LISZT, Franz 1811-1886Biblio.com
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184040936Vienne: A. Diabelli & Comp. PN D et C No. 6959 1840. Folio. Unbound. 1f. recto title with vignette of dancing couple and group of musicians 3-1. i blank pp. Engraved<br /> <br /> Some wear and minor foxing; outer bifolium separated at spine' 6" in contemporary manuscript to upper outer corner of title.<br /> <br /> Indecipherable signature in pencil to lower outer corner of title with several annotations in purple ink. First Edition. Searle 425. Raab 250. Auman and White 124a. A. Diabelli & Comp. [PN D et C No. 6959] unknown
186241066Leipzig: Breitkopf & Härtel PN 9056 1862. Octavo. Original publisher's blue printed wrappers. 1f. recto title verso blank 1f. recto composer's note on performance practice in German verso same note in French dated "Weimar Mars 1856" 1f. recto preface in German verso preface in French 97 iii blank pp. Title note and preface lithographed; music engraved. <br /> <br /> With publisher's catalogue to verso of lower wrapper. <br /> <br /> With Beer & Schirmer New York and Musik-Antiquariat Doblinger handstamps to upper wrapper; Beer and Schirmer and publisher's handstamp to title.<br /> <br /> Wrappers worn soiled chipped and torn; spine reinforced with paper tape with small pieces of same tape to verso of upper wrapper. Minor internal wear. First Edition later issue. Searle 97. Raabe 414. Sonneck Orchestral Music p. 266. <br /> <br /> Liszt was a distinguished Hungarian composer pianist conductor and writer.<br /> <br /> "Sketchbook evidence points to 1846-7 as the years when Liszt began to conceive the idea of a series of programmatic orchestral works. Of the four works he named all based on French poetry Ce qu'on entend sur la montagne and Les Préludes eventually became symphonic poems. . <br /> <br /> Liszt's concentration on the symphonic poem largely coincided with his tenure as Kapellmeister in Weimar where he had an orchestra at his disposal and provided music for performances at the Court Theatre. The Grand Duke commissioned Liszt's 'overtures' to preface specific dramas which thereby determined the subject matter of what were to become a number of his symphonic poems. Cormac F2017 argues that Liszt's approach to the overtures and their transformation into symphonic poems was influenced by his experience of an array of dramatic media opera plays melodramas tableaux vivants and by his interaction with staff and actors involved in the dramatic productions in Weimar. A New German School acolyte Felix Draeseke writing about the symphonic poems in a series of essays from the late 1850s acknowledged the influence of dramatic music especially opera on Liszt's Festklänge. Draeseke also addressed the issue that continues to interest scholars - the symphonic poems' engagement with sonata form. .<br /> <br /> Looking at the 12 Weimar symphonic poems Vande Moortele . views all but three Orpheus Héroide funèbre and Hunnenschlacht as using sonata form as one of the central principles guiding their large-scale organization. Furthermore Liszt seems to have attempted the same merging of sonata form and sonata cycle evident in the B Minor Sonata in Tasso Les préludes and Die Ideale and possibly Ce qu'on entend sur la montagne. .<br /> <br /> Some of the symphonic poems include mimetic representation of scenes and actions such as Hunnenschlacht's depiction of a battle and Prometheus's evocation of a voice followed by a storm. The inclusion of such passages drew criticism that a number of the symphonic poems seemed formless and could not be understood without access to a programme. In other symphonic poems such as Les Préludes and Orpheus Liszt responded to a philosophical programme without compromising musical logic. In these cases critics recognized Liszt the 'tone poet' who could capture a poetic stimulus in an expressive evocative musical flow unified by a single theme that underwent transformations. In general Liszt's sumptuous orchestral colorings were the dominant focus of critics' positive reception of his symphonic poems and programme symphonies." Dolores Pesce Maria Eckhardt and Rena Charnin Mueller in Grove Music Online. Breitkopf & Härtel [PN 9056] unknown
__3112379616De Gruyter 1911. Hardcover. New. reprint edition. 413 pages. German language. 6.14x1.06x9.21 inches. De Gruyter hardcover
82621Paris Editions des Horizons de France 1936. 4° 249 S. davon 37 S. Text ansonsten Taf. Priv.-HLdr. m. gold. Rückenpräg. u. eingebundenem Einband der Orig.-Broschur Ldr. etw. unsauber kleine Abspleissungen am Kopf Name a. Vakatseite innen sonst tadellos. Liszt in der Malerei Photographie Bildhauerei und Karikatur. Mit zahlreichen Abbildungen zu seinen Werken. 010 Paris, Editions des Horizons de France, 1936 unknown
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1998ZZ6005Clarendon Press 1998. No spotting / foxing to top edges. Dustwrapper slightly rubbed but unfaded and unclipped. Robust packaging. Tracking is always added to USA orders. It can be added to other overseas orders on request. Used books are exempt from USA tariffs. 1st edition. Binding sound text unmarked. Near Fine/Very Good. xxxix 1063pp. 24 x 16.5 x 7cm. 23 plates. Clarendon Press Hardcover
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58031Breitkopf et Haertel Leipzig. 1881. Second edition. First 1859. 8vo 538pp. Quarter leather bound with gilt ruled raised bands & title to spine. Marbled boards surface scuffed with edges worn & chipped. Leather predominately surface peeled. Marbled endpapers. Previous owner's name to half-title page. Blank flyleaves & half-title pages browned. Overall a good hardback copy. French text. Breitkopf et Haertel, Leipzig. 1881. Second edition. ( First 1859.) hardcover
1929013445Cambridge: Washburn & Thomas 1929. 1st Edition. Hardcover. Near Fine/Very Good. Memoir of a Eurocentric American musician who rubbed elbows with all the Continental and expat swells whose lives traversed teh turn of the 19th/20thC. 8vo dark blue half cloth over light blue paper-baked boards with title label front cover gilt title to spine gte sides untrimmed. 132p illustrated with duotone pictures. Apparently unread in uncommon printed dustjacket that shows some surface wear here and there. Washburn & Thomas hardcover
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19891-0226485102University of Chicago Press 1989. Hardcover. New. 1st edition. 304 pages. 9.75x6.75x1.00 inches. University of Chicago Press hardcover
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6317086Short description: In Russian. Liszt Franz. Selected Articles. Moscow: Muzgiz 1959. Please feel free to contact us for a detailed description of the copies available. SKU6317086 unknown
1999108285Oxford University Press 1999-04-08. Hardcover. New. 8x6x0. As new clean tight and bright oversized and overweight. B62 Please email for photos. Oxford University Press hardcover
192343963097284650<p>Лот из 13 редких ранних ÑоветÑких нотных изданий клаÑÑичеÑкой музыки. МоÑква Ленинград Киев: Музгиз / ГоÑиздат / Укрмузгиз 1923–1935. 1. Бородин Ð. П. ÐœÐ°Ð»ÐµÐ½ÑŒÐºÐ°Ñ Ñюита: â„– 1. "Ð’ монаÑтыре". — МоÑква: МузÑектор ГоÑиздата 1926. 2. ГлиÑÑ€ Ð . Ðœ. 12 детÑких Ð¿ÑŒÐµÑ Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾ Ñоч. 31 â„– 6. — МоÑква: Музгиз 1925. 3. Прокофьев С. С. Соната â„– 2 ре минор Ñоч. 14. — МоÑква-Ленинград: МузÑектор ГоÑиздата 1929. 4. ПахульÑкий Г. Ð. Два концертных Ñтюда Ñоч. 7 â„– 1. — МоÑква: Музгиз 1928. 5. ИноÑтранные фортепианные пьеÑÑ‹ ÑÐµÑ€Ð¸Ñ IV. Бруно Вандельт Ñоч. 12 â„– 1. — МоÑква-Ленинград: МузÑектор ГоÑиздата 1929. 6. ЛиÑÑ‚ Ф. Похоронное шеÑтвие Marche funèbre из цикла "ПоÑтичеÑкие и религиозные гармонии". — МоÑква: Музгиз 1935. 7. ЛиÑÑ‚ Ф. Тарантелла из цикла "Годы ÑтранÑтвий" Ð’ÐµÐ½ÐµÑ†Ð¸Ñ Ð¸ Ðеаполь. — МоÑква: Музгиз 1931. 8. ЛиÑÑ‚ Ф. Грёзы любви Liebestraum. Три ноктюрна. — МоÑква: Музгиз 1932. 9. Скарлатти Д. 60 Ñонат Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾. Под ред. Ð. Б. Гольденвейзера. Т. I â„–â„– 1–15. — МоÑква: Музгиз 1934. 10. Скарлатти Д. 60 Ñонат Ð´Ð»Ñ Ñ„Ð¾Ñ€Ñ‚ÐµÐ¿Ð¸Ð°Ð½Ð¾. Под ред. Ð. Б. Гольденвейзера. Т. II â„–â„– 16–30. — МоÑква: Музгиз 1934. 11. Шуман Ð . КрейÑлериана Ñоч. 16. — МоÑква-Петроград: МузÑектор ГоÑиздата 1923. 12. ПедагогичеÑкий Ñборник фортепианных произведений. Вольф Ñоч. 44 â„– 2. "Короткий раÑÑказ". — МоÑква: Музгиз 1930. 13. Моцарт Ð’. Ð. Фортепианные произведениÑ. Соната â„– 1. — Киев: Укрмузгиз 1932.</p><p></p><p>Collection of 13 rare early Soviet classical music sheet music editions. Moscow Leningrad Kyiv: 1923–1935. 1. Alexander Borodin — Petite Suite: No. 1. "In a Monastery". — Moscow: Gosizdat 1926. 2. Reinhold Glière — 12 Children's Pieces Op. 31 No. 6. — Moscow: Muzgiz 1925. 3. Sergei Prokofiev — Sonata No. 2 in D minor Op. 14. — Moscow–Leningrad: Gosizdat 1929. 4. Henryk Pachulski — Two Concert Études Op. 7 No. 1. — Moscow: Muzgiz 1928. 5. Foreign Piano Pieces Series IV. Bruno Wandelt Op. 12 No. 1. — Moscow–Leningrad: Gosizdat 1929. 6. Franz Liszt — Funeral Procession Marche funèbre. — Moscow: Muzgiz 1935. 7. Franz Liszt — Tarantella Venice and Naples. — Moscow: Muzgiz 1931. 8. Franz Liszt — Three Nocturnes "Liebestraum". — Moscow: Muzgiz 1932. 9. Domenico Scarlatti — 60 Sonatas. Edited by A. Goldenweiser. Vol. I Nos. 1–15. — Moscow: Muzgiz 1934. 10. Domenico Scarlatti — 60 Sonatas. Edited by A. Goldenweiser. Vol. II Nos. 16–30. — Moscow: Muzgiz 1934. 11. Robert Schumann — Kreisleriana Op. 16. — Moscow–Petrograd: Gosizdat 1923. 12. Wolf — "Short Story" Op. 44 No. 2. — Moscow: Muzgiz 1930. 13. W. A. Mozart — Piano Sonata No. 1. — Kyiv: Ukrmuzgiz 1932. This extensive collection of thirteen scores represents a pivotal decade in Soviet music publishing documenting the transition from the experimental aesthetic of the 1920s to the monumentalism of the 1930s. The text provides a deep dive into the internal logic of Soviet piano pedagogy and performance including the arrangement of Sergei Prokofiev's modernist Sonata No. 2 1929 and the scholarly restoration of Scarlatti's sonatas under the editorship of the legendary Alexander Goldenweiser. These editions illustrate the state's massive effort to modernize the classical repertoire while preserving the heritage of the "Mighty Handful" as seen in Borodin's Petite Suite. The collection spans the vast geography of the early USSR featuring a rare 1932 Mozart edition from the Ukrainian State Music Publishing House in Kyiv and an early 1923 Schumann imprint from the Moscow-Petrograd period of Gosizdat. From the virtuosic Liszt transcriptions of the early 30s to the pedagogical works of Reinhold Glière these volumes reflect the evolution of book design from avant-garde linearity to a more sober classical Socialist Realist style. For bibliophiles musicologists and performers these thirteen imprints are vital primary sources that capture the intellectual and artistic spirit of the Soviet conservatory tradition during its most formative years.</p> Muzgiz, Gosizdat, and the Ukrainian State Music Publishing House paperback
1k8557_2Georg Olms Hildesheim 1999. XXVII/560 S. Leinen. - neuwertig/original verlagsfrisch verschweißt/aus der Reihe Historia Scientiarum/Reprografischer Nachdruck der Ausgabe Berlin 1905. Nachdrucke aus den Jahren 1904 - 1918/Enthalten: Band 1: Strafrechtliche Aufsätze und Vorträge 1875 - 1891/Band 2: Strafrechtliche Aufsätze und Vorträge 1892 - 1904/Band 3: Kleine Monographien zum Strafrecht - unknown
__3112676297De Gruyter Art & Architecture 1920. Hardcover. New. 25 reprint edition. 498 pages. German language. 5.00x1.25x8.00 inches. De Gruyter Art & Architecture hardcover
__3112363175De Gruyter 1911. Hardcover. New. reprint edition. 461 pages. French language. 6.14x1.25x9.21 inches. De Gruyter hardcover
ria9783111311913_inpHardcover. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A hardcover
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