51 résultats
184812803<b>Rarity. First Edition First Printing of the famous Wedding March. The orchestral score was first published July 1848 by Breitkopf & Hartel Leipzig Germany. No printed date as customary at that time. Vb M. on pp 3-177 engraved the Hochzeitmarsch WEDDING MARCH on p.137 P.n. 7774.P. 178 blank. GM and JF. FIRST PRINTING of the orchestral parts engraved and with plate number 7852 probably published the following month is at BOD. NO COPIES OF THIS AT AUCTION AS LISTED IN ABPC CD ROM. <br />This is the true First Edition of Mendelssohn's full orchestral score of A MIDSUMMER NIGHT'S DREAM. It includes the FIRST EDITION of the famous Wedding March that was played at the conclusion of the wedding between Theseus and Hyppolita. This has become the omnipresent music used in virtually ALL traditional Western wedding ceremonies. PROVENANCE L. Girard with his ink signature at head of the title page. Girard was teacher and composer of identical music in France during the second half of the 19th century. One of his noted works was in his Chant de La Paix For Four Male Voices. HobokenX Fuld 633. Krause X!! 6. TRULY RARE≥</b> Breitkopf & Hartel hardcover 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
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
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
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
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
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
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
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
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
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
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
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
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
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
185036199Leipzig: Breitkopf & Härtel PN 4980 1850. Folio. Unbound as issued. 1 title 2 blank 3-13 i publisher's catalogue; 9 i blank; 10; 8 pp. Engraved.<br/><br/>The first page of the first violin part page 3 contains the song "Ist es Wahr" for voice and piano; the violin part begins on page 4.<br/><br/>Wrappers slightly worn. Minor stain to title. Re-issue of the first edition of 1830. MWV R22. Wehner p. 276. Not in Hoboken. Krause 177.<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
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
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
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
185035152Leipzig: Breitkopf & Härtel PN 5543 1850. Octavo. Dark ivory cloth-backed marbled boards with titling gilt to spine. 1f. recto title verso blank 52 pp. Engraved.<br/><br/>With small publisher's and Theune Amsterdam to foot of title. <br/><br/>Binding slightly worn. Minor internal wear browning soiling and foxing; contemporary signature illegible to blank upper margin of title. First Edition later issue. Wehner MWV P 7 p. 244; SD 10 pp. 472-3. Krause 141. Ward Jones III 401. Hoboken 10 167 first issue. <br/><br/>Mendelssohn began work on the Hebrides overture in August 1829 while on the west coast of Scotland. There he visited the famous Fingal's Cave in the Inner Hebrides named after the mythological Gaelic hero Fingal largely a creation of Scottish poet James Macpherson. Mendelssohn revised portions of the overture numerous times including the title. It was first performed as The Isles of Fingal by the Philharmonic Society in London 14 May 1832. Although Mendelssohn finally settled on Die Hebriden as the title the first editions were published as Fingals-Höhle.<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 5543] unknown books
