HAYDN, Joseph 1732-1809Biblio.com
118 résultats
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
182040449Offenbach a/m: Johann André PN 1640 1820. Andre Johann Anton 1775-1842. Oblong folio. 19th century light purple cloth with titling gilt to upper within gilt-ruled borders with decorative cornerpieces gilt decorative blindstamping to lower. 1f. recto title incorporating a horticultural vignette; verso "Personen" 3-166 pp. Lithographed.<br /> <br /> Binding slightly worn rubbed and bumped; slightly shaken; upper hinge slightly split. Occasional browning. HWV II p. 59.<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. Johann André [PN 1640] unknown
180240133Leipzig: Breitkopf & Haertel 1802. Folio. Contemporary full dark brown suede with tooling in black to outer edges of boards. <br /> <br /> 1f. recto title with elaborate vignette engraved by W. Böhm after G.V. Kiminger incorporating allegories of the seasons floating on a bed of clouds with lyre and six-pointed stars verso blank 1f. recto secondary title "Erste Abtheilung" verso "Personen" 251 i blank. Typeset throughout.<br /> <br /> With occasional indications of instrumentation in pencil.<br /> <br /> R. Cocks & Co. handstamp to foot of secondary title. <br /> <br /> Binding worn rubbed and bumped with minor loss to lower outer corner of upper board and spine; upper partially detached. Some wear soiling staining foxing and browning; occasional minor loss to blank lower margins; worming to blank inner margin of first five leaves. First Edition issue with parallel text in German and English. Hoboken Katalog Vol. 9 1411. Hirsch IV 796. RISM H2542.<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 & Haertel unknown
180240453Leipzig: Breitkopf & Härtel 1802. Oblong quarto. Half green cloth with modern marbled boards decorative cut paper label with manuscript titling to upper. 174 pp. Typeset. Text in German and French. With first part of publisher's catalogue to foot of final page of music. <br /> <br /> With "Haydn's J.Z." printed to lower margin of some pages. <br /> <br /> Light uniform browning heavier to some leaves; some minor foxing and staining; very slightly trimmed at upper and lower margins not affecting text or notation but very occasionally just touching or cropping pagination. Somewhat tightly bound occasionally just slightly affecting ease of legibility at extreme inner margins. Lacking title leaf and one leaf containing continuation of publisher's catalogue at conclusion. HWV II p. 59. Hoboken Collection 9 1419. RISM H4691. <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 The music is "of wonderful freshness and unfailing originality." TNG Vol. 8 p. 347. [Breitkopf & Härtel] 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
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
181940452Leipzig: Breitkopf und Härtel PN 2916 1819. Oblong quarto. Contemporary mid-blue paper boards with original publisher's printed wrappers with titling within decorative border laid down. 1f. recto title verso blank 3-120 pp. Lithographed. <br /> <br /> Markings and annotations in lead and red pencil including instrumental indications<br /> <br /> Binding quite worn rubbed bumped and abraded with minor paper loss; endpapers worn and foxed. Light uniform browning; occasional creasing and staining; scattered foxing and occasional heavier browning primarily to margins; lower outer corners of a number of leaves creased and torn with minor loss to blank areas. Lacking pp. 73-80. Not in Hoboken Collection. RISM H4649 and HH4649 one copy only in the U.S. <br /> <br /> "There is hardly any doubt in the mind of the average music-lover that Haydn's oratorio The Creation is tutto sommato Haydn's greatest single accomplishment and certainly ranks as one of the greatest products of any eighteenth-century mind. It occupies a central position in choral literature and its composition and first performances were the dominant features of Haydn's life in the late 1790s." Robbins Landon: Haydn Chronicle and Works Vol. IV: Haydn: The Years of 'The Creation' 1796-1800 p. 12. Breitkopf und Härtel [PN 2916] unknown
182440450Offenbach: J. André PN 4768 1824. Oblong folio. Maroon leather-backed cloth boards with decorative cut paper label titled in manuscript in German to upper. <br /> <br /> 1f. recto title verso blank 1f. "Notice for the Singers" verso blank 3-115 i blank pp. Text in English and German. Lithographed. <br /> <br /> Slightly browned and foxed slightly heavier to first and last leaves; title and final leaf reinforced at inner margin with archival tape final leaf with additional tape to upper margin of recto and outer margin of verso. Constapel p. 270. Not in Hoboken Collection. RISM H4645.<br /> <br /> "There is hardly any doubt in the mind of the average music-lover that Haydn's oratorio The Creation is tutto sommato Haydn's greatest single accomplishment and certainly ranks as one of the greatest products of any eighteenth-century mind. It occupies a central position in choral literature and its composition and first performances were the dominant features of Haydn's life in the late 1790s." Robbins Landon: Haydn Chronicle and Works Vol. IV: Haydn: The Years of 'The Creation' 1796-1800 p. 12. J. André [PN 4768] unknown
184238922Boston New York: Oliver Diston No. 115 Washington Street; J.E. Gould & Co 1842. Folio. Mid-green printed boards. 1f. recto title verso preface with printed date "Nov. 1842" 7-180 pp. <br /> <br /> Boards quite worn rubbed bumped and stained; detached; manuscript notes in pencil to front pastedown. Some wear soiling and foxing; some edges slightly dusty and frayed. Early American Haydn imprint. <br /> <br /> "There is hardly any doubt in the mind of the average music-lover that Haydn's Oratorio The Creation is tutto sommato his greatest single accomplishment and certainly ranks as one of the greatest products of any eighteenth-century mind. It occupies a central position in choral literature and its composition and first performances were the dominant features of Haydn's life in the late 1790s." Robbins Landon: Haydn Chronicle and Works Vol. IV: Haydn: The Years of 'The Creation' 1796-1800 p. 12. Oliver Diston, No. 115 Washington Street; J.E. Gould & Co unknown
184925485Leipzig: Breitkopf & Härtel PN 7682 1849. Folio. Original publisher's gray printed wrappers. 1 title 2-67 i blank pp. Engraved. Text incipits in German as captions; text underlay in the initial recitative. Small publisher's handstamp to foot of title. Publisher's catalogue to verso of lower wrapper: "Friedrich Kalkbrenner's Pianoforte-Werke" listing works up to op. 190 1849.<br /> <br /> With handstamps of "C. Breusing New York 701 Broadway" and "Horace Middleton South Millbrook N.Y." to upper wrapper and title. <br /> <br /> Wrappers slightly stained and partially detached; minor loss to head of spine. Title detached. A later arrangement. Not in HWV WorldCat or RISM. <br /> <br /> The company of Charles Breusing New York was active from 1854 to 1861.<br /> <br /> Horace Middleton 1879-1961 a British-born musician who served on the faculty of Bennett College from 1919 to the mid-1930s was best known for the music he composed for the Greek plays performed at the college. Obituary Millbrook Round Table 23 November 1961. Breitkopf & Härtel [PN 7682] unknown
180540150Offenbach s/M: Jean André PN 2187 1805. Folio. Disbound. i title 2-5 i blank pp. Lithographed throughout. <br /> <br /> Moderate wear browning soiling and foxing; small tear extending through blank lower inner margin of all leaves not affecting music; small tear to blank outer margin of title with small dampstain to lower outer corner. HWV I p. 789. OCLC 930999647. Worldcat one copy only at the Staatsbibliothek zu Berlin <br /> <br /> An imaginative variation set incorporating rapid florid runs syncopations paired thirds and a distinctive theme with six-bar phrases a departure from the usual four-bar phrases most common at the time. Jean André [PN 2187] unknown
181040477London: Printed by Lavenu & Mitchell Music sellers to his Royal Highness the Prince of Wales at their New Musical Circulating Library 26 New Bond Street 1810. Folio. Unbound and untrimmed as issued. <br /> <br /> Keyboard: i title 2-33 i blank pp. <br /> Violin: 9 pp. <br /> <br /> Somewhat worn browned and soiled a bit more heavily to outer leaves; some corners creased; two small stab holes to blank inner margins; several leaves detached including title with small tears to margins. Lacking violoncello part. Later issue of the edition first published in 1805-1808. HWV I p. 685. RISM H3629 one copy of the piano part only. Printed by Lavenu & Mitchell, Music sellers to his Royal Highness the Prince of Wales at their New Musical Circulating Library, 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
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
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
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
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
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
18851011B12London; New York: Ward Lock & Co. 1885. Leather. Good. 9" by 6.5". None. A smart full-calf later edition of Haydn's popular historical dictionary including dates up to Summer 1885. Eighteenth edition. In full brown calf binding with marbled endpapers. A comprehensive dictionary of dates relating to world history up until Summer 1885. Originally compiled in 1841 by Joseph Timothy Haydn a British journalist known for his dictionaries this edition was revised for the contemporary reader by Benjamin Vincent notable historian and librarian of the Royal Institution of Great Britain. In full brown calf binding with marbled endpapers. Externally smart with slight bumping and rubbing resulting in minor loss of leather to the spine head tail and joints light marking to boards and more prominent scratching to the rear. Internally firmly bound. A bright and clean copy with the occasional spot more common to the first and last few pages and a faint tide mark affecting the front free endpapers and following four pages. Good Ward, Lock & Co. hardcover
1878825W18London: E. Moxon Son & Co. 1878. Leather. Very Good. 9.5" by 6". None. The scarce sixteenth edition of this popular historical dictionary. The sixteenth edition of Haydn's Dictionary of Dates by Benjamin Vincent. Originally written by Joseph Timothy Haydn a dictionary compiler most known for the Dictionary of Dates. This edition was edited by Benjamin Vincent. An A-Z alphabetical dictionary of the historical meanings of words and their origin dates. Subjects are vast and various. Gold lettering to the spine. Includes an ink inscription to the first free endpaper from prior owners:'L J MargetsouWith Mother's kind loveMarch 1st 1881.' In full leather binding. Externally very smart. Some minor bumping to the head and tail of the spine and to the extremities. Some general shelf ware to the spine. The boards have some marks. The hinges are starting but firm. Internally firmly bound. Pages are very bright and clean. Ink inscription from prior owners from 1881. Very Good E. Moxon, Son & Co. hardcover
188172648London: Ward Lock & Co. 1881. Large 8vo.Prize Binding. vi vi 920 pp. Full calf prize binding with gilt crest to board and gilt decoration and green label to spine; edges and endpapers marbled. Rubbing to extremities and spotting to prelims otherwise quite clean. Bookplate detailing awarding of prize to Charles Ernest Reeve of Sir John Gresham's Free Grammar School Norfolk presented by The Worshipful Company of Fishmongers governors of the school and dated 1882. . Very Good. Full Calf - Prize Binding. Seventeenth Edition. 1881. Ward, Lock, & Co. 1881 unknown
1878423245London : E. Moxon Son & Co 1878. 16th edition. Hardcover. Good copy in the original gilt-blocked cloth. Spine and panel edges somewhat bumped and rubbed as with age with some tears to the cloth. Scattered foxing internally. Remains quite well-preserved overall. Physical description; vi6 872 10 p. ; 8vo. Notes; ""London: Bradbury Agnew & Co. printers Whitefriars"": title page verso. Includes index. With a half-title: Haydn's Dictionary of dates comprehending remarkable occurrences ancient and modern . particularly of the British Empire. 10 p. of publisher's advertisements at end. Subjects; Chronology Historical. History ; Dictionaries. World history. London : E. Moxon, Son & Co hardcover
1892437469New York : Putnam 1892. 20th edition. Hardcover. Finely bound in modern gilt-blocked leather over marble boards. Raised bands. Spine compartments uniformly tooled in gilt. Particularly well-preserved; tight bright clean and strong. Further scans images etc. and additional bibliographical material available on request. Physical description: 1136 170 pages 24 cm. Subjects: History ; Dictionaries; Chronology Historical. New York : Putnam hardcover
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
