44 résultats
1855244941Paris 1855. 1 pp. pen and ink on Écoles Communales letterhead. Letter 8 1/4 x 5 1/4 in. Frame 14 1/2 x 18 1/4 in. Light edgewear and creasing faint offset. Mounted and framed with photographic portrait. 1 pp. pen and ink on Écoles Communales letterhead. Letter 8 1/4 x 5 1/4 in. Frame 14 1/2 x 18 1/4 in. Gounoud writes in praise of "the new Solfege in three progressive lessons that you have just published" noting its usefulness to music teachers in the instruction of modern music. unknown books
1882244942n.p. Paris September 26th 1882. 2 pp. pen and ink on folded sheet. With envelope. 8vo. Old ink stain else near fine. 2 pp. pen and ink on folded sheet. With envelope. 8vo. Gounod overwhelmed by work writes "Please kindly excuse me but I am worn out! Everyday from the morning to the evening the countless appointments and summonses fight over my life: I don't even have time to face my correspondence! So more work. . Kindly let me know with a note the reason of your visit: if it is possible for me to help you I will do it . unknown books
1884244944n.p. Paris 23 May 1884. 2 pp. pen and ink on folded sheet. With envelope. 8vo. Fine. 2 pp. pen and ink on folded sheet. With envelope. 8vo. Gounod sends his regrets that he cannot locate a verse play of Tourneux's father and complains of his heavy work load "I am snowed under with requests from the Committees and I can't accept even one more. My whole life goes into it and I devote all my time to it unknown books
36231Oblong folio 175 x 264 mm.<br/><br/>30 measures in total notated on both sides of the leaf the initial 13 measures in black ink the following 17 in purple pencil possibly a continuation of the same work. <br/><br/>With several deletions and "Notes manuscrites de Ch. Gounod" in pencil to upper right margin.<br/><br/>Slightly worn and browned; cut from a larger leaf. "Gounod wrote in most of the major genres of his day sacred and secular. That his reputation began to wane even during his lifetime does not detract from his place among the most respected and prolific composers in France during the second half of the 19th century." Steven Huebner in Grove Music Online. unknown books
251361 page ca. 76 x 187 mm. Four measures of an Adagio for organ with pedals in E-flat major in 4/4. Notated in black ink on three printed staves. <br/><br/>A note in black ink to verso signed Comte Élie de "Palys" explains that this autograph of Gounod has been "given by M. de Lassus his son-in-law to Mme Porteau." With rectangular blindstamp to upper left corner. <br/><br/>Very lightly foxed and stained; creased at central fold. "Best known today as the composer of the opera Faust and an Ave Maria descant to the first prelude of J.S. Bach's Das wohltemperirte Clavier Gounod wrote in most of the major genres of his day sacred and secular. That his reputation began to wane even during his lifetime does not detract from his place among the most respected and prolific composers in France during the second half of the 19th century." Steven Huebner in Grove Music Online. unknown books
7116viii 32 pp. 8vo 212 x 138 mm. modern aubergine cloth a little sunned title on upper cover. Paris: Félix & Regnault-Delalande 1824. A rare sale catalogue issued by the prolific expert Regnault-Delalande 1762-1824 describing the painter's extensive collection. This copy is printed on large paper and begins with a valuable biography of the artist. Gounod 1758-1823 was a pupil of Lépicié; his first appearance at the Paris Salon was in 1799. His son Charles became a famous musician and composer. 192 lots. The catalogue describes paintings by S. Bourdon Chardin van Dyck Gounod La Tour Miel and Rembrandt; drawings by Bouchardon Ant. Carracci Cochin fils van Dyck Gounod Greuze Jordaens Le Brun N. Poussin Raphael C. J. Vernet etc.; prints by G. & B. Audran Bartolozzi Callot Earlom Morghen Nanteuil Porporati Rembrandt C. Vernet etc. The print suites and books include the works of Palladio Scamozzi Perrault Newton Barbault Bartoli Piranesi etc. We also find the standard art historical books and artistic treatises of the 18th century. Fine copy. In the characteristic binding of the Bibliothèque Heim and with the library's stamp on verso of title. ❧ Lugt 10600. Oxford Art Online. hardcover books
189635065London: William Heinimann 1896. Hardcover. Good. Octavo. Full dark green cloth with musical motif gilt to upper titling gilt to spine. 267 32 pp. publisher's catalogue. Binding slightly worn rubbed and bumped; endpapers slightly stained. Minor internal wear and browning; edges slightly dusty; some gathering slightly split. William Heinimann hardcover books
187928957Paris: Léon Grus PN L.G. 3381 1879. Large octavo. Full modern dark gray cloth. 1f. recto title verso blank 1f. recto dedication to his collaborators and friends Paul Poirson and Louis Gallet verso blank 1f. recto named cast list verso blank 1f. contents i part title iii a-c 287 i blank pp. Lithographed<br/><br/>Named cast includes Dereims Stéphanne Giraudet Barré Alfred Maris Bernard Lefèvre Teste Collin Chenevière Villars Davoust Chevrier Franck-Duvernoy Périer P. Lévy Dorel and Laurençon.<br/><br/>With an inscription signed A. Giacometti to dedication.<br/><br/>Columbia Broadcasting System Music Library handstamp to lower margin of free front endpaper and several leaves; tape repairs to gutters of pp. 16-1718-19 22-23 81-99 and 280-281; some soiling to title with small oval publisher's handstamp to lower margin. Second version first issue.<br/><br/>Commission by Carvalho just after he took on the directorship of the Opéra Comique 1876 Cinq-Mars was "given a lavish production" there on April 5 1877 to a libretto by Poirson and Ballet after the novel by A.V. de Vigny. "The first appearance of a new opera by as eminent a figure as Gounod attracted a flurry of attention." Steven Huebner in Grove Music Online. Léon Grus [PN L.G. 3381] unknown books
192028828New York: G. Schirmer PN 16100 1920. Large octavo. Full dark green decorative cloth gilt titling gilt to spine top edge gilt. 1f. recto blank verso portrait of composer 1f. recto title verso cast list v-xiv notes on first performance named cast list and synopsis 1f. contents 323 i publisher's advertisement pp. <br/><br/>Named cast includes Barbot Balanqué Reynald Cibot Miolan-Carvalho Faivre and Duclos. <br/><br/>Occasional performance annotations in blue crayon.<br/><br/>Spine slightly worn. Former owner's signature to front free endpaper; occasional annotations in pencil. First performed 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 in Paris at the Théâtre Lyrique on March 19 1859.<br/><br/>To most opera lovers today Gounod is essentially the composer of Faust and Roméo et Juliette and with good reason for it would be difficult to defend the critical position that these are not his best works for the stage." Steven Huebner in Grove Music Online. G. Schirmer [PN 16100] unknown books
188127462Paris 1881. 279 x 198 mm. Signed by the artist in pencil at lower left. A very good impression on laid paper. <br/><br/>Remnants of hinges to upper corners of verso. Béraldi: Les Graveurs du XIXe Siècle Paris: 1885-92 XI-188. <br/><br/>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 March 15 1859. <br/><br/>"Faust became particularly important to the French musical establishment at the end of the century. A work by a winner of the Prix de Rome that could claim to be thoroughly modern and personal in style at its première and go on to international stages was a significant enhancement to the musical prestige of a French operatic culture previously dominated by Meyerbeer and the none-too-easily exportable genre of opéra comique. Its national value was enhanced because after some initial assessments as 'Wagnerian' Gounod's compositional voice in Faust was heard as important in the definition of a 'French' musical aesthetic." Steven Huebner in Grove Music Online. <br/><br/>Renouard 1845-1924 was a noted painter and engraver whose works are held at the Louvre the Opéra Museum etc. unknown books
186226503Milano: Francesco Lucca PNs 13851-13876 1862. Folio. Dark gold cloth-backed wrappers. 1f. recto with lithographic illustration of a scene from the opera verso blank. 1f. recto title verso blank 1f. recto named cast list verso table of contents with plate and page numbers 247 i blank pp. Engraved. Text in Italian.<br/><br/>Named cast includes Giuseppe Morini Giorgio Atry Luigi Colonnese Vincenzo Paraboschi Leonilda Boschetti Maria Gualtieri and Prassede Dompieri. <br/><br/>Lacking upper wrapper lower worn and soiled. Slightly worn and soiled; margins and outer leaves foxed; occasional fraying perforations chips and small tears not affecting music; upper portions of some leaves dampstained. First Italian Edition of the second version. OCLC no. 16852458.<br/><br/>Faust was first performed at the Théâtre Lyrique in Paris on March 19th 1859 in a version with spoken dialogue; recitatives were added in 1860 and a ballet in 1869. The libretto by Barbier and Carre is based on Goethe but focuses on the love story between Faust and Marguerite. <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. Francesco Lucca [PNs 13851-13876] 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
186024772Paris: Choudens PN A.C. 664. 1860. Large octavo. Quarter dark red cloth with textured boards titling gilt to spine. 1f. decorative lithographic title by P. de Grauzat printed in black with portraits of Marguerite Faust and Méphistophélès 1f. named cast list and index 252 pp.<br/><br/>With red handstamp to lower edge of title and occasional editorial annotations especially to front free endpaper in a 20th-century hand.<br/><br/>Binding somewhat worn rubbed bumped and scuffed. Minor dampstaining foxing and offsetting; lacking upper corner of final leaf with no loss to music. Second edition. Hopkinson: Notes on the Earliest Editions of Gounod's Faust 247.<br/><br/>Faust was first performed at the Théâtre Lyrique in Paris on March 19th 1859 in a version with spoken dialogue; recitatives were added in 1860 and a ballet in 1869. The libretto by Barbier and Carre is based on Goethe but focuses on the love story between Faust and Marguerite. <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. Choudens [PN A.C. 664.] unknown books
190028306Paris: Choudens 1900. 1f. recto title verso blank 1f. recto named cast list and contents verso blank 132 pp.<br/><br/>Named cast includes Barbot Balanqué Reynald Cibot Carvalho Faivre and Duclos.<br/><br/>Bound with:<br/>ADAM Adolphe 1803-1856<br/>Le Brasseur de Preston Opéra-Comique en trois Actes Paroles de MM. de Lenven et Brunswick. Représenté pour la première fois a Paris sur le Théatre Royal de l'Opéra-Comique le 31 Octobre 1838 Partition Piano et Chant: 15 francs. Piano-vocal score. Paris: Bichault PN 4932 R. ca. 1900. 1f. recto title verso blank 1f. blank i contents 102 i blank 103-240 i blank i decorative device pp.<br/><br/>Large octavo. Quarter red leather with textured red cloth spine in decorative compartments gilt titling gilt decorative endpapers. <br/><br/>Binding slightly worn; remnants of label to spine. Browned; occasional foxing; some leaves trimmed; several leaves partially detached; some signatures split; annotation in pencil to verso of free front endpaper; small publisher's facsimile handstamp to upper margin of first page of music. First performed 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 in Paris at the Théâtre Lyrique on March 19 1859.<br/><br/>To most opera lovers today Gounod is essentially the composer of Faust and Roméo et Juliette and with good reason for it would be difficult to defend the critical position that these are not his best works for the stage." Steven Huebner in Grove Music Online. Choudens unknown books
189228738Boston: Oliver Ditson 1892. Quarto. Original publisher's dark orange wrappers with titling within architectural border. 1f. recto title verso blank 1f. recto preface verso blank 3-5 dramatis personae synopsis and contents 6-236 pp.<br/><br/>Wrappers detached with minor chips tears and tape repairs to edges; former owner's signature "E.B. Shinmon" to upper wrapper; spine lacking. Some signatures split; former owner's signature to title; tape repair to upper margin of p. 131 not affecting music. Third version. First American Edition. <br/><br/>First performed 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 in Paris at the Théâtre Lyrique on March 19 1859.<br/><br/>To most opera lovers today Gounod is essentially the composer of Faust and Roméo et Juliette and with good reason for it would be difficult to defend the critical position that these are not his best works for the stage." Steven Huebner in Grove Music Online. Oliver Ditson unknown books
45981NY: Rullman. Large 8vo pp. 32. Pencilled on cover "Saturday afternoon Dec. 28 1889." Paper wraps. In English and French. Cover little chipped and spotted some leaves slightly dog-eared o/w VG. "Mme. Angelina Patti under the direction of Henry E. Abbey and Maurice Grau. Opera libretto." Small portrait of Patti. Rullman unknown books
48778Milano: Ricordi. Small 4to pp. 321. In Italian. Green cloth. Paper somewhat browned cover little worn at edges o/w VG. Libretto with piano score. Ricordi unknown 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
13967NY STEIN 1973. FIRST AMERICAN EDITION VERY GOOD. 1st Edition. NY, STEIN, 1973 unknown books
187026347London: Cramer & Co. Limited PN 8914 1870. Folio. Original publisher's quarter dark green cloth with illustrated boards titling gilt to spine. 1f. publisher's catalogue of operas arranged for piano 1f. title 1f. "Argument" i table of contents i cast list 281 i blank 1f. catalogue of Debain's Harmoniums pp. Lithographed. Text in English. With additional publisher's catalogs "Old English Ditties" and instruction books to pastedowns.<br/><br/>Binding worn and shaken with some bumping and chipping; endpapers browned. Occasional light soiling; several leaves partially detached; some minor creasing. First English Edition. Revised version for London. Very scarce. OCLC no. 16852569.<br/><br/>La Reine de Saba to a libretto by Jules Barbier and Michel Carré after Gérard de Nerval's collections of stories Le voyage en Orient was first performed at the Opéra in Paris on February 28 1862. The English version by Henry Farnie was renamed Irene and interwove "certain legends and traditions of freemasonry." Wikipedia.<br/><br/>"The work was severely condemned by almost the entire Parisian press. In spite of Gounod's efforts to clarify motivations of the characters through thematic recollections critics were mystified by the racial origin of and ideological imperatives for the Balkis-Adoniram union; the opera was withdrawn after only 15 performances. With some revisions it fared better at the Théâtre de la Monnaie and became part of the repertory there in the 1860s and 70s. Performances in England in 1865 at the Crystal Palace where the title role became Irene and the setting was shifted to Turkey as well as a Parisian revival in 1900 were unsuccessful." Steven Huebner in Grove Music Online. Cramer & Co. (Limited) [PN 8914] unknown books
186025602Paris: Choudens A.C. 738. 1860. Large octavo. Quarter dark brown morocco with pebbled paper boards raised bands on spine in ruled compartments with titling and publication date gilt marbled endpapers original publisher's illustrated lithographic upper wrapper bound in. 1f. recto title verso blank i named cast list and table of contents 2-132 pp. Engraved.<br/><br/>With composer's autograph inscription signed "Ch. Gounod" in brown ink to head of title: "à mon bon ami Hasselmans - souvenir bien amical" with Hasselmans's handstamp to upper corner of upper wrapper. <br/><br/>Named cast includes Carvalho A. Faivre Roger and Balanqué.<br/><br/>Small publisher's oval handstamp to lower outer corner of title.<br/><br/>Binding slightly worn rubbed and bumped with small scratches to upper; upper wrapper somewhat soiled and creased. Title browned; some foxing and offsetting; occasional creasing or splitting at inner margins; publisher's handstamp faded. First Edition of the original version. Lesure p. 108. <br/><br/>The first performance of La Colombe took place at the Théatre de Bade in Baden-Baden on August 3 1860 under the direction of Edouard Bénazet; an expanded version of the opera was staged at the Opéra-Comique in Paris in 1866. <br/><br/>Gounod may have inscribed this copy for Josef H. Hasselmans 1814-1902 a Belgian conductor harpist and violinist. Hasselmans "became first violinist with the orchestra of the Théâtre Royal Antwerp and later its conductor. His career continued at Strasbourg where he conducted the orchestra of the Théâtre Municipal and in 1854 he became the first director of the Strasbourg Conservatoire. He was a respected teacher as well as a creditable conductor and may be remembered for two major schools of double-action harp playing which stemmed from his tutelage." Alice Lawson Aber-Count in Grove Music Online. Choudens [A.C. 738.] unknown books
186626259Paris: Choudens PN A.C. 738 1866. Large octavo. Quarter contemporary red calf with marbled boards rules and titling gilt to spine marbled endpapers. 1f. title i named cast list for the first performance and table of contents 148 pp. Lithographed. Text in French. <br/><br/>Handstamps of Choudens and E. Heu to lower margin of title. Printer's note to lower margin of table of contents.<br/><br/>Binding slightly worn bumped and scuffed; head of spine slightly torn. Some minor soiling; small tear to blank head of first two leaves. Probable first issue of the second version. Lesure II p. 108-109. OCLC no. 15150060. <br/><br/>The first performance of La Colombe took place at the Théatre de Bade in Baden-Baden on August 3 1860 under the direction of Edouard Bénazet. An expanded version of the opera was staged at the Opéra-Comique in Paris in 1866.<br/><br/>"Gounod's 12 operas span a range of the generic types available in French lyric theatre. Smaller works such as Philémon et Baucis and La colombe strike a balance between spoken dialogue and set pieces typical of opéra comique of the second quarter of the 19th century: relatively small-scale numbers with many strophic types among them are joined by long passages of dialogue. Musical depictions of frivolity are relatively few by standards of the genre contributing to the general tenor of these pieces as sentimental comedy." Steven Huebner in Grove Music Online. Choudens [PN A.C. 738] unknown books
197028953Paris: Edition Choudens 1970. Large octavo. Original publisher's ivory wrappers printed in red and black. 1f. recto title verso blank 1f. recto named cast list and contents verso blank 230 pp.<br/><br/>Named cast for the Théâtre de l'Opéra performance in 1862 includes Gueymard Hamackers Tarby Gueymard Belval Grisy Marié Coulon and Féret and from the from the Opéra Populaire performance in 1900 Julia Brietti A. Gillard Broglia Émile Cazenueve Stanler Outhier Corin Montégut and Darras.<br/><br/>Wrappers slightly worn; small catalogue handstamp to lower margin of upper. Seventh version.<br/><br/>First performed in Paris at the Opéra on February 28 1862 to a libretto by Barbier and Carré inspired by G. de Nerval's Le voyage en Orient. "The magnificent first production was directed by Eugène Cormon with costumes designed by Alfred Albert and Paul Lormier and scenery by Édouard Desplechin Act I Charles-Antoine Cambon and Joseph Thierry Acts II and IV scene 2 Hugues Martin Act III and Joseph Nolau and Auguste-Alfred Rubé Act IV scene 1." Wikipedia. Edition Choudens unknown books
189728954Paris: Choudens Fils PN A.C. 7409 2743 880 1897. Large octavo. Quarter dark red cloth with decorative textured blue paper boards printed in black. 1f. recto title verso blank 1f. recto named cast list and contents verso blank 222 xxii pp.<br/><br/>Named cast includes Gueymard Hamackers Tarby Belval Grisy Marié Coulon and Fréret.<br/><br/>Binding slightly worn; signature to upper outer corner of front pastedown. Slightly browned. Sixth version. <br/><br/>First performed in Paris at the Opéra on February 28 1862 to a libretto by Barbier and Carré inspired by G. de Nerval's Le voyage en Orient. "The magnificent first production was directed by Eugène Cormon with costumes designed by Alfred Albert and Paul Lormier and scenery by Édouard Desplechin Act I Charles-Antoine Cambon and Joseph Thierry Acts II and IV scene 2 Hugues Martin Act III and Joseph Nolau and Auguste-Alfred Rubé Act IV scene 1." Wikipedia. Choudens Fils [PN A.C. 7409, 2743, 880] 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