Excerpt: ...Three pieces of composition I had sketched out were the first monologue: 'J'ai perdu mon serviteur;'-the air of the Devin; 'L'amour croit s'il s'inquiete;' and the last duo: 'A jamais, Colin, je t'engage, etc.' I was so far from thinking it worth while to continue what I had begun, that, had it not been for the applause and encouragement I received from both Mussard and Mademoiselle, I should have throw n my papers into the fire and thought no more of their contents, as I had frequently done by things of much ...
Excerpt: ...Three pieces of composition I had sketched out were the first monologue: 'J'ai perdu mon serviteur;'-the air of the Devin; 'L'amour croit s'il s'inquiete;' and the last duo: 'A jamais, Colin, je t'engage, etc.' I was so far from thinking it worth while to continue what I had begun, that, had it not been for the applause and encouragement I received from both Mussard and Mademoiselle, I should have throw n my papers into the fire and thought no more of their contents, as I had frequently done by things of much the same merit; but I was so animated by the encomiums I received, that in six days, my drama, excepting a few couplets, was written. The music also was so far sketched out, that all I had further to do to it after my return from Paris, was to compose a little of the recitative, and to add the middle parts, the whole of which I finished with so much rapidity, that in three weeks my work was ready for representation. The only thing now wanting, was the divertissement, which was not composed until a long time afterwards. My imagination was so warmed by the composition of this work that I had the strongest desire to hear it performed, and would have given anything to have seen and heard the whole in the manner I should have chosen, which would have been that of Lully, who is said to have had 'Armide' performed for himself only. As it was not possible I should hear the performance unaccompanied by the public, I could not see the effect of my piece without getting it received at the opera. Unfortunately it was quite a new species of composition, to which the ears of the public were not accustomed; and besides the ill success of the 'Muses Gallantes' gave too much reason to fear for the Devin, if I presented it in my own name. Duclos relieved me from this difficulty, and engaged to get the piece rehearsed without mentioning the author. That I might not discover myself, I did not go to the rehearsal, and the 'Petits violons', Rebel and Frauneur, who, ...
New in New jacket. Lang: -English, Pages 341. It is the reprint edition of the original edition which was published long back (1856). The book is printed in black on high quality paper with Matt Laminated colored dust cover. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. We tried to manage the best possible copy but in some cases, there may be some pages which are blur or missing or with black spots. We expect that you will understand our compulsion in these books. Print on Demand.
Near Fine. Later. Tiny name, a little soiling, near fine. Please Note: This book has been transferred to Between the Covers from another database and might not be described to our usual standards. Please inquire for more detailed condition information.
Very good. No dust jacket; minor bumping to ends of spine and corners of boards; very minor foxing on first few pages; else tight, square; clean and complete; 8vo. Brown cloth covers with blind-stamped decorations and borders to covers and binding; this volume starts with Book VII in 1741 and ends with Book XII in 1765
Reynolds Stone. VG+ 8vo-over 7¾"-9¾" tall. Full brown morocco, raised bands, leather spine labels. Front board marked with what appears to be glue bleed-through. Former owner's name written on front paste-down and half-title page. Wood-engraved Reynolds Stone keepsake laid-in.
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