Search Results: music from John Price Antiquarian Books

London, Printed for the Benefit of the Musical Fund; and Sold by T. Payne and Son..., 1785. FIRST EDITION. 4to, pp. [viii], xvi, 8, *1 - *8, 9 - 20, *19 - *24, 21 - 56, [1] - 41 [42 blank], [2], [43] - 139 [140 adverts, 141 Errata and Directions to the Binder, 142 blank], engraved frontispiece and eight full-page engraved plates, later 19th century half calf, marbled boards (soiled), gilt spine; ms. annotations in pencil on page 90, 3 leaves sprung, frontispiece a little foxed, corners worn, joints rubbed and very slightly cracked, but a fair to middling copy with the binder's ticket of R Wilkinson, 1 Prujean Sqaure, Old Bailey on top margin of front paste-down end-paper, as well as rubber stamp of Wallace Masland and faded bookplate of [?Mr.] Sharpe; two of the instrumental performers are surnamed Sharp, so this is perhaps a copy from one of them. Burney's enthusiasm for these musical performances led to an invitation to prepare this account, though he was rather surprised not to be… Read More

Leipsig, im Schwickertschen Verlage, 1788, 1801. FIRST EDITION. 2 volumes. 4to, pp. xxxvi, 504; xviii, 776, 5 folding engraved plates at end of volume 1, 5 folding engraved plates at end of volume 2, 19th century blue polished boards, hand-written paper labels on spines; front joints cracked, volume 1 tender, corners a little worn, ex-library. Forkel (1749 - 1818), the biographer of Bach, is often regarded as the founder of modern musicology. New Grove says of this work that it was "the first German attempt to cover its subject on the scale achieved by the English historians Burney and Hawkins.... Although the work was incomplete (its coverage did not extend beyond the 16th century), it bears the mark of disciplined scholarship and reveals the effort of its author to formulate and adhere to a philosophy of music history.... [Forkel] was profoundly influenced by the school of 'universal historians' that developed in Göttingen during the latter half of he 18th century...."

Lodon: Printed for Longman, Hurst, Reese, Orme, and Brown..., 1814. FIRST EDITION. 3 volumes. Large 12mo, 178 x 104 mms., pp. vii [viii blank], 446; [iv], 510 [511 - 512 adverts]; [iv], 456, including half-title in each volume, bound in later half calf, marbled boards; lacks labels, binding a bit worn, but a good set.

Amstelodami, Apud Ludovicum Elzvirium, 1652. FIRST EDITION. 2 volumes in 1. Thick 4to, 215 x 158 mms., pp. [lii], 132, [4], 68, [4], 60, [4] 5 - 8, 80, [4], 40, [4], 36; [viii], 363 [364 blank], both title-pages in red and black, printed in double columns, text in Greek and Latin, and with woodcut printer's device, 5 folding letterpress tables, of which 4 are printed in red and black, woodcut musical annotation, diagrams and decorative initials, contemporary mottled calf, expertly rebacked, with raised bands between gilt rules, red morocco label; some occasional staining but a very good copy of this remarkabled work. Marcus Meibomius (c. 1630, Tönningen – 1710/1711, Utrecht) was a Danish scholar, probably He is best known as a historian of music, as an antiquarian, and as the first librarian at the Denmark's Royal Library. He was also a philologist and mathematician. The present book, on antique Greeek music, and "It printed works, in Greek originals with Latin… Read More

London: Printed & Sold by Preston..., [1815.]. 3 volumes. Oblong folio, 343 x 244 mms., pp. [vi], 134; [iv], 127 [128 blank]; [iv], 143 [144 blank], engraved portrait of Handel as frontispiece in volume 2, engraved throughout, contemporary hard-grain green morocco, marbled boards; spines a little defective, with top and base panels chipped or missing. With the inscription "Agnes Maria Smith/ from her loving Husban Feb. 15 1855." The singer and organist Joseph Corfe (1740 - 1820) made several arrangements of songs and chamber music, which were great drawing-room favourites in the 19th century. Probably his most important work was not his compositions or arrangements, but two books, A Treatise on Singing (1799) and his manual Thorough Bass Simplified (1805).

London: Printed and Sold by Dean and Munday..., 1827. Large 8vo, pp. xxviii, 344, engraved portrait of John Braham as frontispiece, musical illustrations throughout, uncut, contemporary boards; spine gone with folds completely exposed, boards worn. Plumstead seems to derived his work from a volume with a similar title published in 1810, but much of the work here is entirely new. The book is dedicated to John Braham, "the first singer of the day."

Mayn: B. Schotte, Söhne..., 1824. FIRST EDITION. 8vo, 215 x 135 mms, pp. 112, 35 [36 blank], engraved portrait of Georg Vogler before text, folding engraved leaf of music between pages 58 and 59, original printed wrappers (frayed and a bit soiled). This is the first issue of a music periodical that was to be published three or four times a year and which ceased publication in 1848.

Ulyssipponae: apud Haered. Antonii Pedrozo Galram. M. DCC. LIII. 1753. 4to, 195 x 138 mms., pp. [iv], 155 [156 blank], printed throughout with music, three pages of ms. notes before title-page and 4 pages at end of book, contemporary sheepskin, spine faintly gilt in compartments; top of spine chipped, base of spine slightly defective, corners worn, front cover scratched, front paste-down end-paper lifting, but with a clear text, and a contemporary inscriptiong "A. Neavey" on top margin of the title-page, and an inscription in pencil on the verso of the leaf facing the title-page, "W. J. A. Flynn/ Oxford/ Septr 1975." The Portuguese priest Francisco Alvares Vitorio is said to have been born in 1702, but his death date is not known. The Lisbon office of the Portuguese printer Antonio Pedroso Galrão (Latinized as Galram) was "founded c. 1695", according to The Oxford Companion to the Book (2010), which also says he died "c 1742", but the imprint of the… Read More

London: Printed for John Souter, School Library..., 1829. FIRST EDITION. 12mo, 138 x 88 mms., pp. [ii], 97 [98 adverts], frontispiece image of keyboard, autograph "Charlotte Dempsey" on top margin of first leaf of text, contemporary quarter roan, marbled boards (both worn); last leaf detached, with hinge exposed, a rather sad copy. The singer, composer, and author Thomas Busby (1754 - 1838) was active in London, where he made his living. Many of his compositiions have been lost; only Britannia (1801) was successful, and in 1801 he received a doctorate in music from the University of Cambridge; his doctoral exercise was a thanksgiving ode on the British naval victories, thus continuing the theme of Britannia. ODNB asserts "Busby published nothing after 1828," an assertion the present work belies. The only copy that I have located is in Trinity College, Dublin, though it was republished in 1834 (Yale only).

A Geneve [no publisher] 1782 - 1787. 4 volumes. 12mo, 118 x 59 mms., pp. [ii], xvi, 220, xxxiii [being engraved plates of music with xxxiv blank]; [iv], 236, xxxii [engraved plates of music]; [iv], 240, xxiv [engraved plates of music]; 339 [sic, for 239, 240 blank], xxvi [engraved plates of music], including half-titles, engraved frontispiece in volume 1, contemporary calf, gilt spines (rubbed), volumes 2 and 4 with red morocco labels, lacking on other volumes, all edges gilt; some water-staining of half-titles and end-papers, tops and base of spines chipped, spine volume 4 creased, corners worn. The first volume has a note by the editors explaining the choices that have been made; it contains, among other songs, and "Chansons Érotiques et Anacréontiques": "Les pensées en doivent être fines, les sentimens délicats, les images douces, le style léger, les vers faciles." Volumes 2, 3, and 4 are given over to pastorals, village songs,… Read More

Paris. Chez Risler, Libraire..., 1834. FIRST EDITION. 8vo, 200 x 112 mms., pp. viii, 368, including half-title, with pages [1] - 224 consisting of music and letterpress, while pp. [225] - 368 are all letter-press, with this note on the verso of the half-title, "Imprimé par les procédés typographiques de E. Duverger, rue de Verneuil, 4," and the autograph "Russell Howell" on the top margin of the title-page, contemporary half green roan, gilt spine, marbled boards (rubbed); joints, edges and spine a bit worn, but a fair to good copy. The names of the composers are given at the end as "Kolb, Webbe, Haydn, Beethoven, Bornianzky, Bost, Venua, Delaborde, Louis Laur, Viotti, Malan, Guillaume Franc, Wilhem, Comte de Sorgo, Luther, Handel, Mme Hérault, Georges Neumarck, Mathieu, Mme H.-L., Le Mire, Hummel, Henri Scheidemann, Pleyel, Urhan, Paer, Naegeli, Severus Gastorius, Laus, Ladurner, Gratz, Rotter, Knecht, Jacob Praetorius, Claude Goudimel,… Read More

London: Printed by W. Pearson, for Arthur Bettesworth and Charles Hitch...[et al], 1732. Small 8vo, 172 x 99 mms., pp. [xiv], 144, engraved portrait of Simpson as frontispiece, music illustrations throughout text; contemporary name on title-page scribbled out, purchase note for August 1909 with initials H T F on recto of front free end-paper, 19th century library binding of quarter red sheepskin (defective), pebbled boards, library bookplate of Wigan Free Public Library on front paste-down end-paper; ex-library and except for the binding a useful copy. Simpson (1605 - 1669) published this work in 1665, and it was frequently revised and reprinted. New Grove declares him to be "the most important English writer on music of his time," and no less a figure than John Locke praised this work as a "new, plain and rational; omitting nothing necessary, nor adding any thing superfluous." Probably a reissue of the fourth edition with cancel titlepage and second preliminary leaf.

London: Printed for R. Phillips, No. 71. St. Paul's Church-Yard; Sold by T. Hurst, Paternoster-Row, and by All Book and Music Sellers [T. Davison, White-Friars], no date. 1794. FIRST EDITION. Small 8vo, 156 x 92 mms., pp. xxxiii [xxxiv advert for Busby's forthcoming "History of Music, From the Earliest Times, to the Year 1800"], folding leaf of music (included in collation) at page xx, unpaginated [296], water mark "1794" visible on lower margin of D4, bound in early 18th century half olive morocco, gilt spine, marbled boards; binding a little rubbed, but a very good copy, with the binder's ticket of Rider & Hall, Bookbinder's [sic], Slater Court, Castle Street, Liverpool, on the upper margin of the front paste-down end-paper. Busby (1755-1838) was an organist and composer, turned man of letters. This work, written with the assistance of Samuel Arnold (1740-1802) is one of his earlier ones, ODNB suggests that it was published "about 1801," and… Read More

. Engraved and coloured illustration, 247 x 180 mms., by Caroline [?Nowwet], dated 1819, coloured by hand. An image of three instrumentalists, so far identified as Karl Friedrich Abel (1723 – 1787, a well-known 18th century viola da gamba players. A contemporary hand identifies the horn player as "Lawton," but his name appears below "Ponto [sic] horn." Giovanni Punto (1746 – 1803) was a famous horn (cor basse) player, but whether he ever played with Abel is unclear, as he was seldom in London, where Abel performed most of his concerts. The oboe player is identified as "Fischer," almost certainly Johann Christian Fischer (1733 – 1800). He came to London in 1768, played concerts with Abel, and lived in London the rest of his life. The "Concert Spirituel" was a "concert series founded in Paris in 1725 by Anne Danican Philidor, initially to perform instrumental music and sacred works with Latin texts; later, secular works to French texts… Read More

London: Printed for Clementi & Co..., 1825. . FIRST EDITION. 3 volumes. Small 8vo, 160 x 98 mms., pp. xv [xvi blank], 304; ix [x blank], 288; x, 301 [302 List of Plates], engraved title-page (foxed) in each volume, folding engraved frontispiece and one folding engraved facsimile of autograph music and 4 engraved portraits in volume 1, engraved frontispiece of music facsimiles and composers' autograph and 3 engraved portraits in volume 2 (lacking the portrait of Purcell), engraved portrait frontispiece, other engraved portraits (lacking the portrait of Braham), and 2 folding engraved facsimiles of autograph music in volume 3, contemporary calf, with gilt crest of Signet Library on each cover, volume 3 rebacked, with gilt spine, morocco label; front cover volume 1 detached, spine worn, joints volume 2 cracked and tender. Busby (1755 - 1838) was the tenor soloist in the 1785 Handel commemoration, an engraving of which forms the frontispiece to volume 1. The Anecdotes are still useful… Read More

In Venetia, Appresso Iseppo Imberti, 1628. 12mo, 131 x 65 mms., foliated but with numerous errors, [6], 1 - 71, 39, 73 - 96 [95 -title - page for La Musica], 86, 99 - 101, 86, 103 - 131, 145 - 156, 133 - 144, 153, 157 - 163, 145, 165, 147, 167 - 263 [235 title-page for Il Cielo], 260 - 262, 267, 264, 269, 265, 171, 268, 273, 270, 275 - 289 [290], but collated and complete, contemporary vellum; short tear in fore-margin of fol. 106 (F10), small pieces missing from four margins without affecting text, but a very good copy.

London: Printed for Sainsbury and Co....and sold by Longman..., 1827. 2 volumes. 8vo, 204 x 130 mms., pp. lxxii, 401 [402 blank, 403 printer's imprint, 404 blank]; [iv], 561 [562 text, 563 printer's imprint, 564 blank], original boards, uncut, paper labels on spines; lacks half-titles, top of spine volume 1 defective, top and base of spine volume 2 defective, with joints snagged as well, corners worn, a fairish copy only. With the autograph "J. T. Sims" on the front paste-down end-paper of each volume, and the inscription "Everald Simpson, from her loving/ mother Jane H. Simpson/ October 31, 1889" on the top margin of each title-page. John Sainsbury was a London bookseller and publisher. He compiled and published this work anonymously first in 1824, reissued it in 1825, then revised and expanded it for this second edition. New Grove notes that his "avowed intention was to publicize the merits of British musicians, whom he considered to have been unjustly… Read More

London: Printed for Sainsbury and Co....and sold by Longman..., 1827. 2 volumes. 8vo, 200 x 130 mms., pp. lxxii, 401 [402 blank, 403 printer's imprint, 404 blank]; [iv], 561 [562 text, 563 printer's imprint, 564 blank], including half-titles, contemporary cloth, with marbled cloth pasted over spines, paper labels; hinges cracked, but a reasonably good copy. John Sainsbury was a London bookseller and publisher. He compiled and published this work anonymously first in 1824, reissued it in 1825, then revised and expanded it for this second edition. New Grove notes that his "avowed intention was to publicize the merits of British musicians, whom he considered to have been unjustly neglected in the recent foreign dictionaries of Charon, Fayolle, and Gerber." He has relied on these works, but he began corresponding in 1823 with living musicians for details of their life and works and incorporates some of the results in this work. (Some of their replies can be seen in the Euling… Read More

A Paris, Chez la Veuve Duchesne..., 1768. FIRST EDITION. 4to, 251 x 194 mms., pp. ix [x - xii Avertissement and Errata], 548 [but 556] [557 - 558 Approbation, 559 - 560 blank], 13 folding engraved plates, contemporary mottled calf, spine ornately gilt in compartments, red leather label; base of spine wormed, top of spine chipped, slight wear to joints, but a good copy with the autograph and date (15 October 1822) of the German composer and musician Louis Kindscher (1800 - 1875) on the lower margin of the recto of the front free end-paper. Kindscher has annotated the work copiously Thomas Hunt described Rousseau's Dictionnaire as "a vital force in determining musical thought in the second half of the [eighteenth] century." Rousseau's compendium is widely considered the first modern music dictionary. Conceived partly as a corrective to his articles on music for the Encyclopédie by Diderot and d'Alembert, which were completed in haste and contained factual errors, its… Read More

Edinburgh: Printed for W. Gordon, T. Brown, N. R. Cheyne, & Silvester Doig, Edinburgh; W. Coke, Leith; J. Gillies, Glasgow; & G. Milln & W. Brown, Dundee, 1792. FIRST EDITION. 12mo (in 6s), 175 x 105 mms., pp. [ii], x [xi - xii blank], 359 [360 adverts], engraved frontispiece and engraved vignette on title-page, engraved music throughout text, stout library buckram; ex-library with library stamp in blind on title-page, autograph "J. Johnston" on top margin of title-page. The first song in this volume is "To Anacreon in Heaven," to which the American national anthem owes some musical debt. "Rule, Britannia" appears somewhat later. An American theme returns with "The Celebrated Death-Song of the Cherokee Indian, An Original Indian Air." A second volume was published in 1793.