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).

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.

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.

(1) JOHNNY NOBLE'S ROYAL COLLECTION OF HAWAIIAN SONGS. Published by Johnny Noble, Honolulu, Hawaii, 1929. Song Book / Sheet Music. Softcovers, 9.5x12.5 inches, 160 pages. FAIR condition, there is a small area of shorelining / staining to the bottom margin of the latter pages; a crease to the bottom corner of the songbook that creases that corner of all the pages; a 4 inch long piece that has been torn from the blank bottom margin of the last page; and a few pages that have a closed tear to their bottom edge. Nonetheless a complete copy with musical scores that are bright, clean and clear.

(2) KAMIKI HAWAIIAN GUITAR METHOD. Instruction / Songbook. Published by Wm. J. Smith & Co., New York, 1916. Softcovers, side stapled, 9x12 inches. GOOD condition, lightly used, still bright, clean, clear and unmarked.

Separately bound PAPER of LEONARD STEIN delivered at the 1974 VIENNA CONGRESS of the INTERNATIONAL SCHÖNBERG SOCIETY. His paper is titled FROM INCEPTION TO REALIZATION IN THE SKETCHES OF SCHOENBERG. SIGNED and INSCRIBED by LEONARD STEIN on the cover page: "to Milton and Judy / My paper for the Schoenberg Congress / 4 years late / Best wishes, as always / Leonard". Booklet, stapled pages, cover page plus 16 pages numbered 213 to 228. Title page in German, Leonard Stein paper in English, verso of the last page is the first page of another paper and is in German. Front cover of this separately bound publication of Leonard Stein's paper reads (with English translations in parentheses): Bericht über den Kongress der Internationalen Schönberg Gesellschaft, Wien, 4 bis 9 Juni, 1974. (Report on the Congress of the International Schoenberg Society, Vienna, July 4 through 9, 1974.) Im Auftrag der Gesellschaft herausgegeben von Rudolf Stephan (Commissioned by Rudolf Stephan). Sonderdruck aus den Publikationen der Internationalen Schönberg Gesellschaft, Band 1. Nicht einzeln im Buchhandel erhältlich. (Special edition from the publications of the International Schoenberg Society, Volume 1. Not available individually in bookstores.) Published by Verlag Elisabeth Lafite, Wien, [1978]. GOOD condition, 5a food covered finger smudge to the front cover over the inscription (the inscription remains bright and clear), otherwise the pages are just lightly used and still tight, bright and clean. Leonard Stein made a hand correction to a single word of text on the first page. About LEONARD STEIN (from Wikipedia): ******Leonard David Stein, b. 1916 d. 2004, was a musicologist, pianist, conductor, university teacher, and influential in promoting contemporary music on the American West Coast. He was for years Arnold Schoenberg's assistant, music director of the Schoenberg Institute at USC, and among the foremost authorities on Schoenberg's music. He was also an influential teacher in the lives of many younger composers, such as the noted minimalist La Monte Young.******

LEGENDES. An Exhibition of MODERN LEGENDS in ART, MUSIC and LITERATURE. Nicely Produced Exhibition Catalogue / Book that accompanied the Exhibition that took place at the MUSÉE D'ART CONTEMPORAIN (capc), BORDEAUX, FRANCE from May 19 through September 9, 1984. TEXT IN FRENCH. SIGNED and INSCRIBED by LAURIE ANDERSON on the title page: "To Scott / XX / Laurie Anderson (signed)". Artists, Musicians and Writers in the Exhibition included: Laurie Anderson, Antonin Artaud, Roland Barthes, Andy Warhol, Cy Twombly, Georg Basselitz, Sol LeWitt, Julian Schnabel, Anselm Kiefer, and others. ILLUSTRATED throughout with color and b&w reproductions of art works and written works by the participants. Some of the MUSICAL WORKS included in the Exhibition (such as the electronic musical piece by Laurie Anderson) are NOT illustrated in the catalog, but are noted in the "List of Works in the Exhibition" at the end of the catalog. There is a biography of each participant in the exhibition (beginning with Laurie Anderson), and brief interviews with a few of the participants. Softcover Book with Dustjacket, 8.5" x 11", 118 pages. VERY GOOD condition, just a bit of wear to the covers' corner tips and spine ends, overall tight, bright, clean and unmarked (except for the bold signature and inscription by Anderson, of course). SCARCE when SIGNED and INSCRIBED by the "Legend" LAURIE ANDERSON.

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 GREAT MORGANI : The CREATIVE MADNESS of a MIDDLE AGED STOCKBROKER TURNED STREET MUSICIAN. By Frank Lima (aka The Great Morgani). SIGNED and INSCRIBED by THE GREAT MORGANI on the half title page: "Dear Richard / I hope you get a lot / of laughs and giggles from my / book. / Frank AKA / The Great Morgani / Accordionist". Self Published, Santa Cruz, California, 2007. Softcovers, French folds, 70 pages. Illustrated throughout. VERY GOOD condition, a bit of wear to the spine and cover edges, otherwise tight, bright, clean and unmarked. A solid, very nice copy. About The Great Morgani (from Wikipedia): ******The Great Morgani (aka Frank Lima) is an American street performer and performance artist from Santa Cruz, California. Although he is an experienced accordionist with 60 years of experience, he is most noted for his spectacular costumes. Frank Lima was born in 1942 in Los Banos, California. His family moved to Santa Cruz in 1946. Lima started performing at age 11, mostly in trios at Portuguese events. He enjoyed success in his first career as a stockbroker, but retired when he was 35. Almost two decades later in 1995, he embarked on a second career playing accordion as a street performer. In the first few years of his street performing, he performed with his face uncovered. Gradually, he developed more elaborate costumes, relying on the sewing skills he learned from his mother, a master seamstress. Although he performs barefaced privately, he performs in public with face covered, often by the material used in the rest of his costume. He has collected 42 accordions and assembled more than 130 costumes. In February 2014 Lima announced his retirement from street performing in downtown Santa Cruz due to city ordinances that regulate artists.******

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.