HAYDN: CHRONICLE AND WORKS Complete in Five Volumes. Vol. I: Haydn: The Early Years, 1732-1765; Vol. II: Haydn at Eszterháza, 1766-1790; Vol. III: Haydn in England, 1791-1795; Vol. IV: Haydn: The Years of 'The Creation', 1796-1800; Vol. V: Haydn: The Late Years, 1801-1809.

First US editions, first printings, except for Vol. III, which is the second printing (with corrections) of 1981. Five Volumes. All with illustrations in colour and black and white. A near fine set, the bindings square and firm, the contents clean throughout. There is some pushing to spine tips and a handful of mildly bumped corners. Vols. III and IV show some light spotting to upper edges (and some barely visible to the fore-edge of Vol. III). The dustwrappers, without the fading common to these volumes, show some light rubbing to edges, tips, corners and surfaces (most noticeably to Vol. III, which also has a one inch closed tear, neatly sealed from the rear, to the lower edge of the front panel). All the wrappers are unclipped, with three volumes (II, III, V) bearing small price stickers from Shakespeare & Co. in Paris. Altogether, a very presentable uniform set.

Published between 1976 and 1980 (out of chronological order, Vol. III appearing first, Vol. I last), Robbins Landon's monumental 'Chronicle and Works' draws upon every available archival and documentary source to provide a detailed account of Haydn's long and prolific career, in London and Vienna, both in and out of court, his relations with patrons and fellow composers. The first part of each volume is devoted to the Chronicle, the second examines the works composed during the period covered. "Nothing like this exists on Haydn in English or any other language and it is a remarkable achievement both as chronicle and as social/historical commentary. It is possible that other Haydn scholars might not agree with all of Landon's conclusions and speculations, but [...] as scholarship it is perceptive and civilized, adding immeasurably to our knowledge and comprehension of its great subject" (Harry Newstone in 'The Cambridge Quarterly' [1979]).