962 résultats
1840152051840 demi-basane. in-4, (2ff.), 200pp., P. L. Mayaud (cot. BL 2485), ca. 1840
186226082BARCELONA-MADRID: Imprenta de Tomás Gorchs 1862. Gran 8º.- Rústica cubiertas originales.- 53 páginas. . Imprenta de Tomás Gorchs unknown
1982biblio1935<p>TWO VOLUMES SET. Garland Publishing Inc. 1982. Hardcover Red cloth. Gilt title on the spine. Exlibrary copy. No wear. Clean unmarked. Looks as never used. VERYGOOD. 12.1"x9.25". be75296. For International and/or Expedited shipping contact seller.</p> Garland Publishing, Inc. hardcover
185426743Roma: Tipografia dell Rev. Cam. Apostolica 1854. Small octavo. Modern marbled wrappers. 1 title 2 "Direttori della Musica" 3-26 1f. printer's note pp. With decorative woodcut device to p. 26.<br/><br/>Minor foxing heavier to endpapers. Probable First Edition. Rare. Worldcat 2 copies only at the Universities of Chicago and Dayton. OCLC no. 57468047.<br/><br/>Luigi Moroni Gaetano Capocci and Giuseppe Negri are named as the "Direttori della Musica." Negri has provided the libretto for four of Verdi's works and one each for Rossini and Donizetti. Two more texts by Salvatore Martini are set to music by Moroni and Mercadante.<br/><br/>Verdi's first contribution "Salve o Madre: un sacro patto tutti stringe i figli tuoi" comes from the opening chorus of La Battaglia di Legnano 1849; the second "Silenzio misterio" from the opening chorus of I due Foscari" 1844; and the third "Plaudiam di letizia" from the opening chorus of the Act I finale of Stiffelio 1850. We have been unable to identify Verdi's final contribution "Regina dell' alme" Rossini's "Pura stella-del mattino" Mercadante's "Sacro alla pace degli eletti" and Donizetti's cantata "Celeste un' aura dal tempio move." <br/><br/>An intriguing source of libretti for little known works of some of the 19th century's most renowned composers.<br/><br/>We would like to thank Dr. Philip Gossett for his kind assistance in the cataloging of this item. Tipografia dell Rev. Cam. Apostolica unknown books
19192092902138300712Senoo Music Publishing Company 1919. Soft Cover. Fine. The book is in fine condition. Senoo Music Publishing Company paperback
185231245Napoli: Stabilimento Musicale Partenopeo Successore di B. Girard e Co. PNs 10407-10420 10422-10427 2163-2165 2197 2320 2324 5757 1852. Oblong folio. Vellum-backed and edged boards with burgundy cloth laid down initials "C.G." gilt to upper titling to spine stamped in black original light pink publisher's printed wrappers bound in. 1f. recto title verso blank 1f. recto cast list and table of contents verso blank 5-226 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Endpapers watermarked with a fleur-de-lis and "Michele Dupino Marmorato." With priced catalog "Opere Teatrali Intere" to upper wrapper listing works by Bellini Donizetti Rossini Verdi et al. composed through 1853 and with list of pieces with individual prices and plate numbers to title.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn bumped and scuffed. Minimal foxing throughout primarily confined to margins. Later edition later issue. Inzaghi IN. 41 pp. 155-7.<br/><br/>Girard's first edition of L'elisir d'amore appeared circa 1833. This new issue from 1852 contains many new plates alongside the older ones.<br/><br/>L'elisir d'amore to a libretto by Felice Romani after Eugène Scribe's text for Auber's Le philtre 1831 was first performed at the Teatro Cannobiana in Milan on May 12 1832.<br/><br/>"Donizetti's score is a study in shrewd contrasts: from the fairly florid lines of the duet 'Chiedi all'aura' - florid yet always rhetorically tidy - to the bumptious 3/8 stretta of the Act 1 finale or from the sharply differentiated tones of Nemorino and Belcore in the 'Venti scudi' duet to the comic irony in the duet for Adina and Dulcamara 'Quanto amore!' which sets off the potion as charm against the charm of Adina herself. The apparently effortless outpouring of melody arouses wonder especially as it is never melodiousness for its own sake but always describes some aspect of character; moreover there are those moments of genuine pathos 'Adina credimi' and 'Una furtiva lagrima' for instance that keep this comedy from seeming merely heartless or cruel. Ultimately the continuing appeal of L'elisir lies in the appropriateness of Donizetti's music to this bucolic variant of the 'male Cinderella' myth. Nemorino's good-heartedness and his singleness of purpose win out in spite of potions and unforeseen inheritances." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Stabilimento Musicale Partenopeo, Successore di B. Girard e Co. [PNs 10407-10420, 10422-10427, 2163-2165, 2197, 2320, 2324, 5757 unknown books
1981biblio1937<p>TWO VOLUMES SET. Garland Publishing Inc. 1981. Hardcover Red cloth. Gilt title on the spine. Exlibrary copy. No wear. Clean unmarked. Looks as never used. VERYGOOD. 12.3"x9.25". be75295. For International and/or Expedited shipping contact seller.</p> Garland Publishing, Inc. hardcover
1865386080Boston: Oliver Ditson & Co. 277 Washington St 1865. Softcover. Fair. First edition. Folio. 5pp. engraved cover and music. A stain and early thin piece of tape at the spine three inch tape repair on the top margin of the front cover foxing a sound fair copy. Two early dealer ink stamps on the bottom margin of the front cover: "C.E. Dudley Music Dealer 299 Chapel St. New Haven Ct" and "E. Lucas Watchmaker . AnsoniaCt. also dealer in music fancy goods &c." Scarce. OCLC locates six copies over two records. Oliver Ditson & Co. 277 Washington St unknown
185331235Napoli: B. Girard e C.i PNs 3185 3192-3203 3065-3066 3075 3110-3111 1853. Oblong folio. Vellum-backed and edged boards with dark brown cloth laid down initials "C.G." gilt to upper titling to spine stamped in black original light pink publisher's printed wrappers bound in. 1f. recto title verso blank 3-21 A-I 23-78 1f. r. title v. blank 83-155 pp. Complete. Each number with separate caption title and pagination. Engraved.<br/><br/>Endpapers watermarked with a fleur-de-lis and "Michele Dupino Marmorato." With priced catalog "Opere Teatrali Intere" to upper wrapper listing works by Bellini Donizetti Rossini Verdi et al. composed through 1853 and with list of pieces with individual prices and plate numbers to title.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn bumped and scuffed. Minimal foxing throughout confined to edge of margins; a few small stains. An early edition later issue. Inzaghi IN. 56 pp. 175-7.<br/><br/>Some pieces have dual plate numbers and pagination on some pages that shared plates with abbreviated forms: "A si tremendo annunzio" PN 3067 3200 "Eterno Iddio!" PN 3069 3110 and "Da quel di che l'innocente" PN 3070 3111. While the individual plate numbers suggest a date circa 1836 Antolini 175 the title page lists Girard's address on Largo S Ferdinando their location from 1846. Furthermore the wrappers on this issue are issued under Stabilimento Musicale Partenopeo the name of publisher Girard beginning in 1853.<br/><br/>Belisario was composed to a libretto by Salvadore Cammarano after Luigi Marchionni's adaptation of Eduard von Schenk's Belisarius 1820. It premiered at the Teatro La Fenice in Venice on February 4 1836 and was dedicated to his friend Giovanni Agostino Perotti 1769/70-1855 composer and maestro di cappella at San Marco. <br/><br/>"Well and widely received during its first decade Belisario was however overtaken by the vogue for Lucia di Lammermoor which immediately precedes it in the Donizetti canon. That rarity an opera without a romantic love interest Belisario had problems sustaining its popularity because the prima donna's role is unsympathetic dramatically in spite of her brilliant arias in the first and last acts. The plot is in sum an uneasy mixture of classical and Romantic elements; but considering the eloquence of the music it drew from Donizetti it is fair to say that Belisario does not deserve the neglect into which it has largely fallen." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. B. Girard e C.i [PNs 3185, 3192-3203, 3065-3066, 3075, 3110-3111] unknown books
185033419Napoli: B. Girard e Ci. PNs 5591-96 5718 5734-39 5803 5849-62 1850. Oblong folio. Dark red cloth-backed patterned boards. 1f. title 1 named cast list contents 4-252 pp. Each number with separate caption titles and secondary pagination. Engraved.<br/><br/>Named cast list includes performers from the Vienna Paris and Naples premieres.<br/><br/>A few performance markings in red pencil.<br/><br/>Sinfonia arranged for two pianos by Czerny.<br/><br/>Binding rather worn; paper loss to all edges; spine mostly lacking. Scattered light soiling and foxing. First Naples edition later issue with alternative numbers. Inzaghi IN. 73 p. 192.<br/><br/>In 3 acts to a libretto by Gaetano Rossi after d'Ennery and Lemoine's play La grâce de Dieu 1841 Linda di Chamounix premiered in Vienna at the Kärntnertortheater on 19 May 1842.<br/><br/>"The score of Linda is a monument to Donizetti's unfailing good taste from the finely crafted overture to the final ensemble. A particularly effective moment is the brief unaccompanied prayer for five solo voices in Act 3. Linda although a fixture on the Italian stage for its first 50 years deserves to be better known: it makes clear much about the musical environment in which Verdi developed. Although its naive demi-caractère plot strains the credulity the score is vocally so grateful and possesses so much cohesiveness that it largely overcomes this liability." William Ashbrook in Grove Dictionary of Opera. B. Girard e Ci. [PNs 5591-96, 5718, 5734-39, 5803, 5849-62] unknown books
185331243Napoli: Stabilimento Musicale Partenopeo PNs 6056-6060 6063 6065 6133 6136-6141 6402 6492 6535 6652 6659-6660 6721-6724 6727-6730 1853. Oblong folio. Vellum-backed and edged boards with dark brown cloth laid down initials "C.G." gilt to upper titling to spine stamped in black original yellow publisher's printed wrappers bound in. 1f. recto title verso named cast list table of contents 3-158 pp. Each number with separate caption title and secondary pagination. Engraved.<br/><br/>Endpapers watermarked with a fleur-de-lis and "Michele Dupino Marmorato." With priced catalog "Opere Teatrali Intere" to upper wrapper listing works by Bellini Donizetti Rossini Verdi et al. composed through 1853 and with list of pieces with individual prices and plate numbers to title. Named cast list includes the performers from the premieres in Vienna Paris and Naples including: Eugenia Tadolini Giorgio Ronconi Carlo Guasco Lorenzo Salvi Giulia Grisi Marietta Brambilla Gaetano Fraschini and Filippo Coletti. <br/><br/>Piano reduction of the Sinfonia by Czerny "nello stile elegante."<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn and with minor defects. Minimal foxing throughout primarily confined to margins. An early edition later issue. Inzaghi IN. 76 pp. 196-7.<br/><br/>Girard's first edition of Maria di Rohan appeared circa 1844 but this issue contains a new title page with Girard's later imprint Stabilimento Musicale Partenopeo.<br/><br/>Maria di Rohan was composed to a libretto by Salvadore Cammarano after Lockroy and Badon's play Un duel sous le Cardinal de Richelieu 1832. It premiered at the Kärntnertortheater in Vienna on June 5 1843.<br/><br/>"The most tautly constructed of Donizetti's romantic melodrammi Maria di Rohan shows clear signs particularly in Act 3 that Donizetti was moving towards the effect of unbroken musical continuity abandoning the closed patterns of conventional 'number' opera. Even in Act 1 the usual succession of 'entrance' arias is given new force and dynamism by Donizetti's tendency to reduce the fixed forms to their minimum and to inject vivid musical characterization. It is a work that calls for accomplished singers who are also powerful actors particularly for the baritone role of Chevreuse. Chorley described the powerful effect produced by Giorgio Ronconi in this part.<br/><br/>Maria di Rohan contains some of Donizetti's most expressive music. The soprano's first-act aria 'Cupa fatal mestizia' suggests Un ballo in maschera. The tenor's aria at the beginning of Act 2 'Alma soave e cara' is one of a number of fine single-movement tenor arias from the final years of Donizetti's output that reveal how effectively he wrote for this range of voice. The baritone's scene in Act 3 'Bella e di sol vestita' has been eloquently recorded by Mattia Battistini." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Stabilimento Musicale Partenopeo [PNs 6056-6060, 6063, 6065, 6133, 6136-6141, 6402, 6492, 6535, 6652, 6659-6660, 6721-6724, 6727 unknown books
186131239Milano: F. Lucca PNs 10001-10034 1861. Oblong folio. Full dark brown cloth with decorative blindstamping and floral device gilt to upper titling gilt to spine. 1f. recto title printed in brown within decorative borders by G. Sperati verso blank 1f. recto named cast list verso table of contents 5-268 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Title includes an index of pieces with individual plate numbers and prices. Cast list from the first performance includes Rosine Stoltz Gilbert Duprez Paul Barroilhet and Nicolas Levasseur. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn rubbed and bumped spine slightly faded. Light scattered foxing throughout heavier to a few signatures. Second Italian edition later issue. Inzaghi IN. 67 pp. 187-89. Bergamo catalog p. 123 a similar issue.<br/><br/>Based on the plate numbers the second edition is from 1855 but the decorative title page of this issue by Sperati is dated 1861. Instrumental-only pieces have dual plate numbers from the first edition of 1841: Sinfonia PN 10001 2844 Ballet PNs 10014 2840 10015 2841 10016 2842 10017 2843.<br/><br/>La Favorite to a libretto by Alphonse Royer and Gustave Vaëz with additions by Eugène Scribe was first performed at the Paris Opéra on December 2 1840. Donizetti used his earlier unperformed opera L'ange de Nisida as the basis for La Favorite though the plots are considerably different. The original French version would become a standard in Paris performed regularly at the Opéra until 1918. It has become widely regarded as one of Donzietti's best operas with considerable attention given to the fourth act. <br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. F. Lucca [PNs 10001-10034] unknown books
184033576Leipzig: Friedrich Hofmeister PN 2387 1840. Oblong folio. Black marbled boards with original publisher's brown printed wrappers bound in. 77 pp. Engraved. Text in Italian and German.<br/><br/>Some early notational additions in pencil to the vocal lines in the sixth number the duet "Oude riedi che mai brami"<br/><br/>From the collection of Luigi Ricci 1893-1981 Italian conductor vocal coach and close associate of Puccini and Mascagni.<br/><br/>Binding considerably worn rubbed bumped and cracked; spine mostly lacking; remnants of paper title label to upper. Some minor signs of wear; light uniform browning; scattered foxing. First German edition. The first edition of the complete piano-vocal score was published in the following year in Vienna by Diabelli. Inzaghi IN. 62 p. 182. <br/><br/>Maria de Rudenz a dramma tragico in 3 acts to a libretto by Salvadore Cammarano after A. Bourgeois J.-G.-A. Cuvelier and J. de Mallian premiered in Venice at the Teatro La Fenice on 30 January 1838. <br/><br/>"With its highly romantic plot unusual in involving a heroine who apparently dies twice Maria de Rudenz marks the extreme of Donizetti's interest in 'strong' subjects. It has often been remarked that the libretto's violent plot and its reliance on past events to move the action on is more than a little reminiscent of Cammarano's later Il trovatore. The score contains much fine music including a mellifluous sortita for the baritone a notable Larghetto to the Act 1 finale later incorporated into Poliuto and Les martyrs several powerful duets with contrasting melodies for the participants particularly effective is the one for Maria and Corrado in Act 2 a moving aria-finale for the heroine and extraordinarily in the prelude to Act 2 an extended solo for bass clarinet." William Ashbrook in Grove Music Online. Friedrich Hofmeister [PN 2387] unknown books
183431259Milano: Gio. Ricordi PNs 7210-7224 1834. Oblong folio. Light yellow calf-backed marbled boards gilt-ruled compartments to spine. 1f. recto title verso blank 1f. recto table of contents verso blank 5-107 pp. Each number with separate caption title some with separate pagination. Engraved. <br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding worn rubbed and bumped; minor loss to head and tail of spine; narrow strip cut from upper margin of front free endpaper with remnants of contemporary markings in all likelihood related to ownership. Light foxing and a few small stains to title; very minimal scattered foxing throughout. First edition for piano solo. Inzaghi IN. 47 pp. 164-166.<br/><br/>Lucrezia Borgia to a libretto by Felice Romani after Victor Hugo's play Lucrèce Borgia was premiered in Milan at the Teatro alla Scala on December 26 1833. Despite an uneven reception it became one of Donizetti's most successful operas particularly after the second production of the work in 1840. <br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Gio. Ricordi [PNs 7210-7224] unknown books
a77112Milano c. 1857 date on music advertisment inside rear cover. Giovanni Ricordi . Piano score. Oblong 4to. 91p. original green printed wraps fully decorated with vignette illustrations of cherubim and dancing girls and interior of concert hall etc . VG cover light wear and light soiling; text near fine page edges light ripled. Scarce in original wrapper. Pictures available on request. . paperback
183431259Milano: Gio. Ricordi PNs 7210-7224 1834. Oblong folio. Light yellow calf-backed marbled boards gilt-ruled compartments to spine. 1f. recto title verso blank 1f. recto table of contents verso blank 5-107 pp. Each number with separate caption title some with separate pagination. Engraved. <br /> <br /> From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br /> <br /> Binding worn rubbed and bumped; minor loss to head and tail of spine; narrow strip cut from upper margin of front free endpaper with remnants of contemporary markings in all likelihood related to ownership. Light foxing and a few small stains to title; very minimal scattered foxing throughout. First edition for piano solo. Inzaghi IN. 47 pp. 164-166.<br /> <br /> Lucrezia Borgia to a libretto by Felice Romani after Victor Hugo's play Lucrèce Borgia was premiered in Milan at the Teatro alla Scala on December 26 1833. Despite an uneven reception it became one of Donizetti's most successful operas particularly after the second production of the work in 1840. <br /> <br /> Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Gio. Ricordi [PNs 7210-7224] unknown
In-4 p. oblungo (mm. 300x395), elegante legatura in mz. pelle edit., piatti in tela rossa con cornice a secco e titolo oro, dorso a cordoni con fregi in oro, tagli super. dorati, risguardi rossi con grandi e belle cornici dorate, pp. 17 (frontesp. con titolo in rosso - nota introduttiva all’opera - dati biografici - in quanto tempo fu scritta la Lucia di Lammermoor? - produzioni musicali donizettiane, a cura di Guido Zavadini, Conservatore del museo Donizettiano di Bergamo); è pure incluso il ritratto in tricromia del musicista (1797-1848). Edizione in fac-simile dell’opera: la partitura autografa è qui riprodotta a colori in 374 facciate di note musicali del prezioso manoscritto di proprietà del Conte Giovanni Treccani degli Alfrieri - Senatore del Regno. Tiratura di soli 300 esemplari. Il ns., contenuto in astuccio di tela edit. rossa (tracce d’uso), è in ottimo stato.
006221Milano: Presso Epimaco e Pasquale Artaria. Half Vellum. Marbled paper on boards. Very Good. N.d. circa 1830s. Oblong 19.5 by 26.5 cm. The pagination is disorganized with a return to page one several times then many numbers skipped and ending on page 112 but it seems that the book is complete as published. Partial hand-coloring of the title page including of the lettering and the copper engraved illustration beneath. Scarce -- no copies found on OCLC First Search. This Donizetti opera had its premier in 1833 and thus this published piano version based on the opera score is both early and quite possibly the first published piano reduction of the score. Condition: soiling of the vellum spine and light wear to the binding generally. Occasional light foxing and soiling to the interior but mostly clean and tight. <br/><br/> Presso Epimaco e Pasquale Artaria hardcover books
006221Milano: Presso Epimaco e Pasquale Artaria. Half Vellum. Marbled paper on boards. Very Good. N.d. circa 1830s. Oblong 19.5 by 26.5 cm. The pagination is disorganized with a return to page one several times then many numbers skipped and ending on page 112 but it seems that the book is complete as published. Partial hand-coloring of the title page including of the lettering and the copper engraved illustration beneath. Scarce -- no copies found on OCLC First Search. This Donizetti opera had its premier in 1833 and thus this published piano version based on the opera score is both early and quite possibly the first published piano reduction of the score. Condition: soiling of the vellum spine and light wear to the binding generally. Occasional light foxing and soiling to the interior but mostly clean and tight. Presso Epimaco e Pasquale Artaria unknown
1918052375Pera - Constantinople: Imprimerie D'Andria 1918. 1st Edition . Soft cover. Very Good. Folio - over 12 - 15" tall. Paperback. Folio. 33 x24cm. In Ottoman script and French. 3 1 p. Ottoman stamped in period. The Ottoman Empire used anthems since its foundation in the late 13th century but did not use a specific imperial or national anthem until the 19th century. During the reign of Mahmud II when the military and imperial band were re-organized along Western lines Giuseppe Donizetti was invited to head the process. Donizetti Pasha as he was known in the Ottoman Empire composed the first Western-style imperial anthem the Mahmudiye Marsi. Like in many other monarchies of its time the anthem of the Ottoman Empire was an imperial anthem not a national one. Hence it paid homage to a specific ruler and a new anthem was composed at each imperial succession. However in 1844 with the Tanzimat reforms the Mecidiye Marsi was recognized as the first official Ottoman national anthem. The first official Ottoman national flag which was in essence identical to the present-day Turkish flag was also adopted in 1844. Giuseppe Donizetti was an Italian musician. From 1828 he was Instructor General of the Imperial Ottoman Music at the court of Sultan Mahmud II 1808-39. His younger brother was the famous opera composer Gaetano Donizetti. He studied music first with his uncle Carini Donizetti and later he was a pupil of Simone Mayr. After enlisting in Napoleon's army 1808 he served there as band leader. He took part in the campaigns against Austria and in Spain and followed Napoleon to Elba. He was present at the Battle of Waterloo. After the fall of Napoleon he continued his career as a bandmaster in the Savoy army. Giuseppe Donizetti Pasha as he was called in the Ottoman Empire played a significant role in the introduction of European music to the Ottoman military. Apart from overseeing the training of the European-style military bands of Mahmud's modern army he taught music at the palace to the members of the Ottoman royal family the princes and the ladies of the harem is believed to have composed the first national anthem of the Ottoman Empire supported the annual Italian opera season in Pera organised concerts and operatic performances at court and played host to a number of eminent virtuosi who visited Istanbul at the time such as Franz Liszt Parish Alvars and Leopold de Meyer. Although the elder Donizetti was born in Bergamo Italy Constantinople became a second home for him and he lived there until his death in 1856. He is buried in the vaults of the St. Esprit Cathedral near the Beyoglu district of Istanbul in Pera. Giovanni Avolio 1849-1936 was an Italian conductor and composer. According to the sheet musical paper this first anthem was composed in 1831 by Donizetti and arranged by Avolio into piano in 1918. J. D. Andria is one of the best known music publishers among the Ottoman Empire mionrities. According to he documents in hand it can be estimated that he began musical score publication in the year of 1904. Andria dealt with music publication at the address of Beyoglu Istiklal Street Near Agha Mosque at 68 no. Andria also published four pieces of Turkish marche parties for piano as far as we know; besides his big sized west music works which were published in general by him. Donizetti's 'Marche' is one of them as well besides Halit Recep Arman's Miilok's and Orente's ones. It is known when publishing life of Andria ended. Source: Musical publications from Ottoman Empire up today 1876-1986.; BÜLENT ALANER. <br/> <br/> Imprimerie D'Andria paperback
R320072386CERF LEOPOLD. NON DATE. In-4. Relié demi-cuir. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 95 + 127 + 111 + 85 pages de partition - Plats et contre-plats jaspés - Auteurs et filets dorés au dos - Coins émoussés - 3 PHOTOS DISPONIBLES. . . . Classification Dewey : 780.26-Partitions
184631251Napoli: B. Girard e C. PNs 1835 4609-17 2150-2 1867-9 1827-33 1891-3 1846. Oblong folio. Dark brown morocco-backed textured red paper boards titling and decorative device gilt to spine. 1f. recto title verso cast list table of contents 3-154 1f. recto title verso blank 157-227 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Title includes an index of pieces with individual plate numbers and prices including alternate versions and chamber arrangments.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding moderately worn rubbed and bumped; scattered defects and stains; large gouge to lower. Title split at gutter; light scattered foxing; minor dampstaining to right margin of first few leaves and to lower margin throughout; page number "99" used twice. An early edition later issue. Inzaghi IN. 35 pp. 150-2. Girard's first edition of Anna Bolena was issued circa 1831 shortly after its premiere and publication by Ricordi. This later edition contains a mix of old and new plates and was printed when Girard was located on Strada Toledo between 1837 and 1846.<br/><br/>Anna Bolena was composed to a libretto by Felice Romani after Ippolito Pindemonte's Enrico VIII ossia Anna Bolena 1816 and Alessandro Pepoli's Anna Bolena 1788. The opera was first performed in Milan at the Teatro Carcano on December 26 1830. <br/><br/>"This was Donizetti's first great international success giving him his initial exposure to Paris and London audiences. Pasta Anne and Rubini Percy sang in the première. Immensely popular for almost half a century it re-entered the modern repertory following a triumphant revival at La Scala with Callas in 1957. Since then the work has proved a favourite vehicle for such bel canto specialists as Sutherland Sills and Caballé. The final 20 minutes of Anna Bolena reveals for the first time Donizetti's mature ability to flesh out an ariafinale so that it provides the substance of a gripping scene. Nothing Donizetti had done before approaches the scope and multiform intensity of this magnificent scene." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. B. Girard e C. [PNs 1835, 4609-17, 2150-2, 1867-9, 1827-33, 1891-3] unknown books
185933417Milano: Giovanni Ricordi PNs 13551-13579 1859. Oblong folio. Disbound. 1f. title printed within decorative light teal blue border 1f. named cast list contents 3-253 1 blank pp. Engraved.<br/><br/>Named cast list includes Giorgio Ronconi Gaetano Rossi Domenico Donzelli Sofia Löwe Luigia Abbadia and Teresa Ruggeri.<br/><br/>Contemporary owner's signature "Geo. Sweet" to upper outer corner of title with handstamp of Tams Witmark to blank lower margin and blindstamp of Tito Ricordi dated April 1859 to lower outer corner.<br/><br/>Wrappers lacking. Slight dampstaining to lower margin throughout; light foxing to outer leaves; occasional markings in pencil. First Italian edition later issue. Published shortly after the French edition. Inzaghi IN. 71 p. 191. Bergamo Catalogue p. 127 54. Gaspari III p. 301.<br/><br/>A melodramma in three acts to a ibretto by Gaetano Rossi and Donizetti after the play by François Ancelot Maria Padilla premiered in Milan at La Scala on 26 December 1841.<br/><br/>"One of the most unfairly neglected of Donizetti's mature operas Maria Padilla contains a wealth of brilliant and dramatically powerful music." William Ashbrook in Grove Dictionary of Opera. Giovanni Ricordi [PNs 13551-13579] unknown books
185331257Napoli: Successori della Ditta Girard e Co. PNs 3616-31 3872-3 4292-4 1853. Oblong folio. Vellum-backed and edged boards with burgundy cloth laid down initials "C.G." gilt to upper titling to spine stamped in black original yellow publisher's printed wrappers bound in. 1f. recto title verso blank 8 pp. Sinfonia 3-150 pp. Each number with separate caption title and pagination. Engraved.<br/><br/>Endpapers watermarked with a fleur-de-lis. With priced catalog "Opere Teatrali Intere" to upper wrapper listing works by Bellini Donizetti Rossini Verdi et al. composed through 1853 and with list of pieces with individual prices and plate numbers to title.<br/><br/>From the collection of Italian conductor vocal coach and close associate of Puccini and Mascagni Luigi Ricci 1893-1981.<br/><br/>Binding slightly worn bumped and scuffed. Light browning to title; minimal foxing throughout primarily confined to margins. First Edition of the revised version later issue. Inzaghi IN. 61 pp. 180-2. The first edition of Roberto Devereux was revised by Girard with the changes Donizetti made for the 1838 performance in Paris PNs 4292-4. This later issue has "Successori della Ditta" added to the title indicating that it was issued shortly after Girard's imprint changed in 1853. <br/><br/>Roberto Devereux to a libretto by Salvadore Cammarano after François Ancelot's tragedy Élisabeth d'Angleterre 1829 was first performed in Naples at the Teatro S Carlo on October 28 1837.<br/><br/>"The portrait of Queen Elizabeth I in Roberto Devereux is the most imposing of Donizetti's representations of that character who also appears in Elisabetta al castello di Kenilworth and Maria Stuarda and the role must rank as one of the great acting and singing opportunities in the bel canto repertory. Musically the score has much to commend it. As in other Donizetti operas the first act moves in a rather leisurely manner with a sequence of full arie di sortita; the pace accelerates to a dramatic climax in a briefer Act 2; then Act 3 like that of Lucia is a sequence of three powerful scenes."<br/><br/>"Particularly impressive are Elizabeth's entrance aria the duet for Sarah and Essex the trio-finale to Act 2 the Prison Scene of Essex and Elizabeth's aria-finale. Everywhere the score shows the sure hand of a composer in control of his materials. The powerful prelude to the Prison Scene recalls the opening of Act 2 of Fidelio. Elizabeth's final Larghetto 'Vivi ingrato' is a fine example of a melody developing in a long emotional arc of searing poignancy and of Donizetti's sensitive response to the expressive colour of the words." William Ashbrook in Grove Music Online.<br/><br/>Ricci was an important figure in the transmission of 19th century traditions passed on to him by noted baritone Antonio Cotogni 1831-1918 whom he accompanied from the age of 12. He was active as a vocal coach at the Accademia Nazionale di Santa Cecilia where he taught amongst many others Sesto Bruscantini Anna Moffo Rosalind Elias Ezio Flagello Peter Lindroos and Martti Wallén. Successori della Ditta Girard e Co. [PNs 3616-31, 3872-3, 4292-4] unknown books
2000DADAX887592077XCasa Ricordi 2000-06-15. 1. hardcover. New. 10.50x2.80x14.50. Buy with confidence. Excellent Customer Service & Return policy. Casa Ricordi hardcover
