1762 · Madrid
by SOLER, Antonio 1729-1783
Madrid: Joachin Ibarra, calle de las Urosas, 1762. Small quarto. Contemporary limp ivory vellum with leather ties, titling in manuscript to spine. 1f. (recto title, verso blank), 19ff. (dedication, licenses, errata, engraved musical examples, etc.), 272 pp.
With decorative woodcut device to title-page and two attractive woodcut historiated initials. Typeset musical examples throughout and with engraved musical examples (some folding) to pp. 91-111 [112] and 121-127 [128], printed on one side of the leaf only.
Binding slightly worn and soiled; titling to spine faded; endpapers slightly worn, foxed, and stained, with portion of free rear endpaper lacking. Occasional foxing; worming to lower inner margins, most seriously affecting pp. 10-70, with some loss of text; some mispagination; pp. 102/103 in duplicate; tear to one leaf repaired. Ex-library, with small octagonal library handstamp to several leaves.
A crisp and clean copy overall. First Edition. Cortot p. 184. Hirsch I 357. Wolffheim 1029. RISM BVI p. 791.
Soler was a Catalan composer and organist.
"The royal families of Ferdinand VI and Maria Barbara and later of Carlos III used to spend each autumn at El Escorial. Their musical entourage included Jose Nebra and Domenico Scarlatti. Soler studied with Nebra, but whether he received any instruction from Scarlatti (one of whose pupils was Maria Barbara) remains uncertain; he was certainly very familiar with Scarlatti's compositions and described himself as a disciple of Scarlatti. Nebra wrote a laudatory preface for Soler's momentous theoretical treatise Llave de la modulacion. ... The treatise is in two books, the first devoted to modulation, the other to early notation and the resolution of canons. In the first book Soler illustrates how to modulate smoothly from any major or minor key to any other of the 24 keys in the fewest number of bars. His theories were very daring at the time - Nebra described his system as 'the discovery of a secret as extraordinary as it is new'." Frederick Marvin in Grove Music Online. (Inventory #: 39985)
With decorative woodcut device to title-page and two attractive woodcut historiated initials. Typeset musical examples throughout and with engraved musical examples (some folding) to pp. 91-111 [112] and 121-127 [128], printed on one side of the leaf only.
Binding slightly worn and soiled; titling to spine faded; endpapers slightly worn, foxed, and stained, with portion of free rear endpaper lacking. Occasional foxing; worming to lower inner margins, most seriously affecting pp. 10-70, with some loss of text; some mispagination; pp. 102/103 in duplicate; tear to one leaf repaired. Ex-library, with small octagonal library handstamp to several leaves.
A crisp and clean copy overall. First Edition. Cortot p. 184. Hirsch I 357. Wolffheim 1029. RISM BVI p. 791.
Soler was a Catalan composer and organist.
"The royal families of Ferdinand VI and Maria Barbara and later of Carlos III used to spend each autumn at El Escorial. Their musical entourage included Jose Nebra and Domenico Scarlatti. Soler studied with Nebra, but whether he received any instruction from Scarlatti (one of whose pupils was Maria Barbara) remains uncertain; he was certainly very familiar with Scarlatti's compositions and described himself as a disciple of Scarlatti. Nebra wrote a laudatory preface for Soler's momentous theoretical treatise Llave de la modulacion. ... The treatise is in two books, the first devoted to modulation, the other to early notation and the resolution of canons. In the first book Soler illustrates how to modulate smoothly from any major or minor key to any other of the 24 keys in the fewest number of bars. His theories were very daring at the time - Nebra described his system as 'the discovery of a secret as extraordinary as it is new'." Frederick Marvin in Grove Music Online. (Inventory #: 39985)
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