Bmp publications (18 Ergebnisse)

Paperback. Zustand: Good.

paperback. Zustand: Good. This is a used book in good condition and may show some signs of use or wear . This is a used book in good condition and may show some signs of use or wear .

Zustand: As New. Signed Copy . Signed/Inscribed by Brad Nieder on title page.

Zustand: Very Good. Very Good condition. A copy that may have a few cosmetic defects. May also contain light spine creasing or a few markings such as an owner's name, short gifter's inscription or light stamp.

Zustand: Very Good. Signed Copy . Signed/Inscribed by contributor on title page.

Zustand: good. Book shows general signs of use and handling. May have light wear on the cover or edges and minimal writing or highlighting. Binding remains tight, and pages are clean and readable.

Paperback. Zustand: Good.

Zustand: Very Good. Pages intact with possible writing/highlighting. Binding strong with minor wear. Dust jackets/supplements may not be included. Stock photo provided. Product includes identifying sticker. Better World Books: Buy Books. Do Good.

Zustand: Fair. Signed Copy . Inscribed by contributing author Kathleen Keller Passanisi on title page. Dampstained. Writing inside.

Soft Cover. Zustand: vg. 78 pages (23pp of text + b/w & color plates). Paperback.

Zustand: new.

Paperback. Zustand: New.

broschiert/Taschenbuch. 94 S., (24,5x19 cm) OBrosch. 1st edition. Ecken und Kanten minimal berieben; priv. Besitzstempel a.T.; sonst guter Zustand. Sprache / Language: Englisch.

paperback. Zustand: New. In shrink wrap. Looks like an interesting title.

Small folio. Full dark green cloth, titling gilt to spine. [1] (title), 4-14 pp. German words. Binding lightly worn. Wrappers lacking. First Edition. Rufer (E), p. 74. GA B/1/2, p. 220.

Octavo. Full dark green cloth, titling gilt to spine. 2ff. (title, notes), 23, [1] (publisher's catalog) pp. Binding slightly rubbed. Light uniform browning. First Edition. Rufer (E), p. 73. GA B/21, pp. 99-100. Schoenberg's String Trio, Op. 45, was commissioned by Harvard for a symposium on music criticism, and premiered May 1, 1947 by members of the Walden String Quartet. It was written shortly after Schoenberg suffered a major heart attack, which influenced the tone of the work. "The single-movement work is divided into five sections: three "parts" and two "episodes." Part three begins like Part one and recapitulates aspects of the whole work. Thematic development is spread throughout the work. The piece ends with a 12-note statement in the violin in which the basic motifs are presented. The variety of surface details (abrupt dynamic contrasts, expressionistic string effects, variations in tone) stand in contrast to the rigorous serialism that undergirds the work's structure." Camille Crittenden Arnold Schönberg Center.…

Folio. Dark green cloth. 2ff. (title, texts, notes), 23, [3] (blank) pp. Narrator's text in English with some German; preliminaries with full French and German text. Chorus in transliterated Hebrew. First Edition. Rufer (E), pp. 73-74. GA B/19, pp. 63-64. "The plot of the "Survivor from Warsaw," which Schönberg wrote himself, describes a scene, typical of national socialism's organized terror, of roll-call selection, where the human inventory was inspected, and those sentenced to death were pulled from the prisoners' ranks; in this way, it was possibly to portray the significant patterns of everyday life in the concentration camps. Schönberg's literary method of obscuring the Warsaw Ghetto - the symbolic location - by focusing on a locationally indefinite episode along the continuum of a larger historical process, entails that it remains factually undefined, as well. It is not, however, the authenticity of the details, but rather the interpretation thereof that is important for the reading and understanding of the terror of extermination as the signature of modern social history: "Now, what the text of the Survivor means to me: it means at first a warning to all Jews, never to forget what has been done to us, never to forget that even people who did not do it themselves, agreed with them and many of them found it necessary to treat us this way. We should never forget this, even such things have not been done in the manner in which I describe in the Survivor. This does not matter. The main thing is, that I saw it in my imagination." (Letter to Kurt List, November 1st, 1948)" Therese Muxeneder Arnold Schönberg Center. …

Folio. Stapled. Original publisher's light gray wrappers printed in blue. 1f. (blank), 2ff. (title, texts, notes), 23, [3] (blank) pp. Narrator's text in English with some German; preliminaries with full French and German text. Chorus in transliterated Hebrew. Series statement to lower wrapper: International Contemporary Series. From the collection of noted musicologist Stanely Boorman, with his signature to front flyleaf and occasional annotations in pencil. Wrappers lightly worn and browned; small price stamp to upper outer corner of upper. First Edition. Rufer (E), pp. 73-74. GA B/19, pp. 63-64. "The plot of the "Survivor from Warsaw," which Schönberg wrote himself, describes a scene, typical of national socialism's organized terror, of roll-call selection, where the human inventory was inspected, and those sentenced to death were pulled from the prisoners' ranks; in this way, it was possibly to portray the significant patterns of everyday life in the concentration camps. Schönberg's literary method of obscuring the Warsaw Ghetto - the symbolic location - by focusing on a locationally indefinite episode along the continuum of a larger historical process, entails that it remains factually undefined, as well. It is not, however, the authenticity of the details, but rather the interpretation thereof that is important for the reading and understanding of the terror of extermination as the signature of modern social history: "Now, what the text of the Survivor means to me: it means at first a warning to all Jews, never to forget what has been done to us, never to forget that even people who did not do it themselves, agreed with them and many of them found it necessary to treat us this way. We should never forget this, even such things have not been done in the manner in which I describe in the Survivor. This does not matter. The main thing is, that I saw it in my imagination." (Letter to Kurt List, November 1st, 1948)" Therese Muxeneder Arnold Schönberg Center. …