Da music (19 Ergebnisse)

Paperback. Zustand: Very Good. Libretto only--no musical notation; zip code indicates publication date after 1963 and unaged paper suggests later date; 47 p., clean and unmarked anywhere; stapled binding firm; maize-colored wrapper is without discernible edge wear and would be like new were it not for faint stain along one inch of outer edge of lower portion of front panel.…

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Zustand: acceptable. Ausreichend/Acceptable: Exemplar mit vollständigem Text und sämtlichen Abbildungen oder Karten. Schmutztitel oder Vorsatz können fehlen. Einband bzw. Schutzumschlag weisen unter Umständen starke Gebrauchsspuren auf. / Describes a book or dust jacket that has the complete text pages (including those with maps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, dust jacket (if any), etc may also be worn.…

No Binding. Zustand: Good. Original sheet music, copyright 1952, featuring picture of Sam Costa, music shop stamp and slight tear at fold o/w very good.

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Zustand: as new. Wie neu/Like new.

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Zustand: as new. Wie neu/Like new.

Zustand: acceptable. Ausreichend/Acceptable: Exemplar mit vollständigem Text und sämtlichen Abbildungen oder Karten. Schmutztitel oder Vorsatz können fehlen. Einband bzw. Schutzumschlag weisen unter Umständen starke Gebrauchsspuren auf. / Describes a book or dust jacket that has the complete text pages (including those with maps or plates) but may lack endpapers, half-title, etc. (which must be noted). Binding, dust jacket (if any), etc may also be worn.…

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Zustand: very good. Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Zustand: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Soft cover. Zustand: Good. Landscape format illustrated stapled booklet with light handling wear on the spine and corners.

No Binding. Zustand: Very Good. 34 page book of original sheet music, no date but c1948, featuring cover picture of G H Elliott, very slight wear, music shop stamp and ownership name o/w very good. Contents: I used to sigh for the silvery moon, I want to go to Idaho, I'se a-waiting for yer, Josie, Sue,Sue, Sue, Baby Lucy, Goodbye for ever, He's my military man, Howd'you do my baby?, Ma Havana Queen, Maisie I'm a-waiting & Rastus Brown. …

DVD. Zustand: Sehr gut. B3535-92 4002587327729 Sprache: Deutsch Gewicht in Gramm: 250.

Couverture souple. Zustand: Très bon. Un volume in-4 broché, couverture illustrée (R. Delaunay). Edition originale. Richement illustré en noir et blanc. Lithographie originale de Vieira da Silva. Quadrichromies de Giacometti, Poliakoff, Vieira Da Silva, Schneider, Capogrossi, Sima, Enrico Baj, Jean Messagier, Moser, Zoran Music, Delaunay. Richement illustré en noir et blanc.…

Oblong octavo (158 x 227 mm). Disbound. Notated in black ink on 10-stave, rastrum-ruled paper. [i] (title), 102, [i] (blank) pp. Two ownership inscriptions in early black ink, in different hands, to upper outer corner of title, "M Bagot" and, later, "Margaret Hay." Musical fragment in pencil to free front endpaper. Corrections to bass line of "Nina mia" (no. 46) in smaller notes. Contains the following songs: 1) Bell'insalata fresca. 2 pp. 2) Belle Putte Veneziane. 2 pp. 3) Se miro quel volto. 2 pp. 4) Mi esser Tedesca. 2 pp. In a humorous pidgin-Italian. 5) Mia garbata Pastorella. 2 pp. 6) Speranze del mio cuore. 2 pp. 7) Senti cara Ninetta. 2 pp 8) Adesso si son desperada. 2 pp. 9) Or ti conosco Filide ingrata. 2 pp. 10) Lasciatemi un momento. 2 pp. With melodic accompanimental material in treble clef. 11) Cara bell'Idol mio. 2 pp. 12) Mala cosa esser donna. 2 pp. 13) Duettino . O bella Nice. 2 pp. Duet; one verse. 14) Amanti sbandite. 2 pp. 15) Per pieta se in sen. 2 pp. 16) La mia cara passarina. 2 pp. 17) Se volè che vè la diga. 2 pp. 18) Or vien dalla Lorena. 2 pp. 19) Nina se vu provessi. 2 pp. 20) Solo m'importa. 2 pp. 21) Da quel primier momento. 2 pp. 22) Parlami pur sincera. 2 pp. 23) Cara mia fillida. 2 pp. 24) Cara Nina mio Tesor. 2 pp. The melody is identical to Ah! vous dirai-je, mama (Twinkle, Twinkle in the English-speaking world). 25) Non sò come la sia. 2 pp. 26) Alfin de contenti. 2 pp. 27) Son innamorà. 2 pp. 28) Si Tirsi a Ciglio asciutto. 2 pp. 29) Nel primo istante. 2 pp. 30) Giancora nò sè stuffa. 2 pp. 31) Cara Nina son pentio. 2 pp. 32) Un certo Spiritello. 2 pp. 33) Clori vezzosa amabile. 2 pp. 34) Son Pastorella amante. 2 pp. 35) Lusinghiera m'ingannasti. 2 pp. 36) Donne cortesi. 2 pp. 37) Quanto è mai semplice. 2 pp. 38) Esce dal Gange fora. 2 pp. Duet, one verse. 39) L'amor che sento. 2 pp. 40) Gran destin. 2 pp. 41) Giovinotti con le Donne. 2 pp. 42) Cara Nina vò portà. 2 pp. 43) Poi chè con te non vale. 2 pp. 44) Clori se più non torno. 2 pp. 45) Quell'aria brillante. 2 pp. 46) Nina mia. 2 pp. 47) Una cara Tombolina. 2 pp. 48) Se mai volta un occhiada. 2 pp. 49) L'è un gran intrigo. 2 pp. Small tears to lower edge of front free endpaper; very occasional minor stains and soiling, mainly to edges and blank lower margins; one leaf detached. "In the first half of the 18th century the expression 'da battello' - associated with the term 'canzone,' 'aria,' 'arietta,' or 'canzonetta veneziana' - referred to strophic songs for solo voice and basso continuo songs in Venetian dialect, in AABB musical form. Initially, this repertoire was used for 'freschi' (nocturnal gondola rides), which explains the origin of the term. Lyrical texts, written by amateurs often belonging to the aristocracy and Venetian nobility, were mostly lover's serenades, but also humorous or satirical songs related to Carnevale. Musical borrowings were quite common and heterogeneous since they came from oral tradition or opera arias, as Benedetto Marcello satirized in Il Teatro alla moda (1720) and as has been recently confirmed. From the 1710s to the 1760s hundreds of anonymous songs 'da battello' were collected in manuscript anthologies, with most of them later published by John Walsh in his three volumes of Venetian Ballads (London, 1742, 1746, and 1748), attributed to Johann Adolf Hasse and 'All the Celebrated Italian Masters.' In the second half of the 18th century the European circulation of the sources of the manuscripts, the success of Walsh's editions, and the prestige of this vocal repertoire attest that the 'canzoni da battello' were enjoying international success in salon performances too, as musical product sought by 'good taste collectors.' Such wide appeal was witnessed by Rousseau (Dictionnaire de Musique, 1768), Quantz (Essai d'un méthode pour apprendre à jouer de la flûte traversière, 1752), and Burney (The Present State of Music in France and Italy, 1772). The term 'barcarola' - often associated with the 'canzone da battello' named after Rousseau's definition in his Dictionnaire . had never been used in the Italian sources of the first half of the century. Instead, it indicated different repertoires belonging to the Romantic era, which shared the same origin as the early 18th-century songs." Sergio Barcellona in Grove Music Online An attractive collection of light-hearted Italian strophic songs, marking a moment in time in the development of the 'canzona da battello' genre, between its baroque and romantic incarnations.…