4 340 résultats
185936023Memphis: n.a. 1859. Paper. Good. Paper. Approximately 7.5" x 8". Folded. One page. Paper is cut on the left edge with minor loss of content. Light edge wear elsewhere. Receipt is illustrated printed and handwritten. Receipt records 7 items for a total price of 90. Few examples seen for receipts from this company online. One collection "Historic Billheads and Invoices .100 Years of Memphis Billheads 1846-1946" has three examples from 1854 to 1860. n.a. unknown
2024MUSIQUEEE97800725Lyon, Symétrie, 2024, 17 x 24, 460 pages sous couverture souple illustrée. Quelques illustrations noir & blanc et couleurs. "Après un premier volume, Hélène de Montgeroult, la Marquise et la Marseillaise, publié en 2006, l'apparition de nouveaux documents ainsi que l'accueil chaleureux et enthousiaste que la critique musicale et le grand public ont réservé aux études pour piano d'Hélène de Montgeroult … Après un premier volume, Hélène de Montgeroult, la Marquise et la Marseillaise, publié en 2006, l'apparition de nouveaux documents ainsi que l'accueil chaleureux et enthousiaste que la critique musicale et le grand public ont réservé aux études pour piano d'Hélène de Montgeroult rendaient nécessaire l'écriture d'un nouvel ouvrage sur cette compositrice. Notre premier livre avait juste esquissé l'analyse de l'oeuvre d'Hélène de Montgeroult pour se consacrer principalement à l'aspect biographique. Aujourd'hui, il s'agit bien de remettre au premier plan sa musique en mêlant l'analyse musicale réservée aux spécialistes, et le simple commentaire, plus abordable pour les mélomanes, tout en reliant cette musique à la personnalité de son autrice, dans son temps et dans ses écrits "? littéraires ?". Hélène de Montgeroult était profondément libre, tant dans sa vie que dans sa création artistique. Elle n'obéissait pas aux canons artistiques habituels et n'a jamais exprimé le moindre doute quant à sa légitimité à composer de la musique. Osons affirmer que cette musicienne est un génie, par son côté visionnaire, par l'expressivité de sa musique et par la rigueur de sa pensée compositionnelle et pédagogique. Elle est désormais présentée comme la première romantique par ses admirateurs, dans des pays comme la France, l'Angleterre, l'Allemagne, l'Espagne, l'Italie, les Etats-Unis et le Canada, le Brésil et le Chili, le Japon, la Corée, la Chine et l'Australie. Son art résidait dans la volonté de faire chanter le piano, l'expression étant pour elle le but essentiel de la musique. Elle a laissé pour illustrer cette idée un Cours complet pour l'enseignement du fortepiano qui est un monument musical et pédagogique. Dans ce Cours complet, l'élève devient sans effort et presque sans s'en apercevoir lecteur, pianiste et musicien."
181016517(dont 2 de Mozart), de la fin du XVIIIe et du tout début du XIXe siècle, reliées en un volume petit in-folio oblong ; demi-basane à coins havane, dos à faux-nerfs dorés, pièce de titre rouge, roulette en pied (reliure de l’époque) ; ces partitions sont toutes sans date.1- Dalayrac (Nicolas-Marie) – Wolff : arrangement pour le piano forte, opéra de Mr. Dalayrac dit "le musicien poète", créé le 30 septembre 1805, tiré des Mille et une Nuits: Culistan ou le Hulla de Samarcande. Leipzig, A. Meysel ; 53 pp. Opéra qui est, selon Chouquet, "le plus important et le plus abouti" du compositeur. 2- Himmel (Friedrich, Heinrich ; 1765-1814) : Gesellschaftslied. Hambourg, Johann August Böhme ; 4 pp. Texte de Kotzebue. 3- Mozart (Wolfgang Amadeus ; 1756-1791) : Vergiss mein nicht. Hambourg, J. A. Böhme ; 6 pp. Idem pour clavier et guitare par Sterkel. Amsterdam, Kuntze ; 4 pp. 4- Grétry (André Ernest ; 1741-1813) : Aria : Verlasst dich jedermann o Richard o mein König ; aus der Oper Richard Löwenhertz. Hambourg, J. A. Böhme ; 6 pp. ; annotations manuscrites. 5- Zumsteg (Jean Rodolphe ; 1760-1802) : Reiter-Lied aus dem Wallenstein in Muzik gesetz von. S.l., s.n., s.d. ; 4 pp. 6- Becker et Hurka : Der Saenger. Hambourg, J. A. Böhme ; 4 pp. 7- [Sasse (Josepha, Rheine)] Arie : Was ist der Mensch ? halb Thier halb Engel ! für’s Forte Piano. Hambourg, J. A. Böhme ; 4 pp. 8- Hurka (Friedrich, Franz; 1762-1805) : Der Bauer an sienen durchlauchtigsten Tyrannen. Lied Wer bist du fürst ? Hambourg, J. A. Böhme ; 6 pp. 9- Himmel : Der Leyermann. Hambourg, J. A. Böhme ; 4 pp. 10 à 13- Himmel : Gesänge aus der Operette Fanchon das Leyermädchen. (N°9 ; 10 ; 7 ; 11) ; 20 pp. 14- Berton (Henri Montan ; 1767-1844) : Aline reine de Golconde (1803) ; air : Il reçut au sein de la gloire... Hambourg, idem ; 4 pp. 15- Berton (Henri Montan) : Montano et Stéphanie (1799) ; air : Oui c’est demain... Hambourg, idem ; 8 pp. 16- [Manuscrit] Le véritable amour, ou les tourmens de l’absence... Partition manuscrite de (2) ff. avec petit rabat en pied. 17- Plantate (Charles-Henri ; 1764-1839) : Air : Te bien aimer ô ma chère Zélie... (1791) ; Hambourg, J. A. Böhme ; 4 pp. 18- Mussini (Natale ; 1765-1837) : Ariette : Souvent l’amour nous prouve son Empire. Hambourg, idem ; 4 pp. 19- Saint-Simon (Mme) : La Déclaration. Romance : Dis-moi ce que j’éprouve... Hambourg, idem ; 4 pp. 20- Mozart : Favorite Walze. Hambourg, idem ; 4 pp. 21- Dussek (Jan Ladislav ; 1760-1812) : Deux anglaises et deux valses. S.l., s.n., s.d. ; 4 pp.
1818WB15600Leipzig: bey Breitkopf und Hartel s.d. but c. 1818. Hardcover. Very Good. Thin oblong 4to. pp. 60. Contemporary marbled boards and calf; internally some toning minor worming and minor stains. Contemporary ownership inscription Ref: Sammlung Hirsch IV 1230. Laid in is a 1857 Broadside for a Munich performance of Lucrezia Borgia the melodramatic opera by Gaetano Donizetti; 34 x 22.5 cm. The broadside is apparently unrecorded by OCLC. <br/><br/> bey Breitkopf und Hartel hardcover
181040541810 2 fasc. in-4 oblong, 6 et 6pp. en ff. Copenhague CC Lose (c.1815),
1915List3685Chicago Illinois: Axel Christensen School of Popular Music 1915. Six issues from the inaugural volume of Christensen’s ragtime periodical. Original wrappers; expected wear from use; overall very good. A rare group of early issues from Christensen’s Ragtime Review a short-lived publication emerging from the Chicago-based pedagogical enterprise of Danish-American pianist and educator Axel Christensen 1883–1976. Founded in late 1914 at the height of ragtime’s popular ascendancy the magazine functioned simultaneously as promotional organ instructional forum and cultural manifesto for Christensen’s method of popular piano playing which emphasized chord-based accompaniment improvisation and practical musicianship over traditional conservatory training. <br /> <br /> Issues typically include instructional essays commentary on performers and repertoire advertisements for correspondence courses and reflections on the evolving aesthetics of popular piano performance. Christensen’s rhetoric positioned him prominently within the ragtime movement—styled in promotional literature as the “Czar of Ragtimeâ€â€”while acknowledging figures such as Scott Joplin as foundational to the genre’s development.1 Produced during the period when ragtime intersected with emerging jazz practices the Review offers insight to the genre in a transitional phase. Some of the specific articles include a course in vaudeville and picture piano playing several compositions and articles on left hand technique. Early loose issues are seldom encountered outside institutional bound runs; we find none in commerce or auction records.<br /> <br /> 1 Edward A. Berlin Ragtime: A Musical and Cultural History University of California Press 1980. Axel Christensen School of Popular Music unknown
37111Executed in ink pencil and gouache highlighted in gold. 294 x 443 mm. On wove paper.<br /> <br /> The drawing depicts a 2-octave piano in a wooden case the interior of the hinged top decorated with a scene of performing musicians.<br /> <br /> Slightly worn and soiled; creased at central fold. In very good condition overall. <br /> <br /> Most likely of German or Austrian provenance ca. 1860-80. unknown
185041322Paris: Schonenberger . Boulevart Poissonière 28 1850. Large octavo. Black pebbled leather-backed brown textured cloth boards. <br /> <br /> Contains works by Beethoven Cherubini Gluck Haydn Mehul Mendelssohn Mozart Ries and Weber as follows:<br /> <br /> - Weber. 3E. Livraison. Ouverture d'Euriante de Weber. Prix net 65 centimes. 1f. recto title verso blank 12 pp. <br /> - Cherubini. 5E. Livraison. Ouverture de Lodoïska . 80 centimes. i title 2-15 i blank pp. <br /> - Gluck. 7E. Livraison. Ouverture d'Iphigénie . 65 Centimes. 1f. recto title verso blank 12 pp. <br /> - Weber. 12E. Livraison. Ouverture d'Oberon . 60 centimes. i title 2-12 pp. <br /> - Mehul. 15E. Livraison. Ouverture du jeune Henri . 80 centimes. i title 2-16 pp. <br /> - Mendelssohn. 17E. Livraison. Ouverture de la Grotte de Fingal . 70 centimes. i title 2-13 i blank pp. <br /> - Ries. 21E. Livraison.Ouverture Millitaire . 85 c. i title 2-17 i blank pp. <br /> - Gluck. 25E. Livraison. Ouverture d'Armide . 40 centimes. i title 2-8 pp. <br /> - Beethoven. 27E. Livraison. Ouverture d'Egmont . 60 centimes. i title 2-12 pp. <br /> - Weber. 28E. Livraison. Ouverture du Roi des Génies . 55 c. i title 2-11 i blank pp. <br /> - Mendelssohn Bartholdy. 31E Livraison. Songe d'un nuit d'été . 95 centimes. i title 2-19 i blank pp. <br /> - Beethoven. 33E. Livraison. Ouverture de Prométhée . 55 centimes. i title 2-11 i blank pp. <br /> - Méhul. 35e. Livraison. Ouverture de Timoléon . 50 centimes. i title 2-10 pp. <br /> - Weber. 39e. Livraison. Ouverture de Robin des bois . 60 centimes. i title 2-12 pp. <br /> - Beethoven. 40E. Livraison. Ouverture de Fidelio . 55 centimes. i title 2-11 i blank pp. <br /> - Mehul. 42E. Livraison. Ouverture de Stratonice . 50 centimes. i title 2-10 pp. <br /> - Haydn. 53E Livraison. Ouverture célèbre . 85 centimes. 1f. recto title verso blank 16 pp. <br /> - Mozart. 55E. Livraison. Ouverture de la Flûte enchantée . 45 centimes. i title 9 i blank pp. <br /> - Weber. 58E. Livraison. Ouverture du Jubilée . 65 centimes. i title 12 pp. <br /> <br /> With contemporary manuscript table of contents to front free endpaper and 1f. publisher's catalogue at conclusion. <br /> <br /> Publisher's and New York bookseller's small oval handstamps to blank lower margin of title some with publisher's facsimile signature. <br /> <br /> Binding slightly worn rubbed and bumped. Slightly worn and browned internally; lightly foxed; some publisher's stamps slightly trimmed. Schonenberger ... Boulevart Poissonière, 28 unknown
200801092Paris, Maison j.hamelle , s.d. ; in-4, 29 pp., cartonnage de l'éditeur.
200801091Paris, Enoch & cie , s.d. ; in-4, cartonnage de l'éditeur. Note ecrite en stylo sinon bon etat vol 1.
186078433J. Hamelle, éditeur 1860 2 volumes en 1. In-4. Reliure éditeur demi-percaline havane, dos lisse orné de petits fers, 33-41 pp. Reliure frottée.
HCG286PHOTOS SUR DEMANDE. Relie toile rouge en bon etat, quelques rousseurs, une réparation au faux titre.
186078437Chez J. Maho, éditeur, J. Hamelle 1860 2 volumes en 1. In-4. Reliure éditeur demi-percaline havane, dos lisse orné de petits fers, 33-41 pp. Reliure frottée.
201900093Paris, First editions, 2012 ; in-8, 336 pp., br. Livre + 2cd.
186078436J. Hamelle, éditeur 1860 2 volumes en 1. In-4. Reliure éditeur demi-percaline havane, dos lisse orné de petits fers, 33-41 pp. Reliure frottée.
200801085Paris, Henri le boulch , s.d. ; in-4, cartonnage de l'éditeur. Morceau de la coiffe du bas arraché.
200801089Paris, Henry lemoine , s.d. ; in-4, 201 pp., cartonnage de l'éditeur.
200801090Paris, Enoch & cie , s.d. ; in-4, 54 pp., cartonnage de l'éditeur.
41409Oblong quarto. Half mid-brown cloth with marbled boards decorative cut paper label blank to upper. With "L von Harten" or "von Harten" in contemporary manuscript to front free endpaper and some titles. <br /> <br /> Includes music by several obscure composers and some unusual lithographic imprints. <br /> <br /> Contents:<br /> - Carafa Michele 1787-1872<br /> Duett für Sopran und Tenor. "Sempre più t'amo -" "Immer neu fühl' ich" . Pr. 5 gr. Hamburg: Aug. Cranz 1831. i title 2-5 i blank pp. Text in Italian and German. Engraved. "From 1814 he developed into one of the most prolific opera composers of his day." Julian Budden in Grove Music Online<br /> <br /> - Auswahl vorzüglicher Duetten für zwei Singstimmen mit Begleitung des Piano=Forte. No. 3. Hamburg: Joh. Aug. Böhme PN 2537.3 ca. 1835. i title 2-5 i blank pp. Text in Italian and German. Engraved.<br /> <br /> - Kuhlau Friedrich 1786-1832<br /> Die Albissinn und die Nonne. Ein Wechsesgesang . gedichtet und herausgegeben von Theodor von Kobbe. Dem Herrn oberschenk Staatsrath von Beaulieu-Marconnay Grosskrruz gehorsamst zugeeignet. Bremen in Commission bey J.A. H. Schröter Wwe. Eigenthum des Verlegers Zum Besten einiger Nothleidenden. Lithographie von G. Töntzen in Bremen ca. 1830. 1f. recto title verso "Zueignung" i music i blank pp. Text in German. Lithographed. "Together with C.E.F. Weyse he was the foremost representative of the late Classical and early Romantic periods in Denmark." Gorm Busk in Grove Music Online<br /> <br /> - Beethoven Ludwig van 1770-1827<br /> Nachruf obituary für's Piano-Forte. Preis 4 Ggr. IIte. Auflage. Celle: A.H. Oetling. i title 2-3 i blank pp. Text in German commencing "O Du hach der sich alle meine Wünsche lenken." Lithographed. Tear to title repaired. <br /> <br /> - Miltitz Carl Borromäus von 1781-1845<br /> Cas Lied der Hirtin. Gedichtet und mit Begleitung des Pianoforte in Music gesetzt für Madame Anna Milder . No. 66. Pr. 4. Gr. Dresden: der Meser'schen Kunst-u. Musikalien-Handlung ca. 1835. i title ii music i blank pp. Text in German. Lithographed.<br /> <br /> - Reinicke L.C.<br /> Schwanen-Lied. Es wohnen zwei Schwäne im See etc: mit Piano=Forte oder Guitarre . Pr. 4 Gr. Hamburg: A. Cranz ca. 1835. i title 2 music 3 text to verses 2-6 i blank pp. Text in German. Engraved. <br /> <br /> - Weber Carl Maria von 1786-1826<br /> Fuenf ausgewaehlte kleine Lieder mit Beglet6ung des Pianoforte oder Guitarre . Pr. 12 Gr. Leipzig: Friedrich Hofmeister PN 588 ca. 1830. i title 12 pp. Text in German. Lithographed. "A seminal figure of the 19th century he influenced composers as diverse as Marschner Mendelssohn Wagner Meyerbeer Berlioz and Liszt." Michael C. Tusa in Grove Music Online<br /> <br /> - Journal d'Apollon No. 71. Portrait Charmant. Romance. Musique et Accompagnement de Piano ou Harpe. A La Haye imprint abraded ca. 1830. i blank 2 music i blank pp. Text in French. Smaller format. Engraved. <br /> <br /> - Marschner Heinrich 1785-1861<br /> Der Templer und Die Jüdin. Grosse romantische Oper in Drei Aufzügen . Vollständiger Klavierauszug vom Komponisten. No. 4. Lied des Narren Wamba. Leipzig: Friedrich Hofmeister PN 1468_3002 ca. 1840. i title 2-3 music i blank pp. Text in German. Engraved. With contents and brief publisher's catalogue to title. Marschner "was the most important exponent of German Romantic opera in the generation between Weber and Wagner." A. Dean Palmer in Grove Music Online<br /> <br /> - Meyerbeer J. Giacomo 1791-1864<br /> Robert der Teufel Robert Le Diable. Romantische oper von Scribe und Delavigne. Deutsch bearbeitet von Dr. M.L. Langenschwarz . Erleichterter Clariverauszug. No. 9. Duett. Du rendez-vous; Sie kömmt hieher. Pr. 12 gr. Hamburg: J.A. Böhme . Aug. Cranz ca. 1835. i title 48-50 57-59 i blank pp. Text in German and French. Lacking pp. 51-56. "The most frequently performed opera composer during the 19th century linking Mozart and Wagner." Matthias Brzoska in Grove Music Online <br /> <br /> - Meyerbeer<br /> As above No. 12. Duett. Nun Alice komm hieher; Mais Alice qu'as tu donc Pr. 6 gr. Ca. 1835. i title 74-79 i blank pp. Text in German and French. <br /> <br /> - Alles ist Schein! Gesellschaftslied: Flimmert das Gold so Lacht uns das Leben. Mit Begleitung von Pianoforte oder Guitarre. Pr. 4 gr. Hamburg: Aug. Cranz. i title 1 unnumbered i blank pp. Text in German. Incomplete. Engraved.<br /> <br /> - Methfessel Albert 1785-1869<br /> Zwei Gesänge aus der Oper der alte Feldherr oder der Kriegeszug nach Norden mit Beleitung des Piano=Forte oder der Guitarre . IIte. Auflage. Celle: H. Oetling. i title illustrated with a scene from the opera i music i text to verses 2 and 3 i blank pp. Text in German. Lithographed. <br /> <br /> - Huldigung der Freunde. Eine Sammliung Ausgewählter Mode=Tänze Für das Pianoforte. Is. Heft. No. 2 . Pr: Rthlr. 3 gr. Fest Walzer aus Olimpia von Spontini; Geschwind Walzer aus Olimpia von Spontini. i title 4-5 i blank pp. Leipzig: bei H.A. Probst PN 1666 ca. 1830. Engraved. With Frankfurt a/m in der Fischer'schen Musik=Verlags=Handlung. Zeil D. 211 auch wahrend der Messe in der Braunfels Galerie No. 21.22. overpaste to foot of title. <br /> <br /> - Körner G. F. fl. 1790-1810<br /> Trois Sonatines Pour le Forte=Piano . Oevre! IX. 16 Ggr. Hambourg: chéz A. Cranz. 1f. recto title verso blank 14 i blank pp. Engraved. <br /> <br /> - Bornhardt Johann Heinrich Carl 1774-1843<br /> Leichte Variazionen für Aufänger auf dem Fortepiano über das Favoritliedchen: Einsam wandelt dein Freund im Frühlingsgarten etc. . Pr. 4 ggr. Hamburg: August Cranz. i title 2-4 pp. Text in German. Engraved. <br /> <br /> - Pleyel Ignace 1757-1831<br /> VI Sonates pour le Pianoforte . Oeuv. XV. Pr: 12 Gr. Livr. III. Leipsic: Fred. Hofmeister PN 472. i title 2-13 i blank pp. Lithographed. <br /> <br /> - Bremer neue Tänze. Louisen Walzer. Breman: I.G. Stock. 1f. recto music verso blank. Engraved. <br /> <br /> - Puverstoffel Höpser aus den Bürgern in Wien. Bremen: I.G. Stock. 1f. recto music verso blank. Lithographed.<br /> <br /> - Guenther T.<br /> Märsche des Bremisch-Hanseatischenb-Feld-Bataillons nebst einigen Tänzen für das Piano-Forte . Liv. 2. Pr. blank. Bremen: T. Günther. 1f. recto title verso blank 11 i blank pp. Engraved. <br /> <br /> Binding worn rubbed and bumped; endpapers worn browned and slightly chipped with somewhat crude musical notation in pencil. Some wear browning foxing and dampstaining; some leaves trimmed affecting ownership signature. unknown
184729827Paris: Aubert & Cie 1847. 267 x 225 mm. good margins sheet size 324 x 250 mm. Printed on wove paper. Signed by the artist in the stone. A very good impression. <br /> <br /> This humourous print depicts a young lady playing a piano duet with a somewhat Liszt-like gentleman. <br /> <br /> Remants of mounting tape to right edge and upper corners of verso. Bibliothèque Nationale Inventaire du Fonds Français après 1800 no. 70. No. 4 in the series Les Bonnes Têtes Musicales. Aubert & Cie unknown
25401Some original some arrangements of works for other forces as follows:<br /> <br /> - Mozart Wolfgang Amadeus 1756-1791<br /> K. 550 arr. Sinfonie . arrangée Pour le Pianoforte à quatre mains. No. 2. Pr. 1 Rthlr. Leipsic: Breitkopf & Härtel PN 3144 ca. 1820. 1 title 2-35 i blank pp. Lithographed. Signature and date in brown ink to lower right corner of title: "Samson Ruben Goldschmidt December 1825." Occasional notational corrections in pencil. Slightly to moderately foxed and soiled; dampstained at outer edge; lower and outer edges frayed with slight loss not affecting printed area; upper edge closely trimmed with occasional loss to "Primo"/"Secondo" headers. A later edition. Not in Köchel 6 Hoboken or Hirsch. RISM M5633. Samson Ruben Goldschmidt 1768-1841 was a banker and businessman in Kassel Germany. <br /> <br /> - Beethoven Ludwig van 1770-1827<br /> Op. 20 arr. Grand Septuor . arrangé Pour le Piano-Forte à quatre mains. Pr. 1 Rthlr. 12 Gr. Leipsic: Breitkopf & Härtel PN 4066 ca. 1824. 1 title 2-47 i blank pp. Lithographed. Signature in brown ink to lower right corner of title: "Samson Ruben Goldschmidt." Fingering and occasional notational corrections in pencil. Slightly foxed and soiled; upper edge closely trimmed with occasional loss to "Primo"/"Secondo" headers and pagination. A later edition. New Kinsky 2014 I p. 123 ascribing arrangement to F. Mockwitz; first issue: 1815 with PN 2171. Not in Hoboken or Hirsch.<br /> <br /> - Onslow George 1784-1853<br /> Op. 7. Grandes Sonates pour le Piano Forte à quatre mains . No. 1 no printed price. Hambourg: A. Cranz without PN before March 1827. 1 title 2-31 i blank pp. Engraved. Signature and date in brown ink to lower right corner of title: "Samson Ruben Goldschmidt März 1827." Fingering and notational corrections in pencil. Several pages including title torn at spine and outer and lower edges; upper edge soiled and dampstained; some foxing; page 30 smudged. A later edition. Rare. Most copies by Cranz found in libraries are either later issue or Titelauflage. The first edition was published by Pleyel in Paris in 1815.<br /> <br /> - Onslow<br /> Op. 22. Second Grand Duo =Sonata in F minor pour le Piano Forte à quatre mains composé et dédié à Mr Hertz Senr. . Op: 22. Prix 5 Frs. Bonn et Cologne: N. Simrock PN 2244 ca. 1824. 1 title 2-37 i blank pp. Engraved. Signature and date in brown ink to lower right corner of title: "Samson Ruben Goldschmidt October 1826." Fingering other performance-related annotations and occasional notational corrections in pencil. Several pages including title torn at spine and edges with loss to lower outer corner; pp. 3-4 with loss to music; small stain to lower edge of p. 19. First Edition. Rare. WorldCat 2 copies only at the Bibliothèque nationale Paris and the Bayerische Staatsbibliothek Munich. <br /> <br /> - Weber Carl Maria von 1786-1826<br /> WeV S.5; arr. Polonoise à quatre mains pour le Pianoforte . Pr. 10 gl. Hambourg: A. Cranz without PN before February 1826. Engraved. 1f. title i blank 1 blank 2-11 i blank pp. Engraved. Signature and date in brown ink to lower right corner of title: "Samson Ruben Goldschmidt Februar 1826." Occasional notational corrections in pencil. Somewhat foxed and soiled; moderately dampstained at upper edge; ink stain to title. A later edition. Jähns 59 arrangement ascribed to Carl Klage 1788-1850 with price "10 sgr". Originally for piano two hands. <br /> <br /> - Weber<br /> WeV T.2 Six pièces à quatre Mains pour le Pianoforte . Oe. X. Leipzig: Fred. Hofmeister PN 275 ca. 1820 title 2-19 i blank pp. Engraved. Signature in brown ink to lower right corner of title: "Samson Ruben Goldschmidt." Somewhat foxed and soiled; loss to lower outer corner throughout affecting music on pp. 17-18; moderately dampstained at upper edge; occasional creasing especially to final leaf; title and final leaf with stains and repairs. A later edition. Jähns 81-86 lists two later Hofmeister editions with price in Neugroschen. Hoboken 15 286 most probably a Titelauflage as it displays Hofmeister's original plate number 275 preceded by the new number 1251.<br /> <br /> The Weber pieces date from his time as court kapellmeister in Stuttgart. "The Six Pieces for Piano Duet dated 27th November 1809 and dedicated 'à Leurs Altesses Sérénissimes Mesdames Marie et Amélie de Württemberg'. They are charming little pieces each based on a simple melodic idea with characteristic accompaniment. both accessible to schoolgirl fingers and forming a neat introduction to various melodic manners." John Warrack: Carl Maria von Weber p. 64. <br /> <br /> Oblong folio. Brown quarter leather with marbled boards two labels to upper lettered "J. Mosenthal" in manuscript. Signature "Joseph Mosenthal" in black ink to upper right corner of front endpaper; table of contents in Mosenthal's hand to upper left corner of front endpaper. "Joseph Mosenthal 1834-1896 was a German-American musician born at Kassel. He studied under his father and Spohr and in 1853 went to America where he played the organ in Calvary Church New York City from 1860 to 1887. He was conductor of the Mendelssohn Glee Club in New York City from 1867 to 1896 played a first violin in the Philharmonic Orchestra for 40 years a second violin in the Mason and Thomas Quartet for 12 and composed much Church music such as the psalm "The Earth is the Lord's" a setting of part of Psalm 145 published in 1864 and part songs for male voices Thanatopsis Blest Pair of Sirens and Music of the Sea. He died in New York City." Wikipedia. <br /> <br /> Binding considerably worn with upper detached spine lacking. Remnants of red sealing wax to front endpaper. unknown
2005145700Köln Cologne: Taschen 2005. First Edition. Hardcover. Very Good/Very Good. Köln Cologne Taschen 2005. Very large quarto 399 × 320 mm 528 pages with hundreds of illustrations most in colour most from photographs including a four-page folding centre spread. Blind-stamped green papered boards; rear cover bumped at the top corners also affecting the last dozen leaves of the text block; an excellent copy with the excellent dustwrapper a little creased. Text in English French and German. Taschen hardcover
114240Stockholm Nordisk Rotogravyr 1925. 8:o. 48 s. Illustrerad. Senare rött kbd med omslaget medbundet. Namnteckning på titelbladet. Ur Rolf Mallanders bibliotek. Reklam för A.-B. Förenade Piano- och Orgelfabriker vilket var en sammanslutning av sex svenska pianofabriker; J. G. Malmsjö C. H. Billbergs Östlind & Almquist A. G. Rålins Gustafson & Ljungqvist Gävle orgel- och Pianofabrik. Dessa presenteras med bilder på fabrikerna och interiörer. unknown
29831264 x 224 mm. wide margins. Signed in the plate by both the engraver and the artist and also signed with the engraver's initials in pencil just below the impression at lower right. Printed on coated wove paper. A fine impression. <br /> <br /> With two small handstamps of the Carnegie Institute in Pittsburgh with manuscript address below Lugt 433. The subject of the present engraving is Bessie Abbott the original owner of the instrument identified as Clavichord No. 33 in the original log of these instruments sold to her in October of 1909. The instrument was extensively rebuilt in 1944 by John Challis. <br /> <br /> Wellington was a New York illustrator and miniaturist. <br /> <br /> We would like to thank both Laurence Libin and Richard Troeger for their kind assistance in the cataloguing of this item. unknown
16430en ff. in-4, titre, 8pp., P. Auguste Le Duc (cot. 259)
