Resultados de búsqueda: music from John Price Antiquarian Books

A Lyon, Chez Jean-Marie Bruyset..., 1766. 8vo, 207 x 130 mms., pp. [iv], xxxvi, 236 [237 - 240 Approbation and Privilege], including half-title, ten folding engraved plates at end, title-page in red and black, fore-edges uncut, recent rebound in half calf, gilt spine, marbled boards. A very good copy. D'Alembert's first exposure to music theory was in 1749 when he was called upon to review a Mémoire submitted to the Académie by Jean-Philippe Rameau. This article, written in conjunction with Diderot, would later form the basis of Rameau's 1750 treatise Démonstration du principe de l'harmonie. D'Alembert wrote a glowing review praising the author's deductive character as an ideal scientific model. He saw in Rameau's music theories support for his own scientific ideas, a fully systematic method with a strongly deductive synthetic structure. Two years later, in 1752, d'Alembert attempted a fully comprehensive survey of Rameau's works in his… Leer más

A Lyon, Chez Jean-Marie Bruyset..., 1762. 8vo, pp. [iv], xxxvi, 236 [237 - 239 Approbation and Privilege, 240 blank], 10 folding engraved plates at end of text, 19th century quarter calf, marbled boards, gilt spine. A very good copy. This is in fact the third edition, the first having been published in 1752, followed by a "nouvell edition" in 1766. Part of the importance of d'Alembert's work lies in its secularization of music theory. New Grove terms this "an outstanding work of elucidation."

Paris, Chez Claude-Antoine Jombert.., 1766. 8vo, pp. [ii], xxxvi, 236 [237 - 239 Approbation and Privilege, 240 blank], 10 folding engraved plates at end of text, title-page in red and black, contemporary slightly mottled French calf, spine ornately gilt in compartments to a flower motif, red leather label; front joint cracked, upper rear joint cracked. This is in fact the second edition, the first having been published in 1752. Part of the importance of d'Alembert's work lies in its secularization of music theory. New Grove terms this "an outstanding work of elucidation."

Ratisbonne. In commission chez Mr. J. B. Reitmayer. 1829. FIRST EDITION OF THIS TRANSLATION. 8vo, 187 x 114 mms., pp. viii, 208 [209 errata, 210 blank], uncut, recently recased in marbled boards, with a photograph of Rossini, 100 x 60 mms., dated on verso 1863 with dates in contemporary hand, the photograph from Carjat & Cie. Andrea Majer (1776 - 1845) published his Discorso sulla Origine, Progressi, e Statto Attuale della Musica Italiana in 1821; it was described in Peter Lichtenthal's Dizionario e bibliografia della musica (1826) as "Questo eccellente libro...." The French translator, de Valerian, says of him, "Majer est aujourd'hui l'un des hommes les plus estimés de l'Italie. Il es à la fois peintre, littèrateur et musicien. Cette triple qualité donne un charme particulier à tout ce qui sort de sa plume...." This early assessment seems to be confirmed by Denise Gallor in Gioachino Rossini: A Research and… Leer más

London, Printed for Lockyer Davies..., 1775. Small 8vo, pp. viii, 221 [222 blank], 4 folding engraved plates of music (one neatly strengthened at fold), recently rebound in quarter calf, gilt spine, morocco label, marbled boards; lacks the final adverts leaf. A very good copy. With two autographs on the recto of the front free end-paper: "Robert Nunn/ Bury" (in ink, and probably late 18th century); and "E. A. Wall/ 10/2/[18]93" in pencil. Avison's Essay was first published in 1752 with a second edition in 1753. It is not clear what authority this text has, as Avison died in 1770. The work to which Avison alludes on the title-page is that of the Heather Professor of Music at Oxford, William Hayes, whose Remarks on Mr. Avison's Essay was an extensive criticism of this work.

Edinburgh: Printed [by Macfarquhar and Elliot] for C. Elliot, Edinburgh; and T. Cadell, London, 1781. FIRST EDITION. 8vo, 204 x 130 mms., pp. iv, 290 [291 Corrections, 292 blank], 19 large folding engraved plates, 8 between pages 151 and 152, the rest at the end of the volume, 20th century library cloth; ex-library, with various library stamps, and bookplate of City of Liverpool Public Libraries on front paste-down end-paper; title-page slightly soiled. A rather unsightly binding. This work has also been attributed to Francis Kelly Maxwell (ESTC retains this attribution), but New Grove assigns it to John Maxwell (died 1806). a Scottish writer on music, based on manuscripts of Maxwell's in the Huntington Library. Five hundred copies of this first edition were printed, and a second edition was published in 1794. Charles Burney, assisted by Thomas Twining, reviewed the work in the April, 1782, issue of the Critical Review, praising it as a "work of singular merit..., [presenting] in a… Leer más

Warrington: Printed by William Eyres, for Joseph Johnson..., 1774. 8vo, 184 x 198 mms., pp. xix [xx blank], 286, contemporary calf, small gilt border on covers, spine ornately gilt to a floral motif, red leather label; binding darkened and a bit rubbed, top and base of spine chipped, slight cracking of upper and lower joints, corners a bit worn. This work is usually attributed to John Aikin (1747 - 1822), a physician and author of various political and biographical works. The genesis of this book came, Aikin says in his Preface, when he and various friends lamented the absence of a good collection of the excellent songs in which song-writing was taken seriously as an art form: "The chief sources of good songs, are the miscellany poems and plays from the time of Charles the second to the conclusion of Queen Ann's reign." He was working in London in 1769-70 and moved to Warrington in 1771, and he might have made the acquaintance of the radical publisher, Johnson, during his brief… Leer más

Romæ, Impensis Fausti Amidei Bibliopolæ in via Cursus. Ex Typgraphia Bernabò, & Lazzarini, 1742. FIRST EDITION. Large 4to, xi [xii blank], 58, 8 full-page engraved plates of musical instruments, 5 engraved vignettes, contemporary vellum, with the armorial book plate of E. de Blavette on the front paste-down end-paper; fore-margins of first few leaves slightly frayed, slight wear to binding, but generally a very good copy. Francesco Bianchini [1662-1729] was librarian to Cardinal Ottoboni, later Pope Alexander VIII, in Rome. He seems to have been a much respected antiquary who enjoyed considerable Papal patronage. Bianchini's name is often spelled Blanchini, but it seems to be one and the same person. Graesse in his 'Supplement' of 1869 lists the work under Bianchini gives these as alternative spellings for the same person. [With thanks to John Wilbraham for this information.] This seems to be a work that Bianchini compiled as librarian, and it was not published… Leer más

London and New York, Novello, Ewer & Co., 1888. FIRST LONDON EDITION. 2 volumes. 8vo, 220 x 140 mms., pp. xii, 340; viii, 375 [376 blank], including half-title in volume 2, engraved portrait of Chopin as frontispiece, facsimile folding engraved plate at end of volume, original cloth, blocked in gilt, with gilt and red textured end-papers. A very good to fine set. Frecerick Nieckes (1845 - 1924) was born in Germany but spent most of his life in Scotland, settling there in 1868. Shortly after the publication of this book he was appointed Reid Professor of Music at the University of Edinburgh. This was the first biography of Chopin, and it was reprinted several times, being both lauded and criticized. This biography "was [in 1888] unprecedented in format, information sources, detail, etching, volume, multinational distribution, and four rapid editions including the German translation. - It must have boosted Chopin's reputation.... Frederick Niecks' sections on 1841-1849 and the… Leer más

London, Printed for the Author: And sold by Payne and Son..., 1789, 1782, 1789, 1789. FIRST EDITION of volumes 2, 3, and 4. 4 volumes. 4to, pp. v [vi blank, vii - viii Contents], xviii, 501 [502 blank, 503 - 511 Index, 512 blank]; [iv], 597 [598 blank, 599 "Corrections and Errata," 600 blank, 601 - 610 Index]; xi [xii blank], 622 [623 - 633 Index, 634 Errata]; [iv], 1- 68, 67 - 70, 69 - 118, 117 - 128, 127 - 688 [689 - 700 Index, 701 Errata, 702 blank], engraved music throughout text, folding woodcut of "Egyptian Musical Instrument," folding plate of music in volume 1, one engraved plate in volume 2, recent quarter calf, buckram boards, new end-papers; lacks the portrait of Burney in volume 1, the frontispieces for volumes 2, 3, and 4, and 6 plates in volume 1. The first volume of Burney's History was out of print within a few weeks of publication, and Burney had decided by April of 1776 to prepare a second edition of the volume. The second edition of volume 1 takes… Leer más

London: Printed for T. Payne and Son..., 1776. FIRST EDITION. 5 volumes bound in 10. 4to (235 x 195 mms.), pp. [x], lxxxiv, 259, 251 - 465 [466 blank]; [ii], 250, 251 - 544; [ii], 234, 235 - 535 [536 blank]; [ii], 254, 255 - 548; [ii], 258, 259 - 483 [483 - 511 Index, 512 Errata], engraved frontispiece (off-setting onto title-page), engraved portrait of Hawkins and 5 other engraved plates in volume 1, numerous musical illustrations and engravings as part of registration throughout all 5 volumes, contemporary half calf, spines richly gilt, red and black morocco labels, marbled boards (slightly rubbed); some slight wear to bindings, but generally a very good and attractive set, somewhat curiously bound and with less than generous margins (a large-paper copy is 280 x 255 mms.). From the Easton Neston Library, with library label for shelf mark and the armorial bookplate of Sir Thomas Hesketh, Bart., Rufford Hall Lancashire on the front paste-down end-paper. Sir John Hawkins (1719 - 1789) was… Leer más

London: William Reeves..., [no date], [1926]. FIRST ENGLISH EDITION. 2 volumes. 8vo, 215 x 133 mms., pp. xx, [2], 208; [4], 209 - 369 [370], lithographed portrait of Liszt as frontispiece in each volume, with two further portraits of Liszt in volume 1, another as a youth in volume 2, and portraits of Schubert and Beethoven in volume 2, original brown cloth, blocked in gilt. A fine set. Des Bohémiens et de leur musique en Hongrie was first published in 1859 and as Die Zigeuner und ihre Musik in Ungarn in 1861. Liszt was assisted in the preparation of this work by Princess Carolyne von Sayn-Wittgenstein, who added a great deal of anti-semitic material to the second edition. Evans (1871 - 1945) was a music journalist and wrote for the Musical Times. So far as I can tell, he does not indicate whether his translation is from the French or German edition, or if he used the material Pricess Carolyne incorporated into the second edition.

A Lyon, Chez Cartoux..., 1819. FIRST EDITION of this translation. 8vo, 192 x 116 mms. 200 x 130 mms., pp. [iv], 64, 12 folding engraved plates of musical illustration, followed by 17 blank leaves and 2 leaves with notes in a contemporary hand in French, contemporary sheepskin, black morocco label; some musical illustrations in pencil on the plates, title-page a little creased and foxed. Asioli (1769 - 1832) was largely self-taught, but he also studied in Parma, Bologna, and Venice. He was appointed to the post of director of the new music school in Milan in 1808, and it is from this period that the work derives. He had to leave the post in 1814. This work was first published in Italian as Principi Elementarai di Musica in 1809. The popular question-and-answer form seems to have worked very well as a pedagogy for learning music theory. OCLC locates copies in Newbery, California Berkeley, San Francisco State; and Staatsbibliothek zu Berlin. There is also an issue with title-page dated 1820:… Leer más

A Lyon, Chez Cartoux..., 1819. FIRST EDITION of this translation. 8vo, 192 x 116 mms. 200 x 130 mms., pp. [iv], 64, 12 folding engraved plates of musical illustration, followed by 17 blank leaves and 2 leaves with notes in a contemporary hand in French, contemporary sheepskin, black morocco label; some musical illustrations in pencil on the plates, title-page a little creased and foxed. Asioli (1769 - 1832) was largely self-taught, but he also studied in Parma, Bologna, and Venice. He was appointed to the post of director of the new music school in Milan in 1808, and it is from this period that the work derives. He had to leave the post in 1814. This work was first published in Italian as Principi Elementarai di Musica in 1809. The popular question-and-answer form seems to have worked very well as a pedagogy for learning music theory. OCLC locates copies in Newbery, California Berkeley, San Francisco State; and Staatsbibliothek zu Berlin. There is also an issue with title-page dated 1820:… Leer más

London: Boosey & Co..., [no date]. [?1868]. FIRST ENGLISH EDITION. 4to, 285 x 202 mms., pp. [iv], 279 [280 blank], a piano-vocal score, finely bound in full contemporary English red morocco, with fine gilt borders and gilt panel with "Evelyn" in centre of front boards, spine ornately gilt in compartments, all edges gilt; inner margin of title-page stained, front joint and corners slightly rubbed but a very good to fine and attractive copy. Offenbach (1819 - 1880) could count La Grande-Duchesse de Gérolstein (1867) as one of his most successful operettas. This English version by Kenney (1821 - 1881) was performed at Covent Garden in November, 1867; and Boosey issued an English libretto in 1868. ODNB notes that the concert promoter John Russell produced "the first faithfully adapted English version of a full-sized opéra bouffe by Offenbach to be produced in Britain. He entrusted the adaptation of La grande-duchesse to Kenney. Russell's production proved a… Leer más

London: Richard Bentley and Son..., 1881. 8vo, 183 x 105 mms., pp. xvi, 373 [374 blank], attractive contemporary calf, prize copy, for music, at Barkhamstead School, gilt crest on front cover, spine richly gilt, olive morocco label, and the presentation inscription on the verso of the front free end-paper: "Music/ 3rd Prize/ Awarded to/ Stallard/ July 24th 1885/ Head Master." The first edition of this popular work was published in 1874, and there were several other reprints during the 19th century. The "Great Tone Poets" are almost all German or Austrian: Bach, Handel, Gluck, Mozart, Beethoven, Weber, Schubert, Mendelssohn, Schumann, and, curiously, Rossini.

London: Printed for T. and J. Merrill...Sold by B. Dod...[et al], 1759. 8vo, pp. [ii], xx, 280 [281 - 293 Index, 294 blank], 29 folding engraved plates (slightly chafed at edges and folds). BOUND WITH: SMITH (Robert): A Postscript to Dr. Smith's Harmonics, upon The changeable harpsichord: Which being supplied with all the useful flat and sharp sounds and tuned in the best manner, is made as harmonious as possible: and yet the execution of music upon this perfect instrument is the same as upon the common harpsichord. London: Printed for T. and J. Merrill and by B. Dod: Sold also by J. Whiston and B. White...; R. and A. Foulis in Glasgow; and A. Kincaid, and A. Donaldson, in Edinburgh, 1762. 8vo, pp. 12. 2 volumes in 1, bound in contemporary calf, later reback with old spine laid down, gilt rules across spine; lacks label, top and base of spine chipped. Ex-library with "Yale College Library" in gilt on front cover and Yale University Library bookplate stamped… Leer más

Cambridge, Printed by J. Bentham...and Sold...by W. Thurlbourn..., 1749. FIRST EDITION. 8vo, pp. xv [xvi contents], 292 [293 - 303 Index, 304 Corrections & Additions, 305 advert, 306 blank], 25 folding engraved plates, additional printed tables inserted between pp. 174 - 15, 182 - 183 (folding), and 238 - 239, recently rebound in quarter straight-grain morocco, gilt spine, morocco labels. A very good copy. Smith (1689 - 1768) trained as a mathematician and was Plumian Professor of Astronomy at Cambridge for forty-four years (1716 - 1760). Although his work on harmonics has a mathematical basis, he approaches the problems of tuning keyboard instruments as a musician would. Commenting on the book some thirty-five years later, another commentator on the aesthetics of music, Thomas Robertson (d. 1799), author of An Inquiry into the Fine Arts, called it "a work of ingenuity, as well as of great labour"; but, damning with faint praise, he added, "but who ventures to peruse it?… Leer más

A Paris, Chez Pissot..., 1757. FIRST EDITION. 4to, pp. xi [xii "Avertissement"], 189 [190 "Approbation," 191 - 192 "Privilege du Roi"], 68 engraved plates, including frontispiece which is supplied in facsimile, contemporary mottled calf, spine gilt in compartments, morocco label; lower corner of first four leaves water-stained, and slightly frayed, joints and corners neatly restored. Blainville (1710 - 1777) maintained that he had discovered a third mode of music between major and minor, which he called "mode mixte"; his symphony in this mode was first performed on 30 May 1751, and Rousseau commented favourably upon it. The final section in this work is on harmonic theory.

Edinburgh: Printed for Constable and Co. and Hurst, Chance, and Co., London, 1830. FIRST EDITION. Small 8vo, pp. viii, 387 [388 blank], engraved title, 3 leaves adverts preceding title-page, additional paper label for spine tipped in before adverts, uncut and unopened, contemporary cloth, paper label (rubbed) on spine; small tear at top of title-page from careless opening of leaf, edges a little soiled. Volume 52 of Constable's Miscellany; Stafford manages two pages on American music, mentioning the songs of American Indians; in New York, the author heard "some very pleasing airs, composed by native Americans, whose names have escaped our memory."