1 000 résultats
189528952London: Chappell & Co. PN 22805 1895. Quarto. Original publisher's blue wrappers with titling in dark blue within decorative border. 1f. recto title verso named cast list and notes on first English performance i contents 2-225 i publisher's catalogue pp.<br/><br/>Named cast includes from the Royal Opera Covent Garden London production includes Melba EamesRegina Pinkert Bauermeister Edouard de Reszké Dufriche Igenio Corst Ceste Castelmary Miranda Rinaldini and Jean de Reszké and from the Carl Rosa Opera Company production Zelie de Lussan Kate Drew Annie Cook Abramoff Max Eugene John Child F. H. Celli E. Albert and Barton McGuckin.<br/><br/>Wrappers worn and detached with remnants of tape repairs; spine reinforced with cloth tape. Tape to inner margin of title and verso of final leaf; minor soiling to edges of title with small publisher's facsimile signature handstamp to lower margin. First performed in English in Liverpool by the Carl Rosa Opera Company at the Royal Court Theatre on Wednesday the 15 January 1890. Chappell & Co. [PN 22805] unknown books
192528805New York: G. Schirmer PN 13203 1925. Large octavo. Full dark green cloth with titling gilt to upper and spine. i title iv notes on first performance named cast list and synopsis i contents 265 i blank pp.<br/><br/>Named cast for the first performance in Paris at the Théâtre Lyrique on April 27 1867 includes <br/><br/>Binding slightly worn and rubbed; some fading and minor discoloration to spine. Former owner's signature and handstamp to free front endpaper. G. Schirmer [PN 13203] unknown books
190028958Paris: Choudens Fils PN A.C. 1482 1900. Large octavo. Half black cloth with textured black paper boards. 1f. recto title verso blank i cast list and contents 2-253 i blank pp. Text in German.<br/><br/>With occasional lyrics translated into Danish in manuscript.<br/><br/>Binding slightly worn and shaken. Tear to outer margin of p. 197-198. First performed in Paris at the Lyrique on April 27 1867 to a libretto by Barbier and Carré after Shakespeare.<br/><br/>Gounod's "Roméo et Juliette contains four exquisite soprano-tenor duets a number almost certainly unprecedented in 19th-century opera and a harbinger of the prominence of love duets in such works as Massenet's Manon and Werther; to Gounod's great credit each has a distinct musico-dramatic ambience and shape." Steven Huebner in Grove Miusic Online. Choudens Fils [PN A.C. 1482] unknown books
187025625Paris: Choudens A.C. 1482. 1870. Large octavo. Half dark blue morocco with maroon pebbled cloth boards and gilt rules spine in decorative compartments gilt titling gilt. 1f. recto decorative lithographic title by Barbizet printed in blue verso blank 1 recto cast list and table of contents 2-271 i blank pp.<br/><br/>Publisher's handstamp to lower margin of title; oval handstamp of Dachauer & Vilanova in New York to lower margin of title and first page. <br/><br/>Binding slightly worn rubbed and bumped; head of spine slightly chipped. Slightly worn; occasional foxing and creasing; first signature partially detached. Probable First German Edition. Lesure p. 108.<br/><br/>Roméo et Juliette was first performed at the Théâtre Lyrique in Paris on April 27 1867. The opera was "Gounod's most spectacular immediate success. Coming as it did during the Exposition Universelle of 1867 when Paris was invaded by visitors from the provinces and abroad the opera drew full houses for many consecutive nights. It started its rapid conquest of foreign stages at Covent Garden on 11 July 1867 and before the end of the year had been seen at major centres in Germany and Belgium." Steven Huebner in Grove Music Online. Choudens [A.C. 1482.] unknown books
189028804Paris: Choudens Père & Fils PN A. C. 1411 1890. Large octavo. Half maroon cloth with marbled boards title label in manuscript to spine. 1f. recto illustrated title verso notes i named cast list and contents 2-71 i 72-80 81-132 i 133-137 138-249 250 blank 251-290 pp.<br/><br/>Binding slightly worn and faded; repairs to inner margins of many leaves; tear to lower margin of title repaired. Third version second issue.<br/><br/>First performed in Paris at the Lyrique on April 27 1867 to a libretto by Barbier and Carré after Shakespeare.<br/><br/>Gounod's "Roméo et Juliette contains four exquisite soprano-tenor duets a number almost certainly unprecedented in 19th-century opera and a harbinger of the prominence of love duets in such works as Massenet's Manon and Werther; to Gounod's great credit each has a distinct musico-dramatic ambience and shape." Steven Huebner in Grove Miusic Online. Choudens Père & Fils [PN A. C. 1411] unknown books
186728878Paris: Choudens A.C. 1411. 1867. Large octavo. Flexible dark blue leather boards decorative endpapers. 1f. decorative lithographic title by Barbizet printed in purple 1f. dedication 'A Sa Majesté Charles XV Roi de Suède de Norvège" 1 named cast list and index 2-303 pp. Lithographed.<br/><br/>Binding slightly worn. Light foxing soiling and offsetting; first and last leaves browned; occasional tears repaired; some loss to corners not affecting music; publisher's handstamp to lower right portion of title; circular owner's stamp to dedication and cast list; cast list leaf partially detached. First Edition. <br/><br/>First performed at the Théâtre Lyrique in Paris on April 27 1867 with a libretto by Jules Barbier and Michel Carre after Shakespeare. <br/><br/>"Roméo et Juliette was Gounod's most spectacular immediate success. Coming as it did during the Exposition Universelle of 1867 when Paris was invaded by visitors from the provinces and abroad the opera drew full houses for many consecutive nights. It started its rapid conquest of foreign stages at Covent Garden on 11 July 1867 and before the end of the year had been seen at major centres in Germany and Belgium." Steven Huebner in Grove Music Online. Choudens [A.C. 1411.] unknown books
186725608Paris: Choudens PN A.C. 1411. 1867. Large octavo. Quarter red pebbled cloth with marbled boards titling gilt to spine. 1f. recto decorative lithographic title by Barbizet printed in light purple verso blank 1f. recto dedication "A Sa Majesté Charles XV Roi de Suède de Norvège" printed in blue verso blank 1 named cast list and index 2-303 i blank pp. Lithographed.<br/><br/>Named cast includes Carvalho Daram Duclos Michot Puget Laurent Barré Laveissière Troy jeune Troy Cazaux Wartel and Neveu. <br/><br/>Publisher's handstamp to lower margin of title.<br/><br/>Binding slightly worn rubbed and bumped; hinges split; endpapers browned. Some dampstaining to inner margins; occasional splitting creasing and small tears. First Edition first issue. <br/><br/>Roméo et Juliette was first performed at the Théâtre Lyrique in Paris on April 27 1867. The opera was "Gounod's most spectacular immediate success. Coming as it did during the Exposition Universelle of 1867 when Paris was invaded by visitors from the provinces and abroad the opera drew full houses for many consecutive nights. It started its rapid conquest of foreign stages at Covent Garden on 11 July 1867 and before the end of the year had been seen at major centres in Germany and Belgium." Steven Huebner in Grove Music Online. Choudens [PN A.C. 1411.] unknown books
187325627Paris: Choudens A.C. 1411. 1873. Large octavo. Quarter dark green pebbled cloth with dark green pebbled paper boards titling giilt to spine. 1f. recto decorative lithographic title by Barbizet printed in brown verso blank 1 named cast list and table of contents 2-269 270-283 "Supplement" i blank pp. <br/><br/>Named cast includes both singers from the opera's first performance at the Théâtre Lyrique in Paris on April 27 1867 Carvalho Daram Duclos Michot Puget Laurent Barré Laveissière Troy jeune Troy Cazaux Wartel and Neveu and those from a subsequent restaging at the Opéra-Comique on January 20 1873 Carvalho Ducasse Decroix Duchène Bach Raoult Duvernoy Bernard Teste Melchissédec Ismaël-Bouhy and Nevue. <br/><br/>Binding slightly worn rubbed and bumped. Minor foxing heavier to outer leaves; light dampstaining to outer margins of approximately 15 leaves; small tear to outer margin of pp. 145-146. Revised edition possibly issued to coincide with the 1873 revival.<br/><br/>Roméo et Juliette was "Gounod's most spectacular immediate success. Coming as it did during the Exposition Universelle of 1867 when Paris was invaded by visitors from the provinces and abroad the opera drew full houses for many consecutive nights. It started its rapid conquest of foreign stages at Covent Garden on 11 July 1867 and before the end of the year had been seen at major centres in Germany and Belgium." Steven Huebner in Grove Music Online. Choudens [A.C. 1411.] unknown books
1858257<p>Gounod Charles François <i>Le Médecin Malgré Lui Comédie en 3 Actes de Molière Arrangé en Opéra-Comique par MM Jules Barbier & Michel Carré. Musique de Charles Gounod Partition Piano et Chant.</i>Paris: Colombier Éditeur rue Vivienne No. 6 1858. 27.5 cm x 18 cm iv ; 190 pages. In-8vo. Original green wrapper bound-in. Bound in half blue goatskin with gold lettering on the spine over blue marbled boards. Slight wear to corners binding otherwise very good. Internally pristine printed on heavy paper wrapper slightly chipped. Engraved title page. First edition C 2097 Columbier. Signed and inscribed in ink by Gounod at the top of the title page: "à mon ami Léon Leroy : Souvenir affecteux. Ch. Gounod." </p> Sold with an ALS of presentation from Gounod to Léon Leroy dated "Samedi 5 février /70". The text is: " Mon cher ami Il y a huit jours que j'ai <u>votre </u>médecin … Et le mien aussi – car je viens d'être malade et je sors de mon lit. C'est pourquoi je n'ai pu mettre la main sur votre addresse dont la copie était dans mes papiers. Voulez-vous avoir la bonté de faire prendre mon souvenir chez mon concierge Il y est déposé par bande à votre nom --- à vous Ch. Gounod. " "My dear friend It has been eight days since I had your doctor --- and my own as well – since I came to be sick and I left my bed. It's why I have not been able to put my hand on your address which was in my papers. Would you have the goodness to come and get my souvenir from my concierge It is deposited in a wrapper in your name. Yours Ch. Gounod." Léon Leroy was a distinguished clarinetist and a member first in Paris then later in New York of the <i>Société Moderne pour Instruments</i>à <i>Vent and a soloist with the Garde Republicaine Band in Paris. </i><i>Le Médecin Malgré Lui </i>was Gounod's third opera dating from 1858. Colombier, Éditeur, rue Vivienne, No. 6 books
13967NY STEIN 1973. FIRST AMERICAN EDITION VERY GOOD. 1st Edition. NY, STEIN, 1973 unknown books
18611063994to. Paris: Choudens 1861. 4to. iv 248 pp. lithographed piano-vocal score. Contemporary rebacked quarter black morocco black cloth boards paneled in blind backstrip lettered and ruled in gilt marbled endpapers. Corners bumped and frayed some discoloration to boards otherwise very good. § Third edition first issue title page inscribed by Gounod: “À mon excellente amie Madame Des Michels souvenir de ma profonde et respectueuse amitié Ch. Gounod.†His most poplar opera with libretto by J. Barbier and M. Carre first performed as an opera comique with spoken dialogue on 19 March 1859 at the Theatre-Lyrique Paris. The recitatives were added for a production at Strasbourg in April 1860 and a piano score of the opera version was published that year. The present score published according to Hopkinson in 1861 has added tempo markings and shows a cut from the Choeur de sorcieres in Act V. The libretto by Barbier and Carre is based on Goethe but focuses on the love story between Faust and Marguerite. Loewenberg 939. Choudens hardcover books
19072305256Boston: Oliver Ditson Company 1907. Stapled Binding. Near Fine. Pencil name on front wrapper top corner of rear wrapper creased. 1907 Stapled Binding. 23 pp. "Gallia is an 1871 motet for soprano chorus orchestra and organ by Charles Gounod."--Wikipedia Oliver Ditson Company unknown books
Un volume de format grand in 8° de 2 ff.; 190 pp. entièrements gravées. Titre en brun. Reliure de l'époque en demi chagrin noir. Dos lisse; filets et titre dorés. Quelques pâles rousseurs; bel état. Voir les photos.
LRB722Titre : Faust Opéra en 5 actes. Partition chant & piano transcrite par Léo Delibes. 4e édition avec les récitatifs ajoutés par l'auteur réduits au piano par Émile Périer Auteur : Gounod Charles ; Barbier Jules ; Carré Michel ; Delibes Léo ; Périer Émile Éditeur : Choudens / Choudens Fils Éditeur Lieu d'édition : Paris Date d'édition : s.d. fin XIXe siècle Format : grand in4 Reliure : Demireliure d'époque en cuir brun dos à nerfs orné du titre doré plats en percaline grenat Langue : Français État du livre : Frottements et décolorations sur les plats coins émoussés petites épidermures au dos. Intérieur avec rousseurs éparses et bords légèrement brunis ensemble solide et lisible. Particularités : Page de titre « Théâtre National de l'Opéra ». Mention « 4e édition avec les récitatifs ajoutés par l'auteur réduits au piano par Émile Périer ». Tableau de distribution et catalogue des morceaux en début de volume. Note manuscrite datée 8 octobre 1904 sur un feuillet liminaire. Couverture rigide. Satisfaisant. hardcover
77803Paris: Choudens N.D. Vintage Copy. Hardcover. Very Good in boards. Edgewear to boards. Spine is slightly cocked. No date. ; 4to 11" - 13" tall. Choudens hardcover
1900130739Editions Choudens. Paris 1900. sheet music. <b>Partition en français</b>. - Partition chant et piano transcrite par Léo Delibes. Reliure demi-chagrin. 268 pages. 19 x 28 cm. <i>ref. 130739</i> Editions Choudens. Paris unknown
Choudens SD (vers 1920), In-8 broché, 116 pages. Bon état.
10920ca. 1870. 4 x 2 1/2 inches; good. ca. 1870. unknown
1864620624Boston: G.D. Russell & Company 1864. Softcover. Fair. Sheet music. Translated by Chas. J. Sprague. Folio. Notched and worn along the fold with page numbers stamped in the top corners from once being bound within an album as a result the insert remains attached to the back cover the front cover is detached but present light offsetting throughout and a dampstain at the top of the front cover affecting throughout a complete but fair to good only copy. For voice and piano. Plate number 327. This stand-alone edition of "Now Thy Sleep Is All Pretended" from Gounod's Faust is surprisingly rare OCLC locates no holdings and we cannot find any copies in the trade. G.D. Russell & Company unknown
Mm 135x200 Libretto d'opera, con appendice contenente "La Notte di Valpurgis" ed altri pezzi aggiunti dall'Autore. Traduzione italiana di Achille de Lauzières - Brossura editoriale di 47 pagine, senza data ma probabilmente anni Trenta del Novecento. Esemplare in ottimo stato di conservazione. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
Mm 115x180 Libretto d'opera. Traduzione italiana di Achille de Lauzières - Brossura editoriale di 48 pagine, senza data ma seconda metà dell'Ottocento. Qualche lieve traccia di umidità alla copertina, peraltro esemplare in buono stato di conservazione. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
1987013594Classical Vocal Reprints 1987. Paperback. Fine. Includes English lyric translations. In excellent uncreased condition. Inscribed/signed by editor Glendower Jones otherwise entirely unmarked. <br/> <br/> Classical Vocal Reprints paperback
189036763Paris: Choudens Père et Fils PN A.C. 9451 1 1803; A.C. 2482 A.C. 3730 1890. 4 volumes bound in 2. Large octavo. Quarter black morocco with marbled boards raised bands on spine in gilt-ruled compartments titling gilt marbled endpapers. <br /> <br /> A total of 80 songs. <br /> <br /> Vol. I: 1f. recto title verso blank 1f. recto named cast list and contents verso blank 123 pp. Named cast includes Béranger A. de Lamartine Passerat Baïf Victor Hugo Alfred de Musset Eugène Tourneux Ponsard La Fontaine Théodore de Banville and A. Porte. <br /> <br /> Vol. II: 1f. recto title verso blank 1f. recto named cast list and contents verso blank 123 pp. Named cast includes Émile Augier O. Pradère Jules Barbier H. Lefevre Louise Bertin A. de Lamartine Ernest Lebouvé Leon Gozlan L. de Peyre and Théophile Gautier. <br /> <br /> Vol. III: 1f. recto title verso blank 1f. recto named cast list and contents verso blank. 123 pp. Named cast inclues Alexandre Dumas fils Jules Barbier Louis Gallet Théophile Gautier Joseph Collin M. Carré Ch. Gounod Scribe Delavigne Émkle Augier Albert Delpit O. Pradère and Comte A. de Ségur.<br /> <br /> Vol. IV: 1f. recto title verso blank 1f. recto named cast list and contents verso blank. 119 pp. Named cast includes Paul de Choudens J. Barbier Michel Carré Comte A. de Ségur Poirson Gallet Émile Augier E. Legouvé Eugène Manuel and Pierre Barbier.<br /> <br /> Binding slightly worn rubbed and bumped. Choudens Père et Fils [PN A.C. 945(1), (1*) [1803]; A.C. 2482, A.C. 3730 unknown
395518 measures in treble clef notated in black ink on a portion of a 14-stave rastrum-ruled album leaf 177 x 233 mm. With text in French in Gounod's hand commencing "Il etait un Roi du Thulé" Marguerite's melancholy aria from Act III. <br /> <br /> Identified in the composer's hand at foot: "Ballade du Roi de Thulé . à Monsieur Lebert. Ch. Gounod" and dated 26 August 1869.<br /> <br /> Slightly faded; browned; creased at central vertical fold; portions of leaf slighty lightened; margins of verso reinforced with brown paper tape. Faust an opera in five acts to a libretto by Jules Barbier and Michel Carré after Carré's Faust et Marguerite and Johann Wolfgang von Goethe's Faust Part I in the French translation by Gérard de Nerval was first performed in Paris at the Théâtre Lyrique on 19 March 1859 in a version with spoken dialogue; recitatives were added in 1860 and a ballet and couplets for Méphistophélès were added for a new production in 1869. <br /> <br /> "The historical importance of Faust is that it sounded a new note in French music. The conventional pomposities of the grand opera which then dominated the stage were superseded by a more intimate and poetic approach. The fashion Gounod set was one of conversational exchange rather than declamation." James Harding: Gounod p. 114.<br /> <br /> "Faust remains one of the landmarks of French 19th-century opera full of variety and with an underlying sensuality that saved it from the sentimentality and banality to which Gounod's later works especially his oratorios often descended in his quest for inspired simplicity." Robert Orledge in Grove Music Online<br /> <br /> A considerable success at its premiere the work was one of the most frequently performed works at the Opéra and one the staples of the international repertory. unknown
39978One bifolium 272 x 347 mm. 4 pp. Notated in black ink on 26-stave rastrum-ruled paper. Unsigned and undated.<br /> <br /> With significant corrections cancels etc.<br /> <br /> Slightly worn and browned; small tear to blank outer margin of first leaf repaired; horizontal crease; short split to head and tail of spine.<br /> <br /> In very good condition overall. Music unlocated but very likely from a sacred vocal work with orchestra. <br /> <br /> The first page contains 16 measures of music on 8-line staves the uppermost stave marked with the key signature of 5 sharps in a contrapuntal style incorporating stretto technique whereby a melody is restated in overlapping fashion in two or more voices. <br /> <br /> The second page contains 28 measures including four cancelled measures with music still visible on 4- and 5-line staves with a sharp-key signature as in the first page and passages of high-register 8th notes most likely for violin; the uppermost stave is designated "1e. Basson." <br /> <br /> The third page contains 21 measures on an 8-line stave being an alternate iteration of the material from the first page; the final 4 measures which are cancelled contain tremolo string material similar to the second page. <br /> <br /> The upper portion of the fourth and final page contains 8 measures of music similar to the first and third pages in a stretto character but with a new key signature of 3 flats. <br /> <br /> With 2 measures of music also with 3 flats to lower portion of final page. <br /> <br /> Gounod's interest in sacred music and counterpoint was awakened in his youth and continued for the span of his career. "Gounod arrived at the French Academy in Rome at the end of January 1840. Little there sustained his musical interest. He excoriated performances of operas by Donizetti Bellini and Mercadante composers he later characterized as mere 'vines twisted around the great Rossinian trunk without its vitality and majesty' and unable to match that composer's spontaneous melodic gifts. Gounod was however genuinely moved by performances of Palestrina at the Cappella Sistina and more generally by the cultural legacy of Rome in the other arts a legacy he felt that musicians could ill afford to ignore. His Roman experience laid the foundation for the stark comparison he drew in his aesthetics between on the one hand a universally appealing combination of beauty truth and Christianity and on the other egoism artifice and insularity. He described stile antico counterpoint as a selfless analogue to Michelangelo's frescoes issuing from pure Faith." Steven Huebner in Grove Music Online<br /> <br /> A fine example of a Gounod working manuscript in the composer's elegant hand displaying how he skillfully wove together counterpoint orchestration and compositional structure; well worthy of further study. unknown
