Liszt, Franz. (1811–1886). Autograph Manuscript. A.M.M.S., "F. Liszt," one page oblong 4to (13 x 19 cms). 10-stave paper. Brown ink. Minor age toning. Sending manuscript alterations, the composer requests that the markings of "fp, >, ', -, pedal" in the Polonaise manuscript be shown, and signs "F. Liszt." On three systems, he neatly pens six elaborately annotated measures, identifying them individually as from three different sections, each with a different system number, measure number and page number.
While the composer writes that the corrections pertain to a Polonaise, the passages he pens do not appear in the published scores of either of his own famous Polonaises. Liszt ventured into Chopin's genres only after the latter had died (whether out of respect or rivalry remains unclear) and it is worth noting that one of the present musical passages is similar to the first transition in Chopin's Op. 53 polonaise (right before the principal theme rises an octave).
While the composer writes that the corrections pertain to a Polonaise, the passages he pens do not appear in the published scores of either of his own famous Polonaises. Liszt ventured into Chopin's genres only after the latter had died (whether out of respect or rivalry remains unclear) and it is worth noting that one of the present musical passages is similar to the first transition in Chopin's Op. 53 polonaise (right before the principal theme rises an octave).
Liszt, Franz. (1811–1886). Autograph Manuscript. A.M.M.S., "F. Liszt," one page oblong 4to (13 x 19 cms). 10-stave paper. Brown ink. Minor age toning. Sending manuscript alterations, the composer requests that the markings of "fp, >, ', -, pedal" in the Polonaise manuscript be shown, and signs "F. Liszt." On three systems, he neatly pens six elaborately annotated measures, identifying them individually as from three different sections, each with a different system number, measure number and page number.
While the composer writes that the corrections pertain to a Polonaise, the passages he pens do not appear in the published scores of either of his own famous Polonaises. Liszt ventured into Chopin's genres only after the latter had died (whether out of respect or rivalry remains unclear) and it is worth noting that one of the present musical passages is similar to the first transition in Chopin's Op. 53 polonaise (right before the principal theme rises an octave).
While the composer writes that the corrections pertain to a Polonaise, the passages he pens do not appear in the published scores of either of his own famous Polonaises. Liszt ventured into Chopin's genres only after the latter had died (whether out of respect or rivalry remains unclear) and it is worth noting that one of the present musical passages is similar to the first transition in Chopin's Op. 53 polonaise (right before the principal theme rises an octave).