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Strauss, Richard, Komponist (1864-1949).MareMagnum

8 eigenh. Briefe mit U. Garmisch, Dresden und Berlin, 1912-1916.

FOLIANUS, Ludovicus.MareMagnum

Musica Theorica Ludovici Foliani Mutinensis... in qua plures de Harmonicis Intervallis: non prius tentata: continentur speculationes.

in-folio piccolo (280x200 mm), ff. (2), XLIII, 1 bianco, leg. inizio 800 piena pergamena, con riquadri in oro ai piatti, titolo impresso su quello anteriore, dorso a nervi con fregi e tit. oro. Prima ed unica edizione di uno dei più eleganti libri di musica di ogni epoca, supendamente illustrato da 70 silografie su mezza pag., raffiguranti suonatori di strumenti a tastiera, in eleganti abiti cinquecenteschi, e grafici di teoria musicale. Il Fogliano, fratello dell'organista Giacomo, nato a Modena sul finire del XV sec., fu nel 1513-14 cantore della Cappella Giulia in San Pietro, e poi a Modena al servizio del Cardinale d'Este. Nel suo trattato sono esposti e dimostrati i principi armonici, ripresi poi dallo Zarlino, ''allo scopo di conciliare fra loro tutti gli elementi che verso la fine del XVII secolo e l'inizio del XVIII dovevano concorrere alla formazione del temperamento equabile. Abbandonando le teorie pitagoriche, restaurò il metodo aristotelico di ricerca per lo studio dei fenomeni del suono e dell'udito'' (Encicl. d Musica III, 8). L'opera è di grande rilievo per gli indirizzi opposti a quelli dominanti nella teoria del primo Rinascimento di matrice pitagorica e neoplatonica: Fogliano adotta invece il modello aristotelico e propone l'intonazione sul comma sintonico di Tolomeo. Il teorico modenese era celebre ai tempi suoi anche per la vasta cultura filosofica. Libro di assoluta rarità. Bell'esemplare marginoso (ma due illustrazioni. fuori formato risultano lievem. rifilate in basso come in tutti gli esemplari. Sander: ''les planches des ff. 38 et 39 sont généralement, rognées''); due note di possesso al tit., qualche fioritura nei margini.. RISM B VI, 320. Eitner IV, 20. Fétis III, 285. Gregory-Bartlett I, 91. Wolffheim I, 636. Hirsch I, 176..

Libreria Antiquaria Pregliasco · Torino, IT11 500,00 €

[Bayreuther Festspiele].MareMagnum

Erinnerungsalbum eines Opernliebhabers mit Einträgen von Roald Amundsen, Enrico Caruso, Eleonora Duse, Mischa Elman, Wilhelm Furtwängler, Gerhart Hauptmann, Herbert von Karajan ,Fritz Kreisler, Jan Kubelik, Lilli Lehmann, Arthur Nikisch, Max Reger, Richard Strauss, Erika Wedekind und Felix Weingartner. Wiesbaden und Bayreuth, überwiegend 1908 bis 1912, einige 1932 bis 1978.

Mit 1 Feder- und 1 Bleistiftzeichnung. 94 Bll. mit ca. 130 Eintragungen. Grüner feingenarbter Lederband der Zeit mit etwas Jugendstil-Goldprägung und Goldschnitt. 8vo. Bemerkenswertes und ungemein reichhaltiges Autographenalbum eines Opernliebhabers mit Einträgen von zahlreichen Größen der Opern-, Musik- und Theaterwelt aus dem Umfeld der Wiesbadener Oper und der Bayreuther Festspiele. Darunter: Aino Ackté (Sopranistin, 1876-1944; 32), Bela Alten (Sopranistin, 1877-1962; 55), Roald Amundsen (Polarforscher, 1872-1928; 93), Friedrich Simon Archenhold (Naturwissenschaftler und Astronom, 1861-1939; 6), Hermann Bahr (Schriftsteller, 1863-1934; 44) und Anna Bahr-Mildenburg (Sopranistin, 1872-1947; 44), Michael Balling (Bratschist und Dirigent, 1866-1925; 43), Felix Berber (Violinist, 1871-1930; 64), Carl Braun (Tenor, 1885-1960; 31, mit Notenzeile), Gustav Brecher (Dirigent und Komponist, 1879-1940; 8, mit Notenzeile), Carel Burrian (Tenor, 1870-1924; 65), Fritz Busch (Dirigent, 1890-1951; 80, mit Notenzeile) Mme Charles Cahier (Altistin, 1870-1951; 68), Teresa Carreño (Pianistin, 1853-1917; 84)., Enrico Caruso (Tenor, 1873-1921; 20, mit eh. Selbstportrait in Feder), Houston Stewart Chamberlain (Schriftsteller, 1855-1927; 42), Susanne Dessoir (Sopranistin, 1869-1953; 81) Ilona Durigo (Altistin, 1881-1943), Eleonora Duse (24), Mischa Elman (Violinvirtuose, 1891-1967; 83), Otto Ernst (Schriftsteller, 1862-1926; 26 und 83), Karl Ettlinger (Schriftsteller, 1882-1939; 83), John Forsell (Bariton, 1868-1941; 68) Max Friedlaender (Musikwissenschaftler, 1852-1934; 35), Vally (Valerie)Friedrich-Höttges (Sängerin, 1887-1958; 82) Wilhelm Furtwängler (90), Ludwig Ganghofer (73), Jeannette Grumbacher de Jong (Sopranistin, 1872-nach 1932; 86), Ellen Gulbranson (Sopranistin, 1863-1947; 29), Lilly Hafgren (Sopranistin, 1884-1965; 46), Karl Halir (Violinist und Konzertmeister, 1859-1909; 21), Gerhart Hauptmann (60), Sven Hedin (56), Hugo Heermann (Violinist, 1844-1935; 78), Frieda Hempel (Sopranistin, 1884-1955; 27), Heinrich Hensel (Tenor, 1874-1935; 77) Gudrun Hildebrandt (Schauspielerin, D. n. b.; 11), Josef Kainz (Schauspieler, 1858-1910; 61), Herbert von Karajan (Eintrag von 1972; 57), Tilly Koenen (Mezzosopranistin, 1873-1941; 79), Thomas Koschat (Komponist, 1845-1914; 38, mit Notenzeile), Felix von Kraus (Bassist, 1870-1937; 51 und 82), Fritz Kreisler (71), Jan Kubelik (Violinvirtuose und Komponist, 1880-1940; 70) Léon Laffitte (Tenor, 1875-1938; 81), Arno Landmann (Orgelvirtuose und Komponist, 1887-1966; 83), Martha Leffler-Burckhard (Sopranistin, 1865-1954; 71), Lilli Lehmann (Sopranistin, 1848-1929; 34), Paul Lincke (Operettenkomponist, Kapellmeister, 1866-1946; 12, mit kl. Notenbeispiel "Luna-Walzer"), Flore Luithlen-Kalbeck (Sopranistin, gest. 1948; 86), Ottilie Metzger-Lattermann (Altistin, 1878-1943; 3), Alexander Moissi (Schauspieler, 1879-1935; 85), Karl Muck (Dirigent, 1859-1940; 30, mit Notenzeile), Elly Ney (22, mit Notenzeile), Arthur Nikisch (Dirigent, 1855-1922; 58), Siegfried Ochs (Dirigent und Komponist, 1858-1929; 35), Elisabeth Ohlhoff (Sopranistin, 1884-1954; 82), Fritz von Ostini (Schriftsteller; 1861-1927; 72), Carl Julius Pappenheim (Zeitungsverleger, 1850-1927; 18), Ernst von Possart (Schauspieler und Bühnenleiter, 184-1921; 7 und 64), Margarete Preuße-Matzenauer (Kammersängerin, geb. 1881; 1), Paul Prill (Kapellmeister, 1860-1930; 78), Max Reger (82), Wolfgang Reimann (Organist und Chorleiter, 1887-1971; 51, mit Notenzeile), Anton van Rooy (Baß-Bariton, 1870-1932; 63), Moritz Rosenthal (Pianist, 1862-1946; 69) Kurt Rotter (Musikschriftsteller und Volksliedsammler, 1881-1945; 43), Marcell Salzer (Rezitator und Schauspieler, 1873-1930; 62), Adele Sandrock (59), Vasily Safonov (Pianist und Dirigent, 1852-1918; 69), Max von Schillings (Komponist, 1868-1933; 64, mit Notenzitat) Paul Schmedes (Tenor, 1860-1930; 74), Rolf Schroeder (Pianist und Konzertbegleiter, geb. 1898; 89, mit ganzseitiger Handzeichnung), Elisabeth Schwarzkopf (Sopranistin, 1915-2006; 91), Marcella Sembrich (Koloratursopranistin, 1858-1935; 72), Alfred Sittard (Organist, Komponist, Michelkantor, 1878-1942; 73), Leo Slezak (Tenor, 1873-1946; 61), Walter Soomer (Baß-Baritonist, 1878-1955; 93), Agnes Sorma (Schauspielerin, 1862-1927; 33), Frieda Stahl-Spiess (Pianistin, D. n. e.; 72 und 92) Bernhard Stavenhagen (Pianist, 1862-1914; 49), Fritz Steinbach (Kapellmeister und Komponist, 1855-1916; 87, mit Notenzeile), Richard und Pauline Strauss (21) Joseph Szigeti (Violionist, 1892-1973, 76, mit Notenbeispiel), Henry Thode (Kunsthistoriker, 1857-1920; 40), Siegfried Wagner (Sohn von Richard W., Dirigent und Festspieldirektor in Bayreuth, 1869-1930; 42), Harry Walden (Schauspieler, 1875-1921; 25) Wolfram Waldschmidt (Musikschriftsteller, 1874-1935; 81), Edyth Walker (Sängerin, 1867-1950; 9, mit Notenzeile), Erika Wedekind (Sopranistin, Schwester von Frank W., 1868-1944; 10), Felix Weingartner (Dirigent, Komponist, 1863-1942; 69), Clarence Whitehill (Baß-Bariton, 1871-1932; 37), Ernst Frh. von Wolzogen (Schriftsteller, 1855-1934; 28) und Konrad von Zawilowski (Baritonist, 1880-1952; 82). - Einband etwas berieben, Ecken und Kapitale etwas beschabt.

Inlibris · Wien, AT9 500,00 €

Jolivet, André, French composer (1905-1974).MareMagnum

"Sonate pour piano et violon" (K 57). Autograph musical manuscript signed. Paris, spring 1932.

Folio (ca. 275 x 327 mm). 12, 5, 13-37, 15 pp. Ink on staved paper by Néocopie Musicale with 3 systems of 4 staves, as well as 10 staves respectively. In contemporary red wrappers with handwritten cover-title. One of Jolivet's first major works, which remained unpublished until 1989 (Salabert), described by the French violinist and leading interpreter of Jolivet's works, Devy Elrih (1928-2012), as "embracing a new musical language, and a reinvention of notation for violin and piano, as well as the relation of the two". Elrih goes on to characterize the composer's intention to "express himself free of any references to earlier works in this domain [...] as a 27-year-old man, full of life, lyricism and determination". - The sonata, with a duration of 13 to 15 minutes (as noted by Jolivet at the head of the manuscript), comprises three movements: "Ramassé", "Librement", and "Bousculé". The first movement also appears in the prelude of the 1930 work "Prélude et Grave pour violon et piano", revised in 1932 (K 44). Following the first movement (pp. 1-12), the second movement (pp. 13-17) was crossed out in crayon, page 13 bearing the note: "Refait: voir ondes, no. 1 des 3 poèmes pour ondes", referring to the 1935 composition "Trois Poèmes pour ondes Martenot et piano". The revised version of the second movement (paginated 1-5) is inserted between the first movement and the crossed-out second movement. The third movement comprises pp. 18-37. In the 15-page part for violin adjacent to the piano score, the second movment (pp. 6-7) is also crossed out. The violin part includes fingerings added in a different hand. - Analyzing the piece, the musicologist Lucie Kayas concludes that "the whole sonata produces a feeling of heterogeneity of the consecutive tonal, modal and dodecaphonic keys, as if, in contrast with the manner shown by the polytonal works of Jolivet's early youth, an idea of collage prevailed, now through juxtaposition rather than mere simultaneity". - The first movement was performed at the Société Nationale on 2 December 1933 by Gisèle Kuhn and Raoul Visa, while the complete sonata premiered at the Société Nationale on 9 February 1935 with André Huot (violin) and Olivier Messiaen (piano). - With three stamps of the "Societé des auteurs, compositeurs & éditeurs de musique", dated 26 June 1934 (one rather faded), as well as one stamp of the "Commission d'examen des bulletins". Several corrections and annotations in crayon and pencil. Wrappers with several small flaws; spine rebacked with tape. Kayas, André Jolivet (Paris, 2005), pp. 115-117.

Inlibris · Wien, AT9 500,00 €

Puccini, Giacomo, Italian composer (1858-1924).MareMagnum

Six autograph letters and postcards signed ("Giacomo" and "GPuccini"). Paris, 1906.

8vo and oblong 12mo. Altogether 12 pages on 8 ff. 4 items written in violet ink, Paris, Grand Hôtel de Londres, 23 October to 12 December 1906 where dated. Stamp removed from one postcard with loss of text; two letters apparently incomplete. Five unpublished letters to Sybil Seligman, Puccini’s closest female friend and his most important advisor after Giulio Ricordi, and one to her husband David, reporting his arrival in Paris, the first rehearsal at the Opéra-Comique, and his expectation that the opera will be staged within about a month, which will leave too little time before his departure for New York, expressing his anguish at matters going from bad to worse with the soprano Marguerite Carré, for whom the title role is too demanding, admitting he is constrained from stating his position openly, for fear of ruining the forthcoming production of La Bohème, and that he is leaving it until as late as possible to give his blessing to the production, hoping his fears are not realized. He also discusses the book by Oscar Wilde (A Florentine Tragedy) that Sybil was going to send him, meetings with Maurice Vaucaire about Conchita, and his travel plans to Milan, Torre de Lago and New York, and writes to David Seligman, asking for Sybil to be allowed to attend the production in Paris ("Cara Sybil, angustie sopra angustie! Qui si va di male in peggio, passo indietro esigenze ridicole tutte a causa di Mme Carré la quale a mio parere ha un rôle troppo forte. Temo che non andremo in scena o mai o forse molto tardi. Dico mai perché m’aspetto all’ultimo momento quando si eseguirà l’opera [...] Figuratevi dunque in che stato d’animo io sia! E mia salute tanto male! [...]"). - The letters to Sybil are unpublished. Puccini clearly expresses his frustration with Marguerite Carré, who sang the title role in the French premiere of Madama Butterfly; it was staged at the Opéra-Comique on 28 December 1906 and established the opera in the definitive form in which it is usually performed today. Mme. Carré was the wife of the Director of the theatre, Albert Carré (who staged and produced the opera), but was clearly out of her depth. The letter to David Seligman is published, not quite complete, in V. Seligman, Puccini Among Friends, (1938), p. 3.

Inlibris · Wien, AT9 500,00 €

Rimsky-Korsakov, Nikolai, Russian composer (1844-1908).MareMagnum

Autograph letter signed. [Brussels], 13. III. 1900.

8vo. 2 pp. on bifolium. With autograph envelope. In Russian. Insightful letter to the Russian-French journalist Michel Delines in Nice, concerning rehearsals in Brussels, obligations in St Petersburg, and the possibility of staging his operas at La Monnaie in Brussels under the forthcoming directorate of Maurice Kufferath. Rimsky-Korsakov was rehearsing "daily the programme of the concert" after which he would have to return to St Petersburg, as he was "obliged to attend the rehearsals of two symphony concerts", complaining that, "as a professor at the Conservatory", he is "always busy and obliged to be there". Concerning the staging of his operas in Brussels, Rimsky-Korsakov stresses that it is "premature to talk about it, because the theatre has not yet passed under the directorate of Kufferath". In addition, the librettos would have to be translated, "which depends on the publishers (Belaieff and Bessel)". In closing, Rimsky-Korsakov promises to "see to it that Belaieff" sends Delines "the scores of his operas that he does not know yet" but declines a visit in Paris due to his aforementioned obligations. - Rimsky-Korsakov first met Michel Delines in the summer of 1889 when he conducted two concerts on the occasion of the World Exhibition. Delines, born as Mikhael Osipovich Ashkenazi (1851-1914), had been active in revolutionary circles in Odessa and went into exile in 1878, eventually settling in Paris. There he made a name for himself as a journalist and as a promoter and translator of Russian literature, including works of Tolstoy and Dostoyevsky. In 1888, Delines was introduced to Tchaikovsky and subsequently started to promote Russian music in his new home. He translated the libretto of "Yevgeny Onegin" and facilitated its French premiere in Nice in 1895. As this beautiful letter shows, Delines was also eager to promote Rimsky-Korsakov's music in the francophone world. The composer appreciated Delines' efforts, including a translation of his opera "Sadko". In his autobiography, Rimsky-Korsakov has warm words for the journalist: "We also made the acquaintance of Michel Delines, subsequently translator of Onyegin and of my Sadko. With the exception of Delines, all these acquaintanceships proved most superficial [...] Delines was a kind man, danced attendance upon us, aided us in many things" (My Musical Life, New York 1945, pp. 303f.). - On stationery with lithographed letterhead of the "Hotel Metropole Bruxelles". Traces of folds; minor tears to the vertical fold.

Inlibris · Wien, AT9 500,00 €

Trouflaut, Gilbert, organist and musical scholar (1726-1820).MareMagnum

A volume of four works from his library, all with his autograph annotations and comments, bound with correspondence to him: 2 autograph letters signed by the fellow musical scholar Pierre-Joseph Roussier (1716-1792). Paris and no place, 1764-1770 (prints) and 1773-1776 (autographs).

Large 4to. Comprises I: Ballière [de Laisement, Charles Louis Denis]. Théorie de la musique. Paris, Didot 1764. (2), VIII, 177, (3) pp. With folding letterpress table and 5 folding engraved plates. - II: [Le Dran, Nicolas Louis]. Sur les signes do, di, ca. Pour l'indication des accords en musique. Paris, Alexandre Le Prieur 1765. (2), 32 pp. With engr. half title, folding letterpress table, and 9 engraved plates of music. - III: Roussier, [Pierre-Joseph]. Mémoire sur la musique des anciens [...]. Paris, Lacombe 1770. (4), XXIV, 252 pp. With a folding table, and engraved plate of music, and an engraving in the text. - IV: The same. Pseaume CL. Petit motet. Paris, Gando & Fils, 1766. Title, (3) pp. Engraved notes. Later full calf, bound to style with giltstamped spine and marbled endpapers. Includes 2 autograph letters signed by Roussier: Ecouis, 5 Feb. 1773, 2 pp., and Ecouis, 17 Sept. 1776, 3 pp.; each a 4to bifolium with integral address leaf, addressed to Trouflaut. A unique collection of 18th century literature on musical theory, annotated throughout by the priest Gilbert Trouflaut, canon of Nevers, including unpublished scholarly correspondence. Long the organist of the Nevers Cathedral and also employed as an expert consultant on the instrument, Trouflaut was also a noted naturalist who went botanizing with Jean-Jacques Rousseau and created the botanical garden of Nevers, where he also taught at the École centrale. Eitner (IX, 464; misspelling his name as "Trouffaut") quotes his treatise "Sur les Clavecins en peau de duffle" in the Journal de musique (1773). The works contained are individually: I) "Théorie de la musique" by C. L. Ballière de Laisement (1729-1800), a versatile scholar who knew J. J. Rousseau, d'Alembert, Diderot and Voltaire well and wrote several librettos for comic operas (cf. Eitner). "In his 'Théorie de la musique' (Paris, 1764) he developed a system based on the harmonic series of the hunting-horn; a similar system, evidently unknown to him, had been presented by G. A. Sorge in 1741. The 'Théorie' had some followers (notably Canon Jamard and Abbé Feytou) and won Rousseau's praise, but was harshly criticized by later theorists, in particular J.-B. de La Borde" (New Grove). Trouflaut's handwritten ownership (dated 1772) on title; numerous underlinings and annotations, with a scale in the margin of p. 71. - II) Principal theoretical work of the Paris musician N. L. Le Dran, "which tried to introduce a different designation for the chords in the doctrine of the figured base" (cf. Eitner). It was attacked by La Borde with the same vehemence as Ballière's theory had been. Trouflaut's handwritten ownership (dated 1772) on title; a few corrections by his hand. - III) A principal work of musical theory by the Abbé Roussier (1716-92), "self-instructed in music but inclining toward Rameau" (cf. Eitner). Here, he "also dealt with problems of musical temperament, [rejecting] contemporary systems in favour of a Pythagorean tuning" (New Grove). Presentation copy from the author with Trouflaut's note next to his ownership on the title (1772). Numerous annotations and marginalia, some quite extensive. Roussier's correspondence with Trouflaut is bound before the "Memoire". - IV) At the end, one of Roussier's two known compositions, a motet based on Psalm 150 ("Laudate Dominum in sanctis ejus"). Author's presentation copy with Trouflaut's autograph note on the title. On the verso, almost completely covered with Trouflaut's annotations, the scholar also pasted two lines of printed music from "L'art du facteur d'orgues" by Don Bedos de Celles. - Some waterstaining to margin and gutter throughout, more severely affecting the "Mémoire sur la musique des anciens" near the end and the "Pseaume CL" throughout with some loss to legibility. Although the volume was undoubtedly compiled this by Trouflaut himself, his original binding must have been so badly damaged that it was replaced by another one in the 18th century style sometime during the early 20th century. The front flyleaf contains Trouflaut's very extensive notes on the theoretical opinions of M. Guignet (maître de musique de la cathédrale de Nevers) as well as instructions for the original binding ("1# de relieure pour cet in 4° chez Tiger derrière la fontaine St. Benoit, place Cambray a côte de la porte cochere du college de Cambray"). The bookplate of the book's last owner before rebinding, the bishop of Nevers, Dominique-Augustin Dufêtre (1796-1860), has been glued onto the inside of the new upper cover. I: New Grove II, 94. Eitner I, 320. - II: Eitner VI, 105. - III: New Grove XVI, 277. Eitner VIII, 339. Hirsch I, 528. - IV: New Grove XVI, 277.

Inlibris · Wien, AT9 500,00 €

Wagner, Richard, Komponist (1813-1883).MareMagnum

Eigenh. Brief mit U. Zürich, 9. VIII. 1858.

4 SS. auf Doppelblatt. 4to. Schöner Brief aus Wagners letzten Tagen in Zürich, die unter dem Eindruck des endgültigen Bruchs mit seiner Frau Minna standen. Der Adressat des Briefs ist der befreundete Tenor Josef Tichatschek, der an der Dresdner Oper sehr erfolgreich mit Wagner zusammengearbeitet und auch in der Uraufführung des "Rienzi" 1842 die Titelpartie übernommen hatte: "Du hast mich durch die verständissvolle und innige Weise, mit der du mir deine Theilnahme für meine Lage ausdrückst, sehr gerührt und ergriffen! Du weisst, was mich so niederdrückend einnahm, als du bei mir warst, und verzeihest mir somit auch, dass ich dir nicht immer so heiter und unbefangen zu begegnen vermochte, wie es dein so sehr liebenswürdiger Besuch verdient hätte. Ende dieser Woche reise ich von Zürich fort. In Oberitalien, vermuthlich in Venedig, will ich suchen mir wieder ein Arbeitsstübchen zu bereiten; gebe der Himmel, dass ich bald wieder Ruhe zur Arbeit finde: sie einzig kann mir über mein leidvolles Leben hinweghelfen. Meine Frau gedenkt bis Ende des Monates unser Häuschen zu räumen; einiges wird sie verkaufen, das Beste soll sie verpacken lassen. Mein Wunsch ist, dass sie sich bald mit unsren Sachen in Deutschland wieder einrichtet. Welches mein ferneres Schicksal sein wird, kann ich jetzt nicht bestimmen; nur Eines suche ich: Ruhe, und nur Eines hoffe ich: wiederkehrende Arbeitslust […]". - Weiters über seine Bearbeitung von "Rienzi", die er "nach Deinem Wunsche, hier in Kürze" anfügt, und mit der Bitte, ihm doch "den Erfolg Deiner so schönen, ächt freundschaftlichen wie künstlerischen Bemühungen" zu melden. - Wagner verließ in der Woche darauf Zürich und reiste nach Venedig, um sich dort niederzulassen und weiter am "Tristan" zu arbeiten; Minna zog Anfang September zu ihren Verwandten nach Dresden. Erst drei Jahre später sollten sie einander in Paris wiedersehen, wo im März des Jahres 1861 der "Tannhäuser-Skandal" die musikalische Welt durchrüttelte; im Jahr darauf kam es im Februar 1862 ein letztes Mal zu einer persönlichen Begegnung, als Wagner in Wiesbaden-Biebrich an seinen "Meistersingern" arbeitete. - An wenigen Stellen unbedeutend fleckig, sonst tadellos erhalten. Abgedruckt in: Klaus Burmeister und Johannes Forner (Hg.), Richard Wagner. Sämtliche Briefe. Bd. IX (Leipzig, 2000), Nr. 237. Dort auch die dem Brief ursprünglich beigelegene, mit "17. Juli 1858" datierte Anlage, in der die Kürzungen vermerkt sind.

Inlibris · Wien, AT9 500,00 €

[Stendhal (Henri Beyle)]MareMagnum

Lettres écrites de Vienne en Autriche, sur le célèbre compositeur Jh. Haydin, suivies d’une vie de Mozart et de considérations sur Métastase et l’état présent de la musique en France et en Italie. Par Louis-Alexandre-César Bombet

Edizione originale. Esemplare proveniente dalla biblioteca di Giannalisa Feltrinelli, come da ex libris al contropiatto. Molto fresco e pulito, a grandi margini, in pregevole legatura moderna di pregio. Raro primo libro di Henri Beyle, pubblicato con lo pseudonimo «L.-A.-C. Bombet» (‘Stendhal’ sarebbe nato tre anni più tardi) nell’anno del tracollo di Napoleone. Beyle aveva puntato molto sulla carriera in seno all’impero, e rimaneva con un mucchio di debiti: cominciò dunque a pubblicare anche perché spinto dal bisogno. All’occhiello compare solo «Lettres sur le célèbre compositeur Haydn», che infatti occupano le prime 287 pagine e costituiscono la parte di gran lunga più importante del libro. Peccato, tuttavia, che esse siano state letteralmente rubate dalle lettere a Haydn di Giuseppe Carpani, pubblicate a Milano due anni prima, nel 1812: Stendhal opera una vera e propria traduzione delle «Haydine» non accreditata come tale, spesso libera ma assolutamente aderente, non solo agli episodi quanto ai giudizi musicali espressi dal musicologo italiano, preoccupandosi inoltre di retrodatare leggermente le lettere allo scopo di poter sostenere l’insostenibile, ovvero che il plagio fosse al contrario. «Bombet had not only plagiarized and shamelessly pillaged his - Carpani’s - book, but also impersonated its author» (Hermans, p. 46). -- «Among the ‘exquisite judgments’ of the great composers on which Stendhal prided himself, or the ‘appreciations of music in general’ which seemed to [a number of ‘Stendhalien’ critics] ‘to be stamped withe the recurrent Stendhal ideas,’ an attentive reading readily convinces one that the majority, and those the most important […] belong to Carpani. And consequently […] we are forced to conclude that in matters of musical esthetics, he modeled his judgement on that of Carpani, of whom he became not only the plagiarist but also the disciple» (Brenet, p. 438 tradotto da Gotwals, p. 448 nota). -- Seppure anche il resto dell’opera risulti un centone di fonti non dichiarate ma ormai da tempo scoperte dagli studiosi (persino la «vie de Mozart», che è pur indicata come tradotta da un autore tedesco — ma le vere fonti sono altre), e seppure l’appropriazione faccia buona parte dell’abituale bagaglio compositivo di Stendhal, in nessun altro caso tuttavia si verifica una situazione così imbarazzante come la traduzione quasi integrale di un libro impegnativo e di tale personalità, quale quello di Carpani. Il fatto è che Beyle «Come leggere dunque il libro di Stendhal, una volta ricordata questa storia?» — si chiede giustamente Arbo nell’introduzione all’edizione italiana del 1993. Parafrasando la tesi espressa da Claudon nel 2011, la risposta sta tutta nello stile, quello di Stendhal, che riscrive l’italiano rigorosamente neoclassico di Carpani per appropriarsi di una tema che allora stava al centro della sua vita (la Vienna vissuta al seguito di Napoleone) e della cultura europea. -- «As open letters flew between Carpani and Bombet, one editorial note in ‘Le Constitutionnel’ [… suggested] that whichever was the original it surely deserved to have been translated into the other language» (Hermans, p. 47). Carteret, Le Tresor, p. 343; Brenet, Stendhal, Carpani et la Vie de Haydn (Bullettin français de la S.I.M. 5, mai 1909, 430-8); Gotwals, The Earliest Biographies of Haydn (Musical Quarterly 45:4, 1959, 439-459); Rolland & Muller, Stendhal Œuvres complètes 41 (Genève 1970); Arbo, intr. all’edizione Pordenone 1993; Claudon, Beyle et Haydn (Recherches & Travaux 79, 2011, 99-112); Hermans, Translation in Systems (New York 2014 [Manchester 1999]), pp. 46-7

Libreria Antiquaria Pontremoli srl · MILANO, IT8 500,00 €

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