GOUNOD, Charles 1818-1893Biblio.com
1012 risultati
1866rif. 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
1888rif. 88513Paris: s. n. 1888. Fine. s. n. Paris 1888 11 x 15 cm Une photographie Original photograph depicting Charles Gounod full face. Vintage gelatin silver print mounted on cardboard produced by photographer Isidore Alphonse Chalot at 18 rue Vivienne Paris. Autograph inscriptions in black then blue ink on the verso by the recipient A. Lasserre inspector at the Opéra Garnier: ""Portrait de Ch. Gounod signé le soir de la 926eme représentation de Faust samedi 29 septembre 1888 A. Lasserre."" Additional handwritten note in pencil in the right margin of the verso: 1867e représentation de Faust le 28 septembre 1929. Printed stamp at foot of the verso: ""Maison Martinet Albert Hautecoeur 18 bd des Capucines."" Charles Gounods dated autograph signature to upper right corner of the photograph : ""Ch. Gounod 29 7bre / 88."" leaux "" s. n. unknown
1986rif. 1-0793553687G. Schirmer Inc. 1986. Paperback. New. 336 pages. 11.00x7.75x1.00 inches. G. Schirmer, Inc. paperback
1986rif. 1-0793512123G Schirmer 1986. Paperback. New. 266 pages. 11.00x7.75x0.75 inches. G Schirmer paperback
1867rif. 82010Paris: Choudens 1867. Fine. Choudens Paris S.d 1867 19 x 28 cm relié Roméo et Juliette - Opera score in 5 acts by J. Barbier et M. Carré Choudens Paris n.d 1867 19x28cm bound. First edition. Opera in five acts based on the play Romeo and Juliet by William Shakespeare music by Charles Gounod for voice and piano and libretto by Jules Barbier and Michel Carré. Contemporary red half shagreen color restored gilt spine glazed calico boards double ruled in gilt central gilt initials of Ernest Beulé on the first board moiré silk endpapers with some spotting and staining to the margins first original cover preserved all edges gilt strictly contemporary binding. Rare inscription signed by Charles Gounod to archaeologist Ernest Beulé. Choudens hardcover
1851rif. 82716Paris: Michel Lévy frères 1851. Fine. Michel Lévy frères Paris 1851 12.50 x 19.50 cm relié First edition of this play set to music by Charles Gounod. Bradel binding in half grey cloth with corners smooth spine decorated with gilt floral motif gilt date and double fillet at foot of spine navy blue shagreen title-label with minor rubbing marbled paper boards covers and spine preserved binding signed in blind by Victor Champs. Handsome copy. Michel Lévy frères hardcover
rif. DADAX0415973511New unknown
1939rif. 331228New York: Crown Publishers 1939. First Edition; First Printing. Hardcover. Very Good in boards. Foxing on top text block edge. Crown Publishers hardcover
1880rif. 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
1891rif. 40524AB1891. London Sampson Low Marston Searle & Rivington 1891. 23cm x 14.5cm. xxxii 3 244 pages. Original Hardcover. Gilt lettering on spine and cover. Very good condition with only minor signs of wear. Minor stain on endpaper. Stamp and annotation by previous owner on end paper. Spine starting to separate from the block. Minor traces of foxing to end papers and title page. Text itself in excellent condition. Very Rare ! Includes for Example: Gounod at home/ The Monceau quarter/ His house family and study/ Sociability of musicians/ What Gounod thinks of virtuosi/ His favourite interpreters: Madame Viardot Madame Carvalho Madame Krauss/ Gounod rehearsing his interpreters/ His privacy invaded by professionals and amateurs/ His correspondence/ His unvarying politeness and inexhaustible good nature/ Concerts and festivals/ Leader of the orchestra/ Why a composer likes to direct the execution of his music/ Sensitiveness of musicians/ Opinions of St. Augustine and Alexandre Dumas on play-acting/ Over the 500th performance of "Faust" and the first of "L'Arlesienne"/ Gounod's marriage/ His theatrical work/ The choruses of "Ulysses" at the Theatre Francais/ Grecian without being Pagan/ Two symphonies/ The "Nonne Sanglante" at the Opera/ "Faust" Gounod's masterpiece/ First application of the "leit motiv" by Monteverde in the sixteenth century/ State of French musical art at the time of "Faust's" appearance/ Jules Barbier Gounod's librettist/ The quest for a manager M. Carvalho accepts "Faust" for the Theatre Lyrique/ Gounod composes "Le Medecin malgre lui"/ Madame Miolhan Carvalho/ Demands for a final a l'Italienne/ Gounod looked upon as a revolutionary/ His views on music and musicians/ His reverance for Mozart/ What he thought of Bach Weber Palestrina Gluck Rossini Meyerbeer Berlioz Bizet/ The burning question of Wagner/ How Gounod understood art/ His ironical catechism of modern music etc. hardcover
1884rif. 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
1855rif. 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
1882rif. 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
1885rif. 770R75London & New York: Novello Ewer and Co. c1885. Leather. Very Good. 10.5" by 7". None. A wonderful leather-bound collection of scores of 'Mors et Vita' by Charles Gounod and 'The Passion' by Joseph Haydn. 'Mors et Vita' is a three-part oratorio which premiered at the Birmingham Festival in 1885 conceived as a sequel to the successful 'La Redemption'.'The Passion The Seven Words of our Saviour on the Cross' is here set to music by J. Haydn in an adaptation by the Reverent H. Clementi-Smith.Charles Francois Gounod 1818-1893 was a French composer most renowned for his twelve operas including 'Faust' and 'Romeo et Juliette'. He studied at the Conservatoire de Paris. He was extremely influential upon later French musicians.Joseph Haydn 1732-1809 was a Classical composer hailing from Austria. Haydn was an extremely prolific and influential composer being a friend and mentor to Mozart and the tutor of Beethoven.Undated; dated from copies on Jisc. In a half straight grain morocco binding. Externally a trifle rubbed to the head of the spine resulting in slight loss to the leather; some slight wear to the hinges and bumping to the extremities otherwise general wear. Internally firmly bound. Pages are bright and clean. Very Good Novello, Ewer and Co. hardcover
1857rif. 020632Paris France: not published 1857. Book. Very good condition. Unbound. Signed and Inscribed by Author. 1st Edition. Octavo 8vo. One page letter dated January 23 1857 and written on Ecoles Communales letterhead. French Romantic composer Charles Gounod 1818-1893 writes to Belgian-born French composer educator and librarian Aime Leborne 1797-1866. Apparently delivered to him while at the opera. The content is in regards to giving permission for a copy to be made of the introduction of Gounod's opera "La Nonne Sanglante" The Bloody Nun which debuted in 1854 and was canceled after only 11 performances. Minor soiling to the paper. not published Paperback
1895rif. 16060197Chicago: Rand McNally & Co. 1895. trans. Annette E. Crocker. gilt pictorial green cloth t.e.g. others untrimmed. Cracked front hinge reglued cover extremities lightly rubbed: VG/no dj. 12mo. frontispiece of Gounod Rand, McNally & Co. hardcover
rif. 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
1890rif. 038425London: Various Heugel Joseph Williams Hopwood & Crew Edwin Ashdown and others 1890. Book. Very Good. Hardcover. Original. Folio. over 12 scores privately bound from various publishers two with colour lithographic title pages a mix of piano scores some with vocals. Bound in green cloth covered boards with fine gilt to the spine some light wear and marking to boards. Contents clean and tight a couple of inscriptions dated 1890 and 1892 owner's name Dennis Turner in ink a few discrete stamps of music circulation companies such as Mills no other marks. A very good copy. An interesting collection of piano pieces. . Various Heugel, Joseph Williams, Hopwood & Crew, Edwin Ashdown and others Hardcover
rif. NOTE0558Frankfurt Peters 1995. 4°. 134 S. OKart. sehr guter Zustand. Frankfurt, Peters 1995. unknown
rif. NOTE0027New York Broude Brothers 1973. 4°. 368 S. OLn. Vosatzblätter leicht fleckig sonst einwandfrei. Text in französischer u. englischer Sprache. New York, Broude Brothers [1973]. unknown
2012rif. DADAX3849139808TREDITION CLASSICS 2012-11-22. hardcover. New. 5.43x0.63x8.23. Buy with confidence. Excellent Customer Service & Return policy. TREDITION CLASSICS hardcover
2013rif. SONG0486283496Dover Publications 2013-10-17. First Edition. paperback. Used: Good. 9.42x1.20x12.24. Buy with confidence. Excellent Customer Service & Return policy. Dover Publications paperback
1870rif. 954T70Berlin: Ed. Bote & G. Bock c1870. Cloth. Very Good. 12" by 9.5". None. The musical and vocal score of this grand opera in five acts from French composer Charles-Francois Gounod in German. German. New revised edition with Italian text. A grand opera in five acts to a French libretto from the play Faust et Marguerite by Michel Carre which was in turn loosely based on Johann Wolfgang von Goethe's Faust Part One. The piece follows Faust an aging scholar who determines that his studies have come to nothing and have only caused him to miss out on life and love. Written by Paul Jules Barbier a French poet writer and opera librettist and Michel Carre a prolific French librettist who often collaborated with each other. With the music by Charles-Francois Gounod usually known as Charles Gounod a French composer noted for church music and popular short pieces including his "Ave Maria" an elaboration of a Bach piece and "Funeral March of a Marionette". Previously held in the library of Felix Hubel a German entrepreneur publisher writer translator and collector. Dated from the Royal Academy of Music Library. Bound in full green cloth with the original paper wraps bound in. Externally smart with light rubbing and minor bumping to the extremities. Light fading to the spine with the odd small mark to the cloth. Internally firmly bound. Pages are very bright with light age toning to the extremities. Minor spotting to the first and last few pages. Previous owner's bookplate to the front pastedown. Very Good Ed. Bote & G. Bock hardcover
rif. 30430615-nnew. unknown
rif. 45311108like new. unknown
