Manuela Bertoli - Olivier MessiaenMareMagnum
129 resultados
libro d artista formato 23X16. pagine 8. Interamente rivestito in piume naturali. Tiratura numerata in 25 esemplari (22)
Pages 1547-1690. Features: Andrew Litton conducts Tschaikovsky and Shostakovich Symphonies for Virgin Classics; Roger Norrington talks about Beethoven and Berlioz on period instruments; Interviews with Peter Donohoe and Melvyn Tan; Seiji Ozawa conducts Richard Strauss's "Elektra"; and more. Average wear. Unmarked. Binding intact. A sound copy. Magazine
br. "Ritorna, nella persistente indifferenza della politica e della pedagogia, un nuovo fervore di conoscenza fra i giovani ricercatori per l'estetica e la filosofia della musica, intesa come forma di pensiero e di civiltà. Non sarà una via breve: ma la direzione è quella giusta. Lungo questa via si inoltra, con passione intelligente, questa bella monografia del maestro Gian Vito Tannoia. Il suo saggio introduce alla poetica musicale di Olivier Messiaen - e con ciò, alla teologia e alla filosofia che vi sono implicate - portando la sua analisi all'altezza della più ampia e delicata ricerca epocale di un nuovo Musikgeist, ossia di un nuovo orizzonte e di un nuovo futuro per l'umanesimo dello spirito. Una cosa è certa. Olivier Messiaen è cattolicamente ancora da scoprire." (dalla Prefazione di Pierangelo Sequeri)
1974ref. 5283BBerlin, Merseburger, 1974. Gr.-8°, 100 Seiten, zahlr. Notenbeispiele, 2 Taf., 1 Faks. OKt
1973ref. 16534BWiesbaden, Dr. Martin Sändig, 1973. (Nachdruck der Ausgabe: Leipzig 1908)., 8°, (2), IX, 230 Seiten, zahlr. Notenbeispiele OLn
1987ref. 37169EMI, 1987. 7474638 2 CDs CD
1988ref. 37196Disques Montaigne, 1988. XX 1111 1 CD CD
1990ref. 27874EMI Rec., 1990. CDC 7540502 1 CD CD
2008ref. 103506ABParis, Alphonse Leduc, 1999-2008. Neudruck. 7 Bde. (in 8 Bdn.). 29 x 20 cm. Mit zahlr. Notenbeispielen. Insgesamt 3455 Seiten. OKt. - Französischer Text. - Sehr gutes Ex. (2 untere Kapitale minimal bestossen).
1992ref. 1111056Stadt Braunschweig; Kulturamt, 1992. 184 S.; Illustr.; 21 cm; kart.
2013ref. 30512AHildesheim, Zürich und New York, Georg Olms Verlag, 2013. Ca. 21 x 14,8 cm. 352 Seiten, mit Notenbeispielen. Original-Karton.
1963ref. 33738Paris: Durand & Cie PN 11843 1963. Folio. Original publisher's light pink printed wrappers. 1f. recto title verso blank 1f. recto dedication to Henriette Roget verso blank 1 contents 2-55 i advertisement pp. Text in French. Wrappers slightly soiled creased and chipped; detached. Annotations in pencil throughout. Ex libris musicologist Stanley Boorman with his signature to corner of upper wrapper. First Edition later issue. Simeone I/2. The Préludes premiered in Paris at the Concerts Durand by the composer on 28 January 1930. "The sources of Messiaen's music may be traced on the one hand to the French organ tradition and on the other to the innovations of Debussy Stravinsky and Bartók but right at the start of his career he found a modal system that has a completely individual sound and to this he remained true even when he vastly extended the possibilities of his style after World War II. He was alone too among major 20th-century composers in his joyously held Catholic faith which again was unswerving however much he came to value non-European cultures especially Indian and Japanese. As a teacher he instructed many of the most prominent composers of the next two generations." Paul Griffiths in Grove Music Online. Durand & Cie [PN 11843] unknown books
1950ref. 33708Paris: Durand & Cie PN 12060 1950. Small octavo. Original publisher's light green printed wrappers. 2ff. 30 i advertisement pp. Text in French. Wrappers detached and slightly chipped faded and browned; bookseller's handstamp to blank corner of upper. Slightly browned. Ex libris the noted musicologist Stanley Boorman with his signature to corner of upper wrapper. First Edition in this format later issue. Simeone I/5a. Les Offrandes oubliées premiered in Paris at the Théâtre des Champs-Élysées on 19 February 1931 by the Orchestre Straram conducted by Walther Straram. "The sources of Messaien's music may be traced on the one hand to the French organ tradition and on the other to the innovations of Debussy Stravinsky and Bartók but right at the start of his career he found a modal system that has a completely individual sound and to this he remained true even when he vastly extended the possibilities of his style after World War II. He was alone too among major 20th-century composers in his joyously held Catholic faith which again was unswerving however much he came to value non-European cultures especially Indian and Japanese. As a teacher he instructed many of the most prominent composers of the next two generations." Paul Griffiths in Grove Music Online. Durand & Cie [PN 12060] unknown books
1966ref. 33737London: Universal Edition PN 12127 1966. Folio. Original publisher's ivory printed wrappers. 1f. recto title verso copyright 3-27 pp. Text in German and English. Verso of lower wrapper dated V May 1966. Ex libris noted musicologist Stanley Boorman with his signature to corner of upper wrapper. Wrappers slightly worn and soiled. Annotations in pencil and ink throughout. First Edition later issue. Simeone I/30. Cantéyodjayâ premiered in Paris at the Concerts du Domaine musical with Yvonne Loriod at the piano on 23 February 1954. "Messiaen had been thinking about serializing rhythm since the early 1940s and had begun to explore the possibilities in parts of Turangalîla where unpitched percussion patter out sequences of arithmetical values demisemiquaver semiquaver dotted semiquaver quaver etc. representing one two three four units and so on. In Cantéyodjayâ his 12-note rhythmic sets are permutations of values from demisemiquaver one unit of time to crotchet 12 units and in another piano piece - the Mode de valeurs et d'intensités also 1949 composed entirely in the austere three-line style of the earlier work's episode - he applied a similar categorization to loudness and attack." Paul Griffiths in Grove Music Online. Universal Edition [PN 12127] unknown books
1965ref. 33739Paris: Durand & Cie. PN 13258 1965. Folio. Original publisher's ivory printed wrappers. i recto title verso blank i dedication to Yvonne Loriod ii author's notes i blank 99 i publisher's advertisement pp. Ex libris noted musicologist Stanley Boorman with his signature to corner of upper wrapper. Wrappers slightly worn with small edge tears; detached. Uniformly browned; several annotations in pencil. First edition; later issue; ©1950. Simeone I/25. Visions premiered in Paris at the Galerie Charpentier Concerts de la Pléiade by Yvonne Loriod and the composer on 10 May 1943. "The sources of Messiaen's music may be traced on the one hand to the French organ tradition and on the other to the innovations of Debussy Stravinsky and Bartók but right at the start of his career he found a modal system that has a completely individual sound and to this he remained true even when he vastly extended the possibilities of his style after World War II. He was alone too among major 20th-century composers in his joyously held Catholic faith which again was unswerving however much he came to value non-European cultures especially Indian and Japanese. As a teacher he instructed many of the most prominent composers of the next two generations." Paul Griffiths in Grove Music Online. Durand & Cie. [PN 13,258] unknown books
1949ref. 33707Paris: Rouart Lerolle & Cie PN 12356 1949. Folio. Original publisher's light blue printed wrappers with publisher's advertisement to verso of lower. 1f. recto title verso notes on performance 49 pp. Ex libris noted musicologist Stanley Boorman with his signature to corner of upper wrapper; annotations in pencil throughout. Wrappers worn and chipped with several small tears; detached. Publisher's handstamps to lower margin of upper wrapper and title. Light uniform browning; corners slightly creased. First Edition. Simeone I/31. Cinq Rechants premiered in Paris at the Salle Erard in 1949 by Chorale Marcel Couraud. "The Tristan trilogy of 1945-8 including Turangalîla Harawi and Cinq rechants- is a mirror of divine love. The three compositions are quite separate in most respects but that of subject and there is no narrative continuity in any of them: Messiaen's style effectively precludes such continuity lending itself instead to sectional forms and thereby to fragmented stories. .Cinq rechants more compact than the other two is a succession of verse-refrain forms in which meaningful phrases are delivered in a forest of onomatopoeic noises and freshly imagined choral textures. Neither here nor in Harawi both works have words by the composer is there any explicit mention of God but the love that both celebrate is seen on a cosmic scale. It can be represented in the symphony by gentle caressing gestures and by virtual stasis 'Jardin du sommeil d'amour' but it can be represented too by the energy of strongly pulsed fast rhythm the energy that the work's great central dance 'Joie du sang des étoiles' projects as streaming through the universe." Paul Griffiths in Grove Music Online. Rouart, Lerolle & Cie [PN 12356] unknown books
1952ref. 33732Paris: Durand & Cie PN 13602 1952. Octavo. Original publisher's light blue printed wrappers titling in manuscript to spine. 1f. recto title verso blank 1f. recto instrumentation verso orchestral plan 1f. notes including on first performance 216 pp. Wrappers somewhat worn and faded; partially detached; publisher's handstamp to title "United Music Publishers Ltd." Uniformly browned; annotations in pencil throughout. Ex libris the noted musicologist Stanley Boorman with his signature to corner of upper wrapper. First Edition in this format. Simeone I/26. The Trois Petites Liturgies premiered in Paris at the Salle de l'Ancien Conservatoire Concerts de la Pléiade conducted by Roger Désormière with the Orchestre de la Societé des Concerts du Conservatoire on 21 April 1945. "The sources of Messaien's music may be traced on the one hand to the French organ tradition and on the other to the innovations of Debussy Stravinsky and Bartók but right at the start of his career he found a modal system that has a completely individual sound and to this he remained true even when he vastly extended the possibilities of his style after World War II. He was alone too among major 20th-century composers in his joyously held Catholic faith which again was unswerving however much he came to value non-European cultures especially Indian and Japanese. As a teacher he instructed many of the most prominent composers of the next two generations." Paul Griffiths in Grove Music Online. Durand & Cie [PN 13,602] unknown books
1957ref. 33735Paris: Durand & Cie PN 13.494 1957. Loose folio. Original publisher's ivory printed wrappers. 1f. recto title verso notes 3-11 i publisher's advertisement pp. Wrappers slightly worn torn and creased; small rectangular bookseller's sticker to lower margin of upper. Uniformly browned; publisher's handstamp to title. First Edition later issue. Simeone I/32. The Mode de valeurs et d'intensités premiered in Tunis with the composer at the piano in 1950. "Teacher and pupils stimulated one another and for a short time it seemed that Messiaen was about to join his younger colleagues on the road to and through total serialism. His piano piece Mode de valeurs et d'intensités which he wrote while teaching at the Darmstadt summer course in 1949 allots a particular duration and a particular dynamic level to each of the just 36 notes in play; it had a crucial impact on both Boulez and Stockhausen." Paul Griffiths in Grove Music Online. Durand & Cie [PN 13.494] unknown books
ref. 1311767Paris: Alphonse Leduc 1060. Nouvelle edition revue par l'auteur. Softcover. Quarto; Nouvelle edition revue par l'auteur; VG-; Paperback; Spine staple binding; Cover is white with blue print name in ink at front top edge slight edgewear small stain at rear bottom edge; Text block clean and tight; Plate no. A.L. 22.893; 4 pages of printed music. Instruments: Organ. 1311767. FP New Rockville Stock. Alphonse Leduc unknown books
1987ref. 13891Paris: Libraire Séguier / Archimbaud / Birr 1987. Used; Like New/Used; Like New. The complete program notes written by Messiaen for a series of performances of Mozart piano concertos by his wife pianist Yvonne Loriod in 1964 which were collected and published more than twenty years later. Signed and inscribed on the half-title verso to Jean-Victor Hocquard French musicologist and the author of the volume's foreword: "à Jean-Victor Hocquard le grand philosoph-musicien qui a écrit sur Mozart les pages les plus belles les plus touchantes et les plus profondes.en souvenir de ces merveilleux concerts d'Yvonne Loriod. et avec toute mon admiration et mes grands amitiés!" "To Jean-Victor Hocquard the great philosopher-musician who has written the most beautiful touching and profound words about Mozart. as a souvenir of these marvelous concerts of Yvonne Loriod. and with all my admiration and best wishes!" 121 pp. 12mo. Softcover. Slight stain to the lower edge of the front cover and the inside front cover and front end paper; otherwise in very good condition. Together with a small newspaper clipping dated September 17 1989 reviewing a broadcast of Mozart piano concertos and mentioning Hocquard and Messiaen's view of the concertos as "instrumental dramas." Libraire Séguier / Archimbaud / Birr paperback books
1994ref. x-2738002862Inra-Quae 1994. Paperback. New. 552 pages. French language. 9.61x6.38x1.10 inches. Inra-Quae paperback
2004ref. DADAX0634080369Durand Press 2004-05-01. paperback. New. 5.00x0.28x8.50. Buy with confidence. Excellent Customer Service & Return policy. Durand Press paperback
ref. BN369948Traité de rythme de couleur et d'ornithologie 1949-1992 : Tome 5 Volume 1 Chants d'oiseaux d'Europe Traité de rythme de couleur et d'ornithologie 1949-1992 : Tome 5 Volume 1 Chants d'oiseaux d'Europe Olivier Messiaen unknown
ref. BN373442Traité de rythme de couleur et d'ornithologie 1949-1992: Tome 1 Traité de rythme de couleur et d'ornithologie 1949-1992: Tome 1 Olivier Messiaen unknown
