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1689 - Music Twelve Munich Redout-Deutsche by various composers.
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Estimate €500 - €750
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Description
Music Twelve Munich Redout-Deutsche by various composers. Munich, published by Falter’s Music and Instrument Shop, 1811. 15 (1) pp., with lithographed musical scores. Oblong folio (255 x 368 mm). Original ochre-coloured publisher’s covers with a lithographed title on the front cover. No plate number. Covers slightly dusty; otherwise a well-preserved, fine copy. Hans Schneider, Makarius Falter (1762–1843) and his Munich Publishing House I, pp. 250 and 357. - Extremely rare: the KVK and OCLC list only two copies worldwide – in the Bavarian State Library (BSB) and in the Russian National Library. - An incunabulum of lithography and a remarkable example of early music printing techniques in Bavaria. The collection brings together twelve ‘Redoute-Deutsche’ by various composers, which – according to Schneider – were arranged by Kessler for two flutes. The title refers to the ‘Redoute’, the masked ball that had been popular in German-speaking regions since the late 17th century; originally reserved for the nobility, it became accessible to the middle classes from the second half of the 18th century onwards. The work was published by Falter & Sohn, one of the most important Munich-based publishers of lithographed music in the early 19th century. As Michael Twyman emphasises in his standard study on early lithographed music, no other major publisher produced such a wide range of design variations as Falter & Sohn – from the choice of paper, through its weight and surface texture, to the stylistic and technical quality of the musical notation and the printing itself. This copy, with its original, lithographically illustrated cover, exemplifies this publisher’s spirit of experimentation in an exemplary manner. Founded in 1786, Falter’s music shop occupies a key position in the history of musical lithography, one that extends far beyond mere publishing: Alois Senefelder himself reports in his *Complete Course of Lithography* (1819) that, following the discovery of his printing process, he specifically travelled to Munich to see ‘Mr Falter, a publisher of music’ in order to offer him the new technique. As early as 1796, Franz Gleissner’s 12 Neue Lieder fürs Klavier was published – the very first commercial lithographed music publication of all – printed for Falter. A year later, Falter’s lithographed edition of Mozart’s *The Magic Flute* followed, printed by Senefelder himself with the help of two soldiers he had specially trained, before copperplate engraving was temporarily reverted to for reasons of quality. This 1811 edition was thus produced in the oldest and, at the same time, most significant centre of early musical lithography in Europe, a good fifteen years after its invention – the description as an ‘incunabulum of lithography’ is therefore to be taken literally here. From around 1820, the firm operated under the name Falter & Sohn and was eventually absorbed into the Aibl publishing house in 1888. – A fine copy. Music. – An incunabulum of lithography and a remarkable testament to the early history of music printing in Bavaria. The collection comprises twelve *Redoute-Deutsche* pieces by various composers, arranged – according to Schneider – by Kessler for two flutes. The title refers to the *Redoute*, a masked ball popular in the German-speaking world from the late seventeenth century onwards. Originally reserved for the aristocracy, it also became accessible to the bourgeoisie from the second half of the eighteenth century. The work was published by Falter & Sohn, one of Munich’s most important publishers of lithographed music in the early nineteenth century. As Michael Twyman emphasises in his seminal study of early lithographed music, no other major publisher produced such a wide range of variations in presentation as Falter & Sohn—from the choice, weight and surface quality of the paper to the stylistic and technical quality of the music engraving and printing itself. This copy, with its original lithographically illustrated wrapper, is a prime example of the publisher’s experimental approach. Founded in 1786, Falter’s music shop occupies a key position in the history of music lithography that extends far beyond its activities as a publishing house. In his *Complete Course of Lithography* (1819), Alois Senefelder himself recounts that, following his discovery of the printing process, he went directly to “Mr Falter, a music publisher” in Munich to offer him the new technique. As early as 1796, Franz Gleissner’s *12 Neue Lieder fürs Klavier* became the very first commercially lithographed music publication ever issued – printed for Falter. A year later, Falter’s lithographed edition of Mozart’s *Die Zauberflöte* followed, printed by Senefelder himself with the assistance of two soldiers trained specifically for the task, before the firm temporarily reverted to copperplate engraving for reasons of quality.This 1811 edition was therefore produced in the oldest and, at the same time, most important centre of early music lithography in Europe, barely fifteen years after the invention of the process. The description ‘incunabulum of lithography’ is thus to be taken quite literally here. From around 1820, the company traded as Falter & Sohn, and in 1888 it was ultimately absorbed into the Aibl publishing house. – A good copy. This lot is subject to standard tax. A 24.95% buyer’s premium is payable on the hammer price, and 7% (Books and Art) or 19% VAT (Manuscripts, Screenprints, Offset Prints, Photographs) is payable on the final invoice amount within the European Union. This lot is subject to the standard tax regime. A 24.95% buyer’s premium applies to the hammer price, and 7% (books and art) or 19% VAT (manuscripts, screen prints, offset prints and photographs) applies to the final invoice amount within the European Union.
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About the sale Valuable books, prints, historical photographs
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Auction time 10/24/2026 at 10:00 AM
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