Christoph Willibald V GluckBiblio.com
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0366899821.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
005612London: Novello's Original Octavo Edition - Novello & Co Ltd. Undated. Circa 1938. Full score. Excellent clean and tightly bound sheet music. Novello's Original Octavo Edition - Novello & Co, Ltd. paperback
AB4407various: privately bound various. First Thus. . Hardcover. Good. 4to. A good copy with some damp spotting and discolouration to green cloth covers front cover slightly bowed. 5 individual musical scores bound together. None dated but estimate ca 1890. Orpheus edited and the pianoforte accompaniment revised according to the Italian score by Berthold Tours 35pp Novello's original octavo edition. Preciosa translated by the Rev J Troutbeck 65pp. Der Rattenfanger von Hameln with separat ausgabe der sammtlichen lieder des Hunold Singuf pub J Schuberth Leipzig 41pp. Frithiof Op 23 Clavier-Auszug with Germand and English text 67pp. The Longbeards' Saga chorus for male voices with pianoforte obligato Novello Ewer and Co 40pp. Immediate despatch from the UK. <br/> <br/> privately bound various hardcover
Q-0793512433G. Schirmer Inc. Paperback. New. New. In shrink wrap. Looks like an interesting title! G. Schirmer, Inc paperback
19563222DEUTSCHE GRAMMOPHON GESELLSCHAFT 07/1956. 1. hardcover. Sung in German! DEUTSCHE GRAMMOPHON GESELLSCHAFT hardcover
480087Berlin.: Ed. Bote & G. Bock. Ohne Jahr. Halbleinen nachgebunden. Noten im Text. Collection des Oeuvres Classiques. Gr.4°. Aufgeklebte Plastikschutzhülle. Titelblatt lichtrandig sonst gut erhalten. Ed. Bote & G. Bock. unknown
1859231958Ed Bote & G. Bock Berlin 1859. Hardcover Leinen Großformat Die Jahresangabe ist ungefähr. Zustand: keine Beschädigungen eine Namenseintragung. Rücken Ecken Kanten gut. Innen braunfleckig. Ed Bote & G. Bock, Berlin, hardcover
036498404X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
0656595760.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
1391751124.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1396474447.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
177440430Paris: Chez Mr. Lemarchand . A.P.D.R. 1774. Folio. Unbound. Sewn. 1f. recto title verso publisher's catalogue 1f. recto dedication verso "Argument" 52 pp. Engraved.<br /> <br /> Incomplete with only first act and three pages of second act present.<br /> <br /> Worn overall with occasional staining foxing and soiling throughout primarily to blank margins; title worn and heavily browned stained and soiled with paper loss to edges; corners slightly bumped and creased; signatures separated; binder's holes to blank inner margin. First Edition unrecorded variant. Wotquenne 41. Hopkinson p. 43 41A. BUC p. 386. Lesure p. 240. RISM G2582. <br /> <br /> First performed in Vienna at the Burgtheater on 5 October 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on 2 August 1774 in French to a libretto by Pierre Louis Moline after Calzabigi.<br /> <br /> "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms . It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France . Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Chez Mr. Lemarchand ... A.P.D.R. unknown
178340431Paris: Chez Des Lauriers Md. de Papiers Rue St. Honoré à côté de celle des Provaires 1783. Folio. Early full dark brown leather with double rule gilt to edges of boards spine in compartments gilt with titling gilt marbled endpapers. 1f. recto title verso blank 1f. recto dedication verso "Argument" 217 pp. Bound with an extra title that of Hopkinson 41Ak. 1f. recto title verso blank 1f. recto blank verso "Argument" pp. <br /> <br /> Binding quite worn rubbed and bumped with loss to spine. Occasional minor soiling to blank outer margins; paper repairs to blank inner margins of approximately fifteen leaves; small binder's holes to blank inner margin of numerous leaves; occasional staining; worming to blank inner margin of final third of volume; extra title and Argument worn and soiling with worming to blank margins. Second edition of the French version. Wotquenne 41. A variant issue of Hopkinson 41Ai but with the price of 36 instead of 24 tt. Lesure p. 240. RISM G2853. <br /> <br /> First performed in Vienna at the Burgtheater on 5 October 1762 in Italian to a libretto by Ranieri de' Calzabigi and in Paris at the Opéra on 2 August 1774 in French to a libretto by Pierre Louis Moline after Calzabigi.<br /> <br /> "More successfully than any of his contemporaries Gluck translated the widespread agitation for reform of opera and theatrical dance on the part of European intellectuals into actual works for the stage first in pantomime ballets and Italian serious operas for Vienna and then in operas of various sorts for Paris." Bruce Alan Brown and Julian Rushton in Grove Music Online<br /> <br /> "The classical orientation of Calzabigi evident in Orfeo ed Euridice from the moment the curtain rose on the almost archaeologically recreated ancient funerary ritual e.g. the threefold calling of the name of the deceased coloured the entirety of his collaboration with Gluck. Despite the ambiguous attributions of the prefaces signed by the composer it is clear that Gluck largely shared his librettist's classical enthusiasms. . It is revealing that Gluck sought out subject matter from Greek tragedy independently of Calzabigi after the latter's departure from Vienna - most probably with his inner conviction mixing with a desire to exploit the goût grec then prevailing in France. . Calzabigi's poetry was almost completely devoid of metaphors and similes and placed a mere three characters in a fluid context of dances and choruses or both simultaneously. The action was reduced to essentials: a demonstration of the persuasive powers of music and a cautionary tale on the dangers of curiosity with Orpheus bewailing the loss of his wife already as the curtain rose. Gluck's approach as composer was no less radical particularly in his near-complete elimination of coloratura and of opening ritornellos in the solo numbers. Above all the opera was remarkable in its emphasis on continuity which was achieved chiefly through the enchaining of harmonically open-ended sections of music and through the complete avoidance of recitativo semplice in favour of orchestrally accompanied recitatives so as to avoid sharp contrasts of texture with the set pieces. This continuity and the nearly syllabic vocal writing were calculated to prevent applause and thus also to promote the audience's absorption in the spectacle." Bruce Alan Brown and Julian Rushton in Grove Music Online. Chez Des Lauriers, Md. de Papiers, Rue St. Honoré à côté de celle des Provaires unknown
0332586987.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1895347491895. Zbl. Chir. 22/27 Bericht über die Verhandlung der Deutschen Gesellschaft für Chrirugie XXIV. Kongress. - Leipzig Verlag von Johann Ambrosius Barth 1895 8° pp.641-656; 154 pp. Halbleinenband. Erstdruck! Es "ist der Gedanke Elfenbeinstücke nicht nur zu vorübergehendem sondern zu dauerndem Einsatz von Knochendefekten und aus Elfenbein hergestellte künstliche Gelenke zum Einsatz zu benutzen von Gluck ausgegangen. Er berichtete darüber 1890 und ausführlicher in einem Vortrag im Jahre 1895 über Osteoplastik und einheilbare Prothesen der aber nicht in den gedruckten Verhandlungen aufgenommen ist. Ein Autoreferat findet sich im Zentralblatt für Chirurgie Bd. 22 pp.30 ff. Er hob darin den praktischen Nutzen von Implantation von Elfenbein und Knochen sowie vernickeltem Stahl Aluminiumbronze und dergleichen in Knochendefekten nochmals hervor. Wenn Elfenbein und Knochen auch allmählich von dem neuen sich bildenden Knochen umwachsen resorbiert substituiert würden so dienten sie doch als innere Schiene und als Reiz für die Knochenneubildung und erzwängen die Regeneration in der zweckmäßigen Bahn. Die anorganischen Fremdkörper auch künstliche Gelenke könnten für lange Zeit vielleicht dauernd einheilen und reizlos funktionieren. Dem Vortrag folgte eine reichhaltige Demonstration von Präparaten und Modellen von Elfenbeinmetallprothesen und Mittheilungen über klinische Beobachtungen. Einem großen Hunde war ein Metallscharnierapparat eingeheilt. Pean implantierte als Ersatz des resezierten Schultergelenkes ein Gelenk aus Platiniridium und Hartgummi das seit 2 1/4 Jahr tadellos funktionierte." Friedrich Trendelenburg Die ersten 25 Jahre der Deutschen Gesellschaft für Chirurgie 1923 p.163 unknown
ria9783749449606_inpPaperback. New. New Book; Fast Shipping from UK; Not signed; Not First Edition; N/A paperback
177624109Paris: Aux Adresses Ordinaires En Province Chez les Mds. de Musique 1776. Folio. Sewn. 1 title 2-5 music i blank pp. <br /> <br /> Spine reinforced with paper with numerous pinholes to outer margin; several small wormholes; tears to upper outer edges; occasional additional minor tears and stains; upper portion of final leaf lacking with early paper replacement missing music completed in manuscript. Lesure p. 238. RISM G2768 one copy only of the keyboard part at the Bibliothèque nationale. Aux Adresses Ordinaires, En Province Chez les Mds. de Musique unknown
20011333640PN. New. 2001. Soft Cover. Date is original print. This is a reprint edition . PN paperback
0967254361.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
A9780967254364Paperback / softback. New. paperback
B9780967254364Paperback / softback. New. paperback
2007119072Opera D'oro 2007-06-12. audioCD. Like New. 5x0x4. New in shrink wrap Please email for photos. Opera D'oro unknown
1998Q-1891004026Pasta Pr Pub 1998-09-01. Paperback. New. In shrink wrap. Looks like an interesting title! Pasta Pr Pub paperback
1998DADAX1891004026Brand: Pasta Pr Pub 1998-01-01. paperback. New. 6.75x0.50x9.00. Buy with confidence. Excellent Customer Service & Return policy. Brand: Pasta Pr Pub paperback
1995Q-0783545517Time Life Education 1995-08-01. Hardcover-spiral. New. New. In shrink wrap. Looks like an interesting title! Time Life Education hardcover
