Search Results: Titles starting with S from J & J Lubrano Music Antiquarians LLC

Hardcover. Very Good. Octavo. Full publisher's maroon cloth with titling gilt to spine. 70 pp. Illustrated, some in color. In worn dustjacket. Former owner's name to front free endpaper. In the series The World of Music edited by Sir George Franckenstein and Otto Erich Deutsch.

Farnham: Ashgate, 2012. Octavo. Boards. 524 pp. As-new. In the series "A Library of Essays on Renaissance Music" edited by Stanley Boorman.

1903. 2 volumes. Folio (350 x 285 mm.). Uniformly bound in full dark green cloth boards with titling gilt to upper boards and spines, marbled endpapers. Volume I: Bon chevalier: [1] (manuscript title), 42 pp. With corrections, annotations, and performance markings in lead and blue pencil and with a short 4-measure sketch to verso of final leaf. Volume 2: Les faux beaux jours: [1] (manuscript title), 27 pp. + 8 pp. orchestral sketches in pencil and ink laid in (these do not appear to relate to this particular song, although they may relate to one of the other 12 songs in the cycle). Both manuscripts notated in black ink on 28-stave music paper with the small embossed stamp of "H. Lardesnault Ed. Bellamy Sr. PARIS" to upper inner margins. Binding slightly worn, rubbed, and bumped. Some internal wear and browning, heavier to margins of first and last leaves. Each leaf guarded at inner edge. Sagesse is both the title of Verlaine's book of 12 poems and the title of the group of song settings of these… Read More

Bergamo: Istituto Italiano d'Arti Grafiche, 1913. Softcover. Very Good. Large octavo. Flexible boards. 114 pp. With 182 photographic illustrations on coated stock. Spine slightly frayed. Minor wear.

London, 1740. Unbound. Very Good. 1 leaf, with a large elaborate vignette to head illustrating the song with music and text below set for voice and figured bass with a separate part for flute. Signed in the plate by the engraver, G. Bickham junr. Ca 326 x 200 mm. (12.75" x 7.85") [plate mark]. Slightly worn; minor soiling and dampstaining. From the second edition of Bickham's monumental work, first published in 1737-1739. BUC p. 107. RISM BII p. 245. "[Bickham ?1706-1771] was principally famous in music circles for his two illustrated folio volumes The Musical Entertainer, first issued in fortnightly parts, each containing four plates, from January 1737 to December 1739. The 200 plates are songs, headed and surrounded with pictorial embellishments illustrative of the song ..., and engraved in the style of and even copied directly from Gravelot and Watteau. This work was the first of its kind to be published in England and quickly produced imitators such as Lampe's British Melody, engraved by… Read More

New York: G. Schirmer [PN 43461], 1955. Quarto. Original publisher's illustrated wrappers printed in colours. [i] (title), [i] (copyright and note), [i] (named cast list), [i] (blank), 307, [i] (blank) pp. Wrappers very slightly worn. First Edition. "The Saint of Bleecker Street (1954), is a full-length piece in the broad and serious style of The Consul. It is an effective drama set in contemporary New York and concerned with the conflict of the physical and spiritual worlds. The opera received the Drama Critics' Circle Award for the best play, the New York Music Critics' Circle Award for the best opera and the Pulitzer Prize in music for 1955." "Choral music was an important element in Amahl and The Saint of Bleecker Street; it is basic to the 'madrigal fable' The Unicorn, the Gorgon and the Manticore. Commissioned by the Elizabeth Sprague Coolidge Foundation, it is one of Menotti's most charming works. The model was the late Renaissance madrigal comedy (such as Vecchi's L'amfiparnaso), and the… Read More

Paris: Ch. Delagrave, 1914. Softcover. Very Good. Octavo. Original publisher's illustrated wrappers printed in red and black. 271 pp. + contents. Wrappers worn and with small tears.

Folio. Stapled at upper margin. Folio. 3 pp. Notated on 16-stave green music paper. A working manuscript. Together with: - Two photographic copies of the autograph manuscript fair copy with occasional autograph annotations in lead and blue pencil. The title has been changed from "The Saints" to "The Shining Place" in one of the copies. - Proof copy of the first edition published by Southern Music, ca. 1988. Folio. Spiral-bound dark pink wrappers. With autograph alterations and corrections in red and lead pencil. With a partial photographic copy of the composer's autograph manuscript. - The published edition of 1988 with occasional editorial corrections and alterations in red and lead pencil. "As a composer Hoiby was a modern Romantic from the lineage of Barber and Menotti. The influence of the former is evident in his warm lyricism, while that of the latter is found in a propensity for light, genial humour. Though much of his music is characterized by a disarming diatonic simplicity, his… Read More

Paris: Choudens Fils [PN A.C. 8240], 1892. Large octavo. Original publisher's illustrated wrappers. [i] (title), [ii] (notes on first performance, named cast list, and contents), [i] (blank), 3-384 pp. Named cast includes Caon, A. Wolf, Sellier, Vergnet, Renaud, Sentein, Bouvet, Peeters, Challet, Gogny, Simonis, De Bardy, and Vanderlinden. Wrappers slightly worn and soiled; spine reinforced with tape. Minor internal wear; some signatures split or partially split. Second version.

Paris: Choudens Fils [PN A.C. 8240], 1900. Large octavo. Half dark red morocco with marbled boards, marbled endpapers. 2ff. (title, named cast lists for 1890 and 1892 performances, contents), 3-384 pp. Named cast for the 1890 performance includes Caron, A. Wolf, Sellier, Vergnet, Renaud, Sentein, Bouvet, Peeters, Challet, Gogny, Simonis, De Bardy and Vanderlinden and for the 1892 performance Caron, Vincent, Saleza, Vergnet, Renaud, Delmas, Beyle, Dubulle, Ballard, Gallois, Devriès, Douaillier, and Dénoyer. Binding worn, rubbed, and bumped; spine lacking; endpapers partially detached. Browned. Re-issue. Salammbô was first performed in Brussels at the Théâtre de la Monnaie on 10 February 1890. "The operas Sigurd and Salammbô together represent [Reyer's] highest achievement as a composer. Both were first produced at the Théâtre de la Monnaie, Brussels, whose management was at that time considerably more adventurous than that of the Paris Opéra... Salammbô (1890), brought his friend… Read More

Berlin: Adolph Fürstner [PNs A. 5530 F., A. 5503, 5507, 5530, 5534, 5535, 5541 F.], 1906. Folio. Dark red publisher's decorative wrappers printed in black, gold, and light purple. 1f. (recto title, verso blank), 1f. (recto cast list, verso blank), 5-203 pp. Wrappers somewhat worn; frayed at head and tail of spine with minor paper loss; lower outer corner lacking; decorative green label of the Milan music publisher Sonzogno to foot of upper. Slightly worn and browned; some corners creased. Mueller von Asow p. 358 Considered the work that would establish Strauss as the leading German opera composer of his time, Salome, in one act to Hedwig Lachmann's German translation of Oscar Wilde's play, was first performed in Dresden at the Hofoper on 9 December 1905. "With the colourful, chromatic Salome he found a new, modernist voice for the stage, one that resonated throughout a Europe preoccupied with the image of the sensual femme fatale. Within a year of its 1905 Dresden première, this succès de… Read More

Berlin: Adolph Fürstner [PN A. 5503 F.], 1905. Folio. Full dark red textured cloth with titling gilt to upper and spine, endpapers with floral motif printed in olive green. [1] (title in red and black), [2] (blank), [3] ("Personen"), [4] (blank), 5-203 (music) pp. Text in German. With performance markings in multicolored pencil and red ink. "Hugh H. Pillsbury" gilt to lower outer corner of upper board; brief manuscript annotations in ink to free front endpaper. Binding very slightly worn, rubbed, and bumped; small binder's holes to inner margins of some leaves. Slightly worn and soiled; red ink waterstains to outer margin of first and last leaves, significantly affecting mostly blank area of title; two leaves detached. First Edition, early issue, with "Drama" (as opposed to "Musik-Drama") to title and text in German only (not German and English); single plate number throughout, without the numbers 3015.05. at lower right corner of title after "Leipzig" (found in the first issue); plate number A.… Read More

London: Boosey & Hawkes, 1960. Octavo. Half ivory linen with red cloth boards, "RS" gilt to upper, titling red to spine. 1f. (recto title, verso publisher's note), 1f. (recto cast list and list of orchestral forces, verso blank), 5-352 pp. Small price handstamp to upper outer corner of free front endpaper. Considered the work that would establish Strauss as the leading German opera composer of his time, Salome, in one act to Hedwig Lachmann's German translation of Oscar Wilde's play, was first performed in Dresden at the Hofoper on 9 December 1905. "With the colourful, chromatic Salome he found a new, modernist voice for the stage, one that resonated throughout a Europe preoccupied with the image of the sensual femme fatale. Within a year of its 1905 Dresden première, this succès de scandale had been performed in six German cities as well as Graz, Prague and Milan, and its fame quickly spread throughout Europe and the USA." Bryan Gilliam and Charles Youmans in Grove Music Online.

Berlin: Adolph Fürstner [PN A. 5503 F.], 1906. Folio. Full dark red cloth with titling gilt to spine, original publisher's dark red decorative upper red wrapper printed in black, gold, and light purple bound in. [1] (title in red and black), [2] (blank), [3] ("Personen"), [4] (blank), 5-203 (music) pp. Text in German. Occasional performance markings in red and blue pencil. Italian translation in pencil below German text throughout. From the collection of Luigi Ricci (1893-1981) an Italian conductor, accompanist and vocal coach, who worked with Puccini, Mascagni and many other Italian composers and singers. Binding slightly worn, rubbed, bumped, and stained; remnants of endpapers to inner margin of wrapper. Early edition, with "Drama" (as opposed to "Musik-Drama") to title and text in German only (not German and English); plate number A. 5503.5507. 5530 F. to pp. 137-148 ("Salomes Tanz" - plate number 5507 was used for the solo piano edition. Trenner 215. Mueller von Asow I, p. 358. Pipers… Read More

Leipzig: VEB, 1967. Hardcover. Good. Octavo. Full blue cloth with titling in silver to upper and spine. 119 pp. Browned, especially at edges.

Leipzig: VEB, 1972. Oblong quarto. Original publisher's marbled boards with title label to upper. 116 pp. Binding slightly worn, rubbed, and bumped.

New York: G. Schirmer [PN 10196], 1892. Large octavo. Original publisher's decorative green wrappers. 1f. (decorative title), 1f. (cast list), [3]-17 (libretto), [i] (blank), 222 pp. Occasional performance notations in pencil. Spine slightly creased and faded. Some signatures split.

Paris: A Durand & Fils [PN D. & F. 4803], 1894. Large octavo. 1f. (recto title, verso blank), 1f. (recto contents, verso cast list), 3-224 pp. Text in English. Occasional light foxing; some signatures split; occasional lyrics translated into French in blue ink; tape to inner margins of first leaf and verso of final leaf; minor tear to outer edge of title; minor tears to upper margin of third leaf, not affecting music. Lacking wrappers. First English edition. Ratner II, p. 23.

London: Printed for I. Walsh in Catherine Street in the Strand, of whom may be had all Mr. Handel's Works, 1746. Folio. Full modern black cloth. 1f. (recto title, verso blank), 1f. (recto table, verso blank), [i] (blank), 91, [i] (blank) pp. Engraved throughout. Small ink "x' in manuscript above first stave of p. 89; "da Capo" in pencil at conclusion. Contains the overture and complete arias and duets, including the noted aria for soprano "Let the bright seraphim in burning row" to pp. 88-91. Named singers include Signora Avolio, Mrs. Cibber, Mr. Beard, and Mrs. Clive. Provenance Lisa Cox Music, with cataloguing indicating that the present volume is from the collection of noted British musicologist Alan Tyson (1926-2000). Slightly worn and soiled; occasional small stains to margins of several leaves; small tear to p. 12 at lower inner margin, repaired with archival tape; very small loss to upper right corner of pp. 87-91. In very good condition overall. First Edition, fourth issue. Smith p.… Read More

Paris: A. Durand et Fils [PN D. & F. 5583], 1900. Large octavo. Quarter dark brown morocco with marbled boards, raised bands on spine in compartments, black title label gilt, marbled endpapers. 1f. (recto half-title, verso blank), 1f. (recto dedication, verso publication note), 1f. (recto blank, verso heliogravure portrait engraving of Saint-Saëns with reproduction autograph musical quotation), 1f. (recto title in red and black, verso blank), 1f. (recto notes on first performances and named cast list, verso blank), 1f. (recto color plate depicting Dalila holding Samson's hair, verso blank), 1f. (recto notes on first performance and named cast list, verso blank), 1f. (irecto index, verso blank), 285, [i] (blank) pp. Named cast for the first performance in Weimar at the Théatre Grand-Ducal on 2 December 1877 includes Muller, Férenczy, and Milde; for the first performance in France, in Rouen, at the Théatre des Arts on 3 March 1890 Bossy, Lafarge, and Mondaud; and for the first performance in Paris… Read More