2.263 resultados
2014ref. 1-1138004294Psychology Pr 2014. Paperback. New. 1st edition. 416 pages. 9.02x6.02x1.06 inches. Psychology Pr paperback
2026ref. x-1538196506Bloomsbury USA Academic 2026. Hardcover. New. 240 pages. 9.01x6.00x1.00 inches. Bloomsbury USA Academic hardcover
ref. 091401711X-7-1Gay Pr of New York. First Edition. Acceptable. The item might be beaten up but readable. May contain markings or highlighting as well as stains bent corners or any other major defect but the text is not obscured in any way. Gay Pr of New York unknown
2005ref. x-0805850473Lawrence Erlbaum Assoc Inc 2005. Hardcover. New. hardback/cd-rom edition. 440 pages. 9.00x6.25x1.25 inches. Lawrence Erlbaum Assoc Inc hardcover
ref. SKU1754951Worth Publishers 2016-02-15. hardcover. New. 8x1x10. New Book Ships with Tracking Worth Publishers hardcover
2004ref. 1-0781753015Lippincott Williams & Wilkins 2004. Hardcover. New. 1st edition. 192 pages. 10.75x8.75x0.75 inches. Lippincott Williams & Wilkins hardcover
1992ref. 1-088001248XEcco Pr 1992. Paperback. New. reprint edition. 72 pages. 9.00x6.00x0.25 inches. Ecco Pr paperback
ref. 1588261514-7-1-13Lynne Rienner Pub. Acceptable. The item might be beaten up but readable. May contain markings or highlighting as well as stains bent corners or any other major defect but the text is not obscured in any way. Lynne Rienner Pub unknown
2025ref. x-0967254345Tisza Publishing 2025. Hardcover. New. 432 pages. 6.00x1.31x9.00 inches. Tisza Publishing hardcover
2003ref. G1929473567I3N00Renaissance Publications 2003. Unknown. Good. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More Spend Less.Dust jacket quality is not guaranteed. Renaissance Publications unknown
2019ref. x-0967254310Tisza Publishing 2019. Hardcover. New. 482 pages. 6.14x1.44x9.21 inches. Tisza Publishing hardcover
ref. 164708900X-11-10West Academic Publishing. 2. Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible with all pages included. It may have slight markings and/or highlighting. West Academic Publishing unknown
ref. ANAIS-0691054495Princeton University Press. hardcover. Good. 1.8x09x2.1. Buy with confidence. Excellent Customer Service & Return policy. Princeton University Press hardcover
2007ref. 1-0716786540Worth Pub 2007. Hardcover. New. 1st edition. 533 pages. 10.50x8.25x1.00 inches. Worth Pub hardcover
1996ref. 213366Hopewell NJ: Ecco Press 1996. First edition and first printing. Hardcover. 61 pages. A collection of poetry from this acclaimed poet who recently won the 2020 Nobel Prize for Literature. A very near fine copy in paper covered boards with a cloth spine and in a near fine dust jacket with some minor wear. Ecco Press unknown
2025ref. x-3031970624Springer-Nature New York Inc 2025. Paperback. New. 179 pages. 9.25x6.10x9.25 inches. Springer-Nature New York Inc paperback
2004ref. 208192Louisville KY: Sarabande Books 2004. First edition. Softcover. 20 pages. Quarternote Chapbook Series #3. A single poem by the winner of the 2020 Nobel Prize in Literature. A clean very near fine copy in stapled wrappers with some very minor wear. Signed by Gluck on the title page and with a laid in letter from Tree Swenson the executive director of The Academy of American Poets presenting this book. A somewhat uncommon book and especially signed. Sarabande Books unknown
1999ref. 208542New York: Ecco Press 1999. First edition and first printing. Hardcover. 51 pages. Review copy with laid in publisher sheet. Bollingen Prize winning collection of poetry from the winner of the 2020 Nobel Prize in Literature. A clean very near fine copy in a very near fine dust jacket. Ecco Press unknown
ref. 350456The Ecco Press 1983. SIGNED & INSCRIBED BY NOBEL PRIZE WINNER TO VINCENT O'SULLIVAN octavo illus light card wrappers white lettering to spine unpaginated prelims 53pp VG light fading to spine & edges of rear cover light creasing & curling to covers/edges prev. bookseller's sm label to rear cover light tanning & foxing to page edges minor cracking at front & rear gutters- glue sl cracked & exposed prev. owner's annotation in ink to rear ep The Ecco Press 1983 unknown
2001ref. 204987New York: Ecco Press 2001. First paperback edition. Softcover. 51 pages. Bollingen Prize winning collection of poetry from the winner of the 2020 Nobel Prize in Literature. A near fine copy in wrappers with a small remainder mark to the bottom edge of the pages near the spine and some other very minute wear. Signed and warmly inscribed by Gluck on the title page. A nice copy as the recipient was Traugott Lawler a colleague of Gluck at Yale. Ecco Press unknown
2025ref. x-3658465832Vieweg Teubner Verlag 2025. Paperback. New. 2nd edition. 260 pages. German language. 9.45x6.62x9.61 inches. Vieweg + Teubner Verlag paperback
1985ref. mon0003690158Princeton University Press 10/21/1985 12:00:01. hardcover. Good. 1.3000 9.3000 6.0000. Minimal foxing on outter ends of pages.rn Princeton University Press hardcover
ref. 1469fFriedrich´s Verl. Wiesbaden 1866. 34 S. brosch. NaU./gering fl. Deutsch von Voss Julius von. Musik von Ritter Chr. Gluck unknown
1864ref. 404171864. Height 26.75" 68 cms. With the artist's name "Francin" to truncation of left arm; integral base inscribed "Gluck." Some wear and soiling; age-toned. In quite good condition overall. Provenance Catalogue of the Collection Musicale André Meyer 1961 Vol. I p. 97 and plate 122. Auction catalogue of Pescheteau-Badin Godeau et Leroy Collection Musicale André Meyer et a divers Paris July 2 1998 Lot 101 including color photograph. Auction catalogue of Bonhams London The Roy Davids Collection London 3 October 2005 Lot 246 illustrated. Houdon: An Exhibition of Sculpture from the Collection of Michael Hall esq. Catalogue by Christine Defazio Karl Fugelso and Philip Mezzatesta. New York: Salander-O'Reilly Galleries 1998 pp. 12-15. Poulet et al.: Jean-Antoine Houdon - Sculptor of the Enlightenment. Exhibition Catalogue. The National Gallery of Art Washington D.C. 2003 pp. 102-108. Exposition du Centenaire de Houdon Paris: Galleries Buvelot 1928 pp. 40-41. Vitry: Une Liste d'oeuvres de J.-A. Houdon p. 9. The present sculpture exists in two versions: the present scarcer version with full shoulders and partial torso and a second version with partial shoulders and reduced torso "Following Houdon's plaster bust of Gluck shown in the Salon of 1775 . the marble was exhibited in 1777 . and destroyed in the fire at the Paris Opera 28-29 Oct. 1873. A faithful reproduction ordered in 1798 by Alexandre Lenoir for the Musée des monuments français and executed in marble by Guillaume Francin is in the Musée national du chateau de Versailles. The Louvre's plaster cast workshop distributed copies of this reproduction beginning in 1864." Poulet et al.: Jean-Antoine Houdon - Sculptor of the Enlightenment. Exhibition Catalogue. The National Gallery of Art Washington D.C. 2003 p. 107. "The present bust is probably one of the Louvre's copies. . It was in his depiction of Gluck that Houdon first showed the ravages of smallpox on a subject - it was a common affliction in eighteenth-century France but artists were expected to flatter their subjects in this respect at least." Bonhams catalogue "Gluck was an artist a great musician and therefore must be given the attributes of a genius. His face was deeply pockmarked and the sculptor used this fact to establish his theme. He clothed him in a heavy coat whose texture is an overall pattern of slashed grooves free and direct in their expressive impact. Here there was no attempt to stimulate the appearance of the actual material but rather in a manner almost Rodinesque to bring out the quality of the clay. The open shirt the unbuttoned vest the short disheveled hair and the alert titled pose of the head all emphasize the impact of genius." Arnason: The Sculptures of Houdon p. 34. unknown
ref. 40422Paris 19th century. 61 x 47.3 cms with frame 69.5 x 56 cms. The composer is depicted bust-length turned 3/4 left facing forward wearing a red jacket blue waistcoat white collared blouse with lace and wig. For a fine full-page color illustration of the original held at the Louvre see MGG Vol. 5 plate 15. "Gluck was recognized as an extraordinary phenomenon in his lifetime as is evident from Burney's deferential treatment of the composer during his visit to Vienna in 1772. Shortly afterwards the controversy stirred in French journals resonated well beyond the capital to other countries. The daily cultural discourse of Paris concerned Gluck's 'musical revolution' a catch-phrase taken up by Gluck's opponents such as Jean-François Marmontel as well as by his defenders; in 1781 the 'revolution worked in music by M. le Chevalier Gluck' later dubbed the 'German Orpheus' was used as the title of a collection of pamphlets for and against Gluck with a heavy editorial bias in favour Lesure c1984. Although operas by Piccinni Salieri and especially Sacchini as well as French contemporaries such as Grétry continued alongside Gluck in the French repertoire beyond the Revolution and Empire revivals of Gluck constituted the principal touchstone of dramatic music into the 1820s when the last routine revivals were acclaimed by Berlioz. Opera composers including Salieri Lemoyne and Vogel in Paris were presented or presented themselves as his legitimate successors; elsewhere Mozart especially in Idomeneo and J.M. Kraus were strongly affected by Gluck's example in constructing scenes applying a dramatically motivated admixture of lyricism and more direct and declamatory vocal expression and sometimes in modelling as when the statue in Don Giovanni adopts the tone of the oracle in Alceste. After his death his direct effect can still be heard in Die Zauberflöte and in several French operas including those of Méhul Cherubini and Spontini. Among the Romantics he continued to inspire respect and from Berlioz and Wagner emulation. Berlioz supervised productions of Orphée and Alceste in Paris 1859 and 1866. In Orphée Berlioz created the basis for the version most used over the next century at least by restoring the Italian key-scheme in several scenes to accomodate the tessitura of the title role to a female singer; Pauline Viardot was the first in a line to include Giulia Ravoli Kathleen Ferrier Janet Baker and others although the French version with tenor retained some currency. Musicians close to Berlioz began to realize his ideal of a complete critical edition although only a handful of 'reform' operas were published. Wagner wrote about Gluck in Oper und Drama having learned much from deep study of Iphigénie en Aulide of which he made a modernized performing version Dresden 1847. In 1890 for Weimar Richard Strauss similarly adapted Iphigénie en Tauride. Such orchestrational revision and the melding of recitative and aria to blur Gluck's structure of closed forms represented a style of musical archaeology from which Handel and Mozart also suffered or in terms of public exposure benefited. The later 20th century witnessed not only numerous revivals of the reform operas some in musically authentic form and including the Vienna Orfeo but also a less one-sided critical view of Gluck became possible with the publication of a new critical edition and a revival of interest in works in other genres especially opéra comique and with Don Juan ballet. Winton Dean has observed that Gluck's compromise between the demands of words and music 'was one of the most satisfying and successful of all and has placed his greatest works beyond the reach of time' Grove6. None of Gluck's operas except Orfeo/Orphée is likely to become a staple work in the repertory; however to the extent that every production has the aspect of a revival continued interest in his achievement and consequently revival of an increasing proportion of his output is guaranteed so long as opera continues to occupy a central place in Western musical culture." Julian Rushton in Grove Music Online. unknown
