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SPAAK (Paul).
Camille.
Bruxelles Henri Lamertin 1913 1 vol. broché in-12, broché, 66 pp. Edition originale sur vergé chiffon. Couverture un peu passée, sinon bon état.
Reference : 55231
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5 book(s) with the same title
Carnaval des animaux Camille Saint-Saens. Facsimile Edition of the Autograph Manuscript.
, Brepols Publishers, 2018 Hardcover, 192 pages., 127 colour ill., 300 x 366 mm, ISBN 9782503581224.
If there is one work, in all of Saint-Saens musical output that supremely captures the disposition so typical of the composer, it is the Carnival of the Animals. The collection De main de maitre showcases the facsimiles of the most prestigious scores of the Music Department of the National Library of France. Camille Saint-Saens? extremely long career as a virtuoso, as a brilliant pianist and organist (no fewer than seventy-six years of concerts) and his daunting catalogue of works (close to six hundred are known) have helped shape the image of him as a tutelary figure, omnipresent in the musical landscape of his time, the uncontested master of French music, showered with honours and glory, yet the champion of what was, in the young 20th century, an outmoded aesthetic. Such an image ignores, however, that from the outset of his career, at the end of the 1850s, until the 1890s, Saint-Saens was, on the contrary, regarded in the artistic world as an agitator, as a propagator of new ideas and as an intermediary between French and Germanic cultures. Republican from his earliest days, he was a major figure in musical life, involved in many concert societies, most notably the Societe nationale de musique, which he founded in 1871. He was also a polemicist, whose quill was much feared and who used the press as his vehicle of choice, to disseminate his ideas, attract public attention, and conquer new audiences. Similarly, if the image of the ?official? Saint-Saens, at home with the stage and the institutions and their etiquette, has endured, that of the ?intimate? Saint-Saens, known by a faithful few for his sparkling conversation, his sharp humour and taste for puns, has been lost. If there is one work, in all of Saint-Saens? musical output that supremely captures the disposition so typical of the composer, it is the Carnival of the Animals. Dedicated to the autograph manuscript of Camille Saint-Saens? famous Carnival of the Animals (1835-1921), this volume sheds a distinctive light on the musician?s personality. Completed in February 1886, The Carnival of the Animals was created for friends and performers close to Saint-Saens and was performed about fifteen times between 1886 and 1894 to a small audience. Because Camille Saint-Saens feared that his ?zoological fantasy? would damage his reputation, the work was published in its entirety only after his death. Since then, its immense popularity has continued to grow, so much so that it is now enjoyed by music lovers and the general public alike. Presented by Marie-Gabrielle Soret, a specialist of Camille Saint-Saens, who provides a detailed description of the work and the context of its creation, the facsimile includes the fourteen pieces of The Carnival of the Animals. It reveals the composer?s handwriting, all the performance directions as he noted them, but also to the playful animal drawings with which he decorated his score ? a fish for ?Aquarium, the skeleton of a dinosaur for ?Fossiles?, the pale blue pencil silhouette of a swan to illustrate the famous Swan. La collection ? De main de maitre ? presente les fac-similes des partitions les plus prestigieuses du departement de la Musique de la Bibliotheque nationale de France. Dedie au manuscrit autographe du celebre Carnaval des animaux, de Camille Saint-Saens (1835-1921), ce volume eclaire la personnalite du musicien sous un jour particulier. Acheve en fevrier 1886, Le Carnaval des animaux fut cree pour des amis et interpretes proches de Saint-Saens et joue a une quinzaine de reprises entre 1886 et 1894 aupres d?un public restreint. Camille Saint-Saens craignant que cette ? fantaisie zoologique ? ne nuise a sa reputation, l?oeuvre ne fut publiee dans son integralite qu?apres la mort du compositeur. Depuis lors, son immense succes n?a cesse de croitre, si bien qu?elle est aujourd?hui appreciee tant par les melomanes que par le grand public. Presente par Marie-Gabrielle Soret, specialiste de Camille Saint-Saens, qui nous livre une description detaillee de l?oeuvre et du contexte de sa creation, le fac-simile comprend les quatorze pieces du Carnaval des animaux. Il permet d'acceder a la graphie du compositeur, a l'ensemble des indications telles qu?il les a notees, mais aussi aux facetieux dessins animaliers dont il emailla sa partition ? un poisson pour ? Aquarium ? , un squelette de dinosaure pour ? Fossiles ? , ou encore la pale silhouette au crayon bleu d'un cygne pour accompagner la celebre piece dediee a cet oiseau. Marie-Gabrielle Soret est conservateur en chef au Departement de la musique a la Bibliotheque nationale de France, responsable de la coordination du traitement des grands fonds d'archives et collections des XIXe et XXe siecles, au Service des collections patrimoniales du Departement de la musique (fonds de compositeurs, interpretes, institutions et societes musicales).
MONET UND CAMILLE. FRAUENPORTRAITS IM IMPRESSIONISMUS. / MONET AND CAMILLE. PORTRAITS OF WOMEN IN IMPRESSIONISM.
, Munchen, Hirmer Verlag, 2005., 2 Teilen, broschiert, 230 x 305mm., 300 + 96S., 315 Abbildungen, davon 308 in Farbe, 24 Fotografien, 23 Zeichnungen und 1 Karte. ISBN 9783777427058.
Camille ?? Modell, Geliebte und Ehefrau von Claude Monet steht im Mittelpunkt dieser Ausstellung, die die Frauenportraits der grossen Impressionisten aus aller Welt zu einer einmaligen Gesamtschau vereint. Weil sein Bild fur den Salon von 1866 nicht rechtzeitig fertig wurde, malte Monet das lebensgrosse Portrait der 19-jahrigen Camille Doncieux in eleganter Robe und in einer aussergewohnlichen Pose und Sicht. Das Gemalde brachte ihm den ersten grossen Erfolg. Doch nicht nur Monet, sondern auch Malerkollegen wie Auguste Renoir, Edouard Manet, James Abbott McNeill Whistler und Edgar Degas setzten die Tradition des reprasentativen Frauenportraits in ihre Bildsprache um. Mit ihnen zog Modernitat in die Kunst ein, konnte Mode zum Thema der Malerei werden. Wie sehr dies den kunstlerischen Absichten entsprach, wird in der Ausstellung durch Originalkleider, Kupferstiche aus zeitgenossischen Modezeitschriften, Zeichnungen und Fotografien veranschaulicht. Indem das Buch mit den Exponaten die stattliche Reihe der Bildnisse aus der Zeit des heraufkommenden Impressionismus versammelt, kann es die unkonventionellen Tendenzen jener beruhmten Phase der Kunstgeschichte belegen. Auf diese in den Bildern aufgezeigten Aspekte gehen die Katalogbeitrage der verschiedenen Autoren ein. So schafft das Buch die grundlegende Beschreibung der Voraussetzungen des franzosischen Impressionismus. Der Katalog fokussiert nicht nur ? Camille? , er weitet zugleich den Blick auf ein Stuck Mode- und Kunstgeschichte, das im Triumph der impressionistischen Malerei mundet. Neuer Zustand.
Camille Saint-Sa ns, Le Carnaval des animaux Facsimile Edition of the Autograph
, Brepols 2018, 2018 Hardcover, dusjacket, 192 pages., 127 col. ills, 300 x 366 mm, English/Francais, Manuscript. Fine. ISBN 9782503581224.
The collection De main de ma tre showcases the facsimiles of the most prestigious scores of the Music Department of the National Library of France. Camille Saint-Sa ns? extremely long career as a virtuoso, as a brilliant pianist and organist (no fewer than seventy-six years of concerts) and his daunting catalogue of works (close to six hundred are known) have helped shape the image of him as a tutelary figure, omnipresent in the musical landscape of his time, the uncontested master of French music, showered with honours and glory, yet the champion of what was, in the young 20th century, an outmoded aesthetic. Such an image ignores, however, that from the outset of his career, at the end of the 1850s, until the 1890s, Saint-Sa ns was, on the contrary, regarded in the artistic world as an agitator, as a propagator of new ideas and as an intermediary between French and Germanic cultures. Republican from his earliest days, he was a major figure in musical life, involved in many concert societies, most notably the Soci t nationale de musique, which he founded in 1871. He was also a polemicist, whose quill was much feared and who used the press as his vehicle of choice, to disseminate his ideas, attract public attention, and conquer new audiences. Similarly, if the image of the ?official? Saint-Sa ns, at home with the stage and the institutions and their etiquette, has endured, that of the ?intimate? Saint-Sa ns, known by a faithful few for his sparkling conversation, his sharp humour and taste for puns, has been lost. If there is one work, in all of Saint-Sa ns? musical output that supremely captures the disposition so typical of the composer, it is the Carnival of the Animals. Dedicated to the autograph manuscript of Camille Saint-Sa ns? famous Carnival of the Animals (1835-1921), this volume sheds a distinctive light on the musician?s personality. Completed in February 1886, The Carnival of the Animals was created for friends and performers close to Saint-Sa ns and was performed about fifteen times between 1886 and 1894 to a small audience. Because Camille Saint-Sa ns feared that his zoological fantasy would damage his reputation, the work was published in its entirety only after his death. Since then, its immense popularity has continued to grow, so much so that it is now enjoyed by music lovers and the general public alike. Presented by Marie-Gabrielle Soret, a specialist of Camille Saint-Sa ns, who provides a detailed description of the work and the context of its creation, the facsimile includes the fourteen pieces of The Carnival of the Animals. It reveals the composer's handwriting, all the performance directions as he noted them, but also to the playful animal drawings with which he decorated his score ? a fish for ?Aquarium?, the skeleton of a dinosaur for ?Fossiles?, the pale blue pencil silhouette of a swan to illustrate the famous Swan
Masson (Henri) - Rougeron (Camille) - Barjot (Robert) - Thomes (Jacques) - Tinard (Henri) -?
Reference : 62441
La Locomotion moderne - La marine par Henri Le Masson - L'aviation par Camille Rougeron - Les chemins de fer par Robert Barjot - La route par Jacques Thomas - L'automobile, le cycle par Henri Tinard
Paris, illustration, 1951 Reliure demi-toile, titre dor , in-folio de 422 pages - nombreuse illustrations in et hors texte en noir et en couleurs.
La Locomotion moderne - La marine par Henri Le Masson - L'aviation par Camille Rougeron - Les chemins de fer par Robert Barjot - La route par Jacques Thomas - L'automobile, le cycle par Henri Tinard
CAMILLE, EEN STEENWORP IN DE TIJD.
, Torhout, DeBeer, 1992., Originele geillustreerde ( Mark Meekers) uitgeversomslag z/w, 14x21cm, 58pp, geillustreerd door Mark Meekers z/w.
Het vel van deBeer, vol. 2. Een dichterlijke hommage aan Camille Claudel vijftig jaar na haar dood.
