37 résultats
1930303424Leipzig Eulenburg ca. 1930. 1930. Small 8vo. Musical score. Introduction by Georg Munzer in German. Text of the Victor Hugo poem in French and German. 2 pages of publisher's advertisements at end. Contemporary 1/2 gilt stamped black morocco over white cloth upper cover with George Cukor's name stamped in gilt in lower right corner patterned endpapers. Very good. 120 pages 4 pages of acvertisements at end. Musical score: Eulenburg Edition No. 52. Signed and inscribed on third preliminary page to director George Cukor by composer/conductor Daniele Amfitheatrof: "For George Cukor as a remembrance of the exciting work on 'Heller With a Gun' With admiration Daniele Amfitheatrof 1959" Amfitheatrof scored the music for the 1960 Paramount film based on Louis L'Amour's novel and directed by Cukor which was released under the title "Heller in Pink Tights." Amfitheatrof 1901-1983 born October 29 1901; died June 4 1983; Russian-born composer/conductor emigrated to the United States in 1937 and conducted in Boston and Minneapolis; signed by MGM in 1939 but waited until 1943 for his first Hollywood film score "Lassie Come Home"; worked on over 130 films. From the library of noted "Gone With The Wind" Hollywood director George Cukor with his Paul Landacre bookplate on the front pastedown. Hardcover. Very Good/No Jacket. Leipzig, Eulenburg [ca. 1930]. hardcover books
189461511London:: H. Grevel & Co. Very Good. 1894. Hardcover. Complete in two volumes. Volume I: From Paris to Rome: Years of Travel as Virtuoso. Volume II: From Rome to the End. Collected and edited by La Mara. Translated by Constance Bache. First edition thus. Octavos half-bound in green leather with green cloth covered boards raised band along spines gilt lettering and elaborate design along the spines top edges gilt marbled endpapers. Previous owner's book-plate on front paste-downs leather along the spines is toned brown else both volumes are very good or better. Bindings are solid and tight. . H. Grevel & Co., hardcover books
13802Used; Like New/Used; Like New. An interesting early autograph letter from the German composer and conductor to colleague Oskar Eichberg dealing with plans for a meeting of a musical organization in which they were both members and mentioning a great Liszt celebration in Leipzig which he suggests Eichberg and the other members should attend. Indicating that Eichberg had a connection to Liszt having given his oratorio Die Legende der Heiligen Elisabeth its Berlin premiere the previous year he mentions that "If Liszt is interested his interest and seal of approval would be very much appreciated." Full translation below. Penned densely on a postcard postmarked Leipzig 1875. One vertical crease mounting remnants light overall toning; otherwise in fine condition. 5.5 x 3.5 inches 13.9 x 9 cm.<br style="">Son of composer Carl Friedrich Zöllner Heinrich Zöllner "studied music at the Leipzig Conservatory 1875–7.From 1890 to 1898 he lived in the USA where he conducted the Deutscher Liederkranz in New York; his festival cantata Die neue Welt was awarded a prize at the 1892 Cleveland Sängerfest. On his return to Leipzig he succeeded Kretzschmar as director of music at the university and conducted the Paulus male choir; in 1902 he was Reinecke's successor as professor of composition at the conservatory and from 1903 music editor of the Leipziger Tageblatt.Zöllner's prolific output includes ten operas several large-scale works for chorus and orchestra symphonies overtures piano music and numerous smaller vocal pieces. He wrote many works for male chorus a medium popularized by his father but showed a preference for large forms and forces by adding a full orchestral accompaniment. His most successful opera Die versunkene Glocke was revived frequently up to 1939." Deane L. Root Grove Online.<br style="">Translated from the German: "For today a quick and hurried note that I've wanted to write for more than 8 days but only when I had first got the lay of the land. I have only managed to establish the inconvenient times. There will probably be no one of us here all August and the second half of July is also uncertain so: early to mid July or from the beginning of September on would be good times. 2 Nothing particular on our side. My wishes are simply to accomplish the various proposals which have already been discussed often enough and that seems to be over T.'s dead body! So in every respect Leipzig alone seems advisable and because of the great general fatigue this time without a great song and dance we must restrict ourselves to meeting in the smallest circles and reappraise the rest as much as possible. The big Liszt celebration is on the 20th. How would it be if you all came over here for that Then the Directorium etc. would be together. Everyone could be accommodated of course if we arrange it soon. When one asks too much one receives too many answers. Give me a brief answer about this date. If Liszt is interested his interest and seal of approval would be very much appreciated. R.C. will probably answer you apathetically. In any case whether he answers or not it would be best to come to him with a fait accompli and tell him about this date with the mention that this time no preparations are necessary rather it would be just getting the business done with no fuss. But since I am persona ingrata don't mention that I suggested it. Perhaps I can get things moving in the same vein with K. in the next few days. Looking forward to more with best wishes yours Dr. Z."<br style=""> unknown books
184031559Leipzig: Breitkopf & Härtel PN 6266 1840. BEETHOVEN Ludwig van 1770-1827. Folio. 1 decorative lithographic title printed in green 2-15 1 blank pp. Engraved. Music printed within decorative blue borders.<br/><br/>Disbound. Slightly soiled and foxed; occasional performer's markings in pencil. Publisher's handstamp to foot of title. First Edition. LW A58. Searle 466. Raabe 121. LC Catalog 146. Hoboken 10 98. <br/><br/>Liszt's transcription of Beethoven's Adelaide Op. 46; 1795 was the first of many arrangements he made of Beethoven's songs. He dedicated the work to the Marchese Maria Martellini an Italian noblewoman who was one of Liszt's early supporters and patrons. Breitkopf & Härtel [PN 6266] unknown books
187831536Mainz: B. Schott's Söhnen PN 16617 1878. Folio. Sewn. 1f. decorative lithographic title 1 blank 2-55 1 blank pp. Engraved.<br/><br/>Common title page with plate numbers of the version for two pianos 16617 as well as for solo piano 22109. Musicseller's handstamp to foot of title.<br/><br/>Partially disbound; outer leaves worn and frayed with minor paper loss to blank right margin of title. Moderate soiling; corners slightly thumbed; occasional offsetting. First Edition later issue. LW C23. Searle 651. Raabe 373. Hoboken 10 16 first issue.<br/><br/>Liszt's Piano Concerto No. 2 in A major was dedicated to pianist and composer Hans von Bronsart 1830-1913 who premiered the work on January 7 1857 in Weimar with Liszt conducting.<br/><br/>As with the first concerto the second has both its detractors and admirers - in this regard there is similarity to the concertos of Chopin. <br/><br/>"Like its predecessor the A major Concerto is a continuously unfolding 'cyclic' structure in which Liszt employs his 'metamorphosis of themes' technique to great advantage. Unlike the E flat major Concerto however it does not easily lend itself to a division into separate movements; neither does it conform to the opposite kind of structural pattern evinced by the B minor Sonata-a single long movement constructed on the principles of sonata first-movement form. It is possible that Liszt was here aiming at a type of structure intermediate between the two and this may explain why the Concerto may seem to have a certain ambiguity of form." Robert Collet: Franz Liszt: The Man and his Music p. 267. B. Schott's Söhnen [PN 16617] unknown books
1851W1410FLLeipzig: F.A.Brockhaus 1851. Red calf spine with gilt titling and rules and blindstamped rules. Red cloth covered boards and red patterned endpapers. Some wear and scuffing on spine. Original work in paper wraps is bound in in entirety. Wraps a little darkened and lower wrap has a small repair on top edge. A little foxing especially at rear. Errata page at rear is followed by fold outs of music sheets from each of the works. . First Edition. Half-Leather. Good/No Dust Jacket. 8vo - over 7¾" - 9¾" tall. Music. F.A.Brockhaus Hardcover books
1871125188Leipzig: J. Schuberth & Co 1871. 1871 or that era. Folio. Fair Ex-lib. usual markings; heavy wear to extremities of boards; spine mostly gone; front and back boards detached but present; ffep and title pages detached and heavily chipped; main block secure and mostly in good condition but with brittle page edges. Tan paper over boards; Dark brown cloth at spine; 129 pp. comprised totally of a musical score. Oversize 15 x 21.5 inches and heavy 7.5 pounds / 3.4 kilos. The mass was composed by Franz Liszt between 1855 and 1858 for the dedication of the new part of the cathedral at Esztergom Hungary by Archbishop Janos Scitovszky. Liszt conducted the work and the organist was Alexander Winterberger. The dedication concert the work's premiere was on August 31 1856. The reverberation time in the cathedral is 9 seconds Wikipedia creating the potential for an acoustic nightmare in performing a piece of this magnitude! The performance was attended by 4000 guests including Emperor Franz Joseph I and other imperial majesties of Austria-Hungary ecclesiastical dignitaries well-known musicians and members of the press. After the premiere Liszt and others continued to make various small changes and corrections to the original score. The first publication was in 1859 by the Imperial Printing House Vienna followed by subsequent editions and variations piano reductions etc. by J. Schuberth 1871. G. Schirmer 1909. etc. This particular edition/volume contains NO individual parts violin flute soprano etc. for actual performance but IS an actual complete copy of the entire conductor's score meaning that it includes all the orchestral organ vocal soloist SATB and choral SATB parts with vocal text all together for a conductor to use in rehearsal or performance. This edition was published by J. Schuberth & Co. no date likely in Leipzig rather than New York or Philadelphia as the names of the instruments are listed in German and the price on the front cover is listed in Thaler an old German/European coinage. The work is complete: Kyrie Gloria Credo Sanctus Benedictus Agnus Dei with all parts readable even where margins are chipped. An excellent copy for the conducting student Liszt afficionado musical researcher or someone interested in Hungarian/Esztergom ecclesiastical history. For an excellent article by Morten Solvik on Liszt's writing of this work see this link from the American Symphony Orchestra's web site. J. Schuberth & Co hardcover books
185231153Wien: C.A. Spina 1852. KRIEHUBER Josef 1800-1876 artist. Image ca. 320 x 255 mm. Sheet 560 x 410. Lithograph; chine appliqué. Half length standing in pensive pose with sheets of music manuscript paper beneath his right hand. Signed in the stone by the artist at lower right and with "Gedr. bei Joh. Hofelich" printed at lower left. Mounted on heavy dark ivory paper with facsimile signature "F. Liszt" below image and imprint at center of lower margin.<br/><br/>Lithograph slightly foxed primarily to upper right with only a few spots affecting the image itself. Mount heavily browned where formerly matted; some slightly heavier foxing; several small tears to blank edges; lower right blank corner chipped. Second issue. Wurzbach 1204. László and Mátéka 170. Burger 320 first issue dated 1846 in the stone. <br/><br/>An attractive portrait of the young Liszt who would go on to become a highly distinguished composer pianist and teacher a towering figure of the Romantic movement in music.<br/><br/>Josef Kriehuber is regarded as the most important portrait lithographer of the Viennese Biedermeier period; both the Albertina and the Austrian National Library hold significant collections of his works. C.A. Spina unknown books
1859008609Paris: Librairie Nouvelle / A. Bourdilliat et C. 1859. SCARCE in First Edition and lovely period perhaps Hungarian binding. In unique Art Nouveau binding that has been rebound preserving the embossed boards and with newer back and end papers. Stamped at front end page and title page "Mária Dorothea Egyesület" a Hungarian institution in Budapest that houses retired teachers.Near Fine some pencil notations at end pages and title page. . First Edition. Embossed Morocco . Near Fine. 12mo - over 6¾" - 7¾" tall. Librairie Nouvelle / A. Bourdilliat et C. Hardcover books
7064Used; Like New/Used; Like New. Large original allegorical drawing on canvas attributed to the circle of Fantin-Latour ca. 1890. An angel places a laurel wreath on a bust of Franz Liszt surrounded by figures playing the piano violin and lyre. 70 x 48 cm. A few areas of expert restoration and beautifully framed under UV-plexiglass. <br><br><br />"He was imbued with the spirit of Romanticism.Music provided a reservoir of ideas in which Fantin-Latour's escapism could find imaginative expression; he discovere the dreaming idealistic side of life that he did not find in contemporary society." Jane Turner "Grove Dictionary of Art: Late 19th Century " p. 170 unknown books
10637Used; Like New/Used; Like New. Original circular wooden canister possibly a piano wire case with inscription 'Cantemus Domino Dr. F. Liszt. XIX Aug. 1866' on the lid and '9 Juni 1867' on the inside of lid. Diameter 10 cm. Together with a small round token made of an ivory-like or fine bone material decorated with a miniature engraving and painting enhanced with sand and tiny clippings of grass depicting two angels and the letter 'L' interwoven with a cross. The token with a matching -sized round glass diameter 2.5 cm.<br><br><br />On August 10th of the year 1866 the composer completed the 'Tristis est anima mea' from his oratorio 'Christus' composed 1862 - 1866 and it is conceivable that the text on top of the lid 'Cantemus Domino Dr. F. Liszt. XIX Aug. 1866' was carved to commemorate that occasion. We have been unable to locate any event letter or anything else specifically for August 19th of that year. <br><br><br />The other date inscribed on the case June 9th of the following year was the day after the premiere of Liszt's 'Hungarian Coronation Mass' in Budapest. Following the 1867 Compromise between Austria and Hungary Liszt composed a festive Mass. Yet it took concerted action on the part of Hungarian musicians and public figures as well as the personal intervention of the Empress Elizabeth to have his "Hungarian Coronation" Mass performed instead of a work by a Viennese court composer at the coronation of the Austrian Emperor Franz Joseph and Empress Elizabeth as King and Queen of Hungary at the Church of Our Lady Matthias Church in Buda on 8 June 1867. The performers were from Vienna and Liszt was only present as a member of the audience in the gallery. It was only two years later that Liszt was able to conduct his Mass in Pest with Hungarian musicians and Ede Reményi was finally able to play the violin solos that had been intended for him from the start. unknown books
186036281Leipzig 1860. Oblong folio approximately 234 x 320 mm. 19 measures. Notated in dark brown ink on 9-stave rastrum-drawn paper on the first page of a bifolium. With several corrections in Liszt's hand and the addition of numbering both above and within the staves referring to additional measures possibly being directions to a copyist. <br/><br/>Pages 2 and 3 of the bifolium contain a manuscript copy of Felix Mendelssohn's Gondellied opus 19 number 6 entitled "Venetianisches Gondellied" at the head of the first page<br/><br/>Page 4 is ruled but blank except for a short 1-1/2 measure sketch in pencil in an unknown hand. <br/><br/>Moderate browning; somewhat creased and with some showthrough; small 7 mm tear to upper edge of first leaf; paperclip stain to upper corner of outer pages; minor remnants of mounting paper to final page. <br/><br/>In quite good condition overall. The Liszt manuscript would appear to be an accompaniment to a song. <br/><br/>The inclusion of the Mendelssohn copyist manuscript with the present Liszt autograph is quite interesting; it may in fact be in the hand of one of the copyists in Liszt's circle in Leipzig although this point will require further research. Liszt made arrangements of six of Mendelssohn's songs in the 1840s.<br/><br/>We would like to thanks Drs. Rena Mueller David Cannata and Alan Walker for their advice regarding this manuscript. unknown books