Musick (43 résultats)

hardcover. Etat : Like New. Most items will be dispatched the same or the next working day. An apparently unread copy in perfect condition. Dust cover is intact with no nicks or tears. Spine has no signs of creasing. Pages are clean and not marred by notes or folds of any kind.

Hardcover. Etat : Very Good. book is tight and sound, some minor corner bumps from shelfwear; no inside markings or underlinings.

Hardcover. Etat : Good. Front board faded at top; small amount of writing in pencil on rear paste down. ; Small 8vo This is the original hard cover from 1901.

Paperback. Etat : Good. 4 copies, covers have minor wear and soil, corners lightly bumped, stapled bindings tight, no writing, 12 pages including covers, ballet program held at the Greensburg High School Auditorium on 1958 with bw photographs of dancers and ads from sponsors and held by the dance teacher Size: 6 x 9.…

Hard Cover. Etat : Near Fine. Near Fine. First Edition. Pat Musick, 2013, First Edition, 4to, 251 pages. Hardcover edition, numerous illustrations. Signed by author on verso of front endpage. Book and jacket near fine. Size: 4to - over 9¾" - 12" tall. NA (illustrateur). Signed by Author.

Paperback. Etat : Brand New. 292 pages. 8.27x5.83x0.66 inches. In Stock.

Paperback. Etat : Brand New. 215 pages. 9.00x6.00x0.49 inches. In Stock.

Octavo hardcover (VG+) in d/w (VG+); all our specials have minimal description to keep listing them viable. They are at least reading copies, complete and in reasonable condition, but usually secondhand; frequently they are superior examples. Ordering more than one book will reduce your overall postage cost.…

Signed, octavo hardcover (VG+) in d/w (VG+); all our specials have minimal description to keep listing them viable. They are at least reading copies, complete and in reasonable condition, but usually secondhand; frequently they are superior examples. Ordering more than one book will reduce your overall postage costs.…

Cloth. Etat : Very Good - Near Fine. 148p D/J (fading front, spine) VG - Near Fine The story of the St Paul's Cathedral Choir, Dunedin, NZ 1859-1989, with many illustrations.

nummerierte, limitierte Aufl. CD in Pappbox Es gibt sie noch, die feinen Platten! O.k., hier kommt die Scheibe zwar nicht als Vinyl - doch wie hier ein liebevoll gestalteter Hardcore-Punkrock-CD-Sampler (mit Sexto Sol ist auch der Ska vertreten, mit Chaoze One und Schlagzeiln der Hiip Hop) mit 27 Tracks & vielen Specials (mit Booklet, Aufkleber & Aufnäher, alles zusammen in einer rosafarbenen Siebdruck-Pappschachtel von Single-Format) vorgelegt wird, das ist schon klasse. Auch bei diesen Silberlingen muss es eben nicht immer klackerndes Plastik und öde Aufmachung sein. Mehr davon! HMS 005 Gramm 200.…

Hardcover. Etat : Very Good. No Dust Cover. very good hardcover with no dust jacket. 1897. Hinge split.

Etat : Good. Gebundene Ausgabe. Zustandsangabe altersgemäß. Sofortversand aus Deutschland. Artikel wiegt maximal 500g. Buch ohne Jahresangabe. Angegebenes Erscheinungsdatum ist geschätzt. 73 Seiten. Erscheinungsjahr ca.1985, alt deutsche Schrift, ohne SU.

Etat : fine. Zustandsangabe altersgem��. Sofortversand aus Deutschland. Buch wiegt maximal 500g. Buch ohne Jahresangabe. Angegebenes Erscheinungsdatum ist gesch�tzt. 73 Seiten. Erscheinungsjahr circa 1920. Einband mit leichten Gebrauchsspuren.

Hardcover. Etat : Very Good. London: John Walsh, [ca. 1720]. Folio (32.5 x 24.5cm). [2 (Title)], 18 pp. Half calf and marbled boards, a little worn, especially to head of backstrip. Occasional light staining to score. Engraved. The first engraved edition of Purcell's Te Deum and Jubilate, after Hepstinstall's first edition of 1697 in moveable type, and a previous reissue of the same by Walsh. Advertised in 1720, but perhaps issued earlier (Smith & Humphries 595). ESTC R182271 / RISM 1001252596.…

LP. Etat : Sehr gut. Plattenzustand: Very Good Plus (VG+) / Coverzustand: Very Good Plus (VG+) Sprache: Deutsch Gewicht in Gramm: 250.

LP. Etat : Gut. LP-Vinyl Schallplatte(n) in einem guten bis sehr guten Zustand, am Cover kleinere Gebrauchsspuren. Stereo und/oder Mono. (Keine genaue Jahreszahl angegeben.) Platte top. A1 Toccata & Fugue In D Minor BWV 565 A2 Toccata & Fugue In F Major BWV 540 B1 Prelude & Fugue In E Minor BWV 548 B2 Prelude & Fugue In C Minor BWV 582 LP106 Sprache: Deutsch Gewicht in Gramm: 1001.…

LP. Etat : Gut. LP-Vinyl Schallplatte(n) in einem guten bis sehr guten Zustand, am Cover kleinere Gebrauchsspuren. Stereo und/oder Mono. (Keine genaue Jahreszahl angegeben.) Platte top. Concerto For Flute & Orchestra In G Major, K. 313 A1 Allegro Maestoso A2 Adagio Non Troppo B1 Andante In C Major K. 315 (Alternative Slow Movement For K. 313) B2 Rondo. Tempo Di Menuetto B3 Rondo In D Major For Flute & Orchestra K. 184 Anhang LP4 Sprache: Deutsch Gewicht in Gramm: 1001.…

LP. Etat : Gut. LP-Vinyl Schallplatte(n) in einem guten bis sehr guten Zustand, am Cover kleinere Gebrauchsspuren. Stereo und/oder Mono. (Keine genaue Jahreszahl angegeben.) Platte top. Concerto For Flute & Orchestra In D Major, K 314 A1 Allegro Aperto A2 Andante Ma Non Troppo A3 Allegro Concerto For Flute, Harps & Orchestra In C Major, K 299 B1 Allegro B2 Andantino B3 Rondo - Allegro LP4 Sprache: Deutsch Gewicht in Gramm: 1001.…

Hardcover. Etat : Near Fine. No Jacket. Interior is tight, clean and, except for POS in front end-papers, unmarked. Hardcover has black embossed cloth boards with gold lettering, but no DJ. This copy is from the 23000th. "Made up of business letters from twenty-six different businesses, together with legal papers, depositions, and testimony from civil and criminal cases. .Arranged. With complete vocabulary of words and phrases (With proper shorthand outlines) preceding each collection or business to be practised before taking dictation in that business.".…

Etat : Gut. 24,5 x 33,5 cm. 6 Seiten. *RISM M 1988 (verzeichnet weltweit nur 1 Expemplar); Schneider (Makarius Falter), S. 270; Fellinger (Periodica Musicalia), S. 490. - Inkunabel der Lithographie. Mit schwachem Feuchtigkeitsrand an der oberen Kante. Sprache: Deutsch Gewicht in Gramm: 1001 Heftbindung mit Rückenheftstreifen.…

RISM A/I/1 and A/I/11 A 1399. BUC p.56. Size: Folio. 2ff. Unbound. Lower outer corners water-stained. Drop title. Engraved. Arrangement for the flute on f.2. Artaserse was performed at the King's Theatre, Haymarket, 1724; Anna Dotti (fl.1724-1727). An extract from the 16pp. "The Favourite Songs in the Opera call'd Artaxerxes, etc. [Music by A. Ariosti, words by A. Zeno]".…

Size: Folio. [x (title, preface, list of subscribers, contents] pp., 55ff. Stitched in nineteenth-century plain boards (broken, front cover detached, backstrip missing). F.3 mangled and with some loss of text. Printed on one side of the paper only; many with arrangements for the flute. Engraved. 4pp. of list of subscribers being "Additional list of Subscribers to the Musical Century Since the Publication of the First Volume". RISM A/I/2 and A/I/11 C 1056. BUC p.163. ESTC N22581. Folio. [x (title, preface, list of subscribers, contents] pp., 55ff. …

Folio. Modern stiff marbled wrappers with dark red title label gilt to upper. 1f. (recto title, verso blank), 29, [i] (blank) pp. Engraved throughout. Named singers include Sigra. Strada, Sigr. Carestini, Mr. Beard, The Boy, Miss Young, and Mr. Waltz. Binding slightly worn and rubbed. Slightly worn and browned; occasional foxing and small stains; minor worming to blank lower margins, slightly heavier to first leaves; small hole to blank outer margin of several leaves and long vertical tear to one leaf repaired with archival tape without loss. First Edition, probable first issue. Scarce. Smith p. 97, no. 1. BUC p. 433 (dated 1733). RISM H506 and HH 506. Athalia, to a libretto by Samuel Humphreys (ca. 1698-1738) based on Racine's eponymous play, was first performed in Oxford at the Sheldonian Theatre on 10 July 1733 and in London at Covent Garden on 1 April 1735. It was the composer's third oratorio in English. It is regarded as "the first great English oratorio." Dean: Handel's Dramatic Oratorios and Masques, p. 247.…

Folio. Half dark blue leather with blue cloth boards, spine in gilt-ruled compartments, titling gilt. 1f. (recto title, verso blank), 1f. (recto table and advertisement, verso blank), 1f. (recto dedication to King George II dated 31 October 1739, verso blank), 94 pp. Dedication typeset, otherwise engraved throughout. The music includes the overture, arias, choruses, and two accompanied recitatives (pp. 89 and 93). Named singers include Sigra. Galli, Sigra. Sibilla, Sigra. Casarine, Mr. Reinhold, and Mr. Lowe. With ownership inscription "G. Chippindale 1869" in pencil to front pastedown. Binding worn, rubbed, and bumped. Title lightly stained; occasional light soiling and foxing to margins; verso of final leaf soiled and browned; tear and loss to lower margin of p. 79, not affecting music or text; verso of final leaf browned and soiled. First Edition, second issue. Smith p. 89, no. 2. BUC p. 432. RISM H449. First performed in London at Covent Garden on 23 March 23 1748, with text by Thomas Morell, who also collaborated with Handel on Judas Maccabaeus. Alexander Balus is Handel's "attempt to deal with an operatic subject in oratorio form, sympathetically relating the doomed love of the Egyptian queen Cleopatra for the Syrian king Alexander, with choral interpolations for the merry Syrians and the solemn Israelites colourfully characterized in the music." Anthony Hicks in Grove Music Online.…

Three volumes. Folio. Modern paper wrappers with part names printed to upper outer corners. Traversa/Violino Primo: 1f. (recto title, verso blank), [i] (blank), 2-25, [i] (blank) pp. Violino Secondo: [i] (blank), 2-16, [i] (blank), 17-19 pp. Violoncello e Cimbalo: 1f. (recto title, verso blank), [i] (blank), 2-6, [i] (blank), 8-11, [i] (blank). 13-22 Occasional early minor annotations in both pencil and ink; ownership inscription to titles. Wrappers slightly soiled. Some light browning; a number of outer margins trimmed, just touching staff lines; most leaves discreetly reinforced with narrow strip of tape to gutter; paper repair to lower margin of final leaf of first violin part; loss to upper outer corner of title to bass part, not affecting text. First Edition, third (or possibly second) issue. Smith p. 244, no. 3 (no copies of the second issue located). BUC p. 442. RISM H1347 and HH1347. "Handel's chamber music consists almost entirely of solo sonatas and trio sonatas, but defining the exact canon is difficult because of the odd circumstances of the earliest publications; there are also problems of attribution. . A set of six trio sonatas . were published about 1730 with the false imprint of Jeanne Roger, but the issue was in fact the work of Walsh, who shortly afterwards published revised versions under his own imprint. The purpose of this deceit remains unexplained, though it may have been designed to force Handel into allowing the music to appear. . The trio sonatas also follow the sonata da chiesa form. Autographs of the op.2 set are lacking, and so their dates have to be guessed from their style and relationship to other works. According to a note made by Charles Jennens, no.2 in G minor was 'compos'd at the age of 14', and certainly appears to be a very early work, but if the age cited (presumably from a comment by Handel himself) has the same degree of error as the ages mentioned in Mainwaring's Memoirs, a date of about 1703 is more likely, especially as the music is indebted to Bononcini's Cefalo of 1702. The other op.2 sonatas have relationships with works of the Cannons period (1717-18) and were probably composed or reworked shortly afterwards." Anthony Hicks in Grove Music Online A lifetime first edition of Handel's Op. 2 trio sonatas in the Corellian style, elegantly engraved. …

Folio. Early half dark brown mottled calf with marbled boards, raised bands on spine with black leather title label gilt. 1f. (recto title, verso blank), 1f. (recto "A Table of Songs," verso blank), 1f. (recto "The Subscribers Names," verso blank), 88 pp. Engraved throughout. Contemporary manuscript additions to p. 66. Provenance Possibly from the collection of noted tea merchant Richard Twining (1749-1824), head of the eponymous English tea company, with contemporary Inscription to free front endpaper "Richard Twining hon[o]r[able] the Gift of his esteem'd Friend Mr. John Hingeston." Also with armorial bookplate of British architect Sir Gilbert Samuel Inglefield (1909-1991) incorporating a lion, shield, crowned helmet, pair of birds, and the motto "The Sun My Compass" to front pastedown. Binding worn, rubbed, and bumped. Slightly worn; occasional light foxing and soiling; upper margin of p. 56 trimmed to just within platemark. First Edition. Smith p. 25, no. 1. BUC p. 426. RISM H139 and HH139. Faramondo, an opera in three acts to a libretto anonymously adapted from Apostolo Zeno's Faramondo (1699, Venice) as revised for Francesco Gasparini (1720, Rome), was first performed in London at the King's Theatre on 3 January 1738. "Handel composed Faramondo between 15 November and 24 December 1737. (He broke off work after completing Act 2 to write the anthem The Ways of Zion do Mourn for the funeral of Queen Caroline.) The libretto is based on the early legendary history of France as elaborated at notorious length in La Calprenède's pseudo-historical romance Pharamond (1661-70). (Pharamond was supposedly king of the Franks from about 420 to 428.) In the original production the distinguished mezzo-soprano castrato Gaetano Majorano, known as Caffarelli, [1710-1783] sang Faramondo." Winton Dean in Grove Music Online The present edition comprises the overture and arias of the opera. Singers names are given before each aria. The subscribers include the distinguished composer, scholar, and antiquarian Johann Christoph Pepusch (1667-1752), a German who made his career in London. A lifetime first edition of Handel's noted opera, premiered in 1738 by a cast including the famed castrato Caffarelli.…

1f. (recto title, verso blank), 1f. (recto table and catalogue, verso blank), 1f. (recto typeset privilege and dedication to King George I with woodcut armorial device, verso blank), 73, [i] (blank) pp. (the Marche on the final leaf is unpaginated, but appears as p. 73 in the table of contents). Title, table, and music engraved. With early ownership inscription in contemporary manuscript to upper outer right margin of title, "Catharina Brodie." Title slightly foxed and soiled; very occasional foxing and soiling to margins; light "x" in pencil at start of several movements. First Edition, second issue. Smith p. 113, no. 2. BUC p. 435. RISM H636 and HH636. Judas Maccabaeus, to a libretto by Thomas Morell, was first performed in London at Covent Garden on 1 April 1747. Handel composed the work to celebrate the victory by the House of Hanover over the Jacobites in July and August 1746. The librettist Morell provided the text to three additional Handel oratorios and, in later life, left a fascinating account of his collaboration with the composer. "On 6 March 1747 Handel began a new season of oratorios at Covent Garden similar to those of 1743 and 1744, but no longer on a subscription basis. Revivals of the Occasional Oratorio and Joseph had to be rescheduled to avoid clashing with the sensational trial of the Jacobite Lord Lovat for high treason. Judas Maccabaeus opened on 1 April, the printed wordbook carrying Morell's dedication of the work to the Duke of Cumberland as a 'Faint Portraiture of a Truly Wise, Valiant and Virtuous Commander'. It was highly successful and proved to be one of the most enduringly popular of the oratorios. . The early performances also included a concerto for orchestra with two wind groups, the first of three such works partly but very effectively arranged from earlier music (especially choruses)." Anthony Hicks in Grove Music Online Bound with: Handel. A Grand Collection of Celebrated English Songs from all the late Oratorios. London: J. Walsh, 1745. 1f. (recto title, verso blank), [i] (blank), 2-48 pp. (some pagination deriving from earlier editions as per Smith p. 176, no. 4). Engraved throughout. Rare. First Edition, first issue. Smith p. 176, no. 4. BUC p. 419 (second issue, dated 1759). RISM H1079 and HH1079 (one copy in the U.S. only, at Princeton). Occasional minor soiling. Contains 15 songs from Belshazzar, Hercules, Joseph, Semele, Samson, Deborah, and Esther. Singers named within the score include Sigra. Francesina, Miss Robinson, Mrs. Cibber, and Sigra. Strada. Two volumes in one. Folio. Contemporary marbled boards with dark red leather title label gilt to upper, raised bands on spine with dark red morocco title label gilt. Tastefully rebacked and recornered in dark brown calf; boards slightly worn, rubbed, and stained, with portion of marbled paper replaced; endpapers worn and stained. The signature of Jane Ann Catherine Brodie (aka Catherina/Katherine Jane Anne) (1770-1842) is also found in a copy of Handel's Songs Selected from His Oratorios for Harpsichord, Voice, etc., Vol. 3, published by Walsh in ca. 1760. See inventory of Music in Brodie Castle catalogued by Dr. Roger B. Williams: Music in Scottish Castles and Country Houses, online site accessed 3 April 2024. A lifetime first edition of one of Handel's most celebrated oratorios, bound with a collection of arias from his other works, attesting to their popularity among 18th century music-lovers. …

Folio. Full modern marbled boards with paper title label gilt to spine. 1f. (recto title, verso blank), [46], [i] (blank) pp. (pagination from earlier editions). Engraved throughout. "Saul" added to title in secondary impression. With instrumental music including the overture and well-known funeral march. Names of singers preceding each vocal selection include Mr. Russel, Signora Francessina, Mr. Beard, and Mrs. Arne. Occasional light soiling. First Edition, third issue. Smith p. 139, no. 3. BUC p. 438. RISM H877 and HH877. Saul was first performed in London at the King's Theatre on 16 January 1739. "The libretto of Saul was the work of Charles Jennens, heir to rich estates in the Midlands. Scholar, man of letters and amateur musician, Jennens was one of the first of the composer's supporters to understand the dramatic potential of oratorio. (He had supplied Handel with a libretto in 1735, but whether this was an early version of Saul or something entirely different is not known.) Jennens took as his basis the biblical account of the last days of King Saul, consumed by jealousy at the success of young David in the war against the Philistines, and eventually driven to necromancy (the encounter with the Witch of Endor) and death in battle. To this he added elements derived from Abraham Cowley's unfinished epic Davideis, giving scope for female voices in the contrasting characters of Saul's daughters, Michal and Merab. The chorus, not mere commentators, played a role as the people of Israel, directly affected by the downfall of their king. On this framework Handel created a musical drama of remarkable power, drawing the listener with sympathy into the growing disturbance of Saul's mind while evoking vivid images of such scenes as the victory parade for David and the visit to the Witch. The expression of blended love and loss in the final elegy for Saul and Jonathan is one of the most moving moments in all Handel's output." Anthony Hicks in Grove Music Online A lifetime first edition of a masterful and moving Handel oratorio, including a selection of airs and the iconic funeral march.…

Folio. Modern half light brown morocco with marbled boards, raised bands on spine with black leather label gilt and titling gilt. 1f. (recto title, verso table), [i] (blank), 161-167, 9-30 pp. (some pagination deriving from earlier editions). Engraved throughout. First Edition, fourth issue. Smith p. 104, no. 4: "The pagination 161-167 is from 'Overtures in Score' (1740) and takes the place of the original pagination in 2-8 in the earlier editions." BUC p 434. RISM H537 and HH537. Esther, the first English oratorio, was first performed at [?]Cannons in 1718. "Given its importance . it is regrettable that nothing is known about how [Esther] came to be written; even the authorship of the libretto (variously attributed to Pope and John Arbuthnot, and drawing upon Thomas Brereton's translation of the Racine play) is uncertain. The revivals of both Esther and Acis in 1732 inspired the series of English oratorios and secular musical dramas that were to crown Handel's achievement. . English oratorio as a public entertainment began with Handel's production of a much revised version of Esther in London on 2 May 1732. . The 1732 Esther included two of the coronation anthems of 1727, and its immediate successor, Deborah, [first performance at King's Theatre, London, 17 March 1733] included the other two as well as more music from the Brockes Passion, as if Handel was using his first English oratorios as a means of rehabilitating past work." Anthony Hicks in Grove Music Online Bound with: Handel The Most Celebrated Songs in the Oratorio Call'd Deborah. [HWV 51]. London: Printed for & Sold by I. Walsh Musick Printer & Instrument maker to his Majesty at the Harp & Hoboy in Catherine Street in the Strand. No. 545 [ca. 1735]. 1f. (recto title, verso blank), [i] (blank), 2-21 pp. Engraved throughout. First Edition, first issue. Smith p. 101, no. 1. BUC p. 433. RISM H520 and HH520. "Contains six songs and one duet. . The first three of these numbers are in the original libretto and in the music are described as sung in 'Deborah', the next two are from 'Esther', and the last two from 'Athalia', the latter four numbers appearing with the heading 'Sung . in the Oratorio', but without any oratory being named." Smith. An 18th century owner has added "Esther" and "Athalia" in manuscript to headings where applicable. Deborah, with libretto by Samuel Humphreys based on Judges V, was first performed in London at the King's Theatre on 17 March 1733. It is primarily a work of pasticcio, with a substantial portion of the music drawn from several sources within Handel's oeuvre, including his Dixit Dominus [HWV 232], Brockes Passion [HWV 48], and Il trionfo del tempo e del disinganno [HWV 46a]. High points within the oratorio include the magisterial choruses and poignant arias. "Much of the finest of the airs - apart from the exquisite 'Tears such as tender fathers shed' - is Barak's 'Low at her feet'. The melody with its rising ninth in the first bar and the spare accompaniment with the sudden tumble down three octaves at the words 'he fell down dead' are a happy blend of the pictorial and expressive." Dean: Handel's Dramatic Oratorios and Masques, p. 234 Bound with: Handel The Choice of Hercules. [HWV 69]. London: Printed for I. Walsh, in Catharine Street, in the Strand. Of whom may be had Just Publish'd ., [ca. 1751]. 1f. (recto title, verso blank), [i] (blank), 2-41, [i] (blank) pp. First Edition, second issue. Engraved throughout. Smith p. 100, no. 2. BUC p. 433. RISM H987 and HH987. The Choice of Hercules was first performed at Covent Garden on 1 March 1751; this incidental music is largely a re-working of existing material, particularly as relates to Handel's abandoned Alceste, written six months earlier. See Dean: Handel's Dramatic Oratorios and Masques, p. 579. Provenance Possibly from the collection of noted English composer, organist, and violinist John Stanley (1712-1786), with an 18th century armorial bookplate to front pastedown incorporating a stag, stars, and shield, with "John Stanley" in contemporary manuscript; an additional bookplate of noted British architect Sir Gilbert Samuel Inglefield (1909-1991), with armorial bookplate incorporating a lion, shield, crowned helmet, pair of birds, and the motto "The Sun My Compass" to free front endpaper. Titles of Esther and Deborah slightly soiled; lower margins slightly trimmed with occasional minor loss to figured bass. In very good condition overall. Stanley had quite a close association with Handel. His playing of organ voluntaries attracted musicians from all over London, including the great composer; he also directed several of Handel's oratorios in the 1750s, with his own oratorios modeled closely upon the master's. "Even more interesting, however, are the concertos and cantatas, which illustrate the part played by Stanley in the transition from the Handelian Baroque to the galant style associated in England with J.C. Bach. The six op.2 concertos are among the finest English string concertos in the Corelli-Handel tradition, and were popular enough to be reissued in arrangements for organ and as solos for violin, flute or harpsichord." Malcolm Boyd, revised by A.G. Williams in Grove Music Online An attractive ensemble of Handel lifetime first editions.…