Musique

78 260 résultats

Trier parPrix décroissant

Pertinence Auteur A - Z Auteur Z - A Titre A - Z Titre Z - A Prix croissant Prix décroissant Libraire A - Z Libraire Z - A

Par page25

25 50 100

Filtres

Strauß, Johann (Sohn), Komponist (1825-1899).MareMagnum

Notenblatt mit zwei eigenh. Zeilen und Visitenkarte mit eh. Widmung. O. O. u. D.

Tichatschek, Joseph Aloys, Sänger (1807-1886).MareMagnum

Eigenh. Brief mit U. Dresden, 23. XI. 1846.

2 SS. auf Doppelblatt. 8vo. An den Direktor des Grazer Ständischen Theaters Karl Remmark (1802-86), mit einer Empfehlung für Karl August Quanter und Louise Lebrun: "Lieber alter Freund! Dich herzlich grüßend, muß ich mich eines Auftrags entledigen, den ich um so lieber annahm, als ich weiß, daß meine Verwendung vielleicht nicht ganz umsonst sein wird. Das Pauli'sche Fach ist bei uns durch Hrn. Quanter so vortreflich besetzt, daß es wohl keiner weitern Recomendation bedarf, um denselben in das beste Licht zu stellen. Auch das Fach der Bauer ist durch D.lle Lebrün ausgezeichnet praesentirt. Diese beiden haben die Absicht auf der Ständischen Bühne zu Gratz einen großen Gastrollen Cyklus zu geben, u. wandten sich an mich um näheren Aufschluß. Ich weiß es, daß Du gewiß auch ein gutes Geschäft machen wirst, wenn Du dieses Gastspiel annimmst, u. gewiß werden beyde zugleich mit der 1/2 Einnahme zufrieden sein, u. zum Benefiz 2/3 der Brutto Einnahme. Die Zeit könnte wohl Aprill May Juny sein, so wie übrigens Du selbst am besten die Sache zu arrangiren weißt. Sende mir einige Zeilen als Antwort umgehend [...]". - Nachdem der aus Böhmen stammende Tichatschek sein Medizinstudium abgebrochen und stattdessen eine Gesangsausbildung begonnen hatte, kam er als Chorist ans Kärntnerthor-Theater; als Solosänger in Graz sang er erste Tenorpartien und begeisterte gleichermaßen Publikum wie Kollegenschaft. "Als er dann in Dresden mit großem Beifall in Gastrollen gesungen hatte, erhielt er 1838 ein Engagement am dortigen Hoftheater, bei welchem er nun dauernd verblieb, mit diesem treuen Festhalten an einer und derselben Bühne eine Erscheinung bietend, welche in der Theaterwelt der Gegenwart geradezu phänomenal genannt werden kann. Als Gast erschien er auf allen größeren Bühnen Deutschlands, auf jeder enthusiastische Aufnahme findend“ (Wurzbach). Musikgeschichtlich bedeutsam war Tichatscheks beherztes Eintreten für Richard Wagner zu einer Zeit, da sich dessen Werke "noch lange nicht allgemeiner Anerkennung erfreuten, ja noch vielfach Anfechtung erfuhren" (Eisenberg).

Inlibris · Wien, AT1 500,00 €

Wagner, Cosima, Tochter Franz Liszts und zweite Gattin von Richard Wagner (1837-1930).MareMagnum

Eigenh. Brief mit U. ("Cosima"). Tribschen, 30. VI. 1871.

2 SS. auf Doppelblatt. 8vo. Intimer französischsprachiger Brief an ihre Halbschwester Claire de Charnacé (1830-1912) betreffend eine plötzliche psychische Erkrankung ihrer Mutter Marie d'Agoult (1805-76). Trotz Cosima Wagners distanziertem Verhältnis zur Mutter, das durch den Konflikt zwischen d'Agoult und dem Vater Franz Liszt schwer belastet war, zeigt sie sich im Brief überaus besorgt und mitfühlend, auch ihrer Halbschwester gegenüber, zu der sie ein inniges Verhältnis hatte: "Arme Liebe, welch traurige Dinge Sie mir mitteilen und Sie aushalten müssen! Ich kann mir eine so plötzliche Krankheit nicht erklären, der letzte Brief von Mutter datiert vom 15. Juni und ist völlig vernünftig. Ich muss gestehen, dass ich seit den Ereignissen, die sie ferngehalten hatten, einen Rückfall befürchtete; als ich sie hier sah, fand ich sie bei so guter Gesundheit, dass ich völlig beruhigt war, wobei mich ihre große Zerstreutheit überraschte, aufgrund derer sie dieselben Dinge 5 oder 6 Mal fragte. Aber ich sagte mir, dass ihre Gedanken woanders waren, dass sie aus Höflichkeit fragte und die Antworten nicht hörte. Ich wusste nicht, worauf ich 'Rasen geben' beziehen sollte, da es unserem Garten nicht daran fehlt und wir haben überhaupt nicht über hier zu machende Arrangements gesprochen. Warum wurde Mama nach Paris zurückgebracht? Sie hat mir geschrieben, dass sie bis auf weiteres in St. Lupicin bleiben wird und ich habe ihr geschrieben, dass sie besser nach Tribschen kommen sollte, statt zu diesem Zeitpunkt nach Paris zurückzukehren. Denken Sie, dass ich ihr schreiben soll, soll ich sie auf ihre Krankheit ansprechen? Weiß sie, dass sie phantasiert? [...] Ich bin tief betrübt durch diese Neuigkeit und alles was Mama betrifft, macht mich schrecklich trübsinnig. Ich glaube nicht, dass es ein trostloseres Leben auf der Erde gibt als das Ihre und all mein Mitleid kann sich nicht in Liebe verwandeln. Es sind gerade diese dunklen Stunden, in denen ich die wohltuende Wirkung meiner häuslichen Tätigkeiten fühle; jeden Tag dieselben Dinge zur selben Zeit zu tun zu haben und sie mit Liebe zu tun, einen Vogel zu hören, einen Berg von hier und dort zu betrachten, die Welt zu vergessen - das sind meine Ressourcen und meine Stützen [...]". - Mit Sammlervermerken in Blei. Drei Quetschfalten, ein Einriss im Falz mit Textberührung und kleinere Einrisse ohne Textberührung. Minimal fleckig.

Inlibris · Wien, AT1 500,00 €

[Music]. [Mariachis]Biblio.com

Archive of Photographic and Promotional Material for Mid-20th-Century Mariachi Musicians in Mexico and California

19602410Various places in California New York & Mexico 1960. Very good. Sixty items total including fifty-five photograps and five posters. Generally light wear. An attractive archive of visual materials including posters broadsides original photographs and real photo postcards that promote leading mariachi singers and musicians of the mid-20th century including Salvador LÃ³pez La Prieta Linda JosÃ© Alfredo JimÃ©nez Lucero Aguilar Miguel Angel Montes Francisco Avitia Ignacio Jaime Jorge de Crespo and Alfredo â€œEl Mayoralâ€ Gonzalez. Notably many of the larger pieces feature singer and actress Irma Dorantes b.1934 one of the last surviving stars from the Golden Age of Mexican cinema. The widow of legendary Mexican ranchero singer and actor Pedro Infante Dorantes enjoyed a string of hit songs in the 1950s and â€˜60s including her recording of â€œRecuerdos de Ipacaraiâ€ with El Mariachi Mexico de Pepe Villa. â€œMariachi music has origins deep in Mexican history. The sound of its string instruments and its oldest rhythms are rooted in Mexicoâ€™s colonial times 1519-1810; people from Spain and African slaves and their descendants mingled with hundreds of American Indian cultures to create a new Mexican culture marked by many regions each with its own signature musical tradition. The music that was called â€˜mariachiâ€™ as early as the 1850s emerged from the ranches and small towns of western Mexico particularly in the states of Jalisco MichoacÃ¡n Nayarit Colima and Aguacalientes. When big-city radio stations movies studios and record companies took mariachi music to new audiences throughout and abroad in the 1930s mariachi music was transformed into one of Latin Americaâ€™s favorite musics. By the 1950s its standard sound of two trumpets three or more violins vihuela small guitar and guitarrÃ³n big bass guitar was set. Since then its repertoire of fast-paced songs expressive canciones rancheras â€˜countryâ€™ songs polkas syncopated huapangos romantic boleros and more has been heard throughout the Americas and around the worldâ€ Smithsonian Folkways. The present collection includes: 1 An original photograph 6 Â½â€ x 7â€ of JosÃ© Alfredo JimÃ©nez in performance. JimÃ©nez 1926-73 was by far the most important prolific and popular composer of mÃºsica ranchero in Mexico during the 20th century. His extraordinary repertoire of more than 1000 songs encapsulated the sentiment ideals and concerns of the common man in a folksy yet poetic way. 2 Six black-and-white photographs 7â€ x 5â€ of various musicians. Four are identified with holographic annotations on the verso while another is accompanied by a typed press caption indicating that the image captures Las Hermanas Huerta performing â€œCantando Bajo el Recuerdoâ€. 3 Forty-one black-and-white real photo postcards 3 Â½â€ x 5 3/8â€ of various musicians all identified in the negative or on the verso. The photographs of Alfredo â€œEl Mayoralâ€ Gonzalez and La Prieta Linda are autographed. 4 Six press photographs 8â€ x 10â€ of both solo performers and bands including two images of Lorenzo Elisea y Sus Piratas and a shot of singer Amalia â€œLa TariÃ¡curiâ€ Mendoza 1923-2001 on stage. 5 Original photograph 13 Â¾â€ x 11â€ on Irma Dorantes on horseback during a performance in New York. The undated image is signed by photographer F. Camacho on the recto. Dorantes was known for her equestrian shows and in 1964 she and her horses Gatillo de Oro and Justiciero headlined a residency at the Million Dollar Theater in Los Angeles. 6 Lobby card 16 3/8â€ x 12 Â½â€ for â€œLa Banda del Fantasma Negroâ€ 1964 the Jaime Salvador film starring Irma Dorantes and Alvaro ZermeÃ±o. 7 Black-and-white poster 18 Â¾â€ x 13 Â¾â€ of Irma Dorantes reproducing a portrait of the singer by Mexican photographer Carlos Ysunza Nieto. 8 Large poster 17 Â½â€ x 22 Â½â€ promoting a benefit performance of â€œFeria de la Cancionâ€ featuring Irma Dorantes Cuarteto Ruffino and Trio Hermanos Martinez-Gil. Circa 1961 no place noted. Printed in blue on yellow cardstock with a later horizontal crease. 9 Large poster 14â€ x 22â€ for an August 22 1964 performance by Irma Dorantes at the Rainbow Ballroom in San Jose California with opening acts by comic Rudy Frudy and Mariachi San Miguel. Printed by Woolever Press in Los Angeles on white cardstock with a rainbow gradient. 10 Oblong broadside ca. 1958 18 Â¾â€ x 13 Â¾â€ advertising a coronation ball headlined by bandleader Paco Armenta and â€œel sensacionalâ€ Conjunto Tropical Santanerosâ€ at Salon del Cllub de Leones in Calpulalpan a municipality in Tlaxcala in southeastern Mexico. Printed in color on a thin sheet of white stock with some loss to the upper corners. Most of the material is unrecorded with no listings in OCLC or elsewhere. In addition to highlighting many leading Mexican musicians of postwar era this archive captures the fashion and aesthetics of mariachi at a formative moment in its evolution. unknown

McBride Rare Books · États-Unis1 750,00 $US≈ 1 480,68 €

[Sheet Music]Biblio.com

VOLUME OF SHEET MUSIC COMPRISING 52 PIECES TOTAL 247 PAGES IN A FOLIO VOLUME

184141574Philadelphia Baltimore etc. 1841. Attractive folio contemporary half calf and marbled paper over boards hinges starting lower spine wear. Morocco ownership label of Aurelia Tremper 1824-1887 a wealthy Philadelphian with significant land holdings in Torresdale Park and who acquired this book some time before her marriage to Andrew Stevenson. Some of the song sheets are lightly to moderately spotted. Good plus consisting of: Highlights: Francis Johnson. "Philadelphia Gray's Quick Step . . . as Performed by Johnson's Brass Band." 3 pages. Illustrated cover; minor worming; inked stamp of Philadelphia music seller. A composition by Francis "Frank" Johnson 1792-1844 of Philadelphia one of the first successful African-American composers. An earlier issue was printed by the predecessor firm of Fiot Meignen & Co. Philadelphia: L. Meignen & Co. circa 1839-1842. John Smith. "The Fireman's Song." Dramatic illustrated cover. Boston 1839. "Yankee Doodle & Star Spangled Banner / Hail Columbia." 4 pages no cover. Philadelphia: Ld. Meignen & Co. circa 1842. Listed in Levy & Fuld's addendum to Muller "Unrecorded Early Printings of 'The Star Spangled Banner'" Notes 27:2 December 1970 #55 stating that it is a reprint of an earlier Osborn's Music Saloon edition. . A Lady of Charleston. "United States Marine March." 2 facing pages. Philadelphia: A. Fiot undated. C.F. Wieland. "The Carrier Dove." Illustrated cover. Philadelphia 1839 "The Carrier Pigeon." Philadelphia undated W. Clifton. "The Last Link is Broken." Philadelphia undated. John H. Hewitt. "The Betrothed." Illustrated cover. Philadelphia 1840 Lockhart & Arkwright. "Xarita or the Bride of Andallo." Quite foxed. Philadelphia undated J.E. Spilman. "Flow Gently Sweet Afton." Stated second edition. Philadelphia 1838 John Smith. "The Fireman's Song." Dramatic illustrated cover. Boston 1839 W.A. Newland. "Nothing Else To Do." Philadelphia 1839 George Linley. "To Meet Again With Thee." Philadelphia undated Mrs. Hemans. "The Captive Knight." Boston undated Frederic Berat. "My Normandy." Philadelphia undated Seymour & Weigl. "Leonore." Baltimore MD undated A Young Lady of Georgia. "No More." Philadelphia 1836 Moscheles. "Erin is My Home." Baltimore undated Fry & Bellini. "Do I Not Prove Thee." Philadelphia 1841 G.A. Hodson. "The Lake of Como Morning." Philadelphia undated G.A. Hodson. "The Lake of Como Evening." Philadelphia undated PlanchÈ & Barnett. "Rise Gentle Moon." Philadelphia undated Moore & Stevenson. "The Meeting of the Waters." New York undated Henri Herz. "We Have Lived and Loved Together." Philadelphia undated. J. Beuler. "Come and Take Tea in the Arbor." Illustrated cover stated second edition. Philadelphia undated. Madam Malibran. "There is No Home Like My Own." Philadelphia undated Alexander Ball. "Tell Him I Love Him Yet." Baltimore 1835 Henry R. Bishop. "Home Sweet Home." Philadelphia undated Jeffery & Nelson. "The Rose of Allandale." Philadelphia undated "Yankee Doodle & Star Spangled Banner / Hail Columbia." 4 pages no cover. Philadelphia: Ld. Meignen & Co. circa 1842. Louis Major. "Grand Pot Pourri Brillant." Philadelphia undated. Rossini. "Overture of the Celebrated Opera Il Turco in Italia." Boston undated. Francis Johnson. "Philadelphia Gray's Quick Step . . . as Performed by Johnson's Brass Band." 3 pages. Illustrated cover; minor worming; inked stamp of Philadelphia music seller. Philadelphia: L. Meignen & Co. circa 1839-1842. George Hews. "Webster's Quick Step." Philadelphia undated A Lady of Charleston. "United States Marine March." 2 facing pages. Philadelphia: A. Fiot undated "The Russian March." Philadelphia undated C.P. Francis. "The Grand Russian March." Philadelphia 1835 Auber & Unger. "March from the Opera of Fra Diavolo." Philadelphia undated with 1841 gift inscription John H. Hewitt. "The Nahant Quadrilles." Illustrated cover. Philadelphia 1836 "Admired Cotillions for Balls and Private Parties." Baltimore undated "The Campbells are Coming / The Cheat." Philadelphia undated T. Comer. "The Boyleston Quadrilles." Boston 1836 E.L. Walker. "The Rochester Waltz & Gallopade." Philadelphia undated A Lady. "The Much Admired Kensington or Brattleborough Waltz." Philadelphia undated W.C. Peters. "The Bardstown Waltz." Baltimore undated H. Herz. "Cinderella Waltz." Philadelphia undated W.C. Peters. "The Bonhorst Hop Waltz." Baltimore undated Louis Strack. "Mary's Waltz." Baltimore undated S. Carusi. "The Corinthian Waltz." Washington undated "The Stop Waltz." Baltimore undated "Duke of Reichstadts Waltz." Philadelphia undated Henry Rohbock. "The Mary Waltz." Baltimore undated "Nicholson's Celebrated Waltz." Baltimore undated R. Schroeder. "The Swiss Boy." Philadelphia undated "Herr Clines' Dance." Philadelphia undated "Juvenile Waltzes." Baltimore undated J. Geldon. "None So Pretty a Juvenile Lesson." Philadelphia undated "Barcarolle Waltz." Philadelphia undated "Richmond Waltz." Baltimore undated "The Fall of Paris." Philadelphia undated Thomas Smith. "Napoleon's Fall." Philadelphia undated Other illustrated covers include C.F. Wieland "The Carrier Dove" Philadelphia 1839; John H. Hewitt "The Betrothed" Philadelphia 1840; J. Beuler "Come and Take Tea in the Arbor" stated second edition Philadelphia undated; and John H. Hewitt "The Nahant Quadrilles" Philadelphia 1836. $1750.00. unknown

David M. Lesser, Fine Antiquarian Books LLC · États-Unis1 750,00 $US≈ 1 480,68 €

Moore, Douglas Stuart (1893-1969); Benet, Stephen VincentBiblio.com

"A SAD SONG": AN ORIGINAL PENCIL MANUSCRIPT SCORE by the American Composer DOUGLAS MOORE of his composition "A Sad Song" with lyrics by Stephen Vincent Benet. SIGNED by MOORE. Together with Soprano LOUISE LLEWELLYN DE JARECKA'S ink copy of the score for Voice and Piano and a LITHOGRAPHED COPY of the manuscript with the LYRICS PENCILED IN.

192296239July 1922. 1922. Good. - Quarto 14 inches high by 10-3/4 inches wide. Printed self-wraps. What is offered here is the American composer Douglas Moore's original pencil manuscript for his composition "A Sad Song" with lyrics by Stephen Vincent Benet written in Moore's hand and signed by him. The composition for Voice Violin Cello and Piano is written on a signature consisting of 4 pages of music paper. Titled by the composer at top left the score is signed by him at top right. Halfway down the second page Moore has penciled the word "probably" in the margin followed by dots above 3 bars of music. The pages are slightly soiled with creases to the edges and corners. Good.Together with what appears to be an INK COPY of the score for Voice and Piano with the 3-page score penned in an unknown hand and with a few pencil corrections on 2 sheets of GSNY music paper. Dated July 1922 under the composer's name at the top right of the first page this is the Soprano's copy and is inscribed "A Sad Song to Louise Llewellyn de Jarecka" along the top. The pages are slightly soiled particularly along the edges. The creased edges and corners are chipped with a small piece out from the bottom left corner of the first sheet not affecting the score.Also with a LITHOGRAPHED version of the copyist's holograph manuscript "composed for The Chamber Ensemble" with the words added in pencil in an unknown hand. This is a 3-page score printed and penciled on a signature consisting of 2 sheets of G. Schirmer music paper. The pages are slightly soiled particularly along the edges. There are creases with minor chipping to the edges and corners. Good. These are the soprano Louise Llewellyn Jarecka's personal copies of the score which she first performed with the Chamber Ensemble of NY at the home of Mrs. Randolph Guggenheimer located at 923 5th Avenue in NYC on November 25 1922. The score was arranged for the Chamber Ensemble of NY by the composer. Jarecka subsequently performed the work with the Chamber Ensemble of NY at a Chamber Music Society of Cleveland concert in the Wade Park Manor Ballroom in Cleveland Ohio on November 6 1923.A review by James H. Rogers in the Cleveland Plain Dealer published on page 11 of the November 7 1923 edition of the paper reads: "Singer with Trio Shows Rare Gifts: Chamber Ensemble of New York Gives Pleasing Program at Manor". "At the concert on Nov. 6 1923 Soprano Louise Llewellyn Jarecka sang Moore's 'A Sad Song'. The song is original with a lot of sparkle to it and it is cleverly and ingeniously put together."Stephen Vincent Benet's poem "A Sad Song" was subsequently published in his book "Tiger Joy" in 1925. Douglas Moore met Benet at Yale in 1915. They became close friends which resulted in several collaborations in the 1930's. In a letter to his future wife Rosemary Carr penned from Paris on February 19 1921 Benet writes: "Dear Jane . Thanks for your letter. It was nice of you to write. Doug is going to put the poem about you & the pig "A Sad Song" to music." Benet often celebrated his love for his wife in poems such as in "A Sad Song". In most of his poems he referred to her as Rosemary but he sometimes referred to her as Jane.The American composer educator and author Douglas Stuart Moore 1893-1969 studied at Yale University under D.S. Smith and Horatio Parker. While at Yale Moore composed several songs including Yale's "fight song" "Goodnight Harvard". After serving in the First World War Moore traveled to Paris where he studied with Vincent d'Indy and subsequently Nadia Boulanger and Charles Tournemire. A year before composing "A Sad Song" Moore became Director of Music and organist at the Cleveland Museum of Art. Moore was Professor of Composition at Columbia University from 1926 through 1962. As Secretary of the Alice M. Ditson Fund during the years of the Second World War Moore helped numerous European musicians escape to the US and helped arrange stipends for composers such as Bela Bartok who was paid to transcribe the folk songs in his collection. Among his compositions Moore is best known for his operas "The Devil and Daniel Webster" "The Ballad of Baby Doe" and "Giants in the Earth" the latter of which won him the Pulitzer Prize for Music in 1951The concert singer & writer Louise Llewellyn Jarecka 1880-1954 was the wife of the composer Tadeusz Jarecki. A student of Marcella Sembrich Jarecka was invited by President Wilson to sing at the White House. During the 1920's and 1930's she sang with many European Orchestras and in the Polish Opera.RARE. July, 1922. paperback

Blue Mountain Books & Manuscripts, Ltd. · États-Unis1 750,00 $US≈ 1 480,68 €

Stein, Joseph, Book by, Music by Jerry Bock, Lyrics by Sheldon HarnickBiblio.com

Fiddler on the Roof.

1964131388New York: Crown Publishers 1964. First edition of this classic work. Octavo original cloth illustrated. Presentation copy inscribed by the lyricist Sheldon Harnick on the title page "For Candy: Sheldon Harnick 12/16/15." Near fine in a near fine price-clipped dust jacket small name to the front free endpaper. Jacket drawing by Tom Morrow. An exceptional signed example. Fiddler on the Roof is a musical with music by Jerry Bock lyrics by Sheldon Harnick and book by Joseph Stein set in the Pale of Settlement of Imperial Russia in 1905. It is based on Tevye and his Daughters or Tevye the Dairyman and other tales by Sholem Aleichem. The story centers on Tevye the father of five daughters and his attempts to maintain his Jewish religious and cultural traditions as outside influences encroach upon the family's lives. He must cope both with the strong-willed actions of his three older daughters who wish to marry for love – each one's choice of a husband moves further away from the customs of their Jewish faith and heritage – and with the edict of the Tsar that evicts the Jews from their village. The original Broadway production of the show which opened in 1964 had the first musical theatre run in history to surpass 3000 performances. Fiddler held the record for the longest-running Broadway musical for almost 10 years until Grease surpassed its run. It remains the seventeenth longest-running show in Broadway history. The production was extraordinarily profitable and highly acclaimed. It won nine Tony Awards including best musical score book direction and choreography. It spawned five Broadway revivals and a highly successful 1971 film adaptation and has enjoyed enduring international popularity. It has also been a popular choice for school and community productions. Crown Publishers hardcover

Raptis Rare Books · États-Unis1 750,00 $US≈ 1 480,68 €

Musique

Siècle

Langage

Ajouté

Sujets

Catalogues

Siècle

Langage

Ajouté

Sujets

Catalogues

Siècle

Langage

Ajouté

Sujets

Catalogues