C. SAINT-SAENSLivre Rare Book
583 résultats
1896réf. RO50032731EDITION UNIVERSELLE. 9 MAI 1896. In-8. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Paginé de de 74 à 79, couverture illustrée.. . . . Classification Dewey : 780.26-Partitions
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 books
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
réf. 0266443540.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 1332456812.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
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. RO50006168A. Durand & Fils. fin XIXème. In-4. En feuillets. Bon état, Tâchée, Dos satisfaisant, Rousseurs. 5 pages. Gravure couleur de G. Clairin en couverture.. . . . Classification Dewey : 780.26-Partitions
1914réf. 51631914 Paris, Dorbon-Ainé, 1914. In-8 broché, 128 pages. Un des 525 exemplaires sur japon Edogawa. bel exemplaire.
réf. 1019925043.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 1396071849.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0366794795.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 0366794892.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
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 books
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 books
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. 4318Paris, Durand et Schoenewerk, Éditeurs, (1890). In-4 (27 cm) (7) feuillets, 391, (1) pages, illustré d’un frontispice par G. Clairin, gravé par Michelet. Reliure demi-chagrin marron, dos à nerfs orné de fleurons et filets dorés, plats et gardes marbrés, tranches jaspées. Coins et coupes légèrement frottés. Très bel état. Édition originale. [ D. S. 4025 ].
réf. RO50005999A. Durand & Fils. début XXème. In-4. En feuillets. Etat d'usage, Tâchée, Dos satisfaisant, Rousseurs. 5 pages. Ornements de L. Denis en couverture.. . . . Classification Dewey : 780.26-Partitions
198336 pages. Features: Cover art "Moonlight" by Marc Saint-Saens; Contemporary Tapestries - A Rothmans Collection; Investing in Art - The Canadian Art Market - Still Yielding Profits; Mark Wolfleg Jr. - A Heritage; Vancouver Printmakers; The Dinner Party - An Invitation; Drawing - The Basis of the Arts; The New Freedom in Art (Part II); Keepsake - Alberta Photographs; and more. Colour ads include works by Zoltan Szabo, Tony Onley, Dorothy Knowles, Ila Maria, Nicholas De Grandmaison, and Reta Cowley (back cover). Unmarked with average wear. A sound copy. Book
réf. 082042644X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1904réf. RO80151313IMP. DUPEYRAC G.. 1904. In-4. Broché. Etat d'usage, Couv. légèrement passée, Dos satisfaisant, Déchirures. 28 pages. Nombreuses illustrations en noir et blanc, dans le texte. Quelques planches illustrées en couleurs. Dos partiellement fendu. Déchirures en marges.. . . . Classification Dewey : 792-Théâtre
réf. 12499Paris, Le Club du Livre du Mois, 1955 29 x 39, 64 pp., non broché, chemise carton + emboîtage (défraîchi), livre et chemise carton en parfait état)
1967réf. RO50011224Durand & Cie. 1967. In-4. En feuillets. Bon état, Couv. légèrement passée, Dos satisfaisant, Intérieur frais. 13 pages.. . . . Classification Dewey : 780.26-Partitions
réf. RO50025297Durand, Schoenewerk & Cie. fin XIXème. In-4. En feuillets. Bon état, Tâchée, Dos satisfaisant, Quelques rousseurs. 13 pages. Plats détachés.. . . . Classification Dewey : 780.26-Partitions
