Christoph Willibald GluckBiblio.com
2 138 résultats
réf. 1396512721.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 1391751124.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 1396474447.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 036498404X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
réf. 0656595760.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
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
réf. 0332586987.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1895réf. 347491895. Zbl. Chir. 22/27 Bericht über die Verhandlung der Deutschen Gesellschaft für Chrirugie XXIV. Kongress. - Leipzig Verlag von Johann Ambrosius Barth 1895 8° pp.641-656; 154 pp. Halbleinenband. Erstdruck! Es "ist der Gedanke Elfenbeinstücke nicht nur zu vorübergehendem sondern zu dauerndem Einsatz von Knochendefekten und aus Elfenbein hergestellte künstliche Gelenke zum Einsatz zu benutzen von Gluck ausgegangen. Er berichtete darüber 1890 und ausführlicher in einem Vortrag im Jahre 1895 über Osteoplastik und einheilbare Prothesen der aber nicht in den gedruckten Verhandlungen aufgenommen ist. Ein Autoreferat findet sich im Zentralblatt für Chirurgie Bd. 22 pp.30 ff. Er hob darin den praktischen Nutzen von Implantation von Elfenbein und Knochen sowie vernickeltem Stahl Aluminiumbronze und dergleichen in Knochendefekten nochmals hervor. Wenn Elfenbein und Knochen auch allmählich von dem neuen sich bildenden Knochen umwachsen resorbiert substituiert würden so dienten sie doch als innere Schiene und als Reiz für die Knochenneubildung und erzwängen die Regeneration in der zweckmäßigen Bahn. Die anorganischen Fremdkörper auch künstliche Gelenke könnten für lange Zeit vielleicht dauernd einheilen und reizlos funktionieren. Dem Vortrag folgte eine reichhaltige Demonstration von Präparaten und Modellen von Elfenbeinmetallprothesen und Mittheilungen über klinische Beobachtungen. Einem großen Hunde war ein Metallscharnierapparat eingeheilt. Pean implantierte als Ersatz des resezierten Schultergelenkes ein Gelenk aus Platiniridium und Hartgummi das seit 2 1/4 Jahr tadellos funktionierte." Friedrich Trendelenburg Die ersten 25 Jahre der Deutschen Gesellschaft für Chirurgie 1923 p.163 unknown
1991réf. 12033Reinbek b. Hamburg: Rowohlt Verlag GmbH, WUnderlich, 1991. 63 Seiten , 24 cm, Pappeinband
2009réf. 77840Köln : Kiepenheuer & Witsch, 2009. 214 S. ; 20 cm Hardcover/Pappeinband mit OU.
2009réf. 31658Köln : Kiepenheuer & Witsch, 2009. 214 S. ; 20 cm OPappbd.
1992réf. 189852San Francisco: Out/Look Foundation 1992. Magazine. 17 issues various pagination 8.5x11 inches b&w illustrations and photos features columns editorials reviews very good complete run of the well-produced LGBT magazine in glossy color pictorial wraps. A complete run of this slick serious glossy that tried to combine literature and politics with almost all strands of gay pop culture. Gladys Bently: Bulldagger who sang the blues; Are lesbians and gay men addicted to addiction programs; Tom of Finland-the gay Norman Rockwell;Gay Lib vs AIDS; Pomo Afro Homos;What do Bisexuals want Jody Foster Hugged Me! aka Out/Look goes Tabloid! Publication ended with volume 5 #1 whole #17. Out/Look Foundation unknown books
réf. RO50020334Vve. Paté et Cartereau. XIXème. In-4. En feuillets. Etat d'usage, Plats abîmés, Dos satisfaisant, Rousseurs. 7 + 3 pages. Quelques petites déchirures. Imprimé sur du papier à la forme.. . . . Classification Dewey : 780.26-Partitions
réf. RO50043017PETERS. NON DATE. In-4. Broché. Bon état, Tâchée, Dos satisfaisant, Quelques rousseurs. 47 pages de partitions. 8 titres : Alceste + Iphigénie en Aulide + Armide de Gluck / Orlando Palandrino de Haydn / Joseph de Mehul / Sargino et Sophonisbe de Paër / Il matrimonio segreto de Cimarosa. Tampon sur la page de titre. Couverture plastique transparente de protection. Plats en couleur.. . . . Classification Dewey : 780.26-Partitions
1926réf. RO50049925PROCURE GENERALE. 1926. In-8. En feuillets. Etat d'usage, Tâchée, Dos satisfaisant, Quelques rousseurs. 2 pages de partitions non paginées. Adaptation de A. Mahot. Annotations sur quelques phrases. Tampon sur le premier plat.. . . . Classification Dewey : 780.26-Partitions
1776réf. 24109Paris: Aux Adresses Ordinaires En Province Chez les Mds. de Musique 1776. Folio. Sewn. 1 title 2-5 music i blank pp. Spine reinforced with paper with numerous pinholes to outer margin; several small wormholes; tears to upper outer edges; occasional additional minor tears and stains; upper portion of final leaf lacking with early paper replacement missing music completed in manuscript. Lesure p. 238. RISM G2768 one copy only of the keyboard part at the Bibliothèque nationale. Aux Adresses Ordinaires, En Province Chez les Mds. de Musique unknown
1776réf. 24109Paris: Aux Adresses Ordinaires En Province Chez les Mds. de Musique 1776. Folio. Sewn. 1 title 2-5 music i blank pp. Spine reinforced with paper with numerous pinholes to outer margin; several small wormholes; tears to upper outer edges; occasional additional minor tears and stains; upper portion of final leaf lacking with early paper replacement missing music completed in manuscript. Lesure p. 238. RISM G2768 one copy only of the keyboard part at the Bibliothèque nationale. Aux Adresses Ordinaires, En Province Chez les Mds. de Musique unknown books
2001réf. 1333640PN. New. 2001. Soft Cover. Date is original print. This is a reprint edition . PN paperback
réf. 145778Berlin : Matthes & Seitz Berlin, 2020. 3. Auflage; 87 Seiten ; 18 cm, Orig.-Broschur;
réf. 0967254361.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
réf. B9780967254364Paperback / softback. New. paperback
réf. A9780967254364Paperback / softback. New. paperback
1875réf. 18913Partitions sur les Moulins,Partitions sur la Terre et paysan Avocat Gustave 1875
1979réf. 29973Abilène 1979
