GLUCK LouiseABAA
2138 resultados
1968ref. 174824New York: The New American Library 1968. First edition. Softcover. First printing. The simultaneous paperback issue of Gluck's first book a collection of poems from this Pulitzer Prize winning poet. A fresh unread copy in wrappers but likely can't be opened very wide because the glue is brittle. Gluck recently won the Nobel Prize in Literature. The New American Library unknown books
1988ref. UGLUROS00LRNew American Library 1988. Very Good. Gluck Sherna Berger. Rosie the Riveter Revisited: Women The War and Social Change. New York City: New American Library 1988. 281pp. Indexed. Bibliography. 8vo. Paperback. Book condition: Very good. New American Library paperback books
1991ref. UGLUWOM00LWRoutledge 1991. Very Good. Gluck Sherna Berger editor. Women's Words: The Feminist Practice of Oral History. Patai editor Daphne. New York: Routledge 1991. 234pp. Indexed. 8vo. Paperback. Book condition: Very good with shallow crease near spine in front cover. Routledge paperback books
1935ref. 16364New York: The Affiliated Schools for Workers 1935. First Edition. Octavo. Staple-bound pamphlet; printed card wrappers; 93pp; illus. Wrappers unevenly faded; small stain to front cover else Very Good. History and theory of trade unionism written for use in workers' schools. The author was Educational Director of the New York Women's Trade Union League. The Affiliated Schools for Workers unknown books
1962ref. 283186New York: St. Martin's 1962. hardcover. fine/very good. Ed. by Hedwig and E. H. Mueller von Asow. Illus. 8vo black cloth d.w. slightly chipped. New York: St. Martin's Press 1962. A fine copy in a very good dust wrapper St. Martin's unknown books
1991ref. 190054Los Angeles: Los Angeles Contemporary Exhibitions 1991. Paperback. 75p. 6x8 inches introduction preface illustrated with b&w plates from the original works very good first edition trade paperback in slightly worn plain green wraps with yellow title on cover. Los Angeles Contemporary Exhibitions paperback books
ref. 35521Other: Other. Very Good. Hardcover. Antwerp Van Ditmar 1956. Many plates almost all in color. Hardbound covers a little soiled else very good condition no jacket. . Other hardcover books
1855ref. 13808New York: Allen 1855. pamphlet. very good. Original green printed wrappers. 21 pages. Slim 8vo origonal blue printed wrappers; a bit edgeworn and with several dog-eared pages. New York: Edward P. Allen 1855. Very Good. Allen unknown books
1968ref. 6861New York: New American Library 1968. Paperwraps. Fine. Paperwraps. 1st edition long galley uncorrected proof original wire staple bound with custom archival box. The celebrated author's first book of poetry presented here in the first issue uncorrected proof format. Laid in is a signed letter from Stanley Moss on New American Review letterhead requesting a review from fellow poet William Meredith. Gluck won the Nobel Prize for literature in 2020. The long galley uncorrected proof is housed in a bespoke archival box. Minimal wear to edges else fine. Very scarce. Additional postage required. New American Library unknown books
1980ref. 6846New York: Ecco Press 1980. 1st edition uncorrected proof original yellow printed paperwraps as issued. A collection of twenty-six poems arranged in three sections. A collection of fifty-four poems. Gluck is the recipient of the National Book Critics Circle Award the Pulitzer Prize and most recently the Nobel Prize in Literature. Very light sunning to spine else fine condition. Ecco Press unknown books
1996ref. 6843Hopewell: Ecco Press 1996. 1st edition uncorrected proof original glossy illustrated paperwraps as issued. A collection of forty-six poems arranged in a book-length sequence. Gluck is the recipient of the National Book Critics Circle Award the Pulitzer Prize and most recently the Nobel Prize in Literature. Fine condition. Ecco Press unknown books
1985ref. 6844New York: Ecco Press 1985. 1st edition uncorrected proof original printed blue paperwraps as issued. A collection of twenty-six poems arranged in three sections. Gluck is the recipient of the National Book Critics Circle Award the Pulitzer Prize and most recently the Nobel Prize in Literature. Fine condition. Ecco Press unknown books
2006ref. 5018New Haven: Yale University Press 2006. 1st edition uncorrected proof original illustrated paperwraps as issued. Published with a nine page Foreward by Louise Gluck. A volume in the Yale Younger Poets series. Fine condition. Yale University Press unknown books
1934ref. 28968Paris: Choudens PN A.C. 15000 1934. Large octavo. Original publisher's ivory printed wrappers. 1f. recto title verso blank 1f. recto notes on first performance and named cast list verso blank 1f. recto contents verso blank 2f. preface 177 i blank pp. Occasional lyrics translated into Norwegian in pencil and black ink. Named cast includes Fernand Ansseau Aline Vallandri Yvonne Brothier and Marthe Coiffier. Wrappers slightly worn and soiled and worn; former owner's handstamp "Hjørdis Wied Koncertsangerinde" and small price handstamp to lower margin of upper wrapper; spine worn with some loss. Wied's handstamp to upper margin of free front endpaper and lower margin of three leaves; annotations in pencil and red crayon to contents; tear to outer margin of pp. 87-92. Revised Paris version. Re-issue of Hopkinson 41Cu. First performed in Paris at the Theâtre National de l'Opéra-Comique on October 11 1921 under Albert Carré and Isola A. Frères. "Orfeo ed Euridice was the first of Gluck's three so-called reform operas written with Ranieri de' Calzabigi the other two were Alceste and Paride ed Elena in which a 'noble simplicity' in the action and the music was intended to replace the complicated plots and florid musical style of opera seria." Jeremy Hayes in Grove Music Online. Choudens [PN A.C. 15000] unknown books
1900ref. 28969London: Novello Ewer & Co 1900. Large octavo. Full dark red blindtooled cloth with titling gilt to upper and spine all edges gilt. 1f. recto title verso blank 1f. recto cast list and argument verso explanation of abbreviations 137 i blank 1f. recto index verso printer's device pp. Binding slightly worn rubbed and bumped. Some signatures split or partially split. A tragedy in four acts to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides Iphigénie en Tauride was first performed in Paris at the Opéra on May 18 1779. "Iphigénie en Tauride was the crowning achievement of Gluck's career a result of the combination of his lifelong experience as an opera composer and a libretto which is arguably the best he ever set." Jeremy Hayes in Grove Music Online. Novello, Ewer & Co unknown books
1899ref. 28620Paris: Choudens PN A. C. 11331 1899. Large octavo. Original publisher's dark ivory wrappers printed in red and black. 1f. recto title verso blank 1f. recto notes on first performance named cast list and contents verso blank 118 pp. Named cast includes Delna Bréjean-Gravière Eyreams and Chasles. Wrappers slightly worn browned and chipped; former owner's signature in blue ink to upper. Some edges slightly damaged; handstamps to title; manuscript annotation to second leaf. Choudens [PN A. C. 11331] unknown books
1900ref. 28577Braunschweig: Henry Litolff PN Collection Litolff No. 82 1900. Large octavo. Half brown calf with marbled boards raised bands on spine in gilt-ruled compartments titling gilt. i title within architectural border 2-3 cast list and contents 4-138 pp. Binding slightly worn rubbed and bumped. Light uniform browning. First performed in Vienna at the Burgtheater on October 5 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on August 2 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "Orfeo ed Euridice was the first of Gluck's three so-called reform operas written with Ranieri de' Calzabigi the other two were Alceste and Paride ed Elena in which a 'noble simplicity' in the action and the music was intended to replace the complicated plots and florid musical style of opera seria." Jeremy Hayes in Grove Music Online. Henry Litolff [PN Collection Litolff No. 82] unknown books
1900ref. 28967Braunschweig: Henry Litolff PN Collection Litolff No. 80 1900. Large octavo. Half mid-tan mottled calf with marbled boards raised bands on spine in gilt-ruled compartments titling gilt. 1f. recto title within architectural border verso cast list and contents 3-144 pp. Binding slightly worn. A tragedy in four acts to a libretto by Nicolas-François Guillard after Guymond de la Touche's Iphigénie en Tauride itself based on Euripides Iphigénie en Tauride was first performed in Paris at the Opéra on May 18 1779. "Iphigénie en Tauride was the crowning achievement of Gluck's career a result of the combination of his lifelong experience as an opera composer and a libretto which is arguably the best he ever set." Jeremy Hayes in Grove Music Online. Henry Litolff [PN Collection Litolff No. 80] unknown books
1900ref. 28561Leipzig: C. F. Peters PN 4398 1900. Large octavo. Full black textured cloth titling gilt to spine. i title within decorative border by F. Baumgarten ii note on the work 1 contents 2-178 pp. Binding worn; small circular label to upper. Some signatures split; handstamps small tear and manuscript annotations to free front endpaper; library handstamps cataloguing notation in manuscript to title; library handstamp to p. 173. C. F. Peters [PN 4398] unknown books
1891ref. 28576London: Novello and Company PN 8146 1891. Large octavo. Original publisher's dark ivory wrappers printed in dark orange. 1f. recto title verso blank 1f. recto argument verso blank 1f. index 135 i printer's' device 1f. publisher's catalogue pp. Wrappers somewhat worn and torn; portions of spine lacking at head and tail. Minor wear to outer margins of first six leaves. First performed in Vienna at the Burgtheater on October 5 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on August 2 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "Orfeo ed Euridice was the first of Gluck's three so-called reform operas written with Ranieri de' Calzabigi the other two were Alceste and Paride ed Elena in which a 'noble simplicity' in the action and the music was intended to replace the complicated plots and florid musical style of opera seria." Jeremy Hayes in Grove Music Online. Novello and Company [PN 8146] unknown books
1774ref. 29643Paris: Lemarchand 1774. Folio. 19th century quarter dark brown leather-backed marbled boards spine in decorative compartments gilt titling gilt. 1f. recto title verso publisher's catalogue 1f. recto dedication verso argument 217 pp. With an inscription signed by the Canadian conductor Wilfrid Pelletier 1896-1982 to Italian conductor Tullio Serafin 1878-1968 dated New York 1928 to front flyleaf. Bass figurings added in manuscript to pp. 10-12 Act I scene 1; final page of music signed by the publisher Lemarchand. Binding worn; edges rubbed; spine split at joints and hinges; chipped at head and tail. Slightly worn and browned; title soiled with outer edge reinforced with paper tape; some minor staining; several repairs to inner margins; occasional small holes. First Edition variant issue. Hopkinson 41Af. Wotquenne 41. Lesure p. 240. RISM G2852 not distinguishing among issues. "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. Lemarchand unknown books
1815ref. 25656Bonn: N Simrock PN 1125. 1815. Oblong folio. Contemporary marbled boards. 1f. recto title verso blank 3 cast list and table of contents 4-159 i blank pp. Engraved. Disbound. Boards quite worn; spine lacking. Slightly worn soiled foxed and stained; some corners slightly turned; minor underlining and annotations in red pencil to cast list; early repairs to inner margins of title and table of contents not affecting text; small binder's holes to inner margins. Later edition of the French version. Hopkinson 44C a. The French version of Alceste to a libretto by Marie François Louis Gand Leblanc Roullet was first performed at the Académie Royale de Musique in Paris on April 23 1776. "Gluck's revision of Alceste for performance in Paris in 1776 amounts almost to a recomposition. His alterations were far more extensive than those he had made in his Paris adaptation of Orfeo . The French Alceste had a new text by Roullet Gluck's librettist for Iphigénie en Aulide based on Calzabigi's libretto; but alterations to the plot and the order of events led to major differences between the two. The principals at the première of the French version included Rosalie Levasseur Alcestis Joseph Legros Admetus Henri Larrivée Hercules Moreau Apollo and Nicolas Gélin High Priest. At the first Paris performances of Alceste the Act 3 denouement was substantially different from the version familiar today and closer to the Italian original. Gluck and Roullet after much criticism altered the act to incorporate a part for Hercules who has no place in the Italian original. Just as Gluck was arranging more music to enlarge the final divertissement again to please Parisian taste he heard of the death of his adopted daughter Marianne in Vienna; he left Paris and assigned the completion of the divertissement to Gossec. This revised version published in Paris in 1776 is the one that has nearly always been performed subsequently." Jeremy Hayes in Grove Music Online. N Simrock [PN 1125.] unknown books
ref. 25612With "2e Année No. 25" printed to upper margin in all likelihood indicating that this portrait was issued as part of a periodical publication. Slightly foxed and creased. "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. His long experience in setting Metastasian drammi per musica and his work in Vienna as music director of the Burgtheater court theatre were not without utility in these more innovative efforts." Bruce Alan Brown and Julian Rushton in Grove Music Online. unknown books
1792ref. 24757Paris: Des Lauriers without PN 1792. Folio. Full contemporary green vellum with mid-tan leather label with decorative border gilt lettered "Romagnat" to upper edges colored in red. 1f. title 211 i blank pp. Engraved. With blank overpaste to title with later manuscript note in pencil: "On a caché par cette . un nom . d'une personne qui a été guillotinée: Marie-Antoinette" by this overpaste a name of a guillotined person has been obscured: Marie-Antoinette. Labels to verso of upper board: printed advertisement of "Husson Marchand Papier" to upper left corner; "Ex libris Georges van Parys" in the shape of a G clef to center. Bass figures entered throughout: pp. 1-31 164-70 and 174-end in pencil otherwise in ink. Some moderate browning; occasional creasing and staining. Second edition first issue. Hopkinson 46A a. Wotquenne 46 pp. 215-16. Lesure p. 239. RISM G2816. "Iphigénie en Tauride was given on May 18 1778 with excellent singers; Rosalie Lavasseur sang Iphigénie Larrivée Oreste Legros Pylade and Moreau Thoas . The opera had a great success immediately and even Grimm wrote of it - I do not know whether this is melody but perhaps it is something better. When I hear Iphigénie I forget I am at the opera; I seem to be listening to a Greek tragedy with music by Lekain and Mlle Clarion. It was the crowning point of Gluck's career. Guillard had provided an excellent libretto more classical than Goethe's poem less Christian and more ruthless; and Gluck had seized on the contrast between Scythians and Greeks upon the perfectly dramatic figures of Iphigenia and Orestes and had produced a work which both re-created a part of Greek tragedy and at the same time foretold a new world." Cooper: Gluck p. 258. While Marie-Antoinette is not actually mentioned on the title she was the queen to whom the work is dedicated. Hopkinson describes a later issue with a new title without the dedication 46 A c. Georges van Parys 1902-1971 was a French composer of operetta and film music. Des Lauriers [without PN] unknown books
1776ref. 24109Paris: Aux Adresses Ordinaires En Province Chez les Mds. de Musique 1776. Folio. Sewn. 1 title 2-5 music i blank pp. Spine reinforced with paper with numerous pinholes to outer margin; several small wormholes; tears to upper outer edges; occasional additional minor tears and stains; upper portion of final leaf lacking with early paper replacement missing music completed in manuscript. Lesure p. 238. RISM G2768 one copy only of the keyboard part at the Bibliothèque nationale. Aux Adresses Ordinaires, En Province Chez les Mds. de Musique unknown books
