Adam Bosze - Musikantiquariat Adam Bosze

Adam Bosze - Musikantiquariat Adam Bosze

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