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Offertoria totius anni, secundum Sanctae Romanae Ecclesiae, consuetudinem, quinque vocibus concinenda. Pars prima [-secunda]

PALESTRINA, Giovanni Pierluigi da 1525 or 1526 - 1594 7 volumes. Quarto, ca. 205 x 160 mm. Each part newly bound in plain dark ivory paper wrappers with printed title label to uppers. All titles with rectos printed within decorative woodcut border with dedication to verso and index to final leaf. Music typeset in diamond-head notation. "Picador" and "key" watermarks. In a custom-made full dark blue cloth box with dark blue leather title label gilt to spine. Pars prima: 40 pieces Quintus and bassus parts only, 22ff. each. Pars secunda: 28 pieces Complete set of parts: cantus, altus, tenor, quintus and bassus. Cantus 16ff., the others 15ff. Minor signs of wear; some browning; a few small wormholes; some running heads slightly cropped; tears to two leaves of cantus part in Pars secunda with early paper tape repairs, slightly affecting text; quintus and bassus parts in Pars secunda lacking index. First Edition. Very rare. RISM P746 and P749 (no holdings of any parts of either the Pars prima or the Pars secunda in North America). "In the view of many scholars the last in this series of cycles [for the liturgical year], the offertories for the entire year, published in 1593 is also the greatest. Palestrina assembled no fewer than 68 settings, of which 40 are for the major festivals from Advent to the ninth Sunday after Pentecost and the remaining 28 for the additional Sundays after that. There is no evidence in these works of chant paraphrase and they should be thought of as offertory motets rather than as liturgical substitutes for the plainchant. They are in many respects much like the shorter single-section motets of the 1584 fifth book for five voices, but in contrapuntal refinement and prodigality of invention in a short span they surpass the motets or any other of his later works." Lewis Lockwood, Noel O'Regan and Jessie Ann Owens in Grove Music Online "The 68 Offertories for the whole year. issued in two books in 1593, are of historical importance. These works and the Offertories of Lassus are the first ones known to have been written in free motet style; the few earlier polyphonic examples (such as those in the Propers of the Trent Codices) are settings of plainsong melodies . The Offertories are rich in felicitous touches of many kinds. The note-group E-F-E, used in various ways, permeates so much of Illumina oculos meos that the work gives the impression of being evolved through the developmental technique usually associated by us with later periods. Several Offertories illustrate Palestrina's skill in handling varied repetition ." ". In the Offertories, as elsewhere, Palestrina differentiates himself from earlier masters such as Josquin . by his easily discernible sensitivity to tonality . A strong feeling for harmony, moreover, is evident . throughout Palestrina's work . " Reese: Music in the Renaissance, pp. 465-467. One of the last lifetime publications of this towering figure in the music of the mid- to late-16th century. Of considerable rarity. Rare Book Hub records no copies of this work coming up for auction since at least 1926.
Antiphonal leaf from a Sanctorale containing chants for an unidentified martyr and All Saints' Day. Most probably of French provenance

Antiphonal leaf from a Sanctorale containing chants for an unidentified martyr and All Saints’ Day. Most probably of French provenance

MEDIEVAL MANUSCRIPT LEAF - 14th Century] 1 leaf ca. 217 x 292 mm with textual area ca. 140 x 220 mm. On parchment. In square notation on both sides of the leaf in two columns of 13 four-line staves each. In F and C clefs. Notation in black ink, staves in red, decorative capitals in red and blue, some with grotesques. Text in Gothic script with "e" height 2.5 mm. Small drawing to lower margin of verso incorporating a crown and face. Recto: [Matins] Responsory: [Vir inclytus imma]nitatem tormentorum pervenit Verse: Cujus intercessio nobis obtineat veniam Responsory: Miles Christi gloriose. Jo [martyr unidentified] Verse: Ut caelestis regni sedem valeamus [Lauds] Antiphon for Lauds: Qui me confessus feurit coram Antiphon: Qui odit animam suam Response for Sext: Posuisti domine super caput Response for None: Magna est gloria Verso: Magnificat antiphon: Hic est vere martyr [All Saints' First Nocturn] Antiphon 1: Secus decursus aquartum plantavit vineam Antiphon 2: Predicantes preceptum domini Antiphon 3: Ecce merces sanctorum copiosa est Responsory: Absterget deus omnem lacrimam Verse: Lustorum anime in manu dei sunt Slightly worn and soiled; occasional light marks and stains, none affecting music; small holes to margins; dark stain to right margin; small blue ink stain to recto, just affecting one letter. From the Sanctorale of an Antiphoner, containing the chants for the Divine Office. The recto contains chants for a feast of a martyr "Jo" that we have been unable to identify. Due to the celebration prior to All Saints' Day, the list of possible candidates narrows greatly; one possibility is John of Autun, whose feast day of October 29 and location in eastern France corresponds with the present manuscript. Very little is known about him, however, and there is no evidence of liturgy in his honor surviving in the Diocese of Autun. The presence of three antiphons for the first nocturn of Matins before the responsory indicates secular rather than monastic use. We would like to thank Dr. Barbara Haggh-Huglo for her assistance in the cataloging of this manuscript.
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Il Crociato in Egitto Grand’ Opera . Riduzione completa per Canto con Accomp.to di Forte Piano Del Sig.r Mo. Luigi Truzzi . Fr. 30. [Piano-vocal score]

MEYERBEER, Giacomo 1791-1864 Oblong folio. Half dark green leather with marbled boards, titling gilt to brown leather label on spine. 1f. (recto title, verso blank), 1f. (recto named cast list and index of pieces, verso blank), 285, [1] (blank) pp. Engraved. Each number with its own plate number, price, and secondary pagination. Named cast includes Bianchi, Lallande, Crivelli, Lorenzani, Velluti, Boccomini, and Bramati. With small embossed initials ("F.G.") below a crown to upper margin of title. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Binding slightly worn, rubbed, and soiled; front free endpaper lacking; rear pastedown with small pieces of old tape to outer corners. Margins lightly worn and foxed. First Edition. Il Crociato in Egitto, to a libretto by Gaetano Rossi, was first performed in Venice at the Teatro La Fenice on March 7, 1824. The opera "was Meyerbeer's most successful, as well as his last, opera for an Italian stage. The part of Armando was written for the castrato Giovanni Battista Velluti, which makes the work noteworthy as the last major opera with a role for that voice type. Following its Venetian première, Il crociato took other houses by storm: within a little over a year productions were mounted in Florence, Trieste, Padua, Parma and London. The work then served as Meyerbeer's entrée to Paris, where it was first performed at the Théâtre Italien on 25 September 1825 with the soprano Giuditta Pasta in the role of Armando and Nicholas Levasseur as Aladino." Steven Huebner in Grove Music Online.
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Gli Ugonotti Grand’ opera in cinque atti . Partitura a piena orchestra con Illustrazione e Ritralto. [Full score]

MEYERBEER, Giacomo 1791-1864 2 volumes. Octavo. Quarter leather with marbled boards, titling gilt to spine within decorative gilt-ruled compartments. Engraved. Text in Italian. Volume 1: 2ff. (decorative title, printed dedication), 386 pp., 1f. (contents)/ Volume 2: pp. 387-892. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Bindings somewhat worn and rubbed. Light scattered foxing; lacking preface and portrait. Meyerbeer's opera Les Huguenots was composed to a libretto by Eugène Scribe and Emile Deschamps. It was first performed in at the Paris Opéra on February 29, 1836. "In Les Huguenots Meyerbeer successfully transposed the formula of a highly variegated succession of scenes connected by a well-integrated plot from the good-versus-evil morality play of Robert le diable to a historical setting that prominently features public political turmoil. Even Meyerbeer's detractors (such as Wagner, later in his career) have grudgingly admired the [fourth] act. In its juxtaposition of reverential Protestant victims and fanatical Catholics - both invoking the name of the Lord - the fifth act is a locus classicus for the vivid ironical contrasts characteristic of Meyerbeerian grand opera." Steven Huebner in Grove Dictionary of Opera. Italian publisher Giovanni Guidi (1817-1883) was one of the first to publish opera full scores in "pocket" or "miniature" versions. Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni (1831-1918), whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia, where he taught (amongst many others) Sesto Bruscantini, Anna Moffo, Rosalind Elias, Ezio Flagello, Peter Lindroos, and Martti Wallén.
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Ruslan i Liudmila Bol’shaia vol’shebnaia opera v 5 deistviiakh Siuzhet zaimstvovan iz poemy A. Pushkina . Dlia peniia tsena 8 rub. [Piano-vocal score]

GLINKA, Mikhail 1804-1857 Large octavo. Quarter dark red leather with textured cloth boards, "Anatra" gilt to upper, titling and number 208 gilt to spine in gilt-ruled compartments. 1f. (recto decorative title in Russian, verso blank), [1] (cast list and contents in Russian and German), 2-335, [i] (blank) pp. Caption titles, text, and stage directions in Russian and German. Censor's note in Russian dated May 1885 printed to lower innter corner of final page of music. Overture (pp. 2-10) carries plate number "K. 2158 G.," with "2483" added in smaller font; its caption title is in Russian only. Header "Izdanie A. Gutheil'" to head of title. Publisher's monogrammatic handstamp "AG" in Latin script to foot of title, music dealer's handstamp to upper outer corner. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Binding somewhat worn and rubbed; minor soiling to upper; spine cracked; endpapers browned and slightly stained. Uniform browning; light scattered foxing throughout. Later edition. Glinka's opera Ruslan and Lyudmila, to a libretto by Valerian Shirkov after Pushkin, premiered in St. Petersburg at the Bolshoi Theatre on November 27, 1842. "the quintessential Russian Romantic opera" Richard Taruskin in Grove Dictionary of Opera. "[Glinka] was the first Russian composer to combine distinction in speaking the musical idiom of the day with a personal and strongly original voice. Emerging from the background of a provincial dilettante, though with generous access to local music-making opportunties, he made himself at home in metropolitan centres and mastered the procedures of Italian and French opera, and complemented that expertise with skill in motivic and contrapuntal working as well as instrumentation. His compositions, especially the operas A Life for the Tsar and Ruslan and Lyudmila and the orchestral fantasia Kamarinskaya, represent cornerstones of what are known as the 'Russian classics', and furnished models for later 19th-century composers." Stuart Campbell in Grove Music Online.
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Bailes Tradicionales Argentinos El Escondido Historia – Origen – Musica – Poesia – Coreografia

ARGENTINIAN FOLK DANCE] Vega, Carlos 1898-1966 Quarto. Soft brown leatherette with titling gilt to upper within ruled border, marbled endpapers. 15 parts, each with separate titles and pagination. [188] pp. total. With numerous illustrations throughout including choreographic diagrams, musical scores, and bibliographies. With an autograph inscription to front endpaper to Luigi Ricci from Francisco Serra dated Buenos Aires, November 18, 1949. Contents: El Escondido (1946), El Gato (1944), La Danza de las Cintas (1948), La Condicion (1946), El Carnavalito (1946), El Bailecito (1948), El Triunfo (1944), El Pala Pala (1946), La Huella (1948), La Sajuriana (1948), La Chacarera (1944), El Pajarillo (1948), La Calandria (1948), El Cuando (1944), La Mariquita (1946). From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Inscribed to him on front flyleaf by Francisco Seara, dated November 18, 1949. Light uniform browning. Carlos Vega made substantial contributions to Argentine musicology with his systematic studies of traditional music and dance. He founded the Institute of Musicology in 1931 and also served as a folklore expert at Buenos Aires University. The pamphlets issued as part of the series Bailes tradicionales argentinos contain a brief history of each dance, choreography, texts, and music; they are illustrated with both printed music and depictions of the dance steps.
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Balletto I Paggi del Duca di Vandomo Composto dal Sig.r Aumer pel R. Teatro alla Scala Musica di diversi rinomati Autori Ridotta per Cembalo Solo

AUMER, Jean-Louis 1774-1833] Oblong folio. Sewn. Stiff olive green marbled wrappers with small rectangular title label to upper with former owner's name ("Marietta dal Verme") in manuscript within decorative oval printed border. 43, [1] (blank), pp. Engraved. With series information to lower margin of title: "Classe II. Fasc.o 4 e 5. della Bibl.a di Musica moderna. Anno III." With the outline of two ballet shoes in pencil to front pastedown and several manuscript annotations in ink indicating cuts and repeats to score. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Previously from the collection of Marietta [?]Gigulini,with her signature to upper outer corner of title. Wrappers somewhat worn, soiled, and faded. Moderate wear and soiling throughout, particularly to corners and margins; title slightly abraided and soiled. First Edition, first issue (without printed price). Rare (two copies only located, both in Italy). Jean-Louis Aumer (1774-1833) was a dancer and choreographer active primarily in Paris. He collaborated with composer Adalbert Gyrowetz (1763-1850) on the ballet Die Pagen des Herzogs Vendôme, first in Vienna (1815), and later in Paris as Les pages du duc de Vendôme, which premiered at the Académie royale de musique on October 18, 1820. The present score does not credit the music to Gyrowetz but only "several renowned authors" who are not named.
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L’Ebreo Melodramma tragico in un Prologo e tre Atti . Dedicato in segno di vera stima all’esimia artista cantante signora Marianna Barbieri-Nini dall’ Editore Tito di Gio. Ricordi Riduzione per Canto con accompagnamento di Pianoforte di L. Truzzi . Fr. 40. [Piano-vocal score]

APOLLONI, Giuseppe 1822-1889 Oblong folio. Vellum-backed and edged boards with black paper laid down, initials "C.G." gilt to upper, titling stamped to spine, original publisher's wrappers bound in. 1f. (title within decorative border printed in blue), 1f. (recto table of contents, verso cast list ), 5-246 pp. Each number with separate caption title, some with separate pagination. Publisher's blindstamp to lower inner margin of first leaves. Engraved. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Binding worn and bumped; minor paper loss to boards; small split at hinge; head and tail of spine chipped. Occasional light foxing; some minor soiling to margins; vertical creases to several leaves. First Edition, second issue (printed one year after the first). L'Ebreo, a melodramma tragico in three acts and prologue to a libretto by A. Boni (after E. Bulwer-Lytton's Leila), was Apolloni's most widely performed work. It premiered at La Fenice in Venice on January 27, 1855, and was subsequently staged in Barcelona and Malta. The opera also received performances in Rome and Bologna under the title Lida [Leila] di Granata, at the insistence of censors.
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Messa Funebre per Tenori e Bassi con accompagnamento d’Orchestra composta ed ossequiosamente dedicata all’ Ill.mo e Rev.mo Monsignor Ambrogio Campodonico Internunzio apostolico presso l’ I. Corte del Brasile . Fr. 20. [Full score]

ROSSI, Luigi Felice 1805-1863 Folio. Dark brown leather-backed marbled boards with titling and decorative devices gilt to spine within gilt-ruled compartments. 1f. (recto title, verso blank), 130 pp. Engraved. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981), previously from the collection of Italian composer Francesco Maria Albini (1829-1917), with his signature and inventory number "61" to title. Binding slightly worn, rubbed, and bumped. Occasional light foxing; some minor creasing and soiling to corners. First Edition of the full score. Gaspari II, p. 134. Rare (three copies located outside Italy, none in the U.S. or U.K.). Luigi Felice Rossi was born in Turin and spent his career there after musical studies in Naples and Bologna. His first and only opera, Gli avventurieri (1835), was panned after a performance at La Scala, leading Rossi to focus solely on sacred and instrumental music. In Turin, Rossi became a dominant force in musical life, reforming orchestras, organizing benefits, and establishing pedagogical techniques for choirs. Additionally, Rossi wrote articles for the Gazzetta musicale di Milano and translated Reicha's composition treatise. The majority of Rossi's sacred music is unknown to modern audiences, even within Italy. He dedicated his Requiem to Ambrogio Campodonico (1792-1869), who served as Apostolic Internuncio to Brazil from 1841 to 1845. The full score was published by Ricordi after the version for two tenors, bass, and organ (Magrini, ca. 1843).
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Op. 39]. Grand Sonate pour le Piano=Forte composée et dédiée en Marque d’estime et d’amitié A Monsieur François Lauska Compositeur & Professor de Piano à Berlin . Deuxieme Sonate

WEBER, Carl Maria von 1786-1826 1f. (recto title, verso blank), [1] (blank), 4-29, [1] (blank) pp. Engraved. Publisher's small circular blindstamp to lower left corner of title. Bound with: WEBER [Op. 49]. Grand Sonate pour le Pianoforte . No 3 de Sonate No. 236. Berlin: Adolphe Martin Schlesinger [PN 236], [1817]. 1f. (recto title, verso blank), [1] (blank), 2-29, [1] (blank) pp. Engraved, with "Gravé par Ch: Janicot" to lower right of page 3. DONIZETTI Linda di Chamounix Melodramma in Tre Atti . Riduzione per Pianoforte solo di P. Tonassi. Fr. 18 [Piano solo]. Milano: Tito di Gio. Ricordi [PNs 13931, 13965-80], [1859]. 1f. (recto title, verso blank), 1f. (recto table of contents, verso blank), 3-124 pp. Each number with separate caption title, some with separate pagination. Engraved. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Oblong folio. Full dark red flexible boards with titling gilt to spine. Binding somewhat worn and rubbed. Uniform browning; minor foxing; occasional light impression; and some offsetting to Weber; occasional foxing to Donizetti. Weber op. 39: First Edition. Jähns J. 199, p. 213. Hoboken 15, 323. Weber op. 49: First Edition. Jähns J. 206, p. 218. Hoboken 15, 328. Donizetti: First Edition of the score for piano solo. Inzaghi IN. 73, p. 192. Bergamo catalog, p. 132, 19. "Once again, to compare [the piano sonatas 2 and 3] with those being written by Beethoven, who was finishing his Op. 101 in A major in the same November, is absurd. But if we except Beethoven as an isolated phenomenon, Weber's achievement as a keyboard composer beside that of his contemporaries is extraordinary. He towers over them, and in his anticipation of the new worlds of feeling to be explored by Schumann, Chopin and Mendelssohn in their piano works, he need fear no comparisons at all. The finale of No. 3 has the gentle Romanticism and indeed much of the technique of a Schumann Novelette." Warrack: Carl Maria von Weber, p. 172. Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni (1831-1918), whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia, where he taught (amongst many others) Sesto Bruscantini, Anna Moffo, Rosalind Elias, Ezio Flagello, Peter Lindroos, and Martti Wallén.
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Roberto il Diavolo Opera in 5. Atti con ballabili . Poesia dei Sig.ri Scribe e Delvigne recata in versi italiani da A. C. di Siena Riduzione complete per Pianoforte e Canto del Sig.r I. P. Pixis Prezzo Fr. 36 [Piano-vocal score]

MEYERBEER, Giacomo 1791-1864 Oblong folio. Vellum-backed and edged boards with dark brown cloth laid down, initials "C.G." gilt to upper, titling stamped to spine, original publisher's wrappers bound in. 1f. (recto title, verso blank), 1f. (recto table of contents, verso cast list ), 5-457, [1] (blank) pp. Each number with separate caption title, some with separate pagination. Engraved. Text in Italian. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Binding worn and rubbed, with minor soiling and defects; split to head of spine. Occasional light foxing; some offsetting to caption titles. First Italian edition. The first of Meyerbeer's grand operas, Robert le diable was composed to a libretto by Eugène Scribe and Germain Delavigne. It premiered at the Paris Opéra on November 21, 1831. "The success of its premiere . was greater than any that Meyerbeer or the Opera itself had known before and placed him unchallenged at the head of European opera composers. Rossini, his most important rival, definitively renounced the stage, and Fétis wrote in the Revue musicale (1831, 366): 'The score of Robert le diable is not just M. Meyerbeer's masterpiece; it is a work remarkable in the history of art. it incontestably places M. Meyerbeer at the head of the present German school and makes him its chief.' Within three years it had been performed in 77 theatres in ten countries. Ten years later Wagner wrote in the Dresden Abendzeitung: 'Robert le diable has a wonderful, almost sinister atmosphere. It is deathless!'" Matthias Brzoska in Grove Music Online Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni (1831-1918), whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia, where he taught (amongst many others) Sesto Bruscantini, Anna Moffo, Rosalind Elias, Ezio Flagello, Peter Lindroos, and Martti Wallén.
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Le Opere Complete. Volume I [-XIX]

PALESTRINA, Giovanni Pierluigi da 1525 or 1526-1594 19 volumes in total, Voumes I-XVI uniformly bound in quarter light tan leather, raised bands on spine in compartments gilt with dark brown leather title and volume labels; Volumes XVII-XIX in original publisher's printed wrappers. Volume I: Messe a 4, 5, e 6 Voci. 1939. xii, 210 pp. N. 591. Volume II: Madrigali a 4 Voci. 1939. x, 185, [i] pp. N. 179. Volume III: Motetti a 4 Voci. 1939. x, 137, [i] pp. N. 497. Volume IV: Messe a 4, 5 e 6 Voci. 1939. 201, iv, [i] pp. N. 403. Volume V: Mottetti a 5, 6 3 7 Voci. 1939. x, 218 pp., 1f. N. 230. Volume VI: Messe a 4,5 e 6 Voci. 1939. xii, 253 pp., 1f. N. 132. Volume VII: Mottetti a 5, 6 ed 8 Voci. 1940. x, 225, [i] pp. N. 198. Volume VIII: Mottetti a 5, 6 ed 8 Voci. 1940. x, 216 pp., 1f. N. 397. Volume IX: Madrigali [Spirituali] a 5 Voci. 1940. x, 165, [i] pp. N. 159. Volume X: Messe a 4 e 5 Voci. 1940. x, 188 pp., 1f. N. 265. Volume XI: Mottetti a 4 Voci. Mottetti a 5 Voci [Cantico dei Cantici].1941. xii, 200 pp., 1f. N.275. Volume XII: Mottetti a 5 Voci. 1941. x, 113, [i] pp. N. 248. Volume XIII: Le Lamentazioni a 4, 5, 6 ed 8 Voci. 1941. xiii, [i] (blank), 270 pp., 1f. N. 274. Volume XIV: Inni di Tutto L'Anno a 4, 5, e 6 Voci. 1942. xii, 237, [i] pp. N. 465. Volume XV: Messe a 4, 5 e 6 Voci. 1941. xi, [i] (blank), 190 pp., 1f. N. 475. Volume XVI: I Magnificat a 4,5, 6 e 8 Voci. 1943. xvi, 334 pp., 1f. N. 401. Volume XVII: Offertori di Tutto L'Anno a 5 Voci. 1952. x, 281, [i] pp. No number. Volume XVIII: Le Messe di Mantova (I). 1954. xxvi, 201, [i] (blank) pp. No number. Volume XIX: Le Messe di Mantova (II). 1954. [viii], 193, [i] (blank) pp. No number. Bindings of Volumes I-XVI very slightly worn; wrappers of Volumes XVIII and XIX worn and slightly browned, spines taped and with some loss. Very occasional foxing and staining; some browning to volumes in wrappers. In very good condition overall. A limited edition (mixed set). Published under the auspices of the Istituto Italiano per la Storia della Musica from Volume XVIII on. Palestrina "ranks with Lassus and Byrd as one of the towering figures in the music of the late 16th century. He was primarily a prolific composer of masses and motets but was also an important madrigalist. Among the native Italian musicians of the 16th century who sought to assimilate the richly developed polyphonic techniques of their French and Flemish predecessors, none mastered these techniques more completely or subordinated them more effectively to the requirements of musical cogency. His success in reconciling the functional and aesthetic aims of Catholic church music in the post-Tridentine period earned him an enduring reputation as the ideal Catholic composer, as well as giving his style (or, more precisely, later generations' selective view of it) an iconic stature as a model of perfect achievement." Lewis Lockwood, Noel O'Regan and Jessie Ann Owens in Grove Music Online.
Op. 73]. Zweite Symphonie (D dur) für Grosses Orchester. Op. 73. Partitur. [Full score]

Op. 73]. Zweite Symphonie (D dur) für Grosses Orchester. Op. 73. Partitur. [Full score]

BRAHMS, Johannes 1833-1897 Folio. Original publisher's cloth-backed green printed wrappers. 1f. (recto title, verso publisher's note), 3-71 printed music, [i] (blank) pp. Engraved. in custom-made full green cloth box with dark brown leather title label gilt to spine. Box and wrappers very slightly worn. Minor wear; light uniform browning, very slightly heavier to edges. In very good condition overall. First Edition. McCorkle, p. 311. Hofmann, pp. 156-157. Fuld, p. 553. Sonneck Orchestral Music, p. 55. Hoboken 4,100. "The Second Symphony in D op.73, composed less than a year after the completion of the First, is often described as its sunny counterpart. The work indeed radiates a warmth and tunefulness absent in parts of the earlier work. But as Brahms himself acknowledged, the Second Symphony also has a 'melancholy' side. The lyrical opening theme of the first movement unravels almost at once into a dark passage for timpani and trombones. The voice of melodic continuity is reasserted often in this movement, however, first by the violin melody that follows the unravelling and again by the second group and the large coda. The pensive slow movement, in B major and in a modified sonata form, is dominated by a motivically rich, metrically ambiguous main theme remarkable for its combination of tunefulness and developing variation." "The second half of the symphony distinctly brightens in mood, although it too contains sombre moments - often involving the trombones - that evoke the expressive world of the first two movements. The Allegretto recasts the traditional scherzo-trio alternation into a rondo-like structure that is one of Brahms's most original creations. Although the finale ends the symphony in a jubilant blaze of D major, it glances back at the mood of the earlier movements, especially in the haunting passage at the end of the development section (whose chains of descending 4ths Mahler recalled in his First Symphony) and in the syncopated episode for brass in the coda." George S. Bozarth and Walter Frisch in Grove Music Online.
Cantus Omnis Ecclesiasticus ad Hebdomadae Maioris Missas

Cantus Omnis Ecclesiasticus ad Hebdomadae Maioris Missas, Passionem D.N.I.C., Officia Tenebrarum, Lamentationes, Benedictiones, Processiones, &. iuxta ritum S.R. E. Collectus ad usum faciliorem Cleri Vniuer si Cathedralium, Collegiatarum, aliarumque Ecclesiarum, & omnium, qui Gergoriano Cantu in Choro utuntur, ex Missali, Breu, Graduali, Antiphonario, Pontificali, & Rituali Rom

ERCULEO, Marzio 1623-1706 Folio. Full dark brown calf with raised bands on spine. 1f. (recto large cross with music within decorative ruled border with decorative endpieces, verso blank), 1f. (recto title printed in red and black, verso blank), 1f. (dedication), 3ff., 265, [i] (decorative cross), [ix] (index, etc.), [i] (colophon) pp. Music typeset throughout. Printed in black with red highlights. With woodcut initials and head- and tailpieces throughout. With "C.D.G.M." in early manuscript to front pastedown. Binding slightly worn, rubbed and bumped; head and tail of spine chipped, upper hinge reinforced with tape. Some signs of wear; moderate browning and foxing throughout; occasional repairs. First and only edition. Eitner III p. 347. Fetis II p. 149. Wolffheim II 2298. BUC p. 318 (one copy only). Erculeo was "an Italian writer on music, composer, teacher and singer. He studied music at the Collegio Germanico, Rome. By 1638 he was a soprano in the chapel at the court of Duke Franceso I d'Este at Modena. Later he also taught singing and Pacchioni was one of his pupils. His four books of the 1680s derive primarily from his work as a singing teacher, and the last three (of which the "Cantus Omnis Ecclesiasticus" was one) are specially interesting for the light they throw on the performance of Gregorian chant of the period." TNG Vol. 6, p. 226.
A Plain and Compendious Method of Teaching Thorough Bass

A Plain and Compendious Method of Teaching Thorough Bass, After the most Rational Manner, with Proper Rules for Practice. The Examples and Lessons Curiously Engraved on Copper Plates

LAMPE, John Frederick ca. 1703-1751 Quarto. Full 18th century dark brown calf with raised bands on spine in gilt-ruled compartments, the initials "ML" to upper compartment. 1f. (recto title printed in red and black, verso blank), [i]-iii (dedication to "The Honourable Colonel Blathwayt") [iv] (blank), [v]-viii (preface), 9-45, [i] (blank) pp. (text) + 93 plates of engraved musical examples, ten of which are folding. Binding slightly worn, rubbed, and bumped; head and tail of spine slightly chipped; hinges split; minor worming to front free endpaper, detached. Worming to first six leaves, not seriously affecting printed area. A fresh and attractive copy overall. First Edition. Kassler p. 674. Gregory-Bartlett I p. 146. Cortot p. 107. Hirsch I 301. Wolffheim I 761. RISM BVI p. 476. Lampe was a German-born composer and bassoonist active in Britain. "As to the Pieces alrady in Print, I need not say much, since Masters can make but little, and Scholars no Use of them. I believe many, who have endeavoured to learn Thorough Bass, will readily confess that they have not been a little puzzled by intricate Rules, only directing them what to play to the Figures 4/2 &c. without any other Explaination or Reason. Some indeed have gone a little further, and have shewn what Cord those Figures represent, and how to learn something of the Keys; but I don't find any have given plain Directions and practical Rules built upon the Grounds of Composition, to shew how each Sound in each Key should be accompanied, and why, and I beg Leave to say no Rules for Thorough Bass are of any Value without it." The Preface, p. vi.
The First Set of English Madrigals to 3.4.5. and 6. voices: Newly Composed. [Bassus part]

The First Set of English Madrigals to 3.4.5. and 6. voices: Newly Composed. [Bassus part]

WILBYE, John 1574-1638 Small quarto. Full early flexible vellum with "Bassus" in early manuscript to upper and the letters "W R" separated by a heart to lower. 1f. (recto title within decorative border, verso blank), 30 pp. With woodcut vignette incorporating the royal arms of England to title. Slightly worn, browned, and soiled; dampstain to outer lower corners, not affecting printed area. First Edition. BUC p. 1081. Hirsch III 1150. RISM W1065. "The most important formative influences on Wilbye's music were Morley's canzonet manner and, to a lesser extent, the madrigalian idiom of Alfonso Ferrabosco. The most marked influence of Morley is to be heard in the three-voice pieces that open Wilbye's First Set of English Madrigals (1598). Here Wilbye already shows a firm command of Morley's facile canzonet style, generating fluent little paragraphs that are as polished as they are unenterprising. Signs of Ferrabosco's influence may be most clearly discerned in certain of the five-voice works of this collection, with their more staid expression and counterpoint. Lady, your words doe spight mee actually uses a text already set by Ferrabosco (in Yonge's Musica transalpina, 1588), and is the only example of Wilbye's borrowing some musical material from an earlier setting. The best of the five-voice pieces is Flora gave mee fairest flowers, a far more canzonet-like piece, whose clearcut paragraphs and specially sprightly conclusion contrast sharply with the amorphous counterpoint and relatively neutral expression of its companions." David Brown in Grove Music Online. Bound with: YONGE, Nicholas d. 1619, ed. Musica transalpina. Madrigales translated of foure, five and sixe parts, chosen out of divers excellent authors, with the first and second part of La Verginella, made by maister Byrd, upon two stanza's of Ariosto, and brought to speake English with the rest. Published by N. Yonge, in favour of such as take pleasure in musick of voices. London: Imprinted at London by Thomas East, the assignè of Wiliam Byrd, 1588. [Bassus part]. 1f. (recto title within decorative border with vignette incorporating King David playing the harp flanked by figures playing horns, verso with full-page elaborate coat of arms of Gilbert Lord Talbot), 1f. (dedication), lvii [!lx] pp. + 1f. (index). With historiated and decorative woodcut initials. Composers represented include L. Bertani, W. Byrd (2), G. Conversi (2), B. Donato (2), N. Faignient (2), S. Felis, A. Ferabosco (12), G. Ferretti (3), O. Lassus (2), G. de Macque, L. Marenzio (7), R. del Mel, P. de Monte (2), G.P. Palestrina (5), G.B. Pincello, M.A. Pordenon, G. Verdonck, J. de Wert, and Anon (2). Slightly worn, browned, soiled, and stained; minor tears; several leaves loose; final leaf slightly frayed at edges, verso stained; other minor imperfections. First Edition. BUC p. 1096. RISM Recueils Imprimés XVIe-XVIIe Siècles 1588-29. "Yonge was the editor of two anthologies of Italian madrigals published, with English texts, as Musica transalpina in 1588 and 1597. The first contains 57 pieces (including an English version of La verginella by Byrd with a new second part, and four settings of French texts) by 18 composers, of whom the most liberally represented are the elder Ferrabosco and Marenzio. In 1583 and 1585 Pierre Phalèse of Antwerp had issued three madrigal anthologies which not only provided the model for Yonge's venture, but also afforded him a quantity of Italian madrigals by minor Flemish composers (19 pieces came from these three sources). Yonge's 1588 collection was a direct result of the growing English enthusiasm during the 1580s for Italian madrigals. He explained that most of the English translations had been made in 1583 by 'a Gentleman for his private delight'." "Yonge's 1588 volume was the most influential of the five volumes of Italian madrigals in translation to appear in England between 1588 and 1598." David Brown in Grove Music Online. Binding worn and partially detached; endpapers worn, soiled and chipped at edges, lower free endpaper mostly lacking.
Annete[!] et Lubin

Annete et Lubin, Pastorale, mise en vers par M. Marmontel. Le prix est de 36 sols

LA BORDE, Jean-Benjamin (-Francois) de 1734-1794 1f. (recto title, verso blank), 28 pp. Engraved. Text and melodies (without accompaniment) to 14 airs. Rare. Not in Lesure. RISM L63 (two copies only, none in the U.S.). With the name and address of the French music publisher Castaud in contemporary manuscript to head of first page of music. Bound with: BLAISE, Adolphe Benoît d. 1772 Recueil de toutes les ariettes d'Annette et Lubin, Avec accompagnement de Clavecin ou Violoncelle. Prix 3tt. 12s. Paris: De La Chevardiere, [1762]. 1f. (recto title within decorative border, verso blank), 100 pp. text and melodies. Engraved throughout. With small armorial bookplate and early signature ("Chevrier") to upper outer corner of front pastedown. First Edition. Scarce. Lesure p. 53. RISM B2785 (no copies recorded in the U.S.). Provenance Genevieve Thibault, Comtesse de Chambure Octavo. Half mid-tan calf with marbled boards. Binding slightly worn, rubbed, and bumped; hinges cracked; endpapers stained at corners. Minor wear; small stain to center of first three leaves; manuscript notes slightly trimmed. Previous owner's name ("Nunico") to head of both pieces. Annette et Lubin, a pastorale in one act, was first performed in Paris at the Théâtre du Maréchal de Richelieu on March 30, 1762. Its popularity was evidenced by the inclusion of airs from the opera in many 18th century French song collections. "The majority of [La Borde's] stage works are opéras comiques, but he also wrote pastoral operas, such as Annette et Lubin, La meunière de Gentilly and La cinquantaine. Their short airs, hardly allowing the singers time to express any sentiment, are mostly composed in regular periods, with a string and basso continuo accompaniment, resembling the ariettes or chansons that La Borde published separately in collections with great success. The pastorales convey less a sense of drama than an agreeable lyrical atmosphere." Michael Fend in Grove Music Online.
Il Musico Testore M.C. Raccomandato alla benigna et auttorevole protetione dell'ill.mo et ecc.mo sigr. il sigr. Andrea Statio veneto patritio

Il Musico Testore M.C. Raccomandato alla benigna et auttorevole protetione dell’ill.mo et ecc.mo sigr. il sigr. Andrea Statio veneto patritio

TEVO, Zaccaria 1651-?1709-1712 Small quarto. Original carta rustica with titling in manuscript to spine. 1f. (recto full-page bust-length engraved portrait of the author within oval border, verso blank), 1f. (recto fine engraved title within elaborate border incorporating musical instruments, etc., verso blank), 1f. (dedication "Illustriss. & Eccellentiss. Sig. Sig. e Patron Colendiss" with printed date "Venezia li 7. Settembre 1705"), 1f. ("Sonetto"), 1f. ("Benigno, e Cortese Lettore"), 366 pp. + 1f. (errata), 1f., 1f. (index). With woodcut head- and tailpieces and historiated initials. Includes numerous typeset musical examples in diamond-head notation, diagrams, and tables and 2 engraved plates of anatomical drawings of the vocal chords, the ear, etc. With three lines of annotations in ink to verso of front free endpaper indicating that the book was received as a gift from a baron on February 7, 1836. Binding worn and slightly shaken; original sewing loose; endpapers wormed at gutter; minor paper loss to blank lower margin of front free endpaper. Slightly worn and browned; occasional marginal notes in pencil; "191" in ink to blank upper margin of portrait and title. Quite a good copy overall. First (and only) Edition. Cortot p. 190. Hirsch I, 575. Gregory-Sonneck p. 268. Eitner Vol. IX, p. 387. RISM BVI p. 826. Little is known of Tevo, an Italian composer and theorist. His compositions have not survived. Prior to 1677 he had been in Padua, Venice, and other centers, and later became organist and maestro di capella at Treviso. The present treatise is his only known published work other than some psalms printed by Giuseppe Salas. Tevo outlines the theories of Boethius, Franchinus, Galilei, Mersenne, Kircher and others in an effort to present an historical survey of musical theory. "Whereas most theoretical writings propound an individual theorist's views on a specific aspect of music, occasionally there appeared a work which summarized a large body of information, with no pretensions of originality. Zaccaria Tevo's Musico testore (1706) borrows profusely from authors both ancient and modern and provides, in under four hundred pages, a rich compendium of the ideas and techniques which formed the basis for early eighteenth century theory. Galilei, Mersenne, and Kircher are among the more recent authorities cited, while Boethius, Glarean, and especially the early seventeenth-century humanist Gregor Reisch are likewise called upon. Topics ranging from basic aspects of notation and intervals to the complex art of counterpoint mingle between the covers of this useful but now neglected volume." Damschroder and Williams: Music Theory from Zarlino to Schenker, p. 354. An autograph manuscript [in the Biblioteca universitaria in Padova] of Il musico testore shows that it was written in Treviso over a number of years and was already complete in 1700. In four parts, it is a compendium of theories by Greek, Latin and Italian medieval writers, with a particular predilection for Franciscans. It has an educational aim and the treatment of technical musical questions, accompanied by short musical examples, covers all theoretical areas from acoustics to notation and intervallic theory to counterpoint. It is a broad, organized and clearly written critical anthology of writing on music, and it was praised by many. As a composer Tevo is known to have published two books of motets, only the second of which has survived [in the Biblioteca capitolare, Cividale del Friuli]." Franco Colussi in Grove Music Online.
Hob. XX/2]. Die Worte des Erl?sers am Kreuze. [Piano-vocal score]

Hob. XX/2]. Die Worte des Erl?sers am Kreuze. [Piano-vocal score]

HAYDN, Joseph 1732-1809 Folio. Half dark green morocco with matching textured paper boards, raised bands on spine in decorative compartments gilt, titling gilt, marbled endpapers, original publisher's wrappers bound in. 1f. (decorative title with engraved vignette), 1f. (Haydn's preface dated Vienna, March 1801), 68 pp. Text in German and Italian. Typeset. From the collection of noted English writer on music and collector Julian Marshall (1836-1903),with his decorative bookplate to front pastedown. Binding lightly worn, rubbed, and bumped; small loss to tail of spine. Light uniform browning; some minor soiling to corners. A very attractive copy overall. First Edition of the piano-vocal score. Very scarce. Hoboken 9, 1377. Haydn's Seven Last Words was conceived as a purely instrumental work in 1787, and is regarded as one of his finest compositions. Upon hearing an arrangement with vocal lines added by Joseph Friebert (1724-1799), Haydn was inspired to write his own version as an oratorio. This would be his first collaboration with Baron von Swieten, who would later pen the librettos for The Creation and The Seasons. The oratorio version premiered on March 26, 1796 at the Schwarzenberg Palace in Vienna. "The Seven Last Words, a success during Haydn's lifetime and beyond, is less popular today, in part because it is not a full-length work, in part owing to the succession of eight consecutive adagios which, paradoxically, seem more monotonous than in the orchestral version. Its most striking movement is the bleak, newly composed introduction to the second part, scored for wind alone and set in A minor, a key Haydn hardly ever used." James Webster in Grove Music Online. Julian Marshall was one of the principal contributors to the first edition of Grove. His extensive collection of manuscripts now resides in the British Museum.