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<strong>Adam</strong> <strong>Bosze</strong><br />
Recent Acquisitions<br />
November 2012<br />
(Nr. 7)<br />
<strong>Adam</strong> <strong>Bosze</strong><br />
Budapest, 2012<br />
1
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Recent Acquisitions<br />
Autographs<br />
1. Antti, Aune: L. A. S. to Miklos Szász – Helsinki, 6. 7. 1936. 1 p. Dark<br />
blue ink. 265x210 mm – In German. Folded, two punched holes.<br />
40,-<br />
Aune Antti (1901–1983), Finnish soprano.<br />
2. Antti, Aune: Typed letter with signature to Miklos Szász – Helsinki, 21.<br />
7. 1936. 1 p. 260x180 mm – Folded, two punched holes. 30,-<br />
3. Carnevali, Vito: L. A. S. to the music publisher company Rózsavölgyi – Rome, 25. 7. 1930. 3 p. Grey<br />
ink. 190x140 mm – In Italian. Folded. Two punched holes. 40,-<br />
Vito Carnevali (1888–1960), Italian composer. Carnevali studied at the Accademía di Santa Cecilia under Giovanni Sgambatti<br />
and under Ottorino Respighi. Carnevali worked for a time in the USA, in Chicago, New York and at St Patrick's Cathedral in<br />
New York City. He spent some time in Algiers before returning to Rome. His compositions include the four-part Mass<br />
settings Missa "Rosa Mystica", Missa "Stella Matutina", Missa "Ave Verum", Missa "Auxilium Christianorum", and Missa<br />
"Mater Amabilis".<br />
4. Chmeliczek, Johann Ferdinand: [Collection of manuscripts<br />
(parts)] „Vocal Messe für vier Männerstimmen” [Tenor 1mo,<br />
2do, Basso 1mo, 2do] mit obligater Orgelbegleitung<br />
componirt von – Theolog im 1mo Jahre 1847 derzeit<br />
Katechet an der Normal Schule in Brünn – No place, [later<br />
than 1847]. Brown ink. [18], [10], [8], [10], [10] p. 255 mm<br />
[oblong shape format] – Stamps, Ex-library. Dust jacket used.<br />
Good. 250,-<br />
5. Cosgrove, Eugene Milne: L. A. S. to the music publisher company Rózsavölgyi – Big Fork, Montana,<br />
30. 10. 1934. 2 p. 260x180 mm – In English. Folded. Marks with pencil. Two punched holes. Some<br />
minor tears. 30,-<br />
3
6. Diggle, Roland: L. A. S. to the music publisher Rózsavölgyi – Los Angeles, 15. 3. [?]. 1 p. 275x215<br />
mm – In English. Folded, marks with pencil. Tears. Two punched holes. 80,-<br />
Diggle, Roland (1885–1954), American organist and composer. He was educated at the Royal College of Music and came to<br />
the USA in 1904. He was organist and choirmaster at St. John’s Church, Wichita, Kansas (1907–11) and then at St John’s<br />
Cathedral, Quincy, Illinois. In 1914 he received the DMus from the Grand Conservatory of Music, New York; the same year<br />
he became a US citizen and moved to Los Angeles where he was appointed organist and choirmaster of St John’s Church, a<br />
position he held for 40 years. In addition to conducting a 60-voice choir and giving recitals, Diggle composed prolifically,<br />
wrote for The Diapason, The American Organist, Etude, and Musical Opinion, and took a leading role in the American Guild<br />
of Organists. (Vernon Gotwals and Judi Caldwell in Grove Online)<br />
7. Fesca, Friedrich Ernst: Musical manuscript: Quartetto per Flauto, Violino, Viola et Violoncello par<br />
F. E. Feska. Oeuvre 38. – No place, [1825 or later]. Black ink. [12], [8], [4], [4] p. 320 mm – Fine. 320,-<br />
Fesca, Friedrich Ernst (1789–1826), German composer and violinist. He showed early musical talent and had violin lessons<br />
with the theatre musician Lohse and studied theory with J. F. L. Zachariä and composition with F. A. Pitterlin in Magdeburg.<br />
In 1805 he went to Leipzig to study composition with A. E. Müller and to serve as solo violinist in the Gewandhaus<br />
Orchestra. In February 1806 he became chamber musician in the Duke of Oldenburg’s chapel. Early in 1808 he joined the<br />
celebrated court chapel of Jérôme Bonaparte, who resided as King of Westphalia in Kassel. There he wrote the first of his<br />
string quartets and symphonies (which were published later), whose performances achieved considerable success. At the<br />
same time his public performances became less frequent because of a serious lung disease. After the dissolution of the<br />
court at Westphalia in 1813 Fesca was engaged as first violinist at the chapel of the Grand Duke of Baden at Karlsruhe.<br />
Before he took up this appointment in April 1814 he visited his brother in Vienna, where he sold his first compositions to<br />
the publisher Mechetti. In the years until 1821, when his health faded rapidly, Fesca was a central figure in the musical life<br />
of Karlsruhe. Fesca’s reputation as a composer was based primarily on his string quartets and quintets. Between 1816 and<br />
1826 he was the most frequently reviewed composer in this genre in the Allgemeine musikalische Zeitung, and his works<br />
were highly regarded by Spohr, Nägeli and Rochlitz, among others. Weber based his ideas on progressive contemporary<br />
chamber music on Fesca’s quartets, since they combined the detailed accompaniment figuration and complex thematic<br />
development of the Classical string quartet with the harmonic richness and virtuosity demanded at that time. A. B. Marx<br />
(1827) ranked Fesca alongside Beethoven as a composer of distinctly personal church music, while Rochlitz (1818) noted<br />
that Fesca’s setting of Psalm ix was such as a ‘contemporary Handel’ might have given to his Utrecht Jubilate. Fesca’s<br />
operas and symphonies show features of early Romantic style, while at the same time revealing his admiration for Mozart.<br />
(Markus Frei-Hauenschild in Grove Online).<br />
8. Fischer, Edwin: L. A. S. to the music publisher Rózsavölgyi – No<br />
place. 26. 8. 1936. 1 p. 230x220 mm – In German. Folded, cut<br />
(larger empty part of the leaf), two punched holes. 80,-<br />
About a planned Bach-concert in Budapest.<br />
Fischer, Edwin (1886–1960), Swiss pianist and conductor. From 1896 to 1904<br />
Fischer attended the Basle Conservatory, where he was a pupil of Hans Huber.<br />
He then studied for some years with the Liszt pupil Martin Krause at the Stern<br />
Conservatory in Berlin. By the 1920s he was established as one of Europe’s<br />
leading pianists, playing both 19th-century repertory and the then relatively<br />
little-played music of Bach and Mozart. As a conductor he directed the Lübeck<br />
Musikverein and the Munich Bachverein in the late 1920s, and then founded his own chamber orchestra in Berlin, with<br />
which he conducted concertos from the keyboard. He taught at the Stern Conservatory and later at the Berlin Hochschule<br />
für Musik, and after returning to Switzerland in 1943 held masterclasses in Lucerne. Among his pupils were Conrad Hansen,<br />
4
Reine Gianoli, Paul Badura-Skoda, Alfred Brendel and Sequeira Costa. Health problems forced him to give up regular<br />
concert appearances after 1954. He provided for the establishment of the Edwin-Fischer-Stiftung, a foundation to help<br />
young musicians and those in need. He composed songs, short piano pieces and cadenzas to some of the piano concertos of<br />
Mozart and Beethoven, and edited Mozart’s piano sonatas, Bach keyboard works, and (with Kulenkampff) Beethoven’s<br />
violin sonatas.<br />
9. Friedman, Ignaz: L. A. S. to Mr Gustav Barczy – Berlin, 5. 9.<br />
1925. 1 p. Black ink. 280x220 mm – In German. Folded, two<br />
punched holes. Marks with pencil. 150,-<br />
Friedman, Ignaz (1882–1948). Polish pianist and composer. After piano<br />
lessons with Flora Grzywińska in Kraków, he studied composition with Hugo<br />
Riemann in Leipzig. In 1901 he began a four-year period of study in Vienna<br />
with Leschetizky, serving as his assistant; he also studied musicology with<br />
Adler and attended masterclasses given by Busoni. After a Vienna début in<br />
1904 he performed throughout the world until 1943, giving some 2800<br />
concerts. He appeared with such conductors as Nikisch, Weingartner,<br />
Mengelberg and Saint-Saëns, and in chamber music with Auer, Hubay,<br />
Huberman, Telmányi and Feuermann, among others; together with Huberman<br />
and Casals he played Beethoven sonatas and the ‘Archduke’ Trio for the<br />
composer’s centennial festival in Vienna in 1927. Until 1917 he lived in Berlin,<br />
then in Copenhagen, then in Siusi, Italy (1919–39) and in 1940 settled in<br />
Sydney. Friedman possessed a formidable technique – even Horowitz acknowledged it as superior to his own – coupled<br />
with a profound imagination. His repertory emphasized the major works of Beethoven, Schumann, Chopin, Liszt and<br />
Brahms, but also included new scores by Novák, Palmgren, Karl Weigl, Kodály and Glazunov. He played the Chopin<br />
Mazurkas with the same kind of rhythmic nuance that, by all accounts, characterized the composer’s own playing of these<br />
pieces. In addition to his career as a performer, he was also an effective teacher: Ignace Tiegerman, Victor Schiøler, Julius<br />
Chaloff, Leon Pommers and Bruce Hungerford were among his pupils. He published more than 100 compositions, mainly for<br />
piano, including transcriptions and two volumes of exercises; his finest work is the Piano Quintet (Leipzig, 1918). He edited<br />
the complete piano works of Chopin, and major works by Beethoven, Mendelssohn, Schumann and Liszt. His recordings<br />
include much Chopin, music by Liszt, Beethoven and Mendelssohn, among other composers, and a few of his own<br />
compositions. (Grove Online)<br />
10. Hällweck, Ferdinand: L. A. S. – Dresden, 14. 9. 1886. 1 p. Brown ink. 175x110 mm – In German.<br />
Folded, two punched holes. 40,-<br />
11. Holstein, Franz von: Handwritten official statement signed by von Holstein – Wien, 18. 4. 1845. 1<br />
p. Brown ink. 145x140 mm – In German. Two punched holes (hitting the text too). 60,-<br />
Franz von Holstein (1826–1878), German composer.<br />
12. Isasi, Andrés: L. A. S. to the music publisher company Rózsavölgyi – Algorta, 30. 11. 1926. 4 p.<br />
Brown ink. 190x160 – In French. About some corrections of his pieces published by Rózsavölgyi.<br />
Folded, two punched holes, marked with pencil. 40,-<br />
5
Isasi, Andrés (1891–1940), Spanish composer.<br />
13. Isasi, Andrés: L. A. S. to the music publisher company Rózsavölgyi – Algorta, 29. 9. 1929. 2 p.<br />
Black ink. 210x145 – In French. Folded, two punched holes, marked with pencil. 40,-<br />
14. Kleiber, Erich: L. A. S. to Mr Gustav Barczy head of the music<br />
publisher company Rózsavögyi – Knocke-Zoute, 2. 6. 1938. 4 p.<br />
Blue ink. 185x135 mm – In German. Folded, two punched holes.<br />
180,-<br />
Kleiber, Erich (1890–1956), Austrian conductor. He was educated in Vienna,<br />
where he studied the violin, and he was deeply impressed by performances at<br />
the Court Opera during the last years of Mahler’s directorship. In 1908 he went<br />
to Prague to study philosophy and the history of the arts at the university, and<br />
music at the conservatory; his early attempts at composing were rewarded in<br />
1911 with a prize for a symphonic poem. That year he was appointed chorus<br />
master at the German Theatre, Prague, but he moved to Darmstadt in 1912,<br />
where he conducted at the court theatre for seven years. Further appointments<br />
followed at Barmen-Elberfeld (now Wuppertal) in 1919, Düsseldorf in 1921 and<br />
Mannheim in 1922. An outstanding success on his Berlin début in 1923, with<br />
Frida Leider and Friedrich Schorr in Fidelio, led to his appointment, announced<br />
only three days later, as Generalmusikdirektor of the Berlin Staatsoper in succession to Leo Blech. Kleiber’s Berlin<br />
appointment was exceptionally productive. In 1924 he conducted Janáček’s Jenůfa in a production regarded as decisive for<br />
the composer’s wider success. Krenek’s Die Zwingburg was presented in the same year, followed in 1925 by the première of<br />
Berg’s Wozzeck. Other new works he performed included Schreker’s Der singende Teufel (1928) and Milhaud’s Christophe<br />
Colombe (1930), and he also conducted Wagner’s Das Liebesverbot and various operettas. Unwilling to compromise with<br />
the Nazi regime’s cultural policy, however, he resigned from Berlin in 1934 (4 December) after the political embargo placed<br />
on such operas as Berg’s Lulu, but he conducted the première of Berg’s Lulu Suite at his last concert before his resignation.<br />
He did not return to Berlin until 1951. (According to Grove Online)<br />
15. Klemperer, Otto: L. A. S. – No place, no date. 1 p. Blue ink. 140x105 mm – In German. Part of a<br />
leaf (one punched hole, soiled). 60,-<br />
16. Kodály Zoltán: L. A. S. to Mr Sugár – No place, no date. 1 p. Pencil. 170x105 mm – Folded, two<br />
punched holes, marked with pencil. 80,-<br />
17. Lehár, Franz: L. A. S. to Mr Alberti Head of the company Alberti – Wien, 16. 2. 1928. 1 p. Black ink.<br />
230x150 mm – In German. Folded and cut. Marks with pencil. Two punched holes. 80,-<br />
6
18. Leikin, Herzl – violinist: L. A. S. to the head of the music publisher company Rózsavölgyi – Leeds,<br />
[after 1930]. 2 p. Grey ink. 225x165 mm – Folded, punched holes, marked with pencil. 40,-<br />
19. Lockwood, Elisabeth M.: Typewritten letter, signed – No date or place. 1 p. Grey ink. 200x160<br />
mm – In English. About the translation of several songs by Ernst von Dohnányi. Folded, punched<br />
holes. 80,-<br />
Elisabeth Lockwood, translator of several vocal compositions by Brahms, Kodály etc.<br />
20. Möller, Heinrich: Typed letter with autograph signature – Budapest, no date. 1 p. 220x175 mm –<br />
In German. Folded. Marks with pencil, two punched holes. Minor tears. 20,-<br />
21. Ormándy Jenő: L. A. S. to Mr Sugár – Strobl, 12. 7. 1935. 1 p.<br />
Blue ink. 240x210 mm – In Hungarian. Folded, marks with pencil.<br />
Two punched holes. Some minor tears. 80,-<br />
22. Pathe, Eduard: L. A. S. to the music publisher company Rózsavölgyi – Posen, 5. 1. 1869. 1 p.<br />
Brown ink. 285x220 mm – In German. Folded, two punched holes. Marked with pen. 60,-<br />
23. Poldini, Eduard: L. A. S. to the music publisher company Rózsavölgyi in Budapest – Wien, 22. 1.<br />
1926. 1 p. Dark blue ink. 173x133 mm – In Hungarian about a conflict between him and the<br />
publisher. Marked with red pencil. Folded, cut and two punched holes. 120,-<br />
Poldini Ede (1869–1957), Hungarian composer and pianist. He studied with Stephan Tomka at the National Conservatory in<br />
Budapest and with Mandyczewski (theory) and Epstein (piano) in Vienna. He then spent a year in Geneva and in 1908<br />
settled in Bergeroc. He received the Hungarian Cross of Merit, second class (1935), and the Hungarian Medal for Artists<br />
(1948). In Hungary Poldini was renowned chiefly for his stage works, but his success was not limited to his native country.<br />
Vagabund und Prinzessin and Hochzeit im Fasching, his two best operas, were both produced in London, the former at<br />
Covent Garden in 1906 and the latter, as Love Adrift, at the Gaiety Theatre in 1926; Vagabund was also seen in around 20<br />
other European cities. His many piano compositions, too, achieved widespread popularity. Poldini’s compositional style<br />
differs from most of his compatriots at the time in that he draws from musical developments outside Hungary. In Vagabund<br />
and Hochzeit he combined elements of the 19th-century Hungarian operatic tradition with those from French and German<br />
7
comic opera. His musical language is marked by a melodic inventiveness and a fine sense of instrumental colour.<br />
((According to Grove Online)<br />
24. Rieding, Oscar: L. A. S. to the music publisher company Rózsavölgyi – Cilli, 4. 9. 1908. 2 p. Brown<br />
ink. 230x145 mm – In German. Folded, two punched holes, some minor tears. 120,-<br />
Oskar Rieding (1840–1918), German violinist, teacher of music, and composer of many pieces for violin and piano. Rieding's<br />
greatest claim to fame lies in his contribution to Hungarian music, and in particular, the musical life of Budapest. Born in<br />
North of Germany, he attended first the recently founded Academy of Musical Arts in Berlin, and later the Leipzig<br />
Conservatory. At the end of the 1860s, he moved to Vienna, where in 1871, the conductor, Hans Richter, at that time<br />
Musical Director of the National Opera House in Budapest, appointed Rieding as leader of the orchestra. He remained there<br />
for thirty-two years, and composed some violin concertos and many drill pieces for violin and piano. After his retirement in<br />
1904, he lived in Cilli (today Slovenia) until his death in 1918.<br />
25. Rodzinski, Artur: L. A. S. to the music publisher company Rózsavölgyi – Warsaw, 29. 6. 1939[?]. 1<br />
p. Grey ink. 285x220 mm – In German. Folded, two punched holes. Marked with pen. 160,-<br />
26. Széll György: Typewritten letter, signed – No date and place. 1 p. Signature with hell brown ink.<br />
220x125 mm – In German. Folded, punched holes, small tear, marked with pencil. 60,-<br />
Szell, George (1897–1970), American conductor of Hungarian birth.<br />
27. Szigeti József: L. A. S. – Budapest, 29. 4. 1936. 2 p.<br />
Grey ink. 250x200 mm – In Hungarian. Folded, two<br />
punched holes. Soiled. 120,-<br />
Szigeti József (1892–1973), Hungarian violinist.<br />
8
28. Tcherepnine, Alexandre: L. A. S. to the music<br />
publisher company Rózsavölgyi – Cairo, 19. 4. 1931. 2<br />
p. Black ink. 180x145 mm – In French. Marked with<br />
pencil, folded, punched holes. 240,-<br />
Tcherepnin, Alexander (1899–1977), Russian composer, pianist and<br />
conductor. Much of his early training was haphazard, but the<br />
musical atmosphere of the home was enriched by such visitors as<br />
Lyadov, Cui, Rimsky-Korsakov, Stravinsky and Prokofiev. By the age<br />
of 14, Alexander had composed many piano pieces, later gathered<br />
to form sonatas and other cycles; such is the origin of Tcherepnin’s<br />
most famous work, the Bagatelles, op.5, published in Paris in 1922.<br />
A year after the Russian Revolution of 1917, Nikolay moved the<br />
family to Tbilisi. The experience of living in Georgia provided<br />
Alexander with ideas for scales and harmonies developed in later<br />
works. The communist takeover of the region caused the family to<br />
move to Paris in 1921. Here Alexander studied piano with Isidore<br />
Philipp, who promoted his music. Tcherepnin increasingly<br />
composed large-scale works in Paris, such as the First Symphony<br />
(1927) which is remarkable for its dissonance, contrapuntal clarity and soloistic percussion in the Scherzo. The winning of<br />
the Schott prize in 1925 for the Concerto da camera for violin, flute and chamber orchestra catapulted his compositional<br />
career. During this period he wrote several ballets and operas including 01–01 (1924–30) and Die Hochzeit der Sobeide<br />
(1930), the latter based on a drama of Hugo von Hofmannsthal. The expressionistic and primitivistic music of this period is<br />
exemplified by the Magna Mater for orchestra (1926–7) and the driving Message for solo piano (1926). New musical ideas<br />
were provided by tours to the near East in 1931 and to China in 1934. Tcherepnin remained in China and Japan, with<br />
intervals in Europe, until 1937, studying Chinese classical music. The resultant interest in pentatonicism is reflected in the<br />
Technical Studies on the Pentatonic Scale (1936) – which also reveal Tcherepnin’s interest in teaching – while the Cinq<br />
études de concert (1934–6), with the brilliant Hommage à la Chine, employ colouristic effects. In 1938, Tcherepnin married<br />
Lee Hsien Ming, a pianist he met in China. Caught in the German occupation of Paris, he survived the war by making musical<br />
arrangements. In 1948, he received an invitation from DePaul University in Chicago to teach composition, analysis and<br />
music history; in 1949, he moved his family to Chicago, where they remained for 15 years. The Second Symphony, begun in<br />
1945 and first performed by Rafael Kubelik with the Chicago SO in 1951, is said to reflect the agony of the war years. Its<br />
assured large scale and synthesis of previous styles mark it as a significant transition into the Chicago period. During the<br />
Chicago years, Tcherepnin promoted contemporary music and taught composers such as Robert Muczynski, Gloria Coates,<br />
John Downey and Phillip Ramey. These years yielded his most significant orchestral works: the Divertimento (1955–7), the<br />
Fourth Symphony (1956–7) and the Symphonic Prayer (1959). The Fourth Symphony reverses the normal tempo flow by<br />
placing its fastest movement (a comic-grotesque Scherzo) in the middle. The third and final movement, based on a Russian<br />
chant for the dead, is one of this century’s most moving symphonic conclusions. Late works such as the Piano Concerto no.5<br />
(1963) and the Serenade for Strings (1964) employ pointillism and radical contrasts between movements, suggesting new<br />
stylistic explorations. In 1958, Tcherepnin became a citizen of the United States. He retired from DePaul and moved to New<br />
York in 1964 to begin a period of international activity as pianist, conductor and composer. His 1967 concert tour to Russia,<br />
at the invitation of the Soviet government, was personally important in that it allowed him to visit places associated with his<br />
youth. He died in Paris of a heart attack on 29 September 1977. At the time of his death, he was working on two<br />
symphonies, one for percussion alone. (Enrique Alberto Arias in Grove Online)<br />
29. Wassermann, Jakob: Typed letter signed by Wassermann – Altaussee, 7, 11. 1933. 1 p. 135x220 –<br />
In German. Second copy of a typed letter. Cut (larger empty part of the leaf). Marked with pencil.<br />
Soiled. Dog-eared. 80,-<br />
9
„Sehr geehrte Herren, ich weiss nicht, von welcher Seite aus Sie die Nachricht von einem Ahasver-Projekt vernommen<br />
haben. Ich kann nur sagen, dass dieser Plan zur Zeit noch nicht aktuell ist und Verhandlungen darüber auch nicht geführt<br />
werden können. Hochachtungsvoll Jakob Wassermann”.<br />
<br />
10
Books<br />
30. Bachmann, Maria; Bachmann, Tibor: Studies in<br />
Bartók’s Music 1–3 – No place, cop. 1981, published by<br />
the author [?]. [2], 56, [2] p. 215 mm; [2], 73, [1] p. 230<br />
mm; 100 p. 230 mm – Sewed. A little used [3rd issue is a<br />
proof copy]. 60,-<br />
31. Bekker, Paul: Gustav Mahlers Sinfonien – Berlin,<br />
1921, Schuster & Loeffler. 359, [1] p. 285 mm – First<br />
edition. Original half cloth. First leaf separated. Used.<br />
90,-<br />
32. Bussler, Ludwig: Musikalische Formenlehre. Fünfte Auflage – Berlin, 1931, Carl Habel. I–XVI, 240<br />
p. 210 mm – Full cloth. Binding in very used condition. 10,-<br />
33. Bücken, Ernst Dr.: Handbuch der Musikerziehung. Herausgegeben von Dr. Ernst Bücken.<br />
Handbuch der pädagogischen Wissenschaft – Potsdam, 1931, Akademische Verlagsgesellschaft<br />
Athenaion. [4], 448, [2] p. 265 mm – Full cloth. Soiled and bumped. 20,-<br />
34. Dénes Tibor: Musique. Récit – Genève, 1957, Quick. 100 p. 180 mm – Paper. 10,-<br />
35. Fux, Johann Joseph: Die Lehre vom Kontrapunkt (Gradus ad Parnassum, 2. Buch, 1.-3. Uebung) –<br />
Celle, 1938, Moeck. 128 p. 215 mm – Paper. Dusty. 15,-<br />
36. Grasberger, Franz: Die Winener Philharmoniker bei Johann Strauß – Wien, cop. 1963, Brüder<br />
Rosenbaum. 83, [1] p. 150 mm [oblong shape format] – Cased boards. A little used. 25,-<br />
11
37. Hartmann, Friedrich: Harmonielehre von Dr.<br />
Friedrich Hartmann Professor an der Staatsakademie für<br />
Musik und darstellende Kunst in Wien – Wien, 1934,<br />
Universal-Edition. U. E. No. 10216. 231, [1] p. 230 mm –<br />
Soiled. 40,-<br />
38. Jadassohn, Salomon: Die Lehre vom Canon und von<br />
der Fuge von S. Jadassohn […] Zweite, durch einen<br />
Anhang vermehrte Auflage – Leipzig, 1898, Breitkopf &<br />
Härtel. I–VI, 205, [1]; 43, [1] p. 220 mm – Full cloth.<br />
30,-<br />
39. Leichtentritt, Hugo: Musikalische Formenlehre.<br />
Vierte Auflage – Leipzig, 1948, Breitkopf & Härtel. I–XVI,<br />
464 p. 225 mm – Boards with minor tears. 20,-<br />
40. dto. – Zweite, durchgesehene Auflage mit einem ergänzenden Anhang. Handbücher der<br />
Musiklehre [Bd.] VIII – Leipzig, 1920, Breitkopf & Härtel. I–XVI, 390, [2] p. 220 mm – Later half cloth.<br />
Binding in a poor condition. Some marks with pencil on some pages, soiled. 10,-<br />
41. Lobe, Johann Christian: Katechismus der Compositionslehre. Von J. C. Lobe. Dritte, verbesserte<br />
Auflage – Leipzig, 1876, Weber. 8, [2], I–X, 194, 7, [1] p. 170 mm – Later half cloth. Marked with ink.<br />
Rubbed. 20,-<br />
42. Mersmann, Hans: Musiklehre – Berlin-Schöneberg, 1929, Max Hesses Verlag. 265 p. 240 mm –<br />
Without binding. 10,-<br />
43. Molnár Antal: Gyakorlókönyv (példatár) az összhangzattan tanításához […] – Budapest, 1923,<br />
Rozsnyai. 171, [2] p. 240 mm – Paper cover. Used. 15,-<br />
44. Neumann, Friedrich: Syntetische Harmonielehre – Leipzig, 1951, Breitkopf & Härtel. I–X, 196 p.<br />
225 mm – Full cloth. 15,-<br />
12
45. [Organ.] – Adelung, Wolfgang: Einführung in den Orgelbau – Leipzig, 1972, VEB Breitkopf &<br />
Härtel. 32 T., 242, [2] p. 240 mm – Sixth edition. Full cloth, original wrappers. 15,-<br />
46. [Organ.] – Barnes, William Harrison: The<br />
Contemporary American Organ. Its Evolution, Design and<br />
Construction – N. J., 1971, J. Fischer & Bro. [6], 397, [1] p.<br />
260 mm – 9th edition. Full cloth. 30,-<br />
47. [Organ.] – Brouwer, Frans: Orgelbewegung und<br />
Orgelgegenbewegung. Eine Arbeit über die Ursprünge<br />
und die Entwicklung der dänischen Orgelreform bis<br />
heute. Publikaties van het Instituut voor<br />
Muziekwetenschap der Rijksuniversiteit te Groningen 1 –<br />
Utrecht, 1981, Joachimsthal Publishers. 112 p. 245 mm –<br />
Full cloth. 20,-<br />
48. [Organ.] – Frescucci, Bruno D. [ed.]: Arte organaria nei secoli XV–XVI–XVII. La scuola Cortonese.<br />
Seconda edizione corretta ed arrichita. Documenti raccolti da D. Bruno Frecucci con la collaborazione<br />
di D. Franco Baggiani, Renzo Giorgetti, Gemma Valenti – Cortona, 1983, Calosci. 233, [7] p. 310 mm –<br />
Plastic binding. 60,-<br />
49. [Organ.] – Friedrich, Felix: Der Orgelbauer Heinrich<br />
Gottfried Trost. Leben-Werk-Leistung – Leipzig, 1989,<br />
VEB DVfM. 227, [1] p. 245 mm – Full cloth. Original<br />
wrapper with a major tear. 20,-<br />
50. [Organ.] – Greß, Frank-Harald: Die Klanggestalt der<br />
Orgeln Gottfried Silbermanns – Leipzig, 1989, VEB DVfM.<br />
160, [16] p. 240 mm – Full cloth, original wrappers.<br />
35,-<br />
13
51. [Organ.] – Kempf, Friedrich: Das neue grosse<br />
Orgelwerk im Freiburger Münster […] Mit 27<br />
Abbildungen – Freiburg im Breisgau, 1929, M. Welte &<br />
Söhne. I–XII, 76, [4] p. 235 mm – Paper boards. Soiled.<br />
20,-<br />
52. [Organ.] – Klinda, Ferdinand: Orgelregistrierung.<br />
Klanggestaltung der Orgelmusik – Leipzig, 1987, VEB<br />
Breitkopf & Härtel. 268 p. 240 mm – Full cloth, original<br />
wrappers with minor tears. 20,-<br />
53. [Organ.] – Lunelli, Renato: L’arte organaria del<br />
rinascimento in Roma e gli organi di S. Pietro in Vaticano<br />
dalle origini a tutto il periodo Frescobaldiano. Historiae<br />
Musicae Cultores Biblioteca – Firenze, 1958, Leo S.<br />
Olschki. 10 plates, I–VIII, [2], 112, [4] p. 250 mm – Paper<br />
(soiled, marked with pen).<br />
40,-<br />
54. Pfrogner, Hermann: Die Zwölfordnung der Töne – Zürich etc., 1953, Amalthea-Verlag. 280, [2] p.<br />
200 mm – Full cloth, without wrappers. 40,-<br />
55. Polak, Abraham Jeremias: Über Zeiteinheit in Bezug auf Konsonanz, Harmonie und Tonalität.<br />
Beiträge zur Lehre der Musik. Mit acht lithographierten Tafeln – Leipzig, 1900, Breitkopf & Härtel.<br />
125, [1] p. 240 mm – Later half cloth. 60,-<br />
56. Radnai Miklós: Összhangzattani jegyzetek […] – Budapest, 1924, Rozsnyai. 79, [1] p. 220 mm – In<br />
paper cover. 10,-<br />
57. Reichenbach, Herman: Formenlehre der Musik. I. Buch. Die singende Form. 1. Teil. Theorethische<br />
und historische Grundlagen – Wolfenbüttel / Berlin, 1929, Georg Kallmeyer. 63, [1] p. 220 mm –<br />
Boards. Some marks with pencil. 15,-<br />
14
58. Reuter, Fritz: Praktische Harmonik des 20. Jahrhunderts. Konsonanz- und Dissonanzlehre nach<br />
dem System von Sigfrid Karg-Elert mit Aufgaben von Fritz Reuter […] – Halle (Saale), [1952?],<br />
Mitteldeutscher Verlag. 173, [1] p. 210 mm – Half cloth. 10,-<br />
59. Richter, Ernst Friedrich: Lehrbuch der Fuge. Anleitung zur Komposition derselben und zu den sie<br />
vorbereitenden Studien in den Nachahmungen und in dem Kanon, zunächst für den Gebrauch am<br />
Konservatorium der Musik zu Leipzig bearbeitet von Ernst Friedrich Richter. Siebente Auflage, mit<br />
Anmerkungen und Ergänzungen versehen von Alfred Richter. Die praktischen Studien zur Theorie der<br />
Musik. In drei Lehrbüchern […] Dritter Band: Lehrbuch der Fuge – Leipzig, 1909, Breitkopf & Härtel. I–<br />
X, 204 p. 225 mm – Full cloth, stamped. 20,-<br />
60. Riemann, Hugo: Elementar-Schulbuch der Harmonielehre. Zweite Auflage – Berlin, Leipzig, 1916,<br />
Max Hesses Verlag. I–VIII, 192 p. 220 mm – Full cloth. Soiled. 15,-<br />
61. Rischbieter, Wilhelm: Der Harmonieschüler – Berlin, [c1904], Ries & Erler. 82, 72 p. 190 mm –<br />
Binding copy (separated in two parts). 10,-<br />
62. Ruppel, Karl Heinz [ed.]: Musica Viva. 217 Abbildungen – München, 1959, Nymphenburger<br />
Verlagshandlung. 230, [2] p. 230 mm – Full cloth. Original dust jacket with minor tears. Soiled. 20,-<br />
63. Schönberg, Arnold: Harmonielehre – Leipzig-Wien,<br />
1911, Universal-Edition. U.-E. Nr. 3370. I–X, 475, [1] p.<br />
235 mm – First edition. Later (very simple) half cloth<br />
binding. Some tears between the title page and the end<br />
paper. Signature on the title page by Albert Siklós former<br />
professor of the Academy of Music in Budapest. Cut.<br />
160,-<br />
15
64. Schönberg, Arnold: Harmonielehre. III. vermehrte<br />
und verbesserte Auflage – Wien, cop. 1922, Universal<br />
Edition. I–XII, 516, [4] p. 3 supplement leafs, 230 mm –<br />
Later full cloth. 100,-<br />
65. Stockmeier, Wolfgang: Musikalische Formprinzipien.<br />
Formenlehre – Köln, cop. 1967, Musikverlag Hans Gerig.<br />
236 p. 210 mm – Boards. 10,-<br />
66. Stöhr, Richard Dr.: Praktischer Leitfaden der<br />
Harmonielehre von Dr. Richard Stöhr Professor an der K.<br />
K. Akademie für Musik in Wien. VII. Auflage – Wien,<br />
1917, Universal-Edition. U. E. 2013. 167, [1] p. 220 mm –<br />
Later half cloth. 25,-<br />
67. Thilman, Johannes Paul: Musikalische Formenlehre in unsrer Zeit – Dresden, 1951, VEB Verlag<br />
der Kunst. 159, [1] p. 190 mm – Full cloth. 10,-<br />
68. Weidle, Karl: Bauformen in der Musik. Veröffentlichungen des Musik-Instituts der Universität<br />
Tübingen. Heft III – Stuttgart, 1925, C. L. Schultheiß. 90, [2] p. 220 mm – Used. 15,-<br />
<br />
16
Music<br />
69. Angiolini, Angelo: Hésitation. Valse lente par A. Angiolini. Paroles de L. Fortolis. Piano – Milan-<br />
Leipzig, cop. 1912, Carisch & Jänichen. VN C. 12897 J. 7, [1] p. 330 mm – Cut. Lithographed<br />
illustration. 20,-<br />
70. Angiolini, Angelo: Tendre Fleur d’Amour. Valse lente<br />
par A. Angiolini. Piano seul – Milan-Leipzig, cop. 1912,<br />
Carisch & Jänichen. VN C. 12867 J. 7, [1] p. 330 mm – Cut.<br />
Lithographed illustration, signed by Nori B. 40,-<br />
71. Barbirolli, Alfredo: Aujourd’hui… Demain… Toujours! Valse par Alfredo Barbirolli – Paris, cop.<br />
1913, A. Durand & Fils. VN D. & F. 8635. [2], 5, [1] p. 330 mm – Cut (text too). Lithographed<br />
illustration in colour. 30,-<br />
72. Basavilbaso, Juan Carlos: Andá Bañate. Bade-Tango. Tango der neue Welt-Mode Tanz. Original<br />
Tangos (bequem spielbar) No. 3 – Leipzig, [c1920], ITA-Verlag. VN I. 4 V. 3, [1] p. 330 mm –<br />
Illustration in lithography. 25,-<br />
17
73. Bellini, Vincenzo: La Sonnambula. Musica del<br />
maestro Vincenzo Bellini ridotta Per Piano-forte da Luigi<br />
Truzzi – Milano etc., [not before 1831], Gio. Ricordi. PN O<br />
5321 B, B 5322 F, O 5323 B, O 5324 D, O 5325 B, O 5326<br />
B, O 5327 B, T 5328 B, O 5329 B, O 5330 F, O 5331-32 B,<br />
T 5333 F, T 5334 B, T 5335 F, M 5336 F, B 5337-38 F. [4],<br />
91, [1] p. 240 mm – Later half cloth. Good. 90,-<br />
74. Berlioz, Hector: Grande Féte chez Capulet. Seconde Partie de la sinfonie dramatique: Romeo et<br />
Juliette op. 17. Arrangement d’après la Partition originale pour deux Pianos à 8 mains par Richard<br />
Pohl – Leipzig etc., [1861], C. A. Klemm. PN 646. 19, [1] p. 255 mm [oblong shape format] – Holoman<br />
p. 201. First edition of the arrangement. Publisher’s stamp on the title page. Last page separated.<br />
60,-<br />
75. Cherubini, Luigi: Der Wasserträger (auch unter den<br />
Namen: Graf Armand, oder die beiden gefahrvollen Tage<br />
bekannt) (Les deux Journées). Ein Singspiel in drei Akten<br />
von Cherubini. Im Klavierauszug. Neue Ausgabe – Leipzig,<br />
[c1820?], Breitkopf und Härtel. VN --. [2], 120 p. 270 mm<br />
[oblong shape format] – Inscription on the title:<br />
„Wittenberg / J. A. Werner. / 1842.” Later full cloth gilt.<br />
90,-<br />
76. Crémieux, Octave: Déséspérance. Valse pour Piano<br />
par Octave Crémieux – Paris, cop. 1913, Max Eschig. VN<br />
M. E. 392. 6 p. 330 mm – Cut (title too). Lithographed<br />
illustration by Yves Marevéry. Stained. 40,-<br />
77. David, Félicien: 1847. Album de Félicien David. 10<br />
Mélodies et 3 Valses expressives – Paris, 1847, J.<br />
Meissonnier. VN -. [70] p. 310 mm – Original full cloth<br />
gilded. Worn and stained. 160,-<br />
18
78. Dignum, William A.: An Ungarian Air with Variations – Pest, [1824], C. A. Hartleben. PN --. [2], 8,<br />
[2] p. 230 mm – Mona 27. Later half cloth. Good. 60,-<br />
79. Finck, Hermann: Schattenspiele – Berlin, cop. 1912, Apollo Verlag. VN A. 2078 V. 7, [1] p. 330 mm<br />
– Titel page missing. Cut. 10,-<br />
80. Frontini, Francesco Paolo: Desolation. Valse lente<br />
pour Piano par F. P. Frontini. Piano – Milan-Leipzig, cop.<br />
1912, Carisch & Jänichen. VN C. 12749 J. 7, [1] p. 330 mm<br />
– Illustration in lithography. 40,-<br />
81. Fucik, Julius: Fest und Treu. Marsch von Julius Fučik.<br />
Op. 177. Meinem lieben Freunde, k. u. k. Hauptmann<br />
Adalbert Naglic gewidmet – Budapest, [c1905], Klökner.<br />
VN K. E. 1183. 3, [1] p. 330 mm – Cut. 20,-<br />
82. Fucik, Julius: Winterstürme Walzer für Pianoforte von Julius Fučik. Op. 184. Meinem lieben<br />
Freunde, Herrn K. u. K. Hauptmann Ferd. Rossmanith gewidmet. 15tes Tausend. Für Pianoforte –<br />
Budapest, cop. 1907, Eduard Klökner. VN K. E. 1202. 13, [1] p. 330 mm – Cut. 25,-<br />
83. Gastaldon, Stanislao: Op. 5. Musica Proibita. (Verbotener Gesang.) Melodie. (Ausgabe für Mezzo-<br />
Sopran oder Bariton). Gedicht von Flick-Flock. Deutsche Übersetzung von Ferdinand Gumbert –<br />
Berlin, [after 1886], Adolph Fürstner. VN A. 5307 F. 7, [1] p. 330 mm – Cut. Used. Pencil marks. 20,-<br />
19
84. Gluck, Christoph Willibald: Orpheus und Euridice<br />
grosse lyrische Oper in drey Aufzügen […] vollständigen<br />
Klavier Auszug mit deutschem und französischem Text –<br />
Berlin, [c1818], Schlesinger. PN 451. [2], 120 p. 250 mm<br />
[oblong shape format] – O. E. Deutsch<br />
(Musikverlagsnummern) p. 21. Later half cloth. Paper<br />
cover a little used. Stained throughout. 140,-<br />
85. Haydn, Joseph: Critical Edition of the Complete Symphonies. Kritische Ausgabe sämtlicher<br />
Symphonien [Vol. I–XII, complete]. Editor / Herausgeber H. C. Robbins Landon [Study scores,<br />
Studienpartituren] – Wien, 1965–1968, Universal Edition. c 4700 pages. 190 mm – Full cloth. Without<br />
wrappers. 160,-<br />
„A century and half after his death, Haydn is the only great composer of the Viennese classical era whose works are not<br />
available in their entirety. More remarkable still, though his symphonic compositions started a world-wide historical<br />
development, only a small part of the 104 symphonies has been handed down to posterity. After years of preparatory work<br />
the Haydn scholar H. C. Robbins Landon has secured source material from all over the world for the publication of this first<br />
critical edition of the complete symphonies, at last making possible the presentation of what is perhaps the most<br />
imposrtant part of Haydn’ oeuvre.” (Blurb of vol. xii).<br />
86. Hummel, Johann Nepomuk: Trois Quatuors composés et dédiés À son Altesse Sérénissime<br />
Monseigneur le Prince Joseph de Lobkowitz par J. N. Hummel. Oeuvre XXX. No. 3 – Vienne, [after 10.<br />
September 1821], Haslinger. PN S. u. C. 4244. H. 11, [1]; 9, [1]; 8; 8 p. 305 mm – Weinmann<br />
(Senefelder, Steiner, Haslinger) Vol 1. p. 220. Paper cover. Washed and cut. 90,-<br />
87. Joyce, Archibald: Mickey’s Birthday. Two-Step. By Archibald<br />
Joyce composer of „Songe d Automne” and „Vision of Salome”…<br />
Valses – London, cop. 1909, Francis, Day & Hunter. VN -. [2], 3,<br />
[1] p. 330 mm – Cut (some text too), spine in bad condition. 20,-<br />
88. Juel-Frederiksen, Emil: My little black Sweetheart. Two Step<br />
für Pianoforte von Emil Juel-Frederiksen. Für Pianoforte –<br />
Hamburg, cop. 1911, Anton J. Benjamin. VN A. J. B. 3610. 5, [1]<br />
p. 330 mm – Cut (text too). Illustration signed: Telemann.<br />
30,-<br />
20
89. Křenek, Ernst: Der Diktator Op. 49. Klavierauszug mit<br />
Text vom Komponisten – Wien etc., cop. 1928 [date on<br />
the cover: 1928], Universal-Edition. VN U. E. 9454. 56 p.<br />
305 mm - First edition. Paper cover. Good. 90,-<br />
90. Lehár, Franz: Die Näherin. Lied von Karl Lindau.<br />
Musik von Franz Lehár – Leipzig, cop. 1905, Bosworth.<br />
VN B. & Co. 6374. 6, [4] p. 330 mm – Cut, stamped.<br />
Lithographed cover illustration. First edition (?). 25,-<br />
91. Lichner, Heinrich: Auf der Wiese. Op. 95. No. 2. Sechs Tonbilder für das Pianoforte componirt von<br />
Heinrich Lichner – Leipzig, [after 1872], C. F. W. Siegel. VN 4267. 5, [1] p. 330 mm – Titelauflage.<br />
Spine used, title stained. 10,-<br />
92. Linka, Camillo: Menodora Valse pour le Piano par Camillo Linka. 10éme mille – Budapest,<br />
[c1904], Klökner. VN K. E. 883. 9, [1] p. 330 mm – Cut. 15,-<br />
93. Linka, Camillo: Tripolis Marsch pour Piano composé par Camillo Linka. Op. 117 – Budapest,<br />
[c1905], Klökner. VN KI. E. 1640. 6, [2] p. 330 mm – Title page sparated. 15,-<br />
94. Magaloff, Nikita: Toccata pour piano Op. 6 – Berlin etc., 1933, Édition Russe de Musique. VN R.<br />
M. V. 605. [2], 8, [2] p. 340 mm – Paper cover. Used. Inscribed to Mr Baranyi by the composer. 90,-<br />
Magaloff, Nikita (1912–1992), Swiss pianist of Russian birth. When he was six his parents were driven by the Revolution<br />
from Russia to Finland and stayed there for four years before the family settled in Paris. At the Paris Conservatoire he<br />
studied with Isidor Philipp, won a premier prix when he was 17, and earned an enthusiastic testimonial from Ravel. Another<br />
important early influence was the émigré Prokofiev, who gave him private composition lessons. From 1949 to 1959 he took<br />
over Lipatti's masterclass at the Geneva Conservatoire. Magaloff played with most of the great orchestras and conductors,<br />
and at leading festivals. He was particularly renowned for his warm Romantic sympathies, especially in the music of Chopin,<br />
whose complete works he played in a series of recitals in many European centres, and he was admired by younger<br />
colleagues for his freedom of spirit and lively imagination. His numerous recordings include several with Joseph Szigeti,<br />
whose daughter he married. Magaloff was also the composer of a violin sonatina, piano pieces and songs. (Joan Chissell and<br />
Jessica Duchen in Grove Online)<br />
21
95. [Mahler, Gustav]; Kaplar, Gilbert E. [ed.]: Mahler.<br />
The Resurrection Chorale – New York, 1994, The Kaplan<br />
Foundation. 35, [1] p. 305 mm – Limited edition,<br />
numbered copy: 288 of 700. Paper cover. Fine copy.<br />
150,-<br />
96. Martinu, Bohuslav: Comedy on the Bridge. Komödie<br />
auf der Brücke. Vocal Score. Klavierauszug mit Text –<br />
London etc., cop. 1951, Boosey & Hawkes. VN B. & H.<br />
17982. [4], 102, [2] p. 305 mm – Later half cloth. Good.<br />
90,-<br />
97. Missler, B. T.: Ramage d’Oiseaux. Polka-Mazurka de Salon pour Piano par B. T. Missler. Op. 80.<br />
Für Klavier 2 händig. Neue Ausgabe – Berlin, [1898], Schlesinger. VN CH 14723. 7, [1] p. 330 mm –<br />
Cut, some tears on the spine. 15,-<br />
98. Mouton, Henri: Enchainement. Valse lente par H. Mouton. Vers de Pierre d’Amor. Piano – Paris,<br />
cop. 1913, A. Durand & Fils. VN D. et F. 8864. [2], 5, [1] p. 330 mm – Cut. Lithographed illustration by<br />
H. Larramet. 30,-<br />
99. Muir, L. F.: The Robert E. Lee. Two-Step. – Berlin, cop. 1912, C. M. Roehr. VN R. 966. 6 p. 330 mm<br />
– Cut, lithographed illustration. 45,-<br />
100. Musorgsky, Modest: Boris Godounow. Drame Musical Populaire en 4 actes avec un Prologue.<br />
Nouvelle édition, revue, retouchée et instrumentée par N. Rimsky-Korsakow. Partition pour chant et<br />
piano [with text in Russian and in French]– St. Petersbourg, Moscou etc., cop. 1903, W. Bessel. VN<br />
6452. 1 frontispiece, [6], 293, [1] p. 310 mm – Later half cloth gilt. Good. 60,-<br />
22
101. Neubacher, Annemarie: Mozarts kleine<br />
Notenschule in Versen. Über hundert mehrfarbige Bilder<br />
von Ernst Kutzer – Salzburg-Leipzig, cop. 1934, Anton<br />
Pustet. 112 p. 195 mm – Original half cloth. Used.<br />
35,-<br />
102. Pleyel, Ignace Joseph: Troix Duos Pour deux Violons<br />
Oeuvre 30. Arrangés Par Mr. Fodor – Vienne etc., [before<br />
1801], T. Mollo Comp. PN 392. 15, [1], 15, [1] p. 330 mm<br />
– Weinmann (Artaria) p. 31, Weinmann (Mollo) p. 17.<br />
Paper covers. Used, stained. 160,-<br />
103. Poggi, Alberto S.: Qué Cosa barbara! O dieser<br />
Modentanz! Tango der neue Welt-Mode Tanz. Original<br />
Tangos (bequem spielbar) No. 5 – Leipzig, [c1920], ITA-<br />
Verlag. VN I. 7 V. 3, [1] p. 330 mm – Illustration in<br />
lithography. 25,-<br />
104. Poulenc, Francis: La voix humaine. Tragédie lyrique en un acte – Paris, cop. 1959, Ricordi. VN r.<br />
1614. [8], 71, [1] p. 280 mm – First edition (?). Later half cloth. Good. 90,-<br />
105. Reinhardt, Heinrich: Gretl-Walzer. [Aus Prinzess Gretl.] Für Klavier zu zwei Händen – Leipzig,<br />
Wien, cop. 1913, W. Karczag. VN W. K. 37. 11, [1] p. 330 mm – Stained and cut. sold<br />
106. Stuart, Walter: New Directions in Modern Jazz – New York, cop. 1959, New Sounds in Modern<br />
Music. VN --. 21, [1] p. 305 mm – Paper cover. Good. 35,-<br />
23
107. [Traditional?]: Henkeltöpfchen-Rheinländer. Trink’n wir noch ein Tröpfchen aus dem kleinen<br />
Henkeltöpfchen. Gesellschafts-Rheinländer – Berlin, [c1920], Paul Fischer. VN P. F. 623. 3, [1] p. 330<br />
mm – Cut, tear on the title page. 15,-<br />
108. Turina, Joaquin: Chez le cordonnier / At the Shoemaker’s. Petites scènes pour Piano par Joaquin<br />
Turina – Mainz etc., cop. 1933, Schott. VN B. S. S. 33576. 15, [1] p. 310 mm – Paper cover. Good.<br />
60,-<br />
109. Var.: Album der Wiener Mester. Eine Erinnerung an<br />
die Internationale Ausstellung für Musik und<br />
Theaterwesen in Wien 1892 – Wien, [not before 1892],<br />
Josef Weinberger. VN J. W. / W. M. A. [2], 71, [1] p. 330<br />
mm – Repaired. Later paperboard. 160,-<br />
110. Verdi, Giuseppe: [Potpourri] „Don Carlos”.<br />
Potpourris sur des motifs d’Opéras et d’Operettes favoris<br />
pour le Piano a deux mains – Pest, 186[7], Rózsavölgyi.<br />
PN N. G. 1445. 13, [1] p. 330 mm – Mona 2245. Cut. Title<br />
page lithographed, music engraved. 40,-<br />
111. Weckerlin, Jean-Baptiste: Nouvelles Chansons et<br />
Rondes Enfantines avec notices et accompagnement de<br />
piano par J. B. Weckerlin. Ouvrage enrichi de nombreux<br />
dessins en couleurs et culs-de-lampe d’après les<br />
aquarelles de Henri Pille, A. Sandoz, V.-A. Poirson, J.<br />
David, Le Natur, etc. – Paris, [c1885], Garnier Frères. I-XI,<br />
[1], 83, [1] p. 285 mm – Original full cloth gilt. Good.<br />
160,-<br />
24
112. Widor, Charles Marie: Vieilles chansons pour les petits enfants avec accompagnements.<br />
Illustrations par M. B. de Monvel – Paris, [c1890], Plon-Nourrit et Cie. 47, [3] p. 230 mm – Original full<br />
cloth gilt. Used. 90,-<br />
113. Wolf, J. C. Louis: Grand trio pour le Piano-Forte Violon et Violoncelle ou Viola concertans<br />
Oeuvre 6 – Vienne, [c1802?], Artaria. PN M. A. 891. 31, [1]; 8, 7, [1] p. 350 mm – Weinmann (Artaria)<br />
-. Owner’s stamps. Repaired. Good. 120,-<br />
<br />
25