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Scaenica progymnasmata, hoc estludicra praeexercitamenta, cum explanatione Jacobi spegel Selestani Caes. Secret
Haguenau, apud Thomas Anshelm, 1519 (M.D.XIX Mense Maio). Pet. in-4, cartonnage postérieur ,titre encadré , LXXIX f.,3ff.n.ch. (R 6),( table et marque d’imprimeur) .Exemplaire très frais, écriture sur le titre .
Il s'agit de la première comédie latine jouée en Allemagne et la première pièce de théâtre accompagnée de musique (Fètis ,2dn éd.,T7, p232), inspiré de La farce de Maistre Pathelin , que l'auteur avait certainement vu à Paris lors de son voyage en 1473 , et jouée pour la première fois en 1497 à Heidelberg ,la première édition date de 1498 . Né à Bale le 29 décembre 1455 ,Johannes Reuchlinn, étudie la musique , les sciences , les langues , maîtrise le latin, le grec et l'hébreu ,surtout connu pour ses ouvrages sur la Kabbale et sur la défense des livres en hébreux face à l'inquisition de Cologne, Erasme le considérait comme l'humaniste par excellence, il est le grand-oncle de Melantchon. Dans une belle impression de Thomas Anshelm également dit Thomas Anshelm de Baden-Baden, (1465-1522) engraver , imprimeur et humaniste allemand , il a imprimé de nombreux ouvrages pour Reuchlin et créé de magnifiques caractères grecs et hébraïques . Anshelm a utilisé au moins quatre marques typographiques, dont l'une avec des angeles est l'oeuvre de Hans Baldung, dit Grien, graveur, peinture en allemand qui perfectionne son art dans les ateliers d'Albrecht Dürer est présenté ici. New ed. (1st 1498) of a Latin comedy of J. Reuchlin (1455-1522) by Jacob Spiegel (1483-1547), friend of Wimpfeling, uncle of Melantchon, Erasmus call him the "the husmanist by excellence". Large woodcut mark on R6r. Ref. VD-16R-1270 (2). Benzing, Hagenau 51. Benzing, Ruchlin 77. STCGerman (BL London) p. 733. BN Paris (1). NUC (3). Not in Adams, Machiels. (merci à JF) P1-12
REUCHLIN, Johannes ; MELANCHTHON, Philipp
Reference : 133476
(2022)
ISBN : 2251453423 9782251453422
Les Bésicles : 1511, suivi de Vie de Reuchlin : 1552 . Traduit par Hélène Feydy et Delphine Viellard ; traduit par Jean-Christophe Saladin, avec la collaboration de Delphine Viellard ; édition bilingue sous la direction de Jean-Christophe Saladin ; introduction générale de Jean-Christophe Saladin et Yves Grimonprez ; annexes traduites par Jean-Christophe Saladin et Olivier Sers
Les Belles Lettres, coll. « Le Miroir des humanistes », n° 21 2022 Livre en allemand. In-8 broché 22,5 cm sur 14. LVII-447 pages. Bon état d’occasion.
édition bilingue allemand/français. Références des citations et notes techniques, repères chronologiques, bibliographie, index des noms, table des matières. Ex-libris tampon B. H. Bon état d’occasion
De Accentibus et Orthographia, Linguae Hebraicae [i.e.“Accents and Spelling of the Hebrew Language”]. - [THE FIRST EXAMPLE OF NOTATED ASHKENAZI TORAH CANTILLATION]
(Colophon:) Hagenau, Thomas Anshelm, 1518. Small folio. Bound in a recent full vellum binding with gilt lines and gilt lettering to spine. Title-page re-hinged, affecting neither printing nor woodcut. First leaves with light dampstaining to lower blank margin, far from affecting text. Last portion of leaves with small single worm-holes, mostly marginal, but touching the woodcut at the end. Neat marginal annotations. All in all a very nice copy. Magnificently printed, with three pages with the terms of the Hebrew cantillation printed in red and black, nine pages of musical scores (printed from right to left), extensive use of distinctive Hebrew type, large title-woodcut, and Anshelm's magnificent, large woodcut Printer's device at the colophon (presumably by Anshelm himself, after Dürer). 83, (5) ff.
![De Accentibus et Orthographia, Linguae Hebraicae [i.e.“Accents and Spelling of the Hebrew Language”]. - [THE FIRST EXAMPLE OF NOTATED ASHKENAZI TORAH ...](https://static.livre-rare-book.com/pictures/LLX/59259_1_thumb.jpg)
![De Accentibus et Orthographia, Linguae Hebraicae [i.e.“Accents and Spelling of the Hebrew Language”]. - [THE FIRST EXAMPLE OF NOTATED ASHKENAZI TORAH ...](https://static.livre-rare-book.com/pictures/LLX/59259_2_thumb.jpg)
![De Accentibus et Orthographia, Linguae Hebraicae [i.e.“Accents and Spelling of the Hebrew Language”]. - [THE FIRST EXAMPLE OF NOTATED ASHKENAZI TORAH ...](https://static.livre-rare-book.com/pictures/LLX/59259_3_thumb.jpg)
Scarce first – and only edition – of this groundbreaking work in Jewish musical tradition, being the first work with printed Hebrew music - Reuchlin’s last work of Hebrew grammer, considered a masterpiece of Hebrew typography. Johannes Reuchlin (1455-1522), the important German humanist from the city of Pforzheim, might not be a famous name today, but he played a significant role in his time and was greatly admired by thinkers such as Erasmus, Münster and Melanchthon. He was known as the father of Christian Hebrew studies as well as for his controversial fight against the Dominicans and their attempt to confiscate and burn Jewish books in the early 16th century. Thus, he became a symbol of interreligious tolerance during a period of growing anti-Semitism in Germany. The “De Accentibus” contains a transcription of Hebrew cantillation for four voices. There are 9 pages of musical notes with Hebrew text for Tenor, Discantus, Altus, and Bassus, and the notes are to be read from right to left. Scholars believe the notation was provided by the eminent Christian Hebraist Johann Boschenstein (1472-1540). “In his last work of Hebrew grammar, De Accentibus... (1518), Reuchlin published the first example of notated Ashkenazi Torah cantillation, presenting thirty-four tropes set to four voices. Although this setting is often regarded as a misunderstanding of Jewish monophonic tradition, it gives us an insight to a phenomenon that goes beyond liturgical practice. This musical experiment was meant to serve Hebrew students in their learning of a long lost language among Christians. It combines Jewish and German musical traditions, but also two of Reuchlin's mystical passions: the secrets found in the Hebrew words and letters as proposed in the Kabbalah and the magical effect of harmonies and proportions of Phythagoreanism.” Adams: R:380.
