501 résultats
2026réf. x-0691292736Princeton University Press 2026. Paperback. New. 408 pages. 5.50x0.91x8.50 inches. Princeton University Press paperback
2026réf. x-069129271XPrinceton University Press 2026. Hardcover. New. 408 pages. 5.50x1.06x8.50 inches. Princeton University Press hardcover
réf. 6j1616Line Music Hamburg 2007. CD in original Kunststoffhülle. - gutes Exemplar/Gesamtaufnahmen in lateinischer Sptahe/Aufführungsschnitte vom 20.12.1952 und 8.10.1951 unknown
1913réf. 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
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
1912réf. 41313Berlin Moscou St. Pétersbourg .: Édition Russe de Musique PN R.M.V. 127 1912. Folio. Newly bound in quarter dark green cloth with mid-brown paper boards dark red title label gilt to upper and spine. 1f. recto title verso blank i named cast list ii synopsis i orchestration i recto dedication "À Alexandre Benois" verso blank 7-156 pp. 1f. errata tipped in to rear pastedown. With text in Russian and French. Named cast for the first performance by Diaghilev's Ballets Russes at the Théâtre du Chatelet in Paris on 13 June 1911 includes Tamar Karsavina Le Ballerine Vaslav Nijinsky Petrushka Orlow Le Maure and Enrico Ceccheti Le vieux Charlatan; the performance was conducted by Monteux with maître du ballet Fokine and sets and costumes designed by Benois and executed by Anisfeld sets and Caffi and Worobiew costumes. Small area of faint dampstaining and minor cockling to upper inner margins. An attractive copy. First Edition first issue. Rare. Kirchmeyer 12-1. Hirsch II 905. De Lerma P15. White p. 193. Crawford p. 533. "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. The rare first edition first issue of Stravinsky's colorful and well-loved ballet inspired by the St. Petersburg Shrove-tide Fair. Édition Russe de Musique [PN R.M.V. 127] unknown
1912réf. 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
1960réf. 168684New York: Time Magazine 1960. First Edition. Softcover. First Edition. Reproduces the script of a 1960 documentary film about contemporary art focusing on de Kooning Stravinsky and Fuller along with "Time" articles relating to same. Robert Snyder and Michael Sonnabend previously collaborated on the 1950 documentary "The Titan." Near Fine in perfect-bound wrappers with French flaps. Time Magazine unknown
réf. ANAIS-0486263428Dover Pubns. paperback. Good. 9.3x0.6x12.3. Buy with confidence. Excellent Customer Service & Return policy. Dover Pubns paperback
1967réf. 1-0393097706W W Norton & Co Inc 1967. Paperback. New. annotated edition edition. 224 pages. 8.50x6.25x0.50 inches. W W Norton & Co Inc paperback
2022réf. 1-1638875030Alfred Pub Co 2022. Paperback. New. spiral-bound edition. 95 pages. 12.25x9.50x0.50 inches. Alfred Pub Co paperback
réf. 396614 measures from the third number Pas d'Action. Notated in blue/black ink on music paper with "No. 1-12 lines" printed at lower left corner; "Igor Stravinsky" typed in red below quotation. Somewhat worn and browned; irregularly trimmed with upper left corner cropped not affecting quotation; recto reinforced at upper left corner and left margin with light blue paper; creased and partially split at central fold; margins hand-ruled with double black line; upper margin slightly stained; mounted on printed excerpt with remnants of adhesive to verso. Apollon Musagète a neoclassical ballet in two tableaux was commissioned in 1927 by Elizabeth Sprague Coolidge for a festival of contemporary music to be held in 1928 at the Library of Congress in Washington D.C. Composed between 1927 and 1928 the work was choreographed by the 24-year-old George Balanchine to a libretto by the composer; scenery and costumes were by André Bauchant with new costumes designed by Coco Chanel in 1929. unknown
2022réf. x-0520371410Univ of California Pr 2022. Hardcover. New. 168 pages. 9.00x6.00x0.75 inches. Univ of California Pr hardcover
réf. 396731 measure from the opening of the first movement. Notated in black ink on an album leaf 203 x 123 mm. Dated "Montevideo le 27. v. 1936." Inscribed to the Uruguayan political figure Alejandro Zorrilla de San Martin 1909-1987 prominent member of the Uruguayan National Party with a reproduction photograph of Stravinsky and his son Soulima to head. Slightly browned; horizontal crease to upper portion just below Stravinsky's signature; manuscript identification and minor remnants of former mount to verso. The Firebird L'Oiseau de feu; Zhar-ptitsa a fairy tale ballet in two scenes was first performed by Diaghilev's Ballets Russes in Paris at the Opéra on 25 June 1910 conducted by Gabriel Pierné. The original choreography was by Michel Fokine with sets and costumes by Alexandre Benois; this seminal work led to further important Stravinsky-Diaghilev collaborations including Petrushka 1911 and The Rite of Spring 1913. unknown
réf. 39498Four measures containing the theme of the closing of the first scene of the composer's Danse Russe. Notated unbarred on dark ivory music paper in blue ink signed and dated Hollywood 23 January 1966. On an album leaf 141 x 199 laid down to backing board. Small hole to blank upper margin; two light vertical creases. Petrushka a ballet in 4 scenes with music by Stravinsky choreography by Michel Fokine and set and costume designs by Alexandre Benois was written for the 1911 season of Diaghilev's Ballets Russes and first performed in Paris at the Châtelet on 13 June 1911. The premiere was conducted by Pierre Monteux with Vaslav Nijinsky as Petrushka Tamar Karsavina as lead ballerina and Enrico Cecchetti as the charlatan. The work became one of the most popular productions of the revolutionary Ballets Russes and one of Stravinsky's best-loved compositions. unknown
1936réf. 141339New York: Simon & Schuster 1936. First edition of the composer's classic autobiography. Octavo original cloth. Near fine in a very good dust jacket bookplate owner name. Jacket design by George Salter. Rare in the original jacket. An Autobiography chronicles the first half-century of Stravinsky's life all the while offering his opinions and "abhorrences." A Parsifal performance at Bayreuth "At the end of a quarter of an hour I could bear no more." Nijinsky "The poor boy knew nothing of music." Spanish folk music "Endless preliminary chords of guitar playing." Simon & Schuster hardcover
1925réf. 39219London Genève Paris Bruxelles: J. & W. Chester Ltd.; Rouart Lerolle & Cie.; Maison Chester PN J.W.C. 15521 1925. Quarto. Ivory wrappers with upper printed in black. 3 i blank pp. Wrappers worn and slightly soiled with minor tears and creasing to edges and corners. Browned. A re-issue of the first edition. Kirchmeyer 33-2. J. & W. Chester, Ltd.; Rouart, Lerolle & Cie.; Maison Chester [PN J.W.C. 15521] unknown
1997réf. 1-0851622003Boosey & Hawkes Music Pub Ltd 1997. Paperback. New. new edition. 184 pages. 12.00x9.25x0.25 inches. Boosey & Hawkes Music Pub Ltd paperback
1936réf. C65987London 1936. First U. K. Edition. Hardback. Dust Jacket. Good internally with some foxing and discolouration. Heavy foxing to fore edge. Foxing and dust to top edge in good boards with light surface marks. Lettering to spine strongly faded top of spine worn with very small closed tear. Heavy rubbing to rear of dust jacket. Losses and tears to dust jacket with discolouration to spine and edges. Lettering remains bold. 8vo. Pp: 286. Scarce yellow dust jacket. Publisher's black boards with gilt lettering to spine. Black and white illustrations throughout by Picasso with frontispiece by ThŽodore Sravinsky. hardcover
2022réf. x-0520334612Univ of California Pr 2022. Paperback. New. 180 pages. 8.00x5.25x0.39 inches. Univ of California Pr paperback
1984réf. 33014Basel: Kunstmuseum Basel 1984. Hardcover. Fine. Small folio. 386 pp. Illustrated. Kunstmuseum Basel hardcover
1995réf. G0486285251I5N00Dover Publications Incorporated 1995. Paperback. Acceptable. Disclaimer:A readable copy. All pages are intact and the cover is intact. Pages can include considerable notes-in pen or highlighter-but the notes cannot obscure the text. At ThriftBooks our motto is: Read More Spend Less.Dust jacket quality is not guaranteed. Dover Publications, Incorporated paperback
réf. SONG1852731257Used: Good unknown
1988réf. SKU0601824Dover Publications 1988-07-01. paperback. Good. 9x0x12. Textbook May Have Highlights Notes and/or Underlining BOOK ONLY-NO ACCESS CODE NO CD Ships with Tracking Dover Publications paperback
1988réf. SKU0649331Dover Publications 1988-07-01. paperback. New. 9x0x12. New Textbook Ships with Tracking Dover Publications paperback
