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Euryanthe. Grosse romantische Oper in 3 Aufz?gen. Dichtung von Helmine von Chezy, geb: Freyinn von Klencke. In Musik gesetzt und Seiner Majest?t Franz I. Kaiser von Oesterreich, K?nig von Ungarn und B?hmen, der Lombardey und Venedig, Galizien und Lodomerien; Erzherzog von Oesterreich &c &c &c in tiefster Ehrfurcht zugeeignet... Vollst?ndiger vom Componisten verfertigter Clavier=Auszug. No. 4519 Preis _10_ Conv. M. [Piano-vocal score]
Wien: S.A. Steiner und Comp: [PNs 4519-4545]. [1824]. Oblong folio. Half contemporary dark green leather with green textured paper boards, diamond-shaped leather title label gilt to upper, gilt rules to spine. 1f. (title), [3] (named cast list referring to first production, and contents), 4-223, [i] (blank) pp. Engraved. Each musical number with its own plate number, caption title, note "aus der Oper Euryanthe, von C.M. von Weber" and imprint; pagination is, however, continuous. Slightly foxed throughout; upper margin dampstained; some leaves creased and bumped at outer corners; small stain to outer edge of final leaves. An attractive copy. . First Edition. WeV C.10. Jähns 291. Hoboken 15, 361. Hirsch IV, 1290. First performed in Vienna, October 25, 1823. "Designated... as a ‘grosse romantische Oper’, the work combines the defining attribute of ‘grand opera’ as Weber understood it, the technique of through-composition,... with various attributes of the newer ‘romantic’ opera such as a medieval setting with a supernatural component and a high degree of structural and genre variety... Although seriously flawed in certain respects, Helmina von Chézy’s libretto nevertheless allowed Weber to realize ideals of organic wholeness... even more thoroughly than in Der Freischütz... Slow, chromatic, and seemingly aimless music for divisi muted violins and violas characterizes the ethereal but restless existence of a spirit condemned to eternal wandering; with Emma’s redemption at the end of the opera, however, this music is transformed into a diatonic form... Where dialogue separates the formal pieces, Weber composed a flexible, expressive type of accompanied recitative that has little in common melodically or harmonically with conventional approaches to recitative." Paul Corneilson et al in Grove Music Online
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