Paris, Lyon: Aux Adresses ordinaires de Musique, A Lion M. Castaud.
Folio. Full contemporary green vellum with octagonal cut paper label titled in manuscript to upper, red edges. 1f. (recto title, verso blank), 1f. (recto dedication, verso blank), 135 pp. Engraved.
With small rectangular contemporary Parisian music seller's label to upper outer corner of verso of title: "Le Menu Auteur, Editeur, et Md. de Musique, De Madame la Dauphine, Tient Magasin de Musique Françoise, Italienne; et de Papier Reglé, Rue du Roule à la Clef d'or, la 5ème Boutique à droite, en entrant par la Rue St. Honoré. A Paris."
From the collection of the American composer and conductor Gene Forrell (1915-2005), with his signature and embossed London address to endpapers.
Binding quite worn, rubbed, and bumped; tears; some loss to spine; other minor defects. Slightly worn; some soiling and small stains; lower outer corners creased; single stab hole to upper inner margins; minor worming to central inner margins; title quite soiled.
First Edition. Loewenberg 307. Sonneck p. 69. Lesure p. 263. BUC p. 405. Hirsch II, 362. RISM G4466.
A comédie-parade in one act to a libretto by Louis Anseaume, Le Tableau Parlant was first performed in Paris at the Comédie-Italienne (Hôtel de Bourgogne) on September 20, 1769.
"The originality of Grétry’s opera, emphasized by Grimm in the Correspondance littéraire, is founded on its witty approach to the characters: the music dovetails sudden changes in their feelings and, in particular, captures ironic and self-ironic expressions... The farcical side of the opera is counterbalanced by lyrical, amorous duets between the two couples." Michael Fend in Grove Music Online.
"Grétry’s operas, which enjoyed such a vogue in France... cannot be judged without the contribution of his librettists. Nevertheless, full credit must be given to his own contributions to the planning (partly revealed in his Réflexions d’un solitaire), as well as his unrelenting desire to extend the scope of both opéra comique and opéra. Grétry’s very attractive melodic gift was an essential ingredient and helps justify the occasional revival of his music. With his librettists he brought to life a range of splendidly imagined characters, ranging from bumpkins to monarchs, or from a rebellious female warrior to the murderous Bluebeard. His best scores had wide currency, especially in Germany: it is hard to imagine the evolution of opéra comique, and Romantic opera in general, without the part played by his works." David Charlton in Grove Music Online.
Price: $600.00 other currencies