jean wiener (45 Ergebnisse)

Zustand: Très bon. Ancien livre de bibliothèque. Edition 2011. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Very good. Former library book. Edition 2011. Ammareal gives back up to 15% of this item's net price to charity organizations.

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5 S. Umschlagillustration. 0 Gewicht in Gramm: 350.

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8vo 221 pages. Paperback. Plates, illustrations and music examples.

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Couverture souple. Zustand: bon. RO50065625: 1954. In-8. Broché. Bon état, Tâchée, Dos satisfaisant, Intérieur frais. 2 pages de partitions en noir et blanc. . . . Classification Dewey : 780.26-Partitions.

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Gebunden. Zustand: New. Die Liebe, die Verfuehrung, das Vergnuegen, das ObszoeneDie Dinge haben einen Weg gefunden, der ihnen langweilig gewordenen Dialektik des Sinns und der Bedeutungen zu entfliehen: sie wuchern ins Unendliche, potenzieren sich und uebersteigern ihr eigenes wesen b.

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Soft cover. Zustand: Very Good. 1st Edition. 4° - (245x310mm) - Color lithograph by Paul Colin (1892-1985) French prolific master illustrator of Decorative Arts posters. Music score "Album Wiener Doucet" First edition. Original covers by Paul Colin. In Very good condition.

Photographie (Portrait). Format: Postkarte. + Wichtig: Für unsere Kunden in der EU erfolgt der Versand alle 14 Tage verzollt ab Deutschland / Postbank-Konto in Deutschland vorhanden +.

1 S. Gr.-4to. An einen namentlich nicht genannten Adressaten mit der Mitteilung, daß einer seiner Freunde, ein Dr. Kaufmann, in der Kriegsgefangenschaft eine Gitarrenschule geschrieben habe, die ihm bemerkenswert erscheine: [] un de mes amis, le Docteur Kaufmann a écrit en captivité une méthode de guitare qui me parait [!] remarquable []." Bevor sie aber darüber sprächen, wolle er ihn bitten, diesen zu empfangen, damit er ihm sein Werk vorstellen könne. Auf Briefpapier mit gedr. Adresse.

Albumblatt mit eigenhändiger Unterschrift signiert - mit großem Original-Porträtfoto der Sängerin in ganzer Figur unter matt-dunkelblaues Passepartout (1 S. 4°) gerahmt (dito : Schöner E.BRIEF (2 S. 4°) mit Datum, Unterschrift JEAN B. MADEIRA signiert November 8, 1948 an eine Bekannte, der sie Fotos von ihr aus St. Lewis schickt, will sie Freitag morgen treffen. Euro 145,-).

From the collection of Rolling Stones drummer and jazz aficionado Charlie Watts: a group of seven letters from Doucet to Wiéner's children, Stephan and Maud, recounting the adventures of the renowned "jazz à deux pianos" on the road in America in a vivid, very stylish, cartoonish manner - witty and well-executed vignettes of modern American life, as filtered through a very French jazz sensibility. Starting out as house pianists at Le Boeuf sur le toit, legendary headquarters of the Parisian avant garde during "les années folles", Wiéner and Doucet went on to invent - in the words of surrealist and ethnographer Michel Leiris - "a style of jazz which was pretty and original." In the context of the contemporary debate between the intellectuals represented by Les Six and Cocteau, the populist proponents of "symphonic jazz" à la Paul Whiteman or Jack Hylton, and the "hot" aficionados like Hugues Panassié, the duo stand out in "trying to break, not erect, cultural barriers in merging the American style with French musical culture" (Taylor). Both men were conservatoire-trained - Wiéner had worked with Satie, Doucet was taught in Brussels by Alfred de Greef who studied with Liszt - and both had previously worked with black jazz musicians, Wiéner performing as a duo with saxophonist and banjo-player Vance Lowry at Le Gaya, the precursor to Le Boeuf, and Doucet being partnered by a black drummer at Le Coliséum, where he "sometimes read detective novels while performing" (Jackson, p119). Distancing themselves from the "ideological debates surrounding musique nègre" the pair broke into "the highly competitive arena of Parisian music-hall [&] collaborated with some of the biggest names in French popular music, appearing with Josephine Baker at the height of her renown and recording with Maurice Chevalier presenting jazz as a sophisticated and exciting complement to French culture the majority of their repertoire was by Tin Pan Alley songwriters, and they followed American musicians as models for their improvisation" (Taylor). Perhaps more remarkably still they toured America on a number of occasions with considerable success. The letters were sent by Doucet during their 1931 tour. Most include caricatures of the duo, the artist self-mockingly identifiable by his bottle nose. The earliest (16 September 1931, on the stationery of the Mayflower Hotel, Akron) shows them at "the reception in our honour in Akron at the house of Madame Seiberling - the Queen of Tyres," wife of the founder of the Goodyear Tire Company Frank Seiberling. A long, snaking queue of grandly dressed guests stand in line to shake the musicians by the hand. Next, we are in New York (9 October, Hotel Saint Hubert), with a wonderful view of 5th Avenue, brightly coloured sedans and an open-topped double-decker bus cruise past pavements crowded with window-shoppers, on all sides are illuminated signs for Ziegfeld's Follies, John David & Co., tailors, and the ubiquitous Camels. The third, from Chicago, continues the NY theme (17 September, Congress Hotel and Annex) with a spectacular interior "Bal Nègre, Le Savoy à Haarlem, NY." To the left a big band blares, and in the midst of a crowded floor CD, so labelled, struts his stuff, red faced, among the habitués of The Track as they show their extravagant moves. In the foreground the always urbane JW is in earnest conversation. A superb image of perhaps the greatest of the jazz dance-halls in its hey-day, just as it was - jumpin'. Dated two days later (on the same stationery) we find Wiéner and Doucet being "mugged and relieved [attaqués et devalisés] of 1,000 dollars (American) by the bandits of Chicago." Wiéner and Doucet are shown at kerbside - looking more than usual like Laurel and Hardy - held up by a gunsel with a Thompson who has stepped down from a sedan identified as an "Al Capone 24 Cylinder" by the badge on its radiator grill. At the foot of the page Doucet has drawn an outline of a steam train with the dateline "Entre Chicago et St. Louis." In the latter city (21 September, The Coronado Hotel) Doucet produces a Metropolis-like cityscape where multi-coloured trains hurtle along interwoven elevated trackways through the skyscrapers: "Voilà une petite impression sur l'Amerique." Undated (on plain linen textured wove paper, watermark "Fifth Avenue Linen"), but evidently from some point on the journey to or from St. Louis, is a study of the pair's arrival at Warrensburg. Outside their hotel "First Class - Rooms 1fr.75 and up," Wiéner and Doucet are the focus of attention of passers-by, all of whom are wearing Stetsons. At the tiny station halt a horse and buggy awaits new arrivals: la cité lumière meets the one-horse town. The final drawing (dated Richmond, 8 December, on the stationery of The Consolvo Hotel group) is entitled, in English, "I like America," and shows a "discours prononcé par Monsieur Wiéner dans la Salle de Bain de l'Hotel Coronato (St. Louis) (ton papa t'expliquera) [lecture delivered by Mr. Wiéner in the bathroom of the Cornonato Hotel, St. Louis (your dad will explain)." A slightly surreal and enigmatic image, Wiéner stands up in the bathtub, draped in a towel, looking rather like a Roman orator and delivers a speech to a miniature amphitheatre full of spectators, against a back drop of outsize high denomination bank-notes. Whether the pianist was fondest of the adulation, the high-quality plumbing, or just the cash - or all three - is unclear, but the overall meaning is clear enough, the duo were having a quite a time of it. After the war Wiéner gave up performing and devoted himself to composition, becoming a highly successful composer of film scores, while Doucet drifted out of the music scene, never recorded again, and died of the effects of chronic alcoholism, almost entirely forgotten, in 1950. The cultural ramifications of the early up-take of jazz by the French is now a subject for serious academic study and these clever drawings brilliantly articul.

Eigenhändiger Brief (1 S. kl. 4° Doppelblatt, eine Ecke und Rand leicht verfärbt) mit Ort, Datum, Unterschrift signiert Berlin, 20.6.1830 - an den Kunsthändler Skerl in Dresden (= PAUL ANTON SKERL, 1787-1852, Deutscher Kupferstecher und Lithograf. Seit 1802 Schüler von Christian Augsut Lindner in der Dresdner Akademie.) betreffend eines Bildes von Teplitz. (Johann Ludwig von Jordan stammte aus bürgerlichen Verhältnissen. Nach einem Jura-Studium an der Universität Halle war er zunächst bei der französischen Justizkammer in Berlin angestellt. Auf Empfehlung des Staatsministers Thulemeyer wurde er 1799 Geheimsekretär im Ministerium der auswärtigen Angelegenheiten. 1802 wurde er zum Kriegsrat ernannt und durch Karl August von Hardenberg , der sein Gönner war und blieb, allmählich zu wichtigeren politischen Geschäften herangezogen. Bei Verhandlungen mit Frankreich im Jahr 1806 hatte er so viel Gewandtheit gezeigt, dass er auch in den darauffolgenden Jahren vielfach zu derartigen Unterhandlungen hinzugezogen wurde. Im Ministerium der auswärtigen Angelegenheiten stieg er 1810 zum Sektionschef auf und wurde zum Staatsrat ernannt.).