London: Novello and Company. 1900. Novello's Original Octavo Edition. Rebound hardcover in green linen, 7 x 10, 177 pages. Signed on the title page in bold fountain pen, “Edward Elgar, Worcester 1926,” with the addition of four bars from the work. In fine condition. Accompanied by a matching custom half-leather clamshell box. Read More...
Signed photograph of the French composer. Signed and inscribed to "le Kurpfälzisches Kammerorchester des Ludwigshafen, avec ma symphatic artistique 19. IV. 53." 9 x 14 cm. Laid down to a slightly larger album sheet, else fine.
Original program from the memorial concert given for George Gershwin on September 8, 1937, with a fine association signature from his brother Ira Gershwin on the cover, dated October 9, 1973. Also signed on an internal page over his photograph by baritone Todd Duncan, Gershwin's choice for the role of Porgy. The program, 16pp. 4to., opens with a photo of George Gershwin and a tribute to him written by fellow composer Oscar Hammerstein. This is followed by a biographical sketch and a list of his works, followed by the program proper, listing the works to be performed, including "Rhapsody in Blue", "An American in Paris", and selections from "Porgy and Bess". This section is accompanied by photos of the performers involved in each piece, including Fred Astaire, Al Jolson, Otto Klemperer, Oscar Levant, and operatic baritone Todd Duncan, who signs his name in black ink over his image, adding the inscription: "For Bill Warford - fond memories". The program closes with notes on each performed piece and a list of the concert organizers. Bumping and chips to the covers and some toning, not affecting either signature, else very good. 9.5 x 12.5 inches (24 x 31.5 cm).
Original illustration for Peter Sellars' 1980 production of Don Giovanni, by the renowned American artist and writer best known for his unsettling Gothic tales. The full Italian title of the opera, "Il Dissoluto Punito, osia: Il Don Giovanni," is lettered in Classical capitals within a detailed border composed of a dead wolf's pelt. The illustration was used for both the program and the curtain of the opera production. Pen and ink on paper. Signed in brown ink at the lower right margin and captioned "curtain 1/4"=1'" in black ink at the lower right corner. Registration marks and Gorey's faint erased pencil tracings are visible beneath ink. Image 6.5 x 7.5 inches (15.7x19 cm), on sheet measuring 11 x 13.75 inches. Nicely framed. Read More...
25. Grove, George. (1820–1900). "I do not understand at all how the possession of autographs can help a man in writing a biography" - Autograph Letter
Autograph letter from the founding editor of Grove's Dictionary of Music and Musicians and the first director of the Royal College of Music to a Mr. Fendelow, regarding the Mendelssohn biographer William T. Freemantle (1849–1931). Dated November 8, 1892, on letterhead of the Royal College of Music. Text, in full: "Dear Mr. Fendelow, Thank you very much for your letter of the 4th. It is strange that though we were both so much interested in Mendelssohn, Mr. Freemantle and I did not know one another. But I believe I have never heard his name before, and I do not understand at all how the possession of autographs can help a man in writing a biography. With regard to the collection itself, you will forgive me if I say that I think £1,200 is a very long price, and more than the collection is likely to fetch; unless it be bought by an American or some one who takes an adventitious interest in it. I have sent a copy of the catalogue to the present representative of the Mendelssohn family in Berlin, and I think he is likely to be interested in it. Yours very truly, G. Grove." 3 pp. of a bifolium. Folding creases; overall fine. 4.5 x 7 inches (11.5 x 18 cm).
London: John Walsh. [ca. 1736]. Suites de Pieces pour le Clavecin, composées par G. F. Handel. Early edition of Handel's 8 Great Suites, HWV 426–433, with extensive holograph inscriptions from prominent owners Charles Burney, J. B. Cramer and Friedrich Chrysander. [PN] 490. 94 pp. Oblong folio. Händel-Jahrbuch III, S. 213; RISM H/HH 1438; Kat. Hoboken 5 Nr. 174. In very good condition: damp stains along the right edge margin with those to the edges of the title and first page restored; on the title page, the printed indication "I. Volume" has been removed and replaced with manuscript "Volume." A remarkable and historic copy. Read More...
A very interesting autograph letter from the American lyricist best-known for the songs in The Wizard of Oz, containing his advice on what makes a good song. Text, in full: "Dennis Cooper, Your question would take a seminar of analysis to answer— It can't be done in a letter— But briefly here are some of the things to look for among the many:— The melody should not be trite—ordinary—familiar, but original, beautiful, soaring—emotion provoking—haunting—endurable—& memorable. The lyric should be meaningful—poetic—singable—provocative, original—& touch your mind, your heart and your soul. It should stir you to be a wiser— & better human being with a new respect for language —and life. Yip Harburg." 1 p. on lined notepaper. Folding creases; overall in very fine condition. 8.5 x 11 inches (21.5 x 28 cm). Read More...
Original doubleweight Wight Studios of NY photograph of the American cellist, conductor, composer, and founder of ASCAP, shown in 1924, the year of his death. Autograph notes on the verso, showing that this photograph was the property of ASCAP. Some small pencil marks; overall fine. 7.5 x 9.5 inches (19.2 x 24.1 cm). An impressive portrait by Broadway's foremost photographer of stage production from 1905-25. Read More...
Signed postcard photograph of the American singer, pianist and songwriter remembered as a prolific writer of popular songs. She has signed at the foot and dated 1939. In very good condition. 3.5 x 5 inches. Read More...
Autograph note from the Hungarian composer, ethnomusicologist, and pedagogue. On a small card, Kodály has penned a brief note in Hungarian, giving his thanks for the birthday greetings and sending his best wishes. He signs "Kodály Zoltán." Hole-punched at the head, with some light toning, but overall in fine condition. 5 x 3 inches (13.2 x 7.5 cm).
Autograph letter from the Austrian-born composer whose music was banned by the Nazis to the Hungarian conductor Paul Czonka, asking for details of their upcoming opera tour of the United States and mentioning colleagues Otto Klemperer, Max Sturzenegger and Artur Schnabel. 2 pp. Rome, May 21, 1937. On letterhead of the Albergo Atlantico e Ligurio, Roma. Krenek begins with a humorous note on Rossini's operatic farce Il Signor Bruschino, which he considers may have been "composed with the left hand alone, if not rather with the left foot..." He goes on to give details of his travel plans in Italy and Switzerland, before asking urgently for more information on the coming itinerary: "Naturally I wish to speak with Otto [Klemperer] and [Max] Sturzenegger while I'm there, but regarding the latter could you please give me specific information [...] so that I don't make any faux pas. [...] Also, please could you inform me as soon as possible first about the exact (or somewhat exact) itinerary in the USA [...] so that I can discuss the locations with [Artur] Schnabel." Full translation below. Folding creases; overall in very fine condition. 6.5 x 8.5 inches (16.7 x 22.5 cm). Read More...
An original signed document from the Viennese composer and socialite, wife of Gustav Mahler. The "Vollmachtserklärung" (power of attorney authorization) declares that Alma Mahler grants the right to use all the works of Mahler issued by this publisher [Ed. Bote & G. Bock of Berlin] in film productions, and establishes her right to 50% of the profits from such use. Dated January 3, 1931. Signed very boldly at the conclusion in purple ink. Paper clip mark at the top left corner and some light overall toning; otherwise in very good condition. 8.75 x 11.25 inches (22.4 x 28.5 cm). Read More...
An original signed document from the Viennese composer and socialite, wife of Gustav Mahler, regarding the expired copyright to her husband's Seventh Symphony. The short typed document declares Alma Mahler's consent for the expired copyright to the work to be renewed by the publishers, Ed. Bote & G. Bock of Berlin, and for the rights to the work to be set according to the two parties' previous agreement. She has signed boldly at the foot in purple ink. Stamped with the date at the upper left: April 26, 1937. Folds, paper clip mark in the upper left corner, else very good. 8.25 x 11.75 inches (21 x 29.7 cm).
Autograph musical quotation from the German composer's opera Le Prophète. Meyerbeer has penned five bars from the "Marche du sacre" (Act 4) and has boldly signed with flourishes at the lower right. 5.5 x 7 inches (13.5 x 18 cm), paper ruled with staves in sepia. Folding creases and light overall toning. Matted with a postcard portrait to 9.5 x 16 inches (41 x 23.5 cm) overall. Read More...
Autograph letter from the important French avant-garde composer, arranging a ticket for his mother at an upcoming concert. Undated. Milhaud writes (translated from the French): "Dear sir, I would like to know if it would be possible for you to give me a numbered place for the concert on November 5, for my mother; she is very unwell and because of her health cannot stay standing." Some light wrinkling and toning; overall in fine condition. 8.25 x 10.75 inches (21 x 27 cm).
[Boston]: Press of the New England Conservatory . 1880. Original prospectus and course catalog of the New England Conservatory dated 1880, not long after the school's founding in 1867. The catalog includes a fascinating complete listing of the conservatory's course offerings, which seem to have focused heavily on the pianoforte, organ, and voice, with relatively few teachers for orchestral and band instruments, and also included sight-singing, tonic sol-fa, elocution, and painting and drawing! Tuition costed $15-20 per ten week term. With a few illustrations. Inserted is a 4 pp. supplement giving a persuasive list of "32 reasons in favor of the conservatory system." The back cover features an advertisement for Estey Organs. Read More...
Original carte de visite photograph of the German-born French composer, cellist and impresario of the romantic period. Photographed by Reutlinger of Paris. 6.3 x 10.5 cm. Very fine.
New York: G. Schirmer, Inc.. 1925. Signed sheet music from the American pianist, music researcher and educator, author of the groundbreaking Physiological Mechanics of Piano Technique. He has inscribed on the wrapper: "To Marion Clark with cordial greetings, Otto Ortmann. May 27, 1926." 5 pp. Slight edge toning and chip, but overall in fine condition. 9 x 12 inches (23 x 30.3 cm).
A very interesting collection of signed photographs, programs, and press clippings related to the Cole Porter musical "Seven Lively Arts." The items are taken from a scrapbook compiled by Bill Utely, who was a singer in the production, and include signed photographs of performers Bert Lahr, Beatrice Lillie, Jere McMahon, Paula Bane, Benny Goodman, Alicia Markova, Bill Tabbert, Billie Worth, and Dolores Gray, choreographer Anton Dolin, page boys Barry Laffin, Sonny Cavell, and Marty Miller, and many other singers, dancers, and others involved in the production. The collection includes a total of 26 signed photographs, 5 unsigned photographs of Utely, original programs from both the Philadelphia tryout and Broadway performances of the show, and 36 large loose scrapbook pages with numerous newspaper and magazine clippings, many with images, related to the show. Photographs all in fine to very fine condition, most 8 x 10 inches, with the exceptions of the signed pictures from Bert Lahr (5 x 7), Jere McMahon (3 x 3.75), Paula Bane (3.5 x 5.5), Barry Laffin (5 x 8), Ann Flynn (5 x 7), and an unidentified "Bob" (5 x 7). Scrapbook pages have heavy toning and edge wear, but overall in good condition, 11 x 14 inches. Read More...
A sensitive and early portrait in ink of the important French composer Francis Poulenc, by his friend and collaborator Jean Cocteau. Signed and dated at the right: "Jean / 1924 / Monte Carlo." Paper lightly toned, mounted on white card with some large chips and mounting remnants from a previous framing; the drawing itself intact and in fine condition. 8.25 x 10.75 inches (20.8 x 27.4 cm), mounted to 10 x 12 inches (25.5 x 30.8 cm). Matted and framed under UV-Plexi. Read More...