Medtner, Nikolai

the Stichvorlage, notated by Nikolai and Anna Medtner in black and blue ink over pencil, on two six-stave systems per page, signed by the composer in Russian and English over the music in blue ink, comprising three movements paginated separately and with separate title-pages, a working manuscript with alterations and corrections, including a passage deleted before inking over the final Coda, and the addition of Biblical texts in Russian to the violin part in two places, marked up by the publisher in pencil and red crayon, the last bar of the second movement, deleted in crayon and marked ("Attacca Finale"), with remarks to the publisher by Anna Medtner in pencil ("Hier endet die Seite 42 der Korrectur. Also muss ich diese Blatt wieder haben. A.M."); together with Anna Medtner's autograph correction leaf for the proof at the end 

76 pages in all, including titles and the correction list, with blanks, folio (35.7 x 26cm), 16-stave paper, the movements paginated (20, 9 & 43 pages), and later by the publisher (1-76), the title (and blanks) preceding the 2nd & 3rd movements added on 14-stave paper [c.1949]; staining and some paper-loss to corners; together with a German copyist manuscript of the playing parts (c.1955), with annotations and corrections by Anna in blue ink (occasionally also over pencil)

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. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. 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 any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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 working manuscript, written first in pencil by Medtner and copied over calligraphically in ink, largely by his wife Anna and with notes and other material for the publisher also by Anna.  The Medtners' working method can best be studied just before the final Coda (lower half of page 38); instead of inking over the incomplete pencil draft, the passage is deleted and rewritten on the next page, apparently almost immediately and before completing the original.  Medtner uses the bifolios sequentially rather than in gatherings, as would be more likely were this merely a copy or transcript of the original. 

Medtner regarded the Piano Quintet as his final testament as a man and a composer.  He worked on it for over forty-five years, the early sketches dating back to 1903 and completed only in 1949.  The Quintet was published posthumously in 1955.

Some text in Russian has been added to the chorale-like melody of the violin part in two places: 1) on page 15: "Blazhenny alchushchiye nyne, ibo nasytites'. Blazhenny plachushchiye nyne, ibo vossmeyetes" ("Blessed are ye that hunger now: for ye shall be filled. Blessed are ye that weep now, for you will laugh"; St Luke 6:21,  2) at the start of the second movement, partly in another hand: "Radi imeni Tvoyego, Gospodi, prosti sogresheniye moye, ibo veliko ono...Prizri na menya i pomiluy menya, ibo ya odinok i ugneten" ("For the sake of your name, Lord, forgive my sin, for it is great...Look down upon me and have mercy on me, for I am desolate and afflicted", Ps 25:11 & 16). Among the alterations indicated here, and found in the editions, are the hemi-demi-semiquaver dotted rhythms on page 9 (five to eight bars before Letter E), with Anna Medtner's annotation "Sie haben Recht besser 16^tel").  The quintet was first published after the composer's death by Zimmermann of Frankfurt in 1955, and then in Moscow (in the complete edition) in 1963.