Autograph musical quotation signed "S. Thalberg. by THALBERG, Sigismond 1812-1871

Wien: Tobias Haslinger [PN] T.H. 7061, 1837. Oblong folio. Unbound as issued. 10 pp. Engraved. With decorative vignette to title. Slightly soiled. First Edition. Weinmann p. 18. Schonherr & Reinöhl pp. 140-142.

5 pp. Folio (355 x 280 mm.). Notated in pencil with additional markings in coloured ink. Signed and dated 2007. Tsontakis studied with Hugo Weisgall, Felix Greissle, and Roger Sessions. His honours include the Charles Ives Living Award, the Grawemeyer, two Kennedy Center Friedheim Awards (1989, 1992), a lifetime achievement award from the American Academy of Arts and Letters (1995), a Guggenheim Memorial Fellowship, (1996) and numerous commissions. "[His] early works are written in a dissonant chromatic idiom not unlike that of Sessions. His musical language soon shifted, however, towards a classically-influenced style characterized by large-scale harmonic prolongations and what he calls 'the timeless gesture', a reference to the past through evocation rather than quotation. With the String Quartet no. 3 'Carragio' (1986) he arrived at an idiosyncratic tonal language propelled by a non-minimalist, Beethovenian use of repetition. Another primary feature of his work, particularly notable in the… Read More

2 pp. Quarto. Foss identifies this work as having been composed in 1941 with a performance time of 3 minutes, with copyright held by Ruth Yorek and performance rights being controlled by the composer. The "singers required" are noted as "any number of school children voices and a teacher..." and the instrumentation as "piano 4 hands or piano 2 hands, drum ad. lib. (played by a child)." The program is identified as "a bunch of children making a lot of noise. The teacher convinces them after some struggle to turn their noise into music, into singing." "For all their diverse styles, Foss's works spring from a distinct personality: enthusiastic, curious and receptive to every kind of musical idea. Not coincidentally, these are the same attitudes he instilled in audiences with his performances of the classical repertory and new music. In short, he was one of his era's most communicative and representative composer-performers." Gilbert Chase and David Wright in Grove Music Online. An interesting… Read More

Leipzig: Breitkopf & Härtel [PN 3610], 1824. Oblong folio. Contemporary paper boards. 1f. (title), 88 pp. Lithographed. With label of the late 19th century lending library of Fritz Möller of Hamburg, Germany to upper board and advertising to front pastedown. Binding worn and rubbed; partially detached; spine chipped; joints split; endpapers lacking. Moderately foxed throughout; title browned. Köchel 8, p. 720. Hirsch IV, 1227. RISM M5105. La Clemenza di Tito, an opera seria in two acts to a libretto by Pietro Metastasio adapted by Caterino Mazzolà, was first performed in Prague at the National Theatre on September 6, 1791, approximately 3 months before Mozart died on December 5, 1791. He had arrived in Prague on August 28 and, despite his illness, finished work on the opera on the eve of the performance. "Although mostly composed after Die Zauberflöte, La clemenza di Tito was performed first... The reception was modest until a triumphant last night was reported to Mozart (who had left… Read More

1 page. Octavo (ca. 168 x 122 mm). Dated Thursday evening. On mourning stationery. In French (with translation). "I have to attend [?Louis] Laloy's premiere; naturally that is tomorrow, on Friday ... Would you change the enclosed tickets for Saturday? Thanks again ..." Slightly worn and browned; creased at folds and upper outer corner of final blank folio; small rust stain from paper clip to inner margin of final folio, not affecting text. "One of the most important musicians of his time, [Debussy's] harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande, and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic." François Lesure and Roy Howat in Grove Music Online. "Laloy [1874-1944] was a noted defender of contemporary French music and was a close friend of, and mediator between,… Read More

Wien: Tobias Haslinger [PN] T.H. 7061, 1837. Oblong folio. Unbound as issued. 10 pp. Engraved. With decorative vignette to title. Slightly soiled. First Edition. Weinmann p. 18. Schonherr & Reinöhl pp. 140-142.

5 pp. Folio (355 x 280 mm.). Notated in pencil with additional markings in coloured ink. Signed and dated 2007. Tsontakis studied with Hugo Weisgall, Felix Greissle, and Roger Sessions. His honours include the Charles Ives Living Award, the Grawemeyer, two Kennedy Center Friedheim Awards (1989, 1992), a lifetime achievement award from the American Academy of Arts and Letters (1995), a Guggenheim Memorial Fellowship, (1996) and numerous commissions. "[His] early works are written in a dissonant chromatic idiom not unlike that of Sessions. His musical language soon shifted, however, towards a classically-influenced style characterized by large-scale harmonic prolongations and what he calls 'the timeless gesture', a reference to the past through evocation rather than quotation. With the String Quartet no. 3 'Carragio' (1986) he arrived at an idiosyncratic tonal language propelled by a non-minimalist, Beethovenian use of repetition. Another primary feature of his work, particularly notable in the… Read More

2 pp. Quarto. Foss identifies this work as having been composed in 1941 with a performance time of 3 minutes, with copyright held by Ruth Yorek and performance rights being controlled by the composer. The "singers required" are noted as "any number of school children voices and a teacher..." and the instrumentation as "piano 4 hands or piano 2 hands, drum ad. lib. (played by a child)." The program is identified as "a bunch of children making a lot of noise. The teacher convinces them after some struggle to turn their noise into music, into singing." "For all their diverse styles, Foss's works spring from a distinct personality: enthusiastic, curious and receptive to every kind of musical idea. Not coincidentally, these are the same attitudes he instilled in audiences with his performances of the classical repertory and new music. In short, he was one of his era's most communicative and representative composer-performers." Gilbert Chase and David Wright in Grove Music Online. An interesting… Read More

Leipzig: Breitkopf & Härtel [PN 3610], 1824. Oblong folio. Contemporary paper boards. 1f. (title), 88 pp. Lithographed. With label of the late 19th century lending library of Fritz Möller of Hamburg, Germany to upper board and advertising to front pastedown. Binding worn and rubbed; partially detached; spine chipped; joints split; endpapers lacking. Moderately foxed throughout; title browned. Köchel 8, p. 720. Hirsch IV, 1227. RISM M5105. La Clemenza di Tito, an opera seria in two acts to a libretto by Pietro Metastasio adapted by Caterino Mazzolà, was first performed in Prague at the National Theatre on September 6, 1791, approximately 3 months before Mozart died on December 5, 1791. He had arrived in Prague on August 28 and, despite his illness, finished work on the opera on the eve of the performance. "Although mostly composed after Die Zauberflöte, La clemenza di Tito was performed first... The reception was modest until a triumphant last night was reported to Mozart (who had left… Read More

1 page. Octavo (ca. 168 x 122 mm). Dated Thursday evening. On mourning stationery. In French (with translation). "I have to attend [?Louis] Laloy's premiere; naturally that is tomorrow, on Friday ... Would you change the enclosed tickets for Saturday? Thanks again ..." Slightly worn and browned; creased at folds and upper outer corner of final blank folio; small rust stain from paper clip to inner margin of final folio, not affecting text. "One of the most important musicians of his time, [Debussy's] harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande, and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic." François Lesure and Roy Howat in Grove Music Online. "Laloy [1874-1944] was a noted defender of contemporary French music and was a close friend of, and mediator between,… Read More