Four parts in one vol., oblong 8vo (142 × 230 mm), each partbook pp. , 49,  and in the original printed wrappers (red, green, orange, blue, depending on the part); bound together in contemporary green half morocco, glazed paper sides in imitation of straight-grain morocco; some spotting, light stain in the gutter towards the beginning, but a very good copy, originally belonging to one J. Haltiner, with his name stamped gilt to front cover, and written in ink or pencil to the title of each part.
US $1162 €1050
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Männergesänge von Freunden der Tonkunst gesammelt, dem Liederkranze zu Franfurt a. M. in Liebe geweihet und zu Gunsten der dortigen Mozart-Stiftung herausgegeben …
First edition, the partbook issue. The work was also issued in score. Both are very rare, OCLC locating a copy of the 1st Bass part at Pittsburgh Theological Seminary, and a set at the Swiss National Library. There are apparently no copies in Germany: KVK shows the British Library copy (in score) only.
Among the 46 pieces included are works by Mozart, Just, Speyer, and some minor German and Swiss composers, but the surprise comes in three English glees, translated into German, by Samuel Webbe, ‘one of our greatest glee composers in every sense’ (Baptie), ‘Mr’ [Richard?] Wainwright, and Reginald Spofforth, his ‘Hail, smiling morn’, ‘possibly the most popular glee in the entire repertory’ (New Grove).
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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.