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    Pirated Edition of Jean-Jacques Rousseau's
    "Dictionary of Music"

    J[ean] J[acques] Rousseau. Dictionnaire de musique. Paris: Chez la Veuve Duchesne, Libraire, rue S. Jacques, au Temple du Goût, 1768 [i.e. Lyon?: 1768]. Pirated edition of the 1768 first octavo edition of Rousseau's Dictionnaire de musique, printed in the same year, and often described as the first octavo edition. False imprint, probably printed in Lyon. Octavo (7.875 x 4.9375 inches; 201 x 126 mm.). xii, 547, [1, Errata] pages (a6(8-2) A-Z8 Aa-Ll8 *Mm2). Lacking half-title? Pages [xi]-xii ("Avertissement") incorrectly bound following the title. Thirteen folding engraved plates of music, lettered A-N, at the end, including a diagram of the distribution of the Dresden Opera's orchestra (on Plate G). Woodcut title vignette; typographic head- and tail-pieces and initials. Woodcut musical notation in the text.
    Contemporary French mottled sheep with covers ruled in blind; spine decoratively panelled in gilt in compartments with five raised bands and brown leather label ruled and lettered in gilt; board edges ruled in gilt (with only traces of gilt remaining); marbled endpapers and edges. Binding rubbed and worn, with a few small areas of surface loss, but the binding has been treated so that these flaws are not terribly noticeable; boards exposed at corners; neat repairs to spine ends; small portion (one-eighth inch) of top of spine missing. Light to moderate foxing throughout; occasional browning; a few mostly marginal small stains. Small hole in C3 (pages 37/38), affecting a couple of letters on the verso, and a small piece about to fall out where the signature mark is printed on the recto; short tear to outer margin of L1 (pages 161/162), just touching one letter; small hole in lower margin of N3 (pages 197/198), affecting one word in the last line on the recto; small hole affecting the page numbers on R7 (pages 269/270); paper flaw to lower corner of V3 (pages 309/310), touching a couple of letters; several additional leaves with minor marginal paper flaws, not affecting text. A few leaves creased before printing, sometimes affecting a few letters (no loss). The plates also have light to moderate foxing and browning; some plates curled a little at the inner edge where they are folded into the gutter/rest in the gutter; a few with tiny tears at the inner edge; Plate G with a short tear into the lower left corner of the image; Plate N with a dark ink trail in the lower corner of the image. A very good copy, overall. Small bookseller's ticket of music antiquarian Hermann Baron on front pastedown: "H. Baron / Music and Books, / 136 Chatsworth Road, / London, N. W. 2., England." From the library of John Carroll Collins, with his booklabel on front pastedown.
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    More Information:

    Rousseau's Dictionnaire de musique was first published in Paris in a quarto edition in November 1767, dated 1768 on the title-page, with an octavo edition following shortly thereafter. The present copy is one of three (?) pirated editions based upon the first octavo edition, with the following differences/differing in the following ways/differing as follows: a different unsigned woodcut title vignette; typographic head- and tail-pieces and initials, including a large typographic head-piece on page [1] and only twenty-one lines of text ("Voyez" in line 5 has been abbreviated to "V." so that the text fits on one line, and the page can end on the same line as in the first octavo edition; in the fourth line, the second entry ("A battuta"), there is a quotation mark rather than an accent over the word "MESURÉ"); throughout the text, accents are often lacking or replaced with single quotation marks on words in all capital letters; there is no "Approbation" or "Privilége du Roi," even though "Avec Approbation & Privilége du Roi" appears at the foot of the title-page; only four errors are listed in the Errata on page [548]; there is no publisher's catalogue at the end; pages 145, 254, 283, 319, 337, 495, 511, 545 are misnumbered 146, 354, 273, 913, 237, 549, 411, 145; the engraved plates have been redone, and the first plate is not signed.

    The genuine first octavo edition has a different collation (xiv, [2], 547, [1, Errata], 4 (publisher's catalogue) pages); the "Avertissement" is on pages [xiii]-xiv; the "Approbation & Privilége du Roi" is on two unnumbered pages following page xiv; the woodcut title vignette is signed: "H. Gravelot inv. Caron sculp."; there is a decorative woodcut head-piece on page [1], and twenty-two lines of text; decorative woodcut tail-pieces; the Errata lists twenty-nine errors; a four-page publisher's catalogue at the end ("Extrait du Catalogue de Librairie de la Veuve Duchesne") lists both a quarto edition for "24 liv." and an octavo edition for "9 liv"; the first engraved plate is signed "Gravé par Mad. De Lusse."

    Dufour 251. Gagnebin V, pages 1828-1829. Tchemerzine V, page 53 (b). Gregory & Bartlett, Catalogue of Early Books on Music, page 237 (describing the first quarto edition). See also Claudia Maurer Zenck, "Die frühe Druckgeschichte von Jean-Jacques Rousseaus 'Dictionnaire de Musique'," in Die Musikforschung, 54. Jahrgang, Heft 2 (April-Juni 2001), pages 131-153.


    "In 1748-9 Diderot entrusted Rousseau with the music articles in the Encyclopédie (signed S). They contained criticisms of Rameau's harmonic system which d'Alembert endeavoured to tone down. This became the occasion of a controversy between Rameau (Erreurs sur la musique dans l'Encyclopédie, 1755) and the Encylopedists, who complicated the Querelle des bouffons by engaging in theoretical argument. Rousseau subsequently included these articles in his Dictionnaire de musique, published in 1768...With its 900 entries, it can be seen as the earliest modern dictionary of music by virtue of its being thought out on the lines of the Encyclopédie. Its main object was to deal with terms relating to knowledge and technique, not only providing definitions (to which Brossard's succinct Dictionaire limited itself) but also, and above all, furnishing explanations and showing the relationships of concepts. His work covers ideas relating to acoustics, music theory, composition, performance, interpretation, the poetics of musical and operatic genres (partly incorporating choreography), general musical aesthetics, the history of music and its geographical variation. Also to be found in it are everyday words that have a meaning specific to these different domains, and the names of accessory objects and of musical institutions. It is in addition one of the first works to give significant space to extra-European music" (Catherine Kintzler in Grove Music Online).

    Auction Info

    Auction Dates
    April, 2015
    8th-9th Wednesday-Thursday
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