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 charme"" (Armand Silvestre), ""Les papillons"" (Théophile Gautier), ""La dernière feuille"" (Théophile Gautier), ""Sérénade italienne"" (Paul Bourget).

Rondel a deux voix avec accompagnement de piano. Poésie de Tb. de Banville. Musique de Ernest Chausson.. . Paris, J. Hamelle [ca i88z] P1. no. J. 2767 H. Inscribed to Mme. Pauline Roger by the composer.

Pour une voix (élevée) et orchestre. Musique de Ernest Chausson. Op. 19. La fleur des eaux. Interlude. II. La mort de l'amour. Réduction de piano et chant... [Paris, E. Baudoux, ca. 1892] P1. nos. E. B. et Cie. 271-2. First edition. Inscribed to Mlle. Thérèse Roger by the composer.

[A] Poème de l'amour et de la mer. II. La mort de l'amour [caption-title] Original manuscript signed. ca. 1882. 3 leaves (5 pages) 27 x 351/2 cm. Signature of Marie Escudier, one of the founders of La France musicale. [B] Poéme de l'amour et de la mer. Le temps des lilas. Original manuscript signed. ca. 1882. 4 leaves (title-page, 5 pages) 27 x 351/2 cm. Both manuscripts are the final movements in the printed score of Poème de l'amour et de la mer. II. La mort de l'amour. Manuscript [A] has three additional bars at the end. These do not appear in the first printed edition of the score. The text is by Maurice Bouchor.

Op. 20. Partition d'orchestre . . . [Paris] E. Baudoux [1891] P1. no. E. B. et Cie. 338. First edition. Inscribed to Daniel De Lange by the composer.

Poème symphonique pour orchestre de Ernest Chausson. Op. 5. Partition d'orchestre. . . Paris, Le Bailly-O. Bornemann, successr. [1883] Pl. no. O. B. 4057. First edition. Inscribed to Daniel De Lange by the composer.

New York, G. Schirmer [1948] P1. 42028. At head of title: Carlos Chavez. First edition. Inscribed by the composer. Orchestral score. Carlos Chavez has been the conductor of the Mexican Symphony Orchestra since 1928. The composer has used a background of Mexican folk music which under his sound artistry achieves distinction. The Sinfonia de antigona is one of his major works.

Original manuscript, signed. 1933. 15 leaves (30 pages) 311/2 x 41 cm.

Opéra en 3 actes d'Hofman. [sic] Musique de Cherubini. Représenté [sic] dans le Théâtre de la Rue Feydeau. . . 13 mars 1797 Orchestral score. The complete holograph manuscript. 266 leaves (title-page as above, 528 pages) 22 x 29 cm. This manuscript is cle

Opera in III actes, paroles d'Hoffmann musique de Cherubini...Paris, [1797] 388 leaves. Full score.

Original manuscript signed. 2 leaves(3 pages) 181/2 x 24 cm. Text without music. In Cherubini's Messe a trois voix.]

Comédie héroique en trois actes par Mr. Fillette-Lorraux. Représenté pour la premiere fois sur le Théâtre de la Rue Feydeau le 18 juilte 1791. Mise en musique par Mr. Cherubini . . . Paris, H. Naderman [1791] First edition. Signed by Cherubini, Fillette-Lorraux and Naderman. Orchestral score. Eitner, II, 419; Wolffheim, II, 1349; Wotquenne, 1444. With bookplate of Charles Lecocq.

Paris, Magasin du musique [1810] Pl. no. 657. First edition. This mass was composed secretly while Cherubini was in retirement at a French chateau. It is important as the first sacred work of the composer's mature years. Hirsch, IV, 732; Wotquenne, 105. [For] original manuscript of Couplets pour la fête du Roi (cf. separate entry), [see item no. 209.]

A quatre parties en choeur avec accompagnement à grand orchestre par L. Cherubini . . . Paris, L'Auteur et Boieldieu [ca. 1818] Fist edition. Auber's copy with his name on binding. Hirsch, IV, 730; Wotquenne, 109.

Op. 5. . . Paris, Enoch Frères & Costallat. [ca. 1889] P1. no. E. F. & C. 1627. First edition. Inscribed by the composer.

Scherzo based on William Christopher Handy's ""The Saint Louis blues."" New York, Handy Brothers, c1945. Cover-title. First edition, Inscribed for the collection by Mr. Handy.

Opus 26. . . Paris, Maurice Schlesinger [1836] P1. no. M. S. 1929. First edition. The two polonaises are those in C-sharp minor and E-flat minor. [Not inserted] is a manuscript fragment containing a Polish song beginning ""Bardzo raniuchno."" Two sketches for the piano (cf. separate entries) [See item nos. 216, 217.]

Original manuscript. 1 leaf (2 pages) 22 x 181/2 cm. This is a part of the manuscript containing the song beginning: ""Bardzo raniuchno."" [Note: item nos. 216-217 are two sides of the same leaf. The song [216] begins on the recto and ends on the verso. At the end of the verso are the ""sketches"" [216] for the Ecossaises Op. 72 nos. 2 and 3.]

Original manuscript signed. A Polish song beginning: ""Bardzo raniuchno."" 1 leaf (2 pages) 22 x 181/2 cm. [Not] inserted in the first edition of Deux polonaises (Op. 26). [Note: item nos. 216-217 are two sides of the same leaf. The song [216] begins on the recto and ends on the verso. At the end of the verso are the ""sketches"" [216] for the Ecossaises Op. 72 nos. 2 and 3.]

Oeuvre 9 . . Leipzig, Fr. Kistner [ca. 1834] P1 no. 995. First French edition.

Original manuscript. 1 leaf (2 pages) 291/2 x 22 cm. With attestation as to authenticity signed by his son, Paolo Cimarosa. In Cimarosa's II matrimonio segreto.

Rec: vo con aria, Che legge spietata di Domenico Cimarosa, fatta per uso della Signra. D. Costanza Pallante. Original manuscript signed. 1772. 12 leaves (title, 19 pages) 29 x 211/2 cm. This composition, the recitativo containing 20 measures and the aria

Dramma giocoso in due atti ou, Le mariage secret. Opéra comique en deux actes. Musique de Cimarosa, paroles françaises de Moline. . . Paris, Imbault [ca. 1806] P1. no. 738. First edition with French and Italian text. Orchestral score. Italian text is by Giovanni Bertati. Presented for the first time at Vienna, February 7, 1792. Il matrimonio segreto is generally accepted as Cimarosa's greatest work. Eitner, II, p. 448; Wolffheim, II, 1352. [For original manuscript of Ancor per me, ancor per me (cf. separate entry), see item no. 219.]

Coll' accompagnamento di piano forte. Della composizione di Francesco Mirecki, polacco . . . Libro 1, parte 1. Parigi, Carli [ca. 1820] P1. no. 1108. First edition.Wotquenne, 592.

Coll' accompagnamento di piano forte. Della composizione di Francesco Mirecki, polacco . . . Libro 1, parte seconda. Parigi, Carl [ca. 1820] P1. no. 1108. First edition. Wotquenne, 593.

Opera in one act. The words by W. S. Gilbert. The music dedicated to Arthur S. Sullivan by Frederic Clay. . . London, Boosey [1869] Pl. nos. 1-5. First editibn. Composer's signature on title-page. Piano and vocal score.

Vol. I (Vol. II),London, Clementi, Banger, Collard, Davis & Collard [ca. 1817] First edition. These imperishable studies have remained the foundation of all piano technique. With good reason, Clementi has been called the father of modem piano playing.

Original manuscript signed. 4 leaves (6pages) 32 x 231/2 cm.

A phantasy for orchestra by Eric Coates. . . London, Chappell [1929] Pl. no. 29189. Fist edition. Inscribed by the composer.

Cohen, Frieda Pauline. 2 pages (1 leaf).

(Op. 30) . . . London, Novello, c1900. Pl. nos. 8285, 8299, 8305. At head of title: Novello's original octavo edition. Composer's signature on front cover. [Inserted are two photos.].

In score, manuscript copy.

Original manuscript signed. 1857. 16 leaves (title-page, 29 pages) 171/2 x 211/2 cm. An extraordinary manuscript by the composer of Der barbier von Bagdad. Text only.

Original manuscript signed. 1938. 8 leaves (11 pages) 231/2 x 311/2 cm. At the end is a sketch of ""Chiaroscuro"" (3 pages).

Original manuscript of the orchestral score. Signed. 1940. 9 leaves (17 pages) 271/2 x 341/2 cm.

Cowell, Henry. 1 page.

Mimiograph with miscellaneous annotations.

Cowell, Henry. 1925. 3 leaves.

4 poèmes d'Albert Samain pour chants & orchestre. Musique de Jean Cras. Recueil chant & piano . . . Paris, A. Durand & Fils, c1912. P1. nos. D. & F. 8540-8543. First edition. Inscribed to Mlle. Suzanne Astruc by the composer. Contents:

by Bainbridge Crist . . . after the poem ""Senlin"" by Conrad Aiken. . . Partitur for symphony orchestra. The original manuscript signed, ca. 1933. 36 leaves (30 pages) 27 x 341/2 cm. Title-page, etc. in the composer's handwriting. This was performed for the first time on March 22, 1933, by the West Roxbury Sinfonietta with the composer conducting.

Anthem with organ accompaniment. Original manuscript signed. ca. 1730. 12 leaves (24 pages) 30 x 24 cm. With note on page 1, ""This is Dr. Croft's original score. J. Alcock, 1730."" From the collection of Thomas William Taphouse with his signature. Dr. Croft was famous both as an organist and composer. He was organist of Westminster Abbey and composer to the Chapel Royal. For the latter he wrote many of these noble anthems which have gained him so distinguished a place among English church composers.

Comédie lyrique en trois actes. Poème de Jean Richepin. Musique de César Cui. Partition chant et piano. . . Paris, Heugel, c1893. P1. no. H. et Cie. 7870. First edition. Inscribed to M. Thierry by the omposer and by the author. The inscription includes two bars of music from the score.

Mis en musique par César Cui. Op. 44. Paris, Henri Heugel [1892] P1. no. H. 6814. Inscribed to Madame Mathilde Colonne by the composer. Piano and vocal score.

Oeuvre 765. Original manuscript signed. 1 leaf (2 pages) 24 x 32 cm.

Opéra-comique en 1 acte d'aprés Regnard par J. Prével et R. de Bonnières. Musique de Vincent d'Indy. Partition piano et chant. Paris, Enoch Frères & Costallat [ca. 1882] Pl. no. E. F. & C. 607. First edition. Inscribed to Mme. Enoch by the composer. Presented for the first time at Paris, February 11, 1882.

Légende dramatique en un prologue et sept tableaux. Ouvrage couronné au Concours musical de la Ville de Paris, 1885. Poëme et musique de Vincent d'Indy. Op. 18. Version allemande de F. Clemar. Exécuté pour la première fois à Paris le 28 janvier 1886 sous la direction de M. Charles Lamoureux. Paris, J. Hamelle [1886] Pl. no. J. 2438 H. First edition. Inscribed to Jules Bordier by the composer.

Paroles de Robert de Bonnières. Musique de Vincent d'Indy. Chant et piano. Paris, J. Hamelle [1879] Pl. no. J. 1950 H. First edition. Inscribed by the composer.

Action musicale en trois actes et un prologue. Poème et musique de Vincent d'Indy. Partition chant et piano, réduite par l'auteur. Paris, Durand et Fils, c1895. Pl. no. D. & F. 4966. First edition. Inscribed to Library G. Vallin by the composer. Presented for the first time at Brussels, March 12, 1897. Wotquenne, 2869.

Paris, A. Durand, c1897. Pl. no. F. & F. 5178. At head of title: Vincent d'Indy. First edition. The composer's copy with full page of notes on verso of front wrapper and throughout the score. [Leaf of manuscript ""Istar. Theme de lied en 3 périodes"" (cf. separate entry).]

Thème de lied en 3 périodes. Manuscript fragment. 1 leaf (1 page) 28 x 141/2 cm. [See first edition of the orchestral score. Item no. 539.]

Paris, Rouart, Lerolle, c1918. Pl. no. R. L. 10142 & Cie. First edition. Inscribed to Mme. de Saint Marceaux by the composer. Piano and vocal score. Presented for the first time at Paris, June 9, 1920.

Comédie lyrique en trois actes et cinq tableaux. Paroles de Xavier de Courville. Musique de Vincent d'Indy [Opus 80] La partition chant et piano. Paris, Heugel [c1927] Pl. no. H. 29,529. First edition. Signatures of composer and author on half-title.

Choeur pour voix de femmes. Opus 32. Original manuscript signed. 1888. 6 leaves (title-page, 9 leaves) 27 x 351/2 cm. Words and music by D'Indy. Inscribed by the composer.

(Op. 57) Partition d'orchestre. Paris, A. Durand & Fils [1904] Pl. no. D. & F. 6338. First edition. Inscribed by the composer. The inscription is dated 1904.

Treize pièces pour le piano. Paris, Alphonse Leduc [1889] Pl. no. A. L. 8766. At head of title: Vincent d'Indy. First edition. Inscribed by the composer. The inscription includes four bars of -music from the score.

Trilogie d'après le poème dramatique de Schiller, par Vincent d'Indy. Op. 12. 3e partie à Camille Benoit. La mort de Wallenstein. Partition d'orchestre. Paris, Durand & Schoenewerk, 1887. P1. no. D. S. 3792. First edition. See also MONTEVERDI, CLAUDIO (1567-1643)

Drame lyrique en 5 actes et 6 tableaux (imité de Shakspeare) Paroles & musique de Marquis d'Ivry. Paris, Léon Langlois [1878] First edition. Inscribed to Adolphe Jullien by the composer. Piano and vocal score. Inserted is a photograph of the composer, signed.

Opera in four acts by Walter Damrosch. Book by W. J. Henderson after the drama by Edmond Rostand. Vocal score arranged by the composer . . . New York, G. Schirmer, c1913. Pl. no. 23691. First edition. Inscribed to the librettist by the composer: ""To Will, the wordmaker from Walter, the musicmaker, and here is wishing us success! Feb. 4, 1913.""

Original manuscript signed. Piano and vocal score. 2 leaves (2 pages) 261/2 x 35 cm.

Hornpipe for a gay dolphin for wood-wind quartet. . . New York, Concord Muscic Publishing Co., 1942 (8p.) 30 cm. inscribed by Composer.

In nostalgic mood for wood-wind quartet (flute, oboe, clarinet, and basson) New York, Concord Music Publishing Co., 1942 (7p.) 30 cm. Inscribed by Composer.

March of the little tumblers for wood-wind quartet . . . New York, Concord Music Publishing Co., 1942 (8p.) 30 cm. Inscribed by Composer.

21 pages. Manuscript.

Bach, Johann Sebastian, 1685-1750. Transcribed by Amedeo de Filippi.

Corelli, Arcangelo, 1653-1713. Trascribed by Amedeo de Filippi.

New York, Concord Music Publishing Co. [1940].

Song with piano accompaniment. The words by Clement Scott. The music by Reginald de Koven.. . Medium voice in F...New York, G. Schirmer [c1889] PL no. 7551. First edition. With the original manuscript of the first draft (cf. separate entry [item no. 249]). De Koven, a facile melodist, composed nineteen comic operas and two grand operas. Robin Hood, into which this well-known song was introduced, was one of the most successful American comic operas.

Original manuscript of the first draft. 2 leaves (3 pages) 261/2 x 341/2 cm. With the first edition of the vocal score.

(Eglogue de S. Mallarmé) [Musique de] Claude Debussy. . . Réduction pour deux pianos . . . Paris, Eugène Fromont [1895] P1. no. E 1094 F. First edition.

To an unidentified correspondent on stationery stamped ""58 Rue Cardinet"" n. d.

Original manuscript signed. 4 leaves (title-page, 4 pages) 27 x 35 cm.

Scene lyrique de E. Guinand. Musique de A. Debussy. . . Paris, Schoenewerk [ca. 1884] P1. no. D. S. & Cie. 3387. First edition. Piano and vocal score.

To an unidentified correspondent, Seville, n. d.

Manuscript fragment. 1 leaf(1 page) 30 x 20 cm. Words and music with many corrections in Debussy's hand.

Original manuscript signed. December 25, 1903. 1 leaf (2 pages) 20 x 26 cm. A naughty little piece.

Drame lyrique en 5 actes et 12 tableaux de Maurice Maeterlinck. Musique de Claude Debussy. Partition pour chant et piano. . . Paris, E. Fromont, c1902. P1. no. E. 1416 F. First edition. Inserted are a program of a performance at the Opéra-Comique in Paris, with Stroesco and Carré in the title roles.

To an unidentified correspondent, ca. 1892. Translation: La demoiselle élue, withheld from Heaven, charges me with thanking you for your sympathy for her, anyhow this Fra Angelico Debussy presses your hand vigorously. Claude Debussy

Drame lyrique en 5 actes et 12 tableaux de Maurice Maeterlinck. Musique de Claude Debussy. Partition d'orchestre.. . Paris, E. Fromont, c1904. Plate no. E. 1418 F. First edition. [For] fragment of manuscript, ""Mais il ton chant son luth"" (cf. separate entry), see item no. 244.

Ballet en 2 actes et 3 tableaux de MM. Ch. Nuitter et Saint-Léon. Musique de Léo Delibes. Partition réduite pour piano. . . Paris, Henri Heugel [ca. 1870] P1. no. H. 7879. First edition. Inscribed to Mlle. Jeanne Gounod by the composer. Presented for the first time at Paris, March 25, 1870. Wotquenne, 8180.

Opérette-bouffe en 1 acte. Paroles de... [MM.] Ad. Jaime et Ph. Gille. Musique de Léo Delibes. Partition chant et piano. . . Paris, G. Brandus et S. Dufour Pl. no. B. et D. 11521. First edition. Inscribed to Mlle. Jeanne Massé by the composer. Presented for the first time at Paris, January 16, 1869.

Opéra en trois actes. Paroles de MM. Edmond Gondinet et Philippe Gille. Musique de Léo Delibes.. . Partition chant et piano... Paris, Heugel et Fils [1880] P1. no. H. 5065. First edition. Inscribed by the composer. Presented for the first time at Paris, March 8, 1880. Wotquenne, 2699.

Opéra en 3 actes. Poëme de MM. Edmond Gondinet & Philippe Gille. Musique de Léo Delibes. Partition chant et piano. . . Paris, Heugel & Fils [1883] P1. no. H. 5683. First edition. Inscribed by the composer. The inscription includes twelve bars from the score. Presented for the first time at Paris, April 14, 1883.Wotquenne, 2700.

Opéra comique en un acte. Paroles de M. Mestépès. Musique de Léo Delibes. Partitions françaises et italiennes. . . Paris, Magasin de Musique du Conservatoire [1857] P1. no. Mme. C. 842. First edition. Inscribed by the composer. Presented for the first time at Paris, October 3, 1857. Wotquenne, 2694.

Opéra-comique en 3 actes et un vers. Poème de Edmond Gondinet. Musique de Léo Delibes. Partition piano et chant. Réduction au piano par A. Bazille. . . Paris, Léon Escudier [1873] P1. no. L. E. 3282. First edition. Inscribed to A. Potel by the composer. Presented for the first time at Paris, May 24, 1873.

Ballet en trois actes et cinq tableaux de MM. Jules Barbier & Mérante. Représenté pour la première fois à Paris sur la scène de l'Opéra, le mercredi 14 juin 1876. Musique de Léo Delibes. Partition piano. . . Paris, Heugel & Cie, 1876. P1. no. H. 6041. First edition, first issue. This copy has the number 10452-6 at the bottom of the ""Personnages"" page. This agrees with the copy deposited in the Bibliothèque Nationale. Presented for the first time at Paris, June 14, 1876. Inserted is a manuscript fragment of nine bars from the ""Valse lente"" in the composer's hand (cf. separate entry).

Ballet en trois actes et cinq tableaux de MM. Jules Barbier & Mérante. Représenté pour la première fois à Paris sur la scene de l'Opéra, le mercredi 14 juin 1876. Musique de Léo Delibes. Partition piano. . . Paris, Henri Heugel, 1876. P1. no. H. 6041. First edition. Inscribed to Mlle. Jeanne Gounod by the composer. The inscription includes four bars of music from the score. This is not the first issue. It has the number 28184-4 at the bottom of the ""Personnages"" leaf (cf. entry for first edition, first issue).

Manuscript fragment signed. 1886. 1 leaf (1 page) 18 x 111/2 cm. Inserted in the first edition, first issue, of the piano and vocal score. [See item no. 256].

I. On hearing the first cuckoo in spring. Beim ersten Kuckucksruf im Frühling. II. Summer night on the river. Sommer-nacht am Flusse. Partitur. . . Tischner & Jagenberg, c1913. P1. no. 248. At head of title: Frederick Delius. First edition.

Original manuscript signed. 1897. 21 leaves (38 pages) 27 x 36 cm.

First complete edition.

A comic opera as it is performed at the Theatre-Royal in Drury Lane. The words by the author of the Maid of the mill; &c. &c. The music by Mr. Dibdin. London, Printed for the author & sold by J. Johnston [1768] The text is by Isaac Bickerstaffe. First edition. Presented for the first time at London, 1768. Wotquenne, 3596.

Written and composed by Mr. Dibdin for his entertainment called the Oddities. London, The author [ca. 1790] First edition. Signed by the composer. Vocal score with score for ""Flute or guittar"" and ""Guittar in F"" at the end.

Original manuscript. 1836. 15 leaves (29 pages) 391/2 x 28 cm. The one-act opera Betly ossia La capanna svizzera was first performed at the Teatro Nuovo in Naples, July 24, 1836. Its libretto used Scribe's Châlet on which Adolphe Adam's most successful one-act opera Le châlet was based. Donizetti enlarged the opera to two acts and this duet was written for the enlarged version. Numerous corrections indicate Donizetti's haste to complete the score for the fall season in Palermo in 1836.

Opéra bouffe en 3 actes. Musique de G. Donizetti avec accompagt. de piano par Th. Labarre. Représenté pour la ler fois, sur la Scène Italienne de Paris le 3 janvier, 1843 . . . Paris, La France Musicale [1843] Pl. no F.M. 260. First edition.

This was written to Tomaso Persico, his financial adviser, from Vienna February 21, 1843. It refers inter alia to Don Pasquale.

Autograph manuscript. Ca. 1843. 1 leaf (2 pages) 35 x 271/2 cm.

Opéra comique en 2 actes. Paroles de Mr. Bayard et St. Georges. Musique de G. Donizetti. . . Paris, Schonenberger [ca. 1840] P1. no. S. 653. First edition. Orchestral score. Presented for the first time at Paris, February 11, 1840.

Jenny Lind's songs in La figlia del reggimento [by Gaetano Donizetti] .. . No. 4. The home of the brave. London, Duff & Hodgson [1847] P1. no. 1227. Jenny Lind's copy.

. . Polka on airs from La fille du régiment [by] Donizetti. London [1847] P1. no. 147. Jenny Lind's copy.

Sung by Jenny Lind in Donizetti's opera, La fille du régiment. London [1847] P1. no. 197. Jenny Lind's copy. Text in French and English.

Piano and vocal score. ca. 1844. Original manuscript signed. sketch for a song. 1 leaf (1 page) 34 x 26 cm.

Opera in due atti del maestro Donizetti . . . Paris, Bernard Latte [1839] P1. no. B. L. 1861. First French edition. Piano and vocal score. Presented for the first time at Milan, March 12, 1832. Text in Italian.

Dramma tragico di Salvadore Cammarano. Musica del. . . G. Donizetti. Per canto con accomp. di piano forte. . . Chiasso, Stamperia di musica l'Euterpe ticinese [ca. 1835] P1. nos. 286-292, 299, 293-296. Presented for the first time at Naples, June 7, 1836.

Melodramma posto in musica dal Maestro Gaetano Donizetti . . . Milano, Gio. Ricordi [1833] P1. nos. 7400-7407, 7410-7413, 7408-7409, 7417-7420, 7414-7416. First edition. Piano and vocal score. Presented for the first time at Milan, December 26, 1833.

This was written to ""Teodoro"" from Vienna [ca. 1844] The composer mentions the Naples performance of some of his operas including Catarina Cornaro and of intrigues against him there.

Opéra comique en un acte en prose. Paroles de M. Auguste Duport. Musique de Mr. Dourlen.. . Paris, Ph. Petit [1818] P1. no. 8.P. First edition. Orchestral score. Presented for the first time at Paris, January 20, 1818. Wolffheim, II, 1387; Wotquenne, 1534.

Original manuscript signed. 10 leaves (17 pages) 33 x 23cm.

Oder: Evangelisches Choral-Buch, worinnen die wahre Melodien/ derer so wohl in denen beeden Marggrafthümern Bayreuth und Onoltzbach/ als auch in der Stadt Nürnberg, deren Gebiete und andern Evangelischen Gemeinen üblichen Kirchen-Lieder, mit aufmerksamste

Scène chorale pour voix d'hommes. Paroles de Pierre Barbier. Musique de Théodore Dubois. Paris, Heugel [ca. 1893] P1. no. H. et Cie. 7508. Caption title. First edition. Inscribed to [Charles] Warot by the composer.

Choeurs, soli et grand orchestre, par Th. Dubois. Original manuscript signed. Roma, 1863. 75 leaves (150 pages consisting of 2 title-pages, 145 music, and 3 blank. A leaf with two pages of music in pencil attached to p. 98 has not been counted in the collation) 37 x 28 cm. Two title-pages in the composer's handwriting, the second as above. The first reads: ""Messe pontificale, Ière version, Inédite dans cette forme"" and inscribed: ""Souvenir affectueux à mon éditeur et ami Mr. Ad. Pérégally. Paris, 16 avril 1894. Th. Dubois.""

Poésie de Armand Silvestre. Musique de Théodore Dubois.. . pour tenor ou soprano. Paris, Alphonse Leduc. Pl. no. A. L. 6848. First edition. Inscribed to Mme. Enoch by the composer.

Pour soil, choeurs et orchestre par Th Dubois. Réduction de piano par l'auteur. . . Paris, Heugel [ca. 1867] P1. no. G.H. 434 (H. et Cie. 7078 on p. [I]) Inscribed to Mlle. Henri Donon-Maigrot by the composer.

par Théodore Dubois. . . Paris, Heugel [c1901] P1. no. H. & Cie. 20404. First edition. Inscribed by the composer.

Scherzo d'après une ballade de Goethe, par Paul Dukas. Partition d'orchestre.. . Paris, A. Durand & Fils [ca. 1897] Pl no. D. & F. 5302. First edition. Inscribed to Mr. L. A. Bourgault-Ducoudray by the composer.

Conte en trois actes. Poème de Maurice Maeterlinck. Musique de Paul Dukas. Partition pour chant et piano réduite par l'auteur. Paris. A. Durand & Fils, c1906. P1. no. D. & F. 6572. First edition.

Poème dansé [de] Paul Dukas. Partition d'orchestre. Paris, A. Durand & Fils [c1911] P1. no. D. & F. 8201. First edition.

Paris, A. Durand & Fils [1902] P1. no. D. & F. 6087. First edition. Inscribed to Paul Poujaud by the composer.

Original manuscript. 31 leaves (title-page, 60 pages) The first eight pages are not in Durante's hand. The manuscript lacks eight pages. Works by Durante were not published, according to Riemann, during the composer's life and the existence of a Stabat Mater remained unknown. It calls for three solo voices (two sopranos and alto) and a two-voice chorus (soprano and alto). The great importance of the manuscript is evident.

[Songs]

Manuscript fragment signed. 111/2 x 81/2 cm. Four bars from the score.

Manuscript signed. 1900. 1 leaf (1 page) 24 x 331/2 cm. The manuscript of the first stanza of ""Songs my mother taught me"" for piano and voice with the Czech text. Inscribed to Blanche Marchesi, the famous singer. This is probably the most popular song composed by Dvorák.

Berlin, N. Simrock, 1894. P1. no. 10238. First edition. Inscribed by the composer.

To [Francesco] Berger of the Philharmonic Society, London, February 18, 1896. Refers to his forthcoming visit to London.

Op. 58...London, Novello [1884] At head of title: Novello's original octavo edition. Signed by Emma Albani, Janet Patey, Edward Lloyd, Charles Santley, J. T. Carrodus, and the composer. Vocal score with Latin text.

(Op. 49)...London, Novello, c1903. Pl. no. 11645. At head of title: Novello's original octavo edition. First produced at the Birmingham Musical Festival, October, 1903. Inscribed by the composer.

Op. 17, 1893.

(Op. 40) Full orchestral score . . . London, c1901. Pl. no. H 3239. First edition. Inscribed to Sir August Manns by the composer.

Edward Elgar. Op. 61. [London] Novello, c1910. P1. no. 13292. Caption title. Inscribed to Eugene Ysaÿe by the composer. Piano and violin score. Stamped ""Proof copy-private.""

Edward Elgar. Op. 6. July 1888. Original manuscript. 3 leaves (6pages) 261/2 x 35 cm.

Urtext edition by Donald Burrows.

Urtext edition by Donald Burrows.

. . . London, Novello, c1911. First edition. Inscribed by the composer.

In F, Op. 34. Composed for the Hereford Music Festival. 1897. London, New York. Inscribed by the Composer. (Edward Elgar)

Arranged for pianoforte by the composer . . London, Novello (c1899) Pl. no. 10815. First edition. Bound with this is the original manuscript signed (cf. separate entry).Elgar was not generally appraised at his true worth until the performance of the ""Enigma"" Variations under Richter in 1899. The nobility of this music is a measure of the composer's appreciation of his great friend and adviser, A. J. Jaeger of the Novello publishing house-the ""Nimrod"" of the composition.

(Arrangement for pianoforte solo). Original manuscript signed. 1899. 34 leaves (47 pages). Bound with the first edition of the score.

Original manuscript signed. 2 leaves (4pages) 27 x 351/2 cm. Inscribed to Mme. Blanche Marchesi, June 24, 1904.

Original manuscript signed. April 23, 1905. 3 leaves (title-page, 4 pages) 261/2 x 351/2 cm. Inscribed to Mlle. Victoire Péridé. The text is from Albert Samain's Jardin de l'Infante.

Paris, Enoch [ca. 1914] P1. no. 6060. At head of title: Georges Enesco. First edition. Contents: 2e Rhapsodie roumaine. Orchestral score.

Original manuscript. 4 leaves (4 pages). Piano and vocal score. The song is by Paul Déroulide.

Poème de Catulle Mendès. Musique de Camille Erlanger. Paris, Société Nouvelle d'Editions Musicales, 1903. P1. no. P. D. 3280. Caption-title. First edition. Inscribed to Mme. Armand Rohrbach by the Library composer. This copy is stamped ""Epreuve.""

Mis en vers par Catulle Mendès. Musique de Camille Erlanger. Illustrations de Pal. . . Paris, Paul Dupont [ca. 1915] First edition. Inscribed to Mme. Chéreau by the composer. Contents: I. ""Aubade"" (Fête), 2. ""Les larmes humaine"" (Tioutchev), 3. ""Printemps"" (Tioutchev), 4. ""Les seuls pleurs"" (Nékrassov), 5. ""L'ange et l'âme"" (Lermontov), 6. ""Fédia"" (Tourguénev). Inserted is a leaf (1 page) with the text of ""Les larmes humaine"" in Erlanger's handwriting.

Drame musical en 4 actes et 5 tableaux d'après Victorien Sardou par André Sardou. Musique de Camille Erlanger. . . Paris, Office Musical, c1912. Pl. no. O. 280 M. First edition. Inscribed to Arthur Bernède by the composer. Piano and vocal score.

Manuscript fragment signed. 1 leaf (1 page) 24 x 181/2 cm. Four bars from the movement ""Tranquillo e misterioso"" for piano and strings.

1823

. . Paris, Rouart, Lerolle, c1910. P1. nos. R. L. & Cie. 9635-9637. At head of title: Manuel de Falla. First edition. Inscribed by the composer. Piano and vocal score.

Drame lyrique en 2 actes et 4 tableaux de Carlos Fernandez-Shaw. Adaptation française de Paul Milliet. Musique de Manuel de Falla. Partition complète pour chant et piano (avec paroles françaises et le texte original espagnol) .. . Paris, Max Eschig, c1913. P1. no. M. E. 400. First edition.

. . . Paris, J. Maho [1883] P1. no. J. 1897 H. First edition. Inscribed by the composer.

Paris, J. Hamelle [ca. 1913] Pl. no. J. 2119 H. First edition. Inscribed by the composer.

. . . Paris, J. Hamelle [ca. 1883] P1. no. J. 2120 H. First edition. Inscribed to Emmanuel Chabrier by the composer.

Poème lyrique en trois actes de René Fauchois. Musique de Gabriel Fauré. Partition chant et piano. . . Paris, Heugel [c1913] Pl. no. H. & Cie 24,214. First edition.

To Massenet, Bologna, October 27, 1878. Refers to Massenet's Le roi de Lahore.

Partition chant & piano... [par Roger Ducasse] Paris, J. Hamelle [1900] P1. no. J. 4531 H. At head of title: Gabriel Fauré. First edition. Inscribed to M. Brancour by the composer.

. . . Concours du Conservatoire de Paris (1910). Paris, J. Hamelle [1910] P1. no. J. 4071 H. First edition. Inscribed to René Brancour by the composer.

For soprano and orchestra. Original manuscript. 9 leaves (17 pages) 30 x 221/2 cm. Fenaroli, a pupil of Durante and subsequently teacher of Cimarosa and Zingarelli at the Conservatorio della Pietà in Naples, wrote chiefly ecclesiastical works. A learned musician and rigid teacher, he established an extraordinary reputation as a theorist and his text book on the art of accompaniment from a figured bass had to be reprinted often. The Qui tollis for soprano and orchestra, two oboes, clarinets, bassoons, horns, strings, and organ in E-flat remained unpublished. It shows, as a typical Neapolitan creation, the influence of the opera in design, character, and detail.

Drame lyrique en quatre actes d'après Henry Bataille. Paroles de Louis Payen. Musique de Henry Février. La partition chant et piano. Paris, Heugel [1932] P1. no. 28649. First edition. Inscribed to M. Cancalon by the composer. Presented for the first time at Paris, April 25, 1932.

Drame lyrique en quatre acres d'après Victorien Sardou. Poème de Henri Cain et Louis Payen. Musique de Henry Février. Partition chant et piano. . . Paris, Heugel [c1919] PL no. H. & Cie. 26,357. First edition. Inscribed to Marthe Chenal by the composer.

Drame lyrique en quatre actes de Maurice Maeterlinck. Musique de Henry Février. Partition piano et chant. Paris, Heugel, C1908. P1. no. H. & Cie. 23494. Inscribed to Mlle. Suzanne Astruc by the composer.

Opéra en 2 acres de Hugues le Roux. Traduction allemande de M.-D. Calvocoressi.. . Paris, Enoch, c1906. P1. no. E. & c. 6013. At head of title: Henri Février. First edition. Inscribed by the composer. Piano and vocal score.

Paris, A. Quinzard [ca. 1910] P1. no. A. Q. & Cie. 961. First edition. Inscribed by the composer.

Composed by John Field. London, Collard & Collard [1834] P1. no. 3598. First edition. Inscribed to Emma Burbige by the composer.

Most humbly dedicated to His Imperial Majesty, the Emperor of Russia by John Field of Petersburgh. . . London, Published for the proprietor of the ""Songs of the boudoir"" by Betts [1835] First edition. Inscribed by the composer.

Original manuscript. 2 leaves (3 pages) 281/2 x 21 cm. Field, an Irish pianist, was a pupil of Clementi. He spent most of his life in Russia, hence his nickname, ""Russian"" Field. His nocturnes, setting the form and style for these pieces, were the models Chopin used in developing his own popular works. This particular composition is the best known of all his nocturnes. Violinists particularly have made it their own. The manuscript came from the collection of Prince Dolgorouki and bears his stamp. It was given to him by Robert Müller, Naples, January 26, 1840, and is so inscribed at the end. Bound with this are a manuscript fragment written by Field, a photograph of his portrait by James Lonsdale, an autograph letter signed from W. H. Grattan Flood to Arthur Hill, November 7, 1925, referring to the portrait, and an autograph letter signed from Field to Fétis, February 8, 1832.

Original manuscript. ca. 1794. 1 leaf (1 page) 28 x 141/2 cm. This was written for Mrs. Alpe of Hardingham Hall near Attleborough, Norfolk. A note signed by Mrs. Alpe written at the head of the score reads: ""Composed by John Field (aged 12 years) afterwards Pianiste to the Emperor of Russia and given to me by him, in the presence of Mr. Clementi, in the year 1795."" Bound with the original manuscript of Field's Nocturne. No. 5.

Original manuscript signed. 1 leaf (1 page) 32 x 24 cm. The first version of this famous lullaby, probably the most popular one ever composed, was erroneously attributed to Mozart and included in Breitkopf & Härtel's edition of Mozart's complete works.

Piano and vocal score of a song without title beginning ""Notte amica."" Original manuscript. 2 leaves (4 pages) 28 x 39 cm. A very rare manuscript of the distinguished archivist, historian, chronicler of Naples' musical institutions, and most intimate friend of V. Bellini. The composition, being in the key b minor, contains 16 bars. The voice part covering the third stanza is written separately and breaks off in the eighth measure. Serious circumstances must have prevented Florimo from writing down the last lines and inserting the title and dedication. Nevertheless the composition as such is complete.

Text nach Hg. von W. Friedrich. Componirt im Jahre 1847. ...F. von Flotow. Original manuscript signed. 336 leaves (title-page, 670 pages) 26 x 331/2 cm. Although Flotow was intended by his father for a diplomatic career, he went to Paris when he was fifte

Inscribed for the collection by Mme. Hempel.

A romantic comic opera in four acts. German words by W. Friedrich (Friedrich Wilhelm Riese) Based on a ballet by J. E. Fernoy de Saint-Georges. Music by Friedrich von Flotow. English version by Edward J. Dent. London, Oxford University Press, 1941. First edition of the libretto. Inscribed for the collection by Edward J. Dent.

Romantische Oper in drei Akten von Gustav zu Putlitz. Musik von F. von Flotow. . . vollst: Klavier Auszug mit Text. . . von F. Brissler. Berlin, Ed. Bote & G. Bock [1853] P1. no. 5. B. & B. 2170-2190. First edition. This opera originated as L'esclave de Camoëns in one act which was first performed at Paris in 1843. It went through several versions until it was first produced in this, the final version, at Vienna, December, 1852.

To ""Mon cher Directeur,"" n. p., n. d. [And postcard.]

Petit choeur (ou duo) à deux voix. Paroles de * * * Musique de César Franck.. . Paris, Enoch Frères & Costallat [ca. 1886] Pl. no. E. F. & C. 1404. First edition. Inscribed by the composer.

Original manuscript'signed. 1864. 2 leaves (3 pages) 27 x 351/2 cm. Piano and vocal score.

Traduction allemande de G. Fr. Reiss. Musique de César Franck. Partition chant et piano ...Paris, Brandus [ca. 1870] Pl. no. B. & cie. 12,554. First edition. Inscribed by the composer.

Poème symphonique. Musique de César Franck... Paris, Léon Grus [1882] P1. no. 3814. First edition. Inscribed to Jules Bordier by the composer. Orchestral score. Wotquenne, 7328.

Original manuscript signed. 1 leaf (1 page) 32 x 25 cm. A pencil note on the verso states that this is ""No. 3 in Bach's 371 Vierstimmige Choralgesänge. 3rd edn. B. & H. 'Ach Gott von Himmel.'""

Opéra en quatre actes et un épilogue (légende Scandinave) d'après Bjoernstjerne Bjoernson. Poème et Ch. Grandmougin. Musique de César Franck. Partition chant et piano. . . Paris, Choudens Fils, c1894. P1. no. A. C. 8910. First edition. Original manuscript signed of a Choral (cf. separate entry) [ see item no. 334.]

Poëme symphonique pour orchestre et choeurs [par] César Franck. Réduction pour piano à quatre mains et choeur par l'auteur. . . Paris, Bruneau [1890] P1. no. B. & Cie. 144. First edition. Inscribed by the composer. Wotquenne, 7329.

...Paris, Mme. Maeyens-Couvrier [ca. 1863] P1. nos. JP. 161-166. At head of title: César Franck, ainé. First edition. Inscribed to Ambroise Thomas by the composer. The contents include: (1) ""Fantaisie,"" opus 16; (2) ""Grand pièce symphonique,"" opus 17; (3)

Poème-symphonique de Edouard Blau.. . Partition piano et chant. . . Paris, G. Hartmann [1871] P1. no. G. H. 666. First edition. [Bound with item 638A.]

Eglogue biblique de A. Guillemin. Musique de C. Franck. Partition pour piano & chant. . . Paris, G. Hartmann [ca. 1872] P1. no. G. H. 306. First edition. Inscribed to Jules Bonier by the composer.

. . Paris, J. Hamelle [ca. 1886] P1. no. J. 2634 H. First edition. Inscribed to Léon Regnier Ify the composer.

Original manuscript signed. 2 leaves (2 pages) 261/2 x 351/2 cm. Vocal score with pianoforte and violoncello accompaniment. Words by Alexandre Dumas.

Original manuscript signed. 2 leaves (4pages) 34 x 261/2 cm. Song for soprano with piano accompaniment.

In Fiorenza, Giorgio Marescotti, 1581. First edition. The very rare first edition of Galilei's treatise on music which was originally inspired by a controversy with his teacher, Zarlino. It contains, however, much interesting material but very slightly connected with the controversy with Zarlino, including, for instance, the text and musical notation of the three apocryphal Greek hymns to Apollo, Calliope, and Nemesis, which have since given rise to so much speculation and so many contradictory theories. Vincentio Galilei, the father of the great astronomer, dedicated his work to Giovanni Bardi in whose palace a little group of ""philosophic dilettanti"" used to meet. Brunet, II, 1463; Grove, II, 339; Eitner, IV, 128; Hirsch, I, 200.

An opera in four acts. Taken from the story of Prosper Mérimée, the original libretto by H. Meilhac and L. Halévy. New English version by John and Ada Galsworthy, London, Elkin Mathews and Marrot, 1932. No. 7 of an edition limited to 650 copies, signed by the authors.

[by Baldassare Galuppi] London, I. Walsh [ca. 1755] First edition. Text in Italian. This is a pasticcio by Galuppi, Pergolesi and Minuti.

Manuscript signed. 1862. 13 leaves (26 pages) 26 x 23cm. The manuscript includes the parts for soprano, contralto, tenor, bass, violins I and II, viola, and violoncello.

Opérette en quatre actes de Jaime & Kéroul. Musique de Louis Ganne. Partition chant et piano. Paris, Choudens Fils [c1893] P1. no. A. C. 9240. First edition. Inscribed to M. Popp by the composer. Presented for the first rime at Paris, September 27, 1893.

Opéra-comique en trois actes. Livret de Maurice Vaucaire et Georges Mitchell. Musique de Louis Ganne. Partition complète pour chant et piano . . . Paris, G. Ricordi, c1906. P1. no. 111400. First edition. Inscribed by the composer. Presented for the first time at Monte Carlo, April 14, 1905. Inserted is an autograph letter signed. To an unidentified correspondent, n. n. d.

Ballo di carattere in un atto (Dalla novella ""Dédé"" di S. L. Bensusan). Coregrafia di Carlo Coppi. Musica di Louis Ganne. Riduzione per pianoforte. . . Milano, G. Ricordi, c1903. P1. no. 108750. First edition. Inscribed to Marcel Simond by the composer.

Ballet en 2 actes et 3 tableaux de Auguste Germain. Musique de Louis Ganne. Partition pour piano seul réduite par l'auteur. . . Paris, Enoch, c1897. P1. no. E. & C. 3189. First edition.

To M. Louis Schneider [Paris] May 18 [1905].

Original manuscript signed. 20 mars 1855 1 leaf (1 page) 22 x 281/2 cm. Original manuscript of the music by Adolphe Charles Adam (see item no. 1)

Original manuscript signed. 1808. 21 leaves (42 pages) 28 x 21 cm. This interesting manuscript leads us to one of the sources from which Rossini drew. The overture to Lo sposo in bersaglio displays certain traits commonly associated with Rossini. Generali composed fifty-two operas.

Drame lyrique en 4 actes (dont un prologue) et 5 tableaux. Poème de Jean Richepin. Partition piano et chant réduite par l'auteur . . . Paris, Enoch [c1905] Pl. no. E. & C. 5828. First edition. Inscribed to Mlle. Rayeau by the composer. Presented for the first time at Paris, November 7, 1905.

composed by Edward German. Full score. London, Novello [1893] P1. no. 15618. Inscribed to Joseph Ivimey by the composer.

From German to Ivimey, [London] May 28, 1932.

An opera in three acts by George Gershwin, libretto by Dubose Heyward, lyrics by Dubose Heyward and Ira Gershwin, production directed by Rouben Mamoulian. New York, Random House, 1935. No. 88 of 250 copies. First edition. Signed by George Gershwin, Dubose Heyward, Ira Gershwin, and Rouben Mamoulian.

Piano solo and second piano. New York, Harms (c1924) P1. no. 7206-41 First edition. Inscribed to Templeton Crocker by the composer.

Original manuscript signed. 2 leaves (2 pages) 24 x 30 cm. The poem is by Blake.

Composed by Sigr. Tommaso Giordani . . . London, Printed for the author by Longman & Broderip [ca. 1778] The opera La Fraschetana was a pasticcio by Paisiello, Perez and Anfossi, published in 1777. This aria was sung at the revival of the opera, December 12, 1778.

Composed by Sigr. Giordani. London, Printed for the author and sold by Longman and Broderip [ca. 1778] First edition. Orchestral score. Text in Italian.

Dramma di ambiente storico scritto in quattro quadri da Luigi Illica e musicato da Umberto Giordano. Riduzione per canto e pianoforte di Amintore Galli. Milano, Edoardo Sonzogno, 1896. P1. no. E 929 S. First edition.

Dramma di V. Sardou. Ridotto in tre atti per la scena lirica da Arturo Colautti. Musica di Umberto Giordano. Riduzione per canto e pianoforte.. . Milano, Edoardo Sonzogno [1898] P1. no. E 984 S. First edition.

Dramma in tre atti de Luigi Illica. Musica di Umberto Giordano. Riduzione per canto e pianoforte di Raffaele Deffi Ponti. Milano, Edoardo Sonzogno [1903] P1. no. E 1151 S. First edition. [2 copies. One with French text and signed by composer; one in Italian.]

Op. 83 [par] Alexandre Glazounow. [Paris, 1907] P1. no. 2759. Proof-sheets signed by the composer and with his corrections throughout. Inscribed [in Russian] "To dear Leonide Davidovitch Kreutzer in perpetual ownership from your sincerely devoted, A Glazounoff - July 13/26, 1907.

Arranged for organ. Manuscript fragment signed. 1 leaf (2 pages) 22 x 171/2 cm.

Poème symphonique pour grand orchestre, composé par Alexandre Glazounow. Op. 13. Partition d'orchestre . . . Leipzig, M. P. Belaieff [1888] P1. no. 89. First edition. Composer's signature on title-page. Wotquenne, 7354.

Op. 16. Leipzig, M. P. Belaieff [1889] P1. no. 121. First edition. Inscribed to L. A. Bourgault-Ducoudray by the composer. Inserted is an autograph letter signed. To Alexander Petrovich. Berlin-Wilmersdorff. January 23, 1931. Translation: Dear Alexander Petrovich: I changed temporarily my residence and moved to Berlin. I am listening much to the excellent music-opera and symphonies. Saw the "Golden Rhine" and was delighted by the excellent performance and absence of the mechanical excisions which I dislike so much. During my visit in New York you were so kind and introduced me to Mr. Engel, the representative of the Schirmer's publishing house. Now I take the liberty of asking for your assistance, as it seems to me, Mr. Engel misunderstood me. I sold him my prelude and the fugue in E-Moll for the piano-this was precisely stated in our contract. However, I received a copy of my work in excellent adaptation by Edward Shipper Barnes, for the organ. Would you do me a favour and ask Mr. Engel whether he is going to publish my prelude and the fugue in the original form for the piano keeping the dedication to my friend Leonid Nikolaevich. And if he is going to publish my work, when is he going to do that? I would like very much to have my prelude and the fugue published in the original form for the first time in America. In case Mr. Engel agrees to it, I would like to correct the proof-sheets myself because in Mr. Barnes' printed adaptation several annoying misprints occurred, the list of which I am enclosing herewith. I am very sorry to bother you. Remember me to your wife. Best regards from Olga Nikolaevna. Sincerely yours, A. Glazunoff. The above translation was prepared by Mrs. Maria Volkov.

Two variations. 1.Allegro; 2. Brillante. Original manuscript signed. Ca. 1830. 4 leaves (7 pages) 32 x 221/2 cm. Glinka is regarded as the father of the Russian national school and is best known for his patriotic Russian opera A life for the tsar. The ballet Chao-Kang was composed during his stay in Milan, 1828-1831.

Opera von M. J. Glinka. [caption-title] [St. Petersburg, 1857] Title-page in Russian. Pl. nos. 3730-3757. First edition. Piano and vocal score, overture scored for two pianos. Text in Russian and German. Presented for the first time at St. Petersburg, November 27 (December 9) 1836. Glinka's opera marked the birth of a real school of Russian music and the beginning of the history of Russian opera.

Drame héroique mise en musique par Mr. le Chlier. Gluck. Représenté pour la première fois, par l'Académie Royale de Musique, le 23 septembre 1777 . . . Paris, Bureau du Journal de Musique [1777] First edition. Orchestral score. The libretto is by Philippe Quinault. Eitner, IV, p. 284; Wotquenne, 1595.

London, I. Walsh [1746] First edition. This early work was written at Milan in 1743 when Gluck was completing his studies in harmony there. As a consequence of the success of this and other operas he was invited to London in 1745 to compose other works the Hay-market Theater. At the beginning of the following year Artamene was rewritten and produced there, but without success, Handel declaring that Gluck knew "no more counterpoint than his cook." The original version was never published on the continent or in England so that this is the first edition of the work in any form. Hirsch, IV, 1566; Wotquenne, 5420.

Opéra en trois actes dédiés au Roy par M. le Chevalier Gluck. Représentée pour la premiére fois par 1'Académie Royale de Musique, le Mardi 19, avril 1774 . . . Paris, M. le Marchand [1774] First edition. Orchestral score. The libretto is by Du Roullet after Racine. Eitner, IV, p. 285.

Azione teatrale per musica del Signr. Cav. Christofano Gluck, al servizio delle MM. LL. II. RR. Rappresento in Vienne nell' anno 1764. . . Gravé par Chambon. In Parigi [Duchesne, 1764] First edition. Signed by the composer. Orchestral score. The text is by Calzabigi. Wotquenne (no. 2112) records only copies with Duchesne's imprint. This copy is one of a few on heavy paper issued for the composer's friends. It was printed at the expense of Count Durazzo. There is no such copy in the British Museum and only one other copy can be traced. Here Gluck carried out his new theories, as far as he had perfected them, made his music everywhere subservient to the action of the drama, finished his airs without the stereotyped "de cape," and never sacrificed the true rendering of a dramatic situation for the sake of attracting attention to his own powers as a composer or of affording a popular singer the opportunity of displaying the flexibility of his voice (Grove). Orfeo ed Euridice is of such importance that the history of operatic reform is commonly said to date from its production.

Sung by Mr. Tenducci at the Theatre Royal in Covent Garden. Compos'd by Mr. Gluck. [London] Welcker [ca. 1771] First separate English edition. For string quartet and voice. In the original production this song was sung by Sig. Guadagni and published in the key of C major; on the revival of the opera the part of Orfeo was taken over by Sig. Tenducci and in this edition the key was transposed to D major.

Opéra en trois actes. Mise en musique par Gluck. Les paroles sont de M. Moline. Représentée pour la première fois par l'Académie Royale de Musique, le Mardy, 2 aoust 1774 . . . Paris, Boieldieu [1774] P1. no. 5. First edition with French text. Orchestral score. Inserted between p. 150-151 is a manuscript fragment of the score (cf., separate entry). Added frontispiece - portrait of Gluck by Sichling after Duplessis.

Original manuscript. 1 leaf (2 pages) 201/2 x 291/2 cm. Part of a song beginning: "Delà contends ma voix." Inserted in the first edition with French text of the orchestral score. See also BACH, JOHANN SEBASTIAN (1685-1750) The favourite songs in the opera Orfeo.

Original manuscript signed. 1870. No. 1. The caption includes the title, "3 Fragments poétiques pour piano par Benjamin Godard" and four lines of a poem by Lamartine, beginning "Depuis l'heure charmante." 2 leaves (4 pages) 271/2 35 cm.

Original manuscript signed. 1870. No. 2. The caption includes the title, "3 Fragments poétiques pour piano par Benjamin Godard" and six lines of a poem by Hugo beginning "Elle est jeune et rieuse, et chante sa chanson." 2 leaves (3 pages) 271/2 x 35 cm.

Op. 3 Paris, G. Flaxland [ca. 1870] P1. no. B. G. 3. Inscribed to Félicien David by the composer.

Opéra en quatre actes. Poëme de MM. Léonce Détroyat et Armand Silvestre. Musique de Benjamin Godard. Op. 79. Partition chant et piano . . . Paris, J. Hamelle [1884] Pl. no. J. 2127 H. First edition. Inscribed to Victor Warot by the composer. Warot sang the role of Don Alvar in the first performance at the Théâtre Royal d'Anvers, January 31, 1884.

Op. 2. Paris, G. Flaxland [ca. 1870] P1. no. B. G. 2. First edition. Inscribed to Félicien David by the composer.

Op. 94. . . Paris, J. Hamelle [1887] P1. no. J. 2328 H. First edition. lnscribed to Mathilde Colonne by the composer.

Symphonie dramatique. Ouvrage couronné au concours musical de la Ville de Paris, 1877-1878. Poème de Charles Grandmougin. Musique de Benjamin Godard. Op. 39. Paris, G. Hartmann [ca. 1878] P1. no. G. H. 1073. First edition. Inscribed to Henri de Lapommerouge by the composer. Wotquenne, 7363.

Piano à quatre mains. Original manuscript. 3 leaves (title-page, 5 pages) 261/2 x 35 cm. This is the copy used by the engraver.

Original manuscript sketches for Die Königin von Saba. ca. 1865. Includes both orchestral score and piano arrangement. 50 leaves (91 pages) 261/2 331/2 cm. 23 leaves (41 pages) 33 x 251/2 cm. Presented for the first time at Vienna, March 10, 1875. Ten years later (December 2, 1885) Die Königin von Saba was presented for the first time at the Metropolitan Opera House, with Lilli Lehmann as Sulamith, where it scored the popular triumph of the season (fifteen performances). Opera-goers enjoyed a sensation of a kind which they had not previously experienced.

Manuscript. ca. 1780. 72 leaves (title-page, 143 pages) 231/2 x 30 cm. This contemporary manuscript of the orchestral score has been revised by the composer himself. He has added indications in the margin and one page at the end.

Comédie en deux actes. Représentée à Paris par les Comédiens Italiens. Dédiée à Madame La Ruette. Mise en musique par F. J. Gossec. . . Paris, De la Chevardière [1767] First edition. Orchestral score. The text is by Des Boulmiers. Presented for the first time at Paris, June 20, 1767. Wotquenne, 1604.

Sacred song for baritone or mezzo-soprano. Words by Anita. Music by Ch. Gounod. . . London, Goddard [1873] P1. no. G. & Co. 166. At head of title: No. 1, in C.Inscribed by the composer.

Solo de basse ou contralto. Musique de Ch. Gounod. [Paris] Lebeau [ca. 1875] Text on verso of first leaf, on recto of second leaf. P1. no. N. L. 38. First edition. Inscribed to Mlle. Berthe de Besplas by the composer.

Opéra en quatre actes et cinq tableaux. Poëme de Paul Poirson & Louis Gallet. Musique de Charles Gounod. Partition réduite pour piano et chant par Bazille. Paris, Léon Grus [1877] P1. no. L. G. 3381. First edition.

Opéra comique en deux actes de MM. J. Barbier et M. Carré. Musique de Ch. Gounod. Partition chant et piano. Réduite par Emile Perier. Paris, Choudens [1860] Pl. no. A. C. 738. First edition. Inscribed by the composer. Presented for the first time at the Théâtre de Bade, August 3, 1860. Wotquenne, 2791.

Song. The words translated from the French of Alex. Dumas, fils, by Henry Dulcken, Ph.D. The music composed by Ch. Gounod. London, Novello, Ewer [ca. 1871] Pl. no. 4581. First edition. Inscribed to Georgina Weldon by the composer.

Opéra en cinq actes, représenté pour la Ire fois à Paris, le 19 mars 1859. Paroles de MM. J. Barbier et M. Carré. Musique de Ch. Gounod. Partition grand orchestre. Paris, Choudens [1859] P1. no. A. C. 675. The rare first edition of the full orchestral score. This is copy no. 14 issued to M. Cross. The ballet was published later and copies of the score containing it are later impressions. Wolffheim, II, 1412. This copy was presented to Sir Alexander Campbell Mackenzie by the family of Eaton Faning after the latter's death. Faning's signature appears inside the front cover. [Fragment of the manuscript of the bass solo, "La mot de Valentm' with orchestral accompamment (cf. separate entry) See item no. 397.]

Opéra en cinq actes de . . . Jules Barbier & Michel Carré. Musique de Ch. Gounod. Partition piano & chant arrangée par Leo Delibes... Paris, Choudens [1860] At head of title: 2e édition, avec les récitatifs, 2e édition, ajoutés par l'auteur. Ph. no. A. C. 664. Gounod's own copy with his signature. The score ends on p. 252.

Opéra en 5 actes de J. Barbier et M. Carré. Musique de Ch. Gounod. Partition chant et piano arrangée par Léo Delibes. Paris, Choudens [1861] At head of title: 3e édition avec récitatifs. Pl. nos. A. C. 364, 664. The score ends on p. 245.

Opera en 5 actes de J. Barbier et M. Carré. Musique de Ch. Gounod. Partition chant et piano arrangée par Léo Delibes. Paris, Choudens Père & Fils [1869] P1. no. A. C. 664. With 2 bars from Act III signed by the composer. A note at the head of the cast states that the piano arrangement is by Emile. Périer. This is the fourth edition with recitatives. The score ends on p. 267. On p. 265-267 is the score of "Apothéose.

Choeur des soldats.

La mort de Valentin. Fragment of the manuscript of bass solo with orchestral accompaniment. Inscribed to Raoul Madier de Montzan. 2 leaves (4 pages) 18 x 27 cm. In the first edition of the orchestral score.

Drame en 5 actes et en vers de Jules Barbier. Musique de Ch. Gounod. Partition chant et piano arrangée par Georges Bizet. Paris, E. Gérard et Cie. [1880] Ph. no. C. M. 11348. First edition. Inscribed by the composer.

Chant évangélique. Paroles de A. Porte. Musique de Charles Gounod.. . Paris, Lebeau, ainé [ca. 1876] Ph. nos. N. L. 50, A. G. 1365. First edition. Inscribed to Cte. da Nieuwskeka by the composer. Piano and vocal score. The first leaf following the score of the chant is a: "Choeur ad libitum ajouté par J. Consul," with the plate number A. G. 1365. The second leaf is a "Partie d'orgue ad libitum.

Musique de Ch. Gounod. Texte par Georges Price et Jean Ker Mary.. . Paris, Henry Lemoine [ca. 1883] Inscribed to the composer by both of the authors of the text.

Paris, Choudens [ca. 1879] P1. no. 945. At head of title:1er recueil. First edition. inscribed to Mme. Camille Claude by the composer. "Edition pour mezzo-soprano ou baryton.

Paris, Choudens [ca. 1879] P1. no. A. C. 1803. At head of title: 2me recueil. First edition. "Edition pour mezzo-soprano ou baryton.

Paris, Choudens [ca. 1879] P1. no. A. C. 2483. At head of title: 3me recueil. First edition. "Edition pour soprano ou tenor.

Opéra en 5 actes, tiré du poëme de Frédéric Mistral par Michel Carré. Musique de Ch. Gounod. Partition chant et piano. Paris, Choudens [1864] P1. no. A. C. 1005. First edition, first issue. Mireille was first produced at the Théâtre Lyrique, Paris, on March 19, 1864, when it was in five acts, and a shortened version in three acts followed at the same theater on December 15 of the same year. The first and third editions cover these two productions and show tremendous differences. Midway between these there was a second edition, also showing considerable alterations. Wotquenne, 2793.

Opéra en 5 actes, tiré du poëme de Frédéric Mistral par Michel Carré. Musique de Ch. Gounod. Partition chant et piano. Paris, Choudens [1864] P1. no. A. C. 1005. Second edition. Verso of p. 191 is number 192-200. Cf. note under entry for first edition, first issue.

Opéra en 5 actes, tiré du poëme de Frédéric Mistral par Michel Carré. Musique de Ch. Gounod. Partition chant et piano. Paris, Choudens [1864] Pl. no. 1005. Second edition (variant). Cf. note under entry for first edition, first issue.

Opéra en 5 actes, tiré du poëme de Frédéric Mistral par Michel Carré. Musique de Ch. Gounod. Partition chant et piano. Paris, Choudens [1864] P1. no. A. C. 1005. Third edition. Cf. note under entry for first edition, first issue.

Song (with violoncello obligato). The words from The song of Solomon. The music by Ch. Gounod. London, Goddard [ca. 1873] P1. no. G. & Co. 159. First edition. Inscribed to Georgina Weldon by the composer.

Opéra en cinq actes. Paroles de [MM.] E. Scribe et G. Delavigne. Musique de Charles Gounod. Representé pour Iére fois sur le Théâtre de l'Académie Imple. de Musique, le 18 8bre 1854. Partition piano et chant, arrangée par Georges Bizet. . . Paris, Imp. Jannot, 1854. Pl nos. 0-17 (A-D), 19-23. First edition. Bound with this is another version of the "Ballet-valse" with the same pl. no. 18A.

Opéra en deux actes de MM. Jules Barbier et Michel Carré. Musique de Ch. Gounod. Partition chant et piano, réduite par Hector Salomon. Paris, Choudens [1860] Pl. nos. A. C. 704, 703, and 702. First edition. [2 copies; 1 copy inscribed to Albert Delacourtie] Presented for the first time at Paris, February 18, 1860. Wotquenne, 2790.

Opéra en cinq actes. Paroles de Jules Barbier et Michel Carré. Musique de Ch. Gounod. Partition, piano et chant réduite par H. Salomon. Paris, Henry Lemoine [ca. 1878] P1. no. 8139 H. First edition. Inscribed to Victor Warot by the composer. Presented for the first time at Paris, October 7, 1878. Wotquenne, 2797.

Triologie sacrée. Paroles et musique de Charles Gounod. Partition piano et chant arrangée par Berthold Tours. . . Londres, Novello, Ewer [1882] First edition. Inscribed to Albert Delacourtie by the composer. Wotquenne, 1134. [2 copies; 2nd copy inscribed to Warot]

To A1bert Delacourtie Paris, October 1, 1882.

Grand opéra en 5 actes de MM. Jules Barbier et Michel Carré. Mis en musique . . . par Ch. Gounod. Partition chant et piano arrangée par Georges Bizet. Paris, Choudens [1862] Pl. no. A. C. 880. First edition. Inscribed to Albert Delacourtie by the composer. Presented for the first time at Paris, February 28, 1862. Wotquenne, 2792.

Dernière oeuvre de Ch. Gounod. Transcrit par Henri Büsser. A. Edition choeurs, soli S.C.T.B., accompagnement de piano. . . Paris, Choudens [ca. 1893] P1. no. A. C. 9791. First edition.

Opéra en 5 actes de J. Barbier et M. Carré. Musique de Ch. Gounod. Partition chant et piano, transcrite par Hector Salomon. Paris, Choudens Père & Fils [1873] Pl. no. A. C. 1411. First edition. Inscribed to Mlle. Louise Goudchaux by the composer. The inscription includes, three bars of music. Presented for the first time at Paris, April 27, 1867. Wotquenne, 2794.

Opéra en 5 actes de J. Barbier et M. Carré. Musique de Ch. Gounod. Partition chant & piano. Paris, Choudens [ca. 1873] P1. no. A. C. 1411. Third edition. Inscribed to Camille Bellaigue by the composer. With changes from score of first and second editions.

The words by celebrated French poets, and imitated in English by Henry F. Chorley. Composed by Charles Gounod. London, Cramer, Beale [ca. 1873] Pl. nos. 5369-5374. First edition. Inscribed by the composer.

To "Le Rédacteur en Chief." [London] October 11, 1873. This long letter (4 pages) to the editor of a London newspaper relates to his treatment in England with regard to his rights to copyright protection. Gounod says that he could not even secure the rights to his opera Faust. He considers the law a farce which ruins the authors and protects the publishers.

Paraphrase en Français. Paroles de Mr. l'Abbé Castaing. Musique de Ch. Gounod. Partition grand orchestre. Paris, Choudens, [ca. 1871] P1. no. A. C. 1475. First edition. Inscribed to Georgina Weldon by the composer.

The words by George Wither (1641) (from Sir Roundell Palmer's Book of praise). Composed by Ch. Gounod. London, Novello, Ewer. Pl. no. 4603. First edition. Inscribed by the composer. Fétis, supp., I, p. 410.

Sacred song written by Mrs. C. F. Alexander. The music by Ch. Gounod. London, Novello, Ewer [ca. 1871] Pl. no. 4577. Inscribed to G. Weldon by the composer. A song which has become one of the more familiar hymns in evangelical churches.

A prayer in mezzo-soprano (with harmonium accompaniment ad libitum). The words by Charlotte Elliot. The music composed by Ch. Gounod. London, Goddard [ca. 1873) Pl. no. G. & Co. 119. First edition. Signed by the composer. The Italian text by G. Zaffira has been added in manuscript.

Paroles de H. Lefèvre. Musique de Ch. Gounod. Partition chant et piano. Paris, Choudens [1865] Pl. no. A. C. 1237. First edition. Inscribed to his wife Anna by the composer. Text in French and English. Wotquenne, 1133.

Original manuscript 2 leaves (3 pages) 221/2 x 30 cm. Piano and vocal score. Inscribed to Mlle. Berthe de Besplas by the composer.

Grand opéra en 4 actes de Ad. d'Ennery et Brésil. Musique de Ch. Gounod. Partition chant et piano transcrite par H. Salomon et L. Roques. Paris, Choudens [1881] Pl. no. A. C. 4633. First edition. Inserted is an autograph letter signed. To "Marie Anne." Paris, July 9, 1885.

Tragédie en cinq actes et en vers de Mr. Fr. Ponsard. Musique de Ch. Gounod. Accompag't de piano par A. de Garaudé. Paris, Choudens [1860] P1. no. B. C. 1299. First edition. Inscribed to Albert Delacourtie by the composer. Presented for the first time at Paris, June 18, 1852.

November 23, 1882-November 2, 1887. Paris [et al.] to Alfred Lyttleton of Novello & Co. An important group of thirty-eight letters to his publisher relating to many of his works. Accompanied by a translation of each letter by Dolores van Patten.

Grainger, Percy. April 16, 1922 & Portait postcard.

Der Tod Jesu, in einem Clavier-auszuge herausgegeben von Johann Adam Hiller...Breslau, Gottlieb Löwe, 1785. At head of title: Herrn Carl Heinrich Grauns. First edition. English text to some movements added in manuscript partly from Latrobe and partly from a manuscript in the University of Birmingham Library which gives the words used when this oratorio was performed at the Birmingham Musical Festival. Graun's Der Tod Jeru held to a considerable extent the same position in Germany that Handel's Messiah did in England. It was annually performed in Passion Week. Eitner, IV, p. 347. Wotquenne, 1136.

(ca. 1778)

Comédie en deux actes et en vers, dédiée à son Excellence Mr. le Comte de Creutz. Mise en musique par André Grétry. Représentée pour la première fois par les Comédiens Italiens, le 20 aoust 1768. Paris, Béraux [ca. 1768] First edition. Orchestral score. The text is by Jean François Marmontel. Eitner, IV, 371; Wolffheim, II, 1427; Wotquenne, 1611.

To "Citoyen Ministre," Paris, "3 Pluviôse An. XI," in which Grétry acknowledges and thanks him for the grant of a pension. [Also included are two portrait postcards.]

Comédie en 3 actes en prose et en vers par M. Sedaine. Représentée, pour la première fois, à Paris par les Comédiens Italiens Ordinaires du Roi, le 2 octobre 1784; et à Fontainebleau, devant leurs Majestés, le 25 octobre 1785. Dédiée à Madame Des Entelles. Mise en musique par M. Grétry. Oeuvre XXIV. Paris, Houbaut [ca. 1785] First edition. Orchestral score. The German text has been added in contemporary manuscript. Grétry's most famous opera. Hirsch, II, 353; Wotquenne, 1642.

To M. de Croix, Secrétaire du Roy, à Lille, Paris, April 4, 1789. This refers to the success of his Barbe bleu and Aspasie.

Comédie-ballet en vers et en quatre actes. Représentée devant sa Majesté à Fontainebleau le 9 novembre 1771, et à la Comédie Italienne le 16 décembre 1771, par M. Grétry. Paris, Houbaut [1772] At head of title: Oeuvre VIIe. First edition. Orchestral score. The text is by Jean François Marmontel. Wolffheim, II, 1434; Wotquenne, 1620.

inédites de Grétry à Alexandre Rousselin, 1806-1812.

To an unidentified correspondent, Paris, December 2, 1809.

Op. 34. Klavierauszug zu 2 Händen von Componisten. Original manuscript signed. March 9, 1887. 4 leaves (title-page, 6 pages) 26 x 34 cm.

Opus 53 Leipzig, C. F. Peters [ca. 1875] Pl. no. 7628. First edition. Inscribed by the composer. The contents include "Norsk" and "Det förste möde.

Partitur. Leipzig, C. F. Peters [1876] Pl. no. 7672. First edition.

Cologne, November, 1878.

Robbins miniature orchestra score. New York, Robbins Music Corporation, c1943. First edition. Inscribed for the collection by the composer.

Dix mélodies sur les poèmes de Henry Bataille. 1. Berceuse; 2. Berceuse; 3. Chanson; 4, Songe; 5, Les villages; 6. La maison; 7. Les yeux; 8. Promenade; 9. La vie; 10. L'adieu. Musique de Gabriel Grovlez. Paris, Alphonse Leduc [1906] Pl. no. A. L. 11,327. First edition. Inscribed to Madame Edwards by the composer.

Musique de Gabriel Grovlez. Paris, Société d'Editions "Théâtre-Musique," c1921. Pl. no. S.E.T.M. 7. First edition. Inscribed to "Mary" by the composer.

London, R. Bremer [ca. 1771] First edition. This contains only "Orlando," p. 40-57. Orchestral score.

At foot of recto of first leaf of each signature: Messe del Signore Habermann. Without title-page, caption-title, place, or date [ca. 1750] Fétis, IV, p. 173-174. [Shelved with item no. 833.]

Paris, Heugel, c1897. Pl. no. 18745. First edition. Inscribed by the Composer.

Musique de Reynaldo Hahn. Texte et dessins de Louis Montégut. Avec une preface de Alphonse Daudet. Paris, Quantin [1892] First edition. Inscribed to Charles Gounod by the composer.

Paroles de Jean Racine. Musique de Reynaldo Hahn. Paris, Heugel, 1896. P1. no. H. et Cie. 18,386. First edition. Inscribed to Mlle. Suzette Lemaire by the composer.

Poésie de Mme. Blanchecotte. Musique de Reynaldo Hahn. Paris, Heugel, c1900. Pl. no. H. & Cie. 20364. Caption title. First edition. Inscribed by the composer.

Poésie de Armand Renaud. Musique de Reynaldo Hahn. Paris, Heugel, 1894. Pl. no. H. et Cie. 8047. First edition. Inscribed to Mlle. Suzette [Lemaire] by the composer. The inscription includes three bars from the score.

Poésie de Marceline Desbordes-Valmore. Musique de Reynaldo Hahn. Paris, Heugel, c1908. Pl. no. H. & Cie. 23,906. First edition. Inscribed by the composer.

Poésie de Paul Verlaine. Musique de Reynaldo Hahn. Paris, Heugel, c1894. First edition. Inscribed by the composer.

Poésie de Henri Régnier. Musique de Reynaldo Hahn. Paris, Heugel [c1910] P1. no. H. & Cie. 24,794. First edition. Inscribed to Mlle. Suzanne Lemaire by the composer.

Idylle polynésienne de Pierre Loti. André Alexandre & Georges Hartmann. Musique de Reynaldo Hahn. Paris, Heugel, c1897. Pl. no. H. et Cie. 18767. First edition. Inscribed to Mme. Adèle Meyer by the composer.

Opéra en 3 actes et 5 tableaux d'après la comédie de Shakespeare. Adaptation en vers de Miguel Zamocois. Musique de Reynaldo Hahn. La partition chant et piano. Paris, Heugel [c1935] Pl. no. H. 30898. First edition. Inscribed to Mlle. Thomas by the composer with a separate inscription also to Mlle. Thomas by the librettist.

Original manuscript signed. On front cover in the Composer's handwriting: "A Marcel Proust. Les muses pleurant la mort de Ruskin. R. H. 1902." 10 leaves (17 pages, music) 281/4 x 33 cm. Inscribed to Mlle. Lemaire by the composer.

Opéra en deux actes. Poème de René Fauchois. Musique de Reynaldo Hahn. Partition piano et chant. Paris, Heugel [c1919] Pl. no. H. & Cie. 26550. First edition. Inscribed to Emile Archaimbaud by the composer.

Rondel. Poésie de Theodore de Banville. Musique de Reynaldo Hahn. Paris, Heugel, c1898. P1. no. H. et Cie. 19021. First edition. Inscribed by the composer.

Original manuscript signed "R. H." 2 leaves (2 pages) 27 x 351/2 cm. Voice part.

Original manuscript [ca. 1896] consisting of four parts: Albert Cuyp. 4 leaves (4 pages) Signed "R. H." at end. In folder with title in the composer's handwriting. Paulus Potter. 2 leaves (2 pages) Signed "R. H." at end. In folder with title on front and back in the composer's handwriting. Anton van Dyck. 3 leaves (3 pages) Signed "R. H." at end. In folder with title and inscription signed by the composer. Antoine Watteau. 4 leaves (4 pages) Signed by the composer at the end. In folder with title in the composer's handwriting. The four manuscripts are laid in a folder upon the front-cover of which the composer has written: "A Madame Madeleine Lemaire. Portraits de peintres, d'après la Marcel Proust. Manuscrits originaux pour être reproduits dans le livre de M. P. Reynaldo Hahn." With these manuscripts are the corresponding engraved scores.

Suite de valses. Souvenirs d'Albi et d'ailleurs. Nos. 1-8, 10-12. Original manuscript. 79 leaves (8 title-pages, signed, 138 pages music) 27 x 361/2 cm. Score for two pianos. There is a long explanatory note in the composer's handwriting at the bottom of p. [2.-3.] of No.12, signed "R.H.

Paris, Heugel [1907] P1. no. H. & Cie. 23,327. First corrected proof sheets without Caption. On p. I: "A. M. Louis Diémer, Sonatine en ut majeur, Reynaldo Hahn," opposite p.19: at end of score, "(1907)," and on verso of p. 19: "Une autre épreuve S. V. P., Reynaldo Hahn," with corrections throughout, all in the composer's handwriting.

Original manuscript with the title "Alo. a capriccio." Signed. Dated "Ir fevrier '42." 1 1eaf (1 page) 33 x 25 cm. [In Halévy's Le lazzarone. Item no. 461.] [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Paris. [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Fragment of the manuscript of the orchestral score. 1 leaf (1 page) 27 x 22 cm. Inserted in Halévy's Jaguarita l'Indienne. [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Opera comique. Paris. [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Opéra comique en trois actes. Paroles de MM. De St. Georges et de Leuven. Musique de F. Halévy. Grande partition. Paris, Jules Heinz [1855] P1. no. J. H. 116. At head of title: Als Manuscript verkauft. Presented for the first time at Paris, May 14, 1855. [(Manuscript fragment of L'e'clair (cf. separate entry) [See item no. 459.]] [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Opéra en deux actes. Paroles de Mr. de St. Georges, musique de F. Halévy. Partition avec acct. de piano. Paris, Schlesinger, [1844] Pl. nos. M.S. 4061, M.S. 4057. First edition. Presented for the first time at Paris, March 29, 1844. Wotquenne, 2841. Inserted is an original manuscript, "Allegro a capriccio" (cf. separate entry) [See item no. 459.]. [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Paris. [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Original manuscript signed. 4 leaves (title-page, 6 pages) 24 x 151/2 cm. Piano and vocal score. Words by Mlle. Du Rocher. Inscribed to Madame la Duchesse d'Orléans by the composer. From the library of the Comte de Paris. [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Opéra comique en trois actes. Paroles de MM. E. Scribe et Paul Duport. Musique de F. Halévy. Partition de piano arrangée par H. Potier. Paris, Maurice Schlesinger [1839] Pl. nos. M. S. 2864-2865. First edition. Presented for the first time at Paris, 1839. Wotquenne, 2835. [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

To Camille Pleyel, n. p., n. d. These friendly letters refer to various contemporary artists and composers. [See also HEROLD, Louis JOSEPH FERDINAND (1791-1833) Ludovic. Item no. 506.]

Based on Ferenc Molnar's Liliom (as adapted by Benjamin Glazer) Book and lyrics by Oscar Hammerstein. New York, Alfred A. Knopf, 1946. First edition. Inscribed for the collection by Richard Rodgers and Oscar Hammerstein II. [See also RODGERS, RICHARD (1902-)]

A musical play by Richard Rodgers and Oscar Hammerstein, 2nd. Based on Lynn Riggs' Green grow the lilacs. Book and lyrics by Oscar Hammerstein, 2nd. New York, Random House [1942] First edition. Inscribed for the collection by Richard Rodgers and Oscar Hammerstein II. [See also RODGERS, RICHARD (1902-)]

Original manuscript. ca. 1715. 2 leaves (3 pages) 24 x 30 cm. This is no. 13 from the Thirteen Italian duets.

A mask as it was originally compos'd with the overture, recitativo's, duets & choruses for voices and instruments. Set to musick by Mr. Handel. London, Printed for I. Walsh [1743] First edition. The text is by John Gay. This copy is a variant. The table of contents is printed on the verso of the title-page which is usually blank instead of on a separate leaf.

An opera, as it is perform'd at the Theatre Royal in Covent Garden, compos'd by Mr. Handel. London, I. Walsh [1736] P1. no. 589. First edition. Orchestral score. Hirsch, IV, 1572.

London.

By Anne Clément after C. D.

An opera as it is perform'd at the Theatre Royal in Covent Garden. Compos'd by Mr. Handel. London, I. Walsh [1737] First edition. Orchestral score. Presented for the first time at London, May 18, 1737. Wotquenne, 2131.

An opera as it was perform'd at the Kings Theatre for the Royal Accademy. Compos'd by Mr. Handel. London, Publish'd by the author. Printed and sold by I. Walsh and Ioseph Hare [1723] First edition. Presented for the first time at London, May 25, 1823, according to Loewenberg. Instead of a final chorus, Flavius has a veritable quintet which seems to be the first scenic quintet ever composed.

An opera as it was perform'd at the Kings Theatre for the Royal Accademy. Compos'd by Mr. Handel. London, Publish'd by the author. Printed and sold by I. Walsh and Ino. & Ioseph Hare [1722] First edition. Text in Italian. Presented for the first time at London, December 9, 1721. Wotquenne, 5454.

As it is perfom'd at the Theatre Royal in Covent Garden. The musick by Mr. Handel. London, Printed for John Watts: sold by B. Dod, 1747. First edition of the libretto. Signature of Charles Saunders on title-page.

Composed by Mr. Handel. To which are added his additional alterations. London, Randall & Abell [1767] First edition of the complete score. Inserted, following p. 188, is a leaf of original manuscript (cf. separate entry). Performed publicly for the first time at Neal's Musick Hall, Dublin, April 13, 1742. The first edition of the Messiah, but not containing the complete score, was issued by Walsh in London, ca. 1763. Cf. Schölcher, Life of Handel (London, 1887), p. 272-273. "It is impossible to imagine anything more sublime than the scheme of the work, with its gradual unfolding of the plan of redemption, from the prophecies, becoming more and more definite as the fact of the Nativity is approached, to the ineffable expressiveness of the so-called 'Passion music," the words of which are wholly taken from the Old Testament, and thence to the salvation of mankind through the efficacy of the great Sacrifice" (Oxford). "It was the achievement of a giant inspired - the work of one who, by some extraordinary mental feat, had drawn himself completely out of the world, so that he dwelt - or believed he dwelt - in the pastures of God. What precisely happened was that Handel passed through a superb dream. He was unconscious of the world during that time, unconscious of its press and call; his whole mind was in a trance. He did not leave the house; his man-servant brought him food, and as often as not returned in an hour to the room to find the food untouched, and his master staring into vacancy. When he had completed Part II, with the 'Hallelujah Chorus' his servant found him at the table, tears streaming from his eyes. 'I did think I did see all Heaven before me and the great God himself," he exclaimed. Of a certainty Handel was swept by some influence not of the world during that month - an influence not merely visionary. Never in his life had he experienced the same emotional sense, and he never experienced it again. For twenty-four days he knew those lands reached only by the higher qualities of the soul" (Flower). Hirsch, IV, 774; Wolffheim, II, 1662.

Original manuscript. ca. 1743. 1 leaf (2 pages) 22 x 291/2 cm. This arrangement was made by Handel for his friend, Thomas Lowe, the famous tenor. The text begins: "But who may abide the day of His coming" and ends with the repetition of: "For He is like a refiner's fire." Inserted in Handel's Messiah, London [1767].

F. G. [sic] Handel's Oratorium der Messias nach W. A. Mozart's Bearbeitung. Partitur. Leipzig, Breitkopf und Härtel [1803] First edition of Mozart's arrangement. Köchel, 572; Hirsch, IV, 776; Wotquenne, 1065.

Für die deutsche Händelgesellschaft herausgegeben von Friedrich Chrysander. Hamburg, Strumper, 1892. "Although this work, the crown of oratorial music, will be welcomed everywhere and in every form, and although the documents which prove that it was composed in twenty-four days, certainly justify an imitation [facsimile] of the autograph; yet these considerations alone would not have induced me to undertake the work, had not a previously existing and faulty and unworthy facsimile made it my duty to show Handel's autograph in its true form. "The facsimile alluded to appeared in London: 'published by the Sacred Harmonic Society, Exeter Hall, June 1868." - Preface. Wotquenne, 1064.

London, I. Walsh [ca. 1749] First edition. Cf. Meyers, Handel's Messiah (New York, 1948), p. 180-186. - Inserted is a contemporary printed copy of the text of Messiah.

London, I. Walsh & Ino. & Joseph Hare [ca. 1723] First edition.

Opera rapresentata nel Regio Teatro d'Hay Market. Composta del Sigre. Georgio Fredrico Handel. London, Publisht by the author, printed and sold by Richard Meares...& by Christopher Smith [1720] At head of title: No. 57. First edition. Orchestral score. The text is by Nicola Francesco Haym. The première of Il Radamisto (April 27, 1720) was the greatest triumph Handel had yet obtained. It was the most popular opera of its day. This was the first work of Handel produced under the auspices of the Royal Academy of Music which may partly explain the lavish style of its publication. One of the finest engraved works of the period.

[Serse. See Xerxes.]

An oratorio. Set to musick by Mr. Handel. London, I. Walsh [1757] First edition. Hirsch, IV, 789.

Set for the harpsicord. To which is added two favourite minuets with variations for the harpsicord by Geminiani [Geminiani, Francesco (1687-1762)] London, I. Walsh [ca. 1743] First edition in this form. According to the well-known story, these pieces were composed by Handel when he was out of favor with his patron George I. It was arranged, without the King's knowledge, that Handel and his orchestra should follow the royal barge and perform the new compositions. The King was so enchanted with them that he and the composer were reconciled. Cf. William C. Smith, "The earliest editions of Handel's Water music," Musical quarterly, January 1939, p. 60 et seq. Hirsch, IV, 1608.

As it is performed at the King's Theatre in the Hay-Market, compos'd by Mr. Handel. London, I. Walsh [1738] P1. no. 633. First edition. Xerxes is Handel's only opera with a comic plot. The famous "Largo" occurs on p. 7-8 of this edition. Presented for the first time at London, February 14, 1737.

Complete words and music of 67 great songs from Memphis blues to the present day. Edited by W. C. Handy. With an historical and critical text by Abbe Niles. With pictures by Miguel Covarrubias [New York] Charles Boni [1949] First edition. Inscribed for the collection by Mr. Handy.

Edited by W. C. Handy. New York, Handy Brothers Music Company [c1894] Imprint rubber-stamped on title-page. First edition. Inscribed for the collection by Mr. Handy. The inscription includes two bars of music with the words "I hate to see de ev-nin sun go down" from his epochal "St. Louis Blues" and a note "I can't see these notes, my hand was guided. W. C. Handy." The universally loved composer, William C. Handy, has been a prominent figure in music for over half a century. Affectionately known as the "Father of the Blues," he is an expert performer on the trumpet, a band leader, arranger, and publisher.

(1941)

Original manuscript signed. June 20, 1907. 32 leaves (62 pages) 27 x 361/2 cm. Inserted is a signature of music paper with the following inscription on the front page: "To Gerald Cumberland do I give this sketch of my immortal work, Cleopatra, because he has worried me so much about it that there is no peace for me. As the sketch is valueless he wont be able to sell. Hooray! Anyhow I give it to him, cherishing fond thoughts of him at 'Eastertide' (Ave Jesu!) 1909. Julius Harrison.

Autograph manuscript signed.

Autograph manuscript signed.

Cantata a voce sola, accompagnata col clavicembalo o forte-piano, dal Sigr. Giuseppe Haydn. London, Printed for the author [1791] Signed by the composer.

Les paroles françaises composées et écrites sous la musique p. D.L., par J.Haydn. Oeuvre 107. Bonn,N.Simrock [ca. 1805] Pl.no. 393. Bound with his Ariana a Naxos. [see item no. 489]

Original manuscript signed. 1766. 1 leaf (2 pages) 22 x 35-1/2 cm. [First leaf only of probable two-leaf item as originally written.] For baritone, viola, and bass. The composition has never been published. Eitner, V, p. 63. (First edition of Haydn's Orfeo & Euridice. See item no. 495.]

Dedicated to Mrs. John Hunter. [London] Printed for the author [1792-1793] First edition. Inscribed:"The Gift of the Author to Cecilia Maria Barthélemon." Haydn's signature on title-page. On p. 9 Miss Barthélemon has written: "I heard dear Dr. Haydn, sing this, with peculiar expression-with grateful recollection of his English friends!" Hirsch, III, 799. Bound with the Second sett of Dr. Haydn's VI original canzonettas.

Dedicated to the Right Honble. Lady Charlotte Bertie. London, Corri, Dussek [1795] First edition. Note on front flyleaf: "Cecilia Maria Henslow. I had the great pleasure to hear the famous Doct. Haydn play & sing his beautiful Canzonetts, (in my youth) in my Dear Father's House at Vauxhall. Oh! what a treat it was! The dear good & respected Haydn was often with us-& express'd much pleasure, when my beloved mother took the upper part (with me) of a Duett of Handels (in his fine Opera of Poro)-She had a fine high soprano voice-& had been (when very young) a scholar of the famous Geminiani. Given into my hands by my dear Mother, Fanny H. Henslowe." François Hippolyte Barthélemon was one of Haydn's closest friends in London. The composer enjoyed the Barthélemon home at Vauxhall which was a favorite refuge from the turmoil of the great metropolis. Barthélemon's wife, the former Mary Young, was a niece of Dr. Arne and a well-known operatic soprano. The daughter Cecilia was a singer, pianist, and composer. These two volumes which include the famous "My mother bids me bind my hair," have the closest possible connection with Haydn's life in London. Hirsch, III, 800. Bound with Dr. Haydn's VI original canzonettas.

Partitur. Originalausgabe. Leipzig, Breitkopf & Härtel [1802] 2 V. First edition. Text in German and French. Die Jahreszeiten is not strictly speaking an oratorio. The words are taken from Thomson's poem, translated and altered by Van Swieten. The music was for a long time almost as popular as that of Die Schoepfung. The songs are charming and the storm scene a notable instance of vivid pictorial effect. The first performance took place at the Schwarzenberg Palace, April 24, 1801 and was repeated twice within a week. [Autograph letter signed. To Joseph Weigi, Vienna, January 11, 1794. (this item is missing, as of 08/15/1985)] Translation: Dearest Godchild: When I bore you in my arms after your birth and as I had the pleasure of being your godfather, I implored the Almighty to grant you the most perfect degree of musical talent. My most fervent wish has been fulfilled. Since a very long time I have not heard any music with such enthusiasm as your "La principessa d'Amalfi." It is full of ideas, sublime, full of expression-in short, a masterpiece. I took the warmest part in the great applause they gave you. Do continue, dearest godson, to observe always this genuine style, in order to show the foreigners what Germans are able to do. Keep me, the old boy I am, in your memory. I love you heartily and am, dearest Weigl, your bosom friend and servant. Joseph Haydn. Hirsch, IV, 795; Wotquenne, 1073.

Dramma per musica composto da Giusepe. Haydn. Traduit en vers français. Arrange pour le piano-forte par Gerardin Lacour. Orphée et Euridice. Mis en musique par Joseph Haydn. Paris, Mme. Masson [ca. 1810] First edition. [Original manuscript signed "Divertimento" (cf. separate entry. See item no. 491.) [L'anima del filosofo. See Orfeo & Euridice.]

Vienna, 1800. First edition. The full score, engraved throughout, of Haydn's first and greatest oratorio. This was published by subscription at the expense of the composer himself. The presence of the list of subscribers and Haydn's personal stamp on the title-page indicate that this is a copy of the earliest issue. Presented for the first time at the Schwartzenberg Palace, April 29, 1798. Haydn left London for the last time in 1795, taking with him a libretto which had been written by Lydley after Milton's Paradise lost and originally intended for Handel. In Vienna, Haydn submitted this to Van Swieten who translated it and made numerous changes. It was produced in London, March 28, 1800. Hirsch, IV, 799; Wolffheim, II, 1667.

To an unidentified correspondent, Vienna, September 14, 1799. Translation: My dear Doctor! I regret very much that you did not receive my reply, sent immediately on September 21st, [sic] in which I stated that I could not wait as long as you were thinking of doing in connection with the subscription after having publicly promised to bring out my Creation toward the end of September or at the latest, by the middle of January 1800. In the meantime it is a source of great consolation to me that I am still able to print all the names indicated by you in your good letter, and I shall also include the name of Sir William Parson and the name of the son of the Duke of Leeds. I am extremely sorry to learn of the death of your dear Father. As soon as the opus is finished and printed, I shall not fail to send all the copies and also a small supply besides. I consider myself very fortunate to be able to show the world how much I was, and still am, esteemed in England. I do not deserve such a fine list of subscribers, but I hope that this work will give satisfaction to everybody, especially when it is produced. Dear Doctor, I cannot adequately express all the thanks that I should give you for the trouble that you have taken on my account. May God bless you! I shall always remember your kindness. I only regret that I cannot show my gratitude in kind. I find no suitable words. But enough of this! Whoever knows of your great talent also knows of your fine character. Fortunate indeed is he who can boast of enjoying your precious friendship. In closing, with the expression of my highest regard and esteem, I can only say, my dear Doctor that I am, and always will be Your most humble and devoted servant. Joseph Haydn. Vienna, September 14, 1799. [The above translation was prepared by Dr. Stanley Astredo Smith, Professor of Romance Languages, Emeritus, Stanford University.]

Paris, Naderman; London, Clementi [ca. 1809] First edition. Printed in London. This volume includes a facsimile of Haydn's letter to Mme. Moreau, Vienna, September 1, 1803.

Ilter Teil.Wien, Artaria Comp. [ca. 1781] Pl. no. 24. Bound with his Ariana a Naxos. See also THOMSON, GEORGE (1757-1851) Item nos. 1084-1085.

First draft of the second movement. 12 pages.

Pencil sketch of the first movement of 8 pages.

Second draft of 53 pages.

Manuscript fragment signed. Berlin, August 1850. 1 leaf (1 page) 191/4 x 241/4 cm. The other side of this leaf contains the ""Thème du choeur des sylphes"" by Hector Berlioz.

The original manuscript signed. 1914. 279 leaves (425 pages) 271/2 x 35, 28 x 37cm. With this is the original manuscript of ""Selections from 'The debutante' arranged from the original score by Harold Sanford."" 22 leaves (39 pages) 28 x 37 cm. The work and

A romantic comic opera. Book & lyrics by Harry B. Smith. Music by Victor Herbert. Vocal score. New York, M. Witmark & Sons, c1903. Pl. no. 5976. First edition. Inscribed by the composer. The inscription includes five bars of music from the score.

A lyric opera in one act. Adapted from the French of Decourcelles & Thibaut by Grant Stewart. Music by Victor Herbert. Vocal score. New York, G. Schirmer, c1913. Pl. no. 24218. First edition. Inscribed by the composer. The inscription includes three bars of music from the score. Madeleine was performed for the first time at the Metropolitan Opera House, January 24, 1914, with Mme. Frances Alda in the title role.

A comic opera. Books & lyrics by Henry Blossom. Music by Victor Herbert. Vocal score. New York, M. Witmark & Sons, c1905. Pl. no. 7295. First edition. Inscribed: ""To my friend A de Novellis, the excellent conductor. Victor Herbert, May 1906."" The inscription includes two bars of music from the score.

The book by Joseph D. Redding. The music by Victor Herbert. New York, G. Schirmer, c1911. Pl. no. 22341. First edition. Piano and vocal score. This is copy no. 29 of a special edition of 250 copies printed on Old Stratford paper and signed by the composer and librettist. Presented for the first time at Philadelphia, February 25, 1911.

Inscribed to Lon F. Gottschalk, November 1912. The inscription includes three bars from Natoma.

Opéra comique en 2 actes. Paroles de M. St. Georges. Musique d' Hérold et de F. Halévy. Paris, Maurice Schlesinger [ca. 1833] Pl. nos. 1430, 1429-1 to 1429-14. First edition. Inscribed by Halévy. Piano and vocal score. Presented for the first time at Paris, May 16, 1833. Hérold died January 19, 1833 and this opera was completed by Halévy. Wotquenne, 2019.

Original manuscript signed. 10 leaves (title, 15 pages) 24X 31 cm.

A poem on immortality by Herbert Trench. Set as a dramatic symphony by Joseph Holbrooke (Op. 51) Full score. London, Novello, c1908. First edition. Inscribed by the composer.

Original manuscript signed. 6 leaves (6 pages) 27x32 cm. Piano and voice with flute obbligato. The poem is by Gerald Cumberland.

A music drama in three acts. Poem by T. E. Ellis. Arranged for the full score (Op. 53). London, Boosey [ca. 1914] Pl. no. J.H. 4. At head of title: Joseph Holbrooke. First edition. Inscribed by the composer.

Grand suite no. III. Arranged for string orchestra. Opus 37. Original manuscript signed. 27 leaves (54 pages) 23 x 291/2 cm. Contents: ""Festival"" (""March heroïque""); ""Serenata""; ""Elégie""; ""Introduction & Danse russe."" Inserted is an autograph letter signed, written by the composer to [William] Saunders, April 4, presenting the original manuscript to him. In this letter Holbrooke says, 'I always burn my early MS. [sic]!""

Slavonic dance. Original manuscript signed. 10 leaves (title-page, 18 pages). An arrangement for piano duet.

Original manuscript signed. 1904. 33 leaves (title-page, 63 pages). Composed in 1896-1898. Presented for the first time at Bechstein, December 10, 1903. Inscribed to William Wallace by the composer.

Symphonie dramatique. Poëme et musique par Augusta Holmes. Partition chant & piano. Paris, Choudens Père & Fils [1879] P1. no. A. C. 4878. First edition. Inscribed to Emmanuel Chabrier by the composer.

Opérette en 3 actes de Albert Willemetz, d'après le roman de Pierre Louÿs. Musique de Arthur Honegger. Partition piano et chant. Paris, Francis Salabert, c1930. Pl. no. E. A. S. 6333. First edition. Presented for the first time at Paris, 1930.

Ballet en deux actes. Argument poétique de Gabriel Boissy. Musique de Arthur Honegger. Sur les rythmes de Serge Lifar. La partition piano et chant. Paris, Heugel [1938] Pl. no. H. 31029. First edition. Inscribed to Mlle. Thomas by the composer.

Drame biblique en trois actes. Musique de Arthur Honegger. Paroles de René Morax. Paris, Maurice Senart, c1925. Pl. no. E. M. S. 6718.

Opéra sérieux en trois actes et cinq tableaux. Paroles de René Morax. Paris, Maurice Senart [c1925] Pl. no. E.M.S. 6938. At head of title: Arthur Honegger. First edition. Presented for the first time at Monte Carlo, in 1926.

Origina1 manuscript signed. 2 leaves (4 pages) 27 x 33 cm. A preliminary study. Piano score with text and synopsis for orchestration on the first page.

Psaume dramatique en deux parties de René Morax. Musique de Arthur Honegger. Partition pour chant et piano. Lausanne, Foetisch Frères, c1921. Pl. No. F. 1990 F. First edition. Presented for the first time at Mezières, Switzerland, June 11, 1921.

Paris, Editions de la Sirène, c1922. Pl. no. ED 113 LS. At head of title: Arthur Honegger. Inscribed to M. Carembat by the composer.

Written by Basil Hood. Composed by Arthur Sullivan and Edward German. London, Chappell, 1901. First edition of the libretto.

Autograph ms. signed.

Drame musical en trois actes de Louis Gallet et André Corneau. Musique de Georges Hüe. Partition piano et chant. Paris, Choudens, c1903. Pl. no. A. C. 11,298. First edition. Inscribed to Mlle. de Craponne by the composer. Mlle. de Craponne played the role of Robin.

London, T. Boosey [1828]. Hummel's Piano school was one of the first to advocate a rational method of fingering. Inserted are two autograph letters. Gräz, 17/9/1832; Weimar, 28/9/1832.

Wien, S. A. Steiner [1816] Pl. no. 2500. First edition. Original manuscript of a dance composed about 1830 (cf. separate entry, see item no. 526).

Original manuscript. ca. 1830. 1 leaf (1 page) 33 x 24cm. Concert für das Piano-forte, opus 73. See item no. 525.

Oeuvre 125. Vienne, Tobias Haslinger [1833] Pl. no. T. H. 6551. First edition.

To Sir George Smart, London, ca. April 10, 1833.

Ouvrage périodique et progressif, composé par Jean Nep. Hummel. A Vienne, l'Auteur [182-] Année I, cahiers 1-12 in II parts (8-9 is a double issue) each with its own title-page. Each part signed by the composer.

Theme varie pour le piano forte. Oeuvre 34. no.1 La sentinelle. Offenbach s/M, J. Andre [181]

Dichtung von Adelheid Wette, geb. Humperdinck. Märchenspiel in drei Bildern von Engelbert Humperdinck. Vollständige Orchester-Partitur. Mainz, B. Schott's Söhne, 1894. Pl. no. 25617. First edition. Presented for the first time at Weimar, December 23, 1893. Wotquenne, 2414.

Märchenspiel in drei Bildern von Adeiheid Wette. Musik von Engelbert Humperdinck. Vollständiger Klavierauszug mit Text. Mainz, B. Schott's Söhne, 1894. Pl. no. 25618. First edition.

Komische Oper in drei Aufzugen, frei nach einem Lustpiel des A. Dumas. Klavierauszug mit text von Alfred Brüggemann und Fritz Zech. Leipzig, Max Brockhaus, 1905. Pl. no. M. B. 466. First edition. Inscribed by the composer. The inscription includes two bars of music from the score. Presented for the first time at Berlin, 1905.

Ein deutsches Märchen in drei Akten von Ernst Rosmer. Musik von Engelbert Humperdinck. Einleitung züm III Abt. Leipzig, Max Brockhaus [c1896] P1. no. M. B. 280 III. First edition. Orchestral score. Presented for the first time at New York City, December 28, 1910.

Eine Antwort auf Overbecks Schiffahrt von Werder. Hamburg, Aug. Bohme [n.d.]

Paris, Heugel [c1926] Pl. no. H. 29,263. At head of title: Jacques Ibert. Inscribed to M. Piatigorsky by the composer.

Paris, Alphonse Leduc [c1924] Pl. no. A. L. 12,616.

Reduction de l'orchestre pour piano 4 mains par l'auteur. [Paris] Alphonse Leduc [c1924] Pl. no. A. L. 16,723.

Opéra-comique en quatre actes. Livret de Jean Limozin et André de la Tourrasse. Musique de Jacques Ibert. La partition chant et piano. Paris [1930] Pl. no. H. 30,115. First edition. Inscribed by the composer. Presented for the first time at Paris, January 6, 1930. See also RAVEL, MAURICE JOSEPH (1875-1937) L'éventail de Jeanne.

Original manuscript signed.3 leaves (title-page, 5 pages) 241/2 x 30 cm.

Partitur.Berlin, N. Simrock. c1902. Pl. no. 11686.

New York, Handy Brothers [c1938] First edition. Inscribed for the collection by Mr. Johnson.

London, I. Walsh [ca. 1756] First edition. Text in Italian. The last aria is by Lampugnani [LAMPUGNANI, GIOVANNI BATTISTA (1706-ca. 1772)].

London, I. Walsh [ca. 1755] First edition. Text in Italian. A pasticcio by Jomelli, Fini, Macchari, Resta and Paradies.

Drame lyrique en 4 actes. Paroles de Louis Gallet et Edouard Blau. Musique de Victorin Joncières. Partition chant & piano. Paris, Léon Grus [1885] Cover title. Pl. no. L. G. 4267. First edition. Inscribed to Chabrier by the composer. Presented for the first time at Paris, March 11, 1885. Wotquenne, 2875.

Opéra en 5 actes. Paroles de MM. H. de Bornier et A. Silvestre. Musique de Victorin Joncières. Partition piano et chant. Paris, Léon Grus [ca. 1890] Pl. no. L. G. 5002. At head of title: 2me édition. Inscribed to Em. Chabrier by the composer. Presented for the first time at Paris, May 5, 1876. Wotquenne, 2873.

Opéra en deux actes. Paroles de Jules Barbier. Musique de Victorin Joncières. Partition réduite pour piano et chant par L. Delahaye. Paris, Léon Grus [1878] Pl. no. L. G. 3532. First edition. Inscribed to Chabrier by the composer. Presented for the first time at Paris, December 27, 1878. Wotquenne, 2874.

A Chinese musical comedy. Words by Edward Morton. Lyrics by Harry Greenbank & Adrian Ross. Music by Sidney Jones...London, Keith, Prowse, c1899. Pl. no. K. P. & Co. 1309.

Opéra 176. Paris, E. Troupenas [ca. 1845] Pl. no. E. T. et Cie. 1802. First edition. Inscribed to Zimmermann by the composer.

Ballad. Sung by Miss Clara Bruce. Composed by Nelson Kneass. Louisville, W. C. Peters [c1848] Pl. no. 1138. First edition. The words are by Thomas Dunn English.

Op. 5. Partitur. Mainz, B. Schott's Söhne [1914] At head of title: Ernest Wolfgang Korngold. Pl. no. 29800. First edition. Inscribed to Alexander v. Zemlinsky by the composer.

Op. 2, No. 2 in E-dur. Mainz, B. Schott's Söhne [1911] Pl. no. 29400. At head of title: Erich Wolfgang Korngold. First edition. Inscribed by the composer.

Opéra-comique en 3 actes. Paroles de MM. A. Vanloo et Eug. Leterrier. Musique de P. Lacome. Partition chant et piano. Réduite par l'auteur. Paris, Enoch Frères & Costallat [1880] Pl. no. E. F. & C. 487. First edition. Inscribed by the composer.

Opéra-comique en 3 actes. Paroles de MM. Ernest Depré et Charles Clairville. Musique de P. Lacome. Partition piano et chant réduite par l'auteur. Paris, Enoch Frères & Costallat [1885] Pl. no. E. F. & C. 801. First edition. Inscribed to Chabrier by the composer.

Opéra comique en 1 acte. Poëme de MM. A. Delacour & J. de Lau-Lusignan (tiré d'une nouvelle d'Erckmann-Chatrian) Partition piano & chant réduite par l'auteur. Paris, Enoch Frères & Costallat [1882] Pl. no. E. F. & C. 689. First edition. Inscribed to Chabrier by the composer.

Paris, Enoch Père & Fils [1898] Pl. no.E. P. et F. 250. First edition. Inscribed to Chabrier by the composer. Piano and vocal score.

[Oeuvre 2] Paris, L. le Bel [ca. 1850] Pl. no. A. 54. First edition. Inscribed to M. Kaufmann by the composer.

Duo. Paroles de André Theuriet. Musique de E. Lalo. No. 2. Soprano et tenor. Paris, Choudens Père & Fils [1886] Pl. no. A. C. 7480. First edition. Inscribed to Mme. Russeil by the composer.

Original manuscript signed. 4 leaves (4 pages) 27 x 351/2 cm.

[Oeuvre 1] Paris, L. le Bel [ca. 1848] Pl. no. A. 52. First edition. Inscribed by the composer.

Divertissement pour orchestre par Edouard Lalo. Réduction pour piano seul par J. Massenet. Paris, G. Hartmann [1866] Pl. no. G. H. 284. First edition. Inscribed to Edouard Colonne by the composer. Signed by Colonne.

Ballet en 2 actes et 3 tableaux de MM. Ch. Nuitter et Petipa. Musique de Edouard Lalo. Partition pour piano. Paris, J. Hamelle [1882] Pl. no. J. 2633 H. First edition. Inscribed to J. Weber by the composer. The J. Weber to whom this is inscribed may have been Johannes Weber, music critic for Le Temps. Presented for the first time at Paris, 1882.

Opéra en 3 actes & 5 tableaux. Poème de Edouard Beau. Musique de Ed. Lalo. Partition chant & piano. Paris, G. Hartmann [1888] Pl. no. G. H. & Cie. 1745. First edition. Presented for the first time at Paris, May 7, 1888. Wotquenne, 2880.

Musique de E. Lalo. no. 1. La pauvre femme, no. 2. Beaucoup d'amour, no. 3. Le suicide, no. 4. Si j'étais petit oiseau, no. 5. Les petits coups, no. 6. Le vieux vagabond. Paris, Mme. Vue. Launer [ca. 1848] First edition. Inscribed by the composer.

Grand duo pour piano et violon. Paris, J. Benacci-Peschier [c1860] Pl. no. B. P. 776. First edition. Inscribed to M. Lubeck by the composer.

Op. 7. Paris, Richault [ca. 1851] Pl. no. R. 10411. First edition. Inscribed ""A son ami Faucheur"" by the composer.

Op. 7. Paris, Richault [ca.1851] Pl. no. R. 10411. First edition. Inscribed to M. Morena by the composer.

Paris, J Maho [ca 1859] P1 no J M 43. First edition Inscribed ""A son ami A Faucheur"" by the composer.

A ballet in one act. Theme by Thomas McGreevy. Choreography by La Nijinska. Music by Constant Lambert. Pianoforte duet arrangement by the composer. [London] Oxford University Press [c1928] First edition.

Poem by Sacheverell Sitwell set for chorus, orchestra, and solo pianoforte by Constant Lambert. German version by Beryl de Zoete. London, Oxford University Press [1929] First edition. No. 40 of a special numbered edition of 75 copies. Signed by the author and composer.

Ballet in two tableaux. Music by Constant Lambert. Choreography by Nijinska. Arrangement for piano solo by the composer. [London] Oxford University Press [c1926] First edition. Inscribed to R. O. Morris by the composer.

London, Oxford University Press [c1930] First edition. Cover-title. Inscribed to R. O. Morris by the composer.

Original manuscript signed. [ca. 1825] 8 leaves(14 pages) 32 x 25 cm. Full orchestral score consisting of a short introduction and six waltzes. Lanner, one of the founders of Viennese dance music, alternated with Johann Strauss as conductor at the court balls. [also a letter in German (dealer's letter)]

Mélodies sur des poésies de Paul Fort. Paris, Heugel [c1926] Pl. nos. H. 29,387-29,400. At head of title: Raoul Laparra. First edition. Inscribed to Mme. Pierre Chereau by the composer. Contents: ""Le vent des forêts,"" ""Le bonheur,"" ""Le dit du Bergerot,"" ""La chanson fatale,"" ""L'épouse châtiée,"" ""La corde,"" ""Le diable dans la nuit,"" ""Les baleines,"" ""J'ai des p'tit's fleurs bleues,"" ""La fille morte dans des amours,"" ""Complainte des soldats,"" ""Les differences,"" ""L'amoureuse,"" ""La chanson des marins hales.""

Poème en 4 parties pour orchestre avec piano. Raoul Laparra. Paris, Choudens, c1922. Pl. no. A. C. 15713. First edition. Inscribed to Henri Collet by the composer.

Drame lyrique en 3 actes. Partition piano et chant réduite par l'auteur. Paris, Enoch, c1907. Pl. no. E. & C. 6574. At head of title: Raoul Laparra. First edition. Inscribed to Mme. Albert Carré by the composer. Inserted is an autograph letter signed by Laparra, and addressed to Albert Carré, Director [of the Opéra-Comique] Paris, February 24, 1908. This relates to the first performance of the opera which took place two days later.

Conte lyrique en 2 actes. Partition pour piano et chant réduite par l'auteur. Paris, Enoch, c1911. Pl. no. E. & C. 7204. First edition. Inscribed to M. Dupré by the composer. M. Dupré sang the role of El Cabrito in the first performance at the Théâtre National de l'Opéra-Comique, Paris, April 26, 1911.

Opéra comique en trois actes. Paroles de MM. At. Vanloo & Ene. Leterrier. Musique de Charles Lecocq. Partition chant & piano arrangée par Léon Roques. Paris, Brandus [1878] Pl. no. 12421. Cover-title. First edition. Inscribed to Chabrier by the composer. Presented for the first time at the Théâtre de la Renaissance, November 20, 1878.

Opera-bouffe en 3 actes. Paroles de MM. Alfred Duru et Henri Chivot. Musique de Charles Lecocq. Partition chant et piano arrangée par l'auteur. Paris, G. Brandus et S. Dufour [ca. 1868] Pl. no. B. et D. 11,400. First edition. Performed for the first time at Paris, April 11, 1868.

Opéra-bouffe en 3 acres. Paroles de MM. A. Vanloo & E. Leterrier. Musique de Charles Lecocq. Partition chant & piano arrangée par Léon Roques. Paris, Brandus [1874] Pl. no. B. & Cie. 11,952, 11,950. First edition. Inscribed to Titus-Charles Constantin by the composer.

Paroles de MM. E. Leterrier & A. Vanloo. Musique de Charles Lecocq. Partition chant & piano, arrangée par Léon Roques. Paris, Brandus [1875] Pl. no. B. & Cie. 12078. First edition.

Opéra comique en trois actes. Poème de MM. Albert Millaud & Gaston Jollivet. Musique de Charles Lecocq. Partition chant et piano réduite par A. Bazille. Paris, Brandus [ca. 1886] Pl. no. B. & Cie. 13083. First edition. Presented for the first time at Paris, March 31, 1886.

Opéra comique en 3 acres. Paroles de MM. H. Chivot & A. Duru. Musique de Charles Lecocq. Partition chant & piano, arrangée par Léon Roques. Paris, Brandus [ca. 1875] Pl. no. B. & Cie. 12050. First edition. Presented for the first time at Paris, November 10, 1875. Inserted is an autograph letter signed. To an unknown correspondent [Paris] January4, 1891 [Inserted in item no. 591.]

Opéra bouffe en 3 actes de Chivot et Duru. Musique de Ch. Lecocq. Partition chant et piano transcrite par Léon Roques. Paris, Choudens Père & Fils [1883] Pl. no. A. C. 5797. First edition. Inscribed to Mlle. Jeanne Andrée by the composer. Mlle. Andrée sang the role of Inès in the first performance at the Théâtre des Folies Dramatiques, Paris, February 9, 1883.

Tragédie en trois actes, représentée pour la première fois, par l'Académie Royale de Musique, le mardi 15 décembre 1789. Mise en musique par M. Le Moyne. Paris, chez l'auteur [ca. 1790] First edition. Orchestral score. The text is by Hoffman. Wotquenne, 1722.

Dramma lirico in tre atti. Parole e musica di Ruggero [sic] Leoncavallo. Opera completa per canto e pianoforte. Riduzione dell' autore. Bologna, Achille Tedeschi, c1896. Pl. no. A. 3000 T. First edition. This opera was accepted for production at Bologna, but the impresario absconded. It was finally presented at Rome, March 10, 1896.

Azione storica in quattro atti. Parole e musica di R. Leoncavallo. Riduzione per canto e pianoforte. Milano, Edoardo Sonzogno, c1893. Pl. no. E 833 S. First edition. This is the first part of a projected trilogy. The other parts, Savonarola and Cesare Borgia, were never completed.

To ""Paolo,"" Brissago, October 23, 1901.

Dramma in due atti. Parole e musica di R. Leoncavallo. Riduzione per canto e pianoforte. Milano, Edoardo Sonzogno, c1892. Pl. no. E. 654 S. First edition. Inscribed by the composer. Presented for the first time at Milan, May 21, 1892.

Drame lyrique en deux actes de R. Leoncavallo. Partition chant et piano. Paris, Choudens Fils, c1893. Pl. no. A. C. 9819 on p. 1, A. C. 9712 on p. 2-24, and none on p. 25-204. First edition. Inserted is a photograph signed by the composer together with two bars from the score. Inscribed by the composer to M. Rohrbach, October 10, 1902.

Comedic lyrique en quatre actes. Poésie et musique de R. Leoncavallo. Tirée de la comédie de P. Berton et Ch. Simon. Répresentée pour la première fois, au Théâtre Lyrique International de Milan, le 10 novembre 1900. Transcription pour chant et piano. Milan, Edouard Sonzogno, c1900. Pl. no. E 1052 S. First edition. Inscribed to Mme. Edwards by the composer. The inscription includes three bars of music with text from the score.

Dramma lirico in due episodi di E. Cavacchioli e G. Emanuel. Ridiuzione per canto e pianoforte dell'autore. Milano, Edoardo Sonzogno, c1972. Pl. no. E 1767 S. At head of title: R. Leoncavallo. First edition. Inscribed by the composer. The inscription includes five bars from the score. The libretto is based on the poem by Pushkin. Text in Italian and German. Presented for the first time at London, 1912.

Drame lyrique en quatre actes de Jean Richepin. Musique de Xavier Leroux. Partition chant et piano. Paris, Choudens, c1907. Pl. no. A. C. 13489. First edition. Inscribed to Mme. Vuillaume by the composer. Presented for the first time at Paris, November 6, 1907.

Poésie d'Armand Renaud. Musique de Xavier Leroux. Rémineur. pour chant avec acct. de violon et de piano. Paris, Heugel [ca. 1896] Pl. no. H. et Cie. 7824 (1) First edition. Inscribed by the composer.

Sonnet de Ferdinand Hérold. Musique de Xavier Leroux. Pour baryton ou mezzo-soprano avec acct. de piano [et] avec acct.de violon et de piano. Paris, Heugel, c1898. Pl. no. H. & Cie. 19247 (1 bis & 1 ter) First edition. Inscribed by the composer.

Tragédie d'Eschyle. Traduction française de A. F. Hérold. Paris, Alphonse Leduc, c1896. Pl. no. A. L. 9718. First edition. Inscribed to René Lara by the composer.

Conte dramatique en quatre actes et six tableaux de Catulle Mendès. Musique de Xavier Leroux. Partition chant et piano. Paris, Choudens, c1903. Pl. no. A. C. 12,550. First edition. Inscribed by the composer. Presented for the first time in Paris, December 23, 1903.

Scène lyrique. Poème de L. de Gramont. Musique de Xavier Leroux. Paris, Alphonse Leduc, c1897. Pl. no. A. L. 9657. First edition. Inscribed to A. C. Bellaigue by the composer.

Composée et dédiée à la Société Philharmonique de Londres par Le Sueur. 13me livraison. Paris, Beauvais [ca. 1818] Pl. no. 13. Orchestral score. First edition. Inscribed to Gounod by the composqr. Inserted is a slip with Gounod's signature.

Composée et dédiée à Mr le Duc de Gramont. par Lesueur. avec accompagnement l'orgue ou de piano par Ermel. Ire livraison. Paris, J. Frey [ca. 1828] First edition. Inscribed to Gounod by the composer.

To M. Delaferté, n. p., January 23,1814. A long letter (four closely written pages). The composer tabulates the amounts he receives from his official appointments and compares these sums with those received by his confrères. He protests against a proposed reduction of his emoluments from a figure of 18,000 to one which he says would bring him only 6,000 francs, less than he received when he was twenty-three, as composer and Master of the Chapel of the Metropole, Paris, which was worth 10,000 francs, when living was much cheaper. This letter has a contemporary ring to it.

Oratorio historique et prophétique à grands choeurs & à gd. orchestre, avec soli, composé par LeSueur. 7me livraison. Paris, J. Frey [ca. 183-] First edition. Inscribed to Gounod by the composer. Text in Latin. Wotquenne, 1088.

Comédie lyrique en 4 actes et 5 tableaux d'après le roman d'Anatole France par Georges Docquois. Partition pour piano et chant, réduite par l'auteur. Paris, Enoch, c1919. At head of title: Charles Levadé. Pl. no. E. & C. 7847. First edition. Inscribed to M. Chéreau by the composer.

Oratorium nach Worten von Otto Roquette, componirt von Franz Liszt. Klavier-Auszug. Leipzig, C. F. Kahnt [1869] Pl. no. 1156. First edition.

To an unidentified correspondent, n. p., [April?] 1868. Also inserted is an engraved portrait of the composer by McRae. [1841?][London].

Messe pour orgue servant d'accompagnement à la célébration des messes basses. Roma, P. Manganelli, 1879. Pl. no. P. 446 M. First edition. Inscribed to Hermann Dimmler by the composer.

To an unidentified correspondent, n. p. [dated later than 1865]. This is of particular California interest. It reads: ""In San Fran (Californien) würde kürzlich Liszt's Ungarische Krönungs-messe (Soli, Chor, und Orchester) unter Leitung der Herrn Director Dohrmann ausgeführt. [Also a portrait of the composer.] [Les préludes. See Symphonische Dichtungen für grosses Orchester. No. 3. Les préludes.

Chöre zu Herder's ""Entfesseltem Prometheus"" von Franz Liszt. Verbindender Text von Richard Pohl. Partitur. Neue Auflage. Leipzig, C. F. Kahnt [1876] Pl. no. 1951. First engraved edition. Inscribed to Saint-Saëns by the composer.

Componirt von Franz Liszt. Leipzig, C. F. Kahnt [1886] Pl. no. 2593. Inscribed to Marianne Brandt by the composer.

Partitur. No. 3. Les préludes (nach Lamartine). Leipzig, Breitkopf & Härtel [1856] Pl. no. 9056. At head of title: F. Liszt. First edition.

Op. 6. Paris, Bernard Little, 1856. Pl. no. B. L. 1205. First edition. Inscribed by the composer. See also BERTIN, LOUISE ANGELIQUE (1805-1877). See also Bülow, Hans Guido, Freiherr Von (1830-1894) (Mazurka-fantaisie, op. 13. Original manuscript of Liszt's transcription for orchestra.

Braunschweig, Henry Litolff [1878] Pl. no. 2588. First edition. Inscribed to Chabrillon by the composer.

Original manuscript signed. ca. 1861. Full score for alto recitative, four-part chorus, and organ or piano. 18 leaves (34 pages) 27 x 34cm. (1 leaf, 27 x 241/2 cm.) Inserted at end is a sheet with directions for the engraver.

Piano and vocal score. Text by D. Eardley-Wilmot. Original manuscript signed. 4 leaves (title-page, 3 pages) 241/2 x 301/2 cm. This was one of the most popular ballads of the century.

Vollständiger Clavierauszug. Leipzig, Breitkopf und Härtel [1837] Plate no. 5817. First edition. Presented for the first time at Leipzig, December 22, 1837. Wotquenne, 3522.

To an unidentified correspondent, n. p., January 22, 1843.

Paris, Christophe Ballard, 1684. First edition. Orchestral score. The text is by Philippe Quinault. Presented for the first time at Paris, January 18, 1684. Wolffheim, II, 1474; Wotquenne, 1749.

Paris, Christopher Ballard, 1686. First edition. Orchestral score. The text is by Philippe Quinault. Presented for the first time at Paris, February 15, 1686. Wotquenne, 1752.

Paris, 1683.

Paris, Christophe Ballard, 1680. First edition. Orchestral score. The text is by Philippe Quinault. Presented for the first time at Saint-Germain en Laye, February 3, 1680. Eitner, VI, 245; Wolffheim, II, 1488; Wotquenne, 1741.

November 26, 1686. A receipt on vellum for 1,200 livres received from M. Baudouin, Trésorier Payeur des Gages de Messieurs les Conseillers Secrétaires de Sadite Majesté.

Hymne composé à l'occasion de la sortie des élèves de l'institut patriotique à St. Petersbourg, par A. Lvoff. Original manuscript signed. 6 leaves (11 pages) 291/2 x 241/2 cm. Complete score. Lvoff is best known for his arrangement of Giardini's ""God Save the Czar,"" the Imperial Russian national anthem.

Original manuscript signed. 1833. 7 leaves (12 pages) 241/2 x 31 cm. The manuscript of Lvoff's arrangement of Giardini's ""God Save the Czar,"" the Imperial Russian national anthem. Inscribed to C. Lipinski, March 2, 1834.

Partition d'orchestre. Paris, L'auteur, c1902. At head of title: Albéric Magnard. First edition. Inscribed to M. P. Poujaud by the composer.

Words by Rückert. Music by Gustav Mahler. Leipzig, C. F. Kahnt, C1905. Pl. nos. 4459, a-e. Caption-title. Proof-sheets with the composer's corrections throughout and inscribed to Frau Edytha Moser by him. Contents: No. 1. ""Nun will die Sonn' so hell aufgeh'n""; No. 2. ""Nun seh' ich wohl, warum so dunkle Flammen""; No. 3. ""Wenn dein Mütterlein""; No. 4. ""Oft denk' ich, sie sind nur ausgegangen!""; No. 5. ""In diesem Wetter!"" These famous and moving songs on the death of a child are here in a unique proof copy as sent to the publisher. Frau Moser was the wife of Kolo Moser. Both were members of the Vienna ""Secession"" and intimate friends of the composer.

(Rückert) [Musik von] Gustav Mahler. Leipzig, C. F. Kahnt, C1905. Pl. no. 4473. Caption-title. Proof-sheets of the first edition with a title-page, inscription to Frau Edytha Moser, and a few corrections in the composer's handwriting.

Heft I für hohe Stimme. Mainz, B. Schott's Söhne [1885] P1. no. 25183. First edition. Inscribed: ""Alte Bekante und Neue Gesandte leget zu Fussen mit freundlichen Grüssen der-unter Genante! Hamburg 8 Februar 92."" Contents: 1, ""Frülingsmorgen"" (R. Leander); 2, ""Erinnerung"" (R. Leander); 3, ""Hans und Grethe"" (Volkslied); 4, ""Serenade aus 'Don Juan'"" (Tirso de Molina); 5, ""Phantasie aus 'Don Juan'"" (Tirso de Molina).

Clavierauszug à 4 ms. arrangirt v. Bruno Walter. Wien, Josef Weinberger [c1895] Pl. no. 3. First edition. Inscribed by the composer. With this is bound the Chor-Particelle, 1, 2, 3, 4, Satz tacet, 5, Satz tacet bis: Der grosse Appell. Pl. no.4. The ""Resurrection"" symphony. Performed for the first time at Berlin, March 4, 1895, with Richard Strauss conducting.

Partitur. Wien, Josef Weinberger [1896] Pl. no. 9. First edition. With corrections in red ink by the composer. The corrections were incorporated into the Universal Edition of the score.

Original manuscript. 1893. 2 leaves (4pages) 27 x 351/2 cm. In a wrapper made from a folio signature of music paper. On front wrapper: ""Steinbach am Attersee. Am 28 Juli 1896 ereignete sich das Seltsame, dass ich meiner lieben Freundin Natalie den Kern eines Baumes schenken konnte, der trotzdem aber in voller Lebensgrösse mit allen Zweigen, Blättern und Früchten nun in die Welt hinein blüht und wächst. Gustav Mahler."" Important sketches for the 3d Symphony.

Original manuscript 1895. 4 leaves (7pages) 27 x 351/2 cm. This has the title ""Was das Kind erzählt."" It is a sketch for the first and second movements. ""Merkwürdig, ist dass ein Blatt aus dem Nachlass der Verfasserin unter der Ueberschrift 'Was das Kind erzählt' die Skizzen zum Blumensatz enthält"" (Bauer-Lechner, Erinnerungen an G. Mahler, Leipzig, 1923, p. 20). These sketches are from Natalie Bauer's papers.

Partitur. Wien, Ludwig Doblinger [1900] Cover-title. Pl. no. 31. First edition. With signature of Richard Specht. Page of original manuscript - ""Skizzenblatt"" (cf. separate entry) See item no. 633.

Original manuscript, ""Skizzenblatt' ca. 1900. 1 leaf (1 page) 341/2 x 261/2 cm. Authenticated on first page by Alma Maria Mahler. Inserted in the first edition of the score.

Partitur. Leipzig C. F. Peters [1905] Pl. no. 9015. First edition. Inscribed to Hermann Behn by the composer. Presented for the first time at Cologne, October 18, 1904.

London, J. et W. Chester, 1921. No. 161 of an edition limited to 250 copies, signed by the composer.

[London] I. Walsh and I. Hare [1710] First edition. Cf. Smith, Bibliography of musical works published by John Walsh, 354, p. 109. [Bound with item no. 118, shelved under Bononcini.]

Original manuscript signed. 13 leaves (26 pages) 271/2 x 201/2 cm. A finely written manuscript of an opera aria in the key of C major and containing 101 measures. The tenor is called Cavaliere. The coloratura ""fireworks"" as well as the orchestration indicate the composer to be a follower of Rossini. Mandanici was a pupil of Raimondi and wrote many operas and church music.

Original manuscript signed. 1828. 39 leaves (77 pages) 311/2 x 21 cm. An interesting autograph of a contemporary of Rossini, Donizetti, Bellini, and Verdi. A native of Trieste, Manna became a pupil of Vincenzo Lavigna, the teacher of Verdi. As a boy of fo

Legende Valaque. Paroles de Mr. Antoni Deshamps. Op. 56. Partition piano et chant. [Paris] France musicals [18..].

Komische Oper in drei Acten von W. A. Wohlbrück in Musik gesetzt von Heinrich Marschner. 98s. Werk. Vollständiger Clavierauszug vom Componisten. Leipzig, Julius Wunder [ca. 1838] Pl. no. J. W. 73. First edition. Fragment of manuscript, 1842, of an unidentified composition for piano (cf. separate entry.) See item no. 642.

Grosse Oper in 4 Acten von Herbert Rau. In Musik gesetz von Dr. Heinrich Marschner. 130tes. Werk. Vollständiger Clavierauszug von Componisten. Hannover, C. Bachmann [1845] Pl. no. 200. First edition. Presented for the first time at Hanover, in 1843. Inserted is a contemporary manuscript giving the cast and contents. Wotquenne, 3523.

Grosse romantische Oper in zwei Akten von W. H. Wohlbrück, in Musik gesetzt und Sr. Durchlaucht Carl regierendem Herzoge von Braunschweig-Lüneberg. In tiefster Ehrfurcht zugeeignet von Heinr. Marschner. Vollständiger Klavierauszug vom Componisten. 42s. Werk. Leipzig, Friedrich Hofmeister [1828] Pl. no. 1356 a-b. First edition. Presented for the first time at Leipzig, March 28, 1828.

To an unidentified conductor, Leipzig, May 1, 1828, Marschner discusses Der Vampyr which promises to become a great box-office success. (Also postcard portrait.)

1842. 1 leaf (1 page) 24 x 281/2 cm. (Eight bars of an unidentified composition for piano. In the first edition of the piano and vocal score of Der Bäbu.

302 canons for various voices. Original manuscript. 70 leaves (136 pages of music, 4 pages of index). [Martini] had a predilection for the canons He [is said to have composed not less than 1,273. The importance of this manuscript is obvious since some 240 of these canons have never been published.] There is a remarkable diversity in the text and music. Although a few of the canons are serious, the greater number are humorous and gay reflecting the life of Bologna as Martini observed it.

Original manuscript signed. n.d. 1 leaf (2 pages) 161/2 x 221/2 cm. ""Padre Martini"" was the foremost Italian musicologist and musical theorist of the eighteenth century.

Paris, La Sirène Musicale [c1928] Pl. no. S. M. 144. At head of title: Bohuslav Martinu. First edition. Inscribed to Henri Prunières by the composer.

Original manuscript signed. 7 leaves (14 pages) 27 x 351/2 cm.

Op. 81. Partitura. Milano, G. Ricordi [1906] Pl. no. 1. First edition. Inscribed to Arthur Pougin by the composer.

Original manuscript. 1890. 139 leaves (277 pages) 271/2 x 39 cm. [This is the actual manuscript which Mascagni submitted to the Milan music publisher Sonzogno] in the second contest established by him [and has at the end the Milan prefectural certificate

Melodramma in un atto di G. Targioni-Tozzetti e G. Menasci. Musica di Pietro Mascagni. Riduzione per canto e pianoforte di Leopoldo Mugnone. Roma, Sonzogno, c1890. Pl. no. E. 492S. First edition. Inscribed to Ignazio Alfano by the composer.

n.d.

n.d.

Drame lyrique en un acte de MM. J. Targioni-Tozzetti et G. Menasci. Musique de Mr. Pierre Mascagni. Version française de Mr. Paul Milliet. Réduction pour piano de Mr. Léopold Mugnone. Milan, Edouard Sonzogno [1897] P1. no. E 493 S. First edition with French text. Inscribed to Signora Bice Corte by the composer. This version was presented for the first time at Paris, January 19, 1892. Wotquenne, 2920.

The inscription includes two bars from Cavalleria rusticana.

Manuscript signed. Berlin, September 21, 1924. 2 leaves (1 page) 26 x 161/2 cm. Nine bars from the score with accompanying text in the composer's hand. Cinquantenario della ""Cavalleria rusticana"" Milano, 1940.

Le lettere ai librettisti durante la creazione del capolavoro (inedite) Milano, Emilio Bestetti [1940] A magnificent publication. The contents include a portrait (photograph by da Guigoni and Bossi) of Mascagni at the time of the composition of Cavalleria rusticana, color plates of the scenery and costumes, facsimiles of a manuscript of the Intermezzo signed by Mascagni in 1888, the title-pages of the first edition of the libretto, the first French edition, the first German edition, the first English edition, and two letters relating to the opera, the first written by Mascagni ""Cari amici e collaborati,"" Cerignola, February 22, 1890, and the second ""Miei cari amici ora più che mai,"" Cerignola, March 10, 1890. [Manuscript comprising nine bars from Cavalleria rusticana, signed, Berlin, September 21, 1924 (cf. separate entry). See item no. 651.]

Poème dramatique en deux actes de Paul Bérel. Version rythmique française de Paul Collin. Version rythmic italienne de Giovani Targioni-Tozzetti. Partition piano et chant transcrite par Adriano Ariani. Musique de Pierre Mascagni. Paris, Choudens, c1905. P1. no. A. C. 13,315. First edition. Inscribed by the composer to Rousselière who sang the tenor role at the first performance in the Théâtre de la Principauté Monégaste, March 16, 1905.

Commedia lirica in tre atti di P. Suardon. Musica del maestro Pietro Mascagni. Riduzione per canto e pianoforte di Amintore Galli. Milano, E. Sonzogno, c1891. Pl. no. E. 542 S. First edition.

Original manuscript signed. 69 leaves (123 pages), Prelude (8 pages) 221/2 x 31cm.; remainder of score, 261/2 x 381/2 cm. This is the almost complete manuscript of the vocal score of L'amico Fritz, Mascagni's greatest success after Cavalleria rusticana. E

Libretto di Luigi Illica. Canto e pianoforte. Milano, G. Ricordi, c1898. Pl. no. 102181. First edition. Inscribed by the composer. The inscription includes four bars from the score with accompanying text.

Iris - la Pivra (cf. separate entry). With this is a photograph of the composer.

Manuscript fragment signed. Ferrara, January 22, 1900. 1 leaf (1 page) 251/2 x 19 cm. In the first edition of the piano and vocal score.

Original manuscript signed. October 10, 1880. 12 leaves (title-page, 1 page text, 19 pages music) 23 x 31 cm.

Libretto in 3 atti di Giovacchino Forzano. Riduzione per canto e pianoforte di Guido Farinelli.Milano, Sonzogno [c1921] Pl. no. M 2202 S. At head of title: Pietro Mascagni. First edition.

Opéra comique en 3 actes. Poème de Labiche et Delacour. Musique de Victor Massé. Partition chant & piano arrangée par Bizet. Paris, Choudens [ca. 1868] Pl. no. A. C. 1470. First edition. Inscribed to Ph. Gille by the composer. Presented for the first time at Paris, February 25, 1867. Wotquenne, 2932.

P1. no. Mme. C. 579. Fragment of the proof-sheets consisting of a part of Act I and Act II complete, p. 129-355. With the composer's corrections throughout. Presented for the first time at Paris, April 14, 1852. Wotquenne, 2922.

Opéra en 2 actes de M. Dumanoir. Musique de Victor Massé. Partition piano et chant arrangée par Vauthrot. Paris, O. Legouix [ca. 1863] Pl. no. O. L. G. 685. First edition. Inscribed to [Victor Alexandre Joseph] Warot by the composer. Presented for the first time at Paris, March 6, 1863. Wotquenne, 2930.

Opéra-comique en un acte. Paroles de J. Barbier & M. Carré. Musique de Victor Massé. Récitatifs (ad libitum) pour remplacer le dialogue). Paris, Léon Grus [ca. 1853] Pl. no. L. G. 2145. At head of title: 6me édition. Inserted is a calling-card with an inscription to Joncières. Presented for the first time at Paris, February 4, 1853.

Album de Victor Massé. Dessins de Celestin Nanteuil et Mouilleron. Paris, Edmond Mayaud [1848 or 9] Pl. nos. E. M. 3124-3131, 3143, 3148, 3178-3179.

[Paris, Michaelis, 1876] Pl. no. T. M. 349. Engraved page proofs, p. 615-633. With the composer's corrections throughout. Full orchestral score with French text. Presented for the first time at Paris, November 15, 1876.

Paris, 1876.

Original manuscript signed. 1897-1899. Signed at end: ""Massenet, Paris, 1900."" 107 leaves (title-page and 107 leaves numbered 1-11, 1 leaf numbered 12-13, 14-41, 41 bis, 42-107). Score on rectos only. This manuscript was used by the engraver in preparing the first edition of the full score and has the publisher's note: ""H. et Cie. 19934"" at the bottom of the first page.

Opéra légendaire en quatre actes dont un prologue. Poème de Jules Claretie. Musique de J. Massenet. Partition chant & piano. Paris, Heugel [c1922] Pl. no. H. & Cie. 24,925. First edition. Inscribed to Juliette Massenet.

Opéra en cinq actes. Poème de Catulle Mendès. Musique de J. Massenet. Partition chant & piano. Paris, Heugel, c1906. Pl. no. H. & Cie. 22,179. First edition. Inscribed by the composer. Presented for the first time at Paris, November 1906.

Opéra en quatre actes. Poème de Catulle Mendès. Musique de J. Massenet. Paris, Heugel c1908. Pl. no. H. et Cie. 23,652. First edition. Proof without title-page. With numerous corrections by the composer. In a wrapper with notes for the printer also in the composer's handwriting. Piano and vocal score.

Légende mimée et dansée de MM. C. de Roddaz et E. Van Dyck. Musique de J. Massenet. Partition pour piano. Paris, Heugel, c1892. Pl. no. H. et Cie. 9110. First edition. Inscribed by the composer. The inscription includes three bars from the score.

Conte de fées en 4 actes et 6 tableaux (d'après Perrault) par Henri Cain. Musique de J. Massenet. Partition chant et piano. Paris, Heugel, c1899. P1. no. H. et Cie. 18421. First edition. Inscribed to Mlle. Chaffotte by the composer.

Comédie chantée en trois actes. Poème de MM. Francis de Croisset & Henri Cain. Musique de J. Massenet. Partition chant et piano. Paris, Heugel, c1905. Pl. no. H. et Cie. 21746. First edition. Inscribed to Max Rikoff by the composer.

To an unidentified correspondent, Monaco, June 8, 1905 The composer refers to the forthcoming performance of his Chérubin at the Monaco Opera House.

Opéra en quatre actes & dix tableaux de MM. Ad. d'Ennery, L. Gallet, et Ed. Blau. Musique de J. Massenet. Partition chant & piano. Paris, G. Hartmann [1885] Pl. no. G. H. 1571. First edition. Inscribed to Jeanne Gounod by the composer. (Second copy inscribed to Madame Durand-Ulbuch, with two bars of music.) Presented for the first time at Paris, November 30, 1885 Wotquenne, 2939.

Pl. no. 1608. Page prroofs of the piano score with the composer's corrections throughout. (begins with p. 17, p. 16 at the back, pp. 1-15 not present.)

Divertissement-ballet en deux actes de Henri Cain. Musique de J. Massenet. Partition pour piano seul. Heugel et Cie. C1903.

Opéra comique en 4 actes de MM. A. d'Ennery & J. Chantepie. Musique de J. Massenet. Partition pour chant & piano, réduite par A. Bazille. Paris, G. Hartmann, 1888. Pl. no. G. H. 845. At head of title: ""Nouvelle édition."" (1888) Inscribed: ""A Monsieur Henri Albers en souvenir de l'excellente interpretation de Don César de Bazan, au théâtre d'Amsterdam. Félicitations & remerciements. J. Massenet. Paris, 1890."" Presented for the first time at Paris, November 30, 1872.

Comédie héroique en cinq actes. Poème de Henri Cain d'après Le Lorrain. Musique de J. Massenet. Paris, Heugel, c1910. Pl. no. H. & Cie. 24,332. First edition. Inscribed to Louis Schneider by the composer. The inscription includes three bars from the score. Piano and vocal score.

Tragedie antique en duex actes de Leconte de Lisle. Partition pour chant et piano. Paris, G. Hartmann [188-].

Opéra romanesque. Poème de MM. Alfred Blau et Louis de Gramont. Musique de J. Massenet. Paris, G. Hartmann [1889] Pl. no. G. H. et Cie. 1921. First edition. Inscribed to Mme. Mathieu by the composer. The inscription includes four bars from the score with accompanying text. Piano and vocal score. Presented for the first time at Paris, May 15, 1889. Wotquenne, 2940.

Suite pour orchestre. par J. Massenet. Partition d'orchestre. Paris, Heugel [1890] P1. no. G. H. & Cie. 2070. First edition. Inscribed by the composer.

Mystère en 3 parties de Louis Gallet. Musique de J. Massenet. Paris, G. Hartmann [ca. 1875] Pl. no. G. H. 777. First edition. Inscribed to Gounod by the composer. Piano and vocal score. Wotquenne, 1777.

Conte lyrique en 3 actes, avec un prologue. Poème de Armand Silvestre et Eugène Morand (d'après Le mystère, représenté à la Comédie-Française) Musique de J. Massenet. Partition piano et chant. Paris, Heugel, c1901. Pl. no. H. et Cie. 8114. First edition. Inscribed to Mr. Parkison by the composer.

Opéra en 3 actes & 5 tableaux de MM. P. Milliet, H. Grémont, A. Zanardini. Musique de J. Massenet. Partition pour chant & piano. Paris, G. Hartmann [1881] Pl. no. G. H. 1190. First edition. Inscribed: ""A Madame Marthe Duvivier, à ma première, à mon unique Salomé, mes remerciements les plus reconnaissants pour cette création si personnelle-J. Massenet."" The inscription includes two bars of music from the score. Presented for the first time at Brussels, December 19, 1881. Wotquenne, 2937.

Opéra en 3 actes & 5 tableaux de MM. P. Milliet, H. Grémont, A. Zanardini. Musique de J. Massenet. Partition pour chant & piano. Paris, G. Hartmann [1881] Pl. no. G. H. 1190. [Title-page lacking. Above title taken from another copy] First edition. This copy, formerly the property of M. Warot, has the metronome indications in the composer's hand and his signature on front cover.

Miracle en 3 actes. Poème de Maurice Léna. Musique de J. Massenet. Partition chant et piano. Paris, Heugel [1904] Pl. no. H. et Cie. 20419. First edition. Inscribed by the composer. The inscription includes a bar from the score.

Opéra en 5 actes & 6 tableaux. Pöème de Jean Richepin. Musique de J. Massenet. Partition pour chant & piano. Paris, G. Hartmann [1891] Pl. no. G. H. et Cie. 2121. First edition. Inscribed to Mme. Mathieu by the composer. The inscription includes four bars from the score with accompanying text. Presented for the first time at Paris, March 16,1891. Wotquenne, 2941.

Opéra comique en 5 actes et 6 tableaux de MM. Henri Meilhac & Philippe Gille. Musique de J. Massenet. Paris, G. Hartmann [1884] Pl. no. G. H. 1356 at foot of second preliminary leaf. First edition, first issue. Piano and vocal score. The score ends on p. 387. Presented for the first time at Paris, January 19, 1884. (An autograph manuscript consisting of four bars from Manon (cf. separate entry). See item no. 689)

Pl. no. G. H. 1386. Piano and vocal score. Proof sheets of first edition without preliminary leaves and with blanks at the head of all 'Actes"" and ""Tableaux"" for the vignettes which appeared in the published edition. The score ends on p. 387, as in the first edition, but inserted is a set of proofs (p. 386-390) of the revised and longer version which was substituted in the second edition. With many corrections by the composer. Inscribed: ""A Madame Emilie Ambre, à ma charmante interprète à ma première Manon en France. Lille, 8 mars / 84 J. Massenet."" The inscription includes four bars of music from the score.

Opéra comique en 5 actes et 6 tableaux de MM. Henri Meilhac & Philippe Gille. Musique de M. Massenet. Paris, G. Hartmann [1884] Pl. no. G. H. 1386. First edition, second issue. Piano and vocal score. The score ends on p. 387.

Written to [Wilhelm] Jahn, Director of the Imperial Opera at Vienna, Paris, February 4, 1891, in which he mentions the admirable interpretation of Manon by Mlle Renard.

Opéra comique en 5 actes et 6 tableaux de MM. Henri Meilhac & Philippe Gille. Musique de J. Massenet. Paris, G. Hartmann [1886] Pl. no. G. H. 1386. Second edition. Piano and vocal score. The score ends on p. 390. This is followed by p. 391 containing ""Variante pour les thèâtres qui n'ont pas de ballet.""

Opéra comique en 5 actes et 6 tableaux de MM. Henri Meilhac & Philippe Gille. Musique de J. Massenet. Paris, Heugel, 1895. Pl. nos. G. H. 1356, 1386, H. et Cie. 7067. At head of title: ""Nouvelle edition."" At the end is ""Annexe. A. Fabliau"" intended to replace ""Gavotte,"" p. 220-225, when so desired. The score ends on p. 397. The ""Annexe,"" p. 337-344, has the pl. no. H. et Cie. 7067. Inscribed to Madame de Saincy by the composer. The inscription includes three bars from the score. Piano and vocal score. Wotquenne, 2938.

Autograph manuscript signed. Paris, January 1, 1892. Four bars of music with text beginning ""Ou l'appelle Manon"" from Act 2. 1 leaf (1 page) 111/2 x 18 cm. In the first edition, first issue of the score.

Premier volume [Deuxiême volume] Edition A: Mezzo-soprano ou baryton. Paris, G. Hartmann [1885] At head of title: J. Massenet. P1. no. G. H. 756. First edition. With a most interesting inscription-""A mon aimable et charmante voisine Mme. Alice Nanot. Souvenir du voisin: J. Massenet. Paris, 27 mai 1887. 38, Rue du Général Foy."" Above the inscription Massenet has drawn a picture of a balcony with three curtained windows. This drawing is signed ""J. M.""

Idylle antique pour solo & choeur par J. Massenet. Paris, G. Hartmann [ca. 1880] Title-page missing. The score ends on p. 52. Bound with Massenet's Poëme du souvenir. [2 copies; one is bound with item no. 696.]

Episode lyrique en 2 actes. Poème de Jules Claretie & Henri Cain. Musique de J. Massenet. Partition piano et chant. Paris, Heugel, c1894. Pl. no. H. et Cie. 8255. First edition. Inscribed: ""A mon ami bleu, Carvalho en le remerciant encor, de tout ce que nous lui devous dans la mise en oeuvre de 'La Navarraise'-Massenet, 1895."" The inscription includes a bar from the score. First performed at Covent Garden, London, June 20, 1894. The first Paris performance at the Théâtre National de l'Opéra-Comique, October 3, 1895, was under the direction of Léon Carvalho.

Original manuscript signed. 4 leaves (4 pages) 27 x 351/2 cm. Piano and vocal score. The text is by Louis Schneider.

Musique de J. Massenet. Paris, G. Hartmann [1880] Pl. no. G. H. 1155. First edition. Inscribed by the composer.

Op. 14. Paris, G. Hartmann [187-] Pl. no. G. H. 211. First edition. Presentation copy from the publisher to Emmanuel Chabrier. Bound with Massenet's Poëme du souvenir. [Item no. 696].

Scenes d'Armand Silvestre, mises en musique par J. Massenet. Paris, G. Hartmann [187-] First edition. Inscribed to Emmanuel Chabrier by the composer.

Scénes de Florian et d'Armand Silvestre. Musique par J. Massenet. Paris, G. Hartmann [187-] Pl. no. G. H. 668. First edition. Bound with Massenet's Poëme du souvenir. [Item no. 696].

Opéra en 5 actes de Louis Gallet [Musique de] J. Massenet. Partition chant et piano. Paris, G. Hartmann [1877] Pl. no. G. H. 910. First edition. Score ends on p. 357. Presented for the first time at Paris, April 27, 1877.

Opéra en 5 actes de Louis Gallet. [Musique de J. Massenet] Partition chant et piano. Paris, G. Hartmann [ca. 1893] Pl. no. G. H. 910. ""Nouvelle édition."" Inscribed to Max Rikoff by the composer. Score ends on p. 357. There are six additional pages (p. 358-363) not in the first edition. These contain ""Supplement, No. 7 bis. Romance-Sérénade."" This melody was written for Mlle. Fouquet to be sung after the duet No. 7 (p. 126). Wotquenne, 2936.

Opéra tragique en cinq actes de Henri Cain d'après Rome vaincue d'Alexandre Parodi. Musique de J. Massenet. Partition piano & chant. Paris, Heugel [1912] Pl. no. H. & Cie. 24,506. Inscribed to Mme. Borgex by the composer. Presented for the first time at Monte Carlo, February 1912.

Paris [1912] Accompanied by an envelope addressed to M. L. Borgex, Paris. The memorandum relates to the opera Roma and includes the ""Distribution"" and ""Table"" and to the operas Amadis and Panurge. He refers to the latter as ""Le seul ouvrage au quel je traveilla depuis deux années.""

Le bois sacré. Original manuscript signed. 1 leaf (1 page) 271/2 x 36 cm. Score for piano and flute.

Pièce lyrique en cinq actes d'après le roman de Alphonse Daudet. Paroles de MM. Henri Cain et Bernède. Musique de J. Massenet. Partition chant et piano. Paris, Heugel, c1897. Pl. no. H. et Cie. 18648. First edition. Inscribed to Henri Heugel by the composer. Presented for the first time at Paris, November 27, 1897. Wotquenne, 2945.

Paris, Hartmann [Ca. 1882] Pl. no. G. H. 1331. Proof-sheets with many corrections throughout by the composer and his signature as a part of the manuscript caption.

Poésie de Hélène Vacaresco. Musique de J. Massenet. No. 3 en Si bémol (Ton original). Paris, Heugel, c1891. Cover-title. Plate no. H. et Cie. 7020. First edition. Inscribed by the composer.

Oratorio en trois parties (d'après La vulgate) Musique de J. Massenet. Partition piano et chant. Paris, Heugel, cl900. Pl. no. H. & Cie. 19934. First edition. Inscribed to Max Rikoff by the composer. [Bound with this is Cigale - ballet in two acts.]

Comédie lyrique en 3 actes et 7 tableaux. Poème de Louis Gallet d'après le roman d'Anatole France. Musique de J. Massenet. Partition chant et piano. Paris, Heugel, c1894. Pl. no. H. et Cie. 7644. First edition. Inscribed to Mme. Marie Mathieu by the composer. Presented for the first time at Paris, March 16, 1894. Wotquenne, 2943.

Drame musical en deux actes de Jules Claretie. Musique de J. Massenet. Partition chant et piano. Paris, Heugel, c1907. Pl. no. H. & Cie. 22,792. First edition. Inscribed: ""A Henri Albers à l'ami, à l'artiste que j'aime et que j'admire. J. Massenet. Paris, mai 1911,"" also inscribed to Albers by Claretie and signed by composer and librettist on half-title.

Paris, Heugel [1896] Pl. no. H. & Cie. 9264. First edition. Inscribed to Mme. de Silva by the composer.

Légende sacrée en quatre scènes de Ch. Grandmongin. Musique de J. Massenet. Paris, G. Hartmann [1880] Pl. no. G. H. 1093. First edition. Inscribed to Gounod by the composer. The inscription includes nine bars from the score with accompanying text. Wotquenne, 1175.

Drame lyrique en trois actes et quatre tableaux d'après Goethe. Poème de MM. Edouard Blau, Paul Milliet et Georges Hartmann. Musique de J. Massenet. Partition chant et piano. Paris, Heugel [1892] First edition. Pl. no. G. H. et Cie. 1812. Inscribed to Mme. Mathieu by the composer. The inscription includes three bars from the score. Presented for the first time at Vienna, February 16, 1892. Wotquenne, 2942. See also Lalo, Victor Antoine Edouard (1823-1892) Fiesque, divertissement.