Adam Bosze Recent Acquisitions May 2013 (Nr. 84)

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1 Adam Bosze Recent Acquisitions May 2013 (Nr. 84) Adam Bosze Budapest, 2013

2 2013 Ars Trade Kft. Shop: Bősze Ádám Zenei Antikvárium Adress: 1077 Budapest, Király u. 77. Opening hours: Mon-Fri 10 am 18 pm, Sat 10 am 14 pm Phone Nr.: Company: Ars Trade Kft. Address: H-1053 Budapest, Királyi Pál u. 18. Our VAT registration number is: HU EUR-Account Informations: CIB Bank Rt. H-1027 Budapest, Medve u IBAN: HU BIC (SWIFT Code): CIBHHUHB Informations on our other accounts (USD, GBP, HUF) are available upon request. Terms of Sale All items are guaranteed as described. All items are returnable within 7 days if returned in the same condition as sent. All items remain the property of Ars Trade Kft. until fully paid for. Items may be reserved by telephone, fax, or . All items subject to prior sale. Payment should accompany order if you are unknown to us. Customers known to us will be invoiced with payment due in 14 days. Payment schedule may be adjusted for larger purchases. Institutions will be billed to meet their requirements. Collegaues receive 10% discount. We accept bank transfer and PayPal. Orders from this catalog will be shipped at cost.

3 Manuscripts, Autographs, Prints 1. Aladár kritikái Annieról Collection of reviews by Aladár Tóth on Annie Fischer s (later his wife) concerts. Typescript in Hungarian [Budapest?], [not before 1937]. [2], 43, [16] p. 210 mm Half cloth. sold 2. Jemnitz Sándor: LAS to Aladar Toth wishing him happy birthday [Budapest], p. Blue ink. 210x170 mm Browned. 80,- Evviva il figlio da festa natalizia! / Trombitariadóval üdvözöllek, Alikám, / egyik legderűsebb kótámmal a buono augurio / La vita pure bellissima! Ezt mondom benne és Fejet fel! / Ami mindkettőnknek szól. Okunk az van rá, de meg is / tehetjük. / Szeretettel / Csindadratta Sándor / Kommandant der Festplatzmusik / február 1.

4 Books 3. [Afghanistan.] Slobin, Mark: Music in the Culture of Northern Afghanistan. Viking Fund Publications in Anthropology. Number Fifty-four Tucson, cop. 1976, Univerity of Arizona Press. I- XIV, 297, [1] p. 230 mm Original wrappers. 35,- 4. [Bach, Johann Sebastian.] Schwebsch, Erich: Joh. Seb. Bach und die Kunst der Fuge Stuttgart etc., 1931, Orient-Occident-Verlag. 355, [1] p. 240 mm First edition. Full cloth (dusty). 20,- 5. Boulez, Pierre: Penser la musique aujourd hui Mayence, 1963, Schott. Éditions Gonthier. 170, [6] p. 180 mm Soft cover. With a gift card inscribed by Nadia Boulanger to Annie Fischer. 30,- 6. [Canada.] Walter, Arnold: Aspects of Music in Canada. Edited by Arnold Walter Toronto, 1969, University of Toronto Press. I-X, [2], 336 p. 235 mm- First edition. Full cloth with original dust jacket. 20,- 7. Conrad, Herbert: Städte der bayerischen Ostmark. Bayreuth. Der Lebensweg einer Stadt von Herbert Conrad Bayreuth, 1936, Stadt Bayreuth. 164 p. 230 mm First edition. Full cloth, dusty. 10,-

5 8. Eberhardt, Siegfried: Wiederaufstieg oder Untergang der Kunst des Geigens. Die Kunstfeindliche Stahlsaite Wien, 1938, Carl Haslinger. 113, [3] p. 240 mm Original wrappers. Soiled, used. Inscription with pencil. 45,- 9. [Folk Music.] Catalogo sommario delle registrazioni Il centro internazionale per la musica tradizionale liturgica. Constituzione, scopi. Fonoteca. Accademia Nazionale di S. Cecilia. RAI Radiotelevisione Italiana. Centro nazionale studi di musica popolare. Roma Roma, 1963, Accademia Nazionale di S. Cecilia. 279, [53] p. 240 mm Original wrappers. 50,- 10. [Folk Music.] Glassie, Henry; Ives, Edward D.; Szwed, John F.: Folksongs and Their Makers Bowling Green, Ohio, [before 1978], Bowling Green Univerity Popular Press. I-IX, [1], 170 p. 220 mm Original wrappers. 30,- 11. [Folk Music.] Hood, Mantle: The Ethnomusicologist New York etc., cop. 1971, McGraw-Hill Book Company. 1LP, I-XII, [2], 386, [2] p. 240 mm Full cloth. 45,- 12. [Folk Music.] International Catalogue of Recorded Folk Music. Catalogue international de la musique folklorique enregistree. Archives of Recorded Music [ ]. Series C, vol. 4 London etc., 1954, IFMC, OUP. I-XII, 201, [3] p. 210 mm Original wrappers (loose). 50,- 13. [Folk Music.] Katalog der Tonbandaufnahmen B1 bis B3000 des Phonogrammarchives der Österreichischen Akademie der Wissenschaften in Wien. Österreichische Akademie der Wissenschaften 81. Mitteilung der Phonogrammarchivs-Kommission Wien, 1960, Hermann Böhlaus Nachf. I-V, 211, [1] p. 230 mm Original wrappers. 50,- 14. [Folk Music.] Lomax, Alan: Folk Song Style and Culture by Alan Lomax with Contributions by the Cantometrics Staff and With the Editorial Assistance of Edwin E. Erickson Washington D. C., cop. 1968, American Association for the Advancement of Science. I-XIX, [1], 363, [1] p. 265 mm Full cloth. 45,-

6 15. [Folk Music.] Nettl, Bruno: Folk and Traditional Music of the Western Continents. Bruno Nettl University of Illinois with chapters on Latin America by Gérard Béhague (University of Illinois) New Yersey, cop. 1973, Prentice-Hall, Inc., Englewood Cliffs. I-XIII, [1], 258 p. 225 mm Second edition. Original wrappers. 25,- 16. [Folk Music.] Nettl, Bruno: Folk Music in the United States. An Introduction by Bruno Nettl. Third edition Detroit, 1976, Wayne State Univerity Press. 187, [3] p. 200 mm Original wrappers. 20,- 17. [Folk Music.] Nettl, Bruno: Music in Primitive Culture by Bruno Nettl Cambridge, 1972, Harvard University Press. I-XVIII, [2], 182, [20] p. 240 mm Full cloth with dust jacket. 45,- 18. [Folk Music.] Nettl, Bruno: North American Indian Musical Styles by Bruno Nettl Philadeplphia, 1954, American Folklore Society. I-IX, [3], 51, [1] p. 240 mm Folded. 15,- 19. [Folk Music.] Nettl, Bruno: Reference Materials in Ethnomusicology. A Bibliographic Essay. Second Edition, Revised by Bruno Nettl Detroit, 1967, Information Coordinators, Inc. 54, [6] p. 225 mm Original wrappers. 20,- 21. [Folk Music.] Nettl, Bruno: Theory and Method in Ethnomusicology New York, London, cop. 1964, The Free Press, Collier. I-XIII, [1], 306 p. 220 mm Full cloth. Bumped. 35,- 22. [Folk Music.] Wilgus, D. K.: Anglo-American Folksong Scholarship Since 1898 by D. K. Wilgus New Brunswick, New Yersey, cop. 1959, Rutgers University Press. I-XX, 466 p. 215 mm Second printing. Full cloth with dust jacket. 35,- 23. Harrison, Sidney: Grand Piano London, 1976, Faber and Faber. 8 t., 272 p. 220 mm Full cloth with dust jacket. Inscribed by the author. 25,-

7 24. [Haydn, Joseph.] - Bartha Dénes, Somfai László: Haydn als Opernkapellmeister. Die Haydn-Dokumente der Esterházy- Opernsammlung Budapest, 1960, Verlag der Ungarischen Akademie der Wissenschaften. 16 t., 3 facs., 470, [2] p. 272 mm First edition. Full cloth with dust jacket (torn). With: Haydn, Joseph: Scena di Pedrillo ( Son due ore che giro ). Erstausgabe auf Grund des Partitur-Autographs und des authentischen Stimmenmaterials von Musikbeilage zu D. Bartha L. Somfai: Haydn als Opernkapellmeister Budapest, 1960, Verlag der Ungarischen Akademie der Wissenschaften. 1 LP, 29, [5] p. 270 mm Full cloth with dust jacket (dusty). 80,- 25. Jeppesen, Knud: The Style of Palestrina and the Dissonance. With an introduction by Edward J. Dent. Second revised and enlarged edition Copenhagen-London, 1946, Ejnar Munksgaard, Geoffrey Cumberlege, Oxford Univerity Press. [12], 306, [2] p. 260 mm Original paper cover (soiled, bumped, minor tears), inside clear. 35,- 26. Kodály Zoltán: Filanda Magiara. Opera in un atto di Zoltán Kodály. Versione ritmica italiana di Rinaldo Küfferle Milano, Wien, 1932, A. & G. Carisch & C., Universal-Edition. 24 p. 200 mm OSzK Soiled, some minor tears. 10,-

8 27. [Kodály Zoltán.] Vargyas Lajos: Zoltán Kodály von Ludwig Vargyas Budapest, 1942, [University of Budapest?]. 1 t., 12 p. 240 mm In German. Original wrappers. 15,- 28. Kralik, Heinrich: Das Opernhaus am Ring Wien, 1955, Verlag Brüder Rosenbaum. 195, [5] p. 290 mm Full cloth with dust jacket (minor tears). 20,- 29. Merriam, Alan P.: The Anthropology of Music [Illinois?], 1971, Northwestern University Press. I- XI, [1], 358, [2] p. 235 mm Full cloth. 30,- 30. Mila, Massimo: L esperienza musicale e l estetica [Torino?], 1950, Giulio Einaudi. 193, [3] p. 215 mm Original wrappers. Spine defective. Inscription on the endpaper. 20,- 31. [Mozart, Wolfgang Amadeus.] Köchel, Dr. Ludwig Ritter von: Chronologisch-thmatisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts nebst Angabe der verlorengegangenen, angefangenen, von fremder Hand bearbeiteten, zweifelhaften und unterschobenen Kompositionen. Sechste Auflage bearbeitet von Franz Giegling, Zürich, Alexander Weinmann, Wien, Gerd Sievers, Wiesbaden Wiesbaden, 1964, Breitkopf & Härtel. 1 t., I-CXLII, [1], 1024 p. 270 mm Full cloth. Soiled. 35,- 32. Nettl, Bruno; Foltin, Bela Jr.: Daramad of Chahargah: A Study in the Performance Practice of Persian Music. Detroit Monographs in Musicology Nr. 2 Detroit, cop. 1972, Information Coordinators, Inc. 84, [2] p. 230 mm- Original wrappers. 25,- 33. [Obrecht, Jacob.] Gombosi Ottó: Jacob Obrecht. Eine stilkritische Studie. Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Friedrich- Wilhelms-Universität zu Berlin. Vorgelegt von Otto Johannes Gombosi aus Budapest. Tag der Promotion: 4. August 1925 Leipzig, [not after 1926], Breitkopf & Härtel. [8], 131, [1] p.; Notenanhang enthaltend 31 bisher unveröffentlichete Kompositionen aus der Zeit zwischen : 87, [3] p. 230 mm First edition. Inscribed by the author. Later full cloth binding separated. Cut. Binding copy. 60,-

9 34. Sagiova, Marketa [Sági Margit]: The Art of Singing Melbourne, 1966, Hawthorn Press. 34 p. 215 mm Soft cover. Inscribed by the author. 15,- 35. Szabolcsi Bence [ed.]: Dolgozók hangversenykalauza Budapest, 1949, Népszava. 227, [5] p. 175 mm Half cloth. Signed by the authors (Szabolcsi, Bónis, Sólyom etc.) 15,- 36. Tappert, Wilhelm: Musikalische Studien. Von Wilhelm Tappert Berlin, 1963, I. Guttentag. [4], 252 p. 230 mm Binding copy. Last page defective. 40,- Music 37. Andrico, Michel G.: Trois Pièces pour Piano par Michel G. Andrico. Op. 18 Paris, cop. 1934, J. Hamelle. VN J H. [2], 6, [2] p. 340 mm Original wrappers, creased and soiled. 25,- 38. Animucia, Joanne: Missa Ave Maris Stella Quatuor Vocum Inaequalium. Transcripsit et Curavit Bonaventura Summa. Polifonia Vocale sacra e profana sec. XVI a cura di Bonaventura Somma. [Score] Roma, 1940, Edizioni de Santis. VN E. D. S [2], 34, [2] p. 320 mm Original wrappers. 25,- 39. [Apollo.] Goll Aladár Dr. [ed.]: Apollo zeneműfolyóirat. Magyar férfikarok anthologiai gyűjteménye ban alapította: Goll János Budapest, 1939, Apollo. VN Apollo p. 245 mm Original wrappers. sold Containing the following pieces: 833. Szűcs Gergely: Isten orgonája op. 118; Katonadalok. Rajter Lajos átirata. 40. Asakawa: Forest of Music F. C Transitions Tokyo, cop. 1980, Zen-On Music Co., Ltd. VN -. 47, [1] p. 330 mm Inscribed by the composer to Annie Fischer. 25,-

10 41. Bach, Johann Sebastian: Das wohltemperirte Clavier. 48 Praeludien und Fugen in allen dur und moll Tonarten von J. S. Bach. 1tes [-4tes] Heft [complete] Prag, [c1840], Marco Berra. PN MB 422, 423, 424, ; 49, [1]; 49, [1]; 51, [1] p. 330 mm Contemporary half leather (restored), throughout stained. 240,- 42. Baranowski, W.: Préludes N:r 1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 22 Lund, [c1940], Eggelings Musikhandel. VN -. [4], [4], [4], [4], [4], [4], [4], [4], [4], [2], [4], [4], [4], [4], [4] p. 340 mm Original wrappers (soiled and creased). 50,- 43. Bartók Béla Fekete zsebkönyve. Black Pocket-Book. Sketches Facsimile Edition of the Manuscript with a Commentary by László Somfai Budapest, 1987, EMB. [88], I-XXXI, [3] p. Oblong shape, 145 mm Synthetic leather. Rare. 80,- The Black Pocket-book of Béla Bartók is one of those pocket-sized field sketchbooks that he used for the first notation of melodies on folksong collecting trips. On the evidence of the first torn out page this notebook had originally been also intended to serve the purposes of recording folk music (in July 1907 in Transylvania). Having entered the theme of a composition that occurred to him there, that is the first theme of the Violin Concerto dedicated to Stefi Geyer, Bartók retained it, after all, as a sketchbook. Between 1907 and 1922 he repeatedly used it in instances when he was on collecting trips far from home or on vacation. The black pocket-book had been in the flat of the composer s widow, Mrs Bartók née Ditta Pásztory in Budapest until her death in November It is now kept in the Bartók Archives Budapest as part of the Hungarian Bartók Estate owned by Béla Bartók junior. The present facsimile edition is published with the kind premission of Bartók s legatee and a postscript by László Somfai. 44. Bartók Béla: 2 Élégies pour le Piano Op. 8/b Budapest, [1910], Rozsnyai Károly. VN R. K , [1] p. 340 mm BB 49, Sz 41, W 21, Somfai p Not in Gulyásné s list (Rozsnyai). First edition. Original wrappers. Restored. Cover illustration by Ervin Voit. 80,- Ervin Voit ( ), Cousin von Béla Bartók, war der treueste Spielgefährte des Komponisten in seiner Kindheit. Da er absolutes Gehör hatte, und da er im Alter von Jahren selbstständige Konzerte gab (die Zeitungen in Großwardein preisten seine Talente), wollte er an der ungarischen Musikakademie studieren. Wegen Typhus und der infolgendessen ergebenen Rückgratverkrümmung verbaten seine Ärzte das Geigenspiel. Die Cousinen, die in Großwardein die Schule von den Prämonstratenser in gleicher Zeit besuchten, hat später auch die Arbeit verknüpft. Die Sympathie ist auch im Mannesalter nicht verblieben. Ervin Voit

11 studierte zwischen 1900 und 1905 an der Hochschule für Kunst, später war er Professor an der Schule für angewandte Kunst. Pariser Modezeitungen veröffentlichten siene Entwürfe für Kostüme, seine Zeichnungen von Früchten und Pflanzen sind in Fachzeitschriften erschienen. Das meist autentische Porträt von Bartók hat er gemalt (die Skulptur des Komponisten, auch ein Werk von Voit, wurde im II. Weltkrieg zerstört), und er war der Graphiker einiger Titelblätter der noch in Ungarn erschienenen frühen Erstausgaben von Werken Béla Bartóks. Die Bartók-Forschung kennt 12 Notenausgaben mit Titelgraphiken von Ervin Voit (von denen haben wir 6 in unserem Angebot). Die Zeichnungen, die den Musterschatz von Kalotaszeg und Torda umdichten, spiegeln das Credo Bartók s Kunst. Der Verleger, Rozsnyai hat das Honorar für die Graphiken für Bartók bezahlt, diese Tatsache verweist auch der guten verwandschaftlichen Verbindung zwischen Bartók und Voit. Die ungarische Erstausgaben Béla Bartók s Klaviermusik sind im Handel komplett (d. h. mit den originalen Umschlägen) nur sehr selten zu bekommen. 45. Bartók Béla: 3 Burlesques pour le Piano Op. 8c Budapest, [1912], Rózsavölgyi & Co. VN R. és Tsa , [1] p. 340 mm - BB 55, Sz 47, W 24, Somfai p First edition. Original wrappers. Restored. Cover illustration by Ervin Voit. 80,- 46. Burgmein, J. [Ricordi, Giulio]: Le Roman de Pierrot et de Pierrette [Piano for 4 hands] Mailand, [1926], Ricordi. VN -. 75, [1] p. 270 mm Half cloth. 35,- Illustrated by A. Edel ( ). 47. Chopin, Fryderyk: 24 preludia. [Facsimile.] Rekopis Biblioteki Narodowej w Warszawie w stepem opatrzyl Wladyslaw Hordynski. Faksymilowane Wydanie Autografow F. Chopine Zeszyt 1 Warsaw, 1951, PWM. I-XI, [3], 41, [1] p. Oblong shape. 280 mm Original wrappers (back missing). Soiled. 80,-

12 Alexander Jemnitz - The Only Hungarian Student of Reger and Schönberg ( ). Hungarian composer, critic and conductor. He studied composition with Koessler at the Budapest Academy of Music and then went to the Leipzig Conservatory, where he was a pupil of Reger, Nikisch, Straube and Sitt. Between 1911 and 1913 he was active in several smaller opera companies: as répétiteur at Bremen and as conductor at Czernowitz, Jihlava and Scheveningen. He lived in Berlin from 1913 and there took further composition lessons from Schoenberg and began to write studies on music, publishing several articles in Die Musik in In 1916 he returned to Hungary. He wrote for various newspapers and periodicals before becoming regular music critic of the daily paper Népszava, in which post he established himself as one of the most respected Hungarian critics of the period. He was a propagandist for modern music but also helped to make the Classics more widely known; at the same time he reported on Hungarian musical life for the foreign press. From 1945 to 1947 he was president of the Workers Cultural Union, and he was editor-in-chief of the periodical Éneklő munkás from its foundation in 1947, as well as editor of Éneklő nép. In addition, he taught at the Budapest Conservatory from During his last years, when he was no longer writing criticism on a regular basis, he published several popular monographs on composers. As a composer Jemnitz remained to the end of his life faithful to the spirit of his two great teachers: his tightly woven, elaborate textures are rooted in Regerian counterpoint, but he was also quite strongly influenced by the expressionist Schoenberg of the 1910s. There was little response to his work within Hungary, but he gained a considerable reputation in western Europe. His first published work, the Piano Sonata no.1, was favourably received by Die Musik in 1915, and thereafter more than a dozen of his youthful pieces were published by Wunderhorn. An important point in his career was the performance of the String Trio no.1 by Hindemith s ensemble at the Donaueschingen Festival of This was followed by performances of his music at ISCM Festivals (1927, 1929, 1933, 1935) and several awards, including prizes from Schott (1927) and Universal Edition (1933). At the same time, his articles, which display a wide-ranging knowledge, his organizing activities and his pressing for Hungary to take a more active part in the ISCM all made him a well-known and widely respected figure abroad. He was in personal contact with Adorno, Berg, Pisk, Reich, Schoenberg and Stein. (According to Vera Lampert in Grove Online) Op Jemnitz Sándor: Introduction, Passacaglia und Fuge für Orgel Opus 1 - München, 1919, Wunderhorn Verlag. VN W. V. 364 M. 30, [2] p. 312 mm Lampert p Original wrappers. Cover creased, torn, soiled a little stained. First and last page pulled apart. Dog-eared, pages are slightly soiled, brownish. 85,- Op Jemnitz, Alexander: Zwei Sonatinen für Klavier. Opus 4 München, 1919, Wunderhorn Verlag. VN W. V. 363 M. 26, [2] p. 320 mm Lampert p Original wrappers. 45,-

13 50. Jemnitz Sándor: Deux Sonatines pour Piano seul. Op. 4 Budapest, [1948], Rózsavölgyi és Társa. VN R. & Co , [1] p. 340 mm Lampert p Tenth edition. Original wrappers. Inscribed by Jemnitz. 35,- Op Jemnitz, Alexander: Siebzehn Bagatellen für Klavier. Opus 5 München, 1919, Wunderhorn Verlag. VN W. V. 362 M. 43, [1] p. 330 mm Lampert p Inscribed by Jemnitz. First edition. Original wrappers. 45,- Op Jemnitz, Alxander: Zwei Sonaten für Violine und Klavier. Op. 10 München, 1920, Wunderhorn Verlag. VN W. V. 377 M. 15, [1], 43, [1] p. 310 mm Lampert p First edition. Inscribed by Jemnitz. Original wrappers. 60,- Op Jemnitz, Alexander: Fünf Uhlandlieder mit Klavierbegleitung. Komponiert von Alexander Jemnitz. Op. 11 Leipzig, [c1920], Fr. Kistner & C. F. W. Siegel. VN , [1] p. 340 mm Lampert p First edition. Original wrappers. 50,- Op Jemnitz, Alexander: Elf Lieder für eine Singstimme und Klavier. Op. 15 München, 1922, Wunderhorn Verlag. VN W. 402a-l V. 31, [1] p. 340 mm Lampert p First edition. Original warappers. Soiled, creased. 45,-

14 Op Jemnitz, Alexander: Sonate für Cello und Klavier. Op. 17 Cöln am Rhein, 1922, Tischer & Jagenberg GMBH. Wunderhorn Verlag. VN W. 404 V. 33, [1] p. 340 mm Lampert p Inscribed by Jemnitz. Original wrappers (damaged). First edition. 45,- Op Jemnitz, Alexander: Sonate a-moll, op. 18. Meisterwerke für Violine allein Köln, [1922], Wunderhorn Verlag. Tischer & Jagenberg GMBH. VN W. 405 V. 17, [1] p. 340 mm Lampert p Inscribed by Jemnitz. Original wrappers (separated). 45,- Op Jemnitz, Alexander: Sonaten für Violine und Klavier komponiert von Alexander Jemnitz. Op. 22 Leipzig, [c1923], Fr. Kistner & C. F. W. Siegel. VN , [1], 11, [1] p. 340 mm Lampert p Inscribed by Jemnitz. First edition. Original wrappers (separated, torn). Browned. 45,- Op Jemnitz, Alexander: Tanzsonate. [ ] Dance Sonata. Op. 23. Piano solo Wien, cop. 1927, [date on back cover: IV. 1927], Universal-Edition. VN U. E , [1] p. 310 mm Lampert p First edition. Original wrappers. 45,- Op Jemnitz, Alexander: Duosonate für Viola und Violoncello von Alexander Jemnitz [Op. 25] Mainz und Leipzig, cop. 1927, B. Schott s Söhne. VN , [1], 23, [1] p. 340 mm Lampert p First edition. Spine torn. 60,- Op Jemnitz, Alexander: Sonate per piano solo. IV. Sonata Budapest, cop. 1944, Rózsavölgyi & Co. VN R. & Co p. 315 mm Lampert p Inscribed by the composer. Original wrappers. 45,- Op Jemnitz Sándor: Recueil pour piano seul Op. 38. Piece romantique. Etude. Bouleaux au soleil. Anecdote. Mon amie jouait du piano. Hommage a Fr. Liszt - Budapest, 1948, Edition Népszava,

15 Rózsavölgyi & Co. VN Nsz p. 308 mm Lampert p Inscribed by Jemnitz. Original wrappers. Soiled. First edition. 25,- Op Jemnitz, Alexander: Sonata per flauto solo. Op. 43 Budapest, 1938, published by the author [?]. VN -. 6, [1] p. 340 mm Lampert p. 514.Inscribed by the composer. Original wrappers. 45,- Op Jemnitz, Alexander: III. Sonata per violino solo. Op. 44 Budapest, 1938, published by the author [?]. VN -. 6, [2] p. 340 mm Lampert p [?] Inscribed by Jemnitz. 45,- Op Jemnitz, Alexander: Sonata per Viola Solo. Op. 46 Budapest, cop. 1941, [1941], Rózsavölgyi & Co. VN R. & Co , [1] p. 340 mm Lampert p First edition. Inscribed by the composer. Soiled and folded. 40,- Op. 48 a-b 65. Jemnitz Sándor: Két jelmondat férfikarra. Op Kiáltvány [ ] 2. A hazafiságról [ ] Budapest, 1947, Szikra. VN Sz , [1] p. 250 mm Lampert p Inscribed by Jemnitz. First edition. Fold. 20,- Op Jemnitz Sándor: Gyümölcsös út. Keszthelyi Zoltán verse. Munka-induló. Énekhangra és zongorára szerzette Jemnitz Sándor. Op. 51 Budapest, cop. 1947, Népszava. 3, [1] p. 340 mm Lampert p First edition. Creased. 20,- 67. Jemnitz Sándor: Ma szebben szárnyal a szó. Énekkarra zongorakísérettel. Raics István verse. Jemnitz Sándor zenéje. Op. 51/b Budapest, 1949, Magyar Kórus. VN MK p. 340 mm Lampert p First edition. Soiled. 20,- 68. Jemnitz Sándor: Csillag alá énekkarra zongorakísérettel. Jankovich Ferenc verse. Jemnitz Sándor zenéjeop. 51/c. Budapest, 1949, Magyar Kórus. VN M. K p. 340 mm Lampert p First edition. Creased, soiled, torn. 20,-

16 Op. 54 a 69. Jemnitz Sándor: Munkásasszony estje. Jankovich Ferenc verse. Kétszólamú nőikarra Budapest, cop. 1950, published by the author [?]. VN -. 4 p. 250 mm Lampert p One leaf print. 10,- Op Jemnitz Sándor: Hat dal Kosztolányi Dezső verseire énekhangra, zongorakísérettel. Sechs Lieder nach Gedichten von Dezső Kosztolányi für Gesang und Klavier. Op. 62. Deutsche Übertragung von Sándor Jemnitz Budapest, 1963, Zeneműkiadó Vállalat. VN Z , [1] p. 290 mm Lampert p Inscribed by Jemnitz. Original wrappers. Fold. 25,- Op Jemnitz Sándor: V. zongoraszonáta. V. Sonata for Piano. Op Budapest, cop. 1961, EMB. VN Z , [1] p. 288 mm - Sewed. Cover a little soiled. Inscribed by Jemnitz to Annie Fischer and Aladár Tóth. 35,- Op Jemnitz Sándor: I. orgonaszonáta. [ ] I. Organ Sonata Budapest, cop. 1959, Zeneműkiadó. VN Z , [2] p. Oblong shape. 230 mm Lampert p Inscribed by the composer. Original wrappers. 20,- WoO 73. Jemnitz, Alexander: Ornament. Beilage zur Neuen Musik-Zeitung. 46. Jhg. Nr. 11 Stuttgart- Leipzig, 1925, Neue Musik-Zeitung. VN N. M. Z. 11 (1925). 4 p. 300 mm Lampert p One leaf print. Bottom corner missing. 25,- 74. Jemnitz Sándor: Hét miniatűr nagyzenekarra. Partitura. Sept miniatures pour grand orchestre. Partition - Budapest, cop. 1948, Edition du Conseil des Arts Hongrois. VN , [2] p. 335 mm Not known by Lampert. Original wrappers. Cover a little soiled, pages brownish. Inscribed by Jemnitz to Aladár Tóth. 35,- 75. Kerényi György: Gyermekkarok. Két és háromszólamú dalok a középiskola I és II osztálya számára Győr, 1928, published by the author [?]. VN p. 165 mm Inscribed by the composer. Original wrappers. Rare. 25,-

17 76. Kerényi György: Hej, búra termett idő [Győr], [1929], published by the author. VN -. [2] p. 290 mm Inscribed by the composer. Stenciled page. 10,- 77. Kerényi György: Kilenc leánykar Győr, 1929, published by the author [?]. VN p. 245 mm Inscribed by the composer. Original wrappers. 25,- 78. Kerpel György: Bánat? Vegyeskar. Az évi, Székesfehérvári XXV. Országos Dalosverseny és Dalosünnep ezüstérmes csoportjának versenykari műve [Budapest], [not before 1938], MDEOSz. VN -. 3, [1] p. 260 mm Original wrappers. 10,- 79. Kerpel György: Kell-e leány? Férfikar. Az évi, Székesfehérvári XXV. Országos Dalosverseny és Dalosünnep aranyérmes csoportjának versenykari műve [Budapest], [not before 1938], MDEOSz. VN -. 7, [1] p. 260 mm Original wrappers. 10,- 80. Ledent, Robert: Petites Pièces Faciles pour Piano. 1er cahier Bruxelles, [c1930], Georges Vriamont. VN [2], 7, [3] p. 340 mm Soiled. 25,- 81. Molnár Antal: Egy köteg nóta. Négyszólamú férfikarra letette: Molnár Antal. (1928) Budapest, 1928, published by the author. VN -. [2], 13, [1] p. 320 mm First edition. Very used (separated leafs etc.) needs conservation. 20,- 82. Molnár Antal: Második köteg nóta. Négyszólamú férfikarra letette: Molnár Antal. (1929). I. [és] II. rész [First and second part] Budapest, 1929, published by the author. VN -. [12], [12] p. 320 mm First edition. Used (soiled, folded), 2nd volume needs conservation. 35,- Molnár Antal ( ). Hungarian composer, viola player and musicologist. After studying composition with Viktor Herzfeld at the Budapest Academy of Music, he made expeditions collecting folk music in Transylvania and northern Hungary ( ), played the viola in the Waldbauer String Quartet and the Dohnányi-Hubay Piano Quartet and taught music history and solfège at the Municipal Music School. In 1919 he was appointed professor at the Budapest Academy of Music, where he remained until his retirement in 1959, teaching music history, theory, solfège (a subject he introduced at the academy) and chamber music; he also served in the 1930s as vice-president of the Hungarian Association of Music Teachers. He published the series Népszerű Zenefüzetek ( Popular

18 musical pamphlets ), which included studies by Bartók and Szabolcsi, and his own Kodály Zoltán (the first monograph on the composer). He was awarded the Haynald Prize for his Missa brevis (1910), the Franz Joseph Prize for composition (1914), the Baumgarten Prize for his literary activity (1938, which enabled him to publish his Zeneesztétika, Musical aesthetics and the Kossuth Prize (1957); on his 80th birthday (1970) he received the title of Eminent Artist. (According to Péter Várnai in Grove Online) 83. Monteverdi, Claudio: Messa a quattro voci da cappella. Transcrizione e interpretazione di Bonaventura Somma. Partitura. Musiche vocali e strumentali sacre e profane sec. XVII-XVIII-XIX a cura di Bonaventura Somma No. 9 Roma, cop. 1948, Edizioni de Santis. VN E.D.S [2], 43, [1] p. 340 mm Notes with pencil and coloured pencil. Used. 20,- 84. Mozart, Wolfgang Amadeus: Menuet de Mr J. P. Duport varié pour le Clavecin ou Piano forté par M. W. A. Mozart [KV 573] - Offenbach, [ ], J. André. PN , [1] p. 330 mm - Haberkamp p. 323 [Textband]. Nicht in Sammlung Hoboken. Very early edition, printed some months after the first edition. Dusty, soiled, pages and spine torn. Rare. 950,- 85. Rózsa Miklós: Concerto for Violin and Orchestra op. 24. For Jascha Heifetz. Breitkopf & Härtels Partitur-Bibiothek. Nr [Study score] Wiesbaden, cop Breitkopf & Härtel. VN -. [2], 140 p. 245 mm Inscribed by the composer. Original wrappers (not fresh). 60,- 86. Szabó Ferenc: Magyar parasztdalok férfikarra. [Hungarian Peasant Songs.] In: Apollo zeneműfolyóirat. Magyar férfikarok anthologiai gyűjteménye Budapest, 1931, Apollo. VN Apollo p mm Inscribed by Ferenc Szabó to Aladár Tóth. Original wrappers. 35,- Szabó, Ferenc ( ). Hungarian composer. Between 1921 and 1926 he studied composition with Leó Weiner, Albert Siklós and then Zoltán Kodály. He received surprisingly quick recognition in Hungarian musical life with the chamber works of Committed to left-wing politics from early youth, he joined the Communist Party, then illegal, in He enthusiastically took part in leading workers' choirs and writing music for performance by the masses, seeking new types of mediation between high art and popular culture. As a communist, Szabó was obliged to emigrate through Berlin (1931) to the USSR (1932). He became a respected figure in Soviet musical life, and found the opportunities to explore common ground between the concert hall and mass music-making on a far higher level. Szabó returned to Hungary in 1944 as a Red

19 Army officer, and in 1945 he was appointed professor of composition at the Liszt Academy of Music, of which he was made director-general in He retained both posts until his retirement in 1967, and was also president of the Association of Hungarian Musicians ( ). Twice recipient of the Kossuth Prize (1951, 1954), he was named Eminent Artist of the Hungarian People's Republic in (According to Janos Marothy in Grove Online)