53 résultats
18105929P. Erard 1810 in-4, titre, 11pp. (piano et vl. sur la même partition), br. (cot.10)
181213KREUTZER membre du conservatoire royal de musique redirigée par BAILLOT adoptée par le conservatoire pour servir à l'étude dans cet établissement Gravée par Le Roy à Paris Au magasin de musique du conservatoire royal, 11 faubourg Poissonnière sans date, circa 1812 format : 26 x 34.5 cm, couverture cartonnée d'époque, 168 pages. Méthode adoptée par les membres du Conservatoire de Musique le 5 ventôse an X (février 1802). La nécessité de l'unité de l'enseignement se faisait sentir dans toutes les branches de l'art. Le comité du Conservatoire comprit la position où il se trouvait à cet égard, et il arrêta, dans une de ses séances, que des ouvrages élémentaires...seraient rédigés par quelques professeurs, après que les bases du travail auraient été posées en assemblée générale. Rode, Kreutzer et Baillot se réunirent donc pour former une méthode de violon; mais, si grand que fût le mérite des deux premiers, les études classiques de Baillot, ses habitudes de méditation et sa facilité à s'exprimer en termes élégants et précis, lui donnaient un avantage reconnu pour la rédaction d'un tel ouvrage.D'un commun accord,il fut convenu que ce travail lui serait départi, et c'est à cette résolution,digne d'aussi grands artistes, qu'est dû le beau monument qui fut alors élevé par le Conservatoire à l'art du violon.
1820150991820 br. (tiré d'un recueil) in-4, titre, 9pp., P. L'auteur Hotel Favart (ca. 1820)
182015094P. Pacini 1820 br. (tiré d'un recueil). in-4, titre, 12pp., (cot. 19)
1807269901807 Paris : Imprimerie du Conservatoire JANET & Cotelle ,sd - [ca.1807]- 1 partituur (24 p.) ; 35 cm.rousseurs
1860169401860 demi-parchemin, cartonnage marbré. in-4, 101pp. P. Aulagnier (cot. AA34) (ca. 1860)
186430646ABKlavierpartitur ohne den Band für Violine. Leipzig, Breitkopf & Härtel, (1864). 4°. 256 S. gestochene Noten. Halbleinenband der Zeit.
187030642ABLeipzig, Breitkopf & Härtel, o. J., um 1870. 4°. 3, 9 S. gestochene Noten. Orig.-Umschlag.
186430646ABLeipzig, Breitkopf & Härtel, (1864). 4°. 256 S. gestochene Noten. Halbleinenband der Zeit. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, A Klavierpartitur ohne den Band für Violine.
187030642ABLeipzig, Breitkopf & Härtel, o. J., um 1870. 4°. 3, 9 S. gestochene Noten. Orig.-Umschlag. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +, A
1820270501820 Paris : Mme. C. Dorval, [approximately 1820] 11p -Pl. no. 215.+ 17 p. Pl. no. 213 - in4 broché,texte frais 35 cm. .partitions bien gravées.
1900135176- Reliure demi-basane, 28 x 33 cm. Légèrement défraîchi. Rousseurs. 108 + 124 + 37 + 55 pages.
185127299Paris, G. Brandus / Dufour et Cie, s.d. [1851]. Un vol. au format gd in-4 (348 x 267 mm) à pagination multiple. Reliure de l'époque de demi-vélin ivoire, dos lisse orné de doubles filets dorés, pièce de titre de maroquin émeraude, titre doré, tranches mouchetées.
186025909ABLeipzig u. Augsburg u. Bonn u. Frankfurt Otto Forberg u. Anton Böhm u. Simrock u. L. Massute (Böhm u. Simrock:) ca. 1860. 4°. Mit meist gestochenen Noten-Seiten. Halbleinenbd. d. Zt. mit mont. Titelschild u. Deckel-Titel von alter Hand (berieben u. bestossen, Schild gebräunt).
186025909ABLeipzig u. Augsburg u. Bonn u. Frankfurt, Otto Forberg u. Anton Böhm u. Simrock u. L. Massute, (Böhm u. Simrock:) ca. 1860. 4°. Mit meist gestochenen Noten-Seiten. Halbleinenbd. d. Zt. mit mont. Titelschild u. Deckel-Titel von alter Hand + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden + (berieben u. bestossen, Schild gebräunt).
186011122P. Leduc 1860 demi-percaline rouge. 4 parties en 1 vol. in-4, 4 titres et 164pp.,
1840180561840 Paris: SOCIETE POUR LA PUBLICATION DE LA MUSIQUE CLASSIQUE (vers 1840) Folio.reliure demi basane,dos lisse orne de filets dores,etiquette de titre rouge 261 p.gravees Half , , with marbled boards Parts. Hardcover RISM HH3353. *
188027346London: Richard Bentley & Son 1880. 1st one-volume edition. Not in NCBEL. Original green publisher's cloth with gilt lettering to spine & boards stamped in blind professionally recased. Eps replaced. VG extremity wear/cloth dull. 2 413 3 pp. Publisher advert last 2 pp. Frontispiece. Crown 8vo. <br/><br/>A novel set against the background of the 1862-63 Lancashire cotton famine. Richard Bentley & Son hardcover books
18952423Paris, Librairie L. Conquet, 1895 ; in-8, broché ; (1) f. (bl.), 46 pp., (2) ff. (table, bl.) ; 1 portrait à l'eau-forte en frontispice, 1 eau-forte en couverture, 6 eaux-fortes en noir in-texte (en-têtes et culs-de-lampe) ; couverture blanche à rabats illustrée en couleurs.
187929849London: Richard Bentley and Son 1879. Hardcover. First Edition First Impression. 4.5 x 7in. 277pp.; 308pp.; 335pp. Publisher's blind-stamped cloth boards with gilt titling. All 3 volumes are in VERY GOOD condition showing typical shelf rubbing of the extremities spines and endpapers lightly toned over-opened in several places throughout otherwise the bindings are strong and tight the texts are clean and unmarked and the boards remain distinct. As pictured. Richard Bentley and Son hardcover
183040871England 1830. Pierre Rode 1774-1830; Sir Henry Rowley Bishop 1786-1855; Adalbert Gyrowetz 1763-1850; Anon. Copyist musical manuscript. Oblong folio 245 x 305 mm. Sewn. Notated in black and brown ink on 14-stave rastrum-ruled paper. 10 pp. <br /> <br /> Contains five variation sets for violin by various composers:<br /> <br /> 1 Tema with Variations for the Violin. 3 pp. <br /> Nine variations on a waltz-like theme in F major. Following each variation the scribe indicates "tutti" or "to the tutti" indicating that these variations may have been performed with an ensemble of musicians. Unlocated.<br /> <br /> 2 Bishop Sir Henry Rowley 1786-1855 and Anon<br /> Variations from Home Sweet Home. 2 pp.<br /> Five variations on Rowley's well-known song. Bishop was an English composer who "in his day he enjoyed a commanding reputation as the guardian of the best traditions of English song and for a time he kept English opera alive almost single-handed. Yet he is now remembered for little but the song Home Sweet Home." Nicholas Temperley and Bruce Carr in Grove Music Online<br /> <br /> 3 Rode Pierre 1774-1830<br /> Theme with Variations for the Violin. 2 pp. <br /> Four variations originally published as a solo for violin accompanied by a second violin viola and cello. "At the height of his career Rode was the most finished representative of the French violin school. Having assimilated Viotti's Classical approach he imbued it with characteristically French verve piquancy and a kind of nervous bravura. His artistic growth took place during the revolutionary decade and it is not surprising that his music is akin to that of Cherubini and Méhul and the operas of the 1790s; there is declamatory pathos martial dash and melting cantilena. His gift for lyrical often melancholy melody which represents a prominent trend in French music of this period made his music particularly attractive to German early Romantic composers. . At the height of his career Rode was the most finished representative of the French violin school. Having assimilated Viotti's Classical approach he imbued it with characteristically French verve piquancy and a kind of nervous bravura. His artistic growth took place during the revolutionary decade and it is not surprising that his music is akin to that of Cherubini and Méhul and the operas of the 1790s; there is declamatory pathos martial dash and melting cantilena. His gift for lyrical often melancholy melody which represents a prominent trend in French music of this period made his music particularly attractive to German early Romantic composers. . His innate gifts as a teacher are demonstrated in his 24 Caprices which balance the musical and technical needs of the student and have become an indispensable part of the violin curriculum." Boris Schwarz revised by Clive Brown in Grove Music Online<br /> <br /> 4 Gyrowetz Adalbert 1763-1850 <br /> Variations. 3 pp.<br /> Eight variations on a Tyrolean folksong popular at the time and the subject of numerous variation sets. Gyrowetz was a noted Bohemian composer and conductor.<br /> <br /> 5 Rossini Gioachino 1792-1868<br /> Variations from the Tanti Palpiti. 2 pp.<br /> Five variations. The composer's Di tanti palpiti was the subject of variation sets by celebrated composers including Paganini Giuliani and Gelinek. Unlocated.<br /> <br /> Several small stains mainly to blank margins; minor soiling to final page mainly affecting its eight blank staves. These variations by the composers represented in the present manuscript are virtuosic incorporating rapid scales and arpeggios passages in double stops and bariolage. unknown
182046029(Paris, Crochard, 1820). No wrappers. In ""Annales"". In ""Annales de Chimie et de Physique, Par MM. Gay-Lussac et Arago"" Tome XIV, Juin issue, pp. 113-222. (Entire issue offered with halftitlepage to vol. 14). Savart's paper: pp. 113-172 and 3 folded engraved plates. Plates with some scattered brownspots.
182046029Paris Crochard 1820. No wrappers. In "Annales". In "Annales de Chimie et de Physique Par MM. Gay-Lussac et Arago" Tome XIV Juin issue pp. 113-222. Entire issue offered with halftitlepage to vol. 14. Savart's paper: pp. 113-172 and 3 folded engraved plates. Plates with some scattered brownspots. <br/><br/><em>First printing of a pioneer paper on the acoustics of the violin and on the construction of the Trapezoidal Fiddle."In his earliest work Savart gave the first explanation of the function of certain parts of the violin. To learn how vibrations are transmitted from the strings to the rest of the instrument he induced vibrations in a free wood plate by passing a vibrating string over a bridge at its center; he also used Chladni’s sand-pattern technique to observe the resulting nodal lines. Savart showed that the bridge transmits the string’s vibrations; that the plate can be made to vibrate at any frequency; and that the corresponding mode is a modification of an unforced mode. He demonstrated that the sound post also serves to transmit vibrations and he explained that it therefore should not be placed under a nodal line. Thinking that symmetry and regularity would produce the best tone Savart built a trapezoidal violin with rectangular sound holes. When the instrument was played before a committee that included Biot the Composer Cherubini and other members of the Academy of Sciences and the Académie des Beaux-Arts its tone was judged as extremely clear and even but somewhat subdued."DSB.The issue also contains Eilhard Mitscherlich' famous paper in the first French version "Sur la Relation qui existe entre la forme cristalline et les proportions chimiques" pp. 172-190. </em> unknown
184729822Paris: Aubert & Cie 1847. 215 x 220 mm. sheet size 346 x 253 mm. Printed on wove paper. Signed by the artist in the stone.<br/><br/>Some foxing; remnants of paper mounting tape to verso. Aubert & Cie unknown books
184729822Paris: Aubert & Cie 1847. 215 x 220 mm. sheet size 346 x 253 mm. Printed on wove paper. Signed by the artist in the stone.<br /> <br /> Some foxing; remnants of paper mounting tape to verso. Aubert & Cie unknown