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Baumbach was a composer and musician who was active in Hamburg in the 1780s and travelled to St. Petersburg, Riga and Moscow before settling in Leipzig in 1790. He composed chamber music and vocal and instrumental music for amateurs.
A superb copy in near mint condition.
Attractively engraved title page with crisp musical text.
Not listed in Kinsky. The price of "3 [florins] W.W." indicates that the title page dates from after the 1811 introduction of the "Wiener Wahrung" alongside the older "Conventions-Münze" (Fuld p. 13).
Kinsky dates the violin part to 1823, though the piano part is probably from the plates of the first edition in its original form (with cello), with a title page reflecting the recasting of the solo part for violin.
Kinksy describes this title page as one of the graphical high points of title pages in Beethoven first editions.
This is a Parisian edition issued simultaneously with the Mainz edition (though the Parisian imprint lacks the plate number, 2351). The Mainz edition was also re-issued with the addition of "à Paris rue de Bourbon No 17," but the lack of plate number demonstrates that this is the Parisian printing of the first edition.
He was also a supporter of the French Revolution and catalogued the musical instruments confiscated during the Reign of Terror.
According to Humphries, Joseph Dale took out a patent on improvements to the tambourine, an instrument in which his son was interested.
Fémy was a violinist of some renown who won the First Prize at the Paris Conservatoire in 1807 after studies with Kreutzer. More than a dozen of his instrumental works were published in the 1830's but his works are unavailable in modern editions and are generally unknown today. No works are listed in RISM, and Fémy remains unmentioned in Grove or MGG, although a good listing can be found in Fétis.
Complete set of four parts. Title page on violin part of Op. 1 bears an attactive engraved vignette of two putti, one holding a harp, the other writing a music manuscript. Op. 38 is bound in each of the four complete parts between Op. 1 and Op. 37. Opp. 37-38 both have metronome markings, and are respectively designated Fesca's 17th and 18th quartets.
Fesca was a violinist and composer who published no fewer than 16 string quartets, and whose chamber music was admired by Spohr, Weber and Rochlitz. His works are virtually unknown today.
Grove VI describes Giornovichi as "the most popular of the violinists who preceded Viotti in Paris in the 1770s" and his playing was widely praised by such notables as Dittersdorf, Leopold Mozart and Gyrowetz.
Ce morceau fut compos� � la demande de S.A.I. Madame la Grande Duchesse Anne de Russie. Il fut jou� pour la premi�re fois � la f�te que donna cette Princesse le 23 Juillet, 1850, dans son Palais d'�t� "la Boissiere" en l'honneur de leurs Majest�s les Reines de Sardaigne, de Prusse, de Saxe, de leurs Altesses Royales les Princesses de Saxe-Weymar, du Prince Albert de Prusse, des Princesses de Wolkonsky, de Sokozanet, et des Hospodars de Valachie.
The wrapper dates from 1871 or later, having a copyright notice on the catalog of popular ballads (Hall catalog "Popular Ballads," #14), as well as a catalog of Gottschalk with prices on the front.
The piano score is interesting in having a variable number of staves for the instrumental parts, sometimes above, sometimes below the piano part. The individual instrumental parts are always combined into no more than a grand staff's worth of music, enabling the performance of the piece on two pianos, if both pianists had copies of the piano score.
CONTENTS:1. Beethoven, Overture to Prometheus, 7+3+3 pp. (watermark "1817")2. Mozart, Overture to Zauberflöte, 7+3+3 pp. (watermarks "1817" & "1822")3. Cherubini, Overture to Lodoiska, 9+3+3 pp. (watermark "1822")4. Mozart, Overture to Figaro, 9+3+2 pp. (watermark "1822")5. Gluck, Overture to Iphigenia, 9+3+2 pp. (watermark "1822")6. Himmel, Original Overture, 10+4+2 pp. (watermark "1817")
The piano part is musically complete by itself (the title pages all say "The above overtures may be had without the Accompaniments."). Given the writing in the violin part, the arrangement appears playable in any combination of the accompanying instruments with the piano.
This is an extremely attractive and nicely bound example of an unjustly neglected repertory.
Hus-Deforges was a cellist and composer and the grandson of the violinist Giornovichi. Grove VI cites 68 opus numbers, mostly chamber music for various string ensembles.
"The Battle of Prague" was Kotzwara's best-known work, with nearly fifty separate editions in England, on the Continent and in the US. Kotzwara himself is best known (or notorious) for the manner of his death, by accidental hanging in a brothel.
Manfredi was a violininst in Lucca, a pupil of Tartini and Nardini, and an intimate friend of Boccherini.
As indicated by the title page rubric "Nach dem Originalmanscripte des Autors herausgegeben," this Mozart first edition was one of the many that André brought out after his purchase of the Mozart autographs from Mozart's widow at the end of 1799.
This first edition is particularly noteworthy as one of the earliest lithographic prints, a printing technology that the André firm pioneered after the hiring of Franz Gleissner, one of the co-inventors of the process.
This edition bears the same plate number as André's first edition, and Köchel claims that it uses the printed stock of André's first edition with a new title page; however, a close comparison of the two editions shows that Charenton re-engraved the work closely following the layout of André's model. This edition is an example of some of the very earliest French lithography created in André's Charenton workshop, a technology that the André firm pioneered after hiring one of the co-inventors of the process. The vignette is quite crudely drawn in comparison to André's title page, but is nonetheless amusing in its caricature of the type of musicians being mocked by Mozart.
The amusing title page vignette is a re-working of the original vignette of André's 1802 first edition, but differing from the original in some of the details, most significantly in the different music on the violin part laid out on the table (see MUS-05975, the original André edition, which is the first edition of this piece).
These duos exhibit an unusual creativity in the transcription process. Of particular note in this regard is the G Minor/G Major sonata (K379, third of the set), which exhibits substantial rewriting of the variation movement that departs markedly from the original figuration and shape of the lines even when the original figuration could have served perfectly well.
The last page of the first violin part has a cute manuscript correction tipped in.
Raffelin was a Cuban composer active in Havana who moved to Paris and then Philadelphia. This is one of several of his works published in the US. His works included popular songs, a string quartet and at least three symphonies.
The piano part exhibits numerous pedal markings, using a striking asterisk symbol with a large empty center that is unusual for the period.
Sanderson was a violinist and conductor in the London theater who in 1812 adapted a Scottish folk melody for use with words from Sir Walter Scott's "Lady of the Lake" to create "Hail to the Chief." It was published in the US during the War of 1812 and gained some popularity then, but only later became defined as the official musical tribute to the US President, with different lyrics.
CONTENTS:- Spohr, "Double Quatuor pour Quatre Violons, deux Violes et deux Violoncelles Composé par Louis Spohr...Oeuv. 65" (Leipzig: Bureau de Musique de C. F. Peters, [1825]. Plate no. 1831/1831 II, FIRST EDITION, 10+8+8+7+7+7+8+8 pp.).- Spohr, "Second Double=Quatuor 4 Violons, 2 Alti et 2 Violoncelles composé par Louis Spohr. Op. 77" (Berlin: Schlesinger, [1828]. Plate no. 1490, FIRST EDITION, 11+7+6+7+7+7+7+5 pp.).- Spohr, "Troisiéme Double Quatuor pour quatre Violons, deux Violes et deux Violoncelles Composé par Louis Spohr. Oeuvre 87" (Bonn: Simrock, [1833]. Plate no. 3078, FIRST EDITION, 15+10+7+10+10+8+10+8 pp.).- Spohr, "4tes Doppel-Quartett für 4 Violinen, 2 Bratschen und 2 Violoncells componirt von Louis Spohr. 136stest Werk...Zweite ganz correkte Ausgabe" (Kassel: Luckhardt, [after 1849]. Plate no. 122a-b, Second Edition, 15+8+11+9+9+9+11+9+9 pp.).- Mendelssohn, "Ottetto pour (des instruments à cordes) 4 Violons, 2 Violes et 2 Violoncelles composé et dédié à son Ami Edouard Ritz part Felix Mendelssohn Bartholdy. Op. 20" (Leipzig: Breitkopf & Härtel, [after 1841], Plate no. 5282, 13+7+9+10+11+10+9 pp.).
These are very rare works -- there are no modern editions of Spohr's Double Quartets available. These first and early editions are in extremely fine shape and very durably and elegantly bound.
This is a rare edition -- only one known copy is listed in RISM (H7811, GB-Lbm).
CONTENTS:- "Six Duetts Concertants for Two Violins. Composed by M. Viotti [Bk. 1]", White IV: 1-6 (G. 1-6). (London: Coventry & Hollier, [after 1834], n.p.n., 25+25 pp.).- "Six Duetts Concertants for Two Violins. Composed by M. Viotti [2nd Book]", White IV: 7-12 (G. 13-18). (London: Preston, [1795], n.p.n., 14+14 pp.).- "Three Duets, for Two Violins Composed by J.B. Viotti. Op. 21", White IVa 16-18 (G. 53-55), arranged from Trios Op. 18 (White III: 16-18). (London: Clementi, Banger, Hyde, Collard & Davis, [c. 1804-10], n.p.n., 20+20 pp.).
