Gluck, Christian Friedrich von GluckBiblio.com
2 261 résultats
réf. 3743410354.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1823réf. 55700Erlangen : in der Palm’schen Verlagsbuchhandlung 1823. cartonnage. GLÜCK Christian Friedrich.Ausführliche Erläuterung der Pandecten nach Hellseld ein Commentar. 24. Theils erste Abtheilung. De ritu nuptiarum. Erlangen in der Palm’schen Verlagsbuchhandlung1823 195x120mm 448 Seiten Pappband. Marmorierten Pappband. No hidden customs fees for orders shipped to the U.S.A with a value of up to 800 USD PDDP shipping we pay the VAT in advance in der Palm’schen Verlagsbuchhandlung unknown
réf. 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
réf. 1167656393.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 1160354316.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. a92979bWien 1855 first edition. One issue of Sitzbungsberichte Akademie der Wissenschaften band XVII heft I Juni 1855. Original printed tan wraps. octavo. Gluck article on pp. 60-150. Text largely unopened. Good plus cover toned lightly chipped ; text clean and binding secure; no ownership marks. . paperback
1779réf. 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
réf. 0666423687.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
2026réf. LRB28057706Paris: Editions Recreasoft 2026 Gebundene Ausgabe Hardcover. Sprache: Deutsch. Ca. 829 Seiten. Deutsch : Nachdruck auf Anfrage. Originalausgabe : 1822. Werk auf Deutsch. Diese Studie von Christian Friedrich von Glück bietet eine systematische und hermeneutische Analyse der Lehre von der Intestaterbfolge nach den Grundsätzen des älteren und neueren römischen Rechts. Das Werk ist von großer Bedeutung für die Rechtsgeschichte und die vergleichende Rechtswissenschaft. Es behandelt die rechtlichen Prinzipien und Entwicklungen im römischen Erbrecht und bietet eine fundierte Grundlage für weitere Forschungen in diesem Bereich. Buchbilder sind unverbindlich English: Print-on-demand reprint. Original edition : 1822. Text in German. This study by Christian Friedrich von Glück provides a systematic and hermeneutic analysis of the doctrine of intestate succession according to the principles of older and newer Roman law. The work is of great importance for legal history and comparative law. It examines the legal principles and developments in Roman inheritance law and provides a solid foundation for further research in this field. Book images are non-contractual. Editions Recreasoft. Softcover. New. Editions Recreasoft paperback
réf. NOTE0127Kassel Bärenreiter 1968. 4°. XXIII 247 S. OLn. leicht angestaubt Ecken etwas lädiert Schnitt ein wenig fleckig Bindung gelockert. = Sämtliche Werke Abteilung III: Italienische Opere serie und Opernserenaden Band 8. Kassel, Bärenreiter 1968. unknown
réf. 1020556099.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1812réf. 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
1783réf. 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
1809réf. 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
réf. 9638303999.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1795réf. 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
réf. NOTE0073Paris Chez Sieber Rue de filles St. Thomas No.21. entre les rues Richelieu et Vivienne. PlNr. 3. um 1795. Gr.4°. 2 Bl. 298 gest. S. Hldr. d. Zt. Rücken u. Kanten stärker berieben. Rechts unten mit kleinem Wurmbefall der ersten 55 Bl. ausserhalb des Plattenrandes. Sehr sauberer Abzug fast fleckenfrei. Hopkinson 40A i; nicht in CPM. Bibliographisch nicht nachgewiesene Übernahme der dritten Auflage des Werks von Des Lauriers rue St.Honore durch den Verlag Sieber. Die ursprüngliche Verlagsangabe wurde mit einem bedruckten Papierstreifen überklebt. Sonst ist unser Exemplar mit Hopk. 40Ai ident eingebundenes Katalogblatt Preis PlNr. Früher Partitur-Druck von den Platten der Originalausgabe. Paris, Chez Sieber, Rue de filles St. Thomas No.21. entre les rues Richelieu et Vivienne. (PlNr. 3.) [um 1795]. unknown
1912réf. 075188Leipzig: AKtiengesellschaft 1912. Hardcover. Very Good/No Jacket. 4 vo. Iphigenie in Aulis: opera in 3 acts Of Chr. W. Von Gluck; According to Richard Wagner's adaptation v. 1847. Piano drawing With text By Hans Von Bulo no dte given inscripton dated 1912; Unversal Editon; red c w/black titles; 149 clean unmarked pages.with bookplate and signature of Dr Hermann Schneider July 24 1901- 30 January 1973 a Swiss poet writer and editor of some note AKtiengesellschaft hardcover
réf. BN408182Peter Lang Verlag. Kindliche Wortfindungsstörungen: Ein Bericht des aktuellen Erkenntnisstandes zu Grundlagen Diagnostik und Therapie Münchener Beiträge zur Sonderpädagogik Band 19 Kindliche Wortfindungsstörungen: Ein Bericht des aktuellen Erkenntnisstandes zu Grundlagen Diagnostik und Therapie Münchener Beiträge zur Sonderpädagogik Band 19 Glück Christian Wolfgang Peter Lang Verlag unknown
1860réf. 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
réf. 111312279X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 1024053555.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1986réf. Q-0793598125G. Schirmer Inc 1986-10-31. paperback. New. In shrink wrap. Looks like an interesting title! G. Schirmer, Inc paperback
réf. 0486273245.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1774réf. 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. 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. Lemarchand unknown
