Garalle. Mus. d' Ad. Adam. Original manuscript signed. March 30, 1855. 2 leaves (4 pages) 34 1/2 x 27 cm. Original manuscript of the text by Alphonse Garalle (cf. separate entry). (see #351)

"Opéra comique en trois actes, paroles de Mr. E. Scribe; musique de Ad. Adam.. Paris, Brandus [1850] P1. no. 5301. First edition. Inscribed to Pierre Joseph Guillaume Zimmerman by the composer. Orchestral score. Presented for the first time at Paris, July 20, 1850. Wotquenne, 1323.

"Inserted is an autograph letter signed. To an unidentified correspondent, n. p.,n.d.

"Opéra comique en trois actes. Paroles de... MM. de Leuven et Brunswick. Musique de Ad. Adam. Partition piano et chant. Paris, G. Brandus et S. Dufour [ca. 1855] P1. no. M. S. 5189. At head of title: ""Nouvelle edition."" Presented for the first time at Paris, October I 2, 1836. Wotquenne, 2510. Manuscript in Adam's hand of Alcindor's Air, no. 7 (cf. separate entry). (Not inserted).

"Original manuscript. ca. 1836. 2 leaves (3 pages) 341/2 X 26cm. In the ""Nouvelle edition"" of the piano and vocal score.

"Opéra comique en 3 actes. Paroles de MM. de Leuven et Brunswick. Musique de Ad. Adam. Partition piano et chant...Paris, J. Meissonier [ca. 1843] P1. no. J. M. 1770 First edition. inscribed by the composer, with numerous corrections in his hand on p. 74-77. Wotquenne, 2515.

1849. Caqliostra

"A lyric comedy in two acts and three tableaux (from the novel by Juan Valera) .. . by F. B. Money-Coutts. Deutsche Bearbeitung von 0. Berggruen. Music by I. Albéniz. Mit deutschem und englischem Text....Klavierauszug mit Text von Componisten. Leipzig, Breitkopf & Härtel, C1896. P1. no. 21596. First edition. Presented for the first time at Barcelona, January 5, 1896.

"Iberia. 12 nouvelles 'impressions"" en quatre cahiers. (ler cahier) Evocation, El puerto, Fete-Fieu a Seville. Transcription à 4 mains. Paris, Edition Muteelle, ca. 1906. 33p. 35 cm. Inscribed by the composer.

"Opera prima da Domenico Alberti. London, I. Walsh [ca. 1750] First edition. Wolffheim,I, 1214.

"Dramma lirico in tre atti e quattro quadri di Ettore Moschino. Musica di Franco Alfano. Opera completa per canto e piano-forte. Riduzione dell'autore. Milano, G. Ricordi, c1914. P1. no. 114972. First edition.

"Original manuscript. 1841. 30 leaves (title-page, 58 pages) 22 x 32 1/2 cm. This is an overture and not a symphony as the title indicates. Arditi, who spent some time as a conductor in New York City, is remembered for his lilting waltz, ""Il bacio.""

"London, I. Walsh [1723] First edition.

"A collection of favourite songs which were sung by Mrs. Arne at Ranelagh and Vauxhall, never before publish'd, with the new Scots ballad Pitty Patty, now sung by Mrs. Weichsel at Vauxhall, composed by Michael Arne. London, C. and S. Thompson [1775] First edition. Signed by the composer.

"The music in The judgment of Paris. Consisting of all the songs, duettos and trio, with the overture in score as perform'd at the Theatre Royal in Drury Lane. To which are added the celebrated ode, in honour of Great Britain, call'd Rule Britannia, and Sawney & Jenney, a favourite dialogue, in ye Scotch stile. The whole compos'd by Thomas Augustine Arne. Opera sesta. London, Henry Waylett [1741] First edition. The text of The judgment of Paris is by Congreve. Rule Britannia 'Was performed for the first time in the masque of Alfred at Cliefden, the residence of Frederick, Prince of Wales, August 1, 1740. The judgment of Paris was also first performed at Cliefden the same year. When the latter was published in 1741, the music of ""Rule Britannia"" was added as an appendix. The music of Alfred was not published until 1751. The words by James Thomson were published separately three weeks after the performance. ""It is just possible that the ascription to Thomson is incorrect as he had a partner in the writing of the masque, the dramatist David Mallet or Malloch (ca. 1705-1765), but it is thought that the particular song was Thomson's because its sentiment had already appeared in two poems of his and seems to be a personal specialty."" The Oxford companion to music, by Percy A. Scholes. London, Oxford University Press, 1947, p. 818.

"Orchestrée par Georges Bizét. Paris, H. Lemoine, Ca. 1860. Proof-sheets: p. 2, 5, 6, 8, 10, II, 12, 13, 14, 15, 16 and their conjugates p. 30, 28, 27, 25, 23, 22, 21, 20, 19, 18, 17 are on blank sheets; p. 3, 4, 7 and their conjugates p. 30, 29, 26 are on sheets one side of which has in each instance been used for the proof of one page of an unidentified piano composition with the plate number 7418 H; p.9 and its conjugate p. 24 is on a sheet one side of which has been used for the proof of one page of another unidentified piano composition with the plate number 7397 P, 299 H. This is the first proof with Bizet's corrections. The first page (blank) has a note: ""Ir épreuve faire une 2e épreuve. G. Bizet"" There is a penciled note in another hand on the same page: Published by H. Lemoine. Page 2 has a penciled note in still another hand: ""Ascher: Mazurka des Traineaux. Orchestrée par Georges Bizet."" The pages with plate numbers 7418 H and 7397 P, 299 H have manuscript corrections.

"Original manuscript signed. 2 leaves (3 pages) 27 X 35-1/2 cm. Piano and vocal score. The text begins: "Quel pouvoir peut è cette fête hélas m'entrainer malgré moi."

postcard

"Opéra en trois actes, représenté pour la première fois sur le Théâtre Royal de l'Opéra Comique, le 27 janvier 1820. Paroles de Monsieur Planard, mis en musique et dédié à Monsieur Cherubini. par D. F. E. Auber. Paris, Ph. Petit [1820] P1. no. 3. First edition. Inscribed to Zimmerman by the composer. Orchestral score. Wotquenne, 1328.

Engraved portrait of the composer by Julien.

"Opéra comique en trois actes. Paroles de Mr. E. Scribe. Musique de D. F. E. Auber. Partition piano et chant. Paris, G. Brandus et S. Dufour [ca. 1850] P1. no. T. 1408. At head of title: ""Nouvelle edition."" Inscribed by the composer. Presented for the first time at Paris, January 10, 1829. Wotquenne, 2538.

"Morceaux de Léocadie arrangés pour le piano. Paris, Ignace Pleyel [ca. 1824] P1. nos. 743 A-G. Caption-title. First edition. The text is by MM. Scribe and Melesville. Presented for the first time at Paris, November 4, 1824

"Opéra en cinq actes. Paroles de MM. Scribe et Germain Delavigne. Composé et arrangé pour le piano forte par D. F. E. Auber...Paris, Maurice Schlesinger [1828] P1. no. 328. First edition. Also known as Masaniello. Presented for the first time at Paris, February 29, 1828. Inserted is an autograph letter signed. To an unknown correspondent, declining an invitation, n. p., dated ""9 janvier.""

"Opéra comique en un acte, paroles de Mr. Planard, musique de D. F. E. Auber. ... Paris, Ph. Petit [1819] P1. no. 2. First edition. Inscribed to Zimmerman by the composer. Orchestral score. Presented for the first time at Paris, September 18, 1819. Wotquenne, 1327.

"Inserted is an autograph note signed to M. Berard, n. p., dated ""Décembre 3""

"Conte Iyrique en 3 actes (d'après les contes de Perrault). Poème de Jacques Chenevière. Musique de Louis Aubert. Partition chant et piano avec textes français et anglais. Traduction anglaise par Hermann Klein. Paris, A. Durand & Fils, c1911. P1. no. 7414. First edition. Inscribed to Archaimbaud, chef des choeurs at the Paris première, June 1924, by the composer and Jacques Chenevière. Presented for the first time at Boston, December 1911.

"Opéra-comique en 3 actes de Maurice Ordonneau. Musique de Ed. Audran. Partition chant & piano transcrite par Marius Baggers. Paris, Choudens Père & Fils [1886]P1. no. A.C. 7132. First edition. Inscribed by the composer. Presented for the first time at Paris, February 19, 1886.

"Très humblement dédiés à sa majesté Charlotte, reine de la Grande Bretagne ... Composés par Jean Bach. Oevre premier [Oeuvre première] Londres, Welcker [ca. 1763]. Separate parts.

"Original manuscript unsigned. ca. 1705-1706. 2 leaves (4pages) 19 1/2 x 33 cm. Written on paper with the water mark: D.H. This is one of the earliest existing manuscripts of Bach. It was discovered by Manfred Gorke in 1929 and played for the first time after its discovery, May 25, 1930, at the Kreuzkirche in Dresden by Rudolph Mauersberger. Cf. Gorke, Manfred. ""Suite in F-dur. Autograph Johann Sebastian Bach.""

"Original manuscript signed. 1 leaf (2 pages) 22x32 1/2 cm. Inserted is a letter dated August 1, 1901, to Sir Edward Speyer from Dr. A. Kopfermann of the Royal Library, Berlin, in which this cantata is referred to as follows: ""The Royal Library possesses the autograph score of this, but of the autograph parts only those of the organ, 1st and 2nd violin and viola. Your own bass air is therefore, as you will see, the one missing in our parts."" Also inserted is an autograph letter of Sir Donald Francis Tovey to Sir Edward Speyer, July 31, 1901, referring to this manuscript and other musical matters. Bach-Gesellschaft, XVIII, no. 174.

"Magnificat a cinque voci, due violini, due oboe, tre trombi, tamburi, basson, viola e basso continuo, del Sigl. J. S. Bach ... Bonn, N. Simrock [ca. 1811] Pl. no. 770. First edition. Bach's Magnificat is one of his most masterly creations. It was composed for performance at Christmas, 1723, the first year of his cantorship at Leipzig. In its original form (E-flat major) it was interspersed, as was customary, with Christmas hymns; but the final form (D major) was without them (cf. Terry, J.S. Bach, 1933, p. 178). Fétis,p. 195.

Praeludium pro organo cum pedale obligato. (Prel and fugue, organ, S. 544, B minor] [ca.1730. Cambridge, Heffner, 1943] fascim. ([10] p.) . [2] p. 29cm. (The Harrow replicas, no.4) Imprint on label mounted On fly-leaf. Facsim. of the composer's ms. in the collection Mrs. Gisella Selden-Goth, New~ York. J.S.Bach's Prelude and fugue in B minor, bv O.E.Deutsch ([2] p.at end)

Volständiger Klavierauszug von Adolph Bernhard Marx ... Berlin, Schlesinger, 1830. Pl. no. 1571. First edition. Bach's great St. Matthew Passion, published for subscribers only, was composed for Good Friday, 1729, but remained in manuscript for a hundred years. It was eventually published as a result of the enthusiasm aroused by its performance under Mendelssohn in 1829. Hirsch, IV, 1136; Wotquenne,714.

Engraved portrait of the composer by F. W. Meyer after L. Wolf.

London, R. Bremner [1770] First edition. This is the first collection including three arias by Bach and five by Gluck. First edition of Bach's contributions and first English edition of Gluck's. Libretto by Bottarelli. Unknown to Wotquenne. From the Library of the Earl of Aylesford.

Dritte Auflage...Leipzig, Breitkopf & Härtel [1831] P1. no. 5089. Although called the third edition, strictly speaking this is the fourth, as 200 of the Chorales first appeared in 1765 and 1769. The second edition, which was the first to contain the 371 appeared in 1785-1787 in four volumes and the third in 1804. Cf. Hirsch, 111,42-43. V

John Barbirolli

Ernst Bacon

Manuscript signed. April 10, 1903. 5 leaves (7 pages) 26 1/2 x36cm. The first page has a discarded version of that Part of the score which appears on the second page. A manuscript title-page in the composer's handwriting is pasted over this. This includes a dedication: ""A Monsieur Serge Trailine"" Between the fifth and eighth pages numbered in the manuscript ""5"" and ""6"" are two unnumbered pages on the first of which are six bars of music - a discarded version corresponding to a part of the score on the third page of the manuscript. The plate number Z3886 is written in at the bottom of the second page. A penciled note on the title indicates that the score was to be published by Zimmermann, St. Petersburg. From the collection of Michael D. Calvocoressi.

Poëme symphonique pour orchestre par M. Balakirew ...St. Petersbourg, W. Bessel [1893] P1. no. 2688. Cover-title. Title-page in Russian. Second edition. Inscribed to Louis Albert Bourgault-Ducoudray by the composer.

The Bohemian girl, a grand opera in three acts, as performed at the Theatre Royal, Drury Lane. Written by Alfred Bunn, Esqre. Composed and dedicated to Val. Morris, Junr., Esqre, by M. W. Balfe...London, Chappell [1843] P1. nos. 6753, 6798, 6743, 6780, 6757, 6752, 6809, 6751, 6809, 6742, 6764, 6797, 6747, 6746, 6799, 6814, 6803, 6859, 6754, 6810, 6767, 6810, 6783, 6763, 6784, 6779. First edition. Piano and vocal score. Presented for the first time at London, November 27, 1843. This opera, the first by a native British composer to acquire international fame, includes two songs that are familiar wherever English is spoken: ""I dreamt that I dwelt in marble halls"" and ""When other lips,"" better known as ""You'll remember me."" Inserted are the original manuscript of Balfe's ""The young soldier"" (cf. separate entry), and an autograph letter signed by Sir Robert Stewart, written to Dr. Frazer relating to this composition.

Opéra comique en 3 actes. Paroles de MM. de Leuven et Brunswick. Musique de M. W. Balfe...Paris, Choudens [ca. 1845] P1. no. C. 46. First edition. Piano and vocal score. Presented for the first time at Paris, July 15, 1844.

Original manuscript signed. Ca. 1837. 4 leaves (6 pages) 23 x 30 1/2 cm. The words are by Edward Fitzball. Inserted in Balfe's The Bohemian girl.

Légende musicale en un acte. Paroles de Sacha Guitry. Musique de S. Barlow...Partition piano et chant réduite par l'auteur...Paris, Choudens [c1924] P1. no. A. C. 17546. First edition. inscribed to Nix [N. de Molas?] by the composer.

Original manuscript. 1798. 212 leaves (422 pages) 161/2 x 111/2 cm. The manuscript, written with the greatest care and exactness, offers a very instructive example of the opera seria cultivated in Italy at the close of the 18th century. Basily held two of the most important official positions of the Church in Italy: he was maestro di capella in Loreto and of St. Peter's in Rome. As director of the conservatory in Milan from 1827 till 1837, he was a teacher of Glinka and refused Verdi admission to the conservatory. Achille is a three-act opera following the pattern of the opera seria prior to Gluck. It contains twelve arias, three duettos and two quartettos with fourteen secco and eight accompagnato recitatives and two marches in between. The opera is scored for two flutes, oboes, clarinets, bassoons, horns, trumpets, and the customary strings. There are no chorus numbers and broad finales. A terzetto concludes the first act, a quartetto the second and a quintetto the short third act. The calligraphic make-up and the layout of this manuscript are an astounding achievement in view of the small size of the music paper and the by no means small orchestral apparatus which often required nine staves.

[by] Arnold Bax. [London] Murdoch, Murdoch, c1931. P1. no. M. M. & Co. 555. Page-proofs with corrections and changes throughout in the composer's hand. Orchestral score. Presented for the first time at London, March 4, 1930, under the direction of Sir Henry Wood, to whom the symphony is dedicated.

To Mme. Pankouke. [November 22, 1779]. 4 leaves (3 pages) 19 x 23cm. Rossini's Il barbiere di Siviglia with libretto by Sterbini is founded on Beaumarchais' comedy: Le barbier de Seville. An interesting letter in response to one sent to him in which he apparently had been asked to recall a composition he had played on some social occasion many years previously. He expresses his regret that he is unable to recall it. Inserted in first edition of Rossini's Il barbiere di Siviglia, Rome, ca. 1817.

Arietta con accompagnamento di piano-forte composta in diverse maniere da molti autori e dedicata a S. A. U. Sig. Principe Giuseppe di Lobkowitz...Vienna, T. Mollo [1808] P1. no. M. 1487. First edition. The text is by Giuseppe Antonio Carpani (1752-1825). The work contains sixty-three versions by various composers of which Beethoven's is the last - LXIII, p. 201-203. Saint-Saëns' copy with his signature on front wrapper. Grove, 239. Original manuscript of Beethoven's In questa tomba oscura. (cf. separate entry) and a holograph copy of the arietta, signed by Carpani, Vienna, October 19, 1812.

Original manuscript unsigned. 1807. 2 leaves (4 pages) 32 x 23 -1/2 cm. Corrections in red pencil. First edition of in questa tomba oscura.

Photographs of manuscript in Robert O. Lehman's collection on deposit in the Morgan Library.

Leipzig, Breitkopf & Härtel [1810] P1. no. 1526. First edition. Grove, 240; Hirsch, IV, 460; Nottebohm, p. 180.

Collection complète des sept concertos et d'une fantaisie pour piano, orchestre et choeur de L. van Beethoven pour piano et orchestre. Mis en partition par Henri Roubier...Paris, S. Richault [ca. 1857] P1.no.7813.R. This volume contains only the score for the sixth concerto with the caption title: 6ème concerto in ré maj. Op. 61. First edition. The instrumental parts were published in 1808 (cf. Hirsch, IV, 301). The concerto was composed and performed for the first time in 1806. Nottebohm, p. 58.

Original manuscript. 1814. 1 leaf (1 page) 181/2 x 231/2 cm. This was published in ? (Cf. Hirsch, IV, 385). Eitner, I, p.414.

Paroles de MM. N...&...arrangées pour la scène française par MM. J. T. et A. F....Musique de Ls. van Beethoven. Représenté pr. la première fois à Paris, sur le Théâtre Royal de l'Odéon...Paris, A. Farrenc [1826] P1. no. 72. First edition. Beethoven worked on this, his only complete opera, for twelve years. Begun in 1803, the first version was performed in Vienna in 1805 under conditions which foredoomed it to failure. Revised and with a new overture, it was again produced in 1806. In 1814 Treitschke revised the libretto and Beethoven announced the approaching publication of the opera in its final form. It was now an established success and triumphantly performed in all the capitals of Europe. This is the first edition of the complete orchestral score. It is so rare that its existence was unknown to such authorities as Nottebohm and Thayer. Only 57 copies were subscribed for. The Simrock edition of 1847 has often been accepted as the earliest. The first complete edition of the piano and vocal score was published in 1814 (Hirsch, IV, 318, Nottebohm, p. 71). An edition without the Overture and finales was published in 1810 (Hirsch, II, 37 and 39; Nottebohm, p. 68).

Missa composita, et Serenissimo ac Eminentissimo Domino Domino Rudolpho Joanni Caesareo Principi et Archiduci Austriae ... profundissima cum veneratione dedicata a Ludovico van Beethoven. Opus 123 ... Moguntiae, B. Schott filiorum, 1827. P1. no. 2346. First edition. Hirsch, IV, 392; Nottebohm, p. 118; Wotquenne, 1212. Inserted is an autograph note, mentioning this work-his immortal ""Missa solemnis,"" written to Josef August Röckel, n. p., n. d. (cf. Kastner-Knapp, no. 173). Translation: Here, my dear [friend] I make you a little gift, an English dictionary. With regard to the vocal pieces, I think we should let one of the singers, who is going to sing for us, first sing an air, then we would do two numbers of the Mass, but with German words. Look about you as to who could do this for us, it need not be exactly a masterpiece, if it only suits the music well. Yours Beethoven

Oeuv. 29 ... Leipsic, Breitkopf & Härtel [1802] P1. no. 94. First edition. Inserted is the original manuscript of the first part of the pianoforte arrangement (cf. separate entry). Hirsch, IV, 267; Nottebohm, p. 32.

Original manuscript, ca 1801. 1 leaf (2 pages) 32 x 21 cm. Inserted in the first edition of the score.

Drey Gesaenge von Göthe mit Begleitung des Pianoforte in Musik gesetzt und ihrer Durchlaucht der Frau Fürstin von Kinsky, geb. Gräfin v. Kerpen zugeeignet von Ludwig v. Beethoven. 83tes Werk... Leipzig, Breitkopf & Härtel [1811] Pl. no. 1596. First edition. Hirsch, IV, 331; Nottebohm, p. 80.

125tes Werk ... Mainz, B. Schotts Söhnen [1826] P1. no. 2322: First edition. Orchestral score. Lacks the second preliminary leaf: ""Subscribenten-Verzeichnis auf die Werke, Op. 123, 124 U. 125"" (cf. Hirsch, IV, 395). The famous ninth choral symphony. Hirsch, IV, 395; Nottebohm, p. 120.

Original manuscript. 3 leaves (4 pages) 301/2 x 221/2 cm. This is a sketch (12 bars) for a vocal composition with Italian text, beginning: ""Tu mi traffigi il cor."" Each page is prepared for 11 lines, suggesting a larger ensemble, i.e., a song with orchestra. Heinrich Schenker, the great theoretician and Beethoven specialist, has expressed the opinion that this manuscript belongs to the studies which Beethoven wrote while studying with Antonio Salieri.

Composés et dédiés à son Altesse Monseigneur de Prince Charles de Lichnowsky par Louis van Beethoven. Oeuvre 1re. A Vienne chez Artaria [1795]. First edition. The three parts as issued. Beethoven's Opus 1 is so rare that Nottebohm had never seen a copy and could describe only Cappi's reissue of 1802. This is one of the subscribers' copies and contains the list of subscribers following the title-page of the pianoforte part. Examples of the subscribers' issue are of extreme rarity. The trios were performed for the first time from manuscript by Schuppanzigh, Kraft, and Beethoven himself. Hirsch, IV, 238.

Op. II. Vienna, Giov. Traeg [1795] P1. no.3. First edition. An early composition of Beethoven, after a theme of Paisiello. This did not retain its opus no. 2 and is numbered 179 by Grove. Hirsch, IV, 437; Nottebohm, p. 155.

La cantata di Davide pentito [sic] -Tutte le mie speranze, terzetto del Sig: Maestro Amadeo Mozart's. Bellini. Manuscript signed: 10 leaves (title-page, 18 pages) 28 x 21 cm. This manuscript of Bellini's student years is a copy of No. 9 from Mozart's Davidde penitente, composed in Vienna in 1785. The composition is largely based on the great fragmentary Missa in C-moll, composed in Vienna in 1782-1783. Köchel, 469, 427 (417a).

Melodramma posto in musica e dedicato alla Signora Giudita Turina da V. Bellini ... Milano, Gio. Ricordi [1829] Pl. nos. 4022-4031, 4034-4038, 4040-4041. First edition. Text by Felice Romani. Piano and vocal score by Luigi Truzzi. Presented for the first time at Milan, February 14, 1829.

Poésie de Armand Ocampo. Musique de H. Bemberg ... Baryton ou mezzo-sopo. Paris, Louis Gregh, 1886. P1. no. L. G. 2658. (2) First edition. Inscribed to Ch. Morel by the composer.

Opéra-comique en un acte de M. Pierre Barbier. Musique de H. Bemberg ... Paris, G. Hartmann [ca. 1888] P1. no. G. H. & Cie. 1931. First edition. Inscribed to Henri Maréchal by the composer. Piano and vocal score. Presented for the first time at Paris, June 4, 1888.

London, Chappell [Ca. 1870] Pl. no. 12298. First edition. Inscribed to Mrs. Weldon by the composer.

Sung by Mr. Sims Reeves. Composed by Jules Benedict ... London, Cramer [ca. 1870] First edition. inscribed Mrs. Weldon by the composer.

Ballad written by Miss Courtney. Composed by Jules Benedict ... London [Chappell, Ca. 1870] P1. no. 14034. First edition. Inscribed to Mrs. Weldon by the composer.

The words by Mrs. George Gifford. Composed by Jules Benedict ... London, Duff & Stewart [Ca. 1870] P1. no. D. & S. 2930. First edition. inscribed to Mrs. Weldon by the composer.

Song. The words by Claribel. The music by J. Benedict ... London, Boosey [ca. 1868] First edition. Inscribed to Mrs. Weldon by the composer.

Written by Jessica Rankin. Composed by J. Benedict ... London, Chappell [ca. 1870] P1. no. 12303. Inscribed to Mrs. Weldon by the composer.

Bergsma, William.

Beriot, C. de., 3p.

Berg, A. See additions.

Holograph manuscript signed. 2 leaves (1 page) 24 x 32 cm. The lead sheet (words and music) written for the collection by the composer.

Opéra en deux actes imité de Shakespeare. Paroles et musique de Hector Berlioz ... Partition piano et chant ... Paris, G. Brandus & S. Dufour [1863] First edition. Inscribed by the composer. Presented for the first time at Paris, August 9, 1862. Wotquenne, 2596.

Paris, n.d. An interesting letter to an unidentified poet who had sent him some poems with a request that he set them to music-a request which he had to refuse as his use is too capricious. To illustrate this he tells the story of the tune of the refrain, ""Pauvre soldat"" in the cantata Le cinq mai. After seeking for two months a suitable melody, he gave up the search. Then one day, while walking along the Tiber, he stumbled into the river bed and found himself up to the knees in mud. ""En me relevant je chantai ma phrase si longtemps cherché et le morceau fut fait.""

Opera semi-seria en trois actes. Paroles de MM. Léon de Wailly et Auguste Barbier. Traduction allemande de M. P. Cornelius. Musique de Hector Berlioz. Oeuvre [23] Partition de piano. Brunswick, Henry Litolff [1856] P1. no. 1232. First edition. Text in French and German. Presented for the first time at Paris, September 10, 1838. From the library of W. J. Turner, the well-known writer on Berlioz, with his signature. Wotquenne, 3466.

To Gatayes, Paris, April 1, 1851.

Rêverie p [ou] r mezzo-soprano ou contralto. Chantée par Madame Viardot Garcia. Paroles de Victor Hugo. Musique de Hector Berlioz. Oeuvre 12 ... [Partition réduite pour le piano par Stephen Heller] Paris, S. Richault [1834] P1.no. 10,154R. First edition.

To Leroy, February 14, 1838.

Légende dramatique en quatre parties. Musique de Hector Berlioz. Oeuv. 24. Partition de piano avec texte français et allemand. Quelques morceaux du livret sont empruntés à la traduction française du Faust de Goethe par M. Gérard de Nerval; une partie des scenes 1, 4, 6, 7 est de Mr. Gandonnière; tout le reste des paroles est de Mr. Hector Berlioz. Traduction allemande par Mr. Minslaff ... Paris, S. Richault [1854] P1. no 11607 R. First edition. Presentation copy from Berlioz, inscribed ""A mon ami Reger, H. Berlioz."" Wotquenne, 1118.

To [Henry Fothergill] Chorley. Dresden, April 14 [1842?] Translation: My dear Chorley: Allow me to introduce to you Mr. Rosenhain, pianist and composer of the orthodox school, who is anxious to come out in London this spring, and will therefore be in grea

(Verlag v. Baumgartner's Buchhandlung, Leipzig).

Légende dramatique en quatre parties. Musique de Hector Berlioz. Oeuv. 24. Partition de piano avec texte français et allemand ... Traduction allemane par Mr. Minslaff . . . Paris, S. Richault [ca. 1855] P1. no. 11607 R. First edition, second issue. This is excessively rare.

Légende dramatique en quatre parties. Musique de Hector Berlioz. Oeur. 24. Grande partition avec texte français et allemande. Quelque morceaux du livret sont empruntés à la traduction française du Faust de Goethe par Mr. Gérard de Nerval: une partie des scenes 1, 4, 6, et 7 est de Mr. Gandonnière; tout le reste des paroles est de Mr. H. Berlioz. Traduction allemande par Mr. Minslaff...Paris, Richault [ca. 1862] P1. no. R. 11605. First edition. Orchestral score. Wotquenne, 1051. An English translation of the text has been written in, parallel to the French and German texts. This and various notes, etc., are in blue pencil. Richault moved to 4 Boulevard des Italiens in 1862, the address upon the title-page. Except for an added portrait frontispiece, and the change of address in the imprint, the collation for the above edition agrees with that in Hirsch, IV, 694.

Theme du choeur des sylphes. Manuscript fragment signed. For the album of H[einrich] Schlesinger. Berlin, June 19, 1847. 1 leaf (1 page) 191/2 x 241/4 cm. The other side of this leaf contains ""Poëme d'amour à Rosalie"" by Adolph von Henselt. [Not inserted] is the first edition of the orchestral score.

Opus 3. Grande partition...Paris, Richault [1828] Pl. no. 2162R. First edition. Wotquenne, 7991.

(Paris, J. Bestault).

Exécutée pour la première fois à l'église des Invalides, le 5 décembre 1837, pour le service funèbre du général Damrémont et des officiers et soldats français morts à la prise de Constantine ...Partition chant et piano ...Paris, Brandus [ca. 1882] Pl. no. B. & Cie. 12,808. At head of title: Hector Berlioz. Op. 5.

Sinfonie dramatique. Choeurs, solos de chant et prologue en récitatif choral composée d'après la tragédie de Shakespeare par Hector Berlioz. Op. 17. Partition de piano par Th. Ritter. Avec texte français et allemand. Winterthour, J. Rieter-Biedermann [1857] Pl. no. 22. First edition. The French text is by Emile Deschamps. Presented for the first time at the Conservatoire de Paris under the direction of the composer, November 24, 1839.

To Théodore [Ritter] n.p., December 15, 1861.

Op. 7. Clavierauszug ...Leipzig, J. Rieter-Biedermann [ca. 1834] P1. no. 3. First edition. Contents: ""Villanelle""; ""La spectre de la rose""; ""Sur les lagunes""; ""Absence""; ""Au cimetière"" (""Clair de Lune""); ""L'île inconnue."" Text in German and French.

To an unidentified correspondent, n.p.,n.d, [ca. 1848].

[Paris, Choudens, Père et Fils, Ca. 1866] P1. no. A. C. 6084. Caption-title. First edition. From his Les Troyens (Act2,part2)

n.p.,n.d.

Dédiés à la majesté Nicolas Ier, Empereur de toutes les Russies par Hector Berlioz. Op. 14 ...Paris, Maurice Schlesinger [1835] At head of title: Episode de la vie d'un artiste. P1. no. M. S. 4208. First edition. Orchestral score. Performed for the first time at the Conservatoire, December 5, 1830. Wotquenne, 7238.

n.p.,n.d.

Fragment of manuscript. Dresden, May 1, 1854. 1 leaf (1 page) 19 x 12 cm. Inserted in the first edition of Adolphe Jullien's Hector Berlioz, sa vie et ses oeuvres.

A trois choeurs par Hector Berlioz. Op. 22. Partition pour chant et piano réduite par C. A. Barry. Paris, Brandus, 1885. P1. no. S.L.W. & Co., 2246 (on p. [1] only). First edition.

Fragment of original manuscript. [1861] 1 leaf (2 pages) 261/2 x 35 cm. Double choir with organ. Recto, five bars-""Tous chantons devant l'avenir immense. Le grand hymne de notre liber[té]"" replacing canceled text, ""Nous chantons sur la terre sainte cet hymne à la fraterni[té]"" Verso five bars-""Salut à toi France héroique sa héritière de Rome antique..."" In a letter to his son, February 14, 1861, Berlioz said that he intended to finish this choral on the text of J. F. Vaudin. It does not seem to have been performed at the meeting of the French and English ""orphéonistes"" for which it was written. This meeting was the beginning of the ""Internationale.""

Opéra en cinq actes avec un prologue. Paroles et musique de Hector Berlioz ...Représenté pour la Ire fois au Théâtre Lyrique Impérial sous la Direction de Mr. Carvalho. Edition conforme à la représentation. Paris, Choudens [1863] P1. no. A. C. 988. At head of title: Deuxiême panic des Troyens... Piano and vocal score. The first published edition, of which very few copies are known, with two cuts.

n.p, n.d.

Tirée de l'opéra Les Troyens à Carthage, Arrangée pour orchestre seul. Choudens. (with composer's inscription.)

Poëme lyrique en 2 parties. Paroles et musique de Hector Berlioz ...Partition de piano et chant arrangée par l'auteur. La prise de Troie, Ire partie; Les Troyens à Carthage, 2me partie. Paris, Choudens [Ca. 1864] Pl. nos. 987-988. This includes the two operas La prise de Troie and Les Troyens à Carthage, with separate title-pages. First published edition of the former and first published edition, second issue of the latter, with three cuts and other alterations in the music. Pages 45-50 of Les Troyens à Carthage are missing and have been replaced with a manuscript copy. Presented for the first time at Paris, November 4, 1863. Wotquenne, 2597.

Andromaque au tombeau d'Hector. Scène de La prise de Troie [par] Hector Berlioz. Paris, Choudens, Père et Fils [ca. 1866] Pl. no. A. C. 5849. Caption-title. Orchestral score.

Opéra en quatre actes. Paroles de Victor Hugo. Musique de Mlle. Louise Bertin avec accompagnement de piano par F. Listz [sic] ...Paris, E. Troupenas [1837] Pl. no. T. 412. First edition. Inscribed by the composer. The adaptation of the libretto was made by Victor Hugo from his novel Notre Dame de Paris. This is the only operatic work of which Liszt made a piano and vocal arrangement. Berlioz is thought to have had a large share in its composition.

Opéra comique en un acte de ...[MM.] Varner et Dupin. Mis en musique par le Chevalier Berton ...Représenté sur le Théâtre Royal de l'Opéra Comique le 9, Juillet, 1827 ...Paris, C. Heu [1827] P1. no. 500. First edition. Orchestral score.

Bertoni, Ferdinando. Recitativo ed Aria, Lucca, 1780. Full score in manuscript.

A musical drama in three acts, as performed at the Theatre Royal, Covent Garden. Composed, selected, and arranged by Henry R. Bishop ... The poetry by D. Terry, Esq. London, Goulding, D'Almaine, Potter [1820] First edition. Piano and vocal score. [The bloom is on the rye. See My pretty Jane.]

Composed & arranged for the pianoforte or harp, by H. R. Bishop. London, Printed & published for the author by L. Lavenu [1809] First edition. In a preface, dated April 8, 1809, Bishop explains that the night following the first production of the Circassian bride, the theatre was destroyed by fire and the original music destroyed. He says: ""The whole of the music, here published is revised solely from the power of recollection and I flatter myself if not exactly according to the original copy. . . it is rather improved than otherwise.'

An opera in three acts as performed at the Theatre Royal, Covent Garden. Composed by Henry R. Bishop . . . London, Goulding, D'Almaine, Potter [ca. 1823] First edition, first issue. Inscribed to Mastr. Longhurst by the composer. John Howard Paine's famous and universally treasured ""Home Sweet Home"" was published here for the first time. He is not credited with the authorship.

Original manuscript signed. 207 leaves (title-page, 406 pages) 24 X 3O1/2 cm. The complete score of the oratorio which, according to Grove, has never been performed. The manuscript has a printed title-page.

As performed at the Theatre Royal, Covent Garden, composed & arranged for the piano forte by Thos. Attwood and Henry R. Bishop. . . London, Goulding, D'Almaine, Potter [1816] At head of title: The overture, songs, duets, glees & choruses in the musical play of. First edition. The first operatic setting of a novel by Sir Walter Scott.

The poetry by C. C. Clarke. Composed and dedicated to Miss Clara Novello by Henry R. Bishop, April, 1834. Original manuscript, signed twice. 4 leaves (title-page, as above, 6 pages music and text) 30 x 24 cm. Clara Novello (1818-1908) English singer was the daughter of Vincent Novello, founder of the music-publishing firm of Novello & Company.

The words by Thomas Bayly, Esq. . . . London, Goulding, D'Almaine, Potter [1822] First edition.

Composed and arranged by Henry R. Bishop. London, n.d.. 4 leaves, 5 p.

Manuscript with the title: ""The bloom is on the rye,"" signed. ca. 1830. Score for small orchestra and voice. 1 leaf (2 pages) 301/2 x 241/2 cm. S. J. Adair Fitzgerald, in his Stories of famous songs, gives a detailed and amusing account of the story behind this ""most profitable song ever issued."" The words are by Edward Fitz-Ball.

Opera in three acts, performed at the Theatre Royal, Covent Garden. Composed and arranged for the voice & piano forte by Henry R. Bishop. . . With selections from Zingarelli, Boieldieu and Rossini. . . London, Goulding, D'Almaine [ca. 1824] First edition. inscribed to Miss Paton by the composer.

Drame en 3 actes de Alphonse Daudet, musique de Georges Bizet. Partition chant & piano. . . Paris, Choudens [1872] P1. no. A. C. L 2484. First edition. Presented for the first time at Paris, October 1, 1872. In his L'Arlésienne and Carmen, Bizet produced two works which contributed abundantly to the purification of the musical atmosphere in France and to the health of the lyric theater.

Drame en 3 actes de Alphonse Daudet, musique de Georges Bizet. Partition chant & piano transcrite par l'auteur. Paris, Choudens Père & Fils [1872] P1. no. A. C. 2484. Second edition. With changes in score. Wotquenne, 2605.

Opéra comique en 4 actes. Tiré de la nouvelle de Prosper Mérimée. Poéme de H. Meilhac et L. Halévy. Musique de Georges Bizet. Partition chant et piano arrangée par l'auteur. Paris, Choudens Père et Fils [1875] P1. no. A. C. 3082. First edition. At foot of p. [iii]: Paris, Imp: Aròuy, rue du Delta, 26. The first edition published as an opéra-comique has spoken dialogue. In the second edition the dialogue was replaced by twenty-six pages of recitatives composed by Ernest Guiraud. Bizet died within three months of the first performance. Presented for the first time at Paris, March 3, 1875.

Opéra en quatre actes. Tiré de la nouvelle de Prosper Mérimée. Poëme de H. Meilhac & L. Halévy. Musique de Georges Bizet. Partition chant et piano transcrite par l'auteur. Paris, Choudens Fils [1875] P1. no. A. C. 3082. Second edition. At foot of p. 363: Paris, Imp. E. Dupré, rue du Delta, 26. Wotquenne, 2606.

Opéra en 4 actes. Tiré de la nouvelle de Prosper Mérimée. Poéme de H. Meilhac et L. Halévy. Musique de Georges Bizet. Partition chant et piano arrangée par l'auteur. Paris, Choudens Père et Fils [1877] P1. no. A. C. 3554 At head of title: Paroles italiennes de A. de Lauzières, à Jules Pasdeloup, paroles alles allemandes de D. Louis. First edition with Italian and German text. Inscribed by the publishers to Mme. Galli-Marié and to Myriam Goestchel by Carmen Galli-Marié. Mme. Galli-Marié has written in a French version of the text for a considerable part of the score and has also made profuse notes throughout as to the rendition of the title role.

Opéra comique en 4 actes [par] Georges Bizet. Ballet. Paris, Choudens [1875] P1. no. A. C. 3273. Firstedition. The ballet for the first act of Carmen was issued as a supplement to the first edition of the opera itself.

Opéra comique en un acte de Louis Gallet. Musique de Georges Bizet. Partition chant et piano réduite par I'auteur. Paris, Choudens [ca. 1872] P1. no. A. C. 2380. First edition. This copy belonged to Victor Massé and has his signature on the cover. Presented for the first time at Paris, May 22, 1872. Wotquenne, 2604.

Musique de Georges Bizet. . . Paris, Heugel [1867] P1.nos. H 3366, H 3367(2), H 3369, H 3370, H 3368(1), H 3371. Firstedition. Inscribed to Marie Bronthe by the composer. Contents: ""A une fleur,"" Alfred de Musset; ""Adieux à Suzon,"" Alfred de Musset; ""Sonnet,"" Ronsard; ""Guitare,"" Victor Hugo; ""Rose d'amour,"" Millevoye; ""Le grillon,"" Lamartine. Piano and vocal score. Wotquenne, 233.

Paris, Choudens [ca. 1872] P1. no. A.C. 2486. First edition. inscribed to Victor Massé by the composer. Edition for mezzo-soprano or baritone.

Opéra en 3 actes de M. Carré & Cormon. Musique de Georges Bizet. Partition chant et piano arrangée par l'auteur. . . Paris, Choudens [ca. 1863] P1. no. A.C. 992. First edition. Charles Gounod's copy with his signature. Presented for the first time at Paris, September 30, 1863. Wotquenne, 2602.

Paris, G. Hartmann [ca.1870] P1. no. G. H. 343. First edition. Inscribed to Marie Bronthe by the composer. See also ASCHER, JOSEPH (1829-1869) Mazurka des traineaux; GALSWORTHY, JOHN (1867-1933) Carmen; GOUNOD, CHARLES FRANCOIS (1818-1893) La nonne sanglante; MASSE, FELIX MARIE (1822-1884) Le fils du brigadier; REYER, ERNEST (1823-1909) La statue.

A work of many compositions, for one, two, three and four voices with several accompagnements of instrumental musick and a Library thorow-bass to each song: figur'd for an organ, harpsichord, or theorboe-lute, by Dr. John Blow. London, Printed by William Pearson, for the author; and -are to be sold at his house and by Henry Playford, 1700. First edition. Inserted at front is a copy of the prospectus, dated 1699, with a receipt at the foot filled in and signed by the composer. Inserted at end is an engraving of Blow's monument in Westminster Abbey. Hirsch, III, 656.

Original manuscript signed. 1683. 14 leaves (27 pages) 201/2 x 32cm. John Blow was one of the first choir boys of the Chapel Royal after the organ and choir were again admitted to the service of the Anglican C0hurch. He became organist of Westminster Abbey at the age of twenty and five years later a Gentleman of the Chapel Royal eventually becoming one of the three organists for this group. Purcell took Blow's place as organist at Westminster Abbey in 1679 but Blow returned to this post after the death of his famous pupil in 1695.

Opéra comique en trois acres. Paroles de Mr. Scribe. Mis en musique et dédié à Son Altesse Royale, Madame Duchesse de Berry par A. Boieldieu. . . Paris, Janet et Cotelle [ca. 1827] P1. no. 2002. First edition. Orchestral score. Presented for the first time at Paris, December 10, 1825. Wotquenne, 1401.

To M. Fournier, n. p., ca. 1827, in which he mentions La dame blanche, his principal work.

To M. Fournier, Paris, November 20, 1833, in which he refers to his uneasiness over the bankruptcy of the Opéra-Comique, the expulsion of Charles X from whom he had received a pension, and his poor health.

To [Joseph August] Roeckel. Paris, May 3, 1830.

Original manuscript with the title ""Premier intention du galop pour l'opéra, no. 16."" Signed. 1834. 1 leaf (1 page) 261/2 x 171/2 cm.

Opera di Arrigo Boito. Rappresentato a! Teatro Comunitativo di Bologna il 4 ottobre 1875. Canto e pianoforte. Riduzione di M. Saladino...Milano, Ricordi [1893] P1. no. 44720. First edition. Inscribed by the composer and by Sir George Henschel, first conductor of the Boston Symphony Orchestra and at the time of the inscription, June 6, 1893, conductor of the London Symphony Concerts. Presented for the first time at Milan, March 5, 1868. Wotquenne, 3192. Inserted is an autograph letter signed [to Paul Milliet] Quinte près Genève, April 19 [no year] in which he mentions ""Mephisto de Liege.""

Riduzione per canto e pianoforte di Ferruccio Calusio.. . Milano, G. Ricordi, c1924. P1. no. 119599. First edition. Inserted is an autograph letter. To the president of the Circolo Sociale di Triento, Milan, December 30, 1899.

An opera as it was perform'd at the Kings Theatre for the Royal Academy. Compos'd by Bononcini. London, I. Walsh and I. Hare [ca. 1721] First edition. The text is by Paolo Antonio Rolli, altered from an earlier libretto by Apostolo Zeno and Pietro Pariati.

[by] Bononcini. London, I. Walsh and Ino & Joseph Hare, 1724. First edition. A manuscript note on the title-page states that the words were written by Grazio Bracciola in 1713, altered by Haym, and set to music by Bononcini. It was first performed at the Royal Academy of Music, April 18, 1724, and had an uninterrupted run of nine nights. The score for the Italian version was by Johann David Heinichen. Wotquenne, 5428.

London, I. Walsh [1722] First edition. Orchestral score.

November the 23rd 1731: Vivace, Andante, Gavotta, Marcha, Sarabanda, Gigna, 1-Menuet, 2-Menuet. A suite of eight movements. Full score and parts for first and second violins and bass. Original manuscript. 10 leaves (title-page as above, 16 pages) 231/2 x 301/4 cm. With Musique pastorale pour le 23 novembre 1730.

An opera as it was perform'd at the Kings Theatre for the Royal Accademy. Compos'd by Mr. Bononcini. London, I. Walsh [1722] First edition. Orchestral score. Text by Paolo Rolli after Zeno. Presented for the first time at London, February 22, 1722. Wotquenne, 5457.

Jour de la naissance de Lady Mary Godolphin: Le triomphe, La marche, Dance de nimphes, Une gigue, V Menuet gay, Menuet doux, La follette, autre Menuet. A suite of eight movements. Full score and parts for first and second violins and bass. Original manuscript. 20 leaves (title-page as above, 3 pages part-titles, 28 pages) 221/2 x 271/2, 231/2 x 301/4 cm. With this is a photograph of the composer's portrait in the Royal College of Music. See also Scarlatti, Alessandro (1660-1725) Thomyris.

The songs done in Italian & English as they are perform'd at ye Queens Theatre. [London] I. Walsh [1710] First edition. Cf. Smith, Bibliography of musical work published by John Walsh, no. 344, p. 106.

As they are perform'd at the Theatre Royall [London] I. Walsh [1706] First edition. The text is by Stampiglia. This opera enjoyed an extraordinary popularity. In England it ran sixty-four nights in four years. Eitner, II, 125; Smith, Bibliography of musical works published by John Walsh, no. 221, p. 70; Wolffheim, II, 1326 (1).

Mélodie pour-mezzo-soprano avec accompagnement de piano. Poésie de Aimé Mauduit. Musique de Charles Bordes . . . Paris, J. Hamelle [1883] Cover-title. Pl. no. J. 2111. First edition. Inscribed to Emmanuel Chabrier by the composer.

Henry VIII de Shakespeare. Traduction de Maurice Bouchor. Choeur mixte sans accompagnement. Mis en musique par Ch. Bordes. . . Paris, E. Baudoux [1895] P1. no. E. B. et Cie. 231. First edition. Inscribed to Paul Soujoud by the composer.

Poésie de Jean Lahor. No. 1. Chanson triste... [Musique de] Charles Bordes. Op: 8. Paris, Bruneau [ca. 1887] P1. no. B. & Cie. 106. First edition. Inscribed to Thérèse Roger by the composer.

Op. 11. Réduction à 4 mains par l'auteur. . . Paris, Lissarrague [ca. 1888] P1. no. A. L. 636 bis. First edition. Inscribed to Mlle. Thérèse Roger, to whom the work is dedicated, by the composer.

Manuscript fragment signed. September 9, 1867. 1 leaf (1 page) 251/4 x 24 cm. This is a sketch for the tavern scene from Borodin's unpublished opera.

Opéra en quatre actes avec prologue. Paroles et -musique de A. Borodine. Réduction pour chant et piano . . . Texte: russe, français et allemand. Traduction française de M. Jules Ruelle, allemande de Mme. Alexandroff . . . Leipzig, M. P. Belaieff, 1889. At head of title: title, etc. in Russian. P1. nos. 119, 120, et al. First edition.

Original manuscript. 20 leaves (40 pages) 301/2 x 24 cm. Bottesini autographs are very rare and this unpublished score of the duetto for violoncello and double bass reflects the technical capacities of two artists (Bottesini and Piatti) who had no rival

A choral drama adapted from the play of Euripides. Englished by Gilbert Murray. Musicked by Rutland Boughton. Original manuscript signed. Finished June 3, 1922. 101 leaves (202 pages including title-page as above) 231/2 x 371/2 cm. Boughton's works reflect an effort to extend the theories of Wagner and at the same time to simplify the operatic idiom to suit popular taste and understanding.

Play by Thomas Hardy. . . Set as a music-drama by Rutland Boughton. London, Joseph Williams [c1926] P1. no. J. W. 16279. First edition. Piano and vocal score. Thomas Hardy's copy with a label reading: ""From the library of Thomas Hardy, O. M. Max Gate"" inside front-cover. Presentation copy from the publisher signed ""Florian Williams, Dec. 1926.""

Poésie de Maurice Maeterlinck. Musique de Nadia Boulanger. Paris, J. Hamelle, c1999 [caption-title] P1. no. J. 6840 H. Inscribed to Mme. Chéreau by the composer.

Paroles de Georges Delaquys. Musique de Nadia Boulanger Paris, J. Hamelle, c1914. P1. no. J. 6812 H. Caption title. inscribed to Mme. Chéreau by the composer.

Poésie de Albert Samain. Musique de Nadia Boulanger. Paris, J. Hamelle, c1914. P1. no. J. 6808 H. Caption title. Inscribed to Mme. Chéreau by the composer.

Danses grecques pour le piano à 4 mains par L. A. Bourgault-Ducoudray. . . Paris, Henry Lemoine [ca. 1890] P1. no. B. D. #. First edition. lnscribed to Mme. E. Turquet by the composer.

Partition chant & piano. Paris, Huegel & Fils [ca. 1883] P1. no. H. 5731. First edition. Inscribed: ""A Monsieur Morel, en souvenir de l'exécution au 22 mai 1894 au succès de laquelle il a grandament contribué par la belle interprétation de rôle du Génie. Son bien devoue et très reconnaissant. Bourgault-Ducoudray.""

Opéra en quatre tableaux. Poème de Louis Gallet. Musique de L. A. Bourgault-Ducoudray. Partition réduite pour chant & piano par Van den Heuvel. . . Paris, Léon Grus, 1892. P1. no. L. G. 4631. First edition. Inscribed to [Victor] Warot by the composer. Presented for the first time at Paris, December 28, 1891. Wotquenne, 2639.

A musical entertainment, as it is perform'd at the Theatre-Royal in Drury-Lane. Compos'd by Dr. Boyce. London, I. Walsh [ca. 1750] First edition. The text is by Moses Mendez. Eitner, II, 163; Wolffheim, II, 1327.

A musical entertainment. As it is perform'd at the Theatre-Royal in Drury Lane. Compos'd by Dr. Boyce. London, I. Walsh [1751] First edition. The text is by Moses Mendez. Wotquenne, 3595.

The original manuscript signed with the caption-title ""Tragische Ouverture."" 28 leaves (56 pages) 35 X 27 cm. Inserted, at the front, is a photograph of the composer with his signature. [See negative microfilm of each page single.] The Tragic overture

Op. 77 . . . Berlin, N. Simrock, 1879. Pl. 110. 8133. First edition. Cf. Geiringer, Brahms. His life and work, New York, 1947.

To an unidentified correspondent, n.p., n.d. Translation: Honored and dear young lady: Tendering you my best thanks for the friendliness with which you keep me in mind, I send you herewith the desired portrait. It has been rather long in coming because I was unwilling to send it without being able to enclose the second picture with which Joachim sends his best regards. I very much hope the summer will again bring you to the Rhine and I shall then have the pleasure of seeing you again. With cordial greetings to you and Miss Leser, Your devoted Joh. Brahms

Op. 45. Leipzig, J. Rieter-Biedermann [ca. 1868-1869] P1. no. 593. First edition. Piano and vocal score. Hirsch, IV, 715; Wotquenne, 747. This is the composer's greatest choral work. It occupied him at intervals for more than ten years. The second movement, originally intended as a part of the projected Symphony in D minor (the later Pianoforte concerto, op. 15) was composed 1857-1859. In the autumn of 1861 Brahms arranged this as a cantata in four movements. The work remained in this preparatory stage for four years. In 1865 he took it up again and by August 1866 had completed movements one, two, three, four, six and seven. The fifth was composed in May 1868.

signed by Clara Schumann, to an unidentified friend, written from Baden-Baden on May 9, 1869, in which reference is made to the performance of Brahms's Requiem at Karlsruhe.

Op. 84. Nos. 1-5. Somerabend [words by] Hans Schmidt. Berlin, N. Simrock, 1882. P1. no. 8295. First edition.

To Fritz Simrock, Rome, April 24, 1881.

Op. 16. Partitur. . . Bonn, N. Simrock [1860] Pl. no. 6129. First edition. Inscribed by the composer: ""Der besten Freundin Clara, Weihnacht, 1860.""

n. p., n. d. Translation: Dear Elise: Fortunately Mother and Christian have been kind enough to write about you-unfortunately not as favorably as I should wish. I hope very much that the news will soon be better and that you will write me so yourself. It

Partitur. . . Berlin, N. Simrock [1869] Pl. no. 7455. First edition. Wotquenne, 7263.

by Hollyer.

Original manuscript signed. 17 leaves (33 pages) 321/2 x 26 cm. The Hungarian Dances are proof of Brahms's versatility as a creative artist. They achieved an unparalleled success. Brahms contrived, while preserving the characteristic melody, harmony, and rhythm of gypsy music, to give it an artistic form which raised it to a higher level.

Wie rafft ich mich auf in der Nacht. Original manuscript. 1864. V. 2 leaves (3 pages) 33 x 251/2 cm. The text is by August, Count of Platen-Hallermund. Brahms probably found the model for this noble song in Schubert's works. It is reminiscent of certain songs for Winterreise such as ""Estarrung"" which expresses a similar mood. ""The opening number of Op. 32, Wie rafft ich mich auf [in der Nacht] is a powerful composition. With its dramatic entry, its tremendous climax, and the wonderful interlocking of the voice and the almost symphonic accompaniment, it rivals the greatest songs of the later Schubert, by whom Brahms is here perceptibly influenced"" (Geiringer, Brahms. His life and work, Oxford, 1947).

Op. 91 ... Berlin, N. Simrock, 1884. P1. no. 8474-8476. First edition. Inscribed by the composer. Inscription reads: ""An Frl. Marie Ruckert In Verehrung des honen Dichters gedenkend. J. Brahms"" The songs are ""Gestillte Sehnsucht"" and ""Geistliches Wiegenlied.""

Portrait of the composer (Weger, Leipzig).

Original manuscript signed. 2 leaves (title-page as above, 1 page) 38 x 28 cm. The gift of Mrs. Bridge.

London, J. Curwen & Sons, 1940. Pl. no. 99094. Inscribed to Archibald Martin Henderson by the composer. Page proofs.

from Walford Davis

Op. 28. [New York] Boosey & Hawkes, c1943. P1. no. H. 15576. Caption-title. First edition. Signed by the composer. Harp or piano and vocal score.

An opera in three acts and a prologue derived from the poem by George Crabbe. Words by Montagu Slater. Music by Benjamin Britten. Op. 33. Vocal score by Erwin Stein. London, New York, Boosey & Hawkes [c1945] P1. no. H. 15730. First edition. Signed by the composer.

Original manuscript signed. 1915. 8 leaves(16 pages) 27x331/2 cm. Score for organ and choir. Words by Margarete Bruch.

Gedicht von Friedrich von Schiller für Chor, vier Solostimmen, Orchester und Orgel. Componirt von Max Bruch. Op. 45...Translated into English by Mrs. Natalia Macfarren. Berlin, N. Sirnrock, 1879. P1. no. 8088. First edition. Inscribed by the composer. Text in English and German.

Original manuscript signed. 2 leaves (1 page) 33 x 251/2 cm. At upper right of p. 1: ""Zum no. 29."" In text: ""Frei 6-Diss. im Durchg., Variat., Hauptsatz a, Inversio b, a ad II, b ad II."" Seven variations on a seven-bar theme.

Ballet en un acte d'après Catulle Mendès. Poème et musique de Alfred Bruneau. Partition piano et chant. Paris, Choudens, ca. 1913. P1. no. A. C. 14,384. First edition. inscribed to Albert Renard by the composer.

Poèmes de Marceline Desbordes-Valmore. Musique de Alfred Bruneau. Paris, Heugel, 1928. P1. nos. 29845-29854. Proof sheets of first edition with composer's corrections throughout.

Poèmes de Henry Bataille, Saint-Georges de Bouhélier et Fernand Gregh. Musique de Alfred Bruneau. Paris, Choudens, c1913. First edition. Inscribed by the composer. Piano and vocal score.

Pièce en quatre actes avec musique tirèe du roman d'Emile Zola par Alfred Bruneau. . . Partition piano et choeur. Paris, Choudens, c1907. P1. no. A. C. 13,657. First edition. inscribed to M. Debuchy by the composer.

Scène lyrique. Poésie de Mr. Ed. Guinand. Musique de A. Bruneau . . .Paris, E. et A. Girod [1881] P1. no. E. & A. G. 5915. First edition. Inscribed to M. Lespette by the composer. Piano and vocal score. Presented for the first time at Paris, October 22,1881.

Opéra en 3 actes. Poème de Paul Milliet & Henri Lavedan. Musique de Alfred Bruneau. Partition piano & chant réduite par l'auteur . . . Paris, Enoch Frères & Costallat [ca. 1887] P1. no. B.P. 4829. First edition. Inscribed to Emmanuel Chabrier by the composer. Presented for the first time at Paris, May, 1887.

Mis en musique par Alfred Bruneau. . . Paris, Choudens [1891] P1. no. A. C. 8775. First edition. Inscribed to Emmanuel Chabrier by the composer.

Drame lyrique en deux actes tiré de la nouvelle d'Emile Zola. Poème et musique de Alfred Bruneau. Partition chant et piano. Paris, Choudens, c1907. P1. no. 13,658. First edition. Inscribed to Marthe Chenal by the composer. Presented for the first time at Monte Carlo, 1907.

Drame Iyrique en quatre actes. Poème de Emile Zola. Musique de Alfred Bruneau. Partition chant et piano. Paris, Choudens, c1901. P1. no. A. C. 11,806. First edition. inscribed to Marthe Chenal by the composer. Presented for the first time at Paris, 1901.

Original manuscript with the title "Penthesilée, poème symphonique avec chant." A fragment of the orchestral score. 1888. 1 leaf (1 page) 27 x 35 cm. Inscribed to Eugene Ysaÿe by the composer.

Conte lyrique en quatre actes et cinq tableaux d'après Emile Zola. Poème et musique de Alfred Bruneau. Partition chant et piano. Réduite par l'auteur. Paris, Choudens, c1916. P1. no. A. C. 14,309. First edition. Inscribed to Mlle. Dolorès de Silvera by the composer. Mlle. de Silvera sang the role of Marguerite in the first performance at the Théâtre National de l'Opéra-Comique, Paris, December 19, 1916.

Drame lyrique en quatre actes et 8 tableaux d'après le roman d'Emile Zola. Poème de Louis Gallet. Musique de Alfred Bruneau. Partition chant et piano transcrite par l'auteur. Paris, Choudens Fils [ca. 1891] P1. no. A. C. 8428. Inscribed to M. Warot by the composer. Presented for the first time at Paris, June 8, 1891. La rêve was widely discussed because of its bold harmonic structure and original style. It introduced a novel note of realism and vigor into French opera. Wotquenne, 2644.

Comédie lyrique en quatre actes et cinq tableaux. Poème de Maurice Donnay .-. . Musique de Alfred Bruneau. Partition chant et piano. Paris, Choudens, c1920. P1. no. A. C. 15,024. First edition. Inscribed to Emile Archaimbaud by the composer. Archaimbaud was one of the two ""Chefs des Choeurs"" at the first performance at the Théâtre National de 1'Opéra-Comique, Paris, December 1, 1920. Inserted is an autograph letter signed. To Emile Archaimbaud. Paris, December 2, 1920. This refers to the first performance of Le roi Candaule and Archaimbaud's part in it.

Transcription for orchestra by Franz Liszt. Original manuscript. Signed by Liszt. 1864. 8 leaves (15 pages) 24 x 331/2 cm. Inscribed to M. Krause by von Büllow.

Original manuscript. Music and text. 1 leaf (1 page) 30 x 141/2 cm. With a note in Burns's handwriting at the head of the manuscript: ""These words are inserted only to shew how the tune goes-they cannot be publ'd.-but the first stanza of the song I have sent, will suit as well."" In full red levant case with manuscript of song by Burns, ""Wap & row.""

An excellent new song. Tune. . . Buy brooms besoms. n. p., 1796 1 leaf (2 pages) 81/2 x 201/2 cm. Mounted in a volume made up of 16 blank leaves. Bookplates of W. Crabbe Angus and John A. Spoor. This election song is the fourth and last of a series written by Robert Burns in connection with the parliamentary contest for the stewardry of Kirkandbright in 1795-1796. It was written in 1796 when the dissolution of Parliament again threw Heron into the turmoil of election. The poet was confined to a sickbed, but could not refrain from penning these lines in support of the recently successful candidates whose second triumph he did not live to enjoy. This copy has additional letters added to the proper names in the handwriting of Robert Burns, which have a special and pathetic interest as having been filled in within a few weeks of his death. (Taken from note on flyleaf.)

Original manuscript. Words only.

Op. 44. Leipzig, Breitkopf & Härtel, c.1915 [caption title] P1. no. B 2346. First edition. This composition is based upon American Indian themes. Busoni visited America five times, 1891-1915.

Tragédie lyrique en trois actes et quatre tableaux dont un prologue. Poème de Anatole France. . . Musique de Henri Busser. Partition chant et piano. Paris, Choudens, c1922. P1. no. A. C. 14,976. First edition. Inscribed to Emile Archaimbaud by the composer. Presented for the first time at Paris, May 10, 1922. Inserted are two autograph letters signed. To Emile Archaimbaud, Paris, February 10, May 12, 1922. These relate to the production of Les noces Corinthiennes.

Original manuscript signed. 1836. 1 leaf (2 pages) 291/2 x 221/2 cm. According to the learned Neopolitan archivist and historian, Francesco Florio, manuscripts of Capotorti are extremely rare. He was born in Malfetta, near Naples, studied at the Conservatorio S. Onofrio, and was chiefly an opera composer. This is reflected in the overture for Saint Anthony's Day. Scored for one flute, two oboes, clarinets, bassoons, horns, trumpets, and strings, it displays less religious spirit and more operatic traits instead.

Chanson hongroise. Paroles et musique de Victor Capoul. Original manuscript signed. Piano and vocal score. 2 leaves (3 pages) 27 x 35 cm. Capoul, the famous French operatic tenor, appears here in an unfamiliar role as a composer. Capoul made his American debut at the Academy of Music, New York City, November 22, 1871, with Christine Nilsson in the first American performance of Mignon.

Opéra comique en 3 actes. Paroles de MM. Scribe et Planard. Musique de Ml. Carafa. Partition réduite avec accompagnement de piano. Der Kerker von Edimburg. Romantische Oper in drei Aufzügen nach dem französischen der Scribe & Planard. Musik von Ml. Carafa, für die deutsche Bühne bearbeitet, von J. D. Anton, vollstaendiger Clavier-Auszug von Joseph Rummel. . . Mainz, B. Schott's Söhnen [1833] P1. no 3914. First edition. The text is based on Sir Walter Scott's Heart of Midlothian.

Original manuscript signed. 1865. 46 leaves (91 pages) 30 x 23 cm. A finely written manuscript whose first page shows the appeal: ""Onorate 'l altissimo poeta."" Born in Würzburg, Germany, of Italian parentage, Casamorata spent most of his life in Florence.

At end of score: ""Cominciato il 13/2 MCMXXVII a Roma-terminato il 2/7 MCMXXVIII a Boston, Mass."" Original manuscript signed. 25 leaves, 47 pages. This was performed for the first time by Joseph Szigeti and the Persymphans in Moscow, October 8, 1928. Casella's new tonal creed finds expression in this composition.

Al celebre violinista Tivadar Nacheèz. Serenata Andalusa per violino e pianoforte d' Alfredo Catalani. Original manuscript signed. 1887. 7 leaves (title, 12 pages) 24 x 35cm. Catalani, well known for his operas Loreley and La Wally, has provided a very effective composition for the violin virtuoso. This is divided into four, melodically different, sections and contains 210 measures. There is a facsimile of the first page of the score in Abbiati's Storia della musica, IV, p. 232.

Paroles de Edmond Rostand. Musique de Emmanuel Chabrier. Paris, Enoch Frères & Costallat [1889] P1. no. E. F. & C.1699. First edition. Inscribed to Rostand by the composer. Piano and vocal score.

Drame en trois actes. Musique de Emmanuel Chabrier. Partition piano et chant réduite par l'auteur. Paris, Enoch, c1897. P1. no. E. & C. 2006. First edition. The text is by Ephraim Mikhael and Catulle Mendès. The first act of Briséis was performed for the first time January 31, 1897, at the Concerts Lamoureux in Paris. Wotquenne, 2663.

An autograph letter to Vincent d'Indy, Paris, February 20, 1890 and ""Notes pour d'Indy"" in Chabrier's handwriting and signed with his initials, Paris, April, 1886.

Rapsodie pour orchestre. Partition d'orchestre.. . Emmanuel Chabrier. Paris, Enoch Frères & Costallat [1883] P1. no. E. F. & C. 891. First edition. Inscribed to Charles Lecocq by the composer.

Opéra en 2 actes et 3 tableaux. Poème de Catulle Mendès. Musique de Emmanuel Chabrier. Partition piano et chant réduite par l'auteur. . . Paris, Enoch Frères & Costallat, 1886. P1. no. E. F. & C. 1212. First edition. Inscribed to Mlle. Kireevski by the composer. Presented for the first time at Brussels, April 10, 1886. Inserted is the original manuscript of a part of the overture (cf. separate entry).

Original manuscript signed. ca. 1885. 1 leaf (2 pages) 27 x 25 cm. This consists of the first fifty bars of the overture. Inserted in the first edition of the piano and vocal score.

Opéra comique en 3 actes. Paroles de Emile de Najac & Paul Burani. Musique de Emmanuel Chabrier. Réduite par M. Auguste Bazille. . . Paris, Enoch Frères & Costallat, 1887. P1. no. E. F. & C. 1348. First edition. Inscribed to M. Léonce Détroyat by the composer. Presented for the first time at Paris, May 8, 1887. Wotquenne, 2662.

Poésie de Rosemonde Gérard. Musique de C. Chaminade. . . No. 3, Basse ou contralto. . . Paris, Enoch Frères & Costallat [ca.1890] P1. no. E. F. & C. 1875. First edition. Inscribed by the composer.

Poésie de Charles Fuster...en sol maj. (ton original)...C. Chaminade. Paris, Enoch, c1909. P1. no. E. & C. 6981. First edition. Inscribed to Suzanne Astruc by the composer.

Op. 10.. . Paris, Durand, Schoenewerk [ca. 1900] P1. no. D. S. & Cie. 2819. First edition. Inscribed to Mme. Albert Schiller by the composer.

Scène dramatique. Poème de M. Auge de Lassus. Musique de Gustave Charpentier.. . Paris, G. Hartmann [ca. 1887] P1. no. G. H. et Cie. 1806. First edition. Inscribed to Emma Calvé by the composer. Piano and vocal score.

Suite pour orchestre par Gustave Charpentier. 1. Sérénade; 2. A la fontaine; 3. A mules; 4. Sur les crines; 5. Napoli . . . Réduction à 4 mains par André Messager . . . Paris, H. Tellier, 1890. P1. no. 1093 (1-5) First edition. Inscribed to Edouard Colonne by the composer.

Roman musical en quatre actes et cinq tableaux de Gustave Charpentier. Partition piano et chant. . . Paris, Heugel, c1900. Pl. no. H. et Cie. 19659. First edition. Inscribed to Mlle. Argens by the composer. The inscription includes a bar of music from the score. Mlle. Argens sang the role of La Plieuse in the first production of the opera at the Théâtre National de l'Opéra-Comique, February 2, 1900.

Symphonie-drame en trois actes et quatre tableux. Poème et musique de Gustave Charpentier. Partition chant et piano. . . Paris, Choudens Fils, c1892. P1. no. A. C. 8922. First edition. Inscribed to André Gresse by the composer.

Original manuscript signed. June 23, 1898. 2 leaves (4 pages) 27 x 361/2 cm. Piano and vocal score. The song is by Albert Jounet.

Opus 37. Original manuscript. 1898. 6 leaves (7 pages) 27 x 351/2 cm. Piano and vocal score. The song is by Charles Cros.

Paroles de Jean Richepin. Les morts. . . Ernest Chausson. Op. 17. Paris, Bruneau [1888} P1. no. B. & Cie. 109. Inscribed to Mlle. Thérèse Roger by the composer. Piano and vocal score.

Mélodie pour une voix avec accompagnement de piano par Ernest Chausson. . . Paris, J. Hamelle [ca. 1882] P1. no. J. 1861 H. First edition. Inscribed to Mme. Pauline Roger by the composer. The words are by Leconte de Lisle.

I. Décidé, II. Sicilienne, III. Grave, IV. Finale. Op. 21 . . . Paris, Librairie de l'art indépendant, 1894. P1. no. A. 1-2. At head of title: Ernest Chausson. First edition. Inscribed to Mlle. Thérèse Roger by the composer. With the separate parts for solo violin, first violin, second violin, violoncello, and alto. Wotquenne, 6468.

(Op. 26) ...[Paris, E. Baudoux, 1896] P1. no. E. B. et Cie. 296. First edition. Inscribed to Sigismond S. Stojowsky by the composer. Contents: Dédicace, Sarabande; Pavane; Forlane.

Op. 1 . . . Paris, Durand, Schoenewerk [1878] P1. no. D. S. et Cie. 2624. First edition. Inscribed to Mlle. Adolphi by the composer. [Acid free copy available to use for photocopying.]

Chanson grecque dans le mode phrygien pour une voix avec accompagnement de piano par Ernest Chausson. . . Paris, J. Hamelle [1882] Pl. no. J. 1862 H. Inscribed to Mme. Pauline Roger by the composer. The words are by L. Ackermann.

Drame en trois actes en vers de Maurice Bouchor. Musique de Ernest Chausson. Op. 22. Représenté pour Ia premiere fois le 25 janvier 1892 à Paris sur le Petit Théâtre. Partition chant et piano. Paris, Ph. Maquet [ca 1892] P1. no. Ph. M. & Cie. 13,370. First edition. Inscribed to Mlle. Roger by the composer.

. . Paris, J. Hamelle [1882] P1. no. J. 1960 H. First edition. Inscribed to Emmanuel Chabrier by the composer. Contents: ""Nanny"" (Leconte de Lisle), ""Le char