New, unusual and exciting offerings are constantly added to our extensive and carefully chosen stock. The perfect gift or item to add to your own collection might be here. We work hard to identify and research items, making every effort to offer them to our customers accurately and properly. Many items are offered in decorative archival-quality matting and with original period photographs, some already framed -- ready for gift-giving. Custom framing and boxes can be arranged. Wurlitzer-Bruck unconditionally guarantees without time limit any items purchased from us.
PALESTRINA: Memorie Storico-critiche Della Vita E Delle Opere Di Giovanni Pierluigi Da Palestrina.
Societa tipografica: Rome, 1828. First Edition. Quarto. Two volumes bound in one: Vol. 1: 377 pp.; Vol. 2: 440 pp. + 22 pp. Index + 2 pp. list of Palestrina's works. Frontispiece portrait of Palestrina. Three-quarter red morocco with red leather boards and blue marbled end papers. Spine with raised bands, embossed gold decorative stamps and leather label. On nice wove paper with wide margins. Covers a little spotted and shelfworn, internally excellent and crisp.
Giuseppe Baini (1775–1844) joined the Sistine Chapel Choir in 1795 and served as its director and archivist until his death. His Memorie of Palestrina was the first biography of a Renaissance composer. He considered Palestrina not only the master of counterpoint but the "savior of Church music".
The Russian Seasons In Paris: Sketches Of The Scenery And Costumes 1908-1929.
Iskusstvo Art Publishers: Moscow, 1988. First Edition. Oblong Folio. 299 pp. plus extensive commentary and appendices, artist portraits and biographies, lists of operas and ballets, etc. Glossy color photos and illustrations throughout. Blue ribbed linen boards with embossed decoration and black linen spine with gilt titles. In original slip case. A fine copy.
A magnificent production with extensive text in both Russian and English, documenting the history of Sergei Diaghilev's "Ballets Russes" in Paris. This extraordinary undertaking aimed to bring to Europe all that Russia had achieved in music, choreography and painting. Several leading non-Russian artists collaborated as well including Matisse, Rouault, Cocteau and Picasso to mention only a few. This lovely book gloriously re-captures the inspiration of those years with an unprecedented assemblage of stage and costume designs by all the leading exponents of the time, as well as an annotated list of the seasons that were to have such an explosive impact on Western stage design in the years to come.
Overture, Op. 115, "Grosse Ouverture In C Dur Gedichtet Für Grosses Orchester Und Seiner Duchlaucht Dem Fürsten Und Herrn, Anton Heinrich Radzivil Statthalter Im Grossherzogthum Posen Ritter...gewidmet, 115tes".
Steiner: Vienna, [c. 1825]. PN S.u.C.No.4681. First Edition, early issue ( Kinsky records the correction of "Staathalter" to "Statthalter" for the full score in later issues but does not specify further). Folio. 4 + 4 + 4 + 3+ 3 + 5 + 3 + 3 + 3 + 3 + 3 + 3 + 3 + 2 + 2 + 4 + 2 pp. In a modern dark green silk folder. Slight browning at edges but overall a fine copy with wide margins.
Autograph Musical Quotation, Matted With Original Contemporary Photograph
, signed "Ernest Bloch". Decoratively Matted With A Total Dimension Of 11.25" H X 20.5" W. The image is by the New York photographer Apeda. One small crease in upper right, otherwise excellent.
The first ten measures of the first violin part of the String Quintet, written on music paper titled "Quintet" in his hand with the further note: "the sign / before a note indicates 1/4-tone above that note The = 1/4 'below'".
The String Quintet is undoubtedly one of the Swiss-born American's most popular works. It was written in 1921-23, five years after Bloch came to live in the United States, and at the time when he was the first director of the Cleveland Institute of Music.
Quartett, C-moll, Für Pianoforte, Violine, Bratsche Und Violoncell, Op. 60.
N. Simrock: Berlin, 1875. PN 7702. McCorkle p. 258. Hofmann p. 128. First Edition. Folio. Piano Full Score 51 pp + 9 pp + 9 pp + 8 pp. Piano part reinforced spine, a little soiled but overall very nice copy. In cardboard folder with original title page laid down (cover somewhat foxed, Viennese dealer stamp).MUS-06686$600
7th March 1956. Total Size In Frame: 16" H X 19" W. Excellent condition.
A program of Bach's "St. Matthew Passion" signed by both Benjamin Britten (playing continuo) and Peter Pears (singing the Evangelist). Custom matted and framed with a beautiful, original black & white studio portrait of Britten and Pears.
Terry M. d'Estampes et de Musiques: Brussels. PN 90_92G. Brussels edition of the Paris First Edition. Quarto. 89 pp. Three-quarter brown calf with green marbled boards. Cover rubbed with shelf wear and corners bumped; Internal pages in excellent, almost pristine condition.
Vignette on title page of Carulli shown playing guitar duets with an unknown female at a handsome double-sided music stand.
Ferdinando Carulli was an Italian guitarist and composer and the author of this influential method, still used by student guitarists today. He composed over 400 works for the instrument, including solo, chamber works and concertos.
Robert Owen Lehman Foundation: Washington, D.C, 1963. Folio. 6 facsimile pp. Light blue-green linen boards. Interior is excellent; cover edges sunned, corners of spine bumped with tiny piece missing from top one.FAC-01028$300
Facsimile of the manuscript. 64 pp. Scored for piano and voice (lyrics in French). Black buckram. Mostly unsewn, some pages very lightly soiled but overall quite fine.
Inscribed by Duke to the famous choreographer George Balanchine in blue crayon. Marked throughout with section numbers and dynamics and with penciled corrections and penciled alternatives on pages 42, 43 and 59. Orchestral indications in pencil on pages 59-63. Dated in ink at the end "1934-1936."
Vernon Duke (1903 – 1969) was an American composer known for some of the best-loved American standards such as Taking a Chance on Love, I Can't Get Started, April in Paris, What Is There To Say and Autumn in New York. Duke collaborated with lyricists such as "Yip" Harborg, Johnny Mercer, Ira Gershwin, Ogden Nash and Sammy Cahn.
At the suggestion of George Gershwin, Vladimir Dukelsky used the pseudonym "Vernon Duke" for his popular songs, but used his Russian name for all his other works. He was championed by Serge Koussevitsky and his play "Cabin in the Sky" was choreographed by Balanchine, which may be where the acquaintance originated.
Illustrated by William Gibb. Adam and Charles Black: Edinburgh, 1888. First Edition. Large Folio (16.25" H X 12.75" W). 108 pp. Edition limited to 1040 copies. 50 Plates in Color. Three-quarter red calf with marbled boards and raised bands on spine. Spine ends bumped and front cover hinge rubbed. Some occasional light foxing on a few of the printed pages, otherwise in fine condition, especially of the chromolithograph plates.
This substantial book is possibly the first to illustrate instruments in color as well as to include Asian instruments, considered very exotic at the time. Also included are depictions of several illustrious instruments such as the Hellier Stradivari violin and Queen Elizabeth’s virginal.
A nice copy of the difficult-to-find First Edition.
The eminent English musician and musicologist Alfred James Hipkins (1826-1903) worked at the piano firm of Broadbent for the whole of his career and was considered the top authority on the history of keyboards.
Signed "Kozaburo Hirai" on a tissue sheet glued to the inside of the cover with a hand-drawn flower inscribed by the composer "To Miss S. [Suzanne] Bloch with my heartiest greetings". Kawai Gakufu: Tokyo, 1960. Quarto. 60 pp. Original D/J; white boards with green endpapers. Pristine condition except for bumped spine edges and D/J which has small tears to top and bottom edge of spine.
The composer is referring to Suzanne Bloch, the noted lutenist and daughter of the composer Ernest Bloch.
Autograph Musical Quotation At Time Of Königskinder Premiere
, signed "E. Humperdinck". Inscribed to Renée Reiss. New York, 12.26.10. Total Measurement Of 6.25" H X 7.50" W. Pristine condition.
A four-bar quotation on an album leaf from Humperdinck's opera Königskinder with a sentiment commemorating the opera's premiere. The leaf is dated two days prior to the Metropolitan Opera premiere where Reiss's father, tenor Albert Reiss, created the role of the Broommaker.
Humperdinck was present at the premiere, which starred Geraldine Farrar, Hermann Jadlowker, Otto Goritz and Louise Homer, with Albert Reiss and Adamo Didur in key roles. Humperdinck's Königskinder was better received than Puccini's La fanciulla del West which also premiered in 1910. Despite glowing reviews the fairy-tale opera has not been heard at the Met since 1914.
Self-published: Redding, CT, 1922. First Edition, second issue. Quarto. 262 pp. Blue buckram. A fine copy in excellent condition.
Ives, often referred to as the ultimate American original in music, had ceased composing very much by the time he published 114 Songs, due to several heart attacks. This self-published work is a compilation of unpublished material drawn from all periods. It was never available commercially. As Ives put it “The printing of this collection was undertaken primarily, in order to have a few clear copies that could be sent to friends who, from time to time, have been interested enough to ask for copies of some of the songs; but the job has grown into something different, - it contains plenty of songs which have not and will not be asked for.” At the end of his witty postlude, Ives writes “Some of the songs in this book, particularly among the later ones, cannot be sung – and if they could perhaps might prefer, if they had a say, to remain as they are….a song has a few rights the same as other ordinary citizens…..If it happens to feel like trying to fly where humans cannot fly, - to sing what cannot be sung – Who shall stop it!”
This copy is signed "Howard Shanet" on the first front blank. Howard Shanet was a Columbia University-based conductor and writer on music, noted especially for his support of new music as well as neglected works of the past. He wrote the definitive book on the history of the New York Philharmonic.
1907. Total Size In Frame: 18.50" H X 14" W (470 Mm X 356 Mm). Image Size: C. 11" H X 7.75" W (279 Mm X 197 Mm). Handsomely matted and framed in a semi-antique black and gold frame. Fine condition.
Signed by the great Austrian engraver Ferdinand Schmutzer, this etching and drypoint is titled Joachim und Exzellenz von Keudell, musizierend, 1907.
The Hungarian violinist, conductor, composer, teacher and founder of the famous Joachim Quartet, Joseph Joachim was a close friend of Brahms.Schmutzer created several engravings with Joachim as subject - with the Quartet, as a solo portrait, and in this portrait with Baroness Alexandra von Keudell, the wife of the Austrian Ambassador.
Les Bibliophiles Fantaisistes: Paris, 1909. Small Quarto. 118 pp. with original covers present. Tipped in half-tone portrait by Nadar of Debussy with facsimile signature. Brown quarter leather with brown buckram boards. Spine rubbed, otherwise excellent crisp condition.
Personal copy of the composer Ernest Bloch, signed and dated 27.10.09 by Bloch on first blank after original cover.
Album: Two Volumes With 29 Piano Pieces, Early And First Editions.
Large Quarto. 3/4 red leather with black leather boards and raised spines with gilt decorations. Covers show a little wear, inside uniformly very good and crisp.
A wonderful collection of Liszt piano music which includes early editions of 15 Hungarian Rhapsodies and First Editions of all 9 of the Soirées de Vienne.
Rhapsodie hongroise pour le piano, No I.Senff: Leipzig, , PN 23. 19 pp. S244/R106.
Rhapsodie hongroise pour le piano, No. 2.Senff: Leipzig, , PN 26. 19 pp. S244/R106.
Rhapsodie hongroise pour le piano, No. 3.Charles Haslinger: Vienna, , PN 11,555. 7 pp. S244/R106.
Rhapsodie hongroise pour le piano, No 4.Charles Haslinger: Vienna, , PN 11,556. 11 pp. S244/R106.
Rhapsodie hongroise pour le piano, No 5.Charles Haslinger: Vienna, , PN 11,557. 11 pp. S244/R106.
Rhapsodie hongroise pour le piano, No 6.Charles Haslinger: Vienna, , PN 11,558. 13 pp. S244/R106.
Rhapsodie hongroise pour le piano, No 7.Charles Haslinger: Vienna, , PN 11,559. 13 pp. S244/R106.
Rhapsodie hongroise pour le piano, No 8.Charles Haslinger: Vienna, , PN 12486. 13 pp. S244/R106.
Rhapsodie hongroise pour le piano, No 9.Charles Haslinger: Vienna, , PN 12487. 27 pp. S244/R106.
Rhapsodie hongroise pour le piano, No.10.Charles Haslinger: Vienna, , PN 12488. 15 pp.
Rhapsodie hongroise pour le piano, No. 11.Schlesinger: Berlin, , PN 4088. S244/R106.
Rhapsodie hongroise pour le piano, No. 12.Schlesinger: Berlin, , PN S.4089. 17 pp. S244/R106.
Rhapsodie hongroise pour le piano, No. 13.Schlesinger: Berlin, , PN 4090. 15 pp. S244/R106.
Rhapsodie hongroise pour le piano, No. 14.Schlesinger: Berlin, , PN S.4091. 21 pp. S244/R106.
Rhapsodie hongroise pour le piano, No. 15.Schlesinger: Berlin, , PN S.4092. 15 pp. S244/R106.
Liszt/Rossini. Ouverture de l'Opéra Guillaume Tell de G. Rossini, transcrite pour le Piano par François Liszt.Schott: Mainz, , PN 6489. 25 pp. S552/R237.
Valse de l'Opéra Faust de Gounod pour le piano pas Franz Liszt.Bote & Bock: Berlin, [after 1862], PN 5529. 23 pp. S407/R166
Berceuse für das Pianoforte.Gustav Heinze: Leipzig, , PN "G.103H". First Edition. 13 pp.
Löse, Himmel, meine Seele!, Lied von E. Lassen (gedichtet von Peter Cornelius).Gustav Heinze: Leipzig, , PN G.103H. First Edition. 8 pp. S494/R173.
Ouvertures de Ch. M. de Weber en Partition de Piano par F. Liszt; Carl Maria von Weber's Ouverturen Freischütz, Oberon, Jubel-Ouverture, Clavier Paritur von F. Liszt.Schlesinger: Berlin, , PN S3299. First Edition. 18 pp. S575-577/R289-291.
Erlkönig, Lied von Fr. Schubert für das Piano-forte übertragen von Fr. Liszt.Diabelli: Vienna, , PN C.S.6534. 7 pp. S558/R243.
Soirées de Vienne, Valses-caprices d'après F. Schubert…par F. Liszt, en neuf livraisons.C.A. Spina: Vienna, , PN C.S.9300-9308. First Edition. 7+11+15+11+11+9+9+15+11 pp. S427/R252.
Editio Musica: Budapest, 1985. Folio. 27 facsimile pp.; 11 commentary pp. in English, German and Hungarian by M. P. Eckhardt. Tiny blemish on top edge of front cover, and two on edge of back cover, but otherwise a beautiful copy.
A handsome facsimile in a deluxe binding in burgundy velvet with a bas-relief medallion portrait of Liszt set in bronze. Limited Edition No. 631. Issued on the 175th anniversary of Liszt's birth and the centenary of his death.
A pair of bronze figurines made by mid-20th-century sculptor Edward Aagaard - two Viking warriors, each playing a lur - a bronze age horn found mainly in northern Europe, primarily in bogs in Denmark. Their age is considered to be 1100-500 B.C. Apparently they were always made in pairs at the same pitch, and in a strange, elongated "S" curve with a flat, pancake-like shape at its end; the two lurer twisted in opposite directions.
Accompanied by a printed piece of music composed in 1930 by Hakon Børresen (1876-1954) who was a Danish composer and conductor who gave lessons to King Frederik IX. "Raadhus-Intrada for Lurer og Orkester." Copenhagen: Samfundet til Udgivelse af Dansk Musik. 5 pp. Piano reduction of a work for 4 lurer and orchestra.
Signed "P Mascagni". Ed. Bote & G. Bock: Berlin. PN 18720. Quarto. 180 pp. Custom-made presentation box with three-quarter red leather and marbled decorative boards. Spine with raised bands, gilt titles and decorations. Score itself is bound in half calf with stiff black buckram boards. Presentation box is pristine; Score has half-torn sticker on covers which have minor shelf wear; spine with one tiny chip and bumped on both ends. First page somewhat toned but internally fine with pencil and crayon markings on several pages, mainly dynamics as well as instrument entrances.
Inscribed at the top of the title page "All'egregio Mo. Otto Sobel, per ricondo, P. Mascagni" and dated "Wien, 21.8.1924."
Cavalleria Rusticana is a one-act opera with libretto by Giovanni Targioni-Tozzetti and Guido Menasci, adapted from a play and short story written by Giovanni Verga. Considered one of the classic verismo operas, it premiered on 17 May 1890 at the Teatro Costanzi in Rome. Since 1893, it has often been performed with Leoncavallo's Pagliacci.
, signed "Gian Carlo". To Boris Koutzen. Mount Kisco NY, Nov. 19, 1964. Quarto. 1 p. on Capricorn Letterhead. Excellent condition with normal letter folds.
"Thank you for your copy of You Never Know. I enjoyed going through it, and although I have certain reservations about it, I hope you won't ask me to enumerate them. After all, I am not so fond of critics that I would willingly become one. Would it be possible for me to keep the score for a while longer for further consideration?" Menotti concludes by directing Koutzen to Charles Wadsworth regarding the submission of works to the Spoleto Chamber Music Festival.
Menotti founded the noted Festival dei Due Mondi (Festival of the Two Worlds) in Spoleto in 1958 and its American counterpart, Spoleto Festival USA, in 1977.
Boris Koutzen was a violinist under Koussevitsky in Moscow and later under Stokowski in Philadelphia and in the NBC Orchestra under Toscanini.
METROPOLITAN OPERA SIGNED 1925 PROGRAM OF MOUSSORGSKY'S BORIS GODUNOFF
Program Signed By Chaliapin & Most Of Cast. Cornelius's Barbier Von Bagdad On Verso.
Dec. 2, 1925. Total Measurement Of 10" H X 13.50" W. Both programs are laid down on black scrapbook paper, otherwise in good condition (small repaired tear on upper center of the Cornelius).
The legendary Russian bass Feodor Chaliapin returned to the Met in the autumn of 1925 for a run of four performances of Boris Godunoff (sung in Italian), of which this was the second. Virtually the entire cast signed this program centerfold including Chaliapin and Tibbett.
On the verso is a program centerfold from the Dec. 30, 1925 performance of Peter Cornelius’s rarely performed comic opera Der Barbier von Bagdad. Almost the entire cast has signed this page.
, signed "Dimitri Mitropoulos". Inscribed to "Carroll and Eugene List with most friendly and brotherly blessings". 5"x H X 7" W.
At the time of this photo, the eminent conductor was music director of the Minneapolis Symphony Orchestra. The photo is inscribed to the violinist Caroll Glenn and her husband, the pianist Eugene List.
Germany, late 19th/early 20th century. Pieces Measure From 4.50" To 7" High. A matched set , all with identical marks. In excellent condition, the only flaws being a miniscule chip on the base of the conductor and a repair to the violinist's bow.
A fine 8-piece group of the famous monkey band figurines, including a trumpet player, a bagpipe player, a drummer, a bassoonist, a violinist, a clarinetist, a horn player and a conductor. Porcelain with enamel, glaze and gilding. Each monkey is on an oval white and gold leaf rococo base, each in 18th-century human dress.
The monkey band, modeled by Johann Joachim Kändler, was introduced by the firm of Meissen in 1753 for the King of Saxony. It was an idea emanating from the contemporary aristocratic craze for monkeys performing human pursuits. It became instantly popular, reproduced by Meissen until the 20th-century and regularly copied by other German porcelain factories.
, signed "Erica Morini". September 14, 1931. 13.25" H X 14.25" W.
Attractively matted with a contemporary photo capturing Morini in performance. Born in Vienna where she was a child prodigy, Morini first came to America in the 1920s and performed most of her notable career in the U.S.
17.5" H X 14.5" W., In An Antique Frame With A Total Size Of 23" H X 19.25" W. Excellent condition. A comfortable margin surrounding the plate mark and a fine impression.
Gérard Edelinck (1640-1707) after François de Troy (1679-1752).
This large and very famous image is considered as not only a fine portrait of Mouton but also as one of the most accurate depictions of lute performance, in particular the hand positions. The portrait is mentioned by Grove's in its article on Mouton.
10" H X 7.50" W (254 Mm X 191 Mm). Except for some abrasions in the main figure, in fine condition for this very fragile medium. The original backing is still present with passepartout binding attaching it to the frame (split along most of top and sides).
A charming and well-executed image of a keyboard player, presumably intended to be Mozart, shown at the keyboard with a vase of flowers on the back of the instrument and two books under his seat. Entitled "The Spinet Player," the figure is surrounded by curtains and a rug, the whole being surrounded by a black and gilt border.
Reverse painting on glass is an art form consisting of applying paint to the backside of a piece of glass.
Adjustable From Top Of Desk Measuring 45" H To 62" H. The cross bar of the lyre has a few small, almost unnoticeable imperfections. Small repaired break on one leg.
Charming and delicate music stand with lyre-shaped desk, original in all parts with decorative fruitwood inlays and ebony purfling along outer arms of lyre. Fine brass verticals representing the strings of the lyre and with fruitwood and ebony stripping along three legs of stand.
Adjustable Desk (from Top Of Desk 46.50" H To 57" H.) Desk Is 17" W And The Drawer Measures 4.50" Deep. In very good condition except for a repair on upper corner of desk and a crack behind desk running horizontally.
A fine French Empire period adjustable music stand. Mahogany with two brass candlesticks and original in all parts. The adjustable stem has a turned and fluted column with brass mounts. Tripod stand has decorative fruitwood banding.
2" H. Sc. X 7" W. Each Circular Image Measures C. 1 3/8" In Diameter. Overall very good except for the last image which has some chipping. With original red buckram binding on all sides; small piece of binding on far right corner missing.
Glass slide made presumably for some kind of projector, showing four colored images of street musicians: a lady playing a tambourine next to a man with a hurdy-gurdy; a flutist and a drummer together with a dog; a horn player with a double-bassist and a hat to collect money; and a lady guitarist with a child dancing and playing the violin.
, signed "Claudia Muzio". Inscribed "al ricordo" to "Prof. Luigi Romano". Total Size In Mat: 8" H X 10" W. Fine condition.
An arresting, typically intense photo of the young Claudia Muzio, handsomely double-matted in brown and beige.
One of the 20th-century's most mesmerizing operatic figures - still adored by fans who never heard her live - the soprano Claudia Muzio made her Metropolitan Opera (where her father had been a stage manager) debut in 1916 as Tosca and was a star with the company for the next six seasons, having a remarkable impact even after the arrival of Rosa Ponselle.
, signed "Paganini". April 1, 1833. Total Size In Mat: 14.50" H X 17.50" W. 1 p. of a folded sheet. Some damp stains on right side (one vertical fold passing through the first letter of the signature) and a few small edge tears. Attractively presented in a custom mat with a period engraved portrait showing Paganini at the time of his London debut in 1831.
Letter in French, with a clear bold signature, to the notable French author Prosper Merimée. In full: "I am very upset, Sir, for not being able to accommodate you; it is of very great trouble for me to move at this time. If you had let me know ahead of time, I would not have objected to it, but this did not happen as you know. I promise that in mid-month the apartment will be at your disposal."
Merimée is best known for his novella Carmen, which became the basis for Georges Bizet's famous opera of the same name.
Approx. 11" Front Scroll To Tip X 1.75" At Widest Point. Excellent condition with clear detail.
A German-silver, baroque-shaped pochette, with an opening between the back and the bottom of the ribs, most likely made in Holland in the 19th-century with lovely embossed decorations on the entire body, fingerboard and tail piece and with a plain scroll. The decorations on the front and back show various scenes and the rest is decorated with floral motifs.
This highly unusual item was most likely used as a holder for a dance card or a fan. We have never seen another like it.
Instrumentalmusik Zu Den Liedern Geselliger Freude Herausgegeben Von Johann Friederich Reichardt. With Parts.
Leipzig, [1796-97]. Oblong Octavo. 48+46+42+16+16pp. Each part with 6pp. intro. and 6pp. Index. Unbound (some pages uncut), in paper wraps with original silk ties. Occasional light foxing and soiling on part covers but otherwise crisp and fine.
A rare little volume of music for two violins, cello (or bassoon) and two horns. The individual pieces in the violin parts indicate suggested wind parts (e.g., clarinet, oboe & flute an octave higher) . The introduction explains that “these hundred melodies …of convivial joy…have been enhanced by adding instrumental parts," that the string instruments are used throughout but that the music is arranged so that it can be played with those alone, although specific pieces are appropriate to particular instruments. It also notes that the bass part duplicates the bass of the piano accompaniment. "Diese Einhundert Melodien gehören den sanbarsten fröhlichen Liedern unserer beliebtesten Dicter und Komponisten an, wie das Verzeichniss näher basagt. Man hat durch die Herausgabe der Sammlung Lieder geselliger Freude für den Gesang und das Clavier zu Verbreitung des besseren Gesanges und zu angenehmer Belebung guter Gesselschaften beizutragen gesucht und hoft dieses durch die hiedurch hinzugefügte Instrumentalmusik um so sichere zu erreichen."
Reichardt had an early reputation as a violinist, keyboard player and lutenist. Although he had a varied career which included journalism and composing operas, it is as a song writer that he was most appreciated. Indeed, he wrote over 1,500 lieder and no less than Mendelssohn had great admiration for him. He had close friendships with both Schiller and Goethe, many of whose texts he used as settings for his songs.
, signed "Ruggiero Ricci". Inscribed to Otto Janda. 9" H X 7.25" W. Vertical crease down center and a few minor blemishes including one along right edge from former framing, just affecting the last "i" in signature. Nonetheless a wonderful and uncommon image. Some tape on verso.
A bold black and white image of the youthful famed violinist holding his violin.
, signed "Pablo de Sarasate". "Berlin, 8_2_92". 7" H X 9" W. 2 pp. of a folded sheet. Overall very good; small pin holes to three corners and normal letter folds.
Affectionate letter by the great Spanish violinist to his future mother-in-law "Chère Madame et charmante future Belle-Mère" in which he declares he is sad to learn of the absence of his beloved fiancée 'Mademoiselle Mimi' but that it will not prevent him from continuing to visit and sampling her "famous caviar".
, signed and inscribed "To my friend Mr. Freeman - With the cordial regards of Albert Spalding / New York 1931". 8" H X 10" W. Damp stain across bottom but could easily be matted out and otherwise an exceptionally fine photograph.
A beautiful, sepia-toned three-quarter profile photograph of the violinist shown playing his instrument.
Albert Spalding was an American violinist and teacher, whose uncle, Hall-of-Fame baseball pitcher also named Albert Spalding, created the A.G. Spalding sporting goods company.The inscription is to Jay C. Freeman, the head at that time of the rare stringed instrument department of the Rudolph Wurlitzer Company in New York.
Signed "Steinberg" On The Lower Right. Framed In Black Laquer With A Total Dimension Of 21" H X 19" W (533 Mm X 482 Mm). Image Size 13" H X 10.25" W (330 Mm X 260 Mm). Excellent condition.
A wonderful original drawing in black ink by the inimitable Saul Steinberg, showing a fanciful cellist holding his instrument during performance, a drop of sweat on his brow. The work, full of wit (note the dapper shoes), charm and Steinberg's unique imagination, is executed on Schirmer music paper, with the company logo shown on the lower left. The portrait is said to be of Casals although we find that apocryphal.
Saul Steinberg was one of America’s most beloved artists, renowned for his covers and drawings that appeared in The New Yorker for nearly six decades and for the drawings, paintings, prints, collages, and sculptures exhibited internationally in galleries and museums. Steinberg was born in Romania and studied architecture in Italy until he fled the fascist regime in 1941.
, signed "Arthur Sullivan". To "J. Broughton, from his friend and fellow worker". Oct 15, 1880. Elaborately Matted With A Total Size Of 12.5" H X 14.75" W. Overall excellent except for some evidence of previous pastedowns on verso & minor spotting on photo.
Three-bar AMQS from The Martyr of Antioch. A fine original carte de visite photograph of the young Sullivan has been laid down on the leaf.
Inscribed to the noted Victorian choral director Alfred Broughton who was the director and accompanist of the Leeds Festival. Leeds has historically been one of the most active centers of music in England. This quotation is from an album originally owned by the Irish composer Michael Balfe and subsequently by Broughton. Sullivan was appointed conductor of the Festival in 1880 and the date on the leaf is in fact the premiere of The Martyr of Antioch.
During the years when Sullivan was conductor, "the Leeds Festival assumed international status on account of both the quality of the chorus and the new works commissioned from such composers as Raff, Dvorak, Massenet, Humperdinck, Parry, Stanford, Elgar and Sullivan himself.....At the 1880 festival the progress of science was marked by the lighting of the town hall for the first time by electricity and - even more - by the transmission of some of the performance to neighbouring towns via land-line by the National Telephone Company." (Grove VI)
. Image Size: 8.75" H X 5.50" W; Laid Down On Original Photographer's Mat With A Total Size Of 12.50" H X 8.75" W. Excellent except for one very tiny chip on right side and slight foxing on mat. Photograph is stamped "Riproduzione Interdetta" on lower right corner.
The great Italian tenor is shown in an attractive formal seated pose in an image by Varischi, Artico & Co. of Milan.
Tamagno had a highly successful international career and sang Otello in the first performance of Verdi's opera. He is also one of the earliest Italian tenors of note to have recorded extensively.
19.75" H X 14" W (502 Mm X 357 Mm), In A Nice Antique Black And Gilt Frame Measuring 25" H X 19" W (635 Mm X 483 Mm). Excellent condition, trimmed to plate.
A finely-executed mezzotint portrait of "The Right Honourable Lady Campbell" shown in full profile holding a theorbo and standing next to a harpsichord. J. McArdell after the oil painting by A. Ramsay from 1762.
8.25" H X 6" W (210 Mm X 152 Mm) Matted With A Total Dimension Of 14" H X 12.25" W (356 Mm X 311). Condition is very good except for very slight soiling on upper and lower right corners.
A particularly fine original drawing, signed "C J Naar"; pencil & charcoal with white gouache highlights. Boldly and fully signed in red by the great Maestro. On the verso is a penciled notation indicating "Return to Constance Joan Naar" in New York City.