Elizabeth Csicsery-Ronay Hector BerliozBiblio.com
1309 risultati
rif. 63846600Indiana University Press USA . Hardback. New. Indiana University Press (USA) hardcover
rif. 61839932Cambridge University Press CUP . Papeback. New. pp. 266 Cambridge University Press CUP unknown
rif. 6390592Cambridge University Press CUP . Papeback. New. pp. 432 Cambridge University Press CUP unknown
rif. 6422314Cambridge University Press CUP . Hardback. New. pp. 430 Cambridge University Press CUP hardcover
rif. mon0003491760BÔøΩrenreiter. hardcover. Good. . BÔøΩrenreiter hardcover
1912rif. 48615Dent 1912. 8vo. First Edition thus; original series binding of grey ribbed cloth upper board framed and blocked in blind gilt back dark top pictorial endpapers a very good bright clean copy. Sole appearance in EL. EL 602; Seymour 87.0. VERY SCARCE. Dent, hardcover
1987rif. 307442London: Folio Society 1987. First Edition Thus; First Printing. Hardcover. Near Fine in a Near Fine slipcase. Owner nameplate on FEP. Folio Society hardcover
rif. 316604np nd. 1 page pen and ink on paper. 12mo 3-3/8 x 3-1/8 inches visible. Framed in gilt frame. 1 page pen and ink on paper. 12mo 3-3/8 x 3-1/8 inches visible. In translation: "Have the courtesy to send me the three articles on the debates that I left at your house a few days ago ." M. Gras is perhaps a relation to soprano Julie Dorus-Gras who performed as Teresa in the premier Berlioz' opera Benvenuto Cellini. unknown
1963rif. 44025AB1963. England / U.S.A / Australia Penguin Books 1963. 13 cm x 20 cm. 153 pages. Original softcover. Very good condition with only very minor signs of external wear. "During the performances of fashionable operas in an unidentified but "civilized" town in northern Europe the musicians with the exception of the conscientious bass drummer tell tales read stories and exchange gossip to relieve the tedium of the bad music they are paid to perform. In this delightful and now classic narrative written by the brilliant composer and critic Hector Berlioz we are privy to twenty-five highly entertaining evenings with a fascinating group of distracted performers. As we near the two-hundredth anniversary of Berlioz's birth Jacques Barzun's pitch-perfect translation of Evenings with the Orchestra with a new foreword by Berlioz scholar Peter Bloom testifies to the enduring pleasure found in this most witty and amusing book. "Full of knowledge penetration good sense individual wit stock humor justifiable exasperation understanding exaggeration emotion and rhetoric of every kind" Randall Jarrell New York Times Book Review "To succeed in writing these tales as Berlioz most brilliantly does requires a combination of qualities which is very rare the many-faceted curiosity of the dramatist with the aggressively personal vision of the lyric poet" W. H. Auden The Griffin". Amazon. paperback
1982rif. 72234AB1982. London / Melbourne / Toronto J.M. Dent & Sons Ltd 1982. 14.5 cm x 22 cm. 261 pages with eight pages of photographs four line illustrations and sixty-two music examples. Original Hardcover with original dustjacket in protective collector's Mylar. Near Fine. Excellent condition with only very minor signs of external wear. The Master Musicians Includes for example the following essays: Life: 1803 - 1830; 1831-1848. / Music: 1818 - 1830; 1831-1841. / Berlioz's Style / Appendix A: Calendar / Appendix C: Personalia etc. hardcover
rif. 78743Paris Librairie de l’art L. Alllison 1888. 4° lithogr. Frontispiz XVI 386 S. 13 lithogr. Taf. 3 Taf. 1 Heliogravüre 1 Photogravüre u. 1 Radierung: Porträt nach G. Courbet 122 Textabb. Neueres Priv.-Lwd. Lederoptik m. eingebundenem Vorderdeckel der Orig.-Brosch. Eingebundener Vorderdeckel fleckig letzte ca. 50 Bl. am Fusssteg wasserrandig u. -wellig die Deckbl. der Taf. gebräunt; allg. gutes Ex. 010 Paris, Librairie de l’art, L. Alllison, 1888 unknown
1987rif. 120558London: Folio Society 1987. First Edition; First Printing. Hardcover. Near Fine in a Near Fine slipcase. Folio Society hardcover
1951rif. 44083Edinburgh: Printed for the Edinburgh Bibliographical Society 1951. First edition one of 320 copies no. 58. Illustrated. 205 pp. 1 vols. 4to. Wrapper staining on lower covers else VG. First edition one of 320 copies no. 58. Illustrated. 205 pp. 1 vols. 4to. Printed for the Edinburgh Bibliographical Society unknown
rif. 66941New York: Broude Brothers N.D. Vintage Copy. Softcover. Very Good in wrappers. Crease to edge at rear panel. A few minor ink stains to front panel.; Masterworks of the Choral Art; 4to - over 9¾" - 12" tall. Broude Brothers unknown
1973rif. 59004Chicago: University of Chicago Press 1973. First Edition Thus; First Printing. Softcover. Good in wrappers. Some creasing to wrappers. Sunning at spine.; 7.90 X 5 X 1.30 inches; 400 pages. University of Chicago Press unknown
2014rif. H-822-033MAGNARD 2014. Paperback. Good. Former library book. Different cover. Edition 2014. Ammareal gives back up to 15% of this item's net price to charity organizations. MAGNARD paperback
1840rif. 74941-A-67143Schlesinger ca 1840. Signed and dated 1942 by Karel Mengelberg. First German edition German text alongside the original French text. Full cloth binding gilted title. 332 p. -Cloth missing on the spine but cover/binding still intact. Corners damaged. Foxed and some moist staining throughout gradually more severe towards the end. enthaltend eine genaue Angabe des Umfangs des Mechanismus des Klang- und Ausdruckscharackters der verschiedenen Instrumente nebst einer großen Anzahl von Beispielen aus den Partituren der großten Meister: Auber Beethoven Gluck Haydn Meyerbeer Mendelssohn Mozart Rossini Wagner Sacchini Spontini C.M.v. Weber etc. u. einigen noch ungedruckten Werken des Verfassers. Schlesinger hardcover
rif. 101328Leipzig Gustav Heinze 1864. 8vo. VII blank 285 1 pp. 70 lith. pp. with music. The title page with paper repair in corner minor spotting. Worn contemporary half calf spine gilt with black label . Owner’s stamp of Lindskog. unknown
1968rif. 76587Paris: Gründ 1968. Relié. Etat satisfaisant. In-8. 649 pp. Edition du centenaire. Reliure éditeur. Petites déchirures sur les bords de la jaquette. Mention importante page de garde. Gründ unknown
1904rif. OB1022Paris & Bruxelles Henry Lemoine 1904. Hard Cover. iii 276 p.; 25 cm. Second edition; first 1900. Widor-- composer organist teacher-- edited and amplified Berlioz's De l'instrumentation. Berlioz's originality as an orchestral writer prevented a school forming but influenced a generation of French and Russian musicians. Good slight foxing 3/4 leather rebacked. Stock#OB1022. Henry Lemoine hardcover
rif. 4168015 measures titled and signed below the music: "Thème e Bal e La Symphonie Fantastique. H. Berlioz." Undated but ca. 1840-1850. The complete main theme of the second movement "Un Bal" carried by the violins in measures 38 to 54 of the full score. 1 leaf. Notated in dark brown ink within decorative dark gold borders on Lard-Esnault paper. Oblong quarto 227 x 300 mm. "The composition of the 'Symphonie fantastique' was a momentous event in Berlioz's career his first full-scale masterpiece and equally momentous in the history of music as the first unequivocal declaration of romantic ideas in style and musical language and its echo has pervaded all music of passion and personal experience to this day . Of Harriet Smithson's identity as the 'beloved' portrayed by an 'idée fixe' in the form of an obsessive theme that recurs in all the movements there can be no question." MacDonald: Berlioz p. 18. With: - Roger Gustave-Hippolyte 1825-1879. Autograph musical quotation signed "G. Roger" being a 12-measure song for voice and piano commencing "d'autiens tu beau miage" to lower portion of recto. With to verso: - Adam Adolphe 1803-1856. Autograph musical quotation signed "Ad. Adam" being a 16-measure waltz for pian. - Halévy Fromental 1799-1862. Autograph musical quotation signed "F. Halévy" being a 22-measure work for piano titled "Suite." A dynamic excerpt from one of the great revolutionary works of the Romantic period constructed around a recurring "idée fixe" a concept originating with Berlioz's revolutionary Symphonie Fantastique and presenting here as a recurring theme associated with Berlioz's obsession with Irish actress Harriet Smithson. A unique artifact incorporating a rare quotation from one of the most outstanding works of the symphonic repertoire of the Romantic period the whole linking Berlioz with three important French musical figures of the mid-19th century. unknown
rif. 416811 leaf. Oblong folio 268 x ca. 170 mm. 7 measures notated in black ink on one side of the leaf. Unsigned. Several notes crossed out and a final passage rewritten. A first draft of a polyphonic theme. Identified in German in contemporary manuscript at head: "Handschrift von Hector Berlioz Erste Skizze. Benvenuto Cellini." Some wear and browning; slightly creased at folds; lower edge unevenly trimmed. The present manuscript not recorded in Holoman. Benvenuto Cellini an opéra semi-seria in two acts to a libretto by Léon de Wailly and Auguste Barbier assisted by Alfred de Vigny was based on the memoirs of Benvenuto Cellini. Set in 16th century Rome during the papacy of Clement VII the work premiered in Paris on 10 September 1838 at the Opéra and was produced in a revised version in Weimar at the Grossherzogliches Hoftheater on 20 March 1852 and with further revision in three acts on 17 November 1852. "Whether it originated as a serious or a comic opera the result in all its many versions is a compound a characteristic blend of idealism and farce grandeur and wit breadth and vivacity. Berlioz poured into Benvenuto Cellini every drop of invention and feeling at his command in a torrent of notes that make up a long and very lively opera and its heterogeneity so baffling to Parisians in 1838 and Londoners in 1853 is one of its main virtues." Macdonald: Berlioz p. 106. "Berlioz stands as the leading musician of his age in a country France whose principal artistic endeavour was then literary in an art music whose principal pioneers were then German. In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance to which he gave his full exertions as composer critic and conductor. And though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century. . In Berlioz's own words Benvenuto Cellini 'contains a variety of ideas an energy and exuberance and a brilliance of colour such as I may perhaps never find again.' " Hugh Macdonald in Grove Music Online A rare working manuscript from one of Berlioz's important stage works evidencing the compositional process through its autograph revisions. While short musical quotations in Berlioz's hand are not rare his sketch leaves are very rare to the market; we have located only one example at auction in over 30 years. unknown
rif. 478292Macmillan and Co. London. Hardcover. Good. This is the 1884 first English translation by Rachel Scott Russell Holmes and Elinor Holmes in 2 volumes 'comprising his travels in Italy Germany Russia and England' 'From 1803 to 1865'. Both volumes have brown cloth-covered boards with gilt lettering on spines and black decorative bands top and bottom. Both have bumped corners and rubbed spines with spines somewhat torn across tops and bottoms. Boards show light wear and slight stains. Dark green end papers are torn at joins to pages but holding; stitched binding holding well throughout. Pages tanned with a few stains here and there but generally clean and clear; edges lightly grubby with age. Vol. I has 336 pages; vol. II has 4 Macmillan and Co., London hardcover
rif. 5090775-nnew. unknown
rif. 7686909like new. unknown
