henri desmarets (19 Ergebnisse)

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Zustand: New. New Book. Shipped from UK. Established seller since 2000.

Zustand: New. Grand motet.

8°, Halbleder. 768 SS.; 638 SS. Zwei Bände. Rehbraunes Halbleder mit fünf Zierbünden und zweifachem Rückenschild. Kanten etw. berieben, sonst gut. Sprache: Französisch Gewicht in Gramm: 1500.

Zustand: Sehr gut. Zustand: Sehr gut | Sprache: Französisch | Produktart: Bücher.

3 volumes. A total of 21 libretti (with minor duplication), as follows: Vol. I With libretti to 5 works: Atys, Isis, Bellerophon, Proserpine, and Le Triomphe de l'Amour. Named cast list and full-page engraved frontispiece illustrating a scene from the opera to each libretto. Occasional decorative woodcut head- and tailpieces and initials. 1f. (recto collective title, verso contents). - Atys . ornée d'Entrées de Ballet, de Machines, & de Changements de Theatre. 1f. (recto title, verso blank), pp. 3-70. - Isis . Representée devant sa Maiesté à Saint Germain en Laye. 1f. (recto half-title, verso blank), 1f. (recto title, verso blank), [5]-[14], 15-69, [i] (blank) pp., 1f. (blank). - Bellerephon . Representée par l'Academie Royale de Musique. 1f. (recto half-title, verso blank), 1f. (recto title, verso blank), [5]-[12], 13- 56, 2ff. ("Permission"). Pp. 15/16 with minor loss to lower outer corner affecting a few words of text. - Proserpine . Representée devant Sa Majesté à Saint Germain en Laye. 1f. (recto title, verso blank), 1f. (recto half-title, verso blank), 7-69, [i] (blank) pp., 1f. (blank). - Le Triomphe de l'Amour. Ballet. Dansé devant Sa Majesté à S. Germain en Laye. 1f. (recto half-title, verso blank), 1f. (recto title, verso blank)l [5]-28, 1f. (recto "Vers pour la Personne et le Personnage de ceux qui sont du Ballet du Triomphe de l'Amour," verso blank), 31-47, [i] (blank) pp. Free front endpaper and lower portion of final page with ownership signature "Andriot;" rear pastedown with early ownership statement. Rear free endpaper lacking. No frontispiece. 12mo. Full dark brown leather with raised bands on spine. Vol. II Recueil des Opera, des Balets, & des plus belles Pieces en Musique, qui ont été representées depuis dix huit ou vingt ans jusques à present devant Sa Majeste Tres-Chrêtienne. Divisées en trois parties. Tome Second. Imprimés à Paris, & les Vend a Anvers, Chez Henry van Dunwaldt, Librairie au Marché aux Oeufs, aux trois Moines, 1688. With occasional decorative woodcut head- and tailpieces and initials. 1f. (recto collective title, verso contents). With libretti to 7 works: Bellerophon, Proserpine, Le Triomphe de l'Amour, Persée, Phaëton, Amadis, and Roland. Occasional decorative woodcut head- and tailpieces and initials. 1f. (recto collective title, verso contents). - Bellerophon . Representé devant Sa Majesté le [blank] Janvier 1679. 1f. (recto title, verso blank), [3]-10, [11]-48 pp. Published 1688. - Proserpine . Representée devant Sa Majesté à Saint Germain en Laye le [blank] de Fevrier 1680. 1f. (recto title, verso blank), [3]-[5], 6-60 pp. One leaf loose. Published 1688. - Le Triomphe de l'Amour. Ballet, Dancé devant Sa Majesté à s. Germain en Laye. 1f. (recto title, verso blank), 1f. [3]-47, [i] (blank) pp. Published 1687. - Persée. 1f. (recto title, verso blank), [3]-57, [i] (blank) pp. 1f. (blank). Published 1688. - Phaëton . Representée . devant Sa Majesté à Versailles, le sixième jour de Ianvier mil six cens quatre-vingts-trois. 1f. (recto title, verso cast list), [3]-[8], 9-59, [i] (blank) pp. Published 1687. - Amadis, Tragedie. 1f. (recto title, verso cast list), [3]-[9], 10-60 pp. Published 1687. - Roland . Representée devant Sa Majesté à Versailles, le huitième Janvier 1685. 1f. (recto title, verso cast list), [3]-[9], 10-60 pp. Published 1693. 12mo. Full dark tan calf with triple gilt rules to boards, raised bands on spine in decorative compartments gilt, dark red leather title label gilt. Vol. III Recueil General des Opera Representez par l'Academie Royale de Musique, depuis son etablissement. Tome Huitième. Paris: Christophe Ballard, seul Imprimeur du Roy pour la Musique, ruë St. Jean de Beauvais au Mont-Parnasse. Avec Privilege de Sa Majesté, 1706. With libretti to 9 works: Tancrede, Ulysse, Les Muses, Amarillis, Le Carnaval & La Folie, Iphigenie, Telemaque, Alcine, and La Venitienne. With full-page engraved frontispiece illustrating a scene from the opera to each libretto (except Amarillis). Occasional decorative woodcut head- and tailpieces and initials. 1f. (recto collective title, verso blank), 1f. (contents). - Tancrede . Representée par l'Academie Royale de Musiquel'An 1702. Les Paroles de M. Danchet. & La Musique de M. Campra. LVIII. Opera. 1 (title), 2 (cast list), 3-56 pp. - Ulysse, Tragedie Représentée par l'Academie Royale de Musique l'An 1703. Les Paroles de M. Guichard. & La Musique de M. Rebel. LVIII. Opera. 57 (title), 58 (cast list), 59-110. - Les Muses, Ballet Représenté par l'Academie Royale de Musique l'An 1703. Les Paroles de M. Danchet. & La Musique de M. Campra. LIX. Opera. 111 (title), 112 (cast list), 113-172 pp. - Amarillis, pastorale, Representée par l'Academie Royale de Musique, à la place de celle qui se trouve dans le Ballet des Muses. Composée par MM. Danchet & Campra. 173 (title), 174 (cast list), 175-180. - Le Carnaval et La Folie, Comedie-Ballet, Représentée par l'Academie Royale de Musique l'An 1704. Les Paroles de M. de la Mothe. & La Musique de M. Destouches. LX. Opera. 181 (title), 182-183 ("Avertissement"), 184 (cast list), 185-232 pp. - Iphigénie en Tauride . Représentée par l'Academie Royale de Musique l'An 1704. Les Paroles de M. Duché. & La Musique de M. Desmarests. Mise au Théatre par MMrs. Danchet & Campra. LXI. Opera. 233 (title), 234 ("Avertissement" and cast list), 235-290. - Télémaque, Tragedie, Fragments des Modernes. Représentée par l'Academie Royale de Musique l'An 1704. Cette Piece a esté mise au Théatre par les soins de M.M. Danchet, & Campra. LXII. Opera. 291 (title), 292 ("Avertissement" and cast list), 293-332 pp. - Alcine Tragedie. Represéntée par l'Academie Royale de Musique l'An 1705. Les Paroles de M. Danchet. & La Musique de M. Campra. LXIII. Opera. 333 (title), 334 (cast list), 335-392. - La Venitienne, Comedie-Ballet, Représentée par l'Academie Royale de Musique l'An 1705. Les Paroles de M. de la Mothe. & La Musique de M. De la Barre. LXIV. Opera. 393 (title), 394 ("Avertissement"), 395-.

Oblong quarto. Contemporary full dark tan mottled calf with coat of arms of the G-.G. Baron de Pavée gilt to both upper and lower, raised bands on spine in decorative compartments gilt, mid-tan title label gilt, red speckled edges. 1f. (recto title, verso blank), 1f. (recto table of contents, verso contents and "Extrait du Privilege"), 108 pp., 1f. (blank). First Edition. Antine,p. 191. Hirsch II, 188. Not in Sonneck. RISM D1769 (no copies in the U.S.). Bound with: Desmarets Symphonies de la Tragedie de Didon, Mise En Musique Par Monsieur Desmarests[!], Pensionnaire ordinaire du Roy. Paris: Christophe Ballard, 1693. 1f. (blank), 1f. (recto title, verso blank), 60 pp., with "Extrait du Privilege" to final page. First Edition. Hirsch II, 188. RISM D1770 (no copies in the U.S.). Provenance From the library of the politician and government official Guillaume-Gabriel Baron de Pavée de Vendeuvre (1779-1870). Early circular bookplate to front pastedown overlaid with blank paper. Binding very slightly worn, rubbed, and bumped. Occasional light browning to several leaves including title of the "Symphonies." In very good condition overall. Didon, in a prologue and five acts to a libretto by celebrated female author Louise-Geneviève Gillot, Dame de Saintonge, was first performed in Paris at the Opéra on 11 September (?5 June) 1693. The libretto was Gillot's first published work; it was well-received by the court and Louis XIV himself requested that she present him with a copy. The publication of the vocal airs and instrumental music separately reveals publisher Ballard's marketing strategy: consumers who wished only to sing could purchase the airs, those who wished only to play could purchase the symphonies, and those who could both sing and play might purchase both, perhaps having them bound together as in the present copy. In any case, these publications do not represent the complete opera; rather, they are a selection of highlights that the publisher or composer thought might most appeal to the public. The instrumental music includes an "Air pour les Peuples de Carthage," a "Prelude pour la Magicienne," a "Sarabande pour les Plaisirs," and a "Gavotte pour les Nymphes." The music is primarily printed in grand staff but sometimes expands to three parts (the three-part arrangements are generally given for passages of paired thirds or imitative music). The vocal music contains some recitative, but focuses mostly on airs for one, two, and three voices. Pieces for three voices plus basso continuo are printed in a smaller, condensed type. "Little is known of [Desmarets's] early musical life other than that he was one of the boy pages of Louis XIV's musical establishment. There, directly under the influence of Pierre Robert and Henry Du Mont at an important period in the development of the grand motet, he probably also encountered Lully, who used the chapel pages to augment his performances. In 1680 Desmarets was referred to as an 'ordinaire de la musique du Roy'." Caroline Wood in Grove Music Online As an operatic composer, Desmarets lived under the shadow of Jean-Baptiste Lully (1632-1687). Lully exercised a monopoly over all of French opera, and Desmarets was able to mount his operas only after the older composer's death. Desmarets's first opera, Endymion (1686), was performed privately in the King's apartments; his second opera, Didon (1693), was performed publicly and was a great commercial success. Sainctonge and Desmarests have both been subjects of recent attention in the opera world: Desmarests's Circé (also to a libretto by Sainctonge) was mounted by the Boston Early Music Festival in 2023; the festival's theme being "A Celebration of Women.".

Zustand: 1930-1980. Circé Gavotte et Bourrée par Henri Desmarets (1662-1741) pour Hautbois et Piano par L. Bleuzet Paris, Alphonse Leduc Editeur A. L. 20,356 XXe siècle 1947 3 + 1 pages 34.5 x 26.5 cm Très bon état 029495 Hautbois et Piano.

Oblong 16mo. Full contemporary vellum with triple-rule border to both boards. With "C Armand" in early manuscript to upper board and front pastedown, quite possibly the French soprano Mlle. Armand, fl. 1704-1707. 88 pp. Notated in black ink on 4-stave rastrum-ruled paper. Watermark bunch of grapes, countermark group of letters (indecipherable). Contains: Lully. Roland. [LWV 65] 1) "Au genereux Roland je dois," pp. 1-3, bass/continuo 2) "Tromphez charmante Reyne," pp. 4-5, bass solo 3) "Faut il encor que je vous ayme," pp. 6-8, bass/continuo 4) "J'abandonne ma gloire," pp. 8-9, bass solo with figures 5) "Agréables rettraites," pp. 9-10, alto/continuo 6) "Ah! que mon cur est agité," pp. 11-13, soprano/continuo 7) "Ah quel tourment de garder," pp. 14-17, alto/continuo 8) "Je ne verray plus," pp. 18-22, soprano/continuo 9) "Ah! J'attendray longtemps," pp. 22-26, bass/continuo Lully. Armide. [LWV 71] 10) "Vous allumez une fatale flamme," pp. 26-27, soprano/continuo 11) "Les Plaisirs ont choisy pour azile," pp. 28-30, alto/continuo 12) "Allez allez éloignez vous," pp. 31-32, alto/continuo 13) "Pouquoy voulez vous songer," pp. 32-33, soprano/continuo 14) "Plus j'observe ces lieux," pp. 34-40, alto/continuo 15) "La chaisne de l'hymen m'estonne," pp. 40-41, soprano/continuo 16) "Ah! si la liberté," pp. 42-44, soprano/continuo Lully. Atys. [LWV 53] 17) "Le Printemps quelquefois," pp. 45-46, alto/continuo 18) "Amans qui vous plaignez," pp. 46-48, bass/continuo 19) "L'Amour fait trop verser," pp. 48-50, alto/continuo 20) "Quand le peril est agréable," p. 51, soprano/continuo 21) "Quand on ayme," pp. 52-53, bass/continuo 22) "Dans l'Empire amoureux," pp. 54-56, soprano/bass duet 23) "Laisse mon cur en paix," pp. 56-58, alto/continuo 24) "Ne vous faittes point violence," pp. 59-61, bass/continuo 25) "Espoir si cher," pp. 61-66, soprano/continuo 26) "Revenez ma raison," pp. 66-68, soprano/continuo Lully. Phaëton. [LWV 61] 27) "Dans cette paisible retraite," pp. 68-70, soprano/continuo 28) "Heureuse une ame indiferente," pp. 70-72, soprano/continuo At this point, the pagination skips from p. 72 to p. 89. A new piece starts, suggesting a decision may have been made on the part of the compiler of the manuscript to omit some leaves, perhaps paginated before the music was copied. All pieces in this section are preserved in their integrity. Campra. Le Carnaval de Venise 29) "Vous brillez a mes yeux," pp. 89-91, bass/continuo 30) "Que l'Amour dans nos curs," pp. 91-95, soprano and bass/continuo 32) "De tes rigueurs ny de tes faveurs," pp. 95-95, alto/continuo Desmarets. Théagène et Cariclée 33) "Le calme et les beaux yeux," pp. 98-100, soprano/continuo. 34) "Charmant repos d'une ame," pp. 101-102, soprano/continuo Anon. 35) "Tout est fragile dans le monde," pp. 103-104, soprano/continuo Also found in a music manuscript in the Bibliothèque nationale de France (Notice n°: FRBNF43363801), an "Air à boire à 2." Binding slightly soiled, stained, and warped; signature to upper board faded. Occasional stains and soiling, mostly marginal; some light showthrough. Executed in an accomplished hand, similar to contemporary examples from the Foucault workshop, which produced numerous copyist manuscripts of Lully operas. The identity of the scribe is unknown; the presence of distinctive semi-colon style bass and baritone clefs may, however, aid scholars interested in tracing other examples of the hand. The present manuscript offers a wealth of information regarding the performance practice of 17th century French operatic repertoire in domestic settings. The air "J'abandonne ma gloire," pp. 8-9, is notated for bass voice on a single staff, with figured bass. A singer could thus self-accompany from the figures while singing the vocal part, as the solo and accompaniment in that selection are identical. In "Dans l'Empire amoureux," pp. 54-56, a soprano/bass duet, the entrance of the bass vocal line, which differs from the soprano, is written out separately. By the fourth bar of the air, only the soprano line is given; at this point, the voices proceed homophonically, suggesting that the two singers read from the same line of text. In "Que l'Amour dans nos curs," pp. 91-95, for soprano and bass/continuo, the bass voice and figured bass are notated on the same staff. Several small passages of continuo interludes are untexted; these purely instrumental passages are notated in a grace-note size. Thus, if the bass singer is also the continuo player, he can easily differentiate purely accompanimental passages in a fast-moving rhythmically active environment. The manuscript also reveals how music may have been transmitted from printed scores of the time to manuscript copies: the 1695 printed edition of Théagène et Cariclée (RISM D1774) includes a table listing "Des Airs que l'on peut détacher," i.e., airs that can be detached from the rest of the opera for individual performance. The compiler of the manuscript has done just that with the two Desmarets selections. An attractively copied and highly personal manuscript collection of French 17th century operatic and domestic vocal repertoire, with ample traces of players' and singers' performance practices. The manuscript provides a fascinating glimpse into a rich world of private music making where (as we witness in music iconography of the time), multiple performers shared a single score, merging their sounds, with the music quite literally drawing people closer together. Well worthy of further research.