The Songs In The Ode Wrote By Mr. Dryden For St. Cecilia's Day. [Hwv 76]. [Full Score] Handel, George Frideric 1685-1759 New Arrivals

Folio. Quarter dark brown leather with marbled boards, black leather title label gilt to upper. 1f. (recto title, verso blank), [i] blank), 2-23, [i] (blank), pp. Engraved throughout. With elaborate engraved title by I. Collins incorporating a lute, guitar, violin, viola da gamba, tromba marina, harp, bassoon, tambourine, trumpet, two cherub instrumentalists, and a harpsichord viewed from its keyboard with an open book of music containing a passage for a solo instrument and continuo. Bookplate of Sir Charles Henry Stuart, Baronet Rich (1859-1921) incorporating a knight with a small dragon perched on his helmet, a castle, landscape, sunflowers, the French motto "Garde ta foy," and Latin text "E. Lib. Domi. Carol. Henric. Stuart. Rich. Baronetti, Societ. Antiq. Lon. Soch. In Cast. Devizes. In. Com. Wiltz. Conservatis. Anno. Dōni 1890" to front pastedown. With annotation in ink to upper outer corner of free front endpaper "C. H. S. Rich d.d. Arthur Denman 2nd March 1891." Binding considerably worn, rubbed, and bumped; boards and free front endpaper detached. Slightly worn and soiled. First Edition, first issue. Smith p. 131, no. 1. BUC p. 437. RISM H1038 and HH1038. Handel's Ode for St. Cecelia's Day, set to the poem by John Dryden (1631-1700) "A Song for St. Cecilia's Day," was first performed at Lincoln's Inn Fields Theatre on 22 November 1739. Dryden's poem puts forth a view of the universe based on the doctrine of the Harmony of the Spheres, where creation is set into motion according to the rules of harmony and human emotions are reflected and amplified by music. Dryden describes specific instruments and the emotions they elicit; Handel illustrates the poet's conceits with solos for those very instruments ("The soft complaining flute" and "Sharp violins," for instance). Orpheus, the Greek god associated with music, makes an appearance with his lyre: so transfixing is his playing that "trees unrooted left their place" and follow the divine bard. Handel paints a musical picture of this image with a dramatic dropped octave for the word "unrooted," and long vocal melismas that evoke, both the following of nature of swaying trees and the nimble and resonant plucking of Orpheus's lyre. A lifetime first edition of Handel's memorable work, dedicated to the joy and creative power of music.