Vienne: Pierre Mechetti ci-devant Charles [PN 345], [after 1815]. Folio. Disbound, with some leaves tipped-in. Violino primo:  (title, with device to head incorporating putti notating and playing music), 2-23, [i] (blank) pp.; Violino secondo:  (blank), 2-17, [i] (blank) pp.; Viola:  (blank), 2-15, [i] (blank) pp.; Violoncello:  (blank), 2-15, [i] (blank) pp. Engraved. Publisher's address to title: "im Michaelerhaus der k.k. Reitschule gegenüber No. 1221."
Early owner's dated signature, "G. Adensamer 20/8 1878," in pencil to title. Measure numbers added in pencil in a modern hand throughout.
Minimally foxed and soiled; impression very slightly light in places.
First Edition, later issue. Frei-Hauenschild, p. 448. Weinmann, Mecchetti, p. 10. WorldCat (several copies, 5 of which are in the U.S., at the Newberry Library in Chicago, the Eastman School of Music, Harvard University, Duke University, and Brigham Young University, not distinguishing among issues. The first issue has a different address in the imprint: "Bürgerspital-Platz No. 1166" (see copies at the Eastman School of Music, the Bayerische Staatsbibliothek in Munich, the Russian State Library in Moscow (all at IMSLP), and Duke University (University website).
The publisher moved to Michaelerplatz no. 1221 in late 1815; according to Weinmann, p. vii, the first issue of an unspecified edition with the new address dates from November 13, 1815. The not entirely correct address of the present issue suggests that its title was engraved at approximately the time of the move.
"Fesca’s reputation as a composer was based primarily on his string quartets and quintets. Between 1816 and 1826 he was the most frequently reviewed composer in this genre in the Allgemeine musikalische Zeitung, and his works were highly regarded by Spohr, Nägeli and Rochlitz, among others. Weber based his ideas on progressive contemporary chamber music on Fesca’s quartets, since they combined the detailed accompaniment figuration and complex thematic development of the Classical string quartet with the harmonic richness and virtuosity demanded at that time. Also characteristic is his gentle and amiable style, though the quartets opp.7, 12 and 14 display the more extrovert manner of the quatuor concertant." Markus Frei-Hauenschild in Grove Music Online. Item #25696
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