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Arte de danzar a la francesca, adornado con quarenta Figuras, que enseñan el modo de hacer todos los diferentes passos de la danza del Minuete, con todas sus reglas, y de conducir los brazos en cada passo: Y en quatro Figuras, el modo de danzar los tres Passapies. Tambien estàn escrit os en solsa, para que qualquier Musico los sepa tañer su autor Pablo Minguet E Irol: Abridor de Laminas, y Sellos, &c. Con Privilegio, Añadido en esta tercera impression todos los passos, ò movimientos del danzar à la Española, con seis danzas al ultimo, que son, Pabana, Gallarda, Españoleta, Villano, Impossibles, y la Hermosa; sacado de los mejores Maestros Españoles by [DANCE]. Minguet y Yrol, Pablo fl. 1733-1766 - 1758

by [DANCE]. Minguet y Yrol, Pablo fl. 1733-1766

Arte de danzar a la francesca, adornado con quarenta Figuras, que enseñan el modo de hacer todos los diferentes passos de la danza del Minuete, con todas sus reglas, y de conducir los brazos en cada passo: Y en quatro Figuras, el modo de danzar los tres Passapies. Tambien estàn escrit os en solsa, para que qualquier Musico los sepa tañer su autor Pablo Minguet E Irol: Abridor de Laminas, y Sellos, &c. Con Privilegio, Añadido en esta tercera impression todos los passos, ò movimientos del danzar à la Española, con seis danzas al ultimo, que son, Pabana, Gallarda, Españoleta, Villano, Impossibles, y la Hermosa; sacado de los mejores Maestros Españoles by [DANCE]. Minguet y Yrol, Pablo fl. 1733-1766 - 1758

Arte de danzar a la francesca, adornado con quarenta Figuras, que enseñan el modo de hacer todos los diferentes passos de la danza del Minuete, con todas sus reglas, y de conducir los brazos en cada passo: Y en quatro Figuras, el modo de danzar los tres Passapies. Tambien estàn escrit os en solsa, para que qualquier Musico los sepa tañer su autor Pablo Minguet E Irol: Abridor de Laminas, y Sellos, &c. Con Privilegio, Añadido en esta tercera impression todos los passos, ò movimientos del danzar à la Española, con seis danzas al ultimo, que son, Pabana, Gallarda, Españoleta, Villano, Impossibles, y la Hermosa; sacado de los mejores Maestros Españoles

by [DANCE]. Minguet y Yrol, Pablo fl. 1733-1766

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[Madrid]: [The Author], 1758. 16mo. (ca. 150 x 103 cm). Full contemporary vellum with manuscript titling to spine, leather ties. 1f. (recto title, verso blank), 1f. ("Al Lector), [i] (privileges, dated July 2, 9, and 10, 1737), [iii] ("Advertencia"), 72 pp. text + 20 engraved plates of choreographic notation of dances including those by Feuillet and Pecour with music, with alternate rectos and versos blank, as issued. With one folding plate of engraved music between pp. 35 and 37.

With charming woodcut depictions of both male and female dancers (one with an accompanying musician) illustrating positions of the arms and feet and dance etiquette including bowing and managing one's hat. Diagrams and choreographic notation within text.

The final textual section, "Explicacion del Danzar a la Española," offers detailed definitions of 46 steps used in Spanish dance, followed by descriptions of "Danzas a la Española ..." including the pabana, the gallarda, the españoleta, the villano, the impossibles, and the hermosa.

Plates include:
- Explicn. de la Chorographia
- Movimentos de los Brazos, Codos, etc.
- Demonstracion de la Bretaña
- Rigodon, ô Allegro de la Bretaña
- El Amable, con otra Chorographia
- La Pastoril, demonstda. redonda, y larga
- La Diligenta, delinda. â lo largo, ô larga
- La Cortesana, Cont. quadrada, ô en quadro

Free front endpaper with elaborate contemporary paraph, verso with contemporary inscription: "Soy de la Libreria de Dn. Antonío de Hozes Ferñz de Cordova."

Binding slightly worn; ties partially lacking; endpapers slightly worn; free front endpaper slightly stained. Minor internal wear and soiling; some leaves browned; occasional foxing; several small, virtually invisible professional archival repairs. Rare third edition of the work demonstrating the foundations of dancing in the French style, considered of greater elegance than the Spanish, first published in 1737. Derra de Moroda 1856 (edition of 1758). Malkin 79 (edition of 1737). Niles & Leslie pp. 360-361 (edition of 1758). Waterloo p. 144 (RISM Écrits p. 587 (editions of 1758 and 1768). All with variant titles, no recorded copies with this title.

Minguet's manual incorporates material from two other important early 18th century dance treatises, Feuillet's Chorégraphie (Paris, 1700) and Rameau's Le Maître de danser (Paris, 1726).

"A compilation of Feuillet, Rameau and De la Cuisse. His engravings, however, are superior to the originals of the fore-mentioned and make his Arte de Danzar perhaps the most important treatise in 18th century Dance literature in Spanish." Niles & Leslie

"Spain was one of the first countries to record its social dances in a system of dance notation and notation was to be an important element in dance manuals of the eighteenth century. The first Spanish book devoted entirely to dance was Discursos sobre el arte de danzado (1642) by Juan de Esquivel Navarro, dancing master to Philip IV. The next dance book, by Bartolemé Ferriol y Boxeraus, did not appear until a century later, in 1745. Pablo Minguet e Irol, a famous engraver as well as an author and translator, published works on a wide range of subjects; his dance books included several important works which incorporated the French dance notation of Raoul-Auger Feuillet." International Encyclopedia of Dance 5, p. 670.

"A particularly lovely set of illuminations can be found in Pablo Minguet e Yrol's Arte de danzar àl a francesca." op. cit. 6, p. 124.

Antonio de Hoces Fernández de Córdoba (?1722-1782) was a "Master of Seville" and served as mayor of Cordoba.
  • Bookseller J & J Lubrano Music Antiquarians LLC US (US)
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  • Publisher [The Author]
  • Place of Publication [Madrid]
  • Date Published 1758
  • Keywords 18th century Spanish music, 18th century Spanish dance, 18th century Spanish musical literature, 18th century Spanish dance literature, choreographic notation, dance notation, social dance
[Op. 166]. Rosen ohne Dornen. Walzer fur das Pianoforte. [Piano score]

[Op. 166]. Rosen ohne Dornen. Walzer fur das Pianoforte. [Piano score]

by STRAUSS, Johann, Sr. 1804-1849

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Wien: Tobias Haslinger's Witwe u. Sohn. [PN T. H. 9651], 1844. Oblong folio. Unbound as issued. 1f. (title), 3-11 pp. Engraved. With small vignette to title. Spine reinforced. Slightly foxed and dampstained. First Edition. Weinmann p. 29.
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[Op. 59]. Die vier Temperamente. Walzer für das Piano Forte

[Op. 59]. Die vier Temperamente. Walzer für das Piano Forte

by STRAUSS, Johann, Sr. 1804-1849

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Wien: Tobias Haslinger [PN] T.H. 6079, 1833. Oblong folio. Unbound as issued. 15 pp. Engraved. With decorative title within ruled border. Includes publisher's catalogue. Contains Der Sanguiniker, Der Melancholiker, Der Choleriker and Der Phlegmatiker. Slightly browned. With Fischer overpaste. First Edition. Weinmann p. 12. Schonherr & Reinohl pp. 89-90.
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Autograph musical manuscript from the composer's opera bouffe La femme à barbe
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Autograph musical manuscript from the composer's opera bouffe La femme à barbe

by DELVINCOURT, Claude 1888-1954

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2 pp. Folio (ca. 348 x 268 mm.). 56 measures scored for both spoken and sung voices, including sections for chorus with instrumental accompaniment. Apparently complete. Marked "Scène IX les mêmes: puis les trois emissaires du Sultan - puis Croquendot ..." Notated in black and red ink with some markings in blue crayon. Unsigned. Slightly worn; creased at central fold. La femme à barbe, in two acts to a libretto by A. de la Tourrasse, was first performed at Versailles on 2 June 1938. Delvincourt, a French composer, was appointed director of the Versailles Conservatory in 1931 and of the Paris Conservatoire in 1941, a position he held until his death in 1954; he received the Prix de Rome in 1913 for his cantata Faust et Helene. "His most important decisions were the founding of the Orchestre des Cadets and a chorus (so avoiding the evacuation of his pupils to Germany), and his invitation to Messiaen, despite much comment, to teach the philosophy of music ... After Debussy and Ravel, he was one… Read More
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[K. 621]. La Clemenza di Tito [Piano-vocal score]

[K. 621]. La Clemenza di Tito [Piano-vocal score]: Opera seria ... Ernsthafte Oper in Zwey Akten ... Klavierauszug von A.E. Müller.

by MOZART, Wolfgang Amadeus 1756-1791

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Leipzig: Breitkopf & Härtel [PN 3610], 1824. Oblong folio. Contemporary paper boards. 1f. (title), 88 pp. Lithographed. With label of the late 19th century lending library of Fritz Möller of Hamburg, Germany to upper board and advertising to front pastedown. Binding worn and rubbed; partially detached; spine chipped; joints split; endpapers lacking. Moderately foxed throughout; title browned. Köchel 8, p. 720. Hirsch IV, 1227. RISM M5105. La Clemenza di Tito, an opera seria in two acts to a libretto by Pietro Metastasio adapted by Caterino Mazzolà, was first performed in Prague at the National Theatre on September 6, 1791, approximately 3 months before Mozart died on December 5, 1791. He had arrived in Prague on August 28 and, despite his illness, finished work on the opera on the eve of the performance. "Although mostly composed after Die Zauberflöte, La clemenza di Tito was performed first... The reception was modest until a triumphant last night was reported to Mozart (who had left… Read More
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[Op. 58]. Elektra Tragödie in einem Aufzuge von Hugo von Hofmannsthal... Klavier-Auszug mit Text...

[Op. 58]. Elektra Tragödie in einem Aufzuge von Hugo von Hofmannsthal... Klavier-Auszug mit Text von Otto Singer. [Piano-vocal score]

by STRAUSS, Richard 1864-1949

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Berlin: Adolph Fürstner [PN A.5654F.], 1908. Folio. Original publisher's full gray cloth. [i] (title), [ii] (blank), [iii] ("Dramatis Personae"), [iv] (blank), [5]-250 pp. Text in German. With illustration by Lovis Corinth to page [5]. Binding worn, rubbed and shaken. First Edition, early issue (without the additional plate numbers to foot of page [3] and also without the statement "Auffügrungsrecht vorbehalten" to foot of page [5]). Trenner 223. Mueller von Asow p. 409. First performed on January 25, 1909 at the Königlichen Opernhaus in Dresden under Ernst von Schuch. "[Elektra]... marked the beginning of [Strauss's] artistic association with Hugo von Hofmannsthal, whom he had first met in Berlin in 1899. Having seen Reinhardt's riveting production of Hofmannsthal's Elektra in the autumn of 1905, Strauss was convinced the play would make a compelling opera. Not entirely sure he should compose consecutive tragedies, he nonetheless gave in to Hofmannsthal's pleading and vigorously began… Read More
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[Op. 91]. Kronungs-Walzer für das Piano-Forte

[Op. 91]. Kronungs-Walzer für das Piano-Forte

by STRAUSS, Johann, Sr. 1804-1849

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Wien: Tobias Haslinger [PN] T.H. 7061, 1837. Oblong folio. Unbound as issued. 10 pp. Engraved. With decorative vignette to title. Slightly soiled. First Edition. Weinmann p. 18. Schonherr & Reinöhl pp. 140-142.
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Bluebird, a setting of Herman Melville's poem for two female voices with instrumental...
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Bluebird, a setting of Herman Melville's poem for two female voices with instrumental accompaniment. Autograph musical manuscript. Signed and dated 2007. A complete working draft

by TSONTAKIS, George b. 1951

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5 pp. Folio (355 x 280 mm.). Notated in pencil with additional markings in coloured ink. Signed and dated 2007. Tsontakis studied with Hugo Weisgall, Felix Greissle, and Roger Sessions. His honours include the Charles Ives Living Award, the Grawemeyer, two Kennedy Center Friedheim Awards (1989, 1992), a lifetime achievement award from the American Academy of Arts and Letters (1995), a Guggenheim Memorial Fellowship, (1996) and numerous commissions. "[His] early works are written in a dissonant chromatic idiom not unlike that of Sessions. His musical language soon shifted, however, towards a classically-influenced style characterized by large-scale harmonic prolongations and what he calls 'the timeless gesture', a reference to the past through evocation rather than quotation. With the String Quartet no. 3 'Carragio' (1986) he arrived at an idiosyncratic tonal language propelled by a non-minimalist, Beethovenian use of repetition. Another primary feature of his work, particularly notable in the… Read More
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[Op. 58]. Elektra Tragödie in einem Aufzuge von Hugo von Hofmannsthal ... Klavier-Auszug mit...

[Op. 58]. Elektra Tragödie in einem Aufzuge von Hugo von Hofmannsthal ... Klavier-Auszug mit Text von Otto Singer. [Piano-vocal score]

by STRAUSS, Richard 1864-1949

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Berlin: Adolph Fürstner [PN A.5654F.], 1935. Folio. Original publisher's full gray cloth. [i] (title), [ii] (blank), [iii] ("Dramatis Personae"), [iv] (blank), [5]-250 pp. Text in German. With illustration by Lovis Corinth to page [5]. Binding very slightly worn and rubbed. Trenner 223. Mueller von Asow p. 409. First performed on January 25, 1909 at the Königlichen Opernhaus in Dresden under Ernst von Schuch. "[Elektra] ... marked the beginning of [Strauss's] artistic association with Hugo von Hofmannsthal, whom he had first met in Berlin in 1899. Having seen Reinhardt's riveting production of Hofmannsthal's Elektra in the autumn of 1905, Strauss was convinced the play would make a compelling opera. Not entirely sure he should compose consecutive tragedies, he nonetheless gave in to Hofmannsthal's pleading and vigorously began composing Elektra in the summer of 1906. As he had with Oscar Wilde's Salome, he set the play to music, which was finished in 1908 and given its première in 1909 as… Read More
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Autograph letter signed Bellini to Count Rodolphe Apponyi

Autograph letter signed "Bellini" to Count Rodolphe Apponyi

by BELLINI, Vincenzo 1801-1835

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2 pp. of a bifolium. Octavo. Dated Monday morning. Postmarked [?]January 12, 1835. With "Weynen Superfin" blindstamped to upper portions of leaves. Integral address panel with the recipient's name and the address of the Austrian Embassy in Paris to final page. With fully intact red wax seal. In Italian and French (with translation). Bellini tries to secure the Count a place at the première of his latest opera and invites the Count's wife to one of its dress rehearsals. "... I met your cousin at Madame Graham's and I begged him to tell you that I had gone to the Bureau des Italiens to try to grant your wish ... therefore, if the day of the first performance falls on a day when the halls are occupied almost entirely by subscribers, you'll get priority ... Tell [the Countess] I am sorry I am not yet able to leave my desk, since I'm always working on the opera. I hope she will want to honor me by coming to some dress rehearsal, to give me advice with her delicate musical taste ... " Slightly worn and… Read More
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Autograph letter signed to an unidentified male correspondent
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Autograph letter signed to an unidentified male correspondent

by DEBUSSY, Claude 1862-1918

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1 page. Octavo (ca. 168 x 122 mm). Dated Thursday evening. On mourning stationery. In French (with translation). "I have to attend [?Louis] Laloy's premiere; naturally that is tomorrow, on Friday ... Would you change the enclosed tickets for Saturday? Thanks again ..." Slightly worn and browned; creased at folds and upper outer corner of final blank folio; small rust stain from paper clip to inner margin of final folio, not affecting text. "One of the most important musicians of his time, [Debussy's] harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande, and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic." François Lesure and Roy Howat in Grove Music Online. "Laloy [1874-1944] was a noted defender of contemporary French music and was a close friend of, and mediator between,… Read More
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Trial by Jury

Trial by Jury

by W. S. Gilbert, Arthur Sullivan

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69 pp. + ads. Plate 17453. Vocal score, wraps, quarto 8.5 x 11 in. Front cover reattached with Japan paper, some wear to spine and edges, yet very good. Likely a printing from 1992-, given the 62 W. 45th St. address on the wraps. Printed in England. Trial by Jury is a one-act comic opera that could be considered a seminal venture in their partnership. It premiered at the Royalty Theatre in London in March, 1875.
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SKIFFLE:; The Story of Folk-song with a Jazz Beat. With a Foreword by Lonnie Donegan (The King of...

SKIFFLE:; The Story of Folk-song with a Jazz Beat. With a Foreword by Lonnie Donegan (The King of Skiffle)

by Bird, Brian

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London: Robert Hale, 1958. First Edition. Hardcover. Very Good/Good +. 119pp, index; 13pp illus from photographs. Bound in pictorial boards, dust jacket. 8" x 5.25" This first book on the subject traces the history of skiffle from its slave and jazz roots through the 1950s. The second part of the book is a how-to for forming a skiffle band as well as a look at the "origins, progress and personalities" of Britain's most popular skiffle bands.
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The Pirates of Penzance in Full Score

The Pirates of Penzance in Full Score: New Edition by Carl Simpson and Ephraim Hammett Jones

by W. S. Gilbert, Sir Arthur Sullivan

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272 pp. Quarto, 9 x 12 in. Illustrated wraps, near fine, only the slightest wear covers. Full score. New edition by Carl Simpson and Ephraim Hammett Jones. Official Premiere: December 31, 1879, Fifth Avenue Theater, New York, New York, USA; London Premiere: April 3, 1880, The D'Oyly Carte Opera Company, Orchestra and Chorus Opera Comique, Arthur Sullivan, conductor.
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PIOBAIREACHD AND ITS INTERPRETATION: CLASSICAL MUSIC OF THE HIGHLAND BAGPIPE

by MacNEILL, SEUMAS & FRANK RICHARDSON

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ISBN 13
9780859764407
ISBN 10
0859764400
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Edinburgh: John Donald Publishers, 1996. 1st Edition . Soft cover. Very Good/No Jacket, As Issued. 8vo - over 7¾ - 9¾" tall. pp: 130. FIRST PAPERBACK EDITION. The author, an acknowledged authority on the subject, describes the structure and history of Piobaireachd. A very good copy with moderate edge wear on the covers and some fading of the colour on the rear panel.
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Congregational Hymnary
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Congregational Hymnary

by Congregational Union of England and Wales

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This antiquarian book is in fair condition. The binding is loose and coming apart and the cover is torn along the spine and the corners are worn. The pages inside the book are tanned and yellowed. One of the pages is loose. This book is not for reading or handling. It should be used as a collector's piece."The Congregational Church Hymnal, edited at the request of the Congregational Union by the Rev. Dr. G.S. Barrett, was published in 1887, and has been widely used by Congregational Churches both in this country and abroad. It is not possible any adequate estimate of the great influence of the book...." - from the Congregational Hymnal
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Bob Dylan: From a Hard Rain to a Slow Train
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Bob Dylan: From a Hard Rain to a Slow Train

by Barry; Dowley, Tim Dunnage

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0859362590
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Turnbridge Wells: Midas Books; New York: Hippocrene Books, [1982], First Edition, 8vo, [11] 176pp [2], photos on 2 plates. Hardcover, red cloth covered boards with dust jacket. Very Good + condition. Pages are unmarked with slight toning and slight foxing to top page edges. Slight shelf wear to dust jacket. Please see photos for specifics. A portion of all book sales from Babcock & 68th are donated to charity.
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The Influence Of Music On History And Morals: A Vindication Of Plato

The Influence Of Music On History And Morals: A Vindication Of Plato

by Scott, Cyril

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London: The Theosophical Publishing House Ltd., 1928. 1st Edition 1st Printing. Hardcover. Good/No Jacket. X, 245 Pp. First Printing. Blue Cloth, Gilt, With Blindstamped Border On Front Cover. Lightly Used, Pinpoint Fray At Each Of Two Lower Tips, But Spine Frayed Across Top Down To Edge Of Page Block, 1/2" Fray Along Top Spine Edges And Bottom Rear Spine Edge, Hinges Tight, No Names Or Marks, Very Light Foxing To Endpapers, Title Page, And To Edges Of The Page Block. Quite Scarce In The Trade.
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The Sorcerer: An Original Modern Comic Opera

The Sorcerer: An Original Modern Comic Opera

by W. S. Gilbert, Arthur Sullivan

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137 pp. Vocal score, a slight tilt to spine, light wear to wraps, else fine. Quarto, 8.5 x 11 in. "New Edition." An original modern comic opera in two acts, words by W. S. Gilbert, music by Arthur Sullivan. G&S's third production. Based on a story, The Elixir of Love, that Gilbert published in 1876 in The Graphic.
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Nijinsky and the Last Years of Nijinsky

Nijinsky and the Last Years of Nijinsky

by Nijinsky, Romola

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Nijinsky, Romola. Nijinsky and the Last Years of Nijinsky. The Definitive Biography Copyright 1980. Simon and Schuster stated First Impression Thus. Number line starts with 1. EXLIB. Good Condition/ VG original dust jacket. 260 pages, indexed. ISBN0671411233. PERFORMING ARTS, RUSSIA, BALLET, VASLAV NIJINSKY. Summary: "The life of Vaslav Nijinsky is not merely a record of a great dancer's artistic triumphs; it is one of the strangest stories ever written. There is madness everywhere. From the child's first appearance with a troupe of wandering Russians to that last terrible performance, his "Marriage With God" , it is a growing chaos of madness, abnormality, distortion, genius and beauty." 260 pages, indexed. 5 3/4 X 8 3/4.
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OH BOYS, CARRY ME LONG:; A Plantation Melody. Written & Composed by Stephen C. Foster

OH BOYS, CARRY ME LONG:; A Plantation Melody. Written & Composed by Stephen C. Foster

by Oh Boys...sheet music

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NY: Firth, Pond, 1851. 20th Edition. Decorative Wraps. Very Good. 6pp; embellished cover title; spine reinforced. Contains words and music to four verses and a chorus. 13" x 10.25" In part: "Oh! carry me 'long; Der's no more trouble for me: I's gwine to roam In a happy home Where all de niggas am free...." First published in 1851.
Item Price
A$62.16