Verlag: HONORE CLAIR, 2009
ISBN 10: 2918371009 ISBN 13: 9782918371007
Anbieter: medimops, Berlin, Deutschland
Zustand: USED_VERYGOOD. 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.
Verlag: HONORE CLAIR, 2009
ISBN 10: 2918371025 ISBN 13: 9782918371021
Anbieter: medimops, Berlin, Deutschland
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.
Verlag: HONORE CLAIR, 2018
ISBN 10: 2918371343 ISBN 13: 9782918371342
Anbieter: WorldofBooks, Goring-By-Sea, WS, Vereinigtes Königreich
Paperback. Zustand: Very Good. NAUDEIX, Hubert; FAURE, Marlène (illustrator). The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.
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Gebraucht ab EUR 17,10
Verlag: Editions Honoré Clair, 2014
ISBN 10: 2918371173 ISBN 13: 9782918371175
Anbieter: Ammareal, Morangis, Frankreich
Hardcover. Zustand: Bon. Ancien livre de bibliothèque. Couverture différente. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Former library book. Different cover. Ammareal gives back up to 15% of this item's net price to charity organizations.
Verlag: HONORE CLAIR, 2010
ISBN 10: 2918371017 ISBN 13: 9782918371014
Anbieter: medimops, Berlin, Deutschland
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.
Verlag: HONORE CLAIR, 2018
ISBN 10: 2918371335 ISBN 13: 9782918371335
Anbieter: medimops, Berlin, Deutschland
Zustand: very good. NAUDEIX, Hubert; FAURE, Marlène (illustrator). 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.
Verlag: HONORE CLAIR, 2013
ISBN 10: 2918371165 ISBN 13: 9782918371168
Anbieter: medimops, Berlin, Deutschland
Zustand: USED_VERYGOOD. 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.
Verlag: HONORE CLAIR, 2024
ISBN 10: 2918371416 ISBN 13: 9782918371410
Anbieter: Gallix, Gif sur Yvette, Frankreich
Zustand: Neuf.
Verlag: HONORE CLAIR, 2021
ISBN 10: 2918371386 ISBN 13: 9782918371380
Anbieter: Gallix, Gif sur Yvette, Frankreich
Zustand: Neuf.
Verlag: HONORE CLAIR, 2020
ISBN 10: 291837136X ISBN 13: 9782918371366
Anbieter: medimops, Berlin, Deutschland
Zustand: very good. NAUDEIX, Hubert (illustrator). 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.
Verlag: HONORE CLAIR, 2013
ISBN 10: 2918371157 ISBN 13: 9782918371151
Anbieter: Librairie Le Trait d'Union sarl., TROYES, Frankreich
Verbandsmitglied: ILAB
Zustand: Très bon état. Paris, Honoré Clair, 2013. In-4 carré, broché, couv. rempliée, 219 pp., nbses ill. coul. in et h-t, biogr., bibliogr. Cet ouvrage, publié dans le cadre de l'expo. consacrée à l'artiste par la Cité de l'architecture et du patrimoine, témoigne du travail passionné d'un artiste érudit. /52D.
Verlag: HONORE CLAIR, 2023
ISBN 10: 2918371408 ISBN 13: 9782918371403
Anbieter: Gallix, Gif sur Yvette, Frankreich
Zustand: Neuf. NAUDEIX, Hubert; FAURE, Marlène (illustrator).
Verlag: Arles: Ed. Honore Clair / Barzakh 2016., 2016
Anbieter: Antiquariat Bergische Bücherstube Mewes, Overath, Deutschland
368 S., zahlr. Abb. Br. *neuwertig*.
Verlag: Chez Boivin, à la Regle d'Or, rue Saint Honoré; Le Clair, à la Croix d'Or, rue du Roule; L'Auteur, rue S. Honoré, proche la rue de l'Echelle, Paris, 1742
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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1f. (recto title, verso blank). [i] (ornament table and "Menuet en Rondeau" with fingerings), irregularly paginated 1-27, 33, 32, and 30. Title typeset, music engraved. "Mde B" and "4" in early manuscript to title. Title slightly creased; lacking pp. 28, 29, and 31; final two leaves reinforced to upper margin and trimmed to a smaller size than the rest of the volume, due to originally having been formatted as fold-ups (see Gustafson and Fuller p. 203). First Edition, later issue, with watermark dated 1742. Gustafson and Fuller p. 202. Lesure p. 528. BUC p. 872. RISM R184. Bound with: Nouvelles Suites de Pieces de Clavecin . avec des remarques sure les différens genres de Musique. Gravées par Mlle. Louise Roussel. Le prix broché 6tt. A Paris, Chez L'Auteur, ruë des deux Boule aux trois Rois. Le Sr. Boivin, Md, ruë St. Honoré à la Régle D'or. Le Sr. Leclerc, Md. ruë du Roule à la Croix D'or. Avec Privilege du Roy, [?ca. 1742]. [i] (title), [ii]-[iii] ("Remarques"), 2-29, [i] (blank) pp. Engraved throughout. First Edition, later issue, with watermark dated 1742. Gustafson and Fuller p. 204. Lesure p. 528 (citing first edition, first issue), RISM R188 (not distinguishing between issues). Oblong folio. Contemporary mid-tan mottled calf with titling gilt "Clavecin de Rameau Mde Gallois" to upper, spine in decorative compartments gilt. Binding worn, rubbed, and bumped, with loss to upper board and head and tail of spine; partially detached; free endpapers lacking. Slightly worn; occasional minor soiling, foxing, staining, dampstaining, and worming, mostly to margins. Rameau was "one of the greatest figures in French musical history. . He made important contributions to the cantata, the motet and, more especially, keyboard music, and many of his dramatic compositions stand alongside those of Lully and Gluck as the pinnacles of pre-Revolutionary French opera." Graham Sadler and Thomas Christensen in Grove Music Online Rameau's first known music was composed for the harpsichord; his first book of harpsichord pieces appeared in 1706, and keyboard music was his primary creative outlet before his later blossoming as a force of nature in the opera world. The Pieces de Clavessin and the Nouvelles Suites contain some of the literature's most iconic pieces. In the vein of character pieces, "Le Rappel does Oiseaux" emulates the flapping wings of birds as they coast on air currents; "L'entretien des Muses," in the vein of Couperin, may be Rameau's answer to his predecessor Chambonnières's "Pavane L'entretien des Dieux." Virtuosity abounds in selected pieces, as in "Les Niais de Sologne" with its vigorous, sparkling arpeggios. The composer's "remarques" preceding the music in his Nouvelles Suites address how to distribute certain passages between the right and left hands and commentary on the theory underlying some of his pieces that contained what were, in his day, unconventional harmonies. The work includes several traditional dance-based French suite movements, enhanced by moments of Italianate brilliance, as in the Allemande, pp. 2-3, with gigue-like triplets between the hands, and the Courante, pp. 3-4, with cascading arpeggios. Some pieces, like "Les Trois Mains," pp. 6-9, and the iconic Gavotte with 6 variations ("doubles"), contain acrobatic writing, with hand-crossing in the former and daring leaps in the latter. Two pieces in the suites explore the outermost limits of harmony in Rameau's day, "L'Enharmonique," pp. 16-17, and a Sarabande, p. 6. The composer reveals his Enlightenment approach to music in his "remarques," noting that the extreme harmonies of "L'Enharmonique" are not chosen by chance; rather, he avers, they are composed on the basis of reason. The Sarabande contains, in its B section, some arresting harmonic moves between distant harmonies, which create a mysterious effect. Rameau's sense of humor is on full display in "La Poule," pp. 20-23, with a "pecking" figuration that is paired with a slightly-less-than-melodious type of birdcall. Two of the most important and influential French baroque keyboard publications of the 18th century.
Verlag: Chez L'Autheur, Rüe de Richelieu, vis a vis La Bibliothéque du Roy. La Veuve Boivin Marchande Rüe St. Honoré à la Regle d'Or. Mr. Le Clair Marchand Rüe du Roule à la Croix d'Or. Avec Approbation et Privilege du Roy, Paris, 1751
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Oblong folio. Contemporary mid-tan mottled calf with raised bands on spine in compartments gilt, dark red leather title label gilt to spine, red edges. 1f. (recto title, verso blank), 54 pp. Engraved throughout. With contemporary facsimile signature handstamp of composer François Francoeur (1698-1787) to lower margin of pp. 7 and 9. Binding slightly worn, expertly rebacked and recornered. Occasional light soiling, browning, foxing, and small stains; small binder's holes to blank inner margin of first leaf. An attractive copy overall. First Edition. Rare. Lesure p. 526. Sonneck Dramatic Music p. 136. Hirsch II, 774. BUC p. 871. RISM R145 La Guirlande, to a libretto by Marmontel, was first performed in Paris at the Opéra on 21 Sept 1751 "for the birth of the Duke of Burgundy, with Les sauvages (from Les Indes galantes) and Les génies tutélaires (by F. Rebel and F. Francoeur)." Graham Sadler and Thomas Christensen in Grove Music Online. Performers in the premiere included singers Marie Fel and Pierre de Jélyotte and dancers Teresa Vestris and Jean-Barthélemy Lany. "It was with La Guirlande that the Rameau revival began on June 22, 1903, when it was played in the Garden of the Schola Cantorum, together with the prologue of Campra's 'Fêtes vénitiennes' and Duni's 'Les Sabots'. Rameau had not been staged in his native country for more than a century. After this performance Debussy, with understandable enthusiasm exclaimed, 'Vive Rameau, à bas Gluck!' . With finesse and a certain realism of sentiment 'La Guirlande' keeps delicately to a middle path, verging a little more to the happy than to the unhappy side of life's road. Scene 6 is particularly sensitive. . Of the symphonies, all pastoral, the most personal is the 'air gracieux' for flutes and strings in G minor (Sc. 6)." Girdlestone pp. 465-66. The first edition of Rameau's finely-wrought ballet, the first modern performance of which attracted the admiration of Claude Debussy and inaugurated the Rameau revival at the beginning of the 20th century. With distinguished provenance, having belonged to François Francoeur, a fellow 18th century composer and a celebrated musician in his own right who, together with Rameau, contributed to the musical component of the festivities for the birth of the Duke of Burgundy in 1751.
Verlag: Chez l'Auteur, ruë des Bons-Enfans, à l'Hôtel d'Effiat. la Veuve Boivin, ruë S. Honoré, à la Régle d'Or. M. Le Clair, ruë du Roule, à la Croix d'Or. Avec Approbation et Privilege du Roy, Paris, 1739
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Oblong folio. Full contemporary dark tan calf with raised bands to spine in decorative compartments gilt, titling gilt, marbled endpapers. 1f. (recto title, verso blank), 1f. (recto dedication, verso "Personnages du Ballet" and errata), 181, [i] (blank) pp., 1f. (recto "Coppie[!] du Privilege," verso blank). Title and dedication typeset, music and privilege engraved. Binding slightly worn, rubbed, bumped; very slightly shaken; several small abrasions; minor loss to head and tail of spine and upper outer corner of lower board. Minor wear; occasional staining, soiling, and foxing, mostly to margins; slightly browned, a bit heavier to pp. 45-48. First Edition, first issue, without the additional entrée found in later issues. Rare. Lesure p. 526. Hirsch II, 767. Sonneck Dramatic Music p. 135. RISM R138 and RR138. Les Fêtes d'Hébé, an opera-ballet with a libretto by Antoine Gautier de Montdorge, was first performed in Paris at the Palais Royal on 21 May 1739. The work contains some of Rameau's finest pastoral music. The libretto and scenario were a collaborative effort between the Abbé Pellegrin, Mme. Bercin and Gautier de Montdorge. The first performance was a considerable success (this can be said of only a small number of Rameau's works), and featured Sallé, Jélyotte, and Bourbonnois. Camargo performed the role of Eglé in the revival of 1747; later revivals included Vestris and Sophie Arnould. The first edition of Rameau's finely-wrought ballet, with iconic dance numbers including the smoldering "Tambourin en Rondeau" (p. 169) in E minor, arranged from the composer's earlier original keyboard piece of 1724 with a frequently-canonic contrepartie.
Verlag: Chez l'Auteur, Rue Saint-Thomas du Louvre, La Veuve Boivin, Rue S. Honoré, a la Regle d'Or, M. Le Clair, Rue du Roule, a La Croix d'Or, Paris, 1744
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Oblong folio. Contemporary dark brown mottled calf with raised bands on spine in decorative compartments gilt, title gilt, red edges, marbled endpapers. 1f. (recto title, verso blank), [xxxiii] (prologue), [i] (blank), 181, [i] (blank) pp. Engraved throughout. Binding worn, rubbed, and bumped; edges slightly darkened; minor loss to head of spine; lacking free endpapers and blank preliminary leaf with stubs evident. Slightly worn and soiled; browned, heavier to some leaves; occasional foxing and small stains; final leaf slightly creased. Early overpastes to title obscuring the word "Royale" and the privilege. A very good, wide-margined copy overall. Second edition. Lesure p. 526. BUC p. 871. RISM R134 and RR134, Dardanus, to a libretto by Le Clerc de La Bruère, premiered in Paris at the Opéra on 19 November 1739. The second version, reflected in the present edition, premiered on 17 April 1744. "Dardanus contains more first-rate music, and of greater variety than any other work of Rameau's except perhaps Les Fêtes d'Hébé. . In the interludes [as well as the dramatic action] -choreographic, descriptive, decorative- it is at least the equal of the two earlier tragédies. As for the recitative, if the second version is taken into account, this is the most interesting of all the composer's works. It has variety, expressive power, intelligent interpretation of the text. No more favourable examples could be found of the capabilities of classical French recitative than in the new fourth act." Girdlestone, pp. 236 and 272. A lifetime edition of the extensively revised second version of Rameau's celebrated Dardanus.
Verlag: Chez L'Auteur, ruë des Bons-Enfans. La Veuve Boivin, à la Regle d'or, ruë Saint-Honoré. M. Le Clair, à la Croix d'or, ruë de Roulle. Avec Privilege, Paris, 1752
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Folio (263 x 357 mm). Full early ivory vellum with titling gilt to spine. 1f. (recto title within decorative border, verso "Avis"), 40 pp. Decorative device to title. Title and "Avis" typeset, music engraved. Provenance Noted musicologist and early music pioneer Arnold Dolmetsch (1858-1940), with his stamp "Dolmetsch Library" and "IIE24" in pencil to lower margin of "Avis" leaf. Contemporary ownership inscription to upper margin of title "Mlle LeRiche L'ainée." Binding slightly worn and discolored. Minor wear, browning, foxing, and soiling; some minor dampstaining; tear to title repaired with clear tape; minor loss to several blank lower outer corners. In very good condition overall. First Edition, second issue. Rare. Lesure p. 527. RISM R191 (no copies in the U.S. or the U.K. and only 3 copies recorded in addition to the present copy). The "Avis" contains the composer's performance advice: he outlines how to deliver the music, distinguishing between accompaniment and solo roles; how to adapt the uppermost part depending on whether the performer is playing on flute or violin; and a general approach for the keyboard part if the harpsichord's state of regulation precludes performing certain passages. Rameau "was one of the greatest figures in French musical history, a theorist of European stature and France's leading 18th-century composer. He made important contributions to the cantata, the motet and, more especially, keyboard music, and many of his dramatic compositions stand alongside those of Lully and Gluck as the pinnacles of pre-Revolutionary French opera. . The Pieces de clavecin en concerts (1741) incorporates several features, most obviously the inclusion of additional instruments, that set it apart from the earlier ones. There is also the internal organization of the collection: whereas the suites of the first three books each contain between seven and ten movements, the concerts of the fourth contain only three or five. Moreover, dance movements are almost entirely supplanted by genre pieces; of the 19 movements, all but the two menuets and tambourins have characteristic genre titles. By this time, however, Rameau's approach to titles had changed. While five movements still bear such titles as La timide, La pantomime or L'indiscrette, nine are named after pupils, patrons, fellow composers and others, a fashion he had hitherto ignored. The link between title and piece may not, in any case, be strong: according to Rameau's preface, many titles were suggested by 'persons of taste and skill' after the pieces had been composed. . During the 1730s Rameau came under the protection of the tax-farmer A.-J.-J. Le Riche de La Pouplinière and acted as his director of music. La Pouplinière was one of the richest men in France and an influential patron of the arts. . Rameau's association with La Pouplinière, which lasted until 1753, was of the utmost importance to his career. The financier's home was 'a meeting-place for all classes. Courtiers, men of the world, literary folk, artists, foreigners, actors, actresses, filles de joie, all were assembled there. . It was there that Rameau met most of his future librettists, while the house became 'la citadelle du Ramisme' . Yet little is known about the terms of Rameau's appointment or, before 1751, the size and constitution of his patron's musical establishment. In 1741 La Pouplinière took over some of the Prince of Carignan's players, including the violinist Joseph Canavas, possibly the flautist Michel Blavet and (more doubtfully, despite his signing himself in 1751 'chef des violons de M. de la Pouplinière'), the violinist Jean-Pierre Guignon. Singers and dancers from the Paris Opéra were frequent dinner guests and took part in concerts and theatrical entertainments. In the later 1740s La Pouplinière was to import from Germany and Bohemia virtuoso players of the clarinet and orchestral horn. These instruments were then new to France, and Rameau was the first to use them at the Paris Opéra." Graham Sadler and Thomas Christensen in Grove Music Online Mlle. Le Riche was, in all likelihood, a relative of Alexandre Le Riche de La Poupelinière (1693-1762), fermier general, musician and one of the most important music patrons of 18th century France. He was a patron of Rameau and the IIIe Concert of this set is named for him. Dolmetsch was a "pioneer in the revival of performances of early music (particularly instrumental) on the original instruments and in the style of the period." Margaret Campbell in Grove Music Online A lifetime first edition, with highly distinguished provenance.
Verlag: Chez l'Auteur, Rue des Bons-Enfans, a l'Hostel d'Effiat. La Veuve Boivin, Rue S. Honoré, a la Regle d'Or. M. Le Clair, Rue du Roule, a la Croix d'Or. Me. Monet, Grande Place de l'Hostel de Soissons, a La Lyre d'Or. Avec Approbation et Privilege du Roy, Paris, 1739
Anbieter: J & J LUBRANO MUSIC ANTIQUARIANS LLC, Syosset, NY, USA
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Oblong folio. Contemporary dark tan mottled calf with raised bands on spine in decorative compartments gilt, titling gilt. 1f. (recto title within decorative border, verso blank), [xxxiii] (prologue), [i] (blank), 178 pp. Engraved throughout. Provenance Noted musicologist and collector Geneviève Thibault, Comtesse de Chambure (1902-1975), with her armorial bookplate incorporating a crown, a standing bear, a lion, and three crested birds and another contemporary armorial bookplate, "Nic. de Lutel," to front pastedown. Binding worn, rubbed and bumped; free endpapers lacking. Slightly worn; some browning, including to margins of title; first and last leaves of music dampstained, primarily at margins; occasional foxing and stains. First Edition. Lesure p. 526. Sonneck Dramatic Music p. 134. Hirsch II, 765. BUC p. 871. RISM R133 and RR133, Dardanus, to a libretto by Le Clerc de La Bruère, was first performed in Paris at the Opéra on 19 November 1739. "Dardanus contains more first-rate music, and of greater variety than any other work of Rameau's except perhaps Les Fêtes d'Hébé. . In the interludes [as well as the dramatic action] - choreographic, descriptive, decorative - it is at least the equal of the two earlier tragédies." Girdlestone, pp. 236 and 272. A lifetime first edition of a celebrated and influential Rameau opera.