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 books
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 books
1909réf. 25989Paris: A. Durand & Fils PN D.S. & Cie. 3083 1909. Large octavo. Original publisher's polychrome decorative wrappers with British coat of arms to upper. 1f. decorative title by L. Denis with coat of arms printed in green gold and black 1f. printed dedication to "Monsieur Vaucorbeil Directeur de l'Académie Nationale de Musique 1f. named cast list printed in red and black 1f. table of contents 384 pp. Partially uncut pp. 337-340 unopened. Text in French. Publisher's handstamps "Durand & Cie. Net: 75 Frs."; "AD" monogram to free endpapers. Cast list includes the names of the singers for the opera's first performance. Wrappers slightly worn and soiled; spine reinforced with transparent tape and slightly lacking at head. Very slightly browned; margins with occasional light foxing and wear not affecting music; small tear to outer margins of pp. 139-140. A very good copy overall. Third version later issue. Ratner II 291 p. 134. Lesure II p. 152. Henry VIII to a libretto by Léonce Détroyat and Armand Silvestre was first performed at the Paris Opéra on 5 March 1883. "Despite Saint-Saëns' care for authenticity of period and place the music's strongest impression is of a tightly constructed score with vocal and orchestral resources skilfully deployed especially in the confrontation scenes. After Samson et Dalila this was his most successful opera widely performed in the composer's lifetime often in a reduced three-act version that simply omitted Act 3; Saint-Saëns refused to make the reductions the Opéra demanded." Hugh Macdonald in Grove Music Online. A. Durand & Fils [PN D.S. & Cie. 3083] unknown books
1877réf. 26236Paris: Choudens Père et Fils PN A.C. 3558. 1877. Large octavo. Quarter contemporary green calf with textured green paper boards rules and titling gilt to spine. 1f. title within decorative borders engraved by J. Bourgeois 1f. dedication to Albert Libon by the composer 1 named cast list for the first performance and table of contents 2-304 pp. Text in French. With vendor's handstamp to lower margin of title and printer's note to the lower margin of table of contents "Paris Imp. Fouquet. Baudon Gr.". Binding slightly worn rubbed and bumped. Slightly browned; occasional light stainiing; many leaves with light to moderate foxing or mold especially to margins. First Edition of the first version. Ratner II p. 73. Le Timbre d'argent to a libretto by Jules Barbier and Michel Carré was first performed at the Théâtre Lyrique in Paris on February 23 1877. "Composed in 1864-5 for the Théâtre Lyrique Paris the opera was kept from the stage first by the theatre's bankruptcy then by the Franco-Prussian War and was not played until 1877. In the meantime Saint-Saëns had recomposed the dialogue to form a grand opera version which was not played until 1913. The music is enormously fluent and versatile . There are some bold scenic ideas including a theatre seen from the back of the stage and some fanciful transformations. It seems no coincidence that the opera's 18 performances in 1877 exactly coincided with Offenbach's first concentrated labours on Les contes d'Hoffmann." Hugh Macdonald in Grove Music Online. Choudens Père et Fils [PN A.C. 3558.] unknown books
1901réf. 26245Paris: A. Durand PN D. & F. 5927 1901. Large octavo. Quarter contemporary red calf with flexible textured red cloth boards rules and titling gilt to spine marbled endpapers. 1f. frontispiece illustration of the final scene of the opera by Berthaud after G. Rochegrosse i title i printer's statement 1f. named cast list for the first performance 1f. table of contents 1f. illustration of the Théatre Antique d'Orange by Bertraud iv summary of the opera 291 i blank pp. Text in French. Printer's notes to lower margins of cast list and final page. Binding slightly worn rubbed and bumped; tail of spine lacking; upper board partially detached; joints split. Slightly browned; some corners slightly creased; occasional light soiling and staining to blank margins not affecting music. First Edition. Ratner II p. 254. The première of Les Barbares at the Opéra in Paris on 23 October 1901 was a great success. "Live oxen were brought on stage in an ensemble and gave the management many problems of housing and feeding during performances." Debussy famously criticized the opera as being a vehicle unworthy of the composer's talents. Brian Rees in Camille Saint-Saëns: A Life p. 348. A. Durand [PN D. & F. 5927] unknown books
1902réf. 29030Paris: A. Durand & Fils PN D. & F. 6094 1902. Large octavo. Original publisher's decorative ivory wrappers. 1f. recto blank verso frontispiece 1f. recto decorative title verso note 1f. recto notes on first performance and cast list verso blank 1f. recto contents verso blank 151 i blank pp. Together with a program for a 15 March 1903 performance of the work in Paris at the Théâtre du Châtelet. 10 ff. Wrappers somewhat soiled; spine worn and with small tears. First Edition. Ratner II p. 398. First performed at the Théâtre des Arénes de Béziers in August 1902. A. Durand & Fils [PN D. & F. 6094] unknown books
1893réf. 26018Paris: A. Durand et Fils PN D. & F. 4642 1893. Octavo. Quarter contemporary red calf with textured red paper boards titling and initials "A.G." gilt to spine marbled endpapers. 1f. title printed in black and red 1f. frontispiece drawing by F. Marcotte of the "Scène de l'apparition" from Act 2 of the opera 1f. named cast list 1f. table of contents 145 i blank pp. Transfer. Text in French. Publisher's monogrammatic handstamp to lower left corner of blank final page. Cast list with names of the singers for the first performance including Sibyl Sanderson. Binding slightly worn and rubbed; head of spine slightly chipped. First Edition. Ratner II p. 224. Phryné to a libretto by L. Augé de Lassus was first performed at the Opéra-Comique in Paris on 24 May 1893. A. Durand et Fils [PN D. & F. 4642] unknown books
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 books
1887réf. 26020Paris: Durand & Schoenewerk PN D. S. 3714 1887. Octavo. Half contemporary red morocco with marbled boards titling gilt to spine marbled endpapers. 1f. title with decorative borders in orange and light green by L. Denis printed by Delanchy & Cie. in Paris 1f. named cast list with decorative borders in blue bronze and purple 1f. table of contents in purple 245 i blank pp. Lithographed. Text in French. Publisher's monogrammatic handstamp to lower right corner of title. Cast list includes the names of the singers for the first performance. With small bookseller's label to lower corner of upper pastedown. Binding slightly worn rubbed and bumped; partially split at joints. Slightly browned; several leaves with repairs to inner margins not affecting music; pp. 9-16 misbound. First Edition of the first version. Ratner II p. 170. Proserpine to a libretto by Louis Gallet after August Vacquerie was first performed at the Opéra Comique Favart on 14 March 1887. Durand & Schoenewerk [PN D. S. 3714] unknown books
1892réf. 28636New York: G. Schirmer PN 10196 1892. Large octavo. Original publisher's decorative green wrappers. 1f. decorative title 1f. cast list 3-17 libretto i blank 222 pp. Occasional performance notations in pencil. Spine slightly creased and faded. Some signatures split. G. Schirmer [PN 10196] unknown books
1894réf. 29028Paris: A Durand & Fils PN D. & F. 4803 1894. Large octavo. 1f. recto title verso blank 1f. recto contents verso cast list 3-224 pp. Text in English. Occasional light foxing; some signatures split; occasional lyrics translated into French in blue ink; tape to inner margins of first leaf and verso of final leaf; minor tear to outer edge of title; minor tears to upper margin of third leaf not affecting music. Lacking wrappers. First English edition. Ratner II p. 23. A Durand & Fils [PN D. & F. 4803] unknown books
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 books
réf. 082042644X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
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
1890réf. 26255Paris: Durand et Schoenewerk PN D.S. 4025 1890. Large octavo. Quarter contemporary black morocco with textured red paper boards rules and titling gilt to spine 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. Text in French. With publisher's handstamp to lower outer corner of half-title. Supplement "Annexe" to pp. 388-391. Binding slightly worn rubbed and bumped; partially split at joints. Slightly browned; scattered foxing heavier to some leaves; several corners slightly creased. With occasional performance markings including accidentals slurs and breath marks in pencil. 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 at the Paris Opéra on 21 March 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. 43506Dorbon-Aine - edition originale In-8 25 cm 130pp. un des 500 exemplaires numerote sur papier Edogawa du Japon quelques marques d'usage sur la couverture ecr 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. 20147explaining that he appreciates very much his request but is "bowled over with work. Please excuse me" 3 sides 8vo. St. Germain-en-Laye 26th May n.y. circa unknown
2020réf. __1540093255Editions Durand 2020. unknown_binding. New. 48 pages. 9.00x0.14x12.00 inches. Editions Durand unknown
1995réf. 121726Calig Ger 1995-01-04. audioCD. Like New. 0x0x0. New in shrink wrap Please email for photos. Calig (Ger) unknown
réf. 1886910472.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1999réf. Q-0805061800Henry Holt and Co. BYR 1999-04-21. Hardcover. New. In shrink wrap. Looks like an interesting title! Henry Holt and Co. (BYR) hardcover
1985réf. DADAX3795766737Eulenburg London Schott 1985-09-01. paperback. New. 5.25x0.22x7.50. Buy with confidence. Excellent Customer Service & Return policy. Eulenburg London (Schott) paperback
1999réf. DADAX0805061800Henry Holt and Co. BYR 1999-04-21. First American Edition. hardcover. New. 9.27x0.41x9.44. Buy with confidence. Excellent Customer Service & Return policy. Henry Holt and Co. (BYR) hardcover
réf. 1017207941.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
