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Liliencron, R.vAntiquariat.de

Die historischen Volkslieder d. Deutschen vom 13. bis 16. Jahrhundert, gesammelt u. erläutert. 4 Bde u. Nachtrag in 4 Bdn.

Linley, George (1798-1865). Author and composer of several hundred songsBiblio.com

AUTOGRAPH LETTER SIGNED together with 2 rare songs sheets which he has annotated as "Proof Sheets".

184031505London December 18 1840. 1840. Very good. - sc - Over 100 words penned on a 4 inch high by 4 inch wide sheet of buff white paper. In his letter addressed to a distributor probably Chappell George Linley writes: "I forward you Nos 1 & 2 of a new work 'The English Ballad Singer' to be completed in 12 numbers which I am publishing on my own account". Hoping to promote sales of this new work Linley further writes: "I shall be very happy if you have it in your power to assist me in the sale of the same." Signed "George Linley". The left edge of the sheet indicates that it has been torn from a larger sheet. Darkened along the edges the letter is slightly soiled. Very good. Together with two songs with words and music by G. Linley printed on both sides of four 10-1/4 inch high by 7-78 inch wide sheets of buff paper.The songs respectively titled "Oh! Where Are They" and "I Resign Thee Ev'ry Token" are each annotated as "Proof Sheet" in ink by George Linley at the top of the first page of each song. There is some minor foxing and minor wear to the top edges of the pages. There is light dampstaining to the bottom corner of one of the pages. Very good.WorldCat locates only one of each of these songs identified as numbers 1 and 2 of the series entitled "English Ballad Singer". As identified by WorldCat the full title of the first work is: "Oh! Where are they the kind and true"The verse writer and musical composer George Linley 1798-1865 wrote and composed several hundred songs between 1830 and 1865. Some of his most popular ballads of the period were "Thou art gone from my gaze" "Song of the Roving Gipsey" "Constance" "Minnie" and the music for Robert Burns' poem "The Jolly Beggars". He wrote the English words to "God Bless the Prince of Wales". London, December 18, 1840. unknown

Blue Mountain Books & Manuscripts, Ltd. · États-Unis395,00 $US≈ 334,21 €

[SWISS SONGS - Early 19th Century]. Wyss, Johann Rudolf, ed 1782-1830Biblio.com

Recueil de ranz-des-vaches et chansons nationales Suisses notées d'après leurs airs connus ou sur de nouvelles mélodies: avec accompagnement de Piano-Forte. Troisième Édition corrigée et considérablement augmentée

181841243Berne: J. J. Burgdorfer 1818. Oblong quarto. Original publisher's mid-green printed wrappers. 1f. recto title verso blank 1f. "Inhalt" v-x "Préface de la seconde édition" xi-xxiv "Avant-propos de la troisième édition" 126 music 127-131 "Worterklärungen" 132-133 "Traduction Interlinèaire du Ranz des Vaches d'Appenzell p. 24" 134-135 "Verbesserungen in der Musik." 136 "Verbesserungen." pp. 55 songs in German/Swiss dialects with the exception of those to pp. 107-122 in French. Preface by Johann Rudolf Wyss noted Swiss editor writer and scholar. Typeset throughout. With illustration of Alphorn player to upper and Swiss female figure to lower wrapper. "Articles de Fonds en livres et objects d'arts concernant la Suisse qu'on trouve aussi chez les principaux libraires de la Suisse" to verso of upper and recto of lower wrapper. Scored mainly for voice and piano with instrumental selections for piano and unspecified treble instrument. Wrappers worn with several small stains and tears to edges; upper nearly detached with lower margin of verso repaired with ivory tape. Light uniform browning; occasional minor foxing and small stains; signatures loose. Third edition. OCLC 20912723. A compilation of traditional Swiss folk songs and occasional instrumental selections including music for the Alphorn and solo piano compositions many arranged by Ferdinand Fürchtegott Huber. The alphorn was a "wooden trumpet of pastoral communities in the Alps. . The commonest length of the alphorn is about 185 cm in which case its range extends to the 5th or 6th harmonic as quoted by Beethoven at the end of the Pastoral Symphony. . Alphorns were known best as herdsmen's calling instruments serving also in some areas to summon to church and formerly to war. They may also be numinous: among the Mari of Russia the long wooden trumpet is made for the spring festival and afterwards sacrificially burnt or hidden in a sacred place. Overall likeness in making and using alphorns and their distribution suggest that they possibly may have originated among post-Celtic peoples of the Migration Era. There is no firm evidence of prior existence; 'cornu alpinus' in Tacitus is less than proof of a wooden trumpet of which the earliest specimen from the 9th-century Oseberg ship Oslo Vikingskiphuset supports iconographic suggestions that wooden trumpets of moderate size were used as summoning and military instruments in early medieval northern Europe in addition to their pastoral functions." Anthony C. Baines revised by Max Peter Baumann in Grove Music Online. Rossini evoked the Alphorn in his iconic 1829 William Tell Overture. Of great importance to the preservation of the oral heritage of Swiss alpine herders. J. J. Burgdorfer unknown

J & J Lubrano Music Antiquarians LLC · États-Unis316,00 $US≈ 267,37 €

[Music – Plantation Songs / Caribbean Slavery Imagery] Wilson, Chas HBiblio.com

Cuba Plantation Dance

1855List3682Philadelphia: Edward L. Walker 142 Chestnut St. above 6th 1855. Folio sheet music pictorial lithographed cover approximately 13.5 Ã— 10.5 inches. Light edge wear and minor toning; very good with a strong impression of the cover illustration. An antebellum piano dance reflecting the plantation imagery that circulated widely in mid-nineteenth-century American popular music. â€œCuba Plantation Danceâ€ was composed by Chas. H. Wilson a little-documented composer whose name appears chiefly in connection with this work and issued in Philadelphia during the early 1850s by Edward L. Walker the predecessor firm to the major publishing house Lee & Walker. A copy is recorded in the Levy Collection at Johns Hopkins which dates the publication to 1855. The cover presents a stylized plantation landscape framed by tall stalks of sugar cane with a small central vignette of a dancing Black figure. The use of Cuban plantation imagery reflects contemporary American fascination with the Caribbean sugar economy and with plantation life beyond the United States. During the 1850s Cuba was one of the largest slave societies in the Atlantic world. By the midcentury the islandâ€™s sugar plantations relied on hundreds of thousands of enslaved Africans and the enslaved population of Cuba was estimated at roughly 400000 people in the 1840sâ€“1850s working primarily in the rapidly expanding sugar industry. Although Spain formally agreed to end the Atlantic slave trade in 1820 illegal importations of enslaved Africans into Cuba continued for decades supplying labor for the islandâ€™s plantations well into the 1850s. American publishers frequently borrowed such imagery for plantation-themed dance music marketed to the parlor trade. Pieces labeled â€œplantation dancesâ€ or â€œEthiopian dancesâ€ formed part of the broader culture of minstrel and plantation entertainment. The title page bears a dedication to â€œMiss Arabelle Conradâ€ typical of mid-century sheet music addressed to amateur pianists. Along with the aforementioned copy in the Levy collection we find copies at Michigan and Temple. Edward L. Walker, 142 Chestnut St., above 6th unknown

Auger Down Books · États-Unis200,00 $US≈ 169,22 €

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