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Verlag: New Haven : Yale University Press, 1989, 1989
Anbieter: Steven Wolfe Books, Newton Centre, MA, USA
, Thomson, Virgil, 1896-1989. Music with words : a composer s view. New Haven : Yale University Press, 1989, x, 178pp., very good dust-jacket, very good hardcover, previous owner's stamp. 9780300045055 ISBN 0300045050.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Octavo. On personal onionskin letterhead with the composer's name and address printed at head. Sending "good wishes" to Mr. Adamson, dated 7 February 1968. Creased at folds and slightly overall; small spot of black mounting paper to head of verso. An American composer and critic, "[Thomson] produced a sizeable catalog of stylistically diverse compositions characterized by expressive directness and textural transparency, written in a language that drew from hymnbook harmony, popular song, and dance idioms of the late 19th century, and utilizing plain-spoken tonal procedures but also diatonic dissonance and polytonal elements. In his many vocal works, and his two path-breaking operatic collaborations with Gertrude Stein, Thomson demonstrated a mastery of prosody. His settings of English convey American speech patterns with naturalness and clarity. He brought strong predilections for living composers and American music to his criticism. The wit, vitality, and descriptive precision of his writing, which demystified the complexities of music for lay readers, made him among the most influential and lasting critics of the 20th century." Anthony Tommasini and Richard Jackson in Grove Music Online.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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The composer is depicted half length, his left hand at his waist, his right raised above his head. in what appears to be a conducting attitude. Inscribed at upper right. Image size 174 x 124 mm., overall size 249 x 198 mm. Framed and glazed. With autograph note to verso: "Photo by Maurice Grosser taken about the time of the Pulitzer Aware for score of Flaherty's Louisiana Story." An American composer and critic, "[Thomson] produced a sizeable catalog of stylistically diverse compositions characterized by expressive directness and textural transparency, written in a language that drew from hymnbook harmony, popular song, and dance idioms of the late 19th century, and utilizing plain-spoken tonal procedures but also diatonic dissonance and polytonal elements. In his many vocal works, and his two path-breaking operatic collaborations with Gertrude Stein, Thomson demonstrated a mastery of prosody. His settings of English convey American speech patterns with naturalness and clarity. He brought strong predilections for living composers and American music to his criticism. The wit, vitality, and descriptive precision of his writing, which demystified the complexities of music for lay readers, made him among the most influential and lasting critics of the 20th century. Thomson also won the 1949 Pulitzer Prize in Music while a critic at the Herald Tribune. The award went to his music for the Robert Flaherty film Louisiana Story. That this was (and at this writing remains) the only time the Pulitzer in music had been given to film music was a point of pride for Thomson." Anthony Tommasini and Richard Jackson in Grove Music Online.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Octavo. 1 page. Dated 20 June 1979. In black ink. On lightweight personal letterhead with Thomson's name and address at 222 West 23rd Street in New York printed at head. with autograph envelope with Thomson's handstamp to verso. Relative to his interest in purchasing a copy of Alice B. Toklas's account of her legendary life with Gertrude Stein: "Yes please I shall be happy to have the A.B. Toklas What I Remembered for $15," requesting that the book be sent to Palaemona Mörner in Stockholm with the bill sent to him in New York. Lightly creased at folds; envelope torn at right margin with minor loss. An American composer and critic, "[Thomson] produced a sizeable catalog of stylistically diverse compositions characterized by expressive directness and textural transparency, written in a language that drew from hymnbook harmony, popular song, and dance idioms of the late 19th century, and utilizing plain-spoken tonal procedures but also diatonic dissonance and polytonal elements. In his many vocal works, and his two path-breaking operatic collaborations with Gertrude Stein, Thomson demonstrated a mastery of prosody. His settings of English convey American speech patterns with naturalness and clarity. He brought strong predilections for living composers and American music to his criticism. The wit, vitality, and descriptive precision of his writing, which demystified the complexities of music for lay readers, made him among the most influential and lasting critics of the 20th century." Anthony Tommasini and Richard Jackson in Grove Music Online What I Remembered is Toklas's only account of her life with Gertrude Stein, with whom Thomson collaborated on the two "path-breaking" operas referred to above, Four Saints in Three Acts and The Mother of us All. Mörner (1908-1990) translated Thomson's Four Saints in Three Acts into Swedish in 1979, apparently for a 1979 Stockholm production cited by Andrew Porter in "Virgil Thomson: A Composer of Operas" in Opera 47, 1996. An interesting association item.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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2 pp. written in red ink on a seasonal note card with Thomson's printed address at 222 West 23rd Street in New York. 99 x 135 mm. with red and gold borders. With original autograph envelope addressed to Bowles in Tangier, Morocco. Regarding Thomson's travels in Israel, Paris, London, writing music, thoughts on aging, etc.; he misses and is thinking of Bowles: "In October I did go to the Terre Sainte and found Jerusalem very beautiful. The Arab food is best, especially Yemenite. Paris. was dismal. I enjoy London. Here I read about you in magazines and people talk about you. I go away on dates and sometimes write music. I enjoy being old, because I wake early. And the young like me." Envelope slightly worn; lacking rear flap; minor bleeding to two letters of street address. Thomson "produced a sizeable catalog of stylistically diverse compositions characterized by expressive directness and textural transparency, written in a language that drew from hymnbook harmony, popular song, and dance idioms of the late 19th century, and utilizing plain-spoken tonal procedures but also diatonic dissonance and polytonal elements. In his many vocal works, and his two path-breaking operatic collaborations with Gertrude Stein, Thomson demonstrated a mastery of prosody. His settings of English convey American speech patterns with naturalness and clarity. He brought strong predilections for living composers and American music to his criticism. The wit, vitality, and descriptive precision of his writing, which demystified the complexities of music for lay readers, made him among the most influential and lasting critics of the 20th century." Anthony Tommasini and Richard Jackson in Grove Music Online. The American composer and writer Paul Bowles (1910-1999) studied with Thomson, Nadia Boulanger, Roger Sessions, and others. He was an avid traveler and had an abiding interest in ethnomusicological research; Bowles also wrote musical criticism under the guidance of Virgil Thomson as well as authoring the noted novel The Sheltering Sky in 1949. "[His] compositional style is witty, aphoristic and tuneful. He wrote almost exclusively in short forms that evoke, particularly in the solo piano works, American jazz and folk elements, Latin American dance rhythms and Spanish harmonies. His operas are constructed as series of separate songs, each of which is unfailingly idiomatic. His orchestral music, which tends to be at once concise and kaleidoscopic, employing collage-like juxtapositions, displays little thematic development. Despite his fame as a writer, Bowles always thought of himself primarily as a composer. Even though many of his compositions remained unpublished at the time of his death, his music enjoyed a renaissance during the final decade of his life, inspiring numerous recordings and performances." Irene Herrmann in Grove Music Online.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Quarto. Original pink wrappers with titling in dark gold within black lace-patterned border to upper, advertisements to inner wrappers, list of benefactors, donors, and contributors to verso of lower. 24 pp., incorporating verse by Richard Crashaw "Upon the Book and Picture of the Seraphical Saint Teresa" with full-page illustration of Saint Teresa in Ecstasy by Bernini; a reproduction of a portrait of Gertrude Stein by Christian Bérard; a reproduction of the autograph musical manuscript of Thomson's "Musical Portrait of Gertrude Stein;" an essay by Stein entitled "Portrait of Virgil Thomson;" "head shots" of Stein, Thomson, Austin, Smallens, Ashton, Grosser, Houseman and 8 cast members including Beatrice Robinson Wayne, Edward Matthews, Bruce Howard, Embry Bonner, Altonell Hines, Abner Dorsey, Bertha Fitzhugh Baker, and Eva Jessye. With Thomson's autograph signature in black ink to centerfold program dated 1986 along with that of the creator of the scenario, Maurice Grosser. Slightly worn and soiled; occasional light staining; minor creasing to corners. Thomson met Gertrude Stein in Paris in 1926 and she soon became his close friend and collaborator. Four Saints in Three Acts, Thomson's groundbreaking opera, is set to a libretto by Stein; the two also collaborated on Thomson's opera The Mother of Us All, first performed in 1947. "The first performance [of "Saints"], on 8 February 1934 at the Wadsworth Atheneum in Hartford, Connecticut, was presented not by an established opera company but by an organization called the Friends and Enemies of Modern Music. There was an all-black cast, stage direction and movement by Frederick Ashton and John Houseman and cellophane décor by Florine Stettheimer. The same production was presented that year on Broadway and in Chicago, for a run of more than 60 performances." John Rockwell in Grove Music Online "The premiere attracted the smart set of art patrons, fanciers of the avant garde and the curious. After the triumphant Hartford run, the production moved to Broadway where it played for six weeks at first one then another theater, a breakthrough for an opera. This was a year before Gershwin's Porgy and Bess, which was also conducted by Alexander Smallens and featured a black cast. Decades later, Philip Glass would cite Four Saints as the most important model that he and Robert Wilson had when they embarked on writing avant-garde operas. "[Thomson] produced a sizeable catalog of stylistically diverse compositions characterized by expressive directness and textural transparency, written in a language that drew from hymnbook harmony, popular song, and dance idioms of the late 19th century, and utilizing plain-spoken tonal procedures but also diatonic dissonance and polytonal elements. In his many vocal works, and his two path-breaking operatic collaborations with Gertrude Stein, Thomson demonstrated a mastery of prosody. . The wit, vitality, and descriptive precision of his writing, which demystified the complexities of music for lay readers, made him among the most influential and lasting critics of the 20th century." Anthony Tommasini and Richard Jackson in Grove Music Online.
Verlag: New York, 15. April 1958., 1958
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
1 p. 8vo. Mit Briefumschlag. An einen Sammler: [ ] My Ragtime Bass is published by Car Fischer Inc. [ ] in a volume entitled Ten Etudes for Piano [ ]" Eigenhändig fügt er hinzu A book of mine is also available in German Musikgesche[he]n in Amerika, Edition Kasparek [ ]".In den 1930er Jahren arbeitete Thomson als Theater- und Filmkomponist. Sein erster Filmauftrag war The Plow That Broke the Plains (finanziert von der United States Resettlement Administration). 1949 gewann er den Pulitzer-Preis für Musik mit seiner Filmmusik zu Louisiana-Legende (Louisiana Story), die er auch zu zwei Konzertsuiten umarbeitete. Darüber hinaus wurde Thomson 1983 der Kennedy-Preis verliehen. 1988 erhielt er die National Medal of Arts von Präsident Ronald Reagan.Gertrude Stein, mit der er befreundet war, schrieb die Libretti zu zwei seiner drei Opern: Four Saints in Three Acts sowie The Mother of Us All.Zu seinen weiteren Werken zählen das Ballett Filling Station, Orchesterkompositionen (u.a. drei Sinfonien, Konzert für Flöte, Harfe, Streicher und Schlagzeug, Cellokonzert), Klavier- und Kammermusik sowie Vokalwerke (u.a. drei Messen und ein Requiem). Als Komponist beeinflusste er beispielsweise Aaron Copland.
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Octavo. Light brown wrappers, stapled. Reprinted from the Journal of the American Musicological Society Vol. XXII, No. 2, 1969. A presentation copy from the author to Virgil Thomson, with "For Virgil who opened my eyes & ears Victor" in black ink to title. Wrappers slightly worn and soiled. Victor Yellin (1924-2005) was an American musicologist with a special interest in American music, Virgil Thomson (1896-1989) a noted American composer and music critic.
Verlag: o. O. u. D.
Anbieter: Kotte Autographs GmbH, Roßhaupten, Deutschland
Manuskript / Papierantiquität
8vo. 1 p. Montiert mit einem Portrait. In den 1930er Jahren arbeitete Thomson als Theater- und Filmkomponist. Sein erster Filmauftrag war The Plow That Broke the Plains (finanziert von der United States Resettlement Administration). 1949 gewann er den Pulitzer-Preis für Musik mit seiner Filmmusik zu Louisiana-Legende (Louisiana Story), die er auch zu zwei Konzertsuiten umarbeitete. Darüber hinaus wurde Thomson 1983 der Kennedy-Preis verliehen.,1988 erhielt er die National Medal of Arts von Präsident Ronald Reagan.Gertrude Stein, mit der er befreundet war, schrieb die Libretti zu zwei seiner drei Opern: Four Saints in Three Acts sowie The Mother of Us All.Zu seinen weiteren Werken zählen das Ballett Filling Station, Orchesterkompositionen (u.a. drei Sinfonien, Konzert für Flöte, Harfe, Streicher und Schlagzeug, Cellokonzert), Klavier- und Kammermusik sowie Vokalwerke (u.a. drei Messen und ein Requiem). Als Komponist beeinflusste er beispielsweise Aaron Copland.
Anbieter: Herbst-Auktionen, Detmold, Deutschland
Signiert
Albumblatt, in Tinte mit eigenhändiger Empfehlung, Unterschrift signiert - mit s/w-Reproporträtfoto unter rotbraunes Passepartout (4°) gerahmt.