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Kopenhagen: Chr. Gottl. Proft, 1786. First Edition. Helm 780. Wotquenne 204. BUC, p. 72. Hoboken 1, 234. RISM B117 (2 copies only in the U.S.). C.P.E. Bach wrote the majority of his choral music while serving as music director in Hamburg (1768-88), and it is during this period that he composed the two Litanies. They were written for Schleswig-Holstein, the region north of Hamburg with close ties to Denmark, and this is why he set both the "Old" Litany of Martin Luther and the "New" Litany of the Enlightenment. Both settings are for two SATB choirs, with the first singing the invocations and the second the responses. Danish composer and keyboardist Neils Schiørring (1743-1798) was a student of Bach's in Hamburg and the two remained friends and collaborators, including on harmonizations for the new Danish choral book of 1783.. Oblong quarto (205 x 265 mm). Sewn. 1f. (recto title, verso blank), 3ff. (introductions by both Bach and Schiørring), 47 pp. Typeset. Printed ... Read more

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London: Preston, 1817. First Edition of this arrangement. Hoboken Haydn catalogue I, pp. 51, 89, 115, and III, p. 28 (Coll. Sy. 13). RISM H4080 (not distinguishing among issues). Flauto, Violino primo, Viola, and Pianoforte parts are early issues (possibly first); Violino secondo and Violoncello are of (the same) later issue; the Violino primo part lacks the early signature of [?]Fichtner. The arrangement is by Charles Hague (1769-1821).. Folio. Viola and Pianoforte part disbound; other parts unbound. Flauto: [i] (title), 10-15, [i] (blank) pp., watermark 1807 Violino primo: 1f. (title), [i] (blank), 16-28 pp., watermark 1806 Violino secondo: [i] (title), 14-26 pp., watermark 1817 Viola: [i] (title), 12-22 pp., watermark 1807 Violoncello: [i] (title), 12-23, [i] (blank) pp., watermark 1817 Pianoforte: 1f. (title), [i] (blank), 24-43, [i] (blank) pp., watermark 1805 Engraved. Signatures of "[?]M Revay" and "W. Davidson first Violin" to upper right corner of title to violin part; &qu ... Read more

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Berlin u. Breslau: Ed. Bote & G. Bock [PNs 181-192], 1866. 12 volumes. Octavo. Uniformly bound in brown cloth-backed textured dark brown paper boards with initials "E.M." to lower right corner of upper, gilt titling and ornaments to spines. No. 1 (= Hoboken I:104): [1-2] (title), 3-118 pp. No. 2 (= Hoboken I:102): [1-2] (title), 3-106 pp. No. 3 (= Hoboken I:94): [1-2] (title), 3-108 pp. No. 4 (= Hoboken I:103): [1-2] (title), 3-116 pp. No. 5 (= Hoboken I:100): [1-2] (title), 3-122 pp. No. 6 (= Hoboken I:101): [1-2] (title), 3-132 pp. No. 7 (= Hoboken I:88): [1-2] (title), 3-94 pp. No. 8 (= Hoboken I:95): [1-2] (title), 3-91, [i] (blank) pp. No. 9 (= Hoboken I:99): [1-2] (title), 3-126 pp. No. 10 (= Hoboken I:96): [1-2] (title), 3-106 pp. No. 11 (= Hoboken I:85): [1-2] (title), 3-102 pp. No. 12 (= Hoboken I:86): [1-2] (title), 3-127, [i] (blank) pp. Engraved. Foreign agents listed in imprint: Brandus, Paris; Ewer & Comp., London; Scharfenberg & Luis, New York. Incipits of all 12 symph ... Read more

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4
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New York: Edwin F. Kalmus, 1980. Large octavo. Original publisher's green printed wrappers. 1f. (recto title, verso blank), 1f. (recto cast list, verso synopsis), 1f. (recto musical numbers, verso blank), 1f. (recto secondary title, verso blank), 167, [i] (blank) pp. Wrappers slightly worn and creased; small price label to lower.

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London: Metzler & Co. [PN 5057], 1905. Quarto. Full red cloth with titling gilt to upper and spine. [i] (title), [i] (named cast list), [i] (contents), v, [4]-105, [ii] (publisher's advertisements) pp. Boards somewhat worn, rubbed and slightly discoloured; endpapers dampstained.

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Leipzig: Breitkopf & Härtel [without PN], 1800. Hoboken Haydn catalogue I, 708, 711, and appendix Coll. Div. 1. Not in Hoboken collection. Hirsch IV, 972. RISM H2472. Volume X of Breitkopf & Härtel's early "complete" edition in twelve volumes, begun in 1800; only the piano part has a title page.. Folio. Disbound. 12 pp. Typeset. Includes the first five "sonatas" (piano trios); the remaining three are duo sonatas for violin and piano. Somewhat worn and browned; lower outer corner dampstained.

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Vienne: Hoffmeister [PN 173], 1789. First Edition of the arrangement of the piano sonatas Hoboken XVI:40-42 first published in 1784. RISM H4184 (no copies in the U.S.).. Folio. Unbound. Violin: [1] (title), 12-2 pp. Viola: [1] (title), 2-7, [i] (blank) pp. Cello: [1] (title), 2-7, [i] (blank) pp. Manuscript price added to title of violin part. Somewhat worn and soiled, especially at edges; foxed, primarily to margins; spine of violin part reinforced with paper tape.

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Leipzig: Breitkopf & Härtel, 1801. First Edition of the piano-vocal score. Very scarce. Hoboken 9, 1377. Haydn's Seven Last Words was conceived as a purely instrumental work in 1787, and is regarded as one of his finest compositions. Upon hearing an arrangement with vocal lines added by Joseph Friebert (1724-1799), Haydn was inspired to write his own version as an oratorio. This would be his first collaboration with Baron von Swieten, who would later pen the librettos for The Creation and The Seasons. The oratorio version premiered on March 26, 1796 at the Schwarzenberg Palace in Vienna. "The Seven Last Words, a success during Haydn's lifetime and beyond, is less popular today, in part because it is not a full-length work, in part owing to the succession of eight consecutive adagios which, paradoxically, seem more monotonous than in the orchestral version. Its most striking movement is the bleak, newly composed introduction to the second part, scored for wind alone and set in A minor, ... Read more

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Leipzig: Breitkopf & Härtel [PN 7682], 1849. A later arrangement. Not in Hoboken Haydn catalogue, WorldCat, or RISM. The company of Charles Breusing, New York, was active from 1854 to 1861. Horace Middleton (1879-1961) was a British-born musician who served on the faculty of Bennett College from 1919 to the mid-1930s. He was best known for the music he composed for the Greek plays performed at the college. See obituary, Millbrook Round Table, November 23, 1961.. Folio. Original publisher's gray printed wrappers. [1] (title), 2-67, [i] (blank) pp. Engraved. Text incipits (in German) as captions; text underlay in the initial recitative. Small publisher's handstamp to foot of title. Publisher's catalogue to verso of lower wrapper: "Friedrich Kalkbrenner's Pianoforte-Werke" listing works up to op. 190 (1849). With handstamps of "C. Breusing New York 701 Broadway" and "Horace Middleton South Millbrook, N.Y." to upper wrapper and title. Wrappers slightl ... Read more

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Paris: Pleyel [PN 359], 1801. Published just a short time after the first French edition by Erard. Hoboken XXI:2 (p. 37). Hoboken 9, 1395 (later issue, with price of 48 francs instead of 36). RISM H2525 (no copies recorded in the U.S.).. Folio. Contemporary vellum-backed speckled paper boards, paper label to upper with titling in manuscript. 1f. (title), 311, [i] (blank) pp. Engraved. Text in French and Italian. Outer and lower edges uncut. With publisher's facsimile signature handstamp to title. Boards somewhat worn and rubbed; label partially lacking at edges. Minor creasing, staining, and wear; tear to lower margin of pp. 139/140, slightly affecting printed area; small stab holes to pp. 290-311; small binder's hole to upper inner margins throughout. Lower outer corners of first several leaves lacking and filled in with laid paper, slightly affecting notation in several instances.

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Celle: Schweiger und Pick, 1813. The company of Schweiger & Pick was founded in 1813. It is still active, publishing the local newspaper of Celle. The author of the libretto, Gottfried van Swieten (1733-1803), is not credited.. Octavo (204 x 114 mm).. Sewn. 1f. (title), 3-20 pp. Typeset. Signature "Greiling" in ink to lower right corner of title. Slightly worn and soiled. Spine reinforced with green tape.

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Leipzig: Breitkopf & Härtel [PN 7707], 1850. A later issue of the arrangement first published in ca. 1848. Rare. Not in Hoboken Haydn catalogue or RISM. WorldCat (two copies only, at the Amsterdam University library and at the Bayerische Staatsbibliothek, Munich). The company of Charles Breusing, New York, was active from 1854 to 1861. Horace Middleton (1879-1961) was a British-born musician who served on the faculty of Bennett College from 1919 to the mid-1930s. He was best known for the music he composed for the Greek plays performed at the college. See obituary, Millbrook Round Table, November 23, 1961.. Folio. Original publisher's yellow printed wrappers. [1-2] (title), 99, [i] (blank) pp. Engraved. Text incipits (in German) as captions. Small publisher's handstamp to foot of title. Publisher's catalogue to verso of lower wrapper: "Chopin's, Henselt's und Thalberg's Pianoforte-Werke" listing works up to Chopin's op. 65 (1848), Henselt's op. 16 (1846), ... Read more

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Milano: G. Ricordi & C. [PNs 28731-54], 1934. First Italian edition (1856), later issue (based on the publisher's blindstamp). This second collaboration between Haydn and librettist Gottfried von Swieten was based on the poem by James Thomson (1700-1748) published in 1730. The work was first performed on April 24, 1801 in a private première at the Schwarzenberg Palace in Vienna; its first public production took place on May 19, 1801. "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: he supposedly said to Francis II, 'In The Creation angels speak and tell of God, but in The Seasons only Simon speaks&# ... Read more

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Hamburg: Johann August Böhme, 1809. RISM H and HH740 (one copy only in the U.S.). "Though consistently acknowledged as one of the greatest composers of his age, his reputation from his death to the early 20th century rested largely on the knowledge of a small number of orchestral works and oratorios, Messiah in particular...". Anthony Hicks in Grove Music Online. Christian Friedrich Gottlieb Schwenke (1767-1822), pianist, composer and music editor, studied with both Marpurg and Kirnberger, succeeding C.P.E. Bach as Hamburg Stadtkantor in 1788.. Oblong folio. Full decorative mid-tan tree calf. 1f. (title), 1f. (index), [1] (preface), 2-166 pp. Engraved. Binding considerably worn, rubbed, bumped and shaken; spine defective and partially lacking. Slightly browned.

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London: Chappell [PN 19348], 1911. Quarto. Original publisher's printed wrappers. [i] (title), [ii] (copyright statement), [iii] (characters), [iv] (contents), 169 + 4 additional pages between pp. 52-53, [iii] (publisher's advertisements) pp. Wrappers slightly worn.

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Risë Stevens was an "American mezzo-soprano of Norwegian origin. She sang with the New York Opera-Comique before becoming a pupil of Anna Schoen-René. Approached by the Metropolitan, she declined and sailed for Europe to study with Marie Gutheil-Schoder. She then made her formal operatic début in Prague in 1936 as Thomas' Mignon; she also sang with the Vienna Staatsoper and in Buenos Aires. Returning to the USA, she made her début with the Metropolitan on tour in Philadelphia in 1938 as Octavian, appearing a month later in New York as Mignon. She remained with the company until 1961 but also sang with other companies (including Glyndebourne in 1939 and, as Cherubino, 1955). Her warm, lyric voice can be heard on studio and off-the-air recordings of her Cherubino, Carmen, Mignon, Delilah and Octavian." Max de Schauensee and Alan Blyth in Grove Music Online.. From the studio of Bender in New York. Ca. 252 x 202 mm.

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17
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A German composer, Cruger's "singular contribution to 17th-century German music lay in his revitalizing of the Protestant chorale. He was also influential as a theorist." George J. Buelow in Grove Music Online.. Early 18th century? 48 x 62 mm. With biographical details printed below image. Trimmed and laid down.

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"Massenet, impressed by her beauty and her voice with its range of three octaves, wrote the title roles in two operas for her: Esclarmonde, in which she made her Paris début at the Opéra-Comique in 1889; and Thaïs, in which she made her Opéra début in 1894." Elizabeth Forbes in Grove Music Online.. 150 x 100 mm. "Extrait des Albums Mariani" printed to lower left corner.

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"[Duni] was one of the most important opéra comique composers in the third quarter of the 18th century, contributing to the creation of a new style in that genre, the comédie mêlée d'ariettes, through the blending of Italian elements with the traditional French ones." Kent M. Smith and Elisabeth Cook in Grove Music Online.. 83 x 68 mm. Laid down to backing and in turn to light mat with titling and biographical details in contemporary manuscript.

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20
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"Although he occasionally appeared in Europe and South America, [Merrill] preferred to base his career at the Metropolitan Opera where he sang all the major baritone roles of the Italian and French repertories. In terms of vocal endowment, technical security and longevity he was unequalled among baritones of his generation at the Metropolitan, where he made his début as Germont in La traviata in 1945 and where he celebrated his 500th operatic performance in 1973, still singing with undiminished vigour... Merrill made numerous complete opera recordings - Toscanini chose him as his Germont and Renato (Un ballo in maschera) - and one film, and often sang on radio and television and in Fiddler on the Roof." Peter G. Davis in Grove Music Online.. From the studios of Louis Mélançon, Metropolitan Opera House, New York. Ca. 253 x 203 mm. Very slightly creased at corners.

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