1 712 résultats
183835281Bonn: N. Simrock PN 3441 1838. Folio. 21 pp. 4 parts of 4 pp. each title and price to Soprano I part. Engraved. Text in Latin and German. <br/><br/>SSAA with organ.<br/><br/>From the library of composer E.J. Biedermann 1849-1933 with his signature in pencil to head of score and each part; small oval handstamp of G. Schirmer to foot of title and each part.<br/><br/>Split at spine; minor creasing; edges slightly worn and cockled. First Edition later issue. Wehner MWV B 23 p. 51. Not in Krause. Ward Jones III 488 490. Hoboken 10 193.<br/><br/>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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. N. Simrock [PN 3441] unknown books
184936217London: J. Alfred Novello . 69 Dean Strt. Soho & 24 Poultry PN 550 1849. Folio. Unbound. 1f. recto title verso blank 41 i publisher's catalogue pp. Engraved throughout. With "Novello's Edition of the Works of Felix Mendelssohn Bartholdy Op. 42" printed to head of title.<br/><br/>Publisher's blindstamp to title dated "20 9 49" 20 September 1849.<br/><br/>Slightly worn; small edge tears; minor soiling to outer leaves; abrasion to final leaf with small hole; significant tear to pp. 5/6 with no loss. Scarce early edition. MWV A15.<br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. J. Alfred Novello ... 69, Dean Strt. Soho, & 24, Poultry [PN 550] unknown books
183918717Leipsic: Breitkopf & Härtel PNs 6022 6023 6024 1839. Folio. Unbound as issued. Engraved.<br/>I: 13 11 11 9 pp.<br/>II: 13 11 11 11 pp. <br/>III: 15 13 13 13 pp. <br/><br/>With fine decorative titles printed in sepia to each quartet. <br/><br/>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. Müller-Reuter I pp. 131-133. Hoboken 10: 201 202 203. <br/><br/>"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." <br/><br/>"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." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PNs 6022, 6023, 6024] unknown books
186635286Vienne: C.A. Spina PN P.M. No. 3604 1866. Small folio. 1f. recto title verso blank 3-15 i blank pp. Engraved.<br/><br/>Small oval handstamp of Beer & Schirmer New York to blank foot of title; small circular embossed stamp of Essex Institute to upper outer corner of first several leaves.<br/><br/>Disbound. Somewhat worn browned and foxed; plates quite worn resulting in poor impression; upper inner corners dampstained; first leaf detached; tears to title repaired with old tape. Spina re-issue from first edition plates. MWV U 156 p. 343. Krause 230. Not in Ward Jones. Hoboken 10 223 first edition.<br/><br/>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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. C.A. Spina [PN P.M. No. 3604] unknown books
187635158Leipzig: Breitkopf & Härtel PN M.B.114 Kl.A 1876. RIETZ Julius 1812-1877 ed. Folio. Modern mid-blue cloth-backed marbled boards with original publisher's light blue printed upper wrapper with titling within decorative border laid down to upper board titling to spine in black. 1f. title 62 pp. Engraved. Text in German.<br/><br/>In the series "Felix Mendelssohn Bartholdy's Werke. Kritisch durchgesehene Ausgabe von Julius Reitz. Mit Genehmigung der Originalverleger Serie 15. Grössere weltiche Gesangwerke. Klavier-Auszug." From the Breitkopf edition of Mendelssohn's Complete Works No. 114.<br/><br/>With small oval handstamp of Viennese musicseller Ludwig Doblinger and very small publisher's handstamp to foot of title.<br/><br/>Binding very slightly worn rubbed and bumped. Occasional light wear and foxing; gutter of title reinforced with narrow strip of paper tape. Wehner MWV M 12 p. 207.<br/><br/>Antigone was staged for the court at Potsdam in Berlin on 28 October 1841.<br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN M.B.114 Kl.A] unknown books
184336196Leipzig: Breitkopf & Härtel PN 6929 1843. Oblong folio. Disbound. 1 lithographic title within decorative floral border 2 blank 3-17 pp. Engraved. <br/><br/>Small oval publisher's stamp to lower margin of title; early signature in pencil to lower outer corner.<br/><br/>Slightly worn and soiled; trimmed; spine and inner margins of outer leaves reinforced with paper tape; publisher's stamp incomplete. First Edition. Published in the same year as editions in France and England with precedence unestablished. MWV SD26 K104 103 93 106 114 and 108. Hoboken 10 228 title illustrated on p. 117. Krause 122. <br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 6929] unknown books
184429801London: J.J. Ewer & Co 1844. Folio. Quarter dark blue leather with marbled boards paper label with titling in manuscript to upper. 1f. recto title verso blank 1 blank 2-88 pp. Engraved. With additional pagination to numbers 4/5 7 and 9. Text in English.<br/><br/>Binding quite worn; spine lacking; upper detached. Uniformly browned; title soiled torn and repaired. First Edition of this arrangement the overture is not included. Wehner M13 p. 210. Ward Jones: Catalogue of the Mendelssohn Papers in the Bodleian Library Oxford Vol. III 668. Not in Krause. J.J. Ewer & Co unknown books
184418508Bonn: N. Simrock PN 4343 1844. Folio. Disbound. 19 pp. Engraved. <br/>Lithographic title with decorative blue background and border. <br/><br/>Moderate foxing and browning. First Edition later issue. Fuld p. 525. Krause 231. Hoboken 10 237. Mendelssohn Papers III 444. <br/><br/>This volume of the Songs Without Words contains Mendelssohn's "Spring Song. N. Simrock [PN 4343] unknown books
185136203London: Messrs. Robert Cocks. & Co . PNs 9621-9626 1851. Oblong folio. Full 19th century teal blue cloth with publisher's yellow printed rectangular title label to upper. 1f. recto title verso blank 88 pp. Engraved with "Engraved by W. Davidson" printed to foot of final page.<br/><br/>Binding quite worn rubbed bumped and shaken; spine frayed; bookplate removed from front pastedown. Slightly worn browned and soiled; small hole to blank upper margin of title with manuscript date of 1937 and flourish beneath. Re-issue of the first edition published by Coventry & Hollier in 1845. MWV SD31 W56 57 58 59 60 61. Not in Mendelssohn Papers Vol. III. Wehner W56-61. OCLC one copy only in the U.S. at the Eastman School of Music and 3 copies in the U.K. <br/><br/>"Mendelssohn was one of the finest organists of his day . The Six Organ Sonatas op.65 1845 teeming with artful fugues and chorales summarize and epitomize Mendelssohn's rediscovery of Bach and may have inspired Schumann's six fugues on B-A-C-H op.60.<br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Messrs. Robert Cocks. & Co ... [PNs 9621-9626] unknown books
188035282Berlin: N. Simrock PN 4717 1880. EBERWEIN M.C. 1814-1875 arr. Folio. 35 pp. score 18 parts with imprint Bonn: N. Simrock PN 4710 8 Frs. 2 Thlr 4 Sgr. Engraved. Text in German.<br/><br/>From the library of composer E.J. Biedermann 1849-1933 with his signature in pencil to head of violin I part; small oval handstamp of G. Schirmer to all parts.<br/><br/>With performance letters in blue pencil to parts.<br/><br/>Score slightly worn; Violin I part quite worn; split and frayed at spine; other parts slightly worn. First Edition of this arrangement. Score is a re-issue following Simrock's move to Berlin; parts are an earlier issue. Wehner MWV D 6 p. 80. <br/><br/>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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online<br/><br/>Maximilian Carl Eberwein son of composer Franz Carl Eberwein was a noted pianist and pedagogue. His arrangement of the present work for full orchestra was first published in 1848. N. Simrock [PN 4717] unknown books
188035203Berlin: N. Simrock PN 4648 1880. Folio. Full black cloth with original publisher's light green printed wrapper with titling within decorative border laid down to upper board. 1f. recto title verso blank 3-207 i blank pp. Text in German.<br/><br/>Small circular handstamp of the Musik-schulen Kaiser Wien to wrapper title and several pages throughout.<br/><br/>Binding slightly worn rubbed and bumped; wrapper slightly trimmed and lightly foxed with several minor chips and abrasions to margins. Impression to title slightly light; title and final leaf reinforced with paper tape to gutter and outer edge. Light scattered foxing throughout. First German Edition later issue. Wehner MWV A 25 p. 35. Not in Krause. Ward Jones III 361 earlier issue. Hoboken 10 251 first issue.<br/><br/>Elias an oratorio to a libretto by Julius Schubring after Kings was first performed in Birmingham on 26 August 1846. Mendelssohn made major revisions to the work following this performance introducing the new and final version in London on 16 April 1847.<br/><br/>Mendelssohn distinguished himself in many fields and his contributions to sacred choral music are no exception. He was the most prominent advocate for the music of J.S. Bach reviving the St. Matthew Passion in 1829 and helped to reestablish the oratorio by providing two superb examples: St. Paul 1836 and Elijah 1846.<br/><br/>"Based largely on the account in 1 Kings Elijah relates the chief events in the prophet's life: the curse of the Lord and the seven-year drought Elijah's miraculous revival of the widow's son his confrontation with the Baal worshippers and the lifting of the drought his confrontation with Ahab and Jezebel his flight to the wilderness and encounter with the Lord and his journey to Mt Horeb and ascension to heaven in a flaming chariot. As in St Paul Mendelssohn employed chorales and relied heavily upon choral numbers; noteworthy is the sheer diversity of choruses . In contrast to St Paul Mendelssohn dispensed with the narrator allowing the characters themselves to deliver the dramatic action. Elijah diverges from St Paul too in its broadly conceived musical cohesiveness; in no other work did Mendelssohn concern himself with musical structure on such a large scale." R. Larry Todd in Grove Music Online. N. Simrock [PN 4648] unknown books
185136208Leipzig: Breitkopf & Härtel PN 7899 1851. RIETZ Julius 1812-1877 arr. Folio. Original publisher's brown wrappers with titling within decorative border. 1f. recto title verso blank 3-93 i blank pp. Engraved. Text in German and French.<br/><br/>Scharfenberg & Luis New York handstamp to blank lower margin of upper wrapper and again to lower margin of title along with publisher's stamp.<br/><br/>Wrappers quite worn and chipped; spine reinforced with tape. Slightly browned; edges of some leaves chipped. First Edition later issue. Wehner MWV M 16 p. 213. Krause 8. Ward Jones III 316. Not in Hoboken.<br/><br/>Mendelssohn composed his incidental music for a production of Jean Racine's Athalie 1691 commissioned by King Friedrich Wilhelm IV of Prussia. It was staged for the court at the Charlottenburg Palace in Berlin on 1 December 1845. <br/><br/>"Though little-known today the music for Athalie merits performance. Especially striking are Mendelssohn's paraphrases of chorales including Ach Gott vom Himmel sieh' darein and in a scene in which the high priest Joad describes a vision of the New Jerusalem Vom Himmel hoch.<br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 7899] unknown books
185135153Leipzig: Breitkopf & Härtel PN 7899 1851. RIETZ Julius 1812-1877 arr. Folio. Modern half brown morocco with marbled boards decorative cut paper label to upper with manuscript titling in dark red ink. 1f. recto title verso blank 3-93 i blank pp. Engraved. Text in German and French.<br/><br/>Small publisher's handstamp to blank lower margin of title.<br/><br/>Binding slightly worn and rubbed; hinges reinforced with narrow strip of black tape. Slightly browned; edges of title reinforced with archival tape. First Edition. Wehner MWV M 16 p. 213. Krause 8. Ward Jones III 316. Not in Hoboken.<br/><br/>Mendelssohn composed his incidental music for a production of Jean Racine's Athalie 1691 commissioned by King Friedrich Wilhelm IV of Prussia. It was staged for the court at the Charlottenburg Palace in Berlin on 1 December 1845. <br/><br/>"Though little-known today the music for Athalie merits performance. Especially striking are Mendelssohn's paraphrases of chorales including Ach Gott vom Himmel sieh' darein and in a scene in which the high priest Joad describes a vision of the New Jerusalem Vom Himmel hoch.<br/><br/>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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 7899] unknown books
185236207Leipzig: Breitkopf & Härtel PN 7884 1852. Folio. Original publisher's yellow wrappers. 1f. recto title verso blank 3-51 i blank pp. Engraved. Overture with plate number 7899 from the piano-vocal score. With publisher's catalog "Publications Nouvelles pour le Pianoforte" to verso of lower wrapper.<br/><br/>Wrappers somewhat worn soiled and split. Slightly worn and browned; occasional foxing. First Edition. Wehner MWV M 16 p. 213. Not in Krause Ward Jones or Hoboken. Scarce 1 copy only located in the U.S. at the Carnegie Library Pittsburgh<br/><br/>Mendelssohn composed his incidental music for a production of Jean Racine's Athalie 1691 commissioned by King Friedrich Wilhelm IV of Prussia. It was staged for the court at the Charlottenburg Palace in Berlin on 1 December 1845. <br/><br/>"Though little-known today the music for Athalie merits performance. Especially striking are Mendelssohn's paraphrases of chorales including Ach Gott vom Himmel sieh' darein and in a scene in which the high priest Joad describes a vision of the New Jerusalem Vom Himmel hoch.<br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 7884] unknown books
185235154Leipzig: Breitkopf & Härtel PN 7884 1852. Folio. Original publisher's light blue wrappers. 1f. recto title verso blank 3-51 i blank pp. Engraved. Vocal incipits in German and French. Overture with plate number 7899 from the piano-vocal score. With publisher's catalog "Felix Mendelssohn Bartholdy's grössere Gesang-Werke" to verso of lower wrapper.<br/><br/>Wrappers somewhat worn soiled and split. Slightly worn and browned; occasional foxing. First Edition later issue of this arrangement. Wehner MWV M 16 p. 213.<br/><br/>Mendelssohn composed his incidental music for a production of Jean Racine's Athalie 1691 commissioned by King Friedrich Wilhelm IV of Prussia. It was staged for the court at the Charlottenburg Palace in Berlin on 1 December 1845. <br/><br/>"Though little-known today the music for Athalie merits performance. Especially striking are Mendelssohn's paraphrases of chorales including Ach Gott vom Himmel sieh' darein and in a scene in which the high priest Joad describes a vision of the New Jerusalem Vom Himmel hoch.<br/><br/>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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 7884] unknown books
185236198Leipzig: Breitkopf & Härtel PN 7867 1852. Folio. Disbound. 1 title 2-7 i publisher's catalogue. Title and music engraved. With secondary pagination.<br/><br/>Small oval embossed stamp to upper margin of title with small oval publisher's handstamp to lower margin.<br/><br/>Spine and leaves reinforced with clear plastic tape; slightly worn and foxed; trimmed at inner margin. "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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 7867] unknown books
185035288London: Ewer & Co 1850. Folio. Disbound. 1f. recto title within decorative borderprinted in light red verso blank 13 i blank pp. Engraved.<br/><br/>Small embossed stamp of English musicseller Etherington to foot of title.<br/><br/>Minor offsetting. First English edition. MWV U 158 p. 344. Not in Krause or Hoboken. Ward Jones III 771.<br/><br/>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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Ewer & Co unknown books
185035287Leipzig: Breitkopf & Härtel PN 8228 1850. Folio. Original publisher's blue printed wrappers. 1 title 2-31 i blank pp. Engraved.<br/><br/>From the library of composer Horace Middleton 1879-1961 with his small handstamp to upper wrapper and title.<br/><br/>Wrappers somewhat worn and soiled; partially split at spine. Light thumbing throughout; small dampstain to upper blank margin.45. First Edition. MWV U 159 p. 344. Not in Krause or Ward Jones. Hoboken 10 273.<br/><br/>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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 8228] unknown books
187736206Leipzig: Breitkopf & Härtel PN 8335 1877. RIETZ Julius 1812-1877 ed. Folio. Original publisher's dark brown wrappers with titling within decorative border. 1 recto title verso blank 3-57 i blank pp. Engraved.<br/><br/>Wrappers slightly worn and soiled. Occasional light foxing; some leaves detached and frayed at edges. First Edition of this arrangement. Wehner MWV L 6 p. 196. Not in Krause Ward Jones or Hobokenb. Rare no copies located outside of Germany. <br/><br/>Heimkehr aus der Fremde to a libretto by Karl Klingemann was first performed privately in Berlin on 26 December 1829; its first public performance took place in Leipzig on 10 April 1851. <br/><br/>"Mendelssohn's deft command of orchestral colour is evident throughout the work and his ability to create charming effects with the simplest of means is impressive." Clive Brown in Grove Dictionary of Opera<br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 8335] unknown books
187735155Leipzig: Breitkopf & Härtel PN M.B.122 Kl.A 1877. RIETZ Julius 1812-1877 ed. Folio. Original publisher's full dark red cloth with titling gilt to upper within decorative blindstamped border titling gilt to spine; dark ivory endpapers. 1 title 2-83. i blank pp. Engraved. Text in German. With "Breitkopf & Härtels Musikbücher Nr. 181" to head of upper wrapper. <br/><br/>With Hungarian translation in ink along with marked cuts to No. 6. Terzett "O wie verschweig' ich."<br/><br/>In the series "Felix Mendelssohn Bartholdy's Werke. Kritisch durchgesehene Ausgabe von Julius Reitz. Mit Genehmigung der Originalverleger Serie 15. Grössere weltiche Gesangwerke. Klavier-Auszug." From the Breitkopf edition of Mendelssohn's Complete Works No. 122. <br/><br/>Together with:<br/>An invitation to the 1931 production of the opera from the Budapest Choral and Orchestra Association Ének- és Zenekaregyesűlet partially laid down to front free endpaper signed by István Eisler for the commissioning group and with his name in ink along with a date of December 1930 to upper outer corner and handstamp of Hungarian publisher/musicseller Rózsavölgyi és társa dated December 12 1930 to lower outer corner of endpaper.<br/><br/>Together with: <br/>Heimkehr aus dem Fremde. Leipzig: Breitkopf & Härtel 1885. Libretto. 16mo. Original publisher's light gray printed wrappers. 1f. recto title verso blank 12 2 pp. publisher's catalogue of piano-vocal scores and libretti with additional publisher's catalogue to verso of upper and recto and verso of lower wrapper. Later printing. Wehner MWV L 6 p. 196.<br/><br/>Heimkehr aus der Fremde a Liederspiel in 1 act to a libretto by Karl Klingemann was given a private premiere in Berlin on 26 December 1829. The first public performance took place in Leipzig on 10 April 1851. <br/><br/>"Mendelssohn's deft command of orchestral colour is evident throughout the work and his ability to create charming effects with the simplest of means is impressive." Clive Brown in Grove Dictionary of Opera<br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN M.B.122 Kl.A] unknown books
185135156Leipzig: Breitkopf & Härtel PN 8361 1851. Oblong folio. Original publisher's green printed wrappers with titling within decorative border. 1 title 2-55 i blank pp. Engraved. With publisher's catalog of works for piano 4-hands to verso of lower wrapper.<br/><br/>From the library of composer Horace Middleton 1879-1961 with his small handstamp to blank upper corner of title and page 3; small publisher's and Scharfenberg & Luis New York handstamps to foot of title.<br/><br/>Wrappers slightly worn and soiled; Scharfenberg & Luis handstamp to blank lower margin ofupper wrapper. Upper outer corners dampstained. First Edition of this arrangement. Wehner MWV N 16 p. 226. Not in Krause Ward Jones or Hoboken. Scarce.<br/><br/>Mendelssohn's "Italian" Symphony No. 4 Op. 90 was composed following the composer's visit to Italy and first performed in London on 13 May 1833. Mendelssohn revised the symphony in the following year but it remained unpublished at the time of his death. This leads to confusion surrounding the order of Mendelssohn's symphonies as both it and the "Reformation" Symphony No. 5 Op. 107 were composed and performed prior to Symphonies 2 and 3. The chronological order of Mendelssohn's symphonies is as follows:<br/><br/>- Symphony No. 1 Op. 11 1824<br/>- Symphony No. 5 Op. 107 "Reformation" 1830<br/>- Symphony No. 4 Op. 90 "Italian" 1833<br/>- Symphony No. 2 Op. 52 "Lobgesang" 1840<br/>- Symphony No. 3 Op. 56 "Scottish" 1842 <br/><br/>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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online<br/><br/>Horace Middleton was a British-born musician who served on the faculty of Bennett College from 1919 to the mid-1930s. He was best known for the music he composed for the Greek plays performed at the college. See obituary Millbrook Round Table November 23 1961. Breitkopf & Härtel [PN 8361] unknown books
185126616Leipzig: Breitkopf & Härtel PN 8347 1851. Octavo. Early half dark red calf with marbled boards spine in gilt-ruled compartments with titling gilt. 1f. title 193 i blank pp. Engraved.<br/><br/>Publisher's handstamp to lower margin of title; ownership signature in black ink of Florence Bertha Thomas dated February 1863 or 1868 to front free endpaper; two additional dates in the same hand to front pastedown possibly referring to performance dates. <br/><br/>Binding rubbed; lower portion of upper hinge slightly cracked. Occasional very light foxing. First Edition of the "Italian" Symphony. Hoboken 10 no. 284. Catalog of the Mendelssohn Papers in the Bodleian Library Oxford III no. 734. Felix Mendelssohn Bartholdy Leipzig catalog no. 152. Wehner MWV pp. 225-226 no. 16. Muller-Reuter I p. 73. Fuld p. 556.<br/><br/>Mendelssohn finished his "Italian" Symphony in Berlin on March 13 1833 conducting its first performance in London on May 13 1833 at a London Philharmonic Society concert. The first edition of the full score was not published until after the composer's death. Breitkopf & Härtel [PN] 8347 unknown books
30834Oblong folio. Full 19th century mid-brown cloth with "Mendelssohn Bartholdy I." gilt to upper within decorative blindstamped borders.<br/><br/>- Sechs Gesänge mit Begleitung des Pianoforte . Op. 19a Pr. 20 Ngr. Leipzig: Breitkopf & Härtel PN 5281 after 1841. 1 lithographic titlie within decorative border 2 blank 3-15 pp. Engraved. With occasional markings in pencil and red crayon. Small oval publisher's handstamp to foot of title. Slight soiling and browning to title. First Edition later issue. Wehner SD6. Hoboken 10 147. Krause 116. <br/><br/>- Sechs Gesänge . Fräulein Julie Jeanrenand zugeeignet . Op. 34. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel PN 5783 after 1841. 1 lithographic title within decorative border 2 blank 3-15 pp. Engraved. Minor soiling; small marginal tear to pp. 13/14. First Edition later issue. Wehner SD13. Not in Hoboken. Krause 118. <br/><br/>- Sechs Lieder . Frau Constanze Schleinitz zugeeignet . Op. 47. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel PN 6210 after 1841. 1 lithographic title within decorative border 2-15 pp. Engraved. Minor thumbing to lower outer corners. First Edition later issue. Wehner SD20. Not in Hoboken. Krause 120. <br/><br/>- Sechs Lieder . Frau Livia Frece zugeeignet . Op 57. Pr. 25 Ngr. Leipzig: Breitopf & Härtel PN 6929 1843. 1 lithographic title within decorative green floral border 2 blank 3-17 pp. Engraved. First Edition. Wehner SD26. Hoboken 10 228 and illustration no. 18. Krause 122. <br/><br/>- Sechs Lieder . Op. 71. Pr. 25 Ngr. Leipzig: Breitkopf & Härtel PN 7736 1847. 1 lithographic title within decorative border 2 blank 3-15 pp. Engraved. First Edition. Wehner SD35. Hoboken 10 254. Krause 49. <br/><br/>- Lieder und Gesänge mit Begleitung des Pianoforte. Leipzig: Breitkopf & Härtel PNs 8302 8319 8527 e.1-2 8527 ca. 1852. Group of 15 separately published lied each with series title listing a total of 45 lieder. 15; 15; 3; 15 pp. Engraved. <br/>No.<br/>31. Da lieg'ich unter den Bäumen Op. 84<br/>32. Herbstlied. Im Walde rauschen dürre Blätter<br/>33. Jaglied. Mit lust thät ich ausreiten<br/>34. Es lauschte das Laub von C. Klingemann. Es lauschte das Laub so dunkelgrün<br/>35. Orgenlied. Erwacht in neuer Stärke<br/>36. Die Liebende schreibt von Goethe. Ein Blick von deinen Augen<br/>37. Allnächtlich im Traume seh ich Dich von H. Heine<br/>38. Der Mond von Geibel. Mein Herz ist wie die dunkle Nacht<br/>39. Altdeutsches Frühlingslied von Spee. Dertrübe Winter ist vorbei<br/>40. Erster Verlust von Goethe. Ach wer bringt die schönen Tage<br/>41. Die Sterne schau'n von Graf von Schlippenbach Die Sterne schau'n in stiller Nacht<br/>42. Lieblingsplätzchen aus des Knaben Wunderhorn Wisst ihr wo ich gerne weil<br/>43. Das Schifflein von Uhland. Ein Schifflein ziehet leise<br/>44. Wenn sich zwei Herzen scheiden von Geibel<br/>45. Es weiss und räth es doch Keines von Eichendorff<br/><br/>Binding slightly worn and frayed; slightly shaken; spine splitting with minor loss to head and tail of spine; hinges partially split. Minor internal wear and soiling. In very good condition overall. unknown books
185036216Bonn . Londres . Paris: N. Simrock . J.J Novello . M. Schlesinger PN 3041 1850. 1 title 2 blank 3-17 i blank pp. Lithographed. First German edition later variant issue.<br/><br/>With:<br/>- Op. 30. Sechs Lieder . componirt und Fräulein Elise von Woringen zugeeignet . Op. 30. IItes. Heft Pr. 3 Frs - 24 Sgr. Bonn . London . Paris: N. Simrock . N. Mori . M. Schlesinger PN 3205 ca. 1845. 1 title 2-3 blank 4-17 i blank pp. Engraved. First Edition later issue. Hoboken 10 177. <br/><br/>- Op 38. Sechs Lieder . componirt Fräulein Rosa von Woringen zugeeignet . Op. 38. IIItes. Heft Preis 3 Frs. - 24 Sgr. Bonn: N. Simrock PN 3383 ca. 1850-60. 1 title 2 blank 3-19 i blank pp. Later edition. <br/><br/>- Op. 53. Sechs Lieder . componirt und Fräulein Sophÿ Horsleÿ zugeeignet . Op. 53. IVtes. Heft Preis 4 Frs. Bonn: N. Simrock PN 3935 ca. 1860. 1 title 2 blank 3-21 i blank pp. <br/><br/>- Op. 62. Sechs Lieder . componirt und Frau Dr. Clara Schumann geb. Wieck zugeeignet . Op. 62. Vtes. Heft Preis 3 Frs 50c. Bonn: N. Simrock PN 4343 ca. 1850. 1 title 2-3 blank 4-19 i blank pp. Engraved. <br/><br/>- Op. 67. Sechs Lieder . componirt und Fräulein Sophie Rosen zugeeignet . Op. 67. VItes. Heft Preis 3 Frs 50c. Bonn: N. Simrock PN 4478 ca. 1860. <br/><br/>6 volumes. Folio. Titles printed on blue ground within decorative blue border. <br/><br/>Handstamp of 19th century New York musicseller Scharfenberg to foot of titles of all but one volume. <br/><br/>Disbound; spines reinforced with tape. Slightly worn; moderate browning and foxing throughout. "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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. N. Simrock ... J.J Novello ... M. Schlesinger [PN 3041] unknown books
184136202Leipzig: Breitkopf & Härtel PNs 5542 5543 5544 1841. 1f. recto lithographic title verso blank 78; 1f. recto lithographic title verso blank 52 pp.; 1f. recto lithographic title verso blank 66 pp. Music engraved throughout. <br/><br/>First Editions later issues of all three works. MWV P3 op. 21; MWV P7 op. 26; MWV P5 op. 27. Krause 135 143 146. Hoboken first issues only. <br/><br/>Bound with: <br/>Op. 32. Ouverture zum Märchen von der schönen Melusine . Partitur . Pr. 1 Rthlr. 20 Ngr. Leipzig: Breigkopf & Härtel PN 5688 ca. 1857. 1f. recto title verso blank 72 pp. Engraved. First Edition later issue. Hoboken 10 181. Krause 149. <br/><br/>Bound with:<br/>Op. 95. Ouverture zu Ruy Blas für grosses Orchester . Op. 95. Pr. 2 Thlr. Partitur No. 24 der nachgelassen Werke. Leipzig: Fr. Kistner PN 1837 1851-52. 1f. recto title verso blank 64 pp. Engraved. First Edition. Hoboken 10 290. Krause 153. <br/><br/>19th century mid-tan morocco-backed dark brown textured paper boards raised bands on spine with titling gilt marbled edges light blue endpapers narrow blue silk ribbon marker. <br/><br/>Binding slightly worn rubbed and bumped. Minor internal wear. An attractive copy of all five of Mendelssohn's concert overtures. <br/><br/>"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.<br/><br/>Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PNs 5542, 5543, 5544] unknown books
