Music & Printed Scores

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Liszt, Franz (1811-1886) Vom Fels zum Meer! Deutscher Sieges-Marsch von Franz Liszt für Piano zu zwei Händen Schlesinger: Berlin, 1863. Pl.n: "S. 5282 A.". first edition. Folio. 15 pp. Covers detached, interior is fine with light penciled fingerings throughout.
A handsome presentation with an inner pictorial cover.
MUS-11104 $450Inquire
Liszt, Franz (1811-1886) Zwei Episoden aus Lenau's Faust für grosses Orchester, No. 2 Der Tanz in der Dorfschenke, Mephisto Walzer von Franz Liszt. Für Pianoforte zu zwei Händen J. Schuberth & Co.: Leipzig, 1862. Pl.n: 2792. first edition. Folio. 26 pp. Some measures and one long section show alternate versions. Front cover detached and quite chipped on edges. Interior is fine.
Raabe p. 305
MUS-11093 $600Inquire
Logier, Johnann Bernhard (1777-1846) Logier's Theoretical and Practical Study for the Piano Forte, Comprising a Series of Compositions Selected from the most Classical Works, Ancient and Modern: Arranged with Inverted and Fundamental Basses and fingered throughout, Being a Continuation of Instruction on His Sytem of Musical Education. Nos. 5, 8, and 9. Signed JLogier on title page of No. 5; initialled JBL on title pages of Nos. 8 and 9. London, ca 1816-1825. first editions. Engraved. Quarto. Disbound and detached (in three sections). In very good, clean condition overall. Title page of No. 9 a bit dusty. Bound in reverse order of numbering (No. 9, 8, then 5).
Three installments of Logier's Theoretical and Practical Study for the Piano Forte, numbered 5, 8, and 9, and all signed or initialled by him on the title pages.
In installments 8 and 9, blank staves with measured numbers are provided beneath the piano part for the student to write out the figured and fundamental basses. (These remain blank in this copy; see images). The title pages of these installments also advertise that Logier's Patent Chiroplast--a device he famously invented to improve young pianists' hand positions--is available for sale at the publisher's address. Publishing information for each installment is as follows:
No. 5: London: Self-published, printed by Clementi & Co, c. 1816. Signed Jlogier on title page. 15 pp. With excerpted biography of Haydn (2 pp.), taken from Burney's History of Music.
No. 8: London: J. Green, not later than 1825. Initialled JBL on title page. 14 pp. With excerpted biography of Mozart (2 pp).
No. 9: London: J. Green, not later than 1825. Initialled JBL on title page. 17 pp.
Autographed Logier material is quite scarce.
Johann Bernhard Logier was born to a musical family in Kassel but moved to England in 1791. He became a regimental band flautist and was posted to Ireland in 1796, where he remained for some time. It was there, in fact, that while seeking to improve the efficiency of his piano teaching, he invented the chiroplast: a sliding mechanism designed to improve the hand and wrist positions of budding pianists. After a successful trial run with his daughter in 1814, Logier devoted much of the following decade to promoting the device. His Theoretical and Practical Study for the Piano Forte was issued in a total of twelve installments between 1816 and 1825, the first of which coincided with the chiroplast's commercial release in 1816. J Green, the publisher of the method, had sold 1,600 of them by 1824.
The chiroplast became quite popular and counted Kalkbrenner and Spohr among its early adherents, although Clementi and Cramer expressed some reservations about the device. The chiroplast would continue to be manufactured through the early 1870s.
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LUR - BOOK AND MUSIC Børresen, Hakon (1876-1954) Raadhus-Intrada for Lurer og Orkester. [Piano reduction of a work for 4 lurer and orchestra.] Samfundet til Udgivelse af Dansk Musik: Copenhagen, 1930. 5 pp. In excellent condition.
Hakon Børresen (1876-1954) was a Danish composer and conductor who gave lessons to King Frederik IX.
Sold together with:
Broholm, H.C. and William P. Larson and Godtfred Skjerne. The Lures of the Bronze Age: an Archaeological, Technical and Musicological Investigation. Gyldendalske Boghandel: Copenhagen, 1949. Folio. 129 pp. Wrappers in cardboard sleeve. Front cover slightly separating at top and sleeve shows wear; otherwise fine.
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Lutoslawski, Witold (1913-1994) Trois Poemes D'Henri Michaux. Full Orchestral Score + Choral Score Polskie Wydawnictwo Muzyczne: Warsaw, 1963. Folio (14.75" h x 11.25" w). 48 pp. + 51 pp. Glossy paper folder with decorative artwork. Cover slightly shelf worn and soiled, otherwise excellent.
MUS-10778 $200Inquire
MacDowell, Edward (1860-1908) Benedick (a sketch for the scherzo from the Second Concerto for Pianoforte) John Erskine. Edward MacDowell Association: New York, 1947. Large octavo. 9 facsimile pp. on heavy paper as issued. Fine.
The facsimile includes a page of Macdowell's amusing portrait doodles.
FAC-07366 $30Inquire
MacDowell, Edward (1860-1908) Suite für Grosses Orchester, Op. 42. Partitur. Arthur P. Schmidt: Boston & Leipzig, 1891. Pl.n: S. 123. first edition. Small quarto. 94 pp. Paper wrappers. Front wrapper with some minor creasing and grease pencil marks. Internally very clean. A nice copy.
This suite contains four musically unrelated movements with titles concerning nature and the seasons. MacDowell added a fifth movement, "Im Oktober", in 1893, which was meant to be inserted between the existing second and third movements. "Im Oktober" was made available by the publisher as a supplement (as is indicated in the bottom margin of the front wrapper), but is not present in this copy.
Grove's Dictionary describes the suite as bearing a certain classical formal simplicity, especially when contrasted to the freer forms of MacDowell's better-known Indian Suite.
MUS-12816 $60Inquire
Magritte, Paul (1902-1975) Marie Trombone Chapeau Buse Editions Magritte: Brussels 13" h x 10" w. 4 pp. Cover illustration by René Magritte. Paper wraps. Spine split at top and bottom, edges of cover and interior pages chipped, inscription cropped, otherwise a very good legible copy.
Paul Magritte, brother of the great surrealist painter René Magritte, set this song to a text by Belgian surrealist poet Paul Colinet. Formerly the copy of the writer and composer Paul Bowles, with an inscription (in French) to him by the composer on the inside cover, thanking him for the translation of the poetry.
"Marie Trombone Chapeau Buse" was Colinet's first published work and is a collaboration emanating from his new friendship with the Magrittes in 1933; his poem, set to music and published by Paul Magritte and with an illustrated cover by René Magritte. Altogether, with the inscription to Paul Bowles, an intriguing association piece.
René Magritte had a little-known early commercial career in the 1920's, earning money as a draughtsman and designing graphic ephemera, among which were some 40 sheet music covers.
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Mahler, Gustav (1860-1911) Das Lied von der Erde. Klavierauszug mit Text von J. W. Wöss. Universal Edition: Vienna - Leipzig, 1912. Pl.n: U.E.3391. 8152. first edition of the piano reduction. Quarto. 99 pp. Green buckram boards with gilt title. Original wrappers bound in. An attractive copy in excellent condition.
Formerly the copy of American soprano Rose Bampton; her facsimile signature appears in gilt on the front cover.
When Mahler began composing Das Lied von der Erde in 1908, he worked on two separate scores: one for voices and orchestra and another for voices and piano. At some point, and for reasons that are still unclear, Mahler abandoned the piano version and agreed that Universal Edition would simply publish a piano-vocal score in addition to the orchestral. (He also may have known that Josef Venantius von Wöss would complete the reduction; Wöss had already produced the piano-vocal score of the Eighth Symphony much to Mahler's satisfaction). Mahler died in advance of the work's premiere in November 1911 and his piano setting would go unknown and unstudied until the early 1990s, when it was made available by the family to which Alma Mahler had gifted it.
It is unlikely that Wöss was familiar with Mahler's own piano version of the work. Mahler's piano writing is sparse and idiomatic to the instrument, whereas Wöss' reduction attempts to replicate the richness of the orchestrated version. Nevertheless, Wöss' score remains the better known of the two and was published at roughly the same time as the first edition of the full score.
Rose Bampton (1907-2007) sang at the Metropolitan Opera for eighteen consecutive seasons and enjoyed particular success in Wagnerian roles. She was also an active concert singer and performed many works by her contemporaries, including Schoenberg, Berg, and Barber.
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Major, Joseph The Favorite Air of Laurette, Composed by H. Smart, Arranged as a Rondo for the Piano Forte or Harp. Lavenu & Mitchell: London, [ca 1805-1808]. Engraved. Quarto. 5 pp. Disbound. With manuscript pagination above printed pagination. Pages beginning to detach, but in otherwise excellent condition.
Published between 1805 and 1808, based on publisher's address.
With list of recent publications by Lavenu & Mitchell on verso of last page.
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Malipiero, Gian Francesco (1882-1973) Symphony No. 2. "Seconda Sinfonia (Elegiaca)" Full Score Ricordi: Milan, 1936. Large folio 18.5" h x 13" w. 50 pp. Decorative paper boards with vellum spine. Slightly shelf worn, otherwise excellent.
FAC-10773 $250Inquire
Mana-Zucca (1885-1981) Violin Concerto for Violin, Op. 224. Reduction for violin and piano with separate violin part. Congress Music Publications: Miami, 1955. first edition of the reduction. Quarto. 47 pp. + 19 pp. Very good condition.
Inscribed in red ballpoint on the cover: To my friend Michel [sic] Piastro with great admiration Mana-Zucca and dated 1955 (the same year as the publication). This is a first-edition piano reduction; it does not seem that a full orchestral score was ever published.
Mana-Zucca was born Gussie Zuckermann in New York City, the daughter of Polish émigrés. She began her astonishing career as a child prodigy, the story being that she was frustrated at the age of three when she found that her toy piano didn't have the half tones and then giving her first recital at the age of three. She went on to a triple-faceted career as noted concert pianist, composer of over 1,000 works of all kinds, and soprano with leading roles in musical comedy.
This score is inscribed to Mishel Piastro, who was for many years the concertmaster of the NBC Symphony under Toscanini.
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Manfredi, Filippo (1729-1777) Chefs-d'oeuvre de l'Ecole italienne, no. II: Sonate pour le Violon avec Accompagnement de Basse Hofmeister: Leipzig, [c 1831]. Pl.n: 1556. Folio. 9 pp. Some fingerings and bowings pencil into violin line, edges tattered from wear, otherwise very good.
Piano score alone. Manfredi was a violininst in Lucca, a pupil of Tartini and Nardini, and an intimate friend of Boccherini.
MUS-06386 $90Inquire
MARTIN: SIGNED SCORE AND PARTS Martin, Frank (1890-1974) Trio à Cordes 1936. Large quarto. Overall excellent; covers sunned with chips at a few corners. Inscription slightly smudged.
Facsimile edition of the fair manuscript copy of the Swiss composer Martin's Trio from 1936. Full score and separate three parts. Inscribed by the composer on the inside of the full score cover: A mon vieux cher Boepple avec toute mon amitié / Frank Martin / Aout 37.
Formerly the copy of the noted Swiss choral conductor Paul Boepple, who conducted the Dessoff Choir, with his signature on the cover of all three parts.
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Martini, Giovanni (1706-1784) Martini's Grand Overture to Henry the Fourth, Adapted for the Harpsichord or Piano Forte G. Walker: London, [ca 1803-1805]. Engraved. Quarto. 11 pp. Disbound. Title page detaching. A fine crisp copy in very good condition. Minor stains to title page but otherwise clean.
Published between 1803 and 1805, based on publisher's address.
MUS-07075 $45Inquire
Mason, William (1829-1908) and E. S. Hoadly A Method for the Piano-Forte. American Fingering Mason Brothers: New York, 1867. first edition. Folio. Decorated boards with original wrappers laid down. Boards quite rubbed with some chips; internally fine.
Lithographic portrait of Mason at the piano opposite title page
MTH-04873 $75Inquire
Massenet, Jules (1842-1912) Cendrillon. [Vocal score] Heugel & Cie: Paris, 1899. Pl.n: H. et Cie. 18,421. first edition of piano-vocal score. Small quarto. 366 pp. Soft black leather boards with gilt title and decorative stamping. Decorative floral gilt spine. In excellent condition and beautifully bound (spine a bit sunned and some scuffs to back board).
Inscribed to the tenor Joseph-Dieudonné Tagliafico (1821-1900) on the first blank: a mon fidile ami | Taglifico. | son voisin de l'avenue de Beaulieu!... | 1895-1896 | (je travaillais alors a Cendrillon) | Massenet | Paris 1899. This touching inscription indicates that Massenet is signing the score to his good friend and neighbor from 1895-1896, during which time he composed this opera.
This first-edition piano-vocal score dates to the same year as the opera's premiere. (It is unclear if Heugel also issued an orchestral score that year; the Bibliothèque National owns a full score published by Heugel and dated 1898, but no others like it seem to exist.)
With beautiful pastel-colored pages for cast and scene lists, including a vignette of a glass slipper on a pillow.
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Massenet, Jules (1842-1912) and Jules Ruelle, poetry Enchantement Mélodie. No. 3 en Ut. Heugel & Cie.: Paris, 1892 [as per plate number and WorldCat]. Pl.n: H. et Cie. 7255 (3). Quarto. 5 pp. With decorative colored title page. Two dealer stamps on detached title page (affecting only the corner of the colored image). A little spotting to the music and some very minor tears at edges. Overall in good condition.
On the air de ballet "Les Phéniciennes" from Massenet's own Hérodiade.
MUS-15184 $15Inquire
Massenet, Jules (1842-1912) Esclarmonde. [Vocal score] + Autograph Signed Letter G. Hartmann & Cie.: Paris, [c 1889]. Pl.n: G. H. et Cie. 1921. first edition of piano-vocal score. Small quarto. 306 pp. With original front wrapper bound in. Quarter-bound brown leather with brown pebbled buckram boards. Raised bands and gilt label and decoration at spine. Inscription page a bit browned at side (not affecting). ALS laid down opposite inscription in good condition. Light transfer to some music. A very good copy.
Inscribed to Charpentier soon after the premiere and including an ALS saying he is touched to be remembered by his fellow composer.
Inscribed on the first blank in the month of the opera's premiere by Massenet to his former pupil and fellow French composer Gustave Charpentier: à mon ami Gustave Charpentier | Souvenir bien affectueux | de son "Vieux Maître" | J. Massenet | mai /89.
Laid down opposite the inscription is a Massenet ALS which reads: Merci cher ami | Vous ne m'oubliez pas et j'en | suis tres touche!...| Je réponds aussi à | votre prière - ce matin. | Votre vieux ami | J. Massenet | 4 janv.
This first-edition piano-vocal score was likely published the same year as the opera's premiere (publication date assumed to be 1889 by Grove Dictionary and WorldCat). (When or if a full orchestral score was ever published is unclear; the Bibliothèque National owns two copies of full score proofs with autograph corrections but does not seem to own a published version of it.)
Charpentier entered Massenet's composition class at the Paris Conservatoire in 1884. The younger composer credited the elder with helping him to understand, and above all love, music. This inscription dates to only shortly after their studies together and to the year before Charpentier completed his most well-known opera, Louise.
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Massenet, Jules (1842-1912) Grisélidis. [Vocal score] Heugel & Cie: Paris, 1901. Pl.n: H. et Cie. 8114. first edition, third issue. Small quarto. 233 pp. Original gilt and blind stamped wrappers bound in. Quarter-bound red leather with marbled boards. Gilt label at spine. Boards a bit rubbed; bumped corners. Slight crease to bottom of each page (not affecting). Paul Bastide's stamp on dedication page; performance markings in pen to pp. 1-5. Inscription page with foxing. Despite this, really a good copy overall.
Inscribed by the composer to the French conductor and composer Paul Bastide: à mon excellent | Paul Bastide | J. Massenet | 1902.
Bastide studied with Massenet at the Paris Conservatoire in the 1890s, where he won first prize in harmony. At the time the elder composer inscribed him this score, Bastide was just beginning his career as a conductor.
Massenet completed Grisélidis in 1894 but revised it in 1898 after discussing a potential production with opera director Albert Carré. The work premiered at the Opéra-Comique in 1901 and enjoyed 50 performances in its first six months there. Massenet wrote of the opera in his memoir: I was very fond of this piece. Everything about it pleased me.
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Massenet, Jules (1842-1912) Hérodiade. Opèra en 3 Actes. [Vocal score] G. Hartmann: Paris, [1882]. Pl.n: G. H. 1190. first edition [of piano-vocal score of three-act version]. Small quarto. 341 pp. With original wrappers bound in. Green buckram boards. Dealer stamp on title page (not affecting). Light and occasional foxing. A very nice copy.
Inscribed on the title page, almost certainly to mezzo-soprano Laure Beauvais, who would premiere the role of Albine in Massenet's Thaïs in 1894: à Madame Beauvais | hommage respectueux de | son admirations | J. Massenet | Janv. /82.
This first-edition piano-vocal score was issued the year after the opera's premiere. (We cannot find evidence of a full orchestral score being published before Massenet revised the opera to four acts in 1884.)
Little record exists of Laure Beauvais's career, though she seems to have been active for some time at the Paris Opéra in the late 1800s. She also sang at the role of the narrator in Debussy's La Damoiselle élue at the Exposition Universelle of 1900.
SSC-13914 $1,350Inquire
Massenet, Jules (1842-1912) Le Cid. [Vocal score] Heugel & Cie.: Paris, [c 1893]. Pl.n: H. et Cie. 7747 + 9391 & G. H. 1571. Likely second edition. Small quarto. 355 pp. Original decorative wraps. In an elegant half-bound red leather box with marbled boards and raised bands, gilt label, and gilt decorations at spine. A clean copy in very good condition. Wraps a little worn at edges and almost fully detached.
Inscribed and signed by the French composer on the first blank: á mon excellent | confère et ami | Ed. Mathé | Jl. Massenet | 1905.
The inscription is to French silent film actor Édouard Mathé (1886-1934), who starred in some 51 films in the course of his rather short career.
This volume contains three different plate numbers: H. et Cie. 7747 and H. et Cie. 9391 (both of which belong to Heugel & Cie., and help approximate a publication date), and G. H. 1571 (which belongs to G. Hartmann). From 1870 to 1891, Hartmann was Massenet's exclusive publisher, but bankruptcy forced him to sell his catalogue to Heugel in 1891. Most of the music in this edition is stamped with Hartmann's plate number, suggesting it uses almost entirely plates made for the first (vocal score) edition of 1885. (The colored title page, cast list, scene list, and pages 1 + 145-176 all bear Heugel plate numbers, or no plate number at all.)
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Massenet, Jules (1842-1912) Le Jongleur de Notre Dame. [Vocal score] Heugel & Cie.: Paris, [1902]. Pl.n: H. et Cie 20.419. first edition of piano-vocal score. Small quarto. Quarter bound black leather with pebbled maroon buckram boards. Spine heavily rubbed and boards a bit dusty. Title page trimmed a bit close at bottom (just barely affecting). Some gray and blue penciled notes throughout. A very good copy.
Inscribed opposite title page: à Dangér | à un grand artiste. | un souvenir des belles | représentation | de [illegible] de Lyon!...| J. Massenet | 1905.
Evidently Dangér took part in a performance of the opera in Lyons.
This first-edition piano-vocal score dates to the same year as the opera's premiere (publication date as per plate number). (It is unclear if a full orchestral score was ever published.)
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Massenet, Jules (1842-1912) Le Roi de Lahore. [Vocal score] G. Hartmann: Paris, [1877]. Pl.n: G. H. 910. first edition of piano-vocal score. Small quarto. 363 pp. Pebbled maroon buckram boards. In very good condition (one corner bumped and dealer stamp to title page, not affecting).
Inscribed on the very day of the premiere.
Inscribed on the first blank with a reference to the opera's premiere: à mon cher Mr. B. Ullman | bien sympathique souvenir. | J. Massenet | Paris 27 avril /77 | 1em présentation (opéra) | (direction Halanzier).
The inscription is presumably to the American impresario Bernard Ullman, who, after years of overseeing successful productions in New York City, moved to Europe to manage Carlotta Patti and Christine Nilsson between 1865 and 1877.
This first-edition piano-vocal score dates to the same year as the opera's premiere (publication date as per plate number). (It is unclear if a full orchestral score was ever published.)
In his memoir, Massenet recounts how concerned he was upon completing Le Roi de Lahore (which comprised an astounding eleven hundred pages of manuscript!) that the opera would never be staged – but a chance meeting on the street with Opéra director Olivier Halanzier in January 1877 paved the way for the work’s premiere. Although the two men had never spoken before, Halanzier knew of Massenet and asked about his recent activity. When Massenet revealed he had recently finished a new opera, Halanzier invited him to play through it the next night at his apartment. The opera's first performance followed in April 1877. Massenet’s gratitude for Halanzier’s interest is reflected in his noting the director in this inscription.
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Massenet, Jules (1842-1912) Marie-Magdeleine. [Vocal score] G. Hartmann: Paris, [1873]. first edition of piano-vocal score. Small quarto. 167 pp. Quarter-bound leather with marbled boards. In very good condition (publisher's stamp on title page; a few very minor stains and occasional transfer).
Inscribed to a "comrade and friend [Loedi?]" signed J. Massenet, and dated 1897 - 18… This is a first-edition piano-vocal score that dates to the same year as the work's premiere (publication date as per WorldCat and Grove). (It is unclear if a full orchestral score was ever published.)
Bound together with:
Massenet, Jules. Ève. [Vocal score]. G. Hartmann: Paris, n/d. Likely FIRST EDITION of piano-vocal score. 111 pp. Colored title page. Some minor stains and transfer; overall very good.
Massenet never wanted Marie-Magdeleine, a work he wrote as a young man, to receive a public performance. But after hearing Massenet play through some of the score, famed soprano Pauline Viradot insisted that the opera be staged and that she be given the title role. Massenet would ultimately be grateful for her initiative: shortly after the opera's premiere in 1873, he received a warm letter of praise from Ambroise Thomas that he valued so dearly, he quoted it in full in his memoir.
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Massenet, Jules (1842-1912) Sapho. [Vocal score] Heugel & Cie.: Paris, 1897. Pl.n: H. et Cie. 18,648. first edition of piano-vocal score. Quarto. 227 pp. Inscribed and initialed in facsimile by Massenet to the publisher Heugel on the third blank in the year of the opera’s premiere and first publication: a mon ami | Henri Heugel | J. M. | Paris - 1897. Quarter-calf with marbled boards and edges. Spine a bit rubbed and lifting with chips at top and bottom. Signature of former owner on first blank. Slight tear to top of inscription page (not affecting). Title page trimmed close at bottom (affecting a bit of the ornamental border). In very good condition otherwise.
This first-edition piano-vocal score is that of the original Sapho, Massenet having revised the work in 1909. (A full orchestral score was not published until the premiere of the revised version.)
Henri Heugel took over his family's publishing business in 1883; by 1885 he was said to have been publishing at least one new score every day. In 1891 he acquired the catalogue of Georges Hartmann, the exclusive publisher of Massenet from 1870 until the sale of his business. Heugel would go on to publish old and new Massenet operas for many years following, many of which included elaborate colored title pages.
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Massenet, Jules (1842-1912) Thaïs. [Vocal score] Heugel & Cie.: Paris, 1894. first edition of piano-vocal score. Quarto. 250 pp. Original wrappers bound in. Quarter-bound orange leather with marbled boards. Raised bands and gilt label at spine. Chips to wrappers (both laid down on backing paper); repaired tear to inscription page (just barely affecting one word). Otherwise very good.
Inscribed close to the premiere.
Inscribed to the daughters of librettist Louis Gallet during the month of the opera's premiere: à mesdemoiselles | Marguerite + Marie-Louise Gallet, | aux chéres filles de | mon collaborateur + fidele ami | Louis Gallet. | affectueusement. | -Massenet | Paris - mars/94.
Interestingly, Marguerite Gallet would go on to sing Fanny Legrand in premiere of the revised version of Massenet's Sapho in 1909.
This first-edition score retains the 18-page dance interlude Les amours d'Aphrodite at the start of the second act, which Massenet removed in his revisions of 1898. The dance caused controversy at the opera's premiere owing to a costume malfunction of Sibyl Sanderson's (the first Thaïs). Commentators on the opera routinely note the bold central section of this dance, which is in 5/4 time and uses the whole-tone scale.
The full orchestral and piano-vocal scores of Thaïs were both published by Heugel in 1894.
Gallet's libretto for Thaïs, which is based on a novel by Anatole France, deviated from normal practice by relying on assonance, rather than rhyme and meter, to structure and cohere the poetic text. The technique, which Gallet called poésie mélique, facilitated freer declamation.
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Massenet, Jules (1842-1912) Werther - Drame Lyrique en Quatre Actes et Cinq Tablaux d'Après Goethe. Piano-Vocal Score Poème de MM. Edouard Blau. Paul Milliet et Georges Hartmann. Heugel: Paris, 1892. first edition. Quarto. 229 pp. Half-leather in green morocco. Spine has raised bands, gilt title and armorial decorations. Spine edges rubbed, page edges slightly yellowed. Title page slightly torn at top. Some markings in blue and red crayon, mainly underlinings and cuts, otherwise very good condition.
Signed and inscribed by the composer on blank opposite title page: á mon ami Lubert / avec mes meilleurs / souvenirs (Eve) / son dévoué J. Massenet / 1897.
Werther was the first of Massenet’s operas to be performed at the Metropolitan Opera. It reached the Met two years after its 1892 world premiere, and it continues to hold the stage there.
Albert Lubert was a French tenor who first appeared at the Met as Don José in a production of Carmen in 1895. He also appeared in the Met performance of Massenet's La Navarraise.
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maurel, v. (1836-1911) Johann Ernst Altengurg: Versuch einer Anleitung zur heroisch-musikalischen Trompeter und Paukerkunst. Faksimile der Ausgabe von 1795. Mit einem Nachwort in Deutsch und Englisch von Frieder Zschoch Notes by Frieder Zschoch. VEB Deutscher Verlag für Musik: Leipzig, 1972. Octavo. 156 pp. Boards. Spine and edges slightly rubbed, otherwise very good. FAC-03858 $50Inquire
Mayseder, Joseph (1789-1863) Pas de Deux aus dem Ballet: Psyche für das Piano=forte. Pietro Mechetti q.m Carlo: Vienna, n/d. Engraved. Oblong quarto. 11 pp. Disbound. Detached between pp. 10-11. Dealer stamp on title page. Ink transfer throughout. Very occasional staining, mostly at margins. Overall in good condition.
Although this publication is undated, there is record of Mayseder having performed it in 1824 and 1825.
MUS-14936 $75Inquire
Mazzinghi, Joseph (1765-1844) Air Grotesque, for the Piano Forte. Nos. 1-3 Signed "JM". Goulding , Phipps, D'Almaine & Co.: London, [ca 1804-1808]. Engraved. Quarto. 3 + 3 + 4. Disbound; No. 1 separate from Nos. 2-3. Pages of No. 1 beginning to detach; very minor stains to No. 3 (not affecting). Manuscript pagination above printed pagination throughout. A nice copy in very good condition.
A set of three airs for keyboard with the title of page of each initialed by the composer:
No. 1. Brillante
No. 2. Vivace
No. 3. Madame Catalani's Celebrated Air, Nel cor, pui non mi Sento, with Variations in the Grotesque Stile.
Although Goulding, Phipps, and D'Almaine published a complete catalogue of Mazzinghi's works in 1798, the company's address printed on these editions suggest a publication date of ca. 1804-1808.
MUS-14554 $125Inquire
MELODEON TUTOR AND MUSIC Taylor, Virgil Corydon (1817-1891) The Chime; an extensive collection of new and old tunes…from the old masters, and modern European writers…with valuable selections (kindly permitted) from living American composers; also, a variety of new pieces by the author. Including also, A Melodeon Instructor; by the use of which, a knowledge of all instruments of the organ kind may be easily acquired. Oliver Ditson & Co.: Boston, [after 1855]. Fifth Edition. Oblong small quarto. 367 pp. Quarter leather. In very good condition. Internally quite clean, save for spotting on title page and light bleed through typical of age throughout. Boards foxed with light wear. A crisp copy on the whole.
An expansive collection of American, English, and European psalm tunes and hymns presented with keyboard accompaniment and prefaced by two instructional introductions: Simplification of the Elements of Vocal Music (15 pp.) and The Melodeon Instructor (9 pp.).
The melodeon was a type of free-reed organ that became popular in homes and small churches in the mid nineteenth century. This Melodeon Instructor is among the earlier examples of tutors for the instrument.
The first edition of The Chime was published in 1854. We have been unable to identify the publication years of any subsequent editions.
Virgil Corydon Taylor was an American organist and hymnodist active in Connecticut, New York, and Iowa. He produced several music compilations in the 1840s and 1850s, including volumes of secular songs and choral anthems. The Chime enjoyed five editions in Taylor's lifetime and appears to have been his most successful publication.
MUS-16038 $125More Images/Inquire
MENDELSSOHN PLAYS FOR THE LAST TIME IN ENGLAND Mendelssohn, Felix (1809-1847) and Henry Hill (1808-1856) String Quartets, Op. 44, "Trois Grands Quatuors pour Deux Violons, Alto et Basse composés et dédiés à son altesse Royale le Prince Royal...par Felix Mendelssohn Bartholdy" Breitkopf & Härtel: Leipzig, [1839]. Pl.n: 6022-24. first edition. Folio. 13/13/15+11/11/13+11/11/13+9/11/13 pp. Disbound. In a custom-made box. Condition very good, with some performance markings and penciled measure numbers. Title page with inscription cropped at the top, affecting a few words. Complete set of four parts, with title page on the first violin part only. Each part signed HyHill and with his attestation on the first title page.
Henry Hill captures a moment in history: Mendelssohn plays for the last time in England.
A score annotated and signed by the important violist Henry Hill, with parts, used at Mendelssohn's last concert in England, given shortly before his death on November 4, 1847. The concert was a special one presented by The Beethoven Society in honor of Mendelssohn. Not only did the renowned composer attend the performance, but he also improvised a piece while the musicians were looking for a lost part. The score is from the collection of the great English violist Henry Hill.
The score has a signed, very touching hand-written note from Hill on the title page of the first violin part of the first quartet. Starting on the right-hand side and going clockwise, Hill writes:
This quatuor was played at a matinee given in honor of the author at the Beethoven rooms 1847…the much loved and much to be lamented Felix Mendelssohn was present and played one of his trios and whilst they were seeking for a lost part…gave a most splendid improvisation -- it was his last performance in England!!…'to praise what is lost makes the remembrance more dear' (a quote from William Shakespeare's All's Well that Ends Well, V, iii).
Henry Hill was a scholar and the leading violist of his time, co-founding The Beethoven Quartet Society and writing the notes for their concerts. The concerts were held on Queen Anne Street in what was called The New Beethoven Room. He also knew Berlioz and performed the solo viola part of Harold in Italy, which Berlioz had written for Paganini, at its London premiere in 1848. Hill was a member of the important English family known especially in the violin trade. It should also noted that any autograph material of Henry Hill is very scarce.
SSC-09781 $3,850More Images/Inquire
Mendelssohn, Felix (1809-1847) and Gustav Rösler, arranger. Für Pianoforte zu vier Händen: Erstes Concert für Pianoforte, Op. 25; Zweites Concert für Pianoforte, Op. 40; Concert für Violine, Op. 64. C. F. Peters: Leipzig, [after 1890]. Pl.n: 6049. Oblong quarto. 100 pp. Disbound and detaching with some leaves completely separated. Detached brown paper wraps. Chips to bottom edges of Op. 64 (not affecting). A little wear to cover. Otherwise a very clean copy and perfectly usable.
C. F. Peters publications can be quite difficult to date precisely. The first edition of these piano four-hand arrangements seems to have been issued in the 1870s, but this copy must have been published after 1890 because of the "Edition Peters" footnote on the bottom left-hand corner of each page, a marking that Peters did not start using until after 1890.
MUS-14973 $35Inquire
Mendelssohn, Felix (1809-1847) and SPOHR, Ludwig (1784-1859) Mendelssohn String Quartet, Op. 12 and Spohr Quintet, Op. 52, arranged for Piano Four Hands Folio. Library binding, boards worn, internally very good.
Contents:
- Grande Sonate à quatre Mains pour le Pianoforte arrangée d'après le grand Quatuor pour Violon composàe par F. Mendelssohn Bartholdy. Oeuv. 12. Hofmeister: Leipzig, PN 1965, [1833], 31pp.
- Grand Quintuor de Louis Spohr Oeuvre 52. arrangé Pour le Piano-Forte à quatre mains par F. Mockwitz. Leipzig: Bureau de Musique de C.F. Peters. PN 1991, [1827], 47pp.
MUS-10195 $400Inquire
Mendelssohn, Felix (1809-1847) and Introduction by Jon Newsom Octet for Strings, Op. 20, A Facsimile of the Holograph in the Whittall Foundation Collection Library of Congress: Washington, DC, 1976. Folio. 80 pp. of facsimile + 8 pp. of commentary. Gold-stamped cloth. As new. FAC-09695 $275Inquire
Mendelssohn, Felix (1809-1847) String Quartet, Op. 12, "Grand Quatuor concertant pour deux Violons, Alto et Violoncelle...Oeuv. 12" Hofmeister: Leipzig, [1830]. Pl.n: 1515. first edition. Folio. 9 + 9 + 9 + 7 pp. Disbound. Minimal discoloration around edges of pages, otherwise very good.
Complete set of four parts. Title page on viola part only.
MUS-09985 $1,000Inquire
Mendelssohn, Felix (1809-1847) String Quartets, Op. 44, "Trois Grands Quatuors pour Deux Violons, Alto et Basse composés et dédiés à son altesse Royale le Prince Royal...par Felix Mendelssohn Bartholdy, Op. 44 [#1-3]" Breitkopf & Härtel: Leipzig, [1839]. Pl.n: 6022-24. first edition. Folio. 13/13/15 + 11/11/13 + 11/11/13 + 9/11/13 pp. Disbound. Minimal pencil fingerings in first violin, very slightly browned and soiled mostly in lower right corners (from page turning), otherwise very good.
Complete set of four parts, with title pages for each quartet in first violin only.
MUS-09998 $1,300Inquire
Mendelssohn, Felix (1809-1847) and Gustav Rösler, arranger. Symphonien Für Pianoforte zu vier Händen. Symphonie, Op. 56; Symphonie, Op. 90; Symphonie in C moll. C. F. Peters: Leipzig, [after 1890]. Pl.n: 8025. Oblong quarto. 94 pp. Disbound. Tape repairs to last page (affecting music but still legible). Chips to outer pages and some small tears to title page. Otherwise a very clean copy in good condition.
C. F. Peters publications can be quite difficult to date precisely. The first edition of these piano four-hand arrangements seems to have been issued in the 1870s, but this copy must have been published after 1890 because of the "Edition Peters" footnote on the bottom left-hand corner of each page, a marking that Peters did not start using until after 1890.
MUS-14974 $50Inquire
Mendelssohn, Felix (1809-1847) Symphony No. 4, Op. 90, arranged, "Symphonie No. 4. für Orchester von Felix Mendelssohn Bartholdy. Op. 90. No. 19 der nachgelassenen Werke. Klavierauszug zu vier Händen" Breitkopf & Härtel: Leipzig, [1851]. Pl.n: 8361. Oblong folio. 55 pp. Title page soiled, chipped and detached, inner pages foxed, though most only very slightly, otherwise very good. MUS-10194 $200Inquire
Messiaen, Olivier (1908-1992) Technique de mon Langage Musical Alphonse Leduc: Paris, 1944. Pl.n: A. L. 20,227. Quarto. 61 + [ii] [advertisements] pp. Original paper wrappers. A very nice copy. A little toned; front wrapper beginning to detach and tear to back corner.
With original insert for English-speaking readers: Translation of remarks pertinent to the examples.
MUS-14679 $75Inquire
Meyerbeer, Giacomo (1791-1864) Robert le Diable, opera en 5 actes, paroles de M. A. E. Scribe et G. Delavigne. Partition du Piano, arrangée par J. P. Pixis Schlesinger: Paris Pl.n: Plate M.S.1157. Third edition [1877]. Large quarto. 407 pp. Boards with original paper covers and beige linen spine. Interior very good with occasional light spotting. Binding soiled and rubbed with spine tips, corners and edges bumped and dented. MUS-10847 $200Inquire
Milhaud, Darius (1892-1974) Enantines pour Piano a quatre mains doigtées par Marguerite Long [Transcription pour Piano à quatre mains (partie supérieure facile) des Trois Poemes de J. Cocteau] Eschig: Paris Pl.n: S.M. 135. Folio. 7 pp. Outer leaf with title page detached, edges of title page chipped and slightly sunned around edges, otherwise very good.
Laid out in score, instead of the normal side-by-side layout.
MUS-10227 $50Inquire
Milhaud, Darius (1892-1974) Trois Caprices de Paganini, traités en duos concertants pour Violon et Piano. Heugel: Paris, 1927. Pl.n: E. F. 497. first edition. 5 pp. [vln part] + 13 pp. [pno part]. Original blue paper wrappers. Wrappers toned around margins with dealer stamp at front and separated at spine. Internally very clean and good.
Contains two identical copies of the violin part.
MUS-06389 $60Inquire
Mizler, Lorenz Sammlungen Moralischer Oden VEB: Leipzig, 1972. Facsimile of the 3-volume 18th-century printed edition, with commentary in German & English. Oblong octavo. 116 incl. 83 pp. of facsimile. Boards. As new.
In German and English
FAC-01049 $50Inquire
Mondonville, J.-J. Cassanea de (1711-1772) Pièces de Clavecin avec Voix ou Violon, Oeuvre V Baron: London, 1968. Large folio. 22 facsimile pp. with decorative title page.Two-page foreword by Marc Pincherle. Quarter cloth with marbled boards. As new. FAC-01054 $75Inquire
Monteverdi, Claudio (1567-1643) Il Primo Libro de Madrigali a Cinque Voci. [Facsimile partbooks.] Bernard Bailly, ed. Les Editions Renaissantes: Paris - New York, 1972. 21 pp. per part. Each part with paper wraps. Matching slipcase for set. In excellent condition and a beautiful copy.
A set of facsimile partbooks of the third edition of Monteverdi's first book of five-voice madrigals, originally published by Magni in 1621. The books are labeled canto, quinto, tenore, alto, and basso. The canto book contains the critical commentary for the entire set.
As explained in the introduction, the edition was originally issued as part of a comprehensive collection of Monteverdi's works. It represents the last early printing of these madrigals, as their style fell out of favor and publishers saw no value in further reprints.
FAC-16023 $150More Images/Inquire
Moore, Douglas (1893-1969) Later Etruscan Excavations: a Triangular Romance. Piano Four Hands - an Unpublished Manuscript Signed at end "Affectionately | Douglas Moore. | July 7, 1920". Folio. 4 pp. In excellent condition.
A rare unpublished manuscript by the composer of The ballad of Baby Doe.
Manuscript for piano four hands on a bifolio: two full pages of music, a decorated cover page, and a blank. Autograph presentation manuscript in ink, written as a thank-you present from the twenty-seven-year-old composer to the Spelmans, whom he had visited in Italy. This charming manuscript is enhanced with two photos of the Spelmans' dogs pasted down on the cover surrounding the title. Amusing dynamic instructions include Not so profound as you might think; Slowly, with evident insincerity but tremendous esprit; and With more or less of a triumph.
Provenance: Estate of Timothy Spelman.
Douglas Moore, composer, educator and author, was most famous for his two operas The Devil and Daniel Webster and The Ballad of Baby Doe. Moore joined the music faculty at Columbia University in 1926 and remained there until his retirement in 1962. In 1954 he co-founded, with Otto Luening and Oliver Daniel, the CRI (Composers Recordings, Inc.) record label.
Timothy Spelman was an American composer whose wife was the English poetess Leolyn Everett. Moore visited them at their splendid sixteenth-century villa on the via Leonarda da Vinci overlooking Florence. At this time, Moore was in Europe studying at the Scola Cantorum in Paris.
This is the first time we have seen a Moore manuscript on the market.
MAN-05912 $1,500Inquire

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