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Editore: Paris, Frère (o.Pl.Nr.) [um 1840]., 1840
Da: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Germania
2 gest. S. Seitenränder lädiert, sehr hübsche Titelillustration (tanzende Provencalen).
Editore: Paris, Bernard Latte (o.Pl.Nr.) [ca. 1840]., 1840
Da: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Germania
3 gest. S. Kleine Randausbesserung, leicht stockfleckig. Mit hübscher, szenischer Titellithographie.
Editore: Sieber, Paris, 1820
Da: Félix ALBA MALZIEU, Le Puy-en-Velay, Francia
Spartito
Pas de couverture. Condizione: Très bon. PLANTADE Charles-Henri. Stances sur la mort de S.A.R. Monseigneur le duc de Berry. Paroles de Desaugiers. Paris, Sieber, sans date [1820]. In-folio. 3 pp. En feuille. Bel envoi autographe de l'auteur.
Editore: Frère, Paris
Da: studio bibliografico pera s.a.s., LUCCA, Italia
Brossura. Condizione: discrete. Musica dedicata a Charlet. Cm.32x25,5. Pg.4. Frontespizio illustrato da F. Grenier. 50 gr.
Editore: Frey, Paris
Da: studio bibliografico pera s.a.s., LUCCA, Italia
Brossura. Condizione: discrete. Cm.32x25,5. Pg.4. Frontespizio illustrato da F. Grenier. 50 gr.
Editore: Besozzi, Paris
Da: Félix ALBA MALZIEU, Le Puy-en-Velay, Francia
Spartito
Pas de couverture. Condizione: Très bon. PLANTADE Charles Henri. Trois nouveaux nocturnes à deux voix égales. Paroles de Charles Plantade. Musique de Charles Henri Plantade. Dédiés à leur ami Jadin. A Paris, chez Besozzi, sans date (c.1819). In-folio. 7 pp. Broché. Envoi autographe de l'auteur à Madame d'Henneville.
Editore: Frères Gaveaux, Paris, 1797
Da: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, U.S.A.
Spartito
Folio. Disbound. 4 pp. With text commencing "Je sais avec adresse porter un billet doux" from Plantade's opera Le Roman. Journal de la Lyre d'Orphée, 3e Année No 35. Spine reinforced with tissue; publisher's facsimile signature handstamp to lower outer corner of page 1. Not in RISM. "Plantade's music is consistent with French style at the turn of the 19th century. His formal background as a singing teacher is reflected both in the preponderance of vocal works in his output and the sympathetic quality of his melodies, which are pleasant, if undistinguished." Laurie Schulman in Grove Music Online. "The term 'rondò' was often used loosely, along with 'rond' and 'rondeau', terms frequently applied to what is now identified as the vocal rondò with a recurring theme in the tonic key that creates the basic pattern ABACA. Arias identified by any of these terms tend to express moments of high emotional intensity. Since 'rondò' identified an aria of special distinction, composers were not above appealing to the vanity of their singers by assigning the term to arias that were clearly not rondòs in form, content or placement. In 19th-century opera, the form of the rondò became modified and its musical content expanded, the term often being applied loosely to any second-act aria for a principal singer in a two-act opera." Don Neville in Grove Music Online.
Editore: 1-6) [ca. 1834]., 1834
Da: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Germania
12 gest. S. OPp. Einband stärker berieben und bestoßen, Seiten leicht wasserrandig. KVK (weist nur ein Exemplar nach!). - Jedes Stück mit hübscher, szenischer Lithographie. - Inhalt: 1: La goutte de roseé, paroles de Mr. Loraux. 2: La chasse, paroles de Mr. Jaime. 3: Le bonheur du jeune âge, paroles de Mr. St. Elme Champ. 4: L'orpheline, paroles de Mr. Jaime. 5: La lecture du bulletin, paroles de Mr. Th. Muret. 6: Les routiers, paroles de Mr. A. Da Costa.