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Verlag: New York : G. Schirmer, copyright 1880, 1880
Anbieter: Steven Wolfe Books, Newton Centre, MA, USA
, Berlioz, Hector, 1803-1869. Requiem for chorus and orchestra. Music by Hector Berlioz, vocal score with piano by Leopold Damrosch. New York : G. Schirmer, copyright 1880, later printing probably around 1960, 105pp., tall sewn PAPERBACK, very good, previous owner's mark on front cover in green ink. G. Schirmer's Editions of Oratorios and Cantatas, original price $1.25. Judging from typography and paper quality this reprint may be around 1960.
Verlag: Edwin F. Kalmus, New York, 1975
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Large octavo. Original publisher's green printed wrappers. 189 pp. Wrappers slightly worn; spine slightly faded and stained.
Verlag: New York : Tudor Publishing, 1935
Anbieter: Kennys Bookshop and Art Galleries Ltd., Galway, GY, Irland
Zustand: Very Good. 1935. Hardcover. Clean copy in original cloth covers with gilt title to spine. Covers showing light shelf wear. Lacking dust wrapper but remains a very good copy. . . . .
Verlag: Paris, Costallat (VN 11605) [o.J.].]., 1605
Anbieter: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Deutschland
410 S. Ldr. Einband bestoßen und berieben, wenige Eintragungen in Blei.
Verlag: Brandus et Cie. [PN 818], Paris, 1890
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Large octavo. Dark red morocco-backed marbled boards, raised bands on spine in decorative compartments gilt, titling gilt, marbled endpapers. 1f. (recto title, verso blank), 1f. (recto contents, verso blank), [1]-[2] (preface and foreword), 3-118 pp. Text in French and German. Binding slightly worn, rubbed, and bumped. Slightly browned. Re-issue. "Shakespeare's plays were to supply the basis of three [of Berlioz's] major works, Roméo et Juliette, Béatrice et Bénédict and the Roi Lear overture. In addition, there were at least three pieces inspired by Hamlet, a fantasy on The Tempest, and some direct borrowings in Les Troyens. More profoundly Shakespeare provided a framework for the structure of both Roméo et Juliette and Les Troyens and was a source, in the form of dramatic truth, of Berlioz's fundamental notion of expressive truth. Berlioz was to read and quote Shakespeare avidly for the rest of his life, putting him alongside Virgil in his literary pantheon." Grove online.
Verlag: Leipzig, Schuberth & Co. (VN 7429) [ca. 1920]., 1920
Anbieter: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Deutschland
Erstausgabe
23 S. Titelauflage der Erstausgabe (1903) dieser Bearbeitung.
Verlag: G. Schirmer [PN 2376], New York, 1880
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Large octavo. Original publisher's decorative green wrappers printed in black and red. 1f. (recto decorative title, verso blank), 1f. (recto content, verso blank), 236 pp. Text in english and French. Wrappers slightly worn; upper partially detached; spine split and torn with portions lacking. Some signatures split or splitting. Hopkinson 54D(q). In four parts to a libretto by the composer and Almire Gandonnière after Gérard de Nerval's French translation of Johann Wolfgang von Goethe's Faust, Le Damnation de Faust was first performed in concert in Paris at the Opéra-Comique (Salle Favart) on December 6, 1846 and as a fully staged opera in five acts by Raoul Gunsbourg for the Monte Carlo Opéra on February 18, 1893.
Verlag: Choudens Fils [PN A. C. 987], Paris, 1890
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
Noten Erstausgabe
Large octavo. Full black cloth, titling gilt to spine. 1f. (recto title, verso blank), 1f. (recto cast list and contents, verso blank), 179, [i] (blank) pp. Binding slightly worn, rubbed, bumped, and cockled. Minor pencil annotation to contents. A re-issue of the first edition variant of ca. 1864. Hopkinsin 64B(a).
Verlag: Choudens [PN A. C. 11312], Paris, 1970
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Large octavo. Original publisher's light grey illustrated wrappers printed in dark red. 1f. (recto title, verso blank), 1f. (recto notes on first performance, named cast list, and contents, verso blank), 117, [ii] (blank), 120-129, [ii] (blank), 132-257, [i] (blank) pp. Named cast includes Delna, Agussol, Beauvais, Mathieu, Mrs. Lucas, Renaud, Douaillier, Chambon, Delpouget, Péloga, Paty, Cabillot, Flahaut, and Hanauer. Small handstamp to lower margin of upper wrapper; spine slightly creased. Upper edges slightly damaged. A facsimile of the second version published by Choudens in 1899. Hopkinson 64B (c). First performed in Paris at the Théâtre National de l'Opéra on 15 November 1899, under the direction of Bertrand and Gailhard.
Gustav Heinze, Leipzig, 1864. Halbleinwand der Zeit, VII, 285 Seiten, [35 Blatt (Tafeln)] (insgesamt ca. 350 Seiten), 8° (20 cm). Druck in FRAKTUR (gebrochenen Lettern; "altdeutsch"). DEA / erste deutsche Ausgabe des Standardwerks (zahlreiche Auflagen folgten, mindestens bis 1903). Zeitgenössischer Buchbindereinband mit Fileten & geprägtem Rückentitel. Einband mit kleinen Gebrauchsspuren und leicht aufgehellt, Rücken ein wenig lichtrandig, Kanten sowie das Bezugspapier beider Deckel merklich berieben, zeitgenössischer dezenter Besitzvermerk sowie modernes Exlibris im vorderen Innendeckel, kleinere Reste von mutmaßlich Siegellack auf dem Vorsatz, dezenter Namenstempel auf dem Titel, Papier leicht gebräunt und mitunter ein wenig braunfleckig (NICHT: stockfleckig), mit einigen wenigen zeitgenössischen Randglossen (dezent & sauber) mit Bleistift im Text. Trotz der Annotationen nahezu sehr schönes Exemplar.
Verlag: J. Rieter-Biedermann [PN 818], Leipzig, 1875
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Large octavo. Half dark brown cloth with marbled boards, original publisher's printed wrappers with titling within decorative border bound in. 1f. (title), 3-118 pp. Text in French and German. Minor tears to lower margin of upper wrapper. Slightly browned. Hopkinson 39D(d). ". in some respects [Berlioz's] most interesting solutions to issues of operatic style are to be found in Roméo et Juliette (Friar Laurence's scene and the superb finale which follows may be compared with the best in Meyerbeer)." D. Kern Holoman in Grove Music Online.
Anbieter: Antiquariat Johannes Müller, Salzburg, Österreich
Kunst / Grafik / Poster
Brustbild.- Louis Hector Berlioz (* 11. Dezember 1803 in La Côte-Saint-André, Département Isère; ? 8. März 1869 in Paris) war ein französischer Komponist und Musikkritiker.# Etching by Charles Alphonse DEBLOIS (1822-1883).-.
Verlag: Paris, Joubert (Pl.Nr. B&Cie 12808) [nach 1900]., 1900
Anbieter: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Deutschland
Erstausgabe
143 lithogr. S. Im Bund gelockert, Umschlag lose. Hopkinson S. 40. - Umdruck der Erstausgabe von Brandus aus dem Jahr 1882.
Verlag: Paris, Richault (Pl.Nr. 10.157) [ca. 1849]., 1849
Anbieter: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Deutschland
7 + 13 gest. S. Titelblatt mit Eintragung, Verleger- und Händlerstempel. Hopkinson #55E (a), S. 122. - Zweite Ausgabe der Klavierfassung dieser Einzelnummern. - Hopkinson verzeichnet diese Ausgabe, hatte Sie aber nie zu Gesicht bekommen (no copy of such an edition has ever been traced).
Verlag: Paris, Richault (Pl.Nr. 11605) [ca. 1854]., 1854
Anbieter: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Deutschland
Erstausgabe
18 gest. S. Etwas stockfleckig. Hopkinson, S. 115 . - Erstausgabe als Einzelnummer von den Platten der Erstausgabe der kompletten Partitur (Hopkinson Nr. 34 A).
Verlag: Brandus et Cie, Paris, 1885
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
Noten Erstausgabe
Large octavo. Quarter dark blue calf with marbled boards, raised bands on spine in decorative compartments gilt, marbled endpapers, original publisher's dark ivory upper wrapper. 1f. (recto title, verso blank), 1f. (recto text, verso contents), 110 pp. With printed dedication to Prince Albert to head of title. Binding slightly worn, rubbed, and bumped; upper portion of spine lacking; joints cracked; front free endpaper detached; wrapper worn, stained, and detached. Slightly browned throughout, heavier to first and last leaves. First French edition. Hopkinson 57D(a).
Verlag: (VN 11607) [um 1880]., 1880
Anbieter: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Deutschland
32 S. (Libretto dt./frz.) u. 390 lithogr. S. Hln. d. Zt. Erste Seiten leicht stockfleckig, sonst Buchblock gut erhalten. Hopkinson, S. 117 Nr. 54 D (e). - Titelauflage. - Mit Frontispiz.
Verlag: Paris, Richault (VN 11607) [nach 1854]., 1854
Anbieter: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Deutschland
Erstausgabe
4°. 32 S. (Libretto dt./frz.), 390 lithogr. S. Bibliophiler Einband (leicht berieben und bestoßen). - Einbände berieben und bestoßen, im Bund etwas gelockert. Stellenweise etwas stockfleckig, vereinzelt mit Eintragungen in Farbe. Hopkinson, S. 117 Nr. 54 D (c). - Variante der Erstausgabe von 1854 ohne das Porträt und Personenverzeichnis.
Anbieter: Antiquariaat Wim de Goeij, Kalmthout, ANTW, Belgien
Verbandsmitglied: ILAB
Paris, Michel Lévy Frères, 1870, in-8°, (8) pp nn ( photo portrait originale , titre ) + 509 pp + (4)pp nn (errata) , reliure pleine toile d'époque, dos lisse avec étiquette en cuir. (reliure modeste). Premières pages avec qq. légères rousseurs, exemplaire très convenable. Seconde édition des mémoires de Berlioz. L'auteur avait composé et imprimé ce texte en 1865 dans une édition de 1200 exemplaires qu'il distribuait parmi ses amis. A sa mort il restait encore un grand nombre d'exemplaires qui fûrent vendu en 1870 avec une nouvelle page de titre. Notre exemplaire est un de cette édition. Le frontispice portrait est une photographie originale et contient en bas une citation facsimilée de la Symphonie Fantastique. (Voyez Holoman A6 ; Hopkinson 87 ).
Verlag: Brandus et Cie [PN B. et Cie. 12311], Paris, 1878
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
Noten Erstausgabe
Oblong folio. Original publisher's dark green cloth boards with decorative blindstamping black and lettering gilt to upper; brown endpapers. 1f. (recto title, verso blank), [1] (blank), 2-99 pp. Lithographed throughout. Small musical bookplate to front pastedown. Binding slightly worn, rubbed, and bumped, partially split at spine; text block separated. Minor internal wear and foxing; corners slightly creased. First Edition of this arrangement. Hopkinson 42C(f). "Harold en Italie was composed in the summer of 1834 in response to a request from Paganini for a work in which he might display a fine Stradivari viola. Berlioz used the opportunity to devise an unusual symphony with concerto elements in which echoes of his Italian journey are presented in the cloak of Byron's Childe Harold. As in the Symphonie fantastique, a recurrent theme again serves to unify the four movements, but the modest role of the viola solo deterred Paganini from ever playing it." Hugh Macdonald in Grove Music Online.
Verlag: Schlesinger (VN 2656) [ca. 1842]., 1842
Anbieter: Musikantiquariat Bernd Katzbichler, Unterwössen, D, Deutschland
Erstausgabe
52 S. (lithographiertes Autograph). Umschlag. Titelblatt mir altem Besitzvermerk und gering stockfleckig. Rücken verstärkt, einzelne kleine Knicke, sonst gutes Exemplar. Hop. 28A. - Erstausgabe, von Belioz' Autograph gedruckt. - Mit einem späterem Umschlag (aktualisierte Verlagswerbung von ca. 1859) versehen.
Anbieter: Andreas Wiemer Historical Autographs, Kelkheim, Deutschland
Manuskript / Papierantiquität Signiert
Kein Einband. Zustand: Sehr gut. Berlioz, Hector (1803-1869) - Autograph letter signed - French Romantic composer. Autograph letter signed "H. Berlioz". 5.25 x 8.25 inch, (Paris), 1857 April 1. To Alphonse Royer, director of the Paris opera. In French, in full: "Je ne suis pas libre ce soir, il m est impossible de profiter de la place que vous m avez réservée pour le Ballet. Je vous renvoie donc le billet. Mais, s il n y a pas une grosse indiscrétion à vous demander deux places pour Lundi, veuillez me les envoyer." Mailing folds, handling wear, note in a different hand at the top, else good condition. COMES WITH A CERTIFICATE OF AUTHENTICITY BY ANDREAS WIEMER HISTORICAL AUTOGRAPHS. Please do not hesitate to contact me with any questions. Signatur des Verfassers.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
Signiert
2 pp. of a bifolium. Octavo. Dated "31 Juillet," no year. To an unidentified male correspondent. On lined paper. In French (with translation). Berlioz apologizes for not being able to edit his article on Bortnyansky, with which he hopes his correspondent will be satisfied. "The fragment of musical criticism which I wanted to add to the item on Bortnianski is in the hands of Mr. M. Levy's printer who is at present bringing out a book which contains this article. It is impossible for me - since the printer is not in Paris - to rework my manuscript. Therefore be good enough to be satisfied with the Russian article; it is accurate, on the whole, and it would be difficult for me to redo a study on Bortnianski and Emperor of Russia's singers that is already done." The composer/critic goes on say that he would be happy for extracts of the article to appear in L'Illustration and, in a postscript, asks his correspondent to send him a copy of the periodical in which his article appears. Slightly worn; creased at folds and very slightly overall. Dmitri Stepanovich Bortnyansky (1751-1825) was a Ukrainian singer, composer, and music director active in Russia. "During the 19th century Bortnyansky choral concertos and hymns gained popularity across Western Europe; some copies of concertos preserved in the library of the Hofkapelle in Vienna date from as early as 1780. Berlioz, who heard the concertos in Russia in the 1840s, praised the 'incredible freedom' of their approach to choral sonority (Les soirées de l'orchestre, Paris, 1852) and included Bortnyansky's music in several of his own concerts in Paris." Marika Kuzma in Grove Music Online "[Berlioz] stands as the leading musician of his age in a country-France-whose principal artistic endeavour was then literary, and in an art-music-whose principal pioneers were then German. In many senses the Romantic movement found its fullest embodiment in him, yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance, to which he gave his full exertions as composer, critic and conductor. And though there were many who perceived greatness in his music from the beginning, his genius only came to full recognition in the 20th century." "Berlioz's views were presented regularly to readers of the Paris press . He published three collections of criticism: Les soirées de l'orchestre (1852), Les grotesques de la musique (1859) and A travers chants (1862). In his feuilletons he wrote of new operas and singers .; his opinion on momentous occasions was of crucial interest, for example at the première of Le prophète in 1849. He reviewed most of the concerts of the Société des Concerts; he wrote of new instruments and musical gadgets, of his own impressions of music abroad, and of important musicians visiting France; he wrote biographical notices of Gluck, Beethoven, Spontini, Méhul and himself; he wrote fiction and fantasy, often with a critical purpose; he wrote serialized treatises on orchestration and conducting. There are, in short, few facets of musical practice of the time untouched in his feuilletons . In general Berlioz's opinions are trenchant and clearly expressed." Hugh Macdonald in Grove Music Online.
Anbieter: Antiquariat J. Voerster, Stuttgart, BW, Deutschland
Manuskript / Papierantiquität
Kein Einband. Zustand: Sehr gut. Brunswick, Deutsches Haus, 4. April [1854], Octavo 17,7 x 14 cm. 1 page with small marginal tears on the right edge. CONCERT ORGANIZATION AND MANAGEMENT Berlioz invites his friend Joseph Joachim, who had been the royal concertmaster in Hanover since the beginning of 1853, to a concert at which his overture "Le Corsaire" and two other pieces, "Das Fest" and the "Adagio from Romeo and Juliet" are to be played. This concert is probably the concert in Oldenburg that was to take place on April 8, 1854 and to which Berlioz had already referred to his friend in his letter of March 13, 1854. In this letter, Berlioz also mentions that he had already sent some time ago to Mr. Nieper two songs for the Austrian singer Madame Madelaine Nottes (1821-1861) for translation into German. With the title of a royal chamber singer, the soprano Nottes was engaged for life at the Royal Opera in Hanover and Berlioz had offered her to sing "La Captive" with orchestra if she should be interested (Briefe von und an J. Joachim, S. 172). In connection and with his concert invitation to Joachim, Berlioz now asks his friend in his letter of April 4, 1854, for the following: "If you come to my concert, please bring me the German texts of L'Absence and La Captive, which Mr. Nieper had kindly promised me and which I would like to perform in Dresden as well. - Apparently unpublished: not in the Correspondance Générale, ed. Citron (1983-2003), where its existence is however surmised. KONZERTORGANISATION UND MANAGEMENT Unveröffentlichter Brief! - Berlioz lädt seinen Freund Joseph Joachim, der seit Anfang 1853 königlicher Konzertmeister in Hannover war, zu einem Konzert ein auf dem seine Ouvertüre "Le Corsaire" und zwei weitere Stücke, "Das Fest" und das "Adagio aus Romeo und Julia gespielt werden sollen. Bei diesem Konzert handelt es ich wahrscheinlich um das Konzert in Oldenburg, das am 8.4.1854 stattfinden sollte und auf das Berlioz seinen Freund schon in seinem Brief vom 13.3.1854 hingewiesen hat. In diesem Brief erwähnt Berlioz auch schon, dass er schon vor längerer Zeit Herrn Nieper zur Übersetzung ins Deutsche zwei Lieder für die österreichische Sängerin Madame Madelaine Nottes (1821-1861) geschickt hat. Mit dem Titel einer königlichen Kammersängerin war die Sopranistin Nottes auf Lebenszeit bei der königlichen Oper in Hannover engagiert und Berlioz hatte ihr angeboten "La Captive" mit Orchester zu singen, falls sie daran intersiert sein sollte. Im Zusammenhang und mit seiner Konzerteinladung an Joachin bittet Berlioz seinen Freund nun in seinem Brief vom 4. April 1854 um folgendes: "Wenn Sie kommen, seien Sie so gut, mir die deutschen Texte von L'Absence und La Captive mitzubringen, die Herr Nieper mir freundlicherweise versprochen hatte und die ich in Dresden singen lassen werde." - Offenbar unveröffentlicht: nicht in der Correspondance Générale, ed. Citron (1983-2003), wo seine Existenz jedoch vermutet wird.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
Signiert
7 measures, notated in black ink on one side of the leaf. Several notes crossed out and a final passage rewritten. 1 leaf. Oblong folio (268 x ca. 170 mm). A first draft of a polyphonic theme. Identified in German in contemporary manuscript at head: "Handschrift von Hector Berlioz Erste Skizze. (Benvenuto Cellini)." Some wear and browning; slightly creased at folds; lower edge unevenly trimmed. The present manuscript not recorded in Holoman. Benvenuto Cellini, an opéra semi-seria in two acts to a libretto by Léon de Wailly and Auguste Barbier assisted by Alfred de Vigny, was based on the memoirs of Benvenuto Cellini. Set in 16th century Rome during the papacy of Clement VII, the work premiered in Paris on 10 September 1838 at the Opéra and was produced in a revised version in Weimar at the Grossherzogliches Hoftheater on 20 March 1852 and with further revision in three acts on 17 November 1852. "Whether it originated as a serious or a comic opera, the result, in all its many versions, is a compound, a characteristic blend of idealism and farce, grandeur and wit, breadth and vivacity. Berlioz poured into [Benvenuto Cellini] every drop of invention and feeling at his command in a torrent of notes that make up a long and very lively opera, and its heterogeneity, so baffling to Parisians in 1838 and Londoners in 1853, is one of its main virtues." Macdonald: Berlioz, p. 106. "[Berlioz] stands as the leading musician of his age in a country, France, whose principal artistic endeavour was then literary, in an art, music, whose principal pioneers were then German. In many senses the Romantic movement found its fullest embodiment in him, yet he had deep Classical roots and stood apart from many manifestations of that movement. His life presents the archetypal tragic struggle of new ideas for acceptance, to which he gave his full exertions as composer, critic and conductor. And though there were many who perceived greatness in his music from the beginning, his genius only came to full recognition in the 20th century. . In [Berlioz's] own words, Benvenuto Cellini 'contains a variety of ideas, an energy and exuberance and a brilliance of colour such as I may perhaps never find again.' " Hugh Macdonald in Grove Music Online While musical quotations in Berlioz's hand are not rare, his sketchleaves are very rare to the market; we have located only one example at auction in over 30 years.
Anbieter: Antiquariat J. Voerster, Stuttgart, BW, Deutschland
Manuskript / Papierantiquität
Hardcover. Zustand: Gut bis sehr gut. No place, no date [nach 1830], Octavo oblong 17.5 x 19.5 cm. 1 page. Under passepartout. Somewhat browned. ALBUM LEAF OF HIS MASTERPIECE Large, decorative album leaf, titled by the composer "Fragment de la Simphonie Fantastique. Scène du Bal". The 28 measures in 6 lines are marked "Valse" and are from the second act of the symphony. The work is considered one of the most significant and innovative pieces of Romantic music. The first performance took place in December 1830 at the Paris Conservatoire. In the following years, Berlioz made several changes. The score did not appear until after Berlioz's tour of Germany in 1842. ALBUMBLATT SEINES MEISTERWERKS Großes, dekoratives Albumblatt, vom Komponisten überschrieben "Fragment de la Simphonie Fantastique. Scène du Bal". Die 28 Takte in 6 Zeilen sind mit "Valse" bezeichnet und stammen aus dem zweiten Akt der Symphonie. Das Werk gilt als eines der bedeutendsten und innovativsten Stücke der romantischen Musik. Die Uraufführung fand im Dezember 1830 im Pariser Konservatorium statt. In den folgenden Jahren nahm Berlioz mehrfach Änderungen vor. Die Partitur erschien erst nach Berlioz' Deutschlandtournee 1842.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
Signiert
15 measures, titled and signed below the music: "Thème e Bal e La Symphonie Fantastique. H. Berlioz." Undated, but ca. 1840-1850. The complete main theme of the second movement, "Un Bal," carried by the violins in measures 38 to 54 of the full score. 1 leaf. Notated in dark brown ink within decorative dark gold borders on Lard-Esnault paper. Oblong quarto (227 x 300 mm). With: - Gustave-Hippolyte Roger (1825-1879). Autograph musical quotation signed "G. Roger," being a 12-measure song for voice and piano commencing "d'autiens tu beau miage sur les ailes du vent?," to lower portion of recto. With, to verso: - Adolphe Adam (1803-1856). Autograph musical quotation signed "Ad. Adam," being a 16-measure waltz for piano - Fromental Halévy (1799-1862). Autograph musical quotation signed "F. Halévy," being a 22-measure work for piano titled "Suite" "The composition of the 'Symphonie fantastique' was a momentous event in Berlioz's career, his first full-scale masterpiece, and equally momentous in the history of music as the first unequivocal declaration of romantic ideas in style and musical language, and its echo has pervaded all music of passion and personal experience to this day . Of Harriet Smithson's identity as the 'beloved', portrayed by an 'idée fixe' in the form of an obsessive theme that recurs in all the movements, there can be no question." MacDonald: Berlioz, p. 18. A unique artifact incorporating a rare quotation from one of the most outstanding works of the symphonic repertoire of the Romantic period, the whole uniting four of the most prominent French musical figures of the mid-19th century.
Verlag: Verlag Bärenreiter Kassel (Bärenreiter Ausgabe Nr 5782a), 1978
Anbieter: Buchstube Tiffany, Barsbüttel, Deutschland
Gebrauchs- u. Abnutzungsspuren, OPBd, Softcover, leicht abgerieben, sonst gut erhalten, 99 S., Noten, Opus 22, Name der Vorbsitzerin, 4° Hector Berlioz. Te Deum. Opus 22. Klavierauszug. 250 gr.
Anbieter: Antiquariat Michael Eschmann, Griesheim, Deutschland
Kunst / Grafik / Poster
0. Sprache: Deutschu.
Verlag: Costallat, Paris
Anbieter: studio bibliografico pera s.a.s., LUCCA, Italien
Copertina rigida. Zustand: discrete. Testo francese. Cm.34,4x27. Pg.8. Coperta decorata. 50 gr.