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Published by Published by Macmillan & Co. Ltd., 4 Little Essex Street, London First Edition Thus . 1984., 1984
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
First Edition
First edition of the revised edition in publisher's original colour illustrated card wrap covers (soft back). 8vo. 7½'' x 5¼''. Contains 226 pp with 16 archive monochrome photographs throughout. In very near condition, no dust wrapper as issued. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by Ernst Eulenburg & Co. Ltd., 48 Great Marlborough Street, London | Zürich GmbH | Mainz GmbH | New York.
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
Publisher's original classic banana yellow and black livery stiff card wrap covers [soft back]. 8vo. 7½'' x 5¼''. Contains 62 pp score. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by Ernst Eulenburg & Co. Ltd., 48 Great Marlborough Street, London | Zürich GmbH | Mainz GmbH | New York.
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
Publisher's original classic banana yellow and black livery stiff card wrap covers [soft back]. 8vo. 7½'' x 5¼''. Contains 71 pp score. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by Ernst Eulenburg & Co. Ltd., 48 Great Marlborough Street, London | Zürich GmbH | Mainz GmbH | New York.
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
Publisher's original classic banana yellow and black livery stiff card wrap covers [soft back]. 8vo. 7½'' x 5¼''. Contains 82 pp score. In Very Good condition, no dust wrapper as issued. From the private library of Brian Culverhouse (22nd October 1927 - 23rd August 2021) who was a leading and much admired classical music producer throughout the second half of the 20th century, initially associated with EMI, with his name to the front cover 'Brian Culverhouse'. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by Ernst Eulenburg & Co. Ltd., 48 Great Marlborough Street, London | Zürich GmbH | Mainz GmbH | New York.
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
Publisher's original classic banana yellow and black livery stiff card wrap covers [soft back]. 8vo. 7½'' x 5¼''. Contains 58 pp score. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by Ernst Eulenburg & Co. Ltd., 48 Great Marlborough Street, London | Zürich GmbH | Mainz GmbH | New York.
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
Publisher's original classic banana yellow and black livery stiff card wrap covers [soft back]. 8vo. 7½'' x 5¼''. Contains 36 pp score. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by Ernst Eulenburg & Co. Ltd., 48 Great Marlborough Street, London | Zürich GmbH | Mainz GmbH | New York.
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
Publisher's original classic banana yellow and black livery stiff card wrap covers [soft back]. 8vo. 7½'' x 5¼''. Contains 80 pp score. In Very Good condition, no dust wrapper as issued. From the private library of Brian Culverhouse (22nd October 1927 - 23rd August 2021) who was a leading and much admired classical music producer throughout the second half of the 20th century, initially associated with EMI, with his name to the front cover 'Brian Culverhouse'. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by Ernst Eulenburg & Co. Ltd., 48 Great Marlborough Street, London | Zürich GmbH | Mainz GmbH | New York.
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
Publisher's original classic banana yellow and black livery stiff card wrap covers [soft back]. 8vo. 7½'' x 5¼''. Contains 62 pp score. In Very Good condition, no dust wrapper as issued. From the private library of Brian Culverhouse (22nd October 1927 - 23rd August 2021) who was a leading and much admired classical music producer throughout the second half of the 20th century, initially associated with EMI, with his name to the front cover 'Brian Culverhouse'. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by Philharmonia Partituren in der Universal Edition | Wien, Austria | London.
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
Publisher's original classic black and grey livery stiff card wrap covers [soft back]. 8vo. 7¼'' x 5¼''. Contains monochrome frontispiece, 40 pp score. In Very Good condition, no dust wrapper as issued. Member of the P.B.F.A. MUSIC [Classical].
Published by Published by George G. Harrap & Co. Ltd., 182 High Holborn, London First Edition . 1930., 1930
Seller: Little Stour Books PBFA Member, Canterbury, United Kingdom
Association Member: PBFA
First Edition
First edition hard back binding in publisher's original venetian red cloth covered boards, blocked and lettered black back. 8vo. 8½'' x 5½''. Contains 217 pp with hitherto unpublished letters and documents and 16 monochrome illustrations throughout. Foxing to the page edges and end papers, name and address to the front free end paper 'Stanley William Culverhouse, 29 St. Peter's Road, Newton Mumbles, Swansea - 7th March 1932' + private address card loosely inserted. Very Good condition book in Good condition dust wrapper with foxing to the paper, small tear to the top of the spine, not price clipped, 10/6. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. MUSIC [Classical].
Published by No place, no date.
Manuscript / Paper Collectible Signed
3 x 5 1/2 inches; red ink cataloguing number at lower left verso, remnants of mounting at edges verso, faint scattered foxing. Self-addressed envelope signed with holograph address: Herrn Richard Wagner. | Canale Grande, Palazzo Giustiniani, | Campiello Squillini | No: 3228. | in | Venedig." Wagner's initials are decoratively embossed on the flap.
Published by Bayreuth, 1 Nov. 1875., 1875
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
Large 4to. 2 pp. on bifolium. Addenda. An invitation for the first Bayreuth Festival ever (held in 1876), mistakenly addressed "Herrn Carl Schlosser, in München. | Lieber Herr Schlosser!", but intended for the German tenor Max Schlosser who was to sing the part of Mime.
Published by No place, ca. 1876., 1876
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
138 x 101 mm (portrait) on cardboard. Inscribed to Carl Brandt, a close collaborator of Wagner at Bayreuth: "Lieber Brandt | wenn wir erst zum | letzten Brand | gekommen sein werden, | wollen wir Lachnerin | einen Hahn | schlachten | Dieses gelobend bin ich | Ihr | dankbarer Richard Wagner". - From the studio of Fritz Luckhardt. - Somewhat spotty; handwriting somewhat faded. - Mentioned in Wagner, Letters (A 673), and in an auction catalogue of Leo Liepmannsohn (cat. 63, no. 193). - Hermann Kaiser: Der Bühnenmeister Carl Brandt und Richard Wagner. Kunst der Szene in Darmstadt und Bayreuth. Darmstadt, Eduard Roether Verlag, 1968.
Published by Bayreuth, 5 March 1876., 1876
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
Large 8vo. 4 pp. on bifolium. In German, to an unidentified member of the Wagner Society of Cologne, about a scheduled concert at the Gürzenich concert hall and his participation therein: "[.] I am quite satisfied with its programme, but I prefer to play the prelude to Lohengrin instead of the Ride of the Valkyries, which I really dislike to play, not least because of the enormous orchestra necessary [.]". Moreover, Wagner discusses concerts he refused to give at Leipzig, Dresden, Breslau, Prag, Graz, and Pest, as well as a concert at London which was organized by the British pianist and head of the Wagner Society of London, Edward Dannreuther (1844-1905). - WBV 6442.
Published by Dresden, 20 Sept. 1842., 1842
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
Large 4to. 1 p. To an undisclosed recipient, i. e. Karl Theodor von Küstner (1784-1864), director of the court theatre at Berlin, on the proposed world premiere of "Der Fliegende Holländer" ("The Flying Dutchman"), which was accepted for staging by Küstner's predecessor Count Redern by recommendation of Giacomo Meyerbeer. Since Redern and Küstner had both omitted to give a concrete date for staging, Wagner is now asking Küstner to tell him the current state of affairs. Moreover, he informs him that his "Rienzi" will be staged at Dresden within the next month, and invites him to visit the performance in case that he stays at Dresden at that time. - One month after this letter, Wagner was celebrating the premiere of "Rienzi" at the Dresden Court Theatre (20 October), one of his first major successful premieres. The "Flying Dutchman" was also first staged in Dresden (January 2, 1843) under his direction. - Stromger damage to edges. - WBV 271. Sämtliche Briefe Vol. 2, No. 23.
Published by Bayreuth, 2 June 1875., 1875
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible First Edition Signed
Large 8vo. 2 pp. on bifolium. Important letter, in German, to the publisher Adolf Fuerstner in Berlin about the publication of the final edition of "Tannhäuser", recorded in Wagner's catalogue of works as "state 4", which since 1876 has remained to this day the most widely used and staged version. Save for a short quotation in a 1977 Stargardt catalogue, this letter is unpublished and therefore especially valuable. Fuerstner had taken over the rights from Meser at Dresden, who had published the first edition in 1845. Now, Wagner sends him the signed contract, announces the revised full score, explains the main changes he has made, and remains in joyful anticipation of receiving the agreed sum of 3,000 Goldmarks. Moreover, he reports that the Russian-born pianist and composer Josef Rubinstein, a friend and ardent admirer of Wagner's, will finish the arrangement of the 'Venusberg' scene within the next few days and send it to Fuerstner: "Today I am posting the fully revised full score of my new 'Tannhäuser' to your address, enclose the contract, with my signature, and expect the payment of 3,000 Marks. Mr. Josef Rubinstein will have completed the arrangement of the 'Venusberg' within the next few days and will send it to you as well. I infer that you are, at the moment, mainly interested in the Venusberg scene [Act I]. When performed separately and not in immediate conjunction with the overture, this scene has a special beginning which is both enclosed with the score and is also being used by Rubinstein for his arrangement of this separate piece [.]". In its present form, however, it is abridged, and thus Wagner achieves a very skilful dramatic climax in the 5th state. "[.] However, for a separate edition of the unabriged overture, as an independent concert piece, I have introduced a change in the violins which you will glean from the inserted sheet in the old score. I strongly desire that the full edition of this work, which has been significantly revised in a great many parts, be undertaken quite soon [ ]". Clearly, Wagner was impatient to see his "final" version performed as soon as possible. - Rubinstein was famous for excellent pianoforte transcriptions including the "Ring des Nibelungen"; in 1869 he was appointed "Kammerpianist" by Grand Duchess Helena. - WBV Nr. 7168; Altmann Nr. 2699.
Published by Venice, 30 Oct. 1858., 1858
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
Large 8vo. 3 pp. on bifolium. To the director of the Stuttgart Court Theatre about his tireless efforts to stage Wagner's "Tannhäuser". As the court theatres at Stuttgart and Braunschweig were hesitant to perform the opera, Wagner is pleased that the recipient is interested in the project and provides him detailed information concerning his professional fee ("at least 50 Louisd'or"): "So werden einem alle Vorsätze durchkreuzt! Das Stuttgarter, wie das Braunschweiger Hoftheater (die einzigen, die meinen Tannhäuser so schandhaft ignorirten) sollten mir das einmal büssen. Mit Stuttgart machen Sie es mir nun zu nicht. Seien Sie versichert, dass ich mit einer angenehmen Genugthu[u]ng, die, späteren Erfahrungen gegenüber, durch die längere Erinnerung nur wachsen kann, Ihres ältesten, freundlichen, ächt wohlwollenden Entgegenkommens gegen den gänzlich Unbekannten, gedenke [.] Dass Sie nun meinen Tannhäuser, den so obstinaten Hindernissen in Stuttgart zum Trotz, herausbringen wollen, freut mich sehr, und weil es Ihnen Genugthu[u]ng geben wird, kann ich unmöglich bei meinem früheren, etwas rachsüchtigem Vorsatze, betreffs Ihres Theaters, bleiben. Aber ein ordentliches Honorar müssen Sie mir auswirken, zum mindesten dasselbe, was mir die andren Königlichen Hoftheater, München und Hannover, zahlten, nämlich fünfzig Louisd'or. Die Partitur ist nur durch mich zu beziehen, und falls Sie von Ihrer Intendanz die sofortige Zuwendung eines Honorars von fünfzig Louisd'or - mindestens! - an meine Adresse nach Venedig auswirken, so ersuche ich Sie, von dem beiliegenden Bestellzettel Gebrauch zu machen, wonach Sie von Dresden sogleich Partitur und Buch erhalten werden. Besondre Bemerkungen wegen der Aufführung habe ich Ihnen nun nicht mehr zu machen. Am sinnigsten, glaube ich, ist Ed. Devrient in der Scene damit umgegangen; auch hat er für den Schluss einen guten Einfall gehabt, den ich Sie bitte, sich von ihm mittheilen zu lassen [.]". - Somewhat soiled and spotty; slight damage to edges.
Published by Starnberg, 25 June 1864., 1864
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
Large 8vo. 5 pp. on 3 ff. Includes autogr. envelope with embossed sender's monogram and initials on verso. Long, important letter to Josephine Maier, mother of Wagner's close friend Mathilde Maier. As a matter of form, Wagner's oft-quoted request that Mathilde move in with him as his companion is directed to her mother: "My dear and esteemed friend! Only to someone to whom I already owe so much love and true dedication as I do to you may I dare submit a question and indeed a request as I must today. I must now decide how to go about keeping my home tolerable in such a fashion that the fine external security now achieved also serves my inner prosperity. As you know, I live in separation from my wife: my desire to transfer my household to a female being has recently become so strong in me once more that I seriously considered whether it might not be better to call back my wife rather than live alone. Only the conviction, gained from long experience and confirmed by the observations of all my friends and relations, that a reunion must needs bring about for the both of us a condition much less bearable than separation, has utterly disabused me of this plan [.]" (transl.). - While this remarkable letter is addressed to Josephine Maier, Wagner sent it directly to Mathilde Maier, who read it without passing it on to her mother. She rejected Wagner's offer, but remained his friend for the rest of his life. - Published in M. Dürrer (ed.), Richard Wagner. Sämtliche Briefe, vol. 16. Briefe des Jahres 1864, Wiesbaden/Leipzig/Paris 2006, no. 204, p. 245ff., commentary p. 599 with references to earlier editions.
Published by Tribschen, 30 Sept. 1871., 1871
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
Large 4to. 4 pp. on bifolium. To an undisclosed recipient, i. e. August Frhr. v. Loën, director of the Court Theatre at Weimar and the court orchestra, in the matter of the foundation of the Bayreuth Festival Theatre. - The laying of the foundation stone for the theatre took place on May 22, 1872, Wagner's 50th birthday. Marie ("Mimi") Baroness (from 1879: Countess) von Schleinitz (1842-1912) - whom Wagner is mentioning - was an influential salonnière of the early German Reich in Berlin and one of the most important supporters of Richard Wagner and one of the principal advocates of the Bayreuth Festival. - WBV 5898.
Published by Dresden, 19 May 1848., 1848
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
Large 4to. 2¾ pp. on bifolium. With autogr. address. Important letter with political content, written to the German politician and stenographer Franz Jacob Wigard (1807-1885), then a member of the Frankfurt Assembly, the first freely elected parliament for all of Germany. In his peremptory letter, Wagner laid down what in his opinion were the principles that ought to guide the Frankfurt assembly. He looks to the meeting of the German National Assembly in Frankfurt to assume unified power from the old Bundestag, to introduce rearming the German people, to make a defensive treaty with France and, finally, to create a rational and coherent German nation out of the myriad of princely states, both large and small, overcoming the opposition of the Princes themselves, emphasizing that only then can the Assembly begin its work and without which all their good work so far will be undone. "I am apprehensive of much harm", he wrote, "if the German Parliament does not in the first instance resolve on the following: (1) that Parliament at once vests the sole constitutive power in itself, as well as the authority to nominate a Provisional Executive from among its members; (2) immediate introduction of Folk-arming after the model known to us; (3) an offensive and defensive alliance with France [.] Let the fourth step be the Territorial question of the German States. If the Frankfort Assembly intends to create a constitution that will unite Germany, it must first address itself to the inequality of the individual States: it must appoint a commission to formulate proposals for a rational and natural construction on the basic principle that no single State shall have less than four or more than six million inhabitants. That is the definitely decisive point, without the establishment of which all our labours would be merely patchwork [.]". - A fine letter outlining Wagner's political views and his desire to see a unified German nation, in the wake of the 1848 Revolution in France and turmoil within Germany. Barricades were put up in Dresden and the king was presented with demands for constitutional reform. Wagner joined the revolutionaries, hoping that this would lead to the reform of a National Theatre. His letter was prompted by the convening of the National Assembly at Frankfurt on 18 May, and is addressed to the Saxon Delegate at the Assembly, Jacob Franz Wigand, who had earlier been dismissed from the University at Dresden for his radical political views. - Published in the "Sämtliche Briefe", II, no.256, after a press-cutting in the Wagner Archives and without reference to the original. - Torn margins repaired, dust-marked.
Published by No place, [December 1844]., 1844
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
4to. 2 pp. (90 lines). Original draft for Wagner's famous oration held on December 15, 1844, when Carl Maria von Weber's remains were laid to rest at the Catholic cemetery in Dresden. The mortal remains of Weber, who had died in London in 1826, were transferred back to Germany in 1844 on the initiative of Wagner, and were finally buried there. - With small departures printed in: Richard Wagner, Gesammelte Schriften und Dichtungen, II, 1871, 61 ff., also: Gesammelte Schriften und Dichtungen, 4th ed., vol. 2, 1907, 46 ff. A facsimile of the fair copy of Wagner's speech, which has also survived, is published in Julius Kapp, Richard Wagner. Sein Leben, sein Werk, seine Welt in 260 Bildern, Berlin 1933, 40. - Provenance: Cäcile Geyer, Wagners half-sister (1815 - 1893), their son Ferdinand Avenarius (1856 - 1923), and his stepson Wolfgang Schumann (1887 - 1964), afterwards in private collection. - Mild toning and slightly spotty; small damage to edges.