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Mainz: B. Schott's Söhne [PN 21500], 1875. First Edition. Fuld ,p. 465. Deathridge, Geck and Voss (WWV), p. 402. Klein, p. 51. The general title and half title are common to the full scores of all four Ring operas. Götterdämmerung is the fourth opera in the Ring cycle. Excerpts were first performed in a concert at the Musikverein in Vienna on March 25, 1875; the entire work was first performed as part of the Ring cycle at Bayreuth on August 17, 1876. "The final opera of the Ring... provides an appropriately weighty conclusion to the epic cycle. 26 years elapsed from the time Wagner made his first prose draft for the work (then called Siegfrieds Tod) to the completion of the full score, with inevitable consequences in terms of stylistic unity. Retrogressive elements of grand opera exist side by side with motivic integration representative of Wagner's most mature style. And yet, the stylistic integrity of Götterdämmerung is scarcely compromised, so skilfully are the dis ... Read more

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Swedish soprano Christine Nilsson was one of the greatest international opera stars of the 1860s and 1870s. "In 1883 for the opening season of the Metropolitan Opera House, she sang Marguerite in the inaugural performance of Faust (22 October) and the title role in the first local performance of Ponchielli's La Gioconda (20 December)... Her voice, though not large, was pure and brilliant in timbre, immensely flexible and perfectly even in scale for two and a half octaves up to top E. Ophelia, Marguerite and Mignon were probably her finest roles, while an attractive appearance and a graceful stage personality were great assets in such parts as Violetta." Elizabeth Forbes in Grove Music Online.. Ca. 105 x 63 mm. With photographer's facsimile signature ("Mora") and printed address ("707 Broadway") to lower margin of mount. Slightly worn, soiled, and stained; minor annotations in pencil to verso.

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Lily Pons made her Metropolitan Opera début in 1931 as Lucia. "She caused a sensation and thereafter remained with the company for 28 seasons. She had success as Gilda, Amina, Marie (La fille du régiment), Philine (Mignon), Olympia and, above all, Lakmé. In 1935 she sang Rosina at Covent Garden and Gilda and Lucia at the Paris Opéra. She sang in South America, San Francisco (where her roles included the Queen of Shemakha and Violetta), Monte Carlo and Chicago, and made several films. Married to André Kostelanetz from 1938 to 1958, she made her stage farewell at the Metropolitan in 1958 as Lucia. Pons possessed a pure, agile, high coloratura voice, as can be heard on her many recordings." Dennis K. McIntire and Alan Blyth in Grove Music Online.. 178 x 130 mm. With "Lily Pons Coloratura Soprano Metropolitan Opera Co." printed in white to upper left, "Victor Records" in white to lower left, and "Studio Lorelle, 47, Boulevard [?], Paris" ... Read more

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"The heroic scale of his singing, even as experienced through recordings," marked Lauritz Melchior as the foremost Heldentenor of the twentieth century. "In his later years [he] sang little but Wagner, and concentrated on the heaviest roles, in each of which he appeared over 100 times (as Tristan, over 200). These figures suggest the stamina and endurance that enabled him to sound fresh in the last acts of Tristan and Götterdämmerung. A certain baritonal warmth remained a welcome characteristic, but there was no corresponding constriction in his top notes; Siegfried's lusty high C always rang thrillingly. These virtues were coupled with vivid and enunciation." Desmond Shawe-Taylor in Grove Music Online.. Melchoir is depicted with numerous medals. Ca. 137 x 87 mm. Somewhat worn and creased; remnants of former mount to verso.

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Italian soprano Antonietta Stella studied in Perugia and Rome, making her début in 1950 at Spoleto as Leonora (Il trovatore). In 1951 she sang Leonora (La forza del destino) at the Rome Opera and in 1954 appeared at La Scala as Desdemona. In 1955 she made her Covent Garden début as Aida and in 1956 first sang at the Metropolitan, in the same role. She appeared at all the leading European theatres, singing Butterfly, Tosca, Santuzza, Elisabeth de Valois, Violetta and Amelia (Un ballo in maschera). She also sang Wagner's Senta, Elisabeth, Elsa and Sieglinde... Her beautiful voice was used with great style." Elizabeth Forbes in Grove Music Online.. 179 x 118 mm. On gray cardboard mount. Slightly worn and creased; mount bumped at lower right corner.

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French-born American baritone Martial Singher "made his début [in November 1930] in Amsterdam as Orestes in Iphigénie en Tauride under Monteux. He first sang at the Opéra a month later, as Athanaël in Thaïs, and remained a principal baritone of that company as well as singing at the Opéra-Comique. Singher settled in the USA and made his Metropolitan début in 1943 as Dapertutto in Les contes d'Hoffmann. He continued as a member of the Metropolitan until 1959, singing Pelléas, Count Almaviva and Figaro in Figaro, all four baritone roles in Hoffmann, Lescaut in Manon and Mercutio in Roméo et Juliette, Wolfram and Amfortas. He was the first to sing Ravel's song cycle Don Quichotte à Dulcinée (which he recorded)." Peter G. Davis and Dennis K. McIntire in Grove Music Online.. With handstamp of Franklin Photos, New York to verso. 162 x 119 mm. Slightly worn and creased.

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Berlin: Ed. Bote & Bock [PNs 14331-14354], 1895. First Edition of the first version. OCLC no. 15809144. Waldmeister, to a libretto by Gustav Davis, was first performed in Vienna at the Theater an der Wien on December 4, 1895. "Brahms, who was by no means always an uncritical admirer of his friend [Strauss], remarked to Hanslick at the première of the operetta Waldmeister (1895) that Strauss's 'splendid' orchestration reminded him of Mozart." Peter Kemp in Grove Music Online.. Small folio. Half contemporary black cloth with black textured paper boards, titling gilt to spine.. [1] (decorative title lithographed by Anst. v. C.G. Röder in Leipzig printed in green), [2] (cast list, table of contents, and copyright notice), 3-197, [i] (blank) pp. Title with the handstamps of Dr. Felix Sperl in Vienna and the Viennese antiquarian Ludwig Doblinger; printer's note ("Stich und Druck von C.G. Röder, Leipzig") to lower margin of p. 197. Boards slightly worn ... Read more

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A very popular piece from ca. 1800, transmitted in many sources (both manuscript and printed), with variant readings; most sources have doubled note values and a 3/4 time signature. An undated edition by L. Rudolphus, Hamburg-Altona (RISM H5603) ascribes the composition to Himmel; manuscript sources are without ascription. Himmel was Kapellmeister at the Prussian court in Potsdam from 1795 to his death.. Oblong folio (345 x 260 mm). [i] (exercises), 2 (waltz), [i] (blank) pp. on a bifolium. Notated in black and red ink on 12-stave paper. In D major, 3/8 time. Dynamics and other verbal instructions (but not title) in red ink. No ascription. Partial watermark of a cross in a circle. Undated. A fair copy. First page with 4-part modulation exercises somewhat strangely using the French preposition "en" in connection with German note names (En C, En B, etc.). Exercises on staves 1-10 in ink; final two staves in pencil with corrections in red crayon. Outer leaves somewhat soiled; occasional show-thro ... Read more

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9
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[Farnborough]: [Gregg], 1965. Gregg Press reprint of Volume 47 of the original 1859 German Handel Society edition edited by Friedrich Chrysander. "Chrysander was one of the pioneers of 19th-century German musicology ... In 1853 he published essays on folksong and oratorio, on the strength of which he was awarded a doctorate by Rostock University on 19 April 1855. By then he was already deeply interested in the study of Handel and had begun collecting material for a biography of the composer, the first volume of which appeared in 1858. The second followed in 1860 and part of the third in 1867; the work was never finished." Anthony Hicks in Grove Music Online.. Large octavo. Full blue cloth, titling to spine gilt. 1f. (series title), 1f. (title), [i]-iii (preface), [iv] (index), [1] ("Concerto"), 2-15, [16] (blank), [17] ("Water-Music"),18-70, [71] ("Concerti A. B."), 72-98, [99] ("Firework-Music"), 100-127, [128] (blank), [129] ("Concerti a Due Cori.&qu ... Read more

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Offenbach s/m: Jean André [PN 6207], 1836. Jähns 50 (present arrangement p. 64). Constapel p. 333. WorldCat (2 copies, at the British Library and the Koninklijke Bibliotheek, The Hague). Little is known about the arranger, Ferdinand Rahles (1812-1878).. Folio. Unbound. Violino primo: [1] (title), 2-7, [i] (blank) pp.; Violino secondo: 6 pp.; Viola prima: 6 pp.; Viola seconda: 6 pp.; Violoncello: 6 pp. Lithographed. Handstamps "F. Xav. Wöhrle" and "Aus der Bibliothek von F. Xav. Wöhrle No. [blank]" to title and several pages of music. Notational corrections in ink. Browned; moderately foxed; minor dampstaining; outer bifolium of Violino primo completely, some other leaves partially detached; incorrect plate number "7207" to p. 3 of Violino primo part. An uncut copy.

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11
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[Wien]: Universal Edition [PN U.E. 12225], 1954. Folio. Original publisher's light ivory wrappers with titling in sepia. [i] (title), [i] (copyright information), [i] (cast list), [i] (contents), 232 pp. With errata leaf laid in. Small bookseller's label to corner of upper wrapper; spine slightly worn.

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Paris: Au Ménestrel, Heugel et Cie. [PN H. & Cie. 24473], 1919. Werther, to a libretto by Edouard Blau, Paul Milliet and (Jean-François-Romain-)Georges Hartmann based on Johann Wolfgang von Goethe's novel Die Leiden des jungen Werthers (1774), was first performed in Vienna at the Hofoper on February 16, 1892, under the direction of Jahn and in Paris at the Opéra-Comique on January 16, 1893, under the direction of Carvalho. "In no other Massenet opera is the melodic inspiration so rich... Werther is on the surface a simple, almost commonplace story of love and death, but the composer's insights shed an uncomfortable light on the workings of the human psyche in a fashion that is, quite surprisingly, worthy of Goethe. Massenet may have matured subsequently as a composer, certainly in matters of form and technique, but he wrote nothing greater or more heartfelt than Werther." Rodney Milnes in Grove Music Online.. Large octavo. Original publisher's gray printed wra ... Read more

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Folio. Unbound. 9 pp. Marked "#3" at upper left margin of first page. Together with: Act I Scene 6. Quintet ("Tonight") (Maria, Tony, Anita, Riff, Bernardo). Dye-line copy of manuscript piano-vocal score. Folio. Unbound. 15 pp. With performance markings in red and blue pencil to both pieces, almost certainly in the hand of Bernstein protégé and assistrant conductor of the New York Philharmonic, Yuri Krasnapolsky. Browned; slightly worn and soiled.

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"As a composer Hoiby was a modern Romantic from the lineage of Barber and Menotti. The influence of the former is evident in his warm lyricism, while that of the latter is found in a propensity for light, genial humour. Though much of his music is characterized by a disarming diatonic simplicity, his ambitious works tend towards greater harmonic and textural complexity. Interest in his music has centred chiefly around his operatic, choral and vocal works, which seem to stimulate his most deeply felt efforts. Some of these works... achieve an eloquence comparable to the later works of Barber. With greater critical acceptance of more conservative musical styles from the early 1980s onwards, Hoiby's music has been performed and recorded with increasing frequency." Richard Jackson and Walter G. Simmons in Grove Music Online.. Folio. Unbound. 5 pp. Notated in pencil on 16-stave music paper. A working manuscript. Together with: Two photographic copies of the fair copy of the manuscript with occa ... Read more

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15
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New York - Chicago - San Francisco - London - Paris - Leipzig: M. Witmark [PN 4943], 1902. First Edition.. Quarto. Full dark blue cloth boards with titling gilt to upper and spine. [1] (title), [2] (blank), [3] (named cast list), [4] (contents), 5-232 pp. Boards slightly worn and rubbed. Occasional small chips to edges; one leaf with tear to upper margin repaired.

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16
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Offenbach s/M: J. André [PN 1757], 1803. An early edition, published approximately one year after the first. White III:13-15. Giazotto 102-104 (another edition). Constapel p. 140. RISM V1918 (no copies in the U.S.). WorldCat (1 copy only, at the University of British Columbia). Also published as op. 17 (London: Clementi, Banger, Hyde, Collard & Davis. "Emerging from the Italian violin tradition, Viotti's works became a symbol and model for the French music of his time. The composer succeeded in combining the most virtuosic elements of violin technique with a unique, specifically instrumental cantabile." Massimiliano Sala in MGG2.. Folio. Unbound. Violino primo: [1] (title), 2-10, [i] (blank), 12-18 pp.; Violino secondo: [1] (title), 2-13, [i] (blank) pp.; Violoncello: [1] (title), 2-11, [i] (blank) pp. Engraved. Earlier owner's signature, "Simons," in ink to lower right corner of all title pages. Handstamp, "GS," to all title pages. Date in pencil to lower ... Read more

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17
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Berlin... Amsterdam: J.J. Hummel [PNs 945, 948], 1796. An early edition. Rare. White IId:1-6. Giazotto 115-117 (another edition). Volume 1: RISM V1888 (1 copy only, at the Universiteit Utrecht). WorldCat (1 copy, at the Koninklijke bibliotheek, The Hague). Volume 2: RISM VV1892a (no complete copies, 1 Violino primo part, at the Toonkunst-Bibliotheek, Amsterdam). WorldCat (complete copies at the Openbaare Bibliotheek, Amsterdam and the Universitätsbibliothek Frankfurt). The music of this edition is mostly spurious. The British Library holds a copy of André's edition (plate numbers 888 and 889) of the same music with autograph notes by Viotti-to vol. 1: "I have never composed these quartets;" to vol. 2: "These are not by me either except the two polonaises." See RISM V1886/V1891 and BUC p. 1045. The "polonaises" are the final movements of the present "Quartetto I" in B-flat major and "Quartetto III" in A major. According to the caption titles, ... Read more

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18
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Paris: Imbault [PN 622], 1802. [?]First Edition, later issue. White IId:4-6. Giazotto 115-117 (another edition). Devriès-Lesure I, p. 85. RISM V1893 (no copies in the U.S.). WorldCat (1 copy at the Biblioteka Narodowa, Warsaw). The first page of the catalogue is identical with Devriès-Lesure, facsimile no. 107; the second has the same header ("3e Suite...") and layout as facsimile no. 110 but represents a slightly earlier version as the most recent entries from the facsimile are lacking. First published in 1796. The music of this edition is mostly spurious. The British Library holds a copy of André's edition (plate number 889) of the same music with autograph notes by Viotti-to vol. 1: "I have never composed these quartets;" to no. 2: "These are not by me either except the two polonaises." See RISM V1891 and BUC p. 1045. The "polonaises" are the final movements of the present "Quartetto I" in B-flat major and "Quartetto III&quo ... Read more

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19
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Offenbach s/m: J. André [PN 3567], 1816. A later edition. White IIa:1. Giazotto 52. Constapel p. 218. RISM V1879 (no copies in the U.S.). An arrangement of Viotti's Violin Concerto no. 19 (White I:19). "Emerging from the Italian violin tradition, Viotti's works became a symbol and model for the French music of his time. The composer succeeded in combining the most virtuosic elements of violin technique with a unique, specifically instrumental cantabile." Massimiliano Sala in MGG2.. Folio. Unbound. Violino primo: [1] (title), 2-7, [i] (blank) pp.; Violino secondo: [1] (title), 2-7, [i] (blank) pp.; Viola: [1] (title), 2-5, [i] (blank) pp.; Violoncello: [1] (title), 2-5, [i] (blank) pp. Lithographed. Early owner's name in ink to head of title: "[?]Potf: Capit: Falkmann" with facsimile signature handstamp. Some fingering to Violino primo part. Trimmed at upper margin, with slight loss to pagination and header; outer bifolium of Violino 1 part detached; central leaf ... Read more

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20
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Offenbach s/M: J. André [PN 1730], 1803. An early edition, published approximately one year after first. White III:10-12. Giazotto 99-101 (another edition). Constapel p. 139. RISM V1910 (no copies in the U.S.). WorldCat (1 copy only, in Melbourne, Australia. Also published as op. 16 (London: Clementi, Banger, Hyde, Collard & Davis) and op. 20 (Vienna: Tranquillo Mollo & Co.). "Emerging from the Italian violin tradition, Viotti's works became a symbol and model for the French music of his time. The composer succeeded in combining the most virtuosic elements of violin technique with a unique, specifically instrumental cantabile." Massimiliano Sala in MGG2.. Folio. Unbound. Violino primo: [1] (title), 2-15, [i] (blank) pp.; Violino secondo: [1] (title), 2-13, [i] (blank) pp.; Violoncello: [1] (title), 2-13, [i] (blank) pp. Engraved. Early owner's signature, "Simons," in ink to lower right corner of all title pages. Handstamp, "GS," to all title pages. So ... Read more

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