M. Bruch. Collection of manuscripts of the opera "Die Loreley" op.16, some corrected by the composer, 1863-1916
Collection of printed and manuscript sources for the original 1863 production of "Die Loreley", and for the 1887 revision, CORRECTED BY THE COMPOSER AND SIGNED ("Max Bruch"), 1863-1887
1) The twenty-three orchestral parts used for the premiere of the opera in June 1863, in scribal hands, WITH AUTOGRAPH REVISIONS AND ADDITIONS BY BRUCH, including new music written on slips of paper laid down over the old versions (some whole pages), extensively marked up in red and blue crayon for a later performance, 23 volumes, folio, stamps of the Mannheim opera house, the overture ('Einleitung') on a separately-titled bifolio, dated by the scribe (Mannheim, 19-30 May 1863), with inscriptions for performances in 1863-1866 ("Zum 1ten male den 14ten Juni 1863"), and later under Hans Pfitzner, cloth-backed wrappers with manuscript labels, staining to corners, some tears to margins and small rust-stains; with a later set of parts for No.5 Ensemble in G major--together with the rare first edition of the full score: Die Loreley, (Breslau: F.E.C. Leuckart, [c.1863-1865]), lithographed from a manuscript, marked up for a later performance (possibly Hans Pfitzner's in 1916), blue lithographed cloth-backed boards
2) Collection of four printed choral parts, PROOF COPIES, CORRECTED BY THE COMPOSER, for the edition in three acts (performed by Mahler in Leipzig in 1887), lithographed music, plate no. 8318, AUTOGRAPH WRAPPER SIGNED AND INSCRIBED BY BRUCH ("An die Siegel’sche Verlagshandlung (Herrn R. Linnemann) Leipzig/ Loreley/ 4 Chorstimmen/ Bad Landeck, 20. Juli 1887/ Max Bruch"), MARKED UP BY THE COMPOSER IN BLUE CRAYON, TITLED AND SIGNED AT THE END (“Revid, M.B. Bad Landeck, 18. Juli 87”), together with 42 further uncorrected copies.
Die Loreley (1863) was the most successful of Bruch's three operas and one of his most significant works (composed three years before the famous Violin Concerto op.26). This collection of primary sources bears witness to the 1863 première, the reduced 1887 version in three acts (conducted by Mahler), and the revival of the four-act version by Hans Pfitzner (1869-1949) in 1916. These original orchestral parts, containing Bruch's autograph revisions for the 1863 première, were also used in later performances. Pfitzner retained a lifelong devotion to Bruch's opera, which he staged with the composer's blessing at Strassburg in 1916, and again in Munich in 1938; the note at the end of the trombone part used for the broadcast performance reads "20 Febr. 1938 Franz Heigl Reichssender München unter Hans Pfitzner".
The choral parts for the 1887 three-act version provide new information about Bruch, who, on the face of it, might not have had much to do with that drastic rehash of his opera. These corrected proofs are signed and inscribed by the composer and contain annotations throughout, which he sent to the publisher C.F.W. Siegel in Leipzig. The annotations and markings in red and blue crayon in the lithographed full score appear to relate to a much later production, since they contain references to Siegel's 1887 vocal score. The rehearsal numbers in red crayon match those added to the manuscript orchestral parts, as do the cuts in blue crayon. Since for his revival of the opera in 1916, Pfitzner reverted to the original four-act Mannheim version, the cuts and the markings in crayon in both score and parts would appear to have been written in preparation for that production.
C. Fifield, Max Bruch: His Life and Works (1988), pp.41-46; H. Pfitzner, Meine Beziehungen zu Max Bruch...Bericht über meine Auffü̈hrungen von dessen Oper “Die Loreley”, (1938).
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