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[Hob. XXI:3]. Die Jahreszeiten nach Thomson... Partitur... Originalausgabe. [Full score]
Leipzig: Breitkopf & Haertel. [1802]. Two volumes. Folio. Full contemporary dark grey textured paper boards. Part I: 1f. (printed title to Part I with "Personen" to verso), 251, [i] (blank); Part II: 1f. (fine decorative engraved title by Böhm after Kininger), [iii]-vi list of subscribers, [i] (printed title to Part II), 252-496 pp. In custom-made half dark blue morocco clamshell case with marbled boards, gilt rules and titling to spine. & & With occasional early performance markings in dark red crayon, with some in pencil and ink, throughout, including indications of instrumentation, dynamics, corrections to notation, the addition of accidentals, and annotations. Bindings worn, rubbed and bumped; lacking endpapers. Slightly worn, browned and foxed internally; occasional small stains. Part I with small rectangular stamp of previous owner (H.W. Stolze) to lower right corner; final signatures separating; inner margin of title and several other leaves of Part II reinforced at gutter. Engraved title and list of subscribers bound in Part II. . First Edition (issue with text in both German and French). Hoboken XXI:3. Hoboken Katalog Vol. 9 1412. Hirsch IV 795.& & This second collaboration between Haydn and the librettist Gottfried von Swieten was based on the poem by James Thomson (1700-1748) published in 1730. The work was first performed on April 24, 1801 in a private première at the Schwarzenberg Palace in Vienna; the first public production took place on May 19, 1801. & & "Although the initial reception of The Seasons was favourable – Haydn wrote to Clementi that it had enjoyed ‘unanimous approval’ and that ‘many prefer it to The Creation, because of its greater variety’ – critical opinion soon became mixed, owing in part to its perceived ‘lower’ subject, in part to a growing aesthetic resistance to its many pictorialisms. Haydn himself contributed to both strands of criticism: he supposedly said to Francis II, ‘In The Creation angels speak and tell of God, but in The Seasons only Simon speaks’ (Dies); and he indiscreetly criticized Swieten’s croaking frogs (‘Frenchified trash’) and the absurdity of a choral hymn to toil (Fleiss). Nonetheless he maintained that it would join The Creation in assuring his lasting fame. For the publication he took the path of lesser resistance, selling the rights to Breitkopf & Härtel." James Webster and Georg Feder in Grove online
      [Bookseller: J & J Lubrano Music Antiquarians LLC]
Last Found On: 2013-07-20           Check availability:      Biblio    

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