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Leginska, Ethel. (1886-1970). Autograph Letter. A rare letter from the important English-born American pianist, composer and conductor. On a picture postcard, writing about concerts: "The sympohny concerts in Ravenna will perform two Poems of mine for orchestra in January...I arrive the 6th of September on the Leviathan...give me the Cowell scores when I come for them..." Corner stain, otherwise fine.

Early in her career, she changed her name from Liggins to Leginska and became widely known as the "Paderewski of woman pianists." "She made her official début in London at the age of 16 and then gave concert tours in Europe before moving to the USA in 1913, where she achieved her greatest success in the 1916–17 season. A great favourite with the public, she was noted for her demanding programmes and her innovations, such as playing an entire Chopin programme without an interval. In 1914 she began to compose, studying with Bloch in 1918. Her relatively small output includes songs, piano and chamber music, symphonic poems, a fantasy for piano and orchestra and two operas. It is to her credit that Leginska was able to secure performances of her larger works at a time when women’s compositions were rarely heard in public." (Carol Neuls-Bates, Grove Online)

Leginska, Ethel. (1886-1970) Autograph Letter

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Leginska, Ethel. (1886-1970). Autograph Letter. A rare letter from the important English-born American pianist, composer and conductor. On a picture postcard, writing about concerts: "The sympohny concerts in Ravenna will perform two Poems of mine for orchestra in January...I arrive the 6th of September on the Leviathan...give me the Cowell scores when I come for them..." Corner stain, otherwise fine.

Early in her career, she changed her name from Liggins to Leginska and became widely known as the "Paderewski of woman pianists." "She made her official début in London at the age of 16 and then gave concert tours in Europe before moving to the USA in 1913, where she achieved her greatest success in the 1916–17 season. A great favourite with the public, she was noted for her demanding programmes and her innovations, such as playing an entire Chopin programme without an interval. In 1914 she began to compose, studying with Bloch in 1918. Her relatively small output includes songs, piano and chamber music, symphonic poems, a fantasy for piano and orchestra and two operas. It is to her credit that Leginska was able to secure performances of her larger works at a time when women’s compositions were rarely heard in public." (Carol Neuls-Bates, Grove Online)