Casta Diva - Ah! Vincenzo Bellini. Act III Bacchanale. Se quel guerrier io fossi! Celeste Aida. Giuseppe Verdi. Liebes-Lieder Love Songs , waltz for orchestra, Op. Johann Strauss II. Oh, saro la piu bella - Tu, tu, amore? Giacomo Puccini. Zdenek Fibich. La fleur que tu m'avais jetee. Georges Bizet. Valse - La ballerine et le maure. Igor Stravinsky. O soave fanciulla. Track Listing - Disc 2. Lever du jour. Maurice Ravel. Un bel di vedremo. Erik Satie. Ach, so fromm, ach so traut.
Friedrich von Flotow. Venus Mountain Act I Bacchanale. Richard Wagner. E lucevan le stelle. Claude Debussy. Marche De Cocagne. Jeunesse De Gargantua. Les pantins dansent The puppets dance , for piano. Grande Ritournelle. Marche Franco-Lunaire.
Cancan Grand Mondian. Part I. Part II. Part III. Air Du Rat Erik Satie. Spleen Erik Satie. Chanson Du Chat Erik Satie. Choral Hypocrite Erik Satie. Fantaisie Musculaire Erik Satie. En habit de cheval In riding habit , 4 pieces for piano duet or orchestra. Morceaux 3 en forme de poire 3 pieces in the form of a pear , for piano, 4 hands or orchestra.
Lentement Erik Satie. En Leve Erik Satie. Brutal Erik Satie. En Plus Erik Satie. Redite Erik Satie. L'Estampe originale has a notably large number of figure subjects compared with typical prints from earlier decades, but there are many landscapes and city views, traditional in style and not, and a wide range of other subjects.
The rising influence of Art Nouveau is very apparent, but the more traditional styles of the Etching Revival are also well-represented. There is a great variety of printmaking techniques used, some of which would only have been possible in a relatively small edition of A striking common factor is the high proportion using colour, in many different techniques, not just the lithographs. Each issue was printed in only impressions.
Many buyers removed prints from the album to frame and hang, as had been anticipated. The prints were nearly all newly created for L'Estampe originale , had different sizes, and were often printed on different papers; indeed not all were by the same printer.
They were signed and numbered, and the margins embossed with a small blind stamp, common to all the series. The title L'Estampe originale had an earlier life, under different direction but in a similar format and with some of the same artists, in and When Jacquelynn Baas was writing her article in , no complete set of the early issues from the s was apparently known to survive in any museum, and a note reported with some excitement that another print scholar "had recently seen a copy of the first issue" in a French private collection.
All the prints in the early three issues were monochrome ; the large number of images in colour, using a variety of techniques, is a striking feature of the revived issues. L'Estampe originale is also not to be confused with the similar but much cheaper L'Estampe Moderne , which also had two incarnations, the first of three issues in —, and the more successful second of 24 issues in —
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