OTTO HAAS

September, 2015

A MUSICAL SNUFF BOX

1) BEETHOVEN, Ludwig van (1770-1827): Sonate Pour le Pianoforte à quatre mains, tirée de l’Oeuvre 29 de Louis van Beethoven. à Leipsic: chez Breitkopf & Härtel, [1803]. Score: 31 pp., oblong folio, engraved, plate number 110. Plain boards. General light dust- staining to margins. £450

First edition of this arrangement, published in the year following the first edition of the string quintet Op. 29. Kinsky-Halm p. 72.

2) BEETHOVEN, Ludwig van (1770-1827): Grand Quintetto pour le Forte-Piano avec Oboe, Clarinette, Cors [sic] et Basson, Composé par Louis van Beethoven, Oeuv. 16. Maience: chez B. Schott fils, [ca. 1805]. Parts: 24, 4, 4, 4, 4 pp. (with additional parts for violin, viola and cello, 6, 6, 5 pp.), folio, engraved, plate number 114. Folded as issued, outer fold and edges worn. Alfred Cortot’s copy with his initial-stamp and pencil notes. £650

Kinsky-Halm p. 37. Not in San José, Beethoven-Haus or BL.

3) BEETHOVEN, Ludwig van (1770-1827): Collection of Fifty Waltzes for the Piano- Forte, composed by Beethoven. Set 1 [nos 1-12]. London: Printed and sold by C. Lonsdale, [1845?]. Score: 1 f. (title), 11 pp., folio, engraved. Folded as issued, title torn and outer fold reinforced. £40

4) BEETHOVEN, Ludwig van (1770-1827): Wellingtons-Sieg, oder: Die Schlacht bey Vittoria. In Musik gesetzt von Ludwig van Beethoven, 91tes Werk. Für das Piano-Forte, Violin und Violonzello. Wien: bey S.A. Steiner und Comp., [1816]. Parts: 21, 7, 7 pp., oblong folio/folio, engraved, plate number C.D.S.2365. Folded as issued, outer fold separated. Alfred Cortot’s copy with his ownership initial stamp and pencil marks. £500

First edition of this arrangement. Kinsky-Halm p. 254.

5) BEETHOVEN, Ludwig van (1770-1827): Sonate pour Piano-Forté, accompagné de Violon, dédiée A Monsieur le Comte Maurice de Fries… par L. van Beethoven, Oeuvre 24. A Offenbach s/M: chés J. André, [1803?]. Piano part: 19 pp., oblong folio, engraved, plate number 1764. Folded as issued. Alfred Cortot’s copy with his ownership initial stamp and pencil marks. £400

Early edition, following the year of the first edition. Kinsky-Halm p. 60. Constapel p. 40. Not in San José.

6) BEETHOVEN, Ludwig van (1770-1827): Six Variations faciles d’un Air Suisse, pour la Harpe ou le Forte-Piano par L. van Beethoven, No. 6 [WoO 64]. à Bonn: Chéz N. Simrock, [ca. 1800]. Score: 5 pp., oblong folio, engraved, plate number 78. Folded as issued, edges worn, rather dusty. Alfred Cortot’s copy with his ownership initial stamp and pencil marks. Also annotated “A.F.297” possibly referring to an edition published by Farrenc although we have not found a copy. £450

First edition, later printing with printed price of “Pr.24” crossed through and “1 fr” added in pencil. The first edition appeared in 1798. Kinsky-Halm p. 511. Dorfmüller p. 238 citing an identically priced copy. Hirsch IV.441. Not in Beethoven-Haus or San José which both appear to hold modern reproductions of other libraries’ copies.

7) BEETHOVEN, Ludwig van (1770-1827): Trois Grandes Marches, pour le Pianoforte à quatre mains, composes et dédiées a son Altesse Madame la Princess regnant d’Esterhazy, née Princess de Liechtenstein par Louis van Beethoven, Oeuvre 45]. à Vienne: au Magasin de J. Riedl, [ca. 1815]. Score: 19 pp., oblong folio, engraved, plate number 358. Folded as issued, edges rather dusty. Alfred Cortot’s copy with his ownership initial stamp and pencil marks. £375

Re-issued by Riedl from the first edition plates of Bureau des Arts of 1804 (original price erased from plate). Kinsky-Halm p. 107. Dedicated to Maria Josepha Hermenegild, Fürstin von Esterházy (1768-1845).

8) BEETHOVEN, Ludwig van (1770-1827): Rondeau pour Piano-Forté, par L. van Beethoven, No. 2 [Op. 51 no. 2]. A Offenbach s/M: chez Jean André, [1807?]. Score: 11 pp., oblong folio, lithographed, plate number 2407. Folded as issued. Alfred Cortot’s copy with his ownership initial stamp and pencil marks. Also ownership signature and stamp of Dumesnil. £350

Early edition, not long following the first edition of 1802. Kinsky-Halm p. 120. Constapel p. 168. Not in Beethoven-Haus.

9) BEETHOVEN, Ludwig van (1770-1827): 12 Nouvelles Bagatelles faciles et agreables, pour le Piano Forte par Louis van Beethoven, Oeuv. 112 [i.e. 119]. Vienne: chez Ant. Diabelli et Comp., [1826?]. Score: 13 pp., folio, engraved, plate number D. et C.No.2224. Sewn. Alfred Cortot’s copy with his ownership initial stamp and pencil marks. Also ownership intitials of “F.K., 14.6.81” [? Probably the pianist Franz Küllak (1844-1913)]. £225 Second Viennese edition. Kinsky-Halm pp. 346 and 574. Sammlung Hoboken, Band 2, no. 483. Includes the eleven Bagatelles of Op. 119; the twelfth bagatelle is a piano arrangement of the first two strophes of the song An Laura WoO 112.

10) CAMBINI, Giuseppe Maria (1746–1825): Six Sonates Pour Violon et Basse, D’une Difficulté Graduelle Pour servir d’Etude aux Amateurs, avec les Notes sur le Caractère de chaque Morceau et le Style de leur Execution, par G.M. Cambini, IER. Livre de Sonates. A Paris: Chez Porro et Me. Baillon, [1786]. Score: 1 f. (title), 37 pp., folio, engraved by Mlle Michaud. Stitched as issued. £260

RISM C 529 (only 6 copies); Lesure (Bibl. de Paris) p. 92. One of Cambini’s rather rare works for teaching purposes. His celebrity in ancien régime Paris was based on his orchestral works and his chamber music which corresponded exactly to the ‘light’ taste of the day and which therefore had significant success. It was with reference to one of his quartets that Mozart was first confronted with Cambini at the very beginning of his Paris sojourn in 1778. On 1 May Mozart reports to his father that on the occasion of their first meeting he remembered some of Cambini’s quartets he knew in Mannheim: “I praised them to him and played the beginning of the one I had heard. But Ritter, Ramm and Punto [some musicians from Mannheim] gave me no peace, urging me to go on and telling me what I could not remember, I myself could supply. This I did, so that Cambini was quite beside himself […] I am convinced that he did not enjoy it”. Indeed, Cambini did not enjoy the improving of his work and understood immediately that the only way of surviving with such a competitor would be by withholding his music from the public: Cambini plotted against the performance of Mozart’s Sinfonia concertante (KV 297b) at the Concert Spirituel and succeeded in replacing it with one of his own Sinfonias. This misfortune was a major reason why Mozart felt unsettled in Paris, but he never understood that his own clumsiness in the dealings with his colleagues was dangerous for his own career.

11) CAMBINI, Giuseppe Maria (1746–1825): Second Recueil de Préludes et Point d’Orgues Dans tous les Tons Mêlés d’Airs Variés Pour l’étude et tous les coups d’archet du Violon. Dédié Aux véritables Amateurs par J.M. Cambini. A Paris: Chez P. Porro, [after 1787]. Score: 1 f. (title), 25 pp., folio, engraved. Stitched at the head as issued. £260

RISM CC 534a (only 3 copies). A very rare collection for the instruction of the violin. The Premier Recueil of this collection is not known in the French first edition but was reprinted as late as 1796 by André. This shows that Cambini had a growing popularity outside France; the rarity of such editions must be understood as a sign of their intense use - very worn copies were rarely preserved. 12) CZERNY, Charles (1791-1857): Walze Autrichienne, Variée pour le Piano Forte par Charles Czerny, Op. 203. London: Balls & Son, [ca. 1840]. Score: 1 f. (title), 9 pp., folio, engraved. Disbound. £25

13) [DANCE]: Dance volume, small octavo, Dutch floral paper covered boards. Paris: [ca. 1780]. Each item with description of the steps in text. £1,250

[i] CLARCHIES, Louis-Julien (1769-1815): La Jamaique et la Dandilly, contre-danse Françoise Par Mr. Jullien, Mtre. De danse. A Paris: chez Landrin, Mlle. Castagnery, [inter 1773-1782]. 214e. Feuille. Score: [4] pp. Also with description of the steps in dance notation. [ii] La Guichen, contre-danse Françoise, L’Air et la Figure, Par Mr. Le Chard, Mtre. de danse. A Paris: chez Landrin, Mlle. Castagnery, [inter 1773-1782]. 201e. Feuille. Score: [4] pp. Also with description of the steps in dance notation. [iii] La Gratieuse, Contredanse Allemande Par MR.Dubois de l’Opera. A Paris: chez [erased]. 12me. feuille. Score: [4] pp. Also with description of the steps in dance notation. [iv] La Paul Jones, Contredanse. 2 ff. [v] La Petite Pentoufle, Contredance. 2 ff. [vi] La Vollange, Contredance. 2 ff. [vii] Le Petit mot Pour rire, Contredance. 2 ff. [viii] La Mirza, Contredance. 2 ff. [ix] La Caraman, Contredanse Française. 2 ff. [x] La Briolet, Contredance. 2 ff. [xi] Les Enfans de Paris, Contredanse Française. 2 ff. [xii] La Vaillante Destain, Contredance. 2 ff. [xiii] La Belle Honorine, Contredance. 2 ff. [xiv] La Pamela, Contredance. 2 ff. [xv] La Nouvelle Coquette, Contredance. 2 ff. [xvi] L’espagnolette, Contredance. 2 ff. [xvii] Le Gout du Jour, Contredanse Française. 2 ff. [xviii] Les Plaisirs de Montesson, Contredance. 2 ff.

14) [DANCE] Group of four publications with dance steps, oblong folio, engraved. £240

[i] PACINI, Giovanni (1796-1867): Les Veillées de Therpsicore. Recueil de Contredanses nouvelles, Valzes Russes, Allemandes, Anglaises, Sauteuses, Pour le Piano-Forte, Composées par Pacini. A Paris: Chez l’Auteur, [1813?]. Score: 1 f. (title), 13 pp. Plate number 151.

[ii] MUSARD, Philippe (1793-1859): Les Veillées de Therpsicore. Recueil de Contredanses extraits des Operas de Rossini, Pour le Piano-Forte, Avec Accompagnement de Flute ou Violon par Musard. [Paris]: Au Magasin de Musique de Pacini, [ca. 1815]. Piano part: 1 f. (title), 6 pp. Plate number 207. Not in BnF.

[iii] Les Veillées de Therpsicore. Recueil de Contredanses nouvelles, Valses, Anglaises, Sauteuses, Pour le Piano Forte, Composé et Dédié à Mademoiselle Pauline de Tascher, Par Mlle. Campet de Saujon et Mlle. De C***. A Paris: Chez Pacini, [1816?]. Score: 1 f. (title), 11 pp. Plate number 403. Not in BnF.

[iv] PACINI, Giovanni (1796-1867): Les Veillées de Therpsicore. Recueil de Contredanses nouvelles, Valzes Russes, Allemandes, Anglaises, Sauteuses, Pour le Piano- Forte, Composées par Pacini. A Paris: Chez l’Auteur, [1816?]. Score: 1 f. (title), 12 pp. Plate number 402. Not in BnF.

15) DRECHSLER, Joseph (1782-1852): Cavatina aus der Oper: Claudine von Villa-Bella. [Germany: ca. 1815]. Vocal score: 4 pp., quarto, letterpress. Folded as issued. An extract from an unidentified periodical publication. Trost by Lauska on p. 4. £15

16) EBDON, Thomas (1738-1822): [Sacred Music, composed for the Use of the Choir of Durham. London: Preston & Son, ca. 1790]. Score: 1 f. (dedication to Queen Charlotte), 5 (List of Subscribers with Addenda pasted in), 108 pp., folio, engraved. Lacking title-leaf and front cover, plain blue original back cover, backstrip decayed, p. 5 torn, dedication dusty. £175

RISM E32. BUC p. 306.

17) ESCH, Louis von: Volume comprising several works by Esch and others. London: 1804-1808. Folio, engraved. Half calf, rubbed, with marbled boards and leather label. £225

[i] Von Esch’s Subscription of eight new Pieces from Letter A to H, Composed for the Piano or Harp with Flute & Horn Accompaniments ad Libitum. London: Printed & Sold for the Author by Mr. Birchall, [wm 1806]. 1 f. (title), 57 pp. (lacking pp. 35/36 and many pages torn), initialed by the composer. Decorative and pictorial title. Not in BL.

[ii] A Military Divertimento for the Piano Forte, In which is Introduced “God save the King”, with an Accompaniment for a Flute, ad Libitum, Composed & Dedicated to the Honble. Miiss Parkyns. London: Printed & sold by C. Mitchell, [wm 1807]. Piano part: 1 f. (title), 11 pp. Decorative title; publisher’s catalogue on p. 1. Not in BL.

[iii] Pastorale et Gigue Angloise; Pour le Piano- Forte. London: Printed by Goulding, Phipps, D’Almaine & Co., [wm 1806]. Score: 8 pp. BL dates their copy 1805?

[iv] No. 2, Romance et Valce pour le Fortepiano. London: Printed & sold by Preston, [wm 1807]. Score: 1 f. (title), 7 pp. Decorative title. Not in BL.

[v] La Colombe Retrouvée. An Air for the Piano Forte with or without Additional Keys, Composed and Dedicated to Miss C.H. Second Edition. London: Printed by Broderip and Wilkinson, [wm 1807]. Score: 3 pp. Drop title; publisher’s catalogue for 1807 on verso of p. 3. BL dates their copy 1809? [vi] Divertissement Turque, Avec l’Introduction de la Favorite Fandango Variée, Composé Pour le Piano Forte. London: Printed & sold by Goulding, Phipps, D’Almaine & Co., [wm 1808]. Score: 13 pp.

[vii] No. 3, Durandate & Belerma with a Military Piece for the Piano Forte. London: Printed & sold by Preston, [wm 1807]. Score: 1 f. (title), 9 pp. Decorative title. BL dates their copy 1806?

[viii] HERMAN, John David: La Coquette, a favorite Sonata for the Piano Forte by Mr. Herman. London: Engraved, Printed & Publish’d by Riley, [wm 1807]. Score: 7 pp. Not in BL.

[ix] GELINEK, Josef (1758-1825): Fatima, Air Turque, varié Pour le piano Forte, Par MR. l’Abee Gelinek. À Londres: Chez G. Walker, [1805?]. Score: 7 pp. Decoratively bordered title incorporating Arabic writing/hieroglyphs and mummies.

[x] MUGNIE, Jean: Le Papillon. Caprice pour le Piano Forte, compose et dédié a Mademoiselle Young. A Londres: Imprimé pour l’Auteur par Lavenu & Mitchell, [wm 1804]. Score: 1 f. (title), 10 pp. Signed by the composer. BL holds a copy “Chez les marchands de musique”.

[xi] MUGNIE, Jean: Avec les jeux dans le Village, A celebrated French Air, Arranged with Variations for the Piano Forte. London: Printed for the Author by Clementi & Compy, [wm 1804]. Score: pp. 24-29. Signed by the composer. BL holds a copy “Chez les marchands de musique”.

[xii] KIALLMARK, George (1781-1835): L’Esperance. A Second Air Fantasie for the Piano Forte, Composed and respectfully dedicated (by permission) to the Right Honble. Lady Leslie. London: Printed & sold by C. Mitchell, [wm 1807]. Score: 1 f. (title), 7 pp. Publisher’s catalogue on p. 1. BL holds only a later edition from 1819. £20

18) FRANCHETTI, Alberto (1860-1942): Notte di legenda. Tragedia lirica in 1 atto di Forzano. Musica di Alberto Franchetti. Riduzione per canto e pianoforte di Livio Loro. Milano: Casa Musicale Lorenzo Sonzogno, 1915. Vocal score: 2 ff. (title, personaggi), 186 pp., small folio, plate number L.680S. Red cloth, front hinge weak, front cover stained and marked. £80

19) FLECHE, A.: The Coronation Waltzes [for piano], Composed by command of and dedicated to Her Royal Highness the Duchess of Kent by A. Fleche. London: Jefferys & Co., [1837]. Score: 1 f. (title), 9 pp., folio, engraved. Disbound, sewn, edges dusty. With superb illustrated title. £40 20) GERBER, Ernst Ludwig: Historisch- Biographisches Lexicon der Tonkünstler, welches Nachrichten von dem Leben und Werken musikalischer Schriftsteller, berühmter Componisten, Sänger, Meister auf Instrumenten, Dilettanten, Orgel- und Instrumentenmacher….Erster Theil A-M [-Zweyter Theil N-Z]. Leipzig: Johann Gottlob Immanuel Breitkopf, 1790 and 1792. Two volumes, quarto, xiv pp., 1 f., with text following printed in 992 columns; 1 f., 860 columns; 1 f. blank, xvi pp., 86 pp., iconography of composers’ portraits including statues, busts and medals. Contemporary mottled half-calf with marbled boards and the bookplates of Alfred Cortot; a very good set. £1,250

RISM, Ecrits p. 357. First edition. One of the main sources for music history in the 18th century, it also contains the first account on Mozart in musical lexicography (vol. I column 977-979) – the only to be published during Mozart’s lifetime. It had already been written in 1789 and gives a precise image of general ideas about Mozart at that time as they are documented from other sources in Deutsch (Dokumente). Gerber totally admires Mozart as a piano virtuoso as well as the composer of Die Entführung aus den Serail. However, he criticises the works thereafter: “A non-experienced ear will hardly be able to follow those compositions; even well-trained persons must hear his things several times”. Gerber compares Mozart to a cautionary example, Wilhelm Friedemann Bach, “whose flight only the eyes of a few mortals were able to follow”. Gerber’s opinion on Mozart in his New Dictionary (1812) is completely different and gives a characteristic specimen of the development in Mozart reception during the first decades after the composer’s death.

21) GIESECKE, Karl Ludwig (1761–1833): Autograph letter signed, written somewhere in Greenland, 12 June 1809, to an unnamed Chevalier at Augsburg (Giesecke’s birth-place), 4 pp., octavo. Small loss of paper on the seal area; upper part of second leaf missing (cut off under the signature); the address (on p. 4) is therefore incomplete, otherwise in good condition. £950

The real name of Giesecke, an actor, dramatical author and mineralogist, was Georg Johann Metzler. He therefore signs Karl Ludwig Metzler, genannt Giesecke. Stieger’s Opera Dictionary quotes fourteen of his libretti. Giesecke was almost certainly the author of the text of Mozart’s Masonic Cantata KV 623. He worked with Schikaneder from 1789 onwards and wrote several librettos for the latter’s company using several motifs which are also found in the Zauberflöte; references to him have been given in connection with that work, and he is generally supposed to have largely contributed to its libretto. In any case he claimed co- authorship on the occasion of a visit to Vienna in 1818-1819. Therefore one can reasonably presume a strong influence on Schikaneder even if the precise extent of Giesecke’s contribution cannot be quantified. In 1801 Giesecke left the theatre and travelled as a natural scientist to Greenland; he stayed there for more than seven years, since he was unable to return to Austria during the Napoleonic occupation. Our letter is from that period. He is answering a letter of 1 April 1808 which reached him in Greenland only on 28 May 1809. Our letter was even slower since it has a reception mark “empfang 18. September 1814”. Giesecke writes about the Copenhagen bombing (Sept. 1807) where he lost his whole collection of books and minerals: “I am growing tired of all these accidents, and additionally we are getting into difficulties due to the lack of food from Europe. There was no wood and we were obliged to heat and to cook with fish-oil lamps during last winter […]”.

22) GLUCK, Christoph Willibald (1714-1787): Orpheus und Eurydice. Oper in drei Akten. Vollständiger Klavier-Auszug unverkürzt nach der Originall-Partitur mit deutschem und italienischem Text. Musik von J.C. von Gluck. Berlin: chez Ed. Bote & G. Bock, [ca. 1854]. Collection des Oeuvres Classiques. Vocal score: 66 pp., folio, plate number B.&B.2527. Half cloth, worn, with marbled boards. £30

23) GORDIGIANI, Luigi (1806-1860): Preghiera al Sole. Arietta No. 10 dell Eco Armonico, con Accompagnto. di Piano-Forte, composta, e dedicate al Signore Edgcumbe, da L. Gordigiani. [Italy: s.n., ca. 1860]. Score: 3 pp., folio. Disbound. £25

24) [GUITAR]: Recueil d’Airs choisies pour la Guitarre. [French: late eighteenth century]. Score: 1 f. (index), 225 pp., folio. Manuscript, in brown ink, on 14-stave paper. Dark tan calf, with spine in decorative compartments, gilt, dark red leather ownership label of “Casimir Pradine”. Some light rubbing at edges, joints split but sound, occasional browning. £3,500

Approximately fifty pages carry music for guitar solo or duet, the remainder with music for one or two voices with guitar accompaniment, some operatic in nature. Comprising a total of seventy or so pieces, with music by Berton, Boieldieu, Bruni, Dalayrac, Gaveaux, Grétry, Méhul, Mozart, Plantade, Pleyel, Tarchi, Sacchini and Solié.

25) HAIGH, Thomas (1769-1808?): Six Sonatas for the Piano Forte, with an Accompaniment for a Violin, Composed by T. Haigh, Op. 33. London: Printed for the Author, [ca. 1803]. Piano part: 23 pp., folio, engraved. Disbound, sewn. Initialed by the composer. £125

Sole edition. Not in RISM, BUC or BL. Not listed in Kassler (Music Entries).

26) HANDEL, George Frideric (1685- 1750): Adagio, from the Ouverture to Il Pastor Fido, arranged for keyboard with slight variation to the standard musical text and with some extra contemporary ornamentation [HWV 8a]. [England: early eighteenth century]. Score: single sheet folio. Manuscript, in brown ink, on 12-stave paper, written on both sides, with marginal extension to accommodate the final two bars. Previously folded, outer edge torn and lower edge crumpled. £750

27) HERZ, Henri (1803-1888): Trois Rondeaux caractéristiques Pour le Piano Forte, Op. 61, Composés et Dédies à Madlle. Georgina Ellen Smith par Henri Herz. No. 2, a l’Anglais. Londres: chez Goulding & D’Almaine, [1838]. Score: 1 f. (title), 9 pp., folio, engraved. Disbound. £20

28) HERZ, Henri (1803-1888): Les Coquettes. Quadrilles de Contredanses brilliants et varées with a Grand Waltz for the Piano Forte, Op. 49. Composed & Dedicated to Mademoiselle Fanny Gerard by Henri Herz. London: Published by Goulding & D’Almaine, [1828]. Score: 1 f. (title), 21 pp., folio, engraved. Disbound. £25

29) HERZ, Henri (1803-1888): Air, Non piu mesta, with Variations for the Piano Forte, from Rossini’s Opera La Cenerentola, Composed and Dedicated to Miss Anna Kerrison by Henri Herz, Op. 60. London: Published by Goulding & D’Almaine, [1832]. Score: 15 pp., folio, engraved. Disbound. £20

30) HUNTEN, Franz (1793-1878): Deux Rondeaux Pour le Piano Sur des Motifs de Rossini Par François Hünten. No. 2, Mathilde de Shabran. Londres: chez R. Cocks & Cie., [1830]. Score: 1 f. (title), pp. 8-13, folio, engraved, plate number 702. Disbound. £12.50

31) [ITALY]: Les Gloires de l’Italie: Chefs-d’oeuvre de la Musique vocale italienne aux XVIIe et XVIIIe siècles. Collection de morceaux de théatre, de concert et de chambre, recueillis et publiés avec accompagnement de piano par F.A. Gevaert. Traduction française de Victor Wilder. 2e Livraison, volume I [nos 8-13]. [Paris: chez tous les marchands de musique, 1868]. 5, 7, 7, 9, 11pp., folio, engraved, plate numbers B8 and B10-13. Folded as issued in publisher’s wrappers, separated and outer fold worn and torn. £35

Comprising Air de Domenico Belli (1618); Air de Lotti (vers 1700), Air de la Clemenza di Tito de Leo (1735), Air bouffe de la Scaltra governatrice de Cocchi (vers 1750) and Duo du Demetrio de Tarchi (1787).

32) JULLIEN, Louis Antoine (1812-1860): The Prince of Wales’s Own Quadrilles … Second Edition [for piano, arranged by C.W. Glover]. London: D’Almaine & Co., [1845?]. Score: 1 f. (title), 10 pp., folio, engraved, plate number 10308. Disbound. Decoratively bordered title- page, printed in gilt, with two pictorial scenes, one portraying dancing at Buckingham Palace, the other a scene in a church. £55

33) KUCKEN, Friedrich Wilhelm (1810-1882): The Jewish maiden. A Ballad, Written and composed for the Pianoforte by F. Kucken. Boston: Henry Tolman, [1851]. Score: 5 pp., folio, engraved, plate numbed 192. Disbound, sewn. Text in English and German. “Works such as Das Mädchen von Juda were especially popular in London, where his works were published by Wessel” (New Grove). £25

34) LISZT, Franz (1811-1886): Adélaïde de Beethoven. Transcrite Pour le Piano par F. Liszt [LWV A58]. Paris: Brandus et Cie., [ca. 1855]. Score: 1 f. (title), 13 pp., folio, engraved, plate number M.S.3074. Folded as issued in publisher’s wrappers, separated and corners worn. Ownership stamp of the pianist Ricardo Vines (1875-1943). £75

It would appear to be a re-issue of the Schlesinger publication, although comprised only 9 pp.

35) LYON, Samuel Thomas (fl. 1808-1815): Lady Caroline Lee’s Waltz, Arranged for the Pianoforte & Inscribed to Miss Man, by Saml. Thos. Lyon. Letter L. London: Printed for Rt. Birchall, [wm 1807]. Score: 4 pp., folio, engraved. Disbound, edges chipped. £30

36) MACDONALD, A.T.: Second Set of Three Waltzes for the Piano Forte, in Imitation of a Musical Snuff Box. Composed & Dedicated to Miss Ann Tucker by A.T. Macdonald. London: Published by Goulding & D’Almaine, [1830?]. Score: 3 pp., folio, engraved. Disbound. £10

37) MAGLIONI, Giovacchino (1814-1888): L’eco Ermonico dell’Arno. Variazioni per Piano forte Sul Tema V’era un di quandi l’alma innocente, Cavatina nell’ Opa. Parisina Del Maestro G. Donizetti, composte, e dedicate all Nobil Donna la Contessa Eleonora Nencini. 10ma Distribuzione. Milano: presso Epimaco, e Pasquale Artaria, [ca. 1845]. Score: 15 pp., folio. Disbound, sewn. With a vignette of the Ponte Vecchio over the Arno. £75

Not in Italian OPAC.

38) MARTINI, Padre Giovanni Battista (1706–1784): Duetti da Camera consagrati All’Altezza Reale Elettorale di Maria Antonia di Baviera Principessa Elettorale di Sassonia, da Fr. Giambatista Martini de’ Minori Conventuali. [Bologna: Lelio de la Volpe, 1763]. Score: 2 ff. (title within a magnificent frame, dedication), 46 pp., oblong folio, letterpress (each page within a finely engraved border). Old wrappers, detached, some slight tears to margins, upper outer corners curled. £750

RISM M 1006. First edition of one of the very rare editions of Martini’s compositions issued in his lifetime. Martini’s early works are frequently written in the ‘stile antico’; later he incorporated pre-classical influences. In his Duetti both elements are successfully combined. The collection is dedicated to Maria Antonie, Electress of Saxony (1724–1780), one of the most gifted woman composers of the 18th century. Padre Martini was the highest musical authority in Italy when Leopold and Wolfgang Amadeus Mozart first met him in 1770. Wolfgang trained with him, and the canons KV 73r (taken from Martini’s Storia della Musica) and antiphons KV 73u were written under Martini’s supervision. The Antiphon KV 73v was written for the admission to the ‘Accademia de Filarmonici’, but Mozart’s antiphon did not conform closely enough to the ‘stile osservato’ requested by that institution. Martini therefore secretly replaced it with his own version keeping only the beginning of Mozart’s work, and the censors awarded the successful candidate with the diploma and made the traditional presentation of the white balls to mark this.

39) MOZART, Franz Xaver Wolfgang Amadé (1791-1844): Fest-Chor zur Enthüllung des Mozart-Denkmals in Salzburg, aus Compositionen des Gefeierten zusammengestellt, instrumentirt und mit einem passenden Texte versehen von dessen Sohne W.A. Mozart. Clavier-Auszug. Wien: bei Artaria & Comp., [1842]. Vocal score: 31 pp., oblong folio, engraved. Folded as issued. From the library of the Carlsbader Musikverein (stamp on title). £280

On 29 August 1842 Mozart junior arrived in Salzburg to attend the festival for the inauguration of his father’s monument, which was held from 4 to 6 September. His elder brother Carl was present as well. On 4 September, Wolfgang Amadé (junior) played his father’s piano concerto in D minor (KV 466) in one of the Festival concerts and became an honorary member of the Dom-Musik-Verein and the Mozarteum. The Festival Choir offered here is a kind of quodlibet of themes from his father’s works.

40) MOZART, Wolfgang Amadeus (1756-1791): Trois Sonates Pour le Clavecin, ou Pianoforte avec l’accompagnement d’un Violon, Dediés A Mademoiselle Josephe d’Aurnhamer par Wolfg. Amadee Mozart, Oeuvre 2, Livre II [KV 378-380]. a Vienne: Publies, et se vendent chez Artaria Comp., [ca. 1785]. Parts: 1 f. (title), pp. 42-85 and pp. 15- 28, oblong folio, engraved, plate number 22. Folded as issued. Decorative title-page, upper edge a little worn. Ownership stamp of Alfred Cortot. £1,450

First edition, fourth issue. Haberkamp p. 175.

41) MOZART, Wolfgang Amadeus (1756-1791): Quatuor pour Le Clavecin ou Piano Forte, Violon, Alto viola, Violoncelle, par Monsieur Mozard [KV 478]. No. 1. à Maience: Chez Schott, [ca. 1811]. Parts: 14 pp., 1 f. (blank), 5, 5, 4 pp., oblong folio piano, string parts folio, engraved, plate number 71. Folded as issued. £650

RISM M6313. First edition, sixth issue (ca. 1811).

42) MOZART, Wolfgang Amadeus (1756-1791): Il Flauto magico, Dramma Eroicomico, in due atti. Aggiustato per il Cembalo. La Musica è del celebre Maestro Volfgango Amadeo Mozart [KV 620]. Lipsia: Nella Stamperia di Breitkopf, [1794]. Vocal score: 1 f. (title), nos 2-4, 6-8, 10, 12, Marcia, 15, 116, 18-25, 28-30, 32 and 33, oblong folio, typeset. Half leather, marbled boards, some light browning. £750

Köchel p. 712. Hirsch IV.188. 43) MOZART, Wolfgang Amadeus (1756-1791): Three Quartettos for two Violins, Tenor & Violoncello, Composed by W.A. Mozart, Op. 18 [KV 575, 589, 590]. London: Printed for Wm. Forster, [wm 1797]. Parts: 1 f. (title with portrait of Mozart), 18, 15, 14 pp., 1 f. (title), 11 pp., folio, engraved, plate number 168. Disbound, sewn. £750

Köchel p. 650. RISM M6187. BUC p. 709.

44) MOZART, Wolfgang Amadeus (1756-1791): Mozart’s Original Trio for Violin, Tenor and Bass: Respectfully Dedicated by Permission To His Royal Highness The Prince of Wales by the Editors [KV 563]. London: Printed by Clementi, Banger, Collard, Davis, & Collard, [ca. 1815]. Parts: 1 f. (title), 13, 13, 10 pp., folio, engraved, plate number 2265. Disbound, final leaf of cello part browned. £120

This imprint not in RISM or BLIC.

45) MOZART, Wolfgang Amadeus (1756-1791): Duetto per Violino, e Viola del Signor Gio. Amadeo Mozart [KV 423]. In Napoli: presso Luigi Marescalchi, [ca. 1795]. Parts: 7, 6 pp., folio, engraved, plate number 104-105. Folded as issued, outer folds worn. Lower blank edge of p.7 trimmed away. £1,200

Köchel6 p. 461. RISM M6275. Not in BUC. One of the earliest Italian printings of a work by Mozart, if not the earliest.

46) MOZART, Wolfgang Amadeus (1756-1791): Arie, etc. (Bald muss ich dich verlassen, etc.) von W.A. Mozart. Klavierauszug. Leipzig: Bei Breitkopf & Härtel, [ca. 1815]. No. 9 der Mozartschen Arien. Vocal score: 12 pp., oblong folio, letterpress. Original plain boards, backstrip worn, some foxing. £30

47) MOZART, Wolfgang Amadeus (1756-1791): The Celebrated Overture to the Zauberflote, Composed by Mozart. Adapted for the Piano Forte by Mr. Hook [KV 620]. London: Printed & Sold at Bland & Wellers, [ca. 1800]. Score: 1 f. (title), 7 pp., folio, engraved. Disbound, sewn. £65

48) MOZART, Wolfgang Amadeus (1756-1791): Sonate pour Deux Piano-Forte, compose par W.A. Mozart [KV 448]. A Bonn: chez N. Simrock, [1807]. Parts: 19, 15 pp., folio, engraed, plate number 532. Sewn, outer folds separated. Alfred Cortot’s copy with his ownership initial stamp and pencil markings. £225

Köchel6 p. 392. 49) [MOZART]: Aristide ou le Citoyen. Premiere Partie [and Seconde Partie]. A Lausanne: Chez Franc. Grasset & Comp., 1766, 1767. 1 f. (title), 326 pp., 1 f. (title), 296 pp., small octavo. Mottled leather. £800

The XVI Discours (first part, pp. 181-192) relates to Mozart.

50) NEUKOMM, Sigismund (1778-1858): The 13th Psalm (How long wilt thou forget me?) by the Chevalier Sigismond Neukomm. Glasgow: July, 1829. Score for voice and piano: 6 ff., small octavo. Sewn. Autograph manuscript, in brown ink, on 16-stave paper, initialed and dated at the end. Final verso with some paper pastedowns. Dedicated to Miss Schlesinger. £350

The British Library holds a printed copy dating to 1835.

51) OUSELEY, Frederick Arthur Gore (1825-1889): “Place the Helm”. A part song, composed by The Revd. Sir F.A.G. Ouseley Bt. [Tenbury: St. Michael’s College, ca. 1865]. Score: 1 f. (title), 7 pp., large quarto, lithographed. Privately printed. Folded as issued, outer fold separated. Inscribed and initialled by the composer “J.V. Roberts, from his sincere friend F.A.G.O.”. £60

Not in BL or Oxford Solo.

52) PEREZ, Juan Ginés (1548-1612): Hispaniae Schola Musica Sacra. Opera Varia (saecul. XV, XVI, XVII et XVIII), diligenter excerpta, accurate revisa, sedulo concinnata a Philippo Pedrell. Vol. V, Joannes Ginesius Perez. Barcelona: Juan Bta Pujol y Ca., 1896. Score: [xxi], 59 pp., folio, plate number PvC30. Publisher’s printed wrappers with cloth tape backstrip. £45

53) PITT, Percy (1869-1932): Fêtes Galantes. Miniature Suite for orchestra (founded on Poems by Paul Verlaine) by Percy Pitt, Op. 24. Arranged for Pianoforte Duet by the Composer. London: Augener & Co., 1897. Score: 46 pp. (lacking p. 47), oblong folio, plate number 11019, Augener’s Edition no. 8596. Lacking wrappers, sewing broken. Some foxing. Inscribed and signed by the composer in black ink “To Gabriel Thompson: from His Friend, Percy Pitt, Feb. 97”. £25

54) [PANCIATICHI]: Il Codice Musicale Panciatichi 26, della Biblioteca Nazionale di Firenze. Riproduzione in facsimile a cura di F. Alberto Gallo. Firenze: Leo S. Olschki, 1981. Studi e testi per la storia della musica, 3. Score: 34 pp., 110 ff., folio. Publisher’s printed wrappers. £75

55) PEROTIN: Organum quadruplum, Sederunt Principes. Perotinus. Bearbeitet von Rudolf Ficker. Klavierauszug mit Text und kritische Übertragung. Wien, Leipzig: Universal-Edition, 1930. Score: 2 ff. (title), 38 pp., folio, plate number U.E.8211. Publisher’s printed wrappers, front one detached. With a programme of a performance of Pérotin’s music in Vienna at the Burgkapelle on 30 March 1927. £40

56) QUERELLE DES BOUFFONS. Collection of pamphlets and publications relating to the period of public discussions about the relative values of French and Italian opera. Small octavo. Mottled calf, gilt, raised bands. £850

[i] GRIMM, Friedrich Melchior (1723-1807): Lettre de M. Grimm sur Omphale, Tragédie lyrique, reprise par l’Académie Royale de Musique le 14 Janvier 1752. [Paris: Pierre-Gilles Le Mercier], 1752. 2 ff. (title), 52 pp. Critical review published in "Le Mercure de France" in March (pp. 139-140).

[ii] GRIMM, Friedrich Melchior (1723-1807): Ici sont ecrits les vingt-un chapitres de la prophétie de Gabriel Joannes Nepomucenus Franciscus de Paula Waldstorch dit Waldstoerchel. [Paris: 1754?]. pp. 3-48. In part an imitation and in part a translation of a pamphlet by Grimm published in 1753 under the title Le petit prophète de Boehmlischbrods. Originally written in German by Luise Aldegunde Gottschied (1713-1762). [iii] Arrêt rendu a l’amphitéatre de l’opera, sur la Plainte du Milieu du Parterre, intervenant dans la querelle des deux Coins. [Paris: 1753]. 16 pp.

[iv] Réponse du Coin du Roi au Coin de la Reine. Seconde Edition corrigée & augmentée. [Paris]: Janvier, 1753. pp. 49-56.

[v] [PIDANSAT de MAIROBERT, Mathieu- François (1727-1779)]: Les Prophéties du Grand Prophéte Monet. [Paris]: 1753. 16 pp. Published in response to Grimm’s Le Petit prophète de Bochmischbroda. Satire supporting the lyrical French music as opposed to the Italian, during the “Querelle des bouffons” (featuring Monet, the director of the Opéra- Comique de la Foire Saint-Germain)

[vi] [ARNAUD, François (1721-1784)]: La Soirée perdue a l’opéra. A Avignon: Chez Esprit, 1776. 26 pp.

[vii] [VISMES, Alphonse Denis Marie de (1746-1792), supposed author]: Lettre a Made de ***, sur l’opéra d’Iphigénie en Aulide. A Lausanne: 1774. 23 pp.

57) [REBUS]: Rebus aus dem Gebiete der Musik. Wien: bei Tobias Haslinger’s Wwe. & Sohn, [ca. 1840]. 1 f. (title), 16 ff. (contents), quarto. Disbound, sewn. Decoratively edges title-page, superbly illustrated throughout. Rare and highly amusing collection of twenty-five musical puzzles in Rebus form with quotes, mottos end the simple guessing the composer name. £450

58) REICHARDT, Ch.A.: Douze Pièces methodiques en Forme de Danses pour le Pianoforte, composes & dediées à Son Altesse Roÿale Amélie Madame la Princesse héréditaire de Saxe-Altenbourg par Ch.A. Reichardt. Leipsic: chez E. Pönicke & Fils, [ca. 1845]. Score: 13 pp., oblong folio, lithographed. White silk with elaborate gilt edging and decoration. The dedicatee’s copy with her initial stamp (including crown) on the front cover and title-page. £400

The composer is not listed in the usual reference sources; we have found seven other publications of his, comprising keyboard music and songs, listed in Hofmeister. This work is not cited, nor is held in Berlin.

59) ROSSINI, Gioachino (1792-1868): Overture to the admired Opera of Guillaume Tell, for the Piano Forte, Composed by G. Rossini. Londres: Chez Goulding & D’Almaine, [ca. 1830]. Score: 1 f. (title), 10 pp., 1 f. (publisher’s catalogue of piano music), folio, engraved. Disbound. £20

60 ) SCHUBERT, Franz (1797-1828): Erlkönig. Ballade von Göthe, in Musik gesetzt und Seiner Excellenz dem hochgebornen Herrn Herrn Moritz Grafen von Dietrichstein in tiefer Ehrfurcht gewidmet von Franz Schubert, 1tes Werk [D 328]. Wien: bey Cappi und Diabelli, [1821]. Score: 15 pp. (lacking pp. 5-12), oblong folio, engraved, without plate number on the title or any page. Sewn in plain wrappers. Title dust-stained all over. Signed and numbered by the composer on the verso of p. 15. £750

First edition, first issue. Copy no. 66 of the 100 copies sold on the night of the first performance. Deutsch p. 199. Hirsch IV.472. [copy no. 372].

61) SCHUBERT, Franz (1797-1828): Der Wanderer an den Mond [D 870]. Das Zügenglöcklein [D 871]. Im Freyen [D 880]. Gedichte von J.G. Seidl. In Musik gesetzt für eine Singstimme mit Begleitung des Pianoforte und Herrn Joseph Witteczek freundschaftlich gewidmet von Franz Schubert, 80tes Werk. Wien: bei Tobias Haslinger, [1827]. Score: 19 pp., oblong folio, engraved, plate number T.H.5028. Folded as issued, corners a little curled. £250 First editions. Deutsch (1978) pp. 546-547, 555. Hirsch IV.558. Sammlung Hoboken Band 13, no. 319.

62) SEVERI, Francesco (d. 1630): [Salmi Passaggiati per Tutte le Voci nella maniera che si cantano in Roma sopra i Falsi Bordoni di tutti i Tuoni Ecclesiastici Da cantarsi ne i Vespri della Domenica e delli giorni festivi di tutto l’Anno, Con alcuni Versi di Miserere’ sopra il Falso Bordone’ del Dentrice, Composti da Francesco Severi Perugino, Cantore’ nella Capp. a. N.S. Papa Paolo, Libro Primo. Roma: Da Nicolò Borboni, 1615]. Score: 1 f., 76 pp. (lacking title-leaf), oblong 12mo. Plain card covers. Outer third of pages water-stained and thumbed but all perfectly legible. £1,200

RISM S2847. BUC p. 941.

63) TINNEY, F.G.: The Breslau Polka for the Piano Forte, as Performed at the Soirées de la Haute Noblesse, composed and respectfully dedicated to Miss Nina Hammersley by F.G. Tinney, Pianist to Her grace the Duchess of Bedford. London: Published by Charles Ollivier, [1845?]. Piano score, with additional part for Cornet à pistons: 1 f. (title), 4, [1] pp., folio, engraved, plate number C.O.656. Disbound. Decorative title printed in red and gilt. £25

Not in BL or COPAC.

64) WAGNER, Joseph: Rosinen-Polka von Jos. Wagner. Prag: bei Joh. Hoffman, [1840]. Prager Favorit Galoppe, Polonaisen, Polkas &c., für das Pianoforte allein, No. 20. Score: 2 ff., oblong folio, engraved, plate number 128. Folded as issued. Series title with four views of Prague. £75

Hofmeister (1840), p. 24.

65) WALLERSTEIN, Anton (1813-1892): The Great Exhibition Polka of 1851 and the Mariner’s Polka [for piano]. [London]: Musical Bouquet, [1855]. Score: pp. 77-80, folio, Musical Bouquet no. 284. Disbound, edges chipped. With title vignette of Joseph Paxton’s magnificent erection in Hyde Park. £50

66) WEBER, Carl Maria von (1786-1826): Scene und Arie, “Wie nahte mir der Schlummer”, “Hvor roligvar min Slummer”, aus der Oper Der Freischütz, furs Pianoforte von C.M. von Weber [JV 277. German and Danish text]. Copenhagen: bei C.C. Lose, [ca. 1825]. Vocal score: 1 f. (title), 9 pp., oblong quarto, engraved. Musikalsk Theaterjournal, 4- A, 1-B, 1-H. Disbound, sewn. £40

67) WEBER, Carl Maria von (1786-1826): Cavatine, Einsam bin ich und alleine, Eensoer jeg dog ei ene, aus Preciosa, in Musik gesetzt von C.M. von Weber. Clavierauszug [JV 279. German and Danish text]. Copenhagen: bei C.C. Lose, [1822]. Vocal score: 2 ff., oblong quarto, engraved. Outer edges reinforced, generally well-used, thumbed and creased. £25

68) WEBER, Carl Maria von (1786-1826): Concerto, C.M. de Weber, oeuv. 79 [i.e. 73, JV 114. German and Danish text]. [Paris: chez Richault, 1827?]. Orchestral parts: 3, 3, 3, 3, 3, 2, 2, 2, 2, 2, 2, 2, 2, 2, 1, 1, 1, 1 pp., folio, engraved, plate number 1861R. Folded as issued, general foxing. First violin dusty. Alfred Cortot’s copy with his initial-stamp and pencil notes. £75

Jähns p. 138.

List compiled by Colin Coleman, September 2015