1 011 résultats
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
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
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
1880réf. 33980New York: Charles D Koppel 1880. Paperback. Very Good. Paperback. Brown paper wrappers with black title to front cover. Advertisements for Steinway Pianos to both wrappers. Chipping to wrappers and to spine panel. Foxing and browning to interior. Includes musical score. 48 pages. DRA/041520. Charles D Koppel paperback 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
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
réf. 610210Mayence: B. Schull no date. Softcover. Very Good. Unknown edition. Folio. Text in French and German. Originally two nested bifolia making eight pages. Bifolia sewn together edgewear including a few small tears music shop stamp on the front cover and soiling to the exterior a complete but just a good or better copy. For voice soprano or tenor and piano. Plate number 18348. B. Schull unknown books
réf. 604278London: Schott & Co no date. Softcover. Good. Unknown edition. English words by Henry F. Chorley. Folio. 9pp. Text in French and in English. Wrappers. Edgewear throughout including chips and tears fraying and tears to the spine and soiling to the wrappers a complete but good only copy. For voice soprano and tenor and piano. Plate number 530 2. Schott & Co unknown books
réf. 7116viii 32 pp. 8vo 212 x 138 mm. modern aubergine cloth a little sunned title on upper cover. Paris: Félix & Regnault-Delalande 1824. A rare sale catalogue issued by the prolific expert Regnault-Delalande 1762-1824 describing the painter’s extensive collection. This copy is printed on large paper and begins with a valuable biography of the artist. Gounod 1758-1823 was a pupil of Lépicié; his first appearance at the Paris Salon was in 1799. His son Charles became a famous musician and composer. 192 lots. The catalogue describes paintings by S. Bourdon Chardin van Dyck Gounod La Tour Miel and Rembrandt; drawings by Bouchardon Ant. Carracci Cochin fils van Dyck Gounod Greuze Jordaens Le Brun N. Poussin Raphael C. J. Vernet etc.; prints by G. & B. Audran Bartolozzi Callot Earlom Morghen Nanteuil Porporati Rembrandt C. Vernet etc. The print suites and books include the works of Palladio Scamozzi Perrault Newton Barbault Bartoli Piranesi etc. We also find the standard art historical books and artistic treatises of the 18th century. Fine copy. In the characteristic binding of the Bibliothèque Heim and with the library’s stamp on verso of title. ⧠Lugt 10600. Oxford Art Online. unknown books
réf. 13967NY STEIN 1973. FIRST AMERICAN EDITION VERY GOOD. 1st Edition. NY, STEIN, 1973 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
réf. 395518 measures in treble clef notated in black ink on a portion of a 14-stave rastrum-ruled album leaf 177 x 233 mm. With text in French in Gounod's hand commencing "Il etait un Roi du Thulé" Marguerite's melancholy aria from Act III. Identified in the composer's hand at foot: "Ballade du Roi de Thulé . à Monsieur Lebert. Ch. Gounod" and dated 26 August 1869. Slightly faded; browned; creased at central vertical fold; portions of leaf slightly lightened; margins of verso reinforced with brown paper tape. 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 19 March 1859 in a version with spoken dialogue; recitatives were added in 1860 and a ballet and couplets for Méphistophélès were added for a new production in 1869. "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. "Faust remains one of the landmarks of French 19th-century opera full of variety and with an underlying sensuality that saved it from the sentimentality and banality to which Gounod's later works especially his oratorios often descended in his quest for inspired simplicity." Robert Orledge in Grove Music Online A considerable success at its premiere the work was one of the most frequently performed works at the Opéra becoming one of the staples of the international repertory. unknown
1871réf. 36758Paris: Choudens PN A.C. 2260 1871. Large octavo. Quarter dark brown morocco with marbled boards spine in decorative compartments gilt titling gilt marbled endpapers. 1f. recto title printed in dark brown verso blank 3 contents 4-39 i pp. Text in French and Latin. Lithographed. Performance markings in pencil to first number; minor annotatioins in ink to p. 15. Binding quite worn and rubbed corners slightly bumped. Minor to moderate browning. First French edition the Novello Ewer & Co. edition most probably pre-dates the French edition. Bound with: Schubert Franz Collection 40 Mélodies Choisies avec accompt. de Piano . avec les Paroles Allemande s originales et une Traduction Française de Maurice Bourges et Emile Deschamps . Prix 7f. net. Paris: Brandus et Cie. PN B. et Cie. 5199 after 1850. 1f. recto full-page half-length lithographic portrait of Schubert verso blank 1f. recto title verso blank 1f. recto contents verso blank 174 pp. Text in French and German. Lithographed. Minor wear; some foxing and browning; several signatures partially detached; publisher's facsimile signature handstamp to blank foot of title. Choudens [PN A.C. 2260] unknown
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
1986réf. 1-0793553687G. Schirmer Inc. 1986. Paperback. New. 336 pages. 11.00x7.75x1.00 inches. G. Schirmer, Inc. paperback
