BACH, Carl Philipp Emanuel (1714-1788).  Six Fugues pour le Piano Forte Composées par C. Ph. E. Bach.  Bonn et Cologne: chez N. Simrock [1823].  Score: 23 pp., engraved, oblong folio, publisher’s plate number 2013.  Folded as issued, outer fold detached, edges generally chipped all around, tear at foot of title-page half-way up page.

RISM B 106.  Wotquenne 119.  These six works were written mainly for Marpurg’s collections (Fu-gen-Sammlung and Clavierstücke mit einem practischen unterricht für Anfänger und Geübtere) and first published some sixty years previously; they are playable on any of the keyboard instru-ments of the time. C.P.E. Bach wrote no other keyboard fugues, so these appear as a rarity in the repertoire.

Order no. 0901 L002    £175

BARBANDT, Charles (1716- after 1775).  Four favourite Italian Songs, Accompany’d with Violins, German Flute and Hautboy, To which are added Two Sonatas for the Harpsicord, Compos’d by Charles Barbandt, Opera terza.  London: Printed by Wm. Smith … and sold by the Author, [ca. 1760].  Score: 2 ff. (title, dedication to Vicountess Fauconberg), 14 pp., engraved, folio.  Disbound, sewn.

RISM B 859 (2 copies).  BUC p. 83 (1 copy).  A member of the Hanoverian court orchestra Barbandt (“junior”) left and settled in London in the early 1750s, his name appearing on a concert programme in 1752 in a benefit for him.  He played the oboe and flute but also appeared as an organist at the Covent Garden Theatre for the 1754-5 season; he started his own oratorio series at the Little Theatre in the Haymarket (a rival to the Covent Garden performances) and, as was customary, solos and concertos were performed during the intervals in this venue being his own compositions.  These works are most galant in style.

Order no. 0901 L003    £375

BEALE, William George Frederic (fl. 1846-1857).  Spectre Avenger.  Libretto by Lawford Burne, Music by W.G.F. Beale.  [London: ca. 1850].  Score: two volumes, [ca. 120, 60 pp.], autograph manu-script, folio.  Contemporary quarter leather, worn and rubbed, hinges weak, with marbled boards.  Written in ink on 24-stave paper.

Unknown stage work by little known composer, completely unpublished in any part or form, set to a libretto by an unkown author.  CPM lists some slight piano pieces and songs by this composer and a collection of psalmody arranged by him for the Portman Chapel (near Baker Street, London) where he may have been the organist/director of music.

Order no. 0901 L004    £1500

BEETHOVEN, Ludwig van (1770-1827).  Grande Sonate pour le Pianoforte, composée par Louis van Beethoven.  Oeuv. 7.  Leipzig: au Bureau de Musique de C.F. Peters, [1814?].  Score, 19pp., en-graved, oblong folio, plate number 394.  Sewn as issued, title a little dusty.

Kinsky-Halm p. 17.  From the plates of the second published edition, first issued in 1805 by Hoffmeister & Kühnel.

Beethoven’s Op. 7 is one of his longest piano sonatas (substantially more so than the Appas-sionata) and was composed in 1797 for one of his pupils, the Countess Babette von Keglevics, who was a gifted pupil and later to be the dedicatee of the composer’s first piano concerto.  “Beethoven is now learning to emulate Mozart’s miraculous way of making diversities cohere in a sonata ex-position” (Lockwood, Beethoven: the music and the life, p. 106).

Order no. 0901 L005    £175

BEETHOVEN, Ludwig van (1770-1827).  Tre Sonate Per il Clavicembalo o Forte-Piano con un Violino, Composte, e Dedicate al Sigr. Antonio Salieri primo Maestro di Capella dell Corte Im-periale di Vienna &c. &c., dal Sigr. Luigi van Beethoven, Opera 12.  A Vienna: presso Artaria e Comp., [1799].  Score and part: 52, 21pp., engraved, oblong folio, plate number 793.  Marbled limp card with cut paper label, each sonata with separate violin part with marbled paper backstrip.

Unrecorded variant of the first edition.  Kinsky-Halm p. 28.  BUC p. 95.  Hoboken no.54.  Hirsch IV.249.  Printed price on title of “3f, 40x CM” unlike “3f, 30x” called for by Kinsky-Halm.

The sonatas were first advertised in the Wiener Zeitung of 12th January 1799; it is usually thought that one of them was played in a benefit concert in March 1798 for the singer Josefa Duschek when Beethoven and Schuppanzigh played.

Order no. 0901 L006    £1800

BEETHOVEN, Ludwig van (1770-1827).  Les Adieux, l’Absence et le Retour.  Sonate Pour le Pianoforte composée et dédiée à Son Altesse Impériale L’Archiduc Rodolphe d’Autriche par L. v. Beethoven, Oeuv. 81.  à Leipsic: Chez Breitkopf & Härtel, [1821].  Score, 17pp., lithographed, oblong 4to, plate number 3686.  Sewn, with marbled paper backstrip, a little light foxing.

Third edition.  Kinsky-Halm p. 217.

The French title to this sonata (originally ‘Das Lebewohl, Abwesenheit und Wiedersehn’) originated in the separate German and French editions of 1810 by Breitkopf & Härtel.  It is one of Beethoven’s most popular sonatas with its atmospheric writing and programmatic nature.

Order no. 0901 L007    £275

BEETHOVEN, Ludwig van (1770-1827).  Six Thémes Variés bien faciles à executer pour le Piano-Forte seul avec accompagnement d’une Flûte ou d’un Violon (ad libitum) par Louis van Beet-hoven, Oeuvre 105.  No. 1 [and II].   À Vienne: chez Artaria et Compag., [1819].  Score and part: 13, 3pp., engraved, folio, plate numbers 2594 and 2595.  Sewn, some light foxing.  The second set with both flute and violin parts; first part with label of Simrock pasted at foot of title-page.

First edition.  Kinsky-Halm p. 290.  During the commissioning of these works George Thomson wrote to Beethoven “It would be quite desirable if you wrote the variations in a style that is familiar and easy and a bit brilliant, so that the majority of our ladies may play them and relish them”.  Of the twelve sets commissioned nine were published, six as Op. 105 and three further as Op. 107, the latter published by Simrock.

Order no. 0901 L008    £900

BEETHOVEN, Ludwig van (1770-1827).  Quatuor pour deux Violons, Alto et Violoncelle, compose et dédié à Son Altesse Monseigneur le Prince Nicolas de Galitzin, Lieutenant Colonel de la Garde de Sa Majesté Impériale de toutes les Russies, par Louis v. Beethoven, Oeuvre 127.  Mayence: chez les fils de B. Schott, [1826?].  Set of parts: 1 f. (title), 13, 12, 11, 11pp., engraved, folio, plate number 2351.  Sewn in plain green wrappers.

First edition, second issue with the Paris address printed at the foot of the title-page.  Kinsky-Halm p. 385.

Prince Nicholas Galitzin, the dedicatee and an amateur cellist, asked Beethoven in November 1822 for one-three string quartets; he had made quartet and quintet transcriptions of Beethoven’s piano sonatas.  It was not until 1825 that the three quartets (Opp. 127, 130 and 132) eventually appeared, this Op. 127 in February was premièred by the Schuppanzigh Quartet on 6th March.

“For Beethoven, E-flat major is often a key of grand rhetoric and emphatic gestures, and the majestic declamation of the first measures of Op. 127 is one of his typical E-flat openings in the tradition of the Eroica … and the ‘Emperor’ Concerto” (The Beethoven Quartet Companion, edited by Winter and Martin, p. 218).

Order no. 0901 L009    £950

BERG, George (ca. 1730s-1775).  Twelve Sonatinas, or Easy Lessons for the Harpsichord Chiefly intended for the Improvement of Young Practitioners.  Composed in various Styles, by George Berg, Op.[V]I.  London: Printed for the Author by J. Johnson [1759].    2 ff. (title and privilege), pp. 50-73, engraved, oblong folio.  Disbound.  Royal privilege dated 1759, opus number amended in manuscript.  This set of sonatinas follows the pagination from Opp. 3 and 4, with the first work num-bered “25”.

RISM B 2014 (only two copies).  Not in BUC.  Quite an extensive composer, with concerti grossi, songs, voluntaries and sonatas to his name, little is known of Berg.  He was probably very involved with the music at the pleasure gardens called Ranelagh (six sets of songs sung at Ranelagh are men-tioned here after the imprint) as well as being an organist and harpsichord teacher.  These works, unlike the following Op.7, are still written very much for the harpsichord.

Order no. 0901 L010    £250

BERTOJA, Valentino (fl. late eighteenth century).  Sonata Terza Per il Violoncello col Basso, Del Sigr. D. Valentino Bertoja in Napoli.  [S.l.: ca. 1900].  Score: 6 ff., oblong folio, manuscript in ink, on 12-stave paper.  Folded.

This composer is not listed in the usual reference works although Antolini refers to him as “a musi-cian, impresario, and copyist who also figures as a bookseller” in Venice in the final decade of the eighteenth century.  (Copyists and publishers in Italy between 1770 and 1830, in The Dissemination of Music, edited by Hans Lenneberg).

The copyist of this manuscript has noted “from the library of …” and cryptically left it blank; he also copies out a label from inside the original manuscript which gives information on the copyist and publisher Luigi Marescalchi, here, helpfully copied in full.

Order no. 0901 L011    £80

BLANC, Monsieur [BLANCK, Nicholaus].  Six Duets, For German Flutes, Composed  by Monsr. Blanc.  London: Printed by J. Longman & Co. [1768].  Score, 24 pp., engraved, folio.  Disbound, slight creases on final leaf otherwise a fine copy.

BUC, p. 111.  RISM B 2837 I, 1 (only two copies, GB (British Library) and US (Newberry Library)).   This composer is not cited in the usual reference works nor Vester’s Flute Music of the 18th Century.

Order no. 0901 L012    £220

BOYCE, William (1711-1779).  Ten Voluntaries for the Organ or Harpsichord, Composed by the late Dr William Boyce.  London: printed for S.A. & P. Thompson [ca. 1785].  Score: 1 f. (title), 25 pp., engraved, oblong 4to.  Disbound, title-page dusty, reinforced on the verso where worn and detached, internally fine.

BUC p. 131 (3 copies).  RISM B 4176 (8 copies).

William Boyce became a composer to the Chapel Royal in 1736, a position for which he also had to play the organ; on the death of one of his teachers, Maurice Greene, he became master of the King’s Musick in 1755 although he was not officially an organist to the Chapel Royal until the death of John Travers in 1758.  Boyce’s extensive music library was auctioned soon after his death by Christie & Ansell.

Order no. 0901 L013    £250

BRANDI, Gaetano (fl. 1773-1802).  Solo For a German Flute, And Basso Obligato Composed & Dedicated to Samuel Phelps Esqr. By Gaetano Brandi.  London: Printed by Goulding Phipps & D’Almaine … and to be had of the Author [ca. 1802].  8 pp., engraved, folio.  Disbound, pages almost separated, else a good copy with some contemporary performance annotations including a few changes to the bass line.  Signed on p. 1 by the composer.

Not in BUC or RISM.  A little known single edition comprising a work which is not one of the sona-tas published by Fentum in 1773.  This composer is not cited in the usual reference works.

Order no. 0901 L014    £120

BRITTEN, Benjamin (1913-1976).  On this Island.  Words by W.H. Auden.  Texte français by Mau-rice Pourchet.  Volume One [Op. 11].  London, etc.: Winthrop Rogers Edition, [1938].  Score, 1 f. (title), 25pp., folio, plate number H14824.  Printed pictorial wrappers as issued.

First edition.  Banks et al, p. 39.  Dedicated to Christopher Isherwood.  Although issued as “Volume I” and despite other settings of Auden’s work a second volume did not appear during the com-poser’s lifetime.

Order no. 0901 L015    £75

BROGIALD, Tito.  Gran Duo Concertante per Due Violini con accompagnamento di Orchestra di Tito Brogiald.  Omaggio al Nobil Uomo Sir. Barone Franco Mistrali, Insegne Letterato ed egregio Dilettante di Musica.  [Italy: ca. 1830].  Score: [61] pp., autograph manuscript, limp card wrappers with cloth backstrip, contemporary paper label.  Written in ink on 20-stave paper with some deletions and alterations.

This composer is not cited in the usual reference works.

Order no. 0901 L016    £450

[CASTRO, Antonio de].  Duetti galanti e facili.  No. XXIV da Cantarsi al Cembalo; s’aggiungono no. VI Canoni a tre voci, Gli uni, e gli altri composti da vari celebri Autori viventi.  Dedicati a sua eccellenza Andrea Giulio Corner, Patrizio Veneto.  In Venezia: presso Antonio de Castro, MDCCLXVI [1766].  Score: 2 ff. (title, dedication), 44 pp., typeset, oblong folio.  Plain textured wrappers, dust marked.  Internally excellent.

RISM B/II p. 161 (2 copies only).  Sartori, Dizionario degli Editori Musicali Italiani, pp. 56-57.  The authors in this collection are anonymous.

Order no. 0901 L017    £340

CECERE, Carlo (1706-1761).  Twenty Four Duets for two German Flutes or Violins, Compos’d by Sigr. Carlo Cecere of Naples.  London: Printed for I. Walsh [1761].  Score: 1 f. (title), 19 pp., en-graved, folio.  Half cloth with marbled boards, title and final leaf trimmed and laid down, rather used with light splashes on some pages.

BUC p. 175 and RISM C 1679 (the same 2 copies).  Smith & Humphries no. 347.  Only one other published work (a flute concerto) is known by this composer although part of his infamy rests on the music he wrote for a satiric comic opera by P. Trinchera, La tavernola abentorosa, for which the king ordered both the poet and his publisher to be arrested.  Cecere took sanctuary but was soon incar-cerated.  He committed suicide due to his financial affairs.  “In his own time Cecere’s reputation rested on his instrumental music.  Napoli-Signorelli called him an ‘excellent contrapuntalist’ and a good violinist, although, as Mondolfi has observed, his surviving music suggests that he was a flautist.  These works are characteristic of Italian chamber music about 1740–60.  Thematic sections are built up in a mosaic fashion from short melodic ideas of no great lyrical distinction, with frequent repetitions, either literal or sequential” (New Grove).

Order no. 0901 L018    £280

CERVETTO, James (1748-1837).  Twelve Divertiments In an Easy Stile For Two Violoncell’s.  Most Humbly Inscrib’d To John Smith Eqsr., By his most Gratefull And Obedient Humble Servant James Cervetto Junr., Opera 2da.  London: Printed for the Author, & to be had of him at No.9 James Street Covent Garden, [1771].  Score: 1 f. (title), 43 pp., engraved, folio.  Quarter cloth with boards.

RISM C 1733 (7 copies, 2, at least, of which are in parts unlike this copy in score).  BUC p. 176.  From the collection of Alfred Moffat with his notes to front end-papers.  Cervetto, a child prodigy, first appeared in concert at the age of 12; he was taught cello by his father Giacobbe Cervetto who was also a cellist and composer.  He later taught another great cellist, Robert Lindley, who dominated the scene in the nineteenth-century.  This Op.2 set are very much duos with both players being of equal dexterity.

Order no. 0901 L019    £300

Another copy, disbound.  [2 copies]

Order no 0901 L019a    £250

CERVETTO, James (1748-1837).  Three Duetts for Two Violoncellos or a Violin and Violoncello, Composed & Humbly Dedicated to The Earl of Aylesford, by James Cervetto, Op. 6.  Book I [and II].  London: Printed for Rt. Birchall, [wm 1799].  Parts: 1 f. (title), 33 pp., each with a supplementary title-page for the second book, engraved by G. Vitalba, folio.  Disbound, titles hinged, a couple of outer margins reinforced.  Title-pages with decorative surround incorporating castle remains and ar-morial emblem of the dedicatee drawn by M. Dixon.

RISM C 1741 (6 copies, 3 of which in the British Library).  Not in BUC.  The lower part with contem-porary manuscript addition to the verso of the title and  p. 1 comprising air and variations for two cellos and a later note “This is an Original Air & Variations, by Mr Cervetto.  The Andantino in the first duet was made from it.  NB This & other manuscript compositions was bought after Mr Cervet-to’ death in 1837 by J. Bonner the violoncellist who gave it to me, J. Cawse”.

“Cervetto's op.3 solos are different from those of op.1, their melodic lines being more direct and the rhythms more four-square.  They include much rapid passagework and are more demanding for the player than the op.4 sonatinas, which were obviously intended for amateur use” (New Grove).

Order no. 0901 L020    £275

CLARKE, WHITFELD, John (1770-1836).  Twelve Glees, In which are Included the Two Favorite Airs, Of Sally in our Alley, and, Savourna delight.  Harmonized for Four Voices, With an Accom-paniment for the Piano Forte, Inscribed (by Permission) with the greatest Respect, to His Royal Highness The Duke of Gloucester, By John Clarke.  London: Printed for the Author by Wilkinson & Compy. (Late Broderip & Wilkinson), [1808?].  Score, 2 f. (title, advertisement for “A New Patent Cabinet Piano Forte”), 74pp., folio.  Sewn, title and outer edges a little dusty.  “Additional Catalogue of new Music For the Year 1808” found on p. 26 and continued on p. 40.

First edition.  With the composer’s signature.  The piano advertisement includes four illustrations.

Order no. 0901 L021    £150

CLEMENTI, Muzio (1752-1832).  Six Progressive Sonatinas for the Piano Forte, Composed and Fingered by Muzio Clementi, Op. 36.   London: Printed and Sold by Longman and Broderip [ca. 1795].  1 f. (title), 29 pp., engraved, folio.  Disbound, sewn, edges rather worn, small hole at upper centre of title-page and final two leaves with some browning.  Some contemporary pencilled finger-ings.

BUC p. 199 (2 copies).  RISM C 3026 (3 copies of which 1 incomplete).  “Clementi was in great de-mand during this period as a piano teacher; according to Mrs Papendiek, an attendant at the court of George III, he once refused an application for tuition from the royal family itself.  His pupils included members of many well-placed families in London who were willing to meet his reported fee of one guinea per lesson.  He also gained fame as a teacher of ‘professional’ students.  Among them were J. B. Cramer, the organist Arthur Thomas Corfe, the violinist and pianist Benjamin Blake, Theresa Jansen, Benoit-Auguste Bertini and John Field.  The small fortune he amassed during the 1790s he invested increasingly in music publishing and instrument making” (New Grove).

Order no. 0901 L022    £175

DALE, Joseph (1750-1821).  Six Sonatinas for the Piano Forte or Harpsichord, with an Accom-paniment for a Violin or German Flute, Composed by Joseph Dale, Opera 3.  London: Printed for the Author and sold at his Musical Circulating Library [1800?].  Score, 1 f. (title), 21 pp., engraved, folio.  Disbound, title and final leaf dusty, p.1 comprising plate “16” of the publisher’s catalogue.

BUC, p. 249.  RISM D 748 (9 copies).  A later printing of the 1783 edition with the publisher’s address visibly altered to the later period.

Joseph Dale was very active as a music publisher and seller from 1783 in addition to his lesser known activities as a composer and organist; he produced the first editions of several operas by Stephen Storace.

[Wm 1800 / Betw 1800-02]

Order no. 0901 L023    £120

FESTING, Michael Christian (d. 1752).  Six Solo’s for a Violin and Thorough-Bass, Dedicated to William Morgan of Tredegar Esqr. compos’d by Michael Christian Festing, Opera Settima.  Lon-don: Printed by William Smith … and sold only by the Author, [1747].  Score, 4 ff. (title, dedication, list of subscribers), 16 pp., engraved, folio.  Disbound, ff. 1 and 2 detached, lacking pp.17-26.

First edition.  RISM F 679.  BUC p. 333.  Privilege, dated 1744, printed on verso of title-page, dedica-tion including coat of arms and 4pp. list of subscribers with two manuscript additions; following on the verso of f. 4 is a woodcut illustration of a castle on a hill (Tredegar?) and an advertisement explaining the “Manner somewhat different from the common Method” in which the thorough-bass is figured.

Order no. 0901 L024    £150

FLORIO, Charles Haiman (1768?-1819).  The Egyptian Festival, A Favorite Opera, as now Per-forming at the Theatre Royal Drury Lane, With universal Applause, Composed By C.H. Florio.  London: Printed for Monzani & Cimador, [1800].  Vocal score, 1 f. (title), 77 pp., engraved, folio.  Sewn, with the composer’s signature at the foot of the title-page.

Sole edition.  RISM FF 1192 I, 1 (2 copies).  BUC p. 341.  Set to a libretto by Andrew Franklin (d. 1845).

“In the summer of 1794 Elisabeth Mara caused a scandal by leaving her husband and running off to Bath with young Florio.  He accompanied her to Dublin in 1796, but despite Mara's great success, Florio, who unwisely described himself as ‘first singer at the Hanover Square Concert’, was hissed by the audiences.  His first complete score, The Outlaws, with a libretto by Andrew Franklin, was performed at Drury Lane on 16 October 1798.  His most significant work, The Egyptian Festival (London, 11 March 1800), written for Mara's first appearance at Drury Lane, was described in the Monthly Mirror as one of the ‘most magnificent spectacles the stage has for some time produced’ (New Grove).

Order no. 0901 L025    £200

FODOR, Josephus Andreas (1751-1828).  Six Duo a deux Violons, Dedie a MonsieurPolock le fils, par Monsieur Fodor l’ainé, VII oeuvre.  [S.l.: ca. 1800].  Parts: 20, 19 ff., French manuscript in ink, on 14-stave paper, folio.  Original English contemporary quarter leather and marbled boards.

The duos appear to be a manuscript copy of those published in 1790 by Imbault as Op. 7 [RISM F 1310, also published as Op. 11 by Hummel in Berlin].  In addition to the set of duos the manuscript parts contain various overtures arranged for the same chamber combination comprising Oedipe a Colonne (Sacchini), La fausse magie (Grétry), Deux tuteurs (Dalayrac), Blaise et Babet (Dezède), Amant statue (Dalayrac) and Iphigenie en Aulide (Gluck).

Order no. 0901 L026    £220

GIORDANI, Tommaso (ca. 1730-1806).  Six Grand Lessons for the Harpsichord or Piano Forte, With an Accompanyment for a Violin, Composed by Sigr. Giordani, Op: 32.  London: Printed & sold by J. Preston [ca. 1785].  Score: 1 f. (title), 53 pp., engraved, folio.  Disbound, sewn, highly at-tractive title-page with putti, dragons, foliage and fountains from the mouths of serpents.

BUC p. 381 (2 copies).  RISM G 2305 (4 copies).

Giordani was very involved in the theatre music world firstly in London with the Italian Opera in the 1770s as well as directing at the King’s theatre and later in Dublin.  He composed much music for the pleasure gardens at Vauxhall and a large quantity of keyboard and “accompaniment” works.

Order no. 0901 L027    £320

GIORDANI, Tommaso (ca. 1730-1806).  Three Favorite Sonatas for the Harpsichord, or Piano Forte with an Accompanyment for the Violin, Composed by Sigr. Giordani, Op: 32.  London: Prin-ted & sold by George Goulding [1786].  Score: 1 f. (title), 27 pp., engraved, folio.  Disbound, sewn, lower outer corners of pp. 21/22 missing with slight loss of two bass notes.

BUC p. 381 and RISM G 2306 (1 copy only).  These sonatas were first published as “Trois Sonates … par Mr. Schobert … Oeuvre XX”.  “Giordani's gifts as a prolific and versatile composer were suffi-cient for him to be respected in London and to dominate the Dublin musical scene for many years.  He wrote in the prevailing italianate style, with expressive and inventive melodies” (New Grove).

Order no. 0901 L028    £220

GLUCK, Christoph Willibald (1714-1787).  Gavotte von C.W. Gluck, für das Pianoforte gesetzt und Frau Clara Schumann zugeeignet von Johannes Brahms.  Leipzig: Bartholf Senff, [ca. 1872].  Score: 5 pp., lithographed, folio, plate number 1105.  Outer fold reinforced with paper tape, affixing all inner edges.

First edition, second issue.  McCorkle p. 621.  First published in late 1871 or early 1872 the theme is based on the gavotte from Gluck’s Iphigénie en Aulide.  The work commences with Gluck’s charm-ing theme which is punctuated by three delightful arpeggiated chords; the middle section in the minor key is sparsely written by Brahms over three staves with a playful character akin to the pianistic stylism of Mozart.

Order no. 0901 L029    £120

GUGLIELMI, Pietro Alessandro (1728-1804).  Six Divertiments [sic] for the Harpsichord, and Violin, Composed by Pietro Guglielmi, and Dedicated to the Honble. Albinia Hobart [Op. 2].  London: Printed and sold by the Author, at No.36, Great Suffolk Street Hay Market [1770].  Score, 2 ff. (title, dedication), 41 pp., engraved, oblong folio.  Original polished quarter calf with marbled boards, spine cracked where something removed from latter part of the volume otherwise a very nice copy.  Manuscript paper label to front cover and ownership signature of Lady Cornewall.

BUC, p. 409.  RISM G 4985.  Gugliemli was a highly important Neapolitan opera composer.  He lived in London, from 1767 to 1772, where his only three instrumental collections, op. 1 to 3, were pub-lished; this is very few in comparison with his 103 operas, many of which are considered to be masterpieces of the Neapolitan school.  In this light, the harpsichord works offered here merit new attention.

Order no. 0901 L030    £320

HAYDN, Joseph (1732-1809).  The Eighty Third and last Quartett, For two Violins, Tenor, & Bass, Composed & Dedicated to Monsieur Le Compte Maurice de Fries by Joseph Haydn.  [Op. 103, Hob. III/83].  London: Printed by Clementi, Banger, Hyde, Collard, & Davis, [1806].  Parts: 4 pp. each, violin I only with title-page, engraved, folio.  Disbound.

First English edition.  RISM H 3597 (1 copy only, incomplete).  Hirsch III.301.  Hoboken, vol. I, p. 440.

“The unfinished quartet, Op. 103, is indeed a strange and in some ways a prophetic work … The treatment is rather like that of Mozart in his most serious mood: there is life here, not perhaps so much grace and charm, but an abundance of determination; hardly like the work of an aged man” (Barrett-Ayres, Joseph Haydn and the String Quartet, p. 352).

Order no. 0901 L031    £400

HAYDN, Joseph (1732-1809).  Trois Sonates pour le Clavecin ou Forte Piano, Composés par J: Haydn, Oeuvre 41 [i.e. 23, Hob. XVI/40-42].  a Amsterdam: Chez J. Schmitt, [ca. 1790].  1 f. (title), 17 pp., engraved, folio.  Disbound, sewn.  Decorative title-page vignette with putti and a female figure playing on an Aeolian harp.

RISM H 3920 (5 copies).  Hoboken, vol. I, p. 766.  Not in BUC.  The opening theme of the first move-ment of sonata no.3 bears a striking resemblance to that by Mendelssohn in his “Wedding March” in A Midsummer Night’s Dream, Op. 61.  These Esterházy sonatas “mark another important turning point in Haydn’s writing for the touch-sensitive instruments” (Brown, Keyboard Music, p. 152); there were written in 1784 for the piano, do not mention the harpsichord and contain an abundance of dynamic markings.

Order no. 0901 L032    £200

HAYDN, Joseph (1732-1809).  Die Schöpfung, Ein Oratorium In Musik gesetzt von Hrn Jos: Haydn, Doctor der Tonkunst &c.  Auf Quartetten, für zwei Violinen, Viola, und Violoncello über-tragen und zur beliebigen Mitanwendung eines Contrabasses eingerichtet von Jg. F. Mosel, einem Musik Liebhaber.  [Hob. XXI/2].  Wien: bei T. Mollo & Comp:, [1800].  Parts: 30, 27, 25, 23 pp., violin I only with title-page, engraved, folio.  Disbound, sewn, decoratively bordered title-page detached.

RISM H 4165 (5 copies, 1 of which incomplete).  Hoboken, vol. II, p. 43.  The parts for cello and bass have been printed in score where not identical; arranged by Ignaz Franz von Mosel (1772-1844).

Haydn’s Creation was hugely successful at the outset, especially in Austria and France; this arran-gement satisfied the domestic market for music-making in far-flung places.

Order no. 0901 L033    £350

HOFFMEISTER, Franz Anton (1754-1812).  Trois Duos pour Deux Violons, Composés par F.A. Hoffmeister, Oeuvre XVII.  à Amsterdam: Chéz J. Schmitt, [ca. 1795].  Parts: 8, 8pp., engraved, folio.  Sewn.

RISM H 6084 (3 copies of which one incomplete, none in GB).  Not in BUC.  Hoffmeister was another composer who first started out to practice law; he wrote numerous works and is well known for the publishing house he set up in Vienna.  Much of his chamber music was written for the flute.  His music is rarely heard these days even though he wrote many operas, symphonies and concertos in addition to the extensive catalogue of chamber music.

Order no. 0901 L034    £220

HONEGGER, Arthur (1892-1955).  Quatuor pour deux Violons, Alto et Violoncelle.  Paris: Les Éditions de la Sirène, 1921.  Score, 48pp., small 8vo.  Printed wrappers with cloth tape reinforcement around backstrip, some red ink markings.

First edition.  Inscribed and signed in ink by the composer on the verso of the front wrapper “au “Flonzaley Quartett” avec toute mon admiration, A. Honegger”.

The “Flonzaley” string quartet was started by the banker Edward J. De Coppet in 1902 for private performances at his residence.  Named after his summer residence near Lake Geneva Coppet’s stipulation was that the members rehearsed and played only with each other.  After a successful European tour they were established as one of the most important quartets in the USA and made many early quartet recordings.

Order no. 0901 L035    £220

HUMMEL, Johann Nepomuk (1778-1837).  XIII Variazioni, con aggiunta di Coda in fine, Com-poste sopra una Canzonetta nazionale austriaca per il Piano-Forté, da G.N. Hummel di Vienna, Op. VIII.  Offenbach s/M: presso Giov. André, [1803].  Score, 15 pp., lithographed, oblong 4to, plate number 1878.  Disbound, sewn.

Second edition.  Zimmerschied p. 27.  Constapel p. 145.  Ownership signature of Miss Cornewall.  These variations were composed in 1801, this second edition shortly following the first; at this period Hummel taught a great deal and composed late into the night.

Order no. 0901 L036    £125

ISAAC, Elias (1747-1793).  The Black-Birds.  A Cantata Set to Music by MR. Isaac, Organist at Worcester.  [London]: Printed for the Author by J. Johnson [ca. 1765].  Score, 9 pp., engraved, folio, drop title.  Disbound, sewn.  Opening recitative begins “The Sun had chas’d the Mountain’s Snow”.

BUC p. 548.  RISM I 86 (5 copies).  Isaac is thought to have been a pupil of Maurice Greene.  He was a lay clerk at Gloucester cathedral from 1743 and was elected organist at Worcester in 1747; from 1761 he conducted the Worcester “Music Meetings” as well as the Gloucester one from 1769-1787.  He subscribed to both Boyce’s and Arnold’s sets of Cathedral Music.

Order no. 0901 L037    £120

JUST, Johann August (ca. 1750-1791).  Six Divertissements Pour Clavecin Ou forte Piano Avec Accompagnement De Violon, Composés par J.A. Just, Maitre de Musique de S.A.R. Madame La Princesses d’Oranges & Nassau &, Oeuvre VI.  A Paris: Chez le Sr Sieber musician, [1779?].  Score and part: 1 f. (title), 25, 9pp., engraved, oblong 4to.  Sewn in contemporary card, with the publisher’s signature at the foot of the title-page.

Sole edition.  RISM J 765 (2 copies or which 1 incomplete).  Not in BUC.  With publisher’s catalogue on p. 1 of the keyboard part: Johannson no. 110.  Ownership signature dated 1780.

“German keyboard player, composer and violinist.  According to early chroniclers, he studied with Kirnberger in Berlin and subsequently with Schwindl at The Hague.  By 1767 he was at the court of William V, Prince of Orange and Nassau, where he served as music master to Princess Wilhelmine; he remained connected with the court throughout his career.  Early in his life he may have visited London; by 1772 his publications there had reached op.3, and most works published on the Con-tinent were promptly reprinted in London.” (New Grove).

Order no. 0901 L038    £320

KIRKMAN, Jacob (1710-1792).  Six Sonatas for the Harpsichord or Piano Forte, Dedicated with Respect To Mr Keeble, Composed by Jacob Kirkman.  [Op. 1].  London: Printed for S.A. & P. Thompson [1779].  Score: 1 f. (title), 41 pp., engraved, oblong 4to, plate number 71.  Makeshift brown wrappers.

This imprint not in BUC or RISM.  The publisher’s plate number would appear to be from the Blundell edition (RISM K 631).

Jacob Kirkman was described by Fanny Burney as “the first harpsichord maker of the times”.  Along with the other harpsichord builders in London during the last quarter of the 18th century, the Kirk-man family began to make pianos as well as harpsichords; the earliest signed Kirkman piano is dated 1775 just from the period he was presumably composing these sonatas.  The work is dedicated to John Keeble who succeeded Thomas Roseingrave as organist at St George’s Hanover Square on the latter’s retirement; Keeble was succeeded as organist there by Jacob Kirkman.

Order no. 0901 L039    £275

KOZELUCH, Leopold (1747-1818).  Duo [a 4 mains] Pour Le Clavecin ou Pianoforte, Composed by L. Kozeluch, Ouvre [sic] 19.  London: Printed for Longman & Broderip [1788?].  Score: 1 f. (title), 15 pp., engraved, folio.  Disbound, some early marginal reinforcement and some early pencilled fingerings.  The 1 in the opus number has been added in manuscript.

BUC p. 577 (2 copies).  RISM K 1678 (8 copies).  Poštolka XI/3, p. 249.

Kozeluch abandoned his studies to be a lawyer in favour of a life in music after initial successes with ballet; in Vienna he made his mark as a composer and pianist and even refused the position of organ-ist, following on from Mozart in 1781, to the Archbishop of Salzburg.  In 1785 he founded his own publishing house although his compositions appear to have been brought out simultaneously in several countries.

Order no. 0901 L040    £95

LOLLI, Luigi Bichi.  Trois Sonatas, Violoncello Obligato e Piano Forte, Sigr. B. Lolli.  [S.l.: ca. 1811].  Parts: 23, 13 ff., manuscript in ink, on 10-stave paper.  Sewn.

Three sonatas numbered “4” in G (larghetto, minuet and trio, rondo), “5” in D (cantabile, allegro vi-vace, minuet and trio) and “6” in F (cantabile, minuet and trio, rondo).  Of five publications listed in RISM by this author, four comprise works centred around the cello, although none with accompani-ment for a piano.  The part is written primarily in the treble clef and some movements comprise virtuosic string crossing; the piano accompaniment is certainly subordinate to the drama and lyricism of the solo part.  The paper is watermarked “Ivymill, 1809” although also with “1802” and “1811” and the final bifolium of the cello part watermarked “John Hall”.

Order no. 0901 L041    £260

MABELLINI, Teodulo (1817-1897).  Messa Concertata, per mezzo soprano, Tenore, Baritono e Basso, Con Cori, e Accompagnement d’Organo, Violoncelli, e Contrabassi.  Compsta dal Maestro Commre. Tedulo Mabellini.  [Italy: ca. 1850].  Score: [ca. 340 pp.], copyist’s manuscript in ink, on 10-stave paper.  Half cloth with marbled boards, front cover detached and backstrip broken at front hinge.

Mabellini was an Italian composer of many operas and some church music who finished his studies with Mercadante with the help of a scholarship from the Grand Duke Leopold II; he was also a con-ductor who, for many years, was in charge of the Società Filarmonic Firenze.

Order no. 0901 L042    £400

MAZZINGHI, Joseph (1765-1844).  Twelve Lessons for the Piano Forte, Composed By J. Mazzinghi, Op. 53.  London: Printed by Goulding, Phipps, D’Almaine & Co., [1804].  13 pp., engraved, folio.  Disbound.  Early ownership signature dated November 1805.

RISM MM 1647a (1 copy only).  Not in the British Library.

Mazzinghi, a pupil of J.C. Bach and of Sacchini, spent almost the whole of his life in England.

Order no. 0901 L043    £150

MORINI, Alessandro.  Harmonies, La Priére de l’exile.  Romanza per Violino Coll’accompagna-ment del Pianoforte, Composta Da Alessandro Morini.  [Italy: ca. 1870].  Score and part: 1 f. (dedication), 44, 12 pp., folio, manuscript in ink, on 16-stave paper.

With a dedication opposite the title of the piano part: “Ferdinando Morini, Offre in Segno d’Amicizia e Stima All’ Egregio Maestro Sigr. Professore Alamanno Biagi, un Ricordo del Sul Figlio Alessan-dro”.  Bound in after the first work is a shorter one entitled “Souvenir, Romanza … Dedicata a Suo Padre …”.  Biagi (1819-1884) was a violinist who led the orchestra for some of Verdi’s operas.  Both works are technically very demanding; the Souvenir also as such for the pianist.

Order no. 0901 L044    £175

MOZART, Wolfgang Amadeus (1756-1791).  Fuga o sia Quartetto, per 2 Violini, Viola, é Violon-cello, compost dal Signore Wolfg. Amad. Mozart, Maestro di Cappella in attuale Servizio di S. Maesta I.R. [KV 546].  a Wienne [sic]: chez Artaria et Comp., [1795].  Set of parts: 3, 2, 2, 2pp., en-graved, folio, plate number 516.  Folded as issued.

RISM M 5552.  Köchel6 p. 618.  BUC p. 709.  The fugue is an arrangement of the two-piano fugue KV 426 of 1783.

Order no. 0901 L045    £230

MOZART, Wolfgang Amadeus (1756-1791).  Variations pour le Forte-Piano, composes par W.A. Mozart.  No. 7.  [KV 455].  à Leipsic: au Bureau de Musique de C.F. Peters, [ca. 1815].  Score: 11pp., engraved, oblong folio, plate number 231.  Folded as issued, outer fold worn, generally foxed, two small brown marks to title-page.

RISM M 7058.  Köchel6 p. 456.  Variations on “Unser dummer Pöbel meint” from Gluck’s La Recontre imprévue.  This is a re-issue by Peters from the Bureau de Musique plates of their 1803 edition.  Tchaikovsky later orchestrated these in his Mozartiana Op. 61 as a tribute to Mozart.

Order no. 0901 L046    £75

MOZART, Wolfgang Amadeus (1756-1791).  Mozart’s Selection of piano-Forte Music.  Consisting of Single Sonatas, Duets, Trios, Quartetts, Airs with Variations &c., with and without Accompani-ments.  No. 6 [KV 498, with No. 11 [KV 452 [quartet for piano and strings], no. 12 [KV 493] and no. 41 [KV 478]].  London: Published by Theobald Monzani (no. 6) and Monzani and Cimador (the others), [ca. 1801-1805].  Sets of parts: various paginations, engraved, folio.  Sewn, no. 41 separate.  Nos 12 and 41 lacking the viola parts.

RISM MM 7483s and t (two parts from this series otherwise not listed by RISM).  Not in the British Library which holds four other numbers from the series.

Order no. 0901 L047    £185

MOZART, Wolfgang Amadeus (1756-1791).  Musikalischer Spass für zwei Violinen, Bratsche, zwei Hörner und Bass, geschrieben in Wien den 14ten Juny 1787 von W.A. Mozart, 93tes Werk.  Neue Auflage [KV 522].  Offenbach a/M: bei Johann André, [ca. 1860].  Set of parts: 7, 5, 5, 4, 2, 2pp., engraved, folio.  Folded as issued, cloth tape along outer fold of first primo part.  Charming title vignette of musicians performing this work.

Order no. 0901 L048    £180

MOZART, Wolfgang Amadeus (1756-1791).  Dom Juan.  Opera de W.A. Mozart, arrangée en Quatuors à Deux Violons, Alto & Violoncelle.  Livre I.  [only.  KV 527].  à Bonn: chéz N. Simrock [1798?].  Set of parts: 25, 22, 22, 18 pp., engraved, folio, plate number 77.  Folded as issued, unused set with original stitching at upper inner corner.

RISM M 4631.  Hirsch IV.136.

Order no. 0901 L049    £250

MOZART, Wolfgang Amadeus (1756-1791).  A Complete Collection of Mozart and Beethoven’s Symphonies, In Score, Most Respectfully Dedicated, by Permission, to H.R.H. The Prince of Wales.  No.1 [i.e. 13].  [KV 543].  London: Printed & Sold by L. Lavenu [1812?].  Score: 1 f. (title), 52 pp., engraved by Tilley, 8vo.  Sewn in plain boards (paper wearing away), title detached.

Not in RISM.  Second issue of Cimador’s first edition of the full score.

Order no. 0901 L050    £280

MOZART, Wolfgang Amadeus (1756-1791).  Trois Quatuors Pour Deux Violons, Alto & Violon-celle, Composés par W.A. Mozart, Oeuvre XVIII [KV 575, 589, 590].  À Amsterdam: Chés J. Schmitt, [ca. 1795].  Set of parts: 18, 15, 14, 11pp., engraved, folio.  Folded as issued.

RISM M 6177.  Köchel6 p. 650 etc..  BUC p. 709.  Hirsch IV.156.  An early edition of the “Prussian” quartets, written in 1789 and 1790 and being his last string quartets, notable for the fine engraved portrait of Mozart on the title of the primo part; the other three parts are a London reprint of the Amsterdam edition.

Order no. 0901 L051    £230

MOZART, Wolfgang Amadeus (1756-1791).  Die Zauberflöte.  Grand Opera ridotta in Duetti Per Due Violini overo Due Flauti, del Sigr. W.A. Mozart [KV 620].  [Germany: ca. 1800].  Set of parts: 16, 15ff., folio, manuscript in ink, on 12-stave paper.  Sewn with plain paper tape around outer fold.

Probable transcription of the Artaria publication of 1792 (RISM M 5002).

Order no. 0901 L052    £180

MOZART, Wolfgang Amadeus (1756-1791).  La Clemenza di Tito.  Grand Opera ridotta in Quar-tetti per due Violini, Viola, e Basso del Sigr Mozart [KV 621].  A Vienna: presso Artaria e Comp., [1798].  Set of parts: 19, 17, 15, 15pp., engraved, folio, plate number 782.  Folded as issued.

RISM M 5194 (no copies in GB).  Not in BUC.

Order no. 0901 L053    £325

[MOZART]: Volume of libretti; the five English publications with parallel translation in prose and all items with cast-list.  Small 8vo, modern half calf with original marbled boards, through pagination in neat contemporary manuscript.  Armorial bookplate of William Erle.

1.      Il Don Giovanni; dramma, in due atti. Don Juan; a grand opera, in two acts, represented for the first time in London, at the King’s Theatre, in the Haymarket.  The music entirely by Mozart.  London: printed by W. Glindon, [1818].  1 f. (title), 105pp.

2.      Il Flauto magico; o i Misteri d’Iside.  The Magic Flute; or, the Mysteries of Isis.  A Grand Romantic opera, in Two Acts, as represented at the King’s Theatre, in the Haymarket.  The music by W.A. Mozart.  The translation by W. Jos. Walter.  London: printed by W. Glindon, 1819.  v, 113pp.

3.      Le Nozze di Figaro; or, the Wedding of Figaro: an heroi-comic opera, in Two Acts, as repre-sented in the Haymarket.  The music by W.A. Mozart.  London: printed by Winchester and Son, 1816.  96pp.

4.      Il Barbiere di Siviglia, a Comic Opera, In Two Acts; as performed at the King’s Theatre, in the Haymarket.  The music by Sig. G. Rossini. London: printed by W. Glindon, 1819.  87pp.  Head of title-page cropped.

5.      Il Matrimonio Segreto; or, the Secret Marriage: a comic opera, in Two Acts: as represented at the King’s Theatre, in the Haymarket.  The music by Cimarosa. London: printed by Winchester and Son, [1819].  61pp.  Pages 13-20 misbound between pp.60 and 61.  Not in the British Library

6.      Le Café des Variétés, Prologue en Vaudevilles, par Mm. Eugène Scribe, et H. Dupin, A l’occa-sion du Combat des Montagnes, des mêmes Auteurs; représenté, pour la première fois, a Paris, sur le Thêatre des Variétés, le 5 Aout 1817.  A Paris: Chez Mlle. Huet-Masson, 1817.  20pp.

Order no. 0901 L054    £350

[OPERA].  Volume of nine opera arias in full score from the London seasons of 1787 and 1788, en-graved, folio.  Contemporary half leather and marbled boards, a little rubbed and hinges weak.  Three of four works by Storace signed by the composer.  With the ownership signature of Lady Cornewall dated 1788 on the front end-paper and with manuscript index.

Order no. 0901 L055    £475

PLEYEL, Ignaz (1757-1831).  Sei Duetti Per due Violini del Signor Ignazio Pleyel, Opera 19. [Benton nos 519-524].  In Napoli: Presso Luigi Marescalchi, [1790?].  Set of parts: 19, 19pp., en-graved, folio, plate number 178.  Sewn, outer fold worn, some light water-staining mainly at corners.

RISM P 4050 (1 copy only (Milan Conservatorio)).  Not in BUC.   Benton no. 5162.

“On 15 November 1785 he [Marescalchi] obtained an exclusive royal licence for the printing of music in Naples, and, in partnership with his brother Francesco, he began to publish there in 1786 … he opened his own shop, where he sold music and instruments as well as running a hire library and a flourishing copisteria.  His engraved publications of instrumental music included several works by Haydn and Pleyel and an early edition of Mozart’s violin and viola duet K423.” (Music Printing and Publishing, edited by Krummel and Sadie, p. 331).

Order no. 0901 L056    £200

RICCI, Francesco Pasquale (1732-1817).  Six Sonatas a Clavecin, Violon, et Violoncello-obligato, Dediées A.S. Alt. Ser. Monseigneur le Prince d’Orange, Nassau, &c. &c., Stadhouder Hereditaire des Provinces Unies des Paÿs-bas, Composées par P. Ricci, Maitre de Chapelle de la Cathedrale de Como, Opera IV.  London: Printed by Welcker [1768].  Set of parts: 2 ff. (title, dedication and publisher’s catalogue), 23 pp., 1 f. (title), 9 pp., 1 f. (title), 7 pp., engraved, folio.  Disbound, sewn, some pencil markings to the first sonata in the keyboard part otherwise a nice wide-margined copy.

BUC, p. 888.  RISM R 1258 (10 copies of which at least 4 are incomplete).

“Appointed maestro di cappella at Como Cathedral in 1759, he was nevertheless able to travel exten-sively and was absent from his duties during much or all of the time between early 1768 and Decem-ber 1777.  He visited Paris, London, and, most importantly, The Hague, where he appeared in con-certs (1766–80) and dedicated works to the prince and others attached to the court.  In the 1760s and 70s a number of works, including symphonies, string trios, quartets and accompanied keyboard sonatas, were published there or in Amsterdam.  Many of these appeared also in Paris and London, generally in the same edition with altered title-page.

Ricci's name appears with that of J.C. Bach in the Méthode … pour le forte-piano (Paris, c1788), devised for one of the conservatories at Naples.  The nature of the collaboration is uncertain, but it is likely that the two musicians had become acquainted at Milan through Count Litta, a patron of both, and had continued their friendship in London.  Ricci may merely have arranged and edited the work in memory of his deceased friend; the ascription to Bach may in any case be false” (New Grove).

Order no. 0901 L057    £320

SCHROETER, Johann Samuel (1752?-1788).  Six Sonatas, for the Piano Forte, or Harpsichord; Composed and humbly Dedicated to his Excellency Count-Bruhl by J.S. Schroeter, Opera I.  Lon-don: Printed for Wm. Napier [1775].  Score, 1 f. (title), 26 pp., engraved, folio, publisher’s plate num-ber 52.  Disbound, sewn, a nice bright copy.

BUC p. 933 (1 copy).  RISM S 2159 (7 copies).

Schroeter was a pupil of J.A. Hiller and settled in London in 1773.  On J.C. Bach’s death, Schroeter was appointed music master to Queen Charlotte, and, since then, had great success in English society.  Burney was the initial person to recognize Schroeter’s importance; he writes that the com-poser was “the first who brought into England the true art of treating the piano”.

Order no. 0901 L058    £280

SCHROETER, Johann Samuel (1752?-1788).  Six Sonatas, for the Piano Forte, or Harpsichord, with an Accompanyment for a German Flute or Violin.  Most humbly Dedicated to Miss Scott by J.S. Schroeter, Opera 4.  London: printed for Wm. Napier [1772].  Score, 1 f. (title), 23 pp., engraved, folio.  Disbound, sewn, title within decorative surround, a seemingly unused copy.

BUC p. 933.  RISM S 2182 (3 copies of which 1 is incomplete).  Another issue was produced by this publisher with a plate number, not present here.

Order no. 0901 L059    £320

SCHROETER, Johann Samuel (1752?-1788).  Six Sonatas, for the Piano Forte, or Harpsichord, With Accompaniments for a Violin and Violoncello.  Dedicated by Permission to his Royal Highness the Princes of Wales by J.S. Schroeter, Opera VI.  London: Printed for Willm. Napier [ca. 1785].  Score and parts (violin of set 1 and cello of set 2 of the Birchall edition of these works):, 1 f. (title/catalogue), 53 pp., engraved, folio, publisher’s plate number 157.  Disbound, sewn, slight blemish at upper outer corners of title and opening pages reinforced with sellotape on title and p. 1.  Verso of title-page and p. 1 comprising the publisher’s catalogue.

BUC p. 933.  RISM S 2195 (5 copies of which at least 2 are incomplete).

Order no. 0901 L060    £350

SCHUMANN, Robert (1810-1856).  Quintett für Pianoforte, 2 Violinen, Viola und Violoncello.  Clara Schumann geb. Wieck zugeeignet von Robert Schumann, Op. 44.  Leipzig: bei Breitkopf & Härtel, [1843].  Set of parts: 31, 10, 10, 10, 10pp., engraved, folio, plate number 6899.  Folded as issued in printed yellow wrappers, all edges of wrappers torn and chipped, fine internally.

First edition.  McCorkle p. 194.  Hofmann p. 103.  The quintet was composed in the autumn of 1842 for, and dedicated to, Clara Schumann; it is “a very ‘public’ and brilliant work that nonetheless manages to incorporate a private message – the bass theme of Schumann’s Impromptus sur une Romance de Clara Wieck, Op. 5 appears as the theme of Trio I of the Scherzo” (The Cambridge Companion to Schumann, edited by Beate Perrey, p. 133).

Order no. 0901 L061     £220

Another copy, without wrappers, backstrip reinforced with paper tape, and lithographed.

Order no. 0901 L061a    £175

SCHUMANN, Robert (1810-1856).  Symphonie No.IV, D moll, Introduction, Allegro, Romance, Scherzo und Finale, in einem Satze, für grosses Orchester von Robert Schumann, Op. 120.  Partitur.  Leipzig: bei Breitkopf & Härtel, [ca. 1860].  Score: 1 f. (title), 165 pp., engraved, 8vo, plate number 8795.  Sewn in printed wrappers, backstrip and corners worn and covers loose but not detached.

First edition, later issue.  McCorkle p. 512.  Hofmann p. 261.  With ownership signature, dated 1867, of John Hullah (1812-1884) the noted singing teacher and exponent of music in the school curricu-lum.  This copy appears to accord with the first issue (including the printed inscription on the  verso of the title-page) except that the wrappers include the publisher’s catalogue at the end as in Hofmann’s second issue.

Composed in 1841 Schumann completely revised the symphony in 1851 into a version that he himself found better and more effective; Brahms preferred the earlier version.  Schumann initially called it “Symphonistische Phantasie” as a reference to its real character.

Order no. 0901 L062    £275

SCHWINDL, Friedrich (1737-1786).  Six Duets for two German Flutes or Violins, Compos’d by Fr. Schwindl.  London: Printed for C. and S. Thompson [ca. 1775].  Score, 1 f. (title), 13 pp., engraved, folio.  Disbound, title and final detached.

Not in BUC.  RISM S 2600 (1 copy only (British Library)).

“Schwindl’s instrumental music enjoyed wide circulation, especially between the 1760s and 80s, when his symphonies and chamber works appeared in numerous publications.  Records of perform-ance also attest the popularity of his music: in Paris, the Concert Spirituel of 5 April 1767 began with a performance of one of his symphonies; a concert given at Nymphenburg (near Munich) during the summer of 1772 not only opened with two symphonies by Schwindl, but also included a performance of one of his trios, with the elector playing the bass viol; and a programme that began with Schwindl’s ‘Overture 1st’ was presented by Josiah Flagg in Boston on 17 May 1771” (New Grove).

Burney found Schwindl “well known in the musical world, by his admirable compositions for violins, which are full of taste, grace, and effects” when he met him in the Hague in 1770.

[Betw 1763-76]

Order no. 0901 L063    £350

SMITH, John Christopher [the younger] (1712-1795).  A Collection of Lessons for the Harpsicord Compos’d by Mr. Smith, Author of the Opera call’d The Fairies, Opera III.  London: Printed for I. Walsh [1757?].  1 f. (title), 41 pp., engraved, oblong folio.  Disbound, sewn, final leaf detached.

BUC p. 958.  RISM S 3678 (5 copies).  RISM gives slightly different keys but presumably this is a small transcribing error.  Smith & Humphries no. 1378.  This set of works is also known as “Six Suits of Lessons”.  “Smith, according to Burney, was a ‘studious and cultivated man, and much esteemed by many of the first people in the kingdom’, and by now Smith had made their acquaintance: John Stuart, 3rd Earl of Bute …; King George III, whose patronage at Smith's oratorios filled Covent Gar-den; and his student Augusta, dowager Princess of Wales, to whom Smith formed a special attach-ment and for whom several of Smith's compositions were performed at Carlton House, her London home.  In 1765 John Walsh printed Smith's fifth and final set of keyboard works, which epitomize his familiarity with a variety of styles.  They combine the Handelian style of his opp.1 and 2 (1730s) with the Scarlattian of opp.3 and 4 (1750s), along with an earnest (if sometimes awkward) endeavour to come to grips with the galant style” (New Grove).

Order no. 0901 L064    £300

STEIBELT, Daniel Gottlieb (1765-1823).  A Grand Sonata for the Piano Forte, with an Accompa-niment for a Violin, as Performed at the Opera Concert & at Mr. Salomon’s Benefit, Composed by D. Steibelt, Op. XXX.  London: Printed for & sold by J. Dale [1799?].  Score, 23 pp., engraved, folio.  Disbound, sewn, pictorial title-page with headpiece of Apollo with lyre surrounded by sheep and lion, decoratively bordered; verso of final page with publisher’s catalogue.  A good copy.

BUC, p. 976.  RISM S 4973.

Steibelt divided his time between Paris and London, performing extensively throughout Europe as well.  He performed at Salomon’s concerts in 1797 and 1798, that of 1st May 1797 possibly being his first appearance in London followed in the following three weeks by a number of his piano concertos at various concerts.  While in London he married a lady named Catharine who was pianist and tambourine player.  Steibelt’s “powers as a pianist must have been considerable, even though he was reputed to have laboured under the disadvantage of a poor left-hand technique and to have been unable to produce singing tone in slow, sustained passages” (New Grove).

Order no. 0901 L065    £180

THE DEDICATION COPY

TOMASCHEK, Wenzel Johann (1774-1850).  Sechs Gesaenge aus C.E. Eberts böhmisch-nationa-lem Epos Wlasta mit Begleitung des Piano-Forte von Wenzel Johann Tomaschek, Tonsetzer bei dem Herrn Georg Grafen von Buquoy, Das 74te Werk..  [S.l.: s.n., ca. 1820].  Score, 1 f. (title), 41 pp., engraved, oblong 4to, p. 1 comprising the printed dedication to Amalie Christine Caroline zu Für-stenberg, Prinzessin zu Baden.      Contemporary fine-grain plum morocco, both covers with large ornate gilt roundel; elaborate borders tooled in gilt and blind, the outer gilt border and blind-tooled cornerpieces with palmette and other tools, flat spine divided into panes, each with small tools and pointillé, and with inner gilt dentelles.  Verso of title-page and final page with small ink-stamp of the Fürstenberg library at Donaueschingen.

First edition, being the dedication copy with elegant binding and ownership stamp.

Tomaschek is considered as one of the leading composers of Czech romanticisim; he had a very im-portant role in the musical life in Prague and in his country.  Goethe, who met him in 1822 in Eger and in 1823 in Marienbad, preferred Tomaschek’s settings to those of Beethoven and Spohr!  Toma-schek’s oeuvre for voice comprises an “ausdrucksvolle, manchmal klangsmalerische musikalische Atmosphäre” as attested by J. Buzga in MGG.

“Tomášek's first songs to Czech texts date from 1813 and, according to his memoirs, were composed ‘so as not to forget my mother tongue entirely’.  Many were composed to verses by Václav Hanka, and were probably inspired by the success of contemporary Czech songs by Vitásek and Doležálek and by his personal friendship with Hanka” (New Grove).

Order no. 0901 L066    £2500

VANHAL, Jan Baptist (1739-1813).  Six Quartettos, for two Violins, a Tenor and Bass, Selected from the different Works of C: Vanhall.  London: Printed for & sold by Wm. Napier [ca. 1775].  Set of parts: 1 f. (title), 17 pp., 1 f. (title), 13 pp., 1 f. (title), 13 pp., 1 f. (title), 13 pp., engraved, folio, publi-sher’s plate number 49.  Sewn, each part with contemporary paper tape around the outer folds, titles a little dusty and occasional light brown spot.

BUC p. 1055 (7 copies).  RISM V 387 (10 copies).

Vanhal was one of the leading composers in Vienna during the 1760s contributing to the so called “Viennese style”.  “D.W. Jones’s study (1978) of 53 ‘authenticated’ string quartets (out of 94 that Weinmann (1988) attributed to Vanhal) points also to important differences from the symphonies, especially in the treatment of the first violin, which is treated as a virtuoso solo instrument … The normal order of movements (fast–minuet–slow–fast) also differs from that in the symphonies.  Jones points to Vanhal as second only to Haydn in the number of quartets he composed, and describes him as the prominent figure in the evolution of the virtuoso string quartets of the early 19th century” (New Grove).

Order no. 0901 L067    £170

VENTO, Mattia (1735-1776).  Six Sonatas For the Harpsichord with an Accompanyment for a Violin or German Flute, Dedicated to Miss Blosset, Composed by Sigr. Mattia Vento.  London: Printed by the Author, and Sold at Mr. Caruso’s [ca. 1765].  Score, 1 f. (title), 25 pp., folio, engraved.  Contemporary half calf and marbled boards, backstrip worn and stitching visible, some performance fingerings in ink and pencil to almost every note of sonata no.6, otherwise a good clean copy with the composer’s signature at the foot of the title and printed dedication on p. 1.

BUC, p. 1037.  RISM V 1154 (3 copies).

The Italian composer Mattia Vento was a student in Naples who, at the invitation of Felice Giardini, came to London in 1763 where he was prominent as a both a composer and harpsichord teacher.  He produced many operas and pasticcios for the London stage and was a director at the King’s Theatre during the 1775-6 season.  His eleven sets of keyboard works are especially written for that instru-ment and this set like others include a subordinate melodic instrument accompaniment.  “The 65 sonatas, spanning 1764-1776 mirror subtle stylistic changes taking place at the time – for example, towards pianistic dynamics, greater symmetry and periodization, and stronger metricality” (New Grove).

Order no. 0901 L068    £320

VENTO, Mattia (1735-1776).  Six Sonatas For the Harpsichord with an Accompanyment for a Violin or German Flute, Composed by Sigr. Mathias Vento.  London: Printed for the Author and may be had at Welcker’s [1767?].  Score, 1 f. (title), 25 pp., folio, engraved.  Disbound, title a little dusty, some performance fingerings in pencil to sonatas 4 and 5, else a very good copy.

BUC, p. 1037.  RISM V 1154a (2 copies).

Order no. 0901 L069    £270

VERDI, Giuseppe (1813-1901).  Otello.  Dramma lirico in Quattro atti.  Versi di Arrigo Boito.  Musica di Giuseppe Verdi.  Riduzioni di Michele Saladino, Canto e Pianoforte.  Milano: Tito di Gio. Ricordi, [1887].  Vocal score: 4 ff., 364pp., large 8vo, plate number 51023.  Publisher’s cloth with gilt lettering, faded.  A very nice copy.

First edition.  Hopkinson 63A (p. 157).  With the first performance information on title-page; first performed at La Scala on 5th February 1887.  Written at the height of Verdi’s operatic compositional growth this opera is one of the highlights of the repertoire for singers.

Order no. 0901 L070    £850

WAGENSEIL, Christoph (1715-1777).  Six Lessons for the Harpsicord or Piano Forte, Composed by ChristopR. Wagenseil of Vienna.  London: Printed for and sold by R. Wornum [ca. 1770].  Score, 1 f. (title), 31 pp., engraved, folio.  Disbound, sewn, a good unused copy.

BUC, p. 1052 and RISM W 48 (both citing the same single copy).

“Wagenseil was also renowned as a keyboard virtuoso, and elicited the highest praise from contem-poraries such as C.F.D. Schubart (who remarked that Wagenseil ‘played with extraordinary expres-sive power and was capable of improvising a fugue with great thoroughness’).  Among Wagenseil’s pupils were Leopold Hofmann, J.A. Štěpán, F.X. Dušek, Johann Gallus-Mederitsch, G.A. Matielli, P. le Roy, the brothers Franz and Anton Teyber, and J.B. Schenk.  The last, who began instruction in 1774, provided in his autobiography a detailed account of his mentor’s teaching methods which, not surprisingly, were based on Fux (a legacy Schenk was then to transmit to Beethoven later in the century) but which were also remarkable for their time in drawing on Handel and Bach” (New Grove).

Order no. 0901 L071    £280

WEBER, Carl Maria von (1786-1826).  Euryanthe.  Grosse romantische Oper in 3 Aufzügen.  Dich-tung von Helmine von Chezy, geb: Freyinn von Kleneke.  In Musik gesetzt und Seiner Majestät Franz I, Kaiser von Oesterreich … in tiefster Ehrfurcht zugeeignet von Carl Maria von Weber.  Vollständiger vom Componisten versertigter Clavier-Auszug [Jähns 291].  Wien: bei S.A. Steiner und Comp., [1824].  Vocal score, 223pp., engraved, oblong folio, plate number 4519.  Printed wrappers.  Excellent copy.

First edition.  Jähns p. 358.  Hirsch IV.1290.  First performed at the Kärntnertortheater in Vienna on 25th October 1823.

Order no. 0901 L072    £475

WEBER, Carl Maria von (1786-1826).  Der Freischütz, Romantische Oper in 3 Aufzügen.  Dichtung von Friedrich Kind, In Musik gesetzt, von Carl Maria von Weber [Jähns 277].  Berlin: In der Schle-singerschen Buch-und Musikhandlung, [1821].  Vocal score, 177pp., engraved, oblong folio, plate number 1078.  Half leather, corners worn, with marbled boards.

First edition, later issue.  Jähns p. 303.  Hirsch IV.1291.  Fuld5  p. 236.  First performed at the Konzerthaus in Berlin on 18th June 1821.

Order no. 0901 L073    £350

WEBERN, Anton (1883-1945).  Fünf Sätze für Streichquartett von Anton Webern, Op. 5.  Partitur.  Wien: Universal-Edition, 1922.  Score, 11pp., small 8vo.  Printed wrappers, edges a little worn.

First edition.

“If the quartet proved difficult to comprehend even for the audience of seasoned musicians assem-bled at Salzburg thirteen years after its composition, this was chiefly because of the startling brevity of some of the movements (the third lasts only 35 seconds) and their motivic concentration.  The tonal fabric is so tightly interwoven that a high degree of structural condensation results; the textural intricacies, aurally elusive, can be fully grasped only through analysis.  Paradoxically, this aphoristic style was born amidst the lush and overgrown manifestations of the late Romantic era” (Moldenhauer, Anton von Webern: A Chronicle of His Life and Work, p. 124).

Order no. 0901 L074    £250

WEISS, Charles N..  Trio, For Three Flutes Concertante, Composed & Respectfully Dedicated to Mr. de Mont Lambert by Charles N. Weiss, Op. 39.  NB. This Trio may also be played as a Duet.  London: Printed & Sold by J. Balls [wm 1822].  Set of parts, each 5pp., folio, engraved.  Disbound, some brown stains more so to final page of second part.

Not in the British Library.

Order no. 0901 L075    £80

WEISS, G.  Three Trios, for Three Flutes, Composed by G. Weiss.  London: Printed & sold for the Author by Monzani & Hill [1815].  Set of parts: 1 f. (title), 9 pp., 1 f. (catalogue of flute music (“Plate 20” and “21”), 9 pp., 9 pp., folio, engraved.  Disbound, some general marginal light foxing else a fine set.

Vester, Flute Music of the 18th Century, W92 lists the Monzani & Cimador edition of 1800.  Not in the British Library.

Order no. 0901 L076    £120