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W.-A. Mozart. Sa Vie Musicale et Son Œuvre de l'enfance a la Pleine Maturité. (1756-1777). Essai de Biographie Critique. Suivi d'un Nouveau Catalogue Chronologique de l'Œuvre Complète du Maitre

by WYZEWA, T. De and G. DE SAINT-FOIX

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Paris, 1912. Two volumes. Octavo. Hardcover. I: (l'Enfant-Prodige), 522 pp.; II: (Le Jeune Maitre), 451 pp. Binding worn; joints split. Browned throughout; staining and spotting to preliminary leaves.
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[W. III, 10-12]. Trois Trios pour deux Violons et Violoncelle [Parts]

[W. III, 10-12]. Trois Trios pour deux Violons et Violoncelle [Parts]

by VIOTTI, Giovanni Battista 1755-1824

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Offenbach s/M: J. André [PN 1730], 1803. Folio. Unbound. Violino primo: 15 pp.; Violino secondo: 13 pp.; Violoncello: 13 pp. Engraved. Early owner's signature, "Simons," in ink to lower right corner of all title pages. Handstamp, "GS," to all title pages. Somewhat worn and soiled; some dampstaining, repairs, and other minor defects. An uncut copy. An early edition, published approximately one year after first. White III:10-12. Giazotto 99-101. Constapel, p. 139. RISM V 1910. The present edition is published as op. 32; the work also appeared 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.
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[W. IIa, 1]. Quatuor en Sol-mineur [Parts]

[W. IIa, 1]. Quatuor en Sol-mineur [Parts]: pour deux Violons, Alto et Basse

by VIOTTI, Giovanni Battista 1755-1824

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Bonn et Cologne: N. Simrock [PN 1230], 1816. Folio. Disbound. Violino 1mo: 1f. (title), 9 pp.; Violino 2do: 7 pp.; Viola: 4 pp.; Violoncello: 4 pp. Title lithographed; music engraved. Annotations in pencil: "DHT" to upper right corner of first page of each part; titling to first pages of Violino 2do, Viola, and Violoncello parts; occasional notational corrections. Reinforced at spine. Slightly foxed and soiled; edges browned. Possible First Edition, printed the same year as that of Janet et Cotelle and Andre. White IIa:1. Giazotto 52. RISM V1878 (3 copies listed) Arranged from the Violin Concerto No. 19 (W. I, 19) with slow introduction added. "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.
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[W. IIa, 1]. Grand Quatuor en Sol-mineur [Parts]

[W. IIa, 1]. Grand Quatuor en Sol-mineur [Parts]: Pour deux Violons, Alto & Basso

by VIOTTI, Giovanni Battista 1755-1824

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Offenbach s/M: J. André [PN 3567], 1816. Folio. Unbound. Violino primo: 7 pp.; Violino secondo: 7 pp.; Viola: 5 pp.; Violoncello: 5 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 of Viola and Violoncello parts guarded. Possible First Edition, printed the same year as that of Janet et Cotelle and Simrock. White IIa:1. Giazotto 52. Constapel, p. 218. RISM V1879 (3 copies listed). Arranged from the Violin Concerto No. 19 (W. I, 19) with slow introduction added. "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.
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[W. IId, 1-6]. Quatuors d'Airs connus Dialogués & Variés [Parts]

[W. IId, 1-6]. Quatuors d'Airs connus Dialogués & Variés [Parts]: Pour Deux Violons, Taille & Violoncelle ... Livre I [-II]

by VIOTTI, Giovanni Battista 1755-1824

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Berlin: J.J. Hummel [PNs 945, 948], 1796. Folio. Disbound. Violino primo: 21 pp.; Violino secondo: 13 pp.; Viola: 13 pp.; Violoncello: 13 pp. Engraved. Titles printed from small decorative plates. Quartets numbered continuously. The melodies on which the respective movement is based are identified in engraved caption titles. Measure numbers added in pencil in a modern hand throughout. Outer margin uncut. A very good copy overall. An early edition. White IId:1-6. Giazotto 115-117. RISM V 1888; VV 1892a. Scarce. The music of this edition is mostly spurious. The British Library holds a copy of André's edition 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, the former is on the "Aria delle nozze… Read more
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[W. IId, 4-6]. Six Quatuors d'Airs Variés ... [2] Partie [Parts]

[W. IId, 4-6]. Six Quatuors d'Airs Variés ... [2] Partie [Parts]

by VIOTTI, Giovanni Battista 1755-1824

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Paris: Imbault [PN 622], 1802. Folio. Disbound. Violino 1o: 11 pp.; Violino 2o: 7 pp.; Alto: 7 pp.; Basso: 5 pp. Engraved. Publisher's handstamp to lower right corner of title of Violino Io. Publisher's address: "Rue Honoré No. 200 entre la Rue des Poulies et la Maison d'Aligre," with later (engraved) addition: "Et peristile du Theâtre de l'opéra-Comique rue favart No. 461." The present volume ("deuxième partie") contains the fourth, fifth, and sixth of the six quartets, numbered I, II, and III. The melodies on which the composition is based are identified in engraved caption titles. With overpaste of Le Duc, Paris, with early manuscript addition, "Mr. Sylvain Quilliard."). Number [2] before "Partie," indicating the second volume of the publication, added in ink to Violino 1o part only. Minor soiling and offsetting; closely trimmed, with slight loss to pagination and publisher's handstamp; catalogue pages folded in at foot; small ink stains to title of Violino 1o part; repair to first two… Read more
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[W. IV, 1-3]. Six Duetts for Two Violins ... Book. [1] Op. 4 [Parts]

[W. IV, 1-3]. Six Duetts for Two Violins ... Book. [1] Op. 4 [Parts]

by VIOTTI, Giovanni Battista 1755-1824

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London: Monro & May, 1823. Folio. Unbound. Violino primo: 13 pp.; Violino secondo: 13 pp. Engraved. Early signature (?Geo Moschelland) in ink to upper right corner of both title pages. Notational corrections in blue ink to p. 7 of Violino primo part; illegible annotations to p. 11 of Violino primo part. Reinforced at spine with paper tape. Somewhat browned and soiled; most leaves detached; crudely trimmed; Violino primo part with tape repairs to title. A later edition. White IV: 1-3. Giazotto 1-3. Not in RISM. 1 copy located, at the Royal Academy of Music in London. Monro & May were in business from ca. 1823 to 1848 (see Humphries and Smith p. 236); no other editions of Viotti's works with their imprint have been recorded. These six duets were first published in ca. 1789. "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,… Read more
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[WWV 86d]. Götterdämmerung... Vollständiger Klavierauszug von Karl Klindworth

[WWV 86d]. Götterdämmerung... Vollständiger Klavierauszug von Karl Klindworth

by WAGNER, Richard 1813-1883

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Mainz: B. Schott's Söhne [PN 21500], 1875. Folio. Contemporary dark brown tooled half calf with dark green cloth boards, decorative initials "P.R." to upper, gilt titling to spine in ruled compartments, all edges gilt. 1f. (general title, "Der Ring des Nibelungen), 1f. (title), 1f. (half-title), [1] (cast list and contents), 2-357, [i] (blank) pp. Lithographed throughout. Cloth portion of binding slightly stained, worn and frayed at edges, light blue watered silk endpapers slightly soiled. Slightly foxed and browned. 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… Read more
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[WWV86B]. Die Walküre. [Libretto]
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[WWV86B]. Die Walküre. [Libretto]: Erster Tag aus der Trilogie: Der Ring des Nibelungen ... Den Bühnen gegenüber Manuscrdipt gedruckt. Das Recht der Aufführung ist nach dem gesetz vom 12. März 1857 vorbehalten.

by WAGNER, Richard 1813-1883

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Mainz: B. Schott's Söhnen, 1870. Original publisher's light gray printed wrappers with titling with ruled border. 1f. (recto title, verso blank), 1f. (recto cast list, verso blank), [5]-84 pp. + 2ff. publisher's advertisements. With publisher's advertisements to both recto and verso of lower wrapper. With small handstamp of the Italian writer on music, composer, and keyboard performer Alberto Cametti (1871-1935) to foot of title. Wrappers somewhat worn; small edge tears; some chips with minor loss not affecting text; most of spine lacking; small rectangular inventory label to upper inner corner. Uniform light browning; corners of several leaves slightly creased. First separate edition, [?]later issue. Klein p. 46. Deathridge, Geck, & Voss p. 366, VIIIb. Schneider catalogue 276. First performed on June 26, 1870 in Munich at the Königliches Hof und- Nationaltheater in three acts, to a libretto by the composer, the first day of the Ring des Nibelungen. "As a single opera, Die Walküre may be… Read more
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Waelrant and Laet: Music Publishers in Antwerp's Golden Age
Stock Photo

Waelrant and Laet: Music Publishers in Antwerp's Golden Age: (Detroit Studies in Music Bibliography)

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ISBN 13
9780899900711
ISBN 10
0899900712
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Harmonie Park Press, 1995. WEAVER, Robert.
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Wagner A Pictorial Biography

by PANOFSKY, Walter

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New York: The Viking Press, 1964. 144 pp. In worn dustjacket.
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Wagner Writes from Paris... Stories, Essays and Articles by the Young Composer

by JACOBS, Robert L. and Geoffrey Skelton, eds

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London: George Allen & Unwin, 1973. Octavo. Hardcover. 197 pp. Frontispiece detatched.
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Waist-length role portrait photograph as Dapertutto in Offenbach's Les Contes d'Hoffmann, signed...

Waist-length role portrait photograph as Dapertutto in Offenbach's Les Contes d'Hoffmann, signed "M Singher," inscribed to Robert Henry Stock, and dated 1946

by SINGHER, Martial 1904-1990

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With handstamp of Franklin Photos, New York to verso. 162 x 119 mm. Slightly worn and creased. 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.
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Waist-length photograph in formal attire, signed in full

Waist-length photograph in formal attire, signed in full

by MELCHIOR, Lauritz 1890-1973

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Melchoir is depicted with numerous medals. Ca. 137 x 87 mm. Somewhat worn and creased; remnants of former mount to verso. "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.
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Waist-length carte-de-visite photograph of the noted Swedish soprano as Marguerite in Gounod's Faust

Waist-length carte-de-visite photograph of the noted Swedish soprano as Marguerite in Gounod's Faust

by NILSSON, Christine 1843-1921

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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. 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.
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Waist-length role portrait photograph in costume in an unknown role, signed in full

Waist-length role portrait photograph in costume in an unknown role, signed in full

by STELLA, Antonietta b. 1929

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179 x 118 mm. On gray cardboard mount. Slightly worn and creased; mount bumped at lower right corner. 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.
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Waldmeister Operette von Gustav Davis... Vollständiger Klavier-Auszug mit Text Pr. M. 12,_...
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Waldmeister Operette von Gustav Davis... Vollständiger Klavier-Auszug mit Text Pr. M. 12,_ netto. [Piano-vocal score]

by STRAUSS, Johann, Jr. 1825-1899

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Berlin: Ed. Bote & Bock [PNs 14331-14354], 1895. 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 and bumped; gilt titling to spine partially lacking. Slightly browned; light to moderate foxing; outer corners with minor creasing and soiling; partially detached at gutter of pp. 164-165. 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… Read more
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Walking in the Neighborhood for piano solo. Autograph musical manuscript

Walking in the Neighborhood for piano solo. Autograph musical manuscript

by EL-DABH, Halim 1921-2017

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3ff. Small folio. Notated in pencil on one side of the leaf only. On "Judy Green Music... T-56" paper. With title, "To Elizabeth Barth," "Piano," and composer's name in block letters at head. Signed and dated "Kent, OH 3-12-97" at conclusion. Apparently complete. Together with: Walking in the Neighbourhood. Sketches. 1 leaf. Large folio. Notated in pencil on one side of the leaf only. Titled at head in pencil with "Separate but related to Voices in the Cloud" in blue ink below. Signed in pencil at upper outer corner. With several notational additions in the composer's autograph in blue ink. Apparently unrecorded. We have been unable to locate any information on this composition. An Egyptian-born American composer, performer, ethnomusicologist, and educator, El-Dabh came to the United States in 1950, becoming a part of the New York music scene that included Cage, Varèse, and Hovhaness. He went on to study composition with Krenek, Copland, Dallapiccola, and others. "El-Dabh's compositional style… Read more
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No cover image available

Walter Parratt Master of the Music

by TOVEY, Donald and Geoffrey Parratt

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London, etc.: Oxford University Press, 1941. 184 pp. Minor foxing.
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Waltzer[!] Favorite de la Reine de Prusse. Musical manuscript. Ca. 1800

Waltzer[!] Favorite de la Reine de Prusse. Musical manuscript. Ca. 1800

by HIMMEL, Friedrich Heinrich 1756-1814

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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-through. 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.
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