8vo, pp. , 240; plate no. 6823, lithographed title-page, engraved music; some light spotting throughout, small water-stain to upper margin towards end; contemporary ownership signature to title and discreet stamp of the Carlsbader Musikverein at regular intervals; a good copy in contemporary half roan, spine lettered gilt, a little rubbed.
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Symphonie No. 3, componirt und Ihrer Majestät der Königin Victoria von England zugeeignet … Partitur, Op. 56.
First edition of Mendelssohn’s ‘Scottish’ Symphony. It was first conceived when Mendelssohn visited Scotland during 1829, but the composer only began work in earnest ten years later.
The first performance took place in Leipzig on 3 March 1842; after its London première on 13 June Mendelssohn dedicated the work to Queen Victoria. The public reception in London was most enthusiastic with Mendelssohn receiving storms of applause not only at his own concerts but also at the concerts which he attended.
Hirsch M.287; P. W. Jones, Catalogue of the Mendelssohn Papers in the Bodleian Library, Oxford, vol. III, Tutzing, 1989, no. 784.
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THE HANDEL COMMEMORATION CONCERTSDEDICATION BY SAMUEL JOHNSON BURNEY, Charles.
An Account of the musical Performances in Westminster-Abbey, and the Pantheon, May 26th, 27th, 29th; and June the 3d, and 5th, 1784. In Commemoration of Handel ...
First edition. The Handel Commemoration Concerts of 1784, conceived the previous year by Viscount Fitzwilliam, Sir Watkins Williams Wynn and Joah Bates to celebrate the centenary of the birth of George Frederick Handel, were performances on a scale then unprecedented in England. On the morning of Wednesday 26 May 1784 at Westminster Abbey (where Handel is buried), 525 musicians and singers performed the Dettingen Te Deum, one of the Coronation Anthems, one of the Chandos Anthems, part of the Funeral Anthem, and a few shorter pieces. The next evening at the Pantheon a smaller group performed various songs and choruses, sacred and secular, four concertos, and an overture, and on the Saturday morning the full company returned to the Abbey to perform ‘Messiah’. So successful were the concerts in the Abbey that they were repeated in full the next week. The event raised £6000 for the Royal Society of Musicians, and £1000 for the Westminster Hospital.
L’art, ou les principes philosophiques du chant. IIe edition, corrigée et augmentée.
First edition. The designation ‘IIe edition, corrigée et augmentée’ on the title arises from the publication in 1755 of L’art du chant, dedié a Madame de Pompadour by Jean-Antoine Bérard, whom Blanchet accuses of incorporating his material. The two works certainly include many passages which are almost identical, notably the first and third chapters, ‘La voix considérée par rapport au chant’ and ‘La formation de la voix’. Blanchet in turn seems to have based much of his work upon the physician and anatomist Antoine Ferrein’s De la formation de la voix de l’homme (1741), although he refutes this imputation at the end of the ‘avertissement’ here.