2.247 resultados
2009ref. x-0822345366Duke Univ Pr 2009. Paperback. New. 345 pages. 9.00x6.00x1.00 inches. Duke Univ Pr paperback
2019ref. x-1108700349Cambridge Univ Pr 2019. Paperback. New. 400 pages. 10.00x7.00x1.75 inches. Cambridge Univ Pr paperback
1860ref. 41452Berlin: W. Zawitz 1860. The composer is depicted full-length standing facing forward dressed in a long coat an elegant waistcoat britches and stockings. He holds a writing quill in his right hand which partially rests on an open opera manuscript resting on a table next to the composer; volumes of his works and music paper rest against a leg of the table. Image size 400 x 275 mm; sheet size 522 x 372 mm. Printed by J. Hesse on wove paper on an off-white ground. Some minor wear soiling and repairs; creases from folding faintly visible on recto. Gluck a Bohemian-Austrian composer was "a leading figure in opera of the second half of the 18th century and the person chiefly credited with the 'reform' of opera after the age of Metastasian opera seria." Jeremy Hayes Bruce Alan Brown Max Loppert and Winton Dean in Grove Music Online Hamman a Belgian painter and engraver specialized in portraying famous artists scholars and the nobility. W. Zawitz unknown
2009ref. 8741New York: Farrar Straus and Giroux 2009. First Edition. First Printing. Octavo 23.75cm; dark grey paper-covered boards with titles stamped in gilt on spine; dustjacket; viii23-72pp. Signed by the author on the title page. Fine in a Fine unclipped dustjacket priced $23.00. Folded and laid into this copy is a program for a 2010 lecture and signing at the 92nd Street Y Tisch Center for the Arts; it contains a facsimile of Glück's manuscript page for her poem "Before the Storm." A sharp copy of the Pulitzer Prize-winning poet's eleventh collection poems set in the Mediterranean world. 8741. Farrar, Straus and Giroux unknown
1985ref. 8744New York: The Ecco Press 1985. First Edition. First Printing. Octavo 21cm; brick red paper-covered boards and light grey cloth backstrip with titles stamped in gilt on spine; dustjacket; xii23-60pp. A few faint tiny stains to lower covers else a clean Near Fine copy in a Fine unclipped dustjacket priced $13.50. The Nobel Prize-winning poet's fourth collection of verse winner of the National Book Critics Circle Award. 8744. The Ecco Press unknown
1996ref. 8740New York: The Ecco Press 1996. First Edition. First Printing. Octavo 23.5cm; white paper-covered boards and black cloth backstrip with titles stamped in gilt on spine and publisher's logo embossed onto front cover; dustjacket; x23-611pp. Signed by the author on the title page. Fine in a Fine unclipped dustjacket priced $22.00 at lower rear flap with the publisher's query card laid in. The Pulitzer Prize-winning poet's seventh collection a book-length sequence which through the re-telling of The Odyssey chronicles the dissolution of a marriage. 8740. The Ecco Press unknown
2001ref. 8742New York: The Ecco Press / HarperCollins Publishers 2001. First Edition. First Printing. Octavo 23.75cm; dark grey and black paper-covered boards with titles stamped in silver on spine; dustjacket; xii23-68pp. Signed by the author on the title page. Fine in a Fine unclipped dustjacket priced $23.00. Glück's ninth book in which "she stares down her own death and in so doing forces the endless superimpositions of the possible on the impossible - an act that simultaneously defies and embraces the inevitable and is finally mimetic" from front flap. A finalist for the Pulitzer Prize and the National Book Critics Circle Award. 8742. The Ecco Press / HarperCollins Publishers unknown
1812ref. 41214Berlin: Schlesinger's Buch= und Musikhandlung Unter den Linden No. 34. PN 50 1812. Oblong folio. Contemporary dark brown mottled calf-backed marbled boards with oval label titled in manuscript to upper. 1f. recto title verso blank 3 "Personen" and incipits 4-123 i blank pp. Provenance Noted American harpsichordist Louis Bagger 1926-2024 Binding worn rubbed and bumped. Very occasional minor soiling to blank lower margins; occasional minor showthrough; small stains to title with small circular publisher's handstamp to inner margin. Hopkinson 46Ca. Gluck's work is 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's work of the same name. "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 It was first performed in Paris at the Opéra on 18 May 1779 "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. Schlesinger's Buch= und Musikhandlung, Unter den Linden No. 34. [PN 50] unknown
ref. ANAIS-0880010819Ecco. hardcover. Good. 9.5X6.5X1.5. Buy with confidence. Excellent Customer Service & Return policy. Ecco hardcover
ref. 8308New York: The Ecco Press 1992. First Edition. First Printing. Octavo 23.5cm; goldenrod paper-covered boards and black cloth backstrip with titles stamped in gilt on spine and publisher's logo embossed onto front cover; dustjacket; xiv633pp. Inscribed by the author opposite the title page: "For Tim - With good wishes - Louise Glück." Fine in a very Near Fine dustjacket unclipped priced $19.95 with a single tiny tear to upper rear panel. Publisher's query card laid in. Folded and laid into this copy is a flyer from a signing event at the Folger Shakespeare Library on Tuesday March 2 1993 which reproduces the full text of Glück's holograph poem "The Silver Lily." Text offset printed in black on pale grey watermarked paper measuring 8.5" x 11"; one horizontal fold some mild handling else Near Fine. The Nobel Prize-winning poet's sixth collection written during a ten-week period in the summer of 1991. These are verses in which "ecstatic imagination supplants both empiricism and tradition creating an impassioned polyphonic exchange.The poems of this sequence see beyond mortality the bitter discovery on which individuality depends" from front flap. Winner of the Pulitzer Prize for Poetry in 1993. 8308. 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. 8310New York: The Ecco Press 1994. First Edition. First Printing. Octavo 23.5cm; cream paper-covered boards and black cloth backstrip with titles stamped in gilt on spine and publisher's logo embossed onto front cover; dustjacket; xii34-1346pp. Signed by the author on the title page. A few very faint surface scuffs to lower rear cover else very Near Fine in a Fine unclipped dustjacket priced $22.00 with the publisher's query card laid in. Sharp copy of the Pulitzer Prize-winning poet's first collection of non-fiction gathering 16 essays on poetry touching on T.S. Eliot George Oppen Sylvia Plath and her skepticism of post-modern critical thought. 8310. The Ecco Press unknown
1969ref. 8307Middlesex: Anvil Press Poetry 1969. First U.K. Edition. First Impression cloth issue. Octavo 22.5cm; burgundy cloth with titles stamped in gilt on spine; dustjacket; viii23-533pp. Signed by the author on the title page. Spine slightly askew light wear to heel and lower board edges else a clean Near Fine copy. Dustjacket is unclipped priced 21/- with light wear to extremities a few tiny nicks and tears with some mild creasing at base of spine and upper rear panel; Very Good. The Nobel Prize-winning author's first book. "Her poems deal in wastelands the lost lives of cripples the hopeless and loveless; yet her landscapes have a stern beauty a mythic size that looms behind the everyday. Arid merciless stinging yet full of life these are strikingly original poems" from front flap. 8307. Anvil Press Poetry unknown
1968ref. 185099New York: The New American Library 1968. Her first book of verse inscribed to a poet she esteemed First edition inscribed by the author on the front free endpaper "August 4. For Hugh: Only great fondness could keep my admiration admiration & not envy from Louise". The recipient was the poet Hugh Seidman whom Glück greatly admired. "I know few collections so lacking in complacency so adamant in their refusal to charm or console so fiercely intelligent" she wrote of his Collecting Evidence 1970. "If Seidman has less conspicuous virtuosity than Plath to fix on the obvious contemporary example he has to my mind greater subtlety an inclination to prefer recalcitrant mystery to hallucination". Tall octavo. Original grey cloth spine lettered in dark blue grey endpapers. With dust jacket. Spine slightly sunned stain at foot a few faint marks to contents; jacket unclipped toned a few short closed tears at edges tape repair at head of spine: a very good copy in like jacket. Louise Glück Proofs & Theories: Essays on Poetry 1994. hardcover
ref. 187177New York: The Ecco Press 1980. It is a deep relief to love so consistently First edition inscribed by Glück to her fellow poet and close friend Hugh Seidman: "Hugh - the experience of profound regard is not easy since it contains so much yearning. So much envy. Your poems seem sometimes that which I derive from that which I aspire to -- finally. It is a deep relief to love so consistently. Louise". Glück's admiration for Seidman's poetry was intense and long lasting. She published an essay celebrating his work On Hugh Seidman in her 1994 Proof & Theories: Essays on Poetry. In it she said of his 1970 volume Collecting Evidence that "I know few collections so lacking in complacency so adamant in their refusal to charm or console so fiercely intelligent" p. 48. Octavo. With the publisher's advertising slip printed in purple. Original purple cloth spine lettered in silver. With dust jacket designed by Loretta Li. Upper edge a little faded; jacket unclipped spine a little creased edges a little rubbed with 3 tiny closed tears: a near-fine copy in very good jacket. hardcover
2006ref. 8608New York: Farrar Straus and Giroux 2006. First Edition. First Printing. Octavo 23.5cm; dark grey paper-covered boards with titles stamped in gilt on spine; dustjacket; xiv793pp. Fine in a Fine unclipped dustjacket priced $22.00. The Pulitzer Prize-winning author's tenth book inspired by the small crater lake in southern Italy which the ancient Romans regarded as the entrance to the underworld. 8608. Farrar, Straus and Giroux unknown
1995ref. 8609Hopewell NJ: The Ecco Press 1995. First Edition. First Printing. Octavo 23.5cm; beige paper-covered boards and brown cloth backstrip with titles stamped in gilt on spine; dustjacket; xvi45-2166pp. Lower corners bumped though still sharp with a thin strip of discoloration at heel; contents clean; Near Fine. Dustjacket is unclipped priced $22.00 with mild external wear some corresponding crinkling to lower corners and a thin shallow stain at base of spine panel on verso; Near Fine. A volume gathering the Pulitzer Prize-winning poet's first four books published between 1968-1985. 8609. The Ecco Press unknown
2024ref. 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
2024ref. SKU1714243West Academic Publishing 2024-07-18. hardcover. New. 0x0x0. New Book Ships with Tracking West Academic Publishing hardcover
1775ref. 40412Paris: chés Miger 1775. Sheet size 284 x 204 mm. The composer is depicted in a circular frame one-third length turned left with head facing forward and eyes raised. He is dressed in a pleated coat waist-length jacket shirt and cravat. The circular frame sits on a stone shelf and is adorned with a branch of laurel with lettering below as follows: CHRISTOPHE GLUCK // De l'art d'aller au coeur par des accords touchants letzter Buchstabe verdruckt / Nul autre mieux que lui n'a montré la puissance / Et de tous ses rivaux c'est le seul dont les chants / Ayent charmé son pays l'Italie et la France." Slight browning; minor abrasions primarily to margins with minor paper loss; some paper repairs. Scarce. chés Miger unknown
1893ref. 694241893. Verh. Berl. med. Ges. 24 1893. - Berlin Gedruckt bei L. Schumacher 1894 8° XLII 250; 389 pp.; mit Abbildungen Halbleinenband d.Zt.; St. verso Tit. Erste Auflage! Verhandlungen der Berliner medicinischen Gesellschaft aus dem Gesellschaftsjahr 1983. Separat-Abdruck aus der Berliner klinischen Wochenschrift. Hrsg. von dem Vorstande der Gesellschaft. Themistocles Gluck 1853-1942 Chirurg. unknown
1893ref. 346831893. Verh. Berl. med. Ges. 23 1892. - Berlin Gedruckt bei L. Schumacher 1893 8° XXXI 288; 302 pp.; mit Abbildungen Halbeinenband d.Zt.; St. verso Tit. Erste Auflage! Verhandlungen der Berliner medicinischen Gesellschaft aus dem Gesellschaftsjahr 1892. Separat-Abdruck aus der Berliner klinischen Wochenschrift. Hrsg. von dem Vorstande der Gesellschaft. Weitere Beiträge von Th. Gluck in diesem Band: Resection des 2. Trigeminusastes und Demonstration einer Knochenschere I: pp.55-56. Ersatz von Sehnendefecten I: pp.83. Hemiatrophia facialis I. p.163. Themistocles Gluck 1853-1942 war ein deutscher Chirurg. unknown
1783ref. 40425Paris: Des Lauriers without PN 1783. Folio. Modern quarter dark red morocco with marbled boards black leather title label to spine gilt. i recto title verso blank i "Catalogue de Musique du fond de Des Lauriers Md. de Sapier rue St. Honoréa Paris" i dedication 211 i blank pp. Engraved throughout. With a short article from Marmontel's Mémoires laid down to blank verso of title in English translation regarding the opera's reception history. Occasional staining soiling and foxing to blank margins; small stain and hole under lowermost system of p. 65; blank upper outer margin of title through p. 7 dampstained; stain and minor loss to lower margin of pp. 18-22. In very good condition overall. Third edition unrecorded variant. Hopkinson 40A e. Wotquenne 46 pp. 215-16. Lesure p. 239 different issue. BUC p. 386. 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. Des Lauriers [without PN] unknown
1779ref. 40424Paris: Chez des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Prouvaires Ou trouve aussi toutes sortes de papiers réglés pour copier la Musique 1779. Folio. Contemporary quarter dark brown calf with marbled boards spine in decorative compartments gilt with titling gilt to spine. 1f. recto title verso blank 256 pp. With blank overpaste to title obscuring the words "Par M. Le Baron de T." Signature "L. Wessén" in ink to front pastedown and "A. Benzinger" to free front endpaper. Binding worn rubbed and bumped; lower portion of upper joint partially split. Occasional small stains foxing browning tears and light dampstaining; minor loss to blank outer margin of pp. 139 and 149; several small holes to p. 237. Quite a good copy overall on quality paper. First Edition variant issue. Hopkinson p. 63 with attributes of 47Ac except here there is no plate number and the price "40" appears in manuscript and 47Ae as "Royale" has been erased here in pencil. Wotquenne 47. BUC p. 386. RISM G2739 First performed in Paris at the Opéra on 24 September 1779. "Echo et Narcisse was a failure at its early performances largely because the audiences and critics expected high drama along the lines of Alceste Armide and Iphigénie en Tauride. But Echo et Narcisse is a different type of work; it belongs to the pastoral tradition still popular at this date and a genre to which Gluck frequently returned. Comparisons were and are still made with Gluck's more popular dramas because Echo et Narcisse contains numbers and scenes similar to those that had made greater impressions before. It is not a weak opera and there is much fine music in it ." Jeremy Hayes in Grove Music Online Gluck was a "Bohemian-Austrian composer of Italian and French opera a leading figure in opera of the second half of the 18th century and the person chiefly credited with the 'reform' of opera after the age of Metastasian opera seria. . Force of circumstance may have led Gluck to Paris to complete his operatic career but in artistic terms Paris can be seen as his inevitable final destination. His years of grounding in opéra comique and the ballet and via Traetta his response to the French tragédie lyrique tradition had already provided the impetus for his overhaul of the opera seria; now it was time to confront that tradition on its own territory. On more than one occasion indeed Gluck explicitly owned the French influence and its particular effect on his preparation for Paris. Between them the eight operas that he produced for the Académie Royale de Musique in Paris - the two Iphigénie operas; the radical revisions for Paris of the Vienna 'reform' operas Orfeo and Alceste; the similar revisions of the Vienna opéras comiques Cythère assiégée and L'arbre enchanté; Armide a new opera on a libretto that Quinault had written for Lully more than 90 years earlier; and the last opera Echo et Narcisse - are all different attempts at the confrontation and revival of that lyric tradition." Jeremy Hayes Bruce Alan Brown Max Loppert and Winton Dean in Grove Music Online. Chez des Lauriers Md. de Papiers, Rue St. Honoré à côté de celle des Prouvaires Ou trouve aussi toutes sortes de papiers ré unknown
1774ref. 40430Paris: Chez Mr. Lemarchand . A.P.D.R. 1774. Folio. Unbound. Sewn. 1f. recto title verso publisher's catalogue 1f. recto dedication verso "Argument" 52 pp. Engraved. Incomplete with only first act and three pages of second act present. Worn overall with occasional staining foxing and soiling throughout primarily to blank margins; title worn and heavily browned stained and soiled with paper loss to edges; corners slightly bumped and creased; signatures separated; binder's holes to blank inner margin. First Edition unrecorded variant. Wotquenne 41. Hopkinson p. 43 41A. BUC p. 386. Lesure p. 240. RISM G2582. 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. "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 Mr. Lemarchand ... A.P.D.R. unknown
