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?].