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).

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".******

DRUMS AND ACCESSORIES - ILLUSTRATED CATALOG of the WFL DRUM CO.

Published by WFL DRUM COMPANY, Chicago, Illinois, 1939.

Softcover catalog, side stapled, 6x9 inches, 48 pages. Illustrated throughout. Complete with its original, illustrated mailing envelope.

Condition: There are a couple brown burn marks on the front cover that affect the same spot on a few of the following inner pages, the staples have rusted but are holding well, the covers have light general creases from use, otherwise the catalog is quite nice, tight, bright, clean, clear and unmarked. The used mailing envelope is soiled, age toned, has a mailing label "Jack Anthony / Millbrook, New York", and writing on the backside "Clarence Nathaniel Anthony / North Avenue / Millbrook, New York" and "Millbrook Memorial School / Rowland H. Ross / Principal".

Rare original 1939 Drum Catalog of WFL Drum Company.

RARE, EARLY 1958 CONCERT PROGRAM by the DAVE BRUBECK QUARTET. "Benefit Jazz Concert by the Dave Brubeck Quartet for Dave's Friend, Al Jay Naukana, January 7, 1958, 150 Golden Gate Ave., San Francisco." The "Master of Ceremonies" was Phil Elwood, longtime San Francisco Bay Area jazz and blues critic.

HAND-SIGNED by BAND MEMBERS DAVE BRUBECK, PAUL DESMOND and JOE MORELLO, and BAND MANAGER MORT LEWIS.

Joe Morello and Mort Lewis also INSCRIBED the booklet to JEAN (Jean Gundlach), who was on the Committee that arranged for the Benefit Concert (she is named at the bottom of the last page of the 4 page program pamphlet).

Also signed Lou Olvera, who was a beloved teacher at the East Contra Costa Junior College (now Diablo Valley College) and Jazz fan. Dave Brubeck once performed at ECCJC along with Cal Tjader.

The program consists of TWO ITEMS:

(1) An illustrated SIGNED and INSCRIBED booklet about the Dave Brubeck Quartet and its members, produced as an informational booklet for Brubeck's 1957-1958 tour, published by Derry Music Co., 1957. Printed paper covers, side-stapled 8.5x11 inches, 16 pages including covers. VERY GOOD condition, light offsetting to the front cover, and light signs of handling, overall tight, bright, clean and clear; with lovely signatures and inscriptions.

(2) A 4 page program for the "BENEFIT JAZZ CONCERT" that took place on January 7, 1958 in San Francisco. GOOD condition, several horizontal folds, perhaps to fit into a jacket pocket, otherwise just lightly used, bright and clear.

About JEAN (Gundlach), who was on the Committee to arrange the Benefit Concert, and to whom Joe Morello and Mort Lewis inscribed the program (from her 2010 Seattle Times obituary):

******Jean Gundlach, b.1914 d.2010, was a lifetime labor union activist. Beginning in the 1950s she served for 30 years as secretary to Harry Bridges in the ILWU in San Francisco. Throughout her years, Jean devoted herself to progressive programs, fighting against the McCarthy hearings, working with migrant farm worker organizations in the 1950s, joining many labor strikes and walkouts, etc. She was central to the creation of the Harry Bridges Chair and Center for Labor Studies at the University of Washington.******

TWO BOOKS by COMPOSER DANIEL GREGORY MASON - SIGNED & INSCRIBED Association Copies. (1) TUNE IN AMERICA, by DANIEL GREGORY MASON. Published by Alfred A. Knopf, New York, 1931. First Edition, so stated. SIGNED and INSCRIBED on the front free endpaper by the AUTHOR to PIANIST HARRY KAUFMAN and his wife: "Cordial regards to / Mr. and Mrs. Harry Kaufman / Daniel Gregory Mason / June, 1932." Hardcover Book in Dustjacket, 5.5" x 7.5", 206 pages. Condition: VERY GOOD book, the covers have some toning to the edges and spine, there is a newspaper review taped onto a blank prelim page that has offset and left pieces of tape to the page and the facing page, otherwise tight, bright, clean and unmarked; in a FAIR dustjacket that is heavily sunned at the spine and margins, has a couple closed tears across the spine, is chipped with tears at the spine ends and corners, and has spotting, but is still in one piece and doing its job. (2) THE CHAMBER MUSIC OF BRAHMS, by DANIEL GREGORY MASON. Published by the Macmillan Company, New York, 1933. First Edition, with the date 1933 on the title page, the statement "Published May, 1933" on the copyright page, and with no indication of additional printings. SIGNED and INSCRIBED on the front free endpaper by the AUTHOR to PIANIST HARRY KAUFMAN: "Why you read this, remember / our playing the G major / Violin Quintet, at Westport, / September 7, 1933. / To Harry Kaufman / Daniel Gregory Mason." Hardcover Book, no dustjacket, 6.5" x 9.5",

276 pages. GOOD condition: The covers are worn through at the spine ends and corner tips, have spotting and rubbing at the margins, and lightly bumped corners; internally the pages are lightly toned, as normal, otherwise tight, bright clean and unmarked. A solid copy. Daniel Gregory Mason (1873-1953) was an American composer and music critic. Harry Kaufman (1894-1961) was a CONCERT PIANIST and MUSIC TEACHER at the CURTIS INSTITUTE OF MUSIC, Philadelphia. For 17 years he headed the Institute's Department of Accompanying. During this time his former piano teacher JOSEF HOFMANN was director of the Institute.

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.

MEMORIA DEL FORO: 1er [PREMIER] FESTIVAL NUEVO CANTO LATINOAMERICANO, Abril 1982, Ciudad De Mexico CREA, UNESCO, INBA, FONAPAS, CASA DE LAS AMERICAS

[FORUM REPORT: 1st [PREMIER] NEW LATIN AMERICAN SONG FESTIVAL, April 1982, Mexico City]

In Mexico City between March 30 and April 5, 1982, the First Festival of Canto Nuevo was held at the National Auditorium in collaboration with UNESCO and Casa de las Américas. It was an important music festival promoting the New Song Movement, Protest Music and early World Music, and is considered a significant multi cultural event in Mexico, Latin America and the Caribbean. This is the very rare report (limited to only 1000 copies) issued by the organizers.

Published by the Planning Directorate and the Dissemination Department of the Promotion and Social Communication Directorate of CREA, Mexico City. First (and only) edition, September 1982. The print run was 1,000 copies (from the colophon). Softcover, printed paper wrappers, 11" x 8.25", 168 pages. Text in Spanish. VERY GOOD Condition: The covers have scraping to the spine margins, shelf/corner wear and some creasing but remain bright and clean, internally just a touch of age, otherwise tight, bright, clean and unmarked. Scarce.

The Nueva Canción (New Song) Movement in Mexico, also known as Canto Nuevo, was a musical and cultural phenomenon rooted in the broader Latin American and Caribbean Nueva Canción movement. It emerged in the late 1960s and 1970s as a response to social and political issues, using music as a tool for social commentary, cultural preservation and the fight against authoritarian regimes. The genre is distinguished by Latin folk sounds, traditional Indigenous instruments, and lyrics that highlight social injustices, specifically the exploitation of workers, dictatorships, and authoritarianism. Due to political lyrics and the desire to provoke social change, the government censored many artists who were part of the movement. Some musicians faced exile, torture, or death by right wing dictatorships. The movement was crucial in protesting dictatorship, fascism, and social injustice and cultivating a culture where Indigenous voices and music was heard. A crucial aspect of the Nueva canción genre is that many songs were influenced by Mexican corrido, narrative songs about history, oppression, vaquero life and lamenting the fascist occupation of their county.

Festival Participants included: ARGENTINA - César Isella; CUBA - Silvio Rodríguez and Noel Nicola; MEXICO - Los Folkloristas, Me caì, Onta, Amparo Ochoa, Nachón, Gabino Palomares, Foro, M. Alejandro; PERU - Nicomedes Santa Cruz; URUGUAY - Daniel Viglietti; BRAZIL - Manduka; CHILE - Quilapayun; NICARAGUA - Carlos Mejía Godoy and Los Palacaguna, Luis Enrique Mejía Godoy and Grupo Mancotal; PUERTO RICO - Roy Brown; VENEZUELA - Ali Primera and Lilia Vera; EL SALVADOR - Yolocamba I Ta

From the Introduction:

"In April 1982, the First Festival and Forum of New Latin American Song was held in Mexico City. It brought together the most representative exponents from various countries of our continent, both in the performance and composition as well as in the theoretical aspects of this new musical genre, which is gaining greater importance every day in the cultural sphere of America. CREA, FONAPAS, and the INBA, with the collaboration of UNESCO and the Casa de las Américas, held this event to support and promote this youth movement to reconquer and strengthen the cultural expressions of our peoples. With this objective and the purpose of continuing the work this compilation of the material gathered during the Forum has been prepared. It highlights the different positions held by the best ethnomusicologists of Latin America regarding New Song."

BOB SEIDEMANN'S "BLIND FAITH" PHOTOGRAPH, ONE OF THE MOST ICONIC PHOTOGRAPHS OF THE 20TH CENTURY; it was used for the U.K. "Blind Faith" album cover and its title became the name of the band.

TITLED, SIGNED, NUMBERED and DATED by the PHOTOGRAPHER, BOB SEIDEMANN, this being copy #10 of 75, dated 1969 but printed later.

A chromogenic reprint photograph, mounted and framed. Professionally "clip" mounted so that the photograph can safely be removed from the frame if so desired. Image measures 11.25x11 inches on a 14x12 inch photographic sheet.

Signed limited reprint photographs of "Blind Faith" are in major museums in Europe and America, and have shown up at auction from time to time. From what I can find, one sold at Sotheby's in 2014, a Rock 'n Roll History auction, for $17,000; one sold at Heritage Auctions in 2022 for $4,000, and one did not meet its reserve price at Bonhams.

The photograph is in FINE condition, bright, brilliant colors, great. The metal frame has some light scratches.

This controversial but iconic photograph represents an era when Rock 'n Roll was king, and was photographed by the king of rock n' roll photography, Bob Seidemann.

About Bob Seidemann and his photograph Blind Faith (from Sotheby's auction and Wikipedia):

******Robert "Bob" Emett Seidemann, b.1941 d.2017, was an American photographer. He was known for his portraits of musicians and bands from San Francisco's counterculture in the 1960s and 1970s. Many of his images were published by Rolling Stone, by record labels, and in books.

Bob Seidemann's surreal and enigmatic 'Blind Faith' became the album cover of Eric Clapton's first post Cream project. The band consisted of Eric Clapton, Steve Winwood, Ginger Baker, and Ric Grech, and took both its name and the title of its only album from Seidemann's photograph. The image, of a young girl holding a futuristic metal plane, created controversy even before its release when Polydor balked at using it as cover art. Clapton insisted, however, and the 1969 UK release of Blind Faith featured Seidemann's photograph. The photograph went on to become his most famous and controversial work. The rarity of the original cover has made the album highly collectible, and its notoriety has raised Seidemann's photograph to icon status.******

BUYERS PLEASE NOTE: This framed photograph will require additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your location. Thanks.

GEORGE GERSHWIN. Edited and Designed by Merle Armitage, with contributions by Jerome Kern, Irving Berlin, Ira Gershwin, Serge Koussevitzky, George Antheil, Oscar Hammerstein II, Isamu Noguchi, Arnold Schoenberg, et al.

The original penned SIGNATURE of GEORGE GERSHWIN is clipped from one of Gershwi's personal bank checks and is pasted onto the front free endpaper.

Published by Longmans Green & Co., London and New York, 1938. First edition, first printing. Hardcover book, 8 "x 10.5" inches, 252 pages, no dustjacket. Illustrated with b&w plates and photographs. A tribute to the iconic American composer published just one year after his death. GOOD PLUS condition, the covers have light wear to the spine ends and corner tips, some scrapes to the spine folds; internally, the front inner hinge has some clear tape reinforcement, penned gift inscription on the half title, the text block has a few hairline cracks but is holding well with the sewn binding, otherwise the pages are tight, bright, clean and unmarked and GEORGE GERSHWIN'S signature is bold and bright. SCARCE and UNIQUE with the clipped SIGNATURE of GEORGE GERSHWIN.

Merle Armitage (1893-1975) One of the most important graphic designers of the twentieth century, father of Modern California book design.

GRATEFUL DEAD - TWENTY FIVE YEARS - EUROPE 1990.

SIGNED & INSCRIBED in SILVER on the FRONT COVER by KEN KESEY, Friend, Mentor and LSD Guru to the Grateful Dead:

"Hmmm... / that's either Bill Graham's ghost or a live version of / Ken Kesey".

SIGNED & INSCRIBED in GOLD on the first two page panel by KEN BABBS, an LSD laden Merry Prankster and friend of the Grateful Dead and Ken Kesey:

"I didn't Go! - DURN! - Ken Babbs".

Softcovers, side stapled, 11.75x11.75 inches (the shape of a vinyl album cover), 26 pages. illustrated with photographs of the band and its Dead members.

NEAR FINE condition, just lightly handled, tight, bright, clean and clear. A lovely copy.

RARE SIGNED & INSCRIBED ASSOCIATION COPY that combines the GHOST of BILL GRAHAM, with the MERRY PRANKSTER MISCHIEVOUS WIT of KEN KESEY, and the LSD mindset of Prankster and Dead Friend KEN BABBS.

A Unique Item from the Pranksters and the Dead.

About KEN KESEY (excerpts from Wikipedia):

******Ken Kesey, b.1935 d.2001, One Flew Over The Cuckoo's Nest, Sometimes a Great Notion, Merry Pranksters, Acid Tests, Grateful Dead... After One Flew Over the Cuckoo's Nest was published, Kesey began hosting happenings with former colleagues, miscellaneous bohemian and literary figures, and other friends (Ken Babbs et al), collectively known as the MERRY PRANKSTERS; these parties, known as ACID TESTS, integrated the consumption of LSD with multimedia performances. KESEY MENTORED THE GRATEFUL DEAD (THE ACID TESTS' HOUSE BAND) throughout their early years and continued to exert a profound influence upon the group throughout their career.******

About KEN BABBS (from Wikipedia):

******Ken Babbs, b.1936, is a famous Merry Prankster who became one of the psychedelic leaders of the 1960s. He, along with best friend and Prankster leader Ken Kesey, wrote the book Last Go Round. Babbs is best known for his participation in the Acid Tests and on the bus Further. He and Ken Kesey said The Acid Tests were conceived when the Pranksters met the Grateful Dead.******

About BILL GRAHAM (from Wikipedia):

******Bill Graham, b.1931 d,1991, was a German-American rock concert promoter from the 1960s until his death in 1991 in a helicopter crash. On July 4, 1939, he was sent from Germany to France due to political uncertainty in his home country. At age 10, he settled into a foster home in the Bronx, New York. In the early 1960s, Graham moved to San Francisco, and in 1965, began to manage the San Francisco Mime Troupe which eventually led to his becoming one of the world's greatest Rock Concert Promoters. His promoted concerts at the Fillmore and Winterland Ballrooms made such bands as the Grateful Dead, Jefferson Airplane, and Big Brother and the Holding Company with Janis Joplin, world famous. The San Francisco Civic Auditorium was renamed The Bill Graham Civic Auditorium in his honor.******

An early, important and scarce composition by American Composer NED ROREM. From Virgil Thomson's personal collection.

PRAYER AND PARAPHRASE for Virgil Thomson by NED ROREM

NED ROREM music composition written in his hand. Signed holograph music manuscript reproduced by blue print process with Circle Blue Print Co., New York City printed in the bottom margin. Piano composition, small folio, one folded sheet 11" x 14", opens to 22" x 14", 2 pages. Beneath the last measure of Prayer is the number 9-25-45, and beneath the last measure of Paraphrase is the number 10-45. They are most likely the composition dates, September 25, 1945 and October 1945. Such copies are made for a performance, usually not many exist.

GOOD CONDITION: The sheet is toned, lightly foxed, slightly fragile, the fold is tender and starting to split but holding, tiny tears and chips to edges, otherwise the piece is bright, unmarked, completely legible, and remains upright on a music stand. Scarce, OCLC locates only one other copy archived at Yale in the Virgil Thomson Papers.

Ned Rorem (1923-2022) Iconic American Composer and Diarist. He won a Pulitzer Prize for Music in 1976 for his Air Music: Ten Etudes for Orchestra.

Virgil Thomson (1896-1989) American Composer and Critic. He was instrumental in the development of the "American Sound" in classical music. In 1949, he was awarded the Pulitzer Prize for Music for the score to the film Louisiana Story.

THE MAKING OF THE REPRESENTATIVE FOR PLANET 8 - AN OPERA IN THREE ACTS. By PHILIP GLASS and DORIS LESSING.

A nice gathering of items related to the OPERA by Philip Glass and Doris Lessing:

*LIBRETTO for the OPERA, by Glass and Lessing. SIGNED by PHILIP GLASS on the title page. Published by Dunvagen Music Publishers (Philip Glass' Music Publishing Company), New York, 1988. Softcovers, side stapled, 7x10.5 inches, 28 pages. First Edition. NEAR FINE condition, tight, bright and clean.

*CANOPUS IN ARGOS ARCHIVES : THE MAKING OF THE REPRESENTATIVE FOR PLANET 8, by DORIS LESSING. Published by Jonathan Cape, London, 1982. First Edition. Hardcover Book in Dustjacket. NEAR FINE book in NEAR FINE dustjacket, a solid, lovely copy. **SIGNED** by Doris Lessing on a bookplate on the front pastedown.

*PROGRAM for the OPERA performed by the English National Opera at its U.K. Premier at the London Coliseum. Published by the English National Opera, 1988. Softcovers, side-stapled, 5x9 inches, 48 pages. NEAR FINE condition.

*TWO ORIGINAL 8x10 GLOSSY PRESS PHOTOGRAPHS for the OPERA PREMIER at the HOUSTON GRAND OPERA in 1988. One photo is a mock-up of the stage set design, as designed by EIKO ISHIOKA and MINORU TERADA DOMBERGER. The 1988 Washington Post review said: "The most effective part of this opera's performance here was the staging by director Minoru Terada Domberger and designer Eiko Ishioka." GOOD condition, both press photographs have the expected marks, ink stamps, and notes, but remain bright and clear. Eiko's stage mock-up is a wonderful and rare item.

About the OPERA The Making of the Representative for Planet 8 (from Wikipedia):

******The Making of the Representative for Planet 8 is a full-scale opera by Philip Glass with a libretto by Doris Lessing based on her novel of the same name, first performed in 1988. Together with Glass's 1997 opera The Marriages Between Zones Three, Four and Five, it is part of a planned trilogy of operas based on Lessing's Canopus in Argos novels.

The opera was co-commissioned by English National Opera, Houston Grand Opera, Het Muziektheater, Amsterdam, and Theater Kiel, and co-produced with Artpark, Lewiston, New York State. The opera was first performed at Houston Grand Opera on 8 July 1988. The British premiere was 9 November 1988 by English National Opera at the London Coliseum. This production was broadcast live in the UK on BBC Radio 3 on 13 December 1988.******

SUITE FOR STRINGS, by RUTH WATSON HENDERSON. Sheet Music. Self Published, (Canada), 1985. Blue card covers, metal spiral bound, 11x15 inches, 23 pages of sheet music plus a title page. The composer's printed initials and date, Nov/85, are at the end of the score. VERY GOOD condition, the covers have corner and edge wear, the front cover has some sunning, otherwise solid, bright and clean. About the Canadian Composer and Pianist RUTH WATSON HENDERSON (from Wikipedia): ******Ruth Louise Watson Henderson (born 23 November 1932) is a Canadian composer and pianist. She was the accompanist for the Festival Singers of Canada under Dr. Elmer Iseler for many years, where she developed her ear for composing mixed choral works. Henderson also accompanied the Toronto Children's Chorus under Jean Ashworth Bartle from its inception in 1978 to 2007 and was music director for Kingsway Lampton United Church in Toronto from 1996 to 2013. An associate of the Canadian Music Centre, Watson Henderson's compositional output includes works for organ, piano, violin, trumpet, string orchestra, and more than 200 choral pieces. Her works are known for their use of modal and impressionistic harmonies. In 1989 her Chromatic Partita for Organ won a prize in an International Competition for Women Composers in Mannheim, Germany. In 1992 her Voices of Earth won the National Choral Award for Outstanding Choral Composition. In 1996 she received the Distinguished Service Award of the Ontario Choral Federation. Many of her works have been recorded and enjoy international popularity. Additionally, Canadian choirs often perform entire concerts of her compositions.******

THE BILLINGS ROLLOGRAPHY - PLAYER PIANO MUSIC FROM 1917-1934, by Ginny and Bob Billings. THREE VOLUME SET: Volumes One, Two and Three complete.

(A rollography is a systematic listing of all known music rolls intended to form an authoritative guide to the subject, and usually includes history and artist biographies.)

Self-Published, 1990. "This three-volume set has been compiled, edited, written, typeset, reproduced, bound and published by ROCK SOUP, Ginny and Bob Billings, Belmont, California...1990".

This is the First Edition of The Billings Rollography, self-published as a three volume set in 1990. Softcovers with tape covered spine, clear vinyl cover protectors, and photocopied pages. The set was later issued in a hardcover edition as well.

VERY GOOD condition, some scratches and shelf rubs to the clear plastic over-covers, overall lovely, tight, bright, clean, clear and unmarked.

The three volumes are:

VOLUME ONE: Two complete listings of all 88-note QRS Word Rolls, from the beginning (R No. 100, issued in 1916) to Roll No. 6000, issued in November 1934, one numerical by se number and one alphabetic by title. 357 pages.

VOLUME TWO: A history of the roll companies included in Recordo and QRS; tech information on Recordo; a complete listing by roll company of all Recordo-coded and So Carola-coded expression rolls, numeric by serial number and alphabetic by title, then a separa combined section of classical music listed alphabetically by composer; and finally, a compen composite listing of all Recordo-coded rolls, alphabetic by title. 382 pages.

VOLUME THREE: A complete listing of all pianists credited in the above two groupings, biographical information and photographs where possible, including an alphabetic list of all they played: QRS 88-note, Recordo and Solo Carola. 435 pages.

This sale is for the three volume set, Player Piano Music 1917-1934. Years later Ginny and Bob Billings compiled and published a volume 4, 5 and 6, comprising Player Piano Music from 1934-1994.

From the Introduction (on the verso of the title page):

******This three-volume set is the culmination of twenty years of combing available literature, grilling original artists, and basic research. Had the Editors worked another twenty years, the project still would not have been error free or completely to their satisfaction, but it is as close to that goal as can reasonably be expected.

The significance of QRS Word Rolls to Recordo is that most popular QRS Recordo rolls were first issued in the 88-note version before being coded with Recordo expression. The Editors hope that 88-note Imperial and 88-note U.S. lists will be compiled and published by someone else to complete the correlations.******

INTERNATIONAL BUYERS PLEASE NOTE: These three books are heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.