1,949 results
1956ref. 3222DEUTSCHE GRAMMOPHON GESELLSCHAFT 07/1956. 1. hardcover. Sung in German! DEUTSCHE GRAMMOPHON GESELLSCHAFT hardcover
2024ref. SKU1714243West Academic Publishing 2024-07-18. hardcover. New. 0x0x0. New Book Ships with Tracking West Academic Publishing hardcover
1800ref. RO50056034DESLAURIERS. VERS 1800. In-Folio. Relié. Etat d'usage, Plats abîmés, Dos abîmé, Mouillures. 211 pages de partitions. Plats trés frottés et rognés à restaurer. Dos partiellement manquant. Légères mouillures sur le bas des pages, sans conséquences sur la lecture. Annotations sur la première page blanche. Représenté pour la première fois par l'Académie Nationale de musique le mardi 18 May 1779.. . . . Classification Dewey : 780.26-Partitions
ref. 228846Berlin, s.n., 1774 in-8, [2] ff. n. ch., 16 pp., demi-basane fauve, dos lisse cloisonné et fleuronné, armes en tête, pièce de titre cerise, tranches rouges (reliure de l'époque).
1777ref. 121877P., Deslauriers, s.d. (1777), in-folio (323 x 250 mm), (1) f. de titre, 279 pp, reliure plein veau raciné, dos à 5 larges faux-nerfs soulignés de doubles filets dorés, titre doré dans un encadrement floral au 1er plat, tranches mouchetées (rel.de l'époque), coiffes arasées, pt accrocs au 2e plat, pt mque à un coin, plats lég. frottés, coins émoussés, trace de mouillure ancienne en coin, infime travail de vers en marge sup. des 10 derniers feuillets, marges des 4 premiers feuillets restaurées, 4 pages manquantes (p. 217-220) remplacées par une copie manuscrite très bien exécutée à l'époque, bon exemplaire, entièrement gravé sur cuivre, imprimé sur papier fort
2016ref. Adhya-9781319154059FREEMAN MACMILLAN 2016. HB. New. FREEMAN MACMILLAN hardcover
2016ref. Adhya-9781319154059FREEMAN MACMILLAN 2016. HB. New. FREEMAN MACMILLAN hardcover
1783ref. 40431Paris: Chez Des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Provaires 1783. Folio. Early full dark brown leather with double rule gilt to edges of boards spine in compartments gilt with titling gilt marbled endpapers. 1f. recto title verso blank 1f. recto dedication verso "Argument" 217 pp. Bound with an extra title that of Hopkinson 41Ak. 1f. recto title verso blank 1f. recto blank verso "Argument" pp. Binding quite worn rubbed and bumped with loss to spine. Occasional minor soiling to blank outer margins; paper repairs to blank inner margins of approximately fifteen leaves; small binder's holes to blank inner margin of numerous leaves; occasional staining; worming to blank inner margin of final third of volume; extra title and Argument worn and soiling with worming to blank margins. Second edition of the French version. Wotquenne 41. A variant issue of Hopkinson 41Ai but with the price of 36 instead of 24 tt. Lesure p. 240. RISM G2853. First performed in Vienna at the Burgtheater on 5 October 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on 2 August 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "More successfully than any of his contemporaries Gluck translated the widespread agitation for reform of opera and theatrical dance on the part of European intellectuals into actual works for the stage first in pantomime ballets and Italian serious operas for Vienna and then in operas of various sorts for Paris." Bruce Alan Brown and Julian Rushton in Grove Music Online "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms. . It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France. . Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Chez Des Lauriers, Md. de Papiers, Rue St. Honoré à côté de celle des Provaires unknown
1795ref. 36809Paris: Des Lauriers 1795. Folio. Quarter dark green calf with green cloth boards spine in decorative compartments gilt titling gilt marbled edges. 1f. recto title verso blank 1f. recto publisher's catalogue verso blank 211 pp. Engraved. Occasional performance markings in blue pencil. Some browning foxing and soiling; light dampstaining to upper portion of leaves; final leaves slightly creased at lower outer corners; small handstamp to upper margin of title. Second Edition. Hopkinson 46 A c the present copy is presumably from an earlier issue without plate number and with fewer items in the catalogue. Loewenberg 371. Sonneck p. 56. Lesure p. 239. BUC p. 386. RISM G2816. With this opera "Gluck foreshadowed most clearly the musical achievement of Wagner. For it was not until Iphigenie en Tauride that he contrived a balance between musical and dramatic interest which was of its school a perfect one . Iphigenie en Tauride is the one indisputable masterpiece produced by Gluck the one composition which can be measured against the very highest productions in its own or any other branch of musical expression." Cooper: Gluck p. 260. Des Lauriers unknown books
1783ref. 40431Paris: Chez Des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Provaires 1783. Folio. Early full dark brown leather with double rule gilt to edges of boards spine in compartments gilt with titling gilt marbled endpapers. 1f. recto title verso blank 1f. recto dedication verso "Argument" 217 pp. Bound with an extra title that of Hopkinson 41Ak. 1f. recto title verso blank 1f. recto blank verso "Argument" pp. Binding quite worn rubbed and bumped with loss to spine. Occasional minor soiling to blank outer margins; paper repairs to blank inner margins of approximately fifteen leaves; small binder's holes to blank inner margin of numerous leaves; occasional staining; worming to blank inner margin of final third of volume; extra title and Argument worn and soiling with worming to blank margins. Second edition of the French version. Wotquenne 41. A variant issue of Hopkinson 41Ai but with the price of 36 instead of 24 tt. Lesure p. 240. RISM G2853. First performed in Vienna at the Burgtheater on 5 October 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on 2 August 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "More successfully than any of his contemporaries Gluck translated the widespread agitation for reform of opera and theatrical dance on the part of European intellectuals into actual works for the stage first in pantomime ballets and Italian serious operas for Vienna and then in operas of various sorts for Paris." Bruce Alan Brown and Julian Rushton in Grove Music Online "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms. . It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France. . Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Chez Des Lauriers, Md. de Papiers, Rue St. Honoré à côté de celle des Provaires unknown books
ref. Discovery-9781806017317BRILLIANCE 2027. Hardcover. New. BRILLIANCE hardcover
ref. Discovery-9781806017317BRILLIANCE 2027. Hardcover. New. BRILLIANCE hardcover
1985ref. 58047New York: Ecco Press. Near Fine in Near Fine dust jacket. 1985. First Edition; First Printing. Hardcover. 0880010819 . 8vo 8" - 9" tall; 60 pages; SIGNED 1985 Ecco Press. HC/DJ. First edition first printing. Inscribed by Glück to a fellow poet on the verso of the half-title page and signed again at the head of the title page. Snugly bound and fresh in a crisp-edged uniformly bright title-lettered dust jacket with the publisher's $13.50 issue price intact to unclipped front flap. Just a hint of dust soiling to the top edge and a superficial tap to the top front corners. Feels and appears generally unread. An especially appealing signed copy of Glück's breakthrough fourth collection winner of the 1985 National Book Critics Circle Award. NF/NF. ; Signed by Author . Ecco Press hardcover
ref. BN126341Müller C.F. Hardcover. Wärmetechnisches Raummodell. Wärmetechnisches Raummodell. Bernd Glück Müller C.F. hardcover
1999ref. 522652Portland Oregon: Charles Seluzicki / Printed by Stern & Faye 1999. Unbound. Fine. First separate edition. Broadside poem. Single sheet printed on Arches Cover paper Measuring 9.5" x 15.5". Fine. Housed in a custom blue cloth portfolio. Prints the poem "The Mystery" in eight stanzas. One of 100 numbered copies Signed by Glück. OCLC lists 10 holdings. Charles Seluzicki / Printed by Stern & Faye unknown
1980ref. 522588New York: The Ecco Press 1980. Softcover. Fine. First wrappered edition issued simultaneous with the hardcover edition. 12mo. 52p. Fine in glossy wrappers. Inscribed by Glück: "for Scott Elledge recent sounds with warm good wishes Louise Glück." Elledge authored the E.B. White biographer and was a poetry anthologist who edited a collection of poetry for children Wider than the Sky. The Ecco Press unknown
2012ref. 8311New York: Farrar Straus and Giroux / Ecco 2012. First Edition. First Printing. Thick octavo 23.5cm; light gray paper-covered boards with titles stamped in black on spine; dustjacket; xviii45-6342pp. Signed by the author on the title page. Tiny crimp to base of spine else Fine in a Fine unclipped dustjacket priced $40.00. A substantial volume representing work from the first five decades of the Nobel Prize-winning poet's career gathering selections from her first collection Firstborn 1968 through A Village Life 2009. 8311. Farrar, Straus and Giroux / Ecco unknown
1994ref. 8051Hopewell N. J.: Ecco Press 1994. First edition. Signed by Gluck. Very fine copy. 8vo original cloth dust jacket. Very fine copy. Ecco Press unknown
2008ref. 465198Iowa City Iowa: University of Iowa Center for the Book 2008. Unbound. Fine. Broadside. Measuring 12" x 26". Fine. Limited to 150 copies. This is copy 129. Signed by the poet. Issued in honor of Glück's visit to the Iowa Writers Workshop in April 2008. University of Iowa Center for the Book unknown books
1999ref. 522652Portland Oregon: Charles Seluzicki / Printed by Stern & Faye 1999. Unbound. Fine. First separate edition. Broadside poem. Single sheet printed on Arches Cover paper Measuring 9.5" x 15.5". Fine. Housed in a custom blue cloth portfolio. Prints the poem "The Mystery" in eight stanzas. One of 100 numbered copies Signed by Glück. OCLC lists 10 holdings. Charles Seluzicki / Printed by Stern & Faye unknown books
1980ref. 522588New York: The Ecco Press 1980. Softcover. Fine. First wrappered edition issued simultaneous with the hardcover edition. 12mo. 52p. Fine in glossy wrappers. Inscribed by Glück: "for Scott Elledge recent sounds with warm good wishes Louise Glück." Elledge authored the E.B. White biographer and was a poetry anthologist who edited a collection of poetry for children Wider than the Sky. The Ecco Press unknown books
1994ref. 8051Hopewell N. J.: Ecco Press 1994. First edition. Signed by Gluck. Very fine copy. 8vo original cloth dust jacket. Very fine copy. Ecco Press unknown books
1966ref. 41722Chapel Hill NC: Lillabulero 1966. Very Good. Chapel Hill NC: Lillabulero 1966-1974. Fourteen issues in thirteen volumes complete. The first two volumes in tall folio format 36.5cm the third through fifth issues slightly shorter 33cm and the final eight issues in octavo format 24cm; all issues bound in pictorial card wrappers yapp edges; illus. throughout. Moderate wear to margins especially to the larger format issues else a Very Good and sound set. Complete collection of this poetry and literature magazine the brain child of young Russell Banks while a student at UNC Chapel Hill. Contributors included the leading and up-and-coming poets of the day including Robert Creeley Charles Simic W.S. Merwin Wendell Berry Jim Harrison and in the final issue Louise Gluck. While some of the individual issues are quite common complete sets are rare. Lillabulero unknown
1966ref. 41722Chapel Hill NC: Lillabulero 1966. Very Good. Chapel Hill NC: Lillabulero 1966-1974. Fourteen issues in thirteen volumes complete. The first two volumes in tall folio format 36.5cm the third through fifth issues slightly shorter 33cm and the final eight issues in octavo format 24cm; all issues bound in pictorial card wrappers yapp edges; illus. throughout. Moderate wear to margins especially to the larger format issues else a Very Good and sound set. Complete collection of this poetry and literature magazine the brain child of young Russell Banks while a student at UNC Chapel Hill. Contributors included the leading and up-and-coming poets of the day including Robert Creeley Charles Simic W.S. Merwin Wendell Berry Jim Harrison and in the final issue Louise Gluck. While some of the individual issues are quite common complete sets are rare. Lillabulero unknown books
ref. 109840A Paris, Au Bureau d'Abonnement Musical, Rue du Hazard Richelieu Et Aux Adresses Ordinaires, A. P. D. R., sans date (circa 1775), 1f.blanc, titre avec le catalogue des ouvrages de musique de l'éditeur au verso, 298 pages, 2ff.blancs, cartonnage moderne avec les pages de gardes remplacées, titres dorés sur pièce de titre en basane brune. Des rousseurs, traces d'humidité et petits trous de ver dans la marge supérieure, 2pages refaites à la main et collées sur les pages 24 et 26, quelques notes manuscrites dans la marge. Comme pour l'Edition originales de chez Le Marchand les partitions ont été gravées par Huguet.
