London: Willm. Napier [PN 67], [ca. 1777]. Oblong folio. Disbound. 1f. (fine decorative engraved title),  (blank), 2-45, [i] (blank) pp. Engraved.
Scored for flute or violin and harpsichord. Middle movements of each lesson with the first verse underlaid below flute part, and subsequent verses printed below music. With "N.B. To make this Work of more general use, the words are put to the middle Movements which are chiefly selected from the most favourite Scotch Airs" printed to lower margin of title.
Early signature of "Miss Acton" in black ink to upper margin of title.
Slightly worn; occasional light foxing and soiling; some very light dampstaining and worming to lower portions of pp. 21-27 and 35-45 respectively.
Together with early manuscript verses from one of the collection's Scotch airs, "De'el tak the War" (a.k.a. "Deil tak' the wars") laid in. Octavo. 1 p. In black ink. With titling ("The Wars") to upper margin. Text in English, with significant variation from published versions, particularly in the second verse ("But my brave, my dearest Willy goes through every danger... Oh! Had he been to the Wars a stranger, from my arms he ne'er had gone").
First Edition. Rather scarce. OCLC nos. 931915401,16457555. BUC p. 933. RISM S2216.
The "favourite Scotch Airs" to which Schroeter refers were perhaps adapted from his collection of 12 Favorite Scotch Songs for voice, harpsichord, and German flute or violin, which, according to RISM S2214, was also published by Napier (No. 67), ca. 1777.
Schroeter’s importance lies, Burney wrote, in his being ‘the first who brought into England the true art of treating [the piano]’ (Rees’s Cyclopaedia). His playing was not without bravura, and he astounded audiences by the graceful ease with which he performed rapid passage-work. Indeed the impression he made owed much to the delivery: ‘His touch was extremely light and graceful so that just to watch him play became a pleasure in itself’ (Musikalisches Wochenblatt). His compositions helped to popularize in England a natural ‘singing-allegro’ style and his concertos opp.3 and 5, which were among the earliest in England designed specifically for the piano, enjoyed particular success and influence. (Mozart was sufficiently impressed with op.3 to write cadenzas for three concertos.)" Ronald R. Kidd in Grove Music Online. Item #26714
Price: $650.00 other currencies