Search Results: Titles starting with W from J & J Lubrano Music Antiquarians LLC

Paris: Perrin, 1912. 2 volumes. Octavo. Boards. (L'Enfant-Prodige), 522; (Le Jeune Maitre), 451 pp. Binding worn; joints split. Browned throughout; staining and spotting to preliminary leaves.

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.

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.

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

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

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

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

New York: Random House, 1984. Softcover. Very Good. Octavo. Wrappers. 342 pp. With occasional illustrations and musical examples. From the library of noted musicologist and critic Edward O.D. Downes (1911-2001), with his small printed ownership label to title. Minor staining to edges of final leaves; small annotation in red ink.

London: George Allen & Unwin, 1973. Hardcover. Good. Octavo. Boards. 197 pp. Frontispiece detached.

New York: Seabury, 1976. Hardcover. Very Good. Octavo. Boards. 232 pp. In dustjacket.

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.

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.

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.

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

Berlin: Ed. Bote & G. Bock, 1951. Folio. Dark pink wrappers with rectangular itle label to upper with "Leihmaterial" (rental score) to upper margin. 1f. (recto title, verso copyright), 1f. (recto cast list, verso contents), 5-197, [i] (blank) pp. Slightly worn and browned. Waldmeister was first performed at the Theater an der Wien on 4 Dec 1895. " ... Brahms, who was by no means always an uncritical admirer of his friend, 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.

London: Oxford University Press, 1941. Hardcover. Very Good. Octavo. Cloth boards. 184 pp. Minor foxing.

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.

Heidelberg: Willy Müller - Süddeutscher Musikverlag [PN W.M 2363 S.M.], 1949. Quarto. Original publisher's dark ivory wrappers with titling and full-length silhouette of a conductor in dark brown. 1f. (recto title, verso blank), 1f. (recto foreword, verso publisher's note), 2ff. (cast list, contents, orchestral forces, reproduction bust-length portrait of the composer), 193, [i] (blank) pp. Wrappers slightly worn, with small chips to spine and outer edge. Minor internal wear and browning. [?]First Edition.

Kraków: Polskie Wydawnictwo Muzyczne [PWM-5771], 1990. Very Good. Octavo. Wrappers. 45 pp. Wrappers slightly worn. First Edition, fourth issue.

Berlin: Richard Stern, 1909. Paperback. Very Good. Octavo. Original publisher's decorative gray wrappers. 178 pp. With portraits of Heinrich Barth, Richard Burmeister, Susanne Dessoir, Rudolph Ganz, Etelka Gerster, Gustav Hollaender, Wilhelm Klatte, Martin Krause, Hermann Kretzschmar, James Kwast, Frieda Kwast-Hodapp, Henri Marteau, José Vianna da Motta, Xaver Scharwenka, and Georg Schumann. Wrappers slightly worn and browned. Light uniform browning.