1 186 résultats
190432061Mayence: Schott PN 13377.1 1904. Folio. Publisher's dark ivory illustrated wrappers printed in dark green. 1 title printed in green 2-9 i blank pp. 1f. advertisements. <br/><br/>Musicseller's handstamp to blank lower margin of title.<br/><br/>Slightly worn browned and soiled. A later edition. LW A159. Searle 160. Raabe 10/4. <br/><br/>Number 4 from the first year of the "Années de Pèlerinage. Schott [PN 13377.1] unknown books
185531566Paris: Benoit ainé PN B. et C.ie 51871 1855. MEYERBEER Giacomo 1791-1864. Folio. 1f. title 29 1 blank pp. Engraved.<br/><br/>Plate numbers and imprint of Brandus from their first edition of 1850.<br/><br/>From the collection of pianist Mario Feninger 1923-2016 with his handstamp "Ex Mario Feninger de Rogatis Libris" to foot of title. <br/><br/>Slightly worn and browned; occasional moderate offsetting; outer leaves partially detached and frayed and torn at edges; musicseller's handstamp to foot of title. First French Edition later issue with Benoit title page. LW A165/1. Searle 414/1. Raabe 223/1.<br/><br/>Liszt made numerous transcriptions from the operas of Meyerbeer including L'Africaine Le Prophète Les Huguenots and Robert le diable. Benoit ainé [PN B. et C.ie 5187(1)] unknown books
185131564Leipzig: Breitkopf & Härtel PN 8271 1851. MENDELSSOHN Felix 1809-1847. Folio. Disbound. 1f. title 3-27 1 blank pp. Engraved.<br/><br/>Title detached and slightly foxed with publisher's and musicseller's handstamps to foot. First Edition. LW A166. Searle 410. Raabe 219. LC Catalog 114. <br/><br/>Liszt's paraphrase of Mendelssohn's incidental music to Midsummer Night's Dream includes the fairies' music and the famous wedding march. Breitkopf & Härtel [PN 8271] unknown books
186631560Paris: S. Richault PN 15383 R 1866. BERLIOZ Hector 1803-1869. Folio. Original publisher's light green printed wrappers. 1f. title 7 1 blank pp. Engraved.<br/><br/>From the collection of pianist Mario Feninger 1923-2016 with his small handstamp to upper wrapper "Ex Mario Feninger de Rogatis Libris" and head of first page. Publisher's handstamp to foot of title.<br/><br/>Wrappers detached. Somewhat worn and soiled; minor offsetting. First Edition co-published with Biedermann in Germany. LW A205. Searle 475. Raabe 142. LC Catalog 152.<br/><br/>Liszt was a fervent champion of Berlioz while in Paris and transcribed a number of his works for piano. It was Berlioz who first introduced Liszt to Goethe's Faust. <br/><br/>"A lucid and delicately laid-out scherzo of charming effect." Derek Watson: Liszt p. 201. S. Richault [PN 15383 R] unknown books
186131545Leipzig: C. F. Kahnt PN 787 1861. Folio. 1f. title within decorative shield engraving 3-11 1 blank pp. Engraved.<br/><br/>Contents: 1. Vor der Schlacht; 2. Nicht gezagt; 2. Es rufet Gott uns mahnend.<br/><br/>Musicseller's handstamp to foot of title.<br/><br/>Spine reinforced with tape; slightly worn and browned; corners and edges frayed; dampstaining to right margin just touching music; title soiled; offsetting to caption titles. Second Edition with German titles. LW A207. Searle 511. Raabe 202. LC Catalog 164.<br/><br/>Liszt's transcriptions of his three works for men's chorus S. 560/4-6 originally published in 1845. C. F. Kahnt [PN 787] unknown books
184031569Braunschweig: G.M. Meyer PN 361 1840. SCHUBERT Franz 1797-1828. Folio. 1 title 2-19 1 blank pp. Engraved.<br/><br/>Contents: <br/>- Erlkönig D 328<br/>- Sei mir gegrüsst D 741<br/>- Du bist die Ruh D 776<br/>- Auf dem Wasser zu singen D 774<br/><br/>Musicseller's handstamp to foot of title.<br/><br/>Slightly worn; very minor soiling offsetting and foxing throughout. An early edition. LW A42. Searle 558. Raabe 243. <br/><br/>Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. <br/><br/>"His response to poetic imagery his conviction that purely musical images of poetic ideas are capable of projection to the listener and his belief that he could illustrate such imagery without words are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea the true symphonic poem thus had its genesis in concept and form in Liszt's adoration of Schubert." Derek Watson: Liszt p. 214. G.M. Meyer [PN 361] unknown books
187531570Wien: Ant. Diabelli und Comp. Friedrich Schreiber PN F.S. 6541 1875. SCHUBERT Franz 1797-1828. Folio. 1 title 2-7 1 blank pp. Engraved.<br/> <br/>Somewhat worn and browned; slightly foxed. Re-issue from first edition plates with "F.S." preceding the plate number with "Druck von A. Eckel in Wien" to lower left of first page of music. LW A42/11. Searle 558/11. Raabe 243/11. <br/><br/>Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. <br/><br/>"His response to poetic imagery his conviction that purely musical images of poetic ideas are capable of projection to the listener and his belief that he could illustrate such imagery without words are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea the true symphonic poem thus had its genesis in concept and form in Liszt's adoration of Schubert." Derek Watson: Liszt p. 214. Ant. Diabelli und Comp. [Friedrich Schreiber] [PN F.S. 6541] unknown books
183831571Wien: A. Diabelli und Comp. PN D. et C. No. 6532 1838. SCHUBERT Franz 1797-1828. Large octavo. Disbound. 1 title 2-15 1 blank pp. Engraved.<br/><br/>Occasional light offsetting. First Edition. LW A42/2. Searle 558/2. Raabe 243/2. <br/><br/>Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. <br/><br/>"His response to poetic imagery his conviction that purely musical images of poetic ideas are capable of projection to the listener and his belief that he could illustrate such imagery without words are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea the true symphonic poem thus had its genesis in concept and form in Liszt's adoration of Schubert." Derek Watson: Liszt p. 214. A. Diabelli und Comp. [PN D. et C. No. 6532] unknown books
185031576Wien: Tobias Haslinger PN C.H. 7775 1850. SCHUBERT Franz 1797-1828. Octavo. Original publisher's dark pink printed wrappers with contents of Schwanengesang Winterreise Lob der Thränen and Die Rose to upper. 1 title 2-7 1 blank pp. Engraved. Song text printed to p. 2<br/><br/>Wrappers with imprint of Carl Haslinger quondam Tobias.<br/><br/>Wrappers somewhat worn and soiled. Dampstain to lower inner margin; occasional offsetting. First Edition later issue. LW A45. Searle 557. Raabe 242. LC Catalog 183. Hoboken 10 92.<br/><br/>Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. <br/><br/>"His response to poetic imagery his conviction that purely musical images of poetic ideas are capable of projection to the listener and his belief that he could illustrate such imagery without words are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea the true symphonic poem thus had its genesis in concept and form in Liszt's adoration of Schubert." Derek Watson: Liszt p. 214. Tobias Haslinger [PN C.H. 7775] 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
189031557Mayence: Les fils de B. Schott PN 6490 1890. BELLINI Vincenzo 1801-1835. Folio. 1f. printed title 9 1 blank pp. Engraved.<br/><br/>Formerly in the collection of the Forbes Library in Northampton Massachusetts with their handstamp to upper corner of title and several pages. Musicseller's handstamp to foot of title.<br/><br/>Moderate offsetting; pagination in ink to upper corners; "Bellini's" in ink above title with underlining in red ink. First Edition later issue. LW A74. Searle 391. Raabe 130.<br/><br/>Liszt composed his Réminiscences des Puritains de Bellini in 1836 and from this adapted the Polacca into the present Introduction et Polonaise in 1841. Les fils de B. Schott [PN 6490] 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
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
Paris, Le Club Français du Livre, 1950. Un volume de format in 8° de 198 pp.; quelques illustrations et fac similés d'autographes. Reliure de l'éditeur en pleine toile ocre, décorée. Dos légèrement passé, sinon bel état. Peu courant.
1480305022.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
3-63577Leipzig Breitkopf et Haertel 1881 ma anastatica Forni 1971 8vo legatura editoriale in tutta tela con titoli dorati al dorso e al piatto anteriore pp. 538. Ottime condizioni. hardcover
__M001401685Edition C.F. Peters. Sheet Music. New. Edition C.F. Peters unknown
