(MUSIC, Michael B)Biblio.com
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393879San Francisco 1975. Hardcover. Near Fine/Near Fine. An archive of material related to Bay Area Gay Liberation a short-lived far-left political action group including various flyers bulletins press releases correspondence and assorted ephemera most notably related to its support of the 1975 United Farmworkers march on the Gallo Wine headquarters. Two manilla folders with typed labels housing various loose stapled and paperclipped sheets of various size and color. Overall near fine with scattered nicks and tears old folds from being mailed and occasional oxidized staples or paperclips. <br /> <br /> The papers come from the personal files of Michael B. Music a politically active gay man who worked as an office manager and organizer for BAGL’s cofounder Howard Wallace while employed at the San Francisco Neighborhood Legal Assistance Foundation which is printed on one of the folders. While BAGL's agenda of inclusion and rights for all eventually succumb to the stronger pull of the blossoming San Francisco gay rights movement it left an impressive wake in its year of existence.<br /> <br /> The material found here includes several of the founding documents such as a handwritten "statement of purpose" calls to action sign-up forms and flyers soliciting membership; the first four issues all of the BAGL Bulletin; a group of documents related to the BAGL Evaluation Workshop; and flyers concerned with police harassment food stamps potluck dinner gay bar bill of rights and Chilean Resistance solidarity to name a few. These are accompanied by various notes in Music’s own hand concerning all matters of the organization's business with mentions of Harvey Milk Jose Sarria and Wallace.<br /> <br /> A sizable portion of the BAGL archive deals with the controversial move to support the UFW's march on Gallo as representatives of the Gay Liberation Movement. Included are notes lists and letters wherein Music questions why they should or should not support the UFW handbills calling for support of the march and rallies in support of the UFW efforts checklists of health and safety concerns during the march copies of a letter he sent to Cesar Chavez requesting a meeting in hopes of a formal statement of support for the Gay community and a three-page carbon of a report from a BAGL member describing her experience during the Gallo march and the UFW's response to requests for recognition and support.<br /> <br /> An enlightening archive of material from a little known but vocal and active segment of the gay community that helps to shed light on its place in the evolution of the Gay Rights struggle. hardcover
194880631New York: Chappell & Co. Inc 1948. First Edition. First printing. Inscribed on title page: "For Joe Littau a merry Christmas and thanks for a beautiful job!" signed "Kurt Weill" undated but annotated in pencil presumably by Littau: "Xmas 1948." Quarto 30cm. Original buff wrappers printed in red on front cover; 274pp. Professional paper repairs at spine ends; expected tanning to exterior and text; still a superlative copy overall and quite uncommon. Housed in a custom-made cloth clamshell box. <br /> <br /> A terrific association copy of this acclaimed late work by Weill for which he won the inaugural Tony Award for Best Original Score in 1947. Street Scene is perhaps the apotheosis of Weill's socially-engaged musical theater a blend of operatic and theatrical elements with which he first experimented in his collaborations with Bertolt Brecht of the Thirties including Three Penny Opera and The Rise and Fall of the City of Mahagonny. Street Scene based on Elmer Rice's naturalistic working-class drama of the same name was especially noteworthy for including lyrics by the African-American poet Langston Hughes whom Weill sought out specifically to "lift the everyday language of the people into a simple unsophisticated poetry" quoted by Jane Vial Jaffe in her program notes to a 2008 production. This was Hughes' first experience writing for musical theater.<br /> <br /> Street Scene premiered at the Adelphi Theater in New York in January 1947 and met with critical success though its high production costs forced the production to close in April. The show has never been revived on Broadway but it has been staged regularly by operatic companies including revivals by the New York City Opera in 1959 1979 and 1990. <br /> <br /> Inscriptions by Weill are uncommon; it's an honor he appears to have bestowed only on very close friends and collaborators. In this case the presentation is to Joe Littau the well-known pit conductor who was at this time the Musical Director for Weill's 1948 musical "Love Life" which ran on Broadway from October 1948 to May 1949. Chappell & Co., Inc unknown
1916369594Cincinnati / New York / London: John Church Company 1916. First edition. 99 pp. Large 4to. Illustrated color card covers orange cloth spine as issued. Rubbed wear to corners; front and back covers folded cracked and repaired. Numerous autograph emendations in blue pencil and ink; autograph essay in ink on verso of cast listing. In custom quarter morocco slipcase and chemise. First edition. 99 pp. Large 4to. The third consecutive and final Triangle Club production Fitzgerald participated in writing the lyrics for all 18 songs in this 1916 comedy as he had for the two prior shows Fie! Fie! Fi-Fi! 1914-1915 and The Evil Eye 1915-1916.<br /> <br /> This particular staging featured two people with the surname Harris: the first E. Harris was one of the composers and besides the title page this is futher noted by the multiple autograph additions of the letter "E" in blue pencil on the song list page. The second was W. Irving Harris who appeared as "Detective No. 1" a role which was originally printed as being played by E. Harris; this error is corrected in ink.<br /> It was this latter Harris who in 1975 penned the warm unpublished remembrance of Fitzgerald at Princeton on blank page 4 which begins "Scott Fitzgerald of course was in a class by himself." He continues "The lyrics of 'One-Lump Percy' the parlor-snake spoofed the antics of contemporary collegians and for 'Charlotte Corday' Scott should have been given an extra high mark in his course in French history/literature! 'Where Did Bridget Kelly Get Her Persian Temperament' was another song that brought down the house."<br /> <br /> Harris closes with "I remember Scott as exceedingly unassuming and modest and as a member of the Triangle Club a true enthusiast. As far as I know everyone liked him and no one would have thought of competing with his skill as a lyricist. The work was all his - and as you will see speaks for itself." Bruccoli A4 John Church Company unknown
140944526New York: Dodd Mead & Company 1986. Signed limited first edition. First edition limited issue. Signed by Stephen Sondheim and James Lapine on limitation page #194 of 250 such numbered copies. 203 pp. with 16 pages of b/wphotographs. Bound in publisher's green cloth with gilt spine lettering housed in publisher's darker green slipcase. Sunned spine else Fine in slipcase with slight lifting to corner of label. <p>A musical inspired by Georges Seurat's painting "A Sunday Afternoon on the Island of La Grande Jatte." Winner of the 1985 Pulitzer Prize for Drama and numerous other awards. Dodd, Mead & Company unknown
576328New York: Chinaberry Company 1971. Softcover. Near Fine. Playscript. Quarto. 5 78; 43 leaves. Mimeographed sheets printed rectos only tab bound in green leatherette wrappers with die-cut window to reveal title. A few light bumps and light stains on the wrappers very good or better internally fine. Hand written control number "34" on the title page. Eventually produced on Broadway as The Grass Harp the play ran for only seven performances. Very scarce presumably this was an early version with a working title. OCLC locates two variant copies one each at NYPL and Yale; this copy varies significantly from each of those copies with approximately 30 additional pages. Chinaberry Company unknown
198216070389Vantage Press USA 1982. First Edition. Hardcover. Very Good/Fine. Hardcover. 220 pages. PUBLISHING DETAILS: Vantage Press USA 1982. First Edition. CONDITION: The book itself is in very good condition and comes in fine dust jacket. More specifically: Edges of boards have superficial wear. Dust jacket is in excellent condtion. Dust jacket is unclipped. Dust jacket is protected in clear plastic sleeve. Edges of pages are lightly browned. Quantity Available: 1. Category: Biography & Autobiography; Music. ISBN: 0533048028. ISBN/EAN: 9780533048021. Inventory No: 16070389. 9780533048021 Vantage Press hardcover
164417864AB1644. Venice Ivntas 1644. 42 : 28 cm. 451 pages with engraved title-vignette and music-notes and many iniitials in red. Blindtooled pig-skin over wooden bords on 5 raised bands 2 clips edges in red. Rare early Italian book of Psalms containing the complete Psalms for every day. Printed in red and black throughout. Music filled square notation on four-line staves typeset throughout. - Front flyleaf with anotations in Latin 3 leaves with small tears not affecting the text some pages with additional paper strips at the edges some pages soiled at the lower right corner; binding a bit spottet half of the clips missing. - In general a good copy of this rare Liturgical music psaltar. hardcover
192051339Warsaw: Kultur Lige 1920. First edition. Softcover. vg to near fine. Quarto. Unpaginated. 6 pages. Original wrappers in white and green with 4 different modernist type-fonts as well as designs by acclaimed artist and illustrator Issachar Ber Ryback 1897-1935. Middle leaf loose. Sheet music for the song Der Shifer The Sailor composer by Russian-Jewish pianist Mikhail 'Moses' Milner 1886-1956 with lyrics by seminal Yiddish-language writer I.L. Peretz 1852-1915. The lyrics in Yiddish are printed together with the musical notation as well as separately on the back wrapper. This is the second installment in the Kultur-Lige's series of Yiddish children's songs for vocal and piano. Wrappers with very minor smudges and stains. back cover repaired at the bottom left corner with no loss of text or image. Interior clean. Wrappers in very good interior in near fine condition overall. Wrappers protected in modern mylar. Quite scarce. Yiddish title: No.2 × ×טן קולטור-ליגע מוזיק-סעקציע <br /> Subtitle: וו×ק×ל־סיו×יטע: ×ויף פרצס צען ×§×™× ×“×¢×¨Ö¾×œ×™×“×¢×¨: דער שיפער פ×ר ×©×˜×™× ×ž×™×˜ פי×× ×<br /> Authors: מ. ×ž×™×œ× ×¢×¨ ×™.ל. פּרץ יששכר בר ריבק <br /> Publication: פ×רל××’ קולטור-ליגע וו×רשע<br /> <br /> Bibliographic resource: Kazovsky 'The Artists of the Kultur-Lige' p.22 please note the image shown is not the same volume as this one.<br /> <br /> It should be noted that all published songs in the series were issued in wrappers utilizing the same Ryback layout and design but were printed in various colors. Kultur Lige unknown
3477Wien: Universal 1973. Early edition. In original paper. Folio size Facsimile of the manuscript. Fine condition. Early edition. In original paper. Folio size Facsimile of the manuscript. 203 folio page. Votre Faust is an opera in two acts by the Belgian composer Henri Pousseur for five actors four singers twelve instrumentalists and tape. The text is by the French author Michel Butor. Originally written between 1960 and 1968 it was premiered in 1969 in Milan and revised in 1981. Although about seven hours of performable material exists the variable structure does not permit use of it all in a single version and performances to date have been between three and three-and-a-half hours. Very rare. Universal unknown
4100452 volumes some containing multiple pieces mostly for solo piano but with some for voice and piano including works by the following composers and arrangers:<br /> <br /> Ãbrányi Arditi Bohus Császár Dohnányi Doppler Dunayevsky Egressy Ellenbogen Erkel Farkas Fényes Frank Horváth Höszly Huska Jacobi Kálmán Kéler Kerekes Kneifel Kovaltsik Möller Mosonyi Müller Pékáry Ridley-Kohne Rózsavölgy Rupp Suppé Széchenyi Székely Szirmai Thern Travnyik Verdi Windt Zapf Zeller and Zerkovitz.<br /> <br /> A detailed inventory is available upon request. unknown
187013609London: Weekes & Co 1870. First Edition. Sewn binding. Very good. Oblong small quarto 10pp. A very good copy in the original printed side-sewn wrappers with two blindstamps from the publisher to the wrappers and a contemporary owner's name at the top of the front wrapper along with a very old pencilled price. Light dust-soilng and foxing to covers gentle wear to spine but a sound intact copy of this fragile publication. Housed in an early 20th century red morocco-backed red cloth slipcase with red cloth chemise with handsome bookplate. Some mild wear to the slipcase; near fine. A scarce rather early ephemeral piece relating to Carroll's great masterwork which includes a few lines written by him. Per the Preface: "The author of the words Carroll has been good enough to add to one of the Poems so that if on no other ground this publication will be valuable inasmuch as it has furnished the charming absurdity about'the Duck and the Dodo The Lizard and the Cat a-swimming in milk round the brim of a Hat."<br /> <br /> Williams and Madan note multiple colors of the wrappers and different placements or arrangements of the advertisements with no established priority. The printed cover text in our copy while appearing black to the naked eye is actually mixed with gilt which can be seen in good light particularly with the help of a loupe.<br /> <br /> Rare in commerce with just a handful of auction appearances since the early 20th century. Weekes & Co unknown
1967158550New York: Slugs' in the Far East 1967. Vintage flyer for several nights of performances held at the historic East Village jazz club. Flyer advertises performances held between February 7 through March 5 1967 with performers including Jackie McLean George Benson Kenny Dorham Stanley Turrentine and Sun Ra and His Astro-Infinity Music.<br /> <br /> Robert Schoenholt and Jerry Schultz opened Slugs' Saloon named after G.I. Gurdjieff's "terrestrial three-brained beings" from his "All and Everything" trilogy in Manhattan's East Village in 1964. New York regulations forbade the use of "saloon" and the venue name was soon changed to Slugs' in the Far East due to its East Village location. By the mid-1960s the bar was hosting regular jazz performances and soon became closely associated with Sun Ra whose Arkestra would play regular gigs every Monday as noted on the flyer on offer as "Sun Ra and His Astro-Infinity Music." By the late 1960s Slugs' hosted a number of prominent jazz musicians. including Sonny Rollins Albert Ayler and Ornette Coleman among many others. The club shut down in late 1972 several months after regular performer Lee Morgan was shot to death at the bar by his common-law wife Helen Moore.<br /> <br /> 5.5 x 8.5 inches framed to 8.5 x 11 inches. Near Fine. Slugs' in the Far East unknown
1952612527No place: unpublished 1952. Unbound. Near Fine. An archive of unpublished sheet music by the song writing duo Robert A. Bernstein and Warren B. Meyers. Consisting of 23 pieces most finished and submitted for copyright but none published. All approximately 9" x 12" some a bit larger most hand printed one piece with a negative photostat copy and one with both a negative and positive photostat copy included many of the hand notated sheets have typewritten text some with handwritten corrections and notes and some sheets are printed on both sides. The pieces only feature a vocal melody and lyrics as that’s the part eligible for copyright only one piece features piano the beginning of a draft for a musical titled Lonely Means for Anyone. Most of the pieces have a paperclip mark at the top some bumping to the corners as to be expected but overall a near fine archive.<br /> <br /> Robert A. Bernstein and Warren B. Meyers appear to have primarily worked together during the 1950s putting on revues and one act musicals within New York City and its environs; shows such as No Bed of Roses 1952 A la Carte 1952 La Donna Della Evening 1952 Improper Channels 1957 and 2x4 1959 all of which seem to have slipped so fully into obscurity that only a few miniscule newspaper clippings remain to confirm that they ever existed. While Bernstein never stumbled upon a hit his biggest recorded credit listing him as a writer for the show Almost Crazy 1955 which ended up suffering from middling to poor reviews Meyers produced an unexpected success in 1967 with his first and seemingly only foray into the book world Who Is That: The Late Late Viewers Guide to the Old Old Movie Players. A heavily illustrated guide to what the preface describes as showcasing "the most frequently seen players categorized by their most frequently played roles." The book was a big hit even getting a write-up in The New York Times who flatteringly wrote that readers would find the book "Near the check-out counter— the place of honor—at your paperback store these days."<br /> <br /> Collected here are 21 titles that have been registered with the Copyright Office two have not but are reported by said office to have not been published. Whether they were never published but performed in one of Bernstein’s and Meyers' shows or whether they simply never graced the ears of an audience in any form we do not know. What we do know is that it makes perfect sense that some of these would not have been published in the 1950s if ever – From the vague but nonetheless present socialism of the song "Capital in Labor" "Harken to the teacher love your fellow creature/never bring him ruin or rue/listen honey tell me who wants money/when the sky is sunny big and blue." To the masochistic internalized sexism of "Bane of My Existence" "He beats me and he hurts me/he cheats me and deserts me/oh he treats me like a slave but he’s my man.†To the off-the-wall problematic lyrics of "If You Incest" which begins with a female patient singing "I used to be aggressive but now I'm just depressive/I used to be inspired but now I'm just tired . Oh doctor get rid of this hex! Is it related to sex" To which the male doctor replies "You mustn't have a fit so it's fun to be a schizo! . It makes you cute and coy-a this charming paranoia" and it only gets worse from there.<br /> <br /> While most of the material is rather standard fare for the trade at the time such as "The Kiss Song" "I'm a dunce for being hooked I kissed you once and I was cooked" a handful of the songs standout as rather outrageous in their lyrical content; including one song that says all you need to know and more with its title alone "When Fanny Fans Her Fanny With A Fancy Spanish Fan." Not only do these songs speak about the blatant sexism that was so prevalent in America at the time but they also speak to both the taboos and trends of the 1950s through lyrics that attempt to break them and mock them. The best example of this being "If You Incest" which can be partially read as a reaction to the contemporary popularity around Freudianism and psychoanalysis; yet also however unwittingly highlights the callous manner in which male doctors treated female psychiatric patients.<br /> <br /> Then there are the more subtle but no less interesting aspects such as a lethargic gender swapping edit to the song "The Only Girl for Me" replacing one pronoun for the other but changing practically nothing else; a song featuring a rebellious Mona Lisa who sings “I want to fight with a knight and be quite a bit unpleasant/want to spit in a fit on some pitiful old peasant/want to mumble and rumble and grumble for a while/but I don’t want to smile my smileâ€; and perhaps the most amusing or saddest moment a song of love and longing titled “Dream of Me†filed for copyright in 1951 revised and filed again in 1952 with the same melody but newly titled “Hopelessly†the lyrics now expressing bitter heartbreak and loneliness.<br /> <br /> We were unable to find any published music by Bernstein and Meyers and very little has been written about them. Whether these songs were performed at the time or not there is one thing for certain they have not been heard for a long time. A fascinating archive of unpublished songs by a little known though somewhat successful song writing duo from the 1950s. A list of each title is available upon request. unpublished unknown
1922100473<p>1922-1935. 1922-1935. Very good. - The collection consists of: 18 Autograph letters signed 20 Typed letters signed an unsigned Autograph letter an unsigned Typed letter and a contract signed by Stella de Mette and 4 Typed letters from Francesco Liazza together with autograph drafts of letters by Brown on 3 of the de Mette pieces.</p><p>1. St. Louis MO March 10 1922. Autograph Letter Signed on both sides of a 3-3/8 X 5-1/4 inch card addressed to Mr. Brown expressing her boredom. "All I've been doing is attending social affairs & living a most monotonous life - as society does not in the least appeal to me." Signed "Stella de Mette-Liazza".</p><p>2. New York City April 21 1922. Autograph Letter Signed on 2 sides of a folded 6-1/2 X 5 inch folded sheet of note paper addressed to Mr. Brown suggesting a meeting with him. Signed "Stella de M. Liazza".</p><p>3. Hotel Schuyler Arms NYC June 8 1922. Autograph Letter Signed on both sides of her personal 10-1/2 X 6-1/2 inch monogramed letterhead addressed to Mr. Brown requesting that he make an appointment with her friend Anna Lorraine a "dramatic artist". "Anticipated hearing from you three or four weeks ago - but no doubt things didn't materialize." Signed "Stella de Mette-Liazza".</p><p>4. Alvin Theatre-San Carlo Opera Co. Pittsburgh PA. December 8 1922. Autograph Letter Signed on 3 of 4 sides of 6-1/4 X 5-1/8 inch "The Washington Washington D.C." note paper. She addresses Mr. Brown introducing "Miss Stasia Ledowa - you no doubt have admired her splendid work with the San Carlo at the Century - just recently. She is a REAL artist." Stasia Ledowa was premiere danseuse with the Chicago Opera Company. Signed "Stella de Mette".</p><p>5. Draft of a letter from Chamberlain Brown to Stella de Mette 9 lines written over the top of a typed letter from Stella de Mette in which she informs Brown that she is "hard at work - studying Carmen - the first time in my career that I have taken this opera seriously.Want to thank you again & again for the big interest you take in me & hope at some future date we can do something really worth while." Signed "Mrs. Francesco Liazza" on "San Carlo Opera Co. Orchestra / Francesco Liazza Manager" letterhead. In his draft Brown writes that he heard Frances "Peralta as 'Carmen' the other night and she was really excellent. She gave a rare intelligent performance with several new ideas that pulled a Jeritza on the audience. At the end of the third act instead of standing still she lit the cigarette and did a complete fall on the ground and started the card scene over again. By the time Don Jose arrives at her she yells 'La Mort' and tears the cards to pieces giving Jose a look - realizing he is the man to kill her and then with great emotion pulled a second act 'Tosca'". Accompanied by the carbon of Brown's typed letter dated June 27 1924.</p><p>6. July 19 1924. Autograph Letter Signed on both sides of a sheet of 11 X 8-1/2 inch letterhead from "The Kemper Lane / Cincinnati" Addressing Brown as "My dear friend" asking him to "please hold your thumbs for me on Mon. night. They are putting on Carmen just for me & am opening in this.P.S. Francesco will wire you after perf. & I would be very grateful if you could get this in some of the N.Y. papers". Signed "Stella de Mette".</p><p>7. March 15 1925. Autograph Letter Signed on 3 sides of 2 sheets of 8-1/2 X 5-3/8 "The Newhouse Hotel / Salt Lake City Utah" letterhead. Addressing Brown as "Dear friend" de Mette encloses "the splendid notices I rec'd this season". Not here present. Signed "Stella de Mette".</p><p>8. Philadelphia PA. October 23 1925. One-page Typed Letter Signed on 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra / Francesco Liazza Manager" letterhead. Addressing Brown as "Dear 'Manager": de Mette writes that she was "furious on Tues. night. That Dumb-bell Franco Tafuro simply ruined my Carmen. The notices are good but were better last year when Manuel Salazar was my Don Jose. He simply stood like a wooden man all evening & I might as well have been playing to the chair.Francesco thinks some one is working against me here & I hope that you can get me away from here next season.I am heartily sick & tired of this D--- company." Signed "Stella". The right edge of the letter is chipped.</p><p>9. Detroit Mich. November 14 1925. Typed Letter Signed on 2 sides of 11 X 8-1/2 inch "Fort Pitt Hotel / Pittsburgh Pa" letterhead. A long chatty letter: "Last week was a hard one - viz: Mon.night - Carmen Tues. Amneris Wed. matinee - Hansel & Gretel & Sat. matinee Lohengrin also Forza on Sunday night.The next Carmen will be sung by Alice Gentle - she has Tafuro for Don Jose the opening night in New Orleans - I wish her luck. He certainly queered my Carmen in Phila. & the first one here.How I'd have love to have been at the opening of the Met. dear Matzenauer I know she was glorious. I adore her. long may she reign Queen of Mezzos". Signed "Stella". There are scattered ink jottings at the end of the letter perhaps notes by Brown.</p><p>10. New Orleans La. December 3 1925. Typed letter unsigned on both sides of 11 X 8-1/2 inch "The Brown Hotel / Louisville Ky" letterhead. Addressing Brown as "Dear Manager" de Mette writes that "We are rehearsing several hours each day - Fra Diavolo.Maestro wants me to learn a new role - the countess in Andrea Chenier we give it the last week & the blind woman also which I have sung many times Francesco doesn't want me to do any more favors to the management so I don't know what shall happen. I certainly am getting an awful deal this season at the hands of the management. I told you that would happen as it's because I wouldn't sign that contract with Fortune Gallo.This must positively be my last year in this Co. I am thoroughly disgusted & discouraged. Suppose I will have all the Carmens on the coast being Gentle is not with us anymore. Feel like giving my notice as I know I shall be roasted to a cinder under the circumstances." The letter is lacking a second sheet with de Mette's signature. The last line reads "With many good wishes from Francesco & I also to Lyman & hope to hear from.".</p><p>11. New Orleans La. December 20 1925. Typed Letter Signed on both sides of 11 X 8-1/2 inch "San Carlo Grand Opera Company / Fortune Gallo Impresario" letterhead. de Mette addresses Brown as "Dear Manager". "Mr. Fortune Gallo came here a few days ago & yesterday had a long session with Francesco regarding me. At first he was very indifferent - saying if I didn't like things I could give him my two weeks notice - just calling a bluff but when he realized my husband accepted same & would permit me to remain in Co. no longer he changed his attitude and begged Francesco to let me stay & F. said 'No it's too late. You see he told him some one else was coming to sing Carmen on the coast & I shall not be humiliated any more in this Co. by giving up my best role to some one else far inferior to me." She then speculates as to who the new Carmen might be- "could it be Marguerite Sylva.that Mexican Consuelo Escobar.Perhaps this Rhea Toniolo" "I sang the countess in Andrea Chenier.also did the blind woman in third act & had the house in tears - even the chorus were weeping." Signed "Your disappointed Carmen. Stella de M.L." The original envelope stamped "Special Delivery" is included.</p><p>12. Waco Texas. January 4 1926. Typed Letter Signed on both sides of 11 X 8-1/2 inch "The Raleigh Waco Texas / The Blackstone Tyler Texas" letterhead. Addressing Brown as "Dear Sir Chamberlain" de Mette writes of her disappointment in not hearing from him after writing to him of her resignation with the San Carlo Company. "The real truth that G. Fortune Gallo has been so horrid to me this year is that I did not sign the five year contract with him & told a friend of our's that he didn't want anything more to do with de Mette that I was most ungrateful after he had made me & also said 'We shall see what this Chamberlain Brown can do for her'.It certainly infuriated him when he discovered that you had taken me under your wing." Signed "Stella de M.L."</p><p>13. Los Angeles CA. January 20 1926. Typed Letter Signed on 1 & 1/2 sides of 11 X 8-1/2 inch "The Gunter / San Antonio Texas" letterhead. "Dear Manager: Was so relieved in receiving your nice letter.We were certainly pleased that you were of the same opinion regarding my leaving the San Carlo.You know they advertised me all over Texas & the last week in Texas from El Paso to Arizona Phoenix the Co. played on guarantee a certain Mr. Johnston who engaged Co. has not yet paid Gallo - because I did not appear & he was so disgusted with Toniolo that he had them play another performance Rigoletto instead of Carmen." Signed "Stella".</p><p>14. Los Angeles CA. January 27 1926. Autograph Letter Signed written on both sides of 10-1/2 X 7-1/4 inch "The Huntington Pasadena California" letterhead. "Hello there! Enclosed clippings speak for themselves. I am certainly getting a lot of revenge & the Western Mgt is very much displeased with both my successors. Signed "Stella".</p><p>15. Los Angeles CA. January 31 1926. Als written 1 & 1/2 sides of 10-1/2 X 7-1/4 inch "The Huntington Pasadena California" letterhead. "Dear Sir Chamberlain: Just heard Alice Gentle is engaged for Ravinia Park this next summer to replace Florence Easton - so that means that she is going there to do soprano roles this time. I wonder if he has his mezzo - you know last season he promised to engage me this next season." Signed "Stella".</p><p>16. San Francisco CA February 26 1926. Typed Letter Signed on 1 & 1/2 sides of 11 X 8-1/2 inch "The Gunter / San Antonio Texas" letterhead. "Dear Manager: Just now rec'd telegram & I am so happy over good news.Please do write & tell me all about this Shubert engagement.If it should be a production or anything new to me I want to get busy & study same as I am always ready with my work." Signed "Stella de Mette-Liazza".</p><p>17. Los Angeles CA. March 16 1926. Autograph Letter Signed written on 4 sides of 6-3/8 X 5 inch notepaper. de Mette writes for details regarding the Shubert engagement. She has been enjoying her recitals with the Los Angeles Symphony Orchestra under the direction of Walter Henry Rothwell. "Mr. Piazza the Western Orpheum agent is trying to persuade me to try vaudeville - but I fear you may not approve." Signed "Stella de M.L."</p><p>18. St. Louis MO. March 29 1926. Autograph Letter Signed written on 4 sides of 6-3/8 X 5 inch notepaper. "Dear Sir Chamberlain - Well -What has happened". de Mette writes of her depression as a result of her dealings with Fortune Gallo. She makes a snide remark concerning Lorna Doone Jaxon "the WONDERFUL NEW Carmen! Discovered by Gallo." Signed "Stella de M.L."</p><p>19. St. Louis MO. April 25 1926. Autograph Letter Signed written on 3 of 4 sides of 6-3/8 X 5 inch notepaper. de Mette disappointed that the Shubert engagement fell through writes that she is "horribly discouraged & don't feel like returning to N.Y. at all". Signed "Stella de M.L.".</p><p>20. St. Louis MO. May22 1926. Tls on 2 sides of 11 X 8-1/2 inch "Hotel Empire / New York City" letterhead. The letter follows a meeting between Brown and Francesco Liazza. "Your ideas are really splendid. However I haven't the slightest idea of returning with Gallo - much sooner will never sing again in public. Gallo as you know pays very little - he is never on the level & his contracts are always pro Gallo. Naturally I left the Company & would never go to Gallo & ask to be re-engaged.I really think I have gotten all out of that Co. that I can ever expect." Signed "Stella de Mette-Liazza".</p><p>21. St. Louis MO. June 19 1926. Typed Letter Signed on one side of 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra" letterhead. "Dear Friend: Have been awaiting news from you for many moons.My idea is to commercializ next season & then go to Italy for a season or two & then something BIG should develop." Signed "Stella de Mette". On the verso of the letter Brown has written a draft reply: "I am starting to produce my own play this week. I hope I shall star you --- soon".</p><p>22. St. Louis MO. June 27 1926. Autograph Letter Signed on 1 & 1/2 sides of 11 X 8-1/2 "Lutheran Hospital / St. Louis MO." letterhead. The letter mainly concerns her husbands' recent operation. Signed "Devotedly Stella".</p><p>23. St. Louis. July 20 1926. Typed Letter Signed on 1 & 1/2 sides of "San Carlo Opera Co. Orchestra" letterhead. ".a queer telegram came - signed by Aurelio Gallo of course I do not believe Aurelio ever sent it offering me Asheville engagement to sing the following roles: Forza del Destino Juliette in Tales of Hoffman & Aida. I answered telegram if Carmen were in repertoire I insisted on doing same or I should not consider engagement. After that Gallo wrote Fortune Gallo to Francesco in fact sent two letters being very desirous of engaging me but it was plain to see that some one else was to sing Carmen this season. "Signed "Stella de Mette-Liazza".</p><p>24. Detroit Mich. September 28 1926. Autograph Letter Signed on one side of 10-1/2 X 7-1/4 inch "Savoy" Detroit letterhead. A complaint about Brown's silence. Signed "Stella de Mette".</p><p>25. Philadelphia PA. November 2 1926. Typed Letter Signed from Francesco Liazza on 1 & 1/4 inch sides of his personal "San Carlo Opera Co. Orchestra" letterhead. Liazza writes Brown concerning the undermining of his wife in New Orleans. ".there is something peculiar & some one is against Stella - of course I know G. is at the bottom of this plot.We play at the Tulane Theatre. The Manager of the house Mr. Campbell very friendly with Mr. G.The New Orleans Picayune deliberately knocks her no matter what she sings - gives her credit for nothing & some one is influencing this critic." Signed "Francesco Liazza".</p><p>26. Pittsburgh PA. November 9 1926. Typed Letter Signed on one side of 11 X 8-1/2 inch "Firt Pitt Hotel / Pittsburgh PA" letterhead. de Mette reminds Brown to look into the "New Orleans business". Signed "Stella de Mette-Liazza".</p><p>27. New Orleans LA. November 26 1926. Typed Letter Signed on both sides of 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra" letterhead. "Dear friend: Just to tell you that the 'Hunch' Francesco had about me & the New Orleans engagement is correct. The committee did not want me to appear in any of the subscription performances. I am sure Gallo is not to blame but all this emanates from Mrs. G. S four years ago she waged war against me to the various society dames.Francesco & I are racking our brains & are going to get even some way.Did the Blind Woman in Chenier last night & rec'd storms of applause in fact stopped the show." Signed "Stella de M. Liazza / San Carlo Opera Co./ Tulane Theatre / New Orleans La."</p><p>28. Los Angeles CA. January 28 1927. Typed Letter Signed written on 1 & 1/2 pages of 2 9-1/2 X 6 inch sheets of "Engstrum Arms Apartment Hotel" letterhead. "Dear Greatest of Managers: Your letter pleased me immensely and think the letter written to Mayfield in New Orleans was splendid. I notice he roasts big celebrities too so I should care - poor old Schuman-Heink got her's from this person too very recently." de Mette goes on to describe the roles she is singing in California. Signed "Stella de Mette-Liazza".</p><p>29. Pennsylvania. March 10 1927. Als scrawled over 3 half pages of 9-1/4 X 6 inch yellow hotel letterhead from Hutchinson Kansas. A heads up that de Mette and her husband are booked for passage to Europe on April 2. Signed "Stella de Mette-Liazza". Brown has written a draft on the verso of the third sheet inviting the Liazzas to dinner and "Aida" when passing through New York.</p><p>30. Milan Italy. May 26 1927. Als written on 4 sides of 8-1/4 X 5-1/4 inch "Hotel Agnello & Duomo / Milano" notepaper. de Mette writes that she has a good contract for the San Carlo of Naples. "However everything in the theatrical line operatic is in a very critical condition - all theatres closed etc. A number of artists have started a movement to oust all theatrical agents & it is in the hands of the government & we are patiently awaiting to see what happens." Signed "Stella de Mette-Liazza".</p><p>31. New Orleans La. November 2 1927. Typed Letter Signed from Francesco Liazza on 11 X 8-1/2 inch "Claridge Hotels Memphis Tenn" letterhead. He appreciates that Brown will continue managing his wife's engagements and gives her travel itinerary in Europe. Signed "Francesco Liazza". There is a draft of Brown's reply on the verso.</p><p>32. Milan Italy December 6 1927. Autograph Letter Signed written on 4 sides of 7-1/4 X 7 inch notepaper. de Mette has 2 contracts for Cremona. She will be singing in "Gioconda - debut the 26th - and the slave in Francesca da Rimini & the blind woman in Chenier". She "signed a contract for four operas at a very good salary.Aida of course Trovatore Rigoletto & Ballo in Maschera Ulrica for Copenhagen Denmark". She then writes of other singers and her future hopes. Signed "Stella de Mette-Liazza". Together with the original envelope on which Brown has written the draft of a letter to her.</p><p>33. New Orleans. December 22 1927. A brief typed letter on 11 X 8-1/2 inch "The Roosevelt / New Orleans" letterhead from Francesco Liazza informing Brown of his wife's debut in Cremona. "It will be in Gioconda. That is the town where Ponchielli was born. It is one of the most severe for criticism." Signed "F. Liazza".</p><p>34. Boston MA. March 15 1928. A Typed Letter Signed from Francesco Liazza on 10-1/2 X 7-1/4 inch "The Elks / Boaton Massachusetts" letterhead. He thanks Brown for an encouraging letter that Brown had sent de Mette. He says that when he returns to New York later in March "we may resume our plans for the orchestra for your Sunday concerts to be given at the Cosmopolitan Theatre." Signed "Francesco Liazza".</p><p>35. An unsigned and undated note from de Mette on "Hotel Phonix / Kobenhawn" letterhead. She is happy with the response of the Danes to her performances. She was in Copenhagen in January and March & April 1928.</p><p>36. Astoria NY. October 29 1929. Tls on one side of 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra" letterhead. de Mette writes of her need for work and her frustration with Brown's lack of communication. Signed "Stella de Mette".</p><p>37. Astoria NY. November 24 1929. Typed Letter Signed on one side of 11 X 8-1/2 inch "San Carlo Opera Co. Orchestra" letterhead. More frustration with Brown. "Have you abandoned your latest project - Carmen etc. in Greenwich.Was told you placed this German contralto in vaudeville Hupple I believe is the name. I always thot I was in the first row of the contralto dept in the C.B. offices." Signed "Stella de M."</p><p>38. A 20 inch high by 8-1/2 inch wide "Actors' Equity Association.Minimum Contract for Stock". The contract dated November 15 1929 is between Chamberlain Brown Manager and Stella De Mette Actor. "It is agreed that the Actor is to play CARMEN GIOCONDA AND OTHER OPERAS in the Manager's stock company at GREENWICH CONN.The Manager hereby agrees to pay the Actor the sum of THREE HUNDRED Dollars each week during the term of the engagement." Signed "Stella de Mette".</p><p>39. Clayton MO. June 18 1933. Typed Letter Signed on one side of 11 X 8-1/2 inch "Hotel Saint Louis / Quebec" letterhead. "Alfredo Salmaggi offered me all or any performance I'd care to accept but I promptly refused as I am well acquainted with his companies. I hear they are doing very well however. Is this true I was also called for the German Co. but it would have required too much capital for coaching brushing up on German roles." Signed "Stella de M. Liazza".</p><p>40. Chicago IL. October 4 1933. Typed Letter Signed written on 1 & 1/2 sides of 9-1/2 X 6 inch "Hotel Stephen Girard / Philadelphia" letterhead. "What happened to the proposed Co. opera of Canada Is Wagner still in charge Gallo's salaries are so ridiculous that Francesco wouldn't let me waste my energy for such a paltry sum. However business has been great & it looks as if they'd have a good season." Signed "Stella de M. Liazza".</p><p>41. Detroit MI. November 5 1933. Typed Letter Signed on one side of 8-1/2 X 5-1/2 inch notepaper. de Mette writes of enjoying her time off from singing. Signed "Stella". Brown has drafted a reply on the verso.</p><p>42. Chicago IL. October 8 1934. Typed Letter Signed with a handwritten P.S. on 10-1/4 X 7-1/4 inch "The Croydon Hotel / Chicago" letterhead. ".we are three leading contraltos. Ina Bourskaya one of the nicest women I have ever known & Dreda Aves. We are all one happy family & oh it's so good to be in dear old grand opera again.While in Montreal I met & sang for the pres. of the Canada Starch Co. & he has a very fine radio programme every Monday night - an orchestra of 30 symphony orchestra so Gallo has given me permission to be guest artist at the Broadcasting concert.next Monday". In her footnote she writes that she will sing Mon coeur s'ouvre ta voix from Samson and Dalila on the radio. Signed "Stella".</p><p>43. Winnipeg Canada. November 16 1934. Typed Letter Signed on both sides of 8-1/4 X 6 inch "The Marlborough / Winnipeg Canada" letterhead. de Mette writes of her successes on tour. "In Toronto & Detroit also was I demanded for the next season. Co. has been re-engaged for two weeks in Toronto". She mentions in passing her wish to join the Metropolitan Opera. "Mr. Gatti Giulio Gatti-Casazza is soon to vacate I see - maybe I shall have a chance then" Signed "Stella de Mette Liazza".</p><p>44. New Orleans La. January 14 1935. Autograph Letter Signed on both sides of 9-1/2 X 6 inch "Hotel New Orleans" letterhead. de Mette writes of "big success in Carmen. Am studying Lohengrin in German as here-to-fore did it in Italian & English. Shall sing it in Dallas next week.My voice is in fine condition." Signed "Stella".</p><p>45. Detroit MI. October 10 1935. Autograph Letter Signed written on the rectos of 2 sheets of 9-1/4 X 6 inch "Clifford Apartment Hotel / Detroit Michigan" letterhead. "Up to date there have been 9 mezzos - among them Casteloth i perf only Van Gilder 3 perfs Aves 2 perfs Hottinger 2 perfs Lorna Doone Jackson sang Carmen here & it was deplorable poor timing - the papers were all brutal.". Signed "Stella de M."</p><p>With the encouragement of Enrico Caruso Stella de Mette 1891-1989 sailed to Italy in 1908 to study opera in Milan. She made her debut in Genoa at the age of nineteen as a mezzo-soprano in "Cavalleria Rusticana". She sang in opera houses across Europe and the United States giving five hundred performances in "Carmen" and more than seven hundred in "Aida". She also acted in fourteen productions on Broadway. In 1932 she sang Carmen in the musical revue "Chamberlain Brown's Scrap Book". She met her husband Francesco Liazza while singing at the Metropolitan Opera in New York. Mr. Liazza was the manager of the San Carlo Opera Co. Mrs. Liazza sang in her husband's company which performed frequently in St. Louis until his death in 1942 when she retired and moved to Glendale.</p><p>Francesco Liazza 1888-1942 orchestra manager of the San Carlo Opera Company His age was 54. Mr. Liazza was orchestra manager for thirty years of Fortune Gallo's enterprise including Summer operetta seasons at Jones Beach and on tour and with Anna Pavlowa and the Original Ballet Russe. He had been a trombone player in the Metropolitan Opera and radio orchestras. Born in Naples Italy Mr. Liazza came to the United States in 1907.</p><p>Fortune Gallo 1878-1970 was an Italian-born opera impresario. Gallo was owner and General Manager of the traveling San Carlo Opera Company from 1913 until its disbandment in the late 1950s. Gallo was married to Sofia Charlebois an American lyric soprano in the San Carlo company.</p><p>Chamberlain Brown 1892-1955 was a theater impresario in the United States. He acted produced Broadway plays represented actors as a casting agent published theatrical publications and hosted radio shows about the theater with guest stars in each episode. His brother Lyman joined him in the business. He is said to have discovered Valentino Clark Gable Leslie Howard Tallulah Bankhead among others.</p> 1922-1935.
31423Los Angeles: Box Editions 2012. A fine set with 13 records in color sleeves illustrated slipcase three folded posters each 36 x 24 inches and a 52 page catalogue illustrated with mostly color installation and performance images. First Edition. Box set of 13 vinyl records documenting experimental musical performances organized during the retrospective exhibition "Beneath the Valley of the Lowest Form of Music: The Los Angeles Free Music Society 1972-2012" Jan. 14 - Feb. 23 2012. The first LP is particularly notable recording improvisations from the opening reception which included contributions from Mike Kelley only a few weeks prior to his death. This copy SIGNED by 9 of the artists to the colorful slipcase including Paul McCarthy Mitchell Brown Dennis Duck Ace Farren Ford Joseph Hammer Rick Potts and Vetza. Los Angeles: Box Editions unknown
181534415London: Printed & Sold by Preston at his Wholesale Warehouses 97 Strand between 1801 & 1822. 1815. 1815. Good. - Oblong octavo 6-3/4 inches high by 9-1/2 inches wide. Hardcover bound in marbled boards backed with a light brown calf spine with calf corners titled and decorated in gilt on the spine. The red leather ownership label of the 19th century music instructor Lucy Penniman lettered & decorated in gilt mounted on the front cover. The covers are rubbed and bumped with wear to the edges and corners. The leather has split along the joints and large sections are missing from the head and tail of the spine. The pagination is as follows: The first book identified as volume 2 of Marsh's work is paginated 2 3 1 65 & 1 pages. The second book identified as volume 5 of Marsh's work is paginated 4 & 61 & 1 pages. The preface p.1-3 plus the printer's advertisement within the first work are printed in letterpress. The title page and contents including the music are all engraved. The title page and contents including the music in the second work are all engraved. The pages are toned with some soiling minor foxing and staining. There are a few page corner creases. The inner edges of pages 25/26 & 27/28 of the second work are splitting and those leaves are nearly detached. A child's pencil scribbling slightly defaces pages 60 & 61 of the second work. Good. <p>First editions.<p>From the library of Lucy Penniman music instructor 1828 at the Female Classical Seminary in Brookfield Mass. with her name printed in gilt within gilt decorations on a red leather label with adorns the front cover.<p>Nine lines of manuscript titled "Musick" are penned most probably by Penniman on 4-5/8 inch high by 8 inch wide fine cream paper mounted by the corners with red wax onto the front blank. One of the corners of this manuscript page is torn. The lines are quoted from Sir Walter Scott's "Halidon Hill".<p>According to Kidson "British Music Publishers Printers and Engravers" London 1900 Preston used this imprint from 1801 through 1822.<p>The English composer diarist and writer John Marsh 1752-1828 was a lawyer by training and quite the renaissance man with interests ranging far beyond the law and music to include astronomy philosophy religion and geometry. Marsh was perhaps the most prolific English composer of his time having written at least 350 musical compositions including 39 symphonies. While he is remembered mostly for his music he also wrote books on astronomy religion and geometry. <p>RARE. COPAC locates only 2 copies of the first work one of those located at the National Trust and the other at the British Library and WorldCat locates only 1 copy that located at the British Library. Of the second work COPAC again locates only 2 copies one at the British Library and the other at Leeds while WorldCat locates only the Birtish Library copy. London: Printed & Sold by Preston, at his Wholesale Warehouses, 97 Strand, [between 1801 & 1822]. [1815]. hardcover
17520This legendary R & B tenor hit the charts in the mid-50s with the Drifters and such hits as "Money Honey" "Such a Night" and "Honey Love" before going solo. Two items: First an AQS 1p irregularly-trimmed roughly rectangular 8" X 4½" n.p. n.d. January 1958. Very good. Yellowed tape stain at each corner and two more small tape stains along right edge touching slightly upon a couple of words. Curious free verse poem or song lyrics -- whether to one of McPhatter's published songs is uncertain. "I want to walk in the shadow of your arms" it begins. "I want to live by the touch of your lips. I want to be in the River with you while the sea's calm I want to live and love I don't want to miss. I want to live with a love that's divine I want to be with you and give you all my love. I want to say that you are mine. I want to ask faith from the one above." Boldly signed at the conclusion. An unheard-of McPhatter rarity quite intriguing and exceedingly scarce -- and worthy of further research. Second an IPS 8" X 10" n.p. n.d. Very good. Faint yellow tape stain at each corner. Classy handsome half-length glossy portrait of a young smiling McPhatter in suit and tie inscribed large and bold in thick black marker at the upper right "To / 'Donald' / ALL the best / ALL the time! / Clyde McPhatter." Very choice and very scarce. McPhatter who suffered from alcoholism died of a heart attack at age 39 making his autograph material quite uncommon. unknown
36073Barcelona: Editorial Mediterrania 1985. Near Fine. Barcelona: Editorial Mediterrania 1985. First Edition Limited to 500 sets of which this is no. 349. Three volumes; large square quartos 31.5cm; publisher's blue gilt-lettered moiré silk all edges gilt housed in two-piece clear acrylic slipcase; Vol. I: 228pp.; Vol. 2: Three 33 1/3 vinyl audio discs in original gilt card chemises; Vol. 3: Laid in color print "Autoretrat" by Dali. Vinyl chemises all show some finger-soiling scratches to acrylic slipcase with some cracks crudely tape-repaired; overall slipcase in Good condition contents Near Fine. Editorial Mediterrania unknown
195515414New York: Passantino 1955. Original wraps. Near Fine. A wonderful piece of theatre history the original 1955 program for Truman Capote's "House of Flowers". THIS COPY IS NOT ONLY SIGNED BY TRUMAN CAPOTE on the title page next to his printed name BUT IS ALSO INSCRIBED BY HAROLD ARLEN WHO WROTE THE MUSIC FOR THE PLAY TO PEARL BAILEY THE PLAY'S LEAD. This inscription appears next to Arlen's printed name on the title page as well. The program itself is clean and Near Fine in its stapled yelow wrappers with very faint creasing along the panels. Tall thin quarto crisp black-and-white photos thruout of the principals involved in the production and performance of the play. Passantino unknown
12522Arezzo: Second Master of the Cortona Antiphonaries 1260. <p> This fragment belongs to the Common of Saints section of A CHOIR BOOK PRODUCED FOR THE FRANCISCAN CONVENT AT CORTONA. The initials' whimsical decoration and color palette match those of a group of codices realized in the same Arezzo workshop by at least three collaborating artists. The distinctive "muted pinkish ochre" and "ribbon of parchment tinted with egg white" inserted between the letters and their internal ornamentation Degl'Innocenti Gambuti tr. identifies our fragment's decoration as THE WORK OF THE SECOND MASTER OF THE CORTONA ANTIPHONARIES responsible for at least four other choir books still preserved between Cortona and Arezzo.<br /> The leaf offers two alternative chants and part of a third to be sung as Introit of the Mass celebrated on the feast of a generic group of martyrs. The decorated E on the recto marks the beginning of the Introit antiphon Ecce oculi domini super timentes which continues on the verso with the verse Exsultate justi in domino rectos. The decorated L marks the beginning of the alternative Introit antiphon Loquetur dominus pacem in plebem followed by the first few letters of the verse Benedixisti domine terram tuam avertisti. The first two lines of music on the recto are the final portion of the Introit verse Benedicam dominum in omni tempore which originally concluded a third optional chant.<br /> In very good condition some traces of adhesive to the top left and right margins of the recto bottom right corner of the verso mildly soiled and with a natural flaw in the vellum not affecting the text.<br /> ¶Degl'Innocenti Gambuti "Sulle tracce di una scuola miniatooria aretina" in I codici miniati medievali della biblioteca comunale e dell'accdemia etrusca di Cortona 44-6; Passalacqua I codici liturgici miniati dugenteschi nell'Archivio Capitolare del Duomo di Arezzo 97-8.</p> Second Master of the Cortona Antiphonaries] unknown
184818838Boston: Elias Howe. Very Good- with No dust jacket as issued. 1848. First Edition. Softcover. Original True First Edition. This is NOT a facsimile ebook or modern reproduction. RARE very limited presenceon World Cat in this original format. A 53 page booklet not counting first free endpaper and title page numbered from 59 through 111 112 being the reverse unnumbered page and index. Sequential pagination continues from Book No. 1 and through to books 3 & 4. Yellow wraps bound at the spine. Corner from title page lower right missing moderate edge and corner wear overall. All pages present and free from marks save ffep with pencil ownership name. This copy has been professionall rebound with acid free materials - stab sewn and a black cloth band wrapped around the spine end of the booklet reproducing the original binding. . Elias Howe paperback
41155Folio. 19th half black leather with marbled boards spine in compartments gilt with titling gilt. Engraved throughout with the exception of the ninth songsheet which is typeset. <br /> <br /> Provenance<br /> Evan Charles Sutherland-Walker 1835-1914 with his armorial bookplate to front pastedown.<br /> <br /> Contains 25 songs including works by Arne Bride Dibdin Clarke Galliard Handel Harington Hook Jackson Leveridge Selby Smith and others. With occasional ornamentation filling out of chords and corrections in contemporary manuscript. <br /> <br /> 1. Clark. "The Broom on Cowdenknows" "When Summer comes the Swains on Tweed". London ca. 1780. 1f. recto music verso blank pp. BUC p. 1075. Jeremiah Clarke ca. 1743-1809 English composer violinist and organist; his published works all printed in London consist of songs and keyboard sonatas with instrumental accompaniment. <br /> <br /> 2. Dibdin. "While the Lads of the Village . Sung by Mr. Bannister." "J.W." printed to foot of music. London: John Welcker ca. 1775. 1f. recto music verso blank pp. BUC p. 1078. Charles Dibdin 1745-1814 English composer dramatist poet actor singer and entertainer wrote many songs.<br /> <br /> 3. Arne. "Water Parted from the Sea . Sung by Mr. Tenducci in Artaxerxes." London ca. 1765. 1f. recto music verso blank pp. BUC p. 57. Alfred Thomas Augustine Arne 1710-1778 an English composer violinist and keyboard player was "the most significant figure in 18th-century English theatre music." Peter Holman and Todd Gilman in Grove Music Online<br /> <br /> 4. Jackson. "Delia . Sung by Mr. Squibb at Marybone! Gardens. Set to Music by Mr. Wm. Jackson of Exeter." London ca. 1770. 1f. recto music verso blank pp. BUC p. 552. William Jackson 1730-1803 an English composer and organist wrote a number of songs canzonets etc. "His best music is to be found in his secular vocal works where he demonstrates an ability to blend a natural melodic style with a sensitivity to text." Richard McGrady in Grove Music Online<br /> <br /> 5. Galliard. "The Early Horn . A Fav'rite Song in the Royal Chace. Sung by Mr. Beard. Set by Mr. Galliard." London ca. 1737. 1f. recto music verso blank pp. Paginated 31 at upper outer corner. BUC p. 358. John Ernest Galliard ca. 1687-1749 German composer and oboist "certainly played a significant role in London's musical life in the first half of the 18th century." Roger Fiske revised by Richard G. King in Grove Music Online<br /> <br /> 6. Smith. "Zoreb and Zaida . Sung by Mr. Morgan." London ca. 1770. 1f. recto music verso blank pp. JISC one copy only at Oxford University.<br /> <br /> 7. Handel. "Let me Wander . L'Allegro Il Penseroso." London: Printed for J. Bland No. 45 Holborn ca. 1790. 1f. recto blank verso music pp. HWV 55. BUC p. 433. George Frideric Handel 1685-1759 English composer of German birth was "one of the greatest composers of his age." Anthony Hicks in Grove Music Online<br /> <br /> 8. Handel. "L'Allegro il Penseroso ed il Moderato Or Let the Merry Bells." London: Bland ca. 1790. 1f. recto music verso blank pp. HWV 55. BUC p. 433.<br /> <br /> 9. Bride. "The Joy-Inspiring Horn . A Favorite Hunting-Song. Set by Mr. Bride." London: R. Falkener ca. 1775. i blank 2 i blank pp. BUC p. 135. Typeset with an arrangement for two German flutes in score on the second page. Tear extending from lower margin into three systems of music; small loss to lower outer corner of first page of music; imprint trimmed but possibly the Falkener edition where the imprint appears at the foot of the second page of music. OCLC 43123680.<br /> <br /> 10. Handel. "Sung by Mr. Beard in Alexander's Feast" "Happy happy pair". London ca. 1740. i blank 2 i blank pp. HWV 75. Not in BUC.<br /> <br /> 11. Leveridge. "The Roast Beef Cantata." London ca. 1770. 4 pp. BUC p. 1026. Richard Leveridge 1670-1758 English bass and composer was "a leading singer on the London stage and a popular composer of songs." Olive Baldwin revised by Thelma Wilson in Grove Music Online<br /> <br /> 12. "The Camp Medley" "The Lark was up the Morn was grey". London: Longman & Broderip ca. 1780. BUC p. 595. 4 pp. With trill markings in contemporary manuscript.<br /> <br /> 13. "The Banks of the Dee A favorite Song" "It was summer". London: Bland ca. 1780. 1f. recto music verso blank pp. BUC p. 549 other editions. <br /> <br /> 14. "He Stole my Tender Heart Away . A Favorite Song" "The Fields were green". London ca. 1780. 1f. recto music verso blank pp. BUC p. 334. <br /> <br /> 15. Hook. "The Favorite Song Sung by Miss Brown in the Scheming Lieutenant" "Beneath a green shade". London: CST handstamp Charles and Samuel Thompson ca. 1775. 1f. recto music verso blank pp. JISC two copies at the British Library and the National Library of Scotland. James Hook 1746-1827 was a noted English composer whose songs were "regularly performed at the main London pleasure gardens." Pamela Gairl in Grove Music Online<br /> <br /> 16. "Social Pow'rs . A Favourite Song" "Come now all ye Social Pow'rs". London: Printed for J. Bland No. 45 Holborn ca. 1785. 1f. recto music verso blank pp. BUC p. 208.<br /> <br /> 17. "The Invitation Sung at Marybone Gardens by Mrs. Vincent. Mr Lowe. Miss Davis. Mr Raworth. and Mr Taylor" "Come ye party Jangling Swains". London ca. 1766. 1f. recto music verso blank pp. BUC p. 209. <br /> <br /> 18. Selby. "The Chace of the Hare . A New Hunting Song." 1f. recto music verso blank pp. BUC p. 940. Minor loss to flute line.<br /> <br /> 19. "Fair Hebe. Sung by Mr. Beard at Ranelagh Gardens" "Hebe I left with a cautious Design". London ca. 1750. 1f. recto music verso blank pp. BUC p. 324. With "Fair Hebe" in contemporary manuscript to blank verso. <br /> <br /> 20. Harington. "Air. by Mr. Harington of Bath" Gentle Airs sweet Joys impart". London ca. 1780. 1f. recto music verso blank pp. BUC p. 446. Henry Harington 1727-1816 English composer physician and author was a leading contemporary composer of glees catches and duets.<br /> <br /> 21. Arne. "The favourite Hymn of Eve. In the Oratorio of Abel" "How Chearful along the gay Mead". London ca. 1755. 1f. recto music verso blank pp. JISC one copy only at Oxford University. <br /> <br /> 22. "The Cotillon" "Hail Politeness pow'r divine". London: Rd. B__e ca. 1770. 1f. recto music verso blank pp. BUC p. 416.<br /> <br /> 23. Arne. "The Echoing Horn in Thomas & Sally." London: Printed and sold by S. Phillips in St. Martins Court ca. 1765. 1f. recto music verso blank pp. BUC p. 45. <br /> <br /> 24. Arne. "Hebe . Set by Dr. Arne" "When forc'd from dear Hebe". London: Walsh 1752. 1f. recto music verso blank pp. BUC p. 47 <br /> <br /> 25. "Anna A Particular Favourite Irish Song. Sung by Miss Catley - and - Mr. Leoni." "Shepherds I have lost my Love". London: I. F.entum ca. 1775. 1f. recto music verso blank pp. BUC p. 943.<br /> <br /> Bound with: <br /> Clark. Eight Songs with Instrumental Parts in Score Composed by Jeremiah Clark Organist in Birmingham Opera Seconda. London: Printed for the Author and Sold by Messrs. Straight & Skillern Music Engravers and Printers in St. Martins Lane near Charing Cross ca. 1775. 1f. recto title verso blank 34 pp. Engraved throughout. BUC p. 94. RISM C2618 and CC2618 two copies in the U.S. at Cornell University and the Library of Congress. <br /> <br /> Index in pencil to front free endpaper. <br /> <br /> Binding worn rubbed and bumped. Slightly worn; occasional minor imperfections including small tears soiling and stains. unknown
18842091202133212089Hobunkan 1884. Soft Cover. Fine. Number of books: 70 books in total Hobunkan paperback
18890Printed by R. Stobbs Durham. c.1823. The playbill 20 x 7 3/4 inches headed "GREAT NOVELTY. MR PURVIS Respectfully informs the Ladies Gentlemen.the Performance of his Liliputian Theatre or SUPERB MECHANICAL FIGURES for a short time only.the Performance will commence with Mr. P's GRAND DECEPTIONS with Cards Rings Medals Watches Boxes Trinkets etc.After which will be performed.THE CHILDREN OF THE WOOD; or the Cruel Uncle. Performed by Figures three feet four inches high.after which will be exhibited the Grand Theatre FANTOCCINI. THE GRAND MOGUL TURK who will come forward.dance.move his head roll his eyes.RAMO SAMEE the East Indian Juggler.17inches high .throwing the Golden Ball in a wonderful manner.BEN BLOCK the Sailor.only 12 inches high.take off and put on his Hat and perform a real English Hornpipe consisting of twenty-one steps.MORGIANA the Musical Hoop Dancer will perform a waltz.THE ANIMATED SKELETON will perform a Dance of Death.chatter his teeth and move every joint.PANTALOON AND PANTILINA will .dance a Jig.THE POLANDER.A Tight Rope Dance .and conclude with his Antipodean Feats by standing on his head on the Pole.THE ITALIAN SCARAMOUCH Or the Representation of Joe Grimaldi who will make his Appearance without his Head then with his Head.The whole to conclude with the laughable burlesque Farce of BILLY BUTTON and his Man Jeremiah here correctly represented by Liliputian Performers and a Fairy Horse."From J. P. Robson's "The life and adventures of the far-famed Billy Purvis" 1849:"I commenced manufacturing a set of Fantoccini figures myself. My first attempt was on 'Ben Block the Sailor' and I succeeded in blocking out my Ben in a style that proved I was no blockhead. Mr Hardy Sen. Carver who is still living materially assisted me in cutting of my heads. I worked away and in a short time I finished nine excellent figures which I named in the following order: - 'Ben Block' was my eldest born. Then followed 'The Grand Mogul Turk' 'The Indian Juggler' 'Morgiana the Musical Rope Dancer' 'Pantaloon and Pantalina' 'Scaramouch'' The Boy and the Butterfly' and lastly the figure that always must come last 'Death or the Skeleton!' whose astonishing convolutions evolutions dislocations and evaporations were witnessed by thousands with unmitigated pleasure". From T. Arthur's "The life of Billy Purvis : the extraordinary witty and comical showman; with many facts not before published" 1878."Now he felt that he had so many strings to his bow that it could not fail to hit some marks. He was a comic singer dancer conjuror Phantasmagoria Fantoccini exhibitor all of which he was well up in; and the public yielded their patronage willingly. His figures completed he prepared for the October Fair and he attended Houghton Feast next Sunderland Fair." Printed by R. Stobbs, Durham. c.1823. unknown
1842595246Boston: Henry Prentiss 1842. Softcover. Good. First edition thus. Lithograph by Thayer & Co. Folio. 6pp. Wrappers. Rear wrapper which serves as pages five and six is detached but present notched and worn along the spine from once being bound within an album light foxing and offsetting throughout a complete and good or better copy. For voice and piano. Plate number 225. Above the music it's stated that the words were "adapted to the favourite Scotch Air 'Gramachree.'" The front cover states "The friend and benefactor of poor 'Oliver' 'Nicholas' and sweet little 'Nelly'" underneath a portrait of Dickens. Another version of this song was published the same year by W.H. Oakes also in Boston. The dinner referenced in the title took place in Boston on February 1st 1842 Dickens gave a speech on international copyright law and other literary figures gave speeches as well including Washington Allston George Bancroft and Nathan Hale Jr. The writers Thomas Gill and William English published a 66 page report of the dinner in which many of the printed speeches were revised by the authors themselves. OCLC locates only six holdings of this Henry Prentiss edition and it appears to be equally scarce in the trade. Henry Prentiss unknown
