1812 Opera SCORE Boieldieu JOHANN JEAN De Von PARIS Complete RARE PIANO VERSION

Description

DESCRIPTION
:
Up for auction is a rare musical artifact. Being an over  200 years old ORIGINAL ANTIQUE MUSICAL SCORE printed in ENGRAVING technique , Being an adaptation for PIANO of the OPERA "JEAN DE PARIS" , In German "JOHANN VON PARIS" by the French composer FRANCOIS-ADRIEN BOIELDIEU . The SCORE is not dated but was identified in catalogues as
"
Kunst- und Industrie-Comptoir
" Plate number 502
. The OPERA was first performed in 1812 in Paris and it was extremely popular and successful. The PIANO NOTES are accompanied by the COMPLETE LIBRETTO. The ENGRAVED score was published by the Austrian music publishers "
Kunst- und Industrie-Comptoir
" in Leipzig and Berlin. Plate number 502.
Original illustrated wrappers.
Size around
13" x 10" . Oblong. 72 pp . Very good condition .Used. Tightly bound.  Front wrapper and a few front pages are slightly stained at their bottom margins.
( Pls look at scan for accurate AS IS
images )
Will be sent inside a protective packaging.
AUTHENTICITY
: The publication is fully guaranteed ORIGINAL from 1812  , NOT a reprint or a recent edition , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
PAYMENTS
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Payment method accepted : PAYPAL .
SHIPPING
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Shipp worldwide via registered airmail is FREE but only with a BUY IT NOW purchase , Otherwise . Will be sent inside a protective packaging .
Handling around 5-10 days after payment.
François-Adrien Boieldieu, (born Dec. 16, 1775, Rouen, France—died Oct. 8, 1834, Jarsy), composer who helped transform the French opéra comique into a more serious form of early romantic opera. BRITANNICA QUIZ Oh, What Is That Sound: Fact or Fiction? The harpsichord is a member of the keyboard family of instruments. Boieldieu studied in Rouen under the organist Charles Broche and composed numerous operas and piano sonatas. His sonatas are remarkable for their form, and they constitute the first important body of piano works by a French composer. In 1796 he settled in Paris, where he met Étienne Méhul and Luigi Cherubini. The following year he produced three comic operas—La Famille suisse, L’Heureuse nouvelle, and Le Pari ou Mombreuil et Merville. He became professor of piano at the conservatory in 1798 and composed his successful operas Le Calife de Bagdad (1800) and Ma Tante Aurore (1803). From 1804 to 1810 he directed the opera at St. Petersburg, Russia. In 1816 he became director of music to Louis XVIII, in 1817 a member of the French Institute, and in 1820 professor of composition at the conservatory. His main operas of this period were Jean de Paris (1812), Le Petit Chaperon rouge (1818; “Little Red Riding Hood”), and his masterpiece, La Dame blanche (1825; “The White Lady”). Composed on a libretto by Eugène Scribe, derived from Sir Walter Scott’s novels The Lady of the Lake, Guy Mannering, and Monastery, it had received 1,700 performances by 1914. Boieldieu’s work illustrates the evolution of French operatic music in the generation following the French Revolution. In its lighter aspects, his style was compared to Gioacchino Rossini’s. His scenes of mystery and romance, particularly in La Dame blanche, are akin to those of Carl Maria von Weber. He also composed numerous romances for voice and harp or piano and a concerto for harp (1801). **** François-Adrien Boieldieu specialized in the form of opéra comique, and in Paris his operas were among the best-known and most-performed of his day. His felicitous melodic sense led his contemporaries to dub him "the French Mozart." Boieldieu's first music teacher was Urbain Cordonnier, the children's choirmaster at Rouen Cathedral. Even before he learned to read music, Boieldieu was taking part in church music performances, learning the music by ear. Later Boieldieu studied organ and piano with Charles Broche. In 1791, he was appointed organist at the church of St. André in Rouen. At about this time he also started composing, and in 1793 his first opera La fille coupable -- with a libretto by his father -- was performed in Rouen. Before long he was also appearing as a pianist, including some of his own works in his programs. In the summer of 1796 Boieldieu moved to Paris, where he wrote several well-received operas over the next few years, including his first great success Le Calife de Bagdad (1800). Legend has it that Luigi Cherubini, one of the most influential musicians of that time, heard Le Calife de Bagdad and, thinking its composer musically ignorant, offered Boieldieu music lessons. In 1802 Boieldieu married dancer Clotilde Mafleurai. The marriage fell apart after just a few months, and Boieldieu left Paris for Russia in 1803, taking a post as conductor of the Imperial Opera. Boieldieu remained separated from Clotilde until her death in 1827, at which point he married the singer Jeanne Phillis-Bertin, with whom he had been carrying on a long-standing affair. Boieldieu's contract in Russia called for him to write three operas a year. He didn't quite live up to that expectation, but during his seven years in Russia he managed to produce 10 operas. On his return to France in 1811, Boieldieu composed his opera Jean de Paris (1812), which reestablished his fame with the Paris audience. Three years later he was appointed court composer and accompanist, and in 1817 he took over Étienne Nicolas Méhul's position as professor of composition at the Paris Conservatoire, a post he held until 1826. In the late 1810s and early 1820s, Boieldieu didn't compose much due to ill health, but he was named a Chevalier of the Legion of Honor in 1821. During that time, the operas of Gioacchino Rossini became the rage in Paris. Rossini himself moved to Paris in 1823, and much French music of that time took on elements of the Rossini sound. Remaining true to his own style, Boieldieu composed his masterpiece, La dame blanche (1825), as a kind of response to the Rossini enthusiasm. La dame blanche was a massive success both in France and internationally, and remained in the European repertoire for many decades. Boieldieu's next -- and last -- opera, Les deux nuits (1829), didn't fare so well. By this time, he was much afflicted by health problems, particularly the consumptive laryngitis which led to the loss of his voice. He also had financial problems, but eventually received a pension from the French government. Unable to compose, Boieldieu turned to painting; some of his paintings still can be seen at the Rouen Museum. Five days after his death in 1834, Boieldieu was given a state funeral, and was buried in the cemetery in Rouen. ****  Jean de Paris opéra comique 2 acts Claude Godard d'Aucort de Saint-Just 4 April 1812 Opéra-Comique, Salle Feydeau ****  Jean de Paris (German: Johann von Paris ) is an opera-comique in two acts by the French composer François-Adrien Boieldieu and the librettist Claude Godard D'Aucourt de Saint-Just . Table of Contents 1 story 2 action 2.1 First act - place in front of the inn (in front of a wild mountain backdrop) 2.2 Second act - square in front of the inn (later in the day) 3 literature 4th Web links History [ edit | Edit source ] His first performance , the work was on April 4, 1812 the Opéra-Comique in Paris and stood there until 1863 on the board. The opera was dedicated to the composer André-Ernest-Modeste Grétry . Jean de Paris was a great success for Boieldieu, who returned to the Paris opera stage in 1812 with this Opéra-comique after seven years in Russia . In the year of the premiere in Paris, Johann von Paris was also performed in various German translations in Germany and Austria. Ignaz Franz Castelli got his translation for the Theater am Kärntnertor ( Vienna ), Ignaz von Seyfried worked for the Theater an der Wien and the translation of Karl Alexander Herklots came on stage in Berlin . This opera - and its subject matter - enjoyed great popularity, so that in 1818 a new setting by Francesco Morlacchi (music) and Felice Romani (libretto) was performed in Milan. In 1831 Gaetano Donizetti composed his Gianni di Parigi . In 1969 Ernst Gärtner, Arthur Scherle and Siegfried Köhler drafted their new version of Johann von Paris . Plot [ edit | Edit source ] Act I - in front of the inn (before wild mountain scenery) [ Edit | Edit source ] The Princess of Navarre travels to Paris to marry the Dauphin . A tavern deep in the Pyrenees has been chosen to host the princess and her entourage. Everything is ready and waiting for the guest (choir “Don't delay, do your duty”). Disguised and under the name of Johann von Paris, the Dauphin travels to meet his bride and wants to meet her in this very tavern. Oliviero, Johann's servant, arrives and demands board and lodging for his master (trio “Willkommen Herr Gastwirt”). The princess’s senior seneschal appears and announces her imminent arrival ( aria “Because we are going to have to be obeyed here in the house”). But Johann von Paris, who arrived with him, insists on having certain privileges as the one who arrived earlier (quartet: Johann von Paris, Senior Seneschal, Pedrigo, Lorezza “May a person dare to do something like that?”). The princess arrives at the inn (aria "What pleasure grants travel"). She is the only one who recognizes her bridegroom in Johann and wants to counter his ruse with another. She therefore kindly accepts his invitation to a joint lunch. Second act - place in front of the inn (later that day) [ edit | Edit source ] After dinner, the two bride and groom sit together. Oliviero sings a romance (“The Troubadour, proud of the love ties”) Johann von Paris joins in after the first stanza, the princess after the second. After this song all those present gather and sing with the choir (“When castanets sound”). Thereupon Johann identifies himself as Dauphin and Bridegroom and everyone joins the final song “The beauty of fame and honor”. Literature [ edit | Edit source ] François A. Boieldieu: Arias and chants from the Singspiel in two acts, Johann von Paris . Berlin 1820 (translated by Karl Alexander Herklots). François A. Boieldieu: John of Paris. Opera in 2 acts. With German and French texts . Zulehner, Eltville 1812 (piano reduction by Carl Zulehner ). François A. Boieldieu: Jean de Paris, Opéra Comique en deux Actes, Paroles de Monsieur de St. Just . Janet et Cotelle, Paris 1826. Leo Melitz: Guide through the operas . Globus-Verlag, Berlin 1914, pp. 143-144. Horst Seeger : Opera Lexicon . Heinrichshofen Verlag, Wilhelmshaven 1987, ISBN 3-7959-0271-1 , p. 276.Performed for the first time at the Opéra-Comique on 4 April 1812, Jean de Paris is an opéra comique in two acts set to a libretto by Claude Gaudart d’Aucourt de Saint-Just. The opera’s title roles were created by two of the leading figures on the Paris opera stage at the time: the baritone Jean Elleviou (in the role of Jean de Paris), and the soprano Louise Lemonnier (as the Princess of Navarre). The libretto tells the story of the romance between the two main characters, the heir to the throne of France and his betrothed, the Princess of Navarre. The former comes up with a plan to test his future wife’s virtue by passing himself off as a humble man called Jean de Paris. Staying in the same hotel as the Princess, he proffers an invitation to dinner, which she accepts, being fully aware of Jean’s cunning scheme. After the two have realised their love for each other, the Princess manages to make her future husband confess his true identity. The work ends happily with their sumptuous wedding celebrations. The overture was taken from the opera Abderkan, first performed in St. Petersburg in 1804. The score is full of tasteful picturesque touches: worthy of note is the instrumentation of Olivier’s aria, “Lorsque mon maître est en voyage”, which attempts to imitate the cracking of the postilion’s whip, and the medieval shading of Jean’s aria “En brave et galant paladin”. The work was hugely successful despite the reservations of certain critics who saw it as a reworking of the Calife de Bagdad by the same composer and librettist, premiered on 16 September 1800 on the same stage. The opera won the approval, however, of some of the most famous Romantic composers of the century: Berlioz paid tribute to its taste and melodic qualities, despite regretting its harmonic simplicity, while Schumann praised the “masterly” instrumentation of the work, which was held up by Wagner as a perfect example of “French spirit”.  ***Jean de Paris (deutsch: Johann von Paris) ist eine Opéra-comique in zwei Akten des französischen Komponisten François-Adrien Boieldieu und des Librettisten Claude Godard D’Aucourt de Saint-Just. Inhaltsverzeichnis 1 Geschichte 2 Handlung 2.1 Erster Akt – Platz vor dem Wirtshaus (vor wilder Bergkulisse) 2.2 Zweiter Akt – Platz vor dem Wirtshaus (später am Tag) 3 Literatur 4 Weblinks Geschichte[Bearbeiten | Quelltext bearbeiten] Seine Uraufführung erlebte das Werk am 4. April 1812 an der Opéra-Comique in Paris und stand dort bis 1863 auf dem Spielplan. Gewidmet war die Oper dem Komponisten André-Ernest-Modeste Grétry. Jean de Paris war ein großer Erfolg für Boieldieu, der sich mit dieser Opéra-comique nach siebenjährigem Russland-Aufenthalt im Jahre 1812 auf der Pariser Opernbühne zurückmeldete. Noch im Jahr der Premiere in Paris kam Johann von Paris in verschiedenen deutschen Übersetzungen in Deutschland und Österreich ebenfalls zur Aufführung. Ignaz Franz Castelli besorgte seine Übersetzung für das Theater am Kärntnertor (Wien), Ignaz von Seyfried arbeitete für das Theater an der Wien und die Übersetzung von Karl Alexander Herklots kam in Berlin auf die Bühne. Diese Oper – und ihr Stoff – erfreute sich großer Beliebtheit, so dass bereits 1818 eine neue Vertonung von Francesco Morlacchi (Musik) und Felice Romani (Libretto) in Mailand aufgeführt wurde. 1831 komponierte Gaetano Donizetti seinen Gianni di Parigi. 1969 erarbeiteten Ernst Gärtner, Arthur Scherle und Siegfried Köhler ihre Neufassung des Johann von Paris. Handlung[Bearbeiten | Quelltext bearbeiten] Erster Akt – Platz vor dem Wirtshaus (vor wilder Bergkulisse)[Bearbeiten | Quelltext bearbeiten] Die Prinzessin von Navarra reist nach Paris um den Dauphin zu heiraten. Tief in den Pyrenäen ist ein Wirtshaus ausersehen, die Prinzessin samt ihrem Gefolge zu bewirten. Alles ist bereitet und wartet auf den Gast (Chor „Säumet nicht, tut eure Pflicht“). Verkleidet und unter dem Namen Johann von Paris reist der Dauphin seiner Braut entgegen und will sie in ebendiesem Wirtshaus treffen. Oliviero, der Diener Johanns, trifft ein und verlangt Unterkunft und Verpflegung für seinen Herrn (Terzett „Willkommen Herr Gastwirt“). Da erscheint der Ober-Seneschall der Prinzessin und kündigt deren baldiges Eintreffen an (Arie „Weil man jetzt hier im Haus uns gehorchen wird müssen“). Doch Johann von Paris, der zusammen mit diesem eingetroffen ist, besteht darauf, als der früher Angekommene gewisse Vorrechte zu haben (Quartett: Johann von Paris, Ober-Seneschall, Pedrigo, Lorezza „Darf ein Mensch so etwas wagen?“). Die Prinzessin erreicht das Wirtshaus (Arie „Welche Lust gewährt das Reisen“). Als einzige erkennt sie in Johann ihren Bräutigam und will seine List mit einer weiteren begegnen. Sie nimmt deshalb freundlich dessen Einladung zu einem gemeinsamen Mittagsmahl an. Zweiter Akt – Platz vor dem Wirtshaus (später am Tag)[Bearbeiten | Quelltext bearbeiten] Nach dem Essen sitzen die beiden Brautleute noch zusammen. Oliviero singt eine Romanze („Der Troubadour, stolz auf der Liebe Bande“) Johann von Paris stimmt nach der ersten Strophe mit ein, die Prinzessin nach der zweiten. Nach diesem Lied versammeln sich alle Anwesenden und singen mit dem Chor („Wenn Kastagnetten klingen“). Daraufhin gibt sich Johann als Dauphin und Bräutigam zu erkennen und alle stimmen in das Schlusslied „Der Schönheit Ruhm und Ehre“ mit ein. Literatur[Bearbeiten | Quelltext bearbeiten] François A. Boieldieu: Arien und Gesänge aus dem Singspiel in zwei Acten, Johann von Paris. Berlin 1820 (übersetzt von Karl Alexander Herklots). François A. Boieldieu: Johann von Paris. Oper in 2 Aufzügen. Mit deutschem und französischem Texte. Zulehner, Eltville 1812 (Klavierauszug von Carl Zulehner). François A. Boieldieu: Jean de Paris, Opéra Comique en deux Actes, Paroles de Monsieur de St. Just. Janet et Cotelle, Paris 1826. Leo Melitz: Führer durch die Opern. Globus-Verlag, Berlin 1914, S. 143–144. Horst Seeger: Opern-Lexikon. Heinrichshofen Verlag, Wilhelmshaven 1987*** Austrian firm of music publishers. It was founded in Vienna in 1801 by Josef Anton Kappeller, a Tyrolean painter, and Jakob Holer, who dealt mainly in fine art, maps and music. Because of illness Kappeller had to leave the firm on 12 March 1802; the artistic direction was transferred with the deed of partnership to the writer Joseph Schreyvogel (later secretary of the Hofburg theatre). Joseph Sonnleithner and Johann Sigmund Rizy invested in the enterprise as sleeping partners. The firm was known by its German title, as Bureau des Arts et d'Industrie and as Contojo d'Arti e d'Industria. From 1807 Schreyvogel directed it alone, and on 16 May that year he took over J. Legrer's bookshop in Vacznergasse, Pesth (Hungary), which took the name of Schreyvogel & Co. in 1808; it was managed by Josef Riedl, 1808–12 and 1815–22, and by Sigmund Rabus, 1812–15. In 1811 Jakob Holer again became a partner in the Kunst- und Industrie-Comptoir. ***  Art and Industry Comptoir ORGANIZATIONAL DATA ADDRESSES DESIGNATIONS Type of organization company date from 1801 date to Named after Personal reference Ludwig van Beethoven , Joseph Schreyvogel , Joseph Sonnleithner , Johann Sigmund Rizy GND Wikidata ID See also resource export  RDF Last change on 09/27/2017 by DYN.krabina 0 / 0 22 m approx. 1: 1500 © ViennaGIS Show full version Map excerpt from Vienna's cultural property Art and Industry Comptoir. On November 12, 1800 the painter Joseph Anton Kappeller (1761-1806) and the lawyer Dr. Jakob Holer, both from Imst (Tyrol), who lived in the house of Joseph Sonnleithner (1766-1835) from around 1798 , for an art dealership privilege (the Artaria and Mollo art dealerships existed at that time ) and received approval on March 10, 1801; on May 1, 1801 they signed a partnership agreement and named the new company "Kunst- und Industrie-Comptoir Kappeller und Holer". Contracts were signed with visual artists, scientists and composers; Ludwig van Beethoven was also won over to the publisher on October 5, 1801. On March 15, 1802 (after Kappeller left) Holer signed a contract withJoseph Schreyvogel, Joseph Sonnleithner and his brother-in-law Johann Sigmund Rizy (1759-1830) and gave the company the name "Kunst- und Industrie-Comptoir zu Wien" (company records on May 1st, 1802). In 1805 the previously 1, Kohlmarkt 12 resident Comptoir moved to Kielmansegg-Haus 1, Hoher Markt 1. When Beethoven fell out with Artaria in 1802, Sonnleithner was his legal adviser and then tied him to the Comptoir, which had developed into Artaria's fiercest competitor; the music enjoyed special care. When the Comptoir ran into increasing difficulties in 1808, Beethoven turned to Breitkopf & Härtel. The currency devaluation contributed to the fact that the Comptoir could no longer recover. On September 30, 1813, the court ruled that Schreyvogel was the sole manager of the company; **
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