Calzabigi Ranieri de,Gluck Christoph WillibaldLivre Rare Book
1.949 Ergebnisse
1995Best.-Nr. ve277Gran Teatro La Fenice Dos carré collé 1995 In-8 (16,5 x 24 cm), dos carré collé, 141 pages, texte en italien ; très bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
1990Best.-Nr. 36322The book has 71 pages three fold-out sections. The text is printed on white hand-made Fabriano Umbria paper in black ink with headings printed in five colors and the three fold-out sections are printed on different pastel shades of MacGregor-Vinzani specially made for this edition. The various cutouts and collages are in different colors as well. Michael Alpert printed the book created and constructed all the various components of the book itself and its binding. The book is bound in a hand made paper wrappper and then inserted into a binding made of paper by MacGregor-Vinzani. The book is then placed in a cloth covered clamshell box with a paper spine label. The book also contains the two-cd set of a recording of Gluck's opera laid into pockets at the back of the book. Number 16 of an edition of 90 copies. Signed by Alpert on the colophon. Fine in a fine clamshell box. Alpert and the Theodore Press have collaborated on other artists' books creations with Claire van Vliet and her Janus Press particularly with her production of King Lear. All of the various materials textures and colors come together in a beautiful production. Winner of the 1990 Stephen Harvard Prize for excellence in the Book Arts. Theodore Press books
2004Best.-Nr. ys3514EMI CD 2004 "2 CD ""Orfeo ed Euridice"", opéra de Von Gluck interprété par Kathleen Ferrier, Greet Koeman, Nel Duval, le Choeur et Orchestre de l'Opéra National des Pays-Bas, dirigé par Charles Bruck ; quelques légères rayures à l'arrière du boitier, par ailleurs très bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande."
1990Best.-Nr. 36843EMI, 1990. 7636372 2 CD CD
Best.-Nr. 1396174478.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
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
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 books
1916Best.-Nr. 64676N.p. ca. 1916. Inscribed twice by Clemens 1874-1962 the sole surviving child of Samuel Clemens. On the photograph itself she has written: "To Miss Howland with the cordial wishes of Clara Clemens." The recipient is further identified by the inscription on the verso from Alma Gluck the Romanian-born American soprano accompanied by a clipped portrait photo from a magazine to "Enid Howland." Additionally Clemens has inscribed the mount: "Most cordially Yours Clara Clemens Sept. 16th 1916." Clara was after her father's death the controversial custodian of his estate and literary rights. She published her biography of him in 1931 along with books on other subjects and worked at a career in singing with which this artifact is likely connected. Mounted and evidently extracted from an album amicorum or scrapbook with another party's photo and inscription on verso. Mount a bit chipped and edge-torn faint crease on photo otherwise good. Enclosed in oversize half-morocco slipcase. unknown
1916Best.-Nr. 64676N.p. ca. 1916. Inscribed twice by Clemens 1874-1962 the sole surviving child of Samuel Clemens. On the photograph itself she has written: "To Miss Howland with the cordial wishes of Clara Clemens." The recipient is further identified by the inscription on the verso from Alma Gluck the Romanian-born American soprano accompanied by a clipped portrait photo from a magazine to "Enid Howland." Additionally Clemens has inscribed the mount: "Most cordially Yours Clara Clemens Sept. 16th 1916." Clara was after her father's death the controversial custodian of his estate and literary rights. She published her biography of him in 1931 along with books on other subjects and worked at a career in singing with which this artifact is likely connected. Mounted and evidently extracted from an album amicorum or scrapbook with another party's photo and inscription on verso. Mount a bit chipped and edge-torn faint crease on photo otherwise good. Enclosed in oversize half-morocco slipcase. unknown books
Best.-Nr. RO50013222Enoch & cie. XXème. In-8. Broché. Bon état, Couv. légèrement passée, Dos très frotté, Intérieur frais. 138 pages. Ornements en couverture et en page titre. Coiffe en pied manquante.. . . . Classification Dewey : 780.26-Partitions
1942Best.-Nr. RO50015764Durand & Cie. 1942. In-8. En feuillets. Bon état, Livré sans Couverture, Dos satisfaisant, Intérieur frais. 3 pages.. . . . Classification Dewey : 780.26-Partitions
Best.-Nr. RO50047552M. LABBE. NON DATE. In-8. En feuillets. Bon état, Tâchée, Dos satisfaisant, Quelques rousseurs. 2 pages de partitions non paginées. Tampon sur le premier plat ainsi que sur la première page. Chantée par Delna de l'opéra comique.. . . . Classification Dewey : 780.26-Partitions
Best.-Nr. RO50043321CHOUDENS. NON DATE. In-8. Broché. Bon état, Couv. légèrement passée, Dos abîmé, Intérieur frais. 118 pages de partitions. Paroles de Moline.. . . . Classification Dewey : 780.26-Partitions
1899Best.-Nr. RO50043318CHOUDENS. 1899. In-8. Broché. Bon état, Plats abîmés, Dos frotté, Intérieur acceptable. 118 pages de partitions. Premier plat illustré en noir et blanc. Inscription sur la première page blanc. Couverture plastique transparente de protection. Paroles de Moline.. . . . Classification Dewey : 780.26-Partitions
Best.-Nr. RO50056746RENE GODFROY. NON DATE. In-Folio. En feuillets. Etat d'usage, Tâchée, Dos satisfaisant, Papier jauni. 4 pages de partitions. Premier plat illustré en couleur monochrome.. . . . Classification Dewey : 780.26-Partitions
1922Best.-Nr. RO50056476CHOUDENS. 1922. In-8. En feuillets. Etat d'usage, Plats abîmés, Dos très frotté, Quelques rousseurs. 177 pages de partitions. Version originale française adaptée et revue par Paul Vidal. Représenté pour la première fois au Théâtre National de l'opéra comique le 11 Octobre 1921. Plats frottés. Poème de Moline d'après Calzabigi.. . . . Classification Dewey : 780.26-Partitions
Best.-Nr. RO50049448C.F. PETERS. NON DATE. In-8. Relié. Etat d'usage, Coins frottés, Coiffe en pied abîmée, Intérieur acceptable. 138 pages de partitions. Compositeur, titre et filets dorés au dos de l'ouvrage. Annotation et tampon sur la page de titre. Coins et plats frottés.. . . . Classification Dewey : 780.26-Partitions
Best.-Nr. 75474Mellotée éditeur 1900 livre étude 18,5*11,5 349 pages les chefs-d'oeuvre de la musique expliqués
1774Best.-Nr. 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
1774Best.-Nr. 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 books
1997Best.-Nr. R260106692OPERA DE BORDEAUX. 1997. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Monographie d'opéra de 41 pages. Premier plat illustré en couleurs. Couverture rempliée. Nombreuses illustrations en noir et blanc dans et hors texte.. . . . Classification Dewey : 782.1-Théâtre musical, opéra
1997Best.-Nr. R260149172GRAND THEATRE DE BORDEAUX. 1997. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Monographie d'opéra de 41 pages. Premier plat illustré en couleurs. Couverture rempliée. Nombreuses illustrations en noir et blanc dans le texte.. . . . Classification Dewey : 782.1-Théâtre musical, opéra
Best.-Nr. RO50056977PHILIPPO. NON DATE. In-Folio. En feuillets. Etat d'usage, Couv. légèrement passée, Dos abîmé, Papier jauni. 7 pages de partitions. Paroles de M. Moline.. . . . Classification Dewey : 780.26-Partitions
Best.-Nr. 239945Calmann Levy, Editeurs Paris 1914 In-12 ( 190 X 120 mm ) de 21 pages, broché sous couverture imprimée. Bel exemplaire.
1905Best.-Nr. RO50023494"Imprimerie des Annales. 19 mars 1905. In-4. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Quelques rousseurs. Non paginé. 4 pages environ. Photos noires et blanches ayant pour thèmes ""La famille des Coquelin"", ""A travers l'actualité"" et ""La guerre russo-japonaise"".. . . . Classification Dewey : 780.26-Partitions"
