MASSENET, Jules; MEILHAC, Henri; GILLE, PhilippeLivre Rare Book
Roma.
191216706(1912) Pastel et gouache signé, (1912), 79 x 48 cm., encadré.
Librairie Chrétien · Paris, France1 700,00 €
1 102 résultats
95445Paris, G. Hartmann, [1884], in-4, 390 pp, Cartonnage de percaline à dos de basane, plats de papier provenant de la couverture originale orné d'un bandeau noir et de frises dorés en encadrement, tranches mouchetées, Édition originale de ce livret d'opéra comprenant ses partitions illustré d'un frontispice gravé de Paul Avril et de bandeaux en noir. Cet exemplaire est enrichi d'un bel envoi autographe signé de l'auteur, accompagné de quelques mesures de musique, à Henri et Marius Cayol : "en remerciement de leur accueil bien sympathique" et daté de Marseille d'avril 84 - mai 85. Les quelques mesures autographes sont tirés de l'acte IV (à la page 311) et reprennent les paroles "Manon! Sphinx étonnant!... Véritable sirène". Cet opéra-comique inspiré de L'Histoire du Chevalier des Grieux et de Manon Lescault, ouvrage de l'abbé Prévost paru pour la première fois en 1731 et fit grand scandale, obligeant l'auteur à en produire une nouvelle version. La version musicale de Massenet est créée à l'Opéra-comique de Paris le 17 janvier 1884 sous la direction de Léon Carvalho. Les rôles principaux sont tenus par Marie Heilbron et Jean-Alexandre Talazac. Les frères Cayol étaient tous deux photographes et éditeurs à Marseille depuis 1866. Ils sont connus par leurs Vues de Provence. Bien que leur lien avec Massenet reste obscur, l'envoi laisse entendre que ces derniers avaient accueilli ce dernier, peut-être lors d'un voyage ou d'une tournée. Reliure défraîchie mais solide, rousseurs en début et fin de volume. Couverture rigide
191216706(1912) Pastel et gouache signé, (1912), 79 x 48 cm., encadré.
85010Paris, G. Hartmann, Editeur, sans date (1884), 1 volume de 190x280 mm environ, 387 pages, reliure postérieure en cuir cognac avec riches ornements dorés de Gruel, sous étui, gardes en soie avec ex-libris sur le premier contreplat, couvertures d'origine conservées, tranches dorées. Edition originale avec long envoi avec musiques de Massenet. Etui légèrement frotté sur les angles, parfait pour le reste.
396582 measures notated in black ink from the composer's noted song at head identified as "Élégie" signed and dated Paris 1900 at lower portion. <br /> <br /> Inscribed to the American composer violin collector and banker Louis M. Teichman ca. 1855-1934 "a Mr. Louis M. Teichman trés sympathiquement" at right margin.<br /> <br /> On a cabinet card with a bust-length photograph of the composer laid down to studio mount with "van Bosch . Paris" printed to lower margin. <br /> <br /> Photograph lightly browned; mount more heavily browned with remnants of adhesive to lower margin; slightly bumped at right corners; remnants of former mount to verso with annotations in pencil and ink and stamp of "Meyer Bros. & Co." in New York to lower margin. Élégie a song to text by Massenet's long-time librettist Louis Gallet 1835-1898 was composed in ca. 1872 and published in 1875.<br /> <br /> Massent was one of the most prolific and successful composers of opera in late 19th-early 20th century France; in addition he composed over 200 songs. "The salon culture of his day absorbed songs in great numbers and most of them were published for an avid market usually as individual songs sometimes in collections or cycles. . As might be expected Massenet always writes carefully and sympathetically for the voice sets French with impeccable taste and devises idiomatic and evocative piano parts." Annegret Fauser Patrick Gillis and Hugh Macdonald in Grove Music Online. unknown
188428138Paris: Heugel & Cie. PN G.H. 1386 1884. Large octavo. Quarter red morocco with marbled boards. 1f. recto half-title within decorative vignette printed in sepia verso blank 1f. recto title printed in sepia on a dark ivory background verso blank 1f. recto dedication verso blank i named cast list ii-iii index iv blank 391 i blank pp. <br /> <br /> A presentation copy with a fine large 2-measure autograph musical quotation from the first act of the opera signed and inscribed in purple ink on the verso of the half-title: "à mon cher et excellent Docteur & ami Dr. Poyet. Massenet 1881-1895." <br /> <br /> Named cast includes Heilbron as Manon Molé-Truffier as Pousette Chevalier as Javotte Rémy as Rosette Lardinois as the Servant Talazac as Chevalier des Grieux Taskin as Lescaut Cobalei as Count des Grieux Grinot as Guillot de Morfontaine Collin as de Brétigny and Labis Teste Reynal Legrand Troy Davoust and Bernard. <br /> <br /> With pictorial vignettes to pp. 1 7 123 178 251 289 and 355. "Variante pour les Théâtres qui n'ont pas de Ballet" to head and "Paris Imp. E. Dupré rue du Delta 26." to foot of p. 391; plate number "G.H. 1356" to cast and index leaves and "H. et Cie. 7067" to cast list and first page of music. Small "Au Ménestrel" handstamp to cast page.<br /> <br /> Binding slightly worn and rubbed upper hinge split. Tear to inner margins of index leaves and pp. 153-160 not affecting text; some page numbers and "Au Ménestrel" handstamp slightly cropped. Second edition. <br /> <br /> Manon to a libretto by Henri Meilhac and Philippe Gille after Antoine-François Prévost's novel L'histoire du chevalier des Grieux et de Manon Lescaut 1731 was first performed in Paris at the Opéra-Comique Salle Favart on 19 January 1884.<br /> <br /> The passage from which Massenet has quoted is printed on p. 94 measures 4 and 5 of the present score. <br /> <br /> ". In Manon herself Massenet created a portrait of the eternal feminine to rank with Mélisande and Lulu and it is on this that the opera's appeal rests. In the final analysis Manon is by way of being a 'highlights' opera lacking the cohesion and economy of more mature Massenet works but those highlights were seldom surpassed in the composer's oeuvre." Rodney Milnes in Grove Music Online. Heugel & Cie. [PN G.H. 1386] unknown
188428138Paris: Heugel & Cie. PN G.H. 1386 1884. Large octavo. Quarter red morocco with marbled boards. 1f. recto half-title within decorative vignette printed in sepia verso blank 1f. recto title printed in sepia on a dark ivory background verso blank 1f. recto dedication verso blank i named cast list ii-iii index iv blank 391 i blank pp. <br/><br/>A presentation copy with a fine large 2-measure autograph musical quotation from the first act of the opera signed and inscribed in purple ink on the verso of the half-title: "à mon cher et excellent Docteur & ami Dr. Poyet. Massenet 1881-1895." <br/><br/>Named cast includes Heilbron as Manon Molé-Truffier as Pousette Chevalier as Javotte Rémy as Rosette Lardinois as the Servant Talazac as Chevalier des Grieux Taskin as Lescaut Cobalei as Count des Grieux Grinot as Guillot de Morfontaine Collin as de Brétigny and Labis Teste Reynal Legrand Troy Davoust and Bernard. <br/><br/>With pictorial vignettes to pp. 1 7 123 178 251 289 and 355. "Variante pour les Théâtres qui n'ont pas de Ballet" to head and "Paris Imp. E. Dupré rue du Delta 26." to foot of p. 391; plate number "G.H. 1356" to cast and index leaves and "H. et Cie. 7067" to cast list and first page of music. Small "Au Ménestrel" handstamp to cast page.<br/><br/>Binding slightly worn and rubbed upper hinge split. Tear to inner margins of index leaves and pp. 153-160 not affecting text; some page numbers and "Au Ménestrel" handstamp slightly cropped. Second edition. <br/><br/>Manon to a libretto by Henri Meilhac and Philippe Gille after Antoine-François Prévost's novel L'histoire du chevalier des Grieux et de Manon Lescaut 1731 was first performed in Paris at the Opéra-Comique Salle Favart on January 19 1884.<br/><br/>The passage from which Massenet has quoted is printed on p. 94 measures 4 and 5 of the present score. <br/><br/>". In Manon herself Massenet created a portrait of the eternal feminine to rank with Mélisande and Lulu and it is on this that the opera's appeal rests. In the final analysis Manon is by way of being a 'highlights' opera lacking the cohesion and economy of more mature Massenet works but those highlights were seldom surpassed in the composer's oeuvre." Rodney Milnes in Grove Music Online. Heugel & Cie. [PN G.H. 1386] unknown books
187975877Budapest 1879. Fine. Budapest 17 janvier 1879 11 x 17.50 cm 4 pages sur un feuillet remplié Autograph letter signed by Jules Massenet two pages written in black ink on a double sheet. Fold inherent to mailing. A small split at the junction of the two sheets without gravity. Fine letter written by the composer during his first stay in the Hungarian capital for Le Roi de Lahore whose premiere took place eight days later: ""Répétition générale ce matin . excellente exécution"" ""General rehearsal this morning . excellent execution"". Massenet mentions the setbacks that occurred which forced the postponement of the opera's programming: ""La Benza Ida notre Sitia ne pouvant chanter demain à cause de son deuil la première est remise à huit jours."" ""La Benza Ida our Sitia unable to sing tomorrow because of her mourning the premiere is postponed by eight days."". This letter also evokes the friendship between Massenet and Franz Liszt more than thirty years his senior who took the young composer under his wing at the Villa Medici in 1863: ""Je viens de chez Liszt il est arrivé cette nuit à Peth et sera à la première."" ""I come from Liszt's he arrived last night in Pest and will be at the premiere."". Surprised by the hostile climate of this region he is visiting for the first time Massenet comments: ""Le froid est affreux la neige exaspère nous allons au théâtre en traîneau . Restez au coin du feu ah ! que vous souffririez de cette température je t'assure que c'est la sensation de la Russie la neige couvre tout. . je ne sors pas même un oeil quel hiver même pour les Hongrois enfouis dans leurs peaux comme des Lapons !"" ""The cold is dreadful the snow is exasperating we go to the theater by sleigh . Stay by the fire ah! how you would suffer from this temperature I assure you it's the sensation of Russia snow covers everything. . I don't even stick my nose out what a winter even for the Hungarians buried in their furs like Laplanders!"". unknown
108955Paris, Armand Magnier Editeur, Collection des Dix, 1897, 1 volume in-4 de 285x205 mm environ, luxueuse reliure plein maroquin bleu marine, dos à 5 nerfs portant titres dorés, double filet doré sur les coupes, contreplats de maroquin encadré d'une frise mosaïquée à fleurs, double garde en papier marbrée et soie à motifs, reliure signée Marius Michel, sous étui recouvert de papier marbré bordé en maroquin assorti, tranches dorées, couvertures et dos conservés. Exemplaire N°8, un de 12 exemplaires sur papier des Manufactures impériales du Japon avec une quadruple suite des 47 compositions de Louis Edouard Founier, gravées à l'eau-forte par Léon Boisson, d'un tirage limité à 300 exemplaires. Reproduction en fac-similé du manuscrit de l'auteur et d'une page de musique de JM Massenet. Dos légèrement insolé avec frottements sur les nerfs, étui frotté avec début de fente sur l'ouverture, mouillure sur les gardes de soie.
187975877Budapest 17 janvier 1879 | 11 x 17.50 cm | 4 pages sur un feuillet remplié
189411381894 Couverture rigide Paris, Heugel et Cie, 1894. Grand in-8, demi-basane havane d’époque, 275 pages, dos lisse, titre et motif doré, papier à la cuve sur les plats, reliure frottée avec quelques manques de cuir, couverture conservée illustrée par P. Borie. 275 pages, poème de Louis Gallet d'après le roman d'Anatole France, comédie lyrique en 3 actes et 7 tableaux, musique de Jules Massenet. Partition pour chant et piano. Illustration en couleurs de Jean Veber sur la page de titre, dans le style "art nouveau". En regard sur le premier feuillet blanc, envoi autographe signé de Jules Massenet avec citation musicale extraite des célèbres méditations (p.113) : "à Madame Vincent-Carol, à un professeur à qui je dois tant d'élèves et de succès ! J. Massenet. Mai 1906". Professeur de musique, Louise Vincent-Carol a notamment présenté à Jules Massenet la chanteuse lyrique Lucy Arbell. Le compositeur lui confia notamment les rôles tittres dans les créations de "Thérèse", "Don Quichotte" et "Roma", à l'opéra de Monte-Carlo. Très bon état intérieur, bon exemplaire.
Bound volume with 10 different pieces of sheet music for turn-of-the-century chansons, five of which are by Massenet. Folio, morocco backed boards. Some leaves a bit browned (and professionally deacidified). Original wraps all bound in. Wraps feature charming artwork, often in Japoniste or art nouveau style. A very rare, interesting, and beautiful item.
171241895.
1888Paris and Toulouse: various publishers c. 1875-c. 1914. Bound volume with 10 different pieces of sheet music for turn-of-the-century chansons five of which are by Massenet. Folio morocco backed boards. Some leaves a bit browned and professionally deacidified. Original wraps all bound in. Wraps feature charming artwork often in Japoniste or art nouveau style. A very rare interesting and beautiful item. <br/><br/> Paris and Toulouse: various publishers, c. 1875-c. 1914 paperback
3957Paris, Librairie Charles Delagrave, s. d.. In-4 de V-202-4-2 pages, demi-chagrin noir à coins, dos à nerfs orné de filets et fleurons dorés. Charnière du 1er plat fendu, intérieur en bel état.
191250425Paris 1912. Letter. very good . An 11 line letter signed from Jules Massenet to Frederic Febvre. Massenet 1842-1912 was a French composer of operas and Febvre 1835-1916 a French actor and the most popular leading man in Paris during his day. The letter is in French and roughly translates to - "what a reward for me to be rated so highly by a man of your importance by the celebrated and incomparable artist by the man of letters that you also ar! With enthusiasm.thank you! Massenet. I received your wonderful flowers thank you dear great friend. J. Massenet." The letter is framed alongside a photo of Massenet. Frame measures 14x18". <br/><br/> unknown
11991to "Madam Dexter Fearjon trés respectueux hommage" showing him half length looking to one side 9" x 6" in mount 13" x 10" no place no date dated on the verso slightly damaged on the signature and one word unknown
1884686291 vol. grand in-8 reliure pleine soie brodée, GH 1386, Hartmann, s.d. [ 1884 ], 391 pp. : Manon. Opéra Comique en 5 Actes et 6 Tableaux de MM. Henri Meilhac & Philippe Gille. Musique de J. Massenet [ Exemplaire truffé avec une L.A.S. de Jules Massenet, datée du 27 janvier 1884 : "Certes oui, Madame, dès que mon ami Hartmann me donnera la liberté de disposer d'une partition, je m'empresserai de vous l'offrir avec mes souvenirs les plus fidèles [ ... ]" ; une carte de visite avec mention autographe signée par Jules Massenet : : "Avec les meilleures félicitations de votre dévoué et affectionné JM" ; une carte autographe signée de la cantatrice Marie Heilbronn (1851-1886), créatrice du rôle de Manon dans l'opéra de Massenet : "Monsieur, je suis un peu fatiguée. Ne comptez pas sur moi demain. Recevez mes salutation empressées" ; une L.A.S. d'Aline Vallandré datée du 29 octobre 1909 ; CP de Géraldine Farrar en Manon à Berlin ] : "Cher Monsieur, j'ai été désolée de voir que dans votre revue du mois à l'Op. Comique vous avez oublié de signaler mon début dans Manon que j'ai chanté pour la première fois en septembre. On a toujours mauvaise grâce à se montrer content de soi-même ; mais toute la maison m'a fait tant d'éloges qu'il dit y avoir une petite partie de vraie ; et les applaudissements du public, les nombreuses lettres d'amis inconnus, me font croire qu'au total la nouvelle Manon n'a pas trop déplu [etc... ]" ; L.A.S. de Sybil Sanderson, qui offre des places pour Manon ; CP de Géraldine Farrar en Manon à Berlin ; une L.A.S. non identifiée (places offertes pour Manon) ]
BN103842Actes Sud. Softcover. Thaïs <br/><br/>Thaïs Actes Sud paperback
189026624Paris: G. Hartmann & Cie. PN G.H. 644. 1890. Octavo. Full dark red flexible textured paper boards titling gilt to spine original publisher's upper wrapper printed in sepia with titling within decorative border bound in. 1f. title 1f. named cast list for several performances including the premiere and table of contents 167 i blank pp. Lithographic transfer.<br/><br/>With publisher's handstamp to lower margin of title.<br/><br/>Binding slightly worn and rubbed wrapper slightly worn and soiled with signature in red pencil to upper inner corner. Occasional very light foxing and soiling to margins not affecting music. An attractive copy overall. <br/><br/>Together with two autograph musical quotations of 2 and 3 measures respectively signed "J. Massenet" and affectionately inscribed to the noted French Oriental painter Georges Clairin 1843-1919. 12mo. In black ink on French blue postal paper inserted into front free endpaper with small pieces of mounting tape to verso. The first dated April 12 1906 is a "souvenir of Marie-Magdeleine at the Opéra-Comique. "; the second dated April 14 1906 is set to the text "O bien aimé" Act III no. 13 under which Massenet has written "ami à nous." Both inscriptions thank the recipient for his letters. <br/><br/>With a concert program for the April 12 1906 performance of Marie-Magdeleine at the Opéra-Comique laid down to front pastedown opposite the quotations. "À George Clairin" in pencil in another hand to upper margin of front free endpaper; autograph signature of Marie Clairin in purple ink to final free endpaper.<br/><br/>Lower outer corner of front free endpaper lacking. OCLC no. 15813052. <br/><br/>Marie-Magdeleine an oratorio to a libretto by Louis Gallet was first performed at the Théâtre de l'Odéon in Paris on April 11 1873.<br/><br/>"Massenet's principal choral works are four biblical oratorios all of which are designed somewhat like his operas with solo arias choruses dramatic tableaux stage directions local Middle-Eastern colour and an act-and-scene structure. Their tone ranges from the devotional to the erotic and the solo parts are comparable to some of his operatic roles in range and expression. Méryem for example in Marie-Magdeleine one of his first successes when sung on Good Friday 1873 with Pauline Viardot in the main role has an impassioned C-minor solo aria in Act 3. Gallet's libretto develops the story of Méryem with Judas Iscariot cast as a scheming seducer. Its realism derived from Renan's La vie de Jésus displayed a marked contrast with the traditional reflective oratorio and the work was staged several times in Massenet's lifetime. The closing scene is a full-blooded Resurrection Hymn." Hugh Macdonald in Grove Music Online.<br/><br/>In 1885 Georges Clairin visited Hungary with Massenet and several others. He also made the posters for the first performances of Massenet's Le cid and Saint Saëns's Samson et Dalila. G. Hartmann & Cie. [PN G.H. 644.] unknown books
190281038Paris: Heugel et Cie 1902. Fine. Heugel et Cie Paris 1902 19.50 x 28.50 cm relié First edition of this ""Miracle"" in 3 acts by Jules Massenet on a poem by Maurice Léna. Half-title epistle and title in gold and blue chromolithographs. Voice and piano score. 200 pages of score. Contemporary half brown shagreen binding. Smooth spine decorated with mirror tools within a frame. Spine uniformly sunned having become lighter. Handsome copy. Heugel et Cie unknown
115540Very Good. Small octavo one page verso blank with a conjugate blank; no year or address given but 'En hate . le 19 Nov .'. Folded once across the centre; in excellent condition with the signature large bold and underlined. One of the curiosities of Massenet is that he habitually signed with M. rather than his given name or initial. Massenet has come back into fashion and is more performed now than in the late twentieth century. <p>Provenance: Collection of The Hon Barry Jones AC. unknown
330253framed. very good. Hand-written letter from French composer Jules Massenet. Letter written in french. Framed with an etched image of Massenet. Circa 1877. Please inquire for more information.<br/> <br/> Jules Emile Frederic was a French composer of the Romantic era best known for his operas of which he wrote more than thirty. The two most frequently staged are Manon 1884 and Werther 1892. He also composed oratorios ballets orchestral works incidental music piano pieces songs and other music.<br/> <br/> unknown
233253 pp. of a bifolium. Octavo. Dated Égreville Seine. et Marne France August 19 1902. In French with translation. <br /> <br /> Raoul Gunsbourg director of the Opéra de Monte-Carlo has told Massenet that his correspondent most probably the tenor Francesco Tamagno will participate in a production of Hérodiade the following March. Massenet hopes the star-studded cast which includes Emma Calvé Blanche Deschampes-Jéhin and Maurice Renaud will sing in French; he coaxes Tamagno to do the same.<br /> <br /> "It is my dream that our friends Mlle. Calvé Mme. Deschamps-Jéhin Mr. Renaud sing in French -- thus I beg you as a personal service to sing in French as well . You can absolutely do it and it will be so interesting so successful!"<br /> <br /> Slightly soiled; creased at folds; green pencilled lines around the sender's address to upper right portion of first page. Tamagno 1850-1905 was the foremost heroic tenor of his time. After his first appearance at La Scala in 1877 he created the title roles in Verdi's Don Carlos 1878 and Othello 1887 among other operas. Although Tamagno usually sang French grand operas in Italian he did indeed make an exception for the 1903 Monte Carlo production of Hérodiade. <br /> <br /> Premiered at the Théâtre de la Monnaie in Brussels on December 19 1881 Hérodiade is generally regarded as the best of Massenet's three attempts at traditional grand opera. The work's strength lies in "familiar Massenet territory: erotic obsession" particularly in the musical characterization of Herod. Until the turn of the century the opera was staged frequently on both sides of the Atlantic. In part because its five leading roles are rewarding to star singers it has never fallen out of the repertory. Rodney Milnes in Grove Music Online. unknown
1912006418New York: The Theatre Magazine 1912. First Edition. Cloth. Very Good /No Dustjacket. 12 issues bound by publisher into two green cloth volumes both with dark green decoration on front board spine a bit darkened internally clean and fine with the bookplate of Jean and Lilly Dache Despres all original color covers bound in as well. The Theatre Magazine unknown books
