Haydn, JosephBiblio.com
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1898253076London: Ward Lock & Co. Limited 1898. Twenty-Second Edition. Hardcover. Poor copy with wear tear and dust-dulling as with age. Text remains clear and without blemish. Edition; 22nd edition containing the history of the world to the autumn of 1898 / by Benjamin Vincent. Physical description; vi 6 1290 p. ; 23 cm. Subjects; History — Dictionaries. Chronology Historical. London: Ward, Lock & Co., Limited hardcover
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179740149London: Mr. Salomon 1797. Folio. Disbound. i title 98-115 pp. Engraved. Watermark 1796. "Sinfonia XII" printed at left of first system.<br /> <br /> With autograph control signature "J Salomon" with flourish to lower outer corner of title. <br /> <br /> Slightly worn and browned; very small tear to blank outer margin of title. First Edition of this arrangement by Johann Peter Salomon 1745-1815 entered at Stationer's Hall on 2 October 1797. HWV Vol. I p. 208 and appendix Coll.Sy.15b. Hoboken Collection Vol. 6 265 lacking string parts. RISM H4522 no complete sets of parts; copy in the Österreichische Nationalbibliothek ex-Hoboken lacks the Violoncello part; separate piano parts at Österreichische Nationalbibliothek and Royal Danish Library Copenhagen. WorldCat records two complete sets of parts only at the University of Oxford OCLC 28445245 and the Sächsische Landesbibliothek Dresden OCLC 315930218 and a piano part only OCLC 41830929 at Princeton University. <br /> <br /> "Haydn's London symphonies nos. 93-104 crown his career as a symphonic composer. Not only do they outdo the Paris symphonies stylistically but he produced them in person for rapturous audiences; this interaction stimulated him to ever bolder and more original conceptions. . No. 104 begins with a massive dotted motif on the 5th D-A which some commentators describe as dominating the entire symphony; the first movement is one of Haydn's freest and the finale has greater relative weight than that in any other of the London symphonies." James Webster in Grove Music Online<br /> <br /> Johann Peter Salomon a German violinist impresario and composer "played a leading part in English musical life not only in London but in the provinces as well. Having made his name as a brilliant violinist he made progressively fewer solo appearances and turned his attention to conducting and especially promoting concerts. He mounted subscription concerts from 1783 featuring such international artists as the soprano Mme Mara and his greatest triumph was to secure Haydn's visits to London in 1790-91 and 1794-5 for which the two sets of six 'Salomon' or 'London' symphonies h I:93-104 were written. Haydn's esteem for his impresario and orchestral leader can sometimes be seen in the symphonies for example the phrase marked 'Salomon solo ma piano' in the trio of no.97 and the florid violin part of no.103 second movement; the Concertante in B♭ h I:105 was composed for Salomon who played the solo violin part; and the six string quartets opp.71 and 74 h III:69-74 written between the two London visits in 1793 though dedicated to Count Apponyi were clearly designed for the public performances that Salomon's quartet gave in London. Salomon is also said to have had a hand in providing Haydn with the original model for the text of The Creation." Hubert Unverricht in Grove Music Online. Mr. Salomon unknown
179940334Offenbach s/m: J. André PN 1369 1799. Folio. Unbound.<br /> <br /> Violino primo: 1 title 2-7 pp.<br /> Violino secondo: 1 blank 2-6 pp.<br /> Due viole: 4 pp.<br /> Basso e violoncello: 4 pp.<br /> Flauti: 4 pp.<br /> Oboe primo: 3 pp.<br /> Oboe secondo: 2 pp.<br /> Clarinetto primo: 2 pp.<br /> Clarinetto secondo: 2 pp.<br /> Fagotti: 3 pp.<br /> Clarino primo in D: 2 pp.<br /> Clarino secondo in D: 2 pp.<br /> Corno primo in D: 2 pp.<br /> Corno secondo in D: 2 pp.<br /> Timpani in D: 2 pp.<br /> Engraved throughout.<br /> <br /> Small binder's hole to upper inner margin; early manuscript note regarding instrumentation to upper margin of title with "Comptoir Général de Musique" stamps to lower margin; "Salomon's Concert" printed to foot of first page of music of each part. Early edition of Haydn's "Clock" symphony. Robbins Landon p. 772 10 giving precedence to the Artaria edition of Autumn 1799 as the first "authentic" edition and suggesting that the present edition was most probably derived from the first edition published by Gombart in 1798 or 1799. Hoboken Catalogue 6 266. RISM H3199 and HH 3199 no copies in the U.S. J. André [PN 1369] unknown
185440462Leipzig: Breitkopf & Härtel PNs 8871-76 9055 9149-50 9506-08 11060 11063 1854. 3 volumes. Large octavo. Uniformly bound in quarter light brown calf with marbled boards raised bands on spine in compartments with decorative blindstamped elements dark red leather labels gilt.<br /> <br /> Contains 14 symphonies in total.<br /> <br /> Vol. I: 1f. recto title verso blank 57 i blank; 1f. recto title verso blank 55 i blank; 1f. recto title verso blank 53 i blank; 1f. recto title verso blank 1f. recto publisher's note verso blank 69 i blank; 1f. recto title verso blank 49 i blank pp. <br /> <br /> Vol. II: 1f. recto title verso blank 52; 1f. recto title verso blank 59 i blank pp.; 1f. recto title verso blank 65 i blank; 1f. recto title verso blank 47 i blank; 1f. recto title verso blank 59 i blank pp.<br /> <br /> Vol. III: 1f. recto title verso blank 99 i blank; 1f. recto title verso blank 1f. recto publisher's note verso blank 60; 1f. recto title verso blank 48; 1f. recto title verso blank 48 pp. <br /> <br /> Engraved throughout except for numbers 1 Symphony 103 and 7 Symphony 97.<br /> <br /> With decorative bookplate of New York collector Dr. Andrew J. Werner to front pastedowns and "Tobin" in ink to fore-edges.<br /> <br /> Bindings slightly worn. Publisher's small circular handstamp to titles. Occasional wear and foxing. Very good overall. Coll.Sy.7abc. Breitkopf & Härtel [PNs 8871-76, 9055, 9149-50, 9506-08, 11060, 11063] unknown
180040468Bonn: N. Simrock PN 125 1800. Folio. Unbound as issued. Laid into early mid-blue stiff paper folder with dark blue ties decorative cut-paper manuscript title label to upper and additional label to spine.<br /> <br /> Flute: 1f. recto title verso blank i blank 6-9 pp.<br /> Violin I: i blank 8-14 pp.<br /> Violin II: i blank 8-15 i blank pp.<br /> Viola: i blank 8-13 i blank pp. <br /> Violoncello: i blank 8-13 i blank pp.<br /> Engraved throughout.<br /> <br /> With small oval handstamp of the "Musikalische Gesellschaft in Worms" to folder and each part; early signature in dark pink ink to blank upper outer corner of flute part; identification in early manuscript to blank upper outer corner of all parts; "42" in dark pink ink to all parts except flute part.<br /> <br /> Folder worn with small portion of spine lacking. Slightly worn soiled foxed and browned internally. Coll. Sy.17b-3. Hoboken Collection Vol. 6 443. RISM H4089.<br /> <br /> An arrangement of Symphony No. 104 in D major the last of the twelve London symphonies composed in 1795 and first performed in London at the King's Theatre on 4 May 1795 in a concert devoted exclusively to Haydn's works directed by the composer. N. Simrock [PN 125] unknown
180740146Leipzig: Breitkopf & Härtel PN 390 1807. Folio. Sewn. Plain dark ivory contemporary wrappers with titling in contemporary manuscript to upper. i title with two-bar incipit 21 i blank pp. <br /> <br /> Occasional annotations in faint pink pencil including dynamics.<br /> <br /> Handstamp "J Hill No. 7 Grove Place Brompton" and with "Frank E. Bastick from F. J. Salwey 5/1/16" in contemporary manuscript to head of upper wrapper.<br /> <br /> Wrappers quite worn soiled and with edge tears and chips; detached. Some internal wear browning soiling and small stains. Second edition. Coll.Sy.7a. Hoboken Collection Vol. 6 342. RISM H3265 and HH3265 no copies in the U.S. Robbins Landon: The Symphonies of Joseph Haydn p. 776 13. OCLC 17713865 2 copies both at Yale. <br /> <br /> The last of Haydn's "London" symphonies. <br /> <br /> "Haydn's London symphonies nos. 93-104 crown his career as a symphonic composer. Not only do they outdo the Paris symphonies stylistically but he produced them in person for rapturous audiences; this interaction stimulated him to ever bolder and more original conceptions. . No. 104 begins with a massive dotted motif on the 5th D-A which some commentators describe as dominating the entire symphony; the first movement is one of Haydn's freest and the finale has greater relative weight than that in any other of the London symphonies." James Webster in Grove Music Online. Breitkopf & Härtel [PN 390] unknown
40144Amsterdam: A. Kuntze PN 9 1800. Folio. Disbound. 1f. recto title verso blank 1 blank 2-16 pp. <br /> <br /> Publisher's facsimile handstamp to lower outer corner of title. <br /> <br /> Moderate browning; some soiling primarily to lower outer corners; title slightly soiled and foxed. OCLC 1461784514. Worldcat one copy only at the Staatsbibliothek zu Berlin. <br /> <br /> The last of Haydn's "London" symphonies. <br /> <br /> "Haydn's London symphonies nos. 93-104 crown his career as a symphonic composer. Not only do they outdo the Paris symphonies stylistically but he produced them in person for rapturous audiences; this interaction stimulated him to ever bolder and more original conceptions. . No. 104 begins with a massive dotted motif on the 5th D-A which some commentators describe as dominating the entire symphony; the first movement is one of Haydn's freest and the finale has greater relative weight than that in any other of the London symphonies." James Webster in Grove Music Online<br /> <br /> Johann Peter Salomon a German-born violinist impresario and composer "played a leading part in English musical life not only in London but in the provinces as well. Having made his name as a brilliant violinist he made progressively fewer solo appearances and turned his attention to conducting and especially promoting concerts. He mounted subscription concerts from 1783 featuring such international artists as the soprano Mme Mara and his greatest triumph was to secure Haydn's visits to London in 1790-91 and 1794-5 for which the two sets of six 'Salomon' or 'London' symphonies h I:93-104 were written. Haydn's esteem for his impresario and orchestral leader can sometimes be seen in the symphonies for example the phrase marked 'Salomon solo ma piano' in the trio of no.97 and the florid violin part of no.103 second movement; the Concertante in B♭ h I:105 was composed for Salomon who played the solo violin part; and the six string quartets opp.71 and 74 h III:69-74 written between the two London visits in 1793 though dedicated to Count Apponyi were clearly designed for the public performances that Salomon's quartet gave in London. Salomon is also said to have had a hand in providing Haydn with the original model for the text of The Creation." Hubert Unverricht in Grove Music Online. A. Kuntze [PN 9] unknown
180940074London: Cianchettini & Sperati 1809. 11 works bound in 2 volumes. Large octavo. 19th century half dark tan calf with marbled boards spines in decorative compartments gilt with titling gilt. Engraved throughout. <br /> <br /> Contains: <br /> <br /> 1 Symphony in E-flat major. 1f. recto title No. I verso blank 41 i blank pp. Hob. I:91. Robbins Landon p. 744.<br /> <br /> 2 Symphony in C major "London." 1f. recto title No. II verso blank 39 i blank pp. Hob. I:69. Robbins Landon p. 717.<br /> <br /> 3 Symphony in G major "Oxford." 1f. recto title No. III verso blank 48 pp. Hob. I:92. Robbins Landon p. 745.<br /> <br /> 4 Symphony in G minor "La Poule." 1f. recto title No. IV verso blank 36 pp. Hob. I:83. Robbins Landon p. 734.<br /> <br /> 5 Symphony in C major. 1f. recto title No. V verso blank 23 i blank pp. Hob. I:41. Robbins Landon p. 678.<br /> <br /> 6 Symphony in B-flat major "La Reine." 1f. recto title No. VI verso blank 37 i blank pp. Hob. I:85. Robbins Landon p. 736.<br /> <br /> 7 Symphony in D major. 1f. recto title No. VII verso blank 28 pp. Hob. I:70. Robbins Landon p. 718.<br /> <br /> 8 Symphony in F-sharp minor "Farewell." 1f. recto title . No. VIII verso blank 33 i blank pp. With note to head of first page of music: "NB: This is the Fantastical Symphony in which the Performers retire one after the other." Hob. I:45. Robbins Landon p. 686.<br /> <br /> 9 Symphony in B-flat major. 1f. recto title . No. IX verso blank 38 pp. Hob. I:66. Robbins Landon p. 714<br /> <br /> 10 Symphony in E minor "Trauer-Symphonie." 1f. recto title . No. X verso blank 33 i blank pp. Hob. I:44. Robbins Landon p. 683<br /> <br /> 11 Symphony in D major. 1f. recto title . No. XI verso blank 33 i blank pp. Hob. I:57. Robbins Landon p. 702.<br /> <br /> With early manuscript inscription "Eugene Spinney from Mrs. Huxtable Sutton Waldron Dorset June 1862" in ink to free front endpapers of both volumes.<br /> <br /> Bindings worn rubbed and bumped. Light marginal foxing. In very condition overall. "From about 1775 in some respects 1773 to 1781 Haydn again changed his orientation. Symphonies nos. 53 61-3 66-71 and 73-5 are primarily in a light even popular style only no.70 is an exception perhaps reflecting his resumption of operatic composition in 1773; indeed nos. 53 62 63 and 73 include adaptations of stage-music ." Georg Feder and James Webster in Grove Music Online<br /> <br /> The Symphony in G major Hob I:92 was performed by Haydn in 1791 at Oxford University on the occasion of his receiving an honorary doctorate. <br /> <br /> "No. 45 the Farewell Symphony . had a purpose which explains its extraordinary form. Briefly the story as found the in the authentic biographies is this: the Prince so attracted by Esterháza that splendid palace erected on a wild and remote Hungarian marsh tarried there longer and longer each year. The musicians not being allowed - with the exception of Haydn - to have their families with them were restless after a long season and naturally wished to rejoin their wives and children. Towards the end of the season in 1772 the musicians became desperate and went to their beloved Capellmeister for help. The result was the Farewell symphony in which the regular Presto finale was broken off and a long Adagio began. During the course of this movement one player after another blew out his candle and departed leaving at the end two violins presumably Tomassini and Haydn himself. As these were about to leave the Prince having grasped the idea is supposed to have said 'Well if they all leave we might as well leave too.' And the whole court departed the next day." Robbins Landon: The Symphonies of Joseph Haydn p. 338. Cianchettini & Sperati unknown
180940096London: Cianchettini & Sperati 1809. 4 volumes. Large octavo. Disbound. Engraved throughout. <br /> <br /> Contains 8 works each with identical title excepting work number.<br /> <br /> 1 Symphony in E-flat major. 1f. recto title No. I verso blank 42 pp. Hob. I:91. Robbins Landon p. 744.<br /> <br /> 2 Symphony in C major "Laudon." 1f. recto title No. II." verso blank 39 i blank pp. Hob. I:69. Robbins Landon p. 717.<br /> <br /> 3 Symphony in G minor "La Poule." 1f. recto title No. IV verso blank 36 pp. Hob. I:83. Robbins Landon p. 734.<br /> <br /> 4 Symphony in C major No. 41. 1f. recto title No. V verso blank 23 i blank pp. Hob. I:41. Robbins Landon p. 678.<br /> <br /> 5 Symphony in B-flat major "La Reine. 1f. recto title No. VI verso blank 37 i blank pp. Hob. I:85. Robbins Landon p. 736.<br /> <br /> 6 Symphony in D major "L'Impériale." 1f. recto title No. XXI verso blank 40 pp. First Edition. Hob. I:53. Robbins Landon p. 696.<br /> <br /> 7 Symphony in B-flat major. 1f. recto title No. XXIII verso blank 33 i blank pp. Hob. I:71. Robbins Landon p. 719<br /> <br /> 8 Symphony in D major. 1f. recto title No. XXIV verso blank 27 i blank pp. First Edition. Hob. I:75. Robbins Landon p. 724<br /> <br /> Foxing staining soiling and browning to numerous leaves; some small tears and losses to edges; several leaves detached including titles. "Although Haydn's sobriquet 'father of the symphony' is not literally true in a deeper sense it is apt: there is no other genre in Western music for which the output of a single composer is at once so vast in extent 107 works: hI:1-104 107-8 and one recently identified work K 18 not listed in Hoboken so historically important and of such high artistic quality." James Webster in Grove Music Online. Cianchettini & Sperati unknown
181140148London: Clementi Banger Collard Davis & Collard 1811. Folio. Disbound. 1f. recto title verso blank 1 blank 2-16 pp.<br /> <br /> Occasional fingerings in pencil. <br /> <br /> Slightly browned; minor soiling to blank lower outer margins. This arrangement not in HWV. OCLC 960142000 1179430400 1314102877.<br /> <br /> Skeletal arrangements of larger-scale works built around the upper- and lowermost parts of a score were frequently created by instrumentalists in the two centuries preceding this publication. Examples include orchestration-flexible harpsichord suites of Dieupart and Le Roux the arrangements of solos and trios by Corelli et al. published by Etienne Roger for harpsichord plus ad libitum violin and cello and the numerous transcriptions of Lully orchestral dances. This flexibility of ad libitum arrangement continued to be practiced in the early 19th century and beyond. <br /> <br /> "Haydn's London symphonies nos. 93-104 crown his career as a symphonic composer. Not only do they outdo the Paris symphonies stylistically but he produced them in person for rapturous audiences; this interaction stimulated him to ever bolder and more original conceptions. . No. 104 begins with a massive dotted motif on the 5th D-A which some commentators describe as dominating the entire symphony; the first movement is one of Haydn's freest and the finale has greater relative weight than that in any other of the London symphonies. . In no. 94 the famous outburst in the Andante is actually the least remarkable 'surprise'; the opening Vivace reaches new heights of tonal wit and expansive brilliance and the concluding sonata-rondo masterfully combines large scale sonata-rondo form rhythmic vitality playful surprise and underlying cogency of argument." James Webster in Grove Music Online. Clementi, Banger, Collard, Davis & Collard unknown
179940463Bonn: N. Simrock PN 81 1799. Folio. Unbound as issued. Laid into early mid-blue stiff paper folder with olive green ties decorative cut-paper manuscript title label to upper and additional label to spine.<br /> <br /> Flute: i title 12-16 pp.<br /> Violin I: iblank 16-23 i blank pp.<br /> Violin II: i blank 14-19 i blank pp. <br /> Viola: i blank2 copies in 19th century manuscript<br /> Piano: 23-31 i blank pp. <br /> Engraved throughout. <br /> <br /> With small oval handstamp of the "Musikalische Gesellschaft in Worms" to each part; early signature in dark pink ink to blank upper outer corner of violin I part; identification in early manuscript to most parts; "58" in dark pink ink to most parts.<br /> <br /> Folder worn with portions of spine and ties lacking. Slightly worn soiled foxed browned and dampstained internally. Coll.Sy.17b-3. Hoboken Collection Vol. 6 439. Not in RISM but see H4085 for related edition.<br /> <br /> An arrangement of Symphony No. 94 in G major the "Surprise Symphony" the second of the twelve London symphonies composed in London in 1791 and first performed there at the Hanover Square Rooms on 23 March 1792 with Haydn conducting. N. Simrock [PN 81] unknown
179540395Offenbach sur le Mein: Jean André PN 760 1795. Folio. Unbound. Preserved in a custom-made reddish brown linen clamshell box with dark brown leather title gilt to spine.<br /> <br /> Violino primo: 1 title incorporating engraved vignette 2-5 pp.<br /> Violino secondo: 4 pp.<br /> Viola: 3 pp.<br /> Basso è violoncello: 4 pp. 2 copies<br /> Flauto: 2 pp.<br /> Oboe primo: 2 pp.<br /> Oboe secondo: 2 pp.<br /> Corno secondo in Es: 2 pp.<br /> Engraved throughout. <br /> <br /> Slightly worn and soiled; uniformly trimmed. Lacking Fagotti Corno primo Clarino primo and secondo and Timpani parts. One of the London symphonies. Published in the same year as the first "authentic edition" issued by Artaria and possibly pre-dating such. HWV Vol. I p. 95 considers this the André edition to take precedence. Robbins Landon p. 752. RISM H3188 and HH3188 no copies in the U.S. Jean André [PN 760] unknown
182740402London: Printed & Sold by Rt. Birchall140 New Bond Street 1827. Folio. Disbound.<br /> <br /> Violino primo: 1f. recto title verso blank 7 pp.<br /> Violino secondo: 6 pp.<br /> Viola: 4 pp.<br /> Violoncello é basso: 4 pp. 2 copies<br /> Flauto: 4 pp.<br /> Oboe primo: 4 pp. <br /> Fagotti: 3 pp.<br /> Timpani in B. F. 1 p. <br /> <br /> Purple ink handstamp of "Stanley Hoyle Pianist" and "John Curtie" to each part.<br /> <br /> Quite worn; large tear to title some fraying tears and soiling. Lacking parts for Oboe secondo Horns and Trumpets. HWV Vol. I p. 199 Coll.Sy.3a. Printed & Sold by Rt. Birchall,140 New Bond Street unknown
187440475Offenbach s/M: Jean André PN 1216 1874. Folio. Unbound as issued.<br /> <br /> Violin I: i title printed within ruled border with decorative cornerpieces 2-7 i blank pp. <br /> Violin I: 5 i blank pp. <br /> Viola I: i blank 2-7 i blank pp. <br /> Viola II: i blank 2-6 pp. <br /> Violoncello: i blank 2-5 i blank pp. <br /> Engraved throughout. <br /> <br /> Slightly worn and soiled especially at edges. Reprint of the edition first published in 1799. HWV Vol. I p. 336. See RISM H3339. Jean André [PN 1216] unknown
180040069Italy 1800. 4 volumes. Small folio 218 x 291 mm. Early flexible dark orange marbled boards with manuscript title label to uppers within decorative printed border. Notated in a professional hand on fine quality l12-stave rastrum-ruled laid paper.<br /> <br /> Contents in order of appearance: 41no. 5 38 no. 2 37 no. 1 39 no. 3 42 no. 6 and 40 no. 4. <br /> <br /> Violino primo: i title 40 pp. <br /> Violino secondo: i title 38 pp. <br /> Viola: i title 36 pp. <br /> Violoncello: i title 36 pp.<br /> With several additional leaves of blank rastrum-ruled paper.<br /> <br /> Boards worn faded and abraded with very small portions of spine lacking. Occasional showthrough. <br /> <br /> In very good internal condition overall. "A decade or so after the Op. 20 set came the fateful Op. 33 again comprising six quartets. It wasn't so much Haydn's fate of which these works proved full as a Mozart's: they prompted him to return to the string quartet and write his own first six masterpieces in the medium - the set that bear a more affectionate and admiring dedication to Haydn than does any great composer's dedicated to any other great composer ." Hans Keller: The Great Haydn Quartets p. 64. unknown
