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

Music, Zoran AntonioBiblio.com

PAYSAGE SIENNOIS

[Texas]: [Music]: [Rogers, Larkin C]Biblio.com

Archive of Manuscript Letters and Printed Ephemera Centering on Early-20th Century Texas Musician Larkin C. Rogers

19264528Various locations in Texas and elsewhere 1926. Very good. Approximately 130 manuscript letters totaling 275 pages written on a variety of paper sizes and stationery many with original transmittal envelopes plus a handful of printed ephemera. Letters arranged chronologically in several manila folders and housed in an archival folder. Original mailing folds general wear. A unique collection of manuscript letters mostly sent to Larkin C. Rogers of Mineral Wells Texas. Larkin C. Rogers Charlie or Larkin to his family began studying at the Kidd-Key Conservatory of Music at Sherman Texas in 1915. Friends and family write to him there occasionally sending him notices of musical events and throughout the correspondence are receipts for his orders for musical scores. Larkinâ€™s mother and sister Nancy try to get him musician jobs in the Mineral Wells area but times are hard. His motherâ€™s letters are long chatty and detailed; as such she provides good local color on her particular area in North Texas. In May 1917 Larkinâ€™s mother writes: â€œHow are you all coming in about the War excitement Think youâ€™ll have to go And are you patriotic enough to want to go I see all musicians who can read music well are wanted and will be trained after joining on some instrument - I suppose suitable for the bands. Then when theyâ€™re not needed in the one theyâ€™re used in the hospitals. I like that better for you - if you do go - than to have to be in the fighting. They say the music is a necessary thing - so they have to have them. Youâ€™d better get to learning some band instrument - how do you like a piccoloâ€ Larkinâ€™s brother Edwin is already in the Army training near Waco and is overseas by June of 1918. In May 1918 Larkinâ€™s mother again suggests he might like to enlist. By April she is urging him: â€œFor we can never have universal peace till the Huns and all such are conquered. No one part is as essential as another - and where you are best fitted to serve it is your duty to get into - so leave no stone unturned to get into a band either in Waco or Camp Bowie.â€ By May he has enlisted but is not yet in a band - training at Camp Travis near San Antonio where he asks his mother to come in order to help him find a band. By October 1918 he is overseas. Larkinâ€™s mother continues to provide motherly advice in her letters including lecturing him against smoking. At this point there is a long absence of news from him - and his family fears the worst. By May 1919 Larkin is shipped back to the States and admitted to the Army hospital at Oteen North Carolina. His mother writes with home remedies and fears that he is in for an â€œunmentionable disease.â€ In a sign of the times however he has influenza and bronchial complications. By this time his parents him they have moved to Dallas mentioning that although they still get mineral water to drink from their hometown of Mineral Wells the Dallas area is flat and at a lower altitude. Larkinâ€™s sisters are friendly and sometimes humorous; they write him about music recitals and tease him about a â€œcootie garageâ€ under his nose. Larkin informs them that a woman near the hospital is allowing him to practice at her piano. His mother visits him at the hospital and is quite upset that he is sometimes bedded down with a patient with hereditary syphilis. In January 1920 his mother learns that all places of amusement in Ashville have been closed because of flu which worries her as he is still not completely recovered. She knows about the flu as they all have had it in Dallas. His mother reads that there is complete vocational pay for disabled soldiers; she tries to obtain the disability pay for Larkin in order to take a concert pianist course. Larkinâ€™s sister Lois in Williamsburg Virginia wants him to apply to a new music school in Richmond where she gets a teaching job - not to go to the Domrosch School in New York as she complains that it is "full of Jews and has an atmosphere which kills fineness." However she highly recommends New York in general: "Boston is a place. New York is life - a world - an experience which must be in every life before it is complete. You are an atom â€“ but there is no place where life as a tiny atom receives such consideration and such kindness if its good!" By January 1921 Larkin is out of hospital and studying again in Sherman. He gives his first post war recital in April. His brother Edwin has a job with the Dallas engineering department. In 1923 Nancy causes a flap and panic when she quarrels with her sister Lois and the music school in Virginia and goes off alone. Lois begs her mother to stop writing her altogether as it is too stressful. Both Nancy and Larkin end up in New York City in the music scene and their parents end up back in Mineral Wells. Their mother writes Larkin a very nasty anti-Semitic letter about the rumor Nancy is going to marry a Jew. She fulminates also about the illicit and dreadful drinking that Americans seem to have slipped into. The last letter from Larkinâ€™s father indicates that the two sisters and Larkin plan to combine households and stay in New York. An interesting collection of one Texas familyâ€™s correspondence centering on a young musician who also served in the First World War before returning to his life in music. Worthy of further and deeper research. unknown

The Joe Fay Company LLC · États-Unis1 250,00 $US≈ 1 057,63 €

Music: Honky Tonk. ROGERS GillABAA

Two Country Music Photograph Albums

197014433Poughkeepsie NY ca. 1970. Near fine. Two albums each oblong 4to. Measuring approximately 10.25Â” x 7Â” with 155 color photographs loosely mounted rectos only in corners. Album 1: Green faux-leather covers gilt title decoration to front sting bound 59 black paper leaves each with two photographs recto mounted 118 prints total; well preserved near fine. Album 2: Ivory faux-leather covers gilt title decoration to front 20 black paper leaves 19 with recto mounted photographs most two to a page final leaf blank; crease through center of front cover otherwise clean contents near fine. A fantastic pair of albums capturing 1970 Poughkeepsie NY area regional country music acts venues and patrons. Prints almost entirely uniform in size measuring approximately 3.5Â” square many date stamped outside the image area. The first album shows spots in and around Poughkeepsie primarily the Brand X Corral bar on Rt. 94 in Vails Gate NY. Acts include Gil Rogers whose albums we suspect these were based on internal evidence The Country Cousins and Country Skyline. The second album follows Rogers down to West Virginia for his performance during the 1970 Eastern States Country Music Convention on the famed WWVA Jamboree in WheelingÂ’s Capitol Theater. Rogers recorded a handful of honky-tonk singles in the early 1970Â’s on the Stop label and enjoyed regional success as a performer for decades. These amateur images show the elaborate stage dress music gear and social settings of Woodstock-era country music. That famed festival was held less than a year earlier and some 35 miles from where most of the images shown here were snapped though one could be forgiven for guessing they were taken years and miles apart. An album that demonstrates how this blue collar form adhered to traditions and fans throughout the cultural sea changes of the late 1960s and early 70s and a colorful portrait of a working regional musician. hardcover books

Brian Cassidy Bookseller at Type Punch Matrix · États-Unis1 250,00 $US≈ 1 057,63 €

RACKHAM Arthur illustrator; FORD Julia Ellsworth BYNNER Witter RIDGWAY Arthur MusicABAA

Snickerty Nick

04912Los Angeles: Sutton House 1935. Snickerty Nick with the Music Near Fine in original Printed Dust Jacket RACKHAM Arthur illustrator. Snickerty Nick & the Giant. By Julia Ellsworth Ford. Rhymes by Witter Bynner. Music by Charles Arthur Ridgway. Los Angeles San Franciso: Sutton House 1935. Third edition the first with the music included. Quarto 9 1/2 x 7 3/16 inches; 242 x 183 mm. viii 1-81 1 blank 83-132 pp. Three full-page monotone plates facing pp. 16 20 & 42 eight full-page black & white drawings and two line drawings. Original 'bright yellow' cloth with pictorial stamping in black on the front cover in black. A near fine copy in the original yellow pictorial dust jacket some light chipping to extremities some tiny tape repairs otherwise an excellent example of a dust jacket that we have never seen before. The differences between this and the 1933 edition are as follows: The title-page of the 1933 edition has the imprint Suttonhouse: Los Angeles 1933 whilst the 1935 edition has Suttonhouse Los Angeles San Francisco and no date the date 1935 is on the verso of the title-page. The text and illustrations are identical but the 'Suggestion for Production' p. 77- 80 in the 1933 edition has now been changed and extended to p. 81. Following p. 81 is an additional title-page for the music which follows from p. 85 through p. 132. "The idea of the Selfish Giant in this play has been taken from the story of Oscar Wilde's Selfish Giant. Spring would not come to his garden because he would not let the children play in it. It was always winter there. One morning he woke up hearing the music of a linnet singing in his garden. He jumped out of bed and saw a most wonderful sight "flowers were looking up through the green grass and laughing" and in every tree was a little child; but one little boy was too tiny to climb the tree and the Giant's heart melted and he helped the little child into the tree. The little child kissed him and forever after the children played in the Giant's garden because his heart had softened through love of the little child. The children never saw the child again. But one day he came to the Giant who saw on the palms of the child's hands "the prince of two nails and the prince of two nails were on the little feet". The little child had come to take the Giant to play in his garden "which is Paradise." My indebtedness to this story is the character of the Selfish Giant. The little play of Snickerty Nick is not a dramatization of The Selfish Giant. The character of Snickerty Nick is an original character and the play centers around him. The little boy is only a loving and beloved child and Spring and Winter are personified by faeries and gnomes. To Arthur Rackham I tender my most sincere thanks whose magic touch as in Peter Pan Grimm's Faery Tales and Undine making real all faeries and gnomes endears all child life to grown-ups as well as to children." Forward by Julia Ellsworth Ford. This edition with the music not recorded in Riall In over fifty-five years of specializing in the work of Arthur Rackham I have never seen the 1933 edition and I have only seen this 1935 edition once before - this copy which I sold in 1989. According to Riall see p. 180 the 1933 edition is listed as a "reprint of 1919 edition with same coloured illustrations. Bound in bright yellow cloth. 3 full page illustrations in full colour. 8 drawings in black and white. This edition has the music added at the end of the book." OCLC locates just seven copies of the 1933 edition and twelve copies of the 1935 edition in libraries and institutions worldwide - none of the copies cited have any bibliographical details other than the book has 80 pp. 1933 or 132 pp. 1935. Both of these editions are unknown to The Arthur Rackham Society. The two books were produced in 1933 & 1935 to accompany the first Hollywood production of Snickerty Nick on April 8th 1933. Julia Ellsworth Ford's famous little 'folk' play was directed by Pauline Parker. Los Angeles: Sutton House, 1935 unknown books

David Brass Rare Books, Inc. · États-Unis1 250,00 $US≈ 1 057,63 €

RACKHAM, Arthur; FORD, Julia Ellsworth BYNNER, Witter RIDGWAY, Arthur (Music)Biblio.com

Snickerty Nick

04912Los Angeles: Sutton House 1935. Snickerty Nick with the Music Near Fine in original Printed Dust Jacket RACKHAM Arthur illustrator. Snickerty Nick & the Giant. By Julia Ellsworth Ford. Rhymes by Witter Bynner. Music by Charles Arthur Ridgway. Los Angeles & San Francisco: Sutton House 1935. Third edition the first with the music included. Quarto 9 1/2 x 7 3/16 inches; 242 x 183 mm. viii 1-81 1 blank 83-132 pp. Three full-page monotone plates facing pp. 16 20 & 42 eight full-page black & white drawings and two line drawings. Original 'bright yellow' cloth with pictorial stamping in black on the front cover in black. A near fine copy in the original yellow pictorial dust jacket some light chipping to extremities some tiny tape repairs otherwise an excellent example of a dust jacket that we have never seen before. The differences between this and the 1933 edition are as follows: The title-page of the 1933 edition has the imprint Suttonhouse: Los Angeles 1933 whilst the 1935 edition has Suttonhouse Los Angeles San Francisco and no date the date 1935 is on the verso of the title-page. The text and illustrations are identical but the 'Suggestion for Production' p. 77- 80 in the 1933 edition has now been changed and extended to p. 81. Following p. 81 is an additional title-page for the music which follows from p. 85 through p. 132. "The idea of the Selfish Giant in this play has been taken from the story of Oscar Wilde's Selfish Giant. Spring would not come to his garden because he would not let the children play in it. It was always winter there. One morning he woke up hearing the music of a linnet singing in his garden. He jumped out of bed and saw a most wonderful sight "flowers were looking up through the green grass and laughing" and in every tree was a little child; but one little boy was too tiny to climb the tree and the Giant's heart melted and he helped the little child into the tree. The little child kissed him and forever after the children played in the Giant's garden because his heart had softened through love of the little child. The children never saw the child again. But one day he came to the Giant who saw on the palms of the child's hands "the prince of two nails and the prince of two nails were on the little feet". The little child had come to take the Giant to play in his garden "which is Paradise." My indebtedness to this story is the character of the Selfish Giant. The little play of Snickerty Nick is not a dramatization of The Selfish Giant. The character of Snickerty Nick is an original character and the play centers around him. The little boy is only a loving and beloved child and Spring and Winter are personified by faeries and gnomes. To Arthur Rackham I tender my most sincere thanks whose magic touch as in Peter Pan Grimm's Faery Tales and Undine making real all faeries and gnomes endears all child life to grown-ups as well as to children." Forward by Julia Ellsworth Ford. This edition with the music not recorded in Riall In over fifty-five years of specializing in the work of Arthur Rackham I have never seen the 1933 edition and I have only seen this 1935 edition once before - this copy which I sold in 1989. According to Riall see p. 180 the 1933 edition is listed as a "reprint of 1919 edition with same coloured illustrations. Bound in bright yellow cloth. 3 full page illustrations in full colour. 8 drawings in black and white. This edition has the music added at the end of the book." OCLC locates just seven copies of the 1933 edition and twelve copies of the 1935 edition in libraries and institutions worldwide - none of the copies cited have any bibliographical details other than the book has 80 pp. 1933 or 132 pp. 1935. Both of these editions are unknown to The Arthur Rackham Society. The two books were produced in 1933 & 1935 to accompany the first Hollywood production of Snickerty Nick on April 8th 1933. Julia Ellsworth Ford's famous little 'folk' play was directed by Pauline Parker. Los Angeles: Sutton House, 1935 unknown

David Brass Rare Books, Inc. · États-Unis1 250,00 $US≈ 1 057,63 €

Universal Unitarian Church MusicABAA

MANUSCRIPT HYMNS SECULAR AND PATRIOTIC MUSIC FOR THE UNIVERSAL CHURCH BOUND INTO FIVE VOLUMES EACH WITH A HANDWRITTEN INDEX

1820651501820. Original calf-backed marbled boards 7 x 10 inches. "Universal Church" stamped in gilt on spines. Five Volumes with first page indexes approx. 225 pp. plus 8 additional loose leaves. Signatures loose page numbers erratic covers well worn. Text pages have been printed with staves musical notation and lyrics are added in ink. Manuscript music in various hands consisting mostly of hymns with some secular pieces from the origins of the Universal and Unitarian churches. Three of the books are titled for "treble" two with a printed label one hand-written and two of these have a similar song set although they include some different titles in different order so that the books do not appear to be a completely matched set for choristers. One book has the word "tenor" written in ink on the rear board with the ink ownership name of David West on the front pastedown and "Lyander W. Webb 15 August 1824" at the head of the index page. The fifth notebook is unmarked on the outside but has a manuscript note on the front pastedown: "Lyander W. Webb one of the members of the Universalist Church Choir." Some titles from these volumes: Surry Thanksgiving Miriams Song Canaan several versions Lancaster Dedication Exaltation- approximately twenty-five titles per book. The loose sheets have secular tunes primarily musical notation without lyrics with a few of the titles being: Hail Columbia "Nora's Song in the Poor Soldier" Washington's March Yankee Doodle The Plough Boy and Ramah Droog from the comic opera. Hail Columbia was originally written for and performed at Pres. George Washington's first inauguration in 1789. One book includes the hymn "Union" with words by "Rev. A. Kneeland" and by W. Dixon. Abner Kneeland 1774-1844 a pioneer evangelist and minister was a powerful if inconsistent advocate of Universalism for a quarter of a century beginning with the Winchester Convention of 1803. Kneeland Hosea Ballou and Edward Turner combined efforts to compile a new Universalist hymnal with Kneeland contributing about a third of the hymns "most of which have been judged to be inferior." After he left the Universalist fellowship in the 1830s he became the last man to be convicted of blasphemy in the state of Massachusetts. see his brief biography in the Unitarian Universalist Dictionary online Another tune called "Mount Vernon" comes from the psalms of David and was originally written by Isaac Watts 1674-1748 known as the founder of English hymnody. "This life's a dream an empty show; But the bright world to which I go Hath joys substantial and sincere; When shall I wake and find me there" Lyander W. Webb whose name appears in two of the notebooks may be Lyander Westram Webb 1805-1858 who was born in Philadelphia. Rev. Abner Kneeland was pastor of the Lombard Street church in Philadelphia from 1818 until his move to New York City in 1825. Webb later moved to Baltimore Maryland where the 1850 Census lists him as an engineer. hardcover books

Bartlebys Books · États-Unis1 250,00 $US≈ 1 057,63 €

[Godard, Benjamin, French composer (1849-1895)].MareMagnum

Collection of 10 autograph letters signed, sent to Godard, and one autograph letter signed by Benjamin Godard. Paris, Bruxelles and n. p., 1885-1891.

Various formats. Altogether 11 pp. on 15 ff. Includes one autograph letter to a female relative of Godard. 8vo. 2½ pp. on bifolium. Letters by Jean-Paul Barbier, Vincent Capoul, Joseph Dupont, Charles Grandmougin, Ernest Guiraud, Jean Lasalle, Raoul Pugno, Jean-Alexandre Talazac and one unidentified correspondent. - Two of the letters revolve around Godard's greatest success, the opera "Jocelyn", which premiered in Bruxelles on 25 February 1888. In the earlier letter the famous playwright and librettist Jean-Paul Barbier asks for permission to include some pieces by Jocelyn in a concert: "Je voulais vous demander s'il serait possible de faire exécuter le 9 Mai, à notre Soirée d'Henri IV [...] quelques morceaux de Jocelyn? J'ai été plusieurs fois président de l'association, je fais encore partie du comité, et je serais heureux de donner à nos quinze cents invités un régal de cette valeur! [...]" (Paris, 9 March 1888). - In the second letter, the composer and music teacher Ernest Guiraud takes Godard up on the promise of a ticket for a performance of Jocelyn at the Théâtre Lyrique in Paris: "Je vous rappelle l'aimable promesse que vous m'avez faite de me donner demain jeudi une place pour Jocelyn. So vous voulez bien, pour ne pas trop vous déranger, la laisser à mon nom chez le concierge du théâtre [...]" (Paris, 17 Oct. 1888). - Godard's librettist for Jocelyn, the famous tenor Victor Capoul, who sang the leading role in the Paris production, is also among the correspondents. He invites Godard to a salon with a reading of Józef Antoni Poniatowksi's "Pierre de Medicis", here wrongly titled "Marie de Medicis": "Je suis arrivé hier soir. Aujourd'hui j'au rencontré au Salon [...] - Voulez vous être de cette petite fête - après le Café je les lirai Marie de Medicis opera lyrique en 4 acts et sept tableaux!!!! [...]". - The famous tenor Jean-Alexandre Talazac presents his excuses for not being able to join a soirée with the mezzo-soprano Pauline Viardot because of the imminent premiere of Édoard Lalo's "Le roi d'Ys" with Talazac in the role of Mylo: "Je n'ai pu répondre plus tôt à votre lettre du 14 cour.t à cause du Roi d'Ys dont la première représentation aura sans doute lieu du 1er au 5 Mai. Je ne puis donc vous assurer mon concours pour la Soirée du 3 Mai chez Madame Viardot et vous prie d'agréer encore avec tous mes regrets l'expression de mes sentiments bien devoués [...]" (n. p., Dimanche, 22 Avril [1888]). The successful premiere of "Le roi d'Ys" took place on 7 May. Talazac's most important role was Samson in Saint-Saëns "Samson et Delila", which he sang both in the French premiere on 3 March 1890 in Rouen and in the first production in Paris later that year. - In an undated letter, the poet and librettist Charles Grandmougin (1850-1930) invites Godard to join the jury of a music competition: "La société franc-comtoise les Gaudes me charge de vous demander d'être juré pour juger au petit concours musical fait par un de nos poètes. Je crois qu'il y a 12 mélodies environ à juger. Puis je répondre oui? [...]" (n. p. o. d.). - Godard's own letter is the latest dated object in the collection, inviting a young singer to a rehearsal: "Mademoiselle, si vous voulez bien me faire l'honeur de venir chez moi, 6, Bd. de Clichy, mercredi prochain, 1er Avril, à 11 h du matin, je serai charmé de vous recevoir et de vous entendre [...]" (n. p., 28 March 1891). - Varying conditions. Several letters with some foxing and minor tears. Godard's and Guiraud's letters show more substantial tears in the folds. No text loss overall.

Inlibris · Wien, AT1 050,00 €

Musique

Siècle

Langage

Ajouté

Sujets

Catalogues

Siècle

Langage

Ajouté

Sujets

Catalogues

Siècle

Langage

Ajouté

Sujets

Catalogues