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Firenze: Ferd.o Lorenzi [PNs 3560-3571], 1845. Large oblong folio. Full modern green cloth, marbled endpapers. 1f. (recto title within decorative border, verso blank), 1f. (recto table of contents, verso named cast list), 5-267 pp. Engraved. Uncut. Several leaves partially unopened. Each number with its own secondary pagination to upper margin. Named cast includes Cesare Badiali, Giuseppe Mori, Marietta Gazzaniga, Mazzarrini, Faustina Piombanti, Agostino Susini and Luigi Sanesi. Occasional light foxing, staining, and soiling; title and several leaves with minor tears and slight loss to blank margins; early tape repairs to verso of title; some leaves without primary pagination. An attractive, clean, and wide-margined copy overall. First Edition. Scarce. Schmidl, Vol. II, p. 1. Eudossia e Paolo, the first of Mabellini's two oratorios, was first performed in Florence at the Palazzo Vecchio on [?]24 June 1845, "for the benefit of a children's home, according to its printed libretto. The two-part…
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Eudossia e Paolo o I Martiri Dramma di Luigi Venturi Posto in Musica per commissione di S.A.I. e R. Leopoldo Secondo Granduca di Toscana ec.cc ... ed eseguito in Firenze nel Gran Salone di Palazzo Vecchio nella ricorrenza delle Feste di S. Giovanni del 1845. Proprietà dell' Autore Prezzo F. 36
by MABELLINI, Teodulo 1817-1897
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Eudossia e Paolo o I Martiri [Piano-vocal score]: Dramma di Luigi Venturi Posto in Musica per commissione di S.A.I. e R. Leopoldo Secondo Granduca di Toscana ec.cc ... ed eseguito in Firenze nel Gran Salone di Palazzo Vecchio nella ricorrenza delle Feste di S. Giovanni del 1845. Proprietà dell' Autore P
by MABELLINI, Teodulo 1817-1897
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Firenze: Ferd.o Lorenzi [PN 3560-3571], 1845. Large oblong folio. Green cloth-backed marbled boards. 1f. (recto title within decorative border, verso blank), 1f. (recto named cast list, verso contents), 5-267 pp. Engraved. Each number with its own secondary pagination to upper margin. Named cast includes Cesare Badiali, Giuseppe Mori, Marietta Gazzaniga, Mazzarrini, Faustina Piombanti, Agostino Susin,i and Luigi Sanesi. Binding worn, rubbed, and bumped; upper nearly detached. Very slightly browned. First Edition. Scarce. Schmidl, Vol. II, p. 1. Eudossia e Paolo, the first of Mabellini's two oratorios, was first performed in Florence at the Palazzo Vecchio on June [?]24, 1845, "for the benefit of a children's home, according to its printed libretto. The two-part oratorio makes extensive use of chorus, far more so than does the typical Italian oratorio ... The work received several additional performances in Florence and Livorno." Howard E. Smither: A History of the Oratorio, Vol. 4, p. 620. "As a…
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Messe [Full score]: à 3 voix concertantes avec choeurs et accompagnement d'orchestre (et partie d'orgue au dessous de la partition pour remplacer l'orchestre) Composée à l'occasion du mariage du Prince héréditaire de Toscane avec S.A.R. la Princesse Anne Marie de Saxe.
by MABELLINI, Teodulo 1817-1897
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Paris: S. Richault [PN 380 R], 1860. Folio. Green leather-backed marbled boards, titling and decorative devices gilt to spine. 1f. (title), 215, [1] (blank) pp. Engraved. With an autograph inscription to fellow-composer Francesco Maria Albini (1829-1917) signed "T Mabellini" in ink to upper margin of title, with Albini's signature and "1032" to lower margin of title. First Edition. Rare. Worldcat records copies at the Bibliothèque Nationale and University of California, Berkeley only. Bound with: MABELLINI. [Requiem]. Libera me Domine pour quatrevoix avec chœur et Accompagnem.t d'Orchestra (ou Orgue par Leprévost) ... [Full score]. Paris: Richault [PN 12675 R], [1853]. 1f. (title), [1] (blank), 210-252 pp. Engraved. First Edition, later issue. Scarce. From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981). Handstamp of Richault to foot of both titles. Binding slightly worn and bumped; boards detached. Light scattered…
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Addresses and Lectures
by MACFARREN, George Alexander
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London: Longmans, Green, 1888. Octavo. Boards. 282 pp. Head and tail of spine worn; endpapers browned. Browned throughout.
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Counterpoint: A Practical Course of Study
by MACFARREN, George Alexander
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Cambridge: University Press, 1881. Quarto. 116 + 31 pp. publisher's catalog. Binding worn and spotted; hinges split. Slightly dusty internally but in very good condition overall. Together with a 2-page autograph letter from the author discussing aspects of counterpoint to an unnamed correspondent dated May 8, [18]83.
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Memories: An Autobiography ... with numerous illustrations
by MacFARREN, Walter
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London: Walter Scott, 1905. Octavo. Full dark brown cloth with titling gilt to upper and spine. 1f. (recto half-title, verso blank), 1f. (recto blank, verso bust-length photographic reproduction frontispiece portrait of MacFarran), 1f. (recto title, verso blank), [v]-xiv (contents), 337, [i] pp. From the collection of Margaret Sutton, with her signature and date of 1905 to half-title and addition of two page references to index. Binding worn, rubbed, and bumped; spine frayed at head and tail with minor loss; lower joint split. Some browning, especially to outer edge of half-title; occasional foxing, including to title; hinges split. An English pianist and composer, MacFarren "was highly esteemed as a teacher and as a pianist, being regarded as 'a sound performer of the older school'." Nicholas Temperley in Grove Music Online. Sutton, a violinist, played some of MacFarren's works with him, including his romance, "Angelus.
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A Musician's Narrative ... With Four Plates
by MACKENZIE, Alexander Campbell
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London: Cassell, 1927. Hardcover. Very Good. Octavo. Full teal blue cloth with titling gilt to spine. 269, [i] pp. In dustjacket. Edges foxed. First Edition.
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A Social History of English Music
by MACKERNESS, E.D.
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London, Toronto: Routledge and Kegan Paul, University of Toronto Press, 1964. Hardcover. Very Good. Octavo. Full black cloth with titling to spine. 307 pp. With occasional illustrative plates. Binding slightly worn and spotted; minor foxing to endpapers and spotting to upper edge. In slightly worn dustjacket.
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L'Orgue à notre époque: Papers and proceedings of the symposium held at McGill University, May 26-28, 1981
by MACKEY, Donald, ed
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Montreal: McGill University, 1982. Octavo. Red illustrated wrappers. viii, 201, [i] (blank) pp. With occasional musical examples and illustrations in text. Wrappers slightly worn.
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Autograph inscription to the half-title leaf of the author's play Wisdom and Destiny inscribed "à Mademoiselle Florence J. Perkins Bien cordial souvenir," signed ("Maeterlinck"), and dated January 20, 1920
by MAETERLINCK, Maurice 1862-1949
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Octavo. 1 leaf only, with a short printed catalog of the author's works to verso. Extracted from the book. Slightly worn and browned. The dramas of the Belgian symbolist poet, essayist, and dramatist Maurice Maeterlinck (1862-1949) inspired compositions by some of the most important composers of the twentieth century, including Fauré, Debussy, Rachmaninoff, Schoenberg, and Webern. He was awarded the Nobel Prize in Literature in 1911. Wisdom and Destiny, a lengthy essay, was first published in French as La sagesse et la destinée in 1898.
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Stock Photo: Cover May Be Different
Mahler Remembered
by [MAHLER]. Lebrecht, Norman
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- ISBN 10 / ISBN 13
- 9780571150090 / 0571150098
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London: Faber and Faber, 1987. Hardcover. Very Good. Octavo. Boards. 322 pp. In dustjacket. Ex-library.
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Gustav Mahler Briefe 1879 - 1924 ... mit vier Bildbeigaben und einem Brieffaksimile
by [MAHLER]. Mahler, Alma Maria, ed
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Berlin: Paul Zsolnay, 1924. Hardcover. Very Good. Octavo. Boards. 492 pp.
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Mahler and His World
by [MAHLER]. Painter, Karen
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Princeton: Princeton University Press, 2002. Hardcover. Very Good. Octavo. Boards. xiii, 393 pp. Ex-library.
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Evolution et Esthetique du Lai Lyrique des Origines à la fin du XIVe Siècle
by MAILLARD, Jean
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Paris: Centre de Documentation Universitaire, 1961. Paperback. Good. Small folio. Wrappers. xvii, 395 pp. With musical examples. Upper wrapper creased.
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The Musician's Pilgrimage: A Study in Artistic Development
by MAITLAND, J. A. Fuller
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London: Smith, Elder, 1899. Hardcover. Good. Octavo. 152 pp. Binding, endpapers, and outer edges worn.
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English Music in the XIXth Century
by MAITLAND, J. A. Fuller
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London: Grant Richards, E. P. Dutton, 1902. Hardcover. Good. Octavo. 318 pp. Inscription to front endpaper. Binding worn. Browned.
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Culture and Society in Seventeenth-Century France
by MALAND, David
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New York: Charles Scribner's Sons, 1970. Hardcover. Very Good. Octavo. Full light gray cloth with titling gilt to spine. 319 pp. With occasional illustrations and musical examples. In slightly worn dustjacket.
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Printed visiting card with short autograph sentiment dated 4/1/1916
by MALATESTA, Pompilio 1879-
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On card stock 60 x 98 mm., laid down to mounting sheet 85 x 119 mm. Malatesta is thought to have made debut in 1898 at the Teatro Quirino in Roma as Guritano in ''Ruy Blas.'' He sang at Covent Garden in London in 1914, joined the Metropolitan Opera in New York in 1915 and sang there for many seasons.
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Carnevale dei Piccoli canti poplari ... illustrati da Nisa. [Solo piano]
by MALATESTA, Luigi
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Milano: S.A. Edizioni Suvini-Zerboni [PN S. 539 Z], 1938. Folio. Original publisher's wrappers illustrated in color. 1f. (recto title, printer's note), [3] (index), [4]-27, [i] (blank) pp. Wrappers slightly soiled; spine reinforced with clear tape. Moderately browned. First Edition, second issue.
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Sonatina per violoncello e pianoforte
by MALIPIERO, Gian Francesco 1882-1973
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Milano: Edizioni Suvini Zerboni [S. 4048 Z.], 1943. Quarto (310 x 240 mm). Original publisher's printed wrappers. Piano: 1f. (recto title, verso blank), 9; Cello: 3 pp. Wrappers slightly worn; price stamped to outer corner of upper. Minor signs of internal wear; blank lower margin of cello part browned. First Edition. L'Opera Malipiero (Treviso, 1952), p. 247. Malipiero was an "Italian composer and musicologist. Although very uneven, and less influential than Casella and Pizzetti, he was the most original and inventive Italian composer of his generation ... It is those achievements - now receiving increased recognition thanks to the large number of commercial recordings of his music issued since the early 1990s - which give at least some credibility to Dallapiccola's oft-repeated claim that Malipiero, not he, was the greatest Italian composer of his day." John C.G. Waterhouse in Grove Music Online.
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