[Op. 39]. Grand Sonate pour le Piano=Forte composée et dédiée en Marque d'estime et d'amitié A Monsieur François Lauska Compositeur & Professor de Piano à Berlin ... Deuxieme Sonate.

Berlin: Adolphe Martin Schlesinger [PN 233], [1816]. 1f. (recto title, verso blank), [1] (blank), 4-29, [1] (blank) pp. Engraved. Publisher's small circular blindstamp to lower left corner of title.

Bound with:
[Op. 49]. Grand Sonate pour le Pianoforte ... No 3 de Sonate No. 236. Berlin: Adolphe Martin Schlesinger [PN 236], [1817]. 1f. (recto title, verso blank), [1] (blank), 2-29, [1] (blank) pp. Engraved, with "Gravé par Ch: Janicot" to lower right of page 3.

Linda di Chamounix Melodramma in Tre Atti ... Riduzione per Pianoforte solo di P. Tonassi. Fr. 18 [Piano solo]. Milano: Tito di Gio. Ricordi [PNs 13931, 13965-80], [1859]. 1f. (recto title, verso blank), 1f. (recto table of contents, verso blank), 3-124 pp. Each number with separate caption title, some with separate pagination. Engraved.

From the collection of Italian conductor, vocal coach, and close associate of Puccini and Mascagni, Luigi Ricci (1893-1981).

Oblong folio. Full dark red flexible boards with titling gilt to spine.

Binding somewhat worn and rubbed. Uniform browning; minor foxing; occasional light impression; and some offsetting to Weber; occasional foxing to Donizetti.

Weber op. 39: First Edition. Jähns J. 199, p. 213. Hoboken 15, 323.
Weber op. 49: First Edition. Jähns J. 206, p. 218. Hoboken 15, 328.
Donizetti: First Edition of the score for piano solo. Inzaghi IN. 73, p. 192. Bergamo catalog, p. 132, 19.

"Once again, to compare [the piano sonatas 2 and 3] with those being written by Beethoven, who was finishing his Op. 101 in A major in the same November, is absurd. But if we except Beethoven as an isolated phenomenon, Weber's achievement as a keyboard composer beside that of his contemporaries is extraordinary. He towers over them, and in his anticipation of the new worlds of feeling to be explored by Schumann, Chopin and Mendelssohn in their piano works, he need fear no comparisons at all. The finale of No. 3 has the gentle Romanticism and indeed much of the technique of a Schumann Novelette..." Warrack: Carl Maria von Weber, p. 172.

Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni (1831-1918), whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia, where he taught (amongst many others) Sesto Bruscantini, Anna Moffo, Rosalind Elias, Ezio Flagello, Peter Lindroos, and Martti Wallén. Item #31419

Price: $550.00  other currencies

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