Franz LisztBiblio.com
1250 risultati
rif. ria9783111173245_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A hardcover
rif. ria9783112444870_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A hardcover
rif. a54986Berlin c.1820 Schlesinger'schen Buch- u. Musikhandlung S. 3297. In German. smfolio. 20pp. original wraps. Small owner stamp on front. VG. Not a modern reprint. No owner marks. No tears almost no wear at all. Pictures available on request. . paperback
1900rif. 11344Paris, Rouart, Lerolle et Cie. non daté, vers 1900 - 2 parties 10 et 21 pp.Belle reliure à la bradel demi-maroquin bleu à coins. Dos lisse orné et doré. Tête dorée. Couverture conservée. Pas de rousseur. Dos et coins légèrement frottés. Bon état. Format in folio (35x28).
rif. 1801387516.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
rif. 0486424308.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. 20354Association des amis d'Ivan Tourguéniev, Pauline Viardot et Maria Malibran, Paris, 1977-1996.
1881rif. 28117AB1881. Nouvelle édition. Leipzig Breitkopf & Haertel 1881. Gross-8°. 1 Bl. 4 538 S. 1 Bl. Illustr. silbergeprägter Orig.-Leinenband Um 200 S. erweitere Neuauflage über die von Liszt beschriebene Volksmusik der Roma und der Juden in Ungarn und Russland. - Mit getilgtem Namenszug auf dem Halbtitelblatt. Einband berieben und bestossen. unknown
1881rif. 28117ABNouvelle édition. Leipzig, Breitkopf & Haertel, 1881. Gross-8°. (1) Bl., (4), 538 S., (1) Bl. Illustr. silbergeprägter Orig.-Leinenband
rif. 45226508-nnew. unknown
rif. 45226508like new. unknown
rif. __3112379616De Gruyter 1911. Hardcover. New. reprint edition. 413 pages. German language. 6.14x1.06x9.21 inches. De Gruyter hardcover
rif. 82621Paris Editions des Horizons de France 1936. 4° 249 S. davon 37 S. Text ansonsten Taf. Priv.-HLdr. m. gold. Rückenpräg. u. eingebundenem Einband der Orig.-Broschur Ldr. etw. unsauber kleine Abspleissungen am Kopf Name a. Vakatseite innen sonst tadellos. Liszt in der Malerei Photographie Bildhauerei und Karikatur. Mit zahlreichen Abbildungen zu seinen Werken. 010 Paris, Editions des Horizons de France, 1936 unknown
1838rif. 40939Vienne: Tob. Haslinger PN T. H. 7573 1838. Folio. Disbound. i title 2-23 i blank pp. Engraved. With secondary pagination to rectos in manuscript. Small oval handstamp of P.K. Weizel Brooklyn NY to lower margin of title. Formerly in the collection of the Forbes Library in Northampton Massachusetts with their handstamp to upper outer corner of title and several pages. Very slightly worn soiled and foxed; outer bifolium separated at spine; small blank piece of ivory paper laid down to final blank page. First Edition. Searle 419. Raabe 230. Tob. Haslinger [PN T. H. 7573] unknown
1840rif. 40936Vienne: A. Diabelli & Comp. PN D et C No. 6959 1840. Folio. Unbound. 1f. recto title with vignette of dancing couple and group of musicians 3-1. i blank pp. Engraved Some wear and minor foxing; outer bifolium separated at spine' 6" in contemporary manuscript to upper outer corner of title. Indecipherable signature in pencil to lower outer corner of title with several annotations in purple ink. First Edition. Searle 425. Raab 250. Auman and White 124a. A. Diabelli & Comp. [PN D et C No. 6959] unknown
1862rif. 41066Leipzig: Breitkopf & Härtel PN 9056 1862. Octavo. Original publisher's blue printed wrappers. 1f. recto title verso blank 1f. recto composer's note on performance practice in German verso same note in French dated "Weimar Mars 1856" 1f. recto preface in German verso preface in French 97 iii blank pp. Title note and preface lithographed; music engraved. With publisher's catalogue to verso of lower wrapper. With Beer & Schirmer New York and Musik-Antiquariat Doblinger handstamps to upper wrapper; Beer and Schirmer and publisher's handstamp to title. Wrappers worn soiled chipped and torn; spine reinforced with paper tape with small pieces of same tape to verso of upper wrapper. Minor internal wear. First Edition later issue. Searle 97. Raabe 414. Sonneck Orchestral Music p. 266. Liszt was a distinguished Hungarian composer pianist conductor and writer. "Sketchbook evidence points to 1846-7 as the years when Liszt began to conceive the idea of a series of programmatic orchestral works. Of the four works he named all based on French poetry Ce qu'on entend sur la montagne and Les Préludes eventually became symphonic poems. . Liszt's concentration on the symphonic poem largely coincided with his tenure as Kapellmeister in Weimar where he had an orchestra at his disposal and provided music for performances at the Court Theatre. The Grand Duke commissioned Liszt's 'overtures' to preface specific dramas which thereby determined the subject matter of what were to become a number of his symphonic poems. Cormac F2017 argues that Liszt's approach to the overtures and their transformation into symphonic poems was influenced by his experience of an array of dramatic media opera plays melodramas tableaux vivants and by his interaction with staff and actors involved in the dramatic productions in Weimar. A New German School acolyte Felix Draeseke writing about the symphonic poems in a series of essays from the late 1850s acknowledged the influence of dramatic music especially opera on Liszt's Festklänge. Draeseke also addressed the issue that continues to interest scholars - the symphonic poems' engagement with sonata form. . Looking at the 12 Weimar symphonic poems Vande Moortele . views all but three Orpheus Héroide funèbre and Hunnenschlacht as using sonata form as one of the central principles guiding their large-scale organization. Furthermore Liszt seems to have attempted the same merging of sonata form and sonata cycle evident in the B Minor Sonata in Tasso Les préludes and Die Ideale and possibly Ce qu'on entend sur la montagne. . Some of the symphonic poems include mimetic representation of scenes and actions such as Hunnenschlacht's depiction of a battle and Prometheus's evocation of a voice followed by a storm. The inclusion of such passages drew criticism that a number of the symphonic poems seemed formless and could not be understood without access to a programme. In other symphonic poems such as Les Préludes and Orpheus Liszt responded to a philosophical programme without compromising musical logic. In these cases critics recognized Liszt the 'tone poet' who could capture a poetic stimulus in an expressive evocative musical flow unified by a single theme that underwent transformations. In general Liszt's sumptuous orchestral colorings were the dominant focus of critics' positive reception of his symphonic poems and programme symphonies." Dolores Pesce Maria Eckhardt and Rena Charnin Mueller in Grove Music Online. Breitkopf & Härtel [PN 9056] unknown
1838rif. 40939Vienne: Tob. Haslinger PN T. H. 7573 1838. Folio. Disbound. i title 2-23 i blank pp. Engraved. With secondary pagination to rectos in manuscript. Small oval handstamp of P.K. Weizel Brooklyn NY to lower margin of title. Formerly in the collection of the Forbes Library in Northampton Massachusetts with their handstamp to upper outer corner of title and several pages. Very slightly worn soiled and foxed; outer bifolium separated at spine; small blank piece of ivory paper laid down to final blank page. First Edition. Searle 419. Raabe 230. Tob. Haslinger [PN T. H. 7573] unknown books
1840rif. 40936Vienne: A. Diabelli & Comp. PN D et C No. 6959 1840. Folio. Unbound. 1f. recto title with vignette of dancing couple and group of musicians 3-1. i blank pp. Engraved Some wear and minor foxing; outer bifolium separated at spine' 6" in contemporary manuscript to upper outer corner of title. Indecipherable signature in pencil to lower outer corner of title with several annotations in purple ink. First Edition. Searle 425. Raab 250. Auman and White 124a. A. Diabelli & Comp. [PN D et C No. 6959] unknown books
1862rif. 41066Leipzig: Breitkopf & Härtel PN 9056 1862. Octavo. Original publisher's blue printed wrappers. 1f. recto title verso blank 1f. recto composer's note on performance practice in German verso same note in French dated "Weimar Mars 1856" 1f. recto preface in German verso preface in French 97 iii blank pp. Title note and preface lithographed; music engraved. With publisher's catalogue to verso of lower wrapper. With Beer & Schirmer New York and Musik-Antiquariat Doblinger handstamps to upper wrapper; Beer and Schirmer and publisher's handstamp to title. Wrappers worn soiled chipped and torn; spine reinforced with paper tape with small pieces of same tape to verso of upper wrapper. Minor internal wear. First Edition later issue. Searle 97. Raabe 414. Sonneck Orchestral Music p. 266. Liszt was a distinguished Hungarian composer pianist conductor and writer. "Sketchbook evidence points to 1846-7 as the years when Liszt began to conceive the idea of a series of programmatic orchestral works. Of the four works he named all based on French poetry Ce qu'on entend sur la montagne and Les Préludes eventually became symphonic poems. . Liszt's concentration on the symphonic poem largely coincided with his tenure as Kapellmeister in Weimar where he had an orchestra at his disposal and provided music for performances at the Court Theatre. The Grand Duke commissioned Liszt's 'overtures' to preface specific dramas which thereby determined the subject matter of what were to become a number of his symphonic poems. Cormac F2017 argues that Liszt's approach to the overtures and their transformation into symphonic poems was influenced by his experience of an array of dramatic media opera plays melodramas tableaux vivants and by his interaction with staff and actors involved in the dramatic productions in Weimar. A New German School acolyte Felix Draeseke writing about the symphonic poems in a series of essays from the late 1850s acknowledged the influence of dramatic music especially opera on Liszt's Festklänge. Draeseke also addressed the issue that continues to interest scholars - the symphonic poems' engagement with sonata form. . Looking at the 12 Weimar symphonic poems Vande Moortele . views all but three Orpheus Héroide funèbre and Hunnenschlacht as using sonata form as one of the central principles guiding their large-scale organization. Furthermore Liszt seems to have attempted the same merging of sonata form and sonata cycle evident in the B Minor Sonata in Tasso Les préludes and Die Ideale and possibly Ce qu'on entend sur la montagne. . Some of the symphonic poems include mimetic representation of scenes and actions such as Hunnenschlacht's depiction of a battle and Prometheus's evocation of a voice followed by a storm. The inclusion of such passages drew criticism that a number of the symphonic poems seemed formless and could not be understood without access to a programme. In other symphonic poems such as Les Préludes and Orpheus Liszt responded to a philosophical programme without compromising musical logic. In these cases critics recognized Liszt the 'tone poet' who could capture a poetic stimulus in an expressive evocative musical flow unified by a single theme that underwent transformations. In general Liszt's sumptuous orchestral colorings were the dominant focus of critics' positive reception of his symphonic poems and programme symphonies." Dolores Pesce Maria Eckhardt and Rena Charnin Mueller in Grove Music Online. Breitkopf & Härtel [PN 9056] unknown books
in 3 Bde. xii, 570, viii, 315. Notenbeisp. HLn. d. Zt. 4°
rif. 58031Breitkopf et Haertel Leipzig. 1881. Second edition. First 1859. 8vo 538pp. Quarter leather bound with gilt ruled raised bands & title to spine. Marbled boards surface scuffed with edges worn & chipped. Leather predominately surface peeled. Marbled endpapers. Previous owner's name to half-title page. Blank flyleaves & half-title pages browned. Overall a good hardback copy. French text. Breitkopf et Haertel, Leipzig. 1881. Second edition. ( First 1859.) hardcover
rif. 44088236like new. unknown
rif. 44088236-nnew. unknown
rif. 41349832like new. unknown
