1 019 résultats
18021148München: Gedruckt bey Franz Seraph Hübschmann 1802. Bond together by a blue paper band as published. Wormhole to the first leaves at the inner margin with no effect on the text. Foxing that effects the first and the last leaves more intensely. Very slightly chipped. Overall in fine condition. Bond together by a blue paper band as published. 31 1 p. <p><br /> A very early edition of the libretto of Haydn’s oratorio Die Jahreszeiten The Seasons which was premiered in Vienna in 1801.<br /> <p><p><br /> The libretto was prepared by Baron Gottfried van Swieten who was also responsible for the text of The Creation and it is based on passages taken from the long English poem under the same title by James Thomson. <br /> The composition had a dual premier both held in Vienna first in April 1801 exclusively for the aristocracy whose members had financed the work and in about a month for the broader public.<br /> <p><p><br /> The libretto was published with no credit for the translator first in Vienna in 1801 while the music score in Leipzig by Breitkopf & Härtel in 1802. This Munich edition of the libretto possibly accompanied the oratorio’s premiere in the city.<br /> <p><p><br /> Scarce we could trace only one copy of this edition in institutional holdings in Austria.<br /> <p>. Gedruckt bey Franz Seraph Hübschmann unknown
18003067France 1800. Manuscript score. Unbound. Oblong. N. Notated on 9-stave page in brown ink. Contains the music for the string quartet the score for the second violin is incomplete. Pages untrimmed. Light stains and dust to some of the edges otherwise in fine condition. Manuscript score. Unbound. Oblong. N. 24 p. An early manuscript copy of the string quartet for Haydn’s Keyboard Concerto in G major. <br /> Haydn composed this keyboard concerto during his time at the Esterházy court probably around 1770. It was premiered on 28th April 1784 in Paris and first published in the same year by Boyer also in Paris RISM A/I H 3305; HH 3305. <br /> The present manuscript score was copied around the turn of the 19th century and contains the score for two violins viola and “basse†basso violone unfortunately the third movement rondo presto of the second violin is missing. unknown
1845LTH27-F-6London: Edward Moxon 1845. Leather. Very Good. 8.5" by 5". None. An extensive history of many items peoples and countries of the world by Joseph Haydn. Third edition to which is added a copius index of leading names. In a lovely leather binding. Haydn's reputation rests on the Dictionary of Dates. Posterity has upheld his own assessment of it as far more accurate informative and well-organised than any of its rivals. It remains a important resource and is still consulted by historians. ODNB In a diced calf binding. Externally sound though with some rubbing. Internally firmly bound. Armorial bookplate to front pastedown. Pages are bright and quite clean though with the occasional patch of spotting. Very Good Edward Moxon hardcover
181239523Milano: Candido Buccinelli . contrada di s. Margherita num. 1118 1812. Octavo. Dark blue calf-backed marbled boards spine in decorative compartments gilt titling gilt marbled endpapers. 1f. recto title verso publisher's note v-viii 298 i errata ii "Contorni delle Medaglie" i blank pp. <br /> <br /> First Edition of one of the first biographical accounts of Haydn preceded only by the far less important biographical pieces by Framery and Le Breton. Wolffheim II 523. The present work was translated into English in 1839 as The Life of Haydn in Letters. <br /> <br /> Carpani was an Italian librettist critic and poet. "Among various writings two books are particularly important: Le Haydine . and Le Rossininane ossia lettere musico-teatrali. . The former was plagiarized by Stendhal and this created a lively controversy. These books show that Carpani was very knowledgeable about all contemporary music and an astute judge of the renewal movement in the early 19th century. He was in touch with all the major composers of his period and accompanied Rossini on his celebrated visit to Beethoven in 1822." TNG Vol. 3 p. 818.<br /> <br /> Bound with:<br /> Majer Andrea 1765-1837. Discorse sulla Origine Progressi e Stato Attuale della Musica Italiana. Padova: Minerva 1821. 1f. recto title verso quotation from Quintil 3-173 i "Avvertimento" 1f. recto "Indice" verso colophon "Della Nuova Società Tipografica in Ditta N.Z. Bettoni e Compagni 1821". First Edition. OCLC copies in France and Italy only. With the fine engraved half-length frontispiece portrait of Haydn by J. Neidl after Zitterer often lacking.<br /> <br /> Binding slightly worn rubbed and bumped. Some minor wear and foxing but in very good condition overall. Candido Buccinelli ... contrada di s. Margherita num. 1118 unknown
177540401à Berlin avec Privilége du Roi à Amsterdam: Jean Julien Hummel PN 356 1775. 4 volumes. Folio. Quarter dark tan mottled calf with marbled boards decorative cut paper label to uppers with titling in contemporary manuscript. <br /> <br /> Violino primo: 1f. recto title verso blank 3-15 pp.<br /> Violino secondo: 1f. recto title verso blank 3-14 pp. <br /> Viola: 1f. recto title verso blank i blank 4-15 pp.<br /> Basso: 1f. recto title verso blank i blank 4-15 pp.<br /> <br /> With a fine illustrated title to each part depicting two groups musicians within an elaborate border incorporating vegetation and animals. Engraved throughout.<br /> <br /> Small circular handstamp of the "Musik=Schule des Cantons" of Solothurn Switzerland to to each title.<br /> <br /> Binding slightly worn rubbed and bumped; upper hinges slightly split; "Oberlin 1812" in contemporary manuscript to front pastedown of each part. Minor signs of wear soiling and staining; some annotations in pencil.<br /> <br /> A very good crisp and attractive copy overall. Rare. RISM H 6244 three holdings all incomplete. <br /> <br /> These quartets were formerly thought to be by Haydn. <br /> <br /> "Hoffstetter's musical ideas are memorable easily accessible and popular in style but his working out of material does not attain Haydn's concentration. Apart from three viola concertos which might suggest that he was himself a viola player he composed various pieces of church music. His masses show some uncertainty in tonal structure. Writing to F.S. Silverstolpe on 11 January 1802 he confessed as much and acknowledged that 'everything that flows from Haydn's pen seems to me so beautiful and remains so deeply imprinted on my memory that I cannot prevent myself now and again from imitating something as well as I can'. Appropriately several of his works became known under Haydn's name." Hubert Unverricht in Grove Music Online. Jean Julien Hummel [PN 356] unknown
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
178840118London: Longman & Broderip 1788. Folio. Disbound. 1f. recto title verso blank i blank 2-23 i blank pp. Engraved throughout. <br /> <br /> With contemporary London instrument dealer's overpaste to foot of title: "Sold at Gough's Harp and Piano-Forte Musical Instrument Warehouse No. 4 Sackville Street near the New Bridge ." <br /> <br /> Occasional light wear and foxing; several small tears with minor loss to edges; title and final leaf slightly soiled; repair to inner margin of blank verso of title. Published in the same year as the edition published in Vienna by Artaria. BUC p. 469. RISM 3850 one copy only in the U.S. at the University of Michigan. OCLC 34921913. Worldcat one copy only in the U.S. <br /> <br /> Hob. XVI:17 is most probably by Johann Gottfried Schwanenberger 1737-1804 "although authenticated by Haydn in ca. 1799-1803." Larson and Feder: The New Grove Haydn p. 187. Longman & Broderip unknown
1810H34424London Dublin etc. 1810. Hardcover. Very good. 12.5 x 9.5 inches old dark red leather and marbled boards very good with general rubbing and wear but tightly bound and contents mainly very good. With ownership leather label on front cover of Marquis of Abercorn probably John James Hamilton 1756-1818 and bookplate of Anne Jane Abercorn 1763-1827 who was the third wife of the Marquess of Abercorn; both the Marquess and his wife had Irish roots and interests -- he was very invested in the politics of County Tyrone and she was the daughter of the 2nd Earl of Arran. There is also an old handwritten index of the song titles on a double-sided sheet loosely inserted. Highlights include a number of compositions that appear to be initialed by the composer Mazzinghi over a dozen songs based on Scott's Lady of the Lake an early appearance by Mozart in English and several Dublin imprints. Contains the following titles: 1. Qual strano evento from Phaedra by Radicati. 2. Nume benefico from the same opera. 3. Il core vi dono bell'Idolo mio from Mozart's Cosi Fan Tutte Dublin Goulding. 4. Contento il nor nel sono from Le Virtuose in Puntiglio by Simone Mayer. 5. Dolce Fiamma di Gloria d'onore by Portogallo arranged by Luigi Gianella. 6. Do puri affetti mici by Tarchi. 6. Chi dice mal D'Amore from Il Fanatico per la Musica by Mayer. 7. A Corri's Serenade L'Incanto. 8. The Day of Love A Ballad; music and words by Thomas Moore. 9. Dunque non senti O barbaro from Gli Orazi e I Curazi by Braham. 10. Egli vide le mie Lagrime by Winter. 11. Mad Margery by Henry R. Bishop. 12. While their Sweet Guittars are Tingling by Thomas Cooke words by Miss Owenson. 13. The celebrated Mocck Bravura from the opera First Attempt words by Miss Owenson music by Thomas Cooke. 14. Roderigh vich Alpine from The Lady of the Lake by Walter Scott by J. Mazzinghi possibly initialed by Mazzinghi in ink at bottom right of the title page: "M". 15. Ave Maria also from Lady of the Lake and also with "M" in ink. Blanche of Devan's Song "They bid me sleep they bid me Pray" by Scott music by Dr. Clarke of Cambridge. 16. John of Brent the Soldiers' Song from Lady of the Lake by Mazzinghi with the "M". 17. The Coronach or Funeral Song from Lady of the Lake.by Dr. John Clarke of Cambridge. 18. Norman's Song from Lady of the Lake by Clarke. 19. Dear! In pity do not speak words by Thomas Moore music by J. A. Stevenson Dublin Rhames' Musical Circulating Library. 20. The Beggar Girl by H. Piercy verso advertises other compositions by Piercy available through him. 21. The Favorite Airs from Lady of the Lake by T. Cooke. 22. Hymn to the Virgin from Lady of the Lake by T. Cooke. 23. The Soldier Bridegroom's Song from Lady of the Lake music by Sir J. Stevenson. 24. See our Oars with Feather'd Spray by Sir John A. Stevenson. 25. Lovely Emma by Stevenson. 26. Will you come to the Bow'r by T. M. Thomas Moore Dublin Hime. 27. Tell Me Where Is Fancy Bred by Shakespeare music by J. Stevenson Dublin Powers Music Ware House. 28. Give Me the Harp a Chorus Glee.sung with great applause at the Irish Harmonic Club Wednesday the 4th of May 1803 Dublin Rhames; 18 pages!. 29. Bragela from Ossian music by R. I. S. Stevens Signed at the bottom right of the first page by Stevens. 30. The Rose and the Lover words by E. Fitzsimons music by Braham and Stevenson. 31. And Will He Not Come Again Shakespeare's Ophela by Mrs. J. Williams Dublin William Power & Co. 32. Laura from The Seige of St. Quintin by Mr. Hook. 33. Awake my Lyre words by Cowley music by Joseph Major. 34. Farewell though lovely calm retreat by J. Willis Dublin Goulding & Co. 35. In vain I strive with aspect gay by M. P. King. 36. Together let us range the fields from the opera The Woodman by H. Bate Dudley. 37. The Farewell by Robert Cooke. 38. The Separation words by M. J. Stehl music by V. Novello. 39. Coronation Anthem by Handel. 40. Hymn for the Emperor translated by Burney by Haydn. 41. Who Would Not Love from the opera First Attempt words by Miss Owenson music by Thomas Cooke. hardcover
178641286Vienne: Chez Artaria Comp. PN 86 1786. Oblong folio. Disbound. i title with oval vignette engraved by Seb. Mansfeld of an aristocratic lady seated at a fortepiano playing from a large folio music book 2-15 i blank pp. Engraved throughout.<br /> <br /> Contains 10 short works for keyboard including arrangements of music from Haydn's opera La Vera Costanza. <br /> <br /> With contemporary signature and early stamp incorporating a shield topped by a crown to blank upper outer corner of title.<br /> <br /> Slightly worn; minor foxing mainly to blank margins of title; small dampstain to upper outer corner; some pages with irregular vertical ink lines as a result of printing from cracked plates. First Edition in this form. Rare. Weinmann p. 18. Hob. I:81/2 Hob. XXVIII:8/6 Hob. I:79/2 Hob. I:85/3 Hob. I:85/2 Hob. Ia:15/2 Hob. XVII:9 Hob. XXVIII:8 Hob. I:53/2 Hob. III:41/4. RISM H 4300 and HH 4300 no copies in the U.S. <br /> <br /> Haydn "began his career in the traditional patronage system of the late Austrian Baroque and ended as a 'free' artist within the burgeoning Romanticism of the early 19th century. Famous as early as the mid-1760s by the 1780s he had become the most celebrated composer of his time and from the 1790s until his death was a culture-hero throughout Europe. Since the early 19th century he has been venerated as the first of the three 'Viennese Classics' Haydn Mozart Beethoven. He excelled in every musical genre; during the first half of his career his vocal works were as famous as his instrumental ones although after his death the reception of his music focussed on the latter except for The Creation. He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity quality and historical importance in these genres. In the 20th century he was understood primarily as an 'absolute' musician exhibiting wit originality of form motivic saturation and a 'modernist' tendency to problematize music rather than merely to compose it but earnestness depth of feeling and referential tendencies are equally important to his art." Georg Feder and James Webster in Grove Music Online. Chez Artaria Comp. [PN 86] 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
179041127Paris 1790. Folio. Disbound. Engraved. <br /> <br /> Wenck arr. La Chasse Grande Simphonie de J: Haydn Arrangée pour le Clavecin ou Piano-Forte; Avec Accompagnement de Deux Violons et Basse à Volonté par A. H. Wenck. Prix 4₶. 4s. Hob. I/73. Keyboard part only. Paris: Chez Wenck Rue de la Michaudiere Maison de Mr. Garnier et chez les principaux Mds. de Musique. Gravé par Le Roy l'aîné Place de Cambray . 10e. Ca. 1785. Keyboard part. i title 2-15 i blank pp. With "No. 14" in contemporary black ink to head of first page of music. RISM H4478 1 copy of the keyboard part only at the Biblioteca civica musicale "A. della Corte" in Milan.<br /> <br /> Bound with: <br /> Fodor arr. Simphonie Composés Par J Haydn Arrangées pour Clavecin ou Piano forte Avec Accompagnement d'un Violon Par M Fodor. Prix 3₶. Hob. I/47. Keyboard part only. Paris: Chez le Sr. Sieber Musicien rue St. Honore entre la rue des Vieilles Etuve et celle Dorleans chez l'Apothicaire No 92 A. P. D. R. Ca. 1790. 1f. recto title verso blank i "Catalogue de Musique Vocale et Instrumentale appartenant à Mons. Sieber Rue St. Honore entre la Rue des Vielles Etuves et celle d'Orleans chez l'Apothicaire No. 92" 2-13 i blank pp. With Sieber's control signature to lower outer corner of title "3" to head of title and "No 15" to head of first page of music in contemporary manuscript. Outer margin of publisher's catalogue very slightly trimmed just touching text in several instances. RISM H4498 1 copy of the keyboard part only at the Bibliothèque nationale. <br /> <br /> Bound with:<br /> Wenck arr. Quatuor Détache de l'Œuvre XXXIIIe. de M. Haydn Arrangé pour le Piano-Forte ou Clavecin avec Accompagnement de Violon et Violoncelle à volonté par M. Wenck. Op. 33/5 Hob. III:41. Keyboard part only. Paris: Chez M. Wenck rue de la Michodiere Maison de M. Garnier. Et Chez Melle. Rivet au Palais Royal à côté du Caffé de foy. No. 55. Prix 3₶.12f. . 12e. . i title 2-11 i blank pp. With first ten measures printed to head of title. "No. 16." in contemporary manuscript to head of first page of music. Not located in RISM.<br /> <br /> Slightly worn browned and soiled; a few small tears. Haydn "began his career in the traditional patronage system of the late Austrian Baroque and ended as a 'free' artist within the burgeoning Romanticism of the early 19th century. Famous as early as the mid-1760s by the 1780s he had become the most celebrated composer of his time and from the 1790s until his death was a culture-hero throughout Europe. Since the early 19th century he has been venerated as the first of the three 'Viennese Classics' Haydn Mozart Beethoven. He excelled in every musical genre; during the first half of his career his vocal works were as famous as his instrumental ones although after his death the reception of his music focussed on the latter except for The Creation. He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity quality and historical importance in these genres. In the 20th century he was understood primarily as an 'absolute' musician exhibiting wit originality of form motivic saturation and a 'modernist' tendency to problematize music rather than merely to compose it but earnestness depth of feeling and referential tendencies are equally important to his art." Georg Feder and James Webster in Grove Music Online<br /> <br /> Wenck was a German composer and glass harmonica player. "According to Gerber he studied the violin with Hataš and the harpsichord and composition with Georg Benda. He went to Paris with the latter in 1778 and stayed there until at least 1792 as an arranger of popular overtures and airs. On his return to Gotha he became honorary ducal secretary lived on his small estate made pianos that were much sought after and worked at perfecting the glass harmonica with which he toured as a virtuoso. In 1788 he launched a periodical music collection which was intended to appear quarterly but which seems never to have got beyond its first issue: Variétés musicales pour le piano-forte ou clavecin avec accompagnements . mêlées de chant avec paroles italiennes et françaises. In addition he published overtures and airs from favourite operas mostly for piano or harpsichord with violin accompaniment but in one case for string quartet. He also published a set of Six petites sonates op. 1 n.d. and another of Sonates et pièces op.2 four of each for keyboard with violin ad libitum as well as a Ier simphonie op.3 for the same combination. These last two were advertised in 1783; the simphonie in the style of a piano reduction of orchestral textures was to have been the first of six. In addition Gerber reported three violin trios and a bassoon concerto in manuscript. In 1798 Wenck made improvements to the metronome of Sauveur and Duclos which he described in Beschreibung eines Chronometers Magdeburg 1798 and which he sold in quantity. In 1806 he moved to Holland settling in Amsterdam where he was still living in 1810." David Fuller in Grove Music Online<br /> <br /> Fodor was a French harpsichordist of Dutch birth. "One of the foremost harpsichordists of his time in about 1780 he settled in Paris where he gave concerts and taught and composed harpsichord concertos and sonatas as well as a symphony and music for piano and strings." Elizabeth Forbes in Grove Music Online. unknown
180240481Leipzig: Breitkopf & Hartel 1802. Oblong folio. Original publisher's orange decorative printed wrappers with "Les Saisons par J. Haydn double rule Die Jahreszeiten von J. Haydn" within thick decorative rule to upper. 1f. recto title with engraved vignette by F. W. Nettling after Schubert verso blank 176 pp. with publisher's catalogue to lower portion of p. 174 and pp. 175-176. Text in German and French. Typeset throughout.<br /> <br /> The title-page vignette depicts an allegory of the seasons with two women decorating a statue with flowers and another supporting a hunched old man who carrying a walking stick.<br /> <br /> Contemporary signature to corner of upper wrapper.<br /> <br /> Wrappers somewhat worn and rubbed; small tears to upper and spine with minor loss. Light to moderate foxing; several leaves soiled at edges. First Edition later issue. HWV II p. 59. Hoboken Catalogue Vol. 9 1419 variant. RISM H4690.<br /> <br /> One of Haydn's two masterful oratorios this secular work was written shortly after The Creation 1798 to a libretto by Baron Gottfried von Swieten 1733-1803 after the eponymous poem by James Thomson 1700-1748 published in 1730. The work was first performed on 24 April 1801 in a private première at the Schwarzenberg Palace in Vienna; the first public production took place on 29 May 1801. <br /> <br /> "Although the initial reception of The Seasons was favourable - Haydn wrote to Clementi that it had enjoyed 'unanimous approval' and that 'many prefer it to The Creation because of its greater variety' - critical opinion soon became mixed owing in part to its perceived 'lower' subject in part to a growing aesthetic resistance to its many pictorialisms. Haydn himself contributed to both strands of criticism: he supposedly said to Francis II 'In The Creation angels speak and tell of God but in The Seasons only Simon speaks' Dies; and he indiscreetly criticized Swieten's croaking frogs 'Frenchified trash' and the absurdity of a choral hymn to toil Fleiss. Nonetheless he maintained that it would join The Creation in assuring his lasting fame. For the publication he took the path of lesser resistance selling the rights to Breitkopf & Härtel. . <br /> <br /> Notwithstanding its less exalted subject The Seasons is compositionally more virtuoso than The Creation and offers greater variety of tone: Haydn's pastoral is one of the final glories of a tradition that is more than 'high' enough." Georg Feder and James Webster in Grove Music Online <br /> <br /> The music is "of wonderful freshness and unfailing originality." TNG Vol. 8 p. 347. Breitkopf & Hartel unknown
181528731815. Part 1: 2 Blank pages / 2er Violon Title Page / 237 Pages / 2 After blanks Part 2: 2 Blank pages / 1er Violon Title Page / 1 NNP / 297 Pages / 3 NNP / 2 After blanks Part 3: 2 Blank pages / Basse Title Page / 205 Pages / 2 Blank pages Part 4: 2 Blank pages / Alto Title Page / 205 Pages / 2 Blank pages Not dated date is an estimate. Binding: Contemporary Half Leather Folio Height cm: 365 CM Width cm: 285 CM Thickness cm: 145 CM hardcover
181040444Wien: Camesinaische Buchhandlung 1810. Octavo. Full 19th century dark red calf with gilt rules and blindstamping to boards titling gilt to upper dark red doublure endpapers. Preserved in a modern quarter brown mid-tan leather clamshell box with dark ivory linen boards titling gilt to spine. <br /> <br /> 1f. fine engraved frontispiece portrait of Haydn by D. Weiss after Ihrwack's medallion 1f. recto title verso 3-line verse by D. Tomas de Yriarte 1f. recto dedication verso blank v-x 11-220 pp. 1 folding plate of engraved music. <br /> <br /> Binding slightly worn rubbed and bumped. Minor to moderate foxing throughout; small tear to lower outer corner of pp. 157/158 with no loss of text; frontispiece loose. First Edition. Catalogue of the Printed Books in the British Museum. Accessions Third Series . Books in the Hirsch Library. P. 118. Eitner III p. 197.<br /> <br /> Dies was a German writer composer and painter. "Esterhazy sponsored the publication of his Biographische Nachrichten von Joseph Haydn . for which Dies collected material from 30 conversations with the aged composer. Because of its factual tone and the typically Classical standpoint of its aesthetic judgments this work occupies a significant position in early Haydn literature alongside Griesinger and Carpani. . Many Haydn documents appeared for the first time in the Nachtrichten and it contains a 'list of all the works Haydn composed in London' taken from the lost London notebook." Horst Seeger in Grove Music Online<br /> <br /> An early and important biographical account of Haydn. Camesinaische Buchhandlung unknown
1790302878Vienna: Artaria et Comp 1790. Engraved music plate number 77 in 4 parts engraved title on front wrapper. Folio. Uncut and loose as issued. Front wrapper detached and worn lacking back wrapper stain to first and second violin parts foxing to final leaf of cello part. Engraved music plate number 77 in 4 parts engraved title on front wrapper. Folio. Franz Joseph Haydn 1732-1809 was born in Austria. Known as the 'father of the symphony' adnd 'father of the quartet' his work was eclipsed by that of Beethoven until the late twentieth century when much of his music finally became available in modern editions. <br /> <br /> It has been argued that while he did not 'invent' the quartet he was "certainly the first composer to appreciate their potential . and Haydn projected an unequalled mastery of the language of music." Oxford Dictionary of National Biography<br /> <br /> These string quartets in A major F minor and B-flat major are written for two violins viola and cello and were written in 1788 for Haydn's violinist friend Johann Tost. Hoboken III:60-62 Artaria et Comp unknown
2006__0435909088Heinemann 2006. Mixed media product. New. 15.51x10.47x5.28 inches. Heinemann unknown
180240447Leipzig: Breitkopf und Härtel 1802. Folio. Modern half mid-brown calf with ivory linen boards with leather title label gilt to upper spine with titling gilt. 1 title 2-42 music ii text pp. Typeset throughout. With text in Latin and German. <br /> <br /> With occasional early accidentals added in early manuscript.<br /> <br /> Some browning and foxing; minor staining. First Edition. Hoboken Collection Vol. 9 1478. RISM H2517. <br /> <br /> "The late Te Deum 'for the empress' . for chorus and very large orchestra is an ABA construction of great power and terseness; it whirls through the very long text in little more than eight minutes while still finding time for a double fugue and an immense climax at the end." Georg Feder and James Webster in Grove Music Online<br /> <br /> The autograph of the present work has been lost. Breitkopf und Härtel unknown
1802203560Au Magasin de Musique de Breitkpf et Härtel Leipsic. 1802. Hardcover Großformat Quer. Die Jahresangabe ist ungefähr. Zustand: keine Beschädigungen Namenseintragungen im Vorsatz verstaubt. Außen verschmutzt Ecken und Kanten bestoßen aufgeweicht und oberflächlichen Fehlstellen. Rücken unten mit kleiner Fehlstelle hält aber gut Bindung gut. Au Magasin de Musique de Breitkpf et Härtel, Leipsic., hardcover
180140448Leipzig: Breitkopf & Hartel 1801. Oblong folio. Orange paper boards with original publisher's printed wrappers with title within decorative borders laid down small early vellum label with "118" to spine. 1f. recto title with engraved vignette by F.W. Nettling after Schubert depicting an allegory of the seasons verso blank 176 pp. with publisher's catalogue to lower portion of p. 174 and pp. 175-176. Text in German and French. Typeset throughout.<br /> <br /> Numbering and occasional markings in pencil.<br /> <br /> Wrappers worn and abraded part of lower lacking; small early manuscript annotations to lower outer corner of upper with portion cancelled. Minor to moderate foxing; minor staining. First Edition. HWV II p. 59. Hoboken Catalogue Vol. 9 1419. RISM H4690.<br /> <br /> One of Haydn's two masterful oratorios this secular work was written shortly after The Creation 1798 to a libretto by Baron Gottfried von Swieten 1733-1803 after the eponymous poem by James Thomson 1700-1748 published in 1730. The work was first performed on 24 April 1801 in a private première at the Schwarzenberg Palace in Vienna; the first public production took place on 29 May 1801. <br /> <br /> "Although the initial reception of The Seasons was favourable - Haydn wrote to Clementi that it had enjoyed 'unanimous approval' and that 'many prefer it to The Creation because of its greater variety' - critical opinion soon became mixed owing in part to its perceived 'lower' subject in part to a growing aesthetic resistance to its many pictorialisms. Haydn himself contributed to both strands of criticism: he supposedly said to Francis II 'In The Creation angels speak and tell of God but in The Seasons only Simon speaks' Dies; and he indiscreetly criticized Swieten's croaking frogs 'Frenchified trash' and the absurdity of a choral hymn to toil Fleiss. Nonetheless he maintained that it would join The Creation in assuring his lasting fame. For the publication he took the path of lesser resistance selling the rights to Breitkopf & Härtel. . <br /> <br /> Notwithstanding its less exalted subject The Seasons is compositionally more virtuoso than The Creation and offers greater variety of tone: Haydn's pastoral is one of the final glories of a tradition that is more than 'high' enough." Georg Feder and James Webster in Grove Music Online <br /> <br /> The music is "of wonderful freshness and unfailing originality." TNG Vol. 8 p. 347. Breitkopf & Hartel unknown
182340446Leipsic: Breitkopf et Härtel PN 3454 1823. Oblong folio. Newly bound in quarter dark blue morocco with marbled boards title label gilt to spine. 1f. recto lithographic title verso blank 96 pp. Typeset throughout.<br /> <br /> Some minor foxing. <br /> <br /> An attractive copy. First Edition of the Mariazeller Messe. Hoboken Collection Vol. 9 1432 plate 9. RISM H2503<br /> <br /> "Vocal music constitutes fully half of Haydn's output. Both his first and last completed compositions were mass settings and he cultivated sacred vocal music extensively throughout his career except during the later 1780s when elaborate church music was inhibited by the Josephinian reforms and the first half of the 1790s in London .<br /> <br /> "The 'Mariazellermesse' in C 1782 resembles the Missa Cellensis in key scoring and purpose although it is more compact and more closely allied with sonata style." James Webster and Georg Feder in Grove Music Online. Breitkopf et Härtel [PN 3454] unknown
180240095Leipsic: Breitkopf et Härtel 1802. Oblong folio. Nineteenth-century marbled boards rebacked and recornered in dark olive half calf spine in gilt-ruled compartments with dark red title label gilt. i title 2-114 pp. Typeset throughout. <br /> <br /> Dark red leather title label to front pastedown removed but with lettering "W. Russell 1806" visible in impression to free front endpaper.<br /> <br /> "Charles Beevor 41 Upper Harley St." in nineteenth century black into to upper outer corner of free front endpaper; additional bibliographical notes in blue ink. <br /> <br /> Binding worn and rubbed. Intermittent moderate foxing and browning. First Edition of the "Missa in tempore belli" one of six masses written by order of Prince Esterházy between 1796 and 1802. Hoboken Collection Vol. 9 1433. RISM H2498. <br /> <br /> "Vocal music constitutes fully half of Haydn's output. Both his first and last completed compositions were mass settings and he cultivated sacred vocal music extensively throughout his career except during the later 1780s when elaborate church music was inhibited by the Josephinian reforms and the first half of the 1790s in London ." <br /> <br /> "Notwithstanding their semi-private function for the Esterházy court Haydn's six late masses are consummate masterworks that exhibit no trace of provinciality or the 'occasional'. He exploits the complementary functions of soloists and chorus with inexhaustible freedom and telling effect; owing to his London experience the orchestra plays a newly prominent role. Four are in B perhaps because Bb was Haydn's usual highest pitch for choral sopranos he employed the same key for the final choruses of Parts 2-3 of The Creation and Part 1 of The Seasons. The other two are the only ones for which he provided descriptive titles: the Missa in tempore belli 'Mass in Time of War' 1796 in C features the bright trumpet-dominated sound typical of masses in this key; the Missa in angustiis 'Mass in times of Distress' later nicknamed 'Nelson Mass' 1798 in D minor and major is scored for a dark orchestra comprising only trumpets and timpani strings and organ. Both invoke the travails of the Napoleonic wars. The Agnus Dei of the former includes threatening timpani motifs and harsh trumpet fanfares while the Benedictus of the latter culminates in another harsh fanfare passage 'out of context'; both influenced the Agnus Dei in Beethoven's Missa solemnis. On the other hand except for the sombre Kyrie and Benedictus of the 'Nelson Mass' both are otherwise firmly optimistic; the ending of the latter is downright jaunty." James Webster in Grove Music Online. Breitkopf et Härtel 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
114439Leipzig Breitkopf und Härtel 1801. Oblong folio. Lith. title blank 176 pp with printed music pp. 174-176 with Verlagsverzeichniss. Stain on title and first 40 pages foxing. Contemporary somewhat worn half calf spine with raised bands marbled but faded board papers the front with handwritten label stain on front board. Hoboken 1417 XXI:3. The first printed edition of Die Jahreszeiten Les Saisons The Seasons published the same year as the first performance and shortly before it was published in Mus. Magazin Hoboken. This edition is for piano and vocals with the text in German and English. The first partitur and a similar piano score as this with the text in German and French were published by Breitkopf & Härtel in 1802. The title vignette is signed by Schubert del. and F. W. Nettling sc. The last 3 pages contain a list of published works from Breitkopf und Härtel.The Seasons and The Creation were the two great oratoriums of Haydn’s later years. They both have their texts from English poets. The Seasons is by James Thompson and The Creation is based on Milton’s Paradise Lost. Haydn’s friend Baron Gottfried van Swieten translated both poems for the German librettos. hardcover
181041428Dublin Ireland: Hime at his Musical Circulating Library No. 34 College Green No 40 College Green 1810. Folio. ff. 25. Sheets: 12 3/4 x 9 inches. Plates: 10 3/4 x 7 1/2 inches. 25 copper-plated engraved pieces of sheet music printed in black. Most sheets hand-foliated in ink. With the ownership signature in ink on the back of songs 9 and 10 written "Susan Buchanan's." 9 of the pieces of sheet music are loose 16 are loosely bound together.<br/> <br/> Provenance: Family of Founding Father Francis Hopkinson<br/> <br/> 25 pieces of sheet music printed in Ireland by Hime at the end of the 18th century from the family collection of Francis Hopkinson America's first composer.<br/> <br/> "American society from about 1805 on was especially enamored of Irish and Scotch tunes particularly the Irish Melodies of Thomas Moore and other national music." - Richard J. Wolfe Early American Music Engraving and Printing Founding Father Francis Hopkinson 1737-1791 was a signatory for New Jersey to the Declaration of Independence and the first American to compose a song which he attested to himself: "I cannot I believe be refused the Credit of being the first Native of the United States who has produced a Musical Composition." Hopkinson published three of the earliest American song collections: Collection of Plain Tunes with a Few from Anthems and Hymns printed by Carr in 1763; America Independent or Temple of Minerva the first American opera printed by Carr in 1781; and Seven Songs for the Harpsichord or Forte Piano printed by T. Dobson in 1788. All sheets were printed by Hime. Hime was an English and Irish music publishing firm run by two brothers Humphrey and Morris. Hime began in Liverpool but moved to Dublin in 1790. The firm continued printing until the 1870s as Hime & Son. The Himes did the largest provincial trade in Britain at the end of the 18th century because English copyright law did not apply to Irish publishers so Hime could flood the English market with bootleg copies of popular songs. The song titles are: 1. "TEARS THAT EXHALE: An admired SONG in the PRISONER Composed by Mr. Attwood." 2. "I'D THINK on THEE MY LOVE. A Favorite NEW SEA SONG Composed by Mr. HOOK." 3. "HENRY's COTTAGEMAID." 4. "AS WRAPT IN SLEEP I LAY: A favorite Song sung by Mrs CROUCH in the Opera of The PIRATES Composed by STEPN STORACE." 5. "WINDS SOFTLY TELL MY LOVE: As Sung by Mrs MOUNTAIN in the Opera of the FARMER with uncommon Applause." 6. "THE MANSION OF PEACE: A Much Admired SONG Composed by Mr. WEBBE." 7. "THE NEW MANSION OF PEACE: A Favorite NEW SONG Composed by Mr. MOULDS." 8. "DEAR MARY TO THEE: A much Admired NEW Song Composed by Mr. HOOK." 9. "DEAR IMAGE OF THE MAID I LOVE: Composed by SIGr. GIORDANI." 10. "WHILST WITH VILLAGE MAIDS: A favorite Song in the Opera of ROSINA Sung by Mrs BILLINGTON." 11. "COME BLUSHING ROSE: Composed by Pleyel." 12. "EVENING: A Favorite BALLAD Composed by HAYDN: The WORDS by DOCr. JOHNSON." 13. "EDWIN AND ELLA: Composed by MR. HOOK." 14. "GO HAPPYGALES: A favorite SONNETT translated from PETRACH by Mr HOOK." 15. "ENCOMPASSED IN AN ANGELS FRAME: A much Admired Song." 16. "THE SHIPWRECK'D BOY. A Favorite NEW Song Written by Geo. Saville Carey." 17. "THERE THE SILVER'D WATERS ROAM: An admired Song in the PIRATES. Sung by Mr Sedgwick. composed by Sigr. STORACE." 18. "Charming Delia: A Favorite BALLAD Composed by Mr. PLEYEL." 19. "DIRE IS HIS GRIEF: An Admired Song in the new Historical Romance of the CRUSADE sung by Mr Incldeon." 20. "NOW THE WOODLAND CHORISTS SING: A Favorite PASTORAL BALLAD composed by J PLEYEL." 21. "O!EVER IN MY BOSOM LIVE: A favorite Duett in OSCAR and MALVINA sung by Mrs Mountain and Miss Keys." 22. "DEAR IS MY LITTLE NATIVE VALE: A favorite NEW Ballad." 23. "YOUNG JOCKEY TRIPT IT O'ER THE MEAD: An Admired BALLAD Composed by SIGr PLEYEL." 24. "BLOW HIGH BLOW LOW: A favorite SONG." 25. "WHEN FAIR SUSAN I LEFT: A much Admired SEA SONG." These scores were part of a Sammelband acquired at the Francis Hopkinson Family Americana Collection sale in June 2020.<br/> <br/> Wolfe Early American Music Engraving and Printing 1980. Hime at his Musical Circulating Library No. 34 College Green, No 40 College Green unknown
16-3934Paris: Chez Naderman circa 1820. 13 pages. 35.5 x 27 cm. Printed on laid rag paper Stained througout. Facsimile of letter from Haydn to Louise-Alexandrine-Eugénie Moreau the French-Creole wife of the famous general Jean Victor Moreau dated 1803.Dernière sonate pour le piano forte avec accompaniment de violonÀ Paris : publiée par Naderman circa 1820Expertise by Thierry BODIN - 01 45 48 25 31Syndicat Français des experts Professionnels en Oeuvre d'ArtStanford University Libraries Memorial Library of Music MLM 498:In advance of a visit to Paris in 1803 Prince Esterházy asked Haydn to compose a new piano sonata as a gift for Louise-Alexandrine-Eugénie Moreau the French-Creole wife of the famous general Jean Victor Moreau and hostess of an influential Paris salon. Haydn pleading illness sent instead a copy of the sonata for piano with violin and 'cello accompaniment HXV:31 minus the somewhat superfluous ‘cello part. In an accompanying letter to Madame Moreau Haydn apologizes for not composing something new due to his failing health and promises to fulfill his duties once he regains his strength.This two-movement work in the unusual key of E flat minor was originally composed for piano violin and ‘cello. Haydn wrote it soon after his return to Vienna from London in 1795 and in 1805 it was published for three instruments by several publishing houses. The autograph manuscript is in the Zweig Collection at the British Library. Dated 1795 Haydn wrote at the top of the second movement: “Jacobs Dream by Dr. Haydn 794†which indicates that the second movement was likely composed first.The piano part contains a good amount of virtuosic writing and like other keyboard works of the time seeks to exploit the expressive possibilities inherent in the new English grand pianos of which Haydn was enamored. The violin part also presents technical challenges. “Jacob’s Dream†alludes to the bible story in which Jacob dreams of a stairway to heaven effortlessly trafficked by angels. The work was apparently so named to tease a certain violinist intending to perform the piece whose technique often failed him but whose hubris did not when attempting to play in the upper registers. Haydn always the joker!The work was published postumously as a piano sonata with violin accompaniment by Nadermann in Paris 1820 and in partnership with Clementi in London 1821. The title page of the London edition which is in the Memorial Library of Music features a neoclassical lithograph of the muse Erato with her lyre accompanied by a swan placing a myrtle wreath on Haydn’s grave marker. Aslo included is Haydn's letter to Madame Moreau reproduced in facsimile. Paris: Chez Naderman, circa 1820 unknown
