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Charles-Camille Salnt-Saens (1835 - 1921) French late-Romantic composer, organist, conductor, and pianist:Biblio.com

Hatton, John Liptrot (1809-1886). English composer, conductor, pianist and singerBiblio.com

AUTOGRAPH LETTER SIGNED by the English Composer Conductor & Pianist JOHN LIPTROT HATTON mentioning his as yet unnamed composition "Rose or Love's Ransom".

186496471August 1st 1864. 1864. Good. - A two-and-a-half page letter consisting of over 80 words penned on three sides of 8 inch high by 5-1/8 inch wide "The Opera Company" stationery. Hatton has crossed out the letterhead and penned his home address below. In his letter addressed to James Couper sp Hatton seeks to correct the assumption made in an article about the title of his forthcoming opera: "My dear Sir" he writes "There is an article in Saturday's Orchestra signed 'J.C." -- J.C. it is yours -- what put it in yr head that my opera is called 'Blue Beard' The story of my work is as unlike the career of that courageous individual as it well can be." He goes on to write that he's not yet decided on a name for his work "but I think it is likely to be 'Rose de mai-" and requests that J.C. correct the mistake. Signed "J.L. Hatton". The recipient has penciled "yes JC" in the left margin of the first page affirming that he was indeed the author of the article. Folded several times for mailing with a couple of short tears along the edges of the folds. The bottom third of the integral second leaf has been clipped without loss to the text. Apparently once mounted into an album with paper remnants along the top and inner edges of the verso of the second leaf. Good. The English composer conductor pianist and singer John Liptrot Hatton 1809-1886 was a pupil of Michael Maybrick and also studied in the academy of Mr. Molyneux. An organist by the age of 16 he acted on the Liverpool stage and later performed in London in Macready's Drury Lane production of "Othello". A man of many talents he was making a name for himself as a musician and composer at the same time directing the choruses in the English Opera series at the Theatre Royal Drury Lane and composing his own works. His fist operetta "Queen of the Thames or The Anglers" was followed by a more ambitious work "Pascal Bruno". He composed numerous songs in the style of the German classics and performed as a pianist. Hatton toured in the U.S. from 1848 to 1850 performing several public and private concerts in New York City which included some of his own works. As a composer Hatton set to music various songs to poems by Robert Herrick perhaps the most famous of which was "To Anthea". Engaged as Director of Music at the Princess's Theatre in London he composed music for "Macbeth" "Sardanapalus King of Assyria" "Henry VIII" "Faust and Marguerite" and several of Shakespeare's plays. In 1864 his third opera "Rose or Love's Ransom" likely the work to which he refers in his letter was performed at the Royal English Opera Covent Garden. August 1st, 1864. unknown

Blue Mountain Books & Manuscripts, Ltd. · États-Unis125,00 $US≈ 105,76 €

Serebrier, Jose (b 1938). Uruguayan conductor and composer, one of the most recorded conductors of his generationBiblio.com

AUTOGRAPH NEW YEAR'S GREETING TO CITY CENTER PRODUCER JEAN DALRYMPLE ON AN INDEX CARD SIGNED BY URUGUAYAN CONDUCTOR AND COMPOSER JOSE SEREBRIER WITH A BAR OF MUSIC PENNED ABOVE HIS NAME.

197595467December 31 1975. 1975. Fine. - New Year's greeting penned on the lined side of a 3 inch high by 5 inch wide index card. Signer "Jose" above his typed surname and with a bar of music penned above the signature. Fine The message dated "Dec. 31 1975" at top right reads: "Dear Jean: / Bon Apetit / and Happy New Year".Jose Serebrier b. 1938 is an Uruguayan conductor and composer. He first conducted at the age of eleven with his school orchestra which toured the country. He graduated from the Municipal School of Music in Montevideo and subsequently won the National Orchestra's composition contest with his "Legend of Faust". He studied conducting with Eleazar de Carvalho and Aaron Copland at Tanglewood and with Pierre Monteux. His first symphony written at age 17 was conducted by Leopold Stokowski. Thereafter he held many conducting posts and toured widely with a number of orchestras. He was one of the most frequently recorded conductors of his generation.Jean Dalrymple 1902-1998 was the dynamic producer and director of theater and light-opera at Manhattan's City Center. Dalrymple began her career in Vaudeville appearing with James Cagney and Cary Grant in the early 1930s. She was a founding member of the American Theatre Wing the theatre service organization. She worked over the years as a personal manager for the likes of Leopold Stokowski Mary Martin Jose Iturbi Andre Kostalanetz Nathan Milstein and Lily Pons. She began her work at City Center with its founding in 1943 serving as a board member producer and publicist. Her productions there from the 1940s through the 1960s were a revitalizing influence on the whole New York theatre scene. In 1951 Jean Dalrymple married Major-General Philip deWitt Ginder commander of the Thunderbirds in Korea. She was a friend to Presidents and entertainment personalities throughout the world. December 31, 1975. unknown

Blue Mountain Books & Manuscripts, Ltd. · États-Unis50,00 $US≈ 42,31 €

SAINT-SAENS, Camille (1835-1921, French composer, organist and conductor)Biblio.com

An autograph letter in French signed by Camille Saint-Saëns to Edmond Hippeau editor of 'La Renaissance musicale: Revue hebdomadaire de critique d'esthétique et d'histoire' severing his connection with the publication

76103Very Good. Quarto one and a half pages on one leaf 7 November 1882. Light horizontal and vertical creases where folded for posting; small piece of clear tape to a short split at one end of the crease across the middle on the blank bottom half of the second page well clear of any text; an appealing item in excellent condition. The catalyst for the discord appears to have been Hippeau's biting lampoon of Gounod in the issue of 29 October 1882. Saint-Saëns had hitherto been listed prominently on the covers as an official collaborator of the magazine; his name is absent from the issue of 13 November. His relationship with Hippeau however amicable was already strained. 'The clearly pro-Wagner inclination of the editor quickly created a violent polemic between Hippeau and Saint-Saëns founder of the Société nationale de musique. Saint-Saëns harshly criticized Hippeau's Wagnerian opinions considering them a danger for the future of French music' Doris Pyee: 'La Renaissance musicale 1881-1883' Baltimore 2007. The lengthy letter pulls no punches. After some initial expressions of friendship Saint-Saëns leaves us in no doubt about the strength of his attitude and sentiments. A broad translation of the second part follows: 'Standing back to avoid being hurt is not in my character. I must be forthright and no finessing of details can save my name at the head of a journal like a banner from being associated with it in the eyes of the public. The stance of the journal not being in accordance with my ideas I cannot allow my name to remain attached to it. My decision I have told you and I repeat it again is irrevocable. I do not know what obligations you are under and I am not anxious to know. I only regret in every respect that you have failed to understand the advantage you might have gained in publishing a paper that is truly French as well as truly modern. Now it is too late; you have equivocated too long and if against all probability you wished to take this path it could be only with a new journal and a new organisation. I do not know if you know me well enough to understand what it has cost me to act in this way. I hope you do however and will not cease to count on your friendship and assure you that you may always count on mine in everything that does not do damage to my artistic conscience. Affectionately yours C. Saint-Saëns'. unknown

Michael Treloar Antiquarian Booksellers · Australie2 200,00 $AU≈ 1 450,02 €