BERLIOZLivre Rare Book
1 236 résultats
R130003102CONCERT HALL. non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Commentaire de M.R. HOFMANN au dos de la pochette. Référence n° SMS 2357.. . . . Classification : 410-33 Tours
R130001705HACHETTE. non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. sur la couverture, portrait de BERLIOZ par G. COURBET.. . . . Classification : 410-33 Tours
R130001607DEUTSCH GRAMMOPHON. non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Portrait de H. BERLIOZ, texte de José BRUYR et photo du chef d'orchestre dans la pochette. Illustration sur la couverture.. . . . Classification : 410-33 Tours
R130003256"CBS. non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Illustration sur la couverture : "" Tentation de st Antoine"" par J. BOSCH. Référence n° 60004.. . . . Classification : 410-33 Tours"
R130007928PHILIPS. non daté. In-12. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. Pochette en couleurs, Orchestre Philharmonique de NEW YORK, direction: DIMITRI MITROPOULOS. Un petit livre à l'intérieur de la pochette.. . . . Classification : 410-33 Tours
1899CCC-115711. Edition choudens 1899, broché. Inn-12 ( 11 X 17,5 cm ), 35 pages,
10838106 pages in8. Sans date. Broché. 106 pages. Illustrations en noir
1969R200104135Garnier Flammarion. 1969. In-12. Broché. Etat d'usage, Couv. défraîchie, Dos satisfaisant, Papier jauni. 307 + 380 pages. Quelques rousseurs sur les tranches.. . . . Classification Dewey : 848-Ecrits divers, citations, journaux intimes, souvenirs, mémoires
50011Vrin ,2019, in-8 de 920 pages ,illustrations hors-texte ,broché ,Très bon état , .Isbn : 9782711628650.(2 photos du livre sur mon site https://www.vieuxlivre.fr) .Les frais de port pour la France sont offerts à partir de 25 euros d'achat (Mondial relay ). (colissimo suivi +6,90 ).
1898RO50023128"Imprimerie des Annales. 13 mars 1898. In-4. En feuillets. Bon état, Couv. convenable, Dos satisfaisant, Quelques rousseurs. Non paginé. 4 pages environ. Photos noires et blanches de Edmond Rostand et M. Coquelin Ainé, et gravures noires et blanches représentant ""Les dernières glanes"" d'après Jules Breton, ""Coup d'épervier!"" d'après Muenier, ""Fantaisies militaires : comment on cesse d'être bleu"" par Charly.. . . . Classification Dewey : 780.26-Partitions"
35668Paris. Gründ. 1971. Grand in-12. pleine toile avec jaq. Qlques ills. et photographies en N&B. 488 p. BE.
35194Paris. Buchet/Chastel. 2 Volumes Fort in-8. br. Tome I : 1996. La critique musicale de 1823 - 1834. 517 p. Tome II : 1998. Critique musicale de 1835 à 1836. 678 p. Bon état.
2794Paris. Gründ. 1969. In-8. pleine toile avec jaq. Préface de Sauguet H. Très nbrs ills. en N&B. 414 p. BE.
2691Paris. Gründ. 1968. Fort in-8. pleine toile avec jaq. Très nbrs ills. en N&B. 649 p. TBE.
190044275Boston: Elias Howe 1900. New edition revised corrected augmented. Large 8vo pp. 257. Translated from the French by Mary Cowden Clarke. Owner's signature on tile same stamps on front pastedown and first page. Dark blue cloth stamped in gilt. Hinges tender cover somewhat spotted and worn. Good. Elias Howe unknown books
1972238928Paris: Flammarion 1972. hardcover. very good. Text edited and presented by Pierre Citron. Three volumes. 835pp. 797pp & 595pp. 12mo printed black cloth; neat ownership signature front free endpaper of volume 2. Paris: Flammarion 1972 1975 1978. A very good set.<br/><br/> Volume I: 1803-1832. Volume II: 1832-1842. Volume III: 1842-1850<br/><br/> Flammarion unknown books
1956043312New York: Alfred A. Knopf 1956. 1st Edition. Translated and edited with an introduction and notes by Jacques Barzun at the request of the Berlioz Society. xviii 376 v p. original black cloth. Alfred A. Knopf unknown books
1956WRCLIT32130New York: Knopf 1956. Large octavo. Publisher's three-quarter morocco spine gilt extra t.e.g. First edition. About fine in lightly scuffed slipcase. To all appearances a presentation binding. Knopf unknown books
192787646Paris: Calmann-Levy 1927. paperback. very good. Correspondance Punliee Par Julien Tiersot. 380pp. 12mo printed wrappers. Paris: Calmann-Levy 1927.<br/><br/> Calmann-Levy unknown books
18552667651855. unbound. 1 page 5.25 x 8 inches no place no date circa 1855 in full: "Bonjour! Je suit mort mais ca commence a ailler. "H. Berlioz." Minor spotting with mounting remnants on verso. Very good condition.<br/><br/> French composer noted as the Father of modern Orchestration.<br/><br/> unknown books
232892 pp. of a bifolium. Octavo. Dated ca. late October 1864-1865. In French with translation. <br/><br/>An important letter in which Berlioz includes information for the first playbill of a projected concert performance of excerpts from his grand opera Les Troyens. He lists the names and addresses of the singers who are to appear: Mme. Anne Charton-Demeur Mlle. Palmyre Wertheimber Mr. Jules Montjauze Mr. Louise-Émile Wartel Mr. Péront Mr. Legrand and Mlle. Estagel. He also mentions a Mr. Prosper Bagier likely the director of the Théâtre-Italien in Paris. Finally he includes a number of special woodwind and percussion instruments that must be added to the orchestra. <br/><br/>"Here are the addresses and a short agenda. You will find the last five artists at the Théâtre Lyrique on evenings when they play Violetta. You will include the names of the artists only later in order not to upset Mr. Bagier."<br/><br/>Slightly worn and stained; creased at folds. Berlioz was the leading French composer conductor and critic of his age. "In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance. and though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century." Hugh Macdonald in Grove Music Online.<br/><br/>Although Berlioz finished Les Troyens in 1858 it was not performed in its complete form until years after his death in 1890. The première of Acts 3-5 which included several of the singers mentioned in this letter occurred at the Théâtre Lyrique in Paris on November 4 1863. The performance mentioned in this letter may have taken place in late 1864 or 1865. "Violetta" i.e. the French version of Verdi's La Traviata enjoyed 102 performances at the Théatre Lyrique between October 27 1864 and 1865. The intended recipient of this letter was perhaps Georges Hainl 1807-1873 conductor of the Paris Opéra and the Société des Concerts du Conservatoire from 1863 until 1872. unknown books
354342 pp. of a bifolium. Octavo. Dated "31 Juillet" no year. To an unidentified male correspondent. On lined paper. In French with translation.<br/><br/>Berlioz apologizes for not being able to edit his article on Bortnyansky with which he hopes his correspondent will be satisfied.<br/><br/>"The fragment of musical criticism which I wanted to add to the item on Bortnianski is in the hands of Mr. M. Levy's printer who is at present bringing out a book which contains this article. It is impossible for me - since the printer is not in Paris - to rework my manuscript. Therefore be good enough to be satisfied with the Russian article; it is accurate on the whole and it would be difficult for me to redo a study on Bortnianski and Emperor of Russia's singers that is already done." <br/><br/>The composer/critic goes on say that he would be happy for extracts of the article to appear in L'Illustration and in a postscript asks his correspondent to send him a copy of the periodical in which his article appears. <br/><br/>Slightly worn; creased at folds and very slightly overall. Dmitri Stepanovich Bortnyansky 1751-1825 was a Ukrainian singer composer and music director active in Russia. "During the 19th century Bortnyansky choral concertos and hymns gained popularity across Western Europe; some copies of concertos preserved in the library of the Hofkapelle in Vienna date from as early as 1780. Berlioz who heard the concertos in Russia in the 1840s praised the 'incredible freedom' of their approach to choral sonority Les soirées de l'orchestre Paris 1852 and included Bortnyansky's music in several of his own concerts in Paris." Marika Kuzma in Grove Music Online<br/><br/>"Berlioz stands as the leading musician of his age in a country-France-whose principal artistic endeavour was then literary and in an art-music-whose principal pioneers were then German. In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance to which he gave his full exertions as composer critic and conductor. And though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century." <br/><br/>"Berlioz's views were presented regularly to readers of the Paris press . He published three collections of criticism: Les soirées de l'orchestre 1852 Les grotesques de la musique 1859 and A travers chants 1862. In his feuilletons he wrote of new operas and singers .; his opinion on momentous occasions was of crucial interest for example at the première of Le prophète in 1849. He reviewed most of the concerts of the Société des Concerts; he wrote of new instruments and musical gadgets of his own impressions of music abroad and of important musicians visiting France; he wrote biographical notices of Gluck Beethoven Spontini Méhul and himself; he wrote fiction and fantasy often with a critical purpose; he wrote serialized treatises on orchestration and conducting. There are in short few facets of musical practice of the time untouched in his feuilletons . In general Berlioz's opinions are trenchant and clearly expressed." Hugh Macdonald in Grove Music Online. unknown books
233541 page. Folio. In French with translation. <br/><br/>Berlioz outlines fees for musicians singers and tuners and costs for rehearsals composition and copying associated with the premiere of the work. <br/><br/>Slightly worn; creased at folds; a few very small holes as a result of ink oxidation. Berlioz was the leading French composer conductor and critic of his age. <br/><br/>"In many senses the Romantic movement found its fullest embodiment in him yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance. and though there were many who perceived greatness in his music from the beginning his genius only came to full recognition in the 20th century." Hugh Macdonald in Grove Music Online. <br/><br/>Berlioz's Requiem the Grande Messe des Morts was first performed on December 5 1837 at St. Louis des Invalides on the occasion of the funeral of General Danrémont. <br/><br/>"Berlioz admits that when the chance of composing a Requiem came his way he fell on it like a man possessed. The opportunity was a philanthropic commission set up by Gasparin Minister of the Interior in order to re-establish the prestige of sacred music and Berlioz was the first to receive such a commission. It was briskly composed in a fever of inspiration in the summer of 1837 but as is the way with bureaucratic patronage the performance was cancelled for political reasons after Berlioz had gone to the expense of copying the parts and engaging performers. Only after urgent appeals and persistent complaints was an excuse found for staging the performance after all: the death of a French general in the war of conquest in Algeria. So the Requiem was first heard in the church of the Invalides. in a ceremony of pomp and grandeur which the French do with particular style. It was a stirring public occasion and although it was marred for Berlioz by the conductor Habeneck taking a pinch of snuff at the most dramatic entry of the Tuba mirum the truth of the anecdote is disputed it signified for him the blessing of official approval and the wider knowledge in Parisian circles of how powerful and novel his music was. No one was left in any doubt of the force and originality of Berlioz's genius." Macdonald: Berlioz pp. 33-34. unknown books
189029521Paris: Choudens Fils PN A. C. 987 1890. Large octavo. Full black cloth titling gilt to spine. 1f. recto title verso blank 1f. recto cast list and contents verso blank 179 i blank pp.<br/><br/>Binding slightly worn rubbed bumped and cockled. Minor pencil annotation to contents. A re-issue of the first edition variant of ca. 1864. Hopkinsin 64B a. Choudens Fils [PN A. C. 987] unknown books
