Haydn, JosephBiblio.com
rif. NOTE0598Leipzig Kistner o.J. 1895. 4°. 381; 304; 286; 265 S. priv. Lnbde. Deckel etwas fleckig Seiten teilweise leicht fleckig Kanten berieben ein Gelenk angeplatzt. Leipzig, Kistner o.J. [1895]. unknown
rif. 0917762009. 400pp with colour illustrations. Cloth ISBN: 9781874780175. Illustrates 320 works from the Khalili Collections presenting an overview of the art of the enameller over the past 300 years. Examples are taken from Europe America and the Orient and workshops such as Fabergé and Cartier. Text in English. 2009. hardcover
rif. 6319234Springer . Hardback. New. pp. 342 Springer hardcover
rif. 43100181-nnew. unknown
rif. 18465405-nnew. unknown
rif. 637445550Taylor & Francis Group . Hardback. New. pp. 184 1st Edition Taylor & Francis Group hardcover
rif. 43100181like new. unknown
rif. 63515978Taylor & Francis Group . Hardback. New. pp. 232 2nd Edition Taylor & Francis Group hardcover
1808rif. 249281808 Paris: IMBAULT (vers [1808-1809]- A PARIS chez Imbault M.d de Musique de leurs Majestes JJ. et RR. et Musicien de leur Chapelle, Rue S.t Honore N.o 125. pres celle des Poulies. Et Peristyle du Theatre de l'Opera Comique Imperial, Rue Favart N.o 461.- Folio.reliure demi basane,dos lisse orne de filets dores, titre rouge 205 p.gravées Half , , with boards -Van Hoboken III, 19-24, 37-42 ?
1854rif. YMX-1921Michel lévy Frères,libraires-éditeurs 1854,1ère édition in 12,truffée de gravures de paysages,de musiciens,peintres et sculpteurs.Relié en 1/2 maroquin marron à coins par Nardy-Mennig (chAl)
1979rif. 231656New York : Pendragon Press 1979. First Edition. Hardcover. Near fine copy in the original title-blocked pictorial cloth. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains particularly well-preserved overall; tight bright clean and strong. Series; Thematic catalogues series ; no. 4. Edition; Second facsim. edition with a new survey of Haydn's oeuvre. Physical description; xlvi 119 pages ; 32 cm. Notes; Photoreprint ed. Introductory matter in English and German; the catalogs in German. Includes index. Bibliography: p. xlvi. Photoreprint ed. Introductory matter in English and German; the catalogs in German. Subjects; Haydn Joseph 1732-1809 - Thematic catalogs. Haydn Joseph 1732-1809 - Catalogs. Genres; Bibliography. Index. New York : Pendragon Press hardcover
2024rif. BIBHB0168397672024. Hardcover. New. About The Book: The Dictionary of Dates was crafted with the goal of creating an immensely informative single-volume reference work comparable in importance to a London Directory for a merchant. It encompasses over fifteen thousand alphabetically arranged articles sourcing information from respected historians and annalists thereby eliminating the need to navigate extensive volumes for specific historical details. This work's intrinsic utility rooted in the careful selection of materials from authoritative sources aims to cater to every individual in the British Empire regardless of their educational or professional background. Covering events from both ancient and modern kingdoms the volume offers a comprehensive overview of each country's annals. Notably the Dictionary of Dates delivers essential information on events that complement those associated with individuals. About The Author: Joseph Haydn 1788-1856 born in Lisbon Portugal was a renowned British journalist and compiler of dictionaries. He gained widespread recognition as the author of the Dictionary of Dates which underwent numerous editions starting in 1841. Additionally he was the author of the Book of Dignities first published in 1851 and later revised in its third edition in 1894. Benjamin Vincent 1818-1899 held the role of assistant secretary at the Royal Institution from 1848 to 1889 and served as the institution's librarian from 1849 to 1899. Before joining the Royal Institution Vincent garnered valuable experience as a translator and editor with the publishers Gilbert and Rivington. The Title 'Haydn's Dictionary of Dates And Universal Information Relating to all Ages and Nations written/authored/edited by Joseph Haydn Benjamin Vincent' published in the year 2024. The ISBN 9788121274845 is assigned to the Hardcover version of this title. This book has total of pp. 1503 Pages. The publisher of this title is Gyan Publishing House. This Book is in English. The subject of this book is Chronology History Dictionaries. Size of the book is 22.59 x 28.94 cms Vol: hardcover
rif. 117628Paris Chez Pleyel c. 1800. Folio. Engr. titlepage 2 blanks 2-19 engr pp.; engr. titlepage 2-13 engr. pp.; engr. titlepage 2-13 engr. pp.; engr. titlepage 2-13 engr. pp. Platenumber 305. Sewn together with:HAYDN Joseph. Trois quatuors pour deux violons alto & basse par Haydn. Opera 90. Gravés par Richomme. Paris Chez Pleyel 1799. Folio. Engr. titlepage 2 blanks 2-19 engr pp.; 2-19; 2-19; 2-19 engr. pp. Platenumber 185. Sewn together with:HAYDN Joseph. Trois quatuors pour 2 violons alto & Vlle composés par J. Haydn. Oeuvre 96me. Offenbach am Main J. André 1799. Folio. Engr. titlepage 2-19 engr pp.; engr. titlepage 2-13 engr. pp.; engr. titlepage 2-13 engr. pp.; engr. titlepage blank 3-11 engr. pp. Platenumber 1370. Contemporary calf spines with fine marbled paper boards with handwritten labels. Four volumes. Probably from the library of Niclas Holterman in Gothenburg. RISM A/I H3579 H4150 H3563.Niclas Holterman 1758-1824 was a merchant and amateur musician in Gothenburg in the late 18th century. His parents were Martin Holterman 1715-93 and Charlotta Arfwedsson 1741-1801. He participated in the musical life around Patrik Alströmer in Gothemburg and became a member of Kungl. musikaliska akademien in 1795. He had fine collections at Forssby. His books were partly donated to the Royal library by Martin v. Wahrendorff. hardcover
rif. 40144Amsterdam: A. Kuntze PN 9 1800. Folio. Disbound. 1f. recto title verso blank 1 blank 2-16 pp. Publisher's facsimile handstamp to lower outer corner of title. Moderate browning; some soiling primarily to lower outer corners; title slightly soiled and foxed. OCLC 1461784514. Worldcat one copy only at the Staatsbibliothek zu Berlin. The last of Haydn's "London" symphonies. "Haydn's London symphonies nos. 93-104 crown his career as a symphonic composer. Not only do they outdo the Paris symphonies stylistically but he produced them in person for rapturous audiences; this interaction stimulated him to ever bolder and more original conceptions. . No. 104 begins with a massive dotted motif on the 5th D-A which some commentators describe as dominating the entire symphony; the first movement is one of Haydn's freest and the finale has greater relative weight than that in any other of the London symphonies." James Webster in Grove Music Online Johann Peter Salomon a German-born violinist impresario and composer "played a leading part in English musical life not only in London but in the provinces as well. Having made his name as a brilliant violinist he made progressively fewer solo appearances and turned his attention to conducting and especially promoting concerts. He mounted subscription concerts from 1783 featuring such international artists as the soprano Mme Mara and his greatest triumph was to secure Haydn's visits to London in 1790-91 and 1794-5 for which the two sets of six 'Salomon' or 'London' symphonies h I:93-104 were written. Haydn's esteem for his impresario and orchestral leader can sometimes be seen in the symphonies for example the phrase marked 'Salomon solo ma piano' in the trio of no.97 and the florid violin part of no.103 second movement; the Concertante in B♭ h I:105 was composed for Salomon who played the solo violin part; and the six string quartets opp.71 and 74 h III:69-74 written between the two London visits in 1793 though dedicated to Count Apponyi were clearly designed for the public performances that Salomon's quartet gave in London. Salomon is also said to have had a hand in providing Haydn with the original model for the text of The Creation." Hubert Unverricht in Grove Music Online. A. Kuntze [PN 9] unknown books
1820rif. 40449Offenbach a/m: Johann André PN 1640 1820. Andre Johann Anton 1775-1842. Oblong folio. 19th century light purple cloth with titling gilt to upper within gilt-ruled borders with decorative cornerpieces gilt decorative blindstamping to lower. 1f. recto title incorporating a horticultural vignette; verso "Personen" 3-166 pp. Lithographed. Binding slightly worn rubbed and bumped; slightly shaken; upper hinge slightly split. Occasional browning. HWV II p. 59. One of Haydn's two masterful oratorios this secular work was written shortly after The Creation 1798 to a libretto by Baron Gottfried von Swieten 1733-1803 after the eponymous poem by James Thomson 1700-1748 published in 1730. The work was first performed on 24 April 1801 in a private première at the Schwarzenberg Palace in Vienna; the first public production took place on 29 May 1801. "Although the initial reception of The Seasons was favourable - Haydn wrote to Clementi that it had enjoyed 'unanimous approval' and that 'many prefer it to The Creation because of its greater variety' - critical opinion soon became mixed owing in part to its perceived 'lower' subject in part to a growing aesthetic resistance to its many pictorialisms. Haydn himself contributed to both strands of criticism: he supposedly said to Francis II 'In The Creation angels speak and tell of God but in The Seasons only Simon speaks' Dies; and he indiscreetly criticized Swieten's croaking frogs 'Frenchified trash' and the absurdity of a choral hymn to toil Fleiss. Nonetheless he maintained that it would join The Creation in assuring his lasting fame. For the publication he took the path of lesser resistance selling the rights to Breitkopf & Härtel. . Notwithstanding its less exalted subject The Seasons is compositionally more virtuoso than The Creation and offers greater variety of tone: Haydn's pastoral is one of the final glories of a tradition that is more than 'high' enough." Georg Feder and James Webster in Grove Music Online The music is "of wonderful freshness and unfailing originality." TNG Vol. 8 p. 347. Johann André [PN 1640] unknown books
rif. 40144Amsterdam: A. Kuntze PN 9 1800. Folio. Disbound. 1f. recto title verso blank 1 blank 2-16 pp. Publisher's facsimile handstamp to lower outer corner of title. Moderate browning; some soiling primarily to lower outer corners; title slightly soiled and foxed. OCLC 1461784514. Worldcat one copy only at the Staatsbibliothek zu Berlin. The last of Haydn's "London" symphonies. "Haydn's London symphonies nos. 93-104 crown his career as a symphonic composer. Not only do they outdo the Paris symphonies stylistically but he produced them in person for rapturous audiences; this interaction stimulated him to ever bolder and more original conceptions. . No. 104 begins with a massive dotted motif on the 5th D-A which some commentators describe as dominating the entire symphony; the first movement is one of Haydn's freest and the finale has greater relative weight than that in any other of the London symphonies." James Webster in Grove Music Online Johann Peter Salomon a German-born violinist impresario and composer "played a leading part in English musical life not only in London but in the provinces as well. Having made his name as a brilliant violinist he made progressively fewer solo appearances and turned his attention to conducting and especially promoting concerts. He mounted subscription concerts from 1783 featuring such international artists as the soprano Mme Mara and his greatest triumph was to secure Haydn's visits to London in 1790-91 and 1794-5 for which the two sets of six 'Salomon' or 'London' symphonies h I:93-104 were written. Haydn's esteem for his impresario and orchestral leader can sometimes be seen in the symphonies for example the phrase marked 'Salomon solo ma piano' in the trio of no.97 and the florid violin part of no.103 second movement; the Concertante in B♭ h I:105 was composed for Salomon who played the solo violin part; and the six string quartets opp.71 and 74 h III:69-74 written between the two London visits in 1793 though dedicated to Count Apponyi were clearly designed for the public performances that Salomon's quartet gave in London. Salomon is also said to have had a hand in providing Haydn with the original model for the text of The Creation." Hubert Unverricht in Grove Music Online. A. Kuntze [PN 9] unknown
1820rif. 40449Offenbach a/m: Johann André PN 1640 1820. Andre Johann Anton 1775-1842. Oblong folio. 19th century light purple cloth with titling gilt to upper within gilt-ruled borders with decorative cornerpieces gilt decorative blindstamping to lower. 1f. recto title incorporating a horticultural vignette; verso "Personen" 3-166 pp. Lithographed. Binding slightly worn rubbed and bumped; slightly shaken; upper hinge slightly split. Occasional browning. HWV II p. 59. One of Haydn's two masterful oratorios this secular work was written shortly after The Creation 1798 to a libretto by Baron Gottfried von Swieten 1733-1803 after the eponymous poem by James Thomson 1700-1748 published in 1730. The work was first performed on 24 April 1801 in a private première at the Schwarzenberg Palace in Vienna; the first public production took place on 29 May 1801. "Although the initial reception of The Seasons was favourable - Haydn wrote to Clementi that it had enjoyed 'unanimous approval' and that 'many prefer it to The Creation because of its greater variety' - critical opinion soon became mixed owing in part to its perceived 'lower' subject in part to a growing aesthetic resistance to its many pictorialisms. Haydn himself contributed to both strands of criticism: he supposedly said to Francis II 'In The Creation angels speak and tell of God but in The Seasons only Simon speaks' Dies; and he indiscreetly criticized Swieten's croaking frogs 'Frenchified trash' and the absurdity of a choral hymn to toil Fleiss. Nonetheless he maintained that it would join The Creation in assuring his lasting fame. For the publication he took the path of lesser resistance selling the rights to Breitkopf & Härtel. . Notwithstanding its less exalted subject The Seasons is compositionally more virtuoso than The Creation and offers greater variety of tone: Haydn's pastoral is one of the final glories of a tradition that is more than 'high' enough." Georg Feder and James Webster in Grove Music Online The music is "of wonderful freshness and unfailing originality." TNG Vol. 8 p. 347. Johann André [PN 1640] unknown
2022rif. x-1032036869Routledge 2022. Hardcover. New. 248 pages. 9.19x6.13x0.71 inches. Routledge hardcover
2024rif. Raj-97881212748452024. New. English unknown
2024rif. Raj-97881212748452024. New. English unknown
rif. 92547Stockholm Kongl. Privilegierade Not-Tryckeriet ca. 1805. Tvär 8:o. Grav. titel 2-35 grav. s.; grav. titel 2-57 grav. s.; grav. titel 2-60 grav. s. Första häftet med fuktrand i nederkant de första fyra bladen och emellanåt skuren nära ram i överkant enstaka småfläckar. Något nött samtida hfrbd lätt guldornerad rygg. Ur Augusta Löwenhjelms bibliotek med hennes namnteckning. Hoboken II s. 41. Joseph Haydns oratorium Skapelsen ”Die Schöpfung” komponerades åren 1796-98. Den första tryckta utgåvan utkom i Wien år 1800 liksom det första klaverutdraget. Snabbt kom många nya upplagor bl.a. denna på Olof Åhlströms förlag.Proveniensen är sannolikt Augusta Löwenhielm född von Fersen 1754-1846 som var hovdam och känd som en av ”de tre gracerna” vid det gustavianska hovet. Hon gifte sig med Fredrik Adolf Löwenhielm och var mor till diplomaten Gustaf Löwenhielm. Hon hade under en period en relation med hertig Carl blivande Karl XIII och eventuellt en son med honom. unknown
2021rif. x-1526460297Sage Pubns Ltd 2021. Hardcover. New. 337 pages. 9.75x7.00x1.00 inches. Sage Pubns Ltd hardcover
1995rif. BN552307Köln : Könemann 1995. 1995. Joseph Haydn : Sämtliche Klavierwerke - Sonaten I-III Klavierstücke 4 Bände komplett. Joseph Haydn : Sämtliche Klavierwerke - Sonaten I-III Klavierstücke 4 Bände komplett. Joseph Haydn Köln : Könemann unknown
rif. 7480A Paris, chez Madame Duhan, sans date. [1801]. 32,5 x 26,5 cm, 311 pp. Relié demi veau vert à coins, pièce de titre rouge. Reliure usée coiffe supérieure absente avec manques au dos.
rif. 7480A Paris, chez Madame Duhan, sans date. [1801]. 32,5 x 26,5 cm, 311 pp. Relié demi veau vert à coins, pièce de titre rouge. Reliure usée coiffe supérieure absente avec manques au dos.
