[Madrid]: [Antonio Romero], . Octavo. Dark green leather-backed marbled boards, with spine in decorative compartments gilt, marbled endpapers. [i] (title), [i] (copyright notice and printer's note), 1f. (preliminary material), 1f. (dedication), [vii]-viii (prologue), -36 + 7 engraved folding plates of musical examples. Dedication dated Madrid, November 30, 1857.
With the manuscript name of a former owner ("Panchita Morera y Ortiz") and a Barcelona vendor's (or owner's) handstamp, "Jose Jurch," to lower edge of title; small Barcelona bookseller's label to rear pastedown.
Binding slightly worn, rubbed and bumped; split at upper joint; first and last blank leaves heavily browned; scattered light foxing; some leaves slightly creased.
Probable First Edition.
Written in a dialogue style, Romero's treatise harkens back to a genre of medieval music theory treatises which explicate basic music principles with language borrowed from the late antique and medieval grammar tradition.
Romero was a Spanish clarinettist, music publisher, instrument inventor, and influential figure in Madrid musical life. "As a publisher he laid particular emphasis on making available works by Spanish composers and on enlarging the military band repertory. He published a series of specially commissioned Spanish-language tutors covering all conservatory and band instruments, himself writing those for the clarinet, the bassoon and the french horn. A modern revised edition of his clarinet tutor was still in use in Spain at the end of the 20th century... An early and enthusiastic supporter of the application of Boehm’s ideas to the clarinet, Romero added two keys to the clarinet in 1851, and in 1853 conceived (with Paul Bié) a highly praised clarinet system, incorporating ring keys, that provided greater agility and improved intonation." Beryl Kenyon de Pascual in Grove Music Online. Item #24973
Price: $150.00 other currencies