2.259 Ergebnisse
Best.-Nr. SKU1754951Worth Publishers 2016-02-15. hardcover. New. 8x1x10. New Book Ships with Tracking Worth Publishers hardcover
1999Best.-Nr. 29440New York:: Ecco Press 1999. First Printing of the First US Edition. A Fine tight hardcover copy in a Fine unclipped dust jacket. In this collection Nobel laureate Louise Glück explores themes of love loss and rebirth through the lens of a difficult divorce and the subsequent "new life" that emerges from it blending personal experience with mythic and classical allusions and juxtaposing childhood memories with adult realities of death and hope. The collection is known for its stark luminous and often brutal honesty combining the ecstatic and the worldly to capture the paradox of finding hope in moments of despair much like Dante's Vita Nova but with a modern personal focus. Ecco Press, hardcover
2025Best.-Nr. x-0967254345Tisza Publishing 2025. Hardcover. New. 432 pages. 6.00x1.31x9.00 inches. Tisza Publishing hardcover
2003Best.-Nr. 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
2019Best.-Nr. x-0967254310Tisza Publishing 2019. Hardcover. New. 482 pages. 6.14x1.44x9.21 inches. Tisza Publishing hardcover
Best.-Nr. 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
Best.-Nr. ANAIS-0691054495Princeton University Press. hardcover. Good. 1.8x09x2.1. Buy with confidence. Excellent Customer Service & Return policy. Princeton University Press hardcover
Best.-Nr. 6238974like new. unknown
1996Best.-Nr. 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
2025Best.-Nr. x-3031970624Springer-Nature New York Inc 2025. Paperback. New. 179 pages. 9.25x6.10x9.25 inches. Springer-Nature New York Inc paperback
2024Best.-Nr. SKU1709526West Academic Publishing 2024-07-18. hardcover. Good. 0x0x0. Textbook May Have Highlights Notes and/or Underlining BOOK ONLY-NO ACCESS CODE NO CD Ships with Tracking West Academic Publishing hardcover
2024Best.-Nr. SKU1714243West Academic Publishing 2024-07-18. hardcover. New. 0x0x0. New Book Ships with Tracking West Academic Publishing hardcover
1999Best.-Nr. 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
Best.-Nr. 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
1980Best.-Nr. 8607New York: Ecco 1980. First Edition First Printing. Hardcover. Near fine/Very good. Octavo. 5.5 x 8.5 in. 48 pp. Near fine in original purple cloth boards with remainder mark to foot of text block a slight lean to spine and very good pictorial dust jacket with minor rubbing to spine extremities and chip to foot of rear panel. Gluck's third book of poetry. Ecco hardcover
2001Best.-Nr. 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
2025Best.-Nr. x-3658465832Vieweg Teubner Verlag 2025. Paperback. New. 2nd edition. 260 pages. German language. 9.45x6.62x9.61 inches. Vieweg + Teubner Verlag paperback
1985Best.-Nr. 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
Best.-Nr. 1469fFriedrich´s Verl. Wiesbaden 1866. 34 S. brosch. NaU./gering fl. Deutsch von Voss Julius von. Musik von Ritter Chr. Gluck unknown
1864Best.-Nr. 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
Best.-Nr. 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
2012Best.-Nr. RGLULOU00lhFarrar Straus and Giroux 2012. Very Good. Gluck Louise. Louise Gluck: Poems 1962-2012. NY: Farrar Straus and Giroux 2012. 1st edition. 634pp. Indexed. 8vo. Grey hardcover. Book condition: Very good. Bumped edges. Gift inscription with date from previous owner penned on front free endsheet. Dust Jacket Condition: Near fine. Farrar, Straus and Giroux hardcover
1809Best.-Nr. 40434Bonn: Chez N. Simrock PN 609 1809. Oblong folio. Quarter black leather with gilt rules mid-brown cloth boards spine in compartments gilt with titling gilt marbled edges. 1f. recto title verso cast list 3-149 pp. Text in French and German. Engraved throughout. With contemporary signature of former owner "Mappes" to upper outer corner of free front endpaper with handstamp of August Kuby in Munich below; "Amalie Mappes" to upper outer corner of title. Binding worn rubbed bumped and slightly stained. Occasional soiling; small ink stains browning and foxing to blank margins; small loss to lower outer corner of p. 27. First Edition. Hopkinson p. 41 40F. Wotquenne 40. RISM G2753 and GG2753 no copies in the U.S. Iphigenie en Aulide was first performed in Paris at the Opéra on 19 April 1774. "Judging from contemporary accounts such as the memoirs of Mannlich the several months of rehearsals for Iphigénie en Aulide must have been quite a spectacle with the irascible 60-year-old composer struggling to reform the bad habits of the singers and players of the Académie Royale to teach them his new opera. However the première of Iphigénie en Aulide in April 1774 was a triumph but the run of performances was interrupted by the death of Louis XV a month later. All the theatres closed and during the period of mourning Gluck quickly revised Orfeo ed Euridice and made a French version of the opera with a translation of the text by Pierre Louis Moline." Jeremy Hayes in Grove Music Online. Chez N. Simrock [PN 609] unknown
2025Best.-Nr. x-100946602XCambridge Univ Pr 2025. Hardcover. New. 304 pages. 6.00x0.75x9.00 inches. Cambridge Univ Pr hardcover
2025Best.-Nr. x-1009465996Cambridge Univ Pr 2025. Paperback. New. 1st edition. 308 pages. 8.75x5.75x0.75 inches. Cambridge Univ Pr paperback
