David Wolman Collection 10/19/08

10/19/08 the david wolman classical music collection

Samuel T Freeman & Co. 1808 Chestnut Street Philadelphia Pennsylvania 19103 Tel-215.563.9275 Fax-215.563.8236 e-mail: info@freemansauction.com www.freemansauction.com

The David Wolman Classical Music Collection 10/19/08

The David Wolman Classical Music Collection 10/19/08

Auctions: Sunday October 19th 2008 at 10am Sale 1317 Exhibitions: Thursday, October 16th through Saturday, October 18th 10am–6pm Inquiries: david bloom ext. 3023 dbloom@freemansauction.com joe huenke ext. 3034 jhuenke@freemansauction.com Bidding: bids department 215.563.9275 ext 3006 bids@freemansauction.com Fax 215.599.2240 Catalogue $25 Inside Front Cover: Lot 268 Inside Back Cover: Lot 453

Freeman’s 1808 Chestnut Street Philadelphia, PA 19103 Telephone: 215.563.9275 Fax: 215.563.8236 www.freemansauction.com Freeman’s South 126 Garrett Street Charlottesville, VA 22902 Telephone: 434.296.4096 Fax: 434.296.4011 www.freemanssouth.com Color images of every lot will be available in early October www.freemansauction.com Printing by Bentley Graphics, Inc. Pottstown, Pennsylvania

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A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price. The Buyer’s Premium shall be: 25% on the first $20,000 of the hammer price of each lot, 20% on the portion from $20,001 through $500,000, and 12% on the portion of the hammer price exceeding $500,000.

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Deliveries will not be made during the time of the sale unless otherwise indicated by the auctioneer. All items must be paid for and removed by October 31st at 3pm. Purchases not so removed may be turned over to a licensed warehouse at the expense and risk of the purchaser.

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collecting printed music & manuscripts: david wolman I have always been intrigued by anything engraved on paper between two leather covers. But it was a Dorothy Sayers character, Lord Peter Wimsey, who lured me into the world of collecting.

I strolled into my first rare book shop ten years ago. I was asked what subject I was interested in. I instinctively answered: music.

Since then, I have assembled Renaissance misales on velum side by side with a John Cage manuscripts on napkins, over 600 items, representing 260 composers and musicians, from Aristoxinus to Zarlino, Argento to Zimbalist.

I concentrate on first editions inscribed by composers, such as Wagner’s inscription to Gounod in the first edition of Tannhäuser.

Wagner had been nearly killed by an unruly mob after he refused to include the obligatory second act ballet in the Paris production of Tannhäuser.

Fashionable gentlemen of the day expected to arrive late at the opera, usually drunk, in order to admire their mistresses (a.k.a. “ballerinas”).

Gounod denounced the boorish behavior of the mob, hence the grateful inscription by Wagner to Gounod.

Another exceptional item is the piano-vocal score of Benjamin Britten’s Billy Budd. This pre-publication issue belonged to E. M. Forster who wrote the libretto, and has his signature on each cover page. Inside is a letter from Britten’s lover, the tenor Peter Pears, who created the role of Captain Vere.

Then there is Bellini’s La Straniera—it is a folio vocal score of the first Paris edition, bound for Charlotte Louise, wife of Nicholas I, Empress of Russia from 1825-55. The intricate gold tooling on the cover and the rich texture of the linen paper reveal no hint of the bloody revolution to come.

I jumped at the chance to acquire Brahms’ very first publication, signed by him, a rarity indeed.

Bach didn’t publish much during his lifetime. Printing was very expensive because of the copper plates used in engraving, and paper was scarce as well, despite the fact that the best bond was manufactured from old underwear. In addition, there were few enforceable copyright laws, so composers were reluctant to disseminate their music for fear of pirating, which was rampant. There are only nine examples of lifetime Bach publications, according to Forkel. Luckily, I obtained some of the earliest editions of any Bach work buried in a book by Sperontes.

I also obtained a Bach piece which was notated in Bach’s shorthand, a kind of puzzle. Kile Smith, the curator of the Fleischer Music Collection in Philadelphia, was able to get the “puzzle” decoded. The jumble of symbols unfolded into a delightful canon.

It is not uncommon to find masterpieces in unlikely places,. Beethoven’s song, Resignation, I discovered, was a fold-out buried in a periodical, Wiener Zeitschrift fur Kunst, Literatur, Theater und Mode, 1818 (Vienna). Beethoven was delighted to get the song published in a popular magazine of the day—it was the closest thing to MTV.

table of contents Reference, Biography & Letters: 1–24 Early Music History & Tracts: 25–43 Violin Instruction & C: 44–49 Musical Almanacs & Works on Music: 50–56 Early Missale, Tracts, Collections & C: 57–63 Composer Scores & C: 64–345 Manuscripts & Autographs, incl. Signed Photos: 346–437 Ephemera: 438–447 Photographs: 448–452 Original Art, Prints & Posters: 453–458 Object de Art & Medals: 459–461

I am intrigued by the sources from which works are derived. I snatched up the first edition of Beaumarchais’ Le Nozze de Figaro, published in 1785.

Ephemera are also tempting, and I have acquired Leonard Bernstein’s signed high school yearbook photo, a wine bottle signed by Pavarotti, Janacek’s music school diploma, Lily Pons’ retirement clock, and Rossini’s personal shaving kit.

The collection houses one of Mozart’s first publications, plated when he was seven years old, with his father’s corrections throughout. The family comprised a veritable cottage industry, and quickly printed off music to sell as they traveled throughout Europe showcasing their little enfant terrible. They didn’t have time to correct the copper plates, hence the ink corrections on paper.

The version of The Magic Flute that the French cobbled together after plundering the original and renaming it Les Mysteres d’Isis is a favorite item of mine. The French pirates changed around the score, added some other Mozart arias that had nothing to do with The Magic Flute, and mounted a production that played for years without Mozart receiving a penny in royalties.

Of course, when we think of Mozart, we must also think of his librettist, Lorenzo Da Ponte. So I quickly grabbed the first edition of his little known opera, Cinna, signed by Da Ponte. Believe or not, Da Ponte lived in Philadelphia for a while, ran a grocery store in New Jersey, and taught Italian at Columbia University. He never equaled the success of his three operas with Mozart, however.

The collection contains a love letter of Puccini’s to one of his many girlfriends. I had the pleasure a couple of years ago to meet Puccini’s granddaughter in Lucca at the famous lake villa where Puccini wrote many of his operas.

Two postcards by Alban Berg (1885-1935) are included in the collection—he couldn’t afford letter paper. He writes to his friend and pupil Paul Koniger, about the music of Schoenberg, Webern and Bartok, discussing plans for a series of concerts of modern music, which might include works by all three members of the Second Viennese School, and Bartok.

The collection also includes manuscripts by Bartok, Rossini, Callo, Cramer, Gluck, Joncieres, Messiaen, Milhaud, Poulenc, Ravel, Rorem, Salieri, and Spohr. There are film score manuscripts, too, for those who have a more Hollywood bent, including Max Steiner’s Theme from a Summer Place and his score for the movie trailer of Zola.

There are many famous treatises, as well, encyclopedias and scholarly works, including the seminal works of Burney, Kirnberger, Marpurg, the first edition of the Grove Dictionary of Music and Musicians, Descartes, Rousseau, Geminiani, the edition of Leopold Mozart’s Violinschule in which he announces the birth of his son, as well as the Daines Barrington article about an extraordinary seven year old genius named, by the way, Amadeus.

There is an original photograph or etching of every composer in the collection. Some of the earliest photos are of Liszt, Brahms and Clara Schumann. There are paintings of Chopin and Liszt, as well, and signed photos of many other composers.

There are many opera and oratorios in the collection, most of Mozart’s, rare examples of first editions of Verdi, Puccini, Wagner, Berg, Gluck, Handel, Haydn, Gilbert and Sullivan—I found a manuscript of a song by Sullivan, never published, signed and dated by him.

In pursuit of my diverse collecting goals, I have also amassed just about every biography of a composer in existence, and every reference work available, such as Hoboken, H.C. Landon, Kinsky, and the very famous Köchel, who invented the system for ordering Mozart’s works, Hopkinson, Hirsch, and thematic catalogs of many composers.

As the collection goes to sale at America’s oldest auction house, I suspect this will be the first large auction of its kind in the US—and how appropriate that it should be in Philadelphia, a city that houses the oldest music society in America, not to mention the Academy of Music on Broad Street.

It is rare that an entire collection of this kind is auctioned off at one time. I am sure that the items will go to good homes and will, hopefully, rekindle interest in this rewarding and challenging niche of collecting. Printed music collecting has come of age—after all, one of the most notable music dealers just opened a shop at the Palazzo in Las Vegas!

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10/19/08 REFERENCE, BIOGRAPHY & LETTERS Lots 1-24 1 17 vols.

Reference: Albrecht, Otto E. A Census of Autograph Music Manuscripts of European Composers in American Libraries. Philadelphia: U. of Penn Press, 1963. 1st ed. 8vo, orig. cloth; light to moderate wear, some discoloration to endpapers. * Searle, Arthur. The British Library Stefan Zweig Collection. Catalogue of The Music Manuscripts.

The British Library, 1999. 1st ed. 4to, orig. cloth & bds., gilt label; minor wear. Plates.* Humphries, Charles; Smith, William C. Music Publishing in The British Isles... to the Middle of The Nineteenth Century: A Dictionary of Engravers, Printers, Publishers and Music Sellers.

London: Cassell, 1954. 2 vols. 1st ed. 8vo, orig. cloth, gilt-lettered spines; light to moderate wear. Frontispieces. Interleaved. * King, A. Hyatt. Some British Collectors of Music, c. 1600-1960. Cambridge: Univ. Press, 1963. 1st ed. 4to, orig. cloth; slightly sunned. * LawfordHinrichsen, Irene. Music Publishing and Patronage: C.F. Peters: 1800 to The Holocaust. Edition Press, 2000. 1st ed. 8vo, orig. cloth, d/j. Photo plates. Near Fine. * Cooper, Victoria L. The House of Novello:.. 18291866. Ashgate, 2003. 1st ed. 8vo, orig. cloth, d/j. Near Fine. Hill, George R.; Stephens, Norris L. Collected Editions, Historical Series & Sets & Monuments of Music: A Bibliography. Berkeley: Fallen Leaf Press, (1997). 1st ed. 4to, orig. cloth, d/j. Near Fine. * Publications of The Paul Hirsch Music Library Second Series. Catalogue of The Library, Volume IV. Cambridge: Univ. Press, 1947. 1st ed. 4to, orig. vellumbacked bds., morocco spine label; moderate edge wear. * Boyden, David D. The History of Violin Playing... to 1761. London: Oxford Univ.

Press, 1965. 1st ed. 8vo, orig. cloth, slipcase. Color frontis., plates.

Light wear. * Winternitz, Emanuel. Musical Autographs from Monteverdi to Hindemith. New York: Dover, (1965). 2 vols. 4to, orig. stiff wrappers. Plates. Light wear. * Collection Musicale Andre Meyer.

Abbeville, (1960). 2 vols. 4to, orig. wrappers. Plates. Light wear. * Fraenkel, Gottfried S. Decorative Music Title Pages. New York: Dover, (1968). 4to, orig. stiff wrappers; some creasing. Plates. * Scholes, Percy A. The Great Dr. Burney. London: Oxford Univ. Press, 1948. 1st ed. 2 vols. 8vo, orig. cloth, d/j’s (torn & chipped). Frontis. $250-350

2 Lot. Auction & Bookseller Catalogues - Classical Music Sales & Catalogues featuring Classical Music items - Includes the following Sotheby’s Music Sales: London, May 25, 2001. * London, Dec. 7, 2001. * London, May 17, 2002. * London, Dec. 6, 2002. * London, May 22, 2003. * London, May 21, 2004 (2 copies). * London, Dec. 7, 2004. * London, May 20, 2005. * London, Dec. 1, 2005. * London, Feb. 28, 2006, Musical Instruments. * London, July 11, 2006, Musical Instruments. * London, Nov. 7, 2006, Musical Instruments. * London, Nov. 30, 2006. * London, Dec. 1, 2005, Beethoven Autograph Manuscript. * London, May 21, 2004, Stravinsky Autograph. * London, May 21, 2004, Mahler Autograph Manuscript. * London, May 22, 2003, Beethoven 9th Symphony Manuscript. All together approx. 65 catalogues, orig. stiff wrappers or cloth (1). $100-200 3 12 vols. (3 wrappers) Reference - Studies of Composers - Works with bibliographically useful apparatus: Griffiths, Paul. Bartok. London: J.M. Dent & Sons, (1964). 1st ed. Sm. 8vo, orig. cloth, d/j. Illus. Light wear. * Stevens, Halsey. The Life and Music of Bela Bartok. New York: Oxford Univ.

Press, 1964. Revised ed. 8vo, orig. cloth, d/j (some chipping). Plates. * The 3rd ed. of the preceding, Oxford, (1996). 8vo, orig. stiff wrappers. * Redlich, H.F. Alban Berg. New York: Abelard-Schuman, (1957). 12mo, orig. cloth; moderate wear. Plates. Ink underscoring. * Pincherle, Marc. Corelli, His Life, His Works. New York: Norton, (1956). 1st Am. ed. 12mo, orig. cloth; light wear. Plates. Some underlining. * The 1933 Paris ed. of the preceding, 12mo, orig. wrappers; some chipping & toning. * Rinaldi, Mario. Arcangelo Corelli. Milan: Curci, (1953). 4to, orig. gilt-lettered cloth; moderate wear & soiling, d/j (chipped). Plates. Scattered foxing. * Cowell, Henry & Sidney. Charles Ives and His Music. New York: Oxford Univ.

Press, 1955. 1st ed. 12mo, orig. cloth, d/j. Frontis. Light wear. * Johnson, Robert S. Messiaen. Berkeley: Univ. of Calif. Press, (1989).

8vo, orig. stiff wrappers. * Milhaud, Darius. An Autobiography: Notes Without Music. New York: Knopf, 1953. 1st Am. ed. 8vo, orig. cloth, d/j (some edge wear). Plates. * Girdlestone, Herbert. Jean-Philippe Rameau: His Life and Work. London: Cassell, (1957). 1st ed. 8vo, orig. cloth, d/j. Plates. Light wear. * Petzoldt, Richard. Georg Phillipp Telemann. London: Ernest Benn, (1974). 1st English-language ed. 8vo, orig. cloth, d/j (some creasing). Plates. $100-150

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4 10 vols.

Reference - Primarily Composer Bibliographies: Williamson, Rosemary. William Sterndale Bennett: A Descriptive Thematic Catalogue. Oxford: Clarendon Press, 1996. 1st ed. 4to, orig. black cloth, d/j. Near Fine. * Hopkinson, Cecil. A Bibliography of The Musical and Literary Works of Hector Berlioz. Tunbridge Well: R. Macnutt, 1980. 2nd ed. Tall 8vo, orig. green imitation leather, gilt; minor wear. Frontis. * _ _. A Bibliography of The Printed Works of C.W. von Gluck. New York: Broude Brothers, 1967. 2nd ed., revised & augmented. Tall 8vo, orig. green cloth, gilt; light wear. Frontis. * _ _.

A Bibliography of The Works of Giacomo Puccini. New York: Broude Brothers, 1968. 1st ed. Lg. 8vo, orig. maroon cloth, gilt; light wear.

Frontis. * _ _. A Bibliography of The Works of Giuseppe Verdi. New York: Broude Brothers, 1973. 1st ed. 2 vols. Lg. 8vo, orig. orangebrown cloth, gilt; minor wear. Frontispieces. * _ _. Tannhauser: An Examination of 36 Editions. Tutzing: H. Schneider, 1973. 1st ed. 8vo, orig. green cloth, gilt; light wear. * Smith, William C. Handel: A Descriptive Catalogue of The Early Editions. London: Cassell, (1960).

First edition, proof copy. 8vo, orig. printed wrappers, d/j (some creasing). * Deutsch, O.E. Schubert, Thematic Catalogue of All His Works. New York: Norton, no date [1950 or later]. 8vo, orig. red cloth, spine gilt; light wear, d/j (light edge wear). * Fuld, James J. The Book of World-Famous Music, Classical, Popular and Folk. New York: Crown, 1975. 3rd ptg. of the revised & enlarged ed. 8vo, orig. blue cloth; slightly scuffed. $250-350

5 8 vols.

Composer Letters, Belles-Lettres & C: Demeny, Janos, ed. Bela Bartok, Ausgewahlte Briefe. N.p.: Corvina, no date [1960]. Sm. 4to, orig. cloth; spine sunned. Annotations on title page. * Hugo, Howard E. The Letters of Franz Liszt to Marie zu Sayn-Wittenstein. Cambridge: Harvard Univ. Press, 1953. 1st ed. 8vo, orig. cloth, paper spine label; occasionally sunned, some edge wear, d/j (some chipping). * Hindemith, Paul. A Composer’s World (The Charles Eliot Norton Lectures 1949-1950). Cambridge: Harvard Univ. Press, 1952. 1st ed.

8vo, orig. cloth, d/j (chipped at edges, a few close tears). * SeldenGoth, G., ed. Felix Mendelssohn. Letters. (London): Paul Elek, (1946).

8vo, orig. two-tone cloth; some edge wear, d/j (a little scuffed, some chipping to edges). Plates. * Schumann, Robert. On Music and Musicians. (New York): Pantheon, (1952). 2nd ptg. 8vo, orig. bds.; light edge wear, d/j (chipping to edges). Plates. * Fischer-Dieskau, Dietrich. Robert Schumann, Words and Music: The Vocal Compositions.

Portland, Ore.: Amadeus Press, (1988). 1st English-language ed., 4to, orig. cloth, d/j. Illus. Near Fine. * Lakond, Wladimir, translator & editor. The Diaries of Tchaikovsky. New York: Norton, (1945). 1st ed.

8vo, orig. cloth; light wear, d/j (some edge wear). * Burk, John N. Letters of Richard Wagner: The Burrell Collection. New York: Macmillan, 1950. 1st ed. 8vo, orig. cloth; light to moderate wear.

Plates. $60-100

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10/19/08 6 7 vols. (2 wrappers) Reference - Primarily Thematic Catalogues: Thematisches Verzeichniss... Von Friedrich Chopin. Leipzig: Breitkopf & Hartel, 1888.

8vo, modern buckram. Frontis. Title page & pub. foreword loose. * Cauche, Maurice. Thematic Index of The Works of Francois Couperin.

Monaco: Lyrebird Press, (1949). Sm. 4to, orig. wrappers; occasional minor staining. * Brunold, Paul. Francois Couperin. Monaco: Lyrebird Press, (1949). Sm. 4to, orig. wrappers; some spotting. Plates. * Thematisches Verzeichniss der Werke... von F. Liszt. London: H. Baron, 1965. 8vo, orig. green cloth; light wear. Reprint of the late 19thCentury German ed. * Thematisches Verzeichniss... Compositionen von Felix Mendelssohn Bartholdy. London: H. Baron, 1966. 8vo, orig. orange cloth; light wear. Reprint of the 1882 German ed. * Deutsch, Otto R. Schubert. Thematic Catalogue of All His Works. New York: Norton, no date [1950 or later]. 8vo, orig. red cloth; corners slightly bumped, spine slightly sunned. * Jurgenson, B. Catalogue Thematique des Oeuvres de P. Tschaikowsky. London: H. Barron, 1965. 8vo, orig. brick red cloth; light wear. Reprint of the 1897 ed. $80-120 7 6 vols.

Opera - Biography, Performance & Bibliographic Reference: Weinstock, Herbert. Vincenzo Bellini: His Life & His Operas. New York: Knopf, 1971. 1st ed. 8vo, orig. brown cloth; light edge wear, d/j (minor creasing). * _ _. Donizetti and The World of Opera in Italy, Paris, and Vienna in The First Half of The Nineteenth Century. New York: Pantheon, (1963). 1st ed. 8vo, orig. maroon cloth; minor wear, d/j (slight edge wear). * White, Eric Walter. Benjamin Britten: His Life and Operas. Berkeley: Univ. of Cali. Press, 1970. 3rd ed. 8vo, orig. rose cloth; slightly sunned. Plates. * The 2nd ed. of the preceding, London, (1954), sm. 8vo, orig. blue cloth; slightly sunned. Frontis. * Vogel, Jaroslav. Leos Janacek. London: Paul Hamlyn, (1962). 8vo, orig. blue cloth, d/j. Plates. Light wear. * Phillips-Matz, Mary Jane.

Verdi: A Biography. Oxford: Oxford Univ. Press, (1993). 2nd ptg. 8vo, orig. black cloth, d/j (slightly dusty). Plates. $80-120

8 4 vols.

Johann Sebastian Bach - Reference & Biography: Spitta, Philipp.

Johann Sebastian Bach: His Work and Influence on The Music of Germany, 1685-1750. London: Novello, Ewer, 1884-1885. First English-language edition. 3 vols. 8vo, orig. gilt-lettered green cloth, edges untrimmed; scuffed, joints & edges often frayed. Light to moderate foxing to front matter. New Grove, 18: 8. * Schmieder, Wolfgang. Thematisch-Systematisches Verzeichniss der Musikalischen Werke von Johann Sebastian Bach, Bach-Werke-Verzeichnis (BWV).

Leipzig: Breitkopf & Hartel, 1961. 4to, orig. gilt-lettered red cloth. $80-120 9 7 vols.

Ludwig van Beethoven - Reference, Life & Letters: Kinsky, Georg; Halm, Hans. Das Werke Beethovens: Thematisch Bibliographisches...

Munich: G. Henle, (1954). 8vo, orig. gilt-lettered black cloth; light wear, d/j (minor creasing, some chipping to edges). * Kalischer, A.C. Beethoven’s Letters: A Critical Edition. London: Dent, 1909. 1st Englishlanguage ed. 2 vols. 8vo, orig. brown-red cloth, gilt, t.e.g.; light to moderate wear, some dust soiling. Plates. A few pencil annotations, several mounted non-acidic clippings on front matter. Scattered light foxing. * New Beethoven Letters. Norman: Univ. of Ok. Press, (1957). 1st ed. Translated by Donald W. MacArdle and Ludwig Misch. 8vo, orig. purple cloth, d/j (some edge wear). Plates. * (Thayer, Alexander W.) Thayer’s Life of Beethoven. Princeton Univ.

Press, 1964. Translated & edited by Elliot Forbes. 2 vols. First Princeton ed. Light wear. * Nettl, Paul. Beethoven Encyclopedia.

London: Peter Owen, (1957). 8vo, orig. blue cloth, d/j (some edge wear). $100-200 10 5 vols.

Johannes Brahms - Reference & C: Braunstein, Joseph, editor.

Thematic Catalog of The Collected Works of Brahms. Ars Musica Press, (1956). Sm. 4to, orig. beige cloth, glassine, paper label. Review copy stamp & c. on title page. Light wear. * Evans, Edwin. Handbook to The Chamber & Orchestral Music of Johannes Brahms. London: W. Reeves, no date [ca. 1920]. 2 vols. 8vo, orig. red cloth, gilt-lettered spines; minor wear. First & Second Series. * Avins, Styra, editor & translator.

Johannes Brahms, Life and Letters. Oxford Univ. Press, (1997). 3rd ptg.

8vo, orig. black cloth, d/j. Minor wear. * Bozarth, George S., editor.

The Brahms-Keller Correspondence. Univ. of Nebraska Press, (1996).

Tall 8vo, orig. black cloth & bds., d/j (slightly creased). $60-100

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Fuld, James J. A Pictorial Bibliography of The First Editions of Stephen C. Foster. Philadelphia, 1957. First edition. Folio, orig. blue cloth, pictorial cover label; scuffed, some edge wear. Plates. Some dampstaining & wrinkling to front matter. Ex-library copy - markings & c to title page, verso of title, front free endpaper & spine. $100-150 12 9 vols.

Joseph Haydn - Reference & Biography: Landon, H.C. Robbins.

Haydn: Chronicle and Works. Bloomington: Indiana Univ. Press, (1980), (1978), (1976), (1977). 1st Am. ed. 5 vols. 4to, orig. cloth; minor wear, d/j’s (occasionally scuffed). Color & b/w plates.

Internally generally clean. * Hoboken, Anthony van. Joseph Haydn, Thematisch-Bibliographisches Werkverzeichnis. Mainz: B. Schott’s (1957-1978). 3 vols. 4to, orig. gilt-lettered blue cloth; light wear, d/j for vol. 3 only. * Thematisches Verzeichnis der Samtlichen Kompositionen von Joseph Haydn, zusammengestellt von Alois Fuchs 1839. Wilhelmshaven, (1968). 4to, orig. cloth, paper label; light to moderate wear. plates. Ex-library copy - ink stamp on title page, other markings. $200-300 13 7 vols.

Mozart & Haydn - Lives & Letters: Bombert, L.A.C. The Lives of Haydn and Mozart, with Observations on Metastasio and on The Present State of Music in France and Italy. London: John Murray, 1818. 2nd ed.

8vo, near contemp. 1/4 cloth & bds., paper spine label; scuffed.

Scattered light foxing. Untrimmed. * Jahn, Otto. Life of Mozart.

London: Novello, Ewer, 1882. 1st English-language ed. Translated by Pauline D. Townsend, preface by George Grove. 3 vols. 8vo, orig. gilt-lettered brown cloth, edges untrimmed; scuffed, corners bumped, spine ends frayed. Frontispieces, 4 fold. facs. Light to moderate foxing to front matter. Novello’s bindery ticket on back paste-down of vol. 2. * Anderson, Emily, editor & translator. The Letters of Mozart & His Family. London: Macmillan, 1938. 1st ed. 3 vols. 8vo, orig. green cloth, silver-lettered spines; scuffed, corners bumped, spine ends frayed. Plates. $200-300

14 5 vols.

W.A. Mozart - Reference: Kochel, Ludwig Ritter von. ChronologischThematisches Verzeichnis Samtlicher Tonwerke Wolfgang Amade Mozarts. Leipzig: Breitkopf & Hartel, (1980). Reprint of the 3rd ed.

4to, orig. black cloth; light wear, d/j (some creasing & chipping). * The sixth ed. of the preceding. Wiesbaden: Breitkopf & Hartel, 1964. 4to, orig. gilt-lettered brown cloth; light wear. Portrait. * Haberkamp, Gertraut. Die Erstdrucke der Werke von Wolfgang Amadeus Mozart. Tutzing: H. Schneider, 1986. 2 vols., 4to, orig. giltlettered green cloth; light wear. Plates. * Landon, H.C. Robbins. The Mozart Compendium. New York: Schirmer, (1990). 1st ed. 4to, orig. cloth & bds.; light edge wear, d/j (some creasing). $100-150 15 4 vols.

Newman, Ernest. The Life of Richard Wagner. New York: Knopf, 1949, 1937, 1941, 1946. 5th ptg. of vol. 1, 1st Am. ed. of vol. 2, 1st eds. of vols. 3 & 4. Large 8vo, orig. black cloth, spines gilt, top edges stained red, other edges untrimmed; light wear, d/j (occasional chipping to edges, scattered minor discoloration). Plates. $60-100 16 5 vols.

Grove, George, editor. A Dictionary of Music and Musicians. London: Macmillan, 1879-1880-1883-1889. First edition. 8vo, orig black cloth, gilt-lettered spines; scuffed, spine ends & corners slightly frayed. Scattered light, to occasionally moderate foxing. Ink stamp on title-pages. Armorial bookplates. Complete with index vol. $200-300 17 20 vols.

(Grove, Sir George.) The New Grove Dictionary of Music and Musicians. (London, etc.: Macmillan), (1994). Edited by Stanley Sadie. 4to, orig. brown buckram; light wear. Illus. Ex-library markings on endpapers & top edges. $300-500 18 4 vols.

(Grove, Sir George.) The New Grove Dictionary of Opera. (London, etc.: Macmillan), (1996). Edited by Stanley Sadie. 4to, orig. red cloth. Illus. Near Fine. $250-400

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10/19/08 19 9 vols.

Reference - Opera Librettos: Sonneck, Oscar George Theodore.

Library of Congress. Catalogue of Opera Librettos Printed before 1800.

Washington: GPO, 1914. 2 vols. 4to, orig. cloth, gilt-lettered spines; light to occasionally moderate wear. * Sartori, Claudio. I Libretti Italiani a Stampa Dalle Origni al 1800. Bertola & Locatelli, 1990. #260/900. 7 vols. 4to, orig. gilt-lettered cloth; minor wear. $200-300 20 9 vols.

The New Oxford History of Music. London, 1957-1974. 4to, orig. blue cloth, gilt-lettered spines; scattered light wear. Lacking vols. 9 (Romanticism) & 11 (Index). $120-180 21 16 vols.

Highfill, Philip H., et al. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & other Stage Personnel in London, 16601800. Carbondale and Edwardsville: Southern Illinois Univ. Press, (1973-1993). 4to, orig. cloth, gilt; minor wear. Frontispieces, other illus. Internally clean. $250-400 22 2 vols.

The British Union-Catalogue of Early Music Printed before The Year 1801.

London: Butterworth’s Scientific Publications, 1957. Edited by Edith B. Schnapper. 4to, orig. cloth, gilt-lettered spines. Light wear. $100-200 23 1 vol.

Huygens, Constantin. Musique et Musiciens au XVIIe Siecle Correspondance et Oeuvre Musicales de Constantin Hugens. Leyde: E.J. Brill, 1882. Edited by W.J.A. Jonckbloet and J.P.N. Land. Large 8vo, contemp. 3/4 brown morocco, gilt, & marbled bds., t.e.g; spine & extremities occasionally rubbed. Plates, musical examples. Internally generally clean. Bookplate of the noted musicologist James E. Matthew, author of the Literature of Music, on front paste-down.

Huygens, Constantin (1596-1687). Dutch poet, diplomat, musician and scientist, corresponded with notable musicians and theorists of his time. $80-120

24 1 vol.

Hipkins, A.J. Musical Instruments, Historic, Rare and Unique. London: A. & C. Black, 1945. 4to, contemp. 1/4 crushed blue morocco & cloth, raised bands, gilt-lettered spine, t.e.g.; occasionally scuffed, spine fading. With 48 color plates. Internally generally clean. $100-150

EARLY MUSIC HISTORY & TRACTS Lots 25-43 25 1 vol.

Grassineau, James. A Musical Dictionary. Being a Collection of Terms and Characters..., including the Historical, Theoretical, and Practical Parts of Music. London: for J. Wilcox, 1740. First edition. 8vo, contemp. gilt-paneled speckled calf, gilt-ruled spine, raised bands; extremities scuffed, head of joints starting. With 3 plates (2 fold.), type-set musical examples. Minor darkening to edges of front matter, but generally internally clean. “...it can be said to be the most important dictionary of music published in Britain until the translation of Rousseau’s [in 1771] (New Grove, 7: 642). $400-600 Rousseau’s Dictionary of Music 26 1 vol.

Rousseau, J(ean) J(acques). Dictionnaire de Musique. Paris: Duchesse, 1768. First edition. 8vo, contemp. mottled sheep, giltpaneled spine, morocco spine label, red sprinkled edges; rather scuffed, occasionally rubbed. With 13 fold. engraved plates of musical examples. Internally generally crisp & clean. Complete with errata. Ink stamp on title page, foot of last page of text, & versos of plates A & E. But a crisp, attractive copy.

New Grove, 16: 272 $800-1,200

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10/19/08 Hawkins’ Monumental History 27 5 vols.

Hawkins, John. The General History of the Science and Practice of Music. London: Payne and Son, 1776. First edition. Lg. 4to, orig. marbled bds. edged in vellum, rebacked in modern calf, modern green morocco spine labels; scuffed, some edge wear, hinges reinforced. Scattered, generally light foxing, occasional darkening & staining to margins. With frontispiece, numerous engraved & woodcut illus. in text of musical instruments, portraits of noted musicians & composers, engraved musical examples, tables.

Complete with 1/2 titles. Uncut. With book plate of the Bristol Baptist Library on front paste-down - library markings at head of title-pages & 1/2 titles.

Hawkins, John (1719-1789). English music historian, antiquarian and attorney. “For many years Hawkins had been accumulating material for A General History [of Music] from his own research in the British Museum,... his own extensive collection of manuscripts,...

The Bodleian and college libraries at Oxford and Cambridge, information supplied by Horace Walpole,” [et. al.] (see New Grove, 8: 323-325).

New Grove, 8: 325 $1,500-2,500

28 4 vols.

Burney, Charles. A General History of Music, from the Earliest Ages to the Present Period. London, 1789, 1782, 1789, vol. 1, second edition; vols. 2-4, first edition. 4to, modern brown buckram. With portrait frontis. + 12 plates (2 fold.), engraved & type-set music notations, 1 hand-colored music engraving in text. Scatted, generally light, foxing, close horizontal tear in plate IX, vol. 1 - Hebrew Chants. 8 pp. adverts. in back of vol. 1. Tall copy, leaf size 10 3/4 x 8 3/8 inches (258 x 212 mm).

Burney, Charles (1726-1814). English composer and music historian.

Burney, who was by profession a private teacher of music also holding organists’ posts, achieved European fame during his lifetime by his writings on music which to this day retain much importance (see New Grove, 3: 488-91).

New Grove, 3: 491 $500-800

27

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10/19/08

29 3 vols.

Forkel, Johann Nicolaus. Musikalische-Kritische Bibliothek. Gotha: Carl Wilhelm Ettinger. 1778-1779. First edition. 8vo, early 19thCentury cloth-backed bds.; 2 spines detaching, 1 gone, several covers detached. Light to moderate foxing. Typeset musical examples.

Forkel, Johan Nikolaus (1749-1818). German music historian, theorist and bibliographer; regarded as the founder of modern musicology. (New Grove, 6: 706).

New Grove, 6: 707 $250-400 30 1 vol.

Gerber, Ernst Ludwig. Historish-Biographishes Lexicon der Tonkunstler... Leipzig: Breitkopf & Hartel, 1790-1792. First edition. 2 parts in 1 vol. Thick 8vo, contemp. 1/4 calf & marbled bds., edges stained blue; scuffed, joints, extremities, corners and spine ends rubbed. Scattered, generally light, foxing.

Gerber, Ernst Ludwig (1746-1819). German music scholar, organist and composer. Gerber’s work is a main source for musical knowledge of the late 18th-Century. He gives one of the earliest printed account of Mozart’s life & work (vol. 1, columns 977-79).

New Grove, 7: 247-248. $500-800 31 2 vol.

Choron, Al(exandre Etienne); Fayolle, F. Dictionnaire Historique des Musiciens. Paris: Valade; Lenormat, 1810-1811. First edition. 8vo, contemp. 1/2 calf & marbled bds., morocco spine labels; rubbed & worn - but holding, hinges repaired. Scattered light foxing. $200-300

32 2 vols.

Busby, Thomas. A General History of Music from The Earliest Times to the Present. London, 1819. First edition? 8vo, contemp. gilt-paneled polished brown calf, spines gilt, morocco spine labels; scuffed, spines rubbed & detaching, front cover of vol. 1 detached. With type-set music examples. Internally clean.

Partly a compilation from Burney’s and Hawkins’ histories. Of value to present-day scholarship for its original biographies of the author’s contemporaries. $200-300 Descartes on Music 33 1 vol.

Descartes, Rene. Excellent Compendium of Musick with Necessary and Judicious Animadversions Thereupon. London: Thomas Harper for Humphrey Moseley & Thomas Heath, 1653. First English edition. 2 parts in 1 vol. Sm. 4to, 20th-Century 1/2 tan calf & marbled bds., olive morocco spine label. Scattered, generally light, foxing. Title page & first few signatures moderately browned & occasionally dusty, trimmed - no loss of ptg. The translator’s name, “Lord Brouncker,” supplied in ink on title page. Diagrams and musical examples throughout.

“The Compendium [first published in 1650] is both a treatise on music and a study in methodology... The work is noteworthy as an early experiment in the application of an empirical, deductive, scientific approach to the study of sensory perception...[it is] among the earliest attempts to define the dual relationship between the physical and psychological phenomena in music” (New Grove, 5: 387).

The Animadversions, Lord Brouncker’s work, first published above, include a commentary and criticism of the compendium and a suggestion for a New Musical Temperament (New Grove, 3: 339) as well as an illustration of a lute.

Wing R-1129 $1,000-1,500

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34 34 1 vol.

Della Porta, Persio. L’Arianna Musicale... Naples: Socii Dom. Ant. Parrino, e Michele Luigi Mutio, 1696. First edition. 4to, old vellum; scattered wear. 6 preliminary leaves, incl. title-page, 1-88, (4) pp.

Circular dampstain on title page - not affecting text, scattered light foxing. Last signature (Index) slightly browned. Title page in red & black, musical examples in red & black, woodcut illus. of the musical theoretical hand.

RISM, 6: 257, locating 5 copies; Eitner, 8: 30. $1,000-1,500 35 1 vol.

Coferati, Matteo: Cantore Addottrinato in Tutte le Regole del Canto Corale. Florence: M. Nestenus, A. Borghigiani, 1708. Third, enlarged edition. 8vo, old full black morocco, clasps. Music printed in chant notation, woodcut illus. Scattered light foxing, trimmed - no loss of text. Bound with: Manuale degli Invitatorj. Florence, 1718. Second edition. Early ink stamp on title. Music printed in chant notation.

Trimmed - no loss of ptg. Bookplate of the English composer and antiquarian Sir John Stainer. Manuals of rules for the effective composition and performance of church music. $400-600

36 2 vols.

Tartini, Giuseppe. Trattato di Musica, Secondo la Vera Scienza dell Armonia. Padua: Stamperia del Seminario... Giovanni Manfre, 1754.

First edition. 4to, contemp. vellum, morocco spine labels, blue sprinkled edges; light wear, labels scuffed. Fold. plate, musical examples & figures in text. Errata, incl. orig. printed label. Internally clean & crisp. Minor scattered light foxing. Armorial book plate of George Digby Scott on front paste-downs.

Tartini, Giuseppe (1682-1770). Italian composer, violinist, teacher and theorist, author of a noteworthy work on violin playing as well as two major treatises.

New Grove, 18: 587 $1,200-1,800

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10/19/08 Doni’s Rediscovery 37 2 vols.

Doni, Giovanni Battista. Lyra Barberina Amphichordos: Accedunt Eiusdem Opera,... Florence: Typis Caesareis, 1763. First edition. Folio, 19th-Century 1/4 calf & bds., black morocco spine labels; carefully repaired at head of spine, joints stressed. With engraved frontis. portrait, 8 engraved plates (5 fold.), engravings in text, many typeset music examples. Minor dust markings to pp. 381/382 in vol. 1, occasional minor dampstaining & slight browning in vol. 2, but a fine, crisp, untrimmed copy. Leaf size 14 1/4 x 9 5/8 inches (360 x 245 mm).

First collected edition of the works of the 17th-Century Italian classicist, philologist and music theorist. He dedicated himself to the rediscovery of [ancient] Greek music and the revival in modern practice of the ancient Tonoi and genera. As an offshoot of this investigation he reviewed the history of modern music drama and wrote... critiques of earliest styles of musical pastoral (See New Grove 5: 550).

Hirsch, 1: 151; Gregory & Bartlett, 1: 76; New Grove, 5: 552 $3,000-5,000

38 1 vol.

Serre, J(ean) A(dam). Observations sur les Principes de l’Harmonie.

Geneva: H.A. & J. Goose, 1763. First edition. 8vo, contemp. full giltpaneled speckled calf, spine richly gilt; rather scuffed, front joint cracked. Some dampstaining to bottom fore-edge margins of title & first few signatures.

Serre, Jean Adam (1704-1788). Swiss physicist, chemist, painter and music theorist “[His] writings on music delt primarily with the methodological aspects of the important theoretical ideas of his day...[His thought] influenced the works of... Rousseau, J.A. Hiller [et al.]” (New Grove, 17: 188). $300-500

37

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10/19/08 Mozart’s Teacher 39 2 vols.

Martini, Giambattista. Esemplare Ossia Saggio Fondamentale Pratico di Contrappunto Sopra il Canto Fermo. Bologna: Lelio dalla Volpe, 1774-[1775]. 4to, modern bds. Light to occasionally moderate foxing throughout, bottom fore edge corners of vol. 1 browned.

Numerous type-set musical examples. Unopened.

Martini, Giovanni Battista (1706-1784). Italian writer on music, teacher and composer. “Refered to at his death as ‘Dio della musica de nostri tempi,’ he is one of the most famous figures in 18thCentury music. Mozart & J.C. Bach were among his pupils. In addition to his activities as a teacher and composer, Martini was a prolific historian and theorist. His two great works are the Esemplare Osssia... and the Storia della Musica. The Esemplare provides an illustration of Martini’s pedagogical method. The presentation of many examples of Renaissance and Baroque music as models and starting-points for theoretical and historical discussion” (New Grove, 11: 724).

New Grove, 11: 725; Eitner, 6: 356; [Hirseh I, 366]. $1,200-1,800 40 1 vol.

Belli, Lazaro Venanzio. Dissertazione Sopora Li Preggi del Canto Gregoriano. Frascati, 1788. First edition. 4to, contemp. 1/2 vellum & bds.; moderate wear, minor dampstaining. Occasional internal dampstaining, scattered light to moderate foxing. Musical notations, tables, figures in text. $200-300 41 1 vol.

Armonici Erudimenti. Florence: Ant. Gius. Pagani, 1790. 4to, old flexible bds. Moderate internal foxing & spotting. Title leaf, dedication leaf, 1-24 pp. Musical title vignette, musical examples. A basic work on the rudiments of harmony. $200-300

42 1 vol.

Kirnberger, Johann Philipp. Anletiung zur Singekomposition mit Oden in verschiedenen Sylbenmassen begleitet... Berlin: George Jacob Decker, 1782. First edition. Small oblong folio, contemp. (orig?) floral bds., calf spine & corners; extremities worn. 1 f (title), 85, [1]. Colophon: “Leipzig... Breitkopf.” Numerous musical examples with title vignette of a canon attributed to C.P.E. Bach, its first four notes spell B-A-CH. Scattered light foxing & offsetting.

Kirnberger, Johann Philipp (1721-1783). German theorist and composer. He was among the most significant of a remarkable group of theorists, centered in Berlin, which included Quants, C.P.E. Bach, and Marpurg. He founded the Amalienbibliothek which became an important repository of Bach manuscripts. Kirnberger taught Zelter, who later stimulated Mendelssohn’s interest in Bach.

Anleitung zur Singcomposition contains a discussion of poetic meter and its relationship to the vocal composition followed by 53 complete vocal works to illustrate the text.

New Grove, 10: 81 $600-900 43 1 vol.

Hiller, Johann Adam. Kurze und Erleichterte zum Singen. Leipzig: J.F. Junius, 1792. First edition. 4to, old paper bds.; occasionally blistered.

Type-set musical examples. Internally generally clean. Ex-library ink stamp on title-page, ink stamp & control number on verso of title.

Hiller, Johann Adam (1728-1804). German composer and writer on music. “Hiller’s writings on singing reveal an excellent teacher,...

These didactic writings went hand in hand with his work in the concert life of Leipzig, and their long-term aim was to raise the standard of German singing...” (New Grove, 8: 566).

New Grove, 8: 568. $300-500

VIOLIN INSTRUCTION & C Lots 44-49 44 1 vol.

[Prelleur, Peter.] The Art of Playing on The Violin. London, no date, [ca 1750]. 8vo, modern bds. Frontis., fold. plate. Engraved title, text & music. Internally clean. Frontis., title leaf, 1-48 pp. Slightly trimmed.

Chapter V of Peter Prelleur’s The Modern Musick-Master, London, 1731. The imprint of the above reads in full: “Engraved, Printed and Sold at the Printing-Office in Bow Church-Yard London, Where Books of Instruction for any Single Instrument may be had. Price 1s 6d.”

See Boyden, The History of Violin Playing, 246, n4, 320, n7. $250-400

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10/19/08 46 1 vol.

Young, Matthew. (Bishop of Clonfert.) An Enquiry into the Principal Phaenomena of Sounds and Musical Strings. Dublin: Joseph Hill, College Printing-House, 1784. First edition. 8vo, contemp. calf, spine gilt, red morocco spine label; occasionally blistered. Fold plate.

Internally clean. Presentation copy, inscribed & signed by Young on front free endpaper recto. $500-800 Cartier’s Violin Collection 47 1 vol.

Cartier, Johann Baptist. L’Art du Violon ou Division des Ecoles Choisies dans les Sonates Italienne, Francois et Allemandes. Paris: Imbault (pasted over the original imprint of Decombe), no date [1803].

Third edition, considerably enlarged. Folio, late 19th-Century 1/4 calf & marbled bds.; scuffed, occasionally rubbed. 2 pp., 335 eng. pp., 2 fold. plates joined together. Trimmed - no loss of ptg.

This volume contains a comprehensive selection of sonatas and simple movements composed by Italian, French, and German masters of the 17th & 18th-Centuries. Cartier included both ms. and early printed editions and he salvaged a number of masterpieces from oblivion. Composers represented include Bach, Leopold Mozart, Tartini, Telemann, Geminiani, Valantini, Vivaldi, et. al. (see Grove, 3: 839). $800-1,200

45 Geminiani’s Violin Treatise 45 1 vol.

Geminiani, Francesco. The Art of Playing on The Violin. London, 1751.

First edition. Folio, 19th-Century 1/2 morocco & marbled bds.; scuffed. Engraved title & license leaf, 1-9 (10) letter press pp., 1-51 pp. of engraved music. Title page moderately browned & occasionally dust soiled, other scattered, generally light, foxing.

Geminiani, Francesco (1687-1762). Italian violinist, composer and theorist. “By far the most famous and influential of Geminiani’s treatises was The Art of Playing on The Violin. The first violin treatise addressed to advanced players and based on the practice of professional violinists, especially those in the Italian tradition of Corelli and his pupils” (New Grove, 7: 228).

New Grove, 7: 229 $2,000-3,000

48 1 vol.

Spohr, Louis. Violin-Schule. Vienna: Tobias Haslinger, [1832]. First edition. Plate no. T.H. 6050. Folio, modern bds., orig. printed green front wrapper mounted to front cover. Some, mostly minor, dust soiling. Lithographic frontis. portrait, engraved title-leaf, 3 engraved plates, (1)-250 pp. of engraved text & musical examples. Light to moderate spotting & dust soiling.

Spohr, Ludwig (1784-1859). Celebrated German violinist, composer, and conductor. “His violin method,..., documents his importance as a teacher. Numerous violinists from all over the world came to him for instruction, the most famous being Hubert Ries, Ferdinand David and Spohr’s grandson August Wilhelm J.” (New Grove 18: 11). $500-800

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10/19/08 49 1 vol.

Spohr, Louis. Louis Spohr’s Celebrated Violin School, Translated from the Original... by John Bishop. London: R. Cocks, no date [ca 1843]. First English edition. Plate no. 5077. Folio, modern 1/4 maroon morocco & bds., spine gilt, brown morocco spine label. Two lithographic frontis. portraits of Spohr, 1f. (title), 1f. (list of patrons), 4ff, 235, (1) engraved pp. of text & musical examples, 3 engraved plates. Small repairs to first few leaves, some internal smudging.

Spohr, Ludwig (1784-1859). German violinist, composer, and conductor. “His violin method,..., documents his importance as a teacher. Numerous violinists from all over the world came to him for instruction, the most famous being Huber Ries, Ferdinand David and Spohr’s grandson August Wilhelm J.” (New Grove 18: 11). $250-400 For Leopold Mozart, see lots 227 & 228

MUSICAL ALMANACS & WORKS ON MUSIC Lots 50-56 50 1 vol.

Recueil des Opera, des Balets, & des Plus Belles Pieces en Musique.

Amsterdam: Abraham Wolfgang, 1690. Tome premier, vol. 1 (of 2) only. 12mo, contemp. calf, gilt-paneled spine; rubbed & worn but holding. Additional engraved part titles: Les Fetes de L’Amour et de Bacchus; Psyche; Cadmus et Hermoine; Alcestte; Thesee; Atys.

Each part with title page, engraved frontis., separate pagination.

Internally clean.

NUC NR0102038 $250-400 51 3 vols.

Les Spectacles de Paris ou Calendrier Historique & Chronologique des Theatres... pour L’anee(s) 1786, 1787, An VIII de la Republique [1799].

Paris: Duchesne, [1782, 1787, 1799]. 12mo, orig. wrappers, occasional wear. Internally generally clean. All untrimmed, leaf size 5 1/2 x 3 inches (140 x 76mm). An VIII with 1/2 title. Each in protective sleeve.

Each a contemporary, yearly record of musical, operatic, theatrical & dance performance in Paris. An VIII, titled “Almanack des Spectacles...” $400-600 52 1 vol.

I.R. Teatro alla Scala Almanacco Oper l’Anno 1822. Milan, [1821].

24mo, orig. gilt-decorated red bds.; scuffed, casing loose. Title vignette, engraved calendar with vignettes, 6 hand-colored plates. $120-180

53 10 vols.

Bulow, Hans von: Briefe und Schriften.Leipzig: Breitkopf and Hartel, 1888-1908. Edited by Marie von Bulow. Second ed. of vols. 1-2, first ed. of vols. 3-8. 8 vols. 12mo, orig. 3/4 morocco & marbled bds., edges stained red; occasionally scuffed. Photogravure portraits. *Ausgewahlte Schriften, 1850-1892. Leipzig: Breitkopf & Hartel, 1911.

First edition. 2 vols. 12mo, orig. cloth & marbled bds.; moderate edge wear.

Bulow, Hans Guido, von (1830-1894). German conductor, pianist, writer, first husband of Liszt’s daughter Cosima, who left him for Richard Wagner. $150-250 54 1 vol.

Kelly, Michael. Reminiscences of Michael Kelly of King’s Theatre, and Theatre Royal Drury Lane, including a Period of Nearly Half a Century; with Original Anecdotes... New York: J. & J. Harper, 1826. First American edition. 8vo, orig. bds., modern green calf spine & corners. Minor dampstaining to title page & front matter, scattered light foxing. Untrimmed. Published in the same year as the English edition. Perhaps the most famous autobiography of an 18th-Century opera star.

Kelly, Michael (1762-1826). Irish tenor, composer, theatre manager and music publisher... he create[d] the parts of Don Curzio and Don Basilio in Le Nozze di Figaro, [and] met most of the great composers of the day... In his Reminiscences he left a vivid picture of his acquaintance with Mozart... (see Grove Opera, 2: 973-76). $120-180 55 1 vol.

Gautier, Theophile, et al. Les Beautes de l’Opera ou Chefs-D’Oeuvre Lyriques, Illustres par les Premiers Artistes... Paris: Soulie, 1845. 4to, contemp. 1/2 green morocco & pebbled cloth, gilt, gilt-paneled & lettered spine, a.e.g., scuffed, joints & extremities rubbed. With 10 steel-engraved portraits of Prima Donnas, tissue guards, numerous wood-engraved vignettes & border decorations. Internally clean, foxing to tissue guards. $250-350 56 1 vol.

17 vols. Almanach(s) Musical pour 1854-1870. (Paris), (1853-1869). 117. 8vo, orig. printed pictorial wrappers; scattered minor wear.

Numerous wood-engraved vignettes & portraits, printed music, adverts. Scattered light foxing. In custom blue cloth clamshell box, morocco spine label. An illustrated, day-by-day record of the music world of Paris and its environs. Crisp & attractive. $300-500

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10/19/08 EARLY MISSALE, TRACTS, COLLECTIONS & C Lots 57-63 57 1 vol.

Missale Romanum. Venice: (Luceantonii Juncte), 1544. Folio, contemp. paneled & blind-stamped calf over wooden bds.; rebacked, orig. spine & covers laid down, clasps gone. Printed in red & black, printer’s devices, musical notes, decorated initials, woodcut illustrations - incl. full page Crucifixion. Some, mostly marginal, dampstaining & mild soiling. Minor worming to front matter. (xiv), (1)-222 leaves, leaf size 12 3/4 x 8 1/4 inches (324 x 210 mm). $1,200-1,500

58 The Most Important Source about Ancient Greek Music 58 1 vol.

Aristoxenus. Harmonicorum Elementorum Libri III. Venice: Vincenzo Valgrisi, 1562. First edition. Translated by Antonio Gogava. 4to, 18th-Century 1/2 calf & bds., spine gilt; extremities scuffed. Printer’s wood cut devices, decorated initials, tables & diagrams. Two small repairs to title page. Some dampstaining, a few old ink annotations.

Leaf size 8 3/8 x 6 1/8 inches (212 x 156mm).

The editio princeps of the most important source of information about ancient Greek music. “A pupil of the Pythagoreans and later of Aristotle, born about 350 B.C..., Aristoxenus is the most important of the Ancient Greek writers about music” (Oliver Strunk, Source Readings in Music History). The Theory of Greek Scales, as it survives, is largely the work of Aristoxenus.

Adams A-1973; New Grove, 1st ed., 1: 591-592 $3,500-5,000

57

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10/19/08 60 1 vol.

(Playford, John, publisher). Select Musical Ayres and Dialogues, in Three Bookes. London: T.H. for John Playford, 1653. Three parts in 1 vol. Second edition, enlarged. Small folio, modern 1/2 morocco & bds. Copper engraved musical instruments vignette on title, decorated initials, typeset music. Internally clean, trimmed - a few heads shaved close. Complete. Includes compositions by John Wilson, Charles & Edward Colman, Henry and William Lawes, et al.

John Playford has been called “The Father of English music publishing.”

Wing W-2911 $3,000-5,000

59 59 1 vol.

Zarlino, Gioseffo. De Tutte L’Opere... Il Primo Volume. Contenente L’Istitutioni Harmoniche. Venice: Francesco de Franceschi Senese, 1589. Folio, contemp. full vellum; light wear, spine ends slightly worn, red sprinkled edges. Scattered light to moderate foxing, some spotting to title page, a few leaves browned, manuscript notation to lower margin of pp. 301/302 excised, old ink signature on title page obscured. Woodcut diagrams and musical examples throughout.

The first volume of the collected works of Zarlino, published in four volumes between 1588 and 1589. This volume incorporates the revisions Zarlino made following the publication of the first edition of L’Istitutioni Harmoniche in 1558.

Gioseffo, Zarlino (1517-1590). Italian theorist and composer. “He was a leading theorist of counterpoint in the 16th-Century. In his book Le Istitutioni Harmoniche, a landmark in the history of music theory, he achieved an integration of speculative and practical theory” (New Grove 20: 646).

Adams 2-74; [Wood 1621] $1,200-1,800 60

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10/19/08 61

61 3 vols.

L[aujon, P. de]. Les A Propos de Societe ou Chansons. (Tomes 1 & 2); [Tome 3]: Les A Propos de la Folie ou Chansons Grotesques, Grivoies et Annonces de Parade. [Paris], 1776. First edition. 8vo, contemp. giltpaneled mottled calf, gilt floral spines, morocco spine labels, edges stained red, marbled end papers; scuffed, occasionally blistered.

With engraved title pages, 3 engraved plates, 3 engraved vignettes, tail pieces & other ornaments, letter press text & music. Some soiling to blanks. Internally crisp & clean. Armorial book plates on front free endpapers.

A collection of period songs. Includes vignette of magic lantern. $1,200-1,800

63 1 vol.

Maltitz, G.A., Freiherr von. Denkmal, den beruhmten musikalischen Kunstlern: Mozart, Beethoven, Weber, Hummel, Ries, Kalkbrenner, Moscheles, Field, Czerny. Leipzig, etc.: Schuberth & Niemeyer, no date [ca 1830]. 8vo, modern bds., orig. printed blue front wrapper trimmed & mounted on front bd. With 9 engraved portraits of the composers. Light to moderate foxing throughout.

OCLC 23595004. $200-300

62 1 vol.

(Caulfield, John, Publisher). A Collection of The Vocal Music in Shakespeare’s Plays. (London), no date, [1815]. Sm 4to, contemp. 1/2 calf & marbled bds., red morocco spine label; scuffed, joints & extremities often rubbed. Music by Purcell, Linley, John Smith, William Jackson, Charles Dibden, et. al. Engraved title, 1-79 (1), 1-16, 1-6, 1-8, 1-31, 1-17 (1), 1-4 pp. of engraved music & c. Scattered light foxing. $200-300

64 1 vol.

Auberlen, Samuel Gottlob. Lieder furs Clavier und Gesang. St. Gallen, 1784. First edition. Sm. oblong folio, contemp. vellum, gilt; rather scuffed, occasional dust soiling. Small wound to title page & front matter - not affecting text. Mostly minor scattered spotting.

Forty works for voice and keyboard accompaniment.

Auberlen, Samuel Gottlob (1758-1817). German violin virtuoso, theatre music director in Schaffhausen, organist & music director at the cathedral in Ulm, wrote oratorios, vocal, instrumental, and instructional works. $300-500

COMPOSER SCORES & C Lots 64-345

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Rare Life-Time Bach Printings 65 1 vol.

(Bach, Johann Sebastian). Sperontes [pseud. for J.S. Scholze].

Singende Muse an der Pleisse in 2 Mahl 50 oden, dere Neulsten und Besten Musicalishen Stucke,... Leipzig, 1747 [printed by J.G. Breitkopf].

8vo, modern bds. With 75 pp. of engraved & letter-press songs + 25 pp. of letter-press songs. Two letter press leaves, pp. 94-97, in facsimile on period paper, pp. 3-5 repaired with no loss of music or text. With 75 wood-cut vignettes and 101 decorative initials & other illus. Scattered old ink annotations, scattered minor ink smudges, scattered light foxing.

This collection contains rare life-time printings of two songs attributed to Johann Sebastian Bach. They are described in BWV as Anhang 40 & 41, “Ich Bin Nun Wie Ich Bin” (p. 54) & “Dir zu Liebe Wertes Herze” (p. 36). These songs were originally attributed to J.S. Bach in two manuscript sources, one by Vahrenkampff (1758), & one by the early Bach scholar and biographer, Nikolaus Forkel. The New Bach Compendium asserts that “Ich Bin Wie Ich Bin” (p. 54) is unquestionably by Bach and assigns it the number H3. Sperontes’ collection first appeared in 1736, the 1747 edition is improved & corrected.

BWV p. 619; RISM, 2: 373; Bach Compendium (1989) pp. 1650-51 $4,500-6,500

First Authorized Complete Edition of Bach’s Choral Songs 66 1 vol.

Bach, John Sebastian. Johann Sebastian Bachs Vierstimmige Choralgesange. Leipzig: Johann Gottlob Immanuel Breitkopp, 1784, 1785, 1786, 1787. Four parts in 1 vol. 4to, contemp bds., modern brown morocco back & label; generally light edge wear. With 4 title pages. Scattered foxing, title page of first part, first 2 signatures & several leaves moderately foxed & browned.

First authorized complete edition of Bach’s Choral Songs. With Foreword by C.P. E. Bach. A rare 18th-Century Bach publication, one of only nine works by J.S. Bach to reach print before 1802. An incomplete & often spurious edition of the Chorals was published in 1765 and 1766. In his foreword to this edition, containing 371 chorals, C.P.E. Bach states, “This collection of chorals has been looked through once again by me with great care after the earlier edition, and cleansed of the mistakes that had crept into it... In this new printing, the spurious chorals... have been omitted,...” [translated from the German]. Ink stamp of the Bach collector Otto Frommel on front free end paper & the signature of an early member of Frommel’s musical family on part 1 title page.

New Gove, 1: 827; Schnieder 399; Hirsch, III: 43. $6,000-10,000

66

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67 1 vol.

Bach, Johann Sebastian. Missa Quatuor Vocibus Cantanda Comitante Orchestra. Bonn: Simrock, no date, [1828]. First edition of the full score. Plate no. 2604. Sm. oblong folio, contemp. blue wrappers, old ink ownership signature on front wrapper label. 55 engraved pp., incl. title page. Ink stamp at foot of title page. Internally generally clean, occasional minor creasing & smudging. In custom 1/2 black morocco & marbled bds. clamshell box.

The G major Mass dates from Leipzig, ca. 1737-38; much of the music is drawn from earlier cantatos (nos. 17, 79, 138 and 139).

BWV 236; RISM B-434 $800-1,200 68 1 vol.

Bach, Johann Sebastian. Brandenburgishe Konzerte. Leipzig: C.F. Peters, (1947). Sm. oblong folio, 1/4 maroon morocco & marbled bds., gilt-lettered maroon morocco cover label.

First edition facsimile of the original manuscript of the Brandenburg Concertos in the Berlin State Library. $120-180

69

Treatise with First Bach Printings 69 1 vol.

(Bach, Johann Sebastian.) Marpurg, Friedrich Wilhelm. Abhandlung von der Fuge... Berlin: A. Haude & J.C. Spener, 1753-1754. First edition.

2 vols. in 1. 4to, modern vellum-backed bds., morocco spine label, edges stained red. With 62 plates of musical examples in vol. 1 & 60 plates of musical examples in vol. 2. Minor worming to plates in vol 2, several plates trimmed to upper plate-marks, scattered, generally light, foxing & browning, a few minor expert repairs.

This famous treatise contains several first printing of works by J.S. Bach. The excerpts from Book 2 of the Well-Tempered Clavier, including the Complete Fugue in D minor, BWV 87512 (Marpurg Tables XLII-XLIII) constitute the first printing of any portion of the Well Tempered Clavier. Also printed for the first time are the Kyrie from the Mass in G major, BWV 236 (Tables XLVI-XLVII), the canons a8, BWV 1072, and a7, BWV 1078. Marpurg also quotes from Bach’s the Art of the Fuge; there are musical examples from Handel, Telemann, Leclair, et al.

“The Abhandlung von der Fuge is the encylopedic and authoritative discussion of fugal practice in the late Baroque music. It is systematic in the tradition of Fux, though at the same time up to date in describing and discussing the tonal counterpoint of J.S. Bach... The many quotations from Bach’s music and the numerous references to him as the supreme master of counterpoint and fuge... contribute to the work’s historical significance” (New Grove, 11: 698).

New Grove, 11: 698; RISM Ecrits, p. 540 $4,000-7,000

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70 Lot. Bach, Johann Christian. A Favourite Overture in 8 parts for Violins, Hoboys, French Horns, with a Bass for the Harpsichord and Violoncello.

London: Walsh, no date [ca 1770]. Folio. Title page + 14 pp. of engraved music, in 10 sections of single or double leaves expertly sewn to heavy archival paper. Generally clean, crisp & attractive. In custom beige cloth clam-shell box.

Bach, Johann Christian (1735-1782). The “London Bach,” 19th and youngest surviving son of J.S. Bach. A prolific composer, immensly popular in his day, master of the Rococco style, influenced Mozart’s development. In 1762 he went to England, and produced his most successful opera, Orione, appointed music master to the Queen, with K.F. Abel he gave a famous series of London concerts. This copy bears the pencil note “Overture Orione” RISM B-248 $800-1,200 71 1 vol.

Bach, Carl Philipp Emanuel. Herrn Doctor Cramers Ubersetzte Psalmen mit Melodein. Leipzig: Verlag des Autors, 1774. First edition.

4to, contemp. decorated floral bds., later morocco spine label; occasionally scuffed & slightly soiled. Spine & edges repaired. 6 preliminary leaves, 52 pp. Light internal foxing.

Forty-two psalms translated by J.A. Cramer with music for voice & keyboard by C.P.E. Bach, “The restraint and dignity of the settings especially of the sacred poems,... and classical in the best sense rather than merely simple” (New Grove, 1: 854).

Bach, Carl Philipp Emanuel (1714-1788). The second surviving son of Johann Sebastian Bach and his first wife, Maria Barbara, the most famous and most prolific of the Bach sons, was widely esteemed as a keyboard player & theorist.

[Woguenne 196]; [Helm 733]; New Grove, 1: 860 $1,500-2,500 72 3 vols. (wrappers) Samuel Barber: Barber, Samuel. Knoxville: Summer of 1915... Reduction for The Piano by The Composer. New York: G. Schirmer, 1949. First edition. 4to, orig. printed pictorial grey wrappers; minor edge wear.

Generally crisp & attractive. * _ _. Melodies Passageres for Voice and Piano. New York: G. Schirmer, (1952). First edition. 4to, orig. printed grey wrappers. Initialed in red crayon pencil by Barber at head of front wrapper. Generally crisp & clean. * (Barber, Samuel.) Vanessa.

New York: Metropolitan Opera, 1958. World Premiere program. 8vo, orig. pictorial wrappers. Signed on front wrapper by principals Eleanor Steber, Regina Resnik and Rosalind Elias. Very slightly toned. $300-500

71

73 1 vol.

Barber, Samuel. Collected Songs. New York: G. Schirmer, (1955). First edition. 4to, orig. tan cloth; light edge wear, spine & edges slightly darkened, front hinge broken. Internally clean. $250-400 Signed by Samuel Barber 74 1 vol.

Barber, Samuel. Piano Concerto, Op. 38, Two-Piano Score. New York: G. Schirmer, (1962). First edition. Folio, orig. printed beige wrappers; bottom fore-edge corner slightly soiled. In custom 1/4 black morocco & cloth clamshell box, spine gilt.

Presentation copy, inscribed to Rudi Taubert, dated, “Jan 1- 63,” & signed by Sam(uel) Barber on title page.

This work, commissioned for the 100th anniversary of G. Schirmer, was first performed on Sept. 24, 1962 during the opening week of the Lincoln Center of the Performing Arts, Philharmonic Hall, New York. $250-400

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10/19/08 Signed & Inscribed by Barber 75 1 vol.

Barber, Samuel. The Lovers. New York: G. Schirmer, no date [1972].

First edition, piano-vocal score. Folio, contemp. black cloth; light wear, orig. wrappers preserved. Internally clean. Presentation copy, inscribed to F. Markoe Rivinus, dated, “1972,” & signed by Samuel Barber on title page.

Based on “Twenty Poems of Love and a Song of Despair” by Pablo Neruda. $300-500 76 1 vol.

Bartok, Bela. 14 Bagatellen fur das Pianoforte. Budapest; Karl Rozsnyai, no date, [1909]. First edition. Plate no. R.K. 338. Opus 6.

Folio, orig. white lettered & decorated green wrappers; slightly chipped, wrappers detached. Minor internal creasing.

“By the time the Fourteen Bagatelles, Opus 6, were written, Bartok’s expressive vocabulary was beginning to assume its definitive shape.

Years later he marked the beginning of his personal style by those pieces... The Bagatelles demonstrate many of the devices which later became an integral part of his technique...” (Stevens, H., The Life and Music of Bela Bartok, 1993).

Sz 38; Stevens p. 328; Griffiths 4 (p. 201) $250-400

77 1 vol.

Bartok, Bela. Elmut Idokbol. Budapest: Magyar Korus, 1937. First edition. Plate no. MK 321. 8vo, orig. printed & decorated pink wrappers; minor wear, glassine. Internally slightly toned. Attractive copy.

From Olden Times for Three Voices, three songs for men’s chorus, folk song adapted by Bartok.

Sz 104; Stevens p. 339; Griffiths 5.3 (p. 204) $200-300 78 1 vol.

Bartok, Bela. Concerto for Viola and Orchestra. London: Boosey & Hawkes, [1950]. First edition, full score. Plate no. B. & H. 16953.

Folio, contemp. patterned bds., pebbled red cloth spine, paper spine label; minor wear, internally clean.

Commissioned by the violinist William Primrose; prepared for publication from the composer’s manuscript by Tibor Serly; Bartok’s last composition, published posthumously.

Sz. 120; Stevens p. 341 $500-800 For Bartok manuscript, see lot 351

Beaumarchais’ Figaro 79 1 vol.

Beaumarchais, (Pierre Augustin) (Caron de). La Folle Journee, ou Le Mariage de Figaro.

Lyon, 1785. Second edition. 8vo, modern 1/2 brown morocco & marbled bds., black morocco spine label. With 4 fold. engraved plates. Scattered light foxing. Head of title page & first leaf of preface repaired - just affecting the upper edges of the penultimate “E” of “Journee” on title page. Untrimmed.

Mozart’s opera with De Ponte’s libretto based on Beaumarchais’ play premiered at the Burgtheatre, Vienna, on May 1, 1786. $1,000-1,500

79

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82 27 vols. (wrappers).

Beethoven, Ludwig von. Sonate(s) pour le Piano-Forte [1-27]... oeuvers: 2, 7, 10, 13, 14, 22, 26, 27, 28, 31, 49, 53, 79, 81, 90. No place: Offenbach, J. Andre, no date [ca 1850s - 1870s]. Plate nos. 19325930. 4to, orig. color decorated lithographic wrappers; scattered, generally light, foxing, minor edge wear. Early owner’s ink signature at head of a few front wrappers. Beethoven’s collected clavier sonatas composed 1793-95 -1814 in a handsome lithographic reprint edition by Johann Andre. $250-400

83 80 1 vol.

(Beethoven, Ludwig van.) Thematishes Verzeichniss Sammtlicher im Druck Erschienenen Werke von Ludwig van Beethoven. Leipzig: Breitkopf und Hartel, 1857. First edition. 8vo, contemp. 1/4 morocco & paper bds., gilt lettered & decorated spine, marbled edges; some edge wear, spine ends rubbed. Minor spotting to title page & front matter, but internally generally clean. Ink stamp at foot of title-page.

New Grove, 2: 410 $200-300 81 1 vol.

(Beethoven, Ludwig van.) “Resignation” [Des Kriegers Abschied].

Weiner Zeitschrift fur Kunst, Literatur, Theater und Mode. (Vienna), 1818, 1st & 2nd quarters. 2 vols. in 1. 8vo, later 19th-Century clothbacked marbled bds., morocco spine label; light edge wear. With 2 fold. plates of engraved music, incl. “Resignation” + ca. 28 plates, incl. hand colored fashion plates, architectural subjects, carriages, etc., 1 carriage plate defective. Lifetime periodical appearance of this song by Beethoven, first published in 1815.

WoO 143; Kinsky-Halm, 612-613 $600-900

Beethoven’s Violin Sonata in G 83 2 vols.

Beethoven, Ludwig van. Sonate fur Piano-Forte und Violin. Vienna: S.A. Steiner und Comp., no date [1816]. First edition, parts. Plate no.

2581. 2 vols. Folio, orig. wrappers, front wrapper of the piano-forte part engraved by A. Mueller; light dust soiling & minor edge wear to piano-forte part wrappers, top inch & bottom half of spine of pianoforte part wrappers frayed away. Very minor scattered internal foxing, untrimmed. In custom 1/2 blue morocco cloth clamshell box.

First edition, in the original parts, of Beethoven’s Violin Sonata No. 10 in G (op. 96), written in 1812. “Beethoven’s concern for lyricism deepened throughout the late period [after 1812]... a new feature is the intimacy and delicacy already apparent in the Violin Sonata in G, Op. 96...” (New Grove, 1st ed., 2: 385).

Kinsky-Halm, 269-271 $4,000-6,000

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10/19/08 Beethoven’s Op. 59 String Quartets 84 4 vols.

Beethoven, Ludwig van. Trois Quatuors pour Deux Violons, ... Oeuvre 59... Vienna: Au Bureau des Arts et d’Industrie, no date, [1808].

First edition, parts. Plate nos. 580, 584, 585. Folio, old repaired stiff wrappers (3) or later bds. (violino II part), all with new free endpapers. Engraved title & dedication to Count Razumovsky.

Internally clean. In black cloth clamshell box.

“The string quartets of Op. 59 so strained the medium, as it was understood in 1806, that they met with resistance from players and audiences alike.... Each quartet was supposed to include a Russian melody, for the benefit of the dedicatee Count Razumovsky, the Russian ambassador in Vienna. Here for the first time may be seen Beethoven’s interest in folk song.... [for the] third [quartet]...

Beethoven... wrote the haunting A minor andante in what he must have considered to be a Russian idiom” (New Grove, 2: 383).

Kinsky-Halm, 139-143 $2,500-4,000

85 Lot. Beethoven, Ludwig van. Concerto pour le Violon avec Accompagnement... Vienna: T. Haslinger, no date [ca. 1826].

Complete set of 18 parts. Folio, violino principale part in orig. slate blue wrappers, other parts unbound, all as issued. Scattered light to occasionally moderate foxing. Early bookseller’s (F.I. Rothlin) label at foot of title (Violino Primo). In custom black cloth clamshell box.

Early printing, plate no. S.U.C. 4022.H, preceded by the Arts et d’Industrie issue of 1808 (only 1 copy located in Germany), the J. Riedl issue (ca. 1815) & the Steiner issue (ca. 1822). The full score was not published until 1861.

The Concerto in D major for violin and orchestra, Op. 61, composed & first performed in 1806, is regarded by many as the greatest of all violin concertos.

Kinsky-Halm, 146-147; New Grove, 2: 395 $800-1,200

84

85

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10/19/08 86 4 vols. (wrappers or unbound).

Beethoven, Ludwig van. (String Quartet in E flat, Op. 74). Quatour pour Deux Violons, Viola et Violoncelle... Oeuv. 74 Leipzig: Breitkopf & Hartel, no date [1810]. First edition, parts. Plate no. 1609. Folio, engraved general title-wrapper, preceding first violin part, other parts without title wrappers as issued, all unsewn, spine of first violin part repaired, minor dampstaining to first violin part. Scattered light foxing, a few annotations in margins. In custom brown cloth clamshell box.

The “Harp” Quartet (so named for its extended pizzicato passages in the first movement) was commissioned by Prince Lobkowitz of Russia & composed in 1809.

Kinsky-Halm, 198; New Grove 2: 396 $800-1,200 87 1 vol.

Beethoven, Ludwig van. Messa a Quattro Voci Coll’ Accompagnamento dell Orchestra [Mass in C]. Op. 86. Leipzig: Breitkopf & Hartel, no date [1812]. First edition, full score. Plate no.

1667. Oblong folio, modern beige cloth. Good margins, minor darkening to margins. Early owner’s crossed-out ink signatures on title page.

Beethoven wrote just two overtly religious works, The Mass in C and the Missa Solemnis. The Mass in C was commissioned by Prince Nikolaus Esterhazy II to celebrate his wife’s nameday.

Beethoven was pleased with the mass, Prince Esterhzy, expecting a more traditional work, was not, “My dear Beethoven, what is it you have done here?”

Kinsky-Halm, 239; New Grove, 2: 403 $1,500-2,000 Missa Solemnis 88 1 vol.

Beethoven, Ludwig van. [Missa Solemnis, Op. 123] Missa Composita, et Serenisima Ac Eminetissimo... Opus 123. Partitur. Paris: B. Schott, 1827. First edition, trade issue, full score. Plate no. 2346.

Folio, orig. cloth-backed printed paper bds.; minor wear & occasional chipping - no loss of ptg., bdg. broken. Internally generally clean, untrimmed. Trade issue with price on front cover & without the list of subscribers. With printed Schott London ticket on front cover. In protective 1/4 vellum & bds. sleeve.

“Between October, 1822 and February, 1824, Beethoven completed three works which are in one way or another as gigantic as the Hammerklavier Sonata: The Diabelli Variations, the Mass in D (Missa Solemnis) and the Ninth Symphony” (New Grove, 2: 387).

Kinsky-Halm, 364; Fuld, revised ed., p. 187 $2,500-3,500

88

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89

Beethoven’s C-major Overture 89 Lot. Beethoven, Ludwig van. Oueverture en Ut a Grand Orchestre... Oeuvre 124. Mainz: B. Schott Fils, no date [1825]. First edition, full score & parts. Plate no. 2262. Folio, score in contemp. printed wrappers; spine repaired, some dampstaining; parts loose as issued; some creasing & soiling to parts title page, some dampstaining to score title page, occasional dampstaining, primarily confined to margins of score & parts. Without the fagotti [bassoon] parts. In custom 1/2 black straight morocco & marbled bds. fall-down box.

The C-Major Overture, Op. 124 “Di Weihe des Hauses” [Consecration of the House] was completed in 1822. Beethoven had been asked to provide music for the opening of the Josephstadt Theatre on October 3, 1822.

Kinsky-Halm, 368-369; New Grove, 1st ed., 2: 402. $3,500-5,000

90 4 vols. (wrappers).

Beethoven, Ludwig van. (String Quartet in E flat, Op. 127.) Quatour pour Deux Violons, Alto et Violoncelle... Oeuvre 127. Mainz: B. Schott; no date, [1826]. First edition, original parts. Plate no 2351. Folio, orig. sewn printed wrappers; slightly dusty, scattered light foxing.

Scattered light internal foxing. Old red numerical annotation at head of each page of music. In custom russet-brown cloth fall-down box, paper spine label.

The parts issue was published in March of 1826, the full score in June of 1826. “After completing the Ninth Symphony in early 1824, Beethoven spent the two and a half years that remained to him writing... exclusively in the medium of the string quartet. The five late string quartets [ops. 127, 130, 131, 132, 135] contain Beethoven’s greatest music, or so at least many listeners in the 20th-Century have come to feel...” (New Grove, 2: 387). Opus 127 has been called Beethoven’s crowning monument in lyricism.

Kinsky-Halm, 385 $1,200-1,800

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10/19/08 91 1 vol.

Beethoven, Ludwig van [String Quartet in B flat, Op. 130.] Troisieme Quatour pour 2 Violons, Alte & Violoncelle de Quatnois... Oeuvre 130.

Vienna: M. Artaria, no date [1827]. First edition, full score. Plate no.

M.A. 870. 4to, modern 1/4 crushed maroon morocco & marbled bds., black morocco spine label. Engraved front wrapper preserved.

Washed?

“After completing the Ninth Symphony in early 1824, Beethoven spent the two and a half years that remained to him writing... exclusively in the medium of the string quartet. The five late string quartets [ops. 127, 130, 131, 132, 135] contain Beethoven’s greatest music, or so at least many listeners in the 20th-Century have come to feel...” (New Grove, 2: 387).

Kinsky-Halm, 394-395 $1,800-2,500

A Slender Greek Maiden 92 1 vol.

Beethoven, Ludwig van. [Fourth Symphony.] Grande Simphonie en si b majeur (B dur)... dediee a Monsr, le Comte d’Oppersdorf... Op. 60.

Partition. Bonn: Simrock, no date [1823]. First edition, first issue, full score. Plate no. 2078. 4to, modern 1/4 red morocco & marbled bds.

Early owner’s ink signature at foot of title. Internally generally clean.

Without the “4eme” on the title page. Sheet size 10 1/8 x 6 1/8 inches (257 x 155 mm).

First Beethoven symphony to be first published in Germany. First edition, first issue of the full score of the symphony Robert Schumann characterized as “like a slender Greek maiden between two Norse giants” [The Third & Fifth Symphonies].

Kinsky-Halm, 143-146 $2,500-4,000

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10/19/08 Beethoven’s Fifth 93 1 vol.

Beethoven, Ludwig van. [Fifth Symphony.] Cinquieme Sinfonie en ut mineur: C Moll... Oeuvre 67, Partition. Leipzig: Breitkopf & Hartel, no date [1826]. First edition, full score. Plate no. 4302. 8vo, orig. printed russet brown wrappers; some edge wear & paper loss to spine, minor dust soiling, old, small, circular ms. numerical label at foot of front wrapper, 19th-Century London bookseller’s ink stamp at foot of front wrapper, publisher’s stamp at foot of title page.

Light to moderate foxing to title page, other scattered light foxing, some creasing to corners. Untrimmed. Lithograhic title leaf, 1-182 engraved pp. In protective chemise.

“Beethoven struggled for over four years with The Fifth Symphony in C minor (op. 67), the most loved & widely performed symphony of all time. The work seems to exemplify the defiant spirit of the human race to continue to strive against adversity” (Duval, Essential Canon of Classical Music). First performed in Vienna on December 22, 1808; the parts were published by Breitkopf & Hartel in 1809.

Kinsky-Halm, 160; Fuld, revised ed., p. 557 $2,500-4,000

94 The Pastoral Symphony 94 1 vol.

Beethoven, Ludwig van. [Pastoral Symphony.] Sixieme Sinfonie Pastorale en fa majeur: F dur... Partition. Leipzig: Breitkopf & Hartel, no date [1826]. First edition, full score. Plate no. 4311. 8vo, contemp. bds., ms. cover label; scuffed, extremities rubbed, spine chipped.

Minor discoloration to title page. Former owner’s purple ink signature at foot of title page. Publisher’s stamp at foot of title page.

Minor scattered internal smudging. Lithographic title leaf, 1-188 engraved pp.

“The Sixth Symphony (op. 68), The Pastoral, had its first performance on Dec. 22, 1808. Beethoven wanted to make certain that his auditors understood that the work was more the expression of a feeling than a tone-painting. This symphony is an homage to nature, a major inspiration for Beethoven, whose perpetual walks were indispensable to the germination and working out of his compositions” (Duval, Essential Canon of Classical Music). The parts were issued by Breitkopf & Hartel in 1809.

Kinsky-Halm, 163; Fuld, revised ed., p. 560 $2,500-4,000 93

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95 Bound for The Empress of Russia 95 1 vol.

Bellini, V(incenzo). La Straniera. Melodramma in 2 atti. Paris: Maurice Schlesinger, no date, [1829?]. First Paris edition, piano-vocal score.

Plate no. M.S. 783. Italian text. Folio, slightly later full gilt & blindtooled armorial straight-grained scarlet morocco, a.e.g., inner dentelles gilt; occasionally scuffed, edges & spine ends often slightly rubbed. Lithographic vignette title page by Engelmann, 153 engraved pp. of the score. Scattered, generally light internal foxing, but generally crisp and clean, on heavy paper.

Presentation copy from the publisher, Maurice Schlesinger, bound for Charlotte Louise, wife of Nicholas I, Empress of Russia from 1825-55. With chromolithographic presentation leaf, bound preceding the title page, by Englemann, to the Empress from Schlesinger, who styles himself, “Directeur de la Gazette Musical de Paris,” which he published under that name in 1834 & 1835.

The opera was first performed on February 14, 1829 at the Milan Scala, the vocal score was first published in Milan in 1829.

Bellini, Vincenzo (1801-1835), one of the most important opera composers of the 19th-Century.

New Grove, 1: 446-455; New Grove Opera, 1: 389-397 $1,200-1,800

96 1 vol.

Bennett, William Sterndale. Die Mai-Konigin [The May Queen]...

Op. 39. Leipzig: Fr. Kistner, no date [1861]. First German edition, full score. plate no. 2500. test in English & German. Folio, orig. printed wrappers; moderate dust soiling, some chipping to edges, Novello Ewer & co. ink stamp at foot of front wrapper. Scattered internal spotting. Commissioned for the Leeds Festival of 1858.

Bennett, Sir William Sterndale (1816-1875). English composer, an intimate of Schumann and Mendelssohn. He ranks as the most distinguished English composer of the Romantic school (see New Grove, 2: 499-504).

Williamson, Op. 39, E.8 $150-250 97 1 vol.

Berg, Alban. Wozzeck. Oper in 3 Akten (15 szenen)... Op. 7. Vienna: Universal-Edition, no date [1925]. First trade edition, piano-vocal score. Plate no. U.E. 7382. Folio, orig. green cloth, printed cover label; light wear. Early owner’s ink markings on title page. Internally clean. Libretto by Berg after Georg Buchner’s 1836 drama Woyzeck.

“Wozzeck was the most-written-about opera in the last three quarters of the Twentieth Century... from Buchner’s story, Berg created one of the major intellectual achievements in music history.

He composed this massively complicated atonal work with classical forms, in a structural organization that is endlessly fascinating” (Duval, Essential Canon of Classical Music). The opera premiered at The Berlin Staatsoper on December 14, 1925. Berg published the vocal score privately in Dec. of 1922. $200-300

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10/19/08 Berlioz’ Summer Nights 98 1 vol.

Berlioz, Hector. Die Sommer Nachte (Les Nuits d’Ete). Partitur, Opus 7.

Winterthur: R. Biedermann; Leipzig: Fr. Hofmeister; Paris: S. Richault, no date, [1856]. First edition, first issue of the full orchestra score of the complete work. Plate no. 2, 2 & 3 on title page. Text in French & German. 4to, modern marbled bds. Some dust soiling & darkening to title page, institutional ink stamp on title page & margins of a few music pages, scattered light foxing, upper corner of last leaf repaired.

Likely Berlioz’ highest achievement in song, The Nuits d’Ete of 184041 are six settings of poems by Gautier, originally composed for simple voice with piano, but orchestrated with some transpositions for different voices in 1856. See Grove, 2: 597.

Hopkinson 25D $350-500 99 1 vol.

Berlioz, Hector. L’Enfance du Christ. Paris: S. Richault, no date [1855]. First edition, piano-vocal score. Plate no. 11, 277 R on title, 11607 R throughout. Opus 25. Text in French & German. Tall 8vo, modern 1/2 brown morocco & bds., black morocco spine label.

Frontis. portrait of Berlioz by Charpentier after Prinzhofer. Light to moderate foxing throughout, scattered annotations & underscoring.

Berlioz’ dramatic choral works constitute a heterogeneous genre entirely characteristic of his faith in expressive truth (see New Grove, 2: 59).

Hopkinson 56D. $500-800 100 1 vol.

Berlioz, Hector. Collection de 32 Melodies. Paris: S. Richault, no date [1863]. First edition. Plate no. R13682. Tall 8vo, later cloth & marbled bds.; some wear. With additional lithographic vignette title.

Some dampstaining to front & back matter. Title page, vignette title & table detached.

Jules Massenet’s copy, signed by him at head of p. 1 - the first page of music.

Hopkinson 66A $120-180

101 1 vol.

Berlioz, Hector. Beatrice et Benedict, Opera en Deux Actes. Imite de Shakespeare. Paris: G. Brandus & S. Dufour, no date [1863]. First edition, piano-vocal score. 4to, contemp. red pebbled cloth & bds.; occasionally scuffed, edges often rubbed. Vignette title. Former owner’s ink stamps on title page. Scattered light internal foxing.

“His last opera was an opera comique, composed almost as a relaxation after the travail of Les Troyens. Beatrice et Benedict was begun in 1860 and first performed in 1862. Berlioz made his own libretto from Shakespeare’s Much Ado About Nothing,.... ‘It is a caprice written with a point of a needle,’ in his own words” (Grove 2: 594).

Hopkinson 63A $300-500 Signed by Bernstein 102 1 vol.

Bernstein, Leonard. An Album of Songs New York: G. Schirmer, 1974.

First edition. 4to, orig wrappers; minor edge wear & creasing. Signed

by Bernstein on front wrapper. $200-300 Signed & Inscribed by Bernstein 103 1 vol.

(Bernstein, Leonard.) Sennets & Tuckets: A Bernstein Celebration.

Boston: Boston Symphony Orchestra; David R. Godine, (1988). First edition. 8vo, orig. green cloth, orig. green cloth slipcase. Frontis. portrait, other photo illus. Presentation copy, inscribed & signed by Leonard Bernstein on 1/2 title. Near Fine. $300-500 104 2 vols.

Bishop, Henry R.: Mora’s Love or The Enchanted Harp, a Favorite Pastoral Romance... The Whole of The Music Composed & Arranged for The Piano Forte. London, no date [1809]. First edition. Folio, modern marbled bds. Wide margins, some dampstaining. With vignette of a harp on title page. First performed at the King’s Theatre on June 15, 1809. * Tamerlane et Bajazet, The New Grand Heroic Ballet... Arranged for The Piano Forte. London: Pearce, no date [1806]. First edition.

Folio, modern cloth. Minor darkening & staining to title page, light foxing. First performed at King’s Theatre, Haymarket, 1806.

Bishop, Sir Henry Rowley, (1786-1855). English composer. ‘In his day enjoyed a commanding reputation as the guardian of the best traditions of English song, and for a time he kept English opera alive almost single-handed’ (New Grove, 2: 741-43). $250-400

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10/19/08 105

Signed & Inscribed by Bizet 105 1 vol.

Bizet, G(eorges). La Jolie Fille de Perth. Opera in 4 Actes. Paris: Choudens, no date [1868]. First edition, piano-vocal score. Plate no.

AC 1523. 4to, contemp. 1/2 purple brown morocco & marbled bds., spine gilt; occasionally slightly scuffed, orig. printed pictorial wrappers preserved (bottom fore-edge corner repaired with some loss of text, light dust soiling). Minor darkening to edges of title page & front matter.

Presentation copy, inscribed & signed by Georges Bizet on the title page.

With a libretto by J.H. Verony de Saint-Georges and J. Adenis, after Sir Walter Scott’s The Faire Maid of Perth. The full score was not published until c. 1891.

Inscribed scores by Bizet are rare.

New Grove, 2: 762; Grove Opera, 1: 489 $2,000-3,000 106 1 vol.

Bizet, Georges. Patrie, Ouverture Dramatique pour Grand Orchestre.

Paris, no date [1874]. First edition, full score. Tall 8vo, contemp. marbled bds., rebacked(?), red morocco spine label. Internally generally clean.

Presentation copy, inscribed to Jules Massenet & signed by Georges Bizet at head of title-page. The title page also has a printed dedication to Massenet.

Bizet composed this dramatic overture in the winter of 1873-74. Its main theme was drawn from Act V of his uncompleted opera Don Rodrigue. After its well-received performance, conducted by Pasdeloup on Feb 15, 1874, Bizet turned his full attention to Carmen.

New Grove, 2: 762 $800-1,200

107 1 vol. (wrappers) Bloch, Ernest. Macbeth, Drame Lyrique en Sept Tableaux. Paris: Societe Musical G. Astruc & Enoch, 1910. First edition, piano-vocal score. Lg. 4to, orig. wrappers; front wrapper detached, some chipping to edges, spine darkened. Internally generally clean, ink stamp at foot of title page. Presentation copy, inscribed & signed by Ernest Bloch on front blank. Also signed by the librettist Edmond Fleg.

Bloch’s only published opera. $200-300 108 1 vol.

Blow, John. Amphion Anglicus. A Work of Many Compositions...

London: William Pearson, for The Author, 1700. First edition. Folio, old calf & bds.; worn & rubbed, front cover detached, head of spine defective. Frontis. portrait, title in red & black, wood-cut initials, type-set music. Scattered light foxing, trimmed - no loss of printing, small tear to frontis. (not affecting image).

Blow, John, (1649-1708). English composer and organist, his pupils included William Croft and Henry Purcell.

Wing B-3353 $500-800

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10/19/08 Boccherini’s Quatuors 109 4 vols. (wrappers) Boccherini, Luigi. Six Quatuors a Deux Violons, Viole, et Basse Obliges... Oeuvre XXXII. Vienna: Artaria, no date [1781]. First edition, parts. Folio, old blue wrappers; light wear. Floral decorated engraved titles. Scattered light internal foxing, institutional ink stamp on 3 part titles, & front blank of the remaining part, but internally crisp & attractive. In custom black cloth fall-down box.

Boccherini, Luigi (1743-1805). Italian composer & cellist, prolific composer, particularly of chamber music, chief representative of Latin instrumental music during the Viennese classical period.

Gerard 195-200; New Grove, 2: 829 $1,500-2,500

110 12 vols.

Boccherini, Luigi. Collection des Quintetti de Boccherini pour Deux Violins, Alto et Deux Violoncelles. Paris: Janet et Cotelle, no date [1818-1823]. First edition. Plate nos. TI 1037, T2 1038. Folio, contemp. blue-green paper bds., parchment backs and corners, edges stained yellow; occasionally scuffed, spines darkened, very occasionally blistered, binder’s ticket (Relie par Mandar Fils). Frontis. portrait of Boccherini, decorated engraved titles. Internally generally clean, small tear in middle of fore-edge of pp. 81/82 of vol. 1, violino primo, 18 - some loss of engraved music.

The complete edition of Boccherini’s Quintets, with 93 quintets, 12 of which had not been printed before. See Yves Gerard, pp. 287-91, mentioning a list of 171 original subscribers, which may not have been bound in these vols. $1,500-2,500

109

111 1 vol.

Boito, Arrigo. Mefistofele, Opera di... Milan: Ricordi, no date [1875].

First edition, piano-vocal score. 4to, contemp. red bds., modern red cloth spine; light wear. Title in red & black. Light foxing to title page & front matter, minor offsetting to music. Presentation copy, inscribed & signed by Boito, “Al Signor U. Levi, in segno di riconoscente amicizia. Arrigo Boito, 1875.”

Boito’s only opera failed at its premiere at La Scala in 1868; the revival of a much-revised and greatly abbreviated Mefistofele in 1875 was well-received in Bologna. Boito used Goethe’s version of Faust as the basis for his work, an admirer of Richard Wagner, like him he wrote his own libretto.

The original form of the opera was never printed, this 1875 pianovocal score of the revised version is the first edition.

Boito, Arrigo (1842-1918). Italian librettist, composer, poet & critic.

Collaborated as a librettist with Verdi, Ponchielli, et al.

New Grove, 2: 867 (giving pub. date of 1876); [Loewenberg 997] $600-900 112 1 vol. (wrapper).

Borodin, Aleksander P. Ouverture, Danses et Marche pour Grand Orchestre, Tirees de l’Opera, “Le Prince Igor.” Leipzig: M.P. Belaieff, 1889. First edition, later issue. 4to, orig. wrappers; slightly browned & spotted. Internally slightly browned.

At his death in 1887, Borodin left his opera Prince Igor unfinished.

Completed by Rimsky-Korsakov and Glazunov, it was first performed in St. Petersburg on November 16, 1890.

New Grove, 3: 61 $250-400

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113

113 1 vol.

Boyce, William. Twelve Sonatas for Two Violins; with a Bass for the Violoncello or Harpsichord. London: I. Walsh for The Author, 1747.

First edition. Folio, unbound. Complete with the list of subscribers & all engraved musical parts. With 3 title pages. Boyce’s ink control mark at foot of first title page, early owner’s ink signature at foot of each title-page. Light scattered foxing to titles, expert repair & minor dust soiling to second title page. Internally generally clean. In 14 unbound gatherings, spine of each gathering reinforced. In custom modern 3/4 calf and marbled bds. clamshell box.

Boyce, William (1711-1779). English composer and organist.

“Eminent equally as a composer for the church and the theatre, he has claims to be regarded as the leading English representative of the late Baroque style,...” (New Grove, 3: 138).

New Grove, 3: 143 $2,000-3,000

114

Brahms’ Op. 1, Presentation Copy Signed & Inscribed 114 1 vol.

Brahms, Johannes. Sonate (C dur) fur das Pianoforte, Componirt und Joseph Joachim... Op. 1. Leipzig: Breitkopf & Hartel, no date [1853].

First edition, pre-publication issue, complete. Plate no. 8833. Folio, orig. printed tan wrappers; minor creasing & light soiling. Minor internal marginal smudging, a few pencil annotations. Lacking back wrapper? In custom 1/4 red morocco & cloth clamshell box.

Brahms’ first published work.

Presentation copy, inscribed by Brahms to Arnold Wehner (music director in Gottingen & close friend of Brahms & Joachim), dated, “Hamburg Dec. [18]53,” and signed whimsically by Brahms, as “Der Junge Kreisler” at foot of front wrapper.

See Hofmann pp. 2-3 & McCorkle p. 3; New Grove, 3: 175 $6,000-10,000

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10/19/08 115 1 vol.

Brahms, Johannes. Sonate (C dur) fur das Pianoforte... Op 1. Leipzig: Breitkopf & Hartel, no date [1853]. First trade edition. Plate no.

8833. Folio, disbound, lacking color wrappers? Scattered light to occasionally moderate foxing, a few short close tears at margins.

(1)-31, (1) pp.

Trade issue of Brahms’ first published work.

Hofmann pp. 2-3; McCorkle p. 3; New Grove, 3: 175 $1,000-1,500 116 1 vol.

Brahms, Johannes. Variationen fur das Pianoforte Uber ein Thema von Robert Schumann, Frau Clara Schumann Zugeeignet... Op. 9. Leipzig: Breitkopf & Hartel, no date [1854]. First edition. Plate no. 9001.

Folio, orig. self-wrappers; scattered, generally light, foxing. In protective cloth portfolio.

Dedicated to Clara Schumann, Brahms sent Clara the manuscript of the “Variations” a few days after the birth of her last child; he called them “Little Variations on a Theme by Him Dedicated to Her.” Provenance: Tyson Collection.

Hofmann pp. 20-21; McCorkle p. 28; New Grove, 3: 175 $800-1,200 117 Lot. Brahms, Johannes. Quintett fur Pianoforte, Zwei Violinen, Viola und Violoncelle... Op. 34. Partitur u. Stimmen. Leipzig & Winterthur: J. Reter-Beidermann, no date, [1865]. First edition, full score & parts.

Plate no. 435. Folio, modern green cloth; light wear. Full score in orig. color lithographic wrappers sewn into cloth casing, parts loosely inserted. Some dust soiling to wrappers of score, 2 ink stamps at foot & owner’s ink signature at head of wrappers, glue residue to spines of parts, chip to upper right corner of violin I part, pp. 1/2 - no loss of ptg., scattered light foxing.

Brahms’ F Minor Piano Quintet, Op. 34 originated in 1862 as a string quintet with 2 cellos, in imitation of Schubert’s identically scored work; Brahms revised it several times, following Clara Schumann’s strong suggestions, until it achieved its final form above.

Hofmann, pp. 70-71; McCorkle, p. 123; New Grove, 3: 174 $400-600

118 1 vol.

Brahms, Johannes. Zwei Quartette fur 2 Violinen, Bratsche und Violoncell... Op. 51. Partitur. Berlin: N. Simrock, 1873. First edition, full score. Plate no. 7379. 8vo, modern 1/4 crushed green morocco & marbled bds., spine gilt. Internally generally clean. Very occasional light foxing.

“The two string quartets, Op. 51, are the result of 20 years’ work towards mastery of strict four-part counter-point...” (New Grove, 3: 165).

Hofmann, pp. 106-107; McCorkel p. 210; New Grove, 3: 174 $300-500 Brahms’ Second Symphony 119 1 vol.

Brahms, Johannes. Zweite Symphonie (D dur) fur Grosses Orchester...

Op. 73. Partitur. Berlin: N. Simrock, 1878. First edition, full score. Plate nos. 7957, 8019 & 8028 - on verso of title page, 8028 also on pp.

3-7. Folio, modern cloth-backed bds., orig. printed purple front wrapper bound in. Wrapper, title-page & music crisp & clean. Music fully engraved. No copy of the first edition of the parts has been found.

The first edition of Brahms’ Second Symphony. It was composed in the summer of 1877 and first performed on Dec. 30, 1877 in Vienna, less than a year after his First Symphony, which had taken 20 years to produce.

Hoffman, pp. 156-57; McCorkle p. 311; Fuld, revised ed., pp. 552-53; New Grove, 3: 174 $3,000-5,000

119

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120 1 vol.

Brahms, Johannes. Zwei Rhapsodien fur das Pianoforte... Op. 79.

Berlin: N. Simrock, 1880. First edition. Plate no. 8166. Folio, modern 1/4 crushed green morocco & marbled bds. Minor creasing & light dust-soiling to bottom fore-edge corner of title page & music. Ink stamp at foot of title page.

The Two Rhapsodies, Op. 79, are Brahms’ largest independent, single-movement piano works after the Scherzo, Op. 4.

Hofmann pp. 168-169; McCorkle p. 333; New Grove 3: 175 $300-500 121 Lot. Brahms, Johannes. Zweite Sonate (A dur) fur Pianoforte und Violine...

Op. 100. Berlin: N. Simrock, 1887. First edition. Plate no. 8751. Folio, orig. self-wrappers; occasional minor dust soiling. (1-2), 3-27, (28), 1-7, (8) pp. In custom blue cloth clamshell box.

The Sonata for Piano & Violin in A major was written on Lake Thun in 1886, while Brahms was “awaiting the arrival of a dear friend” (Hermine Spies) and contains many song quotations (see New Grove, 3: 167).

Hofmann, pp. 212-13; McCorkle p. 409; New Grove, 3: 174 $300-500 122 1 vol.

Brahms, Johannes. Dritte Sonate (D moll) fur Pianoforte und Violine...

Op. 108. Berlin: N. Simrock, 1889. First edition. Plate no. 9196. Folio, modern maroon cloth. Former owner’s ink signature at head of title page. Internally generally clean, minor creasing to corners.

First edition of the Sonata for Piano & Violin, dedicated to Hans von Bulow.

Hofmann pp. 228-29; McCorkle p. 436; New Grove, 3: 174 $300-500

123 1 vol.

Brahms, Johannes. Zweites Quintett (G dur) fur Zwei Violinen, Zwei Brasche un Violoncell... Op. 111. Partitur. Berlin: N. Simrock, 1891. First edition, full score. Plate no. 9508. 8vo, modern russet cloth; occasionally scuffed. Internally generally clean.

“Brahms intended his Quintet in G major, Op. 111,..., to be his last composition, but it is no mournful cry of farewell.... rarely has a man in his late 50s sounded as youthful as Brahms did in this quintet” (New Grove, 3: 165).

Hoffman, pp. 234-35; McCorkle, p. 446; New Grove, 3: 174 $300-500 124 Lot. Brahms, Johannes. Quintett fur Clarinette (oder Bratsche), 2 Violinen Bratsche und Violoncell,... Op. 115. Partitur; Stimmen. Berlin: N. Simrock, 1892. First edition, score & parts. Plate nos. 9710 & 9777. 8vo (score) & folio (parts), orig. wrappers; moderate foxing, scattered generally light internal foxing, ink stamp at foot of title page of score. Untrimmed as issued in protective portfolio. First edition of the Clarinet Quintet in B minor. “The Clarinet Quintet... has only one worthy forerunner, Mozart’s, and together with the Clarinet Trio it introduces the last phase of Brahms’ work.... called... a work for connoisseurs” (New Grove, 3: 164).

Hofmann pp. 242-43; McCorkle p. 464; New Grove, 2: 174 $500-800

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10/19/08 125

Presentation Copy of Britten’s Peter Grimes 125 1 vol.

Britten, Benjamin. Peter Grimes: An Opera in Three Acts and A Prologue Derived from the Poem of George Crabbe. Words by Montagu Slater... Op. 33. London: Boosey & Hawkes, (1945). First edition, piano-vocal score. No. 4 of an unspecified number of presentation copies. Folio, orig. 1/4 brown morocco & pictorial bds., spine gilt, raised bands; joints & spine ends scuffed, corners slightly worn.

Light foxing to front matter.

This copy was presented to the work’s librettist, Montagu Slater, and signed on the presentation leaf by Benjamin Britten. Below this, Montagu Seater inscribed this copy to Basil Wright [director of the documentary Night Mail, for which Britten composed the music & Auden wrote the text], with his [Slater’s] signed presentation, dated March 15, 1946. In custom cloth slipcase.

Britten, Benjamin (1913-1976). English composer. His operas are the most important British contributions to the genre in the 20thCentury. Peter Grimes, first performed at Sadler’s Wells, June 7, 1945, laid the foundation for a revival of British opera. (See New Grove 3: 293 & Grove Opera, 1: 606) $3,000-5,000

E.M. Forster’s Billy Budd 126 5 vols.

Britten, Benjamin. Billy Budd. Vocal Score. [London]: Boosey & Hawkes, 1951. Pre-publication issue of the piano-vocal score. Plate no. B. & H. 17839. Opus 50. Large 4to, orig. printed wrappers (buff, green, blue, rose, & gray); minor edge wear. Libretto by E.M. Forster & E. Crozier after Herman Melville. Internally clean. In custom 1/2 burgundy morocco & cloth clamshell box, spine gilt.

The librettist E.M. Forster’s copy, signed by E.M. Forster at head of each front wrapper & with his ownership label on the front wrapper of the first volume.

Britten, Benjamin, (1913-1976). English composer. His operas are the most important British contribution to the genre in the 20thCentury, Billy Budd is Britten’s most richly worked operatic score; it is the one in which the composer’s instinct for telling simple musical ideas & his sense of how far such ideas could be extended and enriched to serve a dramatic theme is most impressively displayed.

(See Grove Opera, 1: 476 & 606).

Forster, E.M. (1879-1970). Distinguished English writer. He borrowed many of his ideas about rhythm and structure in the novel from his knowledge of music, his life long interest in Wagner led him to attempt a leitmotif technique in his own writing. (See Grove Opera, 2: 258).

Billy Budd, conducted by Britten, was first performed at Covent Garden, London, on December 1, 1951. The vocal score was published in 1952.

Grove Opera, 1: 608 $6,000-9,000

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10/19/08 127 1 vol.

(Britten, Benjamin.) The Rape of Lucretia: A Symposium by Benjamin Britten, Ronald Duncan, John Piper [et al.]. London: The Bodley Head, (1948). First edition. Tall 8vo, orig. green cloth, spine gilt; occasional edge wear, d/j (cello-tape repairs to verso, minor chipping to edges). With 8 color plate reproductions of the original stage designs & costumes by John Piper, other illus. Frontis. starting to detach.

This chamber opera was first performed at Glyndebourne in 1946 & 1947. $120-180

126

128 1 vol.

Britten, Benjamin. A Midsummer Night’s Dream... Opera in Three Acts.

Op. 64. London: Hawkes & Son, (1960). First edition, piano-vocal score. Plate no. B. & H. 18707. 4to, orig. photo pictorial wrappers; corners creased, other occasional wear. Internally clean, some creasing to bottom fore-edge corners.

Presentation copy, inscribed, dated, “1961,” & signed by Benjamin Britten on title page. With Britten Typed Letter Signed, The Red House, Aldeburgh, Suffolk, letter-head, Nov. 13, 1961, 4to, to Blades [The Earl of Hareword’s butler]. Libretto adapted from William Shakespeare by Benjamin Britten and Peter Pears. First performed at Aldeburgh, Jubilee Hall, June 11, 1960. $200-300

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129

129 Lot. Bruch, Max. Concert fur die Violine... Op. 26. Bremen: Aug. Fr. Cranz, no date, [1868]. First edition, violin-piano score, violino principale part. Plate no. 552. Folio, orig. self-wrappers. Scattered light to moderate foxing. Untrimmed. Dedicated to Joseph Joachim. In custom cloth & marbled bds. portfolio.

Presentation copy, p. (1) of the violino principale part inscribed & signed in pencil by Max Bruch to the German violinist and conductor Otto Freiderick von Konigslow. The Violin Concerto in G minor was first performed by Joseph Joachim, who considered it among the four greatest violin concertos, the others being by Beethoven, Mendelssohn, and Brahms. $1,500-2,200

130 1 vol.

Bruckner, Anton. Vierte (romantische) Symphonie (Es dur) fur Grosses Orchester... Partitur. Vienna: Albert J. Gutmann, 1890. First edition, full score. Plate no. AJG 710. Folio, modern cloth-backed bds. Title page slightly dusty. Former owner’s ink signature at head of title page. Internally clean. A version by F. Schalk and F. Lowe was published in 1889.

Bruckner was forever revising his work for many pieces, including the Symphony no. 4 in E flat major (Romantic), it is impossible to declare a definitive date of composition. The title Romantic here implies not storm and stress, but rather a festive appreciation of the Austrian landscape. The Fourth is the most directly appealing and easily approachable of Bruckner’s symphonies.

(See New Grove, 3: 367) $400-600 131 1 vol.

Bruckner, Anton. Messe in D fur Chor und Orchester... Partitur.

Innsbruck: Johann Gross, no date [1892]. First edition, full score.

Folio, orig. printed brown wrappers; light edge wear, minor creasing.

Internally clean, minor internal creasing. Early owner’s ink signature at head of title page. In custom brown cloth clamshell box.

The Mass in D minor for Soloists, Chorus, Orchestra and Organ was first performed in Linz Cathedral in 1864. “The real breakthrough came [with this work], in which the mature Bruchner suddenly stands revealed.... ‘I didn’t dare before’” (New Grove, 3: 355).

New Grove 3: 368; [WAB 26] $500-800

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10/19/08 132 1 vol.

Cimarosa, Domenico. L’Impresiario in Augustie... Opera Bouffon en Deux Actes Paris: Sieber, no date, [1786]. First edition, full score.

Plate no. 1051. Text in Italian & German. Folio, modern 1/2 brown calf & cloth. Toned, trimmed - several leaves within platemark - with loss to music, tear on pp. 39/40, with some loss to music. Signed by the publisher, Sieber, at foot of title page, 2 early ink ownership signatures on title. (2), 1-214, (2) pp.

Cimarosa, Domenico (1749-1801). Italian composer. He was among the most successful composers of his epoch. His operas were performed on all the major European stages. The strength of his music lies in the richness of his melodic invention, the brilliance and energy of his rhythmic and melodic motifs and his constantly lively accompaniments. He expanded the parameters of opera buffa by creating a genre permeated with sentiment, simpliciy, elegance, and delicacy. The freshness and vigour of his music was unmatched by his Italian contemporaries (see New Grove, 4: 867-869).

New Grove, 4: 870 $300-500 133 1 vol.

Cherubini, Luigi. Romances du Roman d’Estelle de Mr. De Florian...

Avec Accompagnement de Piano-Forte ou Harpe... Paris, no date [ca 1790]. First edition. Folio, modern 1/4 crushed brown morocco & marbled bds., brown morocco spine label. (1)-20 engraved pp.; bottom fore-edge corner of pp. 13/14 repaired - no loss of ptg. Tall copy, leaf size 13 x 10 1/8 inches (330 x 257 mm), internally generally clean. Early owner’s ink signature at head of title page.

Signed by Cherubini on lower corner of engraved title page (his control mark).

Cherubini, Luigi (1760-1842). Italian composer, theorist, teacher and administrator. He was a dominant figure in French musical life for half a century. In 1787 he composed 18 romances drawn from Florian’s novel Estelle.

New Grove, 4: 203-213 $800-1,200

134 1 vol.

Chopin, Frederic. Trois Nocturnes pour le Piano... Opera 9. Paris: Maurice Schlesinger, no date [1833]. First French sheet music edition. Plate no. M.S. 1287. Small folio, disbound. Scattered light foxing. Engraved title sheet, (1) blank, 2-13 engraved pp. of music, (1) blank. Publisher’s stamp at foot of title page.

“Nocturne is a poetic word for ‘Music of The Night’... the American composer and critic Daniel Gregory Mason wrote, ‘Chopin is one of the supreme masters in coloristic use of the dissonance. His nocturnes may fairly be said to inaugurate by this means a new era in music, comparable in many respects to the era of impressionism in painting’” (Dubal, The Essential Canon of Classical Music, p.

227).

The above with all points called for by Fuld; the number “79” in the address on the title page is an engraver’s error for “97.” Weak impression of the imprint of the above.

Fuld, revised ed., p. 392-93; Platzman, 2nd ed., p. 53, 9-mS-1 $300-500 135 1 vol.

Chopin, F(rederic). Scherzo pour Pianoforte... Oeuv. 20. Leipzig: Breitkopf & Hartel, no date [1835]. First separate edition. Plate no.

5599. Folio, orig. printed self-wrappers; light foxing, occasional minor internal foxing. But crisp, attractive & untrimmed. Publisher’s ink stamp at foot of wrapper/title. In custom 1/4 brown crushed morocco & cloth clamshell box, gilt-lettered spine, raised bands.

First edition of Chopin’s first scherzo.

New Grove, 4: 308; Platzman, 2nd ed., p. 94, 20-BH-1(or 3), giving the Paris, Leipzig & London eds. equal priority $500-800 136 1 vol.

Chopin, Fred(eric). Deux Nocturnes pour Piano.... Op. 32, (no. 1).

Berlin: A. Schlesinger, no date [ca. 1837]. First edition. Plate no.

S.2180(1). Folio, orig. self-wrappers; occasional minor spotting, darkening to edges, corners slightly creased. Publisher’s? ink stamp at foot of title. Mid 19th-Century owner’s ink signature at head of title. In custom 1/2 crushed blue morocco & cloth clamshell box.

First of Chopin’s Op. 32 Nocturne, with the “FERD” misspelled on caption title.

New Grove, 4: 308; Platzman, 2nd ed., p. 134, 32#1-aS-1, giving the Paris, Berlin & London eds. equal priority $400-600

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Chopin, Frederic. Marche Funebre pour le Piano, tiree de la Sonate Oeuvr. 35. Leipzig; Breitkopf & Hartel, no date [ca. 1853]. First edition thus. Plate no. 8728. Folio, orig. printed yellow wrappers; corners slightly creased, minor dust soiling. Minor internal edge wear. Publisher’s stamp at foot of title page. In custom black cloth clamshell box.

First edition of the separately published 34d movement from Op. 35 (published in 1840).

Platzman, 2nd ed., p. 151-52, 35-BH-3 $300-500 138 1 vol.

Chopin, F(rederic). Trois Mazourkas pour le Piano... Oeuvre 50.

Vienna: P. Mechetti qm Carlo, no date [1842]. First edition. Plate no.

3682. Folio, orig. printed self-wrappers. Bottom fore-edge corner of front wrapper repaired. 19th-Century ink stamp at foot of front wrapper/title. Minor creasing & staining to bottom fore edge corners. In custom blue cloth clamshell box.

“Chopin was strongly influenced by the folk music of his native country and this influnce is seen most clearly in the 50 or so mazurkas he composed... The mazurkas contain some of Chopin’s most advanced chromatic techniques and pianistic devices” (New Grove, 11: 865-866).

New Grove, 4: 308; Platzman, 2nd ed., p. 188, 50-Mec-1 giving the Paris, Vienna & London eds. equal priority $300-500 139 1 vol.

Chopin, F(rederic). Berceuse pour le Piano... Op. 57. Paris: J. Meissonnier, no date [1845]. First edition. Plate no. J.M.2186. Folio, orig. printed blue wrappers; light edge wear. Internally generally clean; occasional minor smudging, publisher’s stamp at foot of titlepage. Loose & untrimmed in orig. wrappers. In custom navy blue cloth clamshell box.

Platzman, 2nd ed., p. 203, 57-Mei-1 $300-500

140 1 vol.

Chopin, Fred(eric). Sonate pour le Piano Dediee a Madame la Comtesse E. De Perthuis... Op. 58. Leipzig: Breitkopf & Hartel, no date [1845]. First edition. Plate no. 7260. Folio, orig. self-wrappers. Title page occasionally slightly soiled, bottom fore-edge corner of title page & first few leaves slightly creased, Breitkopf & Hartel ink stamp at foot of title page. In custom brown cloth clamshell box. The B minor Sonata was composed during Chopin’s years with Georges Sand.

New Grove, 4: 308; Platzman, 2nd ed., p. 208, 58-BH-1, giving the Paris, Leipzig & London eds. equal priority $400-600 141 1 vol.

Chopin, F(rederic). Trois Valses pour Piano... Op. 64, no. 3. Paris: Brandus, etc., no date [1847]. First edition thus. Plate no. 4743(3).

Folio, orig. printed blue wrappers; light edge wear, publisher’s stamp at foot of title. Some internal creasing, bottom fore-edge corners repaired, minor dust soiling to edges. Plate nos. battered. In custom green cloth clamshell box.

Platzman, 2nd ed., p. 226, 64#3-Bra-1 $200-300 142 3 vols.

Clementi, Muzio. Three Sonatas for The Piano Forte or Harpsichord with Accompaniments for Violin & Violoncello... Op. XXVII. (London): Longman & Broderip, no date [1791]. First edition, parts. Folio, orig. self-wrappers; some darkening to edges, scattered dust soiling & repairs, spines reinforced. Ink stamp & signatures on titles. (2), 140; (2), (1)-11, (1); (2), (1)-9, (1), pp. In custom 1/4 brown morocco & cloth clamshell box, black morocco spine label.

Clementi, Muzio (1752-1832). English composer, keyboard player and teacher, music publisher and piano manufacturer of Italian birth.

His influence on following generations of pianists and piano composers in hard to overestimate. Beethoven’s earlier keyboard writing seems unmistakenly indebted to Clementi’s music of the 1780s and 1790s. (see New Grove, 4: 484-89.)

New Grove, 4: 490 $200-300

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143 144 1 vol.

Copland, Aaron; Perlis, Vivian. Copland, 1900 through 1942. New York: St. Martin’s, (1984). First edition. 8vo, orig cloth & bds, d/j. photo frontis, other illus. Presentation copy, inscribed, dated, “1985,” & signed by Aaron Copland on the title page. Near fine. $100-150 Signed & Inscribed by Copland & Bernstein 143 1 vol.

Copland, Aaron. Inscape. London: Boosey & Hawkes, (1968). First edition, full score. Folio, orig. printed mustard wrappers; minor wear, orig. price label. Bright attractive copy.

Presentation copy, inscribed & signed on the title page by Aaron Copland and Leonard Bernstein, who conducted its first performance: “For Stuart Wright, Aaron Copland 1977”; “My last Copland premiere. Leonard Bernsein.”

This 12 tone piece, which takes its name from a word coined by Gerard Manly Hopkins was composed by Copland in 1967 during his “final return to difficult serial territory.” Commissioned by the New York Philharmonic in celebration of its One-Hundred and Twenty-Fifth Anniversary; it was first performed by the orchestra under its music director Leonard Bernstein, during a pre-season tour, at the University of Michigan in Ann Arbor on September 13, 1967.

New Grove, 4: 724 $1,500-2,200

145

Corelli’s Twelve Sonatas 145 1 vol.

Corelli, Arcangelo. [Twelve Sonatas.] Parte Prima [Seconda] Sonate a Violino e Violone O Cimbalo...Opera Quinta. [Rome]: Gasparo Pietra Santa, 1700. First edition, first issue. Oblong folio, contemp. giltpaneled, stamped & lettered speckled calf, gilt-paneled spine, a.e.g.; occasionally scuffed, free endpapers lacking. Engraved frontis. by G. Frezza after Antonio Meloni, with 1st & 2nd part title pages. Minor marginal dampstaining. Internally generally bright & crisp. Scattered old ink annotations.

This celebrated & influential set of violin sonatas, Corelli’s only solo sonatas, were dedicated to the Electress Sophie Charlotte of Brandenburg. To Corelli belongs the distinction of being the first composer to derive his fame exclusively from instrumental composition, the first to owe his reputation in the large part to the activity of music publishers and the first to produce classic instrumental works which were admired and studied long after their idiom became outmoded. (See New Grove, 4: 768-774).

New Grove, 4: 774; Marx, Hans J., pp. 172-73 $2,500-4,000

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146 1 vol.

Croft, William. Musicus Apparatus Academicus, Being a Composition of 2 Odes with Vocal & Instrumental Music Performed in the Theatre at Oxford on Monday, July 13th, 1713. London, no date [1715]. Words by Joseph Trapp. Folio, 19th-Century gilt-lettered sheep; rubbed, extremities heavily rubbed. 3 ff - incl. engraved title, 1-64 engraved pp.; engraved title, 1-27, (1) engraved pp. Internally clean, good margins.

“In July 1713, Croft took the Oxford degree of DMus, being the earliest Oxford graduate in music relating to whom there survives solid extended work submitted for the degree; this took the form of two odes for solo voices, chorus and orchestra, with noise of cannon and Laurus Cruentas, celebrating the Treaty of Utrecht, and published as Musicus Apparatus Academicus” (New Grove, 5: 55). $500-800

Signed & Inscribed to Paul Dukas by Debussy 150 1 vol.

Debussy, Ach(ille) (Claude). Ariettes. No 1. Paroles de Pi Veralaine...

(Paris: E. Girod), no date [1888?]. Presumed first edition of the piano-vocal score of the first of Debussy’s Ariettes (“C’est l’extase”).

Folio, orig. printed self-wrappers; some edge wear & light soiling, paper spine reinforced. (2), 1-3, (1) pp. In custom 1/4 crushed green morocco & marbled bds. clamshell box.

Presentation copy, inscribed to composer Paul Dukas & signed by Debussy on front self-wrapper. [Translated from the French]: “To Paul Dukas - I’ve said enough, I think, in saying your name.

Debussy.”

“With the Ariettes oubliees Debussy moved decisively towards the style of his maturity” (New Grove, 5: 301).

New Grove, 5: 312 $3,000-5,000

147 1 vol.

(Da Ponte, Lorenzo, librettist.) Martin y Soler, Vicente. L’Abore de Diane. Bonn: N. Simrock, no date [1796]. First edition, keyboardvocal score. Plate no. 27. Oblong 4to, modern 1/2 brown calf, gilt & marbled bds., gilt lettered & ruled spine. Early owner’s ink signature at head of title page. Internally generally clean.

Da Ponte’s third collaboration with Martin, commissioned for the marriage of Joseph II’s niece, Maria Theresa, was first performed at the Burgtheater, Vienna, Oct. 1, 1787. Da Ponte claimed ‘L’Arbore di Diana was the best of all the operas I have ever composed...’ (See Grove Opera, 1: 162.) $400-600 148 1 vol.

(Da Ponte, Lorenzo, librettist.) Bianchi, Francesco. [Caption title]: The Celebrated Terzetto, in The Opera of Cinna, as Performed at The King’s Theatre Hay Market... London: Corri, Dussek, no date [ca 1798]. First edition?, piano-vocal score. Text in Italian. Folio, modern marbled bds. 1-10 engraved pp.; lower fore-edge corner of pp. 1/2 repaired - not touching engraved surface. Signed by Da Ponte in lower front corner of p. 1.

Cinna was first performed on February 20, 1798; Da Ponte at this time was living in London and working for The King’s Theatre. $400-600 149 1 vol.

Debussy, Claude. Lettres a son Editeur. Paris: Durand; Dorbon Aine, 1927. First edition, #7/250. 4to, later blue cloth, orig. wrappers bound in. Some dampstaining to front wrapper. Internally clean.

Untrimmed. Lily Pons’ copy, signed & dated, “1956,” by Lily Pons on 1/2 title. $200-300

150

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151 1 vol.

Debussy, Claude. Le Martyre de Saint Sebastien. Paris: A. Durand & Fils, (1912). First edition, full score. Plate no. D. & F. 8521. Folio, later full gilt-lettered black cloth, orig. printed self-wrappers preserved.

Some foxing to title page & front matter.

Debussy’s last vocal work for the stage was the incidental music to Le Martyre de St. Sebastien, a synthesis of orchestral and vocal music, speech, mime and dancing on a text by Gabrielle D’annuzio.

The work, commissioned for immediate production by the dancer Ida Rubinsten in 1911, was written in a few weeks. It is now usually performed as an oratario (See Grove, 5: 297; [Lachspeiser, pp. 98 & 228].

Broadway composer Joseph Littau’s copy, inscribed to him by a violinist friend in 1928 & bound by him.

Lesur 124 $600-900 152 1 vol.

Delibes, Leo. Coppelia, ou La Fille aux yeux d’email, Ballet en 2 Actes et 3 Tableaux. Paris: Au Menestrel; Henri Heugel, no date [1870]. First edition, piano score. 4to, contemp. calf; scuffed, extremities often rubbed, orig. pictorial wrappers bound in. Heugel ink stamp on table of contents page, scattered pencil markings.

With Leo Delibes Autograph Letter Signed, Pension Gottlieben, Meggen near Lucerne, August 17, 1883, 4 pp., 8vo, to an unidentified female correspondent, wittily reporting on his Swiss sojourn, with Delibes’ autograph musical quotation.

“The decisive advance in Delibes’ career came with the ballet Coppelia, played at The Opera on May, 1870. Based on E.T.A. Hoffmann, it has remained one of the best loved of all classical ballets and shows Delibes’ musical gifts at their most appealing” (New Grove, 5: 336).

New Grove, 5: 337 $250-400 153 1 vol.

Delibes, Leo. Lakme, Opera en 3 Actes. Paris: Au Menestrel; Heugel & Fils, (1883). First edition, piano-vocal score. 4to, contemp. 1/2 marbled bds.; corners bumped, orig. chromolithographic wrappers preserved. Scattered light foxing, publisher’s ink stamp at foot of title page.

Presentation copy, inscribed to Juliette Massenet (daughter of the composer Jules Massenet), dated [February 1884] & signed by Leo Delibes. “...his opera Lakme appeared at the Opera Comique on 14 April, 1883... Its success was lasting;... a work on which, with the ballets, Delibes’ fame has rested” (New Grove, 5: 336).

New Grove, 5: 337 $3,500-5,000

153

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154 1 vol.

Delius, Frederick. Sea-Drift. Words by Walt Whitman... Vocal Score by Siegfried Fall. Berlin: Harmonie; London: Breitkopf & Hartel, (1906).

First edition, piano-vocal score. Plate no. 168. Folio, orig. red-printed beige linen wrappers; spine repaired, minor creasing, minor dust soiling. Minor internal wear. A few pencil performance markings.

Pencil signature of E.A. Sharp at head of front wrapper. Breitkopf & Hartel ink stamp at foot of title page.

Delius, Frederick (1862-1934). Significant English composer of German parentage. “Sea Drift is considered by many to be his greatest achievement” (New Grove, 5: 339).

Threlfall II, 3, p.60 $400-600 155 1 vol.

Delius, Frederick. Eine Masse des Lebens, A Mass of Life. Berlin: Harmonie; London: Breitkopf & Hartel, [1908]. First edition, pianovocal score. 4to, contemp. gilt-lettered cloth, orig. printed selfwrappers bound in. Internally clean. “...Delius embarked on what was to be his grandest project, a Mass of Life, which sets text by Nietzsche and is scored for four soloists, chorus and orchestra... [Sir Thomas] Beecham conducted the first complete performance in London in 1909” (New Grove, 5: 340).

New Grove, 5: 343; Threlfall, II, 4, p. 62 (giving the performance copyright date 1907) $600-900 156 1 vol.

Doche (Joseph Denis). La Musette du Vaudeville, ou Recueil Complet des Aires de Monsieur Doche. Paris: L’auteur, no date, [1822]. First edition. Oblong 12mo, contemp. green straight-grained moroccobacked green bds., gilt lettered & decorated spine; moderate edge wear. Scattered light foxing, minor dampstaining to title page & first 20 pp. Collection of 428 airs. 2 engraved preliminary leaves, incl. title page + 2-498 engraved pp. Trimmed within upper plate mark no loss to ptg. Signed by Doche at foot of last page.

Doche, Joseph Denis (1766-1825). French composer. “In 1794 he entered the orchestra of the Theatre du Vaudeville,..., in 1810 he became conductor, [retiring in 1823]. From 1799 onwards Doche wrote new airs for a great number of vaudevilles produced at his theatre” (New Grove, 5: 518). $250-400

The Elixir of Love 157 1 vol.

Donizetti, Gaetano. L’Eliser D’Amore Melodramma in Due Atti. Milan: G. Ricordi, no date [1832]. First edition, piano-vocal score. Plate nos.

6400-6427. Oblong folio, contemp. marbled bds., rebacked with modern calf, spine gilt, contemp. morocco cover label; light wear.

Scattered light foxing, dampstaining, soiling & repairs to bottom fore-edge corners. With cast list, including Sabine Heinefetter, Giambattista Genero, Henri Bernard Dabadie and Giuseppie Fezzolini.

The opera was first performed at the Teatro Cannobiana, Milan, on May 12, 1832 and was an enormous success. “L’Elisir D’Amore saw the perfection of sentimental comedy in a pastoral setting and remains as much a classic in its genre as does Rossini’s Barbiere of late classical opera buffa” (Grove Opera, 1: 1210). The full score was not published until 1916.

Grove Opera, 1: 1217 $1,200-1,500 158 1 vol.

Donizetti, Gaetano. Don Pasquale... Milan: Ricordi, no date [1851].

Piano-vocal score. Oblong folio, later 19th-Century red calf-backed marbled bds. Moderate foxing to front & back matter, other scattered foxing, title page repaired.

Bonynge Sutherland bookplate on front pastedown, ink stamps on title.

Donizetti’s comic masterpiece. First performed in Paris in 1843 at the Theatre-Italien. The vocal score was first published by Ricordi in 1843, the above is a late issue of that edition.

New Grove, 5: 566 $250-400 159 1 vol.

Dukas, Paul. Ariane et Barbe-Bleue, Comte en Trois Actes, Poeme de Maurice Maeterlinck... Paris: A. Durand & Fils, 1906. First edition, piano-vocal score. 4to, contemp. cloth & bds.; corners bumped, other light wear. Internally clean. Presentation copy, inscribed, dated, “08,” & signed by Paul Dukas to Mme Schleisinger on Table of Contents page.

Dukas, Paul (1865-1935). French composer, music critic and teacher, an influence on many 20th-Century French & other composers. His reputation as a composer rests on a small number of works including Ariane et Barbe-Bleue.

New Grove, 5: 690-693 $200-300

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160 1 vol.

Dvorak, Antonin. Sextett (A dur) fur 2 Violinen, 2 Bratschen und 2 Violoncell. Op. 48. Partitur. Berlin: N. Simrock, 1879. First edition, full score. Plate no. 8126. 8vo, sewn in later brown wrappers, orig. tinted lithographic self-wrappers preserved; some creasing & spotting to self-wrappers. Minor internal soiling & creasing. In custom crushed morocco-backed cloth clamshell box, gilt-lettered spine.

“The String Sextet in A, Op. 48, is fully representative of Dvorak’s national style and was his first chamber work to attract attention abroad” (New Grove, 5: 780).

New Grove, 5: 785; Burghauser 80 $120-180 161 1 vol.

Dvorak, Antonin. Requiem Mass for Soli, Chorus, and Orchestra... (Op. 89). London: Novello, Ewer, 1891. First edition, piano-vocal score.

Plate no. N.9275. 8vo, orig. flexible brown leather; scuffed. Bound with Stabat Mater... (Op. 58). London: Novello, Ewer, no date [1891].

Later edition. Moderate foxing to Stabat Mater title page, other scattered light foxing.

Signed by Antonin Dvorak on Requiem title page.

Dvorak’s Requiem Mass in D was first performed on October 9, 1891 in Birmingham.

New Grove, 5: 788; Burghauser 165 $2,500-4,000 162 1 vol.

Egville, (James) d’; Bossi, (Cesare). Telemaque a Grand Ballet London: Broderip & Wilkinson, no date [1799]. First edition? Folio, modern brown buckram. Title page repaired, internally generally clean & crisp. First performed at the King’s Haymarket in 1799, with dancers Egville, Didelot & Hillisbey. The music drawn from Haydn, Gluck, et al. $120-180

161

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164 1 vol.

Enesco, Georges. Symphonie... Op. 13. London: Enoch, no date [1931]. First edition, full score. Plate no. E. & C. 6299. Folio, contemp. black cloth; some edge wear. Internally slightly toned.

Enoch ink stamp on title. Inscribed, dated, “Feb. 15 1931,” & signed

by Georges Enesco on verso of title page.

Enescu, George (1881-1955). Romanian composer, violinist, conductor, and teacher. He is commonly regarded as his country’s greatest and most versatile musician; out-side Romania he is often known by the form of his name he adopted while living in France, Georges Enesco (New Grove, 6: 163). The First Symphony in E flat was composed in 1905. $200-300

Elgar’s Copy of The Dream of Gerontius 163 1 vol.

Elgar, Edward. The Dream of Gerontius, by Cardinal Newman... Set to Music for Mezzo-Soprano, Tenor, and Bass Soli, Chorus and Orchestra...

(Op 38). London: Novello, 1900. First edition, piano-vocal score.

Plate no. 8306. 8vo, orig. flexible brown leather, gilt-lettered spine; minor wear. In custom 1/4 maroon gilt calf & cloth clamshell box.

Elgar’s copy, signed & dated at head of title page, “Edward Elgar / 1926,” his ink stamp at head of title page, & several pencil markings in the score likely in Elgar’s hand. Also with an envelope addressed to “Monica” [Walker] by Carice Elgar Blake (the composer’s daughter) holding a note in Monica Walker’s hand, “This book was given to me by Sir Edward’s daughter, Carice, after the 193? Festival at Worcester. She told me it was a copy Sir Edward had used [and the marks on the score are his].”

“In the Dream of Gerontius, widely considered as among his three or four finest works, Elgar found a subject of private and universal significance.... Though Gerontius is the first major English work in which the orchestra is as expressive as the voices, the choral writing is almost as much an advance; and the integration of chorus and orchestra is complicated and subtle...” (New Grove, 6: 122).

New Grove, 6: 126 $3,500-5,000

165 1 vol.

Falla, Manuel de. El Sombrero de Tres Picos. The Three-Cornered Hat Ballet. London: J. & W. Chester, 1921. First edition, piano-vocal score.

Plate no J. & W. C. 9710. Lg. 4to, modern 3/4 crushed burgundy morocco & marbled bds.; orig. color decorative wrappers (by Ethelbert White) bound in. Clean & bright.

Presentation copy, inscribed by De Falla to the singer Magdeleine Gresle, dated, “Paris, 28.6.23,” & signed by Manuel de Falla at the head of the title page. On May 12, 1927, Magdeleine Gresle sang, with Falla at the keyboard, the world premiere of his Soneto a Cordoba.

The ballet El Sombrero de Tres Picos, which originated as a pantomime, El Corregida y la Molinera..., was first performed in 1919, with designs by Picasso. (See New Grove, 6: 372.)

Crichton p.29 $350-500 166 3 vols.

Foster, Stephen Collins. Foster Hall Reproductions. Songs, Compositions and Arrangements by... Indianapolis, 1933. 4to, orig. brown cloth portfolios (3) with metal clasps; minor wear. Holding facsimile reproductions of c. 225 pieces of sheet music. Loose as issued in portfolios. Clean, bright, unmarked. With text pamphlet.

Also with pamphlets relating to Stephen C. Foster, issued by The University of Pittsburgh, Pittsburgh Historical Society & C, ca. 1930s & 1940s, inserted. $400-600

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167 My Old Kentucky Home 167 16 pieces.

Foster, Stephen C(ollins). [Sheet Music]: “Cora Dean.” New York, 1860. First edition. Scattered, generally light, foxing, expert repair to spine, ink stamp at foot of title. Fuld, Foster, 21. * “Eulalie.” New York, 1851. First edition. Minor spotting, ink stamp at foot of title. Fuld, Foster, 30. * “I See Her Still in My Dreams.” New York, 1857. First edition. Moderate dampstaining & foxing, bottom gutter corner of pp. 3/4 chipped away - no loss of ptg., ink stamp at foot of title.

Fuld, Foster, 53. * “Lula is Gone.” New York, 1858. First edition.

Minor wear, disbound. Fuld, Foster, 86. * “Molly! Do You Love Me.” Baltimore, (1850). First edition. Moderate foxing. Fuld, Foster, 98. * “My Old Kentucky Home, Good Night.” New York, 1853. First edition. Occasional minor staining & discoloration, expert repairs to spine. Fuld, Foster, 105; Fuld, World Famous Music, pp. 384-385. * “My Wife is a [Most] Knowing Woman.” New York, 1862. First edition. Generally clean & crisp, disbound, ink stamp at foot of title.

Fuld, Foster, 106. * “‘Oh Boys Carry Me’ Long.’” New York, 1857. First edition. Occasional spotting & minor dust soiling, disbound. Fuld, Foster, 113. * “Under The Willow She’s Sleeping.” New York, 1860.

First edition. Moderate spotting, a few close tears. Fuld, Foster, 170. * “The Voices That are Gone.” New York, 1865. First edition. Minor toning to edges, disbound. Fuld, Foster, 176. * “Way Down in Ca-iro.” New York, 1850. First edition. Scattered light foxing, disbound.

Fuld, Foster, 178. * “What Must a Fairy’s Dream Be!” Louisville; Cincinnati, 1847. First edition. Moderate foxing, expert repairs to spine. Fuld, Foster, 187. * “Willie Has Gone to The War.” New York, 1863. First edition. Light foxing, some dust soiling to bottom foreedge corner, expert repairs to spine. Fuld, Foster, 200. * “Farewell My Lilly Dear.” New York, 1851. Light foxing, spine expertly repaired.

Later ptg. See Fuld, Foster, 33. * “Linger in Blissful Repose.” New York, 1858. Color pictorial cover. Light to moderate spotting & foxing, spine expertly repaired. Later ptg. See Fuld, Foster, 75. * “Willie We Have Missed You.” New York, 1854. Pictorial cover.

Moderate spotting, chipped & repaired. Later ptg. See Fuld, Foster, 202.

All folio, orig. wrappers or self-wrappers. In custom brown cloth clamshell box. $2,000-3,000

Inscribed & Signed by Cesar Franck 168 1 vol.

Franck, Cesar. Redemption, Poeme-Symphonie de Edouard Blau...

Partition Piano et Chant. Paris: G. Hartmann, no date [1872]. First edition of the first version, piano-vocal score. Plate no. G.H. 666.

4to, mid 20th-Century 3/4 blue morocco & bds., gilt-lettered & decorated spine, original printed wrappers bound in; back wrapper slightly dusty. Publisher’s ink stamp on title page.

Presentation copy, inscribed to Madame Taffanel (wife of the French flautist, Paul Taffanel) & signed by Cesar Franck at the head of the title page. Untrimmed & internally clean & crisp.

Franck, Cesar (1822-1890). French composer, teacher and organist of Belgian birth, one of the leading figures of French musical life during the second half of the 19th-Century. Redemption was first performed at the Concert National (Colonne) on April 10, 1873. The final version, with a new chorus and symphony included, was performed at the Conservatoire in March, 1875.

M52; New Grove: 782-85 $600-900 169 1 vol.

Gay, (John), librettist; (Pepusch, Johann Christoph). The Beggar’s Opera. As It Is Acted at The Theatre-Royal in Lincolns-Inn Fields.

London: for John Watts, 1729. “The Third Edition, with the Ouverture in Score, The Songs and The Basses...” 4to, contemp. fullpaneled calf, richly gilt-paneled spine, maroon morocco spine label, rebacked, orig. spine laid down. Title printed in red & black.

Internally generally clean & crisp. (4), 60 [libretto], 46 [engraved music] pp. Bound with: Polly: An Opera Being the Second Part of the Beggar’s Opera. London: The Author, 1729. First edition. Title printed in red & black. (2), (i-viii), 72 [libretto], 31 [engraved music] pp.

‘The Beggar’s Opera was first performed on January 29th 1728. The originality of the theatrical landmark lay in its being about the real inhabitants of London... The first edition... (1728) gave the tunes of the songs, the second (also 1728) added the overture on four staves, and the third (1729) included the basses of the songs,... The third edition... is almost the full score...” (New Grove, 7: 203).

RISM P1195; RISM P1222 $600-800

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10/19/08 170 2 vols.

Gilbert, W.S. Original Plays. London: Chatto and Windus, 1884, 1886. First & second series. The Mayfair Library. Small 8vo, orig. grey & red floral cloth; some edge wear, moderate creasing, occasional dust soiling. Some internal underscoring. Title page of first series inscribed & dated, “15 2 89,” by W.S. Gilbert, “With the author’s kind regards.” In custom black cloth clamshell box (occasionally dusty). Includes the Savoy plays The Princes, Trial by Jury, H.M.S. Pinafore, the Pirates of Penzance, The Sorcerer. $500-800 171 1 vol.

Gilbert, W.S., librettist; Sullivan, Arthur. H.M.S. Pinafore. London: Metzler, [1878]. First edition, piano-vocal score. 4to, orig. printed wrappers; head of spine chipped away, front wrapper detached, corners of wrappers creased. Bottom fore-edge of contents creased.

Fuld, revised ed., pp. 296-297 $250-400 172 1 vol.

Gilbert W. S., librettist; Sullivan, Arthur. The Pirates of Penzance.

New York: J.M. Stoddart, 1880. First edition, piano-vocal score. 4to, orig wrappers; moderate creasing & some dust soiling, reinforced with contemp. cloth. Internal underscoring, a few old cello-tape remnants.

Fuld, revised ed., p. 262, American Stoddart ed. deposited Nov. 27, 1880, English Chappell ed. deposited Dec. 17th, 1880, priority uncertain. $200-300 173 1 vol.

Gilbert, W.S. librettist; Sullivan, Arthur. Princes Ida, or Castle Adamant. Arranged for Piano Forte. London: Chappell, 1884. First edition, piano-vocal score. 4to, orig. printed wrapper; spine expertly repaired. With Arthur Sullivan’s copyright verification stamp on title page. Internally clean. In custom blue cloth slipcase & chemise.

Princes Ida was first performed on January 5, 1884 at the Savoy Theatre, London.

Dillard gives the Stoddart ed. priority. $200-300

174 1 vol.

Gilbert, W.S., librettist; Sullivan, Arthur. The Mikado; or The Town of Titipu... Vocal Score. London: Chappell, 1885. First edition, second issue, piano-vocal score. Plate no. 18056 (on title page). 4to, slightly later pebbled black cloth. Internally generally clean. With Arthur Sullivan’s copyright verification stamp on title page. Internally generally clean.

The Mikado was first performed at the Savoy Theatre, London, on Saturday, March 14, 1885.

Fuld, revised ed., p. 577, describing the above as second edition. $300-500 175 1 vol.

Gilbert, W.S., librettist; Sullivan, Arthur. Ruddigone; or The Witch’s Curse. London: Chappell, 1887. First English edition, piano-vocal score. 4to, contemp. 1/2 maroon morocco & red cloth; scuffed, joints & extremities often rubbed. With Arthur Sullivan’s copyright verification stamp on title page. Grove Opera, 4: 599. Bound with: Bellamy, Claxson; Paulton, Harry, librettists, Jakobowski, Ed. Ermine.

London: Joseph, William, n.d. Moderate foxing to title-page & front matter of Ruddigone; a few creases & tears to head of Ermine.

Adverts. for Trial by Jury, Pirates of Penzance, Patience & Princess Ida at back of first title. $200-300 For an unpublished Sir Arthur Sullivan manuscript, see lot 416 176 1 vol.

Genzmer, Harold. Studien fur Klavier zu Zwei Handen. Studies for Piano Two Hands. Frankfurt: Henry Litolff’s Verlag; C.F. Peters, [1967]. Heft 1, vol. 1. First edition? Peters no. 5929a; plate no. 30346. 4to, orig. glazed bds. Presentation copy, inscribed & signed by H. Genzmer on title page.

Genzmer, Herold (b. 1909). German composer. “Genzmer is the leading figure among those German composers who have continued in the direction of Hindemith” (Grove, 7: 238). $150-250

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10/19/08 Signed & Inscribed by Gershwin 178 1 vol.

Gershwin, George. Concerto (in F) Composed for Piano and Orchestra, Transcribed for Two Pianos (four hands). New York: Harms, 1927. First edition Folio, orig. printed grey-green wrappers; light wear. Bdg. broken, contents loose & slightly browned. In custom grey cloth slipcase & chemise.

Presentation copy, inscribed to the Broadway conductor Joseph Littau & signed by Gershwin at head of title page: “To Joseph Littau - with keen admiration / for his fine conducting / sincerely / George Gershwin / May 8, 1930.”

“Gershwin’s growing reputation as a serious composer brought a commission from Walter Damrosch for the Concerto in F (1925) and An American in Paris (1928) and the success of these led to other large-scale orchestral pieces and the opera Porgy and Bess (1934-5)” (New Grove, 7: 302).

Carnovale W2 $4,000-7,000

177

First Rhapsody in Blue 177 1 vol.

Gershwin, George. Rhapsody in Blue for Jazz Band and Piano. Piano Solo and Second Piano. New York: Harms, (1924). Probable first edition, arranged for piano four hands. Plate no. 7206-41. 4to, orig. color wrappers; spine scuffed, other light scattered wear. Internally clean.

James J. Fuld describes a copy as the one above as the probable first edition of any printing of Gershwin’s Rhapsody in Blue. The cover illus., pagination, copyright notice, plate numbers, back cover which is blank on both sides in our copy are as is in the Fuld copy.

Fuld’s copy calls for a (presumed manuscript) dedication to Paul Whiteman on the title page.

Rhapsody in Blue was composed for a famous jazz concert at Aeolian Hall, New York, on Feb. 12, 1924, with the composer at the piano and Paul Whiteman conducting. The earliest copyright claim for a set of the orchestral or band parts, noted by Fuld, is 1925.

Fuld, revised ed., p. 463; see Carnovale W1, giving the Harms arrangement for two pianos as 1925 & a modified version for piano solo (New World 1924). $3,000-5,000

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Signed by Gluck 179 1 vol.

Gluck, (Christoph W.). Iphigenie en Aulide, Tragedie, Opera en Trois Actes, Dedies au Roy. Paris: Marchand, no date, [1774]. First edition, full score. Folio, old green bds., edges stained red, morocco spine label; occasionally scuffed. Internally generally clean - scattered light foxing. Title, verso blank; Dedication by Gluck, verso blank; Music pp. 1-298; leaf size 12 x 9 3/4 inches (330 x 247 mm). In custom brown cloth clamshell box, morocco spine label.

Signed by Gluck at the foot of the title page. Chateau de la Roche Guyon Bibliotheque ink stamp on title-page. Presumed earliest issue, with four spelling mistakes, corrected in the copy described by Hopkinson 40A, but consistent with the copy illustrated in New Grove, 7: 465.

“Gluck’s historical importance rests on his establishment of a new equilibrium between music & drama, his greatness on the power and clarity with which he projected this vision. He dissolved the drama in music instead of merely illustrating it.... The strenghth of his music derives from a driving energy on the one hand, and a capacity to suggest a serenity reaching to the subliminal on the other” (New Grove, 7: 469). Iphigenie en Aulide, first performed in the Paris Opera, April 19, 1774, was the first of the seven operas that Gluck composed for Paris.

See Hopkinson 40A; New Grove, 7: 472 $8,000-12,000

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180 1 vol.

Gluck, (Christoph W.). Armide, Drame Heroique. Paris: Bureau du Journal de Musique, no date, [1777]. First edition, full score. Folio, mid 19th-Century cloth, edges stained yellow; rather scuffed. Some toning to title page, scattered light foxing. Slightly trimmed. In custom pig skin & cloth solander case, morocco spine labels; occasionally rubbed.

Armide, the fifth of the seven operas that Gluck wrote for the Academie Royale de Musicque in Paris, was first performed on Semptember 23, 1777.

Provenance: purchased by Wurlitzer-Bruck from the soprano Rose Bampton. Bampton informed Wurlitzer-Bruck that this volume was given to her by Toscanini. This background, on Wurlitzer-Bruck letter-head, included.

Hopkinson 45A. $2,500-3,500 180

181 1 vol.

Gluck, (Christoph W.). Iphigenie en Tauride, Tragedie en Quatre Actes.

Paris: Bureau du Journal de Musicque, no date [1779]. First edition, full score. Folio, early 20th-Century 3/4 green calf & bds., maroon morocco spine label, edges stained red. Light to occasionally moderate foxing, some spotting & toning to title page & front matter.

“The two Iphigenie operas, especially... Iphigenie en Tauride, represent the summit of Gluck’s achievement... Mozart, who attended nearly all the rehearsals for the Vienna production of 1781, learnt much from Gluck” (see New Grove, 7: 469, 471).

Hopkinson 46A. $1,200-1,800 182 1 vol.

Gounod, Charles. Sapho, Opera en 3 actes de Emile Augier... Partition Chant & Piano... Paris: Choudens, no date [ca 1860]. First edition, later issue(?), piano-vocal score. 4to, contemp. morocco-backed pebbled green cloth, gilt; light edge wear, orig. lithographic front wrapper bound in. Front wrapper rather foxed, some internal dampstaining - primarily in upper margins.

Presentation copy, inscribed to the soprano Adelina Patti & signed

by Ch(arles) Gounad at the head of the front wrapper, [translated from the French]: “From the muse of Lesbos to her sister Adelina Patti, Ch. Gounod.”

Adelina Patti (1843-1919). The most famous opera singer of the second half of the 19th-Century. She was the favorite soprano of Rossini, Verdi, Wagner, and Gounod. She sang Gounod’s Marguerite for the first time in 1863.

Sapho, Gounod’s first opera, was first performed in 1851.

New Grove, 7: 586 $600-900 183 1 vol.

Grieg, Edward. Lyrische Stuke fur Pianoforte... Op. 71. Leipzig: C.F. Peters, no date [1901]. First edition. Plate no. 8773. Lg. 4to, modern 1/2 mustard cloth & marbled bds., orig lithographic self-wrappers preserved. Ink stamp at foot of front self-wrapper (title). Internally clean.

Presentation copy, inscribed, dated, “Feb 28, 1902,” and signed by Edward Grieg at head of front self wrapper (title).

This was the last of Grieg’s Ten Collections of Lyric Pieces for the piano.

New Grove, 7: 724; Fog pg 97 $800-1,200

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10/19/08 185 184 1 voll Handel, George Frideric. Israel in Egypt, an Oratorio Composed in The Year 1738. London: Novello, no date [ca 1880]. Edited by Felix Mendelssohn-Bartholdy. Folio, orig. gilt-lettered & decorated red pebbled cloth, a.e.g.; light edge wear, minor toning to title page, internally generally clean. Scattered internal annotation.

Reprint from the original plates of the edition published by English Handel Society in 1844. $200-300 First Edition Radamisto 185 1 vol.

Handel, George Frideric: Il Radamisto, Opera Rapersenta Nel Regio Teatro D’Hay Market. London: pub. by The Author, sold by Richard Meares & Christopher Smith, no date [1720]. First edition, full score. Folio, early 20th-Century 3/4 brown calf & marbled bds., giltlettered spine; occasionally moderately scuffed. Orig stamped sale no., “20,” at upper right corner of title page. With 19th-Century ink presentation at upper right corner of title page, 19th-Century ink annotations, giving dates of publication & first performance at foot of title page. Minor scattered internal spotting & occasional pencil annotations. Title leaf, privilege leaf, 1-121 pp. Bound with: Arie Aggiunte di Radomisto Opera... London: pub by The Author... no date [1721]. Folio. Title leaf, 1-38 pp. Minor internal spotting. Both titles slightly trimmed.

First edition of the full score of one of Handel’s best early operas, bound with the 38 pp. supplement of additional arias published spearately in 1721.

“Radamisto was Handel’s first opera for the newly formed Royal Academy of Music... The serious tone and powerfully motivated action of Radamisto marks a decisive break from... [the] operas that Handel had composed for London in the previous decade, both female roles are memorally portrayed...” (Grove Opera, 3: 1210).

Smith 1 & 2 (pp. 53) $6,000-9,000 186 1 vol.

Handel, (George) (Frideric). XXIV Overtures Fitted to the Harpsicord or Spinnet. London: J. Walsh, no date [1730]. First edition. Folio, contemp. (orig.?) bds.; rubbed & worn. Head & foot of spine & corners rubbed away. Occasional internal browning & scattered minor staining, bottom corners of overture XIX (3 leaves) chipped no loss to printing. Without no. “203” as called for on title page by Smith.

Printed from the plates of earlier editions of the first four collections of overtures which make up this volume of 24 in a new order and numbered consecutively I-XXIV at the beginning of each overture.

Smith 9 (p. 282) $2,500-3,500

186

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187

First Edition Atalanta 187 1 vol.

Handel, G(eroge) (Frideric). Atalanta, an Opera as it is Perform’d at the Theatre Royal in Convent Garden. London: J. Walsh, no date, [1736]. First edition, full score. Number “589” on title page. Folio, modern 3/4 brown calf & marbled bds., spine gilt, gilt calf cover label. Minor internal creasing & occasional soiling. Slightly trimmed, margins throughout. Without the list of subscribers. Title leaf, Table of Songs leaf + 83 pp.

Atalanta, first performed at Convent Garden on May 12, 1736, was produced in honor of the wedding of The Prince of Wales, featuring spectacular bonfires and fireworks.

“Throughout the opera the vocal writing is demanding; with singers who are equal to it Atalanta makes a most satisfying entertainment” (Grove Opera, 1: 234).

Smith 1, (p. 20) - recording several copies without the list of subscribers. No more than 192 copies printed. $2,000-3,000

Water Musick 188 1 vol.

Handel, G(eorge) F(rideric). The Celebrated Water Musick. In Score, Composed in the Year 1716. No place, no date, [London], [1788]. First edition, full score, Arnold’s edition, nos. 23-24. Folio, modern bds.

Internally generally clean, a few small repairs in body of music - a few notes slightly affected, trimmed - fore edges of pp. 25-28 trimmed just within plate mark, just touching ptg. Complete with the list of subscribers, incl. The King & Queen of England.

The full score of Handel’s Water Music was first published as nos. 23 & 24 of Arnold’s subscription edition in 1788. J. Walsh published the parts around 1733 & a harpsicord edition in 1743.

“Most of Handel’s orchestral music is a by-product of his work for the theatre. The only important exceptions are the Water and Fireworks music, designed for performance in the open air... It [the Water Music] is splendidly inventive & sonorous” (New Grove, 8: 108).

Smith 8 (p. 257), see p. 1; see New Grove, 8: 129. $2,000-2,500 189 1 vol.

Handel, G(eorge) F(rideric). [Caption title]: The Music for the Royal Fire-Works; Performed in the Year 1749. No place, no date, [London], [1788]. First edition, full score, Arnold’s edition, nos. 23-24. Folio, modern bds. Internally clean, trimmed - margins throughout. 1-20 pp., complete.

The full score of Handel’s Music for the Royal Fire Works was first published as no. 24 of Arnold’s edition in 1788. J. Walsh first published the parts in 1749. The Royal Freworks music was comissioned to celebrate the Treaty of Aachen, which put an end to the War of the Austrian Succession in 1748.

Smith 9 (p. 235) $1,200-1,800

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10/19/08 190 1 vol.

Hassler, Hans Leo. Psalmen und Chrisliche Gesange [Leipzig: J. G. I. Breitkopf], [1777]. Second edition. Folio, modern calf-backed marbled bds., light edge wear. Some internal creasing & occasional dust soiling, scattered minor damp staining, default title page slightly toned & a little dust soiled. Lacking true title page [signature *1], signature *2 & A1 bound in wrong order, 3-150 engraved pp. of music, 2 pp. register.

Hassler, Hans Leo (1562-1612). German composer. “All Hassler’s early compositions are for the Roman Church. His main work for the Lutheran rite is the collection of 52 four part Psalmen und Christliche Gesange in ‘the fugal style’ published in 1607...; in this work for the first time he drew upon sources of Lutheran hymnody...” (New Grove, 8: 296). Sold with all faults.

New Grove, 8: 297; RISM H2330 & H2231; see NUC 0171384 & 0171385 $300-500

191

Signed by Haydn 191 1 vol.

Haydn, Franz Joseph. Dr. Haydn’s VI Original Canzonettas, for the Voice with an Accompaniment, for the Piano Forte, Dedicated to Mrs. John Hunter. London: Corri, Dussek for The Author, no date, [1794].

First edition. 4to, modern 1/2 brown calf & marbled bds., spine gilt, red morocco spine labels. Scattered light foxing, minor spotting to title page. (1)-31 pp.

Signed by Haydn at foot of title page.

“Haydn’s English songs, composed during his residence in London, are mostly settings of lyrical texts by the dedicatee, Mrs. John Hunter. [The English Canzonettas] are on a higher level than his two German collections... The character of the songs is different and the musical setting clearly more ambitious. The accompaniment is much more elaborate, the texture and harmonies more refined and the melodies themselves more expressive than in the earlier songs” (New Grove, 8: 357).

Hoboken, XXVIa, nos. 25-30, vol. 2, pp. 254-55; New Grove, 8: 368 $8,000-12,000

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192 1 vol.

Haydn, Franz Joseph. A Selection of Original Scots Songs in Three Parts. London: Napier, no date [1795]. First edition. Vol. II (of 3) only.

Folio, contemp. tree sheep, repaired & rebacked. Lacking frontis. & subscriber’s list. 100 songs (numbered 2-101). Engraved music & lyrics, facing full type-set songs. Internally generally clean & crisp.

Scattered light foxing.

First appearance of Barbara Allen.

Hoboken XXXI, vol. 2, p. 460 $300-500

Haydn’s Creation 193 1 vol.

Haydn, Franz Joseph. Die Schoepfung: Ein Oratorium...; The Creation: An Oratorio. Vienna: [printed for the composer], 1800. First edition, full orchestral score. Folio, contemp full tree calf, gilt-paneled spine, morocco spine labels, raised bands; scuffed, joints & corners often rubbed. With subscriber’s list. Internally generally clean & crisp.

With printer’s circular authorization stamp on title. Joseph Leopold Eybler’s copy, signed by him in pencil on front free endpaper, bound for Eybler with his morocco label at foot of spine. In custom green cloth clamshell box, red morocco spine label; joints frayed.

Haydn’s oratorio The Creation is a masterwork in the special sense that it has no weak point, nothing that could be changed or omitted.

The initial stimulus came from Haydn’s experience of Handel’s music in London. He feared that it might be too unusual for his Viennese audience, but in fact it was an unprecedented success.

Perhaps no other piece of great music has ever enjoyed such immediate and universal acceptance (see New Grove, 8: 346, 347, 358).

Eybler, Joseph Leopold (1765-1846). Austrian composer, friend and student of Haydn, knew Mozart and nursed him in his final illness; balked at Mozart’s widow’s request to complete Mozart’s Requiem.

Hoboken XXI, vol 2, p. 36; Fuld, revised ed., p. 271 $8,000-12,000

193

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10/19/08 194 2 vols.

Haydn, Franz Joseph. Te Deum a’ 4 Voci Coll’ Accompagnmento dell’Orchestra,... Paritura. Leipzig: Breitkopf und Hartel, no date [1802]. First edition, full score. Folio, disbound. Scattered light to moderate foxing. Hoboken XXIIIc nr 2, vol. 2, pp. 158-60 * (J. Haydn’s oratorium.) Die Worte des Erloesers, Am Kreuze...

Klavierauszug. Leipzig: Breitkopf & Hartel, no date [1801]. First edition?, piano-vocal score. Oblong folio, orig. printed bds., rebacked in later cloth; some edge wear & light dust soiling. Light to moderate internal foxing. Hoboken XX/2b, vol. 2, pp. 5-6. $500-800 195 2 vols.

Hayden, Franz Joseph. Die Jahreszeiten... Klavierauzug. Leipzig: Breitkopf & Hartel, no date [1802]. First edition, piano-vocal score.

Oblong 4to, orig. printed orange wrappers; some wear & creasing, minor dust soiling, top edge of verso reinforced. Later ink annotation, “Les Saisons,” on front wrapper. Title page with former owner’s signature in purple crayon. Engraved vignette title.

Scattered, generally light foxing, Breitkopf & Hartel ink stamp at foot of title. 2 1/2 pp. pub. adverts. at back. In protective cloth portfolio.

Variant issue, with the text in German & French, engraved title page, type-set music & publisher’s adverts. Front wrapper printed in German only. Hoboken XXI 3, vol. p. 59.

The unprecedented success of the creation led to a second collaboration between Hayden & his librettist van Swieten (New Grove, 8:359).

The lot contains another variant issue, Leipzig: Breitkopf & Hartel, no date, oblong 4to, orig. printed orange wrappers - printed in French & German. Text in French & German, engraved title (different design than above), type-set music, same pagination as above.

Wear, chipping (1 corner gone) & ink signature on wrapper.

Scattered internal foxing. $2,500-4,000 195

196

196 4 vols.

Haydn Franz Joseph. Collection Complette des Quatuors D’Haydn, Dediee au Premier Consul Bonaparte. Paris: Pleyel, no date [1806].

First complete collected edition. Folio, contemp. full green calf, red morocco spine labels; occasionally scuffed. With engraved frontis. portrait, subscribers list. Ink stamp at head of subscribers list, owner’s ink inscription in first violin vol., dated 1839. Minor scattered light foxing, slight darkening to edges of front matter, minor staining to title page of first violin vol. Untrimmed.

Haydn won his first fame with his string quartets, and continued to return to the form throughout his life. By the end of his life he was regarded as the greatest composer in the medium. “A famous quartet edition was issued in 1802 by Pleyel... including... the quartet version of the Seven Last Words; a revised edition of 1806 added the unfinished Op. 103, thereby arriving at the canonical figure of 83 quartets” (New Grove, 8: 347). $2,500-4,000

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199

197 1 vol.

(Haydn, Franz Joseph.) The English Musical Gazette; or Monthly Intelligencer. [London], January-July, 1819. 4to, contemp. 1/4 red morocco & marbled bds.; worn & rubbed. Engraved frontis. portrait of Joseph Haydn. Contains “Biographical Memoir of Joseph Hayd’n, from Authentic Sources.” Complete. With 30 pp. of engraved music (28 at back), type-set musical examples, engraved view of the organ at St. Paul’s Cathedral. Scattered, generally light, foxing, occassional underscoring. The English music publisher Vincent Novello’s copy - signed by Novello on front paste-down. $250-400 198 1 vol.

Holst, Gustave. Seven Choruses from The Alcestis of Euripides, Translated by Gilbert Murray. London: Augener. (1921). First edition, vocal score. Plate no. 15558. 4to, orig. printed grey wrappers; some darkening & wear to edges. Bottom fore-edge corner of title page chipped, other bottom fore-edge corners creased. “Vocal Score” on front wrapper underlined in red crayon pencil. Presentation copy, inscribed & initialed by Holst at head of title page.

Holst, Gustav, (1874-1934). English composer. “He was an outstanding original composer of the early 20th-Century, and his influence as a teacher was considerable” (New Grove, 8: 659).

New Grove, 8: 664; Holst 146. p143 $250-400

Signed & Inscribed by Ives 199 1 vol.

Ives, Charles E. 114 Songs. (Redding, Conn), (1922). Pre-publication proof of the privately printed volume. 4to, orig. green cloth-backed green bds., paper spine label; scuffed, spine ends frayed, corners bumped & rubbed, hinges tender. Small cello-tape repairs to bottom margins of index leaves.

Presentation copy, inscribed to Franklin Carter, “singer & canoeist,” dated, “05/22,” & signed by Charles Ives on front free endpaper recto. “...114 Songs, privately printed and distributed without copyright and free of charge; no one was expected or allowed to pay for them.

They were sent to libraries, music critics, and musicians, and to anybody else who asked for them... The 114 Songs forms the most original, imaginative, and powerful body of vocal music that we have from any American,...” (Cowell, Henry & Sidney, Charles Ives and His Music, New York, 1955).

New Grove, 9: 425 $2,500-3,500 200 1 vol.

Ives, Charles E. Three Places in New England... an Orchestra Set. (First orchestral set.) Boston: C.C. Birchard, (1935). First edition, orchestral score. Folio, orig. printed wrappers, small minor soiling.

Corners creased. Publisher’s(?) ink stamp on title page. Internally clean. In custom black cloth clamshell box.

Three Places in New England began in 1908 with a one-bar sketch, a full orchestra score was completed in 1914; in 1929 in preperation for its Boston Premier of Jan 10, 1931, conducted by Nicolas Slonimsky, Ives produced the above arrangement for small orchestra. The full score was not published until 1976.

Block W5 $600-1,000 201 1 vol.

(Joplin, Scott, et al.) John Stark & Son, publisher. Thematic Catalogue of Famous Rags - cover title. St. Louis, [1903]. Folio, orig. red printed green wrappers; expertly repaired. With 2 gatherings of 16 pp. each, not sewn or otherwise bound to wrappers. In red cloth clamshell box. Internally generally clean.

Includes the openings of the following works by Scott Joplin: Maple Leaf Rag; The Entertainer; A Strenuous Life; Swipesy, The Rag Time Dance; Peacherine Rag; Elite Syncopation; The Augustan Club. $800-1,200

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202 1 vol.

Jemnitz, Alexander. Zwei Sonaten fur Violine und Klavier, Op. 10.

Munich: Wunderhornverlag, 1920. First edition. Small folio, orig. printed green wrappers; spine reinforced, some creasing & discoloration to edges. Internally clean.

Presentation copy, inscribed, dated, “Bpest, 6. XII. 20,” & signed by Alexander Jemnitz at head of title page.

Jemnitz, Alexander (1890-1963), Hungarian composer & critic. $150-250 203 1 vol.

Janacek, Leos. Vec Makropulos [The Makropulos Affair]. Opera.

Vienna: Universal, 1926. First edition, piano-vocal score. Plate no.

U.E. 8656. 4to, orig. printed green wrappers; minor wear. Former owner’s ink & pencil signatures on front wrapper. Very minor creasing to internal bottom fore-edge corners. Ex-libra-Bibliothek der Staatstheater, Berlin stamp on verso of title-page. But a bright, crisp copy in custom white cloth clamshell box.

The opera with a libretto by the composer after Karel Capek’s comedy was first performed at Brno, National Theater on December 18, 1926. This was the last of his operatic premieres that Janacek lived to see. It has never enjoyed the same affection as his other late operas, although among them it is his most perfectly constructed.

When given with total conviction by an outstanding cast, the work, with its strange amalgam of passion, mystery, and eccentricity, comes across as one of the most powerful operas of the 20thCentury. (See Grove Opera, 3: 160-63.)

New Grove, 9: 485 $350-600 204 1 vol.

Korngold, Eric Wolfgang. Lieder des Abschiels... Op. 14 Mainz: B. Schott, [1921]. First edition. Plate no. 30745a-d. 4to, orig. pictorial wrappers; minor wear, spine reinforced. Ownership stamp of the Viennese concert singer Anton Tausche on title page. Occasional pencil & red crayon pencil annotation. With signed autograph musical quotation by Korngold of three bars of the first song, “Sterbielied,” on p.1. In custom olive cloth clamshell box.

“Korngold was one of the last great Romantic composers... he suffered neglect and savage criticism... because of... his association with Hollywood” (New Grove, 10: 210). These lieder were written long before the composer’s Hollywood career. $300-500

205 1 vol.

Kozeluch, (Leopold). A Select Collection of Original Scottish Airs, for the Voice,... Accompanyments for the Piano Forte & Violin. London: Preston; Edinburgh: G. Thomson, no date [1798]. First edition, Third Set, Airs no. 51-75 (of 110). Folio, modern 1/2 calf & marbled bds., red morocco spine label. Frontis., engraved music, letter-press text.

Light offsetting, scattered light foxing. Slightly trimmed - no loss of ptg. Signed by G. Thomson, the Edinburgh publisher, at foot of title page.

Kozeluch, Leopold, (1747-1818). Bohemian composer, pianist, music teacher and publisher. $300-500 206 Lot. Lalo, E(douard). Quator pour Deux Violons, Alto et Violoncelle... Op. 19.

Paris: J. Maho; Leipzig: Breitkopf & Hartel, no date [1859]. First edition, parts. Plate no. 9890. Folio, loose as issued, front wrapper title followed by violino I part. Minor spotting to front wrapper, title otherwise generally clean. Inventory(?) stamp at head of front wrapper title. In custom brown cloth clamshell box.

Presentation copy, inscribed to John Ella & signed by E(douard) Lalo at head of front wrapper title.

Lalo revised his String Quartet in E flat in 1880 (pb. 1886) as Op. 45. “[Lalo’s]... instrumental music must be accorded a more prominent historical importance, for it represents a decisively new direction in French music... The string quartet composed in 1859... deserve[s] to be heard more frequently” (New Grove, 10: 388).

New Grove 10: 389 $1,200-1,800 Signed by Franz Lehar 207 2 vols.

Franz Lehar & other Viennese Masters: Lehar, Franz. Eva Operette in drei Akten. Leipzig: Ludwig Doblinger, 1911. First edition, piano-vocal score. 4to, orig. floral Art Nouveau brown-red printed pea-green wrappers; occasionally creased. Minor internal spotting & creasing to corners. Presentation copy, with autograph music quotation, inscribed, dated, “Vienna 18. 6. 1912,” & signed by Lehar. “The operetta premiered in Vienna on Nov. 24, 1911... Lehar was the leading operetta composer of the 20th-Century” (see Grove, Opera, 2: 1129-1130). * Album der Wiener Meister: Eine Erinnerung an die Internationale Ausstellung fur Musik und Theaterwesen in Wien 1892.

Vienna: Josef Weinberger, no date [1892]. Sm. folio, orig. pictorial chromolithographic wrappers; occasional creasing, minor staining to edges. Minor internal staining & soiling to edges. Brahms, Bruckner, J. Strauss, et al. $250-350

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10/19/08 208 1 vol.

Leoncavallo, R(uggero). La Boheme [libretto]. Milan: D. Sonzogno, (1899). First edition of the libretto. 12mo, orig. wrappers; spine chipped, wrappers starting to pull away, light spotting. Some internal spotting. Signed & inscribed on front wrapper by R. Leoncavallo.

The “other ‘La Boheme,’” Leoncavallo’s version of Henri Murger’s ‘La Vie de Boheme’ was developed contemporaneously with, and was quickly overshadowed by, Pucinni’s now-famous opera Leoncavallo’s version did not premier in the United Kingdom until 1970. $150-250 Attractive Hexameron 209 1 vol.

Liszt, Franz. Hexameron. Morceau de Concert. Grandes Variations de Bravoure pour Piano sur la Marche de Puritains de Bellini... Vienna: Tob. Haslinger, no date [1839]. First edition. Plate no. T.H. 7700. Folio, orig. self-wrappers, engraved & decorated in blue & black; very minor spotting. Internally generally clean. Attractive copy in custom blue cloth clamshell box.

Transcription & variations on the March from Vincenzo Bellini’s opera Il Puritani. Introduction transcription & variation by Liszt; also includes variations by Sigismond Thalberg, John Peter Pixis, Henri Herz, Carl Czerny & Frederic Chopin.

New Grove, 11: 66; [Searle 392]; [Raabe 131] $1,500-2,500 210 1 vol.

Liszt, Franz, transcription by. Sixieme Symphonie de Beethoven, Partition de PIano par F. Liszt. Leipzig: Breitkopf and Hartel, no date [1840]. First edition. Plate no. 6007. Folio, orig. wrappers; some dust soiling, a few small old cello-tape repairs, spine reinforced.

Breitkopf & Hartel ink stamp at foot of front wrapper. Scattered light to moderate internal foxing & spotting, minor dampstaining to lower margin of front matter.

“As the greatest piano virtuoso of his time [Liszt] used his sensational technique and captivating personality... to spread, through his transcriptions, knowledge of other composers’ music” (New Grove, 11: 29).

New Grove, 11: 68; [Searle 464], [Raabe 128] $600-900

209

211 1 vol.

MacDowell, Edward. Sonata Eroica fur Pianoforte... Op. 50 Leipzig, etc., 1895. First edition. Plate no. 21004. Folio, orig. green floral wrappers; slightly creased, minor dust soiling. Minor internal creasing. In custom green cloth clamshell box.

MacDowell, Edward. (1860-1908). American composer, pianist, and teacher. “He was the best-known American composer before the 20th-Century and one of the first to receive international recognition” (New Grove, 11: 417).

New Grove, 11: 420 $200-300 212 2 vols.

Mahler, Gustav: Erste Symphonie in D dur... Partitur. Vienna; Leipzig: Universal, no date [1906]. First edition of the study score. Small 4to, contemp. black leather-backed pebbled cloth; spine rubbed & repaired. Ink stamp on title-page. *Das Lied von der Erde. Eine Symphonie... Partitur. Vienna; Leipzig: Universal, 1910. First edition of the study score. Small 4to, contemp. pebbled-black cloth. Pencil & ink annotations on title page, red & blue crayon pencil underscoring to score. Contents starting to brown. $250-400

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10/19/08 214 1 vol.

(Massenet, Jules). Schneider, Louis. Massenet: L’Homme - Le Musicien. Paris: L. Carteret, 1908.

First & limited edition, this copy presented to Madame Arthur Meyer & signed by the publisher. 4to, contemp. 3/4 crushed brown morocco & marbled bds., leather floral inlaid & gilt-lettered spine, t.e.g, other edges untrimmed; orig. color floral wrappers bound in, morocco very occasionally scuffed, by Rene Kiefer. Double frontis. portrait - 1 signed by Massenet; numerous other illus. Internally clean. In custom floral bds. in slipcase with morocco spine label; scuffed.

With 23 autograph musical quotations, representing all of Massenet’s operas, in Massenet’s hand on 1/2 title, which is also signed by Massenet. $1,200-1,800 214 213 1 vol.

Mahler, Gustav. Achte Symphonie... Clavierauszug mit Text nach der Partitur bearbeitet von J.V.V. Woss. Vienna: Universal Edition, no date [1910]. First edition, piano-vocal score. Plate no. U.E. 2660. 4to, orig. printed green wrappers; edge wear, occasional chipping, other scattered wear. Former owner’s ink signature on title page. Creasing & dampstaining to bottom fore-edge corners of wrappers & contents.

First edition, first issue of Mahler’s Symphony no. 8, Symphony of a Thousand, without the dedication to Alma Mahler, with only one plate number, likely the earliest appearance of the symphony in print, the full score was published by Universal in 1911.

“The Symphony of a Thousand, as it is called, brings Mahler back to solo voices and chorus... He composed it in a fervor of creative ecstasy, feeling it was literally dictated to him. It is the grandest spectacle the concert hall may offer... [Mahler wrote]: ‘These are no longer human voices, but planets and suns that are revolving.’”

(Dubal, p. 342). $500-800

215 1 vol.

Mendelssohn-Bartholdy, Felix. Drei Concert-Ouverturen... No 1. Ein Sommernachstraum. Leipzig: Breitkopf & Hartel, no date [1845?].

First edition thus, late issue(?), full score. Plate no. 5542. 8vo, orig. grey wrappers; minor wear & creasing. Internally clean. Pub. stamp on title page, copyright(?) stamp on front wrapper, dated 1846. Ein Sommernachtstraum underlined in red on front wrapper. In custom green cloth clamshell box.

Lifetime publication of the full score of Mendelssohn’s Midsummer Night’s Dream Overture, listing three other concert overtures. $200-300 216 Lot. Mendelssohn-Bartholdy, Felix. Grand Trio pour Piano, Violon et Violoncelle... Oeuvre 49. Leipzig: Breitkopf & Hartel, no date [1840].

First edition, parts. Plate no. 6320. Folio, orig. blue decorated title wrappers followed by piano part, other parts loose as issued. Very minor soiling to title wrappers, Breitkopf & Hartel stamp on title wrapper. Very occasional, minor foxing, but generally crisp & bright.

In custom blue cloth clamshell box. “...The two late piano trios, Op. 49 in D Minor and Op. 66 in C Minor, represent the peaks of Mendelssohn’s achievement in chamber music. Schumann made a striking comment in his discussion of Op. 49: ‘Mendelssohn is the Mozart of the 19thCentury, the most illuminating of musicians, who sees more clearly than others through the contradictions of our era and is the first to reconcile them.’” (New Grove, 12: 151).

New Grove, 12: 153 $600-1,000

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217 1 vol.

Mendelssohn-Bartholdy, Felix. Die erste Walpurgisnacht. Ballad fur Chor und Orchester, Gedichtet von Goethe... Op. 60... Clavierauszug.

Leipzig: Fr. Kistner, no date [1844]. First edition, piano-vocal score.

Plate no. 1400. Folio, modern bds., orig. green pictorial front wrapper mounted on front bd.; light to moderate dust staining.

Bottom fore-edge corner of title page & next leaf repaired, other bottom fore-edge corners moderately soiled & creased, several repaired. Scattered, generally light, foxing. Ex-library copy - ink stamp on verso of title. With the uncorrected mistake fx (for F #) in bar 10 on p. 44.

“Die erste Walpurgisnacht, Op. 60, based on one of the preliminary studies for Faust, is an outstanding cantata. Its theme is the old folk custom of greeting May and springtime.... The cantata was composed in 1831 and revised in 1843. Berlioz, who heard the revised version, said in his memoirs: ‘I was at once quite astounded... above all by the grandeur of the work...’” (New Grove, 12: 146).

New Grove, 12: 155; [Catalogue of the Mendelssohn papers in the Bodleian Library, no. 372 - describing a copy in green wrappers & engraved throughout - as is the copy above] $600-900

Mendelssohn Presentation Copy of His Violin Concerto in Parts 218 Lot. Mendelssohn-Bartholdy, Felix. Concert fur die Violine mit Begleitung des Orchesters... Op. 64. Leipzig: Breitkopf & Hartel, no date [1845].

First edition, first issue, orchestral parts. Plate no. 7210. Folio, loose as issued with printed front wrapper title, followed by solo violin part. Some spotting & moderate toning to printed front wrapper.

Scattered professional repairs to blank verso of last page of solo violin part, repairs & dust soiling to blank verso of last page of violino 1 part, minor professional repairs to verso of violino II & viola parts, other scattered minor spotting. In custom 1/4 black morocco & marbled bds. clamshell box.

Presumed earliest issue with no price or plate no. on printed front wrapper title.

Signed presentation copy, inscribed to the German violinist and composer Wilhelm Speyer (1790-1878) on printed front wrapper title (solo violin part), [translated from the German]: “In friendly remembrance of walks in Frankfort and Offenbach. Leipzig, 8 October 1845. Felix Mendelssohn Bartholdy.”

“The summit of Mendelssohn’s concerto writings is undoubtedly the Violin Concerto in E Minor, Op. 64, which he composed while on a recuperative holiday...in September 1844... One of the most lyrical of Mendelssohn’s instrumental compositions, this concerto stands beside those of Beethoven and Brahms as one of the most significant works in the genre” (New Grove 12: 149-50).

The issue above is likely earlier than the one described by Fuld, the title page does not give a price or plate number.

See Fuld, revised ed., p. 185; New Grove, 12: 153 $6,000-10,000

218

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10/19/08 219 1 vol.

Mendelssohn-Bartholdy, Felix. Concert fur die Violine mit Begleitung des Orchesters... Op. 64... Partitur. Leipzig: Breitkopf & Hartel, no date [1864]. First edition, full score. Plate no. 10334. 8vo, orig. two-tone brown & plum cloth, gilt-lettered spine. Former owner’s ink stamp at head of title page & p. 1. Internally generally clean - occasionally slightly soiled or dusty.

“The summit of Mendelssohn’s Concerto writings is undoubtedly the Violin Concerto in E minor, Op. 64, which he composed while on a recuperative holiday... in September, 1844... one of the most lyrical of Mendelssohn’s instrumental compositions, this concerto stands beside those of Beethoven and Brahms as one of the most significant works in the genre” (New Grove, 12: 149-150).

Fuld, revised ed., p. 185; New Grove, 12: 153 $5,000-8,000 220 1 vol.

Mendelssohn-Bartholdy, Felix. Symphonie no. 4... Op. 90... Partitur.

Leipzig: Breitkopf & Hartel, no date, [1851]. First edition, full score.

Plate no 8347. Large 8vo, early (orig.?) brown pebbled cloth, giltlettered spine; light edge wear, fading to spine. Breitkopf & Hartel & Novello ink stamps at foot of title page. Light to moderate foxing to title page & first several pp., other scattered light foxing.

“The Italian Symphony was completed in Berlin after Mendelssohn’s return from Italy in the winter of 1832. It was successfully first performed in London on 13 March, 1833 and has remained Mendelssohn’s most popular symphony” (New Grove, 12: 148) New Grove, 12: 153 $800-1,200 221 1 vol.

Messiaen, Olivier. Harawi: Chant d’Amour et de Mort pour Chant et Piano. Paris: Alphone Leduc, (1949). First edition, #14/100, signed

by Messiaen. Folio, orig. color decorated pictorial self-wrapper. Crisp & bright in custom red cloth clamshell box.

Messiaen, Olivier (1908-1992). French composer. “Messiaen is one of the most important composers of the 20th-century... The text of Harawi, song of love and of death, is by Messiaen himself; it combines elements from Peruvian folklore with surrealist tendencies” (New Grove, 12: 204, 206).

New Grove, 12: 208; Simeone I: 28, pp. 93-94 $200-300 For Messiaen manuscript, see lot 390

222 1 vol.

Meyerbeer, Giacomo. L’Etoile du Nord, Opera Comique en Trois Actes, Paroles de Mr. E. Scribe. Partition Piano et Chant. Paris: Brandus, no date [1854]. First edition, piano-vocal score. Plate no. 9406. 4to, contemp. pebbled black morocco, spine gilt; joints rubbed & stressed. Scattered light to occasionally moderate foxing, occasionally toned.

Presentation copy, inscribed & signed by the composer at the foot of the title page, “...En souvenir de Giacomo Meyerbeer.”

L’Etoile du Nord grew out of Meyerbeer’s earlier German opera, Ein Feldlager in Schlesien (1844), in which the role of Vielka was written for Jenny Lind.

New Grove, 12: 254 $400-600 223 1 vol.

Milhaud, Darius. Les Malheurs D’Orphee. Paroles de Armand Lunel. Le Partition Chant et Piano. Opera en Trois Actes. Paris: Menestrel, Heugell, [1926]. First edition, piano-vocal score. Plate no 29202.

4to, orig. printed wrappers; some chipping to edges, creasing & discoloration.

Presentation copy, inscribed & signed by Milhaud on title page.

Milhaud, Darius (1892-1974). Member of the group of Parisian composers called Les Six. Arguably one of the great French composers of the Twentieth Century.

The first of Milhaud’s chamber operas, Les Malheurs d’Orphee, Op. 85, premired in Brussels on May 7, 1926.

New Grove, 12: 308 $200-300 Inscribed to Ravel by Milhaud 224 1 vol.

Milhaud, Darius. Chants Populaires Hebraiques. Paris: Menestrel, Heugel, [1925]. First edition, piano-vocal score. Plate no. H29, 040.

Folio, orig. printed blue wrappers; fading to edges. Minor scattered internal spotting. Publisher’s ink stamps (2) on title page.

Unopened. In custom blue cloth clamshell box.

Presentation copy, inscribed to (Maurice) Ravel & signed by Milhaud at head of title-page.

In 1920, Milhaud gathered together six composers and introduced them to the critic Henry Collet, who noted their collective interest in musical simplicity and dubbed them Les Six; led by Ravel’s friend and colleague, Erik Satie, the group in fact rejected the impressionistic styles of Debussy and Ravel.

Opus 86, New Grove, 12: 309 $1,200-1,800

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225 1 vol.

Milhaud, Darius. Concerto pour Violoncelle [et Orchestre]. Paris: R. Deiss, (1936). First edition, full study score. 12mo, orig. printed blue wrappers; some wear & fading to spine & edges.

Presentation copy, inscribed to the American conductor J.R. Thomson & signed by Milhaud on title page. Also signed & dated, “1946,” at head of front wrapper by Thomson.

This printing incorrectly titled Concerto pour Violoncelle et Piano on title page & front wrapper.

Opus 136; New Grove, 12: 308 $200-300 226 1 vol.

Milhaud, Darius, composer; Wiesel, Elie, librettist. Anil Maamin: A Song Lost and Found Again. New York: Random House, (1973). First edition, #350/750 signed by Milhaud & Wiesel. Sm. 4to, orig. giltlettered maroon cloth, glassine; minor wear. Libretto in parallel French & English. $120-180 For Milhaud manuscript, see lot 391

Leopold Mozart’s Violin School 227 1 vol.

Mozart, Leopold. Versuch einer Grundlichen Violinschule.

Augsburg: Johann Jacob Lotter, 1756. First edition 4to, contemp. speckled calf, red & green morocco spine labels; scuffed, extremities rubbed, joints tender, rebacked, orig spine laid down. Frontis. portrait, 3 plates + fold. plate of music. Music examples in text. Complete with errata. Light, occasionally moderate, foxing. In custom 1/2 brown morocco & bds. clamshell box.

“The Violinschule of 1756 is of outstanding importance, a didactic work which can stand alongside the corresponding essays by Quantz (on the flute, 1752) and C.P.E. Bach (on the keyboard, 1753)... [It] is also a valuable source for studying contemporary performing practice, musical taste and outlook...” (New Grove, 12: 677).

New Grove, 12: 678 $3,500-5,000

227

228 1 vol.

Mozart, Leopold. Methode Raisonnee pour Apprendre...Violons Compasee. N.p., [ca 1760-1800]. Folio, contemp. sewn selfwrappers. 23 pp. 12 x 7 1/2 inches (305 x 190 mm). In custom 1/2 green morocco & cloth clamshell box.

French manuscript translation, in expert hand. Musical notations, illustrations. Contemporary or near contemporary partial manuscript translation of Leopold Mozart’s Violinschule. $300-500 229 1 vol.

(Mozart, Wolfgang Amadeus.) Barrington, Daines. Miscellanies.

London: J. Nichols, 1781. First edition. 4to, modern 1/4 calf & marbled bds.; spine gilt. With 2 portraits & 2 maps. Internally generally clean, occasional offsetting, good margins.

This volume includs, “Account of a Very Remarkable Young Musician [W.A. Mozart]. In a letter to Mathew Maty,...” pp. [279]288, facing p. [279] is an engraved portrait of the seven year-old Mozart at the keyboard. This account of the prodigy Mozart, which first appeared in the Philosophical Transactions of the Royal Society, LX(1770), was the first published.

The volume also contains accounts of William Crotch, Samuel and Charles Wesley and the Earl of Mornington as well as many nonmusical subjects including Maurelle’s 1775 Journey to the Northwest Coast of America & “Tracts on the Possibility of Approaching the North Pole.” $2,000-3,000

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10/19/08 230 1 vol.

(Mozart, W.A.) Andre, Ant. W.A. Mozart’s Themastisher Catalog.

Offenbach: Johann Andre. [1828]. First edition. 8vo, modern red buckram, gilt-lettered spine. Frontis. portrait of Mozart, (1)-63, (1) pp. Frontis. toned, some wear along gutter. Internally generally clean. $500-800 231 1 vol.

Nissen, George Nikolaus von. Biographie W.A. Mozarts: Nach Originalbriefen... Leipzig: G. Senf, no date [1849]. Zweite Wohlfeile Ausgabe [second cheap edition]. 2 parts in 1 vol. 8vo, contemp. 3/4 green calf & marbled bds. & edges; spine faded, scuffed, extremities rubbed. Frontis. portrait, 8 plates (2 fold.), 9 fold. leaves of music.

Former owner’s ink signature at head of title. Scattered light foxing.

In custom brown cloth clamshell box.

Nissen married Mozart’s widow Constanze in 1809. This work, which Constanze saw into print after Nissen’s death in 1826, made public for the first time many hitherto unknown documents and details of Mozart’s life from direct knowledge and personal contacts, and has served as a basic source ever since (see New Grove, 13: 253). $200-300 232 4 vols.

Jahn, Otto. W.A. Mozart. Leipzig: Breitkopf und Hartel, 1856-1859.

First edition, second issue of vol 1. 12mo, contemp. dark purple morocco, gilt, a.e.g - gauffered edges; scuffed, joints rubbed, spines faded. With 5 portraits, facs. letter, 2 sheets of facs. music, 38 pp. of music, music in text. “...[few] musical biographies had previously been written on the scale of Jahn’s W.A. Mozart. Its strength lay in its method, especially in the lucid presentation of a huge mass of material, much of it new, collected by intenseive research and, above all, critically assessed...” (New Grove, 9: 464). $250-400 233 1 vol.

(Mozart, W.A.) Shaffer, Peter. Amadeus. (London: Andre Deutsch), (1980). First edition. 12mo, orig. orange-red cloth, d/j. Near Fine/Fine. $80-120

234 2 vols Mozart, Wolfgang Amadeus. Oeuvres Complettes de... Leipzig: Au Magasin de Musique de Breitkopf & Hartel, no date, [1804]. Nos. 15 & 16. Oblong small folio, modern bds. Scattered light foxing.

Occasional annotations.

No. 15: XII Sonatines pour le Pianoforte avec Acconpagnement de Violon et VI Canons. [KV 559, 562, 234, 233, 554, 555]. Engraved vignette title, type-set text & music. First printings of the Six Canons for Three and Four Voices. Haberkamp, I: 315. No. 16: Sonatines pour le Pianoforte avec Accompagnement de violon et XVI Canons.

[KV 59, 57, 55, 58, 56, 60, 560, 553, 556, 558, 232, 561, 231, 229, 610, 226, 507, 227, 508, 228, 230, 235.] Engraved vignette title, typeset text & music. First printing of the sonatas and canons above. Haberkamp, I: 416. Sold with all lacunae. $300-500 235 5 vols.

Mozart, Wolfgang Amadeus: Mozart’s Werke. Serie V Opern. Nos. 59. Leipzig: Breitkopf & Hartel, no date [ca. 1865-1905]. Folio, orig. wrappers (nos. 5 & 9) or bds. (nos. 6, 7, & 8); some edge wear, spines of wrappers chipped. Contents engraved. Scattered light foxing. Full scores: Mitridate, KV 87; Ascanio in Alba, KV 111; Il Sogno di Scipione, KV 126; La finta Giardiniera [German text], KV 196. All composed between 1770-1775 by the 14 to 19 year-old Mozart. $250-400 236 Lot. Mozart, Wolfgang Amadeus. Missa ex D. A 4 Vocibus Ordinarius, 2 Violinis, con Organo & Violoncello. Augsburg: J.J. Lotter & Filii, 1793.

First edition, parts (8). Folio, modern bds. portfolio, organ part with title page sewn into portfolio, vocal & violin parts loose as issued, cello part supplied in manuscript. Spines reinforced. Occasional minor dampstaining to bottom fore-edge corners of organ part, scattered minor repairs. Internally generally clean. Attractively printed by Lotter. With pictorial musical vignette & endpiece in organ part.

First performed in Salzburg on August 8, 1774.

Kochel 194 (186h); Kochel (6th ed., 1964) p. 210; Haberkamp, 1: 96 $1,200-1,800

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10/19/08 237 1 vol.

Mozart, W(olfgang) A(madeus). Vergiss Mein Nicht. Offenbach am Mayn: J. Andre, no date [1803]. Zweites Heft, plate no. 724. 4to, 20th-Century vellum-backed bds. Some foxing & dust soiling to title, scattered repairs, gutters & spine reinforced, sewn into modern bds. Signed on title page by Ferdinand Hiller.

Hiller, Ferdinand (1811-1885). German conductor, composer and teacher, son of a wealthy Jewish merchant. “[Felix] Mendelssohn’s closest friend... esteemed... both as a conductor and pianist, and especially as a Mozart interpreter... as a productive, versatile and cultured composer, Hiller occupied a prominent position among his contemporaries...” (New Grove, 8: 562-63).

Kochel Anh 246; Kochel (6th ed., 1964), p. 839 $1,200-1,800 238 1 portfolio.

Mozart, (Wolfgang) (Amadeus). Concerto pour le Violin avec Accompagnement de Grand Orchestre. Offenbach: J Andre, no date [1799]. First edition, parts. Plate no 1288. Folio, modern bds. portfolio, spine of violino principale sewn to acid free paper sheet, other parts loose as issued. Pictorial engraved title pages for ve. principale & ve. primo. Parts generally clean, good margins.

Kochel 268: K3, 365b, pp. 434-35; Haberkamp, I: 16. $1,500-2,200 239 Lot. Mozart, W(olfgang) A(madeus). Grand Quintello pour Deux Violons, Deux Violes, et Violoncelle... Oeuvre 33me. Offenbach: J. Andre, no date [1793]. First edition, parts (5). Plate no. 593. Folio, orig. bds. portfolio. Each part with engraved title, violino primo part bound in portfolio, other parts loose as issued, spines reinforced. Crisp & clean.

The Divertimento in B Flat major, “A Salzburg masterpiece, written for the nameday of Countess Lodron; first performed on June 16, 1777... Folk melodies employed in variation movement and finale.

Performed in Munich, with Mozart leading on October 4, 1777” (The Mozart Compendium, 1990).

Kochel 287 (271h); Haberkamp, I: 122 $1,200-1,800

240 1 vol.

Mozart, W(olfgang) A(madeus). III Sonates pour le Clavecin ou Piano-Forte... Oeuvre 6. (Mainz): Schott, no date [1784/85]. Plate no.

36. Oblong folio, modern bds. Minor staining to title, scattered minor foxing & soiling. Early owner’s ink signature at head of title, ink stamp on title, minor marginal tears. Generally internally crisp & clean. Engraved title leaf, [1]-2-33, (1) pp.

Early lifetime edition, the first published by Artaria in Vienna in 1784.

Kochel 330 (300h), 331 (300i), 332 (300k) $1,500-2,500 241 Lot. Mozart, (Wolfgang) (Amadeus). Sancti et Justi, An Offertorum... Fuge in D Minor for Four Voices, Two Violins, Bass & Organ In Full Score, With a Separate Accompaniment for the Organ or Piano Forte. Arranged and cordially inscribed to Mr. Attwood, Organist of St. Paul’s by Vincent Novello. London: Novello, no date, [1830]. Folio, 20th-Century 1/2 green morocco & cloth portfolio. Contains: Score, with title page & adverts, 11 pp. sewn to portfolio & violino primo, violino secondo, viloncello & basso parts, loose as issued in 3 gatherings. Bottom fore-edge corner of title page repaired. Some dust soiling & wear to title, otherwise generally clean & crisp.

Presentation copy, inscribed to [Thomas] Attwood, dated, “June 13, 1830,” & signed by the publisher V(incent) Novello at head of title.

Attwood, Thomas (1765-1838). English composer, took lessons in composition from Mozart.

See Kochel 339 $300-500 242 1 vol.

Mozart, W(olfgang) A(madeus). Air with Variations for The Piano Forte. London: Clementi, no date [1798]. Mozarts Var: No. 7. Folio, modern bds. Ink stamp at head of title. Occasional toning, spine of engraved music sheets reinforced. (1) - 7(1)pp.

Likely the first edition of the piano solo version.

Kochel 374a (359) - recording the later London, Longman & Broderip, Var. 7 printing $250-350

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10/19/08 243 1 vol.

Mozart, W(olfgang) A(madeus). Symphonie... Partitur... No. 5 (Sinfone No. 5 (Op. 7)). Leipzig: Breitkopf & Hartel, no date [1832].

First edition, full score. Plate no. 5243. 8vo, modern bds. Ink stamps on title-page, scattered light to moderate foxing. Lithographic title, 1-52 engraved pp.

The Haffner symphony (No. 35 in D. major) originally composed as a serenade-like work for the ennoblement of Sigmund Hoffner in Salzburg on July 29, 1782. This score does not included the flutes & clarinets - added after the earliest performances.

Kochel 385 (K3 gives plate no. 5243, K6 gives plate no. 5242 as the first partitur) $250-400 244 1 vol Mozart, W(olfgang) A(madeus). [Caption title]: Arie Mia Speranza Adorata etc... Klavierauszug. Leipzig: Breitkopf und Hartel, no date [1804]. First edition, piano-vocal score. Oblong small folio, modern bds. (1)-10 pp. Light foxing & toning throughout, trimmed just within platemarks - no loss of ptg. Former owner’s ink stamp at head of p. 1 (caption title).

First performed by Aloysia Lange in her own concert on January 11 and then at Mozart’s academy on March 23, 1783.

Kochel 416; Haberkamp, I; 204-05, II, plate 158 $400-600

245 1 vol.

Mozart, W(olfgang) A(madeus). Missa aus C moll... Partitur.

Offenbach, J. Andre, (1840). First edition, full score. Plate no. 6318.

Small oblong folio, modern cloth-backed bds., orig. printed brown front wrapper bound in. Some dampstaining to wrapper & title page, some internal dampstaining, primarily to bottom margins of back leaves - occasionally touching musical notations. Ink stamp at foot of wrapper & title page.

The celebrated (and unfinished) Mass in C Minor was written as a wedding gift for Constanze (Letter 4, Jan. 1783), and had its first hearing, possibly with Constanze singing, at St. Peter’s Abbey, Salzburg on October 26, 1783.

Kochel 427 (417a); Haberkamp I: 426; see K6, p. 448 $1,200-1,800 246 1 vol.

Mozart, W(olfgang) A(madeus). Terzett Mandina Amabile etc....

Klavierauszug. Leipzig: Breitkopf und Hartel, no date [1804]. First edition, piano-vocal score. Oblong folio, modern bds. Minor scattered foxing, faint dampstaining to bottom fore-edge corners.

Spines of engraved music sheets reinforced. Ink stamp in upper margin of first page caption title & imprint.

In 1785, Mozart wrote two ensembles - including this Terzett Trio for soprano, tenor, and bass to be interpolated into a performance of Francesco Bianchi’s La Villanella Rapita.

Kochel 480 $400-700 First Hoffmeister Quartet 247 Lot. Mozart, W(olfgang) A(madeus). Quatuor a deux Violons, alto, et Violoncelle. Vienna: Hoffmeister, no date [1786]. First edition, parts (4). Plate no. 76. Folio, modern bds. portfolio. Violino primo part, with title page sewn into portfolio, repair at foot of title page, several gutters & spine reinforced, ink stamp at head of title page, other parts loose as issued. Scattered minor foxing. Plate no. on p. 3 of the viola part misprinted as 67.

The first (and lifetime) printing of the “Hoffmeister” Quartet, KV 499, was first performed in Vienna on August 19, 1786.

Kochel 499; K6, p. 556; Haberkamp, I: 268-69, II: plate 227 $5,000-8,000

247

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Mozart’s Last Piano Concerto 248 Lot. Mozart, W(olfgang) A(madeus). Concerto per il Clavicembalo O Forte-Piano... Opera 17. Vienna: Artaria, no date [1791]. First edition, orchestral parts. Plate no. 346.

Oblong folio, keyboard part with engraved title page in contemp. wrappers, other parts loose as issued. Bottom fore-edge corners stained & repaired; occasionally just touching music notation, ink stamp on title-page, trimmed at fore-edges. Contemporary ink manuscript expression markings written out in full, some neat pencil annotations in the keyboard part. In custom 3/4 green morocco & bds. clamshell box.

Lifetime edition of Mozart’s last piano concerto - no 27 in B flat major, KV 595 - Mozart performed the concerto at his last public appearance in 1791.

Kochel 595; Haberkamp, I: 338-39, II: plate 314. $8,000-12,000

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34

37

66

57

60

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69

93

79

83

95 94

114

126

105

119

125

195

153

161

179

187

177

191

199

214

218

229

248

253

258

266

263

268

269

282

285

313

286

304

318

328

324

330

333

418

454 386 334

402

453

390

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249 1 vol.

Mozart, W(olfgang) A(madeus). XII Menuetten fur das Clavier Uberstzt... Vienna: Artaria, no date [1791]. First edition. Plate no.

344. Oblong folio, modern bds., scattered light foxing, spine & engraved sheets reinforced, ink stamp in margin of title page.

First edition of the famous Dances for Piano, published in the last year of Mozart’s life with an earlier state of the title-page than described by Haberkamp.

Kochel 599, 601, 604; K6, p. 686; Haberkamp, I: 342. $5,000-8,000 250 1 vol.

Mozart, W(olfgang) A(madeus). Abschieds Lied an seine Gelisebte mit Begleitung des Forte Piano... Vienna: Jos. Eder, no date [1800].

First edition, piano-vocal score. Plate no. 69. Oblong folio, modern beige cloth. Dust soiling to margins. Ink stamp on title. 1 f (title), 1-3 pp.

An aria for bass “Io ti lascio, o cara, addio,” with lyrics in Italian and German.

Kochel 621a (anh. 245); Haberkamp, I: 394; [RISM M 5332 recording 3 copies.] $400-600

251 1 vol.

Mozart, W(olfgang) A(madeus). Cadances Originales se Rapportant a ses Concerto pour le Clavecin ou Piano-Forte. Vienna: Artaria, no date [1801]. First edition. Plate no. 870. Oblong folio, modern bds. Title leaf + 1-21, (1) pp. Fore-edge of title page repaired, some toning to title-page. First edition of Mozart’s own cadenzas for his piano concertos.

Kochel 624 (626a); Haberkamp, I: 384-5, II, plate 334 $1,200-1,800 252 1 vol.

Mozart, W(olfgang) A(madeus). Sextetten und Musikalisher Spass fur 2 Violinen, Viola, Violoncello, 2 Horner... Partitur. Ausgabe 9ter Band.

Mannheim: K. Ferd Heckel, no date [1850]. 12mo, contemp. 1/2 red morocco & marbled bds., gilt, marbled edges, spine gilt; some edge wear, occasionally rubbed. Engraved throughout. Contains the full scores of Kochel 334 (320b), 247, 287, & 522. This volume contains the first edition in score of Mozart’s “Musical Joke,” Kochel 522. $200-300

The Child Prodigy, Leopold’s Corrective Hand 253 2 vols.

Mozart, Wolfgang (Amadeus). Four Sonatas for The Harpsichord with Accompaniment for a Violin, Composed by Wolfgang Mozart, Seven Years of Age. London [for Leopold Mozart, 1765]. First London edition of the Sonatas [K.6-9]. 2 parts: harpsichord: 1 f. title, pp. 2-14 (Sonata I-II); pp. 1-9 (Sonata I-II, corrected in ink to “III” & “IV”); violin: 1 f. title, pp.

2-5 (Sonata I-II); pp. 2-5 (Sonata I-II, corrected in ink to “III” & “IV”). Oblong folio, early 20th-Century 1/2 brown morocco & cloth. Scattered light foxing, but internally generally clean & crisp, good margins. Several early ink & pencil corrections.

These four sonatas were first issued by Leopold Mozart as two separate collections in Paris in February & April 1764. When the Mozart family moved in early 1765 from Paris to London, Leopold carried the Paris plates with him and issued in 1765 a new edition for the English public, combining for this the plates of both previous Paris collections. This copy, therefore contains two consecutive paginations. Page 5 of Sonata IV of the violin part contains old ink corrections, most likely in Leopold Mozart’s hand - three half-notes are canceled & replaced by six quarter-note rests. Ink corrections on p. 5 of the violin part of the Sonata II are less likely to be in Leopold’s hand. In a letter dated December 6, 1764, Leopold writes of mistakes in press of the Paris edition, then corrected in his hand, corresponding to the corrections on p. 4 in Sonata IV. Kochel 6-9; Haberkamp, 1: 68 & 71 (mentioning 1 copy of the Paris edition with corrections, attributing them to Leopold’s or Wolfgang’s hand); RISM M 6463 (locating 3 copies). $8,000-12,000

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10/19/08 The Aurenhammer Sonatas 254 2 vols.

Mozart, Wolfgang Amadeus. Six Sonates pour le Clavecin, ou Pianoforte avec l’Accompagnoment d’un Violon. Dedies a Mademoiselle Josephe D’Aurnhamer..., Oeuvre II. First edition, complete score. Plate no. 22. Oblong folio, modern 1/4 crushed brown morocco & marbled bds. Trimmed - occasionally just at top or bottom plate mark. Expertly washed. Contemp. Longman & Broderip London label mounted to front blank. In custom gray-green cloth clamshell box.

First edition, first issue of Mozart’s Violin & Harpsichord Sonatas, “The Auernhammer” Sonatas, dedicated to his former piano pupil Jospeha Barbara Auernhammer, whose amorous love for her teacher was not returned. Complete with the engraved pictorial title-page.

Kochel 374d (376), 296, 374e, 317d, 373a, 374f (377-380). K3, p.

369; New Grove, 12: 743 $8,000-12,000

254

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255 1 vol.

(Mozart, Wolfgang Amadeus). (Parini, Giuseppe, librettist). Ascanio in Alba. Milan: Gio. Batista Bianchi, 1771. First edition. 4to, contemp. patterned paper bds. Some internal dampstaining, occasional browning to edges, moderate dust soiling & some dampstaining to 1/2 title. 4 ff + 43, (1) pp. Tall copy, good margins.

First edition of the libretto for the fifteen year-old Mozart’s second Milan opera, following Mitridate (1770). It is in the courtly genre beloved of the Habsburgs and was included in the celebrations for the wedding of Archduke Ferdinand to Maria Ricciarda Berenice d’Este, with Hasse’s Il Ruggiero, which (according to Leopold Mozart), it put in the shade... (see Grove Opera, 1: 225).

The librettist’s name does not appear in this work, which was issued at the premiere of the opera on Oct. 17, 1771. $1,400-2,000 256 1 vol.

Mozart, W(olfgang) A(madeus). Der Schauspieldirektor, eine Komishe Operelle in einen Aufzuge... Im Klavierauszuge... Leipzig: Breitkopfifchen Musikhandlung, no date [1792-93]. First edition, piano-vocal score. Small sq. folio, modern bds., orig. printed selfwrappers preserved. Moderately toned, occasionally dampstained, scattered foxing, scattered pencil annotations. Ink stamps on wrapper-title, some internal creasing, repairs to last leaf, spine of engraved music sheets reinforced.

A one act singspiel written by Mozart in early 1786.

Kochel 486; K6, p. 530. $2,000-3,000

257 1 vol.

Mozart, W(olfgang) A(madeus). Die Gaertnerin aus Liebe. Oper in Drei Aufzugen. Mannheim: K.F. Heckel, no date [1829]. First edition, piano-vocal score. Small folio, contemp. blue patterned cloth, giltlettered & decorated spine; slightly scuffed, corners bumped, spine ends rubbed & chipped. Litho vignette title, (1-2), 3-204 litho pp.

Good margins. Internally generally clean.

German language singspiel adaptation of La Finta Giardiniera, first performed in Munich in 1775.

“It occupies a special place in Mozart’s output as his first opera to enter the German repertory,..., and the first whose musical and dramatic qualities have encouraged more than an occasional revival” (Grove Opera, 3: 490).

K. 196; K6, p. 196 $800-1,200

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First Magic Flute Libretto 258 1 vol.

(Mozart, Wolfgang Amadeus) Die Zauberflote Eine Grosse Opera in Zwey Aufzugen von Emmanuel Schikaneder, Die Musik ist von Hern N. Wolfgang Amade Mozart, Kapellmeister,... Vienna: Ignaz Alberti, 1791. First edition.

12mo, orig. wrappers: gutters & spine repaired, minor edge wear. Small tear slightly affecting margin of title & frontis. With 2 engraved plates. Scattered internal spotting & occasional staining. In custom black morocco clamshell box.

First edition of the libretto of the Magic Flute, complete with the two copper plate engravings, one of the librettist Schikaneder as Papageno (between pp. 4 & 5), & The Temple of Isis and Osiris (as frontispiece).

This libretto was advertised on the playbill for the first performance as on sale at the box office for 30kr.

This is the only copy of the libretto to have been offered or sold at auction.

[Hirch IV, 1385 - citing a rebound copy]; [Warburton, The Librettos of Mozart Operas, vol. 4 (1992) - citing copies in the Austrian and Bavarian State Libraries, both lacking the engraved plates]. $10,000-15,000

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260 1 vol.

(Mozart, Wolfgang Amadeus.) Morel, M.E., librettist. Les Mysteres D’Isis, Opera en Quatre Actes: Represente sur le Theatre de la Republique et des Arts, le 25 Thermidor An IX [1802] Et repris le 3 Mars 1812. [libretto.] Paris: Roulelet, 1812. 8vo, orig. slate-blue wrappers. Some dampstaining to 1/2 title, otherwise internally generally clean.

Contemp. ink ms. title on front wrapper. (i-vi), (1)-56 pp.

Libretto of a pastiche based on Die Zauberflote, also with airs from La Clemeza di Tito and Don Giovanni by Ludwig Wenzel Lachnith with libretto by E. Morel de Chedeville. “...it was an enormous success, receiving regular performances in Paris for more than 25 years” (Grove Opera, 2: 1073). The full score of Die Zauberflote was not published until 1814.

See Haberkamp, I: 378 $300-500

259 First Score of The Magic Flute 259 1 vol.

Mozart, W(olfgang) A(madeus). Les Misteres D’Isis, Opera en Quatre Actes... Paris: Sieber, no date [ca 1803-1805]. First edition, full score.

Plate no. 1666. Folio, old calf & bds; scuffed & worn. Light foxing & darkening to edges. 2 ff, 1-365, (1) pp. Signed by the publisher at foot of title page.

Essentially a pastiche based on Die Zauberflote, also including airs from La Clemeza di Tito and Don Giovanni by Ludwig Wenzel Lachnith with libretto by E. Morel de Chedeville. “...it was an enormous success, receiving regular performances in Paris for more than 25 years” (Grove Opera, 2: 1073). The full score for Die Zauberflote was not published until 1814, nevertheless the above is regarded as the first published score for The Magic Flute & as virtually as the only life-time Mozart full opera score.

Haberkamp, 1: 378 $3,000-5,000

261 1 vol.

Mozart, W(olfgang) A(madeus). Zaide Oper en Zwei Acten...

Klavierauszug... Deutscher Text. Offenbach: J. Andre, no date [1838].

First edition, piano-vocal score. Plate no. 5351. Oblong folio, contemp. bds.; worn. Internally occasionally toned, scattered light to occasionally moderate foxing. Lithographic ptg.

“Mozart wrote Zaide in Salzburg between 1779 and mid-1780, perhaps for J.H. Bohm’s touring company or Schikaneder’s, but surely with the National Singspiel in mind. [It] was rejected as too serious for Vienna.... Zaide was chosen by Johann Andre for his 1838 publication... Zaide was first performed at Frankfurt (Mozart’s birthday, 1866), as completed by Andre, who added an overture and finale, and with new text by Friedrich Carl Gollmick” (Grove Opera, 4: 1201).

Kochel 344 (336b); K6, p. 356. $200-300

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Abduction from The Seraglio 262 1 vol.

Mozart, (Wolfgang) (Amadeus). Die Entfuhrung aus dem Serail, Komishes Singspiel in Drey Aufzugen... Der Klavier-Auszug. Mainz: Schott, no date [1785, or slightly later]. First edition, later issue, piano-vocal score. Plate no. 44. Oblong folio, old flexible calf, red morocco cover label; rubbed. Internally generally clean, occasional minor smudging, old ink price on title page. Occasional underscoring, etc. Engraved decorated title leaf, 1-134, (2) engraved pp.

Presumed later issue of the first edition with separate title pages for soprano arias on p. 47 & p. 105 & aus der Entfuhrung at the beginning of several arias. With overture arranged for piano-forte & violin.

Gottlieb Stephanie, director of the National Singspiel in Vienna offered Mozart the libretto of Die Entfuhrung aus dem Serail; Mozart’s setting was performed on July 16, 1782, two weeks before his marriage to Constanze Weber. It became popular througout Germany. Had there been royalties on performances, Mozart’s subsequent financial problems would hardly have arisen (see New Grove, 3: 491).

Kochel 384; Haberkamp, I: 177 $3,000-5,000

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10/19/08 263 1 vol.

Mozart, W(olfgang) A(madeus). Die Entfuhrung aus dem Serail.

Bonn: N. Simrock, no date [ca. 1813]. First edition, full score. Plate no. 949. Folio, contemp. 1/4 diced green calf & marbled bds., spine gilt; scuffed, extremities occasionally rubbed. Early owner’s ink stamp & signature at foot of title page. Internally generally clean, some scattered light foxing. Lithographic title leaf, blank leaf, 3-350 engraved pp., blank leaf. Libretto in German & French.

Mozart’s successful singspiel premiered in Vienna on July 16, 1782. “Was it length or plentitude of instrumentation which induced Joseph II’s famous (but probably apocryphal) comment ‘too many notes, my dear Mozart?’’’ (Grove Opera, 2: 56).

Kochel 384; K6, p. 411; Haberkamp, I: 180 $3,500-5,000

264 1 vol.

(Mozart, Wolfgang Amadeus). (“Die Entfuhrung aus dem SerailOuverture.”) [Mainz: Schott], [1785-86]. First separate edition for harpsichord & violin. Plate no. 44. Oblong folio, old bds., ms. paper label. 1-7, (1) pp. Minor scattered spotting. Ink stamp at head of p 9.

In custom brown cloth clamshell box.

The piano-vocal score of Mozart’s opera The Abduction from The Seraglio was first published in Vienna in 1785, from its 5th issue onward, the harpsichord-violin version replaced the piano version.

The opera was first performed at the Burgtheater, Vienna, on July 16, 1782.

Kochel 384; Haberkamp, I: 179; See New Grove, 12: 729 $2,000-3,000 265 1 vol.

Mozart, W(olfgang) A(madeus). Aria dell’Opera Ilia ed Idamante (non pipu tutto ascolatai)... ridotta per il Cembalo con parole Italiane e Fedesche. Brunswick: Megazino di Musica, no date [1795]. Plate no.

34. Oblong folio, modern bds. (1)-12 engraved pp. Good margins, slightly toned. Former owner’s ink stamp at head of title page.

Likely the earliest printing of any part from Idomeneo. The full piano-vocal score was printed in 1797, the full score in 1805.

Kochel 490; Haberkamp, I: 253, II, plate 213; RISM M5295 (locating 3 coies); see Weinmann, Artaria - Bibliography. $600-1,000

263

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266 (details)

The First Marriage of Figaro 266 2 vols.

Mozart, W(olfgang) A(madeus). Le Nozze di Figaro. Paris: Magasin de Musique, no date [ca. 1806-1809]. Libretto by Lorenzo da Ponte.

First edition, first issue, full score. Plate no. 566. Folio, contemp. 1/2 calf & marbled bds.; rubbed, worn & blistered, binding starting to break. Some spotting & minor dust soiling to title page. Light to moderate internal foxing & spotting, very occasional minor soiling, occasional discoloration to gutters. 1-186 pp.; 1-116, (1) 2-127 pp.

Text in Italian & French.

The title page gives the publisher’s address as 76 Rue de Richelieu, the publisher’s number as 366, the price as 48f. The foot of the title page bears the ink stamp “Cherubini Mehul” and the firm’s ink star stamp.

James J. Fuld identifies the above as the probable first edition of the orchestral score of the entire opera. He notes that the 6th edition of Kochel, p. 545, lists the Paris, Imbault printing of ca. 1795 as the first edition; but Fuld has not been able to locate any copy of that edition & does not believe that it was actually published. The copy above meets all of Fuld’s first edition points. The Cherubini Mehul ink stamps likely indicate an earlier issue than the Jaques Josfa Fey issue listed by Haberkamp.

“Figaro is generally agreed to be the most perfect and least problematic of Mozart’s great operas” (Grove, Opera, 3: 634).

Fuld, pp. 352-53; Kochel 492; K6, p. 545; Haberkamp, I: 261 $10,000-15,000

266

267 1 vol.

Mozart, W(olfgang) A(madeus). [Caption title]: “Crudel Parche Finora, A Favorite Duet.” London: R. Birchal, no date [1795]. Full score. Folio, modern bds.

Some internal staining - primarily to gutters, spine & engraved music sheets reinforced. Duetto Susanna, Il Conte, Le Nozze di Figaro.

Second printing of the first appearance of any part of Figaro (1st ptg. in 1789). The full score was not published until 1809.

Kochel 492/16 $250-400

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10/19/08 Don Giovanni 268 2 vols.

Mozart, Wolfgang Amadeus. Il Dissoluto Punito Osia il Don Giovanni. Drama Giocoso in Due Atti... In Partitura. Leipzig: Breitkopf und Hartel, no date [1801]. First edition, first issue, full score. Oblong folio, modern 1/2 crushed blue-black morocco & marbled bds. With engraved title page in Italian, showing the Commendatore and Don Giovanni, in vol. 1, letter-press titles in German in vols 1 & 2. Libretto by Lorenzo da Ponte in Italian & German, without the supplemental German libretto by Friedrich Rochlitz.

Type-set bottom fore-edge corner of engraved title repaired, early owner’s ink signature at head of engraved title. Scattered light foxing & minor spotting. Occasional minor dampstaining to bottom foreedge corners.

The partitur of Don Giovanni was the first to be published of Mozart’s opera in score, owing to its size and cost, few copies were printed. The piano-vocal score was published in 1791, the orchestral parts not until after 1894. Addressing the question of the priority of copies with or without Rochlitz’s supplement, James J. Fuld states, “...it is ...likely[er] that earlier copies lacked the correcting supplement than that the supplement was in earlier copies and thereafter omitted.”

Don Giovanni was first performed in Prague on October 29th, 1787. The philosopher George Santayana thought “Don Giovanni [was] the best of Operas... I love the tragedy in farce, the exquisiteness in folly that make it up.”

Kochel 527; Haberkamp, I: 295-297, II; plate 254; Fuld p. 371 $5,000-8,000

268

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They’re All Like That 269 3 vols.

Mozart, Wolfgang Amadeus. Cosi fan Tutte ossia La scuola degli amanti, per il cembalo. Leipzig: Breitkopf und Hartel, no date [1794].

First edition, piano-vocal score. Libretto in Italian & German by Lorenzo Da Ponte. 4to, orig. bds.; scuffed, some spotting & minor soiling. Frontispiece. Scattered light to moderate foxing, frontis. generally clean. In custom 1/2 crushed gilt brown morocco & cloth clamshell box.

The first complete printing of the opera, in original bds., with the engraved frontis. of Mozart crowned in laurels by musical angels.

Likely 50 or fewer copies of this edition were printed.

The opera premiered on January 26, 1790 at the Burghtheatre, Vienna. Condemned for its seeming immorality, it has only recently become part of the opera repertory.

Kochel 588; K3, p. 748; Haberkamp, I: 333-34 $5,000-8,000

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10/19/08 270 1 vol.

Mozart, W(olfgang) A(madeus). Cosi fan Tutte. Dramma giocoso in due Atti... Partitura. Leipzig: Breitkopf & Hartel, no date [1810]. First edition, full score. Plate no. 1363. Libretto in Italian & German by Lorenzo Da Ponte. Folio, 19th-Century 3/4 black straight-grained morocco & marbled bds., gilt-paneled & lettered spine; joints slightly rubbed & a little tender. Lichtenberg’s Verlag 19th-Century ink stamp at foot of title page. Minor spotting to title page, occasional internal spotting & soiling, bottom fore-edge corner of pp. 15/16 repaired, several other corners creased, minor occasional marginal dampstaining. Trimmed - platemarks intact, narrow margins. Title-leaf, 3-269, (1) engraved pp.

First edition of the full orchestral score, preceded by the piano-vocal score (Leipzig, 1794) & piano-vocal excerpts (Berlin, 1793; Vienna, 1790). 50 or fewer copies of this edition were likely printed.

The premiere was on January 26, 1790 at The Burghtheater, Vienna.

“Only the present century has taken a serious interest in Cosi fan Tutte. At first it was considered a heartless farce clothed in miraculous music... for an increasing number of commentators [it is] the profoundest of his Italian comedies” (Grove, Opera: 967-68).

Kochel 588; K3, p.748; Haberkamp, I: 333-34 $5,000-8,000

270

271 1 vol.

Mozart, W(olfgang) A(madeus). La Clemenza di Tito, Dramma in due Atti... Partitura. Leipzig: Breitkopf & Hartel, no date [1809]. First edition, full score. Plate no. 620. Folio, modern maroon moroccobacked marbled bds. Scattered foxing & spotting, occasional minor browning & minor marginal dampstaining, brown stain to title page imprint, upper fore-edge corner of title page dampstained. Early owner’s ink signature at head of title-page. Libretto in Italian & German. Untrimmed.

Mozart’s last opera, completed after the bulk of Die Zauberflote was written. “The opera was composed in a style more austere than that of Da Ponte Operas or Die Zauberflote... its style is appropriate to its topic. La Clemenza di Tito, compared with the preceding operas, is no less refined in craftsmanship, and it shows Mozart responding with music of restraint, nobility, and warmth to a new kind of stimulus” (New Grove, 12: 722).

Kochel 621; K3, p. 800; Haberkamp, I: 379 $3,000-5,000

271

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272 1 vol.

(Mozart, Wolfgang Amadeus,) Aurenhammer, (Josepha Barbara).

VI Variazone per il Clavicembalo della Opera Molinara... Speyer, no date [ca 1785]. First edition. 4to, modern blue cloth-backed bds. Seven engraved leaves, incl. title leaf. Internally clean.

Aurenhammer, Josephina Barbara (1758-1820). Was a pupil of Mozart in the 1780s; he dedicated to her the Artaria publication of the six violin sonatas (K. 376, 377, 378, 379, and 380) in 1781, and also composed for her the two piano Sonata in D, K448. In his letters Mozart describes Aurenhammer’s unrequited love for him & her unprepossessing manner & apperance (Anderson, The Letters of Mozart, 413 & 421). $800-1,200 273 1 vol.

Offenbach, J(acques). Orphee aux Enfers, Opera Bouffon en Deux Actes et Quatre Tableaux, Paroles de Mr. Hector Cremieux... Partition, Chant et Piano. Paris: Menestrel; Heugel, no date [1858]. First edition, piano vocal score, 4to, contemp. gilt-lettered, pebbled red cloth, orig. lithographic front wrapper preserved; cloth worn, front joint starting to separate. With 3 sheets of tinted & plain lithographic plates depicting 9 of the original performers in costume. Scattered foxing & spotting, occasional marginal dampstaining to front wrapper & a few other sheets, occasional underscoring. Publisher’s stamp on front wrapper.

The first edition of the first version of Offenbach’s first major success. The well-known overture was composed by Carl Binder for the Vienna production of 1860, ... Particuarly through the famous cancan, [it] has remained Offenbach’s best known operetta (see New Grove, 13: 510).

Grove Opera, 3: 656 $1,200-1,800

Paganini’s First Surviving Work 274 1 vol.

Paganini, Nicolo. 24 Capricci per Violino Solo... Op. 1. Milan: G. Ricordi, no date [1820]. First edition. Plate no. 403. Folio, 20th-Century 1/2 brown calf & marbled bds., black morocco spine label; some dust soiling. Minor dampstaining & minor expert repairs to title page. Some internal dampstaining - primarily to bottom fore-edge corners, scattered expert repairs. Ink stamp at foot of title page, early owner’s ink signature at head of title-page. Trimmed - plate marks intact.

First edition of Paganini’s first (surviving) work. “...the strongest impact came from his discovery of Locatelli’s... L’arte del Violino (1733), which contained 24 caprices for violin solo; these opened up to Paganini a world of new ideas and techniques“ (New Grove, 4: 86).

New Grove, 14: 91 $2,500-3,500 274

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10/19/08 275 1 vol. + 1 portfolio.

Paganini, Nicolo. [Concerto No. 2 in B for Violin and Orchestra, Op. 7]: Partition 2e Concerto La Clochette; 2do Concerto. Op. 7. No place [Paris and Mainz: Shoenberger], no date, [1851]. First edition, full score & parts (lacking the principal violin part). Score: 4to, modern black cloth, caption title only, 1-170 engraved pp., fore-edge margin of pp. 1-6 repaired, occasional other internal repairs, washed? Parts: 23 engraved folio parts, loose as issued. Plate no. S.1802. Paris & London publisher’s ink stamps at foot of violino 1. part, overall generally clean, scattered light foxing. Caption title on p. 1 of violino 1 part. In vellum & marbled bds. portfolio.

Completed in 1826, Paganini gave the premier of his second concerto in Naples on January 30, 1827.

“By his development of technique, his exceptional skills and his extreme personal magnetism, [Paganini] not only contributed to the history of the violin as its most famous virtuoso, but drew the attention of other Romantic composers, notably Liszt, to the significance of virtuosity as an element in art” (New Grove, 14: 86).

New Grove, 14: 90 $400-600

277 1 vol.

Poulenc, Francis. Les Biches, Ballet avec Chant en Un Acte... Reduction pour Piano et Chant par l’Auteur. Paris: Menestrel, no date [1924].

First edition, piano-vocal score. Plate no. H.28, 730. French, English, and German text. Folio, orig. pictorial beige wrappers, some creasing & minor dust soiling, bottom 1/3 of spine chipped away, corner creased, small dampstain, ink stamps at head of front wrapper, 1/2 title, title page & page of credits, publisher’s ink stamp on table page. Internal bottom fore-edge corner creased, upper fore-edge corner slightly creased, other minor internal wear. Bonynge Sutherland collection bookplate. Poulnec wrote Les Biches in 1923 as a ballet for Serge Diaghilev and his Ballet Russe. It premiered in 1924 with sets by Marie Laurencin; the choreography was by Nijinski.

“Poulenc would write more substantial scores - he had the richest, most surprising career of any of Les Six - but Les Biches retains its nasty champagne kick after all these years” (Ross, Alex, The Rest is Noise, 2007).

FP 36; Schmidt p. 104 $800-1,200

276 1 vol.

Piccinni, Niccolo. La Buona Figliuola, Opera Comica; Representata al Teatro Reale, nel’ Hay Market. London: R. Bremner, no date, [1767].

First edition. The overture is in piano score, the remainder is in condensed score, including instrumental parts. With the names of singers printed in the score. Folio, contemp. 1/4 calf & marbled bds., with manuscript title label dated 1770; worn & scuffed. Bound with: Piccinni, Niccolo. Overture La Buone Figliuola Maritata - caption title.

[London: Bremner, ca. 1767]. Folio. Also bound with: Jackson, William. Twelve Songs... Opera Quarta. London: for The Author, no date [ca. 1765]. First edition. Folio. Scattered creasing & minor wear, several repairs.

Piccinni, Niccolo (1728-1800). One of the central figures in Italian and French opera in the second half of the 18th-century... La Buona Figliuola is a masterpiece of sentimental opera. La Buona Figliuola was first performed on February 6th, 1760 in Rome. Its publication in London coincides with its production there in November 1766 (see Grove Opera, 3: 1001-1002).

Jackson, William (1730-1803). English composer. “He sought to revive what he regarded as a true English tradition of melody as opposed to fashionable and artificial Italian songs...” (New Grove, 9: 439-40). $300-500

278 2 vols.

Poulenc, Francis: Sonate pour Cor, Trompette et Trombone. London: J. & W. Chester, (1924). First edition, full score. Plate no J.W.C 29.

8vo, orig. printed tan wrappers. Rouart, Lerolle (the French publisher) ink stamp at foot of front wrapper. Presentation copy, inscribed to Roland-Manuel, dated, “1924,” & signed, “Poulenc.”

Minor creasing to wrappers, but a clean, attractive & generally crisp copy. New Grove, 15: 168.; FP 33, Schmidt p. 95. * Entertiens avec Claude Rostand. Paris: R. Julliard, (1954). First edition? 12mo, orig. wrappers. Frontis. portrait. Internally starting to brown. Inscribed & signed by Poulenc on 1/2 title.

Poulenc, Francis (1899-1963). French composer and pianist.

“Member of Les Six... in the field of French religious music he disputes supremacy with Messiaen, in that of the melodie he is the most distinguished master since the death of Faure” (New Grove, 15: 163). $400-700 For Poulenc manuscript, see lot 394

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279 3 vols.

Prokofiev, Sergey: Contes de la Vieille Grand’mere... Op. 31. Moscow: A. Gutheil; Leipzig, etc.: Breitkopf & Hartel, no date [1922]. First edition. Plate no. A.10303G. 4to, orig. printed wrappers; spine reinforced, slightly creased, occasional minor chipping & wear to edges. Wrappers & contents slightly toned. “Propriete de l’Auteur et de l’Editeur” label on front wrapper, ink stamp on front wrapper. * Sonate pour 2 Violons, Op. 56. Berlin, etc.: Edition Russe de Musique, [19]33. First edition, parts. Plate no. R.M.V. 570. Folio, orig. printed olive wrappers, both parts loose as issued. Minor wear & creasing. * Sonata No. 8, Op. 84. London: Anglo-Soviet Music Press, (1946). First edition. Plate no. A.S.M.P. 4. 4to, orig. printed wrappers; spine chipped, front cover detached. “Presentation” ink stamp at head of front wrapper, music seller’s ink stamp on title.

Internally crisp & clean. $250-400

Prokofiev Presentation Copy Signed 280 1 vol Prokofiev, Sergey. Troisieme Concerto en UT pour Piano et Orchestre, Reduction pour 2 Pianos par l’Auteur. Op. 26. Leipzig: Breitkopf & Hartel, no date [ca 1935]. First edition thus. Folio, modern 1/2 blue morocco & marbled bds., black morocco spine label, orig. printed green wrappers preserved. Very minor internal wear, ink stamps at foot of front wrapper.

Presentation copy, inscribed to the pianist Volya Cossack & signed

by Prokofiev on the first page of music, “To Miss Volya Cossack / Serge Prokofiev / 1938 / Very well / played / S.P.” Prokofiev completed the third concerto in 1921, just after the successful performances of his ballet score Chout and The Love of Three Oranges. He gave the premiere on December 16 of that year with the Chicago Symphony Orchestra under Frederick Stoch. The concerto immediately found favour and Prokofiev performed it during his first return to Russia as well as for his only concerto recording, with the London Symphony Orchestra in 1933. The ideas for the concerto had been accumulating for nearly a decade before its completion.

New Grove, 15, 299 $1,500-2,500 281 1 vol.

Prokofiev, Sergey: Deuxieme Concerto... pour Violon et Orchestre. Op. 63. Reduction pour Violon et Piano par l’Auteur. Berlin, etc.: Edition Russe de Musique, [19]37. First edition, piano-violin score. Plate no.

R.M.V. 635. Folio, contemp. 1/4 brown sheep & marbled bds., morocco spine labels; some edge wear, orig. printed stiff front wrapper bound in. Internally clean. New Grove, 15: 299. Bound with: Concerto pour Violon en re Majeur (D). Op. 19. Reduction pour Violon et Piano. London, etc.: Boosey & Hawkes, (1947). Folio, orig. stiff wrappers bound in. $200-300

280

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10/19/08 Signed Puccini Presentation Boheme 282 1 vol.

Puccini, Giacomo. La Boheme... Partition pour Chant et Piano. Paris: G. Ricordi, 1898. First edition, variant issue of the French piano-vocal score. Plate no. 101800. 4to, contemp. 3/4 brown calf & marbled bds., spine label, raised bands; scuffed, joints & extremities rubbed.

Internally generally clean, edges very slightly browned. Trimmed no loss of ptg. Title page with blind stamp dated 1900.

Presentation copy, inscribed to the Belgian musicologist, composer & director of the Brussels Conservatory Francois Auguste Gevaert & signed by Puccini on the 1/2 title: “A Monsieur / F. A. Gevaert / directeur du Conservatoire / Royal de musique / hommage respectueux / de / Giacomo Puccini / Bruxelles 25. 10. ‘900.”

At the time of the inscription the opera was in the midst of its record-setting Paris run, 1,351 performances from 1898 to 1907. “...the work is considered by some writers to be Puccini’s masterpiece” (New Grove 15: 432).

Hopkinson 4c(a) $5,000-8,000 283 1 vol.

Puccini, Giacomo. La Fanciulla del West Opera in Tre Atti. Milan: G. Ricordi, 1910. First edition, piano-vocal score. Plate no. 113300. 4to, modern full green morocco, gilt, gilt-paneled & decorated spine, t.e.g., raised bands, color pictorial front wrapper preserved & mounted. Frontis portrait. Some foxing to portrait, otherwise internally crisp & clean.

The piano-vocal score was published concurrently with the opera’s premier at the Metropolitan Opera on December 10, 1910, conducted by Toscanini with a cast including Caruso and with Puccini in the audience. The full orchestral score was published in 1925.

“La Fanciulla del West is a remarkable instance of self-renewal on the part of a composer who seems to have exhausted a vein in which feminine softness predominates... Orchestrally, La Fanciulla del West is Puccini’s most ambitious undertaking before Turandot.

The influence of Debussy and the Richard Strauss of Salome is clear...” (Grove Opera, 2: 120).

Hopkinson 7A $1,200-1,800

282

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10/19/08 285

284 1 vol.

(Purcell, Henry, composer.) D’Urfey, (Thomas). A Fool’s Preferment,... A Comedy... With all The Songs and Notes... by Mr. Henry Purcell. 1688. London: for Jos. Knight, and Fra. Saunders, 1688. First edition. 2 parts in 1 vol. Sm. 4to, early 20th-Century red morocco backed bds.; scuffed. Light to moderate foxing, occasional minor dampstaining, trimmed - a few heads shaved close. Complete with 2 title pages, adverts., & 16 pp. music by Purcell - seven solo songs & one duet. Rare lifetime example of music composed by Purcell for the theatre.

Thomas D’Urfey, (1653-1723) also wrote the epilogue for Dido and Aeneas.

New Grove, 15: 469; Zimmerman 571; Wing D-2729, RISM P5824; [Day & Murrie 99] $1,000-1,500

285 1 vol.

Purcell, Henry Orpheus Britannicus. A Colection of all the Choicest Songs for One, Two, and Three Voices... London: J. Heptinstall for Henry Playford, 1698. First edition. Folio, modern 1/2 dark brown calf & marbled bds., spine gilt, red morocco spine label. Frontis. portrait. Scattered light foxing, occasional minor toning & spotting, trimmed - heads & feet occasionally shaved close. Bound with: Orpheus Britannicus... The Second Book, which Renders The First Complete. London: William Pearson for Henry Playford, 1702. First edition. Scattered light foxing, trimmed.

Frontis. portrait, title leaf, (i)-viii, 1-248 pp.; title leaf, dedication leaf, 1-11, (i-ii), 1-176 pp. Small repairs to portrait & first table, small close tears to pp. 23 & 436 of first vol., p. 142 of first vol. cut close with one note obscured, p. 158 of first vol. cut close with instructions obsucred, page 19 of first vol. cut close with small loss to one note, p. 186 of first vol. cut close with one note partially cropped, pp. 19091 of first vol. cut close with small losses.

New Grove, 15: 468; Wing P-4218; Zimmerman p. 494, 1698d $2,000-3,000

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10/19/08 286

287 2 vols.

(Ravel, Maurice, composer.) Colette, librettist: L’Enfant et les Sortileges. Paris: A. Durand et Fils, (1925). First edition. 8vo, orig. wrappers printed in red & black, glassine; semicircular stain on front wrapper, some internal toning. Publisher’s ink stamp on front wrapper * The piano-vocal score, Paris: Durand, 1924. Frist ed. 4to, original wrappers; front wrapper detached.

First editions of the libretto and piano-vocal score for Ravel’s second opera. $250-350 Ravel Presentation Copy 286 1 vol Ravel, Maurice. Ma Mere l’Oye, 5 pieces Enfantines pour Piano a 4 mains. I pavane de la Belle au Bois Dormant. Paris: Durand & Fils, 1910.

First edition. Plate no. D. & F. 7746(1). Folio, contemp. 1/2 blue cloth & marbled bds., orig. printed green wrappers preserved. Internally clean & crisp, edges of wrappers slightly faded.

Presentation copy, inscribed & signed by Maurice Ravel & with autograph musical quotation of 3 bars from the score in his hand on front wrapper.

First edition of the Sleeping Beauty pavane from Ravel’s My Mother Goose with rare musical quotations in his hand.

New Grove, 15: 620. $3,000-5,000

For Ravel manuscript, see lot 397 288 2 vols.

Russian Composers: Rimsky-Korsakov, (Nikolay) (Andreyevich).

Concerto pour Piano Op. 30. Partition d’Orchestre. Leipzig: M.P. Belaieff, 1886. First edition, full score. Plate no. 26. 4to, orig. printed grey wrappers; scattered light spotting, occasional chipping to spine, wrappers just starting to detach. With gilt chromolithographic title page. Early owner’s blue crayon pencil signature at head of title page. Internally generally clean. New Grove, 16: 36. * Balakirev, Mily Alexeyevich. [Translated from the Russian]: Tamara [symphonic poem]. Arrangement for Piano four hands by A. Glazounow. Moscow: P. Jurgenson, no date [1884]. First edition. Folio, orig. chromolithographic self-wrappers. Plate no. 5895. (1)-61, (1) pp.

Minor creasing to corners, occasional minor dust soiling, spine reinforced. With the library stamp of the Paris publisher Rouart Lerolle at margins of chromo title & head of p. 3. In Rouart-Lerolle printed orange sleeve. New Grove, 2: 53. Balakriev, Mily Alexeyevich (1837-1910). Russian composer. “Balakriev’s importance in the history of Russian music is two-fold - as a leader and as a composer. It was Balakriev, even more than Glinka, who set the course for Russian orchestral music and Russian lyrical song during the second half of the 19th-Century” (New Grove, 2:50). $500-800

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289

289 1 vol.

Rimsky-Korsakov, Nikolay Andreyevich. Eight Settings from the Liturgiya sv. Ioanna Zlataustra. [Liturgy of St. John Chrysostom]. St. Petersburg, 1884. First edition, Op. 22. 8vo, modern olive cloth, orig. printed pink wrappers preserved. Light wear & minor dust soiling to wrappers, 4 ink stamps on front wrappers, 1 ink stamp at head of pp. 1 & 23.

Signed at foot of p. 1 by Rimsky-Korsakov. “[Rimsky-Korsakov] seems to epitomize the brilliance and pageantry of Tsarist Russia... His influence on his most distinguished pupil, Stravinsky, can be discerned above all in the Firebird” (Oxford Dictionary of Music).

New Grove, 16: 36 - choral works. $1,000-1,500 290 1 vol.

Roner, Andrew, composer. Melopela Sacra or a Collection of Psalms and Hymns by Mr. Addison and Sr. John Denham & C. London: Wm. Smith, Music Printer, no date, [1721]. 2 vols in 1. Folio, old calfbacked bds., contemp. morocco cover label - “Roner’s Anthems”; rubbed & worn, hinges stressed. Engraved pictorial frontis., engraved title pages & music, letter-press text. Scattered light foxing.

Psalmody with engraved musical-subject frontis. $250-350

291 1 vol.

Rossini, G(ioachino). Guillaume Tell. Paris: S. Troupenas, no date, [1829]. First edition, piano-vocal score. Plate no. 329. Folio, early 20th-Century 3/4 crushed green morocco & marbled bds., spine gilt. Light to occasionally moderate foxing.

Rossini’s last opera, first performed at the Paris Opera on August 3, 1829, which was based on Schiller’s 1804 play. “Carefully written, harmonically daring... orchestrally opulent, Guillaume Tell represents a final purification of Rossini’s style... The whole is a rich tapestry of his most inspired music...” (New Grove, 16: 239). Includes the famous William Tell overture.

New Grove, 16: 245; see New Grove, 16: 239 for illustration of the title page to this piano-vocal score. $400-600 For Rossini manuscripts, see lot 401 & 402 292 1 vol.

Rousseau, J(ean) J(aques). Le Devin du Village. Paris: Mme Boivin, et al., no date [1759]. First edition. Folio, early 20th-Century 1/4 calf & marbled bds. Scattered light foxing, occasional minor toning. 2 ffs, 95 pp. Engraved throughout, good margins.

Le Devin du Village, given before the count at Fontaine Bleau in October 1752, was Rousseau’s first operatic success, and epochal in showing the way to French opera comique... (see Grove Opera, 4: 72).

Rousseau, Jean-Jacques (1712-1778). Swiss philosopher, theorist and composer.

Grove Opera, 4: 72; [RISM R2899]; [Hirsch ii.821]; [Loevenberg 217]. $400-600

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10/19/08 293 1 vol.

Saint-Saens, Camille. Samson et Dalia. Opera en 3 Actes... Partition Chant & Piano Arrangee par l’Auteur. Paris: Durand & Schoenewerk, no date [1877]. First edition, piano-vocal score. 4to, contemp. 3/4 brown calf & marbled bds., red morocco spine label; slightly scuffed, orig. chromolithographic front wrapper preserved. Minor offsetting, bottom edge trimmed close, other edges untrimmed. Publisher’s ink stamp at foot of front wrapper. The score is dedicated to Pauline Viardot.

“Despite many precedents, most people expressed alarm at biblical subjects on the stage... The score was finished in 1876, and although no French theatre showed any interest, the opera was taken up enthusiastically by Liszt and mounted in Weimar in 1877 with Ferenczy as Samson and von Muller as Delilah; Eduard Lassen conducted” (Grove Opera, 4: 158).

Saint-Saens, Camille (1835-1921). French Composer, pianist, organist and writer. A gifted, fluent and prolific composer, he embodied in his works many of the essential French qualities, above all clarity and order, and impressed a whole generation with his intellectual mastery of the art and his lucid interpretations at the keyboard (see New Grove, 16: 400).

Grove Opera, 4: 137 $300-500 294 1 vol.

Saint-Saens, C(amille). Proserpine Drame Lyrique en 4 Actes de Louis Gallet. Paris: Durand & Schoenewerk, (1887). First edition, pianovocal score. Small 4to, contemp. 1/4 blue morocco & marbled bds., spine gilt, orig. color front wrapper preserved; some edge wear.

Publisher’s ink stamp on front wrapper title.

Presentation copy, inscribed to the orchestra conductor of the opera’s premier performance, dated the night of the premier, “March 16, 1887,” & signed by C. Saint-Saens on front blank. Additionally signed by the librettist Louis Gallet.

Grove Opera, 4: 137 $500-800

295 1 vol.

Saint-Saens, C(amille). Javotte. Ballet en 1 Acte et 3 Tableaux de J.L. Croze. Partition pour Piano seul. Paris: A. Durand et Fils, 1896. First edition, piano-vocal score. 4to, contemp. 1/4 calf & bds.; occasionally slightly scuffed, orig. color pictorial wrapper preserved, internally clean.

Presentation copy, inscribed & signed by C. Saint-Saens at head of title-page. Additionally signed by librettist J.L. Croze.

New Grove, 16: 404 $400-600 296 1 vol.

Saint-Saens, C(amille). Dejanire, Tragedie Lyrique en 4 Actes. Poeme de Louis Gallet et C. Saint-Saens. Partition pour Chant, et Piano, Redute par l’Auteur. Paris: A. Durand & Fils, 1910, [but 1911]. First edition, piano-vocal score. 4to, orig. wrappers, glassine. Minor dust soiling to edges of back matter, untrimmed. In protective 3/4 crushed red morocco & marbled bds. clamshell box.

Presentation copy inscribed, dated, “1911,” & signed by C(amille) Saint-Saens at head of title.

Saint-Saens’ opera debuted in Monte Carlo on March 14, 1911, with a libretto by Louis Gallet and the composer after Sophocles’ Trachiniae. The plot has some features in common with Handel’s Hercules.

New Grove, 16: 404 $400-600

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297

297 1 piece.

Satie, Erik. 4eme Nocturne pour Piano. Paris: E. Demets, 1920. First edition. Plate no. E.1963D. Folio, unbound. (1)-2-3, (1) pp., minor creasing, 2 small cellotape repairs, top fore-edge corner of back leaf chipped, verso of back leaf (adverts) a little toned. Small red crayon mark indicating this title on front cover. In custom red cloth clamshell box.

Presentation copy, inscribed to the librettist Marcelle Meyer-Bertin & signed by Eric Satie with his characteristic initials.

“Of the piano pieces,... undoubtedly the most significant are the...

Nocturnes” (New Grove 16: 518).

New Grove, 16: 519 $2,000-3,000 Scarlatti’s Sonatas 298 1 vol.

Scarlatti, Domenico. Pieces pour le Clavecin... Troisieme Volume...

Grave par Mad. Vendome. Paris: Aux adresses ordinaires de musique, no date [ca 1740]. First edition, presumed later issue. Folio, modern 1/2 black morocco & marbled bds. Internally crisp & clean, good margins. Former owner’s ink stamp on title leaf. 1-27, (1) pp.

“Scarlatti’s sonatas have had a chequered history in print,... many notable 18th-Century publishers in London, Paris and elsewhere issued collections... Scarlatti exerted considerable influence on the development of keyboard music (New Grove, 16: 573-74).

CPM vol. 50, p. 237, g. 47e, with price at 7tf (first issue priced at 9 tf) $1,500-2,500

Schoenberg’s Guerre-Lieder 299 1 vol.

Schoenberg, Arnold. Gurre-Lieder von Jens Peter Jacobsen (Deutsch von Robert Franz Arnold) Soli, Chor und Orchester. Vienna: Universal, 1912. First edition, full score. Plate no. U.E. 3697. Folio, contemp cloth, portion of orig. printed front wrapper mounted to front cover, some edge wear. Small cello tape repairs at bottom & top edges of color pictorial title leaf, bottom fore-edge corner of title chipped, small tear in bottom margins of pp. 1/2, corners slightly creased.

Gurre-Lieder, described by Alex Ross as “a huge Wagnerian cantata for vocal soloist, multiple choruses, and supersized orchestra” was given its first complete performance on February 23, 1913 by the Vienna Philharmonic Chorus and Orchestra, conducted by Franz Schreker. It was an overwhelming success; Schoenberg refused to acknowledge the applause & cheers of the audience.

New Grove, 16: 720 $2,000-3,000 299

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10/19/08 300 1 vol Shoenberg, Arnold. Moses und Aron, Oper in Drei Akten. Mainz: B. Schott’s, no date, [1957]. First edition, piano-vocal score. Schott 4935. Vocal score by Winfried Zillig, English translation by Allen Forte. 4to, orig. wrappers; slightly scuffed & creased, ms. ink title on spine. Internally clean, minor creasing to corners. Book plate on verso of English-language title.

“From every point of view, whether musical, religious or philosophical, the opera is Shoenberg’s most comprehensive masterpiece. The ideas that gave rise to it occupied him for many years before its composition, and their dramatic expression called forth music of immense power and diversity” (Grove Opera, 3: 480).

New Grove, 16: 719; [Ruffer S. 187]. $400-600 301 1 vol.

Schoenberg, Arnold. Style and Idea. New York: Philosophical Library, (1950). First edition. 8vo, orig orange cloth, d/j (Price clipped, minor edge wear). Tight, bright & attractive copy. $200-300 302 1 vol.

(Schubert, Franz.) Flower, Newman. Franz Schubert: The Man and His Circle. New York: Tudor, 1935. 8vo, contemp. gilt, silver & black stamped pictorial full orange morocco, t.e.g., turn-ins gilt, yellow silked end paper; very occasional very minor wear, orig color pictorial frontis. preserved. Color frontis. Internally clean. $200-300

303

Signed by Schubert 303 1 vol.

Schubert, Franz. Der Wanderer. Vienna: Cappi und Diabelli, no date, [1821]. First edition. Plate no. 773. Op. 4, no. 1. Oblong folio, engraved self-wrapper, (1)-11, (1) pp. Faint dampstaining primarily to bottom fore-edge corner, occasionally touching music. Wide (full?) margins. In custom purple buckram clamshell box.

Signed by Schubert on back blank & with his ms. control mark “61”.

Published by Schubert with text by Schmidt von Lubeck. Widely considered to be one of the greatest art songs.

Deutsch 489, version C [formerly 493a]. The only version published in Schubert’s life time. $3,000-5,000

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10/19/08 The Unfinished Symphony 304 1 vol.

Schubert, Franz. [Unfinished Symphony.] Zwei Satze der Unvollendeten Sinfonie in H moll. Vienna: C.A. Spina, 1867. First separate edition of the full orchestral score.

Plate no. 19,138. Tall 8vo, modern 1/2 slate blue morocco & marbled bds., black morocco spine label, orig. printed blue front wrapper preserved. Bottom foreedge corner of front wrapper & title-page repaired. Title leaf, 3-103, (1) engraved pp. Untrimmed.

Deutch records an edition of the orchestral score issued with the parts in December of 1866, with plate no.

19,138 for the score and 19,165 for the parts. Fuld describes the above 1867 issue as the first edition of the orchestral score.

Schubert wrote the Unfinished Symphony, no. 8 in B minor, when he was twenty-five [in 1822]. It received its premiere in 1865, thirty-seven years after his death.

The two completed movements are prophetic of later symphonies of the Romantic era (see Dubal, Essential Canon of Classical Music).

Deutsch 759; Fuld, revised ed. pp. 567-68 $2,000-3,000

306

305 1 vol Schubert, Franz. Deutsche Tanze und Ecossaisen fur das Pianoforte Verfasst... 33tes Werke. Vienna: Cappi und Comp., no date [1825].

First edition. Plate no. C.C.45. Oblong folio, modern 1/4 cloth & marbled bds. Internally generally clean, minor staining in lower margins. Early owner’s ink signature at foot of title. (1)-11, (1) pp., engraved.

These dances for the piano were composed between January, 1823 & November, 1824, & published as Op. 33 in January, 1825.

Deutsch 783; New Grove, 16: 787 $500-800

304

The Greatest of All Song Cycles 306 1 vol.

Schubert, Franz. Winterreise... 89stes Werke. Vienna: Tobias Haslinger, no date [1828]. First complete edition. Plate nos.

T.H.5101-5124. 2 vols. in 1. Oblong folio, modern 1/4 olive cloth & marbled bds. Internally generally clean, occasional minor soiling & spotting, minor creasing to corners, small ink stain in lower margin of p. 21, vol. 2.

First complete edition of the two part song cycle. The first twelve songs were published in January, 1828. They were re-issued in December, 1828, with the second set of twelve songs, with consecutive plate numbers, to form the complete cycle. Schubert was already dead in December. It is accepted by most authorities that Schubert had been working on the proofs of the second part of Winterreise in his last days.

The twenty-four songs in Winterreise (Winter Journey) are set to poems by Wilhelm Muller. “If you are among those who consider the harrowing and desolate Winterreise to be the greatest of all song cycles, you have plenty of company...” (Dubal, Essential Canon of Classical Music, p. 186-187).

Deutsch 911; New Grove, 16:802; [Hirsch, Volume IV, Schubert First Editions, p. 223]. $2,000-3,000

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10/19/08 307 1 vol.

Schubert, Franz. Der Hirt auf dem Felsen. Vienna: Tobias Haslinger, no date [1830]. First edition, full score & parts (3). Plate no. 5570.

Op. 129. Folio, loose as issued in orig. engraved pictorial selfwrappers. Ludwig Doblinger ink stamp on foot of title & several internal leaves. Minor creasing, scattered light dust soiling, a few small tears in bottom margins. Wide (full?) margins. In custom blue-grey clamshell box.

Schubert’s last work, a song for accompaniment for piano-forte and clarinet or violoncello, composed in October 1828, the month before his death. First performed in March 1830 in Riga by Frau Anna Milder-Hauptmann.

Deutsch 965 $800-1,200

308 Lot. Schumann, Clara. Trio fur Pianoforte, Violine u. Violoncello... Op. 17.

Leipzig: Breitkopf & Hartel, no date [1847]. First edition, parts. Plate no. 7562. Violino part lacking, supplied in facsimile from a later edition. Folio, orig. self-wrappers, unbound - as issued. Moderate browning, scattered foxing. In custom green cloth clamshell box.

Presentation copy, inscribed to a female member of the music publisher Schlesinger family, and dated, “1848” & signed by Clara Schumann on bottom portion of title.

“The Trio was composed in Dresden during a difficult period in Clara’s life. She began work on it in May 1846 and completed it on the eve of her birthday in September 1846... The Trio is Clara Schumann’s only published work in four-movement sonata form...

Never before and never again did Clara Schumann attempt to carry out her musical ideas on such a large scale. Especially impressive is the fact that she was able to rise to these creative heights a few months after the birth of her fourth child, Emily, and during a period when both she & her husband were ill and depressed” (Reich, Clara Schumann, pp. 244-45).

New Grove, 16: 829 $2,500-4,000 309 1 vol.

Schumann, Robert. Carnaval: Scenes Mignonnes... pour le Pianoforte sur quatre notes... Oeuv. 9. Leipzig: Breitkopf & Hartel, no date [1837].

First edition, first issue. Plate no. 5818. Folio, modern bds., orig. engraved self-wrappers preserved. Internally generally clean, minor darkening to edges, a few small close tears in margins, spine reinforced. With publisher’s stamp on title.

“Carnaval for Piano, Op. 9, completed in 1835, is Schumann’s most frequently played large work. The richness of its material and its pulsating life make it one of the great half-hours of human fantasy” (Dubal, David The Essential Canon of Classical Music, p. 236-37).

Fuld, revised ed., p. 164; New Grove, 16: 865; Hofmann pp. 22-23 $500-800

308

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10/19/08 Pauline Viardot’s Copy 310 1 vol.

Schumann, Robert. Drei Quartette fur zwei Violinen, Viola und Violoncell... Op. 41., no. 1 Arrangement fur das pianoforte zur vier Handen von Otto Dresel. Leipzig: Breitkopf & Hartel, no date [1852].

First edition, piano four hands. Plate no. 8427. Small folio, orig. printed self-wrappers; spine repaired, moderate foxing to title page wrapper. Close 1-inch horizontal tear to title - no paper loss, light to moderate internal foxing. Publisher’s ink stamp at foot of title.

Pauline Viardot’s copy, signed by her, “P. Viardot,” at head of titlepage front wrapper.

Viardot, Pauline (1821-1910). “French mezzo-soprano of Spanish origin, composer & teacher of singing... she knew almost every musician of distinction in her day, and was the friend & inspiration of many writers” (New Grove, 19: 694-695).

New Grove, 16: 856; Hofman p97 $1,200-1,800

310

311 1 vol Schumann, Robert. Dritte Symphonie (Es dur) for Grosses Orchester...

Op. 97. Bonn: N. Simrock, no date, [1851]. First edition, full score.

Plate no. 5019. Tall 8vo, contemp. 1/4 calf & bds.; expertly restored.

Scattered, generally light, foxing, occasional underscoring & other pencil performance markings.

“Schumann’s Third Symphony was actually his fourth in the order of composition... it is popularly known as the Rhenish Symphony... it was first performed in February, 1851 and was immensely popular” (Daverio, Robert Schumann, p. 443).

Hofmann pp. 210-11; New Grove, 16: 855 $800-1,200 312 2 vols.

Schumann, Robert: Siben Clavierstucke in Fughettenform... Op. 126.

Elberfeld: F.W. Arnold, no date [1854]. First edition. Plate no. A 387.

Folio, mid 20th-Century 1/2 gilt-lettered light brown morocco & marbled bds., orig. engraved self-wrappers preserved; occasionally scuffed. Scattered light foxing & occasional soiling. Composed between May 28th & June 9th, 1853, during Schumann’s prolific last creative spell. New Grove 16: 867; Hofmann, pp. 276-77. *Symphonie [No. 1] fur Grosses Orchester... Klavierauszung zu vier Handen Op. 38.

Leipzig: Breitkopf & Hartel, no date [June 1842]. First edition of this arrangement. Plate no. 6683. Folio, bdg. lacking. Occasionally slightly browned, a few minor tears, minor scattered paper loss to upper margins. In custom 1/2 brown morocco clamshell box.

Hofmann p. 89; [Hoboken, 1569] $300-500

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313

Shostakovich Presentation Copy 313 1 vol.

Shostakovich, Dmitri. Op. 67... Trio for Piano, Violin, and Violoncello.

Moscow: State Music Publishers, 1945. First edition. 4to, orig. printed wrappers; some creasing to corners, occasional chipping to edges, foot of spine chipped away, slightly browned. Some internal creasing & minor browning. In custom 1/2 green morocco & cloth clamshell box, spine gilt, raised bands.

Presentation copy, inscribed & signed by Shostakovich on the title page, [translated from the Russian]: “To Vladimir Yevgenyvich Neklyudov, / with best wishes, D. Shostakovich / 5 II 1946 / Moscow.”

Shostakovich dedicated his second piano trio to the memory of his dearest friend, the music critic Ivan Sollertinsky, who died suddenly, before the trio was completed. In its finale, he used Jewish themes for the time, they were to appear in several of the composer’s next works, including the First Violin Concerto, the Fourth String Quartet, the Preludes and Fuges for Piano, and the Four Monologues on Pushkin Poems.

New Grove, 17: 274; Hulme p. 237 $2,500-4,000

314 1 vol.

Smetana, B(edrich). Hubicka. Prostonaro dni Opera. Der Kuss.

Volksoper. Prague: A. Urbanek, no date [1880]. First edition, pianovocal score. Plate no. 24. Libretto in Czech & German. Folio, contemp. cloth; some edge wear, orig. color-pictorial front wrapper preserved. Corners creased, internally clean.

Smetana’s sixth opera, the Kiss, composed in 1875-76 & first performed on November 7, 1876, was his first... after becoming totally deaf, as well as his first collaboration with the librettist Eliska Krasnohorska. Successful at its premier, it became the most favoured of his operas after the Bartered Bride (see New Grove, 17: 399).

New Grove, 17: 404; [CPM vol. 52, p. 429]; Teige 115. $500-800 315 Lot. Spohr, Louis. Deux Quatuors pur Deux Violons, Alto et Violoncello...

Oeuv. IV. Leipzig: A Kuhnel (Bureau de Musique), no date [1806].

First edition, parts (4). Plate no. 455. Folio, orig. self-wrappers.

Engraved titles & music; light to moderate foxing, old ink number “4” at head of each part title, spine reinforced, good margins. In custom brown cloth clamshell box.

Spohr’s first String Quartets.

Spohr, Louis (1784-1859). “German composer, vioinist and conductor. He was one of the leading composers of instrumental music of the early Romantic period...” (New Grove, 18: 9).

New Grove, 18: 14; Gothel p. 13 $500-800

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316 1 vol.

Strauss, Johann II. Seid Umschlungen Millionien. Walzer... Op. 443, fur Clavier Solo. Berlin: N. Simrock, no date [1892]. First edition, first issue. Plate no. 9756. Folio, modern bds.; light edge wear, orig. chromolithographic front wrapper preserved; cello-tape reinforcement to spine of wrapper, foot of p. 2, & gutters throughout. (1)-11, (1) pp.

Presentation copy inscribed, dated, “Schonau 10. 6. 1892,” & signed in full by Johann Strauss [II] on chromolithographic title/front wrapper.

“Unlike his predecessors, Strauss was for a time under the influence of Liszt and Wagner... It helped him in some ways to develop the form of the Viennese Waltz qua music,... to write light music inspired by genius” (New Grove, 18: 211).

New Grove, 18: 212; [Schonherr Nr 541]. $800-1,200 317 1 vol.

Strauss, Richard. Ein Heldenleben... Op. 40... Partiture. Leipzig: F.E.C. Leuckart, [1899]. First edition, full orchestral score. Plate no. F.E.C.L. 5200. Small 4to, orig. lettered grey cloth, later? calf spine & corners; scuffed, some edge wear. Novello ink stamp on title. Some internal soiling. Signed in pencil at head of title by Richard Strauss.

“Strauss regarded... his tone poem, Ein Heldenliben, as a companion piece to Don Quixote. They were companions in misunderstanding by some commentators... Ein Heldenleben was ascribed to Strauss’s megalomaniac tendencies... [but it] is essentially another product of Strauss’s Bavarian capacity for self-parody. His hero is no Nietzschean superman but a composer... whose adversaries are music critics.... The programme,..., [is] illustrated by homogeneity that is completely convincing as an abstract composition” (New Grove, 18: 227).

M. Von Asow, 1: 243 $500-800 318

Strauss Salome Presentation to Jeritza 318 1 vol.

Strauss, Richard. Salome. Musik-Drama in einem Aufzuge... Op. 54.

Klavier-Auszug. Berlin: Adolf Furstner, 1910. Piano-vocal score. Folio, modern gray cloth & red bds., orig. front wrapper mounted to front cover. Internally lightly to moderately toned.

Presentation copy, inscribed to the soprano Maria Jeritza & signed

by Strauss: [Translated from the German]: “To my beloved alas too seldom in Strauss roles to admire, Marie Jeritza / in friendship/ Richard Strauss/ Vienna 20. 1. 21.”

Jeritza, Maria (1887-1982). Czech soprano. “The golden girl of opera’s Golden Age.” She created the title role in Ariande auf Nazos and was acclaimed as the great Salome of her time. She shocked Puccini by singing his dying arias lying flat on the stage. This earned her the nickname “La Diva Prostrata” (The horizontal Prima Donna), although some thought there might be other reasons for the sobriquet (see Sex Lives of the Great Composers).

“What makes the opera work,..., is its supurbly achieved musicodramatic form” (Grove Opera, 4: 569). $2,500-4,000

103 free≤an’s the david wolman classical music collection

10/19/08 The Rite of Spring 319 1 vol.

Stravinsky, Igor. Le Sacre du Printemps... Partition d’Orchestre. Berlin, etc: Edition Russe de Musique, [1921]. First edition, full orchestral score. Plate no. RNV 197b. 8vo, orig. tan wrappers; some edge wear, foot of spine chipped, other wear to spine, scattered light dust soiling. Ink stamp on front wrapper. Edges slightly toned.

The third of Stravinsky’s pre-WWI ballet scores, the Rite of Spring “was at first the most notorious and within a few years the most celebrated of his works; it put modernism on the map. Sacre became the watchword for innovation and its uninhibited rhythms charged many composers with new life. It is a magnificent exertion” (Dubal, David, Essential Canon of Classical Music).

New Grove, 18: 262; de Lerma S1, p. 80 $2,000-3,000 320 1 vol.

Stravinsky, Igor. The Rake’s Progress an Opera in 3 Acts. A Fable by W.H. Auden and Chester Kallman. London: Boosey & Hawkes, (1951).

First edition, piano-vocal score. Plate no. B.& H. 17088. 4to, orig. red-lettered green wrappers; spine & edges slightly faded, occasionaly slightly creased. Minor tape residue on title page, corners slightly creased. Libretto in English & German. In custom russet-brown cloth clamshell box.

“There is no work by Stravinsky, or by anyone else, that embodies more conspicuously than the Rake’s Progress the artistic selfconsciousness - the consciousness of art in crisis - that is the nub and essence of ‘neo-classicism’” (Grove Opera, 3: 1222).

New Grove, 18: 262; de Lerma R5 $250-400 321 1 vol. + 1 piece.

Storance, Stephen: The Pirates, an Opera in Three Acts, as Performed at the Theatre Royal Drury Lane. London, J. Dale, no date [1792]. First edition, piano-vocal score. Small oblong folio, modern bds. Engraved pictorial title leaf, adverts. (1), 2-93, (1) engraved pp. Slightly trimmed. Internally clean & crisp. New Grove, 18: 181; title page of The Pirates illus. by New Grove, 18: 181. * “Captivity. A Ballad.

Supposed to be Sung by The Unfortunate Marie Antoinette During her Imprisonment in The Temple.” - caption title. London: for the Author, sold by J. Dale, no date [1793]. First edition. 2 leaves, folio, disbound, slightly dusty. Engraved on facing pp. only. Signed by Storace below plate mark of 2nd page.

Storace, Stephen (1762-1796). English composer, his sister, Nancy, originated the roled of Susanna in Mozart’s Nozze di Figaro. The Storaces and the Mozarts were certainly close friends (see New Grove 18: 180). $300-500

319 322 1 vol.

Tailleferre, Germaine. Sonate pour Piano et Violon. Paris: A. Durand & Fils, 1923. First edition. Plate no. D. & N., 10256. Folio, contemp.

1/4 brown sheep & marbled bds., red morocco spine labels, orig. wrappers bound in. Ex-library - perforated stamp & other markings on front wrapper title page, cello tape remnants in gutter of 1st page.

Tailleferre, Germaine (1892-1983). The only woman member of Les Six. Cocteau described her as a Marie Laurencin for the ear.

New Grove, 1st ed., 18: 527 $100-150

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323 1 vol.

Tans’ur, William. A Compleat Melody: or The Harmony of Sion.

London: W. Pearson for James Hodges, no date (1734). First edition.

Oblong 8vo, contemp. calf; rubbed & worn; covers detaching or detached. Title & dedication leaves loose. Trimmed - heads shaved close.

Tans’ur, William (1700-1783). English psalmodist and theorist. “In 1734 [he] published his first psalmody collection, A Compleat Melody..., consisting of metrical psalms, hymns and anthems, chiefly of this own composition... [He] was one of the most successful exponents of the elaborate hymn tune of the time,...”

(New Grove, 18: 567).

New Grove, 18: 567 $200-300

Signed & Inscribed by Tchaikovsky 324 1 vol.

Tchaikovsky, Pyotr Il’yich. Mazepa. Moscow; P. Jurgenson’s..., no date [1883]. First edition, piano-vocal score. Plate no. 5800-5819.

4to, mid 20th-Century 1/2 red morocco & color patterned bds., black morocco spine label; light wear, orig. gilt chromolithographic title front wrapper preserved. Some spotting to title & front & back matter. Slightly trimmed.

Presentation copy, inscribed & signed by Tchaikovsky on contents page. [Translated from the Russian]: “To my dear Tanyana (?) from an old friend. Tchaikovsky. Moscow... 18[??].” Date partly trimmed away.

The opera with a libretto by Victor Burenin, revised by the composer, after Pushkin’s poem “Poltava,” premiered at Moscow’s Bol’shoy Theatre in February of 1884. This is the second opera to be based on Pushkin’s poem about the 17th-Century Ukrainian separatist. The full score was published in 1899.

C.W 7; P.I Tchaikovsky Works p121 $4,000-6,000 324

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325 1 vol.

Tchaikovsky, Pytor Il’yich. Fatum. Poeme Symphonique pour Orchestre...Op. 77... Reduction pour Piano a 4 mains par N. Sokolow.

Leipzig: M.P. Belaieff, 1896. First edition, piano four hands. Plate no.

1345. Folio, orig. printed decorated gray wrappers, gilt chromolithographic title page; light edge wear, ink stamp on front wrapper, internally clean & bright. In custom blue cloth clamshell box.

Tchaikovsky’s first tone poem, composed in the last months of 1868, performed by Balakirev in St. Petersburg in 1869, was destroyed by Tchaikovsky, & later reconstructed from the surviving orchestral parts; full orchestra score published in St. Petersburg in 1896.

C.W 38; P.I Tchaikovsky Works p353 $200-300 326 1 vol.

Vaughan Williams, R(alph). English Folk Songs. (Suite for Orchestra.)

London: Boosey & Hawkes, (1924). First edition, full score. Plate no.

B. & H. 8720. Transcribed from the original suite for military band

by Gordon Jacob. Folio, orig. green lettered printed tan wrappers; minor creasing & soiling. Former owner’s ink signature at head of front wrapper. Minor internal creasing. Signed by R(alph) Vaughan Williams at head of title-page. In custom green buckram clamshell box.

Vaughan Williams, Ralph (1872-1958). English composer, teacher, writer and conductor. The most important English composer of his generation, he was a key figure in the 20th-Century revival of English music (see New Grove, 19: 569).

New Grove, 19: 578; Kennedy, 2nd ed., p. 96 $500-800 327 1 vol.

Verdi, G(iuseppe). Quartetto in Mi Minore per due Violini, Viola e Violoncello... Partitura. Milan: Ricordi, no date [1873]. First edition, full score. Plate no. 44903. Large 8vo, orig. color lettered lithographic blue wrappers; corners creased, minor dust soiling, ink stamp at foot of front wrapper. Title page printed in purple, ink stamp at foot of title page. Internally generally clean.

This string quartet in E minor is Verdi’s only published chamber work.

Hopkinson 36A; New Grove, 19: 662 $1,000-1,500

328

Signed by Verdi 328 1 vol.

Verdi, G(iuseppe) Aida. Grand Opera in Quatre Actes... Partition Piano et Chant.. Paris: Leon Escudier, no date [1876]. First French-language edition, piano-vocal score. 4to, modern full red morocco, blindpaneled covers, gilt-lettered spine. Tinted lithographic front wrapper title, with Egyptian motifs, preserved. Ink stamp on foot of title.

Internally generally clean - minor scattered foxing. Trimmed - plate nos. trimmed away. In custom 1/2 red morocco & cloth clamshell box.

Signed by G(iuseppe) Verdi at head of Personnages & Table page, below ink-stamp reading, “Souvenir du 22 Mars 1880,” the date of the Paris opera premiere.

The premiere on December 24, 1871 in Cairo was exotically colorful; the Khedive (the ruler of Egypt) and an extremely large and veiled harem occupied the boxes... The opera literally gushed with beauty” (Dubal, David, Essential Canon of Classical Music).

Hopkinson 62 A (g); Fuld, revised ed., 589 $3,000-5,000

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10/19/08 Earliest Otello 329 1 vol.

Verdi, Giuseppe. Otello. Dramma Lirico in quattro Atti. Versi di Arrigo Boito... Milan, etc.: Ricordi, no date [1887]. First edition, piano-vocal score, earliest issue. Plate no. 51023. 4to, contemp. 1/2 vellum & marbled bds., brown morocco spine label; scuffed, some edge wear, top of front joint starting to separate. Contents slightly shaken, pp.

1/2 loose, edges often toned. Red ink inscription dated, “24/3/87,” on upper gutter of title page. Italian libretto.

Presumed earliest issue, without the announcement of the first performance on the title page, the St. Petersburg agent is M. Bernard & not E. Mellier. This issue not recorded by Hopkinson.

“Otello was first performed at La Scala in February, 1887... Verdi’s ears were open to all that they encountered in Rossini, Donizetti and Mercadante, in Meyerbeer, Berlioz and Wagner... he found things that could become his own. Otello results from Verdi’s lifetime of learning by trial and effort, by striving, experimenting, discarding and refining, how best to give musical shape to ideas about musical drama that guided him from the start. It crowns his career as an operatic tragedian” (New Grove, 19: 657).

See Hopkinson 63A & 63A(a); New Grove, 19: 661 $2,500-4,000

330 1 vol.

Verdi, Giuseppe. Falstaff. Commedia Lirica in Tre Atti di Arrigo Boito...

Edizione da Bibliofili. Riduzione per Canto e Pianoforte di Carlo Cariganani. Milan: G. Ricordi, 1893. #30/100. First complete edition, de-luxe issue, piano-vocal score. Plate no. 9600. 4to, orig. giltlettered & decorated brown calf, untrimmed edges; joints & edges rubbed, spine ends & bottom corner of front cover occasionally heavily rubbed, some staining to end papers. With portrait & additional gilt illuminated chromolighographic title page. Generally internally clean, a few leaves darkened. This copy printed for Ada & Giuseppe Banfi.

Verdi’s final opera after Shakespeare’s character from the Henry IV plays & the Merry Wives of Windor. “One of the glories of Falstaff is its melodic abundance. In ‘arias’ a few seconds long, Verdi captured the essence of what other composers might take pages to express” (New Grove, 19: 658).

Hopkinson G4A (b) $2,000-3,000

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331 2 vols.

Villa-Lobos, Heitor: Choros (No. 10)... pour Orchestre et Choeur Mixte.

Paris: Max Eschig, (1928). First edition, study score. 8vo, orig. wrappers; front wrapper gone. Internally moderately browned.

Publisher’s ink stamp at foot of title page. Signed & dated, “New York, 28. 8. [19]50,” by H. Villa-Lobos on first page of score.

Apparently the first & only edition. * Uirapuru: Symphonic Poem...

Miniature Score. New York: Associated Music Pub., (1948). First edition thus, full score. 8vo, orig. printed wrappers; slightly creased, spine discolored. Internally slightly toned. Signed & dated, “New York, 28.8. [19]50,” by H. Villa-Lobos on front page of score. Also signed by the American conductor J. R. Thomson at head of front wrapper. $250-350 332 Lot. [Viotti, Giovanni Battista]. [Violin Concerto No. 18.] [Paris?], [1791?]. First edition?, parts (14). Plate no. 619. Folio, occasional dust soiling, scattered chipping, a few small close tears - no loss to music ptg. In custom beige cloth clamshell box.

Viotti, Giovanni Battista (1755-1824). Italian violinist and composer.

“He was the most influential violinist between Tartini and Paganini and the last great representative of the Italian tradition stemming from Corelli. He is considered the founder of the ‘modern’ (19th-Century) French School of violin playing” (New Grove, 1st ed., 19: 864).

New Grove, 1st ed., 19: 866; see White I: 18 (g.90), this printing not recorded by White, RISM, or CPLM $200-300

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Tannhauser Inscribed to Gounod from Wagner 333 1 vol.

Wagner, Richard. Tannhauser und Sangerkrieg auf Wartburg...Vollstrandige Partitur. Dresden: C.F. Meser (Hermann Muller), no date [1859 or 1860]. First edition, stage 2, full score.

Plate no. M. 670. Folio, orig. printed grey wrappers; some edge wear & creasing, scattered light foxing. First gathering sprung, a few other leaves loose. Complete, engraved, untrimmed. In custom 1/2 maroon morocco & cloth clamshell box.

Presentation copy, inscribed, dated, “Paris, 18 March, 1861,” & initialed by Richard Wagner, to the composer Charles Gounod at head of title page. [Translated from the French]: “To my friend Charles Gounod from The Author, R.W.”.

The full score of stage 1 was published in Dresden in 1845; the full score of stage 2 with the revisions realized up to 1859 above; the vocal score for stage 3 (1859-61 changes) was published in Paris in 1861; the full score of stage 4 (1861-1875 changes) was published posthumously in Berlin c. 1888.

In September 1859, Wagner moved from Lucerne to Paris for preparation of a Tannhauser production. After three very successful concerts (including parts of Tristan), Emperor Napoleon III ordered Tannhauser to be produced at the Paris Opera. After a long period of libretto translation, compositional adaptation and rehearsals, there were three thrilling performances on March 13, 18, and 24, 1861.

The manager had requested a ballet for Act 2 in order to fulfill the expectations of members of the influential Jockey Club. These club members, representing the elite of French aristocracy, were accustomed to dine leisurely and arrive at the Opera in time for Act 2, confident of enjoying the all-important ballet - and the popular danseuses - traditionally never programmed before the second act.

Wagner’s refusal to follow tradition in this regard was taken as an impertinent and unforgivable affront by the Jockey Club, whose members proceeded to disrupt all remaining Tannhauser performances. After the third evening, Wagner withdrew the work entirely, and the resultant scandal created and enormous sensation.

In his autobiography, Wagner related the experience in detail, including the frequent and friendly meetings with Charles Gounod.

Gounod is said to have exclaimed after attending the second performance of Tannhauser, “Que Dieu me donne une pareille chute! (If God would grant me such a failure!)” This inscribed copy documents the composer’s memorable friendship.

Grove Opera, 4: 1066; WWV 70; Hopkinson, Cecil, Tannhauser, An Examination of 36 Editions 3a, 1st ed. of 3rd version. $8,000-12,000

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Hans von Bulow’s Copy, Inscribed by Wagner 334 1 vol.

Wagner, Richard. (Wesendonk Lieder.) 5 Gedichte fur eine Frauenstimme mit Pianoforte Begleitung... Mainz: B. Schott’s Sohnen, no date [1862]. Pre-publication issue. Plate no. 17049. Folio, contemp. stiff blue wrappers, orig. printed front wrapper trimmed & mounted on front wrapper. Minor internal creasing, minor dust soiling to title page. In custom brown cloth clamshell box.

Presentation copy, inscribed to Hans von Bulow & signed by R(ichard) Wagner at head of title and with pencil markings in the score presumably in von Bulow’s hand.

This pre-publication issue was printed for Wagner’s own use before the publication of the score; it is without a price & has a more elaborate title page design than the trade issue. Von Bulow was the pianist at the first performance of these songs, the pencil markings in songs 1 & 5, most likely in his hand, mainly concern respiration & phrasing. Hans von Bulow, a member of Wagner’s inner circle, was the pianist at the first performance of these songs with the singer Emilie Genast, on July 30, 1862, in the villa of Wagner’s publisher Ludwig Strecker. A few years later von Bulow was the conductor of the premiere of Tristan and Isolde (June 10, 1865), by which time Wagner was having an affair with his wife, Cosima (nee Liszt). Mathilde Wesendonk, the author & dedicatee of these songs, was for ten years Wagner’s mistress, much of Tristan and Isolde was composed at the home she shared with her husband, Otto Wesendonk, near Lake Zurich.

New Grove, 20: 138; see WWV 91, p. 453 $8,000-12,000

110 free≤an’s the david wolman classical music collection

10/19/08 335 1 vol.

Wagner, Richard. The Rhinegold & the Valkyrie. London: W. Heinemann, 1910. First trade edition, second impression. 4to, orig gilt-lettered & pictorial brown cloth, spine gilt, top edge stained purple-brown, other edges untrimmed. With 38 mounted color plates by Arthur Rackham, lettered tissue guards, pictorial endpapers, b/w illus. Light foxing to front & back matter, occasional minor soiling. $80-120 336 1 vol.

Walton, William. Facade: Second Suite for Orchestra. (London): Oxford University Press, 1938. First edition, full score. 4to, orig. color printed wrappers; spine staples starting to rust, minor edge wear.

Scattered minor internal spotting.

Signed by William Walton at head of the first page of the score.

Also signed by the American conductor J.R. Thomson at head of front wrapper.

Facade: Second Suite for Orchestra, was first performed at Carnegie Hall in New York in 1938, conducted by John Barbirolli; Facade itself had a long period of development from its initial private performance in 1922. $200-300 337 1 vol.

Walton, William. Facade: An Entertainment, The Poems by Edith Sitwell. The Music by William Walton. London: Oxford Univ. Press., 1972. First edition thus. #192/250 (of 1000) signed by William Walton. 4to, orig. 1/4 black morocco & color pictorial bds., glassine.

Color illus. With phonograph recording. Fine in orig. slightly worn gilt-lettered blue cloth clamshell box.

Originally conceived by the Sitwells as an ‘entertainment’ for their drawing-room, this has become Walton’s most popular work. (New Grove, 20: 196) $200-300

338 1 vol.

Walton, William. Belshazzar’s Feast. (London): (Oxford University Press), 1978. First edition thus, #2/350 signed by Walton. 4to, orig. cloth-backed color pictorial bds., t.e.g, glassine, slipcase. Illus. Text, orchestral score. Minor wear, glassine chipped.

Walton, Sir William (1902-1983). English composer “...one of the major figures to have emerged in England between Vaughan Williams and Britten... It was generally recognized that Belshazzar’s Feast was the biggest landmark in English choral music since the Dream of Gerontius...” (New Grove, 20: 195-99). $200-300 339 1 vol.

Weber, Carl Maria von. Abu Hassan. Oper in Einem Act. Gedict von J.F. Hiemer...Vollstandiger Clavierauszug... Bonn: N. Simrock, no date, [1819] First edition, piano-vocal score. Plate no. 1661. Oblong small folio, 20th-Century bds., spine gilt, edges stained yellow. Title page a little toned, internally generally clean & crisp.

Weber, Carl Maria von (1786-1826). “He was key figure in the early development of German Romantic opera. An important founder of the Romantic movement in Germany, he was also one of its leading composers. Weber’s first operatic success, Abu Hassan, based on a story from A Thousand and One Nights, was first performed in Munich on June 4, 1811 (see Grove Opera, 4: 1112-1117; New Grove, 20:241-246).

Grove Opera, 4: 1117; Jahns 106 $500-800 340 1 vol.

Weber, Carl Maria von. Oberon,... as Performed at The Theatre Royal, Covent Garden. London: Royal Harmonic Institution, Welsh & Hawes, no date, [1826]. First edition, piano-vocal score. Folio, 20th-Century 1/2 calf & marbled bds.; spine gilt. Scattered light foxing, margins occasionally soiled, scattered expert repairs. Trimmed, generally good margins. German libretto supplied in old ink. Publisher’s ink stamp at foot of title page.

Weber’s last work, “the music he wrote for Oberon is mostly of such high quality that it almost succeeds in compensating for the pantomime-like nature of the piece...” (Grove Opera, 4: 1117).

Grove Opera 4: 1118; Jahns 306 $200-300

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10/19/08 Webern Presentation Copy 341 1 vol.

Webern, Anton. “Entflieht auf Leichten Kahnen...” (Stefan George) fur Gemischten Chor a Cappella... Op. 2 Partitur (Klavierauszug). Vienna: Universal-Edition, 1921. First edition, score for piano and chorus.

Plate no. 6643. 4to, orig. green printed tan wrappers; minor spotting, uniformly but slightly toned. In custom green cloth clamshell box.

Presentation copy, inscribed to Heinrich Jalowetz, dated, “February 1921,” & signed by Anton Webern on the title page. Jalowetz was, with Berg and Webern, a pupil of Schoenberg.

Webern, Anton (1883-1945). Austrian composer and conductor.

“One of the earliest pupils of Shoenberg... His striving for perfection on the smallest scale led him to produce a body of music of exceptional concentration... Like Schoenberg, Webern began to explore ‘the air of another planet’ with the support of words by [Stefan] George, which he used in the Chorus Entflieht auf Leichten Kahnen. Op. 2. ([composed in] 1908)” (New Grove, 20: 270-272).

New Grove, 20: 280 $1,800-2,500

341

342 1 vol.

Weil, Kurt. Der Jasager Schuloper in Zwei Akten. Text aus dem Japanishen, bearbeitet von Brecht. Vienna: Universal-Edition, 1930.

First edition, first issue. Plate no. 8206. Folio, orig. printed beige wrappers; light edge wear, scattered, generally minor dust soiling.

Internally clean, minor creasing to corners. In custom black cloth clamshell box.

First performed for a live broadcast with Radio Berlin on June 23, 1930, and then staged the following day at the Zentralinstitut fur Erziehung und Unterricht, Berlin.

“In this extraordinary work... classical economy... is applied with a rigour as extreme as that of Satie’s ‘style depouille’, and yet the restrictive pressure, related to the opressive content of the libretto... serves to intensify the almost Schubertian lyricism...” (New Grove, 20: 305).

New Grove, 20: 309 $250-400 343 7 vols.

Music for Stage, Screen & C: Bernstein, Leonard; Sondheim, Stephen. West Side Story. New York: G. Schirmer, (1959). First edition?, piano-vocal score. Plate no. 44415. Price $9. 4to, contemp. green buckram. Ex-library, ink stamp on title page & edges, other library markings. * Bernstein, Leonard. “Peter, Peter” from Peter Pan. New York: G. Schirmer, (1950). First edition? Plate no. 42345. 4to, orig. wrappers; occasional edge wear, a few small cellotape repairs.

Contents partly loose. * Newman, Randy. Toy Story 2. No place: Walt Disney Music Co., (1999). 4to, orig. color pictorial laminated wrappers. Color plates. Signed by Randy Newman on title page.

Near Fine. * Newman, Randy. “If I Didn’t have You,” from Monsters, Inc. No place: Walt Disney Music Co., 2001. 4to, orig. color laminated wrappers. Signed by Randy Newman on first page of music. Near Fine. * Program: “Bill Robinson in Michael Todd’s Hot Mikado.” No place, no date, [1939]. 4to, orig. pictorial red wrappers.

Photo illus. Some scattered wear & dampstaining. * Schulhoff, Erwin. 5 Etudes de Jazz. Piano Solo. Vienna: Universal-Edition, [1932].

4to, orig. black & white pictorial wrappers. Crisp & clean. First issued by Universal in 1927. * Bennett, T.C. Sterndale; Ashby, Joan.

“Thinking of Mary.” New York: Boosey, (1929). First edition. 4to, orig. self-wrappers. Publisher’s blind stamp on front wrapper/title. A few close tears. Clean. $200-300

112 free≤an’s the david wolman classical music collection

10/19/08 344 Lot. English & German 18th & 19th-Century Engraved Music Fragments & C: Croft, William. “A Song Sung by Mr. Bowen at The Consort in York-Buildings” - caption title. [London]: [Mercurius Musicus.] No. 4, March, 1702. 4 pp., folio, modern wrappers.

Slightly dusty. * Fragment of vol. of engraved English songs, ca.

1730. Folio, pp. 25-48, removed from bdg. Scattered staining.

Includes Henry Purcell’s “The Blind Beggar’s Song”; also songs by John Eccles. * Bound vol. of Second Violin parts for three works by Carlo Antonio Campioni, Dottel Figlio & one unidentified composer (lacking title page - present for the two preceding works). London: J. Walsh; J. Oswald, n.d. [ca. 1750]. 4to, contemp. bds.; spine mostly gone. Internally generally clean. * Mendelssohn, Felix. Zwolf Lieder.

Berlin: Schlesingerschen, no date [1830]. First edition. Plate no.

51581. “Zweites Heft: Das Madchen” only. 4to, disbound, slightly trimmed, some creasing & spotting. Postal address & postal ink stamp on verso of last leaf. $250-400 345 5 vols.

Collection of Bound Sheet Music, ca. 1890-1920. Includes early editions of works by Claude Debussy, Edward Grieg, N. RimskyKorsakov, Jules Massenet, Sergei Rachmaninoff, Richard Strauss Also popular music - Approx. 60 bound pieces; scattered light wear. $200-300

MANUSCRIPTS & AUTOGRAPHS, INCL. SIGNED PHOTOS Lots 346-437 346 Lot. Music Manuscript. (Mozart, Wolfgang Amadeus.) Trio from The Zauberflotte, K. 620 [Pamina, Tamino, Sarastro: “Stoll ich dich, Teurer, nicht mehr sehn?”]. Arranged for an instrumental trio of flute, clarinet & bassoon. Three scribal ink manuscript leaves, each approx. 6 x 8 inches (152 x 203 mm). First half of the 19th-Century.

Clean & bold. In protective sleeve.

K620, nr 19 $300-500

347 1 vol.

Music Manuscript. “Douze Chansons ou Romances avec Accompagnement de Fortepiano et Violon Oblige. A Marie.”

[France, ca 1780-90]. Folio, contemp. full gilt-floral red morocco, silked endpapers, front cover gilt stamped, “A. Marie”, spine & edges rubbed, leather loss to foot of spine & corners, joints tender.

[6], 48, [2] pp. in ink. Carefully inscribed musical notation and text in a neat, elegant hand. Internally clean. In 1/4 scarlet crushed morocco & cloth clamshell box, spine gilt, raised bands.

Bound collection of 12 love songs, airs, and “couplets allegoriques,” with lyrics and music apparently written for the most part by the unidentified author; some of the pieces are set to older tunes. $800-1,200 348 1 vol.

(Manuscript.) “Guide du Violiniste,” no place [France], no date [ca 1835]. Folio, contemp. 1/2 morocco & bds. Pen & ink vignette title (unfinished), 1-97, (2) pp. with 16 illus. in text, all in ink. Violin instruction following the traditional format: selectia of the violin, structure and parts, deportment, bowing technique, exercises, etc.

Incomplete. Internally clean. $400-600 349 4 pieces.

Autograph Material - 20th-Century Composers & Conductors: Graigner, Percy. Autograph music quotation, inscribed, dated, “Dec. 11, 1914,” & signed by Percy Grainger. 2 bars in Grainger’s hand, “Colonial Song for Piano,” in ink on card 2 x 3 inches (51 x 76 mm).

Clean & clear. * Argento, Dominick. Autograph music quotation inscribed, dated, “Feb. 14 1989,” & signed by Dominick Argento.

Also titled in Argento’s hand, “The Aspern Papers. 5 bars for voice & orchestra,” in ink, 3 x 9 inches (76 x 228 mm). Clean & clear. * Monteux, Pierre. Half-tone photo signed & inscribed. 4to, thick paper stock. * Stockhausen, Karlheinz. Program signed & dated, “2.8.61.” Clean. $250-400 350 1 piece.

Autograph Music Quotation Signed. Barber, Samuel. Two bars of autograph music, dated, “Rockport, Maine, Aug. 6 [19]51” & signed

by Barber on yellow paper sheet, approx. 4 x 5 inches (101 x 127 mm). $350-500

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10/19/08 352 1 piece.

Autograph Music Quotation Signed. Beach, Amy. Music quotation signed, inscribed & titled, “Quintett fur Klavier un Streich quartett, op. 67... Mrs. H.H.A. Beach [inscribed to Ernst Fritz Katz]... June 26th, 1933,” in ink, 4 bars on small 4to sheet; crease along fold.

With envelope addressed in Beach’s hand.

Beach, Amy (1867-1944). The first American woman to succeed as a composer of large-scale art music. $250-400 353 2 pieces.

Autograph Letter Signed. Berg, (Alban). Vienna, April 20, 1914. In the form of two postcards, numbered I & II, sent separately on the same day. In blue crayon & pencil. To his friend & pupil Paul Koniger, about the music of Schoenberg, Webern and Bartok, discussing plans for a series of concerts, which might include works by all three members of The Second Viennese School and Bartok. $800-1,200

351

Leonard Bernstein’s High School Graduation Photo 354 1 piece.

Photograph Signed. Bernstein, Leonard. [Boston], ca. 1935. Silver print, 5 1/2 x 3 1/4 inches (140 x 82 mm), in contemp. mat. Signed & inscribed on mat below photo, “Bob, / one pal in a million / Lenny.” Photo clean & clear, signature & inscription clean & dark.

Framed.

Bernstein’s high school graduation photo. $1,800-2,500

351 1 vol.

(Music Manuscript Signed.) Bartok, Bela. “Abrand (Fantasy) in C minor for Piano” from Negy Zongoradrab [Four Piano Pieces].

Budapest, May 23, 1903. Folio, orig. wrappers; minor creasing & smudging. Scribal manuscript, signed by Bartok, with several corrections & a few alterations in Bartok’s hand. Internally clean. In brown cloth clamshell box.

This late student work was published as one of the Four Piano Pieces in 1903.

See Dille 71 $1,200-2,000

354

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10/19/08 355 1 piece.

Autograph Post Card Signed. Bernstein, Leonard. New York, November 30, 1954.

To Dr. Eisenberg, an appreciative TV viewer. Slightly toned. $100-150 356 1 piece.

Autograph Letter Signed. Bishop, [Sir] Henry. (London): Bloomsbury, Feb. 2, [18]27. 3 pp., 8vo; minor staining, splitting along fold.

Bishop, Sir Henry (1786-1855). English composer. “In his day... enjoyed a commanding reputation as the guardian of the best traditions of English song, and for a time kept English opera alive almost single-handed... remembered for... the song ‘Home, Sweet Home’” (Grove, 2: 741). $120-180

357 1 piece.

Autograph Letter Signed. Bizet, Georges. [Paris], [1870]. 2 pp., 8vo; separation along center fold, glue residue at extremities. To [Victorien Sardou], relating to their planned but unrealized colaboration on the opera Griselidis.

Sardou, Victorien (1831-1908). French dramatist & librettist (La Tosca). $1,000-1,500

Brahms Writes His Publisher 358 1 piece.

Autograph Letter Signed. Brahms, (Johannes). No place, October 9, [18]70.

4 pp., 12mo; slightly toned. To his publisher, Fritz Simrock. [Translated from the German]: “I wonder if you are going to put the re-engraved songs together with the new ones into one collection, perhaps also the duets? ... if I succeed in making a song about Paris, you shall get it. And I shall bring it myself. Then you could add it to those other little songs [The song about Paris became ‘Triumphlied.’]... I have already got Kiel’s ‘Mass’ and I will return that copy very soon. I am always eager to receive new publications and those of Kiel are always put with great pleasure and interest on my reading desk...” $2,500-4,000

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10/19/08 359 1 piece.

Autograph Letter Signed. Bruch, Max. Sandershausen, March 26, 1868. 4 pp., 8vo; slightly toned. To an unnamed concert master, sending him a copy of his just-published [now famous] Violin Concerto [in G minor, op. 26], discussing the concerto, his correspondent’s editorial suggestions, Jaochim’s contributions & c. $400-600 360 1 piece.

Photo Postcard Portrait Signed. Bruch, Max. ca. 1912. With autograph music quotation on verso. Minor wear. $300-500 361 3 pieces.

Autograph Material. Bull, Ole: Autograph Letter Signed. New York, October 21, 1853. 1 p., 4to; minor wear. In English, relating to a [performance?] contract. * Carte-de-Visite Photo signed & inscribed; some wear & staining to edges. * Album Leaf, 4to, signed, inscribed & dated, “New York, Jan. 4, 1856.”

Bull, Ole (1810-1880). Norwegian violinist & composer. “He was one of the greatest 19th-Century violinists and a seminal figure in Norwegian music” (New Grove, 3: 445). $250-400 362 1 piece.

Photo Postcard Portrait Signed. Busoni, Ferruccio. Also inscribed & dated, “1924,” by Busoni.

Busoni, Ferruccio (1866-1924). German-Italian composer and pianist. “...his ambivalent nature, striving to reconcile tradition with innovations, his gifts as a composer and the profundity of his theoretical writings make Busoni one of the most interesting figures in the history of 20th-Century music” (New Grove, 3: 509-510). $150-250 363 2 vols.

Cage, John: Silence: Lectures and Writings. Middletown, Conn: Wesleyan Univ. Press, (1967). 2nd ptg. Sm. 4to, orig. black cloth; corners bumped, d/j (light edge wear, price clipped). Minor foxing to edge of front free endpaper. Signed by John Cage on 1/2 title. * Empty Words: Writings ‘73-’78. Middletown, Conn.: Wesleyan Univ.

Press, 1979. 1st ed. Sm. 4to, orig. dark grey cloth; minor wear, d/j (minor edge wear). Signed by Cage on 1/2 title. $100-200

364 1 piece.

Real Photo Post Card Signed. Caruso, Enrico. Signed & dated, “1908,” by Enrico Caruso. Minor edge wear, but clean & crisp. $300-500 365 1 piece.

Autograph Letter Signed. Cherubini, (Luigi). Paris, January 20, 1824. 3 pp., 4to; light creasing along folds. On Musique du Roi letterhead. To Baron de la Ferte, Intendant des Theatres Royaux.

Also signed by the composer Jean-Francois de Suer. [Translated from the French]: “Dear Baron, we have the honor of informing you of the extent of the services... rendered by Mr. Theodore de Pyrous, musician,... in order to determine his pension.” With note of receipt signed by The Baron on final page.

Cherubini, Luigi (1760-1842). Composer, theorist, teacher and administrator belonging mainly to the French school. He was a dominant figure in French musical life for half a century (see New Grove, 4: 203). $300-500 366 1 piece.

Photograph Signed. Copland, Aaron. Silver print, 10 x 8 inches (254 x 203 mm). Signed & dated, “1984,” in felt pen by Aaron Copland. Minor edge wear. $100-200 367 1 piece.

Autograph Music Manuscript Signed. Cramer, J(ohann) B(aptist).

Autograph music quotation, inscribed & signed. A passage in G minor of 8 bars on two staves. [London], Sept. 27, 1842. Inscribed to the composer William Sterndale Bennett. In ink, 5 3/4 x 8 5/8 inches (143 x 222 mm). Generally clean & attractive.

Cramer, Johann Baptist (1771-1858). Composer, pianist & publisher.

“As one of the most renowned piano performers of his day, he contributed directly to the formulation of an idiomatic piano style through his playing and compositions” (New Grove, 5: 19). $300-500 368 1 piece.

Autograph Letter Signed. Delibes, Leo. [Paris?], no date [ca.

1860s]. 1 p., 16mo, on blue Service Telegraphique Telegramme paper. To Alexander Dumas [fils]. [Translated from the French]: “How happy my wife and I are about the immense success you have just obtained...” $150-250

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10/19/08 369 2 pieces.

Autograph Letters Signed. Elgar, Edward: Malvern; Sept. 20, 1902.

2 pp., 12mo. To G.L. Layard. With addressed enveloped in Elgar’s hand. Mourning borders. * Plas Gwyn, Hereford, May 30, 1906. 4 pp., 4to. To Lord K?, referring to the Paris performance of Dream of Gerontius & the King’s patronage. $400-600 370 1 piece.

Autograph Letter Signed. Falla, Manuel de. Granada, December 15, 1932. 4 pp., 8vo; a few words partially erased. In French. To the great music patron Princesse Edmond de Polignac, reporting on his concerts with Casals, thanking her for attending El Retablo de Maese Pedro, promising to send her the autograph music she requested, and mentioning his incapacitating eye-illness.

Falla composed El Retablo de Maese Pedro (Master Peter’s PuppetShow) at the request of Princesse Edmond de Polignac. $400-600 371 1 piece.

Photograph Signed. Falla, Manuel de. Photo depicting Falla conducting an orchestra. Silver print, 3 3/8 x 7 7/8 inches (85 x 200 mm), mounted on card which itself is on a larger mount.

Inscribed to Julio Mercado (secretary of the Symphonic Orchestra of Cordoba), dated, “Majo 1940,” & signed in full by Falla on the mount. $400-600 372 1 piece.

Autograph Music Manuscript Signed. Faure, Gabriel. Bach, J.S. “Contate de la Pentecate...Violoncelle.” No place, no date. Folio, 4pp.

Autograph manuscript in ink, pencil annotations. In pencil on front cover, “Copie par G. Faure”; in ink in margin of first page, “Autog. de G. Faure.” Generally clean. In olive cloth clamshell box. $500-800 373 1 piece.

Autograph Letter Signed. Faure, Gabriel. Paris, 190? 1 p., 16mo.

Faure’s suggestion for a concert program. Slightly toned, lower left corner chipped - no loss of text. 5 1/4 x 4 1/4 inches (133 x 108 mm). $200-300

374 1 piece.

Photograph Signed & Inscribed. Grainger, Percy. Silver print, 5 1/4 x 3 1/4 inches (133 x 82 mm). Also dated by Grainger, “31. 3, [19]13.” Clean, attractive photo, signature & inscription dark & bold.

Framed. $200-300 375 1 piece.

Autograph Letter Signed. Grieg, Edvard. Rudolstadt (Thuringen), August 30, 1883. 2 pp., 8vo, on his letterhead; minor wear. To (Benjamin Godard). [Translated from the French]: “... and I feel proud of the sympathy you say you have for my compositions...”

Godard, Benjamin (1849-1895), French composer & violist. $500-800 376 1 piece.

Program Signed. Heifetz, Jascha. London, 1927. 4to sheet; light to moderate toning, a few cello-tape repairs at edges. Also inscribed

by Heifetz. $100-150 377 1 piece.

Autograph Music Quotation Signed. Herbert, Victor. Autograph musical quotation inscribed, dated, “May 19, 1917,” & signed. Five bars from Herbert’s operetta Eileen, titled, “from ‘Eileen’” & with the lyric, “‘tis a great day tonight for the Irish’,” in Herbert’s hand on card, 3 1/4 x 5 1/4 inches (80 x 134 mm). Slightly toned but clean & clear. $120-180 378 1 piece.

Photograph Signed & Inscribed. Herbert, Victor. Silver print, 9 x 7 inches (228 x 178 mm), orig. mat. Also dated, “Feb. 1919,” & with autograph music quotation by Herbert. Clean & attractive, autograph material at head of photo & on mat above. Framed. $250-400

117 free≤an’s the david wolman classical music collection

10/19/08 Bernard Herrmann’s Operatic Complaint 379 Lot. Typed Letters & Related Material. Herrmann, Bernard: Two Typed Letters Signed (Benny) to his attorney & representative, Arnold Weissberger, relating to Herrmann’s opera “Wuthering Heights”: North Hollywood, October 6, 1952. 1 p., 4to; some browning, loose leaf holes. “I am up to my ears finishing the vocal score for my opera and this week should see it to the printers. [Rudolf] Bing has written asking to see the vocal scores...” * North Hollywood, April 4, 1953. 3 pp., 4to; some browning & staining, loose leaf holes. With autograph manuscript postscript. “I am enclosing a copy of Mr. Bing’s [rejection] letter in regard to my opera. It is the most brilliant example of Teutonic doubletalk...” The letter also touches on his music for motion pictures, his relationship with John Houseman & Orson Wells. The copy of Bing’s letter above also included in lot.

Herrmann, Bernard, (1911-1975). American composer & conductor “...as a composer for the cinema Herrmann displayed a highly professional and creative approach; his contributions to Citizen Kane, The Magnificent Ambersons, Psycho, Vertigo and Fahrenheit 451 are among the most subtly contrived, finely integrated and emotionally compelling film scores...” (New Grove, 8: 519). $1,500-2,500 380 1 vol. + 1 piece.

Autograph Material. Hindemith, Paul: Photo postcard portrait signed, inscribed & dated, “[19]54,” by Hindemith. Signature, etc., on margin below image. * Hindemith, Paul. Pittsburgh Symphony for Orchestra... Miniature Score. Mainz, etc.: Schott, (1959). First edition, full score. Edition Schott 5011. 8vo, orig. stiff tan wrappers.

Presentation copy, inscribed & signed by Paul Hindemith on title page. Minor creasing to corners, but crisp & clean. $200-300 381 1 piece.

Autograph Musical Quotation Signed. Honegger, Arthur.

Autograph musical quotation from ‘La Danse des Morts,’ titled & signed by Honegger on 3 1/2 x 5 1/2 (89 x 140 mm) card stock, with addressed stamped envelope, post marked Zurich 1943. Clean & attractive.

Honegger, Arthur, 1892-1955, Swiss composer, member of Les Six. $250-400

382 1 piece.

Document Signed. Janacek, Leo. Prague, 1924. 2 leaves, folio; minor creasing. State Music Conservatory of Prague Diploma for Karel Hr’el. Also signed by Karl Hofman, Vitizslav Novak, Adolph Mike, Josef Suk, Jaroslav Kocian, Joseph Forester, Jan Burian, Joseph Klieka, Vilem Kurz. $300-500 383 2 pieces.

Autograph Material. Joncieres, Victorin de: Autograph Music Quotation with Lyrics. “Moscou.” Five bars in ink on small 4to card stock; slight darkening to edges, but clean & bold. * Albumen Photo Portrait, 3 5/8 x 2 1/16 inches (92 x 52 mm). Mounted on 4to card stock. Rich tones.

Joncieres, Victorin de (1839-1903), French composer & critic. $200-300 384 1 piece.

Autograph Musical Quation Signed. Khachaturian, Aram.

Inscribed, dated, “1945,” & signed in Russian by Khachaturian in purple ink. Nine bars of music & lyrics from ‘Erevan.’ 6 3/4 x 10 1/4 inches (170 x 260 mm); minor creasing, slightly toned. $1,000-1,500 385 1 piece.

Autograph Postcard Signed. Lehar, Franz. Vienna, July 27, 1916.

With Lehar’s return address stamp in purple ink, stamps & postmarks; vertical center crease, slightly toned. To Herr Kapellmeister Karl Heiss in Vienna. [Translated from the German]: “I... would very much like to see the arrangement of the waltzes.” $100-150

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10/19/08

386

Liszt Recommends Wagner 386 1 piece.

Autograph Letter Signed. Liszt, F(ranz). Rome, July 10, 1862. 4 pp., 8vo, on blue tinted paper; minor wear. To (Franz Mueller), recommending Richard Wagner to the post of General Chief Conductor for the Court of Weimar. [Translated from the German]: “... In Weimar, there seems to be an interest in finding a more deserving and energetic regional music leader... I of course suggested - as I have repeatedly suggested for the past 10 years - to engage Richard Wagner.” $3,000-5,000 387 1 piece.

Autograph Letter Signed. Liszt, F(ranz). Weimar, July 30, [18]72. 2 pp., 8vo with integral blank & stamped addressed envelope. To Baron de Stein, [translated from the French]: “I am very grateful for your friendly letter. I hope to be able to thank you again in person..., at Libenstein, and at Wartburg. There, to celebrate the wedding of our hereditary Great Duke we shall produce a solemn ‘Festspiel’ with a multitude of characters that are well known in Thuringia...”

Clean & clear. $800-1,200

388

Mahler on Bahr-Mildenberg 388 1 piece.

Autograph Letter Signed. Mahler, Gustav. Vienna, May 25, [18]98.

4 pp., 8vo; slightly toned, minor creasing along folds. As director of of The Vienna Opera, to an unnamed correspondent, discussing the health of & performance plans for the soprano Bahr-Mildenberg; also discussing the cellist Salter. “[The] relationship between [the] signer [Anna Bahr-Mildenburg] and [the] conductor-composer [Mahler]... was emotional and somewhat tempestuous, but artistically fruitful...” (Grove, Opera, 1: 279). $2,500-3,500

119 free≤an’s the david wolman classical music collection

10/19/08 389 1 piece.

Autograph Music Quotation Signed. Massenet, Jules. Two bar autograph music quotation from “Manon,” titled, inscribed, dated, “June 13, 1910,” & signed by Massenet. Approx. 6 1/2 x 5 inches (165 x 127 mm) on cream paper; minor horizontal crease. $250-400 Chronochromie Manuscript 390 2 pieces.

Autograph Material. Messiaen, Olivier: Autograph Musical Manuscript. “Corrections pour Chronochromie de Messiaen.” No place, September, 1961. Folio, 1 leaf (1 p.), musical notation & c, title at foot of page & on verso. In pencil. Clean. * Autograph Letter Signed, “Messiaen, Olivier,” n.p., September 25, 1961, 2 pp., 8vo, to Monsieur Bruch, arranging for a performance of Chronochromie, commenting on rehersals & offering instructions for the performance. Both in custom blue cloth clamshell box.

Messiaen, Olivier (1908-1992). French composer. Messiaen is one of the most important composers of the 20th-Century. He is totally independent of all schools or any other groupings but has nevertheless played an essential part in the development of modern music (see New Grove, 12: 204). $1,500-2,500

390

Milhaud Manuscript 391 Lot. Autograph Music Manuscript Signed. Milhaud, Darius. Le Printemps (6). Nice, March 28, 1920. Folio, 2 leaves - title, 2 pp., music, blank. With 2 mounted ink manuscript corrections. Signed & dated by Milhaud. In custom blue cloth fall-down box.

Manuscript for part (6)? of Le Printemps, a set of six pieces for piano & violin written 1915-1920, which became the nocturne in Protee and the First Chamber Symphony, Op. 66?

Milhaud, Darius (1892-1974). Member of the group of Parisian composers called Les Six. Arguably one of the great French composers of the Twentieth Century. $1,500-2,500 392 1 piece.

Photograph Signed & Inscribed. Milhaud, Darius. Silver print, approx. 5 1/4 x 4 inches (130 x 100 mm). Also dated by Milhaud, “1962.” In blue ink. Clean & clear. Framed. $150-250

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10/19/08

393 1 piece.

Autograph Document Signed. Paganini, Niccolo. No place, 1831.

Manuscript ticket admitting the music publisher? Cianchettini to one of his [Paganini’s] concerts. 3 1/4 x 6 1/8 inches (82 x 158 mm). Clean & clear. Framed with portrait of Paganini. $1,200-1,800

393

Poulenc Manuscript 394 1 piece.

Autograph Music Manuscript Signed. Poulenc, Francis. “Mazurka.”

No place, July, 1944. Folio, 3 leaves - 4 1/2 pp of manuscript music & lyrics - loose. Words by Louise de Vilmorin. Dedicated to the Polish baritone Doda Conrad. Dated ink manuscript of music & lyrics with extensive ink manuscript corrections. With Poulenc’s name in his hand at head of p. 1, also with Vilmorin’s name at the head of that page. In custom crushed brown morocco & marbled bds. clamshell box.

In 1944, Heugel published a suite for voice and piano commissioned by the Polish baritone Doda Conrad. The work was an homage to Chopin on the centenary of his death, under the title Mouvement du Coeur. The work consists of seven movements by six different composers. This Mazurka, composed five years before, was Poulenc’s contribution.

Poulenc, Francis (1899-1963). French composer and pianist “...in the field of French religious music he disputes supremacy with Messiaen, in that of the melodie he is the most distinguished master since the death of Faure” (New Grove, 15: 163). $3,500-5,000

394

121 free≤an’s the david wolman classical music collection

10/19/08 Puccini to Rose Ader 395 1 piece.

Autograph Letter Signed. (Puccini), Giacomo. Viareggio, January 3, 1922. 4 pp., 8vo, with stamped addressed envelope. To Rose Ader (the young opera signer Puccini met in 1921 & with whom he had fallen deeply in love), expressing his love & longing for her, asking her to write to him care of Ricordi (his publisher). Clean & clear. $800-1,200

395

396 1 piece.

Typed Letter Signed. Rachmaninoff, S(erge). Villa Lenar... by Luzern, July 4th, 1939. 1 p., 4to; very slightly toned, paper clip residue on verso. In Russian. To the choreographer Mikhail Fokine, critical & appreciative discussion of Fokine’s ballet ‘Paganini,’ which had been set to the score of Rachmaninoff’s ‘Rhapsody on a Theme

by Paganini.’

Rachmaninoff based his comments on telephone reports by friends & family, who attended the ballet’s premier at Convent Garden in London. $600-900

397

Ravel Manuscript 397 1 piece.

Autograph Music Manuscript. (Ravel, Maurice) “Sujet d’Ambroise Thomas” [Fugue a 4 voix]. No place, April 16, 1900. 4 pp., folio.

Dated ink & pencil music manuscript. Unpublished. In custom fall down brown cloth clamshell box.

Ambroise, Thomas (1811-1896). French opera composer, director of the Paris Conservatoire, in front of whom Ravel auditioned as a fourteen-year-old. Ravel was a relatively unsuccessful student at the conservatoire between 1889 & 1895; he was again associated with that institution, studying with Faure & entering prize competitions between 1900 & 1903.

With official French Certificat pour un Bien Culturel, 21/06/2001. $3,500-5,000

122 free≤an’s the david wolman classical music collection

10/19/08 Ravel’s Copy 398 1 vol.

(Ravel, Maurice - his copy.) Mozart, W(olfgang) A(madeus).

Symphonie No. 40 in G...Partitur. Leipzig: Breitkopf & Hartel, no date, [ca 1900]. Folio, orig. green wrappers; light wear. In custom green cloth clamshell box. Maurice Ravel’s copy, marked & annotated throughout in blue & red crayon by Ravel.

Provenance: Ravel estate sale, Paris, April 2000. $800-1,200 399 1 piece.

Autograph Letter Signed. Ravel, Maurice. Paris, 1906? [1905?]

Stamped Republique Francaise Carte-Letter (opens to 12mo format). To an old friend, [translated from the French]: “... you are complaining about my letting you down!... I waited for you there... I was at Astruc’s...” $500-800

400 1 piece + 1 vol.

Autograph Material. Rorem, Ned: Autograph Music Manuscript Signed. “The Night of The Grail.” New York, 5., 22, [19]44. Two leaves, folio; some creasing, small old cello tape repairs to edges of old horizontal folds. In ink, titled on otherwise blank front in pencil, several pencil annotations & c in music. Unpublished student work.

Provenance: once property of the signer & voice music teacher Charlotte Reinke. * An Absolute Gift: A New Diary. New York: Simon and Schuster, (1978). First edition. 8vo, orig. 1/2 orange cloth & bds., d/j. Signed by Rorem on front free end paper verso. Near Fine/Fine. $250-400 401 1 piece.

Autograph Letter Signed. Rossini, (Gioachino). [Florence], Sept.

23rd, 1851. 1 p., 4to, with conjugate address leaf also bearing Rossini’s signature; tears in margin & address leaf - not affecting signatures. To the Countessa Orloff-Orsini, [translated from the Italian]: “...I shall... be in your antechamber at two to enquire after your precious health and to play a little music...”

Rossini composed a bolero for The Countessa in 1852. $700-1,000

402 1 piece.

Autograph Music Manuscript Signed. Rossini G(ioachino).

Passy, 1861. “Un Rien” [A Trifle].

A complete piece scored for piano, marked Andantino. Ink on a red printed decorated sheet, 6 1/2 x 9 1/2 inches (165 x 240 mm). Clean & crisp on LardEsnault paper.

Wurlitzer-Bruck consulted Philip Gossett of The University of Chicago, the leading scholar on Rossini, on this manuscript, he noted: “It’s a lovely little rien, with some musical substance to it despite its modest length, and,... it is on the standard LardEsnault paper of Rossini’s late period.” $4,000-6,000

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10/19/08 403 1 piece.

Autograph Letter Signed. Rubinstein, Ant(on). Dresden, February 4, 1894. 2 pp., sm. 4to; residue at edges, slightly toned. To an unnamed correspondent. [Translated from the German]: “I am just now ready to travel to Munich and Nuremburg,... I also add that right away that I will no longer play the piano in public...” Rubinstein continues with the details of an upcoming music program. $250-400 404 2 pieces.

Autograph Letters Signed. Saint-Saens, C(amille): No place, June 8, 1894. 2 pp., 12mo; slightly toned. Short thank you note. * Monte Carlo, January 30, 1906. 1 p., 12mo; slightly toned. Stating ignorance of the location of a mutual friend, touching on his performing itinerary - Paris - Egypt. Both to unnamed correspondents. $200-300 405 1 piece.

Autograph Note Signed. Schumann, Clara. No place, December 29, [18]82. 3 1/2 x 4 1/2 inches (90 x 115 mm); slightly toned. To an unnamed correspondent, requesting that payment be made to commercial advisor Kittner, also expressing best wishes for the New Year. $150-250 406 1 piece.

Autograph Letter Signed. Schumann, Clara. Frankfurt am Main, October 9, 1985. 6 pp., 8vo. [Translated from the German]: “Dear Julie,... age makes me very slow, particularly as regards travelling. I never feel it when I am playing music, but I do all the rest of the time,... I have to tell myself... that... I have the great good fortune to be born up by the love of my children...” Clean & clear. $500-800

407 1 vol.

(Shostakovich, Dmitri). Tchaikovsky, Pytor Il’yich. “Na Zemlyu Sumark Pal [Dust fell on Earth]” (Moscow), 1924. Opus 47, no. 3.

Folio, orig. wrappers; some edge wear, slightly toned. Dmitri Shostakovich’s copy, signed by him at center top of front wrapper. In custom 1/4 crushed brown morocco & beige cloth clamshell box, gilt lettered spine, raised bands.

Shostakovich’s copy of no. 3 of Tchaikovsky’s Seven Songs, composed in 1880. $400-600 408 1 piece.

Autograph Musical Quotation Signed. Sibelius, Jean. Three bars from ‘Finlandia.’ On heavy paper stock, 5 1/2 x 8 1/2 inches (140 x 215 mm). All in graphite. $600-900 409 1 piece.

Autograph Music Quotation Signed. Spohr, Louis. No place, no date. Autograph music quotation, titled, inscribed & signed, “Canon fur 2 violinen, viola und vioncell... fur Miss M.A. Wood... Louis Spohr.” Noted in the bass clef on three hand-drawn staves, in black ink. 4 1/4 x 7 1/4 inches (103 x 185 mm). Clean & clear. $500-800

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10/19/08

411 1 piece.

Typed Letter Signed. Stokowski, Leopold. Philadelphia, October 11, 1922. 2 pp., 4to; minor creasing. On Philadelphia Orchestra letterhead. To Frederick Steinway, Steinway & Sons, argueing that Steinway continue to furnish his wife, the pianist Olga Samaroff, with concert grands for her performances, “...it seems to me that 100% quality at every concert - at least of the most prominent artists playing the Steinway piano in public - is without a doubt the best and most legitimate advertisement that Steinway & Son can possibly have...” $250-400 412 1 piece.

Record Jacket Photo Signed & Inscribed. Stravinsky, Igor. Halftone photo by Richard Avedon, 11 1/4 x 11 1/4 inches (285 x 285 mm). Also dated by Stravinsky, “Jan. 1961.” Photo jacket clean, signature & inscription clean & strong in blue ink. Framed. $500-800

410 A Place for Love 410 Lot. Autograph Music Manuscripts. Steiner, Max: A Summer Place, Main Title. No place [Los Angeles], no date, [1959]. In pencil on 3 folio sheets printed for Steiner. In custom blue cloth clamshell box. *The Life of Emile Zola. Trailer #2, parts 1 & 2. (Los Angeles): RKO Studios, no date, [1937]. In pencil & red crayon on 2 folio loose gatherings of 8 & 4 folio leaves; edges slightly browned. In custom slate blue cloth clamshell box.

Steiner, Max (1888-1971). American composer of Austrian birth.

“Born into a prominent Viennese musical family (his godfather was Richard Strauss)... in 1929 [he] moved to Hollywood. Hollywood film music really began with his music for Cimarron and Symphony of Six Million and during the 1930s he inaugurated underscoring techniques that soon became standard practice... [he] completed over 300 scores” (New Grove, 18: 109). $2,000-3,000

413 1 piece.

Card Signed. Stravinsky, Igor. 3 x 3 1/2 inches (76 x 89 mm).

Clean, mtd. to larger sheet with printed cartoon of Stravinsky. $80-120 414 1 piece.

Photograph Signed. Sousa, John Philip. Silver print, 5 1/2 x 3 5/8 inches (140 x 92 mm). Also dated by Sousa, “1904.” Rich tones.

Photo clean. Signature & date dark & strong. Framed. $250-400

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10/19/08

415 415 1 vol.

Sousa, John Philip. Marching Along: Recollections of Men, Women and Music. Boston: Hale, Cushman & Flint, 1928. First edition. 8vo, orig. gilt-littered & decorated blue cloth; some edge wear, occasionally scuffed, hinges reinforced with cloth tape. Frontis. portrait, plates.

Presentation copy, inscribed to Eugene LaBarre, dated, “1930,” & signed by John Philip Sousa on 1/2 title. With fold. sheet of manuscript music in Sousa’s hand corner mounted to front paste down: approx. 20 bars in pencil of the Sailor’s Hornpipe from Showing Off Before Company, with typed notation at head of sheet, “This manuscript is in the handwriting of John Philip Sousa and was given to Eugene LaBarre by Mr. Sousa in 1919 when Sousa’s ‘Showing Off Before Company’ had it’s [sic] premier performance.

Mr. LaBarre, then solo corvetist of the Sousa Band, played this part (Sailor’s Hornpipe) in the number.” With LaBarre ink stamp on front paste-down. $1,200-1,800

416 1 piece.

Autograph Letter Signed. Gilbert, W.S. [London], October, 1904. 1 p., 12mo; slightly toned. On Grim’s Dyke letterhead. To his publisher, asking for an update on royalties for his Bab Ballads.

The Bab Ballads, first issued in 1869, contain poems which became the basis for many of Gilbert’s (and Sullivan’s) famous Savoy operas. $300-500

417 1 piece.

Autograph Music Manuscript Signed. Sullivan, Sir A(rthur) S. Original music manuscript, “Fragment,” signed by A.S. Sullivan. 11 double-bars in ink on paper, 3 x 8 3/4 inches (76 x 220 mm). Slightly toned, but clean & attractive. $1,000-1,500

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10/19/08 419 1 piece.

Photograph Signed. Sullivan, (Sir Arthur S.). Albumen print?, approx. 5 3/8 x 3 1/16 inches (135 x 78 mm); a few minor creases, corners chipped, slightly toned. Also dated by Sullivan, “1894.”

Signature & date dark & bold. Framed. $600-900 Unpublished Arthur Sullivan Song 418 1 piece.

Autograph Music Manuscript Signed. Sullivan, Sir Arthur S. “Give.

Song, Words by Adelaide Anne Proctor. Music composed expressly for Miss Edith Wymme.... London 9 April 1887.” 4to, 3 leaves; title, 4 pp. of music, blank. Pen & ink manuscript, in good state of preservation, signed & dated at foot of last music page by Arthur S. Sullivan. In custom dark peach cloth clamshell box, black morocco spine label.

Unpublished song by Sir Arthur S. Sullivan, with words by the librettist of “The Lost Chord.” $3,000-5,000

418

420 1 vol.

Thomson, Virgil. Virgil Thomson. London: Weidenfeld, (1967). First English edition. 8vo, orig. black cloth; light edge wear, d/j (minor creasing & chipping to edges - negligible paper loss). Photo plates.

Presentation copy, inscribed to N. F. Moody, dated, “15 May 1971” & signed by Virgil Thomson on 1/2 title with four bar manuscript music quotation, with Thomson’s autograph notation, “Chorale from Louisiana Story 1949.” $200-300

418

127 free≤an’s the david wolman classical music collection

10/19/08

421 1 piece.

Autograph Sentiment Signed. Weill, Kurt. “For Dr. Eisenberg / With my best wishes / Kurt Weill / April 1944.” On 8vo sheet, halftone photo of Weill mounted above sentiment. $200-300 422 10 pieces.

Autograph Material - Violinists: Joachim, Joseph. 2 pieces: short letter signed. No place, no date. An invitation to attend one of his concerts; “Schottische Melodie fur Violin,” original copyist manuscript signed & dated, “5 December, 1898,” by Joseph Joachim, 4to sheet. * Halle, Wilma. Cabinet card photo signed; diagonal split through image. * Kreisler, Fritz. 2 autograph music quotations signed & titled: “Beethoven... March 20th, 1901,” 3 bars in ink, 3 x 4 1/2 inches (762 x 114 mm); “Elgar Concert... Nov. 7th, 1910,” also inscribed by Kreisler, 4 bars in ink, 4 1/2 x 7 1/2 inches (114 x 190 mm). * Milstein, Nathan. Program signed. * Sarasate, Pablo de. Autograph music quotation, signed & dated, “Milan 28 Mars, 1882,” in ink, 6 x 8 inches (152 x 203 mm). * Thibaud, Jacques, et al. Program signed. * 2 photos of unidentified 19thCentury woman violinists, cabinet card & carte-de-visite; minor staining. $300-500

423 18 pieces.

Autograph Material & C - Violinists: Bolognini, Remo. Card signed, with mounted half-tone photo portrait. * Burgin, Richard. Program signed. * Busch, Adolf. Card signed. * Dubois, Alfred. Half-tone photo signed. * Halle, Wilma. Photo “postcard” signed, also signed as Norman Neruda. * Kochanski, Pawel. Autograph music quotation signed & dated, “N.Y., 1933,” ink on pink paper, 4 3/4 x 6 inches (120 x 152 mm). * Le Blanc, Arthur. Photo signed & inscribed, 6 3/4 x 5 inches - incl. margins (170 x 127 mm); some darkening to edges. * Menuhin, Yehudi. Photo signed & inscribed, 6 x 4 inches (152 x 100 mm). * Prihoda, M. Vasa. Half-tone photo signed. * Ricci, Ruggiro. Small format photo - not signed. * Sauret, Emil. Photo postcard, signed on verso. * Spaulding, Albert. Photo postcard signed & inscribed. * Spivakovsky, Tossy. photo signed & dated, “1942,” 8 x 10 inches (203 x 254 mm); signature somewhat faded. * Szigeti, Josef. Card signed & dated, “1st October 07(8?).” * Thibaud, Jacques. Half-tone photo signed, inscribed & dated, “1932.” * Nester, Carlo Van. Photo (postcard format) signed. * Ysaye, Eugene. Photo postcard signed, inscribed & dated, “1910,” in pencil. * Zimbalist, Efrem. Typed letter signed, Philadelphia, December 2, 1953. 1 p., 4to. On Curtis Institute of Music letterhead. * Music quotation signed by the members of an early incarnation of The Guarneri String Quartet. 22. X. [19]29 on 4to sheet - signatures include Boris Kreutz. All pieces in good states of preservation unless otherwise noted. $500-800 424 1 vol. + 1 piece.

Nadia & Lili Boulanger: Autograph Letter Signed. Boulanger, Nadia.

No place, no date. 1 p., 8vo; slightly toned, but clean & bold. * Boulanger, Lili. Piano vocal score. Clairieres dans Ciel. Paroles de Francis Jammes. Paris: Societe Anonyme des Editions Ricordi, 1919.

First edition thus. Folio, modern cloth & bds., orig. front wrapper title preserved. Additional silver & chromolithographic title. Publisher’s ink stamp at foot of title. Some browning & minor chipping to title.

Some internal toning. Posthumous publication. Lili Boulanger was the first woman to win the Prix de Rome for music. $120-200

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10/19/08 425 1 vol.

Garden, Mary; Biancolli, Louis. Mary Garden’s Story. New York: Simon and Schuster, 1951. First edition. 8vo, orig. cloth-backed bds.; light edge wear, d/j (some chipping to edges - no loss of ptg. or design elements). Photo plates.

Presentation copy, inscribed to the actor Clifton Webb, dated, “1951,” & signed by Mary Garden on publisher’s logo page.

Garden, Mary (1874-1967). American soprano. Hailed as the supreme singing-actress of her time. Created the role of Melisande in Debussy’s Pelleas et Melisande (1903), Massenet wrote Cherubin for her (1905); leading soprano of the Chicago Grand Opera (ca. 1910-1930), she was its director in the 1921-22 season, responsible for the creation of Prokofiev’s The Love for Three Oranges. $300-500

429 1 piece.

Photograph Signed. Mildenburg, Anna von. Silver print, 4 1/2 x 3 inches (114 x 76 mm). Also with Mildenburg autograph note on verso.

Mildenburg, Anna von (1872-1947). Famous dramatic soprano, her repertory includes all of the great Wagnerian roles. $80-120

426 1 piece.

Photograph Signed & Inscribed. (Garden, Mary.) Silver print, 8 1/4 x 4 3/4 inches (210 x 120 mm), ca. 1905. Photo of Mary Garden as Cherubin. Signed by Garden as “Cherubin.” The role of Cherubin was created for her by Jules Massenet. Clean & clear. Framed. $250-400

431 1 piece.

Photo Postcard Portrait Signed. Patti, Aldelina. Also dated by Patti, “1909.” Some blistering to verso. Blue ink signature & date slightly obscured by black background. $80-120

427 1 piece.

Photo Signed. Jeritza, Maria. Silver print, 8 1/2 x 5 7/8 inches (216 x 150 mm). 3/4 figure portrait in operatic costume, ca 1920s. With Metropolitan Music Bureau stamp on verso. Image crisp & clean. $80-120 428 1 piece.

Photo Signed. Morini, Erica. Silver Print, 8 x 10 inches (203 x 254 mm). Clean & crisp. Signed in green ink by Erica Morini. $80-120

430 1 piece.

Photograph Signed. Nureyev, Rudolph. Silver print on card stock, 5 1/2 x 3 1/4 inches (140 x 82 mm) - image size 4 3/8 x 3 1/4 inches (110 x 82 mm). Signed below image. Clean & crisp, ink signature slightly smudged. $150-250

432 1 vol.

(Pons, Lily). “Agenda de Bureau pour 1927.” [Various places], January 1 - December 31, 1927. 8vo, orig. flexible black morocco; edge wear, head by spine worn away. The singer’s complete diaryday book for 1927. Autograph entries for every day of the year, other miscellaneous ms. notes, costume sketch, etc. Entered in blue, green, or black ink, occasionally pencil entries.

Pons, Lily (1898-1976). American soprano of French birth. $300-500 433 1 piece.

Photograph Signed & Inscribed. Pons, Lily. Silver print, 9 x 7 inches (228 x 175 mm). In costume as “The Daughter of The Regiment.”

Clean & clear. Framed. $200-300

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10/19/08 434 1 vol.

Program Signed. (Robeson, Paul.) “Harold Holt... Present Paul Robeson with Lawrence Brown and Bruno Raikin, Pianist.” [London], [1958]. 4to, orig. pictorial wrappers; light edge wear. Illus. Inscribed & signed by Paul Robeson on title page. $200-300 435 1 piece.

Pictorial Menu Cover Signed. “Dinner to Mischa Elman by The Bohemians, New York Musicians Club, Saturday, January The Eighth, Nineteen Sixteen at Delmonico.” (New York), (1916). With litho portrait of Elman holding his violin. Signed by Mischa Elman, Efrem Zimbalist, Alma [Mahler] Gluk, et al. Generally clean & attractive with clear signatures. Framed. $200-300 436 1 vol.

Honegger, Arthur. Jeanne d’Arc au Bucher. Paris: Salaber, (1947). A stage oratorio, text by Paul Claudel. Folio, contemp. 3/4 morocco & bds.; scuffed, spine ends & corners rubbed away; orig wrappers bound in. text toned. Signed by cast members of the 1947 Boston Symphony performance, conducted (& also signed) by Charles Munch. $200-300

EPHEMERA Lots 438-447 437 1 piece.

Program Signed. Inaugural concert in New York Philharmonic Hall, Sept. 23, 1962. Front cover & pp. 39-42 only. Signed by Aaron Copland, Leonard Bernstein, Eileen Farrell, Richard Tucker, et al. $100-200

438 4 pieces.

(Britten, Benjamin.) Opera Programs & C: Program for first & second performances of “Peter Grimes.” Sadler’s Well Opera, June 7 & 9, [1945]. 4 x 5 inches (100 x 127 mm), orig. printed red wrappers, starting to detach. With price label. * “Sadler’s Well Opera, Seven Weeks Season from June 7” [1945 season schedule], 5 x 4 inches (127 x 100 mm), orig. red self wrappers; minor wear.

Listing the first (June 7) & second (June 9) performances of “Peter Grimes.” * Program for the first performance of “Albert Herring,” Glynebournce, June 20th, 1947. 4 pp., 4to; slightly dusty, some creasing. * Program for the first performance of “Billy Budd.”

[London]: Royal Opera House, Convent Garden,... 1st December, 1951. 4 pp., 4to; minor creasing, occasionally slightly dusty. $250-400 Gilbert & Sullivan Ephemera 439 3 pieces.

(Gilbert, W.S.; Sullivan, Arthur S.) Gilbert & Sullivan Ephemera: Enoch Morgan’s Sons Co. “Selections form E.M.S. Pinafore.” New York, [1879]. 24mo, 5 x 3 1/2 inches (127 x 89 mm), orig. pictorial green & black printed sewn wrappers; occasional, generally minor staining. Wood-engraved illus. & adverts. throughout. Issued the year following the premiere of Pinafore by the American soap manufacturer. * Royal Opera Comique, Strand program for Offenbach’s Madame l’Archiduc & Gilbert & Sullivan’s Trial by Jury.

[London], [ca. 1875-1885]. 4 pp., 4to, orig. pictorial green blue paper, illus. throughout. Includes printed vignette portraits of Gilbert & Sullivan, vignettes of scenes & performers from both comic operas, adverts. Generally clean & attractive. * Program. “The Mikado... Savoy Theatre... R. D’oyly Carte.” (London), [ca. 1885]. 4 pp., 8vo, orig. black printed yellow paper; occasional minor creasing, occasionally very slightly dusty. Adverts. $500-800

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440 2 pieces.

(Gilbert, W.S.; Sullivan, Arthur S.) Gilbert & Sullivan first run programs, R. D’oyly Carte Savoy Theatre: “Patience.” [1881.] Printed pictorial yellow card stock; minor wear. * “Princess Ida” [1884].

Printed pink paper; minor creasing & occasional light staining. Dated in ink on margin, “Jan 30, 1884.” $250-400 441 1 piece.

(Joseph Joachim - String Quartet Program.) “Quartett-Abende / Joachim, de Ahna, Wirth, Hausmann. / ... Januar 1891,... / Saal Der Sing-Akademie / ...” [Berlin], 1891. 8vo sheet, 9 x 6 inches (228 x 152 mm), printed on one side; light horizontal creases, very slightly toned. An all Beethoven program. Attractive.

For close to four decades, the violinist Joseph Joachim, founder (1869) & director of the Hochschule fur Musik, gave together with colleagues from the Hochshule, a concert series each winter in the Berlin Singakademie. $200-300 442 1 piece.

(Liszt, Franz.) Menu. “Banquet en l’honneur de M. Franz Liszt le Dimanche 29 Mai 1881.” [Paris?], 1881. 12mo, 4 leaves on thick stock, pictorial litho front. Splitting along fold, minor spotting. $250-400 443 1 piece.

(Massenet, Jules.) Fragment of wallpaper from The Opera Comique. Annotated & dated, “1887,” by Massenet. Collected & preserved by Massenet after The Opera Comique burned down in 1887.

Provenance: Massenet Estate sale $200-300

444 1 piece.

(Mendelssohn-Bartholdy, Felix.) Concert Program. “Zwanzigstes Abonnement-Concert im Saale des Gewandhauses zu Leipzig,... 17.

Marz 1842.” Includes “Symphonie von Felix Mendelssohn-Bartholdy.

(A Moll.) mscript.” 4 pp, 4to; minor dust soiling. The concert also included “Ouverture aus Faust von L. Sphor.”

An early performance of Mendelssohn’s Symphony no. 3, op. 56, the “Scottish Symphonie,” which was first performed at Leipzig on March 3, 1842.

New Grove, 1st ed., 12: 153 $200-300 445 2 pieces.

Broadsides - Niccolo Paganini: “Theatre Royal Birmingham... Signor Paganini’s Last Concert... Feb. 3, 1832...” Birmingham, (1832). 12 1/4 x 6 5/8 inches (310 x 168 mm). Clean. The program also included overtures to Mozart’s Cosi Fan Tutte & La Clemenza di Tito. * “Theatre Royal, Convent Gardens. Signor Paganini’s Last Concert...

August 3, 1832...” (London), (1832). 13 1/4 x 8 inches (336 x 203 mm). On blue paper. Some dampstaining to bottom portion. Both framed. $300-500 446 2 pieces.

(Wagner, Richard.) Printed banquet ticket with musical vignette, 4 x 5 1/8 inches (100 x 130 mm) on white card stock. “Eintritts-Karte zum Wagner Banquet... 22 Mai 1877...” Clean & bright. * Bayreuth Der Ring des Nibelund, Gotterdammerung tickets for July 28, 1912.

2 unseparated tickets. Minor foxing. “The doorkeeper has strict orders to refuse admittance to any ladies wearing hats or bonnets.” $500-800 447 Lot. Postcards - Composers, Violinists, Pianists, Music Directors & C Primarily portraits - Chiefly issued in Germany, early 20th-Century (ca. 1904-1914). Approx. 520 cards, incl. approx. 250 composers, approx. 125 violinists & approx. 45 pianists. In good states of preservation. $500-800

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10/19/08 PHOTOGRAPHS Lots 448-452 D’oyly Carte Performers 448 16 pieces.

(Gilbert & Sullivan.) Photo Portraits - incl. Signed Photo Portraits.

D’oyly Carte Performers: Rutland Barrington. Photo postcard dated, “1916,” & signed by Barrington. * George Baker. Photo postcard, signed by Baker. * Jessie Bond. Photo portrait, 4 5/8 x 3 3/4 inches (117 x 95 mm). Sepia tone, minor creasing. * Robert Evett. Photo postcard, signed & inscribed by Robert Evett. * Helen Gilliland.

Photo postcard, signed & inscribed by Helen Gilliland. * Sydney Granville. Photo postcard, signed & inscribed by Sydney Granville. * George Grossmith. 3/4 figure photo portrait, 5 1/2 x 3 7/8 inches (140 x 98 mm), sepia tone, minor edge wear. * Durward Lely. 3/4 figure photo portrait in costume as Nanki-Poo, 4 1/2 x 3 5/8 inches (114 x 92 mm), sepia tone, minor edge wear. * Bertha Lewis. Photo postcard, signed & inscribed by Bertha Lewis. * Henry Lytton. Photo postcard, signed & inscribed by Henry Lytton. * Derek Oldham.

Photo postcard, signed by Derek Oldham; residue of mounting on back. * Walter Passmore. Photo postcard, signed & inscribed by Walter Passmore. * Courtice Pounds. Photo postcard, inscribed & signed by Courtice Pounds. * Thomas Round. Photo bust portrait, 5 1/2 x 3 1/2 inches (130 x 90 mm), signed & inscribed by Thomas Round. * Leo Sheffield. Photo postcard, inscribed & signed by Leo Sheffield. * C.H. Workman. Photo postcard, signed in green ink by C. H. Workman. $500-800

449 2 pieces.

Carte-de-Visite Photo Portraits: Franz Liszt. Paris: Reutlinger, ca.

1870. * Johann Strauss II. Paris: Disderi, ca. 1871. Both albumen prints on orig. card mounts. 4 1/16 x 2 1/2 inches (103 x 64 mm).

Images clean, versos slightly dusty. $200-300 450 1 piece.

Photograph. Brahms, Johannes. Carte-de-Visite, ca. 1860s, by J. Reiner. [Albumen print, orig. mount, 4 1/4 x 2 3/8 inches (108 x 60 mm).] Clean & clear. Attractive photo of the relatively young composer. Framed. $200-300 451 1 piece.

Photograph. George Gershwin & Ginger Rogers. Likely on the set of “Shall We Dance?,” ca. 1937. Silver print, 7 x 9 inches (180 x 230 mm). Rich tones. Clean. Framed. $120-180 452 7 pieces.

Jules Massenet: Five Cabinet Card & one Carte-de-Visite photo portraits, including one framed Cabinet Card photo & dated (likely

by Massenet), “Mai 1885.” * Address book, ca. 1905; 12mo, orig. cloth, with manuscript entries by Massenet. $250-400

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ORIGINAL ART, PRINTS & POSTERS Lots 453-458 Pauline Viardot’s Chopin 453 1 piece.

Pencil, Ink & Wash Drawing.

Viardot, Pauline. Bust portrait from life of Chopin, ca. 1840s. 5 1/4 x 4 1/16 inches (133 x 103 mm). Apparently unpublished.

Clean.

Viardot, Pauline (1821-1910).

French mezzo-soprano of Spanish origin, composer, teacher of singing. “She knew almost every musician of distinction in her day & was the friend & inspiration of many writers, among them Turgenev, Alfred de Musset & George Sand (through whom she met Chopin). Chopin admired the vocal transcriptions she made of some of his Mazurkas” (New Grove, 19: 694-95). She was also known as an avid drawer & sketcher.

Provenance: Pauline Viardot collection $6,000-9,000 453

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454 1 piece.

Oil on Circular Panel. Portrait of Franz Lizst. Ca. 1880-1900.

Diameter approx. 10 inches. By an unknown but skilled artist.

Framed. $300-500 455 1 piece.

Mezzotint Portrait Signed. “Franz Liszt.” Leipzig: Th. Zehl, no date [ca. 1880]. 14 1/2 x 11 3/4 inches (368 x 298 mm) - image & decorative border. Laid-down on bd. & slightly toned. Signed by F(ranz) Liszt below image. Framed. $300-500 456 1 piece.

Color Lithographic Poster. [Gilbert, W.S.; Sullivan, Arthur S.] “The Mikado.” London: Stafford & Co., no date [ca. 1930s]. 30 x 20 inches (760 x 508 mm), mounted on poster board. Condition A-: clean & bright. Framed. $200-300

457 2 pieces.

Color Lithographic Posters - Operas with music by Jules Massenet: “Le Mage.” Paris: G. Hartmann, no date [ca. 1891]. 35 1/2 x 25 1/4 inches (900 x 640 mm), linen-backed. Condition B: slightly toned, occasional dampstaining in margins. Framed. * Leloir, Maurice. “Theatre National de L’opera Comique. Cherubin.” Paris: Devambez, no date [ca. 1905]. 35 x 25 inches (890 x 635 mm), linen-backed. Condition B: minor dampstaining at bottom edge.

Early performance posters. Framed. $300-500 458 1 piece.

Color Lithographic Massenet Opera Poster. Flameng, Francois.

“Theatre de L’opera Comique. Griselidis... Musique de [Jules] Massenet.” Paris: Bourgerie, no date [ca. 1901]. 54 1/2 x 30 inches (1,380 x 762 mm), linen-backed. Condition B: slightly toned.

Original or early performance poster. Framed. $300-500

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10/19/08 OBJECT DE ART & MEDALS Lots 459-461 459 1 piece.

(Pons, Lily.) Silver plate travel cased clock. Closes to approx. 3 x 2 1/2 inches (76 x 63 mm). Concord Watch Company, 15 Jewels, sold

by Lambert Brothers. Engraved on top lid, “Lily Pons / 1930-1954 / With warm appreciation / Metropolitan opera / Association.”

Provenance: at one time property of Lily Pons. $400-600 460 1 piece.

(Toscanini, Arturo.) Silver plate egg-form footed match holder with floral & scroll relief. Approx. 3 1/4 inches high (82 mm). With Arturo Toscanini’s name engraved on upper rim.

Provenance: at one time property of Lily Pons. $200-300 461 9 pieces.

Music Medals - Likely issued as awards by Music Academies & Societies: Richard Strauss. Ca. 1864 or later. Bronze, 90 mm.

Designed by T. Kounitzky. Bust profile, reverse blank. * Franz Schubert. 1872. Bronze, 64 mm. Designed by J. Tautenhayn. Bust profile, reverse with allegorical scene. * Enrico Caruso. Ca. 1920s.

Bronze, 61 mm. Designed by Bino Bini. Bust portrait, reverse with Caruso in various roles. * Johannes Brahms. 1893. Bronze, 59 mm.

Designed by A. Scharff. Bust profile, reverse with laurel branches & fronds. * Vincenzo Bellini. Ca. 1835 or later. Silver, 54 mm. Designed

by Le Vicomte de Sussa? Bust profile, reverse with Italian dedication in laurel wreath. * Wolfgang Mozart. Ca. 1821 or later. Bronze, 42 mm. Bust profile, reverse with Latin dedication. Series Nusmismatica Universalis Virorum Illustratium. * George Gershwin.

Ca. 1950s. Brass, 32 mm. Designed by Philip Kraczkowski. Bust portrait, reverse with silhouette of Gershwin at the piano. * Carl M. Weber. Ca. 1900 or later. Bronze, 32 x 51 mm. Bust profile, reverse blank. Mounted to bronze ball & rod frame. * Franz Liszt. Ca. 1900 or later. Bronze, 32 x 51 mm. Bust profile, reverse blank. All in Very Fine or better condition, Bellini medal a bit tarnished. $100-200

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Selective Bibliography

Burghauser, Jarmil. Antonin Dvorak: Thematic Catalogue, Bibliography. Prague, 1960.

BWV: Schmieder, W. Thematisch-systematisches Verzeichnis der Musikalischen Werke von Johann Sebastian Bach. Leipzig, 1961.

CPM: The Catalogue of Printed Music in The British Library to 1980. London, 1981-87.

Carnovale, Norbert. George Gershwin: A Bio-Bibliography. Westport, 2000.

Crichton, Ronald. Manuel de Falla: Descriptive Catalogue. London: J. & W. Chester, (1976).

De Lerma, Dominique-Rene. Igor Federovich Stravinsky… A Practical Guide to Publications of His Music. Kent State Press, (1974).

Deutsch, O.E. Schubert: Thematic Catalogue of All His Works. New York: Norton, (1950 or later).

Eitner, Robert. Quellen Lexikon der Musiker… Graz, 1959.

Fuld, James J. The Book of World-Famous Music. New York, (1975), revised edition.

Gothel, Fulker. Thematisch-Bibliographisches Verzeichnis der Werke der von Louis Sphor. Tutzing, 1981.

Griffiths, Paul. Bartok. London & Melbourne, (1984).

Grove Opera. The New Grove Dictionary of Opera. (London, etc.: Macmillan), (1996). 4 vols.

Haberkamp, Gertraut. Die Erstdrucke der Werke von Wolfgang Amadeus Mozart. Tutzing, 1980. 2 vols.

Hoboken, Anthony van. Joseph Haydn: Thematisch-bibliographisches Werkverzeichnis. Mainz: Schott, (1971). 2 vols.

Hofmann, Kurt. Die Erstdrucke der Werke von Johannes Brahms. N.p., 1975.

Hofmann, Kurt. Die Erstdrucke der Werke von Robert Schumann. N.p.: Schneider, 1979.

Holst, Imogen. A Thematic Catalogue of Gustav Holst’s Music. (London), (1974).

Hopkinson, Cecil. A Bibliography of The Musical and Literary Works of Hector Berlioz. Turnbridge Wells, 1980.

Hopkinson, Cecil. A Bibliography of The Printed Works of C.W. von Gluck. New York, 1967, second edition.

Hopkinson, Cecil. A Bibliography of The Works of Giacomo Puccini. New York, 1968.

Hopkinson, Cecil. Tannhauser: An Examination of 36 Editions. Tutzing, 1973.

Hopkinson, Cecil. A Bibliography of The Works of Giuseppe Verdi. New York, 1973. 2 vols.

Kennedy, Michael. A Catalogue of The Works of Ralph Williams. London, 1982, revised edition.

Kinsky-Halm: Kinsky, Georg; Halm, Hans. Das Werk Beethovens: Thematisch-Bibliographisches Verzeichnis.

Munich, (1955).

Kochel, Ludwig Ritter von: Chronologisch-Thematisches Verzeichnis samtlicher Tonwerke. Leipzig, 1980, third edition (K3) & Wilsbaden, 1964, sixth edition (K6).

Hulme, Derek. Dimitri Shostakovich: A Catalogue. Scarecrow Press, 2002.

McCorkle, M.L. Johannes Brahms Thematisch Bibliographisches Werkverzeichnis. Munich, 1984.

Marx, Hans Joachim. Arcangelo Corelli: Historisch-kritische Gesmtausgabe der Musikalisch en Werke. Koln, 1980.

Mueller von Asow, E.H. Richard Strauss: Thematisches Verzeichnis. Vienna, 1959. 3 vols.

New Grove: The New Grove Dictionary of Music and Musicians. London, etc.: Macmillan, (1994). 20 vols. First edition of New Grove. All references in this catalogue are to the 1st ed.

(Paganini, Niccolo.) Catalogo Tematico delle Musiche di Niccolo Paganini. Genoa, (1982).

Platzman, George W. A Descriptive Catalogue of The Early Editions of Frederic Chopin. Univ. of Chicago Library, 2003.

RISM: Repertoire International des Sources Musicales. Kassel, etc., 1971-2003.

Schmidt, Carl B. The Music of Francis Poulenc. Oxford, 1995.

Smith, William C. Handel. A Descriptive Catalogue of The Early Editions. (London), (1960).

Stevens, Halsey. The Life and Music of Bela Bartok. Oxford, (1996). Third edition.

(Tchaikovsky, P.I.) Thematic & Bibliographical Catalogue of P.I. Tchaikovsky’s Works. Moscow, 2006.

Threlfall, Robert. A Catalogue of The Compositions of Frederick Delius. London, 1977.

White, Chappell. Giovanni Battista Viotti. A Thematic Catalogue… New York, (1985).

Williamson, Rosemary. William Sterndale Bennett: A Descriptive Thematic Catalogue. Oxford, 1996.

WWV: Deathridge, J., et al. Wagner Werk Verzeichnis. Verzeichnis der Musikalischen Werke Richard Wagners…

Mainz, etc., 1985.

Upcoming

Freeman’s Fridays: Paintings, Prints & Sculpture 10/17/08

LEONORA CARRINGTON (british b. 1917) “TUESDAY” 1987, pencil signed and numbered ‘A/P IV/X’ in the margin; Brewster Editions, publisher; American Atelier, printers. Color lithograph.

20 5/8 x 31 15/16 in.

Unframed $1,200-1,800

ANDREW NATHANIEL WYETH (american b. 1948) COPPER HILL Initialed bottom left, watercolor Sight size: 19 3/4 x 17 1/2 in. $1,000-1,500

Auction: Friday October 17th at 11am Exhibition: Wednesday, October 15th and Thursday October 16th 10am–6pm

Inquiries: Prints (lots 1-85) libia elena mendez ext. 3010 lmendez@freemansauction.com Paintings & Sculpture (lots 86-314) marcell zombori ext. 3089 mzombori@freemansauction.com

www.freemansauction.com

Fine American & European Paintings & Sculpture 12/07/08

Upcoming

JOHN LA FARGE (american 1835–1910) "A BOY AND HIS DOG (DICKEY HUNT)" Oil on canvas 40 x 34 in. (101.6 x 86.4cm) provenance: Albert Stickney, New York, 1884–1908.

Mrs. Albert Stickney, New York, 1908–1911.

J.G. Butler, Jr., Youngstown, Ohio, 1912–1923.

Edwin C. Shaw, Akron, Ohio, 1923–1941.

Caroline Shaw, Akron, Ohio, 1941–1955.

The Estates of James A. & Dorothy C. Vaughn, Seal Island, Georgia, 1955–present. exhibited: National Academy of Design, New York, 1874, cat. no. 72.

Inter-State Industrial Exposition, Probably, Chicago, 1875, cat. no. 23.

Centennial Exposition, Philadelphia, 1876, cat. no. 417.

Pierce & Co., Boston, 1878, 2nd day, cat. no. 12.

Society of American Artists, New York, 1880, cat. no. 58.

Konigliche Glaspalaste, Munich, 1883, cat. no. 1130.

Ortgies & Co., New York, 1884, cat. no. 24.

Vose Gallery, Boston, 1911, cat. no. 97.

Panama-Pacific Exposition, San Francisco, 1915, cat. no. 2674. literature: Art News, March 31, 1923, p.1. $70,000–90,000

Auction: Sunday, December 7th at 2pm Exhibition: Wednesday, December 3rd through Friday, December 5th 10am–4:30pm Saturday, December 6th 12pm–5pm Inquiries: alasdair nichol ext. 3011 anichol@freemansauction.com

HENRI FANTIN-LATOUR (french 1836–1904) STILL LIFE WITH FLOWERS Signed ‘Fantin’ upper left, oil on panel 7 3/4 x 5 1/2 in. (19.7 x 14cm) PROVENANCE: Sir William and Lady Elsie Coates, Belfast, Northern Ireland By family descent.

Private Collection, Virginia. $20,000–30,000

david weiss ext.3014 dweiss@freemansauction.com

www.freemansauction.com

THE CHEN COLLECTION English Silver Sunday, 23rd November, 2008 The Caledonian Club, 9A Halkin Street, Belgravia, London

A fine George II silver-gilt set of two caddies and a sugar box Paul de Lamerie, circa 1730 ÂŁ50,000-70,000

Enquiries Colin Fraser E-mail: colin.fraser@ lyonandturnbull.com Trevor Kyle Email: trevor.kyle@ lyonandturnbull.com Tel: +44 (0)131 557 8844 Illustrated catalogue ÂŁ25 plus postage and packing

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Russian Silver and Enamels Sunday, 23rd November, 2008 The Caledonian Club, 9A Halkin Street, Belgravia, London

A fine Russian silver-gilt and cloisonné and en-plein enamel casket 11th Artel, Moscow, 1908-1917 15.5 cm wide £50,000-70,000

Enquiries Colin Fraser E-mail: colin.fraser@ lyonandturnbull.com

The Chen Collection will be on public view at: Freemans, Philadelphia PA (highlights) October 3rd-8th, 2008

Trevor Kyle Email: trevor.kyle@ lyonandturnbull.com

The Forbes Galleries, New York, NY (highlights) October 7th-12th, 2008

Tel: +44 (0)131 557 8844

Lyon & Turnbull 33 Broughton Place, Edinburgh November 15th-16th, 2008

Illustrated catalogue £25 plus postage and packing

Lyon & Turnbull, London The Caledonian Club, 9A Halkin Street, Belgravia November 20th-23rd, 2008

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Purchase removal, shipping and offsite storage information successful bidders for the david wolman classical music collection sale will be expected to pick up all property from freeman’s no later than 3 pm on friday, october 31st 2008.

Shippers who have worked with Freeman’s clients in the past, include but are not limited to: Aiston Fine Art: Tel: 212.715.0629 Fax: 212.838.6982 email: mark@aistonart.com Packaging Store: Tel: 215.361.6940 Fax: 215.361.6941 email: hrpa112@aol.com UPS: Tel: 215.629.4990 store4242@theupsstore.com A. Mastrocco Jr. Moving & Storage Tel: 215.491.0346 email: mastroccomovers@snip.net

Property not picked up from Freeman’s within ten business days of the auction will be transferred to a storage facility as noted in our terms and conditions.

There will be packing, transport, storage and release charges. For the convenience of the successful bidder, all purchased lots will be packed and transferred to the storage facility together.

Payment of the hammer price, premium and any applicable sales taxes must be made directly to Freeman’s prior to the release of property.

Please contact Freeman’s at 215-563-9275 ext. 3008 with shipping related queries.

Terms & Conditions all property offered and sold (“property”) through samuel t. freeman & co, ("freeman's") shall be offered and sold on the terms and conditions set forth below which constitutes the complete statement of the terms and conditions on which all property is offered for sale. by bidding at the auction, whether present in person or by agent, by written bid, telephone, internet or other means, the buyer agrees to be bound by these terms and conditions.

1 Unless otherwise indicated, all Property will be offered by Freeman’s as agent for the Consignor.

2 Freeman’s reserves the right to vary the terms of sale and any such variance shall become part of these Conditions of Sale.

3 Buyer acknowledges that it had the right to make a full inspection of all Property prior to sale to determine the condition, size, repair or restoration of any Property.

Therefore, all property is sold “AS-IS”.

Freeman’s is acting solely as an auction broker, and unless otherwise stated, does not own the Property offered for sale and has made no independent investigation of the Property. Freeman’s makes no warranty of title, merchantability or fitness for a particular purpose, or any other warranty or representation regarding the description, genuineness, attribution, provenance or condition to the Property of any kind or nature with respect to the Property.

4 Freeman’s in its sole and exclusive discretion, reserves the right to withdraw any property, at any time, before the fall of the hammer.

5 Unless otherwise announced by the auctioneer at the time of sale, all bids are per lot as numbered in the printed catalogue. Freeman’s reserves the right to determine any and all matters regarding the order, precedence or appropriate increment of bids or the constitution of lots.

6 The highest bidder acknowledged by the auctioneer shall be the buyer. The auctioneer has the right to reject any bid, to advance the bidding at his absolute discretion and in the event of any dispute between bidders, the auctioneer shall have the sole and final discretion either to determine the successful bidder or to reoffer and resell the article in dispute. If any dispute arises after sale, the Freeman’s sale record shall be conclusive in all respects.

7 If the auctioneer determines that any opening or later bid or any advance bid is not commensurate with the value of the Property offered, he may reject the same and withdraw the Property from sale.

8 Upon the fall of the hammer, title to any offered lot or article will immediately pass to the highest bidder as determined in the exclusive discretion of the auctioneer, subject to compliance by the buyer with these Conditions of Sale. Buyer thereupon assumes full risk and responsibility of the property sold, agrees to sign any requested confirmation of purchase, and agrees to pay the full price, plus Buyer’s Premium, therefore or such part, upon such terms as Freeman’s may require.

9 No lot may be removed from Freeman’s premises until the buyer has paid in full the purchase price therefor including

Buyer’s Premium or has satisfied such terms that Freeman’s, in its sole discretion, shall require. Subject to the foregoing, all Property shall be paid for and removed by the buyer at his/her expense within ten (10) days of sale and, if not so removed, may be sold by Freeman’s, or sent by Freeman’s to a public warehouse, at the sole risk and charge of the buyer(s), and Freeman’s may prohibit the buyer from participating, directly or indirectly, as a bidder or buyer in any future sale or sales. In addition to other remedies available to Freeman’s by law, Freeman’s reserves the right to impose a late charge of 1.5% per month of the total purchase price on any balance remaining ten (10) days after the day of sale. If Property is not removed by the buyer within ten (10) days, a handling charge of .1% of the total purchase price per month from the tenth day after the sale until removal by the buyer shall be payable to Freeman’s by the buyer; Freeman’s shall charge 1.5% of the total purchase price per month for any property not so removed within 60 days after the sale. Freeman’s will not be responsible for any loss, damage, theft, or otherwise responsible for any goods left in Freeman’s possession after ten (10) days. If the foregoing conditions or any applicable provisions of law are not complied with, in addition to other remedies available to Freeman’s and the Consignor (including without limitation the right to hold the buyer(s) liable for the bid price) Freeman’s, at its option, may either cancel the sale, retaining as liquidated damages all payments made by the buyer(s), or resell the property. In such event, the buyer(s) shall remain liable for any deficiency in the original purchase price and will also be responsible for all costs, including warehousing, the expense of the ultimate sale, and Freeman’s commission at its regular rates together with all related and incidental charges, including legal fees.

Payment is a precondition to removal.

Payment shall be by cash, certified check or similar bank draft, or any other method approved by Freeman’s. Checks will not be deemed to constitute payment until cleared. Any exceptions must be made upon Freeman’s written approval of credit prior to sale.

In addition, a defaulting buyer will be deemed to have granted and assigned to Freeman’s, a continuing security interest of first priority in any property or money of, or owing to such buyer in Freeman’s possession, and Freeman’s may retain and apply such property or money as collateral security for the obligations due to due to Freeman’s. Freeman’s shall have all of the rights accorded a secured party under the Pennsylvania Uniform Commercial Code.

10 Unless the sale is advertised and announced as “without reserve”, each lot is offered subject to a reserve and Freeman’s may implement such reserves by bidding through its representatives on behalf of the Consignors. In certain

instances, the Consignor may pay less than the standard commission rate where Freeman’s or its representative is a successful bidder on behalf of the Consignor. Where the Consignor is indebted to Freeman’s, Freeman’s may have an interest in the offered lots and the proceeds therefrom, other than the broker’s Commissions, and all sales are subject to any such interest.

11 No “buy” bids shall be accepted at any time for any purpose.

12 Any pre-sale bids must be submitted in writing to Freeman’s prior to commencement of the offer of the first lot of any sale. Freeman’s copy of any such bid shall conclusively be deemed to be the sole evidence of same, and while Freeman’s accepts these bids for the convenience of bidders not present at the auction, Freeman’s shall not be responsible for the failure to execute, or, to execute properly, any pre-sale bid.

13 A Buyer’s Premium will be added to the successful bid price and is payable by the buyer as part of the total purchase price.

The Buyer’s Premium shall be: 25% on the first $20,000 of the hammer price of each lot, 20% on the portion from $20,001 through $500,000, and 12% on the portion of the hammer price exceeding $500,000.

14 Unless exempted by law from the payment thereof, the buyer will be required to pay any and all federal excise tax and any state and/or local sales taxes, including where deliveries are to be made outside the state where a sale is conducted, which may be subject to a corresponding or compensating tax in another state.

15 Freeman’s may, as a service to buyer arrange to have purchased property posted and shipped at the buyer’s expense. Freeman’s is not responsible for any acts or omissions in packing or shipping of purchased lots whether or not such carrier recommended by Freeman’s.

Packing and handling of purchased lots is at the responsibility of the buyer and is at the entire risk of the buyer.

16 In no event shall any liability of Freeman’s to the buyer exceed the purchase price actually paid.

17 No claimed modification or amendment of this Agreement on the part of any party shall be deemed extant, enforceable or provable unless it is in writing that has been signed by the parties to this Agreement. No course of dealing and no delay or omission on the part of Freeman’s in exercising any right under this Agreement shall operate as a waiver of such right or any other right and waiver on any one or more occasions shall not be construed as a bar to or waiver of any right or remedy of Freeman’s on any future occasion.

18 These Conditions of Sale and the buyer’s, the Consignor's and Freeman’s rights under these Conditions of Sale shall be governed by, construed and enforced in accordance with the laws of the Commonwealth of Pennsylvania and Consignor and Buyer agree to the exclusive jurisdiction of the Philadelphia, Pennsylvania Court of Common Pleas and the United States District Court for the Eastern District of Pennsylvania.

absentee bidding form sale no

bidder no

name

business name

address city

state

zip code

e-mail

phone (h)

phone (w)

fax

resale / tax identification

state

25% Buyer’s Premium will be added to the first $20,000 of the hammer price of each lot, 20% on the portion from $20,001 through $500,000, and 12% on the portion of the hammer price exceeding $500,000.

All lots must be paid for and removed within 5 days.

lot no

description

maximum bid

please adhere to the bidding increments $10 until $200 is reached $25 until $500 is reached $50 until $1,000 is reached $100 until $3,000 is reached $250 until $5,000 is reached $500 until $10,000 is reached $1,000 until $30,000 is reached $2,000 until $50,000 is reached $5,000 until $100,000 is reached over $100,000 auctioneer’s discretion

bank reference bank name

account n0

contact name

telephone

I hereby confirm thet I have read and am bound by the “Terms of Sale” presented by the auction house and which govern all auction purchases made by me. Although every attempt is made to execute your bid(s), the auctioneer is not responsible for errors and omissions.

signed (signature required to execute your bids)

Samuel T Freeman & Co. 1808 Chestnut Street Philadelphia PA 19103 Tel-215.563.9275 Fax-215-599-2240 e-mail: info@freemansauction.com www.freemansauction.com

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Upcoming Events AUCTIONS

20th / 21st Century Design november 1st Modern & Contemporary Art november 2nd American Furniture, Decorative & Folk Arts november 22nd The Pennsylvania Sale november 23rd Fine Jewelry december 6th Fine American & European Paintings & Sculpture december 7th Oriental Rugs & Carpets december 14th Objects de Vertu december 15th

APPRAISAL DAYS

Freeman’s November 5th

Rare Books, Manuscripts, Prints & Maps january 15th

Freeman’s November 15th

Fine English & Continental Furniture, Silver & Decorative Arts january 26th

Freeman’s December 3rd Freeman’s December 17th

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Directory specialist departments

depart≤ents

officers

Americana lynda a cain samuel ≤ free≤an ii melissa johnson carolyn faris

Appraisals sa≤uel ≤ free≤an ii james e buckley donald e walter amy parenti

chair≤an samuel ≤ freeman ii

Asian Arts robert waterhouse richard cervantes

Appraisal Services samuel t freeman iii andrea vainius jessica tudor

executive vice presidents ja≤es e buckley hanna dougher

≤useum Services lynda a cain

senior vice presidents christian jussel alasdair nichol

English & Continental Furniture, Silver & Decorative Arts christian jussel douglas girton kerry jeffery Fine Jewelry samuel ≤ free≤an ii kate waterhouse Fine Paintings & Sculpture alasdair nichol david weiss libia elena mendez aimee dolby marcell zombori Fine Prints david weiss aimee dolby marcell zombori Modern & Contemporary Art anne henry alasdair nichol david weiss aimee dolby libia elena mendez marcell zombori Oriental Rugs & Tapestries david weiss richard cervantes Rare Books, Manuscripts, & Ephemera david j bloom joe huenke 20th/21st Century Design alexandra jaccard

president paul roberts

Client Services mary maguire carroll kati gegenheimer stephanie parker tonimarie kando jessica carter andrea vainius

chief financial officer eric a smith

Operations hanna dougher jonathan freeman ian kelly justin aubright julius clayton bethany mobbs christine leggio gerald davis

representatives david weiss

Finance hanna dougher mary maguire carroll jeffrey miller Business Development & ≤arketing thomas b. mccabe iv lily stone christopher browne Trusts & Estates christian jussel samuel t freeman iii thomas b. mccabe iv Photography elizabeth field tom clark elizabeth schultz

vice presidents david j bloom lynda a cain david weiss

Washington, DC dweiss@freemansauction.com Telephone: 202.412.8345

colin clarke Charlottesville, VA cclarke@freemanssouth.com Telephone: 434.296.4096 Fax: 434.296.4011