Die Reihe 7: Form—Space
Theodore Presser Co in association with Universal Edition, Bryn Mawr, Pa.; London, 1965, Wraps, , , Good /
87 pp. Good, Octavo. Wraps with wear and soiling, previous owner’s signature. Edited by H. Eimert & K. Stockhausen. Contents: György Ligeti—“Metamorphosis of Musical Form”; Ursula Burghardt-Kagel—“Amancio Williams Space Theatre”; Christian Wolff—“On Form”; Mauricio Kagel—“Translation-Rotation”; John Whitney—“Moving Pictures and Electronic Music”; Rainer Fleischhauer/Jörn Janssen—“Project for 200,000 Inhabitants”; Jörn Janssen—“Initial Project. Designed for Gottfried Michael Koenig.”; Details to other volumes of Die Riehe. (All but Christian Wolff translated by Cornelius Cardew.)
THIS EXHIBITION presents Renaissance editions of Dante's Divine Comedy from the John A. Zahm, C.S.C., Dante Collection at the University of Notre Dame, together with selected treasures from The Newberry Library. The Zahm collection ranks among the top Dante collections in North America. Purchased for the most part by Zahm in 1902 from the Italian Dantophile Giulio Acquaticci, the 15th- and 16th- century imprints presented here form the heart of Zahm's collection, which totals nearly 3,000 volumes, including rare editions and critical studies from the Renaissance to the present. The nine incunable editions and nearly complete series of 16th-century imprints featured in this exhibit constitute essential primary sources for both the history of Dante's reception during the Renaissance and the early history of the printed book.
"With over 250 titles in print, Pendragon Press is a leader in the publication of musicological research, reference works, and studies of many aspects of musical life. With 27 series, ranging from Aesthetics to the history of theory, to vocal music, we have been servicing the musicological community for over 30 years, and, with the help of our friends, hope to continue for another 30. "
The EServer (founded in 1990 at Carnegie Mellon as the English Server), attempts to provide an alternative niche for quality work, particularly writings in the arts and humanities. Now based at Iowa State University, we offer fifty collections on such diverse topics as art, architecture, race, Internet studies, sexuality, drama, design, multimedia, and current social issues. In addition to short and longer written works, we publish hypertext and streaming audio and video recordings. Our collections grow as increased membership has new works to publish with us, and as we teach new members how to publish works to the Web and to the more than two million readers who visit our site per month. According to Alexa, this makes us the most popular arts and humanities website in the world.
“Most people know the legend of Thomas Chatterton -- brilliant poet who failed to make a living, starved himself to send expensive presents to his family, and died by his own hand at seventeen -- much better than his poems. Like all legends, it is partial and exaggerated, but was a powerful influence on the Romantic movement and long after. The painting "The Death of Chatterton" by Henry Wallis epitomises this reputation. His fame rests, apart from this almost unbearably romantic life story, on his "Rowley Poems". These he wrote in a sham Middle English dialect, and passed off as the work of Thomas Rowley, a priest of Bristol in the fifteenth century, and some of his friends. The imposture was quickly detected (though some continued to believe in him for many years), but they were published in a collected edition after his death and were popular and much admired by the Romantic poets, especially Wordsworth, Shelley, and Keats, who dedicated "Endymion" to the memory of Thomas Chatterton.”
An excellent report by Maureen Mulvihill of the auction of rare books and manuscripts from the estate of Paula Peyraud
The Paula Peyraud Collection: Samuel Johnson & Women Writers in Georgian Society. An Auction Report by Maureen E. Mulvihill as published in Eighteenth-Century Studies, Fall 2009, with 8 images and a list of selected buyers, prices & new locations of the Peyraud properties.
A pdf of the published report may be downloaded here: http://www.ilab.org/download.php?object=documentation&id=81
‘DARK LADY’ OF RARE BOOK COLLECTORS, PAULA FENTRESS PEYRAUD (CHAPPAQUA, NY, 1947 ~ 2008). Peyraud Collection Auction, May 2009, Bloomsbury Auctions N.Y. 483 Lots (books, manuscripts, images). Sales total: $1.6 million, including premium. Photograph, Margie Van Dyke. Bookplate from Peyraud copy of Frances Burney’s Cecilia, (lot 218, buyer McGill University). Bookplate bears inscribed initials (“FCP - EKP”), being the collector’s grandparents Frank C. Peyraud & Elizabeth Krysler Peyraud, both visual artists (see “Peyraud,” Benezit, vol. 10, 2006 edition).
The Seeker in the Marshes
THANKSGIVING to the gods! Shaken and shivering in the autumn rains, With clay feet clinging to the weary sods, I wait below the clouds, amid the plains, As though I stood in some remote, strange clime, Waiting to kneel upon the tomb of time. The harvest swaths are gathered in the garth, The aftermath is floating in the fields, The house-carl bides beside the roaring hearth, And clustered cattle batten in the shields. Thank ye the gods, O dwellers in the land, For home and hearth and ever-giving hand. Stretch hands to pray and feed and sleep and die, And then be gathered to your kindred gods, Low in dank barrows ever more to lie, So long as autumn over wood-ways plods, Forgetting the green earth as ye forgot Its glory in the day when it was born To you, on some fair tide in grove and grot, As though new-made upon a glimmering morn. And it shall so be meted unto you As ye did mete when all things were to do. The wild rains cling around me in the night Closer than woman in the sunny days, And through these shaken veins a weird delight Of loneliness and storm and sodden ways And desolation, made most populous, Builds up the roof-trees of the gloomy house Of grief to hide and help my lonely path, A sateless seeker for the aftermath. Thanksgiving to the gods! No hidden grapes are leaning to the sods, No purple apple glances through green leaves, Nor any fruit or flower is in the rains, Nor any corn to garner in long sheaves, And hard the toil is on these scanty plains. Howbeit I thank the ever-giving ones, Who dwell in high Olympus near the stars, They have not walked in ever-burning suns, Nor has the hard earth hurt their feet with scars. Never the soft rains beat them, nor the snow, Nor the sharp winds that we marsh-stalkers know. In the sad halls of heaven they sleep the sleep, Yea, and no morn breaks through their slumber deep. These things they cast me forth at eventide to bear With curving sickle over sod and sand; And no wild tempest drowns me to despair, No terrors fear me in a barren land. Perchance somewhere, across the hollow hill, Or in the thickets in these dreary meads, Great grapes, uncut, are on the limp vine still, And waving corn still wears its summer weeds, Unseen, ungathered in the earlier tide, When larger summer o’er the earth did glide. Who knows? Belike from this same sterile path My harvest hand, heaped with an aftermath, Shall cast the garner forth before their feet, Shapely and shaven clean and very sweet. Thanksgiving to the gods! Wet with the falling rain, My face and sides are beaten as with rods, And soft and sodden is the endless plain— How long—how long do I endure in vain?Daniel Lewis Dawson [1855-1893]