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W167FLLondon: William Reeves Brown cloth with gilt lettering. Lower spine of Vol. 2 has been damage but without loss of cloth. English translation by Edwin Evans. Text blocks are clean and good. An important work by Liszt. First English Edition. Cloth. Good/No Dust Jackets. 8vo - over 7¾" - 9¾" tall. Music. William Reeves Hardcover books
0884020789New. hardcover. New. Satisfaction Guaranteed or your money back. hardcover
1404313478.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
189455718Berlin - Paris : Otto Liebmann - Pedone-Lauriel 1894. 265x175mm. XXVI- demi-basane dos ˆ nerfs piÂce de titres rouge et verte cuir par endroit frottÂŽ cachet de bibliothÂque sur la page de titre cuir tachÂŽ sur un bord. 1821 Otto Liebmann - Pedone-Lauriel unknown
1998Q-0963976311Greenery Press 1998-12-01. Paperback. New. In shrink wrap. Looks like an interesting title! Greenery Press paperback
186631560Paris: S. Richault PN 15383 R 1866. BERLIOZ Hector 1803-1869. Folio. Original publisher's light green printed wrappers. 1f. title 7 1 blank pp. Engraved.<br/><br/>From the collection of pianist Mario Feninger 1923-2016 with his small handstamp to upper wrapper "Ex Mario Feninger de Rogatis Libris" and head of first page. Publisher's handstamp to foot of title.<br/><br/>Wrappers detached. Somewhat worn and soiled; minor offsetting. First Edition co-published with Biedermann in Germany. LW A205. Searle 475. Raabe 142. LC Catalog 152.<br/><br/>Liszt was a fervent champion of Berlioz while in Paris and transcribed a number of his works for piano. It was Berlioz who first introduced Liszt to Goethe's Faust. <br/><br/>"A lucid and delicately laid-out scherzo of charming effect." Derek Watson: Liszt p. 201. S. Richault [PN 15383 R] unknown books
19951355-RGreenery Press 1995. Paper. Fine. 5.5x8.5. This is the first print run of the original Greenery Press book before the publisher moved on to printing trade paperback.At last - S/M educators Easton and Liszt do for tops what they did for bottoms in their groundbreaking "The Bottoming Book"!. an insightful yet humorous look at what makes tops tick . Cloth tape spine with cardstock cover as published. In excellent condition showing very minor shelf wear. Greenery Press unknown
1981Q-3795766583SCHOTT MUSIK INTL MAINZ 1981-08-01. Paperback. New. In shrink wrap. Looks like an interesting title! SCHOTT MUSIK INTL MAINZ paperback
1993Q-0849795656Kjos Music Company 1993-01-01. Sheet music. New. In shrink wrap. Looks like an interesting title! Kjos Music Company unknown
Z1-B-019-01866BREITKOPF. Used - Good. Ships from UK in 48 hours or less usually same day. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Ex-library so some stamps and wear but in good overall condition. 100% money back guarantee. We are a world class secondhand bookstore based in Hertfordshire United Kingdom and specialize in high quality textbooks across an enormous variety of subjects. We aim to provide a vast range of textbooks rare and collectible books at a great price. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions. We provide a 100% money back guarantee and are dedicated to providing our customers with the highest standards of service in the bookselling industry. BREITKOPF unknown
1919290041Paris.: Henry Lemoine & Cie. 1919-1921. Quarter black leather over blue cloth boards red spine labels gilt titles original wraps bound in. . Very good pages toned. . 29.7x22.3 cm. . Classical favorites for the piano 9th volume 3 parts. Heavy set may require extra shipping. Henry Lemoine & Cie. hardcover books
a771021846 copyright Schlesinger. Lg.4to. 19pp. wraps. VG. tiny circular bookseller stamp no owner marks. Pictures available. . paperback
50 pages. Features: Full-page ad for 'Barry Lyndon'; Full-page ad for 'Jaws'; Full-page ad for 'The Man Who Would Be King'; Ad for 'Lenny'; Review of book on Basil Rathbone; Photo-illustrated interview with Ann-Margret; 'The Man Who Would Be King' - photos; 'The Beloved' - photos; The Tender Touch - concluding an appreciation of the work of Fredric March - article with photos; Films and Filming Honours for 1975; Reviews - 'Jaws', 'Lisztomania and the Loves of Liszt', 'Dog Day Afternoon', 'La Caza', 'Hester Street', 'The Cannibals', 'The Streetfighter', 'The Man from Hong Kong', 'Innocents with Dirty Hands', 'Permission to Kill'; 'The Adventure of Sherlock Holmes' Smarter Brother' - photos and ad; Article on Dancing; Many photos on location with 'Won Ton Ton the Dog Who Saved Hollywood; and more. Average wear. Unmarked. A sound vintage copy. Magazine
1973RO80213941G. Henle. 1973. In-Folio. Relié. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 25 pages de partitions en facsimilé . Texte en langue allemande.. . . . Classification Dewey : 780.26-Partitions
1908R320080745C.F. KAHNT NACHFOLGER. VERS 1908. In-4. Broché. Etat d'usage, Plats abîmés, Dos abîmé, Intérieur frais. 75 + 103 + 79 pages de partition - Volume 2 / Ouvrage partiellement desolidarisé - Renfort en reliure interieure du Volume I - Plats defraichis et salis. TExte en allemand - Couvertures conservés. OUVRAGES COMPLETS.. . . . Classification Dewey : 780.26-Partitions
1982RO50046697MUSICA. 1982. In-4. Broché. Bon état, Couv. défraîchie, Dos fané, Intérieur frais. 166 pages de partitions.. . . . Classification Dewey : 790.133-Les jouets
1923RO50043385BUFFET - CRAMPON ET CIE. 1923. In-4. Broché. Bon état, Couv. partiel. décollorée, Dos satisfaisant, Papier jauni. 7 pages de partitions pour piano + 2 pages de partitions pour 1er violon + 2 pages de partitions pour 2ème violon + 2 pages de partitions pour alto + 2 pages de partitions pour clarinette Si b + 2 pages de partitions pour Basson + 1 page de partition pour Contrebasse + 1 page de partition pour Trompette ou Cornet Si b + 1 page de partition pour Violoncelle + 1 page de partition pour flûte + 1 page de partition pour Hautbois + 1 page de partition pour 1er et 2è Cors en Fa + 1 page de partition pour Trombone + 1 page de partition pour Timbales Si b Mi b. Transcription de Ch. H. Laurent. Couverture de protection en couleur.. . . . Classification Dewey : 780.26-Partitions
3752526653.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1801387591.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
2018x-3658210222Springer 2018. Paperback. New. 471 pages. German language. 8.27x5.83x1.07 inches. Springer paperback
20132-2070771008Editions Gallimard 2013. Paperback. New. 1344 pages. French language. 9.45x6.14x1.81 inches. Editions Gallimard paperback
183940937Berlin: Ad. Mr. Schlesinger PN S. 2224 1839. Folio. Disbound. 1f. recto title verso blank i blank 4-13 i blank pp. Engraved. With secondary pagination to rectos in manuscript.<br /> <br /> Formerly in the collection of the Forbes Library in Northampton Massachusetts with their handstamp to upper outer corner of title and several pages.<br /> <br /> Slightly worn and browned; outer leaf separated at spine; narrow strip of early paper tape to inner margin of title. First Edition later issue. Searle 470. Raabe 134. Ad. Mr. Schlesinger [PN S. 2224] unknown
187441065Leipzig: Breitkopf & Härtel PN 9056 1874. Octavo. Original publisher's dark ivory wrappers. 1f. recto title verso blank 1f. recto preface in German verso preface in French 1f. recto composer's note in German on performance practice verso same note in French dated "Weimar Mars 1856" 97 i blank pp. Title preface and note lithographed; music engraved. <br /> <br /> Small B & H stamp to lower outer corner of title.<br /> <br /> With publisher's catalogue to verso of lower wrapper. <br /> <br /> Wrappers slightly worn and soiled; spine lacking. Occasional small stains; dampstaining to lower outer corners of first leaves; one signature partiallky detached. Re-issue from first edition plates. Searle 97. Raabe 414. Sonneck 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
0486431177.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
183831571Wien: A. Diabelli und Comp. PN D. et C. No. 6532 1838. SCHUBERT Franz 1797-1828. Large octavo. Disbound. 1 title 2-15 1 blank pp. Engraved.<br/><br/>Occasional light offsetting. First Edition. LW A42/2. Searle 558/2. Raabe 243/2. <br/><br/>Liszt transcribed nearly 150 songs for solo piano including 44 of Schubert's Lieder. <br/><br/>"His response to poetic imagery his conviction that purely musical images of poetic ideas are capable of projection to the listener and his belief that he could illustrate such imagery without words are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea the true symphonic poem thus had its genesis in concept and form in Liszt's adoration of Schubert." Derek Watson: Liszt p. 214. A. Diabelli und Comp. [PN D. et C. No. 6532] unknown books
