Der Choral-Gesang zur Zeit der Reformation, oder Versuch, die Frage zu beantworten: Woher kommt es dass in den Choral-Melodien der Alten etwas ist, was heut zu Tage nichte mehr erreicht wird? Von P. Mortimer (Peter Mortimer). (Choral Singing at the Time of the Reformation, or an Attempt to Answer The Question: How is it that in the Choral Melodies of the Ancients there is Something that is Not Achieved Today? By Peter Mortimer) BERLIN : Bei Georg Reimer, 1821. First Edition. In two sections. Part 1 contains critical musicology text, Part 2 contains scores of 163 chorals. Plain blue paper wrappers (original printed wrappers lacking), perfect bound text, textually complete, 4to. 8 1/8 x 9 5/8 inches (21x24.5 cm), deckled front and bottom page edges. Pagination: [1 leaf] title page, blank verso; vi (bound of sequence); 153 pages (text), 112 pages (musical scores). Engraved portrait of Luther by L. Meyer after Cranach, on title page. GOOD condition: foxing and age toning / browning throughout but text and scores remain bright and clear; page edges are somewhat wavy and darkened from age; latter pages have some edge wear and corner creases; general signs of handling; most pages are uncut. A complete, presentable copy of this important, scholarly work on Reformation Chorale Music. Though functional in its perfect bound blue wrappers, the book would look incredible stitch bound in leather covers! Are you up for the task? PETER MORTIMER, b. 1750 d. 1828, was an English born Moravian organist, composer, conductor, and musicologist, who spent most of his life in Germany, in the Moravian settlements of eastern Saxony. In this work on the early church modes, or Gregorian modes, he explored the reasons for their superiority over the modern modes in the realm of choral music. Mortimer established that three modes governed Reformation chorale music, the hypodorian, hypophrygian (hypoionische), and hypomixolydian modes, and that the music had to be understood harmonically in that context. Considering the paucity of examples available to him at that time, Mortimer's musicological analysis was exceptionally astute, being fundamentally sound. (Eitner VII, 74-75; Kümmerle, Encyklopädie der evangelischen Kirchenmusik (1890) II:307-8).

DER MUSIKFEIND : EIN NACHTSTÜCK (The Enemy of Music: A Night Piece), by Gustav Nicolai.

A novel about a fictional young musical genius who is poisoned by a jealous colleague. It is a dark and moody tale, loosely based on the idea that Mozart was poisoned by fellow composer, Antonio Salieri.

Published by Otto Wigand, Leipzig (Germany), second edition, 1838.

Half leather (leather spine and corners) and marbled paper covered boards, 4.5x7 inches (11x17 cm), 294 pages. TEXT in GERMAN FRAKTUR (i.e. hard to read!)

GOOD condition: The covers are rubbed along the edges, corners, spine ends and spine folds, but are still sturdy and attractive; internally, there is a previous owner's name on the front free endpaper and bookplate on the front pastedown, light foxing and age spots to the pages, otherwise the pages are tight, bright, clean and unmarked. A solid, presentable copy of this unusual novel.

RARE in its true 1838 printing.

About the author GUSTAV NICOLAI:

******Gustav Alexander Wilhelm Nicolai, b.1795 d.1868, was a German writer and composer. His friends included the composers Adolf Bernhard Marx, Gaspare Spontini and Carl Loewe, for whom he wrote the oratorio libretto Die Zerstörung von Jerusalem, set to music by Loewe in 1833. Frederick William III of Prussia rewarded Nicolai with a golden box for the same libretto. The king was one of his main supporters, giving him the Gold Medal for Art and Science. Nicolai became widely known for his writing, especially his travelogue on Italy. Nicolai corresponded with Robert Schumann and wrote several books including Der Musikfeind: Ein Nachtstück.******

LES GROTESQUES DE LA MUSIQUE, by the GREAT COMPOSER HECTOR BERLIOZ. Published by Librairie Nouvelle and A. Bourdillat et Cie Éditeurs,

PARIS, France, 1859. First Edition. Hardcovers (front cover disbound), contemporary morocco leather covered spine and marbled paper covered boards, spine titled in gilt, 4.5x 7", 320 pages. Text in French. Condition: The front cover is disbound (i.e. present but laid-on loosely), covers are edge worn and have a few scrapes to the boards, there is a "TL" monogram etched in gilt at the bottom of the spine and ink-stamped on to 2 blank prelims, there is some light foxing here and there, a page or two have corner creases, otherwise the covers are attractive and all the inner pages are very nice - tight, bright, clean and unmarked. A lovely copy. LES GROTEXQUE DE LA MUSIQUE contains a selection of Berlioz essays that he personally selected for this book. In the book he satirizes the musical world of his day, including Music Critics, Musicians, Audiences, etc. No one is spared. SCARCE. About HECTOR BERLIOZ (excerpted from Wikipedia): ******Hector Berlioz (11 December 1803 - 8 March 1869) was a French Romantic composer, best known for his compositions Symphonie Fantastique and Grande Messe des Morts (Requiem). Berlioz made significant contributions to the modern orchestra with his Treatise on Instrumentation. He specified huge orchestral forces for some of his works, and conducted several concerts with more than 1,000 musicians. His influence was critical for the further development of Romanticism, especially in composers like Richard Wagner, Nikolai Rimsky-Korsakov, Franz Liszt, Richard Strauss, Gustav Mahler and many others. While Berlioz is best known as a composer, he was also a prolific writer, and supported himself for many years by writing musical criticism, utilizing a bold, vigorous style, at times imperious and sarcastic. The books which Berlioz has become acclaimed for were compiled from his journal articles. LES SOIRÉES DE L'ORCHESTRE (Evenings with the Orchestra) (1852) and GROTESQUE DE LA MUSIQUE (1859) scathing satires of musical life in 19th century France, and the TREATISE ON INSTRUMENTATION, a pedagogic work, were all originally serialized in French musical publications.******

FIVE ORIGINAL ANNOUNCEMENTS and PROGRAMS of the FIRST THREE SEASONS of the SAN FRANCISCO SYMPHONY (aka SAN FRANCISCO ORCHESTRA, SAN FRANCISCO SYMPHONY ORCHESTRA). (1) 1911 ANNOUNCEMENT for the FIRST SEASON (season 1911-1912) of THE SAN FRANCISCO ORCHESTRA. Pamphlet, side stapled, 5.5x8.5 inches, eight pages including covers. From the inside front cover:

"The Musical Association of San Francisco... establishing a permanent orchestral body along the lines of those maintained in the larger cities of Europe... For the first season, the concerts will be given in the afternoons as the formation of the Association was so late that it was impossible to secure sufficient musicians for evening concerts, but plans are being laid for both afternoon and evening concerts next season... All the objects and ambitions of the Association cannot be attained the first season, but an earnest start will be made, with the view to having an orchestra equal to any in the country and achieving the highest results both from an artistic and educational standpoint, within a few years...The announcement of the first series of Symphony concerts is herewith submitted for your kind consideration..." (2) 1912 FIRST SEASON, Fourth Concert, PROGRAM, performed on February 2, 1912. Booklet, side stapled, 6x9 inches, 20 pages including covers. (3) 1912 SECOND SEASON, Fourth Concert, PROGRAM, performed on November 29, 1912. Booklet, side stapled, 6x9 inches, 28 pages including covers. This symphony featured TINA LERNER, PIANIST playing Beethoven and Tschaikowsky. From Wikipedia: "An audience that represented the wealth and culture of San Francisco went into ecstasies of delight over her remarkable playing of the Tchaikovsky Concerto at the recently formed San Francisco Symphony, according to the San Francisco Orchestra's manager, Frank W. Healy." (You can read more about her on Wikipedia.) (4) 1913-1914 ANNOUNCEMENT of the THIRD SEASON of the THE SAN FRANCISCO SYMPHONY ORCHESTRA. Pamphlet, side stapled, 5.5x8.5 inches, eight pages including covers. (5) 1913 THIRD SEASON, Second Concert, PROGRAM, performed on November 24, 1913. Booklet, side stapled, 6x9 inches, 28 pages including covers. The concert featured the Operatic Soloist ERNESTINE SCHUMANN-HEINK. CONDITION: The Announcements and Programs are in FAIR to GOOD MINUS condition, they are lightly toned, a few have been folded, there is edge wear, some small closed tears, and other signs of handling; overall they are complete, bright, clean and clear. A nice group of RARE, ORIGINAL Announcements and Programs from the BEGINNING of the Great SAN FRANCISCO SYMPHONY. From the San Francisco Symphony website: ******In the wake of the devastating 1906 earthquake and fire, San Francisco's civic leaders set about creating a permanent orchestra in the music loving city.

In December 1911, the San Francisco Symphony (SFS) gave its FIRST CONCERTS, rekindling the city's cultural life. It delighted audiences with a kaleidoscopic mix of classics and new music.******

LA MÚSICA POPULAR y los MÚSICOS CÉLEBRES de la AMÉRICA LATINA, por A. L. CORTIJO. (POPULAR MUSIC and CELEBRATED MUSIC of LATIN AMERICA, by A. L. CORTIJO.) Published by Casa Editorial Maucci, BARCELONA, Spain, undated but circa 1920. SIGNED (Initialed) and DATED 1930 by JOAQUIN NIN on the title page. Softcovers,

5.5x8.5", 446 pages. Illustrated with drawings and musical snippets. CONDITION: LACKING FRONT COVER AND PRELIMS (first page is the title page); spine covering mostly chipped off, rear cover present but very worn; the first few signatures are disbound and loose, and the rest of the binding is very shaky with some signatures loose and many almost loose; some dark dime size stains here and there throughout (mostly in the blank front or bottom margin); some margin marks; the first few pages have edge wear; nonetheless a textually complete copy of this important book, SIGNED (Initialed) by one of the great Composers and Arrangers of Spanish Music, Joaquin Nin. About JOAQUIN NIN (from Wikipedia): ******Joaquín Nin y Castellanos (September 29, 1879, Havana - October 24, 1949, Havana) was a Cuban pianist and composer. Nin studied piano with Moritz Moszkowski and composition at the Schola Cantorum (where he taught from 1906 to 1908). He toured as a pianist and was known as a COMPOSER and ARRANGER of POPULAR SPANISH FOLK MUSIC. Nin was a member of the Spanish Academy and the French Legion of Honor. He was the father of Thorvald Nin, composer Joaquín Nin-Culmell, and writer Anaïs Nin with singer Rosa Culmell. In her diaries and fiction, his psychoanalytically oriented writer daughter Anaïs Nin often attempts to explain her own personality and problems by recalling how her father treated her as a child. She was also close to him off and on as an adult. Her "unexpurgated" diary volume Incest: From a Journal of Love describes an adult incestuous relationship with him. He also appears in her fiction. She describes him as an egotistical Don Juan, and she imitated him at times by being a "Doña Juana".******

SIGNATURE and INSCRIPTION of LUCY MONROE, on the bottom part of a 5x7 inch piece of paper on which is also mounted a newspaper article about her singing the part of Musetta in the opera La Boheme. The signature, inscription, and article are all probably from the 1930s, during which time Lucy Monroe appeared in various operas. What she became most famous for, however, was her singing of THE NATIONAL ANTHEM. She was a fixture of the NEW YORK YANKEES, and sang the National Anthem at EVERY OPENING DAY GAME and at EVERY WORLD SERIES GAME between 1945 and 1960. GOOD condition: the item has a fold across its middle, some corner tip wear, pieces of dark paper stuck to the four corners of its blank backside, and signs of handling. Nonetheless the signature and inscription are bright and clear. An interesting item related to the NEW YORK YANKEES baseball team. How many Yankees opening day and world series games did you attend between 1945 and 1960? Would look great mounted and put into a small frame. About LUCY MONROE (from her 1987 NY TIMES obituary): ******LUCY MONROE, who SANG the STAR-SPANGLED BANNER at every NEW YORK YANKEES OPENING DAY and every YANKEES WORLD SERIES between 1945 and 1960, died of cancer Tuesday, October 16, 1987, at her Manhattan home. She was 80 years old. Miss Monroe, the official soloist for the American Legion and the Veterans of Foreign Wars, spent much of her career singing the national anthem. She once estimated that she had sung it more than 5,000 times. She sang it for Presidents Roosevelt, Johnson and Kennedy, at the inauguration of President Truman, and at hundreds of other civic and patriotic gatherings. In 1942, she conducted a community sing, sponsored by the Treasury Department, on the steps of the Lincoln Memorial. More than 40,000 people attended. During the 1930's she was featured on three commercial radio programs a week and was a costar for four years with Frank Munn on NBC's American Album of Familiar Music. She also appeared as a soloist with the New York Philharmonic and Philadelphia orchestras and with the Chicago, St. Louis and Metropolitan Opera companies. She leaves no survivors.******

THE GIFT TO BE SIMPLE: SONGS, DANCES AND RITUALS OF THE AMERICAN SHAKERS, by Edward Deming Andrews.

Published by J. J. Augustin Publisher, New York, 1940. First edition, first printing, with the date 1940 on the copyright page with no indication of later printings.

Hardcover Book in Dustjacket, 6.5x9 inches, 170 pages.

Condition: VERY GOOD book, a few pea size spots to the top page edges (page edges of the closed book), otherwise just lightly used and still tight, bright, clean, clear and unmarked; in a GOOD dustjacket that is toned (as normal), sunned at the spine, has light soiling, some edge and spine end wear, and small tears and chips; still this fragile dj remains solid, is doing its job well, and retains its 5.50 price at the top of the front flap.

The 1940 First Edition Hardcover in Dustjacket published by Augustin is hard to find and quite lovely. Beware the numerous print on demand copies that sometimes are presented like original editions. Please read listings fully and carefully.

STRAVINSKY AND THE THEATRE: A Catalogue of Decor and Costume Designs for Stage Productions of His Works 1910-1962.

SIGNED, INSCRIBED and DATED by STRAVINSKY in red ink on the front cover: "To Mary Allen / Stravinsky / 1964".

Published by the New York Public Library, New York, 1963. First edition, as indicated by the date 1963 on the title page and copyright page, with no statement of additional printings.

Softcovers, 9x9 inches, 57 pages. Illustrated with b&w drawings.

The catalogue accompanied a 1963 New York Public Library exhibition featuring the designs and costumes of Stravinsky's major stage works in their initial and later productions. The front cover illustration is a reproduction of Giacometti's drawing of the composer. Stravinsky's stage collaborators included Chagall, Cocteau, Disney, Depero, Matisse, Noguchi, Picasso, Rauschenberg, and many others.

GOOD condition, the front upper corner of the catalogue is creased, leaving a crease to that corner of the covers and inner pages; the covers have some edge wear including a few edge scarpes; the spine's front fold has a thin 1 inch split; otherwise a solid, bright, presentable copy.

RARE and WONDERFUL with the SIGNATURE and INSCRIPTION of one of the greatest composers of the 20th century, IGOR STRAVINSKY.

About Stravinsky (from Wikipedia):

******Igor Fyodorovich Stravinsy, b.1882 d.1971, was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential composers of the 20th century.

Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Serge Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). The latter transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a revolutionary who pushed the boundaries of musical design.******

1973 DIE FLEDERMAUS S.F. OPERA PROGRAM - SIGNED by JOAN SUTHERLAND, JUDITH BLEGEN, HUGUETTE TOURANGEAU and 2 others whose signatures I can't make out. All are signed to "DON", who I believe was a director of the San Francisco Opera House at the time. Framed in a Wooden Frame with Poured Resin Decorations - a nice 1970s frame. The visible window of the frame is 7.5x9.5", the full frame dimensions are 13.5x15.5". Condition: I have NOT removed the program from the frame - therefore I don't know if this is 1 page of the program, the entire program, it's exact dimensions, etc. What I can see through the glass shows a bright, clean, clear program page with bold signatures. The framing blocks a few words and the ends or beginnings of a few signatures. The frame itself has some chips to the decorations, scrapes and peeling to areas of the paint, some small nicks and scratches, but remains solid and quite lovely.

OPERA CAVALCADE - STORY OF THE METROPOLITAN. Published by The Metropolitan Opera Guild, New York, 1938.

Doubling as an AUTOGRAPH ALBUM, the book contains SIGNATURES of 55 OPERA SINGERS collected by a fan over the OPERATIC SEASONS 1943-1948. The signatures are on opera program covers, cut pages, and clipped sheets, that have been glued on (most at the corners) to the pages and inside covers of the book. The signatures are in ink and pencil.

On the title page the previous owner lists some of the operas he/she attended, and the dates they were performed.

On page 63 there is a list of all the members of the "current" Metropolitan Opera Company (i.e. 1938 when this book was published). There are check marks by twenty-one of the names. Those names make up part of the 55 signatures collected in this album/book.

Signatures include: Karin Branzell, Thelma Votipka, Edward Johnson, Bidu Sayão, Nicola Moscona, Patrice Munsel, Ezio Pinza, Rose Bampton, Frances Greer, Richard Tucker, Zinka Milanov, Lily Pons, Astrid Varnay, Florence Quartararo, and many, many more.

The book - Opera Cavalcade: The Story of the Metropolitan, is a history of the Metropolitan Opera. It is filled with b&w photographs of stage productions and singers, and includes a nice frontispiece photograph of Edward Johnson by Steichen.

Condition: The book is in GOOD MINUS condition, worn through at the edges and corners, with rubs, scrapes and scratches to the boards; but is solid and has a cover image that is bright and attractive. The inner pages have some age toning and foxing, and two pages have offsetting likely from a newspaper page laid in at some point; otherwise the inner pages are tight, bright, clean and clear. The signatures are mostly sharp and clear though some of the pencil signatures are fading, but even those are easily legible with only one that has faded into near illegibility, at least according to my aging eyes.

A wonderful look at the world of Opera as it was in the mid 1940s, filled with signatures of those who were part of that world.

A unique treasure for the lover of opera in your life or soul.

THE SECOND HURRICANE: A Play Opera in Two Acts - For High School Performance. MUSIC by AARON COPLAND. Libretto by Edwin Denby. This was Aaron Copland's FIRST OPERA.

SIGNED, INSCRIBED and DATED by AARON COPLAND on the title page:

"For Martin Riskin / Aaron Copland / '72".

Martin Riskin, individually and through his charitable foundation, was a major supporter of the New York Philharmonic Orchestra, and classical music throughout New York City. A search for "Martin Riskin" together with "New York Philharmonic" will provide a good sampling of Martin Riskin's involvement with classical music and musicians.

Published by Boosey & Hawkes, undated but likely circa 1970, a later printing. (First published by Birchard & Company in 1937, the rights to this work were transferred from Blanchard to Boosey & Hawkes in 1957. Any copies showing Boosey & Hawkes as the publisher were published post 1957.)

Musical score, softcovers, 7x10.25 inches, 112 page score plus 8 introductory pages, including a facsimile of a program for the original 1937 production which was titled: "The Second Hurricane: A Play Opera for High School Children". (I like how "Children" was changed to "Performers" in later editions.) There is a long tradition of great composers writing operas to be performed by young performers.

VERY GOOD condition, tight, bright, clean, clear and unmarked. A lovely copy.

RARE with the SIGNATURE and INSCRIPTION of AARON COPLAND from 1972, and the Association to the notable NY Philharmonic supporter Martin Riskin.

HOLY GROUND. BROADSIDE of the lyrics of a SONG written collaboratively by ANJANI and LEONARD COHEN.

ANJANI was a Backup Singer, Backup Musician, Musical Collaborator, and Lover of LEONARD COHEN. HOLY GROUND is a song they wrote together for her to perform on a solo album. This broadside was published before the song was released.

SIGNED and NUMBERED by ANJANI.

Broadside, 5x12.5 inches, deckled bottom edge. Limited to only 100 copies. This is copy #49.

Published by Sore Dove Press, San Francisco, and printed by Bill Roberts in Dover, Delaware, 2009.

FINE condition. Lovely, would look great framed.

Leonard Cohen died in 2016. Anjani is alive and kicking.

About ANJANI (from Wikipedia):

******Anjani Thomas, b.1959, is an American singer-songwriter and pianist, best known for her work with Leonard Cohen.

Anjani was born in Honolulu, Hawaii. She later moved to New York and performed in jazz clubs before meeting producer John Lissauer who hired her to provide backup vocals on Leonard Cohen's influential song "Hallelujah". Anjani went on to tour with Cohen in 1985 as his keyboardist and backup vocalist, and worked with Cohen for many years after, lending her talents to I'm Your Man, The Future, Dear Heather and Old Ideas. She and Cohen were also lovers.

Anjani launched a solo career with the self-titled album "Anjani" in 2000 followed by "The Sacred Names" in 2001. In 2006, Cohen produced and wrote the lyrics for Anjani's album "Blue Alert".

In 2011 Anjani began working on a follow up album to Blue Alert, for which she and Leonard Cohen collaboratively wrote three new songs, including the song "HOLY GROUND". The album, titled "I Came To Love", was released in 2014.******

About the Album BLUE ALERT (from Wikipedia):

******Blue Alert is a jazz album recorded by Anjani, girlfriend and longtime backing singer of iconic Canadian singer-songwriter and poet Leonard Cohen, who also produced the album and wrote the lyrics. It debuted at No. 16 on the Billboard Top Jazz Albums chart. A follow up album, I Came To Love contained songs written collaboratively by Cohen and Anjani.******

You can read more about Anjani and her relationship with Leonard Cohen at "Anjani-Music".

COUNT IGNAZIO ALESSANDRO COZIO DI SALABUE - OBSERVATIONS on the CONSTRUCTION of STRINGED INSTRUMENTS and THEIR ADJUSTMENT: 1804, 1805, 1809, 1810, 1816.

Compiled, Translated, Edited and Annotated by Andrew Dipper and David Woodrow from Salabue's original books and manuscripts. Produced as part of the series: Technical Studies in the Arts of Musical Instrument Making

Published by Taynton Press, Taynton, England, 1987. Produced as part of the series: Technical Studies in the Arts of Musical Instrument Making. ISBN 10: 1870952006 ISBN 13: 9781870952002.

FIRST and LIMITED EDITION of only 995 copies, this being hand numbered copy 890.

Hardcover book in dustjacket, black cloth covered boards, gilt embossed titling on the front cover and spine, 8.5x12 inches, 85 pages.

Condition: VERY GOOD book, lightly used with a couple small indentations on the covers, in a VERY GOOD dustjacket that has light creases from handling and use, still bright and clean. A solid, very presentable copy.

About COUNT IGNAZIO ALESSANDRO COZIO DI SALABUE (from Wikipedia):

******Count Ignazio Alessandro Cozio di Salabue, b.1755 d.1840, was an Italian Count known as the first great connoisseur and collector of violins. Among the most important instruments in Cozio's collection were ten violins of Antonio Stradivari, which he acquired from the maker's son Paolo in 1773-1774; however, many more instruments by Stradivari and numerous other renowned violin makers were in his collection or passed through his hands over the years. Cozio's meticulous notes on nearly every instrument that passed through his hands contributed enormously to the body of knowledge surrounding Italian violin making.******

DARK NIGHT OF THE SOUL. Written by DANGER MOUSE and SPARKLEHORSE (aka MARK LINKOUS), with Photography by DAVID LYNCH.

HAND SIGNED on the front free endpaper by: DANGER MOUSE, SPARKLEHORSE / MARK LINKOUS, and DAVID LYNCH.

LIMITED, NUMBERED, FIRST EDITION, this being hand numbered copy 4137 of 5000. Though not called for, this copy is SIGNED by all the contributors. It is one of the only such copies I have seen.

Published by powerHouse Books, New York, 2009. ISBN 10: 1576875245 ISBN 13: 9781576875247.

Hardcover Book, illustrated covers, no dustjacket as issued, 9x12 inches (23x30 cm) oblong, 104 unnumbered pages. Illustrated throughout with color photographs by David Lynch. INCLUDES a CD mounted in the rear cover.

NEAR FINE condition, light rubbing to the covers, otherwise tight, bright, clean and clear. The signatures are bold and bright. The CD is fine.

This SIGNED COPY is RARE, especially so with the signature of Mark Linkous / Sparklehorse.

SPARKLEHORSE aka MARK LINKOUS, b.1962 d. 2010, was a guitarist, singer, songwriter, from Richmond, Virginia. He released four acclaimed albums and collaborated with Tom Waits, the Flaming Lips, Thom Yorke of Radiohead, and many others. MARK LINKOUS COMMITTED SUICIDE in 2010 in Knoxville Tennessee, not long after this book was released.

DANGER MOUSE is an eleven time Grammy Award nominated; two time Grammy Award winning artist and producer. In a short time, he has created a diverse body of work, including albums with Beck, the Black Keys, Gorillaz, and his own hugely successful band Gnarls Barkley. He was recently named one of Esquire's 75 most influential people of the 21st Century.

David Lynch is a renowned filmmaker.

The Autobiography of DONOVAN - THE HURDY GURDY MAN, by Donovan Leitch.

HAND SIGNED by DONOVAN. His Bold, Full Page SIGNATURE is on the front free endpaper.

Published by Century, London, 2005. First Edition, First Printing, with the full number line starting at 1.

Hardcover Book in Dustjacket, 6x9.5 inches, 328 pages. ILLUSTRATED with 16 pages of photographs in b&w and color.

Condition: VERY GOOD book, a bit of slight pushing at the bottom of the spine, light page toning as normal with this book, otherwise sharp, tight, bright, clean and unmarked. In a VERY GOOD dustjacket that has some light edge and spine end creasing. The dj retains its original £17.99 price at the bottom of the front flap.

The full page signature of DONOVAN is just so, how to describe it, MELLOW.

MUSICA & CINEMA : IL NEORALISMO ITALIANO / MUSIC & CINEMA : ITALIAN NEOREALISM / Introduction by Carlo Lizzani

BOOK on ITALIAN NEOREALISM CINEMA & MUSIC with TWO CDs in holders on the inside rear cover. Introduction by Carlo Luzzani.

The two CDs contain music from some of the great Italian Neorealism Films (e.g. Vittorio De Sica's Bicycle Thieves). The music is symphonic, composed by various Italian composers, including Nino Rota.

Published by CAM Recording Studios, Milan, Italy. TEXT in ITALIAN, ENGLISH and JAPANESE.

Hardcover Book with two CDs at the rear, 8x10 inches (19.5x25 cm), 57 pages. Illustrated throughout.

Condition: VERY GOOD book, a crease to the rear cover, some light edge wear, otherwise bright, clean, clear and unmarked. The CDs are in GOOD working condition, they have some superficial scratches, but I have played both all the way through and they played fine.

"Carlo Lizzani, b.1922 d.2013, was an Italian film director and screenwriter. Lizzani worked on such films of as Roberto Rossellini's Germany Year Zero, Alberto Lattuada's The Mill on the Po (both 1948) and Giuseppe De Santis' Bitter Rice (1949) for which he received an Academy Award nomination for Best Original Story." - Wikipedia

"Italian neorealism is a national film movement characterized by stories set amongst the poor and the working class, filmed on location, frequently using non professional actors. Italian neorealism films mostly contend with the difficult economic and moral conditions of post World War II Italy, representing changes in the Italian psyche and conditions of everyday life, including poverty, oppression, injustice, and desperation." - Wikipedia