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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
0332586987.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. 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
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
19563222DEUTSCHE GRAMMOPHON GESELLSCHAFT 07/1956. 1. hardcover. Sung in German! DEUTSCHE GRAMMOPHON GESELLSCHAFT hardcover
Q-0793512433G. Schirmer Inc. Paperback. New. New. In shrink wrap. Looks like an interesting title! G. Schirmer, Inc 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
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
177429643Paris: Lemarchand 1774. Folio. 19th century quarter dark brown leather-backed marbled boards spine in decorative compartments gilt titling gilt. 1f. recto title verso publisher's catalogue 1f. recto dedication verso argument 217 pp. <br /> <br /> With an inscription signed by the Canadian conductor Wilfrid Pelletier 1896-1982 to Italian conductor Tullio Serafin 1878-1968 dated New York 1928 to front flyleaf.<br /> <br /> Bass figurings added in manuscript to pp. 10-12 Act I scene 1; final page of music signed by the publisher Lemarchand. <br /> <br /> Binding worn; edges rubbed; spine split at joints and hinges; chipped at head and tail. Slightly worn and browned; title soiled with outer edge reinforced with paper tape; some minor staining; several repairs to inner margins; occasional small holes. First Edition variant issue. Hopkinson 41Af. Wotquenne 41. Lesure p. 240. RISM G2852 not distinguishing among issues. <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. Lemarchand unknown
192235997Paris France: Choudens. Spine has been taped with library-type tape but it has some wear along front hinge and a chunk missing top edge. A few 1" black marker lines at lower front cover. Prev. owner's name plate inside. Toning to pages due to age. Rough-cut pgs. 177 pgs. . Good. Paperback. 1922. Choudens paperback
40422Paris 19th century. 61 x 47.3 cms with frame 69.5 x 56 cms.<br /> <br /> The composer is depicted bust-length turned 3/4 left facing forward wearing a red jacket blue waistcoat white collared blouse with lace and wig. For a fine full-page color illustration of the original held at the Louvre see MGG Vol. 5 plate 15.<br /> <br /> "Gluck was recognized as an extraordinary phenomenon in his lifetime as is evident from Burney's deferential treatment of the composer during his visit to Vienna in 1772. Shortly afterwards the controversy stirred in French journals resonated well beyond the capital to other countries. The daily cultural discourse of Paris concerned Gluck's 'musical revolution' a catch-phrase taken up by Gluck's opponents such as Jean-François Marmontel as well as by his defenders; in 1781 the 'revolution worked in music by M. le Chevalier Gluck' later dubbed the 'German Orpheus' was used as the title of a collection of pamphlets for and against Gluck with a heavy editorial bias in favour Lesure c1984. Although operas by Piccinni Salieri and especially Sacchini as well as French contemporaries such as Grétry continued alongside Gluck in the French repertoire beyond the Revolution and Empire revivals of Gluck constituted the principal touchstone of dramatic music into the 1820s when the last routine revivals were acclaimed by Berlioz. Opera composers including Salieri Lemoyne and Vogel in Paris were presented or presented themselves as his legitimate successors; elsewhere Mozart especially in Idomeneo and J.M. Kraus were strongly affected by Gluck's example in constructing scenes applying a dramatically motivated admixture of lyricism and more direct and declamatory vocal expression and sometimes in modelling as when the statue in Don Giovanni adopts the tone of the oracle in Alceste. After his death his direct effect can still be heard in Die Zauberflöte and in several French operas including those of Méhul Cherubini and Spontini.<br /> <br /> Among the Romantics he continued to inspire respect and from Berlioz and Wagner emulation. Berlioz supervised productions of Orphée and Alceste in Paris 1859 and 1866. In Orphée Berlioz created the basis for the version most used over the next century at least by restoring the Italian key-scheme in several scenes to accomodate the tessitura of the title role to a female singer; Pauline Viardot was the first in a line to include Giulia Ravoli Kathleen Ferrier Janet Baker and others although the French version with tenor retained some currency. Musicians close to Berlioz began to realize his ideal of a complete critical edition although only a handful of 'reform' operas were published. Wagner wrote about Gluck in Oper und Drama having learned much from deep study of Iphigénie en Aulide of which he made a modernized performing version Dresden 1847. In 1890 for Weimar Richard Strauss similarly adapted Iphigénie en Tauride. Such orchestrational revision and the melding of recitative and aria to blur Gluck's structure of closed forms represented a style of musical archaeology from which Handel and Mozart also suffered or in terms of public exposure benefited. The later 20th century witnessed not only numerous revivals of the reform operas some in musically authentic form and including the Vienna Orfeo but also a less one-sided critical view of Gluck became possible with the publication of a new critical edition and a revival of interest in works in other genres especially opéra comique and with Don Juan ballet. Winton Dean has observed that Gluck's compromise between the demands of words and music 'was one of the most satisfying and successful of all and has placed his greatest works beyond the reach of time' Grove6. None of Gluck's operas except Orfeo/Orphée is likely to become a staple work in the repertory; however to the extent that every production has the aspect of a revival continued interest in his achievement and consequently revival of an increasing proportion of his output is guaranteed so long as opera continues to occupy a central place in Western musical culture." Julian Rushton in Grove Music Online. unknown
1396174478.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1396656286.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1391335236.Gpaperback. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. paperback
199036322<p>The book has 71 pages three fold-out sections. The text is printed on white hand-made Fabriano Umbria paper in black ink with headings printed in five colors and the three fold-out sections are printed on different pastel shades of MacGregor-Vinzani specially made for this edition. The various cutouts and collages are in different colors as well. Michael Alpert printed the book created and constructed all the various components of the book itself and its binding. The book is bound in a hand made paper wrappper and then inserted into a binding made of paper by MacGregor-Vinzani. The book is then placed in a cloth covered clamshell box with a paper spine label. </p><p>The book also contains the two-cd set of a recording of Gluck's opera laid into pockets at the back of the book. Number 16 of an edition of 90 copies. Signed by Alpert on the colophon. </p><p>Fine in a fine clamshell box. </p><p>Alpert and the Theodore Press have collaborated on other artists' books creations with Claire van Vliet and her Janus Press particularly with her production of King Lear. All of the various materials textures and colors come together in a beautiful production. Winner of the 1990 Stephen Harvard Prize for excellence in the Book Arts.</p> Theodore Press
1391870204.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
1986Q-0793598125G. Schirmer Inc 1986-10-31. paperback. New. In shrink wrap. Looks like an interesting title! G. Schirmer, Inc paperback
033219874X.Ghardcover. Good. Access codes and supplements are not guaranteed with used items. May be an ex-library book. hardcover
