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Authors starting with I from J & J Lubrano Music Antiquarians LLC Results 1 -16 of 16

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Paris: Au Menestrel, Heugel [PN H. 30115], 1929. First Edition, later issue. Le roi d'Yvetot, to a libretto by J. Limozin and A. de la Tourrasse), was first performed in Paris on January 6, 1930. "Dramatic works form a significant part of Ibert's output. He contributed enthusiastically to film music in its early years and to the development of broadcast music. Attracted by the theatre, he wrote seven ballets, two of which, Diane de Poitiers and Le chevalier errant, were collaborations with Ida Rubinstein; five of his symphonic works were also adapted for dance. He composed six operas, two of them in collaboration with his friend Honegger. In Angélique, the second of two works for which Ibert's brother-in-law Nino provided the libretto, he sought to renew the genre of opéra-bouffe; like others of his contemporaries, such as Poulenc, Milhaud and Sauguet, Ibert looked to the example of Chabrier in an attempt to revive the French virtues of clean-cut melody, clear tonality, trans ... Read more

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Paris: Au Ménestrel, Heugel [PN H. 29458], 1930. First Edition, later issue. "The success in 1927 of [Ibert's] opéra-bouffe Angélique finally confirmed his status as one of the best-known composers of his generation... In Angélique... he sought to renew the genre of opéra-bouffe; like others of his contemporaries, such as Poulenc, Milhaud and Sauguet, Ibert looked to the example of Chabrier in an attempt to revive the French virtues of clean-cut melody, clear tonality, transparent textures and freshness of inspiration." Alexandra Laederich in Grove Music Online.. Large octavo. Original publisher's dark ivory printed wrappers. 1f. (recto half title, verso blank), 1f. (recto title, verso blank), 1f. (recto notes on first performance and named cast list, verso contents), 1f. (recto contents, verso copyright statement). Named cast for the first performance in Paris at the Théâtre Bériza in Paris on January 28, 1927 includes Marguerite B& ... Read more

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Paris: J. Hamelle [PN J. 2438 H.], 1902. First Edition. "[Indy's] famed veneration for Beethoven and Franck has unfortunately obscured the individual character of his own compositions, particularly his fine orchestral pieces descriptive of southern France. As a teacher his influence was enormous and wideranging, with benefits for French music far outweighing the charges of dogmatism and political intolerance." Robert Orledge and Andrew Thomson in Grove Music Online.. Large octavo. Half dark green cloth with brown paper boards, original publisher's printed upper wrapper laid down to upper. [1] (title), 2 (contents and cast list), 3-215, [i] (blank) pp. Boards somewhat worn, rubbed, and bumped; upper wrapper trimmed. Former owner's signature ("Déry Pál"), label, and small publisher's oval handstamp to title.

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Paris: Enoch Frères & Costallat [E.F. & C. 607], 1882. First Edition. Attendez-Moi Sous l'Orme was first performed at the Opéra-Comique (Salle Favart) on February 11, 1882. A "French composer, teacher, conductor and editor of early music, [Indy's] famed veneration for Beethoven and Franck has unfortunately obscured the individual character of his own compositions, particularly his fine orchestral pieces descriptive of southern France. As a teacher his influence was enormous and wideranging, with benefits for French music far outweighing the charges of dogmatism and political intolerance." Robert Orledge and Andrew Thomson in Grove Music Online.. Octavo. Dark blue cloth-backed plain green stiff wrappers. 1f. (decorative title by P. Boroie printed in red), 1f. (named cast list and contents), 88 pp. Lithographed. Named cast includes Barré, Piccaluga, Barnolt, Thuillier, and Molé. Wrappers worn, with markings and annotations in pencil and blue crayon t ... Read more

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Paris: A. Durand et Fils [PN D. & F. 5981], 1902. First Edition. L'Etranger, to the composer's own libretto, was first performed in Brussels at the Théâtre de la Monnaie on January 7, 1903. "There is much of d'Indy himself in the humanitarian and deeply religious Stranger, and he somehow managed through his consummate technique to weld L'étranger into a convincing whole, which is remarkable for its lightness of touch, rhythmic flexibility and the audibility of its text. Debussy admired it immensely and paid homage after the première 'to the serene goodwill that hovers over this work, to its deliberate avoidance of all complication, and above all to d'Indy's quiet determination to excel himself'." Robert Orledge in Grove Music Online.. Large octavo. Quarter black textured cloth with marbled boards, marbled endpapers. 1f. (recto blank, verso frontispiece by J.M. Sert dated 1902), 1f. (recto title, verso limitation statement), 1f. (rec ... Read more

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Paris: Rouart, Lerolle [PN R.L. 10142 & Cie.], 1920. First Edition, second issue. La Légende, to the composer's own libretto after Jacobus de Voragine's Legenda Aurea, was first performed in Paris at the Opéra on June 9, 1920. "There is... much to admire in this visionary, Trinitarian 'cathédrale sonore', which can only loosely be described as an opera, and really amounts to an almost superhuman act of faith. Its 24 themes are treated symphonically in a massive integrated tapestry, some deriving from plainchant, some from medieval or folksong sources. As always with d'Indy, the orchestration and tonal planning are masterly, and the textures and counterpoint are generally lighter than one might expect." Robert Orledge in Grove Music Online.. Folio. Original publisher's dark ivory illustrated wrappers printed in sepia and black. 1f. (recto dedication, verso blank), 1f. (recto blank, verso frontispiece), 1f. (recto title, verso blank), 1f. (recto co ... Read more

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Paris: A. Durand et Fils [PN D. & F. 4966], 1895. First Edition. Fervaal, to a libretto by the composer, was first performed in Brussels at the Théâtre de la Monnaie on March 12, 1897. "D'Indy described Fervaal as a 'prose poem', and its roots are to be found in his libretto for Axël (1878, after Isaïas Tegner) which he transferred from a Swedish setting to his beloved southern France in 1886. The libretto, which focusses on the themes of redemption through death, the power of love and the demise of the Celtic pagan religions, was completed in 1888. D'Indy's score was composed between 1889 and 1893 and orchestrated in 1893-5. It was widely acclaimed as a renaissance in French opera, compelling admiration for its superb technique even from its critics..." "... Dukas (1897) praised especially 'the extraordinary variety and taste of the orchestral effects ... in one of the most brilliant scores ever written', and as late as 1911 d'Indy ... Read more

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8
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Paris: Au Ménestrel, Heugel [PN H. 29529], 1927. First Edition. Le rêve de Cinyras, to a libretto by de Courville, was first performed in Paris at the Petite Scène on June 10, 1927. "[Indy's] famed veneration for Beethoven and Franck has unfortunately obscured the individual character of his own compositions, particularly his fine orchestral pieces descriptive of southern France. As a teacher his influence was enormous and wideranging, with benefits for French music far outweighing the charges of dogmatism and political intolerance." Robert Orledge and Andrew Thomson in Grove Music Online.. Large octavo. Half brown cloth with textured paper boards. 1f. (recto half-title, verso blank), 1f. (recto title printed in red and black, verso blank), 1f. (recto notes on first performance and named cast list, verso contents), 1f. (recto contents, verso copyright note), 177, [i] (blank) pp. Named cast incluces Le Marc'hadour, Jean Rivain, Max Moutia, Marcelle Sarret, Suzanne L ... Read more

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[Paris], 1855. Image size 156 x 198, sheet size 197 x 238. Printed on china paper and laid down to mounting sheet. Signed by the artist. This humourous scene depicts six musicians plyaing the violin, flute double bass, trombone and [?]clarinet. A double bass player offers amorous advances to a young lady holding a tray of drinks, a dog and cat play in the foreground, and there is a general sense of confusion in the music performance. Mount browned.

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Wien: im Verlage der k.k. pr. chemischen Druckery [PN 2330-2347], 1815. First German Edition of the overture and all the separate numbers, published one year after the first edition. Quite scarce. Worldcat (9 copies, only one of which is in the U.S., at the University of Chicago). Weinmann: Vollständiges Verlagsverzeichnis Senefelder Steiner Haslinger, Vol. 1, pp. 129-130. Twyman pp. 219-27. OCLC no. 49477339. First performed in Paris at the Opéra-Comique on February 28, 1814, to a libretto by C. G. Etienne, Joconde confirmed Isouard's international reputation and was regularly performed throughout Europe to the end of the 19th century. "Isouard played an important part in the Italian influence on French music between the Empire and the beginning of the Restoration." David Charlton and Marie Briquet in Grove Music Online. An attractive example of early music lithography.. Oblong folio. Disbound. Original publisher's dark ivory printed wrappers with titling within decorative ... Read more

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Paris: E. Troupenas [PN T. 1391], 1843. Joconde, ou Les coureurs d'aventures, to a libretto by Etienne, was first performed in Paris on February 28, 1814. Considered Isouard's "masterpiece," Joconde... "finally confirmed Isouard's international reputation and remained in the repertory until the close of the century." David Charlton and Marie Briquet in Grove Music Online. A Maltese composer of French origin, "Isouard played an important part in the Italian influence on French music between the Empire and the beginning of the Restoration." op. cit.. Quarto. Full mid-brown cloth binding, spine with rules and titling gilt. 1f. (recto title within decorative border, verso blank), 1f. (cast list and contents), 172 pp. Engraved. Small publisher's acsimile signature handstamp to lower margin of title. Binding slightly worn and faded. Minor to moderate foxing; preliminary leaves and pp. 113-120 browned; inscription dated July 1865 to upper margin of free front endp ... Read more

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Paris: C. Jourbert [PN B. et Cie. 5198], 1897. Printed from Brandus plates. Les Rendez-Vous Bourgeois, to a libretto by François-Benoît Hoffman, was first performed in Paris at the Opéra-Comique (Salle Feydeau) on May 9, 1807. "Isouard adopted a simple and superficially brilliant style for this plot. Most of the musical numbers (airs, couplets, romance, rondò and four ensemble pieces) are found in the first part of the opera, in which a carefree or lyrical mood prevails (nine of the ten musical numbers occur in the first 17 of 28 dramatic scenes), whereas the second, more exciting part is conveyed as a spoken drama. The opera was successfully performed in various European countries and was revived in Paris in 1933." Michael Fend in Grove Music Online. A Maltese composer of French origin, "Isouard played an important part in the Italian influence on French music between the Empire and the beginning of the Restoration." David Charlton and Marie Briquet in Grove ... Read more

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13
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Braunschweig: Musik-Comtoir [PN 42], 1804. Probable first German edition. Scarce. Not in BUC. Worldcat (6 copies only, none in the U.S.). OCLC no. 475860735. Le médecin turc, an opéra-bouffon to a libretto by P. Villiers and A. Gouffé, was first performed in Paris at the Opéra-Comique (Théâtre Feydeau) on November 19, 1803. "Isouard played an important part in the Italian influence on French music between the Empire and the beginning of the Restoration... Secure craftsmanship, gained through the study of Neapolitan practice, went hand in hand with his melodic gift, the mainstay of his reputation; and he had an unfailing instinct for matching in music the tone of the words." David Charlton and Marie Briquet in Grove Music Online.. Oblong folio. Marbled wrappers with rectangular manuscript title label to upper. 1f. (recto title, verso blank), 1f. (recto named cast list, verso blank), 2-54, [i] (blank) pp. Engraved. Text in French and German. Named cast in ... Read more

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A compilation of chiefly pedagogical editions, some of them quite rare (no copies in WorldCat or Italian Union Catalogue).. CORTICELLI, Gaetano 1804-1840 [Op. 65]. Il Sorriso dell'Innocenza Divertimento brillante per piano forte a 4 mani composto e dedicato Alla Noblie Fanciulletta Alda Pio di Savoja. Milano: Fco. Lucca [PN 1729], [after 1856]. 1f. (title), [1] (blank), 2-13, [i] (publisher's catalogue) pp. Music engraved; catalogue typeset. Signature "Pia Tolomei" in brown ink to upper right corner of title. Stain to lower margin of p. 9. A later issue. The catalogue lists works up to PN 12289, including a transcription by Fortunato Senna (PN 10425) from Errico Petrella's L'Assedio di Leida, an opera first performed in 1856. CUNIO 1833-[?]1891 Le Rose 4 Piccole Fantasie Sopra motivi favoriti die Verdi per Piano Forte... Op. [blank]... No. 3 Rigoletto. Milano: F. Lucca [PN B 8192 B], [after 1858]. 1f. (title), 9, [i] (publisher's catalogue) pp. Music engraved; catalogue types ... Read more

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Edel was a notable costume designer for various European theatres, including La Scala in Milan; he executed designs for the important ballets Excelsior (1881) and Sport (1899) as well as for the operas of Verdi and Puccini.. 323 x 225 mm. Executed in watercolour and gouache and highlighted in gold. Signed by the artist at lower right. Undated, but ca. 1900. On heavy wove paper. With small =sketch and directions to costumer on verso. Some wear, soiling, and foxing.

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16

Essays Before A Sonata

IVES, Charles 1874-1954

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New York: The Knickerbocker Press, 1920. First Edition. Scarce. "[Ives spent] two months in early 1919... on a rest cure at Asheville, North Carolina, where he completed his Second Piano Sonata, subtitled Concord, Mass., 1840-60, with musical impressions of Emerson, Hawthorne, the Alcotts, and Thoreau, and wrote most of an accompanying book of Essays before a Sonata, his most detailed statement of his aesthetics." J. Peter Burkholder, et al. in Grove Music Online. The Essays were privately published by Ives himself and circulated to friends and other interested parties. "Ives's tremendous solitude as a musical modern and his tortured attempts to make an integral whole out of his music, life, and thought constitute one of the great personal dramas of American cultural history... When, about 1920, Ives set this conflict down in writing (in the Essays), he gave an unequivocal answer to the question of why he was musically isolated... Given his own artistic convictions and the prevailing st ... Read more

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