504 résultats
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
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 books
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 books
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 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 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 books
1962réf. 227287New York: Doubleday 1962. Hardcover. Very Good/Very Good. First edition. Very good in very good dust jacket. Dustwrapper is smudged. Doubleday hardcover books
1962réf. 985Garden City 1962. Hardcover. Very Good/very good. 16 illus. 4 drawings 6 musical examples & 2 hitherto unpublished works. hardcover books
1960réf. 986Doubleday 1960. Hardcover. Very Good/very good. 21 illus. Review copy. Doubleday hardcover books
1969réf. 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
1936réf. 255987London: Gollancz 1936. First English edition. Illustrated. 286 pp. 1 vols. 8vo. Publisher's black cloth repaired at head of spine in yellow printed dust jacket spine darkened and chipped with some loss to title small book ticket to spine. First English edition. Illustrated. 286 pp. 1 vols. 8vo. Inscribed on the ffep "A Sam & Louise Dushkin. Leur ami I Stravinsky. Paris 30.3.36." Samuel Dushkin 1891-1976 was a concert violinist who worked closely with Stravinsky on the composition of the latter's Violin Concerto 1931 his first major work for the instrument. Dushkin premiered the work in concert with Stravinsky conducting the Berlin Symphony Orchestra. Stravinsky recounts his collaboration with Dushkin on pp. 268-278 of his memoir. "I was very glad to find in him besides his remarkable gifts as a born violinist a musical culture a delicate understanding and - in the exercise of his profession - an abnegation that is very rare" p. 270. Stravinksy was inspired by his success with the Violin Concerto to compose a sonata for violin and piano which he took on tour with Dushkin to Europe and America ". a deeper knowledge of the violin and close collaboration with a technician like Dushkin had revealed possibilities which I longed to explore" p. 275. An important association marking a milestone in the expansion of Stravinksy's evolution as a composer. Gollancz unknown books
1954réf. 52498London: Boosey & Hawkes 1954. 4to pp. 8. Paper wraps. Cover a little spotted item slightly creased o/w a VG tight copy. Dirge-canons and song based on Thomas' poem "Do not go gentle." Vocal score for tenor only. Boosey & Hawkes unknown books
2016réf. 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
1940réf. 54998NY:: Random House. Very Good in Very Good dust jacket. 1940. Hardcover. Told by Robert Lawrence. No statement of printing. Very good in a very good edge worn with a few small chips and closed edge tears dust jacket. . Random House, hardcover books
1956réf. 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
1936réf. 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
1936réf. 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
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
1962réf. 1004541962. First Edition. Signed. STRAVINSKY Igor. CRAFT Robert. Expositions and Developments. Garden City New York: Doubleday 1962. Octavo original black cloth original dust jacket. $2500.First edition warmly inscribed on the half title to neighbor and longtime friend Miranda Levy ""To my dear Miranda with love and kisses from I Stravinsky Nov /63.""""Few 20th-century composers enjoyed international influence and importance equal to that of Stravinsky. This influence exists in the materials of his music and in his rigorous search for an individual soundÉ For many years he was with Schoenberg one of the two unofficial poles of Western music"" ANB. In these conversations with his protg conductor Robert Craft who coauthored seven books with him Stravinsky discusses his childhood in St. Petersburg Russia; recalls such musical luminaries as Tchaikovsky and Rimsky-Korsakov; reflects on the intersection of music and modern recording technology; and discusses scores including The Firebird The Rite of Spring and his then-new work The Flood. Illustrated with eight pages of black-and-white photographs. Inscribed to Miranda Levy a founding member of the Santa Fe Opera and wife of pioneering television director Ralph Levy whose credits include directing the original I Love Lucy pilot episode. Miranda ""met Stravinsky at the Aspen Colorado Music Festival in 1950 then hosted him on a New Mexico visitÉ When the composer let it be known he was interested in D.H. LawrenceÉ Miranda introduced Stravinsky to Lawrence's widowÉ Miranda and Ralph Levy moved to Los Angeles and bought a house less than a block from Stravinsky'sÉ Just as she had once kept Santa Feans up to date on the latest news and gossip she now regaled Igor and Vera Stravinsky with daily updates on movie studio gossip"" Albuquerque Journal.Dust jacket with light rubbing to spine ends and edges. A very nearly fine inscribed presentation/association copy. hardcover books
1950réf. 1084781950. Signed. STRAVINSKY Igor. Photograph inscribed. No place 1950. Black-and-white postcard portrait measuring 3-1/2 by 5-1/2 inches; matted and framed entire piece measures 9-1/2 by 12 inches. $2200.Postcard photograph of Igor Stravinsky inscribed ÒPour Monsieur Maurice Dubois avec mes meilleurs compliments Igor Stravinsky 1950.Ó""Few 20th-century composers enjoyed international influence and importance equal to that of Stravinsky. This influence exists in the materials of his music and in his rigorous search for an individual soundÉ For many years he was with Schoenberg one of the two unofficial poles of Western music"" ANB. The postcard portrait is dated September 1948 and is attractively matted and framed with a page of music from Stravinsky's Four Etudes. An attractive inscribed and signed framed piece in fine condition. unknown books
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1941réf. 200-03964Edward B. Marks Music Corporation 1941. paperback. Good. Good with wear and markings. Looks like an interesting title. Edward B. Marks Music Corporation paperback
1958réf. y0666New York: M. & J. Steuer 1958. Memoir by the Russian-born composer & conductor "a few recollections connected with various periods of my life." Hardcover in jacket as pictured; a reprint; first published 22 years earlier. Light wear to book; delicate jacket price-clipped with some large chips tears creases light stains to front panel. Text clean no names or marks; 10 176 pages colophon b/w photo portrait. . Reprint. Hard Cover. Very Good/Good. Small Octavo. M. & J. Steuer Hardcover
