Beethoven, Ludwig vanBiblio.com
54 résultats
186430646AB1864. Klavierpartitur ohne den Band für Violine. Leipzig Breitkopf & Härtel 1864. 4°. 256 S. gestochene Noten. Halbleinenband der Zeit. Aus der Reihe: «Ludwig van Beethoven's Werke. Vollständige kritisch duchgesehene überall berechtigte Ausgabe. Mit Genehmigung aller Originalverger» Serie 12. Op. 12 23 24 30 47 96 und WoO 41 und 40. Mit handschr. Namenszug und Besitzerstempel. Papier durchgehend stärker stockfleckig. Der Einband berieben und bestossen. unknown
183033209Bonn: N. Simrock PN 1959 1830. Octavo. Half dark brown cloth with brown marbled boards oval dark yellow label with titling in contemporary manuscript to upper. 1f. lithographic title 162 pp. Engraved.<br /> <br /> Contemporary owner's signature in ink to front free endpaper.<br /> <br /> Binding worn rubbed and bumped; endpapers browned; hinges tender. Light scattered foxing and thumbing; price on title erased. First German edition second issue with revised title page. LvBWV v. 1 p. 211. Hoboken 2 195 first issue. Hirsch IV 278 first issue.<br /> <br /> The full score was first published in an unauthorized edition by Cianchettini & Sperati in London in 1808. N. Simrock [PN 1959] unknown
186030636AB1860. 4 Bände. Leipzig Breitkopf & Härtel o. J. um 1860. 4°. S. 5186 10 S.; S. 49-78 8 S.; S. 45-74 8 S.; S. 43-70 8 S. mit gestochenen Noten. Blaue Umschläge der Zeit mit alter handschr. Beschriftung. Aus der Reihe: «Vollständige kritisch duchgesehene überall gerechtigte Ausgabe mit Genehmigung aller Originalverleger» Serie 6. Nr. 4345 Quartett Nr. 7-9 Op. 59 1-3. Platten-Nr. B.4345. / Nr. 46 Quartett Nr. 10 Op. 74. Platten-Nr. B. 46. Umschläge mit Gebrauchsspuren. Besitzerstempel. Papier finger- und stockfleckig. unknown
183040832Bonn: bei N. Simrock PN 2078 1830. Large octavo. 19th century flexible marbled wrappers with blank octagonal paper label to upper. 1f. recto lithographic title verso blank 195 i blank pp. Music engraved. <br /> <br /> Wrappers slightly worn. Minor wear; very occasional small stains to blank margins; text block split at p. 72. <br /> <br /> A bright clear impression. First Edition later issue with title newly-set. LvBWV I p. 337. <br /> <br /> "The Fourth Symphony is perhaps the work in which Beethoven first fully reveals his mastery of movement. . The Finale represents Beethoven's full maturity in that subtlest of ways his discovery of the true inwardness of Mozart and Haydn; a discovery inaccessible to him whenever . he seemed or tried to imitate them but possible as soon as he obtained full freedom in handling his own resources. Everything is present in this unsurpassably adroit and playful Finale; and it is all pure Beethoven." Tovey: The Beethoven Companion pp. 564-565. bei N. Simrock [PN 2078] unknown
186030635AB1860. 4 Bände. Leipzig Breitkopf & Härtel o. J. um 1860. 4°. 50 48 44 42 S. mit gestochenen Noten. Blaue Umschläge der Zeit mit alter handschr. Beschriftung. Aus der Reihe: «Vollständige kritisch duchgesehene überall gerechtigte Ausgabe mit Genehmigung aller Originalverleger» Serie 6. Nr. 3742 Quartett Nr. 16 Op. 18. Platten-Nr. B.3742. Umschläge mit Gebrauchsspuren. Besitzerstempel. Papier finger- und stockfleckig. unknown
180895829London: Lavenu Cianchettini & Sperati 1808-1810. First editions of the first printings of the full orchestral scores of the complete symphonies of Beethoven Mozart and Hadyn. Quarto two volumes bound in three quarters morocco over marbled boards wit gilt titles and tooling to the spine including A Complete Collection of Haydn Mozart and Beethoven's Symphonies Cianchettini and Sperati and A Complete Collection of Mozart and Beethoven's Symphonies. A Compleat Collection of Haydn Mozart and Beethoven's Symphonies contains the first appearance of the full scores of Mozart's Overture to the Marriage of Figaro Mozart's Symphony no. 40 and no. 41. Fuld The Book of World-Famous Music 564-567. A Complete Collection of Mozart and Beethoven's Symphonies Lavenu contains the first appearance of the full scores of Mozart's Symphony no. 39 no 13 and no. 38. In very good condition with light toning to the text. An exceptional collection of the utmost rarity. 1786 saw the successful premiere of Mozart's The Marriage of Figaro in Vienna. Its reception in Prague later in the year was even warmer and this led to a second collaboration with Da Ponte: the opera Don Giovanni which premiered in October 1787 to acclaim in Prague but less success in Vienna in 1788. The two are among Mozart's most important works and are mainstays of the operatic repertoire today. In 1787 the young Ludwig van Beethoven spent several weeks in Vienna hoping to study with Mozart. No reliable records survive to indicate whether the two composers ever met. Beethoven would go on to become a crucial figure in the transition between the Classical and Romantic eras in classical music he remains one of the most recognized and influential of all composers with his best-known compositions including 9 symphonies; 5 piano concertos; 1 violin concerto; 32 piano sonatas; 16 string quartets; a mass the Missa solemnis; and an opera Fidelio. Lavenu, Cianchettini & Sperati hardcover
182632299Wien: Tobias Haslinger PN S:u:C: 4603 1826. Folio. 19; 5; 5 pp. Engraved. <br /> <br /> Small oval handstamp of Amsterdam musicsellers Jacob Eck & Lefebvre to first page of each part. <br /> <br /> Outer leaves somewhat browned soiled and detached; remnants of paper tape to spine; margins slightly browned; small red and white label to upper left corner. First Edition second issue with Haslinger imprint the paper and slightly light impression suggest a printing date of after 1826. LvBWV I p. 777.<br /> <br /> The "Kakadu Variations" are based on the song by Wenzel Müller "Ich bin der Schneider Kakadu. Tobias Haslinger [PN S:u:C: 4603] unknown
18052292À Bonn: chez N. Simrock 1805. Second Simrock edition. Spine and p. 9. firmed with paper stripe. Paper toned. Otherwise in fine condition. Second Simrock edition. Spine and p. 9. firmed with paper stripe. Paper toned. Otherwise in fine condition. 11 1 p. An early edition of the Beethoven’s composition to Friedrich v. Matthisson’s poem. First published by Artaria in Vienna in 1797. First edition by Simrock in 1803 this edition contains the text in German French and Italian. chez N. Simrock unknown
18051763In Lipsia Leipzig: presso Ambrogio Kühnel Bureau de Musique PN 401 1805. Title-edition Titelauflage a reissue of the plates of the first edition. Engraved music. Price above imprint on the title page in ink: fl. 4. Vignette mounted above imprint on the title page “Au Magasin de Musique en commission. No. 104 dans le Kalver-straat à Amsterdamâ€. Unbound as published. Light water stain at side margin foxing throughout otherwise in fine condition. Title-edition Titelauflage a reissue of the plates of the first edition. Engraved music. Price above imprint on the title page in ink: fl. 4. Vignette mounted above imprint on the title page “Au Magasin de Musique en commission. No. 104 dans le Kalver-straat à Amsterdamâ€. Unbound as published. 11 1 p. <p><br /> Reissue of the first edition of Ah! perfido one of Beethoven’s finest concert arias with a different title page.<br /> <p><p><br /> Ah! perfido is a concert aria for soprano and orchestra by Ludwig van Beethoven 1770–1827. The piece was written in the first months of 1796 and first performed on 21 November of the same year in Leipzig however it was not printed until nine years later in 1805 by the Leipzig Bureau de Musique Hoffmeister & Kühnel as a piano reduction with the soprano vocal part. The present score is a reissue of the plates of the original first edition by the legal successor of the publisher Ambrosius Kühnel printed most likely in 1806 see Hill p.121. <br /> <p><p><br /> Scarce no auction records on Rare Book Hub Americana Exchange and the original first edition is recorded only once Sotheby’s 2009. We could trace one copy in institutional holdings at the Beethoven-Haus in Bonn C 65 / 9; 5719.<br /> <p><p><br /> Ref. of the first edition: Kinsky p.155; Hoboken 294 <br /> <p><p><br /> Bibl.: Herttrich E.: Preface. In: Beethoven L. v: “Ah! perfido†für Sopran un Orchester. Opus 65. Klavierauszug. München: Henle 2010.; Hill R. S.: The Plate Numbers of C. F. Peters' Predecessors.†In: Papers Read by Members of the American Musicological Society at the Annual Meeting 1938 pp. 113–134.<br /> <p>. presso Ambrogio Kühnel (Bureau de Musique) [PN 401] unknown
1880mon0001793473C.F. Peters Leipzig 1880-01-01. Hardcover. Good. . 2 Volume Set. Coverspine and edges shows some wear. Pages are clean. C.F. Peters Leipzig hardcover
18665004483Boston: O. Ditson & Co. 1866. Bound in brown cloth stamped in gold. Two volumes in one. 234 pp. / 256 pp. Previous owner's neat name to ffep and stamp to front pastedown. Some scuffing to spine ends -- but a tight clean copy. . First Edition. Hard Cover. Very Good/No Jacket. 12mo - over 6¾" - 7¾" tall. O. Ditson & Co. Hardcover
1820M1411London: Chappell 50 Bond Street 1820. re-issue . paper wrappers. Fine. Folio. Arranged as a duett for two performers on one piano forte by the author. ND c182046pp. P/N WR 8002. A re-issue of the Clementi edition of 1817. <br/> <br/> Chappell, 50 Bond Street unknown
1830M1412London: S. Chappell 50 New Bond Street 1830. re-issue . paper wrappers. Fine. Folio. ND 1830 51pp. P/N 1141. A re-issue of the Chappell 1820 edition. Very clean copy some pages loose. No markings. Symphony No. 8. Op. 93 <br/> <br/> S. Chappell, 50 New Bond Street unknown
1867052524-14New York: Hurd and Houghton 1867. Hardcover. Very Good. Two volumes. 12mo in publisher's cloth. VG. Very light wear to the cloth. Top edges of spine slightly nicked. Bindings are strong. Name on ffep of volume one. A couple of spots of light foxing to the front matter of volume one. Texts are clean. Ships wrapped in bubble wrap and packed with care in a box. New York: Hurd and Houghton hardcover
18501008DG1850. Prag C.W. Medau und Co. um 1850. Lithographie von F. Spanner. 215 x 165 cm. Blattgrösse: 24 x 187 cm. Deutscher Komponist. unknown
1827500027788London: E. Lavenu 1827. First edition thus. . Paperback. Good. 61p ; 33cm. fol.Watts William fl.1810-1840. <br/> <br/> E. Lavenu, paperback
182640812Leipsic: Breitkopf & Härtel PN 4302 1826. Octavo. Contemporary marbled boards with dark blue paper title label to spine gilt. 1f. recto lithographic title verso blank 182 pp. Music engraved. <br /> <br /> With handstamp "Musikverein" to head of p. 85 and foot of final page. <br /> <br /> Early cancellation in black ink of two measures on p. 108 with notes to blank lower margin these two measures movement III between 237/8 were established as being superfluous by Mendelssohn in 1846. Del Mar Critical Report p. 30 Source E.<br /> <br /> Binding very slightly worn. Minor wear; occasional small stains and minor soiling; handstamps removed from blank upper and lower margins of title with repairs to blank verso; blank lower outer corner of first leaf reinforced. First Edition. LvBWV I p. 370. Hirsch IV 308. Hoboken 2 302. Fuld 5 p. 557. Weinhold-Dörfmuller p. 218. <br /> <br /> The Fifth Symphony is possibly the most recognizable of all of Beethoven's symphonies. It holds universal appeal and is one of the most popular works in the whole of symphonic literature. <br /> <br /> "Soon after the 'Eroica' Symphony the Fifth Symphony was conceived but somehow work got deflected into certain other C major and minor projects and things did not come together until late 1807 and 1808. More than any other piece of music the Fifth Symphony has come to typify the thematic unification or 'organicism' as the 19th century viewed it that Beethoven developed to such a high degree in these years. The famous opening motif is to be heard in almost every bar of the first movement - and allowing for modifications in the other movements." Joseph Kerman Alan Tyson Scott G. Burnham Douglas Johnson and William Drabkin in Grove Music Online<br /> <br /> "After some initial resistance to its unheralded rhythmic concentration economy of thematic material startling innovations - the little oboe cadenza in the first movement the addition of piccolo and double bassoon to the winds the "spectral" effects of the double basses in the scherzo and trio the trombones in the finale the return of the scherzo in the finale - the Fifth Symphony came to be regarded as the quintessential Beethoven symphony revealing new layers of meaning to each successive generation. . Twentieth-century criticism has tended to see the Fifth as "the consummate example of symphonic logic" as the ultimate expression of Classic rationality refusing to yield to the violent tremors of impending Romanticism. Audiences have learned to identify the work with public virtues the opening motif was a symbol of resistance to fascism during World War II." Solomon: Beethoven p. 205. Breitkopf & Härtel [PN 4302] unknown
1850M2101Leipzig & Berlin: C.F. Peters Bureau De Music 1850. Original Printings . Hardback. Vg. small 4to. 11 Overtures De L.Van Beethoven Pl No 4626 etc. bound with A COLLECTION D'OUVERTURES POUR PIANO A DEUX HANDS 10 pieces. by C.M. De Weber.; bound with A COLLECTION D'OUVERTURES POUR PIANO A DEUX HANDS by various composers. A late undated nineteenth century collection of printed piano music bound in contemporary boards.A mid-19th century printed collection of Beethaoven and others with printers numbers between 4626-4675. <br/> <br/> C.F. Peters, Bureau De Music hardcover
186133208Leipzig & Berlin: C. F. Peters PN 4251 1861. Octavo. Original publisher's green printed wrappers. 1f. lithographed title 110 pp. Engraved.<br /> <br /> Common title page for violin and piano concertos lithographed by Krätzschmer. Bookseller's oval blindstamp "Carl Helf" to upper wrapper former owner's signature "August Pouhl" in ink to foot of title.<br /> <br /> Wrappers worn soiled and creased spine reinforced with tape. Edges slightly worn and soiled; signatures split at pp. 40-41. Early edition. LvBWV I p. 320. The full score was first published in 1857 by Richault in Paris. C. F. Peters [PN 4251] unknown
182733061Leipzig: Breitkopf & Härtel PN 4612 1827. Oblong folio. Brown leather-backed marbled boards with oval paper label titled in contemporary manuscript laid down to upper. 1f. recto title verso blank 1 cast list contents 2-130 pp. Lithographed.<br /> <br /> Contemporary signature "Ernst Dieter" to title label and head of title; small circular publisher's handstamp to foot of title.<br /> <br /> Binding somewhat worn rubbed and bumped; front free endpaper creased and torn repaired with archival tape. Light scattered foxing; minor dampstaining to final 25ff. Third edition of the third 1814 version of the work. LvBWV I p. 451. Not in Hoboken. Earlier editions of this version were published in Vienna 1814 Bonn 1815 and Paris 1826. <br /> <br /> Beethoven's opera Leonore went through several revisions before the final version Fidelio premiered in Vienna on 23 May 1814. Breitkopf & Härtel [PN 4612] unknown
189032501Paris: Heugel & Cie 1890. Large octavo. Original publisher's decorative wrappers printed in green and black. 4ff. title named cast list arranger's note contents 384 pp. Text in French and Italian.<br /> <br /> Named cast list from the first performance of this version in Brussels 11 March 1889: Messrs. Chevallier Seguin Gardoni Gandubert and Renaud; Mme. Caron; and Mlle. Falize.<br /> <br /> Wrappers worn and creased; spine reinforced with brown paper tape. Light browning to edges; a few pages creased. Later French edition of the third 1814 version. <br /> <br /> Belgian composer and musicologist François-Auguste Gevaert 1828-1908 had moderate success in both Paris and Belgium with his operas but is best known today for his scholarly and pedagogical works. Heugel & Cie unknown
18692677DB1869. Leipzig und Winterthur Rieter-Biedermann 1869. Folio. 6 Bl. XXXI 269 Seiten gestochene Noten. Mit 1 gest. Portrait von C. Gonzenbach 4 Stahlstichtafeln von Heinr. Merz und 2 Seiten Notenhandschrift-Faksimile. Blind- und goldgeprägter Original Leinenband mit Goldprägunge und -verzierungen. Platten-Nr. 635. - Prachtausgabe zum 100. Geburtstag Beethovens. Mit zweisprachigem Vorwort. Der Librettotext in Deutsch den Noten vorgebunden nach dem Französischen bearbeitet von Joseph Sonnleitner und Friedrich Treitschke. Enthält beide Ouvertüren zu vier Händen sowohl zu Fidelio als auch zu Leonore. Es folgt der Klavierauszug für zwei Hände mit französisch-deutschem Paralleltext. - Papier vereinzelt etwas stockfleckig. Einband leicht berieben und bestossen. Durchgehend leicht fleckig. unknown
18267053Mainz & Paris: B. Schotts Söhnen & Antwerp A. Schott 1826. First edition. Very Good. First edition of the full orchestral score for the Ninth Symphony first trade issue published 28 August 1826 without the list of names found in prepublication copies for subscribers and without the metronome markings added to copies from December onwards. Folio. Lithographic title page incorporating arms of Prussia 226 engraved plates. Without the two-page list of subscribers; plates numbered 2322 often corrected from 2321; plate number present on p. 172 and absent on p. 191; "Partition" printed on front wrapper. Original light blue wrappers printed in black rebacked and relined edges untrimmed. Housed in a custom green cloth solander box. Pencilled inscription "Coll. Jan. 1974" at head of title page. Wrappers a little rubbed and marked extremities restored first and last page of contents toned sporadic foxing. A Very Good copy.<br /> <br /> Beethoven's final complete symphony redefined the genre breaking new ground by incorporating vocal soloists and a chorus in its final movement. It was a model for Berlioz Bruckner Mahler Brahms and Wagner. He composed the symphony between spring 1823 and February 1824. Towards the end of the process he decided to incorporate Friedrich Schiller's "An die Freude" into the final movement - a poem that he had attempted to put into music since the early 1790s. The symphony premiered at the Theater am Kärntnertor Vienna on May 7 1824 marking a triumphant public return for Beethoven who had not appeared on stage in over a decade. At either the end of the scherzo or the symphony - accounts vary - Beethoven then almost completely deaf and unaware of the audience's reaction had to be gently turned around by the contralto Caroline Unger so he could see the enthusiastic applause. He died in March the following year.<br /> <br /> Fuld p. 563; Hirsch 395; Hoboken 502; Kinsky 813-832. Very Good. B. Schotts Söhnen & Antwerp, A. Schott unknown
180540794Mayence: chez Charles Zulehner PN 73 1805. Quarto. Disbound. i title 13 i blank pp. Engraved throughout. <br /> <br /> With ownership signature to upper outer corner of title in contemporary brown ink; several annotations in pencil including fingerings dynamics and accidentals. <br /> <br /> Slightly trimmed; occasional minor foxing and soiling mainly to blank margins; spine reinforced with narrow strip of early paper. Early edition. LvBWV I p. 246. <br /> <br /> These three marches scored for piano 4-hands incorporate a wide range of dynamics register and textures that complement the dotted March rhythms including Alberti basses arpeggios and triplets. <br /> <br /> "From his success at combining tradition and exploration and personal expression Beethoven came to be regarded as the dominant musical figure of the 19th century and scarcely any significant composer since his time has escaped his influence or failed to acknowledge it. For the respect his works have commanded of musicians and the popularity they have enjoyed among wider audiences he is probably the most admired composer in the history of Western music." Joseph Kerman Alan Tyson Scott G. Burnham Douglas Johnson and William Drabkin in Grove Music Online. chez Charles Zulehner [PN 73] unknown
182222957Bonn et Cologne: N. Simrock PN 1959 1822. Octavo. Original publisher's printed pink wrappers. 1f. title ii blank 162 pp. Engraved. Price: "14 Frs." <br /> <br /> Wrappers slightly defective spine mostly lacking upper laid down. Slight offsetting; staining to edges of outer margins; some paper imperfections. Some edges untrimmed. Uniform light browning throughout more noticeably to title. First German edition with metronome indications present. Scarce in original wrappers. LvBWV v. 1 p. 211. Hoboken 2 195. Del Mar p. 10 Source E. The score was previously published in an unauthorized edition by Cianchettini and Sperati in London in 1808. <br /> <br /> One of the last works of Beethoven's so-called "early period" the Second Symphony was premiered at the Theater an der Wien in Vienna on 5 April 1803 conducted by the composer. It was largely composed during Beethoven's stay at Heiligenstadt in 1802 when he began to realize that his deafness might be incurable. <br /> <br /> "Completed in 1802 during a turbulent period in Beethoven's life the Second Symphony in D major op. 36 is already the work of a mature master who is settling accounts - or making peace - with the high-Classic symphonic tradition before embarking on an unprecedented musical voyage. It is a work which has both retrospective and prospective characteristics: it is firmly rooted in Mozart's and Haydn's last symphonies while anticipating Beethoven's later development by its dynamic contrasts unexpected modulations and propulsive movement all of which are controlled by a confident and flowing Classicism." Solomon: Beethoven pp. 103-104. N. Simrock [PN 1959] unknown
