‎Musique‎

‎HIEL Emmanuel‎

‎Historische zangen en vaderlandsche liederen‎

‎viii + 206pp., met handgeschreven opdracht en handtekening van auteur gericht aan "Monsieur et Madame E. Michotte", fraaie vollederen rode band met titel en decoraties in goudopdruk op rug en platten, helaas ontbreekt een stukje leder onderaan rug (3cm.) en zijn daardoor de scharnieren onderaan wat fragiel, enkele lichte vlekjes op platten, bovenste bladsneden verguld, versierde schutbladen, 20cm., met ingeplakt ex-libris van Lieven Rens, klein stempeltje op eerste titelblad, enkele roestvlekjes, T95334‎

‎Hiemke, S‎

‎Johannes Brahms. Ein deutsches Requiem.‎

‎Kassel, Bärenreiter, (2018). 148 S. OKart. St. a. Vorsatz. Ansonsten tadelloses Ex. (Bärenreiter Werkeinführungen)‎

Referenz des Buchhändlers : 193269

‎Hier, Ethel Glenn; Brown, Abbie Farwell‎

‎"THE FAIRY RING for SOPRANO VIOLIN CELLO & PIANO by ETHEL GLENN HIER Poem by ABBIE FARWELL BROWN". A PRINTED SCORE from the HOLOGRAPH MANUSCRIPT. 4 parts consisting of the scores for voice piano violin and violoncello.‎

‎Circa 1918. 1918. Good. - Quarto 13-1/2 inches high by 10-3/4 inches wide. Printed self-wraps consisting of loose signatures and leaves. What is offered here is the contemporary score for the young composer Ethel Glenn Hier's "The Fairy Ring" with lyrics from a poem by Abbie Farwell Brown. The 12-page score consisting of 4 parts is lithographed from the holograph score onto 7 sheets of C. F. Schmidt music paper. The first part for "Soprano Violin Cello & Piano" consists of 6 pages printed on both sides of each sheet. The second apparently for Soprano consists of 4 pages printed on both sides of each sheet. The third and fourth parts for "Violin" and "Violoncello" each consist of one page printed on one side of the sheets. The pages are slightly soiled particularly along the edges. There are creases to the edges and corners and the edges of the second part apparently for voice are heavily chipped. The signature making up the first part is splitting along the spine and there is a tiny tear to the page for the violin part. Good. <p>A review of a concert of original compositions given by the pupils of Walter Henry Rothwell on April 22 at the MacDowell Club states: "The works that perhaps received the greatest amount of applause were those of Ethel Glenn Hier. These included four songs 'May Song' 'In a Carpenter's Shop' 'Japanese Lullaby' and 'The Way That Lovers Use.' In all of them Miss Hier disclosed a delicate lyric quality and an ability to write charming melody. . Her second work to a poem by Sara Teasdale was unusual and seemed vaguely reminiscent of a Cesar Franck carol." - Published in the May 4th 1918 issue of "Musical America".<p>The American composer pianist and teacher Ethel Glenn Hier 1889-1971 studied composition under Stillman-Kelly and Percy Goetschius and piano under Marcian Thalberg at the Cincinnati Conservatory graduating in 1911. She went on to study at New York's Institute of Musical Art which was to become Juilliard before heading to Europe where she pursued her studies in Berlin under Hugo Kaun and in Italy under Gian-Francesco Malipiero and Ernest Bloch. She was highly influenced by composers of the Vienna School of music particluarly Alban Berg and Arnold Schoenberg whose works were making an impact in Europe at the time. Hier was awarded a Guggenheim fellowship in 1930-31 being one of only two women to do so at the time.<p>The American author Abbie Farwell Brown 1871-1927 was educated at the Bowdoin School and subsequently the Girls' Latin School in Boston where she was instrumental in forming and naming the school's newspaper "The Jabberwock" after getting Lewis Carroll's permission. Brown contributed stories to St. Nicholas Magazine and articles for the St. Louis Globe-Democrat while still a student at the Latin School. She published her first children's book "The Book of Saints and Friendly Beasts" in 1900 and went on to write several more including "In the Days of Giants" "Tales of the Red Children" "The Lonesomest Doll" "The Flower Princess" "John of the Woods" and "The Lucky Stone" as well as several volumes of children's poetry. Together with composer Mabel Wheeler Daniels Brown wrote "On the Trail" which became the official song of the Girl Scouts of the USA.<p>From the library of Louise Llewellyn Jarecka 1880-1954 concert singer & writer. The wife of the composer Tadeusz Jarecki. A student of Marcella Sembrich Jarecka was invited by President Wilson to sing at the White House. During the 1920's and 1930's she sang with many European Orchestras and in the Polish Opera.<p>RARE. Circa [1918]. paperback‎

Referenz des Buchhändlers : 96228

‎HIGGINS DICK (1938-1998)‎

‎Piano Sonata #2 / Graphis #192‎

‎1982 New York, Printed Editions, 1982, 305x228mm, 4 feuilles de mylar imprimées de couleurs différentes, libres sous couverture imprimée.(103803)‎

Referenz des Buchhändlers : 103803

‎HIGGINS DICK (1938-1998)‎

‎Ten Ways of Looking at a Bird for violin and harpsichord‎

‎1982 New York, Printed Editions, 1981, 278x215mm, 16p., agrafé sous couverture imprimée.(103801)‎

Referenz des Buchhändlers : 103801

‎Higgins, Dick‎

‎Piano Sonata #2. (Graphis #192).‎

‎New York., Printed Editions., 1982. 28 x 22 cm. 4 transparente Folien. OKarton-Mappe., 67066AB First printing. Umschlag etwas nachgediunkelt, sonst sehr gutes Exemplar.‎

‎Enthält neben einem erläuternden Text auf der hinteren Innenseiten des Umschlages vier transparente Kunststofffolien mit verschieden farbigen Siegnalzeichnungen in Siebdruck. Von Dick Higgins auf dem Titelblatt handschriftlich signiert.‎

Referenz des Buchhändlers : 67066AB

‎Higgins, Dick‎

‎sonata for prepared piano. 1982.‎

‎Barrytown, NY., printed editions., 1982. 35 x 28 cm. 8 unpaginierte S. OKarton., 66982AB Sehr gutes Exemplar.‎

‎Mit einer Einführung und vier ganzseitig wiedergegebenen Themen von Zeichnungen auf Notenblättern.‎

Referenz des Buchhändlers : 66982AB

‎Higgs John‎

‎Complotto! Caos, magia e musica house‎

‎br. "A noi non resta che lo spettacolo, ed è proprio all'interno di questo spettacolo che è da ricercare una qualsivoglia risposta al perché i KFL hanno bruciato un milione di sterline. È u approccio che per questa storia sembra particolarmente appropriato, perché nel caso dei KFL i criteri enciclopedici e accademici non ci rivelerebbero nulla di quanto cerchiamo. Drummond e Cauty vagarono alla cieca nell'oscurità delle loro storie servendosi di qualunque cosa gli paresse utile, e pertant sarà quello l'atteggiamento che seguiremo anche noi. Il nostro è un tentativo di cogliere lo spirito di quegli eventi, e l'unico modo in cui possiamo farlo è rievocandoli a nostra volta. Questa è, insomma, una storia di cui gli stessi personaggi non sapevano di fare parte." (dal prologo)‎

‎Hijmans, Bram:‎

‎De gouden sleutel of het monster van Felicion. Operette voor de jeugd in drie bedrijven. tekst en muziek van Bram Hijmans‎

‎Pianouittreksel. 32 p. 4°. Or. omslag.‎

‎Hiller. – Stierli:‎

‎Biographie von Johann Adam Hiller.‎

‎Zürich, Mahler und Weber, 1848. Gr.-8°. 11 S. Mit einer lithogr. Porträt. Orig.-Heft (leicht fleckig und lichtrandig). = "36. Neujahrsblatt (Neujahrsgeschenk an die Zürcherische Jugend sic.) von der allgemeinen Musik-Gesellschaft in Zürich auf das Jahr 1848".‎

‎Rohr 862. - Ausser Porträttafel durchgehend stockfleckig.‎

Referenz des Buchhändlers : 27494AB

‎Hiller, Johann Adam (1728-1804):‎

‎Dt. Komponist.‎

‎O.J. (ca. 1780). Kupferstich (ovales Brustbild im Profil) von Liebe nach Heinrich Füger. Bildgrösse: 7 x 6 cm. Blattgrösse: 8,5 x 7 cm.‎

‎Füger, Heinrich (1751-1818): Oesterr. Maler. - Blattrand beschnitten, leicht gebräunt.‎

Referenz des Buchhändlers : 1279AG

‎Hildegard Van de Velde‎

‎KEYBOARD INSTRUMENTS Virginals, harpsichords and organs in paintings of the 16th and 17th centuries.‎

‎Antwerp, BAI, 2022 Hardcover, 280 x 210 mm, 176 pages, throughout illustraties, ENG edition, *new. ISBN 9789085868293.‎

‎Paintings featuring harpsichords, virginals and organs offer us a glimpse of gorgeous interiors, amorous scenes and finely-dressed ladies - and the occasional young man too - at the keyboard. Keyboard instruments can also be the key to decoding an allegory, myth or hidden message in a painting. Other exhibits include painted harpsichord and virginal lids as well as original instruments. Loans from the National Gallery in London, the Rijksmuseum in Amsterdam, the Suermondt-Ludwigmuseum in Aachen and many other museums and collectors offer a delight for eyes and ears. The music room at the Snyders&Rockox House evokes the Jewish-Portuguese Duarte family, who came to Antwerp in the 16th century to flee the Inquisition. They were drawn by the commercial opportunities offered by the city, where they lived in a patrician residence on the Meir, the most important street. Besides an exceptional collection of paintings by leading Italian and above all Flemish masters, from Titian and Tintoretto to Quinten Massys, Peter Paul Rubens and Anthony Van Dyck, the family also owned five harpsichords and virginals. Duarte did not have to look far to find them, as Antwerp was one of the leading centres for the construction of these instruments and two if not more important harpsichord builders belonged to the businessman's circle of acquaintances. The first references to harpsichord builders in Antwerp date from the beginning of the 16th century. It was between 1560 and 1660, however, that the city was known as the undisputed world capital of harpsichord production. Every year, Antwerp workshops turned out hundreds of harpsichords and virginals. Contemporaries praised the instruments for the richness of their sound and their reliability. The members of the Ruckers-Couchet family were especially renowned for their exceptionally high-quality instruments. Hans Ruckers, his sons Joannes and Andreas and his grandson Joannes Couchet did for instrument-making what Peter Paul Rubens was doing for painting and Christophe Plantin for printing. The Ruckers-Couchet family was not alone: names like Marten van der Biest, Joos Karest, Cornelis and Simon Hagaerts, Joris Britsen and many others also stood for excellent quality. Antwerp harpsichords and virginals did not only sell very well locally, they were sought-after throughout Europe and even far beyond until well into the eighteenth century. A substantial proportion of Antwerp's harpsichord output, like that of its paintings and ornamental furniture, was destined for the international market. The city also developed a strong tradition in the building of domestic and church organs. Dozens of organ builders were active in the 16th century alone, including the Moors and Brebos families. The Ruckers-Couchet family worked with organs too: Joannes Ruckers, for instance, was responsible for a while for maintaining the organ at Antwerp Cathedral. The rise of the Antwerp keyboard builders was accompanied by a flourishing music printing industry (Antwerp was not the first or the only centre of music publication, but it was certainly one of the most important) and an emerging bourgeois culture in which music too played a part. The original instruments are a lasting testimony to musical life in Antwerp, as are the paintings that explore them as their subject matter. Frans Floris, Jacob Jordaens, Maerten de Vos, de familie Francken, Jan Miense Molenaer, Jan Steen, Gerard Dou, Gabri l Metsu en Jacob Ochtervelt‎

Referenz des Buchhändlers : 57941

‎Hilger Michel Bordes Gilbert‎

‎La mort attendra‎

‎BELFOND 2016 231 pages 14x22 4x2 6cm. 2016. Broché. 231 pages.‎

‎Comme neuf - ouvrage issu de destockage jamais lu mais pouvant présenter d'infimes marques de stockage et/ou de manipulation - expédié soigneusement dans emballage adapté‎

Referenz des Buchhändlers : 500104018

‎HILDESHEIMER (Wolfgang).‎

‎Mozart.‎

‎Lattès, coll. "Musiques et Musiciens" 1986 1 vol. relié in-8, cartonnage sous jaquette de l'éditeur, 363 pp., index. Très bon état, très frais.‎

Referenz des Buchhändlers : 62088 ISBN : 56

‎HILDESHEIMER, Wolfgang - MOZART‎

‎Mozart.‎

‎Coll. "Agora" n° 56, Paris, éd. Presses Pocket, 1990, in-12, cartonnage souple, couv. portrait en coul. de Mozart éd., 368 pp., quelques reproductions de gravures et de partitions en noir, chronologie, index des œuvres citées, index des noms, Un livre qui va vous permettre de comprendre le génie de Mozart. Un incontournable ! Très bon état‎

Referenz des Buchhändlers : 71608

‎HILDESHEIMER‎

‎Wolfgang Amadeus Mozart‎

‎Jean Claude Lattès 1990 In-8 broché. 360 pages. Très bon état d’occasion.‎

‎Un éclairage inconnu, passionnant. Un livre essentiel à lire pour tous ceux qui ignorent ou s’intéressent follement à Mozart. Très bon état d’occasion‎

Referenz des Buchhändlers : 2700

‎HILAIRE Georges.‎

‎INITIATION FLAMENCA. FLAMENCO EN FRANCE. XXI CONGRES D'ART FLAMENCO (PARIS 20-26 SEPT. 93).‎

‎Papel cuché.‎

‎Hilbert, Bob; et al‎

‎IAJRC International Association of Jazz Record Collectors Journal Winter 1992 Volume 25 No. 1 - Cover Photo of Phil Napoleon and his Silver Cornet‎

‎New York: IAJRC. Good. 1992. First Edition. Single Issue Magazine. Features: Long Live The Emperor! - Memoires of Phil Napoleon - major article with black and white reproductions of many wonderful archival photos; Lt. Jim Europe's "Hell Fighters" - 369th Infantry Jazz Band - 1919; A Memory of Ray Knight; Billie Holiday and Milt Gabler; and more. 80 pages. Unmarked with moderate wear. A sound vintage copy.; 4to . IAJRC unknown‎

Referenz des Buchhändlers : 447h6010

‎Hildach, Eugen‎

‎Lenz. Op. 15/5. Ausgabe für Klavier mit überlegter Singstimme / hohe Lage / deutscher Text / nach einem Gedicht von Felix Dahn.‎

‎Magdeburg, Heinrichshofen [H.V. 3475]., (um 1916). 4°. [34 x 27 cm]. 3 Seiten. Kriegsdruck. Einzelausgabe mit Titelporträt. (Mit kleinen Randeinrissen. 5 cm Abriss an Stehkante, ohne Textverlust). - Notentext gut erhalten.‎

‎- Mit eingedruckter Widmung: Der Königl. Sächsischen Hofopernsängerin Fräulein Charlotte Huhn freundschaftlichst gewidmet.‎

Referenz des Buchhändlers : 24620AB

‎Hildebrand, Lee‎

‎Bay Area Blues Photographs By Michelle Vignes‎

‎1993. Hardcover. Very Good. Publisher: Pomegranate Communications Inc. 1993 V.Good HB ISBN: 1-56640-595-5 hardcover‎

Referenz des Buchhändlers : 008780 ISBN : 1566405955 9781566405959

‎Hildebrand, Lee; et al‎

‎Living Blues - The Magazine of the African American Blues Tradition, #227, October (Oct.) 2013 - Roy Gaines Cover Photo‎

‎80 pages. Features: Roy Gaines; Birdlegg; Willie 'The Touch' Hayes; Lucious Spiller; Shoebox full of Blues; and more. Average wear. Ink stamp on title page. A sound copy. Magazine‎

‎Hildegard Van de Velde‎

‎KEYBOARD INSTRUMENTS Virginals, harpsichords and organs in paintings of the 16th and 17th centuries.‎

‎Hardcover, 280 x 210 mm, 176 pages, throughout illustraties, ENG edition, ISBN 9789085868293. Paintings featuring harpsichords, virginals and organs offer us a glimpse of gorgeous interiors, amorous scenes and finely-dressed ladies - and the occasional young man too - at the keyboard. Keyboard instruments can also be the key to decoding an allegory, myth or hidden message in a painting. Other exhibits include painted harpsichord and virginal lids as well as original instruments. Loans from the National Gallery in London, the Rijksmuseum in Amsterdam, the Suermondt-Ludwigmuseum in Aachen and many other museums and collectors offer a delight for eyes and ears. The music room at the Snyders&Rockox House evokes the Jewish-Portuguese Duarte family, who came to Antwerp in the 16th century to flee the Inquisition. They were drawn by the commercial opportunities offered by the city, where they lived in a patrician residence on the Meir, the most important street. Besides an exceptional collection of paintings by leading Italian and above all Flemish masters, from Titian and Tintoretto to Quinten Massys, Peter Paul Rubens and Anthony Van Dyck, the family also owned five harpsichords and virginals. Duarte did not have to look far to find them, as Antwerp was one of the leading centres for the construction of these instruments and two if not more important harpsichord builders belonged to the businessman's circle of acquaintances. The first references to harpsichord builders in Antwerp date from the beginning of the 16th century. It was between 1560 and 1660, however, that the city was known as the undisputed world capital of harpsichord production. Every year, Antwerp workshops turned out hundreds of harpsichords and virginals. Contemporaries praised the instruments for the richness of their sound and their reliability. The members of the Ruckers-Couchet family were especially renowned for their exceptionally high-quality instruments. Hans Ruckers, his sons Joannes and Andreas and his grandson Joannes Couchet did for instrument-making what Peter Paul Rubens was doing for painting and Christophe Plantin for printing. The Ruckers-Couchet family was not alone: names like Marten van der Biest, Joos Karest, Cornelis and Simon Hagaerts, Joris Britsen and many others also stood for excellent quality. Antwerp harpsichords and virginals did not only sell very well locally, they were sought-after throughout Europe and even far beyond until well into the eighteenth century. A substantial proportion of Antwerp's harpsichord output, like that of its paintings and ornamental furniture, was destined for the international market. The city also developed a strong tradition in the building of domestic and church organs. Dozens of organ builders were active in the 16th century alone, including the Moors and Brebos families. The Ruckers-Couchet family worked with organs too: Joannes Ruckers, for instance, was responsible for a while for maintaining the organ at Antwerp Cathedral. The rise of the Antwerp keyboard builders was accompanied by a flourishing music printing industry (Antwerp was not the first or the only centre of music publication, but it was certainly one of the most important) and an emerging bourgeois culture in which music too played a part. The original instruments are a lasting testimony to musical life in Antwerp, as are the paintings that explore them as their subject matter. Frans Floris, Jacob Jordaens, Maerten de Vos, de familie Francken, Jan Miense Molenaer, Jan Steen, Gerard Dou, Gabriël Metsu en Jacob Ochtervelt‎

‎Hildesheimer , Wolfgang‎

‎Mozart‎

‎Hildesheimer , Wolfgang Mozart. Firenze, Sansoni 1979, cm ill. 21 cm 431 p., 10 carte di tav. Traduzione di Donata Schwendimann Berra (0000000027011)‎

‎Hildesheimer W.‎

‎Mozart. Traduzione di Donata Schwendimann Berra.‎

‎Milani, BUR, 1982, in-16, br. edit., pp. 430, [2]. Con ill. su tavv. f.t.‎

‎Hildesheimer Wolfgang‎

‎Mozart‎

‎Rizzoli 1997, II ed., BUR Supersaggi 116, brossura ill., pp. 430, trad. di Donata Schwendimann Berra, 88-17-11616-5. Il volume è in condizioni più che buone, ordinario ingiallimento delle pagine.‎