Formes, Karl. (1815-1889). Autograph Musical Signature. Charming autograph note with whimsical signature from the German bass who settled in San Francisco in the late 19th century. Dated New York, March 19, 1883, the beautifully penned note reads: "Honored Madame, I thank you for your flattering wish to posses [sic] my autograph and I am most respectfully yours, [K]arl [F]ormes." Instead of the initial letters of his name, Formes has written a low "C" and a high "F" on a bass clef. On lined notepaper with an embossed stamp. Slight folding creases and mounting remnants on the verso; overall in fine condition. 4.5 x 7 inches (11.3 x 17.8 cm).
"He made his début at Cologne in 1842 as Sarastro. Engaged at the Kärntnertortheater, Vienna, he created Plumkett in Flotow'sMartha (1847). Forced to leave Vienna for political reasons, in 1849 he sang in London for the first time at Drury Lane... In 1857 he appeared at the New York Academy of Music, returning there for the next 20 years. In 1872 he took part in the première in the USA of Marschner's Der Templer und die Jüdin. After his retirement from the stage in 1878, he taught singing in San Francisco. His voice combined a solid, resonant lower register with considerable flexibility, and he was particularly admired as Caspar." (Elizabeth Forbes, New Grove Online.)
Formes, Karl. (1815-1889). Autograph Musical Signature. Charming autograph note with whimsical signature from the German bass who settled in San Francisco in the late 19th century. Dated New York, March 19, 1883, the beautifully penned note reads: "Honored Madame, I thank you for your flattering wish to posses [sic] my autograph and I am most respectfully yours, [K]arl [F]ormes." Instead of the initial letters of his name, Formes has written a low "C" and a high "F" on a bass clef. On lined notepaper with an embossed stamp. Slight folding creases and mounting remnants on the verso; overall in fine condition. 4.5 x 7 inches (11.3 x 17.8 cm).
"He made his début at Cologne in 1842 as Sarastro. Engaged at the Kärntnertortheater, Vienna, he created Plumkett in Flotow'sMartha (1847). Forced to leave Vienna for political reasons, in 1849 he sang in London for the first time at Drury Lane... In 1857 he appeared at the New York Academy of Music, returning there for the next 20 years. In 1872 he took part in the première in the USA of Marschner's Der Templer und die Jüdin. After his retirement from the stage in 1878, he taught singing in San Francisco. His voice combined a solid, resonant lower register with considerable flexibility, and he was particularly admired as Caspar." (Elizabeth Forbes, New Grove Online.)