Typewritten score to an early piece by the noted American conductor and musicologist, from the collection of the violinist Paul Zukofsky. Titled Winter Piece for Violin and commissioned by Zukofsky in 1961 (when the composer was 17 and the violinist 18), the stochastic piece takes the form of a series of groups of "events" which "may be played forwards of backward in order, starting anywhere, but from there making a complete cycle." Stamped with Zukofsky's name above the main text. 11 x 8.5 inches (28 x 21.5 cm) and in fine condition, with a further photocopy of the same page. Read More...
Show all available items in this catalogue matching:
Signed photograph of the legendary diva, who is shown in costume for Bellini's Il Pirata at La Scala in 1958. Callas has inscribed and signed across the image. Photographed by E. Piccagliani for La Scala and stamped by the theatre on the verso, with a further signature on the verso. Rather poor contrast to signature and inscription; overall fine. 4.25 x 5.75 inches (10.5 x 14.8 cm).
Autograph letter signed from the important Italian opera singer known for his powerful and agile voice and acting skills, to Italian composer Ferdinando Paer. Lille, May 12, 1832; 1 p. of a bifolium. Translated from the Italian: "My dear Maestro, many coincidences did not permit me to see you before my departure, to express my sentiments of gratitude. But please believe that I am utterly aware of this duty, and I will find a way to make up for this involuntary failing. Receive my most hearty thanks, and believe me your most humble servant. Farewell, L. Lablache." Addressed to Paer on the verso. Folding creases; some light edge wear; overall fine. 8 x 10.25 inches (20.9 x 26.2 cm).
Signed photograph of the legendary diva, who is shown in costume for the La Scala production of La Traviata. Photographed by E. Piccagiani for La Scala and copyright-stamped to the verso. Poor contrast to signature; mounting remnants to verso; overall fine. 3.75 x 5.5 inches (9.5 x 13.8 cm).
Two autograph letters signed from the American composer, theorist and Harvard music professor, to violinist Paul Zukofsky, together with a copy of a typed letter from Zukofsky to Piston. Zukofsky writes to Piston (May 27, 1971; 1 p.) that he would like to record the composer's Sonatina, and asks whether Piston would prefer it to be recorded with harpsichord or piano, and if a run-through would be possible. Piston writes (July 12, [1971]; 2 pp.) to thank Zukofsky for having records sent, and confirms: "Certainly a date can be arranged for a seance over the Sonatina in late August." He goes on to tell an interesting anecdote regarding intonation and enharmonic adjustment in string playing, illustrating the story with an autograph musical example of two measures, where a held note in the bass functions first as an A flat and then as a G sharp: "I noticed this at a performance by the BSO [...] It was very noticeable that all the basses changed their pitch on hearing the wind chord." He asked one of the bass players to play in his orchestration class: "He shifted as I predicted and the class roared [...] Now it is interesting that these adjustments are instinctive and even unconscious, and that they are due to the musical meaning of the tones, which in turn is based on tonality." In his second letter (August 16. [1971]; 1 p.) asks if Zukofsky "could make it to Belmont [Mass.] on Tuesday August 24." Zukofsky has added a note in pencil at the head: "called 8/18 from Albany Airport. 'You can't escape tonality. When the Berg was 1st performed it was a large mess. Now it sounds very tonal.'" Read More...
Boston and New York: Houghton Mifflin Company. 1931. History of the first fifty years of the Boston Symphony Orchestra, from the collection of American composer David Diamond and with his notes in the Appendix. Diamond has added check marks and annotations in pencil throughout Appendix B (pp. 183–229), the list of the BSO's repertoire. 272 pp. Hardcover, black cloth with gilt. Rather heavily rubbed with spine faded; internal toning; overall very good. 6 x 9 inches (15 x 22.5 cm). Read More...
Collection of recipes from the important composer, collected by violinist Paul Zukofsky. Included are: a 7-page typed document on "Marcobiotic [sic] Cooking," with recipes for tabouli, brown rice, granola, mushroom paté and other dishes; a recipe for cookies written in Zukofsky's hand with notes for a zucchini recipe at the foot; and a recipe for "Cage's Pesto" in Zukofsky's hand on a fragment of toned paper. With an envelope addressed to Zukofsky from Cage and postmarked October 13, 1989. Typed document in fine condition, 8.5 x 11 inches; handwritten recipes 8.5 x 11 inches and 3 x 8.5 inches, one with heavy toning, but overall very good. Read More...
Signed photograph of the legendary diva, who is shown in costume for Un Ballo in Maschera at La Scala in 1957. SPhotographed by E. Piccagliani for La Scala and copyright-stamped to the verso. Mounting remnants to verso; overall fine. 3.75 x 5.5 inches (9.5 x 13.8 cm).
Three opera scores by Puccini, from the collection of the American composer David Diamond, and each with his blind stamp to the title page. Included are the piano reduction scores to Gianni Schicchi (Milan: G. Ricordi, 1944; 180 pp.; dated Rome, January 1952 on the rear endpaper); La Fanciulla del West (Milan: G. Ricordi, 1944; 338 pp.; dated Rome, February 1952 on the rear endpaper; with a clipping laid in); and Suor Angelica (Milan: G. Ricordi, 1944; 96 pp.). All hardcover, red cloth boards with gilt lettering. Somewhat faded, overall fine. Each 8 x 10.5 inches (20.5 x 27 cm). Read More...
New York / Chicago / San Francisco: Holt, Rinehart and Winston. 1971. First edition. Work on American music from the composer and critic, inscribed and signed to composer David Diamond on the front free endpaper: "For David Diamond / warmly / Virgil T. / N.Y. 22 Feb. '71." 204 pp. A few scattered underlinings and small notes in Diamond's hand throughout and several notes from Diamond on the rear pastedown: "... I am mentioned en passant (p. 87), p. 135 I'm given a pat on the back / p. 77 J.C. [John Cage] put in his place ('narrow of mind, music emotionally shallow') but still given major space!" Hardcover, red cloth with dust jacket in mylar. Fine. 5.75 x 8.75 inches (14.5 x 22.3 cm). Read More...
135.
[Opera]
[Opera]. Group of Signed Program Pages
Collection of signed programs and program pages from opera performances of the 1970's–1990's. Included are programs or program pages from: Verdi's I Due Foscari (October 20, 1981 with the Opera Orchestra of New York), signed by Carlo Bergonzi, Renato Bruson, Donnie Ray Albert, and Michael Crouse; a July 6, 1990 concert at Tanglewood, signed by Dawn Upshaw; Verdi's Un Ballo in Maschera (November 7, 1975 at the Metropolitan Opera), signed by Teresa Kubiak; Bellini's Beatrice di Tenda (October 27, 1988 at Carnegie Hall), signed by June Anderson; Verdi's Rigoletto (November 4, 1977 at the Metropolitan Opera), signed by Cornell MacNeill [?] and Ileana Cotrubas; Smetana's Libuše (March 13, 1986 with the Opera Orchestra of New York at Carnegie Hall), signed by Gabriela Beňačková-Čápová [?]; Samuel Barber's Antony and Cleopatra (at the Spoleto Festival of 1983), signed by Esther Hinds and Jeffrey Wells; Britten's The Turn of the Screw (April 30, 1978 at the New York City Opera) with an unidentified signature, possibly Eileen Schauler. Overall fine. 5.5 x 9 inches (14 x 22.5 cm).
Two items of correspondence from the American composer Roy Harris to fellow composer David Diamond: one typed letter signed (April 21, 1936; 1 p. on letterhead of Westminster Choir School) telling Harris that "your original ink entry has been found and will be given to Benditski this week"; and one telegram (May 18, 1936): "Reserving tickets for you for entire festival sorry for misunderstanding." Both with the original envelopes. Fine. Letter 8.5 x 11 inches (21.5 x 28 cm), telegram 8 x 6.5 inches (20.5 x 16.5 cm). Read More...
Signed photograph of the legendary diva, who is shown in costume for the 1957 La Scala production of Gluck's Ifigenia in Tauride. Photographed by E. Piccagiani for La Scala and copyright-stamped to the verso. Very fine. 3.75 x 5.5 inches (9.5 x 13.8 cm).
Signed photograph of the legendary diva, who is shown in costume for the 1956 La Scala production of Giordano's opera Fedora. She has signed and inscribed across the image, adding "ricordo di Fedora." Photographed by E. Piccagliani for La Scala and stamped on the verso. Some light surface wear and fingerprints; overall fine. 5.25 x 7 inches (13.3 x 18.1 cm).
Inscribed "40" in pencil l.r., identified on a plain exhibition label affixed to the paper backing. Ink and watercolor on laid paper, sheet size 9 x 5.5 inches (20.5 x 11.5 cm), framed to an overall size of 15 x 12 inches. Sheet laid down to card, tape-mounted to board, toning, some wear to frame. Overall fine. Read More...
Signed playbill from the 1959 world premiere of the American composer's opera Six Characters in Search of an Author, based on the play by Luigi Pirandello. The opera was premiered on April 26, 1959 by the New York City Opera Company, starring Ernest McChesney and Beverly Sills. Weisgall has signed and inscribed on the program listing page. In very fine condition, together with two newspaper clippings. In very fine condition. 36 pp.
144.
[Opera]
Weisgall, Hugo. (1912–1997). "6 Characters in Search of an Author" - 2 Ticket Stubs from the 1959 Opera Premiere
Two ticket stubs from the April 26, 1959 premiere of Hugo Weisgall's opera Six Characters in Search of an Author, based on the play by Luigi Pirandello. Two pink ticket stubs for orchestra seats at the New York City Center, in a small box office envelope with several notes. Very good. Envelope 4.25 x 2.5 inches (10.8 x 6.3 cm). Read More...
Signed first day cover from the beloved cellist, postmarked New York, April 26, 1978. The stamp commemorates American folk dance. Very fine. 6.5 x 3.5 inches (16.5 x 9.4 cm).
165.
[History & Culture]
[Mustache]. Vintage Paper Mustache
An amusing vintage false mustache made of card, distributed by Greystone California Wines and allowing the wearer to "make every meal a banquet / make every occasion an event." Partly split at the center; otherwise fine. 6 inches (15 cm) wide.
Autograph letter signed from the Anglo-Irish poet to American composer Cecil Effinger. November 27, [1949]; 2 pp. Day-Lewis writes: "Dear Mr. Effinger, I am most interested to hear that you have done a setting of 'The Christmas Tree.' It is curious that you have mentioned a detection plot in connection with opera, for although none of my own work would be suitable—I feel sure a new plot would be necessary, not a re-hashed one, with a fantastic or mock-heroic approach—a fellow-poet over here, Patric Dickinson, suggested to me only a few months ago that he thought of trying his hand at the libretto of such an opera. You might be interested to get in touch with him: his address is 38 Church Square, Rye, Sussex; he has had two poetic plays performed by the B.B.C. & in the theater, & is no novice at dramatic construction, though I do not know how well versed he may be in musical matters. Yours sincerely, C. Day-Lewis." Together with a half-tone photograph of the author as a young man with a dog. Slight mounting traces; overall fine. Letter 5.25 x 7 inches (13.3 x 17.7 cm); photograph 3.25 x 4.75 inches (8.5 x 12.3 cm). Read More...