SAINT-SAENS, Camille 1835-1921Biblio.com
585 résultats
1910réf. 28600Paris: Durand & Cie D. F. 7747 1910. Quarto. Full textured dark red flexible cloth boards titling gilt to spine. 1f. dedication 1f. notes on first performance and cast list 1f. contents 213 i blank pp. Manuscript notes in pencil recording the cast of the performance at the Paris Opéra on 22 November 1911 under André Messager the 16th performance of the work in Paris. Binding slightly worn; joints partially split; endpapers browned. Uniform light browning; some signatures split. Lacking title. First Edition. Ratner II p. 318. [Durand & Cie] [D. F. 7747] unknown
1900réf. 36740Paris: A. Durand et Fils PN D. & F. 5583 1900. Large octavo. Quarter dark brown morocco with marbled boards raised bands on spine in compartments black title label gilt marbled endpapers. 1f. recto half-title verso blank 1f. recto dedication verso publication note 1f. recto blank verso heliogravure portrait engraving of Saint-Saëns with reproduction autograph musical quotation 1f. recto title in red and black verso blank 1f. recto notes on first performances and named cast list verso blank 1f. recto color plate depicting Dalila holding Samson's hair verso blank 1f. recto notes on first performance and named cast list verso blank 1f. irecto index verso blank 285 i blank pp. Named cast for the first performance in Weimar at the Théatre Grand-Ducal on 2 December 1877 includes Muller Férenczy and Milde; for the first performance in France in Rouen at the Théatre des Arts on 3 March 1890 Bossy Lafarge and Mondaud; and for the first performance in Paris at the Théatre Lyrique de l'Éden on 31 October 1890 Bloch Talazac and Bouhy. Binding slightly worn rubbed and bumped; endpapers browning. Some minor internal wear; light uniform browning. Revised version. Ratner II p. 23. A. Durand et Fils [PN D. & F. 5583] unknown
1892réf. 29584Paris: A. Durand & Fils PN D.S. 3714 1892. Large octavo. 1f. recto title printed in sepia within decorative border by L. Denis printed in sepia and light green verso blank 1f. recto named cast list verso blank 1f. recto index verso blank 234 pp. Title and three following leaves with early Parisian handstamp somewhat blurred. First leaves slightly foxed; scattered light foxing; final leaves slightly creased. Ratner II p. 10. "Like Mozart to whom he was often compared Saint-Saëns was a brilliant craftsman versatile and prolific who contributed to every genre of French music. He was one of the leaders of the French musical renaissance of the 1870s." Sabina Teller Ratner et al. in Grove Music Online. A. Durand & Fils [PN D.S. 3714] unknown
1879réf. 26260Paris: Durand Schoenewerk PN D.S. & Cie. 2551 1879. Large octavo. Half mid-blue cloth with marbled boards speckled edges marbled endpapers. 1f. dedication 1f. decorative title printed in red and blue 1f. engraved frontispiece portrait of Etienne Marcel by G. Fraipont after A. de Neuville 1f. named cast list 1f. table of contents 365 i blank pp. Named cast includes Delrat Stéphanne Plançon De Grave Echetto Baron Nerval Reine Mézeray Amélie Luigini Legénisel Bonnefond Morfer and Frédéric. Publisher's and vendor's handstamps to lower blank margin of title. Binding very slightly worn and rubbed; minor soiling and wear to outer edge. Occasional very light soiling not affecting music. A very attractive copy overall. First Edition. Ratner II p. 99. First performed at the Grand Theatre in Lyons on 8 February 1879. Saint-Saens and Gallet took as subject matter for their historical drama the life of Etienne Marcel hero of the 1358 popular rebellion during the regency of the Dauphin Charles. The subject held contemporary resonance in the rebuilding of Paris following the destruction of the Commune. Durand Schoenewerk [PN D.S. & Cie. 2551] unknown
1890réf. 26602Paris: Durand et Schoenewerk PN D.S. 4025 1890. Large octavo. Quarter contemporary red morocco with marbled boards raised bands on spine in decorative compartments gilt marbled endpapers. 1f. half-title 1f. illustration of a scene from the opera 1f. title i facsimile of 2 medallions under which the text "Benvenuto fecit" is printed i note regarding the mise en scène i named cast list for the first performance ii table of contents i blank 391 i blank pp. With publisher's partial handstamp to lower outer corner of half-title. Supplement "Annexe" to pp. 388-391. Binding slighty worn rubbed and bumped. Minor foxing. Contemporary musical notation somewhat smudged. An attractive copy overall. First Edition of the first version. Ratner II p. 205. Ascanio to a libretto by Louis Gallet after Paul Meurice's play Benvenuto Cellini was first performed in Paris at the Opéra on March 21 1890. "Composed in 1887-8 Ascanio makes a grand opera of a play of intrigue set in Paris in 1539. Meurice whom Saint-Saëns knew well had collaborated with Alexandre Dumas père on his novel Benvenuto Cellini published in 1843 and had fashioned a successful play from the story in 1852. To avoid confusion with Berlioz's opera the title was changed even though Cellini is still the principal character in the drama and a scene in the play where Cellini runs out of metal when casting a statue was not included. The choice of an episode from Cellini's life that took place in France at the court of François I satisfied Saint-Saëns' longstanding desire to base his operas on French history and by casting the third act as a fête at Fontainebleau a departure from Meurice's play he found an opportunity for an extensive divertissement of 12 dances very much in the spirit and to some extent in the style of French Baroque opera." Hugh Macdonald in Grove Music Online. Durand et Schoenewerk [PN D.S. 4025] unknown
réf. 271153 pp. of a bifolium. Octavo ca. 159 x 101 mm. Dated "Sunday." On black-bordered ivory mourning stationery. In French with translation. Saint-Saëns writes that his correspondent "has done well to be insistent" about the ending of an unidentified work and has implemented the necessary corrections. "This ending was necessary. 'L'ombre abrite' is impossible. I put 'dans l'ombre près del la fenêtre' and I substituted 'doux enfant' for 'jeune enfant'. That is obvious I know but it is a platitude. Never neither in prose nor in verse should one put a useless adjective. By finishing short and simple my piece gains a lot from this addition." Small annotation to blank final page. Slightly worn and soiled; creased at folds. "Like Mozart to whom he was often compared Saint-Saëns was a brilliant craftsman versatile and prolific who contributed to every genre of French music. He was one of the leaders of the French musical renaissance of the 1870s." Sabina Teller Ratner et al. in Grove Music Online. unknown
réf. 005931Various. Library Compilation . Hardcover. Very Good/None as Issued. EX-LIB. Collection of 9 variously sized soft cover librettos bound by The Free Public Library of Concord MA in Feb 1943 as Volume 2 of two. Black boards w/gilt spine lettering/NF. The librettos are: 1 L'AMORE DEI TRE RE Tragic Poem in 3 Acts Sem Benelli; the original Italian with English translation by R.H. Elkin published by Fred. Rullman for the Chicago Civic Opera Co; text Near New & bright. 2 LUCIA DI LAMMERMOOR Donizetti published by Oliver Ditson Boston; Italian/English text and music of princial airs; text Near New soft cover discolored & chipped. 3 LA JUIVE The Jewess in 5 acts Havlevy Fred. Rullman for the Chicago Civic Opera Co; text/Near New; discoloration to cover. 4 THAIS Lyric Comedy in 3 acts music by Jules Massenet; French/English text; printed as performed at the Manhattan Opera House under the direction of Oscar Hammerstein for the Boston Opera House by Fred. Rullman; Text/As New w/trace margin discoloration cover/Fine. 5 DON GIOVANNI Mozart with Italian/English text; Oliver Ditson Boston. Text/Near New w/curled corners to upper corner of last pgs. Cover/NF. 6 LA BOHÉME Puccini Italian/English text. Published by G. Ricordi New York. Text/As New w/trace margin discoloration. Cover/NF w/pencil notations. 7 MADAMA BUTTERFLY Puccini Italian/English text. Published by Boosey New York for the Boston Opera Co.Text/As New. Cover/NF w/edge discoloration. 8 SNEGOUROTCHKA The Snow Maiden Rimsky-Koraskoff French/English text. Fred. Rullman for the Chicago Civic Opera Co. Text/As New; with edge wear. Cover w/edge discoloration & wear. And 9 SAMSON AND DALILAH Camille Saint-Saëns French/English text. Fred. Rullman for the Boston Opera House. Text/As New. Cover/NF w/light soiling. Various hardcover
1989réf. BN53183Coppenrath F 1989. Leinen. hinterer Buchdeckel fleckig - angeschmutzt sonst sehr gut erhalten! Coppenrath, F unknown
réf. 71925Paris L. Baschet 1886. 8vo. 6 23 pp. Title printed in red and black red frames. Somewhat worn contemporary half brown morocco gilt spine and with printed wrappers preserved. Hinges worn with a small crack. Thick paper copy. Not in Garcia or in Furchheim. The composer Saint-Saëns’ 1835-1921 treaty on the ancient theatres dedicated to Charles Nuttier deals mainly with the theatres in Pompeii and with the wall paintings in Pompeii depicting theatres. unknown
2001réf. BN245449Durand 2001. 2001. Softcover. Trio Op 92 N 2 Vl-Vlc-Piano En Mi Mineur MUSIQUE D'ENSEM Trio Op 92 N 2 Vl-Vlc-Piano En Mi Mineur MUSIQUE D'ENSEM Camille Saint-Saëns Durand paperback
réf. BN642655Große Klassik kinderleicht. DIE ZEIT-Edition. 5 CDs Lesungen mit Musik Große Klassik kinderleicht. DIE ZEIT-Edition. 5 CDs Lesungen mit Musik W. A. Mozart C. Schumann P. Tschaikowsky C. Saint-Saens G. G unknown
2026réf. BN656076Edition Hieber 2026. 2026. Karneval der Tiere Karneval der Tiere Camille Saint-Saens Edition Hieber unknown
réf. BN694185Carl Fischer. Concerto No. 1 Violoncello and Piano Op. 33 Concerto No. 1 Violoncello and Piano Op. 33 Camille Saint-Saens Carl Fischer unknown
réf. BN87991Münster: Coppenrath Verlag. Der Karneval der Tiere - Mit Langspielplatte Münster: Coppenrath Verlag unknown
2018réf. BN110312Brepols 2018. 2018. Camille Saint-Saëns Le Carnaval des animaux : Facsimile Edition of the Autograph Manuscript Camille Saint-Saëns Le Carnaval des animaux : Facsimile Edition of the Autograph Manuscript Brepols unknown
1996réf. BN149467Rodopi B.V. 1996. 1996. Softcover. De l'être en lettres: L'autobiographie épistolaire de George Sand De l'être en lettres: L'autobiographie épistolaire de George Sand Anne E. McCall Saint-Saëns Rodopi B.V. paperback
réf. 3129509like new. unknown
réf. 18504587like new. unknown
réf. DADAX0195320166New unknown
1910réf. 88499Paris: Durand & Cie 1910. Fine. Durand & Cie Paris 1910 22.5 x 30.5 cm Broché sous étui First edition of the vocal and piano score of the opera Déjanire by Camille Saint-Saëns. A few pencil annotations in the margins of certain staves. Our copy is presented in a 3/4 shagreen clamshell box spine with five raised bands framed by gilt garlands and decorated with gilt fleurons gilt lettering at foot of spine: ""Inscribed by composer"". Boards endpapers and pastedowns in marbled paper. Spine of the box slightly faded. Inscribed dated and signed by Camille Saint-Saëns to music critic Edouard Beaudu. Saint-Saëns presented this copy to Edouard Beaudu a journalist writing for the Intransigeant who would later publish a glowing review of Durand & Cie hardcover
1870réf. 877761870. Fine. An exceedingly rare Saint-Saëns unpublished score novembre 1870 33.20 x 24.50 cm un bifeuillet Unpublished and signed autograph score by Camille Saint-Saëns. Two pages of handwritten music for solo voice and piano on an oblong bifolium with twenty staves. Autograph inscription on the first page signed by Saint-Saëns with his signature and date ""Nov. 1870"" appearing again on the second page. Trace of vertical fold with a tiny tear along the fold a small marginal tear on 1 cm of the first page without damage to the manuscript. An exceptional unpublished autograph manuscript of a Persian melody for voice and piano composed by Camille Saint-Saëns during the Siege of Paris in November 1870 enriched with a autograph inscription: 'A Geneviève Bréton / Hommage de respectueux dévouement' To Geneviève Bréton / In homage with respectful devotion signed and dated on the second page 'Nov 1870 C. Saint Saëns'. The lyrics of the piece were directly inspired by its dedicatee the fiancée of the painter and tenor Henri Regnault 'the most musical of all the painters' Saint-Saëns École buissonnière translation by Edwin Gile Rich who was the first performer of several other Mélodies persanes. Geneviève Bréton a cultured and passionate woman was a fixture in the literary and artistic salons of her time surrounded by composers painters and the young Parnassian poets of her generation. Saint-Saëns likely met her through his friend the orientalist painter Henri Regnault a Prix de Rome laureate with whom she fell madly in love in Italy in 1867. A handsome young man already celebrated for his art Regnault also fascinated Saint-Saëns with his 'exquisite tenor; voice . alluring in its timbre and irresistible in its attractiveness just as he was himself' as the composer would later recall in 1913. Regnault premiered several of his compositions: 'In 1868 Regnault was the first to embody the role of Samson in the second act of the celebrated opera Samson et Dalila created during a private evening performance. Saint-Saëns renewed their collaboration by entrusting the artist with two of the Mélodies persanes composed for tenor voice.' Manon Bertaux. The Mélodies persanes op. 26 based on verses by the Parnassian poet Armand Renaud consist in their published version of three works for tenor Sabre en main Au Cimetière Tournoiement and three for contralto La Brise La Splendeur vide La Solitaire. They form one of Saint-Saëns's most famous cycles and belong to the golden age of French mélodie. This manuscript for voice and piano with its ardent colourful tone can unquestionably be linked to this set of melodies begun in June 1870 and sold by Saint-Saëns to his publisher Hartmann shortly afterwards. However Manon Bertaux's research has shown that 'the composer sold Hartmann an incomplete cycle having composed his final melodies at the beginning of the Siege of Paris from September onward"". Dated November 1870 our melody - as far as we know unknown to biographers and musicologists - is one of those composed in the midst of the Franco-Prussian war: 'Serving as a National Guard during the Siege of Paris Saint-Saëns continued his activities as a musician and composer alongside his duties guarding the ramparts'. It appears that both the text and music of this composition remained entirely unpublished and were never sent to Hartmann. For his part the painter Henri Regnault enlisted as a maverick also risked his life in an attempt to break the siege much to the dismay of Geneviève who confided her worries in her now famous diary Ramsay 1985. The young lovers had finally become engaged after years of opposition from the young woman's mother. Saint-Saëns likely offered this exquisite melody to Geneviève as a betrothal gifta radiant piece of warmth for the anxious young woman and here is the first of its two verses: « Ka-douja la chanteu-se Au manteau noir Qu'on trouve sous l'y-eu-se Quand unknown
1901réf. 86408s. l. 1901. Fine. I never stopped saying those who denigrate Mozart do not understand music s. l. 6 Février 1901 11.50 x 17.50 cm quatre pages sur un feuillet et une enveloppe Autograph letter signed by Camille Saint-Saëns to the essayist musicologist and music critic Adolphe Boschot. 43 lines written in black ink on a double leaf edged in black. Transverse fold inherent to the mailing with slight tears to the ends envelope enclosed in Saint-Saëns's hand to Boschot's address at 71 rue de Grenelle. Note in pencil from a previous bibliographer on the back of the envelope. Saint-Saëns wrote this wonderful demonstration of reverence for the Salzburg composer in 1901. That same year his friend Boschot the recipient of this letter was playing Mozart's chamber music at his home at 71 rue de Grenelle. The composer apologized for his absence: ""It's not my fault that in spite of my objurgations the earth refuses to stop in its course around the sun; for the 65th time I am witnessing this gyratory movement and the public performance of pieces of music on the piano is no longer my prerogative. Besides your sessions finish before the end of March and I won't be back until April 1st so I won't even be able to attend"". In his youth it was precisely as an interpreter of the divine artist that the prodigy Saint-Saëns had earned the nickname ""little Mozart"". In the letter he congratulates Boschot the author of a study entitled ""La Lumière de Mozart"" for his defense of the composer whom he himself had supported against the advice of the majority: ""Believe me I regret it and I'll be very happy to see that someone is taking care of getting the public to follow Mozart's path again. Thirty years ago the advanced party wanted to declare war on him so I defended him and never stopped saying those who denigrate Mozart don not understand music. Allow me to recommend his little-known motets with orchestra including the famous Ave Verum."" He ends the letter with a fine analysis of the composer's style: May we learn from listening to Mozart that there is more to music than sensations and nervous vibrations and that delicate artistry and purity of form are things not to be scorned. An exceptional expression of admiration and respect from one musical genius to another. unknown
2005réf. SONG1423403762Durand Press 2005-12-01. paperback. Used: Good. 8.75x0.24x11.75. Buy with confidence. Excellent Customer Service & Return policy. Durand Press paperback
1939réf. 331228New York: Crown Publishers 1939. First Edition; First Printing. Hardcover. Very Good in boards. Foxing on top text block edge. Crown Publishers hardcover
1999réf. 319744New York: Dover Publications 1999. First Edition; First Printing. Softcover. Very Good in wraps. Light creasing on front gutter.; 256 pages. Dover Publications unknown
