BACH, Johann Sebastian, 1685-1750

[Cantata 212] Cantate Burlesque (Bauernkantate). Faksimile nach dem Autograph. [Staatsbibl. Preußischer Kulturbesitz Berlin, mus. ms. aut. Bach P. 167]. _☟

[Henle Music Facsimiles, 3]. Munich, 1965. 22 x 35 cm, 22 facs, 3 pp. Superb 3-color halftone of Bach’s secular cantata “Mer hahn en neue Oberkeet”, completed 1742. Scored for SB solo, chorus, horn, trav. flute, strings & continuo. Title page written in the hand of Carl Philipp Emanuel. Afterword by Wilhelm Virneisel. Coverboards in decorative paper. [item no.38]

BEETHOVEN, Ludwig van, 1770-1827

An die ferne Geliebte, Liederkreis von Alois Jeitteles, Opus 98. Faksimile nach dem im Besitz des Bonner Beethovenhauses befindlichen Original. _☟

[Henle Music Facsimiles, 4]. Munich, 1970. Oblong, 31 x 25 cm, 28 pp. Beautiful 2-color collotype of the autograph executed by the photolithographic firm E. Schrieber in Stuttgart. This song cycle is associated with Beethoven's realization that he would likely never marry and that his youth had passed. It also marks a significant turning point in the composer's style, becoming more muted with inward expressiveness. Laid paper with coverboards in vegetable vellum with pasted title etikette. $225 (more info... ) [item no.127]

[Quartet, strings, op.132, no.15, A minor] Streichquartett a-moll op.132. Vollständige Faksimileausgabe der Handschrift Mus. ms. autogr. Beethoven Mend.-Stift. 11 der Staatsbibliothek zu Berlin—Preußischer Kulturbesitz. Vorwort von András Schiff, Einleitung von Ernst Herttrich. _☟

[Henle Music Facsimiles, 22]. Munich, 2011. Oblong, 35 x 29 cm, 168, xxiv pp. Beautiful 4-color halftone. The heart of Beethoven’s Quartet op. 132 is the “Holy song of thanksgiving”, in which Beethoven takes up old counterpoint techniques and Gregorian simplicity. In this unusually beautiful and well preserved manuscript, Beethoven generously makes the most of the space on its pages. The lavish 4-color printing allows the composer’s occasionally unconventional manner of notation to come to life. It permits a unique insight into the creative process, which continued after it had been written down in the form of multiple additions and changes. The edition is rounded off with a preface by the pianist András Schiff, with his generous support this valuable facsimile was made possible. Hardbound. $190 (more info... ) [item no.9189]

[Sonata, piano, no.28, op.101] Klaviersonate A-dur opus 101. Faksimile nach dem Autograph im Besitz des Beethoven-Hauses Bonn. _☟

[Henle Music Facsimiles, 12]. Munich, 1998. Oblong, 33 x 26 cm, 30, xvi pp. Full-color halftone of the composer’s “working” autograph, composed in 1815 and 1816 over an 18 month period. The ms contains many crossouts and alterations and although a later “stage”—a copyist’s ms—served as the Stichvorlage for the 1817 first edition, the ms here is in many ways more accurate and can be called upon to verify or refute questionable readings in the print. Afterword in Ger-Eng by Siegard Brandenburg. Hardbound with handsome boards in burgundy moiré fabric and pasted title label. $145 (more info... ) [item no.7636]

[Sonata, violin, piano, op.96, G major] Sonate für Klavier und Violine G-dur Op.96. Faksimile nach dem im Eigentum der Pierpont Morgan Library New York befindlichen Autograph. _☟

[Henle Music Facsimiles, 6]. Munich, 1977. 26 x 37 cm, 46, x pp. 4-color halftone issued on the occasion of the 150th anniversary of the composer’s death. Notes by Martin Staehelin. Includes 2 Beta-radiograms of watermarks. Coverboards in decorative paper. $265 (more info... ) [item no.149]

[Trio, piano, vln & vc, op.97, Bb minor, “Archduke”] Klaviertrio B-dur Opus 97 “Erzherog”-Trio. 1. und 2. Satz. / 3. und 4. Satz. Faksimile nach dem Partiturautograph Biblioteka Jagiellonska, Krakau. Geleitwort von Mitsuko Uchida. Einleitung von Julia Ronge. _☟

[Henle Music Facsimiles, 28]. Munich, 2019. Oblong & upright, 34 x 26, 26.5 x 39 cm, 2 vols, xx, 34; 32 pp. Beautiful 4-color halftone of the “Archduke” Trio, a work dedicated to Archduke Rudolph of Austria, and regarded as the greatest of all works for this combination of instruments. The Trio in B-flat was probably performed at the Archduke's palace soon after it was written, but its public premiere did not take place until April 11, 1814, on which occasion the violinist was Ignaz Schuppanzigh (leader of the famous string quartet that introduced many of Beethoven's quartets and later some of Schubert's), the cellist was Joseph Linke (for whom Beethoven composed sonatas), and the pianist was Beethoven himself, in his last public appearance at the keyboard (Richard Freed). It’s unclear whether this autograph, with inscription “Trio am 3ten März 1811”, is actually from 1811 or whether the inscription was added later. Despite the presence of editorial/publisher’s markings this copy does not seems to to have served as the faircopy. Hardbound with decorative paper boards and pasted title etikette, produced on the occasion of the 250th anniversary of Beethoven birth. $196 (more info... ) [item no.9604]

BRAHMS, Johannes, 1833-1897

[Lieder, selections. op.86,2] Feldeinsamkeit, Opus 86, Nr. 2: “Ich ruhe still im hohen grünen Gras”. Faksimile nach dem in Privatbesitz befindlichen Autograph. _☟

[Henle Music Facsimiles, 8]. Munich, 1983. Oblong, 30 x 23 cm, 4 facs., iii pp. Beautiful 3-color collotype of the presentation autograph fair copy. Composed sometime between 1879 and 1881, this is one of Brahms’ most popular songs, performed on numerous concert programs and published by Simrock both as a part of six songs (“Sechs Lieder”, op.86) and as a single issue. The manuscript reproduced here, written on paper with elaborate marginal decorations in blue ink and with the melody scored in the bass clef, was dedicated to the banker Wilhelm Lindeck of Mannheim who managed an account for the composer. Issued on the occasion of the 150th year of the composer’s birth. Afterword in Ger-Eng by Ernst Herttrich. Wrappers. $65 (more info... ) [item no.202]

[Motet, SATBB, op.29,1] “Es ist das Heil uns kommen her”. Motette Opus 29 Nr.1. Faksimile nach dem Autograph im Besitz des Brahms-Institutes an der Musikhochschule Lübeck mit einem Nachwort von Wolfgang Sandberger. _☟

[Henle Music Facsimiles, 15]. Munich, 2002. 27 x 35 cm, 12, 8 pp. Full-color halftone of the composer’s autograph, presented to Clara Schumann on her 41st birthday, 13 Sept., 1860. Small markings in the ms are believed to be in the hand of Clara Schumann and Joseph Joachim. Produced on the occasion of the manuscript’s acquisition from the Avé-Lallemant family by the Brahms Institut, Lübeck in 2001. Stiff wrappers. $78 (more info... ) [item no.8136]

[Fantasies, piano, op.116] Fantasien für Klavier opus 116. Faksimile nach dem Autograph, im Besitz der Staats- und Universitätsibliothek Hamburg. _☟

[Henle Music Facsimiles, 11]. Munich, 1997. Oblong, 34 x 28 cm, 24 facs, 8 pp. Full-color halftone of the composer’s “working” autograph, signed “Ischl, summer [18]92”. This is the only surviving source for op.116 (the engraver’s fair copy is now lost), and sheds important light on Brahms’ compositional and copying methods. A comparision with the first printed edition shows interesting changes or refinements in tempi, articulations and harmonic details; the original title of the fourth piece—“Notturno”—has been retitled “Intermezzo” in the final version. Afterword in Ger-Eng by Bernhard Stockmann. Hardbound. $119 (more info... ) [item no.7449]

CHOPIN, Frédéric, 1810-1849

[Ballade, piano, no.2, op.38/Kob.602] Ballade F-dur, Opus 38. Faksimile nach dem Autograph, im Besitz der Bibliothèque Nationale de France, Paris. _☟

[Henle Music Facsimiles, 13]. Munich, 1999. Oblong, 35 x 28 cm, 10, iv pp. Full-color facsimile of the autograph “composing” copy. This is the principal source both in regard to the work’s genesis and for the compilation of a definitive text. Saint-Saëns, a former owner of the manuscript, wrote that the paper was so thin that Chopin was unable to make any corrections by means of erasure, but rather carefully crossed out the passage in question. The manuscript contains a large number of alterations (mostly deleted bars) and shows the composer’s extraordinary attention to pedaling (there are passages where he originally specified them, only to delete them later). Afterword in Ger-Fr-Eng by Catherine Massip. Wrappers. $58 (more info... ) [item no.7679]

[Polonaise, piano, op.53] Polonaise As-Dur op.53. Vorwort: Ernst Herttrich. _☟

[Henle Music Facsimiles, 21]. Munich, 2009. Oblong 33 x 26 cm, 12, 5 pp. Deluxe color facsimile of the 1842 autograph issued on the occasion of the bicentenary of the composer’s birth. Commentary in Ger-Eng. Hardbound, in decorative paper, with pasted title etikette. $75 (more info... ) [item no.9114]

DEBUSSY, Claude, 1862-1918

L’isle joyeuse. Kommentar/Commentary: Denis Herlin. _☟

[Henle Music Facsimiles, 24]. Munich, 2012. 27.5 x 37.5 cm, xxii, 18 pp. Deluxe full-color facsimile of the autograph issued on the occasion of the 150th anniversary of Debussy’s birth. This colorful, highly virtuosic piano work is often associated with the island of Jersey, where Debussy secretly spent the summer of 1904 with his new love Emma Bardac. Even if he wrote the autograph during this time, evidence shows that the work was composed at an earlier date and was intended as part of the "Suite bergamasque". During his stay on the island Debussy revised the composition, giving the "Isle joyeuse" its present-day form. Commentary in Ger-Eng. Hardbound in beautiful blue art paper with embossed title in pink lettering. (more info... ) [item no.9250]

DVOŘÁK, Antonín, 1841-1904

[Concerto, piano, orch, op.33, G minor] Klavierkonzert g-moll Opus 33. Faksimile nach dem Autograph im Národní Muzeum, České Muzeum Hudby, Muzeum Antonína Dvořáka, Praha. Signatur ČMH-MAD S 76/1530. Herausgegeben von András Schiff... Geleitwort von András Schiff. Einführung von Jarmila Tauerová und Jan Dehner. _☟

[Henle Music Facsimiles, 16]. Munich, 2004. 25 x 33 cm, 28, 142 pp. Beautiful full-color facsimile of the autograph score composed during a two month period in the summer of 1876. The ms is both a fair copy and working copy, as the composer revisited it several times, first before its premiere in 1878, then before a performance in 1880 and then prior to its publication in 1883. András Schiff considers it a wonderful concerto with enomous warmth, conceived in the noble tradition of Mozart, Beethoven, Schumann and Brahms, but where the piano is first among equals. The facsimile allows us to see the composer’s original ideas, which vary significantly from the version by Vilém Kurz usually played since WW I, where the piano is robbed of its distinctive voice and overburdened with Lisztian gestures. Commentary in Ger-Eng-Czech. Hardbound with red laid paper boards. $185 (more info... ) [item no.8440]

HAYDN, Franz Joseph, 1732-1809

[Mass, “Creation”, Bb major] Messe B-Dur (“Schöpfungs-Messe”). Faksimile nach der im Eigentum der Bayerischen Staatsbibliothek befindlichen Urschrift. Veröffentlichung des Joseph Haydn-Instituts, Köln. _☟

[Henle Music Facsimiles, 1]. Munich, 1957. Oblong, 33 x 24 cm, 112, 9 pp. Fine monochrome collotype of the autograph score from 1801. The fifth of six large masses composed on the commission of Count Nikolaus II. Esterházy. Contains numerous variants from the printed score that suggests that the first edition was prepared from a faulty intermediate copy. The autograph, lost for some time, resurfaced in Switzerland shortly after the last war. Afterword by Wilhelm Virneisel. Coverboards in decorative paper. $175 [item no.326]

[Sonata, piano, Hob. XVI:26] Klaviersonate A-Dur. Hob. XVI 26. Faksimile nach dem Autograph, im Besitz der Staatsbibliothek Stiftung Preußischer Kulturbesitz, Berlin. _☟

[Henle Music Facsimiles, 2]. Munich, 1958. Oblong, 32 x 23 cm, 8, 2 pp. Fine 2-color collotype of the autograph. Afterword in Ger by Jens Peter Larsen. Wrappers. $50 [item no.3828]

[Sonata, piano, Hob. XVI:26] Klaviersonate A-Dur. Hob. XVI 26. Faksimile nach dem Autograph, im Besitz der Staatsbibliothek Stiftung Preußischer Kulturbesitz, Berlin. _☟

[Henle Music Facsimiles, 2]. Munich, 2/ 1982. Oblong, 32 x 23 cm, 8, 2 pp. Fine 2-color collotype of the autograph. Afterword in Ger by Jens Peter Larsen. Laid paper, wrappers. $61 [item no.327]

[Variations, piano, F minor, Hob.XVII:6] Variationen F-moll (Sonate) Hob. XVII:6. Introduction: Armin Raab. [New York Public Library, New York]. _☟

[Henle Music Facsimiles, 20]. Munich, 2008. Oblong, 33 x 26 cm, x, 12 pp. Deluxe color facsimile of the autograph issued on the occasion of the bicentenary of the composer’s death. Four leaves contain the fair copy of the work, while two leaves represent a composing copy. Originally entitled “Sonate for Signora de Ployer” (probably the pianist Barbara Ployer, a piano and composition pupil of Mozart), the variation movement was apparently intended as the beginning of a sonata with several movements. As can be seen from the second part of the autograph score, Haydn later extended the movement, ending it with an expansive Capriccio Coda. The first printed edition already bears the title “Variations”. The moving masterpiece has been played all over the world as “Variations in f minor” ever since. Commentary in Ger-Eng. Wrappers, in decorative paper. $86 (more info... ) [item no.9012]

LISZT, Franz, 1811-1886

[Lied, “Wenn die letzten Sterne bleichen, soprano & piano] “Wenn die letzten Sterne bleichen”. Lied für Singstimme und Klavier op. post. Vorwort: Rolf Griebel; Kommentar: Sigrid von Moisy, Sabine Kurth. _☟

[Henle Music Facsimiles, 19]. Munich, 2007. Oblong, 30 x 26 cm, xviii, 4, vi pp. Deluxe color facsimile, issued on the occasion of the rediscovery of the manuscript in 2007. The piece dates from 1843 and is dedicated to Graf Franz von Pocci of Munich. Commentary in Ger-Eng, together with modern edition. Handsome binding with blue paper boards, and pasted label. $82 (more info... ) [item no.8836]

Rigoletto Konzertparaphrase. Kommentar: Ulrich Scheideler. _☟

[Henle Music Facsimiles, 23]. Munich, 2011. 36 x 24 cm, 22 pp. Deluxe full-color facsimile of the autograph “working copy”, issued on the occasion of the 200th anniversary of Liszt’s birth. Franz Liszt not only wrote a series of opera paraphrases during his virtuoso years, but also composed some in his Weimar years from 1848 onwards. He did not, however, write them for himself but for the pianist friend (who was also his son-in-law) Hans von Bülow. Among these works, the paraphrase on Giuseppe Verdi’s “Rigoletto”, which was published in 1860, occupies a special place on account of its incredible virtuosity and at the same time its filigree texture. Since this is a working manuscript, the facsimile also offers fascinating insights into Liszt’s manner of working. Commentary in Ger-Eng. Handsome black moiré coverboards with Liszt’s signature in red. $82 (more info... ) [item no.9230]

[Sonata, piano, B minor, S.178] Klaviersonate h-moll / Piano Sonata in B Minor. Faksimile nach dem im Eigentum von Mr. Robert Owen Lehman befindlichen Autograph. _☟

[Henle Music Facsimiles, 5]. Munich, 1973. 27 x 35 cm, 28, iv pp. Deluxe 6-color facsimile. Afterword in Eng-Ger by Claudio Arrau. Issued on the occasion of the 25th year of the founding of Henle Verlag. Handsome binding with blue paper boards, and pasted label. $158 (more info... ) [item no.372]

[Sonata, piano, B minor, S.178] Klaviersonate h-moll / Piano Sonata in B Minor. Faksimile nach dem im Eigentum von Mr. Robert Owen Lehman befindlichen Autograph. Vorwort: Mária Eckhardt; Geleitwort: Claudio Arrau. _☟

[Henle Music Facsimiles, 26]. Munich, 2015. 27 x 35 cm. xvii, 30, 8 pp. Deluxe [revised] full-color facsimile. The surviving autograph of Franz Liszt’s b-minor Sonata is a fascinating document that illuminates the compositional process: many cuts and paste-overs show how Liszt refined the architecture of the work. The previously available facsimile of the autograph (OMI #372) also allowed a profound look into this work process—but it was not possible to see what Liszt had originally notated in the passages that were pasted over. These paste-overs have since been removed and this new edition shows for the first time what is hidden behind them. With new introduction by Liszt expert Mária Eckhardt along with the original foreword by Claudio Arrau.. Hardbound with pasted label. $182 (more info... ) [item no.9379]

MOZART, Wolfgang Amadeus, 1756-1791

[Concerto, piano, orch, no.23, K.488, A major] Klavierkonzert A-dur KV 488. Faksimile nach dem Autograph Ms. 226 im Besitz der Bibliothèque Nationale de France, Paris. Vorwort von András Schiff; Einleitung von Ernst-Günter Heinemann. _☟

[Henle Music Facsimiles, 17]. Munich, 2005. Oblong, 32 x 2l5 cm. xvi, 100 pp. Full-color reproduction of the autograph score completed on 2 March 1786, issued on the ocassion of the 250th anniversary of the composer’s birth. The A Major Concerto K.488, alongside the C-major Concerto K.467, is the most frequently played and recorded piano concerto in Mozart’s entire output. The autograph has come down to us in exceptionally fine condition, written with remarkable care and clarity, complete with Mozart’s own cadenza for the first movement unusually incorporated into the score itself. The composer’s penmanship, especially in the final movement, betrays the fact that he was working under deadline pressure, the notation becoming noticeably hastier, though it is always easy to read. The score is not a fair copy but rather a working manuscript containing in addition to later changes in scoring, many spontaneous alterations of greater or lesser importance that cropped up during the copying process. Introduction in Ger-Eng. Handsome binding in red cloth with embossed title. Special OMI introductory price. $172 (more info... ) [item no.8596]

[Quartet, strings, no.8, K.168, F major] Streichquartett F-Dur, KV 168. Faksimile nach dem Autograph, im Besitz der Staatsbibliothek Preussischer Kulturbesitz, Berlin. _☟

[Henle Music Facsimiles, 10]. Munich, 1991. Oblong, 25 x 20 cm, 24, vi pp. Beautiful 3-color halftone of the autograph score. The first of six quartets composed during Mozart’s stay in Vienna, Aug. and Sept., 1773, written on charming, small, format paper from the “Salzburg” period. Bibliophile editon in laid paper; handsome brown laid paper boards with pasted label. $95 (more info... ) [item no.3909]

[Variations, piano, “Ah, vous dirai-je Maman”, K.265] Zwölf Variationen in C für Klavier über das französische Lied “Ah, vous dirai-je Maman” KV 265 (300e). Faksimile nach den autographen Fragmenten und Reproduktion des Erstdrucks. Im Auftrag der Deutschen Mozart-Gesellschaft herausgegeben und kommentiert von Ulrich Konrad. _☟

[Henle Music Facsimiles, 14]. Munich, 2001. Oblong, 34 x 25 cm, 22, 4 + 8 pp. Full-color halftone of the composer’s c.1781-82 autograph (variations no. 8 & 10 are now missing), plus halftone of the first printed edition by Christoph Torricelli, reconstructed from two incomplete sources. These variations, based on the French tune “Ah, vous dirai-je Maman” (”Twinkle, Twinkle Little Star”), were, even during Mozart’s lifetime, immensely popular. Introduction in Ger-Eng. Handsome portfolio with red paper boards, white lettering & cloth ties. $66 (more info... ) [item no.7932]

SCHOENBERG, Arnold, 1874-1951

[Concerto, piano, orch, op.42] Concerto for Piano and Orchestra, opus 42. Faksimile nach der autographen Particellreinschrift Arnold Schönberg Center, Wien, Signatur MS 46, 149-173. Herausgegeben von Katharina Bleier und Therese Muxender. Geleitwort von Mitsuko Uchida. Einleitung von Katharina Bleier und Therese Muxeneder. Restaurierungsbericht von Verena Graf. _☟

[Henle Music Facsimiles, 29]. Munich, 2023. 31 x 44 cm, xxvii, 52 pp. Color reproduction of the autograph fair copy completed December of 1942, and first performed by Eduard Steuermann with the NBC Orchestra's Radio City Habitat in New York City under Leopold Stokowski. A work written in America using the 12-tone technique with extra-musical indications (corresponding to the 4 movements) of an autobiographical nature: “Life was so easy”, "Suddenly hatred broke out”, “A grave situation was created”, and “But life goes on”. Commentary in Ger-Eng. Beautiful bibliophile presentation, hardbound with blue paper boards and gold embossed title. $168 (more info... ) [item no.9724]

SCHUBERT, Franz, 1797-1828

[Sonata, violin, piano, D.384, op.137,1, D major] Sonate für Klavier und Violine D-Dur Opus 137 Nr. 1, D 384. Faksimile nach dem Autograph und einer autographen Abschrift. [Mss. Private Collection, Anne Liese Henle of Duisburg, Universitetsbibl. Lund, & The Newberry Library, Chicago]. _☟

[Henle Music Facsimiles, 9]. Munich, 1988. 25 x 33 cm, 30, viii pp. Beautiful 3-color halftone of the autograph score and autograph piano part (1st movement only), together with the song “Gruppe aus dem Tartarus” D 396 added at the end of the ms. One of three sonatas written in March and April of 1816 (possibly for home use, i.e., the “Schubertiades”) at the age of 19. The ms, divided by Schubert himself into 3 parts, preserved today in 3 separate libraries, has been re-united in this facsimile. Afterword in Ger-Eng by Martin Bente. Handsome binding with paper boards and pasted label. $119 (more info... ) [item no.2084]

[Trio, piano, vln & vc, op.100, D929, Eb major] Klaviertrio Es-dur Opus 100 D 929. Faksimile nach dem Partitur-Autograph Schweizer Privatbesitz. Herausgegeben und mit eiem Vorwort von András Schiff. Einleitung von Andrea Lindmayr-Brandl. _☟

[Henle Music Facsimiles, 25]. Munich, 2014. Oblong, 35 x 29 cm, xxi, 74 pp. Deluxe full-color facsimile of the autograph. Schubert’s Trio in Eb major op. 100 underwent many changes during its composition. The manuscript, parts of which were greatly revised, bears eloquent witness to this and offers an opportunity to trace the intricacies of Schubert’s phrasing and articulation. This source is in a private collection and this facsimile makes it accessible to the public for the very first time. In a letter to his publisher in 1828, Schubert explicitly dedicated the work to “no one, save those who find pleasure in it”. Commentary in Ger-Eng. Hardbound. $124 (more info... ) [item no.9360]

SCHUMANN, Robert, 1810-1856

[Forest Scenes, piano, op.82] Waldszenen Opus 82. Faksimile nach dem Autograph im Besitz der Bibliothèque Nationale de France, Paris. Nachwort von Margrit L. McCorkle. [Ms. 344]. _☟

[Henle Music Facsimiles, 18]. Munich, 2005. Oblong, 35 x 28 cm, 16, 12 pp. Full-color reproduction of the autograph score dating from 1848. Schumann’s piano tribute to the forest consists of 9 scenes representing a full day of hunting game, exploring nature, sharing companionship, and contemplating one’s life and dreams. The manuscript served as the composer’s working draft which he then revised in stages over the subsequent 20 months, finally sending it to the publisher for use as the engraver’s layout model. The dedicatee of the Waldszenen was the young amateur pianist Annette Preusser, the daughter of a prominent businessman in Leipzig with whose family the Schumanns had maintained a long-standing friendship. Handsome coverboards in green decorative paper with Schumann’s signature embossed on cover. (more info... ) [item no.8597]

SCRIABIN, Alexander Nikolaievich, 1872-1915

Piano Sonata No.7 op.64. Faksimile nach dem Autograph im Besitz der Juilliard School, New York, Juilliard Manuscript Collection, Signatur 2 Sk63 AA JMC. Einleitung von Valentina Rubcova. _☟

[Henle Music Facsimiles, 27]. Munich, 2015. 27 x 39 cm. xiv, 26 pp. Deluxe full-color facsimile of the autograph issued on the occasion of “Scriabin Year”. Scriabin’s seventh piano sonata is amongst the late sonatas nos. 6–10, conceived as preliminary studies for a “Gesamtkunstwerk” of enormous proportions, the “Mysterium”. The mystic aura of the sonata is communicated to the player not least through the ecstatic performance directions contained in the autograph and the first edition. Valentina Rubcova provides a guide for a journey of discovery through Scriabin’s esoteric musical world. Beautiful textured paper boards with autograph titling in mauvish crimson. $118 (more info... ) [item no.9440]

COMPOSITE & MISCELLANEOUS SOURCES

[Album, Luise Avé-Lallemant] Die musikalischen Albumblätter der Luise Avé-Lallemant zu Leipzig. Eine Autographensammlung aus der Leipziger Universitätsbibliothek. Faksimile-Ausgabe anläßlich der Eröffnung des neuen Gewandhauses 1981. Mit einem Geleitwort von Kurt Masur. Einführung und Kommentar von Christoph Hellmundt und Wolfgang Orf. _☟

[Henle Music Facsimiles, 7]. Leipzig, 1981. Oblong, 29 x 22 cm, iv, 26, 34 pp. Deluxe issue celebrating re-opening of the Gewandhaus Concert Hall. Exquisite 3-color facsimile of letters and autographs of personages from the Leipzig circle, including Mendelssohn, the Schumanns, Hiller, David, Birch, Gade, Willmers, Franz, Reinecke, Kullak, Ernst, Becker, Marx and others. Loose sheets and folios in beautifully decorated box. $95 [item no.714]