ONSLOW, George 1784-1853

[Op. 10, nos. 1-2]. [10...11]tes Quartett für zwey Violinen, Bratsche und Violoncelle... [10]tes Werk No. [1...2] Preis [blank]. [Parts]

Wien: S. A. Steiner und Comp. [PN S:u:C: 2821...2822], [1818].

Folio. Early blue marbled wrappers with oval label with manuscript titling in ink to upper. Violino primo: 1f. (title), [1] (blank), 2-7 (no. 1), [i] (blank), 1f. (title), [1] (blank), 2-9 (no. 2), [i] (blank) pp.; Violino secondo: [1] (blank), 2-7 (no. 1), [i] (blank), [1] (blank), 2-7 (no. 2), [i] (blank) pp.; Violoncello: [i] (blank), 2-7 (no. 1), [1] (blank), 2-7 (no. 2), [i] (blank) pp. Engraved. Small circular handstamp, "TS," to all upper wrappers, title of no. 1, and first blank page of other partbooks. Early owner's signature, [?]"Gronigh," to lower right corner of title of no. 1. Early notational correction in red crayon to p. 2 of Violino primo part; measure numbers in pencil in a modern hand throughout. A later edition. Weinmann: Senefelder-Steiner-Haslinger 1, p. 158. WorldCat (no complete sets in the U.S.; a copy of no. 2 only at the University of North Carolina Chapel Hill).

Bound with:
ONSLOW
[Op. 10, no. 3]. [12]tes Quartett für zwey Violinen, Bratsche und Violoncelle... [10]tes Werk No. [3]. Preis f. 2._C.M./ [Reichsthaler sign] 1.8ggr. [Parts]. Wien: Tobias Haslinger [PN S:u:C: 2823], [after 1826]. Violino Io: [1] (title), 2-9, [i] (blank) pp.; Violino Secondo: [1] (blank), 2-7, [i] (blank) pp.; Violoncello: [1] (blank), 2-7, [i] (blank) pp. Engraved.
Measure numbers added in pencil in a modern hand throughout. Same edition as the above, a later issue. Weinmann: Senefelder-Steiner-Haslinger 1, p. 158. WorldCat (1 copy only, with "Tobias Haslinger" imprint, at the Badische Landesbibliothek, Karlsruhe with price in Florins only; imprint used from 1826 to 1842).

Somewhat worn; slightly foxed and soiled; Viola part for each set lacking.

"[A] French composer of English descent... Onslow’s string quartets and quintets are the pinnacle of his output. His youthful quartets (opp.4, 8, 9, and 10) are notable for great flexibility of writing, exceptional rhythmic and melodic charm, and great vitality. Onslow achieves a personal synthesis of the various styles handed down from his predecessors: the ‘quatuor concertant’, deriving from the French tradition of the 18th century, the ‘quatuor brilliant’, in which the first violin is treated as a soloist, and the Viennese-style quartet, which he practised as a performer... Onslow’s work was particularly successful in Germany and Austria throughout the first half of the 19th century, as the many editions of his works show." Viviane Niaux in Grove Music Online.

Item #25799

Price: $100.00  other currencies