Liszt, Franz

the music notated, initially only for the right hand, subsequently for both hands on up to two three-stave systems per page, diverging somewhat from the published edition, with Liszt's extensive instructions to the engraver, including fingerings and expression marks ("armonioso sempre legato"), the bars numbered, inscribed by Liszt above the music: "Ossia piu facile (mano destra) NB il faut graver tout ce passage en petites notes sur une petite ligne au dessus de la main droite==Les numeros correspondent aux Numeros indiques", and the title written by him near the top cut margin (slightly trimmed), comprising fourteen bars in all

2 pages, oblong folio (13 x 37.8cms), 10-stave paper cut from a larger leaf, [1840], some browning and a few tears, split along central fold repaired

Raabe 151; LW A22; Searle 397

Condition is described in the main body of the cataloguing, where appropriate
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Please note that colour, clarity and weight of gemstones are statements of opinion only and not statements of fact by Sotheby's. We do not guarantee, and are not responsible for any certificate from a gemological laboratory that may accompany the property. We do not guarantee that watches are in working order. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue, in particular to the Notice regarding the treatment and condition of gemstones and to the Notice regarding import of Burmese jadeite and rubies into the US.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is a most striking and unusual manuscript, comprising Liszt's autograph alternative version ("ossia") of his embellished and elaborated transcription for piano of the Sextet from Donizetti's opera Lucia di Lammermoor (1835), one of the best-loved of all his "operatic fantasies".  The passage corresponds to the final section of Donizetti's famous ensemble (itself one of the finest in Italian Romantic opera), and immediately precedes Liszt's own newly-composed coda to the piece.   It is found on pages 6 to 9 of the 1840 edition of Liszt's Réminiscences by Friedrich Hofmeister of Leipzig, where it is printed on small staves above the music, as Liszt here instructs.  The present version is in fact somewhat simpler even than the alternative "ossia" published in the edition, which provides for arpeggiated chords and higher "8vo" extensions, missing here.  This probably explains why there is no sign on this manuscript that it was ever used by the engraver.  Nevertheless, the passage is complicated enough and requires Liszt to notate both hands for the final five bars.

The autograph manuscript of Liszt's Réminiscences de Lucia di Lammermoor (in the Ricordi Archives in Milan), is incomplete, lacking the first 13 bars, and contains merely cues for the present passage marked "ossia".

We gratefully acknowledge the kind assistance of Professor Rena Mueller for her assistance in the cataloguing of this item.