MENDELSSOHN, Moses (1729-1786).:Biblio.com
Uris, LeonAntiquariat.de
Armageddon. A Novel of Berlin. Handexemplar des Übersetzers.
1964Best.-Nr. 10665BBGarden City, Doubleday, 1964. 8°. 632 S. OLn., 1
Georg Fritsch Antiquariat · Österreich120,00 €
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Best.-Nr. 17394Frenkfurt und Leipzig ohne Verlagsangabe 1790. . Kl.-Oktav 17.3cm. XVI330XXXV S. Pappband d.Zt. mit Buntpapierbezug und handschriftl. Rückenschildchen. Wasserfleck meist klar im unteren Rande in der 2. Hälfte des Buches ganz wenig stockfleckig; ein sehr gutes Exemplar. - Früher Raubdruck der im vorigen Jahre erschienenen Erstauflage. Krieg MNE II28. Selten. Frenkfurt und Leipzig [ohne Verlagsangabe] 1790. unknown
Best.-Nr. EGZZ0408Carlsruhe im Verlag der Schmiederischen Buchhandlung Karlsruhe Schmieder o. J. 2 Bde. 8°. III-XXIV 278 S.; 283 S. mit Titelblattvignetten Kopfstücken u. kleinen Zierleisten. Pappbände d. Zeit mit goldgeprägten Rückenschildchen wasserrandig sonst gut erhalten. Seiten nur unwesentlich gebräunt oder braunfleckig teilw. wasserrandig. Mit Besitzeintragungen von alter Hand auf den Titelblättern und einer alten handschriftlichen Bibliothekszahl auf den vorderen fliegenden Vorsatzblättern verso. ADB 21316ff. Lexikon deutsch-jüdischer Autoren 43ff. - 1780 erschienene undatierte Ausgabe der 1761 erstmals herausgegebenen Philosophischen Schriften des bedeutenden Philosophen und Begründers der jüdischen Aufklärung M. 1729-1786. Die Bände enthalten eine Sammlung schon vorher einzeln erschienener Abhandlungen sowie eine Rhapsodie oder Zusätze betitelte Ergänzung zu Mendelssohns 1755 erschienenen Briefe über die Empfindungen. Carlsruhe, im Verlag der Schmiederischen Buchhandlung (Karlsruhe, Schmieder) o. J. 2 Bde. unknown
1964Best.-Nr. 10665BBGarden City, Doubleday, 1964. 8°. 632 S. OLn., 1
1960Best.-Nr. 199450CambridgeMA. Maurizio Martino Pub. n.d. 1960s. Or.cl. 1008pp. 1139pp. Vol. 2 with mark to foredge. b/w frontispieces. Very good set. This Reprint is Strictly Limited to 175 Copies. Being the Catalogue Raisonne of the Mendelssohn Library of Works relating to South Africa. Including the Full titles of the Books. Cambridge,MA. Maurizio Martino Pub. unknown
Best.-Nr. 45762148-nnew. unknown
2003Best.-Nr. Q-0853602344Music Sales America 2003-12-01. Paperback. New. In shrink wrap. Looks like an interesting title! Music Sales America paperback
Best.-Nr. 51805Sydney : Copperfield Publishing 1979. Folio bound in full leather lettered in gilt a few light marks pp. 284 illustrated; limited to 275 copies signed by the author a very good copy of the deluxe edition of this extensive survey on the artist. hardcover
Best.-Nr. 1406832510.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
Best.-Nr. mon0000133418Routledge 2019-07-10. Hardcover. Good. 2.1983 in x 24.1816 in x 15.5882 in. Ex library book usual markings. Clean copy sound binding. Routledge hardcover
Best.-Nr. 3772807364.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
Best.-Nr. ria9789400704176_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; The last work published by Moses Mendelssohn during his lifetime Morning Hours 1785 is also the most sustained presentation of his mature epistemological and metaphysical views all elaborated in the service of presenting proofs for hardcover
1838Best.-Nr. 35281Bonn: N. Simrock PN 3441 1838. Folio. 21 pp. 4 parts of 4 pp. each title and price to Soprano I part. Engraved. Text in Latin and German. SSAA with organ. Provenance Composer E.J. Biedermann 1849-1933 with his signature in pencil to head of score and each part; small oval handstamp of G. Schirmer to foot of title and each part. Split at spine; minor creasing; edges slightly worn and cockled. First Edition later issue. MWV B23 p. 51. Not in Krause. Ward Jones III 488 490. Hoboken 10 193. One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber. Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. N. Simrock [PN 3441] unknown
1880Best.-Nr. 35203Berlin: N. Simrock PN 4648 1880. Folio. Full black cloth with original publisher's light green printed wrapper with titling within decorative border laid down to upper board. 1f. recto title verso blank 3-207 i blank pp. Text in German. Small circular handstamp of the Musik-schulen Kaiser Wien to wrapper title and several pages throughout. Binding slightly worn rubbed and bumped; wrapper slightly trimmed and lightly foxed with several minor chips and abrasions to margins. Impression to title slightly light; title and final leaf reinforced with paper tape to gutter and outer edge. Light scattered foxing throughout. First German edition later issue. MWV A25 p. 35. Not in Krause. Catalogue of the Mendelssohnb Papers in the Bodleian Library III 361 earlier issue. Hoboken 10 251 first issue. Elias an oratorio to a libretto by Julius Schubring after Kings was first performed in Birmingham on 26 August 1846. Mendelssohn made major revisions to the work following this performance introducing the new and final version in London on 16 April 1847. Mendelssohn distinguished himself in many fields and his contributions to sacred choral music are no exception. He was the most prominent advocate for the music of J.S. Bach reviving the St. Matthew Passion in 1829 and helped to reestablish the oratorio by providing two superb examples: St. Paul 1836 and Elijah 1846. "Based largely on the account in 1 Kings Elijah relates the chief events in the prophet's life: the curse of the Lord and the seven-year drought Elijah's miraculous revival of the widow's son his confrontation with the Baal worshippers and the lifting of the drought his confrontation with Ahab and Jezebel his flight to the wilderness and encounter with the Lord and his journey to Mt Horeb and ascension to heaven in a flaming chariot. As in St Paul Mendelssohn employed chorales and relied heavily upon choral numbers; noteworthy is the sheer diversity of choruses . In contrast to St Paul Mendelssohn dispensed with the narrator allowing the characters themselves to deliver the dramatic action. Elijah diverges from St Paul too in its broadly conceived musical cohesiveness; in no other work did Mendelssohn concern himself with musical structure on such a large scale." R. Larry Todd in Grove Music Online. N. Simrock [PN 4648] unknown
1831Best.-Nr. 40966Vienne: Pietro Mechetti qm Carlo PN 2133 1831. Folio. Stiff marbled wrappers with manuscript title label to upper. 1f. recto title verso blank 3-11 i blank pp. Engraved. Title and final leaf moderately foxed; occasional minor foxing throughout. First Viennese edition later issue. Scarce. With London agents "J.B. Cramer Addison & Beale" and Berlin agent "Ad. Mt. Schlesinger" to foot of title. Weinmann Mechetti p. 52. Not in Krause. Hoboken 10 135 first issue. "One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber. Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Pietro Mechetti qm Carlo [PN 2133] unknown
1844Best.-Nr. 18508Bonn: N. Simrock PN 4343 1844. Folio. Disbound. 19 pp. Engraved. Lithographic title with decorative blue background and border. Moderate foxing and browning. First Edition later issue. Fuld p. 525. Krause 231. Hoboken 10 237. Catalogue of the Mendelssohn Papers in the Bodleian Library III 444. This volume of the Songs Without Words contains Mendelssohn's "Spring Song. N. Simrock [PN 4343] unknown
1838Best.-Nr. 35281Bonn: N. Simrock PN 3441 1838. Folio. 21 pp. 4 parts of 4 pp. each title and price to Soprano I part. Engraved. Text in Latin and German. SSAA with organ. Provenance Composer E.J. Biedermann 1849-1933 with his signature in pencil to head of score and each part; small oval handstamp of G. Schirmer to foot of title and each part. Split at spine; minor creasing; edges slightly worn and cockled. First Edition later issue. MWV B23 p. 51. Not in Krause. Ward Jones III 488 490. Hoboken 10 193. One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber. Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. N. Simrock [PN 3441] unknown books
1880Best.-Nr. 35203Berlin: N. Simrock PN 4648 1880. Folio. Full black cloth with original publisher's light green printed wrapper with titling within decorative border laid down to upper board. 1f. recto title verso blank 3-207 i blank pp. Text in German. Small circular handstamp of the Musik-schulen Kaiser Wien to wrapper title and several pages throughout. Binding slightly worn rubbed and bumped; wrapper slightly trimmed and lightly foxed with several minor chips and abrasions to margins. Impression to title slightly light; title and final leaf reinforced with paper tape to gutter and outer edge. Light scattered foxing throughout. First German edition later issue. MWV A25 p. 35. Not in Krause. Catalogue of the Mendelssohnb Papers in the Bodleian Library III 361 earlier issue. Hoboken 10 251 first issue. Elias an oratorio to a libretto by Julius Schubring after Kings was first performed in Birmingham on 26 August 1846. Mendelssohn made major revisions to the work following this performance introducing the new and final version in London on 16 April 1847. Mendelssohn distinguished himself in many fields and his contributions to sacred choral music are no exception. He was the most prominent advocate for the music of J.S. Bach reviving the St. Matthew Passion in 1829 and helped to reestablish the oratorio by providing two superb examples: St. Paul 1836 and Elijah 1846. "Based largely on the account in 1 Kings Elijah relates the chief events in the prophet's life: the curse of the Lord and the seven-year drought Elijah's miraculous revival of the widow's son his confrontation with the Baal worshippers and the lifting of the drought his confrontation with Ahab and Jezebel his flight to the wilderness and encounter with the Lord and his journey to Mt Horeb and ascension to heaven in a flaming chariot. As in St Paul Mendelssohn employed chorales and relied heavily upon choral numbers; noteworthy is the sheer diversity of choruses . In contrast to St Paul Mendelssohn dispensed with the narrator allowing the characters themselves to deliver the dramatic action. Elijah diverges from St Paul too in its broadly conceived musical cohesiveness; in no other work did Mendelssohn concern himself with musical structure on such a large scale." R. Larry Todd in Grove Music Online. N. Simrock [PN 4648] unknown books
1831Best.-Nr. 40966Vienne: Pietro Mechetti qm Carlo PN 2133 1831. Folio. Stiff marbled wrappers with manuscript title label to upper. 1f. recto title verso blank 3-11 i blank pp. Engraved. Title and final leaf moderately foxed; occasional minor foxing throughout. First Viennese edition later issue. Scarce. With London agents "J.B. Cramer Addison & Beale" and Berlin agent "Ad. Mt. Schlesinger" to foot of title. Weinmann Mechetti p. 52. Not in Krause. Hoboken 10 135 first issue. "One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber. Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Pietro Mechetti qm Carlo [PN 2133] unknown books
1844Best.-Nr. 18508Bonn: N. Simrock PN 4343 1844. Folio. Disbound. 19 pp. Engraved. Lithographic title with decorative blue background and border. Moderate foxing and browning. First Edition later issue. Fuld p. 525. Krause 231. Hoboken 10 237. Catalogue of the Mendelssohn Papers in the Bodleian Library III 444. This volume of the Songs Without Words contains Mendelssohn's "Spring Song. N. Simrock [PN 4343] unknown books
Best.-Nr. DADAX0198850336New unknown
Best.-Nr. 3368616056.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1980Best.-Nr. 205716Zürich: Atlantis 1980. First German edition. Ownership inscription; letter taped to front pastedown; very good in a rubbed dust jacket with a couple of small chips. 8vo 635pp; blue cloth. The author's own copy of his definitive work on the great composer originally published in a shorter English language version in 1963. Inscribed on the first leaf: "Nr. 1 Eric Werner Zürich 1. July 1980." In addition Werner has taped to the front pastedown a 1949 typed letter he received from the great musicologist Alfred Einstein referring to Franz Schubert and his treatment of a psalm text. Atlantis unknown
1997Best.-Nr. Q-0521574773Cambridge University Press 1997-05-13. Paperback. New. In shrink wrap. Looks like an interesting title! Cambridge University Press paperback
Best.-Nr. 0486278751.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1990Best.-Nr. Q-3795766338SCHOTT MUSIK INTL MAINZ 1990-12-01. Turtleback. New. In shrink wrap. Looks like an interesting title! SCHOTT MUSIK INTL MAINZ unknown
