496 risultati
1921rif. 548890London: J & W Chester Ltd 1921. Softcover. Near Fine. First edition. 12mo. Stapled printed beige wrappers. Attractive bookplate of Cecil Hopkinson a touch of rust on the stapled else near fine. J & W Chester Ltd unknown books
1980rif. 439685Berkeley: University of California Press 1980. Softcover. Very Good. First paperback edition. Trade paperback. 140pp. Illustrated from black and white photographs. Page edges foxed wrappers curled very good. University of California Press unknown books
1966rif. 392489New York: The Philharmonic Hall Program by Saturday Review 1966. Softcover. Fine. Single issue. Quarto. 24pp. Stapled wrappers. Fine. One hundred twenty-fourth season 1965-1966 at the Lincoln Center for the Performing Arts. The Philharmonic Hall Program by Saturday Review unknown books
1978rif. 376454New York: Simon and Schuster 1978. Hardcover. Fine/Very Good. First edition. Quarto. 688pp. Fine in a very good dustwrapper with rear panel lightly yellowed small tear on bottom edge repaired inside with tape. Simon and Schuster hardcover books
1956rif. 625594New York: Vintage 1956. Softcover. Very Good. First Vintage edition. Trade paperback. English translations by Arthur Knodel and Ingolf Dahl. Preface by Darius Milhaud. 146 4pp. Text in English. Illustrated wrappers by Paul Rand a bit rubbed and toned else very good or a little better. The poet Geoffrey Hill's copy with his ownership signature. Vintage unknown books
1983rif. 576060New York: Alfred A. Knopf 1983. Softcover. Very Good. Uncorrected proof. Volume III only. 521pp. Printed wrappers. Toned spine with a bit of uneven toning on front cover very good. Publisher's material stapled to interior cover. Alfred A. Knopf unknown books
1936rif. 562975New York: Simon and Schuster 1936. Hardcover. Very Good. First edition. 288pp. Illustrated with photographic plates. Red cloth stamped in gilt foil spine label. Endpapers with a bit of darkening due to printer's glue binding slightly cocked spine sunned with light spotting spine label with small chips and tears along edges about very good lacking the scarce dust jacket. An account of the first 50 years of Stravinsky's life. Simon and Schuster hardcover books
1950rif. 5766London: Boosey & Hawkes 1950. Staplebound wraps. Good. Staplebound wraps. 7 3/8" X 5 1/4". 40pp. Moderate wear to staplebound wraps. Binding is firm and sound. Annotations in ink and red pencil by previous owner a university music professor throughout with several printed pages in German and handwritten score laid in. A worn and annotated but quite nice copy of this Stravinsky score. Boosey & Hawkes unknown books
1936rif. 34880New York: Simon & Schuster. First Edition; First Printing. Hardcover. Very good with darkened prelims and spine. The title label and the spine are creased down the middle and a sligh slant.; 8vo 8" - 9" tall; 288 pages . 1936. Simon & Schuster hardcover books
2016rif. 129872Pasadena CA: The Clinker Press 2016. Clinker Press. broadside 13 by 10 1/4 inches. Designed and printed by Andre Chaves. The Clinker Press unknown books
1984rif. 20607New York: Alfred A. Knopf. Fine in Fine dust jacket. 1984. First Edition; First Printing. Cloth. 0394528131 . First edition/first printing in about Fine condition with little shelf wear in Fine dust-jacket. From the collection of Betty Anderson legendary art director of publisher Knopf in the late 20th century as evidenced by her small and unobtrusive inventory number and signature on front paste down; This book is a collection of writings by Igor Stravinsky spanning from 1906 to 1971. The writings span a wide range of topics from music theory to autobiography. The book is edited by Robert Craft and includes a biography of Stravinsky by Robert Craft.; Selected Correspondence; Vol. 2; Photographs; 8vo . Alfred A. Knopf hardcover books
1982rif. 20606New York: Alfred A. Knopf. Very Good in Near Fine dust jacket. 1982. First Edition; First Printing. Cloth. 0394518705 . First edition/first printing in Very Good condition with slightly cocked spine in Near Fine dust-jacket. From the collection of Betty Anderson legendary art director of publisher Knopf in the late 20th century as evidenced by her small and unobtrusive inventory number and signature on front paste down; This book is a compilation of the writings of Igor Stravinsky edited by Robert Craft. The writings cover a wide range of topics from music theory to autobiography. The book provides a wealth of information on the life and work of Igor Stravinsky.; Selected Correspondence; Vol. 1; Photographs; 8vo . Alfred A. Knopf hardcover books
1981rif. 20889New York: Alfred A. Knopf. Fine. 1981. Advance Review Copy; First Printing. Softcover. Uncorrected Proof of the first American edition/first printing in Fine condition. From the collection of Betty Anderson legendary art director of publisher Knopf in the late 20th century as evidenced by her small and unobtrusive inventory number and signature; This book is a collection of correspondence between Igor Stravinsky and a number of people including his friends Robert Craft and Nadia Boulanger. It covers a wide range of topics including Stravinsky's work life and thoughts.; Stravinsky: Selected Correspondence; Vol. 1; 8vo . Alfred A. Knopf paperback books
rif. 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
1913rif. 41314Berlin - Moscou - St. Petersbourg: Édition Russe de Musique PN R.M.V. 196 1913. Folio. Original publisher's ivory cloth-backed dark ivory printed boards 1f. recto title verso blank 1f. recto half-title in French verso blank 1f. recto half title in Russian verso blank 1f. recto dedication to Nicolas Roerich verso blank 9-89. i blank pp. Binding slightly worn browned and foxed with manuscript annotation to blank upper margin of upper deleted in black ink. Slightly browned throughout; corners thumbed; some minor imperfections. In very good condition overall. First Edition first issue of the four-hand piano arrangement and the first appearance in print of the music pre-dating the full score by eight years. Rare. Kirchmeyer 15-1. De Lerma S3. White 21 p. 207. Crawford p. 543. "Unlike the orchestral score which did not appear in print until early 1922 the piano-duet version was published by Édition Russe de Musique shortly before the première and was soon reissued in response to considerable demand. But special importance attaches to this four-hand version not only for historical reasons but because of its specific aesthetic quality for it directly brings out the "pianistic" nature of many of the work's musical ideas. True not for a moment do we forget that The Rite of Spring owes a large part of its impact to its orchestral sound now subtly differentiated now brutally violent. But it allows the structural workings of a piece invented at the piano and developed in close contact with the instrument to come all the more trenchantly to the fore. It was not least because of this trenchancy and "closeness to the origin" that the piano version has in recent decades begun to emerge from its primary role as an object of study and a rehearsal aid and to take on a second life as an independent concert piece. It has even formed the basis of a number of ballet productions." Meyer ed.: Igor Stravinsky Le Sacre du printemps Manuscript of the Version for Piano Four Hands Facsimile p. 23 The momentous first performance of The Rite took place in Paris at the Théâtre des Champs-Elysées on 29 May 1913. It was conducted by Monteux with choreography by Vaslav Nijinsky and set and costume designs by Nicolas Roerich. "It is now theatrical history that the first performance by the Russian Ballet . created a scandal of the first magnitude ." White: Stravinsky. The Composer and His Works p. 216. Since that time there have been a number of other versions of the ballet one choreographed by Leonide Massine 1920 at the Théâtre des Champs-Elysées with Roerich's original set designs and another by Kenneth Macmillan 1962 at Covent Garden with set designs by Sydney Nolan "but the work is more popular and seems to make a greater impact in the concert hall than on the stage. Its triumphant rehabilitation as one of the most important works in the symphonic repertory of the twentieth century dates from its first concert performances - in Moscow February 1914; conductor S. Koussevitzky Paris Casino de Paris April 1914; conductor Monteux and London Queen's Hall 7 June 1921; conductor Eugene Goossens." Ibid Diaghilev referred to The Rite of Spring as "the 20th century's Ninth Symphony." Austin: Music in the 20th Century p. 252. "Le sacre du printemps was to remain the most notoriously violent score of a time when huge noisy orchestras and harsh dissonance were more or less commonplace appurtenances of the new music. The primitive imagery of Russian symbolism of the kind exploited by Roerich had always carried a certain revolutionary tone a note of challenge to ossified social structures. But behind all the racket behind the wilfully discordant harmonies and convulsive metric irregularities lay a genuinely innovatory kind of musical thinking whose point would not become clear until Stravinsky himself began to deconstruct it in subsequent works." Stephen Walsh in Grove Music Online. Édition Russe de Musique [PN R.M.V. 196] unknown books
1912rif. 41390Berlin Moscou Leipzig New-York: Édition Russe de Musique PN R.M.V. 150 1912. Folio. Contemporary half black calf with marbled boards label of the Parisian music rental firm Rouart-Lerolle to upper marbled endpapers. 1f. recto title verso blank i named cast list referring to first production of 1911 in French i synopsis in Russian and French i "general remarks" in Russian and French i blank i dedication to A. Benois i blank 7-84 ii blank pp. Photographic transfer from engraved plates. With "ROME MAI 1911" and printer's note "Imp. C. G. Röder Leipzig." to lower outer corner of p. 84. Rouart Lerolle and "5" handstamps to title and first four leaves. Binding worn rubbed bumped and abraded; hinges split; small label with "143" in manuscript to upper board. First Edition first issue. Kirchmeyer 12-4. De Lerma P17. Crawford p. 533. Distinguishing imprint to title below crest found in the first issue is as follows: PROPRIÉTÉ DE L'ÉDITEUR POUR TOUS PAYS / ÉDITION RUSSE DE MUSIQUE / RUSSISCHER MUSIKVERLAG G.M. above BH below/ FONDÉE PAR S. ET N. KOUSSEWITZKY / BERLIN MOSCOU LEIPZIG NEW-YORK / POUR LA FRANCE ET SES COLONIES: MUSIQUE RUSSE PARIS 3 RUE DE MOSCOU / POUR L'ANGLETERRE ET SES COLONIES; THE RUSSIAN MUSIC AGENCY LONDRES W.I 34 PERCY STREET "The emergence of Stravinsky as a modernist with an individual manner unlike any other can be dated with some precision to his early work on Petrushka. In March 1910 during the later stages of composing The Firebird he had experienced the famous 'fleeting vision' out of which The Rite of Spring was to grow. But when Diaghilev and Nijinsky visited him in Lausanne in September 1910 they found him at work on something quite different a concert piece for piano and orchestra called 'Petrushka's Cry'. Together with a 'Russian Dance' composed soon afterwards this music was to form the basis of the ballet which Diaghilev instinctively urged him to write instead. . It is from the systematic attempt to render the particular flavour of traditional Russian life into music that Petrushka derives many of its freshest and most original qualities. . Looked at in general terms the opening sequence of Petrushka is a prototype of later Stravinskian form. Its underlying rhythmic design may not be complex in the same way as that of The Rite of Spring or the later Russian works but its intricacy of rhythmic detailing and its mixture of a highly fluid pattern of melodic stress with an inert background harmony laid the groundwork for a technique which through many changes of superficial style was to serve him for the rest of his life." Walsh: The Music of Stravinsky pp. 24-29. "Petroushka proved just as successful with the public and critics as The Firebird had been; but it was undoubtedly a more original work. In the first place Stravinsky had been able to play a leading part in the construction of the scenario which had not been the case with The Firebird. Secondly whereas the music of The Firebird showed that the pupil had learnt all that his master had had to teach him in Petrushka for the first time the authentic voice of the new master is heard." TNG Vol. 18 pp. 244-245. Petrushka one of Stravinsky's best-known and loved works represents the essence of Diaghilev's monumental Ballets Russes era. The ballet received its first performance with the incomparable Nijinsky in the title role at the Théâtre du Châtelet on 13 June 1911 conducted by Pierre Monteux with choreography by Fokine and designs by Alexandre Benois. Édition Russe de Musique [PN R.M.V. 150] unknown books
1920rif. 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
1997rif. 138384New York: Park Lane Press 1997. Hardcover. Near Fine/Near Fine. First edition. Near fine in near fine dust jacket. Stamp on end pg small light brown stain on bottom of dust jacket front panel. Park Lane Press hardcover books
1989rif. 122900Los Angeles: Price Stern Sloan 1989. Hardcover. Near Fine/Near Fine. First edition. Near fine in near fine dust jacket. Price, Stern, Sloan hardcover books
1964rif. 1238731964. Very Good. First edition. Very good. Opera program. unknown books
1996rif. 1411374Berkeley: University of California Press 1996. Hardcover. Octavo Two volumes continuously paged: xxiii 1757 pages. In Very Good minus condition with Very Good dust jackets. Spine black with white print. Boards in black cloth; mild buckling to spine of first volume. Illustrated: color frontispiece in each volume b&w photographs printed music. Oversized books. Additional postage necessary for expedited/international orders. Economy International shipping unavailable due to size/weight restrictions. For international/expedited customers please inquire for rates. NOTE: Shelved in Locked Annex Area ND-HV Section. 1411374. FP New Rockville Stock. University of California Press hardcover books
1978rif. 335001New York: Simon & Schuster 1978. First. hardcover. very good/very good. Profusely illustrated mostly in b/w. 688 pages. Short thick 4to blue cloth scuffed along top edge of gutter pictorial d.w. lightly edge worn; spine and rear cover rather sunned. New York: Simon & Schuster 1978. First edition. A very good copy in a very good dust wrapper. Simon & Schuster unknown books
1969rif. 35875NY: Knopf 1969. First edition. 350 pp w/indexes. Fine in very near fine dust jacket. The sixth collaboration. NY: Knopf, unknown books
1962rif. 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
1969rif. 224807New York: Knopf 1969. First. hardcover. very good/very good. 350pp. index xi. 8vo cloth d.w.; a few small chips to dust wrapper small ink ownership stamp on front and rear free endpapers. New York: Alfred A. Knopf 1969. First edition. A very good copy in a very good dust wrapper. Knopf unknown books
