Catalogue 63 - J & J Lubrano, Music Antiquarians

J & J LUBRANO MUSIC ANTIQUARIANS 

Catalogue 63 

Item 10 

MUSIC & DANCE 

First and Early Editions of Printed Music 

Autograph Musical Manuscripts and Letters 

Rare Books on Music and Dance 

Prints and Drawings

Catalogue 63 

MUSIC & DANCE 

Highlights include: 

Archives of the contemporary American composers 

John Corigliano, Richard Danielpour, David Del Tredici, David Felder and Steve Lacy 

The archive of the eminent conductor Max Rudolf 

Autograph manuscripts, letters and signed scores of Gounod, Haydn, Ives, Milhaud, Schubert, 

Tchaikovsky, Verdi and Wagner 

17 th century Italian vocal music in contemporary manuscripts and printed editions 

First and early editions of works by Bach, Beethoven, Handel, Mozart, 

Paganini, Schubert and Strauss 

Original Ballets Russes programs 

� 

N.B. 

Illustrations 

of all of the items in this catalogue 

are available on our website, www.lubranomusic.com, 

either by entering the inventory number (found in brackets preceding the price) 

or by searching by composer or title in the “Quick Search” function on our homepage. 

� 

351 West Neck Road, Lloyd Harbor, New York 11743 

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Established 1977

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INDEX 

Please see final page for a selective subject index 

Please visit our website 

www.lubranomusic.com 

where you will find full descriptions of all of our catalogued items, 

including those in this catalogue, many with illustrations. 

The site is updated regularly, 

with our newest additions described under “Recent Acquisitions” 

Fine Items & Collections Purchased 

Members 

ABAA – Antiquarian Booksellers’ Association of America 

ILAB – International League of Antiquarian Booksellers 

PADA – Professional Autograph Dealers’ Association

By the Leading Sienese Composer of the 17 th Century 

1. AGAZZARI, Agostino ?1579-81 -1641-42. Armonici Intronati Sacre Cantiones, Binis, Ternisq[ue], Vocibus 

concinendae. Liber Quartus. Cum Basso ad Organum. [Cantus 2 part]. Rome: Antonio Soldi, 1620. Small quarto. 

Contemporary carta rustica wrappers. 1f. (r. title, v. dedication), 15ff. printed music with index to verso of final leaf. 

Title printed within woodcut border with additional central woodcut device. Music printed typographically in 

diamond-head notation. Decorative woodcut initials throughout. With early ownership signature to title and early 

manuscript titling to wrappers. Wrappers slightly worn and soiled with small areas of dampstaining. Some foxing; 

corners slightly creased; minor chipping to edges; lower outer corners dampstained throughout. In very good condition 

overall. (19155) 

$3,800. 

RISM A349 (one copy of the bass part only, in the Biblioteca dell' Accademia Musicale Chigiana in Siena). Gaspari 

II, p. 334. 

"Agazzari’s parents were evidently of Sienese origin, and he himself went to Siena as a boy and received his training 

there, perhaps from Francesco Bianciardi. He was organist at Siena Cathedral from 1597 to 1602, when he left to 

direct the music at the Collegio Germanico, Rome (1602-3). In 1604 he attended the reopening of the Sienese 

Accademia degli Intronati. By 1606 he was maestro di cappella at the Seminario Romano, but returned to Siena in 

1607 after being blacklisted by the Cappella Sistina. In the following years he was organist at Siena Cathedral on 

three different occasions: in 1609, 1611-17 and 1629-33; he also served for two short periods as music director at S 

Maria di Provenzano, Siena, 1617-19 and 1620-?1622. Not until February 1641 was he appointed maestro di 

cappella at Siena Cathedral, and failing health forced him to resign the position the following September. He died in 

January 1642 and was buried in S Niccolò del Carmine. Agazzari's contributions made him much more than the 

leading Sienese composer of the 17th century. A champion of the 'new style' of sacred music, he injected fresh vitality 

into the small-scale motet and spurred its development in Rome. His influence extended beyond the Alps: many of his 

works appeared in northern anthologies, and his basso continuo treatise served as the basis for Michael Praetorius's 

discussion of the same subject in the Syntagma musicum." Coleen Reardon in Grove online. 

17 th Century Italian Musical Manuscripts, both Vocal and Instrumental 

Items 2 - 10 

2. ANON. Antifone in Contrapunto à 9 [voices] Libro 3o. Canto and Basso parts. Musical manuscripts. Italian, 

ca. 1620. Large octavo (ca. 224 x 163 mm.). Contemporary carta rustica wrappers with early manuscript titling to 

uppers. 14; 12 pp. With early ownership signature to foot of first page of music to both parts. Includes "Inefabi liber 

ex Virgine," "Orta est stella," "Templu dei," "Venit lumen," "Apertis Thesauris obtulerunt magis Domino," "Stella ista 

sicut flamma," "Inbus miraculis," and music for the festivals of St. Hildebrand and the apostles Peter and Paul. With 

some additional musical notation extending into margins and some deletions. Some light soiling and occasional 

browning to wrappers. Occasional foxing, browning, soiling and staining. In very good condition overall. (19182) 

$5,000. 

3. ANON. Juravit Dominus. Manuscript musical setting for 3 voices (Cantus I, Cantus II and Tenor). Part for 

Tenor. Italian, first half of the 17th century. Large octavo (ca. 230 x 168 mm.). Notated in ink. With Rorate Coeli, a 

manuscript musical setting for an unknown number of voices, bass part only, to verso, one measure with corrections. 

With early ownership signature to foot of first page of music. (19183) 

$750. 

4. ANON. Lumens illud ave gabrie. Musical manuscript setting for 4 voices. Part for Tenor only. Italian, first 

half of the 17th century. Large oblong octavo (ca. 170 x 235 mm.). Notated in ink on 5 hand-ruled staves on the recto 

of a single leaf. Portion of upper blank margin lacking; slightly ragged at edges; some oxidation with resulting 

perforations to paper. (19187) 

$500.

5. ANON. Manuscript music for viol or theorbo. Italian, first half of the 17th century. Large octavo (ca. 235 x 

172 mm.). 1f., with watermark of 6-pointed star. Notated in ink on both sides, with "Violone à y overo tiorba 1o 

Choro" to head. Various short passages, including a 15-note cancelled passage. Tears to margins with some paper loss, 

not affecting manuscript. (19184) 

$750. 

6. ANON. Manuscript musical setting for a group of 7 vocal works for 5 voices. "Bassus ad Organum" part only. 

Italian, first half of the 17th century. Large octavo (ca. 235 x 170 mm.). 6ff. (9 pp. of musical manuscript) notated in 

ink. Includes "Cum invocare," "In te domini sperari," "Qui habitat in adiutrio," "Nunc dimittis dervum tuum," and 

"Salva nos." With additional musical notation extending into margins in one instance. Occasional light foxing and 

browning; small dampstain to upper gutter. (19178) 

$2,600. 

7. ANON. Manuscript musical settings for 5 voices. Altus part only. Italian, first half of the 17th century. Large 

oblong octavo (ca. 186 x 257 mm.). Notated in ink on both sides of a single leaf. Includes "Kyrie eleison," and "Et in 

terra pax hominibus." Some light foxing and staining; ragged at edges with some tears and slight loss of music. 

(19179) 

$600. 

8. ANON. Manuscript musical settings for 7 voices. Bass part only. Italian, first half of the 17th century. Folio 

(ca. 340 x 235 mm.). Notated in ink on both sides of a single leaf. Torn and creased at central fold with no loss of 

music; some browning. (19176) 

$750. 

9. ANON. Manuscript part books for a set of motets and psalms for 2 and 3 voices. Italian, first half of the 17th 

century. 2 volumes. Large octavo (ca. 228 x 168 mm.). Contemporary carta rustica wrappers, with "Tenor 3" and 

"Bassus 3" in early manuscript to uppers. Each volume 16 pp. plus [i] index, [i] (blank) pp. Notated in ink. With early 

ownership signature to foot of first page of music of each part. Contains 11 compositions in total. Titles include 

"Ascendo ad Patrem," "Duc Seraphim," O'nomen Jesu," Misericordias Romani," "Sacerdos et Pontifex," O Salutaris 

Hostia," "Beatus Virgin," "Laudate Puen," Laetatus sum" and "Magnificat." Wrappers slightly worn and stained, some 

worming to upper of Bassus part extending to first two leaves. Occasional light soiling and staining; some browning to 

Tenor part. In quite good condition overall. (19175) 

$6,000. 

10. ANON. Manuscript part books for musical settings for 6 to 12 voices. Italian, first half of the 17th century. 4 

volumes. Large octavo (ca. 225 x 160 mm.). Contemporary carta rustica wrappers, with "Antifone à 6, e 12" and early 

manuscript identification to each part: "Cantus," "Altus," "Tenor," and "Bassus." Each volume 16 pp. Notated in ink. 

Includes settings of "Quam dinumerare nemo," "Throni et Dominazioni," "Desseu dit de celo" and "Exterrior sunt." 

With occasional corrections and additional musical notation extending into margins. Wrappers slightly worn and 

stained, split or splitting at spine. Occasional light foxing, soiling and staining. In very good condition overall. 

(19174) 

$8,000. 

“Textural, Harmonic and Melodic Diversity” 

in Antonelli’s Early 17 th Century Partbooks 

11. ANTONELLI, Abbundio ? - ca. 1629. Liber Secundus Diversarum Modulationum Binis, Ternis, Quaternis, 

ac Quinis vocibus. Auctore Abundio Antonellio Metropolitanae Capellae Beneventanae moderatore. [Cantus 

Secundus and Altus parts]. Rome: Bartholomeo Zannetti, 1616. 2 volumes. Small quarto. Contemporary carta rustica 

wrappers. Cantus Secundus: 1f. (r. title, v. dedication), 3-23 printed music, [i] (index) pp. Altus: 1f. (r. title, v.

dedication), 3-14 printed music, [i] (index), [i] (blank) pp. Titles printed within woodcut border with additional central 

woodcut device. Music printed typographically in diamond-head notation. Decorative woodcut initials throughout. 

With early ownership signature to titles and early manuscript titling to wrappers. Wrappers slightly worn; several 

small stains; small hole to spine of Cantus Secundus part. Some leaves very slightly creased and chipped. In very good 

condition overall. (19157) 

$7,000. 

First Edition. RISM A1272 (no copies of any parts outside Italy). According to RISM, there are no holdings of any 

works of this composer in American, British or French libraries. Antonelli, born in Fabrica near Viterbo, was a 

composer and teacher. 

"According to Casimiri [Antonelli] must have taught music at the Seminario Romano, Rome, some time between 1602 

and 1606. The first post he held that is specifically documented is that of maestro di cappella of S Giovanni in 

Laterano, Rome, where he is recorded from 1 June 1611 to 20 July 1613... The title-pages and dedications of works 

that Antonelli published in 1614 and 1615 indicate that he was then maestro di cappella of Benevento Cathedral. That 

he had returned to Rome by February 1616 can be determined from the dedication of his print of that year... Antonelli 

probably remained in Rome for the rest of his life..." "Antonelli was primarily a composer of sacred works, most with 

continuo, which are typical products of the early 17th-century Roman school. The masses and many of the motets tend 

to be conservative, with mainly contrapuntal - frequently canonic - textures. Greater textural, harmonic and melodic 

diversity is to be found in the three books of 1615-16. These include pieces in which strict counterpoint or freely 

imitative two-part writing predominates and others in which solo and choral passages alternate." Patricia Ann Myers 

in Grove online. 

12. ARNE, Thomas Augustine 1710-1778. Comus; A Masque As it is performed at the Theatres Royal in Drury 

Lane and Covent Garden... for the Voice, Harpsichord, and Violin. [Piano-vocal score]. London: Harrison & Co., [ca. 

1785]. Oblong folio. Half mid-tan mottled calf with marbled boards, gilt titling to spine. [1] (title), [2] (blank), [3] 

(cast list and contents), 4-18 pp. Engraved. Previous owner's pencilled note to verso of title. Slightly worn and soiled; 

occasional light foxing; slightly trimmed, just affecting printed area of lower margins in several cases; free front 

endpaper browned. (19261) 

$275. 

BUC p. 43. RISM A1749. 

Arne's music for Milton's masque of Comus was produced in March of 1738. "It was an immediate and lasting 

success, establishing Arne as a composer of the first rank." Grove online. 

13. ARNE, Thomas Augustine 1710-1778. Love in a Village A Comic Opera as it is Perform'd at the Theatre 

Royal in Covent Garden. The Music by Handel Howard Geminiani Paradies Boyce Baildon Galuppi Argus Arne 

Festing Giardini Abos For the Harpsicord, Voice, German Flute, or Violin. [Piano-vocal score]. London: I. Walsh, [ca. 

1763]. Oblong folio. Quarter dark tan leather with marbled boards. [1] (title), [2] (A Table of the Songs), 3-62 pp. 

Engraved. Binding slightly defective, with upper inner corners and spine damaged with resulting split to upper 3" of 

spine; joints split; front free endpaper browned. Slightly worn and soiled; title creased and frayed and chipped at 

edges; first few leaves creased. (19264) 

$275. 

First Edition (variant issue). BUC p. 630. Smith & Humphries 969. RISM A1857. 

First performed at Covent Garden on December 8th 1762. With libretto by Bickerstaffe. Arne composed more of the 

music to this pasticcio than any other composer. Love in a Village is of particular importance as it stands as the 

starting point of musical comedy as we know it today.

14. AUBERLEN, Samuel Gottlob 1758-1817. Lieder fürs Clavier und Gesang. St. Gallen: Reutiner, Jr., 1784. 

Oblong folio. Full early vellum with royal coat of arms gilt to upper. 1f. (title, with woodcut device incorporating a 

cherub playing a lyre), 1f. (preface and dedication), 45 pp. music, [i] (table of contents). Typeset throughout. Contains 

40 works for voice with keyboard accompaniment. Binding somewhat soiled and stained; one small hole; edges worn, 

rubbed and bumped. Some browning, soiling and minor staining; small burn hole affecting first few leaves. Quite a 

good copy overall. (18831) 

$550. 

First Edition. Eitner I p. 234. BUC I p. 66. RISM A2770 (no copies in North America). 

Auberlen first made his career as a violin virtuoso and theatre music director in Schaffhausen, then held the post of 

organist and music director at the cathedral in Ulm. He wrote oratorios, vocal, instrumental and instructional works. 

15. AVISON, Charles 1709-1770. Twenty Six Concertos Composed for, Four Violins, One Alto, Viola, a 

Violoncello, and Ripieno, Bass. Divided into four Books in Score, for the use of Performers, On the Harpsichord... 

Book I. Engrav'd by Wm. Clark. London: Printed for the Author, and sold by J. Johnson... I. Walsh... and R. Bremner 

in Edinburgh, 1758. Tall folio. Disbound. 1f. (fine frontispiece engraving by C. Grignion after H. Gravelot), 2ff. (title, 

2-page "Advertisement" dated Newcastle 1758), 43 pp. With "Engrav'd by Thos. Baker" to foot of first page of music. 

Pp. 5, 8, 13, 16, 21, 29 and 35 blank (to facilitate page-turnings), as issued. With the autograph signature of the 

composer to foot of title. This first book (of four) contains 6 "concertos" in full score. The "Advertisement" consists of 

an essay on the work. Slightly worn and dusty; frontispiece detached, edges slightly frayed, several small tears; edges 

browned; lower corners turned; small edge tears to final leaf. Quite a good wide-margined copy overall. (19254) 

$550. 

First Edition. Rare. BUC p. 68. RISM A2935 (one complete set in the U.K., the U.S. and Germany). 

As a composer Avison is best known for his concerti grossi for strings... In 1758 he issued his opp. 3, 4 and 6 as 

Twenty Six Concertos... The idea of a full score came from the publication of Corelli's concertos and sonatas edited by 

Pepusch (c1740) and of Geminiani's opp. 2 and 3 (1755)... In general, Avison's concertos are modelled on 

Geminiani's; stylistically there is little difference between the early works and the late ones. If somewhat lightweight 

in texture and content, Avison's concertos are unusually tuneful." Norris L. Stephens in Grove online. 

16. BACH, Johann Christian 1735-1782 et al. The Favorite Songs in the Opera Ezio. London: R. Bremner 

[1765]. Folio. Sewn. 1f. (title), [1] (blank), 2-16 pp. Engraved. Early owner's signature to title. Scored for voice, 

violins, horns and unrealized figured bass. Disbound. Slightly worn and stained; repair to inner blank margins of one 

leaf. (18979) 

$300. 

First Edition, variant issue. Rare. Ward: King's Theatre no. 184. RISM BII p. 175 (1 copy only in the U.S.). Issue 

distinguished by the addition of two publications on the title under "For the Harpsichord" not found in the Ward copy, 

i.e., "Abel's Sonatas Opera 2d. & 5th." and "Mozart's Do. with a Violin Accompaniment" (presumably Mozart's KV8 

and 9). 

A pastiche, with music by J.C. Bach, Mattia Vento (1735-1776), Giovanni Battista Pescetti (1704-1766), and Gian 

Francesco de Maio (1732-1770) set to a text by Metastasio. First performed in London at the King's Theatre on 

November 24th 1764. 

First American Edition of J.S. Bach’s St. Matthew Passion 

17. BACH, Johann Sebastian 1685-1750. [BWV 244]. Passion Music (According to the Gospel of St. Matthew) 

Words English and German. The English Translation and Adaptation by John S. Dwight. Full Vocal Score, with 

Piano-Forte Accompaniment mainly by Julius Stern. [Piano-vocal score]. Boston: Oliver Ditson, 1869. Small folio.

Original publisher's printed wrappers. 1f. (title), [i] (preface), ii (contents), [i] (blank), 3-221, [i] (blank) pp. In English 

and German. Lower wrapper lacking; upper slightly worn and soiled; lower outer corner chipped; splitting at spine; 

tail of spine slightly lacking. Inkstamp of previous owner to upper wrapper. (19192) 

$350. 

First American Edition, variant issue. Kenney: Catalogue of the Emilie and Karl Riemenschneider Memorial Bach 

Library, 2009, p. 211. OCLC 1185406. 

First performed in the United States on May 8, 1874, sponsored in part by the Handel and Haydn Society in Boston; 

selections from the work had been performed earlier in Boston on May 13, 1871. According to John S. Dwight in the 

preface, "The musical arrangement now presented follows in the main the well known Peters edition (Leipsic), edited 

by Julius Stern. But in many of the Arias, with their introductory Recitative, the masterly piano-forte accompaniment 

by Robert Franz has been adopted, and his name is put at the beginning of the several pieces." 

John Sullivan Dwight (1813-1893) founded, edited, and was a contributor to Dwight's Journal of Music (1852-81). 

"[He] was the first major American-born music critic and contributed significantly to mid-19th-century American 

musical culture. His Journal is a valuable primary source for American musical developments, offering insights into 

scholarship and events in the USA and abroad through original essays, translations, reprints and reports representing 

diverse viewpoints about styles and composers." Grove online. 

The German conductor Julius Stern (1820-1883) founded the Sternscher Gesangverein (1846), Berliner Musikschule 

(1850), which, after 1857 was known as the Stern Conservatory. He was responsible for the publication of editions of 

vocal pieces, arrangements, and exercises. 

18. BACH, Johann Sebastian 1685-1750. [BWV 825-830]. Exercices pour le Clavecin... Oeuvre I [Parts 1-6]. 

Leipsic: Bureau de Musique de C.F. Peters [PNs 66, 67, 68, 71, 72, 73], [ca. 1817]. 2 volumes. Oblong folio. 19th 

century calf-backed marbled boards. [1] (title), 2-11; [1] (title), 2-16; [1] (title), 2-12; [1] (title), 2-19; [1] (title), 2-15; 

[1] (title), 2-23 pp. Engraved. Bindings worn, rubbed and bumped; spines slightly frayed. "D. Scheuermann" stamped 

in gilt to upper boards. Slightly worn; mostly minor browning and foxing throughout. Part V bound before Part IV in 

second volume. (19089) 

$1,500. 

A re-issue of the editions published by Peters's predecessors Hoffmeister & Co. in 1801-1802. Schmieder 2, p. 631. 

Schneider p. 97. Hoboken I, 79, 81 (variant), 84, 86 (variant), 89, 90 (variant). RISM B481-486 (the original 

Hoffmeister & Co. edition). Originally published in the Clavier Übung Part I. 

First Edition of J.S. Bach’s Violin Sonatas 

19. BACH, Johann Sebastian 1685-1750. [BWV 1014-1019]. Clavier Sonaten Mit obligater Violine. [Score]. 

Zürich: Hans Georg Nägeli [PN 6], [ca. 1802]. Oblong folio. 19th century stiff marbled wrappers with decorative 

diamond-shaped dark tan label gilt to upper. Preserved in a modern full green cloth custom-made folder and slipcase 

with red leather label gilt to spine. 1f. (title, v. blank), 95 pp. Engraved. Lacking the separately-printed violin part. 

"Johann Sebastian Bach" in an early hand to upper margin of first page of music. Minor to moderate browning 

throughout; title guarded at inner blank margin. (18958) 

$3,500. 

First Edition. One of the few examples with the publisher's plate number. Schmieder 2, p. 741. Schneider p. 104. 

Hoboken 1, 121. RISM B454 and BB454 (3 copies, with none recorded in the U.S.; Worldcat, however, locates 3 

copies in the U.S.). 

"Bach's extant violin sonatas comprise six works for violin with fully composed keyboard parts, BWV1014-19, 

sometimes known as 'accompanied sonatas', and two sonatas for violin and continuo, BWV1021 and 1023... Bach's

'accompanied sonatas' are arranged in a subtly symmetrical overall key scheme (B minor; A major; E major; C 

minor; F minor; G major) and form a carefully planned and integrated set." Boyd: J.S. Bach, p. 495. 

A Rare Edition of The Art of the Fugue 

20. BACH, Johann Sebastian 1685-1750. [BWV 1080]. L'Art de la Fugue. Zuric: Jean George Naigueli, 

[1802]. Oblong folio. Contemporary paper-covered boards, with printed label of Parisian music seller Sieber to upper. 

1f. (title), [1] (blank), 2-183 pp. With Sieber overpaste to foot of title. Engraved. Binding somewhat worn, rubbed and 

bumped. Very minor dampstaining to edges, most noticeable to last two leaves. A very good copy overall. (19266) 

$3,200. 

Third Edition. Rare. Nägeli published two issues of The Art of the Fugue in 1802, one with a title in German and the 

other with a title in French. Schmeider 2 p. 801. Not in Schneider or Hoboken. Hirsch II 65. RISM B523. 

The Art of the Fugue stands as one of Bach's greatest theoretical and artistic achievements. The composition of the 

work occupied him for much of the last decade of his life; he, unfortunately, did not live to see its publication, 

however, as the first issue did not appear until 1751, with a second in 1752. No further editions were published until 

those of Vogt (Paris 1801-1802) and Nägeli (Zürich, 1802). 

21. BALFE, Michael William 1808-1870. Autograph musical quotation signed. Three measures of an 

unidentified "Larghetto" in D with text beneath: "When I beheld the anchor weigh'd," Michel's romance from Act II of 

the composer's "The Siege of Rochelle,"" signed "M.W. Balfe" and dated "London 21 July 1863." On a decorative 

broadside for the "Royal Dramatic College Fête and Fancy Fair. Crystal Palace, July 25 and 27, 1863... This autograph 

was purchased at Mrs. Howard Paul's Stall For the Benefit of the Royal Dramatic College" printed in red, green and 

gold inks. 170 x 108 mm. Some light soiling and creasing, but in very good condition overall. (18670) 

$525. 

"The most successful composer of English operas in the 19th century, and the only one whose fame spread throughout 

Europe, he gained wide international recognition with The Bohemian Girl." Nigel Burton in Grove online. 

An attractive example of the autograph of this distinguished Irish composer and singer. 

Rare 18 th Century Concert Tickets Engraved by Bartolozzi 

Items 22 - 24 

22. BARTOLOZZI, Francesco 1727-1815. 18th century concert ticket. 1777. 18th century ticket for a 

masquerade ball. [Vertumnus and Pomona]. Engraving by Bartolozzi after Giovanni Battista Cipriani (1727-1785). 

1777. Approximate sheet size 185 x 166 mm., image size 160 x 138 mm. With manuscript price of "10 6" to lower 

right margin and "No. 28" to verso. (19011) 

$275. 

Bartolozzi came to England in 1764, when he was appointed Engraver to the King. "Although at one time Bartolozzi 

worked in line, it is his stipple work which is so well known to collectors and which is so attractive. He was in close 

friendship with [Giovanni Battista] Cipriani and chose his paintings and drawings... to reproduce - they suited his 

style. The engraver's own skill as an artist prevented him from following the picture he copied too closely, thus it is 

that there is much originality in his work and in many instances in detail better than the paintings from which the 

engraving was taken...” 

“In the preparation of these charming benefit concert tickets he engraved, Bartolozzi revelled in presenting his clients 

with representations of Greek divinities, thus in such little pictures are to be found figures with the attributes of 

Apollo, Mercury, Venus and Psyche. The muses are taught by Apollo, Venus is attended by cupids, and Love and 

Music are her attributes. Purely classical subjects were generally chosen for concert tickets, such as Orpheus and

Eurydice, and the Judgement of Midas... As already mentioned this great artist excelled in the detail work of the pretty 

little scenic tickets for balls, invitations and even trade cards." Burgess: Old Prints and Engravings, pp. 45-47. 

23. BARTOLOZZI, Francesco 1727-1815. 18th century concert ticket. Untitled. A mythical scene, possibly 

depicting Priapis lusting after the nymph Lotis inspired by Ovid's story, where Lotis turns into a flower in order to 

avoid the amorous advances of Priapis. Engraving by Bartolozzi after Giovanni Battista Cipriani (1727-1785). 

Approximate sheet size 146 x 168, image size 127 x 138 mm. (19012) 

$250. 

24. BARTOLOZZI, Francesco 1727-1815. 18th century concert ticket. Group of 5 putti, two making arrows, 

two fighting and one spearing a serpent. Engraving. Untitled and unsigned, but attributed to Bartolozzi. Approximate 

sheet size 170 x 245 mm., image size 90 x 156 mm. Ca. 105 mm. horizontal cut in blank margin below engraved area. 

(19013) 

$165. 

25. BEECHAM, Thomas 1879-1961. Original three-quarter length postcard photograph signed of the 

distinguished English conductor. 1913. 135 x 86 mm. Signed in full and dated June 14th 1913. Slightly worn and 

rubbed at edges; some creasing to left-hand portion not seriously affecting image. (19031) 

$135. 

"In 1910, with his father’s financial backing, he embarked on a five-year period of glittering operatic activity as both 

conductor and impresario, with seasons at Covent Garden, His Majesty’s Theatre and Drury Lane. In the course of 

them he mounted a festival of Mozart operas, during which he reintroduced to London the almost completely forgotten 

Cosi fan tutte, and conducted the British premières of five operas by Strauss: Elektra, Feuersnot and Salome in 1910, 

Der Rosenkavalier and the original version of Ariadne auf Naxos in 1913. The Beechams also brought Diaghilev’s 

Ballets Russes to London, thus giving British audiences their first opportunity to see and hear The Firebird, 

Petrushka, The Rite of Spring, Jeux and Daphnis et Chloé (all conducted by Monteux). In addition, there were the 

British premières (1913-14, Drury Lane) of key Russian operas, among them Musorgsky’s Boris Godunov and 

Khovanshchina, Rimsky-Korsakov’s The Maid of Pskov and Borodin’s Prince Igor, all with Chaliapin, as well as 

Stravinsky’s The Nightingale." Ronald Crichton in Grove online. 

First Edition of Beethoven’s Quintet, Op. 29 

26. BEETHOVEN, Ludwig van 1770-1827. [Op. 29]. Quintetto Pour 2 Violons, 2 Altos et Violoncelle 

composé et dédié à Monsieur le Comte Maurice de Fries... Oeuv. 29. [Set of parts]. Leipsic: Breitkopf & Härtel [PN 

94], [December 1802]. Folio. Unbound, as issued. Preserved in a modern full dark green cloth folder with black 

leather label gilt to spine. [1] (title), 2-13; 9; 8; 8; 8 pp. Engraved. Early signature to title. Slightly browned 

throughout; repairs to spine of first violin part with slight paper loss. (18976) 

$4,600. 

First Edition. Rare. Kinsky-Halm, p. 71. Hirsch IV, 267. Dorfmüller-Weinhold, p. 211. Hoboken 2, 153. 

"Between the Op. 18 Quartets and those of Op. 59 lie about six or seven years and the 'Eroica.' A whole world, in 

Beethoven's terms... The bridge between the two worlds is built of works other than quartets, and the only piece of 

chamber music for strings belonging to this interim stage is the splendid Quintet in C, Op. 29 (with two violas), which 

lies nearer to the first than to the second period. This work, which may be in some ways regarded as a crown to Op. 

18, is still shamefully neglected. As a whole it has greater breadth and economy of line than even the F major Quartet, 

Op. 18, No. 1... Although there is a sufficiency of accomplished five-part writing and one gets the strong impression 

for much of the time that the quintet is... an enriched quartet, Beethoven contrives also to create from time to time an 

almost orchestral richness and weight, especially in the vividly resourceful 'storm finale." Arnold and Fortune, eds.: 

The Beethoven Reader, p. 251.

First Edition, First Issue of Beethoven’s Piano Sonatas 

Op. 31, Nos. 1 and 2, &c. 

27. BEETHOVEN, Ludwig van 1770-1827. [Op. 31]. Deux Sonates Pour Le Piano Forte... [5] Suite de 

Répertoire des Clavecinistes [Op. 31 nos. 1 and 2]. Zuric: Jean George Naigueli [Nägeli] [without plate number], 

[1803]. 1f. (preliminary title: "Répertoire des Clavécinistes" within decorative aquatint border by Lips, decorative 

lettering by Lale), 1f. (title), [i] (blank), 2-51 (music), [i] (blank) pp. 

First Edition, first issue. Some pencilled fingering to portion of first movement of no. 1. Kinsky-Halm p. 79. Weinhold- 

Dörfmuller p. 212. Hirsch IV, 271. Hoboken 2, 170. 

"The first two Sonatas of Op. 31 were composed in 1802, and they were published in 1803 without the E flat major 

Sonata which now completes the group. They appeared in the Répertoire des Clavecinistes published by Nägeli of 

Zürich, and afterwards in an "édition très correcte," issued by Simrock of Bonn as Op. 31... The très correcte on 

Simrock's title-page implied, of course, that Nägeli's edition had been faulty, and indeed, apart from various 

misprints, there were four bars in the first movement which had been added by the enterprising publisher, who was a 

not undistinguished composer in his day. Beethoven first detected the impertinent interpolation when Ries played the 

Sonata to him." Blom: Beethoven's Pianoforte Sonatas Discussed, p. 123. 

Bound with: 

Grande Sonate pathetique... Oeuvre [XIII]. Leipsic: C.F. Peters [PN 92] [1814]. [1] (title incorporating decorative 

vignette at head), 2 (blank), 3-17 pp. A re-issue of the edition published by Hoffmeister in Vienna in 1802 based on the 

first edition of 1799, also published by Hoffmeister. Kinsky-Halm p. 30. 

Bound with: 

Sonate pour le Piano Forte, avec accompagnement de Violon... Oeuvre 17. [Piano part only]. Bonn: N. Simrock [PN] 

159 [ca. 1815]. 1f. (r. title, v. blank), [1] (blank), 2-13 pp. Bound with: Grande Sonate Pour Le Piano-Forte... 15 Suite 

du Répertoire des Clavecinistes. [Op. 53]. Zurich: Nägeli [without plate number] [1805]. 1f. (r. title, v. blank), [1] 

(blank), 2-29 (music), [i] (blank) pp. Early overpaste of Ricordi to foot of title; signature stamps of Nägeli and 

Naderman. An early edition of the Waldstein Sonata, published in the same year as the first edition. Kinsky-Halm p. 

125. Hoboken 2, 257. 

Bound with: 

Andante Favori pour Pianoforte... No. 35. [WOo 57]. Vienne: J. Riedl [PNM 506] [after 1815]. [1] (title), 2-9 pp. A 

later re-issue, printed from the plates of the first edition. Kinsky-Halm p. 503. Hoboken 3, 603. 

Oblong folio. 19th century marbled boards. Of Italian provenance: most pieces with handstamp of the Italian music 

publisher Ricordi to foot of title; Italian bookseller's description to front pastedown and blindstamp to corner of free 

front endpaper. Minor to moderate wear, foxing and browning; paper repairs to lower outer blank margins not 

affecting printed area. Engraved throughout. (19087) 

$3,800. 

First Edition, First Issue of Beethoven’s Quartets Op. 59 

28. BEETHOVEN, Louis van [Ludwig van] 1770-1827. [Op. 59]. Trois Quatuors pour deux Violons, Alto et 

Violoncello... Oeuvre 59me. A Vienne: Au Bureau des arts et d'industrie A' Pesth chez Schreyvogel & Comp. [PN] 

580,584,585, [1808]. Folio. Modern wrappers. Preserved in a custom-made black cloth box with dark red leather label 

gilt to spine. Violin l: 2ff. (title, dedication to the "Comte de Rasoumoffsky"), [1] (blank), 2-13, [i] (blank); [1] 

(blank), 2-11, [i] (blank); 10 pp. Violin II: 10; 9, [i] (blank); 9, [i] (blank) pp. Viola: 10; [1] (blank), 2-9, [i] (blank); 

[1] (blank), 2-10 pp. Violoncello: 10; 9, [i] (blank); [1] (blank), 2-9, [i] (blank) pp. With watermark of a crown above 

a shield with a 6-pointed star interior, price of "f8" (the "8" added in manuscript). Some minor staining and spotting; 

two sewing holes to inner blank margins throughout; some minor cracking to plate evident from impression to Violin 

II part; pencilled numbering to lower margins. A very attractive copy overall, in a fresh state of preservation. (19248) 

$12,500.

First Edition, first issue. Rare. Kinsky-Halm p. 41 (without "me" after the opus number). Fuld p. 451. Hirsch IV 299. 

CPM 4, 247. Dorfmüller-Weinhold p. 216. Hoboken 2, 275. 

"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 

folksong, which was to grow in later years. Folksongs did not much help the first two quartets, but Razumovsky's 

notion came to superb fruition in the third, where Beethoven gave up the idea of incorporating pre-existing tunes and 

instead wrote the haunting A minor Andante in what he must have conceived to be a Russian idiom." TNG Vol. 2, p. 

383. 

29. BEETHOVEN, Ludwig van 1770-1827. [Op. 61]. Konzert für Violine und Orchester D-Dur, Opus 61 

Vollständige Faksimile-Ausgabe im Originalformat der Handschrift aus dem Besitz der Österreichischen 

Nationalbibliothek (Mus. Hs. 17.538) Herausgegeben und kommentiert von Franz Grasberger Mit einem Vorwort von 

Wolfgang Schneiderhan. Graz: Akademische Druck, 1979. 2 volumes. Facsimile in quarter mid-tan calf with marbled 

boards, commentary in original publisher's printed wrappers. (18992) 

$600. 

Edition limited to 1,250 numbered copies, this no. 137. 

Rare Early 20 th Century Facsimile of Beethoven’s 9 th Symphony 

30. BEETHOVEN, Ludwig van 1770-1827. [Op. 125]. IX Symphonie Op. 125. Facsimile of the autograph 

musical manuscript full score. Berlin: Der Preussischen Staatsbiblioithek, 1924. Large folio. Quarter maroon morocco 

with olive green cloth boards, maroon morocco label gilt to upper. Approximately 400 pp. Binding slightly worn, 

rubbed and bumped; spine frayed at head and tail. Slightly creased at upper outer corners and endpapers. A very good 

copy overall. (18982) 

$2,350. 

First Edition, First Issue of Beethoven’s Quartet Op. 127 

31. BEETHOVEN, Ludwig van 1770-1827. [Op. 127]. Quatuor pour deux Violons, Alto et Violoncelle 

composé et dedié à Son Altesse Monseigneur le Prince Nicolas de Galitzin Lieutenant Colonel de la Garde de Sa 

Majesté Impériale de toutes les Russies par Louis v. Beethoven Oeuvre 127. [Set of parts]. Mayence: fils de B. Schott 

[ON] 2351, [1826]. Folio. Sewn. Preserved in a custom-made russett cloth clamshell box with printed paper label to 

spine. 1f. (title, verso blank), [1] (blank), 2-13; [1] (title), 2-12; [1] (title), 2-11, [i] (blank); [1] (title), 2-11, [i] (blank) 

pp. Engraved. Slightly foxed; overpaste to imprint to first volume partially removed. A very good, wide-margined 


$3,200. 

First Edition, first issue. Kinsky-Halm p. 385. Dorfmüller-Weinhold p. 232. Hirsch IV, 399. Hoboken 2, 510. 

"After completing the Ninth Symphony in early 1824, Beethoven spent the two and a half years that remained to him 

writing with increasing ease, it seems, and exclusively in the medium of the string quartet. The five late string quartets 

contain Beethoven's greatest music, or so at least many listeners in the 20th century came to feel. The first of the five, 

op. 127 in Eb of 1824-5, shows all the important characteristics of this unique body of music." Joseph Kerman and 

Alan Tyson (with Scott G. Burnham) in Grove online. 

32. BEETHOVEN, Ludwig van 1770-1827. [Op. 130]. Troisième Partition du Quatuor pour 2 Violons, Alte & 

Violoncelle... Oeuvre 130. [Full score]. Vienne: chez Maths. Artaria [PN M.A. 870], [1827]. Folio. Newly bound in 

quarter dark red morocco with marbled boards, black leather label gilt to spine. 1f. (half title, verso blank), [1] (title

incorporating crown above a stippled circle), [2] (blank), 3-67, [1] (blank) pp. Engraved. With handstamp of J.J. Ewer 

[London] to foot of half-title. A very little minor staining to upper blank margins. A fine copy overall, with clear, 

strong impression and wide margins. (18861) 

$2,850. 

First Edition, rarely found with the half-title. Kinsky-Halm p. 395. Dorfmüller-Weinhold p. 233. Hoboken 2, 515. 

Hirsch IV, 402. 

"It is hard to resist the conviction, dangerous as superlatives must always be, that as a masterpiece of the sonata type 

of construction, the opening movement of this last and most mature of the Galitzin Quartets is unrivalled and unique, 

not only in Beethoven but possibly in all quartet literature." Mason: The Quartets of Beethoven p. 208. 

A Fine Collection of Beethoven String Quartets, 

all but One in First Edition 

33. BEETHOVEN, Ludwig van 1770-1827. Remarkable collection of string quartets, opp. 18, 59, 74, 95, 127, 

130, 131, 132, 135 and 133, all but one in first edition. Complete sets of parts. 

Op. 18 

Trois [Six] Quatuors Pour deux Violons Alto et Basse... Oeuvre 18. Livre I [II]. Paris: Adresses Ordinaires; Bonn: N. 

Simrock. [PNs] 177, 181 [ca. 1802]. Vl I: [1] (title), 2-23; [1] (title), [2] (blank), 3-29; Vl II: 19; 19; Va: 17; 19; Vc: 

17; 18 pp. Engraved. Kinsky p. 44. Hoboken 2, 96 and 97. "It was to the set of String Quartets, op. 18, that Beethoven 

turned for the most ambitious single project of his early Vienna years. This set was begun in 1798, composed 

primarily in 1799 and 1800, and published in 1801 with a dedication to Prince Lobkowitz... All of them essentially 

accept the usual four-movement structure and all reflect the Viennese Classic style, with an occasional admixture of 

Italianate melody - perhaps under the influence of Salieri, to whom Beethoven had just dedicated his Sonatas, op. 12." 

Solomon: Beethoven, pp. 101-101. 

The Razumovsky Quartets 

Op. 59 

[Trois Quatuors pour deux Violons, Alto et Violoncello... Oeuvre 59]. [Vienne: Au Bureau des arts et d'industrie A' 

Pesth chez Schreyvogel & Comp. [PNs 580, 585, 585] [1808]. Vl I: 1f. (dedication), [1] (blank), 2-13; 11; 10; Vl II: 

10; 9; 9; Va: 10; 9; 10; Vc: 10; 9; 9 pp. Engraved. Lacking title. With manuscript identification and numbering to first 

page of each part; manuscript note to dedication incorrectly identifying the opus as no. 39 instead of 59. First Edition 

of the Razumovsky quartets (there are two issues of the first edition, both very rare; as the present copy lacks the title, 

we are, unfortunately, unable to identify the exact issue). Kinsky-Halm, p. 141. Dorfmüller, p. 216. Hirsch IV, 299. 

Hoboken 2, 274. "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 folksong, which was to grow in later years. Folksongs did not much help the first two quartets, 

but Razumovsky's notion came to superb fruition in the third, where Beethoven gave up the idea of incorporating preexisting 

tunes and instead wrote the haunting A minor Andante in what he must have conceived to be a Russian 

idiom." The New Grove Vol. 2, p. 383. 

The “Harp” Quartet 

Op. 74 

Quatuor pour Deux Violons, Viola et Violoncelle composé et dédié à Son Altesse le Prince Regnant de Lobkowitz 

Duc de Raudnitz... Oeuv. 74. Leipzig: Breitkopf & Härtel [PN] 1609] [1810]. [1] (title), [2] (blank), 3-11; 7; 7 pp. 

Engraved. First Edition. Kinsky p. 198. Hirsch IV, 320. Dorfmüller-Weinhold p. 220. Hoboken 2, 333. Often referred 

to as the "harp" quartet; the name derives from the pizzicato effects in the first movement. 

Op. 95

Elftes Quartett für zwey Violinen, Bratsche und Violoncelle Seinem Freunde dem Herrn Hofsekretär Nik. Zmeskall 

von Domanovetz ... 95tes Werk. Wien: S.A. Steiner und Comp. [PN S. et C. 2580] [1816]. 1f. (title, v. blank), [1] 

(publisher's announcement dated February 1816), 2-10; 9; 9 pp. Engraved. With manuscript identification to first leaf 

of each part. First Edition, variant issue (distinguished by the presence of a diminuendo sign in measure 21 and a 

crescendo sign in measure 22 in the third movement of the second violin part). Kinsky-Halm p. 268. Hirsch IV, 355. 

Dorfmüller-Weinhold p. 224. Hoboken 2, 409. "The Quartets in Eb and F minor were written about a year apart, 

then: an appreciable span of time, by Beethoven's earlier standards. But on this occasion, nothing of first importance 

appears to have occupied him in between. There would seem to be every reason to consider the two quartets together, 

in the same way that we naturally group together the six quartets, Op. 18, or the three of Op. 59. Indeed, the two 

share certain technical proclivities - in the attitude toward sonata form, for example, and toward the key sequence of 

movements - and both exhibit a poise and control that mark a decided advance over the earlier period (or sub-period). 

Nonetheless, between the two there is a cleavage in aesthetic stance unlike anything that differentiates the 

"Razumovsky" Quartets from one another. The Eb Quartet is an open, unproblematic, lucid work of consolidation, 

like some others written at this time. The F minor Quartet is an involved, impassioned, highly idiosyncratic piece, 

problematic in every one of its movements, advanced in a hundred ways. One work looks backward, perhaps, the 

other forward. Or to put it better, one work looks outward, the other inward. It would be hard to imagine any 

composer grouping these antipodes together as a single opus." Kerman: The Beethoven Quartets, p. 156. We would 

like to thank Dr. Jonathan Del Mar for his kind assistance in the identification of this issue. 

Op. 127 

Quatuor pour deux Violons, Alto et Violoncelle composé et dédié à Son Altesse Monseigneur le Prince Nicolas 

Galitzin... Oeuvre 127. Mayence: les fils de B. Schott [PN] 2351 [March 1826]. Vl I: 1f. (title, v. blank), [1] (blank), 

2-13; Vl II: [1] (title), 2-12; Va: [1] (title), 2-11; Vc: [1] (title), 2-11 pp. Title lithographed, music engraved. First 

Edition. Kinsky-Halm p. 385. Hirsch IV, 399. Dorfmüller-Weinhold p. 232. Hoboken 2, 510. Schott also published this 

work in Paris at about the same time. 

Op. 130 

Troisième Quatuor pour 2 Violons, Alte & Violoncelle des Quatuors composés et dediés A Son Altesse Monseigneur 

le Prince Nicolas de Galitzin... Oeuvre 130... Ecrit et piquire par A. Kurka. Vienne: Maths. Artaria [PN M.A. 871] 

[May 1827]. Vl I: [1] (title), 2-15; Vl II: 13; Va: 11; Vc: 11 pp. Engraved throughout. Small oval publisher's 

blindstamp to lower margins. Small binder's holes to inner margin. First Edition variant. Kinsky-Halm p. 395. Hirsch 

IV, 403. Hoboken 2, 516. Kinsky describes another printing with the verso of the title blank. The present copy appears 

to comply with the Hoboken copy. 

Op. 131 

Grand Quatuor En Ut dièze mineur pour deux Violons alto et Violoncelle composé et dédié à Son Excellence 

Monsieur Le Baron de Stutterhiem... Oeuvre 131. Mayence: les fils de B. Schott [PN] 2628 [June 1827]. Vl I: 1f. 

(title, v. blank), 13; Vl II: [1] (title), 2-13; Va: [1] (title), 2-13; Vc: [1] (title), 2-13 pp. Lithographic titles, music 

engraved. Uniform light browning. Kinsky-Halm p. 399. Hirsch IV, 405. Dorfmüller-Weinhold p. 233. 

Op. 132 

Quatuor pour 2 Violons, Alto & Violoncelle Composé & Dédié à Son Altesse Monseigneur le Prince Nicolas de 

Galitzin... Oeuvre posthume. Oeuv 132. No. 12 des Quatuors. Berlin: Ad. Mt. Schlesinger... Paris: Maurice 

Schlesinger [PN] 1443 [Sept. 1827]. Vl I: [1] (title), [2]-[3] (blank), 4-19; Vl II: [1] (title), 2-15; Va: [1] (title), 2-15; 

Vc: [1] (title), 2-15 pp. Engraved throughout. Small oval publisher's stamp to lower corners of title. Small binder's 

holes to inner margins. Uniform light browning. First Edition. Kinsky-Halm p. 402. Hirsch IV, 407. Dorfmüller- 

Weinhold p. 233. Hoboken 2, 521. 

Op. 135 

Quatuor pour 2 Violons Alto & Violoncelle Composé & dédié à son ami Johann Wolfmeier... Oeuvre posthume. 

Oeuv. 135. No. 17 des Quatuors. Berlin: Ad. Mt. Schlesinger... Paris: Maurice Schlesinger [PN] 1444] [Sept. 1827]. 

Vl I: 1f. (title, v. blank), [2] (blank), 2-11; Vl II: 1f. (title, v. blank), 9; Va: 1f. (title, v. blank), 9; Vc: [1] (title), 2-8 pp. 

Engraved throughout. With printed initials "FJ" to lower right corner of title, possibly those of the engraver. Small

circular publisher's stamp to lower corners of title. Small binder's holes to inner margins. First Edition, Kinsky-Halm 

p. 410. Hirsch IV, 412. Dorfmüller-Weinhold p. 234. Hoboken 2, 528. 

Op. 133 

Grande Fugue tantôt libre, tantôt recherché 2 Violons, Alte & Violoncelle. Dediée avec les plus profonde vénération A 

Son Altesse Imperiale et Royale Eminentissime Monseigneur le Cardinal Rodolphe... Oeuvre 133. Vienne: Math. 

Artaria [PN M.A. 877] [May 1827]. Vl I: [1] (title), [2] (blank), 3-10; Vl II: [1] (blank), 9; Va: [1] (blank), 2-9; Vc: [1] 

(blank), 2-9 pp. Engraved throughout. Small oval publisher's blindstamp to lower inner margins. Small binder's holes 

to inner margins. First Edition. Kinsky-Halm p. 405. Hirsch IV, 409. Dorfmüller-Weinhold p. 234. Hoboken 2, 524. 

"[The late period quartets] carry not merely the string quartet but the art of music into new regions. Studies of them 

and commentaries on them are innumerable; like Hamlet they will never yield up their last secrets or admit of a 'final' 

solution. They are inexhaustible and all that can be done here is to indicate in what ways they advance the frontiers of 

the art of music. The first to be completed (in 1824), and the only one published during Beethoven's lifetime, was the E 

flat, Op. 127. Then came the A minor, Op. 132, and the B flat, Op. 130 (but with the afterwards separated Grosse 

Fuge, Op. 133, as its finale) (both 1825), the C sharp minor, Op. 131, the F major, Op. 135, and the present finale of 

Op. 130 (all in 1826). The immediate impulse to their composition may have been given by a commission from 

another quartet-playing Russian nobleman, the Prince 'von Galitzin' (more accurately 'Golitsîn) to whom Opp. 127, 

130, and 132 are dedicated... Beethoven's deafness and consequent spiritual isolation combined with certain 

specifically musical factors to make many things in the last quartets incomprehensible to contemporaries and not 

easily comprehensible to later generations." Abraham: The Age of Beethoven 1790-1830, Vol. VIII of The New Oxford 

History of Music, pp. 295-296. 

A remarkable collection of Beethoven's quartets, all in first edition with the exception of Op. 18. The four parts 

bound in 8 volumes. Folio. 19th century marbled boards. Preserved in modern dark green cloth folders and slipcases 

with red leather labels gilt to spines. Internal condition is very good overall. (18996) 

$26,500. 

34. BELLINI, Vincenzo 1801-1835. Norma... Volume Primo [-Secondo]. Facsimile of the autograph manuscript 

full score, with introduction by Ottorino Respighi. Roma: Real Accademia d'Italie, 1935-XIV. Oblong folio. Original 

publisher's printed boards with title label to uppers. 3 + 147ff; 2 + 103 ff. Binding slightly worn; partially split at 

hinges; spine frayed. In very good condition internally. (18985) 

$450. 

Berg Writes About the Music of Schoenberg, Webern and Bartók 

35. BERG, Alban 1885-1935. Autograph letter signed "Berg," postmarked Vienna, April 20th 1914. 4 pp. in 

total. Written in pencil and blue crayon on two postal cards numbered "I" and "II" by Berg in blue crayon. To his 

friend and pupil Paul Königer about the music of Schoenberg, Webern and Bartók. In German. Berg discusses plans 

for a series of concerts of modern music to possibly include works by all three members of the Second Viennese 

School as well as by Bartók. He goes on to discuss possible orchestras and concert venues and the problems of 

financing the project, and to complain about the fact that when Schoenberg gave concerts in the past it was difficult to 

get both his own pieces and those of Webern and Bartók included on the program; he expresses doubts as to whether 

any future cooperative concerts will be successful. (19060) 

$2,750. 

Scarce First Edition of Berlioz’s Béatrice & Bénédict 

36. BERLIOZ, Hector 1803-1869. Béatrice & Bénédict Opéra en deux actes Imité de Shakespeare. [Piano-vocal 

score]. Paris: G. Brandus & S. Dufour, [1863]. Quarto. 19th century quarter red cloth with red paper boards. 1f. (recto 

illustrated title, verso blank), [1] (cast list and table of contents), 2-200 pp. Engraved. Binding slightly worn and 

rubbed; corners slightly bumped. Occasional minor browning and staining; previous owner's oval handstamp to title, 

first and last pages of music. A very good copy overall. (18850) 

$950.

First Edition, first issue. Very scarce. Hopkinson 63A. Holoman 138 p. 412. 

Commissioned by the dedicatee, Edouard Bénazet, to celebrate the opening of the new theater in Baden-Baden. The 

premiere took place on August 9th 1862 with the composer as conductor. Berlioz thought highly of this, his last major 

work: "To my mind it is one of the liveliest and most original things I have done." Berlioz & the Romantic Imagination 

131. 

37. BERLIOZ, Hector 1803-1869. L'Enfance du Christ Des Heiland's Kindheit Trilogie Sacrée 1er partie: Le 

Songe d'Hérode - 2e Partie: La Fuite en Égypte - 3e Partie: L'Arrivée a Saîs Texte Français et Allemand Paroles et 

Musique de Hector Berlioz Oeuvre 25. [Piano-vocal score]. Paris: S. Richault [PN] 11, 277 R [on title, 11607R 

throughout], [1855]. Large octavo. Newly bound in quarter dark tan morocco with marbled boards, black leather label 

gilt to spine. 1f. (frontispiece lithographic portrait of Berlioz by Charpentier after August Prinzhofer), 1f. (recto title, 

verso blank), 12 (libretto in parallel German and French text), [1] (printed note on performance in both languages), 2- 

187 pp. Engraved. With performance markings in red crayon and pencil. Some minor foxing and browning 

throughout; outer edge of verso of title (blank) with paper repair. A very good copy overall. (18851) 

$1,150. 

First Edition. Hopkinson 56D. Holoman 130 p. 340. 

"Berlioz liked to compare 'L'enfance du Christ" to the illuminations in medieval missals, an apt parallel which 

conveys the mixture of devotion and craftsmanship of which he was rightly proud." MacDonald: Berlioz, pp. 153-4. 

Berlioz thought highly of Prinzhofer's portrait, considering the likeness the best that he had seen. 

One of the Most Important Calligraphic Books of the 18 th Century, 

with Several Musical Plates 

38. BICKHAM, George 1684-1758. The Universal Penman Engrav'd by George Bickham. London: Printed and 

Sold by H. Overton, [1743]. Folio. 19th century quarter calf with foliate patterned cloth boards, spine in decorative 

compartments, all edges gilt. 212 engraved plates designed by 25 different writing masters and engraved by Bickham, 

each plate focusing on a different art, profession, emotion or human moral. Printed on rectos only. With frontispiece 

drawn and engraved by Gravelot. Complete. Of particular interest to music are plates 93-96, one of which depicts a 

group of musicians performing; plate 185, being "An Epistle To the Countess of Exeter Playing on the Lute" in which 

the writer J[?ohn] Champion praises the Countess's playing, accompanied by an illustration of a woman playing a lutelike 

instrument en plein air; plate 193, which depicts a dancing couple; and plate 201, a charming engraving of a 

couple dancing to a musette player. With additional finely engraved portraits, decorative vignettes and devices 

throughout. Binding slightly worn, rubbed and scuffed; corners bumped; joints split. Title somewhat browned, one 

small marginal tear repaired; several small additional marginal tears repaired. (18905) 

$1,600. 

Second Edition of possibly the most important calligraphic book of the 18th century, first issued to subscribers in fiftytwo 

parts from 1733 to 1741; complete copies in good condition are very uncommon. 

This work is considered to be the ultimate guide to English writing hands of the first half of the 18th century and 

contributed greatly to the revival of interest in calligraphy. Bickham was the father of George Bickham, Jr. (?1706- 

1771), best-known for his 200 engravings of songs with illustrative vignettes executed for The Musical Entertainer, 

published from 1737-1739. 

With Charming Engraved Vignettes to 100 Songs, 

Ex-Libris The Lord Mayor of London 

39. BICKHAM, Jr., George ?1706-1771. The Musical Entertainer... Vol. I [of 2] only. London: Geo. Bickham, 

[ca. 1740]. Tall folio. Half dark green leather with marbled boards. 2ff. (list of subscribers and contents), 4ff. (the

Music section as it appears in The Universal Penman, engraved by George Bickham, Sr.) + 100ff., each printed on one 

side only, with large, elaborate vignettes to upper portions of each illustrating the song, signed in the plate by J. 

Bickham Jr., with several of the plates after drawings by Gravelot. The music appears below the illustration, with most 

pieces set for voice and figured bass with a separate part for flute. Named composers include Handel, Lampe, 

Gladwin, Green, Turner, Carey, Putti, Monro, Popely, Corelli, Holcombe, Stanley, Howard, Leveridge, Henry Purcell, 

Hudson, Festing, Vincent and Neale. Singers mentioned include Senesino and Isabella Young. With the bookplease of 

Gilbert Samuel Inglefield, former Lord Mayor of London. Binding worn, rubbed and bumped; hinges splitting. 

Lacking title. Occasional repairs and several small tears; some staining. Quite a good copy overall. (19250) 

$3,800. 

Probable second edition. BUC p. 107. RISM BII p. 245. First published in parts, in 1738-39 in two volumes of 100 

plates each, then reissued in 1740. 

"[Bickham] was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer, first 

issued in fortnightly parts, each containing four plates, from January 1737 to December 1739. The 200 plates are 

songs, headed and surrounded with pictorial embellishments illustrative of the song..., and engraved in the style of 

and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England 

and quickly produced imitators such as Lampe’s British Melody, engraved by Benjamin Cole." "A second edition, 

corrected by Lampe, was also issued in parts (1740-41), and a third, printed from the original plates, appeared in 

1765, issued by John Ryall. Other musical works engraved by Bickham include Songs in the Opera of Flora (1737), 

An Easy Introduction to Dancing (1738) and the frontispiece for Simpson’s The Delightful Pocket Companion for the 

German Flute (c1745)." Frank Kidson et al in Grove online. The Musical Entertainer was considered one of the finest 

18th century illustrated books. Complete copies of this monumental work are very rare. 

40. BICKHAM Jr., George ?1706-1771. The Musical Entertainer...Vol. I (of 2) only. London: Geo. Bickham, 

[ca. 1740]. Tall folio. Contemporary dark brown calf. 1f. (illustrated title) + 100ff., each printed on one side only, with 

large, elaborate vignettes to upper portions of each illustrating the song, signed in the plate by J. Bickham Jr., with 

several of the plates after drawings by Gravelot. The music appears below the illustration, set for voice and figured 

bass with a separate part for flute. Named composers include Handel, Lampe, Gladwin, Green, Turner, Carey, Putti, 

Monro, Popely, Corelli, Holcombe, Stanley, Howard, Leveridge, Henry Purcell, Hudson, Festing, Vincent and Neale. 

Singers mentioned include Senesino and Isabella Young. Lacking list of subscribers, index and 28 plates (numbers 4, 

7-8, 10-11, 13, 16, 18-19, 21, 24, 36, 42, 45, 48-49, 66, 71-74, 76, 78-81, 88 and 99; plates 17, 20, 22, 23 and 77 

loosely inserted. Very light dampstaining throughout; first and last leaves torn at edges and laid down; some creasing, 

spotting and soiling; several repairs. (19249) 

$1,750. 

An 18 th Century American Composer “of Uncommon Talent” 

41. BILLINGS, William 1746-1800. The Singing Master's Assistant, or Key to Practical Music. Being an 

abridgement from The New-England Psalm-Singer; together with several other tunes never before published. Boston: 

Draper and Folsom, 1781. Oblong octavo (110 x 192 mm.). Original dark tan calf-backed boards. 32 pp. text, 104 pp. 

engraved music. "Engrav'd by Benja. Pierpont Jun. Roxbury 1778" printed at foot of last page of music. Boards 

somewhat worn, rubbed and bumped. Browned throughout; some leaves loose or detached; several small tears; some 

margins shaved by binder affecting titling, page numbering and text in some cases. Title-leaf (pp. 1-2) lacking. 

(19084) 

$2,200. 

Third edition. Rare. American Sacred Music Imprints III. 

The long and interesting introductory section includes detailed instructions to teachers of music, including "Rules for 

regulating a Singing-School," "Observations on the history of sacred music" and a musical dictionary.

"William Billings was a composer, singing master, poet, writer, printer and tanner. He spent his life in Boston and 

environs, where he was active as a teacher of singing schools from 1769. .. Apparently self-taught as a composer, he 

was the first American to bring out a collection of his own music... His tunebooks, especially The Singing Master's 

Assistant... were plagiarized by other compilers, and many of his compositions won wide popularity through 

appearances in other men's tunebooks. Recognized by his contemporaries as a composer of uncommon talent, he was 

often taken during the nineteenth and early twentieth centuries as a symbol of American musical crudeness. Renewed 

interest in his music and career since the 1930s, however, has led to a heightened appreciation of his skill as a 

composer and his historical position as an American musician of real significance." ASMI pp. 169-170. 

42. BISHOP, Henry 1786-1855. Autograph letter signed "Henry R. Bishop," dated [London] Bloomsbury, 

February 2, [18]27. 2 pp. of a bifolium. Octavo. To the music publisher D'Almaine. Relative to the publication of an 

Ode, with piano-forte accompaniment, and mentioning Cherubini. Slightly worn, creased and stained; split at central 

fold. (19061) 

$165. 

Bishop was an English composer who, 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." Bruce Carr in Grove 

online. 

Grove notes that Bishop wrote two odes, one for the Anniversary of the Accession of George IV in 1821 and the other 

on the Installation of the Earl of Derby in Oxford in 1853. The present letter is presumably referring to the first ode. 

The addressee is most probably Thomas D'Almaine (d. 1766), of the English music publishing firm originally 

commenced by George Goulding "who was probably in business before 1784." Kidson: British Music Publishers, 

Printers and Engravers, p. 53. 

43. BISHOP, Henry R. 1786-1855. Mora's Love or The Enchanted Harp, a favorite Pastoral Romance as 

Performed at the King's Theatre Haymarket, Composed by Mr. D'Egville. Printed for the Author, by L. Lavenu , [ca. 

1809]. Folio. Recent marbled boards. 34 pp. With vignette of a harp to title page. Some staining and minor foxing. A 

very good, wide-margined copy overall. (18868) 

$275. 

Probable First Edition. Smith: The Italian Opera and Contemporary Ballet in London 1785-1802 no. 389. 

First performed at the King's Theatre on June 15th 1809. 

44. BISHOP, Henry R. 1796-1855. Tamerlane et Bajazet The New Grand Heroic Ballet as Performed at the 

King's Theare Haymarket with the most Enthusiastic applause The Ballet by Sigr. Rossi the Music Composed, 

Selected, and the Whole arranged for the Piano Forte, by H.R. Bishop. London: Printed by Pearce & Co., [ca. 1806]. 

Folio. Newly bound in full taupe linen with printed paper label to spine. 1f. (title), 50 pp. Some browning; evidence of 

erasure to upper blank margin of title. In very good condition overall. (18863) 

$350. 

Probable First Edition. Smith 325. 

First performed at the King's Theatre on February 11th 1806. 

45. BOCCHERINI, Luigi 1743-1805. [Op. 3]. Six Sonatas for the Harpsicord or Piano-Forte With an 

Accompaniment for a Violin or German Flute... Opera 3. S. Browne scrip Norwich - J Gray sculp. [Parts]. London: 

Longman, Lukey & Co., [ca. 1775]. Folio. Disbound. 1f. (title), 42; 1f. (title), 22 pp. Engraved. With attractive title 

within decorative borders to each part. Minor browning, most noticeable to keyboard part. (18714) 

$425.

Gerard 25-30. BUC p. 118. RISM B3028. 

"A prolific composer, particularly of chamber music, with a distinctive and highly wrought style, he is the chief 

representative of Latin instrumental music during the Viennese Classical period." Grove online. 

46. BOCCHERINI, Luigi 1743-1805. Sei Trio per Violino, Viola, e Violoncello, obligato, composti per S.A. R. 

il Signr. Infante don Luigi di Spagnia dal Signr. Luigi Bocherini [!] di Lucca... Opera XIV. [Parts]. Paris: Le Duc [PN] 

213, [ca. 1785]. Folio. Contemporary flexible blue marbled boards, manuscript label to uppers. 1f. (title), 17; 13; 14 

pp. Engraved. Signed by the publisher. Early ownership signature (Debbaut) and stamp (Luyckx) to titles. Binding 

slightly worn, rubbed and stained; spine frayed. Title slightly worn and soiled; small binder's holes to inner blank 

margins. (18720) 

$450. 

Very rare. RISM B3084 and BB3084 (one complete copy only). 

47. BRAHAM, John 1774-1856. Autograph letter signed twice, Hotel de Bellevue, Brussels. Undated. One 

page. Octavo. Addressed "Gentlemen," expressing condolences on the death of their mother, signed by both Braham 

and Josephine Bolton. With a postscript expressing "great anxiety" about his "affair with Allnut. Mr. G. Lewis was 

present at the agreement in Lincoln's Inn. I am rather in ignorance if the different installments have been paid up 

according to the signed document... Do let me know immediately if I have any grounds of apprehension." Slightly 

creased and soiled; laid down onto mounting paper. (18826) 

$125. 

Braham was a leading English tenor and composer of Jewish ancestry. 

48. BRAHMS, Johannes 1833-1897. [Op. 51]. Zwei Quartette für 2 Violinen, Bratsche und Violoncell... Op. 51 

No. 1. C moll... Partitur. Berlin: N. Simrock [PN 7378], [after 1873]. Octavo. Original publisher's olive green printed 

wrappers. From the collection of the celebrated English composer Edward Elgar, (1857-1934), with his printed 

ownership label to upper wrapper. Wrappers frayed at edges; taped at spine. Browned and somewhat brittle. (18942) 

$175. 

A reprinting of the first edition. 

49. BRAHMS, Johannes 1833-1897. [Op. 67]. Quartett (in B dur No. 3) für 2 Violinen, Bratsche und 

Violoncell... Op. 67. Partitur. Berlin: N. Simrock [PN 7892], 1876. Octavo. Unbound. [1] (title), 2-39 pp. 

Lithographed. (18933) 

$100. 

First Edition, later issue. Hofmann p. 145. McCorkle p. 287. 

"In the last String Quartet (no.3 in B, op.67) Brahms's writing for the medium becomes especially transparent. Formal 

and thematic structures are correspondingly lucid, and often innovative. In the first movement, the sonata exposition 

is articulated not only by conventional harmonic and melodic procedures but also by metrical ones. The main theme is 

cast in a buoyant 6/8, the second in a more hesitant 2/4. The transition between them is made by a series of striking 

hemiolas. The finale represents the first time Brahms ended a multi-movement work with a set of variations, here 

exploited to create a new kind of cyclic unity. After the sixth variation, the opening theme of the first movement returns 

suddenly and manages as if by magic to integrate itself into the variation structure. In the final bars it is combined 

with the original variation theme in seemingly effortless counterpoint." Walter Frisch in Grove online.

50. BRAHMS, Johannes 1833-1897. [Op. 88]. Quintett für zwei Violinen, zwei Bratschen und Violoncell... 

Op. 88. Partitur. Berlin: N. Simrock [PN 8314], 1883. Octavo. Sewn. [1] (title), [2] (blank), 3-51 pp. Engraved. 

(18980) 

$375. 

First Edition. Hofmann p. 187. McCorkle pp. 364-365. 

"In the String Quintet op.88 Brahms innovated a three-movement format in which a central rondo structure combines 

the functions of a slow movement and scherzo. The theme of the Grave ed appassionato, adapted from a keyboard 

saraband of 1854 (woo5), alternates with an Allegretto vivace based on a gavotte from the same period (woo3). Like 

the finale of the Cello Sonata op.38, the Quintet's last movement integrates sonata and contrapuntal form, here in a 

more jovial spirit. The first group is a fugal exposition, with a Baroque-style subject in busy quavers. For the second 

group, the subject retreats to an inner part to accompany an expansive melody." Walter Frisch in Grove online. 

Announcing the Death of Brahms 

51. BRAHMS, Johannes 1833-1897. A printed document issued by Die Gesellschaft der Musikfreunde in Wien 

announcing the death of Johannes Brahms on April 3, 1897. Dated Vienna, April 4, 1897. 1 page. Oblong quarto (230 

x 290 mm.). Printed within wide black border by Otto Maass' Söhne in Vienna. The document also provides details on 

Brahms's funeral, to be held on Tuesday April 6th at 2:30 p.m., commencing at the funeral home and proceeding to the 

Evangelical Church; the body will then be taken to the Central (City) Cemetery for interment. Slightly worn; creased 

at folds. (19234) 

$950. 

"The successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and 

Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in 

choral music, Brahms creatively synthesized the practices of three centuries with folk and dance idioms and with the 

language of mid- and late 19th-century art music. His works of controlled passion, deemed reactionary and epigonal 

by some, progressive by others, became well accepted in his lifetime... Because Brahms did not leave a valid will, a 

lengthy legal dispute over his estate ensued. Private correspondents were allowed to reclaim their letters; the 

remaining letters to Brahms, most of his books and music, and all the important manuscripts were acquired by the 

Gesellschaft der Musikfreunde in Vienna, as was his wish." George S. Bozarth in Grove online. 

First Edition of the First History of Music in English 

52. BURNEY, Charles 1726-1814. A General History of Music from the earliest ages to the present period. To 

which is prefixed, a dissertation on the Music of the Ancients...Volume the first [second, third, fourth]. London: 

Printed for the Author: And sold by T. Becket - J. Robson...and G. Robinson, 1776, 1782, 1789, 1789]. Four volumes. 

Quarto. Full contemporary tree calf with decorative gilt rules to edges, raised bands on spine in decorative 

compartments gilt, black labels gilt, marbled endpapers, blue speckled edges, original ribbons. With illustrative plates, 

some depicting musical instruments, diagrams and musical examples (some engraved) throughout. Volume I [1776]: 

1f. (title), [iii]-xx, 5ff. (subscribers list), 1f. (contents), 522, [i] errata and directions to the bookbinder, [i] (blank) pp. 

+ 6 plates (4 of which are folding). With fine frontispiece and two additional plates by Bartolozzi after Cipriani. 

Volume II [1782]: 1f. (title), 1f. (contents), [1]-597, [i] (blank), [i] (Corrections and Additions), [i] (blank) pp. With 

fine frontispiece by Bartolozzi after Cipriani. Volume III [1789]: 1f. (title), 1f. (contents), [i]-[xi], [i] (blank), [1]-622, 

[xi] (index), [i] (errata) pp. With fine frontispiece by Bartolozzi after E.F. Burney. Volume IV [1789]: 1f. (title), 1f. 

(contents), [1]-685. [i] (blank), 1f. ("Chronological List of the principal Books published on the Subject of Music in 

England”), [xii] (index), [i] (Errata), [i] (blank) pp. With fine full-page portrait of Burney by Bartolozzi after Sir 

Joshua Reynolds. Bindings slightly worn, rubbed and bumped; hinges split and somewhat tender. Occasional light 

browning and foxing; occasional mispagination. A very good, wide-margined copy overall. (18902) 

$1,800.

First Edition of this first history of music in the English language. Gregory-Sonneck p. 47. Hirsch I Anhang 16 (where 

Volume I is in second edition). Cortot pp. 41-42. RISM BVI p. 190. 

"Three years in the writing, the first volume of Burney's General History of Music was published in 1776, two years 

later than proposed. He barely succeeded in his ambition to beat to publication the history of music written by Sir 

John Hawkins. However, Hawkins published his complete five-volume history at one time, whereas it was to take 

Burney until 1789 to complete his task. Contemporary reviews cast the books as rivals and the relative merits of the 

two histories have been in debate continuously since. Burney's initial volume enjoyed immediate success and very 

positive reviews, some of which Burney contrived to manipulate to ensure favourable comment. The second volume of 

the History was delayed by a relaxing of Burney's ambition, partly because he enjoyed his earlier successes and 

because of his distaste for the Gothic music that was his subject; it did not appear until 1782. The volume was a 

critical success, nevertheless, and drew notable attention because its publication coincided with the publication of 

Cecelia by his daughter Fanny. Work on the third volume of the History was interrupted by Burney's involvement with 

the Handel Commemoration of 1784. He was appointed official historian of the event, which caused him considerable 

difficulty and expense. He found himself in the hands of the exclusive admirers of Handel, who expected him to 

surrender all of his earnings to the charitable fund that was the beneficiary of the event. As a result of the direct 

intervention of the king, and others whom Burney could not afford to offend, the essays on Handel and his music in the 

Account of the Commemoration of Handel do not always reflect his honest critical opinion.” 

In 1789, at the age of 63, Burney published the third and fourth volumes of his History. A new, somewhat revised, 

edition of the first volume was also published, enabling the purchase of all four volumes (the first volume had gone 

out of print many years earlier). The completed work, though inevitably compared with that of Hawkins, was 

favourably received... Burney's Tours and the General History of Music remain wellsprings of observation and insight 

into 18th-century musical life and practice. The History remains an impressive, if inconsistent, work of great value 

even after more than 200 years of specialized scholarship.” 

“The distinguishing mark of Burney's history, in comparison to that of Hawkins, is his greater familiarity and interest 

in contemporary music and his skill in addressing the general reader. Burney intended his work to be a distinctively 

English history of music directed to improving the taste of his readers. He wrote for a specific audience and sought 

the help of his collaborators, particularly Thomas Twinning (1735-1804) as much to assist him with the literary and 

general interest aspects of his work as with its musical content. The extensive treatment of Handel in the fourth 

volume of the History is the result both of Burney being granted access to the king's great collection of Handel 

manuscripts and of his catering to the general enthusiasm for Handel's music that dominated English taste for many 

years." Kerry S. Grant in Grove online. 

First Edition. Gregory-Bartlett I p. 48. RISM BII p. 192. 

The first publication in English of the important Italian poet and librettist whose works were set to music by numerous 

prominent composers. The Society of Writers to the Signet is a private society of Scottish solicitors, the oldest legal 

society in the world, dating back to 1594. 

“One of Music History’s Keenest Observers and Most Entertaining Commentators” 

53. BURNEY, Charles 1762-1814. The Present State of Music in France and Italy; Or, The Journal of a Tour 

through those Countries, undertaken to collect Materials for A General History of Music. The Second Edition, 

Corrected. London: T. Becket and Co... J. Robson... and G. Robinson, 1773. Octavo. Contemporary full mid-tan calf 

with raised bands on spine in decorative compartments gilt, dark red and green title labels gilt to spine, blue speckled 

edges. 1f. (publisher's advertisement, with "Proposals for Printing by Subscription, A General History of Music" to 

verso), 1f. (title), [v]-viii (Explication of Some Musical Terms and Foreign Words, which occur in the following 

Journal), [1]-8 (Introduction), [9]-409, [i] (blank), [x] (index) pp. With the 19th century bookplate of The Right 

Honorable Sir John Trollope, Bart. M.P. to front pastedown. Binding slightly worn, rubbed and bumped; joints tender. 

Some light foxing. A very good copy overall. (18899) 

$600.

Second Edition. Eitner II p. 246. Gregory-Bartlett II p. 15. RISM BVI p. 192. 

The "Conditions" for subscriptions to Burney's General History of Music are particularly interesting. They include a 

description of the work [originally intended in "Two Volumes Quarto"], the price ["two guineas; one to be paid at the 

time of subscribing, and the other on the delivery of the second volume, in sheets"], and a statement of the author's 

intention to publish the first volume "in the course of the next year... But, as the printing of this work will be attended 

with too great an expence [!] for him to risk it against the public opinion... he cannot venture to send it to the press 

before five hundred copies are subscribed for... Subscriptions will be taken in, and Receipts delivered, by the Author, 

at his house in Queens' Square, Bloomsbury...". Burney's monumental History was eventually published in four 

volumes, from 1776 to 1789. 

"Burney turned to writing about the history of his own art, but determined that he would need to engage in research in 

France and Italy to augment his broad acquaintance with the relevant and available material in England. In June 

1770 he left England on a tour of the leading cities of France and Italy... Burney's published account of this tour, The 

Present State of Music in France and Italy, established him as one of music history's keenest observers and most 

entertaining commentators." Grove online. 

54. BURNEY, Charles 1726-1814. The Present State of Music in Germany, The Netherlands, and United 

Provinces. Or, The Journal of a Tour through those Countries, undertaken to collect Materials for A General History 

of Music... The second edition, corrected. Vol. I [-II]. London: T. Becket... J. Robson... and G. Robinson, 1775. 

Two volumes. Octavo. Full mid-tan calf with raised bands on spines in decorative compartments gitl, dark red and 

green title labels gilt to spines, blue speckled edges. 

1f. (title), [iii]-viii (Introduction), [1]-372, [373]-380 (index) pp.; 1f. (title), 1f. (advertisement), [1]-344, [345]-352 

(index) pp. 

Bindings slightly worn, rubbed and bumped. Occasional light foxing. A very good copy overall. (18900) 

$800. 

Second Edition. Gregory-Bartlett I p. 48. RISM BVI p. 193. 

Burney's writings on music are legendary. His History of Music, which remains of considerable importance today, 

was the first to be written in the English language. Although but a music teacher with no University degree, Burney 

moved in the circles of Samuel Johnson, Garrick and Joshua Reynolds. Upon coming to London, Haydn, with whom 

Burney had had some correspondence, made a point of first calling on Burney. 

55. [BURNEY, Charles] D'Arblay, [Frances] 1752-1840. Memoirs of Doctor Burney, Arranged From His own 

Manuscripts, From Family Papers, and from Personal Recollections. By His Daughter, Madame D'Arblay....Vol. I [- 

III]. London: Edward Moxon, 1832. 3 volumes. Octavo. Quarter mid-tan calf. [i]-xvi including half-title and title, 360 

pp.; 2ff., 400 pp.; 2ff., 436 pp., 2ff. (publisher's advertisements. With postcard photograph of a painting of the author 

by Edward Francis Burney laid down to front endpaper of Volume I. Binding somewhat worn and scuffed; upper to 

Volume III professionally re-attached. Minor staining to lower blank outer corners of several leaves to Volume III; 

occasional pencilled annotations. (18901) 

$400. 

Fanny [Frances] Burney, known as Madame D'Arblay after her marriage to Gen Alexandre D' Arblay, was a noted 

novelist, playwright and chronicler of society and life during the reign of George III. After her father, Charles Burney, 

died, she edited his memoirs and eventually decided to eliminate a fair amount of the material at hand "protecting her 

sense of family dignity by emphasizing his accomplishments as a man of letters. Her wish to de-emphasize the place of 

music in Burney's later life led to the destruction of material of inestimable value, including what was essentially a 

diary of Haydn's activities in London." Grove online.

First Edition of Busby’s History 

56. BUSBY, Thomas 1754-1838. A General History of Music, From the Earliest Times to the Present; 

Condensed from the works of Sir John Hawkins and Charles Burney, Mus. D. With essays on the lives and works of 

Purcell, Handel, Haydn, Mozart, Arne, Arnold, Boyce, and other eminent composers... Vol. I [-II]. London: G. and B. 

Whittaker... Simpkin & Marshall, 1819. 2 volumes. Octavo. Half dark green morocco with marbled boards and 

endpapers, raised bands on spine in compartments gilt, titling gilt to spine, top edges gilt. 1f. (title), [iii]-xii, 552; 1f. 

(title), [iii]-iv, 523 pp. With musical examples throughout. Binding slightly worn, rubbed and bumped. Occasional 

light foxing. A very good, wide-margined copy overall. (18898) 

$300. 

First Edition. 

Wolffheim 155. Eitner II, 249. Catalogue of Printed Books in the British Museum... Books in the Hirsch Library p. 86 

(Hirsch 608). 

"Because of the furore in connection with Busby’s Lucretius, his A General History of Music attracted more notice 

than was its due. The powerful Edinburgh Review accused Busby of plagiarism, an accusation that is not altogether 

valid. Busby was a popularizer, and his writings must be seen in this perspective. Like most of his other books, the 

History was a compilation; by compressing subject matter contained in the massive tomes of Burney’s and Hawkins’s 

histories, Busby attempted to reduce the size and cost of his own volumes, thereby making them accessible to a wide 

audience." Jamie C. Kassler in Grove online. 

57. BUTTS, Thomas fl. 1760. Harmonia Sacra, Or A choice Collection of Psalm and Hymn Tunes, &c. In Two, 

Three, & Four Parts, with a Thorough Bass, for the Harpsichord, & Organ. Collected from the most Celebrated 

Masters, & made Use of in the Principal Churches, & Chapels, in London. Particularly at the Foundling Lock, & 

Magdalen Hospitals. With an Introduction to Psalmody & Several New Tunes, never before Published. London: 

Edwd. & Chas. Dilly, [1785]. Oblong quarto. Quarter mid-tan calf with paper boards, decorative red leather label to 

upper with "E.M. Woodrooffe" stamped in gilt. 1f. (fine engraved title incorporating angels and cherubs playing 

musical instruments), iv, 229, [ii] (index), [i] (partial first line manuscript index) pp. Composers include Handel and 

King James. Binding worn, rubbed and bumped; upper partially detached; front blank endpaper partially lacking. 

Minor browning; occasional pencilled annotations. (19149) 

$650. 

Fourth edition. BUC p. 448. RISM Recueils Imprimés XVIIIe Siècle p. 195 (one copy only of this edition, at the British 

Library, and 4 copies of the first edition of 1768, none in U.S. libraries). OCLC (2 copies only in the U.S.). 

58. CHAITKIN, David b. 1938. Autograph sketch leaf from the full score of the composer's "Summersong" for 

23 wind instruments. Signed. Undated, but ca. 1981. One page. Folio, notated in pencil on 16-stave paper on one side 

of a bifolium. 310 x 232 mm. Together with a typed letter signed from the composer to the prominent American 

choral conductor Harold Rosenbaum regarding both the present work and the composer's "Seasons Such as These," 

commenting on their significance and hoping for more performances. (18927) 

$550. 

The American composer Chaitkin's teachers included Dallapiccola, Shifrin and Imbrie. 

59. CHALIAPIN, Fyodor 1873-1938. Postcard photograph, bust-length, signed "F. Chaliapin" in blue-black ink 

and dated 1934. Very slightly worn; slight browning to edges. In very good condition overall. (19154) 

$185. 

Chaliapin, the renowned Russian bass, "was widely-considered the greatest singing actor of his day... He was a 

perfectionist as far as his own make-up, costuming and musical and dramatic preparation were concerned, and

untiringly attentive to the staging of the operas he appeared in. Those who worked with him or who knew him off stage 

testify to his almost superhuman vital force, warmth and fierce intolerance of artistic mediocrity." Harold Barnes and 

Alan Blythe in Grove online. 

60. CIBBER, Colley 1671-1757. An Apology for the Life of Mr. Colley Cibber, Comedian, and Late Patentee of 

the Theatre-Royal. With an Historical View of the Stage during his Own Time. Written by Himself. London: John 

Watts for the Author, 1740. Quarto. Modern full royal blue cloth with red leather label gilt to spine. [xvi], 346 pp. 

With a fine frontispiece portrait of Cibber engraved by C. Van der Gucht after Vanloo. Minor browning and 

occasional light spotting. A very good, wide-margined copy overall. (18896) 

$600. 

First Edition. Lowe, Arnott and Robinson 2555. 

Cibber was an actor, theatre manager and playwright. The Apology includes numerous references to contemporary 

singers and opera in general and occasionally to contemporary dance. An important contribution to early 18th 

century music. "With all its vanity and faults of grammar, style, and organization, [the Apology] is one of the most 

important theatrical books ever written and Cibber's greatest contribution to arts and letters. The Apology needs no 

apology; if Cibber had not written it, our understanding of the theatre of his time and the people in it would be very 

dim indeed. Many of his sketches of actors are perceptively written, and in some cases Cibber is our only source of 

information. His candid, though slanted, story of the management of Drury Lane reveals the inner workings of the 

early eighteenth century theatre as no other source does. The portrait of Colley himself - who was the most important 

figure in the London theatre between Betterton and Garrick - is invaluable." Highfill et al p. 228. 

An Important Composer of the 17 th Century Roman School 

61. CIFRA, Antonio 1584-1629. Motecta, et Psalmi, Duodenis Vocibus, Una cum Basso ad Organum. Auctore 

Antonio Cifra Almae Docus Lauretanae Musicae Praefecto Nunc prim˘m in lucem aedita. [Cantus 1, Cantus 2, Tenor, 

Bass, Bassus et organum parts]. Venice: Alessandro Vincenti, 1629. 5 volumes. Small quarto. Contemporary carta 

rustica wrappers. Cantus Primi Chori: 1f. (r. title, v. dedication), 25 [!29] printed music, [i] (index) pp. Cantus Sec. 

Chori: 1f. (r. title, v. dedication), 25 printed music, [i] (index) pp. Tenor Tertii Chori: 1f. (r. title, v. dedication), 21 

printed music, [i] (index) pp. Bassus Tertii Chori: 1f. (r. title, v. dedication), 21 printed music, [i] (index) pp. Bassus 

ad Organum: 1f. (r. title, v. dedication), 17 printed music, [i] (index) pp. Titles printed within woodcut borders with 

additional central woodcut device. Music printed typographically in diamond-head notation. Decorative woodcut 

initials throughout. With early ownership signature to titles and early manuscript titling and coat of arms to wrappers. 

Wrappers slightly worn and soiled; very occasional foxing and staining; several leaves with minor worming to blank 

margins; some parts loose in wrappers; bassus part unbound. Minor creasing and soiling. Very good, crisp, widemargined 

copies overall. (19158) 

$18,500. 

First Edition. RISM C2208 (one complete copy and one single part only recorded; no copies in the U.S. or Great 

Britain). 

"Despite his principal appointment at Loreto and the size of his secular output, Cifra was essentially a member of the 

Roman school of church composers, together with men such as Gregorio Allegri, Paolo Agostini and Benevoli. 

(Loreto, as a centre of pilgrimage, had strong connections with Rome, and the musical director there was normally a 

Roman.) He was by far the most prolific composer of this school in the early 17th century. His sacred music is 

dominated by eight books of concertato motets for two to four voices and organ, some of which were popular enough 

to run into several editions, but it also includes two volumes of masses as well as a number of motets, psalms and 

litanies for two or three choirs. The number of his motets published in German anthologies at the time makes him the 

most important ambassador there of the Roman style. His secular output is divided almost equally between five-part 

madrigals and scherzi for smaller forces and basso continuo." Jerome Roche in Grove online.

With a Fine Early 18 th Century Illustrated Title 

62. CLAYTON, Thomas 1673-1725. Songs in the New Opera Call'd Rosamond as they are perform'd at the 

Theatre Royall[!]. [Keyboard-vocal score]. London: Walsh and Randall, [1707]. Folio. Half mid-tan mottled calf with 

marbled boards, raised bands on spine, titling gilt. 1f. (fine frontispiece engraving by W. Sykes after H. Hulsberg), 1f. 

(r. title, v. Table of Songs), [1] (blank), 47 pp. printed on one side of the leaf. Some of the songs call for violin or flute 

accompaniment. The attractive frontispiece engraving depicts the Queen in the background holding a bowl of poison 

in one hand and a dagger in the other; Rosamond, King Henry's mistress, stands somewhat apprehensively in the 

foreground. Singers named within the score include Mrs. Tofts, Mr. Holcomb, Mr. Leveridge, Mrs. Lindsey, Signra. 

Maria Gallia, Mr. Hughs, Mr. Lawrence and Mrs. Reding. Lacking page 31 containing the song "when Vanquish'd 

Foes beneath." A pencilled note to front endpaper and an accompanying exhibition card indicate that "this exceptional 

copy is from the Lulworth Castle Collection." Some minor staining, but a very good copy overall. (19265) 

$1,100. 

First (complete) Edition. BUC p. 196. Smith-Walsh 247. Hunter 38. RISM C2660. First published in two parts and 

then reissued as here complete. 

"[Clayton's] second opera was Rosamond, to an original English libretto by Joseph Addison. It was first performed on 

4 March 1707 and was a complete failure, receiving only three performances. Clayton’s music has always been held 

responsible for this, but Addison’s libretto is far from perfect, and its flattery of the Duke of Marlborough alienated 

the Tories. In 1709 the Whig Lord Wharton was appointed Lord Lieutenant of Ireland and Addison became his 

Principal Secretary, accompanying him on visits to Ireland in 1709 and 1710. They took Clayton with them and he 

organized operatic entertainments at Dublin Castle. By that time opera in London was being performed in Italian. 

Addison and Richard Steele, in The Tatler and later The Spectator, mounted a rearguard action against the absurdity 

of this, and Steele backed Clayton in a series of concerts at York Buildings between 1710 and 1712, which featured 

Clayto’ís settings of English poetry." Olive Baldwin and Thelma Wilson in Grove online. 

A fine example of an early 18th century illustrated music title. 

Copland on American Music 

63. COPLAND, Aaron 1900-1990. "The New Music by Aaron Copland." Typed statement signed by the 

composer. 178 x 127 mm. On blue textured card stock. Copland expresses some of his views on American music: 

"There is every reason to suppose that for a long to come American music will not show any single profile, in the 

sense that French music, for example, presents a sharply drawn picture. Our country is too large and too many-sided 

for that. For instance, in contrast with Roy Harris, the composer from the West, here are two New Englanders - Roger 

Sessions and Walter Piston. What these men write exemplifies a side of our music untouched by Harris. There is 

nothing unfinished or uncouth about it. It comes out of a section of the United States that has had from the first a 

profound feeling for the things of the spirit." (19026) 

$250. 

"One of his country’s most enduringly successful composers, Copland created a distinctively American style and 

aesthetic in works of varying difficulty for a diversity of genres and mediums, including ballet, opera and film. Also 

active as a critic, mentor, advocate and concert organizer, he played a decisive role in the growth of serious music in 

the Americas in the 20th century." Howard Pollack in Grove online. 

64. CORELLI, Arcangelo 1653-1713. [Op. 1, etc.]. XII Sonatas of three parts for two Violins and a Bass with a 

Through Bass for ye Organ Harpsicord or Arch Lute Engrav'd from ye Score and Carefully Corrected by ye best 

Italian Masters... Opera Prima [Secunda, Terza, Quarta]. [Parts]. London: I. Walsh... No. 364 [365-367], [ca. 1735]. 4 

volumes. Quarter dark tan calf with marbled boards. Engraved throughout. Op. I: 1f. (title), 13 pp. (each part). Op. II: 

1f. (title), 13 pp. (each part). Op. III: 1f. (title), 14 pp. (each part). Op. IV: 1f. (title), 13 pp. (each part). With a fine 

frontispiece portrait engraved by Vdr. Gucht after Howard to violino primo part. Bindings worn and rubbed; spines

chipped. Minor browning; frontispiece impression somewhat light; some offsetting of frontispiece to title; occasional 

markings in pencil. (18769) 

$725. 

Marx p. 93 (no. 28), p. 116 (no. 31), p. 137 (no. 27) and p. 159 (no. 27). Smith & Humphries 412-414. BUC pp. 217- 

220. RISM C3673, 3711, 3755 and 3788. 

"Despite the modest size of his output, comprising six collections of instrumental music and a handful of other 

authentic works, and its virtual restriction to three genres - solo sonata, trio sonata and concerto - Corelli exercised 

an unparalleled influence during his lifetime and for a long time afterwards. This influence, which affected form, style 

and instrumental technique in equal measure, was most closely felt in Italy, and in particular in Rome, where he 

settled in early manhood, but soon spread beyond local and national confines to become a European phenomenon.” 

“As a violinist, teacher of the violin and director of instrumental ensembles Corelli imposed standards of discipline 

that were unusually strict for their period and helped to lay the groundwork for further progress along the same lines 

during the 18th century. To Corelli belong equally the distinctions of being the first composer to derive his fame 

exclusively from instrumental composition, the first to owe his reputation in 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." Michael Talbot in Grove online. 

65. CORELLI, Arcangelo 1653-1713. [Op. 5]. Sonate a Violino e. Violono o Cimbalo... Opera Quinta Parte 

Prima [Seconda]. [Score]. London: Benjamin Cooke, [ca. 1735]. Small folio. Cloth-backed marbled boards with paper 

label titled in manuscript to spine. 1f. (title), 69 pp. "The Whole Engraven by T. Cross" to foot of final page. With a 

fine frontispiece portrait of the composer engraved by J. Cole and a small oval medallion portrait to title. Binding 

slightly worn and rubbed; joint split. Very slightly soiled. In very good condition overall. (18767) 

$675. 

Attractively printed. 

66. CORELLI, Arcangelo 1653-1713. [Op. 5]. XII Solos for a Violin with a Thorough Bass for the Harpsicord 

or Violoncello... N.B. These Solos are Printed from a curious Edition Publish'd at Rome by the Author. [Score]. 

London: Printed for and Sold by I. Walsh, [ca. 1740]. Folio. Quarter dark blue leather with marbled boards, raised 

bands on spine with titling gilt. 1f. (title), 68 pp. Engraved. With a fine frontispiece portrait engraved by Vdr. Gucht 

after Howard. Ex-libris the noted Handel collector Gerald Edward Coke, with his engraved bookplate to front 

pastedown. Binding slightly worn; spine chipped; hinges rubbed and partially split. Minor browning, soiling and 

staining; small tear to margin of frontispiece repaired; small blank piece of upper outer corner of frontispiece lacking; 

early signature to upper blank margin of title faded and slightly offset; occasional markings in pencil and crayon. 

(18768) 

$425. 

Marx p. 181 (no. 26). BUC p. 221. RISM C3827. 

67. CORELLI, Arcangelo 1653-1713. [Op. 6]. Concerti Grossi Con duoi Violini, e Violoncello di Concertino 

obligati, e duoi altri Violini, Viola, e Basso di Concerto Grosso, ad arbitrio, che li potranno radoppiare... Opera Sesta. 

XII Great Concertos, or Sonatas, for two Violins and a Violincello: or for two Violins more, a Tenor, and a Thorough 

Bass: which may be doubled at Pleasure. being the Sixth and last work of Arcangelo Corelli. [Parts]. London: Printed 

for I. Walsh... and I. Hare, [1715]. 7 volumes. Folio. Plain paper wrappers. 1f. (frontispiece), 1f. (title), 34; 1f. (title), 

33; 1f. (title), 34; 1f. (title), 27; 1f. (title), 27; 1f. (title), 27; 1f. (title), 27 pp. Engraved. With a fine frontispiece 

portrait of Corelli engraved by Sherwin after Howard. Wrappers slightly chipped and splitting at spine. Some 

browning and minor staining and foxing; small binder's holes to inner blank margins; early signature to blank upper 

margin of titles trimmed. Quite a nice set overall. (18766) 

$1,850.

Second Edition (first English edition). Scarce. Marx p. 200. Smith-Walsh 466. BUC p. 216 (but with portrait 

engraving by Van der Gucht after Howard). RISM C384.5 

John Corigliano Archive 

68. CORIGLIANO, John born 1938. An important archive of autograph musical manuscripts and sketches of 

works by the noted Pulitzer prize-winning contemporary American composer. The archive consists of 63 autograph 

musical manuscripts, being the majority of works composed to date, and includes his Academy award-winning 

Concerto for Violin and Orchestra: The Red Violin; The Clarinet Concerto; Symphony No. 1; Symphony No. 3; 

Circus Maximus; Mr. Tambourine Man: 7 Poems of Bob Dylan; a complete manuscript of his opera The Ghosts of 

Versailles commissioned by the Metropolitan Opera; works for various performing ensembles, etc. 

(19221) 

Price upon request 

"The American John Corigliano continues to add to one of the richest, most unusual, and most widely celebrated 

bodies of work any composer has created over the last forty years." schirmer.com 

A complete inventory is available upon request. 

69. D'EGVILLE, James fl. 1782-?1827 and Cesare BOSSI ?-1802. Telemaque a Grand Ballet as Performed at 

the Kings Theatre Hay-Market Composed by J. D'Egville. The music Composed and Compiled by D'Egville & Bossi. 

London: Broderip & Wilkinson, [1799]. Folio. Newly bound in full brown linen with printed paper title label to spine. 

1f. (title), [1] (blank), 2-39 pp. Engraved. (18864) 

$350. 

First Edition. BUC p. 313. RISM E499. 

First performed at the King's Theatre on March 27th 1799, receiving 24 performances. The dancers included 

D'Egville, Didelot and Hilligsberg. Smith 191. The music draws from Haydn, Pleyel, Sacchini, Gluck, etc. 

Autograph Musical Manuscript from D’Ollone’s 

La Samaritaine 

70. D'OLLONE, Max 1875-1959. Autograph musical manuscript in piano-vocal score from the composer's 

opera/oratorio, La Samaritaine. 15 measures from the second act, marked for "Photine" and commencing "Il 

resplendit on n'a jamais parli comme cet homme." Notated in black ink. Inscribed to the noted Colombian 

musicologist Otto de Greiff (1903-1995), signed in full and dated April 1937. Together with autograph envelope. 

Creased at folds; right-hand edge creased; corners slightly creased, with small portion of left-hand lower corner 

lacking; very slightly browned at corners and edges. (18791) 

$450. 

D'Ollone was a French composer, conductor and critic. "A pupil of Gédalge, Lavignac, Lenepveu and Massenet at the 

Paris Conservatoire, [he] reaped numerous honours there and throughout his lengthy career, notably the Prix de 

Rome (1897) for his cantata, Frédégonde. Twice honoured by the Légion d'Honneur (Chevalier in 1926, Officier in 

1938), he was appointed director of the Concerts populaires d'Angers (1907-15), at the Ministry of Fine Arts (1916), 

professor at the Ecole Normale de Musique (1919), Paris Conservatoire (1922), director of the Fontainebleau 

Conservatory (1923), inspector of music education (1931-42) and director of the Opéra-Comique (1941-4)…” 

“D'Ollone espoused an essentially Romantic tonal language based on Wagnerian principles of continuous motivic 

development, governed by classical and Franckian strictures. As he gained prominence within the administration of 

French musical education, he led an attack on what he felt to be the institutionalized, progressive dehumanization of 

music, generated chiefly by the Second Viennese School. His voluminous writings, culminating in the treatises Le

langage musical (1952) and Le thé‚ tre lyrique et le public (1955), disclose a prodigious intellect nurtured by a 

profoundly ecumenical spirituality." Paul-André Bempéchat in Grove online. "La Samaritaine," an opera/oratorio 

with biblical themes to a text by Edmond Rostand, was first performed at the Paris Opéra in 1937, with a cast 

including Berthe Monmartre, famous for her interpretation of the title roles in Charpentier's "Louise" and Massenet's 

"Thais." 

DANCE 

Items 71 - 84 

71. [DANCE]. Ansermet, Ernest 1883-1969. Receipt in a secretarial hand with the autograph signature of "E.A. 

Ansermet," dated London June 29th 1921 for payment from "S. de Diaghileff la Somme de Trentesept Livres Dix 

Shillings up to June 28th," presumably for conducting services rendered. 1921. Together with a 127 x 142 mm. halflength 

reproduction photograph of Ansermet conducting. (19033) 

$150. 

“In 1915, on Stravinsky’s recommendation, Ansermet became principal conductor for Diaghilev’s Ballets Russes, 

with whom he made his North American début at New York in 1916, his South American début in 1917, and his 

London début in 1919. On the 1916 tour he made his first gramophone records with the orchestra of the Ballets 

Russes." The Diaghilev Company's 1921 London season at the Prince's Theatre (May 26th to July 30th) was a busy 

one. It opened with a presentation of Children's Tales, La Boutique Fantasque and Les Sylphides on May 26th, and 

went on to include three works performed for the first time in England: Cuadro Flamenco on May 31st, Chout on June 

9th and the second version of Le Sacre du Printemps on June 27th. 

Original Ballets Russes Programs 

72. [DANCE]. Brunoff, Maurice de, ed. Collection des plus beaux numerous de Comoedia Illustre et des 

Programmes consacres aux Ballets & Galas Russes depuis le debut a Paris 1909-1921. Paris: M. de Brunoff, [1922]. 

Large quarto. Original full green silk with highly decorative inset panel in colour by Natalia Gontcharova to upper. In 

slipcase. 1f. (title), [ii] (editor's note), followed by a 2-3 pp. introduction by Valerien Svetlov for each of the eleven 

seasons from 1909 through 1921 (there were no performances during the war years 1916 and 1918), with original 

excerpts from the periodical Comoedia Illustre and original souvenir programs bound in for each season of the Ballets 

Russes and Galas presented by Ida Rubinstein. With numerous photographs of dancers in performance, including 

Pavlova, Njinsky, Karsavina, Fokine, Rubinstein, etc., as well as set and costume designs by Bakst, Picasso and 

others, many printed in colour. Among the productions documented are L'Oiseau de Feu, Le Spectre de la Rose, 

Petrouchka, Le Martyre de Saint Sebastien, L'Apres-Midi d'un Faune, Salome, Jeux, Le Sacre du Printemps, Parade 

and Pulcinella. Spine and edges slightly faded. In exceptionally good internal condition. (18944) 

$3,750. 

Rare. Magriel p. 187. "In content and manner of presentation this is one of the most beautiful of 20th century 

publications." Niles & Leslie I p. 124. 

"This deluxe volume is an indispensable source for the best in graphic, stage, and costume design of the period; early 

photographs of performers attired for their roles; and commentaries on the ballet by Maurice Ravel, Jean Cocteau, 

Guillaume Apollinaire, M.D. Calvocoressi, and Michel Georges-Michel. Among the elegant drawings and pastels are 

those by Georges Lepape, Jean Dulac, Georges Tribout, Andre Marty, Jean Cocteau, and Valentine Gross (later 

Hugo). The drawings and pastels by Valentine Gross are especially interesting because they document, in a charming 

style, Nijinsky's dance interpretations during actual performances before photographs in the theatre became 

commonplace." Roatcap: The Book of the Dance in the 20th Century, p. 28.

Signed by 22 Bolshoi Dancers 

73. [DANCE]. [Bolshoi Theatre SSSR - The Bolshoi: Opera and Ballet at the Greatest Theatre Pokrovsky, Boris 

A. and Yuri N. Grigorovich. in Russia]. Moscow: 1976. 2 volumes. Quarto. In decorative cloth boards with small 

pictorial device incorporating a rendition of the Bolshoi to upper outer corners of both volumes. In slipcase. Vol. I: 

Ballet; Vol. II: Opera, each ca. 200 pp., profusely illustrated, most in colour. With 22 photographs of dancers 

autographed by their subjects. (19225) 

$400. 

A great wealth of documentary evidence, particularly of the late 19th and 20th centuries, published to commemorate 

the 200th anniversary of the founding of the Bolshoi Theatre. The Bolshoi was the "leading ballet company of Russia, 

noted for elaborate productions of 19th-century classical ballets. The company was formed in 1776 and took the name 

of its home, Moscow's Bolshoi Theatre, in 1825. Its influential choreographers included Marius Petipa, Carlo Blasis, 

and Aleksandr Gorsky. Yuri Grigorovich was artistic director from 1964 to 1995. Its many successful tours have 

introduced its outstanding dancers, including Yekaterina Geltzer, Vasily Tikhomirov, Galina Ulanova, and Maya 

Plisetskaya, to audiences worldwide." Brittania Concise Encyclopedia. 

74. [DANCE] Genthe, Arnold. Isadora Duncan Twenty Four Studies... With a foreword by Max Eastman. New 

York & London: Mitchell Kennerley, 1929. Quarto. Full black cloth with titling and device gilt to upper and titling 

gilt to spine. 6ff. + 24 photographic plates. The soft-focus photographic plates are all studies of Duncan (with the 

exception of plate 24); the final plate is of a group of female dancers surrounding Duncan, most probably the 

"Duncan Dancers." Binding slightly worn; extremities of spine and corners slightly frayed; ownership signature to 

front free endpaper. (19145) 

$135. 

First Edition. Derra de Moroda 1066. Niles & Leslie I p. 194. Magriel p. 37. 

75. [DANCE] Houdiakoff, André 1895-1985. Group of 6 original theatrical designs, possibly for a ballet 

production, attributed to the Russian-American artist André Houdiakoff. Ca. 1920-1940. Executed in watercolour and 

gouache on artist's board. Each signed by the artist with the letter "h," measuring ca. 177 x 186 mm., and entitled 

"Guarachero," " Guarachera," "Diablito (2)," "Comparne" and Guagino." Provenance: The George Verdak Collection 

(noted collector and ballet master of the Indianapolis Ballet). Slightly worn and soiled. (18774) 

$950. 

Serge Lido Ballet Photographs, Several Signed by Dancers 

Items 76 - 82 

76. [DANCE] Lido, Serge 1906-1984. La Danse La Danza The Dance *Masques* Préface De Jean Cocteau - 

Photographies De Serge Lido "Hommage a La Danse" Par Roger Lannes - Commentaires D'Iréne Lidova. [Paris]: 

[Revue internationale d'Art Dramatique], [1947]. Quarto. Original pictorial wrappers. Contains 100 photographs by 

Lido of dancers in action. 

Together with: 

- La Danse... [1948]. With 88 photographs by Lido. 

- La Danse... [1949]. With 98 photographs by Lido. 

- Danse Numéro hors série: Sauts... Préface par Olivier Merlin. New York [Paris]: Editions A. De Milly [1950]. With 

40 photographs by Serge Lido. Wrappers worn; spines and edges frayed and torn. (19217) 

$75. 

Lido, a Russian-born French photographer based in Paris, gained international recognition as one of the most 

important dance photographers of his time.

77. [DANCE] Lido, Serge 1906-1984. Ballet 2 textes par: Serge Lifar, George Balanchine, Anton Dolin et le 

Marquis George de Cuevas commentaires par Irène Lidova photographies par Serge Lido. Paris: [Art et Industrie 

numéro spécial 1952]. Quarto. Original publisher's pictorial wrappers. With 83 photographs by Lido. 

Together with: 

- Ballet 3. Photographies par Serge Lido... préface par Jean Cocteau Textes par Irène Lidova. 1953. Original 

publisher's pictorial wrappers. With 83 photographs by Lido, several in colour. 

- Ballet 4. Photographies par Serge Lido... préface par Jean-Louis Barrault. 1954. Original publisher's pictorial 

wrappers. With 96 photographs by Lido, several in colour. With the autograph signature of Maria Tallchief 

performing with the New York City Ballet in "La symphonie écossaise" and with the autograph signature of Alicia 

Markova to upper wrapper. 

- Ballet 5. Photographies par Serge Lido... textes par alicia Markova, Yvette Chauviré et Maria Tallchief commentaire 

par Irène Lidova. 1955. Original publisher's pictorial wrappers. With 96 photographs by Lido, several in colour. 

- Ballet 8. Photographies par Serge Lido... préface par Marie Rambert commentaires par Irène Lidova. 1959. Full 

cloth. In pictorial dustjacket. With 96 photographs by Lido. Wrappers worn. (19218) 

$135. 

78. [DANCE] Lido, Serge 1906-1984. Les Etoiles de la Danse Dans le Monde photographies de Serge Lido 

textes de Marcel Schneider... et de Irène Lidova. Paris: Éditions Vilo, [1975]. Quarto. Glossy pictorial boards. A total 

of 80 photographic portraits, with the autograph signatures of the following dancers: Noëlla Pontois, Ghislaine 

Thesmar, Yoko Morishita, Michaël Denard, Judith Jamison, Rudolf Nureyev, Jean Guizerix, Charles Jude, Vladimir 

Vassiliev, Ekaterina Maximova, Carla Fracci, Ivan Nagy, Cynthia Gregory, Fernando Bujoes, Hideo Fukagawa, 

Natalia Makarova, Elisabetta Terabust, Denys Ganio, Paolo Bortoluzzi, Eva Evdokimova, Karen Kain, Birgit Keil, 

Marcia Haydée, Richard Cragun, Suzanne Farrell, Jorge Donn, Luciana Savignano, Claude de Vulpian, Zizi 

Jeanmarie, Monica Mason, Antoinette Sibley, Anthony Powell, David Wall, Merle Park, Dominique Khalfouni and 

Jean-Yves Lormeau. Boards worn, with most of spine lacking. In very good internal condition. (19216) 

$1,150. 

79. [DANCE] Lido, Serge 1906-1984. ballet dans le monde formes nouvelles préface de maurice béjart 

commentaires de irène lidova photographies de serge lido. Paris: Éditions Vilo, [1977]. Quarto. Glossy pictorial 

boards. A total of 80 photographic portraits, with the autograph signatures of the following dancers: Maurice 

Béjart, Jorge Donn, Rita Poelvoorde, Patrice Touron, Shonach Mirk, Patricia McBride, Patrick Dupond, Marcie 

Haydée, Richard Cragun, Reid Anderson, Denys Ganio, Ludmilla Semeniaka, Dominique Khalfouni, Natalia 

Bessmertnova and Nadejda Pavlova. Boards slightly worn. (19214) 

$385. 

80. [DANCE] Lido, Serge 1906-1984. La Danse d'Aujourd'hui dans le monde. préface de Maurice Eisner 

commentaires de Irène Lidova photographies de Serge Lido. Paris: Éditions Vilo, [1979]. Quarto. Glossy pictorial 

boards. A total of 97 photographic portraits, with the autograph signatures of the following dancers: Natalia 

Makarova, Evelyne Desutter, Dominique Khalfouni, Peter Schaufuss, Galina Mezentseva, irina Kolpakova, Tatiana 

Terekhova, Alexandre Godounov and Ivan Liska. Boards slightly worn. Light browning to some blank margins. In 

very good condition overall. (19213) 

$185. 

81. [DANCE] Lido, Serge 1906-1984. Ballet horizon 2000 Textes de: Bernard Lefort Bengt Häger Irène Lidova 

Photographies de Serge Lido. Paris: Éditions Vilo, [1981]. Quarto. Glossy pictorial boards. A total of 93 photographic 

portraits, with the autograph signatures of the following dancers: Elisabeth Platel, Françoise Legrée, Donna Wood, 

Karen Kain, Heather Watts, Jean Guizerix, Peter Martins, Marcia Haydée, Carla Fracci, Patrick Dupond, Natalia 

Makarova, Luigi Bonino, Zizi Jeanmarie, Ghislaine Thesmar, Veronica Tennant, Dominique Khalfouni, Fernando 

Bujones, Rita Poelvoorde, Jorge Donn, Jean-Yves Esquerre, Yann Le Gac, Maurice Béjart, Merle Park, Arne 

Villumsen, Lis Zeppesen, Lina Hindberg, Flemming Ryberg, Johnny Eliason, and Jean-Charles Gil. Binding slightly 

worn; hinges split. (19215) 

$650.

82. [DANCE] Lido, Serge 1906-1984. Les Stars de la Danse Préface de Pierre Cardin Textes de Irène Lidova 

Photographies de Serge Lido. Paris: Éditions Vilo, [1983]. Quarto. Glossy pictorial boards. A total of 114 

photographic portraits, with the autograph signatures of the following dancers: Rudolf Nureyev, Natalia 

Makarova, Elisabeth Platel, Peter Schaufuss, Alessandra Ferri, Fernando Bujones, Michael Denard, Patrick Dupond, 

Jean-Yves Lormeau, Monique Loudieres, Charles Jude, Irina Kolpakova, Tatiana Terekhova, Galina Mezentseva, 

Carla Fracci, Eva Evdokimova, Ghislaine Thesmar, Lis Zeppesen, Yoko Morishita, Marcia Haydée, Ekaterina 

Maximova and Noëlla Pontois. Boards slightly worn. (19212) 

$650. 

Early 19th Century Dance Manual, “Of Great Interest to Teachers” 

83. [DANCE] Peacock, Francis. Sketches relative to the History and Theory, but more especially to the Practice 

of Dancing; as a necessary accomplishment to the youth of both sexes; together with remarks on the defects and bad 

habits they are liable to in early life; and the best means of correcting or preventing them. Intended as hints to the 

young teachers of the Art of Dancing. Aberdeen: Printed by J. Chalmers & Co., 1805. Octavo. Original paper boards. 

xiv, [15]-224 pp. With list of subscribers to pp. 220-224. Early manuscript note to final leaf: "By Order of the Town 

Council of Aberdeen (20 Copies)." With charming contemporary inscription to free front endpaper: “From T. Burnett 

with his best Bow to Miss Burnett Crather." Binding worn; upper detached. Minor to moderate browning throughout; 

small portion of blank margin of pp. 209/210 lacking; lacking final leaf of additional subscribers and rear free 

endpaper. (19146) 

$450. 

First Edition. Very scarce. Beaumont p. 138. Magriel p. 78. Niles & Leslie II p. 402. De Moroda 2017. 

"Of great interest to teachers, particularly for the information afforded regarding late 18th century methods of 

correcting physical defects in pupils." Beaumont. 

With Charming Hand-Coloured Lithographs 

Caricaturing Mid-19 th Century French Social Dance 

84. [DANCE]. Quillenbois [Sarcus, Charles Marie de 1821-before 1896]. Le Conservatoire de la Danse 

Moderne. Charges Parisiennes. Paris: Arnauld de Vresse, [1845]. Folio. Full contemporary red cloth with titling gilt to 

upper. 1f. (elaborate hand-coloured lithographic title by Belin, printed by Laurant), + 12 hand-coloured lithographic 

plates printed by d'Aubert & Cie., each containing three or four animated vignettes depicting humourous caricatures of 

dancers performing the most popular Parisian dances of the period, including the polka and cancan. A total of 44 

illustrations, all expertly hand-coloured, each captioned with descriptive text. The fine lithographic title is signed (in 

the stone) by A[ugusta] Belin, a noted French 19th century painter and lithographer; several of the plates are signed in 

the stone by Quillenbois, pseudonym of the artist Charles Marie de Sarcus; they are all printed by d'Aubert & Cie. 

Binding slightly worn; spine restored. (19232) 

$3,850. 

Rare. We have located 4 copies only (the Binney copy in the Harvard Theatre Collection; the Gordon Ray/Michael 

Sadlier copy at The Morgan Library; a copy at the New York Public Library [lacking title] and a copy at the 

Bibliothèque Nationale). Not located in the standard dance bibliographies. Lipperheide 3105. 

A very charming production, with both the designs and the colouring executed with considerable care.

Richard Danielpour Archive, 

Together with Autograph Manuscripts of his Margaret Garner 

85. DANIELPOUR, Richard born 1956. An important archive of autograph musical manuscripts of works by 

the noted American composer consisting of 19 works in total representing the bulk of Danielpour’s most significant 

orchestral and chamber music output over the period 1993-2001. Works represented include an American Requiem; 

Anima Mundi; As Night Falls; Canticle of Peace; Celestial Night; A Child’s Reliquary; Concerto for Cello and 

Orchestra; Concerto for Orchestra - Zoroastrian Riddles; Concerto for Violin and Orchestra; Elegies; In the Arms of 

the Beloved; Portraits – Maya Angelou Songs; Songs of Solitude – Yeats Songs; Spirits in the Well / Feast of Fools; 

String Quartet # 3 – Psalms of Sorrow; Sweet Talk – Toni Morrison Songs; Urban Dances – Manhattan Moon Dance 

and Book II; and The Zodiac. Vibrant working manuscripts, highly evident of Danielpour’s composition process. 

(19220) 

Also available: 

A complete set of autograph working manuscripts for Danielpour's highly acclaimed grand opera, Margaret Garner, 

with text by the distinguished Nobel Laureate Toni Morrison, being 8 autograph musical manuscript sketchbooks 

representing the complete opera in draft form. The work is based on the true story of a slave who ran away from a 

Kentucky farm in 1856, a source for Ms. Morrison's 1987 Pulitzer prize-winning novel Beloved. 455 pp. in total. 

(19223) 

Margaret Garner was first performed in May of 2005 at the Michigan Opera Theatre with celebrated mezzo-soprano 

Denyce Graves in the title role; it has since received an astonishing 35 performances in 3-1/2 years, premiering in 

New York at the New York City Opera on September 11, 2007. 

Prices upon request 

Complete inventories are available upon request. 

86. DAVAUX, Jean-Baptiste 1742-1822. Six Favourite Quartetto's... adapted for the Harpsichord, With an 

Accompanyment for a Violin and Tenor. [Set of parts]. [London]: Willm. Napier, [ca. 1780]. Folio. Disbound. 1f. 

(title), [1] (blank), 2-33; 1f. (title), [1] (blank), 2-13; [1] (title), 2-7 pp. Engraved. Slightly browned and foxed; 

manuscript numbering in red ink to blank upper margins. (18973) 

$400. 

This edition not in BUC. RISM D1133 (one complete copy only). COPAC records a copy of the harpsichord part only, 

at the British Library. 

“...with the possible exception of Gossec, [Davaux] was the French symphonist most esteemed by his countrymen. His 

fame was also extensive abroad; his works appeared in numerous (usually pirated) editions in the Netherlands, 

England and Germany, and his quartets were heard in the USA as early as 27 April 1782... A composer of appealing 

chamber music for strings, Davaux published six duos, six trios, at least 25 quartets and four quintets. The quartets 

represent a significant contribution to the history of the genre, and featured prominently in the popular weekly 

concerts held, for many years, at his house each winter." Barry S. Brook, Joel Kolk and Donald H. Foster in Grove 

online. 

David Del Tredici Archive 

87. DEL TREDICI, David born 1937. An important and extensive archive of autograph working manuscripts 

and sketches by the noted Pulitzer prize-winning contemporary American composer. The archive encompasses 

virtually the composer's entire career and includes a voluminous amount of correspondence, contracts, programs, 

photographs and associated material. Some of the composer's best-known works include those based on Lewis 

Carroll's Alice books, such as An Alice Symphony, Vintage Alice and In Memory of A Summer Day (Part I of Child 

Alice); music set to the verse of contemporary American poets including Gay Life; Brother and Wondrous the Merge; 

and Paul Revere's Ride. (19222)


“Del Tredici is that rare find among composers - a creator with a truly original gift. I venture to say that his music is 

certain to make a lasting impression on the American musical scene. I know of no other composer of his generation 

who composes music of greater freshness and daring, or with more personality." Aaron Copland in Pollack: Aaron 

Copland, p. 209. 


88. DIBDIN, Charles 1745-1814. Fine mezzotint engraving of this prominent English composer, dramatist, 

impresario and singer by Juno Young after the painting by Thomas Philips. London: J. Young, Sept. 25, 1799. Ca. 387 

x 278 mm. Trimmed to plate mark. In very good condition overall. (18775) 

$400. 

Hall Vol. I p. 365, no. 10. 

Dorati Letter with Programming Details 

89. DORATI, Antal 1906-1988. Interesting lengthy autograph letter signed, dated February 15, 1954. 14 pp. In 

English. 1954. Large octavo. Addressed to Mr. Rollins. On personal letterhead imprinted with Dorati's name and 

address of "1300 Mount Curve Minneapolis, Minn." An interesting and detailed letter relative to proposed programs 

for the 1954-1955 Minneapolis Symphony Orchestra season, mentioning specific pieces, rehearsals, soloists, 

instrumentation, etc. 14 pp. in total, consisting of pp. 1-6 autograph letter (signed at conclusion of page 6); pp. 7-8 

headed "Tentative programs (subject to change);" p. 9 "Composition of Orchestra;" p. 10 (blank); p. 11-14 notes, 

headed "To understand - and properly publicize - the above programs, the following notes might be useful." (19039) 

$385. 

An American conductor and composer of Hungarian birth, from 1945 Dorati acquired a distinguished reputation as 

an orchestral trainer, beginning with his postwar reorganization of the Dallas SO (1945-9). He then spent 11 years as 

musical director of the Minneapolis SO, making it internationally known through more than 100 recordings. 

With Attractive Plates after Burnacini Illustrating Scenes from the Opera 

90. DRAGHI, Antonio 1634 or 35 - 1700. Il Fuoco Eterno Custodito Dalle Vestali Drama Musicale Per la 

Felicissima Nascita Della Serenniss: Arciduchessa Anna Maria. [Libretto]. Vienna: Christoforo Cosmerovio, 1674. 

Folio. Half mid-tan calf with marbled boards, raised bands on spine in gilt-ruled compartments, dark red leather gilt. 

1f. (fine frontispiece engraving by Matteo Küsel after Lodovico Burnacini), 10ff., 83 pp. With 5 (of 13) fine doublepage 

(ca. 300 x 420 mm.) engraved plates by Küsel after Burnacini depicting scenes from the opera. Attractively 

printed, with text to each page within double-line border, with decorative woodcut initials and head- and tailpieces 

throughout. Occasional staining and browning; some dampstaining to lower inner margins of first several leaves; 

frontispiece slightly worn and soiled, several small stains, very small piece of lower outer corner lacking; several 

small stains to title; several small holes professionally repaired. A very attractive, wide-margined copy overall. 

(19219) 

$5,500. 

First Edition. Rare. Sartori 11097. 

Draghi, an Austrian composer and librettist of Italian birth, "was one of the most prominent musicians in Vienna 

during the last third of the 17th century and an exceptionally prolific composer of operas, oratorios and other theatre 

music." Rudolf Schnitzler and Herbert Seifert in Grove online. He often collaborated with the court poet Nicolò 

Minato and the court theatre architect and stage designer Burnacini, as is the case in the present work.

91. DUSSEK, Jan Ladislav 1760-1812. Trois Quatuors Pour 2 Violons, Alto et Violonzello [!]... [Op. 60] [Craw 

208-10]. Musical manuscript set of parts. Early 19th century. Folio. Disbound. I: 13; 9; 10; 10 pp. II: 15; 13; 14; 13 

pp.; III: 13; 12; 10; 10 pp. Watermarked (?Italian) paper with three crescent moons and a hat. Small 19th century 

blindstamp and ownership label to title of first violin part, "Ruitenbach." (18782) 

$285. 

First published in 1807-08 by Breitkopf and Härtel. RISM D4093 (no copies in the U.S.). 

"Dussek is an unjustly neglected composer... His music seems to have been received with enthusiasm in his own time." 

Oxford Music online. 

David Felder Archive 

92. FELDER, David born 1953. An important archive of autograph musical manuscripts and sketches by the 

noted contemporary American composer. The archive consists of materials relating to 31 works, representing virtually 

all of the composer's output to date: Shamayim, Insomnia, Stuck-stuecke, So Quiet Here, Dyonysiacs, RRRings, 

Memento mori, Partial [Dist]res[s]toration, Shredder, Incendio, In Between, a pressure triggering dreams, Three 

Pieces for Orchestra, Linebacker Music, Inner Sky, Canzone XXXI, November Sky, Six Poems from Neruda's 

Alturas, Journal, Between, Third Face, Another Face, Three Lines from Twenty Poems, La Dura Fria Hora, Crossfire, 

Boxman, Coleccion Nocturna, Passageways II [and I], Rocket Summer, and Rondage/Cycle. Together with a 

collection of demo recordings in CD format and DAT tapes of performances of Felder's works; cassettes, video and 

reel-to-reel tapes of recording sessions; and source materials used in compositions. Over 200 items in total, many of 

which are not commercial available. (19224) 


“Felder combines his deep knowledge of the past and the present with a constant searching on a philosophical, 

human and musical level - a Gustav Mahler for the 21st century.. David Felder has long been recognized as a leader 

in his generation of American composers. His works have been featured at many of the leading international festivals 

for new music including Holland, Huddersfield, Darmstadt, Ars Electronica, Brussels, ISCM, North American New 

Music, Geneva, Ravinia, Aspen,Tanglewood, Music Factory, Bourges, Vienna Modern, IRCAM, Ars Musica, and 

many others, and earn continuing recognition through performance and commissioning programs by such 

organizations as the New York New Music Ensemble, Arditti Quartet, American Composers Orchestra, Buffalo 

Philharmonic [and] American Brass Quintet... Felder’s work has been broadly characterized by its highly energetic 

profile, through its frequent employment of technological extension and elaboration of musical materials (including 

his ‘Crossfire’ video series), and its lyrical qualities." music.buffalo.edu/faculty/felder 


Ferretti’s “Most Successful and Influential Works” 

93. FERRETTI, Giovanni ca. 1540-after 1609. Il Primo [Secondo, Tertia] Libro delle Canzoni, Alla Napolitana 

a Cinque Voci. Novamente ristampate. [Alto and Tenore parts]. Venice: Girolamo Scotto, 1582, 1581, 1575. 6 

volumes bound in 2. Small quarto. Contemporary limp vellum. Alto: I: 1f. (r. title, v. blank), 3-23, [i] (index) pp. II: 

[1] (title), 2-23 printed music, [i] (index) pp. III: [1] (title), 2-23 printed music, [i] (index) pp. Tenore:_I: 1f. (r. title, v. 

blank), 3-23 printed music, [i] (index) pp. II: [1] (title), 2-23 printed music, [i] (index) pp. III: [1] (title), 2-23 printed 

music, [i] (index) pp. With decorative woodcut headpiece and attractive large woodcut device to titles. Music printed 

typographically in diamond-head notation. Decorative woodcut initials throughout. With early ownership signature 

and additional early annotation crossed out to titles of both parts of Book I, early manuscript titling to binding. 

Bindings slightly worn; several small holes and stains. Some worming to lower portion of alto part, occasionally just 

affecting text; occasional foxing, soiling and dampstaining; several leaves lightly browned. In very good condition 


$13,500.

Book I: New Vogel 945. RISM F517 (no copies in the U.S.). Book II: New Vogel 950. RISM F522 (no copies in the 

U.S.). Book III: New Vogel 953. RISM F525 (no copies in the U.S.). 

"Originally from Liège, Giovanni Ferretti moved south to Italy. He lived in Ancona from 1569 until 1580, and became 

maestro di cappella of the cathedral some time between 1573 and 1575... Ferretti is mainly known for his canzoni for 

five and six voices, a form that developed into the later canzonetta... He was the first composer to expand the number 

of voices of the canzone alla napolitana from four to five and even six voices." Bernstein: Music Printing in 

Renaissance Venice The Scotto Press (1539-1572), no. 283. "Ferretti's most successful and influential works were his 

early napolitane, which enjoyed a popularity north of the Alps rivalled perhaps only by Marenzio’s lighter pieces and 

Gastoldi's five-voice ballettos... Ferretti's napolitane, particularly the early books, were reprinted and admired in 

Antwerp, Nuremberg and especially England. If, as Kerman has suggested, the crucial influence of Morley on the 

English madrigal is in effect the influence of the classic Italian canzonet style, then it is one in which Ferretti's pieces, 

together with Orazio Vecchi's, are the most important elements. Morley readily acknowledged his debt to the musical 

and textual models of Ferretti, ‘who as it should seeme hath imploied most of all his study that way’." Iain Fenlon in 

Grove online. 

Early 19 th Century Satire on the Mathematical Construction of Music 

94. FILOMELO, Innocenzio, pseud. Lettera del Maestro Innocenzio Filomelo con una risposta del celebre 

maestro di capella D. Gennaro Beccalocchi sopra il Gioco Pittagorico Musicale Pubblicato dal sig. Antonio Calegari, 

primo organista del Santo in Padova. Padova: Si vende da Pietro Brandolese, 1802. Octavo. Contemporary grey 

wrappers. xxiv pp. Occasional light spotting. A very good, clean and crisp copy overall. (19246) 

$800. 

First Edition. Rare. Not in OCLC. 

An anonymously published satire on the idea of the mathematical construction of music, written in response to 

Calegari's (1757-1828) Gioco Pittagorico of 1801, in which he suggests the possibility of composing music using a 

combination of mathematical formulae and the throwing of dice. The present work takes the form of a letter from the 

pseudonymous Innocenzio Filomelo to the fictitious Beccalocchi in which Filomelo rails that such methods of 

composition would seriously affect true composers if they were to become commonly accepted. Beccalocchi reassures 

Filomelo that his "gioco" is, indeed, just a game and, in fact, one that had already been suggested by Haydn himself, 

and thus urges the musical fraternity not to be overly worried about unemployment. The work as a whole satirizes the 

naivete of many musicians as well as their concern for their livelihoods. 

95. FOSS, Lukas 1922-2009. Autograph letter signed. Quarto. Dated August 3, [19]87. Addressed to the 

prominent American choral conductor Harold Rosenbaum. With autograph envelope. 2 pp. Quarto. Creased at folds. 

(18928) 

$150. 

Foss writes regarding his "Di Profundi " for a capella[!] choir, stating that his publisher has the score, its duration, 

and that he will try to locate a tape of the work. Also discussing scheduling for the following season. 

The Earliest American Composer of Grand Opera 

96. FRY, William Henry 1813-1864. Autograph letter signed "W.H. Fry," dated Newport, August 25, 1845. 

One page of a bifolium. With integral address panel to S.P. Walker, Old Point Comfort, Virginia. "I would be too 

happy to send your beautiful friend, Miss Mercer, a copy of the song required had I it with me, but in place of this, I 

can have one made out and forwarded to you. The songs you mention are identical, the only difference being in the 

words. A printed copy which will be immediately forthcoming, will therefore answer your purpose." Creased at folds; 

several very small holes along folds; address panel browned; remnants of red sealing wax; some creasing. (18168) 

$875.

Fry was the composer of the first grand opera by an American to be staged in the United States, Leonora, in 1845, the 

year of the present letter. "Its production just four years after the American premiere of Norma confirmed the growing 

acceptance of Italian opera by American audiences and demonstrated that musical alternatives to the English 

operatic heritage were viable." John Graziano in Grove online. 

"His greatest influence on American musical life was as a journalist and music critic; his admonitions encouraged 

such composers as Bristow to turn to native sources for ideas and inspiration, and provided a climate that fostered the 

work of Farwell, Cadman, MacDowell and others." David E. Campbell in Grove online. 

Autograph material relating to this earliest American grand opera composer is very rare. 

97. GAVEAUX, Pierre 1760-1825. Le Traité Nul, Opéra en un Acte, Paroles De M. Marssollier, Dédié à 

Madame Sageret... Représentée pour la Première fois, Sur le Théâtre Faydeau, le 23. Juin 1797. Gravé par Mme. 

Brunet. [Full score]. Paris: Frères Gaveaux, [ca. 1797]. Folio. Contemporary full green vellum. 2ff. (title, dedication), 

[1] (cast list), 2-207 pp. Engraved. Binding worn and warped, front endpaper detached. Moderate to heavy browning; 

small stain to inner blank margins throughout; light dampstaining to several leaves; tear to pp. 9/10 repaired; pp. 

206/06 detached, creased and frayed at edges. With Le Duc overpaste to title. (19195) 

$325. 

First Edition, variant issue, without plate number. RISM G694. 

A comic opera, with text by Marsollier des Vivetières, first performed in Paris at the Théâtre Feydeau on June 23rd 

1797. 

98. GLINKA, Mikhail Ivanovich 1804-1857. Zhizn'za tsaria [Das Leben für den Czaaren]: bol'shaia opera v 

chetyrekh deistviiakh s epilogom dlia peniia s fortepiano. [Piano-vocal score. Moskva: A. Gutkheil [PN A. 2417 G.], 

1885. Large octavo. Black cloth-backed boards. [1] (title in Cyrillic), [2] (contents), 3-387, [i] (blank) pp. With 

performance markings in pencil and coloured crayon throughout. Early manuscript Hungarian translation in both ink 

and pencil. Binding worn and slightly frayed; joints split. Signs of wear and usage; slightly browned; several repairs; 

pinholes to outer margins of some leaves; some corners creased. (18740) 

$175. 

The opera was first performed at the Bolshoi on November 27th 1836. 

99. GLUCK, Christoph Willibald Ritter von 1714-1787. Orphée et Euridice, Tragédie Opera en trois Actes. 

Dédiée A La Reine... Les Parolles sont de M. Moline. Représentée pour la premiere fois par l'Académie Royale de 

Musique le Mardy 2 Aoust 1774. [Full score]. Paris: Des Lauriers, [ca. 1783]. Folio. Quarter mottled mid-tan calf 

with marbled boards, raised bands on spine in decorative compartments gilt, gilt titling to spine. 1f. (r. title engraved 

by Beauble, v. publisher's catalogue), 1f. (r. composer's dedication, v. "Argument"), 217 pp. With "1er Acte Gravé par 

le Sr. Huguet" to foot of first page of music. With manuscript commentary in English dated [18]29 to blank front 

endpaper. Occasional markings in pencil. With the bookplate of Gilbert Samuel Inglefield, former Lord Mayor of 

London, to front pastedown. Some minor foxing and browning to title. A very good copy overall. (19260) 

$850. 

Second edition of the French version. A variant issue of either Hopkinson 41A(g) or (h). RISM G2853. 

"More successfully than any of his contemporaries, [Gluck] translated the widespread agitation for reform of opera 

and theatrical dance on the part of European intellectuals into actual works for the stage, first in pantomime ballets 

and Italian serious operas for Vienna and then in operas of various sorts for Paris." Bruce Alan Brown and Julian 

Rushton in Grove online.

Autograph Excerpts from Gounod’s Opera Sapho, 

With Autograph Dedication Signed 

100. GOUNOD, Charles-François 1818-1893. Autograph musical manuscript from the composer's opera, 

Sapho. Two numbers in piano-vocal score from the third act, with autograph title: "Sapho (3me acte.) 1o (Cantabile) 

Sois béni par une mourante!... 2o (Dernier Hymne à sa Lyre... Scène finale.) ma Lyre Immortelle!". N.p., n.d., but 

most probably Paris, ca. 1852. Oblong quarto (185 x 270 mm.). Sewn. 12 pp. Notated in brown ink on 12-stave handruled 

paper. [1] (autograph title), [2]-[4] "Sois béni par une mourante!," [5]-[12] "ma Lyre Immortelle!". With a 

signed autograph dedication to head of first page of music: "à ma chère élève et ami Rosalie Jousset Ch. Gounod." 

Evidence of several erasures and with the addition of a notated correction in pencil in the composer's hand. First and 

last leaves slightly browned. (19207) 

$6,000. 

Sapho, an opera in three acts to a libretto by Emile Augier, was first performed at the Paris Opéra on April 16th 

1851; Gounod's friend, the well-known singer-composer Pauline Viardot at whose country estate he had completed 

the opera, performed the leading role. 

"In order to give his story dramatic interest, Augier combined the characters of Sappho the poetess and of another 

woman of the same name who, involved in a tragic love affair, threw herself into the sea... Another distinction Sapho 

enjoyed was that it attracted the censor's attention. Unlike the usual entertainments at the Opéra, which flattered 

every official prejudice and avoided any opinion more controversial than a belief in happy endings, Sapho dealt, 

though incidentally, with political plot and the overthrow of authority... The audience at the first night of Sapho on the 

16 April was surprised, and then, in general, pleased, by its novelty and freshness. It was quite different from the 

music to which they were used in the rue le Peletier. The press next day was not so favourable. Many of the critics 

were discomfited by the absence of familiar features. They felt uneasy in the presence of something new... Adolphe 

Adam... shrewdly pointed out that Sapho was not a truly revolutionary piece but, rather, a work of restoration in so 

far as it harked back to Gluck... Gluck, as Adam observed, is the mainspring of Sapho... Sappho's ‘O ma lyre 

immortelle' gives a tint of Gluck to her farewell of the world before throwing herself over the leucadian cliff into the 

sea below. The true originality of Sapho lies in the new spirit which shows itself throughout the opera. It owed nothing 

to Rossini, nor did it rely on the formulas which many of Gounod's contemporaries used... There were not earthquakes 

or tempests or burning palaces in Sapho. The drama was expressed solely in music that was dignified and restrained." 

Harding: Gounod, pp. 68-69. 

Rosalie Jousset (1838-1863) seems to have been a particular favourite of Gounod's; he is known to have dedicated 

other manuscripts to her as well. "Best known today as the composer of the opera Faust and an Ave Maria descant to 

the first prelude of J.S. Bach's Das wohltemperirte Clavier, Gounod wrote in most of the major genres of his day, 

sacred and secular. That his reputation began to wane even during his lifetime does not detract from his place among 

the most respected and prolific composers in France during the second half of the 19th century." Steven Huebner in 

Grove online. 

An attractive manuscript, with both text and music in the composer's hand. 

With an Autograph Inscription Signed 

from Granados to Fellow-Composer Vincent d’Indy 

101. GRANADOS, Enrique 1867-1916. Domenico Scarlatti... Veintiséis Sonatas Inéditas... transcriptas 

libremente para Piano por el pianista compositor Enrique Granados precedidas de un Estudio biogfáfico-bibliográficocritico 

por Felipe Pedrell Libro I [of 2] contiene: Trece Sonatas. Barcelona: Vidal llimona y Boceta [PN V. LI. 74 y 

B], [1905]. Folio. Original publisher's wrappers printed in red. Preserved in a custom-made full dark red cloth 

clamshell box with black leather label titled in gilt to spine. 1f. (title), iv, 55 pp. With an autograph inscription signed 

from Granados to fellow composer Vincent D'Indy to head of first page of music. Wrappers professionally repaired at 

spine and edge. (19209) 

$2,600.

First Edition. 

The Catalan composer and pianist Granados was a pupil of Joan Pujol, "the leading piano teacher in Barcelona, 

whose pupils also included Albéniz and Ricardo Viñes... Granados also studied... with the eminent Spanish 

musicologist Felipe Pedrell." 

"His founding in 1900 of a classical concert society, for which he sometimes appeared as a conductor, and in 1901 of 

his music school, the Academia Granados, which was also to become an important venue for chamber music, were 

signs of the respect he enjoyed within the Catalan musical establishment. He wrote several pedagogical works, 

including a pedal tutor, but, like many performers, he found teaching a tedious affair, always preferring to 

demonstrate by example. In spite of the burdensome administrative responsibility of running his academy, he 

maintained a high profile as a pianist throughout his career. He appeared frequently in recitals, concerto 

performances and chamber music alongside such prominent figures as Thibaud, Saint-Saëns and Casals, a personal 

friend, for whom he composed several pieces. He became well known for his impromptu improvisations, as a result of 

which concert performances of his works often varied considerably from the printed score, as his numerous 

recordings for Welte-Mignon, made during the early 1900s, testify." 

“By 1907 Granados was well enough known outside Spain to be invited by Fauré to sit on the jury for the Dièmer 

Prize, and in 1909 he began work on what was to become his best-known composition, the piano suite Goyescas." 

"Goyescas represents a rapprochement of different styles which can be found throughout his music, and is notable 

also for its infusion of Scarlattian ornamentation, which pervades the entire luxuriant texture." "Granados’s foremost 

strength was undoubtedly his melodic gift, which can be best appreciated in his songs and piano works." Mark 

Larrad in Grove online. 

Granados autograph material is quite scarce. 

The First English Musical Dictionary 

102. GRASSINEAU, James d. 1767. A Musical Dictionary Containing A full Explanation of all the Terms... Also 

Explanations of the Doctrines of Ancient Music, And... Inquiries into the Nature of Sound... Together with A full 

Description of all the various kinds of Musical Instruments... A New Edition, To Which is Added An Appendix, 

selected from the Dictionnaire de Musique of M. Rousseau... London: J. Robson, 1769. Octavo. Full modern mid-tan 

morocco with raised bands on spine in decorative compartments gilt, red leather label gilt. 1f. (half-title), [i] (title)-xii, 

[344], 1f. (title), 345-[348], 1f. (advertisement), 52 pp. + 4 plates (2 of which are folding). With a leaf of 

contemporary paper bound in before half title, slightly cut down, with the signature of Grassineau, possibly autograph. 

With a printed endorsement of the work by the composers J.C. Pepusch, M. Greene and J.E. Galliard to verso of halftitle. 

Slightly browned; title repaired at inner margin with some paper loss; several minor edge tears. A very good copy 


$550. 

RISM BVI1 p. 375. The first English musical dictionary, first published in 1740. 

"Grassineau was born in London, of French parents. He became secretary to Dr. Pepusch, and by his advice he 

undertook the translation of Brossard's Dictionary. It was on this translation that Grassineau's work was based, but 

with many modifications and additions which gave it a value of its own." Matthew: Literature of Music, p. 147. This 

second edition has an appendix with excerpts from Rousseau's Dictionary, which had been published in 1767. "The 

most important dictionary of music published in Britain until the translation of Rousseau's." TNG Vol. 7 p. 642. 

103. GYROWETZ, Adalbert 1763-1850. Deux Grandes Sonates pour le Piano Forte avec Flûte ou Violon, 

composées et dediées à Madame Josephe Auerhammer... Oeuvre 22md. [Parts]. Offenbach sur le Mein: Jean André 

[PN] 862, [1796]. Oblong and upright folio. Unbound, as issued. 27; 7; 7 pp. Engraved. With early signatures to foot 

of titles. Some minor wear, soiling and staining. (18735) 

$600.

First Edition. Rare. RISM G5526 and GG5526 (2 complete copies only, none in the U.S.). Matthäus/André p. 298. 

Gyrowetz, a noted Bohemian composer and conductor, studied composition with Paisiello and counterpoint with 

Nicola Sala, and was a friend of Mozart. He is credited with helping to create the Romantic style in the early 19th 

century. 

"During his first visit to Vienna, in either late 1785 or 1786, he made the acquaintance of Haydn, Dittersdorf, 

Albrechtsberger and Mozart; he developed a warm relationship with Mozart, who performed one of his symphonies at 

a subscription concert... Escaping the revolutionary fervour of Paris [in 1789], Gyrowetz came to London where he 

spent the next three years... When Haydn arrived in 1791 Gyrowetz helped introduce him to the city's high society... 

After the turn of the century four-movement formats are dominant in his instrumental works, and an understanding of 

unity, balance and proportions is apparent - not within the stylistic parameter of Haydn or Beethoven, but within the 

emerging new Romanticism, a style that he helped to create." Adrienne Simpson in Grove online. 

104. [GYROWETZ]. Pössinger, Franz Alexander 1767-1827. Quartett aus der Oper: Der Augenarzl... übersezt 

von Herrn F. Pössinger. [Set of parts]. Wien: Pietro Mechetti qm Carlo [PN] 77, [1812]. Folio. Contemporary marbled 

wrappers with cut paper labels titled in manuscript to uppers. [1] (title), 19; 19; 17; 17 pp. Engraved. With Viennese 

music seller's handstamp to first page of each part. From the collection of Heinrich von Smetana. Minor to moderate 

foxing. (18497) 

$275. 

Weinmann Mechetti p. 69. Pössinger was a violinist with the Hofkapelle in Veinna from 1798 until his death in 1827. 

Autograph Manuscript of an Unlocated Halévy Work 

105. HALÉVY, Fromental 1799-1862. Cantique [Ma vie un profound silence] for voice and piano. Autograph 

musical manuscript signed and dated [?Paris] 24 May 18[?]4. Folio. Full royal blue silk wrappers laid into custommade 

full dark red morocco boards with the initials "A.P." blind stamped to both, inner dentelles gilt. 4 pp. Notated in 

ink on 26-stave paper issued by Lard-Esnault of rue Feydeau, Paris, signed and dated at conclusion. A working 

manuscript, exhibiting a number of alterations and corrections. Boards slightly worn and rubbed. (19211) 

$3,250. 

Halévy studied with Cherubini, Berton and Méhul at the Conservatoire from an early age, joining the teaching staff 

there in 1827. Like other prominent composers of the period in Paris, Halévy's career was heavily tied to the stage; he 

wrote over 30 operas and ballets, which vied for audiences with the works of Auber and Meyerbeer. 

"His parents were Jewish; his father, Elias Levy, was a scholar and poet from Fürth, and his mother, Julie Meyer, 

came from Malzéville, near Nancy. The family name was changed to Halévy in 1807... In 1811 he became a pupil of 

Cherubini for composition, an important step, for Cherubini showed great interest and confidence in Halévy and 

guided his career with all his considerable influence... Before leaving for Rome he composed, in 1820, a funeral 

march and De profundis in Hebrew on the death of the Duke of Berry, which was performed in a synagogue and later 

published... Having moved to the Opéra as chef du chant, Halévy had his ballet on Prévost’s Manon Lescaut played 

there in 1830 and another ballet, La tentation, two years later. He also wrote four more opéras comiques ñ one of 

them, Ludovic, being the completion of an unfinished opera by Hérold ñ before attempting his first serious grand 

opera, La Juive. This became the greatest success of his life... received its première at the Opéra on 23 February 

1835... and became... one of the central pieces in the French repertory... n the same year Halévy won yet another 

success at the Opéra-Comique, with Líéclair. These two successes gave him a commanding position in the principal 

opera houses of Paris and unquestioned entrée to both for the rest of his life... As an orchestrator Halévy earned the 

praise of Berlioz and was considered an innovator... Wagner held Halévy's work in high esteem." Hugh Macdonald in 

Grove online. 

This piece has not been located in any of the Halévy works lists consulted.

First Edition of Handel’s Rinaldo, 

Handel’s First Opera Composed for the London Stage 

106. HANDEL, George Frideric 1685-1759. [HWV 7a]. Arie dell'opera di Rinaldo. London: J. Walsh... J. Hare, 

[1714]. Tall folio. Full dark brown 18th century calf with raised bands on spine, small decorative red leather label 

titled in gilt to upper. 2ff. (elaborate decorative title, Table of Songs), [i] (blank), 67 pp. Engraved throughout. 

Contains the overture and 34 numbers. The singers [Francesca-Vanini-] Boschi, [Giuseppe Maria] Boschi, Isabella 

[Girardeau], Nicolini [Nicolo Grimaldi], Valentini [Valentino Urbani], Polito [Elisabetta Pilotti-Schiavonetti] and 

[Giuseppe] Cassani are named in the score. With occasional notes regarding instrumentation printed within score. 

With additional 19th century manuscript number containing music found in the Handel Society Edition but not 

included in the Walsh edition. 2 pp. Quarto. With the bookplate of Gilbert Samuel Inglefield, former Lord Mayor of 

London. Binding slightly worn, spine restored. Browned throughout, heavier to edges, first two and last leaves; 

several small marginal edge tears. (19247) 

$4,000. 

First Edition, fourth issue. Smith 4 (p. 57). BUC p. 429. RISM H280. This issue includes the "Harpsicord piece 

Perform'd by Mr. Hendel" not included in either of the first two issues. 

First performed at The King's Theatre in London on February 24th 1711. Libretto by Giacomo Rossi after the 

scenario by Hill after Tasso. 

Handel's first opera composed for the London stage. "The opera was an immediate success with the public, 

particular praise being bestowed on Nicolini and Handel himself, whose playing on the harpsichord, according to 

Mainwaring, "was thought as extraordinary as his Music." Dean and Knapp p. 181. 

Rare First Edition, First Issue of Radamisto, 

with the Arie Aggiunte 

107. HANDEL, George Frideric 1685-1759. [HWV 12]. Il Radamisto Opera Rapresentata nel Regio Teatro 

D'Hay Market. [Score]. London: Publisht by the Author. Printed and Sold by Richard Meares... & by Christopher 

Smith, [1720]. 2ff. (title, verso blank; privilege and dedication to King George I, verso blank), [i] (blank), 1-121 pp. 

Engraved. With 18th century pencilled annotations, including some musical notation; "No 21" stamped to upper outer 

corner of title, indicating a "sale number" (Smith p. 53). With a presentation inscription to head of title dated 1850 and 

manuscript notes to foot of title recording the publication of the work on December 15th 1720 and its performance on 

April 27th 1720. 

Bound with: 

Arie Aggiunte di Radamisto... [1721]. 1f. (title, verso blank), 38 pp. Engraved. Light uniform browning throughout; 

light minor staining to edges. A very good copy overall. (18854) 

$9,750. 

First Edition, first issue of both parts. Rare. With the Privilege not present in some copies. Händel-Handbuch I, 172. 

Smith p. 53 nos. 1 and 2. BUC p. 429. RISM H258 and H261. 

"The printing of the score was heralded by a publicity campaign. A press announcement on 12 July 1720 stated that it 

"is now Engraving finely upon Copper Plates by Richard Meares, Musical Instrument-Maker and Musick-Printer... 

NB To make this Work the more acceptable, the Author has been prevailed with to correct the whole'. On 3 December 

'the Printer presumes to assert that there hath not been in Europe a Piece of Musick so well printed, and upon so good 

Paper'... It appeared on 15 December, fortified by a Privilege of Copyright granted to Handel on 14 June... The name 

of the engraver, Thomas Cross, appears on the last page of the score, which is indeed a handsome volume. Smith's 

name confirms that Handel was concerned in the publication, but there is no proof that he corrected the plates or 

supplied the bass figuring... On 14 March 1721 Meares advertised 'several Additional Songs'... These Arie Aggiunte di 

Radamisto, comprising the ten new arias and duet composed for the December 1720 revival, but not the quartet or

accompanied recitative, were published a week later on 21 March, and the two collections subsequently sold 

together." Dean and Knapp: Handel's Operas, 1704-1726, pp. 365-66. 

"… On April 27, Radamisto, Handel's first opera for the Academy, was presented to a full house, the King and ‘his 

ladies,’ as well as the Prince of Wales, being in the audience. Mainwaring says that ‘several gentlemen were turned 

back, who had offered forty shillings for a seat in the gallery’ (usually selling for two shillings and sixpence). The 

success was tremendous, and indeed Radamisto is one of Handel's great operas. It has a good libretto, and the work is 

well and tightly composed even though the proportions are large. Radamisto contains elaborate instrumental 

numbers, ritornels and preludes, in addition to a wealth of great arias." Lang: Handel, pp. 174-75. 

One of the rarest and most desirable of all Handel's opera scores. 

An Opera “Of English Village Life” 

108. HANDEL, George Frideric 1685-1759. [HWV 66]. Susannah an Oratorio. [Score]. London: I. Walsh, 

[1749]. Folio. Full modern dark green cloth. 2ff. (title, Table of Songs), 94 pp. Engraved throughout. With singers 

Galli, Frasi, Reinhold, Lowe and Sibilla are named within the score. Upper margin of title and lower corner repaired. 

A very good copy overall. (19251) 

$2,250. 

First Edition, variant issue without privilege leaf (as in the Flower copy). Smith 1 (p. 143). Hirsch IV, 785. RISM 

H938. 

"Susanna has suffered more from misunderstanding and misrepresentation than any of the oratorios, with the possible 

exception of Messiah... [It]... is an opera of English village life, and a comic opera at that. Lady Shaftesbury put her 

finger on its essential quality when she wrote to James Harris on the morrow of the first performance (11 February 

1749): 'I... believe it will insinuate itself so much into my approbation as most of Handel's performances do, as it is in 

the light operatic style'. Susanna is no nearer the traditional notion of an oratorio than Die Zauberflöte, Fidelio, or 

Die Meistersinger, all of which carry an extra-musical message on which the composer lays as much stress as Handel 

does in Susanna." Dean: Handel's Dramatic Oratorios and Masques, p. 535. 

First Edition of Hawkins’s History 

109. HAWKINS, John 1719-1789. A General History of the Science and Practice of Music... Volume the First [- 

Fifth]. London: T. Payne and Son, 1776. 5 volumes. Quarto. Full contemporary dark tan calf with gilt rules to edges, 

spines in decorative compartments gilt with red and black labels gilt. With the contemporary engraved armorial 

bookplate of Dacre ("pour bien desirer") by Austin to front pastedowns of all volumes. Vol. I: 1f. (title), 1f. 

(dedication to George the Third), 3ff. (Preface), i-lxxxiv, [1]-465, [i] (blank) pp. + 5 full-page engraved plates. With a 

fine full-page frontispiece by Grignion after Cipriani; Vol. II: 1f. (half-title), 1f. (title), [1]-544 pp.; Vol. III: 1f. (halftitle), 

1f. (title), [1]-535, [i] pp.; Vol. IV: 1f. (half-title), 1f. (title), [1]-548 pp.; Vol. V: 1f. (half-title), 1f. (title), [1]- 

482, [lvii] (index), [i] errata pp. With numerous portraits, extended musical examples, illustrations (including many of 

musical instruments) and diagrams throughout, some engraved. Bindings restored; somewhat worn, rubbed and 

bumped; heads and tails of spines chipped. Some occasional foxing and staining; some offsetting; occasional 

duplication (pp. 65-66 in Vol. I) and mispagination. A unusually good, wide-margined copy overall. (18903) 

$2,200. 

First Edition. Cortot p. 94. Wolffheim II 207. Hirsch I Anhang 30. Gregory-Bartlett p. 119. RISM BVI p. 399. 

"For many years, Hawkins had been accumulating material for a General History of the Science and Practice of 

Music, mainly from his own research in the British Museum (from October 1761 to May 1775); from his own 

extensive collection of manuscripts, which now included much of Pepusch’s library (he probably acquired it in 1763); 

from the Bodleian and college libraries at Oxford and Cambridge; from the private libraries of John Stafford Smith 

and William Boyce; and from information supplied by Horace Walpole, the Rev. William Gostling (son of the famous

ass John Gostling), George Steevens, the Duchess of Portland and others. Hawkins was engaged for 16 years on his 

mammoth task... published complete in November 1776, almost seven months after the publication of the first volume 

of Charles Burney’s rival history... In general Hawkins amazed his contemporaries by his erudition and 

discernment...” 

“A comparison of the histories by Burney and Hawkins is inevitable, although they are complementary rather than 

conflicting. Hawkins’s contains valuable information about early 18th-century musical society in London, largely 

collected from survivors of the period, and emphasizes the achievement of 16th- and early 17th-century composers, 

who were treated condescendingly by Burney. Burney, on the other hand, had a considerably greater knowledge and 

insight into European musical trends and society and his musical analyses are technically superior to those of 

Hawkins. His literary style also was celebrated for its grace and wit, qualities which Hawkins lacked; and his work 

was better organized than Hawkins’s. In many respects, however, Hawkins was a pioneer, to whose work Burney 

owed a great deal although he publicly ignored Hawkins’s accomplishment... Some sections of Burney's History are, 

in fact, based in whole or part on Hawkins's work." Percy A. Scholes in Grove online. 

The barony of Dacre dates from the time of the Norman Conquest; the present copy was quite possibly part of the 

library of Thomas Barrett Lennard (d. 1786), 17th Baron Dacre. Carpenter: Peerage for the People, p. 176. 

A cornerstone of the literature of music history. 

A Fine Collection of Haydn Quartets 

110. HAYDN, Joseph 1732-1809. Collection of Haydn quartets. 

Trois [Six] Quatuors pour deux Violons, Alto et Violoncelle... Oeuvre 32 No. [1 and 2]... Edition revue corrigée et 

dediée à Mr. Nicolas Zmeskall de Domanovetz par l'auteur. [Hob. III, 31, 36, 35, 34, 32 and 33]. [Set of parts]. 

Vienne: Artaria et Comp. [PNs] 848, 849 [1800-1801]. Violin I: [1] (title), 2-19; [i] (title), 2-18 pp.; Violin II: 15, [1] 

(blank); 2-17 pp.; Viola: 13, [1] (blank); 2-16 pp.; Violoncello: 13, [1] (blank), 2-17 pp. Engraved. Second edition. 

Hoboken 7, 547 and 548, RISM H3474 and H3475. 

Bound with: 

Musica Instrumentale sopra le sette ultime Parole del nostro Redentore in Croce o sieno Sette Sonate con un 

Introduzione ed al Fine un Teremoto... Opera 48. [Hob. XX/1B]. [Set of parts]. Vienna: Artaria Compagni [PNs 113, 

114] [1787]. Violin I: 1f. (title, v. blank), 9 pp.; Violin II: [1] (blank), 2-10 pp.; Viola: [1] (blank), 2-10 pp.; 

Violoncello: [1] (blank), 2-10 pp. Engraved. Plate number 114 occurs in addition to plate number 113 on certain pages 

only. With a date of February 28, 1798 in manuscript to title, price in manuscript, and manuscript numbering to pages. 

First Edition of this arrangement. Hoboken 8, 1244. RISM H3503. 

Bound with: 

[Quartetto 1mo a due Violini, Viola, e Violoncello]. [Hob. III, 43]. [Set of parts]. [Vienne: Hoffmeister, PN 32]. 

[January 1786]. 4; 4; 3; 3 pp. Engraved. First Edition. Without a separate title page, apparently as issued. Weinmann: 

Hoffmeister, p. 49. Hoboken Werkverzeichnis I, p. 402. Not in Hoboken catalogue. RISM H3488 and HH3488 (no 

copies recorded in the U.S.). 

Bound with: 

Deux Quatuors... composé et dediés A Son Altesse Monseigneur le Prince Regnant de Lobkowitz... Oeuvre 77. [Hob. 

III, 81-82]. [Set of parts]. Vienne: Artaria [PN] 898 [1802]. [1] (title), 2-17; [1] (blank), 2-13; 11; [1] (blank), 2-11 pp. 

Engraved. With manuscript numbering to pages. Haydn's name in red ink to first page of music of 3 parts; last leaf of 

first violin part with slight to moderate foxing, most noticeable to blank verso. First Edition. Hoboken 7, 671. RISM 

H3582 and HH3582 (one copy only recorded in the U.S.). 

Bound with: 

3me et Dernier Quatuor... Oeuvre 77. [Op. 103]. [Hob. III, 83]. [Set of parts]. Vienne: Artaria et Compag. [PN] 1879 

[1807]. [1] (title), 2-5; 3; 3; 3 pp. Engraved. With page numbering and "Haydn" in manuscript to each part. Published 

one year after the first edition. Hoboken 7, 671. RISM H3596 (no copies recorded in the U.S.).

4 volumes. Folio. Marbled boards. Preserved in a custom-made full green cloth folder and slipcase with red leather 

label gilt to spine. Occasional very minor blemishes, but in a very good state of preservation overall. (18945) 

$4,200. 

"Joseph Haydn accepted the challenge which the string quartet offered him. From the beginning of his creative life, 

through the formative years, to the age of full maturity and beyond, he wrestled with the problems that the 

combination of four stringed instruments imposed on his imagination. It might well be argued that he wrote more 

symphonies than quartets, but he did not invent the symphony whereas there is little doubt that he did invent the string 

quartet as we know it today. " Barrett-Ayres: Joseph Haydn and the String Quartet, p. 1. 

Of particular interest in this collection is the presence of op. 77, the last complete quartet Haydn composed and a fine 

example of his mastery. At the conclusion of op. 103, Haydn prophetically instructed the publisher to print an excerpt 

from one of his four-part songs, "Gone is all my strength, old and weak am I...". 

111. HAYDN, Joseph 1732-1809. Quintetto Cassatio in G per due Violini due Viole obligate e Basso... No. [3]. 

[Parts]. Bonn: N. Simrock [PN] 3021, [1833-34]. Folio. Disbound. 7; 6; 6; 6; 5 pp. Engraved. Somewhat browned and 

foxed. (18761) 

$475. 

First Edition. Hoboken II, 2. Hoboken 7, 478. RISM H3327. 

The autograph of this work is untraced. 

112. HAYDN, Joseph 1732-1809. Die Jahreszeiten. Oratorium für 2 Violinen, Viola und Violoncell... [Parts]. 

Wien: Tobias Haslinger [PN] 6123, [1833]. Folio. Unbound. 60; 60; 55; 49 pp. Engraved. Title to cello part. With text 

in German and French. Some soiling; tears to title repaired; repairs to margins of final leaf of cello part. A very good 


$475. 

Wienmann: Senefleder-Steiner-Haslinger 2, p. 51. Hoboken XXI, 3. Not in Hoboken catalogue. 

"The private première [of The Seasons] at the Schwarzenberg Palace took place on 24 April 1801, the first public 

production on 19 May. Although the initial reception of The Seasons was favourable - Haydn wrote to Clementi that it 

had enjoyed 'unanimous approval' and that 'many prefer it to The Creation, because of its greater variety' - critical 

opinion soon became mixed, owing in part to its perceived 'lower' subject, in part to a growing aesthetic resistance to 

its many pictorialisms. Haydn himself contributed to both strands of criticism... Nevertheless he maintained that it 

would join The Creation in assuring his lasting fame." James Webster in Grove online. 

With the Composer’s Autograph Signature 

113. HAYDN, Joseph 1732-1809. VI Original Canzonettas, for the Voice with an Accompaniment for the Piano- 

Forte Dedicated to Mrs. John Hunter. [Hob. XXVIa:25-30]. [London]: 

Printed for the Author, & Sold by him [and] Messrs. Corri, Dussek & Co. Music Sellers to her Majesty, [June 1794]. 

Folio. Tastefully bound in quarter dark brown mottled calf with marbled boards with spine in compartments gilt, dark 

red leather label gilt. [1] (title), 2-31 (engraved music), [i] (blank) pp. With the clear and attractive autograph signature 

("Haydn") and paraph of the composer to lower right-hand corner of title. Contains six songs I. The Mermaids[!] 

Song; II. Recollection; III. A Pastoral Song; IV. Despair; V. Pleasing Pains; VI. Fidelity, all Haydn's settings of texts 

by the dedicatee, Mrs. (Anne) Hunter, talented poetess and wife of the famous London surgeon John Hunter (1728- 

1793). Some very minor foxing; a few small ink stains and one small smudge to title. A very good copy overall. 

(18907) 

$12,500.

First Edition, first issue. Hoboken 9, 1525. BUC p. 457. RISM H2656. In the earliest issues (such as the present 

copy), the title of the fifth song is left blank; it appears as Pleasing Pains in later issues. 

"It seems clear that Haydn's intention was to compose technically easy songs which could be sung at sight by any 

educated music-lover and played on the piano a prima vista by the average lady of musical inclination. This appeal to 

the amateur had also marked Haydn's German Lieder of the 1780s, which were technically even simpler... Haydn's 

earlier Lieder had not been entirely successful, for the texts were generally second-rate... The English texts by Mrs. 

Hunter, although in the pastoral-cum-sentimental English tradition, are far better than Haydn's previous German 

texts. Musically, too, the English Canzonettas are worlds away from the kleinbürgerliche literary trash which Haydn, 

who like Leonardo, used to call himself 'un uoma senza letters', indiscriminately set to music...". Robbins Landon: 

Haydn: Chronicle and Works. Haydn in England 1791-1795, pp. 377-378. 

"... Haydn, alone of living composers, had entered the programmes of the Antient Music in 1794. Now, a year later, 

we find him still represented. The Sun of 30 January 1795, reviewing a concert of Antient Music the day before, tells 

us that 'A beautiful new canzonet by Haydn, sung by Miss Poole, was very much admired...'. The work in question was 

obviously one of the Six Canzonettas published in 1794." Robbins Landon, pp. 285-286. 

114. HAYDN, Joseph 1732-1809. [Quatuors complets de Joseph Haydn. Edition en Partition]. [Hob. Coll. Qu. 8]. 

Berlin: Trautwein et Comp. [PNs 695-882], 1840-1845. 6 volumes. Octavo. 19th century quarter dark red calf with 

marbled boards. Engraved. With separate titles to each quartet (no collective title present). Preceded by "Deux Tables 

Thematiques et Chronologiques de Quatuors," 1f., iv, 6, 6 pp. Bindings slightly worn and rubbed. Minor foxing and 

browning. In very good condition overall. (18940) 

$850. 

This collection was issued over a 5-year period in monthly installments. The two thematic indices were issued to 

subscribers only. For a full description of the collection see Hoboken Werkverzeichnis Coll. Qu. 8 [Vol. III, pp. 52-54] 

and Hoboken 7, 780-855. 

Fine Original Portrait of Roland Hayes by Lupas, 

With Hayes’s Autograph Signature 

115. HAYES, Roland 1887-1976. Fine large original drawing in black and white charcoal on blue/gray paper by 

Louis Lupas, a 20th century American artist particularly known for his portraits of musicians, celebrities and 

politicians A portrait of the noted African-American opera singer Roland Hayes as a young man. Signed by the artist 

in charcoal at lower left. Image size approximately 320 x 220 mm., sheet size approximately 410 x 318 mm. No place 

or date, but ca. 1925. With the large autograph signature of Roland Hayes in pencil above artist's signature. Paper 

slightly browned, most noticeably at edges; traces of mounting adhesive to corners and verso. (18963) 

$2,500. 

Hayes was born in Curryville, Georgia and died in Boston. A tenor, "he received his general education at Fisk 

University and had several singing teachers, including Arthur J. Hubbard, Sir George Henschel and Victor Beigel. He 

made concert tours throughout the USA (1916-20) and in 1921 went to Europe, where he gave recitals and appeared 

with major orchestras in London, Paris, Amsterdam, Berlin and Vienna. An outstanding interpreter of black American 

spirituals, he was equally successful in the classics and the music of Schubert, Schumann, Brahms, Debussy and 

Fauré. His sensitive voice and eloquent delivery contributed to an effective performance style. He made a few 

appearances as late as the 1960s. Hayes was awarded honorary doctorates at Fisk University and Ohio Wesleyan 

University. He published arrangements of a number of spirituals as My Sons (Boston, 1948)." Max de Schauensee in 

Grove online.

Fine Original Photographic Portrait, 

Signed by Herbert and with an Autograph Musical Quotation 

116. HERBERT, Victor 1859-1924. Original photograph, inscribed and signed in full, dated February 1919. An 

attractive vintage three-quarter length portrait of Herbert, pen in hand, by White Studios in New York. Image size 228 

x 176 mm. With a 3-bar autograph musical quotation from Herbert's opera Natoma to upper left corner. Very slightly 

silvered. (19058) 

$650. 

Herbert, an American composer, conductor and cellist of Irish birth, was "the most talented and successful American 

operetta composer and important also as an advocate of copyright and performance-rights protection for 

composers...” 

“With his thorough musical training and extensive theatrical experience, Herbert naturally wished to compose a 

serious opera. Because of his popularity, the mere announcement that he had signed a contract with Oscar 

Hammerstein I to produce a grand opera and that the impresario had offered $1000 for a libretto (Musical America, 

13 April 1907) triggered nationwide speculation and enthusiasm. The choice of libretto and the progress of the 

composition and production were followed eagerly by the press, raising expectations that could hardly be filled with 

even the most glorious of successes. Although Natoma was produced with great care and with a cast featuring John 

McCormack and Mary Garden, the première in 1911 enjoyed only a succès díestime, mainly because of the weakness 

of Joseph Redding’s book and the use of French, Irish and Italian singers in what was proclaimed as an American 

opera (it is set on the Californian coast in the 1820s and concerns the love of an American naval officer for an 

Amerindian princess). Herbert, an ardent admirer of Wagner, wrote a score that effectively mingled leitmotif 

construction in a continuing orchestral counterpoint with colourful and melodious set pieces." Steven Ledbetter in 

Grove online. 

Bernard Herrmann, 

Noted Film Composer and Conductor 

117. HERRMANN, Bernard 1911-1975. Autograph manuscript transcription of an "Andantino" by English 

composer James Hook (1746-1827). 1 leaf (2 pages). Notated in both ink and pencil in piano score on 12-stave music 

manuscript paper issued by RKO Radio Pictures, Inc. N.p., n.d., but probably New York, ca. 1940. With a note in 

Herrmann's hand to upper margin: "(... the original MSS was so poorly preserved I though it best to copy it. However I 

have the original here.)". Slightly worn and creased; small edge tears. (19269) 

$650. 

An American composer and conductor, Herrmann is possibly best known for his collaboration with filmmaker Alfred 

Hitchcock for whom he composed scores for a number of notable films including Citizen Kane, Psycho, Vertigo, North 

by Northwest, Fahrenheit 451, Journey to the Center of the Earth and Taxi Driver. He had a particular interest in the 

music of English composers and made arrangements of a number of works by composers including Purcell and Elgar. 

118. HOFFMEISTER, Franz Anton 1754-1812. Trois Sonates Pour le Clavecin ou Piano Forte avec un Violon 

Obligé Composées et Dediées A Monsieur J. Partisch... Oeuvre XXV. [Parts]. Berlin: J.J. Hummel [PN] 1071, [ca. 

1798]. Folio. Unbound. 31; 11 pp. Engraved. With attractive engraved title. Spine to piano part reinforced with paper 

tape, slightly split; final page (blank) to both parts with old tape repairs; impression to titles slightly light. (18760) 

$325. 

Very rare. RISM H6146 (2 copies only, with none in the U.S., U.K., France or Germany). 

119. HOOK, James 1746-1827. [Op. 24]. The Hermit Written by the late Celebrated Dr. Goldsmith... Adapted for 

Two Violins, Voice & Harpsichord... Opera XXIV. [Score]. London: S.A. & P. Thompson, [1782]. Folio. 1f. (title), 

[1] (text of the poem), 2-19 pp. Engraved. With fine engraved pictorial vignette to title. A cantata consisting of

ecitatives, arias, duets and choruses in 11 musical numbers in total. From the collection of the noted American film 

composer and conductor Bernard Hermann (1911-1975). Disbound. (19273) 

$200. 

First Edition. BUC p. 497. RISM H6859. 

120. HOOK, James 1746-1827. [Op. 33]. Twelve Divertimentos, for the Harpsichord or Piano Forte, With an 

Accompaniment for a Violin or German Flute, (for the use of Scholars) Dedicated to the Right Honorable Lady 

Isabella Turnour... Opera XXXIII. [Score]. London: T. Skillern, [1784]. Oblong octavo. Full mid-tan mottled calf. 1f. 

(title), [i] (blank), 2-55 pp. Engraved. From the collection of the noted American film composer and conductor 

Bernard Hermann (1911-1975). Binding worn; boards detached; spine chipped. Several small edge tears; page 

numbers trimmed in several instances. A very good copy overall. (19271) 

$485. 

First Edition. Very rare. BUC p. 504. RISM H7338 (one copy only, at the British library). "Hook was conversant with 

the musical styles of his day and successfully exploited the style galant... Chamber music, sonatas for keyboard 

instruments, with or without accompaniment, are included in [his] vast output... Much of his music... particularly the 

keyboard works, is charming and can bear revival." Pamela McGairl in Grove online 

121. HOOK, James 1746-1827. [Op. 52]. The Wreath a Collection of Arietts for the Voice and Harpsichord 

Composed & Humbly dedicated with Permission to Her Grace the Dutchess of Devonshire... Op. 52. London: 

Longman & Broderip, [1788]. Oblong folio. Contemporary marbled wrappers. 1f. (title within an elaborately engraved 

border by John Strongitharm), [1] (blank), 2-19 pp. Engraved. From the collection of the noted American film 

composer and conductor Bernard Herrmann (1911-1975). Wrappers slightly worn; lacking at spine. (19270) 

$400. 

First Edition. BUC p. 494. RISM H6637 (no copies in U.S. libraries). Hook was a prolific composer of songs, 

especially for the "pleasure gardens" of London and its environs. 

Rare Complete Set of Hook’s Settings of Nursery Rhymes 

122. HOOK, James 1746-1827. [Op. 86]. A Christmas Box containing the following Bagatelles Goosy Goosy 

Gander, See Saw Margery Daw, Little Jack Horner Sat in a Corner, Hey Diddle Diddle The Cat & the Fiddle, Tell 

Tale Tit, How Does my ladies Garden Grow, Hot Cross Bunns, Three Children Sliding on the Ice, Hushaby Baby 

upon the Tree Top, Who Comes here, a Grenadier, See Saw Saccaradaw, Make a Cake make a Cake Bakers Man. 

London: A. Bland & Weller’s [1797]. Folio. 1f. (title within decorative oval border), 13 pp. Engraved. With 

manuscript index to verso of first leaf. Disbound. Old paper tape to spine. First Edition. BUC p. 494. RISM H6605. 

With: 

Second Volume of Christmas Box Containing the Following Bagatelles for Juvenile Amusement High ding a ding, 

Christmas comes but once a Yr., Little Tom Tucker, Little Robin Red-breast, Rub a dub dub, I’ll sing a Song of 

Sixpence, Little Boy Blue, Gooseberrys Grow on an Angry Tree, When I was a Little Boy, Robin a Bobin a Bilberry 

Hen, There was an Old Woman liv’d, There were Two Blackbirds. London: A. Bland & Weller [WM 1814]. 1f. (title 

within decorative border), 14 pp. Engraved. Cloth tape to spine. BUC p. 494 (edition of 1798). RISM H6606 and 

HH6606 (one copy only recorded in the U.S.). 

With: 

Hook’s Original Christmas Box Vol. III. Containing When Cockle Shells turn silver bells, Ba Ba Black Sheep, Taffy 

was a Welchman, My Poor Robin, There was two little Birds, Richd. & Robin were 2 Pretty men, Ding Dong Bell, Up 

Stairs Down Stairs, Little Musgrave & Marian, Old Father Grey Beard, There was an old woman, Come Butters 

Come… Op. 86. London; Bland & Weller [WM 1813]. Folio. 1f. (title within decorative border), 14 pp. Engraved. 

BUC p. 494 (edition of 1798). RISM H6607 (no copies recorded in the U.S.). (19274) 

$1,100.

Settings for two or three voices and keyboard or harp. 

From the collection of the noted American film composer and conductor Bernard Herrmann (1911-1975). 

It is very rare to find a complete set of Hook’s settings of these nursery rhymes. 

123. HOOK, James 1746-1827. The Hours of Love, A Collection of Sonnets, Containing Morning, Noon, 

Evening, and Night... Properly Adapted for the Voice, Harpsicord, Violin, German Flute or Guitar. A New Edition. 

London: S.A. & P. Thompson, [1781]. Oblong folio. Modern card wrappers titled in manuscript to upper. 1f. (title), 

[1] (blank), 9 pp. Engraved. BUC p. 494. RISM H6613. 

Bound with: 

- Stevens, Richard John Samuel 1757-1837. Fairy Glee for Four Voices as Performed at Messrs. Harrison & 

Knywells Vocal Concerts, The Poetry Attributed To Ben Johnson. London: Printed for the Author [ca. 1800-1810]. 7 

pp. Engraved. With the composer's [?]autograph signature to foot of first page. "[Stevens's] glees are among the most 

polished of their time." Grove online. 

- Callcott, John Wall 1766-1821. The May Fly. [London]: Printed for the Author, Jany. 19th 1801. 5 pp. Engraved. 

- The Fryar of Orders Gray. N.p., n.d. [London, ca. 1800]. [1] (blank), 2-5 pp. Engraved. 

- Warren, Edmund Thomas ca. 1730-1794. The Chearfull Glee which gained a Prize Medal on the 4th of May 1790 

Thus early Published for the use of the Noblemen and Gentlemen, Members of the Catch Club... June 7th 1790. 

[London]: Longman and Broderip, 1790. 4 pp. Engraved. Warren was a noted publisher of glees. 

From the collection of the noted American film composer and conductor Bernard Herrmann (1911-1975). Wrappers 

taped at spine. (19272) 

$285. 

124. HUMMEL, Johann Nepomuk 1778-1837. [Op. 5]. Trois sonates pour le Piano Forte. Les deux premieres 

avec Accompagnement d'un Violon, la troisiemée avec Alta Viola obligé... Oeuvre 5. [Parts]. Vienne: Artaria et 

Comp. [PN] 2390, [1815]. Oblong folio. Unbound, as issued. 1f. (title within decorative border), 39; [1] (blank), 2-17 

pp. Engraved. Slightly foxed and stained; minor imperfections. (18952) 

$275. 

First published in 1798. Weinmann: Artaria p. 111. Zimmerschied p. 25. "[Hummel's] style, which is most modern in 

works employing the piano, followed a straight path of development throughout his lifetime, although after his return 

to the concert stage in 1814 his compositions expanded considerably in expressive range, harmonic and melodic 

variety, and brilliance." Joel Sachs in Grove online. 

Charles Ives Autograph Material, 

Exceptionally Rare to the Market 

Items 125 - 130 

“Good Modern Rag?” 

125. IVES, Charles 1874-1954. A printed edition of Zez Confrey's work for solo piano, Kitten on the Keys, with 

autograph annotations by Ives in his characteristically colourful, often cryptic, and somewhat irreverent style. New 

York: Jack Mills, [c1921]. Pp. 3-6 music. With 3-line autograph annotation by Ives in pencil to head, signed with his 

initials: "This was handed to me by Eddie Rosenberg, as good modern rag [?] New Haven before 1898 I had seen, 

heard, played (& written, excuse!) better "rag" newer rag than this." Music somewhat worn, browned, soiled, and 

creased; splitting at folds; some small tears and chips not seriously affecting text; brown staining not affecting 

autograph. (19238) 

$1,750.

[Ives's] music is marked by an integration of American and European musical traditions, innovations in rhythm, 

harmony and form, and an unparalleled ability to evoke the sounds and feelings of American life. He is regarded as 

the leading American composer of art music of the 20th century..." 

"[He] had an extraordinary working life. After professional training as an organist and composer, he worked in 

insurance for 30 years, composing in his free time. He used a wide variety of styles, from tonal Romanticism to 

radical experimentation, even in pieces written during the same period. His major works often took years from first 

sketch to final revisions, and most pieces lay unperformed for decades. His self-publications in the early 1920s 

brought a small group of admirers who worked to promote his music. He soon ceased to compose new works, 

focussing instead on revising and preparing for performance the works he had already drafted. By his death he had 

received many performances and honours, and much of his music had been published. His reputation continued to 

grow posthumously, and by his centenary in 1974 he was recognized worldwide as the first composer to create a 

distinctively American art music. Since then his music has been frequently performed and recorded and his reputation 

has broadened further, resting less on his innovations and nationality and more on the intrinsic merits of his music." 

"The unique circumstances of Ives’s career have bred misunderstandings. His work in insurance, combined with the 

diversity of his output and the small number of performances during his composing years, led to an image of Ives as 

an amateur. Yet he had a 14-year career as a professional organist and thorough formal training in composition. 

Since he developed as a composer out of the public eye, his mature works seemed radical and unconnected to the past 

when they were first published and performed. However, as his earlier music has become known, his deep roots in 

19th-century European Romanticism and his gradual development of a highly personal modern idiom have become 

clear." J. Peter Burkholder et al in Grove online. 

Zez Confrey [Edward Elzear] (1895-1972) was an American composer and pianist. He studied at Chicago Musical 

College, formed a touring orchestra, was an arranger for piano-roll companies, and developed a popular style known 

as "novelty piano," combining classical piano technique with syncopated rhythms and peppy tunes. Among his most 

popular pieces were Kitten on the Keys (1921), performed at Paul Whiteman's Aeolian Hall concert on 12 February 

1924. 

“Words & Music Like This Are Doing More Harm to American Music 

Than Poisoned Candy Does to a 1 Year Old Stomach!” 

126. IVES, Charles 1874-1954. A printed edition of B. Sherman Fowler's Do Dreams Come True, with autograph 

annotation by Ives in the composer's characteristically colourful, often cryptic, and somewhat irreverent style. New 

York: Carl Fischer, [c1921]. [1] (title, printed in green ink), pp. 2-5 music, [i] publisher's advertisements, printed in 

green ink). With autograph annotation in ink to title-page, signed with Ives's initials: "Worse than Cadman & Dreams 

Taylor! What? $1000. (cash) will be paid to anyone, who can point to any valuable thing, or to one semi-virtue in this 

g-d-rotten song!" With additional autograph annotation by Ives in ink to head of first page of music, signed with his 

initials and dated 2 April 1922: "Words & music like this are doing more harm to American music, that[!n] poisoned 

candy does to a 1 year old stomach!" Ives goes on to comment on the sentimentality of the music, calling it "stupid 

from every moral & intellectual standpoint." Together with an autograph note on an excerpt from the periodical 

Musical Field with a testimonial by "George Reimherr, Prominent American Tenor " relative to the song: "This adv - 

this song, words & music is an insult to even a sub-normal musical intelligence! Musical Field a Trade paper Mch 

1922." Slightly worn, browned, soiled and creased; small tears and chips not affecting text; leaves separated. (19239) 

$4,000. 

“WEAK – CISSY – EAR sounds…” 

127. IVES, Charles 1874-1954. Upper wrappers to works by Viotti and Clementi with autograph annotations by 

Ives in the composer's characteristically colourful, often cryptic, and somewhat irreverent style. Viotti: Upper wrapper 

only to Schirmer's Library Vol. 444 Viotti Concerto No. 23 in G Major for Violin, annotated in pencil: "WEAK - 

CISSY - EAR sounds - NOT MUSIC an EMASCULATED art. Commercial Publishers - like Schirmer - sell to 

MENTAL CISSIS Aural Cowards." Soiled; heavy brown staining to outer margin affecting several words of text; outer

portion of leaf lacking. Clementi: Upper wrapper only to Schirmer's Library Vol. 40 Clementi Sonatinas, annotated in 

pencil: "Same as VIOTTI - perhaps WEAKER," followed by a small doodle in pencil. Browned and lightly stained; 

chips and tears to edges. (19244) 

$1,200. 

Ives Writes on the Insurance Business, 

Providing Valuable Insight into his General Philosophies 

128. IVES, Charles 1874-1954. Autograph draft of an essay extolling the virtues of the insurance business for 

prospective employees of Ives & Myrick. Folio (355 x 215 mm). 1 page, in ink. With a number of autograph 

corrections, deletions, etc. Headed by a quote from [Ralph Waldo] Emerson, a major influence on Ives: "I appeal from 

your customs. I must be myself" - says Emerson in his "Self-Reliance." In part: "There is a tendency, today, to 

minimize the individual and to exaggerate the machinelike customs of business. Some men (are so constituted that 

they) fit quite naturally into a mechanistic system, while other feel, (instinctively) that their individuality will be or is 

being, gradually standardized out of them. They are becoming a "cog" & they do not want to be a "cog." Work in the 

life insurance field, certainly, doesn't cramp individuality, ingenuity or initiative. Men of character, who are capable 

of sustained hard work, who like to overcome obstacles, by their mind & personality, who are interested in human, 

nature, may well consider the profession of life insurance." [Signed] I[ves] & M[yrick]. With printed Ives & Myrick 

testimonials to verso, with "Mutual of New York Library Historical Collection" stamped in red ink to upper margin. 

Slightly worn, soiled and stained; creased and partially split at folds; minor tears to edges. (19242) 

$6,000. 

Ives founded his insurance company with Julian S. Myrick in 1907. 

This document provides valuable insight into Ives's personality and philosophies. 

A Lengthy Autograph Essay 

129. IVES, Charles 1874-1954. Autograph draft of an essay for "Eastern Underwriter" "Gold Book" Edition. 

Folio (305 x 200 mm). 4-1/2 pp., in ink on lined paper, with "Mutual of New York Library Historical Collection" 

stamped in red ink to head of first leaf. Dated 1922 in Ives's hand. A methodical and detailed commentary on 

business/personal/life insurance. With a number of autograph corrections, deletions, etc. In part: "You are kind enough 

to ask us to outline some plan of selling business insurance. This is not a "selling talk" but the basis of all selling talks, 

where this method of solicitation is used. It is seen, that approaching business insurance, from this angle, may tend to 

throw the prospect's mind in a concrete way, towards what his business interest, must do for the family, and away 

from general assumptions, vague hopes, and casual expectations of what it may do for the family, if things happen to 

go along as he hopes they will. As soon as a man of responsibility and character tries to put down a definite estimate 

of what his business will do in the future (while he is a good many miles away from it - forever) he will begin to feel 

the seriousness of his problem - he will begin to see that life insurance is an important - perhaps the only stabilizing 

factor. A thorough knowledge of the plan, in detail, and a little intelligent practice will result in helpful selling talks." 

[Signed] Ives & Myrick, with address information. Some wear and browning, especially to first leaf; creased at folds, 

with some folds splitting; edges slightly chipped; pin-holes to upper outer corners; several old tape repairs to blank 

versos. (19241) 

$9,000. 

First Edition, First Issue of 114 Songs 

130. IVES, Charles Edward 1874-1954. 114 Songs. [Redding, Connecticut]: [C.E. Ives], 1922. Folio. Original 

green cloth-backed green boards with titling in black to upper, printed paper label to spine. 1f. (title), [i]-[iii] (index), 

[iv] (imprint), 259, [iii] (notes), [i] (imprint) pp. (pp. 37-39 blank, as in all copies of the first issue). Binding slightly 

worn, rubbed, bumped and soiled; endpapers lightly foxed. Title slightly foxed; very occasional light foxing 

throughout; blank margins very lightly browned; some small holes to final blank. (19193) 

$2,200.

First Edition, first issue. Rare. One of only 500 copies printed for Ives by G. Schirmer in August of 1922. Sinclair p. 

658. 

"Between 1919 and 1921 Ives gathered most of his songs, including 20 new ones, 20 adapted to new texts, and 36 

newly arranged from works for chorus or instruments, into a book of 114 Songs, privately printed in 1922. Many of 

the songs use words by Ives or by Harmony, while others set a wide range of texts, from the great English and 

American poets Ives studied with Phelps at Yale to hymns and poems he found in newspapers, or other such sources. 

The volume encompasses the diversity of Ives’s output, from the vast clusters that open Majority and the quartal 

chords and whole-tone melody of The Cage to his German lieder and parlour songs from the 1890s. The late songs 

include a new style for Ives: more restrained, simpler, and with less overt quotation, although still often dissonant and 

full of contrasts used to delineate phrases and highlight the text... Once again Ives distributed his publication to 

musicians and critics, hoping to attract some interest, with little initial success; Sousa found some songs ‘most 

startling to a man educated by the harmonic methods of our forefathers’, and the Musical Courier called Ives ‘the 

American Satie, joker par excellence’. Nevertheless, several of the songs were given their premières in recitals in 

Danbury, New York and New Orleans, between 1922 and 1924." J. Peter Burkholder et al in Grove online. 

Jerome Kern Working Manuscript 

131. KERN, Jerome 1885-1945. Autograph musical manuscript sketch leaf 17 measures in keyboard score of an 

unidentifed work, most probably from a piece for musical theatre. Folio (ca. 342 x 232 mm). Notated in pencil on the 

upper half of a leaf of 12-stave musical manuscript paper. Marked "Insertion Act II Scene 3. page 9. Valse lente 

Melos" at head and "Valse, subito con animazione" at conclusion, with additional annotations in blue pencil to first 

bar and at conclusion "Continue as original." A working manuscript. N.p., n.d.. ?Ca. 1925-1935. Slightly worn; 

creased at central fold; minor edge tears and chips. (19208) 

$3,500. 

"[Kern] was one of the most significant composers in the history of American popular musical theatre. His songs 

established a pattern for American show songs, and his theatre scores provided the bridge by which the 19th-century 

Ruritanian operetta style evolved into that of the specifically 20th-century American musical, with its close integration 

of book, lyrics and music." Ronald Byrnside and Andrew Lamb in Grove online. 

Working manuscripts in Kern's autograph are very rare to the market. 

A Cornerstone of 17 th Century Musical Literature 

132. KIRCHER, Athanasius 1601-1680. Musurgia Universalis sive ars magna consoni et dissoni in X libros 

digesta. Qua universa sonorum doctrina, et philosophia, musicaeque... aperiuntur et demonstrantur. Tomus I [-II qui 

continet... musicam mirificam... magiam consoni et dissoni... harmoniam mundi]. Rome: Francesco Corbelletti [II 

Ludovico Grignani], 1650. 2 volumes. Folio. Early mid-tan half calf with marbled boards with spine in decorative 

compartments and leather title labels gilt. 

Volume I: 

1f. (fine full-page engraved pictorial title by Baronius after a drawing by Paul Schor, incorporating a Canon Angelicus 

for 9 choirs of 36 voices), 1f. (recto title with vignette, verso contents), 1f. (fine full-page dedicatory engraving of 

Leopold-Guillaume, Archduke of Austria, by Paul Ponti after Paul Schor, dated 1649), 9ff., 690 (=692) pp. + 11 

numbered plates (I-X, XIII) printed on one side of each of 10 leaves. 

Volume II: 

2ff. (title with vignette, fine full-page engraved frontispiece), 462 pp. + 18 ff. (indexes and errata) + 12 numbered 

plates (XI-XII, XIV-XXIII) printed on one side of each of 11 leaves. 

The two volumes thus contain 3 unnumbered full-page plates together with 23 numbered plates printed on 21 leaves 

(plates IV and V are printed on a single leaf, as are plates XI and XII).

The plates are all finely engraved and illustrate a variety of musical instruments including the harpsichord, organ, 

strings and winds. With numerous woodcut illustrations, diagrams, tables, etc. within text, including many of musical 

instruments. Musical examples printed typographically in diamond-head notation, including many of various musical 

forms including multiple contrapuntal part-writing. Occasional early manuscript annotations, including corrections to 

pp. 88, 89, 308 of Volume I and pp. 94, 96, 105 and 108 of Volume II and early ownership signature to upper outer 

corner of title (slightly trimmed), most probably in the same hand. Binding refurbished; corners and edges somewhat 

worn. Some browning, spotting and occasional minor staining and edges tears; several marginal tears repaired; some 

mispagination to Volume I at pp. 554-560 and errors in pagination from page 577 on. (19201) 

$12,500. 

First Edition. Damschroder pp. 139-140. Cortot pp. 99-100. Hirsch I, 266. Gregory-Bartlett I, p. 135. Wolffheim I, 

732. RISM BVI p. 449. 

An extraordinary undertaking by this Jesuit polymath, sometimes referred to as "the last Renaissance man," author of 

approximately 40 works in a diversity of disciplines. The Musurgia was an attempt to present the entire body of 

musical knowledge up to Kircher's time, and is particularly valuable for both its engraved plates of musical 

instruments and its inclusion of extensive musical examples, many of which are complete 16th and 17th century works 

chosen to illustrate various styles. The work is widely considered to have been a great success, with Kircher's wideranging 

and insightful scholarship. 

"... Musurgia universalis, one of the really influential works of music theory, was drawn upon by almost every later 

German music theorist until well into the 18th century... Much of Kircher’s contrapuntal doctrine derives from 

Zarlino, and in this and some other respects Musurgia universalis presents a synthesis of 16th- and 17th-century 

Italian and German compositional practices. A specifically German feature, however, is the description of the 

affective nature of music, in which Kircher brought the concept of musica pathetica into relation with the formal 

constructive elements of rhetorical doctrine..." 

"... His ideas concerning the classification of musical styles, based on sociological as well as national characteristics, 

are also original and important for the study of Baroque music... Although he was apparently not a practising 

musician he was able to identify the best music composed and performed in his own (and earlier) times. In Musurgia 

universalis he quoted frequently extensive music examples from composers such as Agazzari, Gregorio Allegri, 

Carissimi, Froberger, Gesualdo, Kapsberger, Domenico Mazzocchi and Morales. Other aspects of his treatise that 

contribute to an understanding of 17th-century musical thought include the lengthy discussions of acoustics, musical 

instruments..., the history of music in ancient cultures and the therapeutic value of music." George J. Buelow in Grove 

online. 

Copies of this monumental work are often found to be lacking one or more plates and, in addition, are usually quite 

trimmed. The present copy is complete and has good margins throughout. 

Steve Lacy Archive 

133. LACY, Steve 1934-2004. The complete archive of musical and textual manuscripts, etc., of the highly 

innovative American composer and soprano saxophonist. Closely identified with free-jazz and the avant-garde, Lacy 

is considered one of the foremost performers on the soprano saxophone and, in fact, inspired John Coltrane to adopt 

the instrument. His highly individualistic writing for the instrument is legendary. Lacy worked with many of the most 

distinguished figures in jazz of the period, including Thelonius Monk (possibly his greatest inspiration), and also with 

Cecil Taylor, Gil Evans, and Don Cherry. His compositions include works for solo instruments as well as for both 

large and small ensembles. He also composed more than 125 songs, many to texts by contemporary poets. Those with 

whom he was most closely associated include Robert Creeley and Brion Gysin; he also drew upon the works of many 

other writers, including the "Beat" poet William S. Burroughs. He enjoyed an extremely close working relationship 

with his cellist-singer wife Irène Aebi for close to four decades who, with her unique vocal style, was a strong 

influence on his writing. The archive contains autograph musical manuscripts of Lacy's works (some in quite 

idiosyncratic format); Lacy's autograph textual writings including poetry and essays on various artists; his diaries and 

address books; tour books; printed material relating to his works, including many typescript lyrics; concert programs

and related materials; correspondence from many noted musicians, artists, and poets, especially those associated with 

the "Beat" movement; audio cassettes; photographs and original artwork by Lacy's friends and associates. (19267) 


A full inventory is available upon request. 

134. LATOUR, T. [Jean] 1766-1837. Three Sonatas for the Piano Forte or Harpsichord, with an Accompaniment 

for a Violin & Violoncello Composed & Humbly Dedicated by permission To her Royal Highness the Princess of 

Wales... Op. I. [Set of parts]. London: Sold at A. Bland & Weller's Music Warehouse, [1797]. Folio. Disbound. 1f. 

(title), [1][ (blank), 2-25; 7; 7 pp. Engraved. With attractive decorative titles. Very slightly browned and foxed. In very 

good condition overall. (18650) 

$150. 

First Edition. BUC p. 602. 

Latour, a French-born pianist who came to reside in London, founded a music publishing firm with Johann Baptist 

Cramer and Samuel Chappell still in business. According to Sainsbury, Latour was, at one time, pianist to the King of 

England. 

135. LAURIDSEN, Morten b. 1943. Autograph musical quotation signed from the composer's "O Magnum 

Mysterium" for four-part choir (SATB). The first four measures of the work in score. Marked "Adagio, molto legato e 

espressivo" and with a note in the composer's hand: "The opening measures of O magnum mysterium - hand-copied 

by the composer." One leaf. Oblong folio. 155 x 380 mm. Notated in black ink. Together with a group of published 

scores of Lauridsen's music, all with the composer's autograph signature to the title page: O magnum mysterium, Lux 

aeterna, Nata lux, Ubi Caritas et Amor and Dirait-on (no. 5 of his Les Chansons des Roses). Together with an 

autograph letter signed to the prominent American choral conductor Harold Rosenbaum concerning the sale of the 

above-described materials. 1 page. Octavo. Dated 11/13/08. (18926) 

$650. 

Lauridsen is particularly noted as a composer of choral works. 

136. LEHÁR, Franz 1870-1948. Eva Operette in drei Akten... Klavierauszug zu zwei Händen mit unterlegtem 

Text (Gust. Blasser). Leipzig, Paris, Bukarest, Wien: Ludwig Doblinger (Bernhard Herzmansky) [PN D 4803], [1911]. 

Folio. Original publisher's olive green cloth-backed wrappers printed in dark brown with Art Deco design. 101 pp. 

With an autograph inscription signed incorporating a musical quotation to title dated Wien 18 June 1912, being 

the Eva motif "War es auch nichts als ein Traum vom Glück." Wrappers slightly worn and soiled. (19072) 

$400. 

First Edition. Peteani p. 241. With text by A.M. Willner and Robert Bodanzky. 

First performed in Vienna at the Theater an der Wien on November 24th 1911. 

"Even in the early works Lehár’s aim to raise the standard of his work was evident, not least in the frequent revisions 

which he made at all stages of his career. In the years just before World War I his attempts to extend the scope of his 

operettas led to the use of more serious subjects. Zigeunerliebe contained elements of melancholy and fantasy, Eva 

featured a factory girl and dealt with social relationships... Lehár gradually extended his harmonic language, 

showing an awareness of the developments of Debussy, Richard Strauss and Puccini. Indeed he was taking Viennese 

operetta towards a Puccinian plane at a time when Puccini himself was flirting with Viennese operetta à la Lehár in 

La rondine... The incompatibility of his more serious aspirations and the traditional lightness of operetta was 

heightened further as Lehár began employing the new popular music styles of the time, such as the blues, foxtrot, 

onestep, tango and shimmy." Andrew Lamb in Grove online.

137. LOLLI, Antonio ca. 1725-1802. Sei Sonate a Violino solo Col Basso Dedicate a Milord Conte di 

Massereene... Opera Terza. Gravé par Mlle. VendÙme et le Sr. Moria. [Score]. Paris: de la Chevardiere, [ca. 1768]. 

Tall folio. Sewn. 1f. (title), [1] (publisher's catalogue), 2-31 pp. (pages 8, 14 and 23 blank). Engraved. Untrimmed. 

Slightly browned and foxed; binder's holes to inner margin. (18972) 

$500. 

First Edition. Lesure p. 403. BUC p. 627. RISM L2789 and/or L2790 (possibly the same printing; no copies in the 

U.S.). 

A highly regarded performer in Paris, Vienna and Stuttgart, Lolli's compositions were quite popular in their day, 

evidenced by the many editions of his works. 

138. MAHLER, Gustav 1860-1911. Secretarial letter with Mahler’s autograph signature (“Mahler"). Dated 

Vienna, 21 December, 1904. One page of a bifolium. Quarto. In German, with translation. Addressed to the noted 

impresario Angelo Neumann (1838-1910) in Prague. Written on the letterhead of the k.k. Hof-Operntheater in Vienna, 

the letter deals with the terms of a contract of engagement for the soprano Gertrud Förstel. Together with a striking 

large-format reproduction photograph. Creased at folds; several small rust stains at upper left corner. (18872) 

$2,500. 

"A retired tenor, Neumann formed a touring company to introduce Wagner's Ring to several European capitals, then 

became director at Leipzig and Bremen. In 1885 he took over the failing Deutsches Landestheater in Prague. A canny 

judge of conductors, he had already launched the careers of Artur Nikisch and Anton Seidl and now became the first 

to advance Mahler's prospects. Though their brief association was marred by artistic collisions, they parted 

amicably." Lebrecht: Mahler Remembered, p. 36. 

First Edition of this Rare 17 th Century Partbook 

139. MASSENZIO, Domenico d. 1650. Sacrarum Modulationum Singulis, Binis, Ternis, Quaternis, Quinisq. 

vocibus, In variis Sanctorum solemnitatibus, Cum Basso ad Organum, concinendarum... Liber Quartus. [Cantus I 

part]. Rome: Bartolomeo Zannetti, 1618. Small quarto. Unbound. 1f. (title, v. blank), [3] dedication, 3-27 printed 

music, [i] (index) pp. Title printed within woodcut borders with additional woodcut central device. Music printed 

typographically in diamond-head notation. Decorative woodcut initials throughout. With early ownership signature to 

title-page. Title and following leaf slightly defective, with slight paper loss to upper inner corners just affecting corner 

of decorative border of title and touching several letters of following leaf; staining to lower portion of title; several 

small worm holes; some browning, soiling and staining throughout. (19160) 

$3,500. 

First Edition. RISM M1312 (no holdings outside Italy). According to RISM, there are no holdings of any works by this 

composer in American collections. 

"Along with other figures who were to become important in Roman music, [Massenzio] was a boy singer at S Luigi 

dei Francesci, Rome, where he studied with G.B. Nanino... In 1606 he entered the Seminario Romano for four years' 

study under Agazzari and possibly G.F. Anerio... In 1612 he succeeded Anerio as maestro di cappella at the 

Seminario Romano... [and was] maestro to the Jesuit Congregazione dei Nobili in 1616-18." 

"Massenzio's published volumes include five of motets, mostly from his earlier years, eight of psalms (unusually, one 

for Compline, the rest for Vespers) and one of secular works... His style is typical of the concertato idiom that typifies 

church music in Rome after 1600. Massenzio preferred a through-composed approach, increasingly free of stile 

antico conventions." Jerome Roche in Grove online.

“A Diligent Imitator of the Palestrinian Style” 

140. MEL, Rinaldo del ca. 1554-ca. 1598. Missa... for 8 voices. Manuscript music. Tenor 1 part. Italian, ca. 

1600. Large octavo (ca. 240 x 179 mm.). Sewn into early grey wrappers with manuscript titling to upper: "Primus 

Chorus Tenor Missa binae Tenor Primi Chori à 8." 14 pp. including one ruled page without notation. Notated ink on 

hand-ruled staves. This work is unrecorded in both Grove and RISM. (19185) 

$6,500. 

Mel, a Flemish composer, was "mainly active in Italy. He was of a landed family whose fortunes were closely linked to 

the Duchy of Lorraine... After Spain annexed Portugal in 1580 Mel went to Rome, where his name appears in that 

year on a subscription list for two new bells for the Flemish church, S Maria in Campo Santo. Whether or not he 

studied composition with Palestrina as Baini claimed, his first published works indicate that he was well acquainted 

with Palestrina's style. The title-pages and dedications of his printed books show that in addition to his continued 

allegiance to Lorraine... He enjoyed the friendship and patronage of the Valignani, the Henrici and Cardinal Gabriel 

Paleotto... Mel was well educated and a prolific composer whose aristocratic lineage and connections seem to have 

ensured him at least a modest fame. His works have not been edited, and have therefore not received the study they 

deserve. His sacred pieces show him to have been a craftsman, well trained in Dutch counterpoint and a diligent 

imitator of the Palestrinian style." Patricia Ann Myers in Grove online. 

141. MENDELSSOHN, Felix 1809-1847. Quatuors Quintettes et Ottetto en Partition... No. [1]-[8]. Paris: S. 

Richault [PN 7723-29, -35], [ca. 1852]. 2 volumes. Large octavo. Quarter 19th century red calf with textured paper 

boards. 1f. (title), 39; 1f. (title), 47; 1f. (title), 44; 1f. (title), 48; 1f. (title), 55; 1f. (title), 67; 1f. (title), 64; 1f. (title), 

104 pp. Engraved. Contains opp. 12, 13, 18, 20, 44 nos. 1-3, and 87. Binding slightly worn; corners bumped. Minor 

foxing; old paper repairs to one leaf. (18939) 

$350. 

142. [METASTASIO] Burney, Charles 1726-1814. Memoirs of the Life and Writings of the Abate Metastasio. In 

which are incorporated, Translation of his Principal Letters... in three volumes. London: G.G. and J. Robinson, 1796. 

3 volumes. Full 18th century dark tan speckled calf with spine in decorative compartments gilt, red leather label gilt, 

with oval coat of arms gilt of the "Society of Writers to the Signet" to uppers and lowers. Vol. I: xx, [i] (blank), 407, 

[i] (blank), [xxx] (contents) + 1f. (errata). With frontispiece portrait of Metastasio engraved by Heath after Joh. 

Steiner. Vol. II: 1f. (title), 420, [xxix] (contents), [i] (blank), 1f. (errata). Vol. III: 1f. (title), 414, [xxiii] (contents), [i] 

(blank), 1f. (errata). Binding slightly worn and rubbed; corners bumped; head and tail of spine slightly chipped; hinges 

cracked. Some minor spotting to portrait; occasional browning. (18895) 

$850. 

Autograph Manuscript of Milhaud’s Le Printemps No. 6, Complete 

143. MILHAUD, Darius 1892-1974. Le Printemps (6). Autograph musical manuscript of a work for solo piano, 

signed and dated Nice, March 28, 1920. Folio. 3 pp. Unbound. [1] (autograph title), [2]-[3] (autograph musical 

manuscript), [4] (blank) pp. Notated in blue ink on 16-stave paper, 350 x 267 mm. Preserved in a custom-made 

folding blue cloth box with title label to spine. With manuscript overpaste corrections to three measures and a few 

additional minor corrections. A complete work in 49 measures. Signed again and dated at the foot of the third page, 

with the notation "pour Tipia" to both title and conclusion. Slightly worn and creased. In very good condition overall. 

(19070) 

$3,600. 

Milhaud composed Le Printemps, a series of six individual works for solo piano, between 1915 and 1920; the present 

manuscript is the sixth in the series. Numbers III-VI were first performed at a concert of works by "Les Six," of which 

Milhaud was a member, on November 21, 1920 in Paris, with Nininha Velloso as soloist. Beck 66. This work dates 

from a highly energetic period in Milhaud's life when, upon his return from Brazil, he immersed himself in the musical 

life of the avant-garde in Paris.

144. MITROPOULOS, Dimitri 1896-1960. Typed letter signed, dated February 18, 1959. 1959. Large octavo. 

To Mr. Hilb in Beverly Hills, California. On personal onionskin letterhead. Mitropoulos thanks Hilb for his kindness 

and generosity. "Your wonderful letter is so full of encourging words and hopes! This time is a little harder than the 

last time, and I doubt if I will be able to come to California because by the time I will be allowed to circulate, I will 

have to go to Europe." Slightly creased; upper left corner very slightly defective. (19040) 

$100. 

An American conductor, pianist and composer of Greek birth, Mitropoulos "shared the directorship of the New York 

PO with Stokowski for a season (1949-50), then became sole musical director until his resignation in 1958, when he 

was replaced by his former protégé, Leonard Bernstein... His achievements in the opera pit were considerable, 

beginning with a legendary Metropolitan Opera Salome in 1954 and continuing for every subsequent season until his 

death; in 1958 he conducted the première of Barber's Vanessa at the Metropolitan. Throughout his life he retained an 

almost missionary zeal for music that other conductors deemed too difficult or too obscure. His continual advocacy of 

Mahler and other unfashionable composers alienated conservative listeners but were a revelation to more 

adventurous ears." William S. Trotter in Grove online. 

Original Drawings by the Noted Flautist, Louis Moyse 

145. MOYSE, Louis 1912-2007. 25 original drawings (available individually) by Louis Moyse, one of the 20th 

century's foremost flutists, also a concert pianist and composer. He was co-founder of the Marlboro Music School and 

Festival in Vermont in 1950, along with the other members of the Moyse Trio, the string players Adolf and Hermann 

Busch, and the pianist Rudolf Serkin; he was also co-founder of the Brattleboro Music Center in 1951 which, in 1969, 

spawned the revered New England Bach Festival. Moyse had a distinguished teaching career at Marlboro College, 

the University of Toronto, and Boston University; he also regularly taught flute master classes both here and abroad. 

He was the son of the noted French flutist Marcel Moyse (1889-1984). 

While Louis Moyse was widely recognized for his musical abilities, it is not generally known that his talents found 

expression in the visual arts as well. Many of his drawings are quite intricate and incorporate musical elements as 

well as dimensions of fantasy, the grotesque, and the female form. He was actively drawing from the early 1960s on, 

joining the ranks of other musician/composer-artists including George Gershwin, Felix Mendelssohn, Thelonius 

Monk, and Arnold Schoenberg. 

Descriptions and illustrations of each of the drawings are available upon on our website. 

First Edition of Leopold Mozart’s Violinschule 

146. MOZART, Leopold 1719-1787. Versuch einer gründlichen Violinschule, entworfen und mit 4. Kupfertafeln 

sammt einer Tabelle versehen. Augspurg: In Verlag des Versaffers Johann Jacob Lotter, 1756. Quarto. 18th century 

full speckled mid-tan calf. Preserved in a matching archival quarter mid-tan morocco clamshell box. 1f., 8ff., 264, 

[viii] (index) pp. + 1 folding plate of musical examples + 1f. (errata), + 3 engraved plates illustrating correct positions 

for holding the violin and bow. Numerous musical examples, diagrams, and decorative head- and tailpieces 

throughout. With a fine frontispiece portrait of Leopold Mozart playing the violin by Jac. Andr. Fridrich after G. 

Eichler. Binding rebacked; hinges splitting; spine and title labels chipped. Minor to moderate foxing. (18852) 

$6,500. 

First Edition of this classic treatise. Rheinfurth 188. Gregory-Bartlett I, p. 189. Cortot p. 140. Hirsch I, 419. 

Wolffheim I, 861. RISM BVI p. 600. 

"The Violonschule… was widely recognized as the most important violin tutor of its time... In essence, the Violinschule 

draws on the Italian method and Tartini in particular, although the historical chapters show Mozart's acquaintance 

with a broad range of music theory, from Glarean on. While not universally applicable as a guide to pan-European 

18th-century performing practices, the work nevertheless represents the source closest to Mozart and is the most 

valuable guide to the musical and aesthetic education of the younger composer." Cliff Eisen in Grove online.

"… of outstanding importance, a didactic work which can stand alongside the corresponding essays by Quantz...and 

C.P.E. Bach..." The New Grove Vol. 12, p. 677. 

147. MOZART, Leopold 1719-1787. Leopold Mozarts hochfurstl Salzburgischen Vice-Capellmeisters gründliche 

Violinschule, mit vier Kupfertafeln und einer Tabelle. Vierte vermehrte Auflage. Augsburg: Johann Jacob Lotter und 

Sohn, 1800. Quarto. Quarter mid-tan calf with marbled boards, spine ruled in gilt, leather label gilt. Preserved in a 

custom-made dark green cloth folder with matching slipcase, red leather label gilt to spine. 3ff. (title and forward), 

268, [viii] pp. + 3 engraved plates illustrating correct positions for holding the violin and bow + 1 folding plate of 

musical examples. Numerous musical examples, diagrams, and decorative head- and tailpieces throughout. With a fine 

frontispiece engraving of Leopold Mozart playing the violin by Iac. Andr. Fridrich after Eichler. Early owner's 

signature to front endpaper. Hinges to upper board partially split; spine slightly defective. Minor to moderate 

browning. Quite a good copy overall. (18930) 

$950. 

Rheinfurth 354. RISM BVI p. 601 (one copy only in the U.S.). 

Mozart 

Items 148 - 165 

148. MOZART, Wolfgang Amadeus 1756-1791. [K141 (66b)]. Te Deum a 4 Voci coll' accompagnamento di 

due Violini, Bassi e Organo... Partitura... mit unterlegtem deutschen Texte von Prof. C.A. H. Clodius. Leipzig: 

Breitkopf und Härtel (without plate number), [1803]. Tall folio. Sewn. [1] (title), 2-20 pp. Slightly frayed at edges; 

minor creasing to upper margins; some minor staining. (19194) 

$850. 

First Edition. Haberkamp I, p. 81 and II, 23. Hoboken 11, 5. RISM M4124 (no copies recorded in the U.S.). 

"Mozart's only Te Deum, K141, is believed to have been composed in Salzburg at the end of 1769 and is modelled 

almost bar-for-bar on Michael Haydn's Te Deum for Grosswardein (1760). Its four movements contain functional, 

syllabic and homophonic choral writing, except for an impressively climactic duple-metred double fugue ('In te 

Domine speravi'). The 'Miserere nostri' (bars 118-25) also stands apart as a beautiful, prayerful passage for soft a 

cappella voices." Eisen and Keefe: The Cambridge Mozart Encyclopedia, p. 460. 

The autograph of this work is unknown. 

149. MOZART, Wolfgang Amadeus 1756-1791. [K196]. Die Gaertnerin aus Liebe. Oper in drei Aufzugen... In 

vollstandigem Clavierauszug mit deutschem Texte, und zugleich fur das Piano Forte allein... Wohlfeile Ausgabe von 

W. A. Mozart's sammtlichen Opern 6te. Lieferung. [Keyboard-vocal score; text in German]. Mannheim: Heckel, 

[1829]. Folio. Full contemporary blue cloth with blind-stamped pattern, titling to spine gilt. [1] (pictorial title with 

lithographed vignette by C. F. Heckel), [2] (contents), 3-204 pp. Lithographed throughout. Binding slightly worn; 

corners and edges rubbed and bumped; head and tail of spine slightly frayed. A very good copy overall. (18869) 

$950. 

First Edition of the complete opera. Kochel 6, p. 223. Hoboken 11, 36. Hirsch IV, 1179. Loewenberg 341. CPM Vol. 

41 p. 83. Bory p. 91. RISM M4182 (no copies recorded in North America). 

An adaptation by Fritz Haas of La finta giardiniera, composed by Mozart during the fall of 1774 and first performed 

in Munich on January 13th 1775. "According to Mozart's report to his mother the opera was much applauded and 

there were two repeat performances. The work was later (1780) given by Johann Heinrich Bohm's travelling 

company, who performed it in German as a Singspiel, with spoken dialogue..." TNG Vol. 12 p. 692. Selected numbers 

were first published in 1797 (see Haberkamp 7 p. 99).

Rare Lifetime Edition 

150. MOZART, Wolfgang Amadeus 1756-1791. [K330 et al]. III Sonates pour le Clavecin ou Piano Forte... 

Oeuvre 6 [K330 (300h), 331 (300i), 332 (300k)]. Mayence: Schott [PN 36], [1785]. Oblong folio. Attractively bound 

in modern marbled boards. 1f. (title within decorative border, verso blank), [1] (blank), 2-11, [12] (blank), 13-33 pp. 

Engraved. With some pencilled fingering. Early owner's signature of Mme. Fornier [?]Clerusieme and with her small 

oval inkstamp to title. Slight staining to title, but a very good copy overall, in strong impression on good quality paper. 

(18833) 

$2,750. 

Rare lifetime edition, issued just months after the first edition published by Artaria in Vienna. Haberkamp p. 137. Not 

in Hoboken. RISM M6781 (2 copies only in the U.S. and one in Great Britain). 

By 1782 Mozart had established himself as the finest keyboard player in Vienna. While previously thought to originate 

from his time in Paris, more recent scholarship has established the fact that the three piano sonatas K330-332 date 

from the early 1780s when Mozart was actively performing in Vienna. 

"Each of [the three sonatas K330-332] is quite distinct from the others, with its own felicities and idiosyncrasies. 

Along with the slightly later B-Flat Sonata K333, they form the most gratifying group [of sonatas Mozart] composed 

for the piano." Zaslaw and Cowdery p. 311. 

This edition constitutes one of the earliest publications issued by Bernhard Schott (1748-1809), the founder of one of 

the most prestigious of all German music publishers. Schott - as the title page of this edition indicates - had been 

granted an exclusive privilege as music engraver to the court of the Elector at Mainz. 

151. MOZART, Wolfgang Amadeus 1756-1791. [K387 et al]. Partition de l'Oeuvre 10 savoir des six principaux 

Quatuors... Cahier [1-II] contenant trois Quatuors [K387, 417b (421) and 458; K421b (428), 464 and 465). Vienne: 

Jean Traeg & Fils [PNs] 224 and 225, [1803]. [i] (title), 2-85, [i] (blank); [i] (title), 2-95, [i] (blank) pp. The two 

Cahiers bound together. Engraved. With engraver's name, Ant. Benedict, printed to foot of each title. Oblong folio. 

Quarter dark tan leather with marbled boards. Binding slightly worn. Some minor soiling, but very good, crisp and 

clean copies overall. (18626) 

$2,000. 

First Edition of the full score of each of the six quartets. Weinmann-Traeg p. 37. Hirsch IV, 58. RISM M6114 (no copy 

recorded in the U.S.). 

152. MOZART, Wolfgang Amadeus 1756-1791. [K387 et al]. 10 String Quartets. K387, 421, 428, 458, 464, 

465, 499, 575, 589 and 590. Facsimiles of the autograph musical manuscript full scores. [New York]: Robert Owen 

Lehman Foundation, 1969. 10 volumes. Oblong folio. Full cloth. In original full red cloth slipcase. Slipcase slightly 

frayed. (18989) 

$1,600. 

153. MOZART, Wolfgang Amadeus 1756-1791. [K416]. Arie Mia speranza adorata etc... Klavierauszug... No. I 

der Mozartschen Arien. Leipzig: Breitkopf und Härtel, [1804]. Oblong folio. Newly bound in cloth-backed decorative 

boards with paper title label to upper. 10 pp. Typeset. Collector's small ink handstamp to blank edge of title and blank 

endpaper. First and last leaves reinforced at inner margin; minor browning and foxing. Quite a good copy overall. 

(18836) 

$600. 

First Edition. Köchel 8, p. 441. Hoboken 11, 170. Haberkamp I, p. 204 and II, plate no. 158. RISM M5269 and 

MM5269 (2 copies only in the U.S.). "This aria is perhaps the most distinguished of the series dedicated to Aloysia

Weber Lange. She sang it a mere three days after its composition at a concert in a Viennese casino." Zaslaw and 

Cowdery p. 79. 

First Edition of the Mass in C Minor 

154. MOZART, Wolfgang Amadeus 1756-1791. [K427 (417a). Missa aus C moll... Partitur. Nach der 

hinterlassenen Original-Handschrift herausgegeben und mit einem Vorbericht begleitet von A. André. [Full score]. 

Offenbach a/m: Johann André [PN] 6318, [1840]. Oblong folio. Newly bound in maroon cloth-backed marbled boards 

with paper title label to upper, original publisher's printed upper wrapper bound in. 1f. (recto title, verso blank), [i] 

(Preface by André), 2-163, [i] (blank) pp. Text in Latin. Lithographed throughout. Some staining, mostly to first and 

last leaves. A very good copy overall. (18838) 

$2,750. 

First Edition. Rare. Köchel 8, p. 448. Haberkamp I, p. 426. Hoboken II, 175. RISM M4049 and MM4049 (one copy 

only in the U.S. and in the U.K.). 

"Although incomplete, the Mass in C minor, K427, is one of Mozart's grandest church works. In size, layout and 

overall musical weight, this operatic missa solemnis harks back to the earlier Neapolitan 'cantata' masses, works that 

were also models for J.S. Bach's B minor Mass and Joseph Haydn's first Missa Cellensis... Despite its incomplete 

state, K427 is longer than any other mass by Mozart..." 

"... Mozart composed K427 in Vienna and Salzburg in 1782-3 as part of a promise to his new bride, Constanze. Maria 

Anna Mozart's diary indicates that the mass was performed on 26 October 1783, the feast of St. Armand, at St Peter's, 

Salzburg..." 

"... Mozart tailored the large range and challenging coloratura of the soprano solos... to Constanze's voice, so she 

could suitably display her vocal gifts during their visit to Salzburg in 1783." Eisen and Keefe: The Cambridge Mozart 

Encyclopedia, p. 278. 

155. MOZART, Wolfgang Amadeus 1756-1791. [K480]. Terzett Mandina amabile etc... Klavierauszug... No. III 

der Mozartschen Arien. Leipzig: Breitkopf und Härtel, [1804]. Oblong folio. Newly bound in cloth-backed decorative 

boards with paper title label to upper. 12 pp. Typeset. Collector's small ink handstamp to blank edge of title and blank 

endpaper. Minor browning, foxing and dampstaining; first and last leaves reinforced at inner margin. Quite a good 


$400. 

First Edition. Köchel 8, p. 521. Hoboken II, 246 (a later printing). RISM M5290 (2 copies only in the U.S.). 

"Apparently the first [vocal] work to be performed [in Paris] was the trio "Mandina amabile" ... which was included 

in a performance of the pasticcio "La villanella rapita" at the Theatre de Monsieur in June 1789; a review published 

in the "Mercure de France" described it as 'charming.' " Eisen and Keefe, p. 409. 

First Edition, First Issue of “the Most Perfect… of Mozart’s Great Operas” 

156. MOZART, Wolfgang Amadeus 1756-1791. [K492]. Le Nozze di Figaro Dramma Giocoso in Quattro Atti. 

[Full score]. Paris: Magasin de Musique [PN 566, 1-4], [1806-1809]. 

Two volumes Folio. Attractively bound in half dark red morocco with marbled boards in period style. Act I: 1f. (recto 

title, verso blank), 1f. (recto Table of Contents, verso blank), [1] (cast list), 2-129, [i] (blank) pp.; Act II: 186 pp.; Act 

II: 116 pp.; Act IV: [1] (blank), 20-127, [1] (blank) pp. Engraved. With ink handstamp "Cherubini Mehul et C." to 

foot of title.

From the collection of the English opera singer Willoughby Hunter Weiss (1820-1867), composer of the famous tune 

"The Village Blacksmith" to words by Henry Wadsworth Longfellow, with his small 19th century blindstamp to title 

and several pages and the signature in ink of Angelique Weiss to title and first page of third act. 

Some minor staining, foxing and offsetting; occasional pencilling. 

(19276) 

$17,500. 

First Edition, first issue, with number "366" at foot of title and printed price of "48f." While Köchel (8) p. 545 cites 

the first edition as having been published in 1795 by Imbault, there are no known copies of this and thus it would seem 

to be a "ghost," i.e., a citation for which there is no recorded copy. Fuld p. 353. Hirsch IV, 98. Not in Hoboken. RISM 

M4339. 

First performed in Vienna at the Burgtheater on May 1, 1786, with libretto by Lorenzo da Ponte after Beaumarchais. 

"Figaro is generally agreed to be the most perfect and least problematic of Mozart's great operas... In the great 

finales of Acts 2 and 4, Mozart reached a level which he could never surpass; indeed, he was hardly to equal the Bb 

Allegro of the second act finale for its mercurial motivic play and the subsequent Andante in 6/8 for the 

synchronization of dramatic revelation with the demands of musical form." Julian Ruston in Grove Opera Vol. 3 p. 

634. 

157. MOZART, Wolfgang Amadeus 1756-1791. [K521]. Grande Sonate a quatre mains Sur Un Clavecin ou 

Pianoforte... Oeuvre [38]. Vienne: Artaria Compa. [PN] 630, [1796]. Oblong folio. [1] (title), 2-39 (music), [i] (blank) 

pp. Engraved. Title within decorative oval border incorporating cherub with trumpet and floral motif engraved by Seb. 

Mansfeld. With the contemporary signature of "Lady [?]" to upper outer corner of title. Disbound. (19085) 

$1,450. 

Rare. A reissue of the first edition published in Vienna in 1787 by Hoffmeister. Köchel 8, p. 585. Hoboken II, 327. 

Haberkamp I, p. 286. RISM M6716 (no copies recorded in the U.S.). 

158. MOZART, Wolfgang Amadeus 1756-1791. [K527]. Don Giovanni Opera en Deux Actes. A facsimile of 

the autograph musical manuscript full score. [Paris]: La Revue Musicale, [1967]. 7 fascicles + 46 pp. commentary. 

Oblong quarto. Wrappers. In original publisher's box. Box worn and split at edges. In very good condition internally. 

(18997) 

$500. 

Edition limited to 1,500 numbered copies, this no. 750. 

159. MOZART, Wolfgang Amadeus 1756-1791. [K563]. Gran Trio per Violino, Viola, e Basso... Opera 19. [Set 

of parts]. Vienna: Gio. Cappi [PN] 368, [ca. 1801]. Folio. Unbound. 1f. (title), 13; 1f. (blank), 13; [i] (blank), 2-10 pp. 

Engraved. With title within decorative border. Slightly worn and foxed; lower outer corners of violin part slightly 

thumbed. (18923) 

$950. 

Printed from the plates of the first edition published by Artaria in 1792. Haberkamp I, p. 316. RISM M6250 and 

MM6250 (one copy only recorded in the U.S., at Vassar College). 

'"[The Divertimento K563] was written for his friend the Viennese merchant Michael Puchbert, the man who so often 

helped Mozart when he was in desperate need of money during the last years of his life... It is Mozart's only string trio 

for violin, viola, and cello, and indeed the first ever written, viewed from the standpoint of the concept of mature 

Classical chamber music... Within its class this work could scarcely be excelled, and it belongs, with Mozart's string 

quintets, among his most mature chamber works." Zaslaw: The Compleat Mozart, p. 273.

160. MOZART, Wolfgang Amadeus 1756-1792. [K588]. Cosi fan tutte Dramma giocoso in due Atti... Partitura... 

Weibertreue oder die Madchen sind von Flandern komische Opera in Zwey Aufzugen. [Full score]. Leipzig: Breitkopf 

& Härtel [PN 1363], [1810]. 

Folio. Half dark blue morocco with raised bands on spine in decorative compartments gilt, titling gilt to spine. 1f. 

(title), 3-154, [i] (blank), 155-269 pp. Engraved. With small oval handstamp of Lichtenberg's Verlag in Stuttgart in 

light purple ink to foot of title and verso of final leaf of Act I. Text in both Italian and German. 

Binding slightly worn, rubbed and bumped, minor darkening to edges. Slightly worn and soiled; very occasional small 

stains. A very good copy overall. (19275) 

$9,500. 

First Edition of the full score. Hirsch II 633 and Plate XXIII. Sonneck Dramatic Music p. 116. Hoboken Catalogue 

Vol. 12, 421 (containing both the text of the separately-paginated libretto and an additional title preceding the second 

act, not found in the present copy). RISM M4693. 

Cosi fan tutte, with text by Lorenzo da Ponte, was commissioned by Emperor Joseph II and first performed on 

January 26th 1790 at the Burgtheater in Vienna. 

Cosi was Mozart's "third collaboration with Da Ponte and the only one of the Da Ponte operas for which there is no 

direct literary source (although, like Don Giovanni, it has sources in Tirso de Molina). It may be that the libretto was 

wholly original to Mozart and the poet, for the subject is sometimes claimed to have been suggested to Mozart and Da 

Ponte by Joseph II himself, allegedly on the basis of a recent real-life incident..." 

"Così fan tutte is widely reckoned to be the most carefully and symmetrically constructed of the Da Ponte operas." 

Cliff Eisen et al in Grove online. 

161. MOZART, Wolfgang Amadeus 1756-1791. [K621 Anh. 245]. [Lo ti lascio, o cario addio] Abschieds 

Lied... an seine Geliebte mit Begleitung des Forte Piano. Wien: Jos. Eder [PN] 69, [October 1800]. Oblong folio. 

Newly bound in full beige linen with printed paper title label to spine. 1f. (title, verso blank), 3 (engraved music), [4] 

(blank) pp. With text in German and Italian. Some surface soiling and light creasing; archival repairs to margins; small 

collector's handstamp to upper outer corner of title. (18862) 

$400. 

Rare. Köchel 8, p. 722. Haberkamp I, p. 394. RISM M5332 (3 copies only, none in the U.S.). 

This aria, with text by Gottfried von Jacquin (1767-1792), was originally composed for bass voice with 

accompaniment for 2 violins, viola and bass. 

162. MOZART, Wolfgang Amadeus 1756-1791. [K620]. Die Zauberflöte Eine deutsche Oper in zwei Aufzügen 

Text von Emanuel Schikaneder…Facsimile der autographen Partitur Herausgegeben von Karl-Heinz Köhler. Leipzig: 

VEB Deutscher Verlag für Musik, 1979. Oblong folio. Original publisher's full beige linen boards with dark red label 

gilt to spine. Ca. 400 pp. facsimile of the autograph musical manuscript full score + 32 pp. commentary booklet. In 

original slipcase. Slipcase worn. (18999) 

$500. 

Exceedingly Rare First Edition of the Libretto to The Magic Flute 

163. MOZART, Wolfgang Amadeus 1756-1791. [K620]. Die Zauberflöte Eine grosse Oper in zwey Aufzügen 

von Emmanuel Schikaneder. Die Musik ist von herrn Wolfgang Amade Mozart, Kapellmeister, und wirklichen k.k. 

Kammer-Compositeur. [Libretto]. Wien: Ignaz Alberti, 1791. Small octavo (155 x 95 mm.). Early patterned wrappers. 

Preserved in a full black morocco archival clamshell box with gilt titling to spine and insert to upper depicting one of

the two illustrative plates. 1f. (recto title, verso "Personen"), 107, [i] (blank) pp. + 2 engraved plates by Alberti, being 

the frontispiece engraving of the Temple of Isis and Osiris and an engraving of the character "Pagageno" as performed 

by the librettist Schikaneder between pp. 4 and 5. Some (mostly minor) foxing and browning. Occasional professional 

archival repairs to wrappers, corners and margins. A very good copy overall. (18839) 

$32,500. 

First Edition. Exceedingly rare. Complete with the two engraved plates (described above). No copies in U.S. libraries. 

Köchel 8, p. 712. Fuld Opera Librettos pp. 348-9 and frontispiece. Hirsch IV, 1385. Not in Sonneck, Schall, Sesini, 

Wolfenbüttel or Wolffheim. According to Warburton in "The Librettos of Mozart's Operas," Vol. 4 (1992), the copies 

recorded at both the Austrian and Bavarian State Libraries lack the plates. The British Library copy has been 

rebound with the temple plate bound in after page 98. 

The Magic Flute was first performed on September 30th 1791 in Vienna at the Freihaustheater auf der Wieden. 

Mozart conducted the performance from the pianoforte with Süssmayr assisting. "Emanuel Schikaneder, the 

producer, director, and librettist of Die Zauberflöte, in which he created the part of Papageno, was a friend of long 

standing to Mozart [both Mozart and Schikaneder worked on the libretto in the Spring of 1791]... A week after the 

premiere... Mozart returned to witness a performance. He reported to his wife... that the house was packed as usual, 

the success enormous, with several numbers encored." Heartz and Bauman: Mozart's Operas, pp. 255 and 264. 

"Although Don Giovanni has often been called sui generis, it is Die Zauberflöte... more than any of Mozart's other 

operas that truly deserves this designation. It is his only opera written expressly for the suburban Freihaustheater auf 

der Wieden, his only collaboration with the librettist and actor Emanuel Schikaneder, producer and director of that 

theatre, and his only work conceived in the tradition of the magic operas and 'machine comedies' of the Volkstheater. 

Although extremely unlike Mozart's other operas in terms of plot, character and magic effects, Die Zauberflöte is a 

natural successor to them in its treatment of Enlightenment themes and its dramatization of the individual quest for 

emotional fulfilment. Idomeneo, Die Entführung aus dem Serail and especially La Clemenza di Tito, which was 

composed almost simultaneously with Die Zauberflöte and premiered in Prague only three weeks earlier, share with 

Die Zauberflöte an emphasis on virtue, courage and clemency. It is somehow fitting that Mozart's only fairy-tale 

opera complete with imaginary locations, fantastic elements and magic talismans should also be his most high-minded 

operatic piece for the stage. For it is only here in the suburban theatre, which was attended by all ranks of society, 

that Mozart's representation of the themes of his age could truly parallel the vast scope of the Enlightenment, which 

sought to include all of mankind in its sweeping reforms." Eisen and Keefe: The Cambridge Mozart Encyclopedia, p. 

540. 

164. MOZART, Wolfgang Amadeus 1756-1791. [K626]. Mozarts Requiem Nachbildung der 

Originalhandschrift Cod. 17561 der k.k. Hofbibliothek in Wien in Lichtdruck Herausgegeben und erläutert von Alfred 

Schnerich. Wien: Gesellschaft für Graphische Industrie, [1913]. Oblong folio. Original publisher's mid-tan printed 

boards. Disbound. Worn; lacking spine. Final leaf detached and slightly ragged at inner edge. (19004) 

$450. 

165. [MOZART]. Beaumarchais, Pierre-Augustin 1732-1799. La Folle Journée ou Le Mariage de Figaro, 

Comedie en cinq actes, en prose... Représentée pour la premiere fois, par les Comédiens Françoise ordinaires du Roi, 

le mardi 27 Avril 1784. ?Paris: n.p., ?1785. Octavo. Finely bound in full mid-tan polished calf with raised bands on 

spine in compartments gilt, leather labels gilt, inner dentelles gilt, marbled endpapers. 1f. (title), v-lxi, [i] (preface), 1f. 

(half-title, cast list to verso), 232, [ii] (approbations, errata) pp. With contemporary signature of "Mary Parker" and 

date of 1785 to title. Minor foxing and browning; tears to upper margin of two leaves of preface with loss of two 

letters of running title. (18941) 

$450. 

WorldCat OCLC 20011002 (citing this edition as having been published as part of the complete works of 

Beaumarchais). With a printed noted to the final leaf stating that the music was by Antoine Laurent Baudron (1742- 

1834), who also collaborated with Beaumarchais in providing music for his "Le Barbier de Séville," including the 

famous tune "Je suis Lindor," the theme of which was used by Mozart for his 12 Variations K354/299a.

Beaumarchais was harp teacher to the daughters of Louis XV. "[He] successfully included Baudron's storm music as 

a prelude to Act 4 of Le barbier, and, alongside continued use of vaudeville tunes in Le mariage de Figaro... stretched 

Comédie FranÁaise conventions by introducing a whole scene of dance, song and 

mime for the 'coronation' of Suzanne with the bride's head-dress... As if to vindicate Beaumarchais's musical instinct, 

Le barbier de Séville attracted settings by Benda, Paisiello, Isouard and Rossini, while the Mozart-Da Ponte 

collaboration in Le nozze di Figaro proved just how much of the original play was translatable into music." Rudolph 

Angermüller in Grove online. 

Contains a Large Body of Keyboard Music 

166. MÜLLER, August Eberhard 1767-1817. Fortepiano-Schule oder Anweisung zur richtigen und 

geschmachvollen Spielart dieses Instruments nebst vielen praktischen Beyspielen und einem Anhange vom 

Generalbass Siebente sehr verbesserte Auflage... Mit einer Kupfertafel. Leipzig: Carl Friedrich Peters, [1815]. Oblong 

quarto. Dark tan leather-backed marbled boards. 1f., iv, [ii], 359 pp. With fine engraved frontispiece illustrating 

various views of the pianoforte, including the hammer action mechanism. Binding quite worn, rubbed, bumped and 

scuffed; spine frayed at head and foot. Slightly browned. A very good copy overall. (19086) 

$800. 

OCLC records one copy only, located at the Bayerische Staatsbibliothek in Munich. 

Müller was a German conductor, flautist, keyboard player and composer. "In 1800 he became assistant at the 

Thomaskirche to the aging Kantor J.A. Hiller, whom he succeeded in 1804. He continued the concerts begun by Hiller 

at the Thomasschule and the church, and in them he conducted several of Bachís cantatas, probably for the first time 

since the composerís death. In 1810 he left Leipzig to become musical director of the Weimar court orchestra and 

court opera..." 

"Müller was a capable organist and keyboard player as well as a proficient flautist. Goethe, who always had 

difficulties with the opera in Weimar, valued him as an energetic Kapellmeister... The starting-point for his 

compositions was Mozart,m whose influence is predominant in the early works... Müller did much to propagate the 

works of Mozart and Haydn: in addition to performing their works he prepared piano arrangements for Breitkopf & 

Härtel and assisted that firm as an adviser and co-worker in the publication of their first complete editions. Beethoven 

wrote to Breitkopf (3 September 1806) that he held Müller in high esteem as an artist. Müllerís pedagogic works had 

a great influence in his lifetime. Besides a guide to Mozartís keyboard concertos and tutors for the flute and keyboard, 

he published a Klavier- und Fortepiano-Schule (1804) as a revised, much enlarged sixth edition of Löhleinís 

Clavierschule...". Gunter Hempel in Grove online. 

This rare treatise contains a large body of keyboard music. 

MUSICAL INSTRUMENTS 

Items 167 - 174 

167. [MUSICAL INSTRUMENTS]. Allegory of music. Very rare 17th century engraving, attributed to 

Athanasius Kircher 1601-1680. No place, no date, but ca. 1650. The engraving depicts a very colourful group of 

musicians, including a one-legged keyboard player and various animals and mythical creatures performing from open 

music books. 23.6 x 22.5 mm. to plate impression plus ca. 5 mm. margins. (18776) 

$4,750. 

Bassenge Druckgraphik des 15. bis 19. Jahrhunderts, Berlin, 29 May 2008, lot no. 5107. 

Kircher, who has been referred to as "the last Renaissance man," was a 17th century German Jesuit scholar and 

prolific author of works in many fields, including music (Musurgia Universalis, 1650), and science including 

medicine, magnetism, and geology. "He made an early study of Egyptian hieroglyphs, and has been considered the

founder of Egyptology... Kircher has been compared to Leonardo da Vinci for his inventiveness and the breadth and 

depth of his work." Wikipedia 

Chromolithographic Plates of Indian Instruments 

168. [MUSICAL INSTRUMENTS]. Day, C.R. The Music and Musical Instruments of Southern India and the 

Deccan... With an Introduction by A.J. Hipkins... The Plates Drawn by William Gibb. London & New York: Novello, 

Ewer & Co.; Adam & Charles Black, London, 1891. Quarto. Original publisher's ivory cloth with titling and rules gilt. 

xvi, 173, [i] (colophon) pp. + 18 plates (17 in colour). With title printed in red and black, decorative head- and 

tailpieces and numerous extensive musical examples throughout. Binding somewhat worn and soiled; head of spine 

frayed; corners bumped; endpapers slightly foxed. Previous owner's manuscript and printed labels to front pastedown. 

(18783) 

$425. 

First Edition. Scarce. Limited to 700 copies and 50 artists' proofs. 

The plates are printed chromolithographically after the original coloured drawings by William Gibb, who contributed 

the illustrations to Hipkins's celebrated work, "Musical Instruments, Historic, Rare and Unique," published in 1888. 

169. [MUSICAL INSTRUMENTS]. Hill, William Henry, Arthur F. Hill and Alfred Ebsworth Hill. The Violin- 

Makers of the Guarneri Family (1626-1762), Their Life and Work. London: William E. Hill & Sons, 1931. Quarto. 

Original quarter vellum with green cloth boards, decorative device to upper, titling gilt to spine. xxxvii, 1f., 181, [i] 

(blank) pp. + numerous plates in colour, gravures, etc. (18031) 

$900. 

First Edition. An important study, and one of the most attractive modern books on the violin. 

One of Only 100 Copies 

170. [MUSICAL INSTRUMENTS]. Hill, William Henry, Arthur F. Hill and Alfred Ebsworth Hill. Antonio 

Stradivari, His Life and Work (1644-1737). London: William E. Hill & Sons, 1902. Quarto. Finely bound in full dark 

green calf with boards elaborately tooled in gilt. xvi, 303, [i] pp. + 30 full-page plates of instruments, some in colour. 

Binding slightly rubbed; spine restored. (18027) 

$2,200. 

First Edition. A special printing limited to 100 numbered copies, this number 20. 

One of the most important books on Stradivari. 

Limited Edition, 

With 50 Fine Chromolithographic Plates of Instruments 

171. [MUSICAL INSTRUMENTS] Hipkins, A. J. Musical Instruments Historic, Rare and Unique... illustrated by 

a series of fifty plates in colours drawn by William Gibbs. London: Adam and Charles Black, 1888. Large folio. 

Rebound in half dark red morocco with dark ivory cloth boards, original decorative title label gilt laid down to upper, 

top edge gilt. 1f. (half-title), 1f. (title printed in red and black), [v]-xix, [i] (blank), 107, [i] (colophon) pp. + 50 fine 

chromolithographic illustrative plates. Some light foxing and offsetting. A very good copy overall. (18904) 

$950. 

Limited to 1,040 copies and 50 artist's proofs. A catalogue of the musical instruments exhibited at the London 

Inventions Exhibition held in 1885.

"No attempt was made by the authorities to compile a catalogue worthy of so great an opportunity... Owing to private 

enterprise, the opportunity was not suffered to pass without a record - and a noble one - in the magnificent volume... 

by Mr. A.J. Hipkins, whose name is sufficient guarantee of the excellence of the work; but the author was fortunate in 

finding in Mr. William Gibb an artist who has a real genius for depicting such objects...". Matthews: The Literature of 

Music p. 226. 

172. [MUSICAL INSTRUMENTS]. Phiz [Browne, H.K. 1815-1882]. James, G.P.R. The Fight of the Fiddlers: 

A Serio-Comic Verity... Illustrated by H.K. Browne. London: David Bogue, 1849. Small octavo. Attractively bound in 

full mid-tan calf with boards ruled in gilt, raised bands on spine in decorative compartments gilt, dark green leather 

labels gilt, top edge gilt, teal blue endpapers, decorative inner dentelles gilt, original illustrated wrappers bound in. 1f. 

(half-title), 1f. (frontispiece), 1f. (title), 1f. ("Motto," verso blank), [9]-127, [i] (blank), 8ff. publisher's advertisements. 

With 20 illustrations plus illustrated frontispiece by "Phiz." Original wrappers very slightly stained with one small 

abrasion slightly affecting black line border. Some browning throughout. In very good condition overall. (18917) 

$250. 

First Edition. Heron-Allen no. 595: "This is a little work of great rarity, having been eagerly collected by amateurs of 

the work of 'Phiz' [Hablot Knight Browne], incomparable interpreter and illustrator of Charles Dickens's characters, 

illustrated ten of the great novelist's works, including David Copperfield, Pickwick, Dombey and Son, Martin 

Chuzzlewit and Bleak House.” 

16 th Century Engraving Depicting the Manufacture of Musical Instruments 

173. [MUSICAL INSTRUMENTS]. Sadeler, Jan the Elder 1550-1600. Engraving after Martin de Vos depicting 

Jubal and his musical instrument manufacturing workshop. Antwerp: 1583. Sheet size approximately 204 x 250 mm. 

A nice impression. Minor repairs to verso of right corner; central crease visible from verso. Trimmed to just within 

plate impression. (18797) 

$1,250. 

According to Genesis 4, Jubal, the son of Lamech and Adah, is regarded as the ancestor of all who play musical 

instruments. The present engraving depicts a busy workshop of instrument makers and their instruments, with 

instrumentalists and dancers active in the background. The mention of Jubal is one of the earliest, if not the earliest, 

references to music in the Bible. C. & J. Goodfriend: Catalogue 5, Prints and Drawings of Musical Interest, no. 31. 

Musical Instrument Catalogue for the World’s Columbian Exhibition 

174. [MUSICAL INSTRUMENTS]. Stark, Paul. Illustrirter Haupt-Catalog über Musik-Instrumente deren 

Bestandtheile und Saiten. Markneukirchen: Paul Stark, [ca. 1895]. Quarto. Original publisher's full mid-tan cloth 

boards with decorative blindstamping, "Chicago 1893" stamped in gilt to upper. 1f. (title), 3ff. (including portrait and 

dedication), 1f. (contents), 382 pp. With 41 fine chromolithographic plates, primarily of stringed instruments, and 

numerous illustrations in text. An attractive double-page wood-engraved frontispiece view of Stark's showroom 

depicts an elegant chamber lined with cupboards from which hang an array of stringed instruments including violins, 

violas, guitars, mandolins, and zithers. (19210) 

$3,000. 

Rare, and possibly one of the most elaborate instrument maker's atalogues ever produced. Not located in 

WorldCat/OCLC. 

This exceptional catalogue was prepared for the World's Columbian Exhibition in Chicago in 1893, where Stark's 

instruments won an award for excellence of workmanship. "The exhibit of Paul Stark, of Markneukirchen, Saxony, 

was one of the most admirable in the Germany section. Among the instruments there displayed were several which 

were marked by novelty of design as well as unsurpassed excellence of construction... To-day he carries one of the 

largest and most carefully assorted stocks of musical instruments in Germany." Musical Instruments at the World's

Columbian Exhibition. A Review of Musical Instruments, Publications and Musical Instrument Supplies of all Kinds, 

exhibited at the World's Columbian Exhibition held in Chicago, May 1 to October 31, 1893." Chicago: Presto Co., 

1895, p. 207. 

Autograph Manuscript of Nevin’s A Summer Day 

175. NEVIN, Ethelbert 1862-1901. A Summer Day for voice and piano. Op. 12 No. 1. Autograph musical 

manuscript signed. Undated, but ca. 1891. Folio (344 x 262 mm.) Unbound. 3 pages notated in ink on 12-stave paper 

by Litoff on 2 separate leaves. The complete song. With occasional annotations in ink, pencil and red crayon in 

another hand. With the name of the author of the text, Mrs. Nesbit (?Edith Nesbit 1858-1924) in Nevin's autograph to 

head of first page of music. Annotation "Copyright 1891 by G. Schirmer" to foot of first page of music and a pencilled 

note in German to upper margin of first page referring to this manuscript as a proof, both indicating that this may have 

been the manuscript used by the publisher in the preparation of the published edition. With original autograph 

dedication "To Mrs. Walter C. Wyman" to head of first page crossed out. Slightly worn; creased at horizontal folds; 

some marginal tears; minor ink smudging to first page; paper repair to second page without loss. (19233) 

$1,200. 

Nevin's Op. 12 consisted of 5 songs, of which "A Summer Day" was the first. "In 1884-6 Nevin went to Berlin to study 

the piano with Karl Klindworth and composition with Karl Bial. He also took lessons in composition from Otto 

Tiersch and studied the piano with Hans von Bülow. He intended a career as a virtuoso pianist, establishing himself 

in Boston. Dividing his time between composing and performing, he found success with his published works, 

beginning with Sketchbook and then Water Scenes, including a piece Nevin himself tired of performing, Narcissus. He 

spent 1891-2 in Berlin and Paris, where he taught the piano, composed and lectured on Wagner..." 

"... Nevin was a miniaturist who avoided large musical forms and deeper passions, emphasizing "instead seemingly 

simple and spontaneous melody and accompaniments that support without seeking the foreground. He wrote some 55 

piano pieces, 85 songs, 20 choral works and miscellaneous other pieces, all distinguished by their sentiment, grace 

and charm." Deane L. Root in Grove online. 

176. NICOLAI, Valentino fl. 1775-?1798. [Op. 3]. Six Sonatas for the Piano Forte or Harpsichord With an 

Accompaniment for a Violin. Composed and humbly Dedicated to Miss Mathew. London: J. Dale, [ca. 1785]. Folio. 

Disbound. 1f. (title), [1] (publisher's catalogue), 2-57 pp. Engraved. With London music seller's label (Henry Holland) 

to head of title. Minor browning and soiling; evidence of erasure to upper outer corner of title; label slightly trimmed. 

(18746) 

$350. 

BUC p. 730. RISM N617. 

Nicolai was a "composer and pianist of unknown origin, active in England and France... Certain of [his] sonatas 

(opp. 3, 11) were extremely popular and remained so well into the 19th century, being reprinted in the USA, Europe 

and Dublin. The sonata in C op. 3 no. 1 was especially successful and, according to Burney, was 'for many years 

taught in every school in the kingdom'. This sonata illustrates Nicolai's vitality and facile style, convincingly 

synthesizing a variety of instrumental effects fashionable at the time." Ronald R. Kidd in Grove online 

177. NICOLAI, Valentino fl. 1775-?1798. [Op. 5]. Six Sonatas for the Harpsichord or Piano Forte, with a Violin 

Accompanyment Obligate [!] Composed and Humbly Dedicated to the Rt. Honble. Lady Viscountess Gallway... Op: 

V. [Parts]. London: Longman and Broderip, [1784]. Folio. Disbound. 1f. (title), 35; 1f. (title), 13 pp. Engraved. Very 

slightly browned; several small inkspots to title. In very good condition overall. (18745) 

$325. 

BUC p. 730. RISM N638.

178. NICOLAI, Valentino fl. 1775-?1798. [Op. 7]. Three sonatas and three Duets for the Harpsichord or Piano 

Forte and a Violin Obligato, Composed & Humbly Dedicated to Mrs. Montagu Burgoyne... Opa. VII. [Parts]. London: 

Longman and Broderip , [ca. 1790]. Folio. Disbound. 1f. (title), 42; 1f. (title), 19 pp. Engraved. With the signature of 

the composer to the foot of the title to the keyboard part. One signature separated. In very good condition overall. 

(18743) 

$300. 

BUC p. 730. RISM N643. 

179. NIKISCH, Arthur 1855-1922. Autograph musical quotation signed. 5 bars, being the opening to 

Beethoven's 5th Symphony. Signed in full and dated London June 11th [19]06. 110 x 87 mm. In black ink. Laid down 

to black card stock. Slightly cockled. (19027) 

$200. 

"In 1889 [Nikisch] accepted the conductorship of the Boston SO and undertook many tours throughout the USA. In 

conservative Boston, his interpretatative liberties - as in Beethoven’s Fifith Symphony - ignited a storm of 

controversy; his Boston predecessors (and succesors) were more literal-minded..." 

"[He] was famous for the passionate yet controlled beauty of the string tone he elicited from his players, as well as for 

his broad and flexible sense of tempo. He influenced a generation of conductors who followed him, including in 

different ways Furtwängler, his successor in Leipzig and Berlin, and Boult. Among the contemporary composers 

whom he supported were Mahler, Reger and Strauss." Hans-Hubert Schönzeler in Grove online. 

180. ONSLOW, George 1784-1853. [Op. 16]. Trois Sonates Pour Piano et Violoncelle... 3me. Livraison dédiée 

A Mr. A. Leonzzo de Leyval. Oeuvre 16 [no. 3]... Gravé par Richomme. (N.B. I defaut de Violoncelle, il ya a une 

Partie d'Alto, arrangée par l'Auteur). Paris: Schlesinger [PN] M.S. 1624, [1835]. Folio. Unbound. 1f. (title), [1] 

(blank), 2-20; [1] (blank), 2-9; [1] (blank), 2-9 pp. Engraved. Minor to moderate foxing; inner margin reinforced with 

paper tape. (18964) 

$100. 

"Onslow's work was particularly successful in Germany and Austria throughout the first half of the 19th century, as 

the many editions of his works show. Kistner and Breitkopf & Härtel, in particular, competed for the privilege of 

publishing Onslow in the German-speaking countries. This passion for a composer compared in turn to Mozart, 

Beethoven, Schubert and Mendelssohn progressively died down towards the middle of the century. He was less famous 

in France. His chamber works, although regularly played in musicians' salons, were described as erudite and serious 

and did not become popular with the general public." Viviane Niaux in Grove online. 

181. [OPERA]. Group of 18th century English songs for opera and theatre. 

Contents as follows: 

- Arne, Michael ca. 1740-1786. Sweet Poll of Plymouth Sung by Mrs. Kennedy In The Positive Man. London: 

Longman and Broderip [ca. 1783]. 4 pp. Engraved. Scored for voice, 2 violins and figured bass, with a separate part 

for the "German Flute". First Edition. BUC p. 38. RISM A1474. With composer's abbreviated signature to title. 

- Carter, Charles Thomas 1734-1804. The Sea Fight. London: S.A. & P. Thompson [ca. 1777]. 3 pp. Scored for voice 

and keyboard. BUC p. 169. RISM C1293. 

- Dibdin, Charles 1745-1814. Oh what a charming thing's a Battle. London: Longman and Broderip [ca. 1780]. 5ff. 

Scored for voice and keyboard, with a separate part for the "German Flute." Rare. RISM D2669 (no copies in the 

U.K.). 

- The Moment Aurora Peep'd into My Room A favourite song in Poor Vulcan. London; Longman & Broderip [ca. 

1778]. [2] pp. Scored for voice and keyboard, with separate parts for flute and guitar. Not in BUC. RISM DD2583a 

(one copy only).

- Hook, James 1746-1827. The Death of Auld Robin Gray And Jemmy's Happy Return a favorite Scotch Ballad Sung 

by Mrs. Kennedy At Vauxhall Gardens. London: Longman & Broderip [ca. 1785]. [1] (title), 2-7 pp. Scored for voice 

and keyboard, with separate parts for flute and guitar. BUC p. 496. RISM H6749. 

- L.B. [initials to conclusion]. A Favorite Hunting Diologue[!] and Duet. N.p., n.d. [?London, ca. 1780]. 4 pp. Scored 

for voice and keyboard, with separate parts for flute and guitar. Not located in BUC or RISM. Endpapers browned. 

Slightly worn and soiled. (19263) 

$350. 

182. [OPERA] Group of operatic arias, primarily Italian, published in London ca. 1800-1805. Folio. Quarter dark 

tan mottled calf with marbled boards, raised bands on spine with dark red leather label gilt. 

Includes the following: 

- Bianchi: Nel silenzio i mesti passi. The Celebrated Song, as sung by Madame Banti, in the Opera of Alzira. London: 

Rt. Birchall. 17 pp. Engraved. 

- The Favorite Prayer Grand Dio, che Regoli Sung by Madme. Banti in the Opera of Ines de Castro... and the Favorite 

Duett Toglilti agli occhi miei Sung by Sigr. Benelli & Sigr. Viganoni in the Same Opera. [Full score]. London: L. 

Lavenu [WM 1802]. 1f. (title), 16 pp. Engraved. 

- Biggs: My love to War is going. A song... The Words by Mrs. Opie. [Piano-vocal score]. London: Rt. Birchall; [1] 

(A Catalogue of the Music, Arranged, harmonized, or Composed by Mr. Biggs... sold by Rt. Birchall), 2-4 pp. 

Engraved. With manuscript initials and number [?1405] to foot of first page of music, possibly in the composer's hand. 

- The Fisherman's orphan a favorite Ballad as sung by Mrs. Ashe... The Words by John Penwarne Esq. [Piano-vocal 

score]. London: Rt. Birchall [WM 1802]. 4 pp. With manuscript initials and number 126 to foot of first page of music, 

possible in the composer's hand. 

- A Hindustani Girls song, 'Tis thy will, and I must leave thee. Adapted by Mr. Biggs. Air III. [Piano-vocal score]. 

London: Rt. Birchall [WM 1802]. [1] (blank), 2 pp. [numbered 8-9]. With manuscript initials and number 1311 to foot 

of first page of music, possibly in the composer's hand. 

- Cimarosa: Rondo Ah tornar la bella Aurora... nella Vergine del Sole In S. Pietroburgo. [Piano-vocal score]. London: 

Muzio Clementi. 1f. (series title), 7 pp. Engraved. Published as no. 12 in the Periodical Collection of Italian Songs, 

Duets, etc. 

- La Donna che é amante Sung by Sigra. Bennini in the opera Gianninae Bernardone. [Full score]. London: Muzio 

Clementi. 1f. (series title), 11 pp. Engraved. Published as no. 73 in the Periodical Collection. 

- Mozart: Se potesse' un Suono equale e Oh Cara Armonia Due Duettini nel Opera Il Flauto Magico. [Piano-vocal 

score]. London: Rt Birchall [WM 1802]. [1] (blank), 2-4 pp. Engraved. 

- Sarti: Conqual core ob dio sung by Sigra. Giuliane in the Opera by Giulio Sabino. [Full score]. London: Longman, 

Clementi & Co. 1f. (series title), 9 pp. Engraved. Published as no. 25 in the Periodical Collection. 

- Cavatina, Lungi dal caro bene, Sung by Sigr. Marchesi in the opera Giulio Sabino. [Full score]. London: Rt. Birchall. 

7 pp. Engraved. 

Binding slightly worn, rubbed, bumped and slightly abraided due to removal of early title label to upper. In very good 

condition internally. (19259) 

$375. 

Over 100 Early 20 th Century Postcards 

183. [OPERA - Iconography]. Collection of over 100 early 20th-century postcards, being photographs of 

composers, portrait medallions, performers in role portraits, depictions of operatic scenes, reproductions of paintings, 

etc. Subjects include Abt; Adriana Lecouvreur; Bonelli; Glazounov; Haydn; Humperdinck; Lasso; Ledesma; 

Leoncavallo; Liszt; Maresca; Marschner; Mascagni; Mozart; Nelson; Berta; Novelli; _Offenbach; Paderewski; Pauer; 

Raff; Reger; Rubinstein; Saint-Saëns; Scharwenka; Schnabel; Taneieff; Thomas; Vecsey; Verdi; Vieuxtemps and 

Wagner (28 of the composer either seated at or standing next to a piano, many with printed musical quotations from 

one of the composer's operas and reproductions of scenes and/or characters from the operas after the original paintings 

by Ferdinand Leeke); and Weingartner. (17870) 

$400.

Rare Early 17 th Century Partbooks 

184. PACE, Pietro 1559-1622. Il Quarto Libro di Madrigali a Quattro Voci. Con Quattro Madrigali sopra l'aria & 

istesse parole, A caso un giorno, con uno in ultimo a cinque sopra Ruggiero; avertendosi che sonno fatti per concertare 

sopra il clavicembalo o simili instromenti. Di Pietro Pace Organista di Loreto. Opera Sesta. [Alto and Basso parts]. 

Roma: Giovanni Battista Robletti, 1614. 2 volumes. Small quarto. Contemporary carta rustica wrappers. Alto: 1f. (r. 

title, v. dedication to Monsignor Giuliano Della Rovere), 3-23 printed music, [i] (index) pp.; Basso: 1f. (r. title, v. 

dedication), 3-23 printed music, [i] (index) pp. Titles printed within woodcut borders with additional central woodcut 

device. Music printed typographically in diamond-head notation. Decorative woodcut headpiece to index page and 

decorative woodcut initials throughout. With early ownership signature to titles and early manuscript titling to 

wrappers. Wrappers slightly worn and stained; tender at spines. In very good condition overall. (19161) 

$7,500. 

First Edition. New Vogel 2074. RISM P18 (locating one copy only, in the Austrian National Library in Vienna). 

"[Pace] was organist of the Santa Casa, Loreto, from 15 December 1591 to 31 July 1592... From 1 September 1611 to 

7 April 1622 he was again organist of the Santa Casa, Loreto, when Antonio Cifra was maestro di cappella there. 

According to prefaces in his publications, several of his sacred works were performed at the Jesuit oratory at Loreto... 

Many of Paceís publications are either partly or entirely lost, making impossible a complete assessment of his works. 

He appears to have been most active as a composer during the last decade of his life, when he adopted characteristics 

of the seconda pratica, including an obligatory continuo and affective vocal ornamentation. The surviving books of 

polyphonic madrigals begin in 16th-century unaccompanied style but by the fourth book incorporate concertato 

writing in various textures." William V. Porter in Grove online. 

First Edition of Paganini’s Op. 1 

185. PAGANINI, Nicolò 1782-1840. [Op. 1]. 24 Capricci Per Violino solo... Op. Ia. Milano: Gio. Ricordi [PN] 

403, [1820]. Folio. Quarter mid-tan calf with marbled boards, spine in decorative compartments gilt, dark brown 

leather label gilt. [1] (title), 2-12, [13] (blank), 36-38, [39] (blank), 40-46 pp. Engraved. Spine slightly faded. Some 

minor soiling and staining; ownership markings to title; pencilled annotations to verso of blank binder's paper. In very 

good condition overall. (18870) 

$5,500. 

First Edition. Rare. Moretti and Sorrento p. 89. Fuld p. 455. De Courcy II, p. 374. 

"In 1820 [Paganini's] publisher Ricordi had advertised in Rome the availability for the first time of five sets of works, 

namely the Caprices op. 1, two sets of sonatas for violin and guitar (opp. 2 and 3) and six guitar quartets (opp. 4 and 

5). The Caprices were dedicated to 'alli Artisti' (professional musicians) and were immediately judged unplayable. 

They have since become the 'Bible' of all violinists and are often used as compulsory pieces in competitions and at 

music schools. Although they were not intended for public performance, they are not merely a collection of studies or 

exercises, but a perfect and well-balanced blend of violin technique and musical content (as later similarly found in 

Chopin's Etudes opp. 10 and 25)." Edward Neill in Grove online. 

Adaptations of these famous pieces were made by Schumann, Liszt, Brahms and Rachmaninoff. 

186. PAGANINI, Nicolò 1782-1840. [Op. 1]. Etude Pour le Violon Composée de Vingt-Quatre Caprices Dédiés 

aux Artistes... Oeuv. 1er. Paris: Pacini [PN] 950, [ca. 1820]. Folio. Modern dark blue cloth-backed patterned paper 

boards. 1f. (title), [1] (blank), 2-42 pp. Small publisher's stamp to lower margin of title. Moderately foxed throughout; 

minor staining to several leaves. (18773) 

$475. 

Published contemporaneously with the first edition issued by Ricordi in Milan in 1820.

187. PANERAI, Vincenzio. Principi di Musica Nel quali oltre le antiche, e solite Regole si sono aggiunte altre 

figure di Note, Schiarimento di chiavi, Scale dei Tuoni, Lettura alla Francese, Scale semplici delle Prime Regolo del 

Cimbalo, Violino, Viola, Violoncello, Contrabasso, Oboe, e Flauto. Firenze: Giovanni Chiari, [ca. 1780]. Quarto. 

Early stiff patterned wrappers. 1f. (title), [i] (dedication), 10 pp. Engraved. With a fine illustrated title-page engraved 

by Giuseppe Poggiali after Giuseppe Servolini incorporating musical instruments and motifs. Printed bookseller's 

description laid down to front pastedown. Title slightly worn and soiled, slim portion of inner margin stained; lightly 

foxed throughout, mostly to margins; occasional light soiling and staining; some leaves partially reinforced at inner 

margin. (18909) 

$375. 

First Edition. Gregory Bartlett p. 203 (another edition). Cortot p. 146. Wolffheim I, 899. RISM BVI p. 634. 

First Issue of The Beggar’s Opera to Contain the Overture in Score 

188. PEPUSCH, Johann Christoph 1667-1752. The Beggar's Opera. As it is Acted at the Theatre-Royal in 

Lincolns-Inn-Fields. Written by Mr. Gay. The Second Edition: To which is Added the Ouverture in Score; And the 

Musick prefix'd to each song. London: John Watts, 1728. Octavo. Full early 20th century dark green morocco with gilt 

ruled boards and gilt titling to spine. 4ff. (title, Table of Songs, Dramatis Personae, Introduction), 8 (Overture in 

Score), 76 pp. Binding slightly worn, rubbed and bumped; spine restored; edges of endpapers browned. (19228) 

$650. 

Second Edition, second issue (the second edition appeared approximately two months after the first), and the first 

printing to contain the Ouverture in Score. The verso of the title with printed date of March 27, 1728. Lewis locates 

two copies in Britain (at the National Library of Ireland and at Cambridge) and two copies in the U.S. (at Harvard 

and at Yale). For a full bibliographical account of the various printings of The Beggar's Opera, see Lewis, Peter 

Elfed: John Gay The Beggar's Opera, pp. 23-42. 

First performed at the Theatre Royal in Lincoln's Inn Fields on January 29, 1728. 

"The originality of this theatrical landmark lay in its being about the real inhabitants of London's underworld rather 

than the cardboard heroes of antiquity, with short popular tunes known to the audience instead of long arias in 

Italian... It started a ten-year fashion for ballad operas, and was the greatest theatrical success of the century...” 

“The first edition of The Beggar's Opera (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...” 

"On the first night the audience, which included Walpole, took a little while to accustom themselves to the radically 

new form of the ballad opera, but they finally received the play with enormous enthusiasm. The play did 'take greatly', 

and a contemporary witticism was that it made 'Rich gay and Gay rich'." Lewis p. 3. 

The second edition is marked by a significant change in layout, with the tunes now printed within the text in woodcut; 

in the first edition they appeared in a separate engraved section following the text. The printing of the Ouverture in 

Score from woodcuts as opposed to from engraved plates is also of note. 

189. PEPUSCH, Johann Christoph 1667-1752. The Beggar's Opera. As it is Acted at the Theatre-Royal in 

Lincolns-Inn-Fields. Written by Mr. Gay. The Second Edition: To which is Added the Ouverture in Score; And the 

Musick prefix'd to each song. London: John Watts, 1728. Octavo. Full dark brown contemporary calf with gilt titling 

to spine. 4ff. (title, Table of Songs, Dramatis Personae, Introduction), 8 (Overture in Score), 76 pp. With bookplate of 

Gilbert Samuel Inglefield, Lord Mayor of London, to front pastedown. Early manuscript alterations to first page of 

overture, possibly in the hand of one Henry Thomas. Binding slightly worn, rubbed and bumped; spine restored. Some 

light wear and soiling internally. (19229) 

$600.

Second Edition, third issue, with extra advertisement to verso of title dated May 24, 1728 and several additional small 

differences in text. Lewis locates only one copy in Britain (at Leeds University) and two copies in the U.S. (both at 

Harvard). 

190. PEPUSCH, Johann Christoph 1667-1752. The Beggar's Opera As it is Acted at the Theatre-Royal in 

Lincolns-Inn Fields... The Third Edition, With the Ouverture in Score, the Songs, and the Basses (The Ouverture and 

Basses Compos'd by Dr. Pepusch) Curiously Engraved on Copper Plates. London: John Watts, 1729. Quarto. Fine full 

early panelled calf with raised bands to spine. 1f. (title page printed in red and black), [iv] (contents, cast list), [ii] 

(introduction), 60 (libretto), 46 (engraved music) pp. Bound with: Pepusch, Johann Christoph 1667-1752. Polly: An 

Opera Being the Second Part of The Beggar's Opera. London: the Author, 1729. 1f. (title printed in red and black), 

[viii] (preface and introduction), 72 (libretto) 31 (engraved music) pp. First Edition. BUC p. 801. RISM P1222. Polly 

was the sequel to Gay's highly successful Beggar's Opera. Binding restored. Title very slightly stained at extreme 

lower margin; small tear to very lower gutter. (18835) 

$1,650. 

BUC p. 96. RISM P1195. 

The third edition of The Beggar’s Opera, the first to be printed in quarto (the previous two being in the smaller octavo 

size), was the first to give the bass parts to the songs and thus to provide a sense of how the opera was actually 

performed. A few minor imperfections, but overall very good copies of both works in a fine contemporary binding. 

Peruvian 19 th Century Musical Manuscript 

191. Peruvian 19th century musical manuscript. "Flores de la Tarde Album para el uso de la Señorita Matilde 

Moncloa. Profesor José B. Ugarte," containing pieces for solo piano (mostly dances) and voice and piano. Lima, Peru. 

Ca. 1880. Oblong folio (260 x 345 mm.). Cloth boards. 2ff. (calligraphic half-title followed by a title featuring a 

finely-executed drawing incorporating flowers, musical instruments and lettering, signed with the initials "M.M." and 

dated 1881), 44 pp. notated in at least two different hands on 26ff. 

Contains 15 compositions as follows: 

- El Delirio de la Traviatta 

- La Madrileña Danza Española Redowa La Ilusion 

- La Aurora Valse 

- La Ilusion 

- Masurca La Simpatia 

- Masurca La Orasion 

- Guerro de los Pesares - Valse [from Gounod's Faust] 

- Arelina - Danza [by Julio Nranàz] 

- Las Campanas de Carrion – Valse 

- Sueños de Oro - Romanza para baritono "Barbieri" [Rossini] 

- Gracias a Dios - Zarzuela en un acto 

- Las Hijas de Eva - Romance de contralto [by] Gaztambide 

- La Bellisima Peruana - Danza [incomplete] 

- El Amor es la Vida - Habanera - Letra de M. Dominguez de G.E. Moteros la musica 

- Ilusiones - Valse [by] Teodomiro Garcia 

Binding quite worn with considerable loss of surface cloth; spine chipped; hinges split. Browned; some minor tears. 

(19256) 

$350. 

A most interesting document relating to music-making in 19th century South America.

192. [PIANO TRIOS]. Collection of piano trios by Haydn, Savj, Himmel, and Paer in parts, early 19th century 

editions. 

Contains: 

- Haydn, Joseph 1732-1809. Trois Sonates pour Piano-Forté, avec Violon & Violoncelle... Oeuvre 57. 2de. édition. 

Offenbach s/M: J. Andre: [PN] 22317 [1806]. 27; 11; 7 pp. Engraved. With Milano: Artaria overpaste to title. 

Hoboken XV, 13, 11 and 12. Constapel p. 164. Not in Hoboken catalogue. 

- Savj, Alfonso 1773-1847. Sonata per Piano-forte con Violino e Violoncello Dedicata A Sua Maesta La Principessa 

Imperiale Maria Luigia Arciduchessa D'Austria ... Milano: Luigi Scotti [PN 31] [ca. 1820]. 1f. (title), [1] (blank), 2-9; 

4; 3 pp. Engraved. Savj, whose output includes symphonies, chamber, vocal and ballet music, was a composer and 

cellist resident in Parma. 

- Himmel, Friedrich Heinrich 1765-1814. Trois Sonates Pour le Pianoforte avec Accompagnement de Violon et 

Violoncelle composées et dédiées à son Altesse Impériale Madame la Grande Duchesse Marie... Oeuv. 16 No. [1]. 

Leipsic: Breitkopf & Härtel [PN 1649] [1812]. 15; 3; 2 pp. Engraved. 

- Paer, Ferdinand 1771-1839. Trois Grandes Sonates Pour le Pianoforte avec Accompagnement de Violon et 

Violoncelle ad libitum composées et dédiées à sa Majesté l'Impératrice et Reine Marie Louise... Sonate [3]. Leipsic: 

Breitkopf & Härtel [PN 1628] [1812]. 25; 6; 4 pp. Engraved. 

3 volumes. Folio. 19th century quarter dark red calf with red textured paper boards, green title labels lettered in gilt to 

upper. With early owner's name (Antonietta Sala) gilt stamped within decorative rectangular border to lower margin 

of each upper board. With initials (?AS) to lower outer corner of each title. Upper board of piano part stained. Some 

foxing. (18712) 

$450. 

193. PICCINNI, Niccolo 1728-1800. La Buona Figliuola Opera Comica; Representata al Teatro Reale, nel' Hay 

Market. London: R. Bremner, [1767]. 1f. (title), [1] (blank), 2-5 Overture, [6] (blank), [1] A Catalogue of Vocal and 

Instrumental Music, 2-35, [ii] (blank), 36-84, [1] (blank), 2-5 pp. With overture in piano score, the remainder in 

condensed score, including instrumental parts. Singers identified within the score. Slightly worn, stained and soiled; 

several repairs. 

First Edition. BUC p. 782. RISM P2064. Libretto by Goldoni. First performed on February 6th 1760 in Rome. The 

publication of the work in London coincides with its production there in November of 1766. "Piccinni's 18th opera 

and his greatest success." Loewenberg 243. 

Bound with: 

- Piccinni. Overture La Buona Figliuola Maritata. [London: Bremner, ca. 1767]. [1] (blank), 2-5, [6] (blank) pp. BUC 

p. 782. RISM P2065. Libretto by Goldoni. First performed in May of 1761. 

- Jackson, William 1730-1803. Twelve Songs... Opera Quarta. Wm. Clark Sculp. St. Ann's Lane. London: the Author 

[ca. 1765]. 1f. (title), [iv] (Preface, list of works published by the author), [1] (blank), 2-42 pp. Some light staining. A 

very good copy overall, with music scored for voice, strings and figured bass. The Preface contains an essay on the 

choice and settings of text to music, performance, etc. First Edition. BUC p. 552. RISM J96. "Jackson was a fine 

melodist. Like J.A. Hiller in Germany, he sought an `elegant simplicity' in moulding music to text. He sought to revive 

what he regarded as a true English tradition of melody as opposed to fashionable and artificial Italian songs." The 

New Grove Vol. 9 p. 440. 

Folio. 18th century quarter dark tan calf with marbled boards with manuscript title label to upper dated 1770. 

Remnants of red wax to front endpapers; rear endpaper cut with only stub remaining. (18865) 

$875. 

194. PIXIS, Johann Peter 1788-1874. Melange Sur differents Motifs de Mozart et Beethoven Suivi d'un Boléros 

Espagnol pour Piano & Violin... Oeuv: 60. [Parts]. Vienne: Sauer & Leidesdorf [PN] 520, [1824]. Folio. Unbound. 46; 

6 pp. Engraved. Minor to moderate foxing; spine reinforced with paper tape. (18748) 

$80.

Weinmann: Sauer, Leidesdorf & Berka, p. 51. 

“An Ambitious Attempt… to Raise the Standards of Music in Worship” 

195. PLAYFORD, John 1623 - 1686-87. The Whole Book of Psalms: with the Usual Hymns and Spiritual Songs. 

Together With all the Ancient and Proper Tunes sung in Churches, with some of Later Use. Composed in Three Parts, 

Cantus, Medius, & Bassus: In a more Plain and Useful Method than hath been formerly Published... The Eighth 

Edition, Corrected and Amended. London: Printed by J. Heptinstall... And... to be sold by Henry Playford... and John 

Sprint, 1702. Octavo. Full dark brown mottled calf with blind rules to boards with decorative devices to corners, 

raised bands on spine in compartments, dark red leather label gilt, speckled edges. 6ff., 276 pp. With engraved 

frontispiece by v. Gucht within typeset musical border. Printed typographically throughout. Binding rebacked and 

restored. Frontispiece dampstained at lower margin; blank corner torn from A4. In very good condition overall. 

(19230) 

$475. 

"Playford’s numerous editions of the metrical psalm tunes, for one voice (The Whole Book of Psalmes, 1661), two 

voices (Introduction, 1658), three voices (The Whole Book of Psalms, 1677), four voices (Psalms and Hymns, 1671), 

keyboard (The Tunes of Psalms, c1669), and cittern and gittern (A Booke of New Lessons, 1652), supplemented his 

practical work at the Temple Church and the Company of Parish Clerks. They represent an ambitious attempt, quite 

separate from his books of devotional hymns for domestic use, to raise the standards of music in worship by means of 

a well-instructed parish clerk and male choir. His aim was to restore the old tunes in correctly harmonized versions 

rather than to introduce new ones. Success came only after his death, with the burgeoning of voluntary parish choirs 

in the 1690s; many of his tune harmonizations were used throughout the 18th century in England, Scotland and North 

America." Margaret Dean-Smith and Nicholas Temperley in Grove online. 

An Attractive Lithograph of 19 th Century Polish Musicians, 

196. [POLAND]. Finely drawn large lithographic group portrait of prominent mid-19th century Polish musicians. 

Hanfstaengl, [ca. 1852]. Artysci Sceny Warszawskiej [Artistic Scene in Warsaw]. By J. Melcher of Munich after the 

drawing by J. Simmler. Approximately 460 x 580 mm. (18" x 22.5") plus wide margins, printed on china paper laid 

down to heavier mounting stock. 

Subjects are (standing, from left to right): 

- Turczynowicz, Maria, writer, including of a biography of Chopin 

- Tarnowski, Alexandre (1812-?), violinist and composer, originally from Lithuania, with a career in Paris 

- Komorowski, Ignace (1824-1857), composer 

- Zolkowski, Aloîse-Gonzague (1777-1822), singer and poet 

- Rivoli, Paulina (1817 or 1823-1881), singer (holding a musical score) 

- Dobrski, Julien (1812-1886), prominent tenor (holding a score of Verdi's "Ernani") 

- Rywacka, Louise [Rywackz-Morozewicz, Ludwika] (1817-1858), prominent soprano 

- Moroz, (seated to left) 

- Troschel, Wilhelm (1823-1887), composer and bass (seated at piano). The Troschel family were piano makers in 

Warsaw. (18792) 

$1,500. 

An unusual and attractive image. The Polish artist Josef Simmler (1823-1868) was a prominent painter in the 

classical style.

Puccini Writes to the Conductor Mugnone Regarding Butterfly 

197. PUCCINI, Giacomo 1858-1924. Autograph letter signed "G. Puccini" 2 pp. Octavo. On the card of the 

Agenzia Gazzetta dei Teatri, via Carlo Alberto, Milano. Addressed to the conductor L[eopoldo] Mugnone. In Italian, 

with translation. Relative to proposed cuts to the third act of Madama Butterfly. Referring to a meeting the two men 

had the previous evening concerning the work and looking forward to their next meeting in Buenos Aires. "This 

morning I thought of a cut that appears good and effective to me - in the third act of Butterfly... cutting all the slow 

little scene with the baritone..." Puccini then goes on to describe the details of the cut. Very slightly worn and 

browned; minor creasing. In very good condition overall. (19051) 

$2,250. 

Butterfly was first performed at La Scala in February 17th 1904. "[Mugnone's] friendly relations with Puccini were 

disrupted by a disagreement over the musical direction of Madama Butterfly at Rome in 1908, but Mugnone later 

introduced to Italy the only Puccini opera published by Sonzogno, La rondine, shortly after its Monte Carlo première 

in 1917." Claudio Casini in Grove online. Mugnone (1858-1941) conducted the premieres of Puccini's Tosca (1900) 

and Mascagni's Cavalleria Rusticana (1890). 

First Edition, First Issue of Turandot 

198. PUCCINI, Giacomo 1858-1924. Turandot Dramma Lirico in Tre Atti e Cinque Quadri di G. Adami e R. 

Simoni L'Ultimo Duetto e il Finale dell' Opera sono Stati Completati da F. Alfano Riduzione per Canto e Pianoforte di 

G. Zuccoli. Milano... Roma: G. Ricordi & C. [PN 119772], [March 1926]. Quarto. Original publisher's decorative 

cloth-backed boards printed in colour. 8 preliminary leaves including frontispiece, title and cast list, 146 pp., 3ff., pp. 

147-206, 1f., pp. 207-284, 3ff., pp. 285-388, 1f., pp. 389-398, 1f. With publisher's corner blindstamp dated 3-26 (= 

March 1926). Preserved in a custom-made dark green cloth clamshell box with leather label titled in gilt to spine. 

Binding slightly worn, rubbed and bumped. Title slightly browned; some spotting to preliminary leaves; previous 

owner's name to half-title and endpaper. A very good copy overall. (19235) 

$750. 

First Edition, first issue. Hopkinson 12A. Schickling 91.E.1. Puccini's final masterpiece was first performed at La 

Scala in Milan on April 25th 1926. 

"There is no Italian opera, before Turandot, in which such an organic attempt is made to integrate music and drama... 

Puccini was now at the height of his powers, inventing colouristic effects which are violent and jewel-like at the same 

time... Unfortunately Puccini did not complete his last masterpiece, but if he had lived he would have worked to 

remove every incongruity, as he had done on other occasions. We are left with a splendid and exceptionally extensive 

‘fragmentí,’ produced by an artist at the peak of his creative and intellectual form." Gabriella Biagi Ravenni and 

Michele Girardi in Grove online. 

199. PUGNANI, Gaetano 1731-1798. Six Sonatas For the Harpsichord with an Accompanyment for a Violin or 

Flute and a Violoncello... N.B. these Sonatas are Published under the Direction of the Author. London: Welcker, 

[1767]. Folio. Disbound. 1f. (title), 36; 1f. (title), 6; 1f. (title), 6 pp. Engraved. (18759) 

$375. 

First Edition. BUC p. 854. RISM P5602 (2 copies only in the U.S.). 

Pugnani, an Italian violinist and composer, was a pupil of G.B. Somis who was, in turn, a pupil of Corelli. "As a 

composer Pugnani reached far beyond the violin into the field of opera, symphony and chamber music, and must be 

considered an important representative of mid-century Italian Classicism... His chamber music stands midway 

between that of Sammartini and Boccherini...". Boris Schwarz in Grove online

Rameau, Dauvergne & Pergolesi 

200. RAMEAU, Jean-Philippe 1683-1764. Anacreon Ballet en un Acte détaché des Surprises de l'Amour... 

Representé sur le Theâtre de l'Academie Royale de Musique en 1757. [Full score]. Paris: Le Clerc... Bayard... 

Castagnery... Daumont, 1757. 1f. (title), 65 pp. Engraved. Small wormhole to upper blank margin throughout, 

otherwise a very good copy. 

First edition (?first issue). Lesure p. 525. RISM R124. Both Lesure and RISM describe two issues, distinguished by 

slightly different imprints. In the present issue (the first listed by RISM), the fourth distributor is "Mr. Daumont;" in 

the other issue, the fourth distributor is "Le Menu." 

The ballet Anacreon constitutes the third part of the opera-ballet "Les Surprises de l'Amour;" each of the three acts is 

a separate work. "The opéra-ballet Les Surprises de l'Amour, with text by Rameau's friend Gentil-Bernard, was first 

performed at the Theatre des Petits Appartements at Versailles in November of 1748. It consisted then [of] a prologue 

in honour of the peace of Aix-la-Chapelle, 'Le Retour d'Astree,' and two acts, 'la lyre enchantee' and 'Adonis." Nine 

years later, [on May 31st] 1757, it was given at the Opera, without the prologue and with the addition of the third act, 

'Anacreon.' " Girdlestone p. 451. 

Bound with: 

Dauvergne, Antoine 1713-1797. Les Troqueurs Intermede... Gravé par Le Sr. Hue... Imprimé par Auguste de Loraine. 

[Full score]. Paris: l'Auteur... Vernadé... Bayard [1753]. 1f. (title), 99 (music), [i] (Privilege) pp. With text by Jean 

Joseph Vade. Slightly browned; very small wormhole to upper blank margin from page 5 onwards. A very good copy 

overall. First Edition. Loewenberg 233. Hirsch II, 179. BUC p. 255. Lesure p. 156. RISM D1097. First performed on 

July 30, 1753 at the Opera Comique in Paris. "Among Dauvergne's stage works, only Les Troquers is important 

historically and musically... It was the first thoroughly French comic opera constructed on Italian models; all of the 

music was original and recitative replaced the usual spoken dialogue... Les Troqueurs was an instantaneous success, 

enjoyed numerous revivals, was presented in several European capitals and was parodied at least twice." TNG Vol. 5 

p. 257. 

Bound with: 

Pergolesi, Giovanni Battista 1710-1736. La Servante Maitresse Comédie En deux Actes Mêlée d'Ariettes, Parodiés de 

la Serva Padrona, intermede Italien, Représentée pour la premiere fois, Par les Comédiens Italiens Ordinaires du Roi, 

Le Mercredi 14 Aoust 1754. Et a la Cour devant leurs Majestés Le 4 Decembre de la même année... Gravé par Melle 

Vendôme de L'Imprimerie du Sr. Richomme Laîne. [Full score]. 1f. (title, v. "Personnages"), 77 pp. Engraved. Some 

worming to margins, otherwise a very good copy. First Edition, first issue of the French adaptation of Pergolesi's 

famous comic opera "La Serva Padrona." Lesure p. 485. Hirsch II, 711. RISM P1398. "La serva padrona remained 

largely unaltered in its text throughout its 18th-century performance history. It was given on 1 August 1752 in Paris, 

where it had first been heard in 1746. This second series of performances met with a tremendous response and was 

the cause of the Querelle des Bouffons, the pamphlet war between the supporters of traditional French opera and the 

proponents of Italian opera buffa; Pergolesi’s name came to symbolize the aesthetics of J.-J. Rousseau and the 

‘progressive’ party. Two printings of La serva padrona appeared in Paris in 1752; these were followed by two 

editions of a French adaptation under the title La servante maîtresse by Baurans..." Helmut Hucke and Dale E. 

Monson in Grove online. 

Folio. Full dark tan mottled calf with spine in decorative compartments gilt, red edges, marbled endpapers. Binding 

very slightly worn and rubbed. (19006) 

$4,200. 

With Music by Dowland, Tallis and Others 

201. RAVENSCROFT, Thomas ?1592 - ca. 1635. The Whole Booke of Psalmes: with the Hymnes Evangelicall, 

and Songs Spirituall. Composed into 4. parts by sundry Authors, with such severall Tunes as have beene, and are 

usually sung in England, Scotland, Wales, Germany, italy, France, and the Netherlands: Never as yet before in one 

Volume published. Also: A briefe Abstract of the Prayse, Efficacie, and vertue of the Psalmes. Newly corrrected and

enlarged by Tho. Ravenscroft Bachelar of Musicke. London: Printed by Thomas Harper for the Company of 

stationers, 1633. Octavo. Newly bound in full dark brown panelled calf with raised bands on spine, dark red leather 

label gilt. 5ff., 273, [5] pp. Typeset throughout. 

With contributions by Ravenscroft, John Dowland (a setting of Psalm 100, "All people that on earth do dwell"), 

Thomas Tallis (a settling of "Praise the Lord O ye Gentiles"), Thomas Morley, John Milton (father of the poet), Gyles 

Farnaby, Thomas Tomkins, John Tomkins, Martin Pierson, William Parsons, Edmund Hooper, George Kirby, Edward 

Blancks, Richard Allison, John Farmer, Michael Cavendish, John Bennet, Robert Palmer, Simon Stubbs, William 

Crawford, and William Harrison. Slightly browned; some minor paper repairs; small wormhole to edges of several 

leaves. A very good copy overall. (19226) 

$3,800. 

BUC p. 876. RISM 1633/1 (one copy only in the U.S.). An enlarged and corrected edition of the 1621 printing. 

202. REINER, Fritz 1888-1963. Typed letter signed, dated October 25th 1953. 1953. Quarto. To Mr. Little. On 

letterhead of the Chicago Symphony Orchestra, of which Reiner was musical director and conductor. Together with a 

reproduction photograph. "I am glad to note that you are interested in recorded music and I am sure that you join me 

in the hope that some fine pressings will result from the orchestra's new association with R.C.A. Victor. We want to 

build a really good catalogue - one that will reflect credit on all of us." Creased at folds. (19035) 

$175. 

"Reiner’s posthumous celebrity has been enhanced by the brilliant series of recordings he made in Chicago for RCA 

Victor (1954-63), which reproduce the sound of his great orchestra vividly and confirm his artistic intellect, 

exceptionally keen ear for detail and penetrating musicianship." Philip Hart in Grove online. 

Respighi Writes on his Pini Di Roma 

203. RESPIGHI, Ottorino 1879-1936. Autograph letter signed "Ottorino" on a postal card, dated January 11, 

1926. Addressed to Claudio Guastalla in Rome regarding Respighi's reception in America and performances of his 

Pini di Roma, considered one of the masterpieces of his Roman Trilogy, by both Toscanini and the composer. "Up 

and down by train or car. What a life! One does not even have time to eat or sleep. The concert was a fantastic 

success. Toscanini will conduct I Pini on the 14th, then he will repeat it four times in New York. I will conduct it in 

Philadelphia on the 15th, 16th and 18th of this month, then Toscanini again here on the 20th! We are having a 

fantastic welcome. Everyone is so cordial!" Some cracking; lower left corner tender; small tear not affecting text; left 

edge slightly abraided with loss to several letters; one stamp crudely removed. (19050) 

$600. 

"Respighi’s most famous works of the 1920s are the several symphonic poems that followed on, in various ways, from 

Fontane di Roma, whose international success was by then going from strength to strength. Pini di Roma and Feste 

romane were consciously planned as sequels to Fontane, and became inseparably linked with it in the public mind 

and in due course in countless recordings. However, these two later ‘Roman’ poems (especially Feste), though in 

many ways imaginative, are inclined to let picturesque colourfulness spill over into a flamboyant garishness that 

seems aimed primarily at lovers of orchestral showpieces. One can understand why Mussolini was fond of these 

works; yet the unworldly Respighi was probably, in truth, more influenced here by a simple, child-like delight in the 

kaleidoscopic riches of a modern orchestra than by the pageantry of fascism." John C.G. Waterhouse in Grove online. 

204. ROLLET. Méthode Pour apprendre La Musique sans transposition, avec Quatre Vingt Leçons a deux Parties, 

sur toutes les Clefs, toutes les Mesures, Et tous les tons qui Sons usité dans la Musique. Dédiée A Madame de 

Courcelle et Composée par Mr. Rollet Mtre. de Musique... Gravé par Le Sr. Hue. Paris: Le Menu, [ca. 1762-1780]. 

Folio. Full early green vellum. 1f. (title, publisher's catalogue), 98 pp. Engraved. Binding slightly worn, stained and 

scuffed; spine darkened. Some minor staining; slight worming to lower outer blank corners throughout. (18702) 

$650.

First Edition, second issue. Rare. Cortot p. 168. Gregory-Bartlett I, p. 235. RISM BVI p. 714. 

This singing method is credited by RISM to the French nobleman and writer Marie François Louis Gand Leblanc 

Roullet (1716-1786), ascribing a publication date of 1762; Fétis, however, simply identifies the author as a professor 

of music in Paris, dating the work at 1780. 

205. ROMBERG, Andréas 1767-1821. [Op. 67]. Trois Quatuors pour deux Violons, Alto & Violoncelle... 

Oeuvre 67 et posthume No. I [II-III] 9me. Suite des Quatuors. Bonn: N. Simrock [PN] 2538, [ca. 1825]. Folio. 

Disbound. Marbled edges. 19; 19; 19; 19 pp. Engraved. Slightly browned. In very good condition overall. (18721) 

$250. 

"[Romberg] won European recognition as a composer, modelling his technique on Haydn and Mozart and setting 

himself the task of writing works musically more substantial than the usual run of virtuoso pieces." Kurt Stephenson in 

Grove online. 

With One of the Earliest Examples of French Music Lithography 

206. ROSSINI, Gioachino 1792-1868. Cinque Quartetti Originali... Dedicati A.S.E. Lord Burghersh... Milano: 

Gio. Ricordi [PN 2665-70] [1826]. [Parts]. 39; 31; 29; 25 pp. Engraved. First Edition. Rognoni p. 466, 2. 

Bound with: 

- Fraenzl, Ferdinand 1767-1833. Trois Quatuors concertants... trè humblement dédiés A Sa Majesté L'Empereur 

Alexandre I... Oeuvre 9. No. 1 [2, 3]. Charenton: Chez Vernay à l'imprimerie lithographique, [PN 225-227] [1804]. 

All parts 11; 7; 7; 7 pp. Lithographed. "Fränzl was the most important German violinist of Spohr's generation. 

Although his technique was French in style, he exerted an indirect influence even on Spohr's playing through his own 

pupil, Franz Eck... Among Fränzl's compositions the violin concertos and a few overtures were especially popular." 

Roland Würtz in Grove online. One of the earliest examples of French music lithography (see Twyman pp. 247- 

254, where this edition is listed and illustrated). 

- Mussini, Natale 1765-1813/14. Six Quatuors à Violon principal, Second, Alto, et Violoncelle... dediés A S.E. Lord 

Burghersh Ministre de S. M. Britanique en Toscano... [2e] Livre contenant N. [4,5,6]. [Parts]. Milan: J. Ricordi [PN] 

2654-56 [1826]. 25; 19; 18; 18 pp. Engraved. 

- Rolla, Alessandro 1757-1841. Tre Gran Quartetti concertanti Per due Violini Viola e Violoncello composti e 

dedicati a Sua Eccellenza il Sigr. Conte Giuseppe Archinto... Opera II dei Quartetti. [Parts]. Milano: Gio. Ricordi [PN] 

1594, [1825]. 1f. (title), 31; 23; 23; 23 pp. Engraved. Rolla, an Italian composer, violinist and violist, was first 

professor of violin and viola at the newly-opened Milan Conservatory from 1808 to 1835. "[His] compositions, which 

number some 500 or more, relate to both the Italian instrumental tradition (particularly that of Boccherini) and the 

Viennese Classical style... In his chamber music Rolla displays his increasing familiarity with Beethoven's music: for 

example, the opening of the F minor Quartet of op. 2 openly recalls that of Beethoven's op. 18 no. 1. The formal and 

tonal schemes of Rolla's quartets make them the closest of his works to Viennese classicism." Antonio Rostagno in 

Grove online. 

- Rolla. Trois Quatuors... dédiés à Sa Majesté Charles IV. Roy d'Espagne... Opera 5. [Parts]. Paris: Imbault [PN 842] 

[ca. 1807]. 1f. (title), 25; 19; 19; 19 pp. Engraved. 

4 volumes. Folio. 19th century quarter dark green calf with marbled boards, spines in decorative compartments titled 

and ruled in gilt. Bindings slightly worn and rubbed. Some foxing; minor soiling; identification to some parts in 

manuscript; cloth tabs to outer margins. In very good condition overall. (18771) 

$2,750.

207. ROSSINI, Gioachino 1792-1868. La Gazza Ladra... Sinfonia Partitura d'Orchestra in Fac-Simile dell' 

Autografo. Milano: G. Ricordi, 1934. Oblong folio. Original publisher's decorative patterned paper boards with title 

label inset to upper. 1f. (title), 57 pp. Binding slightly worn and soiled. (19001) 

$135. 

First Edition of Rousseau’s Le Devin du Village, 

“Showed the Way to French Opera Comique” 

208. ROUSSEAU, Jean-Jacques 1712-1778. Le Devin du Village Interméde represente a Fontainebleau Devant 

leurs Majestés les 18. et 24. Octobre 1752. Et a Paris par l'Academie Royale de Musique le 1er Mars 1753... Gravé par 

Melle. VandÙme, depuis la 1re Planche jusqu'a la 50. [Score]. Paris: chez Mdme. Boivin... Mr. le Clerc... Melle. 

Castagnerie, [ca. 1753]. Folio. 2 ff. (title, dedication), 95 pp. Engraved. Uniform minor browning; outer edges of title 

darkened. (18858) 

$1,150. 

First Edition. Loewenberg 217. BUC p. 904. Lesure p. 550. RISM R2899. 

This "epochal" composition "showed the way to French opéra comique, as it was definitively coined during the third 

quarter of the 18th century... However slight the work, its message was deeply felt and pertinent to those social 

stirrings that made Rousseau such a prophet to his own and later times: the triumph of rustic simplicity and virtue 

over higher-class corruption and venality. After being carried out in the main plot, this theme is re-enacted in 

pantomime during the final ballet. Rousseau's verve and style as a librettist accounted for no small part of the work's 

renown. But it was as a poet-musician that he wanted to be hailed, and indeed was. His model for the form of the 

whole was the Italian intermezzo. The dimensions of the work are small... and there is no spoken dialogue, a 

departure from similar French works before this time... A folklike simplicity of tone pervades the whole. Dance 

rhythms are prominent, especially the gavotte pattern." TNG Vol. 16 pp. 270-271. 

Max Rudolf Archive of Over 2,000 Letters, 

Together with Material Associated with the Metropolitan Opera, etc. 

209. RUDOLF, Max 1902-1995. An extensive and important archive of materials relating to the eminent 

American conductor Max Rudolf (born Frankfurt, Germany 1902, died New York 1995), best-known for his 

association with the Metropolitan Opera in New York, where he made his début as conductor with Der Rosenkavalier 

in 1946, remaining for 14 seasons and also serving as assistant manager; the Cincinnati Symphony, where he was 

music director from 1958 to 1970; and the Curtis Institute in Philadelphia, where he was head of the opera and 

conducting departments. Rudolf also authored one of the most widely-used and respected texts on conducting entitled 

The Grammar of Conducting: A Comprehensive Guide to Baton Technique and Interpretation in 1950, published in a 

third edition in 1993. 

The archive consists of the following: 

I. Correspondence 

Approximately 2,000 letters from numerous composers, conductors, musicians, singers, musicologists, critics, etc. 

dating from the 1930s through to the early 1990s, covering much of Maestro Rudolf's professional life, many with 

Rudolf's replies. Also included is correspondence associated with the Metropolitan Opera, the Curtis Institute, and 

various opera and orchestral societies. Together with documents associated with the various correspondents, including 

contemporary newspaper clippings and reviews, concert programs, photographs, greeting cards, invitations, etc. Many 

of the letters are quite densely written and often consist of more than one page. The majority include copies of 

Rudolf's replies in carbon copy or photocopy, offering a valuable dimension to the correspondence. Rudolf was a 

highly articulate correspondent, and his writing is particularly notable for its wealth of detail, clarity of expression and 

warmth. The correspondence includes much discussion of the art of conducting, matters of interpretation, 

contemporary composers and their compositions, performers, programming, and other musical matters, often in 

significant depth, thus providing an invaluable window into the musical scene in general, and in America in particular, 

for much of the 20th century.

II. Material Relating to the Metropolitan Opera 

A significant collection of material relating to the Metropolitan Opera covering the period during which Rudolf was 

engaged as conductor, 1945-1957 and 1971-1975, including correspondence, radio broadcast scripts, programs, 

original photographs, tour schedules and itineraries, newspaper and magazine reviews and articles, etc. (19268) 



Schoenberg Autograph Letter Mentioning his Lectures, etc. 

210. SCHOENBERG, Arnold 1874-1951. Typed letter signed, dated May 19, 1936. Folio. To Ernest Briggs in 

New York. In English. With Schoenberg's return address in Brentwood Park typed in red at head and his name 

stamped in red below the composer's signature in black ink. Schoenberg thanks Briggs for asking him about his 

lectures for the coming season, but says that he "could not dare to go North" during the winter on account of his 

health. "But I would like to lecture either before or after my Summer Session at USC. That would be in the beginning 

of June or in August. On account of the expenses I think it would be necessary to arrange a tour of at least six to eight 

lectures. My fee would be $200 and expenses for each lecture..." Creased at folds; slightly worn and creased overall. 

(19044) 

$2,000. 

"Schoenberg’s search for employment ended with his acceptance of a teaching post until the next May at the Malkin 

Conservatory in Boston. The family arrived in the USA at the end of October 

[1933]. The work proved to be on a more elementary level than he had realized. Some of the classes were held in New 

York, which meant a tiring weekly journey there. As soon as the weather became bad in December his health 

deteriorated; he fell seriously ill in January and again in March. The summer put him right, but he dared not stay 

another winter on the east coast and, after two months at the Chautauqua Institution, a centre for religion, education 

and the arts in New York State, he moved to Los Angeles in September 1934 for the sake of the climate ñ a decision 

that probably added several years to his life. He first settled in Hollywood, where he completed the Suite for string 

orchestra by the end of the year. Private pupils soon began to come to him, and in the academic year 1935-6 he gave 

lectures at the University of Southern California. In 1936 he accepted a professorship in the University of California 

at Los Angeles, and moved to a house in Brentwood Park where he lived for the rest of his life. That year saw the 

composition of the Fourth Quartet and the completion of the Violin Concerto, begun the previous spring or summer." 

O.W. Neighbour in Grove online. 

An interesting letter dating from an early period of Schoenberg's life in the USA, written in the year in which he took 

up his professorship at the University of California in Los Angeles. 

211. SCHOENBERG, Arnold 1874-1951. [Op. 18]. Die Gluckliche Hand Drama mit Musik. Auszug mit Text fur 

zwei Klaviere zu vier Handen von Eduard Steuermann. Wien, New York: Universal-Edition [PN] U.E. 5669, [ca. 

1923]. Folio. Flexible dark red cloth wrappers with original publisher's green wrappers bound in. 1f. (title), 3-40 pp. 

Ex-library, with stamps, perforations, etc. Wrappers partially detached. Slightly worn. (18657) 

$200. 

First Edition of this four-hand arrangement. Rufer: The Works of Arnold Schoenberg: A Catalogue p. 194. OCLC 

15386043. 

In one act with a libretto by the composer, first performed at the Volksoper in Vienna on October 14, 1924. "This 

work was begun in 1910, but much of the music, including the first and last of the four scenes, was not composed until 

1912-13. Like its companion piece, Erwartung, it contains only one singing character. It is shorter, lasting only 20 

minutes or so, but the action is far more complex, involving two mimed roles, a chorus and elaborate scenic effects 

synchronized with constantly changing coloured lighting. This last feature was also used by Kandinsky in Der gelbe

Klang, but Schoenberg did not know about it at the time. His conception coincides with his own most intense period of 

activity as a painter." Grove online. 

212. SCHOENBERG, Arnold 1874-1951. Gurre-Lieder von Jens Peter Jacobsen (Deutsch von Robert Franz 

Arnold) für Soli, Chor und Orchester... Partitur. Wien: Universal-Edition [PN U.E. 3697], 1912. Tall folio. Publisher's 

wrappers printed in green. 1f. (title with decorative Jugendstil design printed in dark orange), 179 pp. Wrappers 

slightly worn and chipped; upper portion browned; spine chipped. (18990) 

$1,650. 

First Edition. Rare. Rufer p. 79. 

A facsimile of the autograph musical manuscript full score. 

"In March 1900 Schoenberg began setting Jens Peter Jacobsen’s Gurre-Lieder as a song cycle for voice and piano, 

for entry in a competition. In accordance with the ballad-like tone of the verse he built the vocal lines from relatively 

simple rhythmic elements, a style shared by the songs Hochzeitslied and Freihold of about the same time, and perhaps 

suggested by some of Zemlinsky’s early songs. However, Schoenberg soon saw wider possibilities in the text. Having 

fallen under Wagner’s spell he felt the need for subjects that transcended common experience, his first thought being 

to wring something more from such well-worn themes as love, death and transfiguration. The way lay through 

mastery and reinterpretation of Wagnerian style, and the Gurre-Lieder offered a far more expansive arena for this 

important confrontation than Verklärte Nacht had done. He therefore decided to connect the songs he had already 

composed (those in the first two parts of the finished work) with symphonic interludes and set the whole poem as a 

vast cantata employing several soloists and a huge chorus and orchestra." O.W. Neighbour in Grove online. 

213. SCHUBERT, Camille. Album of dance music. Paris: Camille Prilipp [PNs 1127, -29, -31, -33, -35, -37-39], 

[1858]. Oblong folio. Original green cloth with decorative stamping in gilt and relief. Group of 7 dances for piano, 5 

accompanied by a full-page pictorial lithograph by the well-known French lithographer Victor Coindré illustrating the 

subject matter of the song. With several fine decorative title pages. 

Contains the following pieces: 

- Les Chants de l'Absence Nouvelle Suite de Valses Op. 230. 10 pp. 

- Les Dames de la Cour Quadrille Élégante Op. 229. 5 pp. 

- La Printannière Redowa Brillante Op. 235. 3 pp. 

- La Rose de Palerme Nouvelle Polka Op. 232. 4 pp. 

- Le Bouquet d'Émeraudes Polka-Mazurka Op. 233. 3 pp. 

- Fleur d'Églantier Nouvelle Schottisch Op. 234. 5 pp. 

- Les Lanciers Parisiens Nouvelle Quadrille des Lanciers Op. 231. 5 pp. 

Binding somewhat worn and shaken; joints partially split. Some minor foxing. Lithographs in very good condition. 

(18744) 

$150. 

A charming tribute to the dance music popular in mid-19th century Paris. 

Signed by Schubert 

214. SCHUBERT, Franz 1797-1828. [Op. 4]. Der Wanderer von Schmidt v: Lübeck. Morgenlied von Werner. - 

Wandrers Nachtlied von Goethe; für eine Singstimme mit Begleitung des Piano-Forte, in Musik gesetzt, und Sr. 

Excellenz dem hochgebornen und hochwürdigsten Herrn Herrn Johann Ladislav Pyrker v. Felsöeör, Patriarchen von 

Venedig, Primas von Dalmatien, Grosdignitar und Kroncaplan des Lombardisch=Venetianischen Königreiches, Sr. 

k.k. Majestät wirkl: geheimen Rathe &. in tiefer Ehrfurche gewidmet von Franz Schubert. 4tes. Werk. No. 773. 

[D489, 685, 224]. Wien: Cappi und Diabelli [without publisher's plate number], [1821]. Oblong folio. Unbound.

Preserved in a custom-made dark red cloth archival clamshell box with title label to spine. [1] (title), 2-11, [12] 

(blank) pp. With Schubert's abbreviated autograph signature ("Sch"), paraph, and the number 61 to verso of 

final leaf, constituting his control mark. Slightly soiled and worn, but a very good, wide-margined copy overall, with 

strong impression. (18844) 

$6,500. 

First Edition, first issue. Deutsch p. 289. Hirsch IV, 476. Hoboken 13, 22. 

"Next to Erlkönig, Der Wanderer was Schubert's most popular songs during his lifetime and for many years 

afterwards. The poem first appeared in an almanac in 1808, under the title 'Des Fremdlings Abendlied,' and then as 

'Der Unglückliche'... Schubert's setting (October 1816) became the delight of Viennese drawing-rooms some time 

before it was published. At length it appeared as Op. 4, No. 1, in 1821, dedicated to the Patriarch Pyrker, who 

gratified the composer with 20 ducats and a letter of charming compliments. Der Wanderer is said to have brought in 

27,000 florins within forty years to Diabelli, the publisher. It remains the most familiar, if not the finest, of Schubert's 

songs in scena form." Capell: Schubert's Songs, p. 115. The autograph of Der Wanderer in this version is lost. 

Morgenlied, the second song, was composed in 1820. "In the naive dialogue with the birds can be heard almost as 

really as in Mussorgsky the tune of an old nurse's ditty in entertainment of a child." Capell p. 168. 

"Schubert composed a page of ever-living beauty in Wanderers Nachtlied [the third song]... The poem, one of singular 

harmoniousness and limpid depth, is a sigh for peace, and almost a prayer, uttered in a moment of world-weariness. 

Goethe wrote the lines on the Ettersberg in 1776, and addressed them to his Egeria, Charlotte von Stein." Capell p. 

102. 

"A point of great significance here... is... the Control Marks. These have aroused much debate and speculation, some 

scholars stating that these markings were not written by Schubert himself, but by his brother Ferdinand or his friend 

Leopold Sonnleithner. A study of the early Schubert editions in the Gesellschaft der Musikfreunde, Vienna, which 

owns important collections once owned by Spaun, Sonnleithner, Brahms, Witteczek and Hoboken, shows that the 

situation is, in fact, a good deal more complicated, since a number of early hands are involved. A few of the markings, 

for example, in Brahms's, Spaun's and Sonnleithner's copies, would indeed appear to be in Schubert's own hand. 

Brahms himself identifies Schubert's hand on his copy of "Der Wanderer" Op. 4. However, the positive identification 

of the composer's hand from such short inscriptions is always open to differences of opinion. We can say that the 

control markings are present only on the earliest issues of the songs published as Opus 1 to Opus 14, dating from 

1821-1822. Thus they would all appear to be authentic in the sense of being made either by Schubert himself or on his 

behalf as a control mark for the earliest issues of his song publications from those two years." Sotheby's [London] 

music auction catalogue, December 7, 2004, p. 123. 

215. SCHUBERT, Franz 1797-1828. [Op. 70]. Rondeau Brillant pour Pianoforte et Violon. [D895]. [Parts]. 

Vienne: Artaria & Comp. [PN] 2929 , [after 1827]. [1] (title), 2-19; 9 pp. Engraved. Browning to title; minor foxing; 

some very light marginal staining. First Edition, later issue, with price of "Fl:1.50Xr." Hirsch IV, 547. Hoboken 13, 

298. 

Bound with: 

Drei Sonatinen für Piano-Forte und Violine. [Op. 137, posthumous]. No[s]. [1-3]. [D384, 385, 408]. [Score and part]. 

Wien: Ant. Diabelli und Comp. [PN] 5848-49-50 [1836]. [1] (title), 2-15; [1] (blank), 2-7; [3] (title), 4-23; [1] 

(blank), 2-7; [1] (title), 2-15; [1] (blank), 2-7 pp. Engraved. Some pencilling (primarily fingering) to first three pages 

of score to first sonata. First Edition. Hirsch IV, 615. Hoboken 14, 499-501. 

- Fantaisie pour Piano et Violon. [Op. 159, posthumous]. [D934]. [Score and part]. Vienne: A. Diabelli et Comp. [PN 

D. & C. No. 8888] [1850]. 1f. (title, verso blank), 35; 3-15 pp. Engraved. First Edition. Hirsch IV, 637. Hoboken 14, 

531. 

- Duo (en La) pour Piano et Violon. [Op. 162, posthumous]. [D574]. [Score and part]. Vienne: A. Diabelli et Comp. 

[PN D. & C. No. 9100] [1851]. [1] (title), 2-27; 8 pp. Engraved. First Edition. Hirsch IV, 640. Hoboken 14, 534.

Two volumes. Folio. Modern full green cloth with red leather labels gilt to spines. (18931) 

$1,200. 

216. SCHUBERT, Franz 1797-1828. [Op. 168]. Quartett B Dur (aus dem Nachlass) für Zwei Violinen, Viola u. 

Violoncelle. [Set of parts]. Wien: C.A. Spine [PN] 17,707, 1863. Folio. Stiff wrappers with small green paper label 

titled in manuscript to upper inner margin. 14; 11; 10; 10 pp. Engraved. Small circular ownership handstamp to upper 

outer margin of first leaf to each part. Wrappers worn; splitting at spine. Minor to moderate foxing throughout; first 

leaf of first violin part trimmed with paper reinforcement to lower margin; green paper tape to spines of remaining 

parts. (18655) 

$385. 

First Edition. Deutsch 112. Hirsch IV, 645. Hoboken 14, 547. 

217. SCHUMAN, William 1910-1992. Typed statement signed by this noted American composer dated June 14, 

1982, on personal letterhead, stating that "Harold Rosenbaum, the conductor of the Canticum Novum Singers, is a 

gifted musician and an excellent technician. His singers are well trained and respond enthusiastically with vibrant 

performances of a most skillfully selected, varied repertory. This group is a valuable addition to our concert life." 

(18929) 

$85. 

218. SERAFIN, Tullio 1878-1968. Fine photographic portrait of this noted Italian conductor by E. Sommariva of 

Milan. Laid down onto studio mount. Photograph 226 x 167 mm., mount 342 x 250 mm. With embossed 

photographer's stamp to both photograph and mount. With a long autograph inscription from Serafin to his colleague 

Teofilo de Angelis, signed and dated Rome 1935. Mount slightly worn and darkened; 2 cm. tear to right blank margin. 

(18708) 

$275. 

Serafin was principal conductor at La Scala from 1909-14, returning in 1917-18, where he conducted the first Italian 

productions of Der Rosenkavalier, Feuersnot, Oberon, and operas by Dukas, Humperdinck and Rimsky-Korsakov. He 

also conducted the first American productions of Simon Boccanegra, Turandot, and works by de Falla, Giordano and 

Musorgsky at the Metropolitan Opera, 1924-34. Serafin was closely associated with the career of Maria Callas. 

"Three generations of singers owed much to his skill and encouragement, and it has been said that without him the 

postwar revival of interest in Italian Ottocento opera and the bel canto style would have been impossible." Grove 

online. 

219. STAMITZ, Carl 1745-1801. The Celebrated Duett [for violin and viola or violoncello] Performed by 

Messrs. Cramer and Crosdill. [Parts]. London: Willm. Forster, [ca. 1800]. Folio. Disbound. With manuscript 

annotations to title. Some browning, primarily to edges; small binding holes to spine. (18966) 

$75. 

Stamitz was a composer and violinist, viola player and viola díamore player. "He was a leading member of the second 

generation of Mannheim orchestral composers, a widely travelled performer and a major contributor to the literature 

of the symphonie concertante and concerto." Jean K. Wolf and Eugene K. Wolf in Grove online. 

220. STAMITZ, Carl 1745-1801. Duett, for a Violin & Tenor, or Violoncello [C major]... N.B. This is the 

Celebrated Duett performed by Messrs. Cramer & Crosdale. [Parts]. London: C. Wheatstone, [WM 1809]. Folio. 

Disbound. 4; 4 pp. Engraved. Small binding holes to spine. (18965) 

$60.

221. STERKEL, Johann Franz Xaver 1750-1817. [Op. 17]. Three Sonatas for the Piano Forte or Harpsichord 

with Accompanyments for a Violin, and Violoncello Obligato... Book I Opera XVII. [Set of parts]. London: Longman 

& Broderip, [1784]. 1f. (title), [i] (publisher's catalogue), [2]-28; 1f. (title), 10; 1f. (title), [i] (blank). 2-8 pp. Engraved. 

Very slightly browned and soiled; minor staining. In very good condition overall. (18649) 

$285. 

BUC p. 978. RISM S5921 (one copy only in the U.S.). 

"Sterkel was famed in his time as both a pianist and a composer... [His] many sonatas are mostly for piano 

accompanied by violin or violin and cello. His handling of the duo relationship is flexible but after the first 

publications the violin is never dispensble. A contemporary reviewer singled out this feature: 'His violin 

accompaniments generally consist of passages of effect and such as give importance to the player'... Sterkel has been 

regarded as one of the important composers in translating characteristics of the Mannheim style into keyboard 

chamber music... Through the example of his unique manner of performance, his impact on students and the 

widespread diffusion of his works, [he] played a significant role in the early formation of pianistic style and the 

character of chamber music with piano." Grove online 

222. STERKEL, Johann Franz Xaver 1750-1817. [Op. 22]. Three Sonatas For the Piano Forte or Harpsichord 

With an Accompanyment for A Violin. [Set of parts]. London: Longman & Broderip, [ca. 1788]. Folio. Disbound. 33; 

9 pp. Engraved. Minor browning and soiling; occasional small stains. (18647) 

$200. 

BUC p. 978. RISM S5959 (no copies in the U.S.). 

223. STERKEL, Johann Franz Xaver 1750-1817. [Op. 30]. Trois Sonates, Pour le Clavecin ou Piano Forte, 

avec Accompagnement d'un Violin et Violoncello obligés. [Set of parts]. London: Longman & Broderip, [ca. 1795]. 

Folio. Disbound. 1f. (title), 61; 1f. (title), 21; 1f. (title), 17 pp. Engraved. Titles printed within decorative border. Some 

minor soiling, but in very good condition overall. (18648) 

$400. 

BUC p. 978. RISM S5930 (one complete copy only recorded, at the British Library). 

224. STERKEL, Johann Franz Xaver 1750-1817. [Op. 32]. Trois Sonates, Pour le Clavecin ou Piano Forte avec 

Accompagnement d'un Violin et Violoncello obligés. [Set of parts]. London: Longman & Broderip, [1795]. Folio. 

Disbound. 1f. (title), [1] (blank), 2-73; 1f. (title), [1] (blank), 2-27; 1f. (title), [1] (blank), 2-20 pp. Engraved. Titles 

printed within decorative border. Some minor browning and occasional staining. In very good condition overall. 

(18646) 

$400. 

BUC p. 978. RISM S5933 (no copies in the U.S). 

225. STRAUS, Oscar 1870-1954. Autograph letter signed, Bad Kissingen, Austria, April 29, 1951. With 

autograph envelope. 3 pages. Quarto. In blue ink on light blue paper. To his collaborator, the French librettist Albert 

Willemetz (1887-1964). In French. Regarding recordings, the need to stay and "take the cure" at Bad Kissingen due to 

his wife's health, and mentioning a number of his new works. Straus tells Willemetz that he was in Vienna to receive 

an honorary medal and that he "made a stack of recordings with the Philharmonic Orchestra... I hope that during my 

absence you will interest yourself in my new works, "Premiere Valse" and"Mes Amours" and that we shall have 

another success like we had with "Trois Valses." Straus goes on to ask Wilmetz to send the text for "Mes Amours" to 

him in Zurich. Very slightly worn; lightly creased at folds. In very good condition overall. (18819) 

$165.

Strauss, an Austrian composer and conductor, quite well-known for his operettas and salon music, studied with 

Grädener on the recommendation of Brahms and then went to Berlin in 1891 as a pupil of Bruch. 

["He] composed much cheerful, lilting music in the Viennese operetta style, eminently piquant and charming..." 

Andrew Lamb in Grove online. Willemetz co-wrote the libretto for the French version of Straus's Drei Walzer; he also 

wrote librettos for Messager and a number of other contemporary French composers and adapted Offenbach's Le 

créole for its famous 1934 revival in Paris starring Joséphine Baker. 

226. STRAUSS, Richard 1864-1949. [Op. 86]. Divertimento Klavierstücke von François Couperin... für kleiner 

Orchester... Orchesterpartitur. [WV245b]. Berlin-Grunewald: Johannes Oertel [PN J.O. 8440], [1942]. Folio. Original 

publisher's dark green cloth-backed light green printed boards. Binding slightly worn. (19203) 

$550. 

First Edition. Limited to an unspecified number of copies, this no. 90, numbered and signed by the publisher on verso 

of title. Müller von Asow p. 114. Trenner p. 276. 

First performed in Vienna by Clemens Krauss and the Vienna Philharmonic on January 31st 1943. 

227. STRAUSS, Richard 1864-1949. [Op. 24]. Tod und Verklärung Op. 24. [TrV 158]. Facsimile of the 

autograph musical manuscript full score. [Wien]: [Universal-Edition No. 7008], [1923]. Folio. Purple textured cloth 

with rules and decorative devices gilt, titling gilt to upper. [i] (title), 83 pp. + 1f. (colophon). Binding very slightly 

worn, rubbed and bumped. (19227) 

$450. 

Rare Deluxe Limited Edition of the Sechs Lieder, 

Signed by Strauss, 

With Full-Page Lithographs by Christophe 

228. STRAUSS, Richard 1864-1949. [Op. 68]. Sechs Lieder... nach Gedichten von Clemens Brentano. 

Zeichnungen von Christophe. Berlin: Adolph Fürstner, [ca. 1920]. Large folio (ca. 460 x 345 mm). Mid-tan suedebacked 

boards with fine full colour lithographic illustration by the noted Viennese artist Franz Christophe (1875-1946) 

to upper. 67 ff. printed on one side of the leaf only on fine handmade paper. With frontispiece + 6 highly attractive 

full-page lithographs by Christophe illustrating each of the six songs: An die Nacht; Ich wollt ein Sträusslein binden; 

Säusle liebe Myrthe; Als mir dein Lied erklang; Amor; and Lied der Frauen. With additional vignettes and headpieces. 

With the composer's autograph signature to frontispiece preceding title. Binding very slightly worn, rubbed and 

bumped at edges. In exceptionally good condition overall. (19082) 

$1,500. 

Rare deluxe edition, limited to 60 numbered copies only, this no. 23. Not in Trenner. Mueller von Asow p. 734. OCLC 

(2 copies only, at Harvard and the Bayerische Staatsbibliothek in Munich). 

"Although eighteen years had passed since Strauss had last composed a Knaben Wunderhorn song he still retained 

the liveliest affection for that great collection as well as interest in its joint authors Brentano and Arnim. When, 

therefore, he re-addressed himself to the Lied after his long abstention, rather than trying to rival his now dead 

colleague Mahler's great success with the Wunderhorn poems, he conceived the idea of setting some of its authors' 

own individual work, beginning with six well-chosen and cleverly contrasted verses by Brentano... the romantic poet 

par excellence." Del Mar Vol. III, p. 372. 

"... in the whole range of his vocal art there is scarcely anything more precious than the fragrant and intimate Six 

Songs Op. 68." Krause: Richard Strauss The Man and His Work, p. 266.

Stravinsky Writes on Dumbarton Oaks 

229. STRAVINSKY, Igor 1882-1971. Typed letter signed, dated Hollywood, May 14, 1947. Oblong octavo (136 

x 213 mm.). To a Mr. John Hammond of Keynote Distributors in New York. On onionskin paper. Stravinsky has 

signed the letter in black ink, and typed a note below his signature in red: "Note my name spelled with "v", not "w"!" 

Regarding Dumbarton Oaks. 

"Because I am pressed for time, I have ordered an article on that work to be written by the disinguished[!] annotator 

[and composer], Ingolf Dahl. You undoubtadly[!] read his competent analysis of my Symphony in Three Movements. 

He also translated from French my Harvard University lectures, Poetique Musicale...". Stravinsky goes on to discuss 

fees, etc., and the fact that he has enclosed his signature for the "reproductionon[!]” cover of the Dumbarton Oaks 

recording, "which tests I awaite[!] impatiantly[!]." Creased at folds; remnants of mounting tape to versos of upper 

corners. (19045) 

$1,500. 

"The Concerto in E, known as ‘Dumbarton Oaks’, was the last work Stravinsky composed wholly in Europe. Much of 

the first movement was written at Annemasse, at the foot of the French Alps near Geneva, where he and his family 

spent part of the summer of 1937 in the desperate hope that the mountain air would help Katya's lungs. But as usual 

Stravinsky seems to have been able to detach himself completely, while composing, from his emotional and nervous 

environment, and the E Concerto is one of his most poised and meticulous pieces of writing. The obvious reference to 

Bach at the start was evidently suggested by the commission, which stipulated a work of ëBrandenburg Concerto 

dimensionsí. But gradually the music departs from Baroque models and though the finale remains superficially 

ëbusyí, its imagery becomes fragmentary and kaleidoscopic, in which sense it looks forward to certain much later 

scores of the American years." Stephen Walsh in Grove online. 

230. SULLIVAN, Sir Arthur 1842-1900. The Mikado Operetta in two acts with libretto by W.S. Gilbert A 

reproduction in facsimile of the autograph score in the Library of the Royal Academy of Music, London Introduction 

by Gordon Jacob. [Farnborough]: Gregg, 1968. Oblong folio. Full blue cloth. ix, 1f., 391 pp. (19005) 

$425. 

Tamburini vs. Rubini 

231. TAMBURINI, Antonio 1800-1876. Autograph letter signed, 65 Quadrant, June 1 [1834]. 2 pages. Octavo. 

In Italian, with translation. To an unknown addressee, addressed "Eccellentissimo Signore." Relative to his refusal to 

accept an engagement with the Grand Festival in London as Sir George Smart had offered him only 20 guineas, while 

Rubini had been offered 25. "... you will find it reasonable that I have refused the offer... we will lend our services 

under the same conditions as Mr. Rubini." With a note in another hand at head indicating that this letter was received 

from Lord Burghesh. Some creasing; several small pin holes; splitting at tail of central fold; remnants of earlier mount 

to blank page. (18824) 

$425. 

Tamburini, a noted Italian baritone, sang important roles in operas by Bellini, Donizetti, Mercadante, Rossini, etc. "... 

his voice was rich, sweet, extensive and equal... and in every part of it entirely under control. His execution has never 

been exceeded... No one since himself has so thorough combined grandeur, accent, florid embellishment and solidity." 

Elizabeth Forbes in Grove online. 

Sir George Smart (1776-1867), noted English conductor, organist and composer, directed many music festivals. The 

present letter may relate to a festival that he organized at Westminster Abbey in 1834.

Tarditi’s “Most Interesting Works” 

232. TARDITI, Paolo 2nd half of the 16th century - after 1649. Psalmi Magnificum Quatuor Antiphonis Ad 

Vesperas Octo Vocib. Una cum Basso ad Organum Decantandi. [Cantus Secundi Di Chori and Tenor Secundi Chori 

parts]. Rome: Luca Antonio Soldi, 1620. 2 volumes. Small quarto. Contemporary carta rustica wrappers. 

Cantus secundi Di Chori: 1f. (r. title, v. dedication to Michaeli Angelo Tonto S.R.E. Cardionali Amplissimo), 3-34 pp. 

printed music, 1f. (r. Alli Lettori, v. index). 

Tenor Secundi Chori: 1f. (r. title, v. dedication), 3-31 printed music with index to lower portion of p. 31, [i] "Alli 

Lettori" pp. 

Titles printed within woodcut borders with woodcut device. Music printed typographically in diamond-head notation. 

Decorative woodcut initials throughout. With early ownership signature to titles and early manuscript titling to 

wrappers. Wrappers somewhat worn, reinforced at spine, with some worming. Some wear and browning; occasional 

small stains; edges chipped; some signatures split; several tears repaired; many leaves repaired at inner margins; edges 

to title of Cantus part torn with minor loss, with some repairs; title and three following leaves to Tenor part with some 

worming, just affecting text and notation; some additional worming throughout. (19163) 

$6,500. 

First (and only) Edition. Gaspari II, p. 317. RISM T225 (no copies in the U.S. or Great Britain). 

"Tarditi’s most interesting works are those in his collection of 1620. This consists of music for double choir - five 

psalms and a Magnificat for voices alone and nine psalms, a Magnificat and four Marian antiphons in the concertato 

style with instrumental accompaniment; together with G.F. Anerioís Il teatro armonico spirituale (1619), this lastnamed 

group of 14 works affords the earliest instance of the use of obbligato instruments in works by Roman 

composers... Tarditi’s works do not reveal the identification with the content of the text and the representation of 

emotions which characterize the genuine monodic style: they are at once typical of an age of transition and of the 

Roman tradition." Klaus Fischer in Grove online. 

First Edition of Tchaikovsky’s Mazepa, 

Signed by the Composer 

233. TCHAIKOVSKY, Pyotr Il'yich 1840-1893. Mazepa [Opera in 3 acts]. [Piano-vocal score]. [CW7]. 

Moscow: P. Jurgenson [PNs 5800-5819], [1883]. Large octavo. Newly bound in quarter red morocco with paper 

boards, black leather label with gilt titling to spine. 1f. (title in coloured inks with chromolithographic border), 3-277 

pp. Lithographed throughout. Bookplate to free front endpaper. With a signed autograph presentation inscription 

in ink in Russian to head of cast/contents page: "To my dear Tatyana from an old friend Tchaikovsky, Moscow 

[18]84" (date partially trimmed by binder). Minor browning and foxing, heaviest to first and last leaves. In very good 


$5,500. 

First Edition. Vajdman, Korabel'nikova and Rubcova, p. 121. Poznansky & Langston I, p. 56. 

Based on a libretto by Viktor Burenin (revised by Tchaikovsky) after Aleksandr Pushkin's poem "Poltava." 

"... on 3 February [1884], the premiere of Mazeppa was held at the Bolshoy Theater in Moscow, and the next day, 

Tchaikovsky departed abroad, upset and distraught because of the bustle preceding the production... Tchaikovsky 

declined an invitation to attend the St. Petersburg premiere of the opera at the Mariinsky Theater on 6 February, 

angered by a series of misunderstandings over the production. The opera was well received in Moscow, where the 

audience gave ovations to both composer and performers, but less well in St. Petersburg, though the tsar stayed until 

the very end and expressed his utter satisfaction." Poznansky: Tchaikovsky The Quest for the Inner Man, p. 432.

The inscription is possibly to Tchaikovsky's niece Tatyana Davydova (1862-1887), of whom he was quite fond; 

Tchaikovsky visited her in Paris in 1884, the year of the inscription. 

234. TCHAIKOVSKY, Pytor Ilyich 1840-1893. Fatum. Poem symphonique... Réduction pour Piano à 4 mains 

par N. Sokolow. Leipzig: Belaieff [PN 1345], [1896]. Folio. Original publisher's printed wrappers. Preserved in a 

custom-made folding blue cloth box wth printed title label to spine. [1] (fine chromolithgoraphic title), [2] (blank), [3] 

(text), 4-33 (music), [34] (publisher's catalogue) pp., with additional publisher's catalogues to inner wrappers. 

Wrappers slightly worn at spine. (19069) 

$200. 

First Edition of this arrangement. A fine example of the highly decorative Belaieff title-page designs reproduced in 

Davis: The Beauty of Belaieff, p. 304. 

235. TOSCANINI, Arturo 1867-1957. Attractive reproduction photograph signed of the distinguished conductor 

in pensive pose with baton. 191 x 120 mm. On card stock. Signed in full in red ink below image. Traces of mounting 

tape to verso. (19030) 

$400. 

"Toscanini had exceptional feeling for large-scale musical architecture, for rhythmic continuity, for the singing line 

and the wide-spanned arch of melody; and (despite his self-doubts) there was a force in him, unanalysable but 

irresistible, which exerted a magnetic power over orchestras. These qualities, together with his uncanny musical 

memory, his dominating personality and his insistence on the primacy and purity of the musical text, made him one of 

the great cult figures of his time..." David Cairns in Grove online. 

Ugolini’s Early 17 th Century Motecta et Missae, 

“A Stylistically Interesting Symbiosis” 

236. UGOLINI, Vincenzo ca. 1580 - 1638. Motecta et Missae Octonis et Duodenis Vocibus Cum Basso Ad 

Organum Auctore Vincentio Ugolino Per Usino Sacro Sanctae Basilicae Vaticanae Cappellae Magistro. Liber 

Secundus. [Cantus Primi Chori, Altus Secundi Chori, Altus Tertii Chori, Tenor Secundi Chori, Tenor Tertii Chori, 

Bassus Primi Chori parts]. Rome: Luca Antonio Soldi, 1622. 6 volumes. Small quarto. Contemporary carta rustica 

wrappers. 

Cantus Primi Chori: 1f. (r. title, v. dedication to Illustrissimo Principi Scipioni Cardinali Burghesio Sacro Sanctae 

Basilicae Vaticanae Archipresbytero), 3-31 printed music, [i] (index) pp. 

Altus Secundi Chori: 1f., 3-27 printed music, [i] (index) pp. 

Altus Tertii Chori: 1f., 3-19 printed music, [i] (colophon) pp. 

Tenor Secundi Chori: 1f., 3-27 printed music, [i] (index) pp. 

Tenor Tertii Chori: 1f., 3-15 printed music, [i] (index) pp. 

Bassus Primi Chori: 1f., 3-27, [i] (index) pp. With three manuscript markings and two instances of overpastes to 

printed notation. 

Titles printed in red and black within decorative woodcut border with woodcut device. Music printed typographically 

in diamond-head notation. With decorative woodcut initials throughout and woodcut tailpiece to final leaf. With early 

ownership signature to titles and early manuscript titling to wrappers. Wrappers splitting at spines. Slightly worn; 

occasional browning, foxing, and dampstaining. In quite good condition overall. (19165) 

$19,000.

First Edition. Of considerable rarity. Not in Gaspari. RISM U36 (no holdings in the U.S.; only one complete copy 

recorded). 

Ugolini "was a pupil of G.B. Nanino at the choir school at S Luigi dei Francesci, Rome, from 1592 to 31 October 

1594... From February 1603 to 6 December 1609 he was maestro di cappella of S Maria Maggiore, Rome... and from 

1614 [was director of music to Cardinal Arrigoni in Rome. From 1 August 1616 to 31 July 1620 he was maestro di 

cappella of S Luigi dei Francesci. On 13 June 1620 he was chosen as successor to Francesco Soriano, who had 

retired as maestro of the Cappella Giulia at S Pietro..." 

"Though clearly rooted in 16th-century polyphonic style, Ugolini's music is also influenced by innovations taking 

place around 1600..." 

"The Motecta et missae, liber secundus (Rome, 1622), represent a stylistically interesting symbiosis of the modern 

concertato style and polyphonic setting in the form of the anachronistic art of the canon. These works are a significant 

reflection of the situation in Rome at the time, when Romano Micheli was enlivening the scene from 1620-50 with his 

numerous polemical writings, and urging his contemporaries to write canonic compositions. Ugolini employs canons 

for four to 12 voices almost exclusively in the Sanctus movements (the Osanna and Benedictus) of his masses. The 

only exception is the Missa sopra il vago Esquilino, which also has a canon in the Agnus Dei. In the manner of the 

riddle canon of the Netherlands, the solution is hidden in an accompanying Latin motto. However, the resolutio is 

always expressed. By comparison with Ugolini’s earlier works, an increasing sublimation and depth of expression is 

perceptible in this collection. Important connotations of meaning are sometimes taken to ardent heights by the 

repetition of words in connection with short melodic sections in sequence (as in the motet Accipe munus). Extensive 

melismas and the repetition of short motifs in sequence, as in the Christe of the Missa sopra il vago Esquilino, and the 

occasional insertion of solo passages (as in the Credo of the Missa Beata Virgo Maria, 12vv), emphasize the new 

stylistic attitude of these compositions. The collection is an important, and in its musical structure a specifically 

Roman, contribution to the concertato mass of the first quarter of the 17th century." Klaus Fischer in Grove online. 

Rare 18 th Century English Songbook 

237. The Universal Musician: Or, Songster's Delight. Consisting of the most Celebrated English and Scotch Songs, 

Favourite Cantata's, &c. Designed for the Entertainment of Lovers, Country Sportsmen, Jovial Companions, and all 

Others, who have any Taste for Mirth, Good Humour, and Polite Conversation. Vol. I [all printed]. London: William 

Lloyd, 1738. Octavo. Contemporary calf with gilt rules, decorative devices to corners. 1f. (frontispiece), 1f. (title 

printed in red and black), 128ff. printed on one side only. With melodic lines to 121 individual songs, each with 

figured and unfigured bass, text, and a separate part for flute, with charming engraved vignette to head of each leaf 

illustrating the song. Named composers/arrangers include Anthony Young, Clarke, Sigr. Putti of Cambridge, Lampe, 

Munro, Leveridge, Carey, Galliard, Henry Purcell, Nicolle R. Vincent, Dr. Greene, Festing, Corelli, John Allcock, 

John Sheeles, Vanbrugh, Turner, Arne, Thos. Phillips, Digarde, Stanley, Handel, Sandford and Howard. With 

interesting manuscript inventory to front pastedown detailing "An Account of Plate in My Mothers House," listing an 

inventory of 16 items, "This Account taken the 9: Augt. 1744 in her House at the College in Rotherham by me Richd. 

Kent." Remants of red sealing wax to endpaper. Binding worn, rubbed and bumped; joints split. Some browning and 

minor staining; frontspiece partially detached. (19231) 

$1,850. 

One of the rarest examples of 18th century illustrated English song books. BUC p. 1029. RISM BII (one copy only of 

this edition, at the British Library). Stainer Catalogue of English Song Books p. 86. 

"This very rare work, not mentioned by Lowndes, is stated in the Huth Catalogue to consist of 130 pages printed on 

one side only - included in which are the title and frontispiece (a gentleman in classical garb addressing the nine 

muses)." Stainer, recording a copy at the Bodleian Library only (as of 1891).

No Holdings of any Works of this 17 th Century Composer in the U.S. or Great Britain 

238. VALENTINI, Pier Francesco ca. 1570-1654. Madrigali a Cinque Voci Con il Basso continuo le piace. 

Musica, e Parole del Signor Pier Francesco Valentini Romano. Liber Primo. [Tenore part]. Rome: Vitali Mascardi, 

1654. Small quarto. Contemporary carta rustica wrappers. 1f. (r. title, v. printed note from the composer), 3-19 printed 

music, [i] (index) pp. Title printed within decorative woodcut border with woodcut device. Music printed 

typographically in diamond-head notation. Decorative woodcut headpiece to final page and decorative woodcut 

initials throughout. Wrappers very slightly stained. Very light worming to several blank margins; occasional very 

minor stains. A very good, crisp, wide-margined copy overall. (19164) 

$4,000. 

First Edition. New Vogel 2788. RISM V136 and VV136 (2 holdings only, one complete and one of a single part only, 

both in Italy). According to RISM, there are no holdings of any works by this distinguished composer and theorist in 

the U.S. or Great Britain. 

"[Valentini] was... a remarkable theorist and was regarded as one of the most learned contrapuntists of the early 

17th-century Roman polyphonic school, as is mentioned not only by Liberati but also by Romano Micheli in his Avviso 

inviato da me (Rome, 1650). Only when he was dying did he arrange with his heirs that they should publish 22 of his 

works or collections remaining in manuscript; a note to this effect appears in the first of the volumes of madrigals 

published in 1654." Sergio Martinotti and Agostino Ziino in Grove online. 

"Like such men as A.B. Abbatini, Paolo Agostini and Orazio Benevoli, Valentini was one of the great exponents of 

sumptuous, typically Baroque choral polyphony for large forces, closely akin to the sculpture and architecture of 

Bernini." Oxford music online. 

The printed note referred to above, which appears on the verso of the title, reads: "La presente Opera del q. Signor 

Pier Francesco Valentini è la prima delle Vintidue che si danno alla Stampa in conformità del suo ultimo 

Testamento." 

10 Veracini Sonatas 

239. VERACINI, Fiorentino [Antonio] 1659-1733. Sonate da Camera A due, Violino, e Violone, ò Arcileuto, 

col Basso per il Cimbalo consecrate al serenissimo principe Gio. Gastone di Toscana... Opera Terza. [Violin part only; 

lacking parts for keyboard and "Violone ò Arcileuto"]. Modona: Rosati, 1696. Oblong folio. Handsomely bound in 

recent dark brown half-morocco with marbled boards, red leather label gilt to spine, early plain wrappers bound in. 1f. 

(title), 1f. (dedication), 47, [i] "Tavola" pp. With woodcut device to title and large decorative woodcut initial to 

dedication leaf. Contains 10 "sonatas" attractively printed in diamond-head notation. A particularly nice copy. 

(18593) 

$1,200. 

First Edition. Rare. RISM V1201 (4 complete and 2 incomplete copies only). See Apel: Italian Violin Music of the 17th 

Century, p. 269, for a discussion of the work. 

"Veracini entered the service of Grand Duchess Vittoria of Tuscany on 3 March 1682... At the death of Pietro 

Sammartini in 1700, he became maestro di cappella at S Michele Berteldi (now S Gaetano) in Florence... [He] was an 

important freelance musical director, providing oratorios for the company of S Marco (1703-5), S Jacopo del Nicchio 

(1720) and S Niccolò del Ceppo (1702-30). From at least 1718 he was a member of the musicians' company in 

Florence..." Grove online.

Verdi Mentions Contemporary Theatre 

240. VERDI, Giuseppe 1813-1901. Autograph letter signed "G. Verdi," dated January 23, 1860. 2 pp. Octavo. To 

Antonio Capecelatro at Diorama's offices in Naples. In Italian, with translation. With autograph envelope. A friendly 

letter, referring to a letter that his wife Giuseppina had written to Capecelatro a month ago with New Year's wishes, 

and with additional commentary on the theatre. Addressed "My dear friend," Verdi offers his congratulations on 

Capecelato's upcoming marriage: "I am particularly delighted to know that you have chosen for a life-long companion 

the daughter of such a man as Ferrigni...". The composer goes on to say that he is not at all interested in the theatre at 

the moment: "If you are not interested in the theatre (these days), I am even less so than you. It has been a long time 

since I set my foot there! And who is managing the Diorama now?" Together with a reproduction photograph of the 

composer in formal pose, 172 x 123 mm. Creased; slightly worn; small split at fold to lower edge; remnants of sealing 

wax to envelope; small seal tear. (19053) 

$2,600. 

Antonio Capecelatro was a Neapolitan town official and brother of the Neapolitan composer Vincenzo Capecelatro. 

Giuseppina's letter referred to by Verdi is presumably the one noted by Walker: The Man Verdi, p. 224 and Philipps- 

Matz, p. 423, in which she praises the celebrated Italian soldier-hero Garibaldi. 

Rare Limited Edition of Verdi’s Falstaff 

241. VERDI, Giuseppe 1813-1901. Falstaff. Facsimile of the autograph musical manuscript full score. Milano: G. 

Ricordi, 1893. Folio. Quarter dark blue morocco with blue cloth boards, facsimile of Verdi's autograph signature to 

upper. 1f. (title), 394 pp. + 1f. (colophon). Binding slightly worn. (18986) 

$5,500. 

Edition limited to 500 numbered copies, this no. 164. 

Signed by Verdi 

242. VERDI, Giuseppe 1813-1901. Othello Drame Lyrique en Quatre Actes de Arrigo Boîto... Version française 

de MM. Camille du Locle et A. Boîto Partition pour Chant et Piano Arrangement de M. Saladino. [Piano vocal score]. 

Paris, Milan, Rome, Naples, Palerme, Londres: G. Ricordi & C. [PN] 51635, [1894]. Quarto. Original publisher's dark 

yellow boards printed in dark blue. 1f. (half-title), 1f. (title), 1f. (r. "Personnages", v. blank), 1f. (r. "Table," v. blank), 

[1]-366 pp. Text in French. Preserved in a dark blue cloth clamshell box with dark blue leather label gilt to spine. 

With cast list including MM. Saléza (Othello), Maurel (Iago), Vaguet (Cassio), Laurent (Rodrigue), Gresse 

(Lodovico), Douailler (Montano), Euzet (un Héraut); Mmes. Caron (Desdémona) and Héglon (Emilia); conductor 

Paul Taffanel, "chef du chant" Georges Marty, "chef des choeurs" Delahaye; sets by Jambon, Amable, Gardy, 

Carpezat, Rubé and Chaperon. 

Signed by Verdi on the half-title and dated Paris, October 12, 1894, the day of the first performance in France. 

Loewenberg col. 1128. With a pencilled note in another hand indicating that the score once belonged to the conductor 

Blanc in Paris. Binding slightly worn, rubbed and chipped, small stains to portion of lower board; professionally 

repaired at corners; rebacked with dark blue cloth. Several fingerings in pencil. With the small rectangular handstamp 

of Auguste Trémolières Genève to upper margin of title. Occasional light soiling to blank margins. In very good 


$3,800. 

First French Edition. Hopkinson 63B. First performed at La Scala in Milan on February 5, 1887. 

"That Otello, given the composer's age and eminence, should be hailed by the majority as the greatest Italian opera of 

its day as well as the composer's crowning achievement could be taken for granted. Has time upheld these 

judgements? The first of them, most certainly... Otello remains as fresh, as challenging, as essentially modern as the 

day it was written. To detractors of Italian opera it remains, together with Falstaff and the Requiem, the composer's

passport to immortality. Indeed many have come to a full understanding of Verdi's genius by starting from Otello and 

working back to Ernani and Nabucco... Verdi's music has all the strength, nobility and compassion of Shakespeare's 

poetry to turn a sordid intrigue into one of the finest testaments to the worth of the human spirit." Budden: The Operas 

of Verdi Vol. 3, pp. 412-413. 

243. VERDI, Giuseppe 1813-1901. Quatuor pour Instruments à Cordes 1er Violon, 2e Violon, Alto, Violoncelle. 

[Full score]. Paris: Léon Escudier [PN L.E. 3611], [1876]. Large octavo. Original publisher's printed wrappers. 1f. 

(title printed in blue ink, v. blank), 40 pp. Engraved. Wrappers lacking at spine and chipped at edges; slightly soiled 

and creased. Moderately browned and foxed; some offsetting. (18978) 

$200. 

First French Edition. Hopkinson 36C. Published simultaneously with the first Italian edition. 

244. [VIOLIN]. Collection of sonatas for violin and bass by Pugnani, Tartini and Viotti in score, early 19th 

century editions. 

Contains: 

- Pugnani, Gaetano 1731-1798. Six Sonates... Oeuvre III. Nouvelle Edition. Paris: l'Imprimerie du Conservatoire [PN] 

127 [ca. 1800]. 1f. (title), 32 pp. Engraved. With Sieber overpaste to title. Browned. Lesure p. 518. RISM P5612. 

- Pugnani. Six Sonates... Oeuvre [8]... Gravé par Mme. Le Roy. Nouvelle Edition. Paris: Au magazin du 

Conservatoire de Musique [PN] 126 [1802]. 1f. (title), [1] (blank), 2-43 pp. Engraved. With Sieber overpaste to title. 

Some minor staining and foxing. RISM P 5620, PP5620 (no copies recorded in the U.S.). 

- Tartini, Giuseppe 1692-1770. Douze Sonates... Nouvelle Edition Oeuvre 1er Livre I [Livre II]. Paris: Imprimerie du 

Conservatoire [PN] 137 [ca. 1802]. 1f. (title), 31; 1f. (title), 32-55 pp. Engraved. With Sieber overpaste to titles. 

Brainard p. xxxvi. RISM T247. Minor foxing; staining to several leaves. 

- Viotti, Giovanni Battista 1755-1824. Six Sonates... Oeuvre IVme. 1r. Livre de Sonates de Violon. Papis [!]: Sieber 

[without plate number], 1793. 1f. (title), [1] (blank), 2-45 pp. Engraved. Signed by the publisher. With Sieber 

overpaste to title. First Edition, later issue. Giazotto 26-31. Lesure p. 635. RISM V1937. 

- Viotti. Six Sonates... IIE. Livre de Sonates de Violon. Paris: Imbault [PN 180] [ca. 1808]. 1f. (title), [1] (blank), 2-51 

pp. Engraved. With Sieber overpaste to title. Minor foxing throughout, moderate to final two pages. Giazotto 35-40. 

RISM V1940. 

Folio. 19th century dark green boards with dark red leather label with previous owner's name (Mr. Deurbroucq) gilt 

within decorative border to upper. Binding quite worn and rubbed. Some browning and foxing. (18713) 

$850. 

245. [VIOLIN]. Die Kunst des Violinspiels. Eine Sammlung der besten Werke für dieses Instrument von Corelli 

(1653) bis auf unsere Zeit... Band I-VIII (complete). [Score and part]. Wolfenbüttel: L. Holle [PNs 774-781], [ca. 

1865]. 8 volumes. Folio. Plain blue wrappers. Vol. I: 44, 16; Vol II: 45, 5; Vol. III: 39, 14; Vol. IV: 47; Vol. V: 49; 

Vol. VI: 42; Vol. VII: 96; Vol. VIII: 56 pp. Contains works by Corelli, Geminiani, J.S. Bach, Locatelli, Tartini, 

Pugnani, Gaviniés, Pichl, Campagnoli, Fiorillo, Bruni, Fränzl, Viotti, Kreutzer, A. Romberg, Beethoven, Rode, 

Lafont, Maurer, Spohr, Paganini, Lipinski, de Beriot, Prume, Ole Bull, Vieuxtemps, David, Ernst, Joachim, Laub, 

Singer, Hilf, Lauterbach and Witting. (18787) 

$150. 

246. VIOTTI, Giovanni Battista 1755-1824. Six Sonates pour Violon et Basse... Oeuvre 4e. 1er [2e] Livre de 

Sonates. [Score]. Paris: Naderman [PN] 934, 522, [1797-1800]. Folio. Quarter early vellum with marbled boards. 1f. 

(title), [1] (blank), 2-51, [i] (blank); 1f. (title), [i] (blank) 2-51, [i] pp. Engraved. With contemporary signature of G.

Rothweil, small collection stamp, and publisher's signature stamp to title of first book. Binding somewhat worn and 

scuffed. Paper repair to pp. 49/50. (18644) 

$325. 

Book I: Giazotto 26-31. RISM V1939. Book II: Giazotto 35-40. RISM V1943. 

Viotti, an Italian violinist and composer, "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, and his compositions, among the finest examples of Classical violin music, 

exerted a strong influence on 19th-century violin style." 

17 th Century Italian Vocal Music Manuscript 

247. VITTORI, Francesco fl. early 17th century. Missa... Chor. 6 Voc. Manuscript music. Part for Bassus ad 

Organum, with figured bass. Italian, first half of the 17th century. Large octavo (ca. 237 x 168 mm.). Sewn into 

plain contemporary 

wrappers with manuscript titling to upper: "Missa di Francisci 

Vittorii Bassus Primi Chori & Chor. 6 Voc. Ad Organum." 4 pp. + blank endpapers. Notated in ink on 9 hand-ruled 

staves. With early ownership signature to foot of first page of music. Small portion of upper margin lacking, not 

affecting manuscript. In very good condition overall. (19186) 

$2,800. 

This composer not recorded in RISM, although he may have been related to the composer Loreto Vittori (1600-1670), 

active in Rome. 

An Important Autograph Sketchleaf for Tannhäuser 

248. WAGNER, Richard 1813-1883. Tannhäuser [WWV 70]. Important autograph musical manuscript sketch 

leaf. The first 12 measures of the "Old Pilgrim's Chorus" from Act III Scene I of Tannhäuser. Unsigned and undated, 

but probably 1842-1843. Notated in red ink on 18-stave paper measuring approximately 355 x 270 mm., the music 

scored for tenor and bass. Preserved in a custom-made linen clamshell archival box with printed paper label to spine. 

With titling in Wagner's hand: "Venusberg [the original name of the opera] Hymne der Pilger." With numerous 

additional autograph musical notations, numeric lists, and the address of a writer to right-hand margin extending into 

lower portion of leaf in both ink and pencil. 

Provenance and References 

Formerly in the famed Louis Koch collection as documented by Dr. Georg Kinsky in his Manuscripte Briefe 

Dokumente von Scarlatti bis Stravinsky Katalog der Musikautographen-Sammlung Louis Koch, Stuttgart, 1953, 

catalogue no. 249, pp. 246-247. Deathridge, Geck & Voss: Wagner Werk-Verzeichnis, p. 269 (b). 

Slightly worn and soiled; inconsequential narrow ink smudge to lower portion of leaf not seriously affecting musical 

notation; some paper loss to corners not affecting text; several small tears professionally repaired not affecting musical 

notation. Creased at central horizontal fold. (19081) 

$12,000. 

The music in this sketch is particularly interesting as it includes the nucleus of the melody found in the overture. 

Earlier descriptions date this leaf at 1842; Millington, however, states that the textual sketches date from the summer 

of 1842 and that the earliest musical sketches date from 1843. 

"The idea of basing an opera on the Tannhäuser story had already occurred to Wagner during his ill-fated stay in 

Paris (1839-42), but it was during a summer holiday in Bohemia, shortly after he had returned from France, that the 

work began to take shape. The first, detailed prose draft (28 June - 6 July 1842) was followed in the spring of 1843 by

the libretto itself; then after a number of sketches for individual sections of the work came two complete drafts 

apparently worked on in tandem (summer/autumn 1843 to January 1845). The first of these two drafts, less developed 

than the second, exists only in fragmentary form, but it has been painstakingly pieced together by scholars (most, but 

not all, of the fragments are in the Bayreuth archives). The Overture was written last and the full score completed on 

13 April 1845." Millington, ed.: The Wagner Companion, p. 281. 

Wagner Searches for the Piano Score of Die fliegende Holländer 

249. WAGNER, Richard 1813-1883. Autograph letter signed "RW" to the noted German conductor, pianist and 

composer Hans von Bülow (1830-1984). 1854. Octavo. One page of a bifolium. Dated Zürich, May 1, 1854. In 

German. Relative to securing the piano score of the Flying Dutchman for the theatre in Wiesbaden. "Dear Hans! The 

theatre management in Wiesbaden write that they have been trying in vain to get the piano score of The Flying 

Dutchman from the music shops." Wagner goes on mention his lawyer Pleissner, Heibendahl, and Kriete, whom he 

says "may take Meser [C.F. Meser, publisher of the first edition in Dresden in 1844] to task," and arrange for a new 

edition if the old one is sold out. "And for heaven's sake, have them set to work with a will. When am I to get news of 

you? Lazybones... Answer quickly!" Very slightly worn and soiled; creased at folds. (19015) 

$3,200. 

Die fliegende Holländer, Wagner's romantic opera in three acts after Heinrich Heine's Aus den memoiren des Herren 

von Schnabelewopski, was first performed at the Königlich Sächsisches Hoftheater in Dresden on January 2nd 1843. 

"The first work of Wagner's maturity, Die fliegende Holländer brings together several ingredients characteristic of the 

later works, notably the single-minded attention given to the mood and colour of the drama, and the themes of 

suffering by a Romantic outsider and of redemption by a faithful woman. The initial stages of a tendency towards 

dissolution of numbers and towards a synthesis of text and music also endorse Wagner's assertion that with the 

Holländer began his career as a true poet." Barry Millington in The New Grove Dictionary of Opera Vol. 2, p. 231. 

Wagner was one of the younger von Bülow's prime mentors, along with Liszt; "Bülow's admiration for Wagner 

remained undiminished by his wife Cosima's liaison with, and eventual marriage to, him." Millington, ed.: The 

Wagner Compendium, p. 23. 

An interesting letter, with good association. Published in the Sämtliche Briefe Vol. 6, no. 60. 

Scarce Facsimile of the Full Score of Freischütz 

250. WEBER, Carl Maria von 1786-1826. Der Freischütz Nachbildung der Eigenschrift aus dem Besitz der 

Preussischen Staatsbibliothek Herausgegeben im Auftrage der Generalintendanz der Preussischen Staatstheater von 

George Schünemann zur Zweihundertjahrfeier der Berliner Staatsoper 1742 / 1942. [Berlin]: [Albert Frisch], [ca. 

1942]. Oblong folio. Full green morocco with upper ruled in gilt, spine with rules and decorative devices gilt, titling 

gilt to upper and spine. 80 pp. text, including colour reproductions of set and costume designs by Carl Gropius tippedin, 

prints, manuscripts, etc., followed by a facsimile of the complete autograph musical manuscript full score. 

Approximately 292 pp. Binding slightly worn and rubbed; spine slightly stained. (18988) 

$850. 

First Edition of Weber’s Oberon 

251. WEBER, Carl Maria von 1786-1826. Oberon, or the Elf King's Oath The Popular Romantic and Fairy 

Opera as Performed with great Success at the Theatre Royal Covent Garden, The Poetry by I.R. Planché. [Piano-vocal 

score]. London: The Royal Harmonic Institution... By Welsh & Hawes [PNs 3106-3121, 3126] , [ca. 1826]. Folio. 

Modern half mid-tan calf with marbled boards, decorative spine blindstamped and in compartments gilt, titling gilt to 

spine. 1f. (title), 197 pp. Engraved. Text printed in English with manuscript German text inserted in an early hand. Ex-

libris German musicologist and critic, Hans Schnoor (1893-1976), with pencilled note to title. Slightly worn and 

soiled; minor repairs. (19065) 

$650. 

First Edition, later issue, with printed price and accent on the "e" of "Planche" in title. Fuld p. 395. Jähns 306, p. 392. 

Scarce. 

First performed in London at Covent Garden on April 12, 1826. 

"Staying at the home of George Smart in Great Portland Street, Weber completed the overture to Oberon, finished the 

music to Act 3, and composed two additional pieces specifically for the leading tenor, John Braham. During the 

month of rehearsals leading up to the première Weber somehow found the energy also to complete the piano score... 

The première of Oberon of 12 April 1827 was a great success, with lavish settings and spectacular scenic effects that 

impressed even Weber, and the opera remained popular throughout the season." Michael C. Tusa in Grove online. 

Ex-Libris the Noted Flautist, Louis Moyse 

252. WEBER, Carl Maria von 1786-1826. Trio Pour le Piano Forte Flute et Violoncelle Dédiée à Mr. Philipp 

Jungh... Oeuv: 63. [Parts]. Paris: Richault [PN 1059] , [ca. 1825]. Folio. Sewn. In cloth-backed decorative paper 

portfolio with paper label titled in manuscript to upper. 1f. (title), 19; 8; 7 pp. Engraved. Early 19th century French 

music seller's overpaste to title. With contemporary signature of the publisher to title; small decorative early 

ownership stamp to each part. From the collection of the noted French-born flautist, flute teacher and composer Louis 

Moyse, with his signature to each part. Title slightly worn; some light wear, soiling and foxing; tape reinforcement to 

spines of each part. (18695) 

$200. 

Announcing Wolf’s Death 

253. WOLF, Hugo 1860-1903. A printed document announcing Wolf's death issued by The Hugo Wolf Society in 

Vienna. Dated Vienna, February 22, 1903, the day of the composer's death. Quarto (288 x 229 mm.). Printed within a 

black border. The document also states that the funeral, to take place on Tuesday at 2:45 p.m., will proceed from the 

chapel at the hospital in Spitalgasse to the Church of the Divine Saviour and then on to the central cemetery. Slightly 

worn; creased at central folds, a 1" tear to right-hand fold. (19255) 

$650. 

"[Wolf] intensified the expressive vocabulary of the lied by means of extended tonality and post-Wagnerian 

declamation while retaining the defining elements of the song tradition he had inherited from Schubert and 

Schumann... Seeking an art ‘written with blood’, he went below the surface of poetry - even where his musical 

purposes were inevitably distinct from the poet's - in order to recreate it in music of remarkable intensity, written, as 

he once proclaimed, for epicures, not amateurs." Eric Sams and Susan Youens in Grove online. 

� 

SELECTIVE SUBJECT INDEX 

American Music 

41, 58, 63, 68, 85, 87, 89, 92, 95-96, 115-117, 125-131, 133, 135, 175, 191, 209, 217

Autograph Letters and Manuscripts 

21, 25, 35, 42, 47, 58-59, 63, 68, 70-71, 73, 77-82, 85, 87, 89, 92, 95-96, 100-101, 105, 113, 115-117, 125-131, 133, 

135-136, 138, 143-144, 175, 179, 191, 197, 202-203, 209-210, 214, 217-218, 225, 228-229, 231, 233, 235, 240, 242, 

248-249 

Ballet and Dance Music 

43-44, 69, 200, 213 

Biography 

55, 60, 142 

Chamber Music 

26, 28, 31-33, 45-46, 48-50, 64-66, 86, 91, 103-104, 110-111, 114, 118, 124, 134, 141, 151-152, 159, 180, 192, 194, 

199, 205-206, 215-216, 219-224, 239, 243, 245-246, 252 

Dance 

60, 71-84 

Ephemera 

22-24, 51, 72, 183, 253 

Facsimiles of Composers’ Autograph Manuscripts 

29-30, 34, 158, 207, 212, 227, 230, 241, 250 

History and Criticism 

52-54, 56, 60, 102, 109, 132 

Jazz 

133 

Keyboard Music 

15, 18, 20, 27, 101, 120, 124, 150, 157, 166, 176-178, 211 

Musical Instruments 

5, 167-174 

Opera & Theatre Music 

12-13, 16, 34, 36, 62, 70, 90, 97-100, 106-108, 115, 131, 136, 149, 156, 158, 160, 162-163, 165, 181-183, 188-190, 

193, 197, 198, 200, 204, 207-209, 230-231, 233, 241-242, 248, 250-251 

Orchestral Music 

67, 226-227, 234 

Printing – Lithography 

168, 171, 174, 206 

Prints & Drawings 

22-24, 38-40, 75, 84, 88, 90, 115, 145, 167, 173, 196, 237 

17 th Century Italian Vocal Music 

1-4, 6-11, 61, 93, 139-140, 184, 232, 236, 238, 247 

Theory 

94, 102, 132, 146-147, 166, 187, 204

Violin 

19, 137, 146-147, 169-170, 172, 174, 185-186, 244-246 

Vocal Music 

1-4, 6-11, 14, 17, 37, 57, 61, 93, 105, 108, 112-113, 119, 121-123, 130, 139-140, 143, 148, 153-155, 161, 164, 181, 

184, 195, 201, 212, 214 , 228, 236, 237-238, 247

Catalogue 63 - J & J Lubrano, Music Antiquarians

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