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XENAKIS, Iannis 1922-2001

Published by Richard-Masse, Paris (1963)

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About this Item: Richard-Masse, Paris, 1963. Quarto. Original publisher's wrappers printed in black and green. 1f. (half-title), 1f. (title with copyright notice to verso), 5-24 pp. Table of contents to verso of upper wrapper. Unopened. Text in French."Carnet Critique No. 257" printed to upper margin of upper wrapper.An issue of the French journal La Revue musicale, including articles about Xenakis and his "stochastic" music by Albert Richard ("Iannis Xenakis: Notice biographique"), Jacques Barraud ("Musique et Ordinateurs"), and Michel P. Philippot ("La Certitude et la Foi").Wrappers slightly worn and soiled. Occasional creasing.With 2 bulletins from La Revue musicale about Xenakis's book, "Musique Formelles," laid in (the first edition appeared in 1963). Octavo and folio. 5 ff. Text in French. OCLC no. 25560603. Xenakis "belonged to the pioneering generation of composers who revolutionized 20th-century music after World War II. With the ardour of an outsider to academic musical life, he was one of the first to replace traditional musical thinking with radical new concepts of sound composition. His musical language had a strong influence on many younger composers in and outside of Europe, but it remained singular for its uncompromising harshness and conceptual rigour." Peter Hoffmann in Grove Music Online. Seller Inventory # 26792

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PROUT, Ebenezer 1835-1909

Published by Novello, Ewer & Co. [PN 5802], London (1879)

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About this Item: Novello, Ewer & Co. [PN 5802], London, 1879. Large octavo. Full dark brown flexible leather boards, "D. Swindells" and decorative gilt stamping to edges gilt. 1f. (title), 1f. 1f. (cast list, scenes, argument and preface), 167, [i] (blank) pp. Minor markings in pencil and red crayon. First Edition. Bound with:HODSON, Henry Edward. The Golden Legend. A Dramatic Cantata Words from the poem of H.W. Longfellow. London: Novello, Ewer & Co. [PN 6036], [1881]. 1f. (title), [iii]-[vii] (composer's note, index, cast), [8]-15 (libretto, [16] (blank), 131 pp. First Edition. Boards somewhat worn and rubbed. Slightly worn; occasional minor foxing. Seller Inventory # 28055

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About this Item: E. Ascherberg, London, 1882. Quarto. [1] (title), [2] (blank), [3] (contents), [4] (named cast list), 5-93, [i] (blank) pp. First Edition. Bound with:Lutz. Ruy Blas and the Blasé Roué. Written by A. C. Torr & H. F. Clark, Music by Meyer Lutz. With Incidental Songs and Music Written and Composed by A. Chevalier, Fredk. Bowyer, W. J. Sumner, Lovell Phillips, C. Paston Cooper, E. L. Canning, and E. Solomon. [Piano-vocal score]. London: E. Ascherberg, [ca. 1890]. [1] (title), [2] (Humorous and Comic Songs), [3] (index), [4] (cast list and scenes), 5-111, [i] (publisher's advertisements) pp.Bound with:Carr, F. Osmond. Joan of Arc, or The Merry Maid of Orleans. Opera Burlesque, Written by J. L. Shine & Adrian Ross. [Piano-vocal score]. London: E. Ascherberg, [ca. 1892]. [1] (title), [2] (publisher's advertisements), [3] (contents), [4] (named cast list and scenes), 5-128, [i] libretto), [i] (blank) pp. First Edition.Bound with:Jones, Edward. A Pantomime Rehearsal A Musical Comedy by Cecil Clay Music Arranged & Composed by Edward Jones. [Piano-vocal score]. London: E. Ascherberg [PN 571] [ca. 1892]. Upper wrapper as title, [i] (cast list and contents), [i] (blank), 37, [i] (blank) pp. First Edition. Occasional performance annotations in pencil.Full flexible black leather with decorative gilt rules, initials "M.O.H." to upper, original illustrated upper wrappers bound in.Binding quite worn and rubbed; edges and corners damaged; manuscript index annotation to verso of front free endpaper; wrappers worn; former owner's name to uppers. Minor foxing and other minor defects throughout. Seller Inventory # 28077

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SCHOENBERG, Arnold 1874-1951

Published by Universal-Edition, [Vienna] (1922)

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About this Item: Universal-Edition, [Vienna], 1922. Octavo. Full dark red cloth with printed paper label to spine. 1f. (title, with copyright note to verso), 1f. (dedication to the memory of Gustav Mahler), [v]-ix (prefaces to the first, 1911, edition and third, 1921, edition), [i] (blank), [xi]-xii (table of contents), 507 (text, with folding leaf between pp. 272 and 273 and "Beilage B," containing example 189, loosely inserted between pp. 307-8), 508-15 (index to subjects and terms), 516 (index to persons), [i] (blank), [iii] (catalogue: "Arnold Schönbergs Werke in der Universal-Edition") pp. Lacking "Beilage A" containing example 137, intended for insert at ca. pp. 231-34.In very good overall condition. Third Edition. Rufer (Engl.) p. 133. Ringer p. 321. Tetsuo Satoh p. 56.The most famous of Schoenberg's treatises, intended as the composer's counter-proposal to other textbooks, mostly written by theoreticians either inactive or insignificant as composers. While predominantly concerned with the "common practice" major-minor system, the book also discusses post-tonal practices as found in the compositions of Schoenberg and his students. The third edition, which describes itself as "vermehrt und verbessert" (enlarged and improved), is the final version of the book. Among the many additions to the first edition (1911), there is a brief passage on dodecaphony, the method of post-tonal composition that Schoenberg developed at the time (footnote p. 464); it was the first time Schoenberg introduced the idea to the public. Seller Inventory # 24303

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Op. 55]. Helga. P?edehra Opery: "Pád Arkuna.": FIBICH, Zden?k 1850-1900

FIBICH, Zden?k 1850-1900

Published by Fr. A. Urbánek [PN U.1111], Praze [Prague] (1900)

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About this Item: Fr. A. Urbánek [PN U.1111], Praze [Prague], 1900. 1f. (recto fine illustrated polychrome lithographic title in Art Nouveau style, verso cast list), 3-57 pp. With previous owner's signature and date of December 12, 1924 to upper outer margin of title. First Edition.Bound with:[Op. 60]. Dargun. Zpevohra o 3 jednanich Dil II. opera "Pád Arkuna.". Op. 60. slova napsala Anezka Schulzová. Praze [Prague]: Fr. A. Urbánek [PN U.1192.],[1900]. 1f. (recto fine illustrated polychrome lithographic title, verso cast list and description of setting), 3-169 pp. First Edition. Part two of Pád Arkuna.Small folio. Full dark red cloth with titling and decoration to upper gilt, decorative endpapers printed in olive green, ivory and red. "After Smetana and Dvo?ák [Fibich] was the most prominent Czech composer of the second half of the 19th century, notably of operas and orchestral and piano music. His concert and stage melodramas were some of the most ambitious and effective ever written and prompted other Czech composers to write in the same genre, thus creating a sizable and unique repertory for Czech music." "[Pad Arkuna] The Fall of Arkona. was based on the broader historical topic of early Christianity among the Baltic Slavs. Written in two parts, the one-act prologue Helga and the three-act Dargun, which takes place 20 years later, it experiments with a more conversational style (e.g. in the chamber-like prologue) that shows Fibich turning to new approaches, a trend cut short by his death a few weeks before the opera's première." John Tyrrell and Judith A. Mabary in Grove Music Online. Seller Inventory # 28898

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PIANO MUSIC - 19th Century - German-American]

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About this Item: Some original, some arrangments of works for other forces, as follows:MOZART, Wolfgang Amadeus 1756-1791[K. 550, arr.] Sinfonie. arrangée Pour le Pianoforte à quatre mains. No. 2. Pr. 1 Rthlr. Leipsic: Breitkopf & Härtel [PN 3144], [ca. 1820]. [1] (title), 2-35, [i] (blank) pp. Lithographed. Signature and date in brown ink to lower right corner of title: "Samson Ruben Goldschmidt December 1825." Occasional notational corrections in pencil. Slightly to moderately foxed and soiled; dampstained at outer edge; lower and outer edges frayed, with slight loss, not affecting printed area; upper edge closely trimmed, with occasional loss to "Primo"/"Secondo" headers. A later edition. Not in Köchel 6, Hoboken, or Hirsch. RISM M5633. Bound with:BEETHOVEN, Ludwig van 1770-1827[Op. 20, arr.] Grand Septuor. arrangé Pour le Piano-Forte à quatre mains. Pr. 1 Rthlr. 12 Gr. Leipsic: Breitkopf & Härtel [PN 4066], [ca. 1824]. [1] (title), 2-47, [i] (blank) pp. Lithographed. Signature in brown ink to lower right corner of title: "Samson Ruben Goldschmidt." Fingering and occasional notational corrections in pencil. Slightly foxed and soiled; upper edge closely trimmed, with occasional loss to "Primo"/"Secondo" headers and pagination. A later edition. New Kinsky (2014) I p. 123 (ascribing arrangement to F. Mockwitz; first issue: 1815, with PN 2171). Not in Hoboken or Hirsch.Bound with:ONSLOW, George 1784-1853[Op. 22]. Second Grand Duo [=Sonata in F minor] pour le Piano Forte à quatre mains composé et dédié à Mr Hertz Sen.r. Op: 22. Prix 5 Frs. Bonn et Cologne: N. Simrock [PN 2244], [ca. 1824]. [1] (title), 2-37, [i] (blank) pp. Engraved. Signature and date in brown ink to lower right corner of title: "Samson Ruben Goldschmidt Oct[o]b[e]r 1826." Fingering, other performance-related annotations, and occasional notational corrections in pencil. Several pages, including title, torn at spine and edges, with loss to lower outer corner; pp. 3-4 with loss to music; small stain to lower edge of p. 19.First Edition. Rare. WorldCat (2 copies only, at the Bibliothèque nationale, Paris and the Bayerische Staatsbibliothek, Munich). Bound with:ONSLOW[Op. 7]. Grandes Sonates pour le Piano Forte à quatre mains. No. 1 [no printed price]. Hambourg: A. Cranz [without PN], [before March 1827]. [1] (title), 2-31, [i] (blank) pp. Engraved. Signature and date in brown ink to lower right corner of title: "Samson Ruben Goldschmidt März 1827." Fingering and notational corrections in pencil. Several pages, including title, torn at spine and outer and lower edges; upper edge soiled and dampstained; some foxing; page 30 smudged. A later edition. Rare. Most copies by Cranz found in libraries are either later issue or Titelauflage. The first edition was published by Pleyel in Paris in 1815.Bound with:WEBER, Carl Maria von 1786-1826[WeV S.5; arr.]. Polonoise à quatre mains pour le Pianoforte. Pr. 10 gl. Hambourg: A. Cranz [without PN], [before February 1826]. Engraved. 1f. (title), [i] (blank), [1] (blank), 2-11, [i] (blank) pp. Engraved. Signature and date in brown ink to lower right corner of title: "Samson Ruben Goldschmidt Februar 1826." Occasional notational corrections in pencil. Somewhat foxed and soiled; moderately dampstained at upper edge; ink stain to title. A later edition. Jähns 59 (arrangement ascribed to [Carl] Klage [1788-1850], with price "10 sgr"). Originally for piano, two hands. Bound with:WEBER[WeV T.2] Six pièces à quatre Mains pour le Pianoforte. Oe. X. Leipzig: Fred. Hofmeister [PN 275], [ca. [1820] (title), 2-19, [i] (blank) pp. Engraved. Signature in brown ink to lower right corner of title: "Samson Ruben Goldschmidt." Somewhat foxed and soiled; loss to lower outer corner throughout, affecting music on pp. 17-18; moderately dampstained at upper edge; occasional creasing, especially to final leaf; title and final leaf with stains and repairs. A later edition. Jähns 81-86 (lists two later Hofmeister editions with price in Neugroschen). Hoboken 15, 286 (most. Seller Inventory # 25401

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L'Ombre Opéra-Comique en trois Actes. Paroles de: FLOTOW, Friedrich Freiherr

FLOTOW, Friedrich Freiherr von 1812-1883

Published by G. Brandus & S. Dufour [PN B. et D. 11, 670], Paris (1871)

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About this Item: G. Brandus & S. Dufour [PN B. et D. 11, 670], Paris, 1871. Large octavo. Quarter mid-tan calf with maroon pebbled paper boards, spine with decorative gilt tooling to head and tail, dark red and green leather title labels gilt. 1f. (recto lithographic title printed in brown within decorative borders by A. Barbizet, verso blank), [1] (named cast list and table of contents), 238 pp. Lithographed. Named cast includes Monjauze, Beillet, Priola, and Marie Roze. Publisher's and music seller's handstamps to lower margin of title; printer's note to lower margin of p. 2. Minor to moderate foxing; very lightly browned and stained at lower margins; occasional light soiling; several bifolia partially detached. First Edition, probable first issue, of the first version. Lesure II, p. 77-78. OCLC no. 1043312. L'ombre was first performed in Paris at the Opéra-Comique on July 7, 1870.Bound with: Pianella Operette bouffe en un Acte, Paroles de MM Saint-Yves et Octave Féré. Représentée pour la 1re fois, à Paris, au Théâtre Déjazet, le 11 Mai 1860 Partition Chant et Piano. [Piano-vocal score]. Paris: G. Brandus et S. Dufour [PNs B. et D. 10, 245; 10,254], [1860]. 1f. (recto title, verso blank), 1f. (recto named cast list and table of contents, verso blank), 66 pp. Engraved. Publisher's handstamp to lower margin of title. Minor staining to lower margins; some minor foxing. Named cast includes Halbleib, Paul Legrand, and Géraldine. First Edition. Lesure II, p. 77-78. OCLC no. 21850805. Pianella, to a libretto by Emil Pohl, was first performed in Schwerin on May 27, 1857.Binding slightly worn, rubbed, and bumped; cracked at upper outer edge. Endpapers browned. "During the 19th century Flotow's fame was such that many parodies and potpourris of his works appeared. [His] chamber and orchestral works, often akin to Mendelssohn in style, are composed with careful attention to detail and, like his operas, are characterized by deft instrumental writing, graceful melody and clear, light textures." Peter Cohen in Grove Music Online. Seller Inventory # 26272

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KREUTZER, Rodolphe 1766-1831

Published by Breitkopf et Härtel [PN 225], Leipsic (1805)

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About this Item: Breitkopf et Härtel [PN 225], Leipsic, 1805. Folio. Disbound. Violino primo: [1] (title), [i] (blank), 3-20 pp.; Violino secondo: 10 pp.; Basso: 8 pp. Engraved. Handstamp, "R. Cocks & Co. Importers of Foreign Music 20 Princes St. Hanover Sqe. [London]," to foot of Violino primo part title; "Kreutzer" in ink in block letters to upper left corner of first pages of Violino secondo and Basso parts; Numbers "12," "13," and "14" handstamped in red ink as headers to the three trios respectively. Closely trimmed at upper edge, with slight loss to pagination. A later edition. RISM K2291 (1 copy only in the U.S., at the Library of Congress). WorldCat (2 copies, 1 at Cornell and 1 at the University of Chicago). The opus number 16 is unique to the present edition. First edition (Paris: Cherubini et al [PN 179], ca. 1803; RISM K2285) and intervening editions (RISM K2286-90) are without opus number.Bound with:KREUTZER, RodolpheTrois Trios Brillants Pour deux Violons et Violoncelle, Dédiés à son Ami et Elève P. Lafont. Lettre B. Prix 9F. 2e Livre des Trios. [Parts]. Paris: J. Frey [without PN], [1812-1838]. Violino Io: 1f (title), [1] (blank), 2-19, [i] (blank) pp.; Violino 2o: [1] (title), 2-13, [i] (blank) pp.; Basso: [1] (title), 2-12 pp. Engraved. Publisher's handstamp and handstamp "Kreutzer" to foot of Violino primo part title; "Kreutzer" in pencil to upper left corner of first pages of music of Violino Io. and Basso parts; Numbers "15," "16" and "17" handstamped in red ink as headers to the three trios respectively; cccasional marks in pencil. Violino 2o. and Basso parts dampstained at upper inner corner. Probable First Edition. RISM K2292 (no copies in North America). WorldCat (1 copy, at Stanford University. Exact date unknown; time frame according to Devriès-Lesure II, p. 176. Edition by André, Offenbach (PN 3842; RISM K2293; Constapel p. 230), published in 1818, is possibly earlier. Not in the Grove Music Online works list.Bound with:KREUTZER, Paul (fl. early 19th century)Pot Pourri Pour un Violon avec accompagnement d'un second Violon et Basse. Pr. 8 gr. [Parts]. Leipzig: Breitkopf & Härtel [PN 400], [1807]. Violino primo: [1] (title), 2-4 pp.; Violino secondo: 2 pp.; Basso: 2 pp. Engraved. Number "18" handstamped in red ink as header to all pages; Violino primo part closely trimmed at upper margin, with slight loss to pagination. A later edition. RISM KK2049 I,2 (2 copies, at the Staatsbibliothek in Berlin and the Sibelius Museum in Turku, Finland). WorldCat (1 copy, at the Koninklijke bibliotheek in The Hague). The composer Paul Kreutzer is completely obscure; we have been unable to locate mention of him in any of the standard reference works. It is possible that the present work was added to the present collection in the mistaken belief that it was, in fact, by Rodolphe Kreutzer, who had also published some "Pot-Pourris" for the same combination of instruments. Seller Inventory # 25747

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Le Barbier de Séville de G. Rossini: ROSSINI, Gioachino 1792-1868

ROSSINI, Gioachino 1792-1868

Published by Chez Janet et Cotelle [PN 994s, 1029], Paris (1836)

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About this Item: Chez Janet et Cotelle [PN 994s, 1029], Paris, 1836. Folio. Half 19th-century dark brown morocco with brown textured cloth boards, raised bands on spine in compartments with titling gilt. Part I: 1f. (title), 43, [i] (blank); Part II: 1f. (title), [i] (blank), 44-101, [i] (blank) pp. Engraved. Rare. A reissue of an edition originally published by Boieldieu jeune, ca. 1821-22. Lesure I pp. 35-36; II pp. 236-237. Worldcat (no copies of the Janet et Cotelle edition). OCLC no. 842375777 (1 copy only of the Boieldieu jeune edition, at the Bibliothèque nationale de France). Il Barbiere di Siviglia, to a libretto by Cesare Sterbini after Pierre-Augustin Beaumarchais' Le barbier de Séville, was first performed in Rome at the Teatro Argentina on February 20, 1816. The opera is one of Rossini's most beloved works.Bound with:- Semiramis Opera Seria. Arrangé Pour Piano Solo [1-2] Partie Prix 12f. [Piano score]. Paris: Chez Janet et Cotelle [PNS 2098. J.C., 2099. J.C.], [ca. ?1834-1836]. Part I: 1f. (title), 79, [i] (blank) pp.; Part II: 1f. (title), [1] (blank), 2-66 pp. Engraved. Publisher's handstamp to lower margin of titles. Pacini overpaste to original publisher's imprint. Possible First Edition of the piano solo score. Rare, possibly unique. Lesure II p. 126. No copies in Worldcat. Semiramide, a melodramma tragico to a libretto by Gaetano Rossi after Voltaire's Sémiramis, was first performed in Venice at the Teatro La Fenice on February 3, 1823. Binding rubbed and scuffed; remnants of bookplate to front pastedown. Light to moderate foxing; margins slightly browned, with some repairs; occasional light staining to Le Barbier; some offsetting to Semiramis. Seller Inventory # 26908

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Op. 7]. Trios Quatuors Concertans Pour Deux: KROMMER, Franz 1759-1831

KROMMER, Franz 1759-1831

Published by J. C. Gombart & Ce. [PN 133], Augsbourg (1796)

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About this Item: J. C. Gombart & Ce. [PN 133], Augsbourg, 1796. Violino primo: 1f. (title), [1] (blank), 2-19, [i] (blank) pp.; Violino secondo: [1] (blank), 2-13, [i] (blank) pp.; Alto: [1] (blank), 2-13, [i] (blank) pp.; Violoncello: [1] (blank), 2-13, [i] (blank). Engraved. Both Violin parts printed to paper of a greenish hue throughout, with some leaves of Violoncello part printed in the same hue. Measure numbers added in pencil in a modern hand throughout. First Edition. Rheinfurth p. 273. RISM K2622 (no copies in the U.S.). WorldCat (1 copy only, at the New York Public Library).Bound with:KROMMER[Op. 24]. Trois Quatuors pour deux Violons, Viola, et Violoncelle. Oeuvre 24 [Parts]. Vienne: Jean Cappi [PN 886], [1802]. Violino primo: [1] (title), 2-19, [iii] (blank) pp.; Violino secondo: [1] (blank), 2-19, [i] (blank) pp.; Viola: [1] (blank), 2-16 pp.; Violoncello: [1] (blank), 2-19, [i] (blank) pp. Engraved. Measure numbers added in pencil in a modern hand throughout. First Edition. RISM K 2647 (no copies in the U.S.). Uniformly bound in contemporary stiff blue marbled wrappers with decorative cut paper label titled in manuscript to uppers. Lower wrapper of Alto/Viola heavily dampstained, discolored, and worn; repair to tear; Alto/Viola parts wormed at spine. Slightly to moderately foxed and soiled; occasional small stains; Violino primo and secondo parts wormed at margins; small drops of wax to p. 2 of op. 7 of Violoncello part. "Krommer was one of the most successful of the many influential Czech composers in Vienna at the turn of the 18th century. His creative output comprises over 300 works. Krommer's reputation is attested by the rapid spread of his compositions in reprints and arrangements by German, Danish, French, English, Italian and American publishers. He was regarded (with Haydn) as the leading composer of string quartets, and as a serious rival of Beethoven. His modes of expression extend from the galant style of the earlier 18th century to Romanticism." Othmar Wessely in Grove Music Online. Seller Inventory # 25737

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SCHOENBERG, Arnold 1874-1951; WEBERN, Anton 1883-1945

Published by Universal-Edition [U.E. 3041-6], Wien-Leipzig (1913)

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About this Item: Universal-Edition [U.E. 3041-6], Wien-Leipzig, 1913. Six volumes. Folio. Original publisher's decorative wrappers printed in black within lavender border, titles within sepia border, both in art nouveau style.1. Natur. Text by Heinrich Hart (1885-1906). 1f. (title), 3-7, [i] (blank) pp. Lower wrapper with catalogue of Mahler's works published by Universal dated VI [June] 1913. First Edition, later issue. 2. Das Wappenschild. Text from Des Knaben Wunderhorn. [i] (title), 2-11, [i] (blank) pp. Lower wrapper with catalogue of Max Reger's works published by Universal dated II [February] 1911. First Edition, first issue. 3. Sehnsucht. Text from Des Knaben Wunderhorn. 1f. (title), 3-5, [i] (blank) pp. Lower wrapper with cataloigue of Mahler's works as in no. 1. First Edition, later issue. 4. Nie ward ich, Herrin, müd. Text by Petrarch. 1f. (title), 3-7, [i] (blank) pp. Lower wrapper with catalogue of Mahler's works published by Universal dated III [March] 1913. First Edition, later issue. 1911 issue, stamped "Ehren Exemplar" (complimentary copy). 5. Voll jener Süsse. Text by Petrarch. 1f. (title), 3-8 pp. Lower wrapper with cataloigue of Mahler's works as in no. 1. First Edition, later issue. Together with another later issue with catalogue of Schoenberg's works published by Universal dated I [January] 1922. 1922 issue, with stamp of Dr. Karl Mück, music antiquarian in Vienna. 6. Wenn Vöglein klagen. Text by Petrarch. 1f. (title), 3-7, [i] (blank) pp. Lower wrapper with catalogue of Max Reger's works published by Universal dated II [February] 1911. First Edition, first issue. Stamped "Ehren Exemplar" (complimentary copy), with annotations in pencil and crayon. Together with another later issue with catalogue of Schoenberg's works published by Universal dated I [January] 1922. Wrappers slightly worn and browned. Some minor internal wear and browning, but in very good condition overall. First Edition, first issues of nos. 2 and 6; the remainder First Edition, later issues. Rufer (Engl.) p. 27. Ringer p. 311. Tetsuo Satoh pp. 5-6. Webern's piano-vocal scores of Schoenberg's op. 8 were first published in March 1911. Full scores and sets of parts followed in 1913 and 1914 respectively. Seller Inventory # 24205

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Op. 1A]. [Sei Sonate a Violino Solo: FERRARI, Domenico 1722-1780

FERRARI, Domenico 1722-1780

Published by Aux adresses ordinaires, Paris (1758)

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About this Item: Aux adresses ordinaires, Paris, 1758. 1f. (dedication), [i] (blank), 2-37, [i] (blank) pp. Engraved. Notated on two systems: violin and figured bass. Some staining and foxing; closely trimmed with slight loss to pp. 7 and 13; professional paper repair to two final leaves; title lacking. First Edition. RISM F 276 or 277 (exact identification impossible without title). Lesure p. 201. Hirsch III, 195 (different issue, with publisher's catalogue to p. [1] and no mention of dedication). Bound with:[Op. 3]. VI Sonate A Violino e Basso. Mis au jour par Huberti. Opera III. Gravé par M.elle Bertin. Prix 7. [livre] 4. s. Avec Privilege du Roy. Imprimé par Tournelle. [Score.] Paris: Mr. Bayard.Mr. de la Chevardiere. M.elle Castagneri.Mr. le Menu, [?1760]. 1f. (title), [i] (extract of Privilege du Roy, dated April 2, 1757; lower half: "Catalogue des ?uvres de M.r Huberty Ordinaire de l'Academie Royale."), 2-25, [i] (blank) pp. Engraved. Paper repairs to inner margin. First Edition. RISM F 284. Not in Lesure. Publisher's catalogue is Johansson facs. 23, of 1760 (same plate, including Privilege du Roy). The placement of the words "Mis au jour. Par Huberti" to the left and right of "Opera III" (rather than among the publishers in the imprint) on the title suggests that they were added later and that there was an earlier issue without Huberti's (Huberty's) name; the inclusion of Ferrari's op. 4 in the catalogue would support this.From the André Meyer Collection, Paris, with handstamp "Provenant de la collection musicale d'André Meyer Décéde en Mai 1974 F. Meyer Octobre 84," to rear pastedown.Folio. 18th century dark green quarter morocco with marbled boards, red edges.Binding worn, rubbed and bumped. Ferrari was ".considered one of Tartini's best Italian pupils. [He] composed only instrumental works, of which the most important are the violin sonatas with continuo. While his consistent use of a figured bass in these sonatas is characteristic of the Baroque, his treatment of form, melody and harmony associates him more closely with the emerging Classical style. Ferrari's use of harmonies [in op. 1, no. 5] is one of the earliest applications of this technique." Virginia D. Kock in Grove Music Online.The Meyer Collection, formed over a period of some 75 years, was one of the most important collections of printed music, musical autographs, and books on music of the 20th century. Seller Inventory # 25148

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Volume of four works by Walton, three: WALTON, William 1902-1983

About this Item: Contains the following four works, all in full score:Façade Second Suite for Orchestra. Price 7/6[London: Oxford University Press, 1938]. 1f. (recto contents, verso notes regarding orchestration), 43, [1] (blank) pp. With catalogue of "The Music of William Walton" published by Oxford to verso of lower wrapper. First Edition, later issue. First performed in New York at Carnegie Hall on March 30, 1938. Craggs: William Walton A Thematic Catalogue, p. 73."While at Oxford, Walton met Sacheverell, Osbert and Edith Sitwell, friends with whom he lived for over a decade. The Sitwells provided him with freedom from want, time to compose and a lively cultural education. During this period, he attended the Russian ballet, met Stravinsky and Gershwin, listened to jazz at the Savoy Hotel and wrote an experimental string quartet that won the praise of Alban Berg. His first trip to Italy, taken with the Sitwells in 1920, proved to be a seminal experience. He found there a congenial musical tradition steeped in Mediterranean lyricism, as well as the sunlight that he craved. His first important score, Façade (1922-9) reflects these influences." Bound with:Suite from the Ballet The Wise Virgins after J.S. Bach. Price 17/6[London: Oxford University Press, 1942]. 68 pp. With contents and notes regarding orchestration to verso of upper wrapper; publisher's catalogue "Works by William Walton in the Oxford Catalogue" to verso of lower wrapper. First Edition. A ballet in one act with a scenario based on the parable of the Wise and Foolish Virgins (Matthew XXV), the music by Bach chosen and arranged by Constant Lambert from the religious cantatas and orchestrated by Walton. The ballet itself was first performed in London at Sadler's Wells Theatre on April 24, 1940; the suite consists of six movements and was used as music for a ballet, Cantus Firmus, by the Ballet van Vlaanderen, first performed in Antwerp on May 15, 1970. Craggs pp. 121-122.Bound with:Music for Children. Price 10/6[London: Oxford University Press, 1941]. 48 pp. With contents and notes regarding the history of the work and orchestration to verso of upper wrapper. First Edition. First performed in London at Queen's Hall on February 16, 1941. Craggs p. 120.Bound with:Concerto for Violin and Orchestra. Price 12/6[London: Oxford University Press, 1945]. With orchestration and notes regarding the first performance of the work to verso of upper wrapper, including an errata slip tipped-in. 172 pp.First Edition. First performed in Cleveland at Severance Hall on December 7, 1939 with Jascha Heifetz and the Cleveland Symphony Orchestra conducted by Artur Rodzinski. Craggs p. 115.4 works bound in one volume. Large octavo. Full navy blue cloth with titling and initials "A.S." gilt to spine. All with original publisher's decorative ivory wrappers printed in green and black bound in. Slightly worn; very slightly trimmed at upper margin just touching Smallens's signature; other occasional minor defects. "Noted above all for his orchestral music, [Walton] is one of the major figures to emerge in England between Vaughan Williams and Britten." Byron Adams in Grove Music Online.Smallens (December 20, 1888/January 1, 1889 - 1972 ), noted Russian-born American conductor, studied at the New York Institute of Musical Art and, from 1909, at the Paris Conservatoire, returning to the USA as assistant conductor of the Boston Opera, 1911-14. After two years as conductor of Pavlova's touring company, including a South American tour, he returned to become conductor of the Chicago Opera, 1919-23. His Chicago association began when he replaced Hasselmans as conductor for the première of De Koven's Rip Van Winkle, and he also gave the première of Prokofiev's The Love for Three Oranges at Chicago in 1921. He was musical director of the Philadelphia Civic Opera, 1924-31, where he gave the American premières of Strauss's Feuersnot in 1927 and Ariadne auf Naxos in 1928, and was also assistant conductor of the Philadelphia. Seller Inventory # 29948

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Opp. 24, 25, 27, nos. 1, 81,: SCHUMANN, Robert 1810-1856
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About this Item: Folio. Half dark green textured cloth with black textured cloth boards.Op. 24Liederkreis von H. Heine für eine Singstimme und Pianoforte componirt und Mademoiselle Pauline Garcia zugeeignet. Op. 24. Pr. 1 Thlr. Leipzig: Breitkopf & Härtel [PN 6343], [after 1840]. 1f. (title), 3-23, [i] (blank) pp. Engraved. Publisher's handstamp to foot of title; title and final leaf professionally repaired at edges; lower right corners creased; handstamp slightly trimmed. Various annotations in pencil (including instructions in German for transposition). First Edition, later (unrecorded) issue, lacking printer's note to lower left corner of p. 3, "Stich und Druck von Breitkopf & Härtel in Leipzig." Hofmann p. 61. McCorkle pp. 100-10.Op. 25Myrthen Liederkreis Göthe, Rückert, Byron, Th. Moore, Heine, Burns & J. Mosen für Gesang und Pianoforte. Op. 25. Heft I. Heft II. Heft III. Heft IV, à 20 Ngr. Leipzig, Fr. Kistner [PNs 1290, 1291, 1293, 1294], [ca. 1842]. First Edition, later issue, lacking credits to Krätzschmer to illustrated title. Hofmann pp. 63/65. McCorkle p. 111.Heft I: 1f. (title within decorative border printed in green), [i] (dedication), 5-17, [i] (blank) pp. Heft II: [i] (title), 2-14 pp. Heft III: [i] (title), 2-15, [i] (blank) pp. Heft IV: 1f. (title), 3-13, [i] (blank) pp. Lacking pp. 11-12 (lieder no. 25). Title and dedication pages lithographed, music engraved. Signature "Jenny Meyer" in pencil to upper right corner of all titles. Uniformly browned; title of Heft III detached; tear to foot of final page. With additional pagination to some pieces at lower corners.Op. 81 Gesangstücke mit Pianoforte-Begleitung aus der Oper Genoveva. op. 81. Leipzig u. Berlin: Bureau de Musique von C. F. Peters [PNs 4405-4414], [?1860]. Der vollständige Klavier-Auszug mit Text, sowie für Piano à 4 ms. ist gleichfalls erschienen. No. 1. Vierstimmiger Choral: Erhebet Herz und Hände (mit Stimmen). 7 1/2 Ngr. [i] (title), 2-3, [i] (blank) pp.No. 2. Lied des Golo: Frieden zieh in meine Brust. 7 1/2 Ngr. [i] (title), 2-5, [i] (blank) pp.Nr. 3. Lied: O weh des Scheidens 5 Ngr. [i] (title), 2-3, [i] (blank) pp. No. 4. Duettino für Sopran und Tenor: Wenn ich ein Vöglein wär. 10 Ngr. 1f. (title), 3-7, [i] (blank) pp.No. 5. Gebet der Genoveva: O Du, der über alle wacht .7 1/2 Ngr. [i] (title), 2-5, [i] (blank) pp.No. 6. Lied des Siegfried: Bald blick ich dich wieder mein Heimathschloss. 10 Ngr. 1f. (title), 3-7, [i] (blank) pp.No. 7. Lied der Margarethe: Jch sah ein Kind im Traum. 10 Ngr. [i] (title), 2-6, [i] (blank) pp.No. 8. Duettino für Sopran u. Alt: Abendlüfte kühle wehn. 10 Ngr. [i], (title), 3-7 (no. 8), [i] (blank) pp.No. 9. Quartettino für 2 Soprane u. 2 Tonore [!Tenöre]: Wann die Lichter der Erde verglühn. 7 1/2 Ngr. [i] (title), 2-5, [i] (blank) pp.No. 10. Gebet der Genoveva: Mich geb ich hier in Deine Hand. 7 1/2 Ngr. [i] (title), 2-5, [i] (blank) pp.Engraved. Signature "Jenny Meyer" in pencil to lower right corner of all ten volume titles. First Edition of excerpts. Very rare. Only one complete set in WorldCat (University of Oxford). Not in Hofmann or McCorkle. Bound with:- 3 songs in manuscript in a professional copyist's hand: [Op. 25, no. 1]. Widmung. [i] (title), [2]-[5], [i] (blank) pp. (transposed down to G-flat major). Handstamp of Jenny Meyer to head of title. Occasional annotations in pencil[Op. 25, no. 3]. Der Nussbaum. [i] (title), [2]-[6] pp. (transposed down to F major)[Op. 27, no. 1]. "Sag an, o lieber Vogel mein." [i] (title), [2]-[3], [i] (blank) pp. (transposed down to A major)- Abend-Lied. Aus Op. 85 Nr. 12 apart, ist in folgenden Editionen erschienen. Für Sopran oder Tenor mit Piano 5 Sgr. J. Schuberth & Co. Leipzig und New-York [PN 3613], [ca. 1870]. [i] (series title), 14-15, [i] (publisher's catalogue listing publications up to ca. 1857 and prices in Thaler and Neugroschen). Lithographed. With publisher's handstamp to foot of title. Later edition of arrangement, with neither arrangement nor text credited. Schumann compos. Seller Inventory # 24914

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Op. 1]. Six Sonatas for two Violins: LAMPUGNANI, Giovanni Battista

LAMPUGNANI, Giovanni Battista 1708-1788 and Giovanni Battista SAMMARTINI 1700/01-1775

Published by I. Walsh, London (1744)

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About this Item: I. Walsh, London, 1744. Folio. Disbound. Violino primo: 1f. (title including "St. Martini [?Sammartini] of Milan"), [1] (blank), 2-13, [i] (blank) pp.; Violino secondo: 1f. (title), [1] (blank), 2-13, [i] (blank) pp. Engraved. Publisher's catalogue advertising six items (no. i by Lampugnani, no. vi by Pasquali) to foot of title, with no ascriptions. In A major, B-flat major, A major, D major, E-flat major, and G major, with secondary numbering "No. 37" to "No. 42" in ink. Basso part acking (substituted from another edition, see below). Slightly foxed; title and edges of Violino primo part soiled; leaves of Violino secondo part detached. [?]First Edition. BUC p. 593. RISM L518 and B ii p. 363 (2 copies only in the U.S., at Colonial Williamsburg and San Francisco State College). WorldCat (additional copies at Carleton University and the Eastman School of Music). It is doubtful whether Sammartini had any share in this op. 1 collection. According to Bathia Churgin in Grove Music Onlikne, the third sonata (in A major) has been traditionally considered as Sammartini's work; the absence of ascriptions in the edition and the fact that the later edition (RISM L519) credits all six works to Lampugnani, however, do little to support any claim to Sammartini's authorship. With:LAMPUGNANI, Giovanni Battista[Op. 1]. Six Sonatas for two Violins with a Through Bass for the Harpsicord or Violoncello. Opera Prima. London: I. Walsh [ca. 1748]. [Basso part only]. Folio. Disbound. 1f. (title), 8 pp. Engraved. With bass figures. Lampugnani listed as sole author. Publisher's catalogue printed to foot of title (listing titles different from those included in the publisher's catalogue described above) including Willem De Fesch's 12 sonatas for flute (1748). Soiled, especially at upper margin; minimally foxed. A later edition, probably from plates of the first. BUC p. 593. RISM L519 (3 copies only in the U.S., at the University of California, Berkeley, the University of Virginia, and the Library of Congress). WorldCat (1 copy, at the University of Western Ontario). For doubts about Sammartini's authorship see the comment above.With:LAMPUGNANI, Giovanni Battista and Giovanni Battista SAMMARTINI[Op. 2]. A Second Set of Six Sonatas for two Violins with a Through Bass for the Harpsicord or Violoncello. London: I. Walsh [ca. 1750]. [Parts]. Folio. Disbound. Violino primo: 1f. (title including "St. Martini [?Sammartini] of Milan"), [1] (blank), 2-13, [i] (blank) pp.; Violino secondo: 1f. (title), 11, [i] (blank) pp.; Basso: 1f. (title), [i] (blank), 2-10 pp. Engraved. With bass figures. Publisher's catalogue printed to foot ot title (same as above). Printed ascriptions in caption titles of Violino primo part: nos. i (B-flat major), iii (F major), and v (B-flat major) to Sammartini; nos. ii (G major), iv (C major), and vi (D major) to Lampugnani. Sammartini identified as "Sigr. Martini" (or "Martino") in caption titles. Secondary numbering of sonatas as "87" to "92" in ink. Some soiling along spine; slightly foxed; small stains to title of Violino primo part; most leaves detached; repair to title of Violino secondo part. A later edition. BUC p. 593. RISM L524 and B ii p. 103 (dated "c.1750"; 4 copies only in the U.S., at the University of California, Berkeley, the University of Virginia, San Francisco State College, and the Library of Congress). WorldCat (copies at the University of Western Ontario and Yale). The sonata no. 1 is most probably by Antonio Brioschi (1725-1750) (see Jenkins-Churgin, App. D 15). The other ascriptions are correct; the two remaining Sammartini sonatas are identical with his symphonies listed by Jenkins-Churgin as nos. 37 and no. 66b. The present edition dated according to Jenkins-Churgin p. 70. Lampugnani, perhaps best known as an opera composer, also wrote instrumental music and was an accomplished harpsichordist and singing teacher. "He. made the acquaintance of J.C. Bach and Padre Martini; Bach mentioned him in a letter to Martini written in 1759. When M. Seller Inventory # 25754

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Volume of first and early editions of: MENDELSSOHN, Felix 1809-1847

MENDELSSOHN, Felix 1809-1847

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About this Item: Oblong folio. Full 19th century mid-brown cloth with "Mendelssohn Bartholdy I." gilt to upper within decorative blindstamped borders.- Sechs Gesänge mit Begleitung des Pianoforte. Op. 19[A] Pr. 20 Ngr. Leipzig: Breitkopf & Härtel [PN] 5281, [after 1841]. [1] (lithographic titlie within decorative border), [2] (blank), 3-15 pp. Engraved. With occasional markings in pencil and red crayon. Small oval publisher's handstamp to foot of title. Slight soiling and browning to title. First Edition, later issue. Wehner SD6. Hoboken 10, 147. Krause 116. - Sechs Gesänge. Fräulein Julie Jeanrenand zugeeignet. Op. 34. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel [PN] 5783, [after 1841]. [1] (lithographic title within decorative border), [2] (blank), 3-15 pp. Engraved. Minor soiling; small marginal tear to pp. 13/14. First Edition, later issue. Wehner SD13. Not in Hoboken. Krause 118. - Sechs Lieder. Frau Constanze Schleinitz zugeeignet. Op. 47. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel [PN] 6210, [after 1841]. [1] (lithographic title within decorative border), 2-15 pp. Engraved. Minor thumbing to lower outer corners. First Edition, later issue. Wehner SD20. Not in Hoboken. Krause 120. - Sechs Lieder. Frau Livia Frece zugeeignet. Op 57. Pr. 25 Ngr. Leipzig: Breitopf & Härtel [PN] 6929, [1843]. [1] (lithographic title within decorative green floral border), [2] (blank), 3-17 pp. Engraved. First Edition. Wehner SD26. Hoboken 10, 228 and illustration no. 18. Krause 122. - Sechs Lieder. Op. 71. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel [PN] 7736], [1847]. [1] (lithographic title within decorative border), [2] (blank), 3-15 pp. Engraved. First Edition. Wehder SD35. Hoboken 10, 254. Krause 49. - Lieder und Gesänge mit Begleitung des Pianoforte. Leipzig: Breitkopf & Härtel [PNs 8302, 8319, 8527 (e.1-2), 8527, [ca. 1852]. Group of 15 separately published lied, each with series title listing a total of 45 lieder. 15; 15; 3; 15 pp. Engraved. No.31. Da lieg'ich unter den Bäumen (Op. 84)32. Herbstlied. Im Walde rauschen dürre Blätter33. Jaglied. Mit lust thät ich ausreiten34. Es lauschte das Laub, von C. Klingemann. Es lauschte das Laub so dunkelgrün35. orgenlied. Erwacht in neuer Stärke36. Die Liebende schreibt, von Goethe. Ein Blick von deinen Augen37. Allnächtlich im Traume seh ich Dich, von H. Heine38. Der Mond, von Geibel. Mein Herz ist wie die dunkle Nacht39. Altdeutsches Frühlingslied, von Spee. Dertrübe Winter ist vorbei40. Erster Verlust, von Goethe. Ach wer bringt die schönen Tage41. Die Sterne schau'n, von Graf von Schlippenbach Die Sterne schau'n in stiller Nacht42. Lieblingsplätzchen, aus des Knaben Wunderhorn Wisst ihr wo ich gerne weil?43. Das Schifflein, von Uhland. Ein Schifflein ziehet leise44. Wenn sich zwei Herzen scheiden, von Geibel45. Es weiss und räth es doch Keines, von EichendorffBinding slightly worn and frayed; slightly shaken; spine splitting, with minor loss to head and tail of spine; hinges partially split. Minor internal wear and soiling. In very good condition overall. Seller Inventory # 29583

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HAYDN, Joseph 1732-1809

Published by Ed. Bote & G. Bock [PNs 181-192], Berlin u. Breslau (1866)

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About this Item: Ed. Bote & G. Bock [PNs 181-192], Berlin u. Breslau, 1866. 12 volumes. Octavo. Uniformly bound in brown cloth-backed textured dark brown paper boards with initials "E.M." to lower right corner of upper, gilt titling and ornaments to spines. No. 1 (= Hoboken I:104): [1-2] (title), 3-118 pp.No. 2 (= Hoboken I:102): [1-2] (title), 3-106 pp.No. 3 (= Hoboken I:94): [1-2] (title), 3-108 pp.No. 4 (= Hoboken I:103): [1-2] (title), 3-116 pp.No. 5 (= Hoboken I:100): [1-2] (title), 3-122 pp.No. 6 (= Hoboken I:101): [1-2] (title), 3-132 pp.No. 7 (= Hoboken I:88): [1-2] (title), 3-94 pp.No. 8 (= Hoboken I:95): [1-2] (title), 3-91, [i] (blank) pp.No. 9 (= Hoboken I:99): [1-2] (title), 3-126 pp.No. 10 (= Hoboken I:96): [1-2] (title), 3-106 pp.No. 11 (= Hoboken I:85): [1-2] (title), 3-102 pp.No. 12 (= Hoboken I:86): [1-2] (title), 3-127, [i] (blank) pp.Engraved. Foreign agents listed in imprint: Brandus, Paris; Ewer & Comp., London; Scharfenberg & Luis, New York.Incipits of all 12 symphonies to title pages of vols. 2-3, 5, and 8-12, with subscription prices in Reichsthaler. On title pages of vols. 1, 4, 6, and 7, incipit staves from no. 8 left blank; filled staves and prices next to them are the same as in vols. 2-3, 5, and 8-12. Title pages are othersie identical. Publisher's blindstamp to title of vols. 1, 3, 4, 6-8, and 10. Caption title "Symphonie" without number through vol. 7; no. 8 with arabic numeral; nos. 9-12 with roman numerals. Caption credits to "J. Haydn" to nos. 8 and 10-12. Publisher's note "Ed. Bote & G. Bock, Berlin" printed at lower right corner of first page of music from vol. 9 on. Notational correction in pencil to p. 108 of no. 6. Bindings slightly worn, rubbed and bumped; spines of vols. 1, 3, and 12 lacking; small stains to vol. 6.A complete set, including first editions in full score, of Hoboken I: 88, 96, and 100, various issues. Hoboken Haydn catalogue III, pp. 17-18 ("Coll. Sy. 5"), with title conforming to the latest of the three given by Hoboken; the imprint allows for dating between 1847 (opening of the Breslau office) and 1866 (liquidation of Scharfenberg & Luis). Hoboken collection catalogue 6: 175 (vol. 11, with mispagination, dated "um 1853"), 234 (vol. 8, misdated "um 1839"), 238 (vol. 10, mislabeled "Erstdruck" and misdated "1839"), 279 (vol. 2, earlier issue with incipits for nos. 1-7 only misdated "1839"), 294 (vol. 1, later issue with incipits for all 12 numbers).The first issues were announced in 1839, and the plate numbers reserved at the same time. Publication, however, seems to have stretched over many years: the first six volumes are listed in Hofmeister 1852, vol. 7 in Hofmeister 1860, and the final five in Hofmeister 1868. The differences in printing quality suggests that vols. 7-12 are first (or early) issues and vols. 1-6 later issues; in vols. 2, 3, and 5, the later issue is confirmed by the presence of all twelve incipits on the title page.The monogram "E.M." cannot be identified, but it is possible that it stands for Eusebius Mandyczewski (1857-1929), the initiator of the first complete edition of Haydn's works.A well-preserved set.Together with: [Hoboken I:97] Symphonien von Joseph Haydn. Partitur. No. 7 C dur. Pr. 1 Thlr. 10 Ngr. [Full score]. Leipzig: Breitkopf & Härtel [PN 9055], [ca. 1855]. Octavo. Black cloth-backed gray boards with blank label to spine and upper. 1f. (title), 59, [i] (blank) pp. Engraved. Handstamp of "Karl Schwager Musikalienhandlung u. Antiquariat Wien" to title. Binding quite worn, rubbed and bumped with portions of cloth spine lacking; front endpaper detached. Somewhat browned; minor blue and graphite pencil markings to title; some pages guarded; pp. 5-16 lacking. First Edition, most probably first issue. Hoboken Haydn catalogue I, p. 196 and III, p. 19 (Coll.Sy.7b; there, date is given as "1855/58"). Hoboken collection catalogue 6, 243. Not in Hirsch or RISM.The list of symphonies on the title page includes nine numbers. The first six scores (Hoboken I: 93, 94, 99, 101, 203, 104) were published in Haydn's lifetime and r. Seller Inventory # 25527

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Volume of three works by Stravinsky, one: STRAVINSKY, Igor 1881-1971

STRAVINSKY, Igor 1881-1971

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About this Item: Contains the following three works, all in pocket score format:Trois Pièces pour Quatuor à Cordes (2 Violins, Alto et Violoncelle.). Berlin: Édition Russe de Musique [PN R.M.V. 401] [1922]. Original dark yellow printed wrappers bound in. 1f. (recto title, verso blank), 8 pp. With "Edited by F.H. Schneider" printed at head of first page of music. Inscribed to the conductor Alexander Smallens, signed in full by Stravinsky, and dated Paris, February 1923 at head of upper wrapper.First Edition. Kirchmeyer 19-1.Bound with:Les Noces Scènes Chorégraphiques Russes avec Chant et Musiq. Version Française de C.-F. RamuzLondon: J. & W. Chester [PN W. Ph. V. 296 J.WC. 45B] [1927]. 1f. (recto title, verso blank), 132 pp., 1f. (recto stamped "Sole Agents Galaxy Music Corporation" in New York, verso blank). With three handstamps to title including that of Elkan-Vogel Co. in turquoise ink, price of "Net 6/-" in black ink, and "Majoration Temporaire" in purple ink. With occasional markings in lead pencil. Title and text in Russian and French. Kirchmeyer 40-4. Bound with:Symphonie de PsaumesBerlin. Édition Russse de Musique [PN R.M.V. 561] [1932]. 1f. (recto title, verso notes, including "Cette symphonie composée à la gloire de Dieu est dédiée au "Boston Symphony Orchestra" à l'occasion du cinquantenaire de son existence."), 63, [i] (blank) pp. The reduced format version of the first edition of the full score. Kirchmeyer 52-3. ProvenanceThe collection of Alexander Smallens3 works bound in one volume. Octavo. Full maroon cloth with titling and initials "A.S." gilt to spine.Wrappers to Trois Pièces very slightly worn and soiled, with inscription very slightly trimmed at upper and right margin just barely toucing the "I" of "Igor" and the "y" of "Stravinsky." Stravinsky was "one of the most widely performed and influential composers of the 20th century." Stephen Walsh in Grove Music Online.Smallens (December 20, 1888/January 1, 1889 - 1972 ), noted Russian-born American conductor, studied at the New York Institute of Musical Art and, from 1909, at the Paris Conservatoire, returning to the USA as assistant conductor of the Boston Opera, 1911-14. After two years as conductor of Pavlova's touring company, including a South American tour, he returned to become conductor of the Chicago Opera, 1919-23. His Chicago association began when he replaced Hasselmans as conductor for the première of De Koven's Rip Van Winkle, and he also gave the première of Prokofiev's The Love for Three Oranges at Chicago in 1921. He was musical director of the Philadelphia Civic Opera, 1924-31, where he gave the American premières of Strauss's Feuersnot in 1927 and Ariadne auf Naxos in 1928, and was also assistant conductor of the Philadelphia Orchestra, 1927-34. Later he moved towards a lighter repertory, conducting the première of Gershwin's Porgy and Bess at Boston in 1935." Bernard Jacobson in Grove Music Online. Seller Inventory # 29947

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Op. 1]. [6] Sonates A Violon Seul: CUPIS [DE CAMARGO].

CUPIS [DE CAMARGO]. Jean-Baptiste 1711-1788

Published by L'Auteur. La Veuve Boivin. Le Sr. Le Clerc, Paris (1738)

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About this Item: L'Auteur. La Veuve Boivin. Le Sr. Le Clerc, Paris, 1738. 1f. (title), 1f. (dedication), 5, [6] (blank), 7-28, [29] (blank), 30-31, [32] (blank), 33-38, [i] (Privilege General dated December 20, 1737), [i] (blank). Engraved. Notated on two systems: violin and figured bass. First Edition. RISM C4586 (5 copies). Lesure p. 144.Bound with:CUPIS DE CAMARGO[Op. 2]. [6] Sonates Pour Le Violon, Composées Par Mr. Cupis. Dediées A M. Le Duc de Nivernois, Paire de France. Second ?uvre. Prix 9 [livre] en blanc. Gravée par Le Sr. Hüe. Avec Privilege du Roy. L'Auteur a adjoutés a Son premier Livrie les agréments nécessaires pou que l'on joüe ses Ouvrages dans son goût. [Score]. Paris: L'Auteur, [?1738]. Signed by the composer. 1f. (title), 1f. (dedication), 44, [i] (Privilege General, dated December 20, 1737), [i] (blank). Engraved. Notated on two systems: violin and figured bass. Slight loss to music to upper outer corner of pp. 32-33; composer's signature somewhat faded. First Edition. RISM C4587 (7 copies). Lesure p. 144 (dated "c. 1745"). "The Mercure de France of 1 June 1738 compared Cupis favourably with his contemporaries, predicting that his playing would unite the tenderness and feeling of Leclair with the fire and brilliance of Guignon. Rameau named a movement of his fifth concert (1741) after him. Cupis contributed to the evolution of violin playing through his use of 8th position, fourth-finger extensions and new bowing methods with extended phrases on single bow strokes. His violin sonatas (with one exception) each contain four movements, a slow movement followed by three faster ones. The allegro movements are characteristically monothematic and careful attention to dynamic nuance is evident throughout. The first sonata of op.2 contains the famous 'menuet de Cupis' praised by D'Aquin de Château-Lyon (1753)." Julie-Anne Sadie in Grove Music Online.Bound with:VERACINI, Francesco Maria 1690-1768[12] Sonate A Violino Solo E Basso Dedicate A Sue Altezza Reale, Il Serenissimo Principe Reale Di Pollonia, Et Elettorale di Sassonia. Opera Prima Gravées par Le Sr Hue Prix 12 [livre]. Avec Privilege du Roy. Paris: Mr. Le Clerc le Cadet. Le Sr Le Clerc. Madame Boivin, [ca. 1742]. [Score]. 1f. (title), [1] (publisher's catalogue), 2-29, [30] (blank) 31-81, [i] (blank) pp. Engraved. Pages 23-24 (end of Sonata V and beginning of Sonata VI) and 35-end (end of Sonata VII and all of Sonatas VIII-XII) lacking; pp. 31-34 (beginning of Sonata VII) loosely inserted, trimmed and slightly frayed at edges. Slight loss to music to upper outer corner of pp. 7-8 and to fifth measure of p. 15. A later edition, later issue (first published in Dresden, 1721). RISM V1208 (7 copies). Lesure p. 623 (an earlier issue dated 1736). Dated according to publisher's catalogue, which corresponds closely to Devriès-Lesure catalogue no. 125. "Veracini. dedicated a set of 12 solo sonatas to Prince Elector Friedrich August of Saxony. Though knowing that a violinist was not needed at the Dresden court. the prince persuaded his father to retain Veracini. Veracini travelled to Dresden where he was transferred from the prince's private employment to the regular court payroll on 20 November 1717. His salary was equal to Heinichen's, Volumier's and Johann Schmidt's, and far exceeded those of the other composers, J.G. Pisendel, Christian Pezold and J.D. Zelenka. In February 1719 Veracini was entrusted with hiring more singers for the court while he was in Bologna and Venice. He returned to Dresden where he remained until 1722, when on 13 August he leapt from a third-storey window in a fit of madness brought on by too much application to music and reading of alchemy, according to Mattheson. Veracini's treatise hints that there was a plot against his life inspired by jealousy, however. The op. 1 sonatas of 1721 are. contrapuntal, perhaps owing to the influence of the German composers at Dresden, from whom he certainly got the idea of beginning a suite of dances with a French overture (unheard of in Italian solo sonatas)." John Walter Hill. Seller Inventory # 25129

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SPOHR, Louis 1784-1859

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About this Item: - [Op. 30]. Xtes Quartett für 2 Violinen, Viola und Violoncello. 30tes Werk. Preis ["f. 3" in pencil, erased]. [Parts]. Wien: S.A. Steiner und Comp. [PN S:u:C: 3017], [?after 1819]. Violino primo: [1] (title), 2-13, [i] (blank) pp.; Violino secondo: [1] (blank), 2-9, [i] (blank) pp.; Viola: [1] (blank), 2-9, [i] (blank) pp.; Violoncello: [1] (blank), 2-9, [i] (blank) pp. Engraved.First Edition, issue unclear. WorldCat (5 copies in North America, at the University of Victoria, the Eastman School of Music, Harvard, Indiana, and the Free Library of Philadelphia. According to Weinmann: Senefelder-Steiner-Haslinger 1, p. 167, the first issue (November 1819) has a printed price of "2 fl. 30 x" to the title. Göthel, p. 51, reverses the chronology: "The price was omitted [from the first issue] and re-engraved in a later issue as '2 fl. 30x'." Since the (erased) manuscript price to the present copy exceeds the printed price, Weinmann's hypothesis of a later deletion of the printed price seems more likely. Copies with a printed price other than "2 fl. 30 x." have not been located. Op. 30, in A major, is now counted as Spohr's 8th string quartet (see MGG2). The confusing numbering results from the fact that two of the three op. 29 quartets are actually later than op. 30.- [Op. 43]. Quatuor brillant [in E major] pour deux Violons, Alto et Violoncelle. Oeuv. 43. Pr. 1 Rthlr. 8 gr. [Parts]. Leipzig: Bureau de Musique de C.F. Peters [PN 1361], [February 1818]. Violino primo: [1] (title), 2-11, [i] (blank) pp.; Violino secondo: [1] (blank), 2-8 pp.; Viola: [1] (blank), 2-8 pp.; Basso: [1] (blank), 2-7, [i] (blank) pp. Engraved. With overpaste of B. Schott's Söhne, Mainz. Remnants of overpaste of manuscript music (?ossia) to p. 11 of Violino primo part. First Edition. Göthel p. 77 (with "[!]Oeuv 13." WorldCat (10 copies in North America). Spohr's 11th quartet, in E major, also counted as "Quatuor brillant no. 2."- [Op. 45]. Trois Quatuors pour deux Violons, Viola et Violoncelle. Oe. 45. No. I.II.III. Pr. 1 Rth. 20 gr. [Parts]. Leipzig: Bureau de Musique de C.F. Peters [PNs 1487, 1489, 1490], [October 1819]. No. 1: Violino primo: [1] (title), 2-12 pp.; Violino secondo: [1] (blank), 2-9, [i] (blank) pp.; Viola: [1] (blank), 2-9, [i] (blank) pp.; Violoncello: [1] (blank), 2-9, [i] (blank) pp. No. 2: Violino primo: [1] (title), 2-13, [i] (blank) pp.; Violino secondo: [1] (blank), 2-11, [i] (blank) pp.; Viola: [1] (blank), 2-11, [i] (blank) pp.; Violoncello: 8 pp. No. 3: Violino primo: [1] (title), 2-14 pp.; Violino Secondo: [1] (blank), 2-10 pp.; Viola: [1] (blank), 2-10 pp.; Violoncello: [1] (blank), 2-10, [ii] (blank) pp. Engraved. All three title pages with overpaste of B. Schott's Söhne, Mainz. First Edition, probable first issue. Göthel p. 82. WorldCat (3 complete copies only in the U.S., at the Eastman School of Music, Harvard, and the University of North Carolina, Chapel Hill; copies of no. 2 at the Juilliard School, the Free Library of Philadelphia, the Newberry Library, and Brigham Young; copies of no. 3 at the Newberry Library and Indiana. Spohr's 12th, 13th, and 14th quartets, in C major, E minor, and F minor respectively.- [Op. 58]. Trois Quatuors pour deux Violons, Viola et Violoncelle Composés et Dédiés à Son Ami Guillaume Speyer à Offenbach. Oeuv. 58. No. [I.II.II]. Rthlr. 1.16 gr. [Parts]. Leipzig: Bureau de Musique de C.F. Peters [PN 1713, 1714, 1715], [February 1823]. No. 1: Violino primo: 1f. (title), [1] (blank), 2-13, [i] (blank) pp.; Violino secondo: [1] (blank), 2-10 pp.; Viola: [1] (blank), 2-10 pp.; Violoncello: 7, [i] (blank) pp. No. 2: Violino primo: 1f. (title), [1] (blank), 2-13, [i] (blank) pp.; Violino secondo: [1] (blank), 2-10 pp.; Viola: [1] (blank), 2-10 pp.; Violoncello: [1] (blank), 2-9, [i] (blank) pp. No. 3: Violino primo: [1] (title), [i] (blank), 3-15, [i] (blank) pp.; 2-13, [i] (blank) pp.; Violino secondo: [1] (blank), 2-9, [i] (blank) pp.; Viola: [1] (blank), 2-10 pp.; Violoncello: 8 pp. Engraved. First. Seller Inventory # 25987

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Repertoire des Elèves de Harpe ou Méthode: PETRINI, François (Franz)

About this Item: Chez Louis, Paris, 1796. 1f. (title), [1] (blank), 2-25 + [i] (blank) pp. Engraved. Title within fine illustrated border by J. Le Roy featuring musical instruments (including the harp), music, and architectural and floral elements. Overpaste of the Parisian music dealer "Duhan & Cie." With publisher's signature to title. Minor foxing and browning; light to moderate staining to lower outer portion of each leaf. Very rare. Not in Lesure or Lescat. RISM PP1635a (one copy only, at the Martin-Luther-Universitãt, Halle). WorldCat (with incorrect imprint and without location). Not in COPAC or Karlsruhr. "In 1765 [Petrini] became harpist and chamber musician at the court of Mecklenburg-Schwerin, where he also studied composition. In 1769 he went to Paris, and in 1770 gave his début at the Concert Spirituel and published his op.1." Alice Lawson Aber-Count in Grove Music Online.Bound with:Cousineau, Jacques-Georges 1760-1836Méthode de Harpe Suivie d'un Receuil de Petits Airs de differens Auteurs, et d'une instruction touchant le Méchanique des Harpes Anciennes et Nouvelles. Oeuvre IV. Prix [9 livre]. Paris: Chez Cousineau Pere et Fils [PN 107], [1784]. 1f. (title), [1] (simple free-hand engraving of the harp), 2-48 pp. Engraved. Title within decorative border featuring musical instruments including the harp. With publisher's signature to foot of title and early manuscript annotation to upper margin. Page 10 with a diagram of pedal positions. Title washed; minor staining to lower outer corners of many leaves; occasional paper repairs at plate edges. First Edition. Rare. RISM BVI p. 241 (4 copies only). Lescat: Méthodes Traités Musicaux en France 1660-1800, 477a. Bound with:Dalvimare, Pierre 1772-1839Un Jeune Troubadour Romance Avec accompagnement De Piano ou Harpe. Prix 1 [livre] 50 c. Paris: Au Bureau de l'Agence Dramatique. Et chez les Marchands de Musique [PN 47], [ca. 1800-1820]. [1] (title), 2-3 pp. Engraved. With the signature of the composer (most likely autograph) to title. Dalvimare was harp tutor to Napoleon's wife, the Empress Josephine. Bound with:Various short contemporary pieces featuring the harp by composers and arrangers including Baneux, Berton, Blattman, Cardon, Deleplanque, Desargus, Gros, Krumpholtz, and Naderman, including several pieces from the series "Feuilles de Terpsichore ou Nouvelle Etudes de Harp" published in Paris by Chez Cousineau Pere et Fils, [1779-ca. 1790]. Folio. Contemporary quarter green vellum with marbled baords, rectangular paper label with manuscript titling to upper. Binding worn and rubbed, particularly at edges; spine chipped; manuscript titling faded. Seller Inventory # 26479

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Opp. 4, 13, 15, 29, 30, 45].: SPOHR, Louis 1784-1859

SPOHR, Louis 1784-1859

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About this Item: - [Op. 4]. Deux Quatuors. composés et dediés A Son Altesse Serénissime Monseigneur le Duc regnant de Saxe-Gotha et Altenbourg. Oeuv. IV. Leipzig: chez A. Kühnel (Bureau de Musique) [PN 455] [1806]. [1] (title), 2-14; [1] (title), 2-9; [1] (title), 2-9; [1] (title), 2-9 pp. Engraved. Tears to edges of title to first violin part. First Edition. Göthel p. 13. With manuscript note to foot of title: "Den 19. Juni 1806." - [Op. 15]. Deux Quatuors. composés et dediés A Monsieur Keller Conseiller de So Altesse le Margrave de Bade. Op. 15. Leipzig: chez C.F. Peters (Bureau de Musique) [PN 720] [1818]. [1] (title), [2-3] (blank), 4-15; [1] (blank), 2-9; [1] (blank), 2-9; [1] (blank), 2-9 pp. Engraved. First Edition, later issue. Göthel p. 27. - [Op. 30]. Xtes Quartett. 30tes Werk. Wien: S.A. Steiner und Comp. [PN S:u:C: 3017 [1819]. 13; [1] (blank), 2-9; [1] (blank), 2-9; [1] (blank), 2-9 pp. Engraved. First Edition. Göthel p. 51. Weinmann: Senefelder, Steiner & Haslinger, p. 167. - [Op. 13]. Quatuor Brillant. Oeuv. 13 [corrected in manuscript to 43]. Leipzig: C.F. Peters [PN 1361] [1818]. 11; [1] (blank), 208; [1] (blank), 2-8; [1] (blank), 2-7 pp. Engraved. First Edition. Göthel p. 77. - [Op. 45]. Trois Quatuors. Oe. 45. No. I [II-III]. Leipzig: C.F. Peters [PN 1487, 1489, 1490] [1818]. Violin I: 12; 13; 13 pp.Violin II: [1] (blank), 2-9; [1] (blank), 2-11; [1] (blank), 2-10 pp.Viola: [1] (blank), 2-9; [1] (blank), 2-11; [1] (blank), 2-10 pp.Violoncello: [1] (blank), 2-9; 8; [1] (blank), 2-10 pp. Engraved. First Edition. Göthel p. 82. - [Op. 29]. Trois Quatuors. composés et dediés À Son Ami Andreas Romberg. Oeuvre 29. Vienne: Pierre Mechetti [PN] 381 [1815]. 23; [1] (title), 2-19; [1] (title), 2-19; [1] (title), 2-17 pp. Engraved. First Edition. Göthel p. 50. Weinmann Mechetti p. 11. Four volumes. 19th century marbled paper over flexible boards with large labels titled in manuscript to uppers. Occasional annotations. Bindings slightly worn. Minor browning, foxing and staining. In very good condition overall. "The largest portion of Spohr's chamber music was for strings alone, ranging from 19 unsurpassed duos for two violins to four masterly, and largely unemulated, double string quartets. These, together with the 36 string quartets (and several other works for the same combination), seven string quintets and the String Sextet of 1848, display a number of common features. Spohr's own mastery of the violin is evident in all of them, and their technical difficulties, together with the particular style of performance necessary to secure their full effect, may partly explain their infrequent performance. The quartets, especially, fall into two distinct categories: solo quartets in the tradition of Rode (often entitled "Quatuor brillant"), which are essentially violin concertos with string trio accompaniment, and true quartets where the interest is more evenly divided between the instruments. At its most baneful, Spohr's virtuosity induced him to slip into predictable passage-work in the linking sections between the main tonal centres of his sonata form movement. There are, however, many examples of brilliance without vapidity in these works and his imagination seems particularly to have been stimulated by less usual combinations." Clive Brown in Grove Music Online. Seller Inventory # 17598

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MENDELSSOHN, Felix 1809-1847; MENDELSSOHN [-HENSEL], Fanny 1805-1847

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About this Item: Oblong folio. Contemporary full maroon morocco with titling gilt within highly decorative gilt border incorporating floral motifs: "F. Mendelssohn Bartholdy. Lieder mit Pianoforte. Louise Bunge," inner dentelles gilt, watered silk endpapers, all edges gilt. Op. 8 Heft 1 (nos. 1-6)Zwölf Gesaenge mit Begleitung des Pianoforte. Op. 8 Heft[I] Pr. 2/3 Thlr. Zwei Hefte compl. 1 1/3 Thlr. Berlin: Schlesinger [PN S. 1422], [after 1840]. 1f. (title), 3-15, [i] (blank) pp. Engraved. Publisher's circular handstamp to foot of title. Nos. 2 and 3 are by Fanny Mendelssohn (uncredited). First Edition, second state, with music re-engraved. Hensel WV 2000. Wehner p. 469 (MWV Sammeldruck 2). Krause 112. Ward Jones III, 703. Op. 8 Heft 2 (nos. 7-12)Zwölf Gesaenge mit Begleitung des Pianoforte. Op. 8 Heft[2] Pr. 2/3 Thlr. Zwei Hefte compl. 1 1/3 Thlr. Berlin: Schlesinger [PN S. 1422b], [after 1840]. 1f. (title), 3-15, [i] (blank) pp. Engraved. Publisher's oval blindstamp to foot of title. No. 12 is by Fanny Mendelssohn (uncredited). Hensel WV 2000. First Edition, second state, with music re-engraved. Wehner p. 469 (MWV Sammeldruck 2). Ward Jones III, 703. not in Krause. Op. 9 Heft 1 (nos. 1-6)Zwölf Lieder mit Begleitung des Pianoforte (Erstes Heft: Der Jüngling. Zweites Heft: Das Mädchen). Op. 9 Heft I Pr. 2/3 Rthl. Berlin: Schlesinger [PN S. 1581], [after 1840].(1)]. 1f. (title), 3-13, [i] (blank) pp. Engraved. Publisher's oval blindstamp to foot of title. First Edition, second state, with music re-engraved. Wehner pp. 469-70 (MWV Sammeldruck 3). Ward Jones III, 705 (the first state of 1830). Not in Krause. First published in 1830. Op. 9 Heft 2 (nos. 7-12)Gesänge und Lieder für eine Singstimme mit Begleitung des Pianoforte. Op. 9. Heft [ii]. Berlin: Schlesinger [PN S. 1581], [after 1840]. 1f. (title), 3-13, [i] (blank) pp. Engraved. Publisher's oval blindstamp to foot of series title. First Edition, second state, with title and music re-engraved. Nos. 7, 10, and 12 are by Fanny Mendelssohn (uncredited). Hensel WV 2000. Wehner pp. 469-70 (MWV Sammeldruck 3). Ward Jones III, 706. Op. 19[a]Sechs Gesänge mit Begleitung des Pianoforte. Op. 19. Pr. 20 Ngr. Leipzig: Breitkopf & Härtel [PN 5281], [after 1840]. 1f. (title), 3-15, [i] (blank) pp. Title lithographed; music engraved. Publisher's handstamp to foot of title. First Edition, later issue. MWV Sammeldruck 6. First issue dates from 1833; the price in Neugroschen excludes any date before 1840. The opus number 19 was also assigned to the Sechs Lieder ohne Worte, published by Novello in London in 1832 (now known as op. 19b). Wehner p. 471. Krause 116.Op. 34Sechs Gesänge mit Begleitung des Pianoforte componirt und Fräulein Julie Jeanrenaud zugeeignet. Op. 34. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel [PN 5783], [after 1840]. 1f. (title), 3-15, [i] (blank) pp. Title lithographed; music engraved. Publisher's handstamp to foot of title. First Edition, later issue. MWV Sammeldruck 13. First issue is 1837; the price in Neugroschen excludes a date before 1840. Krause 118. Op. 47Sechs Lieder mit Begleitung des Pianoforte componirt und Frau Constanze Schleinitz zugeeignet. Op. 47. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel [PN 6210], [after 1840]. [i] (title). 2-15, [i] (blank) pp. Title lithographed; music engraved. Publisher's handstamp to foot of title. First Edition, later issue. MWV Sammeldruck 20. First issue is 1837; the price in Neugroschen excludes a date before 1840. Krause 120.Op. 57Sechs Lieder mit Begleitung des Pianoforte componirt und Frau Livia Frege zugeeignet. Op. 57. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel [PN 6929], [1843] . 1f. (title). 3-17, [i] (blank) pp. Title lithographed; music engraved. Publisher's handstamp to foot of title. First Edition. MWV Sammeldruck 26. Krause 122. Op. 71Sechs Lieder mit Begleitung des Pianoforte. Op. 71. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel [PN 7736], [1847]. 1f. (title), 3-15, [i] (blank) pp. Title lithographed; music engraved. Publisher's handstamp to foot. Seller Inventory # 25037

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Musical and Poetical Relicks of the Welsh: JONES, Edward 1752-1824

About this Item: The Author, London, 1784. Folio. Attractively bound in modern brown half calf with decorative sepia paper boards, raised bands on spine in compartments gilt, black morocco title label gilt. 1f. (frontispiece), [1f.] (title), 1f. (printed dedication), [iii] (list of subscribers), [iv] (notes on the pronunciation of Welsh), 44 (text), 45-78 (music) pp. Text except dedication typeset; dedication and music engraved.With a fine frontispiece etching by Hall and Middiman after a drawing by Loutherbourg illustrating the stanza from Gray's Bard printed as a caption to foot of the page: "On a rock whose haughty brow/Frowns o'er old Conway's foaming flood,/Robed in the sable garb of woe,/With haggard eyes the Poet stood." Large vignette depicting Welsh musical instruments to upper half of p. 41 engraved by Thorntwaithe after a drawing by Edward Jones. Slightly browned, with occasional foxing. some annotations in pencil to music. First Edition. BUC p. 559. Lesure p. 336. RISM J607.Together with: Jones. The Bardic Museum of Primitive British Literature; and other admirable rarities; forming the second volume of the Musical, Poetical and Historical Relicks of The Welsh Bards and Druids: Drawn from Authentic Documents of Remote Antiquity (With Great Pains Now Rescued from Oblivion,) And Never Before Published. with English Translations and Historic Illustrations: likewise, The Ancient War-Tunes of the Bards. To These National Melodies Are Added New Basses; with Variations, for the Harp, or Harpsichord; Violin, or Flute. London: A. Strahan for the Author, 1802. Folio. Attractively bound in modern brown half calf with decorative dark green paper boards, raised bands on spine in compartments gilt, black morocco title label gilt. 1f. (frontispiece), [1] (title), [i] (blank), [iii]-xvi (preface), [xvii]-xx (index), 60 (text), 61-112 (music) pp. Text typeset; music engraved. With a fine hand-coloured frontispiece etching by Thomas Rowlandson after the drawing by Ibbetson and Smith.First Edition. RISM J612.Quite good copies overall. "It is for his work as a historian and recorder of Welsh music that Edward Jones is significant. In Musical and Poetical Relicks of the Welsh Bards (1784), The Bardic Museum (1802) and Hên Ganiadau Cymru (1820) he published 209 different melodies, most of them Welsh. He gathered them from manuscripts in the homes of the gentry and tune books of harpers and fiddlers; some were sent to him by his numerous correspondents and some he noted from oral tradition. Jones was also the first to print Welsh words to Welsh folksongs." Owain Edwards/Phyllis Kinney in Grove Music Online. Seller Inventory # 26089

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Op. 106]. Portuguesa pour basson et piano: BUSSER, Henri 1872-1973
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About this Item: Folio (ca. 360 x 280 mm). [i] (title), 15 pp. Notated in black ink on music paper with 16 printed staves per page. The engraver's copy, prepared for the publishing house Alphonse Leduc. Scored for bassoon and piano, the work begins in E minor, in 2, Andante doloroso.First page with autograph dedication, signature, ("Henri Busser"), and date ("1939"). Final page signed "H. Busser" and dated Paris, April 15, [19]39. Dedicated to Gustave Dhérin, noted professor of bassoon at the Paris Conservatory. With autograph annotation "Même édition que La Chasse de St. Hubert" to lower portion of title and occasional erasures and corrections in black ink in the composer's hand. Lower edge of first page with publisher's red handstamp, manuscript date "[193]9" and plate number ("A.L. 19882") in an early hand in maroon ink. Handstamps of the Société des Auteurs, Compositeurs & Éditeurs de Musique, dated May 19, 1939, to first and last pages. Numerous editorial markings and minor annotations in one or more early hands in pencil and red crayon.Slightly browned; two outer leaves and second bifolium detached, with several minor tears not affecting music; lower portion of pp. 3 and 4 with slight washing of ink, minimally affecting 1 "f" dynamic marking. Together with:An engraved proof of the first edition of the bassoon part. Folio (ca. 350 x 270 mm). 1 page. Paris: Alphonse Leduc, 1939 [PN A.L. 19,882]. With an autograph annotation in blue crayon signed "H. Busser" to blank upper margin. Various handstamps, including "11 Mai 1939," "Corrigé," and publisher's stamp to lower margin. Slightly worn, torn and creased. With numerous recordings available online, the Portuguesa has become a staple of the conservatory bassoonist's repertoire. Leduc also issued an undated, and probably later, version for bassoon and orchestra, of which only one copy is recorded, at the Deutsche Nationalbibliothek. Worldcat. Not in the Grove Music Online works list."Firmly rooted in the French 19th-century tradition, Büsser's symphonic and choral writing is indebted to Gounod and Saint-Saëns. He is best known, however, for his dramatic works, which betray Wagner's impact in both their form and their use of the orchestra. The influence of Debussy, whose advice Büsser sought over the opera that became his most successful, Colomba (c1902-10), is also evident in certain harmonic procedures and in an acute sensitivity to orchestral colour. The ballets, such as the light-hearted La ronde des saisons (1905) with its amusing descriptive touches, provide further evidence of his keen dramatic sense." Barbara L. Kelly in Grove Music Online. Seller Inventory # 25158

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Volume of three works by Stravinsky, one: STRAVINSKY, Igor 1881-1971

STRAVINSKY, Igor 1881-1971

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About this Item: 1921. Contains the following three works, all in full pocket score format:Pétrouchka Scènes Burlesques en 4 Tableaux d'Igor Strawinsky et Alexandre Benois Partition Edition de Poche. Berlin, Moscou, Leipzig, New York. Édition Russe de Musique [PN R.M.V. 348] [1921]. 1f. (recto title, verso instrumentation), [7]-156 pp.Inscribed to the conductor Alexander Smallens, signed in full by Stravinsky, and dated "NY 1.II.35" [February 1, 1935] at upper left corner of title. First Edition in this format. Kirchmeyer 12-6. Laid in is a manuscript fragment consisting of 9 measures in full score, commencing at rehearsal number 125, notated in a professional hand in ink, being "the concert ending for the fourth tableau of Petrushka which Stravinsky wrote at Koussevitzky's request [in ca. 1913], when performing Petrushka as a "suite" consisting of the Russian Dance from the first tableau, the whole second tableau, and just the dances from the fourth tableau. It was not published until 1947, and that only in the rescoring for reduced orchestra. It had previously been available, in the earlier scoring, only as rental material from Koussevitzky's Russischer Musikverlag. Stravinsky recorded it at least once, with the NY Philharmonic around 1940. and it is also the ending of the Trois Mouvements de Pétrouchka, the virtoso transcription made for Rubinstein in 1921." Richard Taruskin. 324 mm. x 119 mm. (ca. 12-3/4" x 4-3/4"). Bound with:Le Sacre du Printemps[Berlin. Édition Russe de Musique, PN R.M.V. 197b, 1922]. 1f. (title), 3-139, [i] (blank) pp. With detailed annotations in pencil relating to the Danse Sacrale to margins of a number of leaves and with a ca. 125 mm. x 200 mm. (5" x 8") leaf laid in with associated annotations in pencil to recto.First Edition in this format. Kirchmeyer 15-4. Bound with:Chant du Rossignol Poème Symphonique pour Orchestre PartitionBerlin. Édition Russe de Musique [PN R.M.V. 343b] [1921]. 1f. (title), 3-83, [i] (blank) pp.First Edition in this format. Kirchmeyer 26.2. ProvenanceFrom the collection of the conductor Alexander Smallens, with numerous annotations in his hand in lead pencil and markings in red and blue pencil throughout (expecially to Pétrouchka and Le Sacre), some referencing interpretations of the work by other conductors, including "Stravinsky starts here for Suite" (p. 41 of Pétrouchka); "Stokowski makes crescendo ff to sfff" (p. 16 of Le Sacre); "S. [?Stokowski] does not beat and always .) cresc. before this figure" (p. 102 of Le Sacre); "S. holds clarinet till G flute comes in" (p.104 in Le Sacre); and "Stokowski curtain." with "not Stravinsky" in Stravinsky's hand (p. 139 Le Sacre). With timing notations in pencil to margins of a number of leaves.Program excerpt from a performance at Carnegie Hall in New York on April 7, 1940 conducted by Stravinsky laid down to front pastedown with program notes to front free endpaper; additional program notes laid down to leaf preceding each work and to several other leaves.Small quarto. Full dark red cloth with titling and initials "A.S." gilt to spine. Binding slightly worn and frayed. Slightly worn, soiled, and browned, more heavily to some leaves; some signatures splitting, especially between Pétrouchka and Le Sacre, with browning to gutter; small tear to flyleaf and one other leaf repaired; laid-in leaves slightly worn, browned, and creased. Stravinsky was "one of the most widely performed and influential composers of the 20th century." Stephen Walsh in Grove Music Online.Smallens (December 20, 1888/January 1, 1889 - 1972 ), noted Russian-born American conductor, studied at the New York Institute of Musical Art and, from 1909, at the Paris Conservatoire, returning to the USA as assistant conductor of the Boston Opera, 1911-14. After two years as conductor of Pavlova's touring company, including a South American tour, he returned to become conductor of the Chicago Opera, 1919-23. His Chicago association began when he replaced Hasselmans as conductor for the premièr. Seller Inventory # 29945

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Cendrillon]. Les Mandores. Autograph musical manuscript, being: MASSENET, Jules 1842-1912

About this Item: Folio (350 x 270 mm). Modern maroon morocco with marbled boards. 4 pp., notated in ink on 20-stave music paper with blindstamp of H. Lard-Esnault Ed. Bellamy sr, Paris on one side of the leaf only.A fair copy of a piano reduction of "Les Mandores" in A major, 3/4 time. Tempo: "Assez Modéré (sans lenteur)"; metronome mark: "120 = [quarter note]." Autograph note to upper left corner of p. 1: "3ème entrée." Several erasures. Cautionary key and time signature for continuation after final double bar (D minor, 12/8 time).System breaks and pagination marked up in pencil in an unknown hand, both matching pp. 172-75 of the first edition of the piano-vocal score published in Paris by Heugel in 1899. The markup, as well as the cautionary key and time signatures at the end, allow for the conclusion that the present copy is part of the engraver's copy of the opera.All leaves guarded and with early horizontal crease; slightly browned; small stain to final blank page. In very good condition overall. "Les Mandores" is part of an extended ballet divertissement in the second act of Massenet's opera Cendrillon. It is not included in Massenet's original manuscript piano-vocal score, dated 1895 (Bibliothèque nationale de France, département Bibliothèque-musée de l'opéra, RES-563); there, the "2ème entrée" of the divertissement ("Le Fiancés") is immediately followed by "Le Rigodon du Roy," counted as the "3ème entrée." In the first edition "Les Mandores" appears as the "3ème entrée" (pp. 172-75) and another new movement, "La Florentine," as the "4ème entrée" (pp. 176-79); the "Rigodon du Roy" is renumbered as the "5ème entrée" (starting at p. 180 ).The autograph manuscript at the Bibliothèque nationale is also notated on one side of the leaf only, is on the same paper as the present manuscript, and carries engraver's marks in the same hand. System breaks and page breaks match those of the first edition; pagination, however, does not. It appears that Heugel prepared, or at least planned, an earlier edition based solely on the manuscript in the Bibliothèque nationale, but as the premiere was delayed by several years, the publisher apparently put the project on hold. In the interim, Massenet added the new entrée (and made other changes as well), necessitating changes to the pagination of the printed score. Seller Inventory # 25157

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Singende Muse an der Pleisse in 2.: SPERONTES [Scholze, Johann

SPERONTES [Scholze, Johann Sigismund] 1705-1750

Published by auf Kosten der lustigen Gesellschaft, Leipzig (1741)

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About this Item: auf Kosten der lustigen Gesellschaft, Leipzig, 1741. Small quarto. Full mid-tan leather with blind rules to edges of boards, raised bands on spine in blind-ruled compartments. 1f. (recto fine decorative title incorporating putti holding a banner with musical notation and text, verso blank), 1f. (introduction by the author with fine decorative head- and tailpieces), [99] + [i] (index) pp. With 102 tunes, numbers 1-68 text with accompanying musical notation, numbers 69-102 text only. Hirsch III, 1078. Second edition. RISM BII p. 372 (citing the first edition of 1736 and the present edition of 1741).Bound with:Sperontes singende Muse an der Pleisse Erste Fortsetzung, in 2. mahl 25 Oden, Derer neuesten besten und leichtesten musicalischen Stücke, mit denen dazu gehörigen Melodien verschen und zu beliebter Clavier-Übung und Gemüths-Ergötzung ans Licht gestellet. Leipzig: 1742. "Brühl sculpsit." 1f. (recto fine decorative title, verso blank), [52] pp., 1f. (recto index, verso blank). With 50 tunes, all with text with accompanying musical notation. Volume I of three, published from 1742-1745. First Edition of this volume. RISM BII p. 373. Music engraved throughout, text typeset. With highly attractive woodcut illustrations, some incorporating musical instruments, performers, etc., preceding text and as tailpieces to each page, some repeated. With fine double-page pictorial engraving by C.F. Boetius after the painting by Richter preceding title depicting figures playing musical instruments, singing, conversing, etc. in the foreground with the city of Leipzig, including the Thomaskirche, in the background. With titling to upper portion within highly decorative plaque surrounded by musical instruments, putti and a ribbon on which appears music with text "Das angene. Bleisst Athen." Title to first work with contemporary signature ("Cappler") to lower outer corner, title to second work with initials "C.K." to foot.Binding very slightly worn and bumped. Some very light wear, soiling, foxing, and small stains; uniform light browning; some leaves trimmed just touching either pagination, notation, tailpieces, or catchwords in several instances; mispagination following page 18 but complete; title to second work with small tear to upper inner margin; pne leaf with professional repair to blank outer margin. "Sperontes's most significant work is the Singende Muse an der Pleisse, a collection of poems set as strophic songs to adaptations of the 'newest and best music compositions'. The initial publication of 1736, containing 100 poems (and 68 compositions), proved to be so popular that it was followed by three further sets with 50 numbers each." ".The music of the Singende Muse consists overwhelmingly of popular pre-existing instrumental and vocal compositions to which Sperontes invented his verses. For the most part Sperontes seems to have drawn on French, but also on English, German and Italian, musical sources. Because the compositions were evidently modified or distorted considerably in their transmission - probably the work of local composers engaged by Sperontes - it has not been possible to identify more than a handful of pieces. 18th-century documents ascribe two pieces to J.S. Bach: 'Ich bin nun, wie ich bin' and 'Dir zu Liebe, wertes Herze' (bwv Anh. 40 and 41).". With their emphasis on modern instrumental dance forms, the lieder of the Singende Muse manifest the direct rhythms, clear phrasing and sectionalism, simple textures and harmonies of the progressive galant style. And, by avoiding the ornate vocal writing of the Italian opera, Sperontes established a precedent for differentiating lied and aria styles." ". The appearance in print of the first part of the Singende Muse marked the end of the so-called 'Liederlose Zeit' (songless era), the first three decades of the 18th century, during which the popularity of the imported Italian opera brought the cultivation and publication of German song to a virtual standstill. In addition, the remarkable success of Sperontes's anthology initiated. Seller Inventory # 29126

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Opp. 18, 59, 74, 95, 127, 130-133,: BEETHOVEN, Ludwig van
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About this Item: 1. Op. 181tes [-6tes] Quartett. 2 Violinen, Viola und Violoncello. 18tes Werk. Wien: Tobias Haslinger [without plate number] [ca. 1840]. Vl I: 1f. (title), [1] (blank), 2-12; 1f. (title), [1] (blank), 2-11; 1f. (title), [1] (blank), 2-11; 1f. (title), 9; 1f. (title), 9; 1f. (title), 9 pp. Vl II: 9; 8; 9; 8; 8; 8 pp. Va: 9; 7; 8; 8; 8; 8 pp. Vc: 9; 7; 8; 7; 8; 7 pp. Engraved. Kinsky p. 44. Hoboken 2, 96 and 97. "It was to the set of String Quartets, op. 18, that Beethoven turned for the most ambitious single project of his early Vienna years. This set was begun in 1798, composed primarily in 1799 and 1800, and published in 1801 with a dedication to Prince Lobkowitz. All of them essentially accept the usual four-movement structure and all reflect the Viennese Classic style, with an occasional admixture of Italianate melody - perhaps under the influence of Salieri, to whom Beethoven had just dedicated his Sonatas, op. 12." Solomon: Beethoven, p. 101.2. Op. 59[Trois Quatuors pour deux Violons, Alto et Violoncello. Oeuvre 59]. [Vienne: Au Bureau des arts et d'industrie A' Pesth chez Schreyvogel & Comp. [PNs 580, 585, 585] [1808]. Vl I: 2ff. (title, dedication to Count Razumovsky), [1] (blank), 2-13; [1] (blank), 2-11; 10 pp. Vl II: 10; 9; 9 pp. Va: 10; [1] (blank), 2-9; [1] (blank), 2-10 pp.Vc: 10; 9; [1] (blank) 2-9 pp. Engraved. First Edition of the Razumovsky quartets. Kinsky-Halm, p. 141. Dorfmüller, p. 216. Hirsch IV, 299. Hoboken 2, 274. "The string quartets of op. 59 so strained the medium, as it was understood in 1806, that they met with resistance from players and audiences alike. Each quartet was supposed to include a Russian melody, for the benefit of the dedicatee Count Razumovsky, the Russian ambassador in Vienna. Here for the first time may be seen Beethoven's interest in folksong, which was to grow in later years. Folksongs did not much help the first two quartets, but Razumovsky's notion came to superb fruition in the third, where Beethoven gave up the idea of incorporating pre-existing tunes and instead wrote the haunting A minor Andante in what he must have conceived to be a Russian idiom." The New Grove Vol. 2, p. 383. 3. Op. 74Quatuor pour Deux Violons, Viola et Violoncelle composé et dédié à Son Altesse le Prince Regnant de Lobkowitz Duc de Raudnitz. Oeuv. 74. Leipzig: Breitkopf & Härtel [PN] 1609 [1810]. Vl I: [1] (title), [2] (blank), 3-11 pp. Vl II: 7 pp. Vla: 7 pp. Vc: 7 pp. Engraved. First German edition, second issue (distinguished by the presence of "Adagio" at the head of the slow movement in the first issue and "Adagio ma non troppo" in the second). Published very shortly after the Clementi edition (see Del Mar: Beethoven's String Quartets op. 74 op. 95 Critical Commentary, pp. 14-15). Kinsky p. 198; Hirsch IV, 320; Dorfmüller-Weinhold p. 220; Hoboken 2, 333 (all citing the Breitkopf edition as the first). Often referred to as the "harp" quartet; the name derives from the pizzicato effects in the first movement. 4. Op. 95Elftes Quartett für zwey Violinen, Bratsche und Violoncelle Seinem Freunde dem Herrn Hofsekretär Nik. Zmeskall von Domanovetz . 95tes Werk. Wien: S.A. Steiner und Comp. [PN S. et C. 2580] [1816]. Vl. I: 1f. (title, v. blank), [1] (publisher's announcement dated February 1816), 2-9 pp. Vl II: [1] (blank), 2-9 pp. Vla: [1] (blank), 2-9 pp. Vc: [1] (blank), 2-9 pp. Engraved. First Edition, variant issue (distinguished by the presence of a diminuendo sign in measure 21 and a crescendo sign in measure 22 in the third movement of the second violin part). Del Mar P 1-1/2, p. 17. Kinsky-Halm p. 268. Hirsch IV, 355. Dorfmüller-Weinhold p. 224. Hoboken 2, 409. "The Quartets in Eb and F minor were written about a year apart, then: an appreciable span of time, by Beethoven's earlier standards. But on this occasion, nothing of first importance appears to have occupied him in between. There would seem to be every reason to consider the two quartets together, in the same way that we naturally group t. Seller Inventory # 26772

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