Mendelssohn-Bartholdy, Felix. (1809–1847). Ein Sommernachtstraum von Shakespeare, Op. 61.. Complete Orchestral parts to one of the best-loved works in the Romantic Repertoire. Leipzig: Breitkopf and Hartel. 1848. First edition. First edition of the orchestral parts of Mendelssohn’s incidental music to A Midsummer Night’s Dream. Complete in 24 instrumental parts, engraved throughout, plate no. 7852. Violino I, Violino I (full manuscript copy), Violino II, Viola, Violoncello et Basso, Flauto I, Flauto II, Oboe I, Oboe II, Clarinetto I, Clarinetto II, Fagotto I, Fagotto II, Corno, I, Corno II, Tromba I, Tromba II, Tromba IIa, Tromba IIIa, Trombone Alto, Trombone Tenore, Trombone Basso (2), Timpani, Piatti, Triangolo.
One of the most important of Mendelssohn's works, and a key work of the Romantic period, it shows Mendelssohn at his most Romantic in terms of his love for the picturesque, his "visions of happy, enchanted worlds, sun-drenched fairy lands of elves and magic spells, in music that travels on gossamer wings." (David Dubal) To his sister, Mendelssohn said: " I have grown accustomed to composing in our garden. I am going to dream there the Midsummer Night's Dream." The overture was composed in 1826, the remainder of the work in 1843. Mendelssohn conducted the first stage performance (a private one) of the complete work at Potsdam on 14 October 1843, and the first public performance four days later in Berlin. The present set includes the first edition parts of the famous Wedding March for orchestra.
Very rare, only one other complete copy known (Bodleian, Oxford). Katalog der Sammlung Anthony van Hoboken, Band 10, no. 236; James Fuld, The Book of World-Famous Music, fifth edition, 2000, p. 633.
This set of parts illustrates a fascinating early performance history and also illustrates at least two layers of very interesting provenance. Many of the parts are signed with the initials “A.G.” and some also include handwritten dates from the 1850s. It is possible that these initials are those of the violinist and conductor Adolphe Ganz (1795-1869), who was an intimate of the Mendelssohn family and who conducted in London at Her Majesty's Theatre from 1851. All the parts are bound in brown paper wrappers with the instrument and title (“Sommernachtstraum Von Mendelssohn”) and “Pofs: Th: Baker” written in fine ink script on the wrapper cover. Though the parts clearly show a performance history predating these wrappers, the set eventually became part of the library of Theodore Baker (1851-1934), American writer on music and the compiler of the 1st edition of “Baker's Biographical Dictionary of Musicians” (1900). Baker was the author of numerous books on music, including the first serious study of American Indian music, and was for many years the literary editor and translator for the publishing house of G. Schirmer.
Violino Imo.: Printed Title, as above; Verso with laid-in manuscript edition of six lines, “Opening of Scene (immediately after Overture). Maestoso for 7 bars, followed by a section marked “Allegro Molto,” both in the key of E-Major. The printed score opens on the following page (1) with No. 1 “Scherzo,” and the Overture was printed separately from this edition. The present manuscript addition at the score's outset is a very abbreviated summary of the musical material of the true Overture, though the note at its head indicates it was to be played after the Overture; 6 of the following 19 pages include similar laid-in manuscript additions, ranging in length from 1-9 lines and also including several sections which have been covered over with blank sheet of paper to indicate cuts. The music has also been annotated in ink at the head of several numbers to indicate which Act was being performed.
Violino Imo. No 3: A second copy of the Violin I part, written entirely by hand. Manuscript of 26 pages, includes music to all 12 sections plus Finale and also including a similar manuscript page, marked “Opening Scene after Overture.”
Violino 2do.: Laid-in “Opening of Scene” as above; Full “Ouverture,” handwritten manuscript, 4 pp. Signed with the initials “A.G” at conclusion, which are also written, along with the date of “1 Juin 1859” below the first laid-in page.; 10 of the following 15 pages include similar laid-in manuscript additions, ranging in length from 1-9 lines and also including several sections which have been covered over with blank sheet of paper to indicate cuts. One such page also includes the date “Avril 1859.” The music has also been annotated in ink at the head of several numbers to indicate which Act was being performed.
All other parts listed above are similar to Violino 2do., in terms of manuscript additions, edits, etc. Further details available upon request.
One of the most important of Mendelssohn's works, and a key work of the Romantic period, it shows Mendelssohn at his most Romantic in terms of his love for the picturesque, his "visions of happy, enchanted worlds, sun-drenched fairy lands of elves and magic spells, in music that travels on gossamer wings." (David Dubal) To his sister, Mendelssohn said: " I have grown accustomed to composing in our garden. I am going to dream there the Midsummer Night's Dream." The overture was composed in 1826, the remainder of the work in 1843. Mendelssohn conducted the first stage performance (a private one) of the complete work at Potsdam on 14 October 1843, and the first public performance four days later in Berlin. The present set includes the first edition parts of the famous Wedding March for orchestra.
Very rare, only one other complete copy known (Bodleian, Oxford). Katalog der Sammlung Anthony van Hoboken, Band 10, no. 236; James Fuld, The Book of World-Famous Music, fifth edition, 2000, p. 633.
This set of parts illustrates a fascinating early performance history and also illustrates at least two layers of very interesting provenance. Many of the parts are signed with the initials “A.G.” and some also include handwritten dates from the 1850s. It is possible that these initials are those of the violinist and conductor Adolphe Ganz (1795-1869), who was an intimate of the Mendelssohn family and who conducted in London at Her Majesty's Theatre from 1851. All the parts are bound in brown paper wrappers with the instrument and title (“Sommernachtstraum Von Mendelssohn”) and “Pofs: Th: Baker” written in fine ink script on the wrapper cover. Though the parts clearly show a performance history predating these wrappers, the set eventually became part of the library of Theodore Baker (1851-1934), American writer on music and the compiler of the 1st edition of “Baker's Biographical Dictionary of Musicians” (1900). Baker was the author of numerous books on music, including the first serious study of American Indian music, and was for many years the literary editor and translator for the publishing house of G. Schirmer.
Violino Imo.: Printed Title, as above; Verso with laid-in manuscript edition of six lines, “Opening of Scene (immediately after Overture). Maestoso for 7 bars, followed by a section marked “Allegro Molto,” both in the key of E-Major. The printed score opens on the following page (1) with No. 1 “Scherzo,” and the Overture was printed separately from this edition. The present manuscript addition at the score's outset is a very abbreviated summary of the musical material of the true Overture, though the note at its head indicates it was to be played after the Overture; 6 of the following 19 pages include similar laid-in manuscript additions, ranging in length from 1-9 lines and also including several sections which have been covered over with blank sheet of paper to indicate cuts. The music has also been annotated in ink at the head of several numbers to indicate which Act was being performed.
Violino Imo. No 3: A second copy of the Violin I part, written entirely by hand. Manuscript of 26 pages, includes music to all 12 sections plus Finale and also including a similar manuscript page, marked “Opening Scene after Overture.”
Violino 2do.: Laid-in “Opening of Scene” as above; Full “Ouverture,” handwritten manuscript, 4 pp. Signed with the initials “A.G” at conclusion, which are also written, along with the date of “1 Juin 1859” below the first laid-in page.; 10 of the following 15 pages include similar laid-in manuscript additions, ranging in length from 1-9 lines and also including several sections which have been covered over with blank sheet of paper to indicate cuts. One such page also includes the date “Avril 1859.” The music has also been annotated in ink at the head of several numbers to indicate which Act was being performed.
All other parts listed above are similar to Violino 2do., in terms of manuscript additions, edits, etc. Further details available upon request.
Mendelssohn-Bartholdy, Felix. (1809–1847). Ein Sommernachtstraum von Shakespeare, Op. 61.. Complete Orchestral parts to one of the best-loved works in the Romantic Repertoire. Leipzig: Breitkopf and Hartel. 1848. First edition. First edition of the orchestral parts of Mendelssohn’s incidental music to A Midsummer Night’s Dream. Complete in 24 instrumental parts, engraved throughout, plate no. 7852. Violino I, Violino I (full manuscript copy), Violino II, Viola, Violoncello et Basso, Flauto I, Flauto II, Oboe I, Oboe II, Clarinetto I, Clarinetto II, Fagotto I, Fagotto II, Corno, I, Corno II, Tromba I, Tromba II, Tromba IIa, Tromba IIIa, Trombone Alto, Trombone Tenore, Trombone Basso (2), Timpani, Piatti, Triangolo.
One of the most important of Mendelssohn's works, and a key work of the Romantic period, it shows Mendelssohn at his most Romantic in terms of his love for the picturesque, his "visions of happy, enchanted worlds, sun-drenched fairy lands of elves and magic spells, in music that travels on gossamer wings." (David Dubal) To his sister, Mendelssohn said: " I have grown accustomed to composing in our garden. I am going to dream there the Midsummer Night's Dream." The overture was composed in 1826, the remainder of the work in 1843. Mendelssohn conducted the first stage performance (a private one) of the complete work at Potsdam on 14 October 1843, and the first public performance four days later in Berlin. The present set includes the first edition parts of the famous Wedding March for orchestra.
Very rare, only one other complete copy known (Bodleian, Oxford). Katalog der Sammlung Anthony van Hoboken, Band 10, no. 236; James Fuld, The Book of World-Famous Music, fifth edition, 2000, p. 633.
This set of parts illustrates a fascinating early performance history and also illustrates at least two layers of very interesting provenance. Many of the parts are signed with the initials “A.G.” and some also include handwritten dates from the 1850s. It is possible that these initials are those of the violinist and conductor Adolphe Ganz (1795-1869), who was an intimate of the Mendelssohn family and who conducted in London at Her Majesty's Theatre from 1851. All the parts are bound in brown paper wrappers with the instrument and title (“Sommernachtstraum Von Mendelssohn”) and “Pofs: Th: Baker” written in fine ink script on the wrapper cover. Though the parts clearly show a performance history predating these wrappers, the set eventually became part of the library of Theodore Baker (1851-1934), American writer on music and the compiler of the 1st edition of “Baker's Biographical Dictionary of Musicians” (1900). Baker was the author of numerous books on music, including the first serious study of American Indian music, and was for many years the literary editor and translator for the publishing house of G. Schirmer.
Violino Imo.: Printed Title, as above; Verso with laid-in manuscript edition of six lines, “Opening of Scene (immediately after Overture). Maestoso for 7 bars, followed by a section marked “Allegro Molto,” both in the key of E-Major. The printed score opens on the following page (1) with No. 1 “Scherzo,” and the Overture was printed separately from this edition. The present manuscript addition at the score's outset is a very abbreviated summary of the musical material of the true Overture, though the note at its head indicates it was to be played after the Overture; 6 of the following 19 pages include similar laid-in manuscript additions, ranging in length from 1-9 lines and also including several sections which have been covered over with blank sheet of paper to indicate cuts. The music has also been annotated in ink at the head of several numbers to indicate which Act was being performed.
Violino Imo. No 3: A second copy of the Violin I part, written entirely by hand. Manuscript of 26 pages, includes music to all 12 sections plus Finale and also including a similar manuscript page, marked “Opening Scene after Overture.”
Violino 2do.: Laid-in “Opening of Scene” as above; Full “Ouverture,” handwritten manuscript, 4 pp. Signed with the initials “A.G” at conclusion, which are also written, along with the date of “1 Juin 1859” below the first laid-in page.; 10 of the following 15 pages include similar laid-in manuscript additions, ranging in length from 1-9 lines and also including several sections which have been covered over with blank sheet of paper to indicate cuts. One such page also includes the date “Avril 1859.” The music has also been annotated in ink at the head of several numbers to indicate which Act was being performed.
All other parts listed above are similar to Violino 2do., in terms of manuscript additions, edits, etc. Further details available upon request.
One of the most important of Mendelssohn's works, and a key work of the Romantic period, it shows Mendelssohn at his most Romantic in terms of his love for the picturesque, his "visions of happy, enchanted worlds, sun-drenched fairy lands of elves and magic spells, in music that travels on gossamer wings." (David Dubal) To his sister, Mendelssohn said: " I have grown accustomed to composing in our garden. I am going to dream there the Midsummer Night's Dream." The overture was composed in 1826, the remainder of the work in 1843. Mendelssohn conducted the first stage performance (a private one) of the complete work at Potsdam on 14 October 1843, and the first public performance four days later in Berlin. The present set includes the first edition parts of the famous Wedding March for orchestra.
Very rare, only one other complete copy known (Bodleian, Oxford). Katalog der Sammlung Anthony van Hoboken, Band 10, no. 236; James Fuld, The Book of World-Famous Music, fifth edition, 2000, p. 633.
This set of parts illustrates a fascinating early performance history and also illustrates at least two layers of very interesting provenance. Many of the parts are signed with the initials “A.G.” and some also include handwritten dates from the 1850s. It is possible that these initials are those of the violinist and conductor Adolphe Ganz (1795-1869), who was an intimate of the Mendelssohn family and who conducted in London at Her Majesty's Theatre from 1851. All the parts are bound in brown paper wrappers with the instrument and title (“Sommernachtstraum Von Mendelssohn”) and “Pofs: Th: Baker” written in fine ink script on the wrapper cover. Though the parts clearly show a performance history predating these wrappers, the set eventually became part of the library of Theodore Baker (1851-1934), American writer on music and the compiler of the 1st edition of “Baker's Biographical Dictionary of Musicians” (1900). Baker was the author of numerous books on music, including the first serious study of American Indian music, and was for many years the literary editor and translator for the publishing house of G. Schirmer.
Violino Imo.: Printed Title, as above; Verso with laid-in manuscript edition of six lines, “Opening of Scene (immediately after Overture). Maestoso for 7 bars, followed by a section marked “Allegro Molto,” both in the key of E-Major. The printed score opens on the following page (1) with No. 1 “Scherzo,” and the Overture was printed separately from this edition. The present manuscript addition at the score's outset is a very abbreviated summary of the musical material of the true Overture, though the note at its head indicates it was to be played after the Overture; 6 of the following 19 pages include similar laid-in manuscript additions, ranging in length from 1-9 lines and also including several sections which have been covered over with blank sheet of paper to indicate cuts. The music has also been annotated in ink at the head of several numbers to indicate which Act was being performed.
Violino Imo. No 3: A second copy of the Violin I part, written entirely by hand. Manuscript of 26 pages, includes music to all 12 sections plus Finale and also including a similar manuscript page, marked “Opening Scene after Overture.”
Violino 2do.: Laid-in “Opening of Scene” as above; Full “Ouverture,” handwritten manuscript, 4 pp. Signed with the initials “A.G” at conclusion, which are also written, along with the date of “1 Juin 1859” below the first laid-in page.; 10 of the following 15 pages include similar laid-in manuscript additions, ranging in length from 1-9 lines and also including several sections which have been covered over with blank sheet of paper to indicate cuts. One such page also includes the date “Avril 1859.” The music has also been annotated in ink at the head of several numbers to indicate which Act was being performed.
All other parts listed above are similar to Violino 2do., in terms of manuscript additions, edits, etc. Further details available upon request.