37 résultats
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
186431533Leipzig: Gustav Heinze PN G. 61 H. 1864. Folio. 1f. title 3-25 1 blank pp. Lithographed.<br/><br/>Small oval musicseller's handstamp to foot of title.<br/><br/>Slightly worn and browned; spine splitting. Lithographic re-issue of the first edition. LW H12. Searle 123. Raabe 458. LC Catalog 26.<br/><br/>Liszt's Fantasie über ungarische Volksmelodien was dedicated to Hans von Bülow who premiered the work on June 1 1853 in Pest with Ferenc Erkel conducting. It is based on the same melody used for the Hungarian Rhapsody No. 14 which was written at the same time and also dedicated to Bülow. Gustav Heinze [PN G. 61 H.] unknown books
201534398Budapest: Editio Musica Budapest 2015. Folio. Original publisher's full royal blue cloth with facsimile of Liszt's autograph signature gilt to upper and titling gilt to spine. 161 pp. Text in German English and Hungarian. Volume 7 of the New Edition of the Complete Works: Supplements to Works for Piano Solo. Editio Musica Budapest unknown books
197535219New York: Dover 1975. Paperback. Very Good. Folio. Pictorial wrappers. 144 pp. Dover paperback books
198634715Weimar: Nationale Forschungs- und Gedenkstätten deutschen Literatur 1986. Paperback. Very Good. Oblong folio. Original publisher's decorative printed wrappers. 1f. title 3-14 pp. text 6ff. facsimile of the composer's autograph musical manuscript laid in. Nationale Forschungs- und Gedenkstätten deutschen Literatur paperback 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
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
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
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
198658288NY: Limelight Editions 1986. Second edition. xxxxii. 375 pp. Very near fine in like dust jacket. Pairs “My Memories of Liszt†by Siloti with “Life and Liszt†by Friedheim. Mark N. Grant introduces the volume. NY: Limelight Editions, unknown books
188720303Boston: Oliver Ditson 1887. First US Edition. 8vo pp. 233. Engraved frontispiece portrait a very good tight copy bound in brown cloth. DeBeaufort was editor and translator of The Life and Letters of George Sand. Oliver Ditson unknown books
187514164Berlin - Wien: Schlesinger-Haslinger Ca. 1875. Used; Like New/Used; Like New. Score of Liszt's Hungarian Rhapsody no. 12 "A J. Joachim" with the ownership stamp of the important twentieth-century German pianist Elly Ney who has also penned "12. Ungarische Rhapsodie" in blue ink at the head. A few paper repair within edges lightly nicked with small tears spine reinforced with green cloth overall very good. There are no markings within the score. <br style="">Elly Ney was one of the 20th century's outstanding pianists and at 16 won the Mendelssohn prize 1900—in a contest of which the famous Hungarian violinist Joseph Joachim was one of the judges.  The present work by Liszt is dedicated to Joachim. <br>Of Ney's great performing Willhelm Kempff wrote: "My ears still hear her melodious voice with its unmistakable hint of her Rhineland origins which had the gift of establishing immediate contact with everyone she spoke to. This happened even more intensely when she stepped onto the concert platform. Just one mysterious chord Beethoven's D minor sonata for instance and the listener was drawn into her magnetic field. What then ensued cannot and should not be described in words nor should it be scientifically dissected. Those who had ears heard for themselves. But that was by no means the end of the matter. A realisation continued to resonate in her listeners' hearts as it had begun to resonate from the moment this greatest of performers stepped onto the platform - the realisation that artistry of this quality draws its strength from roots that have their being in the unfathomable depths of the human soul."<br style=""> Schlesinger-Haslinger hardcover books
