‎Guerre 14/18‎

‎De Vinne Theodore Low 1828 1914‎

‎The Practice of Typography; Correct Composition; a Treatise on Spelling Abbreviations the Compounding and Division of Words the Proper Use of . Etc. With Observations on Punctuation and.‎

‎HardPress Publishing 2013-01-28. Paperback. Good. HardPress Publishing paperback‎

書籍販売業者の参照番号 : SONG1313129070 ISBN : 1313129070 9781313129077

‎De Vinne Theodore Low 1828 1914‎

‎The Practice of Typography; a Treatise on Title-Pages With Numerous Illustrations in Facsimile and Some Observations on the Early and Recent Printing of Books‎

‎HardPress Publishing 2013-01-28. Paperback. Good. HardPress Publishing paperback‎

書籍販売業者の参照番号 : SONG1313545716 ISBN : 1313545716 9781313545716

‎DE WAELE, M., GAUS, H., VAN EENOO, R., UYTTERHAEGEN, F.‎

‎BEKNOPTE BIBLIOGRAFIE VAN DE POLITIEKE EN SOCIAAL - EKONOMISCHE EVOLUTIE VAN BELGIE 1918 - 1985.‎

‎, Gent, Centrum voor politiek - wetenschappelijk onderzoek vzw, 1986., Softcover, originele uitgeversomslag, 16x24,5cm., 271 pp.‎

書籍販売業者の参照番号 : 857

‎Debrand, L‎

‎Des rétrécissements du conduit vulvo-vaginal. (Voies génitales antérieures de la femme).‎

‎Paris, Delahaye et Lecrosnier, 1884. VII, 208 S. OHldr. Rücken ausgeblichen. St. a. Tit.‎

書籍販売業者の参照番号 : 626994

‎DEBRAY (Régis).‎

‎Critique de la raison politique.‎

‎Gallimard, 1981, in-8°, 473 pp, broché, bon état (Coll. Bibliothèque des Idées). Edition originale de cet essai commencé en détention en Bolivie.‎

書籍販売業者の参照番号 : 95695

‎DEBRE (Michel).‎

‎La Réunion préservée.. La Réunion convoitée !.‎

‎Saint-Denis (Réunion), 1976, pt in-8°, 64 pp,‎

書籍販売業者の参照番号 : 12308

‎Debrit Jean‎

‎La Guerre de 1914 Notes au jour le jour par un neutre – tome I (1er août-31 décembre 1914)‎

‎Delandre à Paris 1915 12x19. 1915. reliure editeur. 336 pages. état intérieur propre et sans rousseurs couverture frottée sur ses bords‎

書籍販売業者の参照番号 : 100087060

‎DEBRÉ (Michel).‎

‎Au service de la Nation. Essai d'un programme politique.‎

‎Stock, 1963, in-8°, 282 pp, broché, couv. rempliée, bon état. Edition originale, un des 200 ex. numérotés sur vélin alfa mousse (seuls grands papiers avec 20 Hors Commerce), enrichi d'un envoi a.s. à l'éditeur Charles Orengo‎

‎"Prenant parti en faveur d'une « jeunesse nombreuse » l'auteur souligne ce qu'a de précaire le renouvellement démographique de ce pays, et préconise un aménagement nataliste de la politique familiale, tant pour les allocations que pour l'octroi de logements. La France aurait intérêt, à ses yeux, à compter 100 millions d'habitants (p. 183), mais en attendant, une croissance annuelle, sans immigration de 400.000 unités (au lieu de 300.000) est l'objectif proposé (p. 22). Encore faut-il qu'une population plus importante soit mieux répartie : c'est dire le rôle accordé à l'aménagement du territoire. Malgré l'accord que D. marque avec les thèses de la Commission d'étude de la vieillesse, les recommandations de celle-ci sont loin d'être passées dans les faits. Outre les chapitres sur la recherche et la culture, 30 pages, très denses, sont consacrées au problème de l'éducation". (Population, 1964)‎

書籍販売業者の参照番号 : 120225

‎Debussy Claude 1862 1918.‎

‎ARABESQUE 2eme transcription pour 2 Pianos a 4 mains par Leon Roques.‎

‎Paris: Durand c.1904 1910; Imp. Jul. 1955. D.&F. 7680. Folded sheet music in tan card folder. 34cm. pp. 11 1 ad; 11 1 ad. Near Fine. Minimal wear two copy set. Paris: Durand, c.1904, 1910; Imp. Jul. 1955. unknown‎

書籍販売業者の参照番号 : OWBARA113578

‎Debussy Claude 1862 1918.‎

‎Fille aux Cheveux de Lin Extrait du Ier Livre de Preludes pour piano La.‎

‎Paris: Durand Sep 1953. c.1910. D.&F. 9687. Folded sheet music. 31cm. pp. 3 1 ad. Near Fine. Acid free tape repaired tears. Paris: Durand, Sep 1953. unknown‎

書籍販売業者の参照番号 : OWBFIL114241

‎Debussy Claude. 1862 1918 Colonne Edouard. 1838 1910 & Breval Lucienne. 1869 1935 & Plumet Charles. 1861 1928 & Campanini C‎

‎Important Collection of Letters and Telegrams to the Composer‎

‎Used; Like New/Used; Like New. A fascinating collection of 14 autograph letters and cards and 2 telegrams addressed to the important French composer dated between 1903 and 1917 from musicians and other artistic figures of the era. The letters from correspondents including conductors critics dancers composers and visual artists mention the very positive reception of Debussy's works during the last years of his life including his 1903 nomination as a Chevalier of the Légion d'Honneur the Chicago premiere of his opera Pelléas et Melisande and Toscanini's 1911 performance of La Mer; other works discussed include his ballet Jeux the cantata L'enfant prodigue and his work for piano L'isle joyeuse. Letters range from 4 x 2.5 inches to 5.25 x 8.25 inches and are overall in very good to fine condition with some light toning and age wear. All letters in French.Contents:Three letters congratulate Debussy on his nomination to the Légion d'honneur in 1903: one autograph note on the visiting card of conductor Edouard Colonne Paris February 1903 1 p.; one ALS  from the soprano Lucienne Bréval n.p. February 4 1903 4 pp. which also mentions her desire to sing one of Debussy's mélodies with orchestra; and one ALS from the architect Charles Plumet Paris n.d. 1 p.Two telegrams dated June 11 1910 send congratulations to Debussy on the successful performance of his Pelléas et Mélisande in Chicago from the conductor Cleofonte Campanini and the director general of the Chicago Grand Opera Company Andreas Dippel: "Four thousand people were impressed and touched. Our congratulations."Two letters send congratulations to Debussy on the performance of his La Mer under Toscanini in Turin in 1911. On a photograph postcard Turin September 30 1911 the composer Leone Sinigaglia writes that "It would have been a joy for you a lasting memory. Toscanini put his whole soul into it all his intelligence and all his will. His execution of your admirable masterpiece was prodigious. The public wary at the beginning as you may imagine! you know this well was won over -- at the end it was a great success which was repeated yesterday evening." The critic Giuseppe Depanis Turin October 12 1911 2 pp. writes that "not only was the second presentation Toscanini of La Mer received with the same good favor as the first but Vincent D'Indy also performed Nuages andFêtes in his concert on the 10th of the month with great success."An autograph letter from Nadejda Rimsky-Korsakov St Petersburg August 20 1911 1 p. with envelope thanks Debussy for his telegram and mentions in reference to the Ballets Russes' adaptation of her husband's famous work Scheherazade that "the appearance before the artistic Parisian public of my husband's works changed and transformed into ballet caused me great pain last summer and this time."  An autograph letter from the caricaturist Beppe Fabiano Paris May 29 1912 2 pp. confesses to Debussy that "I have just exhibited your portrait at the Salon des Humanistes -- in a series of celebrated composers -- without asking your permission beforehand. Fearing I may have overstepped I would be delighted if you would forgive me."<br style="">A short autograph letter from the sculptor Denys Puech Paris June 4 1912 1 p. mentions L'après-midi d'un faune. A short autograph letter from the sculptor Albert Bartholomé Budapest May 25 1913 1 p. informs Debussy that his cantata L'enfant prodigue "was admirably executed by truly passionate performers. I was able to obtain the poster from the theater and will be pleased to send it to you." The Russian ballerina and soloist with the Ballets Russes Ludmilla Chollar writes to Debussy about her role in Jeux in which she starred with Nijinsky and Tamara Karsavina London June 26 1913 2 pp. She thanks the composer for the "the most beautiful memories which I could bring from Paris: the very kind words with which you dedicated Jeux your photography and some measures of my role . If I take from the creation of Jeux one exquisite and ineffable memory it is to you that I owe it to your work and to the happy chance that I met you away from the mirage of celebrities an artist as great as you whose work is dear to me above all others."<br style="">An autograph letter from the composer Ildebrando Pizzetti Florence September 17 1913 1 p. with envelope asks Debussy to comment on his new composition: "You would do me a great honor Maître if you would send me a few words on the subject but of course with no obligation on your part to give me compliments if my musical work does not interest you!"An interesting wartime letter from the Italian conductor Bernardino Molinari Rome September 18 1915 4 pp. calls on Debussy's patriotic feelings to ask him to collaborate with his orchestra: "I still remember what you said to me yourself here in Rome about "L'isle joyeuse" when you gave me hope that you might make a transcription for orchestra. If you have the desire and the time I would be very flattered to have the score to perform it during the next concert season at the Augusteo. You understand that in this season we very much wish to form a program in which our allies in France figure prominently. In a political moment like this one where the souls of all the Allied nations are unified and united into one ideal all of us at the Academie ask you for your valid support in the coming season." He goes on to apologize that because of the war he will be unable to offer the same fee as the previous time and reports that performances of Debussy's works around Italy have been very successful: "This shows with evidence that your musical language speaks to great and small touching the heartstrings of all." An autograph letter from the composer and musicologist Jean D'Udine Paris April 27 1917 3 pp. invites Debussy to one of Udine's salons despite Debussy's known disdain for his school of dance: "I know you have no sympathy for rhythmic gymnastics which seem to you you have written 'a very disagreeable domestication of rhythm.' I believe that you are wrong and that they are rather an emancipation of rhythm when taught well. Without any hostility on your part towards the method which I teach with conviction I would like to ask you to honor with your presence one of the evenings which I am hosting at present. You would there see danced with extreme love and respect by one of my students a remarkable artist your beautiful dances for chromatic harp . I did not want to give these evenings April 28 and May 3 and 5 without informing you pour memoire and without letting you know that it is sometimes where one feels the least loved that one is actually the most seriously and profoundly loved."The violinist and composer Francesco Guarnieri writes N.p. October 17 1917 2 pp. on black-bordered stationery to ask Debussy for a signed copy of his violin sonata which he will perform in Italy and also recalls a much earlier performance of Debussy's famous quartet at which Debussy gave him a copy of the score. unknown‎

書籍販売業者の参照番号 : 13609

‎Debussy Claude 1862 1918.‎

‎MASQUES pour le Piano.‎

‎Paris: Durand c.1904; Imp. Cavel n.d. D.&F. 6443. Folded sheet music in card folder. 32.5cm. pp. 12. Very Good. Pencil notation small joint tear top edge of folder and corner slightly wrinkled toning. Paris: Durand, (c.1904; Imp. Cavel n.d.). unknown‎

書籍販売業者の参照番号 : OWBMAS113405

‎Debussy Claude 1862 1918.‎

‎NOCTURNE IN D flat for Piano Solo.‎

‎New York: Edward B. Marks 1934. Kaleidoscope edition. 10591-7. Folded sheet music in burgundy card folder. 30cm. pp. 7. Near Fine. Inner folder joint acid free reinforced. New York: Edward B. Marks, 1934. unknown‎

書籍販売業者の参照番号 : OWBNOC114243

‎DEBUSSY Claude 1862 1918‎

‎Autograph letter signed to an unidentified male correspondent‎

‎1 page. Octavo ca. 168 x 122 mm. Dated Thursday evening. On mourning stationery. In French with translation. <br/><br/>"I have to attend Louis Laloy's premiere; naturally that is tomorrow on Friday. Would you change the enclosed tickets for Saturday Thanks again."<br/><br/>Slightly worn and browned; creased at folds and upper outer corner of final blank folio; small rust stain from paper clip to inner margin of final folio not affecting text. "One of the most important musicians of his time Debussy's harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic." François Lesure and Roy Howat in Grove Music Online.<br/><br/>"Laloy 1874-1944 was a noted defender of contemporary French music and was a close friend of and mediator between Ravel and Debussy with whom he collaborated on some unrealized stage works; he was also the author of the first major work and the first in the French language on Debussy." John Trevitt in Grove Music Online. unknown books‎

書籍販売業者の参照番号 : 26836

‎DEBUSSY Claude 1862 1918‎

‎Fêtes Galantes Piano-vocal score‎

‎Paris: A. Durand & Fils PN D. & F. 6441 1905. Small folio. Original publisher's light gray laid-paper printed wrappers with titling in olive green and black. Unbound as issued. 1f. recto title printed in olive green and black verso "Pour remercier de mois de Juin 1904 A.l.p.M." 15 i publisher's advertisement pp. With "Imp. Chaimbaud et Cie. Paris" and prices for separate numbers 1.75 f. at foot of title. Publisher's small monogrammatic handstamp to lower outer corner of verso of final blank leaf.<br/><br/>Contains:<br/>I. Les Ingénus<br/>II. Le Faune<br/>III. Colloque sentimental<br/><br/>Wrappers very slightly worn creased and chipped; partially split at spine. First Edition first issue. Lesure 104.<br/><br/>Fêtes Galantes premiered by Mme. Eugénie Colonne at a private salon in Paris on 23 June 1904.<br/><br/>"One of the most important musicians of his time Debussy's harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic." François Lesure and Roy Howat in Grove Music Online. A. Durand & Fils [PN D. & F. 6441] unknown books‎

書籍販売業者の参照番号 : 33659

‎DEBUSSY Claude 1862 1918‎

‎Khamma Arranged for solo piano‎

‎Paris: A. Durand & Fils PN D. & F. 8443 1912. Folio. Original publisher's light gray printed wrappers. 1f. blank 1f. recto title printed in red and black verso "Personnages" "Note concernant l'exécution" etc. 32 pp. With "Imp. Mounot Nicolas Paris" printed at foot of title and "Ch. Douin gr ." and "Paris Imp. Chaimbaud & Cie." printed at foot of final page of music.<br/><br/>Upper wrapper detached; lower partially detached; bookseller's handstamps to upper and title "Occasion Neuf Livres & Musique" etc. Slightly browned; occasional light foxing. First edition. Lesure 125.<br/><br/>Premiered in Paris on 22 May 1911 at the Théâtre du Châtelet.<br/><br/>"Debussy was rather reserved in his attitude to the aesthetic of the Ballets Russes and seems to have preferred the idea of rejuvenating the old form of opera-ballet Fêtes galantes after Verlaine renamed Crimen amoris. He wrote the scenario - but not the music - of Masques et bergamasques but he detested the choreography which Diaghilev commissioned from Nijinsky for Jeux a work which finally found a new life for itself in the concert hall. He fell out with Maud Allan who commissioned the ballet Khamma; the score which has its Stravinskian moments was not played in his lifetime." François Lesure and Roy Howat in Grove Music Online. A. Durand & Fils [PN D. & F. 8443] unknown books‎

書籍販売業者の参照番号 : 33655

‎DEBUSSY Claude 1862 1918‎

‎Six sonates pour divers instruments Score‎

‎Paris: A. Durand & Cie. PN D. & F. 9427 1915. Folio. Original publisher's ivory printed wrappers. Unbound as issued. 36 pp. With "Ch. Douin gr. ." and "Imp. Mounot Nicolas Paris" printed at foot of final page of music. <br/><br/>Occasional performance markings in pencil throughout. <br/><br/>Slightly browned and creased. Lacking separate flute and viola parts. First Edition. Lesure 137.<br/><br/>The present sonata premiered in Paris on 10 December 1916 at Chez Durand.<br/><br/>"One of the most important musicians of his time Debussy's harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic.<br/><br/>"At first the war depressed Debussy into a state of creative sterility from which he produced only the Berceuse héroïque for piano later orchestrated commissioned by the Daily Telegraph for King Albert's Book. The summer of 1915 spent in a villa on the channel coast at Pourville was a productive one: in quick succession he composed the Cello Sonata En blanc et noir the Etudes and the Sonata for flute viola and harp but at the end of the year he underwent a debilitating colostomy for rectal cancer . His last concert appearance was to play the Violin Sonata with Gaston Poulet at St Jean-de-Luz in September 1917." François Lesure and Roy Howat in Grove Music Online. A. Durand & Cie. [PN D. & F. 9427] unknown books‎

書籍販売業者の参照番号 : 33661

‎Debussy Claude. 1862 1918 Colonne Edouard. 1838 1910 & Breval Lucienne. 1869 1935 & Plumet Charles. 1861 1928 & Campanini C‎

‎Important Collection of Letters and Telegrams to the Composer‎

‎Used; Like New/Used; Like New. A fascinating collection of 14 autograph letters and cards and 2 telegrams addressed to the important French composer dated between 1903 and 1917 from musicians and other artistic figures of the era. The letters from correspondents including conductors critics dancers composers and visual artists mention the very positive reception of Debussy's works during the last years of his life including his 1903 nomination as a Chevalier of the Légion d'Honneur the Chicago premiere of his opera Pelléas et Melisande and Toscanini's 1911 performance of La Mer; other works discussed include his ballet Jeux the cantata L'enfant prodigue and his work for piano L'isle joyeuse. Letters range from 4 x 2.5 inches to 5.25 x 8.25 inches and are overall in very good to fine condition with some light toning and age wear. All letters in French.Contents:Three letters congratulate Debussy on his nomination to the Légion d'honneur in 1903: one autograph note on the visiting card of conductor Edouard Colonne Paris February 1903 1 p.; one ALS  from the soprano Lucienne Bréval n.p. February 4 1903 4 pp. which also mentions her desire to sing one of Debussy's mélodies with orchestra; and one ALS from the architect Charles Plumet Paris n.d. 1 p.Two telegrams dated June 11 1910 send congratulations to Debussy on the successful performance of his Pelléas et Mélisande in Chicago from the conductor Cleofonte Campanini and the director general of the Chicago Grand Opera Company Andreas Dippel: "Four thousand people were impressed and touched. Our congratulations."Two letters send congratulations to Debussy on the performance of his La Mer under Toscanini in Turin in 1911. On a photograph postcard Turin September 30 1911 the composer Leone Sinigaglia writes that "It would have been a joy for you a lasting memory. Toscanini put his whole soul into it all his intelligence and all his will. His execution of your admirable masterpiece was prodigious. The public wary at the beginning as you may imagine! you know this well was won over -- at the end it was a great success which was repeated yesterday evening." The critic Giuseppe Depanis Turin October 12 1911 2 pp. writes that "not only was the second presentation Toscanini of La Mer received with the same good favor as the first but Vincent D'Indy also performed Nuages andFêtes in his concert on the 10th of the month with great success."An autograph letter from Nadejda Rimsky-Korsakov St Petersburg August 20 1911 1 p. with envelope thanks Debussy for his telegram and mentions in reference to the Ballets Russes' adaptation of her husband's famous work Scheherazade that "the appearance before the artistic Parisian public of my husband's works changed and transformed into ballet caused me great pain last summer and this time."  An autograph letter from the caricaturist Beppe Fabiano Paris May 29 1912 2 pp. confesses to Debussy that "I have just exhibited your portrait at the Salon des Humanistes -- in a series of celebrated composers -- without asking your permission beforehand. Fearing I may have overstepped I would be delighted if you would forgive me."<br style="">A short autograph letter from the sculptor Denys Puech Paris June 4 1912 1 p. mentions L'après-midi d'un faune. A short autograph letter from the sculptor Albert Bartholomé Budapest May 25 1913 1 p. informs Debussy that his cantata L'enfant prodigue "was admirably executed by truly passionate performers. I was able to obtain the poster from the theater and will be pleased to send it to you." The Russian ballerina and soloist with the Ballets Russes Ludmilla Chollar writes to Debussy about her role in Jeux in which she starred with Nijinsky and Tamara Karsavina London June 26 1913 2 pp. She thanks the composer for the "the most beautiful memories which I could bring from Paris: the very kind words with which you dedicated Jeux your photography and some measures of my role . If I take from the creation of Jeux one exquisite and ineffable memory it is to you that I owe it to your work and to the happy chance that I met you away from the mirage of celebrities an artist as great as you whose work is dear to me above all others."<br style="">An autograph letter from the composer Ildebrando Pizzetti Florence September 17 1913 1 p. with envelope asks Debussy to comment on his new composition: "You would do me a great honor Maître if you would send me a few words on the subject but of course with no obligation on your part to give me compliments if my musical work does not interest you!"An interesting wartime letter from the Italian conductor Bernardino Molinari Rome September 18 1915 4 pp. calls on Debussy's patriotic feelings to ask him to collaborate with his orchestra: "I still remember what you said to me yourself here in Rome about "L'isle joyeuse" when you gave me hope that you might make a transcription for orchestra. If you have the desire and the time I would be very flattered to have the score to perform it during the next concert season at the Augusteo. You understand that in this season we very much wish to form a program in which our allies in France figure prominently. In a political moment like this one where the souls of all the Allied nations are unified and united into one ideal all of us at the Academie ask you for your valid support in the coming season." He goes on to apologize that because of the war he will be unable to offer the same fee as the previous time and reports that performances of Debussy's works around Italy have been very successful: "This shows with evidence that your musical language speaks to great and small touching the heartstrings of all." An autograph letter from the composer and musicologist Jean D'Udine Paris April 27 1917 3 pp. invites Debussy to one of Udine's salons despite Debussy's known disdain for his school of dance: "I know you have no sympathy for rhythmic gymnastics which seem to you you have written 'a very disagreeable domestication of rhythm.' I believe that you are wrong and that they are rather an emancipation of rhythm when taught well. Without any hostility on your part towards the method which I teach with conviction I would like to ask you to honor with your presence one of the evenings which I am hosting at present. You would there see danced with extreme love and respect by one of my students a remarkable artist your beautiful dances for chromatic harp . I did not want to give these evenings April 28 and May 3 and 5 without informing you pour memoire and without letting you know that it is sometimes where one feels the least loved that one is actually the most seriously and profoundly loved."The violinist and composer Francesco Guarnieri writes N.p. October 17 1917 2 pp. on black-bordered stationery to ask Debussy for a signed copy of his violin sonata which he will perform in Italy and also recalls a much earlier performance of Debussy's famous quartet at which Debussy gave him a copy of the score. unknown books‎

書籍販売業者の参照番号 : 13609

‎Debussy Claude 1862 1918 Maurice 1862 1949. Pellea Maeterlinck Creator‎

‎Pelléas Et Melisande: Drame Lyrique En 5 Actes Et 12 Tableaux De Maurice Maeterlinck French Edition‎

‎Nabu Press 2011-09-10. Paperback. Good. Nabu Press paperback‎

書籍販売業者の参照番号 : SONG1179952197 ISBN : 1179952197 9781179952192

‎DEBUSSY. BERNSTEIN Leonard 1918 1990‎

‎Le Martyre The Martyrdom of Saint Sebastian LB Version." Typescript annotated by Bernstein's assistant conductor Yuri Krasnapolsky‎

‎Folio. 24 pp. On onionskin. With typed note at conclusion "Translation by Leonard Bernstein August 29th 1962." <br/><br/>Contents: <br/>Prologue: 2 pp. <br/>Act I: First Window: the Court of Lilies 5 pp.<br/>Act II: Second Window: The Magic Chamber 3 pp.<br/>Act III: Third Window: The Council of False Gods 9 pp.<br/>Act IV: Fourth Window: The Wounded Laurel 4 pp. <br/>Act IV: 1 p. <br/><br/>With numerous annotations corrections etc. in ink and lead red and blue pencil throughout by Yuri Krasnapolsky 1934-2018. Somewhat worn and creased; several leaves stapled together at upper inner corners.<br/><br/>Together with: <br/>- An extensively corrected draft of an interesting autograph letter from Krasnapolsky to Leonard Bernstein. 5 pp. Folio. In pencil on 4ff. of yellow lined paper. No date. Addressed "Dear Lenny." Krasnapolsky writes regarding his travels in Europe after seeing Bernstein in Vienna possible conducting engagements having been blacklisted during the McCarthy era etc. The letter is particularly poignant regarding his relationship with and feelings of indebtedness to Bernstein: "The European experience. showed me that my association with you over the past eighteen years has been crucial & pervasive. Your working style in every respect became for me as for many others an object of tremendous admiration and imitation. My own style took longer. to evolve but now that it has I can see & feel more clearly what it owes to yours." Krasnapolsky very much regrets the fact that he has apparently offended Bernstein in some way and is struggling to understand "how & when." He goes on to say that "it is a simple fact of my life that I am deeply indebted to and in a sense derived from you and can no more separate myself from that fact than I can deny my love for music. I literally cannot survive professionally without your help." Krasnapolsky goes on to request various letters of endorsement. <br/><br/>- A corrected draft of an autograph letter from Krasnapolsky to Sir John Barbirolli. 3 pp. Folio. In pencil on 3ff. of yellow lined paper. No date. Addressed "Dear Sir John." Krasnapolsky apologizes for the delay in writing but says that he has been "unexpectedly but unavoidably busy with a series of youth concerts." He thanks Barbirolli for his kindness and hospitality. "It was a great pleasure and a privilege to see you at work again and to have assisted you however briefly." Krasnapolsky has regarded Barbirolli as a "heroic musical figure. for many years." He mentions going to a concert of Barbirolli's at Carnegie Hall "at age 8 and/or 9 quite alone" with Gieseking as soloist. "Furthermore now that I am at the age you were when you took on the N.Y. Phil. I realize more than ever what an enormous task and brilliant achievement that was. Who else could have done that I don't know. But you have remained undeniably a heroic figure of 20th century music. I can only wish that someone. will say the same of me someday. My wife and I are planning to be in London again just after the first of the year. I'll be looking for ways to become a part of the musical life of London and the Continent." <br/><br/>- A corrected draft of a letter to John S. Edwards General Manager of the Chicago Symphony. 1 page. Folio. In pencil on 1f. of yellow lined paper. Thanking him for his time whle in New York mentioning "the Florida affair" etc.<br/><br/>- A corrected draft of a letter to Walter Hendl at the Eastman School of Music. 2 pp. Folio. In pencil on 1f. of yellow lined paper. Recommending a colleague Francois Jarosely for a possible conducting appointment at the school. <br/><br/>- Biographical notes. 5 pp. Folio. In pencil on 5 ff. Le Martyre de Saint Sébastian a "mystère" in five acts to a libretto by Gabriele D'Annunzio composed for the dancer Ida Rubinstein was first performed in Paris at the Châtelet on May 22 1911. Debussy's last stage work it is "a synthesis of orchestra and vocal music dance mime and speech." <br/><br/>Bernstein translated D'Annunzio's text and conducted a recording of the work in 1962 with the Choral Art Society and the New York Philharmonic featuring his wife Felicia Montealegre as Sebastian one of the narrators: ".among its best moments the serenely celestial 'Magic Chamber' in which the NYPO strings bloom and 'The Wounded Laurel' which could have come from La mer. Mr and Mrs. Bernstein were having a good day judging by the passion which comes across." Christopher Fifield BBC Music Magazine. <br/><br/>"The following year 1963 he conducted The Martyrdom of Saint Sebastian to commemorate Debussy's centenary. The sung parts were in German the dialogue in English. Fritz Weaver the actor was the narrator and Felicia appeared as the male saint. Bernstein probably thought of her as at least a saint. If he tested orchestra managements and presidents to see how far he could push them he repeatedly tested Felicia too. She seemed to pass all his tests right up to the end of her life. As for the Debussy critics remarked on the clean articulation of the text." Peyser: Bernstein p. 359. <br/><br/>Krasnapolsky was an assistant conductor of the New York Philharmonic under Leonard Bernstein. unknown books‎

書籍販売業者の参照番号 : 30632

‎DECAUX (Alain).‎

‎La course à l'abîme. C'était le XXe siècle.‎

‎Perrin, 1997, gr. in-8°, 325 pp, 11 photos à pleine page, broché, couv. illustrée, bon état (“C'était le XXe siècle”, 2), envoi a.s.‎

‎Des histoires dissemblables en importance, mais toutes inscrites dans la mémoire du siècle. Après le premier tome de “C'était le XXe siècle” paru en 1996, Alain Decaux propose ici une série de thèmes qui reflètent sa vision du siècle. Il n'entend pas décrire le XXe siècle, mais son XXe siècle, entraîné dans la crise profonde qui marquera l'entre-deux-guerres et dominé par deux ombres maléfiques : Staline et Hitler. Les sujets choisis parlent d'eux-mêmes : 6 février 1934, place de la Concorde - L'Assassinat du chancelier Dolfuss - La Nuit des longs couteaux - Alexandre Ier meurt à Marseille - Le meurtre de Kirov - L'Affaire Toukhatchevski - Guernica - Opération Himmler - Le maréchal Pétain prend le pouvoir - La mort de Trotski.‎

書籍販売業者の参照番号 : 113192

‎DECELLE Georges‎

‎Souvenirs de guerre. (1914-1916). (Po?mes de G. Decelle, avocat ? Poitiers).‎

‎Broch?. 144 pages. Couverture l?g?rement d?fra?chie.‎

‎DECIMO (Marc).‎

‎Jean-Pierre Brisset, prince des penseurs.‎

‎Ramsay, 1986, in-8°, 171 pp, 8 pl. de photos et documents h.t., figures et fac-similés, biblio‎

書籍販売業者の参照番号 : 17219

‎DECLARATION DE GUERRE...‎

‎L'Angleterre d?clare ? son tour la guerre ? l'Allemagne. Article dans Le Petit Courrier du 6 Ao?t 1914.‎

‎Num?ro complet. 1 feuille 45x60 cm.‎

‎DECOURS (Catherine).‎

‎La dernière favorite. Zoé du Cayla, le grand amour de Louis XVIII.‎

‎Perrin, 1993, in-8°, 418 pp, 8 pl. de gravures hors texte, 3 tableaux généalogiques, biblio, index, broché, couv. illustrée, bon état‎

‎Voici la première biographie consacrée à la comtesse du Cayla qui, au dire de ses contemporains, joua un rôle non négligeable durant toute une partie de la Restauration. « La favorite gouverne la France », écrit alors le maréchal de Castellane. Issue de la meilleure noblesse parlementaire et d'un père devenu, pour cause de Révolution, conspirateur, aventurier et millionnaire, élevée avec Hortense de Beauharnais chez Madame Campan, Zoé-Victoire Talon connut, après son mariage avec un gentilhomme de la cour des Condé, une vie pleine d'aventures, de déconfitures et de rebondissements, qui devait la conduire aux Tuileries où, à sa façon, elle « régna sur la France ». Près d'elle, Louis XVIII apparaît sous un jour nouveau. Nous découvrons un roi passionné par la tâche de réconciliation qu'il s'était fixée, un homme gai, plein d'esprit et complètement amoureux de la jeune femme qu'il rencontra peu de temps après son ascension au trône. Il la combla de cadeaux, bâtit pour elle le château de Saint-Ouen et créa un duché pour son fils. Seule la mort devait les séparer.‎

書籍販売業者の参照番号 : 24841