Bridge, Frank. (1879-1941). Autograph musical quotation from Two Poems for Orchestra. AMQS signed from the English composer in black ink, three measures on two staves (piano reduction), with autograph caption, "from 'Two Poems' (No. 1) for Orchestra [H.118] after Richard Jefferies / 1916-17" and signature in full. The quotation begins at rehearsal letter 6 (= measure 36) of the composition. Additions in different ink, faded, "for James J. Romney[?]" and "London Oct. 14 1936" to foot. Cleanly cut from "Passantino Brand No. 1, 12-stave medium" music paper. Oblong format, 4.25 x 9.25 inches (11 x 23.2 cm). Formerly mounted using photo corners; two clean vertical folds. In fine condition overall. Uncommon.
Frank Bridge is probably best remembered as the teacher of Benjamin Britten, but he was a respected composer in his own right who over the years developed his own brand of modernism. Works such as the Two Poems for orchestra ... display significant developments in his harmonic language, specifically towards a coloristic, non-functional use of harmony, and a preference for harmony derived from symmetrical scales such as whole tone and octatonic.
Bridge, Frank. (1879-1941). Autograph musical quotation from Two Poems for Orchestra. AMQS signed from the English composer in black ink, three measures on two staves (piano reduction), with autograph caption, "from 'Two Poems' (No. 1) for Orchestra [H.118] after Richard Jefferies / 1916-17" and signature in full. The quotation begins at rehearsal letter 6 (= measure 36) of the composition. Additions in different ink, faded, "for James J. Romney[?]" and "London Oct. 14 1936" to foot. Cleanly cut from "Passantino Brand No. 1, 12-stave medium" music paper. Oblong format, 4.25 x 9.25 inches (11 x 23.2 cm). Formerly mounted using photo corners; two clean vertical folds. In fine condition overall. Uncommon.
Frank Bridge is probably best remembered as the teacher of Benjamin Britten, but he was a respected composer in his own right who over the years developed his own brand of modernism. Works such as the Two Poems for orchestra ... display significant developments in his harmonic language, specifically towards a coloristic, non-functional use of harmony, and a preference for harmony derived from symmetrical scales such as whole tone and octatonic.