fesca ernst friedrich (18 Ergebnisse)

Audio-CD. Zustand: Wie neu. 61 Minuten. Sehr gut erh. Sprache: Deutsch Gewicht in Gramm: 550.

Ca. 29,5 x 21 cm. 1 Blatt, VII Seiten, 80 Seiten. Original-Karton. Reihe: Sinfonik des 19. Jahrhunderts. Nr. 51200. Sehr schönes Exemplar.

Ca. 29,5 x 21 cm. 1 Blatt, XIV Seiten, 213 Seiten. Original-Karton. Reihe: Sinfonik des 19. Jahrhunderts. Nr. 51209. Sehr schönes Exemplar.

Paperback. Zustand: Good. Pn.460, c.1820. Engraved. Disbound. Slight wear, slightly worn plates. Only some of my sheet music and scores are listed on ABE, visit my website to view all of my stock.

AUDIO CD. Zustand: Sehr gut. 1 Compact Disc + Beih. Hülle mit minimalen Lagerspuren, CD / CDs wie neu H542F7CD29 Sprache: Deutsch Gewicht in Gramm: 505.

Folio. Disbound. Violino 1mo.: [1] (title), 2-11, [i] (incipits of movements) pp.; Violino 2do.: 9, [i] (blank) pp.; Viola: 8pp.; Violoncello: 8 pp. Lithographed. Slightly browned and foxed; "11" in contemporary manuscript in ink to upper right corner of title. First Edition. Rare. Frei-Hauenschild pp. 478-479. WorldCat (1 copy only in the U.S., at UC Berkeley. "Fesca's reputation as a composer was based primarily on his string quartets and quintets. Between 1816 and 1826 he was the most frequently reviewed composer in this genre in the Allgemeine musikalische Zeitung, and his works were highly regarded by Spohr, Nägeli and Rochlitz, among others. Weber based his ideas on progressive contemporary chamber music on Fesca's quartets, since they combined the detailed accompaniment figuration and complex thematic development of the Classical string quartet with the harmonic richness and virtuosity demanded at that time. Also characteristic is his gentle and amiable style, though the quartets opp.7, 12 and 14 display the more extrovert manner of the quatuor concertant." Markus Frei-Hauenschild in Grove Music Online.

Folio. Disbound. Violino 1mo.: [1] (title), 2-11, [i] (blank) pp.; Violino 2do.: 7, [i] (blank) pp.; Viola: 7, [i] (blank) pp.; Violoncello: 7, [i] (blank) pp. Engraved. "12" in contemporary manuscript in ink to upper right corner of title. First Edition. Frei-Hauenschild pp. 554-555. WorldCat (copies at the Newberry Library and the Free Library of Philadelphia). "Fesca's reputation as a composer was based primarily on his string quartets and quintets. Between 1816 and 1826 he was the most frequently reviewed composer in this genre in the Allgemeine musikalische Zeitung, and his works were highly regarded by Spohr, Nägeli and Rochlitz, among others. Weber based his ideas on progressive contemporary chamber music on Fesca's quartets, since they combined the detailed accompaniment figuration and complex thematic development of the Classical string quartet with the harmonic richness and virtuosity demanded at that time. Also characteristic is his gentle and amiable style, though the quartets opp.7, 12 and 14 display the more extrovert manner of the quatuor concertant." Markus Frei-Hauenschild in Grove Music Online.

Folio. Disbound. Violino primo: [1] (title), 2-12 pp.; Violino secondo: [1] (blank), 2-11, [i] (blank) pp.; Viola: 11, [i] (blank) pp.; Violoncello: [1] (blank), 2-10 pp. Engraved. Measure numbers added in pencil in a modern hand throughout. Slightly browned and foxed; some leaves frayed at edges; outer leaves of Violino primo part completely, several other leaves partially detached; reinforcements to spine and other paper repairs. First Edition. Frei-Hauenschild, p. 483. WorldCat (4 copies only, at the Bayerische Staatsbibliothek in Munich, the Zentralbibliothek in Zurich, the Bibliothèque nationale in Paris, and the Newberry Library in Chicago; additional copies at the Sächsische Landesbibliothek in Dresden, the Österreichische Nationalbibliothek in Vienna, and Conservatorio di musica Giuseppe Verdi in Milan). "Fesca's reputation as a composer was based primarily on his string quartets and quintets. Between 1816 and 1826 he was the most frequently reviewed composer in this genre in the Allgemeine musikalische Zeitung, and his works were highly regarded by Spohr, Nägeli and Rochlitz, among others. Weber based his ideas on progressive contemporary chamber music on Fesca's quartets, since they combined the detailed accompaniment figuration and complex thematic development of the Classical string quartet with the harmonic richness and virtuosity demanded at that time. Also characteristic is his gentle and amiable style, though the quartets opp.7, 12 and 14 display the more extrovert manner of the quatuor concertant." Markus Frei-Hauenschild in Grove Music Online.

Folio. Unbound. Violino primo: [1] (title), 2-22 pp.; Violino secondo: [1] (blank), 2-17, [i] (blank) pp.; Viola: [1] (blank) , 2-17, [i] (blank) pp.; Violoncello: [1] (blank), 2-15, [i] (blank) pp. Engraved. Publisher's round handstamp to foot, another round handstamp, partially illegible ("Vertrag."), to lower right corner of title; blindstamp of Ewer & Co., London, to foot of title. Measure numbers added in pencil in a modern hand throughout. Slightly soiled and frayed at edges. An uncut copy. First Edition. Frei-Hauenschild p. 469. WorldCat (ca. 12 copies, 3 of which are in the U.S., at the Newberry Library in Chicago, the Free Library in Philadelphia, and Indiana University in Bloomington. "Fesca's reputation as a composer was based primarily on his string quartets and quintets. Between 1816 and 1826 he was the most frequently reviewed composer in this genre in the Allgemeine musikalische Zeitung, and his works were highly regarded by Spohr, Nägeli and Rochlitz, among others. Weber based his ideas on progressive contemporary chamber music on Fesca's quartets, since they combined the detailed accompaniment figuration and complex thematic development of the Classical string quartet with the harmonic richness and virtuosity demanded at that time. Also characteristic is his gentle and amiable style, though the quartets opp.7, 12 and 14 display the more extrovert manner of the quatuor concertant." Markus Frei-Hauenschild in Grove Music Online.

Folio. Disbound, with some leaves tipped-in. Violino primo: [1] (title), 2-19, [i] (blank) pp.; Violino secondo: [1] (blank), 2-15, [i] (blank) pp.; Viola: [1] (blank), 2-17, [i] (blank) pp.; Violoncello: [1] (blank), 2-17, [i] (blank) pp. Engraved. Publisher's address to title: "im Michaelerhaus der k.k. Reitschule gegenüber No. 1221." Early owner's dated signature, "G. Adensamer 20/8 1878," in pencil to title. Measure numbers added in pencil in a modern hand throughout. Minimally foxed and soiled; impression very slightly light in places. A very good copy overall. First Edition. Frei-Hauenschild, p. 452. Weinmann, Mecchetti, p. 14. WorldCat (several copies, 5 of which are in the U.S.: at the Newberry Library in Chicago, Harvard University, the Harvard Musical Association, the University of Illinois, and the University of North Carolina. Unlike the first issue of Fesca's op. 1, all recorded copies of op. 2 carry the publisher's new address. "Fesca's reputation as a composer was based primarily on his string quartets and quintets. Between 1816 and 1826 he was the most frequently reviewed composer in this genre in the Allgemeine musikalische Zeitung, and his works were highly regarded by Spohr, Nägeli and Rochlitz, among others. Weber based his ideas on progressive contemporary chamber music on Fesca's quartets, since they combined the detailed accompaniment figuration and complex thematic development of the Classical string quartet with the harmonic richness and virtuosity demanded at that time. Also characteristic is his gentle and amiable style, though the quartets opp.7, 12 and 14 display the more extrovert manner of the quatuor concertant." Markus Frei-Hauenschild in Grove Music Online.

Sole edition. Size: Folio. 11, 7, 7, 7pp. Folded as issued. Fore-edges lightly water-stained. Engraved.

Sole edition. Size: Folio. 11, 10, 9, 7pp. Folded and stitched as issued. Fore-edges lightly water-stained; dusty. Engraved.

Size: Folio. 10, 9, 9, 7pp. Folded as issued. Fore-edges lightly water-stained. Engraved. Sole edition. WorldCat references just two copies.

Disbound. Engraved. First edition. Size: Folio. 12, 11, 11, 10pp.

Ca.25,5 x 34,5 cm. 11 Seiten (Partitur), 2 Seiten (Sopran), 2 Seiten (Alt, 2 Seiten (Tenor), 2 Seiten (Baß). Umschlag der Zeit mit handschriftlichem Deckelschild. Erste Ausgabe. Platten-Nr.: 1887. NDB V, 102; MGG IV 83 ff. Ohne Preisangabe auf dem Titelblatt. Titel und Noten gestochen. Exemplar aus der ehemaligen "Biblioteca Landsbergiana" in Rom, der Musikaliensammlung des aus Breslau stammenden und in Rom lebenden Musikers, Musikalienhändlers und Sammlers Ludwig Landsberg (1807-1858), der u. a. ein Freund Mendelssohns war. Seine Sammlung ist in alle Welt verstreut. Titel leicht gebräunt, nur gering fleckig.

Ca. 31,3 x 24,5 cm. 13 Seiten; 7 Seiten; 7 Seiten; 7 Seiten. Vollständiger Stimmsatz. Platten-Nr.: 2215. Preisangabe auf dem Titelblatt: Prix 6 Frs. (die Preisangabe später handschriftlich verändert). Rücken mit Buntpapierstreifen dezent verstärkt, Verlagsangabe teils alt überklebt.

Stimmen: 11, 9, 8, 8 lithogr. S. Titelblatt mit kleinerer Papierausbesserung, Rücken überklebt. Seiten teilweise wasserrandig, unauffälliger Besitzstempel. Erstausgabe.

Oblong folio. Sewn. [1] (title), [2] (blank), 3-30 pp. Title slightly soiled; foxed; minor marginal tears. Probable First Edition. "A.B. Marx (1827) ranked Fesca alongside Beethoven as a composer of distinctly personal church music, while Rochlitz (1818) noted that Fesca's setting of Psalm ix was such as a 'contemporary Handel' might have given to his Utrecht Jubilate." Markus Frei-Hauenschild in Grove Music Online.