Tipo di articolo
Condizioni
Legatura
Ulteriori caratteristiche
Paese del venditore
Valutazione venditore
Editore: Schott & Co. [ca 1925], London, 1925
Da: Colin Coleman Music, Stewkley, Regno Unito
Spartito
Size: Folio. [i], 81pp. Publisher's printed wrappers. Ex library with sticker and stamp.
Da: Herbst-Auktionen, Detmold, Germania
Eigenhändige Unterschrift - mir Repro-Porträtfoto unter dunkelgrünes Passepartout gerahmt (1 S. 4°).
Editore: B. Schotts Söhne [PN 19621], Mainz, 1880
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito Prima edizione
Folio. Sewn. Original publisher's green printed wrappers laid down to stiff dark green cloth boards. [1] (title), 2-39, [1] (catalog) pp. + Violin part ([12] pp.) Handstamp of former owner (Oscar Endér) to both titles. Wrappers slightly worn; spine to violin part reinforced with white tape. Light uniform browning. First Edition, later issue. "Goldmark's fame, mainly limited to Vienna and Budapest during his lifetime, was derived from his first opera, and his importance lies chiefly in his operatic works. He never belonged to a stylistic school, and in spite of his favour for Wagner he did not take part in the controversy between the 'progressive' and 'conservative' musical parties. His musical language is determined by a multiplicity of influences from Mendelssohn to Impressionism, incorporating Hungarian folk culture and his childhood memories of the synagogue. . In his other compositions, namely his piano and chamber works, Goldmark shows himself the heir of Schumann and Mendelssohn and partly of Spohr." William Pfannkuch and Gerhard J. Winkler in Grove Music Online.
Editore: Universal Edition [PN U.E. 377], Wien, 1901
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito
Folio. Sewn. Original publisher's green printed wrappers with titling within decorative lavender border. [2] (title, contents), 3-63, [1] (blank) pp. Text in German. For middle voice. Collection of 17 songs originally published by Doblinger: Op. 18 1) Sonntagsruhe [D. 1066a] 2) Wenn die Lerche zieht [D. 1066b] 3) Das kahle Grab [D. 1066c] 4) Der Wald wir dichter [D. 1575] 5) Die Quelle [D. 1369] 6) Schlage nicht die feuchten Augen nieder [D. 1577] 7) Weinet um sie [D. 1578] 8) So lach' doch einmal [D. 1068a] 9) Wir gingen zusammen [D. 1068b] 10) Er sagt' mir so viel [D. 1068c] 11) O willst mich nicht mitnehmen [D. 1068d] 12) Herzeleid [D. 1068e] Op. 20 1) Beschwöung [D. 1584] Op. 21 1) Ström' leise [D. 1585] 2) Marie [D. 1586] 3) Wollt' er nur fragen [D. 1587] 4) Franz [D. 1588] Wrappers slightly worn and soiled; minor fraying to spine. Light uniform browning. Reissued from first editions. "Goldmark's fame, mainly limited to Vienna and Budapest during his lifetime, was derived from his first opera, and his importance lies chiefly in his operatic works. He never belonged to a stylistic school, and in spite of his favour for Wagner he did not take part in the controversy between the 'progressive' and 'conservative' musical parties. His musical language is determined by a multiplicity of influences from Mendelssohn to Impressionism, incorporating Hungarian folk culture and his childhood memories of the synagogue." William Pfannkuch and Gerhard J. Winkler in Grove Music Online.
Da: Librairie Chat, Beijing, Cina
Condizione: Fine. Number of books: 1 book.
Da: Librairie Chat, Beijing, Cina
Condizione: Fine. Number of pages: 1 CD Size: Case 14.2x12.5x1.0cm Number of books: 1 CD.
Editore: F. Lucca [PNs 26351-26372], Milano, 1878
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito Prima edizione
Large octavo. Modern full navy cloth boards with original light green wrapper printed in black laid down to upper. 1f. (decorative title printed in dark brown), 1f. (title and character list), 2-18 (libretto), 1f. (index), 393 pp. Engraved. Text in Italian. Binding slightly worn and soiled. Slightly foxed; minor dampstaining. First Italian Edition. Opera, 4 acts. Libretto by Salomon Hermann Mosenthal. Premiered Vienna, Hoftheater, 10 March 1875. Italian version by Angelo Zanardini; Turin, 1 March 1879. "Goldmark's most famous, personal and successful work, the opera Die Königin von Saba, was inspired by his piano pupil, the Hofoper singer Caroline Bettelheim. In 1865 Salomon Mosenthal provided him with a suitable libretto, and in 1869 Goldmark received a grant of 800 Gulden from the Hungarian govenment, which enabled him to complete the opera in November 1871. In 1873, when it seemed to be rejected by the Vienna Hofoperntheater, Goldmark wrote a touching letter to Eduard Hanslick in its defence. He was persuaded to include part of Act 1, the arrival of the Queen of Sheba, in a Viennese charity concert on 11 January 1874 in which Liszt and Brahms also took part. Despite further intrigues, the première finally took place on 10 March 1875. It was a great success, and performances in many European operatic centres followed, as well as in New York (1885) and Buenos Aires (1901). Until the 1930s the opera had its most continuous performance tradition at Budapest. The subject matter of Die Königin von Saba is similar to Bizet's Djamileh, Delibes' Lakmé, Saint-Saëns's Samson et Dalila and other works of oriental colour. Stylistically the opera shows an impressive mixture: the representative scope of musical and scenic luxury is indebted to Meyerbeerian grand opera, whereas the strongly chromatic harmony and the continuous declamatory melodic style, which is only temporarily interrupted by closed forms, point to Wagner. With its opulent and exotic sonority Die Königin von Saba seems to have hit the nerve of its time. It was taken as the musical counterpoint to the orientalistic paintings of Hans Makart and the monumental Viennese fin-de-siècle buildings in the Ringstrasse. In this way Goldmark ranks as the true musical representative of the Austro-Hungarian monarchy in the last third of the 19th century." Wilhelm Pfannkuch and Gerhard J. Winkler in Grove Music Online.