Search Results: Authors starting with E from J & J Lubrano Music Antiquarians LLC

New York: Chandler-Ebel, 1911. Paperback. Fair. Small octavo. Illustrated wrappers. 246 pp. Wrappers worn Outer edges browned.

Praha: Panton [P 1549], 1975. Good. Quarto. Wrappers. 40 pp. Registration in Czech, German, and English. Slightly worn and browned. Second edition.

Half-length. Within ornamental border. 145 x 90 mm. Slightly browned; minor remnants of former mount and small circular collector's handstamp to verso ("W"). Collector's stamp not in Lugt. Bach used stanza 6 of Eber's New Year Hymn for the final four-part chorale of his Cantata 16, "Herr, Gott, dich loben wir" and set other Eber hymns in his Cantatas 28, 127, and 130.

Graz: Akademische Druck - U. Verlagsanstalt, 1957. Hardcover. Fine. Octavo. Boards. 487 pp.

Columbia, South Carolina: University of South Carolina Press, 1971. Quarto. Original publisher'sgray textured paper boards. xvi, 124 pp., 1f. (blank), 1f. (recto colophon, verso blank).

Bloomington and Indianapolis: Indiana University Press, 1994. Hardcover. Very Good. Octavo. Full dark ivory cloth with titling purple to spine. viii, 121 pp. With occasional musical examples. With inscription to noted American pianist Jacob Lateiner (1928-2010) to front free endpaper. In dustjacket.

No binding. Very Good. Large full-length photographic portrait. St. Paul, T.M. Swem, photographer. Ca. 248 x 173 mm. Lacking portion of upper left corner, with amateur repair to verso; several small perforations at corners; some bumping and soiling; signature (not autograph) of Edeson in purple ink to foot of mount.

New York - Chicago - London - Vienna/Leipzig - San Francisco - Toronto: M. Witmark [PN 7636], 1906. Quarto. Black cloth boards with titling gilt to upper and spine, original publisher's illustrated wrappers bound in. [1] (title), [2] (blank), [3] (original cast), [4] (contents), 5-230, [ii] (blank) pp. Boards slightly worn and rubbed. First Edition. Scarce.

New York - Chicago - San Francisco - London - Paris - Leipzig: M. Witmark [PN 4943], 1902. Quarto. Full dark blue cloth boards with titling gilt to upper and spine. [1] (title), [2] (blank), [3] (named cast list), [4] (contents), 5-232 pp. Boards slightly worn and rubbed. Occasional small chips to edges; one leaf with tear to upper margin repaired. First Edition.

n.p.: M. Witmark [PN 4524], 1901. Quarto. Full brown cloth with titling in white to spine. [i] (title), [i] (contents), 5-198 pp. With occasional performance notes in pencil. Binding slightly worn; ex-library, with call number and labels taped to spine; de-accession handstamp and library labels laid down to front free endpaper; library handstamp to first page of music and to one additional page. Probable First Edition.

New York , Chicago, London, Paris, Leipzig, Toronto: M. Witmark [PN 3222], 1900. Quarto. Full dark blue cloth boards with titling in gilt to upper and spine. [i] (title), [i] (blank), [i] (characters and setting), [i] (contents), 239, [i] (blank) pp. First Edition. An English conductor and composer, Edwards worked mainly as a conductor of operettas and composed a number of his own.

[?Boulder, Colorado], 1957. Small folio (236 x 332 mm.). One leaf. Notated in pencil on both sides of a leaf of pre-printed 12-stave "Facsimile score paper" issued by Music Print Corporation, Denver. Most probably associated with p. 76 of the printed piano-vocal score of the work. Three staves per system (Wesley's vocal part, notated in G clef, with text underlay; piano accompaniment). Cue in blue pencil, "Wesley[:] O that in me the sacred fire," and reference, "P. 76," to head of recto. Music ends after 25 measures on lower half of verso, followed by "etc." and reference, "p. 76." Date to foot of recto. With: Fragment of libretto of The Invisible Fire. Three typed leaves, stapled, with text to rectos only. Fragment beginning with Part II of the oratorio and ending in the middle of Part V; text of Part I and from the middle of Part V lacking. Autograph note in red pencil to upper left corner of first page: "Send to Cassilly." With numerous autograph annotations in blue pencil indicating division… Read More

A German composer and pupil of Carl Orff, "between 1927 and 1929 Egk established contact with Kurt Weill, Hans Flesch, Bertolt Brecht and Erwin Piscator. The dramatic works that followed, for which Egk often served as his own librettist, embrace a range of genres from marionette theatre... to radio documentary." Andrew D. McCredie in Grove Music Online.

Mainz: B. Schott's Söhne [B.S.S 37095a; 4559], 1956. Paperback. Good. Octavo. Wrappers. 1f., 72 pp. From the collection of noted musicologist Stanley Boorman, with his signature to upper. Wrappers somewhat worn at spine. Moderately browned.

Pesten: Rózsavölgyi és Társá [PN R & C. No 317], 1860. Folio. Disbound. [1] (collective title "Dalok - Gesänge"), 2-5, [i] (blank) pp. Engraved. Light soiling to edges and corners; impression occasionally faint; final leaf detached. An early edition. Mona 1297. Scarce (no copies located in the U.S. or U.K.). "With his songs and dances for the theatre in particular, he soon found wide popularity throughout the country and came to be regarded as a pioneer of the Hungarian national popular song and csárdás." Ferenc Bónis in Grove Music Online.

London: Broderip & Wilkinson, 1799. Folio. Newly bound in full brown linen with printed paper title label to spine. 1f. (title), [1] (blank), 2-39 pp. Engraved. First Edition. BUC p. 313. RISM E499. Telemaque was first performed at the King's Theatre on 27 March 1799, receiving 24 performances. The dancers included D'Egville, Didelot and Hilligsberg. Smith 191. The music draws from Haydn, Pleyel, Sacchini, Gluck, and others. Both D'Egville and Bossi were engaged by the King's Theatre as choreographer and composer/arranger respectively. While D'Egville is credited along with Bossi with the present ballet, it is most likely that Bossi was largely responsible for the music with D'Egville responsible for the choreography. The ballet itself was a reworking of d'Abuberval's ballet of the same name.

Berlin: B. Behr's Buchhandlung (E. Bock), 1879. Small quarto. Highly decorative royal blue cloth with titling gilt to upper and spine, ivory doublures, all edges gilt. 1f. (recto title, verso quotation and copyright), [v]-vi (author's note), 189, [i] (printer's note), 1f. (recto publisher's advertisement, verso blank). With manuscript quotation from Goethe in a contemporary hand to recto of preliminary leaf signed and dated Berlin, September 15, 1880. Small binder's label to lower inner corner of rear pastedown: "J.R. Herzog Buchbinderei Leipzig." The author was a pupil of both Schumann and Mendelssohn. An attractive example of this prominent Leipzig bookbinder's work.

Berlin: J. Guttentag, 1859. Octavo. Plain light brown boards. 1f. (recto title, verso copyright), 166 pp. Bookplate of Paul v. Lowenberg and small oval label of Dr. Emanuel Popper to front pastedown. Binding slightly worn, rubbed, bumped, and stained; minor offsetting of bookplate to free front endpaper. Occasional foxing; title slightly stained. The author, a pupil of both Schumann and Mendelssohn, addresses these "letters" to "a lady," discussing the music of Beethoven, Mendelssohn, Schubert, and Schumann at some length.

Wien: Universal Edition [UE 13197; UE 11817], 1961. Very Good. Large octavo. Publisher's red leatherette, titling gilt to upper and spine. 2ff., 507 pp. Text in German. From the collection of noted musicologist Stanley Boorman, with his signature to upper verso. Small tear to upper at head of spine. Slight browning to edges. Reduced size reprint of the first edition full score.

New York: Norton, 1956. Hardcover. Very Good. Octavo. Boards. 265 pp. In dustjacket.