34 résultats
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
180074620a bound collection of Military and popular music including Military Concerto for the Piano Forte with Accompaniments composed for his Royal Highness the Prince of Wales by T. Latour; A concerto for the Piano Forte in which is Introduced the Favourite Air of the Plough Boy with an accompaniment for the Violin composed by I.L. Dussek; Auld Langsyne for piano or harp; A Favorite Air by Gelinek; Maid of Derby by Knapton; Caller Herring; La Rose Blanche; How Excellent from Handel's Oratorio of Saul for two performers; The bells of St. Michael's by Knyvett; La ci darem la Mano duetto from Il Don Giovanni and Forget me Not by Mozart; Griffin's Grand March; Six Concertos for the Organ Harpsichord or Piano Forte by Handel; with handwritten contents and one manuscript music sheet loose in the front Published by R. Birchall; Goulding, D'Almaine, Potter & Co; G. Walker; Clementi hardcover
18008581Paris Pleyel 1800 plein veau moucheté, dos lisse à décor floral, motif central sur les plats avec effet de teinte plus foncé, guirlande, tranche dorée. in-4 oblong, titre, 118pp., [Cot. 358]
180056337ABBonn, N. Simrock. (1800). Quer-4°. 1 Bl. mit Titel und rückseitig Katalog, 135 S. gestochene Noten, 1 S. Katalog. Grüner Pappband mit grün/blauen Kleisterpapierbezügen und rotem goldgeprägtem Rückenschild.
1785271161785 à Paris chez Le Duc, Successeur de Mr. de la Chevardière sd ( 1785)-in folio broché,tiré d'un recueil factice,Titre,10p., partition entièrement gravés sur cuivre,partie alto seule- bon état.
1800271111800 Paris. Sieber. Ca 1800. In-f°(254 x 330mm) broché, tiré d'un recueil factice, 15 pages. Page de titre gravée par Sieber imprimée de travers et un peu piquée. taches en marge. Partition pour violino secondo V2, seulement. Il s'agit sans doute de l'Oeuvre 17, N°1 de Haydn (Moderato, Menuetto, Adagio, Presto), malgré l'orthographe du nom. Bon état,rousseurs.
1788271151788 Sieber, [1788]- in folio broché,tiré d'un recueil factice,Titre,21p., partition entièrement gravée sur cuivre,bon état
1791231801791 Paris : Chez Pleyel, [179-?]in folio broché,1 score (4 volumes) ; 33 cm [v. 1] Violino I.;19p--[v. 2] Violino II.;19p.--[v. 3] Violoncello.;13p. avec titre faux--[v. 4] Viola Alto ; 15p..- 4 parties. ; 37 cm. trés rare
1775281901775 Paris : Boyer : Le Menu,chez M. Boyer, rue de Richelieu, a la Clef d'or, passage du caffe du Foy chez Made. Le Menu, rue du Roulle, a la Clef d'or, A Paris, [approximately 1785] [1787?] RISM H 4181. basso 7p. double - en double; sans titre (tirage different sans titre) 7+7p.- Disbound.
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 books
178930384Vienne: Hoffmeister PN 173 1789. Folio. Unbound. <br/><br/>Violin: 1 title 12-2 pp. <br/>Viola: 1 title 2-7 i blank pp. <br/>Cello: 1 title 2-7 i blank pp. <br/><br/>Manuscript price added to title of violin part. <br/><br/>Somewhat worn and soiled especially at edges; foxed primarily to margins; spine of violin part reinforced with paper tape. First Edition of the arrangement of the piano sonatas Hoboken XVI:40-42 first published in 1784. RISM H4184 no copies in the U.S. Hoffmeister [PN 173] unknown books
17952392London: Napier 1795. First edition. Used; Like New/Used; Like New. Vol. II of 3 only. Folio contemp. tree sheep repaired & rebacked. Lacking frontis & subscriber's list. 100 songs numbered 2-101. Engraved music & lyrics facing full type-set songs. Internally generally clean & crisp. Scattered light foxing lacking frontis & subscriber's list. <br><br /><br><br />Includes the first appearance of Barbara Allen. Hoboken XXXI vol. 2 p. 460 Napier unknown books
180075497Chez Le Duc 1800. Pamphlet. <b>Livre en français</b>. Couverture souple. Ecrit par Ribière. Partition gravée de 10 pages. Importante mouillure. Papier bruni. Couverture muette ancienne. <i>ref. 75497</i> Chez Le Duc unknown
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
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
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
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
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
178740066Vienne: Artaria PN 109 1787. Folio. Sewn. <br /> <br /> Violino primo: 1f. recto title with elaborate engraved border incorporating coat of arms crowned eagles crown and floral and architectural motifs verso blank i blank 2-25 pp. <br /> Violino secondo: 1f. recto title verso blank i blank 2-21 i blank pp. <br /> Viola: 1f. recto title verso blank i blank 2-21 i blank pp. <br /> Violoncello: 1f. recto title verso blank i blank 2-21 i blank pp. <br /> Engraved throughout.<br /> <br /> Occasional fingerings in contemporary ink to first violin part.<br /> <br /> 19th century annotation: "Tenor - Fundament" and "Anton Kulhanek" to head of blank page preceding music to second violin part with hand-drawn stave and scale with note names and on the same page a small chart with note or string names and transpositions and the name "Franz Rücker." Some dynamics modified in ink in viola part transforming "f" to "sf." <br /> <br /> Somewhat worn foxed soiled and stained; spines reinforced with early dark blue paper tape; edge tears with minor loss to blank margins of first violin part; outer and lower margin of final leaf reinforced just touching staff lines. First Edition of the Prussian Quartets. Hob. III:44-49. Hoboken Catalogue Vol. 7 574. BUC p. 465. RISM H3494 two copies only in North America one in Britain and none in France or Italy. <br /> <br /> The fourth quartet in this group in F sharp minor is regarded as one of Haydn's finest. "It shows for the first time in the quartets Haydn's definite renunciation of tragic ends to sonata movements and his now typical association of the minor mode with a passionate somewhat blustering temper ending with a recapitulation in these circumstances regular in the tonic major so that everything turns out well. . In striking contrast to the happy end of the first movement the final fugue quietest and deepest of all the . instrumental fugues since Bach strikes a note so tragic that Beethoven's C sharp minor quartet is the first thing that one can connect with it." Tovey in Landon: Haydn Chronicle and Works II p. 627. Artaria [PN 109] unknown
180040068Vienne: Artaria et Comp. PN 837 1800. Folio. Preserved in a custom-made full dark brown linen clamshell box with black leather label with titling gilt to spine. <br /> <br /> Violino primo: 1f. recto title verso blank 19 i blank pp. Title within elaborate border engraved by J. E. Mansfeld incorporating a portrait of Haydn at head a muse holding a flute and trumpet and an angel playing a lyre. <br /> Violino 2o.: 17 i blank pp. <br /> Viola: 17 i blank pp.<br /> Violoncello: 17 i blank pp.<br /> Engraved throughout.<br /> <br /> Slightly worn; occasional soiling and small stains primarily to blank margins; small tear to blank inner margin of title to first violin part extending slightly into border. First Edition with the famous title page incorporating a portrait of the composer. Hob. III:78-80. Hoboken Collection Vol. 7 647. BUC p. 466. RISM H3574. <br /> <br /> "The last of Haydn's six great E-flat quartets 1797 is perhaps - dare one compare on this level - the greatest of them all; in any case it is among the greatest of the his great quartets as well as being the very greatest of the 'celebrated' which status it no doubt again owes to its symmetrical themes - the only aspect of the work one is tempted to suggest which is not drastically innovatory. On hardly knows where to start when listing its lasting innovations . but inasmuch as they affect one's performance of the work one can concentrate on them with a quiet conscience." Keller: The Great Haydn Quartets p. 228. Artaria et Comp. [PN 837] unknown
180040445Vienne: Artaria et Comp. PN 837 1800. Folio. First violin part in early marbled wrappers with decorative cut-paper title label in manuscript to upper; other parts with thin strips of marbled paper reinforcing spines.<br /> <br /> Violino primo: 1f. recto title verso blank 19 i blank pp. Title within elaborate border engraved by J. E. Mansfeld incorporating a portrait of Haydn at head a muse holding a flute and trumpet and an angel playing a lyre. <br /> Violino 2o.: 17 i blank pp. <br /> Viola: 17 i blank pp.<br /> Violoncello: 17 i blank pp.<br /> Engraved throughout.<br /> <br /> Wrappers quite worn and torn at spine. Slightly worn foxed soiled and stained; old paper repair to inner margins of title and final leaf; margins of two leaves of first violin part trimmed with partial loss of plate number. First Edition with the noted title page incorporating a portrait of the composer. Hoboken 7 647. Hoboken Collection Vol. 7 647. BUC p. 466. RISM H3574. <br /> <br /> "The last of Haydn's six great E-flat quartets 1797 is perhaps - dare one compare on this level - the greatest of them all; in any case it is amongst the greatest of the his great quartets as well as being the very greatest of the 'celebrated' which status it no doubt again owes to its symmetrical themes - the only aspect of the work one is tempted to suggest which is not drastically innovatory. One hardly knows where to start when listing its lasting innovations . but inasmuch as they affect one's performance of the work one can concentrate on them with a quiet conscience." Keller: The Great Haydn Quartets p. 228. Artaria et Comp. [PN 837] unknown
178740113Venezia: Antonio Zatta e Figli 1787. Oblong folio. Sewn. Three parts each with identical title excepting instrument names. Engraved throughout. <br /> <br /> Violino: i title incorporating decorative engraved border with floral motifs and musical instruments including lute recorder trumpet and violin 15 pp. <br /> Viola: i title 14 i blank pp. <br /> Violoncello: i title 12 i blank pp. <br /> <br /> With "Proprietà di Bianconi de Valleta" in contemporary ink to lower outer corner of title to viola part: "Per uso di cancelled" and in another hand to lower outer corner of each title.<br /> <br /> Violin: Title detached soiled foxed and stained with some marginal dampstaining losses to edges and small holes; light dampstaining mainly to upper outer quadrant of first and final leaves; occasional small stains. <br /> Viola: Staining and soiling to title; stain to blank outer upper corner of all leaves; occasional stains and soiling.<br /> Violoncello: Some foxing and small stains mainly to blank margins; final blank leaf stained and soiled. First Edition. Rare. Hoboken 7 966. RISM H3816.<br /> <br /> Originally composed for baryton trio in 1768 during Haydn's period of service to Nikolaus I Prince Esterházy 1714-1790 here cast in a version for violin viola and cello. <br /> <br /> Antonio Zatta fl. late 18th century was an Italian printer and publisher. "He was in business with his sons under the name 'Antonio Zatta e figli Librai e Stampatori veneti' with premises in Venice 'al traghetto di S Barnaba'; theirs was the largest engraving works in the city their activity dating back to about 1750. . From 1786 the firm began printing on its own press from engraved plates a weekly piece of instrumental music for sale by subscription; in the following years this initiative expanded to include trios duos quartets symphonies or sonatas for various instruments and even vocal pieces issued on a monthly basis. In the letters circulated to 'professori e dilettanti di musica' inviting them to become subscribers the firm explained the preponderance of instrumental music by the fact that Italy 'abounds without doubt more in professional and amateur players than in singers.' Instrumental works by Corelli Bertoni Boccherini Capuzzi Andreozzi Cirri Cambini Pichl Fodor Stabinger Grazioli Haydn Mozart and Salieri and vocal pieces arias by Cimarosa Guglielmi Paisiello Anfossi Naumann Gazzaniga Borghi Traetta and Piccinni were printed and published. Many of Zatta's editions were reprints from German or Viennese publications especially of Hoffmeister's a publisher with whom Zatta had connections. Zatta also published didactic methods Pfeiffer La bambina al cembalo and music theory. After 1788 all editorial activity ceased but Zatta continued to trade in music publications. One of Antonio's daughters Marina married the publisher Sebastiano Valle who continued the work of the Zatta family until about 1806." Mariangela Donà in Grove Music Online. Antonio Zatta e Figli 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
