Leipzig: Breitkopf & Härtel [PN 4702], ca. 1898.
Small quarto (275 x 195 mm). Original publisher's illustrated wrappers printed in color with titling within pictorial border to upper, publisher's advertisements to verso of lower. 21 pp. Text in English and German.
From the library of noted musicologist Stanley Boorman, with his signature to outer corner of upper wrapper.
Wrappers considerably worn; reinforced with paper and clear tape. Uniformly browned.
First Edition, later issue, with "Printed in Germany" to foot of upper wrapper.
"Bantock’s compositional output was prodigious and from the turn of the 20th century to his death in 1946, he poured out, apparently effortlessly, orchestral and choral works, piano and chamber music, compositions for brass band, and hundreds of songs. ...Gradually Bantock’s music passed out of fashion, for reasons easily understood: Bantock was strongly influenced by Wagner and Richard Strauss, but failed to find a consistently distinctive musical language of his own. He never adopted the advanced harmonic idiom of Tristan, let alone Salome or Elektra. His harmonic style suggests rather such works as Der fliegende Holländer and Guntram. It is based on common chords and diatonic discords; the complex chromatic suspensions of Tristan are outside its scope, as is the dissonant counterpoint of Strauss’s more advanced works. His obsession with pseudo-eastern subjects was also a handicap, since it was the theatrical east of magnificent processions, the gigantic, and the gaudy that attracted him; and although he travelled to several Asian countries, the subtlety and restraint of oriental thought escaped him." Peter J. Pirie, David Brock, and Andrew King in Grove Music Online.
Price: $15.00 other currencies