Catalogue 63 - J & J Lubrano, Music Antiquarians

First Edition, first issue. Hoboken 9, 1525. BUC p. 457. RISM H2656. In the earliest issues (such as the present
copy), the title of the fifth song is left blank; it appears as Pleasing Pains in later issues.
"It seems clear that Haydn's intention was to compose technically easy songs which could be sung at sight by any
educated music-lover and played on the piano a prima vista by the average lady of musical inclination. This appeal to
the amateur had also marked Haydn's German Lieder of the 1780s, which were technically even simpler... Haydn's
earlier Lieder had not been entirely successful, for the texts were generally second-rate... The English texts by Mrs.
Hunter, although in the pastoral-cum-sentimental English tradition, are far better than Haydn's previous German
texts. Musically, too, the English Canzonettas are worlds away from the kleinbürgerliche literary trash which Haydn,
who like Leonardo, used to call himself 'un uoma senza letters', indiscriminately set to music...". Robbins Landon:
Haydn: Chronicle and Works. Haydn in England 1791-1795, pp. 377-378.
"... Haydn, alone of living composers, had entered the programmes of the Antient Music in 1794. Now, a year later,
we find him still represented. The Sun of 30 January 1795, reviewing a concert of Antient Music the day before, tells
us that 'A beautiful new canzonet by Haydn, sung by Miss Poole, was very much admired...'. The work in question was
obviously one of the Six Canzonettas published in 1794." Robbins Landon, pp. 285-286.
114. HAYDN, Joseph 1732-1809. [Quatuors complets de Joseph Haydn. Edition en Partition]. [Hob. Coll. Qu. 8].
Berlin: Trautwein et Comp. [PNs 695-882], 1840-1845. 6 volumes. Octavo. 19th century quarter dark red calf with
marbled boards. Engraved. With separate titles to each quartet (no collective title present). Preceded by "Deux Tables
Thematiques et Chronologiques de Quatuors," 1f., iv, 6, 6 pp. Bindings slightly worn and rubbed. Minor foxing and
browning. In very good condition overall. (18940)
$850.
This collection was issued over a 5-year period in monthly installments. The two thematic indices were issued to
subscribers only. For a full description of the collection see Hoboken Werkverzeichnis Coll. Qu. 8 [Vol. III, pp. 52-54]
and Hoboken 7, 780-855.
Fine Original Portrait of Roland Hayes by Lupas,
With Hayes’s Autograph Signature
115. HAYES, Roland 1887-1976. Fine large original drawing in black and white charcoal on blue/gray paper by
Louis Lupas, a 20th century American artist particularly known for his portraits of musicians, celebrities and
politicians A portrait of the noted African-American opera singer Roland Hayes as a young man. Signed by the artist
in charcoal at lower left. Image size approximately 320 x 220 mm., sheet size approximately 410 x 318 mm. No place
or date, but ca. 1925. With the large autograph signature of Roland Hayes in pencil above artist's signature. Paper
slightly browned, most noticeably at edges; traces of mounting adhesive to corners and verso. (18963)
$2,500.
Hayes was born in Curryville, Georgia and died in Boston. A tenor, "he received his general education at Fisk
University and had several singing teachers, including Arthur J. Hubbard, Sir George Henschel and Victor Beigel. He
made concert tours throughout the USA (1916-20) and in 1921 went to Europe, where he gave recitals and appeared
with major orchestras in London, Paris, Amsterdam, Berlin and Vienna. An outstanding interpreter of black American
spirituals, he was equally successful in the classics and the music of Schubert, Schumann, Brahms, Debussy and
Fauré. His sensitive voice and eloquent delivery contributed to an effective performance style. He made a few
appearances as late as the 1960s. Hayes was awarded honorary doctorates at Fisk University and Ohio Wesleyan
University. He published arrangements of a number of spirituals as My Sons (Boston, 1948)." Max de Schauensee in
Grove online.