date, ?
1739]--
The Art of playing on the Violin containing all the Rules necessary to attain to a Perfection on that Instrument, with great
variety of Compositions, which will also be very useful to those who study the Violoncello, Harpsichord, &c. Composed by F. Geminiani. Opera. IX.
London,
mdccli
. Printed for the Author by
J: Johnson. [1751.]
MT170 .G45
Folio. 2 books bound together in 1 volume: 1.
First Edition. Engraved title, 1 leaf of printed text, 10 leaves (18 pages) of engraved music; 2.
First Edition. Engraved title, 5 leaves of printed text, 26 leaves of engraved music on both sides by Philips (signed on the last page).
Calf, rebacked, Library of Congress 1815 bookplate preserved in new endpapers.
Grove III, 592. Fétis IV, 294.
On page 8 of the text, in the second work, in reference to the Close Shake, Jefferson has written in the lower margin a quotation from
Charles Burney:
the Beat upon the unison, octave, or any consonant sound to a note on the violin, which so well supplies the place of the
old Close-shake, if not wholly unknown, is at least neglected by all the violin performers I heard on the continent, tho’
so commonly and succesfully practised in England by those of the Giardini school. Burney’s journ. Nov. 16. 1770.
Francesco Geminiani, c. 1680-1762, Italian violinist, was a pupil of Scarlatti and afterwards of Corelli. He spent much time in London and played
his violin concertos at the English court.
The Art of Playing on the Violin, Op. IX, was the first violin method ever published in any country.
[4255]
J.7
Rivoluzioni del teatro musicale Italiano. dal Arteaga.
3. v.
8
vo.
1815 Catalogue, page 133, no. 3, as above.
ARTEAGA,
Esteban.
Le Rivoluzioni del Teatro Musicale Italiano dalla sua Origine fino al Presente Opera di Stefano Arteaga Socio dell’Accademia delle Scienze, Arti, e belle Lettere di Padova.
Seconda Edizione accresciuta, variata, e corretta dall’Autore. Tomo Primo [-Terzo].
In
Venezia
mdcclxxxv
. Nella Stamperia di
Carlo Palese con Pubblica Approvazione. [1785.]
ML1733.3 .A71
3 vol. 8vo. Vol. I, 200 leaves, on sig. N
i, page 151, woodcut musical notation on a 4-line stave; vol. II, 167 leaves, 3 folded engraved plates of music at the end,
in 5 line staves, with accompanying words, Dalla Calceografia Zatta; Vol. III, 198 leaves, the last a blank; on page 243 begins
Lettera sopra la Musica indirizzata al Sig. Co. di Caylus e stampata l’anno 1754, and on page 285, Osservazioni intorno ad
un Estratto del Tomo 2.
o della presente Opera inserito nel Giornale Enciclopedico di Bologna N. XIII. del Mese d’Aprile del corrente Anno.
Contemporary calf, gilt, marbled edges, original silk bookmarks; not initialled by Jefferson; the Library of Congress 1815
bookplate in each volume.
Grove I, 235. Fétis I, 118. Backer I, 589.
Entered by Jefferson in his undated manuscript catalogue, without price.
Esteban Arteaga, 1747-1799, Spanish Jesuit, was born in Madrid. He went to Italy on the suppression of his order and became a member of the
Academy of Padua. This work on the Italian stage was written at the instance of Padre Martini, whom Arteaga met in Bologna.
The first edition was published in 2 volumes in 1783 and extended later. The book has been translated into English and into
German.
François Arnaud, 1721-1784, abbé de Grandchamp, was the author of the
Lettre sur la Musique à
M. le comte de Caylus, originally printed in Paris in 1754.
Vicenzo Manfredini, 1737-1799, Italian musician, was the author of the
Osservazioni, following Arnaud’s
Lettera at the end of Volume III.
[4256]
