Two miniature song sheets, ca. 1848–9, for "Oh Susanna" and "Carry me back to ole Virginne," printed in a small format without lyrics for "Flute or Violin." Published by Edward Baack of 81 Fulton St, New York, a German immigrant who manufactured and sold musical instruments, as well as small song sheets such as these. Stephen Foster's song "Oh Susanna" was first published in 1848; Baack did business at 81 Fulton St from 1845 to 1849. Light toning and foxing; some notes on verso; overall very good. Each 3.75 x 5 inches (9.3 x 12.9 cm).
Signed card from the great pianist, boldly signed above the date May 8th 1931, mounted to paper together with a striking half-tone photograph taken from an unknown publication. Fine. Card measures 3.25 x 2.25 inches (8.2 x 5.7 cm), paper 7.75 x 4.5 inches (19.7 x 11.4 cm). Uncommon. Read More...
An important collection of previously unknown and unpublished works by the Argentine tango composer and bandoneón player who revolutionized the traditional tango into a new style termed 'nuevo tango', incorporating elements from jazz and classical music. These five sets of arrangements for voice and small band are in the hand of pianist and copyist Carlos Rausch, friend and frequent collaborator of the composer during his time in New York City, 1958-1960, each part signed by Rausch lower right and inscribed "Arranged by Astor Piazzolla for Yolanda Tornell," and with her ownership stamps on various pages. Read More...
Scribal manuscript score in an unknown hand, most probably ca. late 18th century, oblong 8vo, 8.62 x 11.75 inches (22 x 30 cm.). 24 pp on hand-ruled manuscript paper. The manuscript portends to include two sonatas for keyboard, with movements titled Andantino; Andantino Grazioso; Allegro; Allegro Moderato with 2 Variations; Rondo Allegretto; and Rondo Allegro. However, this appears to instead be a group of little transcriptions for keyboard written in different keys and with no connection between them. Following the order of the manuscript, the actual musical provenances are: The 2nd movement from the duet 501, the 1st from the string quartet 322, the 3rd from the string quartet 335, the 2nd from the string quartet 338, the 4th from the symphony 136 and the 2nd from the duet 523. In all cases, music composed never earlier than 1788, so with no arguments for proving the early Italian provenance possibly suggested by the titlepage. Thus these are evidently works copies from printed sources with keyboard transcriptions, like the Neapolitan by Marescalchi 'Dodici sonatine' or the related English by Harrison, 'Twelve easy sonatines', where can be found the majority of the pieces. At the same time, with the exception of the first, all the other excerpts contained inside are contained also in a manuscript preserved at the Conservatory of Brussels, Ms. 35366, which includes also pieces from Hüllmandel's op. 5, suggesting a probable Alsatian provenance in origin. Light wear along edges, moderate staining and occasional foxing throughout, else fine. Read More...
46. Pleyel, Ignace. (1757–1831). Three Sonatas, for the Piano-Forte or Harpsichord, composed and humbly dedicated to the King of Naples, by Ignace Pleyel.
London: Preston & Son. [ca. 1790s]. Upright folio. Title; vb; [1] 2-33 pp. Engraved throughout, no PN. Three sonatas, the second of which beginning on page 11 with the printed note at the head "This is the favorite Piece performed with so much applause at the Nobility's Concert." Leather remnants along spine where disbound from a larger volume, crease to upper right corner, period ownership signature "Janet Miller" on tp, else fine. 9.25 x 12.75 (23.5 x 32.4 cm.). Read More...
47. Pleyel, Ignace. (1757–1831). Deux Sonates Pour Le Clavecin ou le Piano Forte avec Accompagnement d'un Violin ad Libitum
London: J. Dale. [ca. 1791]. Piano score. Upright folio. Title; vb; 1-17 pp; [publisher's catalogue]. Engraved throughout, no PN. Subsequent music seller's label for HIME's Musical Instrumental Warehouse No. 34 in College Green, Dublin affixed to cover, beneath original imprint. Remnants of leather and notches along spine where removed from a larger volume, fingerings in pencil throughout, else fine. 9.75 x 12.5 (24.8 x 31.8 cm.). Read More...
48. Pleyel, Ignace. (1757–1831). Sinfonie...arrangée Pour le Clavecin ou le piano-forte avec accompagnement de Deux Violons Alto et Basse
Paris: Imbault. [ca. 1790]. Piano score. Upright folio, disbound. Engraved throughout. [PN] 331. Title; vb; [i] 2–18 pp. Loose threads along spine from removal from larger volume, surface creasing to cover and first page, ownership signature "Laure Borat" and notations to upper and lower edges of tp, light foxing throughout, else fine. 9.75 x 12.5 (24.8 x 31.8 cm.). Read More...
Original photograph of the late-Romantic Hungarian composer and pianist, known for his operas and piano miniatures such as La poupeé valsante. Photographed by Boissonnas of Geneva. Some light creases to the mount but overall in fine condition. 2.75 x 4 inches (7.1 x 10.4 cm), mounted to 4.75 x 7.25 inches (12 x 18.4 cm).
London: Printed for Clementi & Co. Cheapside, And Knight & Lacey, Paternoster Row. 1825. First Edition. 3 volumes. 12mo, crushed brown morocco with gilt-lettered spine by Rivière & Son, edges rubbed, some bowing to boards; bookplates of Frances Amelia Adams, front hinge of first volume cracked with front free endpaper detached, moderate foxing and offsetting scattered throughout. An extraordinary set, extra-illustrated with 5 autographs and over 150 18th and 19th-century engravings bound in, with many inlaid to size. Most illustrations are cut down to 12mo, some with slight losses to the images; some are flush mounted to an inset window; some are larger formats folded down. Engravings are generally in very good to fine condition, many with toning to the edges, some with light foxing and some with light plate marks. Read More...
Autograph letter signed "Giacomo Puccini," 1 page, undated ("Dimanche"), in French and addressed "Cher Monsieur." Translated in full: "I'm very busy! If you would would like to come sing...my place - I will be there all day until 6 at the hotel. Distinguished salutations / Giacomo Puccini." In very fine condition, upper edge tipped to mat in original Charles Hamilton Autographs mat presentation and frame with a reproduction colorized portrait surrounded in linen. Easily removed from frame. The letter measuring 4.6 x 7.5 inches, overall 10.25 x 21 inches.
Original doubleweight Mishkin bust portrait photograph of the important composer/pianist, signed and inscribed to Paul Heinecke, Director in New York of the important music publishing house Breitkopf & Haertel, and dated New York, May 18 1920. End of signature and inscription over a dark area of the image, light chipping along the left edge and upper right corner, small tear at the head and a few small surface scratches, else fine. 7.6 x 9.5 inches; 19.5 x 24 cm. Read More...
Original Kesslere of New York photograph of the Italian composer, who made his later career in the United States. He has inscribed and signed on the window mat over the image to fellow composer David Diamond: "For dear David D. / affectionately / Vittorio Rieti / New York, Nov. 1948" and has added an autograph musical quotation of four measures in C, 6/8 time. Photograph tipped to a card backing with a single strip of tape at the foot (rather heavily toned); inscription and signature on a window mat over the image. Photograph with one long vertical scratch at the left; backing and mat somewhat toned at the edges; overall very good. Photograph 8 x 10 inches (20.3 x 25.2 cm), overall size 9.5 x 12.5 inches (24.5 x 32 cm). Read More...
Graphically attractive printed Russian playbill dated 21 January, 1901, for a concert by the St. Petersburg Musical Assembly [Conservatory] commemorating 30 years of Rimsky-Korsakow's involvement. The program consisted of three parts, separated by ten minute intermissions, the final section consisitsing of choral performances of four pieces led by the composer Alexander Arkhangelsky (1846–1924). To lower left, the approval of the censors, dated 19 January 1901, and to lower right, printed by R. Golinke in St. Petersburg. Unexamined outside of frame, very fine. 8 x 19 inches (20 x 48.3 cm.). Read More...
Signed James J. Kriegsmann of N.Y. photograph of the Austro-Hungarian composer at the piano. Mounting remnants on the verso, three notches on the right side, a few light creases, overall fine. 8.25 x 9.35 inches (20.5 x 23.5 cm).
Signed photograph of the dashing Pulitzer prize-winning American composer and celebrated diarist, photographed with Thomson, inscribed "For George Gaber- The best percussionist in the world! With fond memories of our many recording sessions together./ Ned Rorem (with Virgil Thomson in Paris, 1961)." Light surface creases, a scratch across the image within the negative, else fine. 7.25 x 9.5 inches (18.4 x 24.1 cm.). Read More...
Brief autograph letter signed from the American composer and diarist to fellow composer David Diamond. November 30, 1999; 1 p. on a postcard printed with Rorem's name. He has penned: "Dearest David – Your letter meant everything to me, as does the very fact of you, now and always. Ned." Addressed and postmarked on the verso. Together with an unrelated envelope, addressed to Diamond in Rorem's hand and postmarked January 16, 1984. Postcard 5.5 x 3.5 inches (14 x 8.8 cm); fine. Read More...
Original broadside for a Tuesday, November 10, 1818 performance at Theatre Royal, Covent Garden, featuring "the Comedy of The Clandestine Marriage" to "which will be added (14th time) a New COMICK OPERA (in two acts) called The BARBER OF SEVILLE," which is further described as being actually "Founded on the Opera of that name," and being something of an adaptation of The Barber of Seville, "in which will be introduced part of Rossini's and Paisiello's celebrated Musick from Il Barbiere di Siviglia. The new Musick composed & the whole adapted to the English Stage, by Mr. Bishop." It goes on to note that The Barber of Seville, "being fully established in publick favour, will be repeated for the 15th time Tomorrow." Additional performances of other stage works are also noted, featuring such celebrated performers as Macready and Kemble. Creases and rough edges, but overall in fine condition. Approximately 8.25 x 12.25 inches (21.3 x 42.5 cm). Read More...
Very rare AMQS from one of the most revolutionary musical works of the twentieth century. Five measures, boldly penned on a 20.5 x 11.5 cm oblong sheet of manuscript paper, titled and signed "Erik Satie" in bold brown ink and with a trimmed original and apparently unpublished photograph of Satie mounted to the page below. The quotation is the most instantly identifiable motif of the work, the idée fixe which is regularly repeated over the course of the composition. The sheet somewhat wrinkled and toned and with some small stains, nicks and small tears around the edges, overall very good. Matted and set in a fine hand-gilted frame to 33 x 24.5 cm overall. Read More...
Two extensive autograph musical quotations signed from pianist and composer Xaver Scharwenka and his brother, composer and teacher Philipp Scharwenka. On an album leaf, Xaver has penned the opening and ending of his Piano Concerto no. 1 in B flat minor, signed and dated Berlin, November 14, 1879. On a second leaf, Philipp has penned excerpts from his piano works Walzer and All'Ongerese, op. 30 no. 1 and 2. Rather toned with edge chips, and one sheet with tape repair to the verso; overall very good. 10.5 x 7.25 inches (27 x 18.5 cm). Read More...
61. Secunda, Sholom. (1894–1974). Autograph Letter and Signed Photograph "For the lessons in Latin-American rhythms"
ALS from the American composer, conductor, and music director to George Gaber. 2 pp., Dec. 17, 1942 on paper folded in half vertically. In part: "...Too bad you can't hear the result of your lessons on Latin-American music.... Mrs. Secunda + the boys wish to be remembered to you and your wife... Sincerely, Sholom." Light toning, else in fine condition. 10.5 x 6.5 inches (26.7 x 16.5 cm.). Read More...