BIZET, Georges 1838-1875Biblio.com
13 résultats
189029437Paris: Choudens PN A. C. 3554 1890. Large octavo. Full green cloth with black titlelabel gilt to spine. 1f. recto title within decorative border by E. Buval verso blank 1f. recto cast list and contents verso blank 375 i blank pp.<br /> <br /> Binding slightly worn and faded. Minor browning to outer edges; title trimmed slightly affecting text; occasional annotations in red crayon. Second edition later issue. <br /> <br /> Carmen is recognized as one of the greatest of all 19th century operas. Composed in 1873-1874 it was first performed in Paris at the Opéra-Comique on 3 March 1875 to a libretto by H. Meilhac and L. Halévy after Mérimée under the baton of Adolphe Deloffre 1817-1876. Choudens [PN A. C. 3554] unknown
188558211Caen: Typographie F. Le Blanc-Hardel 1885. Fine. Typographie F. Le Blanc-Hardel Caen 1885 14 x 22.50 cm broché first edition printed in small number of the reprint of the bulletin of the Linnean Society of Normandy. Signed autograph of Paul Bizet head of the first flat Mr. Governor. Slight discoloration spots on boards rare and small inner minor foxing. Rare and nice brochure copy. Typographie F. Le Blanc-Hardel hardcover
189028521Paris: Choudens Fils PN A.C. 2484 1890. Large octavo. Full dark green cloth titling gilt to spine. 1f. title 1 contents 2-77 i blank pp.<br /> <br /> Some signatures split. Second version. Choudens Fils [PN A.C. 2484] unknown
1899421839London : Metzler 1899. English edition. Hardcover. Good copy only in the original gilt-blocked decorated cloth. Spine bands and panel edges somewhat bumped and rubbed as with age. Remains reasonably well-preserved overall. Date is suggested. Physical description: 230 pages 1 vocal score; 28 cm. Subjects: Operas; Vocal scores with piano; Music. London : Metzler hardcover
188072015París: Choudens Pére et Fils s.a 1880. Holandesa. Folio menor. Choudens Pére et Fils, s.a hardcover
188640974Paris: Choudens Père & Fils PN A.C. 2484 1886. Large octavo. Contemporary half dark red cloth with marbled boards titling gilt to spine marbled endpapers. 1f. recto title verso blank i contents 2-77 i blank pp. Lithographed.<br /> <br /> Bordeaux musicseller's handstamp to lower outer corner of title. <br /> <br /> Binding soiled and slightly worn. Uniform light browning; occasional minor stains and soiling; two small tears to blank lower margin of p. 59 repaired with archival tape; title slightly trimmedat outer margin affecting several letters of musicseller's handstamp. First Edition later issue.<br /> <br /> L'Arlésienne was first performed on 1 October 1872. "The score . is a triumph almost without rival of its kind and cannot be fully appreciated apart from the play it was intended to illustrate. Of the 27 numbers many are mélodrames only a few bars long . and the longer movements of the suites although they never stale as concert music have a primary dramatic integrity." Winton Dean: TNG Vol. 2 pp. 758-759.<br /> <br /> French author and playwright Alphonse Daudet 1840-1897 wrote such noted works as Letters from My Windmill 1869 and Sidonie 1874. The Letters included the short story L'Arlésienne which was transformed into the play for which Bizet composed his incidental music. Choudens Père & Fils [PN A.C. 2484] unknown
18905493France: S.P. C1890. First edition / only copy. An original water colour signed E. Bizet. The work depicts a young woman in three-quarter profile with blonde hair in a bun wearing a dark late nineteenth century style collar and bow rendered in loose water colour washes on textured paper. This impressionistic technique suggests a date around 1880–1900. Below the painting is a small pencil working of the same face. The sheet is a little darkened and foxed to the edges with some edgewear to the sheet. Appears to have been removed from an album at some point. Blank to the verso. The painted area is 14cm x 12cm. The sheet is 27.5cm x 22cm. . Première édition / exemplaire unique. Aquarelle originale signée E. Bizet. L'œuvre représente une jeune femme de profil les cheveux blonds relevés en chignon portant un col et un nœud sombres de style fin XIXe siècle rendus à l'aquarelle sur papier texturé. Cette technique impressionniste suggère une date comprise entre 1880 et 1900. Sous la peinture se trouve un petit croquis au crayon du même visage. La feuille est légèrement foncée et rousseur sur les bords avec quelques traces d'usure. Elle semble avoir été retirée d'un album à un moment donné. Verso vierge. La zone peinte mesure 14 cm x 12 cm. La feuille mesure 275 cm x 22 cm. S.P. unknown
188636801Paris: Choudens Père & Fils PN A.C. 2484 1886. Large octavo. Original publisher's gray wrappers. 1f. recto title verso publisher's notes 1 contents 2-77 i pp. <br /> <br /> Wrappers detached; spine lacking. First leaves detached; signatures separated; minor soiling and staining. First Edition later issue.<br /> <br /> French author and playwright Alphonse Daudet 1840-1897 wrote such noted works as Letters from My Windmill 1869 and Sidonie 1874. The Letters included the short story L'Arlésienne which was transformed into the play for which Bizet composed his incidental music.<br /> <br /> The music was first performed on October 1 1872. "The score . is a triumph almost without rival of its kind and cannot be fully appreciated apart from the play it was intended to illustrate. Of the 27 numbers many are mélodrames only a few bars long . and the longer movements of the suites although they never stale as concert music have a primary dramatic integrity." Winton Dean in The New Grove Vol. 2 pp. 758-59. Choudens Père & Fils [PN A.C. 2484] unknown
188536806Paris: Choudens Père et Fils PN A.C. 5868 1885. Large octavo. Qaurter dark blue calf with marbled boards dark red leather label gilt to spine. 1f. recto title within architectural border verso blank 1f. recto contents verso blank 4 publisher's notes 8 illustrations and publisher's catalogue of musical works by Bizet dated 11 November 1885 pp. 1f. recto facsimile of page of autograph score of Bizet's Noé verso blank 101 pp. <br /> <br /> Binding worn rubbed and bumped; spine cracked and chipped; endpapers browned. Some minor wear and occasional foxing; check marks in ink to individual songs in the section of the catalogue entitled "Mélodies Séparées." First Edition. Macdonald: The Bizet Catalogue online 102 68 89 103-109 90 110-114. <br /> <br /> "Posthumous collection of songs for voice and piano each published in two keys. All but no. 2 were published for the first time." Macdonald. Choudens Père et Fils [PN A.C. 5868] unknown
1821446090Paris : Delaunay 1821. Quatrieme. Hardcover. Good copy in gilt-blocked aniline-calf. Boards and spine cracked with some dust dulling and rubbing as with age. Marbled end-papers. Internally bright and clear except for end-papers. NOte: Afin d'eviter la contrefacon chaque exemplaire de cet Ouvrage sera revetu de la signature ci-dessous. Physical Description; xvi 199 p. 21 cm. Subjects; Précis des diverses manières de speculer sur les fonds publics en usage à la Bourse de Paris : avec des considérations sommaires sur les effets publics et les finances en général. Paris : Delaunay hardcover
187236802Paris: Choudens PN A.C. 2380 1872. Large octavo. Original publisher's gray wrappers. 1 title illustrated by J. Bourgeois 2 publisher's notes 3 named cast list and contents 4-129 i pp. Lithographed. <br /> <br /> Named cast includes Prelly Duchesne Potel and Julien. <br /> <br /> Wrappers worn and detached; spine lacking. First Edition later issue with "Op. 24" added to title but still with the address "265 Rue St. Honoré."<br /> <br /> In one act to a libretto by Louis Gallet after Alfred de Musset's story Namouna Djamileh was first performed in Paris at the Opéra-Comique Salle Favart on 22 May 1872.<br /> <br /> "Bizet's score is full of inventive touches especially in its use of chromatic colour widely mistaken for Wagnerism in 1872. In the final duet the music takes on a more serious and passionate tone and Djamileh is characterized from the beginning by a darkly expressive melody. Her main solo the 'Ghazel' blends exotic colour chromatic side-slips suppressed passion and the key of D minor to give a strong foretaste of the Habanera in Carmen." Hugh Macdonald in Grove Music Online. Choudens [PN A.C. 2380] unknown
187229435Paris: Choudens PN A. C. 2380 1872. Large octavo. Half black cloth with black textured cloth boards titling gilt to spine decorative endpapers. 1f. recto decorative title by J. Bourgeois verso notes i named cast list and contents 4-129 i blank pp. <br /> <br /> Named cast includes Prelly Duchesne Potel and Julien. <br /> <br /> Boards detached and slightly worn rubbed and bumped; spine worn and damaged with portions lacking; endpapers chipped. Small annotation in black ink to upper outer corner of title. First Edition early issue with "Op. 24" added to title but still with the address 265 Rue St. Honoré. <br /> <br /> In one act to a libretto by Louis Gallet after Alfred de Musset's story Namouna Djamileh was first performed in Paris at the Opéra-Comique Salle Favart on 22 May 1872.<br /> <br /> "Bizet's score is full of inventive touches especially in its use of chromatic colour widely mistaken for Wagnerism in 1872. In the final duet the music takes on a more serious and passionate tone and Djamileh is characterized from the beginning by a darkly expressive melody. Her main solo the 'Ghazel' blends exotic colour chromatic side-slips suppressed passion and the key of D minor to give a strong foretaste of the Habanera in Carmen." Hugh Macdonald in Grove Music Online. Choudens [PN A. C. 2380] unknown
187539457Paris: Choudens Père & Fils PN A.C. 3082 1875. Large octavo. Quarter dark red morocco with marbled boards spine in gilt-ruled compartments titling gilt marbled endpapers. 1f. recto title within decorative border verso blank 1f. recto named cast list and index verso blank 351 i blank pp. <br /> <br /> Cast includes Lhérie as Don José Bouhy as Escamillo Potel as Dancaïre Barnolt as Remendado Dufriche as Zuniga Duvernoy as Moralès Nathan as Lillas Pastia Teste as a Guide Galli-Marié as Carmen Chapuy as Micaëla Ducasse as Frasquita and Chevalier as Mercédès with set designs by Charles Ponchard. <br /> <br /> A presentation copy with an autograph inscription signed by the composer to the French critic and writer Henri Blaze de Bury 1813-1888 to title: "A Monsieur Blaze de Bury Son bien reconnaissant et dévoué Georges Bizet" possibly following Blaze de Bury's favorable article about Carmen in the "Revue des Deux Mondes" after hearing the opera.<br /> <br /> With occasional performance markings in pencil.<br /> <br /> Binding worn and rubbed. Slightly browned; moderate foxing throughout more pronounced to first and last leaves; numerous tears some quite significant in 3 cases with the loss of several measures of music; old repairs to blank margins of many leaves occasionally obscuring printed area and several additional old repairs; a number of leaves partially detached; inscription slightly trimmed by the binder just touching two letters of the dedicatee's name but not Bizet's signature. First Edition first issue with the error in the index listing the Finale of Act II on p. 175 no note to p. 20 and a footnote to p. 49 pre-dating the publication of the full score published posthumously. Rare. Crawford p. 53. Fuld pp. 585-586. Hugh Macdonald: The Bizet Catalogue Online.<br /> <br /> Bizet's masterpiece composed in 1873-1874 to a libretto by H. Meilhac and L. Halévy after Mérimée was first performed in Paris at the Opéra-Comique on 3 March 1875 under the baton of Adolphe Deloffre 1817-1876. <br /> <br /> "Bizet might have surpassed all the many composers active in France in the last third of the 19th century had it not been for his untimely death at the age of 36. Carmen first performed three months before his death has become one of the most popular operas of any age. .<br /> <br /> Carmen was orchestrated at Bougival in the summer of 1874 and rehearsals began in September. Bizet arranged the piano score himself and played the piano for rehearsals. . It is recognized as one of the greatest of 19th-century operas and certainly the most popular. Its tunes are familiar to millions and its evocation of Spain where Bizet never set foot has done as much to propagate the elements of the style as Spanish music itself. . In Carmen the combination in abundance of striking melody deft harmony and perfectly judged orchestration ensures the opera's immortality. It magnificently transcends both the genre of opéra comique and the norms of 19th-century French music. . <br /> <br /> Carmen has remained one of the most frequently performed operas in the entire repertory. Many great singers have been associated with its leading roles. The orchestral suite drawn from the opera is often played and in 1954 it extended its currency in a film version Carmen Jones. For three-quarters of a century it was regularly played not as an opéra comique with dialogue as Bizet wrote it but with the Guiraud recitatives. It is now played almost everywhere in opéra comique format although the edition on which modern performances rely that of Fritz Oeser published in 1964 has aroused bitter controversy since it includes a quantity of music that Bizet himself rejected in his own edition of the vocal score published in 1875. That first edition published by Choudens is exceedingly rare for it was replaced at an early stage by the first of many corrupt editions from the same house." Hugh Macdonald in Grove Music Online. Choudens Père & Fils [PN A.C. 3082] unknown
