Gluck, EugeneBiblio.com
2250 risultati
1840rif. 008068Strasbourg: Emile Simon Fils 1840. First Edition. Quarter Morocco. Marbled paper pastedown on boards. Very Good. Colorful 1840 three day celebration of the unveiling of a statue to Johann Gutenberg which occurred on June 24 through the 26th 1840. This stunning color plate book is almost entirely devoted to the endless parade organized for the event that proceeded during the second day or the 25th -- based on the dates given in the plate captioning. In this parade each of many professions had its own contingent and dressed and carried a sometimes impressive prop reflecting on the profession. From the vast number of paraders it would seem that virtually everyone in Strasbourg was an active participant. Oblong folio 32 by 53 cm. 48 hand-colored plates with five of the plates with fold-outs and thus extra long. Fold-out plates are counted as two plates in the enumeration which thus goes up to the number 53. In complete form this book is scarce. Outside of France and Germany the only hard copy showing on OCLC First Search is at the Morgan. It isn't clear to us whether the copies in Europe are commensurate but at most there may be half a dozen copies. No copies found in commerce on the date of this listing. Contemporary morocco spine moderately rubbed and scratches on the paper pastedown. Leaves age toned with deeper age toning affecting the fold-out plates. Occasional foxing with perhaps two plates with a considerable amount. A very short closed tear or two. Some shake to the binding as typical in such an extreme oblong book. Emile Simon Fils unknown
1937rif. 324051New York: The Affiliated Schools for Workers 1937. Softcover. Near Fine. First edition. Stapled wrappers. 104pp. Light stains on wrapper else very good. The Affiliated Schools for Workers unknown books
rif. 52761New York: Greenwood Press Publishers. Very Good. c1929. Hardcover. 0837121701 . An edition in Very Good condition with some soiling to the front flyleaf and minor wear to the boards ; Mitchell Miner is a riveting and informative exploration of the life and labor of John Mitchell one of the most important figures in the history of American labor. Gluck tells the story of Mitchell's life and work as a coal miner in the dangerous and difficult days of the Gilded Age when men and women labored long hours in dangerous conditions for little pay. Mitchell was a pioneering organizer and leader of the coal miners' union and his negotiations with the coal companies helped to secure better working conditions and higher wages for his fellow miners. Gluck brings Mitchell to life with lively descriptive detail and his story is a testament to the power of collective organizing to improve the lives of working people.; 8vo; 270 pages; TBC . Greenwood Press, Publishers hardcover books
1929rif. 328636New York: The John Day Company 1929. Hardcover. xvi 270p. front. illus. first edition ex library with the usual markings else good condition lacking the jacket. The John Day Company hardcover books
rif. 1025448383.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
rif. 1025757637.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
rif. 125840964X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
rif. 1258402327.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
rif. 52761New York: Greenwood Press Publishers. Very Good. c1929. Hardcover. 0837121701 . An edition in Very Good condition with some soiling to the front flyleaf and minor wear to the boards ; Mitchell Miner is a riveting and informative exploration of the life and labor of John Mitchell one of the most important figures in the history of American labor. Gluck tells the story of Mitchell's life and work as a coal miner in the dangerous and difficult days of the Gilded Age when men and women labored long hours in dangerous conditions for little pay. Mitchell was a pioneering organizer and leader of the coal miners' union and his negotiations with the coal companies helped to secure better working conditions and higher wages for his fellow miners. Gluck brings Mitchell to life with lively descriptive detail and his story is a testament to the power of collective organizing to improve the lives of working people.; 8vo; 270 pages; TBC . Greenwood Press, Publishers hardcover
rif. 3486254456.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
rif. 3863830717.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2004rif. 023458Montmelian France: La Fontaine De Siloe 2004 Written in French. Folio 12" tall x 9 1/4". Slick pictorial boards. 299 pages printed on thick paper. Many drawings and photos of the furniture. Furniture grouped by types. Dust jacket. MINT. . La Fontaine De Siloe hardcover
1881rif. 623209New York: Edward Schuberth & Co 1881. Softcover. Good. Sheet music. Folio. Two nested bifolia with a single-sheet-insert making ten pages. Notched and worn along the folds from once being bound within an album as a result the insert remains bound to the inner bifolium light offsetting throughout faint music shop stamp on the front cover and the exterior lightly soiled a complete but good only copy. An instrumental piece for piano. Plate imprint "E. S&Co. 712." OCLC locates a single holding The British Library. Edward Schuberth & Co unknown books
1881rif. 623209New York: Edward Schuberth & Co 1881. Softcover. Good. Sheet music. Folio. Two nested bifolia with a single-sheet-insert making ten pages. Notched and worn along the folds from once being bound within an album as a result the insert remains bound to the inner bifolium light offsetting throughout faint music shop stamp on the front cover and the exterior lightly soiled a complete but good only copy. An instrumental piece for piano. Plate imprint "E. S&Co. 712." OCLC locates a single holding The British Library. Edward Schuberth & Co unknown
1815rif. 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 23 April 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
1777rif. 40432Paris Lyon: Au Bureau d'Abonnement Musical Rue du Hazard Richelieu et Aux Adresses Ordinaires. A Lion Chez Castaud Place de la Commedie 1777. Folio. Early dark brown morocco. 1f. recto title verso publisher's catalogue 293 pp. With "Lagny" in contemporary black ink to blank inner margin of p. 1. Binding worn rubbed and bumped. Slightly worn; title slightly browned and foxed; occasional minor foxing soiling browning and small stains; several leaves slightly trimmed at outer margin not affecting text or notation; small loss to blank lower outer corner of p. 87; light impression to lowermost system of p. 43. Lacking pp. 35/36. Second edition. Wotquenne 44. Hopkinson p. 54 44Acc. Lesure p. 236. BUC p. 385. RISM G2639. Alceste an opera in three acts with text by R. de Calzabigi and a ballet by Noverre was first performed on 26 December 1767 at the Burgtheater in Vienna. It was revised by Gluck for a performance in Paris on 23 April 1776. "Gluck himself stressed the nature of Alceste as a `reform opera' by providing in the preface dedicating the printed score to the Grand Duke Leopold a discussion that goes far beyond the conventional. .That key document at once a manifesto and a defense . is a sharp repudiation of the theory practice and conventions of the old "opera seria" represented in its final phase by Metastasio and his favourite composer Hasse." TNG Vol. 7 pp. 463 and 467. Au Bureau d'Abonnement Musical, Rue du Hazard Richelieu et Aux Adresses Ordinaires. A Lion Chez Castaud Place de la Commedie unknown books
1904rif. 36794Paris: Choudens PN A.C. 10714 1904. Large octavo. Quarter mid-tan calf with marbled boards spine in gilt-ruled compartments dark brown leather title label gilt marbled endpapers original publisher's upper wrapper printed in sepia and black bound in. 1f. recto title verso blank 1f. named cast list and contents verso blank 218 pp. Binding slightly worn rubbed and bumped; ca. 1" lacking to head of spine; hinges cracked; front free endpaper partially detached. Choudens [PN A.C. 10714] unknown books
rif. 41429Image size 183 x 125 mm; sheet size 233 x 152 mm. Very slightly browned foxed and soiled at margins; very minor paper loss to left margin. In very good condition overall. "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
1779rif. 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 books
1900rif. 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 Gluck's opera 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
1900rif. 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
1812rif. 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 books
1809rif. 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 books
1783rif. 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 books
1795rif. 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
