{"title":"Bibliography Week Showcase 2026","description":"","products":[{"product_id":"10979-berlioz-hector-1803-1869-benvenuto-cellini-opera-semi-seria-en-trois-actes-paroles-de-m-m-le-on-de-wailly-et-auguste-barbier-traduction-allemande-de-m-p-cornelius-oeuvre-23-first-edition-presentation-copy-inscribed-to-ernest-reyer","title":"Berlioz, Hector. (1803-1869) Benvenuto Cellini. Opera semi-seria en trois actes. Paroles de M. M. Le?on de Wailly et Auguste Barbier. Traduction allemande de M. P. Cornelius.... Oeuvre [23]. FIRST EDITION PRESENTATION COPY INSCRIBED TO ERNEST REYER","description":"Oblong 8vo. piano-vocal score, 28 x 17 cm. Title, verso blank. Dedication to Maria Pavlovna, Grande Duchesse de Sax-Weimar, verso blank. Blank, [1]. Music, pp. 2-376. Title and dedication printed in gold on smooth paper, the music engraved throughout. [PN] 1232.  Inscribed in black ink on the reverse of the dedication page \"A mon ami Reyer \/ H. Berlioz.\" Hopkinson 67D. Holoman, p. 178. This copy from the collection of André Meyer, with a note of a provenance from one of his children penned on a rear endpage. A closely trimmed copy, with resultant loss to the title page foot of the foreign distributors, but without any other losses throughout.  In a fine half calf modern binding. \u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\"It is not stated on the title who made the arrangmeent. On the first page of the overture it is stated that this was 'arrangée a 4 mains par Mr. de Bulow,' but nowhere else is his name mentioned. This arrangement is certainly not that of Morel, being quite different, and it can only be assumed (as there is no evidence to the contrary) that von Bulow made the arrangement of the rest of the opera.\" (Cecil Hopkinson, \" Bibliography of Hector Berlioz,\" p. 156)  \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eAn important presentation copy, inscribed by the composer at the end of his life to his close friend and perhaps his staunchest supporter in the press (Journal des débats), the French opera composer Ernest Reyer (1823 - 1909). The story of Berlioz's inscription to Reyer is documented by Reyer himself and also by Jullien.  In his \"BIOGRAPHICAL NOTES AND PERSONAL REMINISCENCES. BY THE COMPOSER OF “SALAMMBÔ\" ( Century Monthly Magazine, December 1893), Reyer writes: \"A short time before the death of his master, [his servant] had accompanied Berlioz to my house. Painfully did the poor musician mount up the four flights of stairs to come and sit at my table. After the meal I begged him to write his name on the score of 'Benvenuto Cellini.' He seized a pen, wrote with a trembling hand 'A mon ami,' and then, looking at me with a wistful glance, said: 'I have forgotten your name.' It was a cruel blow, which went to my very heart. I was to see him no more till I gazed on his face as he lay upon his death-bed, that master whom I had so much admired, and on whom I had bestowed an affection which he could never doubt from the very moment when I first had the happiness to make his acquaintance. M. Adolphe Jullien, to whom I related this sad incident, has recorded it in his beautiful book entitled 'Hector Berlioz: his Life and Works,' the most complete monument which has ever been reared to the memory of the immortal author of the 'Trojans' and the 'Damnation of Faust.'\" \u003cbr\u003e\u003cbr\u003e\u003cbr\u003eBenvenuto Cellini is an opera semiseria in two acts to a  libretto by Léon de Wailly and Henri Auguste Barbier. It was the first of Berlioz's operas, premiered in 1838.","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093439205535,"sku":"10979","price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Berlioz_Benevenuto_Cellini_10979a.jpg?v=1722188033"},{"product_id":"11357-billings-william-1746-1800-the-continental-harmony-containing-a-number-of-anthems-fuges-and-chorusses-in-several-parts-never-before-published-composed-by-author-of-various-music-books-published-according-to-act-of-congress","title":"Billings, William. (1746–1800) The Continental Harmony, 1794","description":"\u003cp\u003eThe Continental Harmony, Containing a Number of Anthems, Fuges, and Chorusses, in Several Parts. Never Before Published. Composed by -- Author of Various Music Books. […] Published According to Act of Congress. \u003c\/p\u003e\n\u003cp\u003eLetterpress pages. Pp. [i - iv], v-xxxiv, [35]-199, [1] p., [1] leaf of plates [ \"Index\"], final blank. Original blue paper over boards, sheep spine. Wanting the engraved frontispiece, which it was evidently bound without, indicated by foxing and offset patterns. Other copies are similarly deprived (eg LOC, a copy at Clements), but we have supplied an expert facsimile of his famous circular composition \"Connection,\" printed on early and agreeably toned laid paper. Paper chipped from front board, otherwise a fine and exceptionally clean copy - dare we say, this is almost certainly the crispest condition Billings you are ever likely to encounter. Contained in a dropspine cloth box.\u003cbr\u003e\u003cbr\u003eRare. OCLC records only six copies and none outside the United States. Sabin 5415, Evans 26673, RISM, A\/I\/1, B2655, Britton \u0026amp; Lowens 104.\u003cbr\u003e\u003cbr\u003eThe final collection published by the father of American choral music. Published in Boston by Thomas and Andrews in 1794, it was sponsored by several musical societies to help the \"distressed situation of Mr. Billings' family.\" The fifty-one compositions with full text include one set-piece for four voices, seventeen anthems, and poems and hymns by Isaac Watts, the «Father of English Hymnody», among them the renowned «Creation» (pp. 52–54). The tune book has an introductory section on the rudiments of music and a commentary on the rules in the form of a dialogue between a master and scholar. \"In its introduction, Billings defended his rustic native style in the face of the public's increasing preference for the more refined, less demanding European idiom. 'Variety is always pleasing, and...there is more variety in one piece of fuging music, than in twenty pieces of plain song.'\" (John Ogasapian, \"Music of the Colonial \u0026amp; Revolutionary Era,\" p. 140)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\"The...last of his publications contains longer, more complex works intended for the knowledgeable choirs and singing societies. In none of the pieces is originality sought. Nevertheless, the sound is a counterpart of the rocky soil and questing spirit that typified many of his contemporary New Englanders. Billings's music held the attention of music lovers for its melodic expression, effortless vitality, and suitability to the requirements and limitations of amateur singers. No matter what the vocal part, it is not hard to sing and enjoy. All the singers are given interesting lines to engage their attention. If some of the notes in a part do not please, the composer occasionally offers the singer 'choosing' notes from which he or she can select.\" (Nicholas Tawa, \"From Psalm to Symphony,\" p. 37-38)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\"In early 1782, of the 264 musical compositions published by American-born writers, 226 of them were by Billings. Of the 200 anthems published in American by 1810, over a quarter were written by Billings.\" (Elizabeth Axford, \"Song Sheets to Software,\" p. 5)\u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093451100319,"sku":"11357","price":10500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Billings_William_A_Continental_Harmony_11357b.jpg?v=1722188112"},{"product_id":"11381-chausson-ernest-viviane-poeme-symphonique-pour-orchestre-op-5-reduction-pour-piano-a-4-mains-par-vincent-d-indy-autograph-manuscript","title":"Chausson, Ernest. (1855 - 1899) \"Viviane, poème symphonique pour orchestre, op. 5. Réduction pour piano à 4 mains par Vincent d'Indy\". Autograph Manuscript","description":"\u003cp\u003eAutograph Musical Manuscript of the arrangement for piano four hands. Title (v.b.); \"Légende\"; 1 - 20 pp.  In brown ink, with occasional insertions (mostly instrumentation notes) in red ink, pencil or blue crayon.  Despite the title page designation, the manuscript is entirely in Chausson's hand and is dedicated on the title page to Jeanne Escudier, whom he married in June, 1883.\u003c\/p\u003e\n\u003cp\u003eThis is an important and rare manuscript from the composer who died tragically young, at age 44, after a bicycle accident where he lost control of his bike and crashed into a brick wall. His music, a \u003cmeta charset=\"utf-8\"\u003estylistic bridge between Romanticism and nascent Impressionism, is marked by its refined chromaticism and introspective lyricism.\u003c\/p\u003e\n\u003cp\u003eThe symphonic poem \u003cem\u003eViviane\u003c\/em\u003e, Op. 5, was Chausson's first true composition for orchestra. He had attended the world premiere of the Wagner's \u003cem\u003eParsifal\u003c\/em\u003e at Bayreuth in July and this work was begun shortly thereafter, in September, 1882, and is clearly influenced by Wagner and by his teacher, César Franck.\u003c\/p\u003e\n\u003cp\u003eNamed after the fairy Viviane of Arthurian legend, Chausson's piece concentrates on the episode of her affair with the wizard Merlin in the forest of Broncéliande. Chausson's deep interest in Arthurian legend would lead him to spend many years finishing the only opera of his career, \u003cem\u003eLe roi Arthus\u003c\/em\u003e, Op. 23 (1886–95).\u003c\/p\u003e\n\u003cp\u003eChausson completed \u003cem\u003eViviane\u003c\/em\u003e in December 1882 and dedicated it to Jeanne Escudier, whom he was going to marry in June. The work was premiered at a concert of the \u003cem\u003eSociété Nationale de Musique \u003c\/em\u003ein the Salle Érard on 31 March 1883, conducted by Édouard Colonne, which also featured the premiere of Franck's \u003cem\u003eLe Chasseur maudit\u003c\/em\u003e. In 1887, Chausson made a major reorchestration of \u003cem\u003eViviane\u003c\/em\u003e, which was first presented by Charles Lamoureux on 29 January 1888.\u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093451853983,"sku":"11381","price":7500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Chausson_ErnestViviane_poemesymphoniqueorchestreManuscript11381a.jpg?v=1762458779"},{"product_id":"11824-schoenberg-arnold-1874-1951-wellesz-egon-1885-1974-arnold-schonberg-the-earliest-monograph-on-schoenberg-inscribed-to-anton-webern","title":"[Schoenberg, Arnold. (1874-1951)] Wellesz , Egon. (1885-1974) \"Arnold Schönberg\"  - The Earliest Monograph on Schoenberg, Inscribed to Anton Webern","description":"12mo. Original publisher's decorative paper boards. 1f. (with publisher's device), [iii] (title), [iv] (copyright notices, printer's note), 1f. (motto), 7-[151] (text), [ii] (chronological table), [i] (table of contents), [ii] (advertisements) pp. With folding facsimile of a sketch leaf for the 5 Orchestral Pieces, op. 16. Preserved in a custom-made brown cloth-covered folding box with black leather title label gilt to spine. Binding slightly worn and browned. Lower outer corners of first few signatures slightly dampstained; annotation in pencil to p. 128.\u003cbr\u003e\u003cbr\u003eWith an autograph inscription from the author to Anton Webern to upper right corner of recto of first sheet in pencil dated February 1, 1921: \"Anton v. Webern in aufrichtiger Gesinnung Egon Wellesz 1 Februar 21.\"\u003cbr\u003e\u003cbr\u003eFirst Edition of the earliest monograph on Schoenberg, inscribed to fellow Austrian composer and conductor Anton Webern, member of the Second Viennese School, student, significant follower of, and influence on Arnold Schoenberg, one of the best-known exponents of the twelve-tone technique. \u003cbr\u003e\u003cbr\u003eIn 1904-5, Egon Wellesz was one of Schoenberg's first students, perhaps even his very first. Unlike Alban Berg and Anton von Webern, he soon parted with his teacher to focus on musicology. He continued to compose prolifically, and even though he cultivated a more traditional idiom, his veneration for Schoenberg and discipleship to him remained unbroken, as attested to by the present volume.","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093466009759,"sku":"11824","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Schoenberg_Inscribed_to_Webern_Book_11824a.jpg?v=1722188207"},{"product_id":"15261-kircher-athanasius-1601-1680-musurgia-universalis","title":"Kircher, Athanasius. (1601–1680) Musurgia Universalis","description":"\u003cdiv style=\"\"\u003e\u003cspan style=\"background-color: white;\"\u003eMusurgia Universalis sive ars magna consoni et dissoni in X libros digesta. Qua universa sonorum doctrina, et philosophia, musicaeque... aperiuntur et demonstrantur. Tomus I [-II qui continet... musicam mirificam... magiam consoni et dissoni... harmoniam mundi]. 2 parts in one volume. Folio. \u003cbr\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cspan style=\"background-color: white;\"\u003e\u003cbr style=\"\"\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cspan style=\"background-color: white;\"\u003ePart I: 1f. (fine full-page engraved pictorial title by Baronius after a drawing by Paul Schor, incorporating a Canon Angelicus for 9 choirs of 36 voices), 1f. (recto title with vignette, verso contents), 1f. (fine full-page dedicatory engraving of Leopold-Guillaume, Archduke of Austria, by Paul Ponti after Paul Schor, dated 1649), 9ff., 690 (=692) pp. + 11 numbered plates (I-X, XIII) printed on one side of each of 10 leaves; Part II: 2ff. (title with vignette, fine full-page engraved frontispiece), 462 pp. + 18 ff. (indexes and errata) + 12 numbered plates (XI-XI, XIV-XXXIII) printed on one side of each of 11 leaves. The two volumes thus contain 3 unnumbered full-page plates together with 23 numbered plates printed on 21 leaves (plates IV and V are printed on a single leaf, as are plates XI and XII). The plates are all finely engraved and illustrate a variety of musical instruments, among them the harpsichord, organ, strings and winds. With numerous woodcut illustrations, diagrams, tables, etc. within text, including many of musical instruments. Musical examples printed typographically in diamond-head notation, including many of various musical forms including multiple contrapuntal part-writing. Some mispagination to Part I at pp. 554-560 and errors in pagination from page 577 on.  Contemporary vellum (somewhat stained and rubbed. Some slight staining or browning, initially slightly tidemarked, folding plates some small tears in margin, title of part I with restored tear lower right. \u003c\/span\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003eDamschroder pp. 139-140. Cortot pp. 99-100. Hirsch I, 266. Gregory-Bartlett I, p. 135. Wolffheim I, 732. RISM BVI p. 449. \u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003eThis extraordinarily wide-ranging seventeenth-century work on music was written by the German Jesuit priest and scholar Athanasius Kircher, a polymath who authored books on subjects including religion, geology, medicine, history, and music. The \u003ci style=\"\"\u003eMusurgia universalis\u003c\/i\u003e was Kircher's attempt to bring together the complete musical knowledge of his day, and includes much valuable material including musical examples, some of which are complete works, engraved plates of musical instruments, plans for the construction of organs, and even notation of birdsong. Arguably the most spectacular seventeenth-century book on music, it is a cornerstone of the literature.\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003e“\u003ci\u003eMusurgia universalis\u003c\/i\u003e, one of the really influential works of music theory, was drawn upon by almost every later German music theorist until well into the 18th century… Much of Kircher’s contrapuntal doctrine derives from Zarlino, and in this and some other respects \u003ci\u003eMusurgia universalis\u003c\/i\u003e presents a synthesis of 16th- and 17th-century Italian and German compositional practices. A specifically German feature, however, is the description of the affective nature of music, in which Kircher brought the concept of \u003ci style=\"\"\u003emusica pathetica\u003c\/i\u003e into relation with the formal constructive elements of rhetorical doctrine... His ideas concerning the classification of musical styles, based on sociological as well as national characteristics, are also original and important for the study of Baroque music... Although he was apparently not a practising musician he was able to identify the best music composed and performed in his own (and earlier) times. In \u003ci style=\"\"\u003eMusurgia universalis\u003c\/i\u003e he quoted frequently extensive music examples from composers such as Agazzari, Gregorio Allegri, Carissimi, Froberger, Gesualdo, Kapsberger, Domenico Mazzocchi and Morales. Other aspects of his treatise that contribute to an understanding of 17th-century musical thought include the lengthy discussions of acoustics, musical instruments..., the history of music in ancient cultures and the therapeutic value of music.\" (George J. Buelow, Grove Online)\u003c\/div\u003e\u003cdiv style=\"\"\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093578829983,"sku":"15261","price":10500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Kircher_Musurgia_Universalis_15261c.jpg?v=1722188963"},{"product_id":"15387-wagner-richard-1813-1883-to-be-or-not-to-be-autograph-quotation-signed","title":"Wagner, Richard. (1813–1883) \"To be, or not to be\" - Autograph Quotation Signed","description":"\u003cdiv style=\"\"\u003eAQS on a small slip, signed \"Richard Wagner.\" Wagner pens the iconic line from William Shakespeare's Hamlet, \"To be, or not to be.\" Affixed to a piece of scrapbook paper and in very good condition, with some creasing, soiling, and small areas of surface paper loss; overall in very good to fine condition. 4 x 2.25 inches (10 x 5.8 cm), mounted to 4.5 x 2.75 inches (11.3 x 7 cm).\u003cbr\u003e\n\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cspan style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/span\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003eWagner had a lifelong affinity for the works of Shakespeare, beginning as a young man when, he recalled, he dreamt of meeting the Bard: \"I dreamt that Shakespeare was alive, and that I met him and spoke to him, actually, in the flesh; the impression this dream left on me was indelible...\" Wagner's first major work, \u003ci style=\"\"\u003eLeubald \u003c\/i\u003e(written in 1827–28 while he was at school), was a six-hour play whose plot is clearly directly inspired by \u003cem style=\"\"\u003eHamlet\u003c\/em\u003e\u003cspan style=\"\"\u003e, \u003c\/span\u003e\u003cem style=\"\"\u003eRomeo and Juliet\u003c\/em\u003e\u003cspan style=\"\"\u003e, \u003c\/span\u003e\u003cem style=\"\"\u003eMacbeth\u003c\/em\u003e\u003cspan style=\"\"\u003e, \u003c\/span\u003e\u003cem style=\"\"\u003eKing Lear\u003c\/em\u003e\u003cspan style=\"\"\u003e, \u003c\/span\u003e\u003cem style=\"\"\u003eHenry IV Part One\u003c\/em\u003e\u003cspan style=\"\"\u003e and \u003c\/span\u003e\u003cem style=\"\"\u003eRichard III\u003c\/em\u003e; one of his first operas, \u003ci\u003eDas Liebesverbot\u003c\/i\u003e, was a lighter reworking of \u003ci\u003eMeasure for Measure.\u003c\/i\u003e As many of his acquaintances recall, Wagner was also fond of reading the works of Shakespeare aloud, especially while in Bayreuth.\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093583089823,"sku":"15387","price":7500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Wagner_Shakespeare_To_Be_15387_001.jpg?v=1722188987"},{"product_id":"17184-brahms-johannes-1833-1897-sind-es-schmerzen-sind-es-freuden-from-die-schone-magelone-autograph-musical-quotation","title":"Brahms, Johannes. (1833–1897) \"Sind es Schmerzen, sind es Freuden\" from \"Die schöne Magelone\" - Autograph Musical Quotation","description":"\u003cdiv style=\"\"\u003eAutograph musical quotation in the hand of the great composer, who has penned the opening three measures of his lied \"Sind es Schmerzen, sind es Freuden\" from \"Die schöne Magelone\", inscribed and signed \"Johannes Brahms.\" From the album of \u003cspan style=\"\"\u003eBertha Von Suttner (1843-1914), winner of the 1905 Nobel Peace Prize. \u003c\/span\u003eIn fine condition.  2.25 x 3.5 inches (9.3 x 5.6 cm).\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003e\n\u003cspan style=\"\"\u003eC\u003c\/span\u003eompleted in 1869, Brahms's song cycle \u003ci style=\"\"\u003eDie Schöne Magelone\u003c\/i\u003e is one of the most beautiful song cycles of the romantic era and a\u003cspan style=\"\"\u003emong all the wealth of Lieder that Brahms composed, it is his only real song cycle.\u003c\/span\u003e  It derives from a quasi-medieval romance, in prose and verse, by Ludwig Tieck about a Provençal knight-errant called Peter and his love for the beautiful, if initially unavailable, Magelone. The 15 poems that Brahms fashioned into “romances” are taken from Ludwig Tieck’s novella The Wondrous Romance of Magelone the Fair and Peter Count of Provence (1797). The present quotation is from the third song in the cycle, \u003ci\u003eSind es Schmerzen\u003c\/i\u003e (\u003ci\u003eAre these sorrows\u003c\/i\u003e), where we encounter Peter in love. \u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093641973919,"sku":"17184","price":14000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Brahms_AMQS_17184_01.jpg?v=1722189385"},{"product_id":"20155-barber-samuel-1910-1981-mitropoulos-dimitri-1896-1960-vanessa-vocal-score-inscribed-to-mitropoulos","title":"Barber, Samuel. (1910–1981) [Mitropoulos, Dimitri. (1896–1960)] \"Vanessa\" - Vocal Score INSCRIBED TO MITROPOULOS","description":"\u003cdiv style=\"\"\u003eVocal Score. Piano reduction by the composer.  4to.  Softcover.  Lithograph.  [PN 44349].  Title (Licensing note); Characters (Synopsis); Synopsis (vb); 1–269 pp.  Barber has inscribed to the conductor who lead the work's premiere, \"For Dear Dimitri— \/ with appreciation boundless \/ affectionately, \/ Sam \/ Capricorn [Barber's house in Mount Kisco, NY] October '58\" in black ink to the title page.  Partial internal separation of wrapper from spine, general wear to cover and spine, else in fine condition.\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003eBarber's opera \u003ci style=\"\"\u003eVanessa\u003c\/i\u003e, with a libretto by Gian Carlo Menotti, was composed in 1956–1957 and was first performed at the Metropolitan Opera in New York City, under the baton of Mitropoulos, on January 15, 1958, winning the composer the 1958 Pulitzer Prize for music.  Barber revised the opera in 1964, reducing the four acts to the three-act version most commonly performed today. The libretto, inspired by Isak Dinesen's \u003ci style=\"\"\u003eSeven Gothic Tales\u003c\/i\u003e, concerns a lonely woman, Vanessa, who confronts loss and the passage of time. \u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003eDimitri Mitropoulos was Greece’s most prolific conductor and New York Philharmonic Music Director from 1949-1958.  Widely regarded as one of the most significant conductors of the twentieth century, he is best remembered for his significant recorded legacy and for his commitment in bringing new compositions to the stage of major symphony orchestras.  Indeed, it is thanks to his efforts that many of our current symphonic standards made their way into the repertory.  He gave World and American premiers of seminal works such as Gustav Mahler’s Symphony No. 6 and Schoenberg’s Erwartung, as well as other major works by Schoenberg, Shostakovich, Prokofiev, and many others.  \u003cbr style=\"\"\u003e\n\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093739884703,"sku":"20155","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Barber_Samuel_Mitropoulos_Dimitri_Vanessa_Signed_Score_20155b.jpg?v=1722190032"},{"product_id":"22239-berg-alban-redlich-hans-ferdinand-perle-george-wozzeck-printed-full-score-with-inscriptions-from-redlich-and-perle","title":"Berg, Alban. (1885 - 1935) [Redlich, Hans Ferdinand. (1903–1968) \u0026 Perle, George. (1915–2009)] Wozzeck – Printed full score with inscriptions from Redlich and Perle","description":"\u003cdiv style=\"\"\u003e[Op 7]. Georg Büchners Wozzeck Oper in 3 Akten (15 Szenen)... Op. 7 Partitur. Upright folio. Lithographed facsimile from copyist's manuscript. Modern green boards, lettering gilt to spine, original publisher's upper wrapper printed in dark green bound in. 1f. (title), 1f. (facsimile of Berg's autograph dedication \"Alma Maria Mahler zugeeignet\"), [1] (\"Szenarium\"), [2] (list of orchestral instruments), [3] (cast list), [4] (instructions for performing the Sprechstimme), 5–405 (music) pp. [PN] U. E. 7379; second PN, \"7382\" (referring to Universal's piano-vocal score) to pp. [2] and [3]. Printer's footnote to final page of music: \"Waldheim-Eberle A.G. Wien\". Signature \"H.F. Redlich\" to upper right corner of front endpaper, followed by note in Redlich's hand, \"(since 1953) binding Dec. 1967. [one more word, illegible]\"; below, dedication in the hand of Redlich's widow, Erika Burger: \"To George Perle with much love and in memory of H. F. R.\" One more signature of Redlich to upper right corner of title, again followed by note, \"since 1953.\" Note in pencil to the bookbinder to head of upper wrapper, \"Cover to be bound in.\" Notes and underlinings in blue ink (ball-point pen) to the PNs of pp. [3] and [4], probably by Redlich. Further annotations, difficult to decipher and possibly also in Redlich's hand, to left margin of p. 52, vocal part of p. 56, Wozzeck's part of p. 103 (\"Falsett\"), and pp. 123, 237 and 292. Upper wrapper browned to edges, scratched and somewhat soiled, with repair to gutter dating to modern binding. Lower wrapper lacking. Otherwise, a very fine copy.\u003c\/div\u003e\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\u003cdiv style=\"\"\u003e\n\u003cdiv style=\"\"\u003eThe publication of the full score was preceded by a piano-vocal score by Berg's student Fritz Heinrich Klein, which Berg had self-published in 1925 with financial support from Alma Mahler. Georg Büchner's (1813–1837) fragmentary drama Woyzeck was written in 1836 but remained unpublished until 1879 and did not see the stage before Max Reinhardt produced it in Munich in 1913. Its Viennese premiere, in 1914, prompted Berg to compose his opera—the first atonal opera in history and arguably the most successful one to this day. \u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\"\u003ci style=\"\"\u003eWozzeck\u003c\/i\u003e was an epoch-making work that broke new ground musically, emotionally and dramatically. If Büchner's play was discovered and first performed at a time when its techniques and concerns seemed strikingly contemporary, it also appeared at a moment when its extreme states were peculiarly suited to Berg’s musical language – an atonal language that, constantly hovering on the edge of tonal confirmation, becomes a perfect musical metaphor for the emotional and mental state of the opera's chief protagonist. The world that the opera presents is a projection of the tortured mind of Wozzeck himself: a world without normality or humanity and peopled by grotesques, a haunted world of strange, hallucinatory voices and visions and of natural phenomena indifferent to the human tragedy being played out.\" (Douglas Jarman in \u003ci style=\"\"\u003eGrove Online\u003c\/i\u003e)\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003eHans Ferdinand Redlich was an Austrian-born musicologist, conductor and composer. He lived in in Germany from 1921 to 1937; after a brief return to Austria, he emigrated to England in 1938 and established himself there. He wrote the first book on Berg in English (1957). As demonstrated by the second inscription, his widow later donated the present copy to American composer George Perle, who also studied Berg's music and published a book on \u003ci style=\"\"\u003eWozzeck\u003c\/i\u003e in 1980.\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093806895263,"sku":"22239","price":2200.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Berg_2C_Alban_Wozzeck_full_score_with_inscriptions_22239c.jpg?v=1722190499"},{"product_id":"22883-prokofiev-sergei-1891-1953-inscribed-copy-of-visions-fugitives-op-22","title":"Prokofiev, Sergei. (1891-1953) Inscribed copy of \"Visions fugitives,\" Op. 22","description":"\u003cp\u003eSigned copy of the cycle of 20 short pieces for piano by the eminent Russian composer and pianist.  Upright folio. Bilingual title (Russian\/French); 2 - 33 pp.   [PN] A. 10314. G..  Inscription in French to right head of title, \"À Mme Régina Barbès \/ en la remerciant avec M. Barbès \/ pour le charmant accueil à Alger \/ Serge Prokofieff \/ 1935 \/ Visions éxécutées le 17 décembre 1935: 3, 11, 16, 9\". Scattered foxing throughout, else fine. \u003c\/p\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003ePresentation copies from the composer are unusual and this is an especially intriguing copy of one of the composer's most important works, inscribed to influential music lovers in Algiers, then under French rule, where Prokofiev performed on December 17, 1935. Prokofiev's appearance in Algiers was part of a three-week recital tour of North Africa with Robert Soetens (1897 -1997), French violinist, remembered particularly for premiering Prokofiev's Violin Concerto No. 2 just 2 weeks earlier, on December 1, 1935.\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eProkofiev started experimenting with a number of short piano works in 1915, completed them in 1917, and gave them their first public performance on 15 April 1918 in Petrograd\/St. Petersburg. At a private performance some months before, the Russian poet \u003cspan style=\"background-color: white;\"\u003eKonstantin Balmont\u003c\/span\u003e was so inspired that he composed a sonnet on the spot and this poem inspired Prokofiev to use one of the lines of the poem, which he called ‘a magnificent improvisation,’ as the title for this piece, \u003cem\u003eMimolyotnosti\u003c\/em\u003e.  Balmont’s poem, ‘I do not know wisdom,’ uses the word ‘mimolyotnosti’ as the centre of two important lines. The word, which means ‘transiences’ in English, was used in its French translation, ‘visions fugitives’ and that same translation has been applied to the title of Prokofiev’s work.\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cp align=\"center\"\u003e\u003cem\u003eI do not know wisdom — leave that to others —\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eI only turn transiences\/fugitive visions [mimolyotnosti] into verse.\u003c\/em\u003e\u003cbr\u003e\u003cem\u003eIn each fugitive vision I see worlds….\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBalmont had been a source for some early songs by Prokofiev, starting with ‘The White Swan’ and ‘The Wave,’ dating from 1909. Balmont’s texts were also set by Tcherepnin, Myaskovsky, and Stravinsky, among others. The fugitive visions seem to be based around a fugitive tonality – Prokofiev is experimenting with modernism in these works and, at the same time, experimenting with much older forms.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003eThe cycle \u003ci\u003eVisions fugitives \u003c\/i\u003ewas first published by Gutheil in Moscow in the same year.  The present copy post-dates the emigration of the publisher, but the confusing facts of publication, naming three publishers but crediting only one of them (Breitkopf \u0026amp; Härtel) with a place, do not allow for an exact date at this time. A copy at the Bibliothèque national de France in Paris, tentatively dated 1922, seems to be more or less identical.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093827735711,"sku":"22883","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Prokofiev_2C_Sergei._Inscribed_copy_of_Visions_fugitives_2C_Op._22883a.jpg?v=1722190643"},{"product_id":"23209-surrealism-bunuel-luis-1900-1983-dali-salvador-1904-1989-lage-dor-1930-premiere-program","title":"[Surrealism] Buñuel, Luis. (1900–1983) \u0026 Dalí, Salvador. (1904–1989) L'AGE D'OR - 1930 Premiere Program","description":"\u003cdiv style=\"\"\u003eOriginal French-language program for the premiere of Luis Bunuel’s celebrated surrealist satirical comedy film \u003ci\u003eL'Age d'Or\u003c\/i\u003e (The Golden Age or Age of Gold), which debuted at Studio 28 in Paris on November 29, 1930. The program, 48 total pages, 12mo (5.25 x 8.5 inches), contains illustrations by Salvador Dali, Arp, Joan Miro, Max Ernst, Man Ray, and Yves Tanguy, dialogue and images from the film, and lists of surrealist works to be viewed at Studio 28 or purchased from the Jose Corti Library.  Also included is a manifesto by Aragon, Breton, Char, Crevel, Dali, Eluard, Peret, and Tzara. In very good condition, with handling wear, creasing, and soiling throughout, heaviest to the covers which have been partially restored with expert in-painting at several points. Accompanied by a clothbound clamshell case. Very rare. \u003cbr\u003e\n\u003c\/div\u003e\u003cdiv style=\"\"\u003e\n\u003cbr role=\"presentation\" data-uw-rm-sr=\"\" style=\"\"\u003eAlongside Bunuel and Dali’s earlier film \u003ci\u003eUn Chien Andalou, L'Age d'Or\u003c\/i\u003e is widely regarded as one of the key works of surrealist cinema. One of the first sound films made in France, \u003ci\u003eL'Age d'Or \u003c\/i\u003eproved successful yet highly controversial upon its release, with members of the right-wing Ligue des Patriotes disrupting a screening by throwing ink at the cinema screen and attacking viewers. The Patriots proceeded to the lobby and destroyed artwork by Dalí, Joan Miró, Man Ray, Yves Tanguy, and others. On December 10, 1930, the Prefect of Police of Paris arranged to have the film banned from further public showings after the Board of Censors re-reviewed the film. In response, the producers withdrew \u003ci\u003eL'Age d'Or\u003c\/i\u003e from commercial distribution and public exhibition for more than 40 years; nonetheless, three years later, in 1933, the film was privately exhibited at the Museum of Modern Art in New York City.\u003cbr style=\"\"\u003e\u003cdiv style=\"\"\u003e\u003cspan style=\"background-color: rgb(243, 243, 21);\"\u003e\u003cbr style=\"\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv style=\"\"\u003e\u003cspan style=\"\"\u003e\u003cbr style=\"\"\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":46093838680223,"sku":"23209","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Bunuel_Dali_age_of_gold_program_23209a.jpg?v=1722190718"},{"product_id":"ginsberg-allen-1926-1997-father-sleeping-unpublished-autograph-haiku-manuscript","title":"Ginsberg, Allen. (1926–1997) [Bennett, Tony. (1926-2023)]  \"A Blake Dictionary\"  - with lengthy inscription and a long letter from Ginsberg to Tony Bennett","description":"\u003cp\u003eAutograph letter and inscribed book, constituting a most intriguing and unexpected association between Allen Ginsberg and Tony Bennett and 18th century English poet William Blake. Two items, as follows:\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan\u003e\u003cem\u003eA\u003c\/em\u003e \u003cem\u003eBlake Dictionary, The Ideas and Symbols of William Blake (S. Foster Damon, With a New Index by Morris Eaves)\u003c\/em\u003e. Paperback with ownership signature to front flyleaf and inside front cover, \"Allen Ginsberg Naropa 1979\" and with a lengthy later presentation inscription below and onto opposite facing page from Ginsberg to legendary crooner Tony Bennett, noting that \"I helped get this book reprinted in paperback - but have a big hardcover at home - Barnes \u0026amp; Noble will replace mine when they get one, so you're welcome to this copy - a sort of indexed key to Blake's Terms + symbols - I hope it gives you pleasure \u0026amp; wit -,\" signed, \"Allen Ginsberg.\" A postscript reads, \"I never tried to read \/ this thru - just used it as a handbook when I wanted to understand a specific verse that used these names - like Urizen, Luvah, etc. ...A.G.\" 8vo. xii+532 pp. Covers worn, else fine. \u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003eAutograph letter from Allen Ginsberg to Tony Bennett dated September 20, 1985, on Naropa Institute letterhead.  2 pp. The letter begins, \"Here's a copy of my Blake \/ record - 1969 - I found it today...\" referring to Ginsberg's album \u003cem\u003eSongs of Innocence and Experience \u003c\/em\u003ethat set Blake's work to music. Ginsberg continues explaining that \"Charlie Mingus, a neighbor at the time, advised me on some musicians...It was my first time in a studio...let's try to do something together with Blake and other classic lyrics. At least sometime sit down of a Norton Anthology of English poetry \u0026amp; look over what you might like to set to music.\"\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003e\"Alec Wilder set one of William Blake's poems to music for me, and I was reading Blake last night. Imagine being that talented and feeling so much at the same time!\" (Tony Bennett, as quoted in \"\u003c\/span\u003eTony Bennett: “A Quality That Let’s You In,\" interviewed by Steven A. Cerra)\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eWilliam Blake’s influence on the Beat Generation is arguably more significant than that of any other writer or artist. Most notably he was Ginsberg’s “guru” and the “catalyst” for his poetry, and even warranted a mention in “Howl”. Blake supposedly appeared to Ginsberg in 1945 and read “Ah Sun-flower”, and again in 1948 when Ginsberg was reading “The Sick Rose”. He explained,\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\"I was never able to figure out whether I was having a religious vision, a hallucinatory experience, or what, but it was the deepest ‘spiritual’ experience I had in my life, and determined my karma as poet. That’s the-key pivotal turnabout of my own existence. That’s why I was hung up on setting Blake to music.\"\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":61979922137247,"sku":"24017","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Ginsberg_Bennett_ABlakeDictionaryinscription24017h.jpg?v=1742496136"},{"product_id":"24201-mendelssohn-bartholdy-felix-1835-program-of-mendelssohn-s-inaugural-concert-as-conductor-of-the-gewandhaus-orchestra","title":"Mendelssohn-Bartholdy, Felix. (1809–1847) 1835 Program of Mendelssohn's Inaugural concert as conductor of the Gewandhaus orchestra","description":"\u003cp\u003e\u003cem\u003eErstes Abonnement-Concert im Saale des Gewandhauses. Sonntag, den 4ten. October 1835. \u003c\/em\u003eA remarkable original program from the first performance of Mendelssohn as conductor of Leipzig Gewandhaus Orchestra and Chorus, leading works by Beethoven (Fourth Symphony), Cherubini, Spohr, C. M. von Weber, and his own “Meeresstille und Glückliche Fahrt.” 4 pp. Tiny repair to central fold, overall in very fine condition.\u003c\/p\u003e\n\u003cp\u003eMendelssohn's inaugural concert as conductor of the Gewandhaus orchestra; his appointment with the orchestra would prove to be a productive association which he would continue to enjoy until the end of his life, and one which allowed him to make significant contributions to German musical culture.\u003c\/p\u003e\n\u003cp\u003eThe first private performance of \u003cem\u003eMeeresstille und Glückliche Fahrt\u003c\/em\u003e (\"Calm Sea and Prosperous Voyage Overture,\" Op. 27) was on September 8, 1828 at Mendelssohn’s home. The public premiere was at a benefit concert in Berlin on December 1, 1832 in the same venue where he conducted the revival of Bach’s Matthew Passion. After this performance the score was stolen. In 1834 Mendelssohn rewrote it and that is the only version we now have. \u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62135960895647,"sku":"24201","price":1600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Mendelssohn-Bartholdy_FelixInauguralconcertconductorprogram24201a.jpg?v=1746999502"},{"product_id":"24586-sondheim-stephen-typed-letter-signed-suggesting-songs-most-suitable-for-playing-in-clubs","title":"Sondheim, Stephen. (1930-2021) Typed Letter Signed, suggesting songs \"most suitable for playing in clubs\"","description":"\u003cdiv\u003eTyped letter signed from the important composer and lyricist. One page, 5.75 x 7.75 inches.  Personal letterhead, September 14, 1992, to Paul Roth. In full: “Thanks for the letter. The problem is that I don't have any 'favorite' compositions, but some of the ones that strike me as most suitable for playing in clubs would be 'Losing My Mind,' 'Good Thing Going\" (from Merrily We Roll Along), 'Anyone Can Whistle' and 'Like It Was' (also from Merrily...). Thanks for your enthusiasm, Stephen Sondheim.\" Slight toning, else in fine condition.\u003ci\u003e\u003c\/i\u003e\n\u003c\/div\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62509553516703,"sku":"24586","price":800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/SondheimTLSplayinginclubs24586a.jpg?v=1758902747"},{"product_id":"25047-telemann-georg-philipp-partially-autograph-document-regarding-music-for-the-coronation-cantata-of-emperor-francis-i","title":"Telemann, Georg Philipp. (1681 - 1767) Partially Autograph Document Regarding Music For the Coronation Cantata of Emperor Francis I","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003e\"Verzeichnis der Personen, so beÿ der absenden Kaÿserl. Cronungs-Music, so in der St Johannis-Kirche d. 8 Xbr. \u003cspan class=\"match\"\u003e1745\u003c\/span\u003e aufzufuhren ist, zu gebrauchen sind, nebst deren Bezahlung...\" [“List of the persons to be employed for the aforementioned Imperial Coronation Music, to be performed in St. John’s Church on January 8, 1745, along with their payment by the Chamber.”] \u003c\/em\u003ePartially autograph manuscript with the composer's name in the text, \"Telemann\" \u003cmeta charset=\"utf-8\"\u003e[his name with the characteristic initial letter, as seen in his signature], partially autograph and with additional autograph emendations and additions by the composer himself. Document partially in the hand of Telemann's principal Hamburg copyist (Hauptkopist A), with notable \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003edifferences in the hand and \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003edarker inks being those of the composer. For example, we note the difference of writing and ink between the first grouping of names and the second; the end of the fourth line at the head (adding \"from the chamber\"), and the darker writing again and cancellations towards the conclusion. \u003c\/span\u003e[Hamburg, circa September-October] 1745; 1 folio page. Right margin reinforced, a few small stains, overall fine.\u003c\/p\u003e\n\u003cp\u003eExtremely rare and important document for the performance of music for the Coronation Cantata of Emperor Francis I.\u003c\/p\u003e\n\u003cp\u003eThis important document is the list of people needed to perform the festive music for the Emperor's coronation in St. John's Church on December 8, 1745, with the salary to be paid to each. At the head of the list is \"Telemann, for the composition\" (50 Reichsthaler); followed by the names of the participants with their salaries. \u003cmeta charset=\"utf-8\"\u003eMost of the participants are grouped into two categories with curly brackets: singers (ten names) and assistants (eight \u003cem\u003eRathsmusicanten)\u003c\/em\u003e, 3 trumpeters and a timpanist, a clarinetist, a copyist (\u003cem\u003eNotist\u003c\/em\u003e), the horn player, the organist, etc., down to the instrument bearer, the tuner, and a harpist. The full costs amounts to 127 Rthl.  Of great social-historical interest are also these other listed participants, the many, mostly nameless, helpers without whom such an event could not take place and who are so quickly forgotten. \u003cmeta charset=\"utf-8\"\u003eThis part of the list gives an impression of the additional services required in the mid-18th century for such a celebratory concert, with the organist needing not only a bellows player but also a keyboard tuner. \u003c\/p\u003e\n\u003cp\u003eAt the foot of the document is a later autograph attestation of the collector Bernhard Müller (1825-1895), violist of the Müller quartet. This and subsequent provenance also erroneously describing the document as fully autograph of the composer: Wolfheim Collection (Wolffheim II, Number 106, p. 48); Karl Geigy-Hagenbach of Basel (Stargardt, Marburg, May 30-31, 1961, no. 942); Musikantiquariat Dr. Ulrich Drüner Katalog 65 (2009); Private Collection, Rome, Italy. \u003c\/p\u003e\n\u003cp\u003eSince 1721, Telemann had been active in Hamburg as cantor at the Johanneum and music director of the five main churches. Especially in the latter position, he received many commissions, of which the one documented here was certainly among the most representative. Many political events are reflected in the works of those composers who were firmly integrated into the public life of their places of activity. \u003cbr\u003e\u003cbr\u003eThus, Telemann had composed a funeral piece for the death of Emperor Charles VII (January 20, 1745), having already musically celebrated his coronation in 1742. Later that same year, Emperor Francis I Stephen (1708–1765) ascended the throne, and the process repeated itself: Telemann was once again commissioned to compose festive coronation music, and so he composed the two cantatas TWV 13:15 and 13:16, the cost accounting for which is recorded in the present document.\u003c\/p\u003e\n\u003cp\u003eNaturally, Telemann also had to contribute a funeral piece for the death of Emperor Franz I in 1765.\u003c\/p\u003e\n\u003cp\u003eA very intriguing document from the prolific German Baroque composer and multi-instrumentalist. During his lifetime, he was the most famous and esteemed composer in Germany, and his music was considered more modern, more progressive and à la mode than Bach’s. When he and Bach both applied for the same musical job in Leipzig, it was only when Telemann dropped out of the running, that the city fathers reluctantly hired Bach -  their second choice.  History, of course, now judges Bach the true transcendent genius, but Telemann was a greatly skilled craftsman and his music is filled with charm and wit. While Bach’s vision was more metaphysical and Telemann's more humanistic, it's worth noting that Bach asked Telemann to be the godfather to his son Carl Philipp Emanuel - surely a tribute of his esteem. \u003c\/p\u003e\n\u003cp\u003eTelemann’s talents and interests were more wide-ranging than most of his contemporaries: he played many instruments; wrote poetry and prose (including not one, but two autobiographies!); was a pioneer in music publishing; experimented avidly in program (descriptive or storytelling) instrumental music, with delightful pieces based on Don Quixote and Gulliver’s Travels, among other subjects; was one of the first composers to embrace folk influences, traveling in Poland and subsequently incorporating fiddling techniques and eastern modalities into his concertos and suites, anticipating musical “nationalism” by at least a century; was a force behind the emergence of the public concert. \u003c\/p\u003e\n\u003cp\u003eTelemann is also frequently cited as the most prolific composer in history and is believed to have written over three thousand compositions (many now lost).  His catalogue includes over a thousand cantatas (like Bach, he was engaged in writing one of these for every Sunday), over 400 orchestral suites, some 35 operas, 46 Passion oratorios, over 100 concertos, and an untold number of chamber pieces of various kinds.\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62581561819295,"sku":"25047","price":14000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/TelemannAutographDocumentCoronationMassofEmperorFrancis25047a.jpg?v=1763851397"},{"product_id":"25255-warhol-andy-barber-samuel-menotti-gian-carlo-a-hand-of-bridge-with-covers-by-warhol","title":"[Warhol, Andy. (1928–1987)] Barber, Samuel. (1910–1981) \u0026 Menotti, Gian Carlo. (1911–2007) \"A Hand of Bridge\" - WITH COVERS BY WARHOL","description":"\u003cp\u003e\u003cem\u003eA Hand of Bridge. For Four Solo Voices  and Chamber Orchestra. Text by Giano Carlo Menotti.\u003c\/em\u003e Upright folio. 28 pp. First leaf with a tear along the right edge, else fine throughout. Uncommon. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cem\u003eA Hand of Bridge\u003c\/em\u003e\u003cspan\u003e is a very short chamber opera by Samuel Barber (music) and Gian Carlo Menotti (libretto), who were friends of Warhol’s and \u003cmeta charset=\"utf-8\"\u003ethe cover was exclusively designed by Warhol for this sheet music publication. Perfect for haters of opera, the opera only lasts for about nine to ten minutes. It premiered in 1959 in Spoleto, Italy and a year later in the US. In 1960 the sheet music was published by G. Schirmer. The present example includes the line “G. Schirmer, New York” as written in Julia Warhola’s hand writing (Warhol’s mother), but with the second issue price of $3.00 (first published at $2.50). Later copies have the name of the publisher in a different font and then with a bar code on rear cover.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eWarhol’s drawings with so called sprite faces in the form of hearts, clubs, spades and diamonds were made for this booklet exclusively. Warhol also designed stage plans and costumes for another opera by Menotti, \u003cem\u003eIntroductions and Goodbyes\u003c\/em\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62620057829535,"sku":"25255","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/WarholBarberMenottiAHandofBridge25255a.jpg?v=1769642174"},{"product_id":"25298-mahler-gustav-broadside-defense-of-the-composer-s-re-orchestration-of-beethoven-s-ninth-symphony","title":"Mahler, Gustav. (1860-1911) Broadside \"Defense\" of the Composer's Re-Orchestration of Beethoven's Ninth Symphony","description":"\u003cp\u003eLarge single sheet flyer, printed for the composer and conductor and distributed at his \u003cspan\u003eFebruary 22, 1900 performance of Beethoven's Ninth Symphony. \u003c\/span\u003eTwo small tears to left edge and a small stain and tear to lower right corner, else fine. 13.5 x 8 inches (34 x 25.5 cm). \u003c\/p\u003e\n\u003cp\u003eVery rare.  We have not traced any examples of this important document ever having appeared at auction and Worldcat likewise locates no institutional copies. \u003c\/p\u003e\n\u003cp\u003eOn February 18, 1900, Mahler conducted the Wiener Philharmoniker at the Musikverein in Vienna at the annual Nicolaikonzert, in his own re-re-orchestration of \u003cmeta charset=\"utf-8\"\u003eBeethoven’s \u003cem\u003eNinth Symphony\u003c\/em\u003e, \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003ehis decades-long project to modernize the symphony through the incorporation of modern instruments and techniques, an attempt, according to him, to enhance the expression to Beethoven’s intentions, who he felt had not had an orchestra sufficiently suited to his musical imagination.  \u003cmeta charset=\"utf-8\"\u003eMahler's orchestration of the Ninth remains controversial and its critical reception has been mixed.  His erasures and additions in the choir passages in the finale —which he doubled by other instruments, because he considered them otherwise not properly set in relief — leave even present-day listeners perplexed. But his intention was to bring out in this score the timbre clarity and the “melodischer Gang” (melodic ductus)—which were also the goal of Wagner’s indications in his own reworkings.  Indeed, Mahler was following a very personal ideal of performance, pursuing a much broader and more nuanced concept of “Werktreue” (faithfulness to the original). \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eMahler’s \u003cem\u003eRetuschen\u003c\/em\u003e of Beethoven’s “sacred text,\" however, \u003cspan\u003earoused a savage response from critics, one calling it \"scarcely recognizable\" and a \"forgery.\"\u003c\/span\u003e In \u003cem\u003eDeutsche Zeitung\u003c\/em\u003e, a newspaper with anti-Semitic orientation, Theodor Helm describes Mahler’s performance of Beethoven’s “Wunderwerk” (miracle work) as alienating and too far removed from “wie es der Meister schrieb” (as the master wrote).  Indeed, \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eK.M. Knittel suggests that pervasive antisemitism in \u003c\/span\u003e\u003ci\u003efin-de-siècle\u003c\/i\u003e\u003cspan\u003e Vienna offers the best explanation for critics' reactions. \u003cmeta charset=\"utf-8\"\u003eMahler was so taken aback by these criticisms that he decided to issue an explanatory note, responding to critics stressing that he had proceeded carefully, noting that he was not the first conductor to make changes to the Ninth, and stating that he had a \"veneration\" for Beethoven.  He conducted a repeat performance on February 22, 1900 and \u003c\/span\u003ethe present “defense” was distributed gratis at this second performance in which the overture was not included. \u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62644361527455,"sku":"25298","price":3500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/MahlerDefenseoftheComposer_sRe-OrchestrationofBeethoven25298b.jpg?v=1768857150"},{"product_id":"25323-bishop-elizabeth-bidart-frank-the-fish-broadside-inscribed-to-frank-bidart","title":"Bishop, Elizabeth. (1911 - 1979) [Bidart, Frank. (b. 1939)] The Fish [broadside] - INSCRIBED TO FRANK BIDART","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan itemprop=\"bookEdition\"\u003eBroadside poem, first edition, first impression, and the first separate printing, being a presentation copy from apparently only eight copies signed by the poet, this example being undoubtedly the most important example ever to appear on the market, signed and inscribed to her close friend and fellow poet, Frank Bidart. 13 x 9 inches. Toning, mounting stains to corners, overall fine. Framed and glazed. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan itemprop=\"bookEdition\"\u003eFirst published in 1940 in \u003cem\u003ePartisan Review\u003c\/em\u003e and subsequently in Bishop’s first collection, \u003cem\u003eNorth \u0026amp; South\u003c\/em\u003e (1946), “The Fish” was one of Bishop’s earliest and most successful poems. Robert Lowell praised the poem, along with “The Rooster”, in his 1947 review of \u003cem\u003eNorth \u0026amp; South\u003c\/em\u003e as “the best poems that I know of written by a woman in this century”.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan itemprop=\"bookEdition\"\u003e MacMahon records that David Ishii, a bookseller and fisherman, commissioned this unauthorized printing in anticipation of Bishop delivering the Roethke Memorial Reading in May 1974. According to MacMahon, she signed 12 copies: “Seven copies were distributed; five remain in the possession of Mr. Ishii. One unsigned copy belongs to the printer. None are for sale”.  Bookseller, Taylor Bowie, whose mother was Assistant to the Chair of the English Dept. at University of Washington, was a friend of Bishop's and it recalls somewhat differently: \"Ishii...\u003c\/span\u003easked me if I thought I could get her to sign some of them and I said I would ask when she was next in Seattle. Elizabeth was very hesitant about doing so and was worried that she would get in trouble if Bob Giroux heard about it…both the printing and the possible signing of some copies. But after we discussed it a while,  she agreed to sign some for David.  As I recall,  she signed only five for David and took three copies for herself….one of which she gave to her friend Frank.\" \u003cspan itemprop=\"bookEdition\"\u003eAlthough OCLC records no locations for the broadside, Vassar College Library and the Carter Burden Collection at the Pierpont Morgan Library each have a copy. (MacMahon, “Appendix II, Unauthorized Printing”, pp. 210-211) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDuring her lifetime, poet Elizabeth Bishop was a respected yet somewhat obscure figure in the world of American literature. Since her death in 1979, however, her reputation has grown to the point that many critics, like Larry Rohter in the New York Times, have referred to her as \"one of the most important American poets\" of the 20th century. Bishop was a perfectionist who did not write prolifically, preferring instead to spend long periods of time polishing her work. \u003cmeta charset=\"utf-8\"\u003eHer status as one of the greatest American poets of the 20th century is based on the smallest of oeuvres. Some 70 poems were published in her lifetime in four very slim volumes. Her verse is marked by precise descriptions of the physical world and an air of poetic serenity, but her underlying themes include the struggle to find a sense of belonging, and the human experiences of grief and longing. She died in 1979, aware that her reputation was steadily increasing, eclipsing that of her close friend and fellow poet Robert Lowell. Since her death and the publication of two superb volumes of her correspondence, \u003cem\u003eOne Art \u003c\/em\u003eand \u003cem\u003eWords in Air\u003c\/em\u003e(letters between her and Lowell) it has grown ever more secure. In the select pantheon of 20th-century poets writing in English, she is placed with TS Eliot, WB Yeats, Wallace Stevens and WH Auden. Her poems often took her years to write and complete, and their formal perfection and the simple, limpid accuracy of their language have always drawn the admiration of other poets. John Ashbery called her \"the writer's writer's writer.\"\u003c\/p\u003e\n\u003cp\u003eFrom the library of the important American poet Frank Bidart, who received the 2018 Pulitzer Prize for Poetry, the Griffin Poetry Prize Lifetime Recognition Award, and the 2017 National Book Award for Poetry for his book \u003cem\u003eHalf-light: Collected Poems 1965–2016.\u003c\/em\u003e \u003cmeta charset=\"utf-8\"\u003eFrank Bidart was a student and collaborator of Robert Lowell, eventually becoming a close friend and amanuensis to the elder poet, later co-editing Lowell's Collected Poems. It was t\u003cspan\u003ehrough Lowell that Bidart met Elizabeth Bishop,  and \"\u003c\/span\u003eLowell and Bishop became muses\u003cspan\u003e of a sort for Bidart...Lowell and Bishop were less teachers than parents of his own choosing, who encouraged him to become the artist he couldn’t be back home. 'I knew that knowing them—and the fact that, in some sense, they had needed me, an eager kid from Bakersfield obsessed with poetry and art, in their life—was the most unlikely gift.'\" (Hilton Als, \"Frank Bidart's Poetry of Saying the Unsaid,\" New Yorker magazine, September 4, 2017)\u003c\/span\u003e\u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62652924133535,"sku":"25323","price":18000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Bishop_Bidart_TheFishbroadside25323a.jpg?v=1769282395"},{"product_id":"25324-gluck-louise-bidart-frank-the-mystery-from-vita-nova-broadside-inscribed-to-frank-bidart","title":"Glück, Louise. (1943-2023) [Bidart, Frank. (b. 1939)] The Mystery [from Vita Nova] [broadside] - INSCRIBED TO FRANK BIDART","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan itemprop=\"bookEdition\"\u003eBroadside poem, first edition, first impression, and the first separate printing of the poem, on Arches paper, this being the author's copy, aside from the edition of only one hundred numbered copies signed by the poet.  Certainly the most important example to appear on the market, this broadside is signed and inscribed to her close friend and fellow poet, Frank Bidart: \"to Frank - profound artist + beloved friend \/ x Louise.\" 19.5 x 15.5 inches. Fine.  \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eFrom the library of the important American poet Frank Bidart, who received the 2018 Pulitzer Prize for Poetry, the Griffin Poetry Prize Lifetime Recognition Award, and the 2017 National Book Award for Poetry for his book \u003cem\u003eHalf-light: Collected Poems 1965–2016.\u003c\/em\u003e One of the closest friends and associates of Louise Glück, she has written that\u003cspan\u003e “the importance of Bidart’s work is difficult to overestimate; certainly he is one of the crucial figures of our time.” \u003c\/span\u003e\u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62652930752671,"sku":"25324","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/Gluck_LouiseTheMysteryINSCRIBEDTOFRANKBIDART25324a.jpg?v=1769282078"},{"product_id":"25325-brainard-joe-bidart-frank-twelve-postcards","title":"Brainard, Joe. (1941 - 1994) [Bidart, Frank. (b. 1939)] Twelve Postcards.","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eEnvelope with twelve postcards. Z Press Postcard Series no. 1. Postcards are fine in envelope with light wear. \u003cmeta charset=\"utf-8\"\u003e6.5 x 4.75 inches; 16.5 x 12 cm.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eFrom the collection of \u003c\/span\u003e\u003cspan\u003eFrank Bidart, who r\u003c\/span\u003e\u003cspan\u003eeceived the \u003c\/span\u003e\u003cspan\u003e2018 \u003c\/span\u003ePulitzer Prize for Poetry, the\u003cspan\u003e \u003c\/span\u003eGriffin Poetry Prize\u003cspan\u003e Lifetime Recognition Award, and the 2017 \u003c\/span\u003eNational Book Award\u003cspan\u003e for Poetry for his book \u003c\/span\u003e\u003ci\u003eHalf-light: Collected Poems 1965–2016. \u003c\/i\u003ePerhaps Bidart's most celebrated poem, \"The Second Hour of the Night,\" is partly based on his relationship with Brainard. \"The relationship was,\" as Bidart has said, both \"more than friendship and less than a romance.\" His \"In Memory of Joe Brainard\" is a profound elegy for his friend who died of AIDS-induced pneumonia in 1994. \u003c\/p\u003e","brand":"Schubertiade Music and Arts","offers":[{"title":"Default Title","offer_id":62652941598879,"sku":"25325","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0512\/4826\/7423\/files\/BrainardBidartTwelvePostcards25325a.jpg?v=1769288457"}],"url":"https:\/\/www.schubertiademusic.com\/collections\/bibliography-week-showcase-2026.oembed","provider":"Schubertiade Music and Arts","version":"1.0","type":"link"}