Lord byron words (21 Ergebnisse)

Softcover. Zustand: Good. Sheet music. Folio. Single bifolium with a single-sheet-insert making six pages. Notched and worn along the fold from once being bound within an album as a result the insert remains bound within the bifolium, dampstaining along the top of the front cover with corresponding staining throughout, bifolium separating a bit at the top of the fold, a piece of tape and an owner inscription on the front cover, and foxing and light offsetting throughout, a complete but just a good only copy. For voice and piano.…

Softcover. Zustand: Very Good. First edition. Quarto. Single bifolium with a single-sheet-inert making six pages. Sticker shadow on the front cover, light age toning, and bumping to the corners, still a complete and very good copy. For voice and piano. Plate number, 2290. A musical setting to one of Lord Byron's most famous poems, believed to have been inspired by his fist encounter with Mrs. Anne Beatrix Wilmot. *OCLC* locates only two holdings and it appears to be equally uncommon in the trade.…

Softcover. Zustand: Good. First edition. Folio. Two nested bifolia making eight pages. Edgewear including chips and tears, blue pencil and a music shop stamp on the front cover, and soiling to the exterior, a complete and good or better copy. For voice and piano. Plate imprint, "Fill the goblet again. 4-[page number]." Features short samples of three other songs. *OCLC* locates only a single holding.…

Softcover. Zustand: Good. Later printing. Folio. Wrappers. 5pp. Notched along the spine from once being bound within a volume, dampstaining throughout, wrappers separating a bit at the top of the spine, offsetting to the rear wrapper, and edgewear including chips and tears, a complete but good only copy. For voice, guitar, and piano. Plate imprint, "Tom Moore, 147 - 4." The front wrapper states the publisher as David P. Faulds, but the first page states the original publisher, Peter, Webb & Co. with the copyright date of 1849 (Faulds didn't go into business until 1854). *OCLC* locates six holdings of this edition.…

Softcover. Zustand: Good. Unknown edition. Quarto. Single bifolium making four pages. Neatly separated along the fold though both leaves are present, appears to be neatly trimmed along the sides (to better fit within an album or piano bench), faded music shop stamp and a tape repair to the front cover, a dampstain to the back cover affecting throughout, and foxing, a complete but good only copy. For voice and piano.…

Softcover. Zustand: Very Good. Unknown edition. Folio. Single bifolium making four pages. notches along the spine from once being bound within an album, partial separation along the spine, scattered foxing throughout, and offsetting to page four, very good. For voice and piano. *OCLC* locates only one holding.…

Softcover. Zustand: Very Good. Unknown edition. Folio. Single sheet printed on the recto only and folded in half creating two pages of content. Notched and worn along the fold from once being bound within an album, music shop stamps on the front, foxing, and light bumping to the corners, still a very good copy.…

Softcover. Zustand: Very Good. Unknown edition. Folio. A single sheet printed on the recto only and folded in half making for two pages of content. Notched and worn along the fold from once being bound within an album, dampstaining along the fold affecting the interior, and foxing and offsetting throughout, a good only copy. For voice and piano. Plate number, 83.2. Written in pencil underneath the music is the phrase, "Zoë mou sas agapo" repeated twice. This is from Lord Byron's original poem "Maid of Athens, Ere We Part" and is Greek for "My life, I love you"; here the publisher has chosen to print the English as the refrain instead of the original Greek, an artistic decision the original owner of this piece apparently disagreed with. *OCLC* locates numerous holdings of this song published by various publishers in the nineteenth century, but does not locate any holdings of this edition published by Tripp & Cragg.…

Softcover. Zustand: Very Good. Unknown edition. Folio. Single bifolium with a single sheet insert making six pages. Bifolium neatly separated along the fold but both leaves are present, notched and worn along the fold from once being bound within an album, scattered foxing and light soiling throughout, still a complete and very good copy with the music and cover illustration bright and clear. For voice and piano. *OCLC* locates four holdings and it appears to be equally scarce in the trade.…

Softcover. Zustand: Good. First edition. Folio. Single bifolium with a single sheet-insert-making six pages. Internal tape repairs along the fold, light foxing and offsetting throughout, soiling to the exterior, and edgewear, still a complete and good or better copy. For voice and piano. Plate number, 23384. The composer of this piece, Joseph Eastburn Winner, was born in Philadelphia and is best known for his song, "The Little Brown Jug." This song, "Maid of Athens," is dedicated to Albert Henry Rosewig, another composer from Philadelphia, and from around 1880 to 1919 he served as the music director of St. Charles Borromeo church, which is still in operation today in South Philadelphia. *OCLC* locates only two holdings and it appears to be equally scarce in the trade.…

Softcover. Zustand: Very Good. First edition. Folio. Wrappers. 5pp. Notched along the spine from once being bound within an album, rear wrapper separating a bit at the foot of the spine, foxing throughout, very good. For voice and piano. *OCLC* locates two holdings of this version by J.G. Duggan.

Softcover. Zustand: Very Good. First edition. Folio. Single sheet printed on the recto only and folded in half making for two pages of content. Very neat tape repair along the fold on the verso, foxing and offsetting, very good. For voice and piano. Plate number, 456. *OCLC* locates eight holdings of this edition by Mr. R. of West Point.…

Softcover. Zustand: Very Good. Later printing. Folio. Originally a single bifolium with a single-sheet-insert making six pages. The leaves are sewn together from once being bound within an album as a result the fold is crinkled and worn with some separation at the top, minor edgewear, with light soiling, offsetting and soiling throughout, a complete and good or better copy. For voice and piano. Byron's lyrics are part of a collaboration with composer Isaac Nathan, together they published a collection of songs under the title *Hebrew Melodies* (1815), which caused a bit of a backlash for Byron due to the pronounced prejudice against the Jewish people in England at the time, with some reviewers criticizing Byron for working on the project. This piece is a different musical setting to Byron's words composed by C.E. Phillips.…

Softcover. Zustand: Very Good. Later printing. Folio. Two nested bifoliums making eight pages. Outer bifolium separating a bit at the bottom of the fold, and some toning and soiling to the exterior, very good or better. For voice and piano (with pedal marks). Plate number 24. The back cover features short samples of six other songs. Byron's lyrics are part of a collaboration with composer Isaac Nathan, together they published a collection of songs under the title *Hebrew Melodies* (1815), which caused a bit of a backlash for Byron due to the pronounced prejudice against the Jewish people in England at the time, with some reviewers criticizing Byron for working on the project. *OCLC* locates two holdings of this later version composed by John Greig.…

Softcover. Zustand: Good. Unknown edition. Folio. Two nested bifoliums making eight pages. Both bifoliums are separated at the fold with some notches along the inner two leaves suggesting this was cut out of an album, music shop stamp and a stain on the front cover, offsetting and foxing throughout, a complete but good only copy. For voice and piano. Plate number 168. Byron's lyrics are part of a collaboration with composer Isaac Nathan, together they published a collection of songs under the title *Hebrew Melodies* (1815), which caused a bit of a backlash for Byron due to the pronounced prejudice against the Jewish people in England at the time, with some reviewers criticizing Byron for working on the project. *OCLC* locates no holdings of this later version composed by Stephen Glover and published by Wm. Hall & Son (which would put it's publication at or after 1847). An uncommon piece, this edition with a gorgeous cover illustration. …

Softcover. Zustand: Very Good. Later printing. Folio. Wrappers. 5pp. A dampstain to the bottom right corner of the front wrapper affecting throughout, notched along the spine from once being bound within an album, foxing and offsetting throughout, still a very good and complete copy. For voice and piano. Byron's lyrics to this song are part of a collaboration with composer Isaac Nathan, together they published a collection of songs under the title *Hebrew Melodies* (1815), which caused a bit of a backlash for Byron due to the pronounced prejudice against the Jewish people in England at the time, with some reviewers criticizing Byron for working on the project. This piece is a different musical setting to Byron's words composed by C.E. Phillips.…

Softcover. Zustand: Very Good. Unknown edition. Folio. Single bifolium making four pages. Notches in the spine and numbering in the top right corner of each page from once being bound within an album, "1827" penciled on the front cover, foxing, and light edgewear, very good. For voice and piano. Byron's lyrics are part of a collaboration with composer Isaac Nathan, together they published a collection of songs under the title *Hebrew Melodies* (1815), which caused a bit of a backlash for Byron due to the pronounced prejudice against the Jewish people in England at the time, with some reviewers criticizing Byron for working on the project. This piece is a different musical setting to Byron's words composed by C.E. Phillips. …

Softcover. Zustand: Very Good. First edition. Folio. Single sheet folded in half making four pages. Foxing and offsetting throughout, notches in the spine from once being bound within an album, light edgewear, a very good and complete copy. For voice and piano. Plate number 124. *OCLC* locates four holdings.…

Softcover. Zustand: Good. First edition. Quarto. Two nested bifoliums making eight pages. Outer bifolium separated at the fold, notches in the spine from once being bound as part of a collection with numbers written at the top of each page numbering the score pages 12-20, foxing throughout, dampstaining along the spine throughout, and edgewear, still a good and complete copy though possibly missing a back cover. For voice and piano. *OCLC* locates only five holdings. …

Softcover. Zustand: Very Good. Early American edition, possibly first. Folio. Single bifolium making four pages. Foxing throughout, notched and worn along the fold from once being bound within an album, light dampstaining along the top corners of the front cover affecting throughout, and a small tear on the foredge affecting both pages, still a very good copy. For voice and piano. This piece is from a collaboration between Lord Byron and composer Isaac Nathan (who initially studied to be a rabbi), originally published as a collection of songs in 1815 under the title, "Hebrew Melodies." Nathan claimed that the tunes were derived from ancient Jewish temple music, though apparently this is largely untrue, with most being derived from European folk songs that over time came to be used in synagogue services. The "I. Braham" credited above the music is actually a popular Jewish singer from the time, John Braham, whom Nathan allegedly convinced to lend his name to the project in exchange for half the profits. Once published, the work caused a bit of a backlash for Byron due to the pronounced prejudice against the Jewish people in England, with some reviewers criticizing Byron for working on the project (Byron not being Jewish himself). *OCLC* locates only two holdings of this piece.…

2. London, published by Mr. Nathan, Poland Street, S.d. ( ca. 1825), format 33 x 24,2 cm . 4 Lvs with 6 pp of engraved music , ( + title and last page , a catalogue) (as issued). No plate number , Price 2/6 s. Disbound, removed from a binding , with some damage at inner margin.