Autograph letter signed from the important French opera composer, promising a female friend that he will do his best to schedule a performance in the coming season. Translated from the French: "[...] So I promise I will take care of it, in any event, for the other, still free, season - and we must hurry up! - there are already 11 engagements scheduled for 1911! - And I only take concerts!" Read More...
Bonn: N. Simrock. [1803]. Sonata for Piano Four Hands, KV 497. Upright folio (33 cm). Engraved throughout. [PN] 295 ["295.296.297.298."]. No. [op. 12]" (number supplied in ms.). 39 pp. Not in RISM A/I, probably a reprint of M 6693 with a different title page. Trimmed to the edge of the upper plate mark, else in fine condition throughout.
44. Paganini, Nicolò. (1782–1840). Grand Quatuor Pour Deux Violons, Alto et Basso [Quartet No. 7 in E major for violin, viola, cello and guitar, M.S. 34] - 1832 Copyist Manuscript with Interesting Provenance
Autograph manuscript copy of the complete parts for Paganini's Quartet No. 7 in E major for violin, viola, cello and guitar, M.S. 34, here transcribed for standard String Quartet (violin, violin, viola, cello). 8.5" x 13". 54 pages including front cover and individual cover pages. Outer wrapper spine reinforced with early paper tape over original threaded binding, scattered staining, overall very good. Read More...
45. Paganini, Nicolò. (1782–1840). Signed 1831 Letter declining an invitation due to the "delicate state of my health"
Signed letter from the the Italian violinist, violist, guitarist, and composer, the most celebrated violin virtuoso of his time and one the most colorful musical figures of the Romantic era. Written in French in a secretarial hand, the letter is signed and dated in Italian in the hand of Paganini: London, June 27, 1831. Translated from the French, in part: "I have just received your kind invitation... for a dinner next Thursday, and I infinitely regret that a prior engagement on the same day in Bath puts me in the sad necessity of not being able to accept it; I have to say, Monsieur, that the delicate state of my health, and my numerous musical engagements, do not permit me to accept such invitations, which however distinguished and flattering they may be, would be too great an obstacle to the strict regime which my doctors have enforced upon me..." 2 pp. Folding creases, light toning and slight mounting remnants on one edge of the verso, but overall very legible and in fine condition. 7.25 x 8.75 inches (18.5 x 22.5 cm). Read More...
Lithograph portrait of the great virtuoso, captioned "The Modern Orpheus, Opera House June 3rd 1831." Paganini appears playing, standing in front of several other musicians with instruments who watch with interest. Engraved by Richard Lane (whose initials appear at the lower left), after the sketch by Daniel Maclise. The same engraving is found in the National Portrait Gallery (NPG D5451.) Read More...
A brief autograph letter from the celebrated Austrian pianist and composer, student of Mozart's son (F.X.W. Mozart), Simon Sechter and Franz Lachner. Jugenheim, August 31, 1872. To Herr Augener [music publisher George Augener (1830 - 1915)] he writes (translated from the German): "Many thanks for the cheque; if you will do both of us the pleasure of a visit, please send me a telegram -- although I am actually always at home." Folding creases; otherwise in fine condition. 4.5 x 7 inches (11.4 x 18 cm). Read More...
An autograph signature the German composer, conductor, and self-described anti-modernist best known for his post-Romantic opera Palestrina, signed on a trimmed page from an original concert program and mounted together with a recently printed portrait photograph. Pfitzner has signed in blue pencil below a list of orchestral works by Schumann, Brahms, and Wagner - almost certainly a concert which he himself conducted. One vertical crease and light toning to the program page; overall in fine condition. Program size 7.25 x 5.25 inches (18.6 x 13.5 cm); photograph 3 x 3 inches (7.4 x 8 cm); total size 8.25 x 11.75 inches (21 x 29.7 cm).
Autograph letter from the French-Italian composer, grandson of Niccolò Piccinni and himself a prolific composer of comic operas, melodramas, ballet, and other works. Dated Paris, July 25, 1828 and addressed to a Monsieur Vaucelle, difficult to decipher, but mentioning Baron Taylor as well as that he is sending the small drawing that he had requested. 1 p. of a bifolium. Address and remnants of a seal on the verso; toning, light foxing and creases, but intact and overall in fine condition. 7.25 x 11.5 inches (18.5 x 29.3 cm). Read More...
Rare autograph musical quotation on an album page, two measures, the instantly recognizable tune from Boléro, signed "Maurice Ravel" and dated 17/1/32 and signed additionally beneath on the same date by the important pianist so closely associated with the composer, Marguerite Long. In fine condition, also signed on the verso by the pianist Alexander Borovsky. 5.2 x 7.5 inches [13 x 19 cm]. Read More...
Paris: Durand & Cie. 1910. First. Piano score to Ravel's ballet in three scenes, signed and inscribed opposite the title page by Pierre Monteux, who conducted the work's premiere in 1912. He has boldly signed and inscribed to his sister-in-law Hilda Davis, wife of bandleader Meyer Davis: "As the creator of this score, whose name has been omited [sic] -- I do not know why!! I am going to dedicate that copy to my dear sister (in law) Hilda Emery Davis, with my love." Indeed, although the names of the original dancers (including Nijinksy as Daphnis), choreographer (Michel Fokine) and scenery designer (Léon Bakst) are all listed on the title page, Monteux's name does not appear. A lovely inscription showing Monteux's characteristic good humor and charm! From the estate of Monteux's daughter, Nancie Monteux Barendse. Read More...
New York: G. Schirmer. 1919. Piano solo, No. 3 Coqueteria from Impresiones de New York, inscribed to the composer Maurice Ravel and signed, "Paris, 15.V.1923 (May 15, 1923)." 7pp. Read More...
Vintage doubleweight original 8 x 10 inch Maillard Kesslere matte sepia photograph, signed and inscribed by the composer-pianist "To Mr. George Gershwin / cordially / Sergei Rachmaninoff / 2 April 1931." Nicely matted and framed in conservation materials to 15.5 x 17 inches overall. Read More...
Autograph letter signed from the important French composer and critic, discussing his travel plans with an unnamed correspondent. 1 p. of a bifolium. Light toning, one horizontal crease, overall in fine condition. 4.5 x 7 inches (11.4 x 17.7 cm).
A fascinating and important autograph letter from the French composer, organist, pianist, and conductor to an unidentified friend, revealing his opinions on the music of César Franck and on the nature of true and false genius. Writing on February 6, 1911 from Algiers, where five of his operas had been staged that winter, Saint-Saëns begins his letter by mentioning his educational background: "Did I tell you that I was never in the piano class at the Conservatory, where my teacher [Camille-Marie] Stamaty was not a professor?" After recommending piano etudes by Josefy and Phillipp, he goes on to dissuade his correspondent from learning pieces by Franck (who had died in 1890): "Seeing as the music of Franck is causing you so much trouble to learn, then don't learn it - who's forcing you? In general, I find Franck's music as boring as it is worthy... An artist whose work never laughs is not a genius." Franck, according to Saint-Saëns, is one of "a clan of false geniuses who are poisoning our era." This group, in which Saint-Saëns includes artists Pierre Puvis de Chavannes and Auguste Rodin, do not "dare to descend from their pedestals." A rather damning condemnation of a composer for whom he had once advocated, the letter also shows Saint-Saëns' sense of humor, as he finishes: "Now, if I am talking nonsense, keep it to yourself. For I don't know that Michelangelo ever showed much gaiety; but who would dream of calling him boring?" Read More...
Original Benque of Paris cabinet photograph of the influential French composer, ca. 1880. Corners toned, otherwise a crisp image in very fine condition. 4.25 x 6.5 inches (10.7 x 16.4 cm).
Two original photograph postcards depicting the 1913 concert which was the great composer's last appearance as a pianist. While Saint-Saëns is at the piano, a very young Pierre Monteux, who had conducted the premiere of The Rite of Spring earlier that year, is on the podium. The concert took place at the Salle Gaveau in Paris, on November 6, 1913; Saint-Saëns performed a Mozart piano concerto as well as solo works for piano and organ. One postcard has an unrelated autograph note on the verso, postmarked 1914; overall both postcards are in very fine condition. 5.5 x 3.5 inches (13.9 x 8.9 cm).
Vienne: Diabelli. [1852]. First edition . Complete parts to Schubert's Quartet no. 15, op. 161, signed and inscribed on the Violino Primo title page by Diabelli publisher Carl Anton Spina to the important Belgian violinist Henri Vieuxtemps: "A monsieur Henry Vieuxtemps par son admirateur le plus dévoué - C.A. Spina."Four parts: 23; 19; 19; 19 pp. Engraved. [PN] 9099. Scattered foxing throughout, small tears and chips around the edges/spine of first violin part, overall very good. Read More...
Moskva: Ogiz Muzgiz; New York: Affiliated Music Corporation. 1935. 43 pp. 9 x 12 inches (23 x 30 cm). [PN] 14215. Overall toning and light wear to the spine and edges, otherwise in fine condition. With the ownership signature of modern dancer and choreographer Welland Luthrop at the upper right of the cover. Read More...
Autograph note from the important English composer and member of the women's suffrage movement, authorizing the bearer to go backstage after a concert. "Please show bearer after the concert to the artistes Ladies room off the Conductors room & let them take away the box in which are my robes and my baton. Ethel Smyth." Undated. With paper tape over the edges where it has been affixed to another sheet, else fine.
Original concert program from one of the "March King's" many touring concerts, this one in Lisbon, New Hampshire, featuring Virginia Root, soprano, Nicoline Zedeler, violin, and Herbert L. Clarke, cornet. Dated Dec. 3, [1912], the program featured Sousa's new 'Tales of a Traveler' suite and 'The Federal' March. Light toning and creases, but overall in fine condition. 1 p. 4.25 x 8 inches (10.7 x 20.2 cm). Read More...