Bossi, Marco Enrico. (1861-1925). Violin Sonata no. 1 - AMQS with a Drawing of Organ Pipes. A lovely AMQS with a whimsical drawing of organ pipes from the important Italian composer, organist and pianist. On a postcard of the ruins of Pompeii, Bossi has penned the first three measures of the theme from his Violin Sonata no. 1 (1893), signed with a flourish over his sketch of the organ pipes, and dated at the lower right: Camerlata (Como), September 28, 1905. On the verso, the postcard is addressed to the Argentinian collector Ramona Imaz Otaño, with the original stamp and postmark. Slight smudges to the AMQS but overall in fine condition. 5.5 x 3.5 inches (13.7 x 8.8 cm).
"Bossi’s few completed operas had little success; but he won lasting respect, mainly in Italy, for his instrumental and choral compositions. Internationally he is remembered largely for his organ pieces, the best of which (e.g. the widely performed G minor Scherzo op.49 no.2) are still very effective... [O]f the chamber compositions, the two violin sonatas have proved especially worthy of renewed attention: the profoundly expressive, subtle-textured slow movement of the second is one of Bossi's most inspired utterances." (John C. G. Waterhouse, New Grove.)
Bossi, Marco Enrico. (1861-1925). Violin Sonata no. 1 - AMQS with a Drawing of Organ Pipes. A lovely AMQS with a whimsical drawing of organ pipes from the important Italian composer, organist and pianist. On a postcard of the ruins of Pompeii, Bossi has penned the first three measures of the theme from his Violin Sonata no. 1 (1893), signed with a flourish over his sketch of the organ pipes, and dated at the lower right: Camerlata (Como), September 28, 1905. On the verso, the postcard is addressed to the Argentinian collector Ramona Imaz Otaño, with the original stamp and postmark. Slight smudges to the AMQS but overall in fine condition. 5.5 x 3.5 inches (13.7 x 8.8 cm).
"Bossi’s few completed operas had little success; but he won lasting respect, mainly in Italy, for his instrumental and choral compositions. Internationally he is remembered largely for his organ pieces, the best of which (e.g. the widely performed G minor Scherzo op.49 no.2) are still very effective... [O]f the chamber compositions, the two violin sonatas have proved especially worthy of renewed attention: the profoundly expressive, subtle-textured slow movement of the second is one of Bossi's most inspired utterances." (John C. G. Waterhouse, New Grove.)