Musique

Verdi, Giuseppe, Italian composer (1813-1901).MareMagnum

Autograph letter signed ("G. Verdi"). Milano, 18 Nov. 1845.

8vo. 1½ pp. Bifolium with integral address panel. In Italian, to Léon Escudier, the French publisher of Giuseppe Verdi's works: "I have received almost contemporaneously your very much valued letters. Lucca has assured me that you would have the preference of the Opera of London, and that this affair shall be definitively concluded when I and Lucca in April shall pass through Paris to go to London. As to the Opera, it suffices that you sustain me. I want to advise you that in the Carnival of 1847 I must write an Opera for L. which shall be performed in Rome, thus I could not make in that period another Opera. For the present we must suspend this business, and the case wh shall speak of it when I shall be in Paris. Give me news of Ernania [...]" (transl.). - Traces of folds; small tear on f. 2. Formerly the property of a private Chicago-area collector.

Inlibris · Wien, AT7 500,00 €

Wieck, Friedrich, Klavierpädagoge (1785-1875).MareMagnum

Eigenh. Schriftstück. [Zingst bei Querfurth, 1810].

24 SS. auf 12 Bll. 4to. Die wiederholt in der Literatur erwähnten Tagebuchaufzeichnungen, vornehmlich seine "wöchentlichen Bemerkungen über meinen Schüler Emil von Metzradt", zum größten Teil (mit Abweichungen) abgedruckt bei Joß S. 140 ff., wobei unser Text auf S. 141 beginnt ("oder wohl gar falsch seyn sollten") und die profunden Leitlinien bis zum Schluß (Joß S. 148) beinhaltet. Im Manuskript folgen dann noch 25 wöchentliche Aufzeichnungen, endend mit dem 21. Oktober. - Die insgesamt zwölf voll beschriebenen Blätter sind Teil des Tagebuches, das Wieck in den Jahren 1810-15 geführt hat. Die vorliegenden Aufzeichnungen betreffen zwar primär den Unterricht eines einzelnen Schülers, doch sind dies hier mehr grundlegende Äußerungen zum Musikunterricht schlechthin, als Bekenntnis niedergeschrieben. "[...] Dieser kleine Aufsatz, sage ich, mag zum Beweiß der Liebe für mein ehrenvolles Geschäft [...] und für die Wahrheit seÿn; der ich nie etwas, aufzuopfern gewohnt bin; - und so wünsche ich nur noch, daß dieß alles eben so unbefangen aufgenommen werden möge, als es Schmeichelei u. Heuchelei liebt und selbst andere verkennt; dieß wird mich hinlänglich belohnen. Ich schließe mit den Worten Pauli an alle diejenigen, welche in dem jetzigen schwindeligen und überspannten Zeitalter den schönen u festen Vorsatz haben, ihre Kinder gut zu erziehen - mit den Worten schließe ich: 'prüfet und behaltet das Beste'. - W." ([S. 17]). - Leicht angestaubt und gebräunt und mit kleinen Randläsuren.

Inlibris · Wien, AT7 500,00 €

[SCIENCE - MUSIC] DONI, GIOVANNI BATTISTABiblio.com

Compendio del trattato de'generi e de'modi della musica. Roma : per Andrea Fei 1635

1635132Exceedingly rare first editionof Doni renowned landmark of music theoryThe innovation of the "Lyra Barberina"Only one copy sold at auction in the last 50 yearsDoni Giovanni Battista. Compendio del trattato de'generi e de'modi della musica. Di Gio. Battista Doni. Con un discorso sopra la perfettione de' concenti. Et un saggio a due voci di mutationi di genere e di tuono in tre maniere d'intauolatura: e d' vn principio di madrigale de principe ridotto nella medesima intauolatura. All'eminentiss. e reuerendiss. sig. il sig. cardinal Barberino. In Roma : per Andrea Fei 1635.4to 20 x 15 cm half vellum binding boards enriched with hand-colored paper pp. 40 171 1 signature â€ â´ a-dâ´ A-Vâ´ Xâ¶ leaf b1 incorrectly numbered c1 xylographic decorations and headpieces on title page the coat of arms of Cardinal Francesco Barberini text in Latin and Greek.At leaf Q3v: Aggiunta con descrizione e rappresentazione in spartito dei cinque Modi o Tuoni generali denominati Dorio Frigio Lidio Iastio Eolio; at leaf V1r: Il principio d'un madrigale del Principe.5 folding plates with musical notationsIn his Compendio Doni is the first to theorise the introduction of elements of the ancient tonal system into contemporary musical practice and the need to return to the Greek tonal system an ancient music theory characterized by its use of tetrachords four-note scale segments various modes named after Greek regions like Dorian Phrygian and Lydian and the concept of octave species which describes different arrangements of whole and half steps within an octave.His theories took up the themes that Vincenzo Galilei had expressed in his Dialogo della musica antica e moderna. He compared the moderns to the ancients concluding that apart from very few examples Monteverdi in particular true chromatic compositions do not exist. Very important in these works is the clear distinction that the author places between the madrigal genre and the recitative style following the reform of the Camerata Fiorentina.Doni recognized the advancements made by his predecessors such as Mei 1573 and Salinas 1577 in understanding the Greek tonal system though he disagreed with some of their interpretations. He was critical of others like Glareanus whom he accused of falsely claiming to have revived Greek modes without properly engaging with the ancient Greek musical sources. Doni also dismissed Nicola Vicentino's attempts to revive the ancient chromatic and enharmonic genera as mistaken and useless.A significant aspect of Doni's work was his interpretation of the tonoi and octave species based on close readings of the original Greek treatises. His analysis provided a basis for our contemporary understanding of these concepts.Doni differentiated between tonos and mode drawing insights from Ptolemy's discussions on the modulation of tonos compared to melody. He highlighted how modulation in tonos involves altering the pitch of the voice throughout the melody while keeping the intervals suitable as opposed to changing only a part of the melody.Additionally Doni credited Ptolemy with establishing the distances between the tonoi describing the specific intervals that separate various tonoi such as Dorian Phrygian Lydian and Mixolydian.This understanding of the relationships between different tonoi was crucial in the historical study and interpretation of ancient Greek music theory.One of Doni's significant innovations was his modification of the lyre an instrument he renamed the Lyra Barberina in honor of his patron Cardinal Francesco Barberini.This instrument was intended to revive the ancient Greek lyre reflecting Doni's passion for connecting past and present musical traditions.In the Appendix we find the Pedro de Heredia's madrigal Passa la vita on a text by Pope Urbanus VIIIOne of the woodcuts in the book shows a violin fingerboard with a layout for the ancient Doric mode. Other woodcuts illustrate Greek tonalities and chromatic musical progressions.Conditions: wormholes restored at last 40 leaves sometimes touching few letters some marks of use and light waterstains along the text.References: Claude V. Palisca 1997. Giovanni Battista Doni's Interpretation of the Greek Modal System. The Journal of Musicology 151 3â€“18; RISM B VI.1 p. 272; Gregory p. 76; Gamba 1912; Damschroder & Williams p. 74.Wider description and more images:https://tinyurl.com/1635DONI-PDF Andrea Fei

BIBLIOPATHOS FINE ARTS · Italie7 000,00 €

Brahms, Johannes, Komponist (1833-1897).MareMagnum

Eigenh. Postkarte mit U. ("J. Brahms"). [Wien-Wieden, 31. III. 1890].

1 S. Qu.-8vo. Mit eh. Adresse. Unveröffentlichtes Schreiben an den Dirigenten Raphael Maszkowski in Koblenz: "Möchten Sie etwa, mit Berufung auf mich, an Hrn. S. Kauffmann in Breslau schreiben? Nicht daß Sie sich zu nennen [?] oder zu bewerben hätten, aber man denkt dort sehr an Sie u. es ist vielleicht gut, wenn Sie Ihre Geneig[t]heit aussprächen - falls Sie solche haben. Vielleicht können Sie Ihre Sommerreise über Br[eslau] machen? (S. Kauffmann, Breslau, Tauenzienplatz [!] 3.a.) Verzeihen Sie die flüchtige Karte aber ich bin im Begriff ein wenig nach Italien zu rutschen [...]". - Stärker gebräunt und gering angestaubt bzw. fleckig; mit einer vertikalen Knickfalte und etwas abgegriffen.

Inlibris · Wien, AT7 000,00 €

(BINDINGS - DEROME LE JEUNE). (MUSIC, POETICAL TREATISES ON). YRIATE [or IRIATE], TOMAS DEBiblio.com

LA MUSICA POEMA

1779ST19371Madrid: Imprenta Real 1779. FIRST EDITION. 235 x 150 mm. 9 1/4 x 6". 10 p.l. 126 XL pp. 1 leaf errata. EXCELLENT CONTEMPORARY CRIMSON MOROCCO BY DEROME LE JEUNE his ticket with address of Rue St. Jacques on verso of front free endpaper covers framed with thick and thin gilt rules raised bands spine compartments with central floral sprig surrounded by a lozenge of small tools volute cornerpieces gilt titling gilt-rolled turn-ins gilt edges cobalt blue paste-paper endpapers. WITH SIX CHARMING ENGRAVED ALLEGORICAL PLATES after G. Ferre. Front pastedown with morocco bookplate of Mortimer L. Schiff and small book label with a gilt cipher on a red peach. A Large Paper Copy. Palau y Dulcet IV 107; RSIM B VI 429; MGG VI 1403 f.; Gregory-Bartlett I 129. Three minute dents to front board a hint of wear to bands and corners isolated faint foxing blank recto of frontispiece leaf and blank verso of final leaf with faint blue shadown from endpapers but all of these quite trivial and otherwise A BEAUTIFUL COPY--fresh clean and bright internally with very wide margins and strong impressions of the plates and in a lustrous binding showing with few signs of use. This is surely one of the handsomest poetical treatises on music ever produced and it is offered here in a binding done by one of the finest craftsmen working in Europe during the period of the book's publication. The work is written in the "silva" form of poetry used by persons of high rank illustrated with fine engravings and put into elegant morocco by the finest hands among the large Derome family of binders. According to Palau our first edition is "beautiful and printed on fine paper." He says further that although the strongly expressed opinions of the youthful author on contemporary composers caused the work to be "unfairly attacked" it was "appreciated by professors of music and collectors of literature in that genre" especially in Italy and America. A child of the Enlightenment Iriate 1750-91 gained entry to intellectual and artistic circles in Madrid through his uncle who was librarian to the king of Spain. He translated works by Horace and Virgil into Spanish by royal request and wrote criticism poetry and dramas. He is best known for his satirical fables on the contemporary literary scene "Fábulas literarias." There were no fewer than 18 members of the Derome family who made their livings as binders in Paris from the middle of the 17th century until the first quarter of the 19th but by far the most distinguished family member was Nicolas-Denis called "le jeune" 1731-88. Known for the gracefulness of his bindings and for being capable of "amazing delicacy" in Hobson's words Derome le jeune was simply the leading binder of the day and his work was much in demand. Because he refused to turn away customers Derome was forced to hire a number of assistants whose work he could not always supervise closely. However Thoinan says that the binder's best work is indicated by the presence of his ticket as here. The volume's provenance adds to its luster: it was in the distinguished library of American bibliophile Mortimer Schiff 1877-1931. In Dickinson's words Schiff a financier and philanthropist Schiff "brought together an unrivaled collection of decorative bindings." His library included works by great printers important illustrated books and works printed on vellum but chiefly fine and historic bindings. The "Reliures" database of the Bibliothèque Nationale de France commends Schiff for assembling "one of the most important inter-war libraries" noting that his collection was "renowned for its collection of French bindings.". Imprenta Real unknown

Phillip J. Pirages Fine Books and Medieval Manuscripts · États-Unis8 112,00 $US≈ 6 863,56 €

[Wagner, Richard]. - Wagner, Albert, Schauspieler, Regisseur und Sänger (1799-1874), Richard Wagners älterer Bruder.MareMagnum

"Andenken". Eigenh. Musikmanuskript mit Namenszug am Titel. Würzburg, 8. X. 1839.

(21) Bll. mit sechs Kompositionen für Klavier und Singstimme mit unterlegtem Text. Brauner Lederband der Zeit mit goldgepr. Mäander-Bordüre, Vorderdeckel mit einer Stickerei auf Stramin ("Andenken") mit Schmuckbordüre und Goldperlchen, vorderer Spiegel mit Wagners auf Stramin gesticktem Monogramm in Goldrahmen. Kl.-qu.-Folio (295:231 mm). Im vorliegenden Album finden sich die sorgfältigen Abschriften der Lieder 1) "Glockentöne von Proch" (op. 21 von Heinrich Proch); 2) "Mein' Hütten von A. Müller" ("Mein Hütten laß i nit […]" von Anton Müller); 3) "Im Thale von Proch"; 4) "C' est une larme. Romance de P. Lafont" (Charles Philippe Lafont, französ. Violinspieler, 1781-1839); 5) "Wach auf! von Loewe" (Carl Loewe, 1796-1869, "Der Hahn hat gekräht, die Lerche singt [...]"); 6) "Lied von Paul Fleming aus Oehlenschlägers Inseln im Südmeer" ("Laß Dich nur Nichts nicht dauern mit Trauern [...]"). - "Zur freundlichen Erinnerung", wie es am Titel heißt, "gesammelt von Albert Wagner / Würzburg den 8ten October 1839". Albert Wagner, der ältere Bruder von Richard Wagner, war nach Stationen in Leipzig, Breslau, Hamburg und Augsburg seit 1829 in Würzburg tätig. In den 1840er Jahren gab er seine Sängerlaufbahn infolge eines zunehmend stärker werdenden Halsleidens auf; von 1852 bis 1865 wirkte er als Regisseur an der Berliner Hofoper. - Die ersten und letzten Bll. stellenweise etwas fleckig; der Einband stellenweise etwas beschabt und berieben, gleichmäßig gebräunt und teils leicht fleckig; die Stickerei am Vorderdeckel leicht stockfleckig.

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