‎Le tango de Buenos Aires, essai.‎

‎Paris, JC Lattès, 1979. 14 x 22, 131 pp., broché, bon état.‎

‎Music and the Figurative Arts in the Baroque Era‎

‎, Brepols, 2026 Hardback, Pages: xvi + 448, Size:210 x 270 mm, Illustrations:192 b/w, 16 col., 9 tables b/w., 1 music example, Languages: English, Italian, French. ISBN 9782503621845.‎

‎Summary The figurative arts - or the arts that transcribe the visible - are interested in music in many ways. If we consider the hierarchy of genres, particularly formalised at the end of the 17th century with the advent of the academies, music is present in religious subjects, historical and mythological themes, the performing arts, genre scenes, portraits and still lifes. Artists offered musical motifs using a wide variety of techniques, including painting of course, but also the graphic arts (drawing, engraving) and the plastic arts (sculpture, objets d'art and textiles in particular). This multiplicity of themes, media and techniques gives us the opportunity to discover common or rarer musical instruments that can be remarkably observed, but also musical notations that are sometimes perfectly identifiable, particular playing techniques that refer to theoretical treatises or learning tutors, and musical ensembles appropriate to a wide variety of circumstances (religious rituals, festivals, urban or court entertainments, the performing arts, domestic practices). All these visual traces of music raise questions about the place of music among the other arts, and about its social and symbolic importance, since it suggests or even provokes the affirmation of a status, of a terrestrial or spiritual power, of an aesthetic or even philosophical choice. The contributions gathered here reflect this diversity during the seventeenth and eighteenth centuries in Italy, France, Germany, Spain and Austria. TABLE OF CONTENTS Florence Gétreau and Fulvia Morabito Preface Spiritual Inspiration Maria Luisa Baldassari Chi era il maestro di Santa Cecilia? Dipinti di S. Cecilia e trattati tastieristici nel primo Barocco Galliano Ciliberti Un caso di musica picta: il mottetto In te Domine spes mea attribuito a Giacomo Carissimi Gaëtan Naulleau Le choeur polyphonique dans les planches illustrées du Cæremoniale Episcoporum (1600-1779) : caractéristiques, circulation et signification d'un thème iconographique Scenography and Theatrical Art Silvia Bier « Le propre de ce spectacle? »: Early French Opera and the Idea of a Synthesis of Arts Adriana De Feo Pietro Pariati and Apostolo Zeno at the Viennese Court: Baroque Spectacle and the Representation of Power Portraits of Musicians Nicola Usula Musica nei ritratti e ritratti nella musica: il caso di Leopoldo i Asburgo (1640-1705) Florence Gétreau The Musical Assembly with Reincken, Buxtehude and Theile Painted in 1674 by Johannes Voorhout: Reassessing Its Historiography and Interpretation Vincent Robin Quelques portraits de musettes et de musettistes aux XVIIe et XVIIIe siècles Court Music Images Florence Gétreau Présence de la musique dans l'iconographie du salon de la Paix à Versailles : les peintures et les trophées des bas-reliefs de métal doré Michael Latcham All the World's a Stage: Farinelli at the Royal Court of Spain, 1737 to 1760 Cristina Bordas Visual Memory of Farinelli in 21st Century Madrid Iconographic Appendix Abstract and Biographies Index of Names‎

‎Mozarts Bearbeitungen eigener und fremder Werke‎

‎Amsterdam, 1969 104pp., with some music examples in text, 22cm., softcover, text in German, Doctoral dissertation (Universiteit van Amsterdam, the Netherlands), stamp at verso of title page, text is clean and bright, M109019‎

‎Bach's Treatment of the Subject of Death in His Choral Music. A Dissertation‎

‎Washington D.C., The Catholic University of America Press 1961 435pp., with music examples in text, 23cm., softcover, text in English, Doctoral Dissertation (submitted in the Faculty of the Graduate School of Arts and Science of the Catholic University of America, 1961), stamp at verso of title page, text and interior are clean and bright, good condition, M108925‎

‎Les lieux du souvenir de Mozart à Salzbourg, avec un répertoire des objets exposés dans la maison natale de Mozart.‎

‎Salzbourg, Fondation Internationale Mozarteum, s.d. (ca 1960). 12 x 19, 65 pp., plusieurs illustrations en N/B, reliure d'édition carton, bon état.‎

‎extravagances nécessaires. La gestion financière des spectacles et de la musique en Europe aux XVIe et XVIIe siècles‎

‎, brepol, 2026 Paperback, Pages: 352 p.Size:178 x 254 mm, Illustrations:3 b/w, 26 col., 24 tables b/w. Language(s):French, English. ISBN 9782503622910.‎

‎Summary L'Europe de la Renaissance et du début de l'ère moderne a vu l'émergence d'un système de production et de consommation de plus en plus organisé, des arts du spectacle, que ce soit pour la célébration des fêtes civiques et de cour, ou dans le cadre des académies et des confréries, enfin avec l'avènement des impresarios et des compagnies théâtrales professionnelles. Si des professions de plus en plus spécialisées sont apparues, leur impact économique, dans une large mesure, reste à étudier. En effet, bien que la culture des fêtes de l'Europe de la Renaissance a été explorée sous de nombreux angles, les questions économiques sont généralement laissées à l'arrière-plan. Pour tenter de combler cette lacune, ce livre explore la gestion économique des arts du spectacle au début de la période moderne à la fois d'un point de vue pratique et d'un point de vue théorique, le premier en étudiant les sources, le traitement et la distribution des dépenses liées à ces événements, et le second en interrogeant les aspects sociaux, culturels et économiques de la gestion des arts du spectacle, ainsi que le capital social, culturel et économique investi dans la consommation éphémère. L'ouvrage rassemble des contributions non seulement de musicologues et d'historiens du théâtre, mais aussi d'historiens de l'économie, de l'art, de l'architecture et de la littérature, qui ont exploré divers aspects de la production et de la consommation des arts éphémères, ainsi que les nombreuses questions politiques, morales, religieuses et sociales soulevées, ouvrant ainsi la voie à une étude interdisciplinaire et européenne de l'économie des arts du spectacle pour cette période. TABLE OF CONTENTS Francesca Fantappiè Introduction Les professionnels des arts éphémères Olivier Spina Honorable travailleurs ou dangereux mercenaires? Les ménesterls confrontés à la Réforme dans le Londres Tudor (1500-1550) Céline Candiard Egalité, hiérarchies et logiques de rémunération dans les troupes françaises du XVIIe siècle Emanuele De Luca Giovan Battista Andreini et les voyages des troupes italiennes en France (1613-1624) : munificences, gains, stratégies du métier Sergio Monaldini Le métier des comici dell?arte en Italie (XVIe-XVIIe siècles). Aspects organisationnels et financiers Philippe Canguilhem Dépenses musicales ordinaires et extraordinaires dans les cours de la Renaissance : l?exemple du Duché florentin (1532-1570) Adeline Lionetto Des Apollons gagés ? Étude des retributions des poètes pour leur participation aux fêtes de cour sous les derniers Valois Alexander Robinson L?économie musicale dans les entrées solennelles à Lyon à la fin de la Renaissance (c. 1590-c. 1625) Jorge Morales Assurer le prestige par la musique: l?économie de la magnificence du cardinal Maurice de Savoie à travers les livres de comptes de sa maison L?économie des fêtes et les espaces civiques David Rivaud L?économie des entrées solennelles dans les villes du Centre-Ouest du royaume de France (XVe- XVIe siècles) Marina Viallon Jouter aux frais du prince : les dépenses de François d?Angoulême pour le tournoi de l?entrée de la reine Marie Tudor à Paris (1514) Aurélie Massie L?entrée royale d?Henri II à Paris en 1549 : comptabilité et représentation du pouvoir Ilario Mosca Le roi « Très-Chrétien », la ville de Paris et le financement des entrées de 1571 Francesca Fantappiè L?économie de la maraviglia : dépenses fictives et réelles à la cour des Bourbons et des Médicis (1586-1628) Beth Glixon Who?s in Charge? Modalities of Opera Production in Mid-Seicento Venice Jonathan Glixon Patrician Pomp: Ceremony and Celebration for New Procuratori in Early Modern Venice Bibliography Index des lieux Index des noms propres et des oeuvres Biographies des auteurs‎

‎Music in Unconventional Venues of Nineteenth-Century Europe‎

‎, Brepols, 2026 Hardback, Pages: 464, Size:210 x 270 mm, Illustrations:62 b/w, 48 tables b/w., Language(s):English, Spanish. ISBN 9782503624662.‎

‎Summary During the 19th century, music thrived in a variety of private and public spaces beyond the confines of theatres and concert halls throughout Europe. This volume decisively examines these unconventional venues, including outdoor locations such as gardens, municipal parks, squares, and fairs, alongside indoor environments such as spas and casinos. With over eighteen chapters, this collection provides a comprehensive overview of musical activities across diverse urban settings and social contexts during the long 19th century. The narratives take place in vibrant cafes, gardens, amusement parks, and seaside resorts, significantly highlighting the festive periods of Carnival. Furthermore, this volume underscores the critical role of music in exhibition spaces, equestrian arenas, the world of the circus, and military parades. By delving into these diverse spaces, we gain valuable insights into the musical landscape, where traditional concert hall and opera house audiences interacted with amateurs, dilettantes, and working-class individuals who often lacked formal education. This exploration encompasses 19th-century Europe, focusing on key Romantic cities such as Paris, Vienna, Amsterdam, Brussels, Lisbon, Madrid, and Barcelona, while also considering other alternative urban contexts like Astorga, Pula, and the Austrian Riviera in Abbazia. Additionally, the outlook is completed by an authoritative study of a circus itinerary in 19th-century England. TABLE OF CONTENTS Francesc Cortés i Mir - Ramón Sobrino Preface Music in Diverse Urban Settings: Socialization and Amusement Emilio Casares Rodicio Un espacio alternativo a la música de salón: el café y sus músicas Julia Mária Martínez-Lombó Testa La Sociedad Recreativa del Casino de Astorga: paradigma de espacio musical de una ciudad burguesa de provincias de la España de la segunda mitad del siglo XIX Amélie Addison Performing with a Monster Menagerie: A Circus Bandsman's Perspective Negotiating Spaces: Music Repertoires from the Theatre to the Equestrian Arena William Osmond « J'peux pas, j'ai kermesse! »: French Opera and comédie-vaudeville in the Amsterdam Kermis (1830-1839) Rachel Becker Unconventionally Conventional: Instrumental Music in the Opera Theatre Noriko Kamiyama 'Music Festival of the Future' at the Equestrian Arena in Ballenstedt Étienne Jardin Concert Venues in 19th-Century France: An Overview of Cuckoo's Nests John D. Wilson - Cheston Humphries - Mary Kirchdorfer A 'City of Music' without a Concert Hall: Concert Life in Vienna around 1800 Military Orchestras and Bands: Promoting Music for Education and Entertainment Gloria A. Rodríguez-Lorenzo Workhouses Bands in 19th-Century Spain: Music, Education and Social Inclusion Lada Durakovi? - Marijana Kokanovi? Markovi? Klänge aus Pola: Open-Air Concerts of the Naval Orchestra under the Baton of Franz Lehár Vjera Katalini? A Military Ensemble as a Spa Entertainer: The Case of the 79th Infantry Regiment Orchestra Outdoor Music Spectacles in the Civic Cultural Agenda Joana Peliz Del Convento de las Capuchinas de París a las fincas y plazas de toros de la Península Ibérica: la música en las exhibiciones fantasmagóricas y aerostáticas de Étienne-Gaspard y Eugène Robertson Clément Noël Extending Berlioz's Utopia? Gustave Charpentier and the Architectural Music of the Couronnement de la Muse Jan Dewilde Markets and Squares as Concert Venues in 19th-Century Flanders: Open-Air Cantatas of Peter Benoit (1834-1901) Musical Repertoires in 19th-Century Gardens across the Iberian Peninsula Francesc Cortès Los conciertos en los Jardines de Euterpe y los Campos Elíseos de Barcelona (1859-1874): tránsito de repertorios entre la ópera y la música popular Rui Magno Pinto An Unprecedented Musical Clash at Lisbon's Gardens: The Promenade Concerts of the Associação Música 24 de Junho and of the Associação de Professores de Música María Encina Cortizo El furor por el baile en el Madrid de mediados del siglo XIX: bailes campestres, sociedades y jardines Ramón Sobrino Conciertos sinfónicos y teatro lírico en los jardines madrileños (1864-1868) Abstracts and Biographies Index of Names‎

‎Jazz. Collection : Microcosme.‎

‎Paris, Seuil, 1982. 11 x 18, 349 pp., nombreuses illustrations en N/B, broché, très bon état.‎

‎Nouvelle édition.‎

‎Guide de la mélodie et du Lied‎

‎Paris, Fayard 1994 916pp., avec exemples de musique dans le texte, 20cm., brochure originale illustrée, texte imprimé en 2 colonnes, bon état, M95123‎

‎Musique Sorcière ‎

‎ 1978 - broché - Editions des femmes - 1978 - In-8 (18 x 13,5 cm) broché - 108 pages - ISBN : 2-7210-0141-8 ‎

‎Bon état - Infimes frottements sur la couverture ‎

‎Journey of Phil Trajetta. From Italian Political Prisoner to Free American Citizen‎

‎, Brepols, 2024 Hardback, xiv + 287 pages, Size:210 x 260 mm, Illustrations:61 b/w, 2 tables b/w., 17 music examples, Language: English. ISBN 9782503615653.‎

‎Summary This new monograph synthesizes and contextualises the details surrounding the life and work of Filippo (Phil) Trajetta (Venice, 1776 - Philadelphia, 1854), son of celebrated opera composer Tommaso Trajetta (often spelled Traetta). The volume has been designed to call the attention of musicologists and practitioners alike, to a neglected master who valiantly contributed to the development of music in America at a crucial junction in the Country's history: the period between American post-Revolution years and the threshold of the Civil War. The amount of literature written about music in ante-bellum America is extensive and accurate; however, Trajetta's name and activities barely receive a cursory mention. Phil Trajetta, patriot, musician, and immigrant deserves better. His literal and existential journey from political prisoner in Naples during the fall of the short-lived Neapolitan Republic to a free American citizen, speaks volumes about his status as one among the very few fully accredited professional European musicians to establish themselves on this side of the Atlantic. In America, Trajetta created, or was instrumental in creating, three important music schools: The American Conservatorios of Boston (1801), New York (1820), and Philadelphia (1828). The American Conservatorio of Philadelphia, which kept its doors opened for over 20 years, became Phil Trajetta's ultimate 'raison d'être'. There, as the leader of the Conservatorio's orchestra and chorus which included students, friends, and professionals, Trajetta produced his major orchestral/choral compositions, and wrote fundamental pedagogical treatises. TABLE OF CONTENTS Francesco Zimei, Preface Introduction Part One Chapter One: A Musician and Patriot Between Two Worlds Chapter Two: Salem - Boston - Charleston Chapter Three: New York City Chapter Four: In the Mountains of Virginia Chapter Five: Philadelphia, the 'Athens' of America Chapter Six: Sean Curtice, 'Solfeggio Americano' - Trajetta's Neapolitan Music Pedagogy Concluding Thoughts: The Italians of Philadelphia Catalogue of Philip Trajetta's Extant Works Part Two ERO, Azione Tragica. Poesia e musica di Fil. Tajetta Preface Editorial Criteria List of Variants Critical Edition Bibliography Appendix Trajetta's Primer of Music Designed for the Use of Teachers and Pupils (1843), reissued with an Appendix by James Cox Beckel (1882) Index of Names‎

‎Claude Debussy's Violin Sonata. Sources of the Creative Process‎

‎, Brepols, 2026 Hardback, Pages: 277, Size:240 x 340 mm, Illustrations:44 b/w, 119 col., 3 tables b/w., Language: English. ISBN 9782503624310.‎

‎Summary Composed only a few months before his death, Claude Debussy's Violin Sonata was the composer's final work and the result of a complex process that embraced an unusually large number of musical sources. In this study, many facets of Debussy's creative process are examined, as well as the difficulties through which he toiled for several months before handing over the final manuscript of the work to his publisher. In addition to musical sources, many other documents bear witness to the Sonata's progress from the initial draft to Durand's published edition. The Violin Sonata was written during a period on which the Great War cast a long shadow. It was also influenced by the composer's challenging compositional crisis and the terrible illness that was to claim his life shortly after the work's premiere. The Sonata's finale proved most problematic for Debussy, and thus an examination both of this movement's sketches and relevant correspondence uncovers several alternate versions, reconstructed here. TABLE OF CONTENTS Preface Introductory Essay: 'What a Sick Man Can Write in Time of War' Debussy at Work, as Seen by His Friends and Family Composing During the Great War The Reception of Debussy's Music at the End of His Life History of the Violin Sonata Chapter I. Compositional Methods Document 1: 'Six Sonates ...etc...' (S1) Document 2: Sketchbook (S2), fol. 23v Document 3: Sketchbook (S2), fols 24r-29r, 30v-31r Document 4: Sketchbook (S2), fols 31v-32v Document 5: Sketchbook (S2), fols 34r-36r, 38v-39v Document 6: Letter from Debussy to Jacques Durand, 17 October 1916 (S3) Document 7: Sketchbook (S2), fols 41v-42r, 44v-45v, 48r Document 8: Fair Copy (S9), Allegro vivo, fols 1r-8r, Intermède, fols 9r-11r Chapter II. 'The Finale That Just Would Not End' Document 9: Sketchbook (S2), fol. 1r Document 10: Former Stichvorlage (S5, S5bis), fols 15r-15v Document 11: Sketchbook (S2), fols 29v-30r, 36v-38r Document 12: Sketchbook (S2), fols 39v-41v Document 13: Draft of the Neapolitan Finale (S4), fols 8r-12r Document 14: Sketches of Alternative Finales (S5, S5bis, S6, S7, S8) Document 15: Fair Copy (S9), Finale, fols 1r-11r Document 16: Corrected Proofs (S11) Conclusion Appendices Appendix 1: Sketches of the Alternative Finales Appendix 2: Fair Copy (S9), 'Finale', fols 1r-11r Appendix 3: Stichvorlage (S10), fols 1r-19r Bibliography‎

‎Esquisses musicales. Enjeux et approches du XIXe au XXe siècle‎

‎, Brepols, 2023 Paperback, 310 pages, Size:190 x 240 mm, Illustrations:6 b/w, 16 col., 9 tables b/w., 59 exemples musicaux, Language(s):French, English. ISBN 9782503601144.‎

‎Summary La fascination pour la genèse des oeuvres musicales s'est développée progressivement à la fin du XVIIIe siècle par l'accès des compositeurs à une reconnaissance de leur travail et de leur statut. Cette légitimation les a conduits à conserver précieusement les traces de leur activité créatrice (brouillons, ébauches et carnets, épreuves corrigées, etc.). Néanmoins, ce n'est que depuis quelques décennies qu'a été pris en compte le potentiel que recèle l'étude attentive de telles sources. Si les esquisses musicales livrent de nombreuses informations sur les étapes de la composition, elles s'insèrent au sein d'une réflexion plus large sur les pratiques compositionnelles qui prend appui sur d autres types de sources (correspondances, écrits théoriques, articles de presse, photographies, etc.). Cet ouvrage rassemble neuf études abordant l'esquisse musicale de plusieurs angles. Dans leurs contributions, les auteur(e)s examinent la spécificité de l'esquisse musicale au regard de la production de compositeurs du XIXe et du XXe siècle tels que Saint-Saëns, Séverac, Satie, Debussy, Mahler, Schoenberg, Bartók, Ligeti, Nono. Cette diversité temporelle et esthétique englobe des problématiques variées qui s'articulent autour d'un même objet, à l'aune de la philologie, de l'histoire, de la sociologie et de la critique génétique. TABLE OF CONTENTS François Delécluse ? Avant-propos Anna Stoll Knecht ? Le mythe face à l'esquisse Alexandre Robert ? Un usage sociologique des esquisses musicales ? Socialisation, style de travail et schèmes d'écriture chez Déodat de Séverac Caroline Potter ? Text-Music Relations in Erik Satie's Works Seen through His Sketches Yusuke Nakahara ? Transforming a Character Piece Into ?the Diary of a Fly?? A Case Study from Bartók's Piano Lessons François Delécluse et Thomas Lacôte ? Une esquisse oubliée du Prélude à l'Après-midi d'un faune Fabien Guilloux ? Les esquisses et brouillons de Camille Saint-Saëns : l'oeuvre instrumental François Delécluse ? Trois idées musicales pour une esquisse : l'art de commencer chez Debussy Ulrich Krämer ? From Schoenberg's Workshop. The Sketch as a Laboratory of Musical Thought Paolo Dal Molin ? Le compositeur théoricien et les esquisses des autres. Essai sur les Wandlungen der musikalischen Form de György Ligeti Les auteurs de l'ouvrage Index des noms et des oeuvres‎

‎Histoire de la musique en Europe ‎

‎P., PUF, 1992, broché, collection "Que sais-je", 125 p.p., 17.5 x 11.3 x 0.9 cm, bon voire très bon état.‎

‎Performing Rites: On the Value of Popular Music‎

‎Oxford university press 1996 360 pages 16 4x2 8x23 2cm. 1996. Cartonné. 360 pages.‎

‎bon état de conservation avec sa jaquette intérieur propre‎

‎Musical Improvisation in the Baroque Era‎

‎, Brepols, 2019 Hardback, xvi + 405 pages, Size:210 x 260 mm, Illustrations:15 b/w, 110 musical examples, Languages: English, Italian, Spanish.*new ISBN 9782503583693.‎

‎Summary In the Baroque period there is a large discrepancy between sound entity and musical notation. In a context where the musical tradition, handwritten and printed, at times suggests the possible execution of a passage, at times indicates a specific mode of execution often adapted by the ability of the performer or the musical occasion, the margin for improvisation is wide. The in-depth and possibly comparative study of musical sources, their historical contextualization, their evaluation on the basis of documentary and theoretical testimonies, allows us to shed light on the real aural rendering of the synthetic written page. This volume aims to investigate the role and forms of improvisation in Baroque music under many of its multifaceted aspects, in a study that will define the links between creative process and executive practice. TABLE OF CONTENTS Fulvia Morabito Introduction Improvisation into Composition David Chung, French Harpsichord doubles and the Creative Art of the 17th-Century Clavecinistes Massimiliano Guido, Sounding Theory and Theoretical Notes Bernardo Pasquini's Pedagogy at the Keyboard: A Case of Composition in Performance? Javier Lupiañez - Fabrizio Ammetto, Las anotaciones de Pisendel en el Concierto para dos violines RV 507 de Vivaldi: una ventana abierta a la improvisación en la obra del 'Cura rojo' Josué Meléndez Peláez, Cadenze per ?nali: Exuberant and Extended Cadences in the 16th and 17th Centuries Marina Toffetti, Written Outlines of Improvisation Procedures in Music Publications of the Early 17th Century: The Second (1611-1623) and Third (1615-1623) Book of Concerti By G. Ghizzolo and the Motet Iesu Rex Admirabilis (1625-1627) by G. Frescobaldi Issues of Performance Practice Giovanna Barbati , «Il n'exécute jamais la Basse telle qu'elle est écrite»: The Use of Improvisation in Teaching Low Strings Anthony Pryer, On the Borderlines of Improvisation: Caccini, Monteverdi and the Freedoms of the Performer Laura Toffetti, «Sostener si può la battuta, etiandio in aria». Testi e contesti per comprendere l'invenzione e la disposizione del discorso musicale nel repertorio strumentale italiano fra Seicento e Settecento Rudolf Rasch, Improvised Cadenzas in the Cello Sonatas Op. 5 by Francesco Geminiani Contemporary Treatises, Pedagogical Works, and Aesthetics Valentina Anzani, Il mito della competizione tra virtuosi: quando Farinelli s?dò Bernacchi (Bologna 1727) John Lutterman, Re-Creating Historical Improvisatory Solo Practices on the Cello: C. Simpson, F. Niedt, and J. S. Bach on the Pedagogy of Contrapunctis Extemporalis Francesca Mignogna, Accompagnamento e basso continuo alla chitarra spagnola. Una cartogra?a della diffusione dei sistemi di notazione stenogra?ci in Italia, Spagna e Francia tra xvi e xvii secolo e loro implicazioni teoriche Guido Olivieri, Naturalezza o arti?cio: ri?essioni su improvvisazione e virtuosismo italiani in Francia nel Settecento Neal Zaslaw, «Adagio de Mr. Tartini. Varié de plusieurs façons différentes, très utiles aux personnes qui veulent apprendre à faire des traits sous chaque notte de l'Harmonie?» The Art of Partimento Simone Ciolfi, Cantata da camera e arte del partimento in Alessandro Scarlatti. «An Historical Link between Baroque Recitatives and Development Section of the Sonata-Form Movements?» Marco Pollaci, Two New Sources for the Study of Early Eighteenth-Century Composition and Improvisation Giorgio Sanguinetti, On the Origin of Partimento: A Recently Discovered Manuscript of Toccate (1695) by Francesco Mancini Peter van Tour, «Taking a Walk at the Molo»: Partimento and the Improvised Fugue Abstracts Biographies Index of Names‎

‎Entretiens sur la musique.‎

‎Paris, Albin Michel, 1953. 15 x 20, 160 pp., broché, couverture à rabats, bon état (couverture défraîchie).‎

‎Traduction de J.-G. Prod'homme et F. G.‎

‎Wilhelm Furtwängler.‎

‎Paris, JC Lattès, 1983. 14 x 22, 227 pp., broché, très bon état.‎

‎"Traduit de l'allemand par Michel Cresta; discographie établie par Henri-Jean Testa."‎

‎Musique et Verbe. Collection : Le Livre de Poche, N° 8348/Pluriel.‎

‎Paris, Albin Michel/Poche, 1979. 11 x 17, 413 pp., broché, bon état.‎

‎Guide pratique d'analyse musicale.‎

‎Paris, Durand, 1940. 17 x 26, 124 pp., nombreuses notations musicales, broché, bon état (couverture légèrement défraîchie).‎

‎Histoire de la musique.‎

‎Paris, Librairie Larousse, 1930. 14 x 20, 204 pp., 6 planches (24 portraits), broché, bon état.‎

‎Préface de Roger Ducasse.‎

‎Opinions musicales de Gabriel Fauré. ‎

‎Paris Editions Rieder, 1930, in-8, broché, titre contrecollé, 174p. Avec une reproduction du buste de Gabriel Fauré par son fils Emmanuel Fauré-Fremiet. Un des 600 ex. sur alfa des papeteries Lafuma, après 17 ex. sur Japon, 50 ex. sur Madagascar, 110 ex. sur vélin pur fil. Légère marque de mouillure en tête de la couverture et sur la tranche, mais n'affectant pas le texte. Bon exemplaire. ‎

7 Images

‎Practica musice. Testo latino e italiano. Collana La Tradizione Musicale. Studi e testi, 19. Le regole della musica, 6.‎

‎ Firenze, Sismel, Edizioni del Galluzzo 2017, 240x170mm, XCVIII - 494pagine, in brossura. Nuovo stato. ‎

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‎La musique française du Moyen Age et de la Renaissance. Collection : Que sais-je ? N°931.‎

‎Paris, Presses Universitaires de France (PUF), 1961. 11 x 18, 128 pp., broché, très bon état.‎

‎Music Patronage in Italy‎

‎, Brepols, 2021 Hardback, xviii + 491 pages, Size:210 x 270 mm, Illustrations:25 b/w, Language(s):English, Italian. *NEW ISBN 9782503595443.‎

‎Summary During the Renaissance and throughout the Baroque and Classical periods, musical production was linked to patronage. There are essentially two types of patronage. The first relates to political institutions, to public life, and aims to promote musical events that highlight the wealth and power of the patron in the eyes of rival courts and subjects ? hence the birth of the court chapels. The second type belongs to the private sphere, in which the patron, of noble birth and as such in possession of high moral and intellectual virtues, has a discriminating artistic sensibility - hence the promotion of chamber music activities, the collecting of rare and valuable musical instruments, and the compilation and collection of musical manuscripts, possibly in deluxe or personalized copies. This musical production system lasted until the middle of the nineteenth century, when the advent of capitalism and the rise of the bourgeois class caused the decline of patronage. This book focuses on the various aspects of music patronage in Italy from the fifteenth to the eighteenth century. TABLE OF CONTENTS Galliano Ciliberti, Preface Patronage as an Historiographical Problem Reinhard Strohm, Hosting Foreigners ? and the History of Italian Music Iain Fenlon, Private, Princely, and Collective Patronage in Sixteenth-Century Italy Patronage, Diplomacy and Power Relationships in Rome Thomas Neal, Printing and Patronage in Early Modern Rome: The Early Publications of Giovanni Pierluigi 'da Palestrina' Michela Berti ? Émilie Corswarem, «Capitale del Mondo [?] onorata da Nazioni straniere». Il particolare mecenatismo nelle chiese nazionali di Roma Galliano Ciliberti, «Les Goûts réunis». Diplomazia e mecenatismo musicale a Roma nel Seicento: il caso della Francia Patronage, Diplomacy and Power Relationships in Venice Gabriele Taschetti, Marcantonio De Dominis: A Patron manqué for Tomaso Cecchini? Adriana De Feo, Il casato di Hannover a Venezia e le scritture per Apostolo Zeno e Girolamo Frigimelica Roberti Giovanni Tribuzio, «Or giunte siamo dove il principe nostro potremo vagheggiar». Tre serenate di D'Alessandro/Vivaldi, Carcani e Paradies/Galuppi per Federico Cristiano di Sassonia (Venezia, Ospedali Grandi, 1740) Musical Patrons and Italian Cultural Life Cristina Cassia, Pietro Bembo and Music Patronage Marcello Mazzetti ? Livio Ticli, «I raggi della chiarissima casa gambaresca»: The Gambaras' Music. Patronage and the Performance Practice in 15th-17th-Century Brescia Nicolò Maccavino, Tipologie di mecenatismo e committenza musicale in alcune città del Val di Noto in Sicilia fra Cinque e Settecento Annabelle M. Page, Patronage in Absentia: A Case Study of the Patronage of Marcus Sitticus (c. 1612-1619) Maria Birbili, Music Patronage and Politics in the Early 19th Century: Rossini, the 'Holy Alliance', and the Use of autoimprestito as a Means of Ironic Distance Manuscript Production and Music Publishing Marina Toffetti, Music Publishing and Patronage in Milan in the First Thirty Years of the Seventeenth Century: An Overview Angela Fiore, «Sotto l'ale protettrici dell'Aquile Coronate»: copisti stampatori e mecenatismo della corte estense Abstracts and Biographies Index of Names‎