Bartholdy, Felix MendelssohnBiblio.com
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185053927two pieces composed by Mendelssohn the first is 171 pages and adapted into English by William Ball second piece is 111 pages title page included for each Published by J. Alfred Novello hardcover
187731871Paris: S. Richault; Au Ménestrel; Colombier; Maison G. Flaxland 1877. Hardcover. g. Folio. Half calf over marbled paper covered boards with gold lettering on spines. Remarkable collection of 8 musical scores from some of the most acclaimed composers of the 18th and 19th centuries. Each volume contains the musical score for each of the instruments featured in the various Quatuors First volume: Piano; Second volume: Violin; Third volume: Alto; Fourth volume: Cello. Moderate rubbing along edges of binding and on spines. Minor and sporadic foxing throughout. Title pages in French. Bindings in overall good- to good interior in good to very good condition. S. Richault; Au Ménestrel; Colombier; Maison G. Flaxland hardcover
1842219654Verlag des Bibliographischen Instituts Hildburghausen und Amsterdam 1842. Hardcover mit Leinenrücken und -ecken ohne Schutzumschlag Eine Anthologie in 100 Bänden Zustand: Exemplare einer Privatbibliothek mit Kennungen. Rücken Ecken Kanten sehr gut. Innen leicht braunfleckig. Geruchsfrei. Verlag des Bibliographischen Instituts, Hildburghausen und Amsterdam, hardcover
18607462616 pieces including Rossini's Overture to Il Tancredi duet; Belisario Grand Duet for Piano Forte; My Lodging is on the Cold Ground; Half Hours with the Best Composers- Meyerbeer and Mendelssohn; A Midsummer Night's Dream by Mendelssohn; Twelve sets of Brilliant Waltzes by Strauss set 3 and 5; Sur le Lac Barcarole by Ascher; Mabel by Godfrey; Air with variations by Cutler; Oesten's Souvenir de Norma Published by Boosey & Sons; Metzler & Co; Chappell; Addison; R. Cocks & Co hardcover
185035287Leipzig: Breitkopf & Härtel PN 8228 1850. Folio. Original publisher's blue printed wrappers. 1 title 2-31 i blank pp. Engraved.<br /> <br /> Provenance<br /> 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. First Edition. MWV U159 p. 344. Hoboken 10 273. Not in Krause or the Catalogue of the Mendelssohn Papers in the Bodleian Library. <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 /> Middleton a British-born composer 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 there. See his obituary Millbrook Round Table November 23 1961. Breitkopf & Härtel [PN 8228] unknown
185035288London: Ewer & Co 1850. Folio. Disbound. 1f. recto title within decorative borderprinted in light red verso blank 13 i blank pp. Engraved.<br /> <br /> Small embossed stamp of English musicseller Etherington to foot of title.<br /> <br /> Minor offsetting. First English edition. MWV U158 p. 344. Catalogue of the Mendelssohn Papers in the Bodleian Library III 771. Not in Krause or Hoboken.<br /> <br /> One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber.<br /> <br /> Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. Ewer & Co unknown
1890131398Paris: Simrock 1890. Hardcover. Good. Good hardcover. 3/4 leather. Some pencil writing on some pages and little ink writing on a page. Stamp on title page. Hinge cracked. Corners rubbed. Spine worn and chipped. Yellow stain on bottom edges of pages. Simrock hardcover
187832680B. G. Teubner. 1878. Hardcover. Good in No Dust Jacket dust jacket. Books have been sturdily rebound in blue boards interleaved with blank pages. Scholar's bookplates to inner covers Moses Hadas. Some ink notes to blank pages Hadas . Gilt lettering to spines. Light edgewear boards. Vol. 2 has 4 cm tear along joint of spine cover. Pages a bit browned.; Text in Ancient Greek; Preface in Latin. 1879-1881; Bibliotheca Scriptorum Graecorum Et Romanorum Teubneriana TEUBNER; 1-2; 12mo 7" - 7½" tall; 1227 pages . B. G. Teubner hardcover
18799533891Lipsiae in Aedibus B. G. Teubneri 1879. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Book contains pencil markings. In fair condition suitable as a study copy. Size: Octavo. Brown cloth. Spine has gilt lettering and design and heavy colour fading. Shelfwear to the top and bottom of the spine with some minor damage to the top. Bumped corners. Flexi covers. Book is cocked. Slight foxing. Text is clear. Please note the Image in this listing is a stock photo and may not match the covers of the actual item900grams ISBN: Lipsiae in Aedibus B. G. Teubneri hardcover
19007794B. G. Teubner. 1900. Hardcover. Very Good. Fraying to spine ends. Pages tanned. Bookseller's tiny stamp to back endpaper. Faint crack to inner hinge.; Preface in Latin; text in Greek. The so-called Letter of Aristeas or Letter to Philocrates is a Hellenistic work of the 2nd century BCE one of the Pseudepigrapha. Josephus who paraphrases about two-fifths of the letter ascribes it to Aristeas and written to Philocrates describing the Greek translation of the Hebrew Law by seventy-two interpreters sent into Egypt from Jerusalem at the request of the librarian of Alexandria resulting in the Septuagint translation. Though some have argued that its story of the creation of the Greek translation of the Hebrew Bible is fictitious it is the earliest text to mention the Library of Alexandria.; Bibliotheca Scriptorum Graecorum Et Romanorum Teubneriana TEUBNER; 229 pages . B. G. Teubner hardcover
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
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. MWV M16 p. 213. Scarce 1 copy only located in the U.S. at the Carnegie Library Pittsburgh. Not in Krause Catalogue of the Mendelssohn Papers in the Bodleian Library or 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 7884] unknown
185136208Leipzig: Breitkopf & Härtel PN 7899 1851. 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. MWV M16 p. 213. Krause 8. Catalogue of the Mendelssohn Papers in the Bodleian Library 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
184227882Soho London: Oct 22 1842. 1842. Good. - sc Small quarto approximately 10 inches high by 8 inches wide. 57 words penned in black ink on a sheet of cream stock. signed "Yours faithfully / J Alfred Novello". With the recipient's name and address penned on the verso. The letter is lightly creased & soiled with a light stain in the blank space to the left of the signature; There is a tiny chip to the top edge. Remnants of gray paper adhere to a strip of mounting tape on the verso where the letter has been removed from an album. Folded 4 times for mailing. Good. <p>Novello writes to "French Esq. / Her Majesty's Chapel Royal / Windsor": "A friend of mine offered me the accompanying 2 vols for 16/- they are not in my way but I thought they might suit you for your autographs - If you like them send me a post office order as the money wd. be acceptable to the party who wants to sell them if not return them to me".<p>Joseph Alfred Novello was the son of well-known organist and composer Vincent Novello and like his father devoted himself to the propagation of good music in England. As a friend and admirer of Felix Mendelssohn he was particularly eager to introduce that composer's work to English audiences. Some years after establishing himself at the age of nineteen as a music publisher in London he invented a system for printing cheap music and succeeded in introducing it in spite of the opposition of his fellow music-sellers. He was active and effective in promoting the progess of the arts science and social betterment. Soho [London]: Oct 22, 1842. unknown
188284811Leipzig : Hermann Mendelssohn 1882. Neunte Auflage. Hardback. Near fine copy in the original gilt-blocked blind-bordered cloth. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains particularly well-preserved overall; tight bright clean and strong. ; 373 pages; Description: p. 373. Subjects: Letters - Correspondence - Felix Mendelssohn Bartholdn & Paul Medelssohn Bartholdn. Leipzig : Hermann Mendelssohn hardcover
18682101070021Leipzig: Vogel 1868. First Edition. Hardcover. Very Good. 19th Century German History 2 volumes. Bound in publisher's blind-tooled navy cloth with gilt lettering. Contemporary patterned end sheets. Hardcover. Good binding and cover. "Als langjahriger Vertrauter des Fürsten Metternich war Gentz in alle Geheimnisse der auswartigen und inneren Politik Oesterreichs eingeweiht. Er war aber nicht dazu angethan um diese Geheimnisse in seinem Busen zu verschliessen". Vogel hardcover
1864303228Leipzig: Hermann Mendelssohn 1864. Fourth Edition. Hardcover. Near fine copy in the original gilt-blocked pictorial cloth. Slightest suggestion only of dust-dulling to the spine bands and panel edges. Remains particularly well-preserved overall; tight bright clean and strong. Physical description; 527 pages. Subjects; Felix Mendelssohn Bartholdn. Leipzig: Hermann Mendelssohn hardcover
186373740Leipzig: Mendelssohn 1863. Gebunden. Mendelssohn unknown
1899551Leipzig 1899. Hardcover. Very Good. 7th ed. In 2 parts one vol. Index. Marbled foredge. Cover slightly rubbed. Illus. with gilt cover & spine. Original binding. <br/><br/> hardcover
185836212Leipzig: Breitkopf & Härtel PN 5286 1858. Folio. 1 title 2 blank 3-19 pp. Lithographed.<br /> <br /> Small oval publisher's stamp and Scharfenberg & Luis New York musicseller's stamp to foot of title.<br /> <br /> Disbound. Slightly worn; title detached; music seller's stamp very slightly cropped at lower edge. First Edition later issue. MWV 08. Krause 157 first issue.<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 5286] unknown
184028338AB1840. London Ewer / Addison / Beale and others c.1840 - 1863. Folio. c 180 pages. Modern Hardcover beautiful half morocco with gilt lettering on spine and marbled paper covered boards. Original Softcover engraved scores bound in. Very good condition with only minor signs of external wear. Only three of the scores with some tears one with a dampstain ! Overall an extremely attractive compilation of Mendelssohn's work in a recent mster-binding. Highly collectable and a beautiful gift ! Ask for multiple images. paperback
18607582234 pieces full page titles with decorative text full page music advertisements. Mendelssohn's The Wedding March; Handel's Dead March in Saul; Les Hirondelles Variations Brillantes; Songs: Another Day Silcher's The Mill Wheel English Version Sullivan's The Lost Chord; Overtures: The Bohemian Girl Zampa Der Freischutz Nicolai's The Merry Wives of Windsor Rossini's Guillaume Tell; Airs: Scotch English French Irish Welsh German; Joy Bells; Blumenlied; "The Robin's Return" Caprice; Home Sweet Home; Suite de Danses - No.2 and No.3; Andante in G; Sullivan's The Absent Minded Beggar ; Sydney Smiths' The Lily of the Valley Mazurka; The Last Rose of Summer; Olden Times - March Antiqute; Sousa's The Washington Post March; Air; Les Cloches du Monastere; 'Home' Air; Handel's The Harmonious Blacksmith; March for Piano Solo Published by Joseph Williams, B. Williams, Howey & Co, Boosey & Co; Augener & Co and others hardcover
184440519Leipzig: Fr. Kistner PN 1400 1844. Folio. Modern mid-green boards with original publisher's wrappers laid down to both boards title label gilt to spine. 1f. recto title verso printed excerpt from a letter from Goethe to Mendelssohn 5- 91 i blank pp. Text in German. Engraved. <br /> <br /> With the overture arranged for piano 4-hands. <br /> <br /> Annotations in pencil to several leaves. <br /> <br /> Binding worn and soiled; corners bumped; wrappers with minor loss; free front endpaper slightly creased. Slightly worn and foxed; some corners with minor soiling; blank inner margin of title reinforced with narrow strip of paper; blank lower outer corner of title and following leaf repaired; several leaves with tape repairs to blank margins. Ex-library with small handstamp of the Städische Bühnen Erfurt Bibliothek to verso of title. First Edition. MWV D3 p. 78. Catalogue of the Mendelssohn Papers in the Bodleian Library Oxford III 372. Hoboken Collection Vol. 10 232. Krause pp. 19 28. <br /> <br /> A secular cantata with text by Goethe the present work treats efforts by the Druids to practice their springtime pagan rituals in the face of rising Christian forces. The original version was completed in 1831 first performed at the home of Mendelssohn's parents and then publicly on 10 January 1833 in Berlin at the Sing-Akademie conducted by the composer. It was later revised in 1843 as a programmatic overture.<br /> <br /> "The highlights of the 1843 subscription concerts included the première of the revised version of Die erste Walpurgisnacht on 2 February; among the audience was Berlioz then in the midst of his first concert tour who praised the score for its 'apparent confusion that is art perfected'." R. Larry Todd in Grove Music Online. Fr. Kistner [PN 1400] unknown
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: Breitkopf & 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
183835281Bonn: N. Simrock PN 3441 1838. Folio. 21 pp. 4 parts of 4 pp. each title and price to Soprano I part. Engraved. Text in Latin and German. <br /> <br /> SSAA with organ.<br /> <br /> Provenance<br /> Composer E.J. Biedermann 1849-1933 with his signature in pencil to head of score and each part; small oval handstamp of G. Schirmer to foot of title and each part.<br /> <br /> Split at spine; minor creasing; edges slightly worn and cockled. First Edition later issue. MWV B23 p. 51. Not in Krause. Ward Jones III 488 490. Hoboken 10 193.<br /> <br /> One of the most gifted and versatile prodigies Mendelssohn stood at the forefront of German music during the 1830s and 40s as conductor pianist organist and above all composer. His musical style fully developed before he was 20 drew upon a variety of influences including the complex chromatic counterpoint of Bach the formal clarity and gracefulness of Mozart and the dramatic power of Beethoven and Weber.<br /> <br /> Mendelssohn's emergence into the first rank of 19th-century German composers coincided with efforts by music historiographers to develop the concept of a Classic-Romantic dialectic in 18th and 19th-century music. To a large degree his music reflects a fundamental tension between Classicism and Romanticism in the generation of German composers after Beethoven." R. Larry Todd in Grove Music Online. N. Simrock [PN 3441] unknown
