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Götterdämmerung.Vollständiger Klavierauszug - FIRST EDITION

Götterdämmerung.Vollständiger Klavierauszug – FIRST EDITION, INSCRIBED BY DAVID POPPER AT THE 3RD VIENNA WAGNER CONCERT OF 1875

Wagner, Richard. (1813-1883)] Popper, David. (1843-1913) Götterdämmerung. Vollständiger Klavierauszug von Karl Klindworth. Folio. Lithographed throughout. [PN] 21500. 1f. (general title, "Der Ring des Nibelungen"), 1f. (title), 1f. (half-title), [1] (cast list and contents), 2-357, [i] (blank) pp. Inscribed on the title page by cellist and composer David Popper as follows: "Der unsterblichen / Muse Richard Wagner / kunstbegeisterten / Förderer durch Wort / und Schrift von / seinem, ihn herzlich / .David Poper / Wien, 6. Mai 1875 / III. Wagnerkonzert in Wien" ("The immortal muse of Richard Wagner / his art-loving supporter through written/ and spoken word,/ warmly, / David Popper / Vienna, 6 May 1875 / 3. Wagner concert in Vienna").    Contemporary black cloth boards, quarter brown leather. Generally in fine internal condition throughout, with a few light pencil markings, one leaf (p. 11/12) with two significant tears; spine covering largely perished, boards separating from the block (rear board barely holding on). Fuld p. 465; Deathridge, Geck and Voss (WWV) p. 402; Klein p. 51. The present historic copy was inscribed on the occasion of Wagner's conducting portions of Götterdämmerung in concert in Vienna, in advance of the the complete opera's Bayreuth premiere in 1876. The publication of this piano vocal score preceded the full score by over a year, and the general title page, on which Popper has inscribed, as well as the half title, are common to the full scores of all four Ring operas.  As with Siegfried and Parsifal, Schott's first edition of Götterdämmerung was issued in lithographed form, with only a few (mainly presentation) copies being issued directly from the engraved plates. One of the most influential cellists of the late nineteenth and early twentieth century, Popper was a student of Julius Goltermann and at age 25, secured the position of principal in the Vienna Hofoper and the Vienna PO (the youngest player to hold such a post) and later joined the Hellmesberger Quartet.  He was in friendly contact with Franz Liszt, whose pupil, pianist Sophie Menter, became Popper's first wife in 1872. This marriage, which produced in 1876 a daughter, Celeste, ended after fourteen years although during that time the couple appeared in countless joint recitals. His acquaintance with Liszt led Popper also to Richard Wagner and in 1873 he became a co-founder of the first ever official Wagner Society (the Viennese Wagner-Verband). In 1886, his marriage dissolved, Popper was appointed by Liszt as professor at the National Hungarian Royal Acadamy of Music, where he established the cello and chamber music divisions. He remained until his death, having also served as a member of the Hubay Quartet. A cellist of superior technique and a warm, powerful tone, Popper was a champion of new music, and the composer of more than 75 works, mostly for his own instrument. His most important contribution is certainly the Hohe Schule des Violoncello-Spiels, a set of 40 studies that examine the positions of the left hand within a highly chromatic, Wagner-influenced setting. Götterdämmerung is the fourth opera in the Ring cycle. Excerpts were first performed in a concert at the Musikverein in Vienna on March 25, 1875; the entire work was first performed as part of the Ring cycle at Bayreuth on August 17, 1876. "The final opera of the Ring. provides an appropriately weighty conclusion to the epic cycle. 26 years elapsed from the time Wagner made his first prose draft for the work (then called Siegfrieds Tod) to the completion of the full score, with inevitable consequences in terms of stylistic unity. Retrogressive elements of grand opera exist side by side with motivic integration representative of Wagner's most mature style. And yet, the stylistic integrity of Götterdämmerung is scarcely compromised, so skillfully are the disparate elements welded together and so intense the dramaturgical conviction. The resources and stamina demanded by the work (from both singers and orchestra), combined with its sheer length and theatrical potency, make it one of the most daunting yet rewarding undertakings in the operatic repertory." (Grove Music Online)
Autograph Letter

Autograph Letter

Weber, Carl Maria Von. (1786-1826) Autograph letter signed ink, "Weber", Prague, April 19, 1815. 1 page, address on verso, to the dilettante soprano, Friederike Türke (born Krause). A charming letter penned during the young composer's tenure as director of the Opera in Prague (1813-1816) in which the composer begins by stating that although [the piano maker Franz Heinrich Kisting (1769 -  1853)] "is to be seen as a living letter from me, I can't help but add at least a few words," and that if he "were not such a lazy answerer, I would ask you to write to me many times." He confesses that "it is difficult to write interesting things for you from here, because you do not know the people who surround me, and my life has such a great uniformity that I always have to take my diary to fish out something remarkable or to call back into my memory."  He goes on to briefly discuss the Türke daughter Riekchen ("Riekelchen") and then discusses a bit of apparent gossip: "I haven't known Moser since that time. What the Duchess Radzivil and Amberg [possibly the Berlin-based English teacher Johann Amberg] said, you could have written malevolent woman; but it may not have been much good, otherwise you would have liked it. Everything is quiet from me. - - - The Vogel [likely the Tenor of this name who was a member of the Berlin Singakademie 1812-16] and Kolbe? This is a curious couple, and I fear he will be lost in a short time. - The Rabe [likely the Soprano of this name who was a member of the Berlin Singakademie 1813-16] greet you quite nicely from me again." He closes by saying that "I know nothing more to say than that I wish you health and patience, and that you may sometimes think of your friend." In very fine condition, toned with a few small mounting remnants to verso and lower edge. Sold separated from but together with the original Charles Hamilton Autographs mat presentation which includes a colored stipple engraved portrait of the composer. Letter measures 6.5 x 8 inches [164 x 200 mm].  Carl-Maria-von-Weber-Gesamtausgabe. Digitale Edition A040778. The original German text in full: "Liebe Freundin! / Obwohl Kisting als ein lebendiger Brief von mir anzusehn ist, so kann ich doch nicht umhin, wenigstens ein paar Worte hinzuzufügen. Ihren lieben Brief vom 13t. März habe ich richtig erhalten, u. mich daran, wie immer, sehr ergötzt. Wenn ich nicht ein so fauler Antworter wäre, würde ich Sie bitten, mir oft, recht oft zu schreiben; aber so - Sie müßten denn barmherzig sein u. immer mit 1 Brief für 2 oder 3 fürlieb nehmen. Zudem ist es auch schwer Ihnen von hieraus für Sie Interessantes zu schreiben, da Sie die Menschen nicht kennen, die mich umgeben, u. mein Leben eine so große Einförmigkeit hat, daß ich immer mein Tagebuch zu Hülfe nehmen muß, um etwas Bemerkenswerthes heraus zu fischen oder in mein Gedächtniß zurück zu rufen. / Es ist brav, daß Riekelchen Stunden giebt; Sie selbst wird dadurch auch lernen u. zum Nachdenken über ihr Spiel gebracht werden. / Moser habe ich seit jener Zeit nicht wieder gesehn. Was die Fürstin Radzivil u. Amberg* gesagt haben, hätten Sie boshafte Frau wohl schreiben können; es mag aber nicht viel Gutes gewesen sein, sonst hätten Sie es doch wohl gethan. Alles ist von mir still. - - - Der Vogel* u. die Kolbe? Das ist ein kurioses Paar, da wird er, fürchte ich, binnen kurzem verloren gehn. - Die Rabe* grüßen Sie recht schön von mir wieder. / Und nun, liebe Türkin, weiß ich nichts mehr zu sagen, als daß ich Ihnen Gesundheit u. Geduld wünsche, u. daß Sie zuweilen denken mögen an Ihren Freund / Weber"
Alphabet" - SIGNED PRESENTATION COPY TO RAVEL

Alphabet” – SIGNED PRESENTATION COPY TO RAVEL

Ravel, Maurice. (1875-1937)] Auric, Georges. (1899-1983) A fine presentation copy of seven songs by the important French composer and member of Les Six, signed and inscribed on the first page of music: "A Maurice Ravel, hommage de Georges Auric, Juin 1924." 11 pp. Light overall toning; otherwise in fine condition. 11 x 14 inches (27 x 35.2 cm).Auric entered the Paris Conservatoire at the age of fourteen and was soon an acquaintance of Stravinsky, Cocteau, Milhaud, Honneger and Satie. By the time of this inscription, the young prodigy had become a successful composer and was commissioned to write ballets for Diaghilev and Ida Rubinstein, as well as music for dadaist and surrealist productions. The inscription to Ravel is interesting in that Auric and Ravel were known not to have a smooth relationship; the members of Les Six, and especially Auric, saw Ravel as part of the establishment against which they were rebelling. However, Auric was apparently impressed with Ravel's 1925 opera L'Enfant et les sortilèges, and wrote a warm tribute to him after his death. (See: http://www.maurice-ravel.net/auric.htm)."In the seven Radiguet settings of Alphabet (1920), Auric's ready wit rises.to the fore with his delightful parody of Grieg in 'Filet a papillons' (no. 4) and its second song ('Bateau') which is half tango and half mazurka (with a passing reference to a Chopin waltz).  The start of 'Hirondelle' shows that Auric had taken Poulenc's first Mouvement perpetuel  to heart, making it superficially his own through acciaccaturas, rhythm and pianistic range. Similarly, the start of Escarpin (no. 7) suggests that he was a neo-romantic as much as a neoclassicist." (Robert Orledge, "Satie & Les Six" in "French Music Since Berlioz," ed. Richard Langham Smith, Caroline Potter (Ashgate, 2006), p. 241)
To which will be added

To which will be added, ‘The Libertine.’ With New Scenery, Dresses, and Decorations, and all the original Music by Mozart” – Collection of London Broadsides for “The Libertine” and “Don Giovanni”

Mozart, Wolfgang Amadeus. (1756 - 1791)] [Don Giovanni] Bishop, Henry. (1787-1856) & Kemble, Charles. (1775-1854) Grouping of London performance broadsides ca. 1820-1840 advertising performances of The Libertine and Don Giovanni in London, primarily at Theatre Royal, Covent-Garden.  Four advertise programs including The Libertine, a musical drama "arranged for the English stage" by Henry Bishop and "Founded on the interesting Story of Don Juan - in which will be introduced the celebrated Musick in Mozart's Don Giovanni," while the remaining seven announce performances of Giovanni in London, or, The Libertine Reclaimed, a play with songs adapted from Don Giovanni by William Thomas Moncrieff (1794-1857).  Creases and rough edges, but overall in fine condition for their age.  Seven approximately 8 x 13 inches (20.3 x 33 cm.), three 8.5 x 5.5 inches (14 x 21.6 cm.), one 7.25 x 20 inches (19 x 50.8 cm.).  An intriguing group. Don Giovanni in London, or, The Libertine Reclaimed was first written for the Olympic Theatre in London, where it premiered on 26 December, 1817.  According to an acting edition of the play kept in the John Hopkins Libraries, all vocal numbers were taken from pre-existing popular ballads and songs. Based on these broadsides, it was often accompanied by Mozart's original opera overture to his Don Giovanni. As evidenced here, Henry Bishop, the English composer perhaps best remembered for the songs "Home! Sweet Home!" and "Lo! Here the Gentle Lark," frequently adapted foreign language opera for the English stage. He did so with a great amount of freedom, to put it mildly. His 1819 English-language adaptation of Le nozze di Figaro, for example, incorporated music and characters from several of Mozart's other operas, including Così fan tutte, Don Giovanni, and Idomeneo, as well as Rossini's Il barbiere di Siviglia and Tancredi. The 1885 edition of the Dictionary of National Biography said Bishop's adaptations "must ever remain a disgrace to the man who wrote [them], and a record of the low state of musical opinion that could have allowed such barbarisms to be perpetrated without a protest."The broadsides speak eloquently to some of the different concert presentation conventions of the time. The December 1828 performance at Theatre-Royal, Hull., was presented for the benefit of Mr. Yarnold, whose listed occupations are described as "Mechanist, Master Carpenter, and Artisan in Fire Works."  Sadly, no indication is given as to whether or not Mr. Yarnold was responsible for the "grand display of fire works" that was to end the evening.  The July, 1833 triple-bill of shows, were all headlined by Harriet Waylett (1798-1851), a prominent English theatre performer of the day who must have had tremendous stamina. The  October 1827 performance of Giovanni in London was preceded by "the Comedy of A Bold Stroke for a Wife," starring Charles Kemble, the most famous English actor of his day. "Three main types of concert flourished during the first half of the century: those run by institutions, that is, established organizations of (mostly) professional performers, generally on a subscription basis; concerts for the benefit of individual promoters; and concerts given by amateur musical organizations. Together these served various purposes: 'economic gain, professional recognition, charity fund-raising, celebration of events, product publicity, and indeed simple entertainment'. Sponsorship was equally diverse: 'individual musicians, formal and informal groups of performers, cultural societies, music magazines, charity organizations, theaters, and music publishers', as well as 'government agencies, pension organizations, and even a few fledgling concert managers'. Concerts tended to be either 'popular' in orientation, with the spotlight on instrumental and vocal virtuosity and so-called salon music, or 'classical', featuring the increasingly canonic symphonies, overtures and chamber music of composers like Haydn, Mozart and Beethoven. Other concerts promoted 'ancient' (mainly Baroque) repertory and these, along with classical concerts, occupied the 'high art' or 'serious music' end of a spectrum which in fact was dominated by popular musical events." (The Cambridge History of 19th-Century Music, pp. 59-60)
Grotesken-Album: Album des Grotesques: Album of Grotesques

Grotesken-Album: Album des Grotesques: Album of Grotesques

Grotesque Music] [Bartok, Bela. (1881-1945) & Grosz, Wilhelm. (1894-1939) & Hába, Alois. (1893-1973) & Krenek, Ernst. (1900-1991) & Petyrek, Felix. (1892-1951) & Rathaus, Karol. (1895-1954) & Reti, Rudolph. (1885-1957) & Wellesz, Egon. (1885-1974)] Seelig, Carl. (1894-1962) Upright folio. Universal-Edition no. 6567. 42 pp. An album of short modernist "grotesque" piano pieces compiled by Carl Seelig, featuring an extraordinary Jugendstil cover design incorporating a Harlequin-like contortionist, by the influential Vienna-based artist and puppeteer Richard Teschner (1879-1948). Three ownership signatures on the inside covers and title page from Walter J. Simon. Spine partially split; corner creases; otherwise overall in very good condition. 9 x 12 inches (23 x 30.5 cm).According to Seelig's introductory remarks in German, French and English, the pieces have been chosen to reflect the grotesque movement in music, a parallel to the developments in modern art. "In music, the grotesque element rests either in the subject matter itself [.] or in its treatment. In the latter case, the grotesque may be achieved by way of thematic of melodic effects contrasting antagonistic themes, further by surprisingly novel development of such themes, or else (by way of harmony) by unexpected, startling turns." The pieces included are: Improvisations on Hungarian Peasant Songs, op. 20, by Bartok; Walzer and Polka by Wilhelm Grosz; Zwei groteske Stücke by Alois Haba; Tanzstudie by Ernst Krenek; Excentric, Wurstelprater, and Der offizielle Empfang by Felix Petyrek; Zwei kleine Klavierstücke by Karl Rathaus; op. 2, no. 5 from Terrassen by Rudolf Réti; and op. 11, no. 3 Burleske by Egon Wellesz
Die Schöpfung - LIBRETTO

Die Schöpfung – LIBRETTO

Haydn, Joseph. (1732-1809) [Swieten, Gottfried van. (1733 - 1803)] Die Schöpfung. Grosses Oratorium, in Musik gesezt (sic). 8vo. 20 pp. Limp pale green paper wrappers. Staining to a handful of page edges, more significant stains on two leaves, else fine.  Stamp of "Haus Landfort" on title and Ex-Libris plate "Luyken Landfort" opposite on inner front cover, indecipherable tiny ownership signature penned upper right of title. Worldcat records no copies of the present edition, though we have located one at the Universiteits Bibliotheek Gent. The present copy evidently belonged to the Amsterdam physician and botanist Johann Albert Luyken (1785-1867), who lived from 1823 at the country estate and former manor house Landfort in Megchelen ( Municipality Oude IJsselstreek ), in the Dutch province of Gelderland, located on the German border and with a history dating back to the fifteenth century.  One of the highpoints of the Western musical canon, the Oratorio with a libretto by Gottfried von Swieten, was recognized from its earliest performances as a masterwork of the first order (see New Grove, 8: 346, 347, 358). First performed at the Palais Schwarzenburg in Vienna on April 29th and 30th, 1798, though not performed publicly until the following year, when it was heard at the Burghteater in Vienna on March 19th.  "There is hardly any doubt in the mind of the average music-lover that Haydn's Oratorio The Creation is, tutto sommato, his greatest single accomplishment, and certainly ranks as one of the greatest products of any eighteenth-century mind. It occupies a central position in choral literature and its composition and first performances were the dominant features of Haydn's life in the late 1890s." (Robbins Landon: Haydn Chronicle and Works Vol. IV: Haydn The Years of 'The Creation' 1796-1800, p. 12)Quite possibly from the first performance in Amsterdam, this is a rare early copy of the beloved oratorio's text.