950 résultats
1862réf. 26503Milano: Francesco Lucca PNs 13851-13876 1862. Folio. Dark gold cloth-backed wrappers. 1f. recto with lithographic illustration of a scene from the opera verso blank. 1f. recto title verso blank 1f. recto named cast list verso table of contents with plate and page numbers 247 i blank pp. Engraved. Text in Italian. Named cast includes Giuseppe Morini Giorgio Atry Luigi Colonnese Vincenzo Paraboschi Leonilda Boschetti Maria Gualtieri and Prassede Dompieri. Lacking upper wrapper lower worn and soiled. Slightly worn and soiled; margins and outer leaves foxed; occasional fraying perforations chips and small tears not affecting music; upper portions of some leaves dampstained. First Italian edition of the second version. OCLC no. 16852458. Faust was first performed at the Théâtre Lyrique in Paris on March 19th 1859 in a version with spoken dialogue; recitatives were added in 1860 and a ballet in 1869. The libretto by Barbier and Carre is based on Goethe but focuses on the love story between Faust and Marguerite. "The historical importance of Faust is that it sounded a new note in French music. The conventional pomposities of the grand opera which then dominated the stage were superseded by a more intimate and poetic approach. The fashion Gounod set was one of conversational exchange rather than declamation." James Harding: Gounod p. 114. Francesco Lucca [PNs 13851-13876] unknown books
1866réf. 26259Paris: Choudens PN A.C. 738 1866. Large octavo. Quarter contemporary red calf with marbled boards rules and titling gilt to spine marbled endpapers. 1f. title i named cast list for the first performance and table of contents 148 pp. Lithographed. Text in French. Handstamps of Choudens and E. Heu to lower margin of title. Printer's note to lower margin of table of contents. Binding slightly worn bumped and scuffed; head of spine slightly torn. Some minor soiling; small tear to blank head of first two leaves. Second version first issue. Lesure II pp. 108-09. OCLC no. 15150060. The first performance of La Colombe took place at the Théatre de Bade in Baden-Baden on August 3 1860 under the direction of Edouard Bénazet. An expanded version of the opera was staged at the Opéra-Comique in Paris in 1866. "Gounod's 12 operas span a range of the generic types available in French lyric theatre. Smaller works such as Philémon et Baucis and La colombe strike a balance between spoken dialogue and set pieces typical of opéra comique of the second quarter of the 19th century: relatively small-scale numbers with many strophic types among them are joined by long passages of dialogue. Musical depictions of frivolity are relatively few by standards of the genre contributing to the general tenor of these pieces as sentimental comedy." Steven Huebner in Grove Music Online. Choudens [PN A.C. 738] unknown books
réf. 39978One bifolium 272 x 347 mm. 4 pp. Notated in black ink on 26-stave rastrum-ruled paper. Unsigned and undated. With significant corrections cancels etc. Slightly worn and browned; small tear to blank outer margin of first leaf repaired; horizontal crease; short split to head and tail of spine. In very good condition overall. Music unlocated but very likely from a sacred vocal work with orchestra. The first page contains 16 measures of music on 8-line staves the uppermost stave marked with the key signature of 5 sharps in a contrapuntal style incorporating stretto technique whereby a melody is restated in overlapping fashion in two or more voices. The second page contains 28 measures including four cancelled measures with music still visible on 4- and 5-line staves with a sharp-key signature as in the first page and passages of high-register 8th notes most likely for violin; the uppermost stave is designated "1e. Basson." The third page contains 21 measures on an 8-line stave being an alternate iteration of the material from the first page; the final 4 measures which are cancelled contain tremolo string material similar to the second page. The upper portion of the fourth and final page contains 8 measures of music similar to the first and third pages in a stretto character but with a new key signature of 3 flats. With 2 measures of music also with 3 flats to lower portion of final page. Gounod's interest in sacred music and counterpoint was awakened in his youth and continued for the span of his career. "Gounod arrived at the French Academy in Rome at the end of January 1840. Little there sustained his musical interest. He excoriated performances of operas by Donizetti Bellini and Mercadante composers he later characterized as mere 'vines twisted around the great Rossinian trunk without its vitality and majesty' and unable to match that composer's spontaneous melodic gifts. Gounod was however genuinely moved by performances of Palestrina at the Cappella Sistina and more generally by the cultural legacy of Rome in the other arts a legacy he felt that musicians could ill afford to ignore. His Roman experience laid the foundation for the stark comparison he drew in his aesthetics between on the one hand a universally appealing combination of beauty truth and Christianity and on the other egoism artifice and insularity. He described stile antico counterpoint as a selfless analogue to Michelangelo's frescoes issuing from pure Faith." Steven Huebner in Grove Music Online A fine example of a Gounod working manuscript in the composer's elegant hand displaying how he skillfully wove together counterpoint orchestration and compositional structure; well worthy of further study. unknown books
1880réf. 3465831880. 5 pages signed by the composer on the cover page. Folio. Blue cloth folder. Bookplate of Dr. Max Thorek and hsi usual stamp on the last page of ms. 5 pages signed by the composer on the cover page. Folio. With a copy of the printed score tipped in. unknown books
1884réf. 244944n.p. Paris 23 May 1884. 2 pp. pen and ink on folded sheet. With envelope. 8vo. Fine. 2 pp. pen and ink on folded sheet. With envelope. 8vo. Gounod sends his regrets that he cannot locate a verse play of Tourneux's father and complains of his heavy work load "I am snowed under with requests from the Committees and I can't accept even one more. My whole life goes into it and I devote all my time to it unknown books
1855réf. 244941Paris 1855. 1 pp. pen and ink on Écoles Communales letterhead. Letter 8 1/4 x 5 1/4 in. Frame 14 1/2 x 18 1/4 in. Light edgewear and creasing faint offset. Mounted and framed with photographic portrait. 1 pp. pen and ink on Écoles Communales letterhead. Letter 8 1/4 x 5 1/4 in. Frame 14 1/2 x 18 1/4 in. Gounoud writes in praise of "the new Solfege in three progressive lessons that you have just published" noting its usefulness to music teachers in the instruction of modern music. unknown books
1882réf. 244942n.p. Paris September 26th 1882. 2 pp. pen and ink on folded sheet. With envelope. 8vo. Old ink stain else near fine. 2 pp. pen and ink on folded sheet. With envelope. 8vo. Gounod overwhelmed by work writes "Please kindly excuse me but I am worn out! Everyday from the morning to the evening the countless appointments and summonses fight over my life: I don't even have time to face my correspondence! So more work. . Kindly let me know with a note the reason of your visit: if it is possible for me to help you I will do it . unknown books
réf. 623397No place: no publisher no date. Softcover. Good. Sheet music. Folio. Originally two nested bifolia making eight pages. Lacking the front cover though the music remains complete notched and worn along the folds from once being bound within an album as a result the leaves remain partially bound together good only. An instrumental piece for piano. Plate number "13633.6. no publisher unknown books
1894réf. 623396Philadelphia: W.H. Boner & Co 1894. Softcover. Good. Sheet music. Folio. Originally two nested bifolia making eight pages. Lacking the front cover though the music remains complete notched and worn along the folds from once being bound within an album as a result the leaves remain bound together offsetting to the back cover good only. An instrumental piece for piano. Plate imprint "W.H.B&Co. 218.5. W.H. Boner & Co unknown books
1864réf. 620624Boston: G.D. Russell & Company 1864. Softcover. Fair. Sheet music. Translated by Chas. J. Sprague. Folio. Notched and worn along the fold with page numbers stamped in the top corners from once being bound within an album as a result the insert remains attached to the back cover the front cover is detached but present light offsetting throughout and a dampstain at the top of the front cover affecting throughout a complete but fair to good only copy. For voice and piano. Plate number 327. This stand-alone edition of "Now Thy Sleep Is All Pretended" from Gounod's Faust is surprisingly rare OCLC locates no holdings and we cannot find any copies in the trade. G.D. Russell & Company unknown books
1873réf. 36762Paris: Choudens Père et Fils PN A.C. 1411 1873. Large octavo. Quarter red morocco with matching pebbled paper boards with crown and "M" gilt to upper spine in gilt-ruled compartments titling gilt marbled endpapers. 1f. recto title verso publisher's notes 1 named cast list for performances in April 1867 and January 1873 2-249 i blank 251-290 supplement. With attractive engraved armorial bookplate of the Duke of Massa possibly Alfred 1837-1913 to front pastedown. Binding slightly worn rubbed and bumped; foot of spine frayed; joints splitting. Significantly browned throughout; tears to inner margins of first two leaves. First performed in Paris at the Lyrique on 27 April 1867 to a libretto by Barbier and Carré after Shakespeare. Gounod's "Roméo et Juliette contains four exquisite soprano-tenor duets a number almost certainly unprecedented in 19th-century opera and a harbinger of the prominence of love duets in such works as Massenet's Manon and Werther; to Gounod's great credit each has a distinct musico-dramatic ambience and shape." Steven Huebner in Grove Music Online. Choudens Père et Fils [PN A.C. 1411] unknown books
1900réf. 36764Paris: Choudens PN A.C. 703 1900. Large octavo. Quarter dark blue morocco with marbled boards raised bands on spine in gilt-ruled compartments titling gilt. 1f. recto title within decorative architectural border verso blank 1f. recto named cast list and contents verso blank 49 i 50-54 55-178 pp. Some leaves unopened. Named cast includes Nicot Chapuy Bouhy and Giraudet from the Opéra-Comique and Froment Carvalho Battaille Balanqué and Sax from the Théâtre Lyrique. Binding very slightly worn rubbed and bumped. Third version later issue. Philémon et Baucis to a libretto by Jules Barbier and Michel Carré after Jean de La Fontaine's fable was first performed in Paris at the Théâtre Lyrique on February 18 1860. "At the suggestion of Léon Carvalho director of the Théâtre Lyrique Gounod expanded his original two-act frame into three by adding a middle act that depicts the orgiastic celebrations of the townspeople in Jupiter's temple. For the 1876 revival at the Opéra-Comique which established Philémon in the repertory of that house until World War II Gounod reduced the work to two acts." Steven Huebner in Grove Music Online. Choudens [PN A.C. 703] unknown books
1867réf. 36761Paris: Choudens PN A.C. 1412 1867. Large octavo. Mid-tan morocco-backed dark brown pebbled paper boards with titling and rules gilt to upper. 1f. recto title printed in dark blue within architectural border verso blank 1f. recto dedication to "Charles XV Roi de Suède & de Norwège" verso blank 1f. recto cast and contents verso blank 3-147 i blank pp. Lithographed. Berlin agents Schlesinger and Lienau printed to foot of title; handstamp of former Viennese owner to upper outer corner of free front endpaper. Binding worn and rubbed; corners abraided. Light browning throughout most noticeable to first and last leaves; many signatures split. First Edition in this form evidently published for both French- and German-speaking markets. First performed in Paris at the Lyrique on 27 April 1867 to a libretto by Barbier and Carré after Shakespeare. Gounod's "Roméo et Juliette contains four exquisite soprano-tenor duets a number almost certainly unprecedented in 19th-century opera and a harbinger of the prominence of love duets in such works as Massenet's Manon and Werther; to Gounod's great credit each has a distinct musico-dramatic ambience and shape." Steven Huebner in Grove Music Online. Choudens [PN A.C. 1412] unknown books
1890réf. 28804Paris: Choudens Père & Fils PN A. C. 1411 1890. Large octavo. Half maroon cloth with marbled boards title label in manuscript to spine. 1f. recto illustrated title verso notes i named cast list and contents 2-71 i 72-80 81-132 i 133-137 138-249 250 blank 251-290 pp. Binding slightly worn and faded; repairs to inner margins of many leaves; tear to lower margin of title repaired. Third version second issue. First performed in Paris at the Lyrique on April 27 1867 to a libretto by Barbier and Carré after Shakespeare. Gounod's "Roméo et Juliette contains four exquisite soprano-tenor duets a number almost certainly unprecedented in 19th-century opera and a harbinger of the prominence of love duets in such works as Massenet's Manon and Werther; to Gounod's great credit each has a distinct musico-dramatic ambience and shape." Steven Huebner in Grove Music Online. Choudens Père & Fils [PN A. C. 1411] unknown books
1892réf. 28738Boston: Oliver Ditson 1892. Quarto. Original publisher's dark orange wrappers with titling within architectural border. 1f. recto title verso blank 1f. recto preface verso blank 3-5 dramatis personae synopsis and contents 6-236 pp. Wrappers detached with minor chips tears and tape repairs to edges; former owner's signature "E.B. Shinmon" to upper wrapper; spine lacking. Some signatures split; former owner's signature to title; tape repair to upper margin of p. 131 not affecting music. Third version. First American edition. First performed to a libretto by Jules Barbier and Michel Carré after Carré's Faust et Marguerite and Johann Wolfgang von Goethe's Faust Part I in the French translation by Gérard de Nerval in Paris at the Théâtre Lyrique on 19 March 1859. To most opera lovers today Gounod is essentially the composer of Faust and Roméo et Juliette and with good reason for it would be difficult to defend the critical position that these are not his best works for the stage." Steven Huebner in Grove Music Online. Oliver Ditson unknown books
1900réf. 28306Paris: Choudens 1900. 1f. recto title verso blank 1f. recto named cast list and contents verso blank 132 pp. Named cast includes Barbot Balanqué Reynald Cibot Carvalho Faivre and Duclos. Bound with: Adam Adolphe 1803-1856. Le Brasseur de Preston Opéra-Comique en trois Actes Paroles de MM. de Lenven et Brunswick. Représenté pour la première fois a Paris sur le Théatre Royal de l'Opéra-Comique le 31 Octobre 1838 Partition Piano et Chant: 15 francs. Piano-vocal score. Paris: Bichault PN 4932 R. ca. 1900. 1f. recto title verso blank 1f. blank i contents 102 i blank 103-240 i blank i decorative device pp. Large octavo. Quarter red leather with textured red cloth spine in decorative compartments gilt titling gilt decorative endpapers. Binding slightly worn; remnants of label to spine. Browned; occasional foxing; some leaves trimmed; several leaves partially detached; some signatures split; annotation in pencil to verso of free front endpaper; small publisher's facsimile handstamp to upper margin of first page of music. First performed to a libretto by Jules Barbier and Michel Carré after Carré's Faust et Marguerite and Johann Wolfgang von Goethe's Faust Part I in the French translation by Gérard de Nerval in Paris at the Théâtre Lyrique on 19 March 1859. To most opera lovers today Gounod is essentially the composer of Faust and Roméo et Juliette and with good reason for it would be difficult to defend the critical position that these are not his best works for the stage." Steven Huebner in Grove Music Online. Choudens unknown books
1900réf. 28830Paris: Choudens PN A.C. 703 1900. Large octavo. Red cloth-backed textured blue paper boards with decorative device and titling printed in black to upper titling gilt to spine. 1f. recto title within decorative architectural border verso blank 1f. recto named cast list and contents verso blank 49 i 50-54 55-178 pp. Some leaves unopened. Named cast includes Nicot Chapuyt Bouhy and Giraudet from the Opéra-Comique and Froment Carvalho Battaille Balanqué and Sax from the Théâtre Lyrique. Binding slightly worn and soiled; upper hinge partially split. Browned; some signatures split. Third version second issue. Philémon et Baucis to a libretto by Jules Barbier and Michel Carré after Jean de La Fontaine's fable was first performed in Paris at the Théâtre Lyrique on 18 February 1860. "At the suggestion of Léon Carvalho director of the Théâtre Lyrique Gounod expanded his original two-act frame into three by adding a middle act that depicts the orgiastic celebrations of the townspeople in Jupiter's temple . For the 1876 revival at the Opéra-Comique which established Philémon in the repertory of that house until World War II Gounod reduced the work to two acts." Steven Huebner in Grove Music Online. Choudens [PN A.C. 703] unknown books
1881réf. 27462Paris 1881. 279 x 198 mm. Signed by the artist in pencil at lower left. A very good impression on laid paper. Remnants of hinges to upper corners of verso. Béraldi: Les Graveurs du XIXe Siècle Paris: 1885-92 XI-188. Faust an opera in five acts to a libretto by Jules Barbier and Michel Carré after Carré's Faust et Marguerite and Johann Wolfgang von Goethe's Faust Part I in the French translation by Gérard de Nerval was first performed in Paris at the Théâtre Lyrique on March 15 1859. "Faust became particularly important to the French musical establishment at the end of the century. A work by a winner of the Prix de Rome that could claim to be thoroughly modern and personal in style at its première and go on to international stages was a significant enhancement to the musical prestige of a French operatic culture previously dominated by Meyerbeer and the none-too-easily exportable genre of opéra comique. Its national value was enhanced because after some initial assessments as 'Wagnerian' Gounod's compositional voice in Faust was heard as important in the definition of a 'French' musical aesthetic." Steven Huebner in Grove Music Online. Renouard 1845-1924 was a noted painter and engraver whose works are held at the Louvre the Opéra Museum etc. unknown books
1895réf. 182174Chicago / New York: Rand McNally & Company 1895. Hardcover. VG light age toning to pages small tear to tissue guard covering frontispiece; light wear to boards hinges loose internally pages are otherwise clean and clear. Blue cloth boards red and gilt lettering and illustrations on covers; top edge gilt untrimmed pages 223 pp; bw portrait frontispiece with tissue guard. Rendered into English by Annette E. Crocker. Rand, McNally & Company hardcover books
réf. 330767framed. very good. Hand-written letter from French composer Charles Gounod. Written in french the letter is framed with an etched portrait image of Gounod. Envelope is included on the back side of the frame. Circa 1850. Please inquire for more information. Charles Gounod was a French composer. He wrote twelve operas of which the most popular has always been Faust 1859; his Romeo e Juliette 1867 also remains in the international repertory. He composed a large amount of church music many songs and popular short pieces including his "Ave Maria" an elaboration of a Bach piece and "Funeral March of a Marionette". unknown books
1970réf. 169696New York: Da Capo 1970. hardcover. near fine. 144 pages. Slim 8vo blue cloth. New York: Da Capo Press 1970. Near Fine. Facsimile reprint of the 1895 edition. Da Capo unknown books
réf. 48778Milano: Ricordi. Small 4to pp. 321. In Italian. Green cloth. Paper somewhat browned cover little worn at edges o/w VG. Libretto with piano score. Ricordi unknown books
réf. 45981NY: Rullman. Large 8vo pp. 32. Pencilled on cover "Saturday afternoon Dec. 28 1889." Paper wraps. In English and French. Cover little chipped and spotted some leaves slightly dog-eared o/w VG. "Mme. Angelina Patti under the direction of Henry E. Abbey and Maurice Grau. Opera libretto." Small portrait of Patti. Rullman unknown books
1901réf. 580113New York: G. Schirmer 1901. Softcover. Good. Later printing. English translation by M.R. Folio. Two nested bifoliums making eight pages. Outer bifolium separated along the fold dampstain to the bottom of the front cover affecting throughout holes from the removal of a staple at the top of the front cover affecting throughout and edgewear including chips and nicks a complete but good only copy. For voice and piano. Plate number 370. G. Schirmer unknown books
1895réf. 462014Chicago: Rand McNally & Company 1895. Hardcover. Near Fine/Near Fine. First American edition. Translayed by Annette E. Crocker. 12mo. 223pp. Partially opened. Decorated green cloth. Foredge untrimmed a few pages roughly opened but a handsome near fine copy. Rand, McNally & Company hardcover books
