Mendelssohn <Familie> - Gilbert, FelixAntiquariat.de
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197520317Tübingen : Mohr 1975. LII, 328 S. : 12 Abb; 24 cm + Beil. (2 Bl.), mit Schutzumschlag Lw., gebundene Ausgabe, Leinen, Exemplar in sehr gutem Erhaltungszustand, Neupreis in Euro: 59,--
viii + 344pp., "nouvelle édition", 19cm., br.orig. (charnières restaurées) protégée par papier cristal, peu de rousseurs, M83146
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
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
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
199359250Cambridge Massachusetts: Maurizio Martino-Publisher 1993. Hardcover. Near Fine. With a Descriptive Introduction by I.D. Colvin F.R.C.I. Two volumes. Tith twenty-six full-page illustrations reproducing valuable and rare engravings &c. Cambridge Massachusetts: Maurizio Martino-Publisher 1993. Facsimile reprint of the 1910 first edition limited to 175 copies. Octavo. Original burgundy cloth bindings with black and gilt titles. Issued without dust jackets. A near fine set. Maurizio Martino-Publisher hardcover 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
1776190450Frankfurt & Leipzig. : No publisher. 1776. Publisher’s plain wraps paper spine label with handwritten title. . . Very good untrimmed in the wraps. 8vo. 19.5x12 cm. . German text. Mendelssohn’s musing on the immortality of the soul. weight: 0.4 lb. Engraved frontis. No publisher. paperback 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
1975012395New York: Viking Press 1975. Book. Very good condition. Hardcover. First Edition. Octavo 8vo. xiv 210 pages of text including an index. Hardcover binding with minor shelfwear. Unclipped dustjacket with minor shelfwear and minor browning to the rear panel; protected in archival mylar. Edited and translated by Eva Jospe; Introduction by Alfred Jospe. Previous owner's bookplate neatly on the front endpaper. Text is clean and unmarked. Viking Press Hardcover books
19742796New York: Praeger 1974. First American. Cloth. Very Good. Praeger hardcover books
1976003911New York: Praeger Publishers 1976. 224p. b/w illus. dj. Praeger Publishers unknown books
14326NY SCRIBNER 1972. FIRST EDITION VERY GOOD. F. NY, SCRIBNER, 1972 unknown books
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
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
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
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
186036191Copenhague: Horneman & Erslev 1860. Folio. Disbound. 1 collective title listing within decorative lithographic border by Ch. M. Tegners 2-9 pp. Engraved. <br/><br/>Collective title lists 19 numbers by various composers.<br/><br/>Slightly browned and soiled. MWV U67.<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. Horneman & Erslev unknown books
184035290Vienne: Pietro Mechetti qm Carlo PN P.M. No. 2133 1840. Small folio. Disbound. 1f. recto title verso blank 3-11 pp. Engraved.<br/><br/>Disbound. Slightly worn and soiled; browning to edges; light scattered foxing. Second German edition. MWV U 67 p. 312. Published before the "Neue rechtmässige Original-Ausgabe" published in 1854 Krause 212. Ward Jones III 381. <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. Pietro Mechetti qm Carlo [PN P.M. No. 2133] 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
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
185536211Leipzig: Breitkopf & Härtel PNs 5668 5668a 1855. Folio. 1 title 2-31 i publisher's catalogue pp. Music engraved. <br/><br/>Disbound. Slightly worn soiled creased and stained; outer leaves detached. MWV SD11.<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 5668, 5668a] unknown books
187835280Leipzig: Breitkopf & Härtel PN M.B. 85 1878. RIETZ Julius 1812-1877 ed. Folio. Original publisher's gray wrappers with titling within decorative border. 1f. recto title verso blank 1f. contents 328 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 13. Oratorien. Partitur." From the Breitkopf edition of Mendelssohn's Complete Works No. 85. <br/><br/>From the library of composer Horace Middleton 1879-1961 with his small handstamp to upper wrapper and title. Small oval handstamp of Novello to upper wrapper and blank foot of title.<br/><br/>Wrappers rather worn; corner of upper lacking; lower detached. Occasional light foxing heavier to some leaves; edges somewhat soiled; some signatures split. Wehner MWV A 14 p. 19. <br/><br/>Paulus an oratorio to a libretto by Julius Schubring after Acts was first performed as part of the Niederrheinische Musikfest in Düsseldorf on 22 May 1836. Simrock printed the first edition of the piano-vocal score in December 1836 and the full score the following spring. <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/>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 M.B. 85] 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
