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“The music is not in the notes, but in the silence between”: Rare First Editions of the Full Orchestral Scores of the Symphonies of Haydn, Mozart and Beethoven; Including the first appearance of of the full scores of Mozart's Overture to the Marriage of Figaro and Symphony no. 40
A Compleat Collection of Haydn, Mozart and Beethoven’s Symphonies, in Score, Most Respectfully Dedicated, by Permission, to H.R.H The Prince of Wales.
London: Lavenu, Cianchettini & Sperati, 1808-1810.
First editions of the first printings of the full orchestral scores of the complete symphonies of Beethoven, Mozart, and Hadyn. Quarto, two volumes bound in three quarters morocco over marbled boards wit gilt titles and tooling to the spine, including A Complete Collection of Haydn, Mozart and Beethoven’s Symphonies (Cianchettini and Sperati) and A Complete Collection of Mozart and Beethoven’s Symphonies. A Compleat Collection of Haydn, Mozart and Beethoven’s Symphonies contains the first appearance of the full scores of Mozart‘s Overture to the Marriage of Figaro, Mozart‘s Symphony no. 40, and no. 41. (Fuld, The Book of World-Famous Music, 564-567). A Complete Collection of Mozart and Beethoven’s Symphonies (Lavenu) contains the first appearance of the full scores of Mozart‘s Symphony no. 39, no, 13, and no. 38. In very good condition with light toning to the text. An exceptional collection of the utmost rarity.
"Maybe you could show me how to let go, Lower my guard, Learn to be free. Maybe if you whistle, Whistle for me": First Edition of Anyone Can Whistle; Inscribed by both Arthur Laurents and Stephen Sondheim
New York: Random House, 1965.
First edition. Octavo, original cloth. Warmly Inscribed by both Arthur Laurents and Stephen Sondheim. Fine in a near fine bright jacket without the fading usually encountered with the spine.
New York: Boosey and Hawkes, 1945.
First edition of the Booksey and Hawkes Pocket Orchestral Score of Copland’s Appalachian Spring, one of the most enduring of the twentieth century. Large octavo, original wrappers as issue. Inscribed by the composer on the title page, “For Bruce Kubert Aaron Copland Heaton Hall July 1946.” In very good condition with a tear to the front panel. Exceptionally rare and desirable signed and inscribed.
Typed signed letter from Carl Haverlin to Igor Stravinsky, with Stravinsky's holograph notes and signature
Single page typed signed letter with notes in Stravinsky’s hand. Typed signed letter from 1962 to Igor Styravinsky from Carl Haverlin, pioneer in radio broadcasting, and longtime president of Broadcast Music Inc. The letter is on Broadcast Music Inc. stationary, and Haverlin writes to inquire about some illustrations which Dulac had made for Stravinsky’s Firebird Ballet. He writes: “I…take the liberty of asking you if your memory will bring forth any background on the sketches.” In the margin adjacent to this sentence, Stravinsky writes “Not at all!” in red pen. Haverlin closes the letter with: “Photostats of the sketchbook pages are enclosed.” Beneath this Stravinsky writes, along with his signature, “I find it unfortunately very bad.” Matted and framed opposite a photograph of Stravinsky. The entire piece measures 26.5 inches by 19.25 inches.
"These are the songs of Bob Dylan, the pioneer, the trail-blazer, the innovator, who has disturbed, delighted, dismayed and deepened the thinking of millions of listeners": Rare first edition of the Bob Dylan Song Book; Signed by Bob Dylan
New York: M. Whitmark & Sons.
First edition of this music collection of the songs of Bob Dylan. Quarto, original illustrated wrappers as issued, frontispiece portrait of Dylan after a drawing by Cambert, illustrated. Signed by Bob Dylan on the front free endpaper. Introduction by New York Times folk music critic Robert Shelton. Photographs by Chuck Stewart. In very good condition. Housed in a custom half morocco clamshell box.
London: National Portrait Gallery, 2014.
Signed limited edition, number 19 of 21 signed copies. Signed and numbered by Bob Dylan on the title page. In fine condition.
“AT THE CHAPEL DOOR HE [A PRIEST ASSOCIATED WITH A SCHOOL BOULEZ ATTENDED] ASKED ME IF WHAT HE HAD BEEN TOLD WAS TRUE: THAT BOULEZ NO LONGER BELIEVED IN GOD. I SAID IT WAS...”: Inscribed by Pierre Boulez
Cambridge, MA : Harvard University Press, 1971.
First edition. Octavo, original blue cloth. Fine in a fine dust jacket. Inscribed by the author: “To James with my best wishes Pierre Boulez.”
First Edition of Woody Guthrie's autobiography Bound For Glory; in the scarce first issue dust jacket
New York: E.P. Dutton, 1943.
First edition of folk singer and songwriter Woody Guthrie’s autobiography, and only book published during his lifetime, in the scarce first issue dust jacket. Octavo, original cloth, frontispiece portrait of Guthrie after a photograph by Robin Carson, illustrated with sketches by the author. Near fine in a very good dust jacket with chipping and wear, bookplate. Rare and desirable.
First edition of Bourne Inc. 1919-1948: Songs of Yesterday That Are Memory Songs of Today; Bonnie Bourne's copy with her name gilt on the front panel
New York: Bourne Inc. and ABC Music Corporation, 1919-1948.
First edition of this catalogue of songs published by Bourne Music Company between 1919 and 1948. Quarto, original green cloth, gilt titles to the spine and front panel, pictorial endpapers. Bonnie Bourne’s copy with her name gilt on the front panel. In near fine condition. Rare a desirable with noted provenance.
Paris: Henri Plon, 1867.
Finely bound example of the popular songs and operettas of French chansonnier Gustave Nadaud. Octavo, bound in three quarters morocco over marbled boards, gilt titles and tooling to the spine, raised bands, marbled endpapers. In very good condition with light rubbing to the extremities.
"Well, I look out the window and what do I see? The breeze is a-blowin' the leaves from the trees. Everything is free - everything but me": First edition of Loretta Lynn's Coal Miner's Daughter: Signed by Her and Don Ballinger, Chuck Flynn, and Ernest Ray
Chicago: Henry Regency Company, 1976.
First edition of Loretta Lynn’s best-selling autobiography. Octavo, original cloth, illustrated with photographs. Inscribed by Loretta Lynn on the front free endpaper, “Thank you, Loretta Lynn.” Additionally signed by the complete line-up of the Coal Miners including Don Ballinger, Chuck Flynn, and Ernest Ray. Fine in a near fine dust jacket. Jacket design by Marianne Vecsey.
"He was totally unlike anybody else" (Judy Collins); First Edition of Dance Me To The End of Love; Inscribed by Leonard Cohen to Judy Collins
New York: Welcome Enterprises, 1995.
First edition of Cohen’s work, a lyrical tribute to love. Thin quarto, original illustrated boards. Paintings by Henri Matisse. Edited by Linda Sunshine. Association copy, inscribed by the author to Judy Collins on the front free endpaper, “Dear Judy thank-you for shameless love, as always Leonard Los Angeles 1995” with Cohen’s “Order of the Unified Heart” ink stamp, his embossed stamp, and Collins’ signature above. Collins was essentially responsible for Cohen’s musical career. As she writes in her autobiography Trust Your Heart, “I met Leonard Cohen in 1966, when my Canadian friend Mary Martin arranged for us to meet. Leonard had been a published and successful writer and poet for many years, and had recently written his first songs. He came down from Canada one night, and I listened to his songs in my living room. He sang ‘Suzanne’ and ‘Dress Rehearsal Rag’ that night, sitting on the couch, holding the guitar on his knee. I was moved by his singing voice, and by the songs, and by his whole presence. There was something very ethereal and at the same time earthy about his voice. When Leonard sang, I was entranced. I became immediately devoted to him, and we soon were friends… I recorded ‘Suzanne’ and ‘Dress Rehearsal Rag’ on In My Life in 1966, and it went gold in 1967. With the record’s success, Leonard became known as a songwriter. I suggested he make his debut and sing in public, but he was terribly shy. I knew once he got over his fear, he would be powerful on stage. I was going to appear at a concert for Sane against the Vietnam War at Town Hall, on April 30, 1967. I asked Leonard if he would sing Suzanne there. ‘I can’t do it, Judy, I would die from embarrassment.’ ‘Leonard, you are a great writer and a fine singer, people want to hear you.’ He finally agreed, reluctantly. When I introduced him, he walked onto the stage hesitantly, his guitar slung across his hips, and from the wings I could see his legs shaking inside his trousers. He began ‘Suzanne,’ with the hushed audience leaning forward in their seats; he got halfway through the first verse and stopped. ‘I can’t go on,’ he said, and left the stage, while the audience clapped and shouted, calling for him to come back. ‘We love you, you’re great!’ Their voices followed him backstage, where he stood with his head on my shoulder, my arms around him. ‘I can’t do it, I can’t go back.’… He looked about ten years old. His mouth drew down at the sides, he started to untangle himself from his guitar strap. I stopped him, touching him on the shoulder. ‘But you will,’ I said. He shook himself and drew his body up and put his shoulders back, smiled again, and walked back onto the stage. He finished ‘Suzanne,’ and the audience went wild. He has been giving concerts ever since. I have loved and recorded so many of his songs… His songs carried me through dark years like mantras or stones that you hold in your hand while the sun rises or the fire burns. They kept me centered as I stood in front of thousands of people, my eyes closed, my hands around the neck of a guitar, my voice singing his ethereal lyrics. The audience responded to his writing, the songs were like water to a person dying of thirst. They were songs for the spirit when our spirits were strained to the breaking point.” An exceptional association, perhaps the finest possible as without Collins, Leonard Cohen musical career may not have been discovered. Near fine in a near fine dust jacket. From the library of Judy Collins.
First Edition of Igor Stravinsky and Robert Craft's Dialogues and A Diary; lengthily inscribed by Igor Stravinsky
Garden City, NY: Doubleday & Company, 1963.
First edition of Craft’s detailed account of his travels with mentor Igor Stravinsky from 1951 to 1961. Octavo, original cloth, illustrated with photographs. Presentation copy, inscribed by Igor Stravinsky on the title page, “To Dick and George my good friends Affectionately, Igor Stravinsky New York Jan 4th/64.” Near fine in a near fine dust price-clipped dust jacket. Jacket design by Ronald Clyne. Jacket photographs by Columbia Records.
Original LP of The Rolling Stones Album Dirty Work. Signed by Mick Jagger and Keith Richards on the front cover. Richards has written “Love Keith Richards.” In very good condition. Framed.
Handwritten musical quotation inscribed by Russian composer and pianist Dmitri Dmitriyevich Shostakovich in Russian above the opening three bars of Shostakovich’s Symphony No. 5 in D minor (Op. 47) on a two-stave system with holograph tempo directive and title, “To Lionel Okvin from Dmitri Shostakovich 17th February 1947.” Double matted and framed with a photograph of Shostakovich. The entire piece measures 14.75 inches by 15.75 inches. Rare and desirable.
New York: Crown Publishers, 1964.
First edition of this classic work. Octavo, original cloth, illustrated. Presentation copy, inscribed by the lyricist Sheldon Harnick on the title page, “For John: Sheldon Harnick 12/16/15.” Very good in a very good price-clipped dust jacket. Jacket drawing by Tom Morrow.
Early black and white photograph of legendary crooner Frank Sinatra. Inscribed by him, “To Loretta, Sincerely, Frank.” In near fine condition. Matted and framed. The entire piece measures 13 inches by 11 inches. Rare and desirable signed by Sinatra.
“LIFE IS A LOT LIKE JAZZ - IT'S BEST WHEN YOU IMPROVISE": Rare musical quotation signed by legendary American composer George Gershwin
Rare original Rhapsody in Blue musical quotation signed by American composer and pianist George Gershwin. One page with an original photograph of Gershwin playing the piano mounted to the page. Boldly inscribed by Gershwin, “For Tessie Best Wishes & love, George Nov. 22, 1926.” With a hand-drawn bar with Treble Clef displaying a stanza from Gerswhin’s Rhapsody in Blue. Mounted and framed. The entire piece measures 19 by 17.5 inches. In very good condition with minor loss to the top right edge of the photograph and a closed tear. Rare and desirable with a hand written quotation by Gershwin from his most notable orchestral composition.
"the handsomest producer of all time": FIRST EDITION OF GEORGE GERSHWIN’S SONG-BOOK; INSCRIBED BY HIM to Broadway Composer and Producer Alfred Aarons
New York: Random House, 1932.
First edition of Gershwin’s classic songbook. Quarto, original cloth, with 18 color illustrations by Constantin Alajalov. Association copy, inscribed by the author on the front free endpaper, “For Alfred Aarons – the handsomest producer of all time. With my best wishes, George Gershwin, Jan. 1933.” The recipient Alfred E. Aarons was the Broadway composer and producer, whose son Alex produced La La Lucille, Lady be Good, Tip Toes, and most of Gershwin’s other musicals into the 1930s. In very good condition, lacking the rare dust jacket. An exceptional association copy, scarce and desirable signed and with noted provenance.