Liszt, Franz (ComposBiblio.com
1 219 résultats
19861-1458405923Schirmer 1986. Paperback. New. 162 pages. 12.00x9.00x0.36 inches. Schirmer paperback
201137634Deutsche Grammophon, 2011. 4779525 34 CD, 36 S. Booklet Box-Set
2009DADAXB00023B05EG. Henle Verlag 2009-01-01. English French and German. paperback. New. 10.63x0.16x12.01. Buy with confidence. Excellent Customer Service & Return policy. G. Henle Verlag paperback
1854722042.Gsheet_music. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. unknown
40-18031Shunjusha. Paperback. Good. Paperback songbook in good condition with minor spine tear and wear. Shunjusha paperback
241513Köln: Böhlau 2016. 672 S, 4 Abb. Br. *neuwertig*.
200234485ALaaber, Laaver-Verlag, 2002. Ca. 24,5 x 16,5 cm. 267 Seiten, mit Notenbeispielen. Illustrierter Original-Pappband.
367 S. Unschönes Exemplar: drchgehend wasserwellig.
50283Adef.1980.In-8,couv.avec bustes.BE.
1851578930Leipzig: Brockhaus 1851. Hardcover. Very Good. First edition. Thin octavo. 185 1 errata pp. Text in French. Contemporary quarter cloth and patterned paper over boards with paper label on spine. Folded sheet of music tipped-in at rear. Boards well rubbed a few marginal light pencil notes in text some modest foxing throughout but a pleasing very good copy of a rare first edition preceding by a year the German language edition published in Cologne. The first book by Liszt who wrote it in French and the first serious appraisal of Wagner before he was widely recognized. Brockhaus hardcover
1851W1410FLLeipzig: F.A.Brockhaus 1851. Red calf spine with gilt titling and rules and blindstamped rules. Red cloth covered boards and red patterned endpapers. Some wear and scuffing on spine. Original work in paper wraps is bound in in entirety. Wraps a little darkened and lower wrap has a small repair on top edge. A little foxing especially at rear. Errata page at rear is followed by fold outs of music sheets from each of the works. . First Edition. Half-Leather. Good/No Dust Jacket. 8vo - over 7¾" - 9¾" tall. Music. F.A.Brockhaus Hardcover books
192343963097284650<p>Лот из 13 редких ранних ÑоветÑких нотных изданий клаÑÑичеÑкой музыки. МоÑква Ленинград Киев: Музгиз / ГоÑиздат / Укрмузгиз 1923–1935. 1. Бородин Ð. П. ÐœÐ°Ð»ÐµÐ½ÑŒÐºÐ°Ñ Ñюита: â„– 1. "Ð’ монаÑтыре". — МоÑква: МузÑектор ГоÑиздата 1926. 2. ГлиÑÑ€ Ð . Ðœ. 12 детÑких Ð¿ÑŒÐµÑ Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾ Ñоч. 31 â„– 6. — МоÑква: Музгиз 1925. 3. Прокофьев С. С. Соната â„– 2 ре минор Ñоч. 14. — МоÑква-Ленинград: МузÑектор ГоÑиздата 1929. 4. ПахульÑкий Г. Ð. Два концертных Ñтюда Ñоч. 7 â„– 1. — МоÑква: Музгиз 1928. 5. ИноÑтранные фортепианные пьеÑÑ‹ ÑÐµÑ€Ð¸Ñ IV. Бруно Вандельт Ñоч. 12 â„– 1. — МоÑква-Ленинград: МузÑектор ГоÑиздата 1929. 6. ЛиÑÑ‚ Ф. Похоронное шеÑтвие Marche funèbre из цикла "ПоÑтичеÑкие и религиозные гармонии". — МоÑква: Музгиз 1935. 7. ЛиÑÑ‚ Ф. Тарантелла из цикла "Годы ÑтранÑтвий" Ð’ÐµÐ½ÐµÑ†Ð¸Ñ Ð¸ Ðеаполь. — МоÑква: Музгиз 1931. 8. ЛиÑÑ‚ Ф. Грёзы любви Liebestraum. Три ноктюрна. — МоÑква: Музгиз 1932. 9. Скарлатти Д. 60 Ñонат Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾. Под ред. Ð. Б. Гольденвейзера. Т. I â„–â„– 1–15. — МоÑква: Музгиз 1934. 10. Скарлатти Д. 60 Ñонат Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾. Под ред. Ð. Б. Гольденвейзера. Т. II â„–â„– 16–30. — МоÑква: Музгиз 1934. 11. Шуман Ð . КрейÑлериана Ñоч. 16. — МоÑква-Петроград: МузÑектор ГоÑиздата 1923. 12. ПедагогичеÑкий Ñборник фортепианных произведений. Вольф Ñоч. 44 â„– 2. "Короткий раÑÑказ". — МоÑква: Музгиз 1930. 13. Моцарт Ð’. Ð. Фортепианные произведениÑ. Соната â„– 1. — Киев: Укрмузгиз 1932.</p><p></p><p>Collection of 13 rare early Soviet classical music sheet music editions. Moscow Leningrad Kyiv: 1923–1935. 1. Alexander Borodin — Petite Suite: No. 1. "In a Monastery". — Moscow: Gosizdat 1926. 2. Reinhold Glière — 12 Children's Pieces Op. 31 No. 6. — Moscow: Muzgiz 1925. 3. Sergei Prokofiev — Sonata No. 2 in D minor Op. 14. — Moscow–Leningrad: Gosizdat 1929. 4. Henryk Pachulski — Two Concert Études Op. 7 No. 1. — Moscow: Muzgiz 1928. 5. Foreign Piano Pieces Series IV. Bruno Wandelt Op. 12 No. 1. — Moscow–Leningrad: Gosizdat 1929. 6. Franz Liszt — Funeral Procession Marche funèbre. — Moscow: Muzgiz 1935. 7. Franz Liszt — Tarantella Venice and Naples. — Moscow: Muzgiz 1931. 8. Franz Liszt — Three Nocturnes "Liebestraum". — Moscow: Muzgiz 1932. 9. Domenico Scarlatti — 60 Sonatas. Edited by A. Goldenweiser. Vol. I Nos. 1–15. — Moscow: Muzgiz 1934. 10. Domenico Scarlatti — 60 Sonatas. Edited by A. Goldenweiser. Vol. II Nos. 16–30. — Moscow: Muzgiz 1934. 11. Robert Schumann — Kreisleriana Op. 16. — Moscow–Petrograd: Gosizdat 1923. 12. Wolf — "Short Story" Op. 44 No. 2. — Moscow: Muzgiz 1930. 13. W. A. Mozart — Piano Sonata No. 1. — Kyiv: Ukrmuzgiz 1932. This extensive collection of thirteen scores represents a pivotal decade in Soviet music publishing documenting the transition from the experimental aesthetic of the 1920s to the monumentalism of the 1930s. The text provides a deep dive into the internal logic of Soviet piano pedagogy and performance including the arrangement of Sergei Prokofiev's modernist Sonata No. 2 1929 and the scholarly restoration of Scarlatti's sonatas under the editorship of the legendary Alexander Goldenweiser. These editions illustrate the state's massive effort to modernize the classical repertoire while preserving the heritage of the "Mighty Handful" as seen in Borodin's Petite Suite. The collection spans the vast geography of the early USSR featuring a rare 1932 Mozart edition from the Ukrainian State Music Publishing House in Kyiv and an early 1923 Schumann imprint from the Moscow-Petrograd period of Gosizdat. From the virtuosic Liszt transcriptions of the early 30s to the pedagogical works of Reinhold Glière these volumes reflect the evolution of book design from avant-garde linearity to a more sober classical Socialist Realist style. For bibliophiles musicologists and performers these thirteen imprints are vital primary sources that capture the intellectual and artistic spirit of the Soviet conservatory tradition during its most formative years.</p> Muzgiz, Gosizdat, and the Ukrainian State Music Publishing House paperback
190043963097219114St. Petersburg Moscow Paris Berlin Leipzig: P. Jurgenson A. Gutheil V. Bessel 1900. Paperback. Good. Collection of 14 rare pre-revolutionary and early Soviet sheet music editions. St. Petersburg Moscow Paris Berlin Leipzig: 1880s–1919. 1. Henryk Pachulski — Two Concert Études Op. 7 No. 2. Phantom. — Moscow–Leipzig: P. Jurgenson. 2. Leopold Godowsky — Renaissance. Vol. II Book 7 — Menuet by C. P. E. Schobert. — Berlin: Schlesinger 1906. 3. Camille Saint-Saëns — Bacchanale from "Samson et Dalila". — Paris: Durand & Fils. 4. Carl Lütschg — School of Études. Book 7. — St. Petersburg: V. Bessel & Co. ca. 1900–1910s. 5. Franz Liszt — Valse-Caprice after Schubert. — Moscow: A. Gutheil ca. 1900–1910s. 6. Franz Liszt — Grand Galop Chromatique Op. 12. — Moscow: A. Gutheil ca. 1900–1910s. 7. Franz Liszt — Valse-Impromptu. — St. Petersburg: A. Johansen ca. 1890–1910. 8. Camille Saint-Saëns — Romance sans paroles. — Moscow: A. Gutheil ca. 1900–1910. 9. Robert Schumann — Novelette in D major Op. 99 No. 9. / Ed. by Rubinstein & Balakireff. — Moscow: P. Jurgenson. 10. Robert Schumann — Aufschwung Op. 12 No. 2. / Ed. by Rubinstein & Balakireff. — Moscow: P. Jurgenson. 11. Frédéric Chopin — Two Nocturnes Op. 48. / Klindworth edition. — Moscow 1919. 12. V. Selivanov — A Little Joke Op. 3 No. 3. / Ed. by M. Pressman. — Moscow: P. Jurgenson ca. 1910–1920. 13. Frédéric Chopin — Polonaise in C minor Op. 40. — St. Petersburg: T. Stellowsky ca. 1880–1890s. 14. Frédéric Chopin — Polonaise Op. 71 No. 2. / Klindworth edition. — Moscow: P. Jurgenson ca. 1900–1915. This extensive collection of fourteen large folio editions represents the cosmopolitan heart of the European and Russian musical worlds at the turn of the century. The text provides a deep dive into the internal logic of the piano virtuoso tradition including the arrangement of Leopold Godowsky’s complex "Renaissance" transcriptions and Franz Liszt’s dazzling Grand Galop Chromatique. These scores document the high editorial standards of pre-revolutionary giants like P. Jurgenson and A. Gutheil as well as international prestige imprints like Durand Paris and Schlesinger Berlin. Notable highlights include scholarly editions of Schumann edited by the pillars of Russian music Anton Rubinstein and Mily Balakirev and an exceptionally rare 1919 Soviet-era Chopin printing from the very early nationalization period. The physical identity of these scores is marked by their large folio dimensions and original covers many featuring the elegant Art Nouveau and late-Victorian graphic design of the 1890s–1910s. The lot includes vital pedagogical materials used in the St. Petersburg Conservatory such as Carl Lütschg’s School of Études and virtuosic concert repertoire that once filled the imperial concert halls. From Stellowsky’s mid-Victorian Chopin imprint to the modern "Phantom" étude by Henryk Pachulski these volumes are essential primary sources for musicologists pianists and collectors. They preserve the exact musical texts and tactile presence of a lost era where Moscow and St. Petersburg stood as equal capitals alongside Paris and Berlin in the global dissemination of classical art. P. Jurgenson, A. Gutheil, V. Bessel paperback
192943963097841706Leningrad: Triton 1929. Paperback. Good. Лот из 5 редких нотных изданий Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾. Ленинград: Музыкальное издательÑтво «Тритон» 1929–1935. 1. И. С. Бах — БранденбургÑкие концерты: 1. Adagio из Концерта â„–1; 2. Andante из Концерта â„–2. / Переложение Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾ в 2 руки Ю. Ð. Тюлина; под ред. Ðœ. Ð’. Юдиной. — 1932. 2. И. С. Бах — ПрелюдиÑ. / ÐšÐ¾Ð½Ñ†ÐµÑ€Ñ‚Ð½Ð°Ñ Ñ‚Ñ€Ð°Ð½ÑÐºÑ€Ð¸Ð¿Ñ†Ð¸Ñ Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾ ÐлекÑандра Зилоти. — 1934. 3. И. С. Бах — Л. ГодовÑкий — Сарабанда. / Ð”Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾ Ñоло. — 1935. 4. Л. ГодовÑкий — РенеÑÑÐ°Ð½Ñ Renaissance. Рамо. ÐÐ»ÐµÐ³Ð¸Ñ â€” Лолли. Жига. — 1935. 5. Ференц ЛиÑÑ‚ — Паганини-Ñтюд â„–2 ми-бемоль мажор. — 1929. . Lot of 5 rare piano editions. Leningrad: Triton Publishing House 1929–1935. 1. J. S. Bach — Brandenburg Concertos: 1. Adagio from Concerto No. 1; 2. Andante from Concerto No. 2. / Arrangement for piano for two hands by Yu. N. Tyulin; edited by M. V. Yudina. — 1932. 2. J. S. Bach — Prelude. / Concert transcription for piano by Alexander Siloti. — 1934. 3. J. S. Bach / Godowsky — Sarabande. / For piano solo. — 1935. 4. Godowsky — Renaissance. Rameau. Elegy — Lolli. Gigue. — 1935. 5. Franz Liszt — Étude de Paganini No. 2 in E-flat major. — 1929. This extraordinary collection of sheet music from the legendary Leningrad cooperative publishing house Triton represents the pinnacle of Soviet piano culture and avant-garde editorial practice during the 1920s and 30s. The text provides a deep dive into the internal logic of the "Leningrad school" of performance including the arrangement of Bach’s orchestral works for the keyboard by Yuri Tyulin under the meticulous editorship of the great Maria Yudina. These editions reflect a period of intense artistic refinement where the boundary between Baroque tradition and Modernist interpretation was actively explored. Notably the lot includes transcriptions by Alexander Siloti—Liszt’s pupil and Rachmaninoff’s cousin—and the hyper-virtuosic "Renaissance" arrangements by Leopold Godowsky which were highly sought after by the elite conservatory circles of the era. The physical identity of these scores is defined by the distinctive often minimalist cover designs characteristic of the Triton imprint which operated as a private-public cooperative before its absorption into State control. From the 1929 Liszt Étude to the mid-30s Godowsky transcriptions these editions document the persistence of world-class pianism and international repertoire in Leningrad. The presence of Maria Yudina’s editorial hand and Siloti’s transcriptions makes this lot a vital primary source for musicologists studying the history of Russian piano performance and the dissemination of Western virtuoso traditions within the early Soviet state. For bibliophiles and collectors of rare musicalia these imprints are a testament to the high aesthetic and technical standards of Leningrad’s pre-war musical publishing. Triton paperback
190432061Mayence: 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. <br/><br/>Musicseller's handstamp to blank lower margin of title.<br/><br/>Slightly worn browned and soiled. A later edition. LW A159. Searle 160. Raabe 10/4. <br/><br/>Number 4 from the first year of the "Années de Pèlerinage. Schott [PN 13377.1] unknown books
185531566Paris: Benoit ainé PN B. et C.ie 51871 1855. MEYERBEER Giacomo 1791-1864. Folio. 1f. title 29 1 blank pp. Engraved.<br /> <br /> Plate numbers and imprint of Brandus from their first edition of 1850.<br /> <br /> From the collection of pianist Mario Feninger 1923-2016 with his handstamp "Ex Mario Feninger de Rogatis Libris" to foot of title. <br /> <br /> 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.<br /> <br /> 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
185531566Paris: Benoit ainé PN B. et C.ie 51871 1855. MEYERBEER Giacomo 1791-1864. Folio. 1f. title 29 1 blank pp. Engraved.<br/><br/>Plate numbers and imprint of Brandus from their first edition of 1850.<br/><br/>From the collection of pianist Mario Feninger 1923-2016 with his handstamp "Ex Mario Feninger de Rogatis Libris" to foot of title. <br/><br/>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.<br/><br/>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
185131564Leipzig: Breitkopf & Härtel PN 8271 1851. MENDELSSOHN Felix 1809-1847. Folio. Disbound. 1f. title 3-27 1 blank pp. Engraved.<br/><br/>Title detached and slightly foxed with publisher's and musicseller's handstamps to foot. First Edition. LW A166. Searle 410. Raabe 219. LC Catalog 114. <br/><br/>Liszt's paraphrase of Mendelssohn's incidental music to Midsummer Night's Dream includes the fairies' music and the famous wedding march. Breitkopf & Härtel [PN 8271] unknown books
186631560Paris: 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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. <br /> <br /> "A lucid and delicately laid-out scherzo of charming effect." Derek Watson: Liszt p. 201. S. Richault [PN 15383 R] unknown
186631560Paris: 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.<br/><br/>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.<br/><br/>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.<br/><br/>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. <br/><br/>"A lucid and delicately laid-out scherzo of charming effect." Derek Watson: Liszt p. 201. S. Richault [PN 15383 R] unknown books
186131545Leipzig: C. F. Kahnt PN 787 1861. Folio. 1f. title within decorative shield engraving 3-11 1 blank pp. Engraved.<br /> <br /> Contents: 1. Vor der Schlacht; 2. Nicht gezagt; 2. Es rufet Gott uns mahnend.<br /> <br /> Musicseller's handstamp to foot of title.<br /> <br /> 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.<br /> <br /> 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
186131545Leipzig: C. F. Kahnt PN 787 1861. Folio. 1f. title within decorative shield engraving 3-11 1 blank pp. Engraved.<br/><br/>Contents: 1. Vor der Schlacht; 2. Nicht gezagt; 2. Es rufet Gott uns mahnend.<br/><br/>Musicseller's handstamp to foot of title.<br/><br/>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.<br/><br/>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
184031569Braunschweig: G.M. Meyer PN 361 1840. SCHUBERT Franz 1797-1828. Folio. 1 title 2-19 1 blank pp. Engraved.<br /> <br /> Contents: <br /> - Erlkönig D 328<br /> - Sei mir gegrüsst D 741<br /> - Du bist die Ruh D 776<br /> - Auf dem Wasser zu singen D 774<br /> <br /> Musicseller's handstamp to foot of title.<br /> <br /> Slightly worn; very minor soiling offsetting and foxing throughout. An early edition. LW A42. Searle 558. Raabe 243. <br /> <br /> Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. <br /> <br /> "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
184031569Braunschweig: G.M. Meyer PN 361 1840. SCHUBERT Franz 1797-1828. Folio. 1 title 2-19 1 blank pp. Engraved.<br/><br/>Contents: <br/>- Erlkönig D 328<br/>- Sei mir gegrüsst D 741<br/>- Du bist die Ruh D 776<br/>- Auf dem Wasser zu singen D 774<br/><br/>Musicseller's handstamp to foot of title.<br/><br/>Slightly worn; very minor soiling offsetting and foxing throughout. An early edition. LW A42. Searle 558. Raabe 243. <br/><br/>Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. <br/><br/>"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
187531570Wien: Ant. Diabelli und Comp. Friedrich Schreiber PN F.S. 6541 1875. SCHUBERT Franz 1797-1828. Folio. 1 title 2-7 1 blank pp. Engraved.<br/> <br/>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. <br/><br/>Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. <br/><br/>"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
