Price, Michael HaydnBiblio.com
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réf. Z1-A-008-02736Routledge Kegan & Paul. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. May contain underlining and/or highlighting. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. Routledge Kegan & Paul unknown
1810réf. 41428Dublin Ireland: Hime at his Musical Circulating Library No. 34 College Green No 40 College Green 1810. Folio. ff. 25. Sheets: 12 3/4 x 9 inches. Plates: 10 3/4 x 7 1/2 inches. 25 copper-plated engraved pieces of sheet music printed in black. Most sheets hand-foliated in ink. With the ownership signature in ink on the back of songs 9 and 10 written "Susan Buchanan's." 9 of the pieces of sheet music are loose 16 are loosely bound together. Provenance: Family of Founding Father Francis Hopkinson 25 pieces of sheet music printed in Ireland by Hime at the end of the 18th century from the family collection of Francis Hopkinson America's first composer. "American society from about 1805 on was especially enamored of Irish and Scotch tunes particularly the Irish Melodies of Thomas Moore and other national music." - Richard J. Wolfe Early American Music Engraving and Printing Founding Father Francis Hopkinson 1737-1791 was a signatory for New Jersey to the Declaration of Independence and the first American to compose a song which he attested to himself: "I cannot I believe be refused the Credit of being the first Native of the United States who has produced a Musical Composition." Hopkinson published three of the earliest American song collections: Collection of Plain Tunes with a Few from Anthems and Hymns printed by Carr in 1763; America Independent or Temple of Minerva the first American opera printed by Carr in 1781; and Seven Songs for the Harpsichord or Forte Piano printed by T. Dobson in 1788. All sheets were printed by Hime. Hime was an English and Irish music publishing firm run by two brothers Humphrey and Morris. Hime began in Liverpool but moved to Dublin in 1790. The firm continued printing until the 1870s as Hime & Son. The Himes did the largest provincial trade in Britain at the end of the 18th century because English copyright law did not apply to Irish publishers so Hime could flood the English market with bootleg copies of popular songs. The song titles are: 1. "TEARS THAT EXHALE: An admired SONG in the PRISONER Composed by Mr. Attwood." 2. "I'D THINK on THEE MY LOVE. A Favorite NEW SEA SONG Composed by Mr. HOOK." 3. "HENRY's COTTAGEMAID." 4. "AS WRAPT IN SLEEP I LAY: A favorite Song sung by Mrs CROUCH in the Opera of The PIRATES Composed by STEPN STORACE." 5. "WINDS SOFTLY TELL MY LOVE: As Sung by Mrs MOUNTAIN in the Opera of the FARMER with uncommon Applause." 6. "THE MANSION OF PEACE: A Much Admired SONG Composed by Mr. WEBBE." 7. "THE NEW MANSION OF PEACE: A Favorite NEW SONG Composed by Mr. MOULDS." 8. "DEAR MARY TO THEE: A much Admired NEW Song Composed by Mr. HOOK." 9. "DEAR IMAGE OF THE MAID I LOVE: Composed by SIGr. GIORDANI." 10. "WHILST WITH VILLAGE MAIDS: A favorite Song in the Opera of ROSINA Sung by Mrs BILLINGTON." 11. "COME BLUSHING ROSE: Composed by Pleyel." 12. "EVENING: A Favorite BALLAD Composed by HAYDN: The WORDS by DOCr. JOHNSON." 13. "EDWIN AND ELLA: Composed by MR. HOOK." 14. "GO HAPPYGALES: A favorite SONNETT translated from PETRACH by Mr HOOK." 15. "ENCOMPASSED IN AN ANGELS FRAME: A much Admired Song." 16. "THE SHIPWRECK'D BOY. A Favorite NEW Song Written by Geo. Saville Carey." 17. "THERE THE SILVER'D WATERS ROAM: An admired Song in the PIRATES. Sung by Mr Sedgwick. composed by Sigr. STORACE." 18. "Charming Delia: A Favorite BALLAD Composed by Mr. PLEYEL." 19. "DIRE IS HIS GRIEF: An Admired Song in the new Historical Romance of the CRUSADE sung by Mr Incldeon." 20. "NOW THE WOODLAND CHORISTS SING: A Favorite PASTORAL BALLAD composed by J PLEYEL." 21. "O!EVER IN MY BOSOM LIVE: A favorite Duett in OSCAR and MALVINA sung by Mrs Mountain and Miss Keys." 22. "DEAR IS MY LITTLE NATIVE VALE: A favorite NEW Ballad." 23. "YOUNG JOCKEY TRIPT IT O'ER THE MEAD: An Admired BALLAD Composed by SIGr PLEYEL." 24. "BLOW HIGH BLOW LOW: A favorite SONG." 25. "WHEN FAIR SUSAN I LEFT: A much Admired SEA SONG." These scores were part of a Sammelband acquired at the Francis Hopkinson Family Americana Collection sale in June 2020. Wolfe Early American Music Engraving and Printing 1980. Hime at his Musical Circulating Library No. 34 College Green, No 40 College Green unknown books
réf. 16-3934Paris: Chez Naderman circa 1820. 13 pages. 35.5 x 27 cm. Printed on laid rag paper Stained througout. Facsimile of letter from Haydn to Louise-Alexandrine-Eugénie Moreau the French-Creole wife of the famous general Jean Victor Moreau dated 1803.Dernière sonate pour le piano forte avec accompaniment de violonÀ Paris : publiée par Naderman circa 1820Expertise by Thierry BODIN - 01 45 48 25 31Syndicat Français des experts Professionnels en Oeuvre d'ArtStanford University Libraries Memorial Library of Music MLM 498:In advance of a visit to Paris in 1803 Prince Esterházy asked Haydn to compose a new piano sonata as a gift for Louise-Alexandrine-Eugénie Moreau the French-Creole wife of the famous general Jean Victor Moreau and hostess of an influential Paris salon. Haydn pleading illness sent instead a copy of the sonata for piano with violin and 'cello accompaniment HXV:31 minus the somewhat superfluous ‘cello part. In an accompanying letter to Madame Moreau Haydn apologizes for not composing something new due to his failing health and promises to fulfill his duties once he regains his strength.This two-movement work in the unusual key of E flat minor was originally composed for piano violin and ‘cello. Haydn wrote it soon after his return to Vienna from London in 1795 and in 1805 it was published for three instruments by several publishing houses. The autograph manuscript is in the Zweig Collection at the British Library. Dated 1795 Haydn wrote at the top of the second movement: “Jacobs Dream by Dr. Haydn 794” which indicates that the second movement was likely composed first.The piano part contains a good amount of virtuosic writing and like other keyboard works of the time seeks to exploit the expressive possibilities inherent in the new English grand pianos of which Haydn was enamored. The violin part also presents technical challenges. “Jacob’s Dream” alludes to the bible story in which Jacob dreams of a stairway to heaven effortlessly trafficked by angels. The work was apparently so named to tease a certain violinist intending to perform the piece whose technique often failed him but whose hubris did not when attempting to play in the upper registers. Haydn always the joker!The work was published postumously as a piano sonata with violin accompaniment by Nadermann in Paris 1820 and in partnership with Clementi in London 1821. The title page of the London edition which is in the Memorial Library of Music features a neoclassical lithograph of the muse Erato with her lyre accompanied by a swan placing a myrtle wreath on Haydn’s grave marker. Aslo included is Haydn's letter to Madame Moreau reproduced in facsimile. Paris: Chez Naderman, circa 1820 unknown
réf. 88358Offenbach I. André c. 1786. Folio. Engr. title 2-29 engr. pp.; engr. title 2-9 engr. pp.; engr. title blank 3-7 engr. pp. PN 121. The titles with engr. frames and vignettes. The clavicin part with paper repair on the title and with spotting on p. 3 slight spotting also to title to violoncell part. Sewn in somewhat later marbled paperboards with handwritten label the accompanying parts with contemporary marbled spine paper. Three volumes. RISM H3637 2 copies of which one is incomplete. Hoboken XV:3-5 I p. 683. Not in Sammlung Hoboken. First edition. hardcover
1799réf. 40334Offenbach s/m: J. André PN 1369 1799. Folio. Unbound. Violino primo: 1 title 2-7 pp. Violino secondo: 1 blank 2-6 pp. Due viole: 4 pp. Basso e violoncello: 4 pp. Flauti: 4 pp. Oboe primo: 3 pp. Oboe secondo: 2 pp. Clarinetto primo: 2 pp. Clarinetto secondo: 2 pp. Fagotti: 3 pp. Clarino primo in D: 2 pp. Clarino secondo in D: 2 pp. Corno primo in D: 2 pp. Corno secondo in D: 2 pp. Timpani in D: 2 pp. Engraved throughout. Small binder's hole to upper inner margin; early manuscript note regarding instrumentation to upper margin of title with "Comptoir Général de Musique" stamps to lower margin; "Salomon's Concert" printed to foot of first page of music of each part. Early edition of Haydn's "Clock" symphony. Robbins Landon p. 772 10 giving precedence to the Artaria edition of Autumn 1799 as the first "authentic" edition and suggesting that the present edition was most probably derived from the first edition published by Gombart in 1798 or 1799. Hoboken Catalogue 6 266. RISM H3199 and HH 3199 no copies in the U.S. J. André [PN 1369] unknown
1799réf. 40334Offenbach s/m: J. André PN 1369 1799. Folio. Unbound. Violino primo: 1 title 2-7 pp. Violino secondo: 1 blank 2-6 pp. Due viole: 4 pp. Basso e violoncello: 4 pp. Flauti: 4 pp. Oboe primo: 3 pp. Oboe secondo: 2 pp. Clarinetto primo: 2 pp. Clarinetto secondo: 2 pp. Fagotti: 3 pp. Clarino primo in D: 2 pp. Clarino secondo in D: 2 pp. Corno primo in D: 2 pp. Corno secondo in D: 2 pp. Timpani in D: 2 pp. Engraved throughout. Small binder's hole to upper inner margin; early manuscript note regarding instrumentation to upper margin of title with "Comptoir Général de Musique" stamps to lower margin; "Salomon's Concert" printed to foot of first page of music of each part. Early edition of Haydn's "Clock" symphony. Robbins Landon p. 772 10 giving precedence to the Artaria edition of Autumn 1799 as the first "authentic" edition and suggesting that the present edition was most probably derived from the first edition published by Gombart in 1798 or 1799. Hoboken Catalogue 6 266. RISM H3199 and HH 3199 no copies in the U.S. J. André [PN 1369] unknown books
1982réf. 65688Schloss Esterhazy. As New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Text in German. 674 pp. With 86 ills. 30 col. . 24 x 21 cm. -- with a bonus offer-- . 1982. Schloss Esterhazy paperback
2009réf. 835101Collections. New. Hardcover. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - Flawless copy brand new pristine never opened -- INCLUDES CD-ROM. 452 pages; 690 illustrations. -- with a bonus offer--; A worldwide survey of the art of enamelling during the past three hundred years featuring over 300 pieces from the Khalili collection. Includes examples from Europe America and the Orient with essays on patronage historicism regional developments and workshops such as Faberge and Cartier. The book includes a CD describing and illustrating all 1200 pieces from the collection. . 2009. 187478017X . Collections hardcover
1800réf. 40445Vienne: Artaria et Comp. PN 837 1800. Folio. First violin part in early marbled wrappers with decorative cut-paper title label in manuscript to upper; other parts with thin strips of marbled paper reinforcing spines. Violino primo: 1f. recto title verso blank 19 i blank pp. Title within elaborate border engraved by J. E. Mansfeld incorporating a portrait of Haydn at head a muse holding a flute and trumpet and an angel playing a lyre. Violino 2o.: 17 i blank pp. Viola: 17 i blank pp. Violoncello: 17 i blank pp. Engraved throughout. Wrappers quite worn and torn at spine. Slightly worn foxed soiled and stained; old paper repair to inner margins of title and final leaf; margins of two leaves of first violin part trimmed with partial loss of plate number. First Edition with the noted title page incorporating a portrait of the composer. Hoboken 7 647. Hoboken Collection Vol. 7 647. BUC p. 466. RISM H3574. "The last of Haydn's six great E-flat quartets 1797 is perhaps - dare one compare on this level - the greatest of them all; in any case it is amongst the greatest of the his great quartets as well as being the very greatest of the 'celebrated' which status it no doubt again owes to its symmetrical themes - the only aspect of the work one is tempted to suggest which is not drastically innovatory. One hardly knows where to start when listing its lasting innovations . but inasmuch as they affect one's performance of the work one can concentrate on them with a quiet conscience." Keller: The Great Haydn Quartets p. 228. Artaria et Comp. [PN 837] unknown
1787réf. 40113Venezia: Antonio Zatta e Figli 1787. Oblong folio. Sewn. Three parts each with identical title excepting instrument names. Engraved throughout. Violino: i title incorporating decorative engraved border with floral motifs and musical instruments including lute recorder trumpet and violin 15 pp. Viola: i title 14 i blank pp. Violoncello: i title 12 i blank pp. With "Proprietà di Bianconi de Valleta" in contemporary ink to lower outer corner of title to viola part: "Per uso di cancelled" and in another hand to lower outer corner of each title. Violin: Title detached soiled foxed and stained with some marginal dampstaining losses to edges and small holes; light dampstaining mainly to upper outer quadrant of first and final leaves; occasional small stains. Viola: Staining and soiling to title; stain to blank outer upper corner of all leaves; occasional stains and soiling. Violoncello: Some foxing and small stains mainly to blank margins; final blank leaf stained and soiled. First Edition. Rare. Hoboken 7 966. RISM H3816. Originally composed for baryton trio in 1768 during Haydn's period of service to Nikolaus I Prince Esterházy 1714-1790 here cast in a version for violin viola and cello. Antonio Zatta fl. late 18th century was an Italian printer and publisher. "He was in business with his sons under the name 'Antonio Zatta e figli Librai e Stampatori veneti' with premises in Venice 'al traghetto di S Barnaba'; theirs was the largest engraving works in the city their activity dating back to about 1750. . From 1786 the firm began printing on its own press from engraved plates a weekly piece of instrumental music for sale by subscription; in the following years this initiative expanded to include trios duos quartets symphonies or sonatas for various instruments and even vocal pieces issued on a monthly basis. In the letters circulated to 'professori e dilettanti di musica' inviting them to become subscribers the firm explained the preponderance of instrumental music by the fact that Italy 'abounds without doubt more in professional and amateur players than in singers.' Instrumental works by Corelli Bertoni Boccherini Capuzzi Andreozzi Cirri Cambini Pichl Fodor Stabinger Grazioli Haydn Mozart and Salieri and vocal pieces arias by Cimarosa Guglielmi Paisiello Anfossi Naumann Gazzaniga Borghi Traetta and Piccinni were printed and published. Many of Zatta's editions were reprints from German or Viennese publications especially of Hoffmeister's a publisher with whom Zatta had connections. Zatta also published didactic methods Pfeiffer La bambina al cembalo and music theory. After 1788 all editorial activity ceased but Zatta continued to trade in music publications. One of Antonio's daughters Marina married the publisher Sebastiano Valle who continued the work of the Zatta family until about 1806." Mariangela Donà in Grove Music Online. Antonio Zatta e Figli unknown
1800réf. 40445Vienne: Artaria et Comp. PN 837 1800. Folio. First violin part in early marbled wrappers with decorative cut-paper title label in manuscript to upper; other parts with thin strips of marbled paper reinforcing spines. Violino primo: 1f. recto title verso blank 19 i blank pp. Title within elaborate border engraved by J. E. Mansfeld incorporating a portrait of Haydn at head a muse holding a flute and trumpet and an angel playing a lyre. Violino 2o.: 17 i blank pp. Viola: 17 i blank pp. Violoncello: 17 i blank pp. Engraved throughout. Wrappers quite worn and torn at spine. Slightly worn foxed soiled and stained; old paper repair to inner margins of title and final leaf; margins of two leaves of first violin part trimmed with partial loss of plate number. First Edition with the noted title page incorporating a portrait of the composer. Hoboken 7 647. Hoboken Collection Vol. 7 647. BUC p. 466. RISM H3574. "The last of Haydn's six great E-flat quartets 1797 is perhaps - dare one compare on this level - the greatest of them all; in any case it is amongst the greatest of the his great quartets as well as being the very greatest of the 'celebrated' which status it no doubt again owes to its symmetrical themes - the only aspect of the work one is tempted to suggest which is not drastically innovatory. One hardly knows where to start when listing its lasting innovations . but inasmuch as they affect one's performance of the work one can concentrate on them with a quiet conscience." Keller: The Great Haydn Quartets p. 228. Artaria et Comp. [PN 837] unknown books
1787réf. 40113Venezia: Antonio Zatta e Figli 1787. Oblong folio. Sewn. Three parts each with identical title excepting instrument names. Engraved throughout. Violino: i title incorporating decorative engraved border with floral motifs and musical instruments including lute recorder trumpet and violin 15 pp. Viola: i title 14 i blank pp. Violoncello: i title 12 i blank pp. With "Proprietà di Bianconi de Valleta" in contemporary ink to lower outer corner of title to viola part: "Per uso di cancelled" and in another hand to lower outer corner of each title. Violin: Title detached soiled foxed and stained with some marginal dampstaining losses to edges and small holes; light dampstaining mainly to upper outer quadrant of first and final leaves; occasional small stains. Viola: Staining and soiling to title; stain to blank outer upper corner of all leaves; occasional stains and soiling. Violoncello: Some foxing and small stains mainly to blank margins; final blank leaf stained and soiled. First Edition. Rare. Hoboken 7 966. RISM H3816. Originally composed for baryton trio in 1768 during Haydn's period of service to Nikolaus I Prince Esterházy 1714-1790 here cast in a version for violin viola and cello. Antonio Zatta fl. late 18th century was an Italian printer and publisher. "He was in business with his sons under the name 'Antonio Zatta e figli Librai e Stampatori veneti' with premises in Venice 'al traghetto di S Barnaba'; theirs was the largest engraving works in the city their activity dating back to about 1750. . From 1786 the firm began printing on its own press from engraved plates a weekly piece of instrumental music for sale by subscription; in the following years this initiative expanded to include trios duos quartets symphonies or sonatas for various instruments and even vocal pieces issued on a monthly basis. In the letters circulated to 'professori e dilettanti di musica' inviting them to become subscribers the firm explained the preponderance of instrumental music by the fact that Italy 'abounds without doubt more in professional and amateur players than in singers.' Instrumental works by Corelli Bertoni Boccherini Capuzzi Andreozzi Cirri Cambini Pichl Fodor Stabinger Grazioli Haydn Mozart and Salieri and vocal pieces arias by Cimarosa Guglielmi Paisiello Anfossi Naumann Gazzaniga Borghi Traetta and Piccinni were printed and published. Many of Zatta's editions were reprints from German or Viennese publications especially of Hoffmeister's a publisher with whom Zatta had connections. Zatta also published didactic methods Pfeiffer La bambina al cembalo and music theory. After 1788 all editorial activity ceased but Zatta continued to trade in music publications. One of Antonio's daughters Marina married the publisher Sebastiano Valle who continued the work of the Zatta family until about 1806." Mariangela Donà in Grove Music Online. Antonio Zatta e Figli unknown books
1835réf. 4044Turin 1835. Manuscript on paper. 4to binding size 264 x 197 mm. 26 pp. Contents: Fol. 1r title verso blank f. 2r-5v text La Creazione incipit: "Raffaele / Creò dapprima Iddio il ciel la terra; / Ma giaceva la terra informe e vuota" f. 6r half-title for Le quattro Stagioni 6v-13v text Le quattro Stagioni incipit: "Coro di Contadini e Contadine. / Vieni deh Flora vieni / Prezioso don del Ciel." Written in brown ink in an elegant Italian cursive on fine wove paper no visible watermarks. Three blank leaves at front and back the outermost being a wrapper of thicker paper second flyleaf at back adhered to the third the text block stitched into a Piedmontese case binding of gold-embroidered ivory silk over thin pasteboards both covers with outer border of a leafy scrolling vine with floral sprigs composed of gilt or silver-gilt appliqués of leaves blossoms and roundels on stems of couched silver-gilt thread a larger flowering branch at each corner at center of upper cover a large gilt monogram CF within a cartouche of repeated leaf appliqués with at top a closed crown at center of lower cover a large flowering plant of gilt appliqués couched thread sequins etc. turn-ins of upper cover unsewn dampstain within upper left quadrant of upper cover. A manuscript of excerpts from the librettos for Haydn's late oratorios the Creation Die Schöpfung first performed 1798 and the Seasons Die Jahreszeiten 1801 translated into Italian from the German of his librettist and patron Gottfried van Swieten 1733-1803. Bound in brightly gilt embroidered silk binding the manuscript was probably produced for a court or private musical event. Both librettos had an English origin. The Creation text based on Genesis and Milton's Paradise Lost was taken from a manuscript libretto by an unknown author originally intended for Handel given to Haydn by the English impresario Johann Peter Salomon and brought back by him from England in 1795. The Seasons was loosely based on extracts from James Thomson's poem of the same title 1730 but van Swieten had greater leeway in rearranging the text. It was still considered a given in the early nineteenth century that vocal compositions in languages other than Latin and Italian would be translated into the language of the audience. The Creation was first performed in Italian in Milan in 1810 using Giuseppe Carpani's verse translation of van Swieten's libretto first published in Vienna in 1801. The manuscript contains an abridged version of Carpani's text with some variants. The Quattro stagione is also abridged and seems to be based on portions of an anonymous translation first published in Dresden in 1802 and used for the oratorio's first performances in Italian in 1811 in Milan and Bologna cf. editions of Milan: Mussi 1811 and Bologna: Ramponi 1811. The manuscript was exhibited in Turin in 1998: cf. Francesco Malaguzzi Legature romantiche piemontese: legature del periodo romantico in raccolte private no. 67 and p. 30. Malaguzzi stated that the manuscript contains "watermarks of the Biella papermakers the brothers Avondo datable to the third decade of the 19th century" but this cataloguer failed to see any watermarks. unknown
1835réf. 4044Turin 1835. Manuscript on paper. 4to binding size 264 x 197 mm. 26 pp. Contents: Fol. 1r title verso blank f. 2r-5v text La Creazione incipit: "Raffaele / Creò dapprima Iddio il ciel la terra; / Ma giaceva la terra informe e vuota" f. 6r half-title for Le quattro Stagioni 6v-13v text Le quattro Stagioni incipit: "Coro di Contadini e Contadine. / Vieni deh Flora vieni / Prezioso don del Ciel." Written in brown ink in an elegant Italian cursive on fine wove paper no visible watermarks. Three blank leaves at front and back the outermost being a wrapper of thicker paper second flyleaf at back adhered to the third the text block stitched into a Piedmontese case binding of gold-embroidered ivory silk over thin pasteboards both covers with outer border of a leafy scrolling vine with floral sprigs composed of gilt or silver-gilt appliqués of leaves blossoms and roundels on stems of couched silver-gilt thread a larger flowering branch at each corner at center of upper cover a large gilt monogram CF within a cartouche of repeated leaf appliqués with at top a closed crown at center of lower cover a large flowering plant of gilt appliqués couched thread sequins etc. turn-ins of upper cover unsewn dampstain within upper left quadrant of upper cover. A manuscript of excerpts from the librettos for Haydn's late oratorios the Creation Die Schöpfung first performed 1798 and the Seasons Die Jahreszeiten 1801 translated into Italian from the German of his librettist and patron Gottfried van Swieten 1733-1803. Bound in brightly gilt embroidered silk binding the manuscript was probably produced for a court or private musical event. Both librettos had an English origin. The Creation text based on Genesis and Milton's Paradise Lost was taken from a manuscript libretto by an unknown author originally intended for Handel given to Haydn by the English impresario Johann Peter Salomon and brought back by him from England in 1795. The Seasons was loosely based on extracts from James Thomson's poem of the same title 1730 but van Swieten had greater leeway in rearranging the text. It was still considered a given in the early nineteenth century that vocal compositions in languages other than Latin and Italian would be translated into the language of the audience. The Creation was first performed in Italian in Milan in 1810 using Giuseppe Carpani's verse translation of van Swieten's libretto first published in Vienna in 1801. The manuscript contains an abridged version of Carpani's text with some variants. The Quattro stagione is also abridged and seems to be based on portions of an anonymous translation first published in Dresden in 1802 and used for the oratorio's first performances in Italian in 1811 in Milan and Bologna cf. editions of Milan: Mussi 1811 and Bologna: Ramponi 1811. The manuscript was exhibited in Turin in 1998: cf. Francesco Malaguzzi Legature romantiche piemontese: legature del periodo romantico in raccolte private no. 67 and p. 30. Malaguzzi stated that the manuscript contains "watermarks of the Biella papermakers the brothers Avondo datable to the third decade of the 19th century" but this cataloguer failed to see any watermarks. unknown books
1803réf. 69076Gravés par Lobry, 5 vol. in-12 cartonage bradel vert postérieur, collection "Bibliothèque Musicale", Chez Pleyel, Auteur et Editeur, Rue Neuve des Petits Champs n° 1286 ou n° 728, Chez Richault, (tome 7), Paris, s.d. [ 1803, vers 1810-1815 pour Richault pour le tome 7 ], Vol. I : portrait en frontispice, 2 ff., 126 pp., 3 ff., 124 pp. (Opus 76, Quatuors 1, 2, 3, 4, 5, 6); Vol. II : 2 ff., 130 pp., 2 ff., 116 pp. (Opus 20, Quatuors 1, 2, 3, 5, 4 et 6) ; Vol. III : 2 ff., 132 pp., 2 ff., 126 pp. (Opus 50, Quatuors 5, 2, 3, 6, 4, 1); Vol. IV : 1 f., 111 pp., 2 ff., 105 pp. (Opus 33, Quatuors 1, 2, 3, 4, 5, 6); Vol. V : 2 ff., 128 pp., 2 ff., 139 pp. (Opus 71, Quatuors 1, 2, 3 et Opus 74, Quatuor 1, 2, 3)
1988réf. SBBIH-KIUMAJHHVDEYOxford University Press 1988. paperback. Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing fanning inscriptions margin notes yellowing staining on edge or cover or pages bumps scuffs etc etc sometimes multiple of these. It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order at least not without checking with us first although we don't always have time to check. We aim to dispatch prompty the service used will depend on order value and book size. We can ship to most countries see our shipping policies. Payment is via Abe only. Oxford University Press paperback
1791réf. 40111Paris: Sr. Sieber Musicien rue St honoré entre celles des Vielles Etuve et celle D'orleans chez l'Apothiciare No. 92 PN 1171 1791. Folio. Ivory vellum-backed marbled boards dark red leather label to spine with titling gilt. 1f. recto title verso blank 254 pp. with "Personnages" to lower portion of p. 12 following overture. Engraved throughout. Overture and arias with spoken dialogue provided as text; "Laurette" was performed without recitatives. Handstamp of "Cercle des amateurs de musique Strasbourg" incorporating lyre and floral motif to upper outer corner of title and first page of music. Binding worn rubbed and bumped. Light uniform browning; occasional small stains and foxing; abrasion to p. 101 affecting several bars of music; price erased from title. First Edition. Hoboken Collection Vol. 9 1615. Lesure p. 299. RISM H2563 Laurette to a libretto by Francesco Puttini was first performed on 25 April 1779. "Contrary to claims made by Haydn's early biographers insufficent evidence supports the hypothesis that Haydn wrote this opera to fulfill an imperial commission for Vienna. The libretto represents a considerably shortened version of Puttini's text for Anfossi 1776 Rome already somewhat condensed especially in Act 3 for performances later that year in Venice as La pescatrice fedele and in Vienna 1777. Andrea Totti who sang Count Errico in Venice also performed in Haydn's opera at Eszterháza. . The opera was subsequently performed as Der flatterhafte Liebhaber oder Der Sieg der or Die wahre Beständigkeit in Pressburg Bratislava 1786-7 Budapest 1789 Vienna 1790 and Brno 1792 and with numerous changes as Laurette in Paris 1791." Caryl Clark in Grove Music Online "La vera costanza 1778-9 is the subject of implausible and conflicting anecdotes in Griesinger and Dies according to which it was originally commissioned for the Burgtheater in Vienna but scuttled by intrigue neither Joseph II nor his musicians were well-disposed towards Haydn; in fact it had its première at Eszterháza on April 25 1779. It was lost in the fire that largely destroyed the Eszterháza opera theatre on November 18 1779; the surviving version represents Haydn's reconstruction of the work from 1785." Georg Feder and James Webster in Grove Music Online. Sr. Sieber, Musicien, rue St honoré entre celles des Vielles Etuve et celle D'orleans chez l'Apothiciare, No. 92 [PN 1171] unknown
1791réf. 40111Paris: Sr. Sieber Musicien rue St honoré entre celles des Vielles Etuve et celle D'orleans chez l'Apothiciare No. 92 PN 1171 1791. Folio. Ivory vellum-backed marbled boards dark red leather label to spine with titling gilt. 1f. recto title verso blank 254 pp. with "Personnages" to lower portion of p. 12 following overture. Engraved throughout. Overture and arias with spoken dialogue provided as text; "Laurette" was performed without recitatives. Handstamp of "Cercle des amateurs de musique Strasbourg" incorporating lyre and floral motif to upper outer corner of title and first page of music. Binding worn rubbed and bumped. Light uniform browning; occasional small stains and foxing; abrasion to p. 101 affecting several bars of music; price erased from title. First Edition. Hoboken Collection Vol. 9 1615. Lesure p. 299. RISM H2563 Laurette to a libretto by Francesco Puttini was first performed on 25 April 1779. "Contrary to claims made by Haydn's early biographers insufficent evidence supports the hypothesis that Haydn wrote this opera to fulfill an imperial commission for Vienna. The libretto represents a considerably shortened version of Puttini's text for Anfossi 1776 Rome already somewhat condensed especially in Act 3 for performances later that year in Venice as La pescatrice fedele and in Vienna 1777. Andrea Totti who sang Count Errico in Venice also performed in Haydn's opera at Eszterháza. . The opera was subsequently performed as Der flatterhafte Liebhaber oder Der Sieg der or Die wahre Beständigkeit in Pressburg Bratislava 1786-7 Budapest 1789 Vienna 1790 and Brno 1792 and with numerous changes as Laurette in Paris 1791." Caryl Clark in Grove Music Online "La vera costanza 1778-9 is the subject of implausible and conflicting anecdotes in Griesinger and Dies according to which it was originally commissioned for the Burgtheater in Vienna but scuttled by intrigue neither Joseph II nor his musicians were well-disposed towards Haydn; in fact it had its première at Eszterháza on April 25 1779. It was lost in the fire that largely destroyed the Eszterháza opera theatre on November 18 1779; the surviving version represents Haydn's reconstruction of the work from 1785." Georg Feder and James Webster in Grove Music Online. Sr. Sieber, Musicien, rue St honoré entre celles des Vielles Etuve et celle D'orleans chez l'Apothiciare, No. 92 [PN 1171] unknown books
1806réf. 320511806. First Edition. HAYDN Joseph. Collection complette des Quatuors DÕHaydn. Paris: Pleyel 1806. Four volumes. Folio contemporary half calf marbled boards. $4500.Second collected ÒNouvelleÓ edition of HaydnÕs complete string quartets in handsome contemporary calf.Haydn won his first fame with his string quartets and continued to return to the form throughout his life. By the end of his life he was regarded as the greatest composer in this medium. ÒHaydn achieved in his op. 33 quartets written as he declared Ôin a new and special wayÕ a clarity of structure and balance of texture of which he rarely lost sight in later worksÉ In the late 1780s Haydn finally returned to quartet composition on a more regular basisÉ The fine balance between unity and infinite variety is one of the most typical features of HaydnÕs late quartetsÉ The two series of ÔTostÕ Quartets opp. 54-5 and op. 64 carry the Classical quartet to a peak. They reveal a Haydn free of official restraints and obligations composing simply con amoreÉ In op. 76 a new experimentalism appears with features anticipating BeethovenÓ New Grove 18: 278; 8: 355. Regarding PleyelÕs editions of the string quartets Haydn wrote: ÒI am much obliged to you for the exceptionally beautiful edition of the QuartetsÉ because of their beautiful engravings the paperÑand the fact that they are so correctÑas well as their general appearance you will be remembered for them foreverÓ Robbins Landon 238. With engraved frontispiece portrait title pages and fully engraved music text. Hirsch III 274. ontemporary bookseller stamps.Occasional light foxing; a few small marginal tears and paper repairs. A very handsome copy of this beautiful edition. hardcover
1806réf. 320511806. First Edition. HAYDN Joseph. Collection complette des Quatuors DHaydn. Paris: Pleyel 1806. Four volumes. Folio contemporary half calf marbled boards. $4500.Second collected Nouvelle edition of Haydns complete string quartets in handsome contemporary calf.Haydn won his first fame with his string quartets and continued to return to the form throughout his life. By the end of his life he was regarded as the greatest composer in this medium. Haydn achieved in his op. 33 quartets written as he declared in a new and special way a clarity of structure and balance of texture of which he rarely lost sight in later works In the late 1780s Haydn finally returned to quartet composition on a more regular basis The fine balance between unity and infinite variety is one of the most typical features of Haydns late quartets The two series of Tost Quartets opp. 54-5 and op. 64 carry the Classical quartet to a peak. They reveal a Haydn free of official restraints and obligations composing simply con amore In op. 76 a new experimentalism appears with features anticipating Beethoven New Grove 18: 278; 8: 355. Regarding Pleyels editions of the string quartets Haydn wrote: I am much obliged to you for the exceptionally beautiful edition of the Quartets because of their beautiful engravings the paperand the fact that they are so correctas well as their general appearance you will be remembered for them forever Robbins Landon 238. With engraved frontispiece portrait title pages and fully engraved music text. Hirsch III 274. ontemporary bookseller stamps.Occasional light foxing; a few small marginal tears and paper repairs. A very handsome copy of this beautiful edition. hardcover books
réf. a015.016GB: R T Birchall - Preston 326 x 255 mm. Old half dark green leather and marbled boards. Spines heavily decorated in gold and all lettered "HAYDN - BOOK C". Leather title labels on front covers. All with the large armorial bookplate of Frederick A Heygate Lambert with small Garratts Hall Library case label. PAGINATION ERRATIC THROUGHOUT but appear to be complete as issued. Salomon is in 7 sets of 16 pages whilst Hague is about 48 pages. All fairly clean tight and sound BUT some offsetting throughout and some occasional damp and other marks. A good working set but perhaps not for the collector. Hardback. Good. R T Birchall - Preston Hardcover
1787réf. 40066Vienne: Artaria PN 109 1787. Folio. Sewn. Violino primo: 1f. recto title with elaborate engraved border incorporating coat of arms crowned eagles crown and floral and architectural motifs verso blank i blank 2-25 pp. Violino secondo: 1f. recto title verso blank i blank 2-21 i blank pp. Viola: 1f. recto title verso blank i blank 2-21 i blank pp. Violoncello: 1f. recto title verso blank i blank 2-21 i blank pp. Engraved throughout. Occasional fingerings in contemporary ink to first violin part. 19th century annotation: "Tenor - Fundament" and "Anton Kulhanek" to head of blank page preceding music to second violin part with hand-drawn stave and scale with note names and on the same page a small chart with note or string names and transpositions and the name "Franz Rücker." Some dynamics modified in ink in viola part transforming "f" to "sf." Somewhat worn foxed soiled and stained; spines reinforced with early dark blue paper tape; edge tears with minor loss to blank margins of first violin part; outer and lower margin of final leaf reinforced just touching staff lines. First Edition of the Prussian Quartets. Hob. III:44-49. Hoboken Catalogue Vol. 7 574. BUC p. 465. RISM H3494 two copies only in North America one in Britain and none in France or Italy. The fourth quartet in this group in F sharp minor is regarded as one of Haydn's finest. "It shows for the first time in the quartets Haydn's definite renunciation of tragic ends to sonata movements and his now typical association of the minor mode with a passionate somewhat blustering temper ending with a recapitulation in these circumstances regular in the tonic major so that everything turns out well. . In striking contrast to the happy end of the first movement the final fugue quietest and deepest of all the . instrumental fugues since Bach strikes a note so tragic that Beethoven's C sharp minor quartet is the first thing that one can connect with it." Tovey in Landon: Haydn Chronicle and Works II p. 627. Artaria [PN 109] unknown
1787réf. 40066Vienne: Artaria PN 109 1787. Folio. Sewn. Violino primo: 1f. recto title with elaborate engraved border incorporating coat of arms crowned eagles crown and floral and architectural motifs verso blank i blank 2-25 pp. Violino secondo: 1f. recto title verso blank i blank 2-21 i blank pp. Viola: 1f. recto title verso blank i blank 2-21 i blank pp. Violoncello: 1f. recto title verso blank i blank 2-21 i blank pp. Engraved throughout. Occasional fingerings in contemporary ink to first violin part. 19th century annotation: "Tenor - Fundament" and "Anton Kulhanek" to head of blank page preceding music to second violin part with hand-drawn stave and scale with note names and on the same page a small chart with note or string names and transpositions and the name "Franz Rücker." Some dynamics modified in ink in viola part transforming "f" to "sf." Somewhat worn foxed soiled and stained; spines reinforced with early dark blue paper tape; edge tears with minor loss to blank margins of first violin part; outer and lower margin of final leaf reinforced just touching staff lines. First Edition of the Prussian Quartets. Hob. III:44-49. Hoboken Catalogue Vol. 7 574. BUC p. 465. RISM H3494 two copies only in North America one in Britain and none in France or Italy. The fourth quartet in this group in F sharp minor is regarded as one of Haydn's finest. "It shows for the first time in the quartets Haydn's definite renunciation of tragic ends to sonata movements and his now typical association of the minor mode with a passionate somewhat blustering temper ending with a recapitulation in these circumstances regular in the tonic major so that everything turns out well. . In striking contrast to the happy end of the first movement the final fugue quietest and deepest of all the . instrumental fugues since Bach strikes a note so tragic that Beethoven's C sharp minor quartet is the first thing that one can connect with it." Tovey in Landon: Haydn Chronicle and Works II p. 627. Artaria [PN 109] unknown books
réf. 38986A Paris, chez Pleyel, [1800] 4 volumes in-4°, 383-325-285-273p. Reliure demi-basane pour le premier volume, cartonnages d'attente (fortement défraichis) pour les 3 derniers volumes .
1814réf. 78167Paris: De l'Imprimerie de P. Didot l'aîné 1814. Fine. De l'Imprimerie de P. Didot l'aîné Paris 1814 12.50 x 20.50 cm relié De l'Imprimerie de P. Didot l'Aîné Paris 1814 125 x 205 cm bound in calf First edition of Stendhal's very first book published under the pseudonym of Louis-Alexandre-César Bombet. Contemporary binding in half brown calf spine decorated with gilt fillets and tooling as well as a red morocco title piece. Very rare according to Clouzot De l'Imprimerie de P. Didot l'aîné unknown
