Musical manuscript (5 resultados)

Soft cover. Condición: Very Good. 1st Edition. Liturgical music manuscript in latin with fine initial letter.320x490mm. A few ink annotations. A little thumbed and creased. Circa 1600.

Oblong folio (245 x 305 mm). Sewn. Notated in black and brown ink on 14-stave rastrum-ruled paper. 10 pp. Contains five variation sets for violin by various composers: 1) Tema with Variations for the Violin. 3 pp. Nine variations on a waltz-like theme in F major. Following each variation the scribe indicates "tutti" or "to the tutti," indicating that these variations may have been performed with an ensemble of musicians. Unlocated. 2) Bishop, Sir Henry Rowley 1786-1855 and [?]Anon Variations from Home Sweet Home. 2 pp. Five variations on Rowley's well-known song. Bishop was an English composer who, "in his day he enjoyed a commanding reputation as the guardian of the best traditions of English song, and for a time he kept English opera alive almost single-handed. Yet he is now remembered for little but the song Home, Sweet Home." Nicholas Temperley and Bruce Carr in Grove Music Online 3) Rode, Pierre 1774-1830 Theme with Variations for the Violin. 2 pp. Four variations originally published as a solo for violin accompanied by a second violin, viola, and cello. "At the height of his career, Rode was the most finished representative of the French violin school. Having assimilated Viotti's Classical approach, he imbued it with characteristically French verve, piquancy and a kind of nervous bravura. His artistic growth took place during the revolutionary decade, and it is not surprising that his music is akin to that of Cherubini and Méhul and the operas of the 1790s; there is declamatory pathos, martial dash and melting cantilena. His gift for lyrical, often melancholy melody, which represents a prominent trend in French music of this period, made his music particularly attractive to German early Romantic composers. . At the height of his career, Rode was the most finished representative of the French violin school. Having assimilated Viotti's Classical approach, he imbued it with characteristically French verve, piquancy and a kind of nervous bravura. His artistic growth took place during the revolutionary decade, and it is not surprising that his music is akin to that of Cherubini and Méhul and the operas of the 1790s; there is declamatory pathos, martial dash and melting cantilena. His gift for lyrical, often melancholy melody, which represents a prominent trend in French music of this period, made his music particularly attractive to German early Romantic composers. . His innate gifts as a teacher are demonstrated in his 24 Caprices, which balance the musical and technical needs of the student and have become an indispensable part of the violin curriculum." Boris Schwarz, revised by Clive Brown in Grove Music Online 4) Gyrowetz, Adalbert 1763-1850 Variations. 3 pp. Eight variations on a Tyrolean folksong, popular at the time and the subject of numerous variation sets. Gyrowetz was a noted Bohemian composer and conductor. 5) Rossini, Gioachino 1792-1868 Variations from the Tanti Palpiti. 2 pp. Five variations. The composer's Di tanti palpiti was the subject of variation sets by celebrated composers including Paganini, Giuliani, and Gelinek. Unlocated. Several small stains, mainly to blank margins; minor soiling to final page, mainly affecting its eight blank staves. These variations by the composers represented in the present manuscript are virtuosic, incorporating rapid scales and arpeggios, passages in double stops, and bariolage. Pierre Rode 1774-1830; Sir Henry Rowley Bishop 1786-1855; Adalbert Gyrowetz 1763-1850; Anon. [Copyist musical manuscript] (ilustrador).…

4to. (23) pp. on 12 ff. Brown ink on paper. Original wrapper. Sewn. A collection of 27 and 26 short contredances mostly in 6/8 time for violin, partly with fingering, and two additional songs on the final pages, one of which is attributed to the Belgian composer Joseph Henri Mees (1777-1855). The song "L'Amour et les Grâces" was published in Rouen in the early 19th century as a "Romance" with guitar accompaniment (BNF, VM 28-1221). It might point back to an older version of the same song by the Italian composer Iacopo Gotifredo Ferrari, published among "Six nouvelles romances avec accompagnement de forte-piano" in Paris between 1785 and 1793. The lyrics by Abbé Garon are noted separately with three stanzas underneath the music and the final two stanzas inserted between the 18th and 19th contredanse of the second collection. It remains unclear whether the two collections of contredanses can be attributed to Mees. The 10th contredanse of the second collection in 2/4 time, entitled "La flute enchantée", is based on Tamino's aria "Der Vogelfänger bin ich ja" from Mozart's The Magic Flute, which had premiered in 1791. The first Paris production of an adapted version of the opera took place in 1801 (year X of the French revolutionary calendar). - Two hands can be distinguished, the second on the last 4 leaves on partly different paper, which might point to repairs. The original handwritten title was torn off the wrapper. 3 staves partly or fully pasted for corrections. With waterstains on the cover, browning and minor tears. Some ink corrosion; binding loose.…

Oblong folio (240 x 304 mm). Notated in black ink on 10-stave rastrum-ruled paper. Watermark of a bunch of grapes. Violino primo: [i] (blank), 2, [i] (blank) pp. Violino secondo: [i] (blank), 2, [i] (blank) pp. With three measures cancelled. Slightly worn; some small losses, tears, and soiling to edges and blank margins; a few minor stains; occasional showthrough. Possibly unrecorded. Not located in the RISM manuscripts database. The composition is in four numbered parts. The first, in 2/4, presents a theme; the second is a variation on that theme; the third is in 6/8, in the style of an English jig, with some scalar ornamentation and two tiratas; the fourth and fifth parts return to 2/4 and are further variations on the original theme, this time with sixteenth-note variations incorporating trills, scales, leaps, and bariolage. A charming and vigorous late-18th century variation set and Giga for two violins, cleverly composed to exploit the varied registers, timbres, and figurations possible with the given instrumentation.…

Oblong octavo (158 x 227 mm). Disbound. Notated in black ink on 10-stave, rastrum-ruled paper. [i] (title), 102, [i] (blank) pp. Two ownership inscriptions in early black ink, in different hands, to upper outer corner of title, "M Bagot" and, later, "Margaret Hay." Musical fragment in pencil to free front endpaper. Corrections to bass line of "Nina mia" (no. 46) in smaller notes. Contains the following songs: 1) Bell'insalata fresca. 2 pp. 2) Belle Putte Veneziane. 2 pp. 3) Se miro quel volto. 2 pp. 4) Mi esser Tedesca. 2 pp. In a humorous pidgin-Italian. 5) Mia garbata Pastorella. 2 pp. 6) Speranze del mio cuore. 2 pp. 7) Senti cara Ninetta. 2 pp 8) Adesso si son desperada. 2 pp. 9) Or ti conosco Filide ingrata. 2 pp. 10) Lasciatemi un momento. 2 pp. With melodic accompanimental material in treble clef. 11) Cara bell'Idol mio. 2 pp. 12) Mala cosa esser donna. 2 pp. 13) Duettino . O bella Nice. 2 pp. Duet; one verse. 14) Amanti sbandite. 2 pp. 15) Per pieta se in sen. 2 pp. 16) La mia cara passarina. 2 pp. 17) Se volè che vè la diga. 2 pp. 18) Or vien dalla Lorena. 2 pp. 19) Nina se vu provessi. 2 pp. 20) Solo m'importa. 2 pp. 21) Da quel primier momento. 2 pp. 22) Parlami pur sincera. 2 pp. 23) Cara mia fillida. 2 pp. 24) Cara Nina mio Tesor. 2 pp. The melody is identical to Ah! vous dirai-je, mama (Twinkle, Twinkle in the English-speaking world). 25) Non sò come la sia. 2 pp. 26) Alfin de contenti. 2 pp. 27) Son innamorà. 2 pp. 28) Si Tirsi a Ciglio asciutto. 2 pp. 29) Nel primo istante. 2 pp. 30) Giancora nò sè stuffa. 2 pp. 31) Cara Nina son pentio. 2 pp. 32) Un certo Spiritello. 2 pp. 33) Clori vezzosa amabile. 2 pp. 34) Son Pastorella amante. 2 pp. 35) Lusinghiera m'ingannasti. 2 pp. 36) Donne cortesi. 2 pp. 37) Quanto è mai semplice. 2 pp. 38) Esce dal Gange fora. 2 pp. Duet, one verse. 39) L'amor che sento. 2 pp. 40) Gran destin. 2 pp. 41) Giovinotti con le Donne. 2 pp. 42) Cara Nina vò portà. 2 pp. 43) Poi chè con te non vale. 2 pp. 44) Clori se più non torno. 2 pp. 45) Quell'aria brillante. 2 pp. 46) Nina mia. 2 pp. 47) Una cara Tombolina. 2 pp. 48) Se mai volta un occhiada. 2 pp. 49) L'è un gran intrigo. 2 pp. Small tears to lower edge of front free endpaper; very occasional minor stains and soiling, mainly to edges and blank lower margins; one leaf detached. "In the first half of the 18th century the expression 'da battello' - associated with the term 'canzone,' 'aria,' 'arietta,' or 'canzonetta veneziana' - referred to strophic songs for solo voice and basso continuo songs in Venetian dialect, in AABB musical form. Initially, this repertoire was used for 'freschi' (nocturnal gondola rides), which explains the origin of the term. Lyrical texts, written by amateurs often belonging to the aristocracy and Venetian nobility, were mostly lover's serenades, but also humorous or satirical songs related to Carnevale. Musical borrowings were quite common and heterogeneous since they came from oral tradition or opera arias, as Benedetto Marcello satirized in Il Teatro alla moda (1720) and as has been recently confirmed. From the 1710s to the 1760s hundreds of anonymous songs 'da battello' were collected in manuscript anthologies, with most of them later published by John Walsh in his three volumes of Venetian Ballads (London, 1742, 1746, and 1748), attributed to Johann Adolf Hasse and 'All the Celebrated Italian Masters.' In the second half of the 18th century the European circulation of the sources of the manuscripts, the success of Walsh's editions, and the prestige of this vocal repertoire attest that the 'canzoni da battello' were enjoying international success in salon performances too, as musical product sought by 'good taste collectors.' Such wide appeal was witnessed by Rousseau (Dictionnaire de Musique, 1768), Quantz (Essai d'un méthode pour apprendre à jouer de la flûte traversière, 1752), and Burney (The Present State of Music in France and Italy, 1772). The term 'barcarola' - often associated with the 'canzone da.…