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1. Abt, Franz. (1819-1885).
Autograph Letter and Photograph.
Autograph letter from the German composer and influential conductor in the circle of Lortzing, Mendelssohn and Schumann. 1 page, June 2, 1861. Regarding his songs, Op. 212. Tears to two corner and margin, not affecting signature or body of letter. Together with a vintage postcard photograph.

Celebrated especially as a choral conductor, he composed more than 3000 works. "Vocal music was his main interest, especially male choral music, whose impoverished repertory he strove to enrich. His style is popular, his melodies simple and fresh, with a pleasing and varied accompaniment, so that some – like Wenn die Schwalben heimwärts ziehn and Die stille Wasserrose – are easily mistaken for genuine folksong." (Edward Kravitt, Grove Online) $100.00
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6. Bach, J.S. (1685-1750) [Schumann, Robert. (1810-1856)].
Sechs Sonaten fur Die Violine mit hinzugefugler Begleitung des Pianoforte, No. V in C dur.
Leipzig: Breitkopf & Hartel, 1853. First edition. 19, 8 pp. Folio, 33 cm., wove paper. [PN] 8740. McCorkle WoO8, Hofmann p. 331. In original green wraps, the first edition of Robert Schumann's piano accompaniment to Bach's C Major Sonata for violin solo, both parts. Disbound, but a good clean copy. Sold.

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8. Baroni - Cavalcabò, Julie. (1813-1887).
Fantaisie composée pour le Pianoforte et dedié a Monsieur W.A. Mozart Fils par son éléve, Oeuv. 4.
Together with: Sonate, Oeuv. 3. Leipzig: Breikopf and Hartel, c. 1833. First printing. Fantaisie, PN 5046; Sonate pour le Pianoforte, PN 5045. Two very uncommon editions by the Austrian pianist and composer who was a pupil of Mozart's younger son, Franz Xaver Wolfgang, with whom she studied until 1836 and to whom the present Fantaisie is dedicated. Schumann dedicated his Humoreske op. 20 to Cavalcabò and of her Op. 25 Fantasy, he remarked that "she knows how to plan and perfect a piece of music; she gives us choice harmonies, often elegant and tender; her melodies are deep-felt, though often echoing the Italian softness." (Grove Online) Sold.

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9. Beethoven, Ludwig Van. (1770-1827).
Rare Lifetime Portrait , c. 1820.
A fine stipple engraving by Friedrich Wilhelm Bollinger after the 1814 portrait by Louis Letronne (1790-1824). At left of portrait, "L. Letrone del."; at right, "Bollinger sc." Titled in the middle "LUDW. v. BEETHOVEN. // Zwickau, bei Gebr. Schumann." Page measures 21.5 X 27 cms.

The Beethoven-Haus in Bonn records this engraving as c. 1820. Sold.

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9. Barber, Samuel. (1910-1981).
Collection of privately issued and limited edition recordings of Barber, some inscribed
Nineteen rare gramophone recordings, privately issued, some from broadcasts (some probably unique), several with autograph writing or inscribed, twelve of which are contained in a worn cloth record binder stamped "Samuel Barber Compositions," including of Barber as baritone, accompanying himself performing: Brahms, "Der Gang zum Liebchen", "Der Tod, das ist die kühle Nacht"; Schubert, "Der Jüngling an der Quelle"; Schumann, "In der Fremde"; Mendelssohn, "Ist es wahr?"; C.P.E. Bach "Nonnelied", and Tuscan, English, Kentucky and Tyrolean folk-songs: all at the Curtis Institute, 26 Dec[ember 19]38, 4 records, privately issued, 78 RPM.

Barber, "1959 Accompaniment to canzona for Manfred", Command Classics, "recorded on 35mm magnetic film"

Barber, "Horizon," Standard Hour June 17, 1945, NBC Reference Recording.

Barber, "Second Essay", New York Philharmonic, Leonard Bernstein; "Knoxville, Summer of 1915", Leontyne Price, 2 records, Carnegie Hall Recording Co. [1959]

Barber, "Second Essay", New York Philharmonic, Leonard Bernstein, Carnegie Hall Recording Co., 1959

Barber, "Hermit Songs" and other songs, Leontine Price, Samuel Barber (piano). November, 1953, WNYC recordings, Mary Howard Records, 1953.

Barber, "Die Natali", Op. 37, The Boston Symphony Orchestra with Charles Munch, 2 records, Deryck Waring Recordings, and "Die Natali", dated 2 February [19]63

Barber, "Piano Concerto", John Browning, Boston Symphony Orchestra and Erich Leinsdorf, 28/9/[19]62, Fassett Recording Studio, "Horizon", Mary Howard Records, 1953

Barber, unidentifed recording marked "Samuel Barber" on label "Recorded by Van Lewis Philadelphia".

Barber, "Toccata Festiva," The Philadelphia Orchestra and The New Organ in the Academy of Music," Deryck Waring Recordings, n.d..

Louise Homer and Alma Gluck singing "Oh that we two were maying" in 1912, Victor Talking Machine Co, identified as Tested by: "Samuel Barber" [in ink] and Quality: "Fair - for them" [in ink]

Maria Kurenko singing Mussorgsky's "Sunless", the front label inscribed by Kurenko "To Gian Carlo Menotti great composer and producer" and signed by her on the reverse label; the second disk inscribedf "Souvenir of Maria Kurenko to G. Carlo Menotti." 2 discs.

Bach, "Cantata 56," Karl Ristenpart, Dietrich Fischer -Dieskau, test pressing?

From the collection of Manfred Ibel, "a young German art student and amateur flute player to whom Barber dedicated the piano concerto. Because from the early 1950s Menotti was drawn more and more into the public arena and the demands of his and Barber’s professional lives limited their time together, Barber welcomed having an available companion with whom he could travel and talk about music and literature. What seemed to draw him to the charismatic Ibel was their 'mutual affinity for the spirit of German Romanticism and culture.' During the summer of 1959 they shared a house on Martha’s Vineyard, and it was at this time Barber wrote the song for flute and piano, Elegy, that in 1962 he orchestrated for the second movement of his piano concerto." (Barbara Heyman, notes for the "Barber & Britten, Music + Festival" October, 2013, University of Arizona) $4500
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14. Brahms, Johannes. (1833-1897).
Autograph Letter to Simrock during the preparation of the first Brahms Catalog
Autograph letter in German, signed “JB,” one page, 5.25 x 3, February 3, 1887. Addressed to his publisher, Fritz Simrock in Berlin, criticizing the section devoted to his Paganini Variations in the Brahms Catalog then in preparation. In part: “If my misgivings concerning the variations are clear to you, and if you agree [with them] even to some degree, then I urgently request that you not delay the alteration, [that you] not publish the catalog without them! With the Paganini Variations, for example, it must surely be laughable. Between ourselves, I believe Bulow is about to sign with Pollini and additionally to take over the concerts in Bremen, for one year in the first instance. Then nothing would come of Berlin. He is in excellent spirits, is doing marvelous work, and gave us a fine evening yesterday in the Tonkunstler-Verein.” In fine condition, with some brushing to ink. Matted and framed with a reproduction portrait.

"Brahms raised the question of Simrock's proposed Brahms catalog in a letter of 23 January 1887: 'In case you still have your whim about the Brahms Catalog, will you in any case let me see a sample before you send it to press or publish it? Only a sheet....' At this point Simrock apparently had already engraved much of the volume, leaving Brahms to wonder in his next letter just how much could still be changed to suit his tastes....Criticism of specific aspects of the project followed in four letters to Simrock written during February 1887." (George Bozarth, Wiltrud Martin, "The Brahms-Keller Correspondence," p. 96)

Brahms's "Variations on a Theme of Paganini" Op. 35, is a work for piano composed in 1863 and is based on the Caprice No. 24 in A minor by Niccolò Paganini. Intended to be more than simply a set of theme and variations, each variation also has the characteristic of a study. Described as "a legend in the piano literature," "fiendish," and "one of the most subtly difficult works in the literature" (David Dubal), none other than Clara Schumann called them the "Hexenvariationen" (Witch's Variations) because of their difficulty. Sold.

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16. Brailowsky, Alexander. (1896-1976).
Autograph Musical Quotation, "Schumann Symphonic Etudes."
Impressive AMQS from the Russian pianist who studied with Leschetizky and Busoni and who was famed in particular for his Chopin cycles. Dated 1947, 4.5 X 7 inches. Sold.

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22. Brahms, Johannes. (1833-1897).
Scherzo es-Moll Op. 4 Faksimile des Autographs Herausgegeben von Margot Wetzstein.
Hamburg: J. Schuberth, [1987]. Oblong folio. Original publisher's orange mabled boards. 19 pp. Corners lightly bumped, else fine.

A highly attractive 3-color collotype facsimile of the 1851 autograph, the earliest work of Brahms known to survive in manuscript (op. 1, 2, & 3 postdate op. 4). The composer's playing of this work for the violinist Joseph Joachim, and later, for Liszt and Schumann, were decisive landmarks of recognition in his early career. Sold.

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25. Brahms, Johannes. (1833-1897).
Sammelband of Works for Piano.
Collection of scores for piano, all upright folio, bound together as follows in black cloth, quarter black leather, each title page inscribed at the head with a number and ownership signature. Title page of Op. 76/1 separated and with ink stains on the following leaf, otherwise in fine condition throughout.

SONATE / (C dur) / für das Pianoforte componirt / und / JOSEPH JOACHIM / zugeeignet / von / JOHANNES BRAHMS. / Op. 1. Berlin: Simrock, [1888]. Lithographed [PN] 8980. 31 pp. McCorkle p. 4.

SONATE / Fis moll / für das Pianoforte / componirt / und / Frau Clara Schumann / verehrend zugeeignet / von / JOHANNES BRAHMS. / Op.2. Berlin: Simrock, [1888]. Lithographed[PN] 8981. 27 pp. McCorkle p. 6.

VARIATIONEN UND FUGE / über ein Thema von Händel / für das Pianoforte componirt / VON / Johannes Brahms. / Op. 24. Berlin: Simrock, [1888]. Lithographed[PN] 9006. 23 pp. McCorkle p. 82.

STUDIEN für PIANOFORTE. / VARIATIONEN / über ein / Thema von Paganini / componirt / von / JOHANNES BRAHMS. / op. 35. Heft 1. Leipzig: J. Rieter-Biedermann, [ca. 1880]. Lithographed [PN] 436.a. 23 pp. McCorkle p. 129

STUDIEN für PIANOFORTE. / VARIATIONEN / über ein / Thema von Paganini / componirt / von / JOHANNES BRAHMS. / op. 35. Heft 2. Leipzig: J. Rieter-Biedermann, [ca. 1880]. Lithographed [PN] 436.a. 19 pp. McCorkle p. 129

Clavierstücke / von / JOHANNES BRAHMS. / Op. 76. / Erstes Heft. New York: Edward Schuberth & Co. [Verlag und Eigenthum von N. Simrock] [ca. 1880]. Lithographed [PN] 8090. 18 pp.

Clavierstücke / von / JOHANNES BRAHMS. / Op. 76. / Zweites Heft. New York: Edward Schuberth & Co. [Verlag und Eigenthum von N. Simrock] [ca. 1880]. Lithographed [PN] 8091. 18 pp. Sold.

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26. Cortot, Alfred. (1877-1962).
Autograph Musical Quotation.
Boldly penned AMQS, 2 bars from the Schumann Concerto, accomplished and signed by the great French pianist, who dates it "Leicester 22 Oct. '25." 15.5 x 11 cm, in fine condition. Sold.

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26. Brahms, Johannes. (1833-1897).
Variationen über ein Thema von Robert Schumann für Pianoforte zu vier Händen. Op. 23.
Lpz. u. Winterthur: J. Rieter-Biedermann, [1863]. First edition. Upright folio. 25 pp. [PN] 270. McCorkle p. 80; Hansen p. 48/49; Cat. Hoboken 4 No. 30.

Very rare first edition of the composition dedicated to Julie Schumann and based on a theme by her father. The ornate title page lithography is by Krätzschmer, whose name is printed lower right. Foxed, small water stain upper left corner throughout, occasional fingerings in pencil.

"These variations were written for piano four-hands, a chamber rather than a public genre. Moreover, Brahms had four specific hands in mind, those of Clara Schumann and her daugher Julie, who might paly it 'in memory of the beloved...master...husband and father.' Brahms wrote that 'the theme really sounds like a wistful, softly spoken word of farewell and the variations do not stray too far from this idea.'... The theme's earliest manifestation was as the principle melody of the slow movement of Rober Schumann's Violin Concerto in D minor (1853)." (Julian Littlewood, "The Variations of Johannes Brahms," p. 89) Sold.

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28. Brahms, Johannes. (1833-1897).
A printed document issued by Die Gesellschaft der Musikfreunde in Wien announcing the death of Johannes Brahms on April 3, 1897.
Dated Vienna, April 4, 1897. 1 page. Oblong quarto (230 x 290 mm.). Printed within wide black border by Otto Maass' Söhne in Vienna. The document also provides details on Brahms's funeral, to be held on Tuesday April 6th at 2:30 p.m., commencing at the funeral home and proceeding to the Evangelical Church; the body will then be taken to the Central (City) Cemetery for interment. Slightly worn; creased at folds.

Scarce. "The successor to Beethoven and Schubert in the larger forms of chamber and orchestral music, to Schubert and Schumann in the miniature forms of piano pieces and songs, and to the Renaissance and Baroque polyphonists in choral music, Brahms creatively synthesized the practices of three centuries with folk and dance idioms and with the language of mid- and late 19th-century art music. His works of controlled passion, deemed reactionary and epigonal by some, progressive by others, became well accepted in his lifetime...""...Because Brahms did not leave a valid will, a lengthy legal dispute over his estate ensued. Private correspondents were allowed to reclaim their letters; the remaining letters to Brahms, most of his books and music, and all the important manuscripts were acquired by the Gesellschaft der Musikfreunde in Vienna, as was his wish." (George S. Bozarth, Grove Online) Sold.

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28. Cortot, Alfred. (1877-1962) .
Signed Book.
A magnificent book of gravure photographs of the important French pianist, boldly signed and inscribed on the title page, "En souvenir d'Amiens et de Paris! Alfred Cortot 1954." Book is from the “Die Grossen Interpreten” series, 28 pages of which 16 are photographs. Edges lightly chipped, overall fine. Sold together with 2 pages of notes in French in an unidentified hand, about Schumann and the art of interpretation, apparently recorded by a student in Cortot's famous masterclasses. 21 x 29.5 cm. Sold.

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28. Dupré, Marcel. (1886 - 1971).
Signed Program.
Scarce signed 1933 San Francisco Civic Auditorium program of the great French organist, pianist, composer, and pedagogue. 9 x 6 in., four pages. Light scattered wrinkling and handling wear, otherwise fine. Boldly signed in pencil "Marcel Dupre" across the top of the front page. The program included works by Bach, Dupre, Franck, Schumann, Mozart, and Liszt, and ended with an improvisation on a submitted theme.

A student of Louis Diémer and Lazare Lévy (piano), Alexandre Guilmant and Louis Vierne (organ), and Charles-Marie Widor (composition), Dupré was later professor of organ performance and improvisation at the Paris Conservatoire (1926 - 1954) and teacher of two generations of well-known organists including Jehan Alain and Marie-Claire Alain, Pierre Cochereau, Jeanne Demessieux, Rolande Falcinelli, Jean Guillou, Jean Langlais, and Olivier Messiaen, to name only a few. In 1934, Dupré succeeded Charles-Marie Widor as titular organist at St. Sulpice in Paris, a post he held until his death in 1971. Winner of the Grand Prix de Rome in 1914 and regarded as a virtuoso of the highest order, Dupré contributed extensively to the development of organ technique, both through his own organ music and in his pedagogical works. Sold.

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30. [Brahms, Johannes. (1833-1897)] [Joachim, Joseph. (1831-1907)] [Janotha, Natalia. (1856 - 1932)].
1879 Program from performance of "New Concerto" by Brahms.
Single sheet program, Thursday, March 20, 1879. Philharmonic Society, St. James's Hall [London]. The program includes one of the first performances of the Brahms Violin Concerto, performed by the dedicateee of the work, Joseph Joachim, just three months after its premiere in Leipzig. In addition to Schumann's Symphony in E-flat and Weber's "Overture - Ruler of the Spirits," Nathalie Janotha performed the Beethoven 4th Concerto. Janotha has penned and signed a short note on the verso requesting a ticket to the concert for a young musician.

17 x 21 cm. In fine condition, the folds reinforced from the verso with archival tape, apparently cut down from a slightly larger size, with Janotha's note being partially trimmed along the right edge. $850.00
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32. Feuermann, Emanuel. (1902-1942).
1943 Schumann Cello Concerto Program.
Page removed from a concert program, January 23-24, 1942, from a performance of the Schumann cello concerto with the Boston Symphony. 1 page, in fine condition.

"Feuermann, arguably more than Casals, was responsible for revolutionizing cello technique. His astonishing technical facility made him the first cellist to play with the ease of a violinist, while his purity of tone, intensity of sound, clarity of articulation and fine musicianship mark him out as one of the greatest string players of the 20th century." (Grove Online) Sold.

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36. [Brahms, Johannes] Billroth, Theodore. (1829 - 1894).
Autograph Letter.
A handwritten copy of an 10/29/1881 letter from the Prussian surgeon and amateur musician, famous as a close friend of Brahms in Vienna from 1867. The letter deals extensively with a recent Brahms performance and includes musical notation. The present copy of the letter, addressed to Prof. Lubke in Stuttgart, is apparently in the hand of Friederike Sauermann, a singer in the Hamburger Frauenchores, a member herself of the Brahms/Schumann circle, and an intimate of Eugenie Schumann, daughter of Clara Wiek and Robert Schumann. While the present letter is to our knowledge unpublished, it may have been copied by Sauermann in the context of her correspondence with Eugenie Schumann in the preparation of her published memoirs. Sold.

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41. Du Pre, Jacqueline. RARE Signed Photo! (1945-1987)
A magnificent autographed program, signed across a photograph of the great cellist, who died so tragically young. Complete program from a Halle Orchestra performance conducted by her husband Daniel Barenboim and at which she performed the Schumann Cello Concerto. Very Scarce. Sold.

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41. [Composers and Performers of the 19th Century ] Brahms, Schumann, Joachim, Grieg, Paderewski, Hoffman, Piatti, Richter, De Reszke etc.
Wooden Fan signed by Leading Composers and Performers.
A remarkable late 19th century wooden fan with penwork decoration at the guards and twenty two autograph signatures of important composers and musicians. On the recto, the following figures have signed: Johannes Brahms, Hans Richter, Alfred Grunfeld (with AMQS), Bernard Stavenhagen, Nathalie Janotha, Heinrich Lutter, Edvard Grieg, David Bispham, Clara Schumann, Ignacy Jan Paderewski (with AMQS), Wilma Norma Neruda, Joseph Joachim, Alfredo Piatti, Christine Nilsson, Jean de Reszke, Edouard de Reszke, Adelina Patti and one unidentified. The verso has been signed on six blades by Max Pauer, Ernst Pauer, Jules Diaz de Soria, Josef Hofmann (signed "Jozio," at age 10!), and two unidentified. Most of the ribbon that connects the fan blades is broken, otherwise very good. 11 1/4" long when folded. Sold.

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46. [Brahms, Johannes. (1833-1897)] Davies, Fanny. (1861 - 1934).
Brahms Sonata for Cello and Piano, Op.99. - Autograph Musical Quotation
Uncommon AMQS from the great English pianist, a student of Clara Schumann who was closely associated with the works of Robert Schumann and Brahms. Signed "Yours very truly / Fanny Davies / London, March 1900." 11 x 9.5 cm. Fine.

Davies played often in trio with Joseph Joachim and in 1892 (March 28, April 2–4), she appeared with Richard Mühlfeld and Robert Hausmann in the first London performances of the Brahms Clarinet Trio in A minor, Op. 114, when the Joachim Quartet with Mühlfeld was also performing the Clarinet Quintet in B minor, Op. 115. She also gave the first London performance of Brahms's D minor Violin Sonata, also with Joachim. Sold.
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