79 résultats
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
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
18921149626Breslau: Wilh. Jacobsohn & Co 1892. Neue Titelauflage. VG/no DJ Octavo in red cloth over boards with Victorian filigree and borders gilt lettering on spine. Ex libris name stamp on verso of portrait page. Minor shelf wear and bumping; text clean; 602 pp. Small florette wallpaper endpapers. Spider marbling on edges of text block. In exceptional condition. ---TEXT IN GERMAN. <p>Shelved upstairs in shelves near copier. 1149626. Rockville Non-Retail Listings. Wilh. Jacobsohn & Co 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
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
199354194Cambridge: Maurizio Martino - Publisher 1993. cloth. South Africa. thick 8vo. cloth. lxxii1008; viii1139 pages. 2 volumes. Reprint of the 1910 first edition. Besterman p.179 This reprint was limited to 175 sets. 10000 entries given in this unsurpassed bibliography of all books in all languages on South Africa and masterpiece of scholarship and research. Maurizio Martino - Publisher 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
1910107695London: Kegan Paul Trench Trübner & Co 1910. blue cloth top edges gilt. South Africa. thick small 4to. blue cloth top edges gilt. lxxii1008; viii1139 pages. 2 volumes. First edition. Besterman p.179. 10000 entries given in this unsurpassed bibliography of all books in all languages on South Africa. A masterpiece of scholarship and research. Ex library copy with markings including the library name perforated on the title page. Wear at spine ends. Shaken. Kegan Paul, Trench, Trübner & Co 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
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
1957103903London: The Holland Press / Arco Publications 1957. cloth dust jackets. South Africa. thick 8vo. cloth dust jackets. lxxii1008; viii1139 pages. 2 volumes. Reprint of the 1911 first edition. Besterman p.179 This reprint was limited to 500 sets. A masterpiece of scholarship and research there are 10000 entries given in this unsurpassed bibliography of all books in all languages on South Africa. Jackets worn; tape marks on corners of free endpapers. The Holland Press / Arco Publications unknown books
17876593Bern: in der Hallerschen Buchandlung 1787. Soft cover. Good. 8vo 152 x 95mm. 60pp. Modern wrappers margins trimmed close occasional spots lightly browned; front wrap loose but present. A satire on the Berlin academy written jointly by Lessing and Moses Mendelssohn criticizing the philosophical system of Alexander Popeís Essay on Man 1733-1734. Lessing German writer critic and dramatist was one of the most outstanding representatives of the Enlightenment era. His plays and theoretical writings often witty and ironic substantially influenced the development of German literature. In 1755 the collaborative work of Lessing and his friend philosopher Moses Mendelssohn anonymously appeared in the form of this provocative treatise Pope ein Metaphysiker! Pope as a Metaphysician. The controversial treatise dissected the subject of a contest at the Prussian Royal Academy. The two friends wrote it to confirm that there cannot be a true comparison between a poetic and a philosophic conception. <br/><br/> Bern: in der Hallerschen Buchandlung paperback books
184433410Roma: Litografia Martelli 1844. CAPRANICA Domenico 1792-1870 translator. Folio. Original publisher's boards with title within decorative border. 1f. title within decorative border 1 blank 2-116 96 pp. Text in Italian. Lithographed.<br/><br/>With price printed to upper board "Prezzo Sc. 6 50." and with "A. Gualtieri inc." and "so trovano presso A. Tosi al Corso 139 e 140" to foot of title.<br/><br/>Binding worn and soiled with significant defects to upper; endpapers somewhat soiled and foxed. Interior clean and crisp with only minor soiling to some edges and blank margins. Printed on quality paper resulting in a strong and clear impression. First Italian edition. MWV A14. Ward Jones III 149. Gaspari III p. 14. Rare 1 copy located outside of Italy at Oxford. <br/><br/>Paulus an oratorio to a libretto by Julius Schubring after Acts was premiered as part of the Niederrheinische Musikfest in Düsseldorf 22 May 1836.<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/>"From Bach's Passions and Handel's oratorios Mendelssohn borrowed the use of the traditional narrator to relate in recitatives the dramatic action of the work. Conspicuously Bachian are the chorales interspersed throughout the oratorio to demarcate the principal structural divisions diffusing according to Carl Klingemann 'a calmness through the whole'. On the other hand a debt to Handel is revealed in the rich variety of the choruses which include several that directly engage in the dramatic action and several cast in a variety of fugal styles. Prefacing the oratorio is an overture that evokes Paul's struggle for spiritual awakening by means of the chorale Wachet auf and a dissonant fugue with its subject derived from the first strain of the chorale." R. Larry Todd in Grove Music Online.<br/><br/>An interesting example of Italian music lithography of the time. Litografia Martelli 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
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
1955144440Paris: Filmsonor 1955. Collection of 17 original single weight still photographs from the 1955 French-West German film. Starring actress Hold is seen in heated embrace and anxiously gazing off-camera with portraits of Isabelle Pia and Hold and images of Vidal and Vaneck together. Mimeo snipe on the verso of a small Hold portrait and on the verso of eight are numerical annotations in holograph pencil and pictured actors' names and film title in holograph ink and a few with a rubberstamp crediting director film title and starring actors. <br/><br/>One photo shown. Please inquire for others.<br/><br/>Based on Mendelssohn's 1935 novel "Douloureuse Arcadie." Shot in both French and German versions each with a different cast except Hold in the lead role. Vincent Loringer is attending a Bavarian boarding school where he meets mysterious ghostly Marianne. Director Duvivier's others include "Pépé le Moko" 1937 "Maria Chapdelaine" 1934 and "Panique" 1946<br/><br/>Set in Bavaria shot there on location. <br/><br/>Photos range from 3.25 x 4.5 inches to 7 x 9.5 inches several with small white borders. Very Good plus light curling and a few faint creases. Filmsonor 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
196827782London: The Holland Press 1968. Finely printed and bound Holland Press reprint of the 1910 edition ltd to 350 copies. This is the definitive annotated account of South Africana. Each volume is 4to and about 1000 fairly densely set pages. Plates. The Holland Press unknown books
183326802Bonn: N. Simrock PN 3041 1833. Folio. Disbound. 1 title 2-17 i blank pp. Engraved. <br/><br/>With overpaste of Magazyn van Muziek en Instrumenten von L. Plattner Rotterdam.<br/><br/>Signature "B. P. Manus" to upper right corner of title. Occasional fingering in pencil.<br/><br/>Slightly soiled and browned; minimally foxed; spine frayed; small stains to title; stain to lower margin of final blank page; signature very slightly trimmed. First German edition first issue. Rare. Wehner Sammeldruck 5 individual pieces listed as U86 U80 U89 U73 U90 U78. Not in the Catalogue of the Mendelssohn Papers in the Bodleian Library Vol. III. The first edition was published by Novello in London in 1832.<br/><br/>Two collections of works by Felix Mendelssohn-Bartholdy were published with this opus number by different publishers: the present Lieder ohne Worte and six songs published in Leipzig by Breitkopf & Härtel in 1833. Beginning with the complete edition by Rietz 1874-1877 scholarship has assigned "op. 19a" to the songs and "op. 19b" to the Lieder ohne Worte contradicting chronology. N. Simrock [PN 3041] unknown books
183028108Leipsic: Breitkopf & Härtel PN 4980 1830. Folio. Disbound. Violino 1: 1f. title 3 "Thema": song op. 9 no. 1 for voice and piano 4-13 i blank pp.; Violino 2: 9 i blank pp.; Viola: 10 pp.; Violoncello: 8 pp. Title lithographed; music engraved. <br/><br/>Somewhat soiled and foxed; dampstained and with binder's holes to inner margin; contemporary signature "Lemke" in ink trimmed and "2" in manuscript at upper right corner of title; "F. Mendelssohn" in ink in another hand to upper right corner of first page of each part. First Edition. MWV R22 p. 276. Hoboken 10 132 spelled "Quator" and with publisher's handstamp to title. <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/>". Between 1827 and 1847 he 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. 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." R. Larry Todd in Grove Music Online. Breitkopf & Härtel [PN 4980] unknown books
183329636Bonn: N. Simrock PN 3045 1833. Folio. Unbound. <br/><br/>Violino 1mo: 1 title 2-13 i blank<br/>Violino 2do: 11 i blank<br/>Viola 1ma: 11 i blank<br/>Viola 2da: 11 i blank<br/>Violoncello: 11 i blank pp. <br/><br/>Engraved throughout. <br/><br/>Slightly worn and browned; binder's hole to upper inner margin; early manuscript initial "A" and the number "5" to first page of music of each part. First Edition. Scarce. Wehner p. 275. Catalogue of the Mendelssohn papers III 634. Hoboken 10 144. <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/>"Of the two string quintets the first op. 18 in A begins with a graceful Mozartian theme somewhat reminiscent of the Clarinet Quintet K581. The use of fugal writing and in the original minuet intricate double canons imbued the first version of this work with a severely academic quality; in 1832 Mendelssohn replaced the minuet with the emotionally charged Intermezzo in memory of Eduard Ritez." R. Larry Todd in Grove Music Online. N. Simrock [PN 3045] unknown books
183018718Leipzig Paris: Frédéric Hofmeister Simon Richault PN 1515 1830. Folio. Unbound as issued. 9; 9; 9; 7 pp. Engraved. Title to viola part. <br/><br/>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. <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/>" . Between 1827 and 1847 he 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 . " R. Larry Todd in Grove Music Online. Frédéric Hofmeister, Simon Richault [PN] 1515 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
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
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
