HAYDN, Joseph 1732-1809Biblio.com
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193431315Milano: G. Ricordi & C. PNs 28731-54 1934. Folio. Blue cloth-backed patterned paper boards titling gilt to spine. 1f. recto title verso blank 1f. recto table of contents verso blank 5-300 pp. <br /> <br /> From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br /> <br /> Binding slightly rubbed and bumped. Slightly worn; light uniform browning; very occasional markings in lead and red pencil; pp. 17/18 with small tear to blank lower margin. First Italian edition 1856 later issue based on publisher's blindstamp. <br /> <br /> This second collaboration between Haydn and librettist Gottfried von Swieten was based on the poem by James Thomson 1700-1748 published in 1730. The work was first performed on April 24 1801 in a private première at the Schwarzenberg Palace in Vienna; its first public production took place on May 19 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." James Webster and Georg Feder in Grove Music Online. G. Ricordi & C. [PNs 28731-54] 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
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
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
179140111Paris: Sr. Sieber Musicien rue St honoré entre celles des Vielles Etuve et celle D'orleans chez l'Apothiciare No. 92 PN 1171 1791. Folio. Ivory vellum-backed marbled boards dark red leather label to spine with titling gilt. 1f. recto title verso blank 254 pp. with "Personnages" to lower portion of p. 12 following overture. Engraved throughout.<br /> <br /> Overture and arias with spoken dialogue provided as text; "Laurette" was performed without recitatives. <br /> <br /> Handstamp of "Cercle des amateurs de musique Strasbourg" incorporating lyre and floral motif to upper outer corner of title and first page of music.<br /> <br /> Binding worn rubbed and bumped. Light uniform browning; occasional small stains and foxing; abrasion to p. 101 affecting several bars of music; price erased from title. First Edition. Hoboken Collection Vol. 9 1615. Lesure p. 299. RISM H2563<br /> <br /> Laurette to a libretto by Francesco Puttini was first performed on 25 April 1779. <br /> <br /> "Contrary to claims made by Haydn's early biographers insufficent evidence supports the hypothesis that Haydn wrote this opera to fulfill an imperial commission for Vienna. The libretto represents a considerably shortened version of Puttini's text for Anfossi 1776 Rome already somewhat condensed especially in Act 3 for performances later that year in Venice as La pescatrice fedele and in Vienna 1777. Andrea Totti who sang Count Errico in Venice also performed in Haydn's opera at Eszterháza. . The opera was subsequently performed as Der flatterhafte Liebhaber oder Der Sieg der or Die wahre Beständigkeit in Pressburg Bratislava 1786-7 Budapest 1789 Vienna 1790 and Brno 1792 and with numerous changes as Laurette in Paris 1791." Caryl Clark in Grove Music Online<br /> <br /> "La vera costanza 1778-9 is the subject of implausible and conflicting anecdotes in Griesinger and Dies according to which it was originally commissioned for the Burgtheater in Vienna but scuttled by intrigue neither Joseph II nor his musicians were well-disposed towards Haydn; in fact it had its première at Eszterháza on April 25 1779. It was lost in the fire that largely destroyed the Eszterháza opera theatre on November 18 1779; the surviving version represents Haydn's reconstruction of the work from 1785." Georg Feder and James Webster in Grove Music Online. Sr. Sieber, Musicien, rue St honoré entre celles des Vielles Etuve et celle D'orleans chez l'Apothiciare, No. 92 [PN 1171] unknown
180540142London: Printed & Sold by T. Preston 97 Strand. Sold also by G. Thomson the Editor & Proprietor Edinburgh 1805. Large folio. Sewn. 1f. recto portrait of Burns verso blank i title with engraved vignette 98 pp. numbered 151-200 with each page number duplicated and music and poetry alternating on engraved and typeset pages respectively i blank. <br /> <br /> Oval stipple engraved portrait of Robert Burns by Paton Thomson after Nasmyth and engraved vignette to title by Thomson after Stothard depicting an urn with Burns's portrait in relief floral motifs and a kneeling maiden in Classical garb with verse "Now see where Caledonias Genius mourns / And plants the holly round the tomb of Burns."<br /> <br /> Manuscript inscription to upper margin of title "To Ms. Richardson from the Editor" and signature of the editor "G Thomson" to right of imprint.<br /> <br /> Some wear browning foxing and soiling; portrait of Burns detached soiled and torn at edges with paper loss; losses and tears to margins. Lacking 2-page index and 5-page glossary. First Edition. Hopkinson & Oldman p. 19. RISM H2737.<br /> <br /> Hoboken XXX1a: 226 4bis 227 228 8bis 61bis 229 122bis 230. 231 149bis 232 233 89bis 234 221bis 235 236 76bis 237 238 60bis 239 240 241 81bis 242 145bis 243 244 245 148bis 246 24bis 247 115bis 20bis 22bis 248 249 46bis 52bis 250 69bis 70bis 31bis 251 252 253A 253B 254. RISM 2737. Printed & Sold by T. Preston, 97, Strand. Sold also by G. Thomson the Editor & Proprietor Edinburgh unknown
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191972778How to Run a Patrol sixth edition 1931 xvi 17-74 6 pages; Scout Vocabularies in English Dutch French and German first edition 1951 79 pages; The Scout's How-To-Do-It Book c1937 64 pages linen cover; Everyday Things You Want to Know c1936 64 pages linen covers; The Scout's Book of Gadgets and Dodges c1936 64 pages; Active Service Hints for Boy Scouts reprint 1919 6 66 4 pages; The Scout's How-To-Do-It Book reprint 1947 64 pages; The Scout's Book of Gadgets and Dodges first edition 1945 64 pages; Gilcraft's Tenderfoot Book first edition 1944 32 pages; Gilcraft's Second Class Book first edition 1945 32 pages Published by Brown, Son and Ferguson, Limited; The Boy Scouts Association; The Scout; James Brown and Son; C. Arthur Pearson Ltd paperback
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2013Manohar-9780415632577Routledge 2013. Hardcover. New. Routledge hardcover
B9780415632584Paperback / softback. New. "Simultaneously published in the USA and Canada"--T.p. verso. paperback
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2013Manohar-9780415632577Routledge 2013. Hardcover. New. Routledge hardcover
637445550Taylor & Francis Group pp. 184 1st Edition . Hardback. New. Taylor & Francis Group hardcover
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2012x-0415632587Routledge 2012. Paperback. New. 1st edition. 208 pages. 9.17x6.18x0.47 inches. Routledge paperback
2012x-0415632579Routledge 2012. Hardcover. New. 1st edition. 208 pages. 9.49x6.26x0.63 inches. Routledge hardcover
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