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Bach, J.S.:MareMagnum

[BWV 769] Canonische Veränderungen über "Vom Himmel hoch da komm ich her" BWV 769. Faksimile des Autographs und des Erstdrucks hrsg. von Wernern Neumann

ANITA TIEDCKE [EMINE EREL], ((Head violinist of Ege Symphony Orchestra); MUHIDDIN [MUHITTIN] EREL, (1899-1986); SUNA & SEVIM ERELS, (Daughters of family, violinists).MareMagnum

[Collection of autograph letters, concert programs and other material of a German / Turkish violinist and her family].

Very Good German Original autograph letters signed, concert programs and one ticket of Bruno Walter and Jose Iturbi in 23 September 1932 by Anita Tiedcke, letters by and to Anita Tiedcke, Muhiddin Erel and Suna and Sevim Erels. Includes 54 concert programs, booklets and leaflets which some of them are handwritten, typewritten and mostly original prints. Some programs contains Anita Tiedcke's violin parts, early ones in Berlin (1930s), and later period ones in Istanbul. Especially typescript Istanbul programs (such as Aysegül Sarica's ones) are extremely rare and very important collection on Turkish history of classical music. One special designed hand written and drawn concert program titled "In Mozart Reich - Weihnachts Konzert gespielt von Nannerl u. Wolfgang Mozart. 24 autograph letters from and to all family members. Letters belong to Anita Tiedcke, are especially important for which include legal correspondences about Anita Tiedcke's conversion to Islam with her musician identity and musical history. Anita Tiedcke changed her name as 'Emine Erel' after conversion to Islam and marriage. Suna and Sevim Erels' letters also talk about music mostly. They are written in German usually, but some of them are in Turkish. Also the collection contains some book lists, catalogues. Anita Tiedcke completed her musical education at the Conservatory of Hamburg with the violonist Erika Besserer. After her marriage to Muhiddin Erel, she continued her musical studies in Istanbul and worked as an instructor at the Municipal Conservatory. In 1945, she was appointed as the mayor of the Istanbul Municipal Symphony Orchestra. The couple had two daughters, Suna and Sevin. Suna Erel was not content with the conservatory, but she also graduated from the Münch Hochschule für Musik Academy. Professor Suna Erel, who worked at Mimar Sinan University for many years, retired 8 years ago. For his achievements, the German government awarded Suna Erel the Beethoven medal. Muhiddin Erel was a Turkish professor and doctor. He was the founder of Ege University Medicine Faculty in 1955. Extremely rare and fine collection.

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR556,33 €

[Callenbach, Franz, SJ.].MareMagnum

[Die Dramen]. Wurmland, nach Lands-Art, Regiment, Religion, Sitten und Lebens-Wandel. Gleichsam auf einer Schaubühne vorgestellet. [...] Bey Vermelio Wurmsaam im Gast-Haus zum Regenwurm. Im Jahr, da es wurchstichig [!] war. [Nürnberg, Georg Christoph Lochner?, nach 1715?].

144 SS. Ohne die Faltkarte. - (Beigebunden) II: Ders. Quasi vero, der hinckende Bott hat sich wohl. Hrsg. aus der Quasi-Welt, auf der Post zu Fuß. [Ebd., nach 1715]. 112 SS. - (Beigebunden) III: Ders. Uti ante hac, auf die alte Hack. Gedruckt in der alten Welt sub signo veritatis. [Ebd., nach 1715]. 88 SS. - (Beigebunden) IV: Ders. Genealogia nisibitarum. Deß uralten Nisi-Stamm-Baum Geburths-Brieff [...]. Zu finden in dem [...] Nisibitischen Stamm-Hauß. [Ebd., 1719]. 136 SS. Mit 1 mehrf. gefalt. gedr. Stammbaum. (Beigebunden) - V: Ders. Puer centum annorum sive Heteroclitus [...]. Im Jahr, da die Welt alt und kindisch war. [Ebd., nach 1715]. 144 SS. - (Beigebunden) VI: Ders. Almanach Welt-Sitten-Staat-Marter-Calender; gerichtet auf alle Schalt-Jahr. Gedruckt unter dem Schnapp-Galgen auf der Folter- und Marter-Preß. [Ebd., nach 1715]. 187, (1) SS., 2 w. Bll. - (Beigebunden) VII: Ders. Quasi sive mundus-quasificatus: Das ist: Die quasificirte Welt. Gedruckt in der Quasi-Welt. [Ebd., nach 1715]. (8), 88 SS. - (Beigebunden) VIII: Ders. Eclipses politico-morales. Sicht- und unsichtbare sittliche Staats-Finsternussen [...]. Gedruckt in Umbria. Im Jahr, da es finster war. [Ebd., nach 1715]. 84 SS. Zeitgenössischer Pergamentband mit hs. Rückenschildchen in rot und schwarz. 2 Schließen. 8vo. Sammelband aller acht Schuldramen des Jesuiten Franz Callenbach (1663-1743), entstanden 1709-12 und 1714 erstmals in Druck erschienen. Das vorliegende Exemplar vereinigt etwas spätere Ausgaben (c. 1715-1719). - I: Variante f der erweiterten Neufassung. Frühestes von Callenbachs satirischen Schuldramen; "satirisiert in amüsanten Dialogen eine Reihe zeitgenössischer Unsitten als 'Würmer'" (Dünnhaupt I, 535). - II: Neugesetzte Variante der "Satire gegen Heucheleien aller Art, vornehmlich auf religiösem Gebiet, mit amüsanten Prognostikationen der Zukunft" (Dünnh. I, 546). - III: Abermals neu gesetzte Variante der "Satire gegen die alamodische Sprachverderberei und Einführung französischer Hofsitten" (Dünnh. I, 540). - IV: Späteste Variante der "satirische[n] Behandlung verschiedener 'Äste' des Nisi-Stammbaumes" (Dünnh. I, 542). - V: Abermals neu gesetzte Variante der "Satire gegen den Kaffee- und Tabakgenuß" (Dünnh. I, 548). Vgl. ausführlich Arents über den "tobacco club" und sein kurioses Regelwerk zu Schutz und Förderung von Tabak und seinem Genuß. - VI: Letzte, erweiterte und neugesetzte Variante des "[s]atirische[n] Kulturspiegel[s], eingeteilt in 3 'Marter-Listen' (Akte) mit insgesamt 24 'Staats-Torturen' (Szenen)" (Dünnh. I, 550). - VII: Zweiter von 3 Drucken ohne Jahr. "Amüsante Satire auf die Schwächen der zeitgenössischen Gesellschaft" (Dünnh. I, 538). - VIII: Titelvariante (Kommata statt Virgeln) der neugesetzten Variante e der ersten erweiterten Fassung. "Satirische 'Behandlung' der politischen Krankheiten der Mme. Deutschland durch ausländische Quacksalber" (Dünnh. I, 544). - Papierbedingt durchgehend etwas gebräunt bzw. braunfleckig; erster Titel am unteren Rand schmal beschnitten (etwas Textberührung der letzten Zeile) und mit zeitgenöss. Besitzvermerk. Der unteren Schließe fehlt der Dorn am Vorderdeckel, sonst intakt. I: Dünnhaupt I, 538, 3.II f. Jantz I, 717 und 719. NUC XCI, 81. Vgl. de Backer/S. IV, 900, 1. - II: Dünnhaupt I, 548, 8i. Dammert 99. De Backer/S. IV, 901f., 6. - III: Dünnhaupt I, 541, 5f. Jantz I, 714. Vgl. de Backer/S. IV, 901, 3. - IV: Dünnhaupt I, 544, 6h. Jantz I, 693 und 694. Dammert 97. Vgl. de Backer/S. IV, 901, 4. - V: Dünnhaupt I, 549, 9e. Jantz I, 698. NUC XCI, 81. De Backer/S. IV, 902, 7. Arents III, 499. - VI: Dünnhaupt I 550, 10d. Jantz I, 684. Dammert 100. Vgl. de Backer/S. IV, 902, 8. - VII: Dünnhaupt I, 539, 4h. Jantz I, 704. NUC XCI, 81. Dammert 92. Vgl. de Backer/S. IV, 901, 2. - VIII: Dünnhaupt I, 545, 7f. Jantz I, 688. De Backer/S. IV, 901, 5.

Inlibris · Wien, AT1 000,00 €

MARCELLO Benedetto -MareMagnum

[Estro poetico-armonico] Salmi di Davide. Parafrasati da Ascanio Giustiniani e posti in musica da Benedetto Marcello con accompagnamento di Piano della composizione di Francesco Mirecki, Pollacco, e rivisto dal Maestro Cherubini. Parte Prima, Libro 1; Parte 2, Libro 2 e Libro 3; Parte 3, Libro 3. [900]

Firenze, Presso Giuseppe Lorenzi, senza data [1816?], quattro volumi in-folio (cm. 34,5 x 26), legatura coeva in mezza pergamena con angoli, belle etichette manoscritte ai piatti (che riportano gli incipit dei salmi contenuti nel vol.). Parte Prima, Libro 1: pp. 101: Salmo I (Beatus vir qui non abiit in consilio impiorum), Salmo II (Quare fremuerunt gentes), Salmo III (Domine quid moltiplicati sunt), Salmo IV (Cum invocarem exaudivit me Deus), Salmo V (Verba mea auribus percipe Domine) - Parte 2, Libro 2: pp. 151-304: Salmo XVIII (Coeli enarrant), Salmo XIX (Exaudiat te Dominus), Salmo XX (Domine in virtute tua laetabitur rex), Salmo XXI (Deus Deus meus, respice in me) - Parte 2, Libro 3: pp. 305-442: Salmo XXII (Dominus regit me), Salmo XXIII (Domini est Terra), Salmo XXIV (Ad te Domine levavi), Salmo XXV (Iudica me Domine) - Parte 3, Libro 3: pp. 233-404: Salmo XXXII (Exultate justi in Domino), Salmo XXXIII (Benedicam Dominum in omni tempore), Salmo XXXIV (Judica Domine nocentes me), Salmo XXXV (Dixit justus ut delinquant in semipso). Complessivamente, sono presenti 17 dei 50 Salmi che compongono la più celebre opera di Marcello, ovvero l’Estro poetico-armonico (Venezia, 1724-1726), qui presentata in una bella e non comune edizione primo-ottocentesca, priva delle celebri prefazioni di Marcello. “I testi predisposti da Giustiniani sono libere parafrasi salmodiche in poesia italiana: la rinuncia alla lingua latina avvicina i salmi dell'Estro poetico-armonico al genere della cantata da camera spirituale, separandoli dalla musica sacra d'impiego liturgico. Tali peculiarità favorirono la diffusione dell'opera anche al di fuori dei Paesi cattolici, specialmente in Germania e in Inghilterra. [...] Se la citazione di due melodie dell'antica Grecia accresce il prestigio culturale della raccolta, l'attenzione per i canti tradizionali delle comunità ebraiche di Venezia, di cui sono accuratamente trascritte undici intonazioni con relativo testo letterario, contribuisce a fare del M. un valido etnomusicologo ante litteram” (Treccani). Tutte le pagine di spartito e i frontespizi (uno per ciascun tomo, ma manca quello del Libro 2 della Parte 2) sono calcografici. Lievi segni del tempo e tracce d’uso alle legature, lievi fioriture diffuse, ma volumi molto ben conservati.

Libreria Piani · Monte San Pietro, IT600,00 €

Euclid [i.e., Cleonides] / Péna, Jean (ed.).MareMagnum

[Eukleidou eisagoge harmonike, tou autou katatome kanonos]. Euclidis rudimenta musices. Eiusdem sectio regulae harmonicae, e regia bibliotheca desumpta [...]. Paris, Andreas Wechel, 1557.

4to. 2 parts. (4 pp.), 5-16, 10 ff. Text in Greek and Latin. With woodcut printer's device as well as several floral headpieces and initials. Later full vellum with handwritten spine-title. First edition. - Greek text and Latin translation of the "Introduction to Harmonics" by the Greek scholar Cleonides, the pupil of Aristoxenus, erroneously ascribed to Euclid, and of the "Division of the Scale", about whose true authorship there is no agreement. Edited by the French mathematician and educator Péna (ca. 1528-68), the book reflects the influence of classical mathematicians on Renaissance music theory and was a key work for the wide distribution of music theory of the classical period. - The attribution of the "Eisagoge" to Euclid (or to Pappus in some manuscripts) is incompatible with the Aristoxenian approach adopted in the treatise, namely that "the scale is formed of notes separated by a tone identified by the ear" (DSB IV, 430). Cleonides's treatise is the clearest account of the technical aspects in the work of the philosopher Aristoxenus, who defined key terms of music theory, including the interval, whole tone and semitone, pitch space, and rhythm. - The other musical work here ascribed to Euclid, the "Sectio canonis", expounds a quite contrary theory, namely "the Pythagorean doctrine that the musical intervals are to be distinguished by the mathematical ration of the notes terminating the interval [...] All that it seems possible to say with certainty is that Euclid wrote a book entitled 'Elements of Music' and that the 'Sectio canonis' has some connection with it" (DSB). Wechel printed both works in Greek as the first part and followed them with both Latin translations in the second. - Modern binding a little soiled and occasionally scratched; upper cover slightly bowed. Contemporary handwritten table of contents to second flyleaf (preserved from the first binding), mentioning another work by Péna, his translation of Euclid's "Optica & Catoptrica", also published in 1557, which appears to have been bound with the "Eisagoge" at the time. Second half shows a few light waterstains to the margin. Traces of an erased handwritten ownership on title-page. Rare; not seen at auction for nearly two decades. RISM BVI 296. Gregory/Sonneck 85. Gesch. der Musiktheorie 7, 25 & 320. Davidsson 1962, 27. Gregory 85. Adams E 1023. Hoffmann II, 41. Schweiger I, 111. Not in Damschroder/Williams. OCLC 257567017.

Inlibris · Wien, AT8 500,00 €

Mûcîdi (Composed by) GUISEPPE DONIZETTI [PACHA], (1788-1856).MareMagnum

[FATHER of the MODERN MUSIC and MUSIKA-YI HUMÂYÛN / FIRST ANTHEM of the OTTOMAN EMPIRE in the WESTERN STYLE] [SHEET MUSIC] Marche Imperiale Ottomane.= Devlet-i Âliyye-i Osmaniyye marsi. Arrangee pour piano par G[iovanni] Avolio, (1849-1936).

Very Good Turkish, Ottoman (1500-1928) Paperback. Folio. (33 x24cm). In Ottoman script and French. [3], [1] p. Ottoman stamped in period. The Ottoman Empire used anthems since its foundation in the late 13th century, but did not use a specific imperial or national anthem until the 19th century. During the reign of Mahmud II, when the military and imperial band were re-organized along Western lines, Giuseppe Donizetti was invited to head the process. Donizetti Pasha, as he was known in the Ottoman Empire, composed the first Western-style imperial anthem, the Mahmudiye Marsi. Like in many other monarchies of its time, the anthem of the Ottoman Empire was an imperial anthem, not a national one. Hence it paid homage to a specific ruler and a new anthem was composed at each imperial succession. However, in 1844, with the Tanzimat reforms, the Mecidiye Marsi was recognized as the first official Ottoman national anthem. The first official Ottoman national flag (which was in essence identical to the present-day Turkish flag) was also adopted in 1844. Giuseppe Donizetti was an Italian musician. From 1828 he was Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II (1808-39). His younger brother was the famous opera composer Gaetano Donizetti. He studied music first with his uncle, Carini Donizetti, and, later, he was a pupil of Simone Mayr. After enlisting in Napoleon's army (1808), he served there as band leader. He took part in the campaigns against Austria and in Spain, and followed Napoleon to Elba. He was present at the Battle of Waterloo. After the fall of Napoleon, he continued his career as a bandmaster in the Savoy army. Giuseppe Donizetti Pasha, as he was called in the Ottoman Empire, played a significant role in the introduction of European music to the Ottoman military. Apart from overseeing the training of the European-style military bands of Mahmud's modern army, he taught music at the palace to the members of the Ottoman royal family, the princes and the ladies of the harem, is believed to have composed the first national anthem of the Ottoman Empire, supported the annual Italian opera season in Pera, organised concerts and operatic performances at court, and played host to a number of eminent virtuosi who visited Istanbul at the time, such as Franz Liszt, Parish Alvars and Leopold de Meyer. Although the elder Donizetti was born in Bergamo, Italy, Constantinople became a second home for him, and he lived there until his death in 1856. He is buried in the vaults of the St. Esprit Cathedral, near the Beyoglu district of Istanbul, in Pera. Giovanni Avolio, (1849-1936) was an Italian conductor and composer. According to the sheet musical paper, this first anthem was composed in 1831 by Donizetti and arranged by Avolio into piano in 1918. J. D. Andria is one of the best known music publishers among the Ottoman Empire mionrities. According to he documents in hand, it can be estimated that he began musical score publication in the year of 1904. Andria dealt with music publication at the address of Beyoglu, Istiklal Street (Near Agha Mosque) at 68 no. Andria also published four pieces of Turkish marche parties for piano as far as we know; besides his big sized west music works, which were published in general by him. Donizetti's 'Marche' is one of them as well besides Halit Recep Arman's, Miilok's, and Orente's ones. It is known when publishing life of Andria ended. (Source: Musical publications from Ottoman Empire up today, 1876-1986.; BÜLENT ALANER).

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR394,07 €

ORD. PROF. SALIH MURAD UZDILEK, (1891-1967).MareMagnum

[FIRST SCIENTIFIC CONTRIBUTION to PHYSICS of CONTEMPORARY TURKISH MUSIC and TONAL SYSTEM] Ilim ve musiki ve Türk musikisi üzerinde etütler.

Very Good Turkish Paperback. Demy 8vo. (21 x14 m). In Turkish. 66, [1] p., 2 tables in 1 folded paper. [FIRST SCIENTIFIC CONTRIBUTION to PHYSICS of CONTEMPORARY TURKISH MUSIC and TONAL SYSTEM] Ilim ve musiki ve Türk musikisi üzerinde etütler. Salih Murat Uzdilek, (1891-1967), Professor of physics at the Istanbul Technical University, graduated as a naval officer in 1908. It was his father Mehmed Sefik Bey, who as a mathematics teacher introduced him to the study of the subject. Salih Murat developed an interest in the history of mathematics through readings of books by F. Cajori and D. E. Smith. Uzdilek studied engineering in London prior to the First World War, where he was invited to present a communication on the "Introduction of logarithms into Turkey? at the Napier Tercentenary organized by the The Royal Society of Edinburgh, 25-27 July 1914. The paper published in the Napier Tercentenary Memorial Volume (1915) was based on the research of Salih Zeki Bey, historian of science and Rector of the Istanbul University between 1913 and 1917, published in his Kamus-i Riyaziyat (Encyclopaedia of Mathematics 1898). His findings indicate that Yirmisekiz Mehmet Çelebi, the Sulta's envoy to France, had been presented an astronomical texts which included logarithms by the astronomer Jacques Cassini during his visit to the Paris Observatory in 1714. It was this collection that led to the introduction of logarithms into Turkey. Kalfazade Ismail Efendi, a time keeper and mathematician, compiled an introduction to logarithms for his translation of the astronomical tables of J. Cassini in 1772, which is considered the first work on logarithms in Turkish. Gelenbevi Ismail Efendi, renown for his works in mathematics and logic, completed his Logaritma Serhi (Commentary on Logarithms) in 1787. After his return to Istanbul, Salih Murat Uzdilek was invited by the Austrian Dean of the School of Engineering Prof. Philipp Forchheimer, to give physics lessons at the school. Prof. Uzdilek pursued his interest in the history of mathematics and physics throughout his long career. He was also an active researcher in the physics of sound and music, and contributed to the contemporary tonal system of Turkish music. In his later years Prof. Uzdilek was invited to lecture at the 400th anniversary of Galieo Galilei. First Edition. Signed and inscribed by Uzdilek as 'Kardesim Esad Fuad'a saygi ve sevgilerimle; 20/IX/1944"'. Scarce.

Bookshop Khalkedon Books, IOBA, ESA · Istanbul, TR162,26 €

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