Leipzig: Wolfgang Deer, 1732.
Thick octavo. Full mottled calf with raised bands on spine in decorative compartments gilt, light tan leather title label gilt, marbled endpapers, red edges, blue silk ribbon marker. 1f. (recto blank, verso frontispiece), 1f. (recto title, verso blank), 3ff. (dedication to Ernst August dated "Weimar, den 16ten Febr. 1732"), 3ff. ("Vorbericht"), 659, [i] ("Addenda,), [vi] ("Emendanda"), 1f. (publisher's advertisements) + 22 folding plates music.
With decorative typeset headpiece to foreword, decorative woodcut to head of first page of text, and fine woodcut tailpiece to p. 659.
The fine full-page engraved frontispiece, both drawn and engraved by Johann Christoph Dehne, depicts the performance of a [?]Bach cantata in a South German church. A gentleman (?J.S. Bach) is seated at the organ playing from a musical score; a Kapellmeister holding two rolls of music directs the performance, with an orchestra of singers and instrumentalists behind him. A bandora (a metal-stringed bass lute), a horn with a decorative bell, a triangle, and wind instruments, hang on a wall in the background.
With an excerpt from Psalm 150:2, "Alles, was Odem hat, lobe den Herrn!" (Everything that has breath praise the Lord) engraved above the organ keyboard.
Two early signatures, one at upper outer corner ("E. Andersson 28/3 50") and one to lower right ("Christian [?]Tuell), and two other minor markings to title.
Binding slightly worn, rubbed and bumped; minor chip to tail of spine. Slightly worn internally; light uniform browning; very occasional foxing and staining; some corners slightly creased; some upper margins slightly trimmed, not affecting text; one instance of mispagination ("596"[!] "569"); small stain to blank left margin and foxed spot to blank upper margin of frontispiece.
First Edition. 300 Jahre Johann Sebastian Bach, 103. Cortot pp. 198-199. Hirsch I, 606. Gregory-Bartlett p. 287. RISM BVI p. 878.
"The figure depicted at the organ may represent J.S. Bach." Paxman: A Chronology of Western Classical Music 1600-2000, p. 181.
"Walther is a notable figure in German Baroque music history. His greatest contribution is the Musicalisches Lexicon, the first major music dictionary in German and the first in any language to include both musical terms and biographies of musicians from the past and present ... To the continuing gratitude of music historians, it serves as a still unexhausted repository of facts about musical conditions, concepts, performing practices, the major composers and writers on music up to the first decades of the 18th century. Walther’s gift in codifying musical knowledge was based on a number of earlier musical dictionaries of various kinds, most particularly, as he himself made clear, the work of Sébastien de Brossard (Paris, 1703). However, Walther conceived his work as a comprehensive collection both biographical and bibliographical in nature as well as fully representative of European musical terminology as he knew it. The Musicalisches Lexicon includes more than 3000 musical terms; more than 200 authors and 250 sources are drawn upon, first and foremost Mattheson, to whose works more than 200 references are made. Walther’s consummate command of the materials of music theory and history are evident in the wide range of these sources, including most of the 17th-century European treatises, and also earlier treatises from the Renaissance as well as works from antiquity quoted from Meibom’s Antiquae musicae of 1652 (see Eggebrecht’s valuable article). Walther continued to work on his dictionary after its publication and hoped to publish a second, revised edition, for which he completed a manuscript (in A-Wgm). Many of Walther’s revisions and supplementary entries were subsequently incorporated by E.L. Gerber into his Lexicon der Tonkünstler (Leipzig, 1790–92)." George J. Buelow in Grove Music Online.
Walther was a cousin of Johann Sebastian Bach; his "entry on Bach in the Lexikon [p. 64], although brief, refers to Bach's 'excellent' keyboard works and represents the first biographical note on the composer." Russell Stinson in Boyd, ed.: J.S. Bach, p. 503.
The Lexicon is known to have been in Carl Philipp Emanual Bach's library. Richards: Carl Philipp Emanuel Bach, Portraits, and the Physiognomy of Music History, note 81, p. 373.
Price: $6,800.00 other currencies