Description:
Wien: Tobias Haslinger's Witwe u. Sohn. [PN T. H. 9651], 1844. Oblong folio. Unbound as issued. 1f. (title), 3-11 pp. Engraved. With small vignette to title. Spine reinforced. Slightly foxed and dampstained. First Edition. Weinmann p. 29.
Autograph letter signed ("Chopin"), possibly to the composer's pupil Friederike Müller by CHOPIN, Frédéric 1810-1849
by CHOPIN, Frédéric 1810-1849
Autograph letter signed ("Chopin"), possibly to the composer's pupil Friederike Müller
by CHOPIN, Frédéric 1810-1849
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- Signed
1 page. Small octavo (131 x 100 mm). Dated "Paris 10 avril" [?1845]. In French.
Chopin plans to leave Paris within three weeks, most probably for Nohant, George Sand's summer estate, and tells his correspondent that he will be back in September or October. He thanks the addressee for the "good memories" and sends compliments to her aunt:
"Je pars dans 15 ou 20 jours - Je reviens au mois de 7-embre ou 8-bre. Je vous remercie pour votre bon souvenir - et croyez-mois toujours dévoué Chopin Mille compliments à Mme votre tante."
Very slightly worn; light vertical crease; minor remnants of adhesive to blank lower left corner; very slight staining to blank lower margin.
Together with:
A bust-length portrait etching of the composer by the German artist Wilhelm Pech (1876-?), image size 120 x 95 mm., sheet size 199 x 150 mm. Signed ("W. Pech") in pencil at lower right, below image. Upper margin slightly abraided and with remnants of adhesive to recto and verso.
Provenance
Previously in the collection of John and Johanna Bass, founders of the Bass Museum of Art in Miami, Florida. Sydow: Correspondance de Frédéric Chopin La Gloire 1840-1849, no. 579.
The year of this letter saw the publication of opp. 57 (the Berceuse for piano) and 58 (the Sonata for piano). "The Sonata no. 3 in B minor, op. 58 - dedicated to Countess Emilie de Perthuis, a friend and wife of the royal aide-de-camp - and the Berceuse were published to great critical and public acclaim. The Third Piano Sonata, the last of this genre, represented, in the words of musicologist Anatole Leikin, Chopin's reconsideration 'not only of sonata form, but of the sonata genre as well' because 'his sonatas, like his mazurkas or nocturnes, are marked by a special musical idiom.' Zieliński believes that the Sonata no. 3 is Chopin's 'deepest' work." Szulc: Chopin in Paris, pp. 302-303.
"Most of the winter of 1845 was a time of acute illness for Fryderyk. George Sand wrote Stefan Witwicke in Freiwald (Germany) late in March that between Chopin's 'coughing fits and his lessons, it is difficult to find a moment of peace and silence.' About the same time she informed Ludwika [Chopin's sister] in Warsaw that 'our dear little one was greatly tired by the severe winter ... but since the weather improved, he has been completely rejuvenated and revived. Two weeks of warmth helped him more than all the medicines ... "
" ... By mid-May, heat in Paris became oppressive, and George and Fryderyk began to think about moving to Nohant for the summer. George had started on a new novel, Isidora, and hoped to complete it in peaceful Berry. Chopin, too, was ready to go, purchasing a calèche, a vehicle with a folding top, to make their journey more private and pleasant than by diligences. But Dr. Papet warned them that a typhus epidemic had broken out in the region and urged a delay. Finally, they left Paris on June 12, with Pauline Viardot, just back from a Russian tournée, joining them in Nohant a few days later." op. cit., pp. 303-305.
The year 1845 was important to Chopin for another reason, as it marked the beginning of a major rift in his relationship with George Sand:
"When Chopin and Sand returned to Paris in August 1842 they moved to new accommodation in the Square d'Orléans, close to their friends the Marlianis, and also incidentally to Kalkbrenner and Alkan. It was a satisfactory domestic arrangement. But Chopin's health was giving cause for real concern, and the relationship with Sand was deteriorating, partly due to growing tensions within the family. All of this, together with his inability to recapture his earlier fluency in composition, contributed to his low spirits in the winter of 1843-4. But the hardest blow of all came in May 1844, when he learnt of the death of his father. Sand immediately whisked him off to Nohant, but he refused to be consoled until his sister Ludwika, to whom he had always been close, announced her intention to visit France with her husband that summer. They met in Paris in July and the visitors divided their time between there and Nohant until they departed for Poland in early September. 'We are mad with happiness', Chopin wrote. But it was not to last. The winter season brought further strains in his relationship with Sand, and when they set out for Nohant in June 1845 tensions within the family circle were beginning to come to a head." Kornel Michałowski, revised by Jim Samson in Grove Music Online.
Chopin's correspondent may very well be his pupil, the Austrian pianist Friederike Müller.
Friederike Müller (1816-1895) lived with three of her father's sisters in Vienna following the death of her mother. She arrived in Paris in 1839 to study with Chopin and was his pupil until 1841 and then again in the winter of 1844-1845. "She wrote a kind of diary in the form of approximately 230 letters to her Viennese aunts about her stay in Paris and her encounters with Chopin. They are an extremely valuable source for his biography ... " Wikipedia.
Müller often passed Chopin's best wishes on to her aunt/s in her letters. Chopin dedicated his Allegro de Concert, op. 46, to her. Grabowski & Rink p. 356.
Chopin plans to leave Paris within three weeks, most probably for Nohant, George Sand's summer estate, and tells his correspondent that he will be back in September or October. He thanks the addressee for the "good memories" and sends compliments to her aunt:
"Je pars dans 15 ou 20 jours - Je reviens au mois de 7-embre ou 8-bre. Je vous remercie pour votre bon souvenir - et croyez-mois toujours dévoué Chopin Mille compliments à Mme votre tante."
Very slightly worn; light vertical crease; minor remnants of adhesive to blank lower left corner; very slight staining to blank lower margin.
Together with:
A bust-length portrait etching of the composer by the German artist Wilhelm Pech (1876-?), image size 120 x 95 mm., sheet size 199 x 150 mm. Signed ("W. Pech") in pencil at lower right, below image. Upper margin slightly abraided and with remnants of adhesive to recto and verso.
Provenance
Previously in the collection of John and Johanna Bass, founders of the Bass Museum of Art in Miami, Florida. Sydow: Correspondance de Frédéric Chopin La Gloire 1840-1849, no. 579.
The year of this letter saw the publication of opp. 57 (the Berceuse for piano) and 58 (the Sonata for piano). "The Sonata no. 3 in B minor, op. 58 - dedicated to Countess Emilie de Perthuis, a friend and wife of the royal aide-de-camp - and the Berceuse were published to great critical and public acclaim. The Third Piano Sonata, the last of this genre, represented, in the words of musicologist Anatole Leikin, Chopin's reconsideration 'not only of sonata form, but of the sonata genre as well' because 'his sonatas, like his mazurkas or nocturnes, are marked by a special musical idiom.' Zieliński believes that the Sonata no. 3 is Chopin's 'deepest' work." Szulc: Chopin in Paris, pp. 302-303.
"Most of the winter of 1845 was a time of acute illness for Fryderyk. George Sand wrote Stefan Witwicke in Freiwald (Germany) late in March that between Chopin's 'coughing fits and his lessons, it is difficult to find a moment of peace and silence.' About the same time she informed Ludwika [Chopin's sister] in Warsaw that 'our dear little one was greatly tired by the severe winter ... but since the weather improved, he has been completely rejuvenated and revived. Two weeks of warmth helped him more than all the medicines ... "
" ... By mid-May, heat in Paris became oppressive, and George and Fryderyk began to think about moving to Nohant for the summer. George had started on a new novel, Isidora, and hoped to complete it in peaceful Berry. Chopin, too, was ready to go, purchasing a calèche, a vehicle with a folding top, to make their journey more private and pleasant than by diligences. But Dr. Papet warned them that a typhus epidemic had broken out in the region and urged a delay. Finally, they left Paris on June 12, with Pauline Viardot, just back from a Russian tournée, joining them in Nohant a few days later." op. cit., pp. 303-305.
The year 1845 was important to Chopin for another reason, as it marked the beginning of a major rift in his relationship with George Sand:
"When Chopin and Sand returned to Paris in August 1842 they moved to new accommodation in the Square d'Orléans, close to their friends the Marlianis, and also incidentally to Kalkbrenner and Alkan. It was a satisfactory domestic arrangement. But Chopin's health was giving cause for real concern, and the relationship with Sand was deteriorating, partly due to growing tensions within the family. All of this, together with his inability to recapture his earlier fluency in composition, contributed to his low spirits in the winter of 1843-4. But the hardest blow of all came in May 1844, when he learnt of the death of his father. Sand immediately whisked him off to Nohant, but he refused to be consoled until his sister Ludwika, to whom he had always been close, announced her intention to visit France with her husband that summer. They met in Paris in July and the visitors divided their time between there and Nohant until they departed for Poland in early September. 'We are mad with happiness', Chopin wrote. But it was not to last. The winter season brought further strains in his relationship with Sand, and when they set out for Nohant in June 1845 tensions within the family circle were beginning to come to a head." Kornel Michałowski, revised by Jim Samson in Grove Music Online.
Chopin's correspondent may very well be his pupil, the Austrian pianist Friederike Müller.
Friederike Müller (1816-1895) lived with three of her father's sisters in Vienna following the death of her mother. She arrived in Paris in 1839 to study with Chopin and was his pupil until 1841 and then again in the winter of 1844-1845. "She wrote a kind of diary in the form of approximately 230 letters to her Viennese aunts about her stay in Paris and her encounters with Chopin. They are an extremely valuable source for his biography ... " Wikipedia.
Müller often passed Chopin's best wishes on to her aunt/s in her letters. Chopin dedicated his Allegro de Concert, op. 46, to her. Grabowski & Rink p. 356.
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[Op. 166]. Rosen ohne Dornen. Walzer fur das Pianoforte. [Piano score]
by STRAUSS, Johann, Sr. 1804-1849
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[Op. 66]. Emlék Pestre - Erinnerungen an Pesth: Walzer für das Pianoforte allein
by STRAUSS, Johann, Sr. 1804-1849
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Wien: Tobias Haslinger [PN T.H. 6706], 1834. Oblong folio. Unbound as issued. 1f. (title), 1-8 pp. Engraved. Decorative title with dedicatee's coat of arms. With Fischer overpaste. Minor dampstaining. First Edition. Weinmann, p. 15. Schonherr & Reinöhl, pp. 99-101. Composed following Strauss's visit to Hungary in 1833.
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[K. 621]. La Clemenza di Tito [Piano-vocal score]: Opera seria ... Ernsthafte Oper in Zwey Akten ... Klavierauszug von A.E. Müller.
by MOZART, Wolfgang Amadeus 1756-1791
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Leipzig: Breitkopf & Härtel [PN 3610], 1824. Oblong folio. Contemporary paper boards. 1f. (title), 88 pp. Lithographed. With label of the late 19th century lending library of Fritz Möller of Hamburg, Germany to upper board and advertising to front pastedown. Binding worn and rubbed; partially detached; spine chipped; joints split; endpapers lacking. Moderately foxed throughout; title browned. Köchel 8, p. 720. Hirsch IV, 1227. RISM M5105. La Clemenza di Tito, an opera seria in two acts to a libretto by Pietro Metastasio adapted by Caterino Mazzolà, was first performed in Prague at the National Theatre on September 6, 1791, approximately 3 months before Mozart died on December 5, 1791. He had arrived in Prague on August 28 and, despite his illness, finished work on the opera on the eve of the performance. "Although mostly composed after Die Zauberflöte, La clemenza di Tito was performed first... The reception was modest until a triumphant last night was reported to Mozart (who had left…
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[Op. 58]. Elektra Tragödie in einem Aufzuge von Hugo von Hofmannsthal... Klavier-Auszug mit Text von Otto Singer. [Piano-vocal score]
by STRAUSS, Richard 1864-1949
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Berlin: Adolph Fürstner [PN A.5654F.], 1908. Folio. Original publisher's full gray cloth. [i] (title), [ii] (blank), [iii] ("Dramatis Personae"), [iv] (blank), [5]-250 pp. Text in German. With illustration by Lovis Corinth to page [5]. Binding worn, rubbed and shaken. First Edition, early issue (without the additional plate numbers to foot of page [3] and also without the statement "Auffügrungsrecht vorbehalten" to foot of page [5]). Trenner 223. Mueller von Asow p. 409. First performed on January 25, 1909 at the Königlichen Opernhaus in Dresden under Ernst von Schuch. "[Elektra]... marked the beginning of [Strauss's] artistic association with Hugo von Hofmannsthal, whom he had first met in Berlin in 1899. Having seen Reinhardt's riveting production of Hofmannsthal's Elektra in the autumn of 1905, Strauss was convinced the play would make a compelling opera. Not entirely sure he should compose consecutive tragedies, he nonetheless gave in to Hofmannsthal's pleading and vigorously began…
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Thurber's Dogs. Suite for Orchestra after Drawings by James Thurber. Movement VI: Hunting Hounds. Autograph musical manuscript sketches in condensed score of almost the entire final movement of the work, consisting of music for sections B-N, i.e., pp. 111-137 of the published full score
by SCHICKELE, Peter b. 1935
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Folio (ca. 356 x 278 mm.). Unbound. 9 leaves notated in pencil on one side of each leaf of 18-stave AZTEC C-18 music manuscript paper. A working manuscript, with erasures, alterations and cancellations. Together with: A copy of the published full score of the movement, i.e., pp. 107-138, and a 1-1/2 page printed commentary by the composer discussing the background of the work and briefly describing the music: "I should say, however, that as I was working on the last movement, I found myself thinking as much about the fox as about the hunting hounds. This, coupled with the fact that I recently acquired a recording of background music from the old movie serials that I used to go to as a kid, probably accounts for the quite ungentlemanly, almost lurid quality of the chase music." "Thurber's Dogs was commissioned for the ProMusica Chamber Orchestra of Columbus and the Thurber House to commemorate the 100th birthday anniversary of author James Thurber. It was completed on August 13, 1994. The first…
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[Op. 166]. Rosen ohne Dornen. Walzer fur das Pianoforte. [Piano score]
by STRAUSS, Johann, Sr. 1804-1849
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Wien: Tobias Haslinger's Witwe u. Sohn. [PN T. H. 9651], 1844. Oblong folio. Unbound as issued. 1f. (title), 3-11 pp. Engraved. With small vignette to title. Spine reinforced. Slightly foxed and dampstained. First Edition. Weinmann p. 29.
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£103.68
[Op. 66]. Emlék Pestre - Erinnerungen an Pesth: Walzer für das Pianoforte allein
by STRAUSS, Johann, Sr. 1804-1849
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Syosset, New York, United States
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£141.24
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Wien: Tobias Haslinger [PN T.H. 6706], 1834. Oblong folio. Unbound as issued. 1f. (title), 1-8 pp. Engraved. Decorative title with dedicatee's coat of arms. With Fischer overpaste. Minor dampstaining. First Edition. Weinmann, p. 15. Schonherr & Reinöhl, pp. 99-101. Composed following Strauss's visit to Hungary in 1833.
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£141.24
[K. 621]. La Clemenza di Tito [Piano-vocal score]: Opera seria ... Ernsthafte Oper in Zwey Akten ... Klavierauszug von A.E. Müller.
by MOZART, Wolfgang Amadeus 1756-1791
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Leipzig: Breitkopf & Härtel [PN 3610], 1824. Oblong folio. Contemporary paper boards. 1f. (title), 88 pp. Lithographed. With label of the late 19th century lending library of Fritz Möller of Hamburg, Germany to upper board and advertising to front pastedown. Binding worn and rubbed; partially detached; spine chipped; joints split; endpapers lacking. Moderately foxed throughout; title browned. Köchel 8, p. 720. Hirsch IV, 1227. RISM M5105. La Clemenza di Tito, an opera seria in two acts to a libretto by Pietro Metastasio adapted by Caterino Mazzolà, was first performed in Prague at the National Theatre on September 6, 1791, approximately 3 months before Mozart died on December 5, 1791. He had arrived in Prague on August 28 and, despite his illness, finished work on the opera on the eve of the performance. "Although mostly composed after Die Zauberflöte, La clemenza di Tito was performed first... The reception was modest until a triumphant last night was reported to Mozart (who had left…
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£201.65
[Op. 58]. Elektra Tragödie in einem Aufzuge von Hugo von Hofmannsthal... Klavier-Auszug mit Text von Otto Singer. [Piano-vocal score]
by STRAUSS, Richard 1864-1949
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Berlin: Adolph Fürstner [PN A.5654F.], 1908. Folio. Original publisher's full gray cloth. [i] (title), [ii] (blank), [iii] ("Dramatis Personae"), [iv] (blank), [5]-250 pp. Text in German. With illustration by Lovis Corinth to page [5]. Binding worn, rubbed and shaken. First Edition, early issue (without the additional plate numbers to foot of page [3] and also without the statement "Auffügrungsrecht vorbehalten" to foot of page [5]). Trenner 223. Mueller von Asow p. 409. First performed on January 25, 1909 at the Königlichen Opernhaus in Dresden under Ernst von Schuch. "[Elektra]... marked the beginning of [Strauss's] artistic association with Hugo von Hofmannsthal, whom he had first met in Berlin in 1899. Having seen Reinhardt's riveting production of Hofmannsthal's Elektra in the autumn of 1905, Strauss was convinced the play would make a compelling opera. Not entirely sure he should compose consecutive tragedies, he nonetheless gave in to Hofmannsthal's pleading and vigorously began…
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£187.77
Thurber's Dogs. Suite for Orchestra after Drawings by James Thurber. Movement VI: Hunting Hounds. Autograph musical manuscript sketches in condensed score of almost the entire final movement of the work, consisting of music for sections B-N, i.e., pp. 111-137 of the published full score
by SCHICKELE, Peter b. 1935
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Folio (ca. 356 x 278 mm.). Unbound. 9 leaves notated in pencil on one side of each leaf of 18-stave AZTEC C-18 music manuscript paper. A working manuscript, with erasures, alterations and cancellations. Together with: A copy of the published full score of the movement, i.e., pp. 107-138, and a 1-1/2 page printed commentary by the composer discussing the background of the work and briefly describing the music: "I should say, however, that as I was working on the last movement, I found myself thinking as much about the fox as about the hunting hounds. This, coupled with the fact that I recently acquired a recording of background music from the old movie serials that I used to go to as a kid, probably accounts for the quite ungentlemanly, almost lurid quality of the chase music." "Thurber's Dogs was commissioned for the ProMusica Chamber Orchestra of Columbus and the Thurber House to commemorate the 100th birthday anniversary of author James Thurber. It was completed on August 13, 1994. The first…
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£2,628.81
Trial by Jury
by W. S. Gilbert, Arthur Sullivan
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Lake Huntington, New York, United States
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£17.96
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69 pp. + ads. Plate 17453. Vocal score, wraps, quarto 8.5 x 11 in. Front cover reattached with Japan paper, some wear to spine and edges, yet very good. Likely a printing from 1992-, given the 62 W. 45th St. address on the wraps. Printed in England. Trial by Jury is a one-act comic opera that could be considered a seminal venture in their partnership. It premiered at the Royalty Theatre in London in March, 1875.
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Nijinsky and the Last Years of Nijinsky
by Nijinsky, Romola
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- 9780671411237 / 0671411233
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Salem, Oregon, United States
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£32.66£19.59Save £16.00!
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Nijinsky, Romola. Nijinsky and the Last Years of Nijinsky. The Definitive Biography Copyright 1980. Simon and Schuster stated First Impression Thus. Number line starts with 1. EXLIB. Good Condition/ VG original dust jacket. 260 pages, indexed. ISBN0671411233. PERFORMING ARTS, RUSSIA, BALLET, VASLAV NIJINSKY. Summary: "The life of Vaslav Nijinsky is not merely a record of a great dancer's artistic triumphs; it is one of the strangest stories ever written. There is madness everywhere. From the child's first appearance with a troupe of wandering Russians to that last terrible performance, his "Marriage With God" , it is a growing chaos of madness, abnormality, distortion, genius and beauty." 260 pages, indexed. 5 3/4 X 8 3/4.
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PIOBAIREACHD AND ITS INTERPRETATION: CLASSICAL MUSIC OF THE HIGHLAND BAGPIPE
by MacNEILL, SEUMAS & FRANK RICHARDSON
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- 9780859764407 / 0859764400
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Uxbridge, Ontario, Canada
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£23.84£19.07Save £8.00!
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Edinburgh: John Donald Publishers, 1996. 1st Edition . Soft cover. Very Good/No Jacket, As Issued. 8vo - over 7¾ - 9¾" tall. pp: 130. FIRST PAPERBACK EDITION. The author, an acknowledged authority on the subject, describes the structure and history of Piobaireachd. A very good copy with moderate edge wear on the covers and some fading of the colour on the rear panel.
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SKIFFLE:; The Story of Folk-song with a Jazz Beat. With a Foreword by Lonnie Donegan (The King of Skiffle)
by Bird, Brian
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London: Robert Hale, 1958. First Edition. Hardcover. Very Good/Good +. 119pp, index; 13pp illus from photographs. Bound in pictorial boards, dust jacket. 8" x 5.25" This first book on the subject traces the history of skiffle from its slave and jazz roots through the 1950s. The second part of the book is a how-to for forming a skiffle band as well as a look at the "origins, progress and personalities" of Britain's most popular skiffle bands.
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The Pirates of Penzance in Full Score: New Edition by Carl Simpson and Ephraim Hammett Jones
by W. S. Gilbert, Sir Arthur Sullivan
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272 pp. Quarto, 9 x 12 in. Illustrated wraps, near fine, only the slightest wear covers. Full score. New edition by Carl Simpson and Ephraim Hammett Jones. Official Premiere: December 31, 1879, Fifth Avenue Theater, New York, New York, USA; London Premiere: April 3, 1880, The D'Oyly Carte Opera Company, Orchestra and Chorus Opera Comique, Arthur Sullivan, conductor.
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Bob Dylan: From a Hard Rain to a Slow Train
by Barry; Dowley, Tim Dunnage
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- 9780859362597 / 0859362590
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St. Paul, Minnesota, United States
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Turnbridge Wells: Midas Books; New York: Hippocrene Books, [1982], First Edition, 8vo, [11] 176pp [2], photos on 2 plates. Hardcover, red cloth covered boards with dust jacket. Very Good + condition. Pages are unmarked with slight toning and slight foxing to top page edges. Slight shelf wear to dust jacket. Please see photos for specifics. A portion of all book sales from Babcock & 68th are donated to charity.
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The Influence Of Music On History And Morals: A Vindication Of Plato
by Scott, Cyril
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Pasadena, California, United States
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London: The Theosophical Publishing House Ltd., 1928. 1st Edition 1st Printing. Hardcover. Good/No Jacket. X, 245 Pp. First Printing. Blue Cloth, Gilt, With Blindstamped Border On Front Cover. Lightly Used, Pinpoint Fray At Each Of Two Lower Tips, But Spine Frayed Across Top Down To Edge Of Page Block, 1/2" Fray Along Top Spine Edges And Bottom Rear Spine Edge, Hinges Tight, No Names Or Marks, Very Light Foxing To Endpapers, Title Page, And To Edges Of The Page Block. Quite Scarce In The Trade.
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The Sorcerer: An Original Modern Comic Opera
by W. S. Gilbert, Arthur Sullivan
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137 pp. Vocal score, a slight tilt to spine, light wear to wraps, else fine. Quarto, 8.5 x 11 in. "New Edition." An original modern comic opera in two acts, words by W. S. Gilbert, music by Arthur Sullivan. G&S's third production. Based on a story, The Elixir of Love, that Gilbert published in 1876 in The Graphic.
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£28.57
The Music to Racine's Athalie, with an English adaptation of the lyrics, by W. Barthlomew, Esq. Op. 74 Posth: Work. No.2
by Mendelssohn Bartholdy, Felix, 1809-1847 / Racine, Jean, 1639-1699
- Used
- very good
- Hardcover
- first
- Condition
- Used - Very Good
- Binding
- Hardcover
- Quantity Available
- 1
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Cranston, Rhode Island, United States
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£81.64£32.66Save £60.00!
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London, Ewer & Co. [185???] Overstamped in red: Jordens & Martens. New-York 785 Broadway. Hard Cover. 1 p.l., 108 pages; 26.5 cm. Composed in 1843-1845 on commission from the King of Prussia and first performed in December of 1845, Athalie was the last production of Mendelssohn's Berlin period. The first edition was Leipzig, 1849. Jean Racine's (1639-1699) Biblical tragedy was first performed in 1691. This version, with English libretto by William Bartholomew (1793-1867), seems to be the first English edition, and, with its publisher's overstamp, the first American as well. It appears to be earlier than the editions in the NUC (cf. 375: 552-553) or in the Boston or New York Public Libraries catalogs. It certainly dates before 1867 when Ewer merged with Novello. Vg/ bound in 3/4 leather with name label on front cover of Charles F. Leonard (a bass if the pencil markings are his). Stock#OB201.
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£81.64£32.66
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OH BOYS, CARRY ME LONG:; A Plantation Melody. Written & Composed by Stephen C. Foster
by Oh Boys...sheet music
- Used
- very good
- Condition
- Used - Very Good
- Edition
- 20th Edition
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- 1
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Roosevelt, New Jersey, United States
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£32.66
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NY: Firth, Pond, 1851. 20th Edition. Decorative Wraps. Very Good. 6pp; embellished cover title; spine reinforced. Contains words and music to four verses and a chorus. 13" x 10.25" In part: "Oh! carry me 'long; Der's no more trouble for me: I's gwine to roam In a happy home Where all de niggas am free...." First published in 1851.
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£32.66