Sonates, First Edition (50 results)

Soft cover. Condition: Fine. 1st Edition. Fine, a nice clean copy, no marks.

218 pp., papier un peu jauni In-8 - br., couv. empoussiérée. Edition originale. Ex. num. ''tiré pour l'auteur.'' Envoi.

Hardcover. 24,3 : 33,0 cm. Reliure demi-toile marron d'époque légèrement frottée et émoussée. Page de titre gravée avec vignette gravée, 82 pages / 11 pages. Jusqu'à la page 28 avec des marges humides faibles et décroissantes dans le coin supérieur droit. Plus de rousseurs. Encore un bon exemplaire. -- 24,3 : 33,0 cm. Brauner Halbleinenband der Zeit, etwas berieben und bestoßen. Gestochenes Titelblatt mit gestochener Vignette, 82 Seiten / 11 Seiten. Bis Seite 28 mit schwachem, abnehmenden Feuchtrand rechte obere Ecke. Stärker stockfleckig. Noch gutes Exemplar. -- Bitte Portokosten außerhalb EU erfragen! / Please ask for postage costs outside EU! / S ' il vous plait demander des frais de port en dehors de l ' UE! // Bitte beachten Sie auch unsere Fotos! / Please also note our photos! / Veuillez noter nos photos -- Lesen Sie etwas Schönes auf einer Bank in der Frühlingssonne! Wir haben die passende Lektüre. -- Wir kaufen Ihre werthaltigen Bücher! Musi.

Condition: Gut. 1. Auflage. 4°. (= G.D. 1165. Sonates et Suites Celebres). Erste Auflage, 7 + 4 S. OBroschur, gutes Ex. Sprache: Französisch, Noten + Stimme.

1 CD + booklet, Jewelcase; Condition: Sehr gut. Sehr guter Zustand. /cds orgel Sprache: Französisch Gewicht in Gramm: 200.

Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. 1st Edition. STU 70646 Format: Vinyl, LP, Stereo Composed By Georg Philipp Telemann Design Jacques Vatoux Flute Jean-Pierre Rampal Harpsichord Robert Veyron-Lacroix Painting Giuseppe Zais Photography By Jean-Pierre Leloir. Inscribed by Author.

Folio. 19 S. OU. * Erstausgabe. - Papier etwas gebräunt.

1st edition. Very good copy in the original gilt-blocked cloth. Spine and panel edges somewhat dulled and rubbed as with age. Dulled music sheets. Remains quite well-preserved overall. * Estimated year of publication. Physical Description; 1 score (301 pages) ; 31 cm. Subjects; Sonatas (Piano). Fantasie & Sonate in C moll. For piano solo. Piano, Mozart. 3 Kg.

souple. Condition: Bon. Exemplaire tiré pour l'auteur numéroté (n°79), 1 vol. in-8 br., Emile-Paul Frères, Paris, 1923, 218 pp. Bel envoi de l'auteur "à Madame Simon Cerf à Simon Cerf en hommage respectueux et en témoignage d'amitié". Bon état (dos frotté avec petite tache d'encre). Langue: Français. signé par l'auteur.

1st edition. Very good copy in the original gilt-blocked cloth. Spine and panel edges somewhat dulled and rubbed as with age. Dulled music sheets. Remains quite well-preserved overall. * Estimated year of publication. Physical Description; 1 score (301 pages) ; 31 cm. Subjects; Sonatas (Piano). Fantasie & Sonate in C moll. For piano solo. Piano, Mozart. 1 Kg.

rigide. Condition: Bon. 1 vol. in-4 reliure pleine toile bleue sous jaquette illustrée, sous étui cartonné, Stil Editions, Paris, 1977, 120 pp. Reproduction de l'édition originale 1738-1739 sur papier vélin Licorne. De la bibliothèque du musicologue Claude Chauvel, spécialiste de musique ancienne, avec son ex-libris ms. en page de titre. Claude Chauvel a annoté au crayon la préface. Bon état (dos lég. passé et jaquette très lég. frottée) Langue: Français.

rigide. Condition: Assez bon. G. Chopin, Essai de critique musicale par H. Barbedette. Notice publiée par Le Ménestrel, 2e édition [ Avec : ] Leçons écrites sur les SOnates pour Piano seul de L. van Beethoven, 1 vol. in-8 reliure de l'époque demi-percaline rouge, Au Ménestrel, Heugel et Cie, Paris, 1869, 78 pp. et 1 f. , et E. et A. Girod, Paris, 1865, xv-206 pp. et 2 ff. Rares exemplaires des éditions originales. Les leçons sur les sonates pour piano de la pianiste Thérèse Wartel (1814-1865) constituent le sommet de son oeuvre pédagogique, et ce travail fut très bien accueilli en France et en Allemagne (le critique musical et librettiste Jules Ruelle évoque "un ouvrage des plus remarquables"). Etat très satisfaisant (reliure frottée en coiffes, premiers ff. un peu faibles) Langue: Français.

Condition: Sehr gut. 25 x 35 cm. 107 Seiten. Mit einer Titelvignette. *Köchel, S. 916; Haberkamp, S. 119-121; Kat. Hoboken, Nr. 699; RISM A/I M 7311. - Erstausgabe aus der ersten legitimen Gesamtausgabe von Mozarts Werken. Die Sammlung enthält KV 309, 281, 279, 280, 282, 283, 533 und 494. Für die Teile II-VI (KV 281, 279, 280, 282, 283) liegt hier die Erstausgabe vor (vgl. Köchel, S. 214-217; und Haberkamp, S. 119). Erster Abzug auf bläulichem Papier, in Typendruck und noch ohne Bogenzählung. Die Titelvignette zeigt Amor schlafend an eine Harfenspielerin gelehnt ("V. Kininger del. / W. Böhm sc."). - Neu broschiert, der grüne Orig.-Einband fehlt, das Reihentitelblatt daher etwas bestoßen und nachgedunkelt sowie mit handschriftlicher Bandzählung. Innen vereinzelt leicht fingerfleckig, ansonsten gut erhalten. Sprache: Französisch Gewicht in Gramm: 1001 Der grüne kartonierte Originalumschlag fehlt. Neu broschiert.

Condition: Gut. 25 x 35 cm. 107 Seiten. Mit einer Titelvignette. *Köchel, S. 916; Haberkamp, S. 119-121; Kat. Hoboken, Nr. 699; RISM A/I M 7311. - Erstausgabe aus der ersten legitimen Gesamtausgabe von Mozarts Werken. Die Sammlung enthält KV 309, 281, 279, 280, 282, 283, 533 und 494. Für die Teile II-VI (KV 281, 279, 280, 282, 283) liegt hier die Erstausgabe vor (vgl. Köchel, S. 214-217; und Haberkamp, S. 119). Erster Abzug auf bläulichem Papier, in Typendruck und noch ohne Bogenzählung. Die Titelvignette zeigt Amor schlafend an eine Harfenspielerin gelehnt ("V. Kininger del. / W. Böhm sc."). - Einband etewas bestoßen und mit kleiner Fehlstelle im Hinterdeckel (ca. 3 cm). Der aufgezogene Orig.-Umschlag berieben und fleckig. Reihentitelblatt etwas angestaubt und mit Besitzerstempel. Vereinzelt mit schmalem Feuchtigkeitsrand an der unteren Kante. Unten etwas knapp beschnitten, bis an den Unterrand der Heftzählung, jedoch ohne Textverlust. Sprache: Französisch Gewicht in Gramm: 1001 Karton des 19. Jahrhunderts. Der vordere, grüne Orig.-Umschlag ist als Deckeltitel aufgezogen.

Folio. Half modern mid-tan morocco with marbled boards, titling gilt to spine. 1f. (recto title, verso blank), [i] (blank), 2-27. [i] (blank) pp. Notated on two staves: solo violin and figured bass. Engraved. Signed by Sieber at lower outer corner of the title. Endpapers stained at corners. Title slightly worn, faded, soiled, foxed, and stained; some foxing, primarily to blank margins; small inkstains throughout; signature to title slightly trimmed. 20th century bookseller's description to front pastedown with bibliographical notes in manuscript; note to rear pastedown "correct collation, 10/14/70 Fredericksburg, Va. S.H." [Sidney Hamer, music specialist and long-time proprietor of the Leamington Bookshop in Washington, D.C.]. First Edition, second issue. Lesure p. 225 (first issue). Hirsch III, 212 (first issue). BUC p. 364. RISM G737 (1 copy only in the U.S., at the University of California, Berkeley). The present issue does not contain the privilege. "Gaviniés was best known to his contemporaries as a violinist; nearly every aspect of his playing was praised. . [His] works for the violin, comprising sonatas, duos, concertos and études, reveal something of his own virtuosity. All of the sonatas and duos have three movements. Many of the slow middle movements are romances. In the early works, some of the finales take the form of a moderate theme and variations or a minuet. The first movements of the second set of sonatas usually have two strongly contrasting themes. The entire range of the violin is exploited, with unusual emphasis on the lower register. Double stopping is employed in various ways and there is much ornamentation, despite the broad, sweeping, melodic curves. Gaviniés was extremely explicit regarding dynamics and articulation, although fingerings were added infrequently. In the duos, the violins have parts of equal importance." Jeffrey Cooper, revised by Anthony Ginter in Grove Music Online. Signed.

Condition: Gut. 1. Aufl.;. 4° 24 Seiten, Noten; Orig.-Broschur; 130g; [Englisch]; leichte Gebrauchsspuren 1. Auflage; _ xXx_. Noten.

Condition: Befriedigend. 1. Aufl.;. 4° 48, 20, 19 Seiten, Noten; Orig.-Broschur; 340g; [Deutsch]; Einband (rand)gebräunt, papierbedingt leicht gebräunt, leichte Gebrauchsspuren 1. Auflage; _ xXx_. Noten.

Couverture rigide. Condition: Bon. Edition originale. Paris, Editions du sablier, 1937. 2 volumes grand in-8, demi maroquin à coins époque, dos à nerfs ornés de roulettes et de pointillés dorés, titre doré. 613 pp, 2 pp non chiffrées (pagination continue entre les 2 volumes). Edition originale, tirage limité numéroté à 1450 exemplaires, celui-ci étant un des 1283 sur vélin du Marais, portant le numéro 266. Ouvrage illustré de 2 portraits de Beethoven, de 7 fac-similés, de 23 planches, de bandeaux et de lettrines. Plat supérieur conservé. Dos insolés, 2 petites taches aux dos, coiffes légèrement frottées.

Couverture souple. Condition: Très bon. Edition originale. Partition in-folio brochée. (rousseurs et petites mouillures). Rare.

117 gest. S. Ohne die Begleitstimmen. Einband berieben und etwas bestoßen, Seiten etwas vergilbt. BEIGEBUNDEN: - dto.: .2e. Cahier. Avec Accompagnement de Violon et Basse. Oeuvre 4e. [Hob. XV, 21-23]; Oeuvre 5 [Hob. XV, 3-5]; Oeuvre 6e. [Hob. XV, 14, 17, 30]. Paris, Launer (Pl.Nr. 3165) [1839]. 108 gest. S. Hldr.d.Zt. - Erstausgabe der beiden ersten Bände der Launer-Gesamtausgabe der Haydn-Klavierwerke (mit und ohne Begleitung). - Mit ornamentiertem Titel.

Couverture rigide. Condition: Satisfaisant. Edition originale. Sans date, édité vers 1750; Reliure mi-vélin de l'époque avec papier marbré sur les plats et étiquette manuscrite de l'époque sur le premier plat; plats défraîchis, tâches, bords très frottés, mais reliure solide; 25x32 cm; Oeuvre Premier: page de dédicace, 13 pages de partition pour flute; Oeuvre second, page de dédicace, 13 pages de partition pour Viole; Oeuvre troisième, page de dédicace, 13 pages de partition pour flute; excellent état de la partition qui comporte quelques rares corrections anciennes à l'encre;

Couverture souple. Condition: Très bon. Edition originale. Partition de format 33 x 25 cm brochée, 13 pages de musique gravée (qq infimes tâches) Bel exemplaire.

Couverture souple. Condition: Très bon. Edition originale. Partition in-4 brochée, couverture de papier marbré d'époque avec étiquette au centre des plats (dos usé avec manques de papier, papier un peu bruni avec qq rousseurs, cachet) Fort rare. Bon état malgré les défauts signalés.

First editions. Two works bound in one volume. Contemporary green paper-covered boards; partial green paper backstrip (worn, spine largely perished, cords exposed but sound); upper cover gilt-stamped "Mr Bordé.". [2] 63 [3]; [2] 67 [1] p. Engraved throughout. Rare complete copy of Duvernoy's pioneering horn tutor and even scarcer Étudesamong the earliest published methods for the instrument. Frédéric Duvernoy's Méthode pour le Cor is one of the earliest printed horn methods and the first produced under the auspices of the Paris Conservatoire. It marks a crucial institutional step toward codifying horn pedagogy in France, preceding the treatises of Domnich (1807) and Dauprat (1824). R. Morley-Pegge described it as "far in advance of anything of the kind published previously" (The French Horn, p.?156). The Méthode is structured progressively and addresses tone production, embouchure differences between first and second horn, articulation, phrasing, cadences, and breathing. It includes one of the earliest known visual depictions of the hand-in-bell position and a table of all chromatic notes obtainable from C to c?, with or without hand-stoppingoffering one of the earliest systematic guides to chromatic technique for the natural horn. Exercises and duets with figured bass reinforce this practical approach. The second work, Études pour le Cor, was issued in 1805 by the short-lived but influential Magasin de Musiquea publishing cooperative founded in 1802 by Cherubini, Méhul, Kreutzer, Rode, Isouard, and Boieldieu. It includes more advanced technical studies and three sonatas with basso continuo, extending Duvernoy's pedagogical system and emphasizing the integration of solo repertoire into horn training. Frédéric Duvernoy (17651838) served as principal horn of Napoleon's Chapelle-Musique, soloist at the Opéra, and one of the earliest horn professors at the Conservatoire. Known for his expressive use of the genre mixtea blend of high and low horn registershe was a key figure in early 19th-century French horn playing. Composers including Spontini, Cherubini, and Lesueur wrote for him or referenced his style. This copy is preserved in a contemporary green paper-covered binding, with the gilt-stamped name "Mr Bordé" on the upper coverlikely an early owner associated with the Conservatoire or Parisian musical circles. An additional ownership inscription ("Thomé") appears on both the title-page and rear endpaper. Bibliographical note: The Méthode is recorded in RISM under two entries (A/I D 4722 and D 4723), with holdings in the Bayerische Staatsbibliothek (D 4723), and six further copies in conservatory libraries across Europethree in Italy, and one each in Austria, Switzerland, and France. Only one U.S. institutional copy is recorded, at the Newberry Library. The Études (RISM A/I DD 4726a) are even rarer, with a single copy listed at the Koninklijk Muziekconservatorium in Brussels. Neither work is recorded in Rare Book Hub (RBH). References: Devriès-Lesure, pp.?113116; 116117; Meucci, R., & Rocchetti, G. (2023). The Horn. Yale University Press; Morley-Pegge, R. (1973). The French Horn: Some Notes on the Evolution of the Instrument and of its Technique (2nd ed.). E. Benn; W. W. Norton; Passmore, C. J. (2015). Brass Pedagogy and the Natural Horn: A Comparative Study of Selected Tutors from 1794 to 1848 (Doctoral dissertation). Indiana University. . Worming to inner margins of several leaves; moderate browning and foxing; marginal stains; soft corner creases. Title-page of the Méthode with contemporary ink ownership inscription ("Thomé"), repeated on the rear endpaper. A very good copy overall. Contemporary green paper-covered boards; partial green paper backstrip (worn, spine largely perished, cords exposed but sound); upper cover gilt-stamped "Mr Bordé." First editions. Two works bound in one volume.

Three volumes. Folio. Modern paper wrappers with part names printed to upper outer corners. Traversa/Violino Primo: 1f. (recto title, verso blank), [i] (blank), 2-25, [i] (blank) pp. Violino Secondo: [i] (blank), 2-16, [i] (blank), 17-19 pp. Violoncello e Cimbalo: 1f. (recto title, verso blank), [i] (blank), 2-6, [i] (blank), 8-11, [i] (blank). 13-22 Occasional early minor annotations in both pencil and ink; ownership inscription to titles. Wrappers slightly soiled. Some light browning; a number of outer margins trimmed, just touching staff lines; most leaves discreetly reinforced with narrow strip of tape to gutter; paper repair to lower margin of final leaf of first violin part; loss to upper outer corner of title to bass part, not affecting text. First Edition, third (or possibly second) issue. Smith p. 244, no. 3 (no copies of the second issue located). BUC p. 442. RISM H1347 and HH1347. "Handel's chamber music consists almost entirely of solo sonatas and trio sonatas, but defining the exact canon is difficult because of the odd circumstances of the earliest publications; there are also problems of attribution. . A set of six trio sonatas . were published about 1730 with the false imprint of Jeanne Roger, but the issue was in fact the work of Walsh, who shortly afterwards published revised versions under his own imprint. The purpose of this deceit remains unexplained, though it may have been designed to force Handel into allowing the music to appear. . The trio sonatas also follow the sonata da chiesa form. Autographs of the op.2 set are lacking, and so their dates have to be guessed from their style and relationship to other works. According to a note made by Charles Jennens, no.2 in G minor was 'compos'd at the age of 14', and certainly appears to be a very early work, but if the age cited (presumably from a comment by Handel himself) has the same degree of error as the ages mentioned in Mainwaring's Memoirs, a date of about 1703 is more likely, especially as the music is indebted to Bononcini's Cefalo of 1702. The other op.2 sonatas have relationships with works of the Cannons period (1717-18) and were probably composed or reworked shortly afterwards." Anthony Hicks in Grove Music Online A lifetime first edition of Handel's Op. 2 trio sonatas in the Corellian style, elegantly engraved.

9 gest. S. Gebrauchsspuren. Fog, S. 62. - Erstausgabe der Bearbeitungen des Kuhlau-Schülers Anton Keyper.

13 S. in Typendruck. Rücken verstärkt. Stellenweise wasserrandig und stockfleckig. Erstausgabe der Moscheles-Revision. - Reihentitel: Stereotyp-Ausgabe classischer Musikstücke, 36.

Condition: Gut. 25 x 35 cm. 78 Seiten. Mit einer Titelvignette. *Köchel, S. 916; Haberkamp, S. 191; Kat. Hoboken, Nr. 705; RISM A/I M 7329. - Erstausgabe aus der ersten legitimen Gesamtausgabe von Mozarts Werken. Die Sammlung enthält KV 402, 526, 454, 481 und 570. Für KV 402 liegt hier die Erstausgabe vor (vgl. Haberkamp, S. 191). Erstdruck der Ausgabe auf bläulichem Papier und in Typendruck. Die Titelvignette zeigt eine Mänade mit Thyrsosstab, die einen Leoparden reitet ("Kininger del. / W. Böhm sc."). - Es liegt nur die Klavierstimme vor, die Violinstimme fehlt. - Einband leicht bestoßen, etwas fleckig und mit Besitzereintrag auf dem Vorderdeckel. Innen sauber und gut erhalten. Sprache: Französisch Gewicht in Gramm: 1001 Grüner Orig.-Karton mit Deckeltitel in griechischer Kante.

Folio. Half ivory vellum maroon boards. 1f. (recto title with decorative border incorporating floral motifs, trumpets, and a lyre within an orb, verso blank), [i] (blank), 2-24 pp. Engraved throughout. Treble clef added in later pencil to left hand part on p. 23 correcting engraving error (bass clef). Binding warped and slightly soiled. Very minor internal wear and soiling; blank inner margin of title and pp. 12 and 13 reinforced with narrow strip of paper. A very good copy overall. First Edition. BUC p. 331. RISM F476 and FF476 (one copy in the U.S. only, at the University of Pennsylvania). The sonatas include binary sonata forms, rondos, and variation sets; the ballets include minuet and waltz forms, and English contradances ("Inglesina"). Ferrari was an Italian composer and theorist. "The son of a silk merchant, he was intended for the family business but showed great musical talent from an early age. He studied singing and the harpsichord with Marcolla and Borsaro in Verona while at school, composition with Marianus Stecher in the monastery of Marienberg (now Monte Maria), where he had gone to perfect his German, and, before the age of 20, had learnt to play the flute, oboe, violin, viola and double bass. After his father's death in 1784 he decided to pursue a musical career. He accompanied Prince Lichtenstein to Rome and then to Naples, where he was befriended by Paisiello, but the composition lessons he had hoped for amounted to only four hours in five weeks. On the advice of Thomas Attwood he studied counterpoint with Gaetano Latilla. Later, from Vienna, Attwood sent him copies of Mozart's 'Haydn' quartets; Ferrari grew to esteem Mozart more highly than any other composer. . In April 1792 Ferrari moved to London, where he met Haydn and Clementi and quickly became a leading singing teacher, with the Princess of Wales among his pupils. On 14 May 1799 his one-act opera I due svizzeri was successfully performed; this was followed by Il Rinaldo d'Asti (1801), L'eroina di Raab (1814), a vehicle for Catalani, and Lo sbaglio fortunato (1817). . Besides his operas, Ferrari's works include two ballets performed in London, two piano concertos, about 20 sonatas for piano and violin or flute, 12 solo piano sonatas, sonatas and sonatinas for harp and violin and for harp and piano, trios, caprices and various piano arrangements." Alfred Loewenberg, revised by Peter Platt and George Biddlecombe in Grove Music Online.

Condition: Gut. 25 x 35 cm. 88 Seiten, mit einer Titelvignette. *Köchel, S. 916; Kat. Hoboken, Nr. 714; RISM A/I M 7342. - Früher Druck aus der ersten legitimen Gesamtausgabe von Mozarts Werken. Die Sammlung enthält KV 576, 396, 397, 24, 25, 460, 355, Anh. 137, 61, 6, 7 und 8. Die letzten dieser Stücke, KV 6, 7 und 8 waren schon 1764 in Paris und kurz darauf in London erschienen, wurden danach aber nicht neu aufgelegt. Für sie ist das vorliegende Cahier XVII der erste Druck seit jenen frühen Erstausgaben (vgl. Haberkamp S. 69 und 71). In Typendruck. - Die Titelvignette zeigt die Grazien beim Tanz ("Schubert del."). - Es liegt nur die Pianofortestimme vor; die Violinstimme zu den vier Sonaten fehlt hier. - Einband etwas bestoßen. Reihentitelblatt an der Außenkante verstärkt. Durchgängig teils stärker gebräunt. Sprache: Französisch Gewicht in Gramm: 1001 Halbleinenband des 19. Jahrhunderts mit handschriftlichem Deckelschild.