219
219
Liszt, Franz
AUTOGRAPH MANUSCRIPT OF PART OF THE RÉMINISCENCES DE LUCIA DI LAMMERMOOR, FOR PIANO SOLO, BEING AN ALTERNATIVE (OSSIA) PASSAGE FOR THE END OF THE SEXTET, EXTENSIVELY ANNOTATED BY THE COMPOSER FOR THE PUBLISHER
Estimate
2,5003,000
LOT SOLD. 2,750 GBP
JUMP TO LOT
219
Liszt, Franz
AUTOGRAPH MANUSCRIPT OF PART OF THE RÉMINISCENCES DE LUCIA DI LAMMERMOOR, FOR PIANO SOLO, BEING AN ALTERNATIVE (OSSIA) PASSAGE FOR THE END OF THE SEXTET, EXTENSIVELY ANNOTATED BY THE COMPOSER FOR THE PUBLISHER
Estimate
2,5003,000
LOT SOLD. 2,750 GBP
JUMP TO LOT

Details & Cataloguing

Music, Continental and Russian Books and Manuscripts

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London

Liszt, Franz
AUTOGRAPH MANUSCRIPT OF PART OF THE RÉMINISCENCES DE LUCIA DI LAMMERMOOR, FOR PIANO SOLO, BEING AN ALTERNATIVE (OSSIA) PASSAGE FOR THE END OF THE SEXTET, EXTENSIVELY ANNOTATED BY THE COMPOSER FOR THE PUBLISHER
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


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Literature

Raabe 151; LW A22; Searle 397

Catalogue Note

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.

Music, Continental and Russian Books and Manuscripts

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London