Liszt, FranzABAA
LISZT, FranzABAA
Complete Hungarian Rhapsodies for solo Piano
1984réf. 130088New York: Dover 1984. Softcover. Very Good. Rep. Paperback Very good in wrappers. Embossing stamp end paper. Cover rubbed. Dover unknown books
1989réf. NF3371AN ARTIST'S JOURNEY University of Chicago Press 1989 first edition fine in like dust-wrapper. Illustrated. University of Chicago Press, unknown books
1974réf. 34492Boston Toronto: Little Brown 1974. Octavo. Boards. 466 pp. Binding shaken; outer edges browned. Little, Brown unknown books
1926réf. 34884New York: Henry Holt 1926. Hardcover. Good. Octavo. Full red cloth. 299 pp. Slightly browned throughout. Henry Holt hardcover books
1967réf. 34502New York: Dover 1967. Octavo. Wrappers. 400 pp. Dover unknown books
1980réf. 35863Berlin: Nabu 1980. Paperback. Very Good. Quarto. Wrappers. 309 pp. Reprint of the original edition published in Berlin by Schuster & Loeffler 1916. Nabu paperback books
1974réf. 34142Boston: Little Brown 1974. Large octavo. 466 pp. In worn and torn dustjacket. Little, Brown unknown books
1972réf. 41599Weimar: VEB Kunstdruck Weimar 1972. Quarto. Dust jacket. 234 ii pp. photographic illustrations. VEB Kunstdruck Weimar unknown books
1970réf. 34498New York: Taplinger 1970. Octavo. Boards. 313 pp. Outer edges browned. In worn dustjacket. Taplinger unknown books
1989réf. 35092Chicago: University of Chicago Press 1989. Hardcover. Fine. Large octavo. Full black cloth. 260 pp. With occasional illustrations. In dustjacket. University of Chicago Press hardcover books
1984réf. 130088New York: Dover 1984. Softcover. Very Good. Rep. Paperback Very good in wrappers. Embossing stamp end paper. Cover rubbed. Dover unknown books
1904réf. 32061Mayence: Schott PN 13377.1 1904. Folio. Publisher's dark ivory illustrated wrappers printed in dark green. 1 title printed in green 2-9 i blank pp. 1f. advertisements. Musicseller's handstamp to blank lower margin of title. Slightly worn browned and soiled. A later edition. LW A159. Searle 160. Raabe 10/4. Number 4 from the first year of the "Années de Pèlerinage. Schott [PN 13377.1] unknown books
1981réf. 328689San Francisco: GGPA & SFGMC 1981. 20p. 8.25x10.75 inches local ads program notes staff very good program in stapled pictorial wraps. The Chorus formed in December 1978. GGPA & SFGMC unknown books
1941réf. 584001New York: G. Schirmer 1941. Softcover. Near Fine. First edition. English translation by Lorraine Noel Finley. Quarto. Two nested bifoliums making eight pages. Lyrics in French and in English. Light toning and rubbing to the exterior else near fine. For voice and piano. Plate imprint "1915 r." OCLC locates only two holdings and it appears to be equally scarce in the trade. G. Schirmer unknown books
1875réf. 31570Wien: Ant. Diabelli und Comp. Friedrich Schreiber PN F.S. 6541 1875. SCHUBERT Franz 1797-1828. Folio. 1 title 2-7 1 blank pp. Engraved. Somewhat worn and browned; slightly foxed. Re-issue from first edition plates with "F.S." preceding the plate number with "Druck von A. Eckel in Wien" to lower left of first page of music. LW A42/11. Searle 558/11. Raabe 243/11. Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. "His response to poetic imagery his conviction that purely musical images of poetic ideas are capable of projection to the listener and his belief that he could illustrate such imagery without words are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea the true symphonic poem thus had its genesis in concept and form in Liszt's adoration of Schubert." Derek Watson: Liszt p. 214. Ant. Diabelli und Comp. [Friedrich Schreiber] [PN F.S. 6541] unknown books
1855réf. 31566Paris: Benoit ainé PN B. et C.ie 51871 1855. MEYERBEER Giacomo 1791-1864. Folio. 1f. title 29 1 blank pp. Engraved. Plate numbers and imprint of Brandus from their first edition of 1850. From the collection of pianist Mario Feninger 1923-2016 with his handstamp "Ex Mario Feninger de Rogatis Libris" to foot of title. Slightly worn and browned; occasional moderate offsetting; outer leaves partially detached and frayed and torn at edges; musicseller's handstamp to foot of title. First French Edition later issue with Benoit title page. LW A165/1. Searle 414/1. Raabe 223/1. Liszt made numerous transcriptions from the operas of Meyerbeer including L'Africaine Le Prophète Les Huguenots and Robert le diable. Benoit ainé [PN B. et C.ie 5187(1)] unknown books
1887réf. 20303Boston: Oliver Ditson 1887. First US Edition. 8vo pp. 233. Engraved frontispiece portrait a very good tight copy bound in brown cloth. DeBeaufort was editor and translator of The Life and Letters of George Sand. Oliver Ditson unknown books
1861réf. 31545Leipzig: C. F. Kahnt PN 787 1861. Folio. 1f. title within decorative shield engraving 3-11 1 blank pp. Engraved. Contents: 1. Vor der Schlacht; 2. Nicht gezagt; 2. Es rufet Gott uns mahnend. Musicseller's handstamp to foot of title. Spine reinforced with tape; slightly worn and browned; corners and edges frayed; dampstaining to right margin just touching music; title soiled; offsetting to caption titles. Second Edition with German titles. LW A207. Searle 511. Raabe 202. LC Catalog 164. Liszt's transcriptions of his three works for men's chorus S. 560/4-6 originally published in 1845. C. F. Kahnt [PN 787] unknown books
1841réf. 40942Leipzig: Fred. Hofmeister PN2269 1841. Folio. Ivory wrappers with manuscript titling to upper. 1f. recto title verso blank 3-31 i blank pp. Engraved. Slightly worn browned and thumbed; small chips and tears to outer margin of title with minor loss; some upper outer corners slightly turned. Wrappers slightly worn browned and stained with small chips to outer edge and spine. Searle 412. Raab 221. Fred. Hofmeister [PN]2269] unknown books
1840réf. 31569Braunschweig: G.M. Meyer PN 361 1840. SCHUBERT Franz 1797-1828. Folio. 1 title 2-19 1 blank pp. Engraved. Contents: - Erlkönig D 328 - Sei mir gegrüsst D 741 - Du bist die Ruh D 776 - Auf dem Wasser zu singen D 774 Musicseller's handstamp to foot of title. Slightly worn; very minor soiling offsetting and foxing throughout. An early edition. LW A42. Searle 558. Raabe 243. Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. "His response to poetic imagery his conviction that purely musical images of poetic ideas are capable of projection to the listener and his belief that he could illustrate such imagery without words are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea the true symphonic poem thus had its genesis in concept and form in Liszt's adoration of Schubert." Derek Watson: Liszt p. 214. G.M. Meyer [PN 361] unknown books
1839réf. 40937Berlin: Ad. Mr. Schlesinger PN S. 2224 1839. Folio. Disbound. 1f. recto title verso blank i blank 4-13 i blank pp. Engraved. With secondary pagination to rectos in manuscript. Formerly in the collection of the Forbes Library in Northampton Massachusetts with their handstamp to upper outer corner of title and several pages. Slightly worn and browned; outer leaf separated at spine; narrow strip of early paper tape to inner margin of title. First Edition later issue. Searle 470. Raabe 134. Ad. Mr. Schlesinger [PN S. 2224] unknown books
1874réf. 41065Leipzig: Breitkopf & Härtel PN 9056 1874. Octavo. Original publisher's dark ivory wrappers. 1f. recto title verso blank 1f. recto preface in German verso preface in French 1f. recto composer's note in German on performance practice verso same note in French dated "Weimar Mars 1856" 97 i blank pp. Title preface and note lithographed; music engraved. Small B & H stamp to lower outer corner of title. With publisher's catalogue to verso of lower wrapper. Wrappers slightly worn and soiled; spine lacking. Occasional small stains; dampstaining to lower outer corners of first leaves; one signature partiallky detached. Re-issue from first edition plates. Searle 97. Raabe 414. Sonneck p. 266. Liszt was a distinguished Hungarian composer pianist conductor and writer. "Sketchbook evidence points to 1846-7 as the years when Liszt began to conceive the idea of a series of programmatic orchestral works. Of the four works he named all based on French poetry Ce qu'on entend sur la montagne and Les Préludes eventually became symphonic poems. . Liszt's concentration on the symphonic poem largely coincided with his tenure as Kapellmeister in Weimar where he had an orchestra at his disposal and provided music for performances at the Court Theatre. The Grand Duke commissioned Liszt's 'overtures' to preface specific dramas which thereby determined the subject matter of what were to become a number of his symphonic poems. Cormac F2017 argues that Liszt's approach to the overtures and their transformation into symphonic poems was influenced by his experience of an array of dramatic media opera plays melodramas tableaux vivants and by his interaction with staff and actors involved in the dramatic productions in Weimar. A New German School acolyte Felix Draeseke writing about the symphonic poems in a series of essays from the late 1850s acknowledged the influence of dramatic music especially opera on Liszt's Festklänge. Draeseke also addressed the issue that continues to interest scholars - the symphonic poems' engagement with sonata form. . Looking at the 12 Weimar symphonic poems Vande Moortele . views all but three Orpheus Héroide funèbre and Hunnenschlacht as using sonata form as one of the central principles guiding their large-scale organization. Furthermore Liszt seems to have attempted the same merging of sonata form and sonata cycle evident in the B Minor Sonata in Tasso Les préludes and Die Ideale and possibly Ce qu'on entend sur la montagne. . Some of the symphonic poems include mimetic representation of scenes and actions such as Hunnenschlacht's depiction of a battle and Prometheus's evocation of a voice followed by a storm. The inclusion of such passages drew criticism that a number of the symphonic poems seemed formless and could not be understood without access to a programme. In other symphonic poems such as Les Préludes and Orpheus Liszt responded to a philosophical programme without compromising musical logic. In these cases critics recognized Liszt the 'tone poet' who could capture a poetic stimulus in an expressive evocative musical flow unified by a single theme that underwent transformations. In general Liszt's sumptuous orchestral colorings were the dominant focus of critics' positive reception of his symphonic poems and programme symphonies." Dolores Pesce Maria Eckhardt and Rena Charnin Mueller in Grove Music Online. Breitkopf & Härtel [PN 9056] unknown books
1866réf. 31560Paris: S. Richault PN 15383 R 1866. BERLIOZ Hector 1803-1869. Folio. Original publisher's light green printed wrappers. 1f. title 7 1 blank pp. Engraved. From the collection of pianist Mario Feninger 1923-2016 with his small handstamp to upper wrapper "Ex Mario Feninger de Rogatis Libris" and head of first page. Publisher's handstamp to foot of title. Wrappers detached. Somewhat worn and soiled; minor offsetting. First Edition co-published with Biedermann in Germany. LW A205. Searle 475. Raabe 142. LC Catalog 152. Liszt was a fervent champion of Berlioz while in Paris and transcribed a number of his works for piano. It was Berlioz who first introduced Liszt to Goethe's Faust. "A lucid and delicately laid-out scherzo of charming effect." Derek Watson: Liszt p. 201. S. Richault [PN 15383 R] unknown books
1850réf. 40941Leipzig: Breitkopf & Härtel PN 8090 1850. Folio. Unbound as issued. 1f. recto title verso blank 3-29 i blank pp. Engraved. Small oval handstamp to blank lower margin of title. Slightly worn browned and foxed. First Edition. Searle 414:3. Raab 223. Liszt made numerous transcriptions from the operas of Meyerbeer including L'Africaine Le Prophète Les Huguenots and Robert le Diable. Breitkopf & Härtel [PN 8090] unknown books
1838réf. 40939Vienne: Tob. Haslinger PN T. H. 7573 1838. Folio. Disbound. i title 2-23 i blank pp. Engraved. With secondary pagination to rectos in manuscript. Small oval handstamp of P.K. Weizel Brooklyn NY to lower margin of title. Formerly in the collection of the Forbes Library in Northampton Massachusetts with their handstamp to upper outer corner of title and several pages. Very slightly worn soiled and foxed; outer bifolium separated at spine; small blank piece of ivory paper laid down to final blank page. First Edition. Searle 419. Raabe 230. Tob. Haslinger [PN T. H. 7573] unknown books
1840réf. 40936Vienne: A. Diabelli & Comp. PN D et C No. 6959 1840. Folio. Unbound. 1f. recto title with vignette of dancing couple and group of musicians 3-1. i blank pp. Engraved Some wear and minor foxing; outer bifolium separated at spine' 6" in contemporary manuscript to upper outer corner of title. Indecipherable signature in pencil to lower outer corner of title with several annotations in purple ink. First Edition. Searle 425. Raab 250. Auman and White 124a. A. Diabelli & Comp. [PN D et C No. 6959] unknown books
