Bach, Johann SebastianBiblio.com
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189261086Leipzig: Breitkopf & Hartel 1892. First Edition; First Printing. Softcover. Fair in wrappers. Rear panel is missing. Chips and tears. Tape at spine. Purchased from the NY estate of The Exorcist's Ellen Burstyn.; 4to 11" - 13" tall. Breitkopf & Hartel unknown
187040394Leipzig: Bureau de Musique de C. F. Peters PN 2766 1870. Folio. Full contemporary dark brown cloth with spine in gilt-ruled compartment with titling gilt with "E.F.C." gilt to lower outer corner of upper. 1f. recto lithographic title verso publisher's preface i table of contents 2-91 pp. Together with violin part unbound i blank 30 pp. Engraved throughout. Edited by Carl Czerny August Klengel Moritz Hauptmann and Karl Lipinsk.<br /> <br /> With "Ruth Boyden" in pencil to upper outer corner of free front endpaper and in another hand "Margaret P. Curtis Russell Feb. 21st 1881." "C.F Peters" and "C. H. Heusing" handstamps to lower blank margin of title.<br /> <br /> Binding of score quite worn rubbed bumped and shaken with minor loss; upper partially detached. Very occasional minor foxing to blank margins. Signatures of violin part separated; frayed at edges with some small tears and minor stains to blank margins; lacking title. A later issue of the score first published in 1841. Schmieder 2 p. 741. Riemenschneider Memorial Bach Library catalog p. 230. Oeuvres Complettes Livre 10. Later issues carry "Adoptées au Conservatoire de Musique de Leipzig" to foot of title. <br /> <br /> "The unusual flexibility with which Bach manipulated the conventional genres of sonata and suite is comparable to his orchestral output as regards formal and compositional aspects as much as textures. Particularly important is his emancipation of the harpsichord from its role as continuo instrument and its deployment as a true partner in the sonatas for harpsichord with violin bwv1014-19 flute 1030-33 and viola da gamba 1027-9. The cycle of six harpsichord and violin sonatas c1725-6 were the first in a series of works with obbligato keyboard and paved the way for a new musical genre. The traditional trio sonata with continuo still cast its shadow for example in the opening movements of bwv1015 and 1019 but it yielded by stages to a more integrated three-part style for example the opening movements of bwv1014 and 1018." Christoph Wolff in Grove Music Online. Bureau de Musique de C. F. Peters [PN 2766] unknown
1900026682Allen Lane Scott 1900 Brown cloth a few water stains shaken illustrated with many rare photos. A unique study containing a list and description of Glacieres in North America and other parts of the world. Some opinions of glaciers list of authors measurements of glaciers and ice caves. index 336 pgs scarce copy. 1st Edition. Hardcover. Very Good. Allen, Lane Scott hardcover
18922508591892. paperback. good. 34pp. 8vo original pr. wrs. wrappers with several creases wrappers lightly soiled and chipped upper right corner margins creased throughout. N.p. 1892. First Separate Edition.<br/> <br/> Reprinted from the Medico-Legal Journal June 1892. Author was a member of the New York Bar and a vice-president of the Medico-Legal Society. Bach advocates for the modification or repeal of the New York State law excluding the testimony of physicians and surgeons on the grounds of privilege.<br/> <br/> unknown
18881153New York: D. Appleton & Co. 1888. V.Good/--. Very light wear to spine head or foot to some volumes - otherwise no page foxing or leather wear or cracking. Former owner bookplates to rear pastedowns. Early printing. Four volumes of six volume set Although vol.5 says 7 vols. Rare 3/4 leather with marble boards & gilt page tops. Assumed originally sold by subscription as publication dates range from 1888 vol.1 to 1900 vol.5. D. Appleton & Co. hardcover
187040392Leipzig & Berlin: Edition Peters No. 263.3 PN 3406 1870. Folio. Contemporary half black cloth with marbled boards dark red leather title label gilt to upper. 1f. recto title verso blank p. 3 editor S. W. Dehn's note indicating that the original manuscript was the source for the edition 4-26 pp. Music engraved.<br /> <br /> With bookplate of William Kimmel 1908-1982 music professor at Hunter College and City University Graduate Center to front pastedown and "R Lippe 1910" to upper right corner of title. Rectangular handstamp of Munich musicseller Carl Lischer to blank lower margin of title. <br /> <br /> Binding worn; endpapers browned with free front endpaper detached. Slightly browned; title browned brittle and mostly detached with edge chips and tears those to inner portion somewhat crudely repaired with old tape; final leaf partially detached with crude paper repairs. First Edition later issue. Schmieder 2 p. 764. Leipzig catalogue 216 without Berlin imprint. Not in Hoboken.<br /> <br /> "In early 1721 Bach must have been preparing the Brandenburg Concertos whose autograph full score was dedicated on March 24 1721 to the Margrave Christian Ludwig of Brandenburg-Schwedt brother of the first Prussian king before whom Bach had played in Berlin while acquiring the new Cöthen harpsichord in February 1719. What he played is not known; but he was invited to send in some compositions. The margrave's reaction to the receipt of the six works assembled for him by Bach is also not known. . <br /> <br /> In the score bearing the dedication to Margrave Christian Ludwig of Brandenburg the so-called Brandenburg Concertos are dated March 24 1721. This is merely a terminus ante quem for the concertos themselves must have been written over a considerable period before being assembled in 1721 as a collection of 'Concerts avec plusieurs instruments' not as a single work in several parts. . <br /> <br /> The special significance of the Brandenburg Concertos resides in the fact that like Vivaldi's they abandon the standard type of concerto grosso and use a variety of solo combinations. The originality of Bach's ideas extends far beyond Vivaldi's as do the density of the compositional texture and the level of professional virtuosity. The devising of concise head-motifs particularly in the first movements shows a strong Italian influence. All of Bach's instrumentations are unprecedented. They feature all kinds of combinations from homogeneous string sound nos.3 and 6 to the heterogeneous mixing of brass woodwind string and keyboard instruments." Christoph Wolff in Grove Music Online. Edition Peters, No. 263.3 [PN 3406] unknown
190016489-MU<p>Very Good condition: tight staple-bound oversized music book 101 pp. found no marking in text bottom spine corner bumped some minor outer/corner wear name and personal file number on upper front cover. Publication dat unknown cover traditional two-tone green Kalmus issue.</p> Edwin F. Kalmus paperback
190016490-MU<p>Very Good condition: tight staple-bound oversized music book 101 pp. found no marking in text bottom spine corner bumped some minor outer/corner wear name and personal file number on upper front cover. Publication dat unknown cover traditional two-tone green Kalmus issue.</p> Edwin F. Kalmus paperback
1897005501053W. H. Bach 1897. Trade Paperback. Good/No Jacket. 12mo - over 6¾" - 7¾" tall. 103pp. 4pp. ads. Frontis portrait and the Introduction from the Second Edition. Tan printed wraps. Front cover detached spine worn with pices missing rear cover stained at the staples and soiled; pencil markings notes and underlining to the text throughout and last few pages waterstained at the top. Overall a Good copy. Of note is the one page ad at the back featuring an early variant of the ouja board and the misspelling of Lily Dale. W. H. Bach paperback
185040164Leipzig: Frederich Hofmeister 1850. Quarto. Publisher's heavy mid-brown wrappers. 1f. recto title verso quotes from Zelter and Goethe 2ff. dedication to King Friedrich August II of Saxony vi foreword vii-x contents 182 pp. 1f. errata viii typeset musical examples pp. with folding plate between pp. 14 and 15. <br /> <br /> Occasional penciled corrections underlining to text and informed marginal glosses in a modern hand. <br /> <br /> Wrappers somewhat worn and creased; spine lacking at head and tail.<br /> <br /> A very good copy overall. First Edition. Scarce. Published to commemorate the 100th anniversary of the composer's death. <br /> <br /> Possibly the most significant study of Bach and his music after Forkel's work of 1802. Frederich Hofmeister unknown
185741241Berlin: Chez Ed. Bote & G. Bock. G. Bock Editeur de musique de S. Maj. le Roi et S.A.R. le Prince Albert de Prusse B. & B. 3698 1857. Folio. Half dark brown leather with black cloth boards decorative cut paper label titled in manuscript to upper. 1f. recto title verso blank 3-189 i blank pp. Title lithographed music engraved. <br /> <br /> Decorative series title "Collection Ouevres Classiques" incorporating floral motifs theatrical mask angel with lyre lute quill and names of composers. <br /> <br /> With occasional performance markings in pencil.<br /> <br /> Mostly minor occasionally moderate foxing primarily to margins; blank inner margins of title and first and last leaves of music reinforced with narrow strip of white paper tape. OCLC 916160097 one copy only at Baldwin Wallace University. Riemenschneider 1936.<br /> <br /> "On the whole the St Matthew Passion is a considerably more unified piece than the St John for which the primary reason is its use of Picander's text. Its greater textual and musical scale allows more space for the arias and 'madrigal' pieces in which the coupling of arioso with aria is an especially characteristic feature. Another special feature is the way the strings provide an accompanying 'halo' in Jesus's recitatives. The pervading cyclical formation of the work from the interrelating of the chorales tonal organization and paired movements is in some respects even more pronounced than in the St John Passion while it lacks the earlier work's 'architectural' centre. After 1729 the St Matthew Passion had at least two more performances under Bach's direction. In 1736 he made some important changes chief among them emphasizing the separation of the two choruses and orchestras by division of the continuo exchanging the simple chorale at the end of part i for 'O Mensch bewein' and replacing the lute in 'Komm süsses Kreuz' with bass viol. The additional alterations of about 1742 and 1746 were mainly a matter of meeting practical performing conditions." Christoph Wolff in Grove Music Online<br /> <br /> Daniel Friedrich Eduard Wilsing 1809-1893 was a German Romantic composer highly regarded by Robert Schunmann. Chez Ed. Bote & G. Bock. G. Bock, Editeur de musique de S. Maj. le Roi et S.A.R. le Prince Albert de Prusse [B. & B. 3698] unknown
180550101Leipzig: Breitkopf & Hartel 1805. 1st Edition. Paperback. Very good. 10 1/2 x 13 3/4 inches. 2 55 pages. No date 1805. Condition is Very Good; missing front cover title page is lightly toned/soiled music pages are very clean and unmarked. RRGR Breitkopf & Hartel paperback
180723438BB1807 . Editio sexta prioribus longe emendatior. Lipsiae: Johannes Ambrosius Barth 1807. 8°. XX 752 S. Pappband der Zeit Besitzervermerk von alter Hand auf Innendeckel; Einband fleckig; Inhalt stockfleckig; Buchblock mehrfach geknickt und teilweise leicht eingerissen; Rücken mit Knickspuren und leichten Einrissen und Fehlstellen ohne Textverlust unknown
181840393Bonna e Colonia: N. Simrock PN 1580 1818. Folio. Disbound. 1f. recto lithographic title verso blank 3-47 pp. Music engraved. Untrimmed. <br /> <br /> With small handstamp "Prag bei Marco Berra" under imprint; manuscript price to lower outer corner of title. <br /> <br /> Provenance<br /> Celebrated pianist and collector Alfred Cortot 1877-1962 with his distinctive bookplate and annotations in pencil to verso of title and small monogrammatic handstamp to lower outer corner of title first page of music and p. 25. <br /> <br /> Slightly worn; occasional browning; minor foxing to margins; small tear to blank outer margin of final leaf; minor abrasions to lower outer portion of title. First Edition. Schneider p. 107. Hoboken Collection Vol. 1 19. RISM B433 and BB433 one copy only in the U.S. <br /> <br /> "Often overshadowed by the more famous Mass in B minor the four Lutheran Masses feature glorious choruses and sincerely moving arias. They are largely taken from various cantata movements and adapted to the Mass texts." Bärenreiter website. N. Simrock [PN 1580] unknown
183040390Berlin: T. Trautwein PN 365 1830. Oblong folio. 19th century dark green cloth-backed plain mid-brown paper boards with decorative cut-paper manuscript title label to upper with owner's name "C. Miller." i lithographic title by F. Sachse incorporating a decorative vignette 2-101 pp. Engraved. <br /> <br /> Binding slightly worn. Occasional minor stains and foxing; title slightly browned and reinforced with narrow strip of paper at gutter; small tear to blank lower margin of p. 95. First Edition later issue with music commencing on the verso of the title leaf in the first issue the verso of the title is blank and the music begins on the verso of the second leaf. Rare. Published one year before the full score. Schmieder 2 p. 436. Schneider p. 112. Not in Hoboken or Hirsch. RISM B438 and BB438 4 copies only. <br /> <br /> A masterpiece of sacred music the St. John Passion was first performed at the Nikolaikirche in Leipzig on Good Friday 7 April 1724. <br /> <br /> ". in everything which relates to musical style in invention and in the elaboration of the separate compositions Bach proves himself to have reached the heights of ripe and perfect mastery in the St. John Passion. The treatment of the recitatives as in the cantatas is of Bach's best period." Spitta: The Life of Bach Vol. 2 p. 529. T. Trautwein [PN 365] unknown
181917280Hans Georg Nägeli; Longman Clementi & Co.; Clementi Banger Collard Davis & Collard. 1819. 1st Edition . Book Hardcover. Good. Two volumes of musical scores with engraved title pages including Nägeli's German version for the preludes and fugues. The date given is from an inscription; the printing date can be no later. Landscape345x250mm. The binding is half leather and marbled boards which are very worn but sturdy and recently expertly re-attached by Sycamore Bookbinders of Eastwood re-laying the original spines. Text pages yellowed but essentailly in very good condition end-papers creased. Gilt decoratively bordered labels on the front boards: BACH & KEEBLE'S FUGUES on one volume R.Turle on the volume of Keeble's Select Pieces. On the blank leaf after the second engraved title page of the Bach fugues is inscribed James Turle 1819 giving a latest date for the printing. It seems that the two volumes which should obviously be kept together passed from him to R.Richard Turle who arranged for the binding. The second tile page of the Bach correctly describes the fugues as "2er Theil" in case this helps expert dating of this first or early printed edition. Before precise pagination a few words on the Turle family gleaned from the internet. They were in the late 18th century shopkeepers and merchants in the English Somerset town of Taunton and dedicated amateur musicians; several sons born around the turn of the century to Joseph and Elizabeth and to brother I think James became accomplished organists arrangers for organ and composers some of whose work is still played today. They include James 1802-1882 who signed the one volume or was it his father Richard 1790-1867 who will be the R.Turle of these volumes and William 1795-1834. Richard and William sought their fortunes as organists and cathedral choirmasters in London and beyond. Opportunities for professional musicians were not plentiful in England in their day. Pagination. First volume:Nägeli Title Leaf with angels doing homage for full wording see photograph second Nägeli title leaf for full wording see photograph 1 with signature "James Turle 1719" also inscribed 7"6- 2-123 scores of preludes and fugues 1 to 241 Keeble title leaf for full wording see photograph pp 35-99 scores1. Second Volume:Clementi title leaf: "Clementi's Selection of PRACTICAL HARMONY for the Organ or Piano Forte . Vol.IIIfor full lettering see photographpage headed "INDEX to VOL.III.listing five other Bach family members see photograph 2-123 musical scores1Clementi title leaf"Vol.IV"1index page "Index to Vol.IV MARTINI .Page 2 to 77 inclusively. ALBRECHSTBERGER from P.78 to the end of the Vol:"2-121 musical scores1.small worm hole in margin of last leaf. The original free endpapers are present in both volumes. Prospective purchasers can be provided with further information and photographs. Hans Georg Nägeli; Longman, Clementi & Co.; Clementi, Banger, Collard, Davis & Collard. hardcover
