2268 resultados
1922ref. 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
ref. 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
ref. 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
ref. RO50059623C.F. PETERS. NON DATE. In-8. Relié. Etat d'usage, Coins frottés, Dos satisfaisant, Quelques rousseurs. 138 pages de partitions. Tampon sur la page de titre illustrée en couleur monochrome.. . . . Classification Dewey : 780.26-Partitions
1938ref. RO30123357THEATRE MUNICIPAL DE RENNES. 1938. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. PROGRAMME D OPERA- 14 pages augmentées des photos des artistes en noir et noir dans le texte- ouvrage relié à l'agrafe (1 désolidarisée)- quelques petites rousseurs sur le premier plat. . . . Classification Dewey : 782.1-Théâtre musical, opéra
ref. RO50065862C.F.peters. Non daté. In-4. Broché. Bon état, 1er plat abîmé, Dos très frotté, Intérieur frais. 138 pages de partitions en noir et blanc.Un accroc sur le premier plat.. . . . Classification Dewey : 780.26-Partitions
ref. RO50066453choudens. Non daté. In-8. Broché. Etat d'usage, Plats abîmés, Dos abîmé, Intérieur acceptable. 118 pages de partitions en noir et blanc. Cahiers partiellement désolidarisés.. . . . Classification Dewey : 780.26-Partitions
ref. 1340390734DX2-C57, Enoch & Cie, Collection Litolff l
1997ref. R200137208Grand-Théatre de Bordeaux. 1997. In-8. Broché. Etat d'usage, Tâchée, Dos satisfaisant, Intérieur frais. 41 pages, couverture contrepliée, nombreuses photos et illustrations en noir et blanc dans et hors texte, en supplément une plaquette dépliante sur la pièce de théatre - coins frottés.. . . . Classification Dewey : 792-Théâtre
1999ref. MGLUORPHParis Editions Premières Loges 1999 In-8 broché (25x17 cm), couverture illustrée pelliculée, nombreuses illustrations, livret bilingue commenté, discographie comparée, bibliographie, 135 pp. Nouvelle édition.
ref. 239945Calmann Levy, Editeurs Paris 1914 In-12 ( 190 X 120 mm ) de 21 pages, broché sous couverture imprimée. Bel exemplaire.
ref. 75474Mellotée éditeur 1900 livre étude 18,5*11,5 349 pages les chefs-d'oeuvre de la musique expliqués
ref. R150201137CALMANN LEVY. NON DATE. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 21 pages- 1 tampon sur la page de titre. . . . Classification Dewey : 782.1-Théâtre musical, opéra
1922ref. 35997Paris France: Choudens. Spine has been taped with library-type tape but it has some wear along front hinge and a chunk missing top edge. A few 1" black marker lines at lower front cover. Prev. owner's name plate inside. Toning to pages due to age. Rough-cut pgs. 177 pgs. . Good. Paperback. 1922. Choudens paperback
1774ref. 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
1774ref. 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
ref. 0366899821.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
ref. 005612London: Novello's Original Octavo Edition - Novello & Co Ltd. Undated. Circa 1938. Full score. Excellent clean and tightly bound sheet music. Novello's Original Octavo Edition - Novello & Co, Ltd. paperback
ref. AB4407various: privately bound various. First Thus. . Hardcover. Good. 4to. A good copy with some damp spotting and discolouration to green cloth covers front cover slightly bowed. 5 individual musical scores bound together. None dated but estimate ca 1890. Orpheus edited and the pianoforte accompaniment revised according to the Italian score by Berthold Tours 35pp Novello's original octavo edition. Preciosa translated by the Rev J Troutbeck 65pp. Der Rattenfanger von Hameln with separat ausgabe der sammtlichen lieder des Hunold Singuf pub J Schuberth Leipzig 41pp. Frithiof Op 23 Clavier-Auszug with Germand and English text 67pp. The Longbeards' Saga chorus for male voices with pianoforte obligato Novello Ewer and Co 40pp. Immediate despatch from the UK. privately bound various hardcover
ref. Q-0793512433G. Schirmer Inc. Paperback. New. New. In shrink wrap. Looks like an interesting title! G. Schirmer, Inc paperback
1891ref. 28576London: Novello and Company PN 8146 1891. Large octavo. Original publisher's dark ivory wrappers printed in dark orange. 1f. recto title verso blank 1f. recto argument verso blank 1f. index 135 i printer's' device 1f. publisher's catalogue pp. Wrappers somewhat worn and torn; portions of spine lacking at head and tail. Minor wear to outer margins of first six leaves. First performed in Vienna at the Burgtheater on October 5 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on August 2 1774 in French to a libretto by Pierre Louis Moline after Calzabigi. "Orfeo ed Euridice was the first of Gluck's three so-called reform operas written with Ranieri de' Calzabigi the other two were Alceste and Paride ed Elena in which a 'noble simplicity' in the action and the music was intended to replace the complicated plots and florid musical style of opera seria." Jeremy Hayes in Grove Music Online. Novello and Company [PN 8146] unknown books
1899In-8 (Cm 27,5 x 19), pp. 96, leg. mz. tela con titolo e fregio in oro al piatto ant., frontespizio illustrato, rari segnetti a lapis, millimetrica allentatura tra le pp. 32 e 33. Ordinari segni del tempo. MOLTO BUONO
1956ref. 3222DEUTSCHE GRAMMOPHON GESELLSCHAFT 07/1956. 1. hardcover. Sung in German! DEUTSCHE GRAMMOPHON GESELLSCHAFT hardcover
ref. 480087Berlin.: Ed. Bote & G. Bock. Ohne Jahr. Halbleinen nachgebunden. Noten im Text. Collection des Oeuvres Classiques. Gr.4°. Aufgeklebte Plastikschutzhülle. Titelblatt lichtrandig sonst gut erhalten. Ed. Bote & G. Bock. unknown
1783ref. 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 books
