J & J LUBRANO MUSIC ANTIQUARIANS

Occasional List Spring 2012

Item 26

351 West Neck Road, Lloyd Harbor, NY 11743 Tel. 631-549-0672 Fax 631-421-1677 info@lubranomusic.com www.lubranomusic.com

How to Arrive at a Cantabile Style of Playing, While also Acquiring a Strong Foretaste of Composition

1. BACH, Johann Sebastian 1685-1750 [BWV 787-801]. XV Simphonies Pour le Clavecin. Vienne: Hoffmeister & Comp... Leipsic: Bureau de Musique [PN 56], [1801]. Oblong folio. Sewn. 1f. (title), 2-20 pp. Engraved. With pencilled fingering to 13th Invention. Manuscript annotation to title including the name of Minna Francke. Handstamp of the Braunschweig musicseller Julius Bauer to lower margin of title. Moderate to heavy foxing throughout; title and last leaf torn and frayed at edges, with slight loss of paper just slightly affecting printed area; separated at spine. First Edition. Scarce. Schmieder 2nd edition p. 602. Hoboken I 69. RISM B495 and BB495 (two copies only in the U.S.). "The didactic purpose of the Inventions is stated clearly on the title-page of the fair copy, which may be rendered thus: 'Sincere Instruction, In which Lovers of the Keyboard, especially those who are keen to learn, are shown a Clear Method, not only 1) of learning to play clearly in two Parts [in the Inventions], but also, after further Progress, 2) of dealing well and correctly with three obbligato Parts [in the Sinfonias]. At the same time they are shown not only how to come by good Ideas but also to develop them well. Above all, however, they are shown how to arrive at a Cantabile Style of playing, while also acquiring a strong Foretaste of Composition." Boyd, Malcolm, ed. Oxford Composer Companion: J.S. Bach, p. 241. "The modern habit of referring to the Sinfonias as 'three-part inventions' goes back at least to Forkel. But Bach's distinction is worth maintaining, since the two sets of pieces differ in substantial ways. The subjects of the Sinfonias are generally longer than those of the Inventions, and the texture more closely resembles that of contemporary ensemble music specifically, the fugal or imitative type of movement found in trio-sonatas, where the bass accompanies the initial entry of the subject, which is invariably placed in one of the two upper voices; every one of the Sinfonias begins in this manner... The Sinfonias are less familiar to most players than the Inventions, as they are too difficult for beginners and consequently are less often studied. But, for those who love the combination of galant melody and lively counterpoint found in a good eighteenth-century trio-sonata, nothing in the manualiter repertory comes closer." Schulenberg: The Keyboard Music of J.S. Bach, pp. 152, 156. (15066) $400.

Bachofens Most Important Collection of Sacred Songs 2. BACHOFEN, Johan Caspar 1695-1755 Musicalisches Halleluja, oder Schone und geistreiche Gesange, mit neuen und anmuthigen Melodeyen begleitet... Achte und privilegirte Auflag. Zurich: Burgklischer Truckerey, 1767.

Thick octavo. Full 18th century dark brown calf. [viii], 880, [viii] pp. With a fine frontispiece engraving depicting a female figure playing the organ with another seated beside her singing from an open book of music, her words rising to the Heavens. Binding worn; spine defective; some ownership markings and remnants of early labels to pastedowns. Slightly soiled and worn; some mispagination. A very good copy overall. Bachofen was a Swiss composer and music pedagogue. His "significance in the history of Swiss music lies primarily in the exceptional popularity of some of his works. His music was criticized, even by his contemporaries, for deficiencies of construction, harmonic language and melodic development; but his most important collection of sacred songs, Musicalisches Hallelujah, appeared in no less than 11 editions between 1727 and 1803, and became one of the favourite songbooks for popular music-making in the home... As the preface... makes clear, Bachofen's works were specifically intended for domestic use. He broke away from the tradition of four-part writing (in the manner of Goudimel's psalms), and most of his settings are in three voices. The continuo part, presumably to be played on the home organ, also constitutes the vocal bass, and there are two soprano parts which frequently cross. Solo songs with organ are inserted to fill gaps on the printed pages resulting from publication in separate parts, with each three-part song beginning a new page." Grove online (15195) $850.

Summarizes Berliozs Decade of Experiment, Discovery, and Achievement 3. BERLIOZ, Hector 1803-1869 [Op. 17]. Romo et Juliette Symphonie dramatique avec Choeurs, Solos de Chant et Prologue en recitatif choral Compose d'aprs le Tragdie de Shakespeare Paroles dEmile Deschamps Excute pour la 1re fois au Conservatoire de Paris, sous la direction de lAuteur le 24 Novembre 1830 Nouvelle Edition Conforme la seconde corrige par lAuteur en 1857. [Full score]. Paris: Brandus et Cie., [PN B et Cie. 4597] [after 1872].

Folio. Full black cloth with titling gilt to spine. 1f. (title), 208 pp. Engraved. With small publisher's handstamp to title. From the collection of Professor Julius Kniese (1848-1905), composer, teacher, choirmaster, and assistant conductor at the Bayreuth festival, with his small handstamp to endpapers, titlepage and final leaf. With bar numbers, occasional performance markings, and German translation throughout in pencil, possibly in Kniese's hand. Binding worn, rubbed and bumped; tail of spine frayed; joints partially split. Very minor foxing and staining; small stain to lower outer corner of first 20 leaves; short edge tear to front free endpaper. Quite a good copy internally overall. Hopkinson 39A (d). Shakespeares plays were to supply the basis of three [of Berliozs] major works, Romo et Juliette, Batrice et Bndict and the Roi Lear overture. In addition, there were at least three pieces inspired by Hamlet, a fantasy on The Tempest, and some direct borrowings in Les Troyens. More profoundly Shakespeare provided a framework for the structure of both Romo et Juliette and Les Troyens and was a source, in the form of dramatic truth, of Berliozs fundamental notion of expressive truth. Berlioz was to read and quote Shakespeare avidly for the rest of his life, putting him alongside Virgil in his literary pantheon. Grove online What has emerged, during the evening-long symphony, summarizes Berliozs decade of experiment, discovery, and achievement. Holoman, p. 266. (16125) $400.

The Chief Representative of Latin Instrumental Music During the Viennese Classical Period

4. BOCCHERINI, Luigi 1743-1805 [Op. 33]. Sei Quartetti per Due Violini Viola e Violoncello. [Set of parts]. Vienne: Artaria [PN 34], [ca. 1782]. Folio. Sewn. 1f. (title), [1] (blank), 4-29; [1] (title), 4-24; 1f. (title), [1] (blank), 4-23; [1] (title), 4-25 pp. Engraved. With occasional fingering in pencil. Some minor browning, foxing and soiling; title to first violin part with some minor tears and fading; minor staining to viola part; several manuscript annotations to title. First Edition. Gerard 201-206. BUC p. 117. Lesure p. 56. RISM B3138 (one copy only in the U.S.). Boccherini, a prolific composer, particularly of chamber music, with a distinctive and highly wrought style is the chief representative of Latin instrumental music during the Viennese Classical period. Grove online. (17628) $2,200.

The First Appearance in English of Metastasios Works 5. BURNEY, Charles 1726-1814 Memoirs of the Life and Writings of the Abate Metastasio. In which are incorporated, Translation of his Principal Letters... in three volumes. London: G.G. and J. Robinson, 1796.

Three volumes. Full 18th century dark tan speckled calf with spine in decorative compartments gilt, red leather label gilt, with oval coat of arms gilt of Society of Writers to the Signet to uppers and lowers. Vol. I: xx, [i] (blank), 407, [i] (blank), [xxx] (contents) + 1f. (errata). With frontispiece portrait of Metastasio engraved by Heath after Joh. Steiner. Vol. II: 1f. (title), 420, [xxix] (contents), [i] (blank), 1f. (errata). Vol. III: 1f. (title), 414, [xxiii] (contents), [i] (blank), 1f. (errata). Bindings slightly worn and rubbed; corners bumped; head and tail of spine slightly chipped; hinges cracked; upper boards partially detached. Some minor spotting to portrait; occasional browning. First Edition. Gregory-Bartlett I p. 48. RISM BII p. 192. The first publication in English of the important Italian poet and librettist whose works were set to music by numerous prominent composers. The Society of Writers to the Signet is a private society of Scottish solicitors, the oldest legal society in the world, dating back to 1594. (18895) $600.

One of Music Historys Keenest Observers 6. BURNEY, Charles 1762-1814 The Present State of Music in France and Italy; Or, The Journal of a Tour through those Countries, undertaken to collect Materials for A General History of Music. The Second Edition, Corrected. London: T. Becket and Co... J. Robson... and G. Robinson, 1773. Octavo. Contemporary full mid-tan calf with raised bands on spine in decorative compartments gilt, dark red and green title labels gilt to spine, blue speckled edges. 1f. (publisher's advertisement, with "Proposals for Printing by Subscription, A General History of Music" to verso), 1f. (title), [v]-viii (Explication of Some Musical Terms and Foreign Words, which occur in the following Journal), [1]-8 (Introduction), [9]-409, [i] (blank), [x] (index) pp. With the 19th century bookplate of The Right Honorable Sir John Trollope, Bart. M.P. to

front pastedown. Binding slightly worn, rubbed and bumped; joints tender. Some light foxing. A very good copy overall. Second Edition. Eitner II p. 246. Gregory-Bartlett II p. 15. RISM BVI p. 192. The "Conditions" for subscriptions to Burney's General History of Music are particularly interesting. They include a description of the work [originally intended in "Two Volumes Quarto"], the price ["two guineas; one to be paid at the time of subscribing, and the other on the delivery of the second volume, in sheets"], and a statement of the author's intention to publish the first volume "in the course of the next year... But, as the printing of this work will be attended with too great an expence [!] for him to risk it against the public opinion... he cannot venture to send it to the press before five hundred copies are subscribed for... Subscriptions will be taken in, and Receipts delivered, by the Author, at his house in Queens' Square, Bloomsbury..." Burney's monumental History was eventually published in four volumes, from 1776 to 1789. "Burney turned to writing about the history of his own art, but determined that he would need to engage in research in France and Italy to augment his broad acquaintance with the relevant and available material in England. In June 1770 he left England on a tour of the leading cities of France and Italy... Burney's published account of this tour, The Present State of Music in France and Italy, established him as one of music history's keenest observers and most entertaining commentators." Grove online. (18899) $600.

7. BURNEY, Charles 1726-1814 The Present State of Music in Germany, The Netherlands, and United Provinces. Or, The Journal of a Tour through those Countries, undertaken to collect Materials for A General History of Music... The second edition, corrected. Vol. I [-II]. London: T. Becket... J. Robson... and G. Robinson, 1775. Two volumes. Octavo. Full mid-tan calf with raised bands on spines in decorative compartments gilt, dark red and green title labels gilt to spines, blue speckled edges. 1f.

(title), [iii]-viii (Introduction), [1]-372, [373]-380 (index) pp.; 1f. (title), 1f. (advertisement), [1]-344, [345]-352 (index) pp. Bindings slightly worn, rubbed and bumped. Occasional light foxing. A very good copy overall. Second Edition. Gregory-Bartlett I p. 48. RISM BVI p. 193. Burney's writings on music are legendary. His History of Music, which remains of considerable importance today, was the first to be written in the English language. Although but a music teacher with no University degree, Burney moved in the circles of Samuel Johnson, Garrick and Joshua Reynolds. Upon coming to London, Haydn, with whom Burney had had some correspondence, made a point of first calling on Burney. (18900) $800.

With Numerous References to Contemporary Singers and Opera 8. CIBBER, Colley 1671-1757 An Apology for the Life of Mr. Colley Cibber, Comedian, and Late Patentee of the TheatreRoyal. With an Historical View of the Stage during his Own Time. Written by Himself. London: John Watts for the Author, 1740. Quarto. Modern full royal blue cloth with red leather label gilt to spine. [xvi], 346 pp. With a fine frontispiece portrait of Cibber engraved by C. Van der Gucht after Vanloo. Minor browning and occasional light spotting. A very good, wide-margined copy overall. First Edition. Lowe, Arnott and Robinson 2555. Cibber was an actor, theatre manager and playwright. The Apology includes numerous references to contemporary singers and opera in general and occasionally to contemporary dance and constitutes an important contribution to our knowledge of early 18th century music.

"With all its vanity and faults of grammar, style, and organization, [the Apology] is one of the most important theatrical books ever written and Cibber's greatest contribution to arts and letters. The Apology needs no apology; if Cibber had not written it, our understanding of the theatre of his time and the people in it would be very dim indeed. Many of his sketches of actors are perceptively written, and in some cases Cibber is our only source of information. His candid, though slanted, story of the management of Drury Lane reveals the inner workings of the early eighteenth century theatre as no other source does. The portrait of Colley himself - who was the most important figure in the London theatre between Betterton and Garrick - is invaluable." Highfill et al, p. 228. (18896) $600.

With Fine Lithographic Portraits of Singers 9. EBERS, John ca. 1785-ca. 1830 Seven Years of the King's Theatre. London: Ainsworth, 1828.

Octavo. Newly bound in quarter-leather with marbled boards, raised bands on spine, title on spine in compartments gilt. 1f. (lithographed frontispiece), 1f. (title), [iii]-xxviii (contents, errata, preface), 395 pp. + 5 plates with lithographic portraits of the singers Marietta Brambilla (1807-1875), Maria Caradori-Allan (1800-1865), Giuseppina Ronzi de Begnis (1800-1853), Violante Camporese (1785-1839), and Henrietta Sontag (1806-1854). With a frontispiece portrait of Giuditta Pasta (1797-1865) in the role of Desdemona. Binding slightly worn. Some light browning. In very good condition overall. First Edition. OCLC 25606757. Ebers was a bookseller who managed the King's Theatre from 1821 through 1827, a turbulent period that ended in lawsuits and Ebers's bankruptcy. "Ebers's own account of his regime, Seven Years of the King's Theatre... is entertaining and vivid... It gives his version of the complicated affairs of the opera house, with ample supporting documents. Though it is (understandably) not wholly objective, it sheds much incidental light on the commercial and other problems of running an international company on the plan of a mixture of old, established favourites and new operas... Ebers performed a valuable service to the musical life of London during a time of economic uncertainty, and besides half a dozen operas by Rossini, introduced works by Mercadente, Meyerbeer and Spontini. His book contains tables of the fees paid to artists who appeared regularly in successive years and one of the appendices gives a full list of the box-holders - a veritable galaxy of the musical aristocracy." Grove 6, Vol. 5 p. 815. (12328) $425.

The Full Score of Glucks Orphe et Euridice

10. GLUCK, Christoph Willibald Ritter von 1714-1787 Orphe et Euridice, Tragdie Opra en trois Actes. Ddi La Reine... Les Parolles sont de M. Moline. Reprsente pour la premiere fois par l'Acadmie Royale de Musique le Mardy 2 Aoust 1774. [Full score]. Paris: Des Lauriers, [ca. 1783]. Folio. Quarter mottled mid-tan calf with marbled boards, raised bands on spine in decorative compartments gilt, gilt titling to spine. 1f. (r. title engraved by Beauble, v. publisher's catalogue), 1f. (r. composer's dedication, v. "Argument"), 217 pp. With 1er Acte Grav par le Sr. Huguet to foot of first page of music. With manuscript commentary in English dated [18]29 to blank front endpaper. Occasional markings in pencil. With the bookplate of Gilbert Samuel Inglefield, former Lord Mayor of London, to front pastedown. Some minor foxing and browning to title. A very good copy overall. Second edition of the French version. A variant issue of either Hopkinson 41A(g) or (h). RISM G2853. "More successfully than any of his contemporaries, [Gluck] translated the widespread agitation for reform of opera and theatrical dance on the part of European intellectuals into actual works for the stage, first in pantomime ballets and Italian serious operas for Vienna and then in operas of various sorts for Paris." Grove online. (19260) $850.

An Attack on Italian Music

11. GOUDAR, Ange 1720-1791 Le Brigandage de la Musique Italienne. [?Paris]: 1777. Octavo. Contemporary heavy wrappers with titling to spine in ink. 1f. (half-title), 1f. (title), [i]-viii (preface), 156 pp. With woodcut device to title page, and attractive woodcut headpiece and decorative initial. Quite a good copy overall, with wide margins, uncut. Wrappers somewhat worn and soiled. Occasional foxing and tears; some misprinting; small ex-libris stamp to title; signatures loose. First Edition. Cortot, p. 90. Eitner IV, p. 317. RISM BVI, p. 372. Goudard, a staunch supporter of French music, vehemently attacks Italian music in the present work, but presents interesting ideas about the musicality of the Italian language, as well as the French. MGG V, pp. 582-583. (12219) $950.

One of the Only Operas Handel Composed to Celebrate a Public Event 12. HANDEL, George Frideric 1685-1759 Atalanta an Opera as it is Perform'd at the Theatre Royal in Covent Garden. [Score]. London: I. Walsh... No. 589, [1736].

Folio. Newly bound in half dark brown morocco with marbled boards, raised bands on spine in compartments, red leather label gilt. 1f. (title), 1f. (recto A Table of Songs, verso blank), 1f. (recto list of subscribers, verso blank). 83 pp. Engraved throughout. Two leaves trimmed close to upper platemark with no loss. An exceptionally good copy overall.

Singers named within the score include Sigr. Conti Ghizziello, Mr. Beard, Mr. Waltz, Sigr. Negri, Sigra. Strada, Sigr. Negri, and Mr. Reinhold. First Edition, first issue. Smith p. 20, no. 1. BUC p. 426. RISM H118 (not distinguishing between issues). First performed at Covent Garden on May 12, 1736, with libretto by the composer based on Belisario Valeriani's La caccia in Etolia. "With the possible exception of Riccardo Primo, Atalanta is the only opera Handel composed to celebrate a public event, the marriage on 27 April 1736 of Frederick Prince of Wales to Princess Augusta of Saxe-Coburg... While it is for the most part an Arcadian idyll of the utmost charm, its rarest virtue is one that Handel shares with Mozart: the power to evoke the profound beneath the lightly skimmed surface, to hint at the agonies of the human heart behind some trifling incident." Dean: Handel's Operas 1726-1741, pp. 336-338. (19929) $5,000.

The Last Drama Handel Composed for a Set of Singers in his Own Service 13. HANDEL, George Frideric 1685-1759 Berenice an Opera as it is Perform'd at the Theatre Royal in Covent Garden. [Score]. London: Walsh... No. 619, [1737].

Folio. Modern dark brown half morocco with matching marbled boards, raised bands on spine in compartments, red leather label gilt, all edges gilt. 2ff. (title, v. blank; "A Table of Songs, v. blank), [1] (blank), 2-82 pp. music. Engraved throughout. Singers named within the score include Strada, Beard, Conti, Bertolli, Reinhold, Negri, Hannibali [Annibali], and Savage. From the collection of the noted Handel collector Gerald Edward Coke, with his bookplate to front pastedown. Small ink handstamps to margin of title and final page; occasional minor defects. An unusually fresh and attractive copy overall. First Edition, first issue. Smith p. 21, no. 1. Hoboken Vol. 5 no. 79. Hirsch II 388. BUC p. 426. RISM H127. There were three issues of the first edition; as neither BUC nor RISM (with two exceptions) differentiates among these, it is somewhat difficult to ascertain the rarity of the first issue. First performed, in three acts based on text by Antonio Salvi, in London at Covent Garden on May 29th 1737. "This was the last drama which Handel composed for a set of singers in his own service, and the last in which Conti, better known afterwards by the name Gizziello, and the Strada, sung for him." Burney, 1935, p. 810. "The Year after Vizt (1735/6) Mr. Handell performed his celebrated Composition of Alexander's Feast, and a few times afterwards his Opera of Atalanto. Encouraged by the Success he met with this Year, he, in Partnership with Mr. Rich, set forward a fresh Subscription for Opera's for the ensuing Season; and in that, tho' he had several Capital Singers, and Exhibited such a Variety of Excellent New Opera's, vizt Arminius, Justin, Berenice, and the Il Trionpho del Tempo, he met with no Success. Great fatigue and disappointment, affected him so much, that he was this Spring (1737) struck with the Palsy, which took entirely away, the use of 4 fingers of his right hand; and totally disabled him from Playing: And when the heats of the Summer 1737 came on, the Disorder seemed at times to affect his Understanding. His Circumstances being in a manner ruined, he entered into an Agreement to Compose, for the Gentlemen at the Hay Market, and by the advice of his Physicians went to the Baths of Aix-la-Chapelle." Excerpt from The Earl of Shaftesbury's Memoirs of Handel in Deutsch: Handel A Documentary Biography, p. 846. (19948) $3,500.

The Overture is One of Handels Finest 14. HANDEL, George Frideric 1685-1759 Faramondo an Opera as it is Perform'd at the King's Theatre in the Hay-Market. [Score]. London: J. Walsh... No. 633, [1738]. Folio. Newly bound in half dark brown morocco with marbled boards, raised bands on spine, red leather title label gilt. 1f. (recto blank, verso publisher's catalogue), 1f. (title), 1f. (recto A Table of Songs, verso blank), 1f. (recto subscribers list, verso blank), 1-91, [i] (blank) pp. Engraved throughout. Upper edges of last leaves slightly trimmed. An unusually attractive, clean copy. First Edition, first issue. Smith p. 25, no. 1. BUC p. 426. RISM H139. First performed at the King's Theatre on January 3, 1738, with Zeno's text as modified for Gasparini, Rome 1720, with alterations. Loewenberg col. 192.

"Walsh, who paid Handel his usual fee of 25 guineas, was unusually quick off the mark with proposals for publication by subscription, on 7 January after a single performance. The volume appeared with a list of subscribers on 4 February. It omits only recitatives and gives a fair amount of orchestral detail but does not mention the flute in 'Vado e vivo'. 'Sol la brama', though correctly in the bass clef, is attributed to Francesina; this was corrected in a second impression. All seven dal segno arias are given a space-saving da capo..." Dean: Handel's Operas 1726-1741, p. 415. "Faramondo was Handel's first part for Caffarelli, one of the great singers of the age and ranked by some above Farinelli... Handel gave him plenty of material with which to shine; he has the finest music in the opera... Faramondo's Act III aria 'Voglio che sia l'indegno' is Handel at his greatest, an intensely dramatic cameo of a man torn between contrary emotions... By general consent the overture, unusually in E major, is one of Handel's finest... The reception was enthusiastic..." ibid pp. 407-411. (19918) $5,500.

Parthenope & Floridant 15. HANDEL, George Frideric 1685-1759 Parthenope an Opera as it was perform'd at the Kings Theatre for the Royal Accademy [!]. [Score]. London: Walsh and Hare, [1730]. 1f. (title), 1f. (recto A Table of the Songs, with publisher's catalogue to foot; verso blank), 99, [i] (blank) pp. First Edition, first issue. Smith p. 46, no. 1. BUC p. 429. RISM H239.

First performed at the King's Theatre on February 24, 1730, with text by S. Stampiglia (first set to music by Manzo in 1699), the modified for Venice and set by Caldara, 1708. Loewenberg col. 165. "Nothing is known of the reception, but it must have been fairly favourable, for Handel revived Partenope in his next season...". Dean: Handel's Operas 1726-1741, p. 162. Bound with: Floridant. [Score]. London: Walsh and Hare, [1722]. 1f. (title), 1f. (typeset dedication), 1f. (recto A Table of the Songs, with publisher's catalogue to foot; verso first page of music), 81 pp. First Edition, first issue. Smith p. 27, no. 1. BUC p. 427. RISM H147. First performed at the King's Theatre on December 9, 1721, with text by P.A. Rolli based on F. Silvani's La Costanza in Trionfo, Venice 1697, modified for Livorno, 1706. Loewenberg col. 145. "We may feel that [Handel] beat Bononcini at his own game. Burney was in no doubt. 'I mention the slow songs in this opera [Floridante] particularly, as superior in every respect to those of Bononcini, who has frequently been extolled by his admirers for unrivalled excellence in airs of tenderness.' ... The score of Floridante contains much excellent music...". Dean: Handel's Operas 1704-1726, p. 390.

Titles and music engraved throughout. Folio. Contemporary mottled calf gilt, raised bands on spine in decorative compartments gilt, red leather label gilt to upper. Binding very slightly worn, rubbed and bumped. Light browning to first title; occasional spotting; small tear to lower margin of final leaf. Attractive copies, with strong, clean impressions. From the Lulworth Castle collection. (19919) $6,800.

Unpublished String Quartet

16. KARTHAUS, Werner 1901-1971 Quartett c moll fur 2 Violinen, Viola und Violoncello... Partitur. Musical manuscript signed and dated 1920-21, most probably autograph. Complete. Folio. Unbound. 1f. (title), 96 pp. Slightly browned and soiled; tears to title-leaf. In very good condition overall. According to dates found within the score, this quartet was composed from June 20, 1920 to February 15, 1921. We have not located any published editions of the present work. Karthaus was both a musicologist and a composer. He wrote a number of critical works including Das Ereignis Beethoven im Spiegel der Zeiten, 1968; Aus der Werkstaat der Musik, 1955; and Das System der Musik, 1962. His compositions include a symphony and variations for orchestra. The only published works that we have located are his Baukasten Lieder, 1957. Muller, Erich, ed.: Deutsches Musiker-Lexikon, Dresden, 1929, p. 659. (16170) $550.

One of the Most Spectacular 17th Century Books on Music A Cornerstone of the Literature

17. KIRCHER, Athanasius 1601-1680 Musurgia Universalis sive ars magna consoni et dissoni in X libros digesta. Qua universa sonorum doctrina, et philosophia, musicaeque... aperiuntur et demonstrantur. Tomus I [-II qui continet... musicam mirificam... magiam consoni et dissoni... harmoniam mundi]. Rome: Francesco Corbelletti [II Ludovico Grignani], 1650. Two volumes. Folio. Early mid-tan half calf with marbled boards with spine in decorative compartments and leather title labels gilt. Volume I: 1f. (fine full-page engraved pictorial title by Baronius after a drawing by Paul Schor, incorporating a Canon Angelicus for 9 choirs of 36 voices), 1f. (recto title with vignette, verso contents), 1f. (fine full-page dedicatory engraving of Leopold-Guillaume, Archduke of Austria, by Paul Ponti after Paul Schor, dated 1649), 9ff., 690 (=692) pp. + 11 numbered plates (I-X, XIII) printed on one side of each of 10 leaves. Volume II: 2ff. (title with vignette, fine full-page engraved frontispiece), 462 pp. + 18 ff. (indexes and errata) + 12 numbered plates (XI-XI, XIV-XXXIII) printed on one side of each of 11 leaves. The two volumes thus contain 3 unnumbered full-page plates together with 23 numbered plates printed on 21 leaves (plates IV and V are printed on a single leaf, as are plates XI and XII). The plates are all finely engraved and illustrate a variety of musical instruments including the harpsichord, organ, strings and winds. With numerous woodcut illustrations, diagrams, tables, etc. within text, including many of musical instruments. Musical examples printed typographically in diamond-head notation, including many of various musical forms including multiple contrapuntal part-writing. Occasional early manuscript annotations, including corrections to pp. 88, 89, 308 of Volume I and pp. 94, 96, 105 and 108 of Volume II and early ownership signature to upper outer corner of title, most probably in the same hand. Binding refurbished; corners and edges somewhat worn. Some browning, spotting and occasional minor staining and edges tears; several marginal tears repaired; some mispagination to Volume I at pp. 554-560 and errors in pagination from page 577 on; ownership signature slightly trimmed. First Edition. Damschroder pp. 139-140. Cortot pp. 99-100. Hirsch I, 266. Gregory-Bartlett I, p. 135. Wolffheim I, 732. RISM BVI p. 449. An extraordinary undertaking by this Jesuit polymath, sometimes referred to as "the last Renaissance man," author of approximately 40 works in a diversity of disciplines. The Musurgia was an attempt to present the entire body of musical knowledge up to Kircher's time, and is particularly valuable for both its engraved plates of musical instruments and its inclusion of extensive musical examples, many of which are complete 16th and 17th century works chosen to illustrate various styles. The work is widely considered to have been a great success, with Kircher's wide-ranging and insightful scholarship. "... Musurgia universalis, one of the really influential works of music theory, was drawn upon by almost every later German music theorist until well into the 18th century... Much of Kirchers contrapuntal doctrine derives from Zarlino, and in this and some other respects Musurgia universalis presents a synthesis of 16th- and 17th-century Italian and German compositional practices. A specifically German feature, however, is the description of the affective nature of music, in which Kircher brought the concept of musica pathetica into relation with the formal constructive elements of rhetorical doctrine... His ideas concerning

the classification of musical styles, based on sociological as well as national characteristics, are also original and important for the study of Baroque music... Although he was apparently not a practising musician he was able to identify the best music composed and performed in his own (and earlier) times. In Musurgia universalis he quoted frequently extensive music examples from composers such as Agazzari, Gregorio Allegri, Carissimi, Froberger, Gesualdo, Kapsberger, Domenico Mazzocchi and Morales. Other aspects of his treatise that contribute to an understanding of 17th-century musical thought include the lengthy discussions of acoustics, musical instruments, the history of music in ancient cultures and the therapeutic value of music." Grove online Copies of this monumental work are often found to be lacking one or more plates and, in addition, are usually quite trimmed. The present copy is complete and has good margins throughout. Arguably the most spectacular 17th century book on music; a cornerstone of the literature. (19201) $12,500.

Kuhnaus Best-Known Vocal Music, with 308 Chorales 18. KUHNAU, Johann Christoph 1735-1805 Vierstimmige alte und neue Choralgesange, mit Provinzial-Ubweichungen. Berlin: im Verlag des Autors, 1786. Oblong quarto. Quarter dark brown calf gilt with marbled boards with red leather label to spine. 1f. (title with vignette), 3ff. (list of subscribers), x (forward dated by Kuhnau October 1784), 208, [209]-214 (index), 215-230 (Nachtrag) pp. Typeset music throughout. With the early signature of H.R.P. Schnopf (some erasures to dating, etc.) to front free endpaper, and later signature of Gordon Phillips to front pastedown. Binding worn, rubbed and bumped. Some foxing and browning; repair to title; erasures to dating, etc., to front free endpaper.

RISM Das Deutsche Kirchenlied 1786-15 and 1790-10 (with imprint of George Friedrich Starcke and the date of 1790). "Kuhnau probably had... lessons in harmony and composition from Kirnberger in the late 1770s. In 1783 he became a teacher and in 1788 Kantor and musical director at the Dreifaltigkeitskirche in Berlin... Kuhnau compiled several volumes of vocal and instrumental works by himself and other contemporary composers, the best-known of which are the Vierstimmige alte und neue Choralgesange, with a preface dated 1784. [The work contains] 308 chorales, including only eight by Kuhnau and others by J.S. Bach, C.P.E. Bach and other German organists." Grove online. (15291) $2,500.

A Rapprochement with the Late Quartets of Beethoven in Opp. 12 and 13

19. MENDELSSOHN-BARTHOLDY, Felix 1809-1847 [Op. 12]. Grand Quatuor concertant pour deux Violons, Alto et Violoncelle... Oeuv. 12 [Parts]. Leipzig, Paris: Frdric Hofmeister, Simon Richault [PN] 1515, [1830]. Folio. Unbound, as issued. 9; 9; 9; 7 pp. Engraved. Title to viola part. Some very light wear and soiling; two small binder's holes to inner blank margins. In very good condition overall. First Edition. Not in Krause. Mendelssohn Papers III, 604. Hoboken 10, 130. "One of the most gifted and versatile prodigies, Mendelssohn stood at the forefront of German music during the 1830s and 40s, as conductor, pianist, organist and, above all, composer. His musical style, fully developed before he was 20, drew upon a variety of influences, including the complex chromatic counterpoint of Bach, the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber... Between 1827 and 1847 Mendelssohn composed six string quartets, and had begun work on a seventh at the end of his life... The first two, op. 13 in A minor (1827) and op. 12 in Eb (1829), show a rapprochement with the late quartets of Beethoven. To the Swedish musician Adolf Lindblad Mendelssohn explained his concern for the organic relationship of the various movements to the whole. In op. 12 the opening of the first movement is brought back to conclude the finale... Grove online. (18718) $450.

20. MENDELSSOHN-BARTHOLDY, Felix 1809-1847 [Op. 13]. Quatuor pour deux Violons, Viola et Violoncelle... Oeuv. 13 [Parts]. Leipsic: Breitkopf & Hrtel [PN 4980], [1830].

Folio. Unbound and untrimmed, as issued. 13; 9; 10; 8 pp. Engraved. Edges slightly soiled and dusty. In very good condition overall. First Edition. Mueller-Reuter I p. 131. Not in Krause. Hoboken 10, 132.

"In op. 13 the quintessential thematic material is drawn from the lied Frage (op. 9 no. 1), with explicit quotations from the song in the outer and more hidden references in the inner movements of the quartet." Grove online. (18719) $450.

Written During the Idyllic Period of Mendelssohns Honeymoon and First Year of Marriage 21. MENDELSSOHN- BARTHOLDY, Felix 1809-1847 [Op. 44 nos. 1-3]. Trois Grands Quatuors pour Deux Violons, Alto et Basse composs et ddis Son Altesse Royale Monseigneur Le Prince Royal De Sude... Oeuv. 44. No. I [II and III]. [Parts]. Leipsic: Breitkopf & Hrtel [PNs 6022, 6023, 6024], [1839].

Folio. Unbound, as issued. I: 13; 11; 11; 9 pp.; II: 13; 11; 11; 11 pp.; III: 15; 13; 13; 13 pp. With fine decorative titles printed in sepia to each quartet. Staining (mostly marginal) to first few leaves of first quartet, including title, and outer edges of third quartet, otherwise very good copies. First Editions. Very scarce. Not in Krause. Mueller-Reuter I, pp. 131-133. Hoboken 10: 201, 202, 203. The three quartets op.44, written during the idyllic period of Mendelssohn's honeymoon and first year of marriage, show signs of a Classical tendency. Grove online. (18717) $1,200.

Meyerbeers Grand Opera 22. MEYERBEER, Giacomo 1791-1864 Les Huguenots Opra en 5 Actes. Paroles de M. Eugene Scribe... Partition de Piano arrange par Ch. Schwencke. [Piano-vocal score]. Paris: Maurice Schlesinger [PN M.S. 2136], 1836.

Folio. Newly bound in quarter dark red morocco with marbled boards. 2ff. (title, cast list and contents), 448 pp. Publisher's stamp to title. Engraved. In the series Collection des Chefsd'Oeuvre Lyrique Modernes des coles Franaise, Italienne & Allemande. With a fine lithographic illustration to title by Thierry Frres depicting a scene from the opera. Slightly foxed; blank lower outer corner to pp. 75/76 lacking, not affecting printed area. First Edition. Scarce. Lajarte II, p. 152. Stanford 739. Wolffhiem II, 1506. First performed at the Opra in Paris on February 29, 1836, in five acts with a libretto by Eugene Scribe and Emile Deschamps. "On hearing the soprano Cornelie Falcon sing the part of Alice in Robert le diable during summer 1832, Meyerbeer resolved that she would take a leading role in his next opera, together with the tenor Adolphe Nourrit and the bass Nicholas Levasseur. The groundwork for Leonore, ou La Saint Barthelemy, as Les Huguenots was initially called, was set out in discussions with Scribe and the Opra director Louis Veron in September 1832. The subject matter was very much in fashion: the period of confrontation between Huguenots (French Protestants) and Catholics in the late 16th century had been the setting for several plays in the late 1820s." Grove online. (16259) $1,250.

23. MOZART, Wolfgang Amadeus 1756-1791 [KV 196]. Die Gaertnerin aus Liebe. Oper in drei Aufzugen... In vollstandigem Clavierauszug mit deutschem Texte, und zugleich fur das Piano Forte allein... Wohlfeile Ausgabe von W. A. Mozart's sammtlichen Opern 6te. Lieferung. [Keyboard-vocal score; text in German]. Mannheim: Heckel, [1829].

Folio. Full contemporary blue cloth with blind-stamped pattern, titling to spine gilt. [1] (pictorial title with lithographed vignette by C. F. Heckel), [2] (contents), 3-204 pp. Lithographed throughout. Binding slightly worn; corners and edges rubbed and bumped; head and tail of spine slightly frayed. A very good copy overall. First Edition of the complete opera. Kchel 6th p. 223. Hoboken 11, 36. Hirsch IV, 1179. Loewenberg 341. CPM Vol. 41 p. 83. Bory p. 91. RISM M4182 (no copies recorded in North America). An adaptation by Fritz Haas of La finta giardiniera, composed by Mozart during the fall of 1774 and first performed in Munich on January 13th 1775. "According to Mozart's report to his mother the opera was much applauded and there were two repeat performances. The work was later (1780) given by Johann Heinrich Bohm's travelling company, who performed it in German as a Singspiel, with spoken dialogue..." Grove VI, Vol. 12 p. 692. Selected numbers were first published in 1797 (see Haberkamp 7 p.99). (18869) $950.

The Most Important Composition of this Period 24. MOZART, Wolfgang Amadeus 1756-1791 [KV 384]. Die Entfhrung aus dem Serail Oper in drey Ackten... L'enlevement du Serail. [Full score]. Bonn: Simrock [PN] 949], [ca. 1813].

Folio. 19th century quarter dark green leather with marbled boards, spine with titling in decorative compartments gilt. 1f. (title, verso blank), [1]-[2] (blank), 3-108., 2ff. (blank), 109272, 2ff. (blank), [273]-350, 1f. (blank). Engraved. With text in German and French. Small sewing hole to upper blank inner margin. Previous owner's name and small handstamp to foot of title. A very good, well-margined copy, printed on high quality paper with strong impression. First Edition. Rare. Hirsch II, 639. Sonneck Orchestral Music p. 117. RISM M4246, MM4246 (a total of 3 copies in the U.S.). Kchel 8 p. 384. Haberkamp I p. 180. Hoboken 11, 141. First performed in Vienna at the Burgtheater on July 16th 1782, with a libretto by Johann Gottlieb Stephanie the Younger after Christoph Friedrich Bretzner. "The composition of this opera coincided with Mozart's marriage to Constanze Weber and his permanent settling in Vienna as a freelance composer and performer. Despite the intrigues and complications which plagued the premiere, it proved to be Mozart's most popular opera in his lifetime, partly due to the fashion for plays and operas on oriental subjects. But it was

of this piece that the Emperor, according to Niemetschek (1798), made his famous comment: 'Too beautiful for our ears, my dear Mozart, and vastly too many notes', to which Mozart replied 'Just as many as are necessary, your Majesty'." Robbins Landon: The Mozart Compendium, p. 249. "The most important composition of this period, [1780-1783] was Die Entfhrung aus dem Serail, the libretto of which was given to Mozart at the end of July 1781. Originally planned for September, the premire was postponed until the following summer (Mozart had completed the first act in August 1781). The opera was a great success: Gluck requested an extra performance, Schikaneder's troupe mounted an independent production in September 1784 (although the aria Martern aller Arten was replaced because the orchestra was incapable of performing the obbligato solos), and productions were soon mounted in cities throughout German-speaking Europe. The earliest lengthy obituary of Mozart, in the Musikalische Korrespondenz der Teutschen Filarmonischen Gesellschaft of 4 January 1792, described the work as the pedestal upon which his fame was erected." Grove online (18859) $13,500.

The Only Edition of Any of Mozarts Operas Published in Complete Form During the Composers Lifetime 25. MOZART, Wolfgang Amadeus 1756-1791 [KV 384]. Die Entfhrung aus dem Serail Ein komisches Sing-Spiel in drey Aufzgen... Der Klavier-Auszug von Herrn Abb Starck. Mainz: B. Schott [PN 44], [after 1785].

Oblong folio. Contemporary half dark brown calf with marbled boards. 1f. (title within decorative engraved border), 134 pp. Engraved throughout. With individual titles to each number and incipit to overture. Early ownership inscriptions to titles ("Hohnigl[?]" and "Charlotte Mrsch[...]") and cuts throughout text in orange crayon and brown ink. Binding somewhat worn, rubbed and bumped; spine slightly defective. Slightly worn, soiled and stained; old repair to pp. 29/30; last page trimmed at foot. First Edition, 4th issue. Haberkamp pp. 178-179 and plate 132 (4. Abzug, with title as plate 131 with plate number added).

Schott's vocal score of the opera, first issued in 1785 or 1786, was the only edition of any of Mozart's operas published in complete form during the composer's lifetime. (19992) $5,000.

Generally Agreed to be the Most Perfect and Least Problematic of Mozart's Great Operas 26. MOZART, Wolfgang Amadeus 1756-1791 [KV 492]. Le Nozze di Figaro Dramma Giocoso in Quattro Atti. [Full score]. Paris: Magasin de Musique [PN 566, 1-4], [1806-1809].

Two volumes. Folio. Attractively bound in half dark red morocco with marbled boards in period style. Act I: 1f. (recto title, verso blank), 1f. (recto Table of Contents, verso blank), [1] (cast list), 2-129, [i] (blank) pp.; Act II: 186 pp.; Act III: 116 pp.; Act IV: [1] (blank), 20-127, [1] (blank) pp. Engraved. With ink handstamp "Cherubini Mehul et C." to foot of title. From the collection of the English opera singer Willoughby Hunter Weiss (1820-1867), composer of the famous tune "The Village Blacksmith" to words by Henry Wadsworth Longfellow, with his small 19th century blindstamp to title and several pages and the signature in ink of Angelique Weiss to title and first page of third act. Some minor staining, foxing and offsetting; occasional pencilling. First Edition, first issue, with number "366" at foot of title and printed price of "48f." While Kchel (8) p. 545 cites the first edition as having been published in 1795 by Imbault, there are no known copies of this and thus it would seem to be a "ghost," i.e., a citation for which there is no recorded copy. Fuld p. 353. Hirsch IV, 98. Not in Hoboken. RISM M4339.

First performed in Vienna at the Burgtheater on May 1, 1786, with libretto by Lorenzo da Ponte after Beaumarchais. "Figaro is generally agreed to be the most perfect and least problematic of Mozart's great operas... In the great finales of Acts 2 and 4, Mozart reached a level which he could never surpass; indeed, he was hardly to equal the Bb Allegro of the second act finale for its mercurial motivic play and the subsequent Andante in 6/8 for the synchronization of dramatic revelation with the demands of musical form." Grove Opera, Vol. 3 p. 634. (19276) $17,500.

27. MOZART, Wolfgang Amadeus 1756-1791 [KV 492]. Le Nozze di Figaro. Dramma Giocoso in Quattro Atti. [Full score]. Paris: Chez Frey, Successeur de MMrs. Cherubini...et Boieldieu... [PN] 366[!566], [ca. 1810-1812].

Folio. Newly bound in attractive quarter-red morocco with matching marbled boards, raised bands on spine in gilt-ruled compartments, titling gilt. 1f. (title), [ii] ("Personaggi," "Table"), [i] (blank), 2-129, [i] (blank), 1-186, 1f. (blank), 1-116, 1f. (blank), [i] (blank), 2-127 pp. Engraved throughout. With text in Italian and French. Slightly foxed and browned throughout, more heavily to several leaves. First Edition, second issue. Haberkamp p. 261. RISM M4338 (one copy only recorded in North America). (19972) $5,500.

An Unrecorded Issue of the Piano-Vocal Score 28. MOZART, Wolfgang Amadeus 1756-1792 [KV 492]. Le Nozze de Figaro. Die Hochzeit des Figaro. Eine Comische Oper in 4. Aufzugen... Ins Deutsche bersetzt von Baron v. Knigge. Und frs Clavier eingerichtet von C.G. Neefe. [Piano-vocal score]. Bonn: Simrock [PN] 28, [1796].

Oblong folio. Early dark red leather-backed flexible marbled boards with titling in manuscript to upper. [1] (title printed within oval decorative border), 2-228 pp., 1f. (recto publisher's catalogue, verso blank). With stamp of the Hamburg publisher Gnther & Bhme to lower margin of title; publisher's price overstamped with initials "G & B," price in manuscript of "f14" to lower outer corner. From the collection of the Dutch composer and conductor Alphons Diepenbrock (18621921), friend of Gustav Mahler, Richard Strauss and Arnold Schoenberg, with his decorative monogrammatic handstamp in green ink to lower inner corner of lower board; a pencilled note confirms former ownership. Binding worn, rubbed, bumped and shaken; head and tail of spine slightly frayed; portion of front free endpaper lacking. Slightly worn, browned and stained; several small marginal tears; translation in purple ink to pp. 162-164 cancelled. Quite a good copy overall.

First Edition, unrecorded issue, possibly contemporary with, or even pre-dating, the first. Haberkamp p. 257. BUC p. 703. RISM M4343. Haberkamp states that the second and subsequent issues of Le Nozze contain the publisher's catalogue listing seven operas by Mozart, the last being Der Schauspieldirektor; both the first issue and the present copy contain the publisher's catalogue listing only six of Mozart's operas, the last being Die Zauberflte. The present copy differs from the first issue of the score in that the music commences on the verso of the title rather than on the recto of the second leaf and also in that neither the pages containing the list of characters and index nor the explanation of the translation are present. (20006) $7,500.

Widely Reckoned to be the Most Carefully and Symmetrically Constructed of the Da Ponte Operas" 29. MOZART, Wolfgang Amadeus 1756-1792 [KV 588]. Cosi fan tutte Dramma giocoso in due Atti... Partitura... Weibertreue oder die Madchen sind von Flandern komische Opera in Zwey Aufzugen. [Full score]. Leipzig: Breitkopf & Hrtel [PN 1363], [1810].

Folio. Half dark blue morocco with raised bands on spine in decorative compartments gilt, titling gilt to spine. 1f. (title), 3-154, [i] (blank), 155-269 pp. Engraved. With small oval handstamp of Lichtenberg's Verlag in Stuttgart in light purple ink to foot of title and verso of final leaf of Act I. Text in both Italian and German. Binding slightly worn, rubbed and bumped, minor darkening to edges. Slightly worn and soiled; very occasional small stains. A very good copy overall. First Edition of the full score. Hirsch II 633 and Plate XXIII. Sonneck Dramatic Music p. 116. Hoboken Catalogue Vol. 12, 421 (containing both the text of the separately-paginated libretto and an additional title preceding the second act, not found in the present copy). RISM M4693. Cosi fan tutte, with text by Lorenzo da Ponte, was commissioned by Emperor Joseph II and first performed on January 26th 1790 at the Burgtheater in Vienna. Cosi was Mozart's "third collaboration with Da Ponte and the only one of the Da Ponte operas for which there is no direct literary source (although, like Don Giovanni, it has sources in Tirso de Molina). It may be that the libretto was wholly original to Mozart and the poet, for the subject is sometimes claimed to have been suggested to Mozart and Da Ponte by Joseph II himself, allegedly on the basis of a recent real-life incident.. Cosi fan tutte is widely reckoned to be the most carefully and symmetrically constructed of the Da Ponte operas." Grove online. (19275) $9,500.

With 50 Chromolithographic Illustrative Plates of Musical lnstruments 30. [MUSICAL INSTRUMENTS] Hipkins, A.J. Musical Instruments Historic, Rare and Unique... illustrated by a series of fifty plates in colours drawn by William Gibbs. London: Adam and Charles Black, 1888.

Large folio. Rebound in half dark red morocco with dark ivory cloth boards, original decorative title label gilt laid down to upper, top edge gilt. 1f. (half-title), 1f. (title printed in red and black), [v]-xix, [i] (blank), 107, [i] (colophon) pp. + 50 fine chromolithographic illustrative plates. Some light foxing and offsetting. A very good copy overall. Limited to 1,040 copies and 50 artist's proofs. A catalogue of the musical instruments exhibited at the London Inventions Exhibition held in 1885. "No attempt was made by the authorities to compile a catalogue worthy of so great an opportunity... Owing to private enterprise, the opportunity was not suffered to pass without a record - and a noble one - in the magnificent volume... by Mr. A.J. Hipkins, whose name is sufficient guarantee of the excellence of the work; but the author was fortunate in finding in Mr. William Gibb an artist who has a real genius for depicting such objects...". Matthews: The Literature of Music, p. 226. (18904) $950.

Pepuschs Popular Ballad Opera 31. PEPUSCH, Johann Christoph 1667-1752 The Beggar's Opera. As it is Acted at the Theatre-Royal in Lincolns-Inn-Fields. Written by Mr. Gay. The Second Edition: To which is Added the Ouverture in Score; And the Musick prefix'd to each song. London: John Watts, 1728. Octavo. Full dark brown contemporary calf with gilt titling to spine. 4ff. (title, Table of Songs, Dramatis Personae, Introduction), 8 (Overture in Score), 76 pp. With bookplate of Gilbert Samuel Inglefield, Lord Mayor of London, to front pastedown. Early manuscript alterations to first page of overture, possibly in the hand of one Henry Thomas. Binding slightly worn, rubbed and bumped; spine restored. Some light wear and soiling internally. Second edition, third issue, with extra advertisement to verso of title dated May 24, 1728 and several additional small differences in text. Lewis locates only one copy in Britain (at Leeds University) and two copies in the U.S. (both at Harvard). For a full bibliographical account of the various printings of The Beggar's Opera, see Lewis, Peter Elfed: John Gay The Beggar's Opera, pp. 23-42. First performed at the Theatre Royal in Lincoln's Inn Fields on January 29, 1728. "On the first night the audience, which included Walpole, took a little while to accustom themselves to the radically new form of the ballad opera, but they finally received the play with enormous enthusiasm. The play did 'take greatly', and a contemporary witticism was that it made 'Rich gay and Gay rich'." Lewis p. 3. The second edition is marked by a significant change in layout, with the tunes now printed within the text in woodcut; in the first edition they appeared in a separate engraved section following the text. The printing of the Ouverture in Score from woodcuts as opposed to from engraved plates is also of note. (19229) $600.

The Beggars Opera & Polly 32. PEPUSCH, Johann Christoph 1667-1752 The Beggar's Opera As it is Acted at the Theatre-Royal in Lincolns-Inn Fields... The Third Edition, With the Ouverture in Score, the Songs, and the Basses (The Ouverture and Basses Compos'd by Dr. Pepusch) Curiously Engraved on Copper Plates. London: John Watts, 1729.

Quarto. Fine full early panelled calf with raised bands to spine. 1f. (title page printed in red and black), [iv] (contents, cast list), [ii] (introduction), 60 (libretto), 46 (engraved music) pp. Bound with: Pepusch, Johann Christoph 1667-1752. Polly: An Opera Being the Second Part of The Beggar's Opera. London: the Author, 1729. 1f. (title printed in red and black), [viii] (preface and introduction), 72 (libretto) 31 (engraved music) pp. First Edition. BUC p. 801. RISM P1222. Binding restored. Title very slightly stained at extreme lower margin; small tear to very lower gutter. BUC p. 96. RISM P1195. First performed January 29th 1728. "The originality of this theatrical landmark lay in its being about the real inhabitants of London's underworld rather than the cardboard heroes of antiquity, with short popular tunes known to the audience instead of long arias in Italian... It started a ten-year fashion for ballad operas, and was the greatest theatrical success of the century... The first edition of The Beggar's Opera (1728) gave the tunes of the songs, the second (also 1728) added the overture on four staves, and the third (1729) included the basses of the songs... Thus the third edition of The Beggar's Opera is almost a full score, for such songs were normally accompanied by

strings alone with only the harpsichord to fill in between tune and bass." Grove VI, Vol. 7 p. 203. Polly was the sequel to Gay's highly successful Beggar's Opera. The third edition, the first to be printed in quarto (the previous two being in the smaller octavo size), was the first to give the bass parts to the songs and thus to provide a sense of how the opera was actually performed. A few minor imperfections, but overall very good copies of both works in a fine contemporary binding. (18835) $1,650.

Piccinis Greatest Success 33. PICCINNI, Niccolo 1728-1800 La Buona Figliuola Opera Comica; Representata al Teatro Reale, nel' Hay Market. London: R. Bremner, [1767]. 1f. (title), [1] (blank), 2-5 Overture, [6] (blank), [1] A Catalogue of Vocal and Instrumental Music, 2-35, [ii] (blank), 36-84, [1] (blank), 2-5 pp. With overture in piano score, the remainder in condensed score, including instrumental parts. Slightly worn, stained and soiled; several repairs. Singers identified within the score. First Edition. BUC p. 782. RISM P2064. First performed on February 6th 1760 in Rome, with a libretto by Goldoni. The publication of the work in London coincides with its production there in November of 1766. "Piccinni's 18th opera and his greatest success." Loewenberg 243. Bound with: Piccinni. Overture La Buona Figliuola Maritata. [London: Bremner, ca. 1767]. [1] (blank), 25, [6] (blank) pp. BUC p. 782. RISM P2065. Libretto by Goldoni. First performed in May of 1761. Bound with: Jackson, William 1730-1803. Twelve Songs... Opera Quarta. Wm. Clark Sculp. St. Ann's Lane. London: the Author [ca. 1765]. 1f. (title), [iv] (Preface, list of works published by the author), [1] (blank), 2-42 pp. Some light staining. A very good copy overall, with music scored for voice, strings and figured bass. The Preface contains an essay on the choice and

settings of text to music, performance, etc. First Edition. BUC p. 552. RISM J96. "Jackson was a fine melodist. Like J.A. Hiller in Germany, he sought an `elegant simplicity' in

moulding music to text. He sought to revive what he regarded as a true English tradition of melody as opposed to fashionable and artificial Italian songs." Grove 6, Vol. 9 p. 440. Folio. 18th century quarter dark tan calf with marbled boards with manuscript title label to upper dated 1770. Remnants of red wax to front endpapers; rear endpaper cut with only stub remaining. (18865) $875.

One of the More Individual Voices of Italian Opera of the Period 34. RICCI, Luigi 1805-1859 Un'Avventura di Scaramuccia. Melodramma comico di Felice Romani. [Piano-vocal score]. Milan: Ricordi [PN 7475-7493] [ca. 1835]. Oblong folio. Leather-backed marbled boards with titling gilt to spine. 1f. (title), 1f. (cast list, contents), 5-264 pp. With contemporary signature to title page. Engraved throughout. Binding worn, rubbed and bumped. Minor foxing and browning; corners thumbed; minor marginal tears, some repairs; remnants of early binding to inner margin of title page. Probable First Edition. Rare. OCLC 32110020 (one copy only). First performed in Milan at La Scala on March 8, 1834. The Italian composer Ricci achieved "a notable success with Un'avventura di Scaramuccia, written to a witty libretto, part romance, part theatrical satire, by Felice Romani." Grove online.

"Ricci's is one of the more individual voices of Italian opera of the period. His chief gift was for comedy, to which he brought not only a complete mastery of the traditional devices but also a new, robust buffo manner characterized by a wealth of bouncing allegretto melodies, mostly in duple time, and a not infrequent use of folktune." Grove online. (12565) $600.

Rare Full Score of Rossinis La Gazza Ladra 35. ROSSINI, Gioachino 1792-1868 [La gazza ladra] E ben per mia memoria. [Full score]. [Milano]: [Ricordi PN 340], 1817. 32 pp. Lacking title; staining to lower margins of first 8 leaves. Engraved. In very good condition overall. Operatic full scores of Rossini's works are very rare; this publication is known in only one other copy, located at the Bayerische Staatsbibliothek in Munich. Together with: Early editions of Rossini arias in piano-vocal score, as follows: - Cavatina (Elena! oh tu, ch'io chiamo) Nell' Opera La Donna del Lago. Napoli: Girard [PN] 113 [1829]. [i] (title), [1]-10 pp. Engraved. Some early pencilled notation. Gossett p. 431 (8). - Duetto Ella oh Ciel! Egli oh Sorte! Nell' Opera Torvaldo e Dorliska. Napoli: Girard [PN] 179 [ca. 1820]. [i] (title), 18 pp. - Preghiera Dal tuo Stellato Soglio nell' Oratorio Mose in Egitto. Napoli: Girard [PN] 78 [ca. 1820]. 1f. (title), 5 pp. Gossett p. 395. - Duetto All' idea di qual metallo Nell Opera Il Barbiere di Siviglia. Milano: Ricordi [PN] 670 [1820]. 16 pp. - Gran Duetto Lasciami non t'ascolto Nell' Opera Il Tancredi. [Milano: Ricordi, PN 669 [1819]. 10 pp.

- Duetto Rodrigo che mai sento Nell' Opera La Donna Del Lago. Napoli: Girard [PN] 114 [1819]. [i] (title), 28 pp. - Cavatina Recitativo e Duettino Nell' Introduzione dell' Opera La Donna del Lago. Napoli: Girard [PN] 117 [1819]. [i] (title), 14 pp. Oblong folio. Plain thick boards, disbound. Sewn. Signatures split. Some wear and minor imperfections, but in very good condition overall, with clear, bright impressions. (15434) $775.

A Valuable Source for the History of the Reception of the Work 36. ROSSINI, Gioachino 1792-1868 Turco in Italia... Arrange pour le Forte Piano. [Piano-vocal score]. Paris: Carli [PNs] 1227, 1225, 1155, 1166, 1158, 621, 1168, 1212, 1163, 1203, 1154, 1203, 1157, 1167, 1178, 1174, 1164, 1223], [1820-1821]. Folio. 19th century quarter mid-brown leather with marbled boards. 2ff. (title, index), 257 pp.). Engraved. With occasional performance markings in pencil. Text in Italian. Binding quite worn; hinges split; spine frayed. Minor foxing and browning; binder's holes to inner blank margin. First Edition. Rognoni p. 445 no. 13. Il Turco in Italia, with libretto by Felice Romani, was first performed on August 14th 1814 at La Scala in Milan. It was not well received by the Milanese audence at first as it seemed to relate too closely to Rossini's L'Italiana in Algeri. As Il Turco became better understood, however, it gained in popularity and ultimately became a success. The present work is, in fact,

a pastiche assembled by Paer, and contains only about half of the music from Il Turco, together with many pieces from La Cenerentola and music by other composers. It remains a valuable source, however, for the history of the reception of the work.

We would like to thank Professor Philip Gossett for his kind assistance in the cataloguing of this item. (15478) $1,250.

Rare Early Edition of the Russian Czarist National Anthem 37. [RUSSIAN MUSIC - 19th Century]. L'vov, Aleksei Fyodorovich 1798-1870 Piesn Ruskikh Volkslied der Russen hymne russe. Berlin: Ad. Mt. Schlesinger [PN S.2285] , [1839]. Folio. [1] (title), 2-3 engraved music and text, [4] (blank). Title with central emblem of a male's (?Czar Nicholas I) head in profile on a shield draped with a cloak and adorned with spears, a sheaf of arrows and armor. Musical setting for voice and piano with an additional version for 2-pianos. Text in German and French. Agent's address to title: "Petersburg, Richter. Paris, M. Schlesinger. Moscou, Lehnhold," "Choix de Romances No. 182" to foot of page 2. With contemporary signature to upper outer corner of title and small circular musicseller's stamp to lower inner margin. Small binder's holes to spine from early sewing. Some very minor foxing. Rare early edition of the Russian Czarist National Anthem, "God Save the Czar!," here "Gott seides Herrschers Schutz!"

"In 1833 Czar Nicholas I commanded Alexei Lvov, director of the Imperial court choir, to compose a Russian national anthem." Fuld: The Book of World-Famous Music, 5th edition, pp. 480-481.

The possible first edition, published in St. Petersburg, dates from ca. 1835. Fuld cites an orchestral score with chorus published by Schlesinger in July 1839 with a higher plate number (2324) and a piano-vocal score (plate number 2551) in June 1840. The present edition would appear to pre-date the German editions listed by Fuld. This edition not located in WorldCat (OCLC), COPAC or Karlsruhe Virtual Katalogue. Vasili Zhukovskii (1783-1852) wrote the text to L'vov's music. (17106) $550.

Signed by the Composer 38. SCHOENBERG, Arnold 1874-1951 Gurre-Lieder von Jens Peter Jacobsen Deutsch von Robert Franz Arnold fur Soli, Chor und Orchester. [Full score]. Wien: Universal [PN] 6300, 1920. Large folio. Original dark brown cloth-backed publisher's boards with gilt titling to upper, gilt lettering to paper label on spine. 1f. (recto title, verso instrumentation), 3-189, [i] (blank) pp. Binding very slightly worn and shaken. Minor staining to lower margin of several leaves. Signed by Schoenberg and with "No. 92" in his autograph to foot of title. First Edition in this form. Hilmar: Arnold Schoenberg Gedenkausstellung 1974, no. 229. First performed on February 23, 1913 in Vienna at the Musikverein, conducted by Franz Schreker.

"The cycle of poems Gurresange (Songs of Gurre), written in 1868 by Jens Peter Jacobsen 91847-85), was based on the old Danish legend of Waldemar, King of Denmark, and his illicit love for the beautiful maiden Tove at the castle of Gurre The dominant thematic traits stem from Wagner's world of sound, but the frequent wide intervals in the vocal parts already give a hint of Schoenberg's later manner. Harmonically, there are further refinements of the

phenomena of expanded or 'floating' tonality, first produced by Wagner in Tristan The way in which Schoenberg unfolds the themes of the Gurrelieder, the nature of his thematic work, and the formal layout of the whole work show him already far beyond Wagner's technique of development, and ahead of his own contemporaries The Gurrelieder, together with the symphonic poem Pellas et Mlisande which likewise calls for gigantic forces, represent Schoenberg's farewell to the over-ripe late-Romantic world of sound inaugurated by Liszt and Wagner and carried to its extreme by Mahler, Richard Strauss, and many of their contemporarie The work was an extraordinary success with the public, the first triumph for Schoenberg in any of the major music halls of his native city." Reich: Schoenberg, pp. 66-69. (19968) $2,200.

On Musical Harmonics, the Tuning of Harpsichords and Organs, &c. 39. SMITH, Robert 1689-1768 Harmonics, or The Philosophy of Musical Sounds... The Second Edition, Much improved and augmented. London: T. and J. Merrill... 1759. Octavo. Contemporary mid-tan calf with raised bands on spine. xx, 280, [xiii] (index), [i] (blank) + xxviii folding plates. With 3 folding tables within text. Binding worn; upper detached; endpapers browned. Browning to edges of title; tear to lower outer blank margin of pp. 97/98 with no loss of text. Gregory Bartlett I p. 255. Wolffheim I 1026. RISM BVI p. 788.

Smith, an English mathematician, "was also a Fellow of the Royal Society and Plumian Professor of Astronomy... His work on acoustics is contained in Harmonics... [which] includes a table showing the rates of beating of tempered 5ths on the various notes of the scale calculated for a series of pitches of performance; the temperaments used are mean-tone and Smith's own system of equal harmony. It is significant that his approach to the problem of

tuning a keyboard instrument was through the judgment of the musician's ear... In several striking respects he anticipated Helmholtz..." Grove online. Besides treating the various aspects of musical harmonics, the work includes information on the tuning of harpsichords and organs, harmonic theory, singing, and brief commentary on the works of various historical theorists. (16102) $850. Attractive Signed Photograph of the American March King 40. SOUSA, John Philip 1854-1932 Original large vintage bust-length photograph, signed in full in black ink and dated 1914. 275 x 195 mm. Very slightly worn and silvered; affixed to mount. A highly attractive image overall. "Composer of the official national march of the United States, The Stars and Stripes Forever, Sousa, who was known as the March King, was the most important figure in the history of bands and band music." Grove online. (19046) $650.

16th Century Swedish Imprint 41. [SWEDISH MUSIC - 16th Century] Messan Pa Swensko, Forbattrat. Stockholm: Amund Laurentzson, 1557.

Small quarto. Full modern black morocco with raised bands on spine, printed paper title label. 56ff. With decorative and historiated initials throughout and occasional woodcut head- and tail-pieces. Title within wide woodcut border incorporating cherubs playing horns. Signature "B" in facsimile; two small wormholes to first two leaves; some leaves professionally restored; some dampstaining. With music on 16 pages (4 of which are in facsimile); the staff lines printed, the neumatic notation in manuscript. Early manuscript annotation dated 1637 laid down to front free endpaper: "This enchiridion [handbook] belongs to Orgryte (a small town near Goteborg) church, and as it was so badly worn, it was made slightly better 1637..." The British Library online catalogue records a copy of this edition and a copy of the edition of 1548. OCLC (no copies of the 1557 edition and only one copy of the 1548 edition). The National Library of Sweden lists a reprint edition only. (15038) $1,500.

First Edition of Viganos Ballet, La Vestale 42. VIGANO, Salvatore 1769-1821 La Vestale Gran Ballo Tragico invento e posto sulle scene del R. Teatro Alla Scala... Ridotto per Cembalo solo. Dall'editore Dedicato a Madamigella Eleonora de Seyfert. [Piano score]. Milan: Ricordi [PN] 469-473, [1818].

Oblong folio. 1f. (title), 47 pp. Engraved. Disbound. Pp. 15, 23 blank; some fading. A very good copy overall. First Edition. Scarce. A tragedy in five acts with the story and choreography by Vigano. First performed on June 9, 1818 at the Teatro all Scala, with music by Beethoven, Kinsky, Lichtenthal, Rossini, Spontini, Vigano, and Weigl. "In La Vestale, [the dancer] Pallerini created one of her most celebrated characterizations, Vigano had provided her with yet another role that transcended the division between pantomime and dance." International Encyclopedia of Dance 6, p. 339. (12267) $750.

First Edition of Wolfs Musikalischer Unterricht 43. WOLF, Ernst Wilhelm 1735-1792 Musikalischer Unterricht. Vom Ton; von den Tonleitern; von den Ton- und dissonirenden Tonen; denen daraus entstehenden Akkorden u.s.w.; von den Fortschreitungen der Tone und Akkorde; von ihren Ausweichungen, Auflosungen und den daraus entstehenden verschiedenen Kadenzen; vom Takt... vom Tempo; von der Melodie... vom Generalbass, und von der harmonischen Modulazion; vom Kontrapunkt... von der Nachahmung... von der Fuge... alles durch praktische Beyspiele erlautert; vom Ausdruk, und etwas von der Einrichtung musikalischer Tonstukke... Dresden: Hilscher, 1788. Folio. Contemporary marbled boards with oval green paper label to upper. [iv], 76 pp. Binding slightly worn and scuffed. Some occasional browning. With the early signature of Ferdinand Kessler to front endpaper. A very good copy overall. First Edition. Without the volume of musical examples. Gregory-Bartlett p. 293. Wolffheim I, 1113. RISM BVI p. 897.

Wolf recommends the works of C.P.E. Bach, Handel and Benda, and mentions other composers and writers, including Telemann, Graun, Corelli, Hasse and Marpurg. In his discussions of the fugue, the author singles out J.S. Bach as its master. Wolf, considered a leading figure at the Weimar court, wrote about 20 Singspiele and numerous pieces for the church and court... [His] writings on music were directed primarily at amateurs, although they were acclaimed even in specialist circles." Grove online (15188) $450.

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