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Atti del Convegno di Studi, in-8, br.ill., pp.347, ottimo
2 SS. Kl.-4to. Wohl die Druckvorlage zu einem der seit 1925 von Wellesz gestalteten Radiovorträge über musikgeschichtliche Themen: "Im Laufe der letzten Jahre ist es wohl auch dem der Musikübung Fernerstehenden erkennbar geworden, dass diese Kunst in mannigfacher Weise durch die bei den Schwesternkünsten aufgezeigten Strömungen berührt wurde. Es ist nicht zu vermeiden, dass diese Veränderungen unter diesem oder jenem Schlagwort zusammengefasst werden, das immer nur einem Teil des Wesenhaften gerecht werden kann. Jedenfalls aber zeigt sich als stärkstes Merkmal in der Musik der letzten Jahre - mag es sich um eine Oper, ein Konzertstück, einen Tanz, einen Song handeln - der Wille zu knapper preziser [!] Gestaltung, zur Vermeidung des Episodenhaften, zur Vermeidung des formlos Ausströmenden. Es ist nun hier der Versuch gemacht, an Hand einiger Grammophonplatten einen kleinen Überblick über Musikstücke zu geben, in denen etwas von dem Geist der neuen Zeit zum Ausdruck kommt. Man war dabei an die ungemein kleine Zahl der in den Katalogen der führenden Gesellschaften vorkommenden Aufnahmen von Werken moderner Musiker gebunden. Man wird leicht erkennen, dass nicht alles sich gleichermaßen gut auf der Platte abhören lässt; gerade Wirkungen, die im Konzertsaal besonders gut klingen, versagen auf der Platte, und umgekehrt. So wird es in Zukunft sicherlich dazu kommen, dass sich eine eigene Orchestrationstechnik für mechanische Aufnahmen herausbilden wird. Ansätze dazu sind bereits bei jenen Kompositionen bemerkbar, die auf Bestellung einiger deutscher Sender eigens für die Zwecke des Rundfunks komponiert wurden". - Mit einer redaktionellen Bemerkung an den Setzer in blauem Farbstift und der Erweiterung des Titels von "Musik" zu "Moderne Musik"; gleichfalls recto eine Bleistiftnotiz zum Schriftgrad ("Gar[a]mond") und rechts oben die Numerierung "2"; ein kleiner Stecknadeldurchstich.
Ombres, Petite Bibliothèque, 1995, 115 pp., poche, bon état.
[44] S. 8°. Gedruckt in Rot/Schwarz.
4to (220 x 265 mm). 16 pp. With 6 lithographed illustrations on 5 plates. Contemporary blue glazed wrappers. Only edition. - The composer Barraga (1825-99) served as choir master and music teacher in Munich (cf. RISM). His doctrine followed the mathematical system of harmony established by Georg Joseph Vogler (1749-1814), a composer of the Mannheim school and a diligent reformer of baroque organs. Barraga's theory describes harmonical and metrical knowledge as the grammar of musical rhetoric, while the necessary prerequisite for the representation of beauty is logic, paired with sentiment. Harmonical and metrical relations are to be expressed by a system of signs similar to the Roman numeral analysis anticipated by Vogler, of which Barraga provides numerous examples in the text and on the plates. For the author, music is to be conceived as a living "mathematica integra", as attested by Mozart in particular. Perhaps surprisingly, Barraga does not mention Johann Sebastian Bach. - Very light foxing; wrappers slightly creased. A clean copy on large paper. OCLC 831087605.
Folio. Title, 30 pp. Brown ink on 12-stave paper, 4 systems of 3 staves per page. Sewn. Louis Drouet dedicated his arrangement of melodies from Donizetti's opera "Belisario" (1836) for flute and piano to his daughter Lina Drouet. The piece was intended to be performed as a "morceau de salon". - Often referred to as the "Paganini of the flute", Louis Drouet was one of the most celebrated flautists of his time. The son of an expatriate French barber in Amsterdam was an autodidact before entering the Paris conservatory at the age of seven. At 16, he was first flutist and teacher of Louis Bonaparte, then King of Holland. An international career as a flute virtuoso followed. Among his stage partners and friends was Felix Mendelssohn. In 1840, Drouet was appointed director of music by Ernest I, Duke of Saxe-Coburg-Gotha. - The title written in a different hand. Some foxing and browning; tears to the fold of the title-leaf.
Blue octavo (light purple spine); 390 p, [32] p of b&w plates; 23 cm. In Portuguese. || Singers -- Brazil -- Biography. || Brazilian singer who was accused of denouncing fellow artists who were involved in political left-wing movements in the 1970s.
Oblong folio (ca. 316 x 226 mm). Brown ink on paper, 16 staves (Johnson, Tyson & Winter Nr. 2). 3 pp. on 2 leaves (separate, second leaf mounted to a cloth stub with another, blank sheet of contemporary paper). A total of 217 measures (omitting preludes) with deletions and corrections throughout. Stored in custom-made red morocco portfolio with cloth interior flaps and brass applications on both covers (342 x 248 mm). First draft for the lied "Neue Liebe, neues Leben", a setting of a 1775 poem by Johann Wolfgang von Goethe, begun in late 1798. The present sketch, jotted down without interruptions in a very cursory, almost rushed hand already contains the melody and the words with no expression markings, but includes occasional bass sections as well as parts of the piano accompaniment at the end of verses; it shows several important departures from the version printed in 1810. At the head of the page, written in a different ink and pen and comprising the first four staves, are the first eight bars of the finale of Beethoven's String Quartet No. 1 in F major (Op. 18, No. 1, composed between 1798 and 1800, published in 1801), providing the violin voice with the theme chorus of triplets. - The lied in its present version (WoO 127) was published in early 1808, nearly a decade after this first sketch, by Simrock in Bonn as the first part of the "III deutsche Lieder", apparently without the composer's consent. Beethoven subsequently revised his work (the manuscript of that revision, dated "1809", is today kept at the Beethoven Haus in Bonn) and published it the following year with Breitkopf & Härtel in Leipzig as part of his "Sechs Gesänge" (Op. 75, No. 2). "Il s'agit du monologue d'un amant que la rencontre d'un nouvel amour a bouleversé au point de ne plus savoir où il en est : sa tentation est alors de fuir ce qui le rend étranger à lui-même" (E. Brisson). In 1811 Beethoven presented a manuscript copy of that second version, the first leaf of which is also kept in Bonn (while most of the remainder is at the Pierpont Morgan Library in New York), to Bettina Brentano on the occasion of her wedding to Achim von Arnim. Nohl has pointed out that the present first draft with its "dramatic, aria-styled phrasings" retains a somewhat "grandiose and dark quality" as compared to the reduced later version, and "if one were to interpret the urgent stride so vividly apparent in this sketch, dashed off, as it seems, without a single interruption and in a mood of deep emotional excitation, then one feels instinctively that forces of an even greater passion than such as Bettina could have aroused in Beethoven must have been at work here" (cf. p. 695). - Occasional quite insignificant brownstaining; altogether very crisp. Both leaves annotated with Beethoven's name in a near-contemporary hand. At the head of the first page is the "mysterious caption" (cf. Nohl), also by a different, early hand: "Der Schluß von seinem letzten Septuor als Motto für den Text" (apparently referring to Beethoven's Septet, Op. 20, also written in 1799; a tentative explanation is advanced by van der Zanden, p. 168). - Beethoven manuscripts written before 1800 almost never come to market; no other complete autograph manuscript of this version is known. The two leaves formerly were a single bifolium owned by baroness Anna von Gleichenstein, the sister of Beethoven's friend Therese Malfatti (remembered as a possible dedicatee of "Für Elise"), which was soon separated. Even in 1865, when Nohl edited the first leaf, its counterpart was no longer in the possession of the Gleichenstein family. The first sheet later surfaced in the archives of the music publisher Schott in Mainz and was sold at Sotheby's in 2002 (6 December, lot 14: £65,725). The second leaf was offered in 1968 by Hans Schneider of Tutzing in his catalogue 136 (lot 37, DM 17,800; then again in cat. 142, lot 266, with illustration on p. 45) and was acquired in 1969 by a private collector who had it auctioned by Venator & Hanstein in Cologne in 2011 (cat. 118, lot 861: EUR 108,000). Now that both leaves have been reunited, Hans Schneider's words, written half a century ago about only the final 62 measures, are no less true: "Through Beethoven's synthesis of his own music with a text by Goethe we are presented with a musical autograph as desirable as it is beautiful" (cat. 136, p. 37). WoO 127. Beethoven, Werke (Neue Ausgabe), Abt. 12.1, Lieder und Gesänge mit Klavierbegleitung. Kritischer Bericht (Munich, 1990), no. 18, pp. 20f., and cf. no. 41, pp. 47-49. Ludwig Nohl, "Eine Beethoven'sche Skizze", Recensionen und Mittheilungen über Theater und Musik 44 (4 Nov. 1865), pp. 695-697 (an edition of the first leaf only). Max Unger, "Neue Liebe, neues Leben. Die Urschrift und die Geschichte eines Goethe-Beethoven-Liedes", Zeitschrift für Musik 103.9 (Sept. 1936), pp. 1049-1075, here at pp. 1060-1062. Jos van der Zanden, "The Shakespeare Connection: Beethoven's String Quartet Op. 18 No. 1 and the Vienna Haustheater", Eighteenth-Century Music 18.1 (March 2021), pp. 151-170, here at p. 168 note 106.
1 S. Qu.-8vo. Acht Zeilen in zweizeiligem System für Klavier. Montiert auf Trägerkarton, auf dem Döring einem namentlich nicht genannten Adressaten in Wien berichtet: "Der Anfang dieses Stückes ist der ersten Nummer meiner 'Lose Blätter' benannten Klavierstücke entnommen, die unter Opus 177 - Dresden bei L. Hoffarth - erschienen sind. Möchten sie auch im lieben Wien freundliche Aufnahme finden". - Döring war Schüler des Leipziger Konservatoriums und Privatschüler von Hauptmann und Lobe; 1858 wurde er Lehrer am Dresdner Konservatorium und verfaßte "eine große Zahl trefflicher Klavierunterrichtswerke" (Riemann, 11. Aufl., 1929, s. v.).
Pieghevole (Misure cm. 21x30 piegato in quattro facciate) che contiene "Nuove Canzoni Napoletane" (solo testi) con i seguenti titoli: 'A luna e 'o mare; Il vero Charleston!...; Passione madrilena; Argentina; Meridiana; Voglio a tte!; Scugnizzo; Fantasia 'e surdato. Editore presumibilmente napoletano (32b).
Umdruck. Partitur. 5 S. Gr. 4°.
Titel und 2 SS. auf Doppelblatt. 4to. "Aufgeführt zur Genesungs-Feier Seiner Kaiserlichen Königlichen Hoheit, des durchlauchtigsten Prinzen und Herrn Erzherzogs Franz Carl, als erhabensten Protectors der Versorgungs-Anstalt für erwachsene Blinde, bei dem am 25. April 1843 in dem k. k. großen Redoutensaale zum Besten der genannten Anstalt veranstalteten großen Concerte". - Anton Emil Titl, bei Gottfried Rieger in Brünn ausgebildet und über Olmütz und Prag nach Wien gekommen, wurde 1840 neben Franz von Suppè Dirigent am Wiener Theater in der Josefstadt; von 1850 bis 70 leitete er das Orchester des Hofburgtheaters. Er "komponierte eine außerordentlich große Anzahl von Schauspielmusiken" (DBE), und "besonders durch seine gefällige Musik zum phantastischen 'Zauberschleier' (nach dem Scribe-Mélesville-Libretto 'Le lac des fées') hatte sich Titl einen jahrelang anhaltenden Erfolg erschrieben, der ihn und seinen Dir. F. Pokorny mancher materiellen Zukunftssorge enthob. Die hier erfolgreiche 'Wandeldekoration' wurde für Richard Wagners 'Parsifal' vorbildlich" (MGG XIII, 434). - Papierbedingt gebräunt und etwas fleckig sowie mit kleineren Läsuren.
7 p. Licht vlekkig. Titel met kl. portr. van Kon. Wilhelmina.
[3] p. Kl. 4°. Mit kleurrijke titelillustratie van Mathé v/d Weiden.
Folio (270 x 345 mm). Title and 24½ pp. (paginated 1-25), final blank leaf. Written in brown ink on 32-stave paper, with 2 systems of 15 staves per page (except for the last page, which only has one system). 431 bars. Bound in contemporary red half morocco with gilt red morocco title label to the upper cover. Marbled endpapers (somewhat chipped). Exceptionally rare, unpublished musical manuscript: Bizet's autograph orchestration of the overture to Hippolyte Rodrigues's opera "David Rizzio", about the historical courtier who was the private secretary and rumoured lover of Mary, Queen of Scots. In 1566 he was assassinated by her husband, the jealous Lord Darnley, and a conspiracy of Protestant nobles. - A wealthy stockbroker and lawyer, Rodrigues (1812-98) was also a writer and composer. He retired early to devote himself to literature and music, notably composing melodies and piano pieces, but also more ambitious works such as this opera. Rodrigues was secretary of the "Société scientifique-littéraire israélite"; his sister Léonie was married to Fromental Halévy, Bizet's former teacher. Thus, Hippolyte Rodrigues was Geneviève Halévy's uncle and served as witness to her marriage to Bizet on 3 June 1869; he would lend the young couple his house in Saint-Gratien for their honeymoon. - In 1866 Hippolyte Rodrigues first published the textbook for "David Rizzio"; the piano and vocal score of the opera in four acts (first designated as a lyrical drama "en 3 actes, 4 tableaux", "paroles et musique de Hippolyte Rodrigues", would appear in 1873, privately printed by Eugène Heutte in Saint-Germain. Bizet listed this score in the catalogue of his music library. "Whether Bizet orchestrated any more of the opera than the overture is not known [...] The opera was not performed, except possibly as a play, and the music has not otherwise survived" (MacDonald). - The title-page of the manuscript first states, cryptically: "Ouverture / Jean-Jacques", followed by the correct title in Bizet's hand: "Overture de / David Rizzio / composée par / Hippolyte Rodrigues / orchestrée par / George Bizet". The orchestra includes 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in D, 2 horns in C, 2 pistons in A, 3 trombones, timpani, bass drum and cymbals, violins I and II, violas, cellos, basses. The Overture begins with an Allegretto moderato in B minor in 2/4 time (25 bars); then, after a rallentendo and a brief Andante (10 bars, the last two, skipped, are noted on p. 4), comes an Allegretto (16 bars), followed by a reprise of the Andante; an Allegro 2/2 (36 measures); an Andantino in D minor in 2/4 (72 bars), then a brief passage "Un peu animé" (14 bars), leading to an Allegretto in E major (79 bars), then briefly in C (11 bars); the work ends with an Allegro in C minor in 2/2 time (110 bars), then in D, changing after 4 bars into 2/4 time until the end (46 bars). - Binding rubbed and bumped; stitching loosened. Of great rarity. Provenance: Hotel Drouot, Paris, sale at an unknown date. Delorme & Collin du Bocage, 14 Nov. 2008, lot 10. MacDonald, Bizet Catalogue, T56.
Il volume raccoglie oltre 150 lettere indirizzate a Giuseppe Martucci (1856-1909) nell’arco temporale dal 1877 al 1909. Tra i corrispondenti figurano eminenti letterati (Enrico Panzacchi, Giosuè Carducci), critici musicali (Aldo Noseda, Filippo Filippi) e personaggi della politica e dell’aristocrazia del tempo (Adelaide Del Balzo Strongoli). La collezione - che comprende anche una decina di missiv <br/> STATO: NUOVO.<br/> TITOLO: "Pagine sparse". Il carteggio di Giuseppe Martucci nei documenti d'Archivio del Royal College of Music.<br/> CURATORE: A cura di Federica Nardacci.<br/> EDITORE: Olschki Ed.<br/> DATA ED.: 2019,<br/> COLLANA: Historiae Musicae Cultores,137.<br/> EAN: 9788822266934
A cura di Galliano Ciliberti. Testo Italiano, Inglese e Francese. Bari, 2018; br., pp. 582, cm 17x24. (Siren Coelestis. 1).
Titel und 3 SS. auf Doppelblatt. Gr.-8vo. Mit drei Beilagen (s. u.). Einblattdruck einer Dichtung von Karl Schloßleitner (1888-1959) zur Musik von Arpad von Laban. Über eine Aufführung des Werkes ist nichts bekannt. Einer (von insgesamt zwei beiliegenden Programmzetteln) berichtet jedoch von einer Aufführung der Dichtungen "Pegabus I" und "Pegabus II" im Salzburger Stadttheater aus Anlass des 60. Geburtstages von Franz Karl Ginzkey. - Weiters beiliegend ein Separatdruck aus "Bild und Buch" (Berlin, o. J.) mit je einem kurzen Portrait von Karl Schloßleitner und Arpad von Laban. - Arpad von Laban, 1905 im niedersächsischen Barsinghausen geboren, war als Musiklehrer, Komponist, Orchester- und Chorleiter sowie als Rezensent für das Feuilleton der damaligen Traunsteiner Zeitung "Südost-Kurier" tätig; in Traunstein im Chiemgau betrieb er von 1949 bis 1953 eine private Singschule.
Firenze, Biblioteca Nazionale Centrale, 5 ottobre - 30 novembre 2000. A cura di Bartoli Bacherini M. A. Firenze, 2000; br., pp. 246, 160 ill. b/n num. n.t., 18 ill. col. num. n.t., 9 tavv. col. num. n.t., cm 21x28,5. (Miscellanea). (Cataloghi. 319).
Cricoteka, giugno 1994, testo polacco / inglese, brossura, formato 21x29,5, pagine 66, illustrato in nero e colori, ottime condizioni - 24380
Folio. Title page and 4¾ pp. on 6 ff. Folio. Music paper. Notation for "Mezzo Sopran ou Barytone en ré" and piano, underlined with G. François's text, and dedicated "á Madame A. D." as well as to his lawyer, Della Rogers.
Passignano sul Trasimeno, 2017; br., pp. 392, cm 17x24.
