Alexandre Goria

This is the list of compositions by Alexandre Goria who wrote about 130 drawing-room pieces among polkas, berceuses, nocturnes, waltzes, rêvéries, and his Serenade for the left hand, which became widely known during his active years. Among his 31 grand études, those in Opp. 72 and 63 were highly praised by every audience. He also wrote barcarolles, fantasies and mazurkas, and a good number of characteristic and genre pieces one quotes from memory are the beautiful Allegrezza, l'Attente, Le Calme, lighter works indeed but which have a real cachet of originality. His transcriptions of selected motifs from several operas such as Souvenires du Théâtre Italien, Belisario, Il Trovatore, Le Pardon de Ploërmel, Montenegrins, Una Furtiva Lagrima, all cleverly written, prove the great popularity of his name which had real commercial value.

Goria distinguished himself among all the virtuosos of his generation by the beautiful sound which he drew from the piano without brutalizing the instrument and by applying only enough pressure on the keyboard to obtained a breadth of sound which belonged to him. He used the pedal with great art and tact and also knew how to oppose the happy contrasts of softness and grace to the powerful effects that he possessed better than any pianist. A favorite artist of lovers of brilliant music, concert and salon fantasies, his piano pieces were structured for the needs of the sale, almost improvised, but correctly written while praising the skill of the happy choice of patterns implemented and their variety. His concert and salon compositions have neither the merit of craftsmanship nor the ingenuity of the masters whom he had taken as influence but are unique on their own.

Goria's first popular hits were his 1st. and 2nd. concert-études, in E-flat major, Opp. 7-8, his charming Bluette, which imitates Thalberg, from whom he obviously proceeds, as well as Prudent, but one thing must be said of those who imperfectly said he sounded pretentious and full of his own merit. This unfortunate appreciation is explained indeed by futile causes. Goria had neither the physiognomy of an Adonis nor the stretched features of the consumptive pianists. He was really at the opposite pole. His large size caused a natural reaction against the awkwardness of his cumbersome corpulence. A real shyness that he sought to disguise under an air of self-assurance whose exaggeration was just one more clumsiness.

Compositions with opus number

Note:The purpose of this list is to collect the prime date of publication of each composition and number them by year. They are categorized here by opus number (or WoO), and title, key, genre, and year in "sortable mode". By clicking the button on its respective cell all content in that column will be displayed in ascending or descending order creating so groups of compositions in relation to their key, musical form or date of publication. The notes section displays very useful and amusing information up to the point of establishing a connection among Goria's compositions, like that between Opp. 7-8-15-16-17-23-39 displayed in bone-colored opus numbers around the stories that permeate them. His transcriptions show alabaster-colored titles while his scores are last displayed where much of the expected reference is impressed on paper.

Title Opus Key Genre Year Notes Scores
  • Le Papillon
 1 C major Bluette 1852 [n 1] [lower-roman 1]
2 A minor Nocturne 1850 [n 2] [lower-roman 2]
  • Berceuse: 1re. romance sans paroles
 3 C major Romance 1845 [n 3] [lower-roman 3]
  • Canzonetta: 2me. romance sans paroles
 4 D♭ major [n 4] [lower-roman 4]
  • Olga: 1re. Polka-Mazurka
 5 E♭ major Mazurka 1843 [n 5] [lower-roman 5]
  • Olga: 1re. Polka-Mazurka
 5 bis [n 6] [lower-roman 6]
  • Heure de la prière: 1re. caprice-nocturne caractéristique
 6 A♭ major Nocturne [n 7] [lower-roman 7]
  • 1re. étude de concert pour le piano
 7 E♭ major Étude 1845 [n 8]
[lower-roman 8]
  • 1re étude de concert, en mi♭ arrangée à quatre mains pour le piano
 7 bis Duo [n 9]
  • 2me. étude de concert pour le piano
 8 Étude 1844 [n 10] [lower-roman 9]
  • Sérénade pour la main gauche seule et ensuite a deux mains
 9 B♭ major Étude 1846 [n 11] [lower-roman 10]
  • L'Attente (Die Erwartung): 2me. caprice-nocturne caractéristique
 10 C minor Nocturne 1847 [n 12] [lower-roman 11]
  • Le Calme: 3me. caprice-nocturne caractéristique
 11 A major 1845 [n 13] [lower-roman 12]
  • Alice: Valse brillante pour piano
 12 C major Valse 1847 [n 14]
[lower-roman 13]
  • Alice: Valse brillante pour piano arrangée à quatre mains
 12 bis Duo
  • Andante de salon
 13 B major Andante 1845 [n 15]
  • 2me. mazurka brillante pour piano
 14 A major Mazurka [n 16] [lower-roman 14]
  • L'eleganza: 3me. étude de salon
 15 C major Étude [n 17] [lower-roman 15]
  • Improvisation: 4me. étude de salon
 16 G major [n 18] [lower-roman 16]
  • Barcarolle: 5me. étude de salon
 17 F major [n 19] [lower-roman 17]
  • Nadièjda (L'Espérance): 3me. mazurka brilliant originale pour piano
 18 A♭ major Mazurka 1846 [n 20] [lower-roman 18]
  • Rêverie
 19 B♭ major Rêverie [lower-alpha 1] [n 21] [lower-roman 19]
20 E♭ major Fantaisie [n 22] [lower-roman 20]
  • Fantaisie de concert sur des motifs de l'Opéra "Les Mousquetaires de la Reine" de Fromental Halévy
 21 D major [n 23] [lower-roman 21]
  • Souvenir du Théâtre Italien
22 E♭ major 1847 [n 24]

[lower-roman 22]
[lower-roman 23]
B major
  • Saltarelle: 6me. étude de salon
 23 C major Étude [n 25] [lower-roman 24]
  • Fantaisie élégante sur des motifs de l'Opéra "La Sultane" de Maurice Bourges
 24 Fantasie [n 26]
  • Grand étude dramatique pour piano
 25 Étude 1847 [n 27]
  • 3 pensées caractéristiques
    • Ophelia: Mélodie originale pour piano
    • Miranda: Polka originale pour piano
    • Odessa: 4me. Mazurka originale pour piano
 26
E♭ major
C major
A♭ major
 Morceau [n 28]
[lower-roman 25]
[lower-roman 26]
[lower-roman 27]
27 A♭ major Fantaisie [n 29] [lower-roman 28]
  • Grand duo de concert sur "Belisario" de Donizetti
 27 bis Duo [n 30] [lower-roman 29]
28
  • Grand duo de concert pour violon et piano sur des motifs de l'Opéra "Don Pasquale" de Donizetti
 29 Duo 1847 [n 31]
  • Mélancolie: 4me. nocturne caractéristique
 30 G major Nocturne 1845 [n 32] [lower-roman 30]
31 Fantasie [n 33]
32 [n 34]
  • Chanson espagnole: Solo de concert pour le piano
 33 Morceau 1840 [n 35]
  • Nocturne de Soirée sur la romance Una furtiva lagrima de l'Opéra "L'élisir d'Amore" de Gaetano Donizetti
 34 B♭ major Nocturne 1847 [n 36] [lower-roman 31]
  • Souvenir de Dieppe: Grand valse caractéristique pour piano
 35 F major Valse 1848 [n 37] [lower-roman 32]
36 D major Fantaisie 1847 [n 38] [lower-roman 33]
  • Ballade: rêverie pour piano
 37 F♯ major Rêverie [n 39] [lower-roman 34]
  • Choeur des Bardes: mélodie célèbre sur des motifs de l'Opéra "La donna del lago" de Gioacchino Rossini
 38 E♭ major Mélodie [n 40] [lower-roman 35]
  • Grande étude d'expression, 7me. étude de salon
 39 Étude 1848 [n 41]
40 A♭ major Caprice 1847 [n 42] [lower-roman 36]
  • Grande mazurka originale
 41 Mazurka 1848 [n 43]
  • Fantaisie brillante sur des motifs de l'Opéra "Semiramide" de Gioachino Rossini
 42 D major Fantasie [n 44] [lower-roman 37]
  • L'Agilité: Grande étude de concert
 43 C major Étude 1848 [n 45] [lower-roman 38]
Salut à la Grande Brétagne


44 A♭ major
2
3
4
5
6

1
2
3
4
5
6		 Air 1846 [n 46] [lower-roman 39]
2
3
4
5
6

1
2
3
4
5
6
  • Six mélodies Écossaises
    • Jenny
    • Fenella
    • Edith
    • Rose
    • Flora
    • Diana
 45

1
2
3
4
G major
6

 Mélodie 1840 [n 47]

[lower-roman 40]

46 [n 48]
47 Fantaisie 1849 [n 49]
  • La Chasse: caprice de concert pour le piano
 48 Caprice 1840 [n 50]
49 C major
D♭ major
G major		 Mazurka 1849 [n 51] [lower-roman 41][lower-roman 42]
3
50 Fantasie [n 52]
  • Grande fantaisie de concert sur des motifs Cavatina: Ah conforto è sol la speme de l'Opéra "Il Corsaro" de Giuseppe Verdi
 51 [n 53]
  • Fantaisie brillante sur motifs de l'Opéra "Les Monténégrins" de Armand Limnander
 52 1849 [n 54]
  • L'addio: 5me. nocturne de concert pour piano
 53 C minor Nocturne 1847 [n 55] [lower-roman 43]
  • La Vénitienne: 2me. barcarolle
 54 Barcarolle [n 56]
  • Caprice brillante sur des motifs de l'Opéra "La Fée aux Roses" de Fromental Halévy
 55 Caprice 1850 [n 57]
56 Morceau [n 58]
  • Fantaisie brillante sur des motifs de l'Opéra "La dame blanche" de François-Adrien Boieldieu
 57 D major Fantaisie [n 59] [lower-roman 44]
  • Les adieux de Marie Stuart: Caprice-étude de concert pour piano seul sur la romance de Louis Niedermeyer
 58 D♭ major Étude [n 60]
  • La Campanella: Mélodie étude pour piano
 59 Étude [n 61]
  • Fantaisie brillante sur la romance de l'Opéra "La Chanteuse voilée" de Victor Massé
 60 Fantasie [n 62]
61 Caprice 1851 [n 63]
  • La Pavane: air de danse du XVIme siècle (1579)
 62 B♭ major Air [n 64] [lower-roman 45].
Six grandes études artistiques de style et de mécanisme pour piano
  • École moderne de pianiste, 1re. suite
    • Jour de Printems, Étude Cantabile
    • Le Tournoi, Étude Bravoure
    • Gondoline, Étude Barcarolle
    • La Jeune-Garde, Étude Marziale
    • La Rêveuse, Étude Nocturne
    • La Fuite, Étude Vélocité
 63 A♭ major
F major
3
A major
A major
D major		 Étude 1842-43 [n 65] [lower-roman 46]
2
3
4
[lower-roman 47]
6
  • Fantaisie de concert sur un finale de l'Opéra "Lucrezia Borgia" de Gaetano Donizetti
 64 Fantaisie [n 66]
  • Prima-sera: Rêverie Italiana pour le piano
 65 F major Rêverie [n 67] [lower-roman 48]
  • Allegrezza: Étude de concert
 66 Étude [n 68]
  • Chanson Mauresque
 67 Morceau 1853 [n 69]
  • Fantaisie dramatique sur des motifs de l'Opéra "Marco Spada" de Daniel Auber
 68 Fantasie 1854 [n 70]
  • Tarantelle de concert: Sorrente napolitaine
 69 A♭ major Tarantelle 1853 [n 71] [lower-roman 49]
70 C major Morceau 1853-54 [n 72] [lower-roman 50]
  • Grande caprice de concert sur des motifs de l'Opéra "Etoile du Nord" de Giacomo Meyerbeer
 71 Caprice [n 73]
Le Pianiste moderne: Études de style et de mécanisme


  • Série 2 Nos. 7-12
    • Elégie, Étude-caprice
    • Étude d'Agilité
    • Romanza
    • Toccata
    • Le Trille, Étude-caprice
    • Les Àrpeges, Étude-caprice
 72 E major
B major
A♭ major
B♭ major
G♭ major
D major

7
A major
9
A minor
D♭ major
12		 Étude 1853-54 [n 74] 1
2
3
4
[lower-roman 51]|
6

7
8
9
[lower-roman 52]
11
12
73 E♭ major Fantaisie 1853-54 [n 75]
  • Nocturne de concert
 74 G♭ major Nocturne 1853 [n 76]
  • Fête moldave: mazurka brilliante
 75 A♭ major Mazurka 1860 [n 77] [lower-roman 53]
  • La Tirana: air national de Cadix, fantaisie andalouse pour piano
 76 Fantaisie 1855 [n 78]
  • Fantaisie brillante pour piano sur des motifs de l'Opéra "Jenny Bell" de Daniel Auber
 77 Fantasie [n 79]
  • Au Bord de la Fontaine: Étude-rêverie pour piano
 78 D♭ major Étude 1856 [n 80] [lower-roman 54]
79 C major Fantaisie [n 81] [lower-roman 55]
  • Grande valse de concert pour piano seul
 80 E♭ major Valse 1850 [n 82] [lower-roman 56]
  • Chanson allemande: originale caprice caractéristique
 81 A♭ major Caprice 1857 [n 83] [lower-roman 57]
  • Marguérite au Rouet: fantaisie brillante sur des motifs de "Gretchen am Spinnrade" Op. 2 de Franz Schubert
 82 F major Fantaisie [n 84] [lower-roman 58]
  • Fantaisie brillante sur des motifs de l'Opéra "La Reine Topaze" de Victor Massé
 83 [n 85]
  • Pervenche: rêverie pour piano
 84 D♭ major Rêverie 1859 [n 86] [lower-roman 59]
85 Caprice [n 87]
  • Marche des Gardes françaises sur une mélodie rococo d'Antoine Vialon
 86 B♭ major March 1847 [n 88] [lower-roman 60]
  • Fantaisie brillante sur des motifs Sombres forêts de l'Opéra "Guillaume Tell" de Gioacchino Rossini
 87 A♭ major Fantaisie 1857 [lower-roman 61]
  • La Sérénade: caprice de genre
 88 Caprice [n 89]
  • Mazurka styrienne
 89 Mazurka [n 90]
90
1
B minor
3		 Air [n 91]
90 bis F major Fantaisie 1860 [n 92] [lower-roman 62]
  • Marche triomphale pour deux pianos concertans
 91 E♭ major Duo 1858 [n 93] [lower-roman 63]
  • Amitié, 2.me caprice-nocturne pour le piano
 92 Nocturne [n 94]
  • Le Muletiers: Bolero-scherzo de concert
 93 Scherzo [n 95]
  • Fantaisie brillante sur des motifs de l'Opéra "Rigoletto" de Giuseppe Verdi
 94 A♭ major Fantaisie 1859 [n 96] [lower-roman 64]
94 bis B♭ minor [n 97] [lower-roman 65]
  • Souvenir d'Allemagne: Deux études caractéristiques
    • Les Regrets: impromptu étude pour le piano
    • Chant d'Adieu
 95
1
F minor		 Étude [n 98]
[lower-roman 66]
  • Au revoir (auf Wiedersehen): villanella pour piano
 95 bis Villanella [n 99]
96 Caprice 1860 [n 100]
97 E♭ major [n 101] [lower-roman 67]
  • Fantaisie brillante sur des motifs de l'Opéra "La Traviata" de Giuseppe Verdi
 98 Posth. Fantaisie 1861 [n 102] [lower-roman 68]
  • Fantaisie de concert sur des motifs de l'opéra "Don Juan" de Wolfgang Amadeus Mozart
 99 Posth. [n 103]
  • Fantaisie sur des motifs de l'Opéra "Philémon et Baucis" de Charles Gounod
 Op. 100 1860 [n 104]

Compositions without opus number

Title WoO Key Genre Year Notes Scores
WoO Fantaisie 1859 [n 105]
C major [n 106] [lower-roman 69]
  • Grand valse des fleurs: fantaisie brillante du ballet "Griseldis, ou Les cinq sens" de Adolphe Adam
 1848 [n 107]
[n 108]
  • Symphonie en ré
 D major 1856 [n 109]
  • Barcarolle No. 1 pour piano
 WoO A♭ major Barcarolle 1854 [n 110] [lower-roman 70]
  • Barcarolle No. 2 pour piano
 G minor [n 111] [lower-roman 71]
  • Rêverie et Saltarelle
 WoO Rêverie [n 112]
  • Bagatelle sur une danse favorite de Bohême pour piano
 Bagatelle 1844 [n 113]
  • Berceuse: fantaisie pour piano
 Fantaisie [n 114]
  • Alboni: mazurka pour piano
 Mazurka 1848 [n 115]
  • Rêverie No. 2 pour piano
 B♭ Rêverie 1860 [n 116]
  • Musíque des marches et fanfares de la Garde
 March 1847 [n 117]
  • Dernier chant en Provence
 Piano Solo [n 118]
  • Mazurka slave
 Mazurka 1859 [n 119]
  • Pastorale pour orgue melodium
 Pastorale 1857 [n 120]
  • Mère du chasseur
 Fantasie [n 121]
  • Nocturne pour piano
 Op. Posth. Nocturne 1892 [n 122]
  • 3 Oeuvres Posthumes pour le piano
    • 2me. Barcarolle
    • Promenade en mer
    • Valse allemande facile
A♭ major
G major
3		 Piano Solo 1861 [n 123]
1
[lower-roman 72]
3
  • Andante, marcia et finale du Concert-Stuck, pour piano à quatre mains (2 pianos)
 WoO F minor Duo 1855 [n 124]
B♭ major 1862 [n 125]
  • Chanson de jeune fille Polonaise, pour piano, violon et viole
 Trio [n 126]
  • La réforme joyeuse
    • 1re. Rêverie
    • 2me. Rêverie
    • 3me. Rêverie
1
2
3		 Rêverie [n 127]
  • Les Adieux, dernière pensée (morceau de salon)
 Morceau [n 128]
  • Vieux Minuet
 B♭ major Minuet 1850 [n 129] [lower-roman 73]

Additional information

Notes

Notes
  1. ↑ Bluette is a musical form, a short brilliant piece of music like Bluette Musicale sur "La Ronde Bachique de Demons" de l'opera La Tentation de Fromental Halevy" pour le piano forte: Op. 114 by Friedrich Wilhelm Michael Kalkbrenner. Music score reviewed and revised by Hugo Hartmann. Aibl, 1852.
  2. ↑ .
  3. ↑ Published in Berlin by Stempelmann and Heinrih Weiss.
  4. ↑ Also published as Deux romances sans paroles, Berceuse et Canzonetta.
  5. ↑ Published in Berlin by Stempelmann, Weinholtz u Co., Heinrich Weiss, Julius Weiss, in Erfurt by Bartholomäus, in Hannover by Bachmann, in Leipzig by Klemm and Hofmeister, in Magdeburg by Heinrichshofen.
  6. ↑ Published in Mainz.
  7. ↑ Originally titled Caprice-Nocturne. Published in Berlin by Stempelmann, Weinholtz u Co., Julius Weiss, in Erfurt by Bartholomäus, in Hannover by Bachmann, in Leipzig by Klemm and after 1852 in Turin, Italy, by A. Racca.
  8. ↑ Published also as Étude de Concert [Op. 7], transcripte pour la Harpe par Charles Oberthür. Op. 101." (1892). In Milan by F. Lucca in 1846 with dedicatee "à son ami Émile Prudent", in Berlin by Philipp, Stempelmann, Henrich Weiss, in Erfurt by Bartholomäus, in Hannover by Bachmann and in Pest by Rózsavölgyi.
  9. ↑ "À son ami E. Prudent." Mayence, Les fils de B. Schott [1860ca.]. Published in Milan by F. Lucca in 1846.
  10. ↑ The first part of this composition is for the left hand only, although the brilliance of the whole is enhanced by the right one. Published in Berlin by B. u Bock.
  11. ↑ A Serénade for Six Hands → "M. Goria is a great and powerful pianist, tall in size, powerful in sound, which, of course, is not very common for this dry instrument, despite the genius of our skilled manufactures of this instrument whose intonation does not live under the pressure of the fingers, bow or human breath, which makes the voice the most beautiful of all instruments. In the concert M. Goria gave on the 29th last month (February 1845), he was past of the charming trio "The Osborne" with MM. Hermann and Seligman. His Serenade for the Left Hand earned him a parfoemance by all the listeners' hands; his study, entitled: L'Eleganza, proves the distinction of his musical thought. After this piece for three pianos, which was very well played by MM. Lacombe, Ravina and the beneficiary, three students of Mr. Zimmermann, author of this trio, M. Goria finished his concert, which attracted a large and distinguished audience, with a nocturne of his own composition that was no less successful than his other works." Revue et Gazette Musicale (1845)
  12. ↑ The Missing Nocturne → L'Attente (Die Erwartung) means "The Expectation". "Pazdírek (1839—1919) (op. cit) mentions one WoO by Czerny called "Attente, nocturne" but there is no trace of that work elsewhere. The French composer Alexandre Edouard Goria, who lived for some time in Vienna and knew Czerny well, published a nocturne in 1847 called "L'attente", his opus 10. It is thus probable that Pazdirek's indication is erroneous." Richard d'Ari. Dedicatée: À son ami Ch. Gounod, Paris
  13. ↑ 3me. caprice-nocturne caractéristique together with Op. 10-6. Also published under the title 3 nocturnes caractéristiques. No 1. Caprice-nocturne. Op. 6. No 2. L'Attente. Op. 10. No 3. Le Calme. Op. 11. [P.F.] no. 3.
  14. ↑ Dedicatée à Mlle. Fanny Lecomte
  15. ↑ A tempo marking used as a title for this composition.
  16. ↑ .
  17. ↑ .
  18. ↑ .
  19. ↑ Mayence
  20. ↑ Published in Berlin by Stempelmann, B. u Bock, Weinholtz u Co., in Erfurt by Bartholomäus and in Prague by Wetzler.
  21. ↑ Charles Gounod's Family Bonds Ulysse was produced the 18th of June 1852 under Offenbach's directorship. I had just married, a few days before, Pierre-Joseph-Guillaume Zimmermann's daughter, the celebrated professor of piano at the Conservatory and to whom is due his reputation coming from the same "school" from which Prudent, Marmontel, Goria, Lefébure-Wély, Ravina, Bizet, and ao many others come. I became then, by this alliance, brother-in-law of the young painter Édouard Dubufe who was already most ably carrying his father's name the heritage and reputation of which his own son, Guillaume Dubufe, promises to brilliantly maintain." Charles Gounod - "à Mme. Juliette Dubufé". Also published as "Rêverie. Pour le piano. Composée et dédiée à Mrs. R.A. Reinagle (of Oxford) etc. <Op. 19>." London : R. Cocks & Co., [1846]
  22. ↑ A lieder entitled "The Maiden's lament" written by Schubert in the beginning of his career.
  23. ↑ .
  24. ↑ .
  25. ↑ This 6me. étude de salon completes his set of studies École moderne du pianiste, 6 Études brillantes, 2me. suite together with his Op. 63.
  26. ↑ Jean Maurice Bourges, distinguished musical critic, born at Bordeaux Dec. 2, 1812; came early to Paris, and studied composition under Barbereau. In 1839 he became joint-editor of the 'Revue et Gazette musicale,' the high reputation of which paper is in great measure owing to him. In 1846 'Sultana,' an opera of his, was successfully produced at the Opéra Comique. He made an excellent translation of the words of Mendelssohn's 'Elijah.' He died in 1868, after an illness of many years.
  27. ↑ .
  28. ↑ This score reads: Odessa Op. 26. 3/8 Introduction; 3/4 Andantino con morbidezza. Another score (only one) reads: 2 Pensées caractéristiques pour Piano, No. 1. Ophelia, mélodie. No. 2. Miranda, polka. Op. 26. London : R. Cocks & Co, [1847]. No. 1 Ophelia reads: "1ere. Pensée Caracteristique". Dedicated to Madame. H. Offenbach. Mayence [etc.] : les fils de B. Schott, [ca 1847]
  29. ↑ In three sections: section 1 unlabeled; section 2 Terzetto; and section 3 Intermezzo. Dedicatee: M. Alfred Jaell, de Vienne.
  30. ↑ .
  31. ↑ Goria and Hermann's vaudeville duo de concert → "Without doubt collaboration gives rise to vaudeville and like this the duet is born; and because of this kind of work in pairs, it is logical to think that one may be in the art of writing music when the violinist exchange places with the pianist who plays the violin very badly, and the violinist in turn plays the piano the same manner. This is what makes our virtuosos feel the need to associate themselves; hence the charming duets for piano and violin, by Bérliot and Wolff, Guichard and Brisson, Lacombe and Hermann. The latter has just composed or arranged one in association with M. Goria, on the motives of Don Pasquale. This dialogue for piano and violin, full of that Italian melody so loved by amateurs, is in execution, if not easy, at least possible. The two instruments equally struggle with graceful melody and brilliant strokes. The violinist has everything to play the works of Donizatti, and one could not better suit the expressive qualities of the king of instruments, when the pianist brings out all the advantages the piano has to offer." J. Bibent
  32. ↑ "à Melle Esther Remy Paris, Chabal Editeur Ch. 639 XIXe siècle ca1845"
  33. ↑ .
  34. ↑ Mainz, Schott.
  35. ↑ Original title Chanson espagnole, Op. 33. Published in Milan by F. Lucca between 1847 and 1848.
  36. ↑ Mayence : Les fils de B. Schott
  37. ↑ .
  38. ↑ Dedicatee à Mademoiselle A. Groslevin.
  39. ↑ .
  40. ↑ Subtitled: Hymne à Pie 9me. Ded: à M-lle Joséphine Martin. Mayence [etc.] : les fils de B. Schott, [non ante 1847]
  41. ↑ .
  42. ↑ Grande fantasie triumphale, Op. 84, based on themes from Verdi's opera Il Lombardi. Gottschalk had almost surely been present at the premiere of this opera in Paris in 1847 and probably knew the variantions on the famous trio published by his friend pianist Alexandre Goria." Starr, S. F. (2000). Also published as Capriccio brillante per pianoforte solo sull'Opera "I Lombardi" del M. Verdi.
  43. ↑ .
  44. ↑ .
  45. ↑ In 1847, the opera was significantly revised to become Verdi's first grand opera for performances in France at the Salle Le Peletier of the Paris Opera under the title of Jérusalem. Dedicatée "à Mademoiselle Neney Pellier".
  46. ↑ This composition was arranged by Goria as a fantasia. 1re. Série, Nos. 1-6 – 2me. Série Nos. 7-12. A 3me. Série Nos. 13-18 [!] is listed somewhere on Google Books. Published in Milan by F. Lucca with dedicatée "A M.r Georges Pfeiffer".
  47. ↑ .
  48. ↑ Neue Berliner Musik Zeigtung on Goria's Le val d'Andorre, Op. 47 → "Goria worked with effort and diligence and, if not original, delivered something skilfully put together as for his Op. 47, accepting like this, to some extent, the sin he committed by transcribing Beethoven's Adelaide (namely in the Final Allegro which incidentally he liked). That the French sometimes have a desire to touch the core of German issues is something known to everyone, so let them enjoy themselves with pretty polkas or a "Valse infernale", quadrille, or the like by Philippe Musard. These German works stand as colosses for centuries and require modern (polka) chisels to scrape them off the dirt of the insipid "musique du jour." Presented by M. George Hainl together with Goria on 15 March 1857, in Lyon.
  49. ↑ Concert de M. Goria, Prt 4 → "We cannot end our review without paying a tribute of praise to Mme. Geismar and M. Marthieu lent M. Goria the assistance of their talent. Mlle. Geismar sang with delightful melancholy a delicious melody by M.L. Peuchot, Le Soir. She sang in the second part of the concert the romance of the Carillonneur de Bruges, a three-act Opéra-Comique with music by Albert Grisar, which premiered at the Théâtre de l'Opéra-Comique with libretto by Jules-Henri Vernoy de Saint-Georges) (20 February 1852). We would have enjoyed this romance with great satisfaction being it a little more accurate in the voice. As for M. Marthieu, whose organ is magnificent, he sang in an irreproachable manner the romance of Val d'Andorre (le Suspicion, Thérèse), and the magnificent Stances à l'éternité by M. Delsarte. He should have only broken with a more varied and warmer diction the otherwise inevitable monotony of this large and dark song. Two days later, there was indeed a second concert given by Mlle. Pinel, the profit of which must be used for the completion of the Church of Saint-Aubin. We couldn't attend; we could then only talk about it by hearsay, we prefer to be silent." J. Bibent
  50. ↑ Original title La Chasse, Op. 48. Published in Milan by F. Lucca.
  51. ↑ This score by Lucca reads: "Title: Les bords de la Newa 6.me : 3 mazurkas originales pour piano, Op. 49. Nr 2, Le palais d'hiver
    Alternative title: Mazurek Op 49 Nr 2 Le Palais d'Hiver
    Publisher: Lucca, Francesco (1802-1872)
  52. ↑ .
  53. ↑ .
  54. ↑ .
  55. ↑ Published in Milan by F. Lucca with dedicatee "A son ami Antoine François Marmontel".
  56. ↑ .
  57. ↑ .
  58. ↑ Listed as morceau de salon. “L'Italia musicale” No. 87 (1850).
  59. ↑ Dedicatée "son ami Henri Heugel".
  60. ↑ The title refers to Marie's aria in act 1 where she bids her farewell to France ("Déjà la nuit s'avance") is also known as "Les adieux de Marie Stuart". Not to be confused with Richard Wagner's WWV61 lieder Adieu de Marie Stuart
  61. ↑ .
  62. ↑ Fantaisie "baillante" → "For some time now, we have seen the portrait of a pianist displayed on all the walls, surrounded by the titles of all the pieces he has composed. This pianist is called M. Goria and the advertisements tell us that he has acquired immense success. What a joke! M. Goria is a successful pianist but he is compromised by ridiculous praise in the newspapers. Recently, one said: "The works of M. Goria are "baillantes" (instead of "brillantes")." This is textual. It must be believed that the "éditeur" had to take some revenge on the composer. He had probably heard his songs". Escudier
  63. ↑ Published in Milan by F. Lucca.
  64. ↑ Dedicatée à son ami Marmontel.
  65. ↑ École moderne de pianiste → "A very special mention in this nomenclature of Goria's piano pieces is a series of "studies of style and mechanism" published under the title Le pianiste moderne, Op. 72, and his Six great artistic studies, Op. 63, both adopted by the Conservatory studies committee. If only he had taken the time to write similar works, his name would have become even more popular in education like those of the masters of the modern school."
  66. ↑ Matinée de M. Goria → "M. Goria is a pianist like many, but that doesn't mean he doesn't have talent. His manner is clear, his touch is light, brilliant, but he doesn't seem to care much about what comes from inside. The harder it is, the more you have to think about it. He traces a melodic line in an irreproachable way, but what line, what mechanism are we talking about so much now, if there's no heart. Without seeking for the equality of the notes, every intonation has the same volume of sound, and the result is a monotonous noise for the ear which often makes it rightly said that the piano is definitely not a concert instrument.

    M. Goria performed the Fantaisie sur les motifs de l'opéra "Lucia di Lammermoor" de G. Donizetti (requested) as it was listed on the program. Without going back too far to the source of this request, we have observed that this fantasy by Prudent is one of those pieces which, when the melody has already crossed to the line of "pont-neuf", somebody has to finish it. That makes the ladies swing their heads from right to left and from left to right on each beat of the 6/8 tempo, making a musician of a rather original mind to call rhythmic pieces like this, "cloacked rondos". M. Goria should have chosen in preference to this fantasy, a piece as good as that of Hallé and do what he does in his private matinées and in his annual concert.

    Be that as it may, M. Goria is an artist of the future and one of clear and brilliant manner in which he plays Hummel with his skilful interlocutors." Room, which we lack, does not allow us to say much about this concert in which Mlle. Lia Duport intervened with La biondina in gondoletta. Barcarolla veneziana with variations by Ferdinando Paer, and romances from this composition. She obtained enthusiastic success, the honors of this concert were for her." Henri Blanchard Gazette musicale de Paris (26 Mars 1848)
  67. ↑ Dedicatée "à mon ami Louis James Alfred Lefébure-Wély". Paris, Heugel
  68. ↑ .
  69. ↑ Also published as 3 Morceaux caractéristiques pour piano, (No. 1 Prima sera No. 2 Allegrezza No. 3 Chanson Mauresque) Op. 65, 66, 67 (1854)
  70. ↑ .
  71. ↑ Dedicatée "À Melle. Marie Mira"
  72. ↑ Dedicated to Mademoiselle Josephine d'Arquinvilliers.
  73. ↑ .
  74. ↑ Concert de M. Goria, Part 2 → "Danse villageoise is charmingly lively and original, and at the same time it is a brilliant fantasy, it is an excellent study of octaves, it connects the useful to the pleasant, we recommend it to piano students. The other compositions that we have been given to hear are for the most part only arrangements on operatic motifs. It is so with the Fantaisie sur Trouvère and the romance of William Tell (sombres forêts). We will say nothing of these compositions which required more skill than genius from the author. However, we must point out the Caprice de concert on motifs from Oberon with quartet accompaniment. This truly classical quartet for soprano, mezzo-soprano, tenor and bass, is sung by Rezia, Fatime, Scherasmin and his master the knight Huon. Huon and Scherasmin propose to the two girls of the East to flee with them through the blue waves: Uber die blauens Wogen as the German text says. Rezia and Fatime accept the proposal by repeating the same phrase that Huon and Scherasmin just sang, and then the four voices come together and form an ensemble full of elegance and clarity. M. Goria, took as subject of his whim the delicious duet of the third act between Scherasmin and Fatime, and the famous finale of the Grand air de Rezia which characterizes to such a high point the greatness of the Weber's genius." → Concert de M. Goria - Part 3
  75. ↑ .
  76. ↑ Also listed on Bibliographie de la France 1847 p. 240 Nocturne de concert en sol b pour piano, op. 74. Dedicatée "à Mademoiselle Laure Busso-Delavault son Elève."
  77. ↑ Schott Music. Mayence : Les fils de B. Schott, [ca 1860]
  78. ↑ The Marillleño Incident → "The resounding successes of Émile Prudent and Louis Moreau Gottschalk on the other side of the Pyrenées had inspired Goria with the desire to see that beautiful country where talented artists have always received the warmest of welcomes. Provided with numerous letters of recommendation assured fruitful concerts to him who went straight to Madrid where the high society was always there to give him an enthusiastic reception. Celebrated in the salons it did not take him long to announce a great concerts whose tickets were sold in just a few hours. In the evening there was usually a full house and a rowry audience prepared to applaude him when a terrible incident upset the benevolent dispositions of the public. During this trip and since his arrival in Madrid, Goria had taken notes, not musical notes, but motifs from popular songs, a more or less humorous list, more or less discreet observations embracing the customs of a country related to beauty and women who would not be stopped before details of private lives, all summarized in a letter addressed to the pianist officer Viennot, Goria's intimate friend.

    This spiritual but untimely letter at the time when the artist appealed to the sympathies of the Spanish people was unfortunately communicated to the director of a still small newspaper, already famous and which was soon to become the leading organ of the light press. It was all printed without calculating the disastrous effect which the publication of this "factum of a schoolboy on vacation" was to produce. The newspaper that arrived in Madrid was read a few minutes before the concert when the audience was already in the hall. It passed hand in hand, from box to box, a storm then was about to be come. In time Goria had to leave Madrid with a broken heart. It was a double material disaster from which he was never to recover. The stagefright from which he suffered from then on became more intense. His dark spirit threatened and provoked him several times as he always seemed to have a duel in prospect, not being in any way a fighter by temperament, of course. He lived so for a few years worried, preoccupied, and saddened." Revue et Gazette musicale. Published in Milan by F. Lucca between 1850 and 1860 with dedicatee "A Mad.lle Mariquita De Biarrote son élève". Mayence : Chez les fils de B. Schott, London [1855].

    "Goria is due to give a concert soon. The famous pianist will play Beethoven's concerto in C minor with orchestral accompaniment and new compositions including La Tirana: national air from Cadiz, which produces a great effect. Mlle. Marie Cinti-Damoreau and M. Herman will lend him their assistance."
  79. ↑ .
  80. ↑ Original title Les regrets: Impromptu étude pour le piano. Published in Milan by F. Lucca c. 1861 with dedicatee "A madame Ed. Lyon née Coche".
  81. ↑ .
  82. ↑ A Mme. La Baronne Dumesnil, Superintendent of the Imperial House of the Legion of Honor, published in Milan by F. Lucca c. 1850.
  83. ↑ .
  84. ↑ Alternative title: ''Marguérite au Rouet: Deuxieme melodie de Franz Schubert. Menestrel et Heuguel et Cie. (Paris), Schott (London), Luccas (Milan). Dedicatée Melle. Lydia Inglis.
  85. ↑ .
  86. ↑ .
  87. ↑ Also titled Grand caprice de concert pour le piano avec orchester (ad libitum) sur Obéron de Weber
  88. ↑ Ded.: A son élève M-lle Emma Bossu. Mayence : les fils de B. Schott, [non ante 1858].
  89. ↑ .
  90. ↑ .
  91. ↑ .
  92. ↑ Ded: à Miss Patricia B. Kennett, son élève. Mayence : les fils de B. Schott, [ca 1860]
  93. ↑ Concert de M. Goria, Part 1 → "The days follow each other, but are not alike. In one of our last reviews, we noted with regret the culpable indifference with which the public had received the famous violinist M. Sainton; today, we note with happiness that a numerous and chosen audience met, on February 17 (1859), in the salons of the Society of Saint-François-Xavier at the concert of M. Goria. This eagerness to respond to the call of the eminent pianist, in no way surprised us, it was legitimate. M. Goria is certainly a virtuoso well worth hearing. It shines with the most outstanding qualities. Correction; perfect, flawless finish, great equality of execution such are the salient characteristics of his talent. To this already rather rare merit, he adds an intimate knowledge of the mechanism which allows him to play with the greatest difficulties. The stroke is on his fingers always pure and fast; the octaves, either in the bass or with the right hand, soar forth with incomparable clarity, lightness and vigour. The sounds skillfully blend together in perfect harmony. The phrase has roundness and distinction; only sometimes it is a little monotonous, the artist liking to reproduce the same rhythms too often.

    And now, if leaving M. Goria as a performer, we wonder what if he is as a composer, we find in his compositions pleasant fantasies that we always listen to with pleasure. This artist seems to have understood the true character of the instrument of which he is so skilful interpreter. He knows that a piano piece played too hard must inevitably tire and displease. It is because, in fact, from the point of view of the concerto, the instrument used has very limited resources. A cold and inert keyboard mercilessly arrests the passionate feelings which could agitate the soul of the artist, and does not leave him the means of conveying them to that of the listeners. The sounds, escaping the power of the performer as soon as they are produced, prevent him from translating into a broad and full phrase the grandeur and nobility of his thought. M. Goria therefore gives his compositions little scope; an idea originally expressed is enough for him to compose a piece. And in this, he shows taste and intelligence. Among his works, those tmost admired are: Marche triomphale for two pianos, also entitled Marche triomphale pour piano à quatre mains. (Milan - F. Lucca), and his Danse villageoise. The first is of a broad and majestic style, the ideas linked together with art and the developments not lacking in elegance." → Concert de M. Goria - Part 2
  94. ↑ The french word "Amitié" means "Friendship". Chabal [Paris] and J. Meissonnier fils (Paris)
  95. ↑ Also published as Les Muletiers, boléro-scherzo de concert pour piano, Op. 92 by J. Meissonnier fils, Paris, 1858.
  96. ↑ Dedicatee à son élève Miss Lydia Inglis
  97. ↑ .
  98. ↑ .
  99. ↑ .
  100. ↑ .
  101. ↑ .
  102. ↑ Trois oeuvres posthumes
  103. ↑ .
  104. ↑ .
  105. ↑ .
  106. ↑ .
  107. ↑ .
  108. ↑ .
  109. ↑ Transcrite pour piano seul par A. Goria, n° 2 et 3. Paris, Colombier.
  110. ↑ .
  111. ↑ .
  112. ↑ .
  113. ↑ .
  114. ↑ .
  115. ↑ Goria also went to London in 1848 where, despite the number of pianists, he was sure to mark his place. He had a commitment for six concerts in advance on that year's tour.
  116. ↑ .
  117. ↑ Book description archive BNF: "Histoire anecdotique, politique et militaire de la Garde Impériale ... Illustrée par H. Bellangé, E. Lamy, De Moraine, Ch. Vernier. Musique des marches et fanfares de la Garde, transcrite par A. Goria'
  118. ↑ .
  119. ↑ .
  120. ↑ .
  121. ↑ .
  122. ↑ .
  123. ↑ Barcarolle in A♭ major. Ricordi, Tito is the preferred form of: Ricordi Regio Stabilimento Musicale or Regio Stabilimento Tito di Gio. Ricordi
  124. ↑ Concert de M. Goria, Part 3 → "A young pianist, laureate of the Toulouse Conservatory, pupil of M. Goria, Mlle. Lucie Deldébat, performed with her master his Marche triumphale arranged for two pianos, and the magnificent piece Concert Stück by Weber, also transcribed by M. Goria for two pianos. The talent of this young artist shines with the same qualities that distinguish that of her master. We admired a great deal her finish in the execution, a great correctness in the details, a vigorous and flexible fingering. She warmly mentioned the allegro passionate of the Concert Stück, and she showed a certain elegance of execution in the march which precedes this allegro. We deeply regret that Mlle. Deldébat did not make herself heard alone, we could have passed a more complete judgment on her; she recoiled, no doubt out of modesty and timidity, before this decisive test which would have revealed to us the truly original and creative side of her talent. No doubt, it is fine not to bend, to hold one's rank with dignity alongside M. Goria; but it is even more beautiful to fly boldly with one's own wings, without the help of the inspiration of the master, and to ask only one's own heart for the impulses which must sparkle you." → Concert de M. Goria - Part 4
  125. ↑ Italian Publishing Co. Ricordi issued a music score for this transcription for four hands in March 1862 under the title Divertimento per Pfte a 4 mani sopra motivi del Ballo in Maschera di Verdi (catalogue number 33928).
  126. ↑ .
  127. ↑ .
  128. ↑ Published by Heugel
  129. ↑ Old minuet. Published by Brainard 7 Co. (Cleveland)

Footnotes and scores

  1. 1 2 Cherkessk March from Ruslan and Lyudmila by Mikhail Glinka
  2. ↑ "What wondrous pleasure I feel" - Scene 3: A grotto near the River Jordan
  3. ↑ Choeur de Judas Macchabée, de Haendel, varié pour piano, WoO
  4. ↑ "The Scots March, composed for the ancient guard of James V of Scotland, when marching to attack the castle of Tantallon in 1527". Memoirs and Adventures of Sir John Hepburn (1851) James Grant
  5. ↑ Par un beau matin, un lundi
    Au début de l'année
    Notre ville accueillit Charlie
    Le Jeune Chevalier.     Robert Burns
  6. ↑ A sort of low, open carriage, with four wheels, much used in Saint Petersburg.
  7. ↑ Le Palais D'Hiver in Saint Petersburg was burnt down on December 29, 1837.
  8. ↑ Cantilena, a sweet melancholic melody.
  1. ↑ Le Papillon, Op. 1
  2. ↑ Harmonie du Soir: nocturne sur une mélodie de Jacques Offenbach, Op. 2
  3. ↑ Berceuse: 1re. romance sans paroles, Op. 3
  4. ↑ Canzonetta, Op. 4
  5. ↑ 1re. mazurka brillante pour piano, Op. 5
  6. ↑ 1re. mazurka brillante pour piano, Op. 5 bis No. 2 (4 mains)
  7. ↑ Heure de la prière, Op. 6
  8. ↑ 1re. étude de concert pour piano seul, Op. 7
  9. ↑ 2me. étude de concert, Op. 8
  10. ↑ Sérénade pour la main gauche seule, Op. 9 (Original score)
  11. ↑ L'Attente, Op. 10
  12. ↑ Le Calme, Op. 11
  13. ↑ Alice: Valse brillante, Op. 12
  14. ↑ 2me. mazurka brillante pour piano, Op. 14
  15. ↑ L'eleganza: 3me. étude de salon, Op. 15
  16. ↑ Improvisation: 4me. étude de salon, Op. 16
  17. ↑ Barcarolle: 5me. étude de salon, Op. 17
  18. ↑ Nadièjda: 3me. mazurka brilliant pour piano, Op. 18
  19. ↑ Rêverie pour le piano, Op. 19
  20. ↑ Fantaisie brillante sur des motifs du Lieder "Les Plaintes de la jeune fille", Op. 20
  21. ↑ Fantaisie de concert sur des motifs de "Les Mousquetaires de la Reine", Op. 21
  22. ↑ Souvenir du Théâtre Italien, Op. 22
  23. ↑ Souvenir du Théâtre Italien, Op. 22 bis
  24. ↑ Saltarelle: 6me. étude de salon, Op. 23
  25. ↑ 3 Pensées caractéristiques pour le piano, , Op. 26. No. 1 Ophelia
  26. ↑ 3 pensées caractéristiques, Op. 26 No. 2 Miranda
  27. ↑ Odessa: 4me. Mazurka originale pour piano, Op. 26 No. 3 Odessa
  28. ↑ Fantaisie de concert sur des motifs de l'Opéra "Belisario", Op. 27
  29. ↑ Grand duo de concert sur "Belisario" de Donizetti pour deux pianos, Op. 27 bis
  30. ↑ Mélancolie, Op. 30
  31. ↑ Nocturne de soirée sur una Furtiva Lagrima de Donizetti Op. 34
  32. ↑ Souvenir de Dieppe, Op. 35
  33. ↑ Souvenirs d'Otello, Op. 36
  34. ↑ Ballade: rêverie pour piano, Op. 37
  35. ↑ Choeur des Bardes: mélodie célèbre sur des motifs de l'Opéra "La donna del lago," Op. 37
  36. ↑ Caprice de concert, Op. 40
  37. ↑ Fantaisie brillante sur des motifs de "Semiramide", Op. 42
  38. ↑ L'Agilité: Grande étude de concert, Op. 43
  39. ↑ Six airs anglese transcrite et variée, Op. 44 No. 1 God Save the Queen
  40. ↑ Six mélodies Écossaises, Op. 45 No. 5 Flora
  41. ↑ Les Bords de la Newa, Op. 49 No. 1 Le Drowski
  42. ↑ Les Bords de la Newa: Trois mazurkas originales pour piano Op. 49 No. 2 Le Palais D'Hiver
  43. ↑ L'addio: 5me. nocturne de concert pour piano, Op. 53
  44. ↑ Fantaisie brillante sur des motifs de "La dame blanche", Op. 57
  45. ↑ La Pavane: Air de Danse du XVIe Siècle (1579), transcrit et varié pour piano seul, Op 62
  46. ↑ Six grandes études artistiques, Op. 63 No. 1 Jour de Printems
  47. ↑ Six grandes études artistiques Op. 63 Nr 5 Étude-Nocturne La Rêveuse!
  48. ↑ Trois Morceau caractéristiques, Op. 65 No. 1 Prima-sera
  49. ↑ Tarantelle de concert: Sorrente napolitaine, Op. 69
  50. ↑ Sérénade du "Barbier de Séville", Op. 70
  51. ↑ Le Pianiste moderne: Études de style et de mécanisme, Op. 72 No. 2
  52. ↑ Le Pianiste moderne: Études de style et de mécanisme, Op. 72 No. 10
  53. ↑ Fête moldave: mazurka brilliante, Op. 75
  54. ↑ Au Bord de la Fontaine, Op. 78
  55. ↑ Souvenirs d'Il Trovatore, Op. 79
  56. ↑ ''Grande valse de concert pour piano seul, Op. 80
  57. ↑ Chanson allemande: originale caprice caractéristique, Op. 81
  58. ↑ Marguérite au Rouet: fantaisie brillante sur des motifs de "Gretchen am Spinnrade", Op. 82
  59. ↑ Pervenche: rêverie pour piano Op. 84
  60. ↑ Marche des Gardes françaises sur une mélodie rococo d'Antoine Vialon, Op. 86
  61. ↑ Fantaisie brillante sur des motifs de Guillaume Tell", Op. 87
  62. ↑ Réminiscences de Martha: fantaisie-caprice sur de "Martha" de Friedrich von Flotow, Op. 90 bis
  63. ↑ Marche triomphale pour deux pianos concertans, Op. 91
  64. ↑ Fantaisie brillante sur des motifs de "Rigoletto", Op. 94
  65. ↑ Fantaisie dramatique sur des motifs de "Le Pardon de Ploërmel", Op. 94 bis
  66. ↑ Chant d'Adieu
  67. ↑ Fantaisie caprice de concert sur des motifs de l'Opéra "Tannhäuser", Op. 97
  68. ↑ Fantaisie brillante sur des motifs de "La Traviata," Op. 98
  69. ↑ Fantaisie brillante sur des motifs de "Faust"
  70. ↑ Barcarolle No. 1 pour piano, WoO
  71. ↑ Barcarolle No. 2 pour piano, WoO
  72. ↑ 3 Oeuvres Posthumes pour le piano, Op. 1 No. 1 Promenade en mer
  73. ↑ Vieux Minuet

References

  • A Dictionary of Music and Musicians (A.D. 1450-1889) by Eminent Writers, English and Foreign: With Illustrations and Woodcuts. Grove, Sir George (1880). Macmillan
  • Revue et gazette musicale de Paris, Vol. 18. p. 96. Paris: Gazette Musicale de Paris
  • Revue et gazette musicale de Paris Revue. 1847
  • Verzeichniss der Verlagswerke der Gross. hess. Hof-Musikhandlung & Pianoforte-Manufactur von B. Schott's Söhnen (1865) Catalogue de musique
  • 12 études progressives pour piano: op. 161 : Kalkbrenner, Friedrich Wilhelm Michael (1843). Schott.
  • Universal circulating musical library (1855). Supplement to the catalogue. London: UCML. p. 624
  • Revue de l'académie de Toulouse et des autres académies de l'Empire sous la direction de F. Lacointa, Volume 9 (1859)
  • Il pirata giornale artistico, letterario, teatrale 1847
  • "Repertorio di Libri e Pubblicazioni" Adamoli.org Adamoli, Federico.
  • Supplement to the catalogue London: Universal circulating musical library. pp. 696–697 Scheurmann, G (1855).
  • "Goria-Alexandre-Edouard" Cercle de la librairie (France) (1848) Bibliographie de la France, Vol. 37 Au Cercle de la Librairie. p. 640
  • Supplement to the catalogue Oxford University. Catalogue (1855) p. 697
  • Le guide musical: Revue hebdomadaire des nouvelles musicales de la Belgique et de l'étranger Bruxelles: Labroue. 1855. p. 20
  • ''Good Music for a Free People: The Germania Musical Society in Nineteenth-Century America p. 88  Newman, Nancy (2010). University Rochester Press.
  • Music for More than One Piano: An Annotated Guide p. 75 Hinson, Maurice (2001). Indiana University Press
  • Guia Musical dos Periodicos da Fundacao Biblioteca Nacional 1842-1922 - final-7450.pdf
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