Boldly penned AMQS of Kern's most famous song and one of the most famous American songs ever composed. Two measures in thick black ink on a small card, inscribed above and signed beneath the quotation "Jerome Kern / Dec. 1938" and identified by the composer. 8 x 5.5 cm. In fine condition. Autograph quotations from this song are very rare and desirable. Read More...
Show all available items in this catalogue matching:AMQSSong
Autograph musical quotation from the Austro-Hungarian operetta composer and conductor. He has penned a short quotation from his opera The Count of Luxembourg (Der Graf von Luxembourg) and dated June 4, 1937. Light foxing, one vertical crease, and mounting remnants on the verso; overall in very good condition. 4.75 x 2.75 inches (12 x 7 cm). Read More...
Show all available items in this catalogue matching:AMQSOpera
Clipped autograph signature of the great pianist and composer, together with a later photograph postcard showing Liszt at the piano. On a small leaf, somewhat faded, with light mounting traces at the corners. Overall in fine condition. 5 x 2.75 inches (12.5 x 7 cm).
24. Liszt, Franz. (1811–1886). Early Autograph Signature and Autograph Quotation on Music Manuscript Paper
Large ink signature, “F. Liszt,” on a 12.5 x 2.5 inch sheet slip bearing hand-ruled music lines and a line of text in his hand reading "le jour .. .. et commence et finesse le jour et que notre..." Liszt may be recalling and misquoting the lines in Jean Racine's 'Bérénice, which read: "Que le jour commence et qui le jour finisse / Sans que jamais Titus puisse voir Bérénice." The writing and signature is evidently very early, almost certainly from the early 1830s. Sold together with a later vintage portrait photograph postcard. Read More...
Three beautifully decorated leaves of liturgical music and texts from a 15th-century gradual. The four-line notation and style of calligraphy suggest that the gradual dates from early to mid 15th-century France. The leaves are numbered 295, 230 and 232, each densely filled with text and music on recto and verso. With numerous intricately decorated initials in red, blue, and black inks. The liturgical music represented includes propers for the feasts of St. John,December 27 (on 295), and De Job (on 232), as well as further unidentified chants. Wear to the left edge from the former binding; light overall toning and slight wrinkling, but generally in very good condition. 6.5 x 9.25 inches (16.6 x 23.5 cm).
Large autograph musical quotation in the hand of the Russian pianist and composer who has penned two measures of the main theme in C minor of his first Piano Concerto, Op. 33, signed and dated Philadelphia, October 31, 1924. Mounted on a heavy card album leaf, trimmed down to 12 x 3 inches (30.2 x 7.5 cm). Some slight tears at the left edge and slightly peeling from the backing card, but overall crisp and in fine condition. Read More...
An interesting autograph letter from the prolific Italian opera composer whose works contributed significantly to Verdi's dramatic technique, and who also encouraged the revival of Italian instrumental music. Dated Novara, October 12, 1836 and addressed to the Marchese Zampieri in Bologna. Mercadante writes that although he would be glad to teach the marquess, his traveling schedule would not permit regular music lessons. He goes on to ask the marquess to introduce an amateur musician to "the great maestro Rossini." 2 pp. of text on a bifolium, signed and dated on the third side and addressed on the fourth. Several small splits along the top edge, not affecting the text; one large hole and remnants of seal from opening; fragile but overall in very good condition. 25 x 19.5 cm unfolded. Read More...
Paris: Libraire Séguier / Archimbaud / Birr. 1987. The complete program notes written by Messiaen for a series of performances of Mozart piano concertos by his wife, pianist Yvonne Loriod, in 1964, which were collected and published more than twenty years later. Signed and inscribed on the half-title verso to Jean-Victor Hocquard, French musicologist and the author of the volume's foreword: "à Jean-Victor Hocquard, le grand philosoph-musicien qui a écrit sur Mozart les pages les plus belles, les plus touchantes, et les plus profondes...en souvenir de ces merveilleux concerts d'Yvonne Loriod... et avec toute mon admiration et mes grands amitiés!" ("To Jean-Victor Hocquard, the great philosopher-musician who has written the most beautiful, touching, and profound words about Mozart... as a souvenir of these marvelous concerts of Yvonne Loriod... and with all my admiration and best wishes!") 121 pp. 12mo. Softcover. Slight stain to the lower edge of the front cover and the inside front cover and front end paper; otherwise in very good condition. Read More...
Group of four short typed letters signed from the great composer and lyricist to Albert "Doc" Sirmay, head of the music publisher Chappell and a close collaborator with Porter. In the first letter, dated August 12, 1961, Porter reflects on his "happy days at the Ritz-Carlton[...] How I should love to go back with a brand new show[...]" and thanks Sirmay for sending him clippings and the sheet music from Noel Coward's new show. In a letter of February 27, 1962, Porter thanks Simray for sending "pictures concerning Dick Rodgers"; in the following letter of October 26, 1963, he mentions Simray's sending the playbill for the musical Jennie and writes that "The press has been very unkind to her [Mary Martin, the show's star] and I hope the press is wrong as Mary Martin is an old friend of mine." In the final letter of March 5, 1964, Porter thanks Simray for sending another playbill, from the show Anyone Can Whistle. Each 1 p. Folds from prior framings, small losses or skinning to edges of two, else fine. Read More...
Show all available items in this catalogue matching:TLSSongTheater
Original 1947 loan agreement between Warner Brothers and the great composer and lyricist. Dated January 29, 1947, the document records that Warner Brothers granted Porter a loan in the amount of $135,000 for one year. The contract is signed by Porter and by a representative of Warner Brothers. 1 p. Hole punches at the head, else fine.
An attractive photograph of a portrait drawing of the great composer and lyricist, signed and inscribed by Porter in ink to the music publisher Max Dreyfus: "For the great Max with years of devotion. Cole." Signed "Baz / 40" by the artist within the image (printed) upper right. 8 x 10 inches, glued to slightly larger rigid backing, else fine. Read More...
A brief typed letter signed from the important composer and lyricist to Warner Brothers producer Arthur Schwartz, sending a copy of a letter from Max Dreyfus granting the rights to use Porter's song "Experiment" in the film Mississippi Belle. Dated May 16, 1944. 1 p. Small tear at the head, else fine. Read More...
Show all available items in this catalogue matching:TLSSongFilm
An interesting typed letter signed from the great composer and lyricist to Albert "Doc" Sirmay, head of the music publisher Chappell and a close collaborator with Porter, advising Sirmay that he does not want the lyrics of "My Heart Belongs to Daddy" changed "for political reasons." Dated August 20, 1960. Porter goes on to mention the Cole Porter Hour on TV as well as the musical Silk Stockings, but concludes: "it upset me when Mr. Elliot Norton [in the Boston Review] called my score 'the lamest of the Cole Porter musical comedies.'" 1 p. Read More...
A brief typed letter signed from the great composer and lyricist to Albert "Doc" Sirmay, head of the music publisher Chappell and a close collaborator with Porter, thanking him for sending clippings and mentioning that he has sent a telegram to Noel Coward "for his opening" (of the 1961 musical Sail Away.) Dated September 30, 1961. 1 p. A few small stains, else fine. Read More...
Show all available items in this catalogue matching:TLSSongTheater
An elegant AMQS from the important French composer, penned on his monogrammed stationery. Ravel has written 5 bars from his third waltz of Les Valses nobles et sentimentales, notated on a hand-drawn stave. Addressed to a Madame Catherine Parker in Chicago, with her name and address typewritten above the quotation, and dated 27 January 1924. 1 page, 4to, personal stationery; separations at folds repaired verso with cello tape, vertical fold touching holograph date with some loss, faint uneven toning. Together with a reproduction portrait photograph. Read More...
A lovely and detailed AMQS of the important Italian composer's "Suite in E major," penned on a postcard of Bertel Thorvaldsen's sculpture "Le Printemps." Respighi has written the first three measures of the second movement of his suite, signed, and dated Bologna, June 3, 1905. The Argentinian collector, Ramona Imaz Otaño, has addressed the postcard to herself on the verso. With original Italian stamp and postmark. Some light toning; overall in fine condition. 3.5 x 5.5 inches (8.9 x 14 cm).
An interesting autograph letter from the great Russian pianist and composer to the composer Carl Reinecke, thanking him for sending him a copy of his overture "Zenobia," and confessing that he wants to give up composing himself. Rubinstein writes, "I wish I could return the favor, but... I want to give up composing -- I have written a great deal and my compositions actually only please me, and that is, after all, not a good enough reason to write more." Read More...
Uncommon AMQS of the influential Russian composer's Snegourotchka, or The Snow Maiden, penned on a postcard with a scene from "Falstaff." Rimsky-Korsakov has penned three measures of a theme from his favorite opera and dedicated them to Monsieur Patricio Otaño. He has signed boldly at the lower right and dated St. Petersburg, 1907. On the verso, the collector, Ramona Imaz Otaño, has addressed the postcard to herself. One very small smudge and light toning on the corners only; overall in very fine condition. 5.5 x 3.5 inches (13.9 x 9 cm.) Read More...
Original autograph musical manuscript of a short 3-part round by the American composer, musical educator, and parodist best known for his creation of the fictional composer P. D. Q. Bach, together with a typed letter sending the round to the pianist Masanobu Ikemiya. Dated December 19, 1984, the letter sends Schickele's apologies for not being able to participate in the Arcady Music Festival in Maine, but offers: "Meanwhile, feel free to perform and/or auction off the enclosed [round] next August 4th, or, if that seems like a poor idea, chuck it in the wastepaper basket." The round, written in pencil on staff paper and signed by Schickele at the foot, sets the text "Come to the Arcady Music Festival way down east..." to a clever mixed-meter tune. With the original envelope.