Liszt, Franz. Autograph letter, signed “F. Liszt,” in German. To an unnamed friend. Weimar: 11 December 57
8vo, 4 pages on blue paper; formerly folded. Tipped into a cream cloth portfolio, in a half-morocco drop box.
About wagner and “lohengrin” and his own “dante symphony”
Liszt offers news of his productions of Wagner’s opera, including Rienzi and Lohengrin, reports on the progress of rehearsals, explaining his approach to conducting an operatic work. He discusses making cuts in both Rienzi and Lohengrin, inquiring whether his friend has received the score of Rubinstein’s oratorio Das verlorene Paradies and giving news of the revised score of his “Dante” symphony.
“The rehearsals for Rienzi can only begin toward the end of next month. I must admit
that I don’t want to commit myself to a final judgment prior to clarifying some aspects
of the work by either listening to the singers or by reading the full score. Besides, you
dear friend, are so intimately acquainted with this work that I am inclined to heed your
good advice instead of making suggestions of my own which would be more relevant
to the rather insufficient conditions at our opera house here.”
Liszt had given the first performance of Lohengrin in Weimar in 1850 and so was in a position to write with great authority on this score. He wrote an essay on the opera published in 1851.
A complete English translation is included in the lot.
The lot also includes:
Caruso, Enrico. Autograph self-caricature signed “Enrico Caruso.” New York: 1905. 8vo, on a notecard from the Westminster Hotel, Berlin. Framed.
Paderewski, Ignace Jan. Photograph, signed and inscribed “with every good wish and thanks,” cabinet sized, on a postcard addressed on the verso to Mrs. Ulrich, West Norwood, London. London; 1898. Double-sided frame.
Berlioz, Hector. Final di un Te Deum. 9 bars of autograph music, signed “Hector Berlioz.” Framed with portrait.
Puccini, Giacomo. Autograph manuscript quote from “Suor Angelica,” including 3 bars of music, signed “Giacomo Puccini.” Inscribed to Contessa Amelia Barbieri, via Reggio, 1917. Framed with portrait.
Dvorák, Antonin. Cabinet photograph, signed and inscribed on verso with an autograph musical quotation of 3 bars from the opening of his Stabat Mater, signed “Antonin Dvorak”. Prague: Mulac, 1897. Double-sided frame.
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