DONIZETTI, Gaetano 1797-1848Biblio.com
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398711 leaf. Oblong quarto 210 x 284 mm.<br /> <br /> Four measures in keyboard score from the duet between Lucia and Edgardo in Act I Scene IV set to the words "A' miei voti in vovo il cielo" From all danger be guarded for ever. Notated in ink at the blank lower margin of an original accomplished drawing depicting a male and female figure in costume presumably the characters Lucy and Edgardo in Donizetti's opera. Signed and dated by the artist in ink: "Clelia de Vera d'Aragona fece 14 Luglio 1838." In pen watercolor and brown wash with highlights in light gray gouache.<br /> <br /> Slightly worn; quite browned; offsetting from contact with another leaf of textual manuscript creating a slightly bleached appearance; small binding holes and fraying to left edge. Partial watermark most probably of the English paper maker J. Whatman.<br /> <br /> Provenance<br /> Christie's Rome 13 December 2001 Lot 337. Lucia di Lammermoor with a libretto by Salvatore Cammarano was first performed in Naples at the Teatro San Carlo on 26 September 1835. <br /> <br /> "It . very quickly became one of the most universally popular operas of the nineteenth century. . Donizetti himself writing to Ricordi three days after the première was in a rare state of excited exaltation: 'Lucia di Lammermoor went on . It pleased and it pleased very much if I am to believe in the applause and the compliments I received. I was called out many times the singers even more often. . Its title role has been impersonated by almost every soprano since 1835 who has supposed herself or has been supposed by others to have sufficient agility and enough dependable very high tones; the role of Edgardo has been favored by most of the non-Wagnerian tenors . The opera's second-act sextet 'Chi mi frena in tal momento' achieved an almost unique universal familiarity . The 'Mad Scene' became the chosen proving ground and applause-gatherer for an apparently unending succession of prima donnas. . With Rossini operatically inactive and Bellini dead Lucia di Lammermoor went far toward establishing Donizetti as the most eagerly sought-for of living Italian composers of opera - and therefore of all Italian composers - for the rest of his active life." Weinstock: Donizetti pp. 110-111 <br /> <br /> The artist was presumably a member of the historic Italian family De Vera d'Aragona of Naples. <br /> <br /> A unique and attractive document despite defects as noted. unknown
008610D'Almaine and Co; A Bertioli; S Chappell; Goulding and D'Almaine; Keith Prowse; T Holloway; J Power; H Falkner; . 1st Edition . Half Calf. Fair/No Jacket. Folio - over 12 - 15" tall. Circa 1830 - 1850. This is a fascinating bound volume of guitar music scores from the early part of the 19th Century including an early instruction book on how to play the Spanish Guitar: "A complete instruction book for the Spanish guitar with rules to facilitate a knowledge of that elegant instrument progressive lessons duets and songs. Written and arranged by Alexander Sosson." This section runs to 35 pages and has music and exercises for the guitar student discussing finger position tuning arpeggios slurring chords barring and much more. Thereafter are bound 24 contemporary scores as follows most pub by D'Almaine unless otherwise stated: 1. Three Variations for the Spanish Guitar Die Feindlichen Vollkstame composed by Mauro Guiliani Op 7 Fingered by A Bertioli published by the Author expressly for his Pupils 42 Rathbone Place Oxford Street. 2. An Italian Air Composed for the Piano Forte and Spanish Guitar respectfully dedicated with permission to Miss Spike by Alexander Bertioli pub by S Chappell 50 New Bond Street. 3. Love Will Play The Leading Part sung by Mr H Phillips at the Theatre Royal Covent Garden in the Grand Opera of Lestocq or the Fete of the Hermitage arranged for the Spanish Guitar and Dedicated to James Hepburn Esq by F W Brandau pub by D'Almaine. 4. Come Dwell With Me Ballad Sung by Mrs Waylett The Poetry by T Haynes Bayly The Music Composed by Alexander Lee arranged. by F W Brandau. 5. Bochsa's Celebrated Harp March arranged. by Osmond G Phipps pub by D'Almaine and Co. 6. The Wind and the Beam Loved The Rose sung by Mrs Keeley in the Musical Romance of the Last Days of Pompeii arranged by F W Brandau pub by D'Almaine. 7. Vivi Tu Te Ne Scongiuro from Anna Bolena composed by Donizetti arranged. by F W Brandau. 8. Cielo A Miei Lunghi Spasimi Prayer. by Donizetti arr. Brandau. 9. Masquerade Song sung by Miss Shirreff. in the Grand Opera Gustavus the Third. by Auber arr. Brandau. 10. Teach Me To Forget Ballad. Poetry by Thomas Haynes Bayly. arr. C M Sola. 11. Non Giova Il Sospirar arr. C Eulenstein 12. A Savoyard Air arr. A Bertioli. 13. Carulli's Preludes and Scale with Six Variations by Giuliani. by Bertoli 14. Though the Day of My Destiny's Over. by Lord Byron. Alexander Lee. by F W Brandau 15. Kate Kearney. by Miss Owenson. arr C Eulenstein 16. Non V'Ha Squardi Cavatina. by Donizetti arr. F W Brandau 17. Night At Sea. composed by Henri Herz. arr. Osmond G Phipps. 18. Oh! Gentle Love!. arr. F W Brandau 19. Ye Banks and Braes from Flowers of Song arr by T B Phipps and other composers pub T Holloway London 20. Memory from Flowers of Song arr by T B Phipps and other composers pub T Holloway London. 21. Ye Mariners of Spain Song of the Galley from a Set of Six Ancient Spanish Ballads. words by John Lockhart. composed. by Mrs Robert Arkwright. pub J Power. 22. The Light Bark. by Miss Mahony. arr by J T Craven. 23. Roland the Brave. by Thomas Campbell. arr by Mrs Robert Arkwright 24. A Canadian Boat Song arr for Three Voices by Thomas Moor. The book is in half green calf rubbed and worn with the backstrip separating. There is a small amount of of bookworm damage to the outer edge of the leaves not affecting the print area and one leaf has a lateral closed tear no loss. In all this is a rarety with guitar scores being fairly unusual and with songs here little-known. Searches for the titles herein reveal most are not available for sale elsewhere. Scarce if not rare. <br/> <br/> D'Almaine and Co; A Bertioli; S Chappell; Goulding and D'Almaine; Keith Prowse; T Holloway; J Power; H Falkner; unknown
21221New York: Eclipse Publishing. As New. Beaux Arts Edition. FREE UPGRADE to Courier/Priority Shipping Upon Request - IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - 3 pages of music with cover graphic; also includes a one page composition on inside front cover entitled "Love and Passion" by J. Messina and a one page composition entitled "Love and Devotion" by L. Drumheller on back cover --- Small tears and nicks and light creasing. Also available via email in digital format on an urgent shipment basis. Consult the bookseller for this premium service. -- with a bonus offer--; Folio - over 12" - 15" tall . Eclipse Publishing unknown
1865235590Boston: Oliver Ditson & Co 1865. First edition front wrapper without portrait of Lincoln appearing in later issues. Engraved title and piano score; 5 pp. 1 vols. Folio. Loose as issued; split along spine with some chipping to extremities. First edition front wrapper without portrait of Lincoln appearing in later issues. Engraved title and piano score; 5 pp. 1 vols. Folio. Donizetti died 17 years before Lincoln having gone mad from syphilis. His Funeral March gained a measure of recognition in America after it was performed during Lincoln's funeral ceremonies. It is a heavy solemn piece in a minor with droning octaves in the bass a haunting chromatic figure in the middle register and a lyrical upper voice. see Barret Sale Lot 693; Stern Collection of Lincolniana Oliver Ditson & Co unknown
1865235590Boston: Oliver Ditson & Co 1865. First edition front wrapper without portrait of Lincoln appearing in later issues. Engraved title and piano score; 5 pp. 1 vols. Folio. Loose as issued; split along spine with some chipping to extremities. First edition front wrapper without portrait of Lincoln appearing in later issues. Engraved title and piano score; 5 pp. 1 vols. Folio. Donizetti died 17 years before Lincoln having gone mad from syphilis. His Funeral March gained a measure of recognition in America after it was performed during Lincoln's funeral ceremonies. It is a heavy solemn piece in a minor with droning octaves in the bass a haunting chromatic figure in the middle register and a lyrical upper voice. see Barret Sale Lot 693; Stern Collection of Lincolniana Oliver Ditson & Co unknown books
184228417Milano: Ricordi PNs 13931-55 1842. Oblong folio. Contemporary dark blue cloth with decorative blindstamping gilt rules to edges and spine "E.P. Mavromihali" stamped in gilt to upper. 1f. title within decorative dark yellow border ii recto named cast list verso listing 25 numbers 3-275 pp. Engraved. Each individual number with separate pagination. With overpaste of the contemporary music seller Domenico Vicentini of Trieste to title. <br /> <br /> Cast list includes Eugenia Tadolini as Linda Agostino Rovere Napoleone Moriani Prospero Derivis Felice Varese and Marietta Brambilla.<br /> <br /> With early musical embellishments to Linda's part in Number 12 p. 127 and additional occasional performance markings in pencil. <br /> <br /> Binding worn rubbed and bumped at extremities. Slightly worn; some minor foxing; minor thumbing to lower outer corners; very minor staining to lower margin of final leaves; occasional vertical creasing; upper margin trimmed occasionally just affecting printed area and titles but with no loss of music. Second edition first Italian edition published just months after the first edition published in Vienna in May of 1842. Bergamo catalogue 46. Inzaghi IN. 73 p. 192. Crawford pp. 146-7 incorrectly describing this as the first edition. <br /> <br /> A melodramma semiserio in three acts to a libretto by Gaetano Rossi after Adolphe-Philippe d'Ennery and Gustave Lemoine's play La grace de Dieu Linda di Chamounix was first performed in Vienna at the Kartnerthortheater on May 19 1842. <br /> <br /> "The score of Linda is a monument to Donizetti's unfailing good taste from the finely crafted overture to the final ensemble. Along with Bellini Donizetti epitomized the Italian Romantic spirit of the 1830s. If Bellini expressed Italian Romanticism in its most concentrated form Donizetti compensated by a greater versatility and resource and a stronger feeling for dramatic movement. He also had the benefit of a more thorough musical training under Mayr and Mattei and this contributed much to his superior fluency of technique and invention." TNG II online. Ricordi [PNs 13931-55] unknown
184228417Milano: Ricordi PNs 13931-55 1842. Oblong folio. Contemporary dark blue cloth with decorative blindstamping gilt rules to edges and spine "E.P. Mavromihali" stamped in gilt to upper. 1f. title within decorative dark yellow border ii recto named cast list verso listing 25 numbers 3-275 pp. Engraved. Each individual number with separate pagination. With overpaste of the contemporary music seller Domenico Vicentini of Trieste to title. <br/><br/>Cast list includes Eugenia Tadolini as Linda Agostino Rovere Napoleone Moriani Prospero Derivis Felice Varese and Marietta Brambilla.<br/><br/>With early musical embellishments to Linda's part in Number 12 p. 127 and additional occasional performance markings in pencil. <br/><br/>Binding worn rubbed and bumped at extremities. Slightly worn; some minor foxing; minor thumbing to lower outer corners; very minor staining to lower margin of final leaves; occasional vertical creasing; upper margin trimmed occasionally just affecting printed area and titles but with no loss of music. Second edition first Italian edition published just months after the first edition published in Vienna in May of 1842. Bergamo catalogue 46. Inzaghi IN. 73 p. 192. Crawford pp. 146-7 incorrectly describing this as the first edition. <br/><br/>A melodramma semiserio in three acts to a libretto by Gaetano Rossi after Adolphe-Philippe d'Ennery and Gustave Lemoine's play La grace de Dieu Linda di Chamounix was first performed in Vienna at the Kartnerthortheater on May 19 1842. <br/><br/>"The score of Linda is a monument to Donizetti's unfailing good taste from the finely crafted overture to the final ensemble. Along with Bellini Donizetti epitomized the Italian Romantic spirit of the 1830s. If Bellini expressed Italian Romanticism in its most concentrated form Donizetti compensated by a greater versatility and resource and a stronger feeling for dramatic movement. He also had the benefit of a more thorough musical training under Mayr and Mattei and this contributed much to his superior fluency of technique and invention." TNG II online. Ricordi [PNs 13931-55] unknown books
183525783Paris: Pacini PNs 2900-2915 1835. Folio. Half brown morocco with green doublure-patterned cloth boards raised bands on spine in compartments gilt with titling gilt green marbled endpapers. 1f. fine full-page lithographic frontispiece portrait of Luigi Lablache as Henry VIII by Achille Devéria 1800-1857 printed by Lemercier 1f. title 1f. biography of Anna Bolena i thematic index and cast list 2-232 pp. Engraved.<br/><br/>Each piece with its own separate plate number. "Dixwell" in ink in manuscript in a contemporary hand to title and first preliminary leaf; "Esther B. Owen Buckland Connecticut 1889" in pencil to second preliminary leaf.<br/><br/>Binding somewhat worn and rubbed. Outer margins of some leaves slightly dampstained; occasional light foxing heavier to some leaves. First French Edition of the first version but c.f. OCLC nos. 82955319 498273921. OCLC no. 20150421. Lesure p. 333-334. Angeloni et al. p. 152.<br/><br/>Anna Bolena to a libretto by Felice Romani after Ippolito Pindemonte was first performed at the Teatro Carcano in Milan on December 26 1830. "This was Donizetti's first great international success giving him his initial exposure to Paris and London audiences. Pasta Anne and Rubini Percy sang in the première. Immensely popular for almost half a century it re-entered the modern repertory following a triumphant revival at La Scala with Callas in 1957. Since then the work has proved a favourite vehicle for such bel canto specialists as Sutherland Sills and Caballé." William Ashbrook in Grove Music Online. Pacini [PNs 2900-2915] unknown books
185033581Napoli: Stabilimento Musicale Partenopeo PNs 3205-10 3219 3590-1 3607 4054 4010-1 4207-8 1850. Oblong folio. 19th century dark red leather-backed green cloth boards with decorative devices gilt to spine; marbled endpapers. 123 pp. Each number with separate caption title and secondary pagination. Engraved. Printed note to title indicating the 5 pieces added to the original version.<br/><br/>With handstamp "Scuola di Canto dei Mo. Lombardini" to title and several pages throughout. Occasional performance markings in lead and blue pencil including notated vocal embellishments.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981. <br/><br/>Binding slightly worn rubbed and bumped; remnants of paper label to spine. Lightly thumbed and foxed heavier to some leaves; several corners with tape repairs. First Edition later issue of the two-act version later issue. Inzaghi IN. 58 p. 178. Scarce 3 copies only outside Italy.<br/><br/>Betly or La capanna svizzera a dramma giocoso to Donizetti's own libretto after Scribe Mélesville and Goethe premiered in one act in Naples at the Teatro Nuovo on 21 August 1836. The present revised version in two acts was also premiered in Naples on 29 September 1837.<br/><br/>"Betly has a score full of unpretentious charm and a plot that works well on the stage. The role of Daniele is akin to that of Nemorino in L'elisir d'amore. The highlights of the score are Betly's solo moments: her sortita and her aria-finale the former particularly for its local colour with a yodel-like refrain." William Ashbrook in Grove Dictionary of Opera<br/><br/>Scores containing 19th century unpublished vocal embellishments are particularly interesting as they document contemporary performance practice. Stabilimento Musicale Partenopeo [PNs 3205-10, 3219, 3590-1, 3607, 4054, 4010-1, 4207-8] unknown books
184333507Wien: Ant. Diabelli und Comp. PN D. & C. No. 7642-59 1843. PROCH Heinrich 1809-1878 trans. Folio. Brown cloth-backed plain blue wrappers. 1f. recto title verso contents 1 cast list 2-285 1 blank pp. Engraved. Text in Italian and German.<br/><br/>Early signature "Josephine Rudolf" and handstamp "Musik-Antiquariat Karl Schwager" to title. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Wrappers worn and chipped. Occasional light foxing heavier to title; some offsetting; several leaves with paper tape repairs to blank margins; two lines on title underlined in red pencil. First German edition. Inzaghi IN. 75 p. 195. Scarce 2 copies located in the U.S. at Duke and the Library of Congress. <br/><br/>The first edition to contain Donizetti's revisions for the Viennese performance.<br/><br/>Don Pasquale a dramma buffo in 3 acts to a libretto by Giovanni Ruffini and Donizetti after Angelo Anelli premiered in Paris at the Théâtre Italien on 3 January 1843. The incredible success of the opera led to a series of performances the same year in Milan 17 April Vienna 14 May and London 19 June.<br/><br/>"Don Pasquale was an instant success . For its Viennese première at the Kärntnertortheater on 14 May 1843 in Italian a production prepared by Donizetti he added to the score the baritone-buffo duet 'Cheti cheti immantinente' borrowing it from a discarded section of the unperformed L'ange de Nisida; Don Pasquale was sung on that occasion by Tadolini Norina Rovere Pasquale Salvi Ernesto and Ronconi Malatesta .<br/><br/>" . The opera has been described as 'Mozartian' and clearly it shares certain characteristics with Mozart's approach: the characters are humanized not mere farcical stereotypes and the melodies mirror the emotions they express. This comparison is often made in apparent astonishment that a Donizetti could achieve such an irresistibly heartfelt comedy. Rather it is more appropriate to describe the opera as supremely 'Donizettian' for it stands as a summation of all his most valuable qualities." William Ashbrook in Grove Dictionary of Opera. Ant. Diabelli und Comp. [PN D. & C. No. 7642-59] unknown books
183336254Milano: F. Lucca PNs 900 904 905 912 e 913 914 and 915 1833. Oblong folio. Original blue wrappers with publisher's large ivory printed title label to upper. Engraved. Uncut. With text in Italian. On high quality paper.<br/><br/>Contains the following 6 complete numbers all with secondary pagination:<br/>- Scene e Duetto. In un etasi che uguale. 19 i blank pp. secondary pagination 49-67. PNs 900 L900L.<br/>- Duetto. Colei Safronia. 17 i blank pp. secondary pagination 87-103. PNs 904 P904P z904z. <br/>- Seguito del finale primo. Torquato! mira. Il Fratel t'invia 35 i blank pp. secondary pagination 104-138. PNs 905 n905n.<br/>- Scena e duetto. Poco dunque ti pare. 13 i blank pp. secondary paginatio 183-197. PNs 912 e 913 R912-913R R913R.<br/>- Sei mia . 34 pp. secondary pagination 198-231. PN 914.<br/>- Perche dell'aure in sen Gran scena ed aria. Eseguita dal Sigr. Giorgio Ronconi. 27 i blank pp. secondary pagaination 232-258. PNs 915 Z915Z.<br/><br/>Upper portion of first page of many numbers blank where title imprint etc. would be added for subsequent commercial publication.<br/><br/>Wrappers slightly worn and soiled spine reinforced with dark ivory tape. Minor internal browning; edges dusty. CPM Vol. 17 p. 259. Bergamo catalogue 80 complete plate nos. 897-915. Inzaghi 46. <br/><br/>A "melodramma semiserio" in three acts to a libretto by Jacopo Ferretti after Giovanni Rosini's Torquato Tasso and to a lesser degree Carlo Goldoni 's Tasso Johann Wolfgang von Goethe 's Tasso and Byron 's The Lament of Tasso Donizetti's Torquato Tasso was first performed in Rome at the Teatro Valle on 9 September 1833.<br/><br/>"Eleonora's expressive sortita 'Io l'udia nei suoi bei carmi' and her duet with the poet that follows 'Colei Sofronia' are notable passages. The finest music in the score however comes in the last act with Tasso's Larghetto 'Perché dell'aure in sen' leading into a touching dialogue with chorus; this culminates in a mournful cantabile to form the lyric section of the tempo di mezzo and is followed by an elegiac cabaletta in C major. As in Anna Bolena Donizetti here expanded the structure of the aria-finale to fill out an entire scene." William Ashbrook in Grove Music Online.<br/><br/>One of the earliest publications issued by Lucca. [F. Lucca] [PNs 900, 904, 905, 912 e 913, 914 and 915] unknown books
BN103763Actes Sud. Softcover. Anna Boléna <br/><br/>Anna Boléna Actes Sud paperback
2000DADAX887592077XCasa Ricordi 2000-06-15. 1. hardcover. New. 10.50x2.80x14.50. Buy with confidence. Excellent Customer Service & Return policy. Casa Ricordi hardcover
184631251Napoli: B. Girard e C. PNs 1835 4609-17 2150-2 1867-9 1827-33 1891-3 1846. Oblong folio. Dark brown morocco-backed textured red paper boards titling and decorative device gilt to spine. 1f. recto title verso cast list table of contents 3-154 1f. recto title verso blank 157-227 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Title includes an index of pieces with individual plate numbers and prices including alternate versions and chamber arrangments.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding moderately worn rubbed and bumped; scattered defects and stains; large gouge to lower. Title split at gutter; light scattered foxing; minor dampstaining to right margin of first few leaves and to lower margin throughout; page number "99" used twice. An early edition later issue. Inzaghi IN. 35 pp. 150-2. Girard's first edition of Anna Bolena was issued circa 1831 shortly after its premiere and publication by Ricordi. This later edition contains a mix of old and new plates and was printed when Girard was located on Strada Toledo between 1837 and 1846.<br/><br/>Anna Bolena was composed to a libretto by Felice Romani after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena 1816 and Alessandro Pepoli's Anna Bolena 1788. The opera was first performed in Milan at the Teatro Carcano on December 26 1830. <br/><br/>"This was Donizetti's first great international success giving him his initial exposure to Paris and London audiences. Pasta Anne and Rubini Percy sang in the première. Immensely popular for almost half a century it re-entered the modern repertory following a triumphant revival at La Scala with Callas in 1957. Since then the work has proved a favourite vehicle for such bel canto specialists as Sutherland Sills and Caballé. The final 20 minutes of Anna Bolena reveals for the first time Donizetti's mature ability to flesh out an ariafinale so that it provides the substance of a gripping scene. Nothing Donizetti had done before approaches the scope and multiform intensity of this magnificent scene." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. B. Girard e C. [PNs 1835, 4609-17, 2150-2, 1867-9, 1827-33, 1891-3] unknown books
185933417Milano: Giovanni Ricordi PNs 13551-13579 1859. Oblong folio. Disbound. 1f. title printed within decorative light teal blue border 1f. named cast list contents 3-253 1 blank pp. Engraved.<br/><br/>Named cast list includes Giorgio Ronconi Gaetano Rossi Domenico Donzelli Sofia Löwe Luigia Abbadia and Teresa Ruggeri.<br/><br/>Contemporary owner's signature "Geo. Sweet" to upper outer corner of title with handstamp of Tams Witmark to blank lower margin and blindstamp of Tito Ricordi dated April 1859 to lower outer corner.<br/><br/>Wrappers lacking. Slight dampstaining to lower margin throughout; light foxing to outer leaves; occasional markings in pencil. First Italian edition later issue. Published shortly after the French edition. Inzaghi IN. 71 p. 191. Bergamo Catalogue p. 127 54. Gaspari III p. 301.<br/><br/>A melodramma in three acts to a ibretto by Gaetano Rossi and Donizetti after the play by François Ancelot Maria Padilla premiered in Milan at La Scala on 26 December 1841.<br/><br/>"One of the most unfairly neglected of Donizetti's mature operas Maria Padilla contains a wealth of brilliant and dramatically powerful music." William Ashbrook in Grove Dictionary of Opera. Giovanni Ricordi [PNs 13551-13579] unknown books
185331257Napoli: Successori della Ditta Girard e Co. PNs 3616-31 3872-3 4292-4 1853. Oblong folio. Vellum-backed and edged boards with burgundy cloth laid down initials "C.G." gilt to upper titling to spine stamped in black original yellow publisher's printed wrappers bound in. 1f. recto title verso blank 8 pp. Sinfonia 3-150 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Endpapers watermarked with a fleur-de-lis. With priced catalog "Opere Teatrali Intere" to upper wrapper listing works by Bellini Donizetti Rossini Verdi et al. composed through 1853 and with list of pieces with individual prices and plate numbers to title.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn bumped and scuffed. Light browning to title; minimal foxing throughout primarily confined to margins. First Edition of the revised version later issue. Inzaghi IN. 61 pp. 180-2. The first edition of Roberto Devereux was revised by Girard with the changes Donizetti made for the 1838 performance in Paris PNs 4292-4. This later issue has "Successori della Ditta" added to the title indicating that it was issued shortly after Girard's imprint changed in 1853. <br/><br/>Roberto Devereux to a libretto by Salvadore Cammarano after François Ancelot's tragedy Élisabeth d'Angleterre 1829 was first performed in Naples at the Teatro S Carlo on October 28 1837.<br/><br/>"The portrait of Queen Elizabeth I in Roberto Devereux is the most imposing of Donizetti's representations of that character who also appears in Elisabetta al castello di Kenilworth and Maria Stuarda and the role must rank as one of the great acting and singing opportunities in the bel canto repertory. Musically the score has much to commend it. As in other Donizetti operas the first act moves in a rather leisurely manner with a sequence of full arie di sortita; the pace accelerates to a dramatic climax in a briefer Act 2; then Act 3 like that of Lucia is a sequence of three powerful scenes."<br/><br/>"Particularly impressive are Elizabeth's entrance aria the duet for Sarah and Essex the trio-finale to Act 2 the Prison Scene of Essex and Elizabeth's aria-finale. Everywhere the score shows the sure hand of a composer in control of his materials. The powerful prelude to the Prison Scene recalls the opening of Act 2 of Fidelio. Elizabeth's final Larghetto 'Vivi ingrato' is a fine example of a melody developing in a long emotional arc of searing poignancy and of Donizetti's sensitive response to the expressive colour of the words." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Successori della Ditta Girard e Co. [PNs 3616-31, 3872-3, 4292-4] unknown books
R320072386CERF LEOPOLD. NON DATE. In-4. Relié demi-cuir. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 95 + 127 + 111 + 85 pages de partition - Plats et contre-plats jaspés - Auteurs et filets dorés au dos - Coins émoussés - 3 PHOTOS DISPONIBLES. . . . Classification Dewey : 780.26-Partitions
006221Milano: Presso Epimaco e Pasquale Artaria. Half Vellum. Marbled paper on boards. Very Good. N.d. circa 1830s. Oblong 19.5 by 26.5 cm. The pagination is disorganized with a return to page one several times then many numbers skipped and ending on page 112 but it seems that the book is complete as published. Partial hand-coloring of the title page including of the lettering and the copper engraved illustration beneath. Scarce -- no copies found on OCLC First Search. This Donizetti opera had its premier in 1833 and thus this published piano version based on the opera score is both early and quite possibly the first published piano reduction of the score. Condition: soiling of the vellum spine and light wear to the binding generally. Occasional light foxing and soiling to the interior but mostly clean and tight. <br/><br/> Presso Epimaco e Pasquale Artaria hardcover books
006221Milano: Presso Epimaco e Pasquale Artaria. Half Vellum. Marbled paper on boards. Very Good. N.d. circa 1830s. Oblong 19.5 by 26.5 cm. The pagination is disorganized with a return to page one several times then many numbers skipped and ending on page 112 but it seems that the book is complete as published. Partial hand-coloring of the title page including of the lettering and the copper engraved illustration beneath. Scarce -- no copies found on OCLC First Search. This Donizetti opera had its premier in 1833 and thus this published piano version based on the opera score is both early and quite possibly the first published piano reduction of the score. Condition: soiling of the vellum spine and light wear to the binding generally. Occasional light foxing and soiling to the interior but mostly clean and tight. Presso Epimaco e Pasquale Artaria unknown
1918052375Pera - Constantinople: Imprimerie D'Andria 1918. 1st Edition . Soft cover. Very Good. Folio - over 12 - 15" tall. Paperback. Folio. 33 x24cm. In Ottoman script and French. 3 1 p. Ottoman stamped in period. The Ottoman Empire used anthems since its foundation in the late 13th century but did not use a specific imperial or national anthem until the 19th century. During the reign of Mahmud II when the military and imperial band were re-organized along Western lines Giuseppe Donizetti was invited to head the process. Donizetti Pasha as he was known in the Ottoman Empire composed the first Western-style imperial anthem the Mahmudiye Marsi. Like in many other monarchies of its time the anthem of the Ottoman Empire was an imperial anthem not a national one. Hence it paid homage to a specific ruler and a new anthem was composed at each imperial succession. However in 1844 with the Tanzimat reforms the Mecidiye Marsi was recognized as the first official Ottoman national anthem. The first official Ottoman national flag which was in essence identical to the present-day Turkish flag was also adopted in 1844. Giuseppe Donizetti was an Italian musician. From 1828 he was Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II 1808-39. His younger brother was the famous opera composer Gaetano Donizetti. He studied music first with his uncle Carini Donizetti and later he was a pupil of Simone Mayr. After enlisting in Napoleon's army 1808 he served there as band leader. He took part in the campaigns against Austria and in Spain and followed Napoleon to Elba. He was present at the Battle of Waterloo. After the fall of Napoleon he continued his career as a bandmaster in the Savoy army. Giuseppe Donizetti Pasha as he was called in the Ottoman Empire played a significant role in the introduction of European music to the Ottoman military. Apart from overseeing the training of the European-style military bands of Mahmud's modern army he taught music at the palace to the members of the Ottoman royal family the princes and the ladies of the harem is believed to have composed the first national anthem of the Ottoman Empire supported the annual Italian opera season in Pera organised concerts and operatic performances at court and played host to a number of eminent virtuosi who visited Istanbul at the time such as Franz Liszt Parish Alvars and Leopold de Meyer. Although the elder Donizetti was born in Bergamo Italy Constantinople became a second home for him and he lived there until his death in 1856. He is buried in the vaults of the St. Esprit Cathedral near the Beyoglu district of Istanbul in Pera. Giovanni Avolio 1849-1936 was an Italian conductor and composer. According to the sheet musical paper this first anthem was composed in 1831 by Donizetti and arranged by Avolio into piano in 1918. J. D. Andria is one of the best known music publishers among the Ottoman Empire mionrities. According to he documents in hand it can be estimated that he began musical score publication in the year of 1904. Andria dealt with music publication at the address of Beyoglu Istiklal Street Near Agha Mosque at 68 no. Andria also published four pieces of Turkish marche parties for piano as far as we know; besides his big sized west music works which were published in general by him. Donizetti's 'Marche' is one of them as well besides Halit Recep Arman's Miilok's and Orente's ones. It is known when publishing life of Andria ended. Source: Musical publications from Ottoman Empire up today 1876-1986.; BÜLENT ALANER. <br/> <br/> Imprimerie D'Andria paperback
In-4 p. oblungo (mm. 300x395), elegante legatura in mz. pelle edit., piatti in tela rossa con cornice a secco e titolo oro, dorso a cordoni con fregi in oro, tagli super. dorati, risguardi rossi con grandi e belle cornici dorate, pp. 17 (frontesp. con titolo in rosso - nota introduttiva all’opera - dati biografici - in quanto tempo fu scritta la Lucia di Lammermoor? - produzioni musicali donizettiane, a cura di Guido Zavadini, Conservatore del museo Donizettiano di Bergamo); è pure incluso il ritratto in tricromia del musicista (1797-1848). Edizione in fac-simile dell’opera: la partitura autografa è qui riprodotta a colori in 374 facciate di note musicali del prezioso manoscritto di proprietà del Conte Giovanni Treccani degli Alfrieri - Senatore del Regno. Tiratura di soli 300 esemplari. Il ns., contenuto in astuccio di tela edit. rossa (tracce d’uso), è in ottimo stato.
183431259Milano: Gio. Ricordi PNs 7210-7224 1834. Oblong folio. Light yellow calf-backed marbled boards gilt-ruled compartments to spine. 1f. recto title verso blank 1f. recto table of contents verso blank 5-107 pp. Each number with separate caption title some with separate pagination. Engraved. <br /> <br /> From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br /> <br /> Binding worn rubbed and bumped; minor loss to head and tail of spine; narrow strip cut from upper margin of front free endpaper with remnants of contemporary markings in all likelihood related to ownership. Light foxing and a few small stains to title; very minimal scattered foxing throughout. First edition for piano solo. Inzaghi IN. 47 pp. 164-166.<br /> <br /> Lucrezia Borgia to a libretto by Felice Romani after Victor Hugo's play Lucrèce Borgia was premiered in Milan at the Teatro alla Scala on December 26 1833. Despite an uneven reception it became one of Donizetti's most successful operas particularly after the second production of the work in 1840. <br /> <br /> Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Gio. Ricordi [PNs 7210-7224] unknown
a77112Milano c. 1857 date on music advertisment inside rear cover. Giovanni Ricordi . Piano score. Oblong 4to. 91p. original green printed wraps fully decorated with vignette illustrations of cherubim and dancing girls and interior of concert hall etc . VG cover light wear and light soiling; text near fine page edges light ripled. Scarce in original wrapper. Pictures available on request. . paperback
183431259Milano: Gio. Ricordi PNs 7210-7224 1834. Oblong folio. Light yellow calf-backed marbled boards gilt-ruled compartments to spine. 1f. recto title verso blank 1f. recto table of contents verso blank 5-107 pp. Each number with separate caption title some with separate pagination. Engraved. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding worn rubbed and bumped; minor loss to head and tail of spine; narrow strip cut from upper margin of front free endpaper with remnants of contemporary markings in all likelihood related to ownership. Light foxing and a few small stains to title; very minimal scattered foxing throughout. First edition for piano solo. Inzaghi IN. 47 pp. 164-166.<br/><br/>Lucrezia Borgia to a libretto by Felice Romani after Victor Hugo's play Lucrèce Borgia was premiered in Milan at the Teatro alla Scala on December 26 1833. Despite an uneven reception it became one of Donizetti's most successful operas particularly after the second production of the work in 1840. <br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Gio. Ricordi [PNs 7210-7224] unknown books
184033576Leipzig: Friedrich Hofmeister PN 2387 1840. Oblong folio. Black marbled boards with original publisher's brown printed wrappers bound in. 77 pp. Engraved. Text in Italian and German.<br/><br/>Some early notational additions in pencil to the vocal lines in the sixth number the duet "Oude riedi che mai brami"<br/><br/>From the collection of Luigi Ricci 1893-1981 Italian conductor vocal coach and close associate of Puccini and Mascagni.<br/><br/>Binding considerably worn rubbed bumped and cracked; spine mostly lacking; remnants of paper title label to upper. Some minor signs of wear; light uniform browning; scattered foxing. First German edition. The first edition of the complete piano-vocal score was published in the following year in Vienna by Diabelli. Inzaghi IN. 62 p. 182. <br/><br/>Maria de Rudenz a dramma tragico in 3 acts to a libretto by Salvadore Cammarano after A. Bourgeois J.-G.-A. Cuvelier and J. de Mallian premiered in Venice at the Teatro La Fenice on 30 January 1838. <br/><br/>"With its highly romantic plot unusual in involving a heroine who apparently dies twice Maria de Rudenz marks the extreme of Donizetti's interest in 'strong' subjects. It has often been remarked that the libretto's violent plot and its reliance on past events to move the action on is more than a little reminiscent of Cammarano's later Il trovatore. The score contains much fine music including a mellifluous sortita for the baritone a notable Larghetto to the Act 1 finale later incorporated into Poliuto and Les martyrs several powerful duets with contrasting melodies for the participants particularly effective is the one for Maria and Corrado in Act 2 a moving aria-finale for the heroine and extraordinarily in the prelude to Act 2 an extended solo for bass clarinet." William Ashbrook in Grove Music Online. Friedrich Hofmeister [PN 2387] unknown books
