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Editore: Pranava Books, 2020
Da: S N Books World, Delhi, India
Libro Print on Demand
Leatherbound. Condizione: NEW. Leatherbound edition. Condition: New. Language: ita,fre Leather Binding on Spine and Corners with Golden leaf printing on spine. Reprinted from 1811 edition. NO changes have been made to the original text. This is NOT a retyped or an ocr'd reprint. Illustrations, Index, if any, are included in black and white. Each page is checked manually before printing. As this print on demand book is reprinted from a very old book, there could be some missing or flawed pages, but we always try to make the book as complete as possible. Fold-outs, if any, are not part of the book. If the original book was published in multiple volumes then this reprint is of only one volume, not the whole set. IF YOU WISH TO ORDER PARTICULAR VOLUME OR ALL THE VOLUMES YOU CAN CONTACT US. Sewing binding for longer life, where the book block is actually sewn (smythe sewn/section sewn) with thread before binding which results in a more durable type of binding. THERE MIGHT BE DELAY THAN THE ESTIMATED DELIVERY DATE DUE TO COVID-19. Pages: 88 Pages: 88.
Editore: Braunschweig, Litolff's (VN 416) [ca. 1860]., 1860
Da: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Germania
7 lithogr. S. Rücken verstärkt, etwas fleckig. Ouverturen für das Pianoforte, No. 40.
Editore: G. Ricordi & C. [PNs 99800o, 99800e, 99800q], Milano, 1896
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito
Large octavo. Full red cloth with manscript titling in white ink to spine. 1f. (recto cast list, verso contents), 1f. (recto title, verso portrait of composer), 101, [i] (blank) pp. Some browning and foxing; price stamp to center of title obscuring text; minor tears to several outer edges. Paer "was one of the central figures in the development of opera semiseria during the first decade of the 19th century." Julian Budden and Scott L. Balthazar in Grove Music Online.
Editore: Published by Hodsoll [wm 1827], London, 1827
Da: Colin Coleman Music, Stewkley, Regno Unito
Spartito
Disbound. Engraved. Size: Folio. [i (title)], 9pp.
Editore: Published by I. Willis & Co. [1827], London, 1827
Da: Colin Coleman Music, Stewkley, Regno Unito
Spartito
Size: Folio, [i (title)], 6pp. Disbound. Engraved. A movement from Paer s Sargino arranged by Burford George Henry Gibsone.
Editore: Meissonnier, Paris, 1829
Da: Félix ALBA MALZIEU, Le Puy-en-Velay, Francia
Spartito
Pas de couverture. Condizione: Très bon. PAËR Ferdinando. Le Château de Pau. Paroles de Mr.Mazères, Musique de Mr. F. Paër. A Paris, Chez Meissonnier, sans date [1829]. In-folio 33,5x25cm. En feuilles. 4 pp. PN J.M.135. Musique gravée. Piano et Voix. Titre orné d'une lithographie figurant le château de Pau. "Les moindres productions de M. Paër sont de nature à exciter l'intérêt des amateurs de musique , par le goût et la pureté de style qui les distinguent: celle-ci se recommande également par le sujet, par le nom du poète et par le talent du musicien." Revue Musicale publiée par M.J. Fetis. 1829.
Editore: Printed for Mr. Viganoni by T. Skillern [1796?, otherwise inter 1796-1801], [London], 1796
Da: Colin Coleman Music, Stewkley, Regno Unito
Spartito
This imprint not in BL or BUC. Size: Folio. 4pp. Disbound. Drop title. Engraved. With the signature of Viganoni. Sung in the opera of I due Gobbi by Marcos Antonio Portugal (1762-1830) according to BUC.
Editore: Paris, Imbault (Pl.Nr. A.#.15) [ca. 1801]., 1801
Da: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Germania
3 gest. S. Minimal wasserrandig und stockfleckig.
Editore: Offenbach, André (VN 4063) [1820]., 1820
Da: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Germania
6 S. qu-fol. Leicht tintenfleckig, etwas stockfleckig.
Editore: chez Ollivier et H.J. Godefroy [1804], Paris, 1804
Da: Colin Coleman Music, Stewkley, Regno Unito
Spartito
Folded as issued. Typeset. Collection de Morceaux de Chant, Airs, Duo, Trio, Romances, Ouvertures, pots-Pourris, etc. Le tout arrange pour Piano ou Harpe, et quelquefois pour Piano et autres instrumens, no.16. Size: Folio. 8, [3], [3]pp.
Editore: Imbault, Paris, 1811
Da: Félix ALBA MALZIEU, Le Puy-en-Velay, Francia
Spartito
Pas de couverture. Condizione: Très bon. PAËR, Ferdinando. Trois grandes sonates pour le piano forte, avec accompagnement de violon et violoncelle ad libitum. Composées et dédiées à Sa Majesté l'Impératrice et Reine Marie Louise Archiduchesse d'Autriche. Sonate n°3. A Paris, chez Imbault, [1811]. In-folio. Partie pf. 47-75 pp. PN.948. Broché.
Editore: Paris, Pacini (Pl.Nr. 988-89) [ca. 1830]., 1830
Da: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Germania
Prima edizione
9, 9 gest. S. Sehr gutes Exemplar. Erstausgabe.
Editore: Chez Carli [1820?], A Paris, 1820
Da: Colin Coleman Music, Stewkley, Regno Unito
Spartito
Not in WorldCat or BnF. Size: Folio. [iv (title, advertisement)], 57pp. Paper covered boards (generally worn). Engraved. Bound with excerpts from operas by Auber and others and the third part of Ecole Moderne de Chant, composée Par les plus Grands Maîtres et les Chanteurs les plus Célèbres d'Italie, Redigée et Dédiée A Crescentini par Pacini, A Paris, Chez Mr Pacini, [1815?], pl.no.135, [i (title)], 28pp. (WorldCat references just one copy, not in BnF).
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Arte / Stampa / Poster
Image size ca. 115 x 94 mm, sheet size 265 x 182 mm. On wove paper. Head and shoulders, in profile, oval. With "Paÿr" lightly pencilled beneath image. Without letters, thus a possible proof. From the collection of the distinguished American mezzo-soprano Marilyn Horne (b. 1934). Slightly worn, browned, and foxed; dampstaining to lower blank margin; trimmed within platemark; small print collector's oval handstamp to verso ("Bowinkel"). Identified in pencil on verso as being engraved by Rosaspina and published by Bettoni; we have not, however, been able to verify this attribution. The image is based on that executed by Edme Quenedey in 1809. "[Paer] was one of the central figures in the development of opera semiseria during the first decade of the 19th century. . In his vocal writing Paer provided a link between late 18th-century composers (Cimarosa and Paisiello) and Rossini and his followers. Like those of his predecessors, Paer's works overflow with sweet, luminous italianate melodies organized in elegant phrases and supported by transparent harmonies. . Paer had a talent for inventing vocal filigree - his fioriture constitute a primary source of aesthetic and dramatic effect in many of his melodies - and the patterns that he devised show striking similarities to Rossini's repertory of ornaments." Scott L. Balthazart and Julian Budden in Grove Music Online. "Horne had a voice of extraordinary range, rich and tangy in timbre, with a stentorian chest register and an exciting top. In concert she once achieved the feat of singing in a single programme Rossini arias and Brünnhilde's Immolation Scene, proof of her exceptional versatility. Throughout her lengthy career she was an admired recitalist, singing lieder, mélodies, Spanish and American songs with equal aplomb." Alan Blyth in Grove Music Online.
Editore: Pleyel, Paris
Da: Félix ALBA MALZIEU, Le Puy-en-Velay, Francia
Spartito
Pas de couverture. Condizione: Très bon. PAËR Ferdinando. Pot-pourri et variations sur différents thêmes des opéras de Paër, arrangés pour le piano forte par l'auteur. A Paris, chez Pleyel, sans date (c.1816). In-folio. Titre + 23 pp. PN 1196. Broché. Très bel exemplaire.
Da: Eberhard Köstler Autographen&Bücher oHG, Tutzing, Germania
Manoscritto / Collezionismo cartaceo
Paris, 16. II. (ca. 1820), 4° (23 x 19 cm). 1 Seite. Doppelblatt. An einen Freund. den er wegen einer Opernprobe nicht zum Duc [Antoine-Louis-Marie] de Grammont begleiten kann und dessen Musikstück "Buis Magique" er lobt. Gewicht (Gramm): 20.
Editore: De la Collection de Pièces Nouvelles, 11ème Livraison (Pl.Nr. II P.) [ca. 1812]., 1812
Da: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Germania
Prima edizione
23 gest. S. Mit alter hs. Zweitpaginierung in Tinte, gelegentlich gering stockfleckig. Insgesamt gutes Exemplar. Erstausgabe. - Titelblatt mit eigenhändigem Namenszug vom Komponisten.
Editore: Chez N. Simrock [1810?], A Bonn, 1810
Da: Colin Coleman Music, Stewkley, Regno Unito
Spartito Prima edizione
First edition. Size: Oblong folio. 153pp. Stitched as issued in plain brown makeshift wrappers since worn away). Title detached and edges chipped, otherwise a good untrimmed copy. Engraved. Seller's label of Giovanni Ricordi in Milan pasted over the imprint.
Editore: 31 Mars 1830, Paris, 1830
Da: Colin Coleman Music, Stewkley, Regno Unito
Manoscritto / Collezionismo cartaceo
Size: Oblong 8vo. 2ff. Folded bifolium, written on two pages including integral address panel. Autograph letter, signed, sending the remainder of an amount for payment of a concert at court given by the singer ("chanteuse anglaise") Elizabeth Masson (1806-1865).
Data di pubblicazione: 1830
Da: Argosy Book Store, ABAA, ILAB, New York, NY, U.S.A.
Copia autografata
unbound. 3 pages (front and back) each measuring 8 x 5 inches, no place, no date, circa 1830, in Italian (partly translated), signed "Paer" to theater director Giambattista Benelli, who was a close friend of Rossini, stating that he has spoken to the police about Mme. Joy -- also that he has worked out an arrangement with the theater of M. Valabregue.who will pay for musical compositions, in which case he will then be more than glad to be at his service -- otherwise he will not set one foot in his establishment. Cleanly mounted to heavy stock paper with no loss of text. Near fine condition. Italian composer best known for Leonora (1804), an opera based on the same story as Beethoven's Fidelio, and Agnese, a drama in two acts. He holds the distinction of being one of the first teachers of Franz Liszt.
Da: Eberhard Köstler Autographen&Bücher oHG, Tutzing, Germania
Manoscritto / Collezionismo cartaceo
Ohne Ort und Jahr [Paris, ca. 1813], 4° (23 x 19 cm). 1 Seite. An einen Freund: "Vous m'avez recommandé de trouver un air pour Mad. Levasseur, et je l'ai trouvé tout copié: ce sera un espece de Polonaise avec Choeurs que nous executerons au lieu du dernier Choeur des Baccanti [.]" Über einen Brief an Bouffer, eine Probe sowie vier Hörner und eine grosse Pauke von der Königlichen Kapelle. Paërs Oper "I Baccanti" wurde am 7. I. 1813 in Paris uraufgeführt. Der erwähnte berühmte Sängerin ist Rosalie Levasseur (1749-1826), ebenfalls ewähnt ist der Sänger Domenico Consul. - Hübsch. Gewicht (Gramm): 20.
Editore: Paris, 23. August 1813., 1813
Da: Kotte Autographs GmbH, Roßhaupten, Germania
Manoscritto / Collezionismo cartaceo
1 S. Kl.-4to. In französischer Sprache an einen namentlich nicht genannten Adressaten mit der Bitte, ihm einen Brief, den er an Madame Festa geschrieben habe, zu kopieren und die orthographischen Fehler auszubessern. Nach dem Erhalt der korrigierten Abschrift wolle er ihn dann unterschreiben. Ferdinando Paër debütierte 1789 mit der komischen Oper La locanda de vagabondi" und war später Theaterkapellmeister in Venedig, Wien, Dresden und viele Jahre an der italienischen Oper in Paris, wo er u. a. auch Franz Liszts in Komposition unterrichtete. Seit 1831 Mitglied der Académie Française und seit dem Jahr darauf Kapellmeister der dortigen Königlichen Kapelle, schrieb Paër mehr als 40 Opern sowie Oratorien, Kantaten und Stücke für Klavier. Auf Briefpapier mit gedr. Briefkopf des Directeur & Compteur de la Musique de la Chambre de l Empereur nommé par S. M. Directeur des Theatres de la Cour & des Operas Italiens au Theatre de l Imperatrice". Mit kl. Randläsuren und alten Montagespuren verso.
Editore: Schott & Appiano [PN 243], Mainz, 1801
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito Prima edizione
Oblong folio. Disbound. 1f. (recto title printed within border incorporating floral motifs, verso blank), 2-29, [i] (blank) pp. Engraved. Slightly worn, soiled, and stained, heavier to title and final blank page. First Edition of the overture and 6 numbers for piano and voice. Scarce. OCLC 894764514. Le donne cambiate was first performed in Vienna at the Kärntnertortheater on 18 December 1800. "[Paer] was one of the central figures in the development of opera semiseria during the first decade of the 19th century." Scott L. Balthazar and Julian Budden in Grove Music Online.
Editore: Carli [PN 983], Paris, 1819
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito
Folio. Dark green leather-backed green boards with monogram to upper, spine in compartments gilt with titling and number gilt. 1f. (recto title, verso blank), [1] (cast list and table of contents), 2-219, [i] (blank) pp. Engraved. Publisher's handstamp to lower margin of title. Small 19th century Parisian binder/stationer's label to upper outer corner of upper pastedown. Contemporary signature to upper margin of title. Binding slightly worn, rubbed, and bumped; partially split at joints. Slightly foxed, heavier to some leaves; upper margins trimmed, including signature to title. Lesure I, p. 46. OCLC no. 24683585. Not in Eitner, BUC, Hirsch, or Hoboken. Agnese, to a libretto by Luigi Buonavoglia after Filippo Casari, was first performed at the Villa Scotti, Teatro Ponte d'Attaro in Parma in October 1809. "Agnese is Paer's last opera semiseria and the one in which comic and serious elements are most skilfully integrated. Its situations have been perceived as anticipating those of such intense psychological melodrammi as Donizetti's Lucia di Lammermoor and Verdi's I masnadieri which became common after 1830; other authorities have noted a similarity in Donizetti's Il furioso all'isola di San Domingo, as both there and in Agnese the mad scene involves the participation of a 'buffo' - clearly a throwback to the 18th century when male dementia was regarded as entertaining rather than tragic." Scott L. Balthazar in Grove Music Online.
Editore: N. Simrock [PN 94], Bonn, 1810
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito
Oblong folio. Decorative paper boards with dark green morocco title label gilt to spine, marbled edges, original publisher's dark pink upper wrapper with titling within decorative border bound in. 1f. (recto title, verso cast list and table of contents), 3-189, [i] (blank) pp. Engraved. Text in Italian and German. With "Stuttgart, bei G.A. Zumsteeg" overpaste below imprint and small contemporary signature to upper margin of title. Binding slightly worn, wrapper with some soiling, staining, and wear. Occasional light soiling, staining, and creasing, heavier to some leaves; repairs to pp. 1-7, 11-12, and final leaf, just touching text and staff lines to page 1. Later (second?) Edition. Schneider, Musikverlag N. Simrock, no. 30. Eitner VII, p. 279. Camilla, a dramma semiserio to a libretto by Giuseppe Carpani after Benoît-Joseph Marsollier des Vivetières, was first performed in Vienna at the Kärntnertortheater on February 28, 1799. "In its concentration of macabre settings, abnormal behaviour and grotesque juxtapositions of comic and serious elements, Camilla is the most shocking of Paer's semi-serious operas. [Paer] was one of the central figures in the development of opera semiseria during the first decade of the 19th century." Scott L. Balthazar and Julian Budden in Grove Music Online.
Da: Antiquariat Johannes Müller, Salzburg, Austria
Arte / Stampa / Poster
Einblattdruck; unterhalb der Darstellung dreispaltig gedruckte Biographie des Komponisten.- Gering stockfleckig.# Rare broadsheet.- Original lithography.-.
Editore: Paris, 30. IV. 1837., 1837
Da: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manoscritto / Collezionismo cartaceo
4to. 1 page. To a friend, offering two tickets for a forthcoming Academy conference on 2 May, pointing out that there will be a large crowd in attendance, which is why he only succeeded in obtaining gallery seats rather than for the parterre: "Je prends la liberté de vous offrir, ci jointe, deux billets pour la Séance actuelle des cinq accademies qui aurez lieu mardi 2 Mai prochain. Comme elle sera très nombreuse, je n'ai pu obtenir que deux billets de Gallerie du Nord; et point de Parterre [.]". - On headed stationery of the Musique du Roi. With a note regarding the former collector, donor, and possible recipient on the reverse: "donné par M. Millet". Traces of former mounting on reverse; small tears along the centrefold, partly rebacked with a strip of paper; slightly creased.
Editore: Paris, 4. X. 1832., 1832
Da: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manoscritto / Collezionismo cartaceo
4to. 1 page. With autograph address on verso. To the French pianist Pierre Zimmermann, apologizing that Paër will be unable to meet him the following week due to a conflict of engagements: "J'ai pris depuis quelques jours un engagement pour le 8, et je m'aperçois à l'instant que c'est justement le jour (jeudi proch.n) que vous aviez désiré me voir chez Vous. Vous êtes tous si bons pour moi, je vous laisse passer si j'irois volontiers, mais cet engagement est pour moi malheureusement nécessaire à remplir [.]".
Editore: Paris, 25. III. 1833., 1833
Da: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manoscritto / Collezionismo cartaceo
8vo. ½ p. Correcting the spelling of the names of the bassoonist Frédéric Berr and the cellist Auguste-Joseph Franchomme on the payroll of the royal orchestra: "Je sousigné Directeur de la Musique du Roi, déclare que les noms de Mrs. Berr et Franchomme doivent être incrits sur les états de payement orthographié, comme ci-dessus. et non Beer, et franchaume [.]". - Ferdinando Paër was born in Parma into a family of Austrian descent. His first opera "Circe" premiered during the Venice carnival of 1792. Other operas quickly followed, and Paër rose to fame in Italy and throughout Europe. In 1797 he was appointed music director of the Kärtnerthortheater in Vienna; in 1802 followed his appointment as composer to the court theatre in Dresden. His opera "Leonore" (1804) is based on the same story as Beethoven's "Fidelio", which premiered in 1805. Beethoven held Paër in high regard. Napoleon discovered him in Dresden and offered him a royal salary in Paris. There, in 1809, he celebrated his biggest operatic success with "Agnese". Paër's career continued during the Restoration, culminating in his appointment as director of the royal orchestra in 1832. Although his compositions are rarely performed today, Ferdinando Paër had a deep influence on the following generation of composers, such as Berlioz, Chopin and Liszt, who studied composition under him. - On stationery with lithographed letterhead of the "Musique du Roi". Well preserved.
Editore: Breitkopf und Härtel [PN 642], Leipzig, 1808
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito Prima edizione
Oblong folio. Contemporary red morocco-backed textured paper boards with spine in decorative compartments gilt, orange title label gilt. 1f. (recto title, verso blank), [i]-viii (libretto in German), 178 pp. Typeset. Text in Italian and German. Oval handstamp with crown and initials "F.N." to front free endpaper, title, and page 1; "Sect. 1 No 56" in red in a contemporary hand to front free endpaper and title; contemporary signature ("Amélie") in black to upper margin of front free endpaper. Binding slightly worn, rubbed, and bumped. Occasional light foxing, heavier to some leaves; margins cropped, just touching pagination in some cases and one letter of title on cast list; final signatures very lightly stained at upper margins. An attractive copy overall. First Edition, probable second issue. Eitner VII, p. 279. OCLC nos. 630753670, 884448984. Sargino, to a libretto by Giuseppe Maria Foppa, was first performed in Dresden at the Hoftheater on May 26, 1803. "After a short time in Prague in 1801, Paer accepted the post of court Kapellmeister in Dresden, where for the court theatre he wrote in successive years three of his most important works: I fuorusciti (1802), Sargino (1803) and Leonora (1804). . Sargino has a mock-heroic flavour, emphasizing comic elements over serious ones and giving buffo characters roles at least as weighty as those of the hero and heroine. . [Paer] was one of the central figures in the development of opera semiseria during the first decade of the 19th century." Scott L. Balthazar and Julian Budden in Grove Music Online.