Annette richards (118 resultados)

Paperback. Condición: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Paperback. Condición: Very Good. Grade 3 out 5 points. Book has wear on cover and pages. May have personalized notes/names, stickers/labels. Has no markings on pages. May not include extra materials like access codes, CDs, accessories, etc. All orders ship by next business day! We are a small company and very thankful for your business.…

Condición: As New. Unread book in perfect condition.

Condición: New.

paperback. Condición: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Paperback. Condición: Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority.

Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Condición: New. In English.

Hard Cover. Condición: Fine. No Jacket. 1st Edition/1st Printing. SIGNED by Mark Franko on title page (inscribed to co-editor Richards). $27.95 price present on DJ flap. Size: 8vo - over 7¾" - 9¾" tall. Signed by Editor.

Condición: New. In English.

Condición: New.

Paperback. Condición: Brand New. 253 pages. 5.50x5.25x0.25 inches. In Stock.

Condición: As New. Unread book in perfect condition.

Paperback. Condición: Brand New. 11.54x8.15x0.28 inches. In Stock.

Condición: Good. This is an ex-library book and may have the usual library/used-book markings inside.This book has soft covers. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,500grams, ISBN:9780819563958.

Soft cover. Condición: Very Good. 1st Edition. 8vo. vi, 243 pp. Illustrated. Original illustrated glossy wrappers. Some spinal creases, very good; contents unmarked.

Condición: New.

Condición: As New. Unread book in perfect condition.

Soft cover. Condición: Very Good. xiii, 256 pages, index, bib. Rear cover and last couple of pages diagonally creased, otherwise VG.

Hardcover. Condición: new. Hardcover. This book examines the renowned portrait collection assembled by C. P. E. Bach, J. S. Bachs second son. One of the most celebrated and prolific German composers of the eighteenth century, C. P. E. Bach spent decades assembling a portrait collection that extended to some four hundred itemsfrom oil paintings to engraved prints. The collection was dispersed after Bachs death in 1788, but Annette Richards has painstakingly reconstructed it. The portraits once again provide a vivid panorama of music history and culture, reanimating the sensibility and humor of the time in which they were made. Far more than merely a multitude of faces, Richards argues, the collection was a major part of the composers work that sought to establish music as an object of aesthetic, philosophical, and historical study. Richards makes the collection come alive, showing readers what it was like to tour the portrait gallery and experience music in a room whose walls were packed with art. She uses the collection to analyze the portraitive aspect of Bachs music, engaging with the influential theories of Swiss physiognomist Johann Caspar Lavater. She also explores the collection as a mode of cultivating and preserving friendship, connecting this to the culture of remembrance that resonates in Bachs domestic music. Richards shows how the new music historiography of the late eighteenth century, rich in anecdote, memoir, and verbal portrait, was deeply indebted to portrait collecting and its negotiation between presence and detachment, fact and feeling. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Soft cover. Condición: Very Good. No Jacket. 1st Edition. First Paperback Edition / First Print (number line on copyright page 5 4 3 2 1). Paperback copy, no dustjacket as issued. 243pp. B/w illustrations throughout. Signed by author in black ink to half title page 'For Lenny, from author'. Not library copy, no creasing to spine. (58/3). Signed by Author(s).…

Condición: Very Good.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: new.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New.

softcover. Condición: Fine copy. 1st. 8vo, 162 pp., With CD in rear pocket.

Hardback. Condición: New. This book examines the renowned portrait collection assembled by C. P. E. Bach, J. S. Bach's second son.   One of the most celebrated German composers of the eighteenth century, C. P. E. Bach spent decades assembling an extensive portrait collection of some four hundred music-related items-from oil paintings to engraved prints. The collection was dispersed after Bach's death in 1788, but with Annette Richards's painstaking reconstruction, the portraits once again present a vivid panorama of music history and culture, reanimating the sensibility and humor of Bach's time. Far more than a mere multitude of faces, Richards argues, the collection was a major part of the composer's work that sought to establish music as an object of aesthetic, philosophical, and historical study.The Temple of Fame and Friendship brings C. P. E. Bach's collection to life, giving readers a sense of what it was like for visitors to tour the portrait gallery and experience music in rooms thick with the faces of friends, colleagues, and forebears. She uses the collection to analyze the "portraitive" aspect of Bach's music, engaging with the influential theories of Swiss physiognomist Johann Caspar Lavater. She also explores the collection as a mode of cultivating and preserving friendship, connecting this to the culture of remembrance that resonates in Bach's domestic music. Richards shows how the new music historiography of the late eighteenth century, rich in anecdote, memoir, and verbal portrait, was deeply indebted to portrait collecting and its negotiation between presence and detachment, fact and feeling.…