Gluck, Christian WolfgangBiblio.com
2 256 résultats
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
1956réf. 3222DEUTSCHE GRAMMOPHON GESELLSCHAFT 07/1956. 1. hardcover. Sung in German! DEUTSCHE GRAMMOPHON GESELLSCHAFT hardcover
1774réf. 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
1783réf. 40431Paris: Chez Des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Provaires 1783. Folio. Early full dark brown leather with double rule gilt to edges of boards spine in compartments gilt with titling gilt marbled endpapers. 1f. recto title verso blank 1f. recto dedication verso "Argument" 217 pp. Bound with an extra title that of Hopkinson 41Ak. 1f. recto title verso blank 1f. recto blank verso "Argument" pp. Binding quite worn rubbed and bumped with loss to spine. Occasional minor soiling to blank outer margins; paper repairs to blank inner margins of approximately fifteen leaves; small binder's holes to blank inner margin of numerous leaves; occasional staining; worming to blank inner margin of final third of volume; extra title and Argument worn and soiling with worming to blank margins. Second edition of the French version. Wotquenne 41. A variant issue of Hopkinson 41Ai but with the price of 36 instead of 24 tt. Lesure p. 240. RISM G2853. 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. "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." Bruce Alan Brown and Julian Rushton in Grove Music Online "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 Des Lauriers, Md. de Papiers, Rue St. Honoré à côté de celle des Provaires unknown
1998réf. Q-1891004026Pasta Pr Pub 1998-09-01. Paperback. New. In shrink wrap. Looks like an interesting title! Pasta Pr Pub paperback
réf. 100-24740Art Publication Society. Sheet Music. New. In shrink wrap. Looks like an interesting title! Art Publication Society unknown
réf. 3752599863.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 3752599871.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1966réf. 70234Switzerland: Barenreiter 1966. hardcover. very good. Hardcover in very good condition no jacket. Binding still very good spine slightly cocked. Minor spotting/marks to boards. Boards slightly warped. Page block edges slightly marked. Da Capo Cathal 08/19 Cathal 03/20 Barenreiter hardcover
2013réf. 1-3659465593Lap Lambert Academic Publishing 2013. Paperback. New. 100 pages. 8.66x5.91x0.23 inches. Lap Lambert Academic Publishing paperback
réf. 3375051360.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 3375051379.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1841réf. 53645Erlangen : in der Palm’schen Verlags-Buchhandlung 1841. cartonnage. GLÜCK Christian Friedrich.Vollständiges Sach- und Gesetz-Register zu Dr. Christian Friedrich Glück’s Commentar über die Pandecten vom ersten bis neunzehten Theil.Zweiter Band: I. Sachregister N bis Z. II: Gesetzregister. Erlangen in der Palm’schen Verlags-Buchhandlung1841 205x125mm 458 Seiten Pappband. Marmorierten Rück und Deckeln. 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 Verlags-Buchhandlung unknown
réf. 44376Paris Chez Le Marchand, Marchand de Musique 1788 in 12 (18,5x12,5) 1 fascicule broché, couverture muette d'attente de l'époque, 32 pages. Christoph Willibald von Gluck, 1714-1787. Nouvelle édition corrigée. Bon exemplaire ( Photographies sur demande / We can send pictures of this book on simple request )
réf. 3964874256.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 396487535X.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 3346998886.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. 1563242656.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1997réf. 22695Armonk New York U.S.A.: M E Sharpe Inc 1997. Hardcover in fine condition. No dust jacket. Hardcover. Fine/No Jacket. Armonk, New York, U.S.A.: M E Sharpe Inc Hardcover
