1 736 résultats
réf. 41685Large oblong quarto 241 x 309 mm. Notated in dark brown ink on the verso of the second leaf of a bifolium i.e. page 4 on 10-stave rastrum-ruled paper of British manufacture. Watermark dated 1794. Late spring or early summer 1795 see H.C. Robbins Landon: Haydn Chronicle and Works Volume III p. 495. With pencilled note in another hand to first page: "Haydn autograph notes of the 12 English Symphonies. Haydn misquotes the 2nd." Very slightly worn browned and soiled; minor foxing and very short splits to central fold; vertical crease to center of bifolium; lower edge with several miniscule tears. In addition to noting the musical incipits which comprise 25 measures spread out over 4 staves Haydn identifies the key time signature and year in which each symphony was first performed in noting the performance date of Symphony 97 however Haydn makes an error and cites 1791 instead of 1792. The sketch for the piano trio Hob. XV:25 is notated 5 staves below the symphonic incipits and consists of 9 measures of melodic material for the famous third movement. Provenance Leo Liepmannssohn auction catalogue Berlin 1907 lot 91. The Westley Manning Collection Sotheby's London 12 October 1954 lot 207. The London Symphonies were commissioned by the London impresario and violinist Johann Peter Salomon 1745-1815 and composed over the period 1791-95. Salomon was responsible for bringing Haydn to London where he became immensely popular largely through performances of his music at Salomon's concerts. "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. . The last six London symphonies are even more brilliant than the first six. . Haydn's determination to conquer new territory with each work is palpable." James Webster in Grove Music Online "The finale of Hob. XV:25 is the famous rondo "in the Gypsies Style." It seems that a composer's most popular works if not spurious are at least unusual manifestations of his style and this rondo fits this characterization. . Even though this finale was best known during the eighteenth century as a separate piece in many different settings its impact is best appreciated within the context of this keyboard trio cycle for the Andante and Poco Adagio the first and second movements hardly prepare one for its burst of energy." A. Peter Brown: Joseph Haydn's Keyboard Music Sources and Styles p. 377. ". the G major Trio 39 turned out to be Haydn's most popular piano piece because of the 'Gypsy Rondo' Finale. . It became an enormous favourite first in England and immediately afterwards on the Continent." Robbins Landon III pp. 431-432. A unique and interesting manuscript being a virtual catalogue of all the London Symphonies considered the crowning achievement of the composer's symphonic career and including music from the famous Gypsy Rondo some of Haydn's best music from his important London period. unknown books
1802réf. 41312London: Printed & Sold by Preston No. 97 Strand. Sold also by the Proprietor G. Thomson York Place Edinburgh 1802. 3 volumes. Folio. Contemporary plain mid-purple wrappers. Sewn. Vol. 2: 1f. recto title verso blank 17-32 pp. Watermark dated 1803 Vol. 3: 1f. recto title verso blank 33-48 pp. Watermark dated 1802 Vol. 4: 1f. recto title verso blank 49-64 pp. Watermark dated 1802 Price given as "3 Shs." With "Neele sculp. Strand" to foot of titles. Title to vol. 2 signed "Go. Thomson" vols. 3 and 4 signed with his initials. First Edition. Rare. Hopkinson and Oldman p. 23. Together with: Violoncello Accompaniment To the Selected Collection of Original Scotish Airs for the Voice . In three Volumes !4. London . Edinburgh: Preston . G. Thomson Vols. 3 and 4. 2 volumes. Folio. Contemporary plain mid-purple wrappers. Sewn. Vol. 3: 1f. recto title verso blank 21-30 pp. Watermark dated 1802. Vol. 4: 1f. recto title verso blank 31-40 pp. Watermark dated 1802. Price given as "3 Shs." "Neele sc. Strand" to foot of titles. Titles to each volume initialed by Thomson. First Edition. Rare. Hopkinson and Oldman p. 23. Together with: Violin Accompaniment by Pleyel To the first Set of Scotish! Songs. Folio. Contemporary plain mid-purple wrappers. Sewn. 8 pp. No title page present possibly not issued with such. Hoboken XXXIa. RISM H2735-37 A fifth volume of songs in the series with music by Beethoven was issued in 1818. The accompanying instrumental parts to the Scottish Songs are very rare. "It is . impossible to speak with assurance in treating of these part books. They are exceedingly rare and we have not found any that can be associated with any volume or edition later than 1818." Hopkinson and Oldman; Thomson's Collections of National Song with special reference to the contributions of Haydn and Beethoven p. 11. Printed & Sold by Preston, No. 97 Strand. Sold also by the Proprietor G. Thomson, York Place, Edinburgh unknown books
1818réf. 376587Boston: Printed by Thomas Badger Jr. 1818. First American edition. Title verso blank Advertisement from American publishers with subscriber's list on verso pp. 7-169 2 blank 1 Index pp. 4to. Old half sheep over marbled boards with the 1827 signature of Emma L. name illegible on upper cover and title written in ink very rubbed free endpaper removed signatures of Charles Spencer and William Deming and William Deming Jr of Litchfield Ct on title and endpapers some pencilled notations in margins offsetting some leaves torn in gutter generally affecting margins only. A very good copy in open-faced brown cloth case. First American edition. Title verso blank Advertisement from American publishers with subscriber's list on verso pp. 7-169 2 blank 1 Index pp. 4to. Printed by Thomas Badger Jr. unknown books
réf. 4156120th century. Haydn is seated turned quarter left and holding a folio volume presumably a volume of his music. 760 x 610 mm 30" 24"; overall size 900 x 745 mm 35.5" x 39.5". Slight surface wear. In very good condition overall. The original is held at the Royal College of Music in London. unknown books
1962réf. 172561Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1962. Seven vintage reference photographs from the 1962 film. Two photographs with a mimeo snipe printed onto the verso. Two photographs with Metro-Goldwyn-Mayer snipes affixed to the verso one with cropping annotations. All photos with one provenance stamp on the verso. Based on the 1932 novel of the same name by Charles Nordhoff and James Norman Hall. A sadistic Captain abuses his seamen on their journey to Tahiti until they mutiny putting the Captain on a small boat in the ocean. Shot on location in French Polynesia Hawaii California and the Pacific Ocean. 8 x 10 inches. Very Good plus. Metro-Goldwyn-Mayer [MGM] unknown books
1951réf. 164235Culver City CA: Walt Disney Productions / RKO Radio Pictures 1951. Two vintage studio still photographs from the 1951 film. Annotations in manuscript pencil and provenance stamp on the versos. Based on both "Alice's Adventures in Wonderland" 1865 and "Through the Looking Glass" 1871 by Lewis Carroll. Disney's thirteenth animated film a box-office disappointment upon release which gained popularity and success in subsequent years particularly on television throughout the 1960s. 10 x 8 inches. Very Good plus lightly faded. Walt Disney Productions / RKO Radio Pictures unknown books
1874réf. 40475Offenbach s/M: Jean André PN 1216 1874. Folio. Unbound as issued. Violin I: i title printed within ruled border with decorative cornerpieces 2-7 i blank pp. Violin I: 5 i blank pp. Viola I: i blank 2-7 i blank pp. Viola II: i blank 2-6 pp. Violoncello: i blank 2-5 i blank pp. Engraved throughout. Slightly worn and soiled especially at edges. Reprint of the edition first published in 1799. HWV Vol. I p. 336. See RISM H3339. Jean André [PN 1216] unknown books
1800réf. 40127Vienna: The Composer 1800. Folio. Contemporary quarter dark tan mottled calf with ivory vellum-edged marbled boards titling gilt to spine. 1f. recto title verso blank 4ff. subscribers list 303 i blank pp. Text in German and English. Title and music engraved list of subscribers typeset. With Haydn's small circular monogrammatic handstamp "JH" to foot of title. Binding worn rubbed and bumped; minor loss to head and tail of spine. Occasional small stains and moderate browning; some signatures partially split at lower portion. In very good internal condition overall. First Edition. HWV Vol. II p. 36. Hirsch IV 799. Leipzig catalogue p. 19. Vecsey 303. Eitner V p. 66. BUC p. 456. RISM H2521. The Creation to a libretto by Gottfried von Swieten was first performed at the Palais Schwarzenberg in Vienna on 29 and 30 April 1798; its first public performance took place on 19 March of the following year at the Burghteater in Vienna. "There is hardly any doubt in the mind of the average music-lover that Haydn's Oratorio The Creation is tutto sommato his greatest single accomplishment and certainly ranks as one of the greatest products of any eighteenth-century mind. It occupies a central position in choral literature and its composition and first performances were the dominant features of Haydn's life in the late 1790s." Robbins Landon: Haydn Chronicle and Works Vol. IV: Haydn The Years of 'The Creation' 1796-1800 p. 12. Copies of the first edition of this monumental work containing the subscribers list are very scarce to the market. [The Composer] unknown books
1810réf. 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
1802réf. 40133Leipzig: Breitkopf & Haertel 1802. Folio. Contemporary full dark brown suede with tooling in black to outer edges of boards. 1f. recto title with elaborate vignette engraved by W. Böhm after G.V. Kiminger incorporating allegories of the seasons floating on a bed of clouds with lyre and six-pointed stars verso blank 1f. recto secondary title "Erste Abtheilung" verso "Personen" 251 i blank. Typeset throughout. With occasional indications of instrumentation in pencil. R. Cocks & Co. handstamp to foot of secondary title. Binding worn rubbed and bumped with minor loss to lower outer corner of upper board and spine; upper partially detached. Some wear soiling staining foxing and browning; occasional minor loss to blank lower margins; worming to blank inner margin of first five leaves. First Edition issue with parallel text in German and English. Hoboken Katalog Vol. 9 1411. Hirsch IV 796. RISM H2542. 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 & Haertel unknown books
1824réf. 40450Offenbach: J. André PN 4768 1824. Oblong folio. Maroon leather-backed cloth boards with decorative cut paper label titled in manuscript in German to upper. 1f. recto title verso blank 1f. "Notice for the Singers" verso blank 3-115 i blank pp. Text in English and German. Lithographed. Slightly browned and foxed slightly heavier to first and last leaves; title and final leaf reinforced at inner margin with archival tape final leaf with additional tape to upper margin of recto and outer margin of verso. Constapel p. 270. Not in Hoboken Collection. RISM H4645. "There is hardly any doubt in the mind of the average music-lover that Haydn's oratorio The Creation is tutto sommato Haydn's greatest single accomplishment and certainly ranks as one of the greatest products of any eighteenth-century mind. It occupies a central position in choral literature and its composition and first performances were the dominant features of Haydn's life in the late 1790s." Robbins Landon: Haydn Chronicle and Works Vol. IV: Haydn: The Years of 'The Creation' 1796-1800 p. 12. J. André [PN 4768] unknown books
1802réf. 40453Leipzig: Breitkopf & Härtel 1802. Oblong quarto. Half green cloth with modern marbled boards decorative cut paper label with manuscript titling to upper. 174 pp. Typeset. Text in German and French. With first part of publisher's catalogue to foot of final page of music. With "Haydn's J.Z." printed to lower margin of some pages. Light uniform browning heavier to some leaves; some minor foxing and staining; very slightly trimmed at upper and lower margins not affecting text or notation but very occasionally just touching or cropping pagination. Somewhat tightly bound occasionally just slightly affecting ease of legibility at extreme inner margins. Lacking title leaf and one leaf containing continuation of publisher's catalogue at conclusion. HWV II p. 59. Hoboken Collection 9 1419. RISM H4691. 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 & Härtel] unknown books
1802réf. 40481Leipzig: Breitkopf & Hartel 1802. Oblong folio. Original publisher's orange decorative printed wrappers with "Les Saisons par J. Haydn double rule Die Jahreszeiten von J. Haydn" within thick decorative rule to upper. 1f. recto title with engraved vignette by F. W. Nettling after Schubert 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. The title-page vignette depicts an allegory of the seasons with two women decorating a statue with flowers and another supporting a hunched old man who carrying a walking stick. Contemporary signature to corner of upper wrapper. Wrappers somewhat worn and rubbed; small tears to upper and spine with minor loss. Light to moderate foxing; several leaves soiled at edges. First Edition later issue. HWV II p. 59. Hoboken Catalogue Vol. 9 1419 variant. 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
1801réf. 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
1812réf. 39523Milano: Candido Buccinelli . contrada di s. Margherita num. 1118 1812. Octavo. Dark blue calf-backed marbled boards spine in decorative compartments gilt titling gilt marbled endpapers. 1f. recto title verso publisher's note v-viii 298 i errata ii "Contorni delle Medaglie" i blank pp. First Edition of one of the first biographical accounts of Haydn preceded only by the far less important biographical pieces by Framery and Le Breton. Wolffheim II 523. The present work was translated into English in 1839 as The Life of Haydn in Letters. Carpani was an Italian librettist critic and poet. "Among various writings two books are particularly important: Le Haydine . and Le Rossininane ossia lettere musico-teatrali. . The former was plagiarized by Stendhal and this created a lively controversy. These books show that Carpani was very knowledgeable about all contemporary music and an astute judge of the renewal movement in the early 19th century. He was in touch with all the major composers of his period and accompanied Rossini on his celebrated visit to Beethoven in 1822." TNG Vol. 3 p. 818. Bound with: Majer Andrea 1765-1837. Discorse sulla Origine Progressi e Stato Attuale della Musica Italiana. Padova: Minerva 1821. 1f. recto title verso quotation from Quintil 3-173 i "Avvertimento" 1f. recto "Indice" verso colophon "Della Nuova Società Tipografica in Ditta N.Z. Bettoni e Compagni 1821". First Edition. OCLC copies in France and Italy only. With the fine engraved half-length frontispiece portrait of Haydn by J. Neidl after Zitterer often lacking. Binding slightly worn rubbed and bumped. Some minor wear and foxing but in very good condition overall. Candido Buccinelli ... contrada di s. Margherita num. 1118 unknown books
1909réf. 37397Leipzig: Breitkopf & Härtel 1909. Softcover. Very Good. Octavo. Wrappers. 64 pp. With folding plates. Breitkopf & Härtel unknown books
1959réf. 37435Zürich: Amalthea 1959. Hardcover. Very Good. Small octavo. Boards. 577 pp. With musical examples and illustrations. In dustjacket. Amalthea hardcover books
1902réf. 37485New York: E. P. Dutton 1902. Hardcover. Very Good. Octavo. Boards. xii 231 pp. Upper hinge partially split. Slightly worn. E. P. Dutton hardcover books
réf. 36499Large octavo. Original publisher's wrappers with portrait of Haydn to upper. 56 pp. Illustrated. Wrappers slightly worn. Upper outer corners creased. unknown books
1982réf. 36844New York: Pendragon 1982. Hardcover. Very Good. Octavo. Full dark blue cloth with titling gilt to upper and spine. xvii 100 pp. Pendragon hardcover books
1960réf. 33852New York: Grove Press 1960. Small octavo. Wrappers. 191 pp. Grove Press unknown books
1922réf. 33854Zurich: Amalthea 1922. Octavo. Wrappers. 266 pp. Binding slightly worn; plastic tape to spine. Browned. Amalthea unknown books
1951réf. 33855London: Bernoulli 1951. Octavo. Cloth. 196 pp. In dustjacket. Bernoulli unknown books
1981réf. 34680Bloomington: Indiana University Press 1981. Hardcover. Very Good. Octavo. Full olive green cloth with titling gilt to upper and spine. 219 pp. With musical examples. Indiana University Press hardcover books
1968réf. 34861Madison: University of Wisconsin Press 1968. Paperback. Very Good. Octavo. Pictorial wrappers. 275 pp. Spine slightly worn. University of Wisconsin Press paperback books
