VIVALDI, Antonio 1678-1741Biblio.com
475 résultats
1732réf. 39416London: I. Walsh . and I Hare 1732. 8 volumes. Small folio. Sewn. Housed in a custom-made brown linen clamshell archival box with printed title label to spine. Violino Primo: 1f. title 1 blank 2-27 1f. title 1 blank 2-7 i blank 8-18 pp. John Young overpaste to titles of both parts several minor edge stains. Violino Secondo: 1f. title 1 blank 2-25 1 blank 26-31 pp. Violino Terzo: 1f. title 1 blank 2-12 1 blank 13-17 1 blank 18-28 pp. Violino Quatro: 1f. title 1 blank 2-10 1 blank 11-15; 1 blank 2-7 1 blank 8-12 pp. Alto Primo: 1f. title 1 blank 2-23 pp. Alto Secondo: 1 title 2-23 pp. Violoncello: 1f. title 1 blank 2-27 pp. Violino e Cembalo: 1f.title 1blank 2-10; 1f.title 11-16 1 blank 2-5 1 blank 6-12 pp. Engraved throughout. Early manuscript numbering to upper margins of each page of music to parts for Violino Secondo Terzo and and Alto Primo. "No. 451" absent from the Violino e Cembalo part. All parts with Japanese paper reinforcement to spines and binder's pinholes to inner margins; some outer margins trimmed just affecting printed area. A mixed set predominantly a reissue of the second London edition first published in 1717; the Violino Primo and Violino e Cembalo parts from an earlier issue before 1730. Smith & Humphries 1520. BUC p. 1047. Ryom: Répertoire des Oeuvres d'Antonio Vivaldi. Les compositions instrumentales p. 17 6a and 9. RISM V2205 and VV2203. "In 1711 Etienne Roger the Amsterdam publisher brought out what was to become the most influential music publication of the first half of the 18th century: Vivaldi's L'estro armonico op. 3 dedicated to Grand Prince Ferdinando of Tuscany; it comprised 12 concertos divided equally into works for one two and four solo violins. The third fifth and 12th concertos from op. 3 along with the concerto published individually under the title 'The Cuckow' RV 335 became staples of the repertoire of many violinists were arranged for a variety of instruments and were extracted for use in violin tutors throughout the 18th century and beyond. Nowhere was the enthusiasm for Vivaldi's concertos stronger than in Germany. Bach transcribed several of them including five from op. 3 for keyboard and his noble patron Prince Johann Ernst of Saxe-Weimar wrote concertos in Vivaldi's style." Michael Talbot revised by Nicholas Lockey in Grove Music Online All lifetime editions of Vivaldi's works are rare. I. Walsh ... and I Hare unknown
1511réf. 401752Paris: Jean Barbier for François Regnault 1511. From the Collection of Arthur & Charlotte Vershbow. 4to 142 x 210 mm. Title printed in red and black 7 metalcut illustrations and borders. Contemporary English limp blind-tooled calf boards removed early manuscript pastedowns preserved; cloth folding case. Back cover detached. Provenance: early manuscript annotations extensive at beginning and end; William Morris 1834-1896 Kelmscott House bookplate his sale Sotheby's 5 December 1898 lot 1092 to Chadwick for £6 15s.; John Camp Williams bookplates his sale American Art Association 6 November 1929 lot 1156; purchased from Thomas Taylor 1978. Third edition. The 1507 first edition printed at Saluzzo by Giacomo de' Circhi and Sisto Somasco and the Lyons 1508 edition of Étienne Gueynard both employed woodcuts. In Barbier's edition for Regnault up to one dozen small metal plates combined to form each of the large subjects and frames in the final composite images. The subjects include the Descent from the Cross the Dance of Death and representations of saints. Giovanni Lodovico Vivaldi whose name appears on the verso of the title-page above Andreas de Soncino's preface dedicates the work to the Marquess of Salluzzo Ludovico II 1438-1504 and his second wife Marguérite de Foix. A Dominican monk and professor of theology from Mondovi Vivaldi moved to Lombardy to act as their adviser and confessor. His collaboration in this text with Bernardino Dardano represents a "defining link between theological and humanistic culture in print" Vinay L'umanesimo subalpino nel secolo XV 1935 p.107. See Harvard/Mortimer French 552 the Lyons edition. Renouard Imprimeurs & Libraires Parisiens du XVIe siècle 185. Jean Barbier for François Regnault hardcover books
1511réf. 047787Paris: J. Barbier for Franciscus Regnault 1511. Third Edition. Hardcover Full Leather. Very Good Condition. Contemporary calf over wooden boards clasps repaired with old vellum rolled blindstamping of fleur de lis and other flowers as well as a cat of some sort. Staining and wear front hinge starting evidence of old repairs endpapers appear to have been refreshed at some point 18th century and a blank probably added between the main work and the index. Some dampstaining in the gutter for about 80 leaves towards the middle some old red underliings here and there and a few trimmed pages in the lower margin. Still a fine copy in a fine original binding. CCXCI 1 possibly added 7 leaves. Four large illustrations one a lovely Dance of Death. The illustrations for this edition were done with multiple modular metal cuts as many as a dozen different pieces instead of one large woodcut. A very fine edition the first printed in Paris and the third overall after the 1507 printed in Saluzzo and the 1508 in Lyon. Mortimer 552 the Lyon ed. Adams V929 Provenance: Chr. Falsterus signature on title. Possibly the Danish philologist and rector at Ribe. Size: Quarto 4to. Quantity Available: 1. Shipped Weight: Under 1 kilo. Category: Religion & Theology; Antiquarian & Rare. Inventory No: 047787. J. Barbier for Franciscus Regnault hardcover
1724réf. 1502Libretto Giustino dramma per musica da recitarsi nel Teatro dell'illustrissimo Sig. Federico Capranica el carnevale dell'anno 1724: Roma: Bernabo 1724. Sonneck 568; Sartori 12373. Giustino is a major opera. It shows Vivaldi on the verge of modernizing his style while summingup the most individual achievements of his earlier years. The rare libretto contains stage directions and much that is not in the original score. Pagination: Leaf of title bearing a woodcut of a lion holding a globe verso blank; 2pp. Dedication; 1p. Argomento; 1p. Prostesta and imprimatur; 1p. Mutazioni di setting in Constantinopoli by Alessandro Mauri Veneziano; 1p. Interlocutori and composer of D. Antonio Vivaldi. Text pp. 9- 68; Collation: A-B12 C10. Minor dampstains at bottom margin else clean and very good throughout. 8vo. Contemporary brown Roman morocco highly gilt smooth spine with repeated floral and shell ornaments. Arms of Mattei family on each cover. Shield with griffin seated wearing a crown above which are three angels holding a large crown. Tulips and circular rose ornaments. Light rubbing. Red silk pastedowns with similar designs missing front and rear flyleaf. Opera in three acts on the life of the Byzantine emperor Justin I with text based on the 1683 libretto of Nicolò Beregan 1627-1713 which had been adapted for Vivaldi by Pietro Pariati 1665-1733 and perhaps Antonio Maria Lucchini ca. 1690-before 1730. The opera dramatizes the life Justin I Latin: Flavius Iustinus Augustus; 450-527 Emperor of the Eastern Roman Empire from 518 to 527. Much is made of Guistino's rise from a peasant to the rank of commander of the palace guard and then to emperor. This semi-factual history is interwoven with a love story as is required for an opera as well as a fanciful genealogical construction that finds Giustino to be the son of noble parents instead of peasants. Giustino is a major opera. It shows Vivaldi on the verge of modernizing his style while summing up the most individual achievements of his earlier years. The rare libretto contains stage directions and much that is not in the original score. Vivaldi may have lived continuously in Rome between 1723 and 1724 where his operatic career reached one of its peaks with his setting of Pariati's Giustino for the Teatro Capranica in the carnival season of 1724 Strohm qtd. in Heartz 194. Vivaldi spent as little as 6-8 weeks writing the score during the months of December 1723 and January 1724 prior to the first staging at the end of January or early February. Vivaldi must have been familiar with the range of all the main singers and must have worked with the librettist at length Strohm 10. According the musicologist Reinhard Strohm the libretto along with an original autograph score still in existence are the two final authorities for the study and possible reconstruction of Vivaldi's Giustino. He writes that the printed libretto of 1724 "must have appeared only a few days before the first night and it must have aimed at reproducing the text precisely as it was sung. . . . Although the libretto differs in many major and minor details from the autograph score it does not reflect a different stage of revision. Both originated and were used simultaneously . . . their divergences result from the different function and intended readership" 63. Strohm adds the libretto for the audience aimed to print not only the recited text but also to provide an explanation of the stage sets. Furthermore the libretto was to present the text in an orthographically correct literary fashion whereas the text within the musical score was not read by the public only heard. "Therefore the score lacks stage directions and many details of punctuation which were not necessary for the performers. The libretto is a literary text of the opera which its author hoped to transmit—through the act of printing—to a wider readership" 72. Thus there are a great many differences between the score and the libretto. For Giustino Vivaldi borrowed a good deal of material from earlier operas and instrumental works to construct his score including music from "La Primavera" section of Le quattro stagioni. This distinctive music according the Strohm suggests the "arrival of spring evokes an awakening within Giustino" 57. Because a Roman carnival opera is a gay affair Giustino did not deal with Justin's historical activities as a ruthless persecutor of Christian dissidents including the Monophysites and the Arians. Nevertheless Giustino was a success. A report comes from the German flautist Johann Joachim Quantz: "The newest thing that I have heard was the so-called Lombardi style that was hitherto entirely unknown to me and that Vivaldi introduced a short time before in his operas in Rome and which enchanted the citizens to such a degree that they scarcely wish to hear anything that is not similar to this style" qtd. in Strohm 6. The original version of Giustino was produced in Venice at the Teatro San Salvador in 1683. The Venetian lawyer Nicolò Berengan an accomplished writer created the original libretto for the composer Giovanni Legrenzi 1626-1690. The opera premiered on February 12 1683. It is the story of Justin I defending the empire against its enemies. As a result of his heroism he is subsequently crowned as co-emperor and married to Eufemia the emperor's sister. The main characters are all historical figures although several events are blended into one story with a view of respecting Aristotelian unities of time place and action. 2For several decades following its 1683 premiere Giustino was one of the most widely performed works in Italy. Giustino was reset numerous times with the text based on Berengan's and Pariatti's text. Sartori 12359-12374 lists libretti from Napoli Genova Milano Bologna Lucca Roma Verona Modona and Vicenza all before the 1724 Roman setting for Vivaldi. Also of note is the 1737 version in London with music by Handel. Locations: OCLC: Morgan Library of Congress. References: Heartz Daniel. Music in European Capitals: The Galant Style 1720-1780 2003; Laurance Rita. "Antonio Vivaldi Giustino opera in 3 acts RV 717" description. AllMusic. https://www.allmusic.com/composition/giustino-opera-in-3-acts-rv-717-mc0002447350; Rosand Ellen. Opera in Seventeenth-Century Venice: The Creation of a Genre 2007: "In other seasons Faustini managed to convince a variety of noblemen and a canon to turn author: Counts Zaguri and Nicolo Beregan in 1660 and 1661 respectively and Dott. Cristoforo Ivanovich in 1663" 188; Strohm Reinhard. Giustino by Antonio Vivaldi: Introduction Critical Notes and Critical Commentary 1991: A facsimile of this original score along with separate booklet of notes is included with the original libretto. Provenance: Arms of Mattei Conti family Roma: Bernabo, 1724. hardcover books
1969réf. 59525Rome Italy: Studio D'Arte Toninelli. As New. Paperback. FREE UPGRADE to Courier/Priority Shipping Upon Request – – IN STOCK AND IMMEDIATELY AVAILABLE FOR SHIPMENT - AS NEW THE TEXT BLOCK IS PRISTINE CLEAN UNMARKED AND IN EXCELLENT CONDITION - - Text in Italian. 124 pp. With 86 ills. 9 col. . 22 x 22 cm. -- with a bonus offer-- . 1969. Studio D'Arte Toninelli paperback
2002réf. SBBIH-6IJFHQAYNM4RRICORDI 2002. paperback. Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing fanning inscriptions margin notes yellowing staining on edge or cover or pages bumps scuffs etc etc sometimes multiple of these. It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order at least not without checking with us first although we don't always have time to check. We aim to dispatch prompty the service used will depend on order value and book size. We can ship to most countries see our shipping policies. Payment is via Abe only. RICORDI paperback
2017réf. SBBIH-G2UIUEJDHJTPPeters Edition 2017. sheet_music. Good. Our good condition books are generally good for reading but not for gifting or collecting. They could have imperfections such as creasing fanning inscriptions margin notes yellowing staining on edge or cover or pages bumps scuffs etc etc sometimes multiple of these. It's a wide category that encompasses anything that isn't almost-new down to anything that is slightly better than poor. We would NOT recommend gifting Good books - these should be considered reading copies. Our books are dispatched from a Yorkshire former cotton mill. We list via barcode/ISBN so please note that the images are stock images and may not be the exact copy you receive furthermore the details about edition and year might not be accurate as many publishers reuse the same ISBN for multiple editions and as we simply scan a barcode or enter an ISBN we do not check the validity of the edition data when listing. If you're looking for an exact edition please don't order at least not without checking with us first although we don't always have time to check. We aim to dispatch prompty the service used will depend on order value and book size. We can ship to most countries see our shipping policies. Payment is via Abe only. Peters Edition unknown
1517réf. 62289Paris: François Regnault 1517. Title printed in red and black with printer's woodcut device elephant and monogram; text in black letter with criblé initials. a-y8Z2. 186 leaves misfoliated i-clii cliii-clxxviii. 1 vols. Small 8vo. Nineteenth-century floral-patterened boards. Printer's device on title page tinted in an early hand title slightly soiled otherwise a pleasant crisp copy. Title printed in red and black with printer's woodcut device elephant and monogram; text in black letter with criblé initials. a-y8Z2. 186 leaves misfoliated i-clii cliii-clxxviii. 1 vols. Small 8vo. Lovely example of this popular devotional first printed in Lyon 1503 and several times thereafter through the early part of the 16th century. Regnault the Parisian printer first printed it in 1508. Rare -- Not in OCLC; not in RLIN; not in Adams; the only copies we have found were in the British Library and Bibliothèque Nationale François Regnault unknown books
1962IN FOLIO CARRE' ( cm.42 X 36 ), 14 BIFOLI SCIOLTI DI CUI 4 CONTENENTI TRE FOGLI DI CARTA PREGIATA USO MANO CON LITOGRAFIE A COLORI SUL RECTO. DOPPIO FRONTESPIZIO SEMPRE LITOGRAFATO DELL'ARTISTA E FIRMATO, DI CUI UNO NELLA COPERTINA RIGIDA CON DORSO IN TELA. L'OPERA, RACCOGLIE IL TESTO DELLE QUATTRO STAGIONI , OGNI STAGIONE E' ILLUSTRATA DA TRE COMPOSIZIONI - OGNI COMPOSIZIONE E' LEGATA A UN MOTIVO. NELLA TERZA DI COPERTINA, TASCA PER UN DISCO A 33 GIRI CON LE 4 STAGIONI DI VIVALDI. LA CARTELLA, FU PRESENTATA A PARIGI ALL'ISTITUTO ITALIANO DI CULTURA. COME RIPORTATO NEL COLOPHON, LA PRESENTE EDIZIONE ORIGINALE E' LIMITATA A CINQUANTOTTO ESEMPLARI NUMERATI DA 1 A 58. NS.ESEMPLARE n°18. TERMINATO DI STAMPARE IL 16 MARZO 1962 PER CONTO DI EDIZIONI TERREMARE PRESSO LE OFFICINE GRAFICHE F.lli BARBE' IN MORTARA. ROMOLO CALCIATI, NATO A BORGO LAVEZZARO ( NO.) NEL 1924, PITTORE, GRAFICO E SCULTORE.TRA I PROTAGONISTI DELL'ARTE ITALIANA E INTERNAZIONALE DEL SECONDO 900 E DEI PRIMI ANNI DEL NUOVO SECOLO. INTERPRETE ORIGINALISSIMO DEL NEOSURREALISMO E DEL NEODADA. PATAFISICO TRA I PATAFISICI ENRICO BAJ, VINCENZO ACCAME, UGO NESPOLO, ROBERTO SANESI, MOLTO ATTIVA LA VICINANZA CON I POETI, DA LUCREZIO A VILLON E RONSARD A MONTALE A CARRIERI. NEL 1952 ESEGUI' I SUOI PRIMI QUADRI ASTRATTI. CELEBRE LA SERIE DI 170 ACQUEFORTI SUL DE RERUM NATURA. TESTI IN ITALIANO E FRANCESE. MANTENUTA LA CUSTODIA EDITORIALE IN CARTONE MUTO. OTTIMA CONSERVAZIONE DI QUESTA RARA PUBBLICAZIONE COMPLETA DELLE 12 LITOGRAFIE A COLORI FIRMATE DALL'AUTORE. ID, 5040
1547réf. 68039Lugduni Leiden: Apud Iacobum Giunta 1547. Fine. Apud Iacobum Giunta Lugduni Leiden 1547 11 x 16 cm relié New edition after the editio princeps of 1503. Title page in red and black. Gothic typeface. Editions from 1517 are found at the Bibliothèque nationale de France and the British Library. Contemporary limp vellum binding. Smooth spine with faded handwritten title. Joints cracked at foot. Foot headcap with 1 cm tear. Text block detached from binding. Last leaf loose. Lacking endpapers at end of volume and probably the index. Theological and moral work on contrition by the Dominican Vivaldi from Mantua professor of theology and advisor to the Marquis of Saluzzo. It was reprinted several times from 1503. Apud Iacobum Giunta hardcover
1537réf. 031128Parisiis Paris 1537 Venundatur Parisiis: apud Ioannem Parvum (Jean Petit) sub lilio aureo, in via ad divum Iacobum Hardcover 1st Edition
réf. 535-Eo.J. Aquarell, weiß gehöht, über Bleistift, mit Bleistiftlinie umrandet, auf cremefarbenem Zeichenkarton, unten bezeichnet ?Orfanellie.?. 12:9 cm. - Verso Reste alter Montierungen. Vermutlich handelt es sich um eine Illustration zu Antonio Vivaldis (1678-1741) Musikstück ?Orfanelle?.
1547réf. 68039Apud Iacobum Giunta | Lugduni 1547 | 11 x 16 cm | relié
2017réf. x-1138411965Chapman & Hall 2017. Hardcover. New. 240 pages. 9.21x6.14x0.79 inches. Chapman & Hall hardcover
1973réf. 101671Bologna: Grafis edizioni D'arte 1973. Oversize Hardcover. Fine/Very Good. Presentation copy inscribed in Italian to Victor Victor Brosz retired Dean of Fine Arts University of Calgary who was later murdered by his partner by Zauli dated August 1973. Carlo Zauli 1926-2002 won the grand-prix of the International Museum of Ceramics in Faenza three times is of world-wide renown; as the standard-bearer of the Italian ceramic art world he has produced highly dynamic scupltures made of ceramics through an exhaustive pursuit of the possibilities of earth as a medium. His talents have also shined in such fields as fine and elaborate architectural fa�ades and tile design and his non-ceramic designs and lithographs have also received high acclaim. 163 pages. Many black and white photographs. 9 1/4""w x 11 1/4""h. Grafis edizioni D'arte hardcover
1982réf. BN157698Olschki 1982. 1982. Softcover. Teatro musicale cultura e societa Vol. III A cura di Lorenzo Bianconi & Giovanni Morelli Teatro musicale cultura e societa Vol. III A cura di Lorenzo Bianconi & Giovanni Morelli Antonio Vivaldi Olschki paperback
réf. 29943370-nnew. unknown
réf. 29943370like new. unknown
1969réf. 161299Milano Milan Italy: Alfonso Ciranna Editore 1969. Hardcover. VG- Slipcase is aged soiled and has a few tears along edges; book is quite clean. Forest green cloth gilt letters on spine and front cover black stamped decoration on front cover; in mylar cover 215 pp. 174 duotone illus.; held in cardboard slipcase. Text is in Italian. Title on cover: G. de Chirico Catalogo dell'opera Grafica 1921-1969. Chronicles nearly 70 years' worth of graphic work etchings and lithographs rendered by Italian artist and sculptor Giorgio de Chirico 1888-1978. With a beginning essay as introduction. The illustrated catalogue presents 174 specific pieces. Includes title index. #382 of 1500 copies. Scarce. Alfonso Ciranna Editore hardcover
1969réf. 161299Milano Milan Italy: Alfonso Ciranna Editore 1969. Hardcover. VG- Slipcase is aged soiled and has a few tears along edges; book is quite clean. Forest green cloth gilt letters on spine and front cover black stamped decoration on front cover; in mylar cover 215 pp. 174 duotone illus.; held in cardboard slipcase. Text is in Italian. Title on cover: G. de Chirico Catalogo dell'opera Grafica 1921-1969. Chronicles nearly 70 years' worth of graphic work etchings and lithographs rendered by Italian artist and sculptor Giorgio de Chirico 1888-1978. With a beginning essay as introduction. The illustrated catalogue presents 174 specific pieces. Includes title index. #382 of 1500 copies. Scarce. Alfonso Ciranna Editore hardcover books
1969réf. 184494Milano Milan Italy: Alfonso Ciranna Editore 1969. Slipcased. VG Some wear to slipcase. Forest green cloth gilt letters on spine and front cover with clear mylar cover black stamped decoration on front cover; Plain cardboard slipcase 215 pp. 174 duotone illus. Text is in Italian. Title on cover: G. de Chirico Catalogo dell'opera Grafica 1921-1969. Chronicles nearly 70 years' worth of graphic work etchings and lithographs rendered by Italian artist and sculptor Giorgio de Chirico 1888-1978. With a beginning essay as introduction. The illustrated catalogue presents 174 specific pieces. Includes title index. #472 of 1500 copies. Scarce. Alfonso Ciranna Editore unknown
1995réf. ovscd74EMI Distribution 1995-05-02. Audio CD. Like New. Complete 20 CD Box set. All CD's and cases are in excellent unused condition. Case has minor shelf wear. EMI Distribution unknown
réf. 18933Milan, Istituto editoriale italiano, 1968. In-folio, 93 pp., cartonnage éditeur de toile jaune, jaquette originale illustrée, rhodoïd (restaurations des petites déchirures marginales de la jaquette).
réf. BN393110Universal Music Publishing Ricordi. Softcover. Serenata a 3. RV 690. Partitur. Serenata a 3. RV 690. Partitur. Vivaldi Antonio Alessandro Borin Ed. Universal Music Publishing Ricordi paperback
1969réf. 184494Milano Milan Italy: Alfonso Ciranna Editore 1969. Slipcased. VG Some wear to slipcase. Forest green cloth gilt letters on spine and front cover with clear mylar cover black stamped decoration on front cover; Plain cardboard slipcase 215 pp. 174 duotone illus. Text is in Italian. Title on cover: G. de Chirico Catalogo dell'opera Grafica 1921-1969. Chronicles nearly 70 years' worth of graphic work etchings and lithographs rendered by Italian artist and sculptor Giorgio de Chirico 1888-1978. With a beginning essay as introduction. The illustrated catalogue presents 174 specific pieces. Includes title index. #472 of 1500 copies. Scarce. Alfonso Ciranna Editore unknown books
