h1

Newly Digitized: Works by Johann Sebastian and Carl Philipp Emanuel Bach

Wednesday, November 13th, 2013

In this update, we take a short break from 19th-century opera to share works by members of the Bach family: Johann Sebastian Bach’s organ Toccata and Fugue in D minor BWV 538 (“Dorian”), the 15 Inventions BWV 772-786 for keyboard, teaching pieces first set down in the Clavier-Büchlein vor Wilhelm Friedemann Bach, and the Sonatas for violin and harpsichord, BWV 1014-1019. Rounding out the list is Carl Philipp Emanuel Bach’s Psalmen mit Melodien, Wq 196, a collection of 42 psalms with texts translated by Johann Andreas Cramer, published by the composer and printed by Breitkopf in 1774.1

Carl Philipp Emanuel Bach, "Der Erste Psalm," Psalmen mit Melodien. Merritt Room Mus 627.2.584

Carl Philipp Emanuel Bach, “Der Erste Psalm,” Psalmen mit Melodien. Merritt Room Mus 627.2.584 (click to enlarge)

Bach, Johann Sebastian, 1685-1750

  • [Toccata und Fuge, organ, BWV 538, D minor]
    Toccata et fugue pour l’orgue ou le piano-forte. No. II / composée par J.S. Bach. First ed. Leipzig : Au bureau de musique de C.F. Peters, [ca. 1829]. Merritt Room Mus 627.1.456.5
  • [Inventions, harpsichord, BWV 772-786]
    XV inventions pour le clavecin / composées par Mr. J.S. Bach. Nouvelle edition. À Leipsic : Au Bureau de Musique. de C.F. Peters., [ca. 1820?]. Merritt Room Mus 627.1.435.31
    Plates of the original [1801] Hoffmeister ed. were used for this revised edition.
  • [Sonatas, violin, harpsichord, BWV 1014-1019]
    Clavier Sonaten mit obligater Violine / von Johann Sebastian Bach. Zürich : Bëy Hans Gëorg Nägeli., [1804?]. Merritt Room Mus 627.1.283.4. RISM A/I, B 454

Bach, Carl Philipp Emanuel, 1714-1788

  • [Psalmen mit Melodien]
    Herrn Doctor Cramers übersetzte Psalmen mit Melodien : zum singen bey dem Claviere / von Carl Philipp Emanuel Bach. Leipzig : Im Verlage des Autors, 1774. Merritt Room Mus 627.2.584. RISM A/I, B 0131

Find these and nearly 100 other works by members of the Bach family – including a set of Wilhelm Friedemann Bach copyists’ manuscripts – online in our collection of Digital Scores and Libretti.

-Kerry Masteller


1. For more about this collection, see Anja Morgenstern, introduction to Cramer and Sturm Songs, Carl Philipp Emanuel Bach, The Complete Works VI/2 (Los Altos, Calif: Packard Humanities Institute, 2009), http://www.cpebach.org/toc/toc-VI-2.html.

h1

Newly Digitized: George Onslow, quartets

Wednesday, June 26th, 2013

Despite popularity and public acclaim during his lifetime, the wealthy Anglo-French composer George Onslow (1784-1853) may be best known today – when he’s remembered at all – either as the “French Beethoven,” or for the event commemorated by his string quintet op. 38, “De la balle” (“The Bullet”), completed in 1829 during his recovery from a hunting accident.

Georges Onslow / H. Grévedon
Georges Onslow / H. Grévedon
Source: gallica.bnf.fr

To an extent, his sobriquet is clever advertising: an 1830 notice for the quartets and quintets by his publisher Pleyel proclaims Onslow “notre Beethoven français” in the same sentence that it points out to prospective buyers the quality of the paper and engraving, the portrait frontispiece by the artist and lithographer Grévedon, and the published list of subscribers.1 Whoever first coined the phrase, it stuck, despite Onslow’s uneasy engagement with Beethoven’s late style in print and in the chamber music he composed in the 1830s and early 1840s.2

The three sets of parts digitized here, however, date from over a decade earlier in his career, in the mid-1810s and early 1820s, during his first flurry of compositions for string quartet: nos. 1-12 were composed between 1807-1816, and nos. 13-15 in 1822-1823. Note the metronome indications in nos. 12 and 15; Johann Nepomuk Maelzel had patented his version of the device in 1815, and assiduously promoted its use, going so far as to send samples to composers around Europe.3

George Onslow, String quartet no. 12 (op. 10, no. 3), Merritt Room Mus 767.795.323.7

George Onslow, String quartet no. 12 (op. 10, no. 3). Merritt Room Mus 767.795.323.7

With one exception (the quartets nos. 16-18, composed in 1828), Onslow did not return to the form until the 1830s – after his encounter with Beethoven’s late style – when he composed a second sequence of quartets, nos. 19-36. These and others can be viewed in the collections of the Danish National Digital Sheet Music Archive: Georges Onslow (1784-1853): String quartets, quintets and other chamber music.

-Kerry Masteller


1. “Souscription A la Collection complète des Quintetti et Quatuors de George Onslow,” Revue musicale 8 (1830): 282-283, http://archive.org/stream/revuemusicale18308pari#page/282/mode/2up.

2. On Onslow and Beethoven, see Viviane Niaux, “George Onslow: le ‘Beethoven français’?” Les sources du romantisme français : à la croisée des influences italiennes et germaniques (1780-1830) (Venise: Italie, 2009), 1-18, http://halshs.archives-ouvertes.fr/halshs-00510733.

3. Maetzel, Johann Nepomuk, letter to Breitkopf & Härtel, 8 April 1817. Quoted in Günther Haupt, “J. R. Mälzels Briefe an Breitkopf & Härtel,” Der Bär: Jahrbuch von Breitkopf & Härtel auf das jahr 1927: 130. http://hollis.harvard.edu/?itemid=|library/m/aleph|006744519 (HOLLIS record).

h1

Newly-Digitized: Mozart for Count Apponyi

Monday, October 24th, 2011

After, I confess, a somewhat longer pause than anticipated, we return with the first of a series of posts on recently-digitized items from the collection. As always, these and many other scores are available in our collection of Digital Scores and Libretti.

To begin, I’ve selected a set of compositions by Wolfgang Amadeus Mozart: published editions, as well as copyist’s manuscripts, likely made from first or early editions. They’re assembled in a volume of music that may have been prepared for Count Anton Georg Apponyi, a member of the Gesellschaft der Associierten, the Viennese musical society founded in 1786 by Baron Gottfried van Swieten. It includes:


Title page, Sonatas K. 533 and 494. Merritt Room Mus 745.1.13

Title page, Sonatas K. 533 and 494


[Sonatas, piano, K. 533/494, F major]. Sonate pour le clavecin ou piano-forte, oeuvre 44 composé par W.A. Mozart. Vienne: Artaria, [1798].

RISM A/I, M/MM 6849

Artaria’s reissue of K. 533 and K. 494, from Hoffmeister’s first edition of 1788.

Thematic catalog, XIV. différentes pieces pour le piano forte. Merritt Room Mus 745.1.54.39.5

XIV. différentes pieces pour le piano forte

XIV. différentes pieces pour le piano forte par W.A. Mozart. A Paris: Chez Pleyel, [1805?].

RISM A/I, M/MM 7458

Volume 5 of Pleyel’s Collection complette des œuvres de piano par W.A. Mozart, containing 14 pieces for piano.

[Rondos, piano, K. 511, A minor]. No. 2o Rondeau pour le forte piano, ou clavicembalo composé par Mr. W.A. Mozart; J. Gyenis [copyist?]. Manuscript, ca. 1795-1800.


Rondo, K. 511 [mss]. Andante. Merritt Room Mus 745.1.13

Rondo, K. 511, Andante (mss.)

Manuscript music notated in ink on 8-stave paper with a watermark of 3 crescent moons and the letters “FA.” Originally composed in 1787; this manuscript probably derives from the 1st or a very early edition: the notation in measure 161 in the left hand corresponds to the autograph. Includes early (possibly contemporary) manuscript fingering to the bass line of measures 122-124. Some notation to measure 40 is lacking, and added in pencil in an early hand.

The last 2 pages of music are in a different hand, with the initials “MA.” This unidentified piece – arpeggiated passages over a chordal progression – consists of a simple tune, possibly for violin with piano accompaniment, with a correction and one measure crossed out, indicating that it may have been composed as a teaching piece.

Song, notated on verso of final page, Sonata, K. 454 [mss]. Merritt Room Mus 745.1.13

Song, notated on verso of final page, Sonata, K. 454 (mss.)

[Sonatas, violin, piano, K. 454, B♭ major]. Sonata pour le clavecin ou piano forte avec un violon, no 21 par Mr. W.A. Mozart. Manuscript, ca. 1795-1800.

A manuscript of the keyboard part only, notated in ink on 8-stave paper with a watermark of 3 crescent moons and the letters “BAC.” K. 454 was composed in 1784 and published by Christoph Torricella in July; this copy was probably made from the first or an early edition.

On the verso of a the final leaf is a 1 page song notated in both ink and pencil, in a different hand.

Title page, Piano trio K. 496 [mss]. Merritt Room Mus 745.1.13

Title page, Piano trio K. 496 (mss.)

[Trios, piano, strings, K. 496, G major]. Trio in G per il cembalo ò fortepiano, violino e violoncello del sig: W:A: Mozart. Manuscript, ca. 1795-1800.

A manuscript of the keyboard part of the Piano Trio in G major, K. 496, notated in ink on 8-stave paper with a watermark incorporating a canopy over the letter “A” countered by “GF” over “C.” At the bottom of the title page, in different ink, is written “Graf Anton Nr. 21 [crossed out, with "19" substituted] Sonate uman.”

This trio was composed in 1786 and published in Vienna by Hoffmeister in the same year; this copy was likely made from the 1st or an early edition.

Quartet in G minor, K. 478 [mss]. Allegro. Merritt Room Mus 745.1.13

Quartet in G minor, K. 478 (mss.)

[Quartets, piano, strings, K. 478, G minor]. Quartetto per il clavicembalo o forte piano accompagnement violino, viola, e violoncello del sig: W:A: Mozart. Manuscript, ca. 1795-1800.

A manuscript of the keyboard part of the String Quartet in G minor, K. 478, notated in ink on 8-stave paper with a watermark of 3 crescent moons over “Real,” a canopy, and the letters “GL,” similar to the watermark on paper Mozart used in 1791 for sketches of Die Zauberflöte. The quartet, composed in 1785, was published by Hoffmeister in December of that year; this copy was probably prepared from the 1st or an early edition.

“Graf Anton Apponyi” is written in light pencil at the right hand corner of the title page; at the bottom of the title page, in ink, is “Graf Anton” is scratched out, and “angefangen den 2. December N17 (corrected from 19) Anton” written below. In the score, early penciled annotations include fingering, accidentals, and dynamics.

The Loeb Music Library holds multiple copies of the other two pieces in this volume, and had already digitized these copies:

Title page, Six sonates pour le clavecin. Merritt Room Mus 745.1.379.10 BMEO

Title page, Six sonates pour le clavecin

[Sonatas, violin, piano. Selections]. Six sonates pour le clavecin, ou pianoforte avec l’accompagnoment [sic] d’un violon, oeuvre II par Wolf. Amadee Mozart. Vienne: Artaria, [1781].

First edition, 1st issue, RISM A/I, M 6492

Mozart’s first works to be printed in Vienna, after his arrival in the city in March of 1781.

This copy is part of the Biblioteca Mozartiana Eric Offenbach (BMEO); digitized along with the score are a photocopy of a letter from Alexander Weinmann to Eric Offenbacher regarding the edition and Weinmann’s speculations about a possible earlier publication by Torricella, and a typewritten note containing information on this work.

Title page, Symphony K. 543, arranged for piano. Merritt Room Mus 745.1.54.39.5

Title page, Symphony K. 543, arranged for piano. Merritt Room Mus 745.1.54.39.5

[Symphonies, K. 543, E♭ major; arr.]. Wolfg. Ama. Mozarts grosse Sinfonie ins Claviergesetzt und dem verdienstvollen Tonküstler und Verehrer dieses unvergesslichen Meisters … von Johann Wenzel. Prag: Zu haben beÿm Verfasser; Leipzig: In der Breitkopfischen Buchhandlung, [ca. 1794].

First edition, RISM A/I, M 5540

- Kerry Masteller

h1

Newly-Digitized Mozart First Editions

Friday, November 5th, 2010

In this week’s showcase of newly-digitized scores, I’ve selected three first editions of Mozart works:

Wolfgang Amadeus Mozart. Title page, Divertimenti, K. 563, E♭ major; arr. Merritt Room Mus 745.1.230.15

Wolfgang Amadeus Mozart. Title page, Divertimenti, K. 563, E♭ major; arr. Merritt Room Mus 745.1.230.15

Grande sonate : arrangée pour le clavecin ou piano forte avec accompagnement d’un violon obligé : oeuvre 21 tiré d’un trio de W.A. Mozart (À Vienne: Artaria, [1792]), RISM M and MM 6299.

The first edition of the earliest arrangement, for piano with violin obligato, of the Divertimento for violin, viola and violoncello in E-flat major, K. 563. The autograph manuscript of K. 563, composed in September, 1788, is lost, giving first editions of the piece particular value for research.

Wolfgang Amadeus Mozart. Detail, Variationen über das Lied Ein Weib ist das herrlichste Ding. Merritt Room Mus 745.1.429.50

Wolfgang Amadeus Mozart. Detail, Variationen über das Lied Ein Weib ist das herrlichste Ding. Merritt Room Mus 745.1.429.50

Ariette: [Ein Weib ist das herlichste Ding]: avec variations pour le clavecin ou piano forte. no. [10] par W.A. Mozart (Vienne: Artaria, [1791]), RISM M7096.

The first edition, first issue of K. 613, Variationen über das Lied Ein Weib ist das herrlichste Ding. Between 1789 and 1795, Benedikt Schack and Franz Xaver Gerl set seven libretti by Emanuel Schickaneder for performance at the Theater auf der Weiden in Vienna. Mozart took the theme for this set of variations from Die verdeckten Sachen (September, 1789), the second of these seven Singspiels featuring the comic character Anton.1

Wolfgang Amadeus Mozart. Detail, Sonata, K. 481. Merritt Mus 745.1.369.50

Wolfgang Amadeus Mozart. Detail, Sonata, K. 481. Merritt Mus 745.1.369.50

Sonate pour le forte-piano, ou clavecin avec accompagnement d’un violon composé par Mr. Wolf. Amad. Mozart (Vienne: Hoffmeister, [1786]), RISM M6543.

The first edition, first issue of the Sonata for violin and piano in E-flat major, K. 481; the piano part is printed, while the violin part is manuscript, in an 18th-century copyist’s hand.

These scores join almost sixty other Mozart manuscripts and early editions already in the library’s collection of Digital Scores and Libretti. Later this month, we’ll be returning to opera, with vocal scores by J.C. Bach, Busoni, Cherubini, Verdi, and Zemlinksy.

-Kerry Masteller


1. Peter Branscombe. Dumme Gärtner aus dem Gebirge, Der. The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. Oxford Music Online. 2 Nov. 2010. (Access restricted to Harvard affiliates)

h1

New in the Recordings Collection

Thursday, May 13th, 2010

A few recent acquisitions in the recordings collection:

Anita O’Day: The Life of a Jazz Singer

AC 36770
Loeb Music: AC 36770

We recently received this deluxe bound edition of Anita O’Day’s complete scrapbooks that includes a documentary film about the singer and a bonus DVD of outtake interviews and musical performances. The set also includes tributes by jazz writers James Gavin and Will Friedwald, as well as excerpts from Anita O’Day’s autobiography High Times, Hard Times. Many will know of her performance from Jazz on a Summer’s Day, a documentary about the 1958 Newport Jazz Festival, but this edition provides a wealth of new material about her fascinating life.

Find it here: Loeb Music Library AC 36770.

Eddy Brown (Symposium)

CD 37296
Loeb Music: CD 37296

Recently the Marston label featured early recordings (Dec. 1914) by violinist Eddy Brown in its set The Dawn of Recording: The Julius Block Cylinders. Born in Chicago in 1895, Brown studied violin with Jenö Hubay in Budapest and Leopold Auer in St. Petersburg and he made his debut in Germany in 1910. On this new Symposium disc, he can be heard playing Mendelssohn and Tchaikovsky from Berlin in the mid-1920s and the Sonata Virginianesque by American composer John Powell around 1940 (with Powell himself accompanying). In the 1930s Brown became active in radio, and he served as director of WQXR for almost twenty years.

Find it here: Loeb Music Library CD 37296.

Karl Amadeus Hartmann and the String Quartet (Cybele)

CD 37004
Loeb Music: CD 37004

This 3-CD set inaugurates a new series (Künstler im Gespräch) on the Cybele label that will combine a featured composer’s music with spoken word recordings that help to illuminate that composer’s work. Here the focus is on Karl Amadeus Hartmann’s complete works with string quartet – two quartets, the Little Concerto for String Quartet and Percussion, and the Chamber Concerto for Clarinet, String Quartet and String Orchestra. The spoken word material includes Hartmann himself from 1962, an interview with his wife in 1994, and a conversation with his son from 2009. Notes in German and English are also rich with biographical detail and illustrations.

Find it here: Loeb Music CD 37004.

- Peter Laurence