730 résultats
190215457Paris: E. Fromont 1902. First Edition First Issue. Used; Like New/Used; Like New. 283 pp. PN E. 1416 F. Signed and inscribed by the composer on the page opposite the title to the French restauranteur Xavier Marcel Boulestin and dated June 1902. Pencil annotations to the front. Page 1 stamped in violet ink "Hommage de l'Editeur." Handling wear scattered soiling toning and foxing mostly to the printed wrappers the score nicely rebound in a pale green cloth with gilt leather title plate to spine. 4to. <br style="">Pelléas et Mélisande is an opera in five acts with libretto adapted from Maurice Maeterlinck's Symbolist play. First performed at the Opéra-Comique in Paris on 30 April 1902 with Jean Périer as Pelléas and Mary Garden as Mélisande in a performance conducted by André Messager it is the only opera Debussy ever completed and considered a landmark in 20th-century music. <br>Before becoming a successful restauranteur in England the Restaurant Boulestin opened in 1927 was known as the most expensive in London the young Xavier Marcel Boulestin worked as secretary and ghostwriter to the author "Willy" Henry Gauthier-Villars. Gauthier-Villars and his wife the novelist Colette were associated with Debussy with Colette leaving some evocative descriptions of the composer.<br style=""> E. Fromont hardcover books
13609Used; Like New/Used; Like New. A fascinating collection of 14 autograph letters and cards and 2 telegrams addressed to the important French composer dated between 1903 and 1917 from musicians and other artistic figures of the era. The letters from correspondents including conductors critics dancers composers and visual artists mention the very positive reception of Debussy's works during the last years of his life including his 1903 nomination as a Chevalier of the Légion d'Honneur the Chicago premiere of his opera Pelléas et Melisande and Toscanini's 1911 performance of La Mer; other works discussed include his ballet Jeux the cantata L'enfant prodigue and his work for piano L'isle joyeuse. Letters range from 4 x 2.5 inches to 5.25 x 8.25 inches and are overall in very good to fine condition with some light toning and age wear. All letters in French.Contents:Three letters congratulate Debussy on his nomination to the Légion d'honneur in 1903: one autograph note on the visiting card of conductor Edouard Colonne Paris February 1903 1 p.; one ALS  from the soprano Lucienne Bréval n.p. February 4 1903 4 pp. which also mentions her desire to sing one of Debussy's mélodies with orchestra; and one ALS from the architect Charles Plumet Paris n.d. 1 p.Two telegrams dated June 11 1910 send congratulations to Debussy on the successful performance of his Pelléas et Mélisande in Chicago from the conductor Cleofonte Campanini and the director general of the Chicago Grand Opera Company Andreas Dippel: "Four thousand people were impressed and touched. Our congratulations."Two letters send congratulations to Debussy on the performance of his La Mer under Toscanini in Turin in 1911. On a photograph postcard Turin September 30 1911 the composer Leone Sinigaglia writes that "It would have been a joy for you a lasting memory. Toscanini put his whole soul into it all his intelligence and all his will. His execution of your admirable masterpiece was prodigious. The public wary at the beginning as you may imagine! you know this well was won over -- at the end it was a great success which was repeated yesterday evening." The critic Giuseppe Depanis Turin October 12 1911 2 pp. writes that "not only was the second presentation Toscanini of La Mer received with the same good favor as the first but Vincent D'Indy also performed Nuages andFêtes in his concert on the 10th of the month with great success."An autograph letter from Nadejda Rimsky-Korsakov St Petersburg August 20 1911 1 p. with envelope thanks Debussy for his telegram and mentions in reference to the Ballets Russes' adaptation of her husband's famous work Scheherazade that "the appearance before the artistic Parisian public of my husband's works changed and transformed into ballet caused me great pain last summer and this time."  An autograph letter from the caricaturist Beppe Fabiano Paris May 29 1912 2 pp. confesses to Debussy that "I have just exhibited your portrait at the Salon des Humanistes -- in a series of celebrated composers -- without asking your permission beforehand. Fearing I may have overstepped I would be delighted if you would forgive me."<br style="">A short autograph letter from the sculptor Denys Puech Paris June 4 1912 1 p. mentions L'après-midi d'un faune. A short autograph letter from the sculptor Albert Bartholomé Budapest May 25 1913 1 p. informs Debussy that his cantata L'enfant prodigue "was admirably executed by truly passionate performers. I was able to obtain the poster from the theater and will be pleased to send it to you." The Russian ballerina and soloist with the Ballets Russes Ludmilla Chollar writes to Debussy about her role in Jeux in which she starred with Nijinsky and Tamara Karsavina London June 26 1913 2 pp. She thanks the composer for the "the most beautiful memories which I could bring from Paris: the very kind words with which you dedicated Jeux your photography and some measures of my role . If I take from the creation of Jeux one exquisite and ineffable memory it is to you that I owe it to your work and to the happy chance that I met you away from the mirage of celebrities an artist as great as you whose work is dear to me above all others."<br style="">An autograph letter from the composer Ildebrando Pizzetti Florence September 17 1913 1 p. with envelope asks Debussy to comment on his new composition: "You would do me a great honor Maître if you would send me a few words on the subject but of course with no obligation on your part to give me compliments if my musical work does not interest you!"An interesting wartime letter from the Italian conductor Bernardino Molinari Rome September 18 1915 4 pp. calls on Debussy's patriotic feelings to ask him to collaborate with his orchestra: "I still remember what you said to me yourself here in Rome about "L'isle joyeuse" when you gave me hope that you might make a transcription for orchestra. If you have the desire and the time I would be very flattered to have the score to perform it during the next concert season at the Augusteo. You understand that in this season we very much wish to form a program in which our allies in France figure prominently. In a political moment like this one where the souls of all the Allied nations are unified and united into one ideal all of us at the Academie ask you for your valid support in the coming season." He goes on to apologize that because of the war he will be unable to offer the same fee as the previous time and reports that performances of Debussy's works around Italy have been very successful: "This shows with evidence that your musical language speaks to great and small touching the heartstrings of all." An autograph letter from the composer and musicologist Jean D'Udine Paris April 27 1917 3 pp. invites Debussy to one of Udine's salons despite Debussy's known disdain for his school of dance: "I know you have no sympathy for rhythmic gymnastics which seem to you you have written 'a very disagreeable domestication of rhythm.' I believe that you are wrong and that they are rather an emancipation of rhythm when taught well. Without any hostility on your part towards the method which I teach with conviction I would like to ask you to honor with your presence one of the evenings which I am hosting at present. You would there see danced with extreme love and respect by one of my students a remarkable artist your beautiful dances for chromatic harp . I did not want to give these evenings April 28 and May 3 and 5 without informing you pour memoire and without letting you know that it is sometimes where one feels the least loved that one is actually the most seriously and profoundly loved."The violinist and composer Francesco Guarnieri writes N.p. October 17 1917 2 pp. on black-bordered stationery to ask Debussy for a signed copy of his violin sonata which he will perform in Italy and also recalls a much earlier performance of Debussy's famous quartet at which Debussy gave him a copy of the score. unknown books
1916022588Paris: Devambez. Rare First Printing of Claude Debussys Elegie for Piano L. 146 138 Wrappers. First and Limited Edition: No. 11 of only 25 copies on Imperial Japanese Paper and signed by Mary Mellor. Large 4to. 211 pp. printed text and facsimiles of manuscripts. This book was composed to honor the contributions of women during World War I. Debussy was one of 92 men and 30 women who participated in the project offering a range of artistic contributions from France England the United States Canada and Russia. Among contributors in addition to Debussy were Auguste Rodin Rudyard Kipling Robert Baden-Powell Anatole France Lord Kitchner Pierre Loti Marcel Prevost Jerome K. Jerome and Gertrude Atherton. The book is dedicated to Queen Alexandra of Denmark Queen of the United Kingdom and the British Dominions and Empress of India. The portrait of Queen Alexandra is bordered with hand-colored stenciled roses. Debussy wrote his Elegie in December 1915 when he was still experiencing the devastating events of the First World War. Shortly before he had undergone a cancer operation from which he never quite recovered. The Elegie was the only piano piece he wrote during that year and it was to be his last piano work. Due to his deteriorating health he wrote very little afterwards. The spine has been superbly restored. Edge roughness on a blank that is not Japanese Imperial Paper mostly unopened. Very Good. Rare collectable. . Very Good. Soft cover. 1st Edition. 1916. Devambez paperback
3741Debussy sadresse au Prsident du Conseil LOUIS BARTHOU afin quil intercde auprs du ministre de la Guerre Alexandre Millerand en faveur de son frre ALFRED [n en 1870, Alfred Debussy est le 4me enfant (sur 5) de la famille Debussy, Claude tant lan] & Voulez-vous tre assez bon pour me prter votre prcieux appui, encore une fois. Il sagit de mon frre Alfred Debussy, g de 45 ans, de la classe 90 qui vient de passer les examens dinterprte anglais. Il est port sur ltat de propositions soumis au Ministre de la Guerre, mais une recommandation touchant Mr Millerand laiderait puissamment, car, si cela est possible il voudrait tre attach ltat-major anglais et non croupir dans un bureau& Il ajoute : & Personne mieux que vous, (& ), ne peut faire cela. En mexcusant de tenir devant vous le rle ingrat de la statue de Qumandeur [jeu de mots sur la statue du Commandeur de Dom Juan], voulez-vous croire ma reconnaissance et ma respectueuse sympathie& Louis Barthou tait un homme politique de centre droit et crivain. Il fut prsident du conseil sous la prsidence de Raymond Poincar de mars 1913 dcembre 1913. lu lAcadmie franaise en 1919, il tait surnomm le ministre des potes . Ctait aussi un bibliophile, un amateur dart et un mlomane. Grand admirateur de Debussy, lorsquil fut interrog propos de ce dernier en 1932, il affirma qu Il y a dans son art une nigme et un ensorcellement. LOlympe a plus dune demeure. Aprs Bach, Mozart, Beethoven et Wagner, Claude Debussy sest fait la sienne, o il sest install par une immortalit dont la France, quil honore, saura garder le culte et entretenir lclat. . Debussy fit recours aux services de Barthou plusieurs fois. En 1908, alors que Barthou tait ministre des Travaux Publics, Debussy lui demanda la conservation du poste de son frre Alfred en tant que sous-inspecteur la Cie du chemin de fer de lOuest. En octobre 1913 il lui envoya son passeport pour que Barthou puisse le faire signer par lambassadeur russe Alexandre Izvolski afin dtre invulnrable lors de sa tourne Saint-Ptersbourg.
19432694Paris, Rombaldi, 1943-1944. 4 Volumes, complet. In-folio - 33 x 26,5 cm. Reliures signées Legendre en plein maroquin (noir, sapin, bordeaux et brun), dos ornés de 5 nerfs, roulette dorée sur les coiffes, filet doré sur les coupes, quintuple filet doré en encadrement des contreplats, vélins incrustés au centre des contreplats, étui et chemise assortis. Edition en partie originale établie par Henry Charpentier d'après les manuscrits de Mallarmé, dont il était l'exécuteur testamentaire.Tirage limité à 140 exemplaires pour Le Réveil du Faune, celui-ci non numéroté, et à 220 exemplaires pour Gloses et Offrandes à divers du Faune, celui-ci exemplaire B, imprimé spécialement pour René Gas, qui dirigea cette publication. L'Après-Midi d'un faune est enrichi de 2 dessins originaux, le premier signé Demeurisse, le second non signé, et Prélude à l'Après-midi d'un Faune est également enrichi de 3 dessins originaux, tous signés et datés de 1943 par Demeurisse. Cet exemplaire exceptionnel comprend : 6 suites de 21 planches chacune pour L'Après-midi d'un Faune, 7 suites de 16 planches pour Prélude à l'Après-midi d'un faune, 3 suites de 21 planches pour Le Réveil du Faune et enfin, 6 suites de 19 planches pour Gloses et Offrandes à divers du Faune. Ce qui fait un total de 24 suites et de 415 planches.Pour parachever l'ensemble, le dernier volume, Gloses et Offrandes à divers du Faune contient une affiche d'annonce de parution des éditions Rombaldi in fine, ainsi qu'une lettre autographe signée d'Henry Charpentier à René Gas, lui indiquant qu'il pourra conserver cet autographe et qu'il lui confie l' "épreuve du Mallarmé", ce qui explique cet exemplaire hors normes.
190613651906 Paris, Durand et Fils, copyright Fromont, 1906. Reliure in-folio en toile verte de l’éditeur, titre calligraphié sur le 1er plat et sur le dos, 284 pp. Rare édition originale, avec page de titre de seconde émission (Durand, après avoir racheté l'ouvrage à Fromont, a interchangé le double feuillet de titre). Un des 50 ex. numérotés sur Hollande. Corrections fautives conformes : le prénom du chef de chant a été modifié sur la page de distribution (Louis Landry au lieu d’Edmond) ; à la 7ème mesure, la cinquième note du chant de Mélisande (Elle va pleurer aussi) est bien un si bécarre et non un do (p. 272). Ex. offert en 1928 à Jean Touche, violoncelliste fondateur des Concerts Touche, par sa sœur Marthe et son frère Firmin, qui ont apposé leur signature sur l’ex-dono. Avec un beau portrait anonyme du violoncelliste au crayon joint. Très bel exemplaire.
268361 page. Octavo ca. 168 x 122 mm. Dated Thursday evening. On mourning stationery. In French with translation. <br/><br/>"I have to attend Louis Laloy's premiere; naturally that is tomorrow on Friday. Would you change the enclosed tickets for Saturday Thanks again."<br/><br/>Slightly worn and browned; creased at folds and upper outer corner of final blank folio; small rust stain from paper clip to inner margin of final folio not affecting text. "One of the most important musicians of his time Debussy's harmonic innovations had a profound influence on generations of composers. He made a decisive move away from Wagnerism in his only complete opera Pelléas et Mélisande and in his works for piano and for orchestra he created new genres and revealed a range of timbre and colour which indicated a highly original musical aesthetic." François Lesure and Roy Howat in Grove Music Online.<br/><br/>"Laloy 1874-1944 was a noted defender of contemporary French music and was a close friend of and mediator between Ravel and Debussy with whom he collaborated on some unrealized stage works; he was also the author of the first major work and the first in the French language on Debussy." John Trevitt in Grove Music Online. unknown books
1368Affiche originale de la création au Théâtre de l’Opéra-Comique, le 30 avril 1902, sous la direction d’André Messager. Imprimée en noir sur papier blanc cassé par la Phototypie Berthaud. Tirage avant la lettre, sous encadrement contemporain (62/86 cm).
0486269744New. Brand new and still unused unknown
1896N - 2026 - 31<p>French Literary and Artistic Magazine 12 Issues bounded. Paris Floury 1896-1897. Important magazine founded by Wood Engravers Corporation of France published under the direction of Roger Marx and Jules Rais and under the artistic direction of Tony Beltrand Auguste Lepere and Leon Ruffe. It includes hundreds woodcut compositions and the 12 pictorial covers especially designed from the artists who contributed to the publication each cover presents an original composition the first is by Alfons Mucha and the N. 11 was designed by Toulouse-Lautrec. The magazine contains illustrations from important artists as: Alfons Mucha Lepere Vogel De Feure Denis Degas Van Dongen Rodin Toulouse-Lautrec and others. Also in the magazines literary contributions from prestigious authors as Geffroy Debussy Pierre Louys Mellerio Rosny Remy de Gourmont and others.</p> Floury
4314Soucis financiers : ...Permettez moi de vous rappeler que vous m'avez promis d'obtenir de M. Lacolle (?) qu'il ne fasse prsenter la seconde traite que le 3 avril prochain...Cette lettre est adresse Lon Bertault homme daffaires auquel Debussy eut souvent recours partir de 1909 pour effectuer de difficiles emprunts. partir de 1912 les difficults financires de Debussy saggravent et il se voit plusieurs fois contraint de demander une avance son diteur Jacques Durand avant demprunter une socit de capitalisation appele LAvenir du proltariat contre une part de ses droits dauteurs.
192979902Paris: Imprimerie de la presse française 1929. Fine. Imprimerie de la presse française Paris s. d. 1929 27 x 35 cm un double feuillet et une feuille volante First edition of this program for the concert commemorating the death of Erik Satie held in Arcueil-Cachan on 30 June 1929. Our copy retains the photographic reproduction of the bust of Erik Satie modeled by Robert Caby in September 1925. A handsome copy despite a few minute marginal spots. Imprimerie de la presse française unknown
192979902Imprimerie de la presse française | Paris s. d. [1929] | 27 x 35 cm | un double feuillet et une feuille volante
192725470London: Noel Douglas 1927. First English edition. Hardcover. Fine in a fine example of the scarce dust jacket. 8vo. With a frontispiece portrait of Debussy. Anonymously translated from the French. Selected music criticism from various periodicals that appear here for the first time in book form. Another largely unknown string in the composer's bow. <br /><br /> Noel Douglas hardcover
191921859Paris:: A. Durand & Fils 1919. Later issue: initially priced 12 and 15 francs this copy is bears the printed prices15 and 20 francs on the title page beneath which is the publisher's stamped price in purple ink of 75 frs. original printed boards. A few leaves detached; tiny tears to a few leaves; some rubbing and wear to edges of boards which are very lightly soiled; but still a nice copy of a very attractive book. . Oblong folio. Title page and four preliminary leaves in color; five color divisional titles and twelve charming color plates final color illustrated leaf "Fin" A. Durand & Fils, hardcover
2024__3761826508Bärenreiter 2024. New. German language. 13.19x1.02x18.50 inches. Bärenreiter unknown
69347P., Durand, 1913, grand in 4° oblong, cartonnage crème de l'éditeur, 5 feuillets non chiffrés et 51 pages ; cartonnage fané avec petites taches, coins frottés ; rares rousseurs.
30632Folio. 24 pp. On onionskin. With typed note at conclusion "Translation by Leonard Bernstein August 29th 1962." <br/><br/>Contents: <br/>Prologue: 2 pp. <br/>Act I: First Window: the Court of Lilies 5 pp.<br/>Act II: Second Window: The Magic Chamber 3 pp.<br/>Act III: Third Window: The Council of False Gods 9 pp.<br/>Act IV: Fourth Window: The Wounded Laurel 4 pp. <br/>Act IV: 1 p. <br/><br/>With numerous annotations corrections etc. in ink and lead red and blue pencil throughout by Yuri Krasnapolsky 1934-2018. Somewhat worn and creased; several leaves stapled together at upper inner corners.<br/><br/>Together with: <br/>- An extensively corrected draft of an interesting autograph letter from Krasnapolsky to Leonard Bernstein. 5 pp. Folio. In pencil on 4ff. of yellow lined paper. No date. Addressed "Dear Lenny." Krasnapolsky writes regarding his travels in Europe after seeing Bernstein in Vienna possible conducting engagements having been blacklisted during the McCarthy era etc. The letter is particularly poignant regarding his relationship with and feelings of indebtedness to Bernstein: "The European experience. showed me that my association with you over the past eighteen years has been crucial & pervasive. Your working style in every respect became for me as for many others an object of tremendous admiration and imitation. My own style took longer. to evolve but now that it has I can see & feel more clearly what it owes to yours." Krasnapolsky very much regrets the fact that he has apparently offended Bernstein in some way and is struggling to understand "how & when." He goes on to say that "it is a simple fact of my life that I am deeply indebted to and in a sense derived from you and can no more separate myself from that fact than I can deny my love for music. I literally cannot survive professionally without your help." Krasnapolsky goes on to request various letters of endorsement. <br/><br/>- A corrected draft of an autograph letter from Krasnapolsky to Sir John Barbirolli. 3 pp. Folio. In pencil on 3ff. of yellow lined paper. No date. Addressed "Dear Sir John." Krasnapolsky apologizes for the delay in writing but says that he has been "unexpectedly but unavoidably busy with a series of youth concerts." He thanks Barbirolli for his kindness and hospitality. "It was a great pleasure and a privilege to see you at work again and to have assisted you however briefly." Krasnapolsky has regarded Barbirolli as a "heroic musical figure. for many years." He mentions going to a concert of Barbirolli's at Carnegie Hall "at age 8 and/or 9 quite alone" with Gieseking as soloist. "Furthermore now that I am at the age you were when you took on the N.Y. Phil. I realize more than ever what an enormous task and brilliant achievement that was. Who else could have done that I don't know. But you have remained undeniably a heroic figure of 20th century music. I can only wish that someone. will say the same of me someday. My wife and I are planning to be in London again just after the first of the year. I'll be looking for ways to become a part of the musical life of London and the Continent." <br/><br/>- A corrected draft of a letter to John S. Edwards General Manager of the Chicago Symphony. 1 page. Folio. In pencil on 1f. of yellow lined paper. Thanking him for his time whle in New York mentioning "the Florida affair" etc.<br/><br/>- A corrected draft of a letter to Walter Hendl at the Eastman School of Music. 2 pp. Folio. In pencil on 1f. of yellow lined paper. Recommending a colleague Francois Jarosely for a possible conducting appointment at the school. <br/><br/>- Biographical notes. 5 pp. Folio. In pencil on 5 ff. Le Martyre de Saint Sébastian a "mystère" in five acts to a libretto by Gabriele D'Annunzio composed for the dancer Ida Rubinstein was first performed in Paris at the Châtelet on May 22 1911. Debussy's last stage work it is "a synthesis of orchestra and vocal music dance mime and speech." <br/><br/>Bernstein translated D'Annunzio's text and conducted a recording of the work in 1962 with the Choral Art Society and the New York Philharmonic featuring his wife Felicia Montealegre as Sebastian one of the narrators: ".among its best moments the serenely celestial 'Magic Chamber' in which the NYPO strings bloom and 'The Wounded Laurel' which could have come from La mer. Mr and Mrs. Bernstein were having a good day judging by the passion which comes across." Christopher Fifield BBC Music Magazine. <br/><br/>"The following year 1963 he conducted The Martyrdom of Saint Sebastian to commemorate Debussy's centenary. The sung parts were in German the dialogue in English. Fritz Weaver the actor was the narrator and Felicia appeared as the male saint. Bernstein probably thought of her as at least a saint. If he tested orchestra managements and presidents to see how far he could push them he repeatedly tested Felicia too. She seemed to pass all his tests right up to the end of her life. As for the Debussy critics remarked on the clean articulation of the text." Peyser: Bernstein p. 359. <br/><br/>Krasnapolsky was an assistant conductor of the New York Philharmonic under Leonard Bernstein. unknown books
1375Trois lettres manuscrites autographes signées adressées à Désiré-Émile Ingelbrecht, fondateur de l’Orchestre National de France et puissant artisan de la vie musicale à Radio-France, à propos de Pelléas et Mélisande.« Paris, le 13 mars 1952, Mon cher Maître, Votre très aimable lettre est venue me retrouver à Paris et je ne sais comment vous dire à quel point j’ai été profondément ému en la lisant. C’est un peu comme si Debussy lui-même m’apportait un encouragement ! Je vous avoue très sincèrement que je suis un “ envoûté ” de Pelléas et que rien ne pourrait plus me toucher que votre approbation. C’est vous dire à quel point je désire très vivement connaître vos critiques et puisque vous me le proposez si aimablement, je me permettrai de vous téléphoner à votre retour pour vous demander quelques instants d’entretien. Croyez, mon cher Maître, je vous prie, en mes sentiments très reconnaissants et tout dévoués. » « Tokyo, le 14 décembre 1958, Mon Cher Maître, En attendant de pouvoir vous narrer de vive voix notre aventure japonaise, permettez-moi de vous adresser mes pensées fidèles et reconnaissantes, avant de quitter le pays du Soleil levant. Je n'oublie pas que c’est à vous que je dois la joie d’avoir pu faire ici la création de notre cher Pelléas. Je crois que notre ami vous a déjà donné quelques échos. Ce qu’elle ne vous a certainement pas dit, c’est qu’elle a été une Mélisande extrêmement sensible, touchante, mystérieuse. Enfin ‘ elle fut Mélisande ‘. Je suis parti de Paris depuis fin juillet – six concerts à Buenos Aires en août, deux mois et demi à l’opéra de San Francisco pour le répertoire courant (sauf création du Médée de Cherubini). Vous dirai-je que c’est ici, avec ces sept Pelléas et les concerts, que j’aurais eu le plus de joies musicales ? A très bientôt, mon cher Maître. Après un nouveau crochet pour deux concerts à Cleveland, je rentre à Paris pour début janvier. Voulez-vous, je vous prie, présenter mes hommages à Madame Inghelbrecht, et croire à mes sentiments bien fidèlement dévoués. » « Paris, le 15 septembre 1960, Mon cher Maître, J’ai été extrêmement sensible à l’envoi que vous avez bien voulu me faire de la partition du ‘Requiem’ et je vous en remercie vivement. Ce que je souhaite beaucoup, c’est pouvoir le donner quelque part. Comme vous le savez peut-être, je deviens, à partir de l’an prochain, chef titulaire de l’Orchestre philharmonique de la radio hollandaise. On fait, dans ce sympathique pays où je vais depuis longtemps, beaucoup de musique dans de bonnes et agréables conditions ! … ce qui n’est pas, hélas, toujours le cas ailleurs… J’espère donc, dès que possible, inscrire une de vos œuvres à mes programmes, ce que je n’ai pu faire depuis assez longtemps, à mon grand regret. Veuillez, mon cher Maître, présenter de respectueux hommages à Madame Ingelbrecht, et croire, je vous prie, en mes sentiments fidèlement dévoués. »
191326681Paris: Durand et Cie 1913. Boards. Very Good. Andre Helle. Andre Helle. Boards. A charming and scarce copy of Debussy's ballet score piano reduction only for "La Boite a Joujoux" with delightful color pochoir illustrations by Andre Helle. The ballet was inspired by Debussy's daughter and her toys and toy box. This was one of Debussy's final works and the ballet was in fact not staged until after his death with costumes and decor by Helle. Published in hardbound and softbound editions this copy has been recased in tan paper-covered boards with a digital reproduction of Helle's illustrated title affixed to front cover. The original paper covers are bound in. In very good plus condition with a few small closed tears on the lower margin of a few pages. 10 x 13 inches. 48 pages. MUS/040513. Durand et Cie unknown
19923Paris, A. Durand & fils, 1919. In-folio oblong, 48 pp. 13 pl., cartonnage à dos de toile écrue (petites taches et rousseurs, plusieurs feuillets débrochés).
7048Paris, A. Durand & Fils, Éditeurs, 1912. 32,5 x 25 cm, 42 pp. Broché, légèrement usé, manque au bas du dos.
7048Paris, A. Durand & Fils, Éditeurs, 1912. 32,5 x 25 cm, 42 pp. Broché, légèrement usé, manque au bas du dos.
19008515Eugène Fromont - Imprimerie Dupré Paris 1900 In-folio, s.d. [1900], reliure demi-vélin de l'époque à la bradel, dos lisse, titre doré au dos, plats marbrés, [8]-111-[2] pp. E 1415 F - E 1417 F. Couverture conservée, la dernière présentant "Les compositions musicales de Claude Debussy". Blason doré du compositeur René de Castéra (1873-1955) en tête. Edition de la partition d'orchestre du triptyque symphonique avec choeur de femmes dédié à Georges Hartmann (1843-1900). Composition orchestrale que Claude Debussy composa entre 1892-1899, inspirée des "Poèmes anciens et romanesques" d'Henri de Régnier. La famille d'Avezac de Castéra est originaire du département des Landes. Bonne reliure, rousseurs notamment sur les premières pages. Belle provenance. Au crayon dans l'angle droit de la page de titre, mention "R. de Castéra, 11 [rue d'] Assas".(adresse parisienne des frères Castéra dans les années 1900).(BeauB17) PHOTOS NUMERIQUES DISPONIBLES PAR EMAIL SUR SIMPLE DEMANDE-DIGITAL PHOTOGRAPS MAY BE AVAILABLE ON REQUEST 28 x 36
19008515Eugène Fromont - Imprimerie Dupré Paris 1900 In-folio, s.d. [1900], reliure demi-vélin de l'époque à la bradel, dos lisse, titre doré au dos, plats marbrés, [8]-111-[2] pp. E 1415 F - E 1417 F. Couverture conservée, la dernière présentant "Les compositions musicales de Claude Debussy". Blason doré du compositeur René de Castéra (1873-1955) en tête. Edition de la partition d'orchestre du triptyque symphonique avec choeur de femmes dédié à Georges Hartmann (1843-1900). Composition orchestrale que Claude Debussy composa entre 1892-1899, inspirée des "Poèmes anciens et romanesques" d'Henri de Régnier. La famille d'Avezac de Castéra est originaire du département des Landes. Bonne reliure, rousseurs notamment sur les premières pages. Belle provenance. Au crayon dans l'angle droit de la page de titre, mention "R. de Castéra, 11 [rue d'] Assas".(adresse parisienne des frères Castéra dans les années 1900).(BeauB17) PHOTOS NUMERIQUES DISPONIBLES PAR EMAIL SUR SIMPLE DEMANDE-DIGITAL PHOTOGRAPS MAY BE AVAILABLE ON REQUEST 28 x 36
