Stravinsky, IgorBiblio.com
416 résultats
1966réf. 951091966. Rare autograph letter signed by Russian-born composer Igor Stravinsky. One page type-written dated December 21st 1966 and addressed to John McClure at Columbia Records the letter reads "Dear John Please answer this Mercury Record letter for me telling them that they can have the permission though they can have it I think without asking me in any case. I have been ordered to rest -- no conducting at all -- after Chicago. This postpones our January plans I greatly regret to say and not only for me as I realize bu can't help. Happy New Year to you and your wife. Igor Stravinsky." The recipient John McClure was an American recording producer at Columbia Records throughout the 1950s and later operated in a freelance capacity. He worked on over 30 recordings with Stravinsky 200 with Leonard Bernstein and oversaw recordings by the Boston Pops Orchestra under John Williams. Double matted and framed with a black and white portrait of Stravinsky. The entire piece measures 19.5 inches by 14.5 inches. In fine condition. Stravinsky found recordings a practical and useful tool in preserving his thoughts on the interpretation of his music. As a conductor of his own music he recorded primarily for Columbia Records beginning in 1928 with a performance of the original suite from The Firebird and concluding in 1967 with the 1945 suite from the same ballet. Although most of his recordings were made with studio musicians he also worked with the Chicago Symphony Orchestra the Cleveland Orchestra the CBC Symphony Orchestra the New York Philharmonic Orchestra the Royal Philharmonic Orchestra and the Bavarian Broadcasting Symphony Orchestra. unknown
réf. 16-4193Genève: Edition Ad. Henn 1917. . Oblong 4to. 19 x 27.7 cm. 2 14pp. Original wraps. . Signed at Morges Switzerland and dated 21 Nov. 1917 and inscribed .The poet and playwright René Morax founded his Théâtre du Jorat near Mézières Switzerland in 1903. Made entirely of wood so as to be integrated into the barns of the surrounding countryside it was described this way in an early account: “A theater decidedly unlike any other. A sort of vast chalet a kind of huge barn smelling of resin dried hay fresh fruit and on days when there was a performance Sunday clothes but retaining the rustic dignity of a shrine. A large stage descending in broad steps toward the orchestra pit …”The theater was closed for several years during the Great War and Morax conceived a drama on the subject of King David to reopen it in 1921. When he turned to his wealthy friend Werner Reinhart who incidentally had recently funded the creation of Stravinsky’s Soldier’s Tale telling him that he was taking inspiration from Hindu theater for this work his patron offered to lend rare Hindu drums in addition to financial assistance. The text is drawn from the Hebrew Bible I and II Samuel I Kings in addition to the Huguenot Psalter which includes poetry by Clément Marot. The poet’s brother Jean Morax set to work designing costumes and sets. After several more established composers turned him down René on the advice of Stravinsky and the distinguished conductor Ernest Ansermet chose the then unknown twenty-eight year old Arthur Honegger. “When Swiss poet Rene Morax 1873-1963 was looking for a composer for his new King David libretto Stravinsky recommended the twenty-nine-year-old Arthur Honegger a composer who just six years later creating the film score for Abel Gance’s Napoleon would reveal himself as a master of music’s ability to translate epics into sweeping evocative sound. In 1921 right on the cusp of his first successes Honegger wrote the David score in a flush of creative energy.”. Provenance from the estate of René Morax. Expertise by Claire PIGUET Geneva Genève: Edition Ad. Henn, 1917. paperback
réf. 16-4191Genève Edition Ad. Henn 1917. . 4to. 28 x 19.8 cm. 8 64pp. Original wraps. Front cover mainly detached. Signed at Morges Switzerland and dated 1918 and inscribed .The poet and playwright René Morax founded his Théâtre du Jorat near Mézières Switzerland in 1903. Made entirely of wood so as to be integrated into the barns of the surrounding countryside it was described this way in an early account: “A theater decidedly unlike any other. A sort of vast chalet a kind of huge barn smelling of resin dried hay fresh fruit and on days when there was a performance Sunday clothes but retaining the rustic dignity of a shrine. A large stage descending in broad steps toward the orchestra pit …”The theater was closed for several years during the Great War and Morax conceived a drama on the subject of King David to reopen it in 1921. When he turned to his wealthy friend Werner Reinhart who incidentally had recently funded the creation of Stravinsky’s Soldier’s Tale telling him that he was taking inspiration from Hindu theater for this work his patron offered to lend rare Hindu drums in addition to financial assistance. The text is drawn from the Hebrew Bible I and II Samuel I Kings in addition to the Huguenot Psalter which includes poetry by Clément Marot. The poet’s brother Jean Morax set to work designing costumes and sets. After several more established composers turned him down René on the advice of Stravinsky and the distinguished conductor Ernest Ansermet chose the then unknown twenty-eight year old Arthur Honegger. “When Swiss poet Rene Morax 1873-1963 was looking for a composer for his new King David libretto Stravinsky recommended the twenty-nine-year-old Arthur Honegger a composer who just six years later creating the film score for Abel Gance’s Napoleon would reveal himself as a master of music’s ability to translate epics into sweeping evocative sound. In 1921 right on the cusp of his first successes Honegger wrote the David score in a flush of creative energy.”. Provenance from the estate of René Morax. Expertise by Claire PIGUET Geneva Genève, Edition Ad. Henn, 1917. paperback
réf. 16-4192Genève: Edition Ad. Henn 1917. . Oblong 4to. 19.5 x 27.3 cm. 2 8pp. Original wraps. . Signed at Morges Switzerland and dated 5 Juillet 1917 and inscribed .The poet and playwright René Morax founded his Théâtre du Jorat near Mézières Switzerland in 1903. Made entirely of wood so as to be integrated into the barns of the surrounding countryside it was described this way in an early account: “A theater decidedly unlike any other. A sort of vast chalet a kind of huge barn smelling of resin dried hay fresh fruit and on days when there was a performance Sunday clothes but retaining the rustic dignity of a shrine. A large stage descending in broad steps toward the orchestra pit …”The theater was closed for several years during the Great War and Morax conceived a drama on the subject of King David to reopen it in 1921. When he turned to his wealthy friend Werner Reinhart who incidentally had recently funded the creation of Stravinsky’s Soldier’s Tale telling him that he was taking inspiration from Hindu theater for this work his patron offered to lend rare Hindu drums in addition to financial assistance. The text is drawn from the Hebrew Bible I and II Samuel I Kings in addition to the Huguenot Psalter which includes poetry by Clément Marot. The poet’s brother Jean Morax set to work designing costumes and sets. After several more established composers turned him down René on the advice of Stravinsky and the distinguished conductor Ernest Ansermet chose the then unknown twenty-eight year old Arthur Honegger. “When Swiss poet Rene Morax 1873-1963 was looking for a composer for his new King David libretto Stravinsky recommended the twenty-nine-year-old Arthur Honegger a composer who just six years later creating the film score for Abel Gance’s Napoleon would reveal himself as a master of music’s ability to translate epics into sweeping evocative sound. In 1921 right on the cusp of his first successes Honegger wrote the David score in a flush of creative energy.”. Provenance from the estate of René Morax. Expertise by Claire PIGUET Geneva Genève: Edition Ad. Henn, 1917. paperback
1960réf. 45960London: Faber and Faber 1960. First edition. Very good in very good jacket. First printing of this collection of conversations with the iconic composer inscribed in the year of publication to his well-connected friends Miranda and Ralph Levy. Igor Stravinsky's storied career spanned from Russia to France and finally to the US where his innovative style caused ripples throughout the music world. MEMORIES AND COMMENTARIES finds the composer reflecting on his many influences friends and colleagues and was compiled with the help of his frequent collaborator and confidant Robert Craft. This copy features an inscription from Stravinsky to "Ralph and Miranda Levy" a television pioneer and well-known jewelry designer respectively. Miranda Levy was noted in her obituary as "the woman who jump-started the Santa Fe Opera" by introducing its founding director to Stravinsky Roberts. Stravinsky supervised the opera house's opening production of his "A Rake's Progress" in 1957 and subsequently returned to Santa Fe every summer after that until 1963. A warm association between arguably the 20th century's most important composer and two significant supporters. 8.5'' x 5.25''. Original blue cloth binding. Original unclipped 25s pictorial dust jacket. Black-and-white frontispiece with 21 black-and-white illustrations. 184 pages including index. Inscribed by Stravinsky "To Ralph and Miranda" Levy dated November 1960 in Rome. With the Levy's subsequent gift inscription below. Jacket with light edgewear slight chipping to corners and spine ends. Binding with mild edgewear and bumping to spine ends; faint damping close inspection only. Faber and Faber unknown books
réf. 6573IGOR STRAVINSKY 1882-1971. Stravinsky was a Russian composer best remembered for The Firebird and The Rite Of Spring. He is considered one of the greatest composers of the Twentieth Century.PS. 8 x 10. No date. No place. A black and white photograph signed I Stravinsky in blue ballpoint ink across his torso. The image shows an older man with his right arm raised perhaps conducting. The blue ink has great contrast with his white shirt and it is in very fine condition. unknown
réf. 6573IGOR STRAVINSKY 1882-1971. Stravinsky was a Russian composer best remembered for The Firebird and The Rite Of Spring. He is considered one of the greatest composers of the Twentieth Century.PS. 8 x 10. No date. No place. A black and white photograph signed I Stravinsky in blue ballpoint ink across his torso. The image shows an older man with his right arm raised perhaps conducting. The blue ink has great contrast with his white shirt and it is in very fine condition. unknown books
1969réf. 256031New York: Alfred A Knopf 1969. First edition. ix i 350 xi pp. 8vo. Publisher's green cloth faded at edges in very good edge-worn dustjacket. First edition. ix i 350 xi pp. 8vo. Signed on the flyleaf "Igor Stravinksy / 1.30.70" and inscribed by co-author Robert Craft. The recipient was Miranda "Mirandi" Massoco Levy 1914-2011 the doyenne of Sante Fe cultural life instumental in the success of the Sante Fe Opera and a close friend of Stravinsky. Alfred A Knopf unknown
1969réf. 256031New York: Alfred A Knopf 1969. First edition. ix i 350 xi pp. 8vo. Publisher's green cloth faded at edges in very good edge-worn dustjacket. First edition. ix i 350 xi pp. 8vo. Signed on the flyleaf "Igor Stravinksy / 1.30.70" and inscribed by co-author Robert Craft. The recipient was Miranda "Mirandi" Massoco Levy 1914-2011 the doyenne of Sante Fe cultural life instumental in the success of the Sante Fe Opera and a close friend of Stravinsky. Alfred A Knopf unknown books
1962réf. 293971Hollywood 1962. framed. very good. Fine content T.L.S. 4to 1 page Hollywood California December 12th 1962 to singer Jerry McLain attempting to give him musical advice without hurting his feelings in full: "I would be certainly glad yo give you advice but never hearing you singing and not knowing how far you are in the knowledge of works in general their spirit and technique I am in difficulty if not in impossibility to help you. The transposition of the Shakespearean songs in a higher or lower key is a ruin of my instrumentation and the piano reduction of them is not for a concert performance only for the study of the music." Placed into a white matte with a black background with two openings - whereby the letter is actually floated while the second opening accommodates a photograph by Weegie of the composer leaning against a mirror that gives the illusion of a double exposure and set into a black acrylic frame to 21.5" x 18.5". Excellent condition. Russian composer pianist and conductor widely considered one of the most important composers of the twentieth century. unknown
1962réf. 293971Hollywood 1962. framed. very good. Fine content T.L.S. 4to 1 page Hollywood California December 12th 1962 to singer Jerry McLain attempting to give him musical advice without hurting his feelings in full: "I would be certainly glad yo give you advice but never hearing you singing and not knowing how far you are in the knowledge of works in general their spirit and technique I am in difficulty if not in impossibility to help you. The transposition of the Shakespearean songs in a higher or lower key is a ruin of my instrumentation and the piano reduction of them is not for a concert performance only for the study of the music." Placed into a white matte with a black background with two openings - whereby the letter is actually floated while the second opening accommodates a photograph by Weegie of the composer leaning against a mirror that gives the illusion of a double exposure and set into a black acrylic frame to 21.5" x 18.5". Excellent condition. Russian composer pianist and conductor widely considered one of the most important composers of the twentieth century. unknown books
1960réf. 33435London: Boosey & Hawkes 1960. Paperback. Hawkes Pocket Scores. 7 x 10in. 139pp. Publisher's stiff printed wraps. Signed by the conductor and composer Pierre Boulez at the title page. This is the former copy of the composer David Lewis Crosby who attended Boulez's performance with the Cleveland Symphony Orchestra of The Rite of Spring at Oberlin College in November of 1967 with the concert program laid-in. Most pertinently Boulez and the Cleveland Orchestra would two years later record the definitive interpretation of The Rite of Spring for Columbia Masterworks. NEAR FINE. Shows some light toning and furrowing of the spine several annotations of the score in pencil by Crosby otherwise remains Fine/As New. As pictured. Boosey & Hawkes paperback
1940réf. 244796Cambridge 1940. One page typewritten signed in black ink. 1 vols. 4to. Old folds. Fine with original typed mailing envelope typed name "Igor Strawinsky" above printed return address. One page typewritten signed in black ink. 1 vols. 4to. "Stravinsky began his stay in the United States at Harvard University delivering six Charles Eliot Norton lectures on musical poetics during the 1939-1940 academic year" ADNB. In this brief formal letter Stravinsky acknowledges receipt of an edition of the Russian legend retold and illustrated by Donald E. Cooke. It was Stravinsky's 1910 score of The Firebird for the Ballets Russes that first brought him international notice. The New York Times obituary of Stravinsky published on 6 April 1971 noted "He also was not pleased that 'The Firebird' remained his most popular composition." Uncommon document from early in Stravinsky's residence in the U.S. when he still spelt his surname with "w" in his signature and return address. unknown
1940réf. 244796Cambridge 1940. One page typewritten signed in black ink. 1 vols. 4to. Old folds. Fine with original typed mailing envelope typed name "Igor Strawinsky" above printed return address. One page typewritten signed in black ink. 1 vols. 4to. "Stravinsky began his stay in the United States at Harvard University delivering six Charles Eliot Norton lectures on musical poetics during the 1939-1940 academic year" ADNB. In this brief formal letter Stravinsky acknowledges receipt of an edition of the Russian legend retold and illustrated by Donald E. Cooke. It was Stravinsky's 1910 score of The Firebird for the Ballets Russes that first brought him international notice. The New York Times obituary of Stravinsky published on 6 April 1971 noted "He also was not pleased that 'The Firebird' remained his most popular composition." Uncommon document from early in Stravinsky's residence in the U.S. when he still spelt his surname with "w" in his signature and return address. unknown books
1967réf. 101601Lion and Unicorn Press 1967. First Edition. Hardcover. Collectable - Very Good Condition. VG 1st ed Lion and Unicorn hardback with original binding Errata slip loosely laid in to first page one of only 450 copies with the plastic grip style spine. Minor stain mark to top edge of fly-leaf page previous owner name label to inside lower front cover tight and unmarked with a little rubbing to boards in places only. Elegantly produced high quality volume more related books available. Quantity Available: 1. Shipped Weight: Under 3kg. Category: Art & Design; ISBN/EAN: B01DKOXM0W. 84cxrarebooks is the trading name of Cambridge-based bookseller Marino Guida with 25 years experience in the trade. We guarantee the condition of all our books. Further images or a short video presentation of any book can be arranged on request. We send tax-free and tariff-free to EU US/Canada and Australia/NZ with insurance included for peace of mind. Inventory No: 101601. B01DKOXM0W Lion and Unicorn Press hardcover
1974réf. 469666Northampton Massachusetts: Lisa Kaufman / Smith College Press 1974. Hardcover. Near Fine. First edition. Illustrated with 10 hand-colored photo-etchings by Lisa Kaufman. Quarto. vi 39 pp. Text in French. Cover with some faint discoloration trifle cocked and very lightly worn at the corners and spine ends near fine. Copy 6 of 20 copies set in 18-point Bulmer and printed on Arches paper Signed by artist and printer Lisa Kaufman on the limitation page. The 1918 French text of C.F. Ramuz's libretto for Stravinsky's "L'Histoire du Soldat" printed by Smith College student Lisa Kaufman with hand-colored "photo-etchings" made from her drawings. Kaufman was possibly a student in Leonard Baskin's final printmaking class at Smith College. OCLC lists a single holding for this publication at Smith College. A very nice production. Lisa Kaufman / Smith College Press hardcover
1974réf. 469666Northampton Massachusetts: Lisa Kaufman / Smith College Press 1974. Hardcover. Near Fine. First edition. Illustrated with 10 hand-colored photo-etchings by Lisa Kaufman. Quarto. vi 39 pp. Text in French. Cover with some faint discoloration trifle cocked and very lightly worn at the corners and spine ends near fine. Copy 6 of 20 copies set in 18-point Bulmer and printed on Arches paper Signed by artist and printer Lisa Kaufman on the limitation page. The 1918 French text of C.F. Ramuz's libretto for Stravinsky's "L'Histoire du Soldat" printed by Smith College student Lisa Kaufman with hand-colored "photo-etchings" made from her drawings. Kaufman was possibly a student in Leonard Baskin's final printmaking class at Smith College. OCLC lists a single holding for this publication at Smith College. A very nice production. Lisa Kaufman / Smith College Press hardcover books
1960réf. 58268NP 1960. 9 x 7 1/8 inches. Black and white photograph a publicity still bears no attribution on the verso. Stravinsky is generally acknowledged as one of the most important and influential composers of the 20th century. Among his works are the ballets The Firebird 1910 and The Rite of Spring 1915 and the opera The Rake's Progress 1951 with libretto by W.H. Auden and Chester Kallman. Very good. #5145. unknown
1960réf. 58268NP 1960. 9 x 7 1/8 inches. Black and white photograph a publicity still bears no attribution on the verso. Stravinsky is generally acknowledged as one of the most important and influential composers of the 20th century. Among his works are the ballets The Firebird 1910 and The Rite of Spring 1915 and the opera The Rake's Progress 1951 with libretto by W.H. Auden and Chester Kallman. Very good. #5145. unknown books
1969réf. 207821N.P. London: Boosey & Hawkes 1969. First Edition. With the typical splitting to the joints that affects this awkwardly bound publication; few marks; a very good copy in the original cloth slipcase. 4to 139pp; cloth. A nicely printed facsimile edition with a separately printed 48 booklet of commentary inserted in a pocket at the inside rear cover. A nicer-than-usual copy. Boosey & Hawkes unknown
réf. 51-3548Berkeley: UC Zellerbach Hall Mya 1968. Poster in blue and black. 22.75 x 17 inches. Very good with small closed tear at lower margin."It was May of 1968 in Berkeley and Zellerbach Hall was soon to open its spacious glass doors for the first time. The program to be played: Igor Stravinsky’s “Symphony of Psalms” and “Oedipus Rex” conducted by Robert Craft and the celebrated composer himself. Unfortunately Stravinsky had fallen ill and was unable to conduct. But he did still attend this inaugural performance at UC Berkeley’s famous music hall — legend has it that the distracted audience was more enraptured by Stravinsky’s reaction to the music than by the actual performance itself." Berkeley: UC Zellerbach Hall, Mya 1968. unknown
réf. 51-3549Berkeley: UC Zellerbach Hall May 1968. Poster in ochre and black. 22.75 x 17 inches. Very good."It was May of 1968 in Berkeley and Zellerbach Hall was soon to open its spacious glass doors for the first time. The program to be played: Igor Stravinsky’s “Symphony of Psalms” and “Oedipus Rex” conducted by Robert Craft and the celebrated composer himself. Unfortunately Stravinsky had fallen ill and was unable to conduct. But he did still attend this inaugural performance at UC Berkeley’s famous music hall — legend has it that the distracted audience was more enraptured by Stravinsky’s reaction to the music than by the actual performance itself." Berkeley: UC Zellerbach Hall, May 1968. unknown
réf. BN676267Faber & Faber. Hardcover. Selected Correspondence: v. 1 Selected Correspondence: v. 1 Igor Stravinsky Faber & Faber hardcover
1920réf. 41305London Genève: J. & W. Chester Ltd. PN J. & W. C. 9707 1920. Folio. Original publisher's printed dark ivory wrappers with decorative device to upper and publisher's details within decorative border to lower. 1f. recto title verso printed notice regarding first performance with named cast list and scenario 86 pp. Named cast includes Massine Pulcinella Thamar Karsavina Pimpinella Tchernicheva Prudenza Nemtchinova Rosetta Novac Fourbo Idzikowky Caviello Zverew Florindo Cecchetti Il Dottore Kostetsky Tartaglia and Bourman Okimowsky Micholaitchik and Loukin Petits Pulcinella. Wrappers somewhat worn and soiled; torn at spine with minor loss; partially detached. Minor internal wear; two small chips to blank lower margin of title and upper wrapper. First Edition. Scarce. Kirchmeyer 34-1. White p. 282. De Lerma P60. CPM Vol. 54 p. 440. Pulcinella commissioned by the Russian impresario and founder of the Ballets Russes Sergei Diaghilev 1872-1929 was first performed in Paris at the Opéra on 15 May 1920 with Ernest Ansermet conducting. The libretto and choreography were by Léonide Massine with costumes and sets designed by Pablo Picasso. J. & W. Chester, Ltd. [PN J. & W. C. 9707] unknown
1920réf. 41305London Genève: J. & W. Chester Ltd. PN J. & W. C. 9707 1920. Folio. Original publisher's printed dark ivory wrappers with decorative device to upper and publisher's details within decorative border to lower. 1f. recto title verso printed notice regarding first performance with named cast list and scenario 86 pp. Named cast includes Massine Pulcinella Thamar Karsavina Pimpinella Tchernicheva Prudenza Nemtchinova Rosetta Novac Fourbo Idzikowky Caviello Zverew Florindo Cecchetti Il Dottore Kostetsky Tartaglia and Bourman Okimowsky Micholaitchik and Loukin Petits Pulcinella. Wrappers somewhat worn and soiled; torn at spine with minor loss; partially detached. Minor internal wear; two small chips to blank lower margin of title and upper wrapper. First Edition. Scarce. Kirchmeyer 34-1. White p. 282. De Lerma P60. CPM Vol. 54 p. 440. Pulcinella commissioned by the Russian impresario and founder of the Ballets Russes Sergei Diaghilev 1872-1929 was first performed in Paris at the Opéra on 15 May 1920 with Ernest Ansermet conducting. The libretto and choreography were by Léonide Massine with costumes and sets designed by Pablo Picasso. J. & W. Chester, Ltd. [PN J. & W. C. 9707] unknown books
