcover of a German artistic and geographic series ('Die blauen Bücher') which used this design between 1910 and 1930; 4to. (ca. 26 x 19 x 3 cm; ca. 1 kg.). *** [FRÜHLINGSVERKAUF-Endspurt, noch bis Montag den 25.05.2026 / Ultimate SPRING-SALE, only until Monday May 25th 2026: um über 35% REDUZIERTER PREIS / PRICE-REDUCTION of over 35%; ehemaliger Preis / previously EUR 2.650,-] --- EXTENSIVE COLLECTION OF MAIRE'S - MAINLY POETIC - AUTOGRAPHS, MOST OF THEM WITH THE EXACT DATE AND PLACE OF THEIR CREATION (CHATEAU LE FRÉHAUT NEAR LUNÉVILLE [near Nancy] in the North-East of France which Maire built and where he lived in the second half of the 18th century); THE MANUSCRIPT POEMS AND TEXTS WRITTEN BY MAIRE HIMSELF ARE TITLED, PARTLY LOCATED AND/OR DATED AS FOLLOWS (and we could not check in detail if they - or some of them - were published in Maire's other books*), e.g.: 'Départs et Retours.', 9. mai 1891 (3 pages); 'Les Disparus. - Visions au Clair de Lune.', . . . [18]86 (7 p.); 'Les deux Portraits.', 4 Sept. [18]86 (2 p.); . . .; 'La faute du thermomètre, conte fantaisiste.', Lunéville, 1.er X.bre [18]89 (7 p.); 'Souff[l]er de Nice.'[?], 3 mars [18]86 (1 p.); 'À Marie Evrat', 12 Juin 1869 au Fréhaut. (1 p.); . . .; 'Anacreontica.', 6 Avril [18]86. (1 p.); 'Pièce de vers de Circonstance à l'Époque qu'on . . .', 3 Juin 1866. (1 p.); 'Anniversaire.', 8 Avril 1866, 10.e anniversaire de Mariage (1 p.); [some dedicated - or attributed? - to specific women and with exactly counted lines] ''M. Sugg. - 189 lig[nes]'' 'Petit Pierre', Lunéville 1er Novembre [18]84 (4 p.); . . .; 'Le Départ de l'Enfant.', 19 Juillet 1886 (3 p.); ''Mme Germain'' 'Chérubin a dix ans.', 19 X.bre [18]86. (2 p.); 'Exilium!', Avril [18]89. (1 p.); 'Feuilles mortes et Cheveux blancs - Sonnet.', Le Fréhaut, 10 Juillet [18]89, (1 p.); ''. . . L'époux inconsolable et l'enfant délaissé, . . .''; ''Vous ètes nuit sombre après la matinée, . . .'', Le Fréhaut, 6 Novembre 1888. (2 p.); 'Pensées de Décembre.', Lunéville 5 Xbre 1888 (5 p.); . . .; ''M. Lecompte, 80 lignes'' 'Pensées de Printemps - 22 Mars', 22 Mars 1889. (4 p.); . . . [and many more] --- Inner frontpanel with Rasenbergers pictorial exlibris; THE ITEM IS IN BEST CONDITION, *) EVEN PRINTED COPIES OF MAIRE'S BOOKS ('Rimes d'Automne', 1892; 'Rimes indiscrètes', 1893; 'Rimes affranchiés', 1894; 'Rimes fantaisistes', 1895; 'Rimes octogénaires', 1896; 'Rimes féminines', 1897; 'Rimes bucheronnes', 1898; etc.) ARE DIFFICULT TO FIND . . .

Large 4to. 2 pp. To an undisclosed recipient: "When I posted the letter to you the day before yesterday, I already half suspected that yours would come yesterday - and it really did, and scolded me, and I deserved it, too. But write me again soon and tell me how you are. Your letter is in a bad mood, and it couldn't very well be otherwise; but tell me, couldn't you undertake some good and proper project of your own, in seclusion, as a comfort and therapeutic? [.] I am sending this letter with Rosen's portrait to Paul in Hamburg, who has just arrived there and will be staying there a few months; he will certainly be able to send it to you soon. I hardly think the sketch will be of any use because it was done so very hastily; but I find the likeness so very good, and I ask particularly to see to it that I get it back undamaged. When you write of the dead season again, and I think again of the despairing foggy days I was amazed to see this time in James Park, and when I then also see the disgusting snow that has been lying here for several days, then I say Germany forever, after all. Small and miserably dead it is here, and yet there is much to live for. If I had enough character to turn down the next Rhinish Music Festival, it could be possible that I would stay entirely, my whole life, sitting here in Leipzig, and I and my art, we would be only the better for it. But I fear I am too vain for them; and yet I must do it sooner or later. We are furnishing our flat - as people say - i.e., there has been constant talk of wallpaper, curtains, and furniture, and in a week we are supposed to be able to move in, although we don't want to until 4 weeks from now; in a new house standing alone, on the third floor, the view to the South over the fields and the forest, to the North on the promenade and the city and towers, to the West on a big water mill with its wheels, then you only have to drop in, your quarters are ready; in a room papered with bouquets of flowers you are to have lodgings, and the white hall and our rooms are completely at your disposal. You shall hear music, half as much as I in the last weeks, i.e., up to your ears - singing, piano, quartets, of whatever kind you want. And better than all that you will find my Rüdesheimer 1834 wine. I picked it out in Bingen, had a cask of it transported here, and am creating a huge furor with it here in Leipzig because they aren't used to things like that. And now even you, who has had to make do with the barbaric [.] things: Hock [Hochheimer is a wine from the Main area], and still have a German heart - you will like it [.]" (transl. from the German original). - Mendelssohn paraphrases the quote from the opening poem of Goethe's collection of poetry, The West Eastern Divan: "North and West and South splinter, thrones burst, kingdoms tremble; fee to taste the air of patriarchs in the pure East". Rosen, to whom he refers, is the Sanskrit scholar Friedrich Rosen, who had died in London on September 12, 1837. Cecile Jeanrenaud is Mendelssohn's wife, who he had married on March 28, 1837. - Crude repair to marginal tears.

4to. 4 pp. on bifolium. To the Committee for this year's Lower Rhenish Music Festival in Dusseldorf. Mendelssohn, the 1839 Director of the Lower Rhenish Music Festival, writes to the festival's committee recommending the works to be included. "I hasten to answer, as the time is indeed approaching and is beginning to press. Against the march and chorus from the Ruins of Athens, which you are adding to the second day, it is only natural that I have nothing to object; I would suggest putting the piece right after the Eroica Symphony, where it would certainly have a good effect. But I wouldn't know what cantata by Bach to suggest for the second day as now programmed; I don't know any which would fit in as regards the time it needs and even more as regards style; if another piece needs to be selected, I would perhaps suggest the chorus by Haydn 'Des Staubes eitle Sorgen' but it seems enough to me, anyway. In 1833 with you and 1834 in Aachen, the program of the 2nd day was shorter than this; last year in Cologne it was at least no longer, and so I think: 1) Eroica Symph[ony], march and chorus by Beeth[oven], new hymn by Spohr. 2) Overture and Psalm -would be quite a sufficient program. To be sure, if Herr Rietz doesn't keep his promise, quite a substantial overture would have to be selected, to make the second part as interesting as possible. But this time the main thing for me would be if you could manage to have Alceste performed in the theater. You write of the difficulties with the chorus; they are indeed the biggest ones that can place themselves in its way, to my knowledge, but even if they couldn't be removed, I would prefer seeing Alceste performed with a very bad chorus a hundred times more than giving up the idea completely. First, in Alceste the main thing is Alceste herself, then Admet, then Hercules, and then only the chorus, and with a performance to be expected from Frl. von Fassmann and Tichatschek or Eichberger or some other outstanding Admet, the chorus recedes in any case into the background. Then there is the second question if it is impossible to improve the chorus? Couldn't 12-20 of the best chorus singers be brought in from Cologne and Aachen? I would with pleasure come a week earlier myself for this and hold separate rehearsals for the chorus every day to make this performance possible. Finally, several passages could and in such a case would have to be deleted, such as the ball in the second act and similar passages in which the chorus plays too much of a main part, and as I said, that would be that much more feasible as Alceste herself and her and Admet's suffering are definitely the main thing in the opera. As several of your members know, I already felt the urgent wish for something new in the course and sequence of the music festival last year, and I said so. My suggestions on this were perhaps not practical, but now, through this coincidence, the opportunity arises this time in Dusseldorf, at least, of giving the festival a new attraction of the kind I had in mind. If this music festival performs the Messiah on the first day, then the Beethoven symphony with a miscellaneous program, and finally a Gluck opera (and even if it is most inferior in execution and even if it has the worst chorus, but beautifully sung in the main roles and beautifully played by the orchestra), this would indeed be something new, as I wished, and because of that this music festival would be outstanding as compared to all the earlier ones. I would therefore very much wish that this plan, even if it be only the hope of it, be mentioned already in your first tentative announcements - how differently would the music festival appear because of it! In the interest of the public, too; in regard to the box office it would also make a palpable difference. Of course I assume that the performance would have to be considered in conjunction with both the others, and only those would receive tickets to the opera who had attended the music festival on the preceding days or had been participants in it. And even if the prices were not raised, the proceeds would be significant. Not to mention the enjoyment all friends of music would derive from it. I ask you to let me know your answer as soon as possible, as I would, as I said, to this end make my departure earlier, if necessary. In any case your speedy answer is now very much desired, as the time is now fast approaching [.]" (transl.). - In a postscript, Mendelssohn has written: "The fine tenor here, Schmidt, just came to ask if he couldn't take part in the music festival; he would try to arrange things so that he could come there at that time and take a solo pan. I told him you had written Tichatschek, but he claims that he is giving guest performances in Berlin at Pentecost and would thus not be able to come to the Rhine. Also, the things that Schmoetzer and Eichberger, whom I mentioned to him, are also detained. So I don't hesitate to let you know about his wish. In a second postscript written in the left margin of the first page Mendelssohn has added; Please have the kindness to hand the enclosed letter over to Director Schadow" (transl.). - The Lower Rhenish Music Festival (Das Niederrheinische Musikfest) was one of the most important festivals of classical music, which happened every year with few exceptions between 1818 and 1958 at Pentecost for 112 times. The Festival was held in various German cities over time and the directors included Robert Schuman, Richard Strauss, Franz Liszt, Otto Goldschmidt, Anton Rubinstein, Hans Richter & Richard Strauss. - Light browning; small clipped section on f. 2.