1810rif. 40444Wien: Camesinaische Buchhandlung 1810. Octavo. Full 19th century dark red calf with gilt rules and blindstamping to boards titling gilt to upper dark red doublure endpapers. Preserved in a modern quarter brown mid-tan leather clamshell box with dark ivory linen boards titling gilt to spine. 1f. fine engraved frontispiece portrait of Haydn by D. Weiss after Ihrwack's medallion 1f. recto title verso 3-line verse by D. Tomas de Yriarte 1f. recto dedication verso blank v-x 11-220 pp. 1 folding plate of engraved music. Binding slightly worn rubbed and bumped. Minor to moderate foxing throughout; small tear to lower outer corner of pp. 157/158 with no loss of text; frontispiece loose. First Edition. Catalogue of the Printed Books in the British Museum. Accessions Third Series . Books in the Hirsch Library. P. 118. Eitner III p. 197. Dies was a German writer composer and painter. "Esterhazy sponsored the publication of his Biographische Nachrichten von Joseph Haydn . for which Dies collected material from 30 conversations with the aged composer. Because of its factual tone and the typically Classical standpoint of its aesthetic judgments this work occupies a significant position in early Haydn literature alongside Griesinger and Carpani. . Many Haydn documents appeared for the first time in the Nachtrichten and it contains a 'list of all the works Haydn composed in London' taken from the lost London notebook." Horst Seeger in Grove Music Online An early and important biographical account of Haydn. Camesinaische Buchhandlung unknown books
1810rif. 40444Wien: Camesinaische Buchhandlung 1810. Octavo. Full 19th century dark red calf with gilt rules and blindstamping to boards titling gilt to upper dark red doublure endpapers. Preserved in a modern quarter brown mid-tan leather clamshell box with dark ivory linen boards titling gilt to spine. 1f. fine engraved frontispiece portrait of Haydn by D. Weiss after Ihrwack's medallion 1f. recto title verso 3-line verse by D. Tomas de Yriarte 1f. recto dedication verso blank v-x 11-220 pp. 1 folding plate of engraved music. Binding slightly worn rubbed and bumped. Minor to moderate foxing throughout; small tear to lower outer corner of pp. 157/158 with no loss of text; frontispiece loose. First Edition. Catalogue of the Printed Books in the British Museum. Accessions Third Series . Books in the Hirsch Library. P. 118. Eitner III p. 197. Dies was a German writer composer and painter. "Esterhazy sponsored the publication of his Biographische Nachrichten von Joseph Haydn . for which Dies collected material from 30 conversations with the aged composer. Because of its factual tone and the typically Classical standpoint of its aesthetic judgments this work occupies a significant position in early Haydn literature alongside Griesinger and Carpani. . Many Haydn documents appeared for the first time in the Nachtrichten and it contains a 'list of all the works Haydn composed in London' taken from the lost London notebook." Horst Seeger in Grove Music Online An early and important biographical account of Haydn. Camesinaische Buchhandlung unknown
1790rif. 302878Vienna: Artaria et Comp 1790. Engraved music plate number 77 in 4 parts engraved title on front wrapper. Folio. Uncut and loose as issued. Front wrapper detached and worn lacking back wrapper stain to first and second violin parts foxing to final leaf of cello part. Engraved music plate number 77 in 4 parts engraved title on front wrapper. Folio. Franz Joseph Haydn 1732-1809 was born in Austria. Known as the 'father of the symphony' adnd 'father of the quartet' his work was eclipsed by that of Beethoven until the late twentieth century when much of his music finally became available in modern editions. It has been argued that while he did not 'invent' the quartet he was "certainly the first composer to appreciate their potential . and Haydn projected an unequalled mastery of the language of music." Oxford Dictionary of National Biography These string quartets in A major F minor and B-flat major are written for two violins viola and cello and were written in 1788 for Haydn's violinist friend Johann Tost. Hoboken III:60-62 Artaria et Comp unknown books
1790rif. 302878Vienna: Artaria et Comp 1790. Engraved music plate number 77 in 4 parts engraved title on front wrapper. Folio. Uncut and loose as issued. Front wrapper detached and worn lacking back wrapper stain to first and second violin parts foxing to final leaf of cello part. Engraved music plate number 77 in 4 parts engraved title on front wrapper. Folio. Franz Joseph Haydn 1732-1809 was born in Austria. Known as the 'father of the symphony' adnd 'father of the quartet' his work was eclipsed by that of Beethoven until the late twentieth century when much of his music finally became available in modern editions. It has been argued that while he did not 'invent' the quartet he was "certainly the first composer to appreciate their potential . and Haydn projected an unequalled mastery of the language of music." Oxford Dictionary of National Biography These string quartets in A major F minor and B-flat major are written for two violins viola and cello and were written in 1788 for Haydn's violinist friend Johann Tost. Hoboken III:60-62 Artaria et Comp unknown
1841rif. 1029J22London: Edward Moxon 1841. First edition. Cloth. Very Good. 9" by 6". None. A scarce first edition of this extensive history of the world by British journalist Joseph Timothy Hind rarely seen on the market and in its original cloth binding. The first edition of this work. Exceptionally scarce on the market expecially in the original cloth binding. Haydn's ambitious Dictionary of Dates is renowned as the most accuate informative and well-organised work of its time and remains. Bookplate of Henry Charles Blaksley to the front pastedown. Original cloth binding. Externally very smart. Sunning to spine with more gentle sunning to the board perimeters. Bumping to head and tail of spine. Slight marking to boards. Bookplate to front pastedown. Light creasing to front end paper. Internally generally firmly bound occasional starting to hinges. Pages bright and clean. Marginal age toning. Very Good Edward Moxon hardcover
2006rif. __0435909088Heinemann 2006. Mixed media product. New. 15.51x10.47x5.28 inches. Heinemann unknown
1802rif. 40447Leipzig: Breitkopf und Härtel 1802. Folio. Modern half mid-brown calf with ivory linen boards with leather title label gilt to upper spine with titling gilt. 1 title 2-42 music ii text pp. Typeset throughout. With text in Latin and German. With occasional early accidentals added in early manuscript. Some browning and foxing; minor staining. First Edition. Hoboken Collection Vol. 9 1478. RISM H2517. "The late Te Deum 'for the empress' . for chorus and very large orchestra is an ABA construction of great power and terseness; it whirls through the very long text in little more than eight minutes while still finding time for a double fugue and an immense climax at the end." Georg Feder and James Webster in Grove Music Online The autograph of the present work has been lost. Breitkopf und Härtel unknown books
1802rif. 40447Leipzig: Breitkopf und Härtel 1802. Folio. Modern half mid-brown calf with ivory linen boards with leather title label gilt to upper spine with titling gilt. 1 title 2-42 music ii text pp. Typeset throughout. With text in Latin and German. With occasional early accidentals added in early manuscript. Some browning and foxing; minor staining. First Edition. Hoboken Collection Vol. 9 1478. RISM H2517. "The late Te Deum 'for the empress' . for chorus and very large orchestra is an ABA construction of great power and terseness; it whirls through the very long text in little more than eight minutes while still finding time for a double fugue and an immense climax at the end." Georg Feder and James Webster in Grove Music Online The autograph of the present work has been lost. Breitkopf und Härtel unknown
1800rif. 8581Paris Pleyel 1800 plein veau moucheté, dos lisse à décor floral, motif central sur les plats avec effet de teinte plus foncé, guirlande, tranche dorée. in-4 oblong, titre, 118pp., [Cot. 358]
1801rif. 40448Leipzig: Breitkopf & Hartel 1801. Oblong folio. Orange paper boards with original publisher's printed wrappers with title within decorative borders laid down small early vellum label with "118" to spine. 1f. recto title with engraved vignette by F.W. Nettling after Schubert depicting an allegory of the seasons verso blank 176 pp. with publisher's catalogue to lower portion of p. 174 and pp. 175-176. Text in German and French. Typeset throughout. Numbering and occasional markings in pencil. Wrappers worn and abraded part of lower lacking; small early manuscript annotations to lower outer corner of upper with portion cancelled. Minor to moderate foxing; minor staining. First Edition. HWV II p. 59. Hoboken Catalogue Vol. 9 1419. RISM H4690. 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. Breitkopf & Hartel unknown books
1823rif. 40446Leipsic: Breitkopf et Härtel PN 3454 1823. Oblong folio. Newly bound in quarter dark blue morocco with marbled boards title label gilt to spine. 1f. recto lithographic title verso blank 96 pp. Typeset throughout. Some minor foxing. An attractive copy. First Edition of the Mariazeller Messe. Hoboken Collection Vol. 9 1432 plate 9. RISM H2503 "Vocal music constitutes fully half of Haydn's output. Both his first and last completed compositions were mass settings and he cultivated sacred vocal music extensively throughout his career except during the later 1780s when elaborate church music was inhibited by the Josephinian reforms and the first half of the 1790s in London . "The 'Mariazellermesse' in C 1782 resembles the Missa Cellensis in key scoring and purpose although it is more compact and more closely allied with sonata style." James Webster and Georg Feder in Grove Music Online. Breitkopf et Härtel [PN 3454] unknown books
1801rif. 40448Leipzig: Breitkopf & Hartel 1801. Oblong folio. Orange paper boards with original publisher's printed wrappers with title within decorative borders laid down small early vellum label with "118" to spine. 1f. recto title with engraved vignette by F.W. Nettling after Schubert depicting an allegory of the seasons verso blank 176 pp. with publisher's catalogue to lower portion of p. 174 and pp. 175-176. Text in German and French. Typeset throughout. Numbering and occasional markings in pencil. Wrappers worn and abraded part of lower lacking; small early manuscript annotations to lower outer corner of upper with portion cancelled. Minor to moderate foxing; minor staining. First Edition. HWV II p. 59. Hoboken Catalogue Vol. 9 1419. RISM H4690. 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. Breitkopf & Hartel unknown
1823rif. 40446Leipsic: Breitkopf et Härtel PN 3454 1823. Oblong folio. Newly bound in quarter dark blue morocco with marbled boards title label gilt to spine. 1f. recto lithographic title verso blank 96 pp. Typeset throughout. Some minor foxing. An attractive copy. First Edition of the Mariazeller Messe. Hoboken Collection Vol. 9 1432 plate 9. RISM H2503 "Vocal music constitutes fully half of Haydn's output. Both his first and last completed compositions were mass settings and he cultivated sacred vocal music extensively throughout his career except during the later 1780s when elaborate church music was inhibited by the Josephinian reforms and the first half of the 1790s in London . "The 'Mariazellermesse' in C 1782 resembles the Missa Cellensis in key scoring and purpose although it is more compact and more closely allied with sonata style." James Webster and Georg Feder in Grove Music Online. Breitkopf et Härtel [PN 3454] unknown
2015rif. SBBIH-AQNZGU7TFJS6Spartan Press 2015. 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. Spartan Press unknown
rif. SBBIH-TEPVEOC7P25YGinn & Company Aylesbury Bucks 1965. paperback. Acceptable. Please see the condition note after this for details if this is missing please consider Acceptable to mean poor quality that could include major staining water damage writing missing dustjacket etc etc. 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. Ginn & Company, Aylesbury Bucks paperback
rif. SBBI-mon0000150117Novello London. sheet_music. Acceptable. Writing/highlighting/drawing/colouring present inside or on cover. Please see the condition note after this for details if this is missing please consider Acceptable to mean poor quality that could include major staining water damage writing missing dustjacket etc etc. 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. Novello, London unknown
rif. SBBI-mon0000149358Novello London. sheet_music. 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. Novello, London unknown
rif. 114439Leipzig Breitkopf und Härtel 1801. Oblong folio. Lith. title blank 176 pp with printed music pp. 174-176 with Verlagsverzeichniss. Stain on title and first 40 pages foxing. Contemporary somewhat worn half calf spine with raised bands marbled but faded board papers the front with handwritten label stain on front board. Hoboken 1417 XXI:3. The first printed edition of Die Jahreszeiten Les Saisons The Seasons published the same year as the first performance and shortly before it was published in Mus. Magazin Hoboken. This edition is for piano and vocals with the text in German and English. The first partitur and a similar piano score as this with the text in German and French were published by Breitkopf & Härtel in 1802. The title vignette is signed by Schubert del. and F. W. Nettling sc. The last 3 pages contain a list of published works from Breitkopf und Härtel.The Seasons and The Creation were the two great oratoriums of Haydn’s later years. They both have their texts from English poets. The Seasons is by James Thompson and The Creation is based on Milton’s Paradise Lost. Haydn’s friend Baron Gottfried van Swieten translated both poems for the German librettos. hardcover
1802rif. 40095Leipsic: Breitkopf et Härtel 1802. Oblong folio. Nineteenth-century marbled boards rebacked and recornered in dark olive half calf spine in gilt-ruled compartments with dark red title label gilt. i title 2-114 pp. Typeset throughout. Dark red leather title label to front pastedown removed but with lettering "W. Russell 1806" visible in impression to free front endpaper. "Charles Beevor 41 Upper Harley St." in nineteenth century black into to upper outer corner of free front endpaper; additional bibliographical notes in blue ink. Binding worn and rubbed. Intermittent moderate foxing and browning. First Edition of the "Missa in tempore belli" one of six masses written by order of Prince Esterházy between 1796 and 1802. Hoboken Collection Vol. 9 1433. RISM H2498. "Vocal music constitutes fully half of Haydn's output. Both his first and last completed compositions were mass settings and he cultivated sacred vocal music extensively throughout his career except during the later 1780s when elaborate church music was inhibited by the Josephinian reforms and the first half of the 1790s in London ." "Notwithstanding their semi-private function for the Esterházy court Haydn's six late masses are consummate masterworks that exhibit no trace of provinciality or the 'occasional'. He exploits the complementary functions of soloists and chorus with inexhaustible freedom and telling effect; owing to his London experience the orchestra plays a newly prominent role. Four are in B perhaps because Bb was Haydn's usual highest pitch for choral sopranos he employed the same key for the final choruses of Parts 2-3 of The Creation and Part 1 of The Seasons. The other two are the only ones for which he provided descriptive titles: the Missa in tempore belli 'Mass in Time of War' 1796 in C features the bright trumpet-dominated sound typical of masses in this key; the Missa in angustiis 'Mass in times of Distress' later nicknamed 'Nelson Mass' 1798 in D minor and major is scored for a dark orchestra comprising only trumpets and timpani strings and organ. Both invoke the travails of the Napoleonic wars. The Agnus Dei of the former includes threatening timpani motifs and harsh trumpet fanfares while the Benedictus of the latter culminates in another harsh fanfare passage 'out of context'; both influenced the Agnus Dei in Beethoven's Missa solemnis. On the other hand except for the sombre Kyrie and Benedictus of the 'Nelson Mass' both are otherwise firmly optimistic; the ending of the latter is downright jaunty." James Webster in Grove Music Online. Breitkopf et Härtel unknown books
1802rif. 40095Leipsic: Breitkopf et Härtel 1802. Oblong folio. Nineteenth-century marbled boards rebacked and recornered in dark olive half calf spine in gilt-ruled compartments with dark red title label gilt. i title 2-114 pp. Typeset throughout. Dark red leather title label to front pastedown removed but with lettering "W. Russell 1806" visible in impression to free front endpaper. "Charles Beevor 41 Upper Harley St." in nineteenth century black into to upper outer corner of free front endpaper; additional bibliographical notes in blue ink. Binding worn and rubbed. Intermittent moderate foxing and browning. First Edition of the "Missa in tempore belli" one of six masses written by order of Prince Esterházy between 1796 and 1802. Hoboken Collection Vol. 9 1433. RISM H2498. "Vocal music constitutes fully half of Haydn's output. Both his first and last completed compositions were mass settings and he cultivated sacred vocal music extensively throughout his career except during the later 1780s when elaborate church music was inhibited by the Josephinian reforms and the first half of the 1790s in London ." "Notwithstanding their semi-private function for the Esterházy court Haydn's six late masses are consummate masterworks that exhibit no trace of provinciality or the 'occasional'. He exploits the complementary functions of soloists and chorus with inexhaustible freedom and telling effect; owing to his London experience the orchestra plays a newly prominent role. Four are in B perhaps because Bb was Haydn's usual highest pitch for choral sopranos he employed the same key for the final choruses of Parts 2-3 of The Creation and Part 1 of The Seasons. The other two are the only ones for which he provided descriptive titles: the Missa in tempore belli 'Mass in Time of War' 1796 in C features the bright trumpet-dominated sound typical of masses in this key; the Missa in angustiis 'Mass in times of Distress' later nicknamed 'Nelson Mass' 1798 in D minor and major is scored for a dark orchestra comprising only trumpets and timpani strings and organ. Both invoke the travails of the Napoleonic wars. The Agnus Dei of the former includes threatening timpani motifs and harsh trumpet fanfares while the Benedictus of the latter culminates in another harsh fanfare passage 'out of context'; both influenced the Agnus Dei in Beethoven's Missa solemnis. On the other hand except for the sombre Kyrie and Benedictus of the 'Nelson Mass' both are otherwise firmly optimistic; the ending of the latter is downright jaunty." James Webster in Grove Music Online. Breitkopf et Härtel unknown
1809rif. 40074London: Cianchettini & Sperati 1809. 11 works bound in 2 volumes. Large octavo. 19th century half dark tan calf with marbled boards spines in decorative compartments gilt with titling gilt. Engraved throughout. Contains: 1 Symphony in E-flat major. 1f. recto title No. I verso blank 41 i blank pp. Hob. I:91. Robbins Landon p. 744. 2 Symphony in C major "London." 1f. recto title No. II verso blank 39 i blank pp. Hob. I:69. Robbins Landon p. 717. 3 Symphony in G major "Oxford." 1f. recto title No. III verso blank 48 pp. Hob. I:92. Robbins Landon p. 745. 4 Symphony in G minor "La Poule." 1f. recto title No. IV verso blank 36 pp. Hob. I:83. Robbins Landon p. 734. 5 Symphony in C major. 1f. recto title No. V verso blank 23 i blank pp. Hob. I:41. Robbins Landon p. 678. 6 Symphony in B-flat major "La Reine." 1f. recto title No. VI verso blank 37 i blank pp. Hob. I:85. Robbins Landon p. 736. 7 Symphony in D major. 1f. recto title No. VII verso blank 28 pp. Hob. I:70. Robbins Landon p. 718. 8 Symphony in F-sharp minor "Farewell." 1f. recto title . No. VIII verso blank 33 i blank pp. With note to head of first page of music: "NB: This is the Fantastical Symphony in which the Performers retire one after the other." Hob. I:45. Robbins Landon p. 686. 9 Symphony in B-flat major. 1f. recto title . No. IX verso blank 38 pp. Hob. I:66. Robbins Landon p. 714 10 Symphony in E minor "Trauer-Symphonie." 1f. recto title . No. X verso blank 33 i blank pp. Hob. I:44. Robbins Landon p. 683 11 Symphony in D major. 1f. recto title . No. XI verso blank 33 i blank pp. Hob. I:57. Robbins Landon p. 702. With early manuscript inscription "Eugene Spinney from Mrs. Huxtable Sutton Waldron Dorset June 1862" in ink to free front endpapers of both volumes. Bindings worn rubbed and bumped. Light marginal foxing. In very condition overall. "From about 1775 in some respects 1773 to 1781 Haydn again changed his orientation. Symphonies nos. 53 61-3 66-71 and 73-5 are primarily in a light even popular style only no.70 is an exception perhaps reflecting his resumption of operatic composition in 1773; indeed nos. 53 62 63 and 73 include adaptations of stage-music ." Georg Feder and James Webster in Grove Music Online The Symphony in G major Hob I:92 was performed by Haydn in 1791 at Oxford University on the occasion of his receiving an honorary doctorate. "No. 45 the Farewell Symphony . had a purpose which explains its extraordinary form. Briefly the story as found the in the authentic biographies is this: the Prince so attracted by Esterháza that splendid palace erected on a wild and remote Hungarian marsh tarried there longer and longer each year. The musicians not being allowed - with the exception of Haydn - to have their families with them were restless after a long season and naturally wished to rejoin their wives and children. Towards the end of the season in 1772 the musicians became desperate and went to their beloved Capellmeister for help. The result was the Farewell symphony in which the regular Presto finale was broken off and a long Adagio began. During the course of this movement one player after another blew out his candle and departed leaving at the end two violins presumably Tomassini and Haydn himself. As these were about to leave the Prince having grasped the idea is supposed to have said 'Well if they all leave we might as well leave too.' And the whole court departed the next day." Robbins Landon: The Symphonies of Joseph Haydn p. 338. Cianchettini & Sperati unknown books
1809rif. 40074London: Cianchettini & Sperati 1809. 11 works bound in 2 volumes. Large octavo. 19th century half dark tan calf with marbled boards spines in decorative compartments gilt with titling gilt. Engraved throughout. Contains: 1 Symphony in E-flat major. 1f. recto title No. I verso blank 41 i blank pp. Hob. I:91. Robbins Landon p. 744. 2 Symphony in C major "London." 1f. recto title No. II verso blank 39 i blank pp. Hob. I:69. Robbins Landon p. 717. 3 Symphony in G major "Oxford." 1f. recto title No. III verso blank 48 pp. Hob. I:92. Robbins Landon p. 745. 4 Symphony in G minor "La Poule." 1f. recto title No. IV verso blank 36 pp. Hob. I:83. Robbins Landon p. 734. 5 Symphony in C major. 1f. recto title No. V verso blank 23 i blank pp. Hob. I:41. Robbins Landon p. 678. 6 Symphony in B-flat major "La Reine." 1f. recto title No. VI verso blank 37 i blank pp. Hob. I:85. Robbins Landon p. 736. 7 Symphony in D major. 1f. recto title No. VII verso blank 28 pp. Hob. I:70. Robbins Landon p. 718. 8 Symphony in F-sharp minor "Farewell." 1f. recto title . No. VIII verso blank 33 i blank pp. With note to head of first page of music: "NB: This is the Fantastical Symphony in which the Performers retire one after the other." Hob. I:45. Robbins Landon p. 686. 9 Symphony in B-flat major. 1f. recto title . No. IX verso blank 38 pp. Hob. I:66. Robbins Landon p. 714 10 Symphony in E minor "Trauer-Symphonie." 1f. recto title . No. X verso blank 33 i blank pp. Hob. I:44. Robbins Landon p. 683 11 Symphony in D major. 1f. recto title . No. XI verso blank 33 i blank pp. Hob. I:57. Robbins Landon p. 702. With early manuscript inscription "Eugene Spinney from Mrs. Huxtable Sutton Waldron Dorset June 1862" in ink to free front endpapers of both volumes. Bindings worn rubbed and bumped. Light marginal foxing. In very condition overall. "From about 1775 in some respects 1773 to 1781 Haydn again changed his orientation. Symphonies nos. 53 61-3 66-71 and 73-5 are primarily in a light even popular style only no.70 is an exception perhaps reflecting his resumption of operatic composition in 1773; indeed nos. 53 62 63 and 73 include adaptations of stage-music ." Georg Feder and James Webster in Grove Music Online The Symphony in G major Hob I:92 was performed by Haydn in 1791 at Oxford University on the occasion of his receiving an honorary doctorate. "No. 45 the Farewell Symphony . had a purpose which explains its extraordinary form. Briefly the story as found the in the authentic biographies is this: the Prince so attracted by Esterháza that splendid palace erected on a wild and remote Hungarian marsh tarried there longer and longer each year. The musicians not being allowed - with the exception of Haydn - to have their families with them were restless after a long season and naturally wished to rejoin their wives and children. Towards the end of the season in 1772 the musicians became desperate and went to their beloved Capellmeister for help. The result was the Farewell symphony in which the regular Presto finale was broken off and a long Adagio began. During the course of this movement one player after another blew out his candle and departed leaving at the end two violins presumably Tomassini and Haydn himself. As these were about to leave the Prince having grasped the idea is supposed to have said 'Well if they all leave we might as well leave too.' And the whole court departed the next day." Robbins Landon: The Symphonies of Joseph Haydn p. 338. Cianchettini & Sperati unknown
rif. Z1-R-017-01923Twayne Publishers. 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. 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. Twayne Publishers unknown
rif. 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
1810rif. 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
