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[Timbres Magazine]
TIMBRES MAGAZINE - L'OFFICIEL DE LA PHILATELIE n° 3 (Juin 2000)
Revue mensuelle conernant la philatélie : environ 110 pages en couleurs, format 300 x 210 mm, illustrée, brochée couverture couleurs + fiches détachables
书商的参考编号 : LFA017e0
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[TOULON et la MUSIQUE].-
Règlement de l'École nationale de Musique et de Déclamation.-
Toulon. Giraud. 1912. In-8 (133 x 209mm) broché, couverture violette (un peu insolée), 24 pages. Ex-libris de Jacques Parès. Bon état, peu courant.
书商的参考编号 : ORD-12317
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[Toscanini, Arturo, Dirigent (1867-1957)].
5 Portraitphotographien. [New York, späte 1930er Jahre].
Jeweils ca. 229:181 mm. Vier Aufnahme zeigen den 1937 in die USA emigrierten Dirigenten zusammen mit seiner Enkeltochter Sonia Toscanini Horowitz (1934-1975), eine zeigt den Maestro im ¾-Profil. - Verso jeweils mit Stempel des Bilderdients der 1945 gegründeten Deutschen Allgemeinen Nachrichten-Agentur (DANA).
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[TRILLAT Ennemond] EMERY Cécile
Ennemond Trillat - musicien lyonnais
Lyon, Presses Universitaires de Lyon, 1979, 15,5 x 22,5, 126 pages cousues sous couverture souple illustrée. En frontispice, portrait d'Ennemond Trillat par Blanc & Demilly. Quelques photographies noir & blanc in et hors texte. "Ennemond Trillat présente la particularité d'être connu, principalement, par deux catégories de personnes : les musicologues, qui apprécient ses études sur Goudimel ou ses reconstitutions d'œuvres d'Alessandro Scarlatti, et les lyonnais mélomanes. Notre famille appartenant à ma seconde catégorie, nous avons été, depuis notre plus tendre enfance, impressionnée par le concert des louanges dont il était l'objet : « Il » jouait divinement du piano, « Il » l'enseignait si intelligemment, « Il » avait marqué le Conservatoire de Lyon d'une empreinte indélébile, « Il » était le seul à savoir « raconter » l'histoire de la musique au cours de ses Conférences-Récitals, « Il » avait tant fait pour le développement musical de Lyon, « Il » restait si simple et si accueillant, etc…"
书商的参考编号 : MUSIQUEEEE20324
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[Translated and written by SALIH MURAD UZDILEK, (1891-1967)?] from SIR JAMES HOPWOOD JEANS, (1877-1946).
[MANUSCRIPT / EARLY ENGLISH POPULAR SCIENCE BOOKS IN TURKISH] Esrâr ile dolu kâinât hakkinda konferans. [i.e. The mysterious universe].
Very Good Turkish, Ottoman (1500-1928) Original brown half-leather bdg. with a clip. "Poesie" title on black cloth front cover. Cr. 8vo. (20 x 14 cm). In Ottoman script (Old Turkish with Arabic script). [2], 153, [3] p. Completely handwritten with numerous pages. All edges gilt. This unique manuscript is probably an early sketch written in Ottoman script to be used later for its first edition published by Maarif Vekâleti [i.e. Turkish Ministry of Education] in 1947 in modern Turkish with Latin letters. The Mysterious Universe is a popular science book by the British astrophysicist Sir James Jeans, first published in 1930 by the Cambridge University Press. In the United States, it was published by Macmillan. The book is an expanded version of the Red Lecture delivered at the University of Cambridge in 1930. It begins with a full-page citation of the famous passage in Plato's Republic, Book VII, laying out the allegory of the cave. The book made frequent reference to the quantum theory of radiation, initiated by Max Planck in 1900, to Albert Einstein's general relativity, and to the new theories of quantum mechanics by Heisenberg and Schrödinger, of whose philosophical perplexities the author seemed well aware. The book was denounced by the Cambridge philosopher Ludwig Wittgenstein, because "Jeans has written a book called The Mysterious Universe and I loathe it and call it misleading. Take the title... I might say that the title The Mysterious Universe includes a kind of idol worship, the idol being Science and the Scientist." A second edition appeared in 1931. The book was reprinted 15 times between 1930 and 1938 and again in September 2007. Salih Murat Uzdilek (1891-1967) was the first to translate this book into Turkish, printed in 1947 under the title "Esrarli kâinât". Although there's no sign in this manuscript, probably the author is Uzdilek. He was a Professor of Physics at Istanbul Technical University, graduated as a naval officer in 1908. It was his father Mehmed Sefik Bey, who as a mathematics teacher introduced him to the study of the subject. Salih Murat developed an interest in the history of mathematics through readings of books by F. Cajori and D. E. Smith. Uzdilek studied engineering in London prior to the First World War, where he was invited to present a communication on the "Introduction of logarithms into Turkey" at the Napier Tercentenary organized by The Royal Society of Edinburgh, 25-27 July 1914. The paper published in the Napier Tercentenary Memorial Volume (1915) was based on the research by Salih Zeki Bey, historian of science and Rector of Istanbul University between 1913 and 1917, published in his Kamus-i Riyaziyat (Encyclopaedia of Mathematics 1898). His findings indicate that Yirmisekiz Mehmet Çelebi, the Sultan's envoy to France, had been presented an astronomical text which included logarithms by the astronomer Jacques Cassini during his visit to the Paris Observatory in 1714. It was this collection that led to the introduction of logarithms into Turkey. Kalfazade Ismail Efendi, a timekeeper, and mathematician compiled an introduction to logarithms for his translation of the astronomical tables of J. Cassini in 1772, which is considered the first work on logarithms, into Turkish. Gelenbevi Ismail Efendi, renowned for his works in mathematics and logic, completed his Logaritma Serhi (Commentary on Logarithms) in 1787. After his return to Istanbul, Salih Murat Uzdilek was invited by the Austrian Dean of the School of Engineering, Prof. Philipp Forchheimer, to give physics lessons at the school. Prof. Uzdilek pursued his interest in the history of mathematics and physics throughout his long career. He was also an active researcher in the physics of sound and music and contributed to the contemporary tonal system of Turkish music. In his later years, Prof. Uzdilek was invited to lecture at the 400th anniversary of Galileo Galilei.
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[UDERGROUND]
Bande à part. New York Underground 60's 70's 80's.
Éditions du Collectionneur / Galerie Agnès B. In-4 reliure éditeur illustrée. Préface de Glenn O'Brien. Textes de B. Name, G. Malanga, D. Fields, L. B. Childers, R. Bayley, etc. en français et en anglais. Important témoignage photographique en couleurs et en noir & blanc. E.O.
书商的参考编号 : L16621
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[Udel-Quartett].
Portraitpostkarte mit eigenh. U. O. O. u. D.
1 S. Qu.-8vo. Eine Autogrammkarte des seinerzeit beliebten Quartetts mit dessen Unterschriften von u. a. Wilhelm Stigler und Ferdinand Hörbeder.
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[UNDERGROUND] ROBERT (Philippe).
Agitation frite & Agitation friite. Témoignages de l'Uderground français.
Lenka Lente, 2018. Deux forts volumes in-8 br. Avant-propos de G. Belhomme. Témoignages, entretiens, illustrations, bibliographie. Une cinquantaine d'année de création musicale !!!
书商的参考编号 : L16233
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[Unbekannt].
Briefumschlag an Anny v. Newald, Melk. Wien, 8. I. 1907.
Adressiert an die Pianistin Anny von Newald-Grasse (1875-1952): "Frau [gestrichen: Emmy] Anny Edle v. Newald / Melk".
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[various authors]
Life of Henriette Sontag, countess de Rossi : with interesting sketches by Scudo, Hector Berlioz, Louis Boerne, Adolphe Adam, Marie Aycard, Julie de Margueritte, Prince Puckler-Muskau, and Theophile Gautier
Octavo in illus printed original wrappers; 63 p., 1 leaf of plates : port. ; 24 cm. Scarce pamphlet on this celebrated "herione of the lyrical stage". WorldCat lists only twelve holdings. // Music, Opera, Lyric Theatre '' Sontag, Henriette, comtesse Rossi, 1806-1854. Opera; Singers
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[VELAY] - [AUVERGNE] - [MUSIQUE].-
Onzième (XIe) Festival de musique française de La Chaise-Dieu.
Brioude, Watel, 1978, in 4° broché, 78pp. non chiffrées ; illustrations ; publicités ; couverture illustrée en couleurs.
书商的参考编号 : 23994
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[VERDI] WEAVER William.
Verdi. D'après les documents d'époque.
Tours, Van de Velde, 1978. In-4, toilé, 318 illustrations, jaquette.
书商的参考编号 : 10516
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[VERDI] - BONAVENTURA (Arnaldo).-
Verdi. Nouvelle édition.
P., Alcan (Collection "Les Maitres de la Musique"), 1930, in 8° broché, 212pp. ; couverture légèrement fanée.
书商的参考编号 : 32376
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[VEALY] - [AUVERGNE] - [MUSIQUE].-
Vingt et unième (XXIème) Festival de la Chaise-Dieu.
Brioude, Imprimerie Watel, 1987, grand in 8° relié pleine toile bleue de l'éditeur, 176 pages ; nombreuses illustrations en noir et en couleurs ; publicités.
书商的参考编号 : 33253
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[VELAY] - [AUVERGNE] - [MUSIQUE].-
Vingt-deuxième (XXIIème) Festival de la Chaise-Dieu.
Brioude, Imprimerie Watel, 1988, grand in 8° broché, 184 pages ; nombreuses illustrations en noir et en couleurs ; publicités.
书商的参考编号 : 35876
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[VELAY] - [AUVERGNE] - [MUSIQUE].-
Vingt-neuvième (XXIXème) Festival de la Chaise-Dieu.
Brioude, Imprimerie Watel, 1995, grand in 8° relié pleine toile bleue de l'éditeur, 164 pages ; nombreuses illustrations en noir et en couleurs ; publicités.
书商的参考编号 : 35877
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[VELAY] - [AUVERGNE] - [MUSIQUE].-
Vingt-troisième (XXIIIème) Festival de la Chaise-Dieu.
Brioude, Imprimerie Watel, 1989, grand in 8° relié pleine toile verte de l'éditeur, 187 pages ; nombreuses illustrations en noir et en couleurs ; publicités.
书商的参考编号 : 42960
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[VELAY] - [AUVERGNE] - [MUSIQUE].-
Vingt-cinquième (XXVème) Festival de la Chaise-Dieu.
Brioude, Imprimerie Watel, 1991, grand in 8° relié pleine toile rouge de l'éditeur, 192 pages ; nombreuses illustrations en noir et en couleurs ; publicités ; exemplaire déboité.
书商的参考编号 : 42961
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[VELAY] - [AUVERGNE] - [MUSIQUE].-
Vingt-sixième (XXVIème) Festival de la Chaise-Dieu.
Brioude, Imprimerie Watel, 1992, grand in 8° relié pleine toile verte de l'éditeur, 180 pages ; nombreuses illustrations en noir et en couleurs ; publicités.
书商的参考编号 : 42962
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[VELAY] - [AUVERGNE] - [MUSIQUE].-
Vingt-septième (XXVIIème) Festival de la Chaise-Dieu.
Brioude, Imprimerie Watel, 1993, grand in 8° relié pleine toile décorée de l'éditeur, 168 pages ; nombreuses illustrations en noir et en couleurs ; publicités.
书商的参考编号 : 42963
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[VELAY] - [AUVERGNE] - [MUSIQUE].-
XVIe Festival de musique française de La Chaise-Dieu.
Brioude, Watel, 1983, in 4° broché, 160pp. ; illustrations en noir et en couleurs ; publicités en noir et en couleurs ; couverture illustrée en couleurs.
书商的参考编号 : 23995
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[Verdi, Giuseppe, Komponist (1813-1901)].
Portraitphotographie. [Paris, 1850er/60er Jahre].
87:55 mm auf etwas größerem Untersatzkarton. Gerahmt (151:116 mm). Kniestück im ¾-Profil aus dem Atelier Charles Reutlinger, Paris, mit dessen gedr. Signet am Trägerkarton.
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[verses composed by] lieutenant F M Bostwick, US Navy, and sung to the air of "Rosalie," [ Music composed by Launce Knight]. U S
OYUCHA SAN
Tokyo: T.Hasegawa 2nd edition 1893. Softcover. Fair. Cover Crepe paper double folded at fore-edges 16 colour illustrations stab-sewn silk-thread to hinges of cover illustrations. 17 x 19cm crepe paper covers illustrated with Oyucha San on cover & sprig of flowers on lower cover. quite some cover creases & signs of use Soft Cover & inside cover both illustrated 3 pages of music with words from "Rosalie" 14 further pages Two Lists of books published by Hasegawa on facing pages illustrated lower cover. The covers are both a bit darkened and the inner pages are a bit tanned. The first 3 & last page edges are wavey & a few corners are creased but not interferring with the illustrations. Distributed by Kelly & Walsh Yokohama Meiji 26 1893 Signs of use but still a neat item much sought after. T.Hasegawa 2nd edition paperback
书商的参考编号 : V76220
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[VIAN Boris]. TATI Jacques.
Bande originale du film de Jacques Tati "Mon Oncle".
Disque vinyl 45 tours. Fontana-Cinémonde. Sans date [années 60]. 460.565 ME.
书商的参考编号 : 2036
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[VIAN Boris]. HOSSEIN Robert.
Bande originale du film de Robert Hossein "Toi le venin".
Disque vinyl 45 tours. Fontana-Cinémonde. Sans date [années 60]. 460.586 ME.
书商的参考编号 : 2037
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[Vian Boris] Frank Ténot:
Boris Vian. Le jazz et Saint-Germain.
Du May, 1993. In-4, cartonnage titré or, jaquette photographique. Illustré de nombreuses photographies en noir.
书商的参考编号 : 18932
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[VIAN Boris]. DARBOIS Jeanne.
Jeanne Darbois dans ses imitations.
Disque vinyl 45 tours. Fontana. Sans date [années 50]. 460.513 ME.
书商的参考编号 : 2038
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[VIAN Boris]. PICOLETTE.
L'soir à Montmartre. 4 chansons de Bruant.
Disque vinyl 45 tours. Fontana. Sans date [années 50]. 460.584 ME.
书商的参考编号 : 2035
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[VIAN Boris]. VILLERS Michel de.
Michel de Villers et son orchestre.
Disque vinyl 45 tours. Fontana. Sans date [années 50]. 460.589 ME.
书商的参考编号 : 2040
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[VIAN Boris]. DULEU Edouard.
Quatre succès de musique de genre.
Disque vinyl 45 tours. Philips. Sans date [années 50]. 424.081 PE.
书商的参考编号 : 2034
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[Viennese Dance Music].
Altogether 200 engraved scores of waltzes, polkas, quadrilles and other types of dance music. Vienna, Haslinger, Cranz, Spina and others, early to mid 19th century.
An outstanding collection covering the entire relevant ouevre of Johann Strauss Father and Son in original editions, as printed for the works' first perfomances at various balls, festivities and for other occasions in Vienna. Comprises 150 printings of compositions by Johann Strauss I and 50 by Johann Strauss II, including his famous waltz "Wiener Blut".
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[VOCAL MUSIC INSTRUCTION]. Natorp, B C L 1774-1846
Anleitung zur Unterweisung im Singen fur Lehrer in Volksschulen . II. Leitfaden fur den zweiten Cursus
Essen Duisburg: G.D. Baedeker 1820. Quarto. Contemporary marbled boards with portion of original printed wrappers laid down red paper label to spine with titling in ink. x 160 pp. <br /> <br /> Binding worn. Some foxing mostly marginal throughout; creasing to outer upper corners; occasional staining not affecting text. With contemporary ownership notations to front free endpaper dated 1820; ex-libris handstamps and some ink markings to title leaf. First Edition of the second part of this early influential work on instruction of singing for children. Scarce. The first part was published in 1813. Eitner v. 8 pp. 149-150. Fétis v. 6 pp. 283-284. <br /> <br /> Of interest to the evolution of music education in America further developed by 19th century theorists Lowell Mason and his contemporaries. G.D. Baedeker unknown
书商的参考编号 : 12201
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[VOCAL MUSIC - 18th Century - English - Manuscript]
Collection of 20 vocal solos duets and trios with continuo and instrumentation. Copyist manuscript. England 1792 or earlier
Oblong folio 227 x 293 mm. Disbound. i manuscript index tipped-in 233 pp. including three blanks. Notated on 10-stave rastrum-ruled paper with watermark of a shield with "GR" below.<br /> <br /> Contains the following works:<br /> <br /> 1. Clari Giovanni Carlo Maria 1677-1754 adapted by Charles Avison 1709-1770. "Unto the Lord." Duet. 16 pp.<br /> 2. Clari/Avison. "O all ye Nations." Duet. 10 pp.<br /> 3. Carissimi Giacomo 1605-1674. "Hodie Simon Petrus." Duet. 5 pp.<br /> 4. Carissimi. "O nomen Jesu." Duet. 4 pp. Attributed to Giovanni Battista Bassani in RISM ID: 800226688.<br /> 5. Steffani Agostino 1654-1728. "Saldi marmi." Duet. 19 pp.<br /> 6. Steffani. "Dolce è per voi." Duet. 9 pp.<br /> 7. Clari. "L'Amante disperato" "O femina mendace". Duet. 16 pp.<br /> 8. Steffani. "M'hai da piangere." Duet. 11 pp.<br /> 9. Steffani. "Dolce labbro." Duet. 9 pp.<br /> 10. Purcell Henry 1659-1695. "In guilty Night." Trio. 9 pp. <br /> 11. Anon. "O sanctissima." Duet. 1 p. Not in index.<br /> 12. Handel George Frederic 1685-1659. "T'amo sì." Duet. Full score. 12 pp.<br /> 13. Kent James. 1700-1776. "Hear my prayer." Anthem for two solo voices and four-part choir. 10 pp.<br /> 14. Marcello Benedetto 1686-1739. "My God my God." Solo. Full score. 16 pp.<br /> 15. Marcello. "Da voi parto." Solo cantata. 10 pp.<br /> 16. Astorga Emanuele. "Ruscelletto che vai." Solo cantata. 10 pp.<br /> 17. Clari. "Ecco Amor ecco Amore." Trio. 21 pp.<br /> 18. Astorga. "Oh che voi direste bene." Duet. 14 pp. <br /> 19. Caldara Antonio 1671-1736. "Voi vene pentirete." Duet. 4 pp <br /> 20. Kent. "When the son of Man shall come." Anthem for three voices. 15 pp. Incomplete.<br /> <br /> All pieces in a single hand with the exception of items 11 and 20 in two different hands.<br /> <br /> With "Lady Cornewall" in contemporary manuscript to upper margin of index; "1792" to upper outer corner and "554" to upper inner corner of first page. Occasional pencil annotations including figured bass; half a measure canceled on p. 185. <br /> <br /> Disbound; first signature detached. Occasional small tears to edges; several minor inkstains to pp. 56-57; pp. 124-125 excised likely due to a scribal error with no loss of music; contemporary repairs to upper outer margin of p. 7; final leaf detached; remnants of red sealing wax to corners of index. It is notable that the all of the music in the present manuscript is drawn from repertoire significantly older than the manuscript's date of 1792 in some cases over 100 years earlier performance of music of the past being a relatively novel concept at the time.<br /> <br /> The Academy of Ancient Music was "founded as the Academy of Vocal Music in 1726 to revive the glories of 16th- and 17th-century sacred music and madrigals. Again though it was the music itself rather than profit that provided the inspiration the founders a mix of leading professionals and aristocratic enthusiasts; and again the society was formalized and admitted larger audiences as the century progressed - although these changes brought their own problems with an increasing partiality for later Baroque music including Handel's oratorios and a gradual decline in missionary zeal for the older repertory." Simon McVeigh in Oxford Music Online<br /> <br /> "Lady Cornewall" was most likely Catherine Cornewall 1752-1835 wife of Sir George Amyand Cornewall 1748-1819 a portrait of whom by Sir Joshua Reynolds 1723-1792 is held at the National Gallery of Art in Washington D.C. The manuscript index is possibly in her hand. "Rather different in character was the collection made by the Cornewall family of Moccas Court Herefordshire which has almost entirely vanished. Fortunately a detailed and most interesting manuscript catalogue dated 1796 and now owned by Albi Rosenthal has survived. This was predominantly a vocal collection amounting to about 2000 items with some Italian bias but besides Alessandro Scarlatti and Jomelli it extended to Gluck. A special section of the catalogue dated 1795 contained music belonging to a Miss Cornewall who also owned R.C.M. MSS. 2061-4." A. Hyatt King: Some British Collectors of Music p. 17. unknown
书商的参考编号 : 40330
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[VOCAL MUSIC - 18th Century - English]
Collection of rare 18th century songs published in London ca. 1737-1790
Folio. 19th half black leather with marbled boards spine in compartments gilt with titling gilt. Engraved throughout with the exception of the ninth songsheet which is typeset. <br /> <br /> Provenance<br /> Evan Charles Sutherland-Walker 1835-1914 with his armorial bookplate to front pastedown.<br /> <br /> Contains 25 songs including works by Arne Bride Dibdin Clarke Galliard Handel Harington Hook Jackson Leveridge Selby Smith and others. With occasional ornamentation filling out of chords and corrections in contemporary manuscript. <br /> <br /> 1. Clark. "The Broom on Cowdenknows" "When Summer comes the Swains on Tweed". London ca. 1780. 1f. recto music verso blank pp. BUC p. 1075. Jeremiah Clarke ca. 1743-1809 English composer violinist and organist; his published works all printed in London consist of songs and keyboard sonatas with instrumental accompaniment. <br /> <br /> 2. Dibdin. "While the Lads of the Village . Sung by Mr. Bannister." "J.W." printed to foot of music. London: John Welcker ca. 1775. 1f. recto music verso blank pp. BUC p. 1078. Charles Dibdin 1745-1814 English composer dramatist poet actor singer and entertainer wrote many songs.<br /> <br /> 3. Arne. "Water Parted from the Sea . Sung by Mr. Tenducci in Artaxerxes." London ca. 1765. 1f. recto music verso blank pp. BUC p. 57. Alfred Thomas Augustine Arne 1710-1778 an English composer violinist and keyboard player was "the most significant figure in 18th-century English theatre music." Peter Holman and Todd Gilman in Grove Music Online<br /> <br /> 4. Jackson. "Delia . Sung by Mr. Squibb at Marybone! Gardens. Set to Music by Mr. Wm. Jackson of Exeter." London ca. 1770. 1f. recto music verso blank pp. BUC p. 552. William Jackson 1730-1803 an English composer and organist wrote a number of songs canzonets etc. "His best music is to be found in his secular vocal works where he demonstrates an ability to blend a natural melodic style with a sensitivity to text." Richard McGrady in Grove Music Online<br /> <br /> 5. Galliard. "The Early Horn . A Fav'rite Song in the Royal Chace. Sung by Mr. Beard. Set by Mr. Galliard." London ca. 1737. 1f. recto music verso blank pp. Paginated 31 at upper outer corner. BUC p. 358. John Ernest Galliard ca. 1687-1749 German composer and oboist "certainly played a significant role in London's musical life in the first half of the 18th century." Roger Fiske revised by Richard G. King in Grove Music Online<br /> <br /> 6. Smith. "Zoreb and Zaida . Sung by Mr. Morgan." London ca. 1770. 1f. recto music verso blank pp. JISC one copy only at Oxford University.<br /> <br /> 7. Handel. "Let me Wander . L'Allegro Il Penseroso." London: Printed for J. Bland No. 45 Holborn ca. 1790. 1f. recto blank verso music pp. HWV 55. BUC p. 433. George Frideric Handel 1685-1759 English composer of German birth was "one of the greatest composers of his age." Anthony Hicks in Grove Music Online<br /> <br /> 8. Handel. "L'Allegro il Penseroso ed il Moderato Or Let the Merry Bells." London: Bland ca. 1790. 1f. recto music verso blank pp. HWV 55. BUC p. 433.<br /> <br /> 9. Bride. "The Joy-Inspiring Horn . A Favorite Hunting-Song. Set by Mr. Bride." London: R. Falkener ca. 1775. i blank 2 i blank pp. BUC p. 135. Typeset with an arrangement for two German flutes in score on the second page. Tear extending from lower margin into three systems of music; small loss to lower outer corner of first page of music; imprint trimmed but possibly the Falkener edition where the imprint appears at the foot of the second page of music. OCLC 43123680.<br /> <br /> 10. Handel. "Sung by Mr. Beard in Alexander's Feast" "Happy happy pair". London ca. 1740. i blank 2 i blank pp. HWV 75. Not in BUC.<br /> <br /> 11. Leveridge. "The Roast Beef Cantata." London ca. 1770. 4 pp. BUC p. 1026. Richard Leveridge 1670-1758 English bass and composer was "a leading singer on the London stage and a popular composer of songs." Olive Baldwin revised by Thelma Wilson in Grove Music Online<br /> <br /> 12. "The Camp Medley" "The Lark was up the Morn was grey". London: Longman & Broderip ca. 1780. BUC p. 595. 4 pp. With trill markings in contemporary manuscript.<br /> <br /> 13. "The Banks of the Dee A favorite Song" "It was summer". London: Bland ca. 1780. 1f. recto music verso blank pp. BUC p. 549 other editions. <br /> <br /> 14. "He Stole my Tender Heart Away . A Favorite Song" "The Fields were green". London ca. 1780. 1f. recto music verso blank pp. BUC p. 334. <br /> <br /> 15. Hook. "The Favorite Song Sung by Miss Brown in the Scheming Lieutenant" "Beneath a green shade". London: CST handstamp Charles and Samuel Thompson ca. 1775. 1f. recto music verso blank pp. JISC two copies at the British Library and the National Library of Scotland. James Hook 1746-1827 was a noted English composer whose songs were "regularly performed at the main London pleasure gardens." Pamela Gairl in Grove Music Online<br /> <br /> 16. "Social Pow'rs . A Favourite Song" "Come now all ye Social Pow'rs". London: Printed for J. Bland No. 45 Holborn ca. 1785. 1f. recto music verso blank pp. BUC p. 208.<br /> <br /> 17. "The Invitation Sung at Marybone Gardens by Mrs. Vincent. Mr Lowe. Miss Davis. Mr Raworth. and Mr Taylor" "Come ye party Jangling Swains". London ca. 1766. 1f. recto music verso blank pp. BUC p. 209. <br /> <br /> 18. Selby. "The Chace of the Hare . A New Hunting Song." 1f. recto music verso blank pp. BUC p. 940. Minor loss to flute line.<br /> <br /> 19. "Fair Hebe. Sung by Mr. Beard at Ranelagh Gardens" "Hebe I left with a cautious Design". London ca. 1750. 1f. recto music verso blank pp. BUC p. 324. With "Fair Hebe" in contemporary manuscript to blank verso. <br /> <br /> 20. Harington. "Air. by Mr. Harington of Bath" Gentle Airs sweet Joys impart". London ca. 1780. 1f. recto music verso blank pp. BUC p. 446. Henry Harington 1727-1816 English composer physician and author was a leading contemporary composer of glees catches and duets.<br /> <br /> 21. Arne. "The favourite Hymn of Eve. In the Oratorio of Abel" "How Chearful along the gay Mead". London ca. 1755. 1f. recto music verso blank pp. JISC one copy only at Oxford University. <br /> <br /> 22. "The Cotillon" "Hail Politeness pow'r divine". London: Rd. B__e ca. 1770. 1f. recto music verso blank pp. BUC p. 416.<br /> <br /> 23. Arne. "The Echoing Horn in Thomas & Sally." London: Printed and sold by S. Phillips in St. Martins Court ca. 1765. 1f. recto music verso blank pp. BUC p. 45. <br /> <br /> 24. Arne. "Hebe . Set by Dr. Arne" "When forc'd from dear Hebe". London: Walsh 1752. 1f. recto music verso blank pp. BUC p. 47 <br /> <br /> 25. "Anna A Particular Favourite Irish Song. Sung by Miss Catley - and - Mr. Leoni." "Shepherds I have lost my Love". London: I. F.entum ca. 1775. 1f. recto music verso blank pp. BUC p. 943.<br /> <br /> Bound with: <br /> Clark. Eight Songs with Instrumental Parts in Score Composed by Jeremiah Clark Organist in Birmingham Opera Seconda. London: Printed for the Author and Sold by Messrs. Straight & Skillern Music Engravers and Printers in St. Martins Lane near Charing Cross ca. 1775. 1f. recto title verso blank 34 pp. Engraved throughout. BUC p. 94. RISM C2618 and CC2618 two copies in the U.S. at Cornell University and the Library of Congress. <br /> <br /> Index in pencil to front free endpaper. <br /> <br /> Binding worn rubbed and bumped. Slightly worn; occasional minor imperfections including small tears soiling and stains. unknown
书商的参考编号 : 41155
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[VOCAL MUSIC - 18th Century - English]
Collection of rare early 18th century songs published in London ca. 1700-1735
Folio. Contemporary dark brown leather-backed blue/gray boards. Titled "A collection of Songs by several eminent Masters" in contemporary manuscript on recto of first page of music. Engraved throughout.<br /> <br /> Provenance<br /> With "Lucy Gregory July the 6th 1756" and "Prince Gregory" in contemporary manuscript to front pastedown. Manuscript titling and annotation "Ex dono Revd. Dr. Dawson For use of Musical Society Windsor Castle to be returned to Dr. Dawson When ye club ceases viz when it is reduced to three persons" to blank recto of first song along with title and index to blank verso of final song.<br /> <br /> Contains 33 songs including works by Barrett Blow Eccles Galliard Handel 8 Leveridge Orlandini Pepusch Daniel Purcell Henry Purcell 2 Weldon and others. Scored mainly for voice most for one voice and few for two and figured basso continuo with single-line flute arrangements for some songs.<br /> <br /> 1. Handel. "A Favorite song in the Opera of Theseus" "See see your faithfull lover pineing". London ca. 1720. i blank 2 i blank pp. BUC p. 1001.<br /> <br /> 2. Purcell H. "Sing all ye muses. A song set by Mr. Henr. Purcell The Words by Mr Durfey." London ca. 1700. From Part I of The Comical History of Don Quixote. 4 pp. BUC p. 861 another edition. Scored for two voices and figured basso continuo.<br /> <br /> 3. Handel. "Mi brilla in English and Italian" "Be Kind and Love" / "Mi brilla nel seno". London ca. 1720. i blank 2 i blank pp. HWV 10 Silla.BUC p. 93. <br /> <br /> 4. Purcell H. "The Mad Dialogue Sung by Mr. Leveridge and Mrs. Lynsey" "Behold the man with gigantick might". From The Richmond Heiress. London ca. 1700. 3 i blank pp. BUC p. 862.<br /> <br /> 5. Handel. "Vieni torna in English & Italian" "Turn o turn thee dearest Creature / Vieni torna Idolo mio". London ca. 1715. i blank 2 i blank pp. HWV 9 Teseo. BUC p. 1041.<br /> <br /> 6. Handel. "A Favourite Song by an Eminent Master Within the Compass of the Flute" Recitativo: "Lo here my Love" / Aria: "Love in her eyes sits playing". London ca. 1725. i blank 2 i blank pp. BUC p. 624.<br /> <br /> 7. Handel. "A Song with a Symphony for an Octave Flute & Violins" Recitativo: "Ye verdant Plains" / Aria: "Hush ye pretty warbling Quire". London ca. 1722. i 3 paginated 4-6 i blank pp. HWV 49 Acis and Galatea. BUC p. 432 date incorrect; JISC two copies at Oxford and the British Library. In score for piccolo violin voice and unfigured basso continuo. <br /> <br /> 8. Handel. "A song by an Eminent Master" "Would you gain the tender Creature". London ca. 1750. HWV 49 Acis and Galatea. BUC pp. 432 1091.<br /> <br /> 9. Eccles. "Air in the Opera Semele. The words by Mr Congreve" "Come Zephrys". London ca. 1730. i blank 2 i blank pp. BUC p. 309. <br /> <br /> 10. Orlandini. "A favourite Song in the Opera of Arsaces Sung by Sigr. Senesino" "Se sol la mia morte" / "Cœlestial Corinna". London ca. 1721. i blank 2 i blank pp. BUC p. 56. "Lucy Gregory" in contemporary manuscript to upper outer corner of final blank page. <br /> <br /> 11. Anon. "The Ladys Repulse or Favourite Minuet in Hercules" a pasticcio. London ca. 1715. 2 pp. BUC p. 478. <br /> <br /> 12. Barrett. "A Song sett by Mr. Iohn Barrett Sung by Mrs. Lindsey" "Mistake not Nymph". London ca. 1705. 1f. recto music verso blank pp. BUC p. 86.<br /> <br /> 13. Barrett. "Liberia A Song Set to Musick" "Liberia's all my Thought". London ca. 1715. 1f. recto music verso blank pp. BUC p. 86.<br /> <br /> 14. Purcell D. "Lovely Charmer. A song in the Island Princess." London ca. 1700. 1f. recto music verso blank pp. BUC p. 856.<br /> <br /> 15. Leveridge. "A Favorite Song in the new Opera The words by Mr. Leveridge." London ca. 1720. 1f. recto music verso blank pp. BUC p. 339.<br /> <br /> 16. Anon. "Tom a Bedlam" "Forth from my dark and Dismall cell". London ca. 1720. 1f. recto music verso blank pp. BUC p. 345. <br /> <br /> 17. Leveridge. "A Scotch Song Sung by Mr. Leveridge the words by Mr Durfey" "Farewell my Bonny". London ca. 1710. 1f. recto music paginated "10" verso blank pp. BUC p. 325.<br /> <br /> 18. Blow. "Go Perjur'd Man. A Song for two Voices." London ca. 1710. 1f. recto music verso blank pp. BUC p. 115.<br /> <br /> 19. Anon. "A song by a Gentleman" "How charming". London ca. 1730. 1f. recto music verso blank pp. BUC p. 370.<br /> <br /> 20. Weldon. "Orpheus Song to the Waves Sett by Mr. Iohn Weldon Sung by Mrs. Linsey." "Stop O ye Waves". London ca. 1710. 1f. recto song verso version for flute pp. BUC p. 1065.<br /> <br /> 21. Anon. "A Song by a Great Master" "Beauteous Idol charming Creature". London ca. 1720. 1f. recto music verso blank pp. BUC p. 93. <br /> <br /> 22. Turner. "A Song On Mira's Singing and Beauty" "Singing charms The Bless'd above". London ca. 1710. 1f. recto music verso blank pp. BUC p. 1024.<br /> <br /> 23. M. F. "A song in the Italian style by F M" "Ah Crudel prenesto". London ca. 1720. 1f. recto music verso blank pp. BUC p. 638. A humorous song satirizing Italian opera with text in nonsense-Italian.<br /> <br /> 24. Galliard. "Sung by Mr. Pack in The Opera of Circe" "Fairest if thou can'st be King". London ca. 1720. 1f. recto music verso blank pp. BUC p. 358.<br /> <br /> 25. Vanbrughe. "Apollo to Daphne by Mr. Vanbrughe" "My Dearest Daphne". London ca. 1735. Not in BUC but may be from Vanbrughe's collection Mirth & Harmony; see BUC p. 1034.<br /> <br /> 26. Anon. "The Address with The Lady's Answer" "Ah lovely Nymph". London ca. 1725. 1f. recto music paginated "7" verso blank pp. BUC p. 11. <br /> <br /> 27. Handel. "A Song the words by Mr. Kirkland set to a Trumpet Minuet of Mr. Hendell's" "Phillis the Lovely". London ca. 1725. 1f. recto music verso blank pp. HWV 349 Watermusic. BUC p. 781. <br /> <br /> 28. Young and Leveridge. "The Reproach" "Send back my long stray'd Eyes" and "Mr. Leveridge's Tune." London ca. 1720. 1f. recto music verso blank. BUC p. 1098. The instrumental tune appears to be unrelated to the song; here may however be some association as the song incorporates imagery related to the eyes and the tune's name not given here is "Black-eyed Susan." <br /> <br /> 29. Anon. "A Song after the Italian Manner by an Eminent Master" "Lovely cruel charming fair". London ca. 1715. 1f. recto music verso blank pp. BUC p. 632 another edition. <br /> <br /> 30. Handel. "Di godere in English & Italian by Mr. Hendell" "Di godere" / "Oh my dearest". London ca. 1720. 1f. recto music verso blank. HWV 228. Not in BUC; possibly related to an edition in Foundling Museum. JISC "This song appeared in two editions in 1719: the first was in The Yearly Subscriptions a volume of twenty songs advertised on 5 December the second in the Monthly Mask of Vocal Music issued on 24 December".<br /> <br /> 31. Pepusch. "A Song in the Mask of Martillo" "Tender Hearts to ev'ry Passion". London ca. 1716. 1f. recto music verso blank pp. BUC p. 722. <br /> <br /> 32. Carey. "The Midsummer Wish Taken from the Journal" "Waft me some soft and cooling Breeze". London ca. 1725. 1f. recto music verso blank pp. BUC p. 165. <br /> <br /> 33. Leveridge. "A Song in the Beau Demolish'd Sung by Mr. Leveridge" "Whilst I'm carrouzing". London ca. 1730. 1f. recto music verso index in contemporary manuscript pp. BUC p. 615. <br /> <br /> Binding worn rubbed and bumped; spine partially lacking; lower board nearly detached. Minor dampstaining and worming; occasional small stains. John Barrett ca. 1674-ca. 1745 was an English composer and organist pupil of John Blow. "Like many of his contemporaries such as Jeremiah Clarke John Eccles and Daniel Purcell Barrett composed mainly for the theatre and his many songs mostly of the double-barrelled art song variety are both tuneful and attractive." Christopher Powell revised by H. Diack Johnstone in Grove Music Online<br /> <br /> John Blow 1649-1708 was an English composer organist and teacher. "By his mid-20s he had become the foremost musician in England and in later years he was the elder statesman of the Restoration school whose chief luminary was Henry Purcell." Bruce Wood in Grove Music Online <br /> <br /> John Eccles ca. 1668-1735 was an English composer. "Eccles's greatest talent is revealed in his many songs. Remarkable for their beautifully contoured melodies and impeccable prosody they quickly capture the mood and subtleties of the poetry and are eminently singable. His large works are notable for their dramatic pacing and their carefully planned tonal architecture. In the latter respect he surpassed even Purcell and was far in advance of his day. Eccles brought the Restoration tradition to its close. After Purcell's death in 1695 he was undoubtedly the greatest of the Restoration theatre composers." Stoddard Lincoln in Grove Music Online<br /> <br /> John Ernest Galliard ca. 1687-1749 German composer and oboist "certainly played a significant role in London's musical life in the first half of the 18th century." Roger Fiske revised by Richard G. King in Grove Music Online<br /> <br /> George Frideric Handel 1685-1759 English composer of German birth was "one of the greatest composers of his age." Anthony Hicks in Grove Music Online<br /> <br /> Richard Leveridge 1670-1758 English bass and composer was "a leading singer on the London stage and a popular composer of songs." Olive Baldwin revised by Thelma Wilson in Grove Music Online. <br /> <br /> Giuseppe Maria Orlandini 1676-1760 was an Italian composer. "The large number and wide spread of performances of his operas confirm the opinions of Burney La Borde Martini and Quadrio that Orlandini was highly celebrated as a composer of dramatic music. He was best known for his comic intermezzos in which genre his importance almost certainly outweighs that of Pergolesi. Indeed Orlandini's Bacocco e Serpilla under various titles and with added music by various composers appears to have been the most frequently performed piece of musical drama in the entire 18th century." John Walter Hill and Francesco Giuntini in Grove Music Online<br /> <br /> Johann Christoph Pepusch 1667-1752 a German-born composer and theorist active in England is best known for his arrangement of music for The Beggar's Opera to John Gay's libretto; he composed works in all genres including vocal music.<br /> <br /> Daniel Purcell ca. 1664-1717 brother or cousin of Henry Purcell was an English composer and organist. "Although he was a victim of invidious comparison with Henry Daniel was a talented composer whose style while perhaps too ornate is never dull or incompetent." Mark Humphreys revised by Robert Thompson in Grove Music Online<br /> <br /> Henry Purcell 1659-1695 composer and organist "was one of the most important 17th century composers and one of the greatest of all English composers." Peter Holman and Robert Thompson in Grove Music Online<br /> <br /> John Weldon 1676-1736 an English organist and composer "of considerable talent" was a pupil of Henry Purcell. Margaret Laurie revised by Stephen Bullamore in Grove Music Online. unknown
书商的参考编号 : 41185
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[VOCAL MUSIC - Sacred - Early 17th Century - Manuscript]
Crux fidelis. Manuscript musical setting for 4 voices in score. Italian first half of the 17th century
Large oblong octavo ca. 163 x 225 mm. 2 pp. Notated in ink on 4 six-line staves per page of a bifolium. With early ownership signature to foot of first page of music. <br /> <br /> Minor spotting and browning. Crux fidelis is a hymn sung on Good Friday. This setting presents a small portion of what may be a larger composition five phrases of music for soprano alto tenor and bass voices. The first two phrases of music are composed in a homophonic style where the voices move together. The following three phrases incorporate imitation between the voices. Where the music cuts off the start of the next phrase is visible: a return to the homophonic style from the beginning. Vocalists singing multi-voice works in the 16th and 17th centuries most often used individual parts. As the music in this piece is in score and includes several cancellations and corrections it may have been the composer's working manuscript. The bottom line of each six-line staff includes numerous vertical dashes the meaning of which is not indicated by the author of the manuscript but they may shed light on the composition or performance practice of the hymn.<br /> <br /> We have not located any other sources of this setting. unknown
书商的参考编号 : 39479
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[VOCAL MUSIC - 18th Century - French - Manuscript]
Douze Chansons ou Romance avec accompagnement de forte Piano et Violon obligé À Marie. Late 18th century friendship/presentation musical manuscript
Folio. Full dark red calf with elaborate tooling gilt incorporating floral motifs to margins of boards "À Marie" gilt to upper spine in decorative compartments gilt blue silk endpapers. Preserved in a quarter dark red morocco clamshell box with matching dark red silk boards raised bands on spine in decorative compartments gilt with titling gilt. <br /> <br /> 1f. recto title verso notes on performance 1f. recto dedication verso blank 48 i contents. Watermark of a crown above a shield with fleur-de-lis and the name H BLUM. Text in French. Dedication reads: "À Marie / L'Amour d'abord médita cel hommage: / C'est l'amitié qui vous l'offre en ce jour. / Que l'amitié le recoive à son tour: / Ce sentiment de tout me dédommage."<br /> <br /> A finely executed calligraphic manuscript containing French songs set for voice piano and violin. The pieces appear to be original arrangements of contemporary and earlier songs.<br /> <br /> Contents:<br /> No. 1. Romance À Madme. La Marquise De L'Ese Imitée de la chanson De Monterif Elle m'aima cette Belle Aspasie<br /> No. 2. Romance À Madame Cr. . air ancien<br /> No. 3. Lai De Bliomberis Voyez Bliomberis Nouvelle de M. De Florian<br /> No. 4. Couplets À Melle. De Lum<br /> No. 5. Couplets Allégoriques Àk Mdme. De G. . Parodiés Sur un Rondeau de Mr. Pleyel<br /> No. 6. Paul Et Virginie. Romance. Paroles de Mr. Doigni Du Ponceau<br /> No. 7. Romance À Nice<br /> No. 8. Couplets À Nice<br /> No. 9. Les Adieux De Némorin. Voyez Estelle par Mr. De Florian<br /> No. 10. Autre Romance d'Estelle<br /> No. 11. Romance À Melle De Ranc .Tom Et Lucy Romance historique À Marie. L'anecdote qui fait le sujet de cette Romance à été inseee dans le Courier de L'Europe au mois de Juillet 1779<br /> <br /> Binding somewhat worn and rubbed; minor loss to spine and corners; upper detached; hinges split. Some minor foxing staining soiling and showthrough; some signatures loose; upper outer corner of title with contemporary signature crossed out and thus indecipherable.<br /> <br /> A very attractive and elegantly presented manuscript overall. unknown
书商的参考编号 : 40413
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[VOCAL MUSIC - 19th Century - French]
Duettino. Manuscript vocal duets with piano or harp accompaniment
France 1860. Oblong quarto 191 x 238 mm. 2 pp. of a bifolium notated in black ink on 8-stave rastrum-ruled paper with embossed border. Text in French.<br /> <br /> With "de Susanne pour sa Maman" to upper outer corner of first page of music. <br /> <br /> With light vertical fold. The text commencing with the line "Accepte! ces Roses nouvelles" is drawn from "Compliments en prose et en vers: pour souhaiter la nouvelle année et les fêtes à ses père mère oncles tantes frères soeurs grand'papa grand'maman parrain marraine amis." Jules Rostaing under the pseudonym Mme. J.-J. Lambert 1858. <br /> <br /> A charming gift from a daughter to her mother. unknown
书商的参考编号 : 40254
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[VOCAL MUSIC - Sacred - Early 17th Century - Manuscript]
Manuscript musical settings of sacred works for 4 voices. Complete set of parts for Canto Alto Tenor and Bass. Italian ca. 1620-25
Folio ca. 335 x 235 mm. 8 pp. in total with each of the four parts notated in ink on both sides of a single leaf. Text in Latin.<br /> <br /> Includes settings of "In lumen tu splendor" "Ibant Maji quam indesant" "Hic nempe mundi gaudia" and "Qui pius puidens." <br /> <br /> With several corrections; a short passage added to the end of the first page of the Canto part in another hand.<br /> <br /> Somewhat worn; slightly browned; creased at central folds with several small holes; frayed at edges with small chips; some show-through; portions of both upper and lower blank margins lacking affecting titling but not notation. We have not located any other sources of the present works either manuscript or printed. unknown
书商的参考编号 : 39441
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[VOCAL MUSIC - Sacred - Early 17th Century - Manuscript]
Manuscript musical settings for 5 voices. Altus part only. Italian first half of the 17th century
Large oblong octavo ca. 186 x 257 mm. Notated on six 5-line rastrum-ruled staves in black ink on both sides of a single leaf.<br /> <br /> Some light foxing and staining; edges worn with tears resulting in minor loss of music. The music on the recto "Et in terra pax hominibus" and "Qui tollis peccata mundi" is composed in a somewhat chant-like style mostly syllabic with only occasional miniature melismas. The music on the verso two settings of "Kyrie eleison" and one of "Christe eleison" is more flowing with more frequent scales contrasts in vocal range and shifts in melodic contour. The initial letters of each movement are executed in an ornamental calligraphic script. <br /> <br /> An attractive 17th century document revealing a variety of text-setting strategies and styles. unknown
书商的参考编号 : 39522
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[VOCAL MUSIC - 19th Century - Manuscript]
Musical manuscript containing operatic arias vocal works works for voice and keyboard and for solo keyboard ca. 1830-40
Oblong folio 225 x 300 mm. Contemporary vellum-backed marbled boards. Ca. 250 pp. Watermarks include "La Stella" and "G & C Cini" prominent papermakers in Tuscany in the 1830s and 40s. <br /> <br /> 39 pieces in total. Composers include Beethoven 3 Bellini 2 Donizetti 3 Pacini 2 Paer 2 Weber 2 Strauss and Zingarelli 2 plus a number of unattributed works.With contemporary signature of "Mrs. S. Smith" to front endpapers and contemporary manuscript index to pastedown endpapers; her additional signature to Beethoven Waltz. Notated in ink in one primary hand<br /> <br /> Contents:<br /> Paer Ferdinando 1771-1839<br /> Ah Lucinda Signor Duetto in the Favorite Opera of Agnese di Fitzhenny Arrang'd with a Piano Forte Accompt. by J.C. Pyne 80th Regt. 1 title 2-20 pp. <br /> <br /> Donizetti Gaetano 1979-1848<br /> Cavatina Nell fior degl' anni miei Nell' Opera L'Ajo in Imbarazzo. Ridotta per Piano Forte Dal J.C. Pyne. 9 pp. <br /> <br /> Italian Ariettes with a Piano Forte Accompaniment. Benedetto 2 pp.; Buona Notte 3 pp.; Nel Tempo Felice 3 pp.; Grato Momento é Caro 2 pp.<br /> <br /> Bailey Thomas Haynes 1797-1839<br /> I'd be a Butterfly a Ballad Sung by Mrs. Haylett The Words & Melody by Thos. Haynes Bailey. 6 pp. <br /> <br /> Canzonici Siciliane. 14 pp. 7 short pieces for voice and piano<br /> <br /> Pacini Giovanni 1796-1867<br /> Come provar quest' anima Cavatina in the Opera La Schiava e' Bagdad. 12 pp. <br /> <br /> Craven J.T. 1796-<br /> The Light Bark. Scene The Bay of Naples. 7 pp. Text by Anna Mahony<br /> <br /> Beethoven Ludwig van 1770-1827<br /> No. 2 Grand Sonata composed & dedicated to Prince Lichnowski . Op. 26. 22 pp. <br /> <br /> Anon. Waltz. 1/2 page. <br /> <br /> Beethoven<br /> Waltz. 4 pp. LvBWVAnh 14/3 <br /> <br /> Weber Carl Maria von 1786-1826<br /> Weber's Last Composition. 2 pp. Waltz in Ab major<br /> <br /> Weiner Volkslied. 1 page.<br /> <br /> Zingarelli Niccolò Antonio 1752-1837<br /> Ombra adorata aspetto. 9 pp. From his opera Romeo and Juliet<br /> <br /> 7 pp. 3 sets of 6 instrumental dance tunes unidentified most likely for violin.<br /> <br /> Dance Music. 24 dance tunes for solo violin with titles including Quadrile! of Navarino Pantalone L'Elé La Pouyle La Trenis La Pastorale La Promenade and Quadrille a 2 Figure. 10 pp. <br /> <br /> Donizetti<br /> 3 pp. Unidentified work for piano solo. Incomplete<br /> <br /> Bellini Vincenzo 1801-35<br /> Sinfonia Nel Opera Il Pirata. 16 pp. containing the overture for piano solo. With occasional corrections.<br /> <br /> Waltz. Chap. Rouge. 1 page. For solo piano.<br /> <br /> Military Waltz. 1 page<br /> <br /> The Merry Days When We Were Young. 2 pp. For voice and piano. Notation and text carefully penned on mid-blue paper within highly decorative embossed border. Signed "E.R.P. 6. Novr. 1841" at conclusion.Two small pinholes to upper left margin. In very good condition overall. <br /> <br /> Binding somewhat worn soiled rubbed and bumped; number "41" to spine. Very minor internal wear and browning. unknown
书商的参考编号 : 36228
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[W J Smith Music Company] [Banjo]
Smith's Tuneful Solos for Banjo Finger Style with Piano Accompaniment Book One WITH Smith's Tuneful Solos for Banjo Finger Style with Piano Accompaniment Book One. Solo Banjo
New York: W. J. Smith Music Company 1923. Soft cover. Good. Approximately 12" x 9" illustrated stapled brown paper covers. Two seperate song books. Book one 32 pages. Second book for Solo Banjo 18 pages. Light edge wear to the covers. Some margin notes in blue pencil page 18 for the Solo Banjo book. W. J. Smith Music Company unknown
书商的参考编号 : 34769
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[Wagner, Richard]
Locandina dell’opera La Walkiria - Teatro Costanzi
Ottimo esemplare. “Ultima rappresentazione a prezzi popolari – Fuori abbonamento”. Opera diretta da Michael Balling.
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[Wagner, Richard]. - Slg. Marcel Hébert.
Sammlung von 66 meist eigenh. Briefen und einigen Karten an Hébert. Verschiedene Orte, 1893 bis 1898.
Zusammen 220¾ SS. auf 129 Bll. Verschiedene Formate. Mit einigen Beilagen (s. u.). Inhaltsreiche Korrespondenz von u. a. Houston Stewart Chamberlain, Marcel Proust und Cosima Wagner mit dem katholischen Priester, Philosophen und Wagner-Forscher Marcel Hébert (1851-1916), die sich im Wesentlichen um die Themen Philosophie, Religion und Politik in Wagners Werk dreht, aber auch so manch anderes Thema anspricht, so etwa die Korrespondenz zwischen Wagners Assistenten Carl August Roeckel und Wagner (so Houston Stewart Chamberlain in seinem Brief vom 11. VIII. 1893), einen Besuch Chamberlains bei Cosima Wagner (Br. v. 5. I. 1894 und vom 15. III. desselben Jahres), Wagner und Hegel (16. V. 1894), den Plan einer Übersetzung von Héberts "Sentiment religieux dans l'œuvre de Richard Wagner" ins Deutsche (das Buch erschien dann 1895 im Verlag von August Schupp unter dem Titel "Das religiöse Gefühl im Werke Richard Wagners"), Chamberlains Arbeit an seinem Buch "Richard Wagner" (1895 im Bruckmann Verlag erschienen), eine neue Übersetzung Alfred Ernsts von Wagners "Walküre" (Br. v. 20. IX. 1893), Héberts Broschüre "Platon und Darwin" (Br. A. Ernsts vom 4. X. 1893), Ernsts Schrift "Richard Wagner et le drame contemporain" (Calmann Lévy, Paris, 1884), Héberts "Platon et Darwin. Dialogue philosophique" und Wagners "Religion und Kunst" (so Édouard Schuré in seinem Brief vom 17. VII. 1893) und zahlreiche weitere Veröffentlichungen Héberts und seiner Korrespondenzpartner. Cosima Wagner dankt Hébert in ihrem Brief vom 28. X. 1894 für die Zusendung von einer seiner Schriften über Wagner (wohl "Trois moments de la pensée de Richard Wagner") und auch Cosimas Tochter Blandine Gravina dankt für die Zusendung eines Buches, dürfte sich allerdings, wenn auch höchst elegant, darüber hinwegschummeln, daß sie es nicht gelesen hat ("Malheureusement, je n'ai pas le don de parler des choses profondes, même quand je les comprends, et puis je ne voudrais pas vous ennuyer […]", Br. v. 27. XI. 1894). Ein sehr ausführlicher Brief der Sprachwissenschaftlerin, Schriftstellerin und Übersetzerin (so auch Héberts) Anna Brunnemann bespricht die "Edda" und ihren Einfluß auf Wagner (18. VI. 1893), und der Initiator des ersten Wagner-Zirkels in Paris, der Untersuchungsrichter Antoine Lascoux, berichtet von einem Gespräch mit Engelbert Humperdinck, der bezüglich der Frage, ob Wagner Englisch beherrscht hätte, antwortete, daß dem wohl so gewesen sein müsse: "Je n'en suis pas sûr, mais sans doute il a bien compris cette langue, puisqu'il lisait souvent Shakespeare en originale" (Br. v. 18. IX. 1893). Hans von Wolzogen, der von 1878 bis 1938 die Bayreuther Blätter redigierte und herausgab, den Allgemeinen Richard Wagner-Verein leitete und eng mit Cosima Wagner befreundet war, bespricht u. a. eine Meinungsverschiedenheit über sein Verständnis des Parsifalcharakters ("Parsifal est l'esprit enfantin de l'Evangile", 5. XI. 1894) und den Einfluß Schopenhauers auf Wagner ("Zu bedauern bleibt es, daß Sie nicht mehr die jüngst erschienenen Briefe Wagners an Röckel benützen konnten […] weil sie am deutlichsten den Umschwung in Wagners Geiste wiedergeben", Übers.). - Héberts Korrespondenzpartner sind im einzelnen: 1) Alfred Bovet: EBmU. 19. XII. 1895. - 2) Louis-Pilate Brinn'Gaubast: EBmU. 31. III. 1897. 1 S. 8vo. - 3) Anna Brunnemann: EBmU. 18. VI. 1893. 6 SS. auf 3 Bll. 8vo. - 4) Houston Stewart Chamberlain: 15 Briefe (davon 9 eh., 2 hs. 3 ms. und einer von seiner Gattin Anna). 1893 bis 1896. Zusammen 73½ SS. auf 41 Bll. Meist 8vo. Beiliegend ein eh. Blatt mit einer Lektürenotiz Chamberlains (2 SS., qu.-8vo.). - 5) Richard de Chelus: EBmU. 5. XI. 1895. 6 SS. auf 3 Bll. 8vo. - 6) Paul Desjardins: EBmU. Aix en Savoie, 17. IX. o. J. 5¼ SS. auf 3 Bll. 8vo. - 7) Hugo Dinger: EBmU. 10. XII. 1894. 3 SS. auf Doppelblatt. 8vo. - 8) Auguste Ehrhard: EBmU. 9. VI. 1893. 2 SS. auf 1 Bl. 8vo. - 9) Balduin Elle: EBmU. 2½ SS. auf Doppelblatt. 8vo. - 10) Alfred Ernst: 3 eBmU. 1893. Zusammen 6 SS. auf 4 Bll. 8vo. - 11) Émile Gallé: EBmU. 24. X. 1895. 1 S. auf 1 Bl. 8vo. - 12) Blandine Gravina: EBmU. 27. XI. 1894. 3 SS. auf Doppelblatt. 8vo. - 13) Maurice Kufferath: 2 eBmU. 1894 und 1895. Zusammen 6 SS. auf 3 Bll. (Qu.-)8vo. - 14) Antoine Lascoux: 3 eBmU. Juli 1893. Zusammen 8½ SS. auf 6 Bll. 8vo. - 15) Henri Lichtenberger: 3 eBmU. 1897. Zusammen 7½ SS. auf 5 Bll. (Kl.-)8vo. - 16) Jaime Montero y de Madrazo: EBmU. 6. I. 1896. 1 S. 4to. - 17) Raoul Mercier: EBmU. März 1895. Zusammen 7 SS. auf 4 Bll. 8vo. - 18) Eudoxe-Irénée Mignot, évêque de Fréjus: EBmU. 27. X. 1892. 1 S. auf 1 Bl. 8vo. - 19) Arthur Mugnier: 2 eBmU. 1894 und 1895. Zusammen 7 SS. auf 4 Bll. 8vo. - 20) Georges Noufflard: 2 eBmU. 1893 und 1894. Zusammen 4 SS. auf 4 Bll. 8vo. - 21) Nicolaus Oesterlein: E. Postkarte mit U. 29. XI. 1894. 1 S. Qu.-8vo. - 22) Marcel Proust: Ms. Abschrift eines Briefes. O. O. u. D. 2 SS. auf 2 Bll. 4to. - 23) René de Récy: EBmU. 27. X. 1893. 1 S. auf 1 Bl. 8vo. - 24) Edward Sapier: EBmU. 10. VIII. 1901. - 25) Édouard Schuré: 4 eBmU. 1893 und 1894. Zusammen 16 SS. auf 8 Bll. 8vo. - 26) Franz Servais: EBmU. 10. I. 1896. 4 SS. auf Doppelblatt. 8vo. - 27) Jean Thorel: EBmU. Colombes (Seine), o. D. 2 SS. auf 1 Bl. Kl.-8vo. - 28) Cosima Wagner: EBmU. 28. X. 1894. 2 SS. Kl.-4to. Mit eh. adr. Kuvert. - 29) Hans von Wolzogen: 12 eBmU. 1893 bis 1898. Zusammen 23 SS. auf 14 Bll. - Die vorliegende Korrespondenzsammlung wurde in den 1920er Jahren von dem Musikwissenschaftler André Cœuroy (1891-1976) zusammengetragen und aufbewahrt. Von ihm, der selbst ein Standardwerk über Wagner verfaßte ("Wagner et l'esprit romantique", Gallimard, 1965), finden sich hier weiters zwei eh. Manuskripte. 1) "3 moments de la pensée de R. Wagner: Tétralogie - Tristan - Parsifal". 1894. 1 S. 8vo. 2) "L'évolution sentimentale de R. W.". 1896. 14½ SS. auf 9 Bll. 8vo.
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[Wagner, Richard]. - Wagner, Albert, Schauspieler, Regisseur und Sänger (1799-1874), Richard Wagners älterer Bruder.
"Andenken". Eigenh. Musikmanuskript mit Namenszug am Titel. Würzburg, 8. X. 1839.
(21) Bll. mit sechs Kompositionen für Klavier und Singstimme mit unterlegtem Text. Brauner Lederband der Zeit mit goldgepr. Mäander-Bordüre, Vorderdeckel mit einer Stickerei auf Stramin ("Andenken") mit Schmuckbordüre und Goldperlchen, vorderer Spiegel mit Wagners auf Stramin gesticktem Monogramm in Goldrahmen. Kl.-qu.-Folio (295:231 mm). Im vorliegenden Album finden sich die sorgfältigen Abschriften der Lieder 1) "Glockentöne von Proch" (op. 21 von Heinrich Proch); 2) "Mein' Hütten von A. Müller" ("Mein Hütten laß i nit […]" von Anton Müller); 3) "Im Thale von Proch"; 4) "C' est une larme. Romance de P. Lafont" (Charles Philippe Lafont, französ. Violinspieler, 1781-1839); 5) "Wach auf! von Loewe" (Carl Loewe, 1796-1869, "Der Hahn hat gekräht, die Lerche singt [...]"); 6) "Lied von Paul Fleming aus Oehlenschlägers Inseln im Südmeer" ("Laß Dich nur Nichts nicht dauern mit Trauern [...]"). - "Zur freundlichen Erinnerung", wie es am Titel heißt, "gesammelt von Albert Wagner / Würzburg den 8ten October 1839". Albert Wagner, der ältere Bruder von Richard Wagner, war nach Stationen in Leipzig, Breslau, Hamburg und Augsburg seit 1829 in Würzburg tätig. In den 1840er Jahren gab er seine Sängerlaufbahn infolge eines zunehmend stärker werdenden Halsleidens auf; von 1852 bis 1865 wirkte er als Regisseur an der Berliner Hofoper. - Die ersten und letzten Bll. stellenweise etwas fleckig; der Einband stellenweise etwas beschabt und berieben, gleichmäßig gebräunt und teils leicht fleckig; die Stickerei am Vorderdeckel leicht stockfleckig.
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[Wagner, Richard]. - Wesendonck, Mathilde, German poet and author, best known as the friend and possibly mistress of Richard Wagner (1828-1902).
Notebook with some autogr. excerpts. Villa Traunblick (Altmünster), August 6 ff., 1893.
5¼ pp. Gilt spined contemp. vellum. 8vo. An elegant notebook with some extracts from a newspaper article on critic, a speech of Rudolf von Virchow and from Goethe's "Bei Betrachtung von Schillers Schädel" ("In consideration of Schiller's skull".
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[Wagner-Kreis] - Groß, Adolf von, Bankier, enger Freund Wagners und langjähriger Finanzverwalter der Bayreuther Festspiele (1833-1894).
Eigenh. Brief mit U. Bayreuth, 25. IV. 1886.
2½ SS. auf Doppelblatt. 8vo. Mit hs. adr. Kuvert. An den Bankier Baron Felix von Kaskel (1833-94) mit der Bitte um Überlassung eines "Glocken"-Musikinstruments zwecks Vergleichs mit dem "Gralsglockenklavier" sowie zu dessen Verbesserung und Weiterentwicklung: "Metallplatten und Glocken in gewünschter Tiefe besitzen wir bereits ebenso ein hier construirtes Glockeninstrument [...] Durch Herrn Professor Wüllner [d. i. der Opernsänger Ludwig Wüllner] erfuhr ich vor kurzem, dass Ihre in der Societa del Quartetto benutzten Glocken schon die nöthige Tiefe hätten, es wäre uns deshalb erwünscht gewesen sie mit unseren Instrumenten zu vergleichen und eventuell zu erwerben, während wir schon der Kosten wegen absehen würden weiter zu experimentiren [...]". - Adolf Groß, der nach dem Ableben Richard Wagners auf dessen Wunsch hin zum Vormund von Wagners Kindern bestimmt wurde, stand der Witwe Cosima in allen finanziellen und administrativen Fragen zur Seite. Er trug die schwierigen und vielseitigen geschäftlichen Aufgaben des gesamten Festspielunternehmens ganz allein und führte die Bayreuther Festspiele zu außergewöhnlichen Erfolgen. Die erste Version des "Glockenklaviers", eines Klaviaturglockenspiels, wurde 1881 speziell für Richard Wagner für die Oper "Parsifal" von der Klaviermanufaktur Steingraeber & Söhne konstruiert; es sollte tiefere Klänge als die Glocken des Wiener Stephansdoms erzeugen. - Mit gedr. Briefkopf "Verwaltungsrath der Bühnenfestspiele". Leicht fingerfleckig.
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[WAGNER]
Richard Wagner.
Gr. In-8, 302p. Rassemble une importante iconographie en noir et en couleurs. A l'état de neuf.
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[WAGNER]
Wagner.
Gr. In-8, 302p. Rassemble une importante iconographie en noir et en couleurs.
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[WAGNER] - LICHTENBERGER (Henri)
Richard Wagner, poète et penseur.
Gr. In-8, 451p. Nouvelle édition.
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