Frédéric Chopin
Komponist und Pianist, 1810-1849
Chopin gilt bis heute als einer der einflussreichsten und populärsten Pianisten und Komponisten von Klaviermusik. Als Sohn eines Franzosen und einer Polin in Warschau aufgewachsen, lebte er nach dem gescheiterten Novemberaufstand ab 1831 im Paris der Julimonarchie und der Zweiten Französischen Republik. Neben Ignacy Jan Paderewski und Krzysztof Penderecki ist er die bedeutendste Persönlichkeit in der Musikgeschichte Polens. Chopin übernahm – und überhöhte – die brillante Virtuosenliteratur. Der Einfluss von Ignaz Moscheles, Friedrich Kalkbrenner, Carl Maria von Weber, Johann Nepomuk Hummel und (der ebenfalls von Elsner ausgebildeten) Maria Szymanowska ist nicht zu unterschätzen.
Quelle: Wikipedia
Polish composer (1810-1849). Autograph letter signed „Ch“. „chateau de Nohant pres La Chatre. 8vo. 4 pp. With autograph envelope, with red seal, creased at folds.
150.000 €
(74859)
To his beloved friend the cellist Auguste Franchomme, about his music, especially the Polonaise Fantasie Op.61. Writing from Nohant to Franchomme who was acting for him in Paris, he expresses his annoyance that his publisher [Brandus] is away and that there is no one to take possession of his manuscripts, he requests that the name of Madame Veyret be added as dedicatee of the Polonaise-Fantaisie Op.61, he discusses financial matters relating to the publication of his music, relays the best wishes of George Sand and asks to be remembered to Jane Stirling, his last love, ...Aussi aye la bonté de ne pas leur confier mes manuscrits sans toucher l'argent convenu, et envoye m'en aussitôt un billet de cinq cents fr.
dans ta lettre...Garde-moi tes millions pour autre fois...Ajoute...au titre de la Polonaise "dédiée à Madame A. Veyret"... This autograph letter has only been offered for sale at Sotheby’s in 2011, lot 230. It has come by descent through the Franchomme family. This letter is inaccurately published in Sydow (no.622), who silently corrects Chopin's grammatical mistakes and changes certain words..
polnischer Komponist, Pianist und Klavierpädagoge (1810-1849). Eigenh. musikalisches Albumblatt mit Widmung und Unterschrift. Paris. 2 pp. Querformat-gr.-8vo. 6-zeilig. Mit violettem Schmuckrähmchen. Am rechten Rand schwach gebräunt. Verso am rechten Rand Montagespuren.
185.000 €
(78917)
„Wiosna, paroles de Witwicki“. – Vollständige Klavierpartitur des Liedes op. posth. 74 Nr. 2 in g-Moll, am Kopf bezeichnet „All[egre]tto“. Am Schluss die eigenhändige Widmung „Madame Kiéné / hommage respectueux / de son devoué / Chopin“. Links davon die e. Ortsangabe „Paris“. Chopin schuf mit dieser Komposition – ursprünglich ein „Andantino“ für eine Singstimme mit Klavierbegleitung nach einem Text von Stefan Witwicki, komponiert wohl im Frühjahr 1838 – eine typische Dumka, ein melancholisches Gegenstück zum polnischen idyllischen Lied.
Die Oszillation zwischen g-Moll und B-Dur führt zu einer nostalgischen „senza-fine“-Stimmung. Die Widmungsträgerin des Albumblattes ist wohl die Pianistin Marie Catherine Kiéné geb. Leyer, die Mutter der jung verstorbenen Pianistin und Komponistin Anne Marie Bigot de Morogues, Klavierlehrerin von Fanny Hensel und Felix Mendelssohn Bartholdy. Witwicki, der die Texte zu den meisten erhaltenen Liedern Chopins schrieb, hatte diesen gedrängt, eine polnische Oper zu komponieren. Chopin, der gerne im privaten Kreis über polnische Lieder improvisierte, nahm seine Liedkompositionen weder in seine Konzertprogramme auf noch ließ er sie publizieren; manche wurden nur skizziert und sollten dem letzten Willen Chopins gemäß verbrannt werden. Heute sind lediglich 19 Lieder bekannt. Die Erstausgabe des Liedes erschien erst 1856 bei Aleksander Gins in Warschau; in dieser Ausgabe ist der Singstimme der Text eines Gedichtes von Stanislaw Jachowicz unterlegt. Kobylanska, Chopin Werkverzeichnis (1971) S. 188, Autograph g..
Polish composer (1810-1849). Contract signed twice ("FChopin") and countersigned by Camille Pleyel. London. 20.07.1837. 1 page. Folio (237 x 381 mm).
35.000 €
(80885/BN52764)
Partly printed contract in English with Christian Rudolph Wessel & Co, importers and publishers of foreign music in London, for the sale of the present and future copyright and rights in Great Britain, of opus 25, "Twelve Etudes or Studies", dedicated to [the name is left blank; it will be the Countess d'Agoult] in two volumes to be published simultaneously in France and Germany on the 14th October 1837, for the sum of 16 livres sterling. Piano maker Camille Pleyel, who had accompanied Chopin to London, also signed as a witness. - Blindstamped in lower margin; slight traces of moisture and small tear to centerfold.
Polish composer (1810-1849). Autograph musical manuscript of two short works for piano: "All[egre]tto" (24 bars, in contrasting A major and A minor sections), and "Mazur" (14 bars in D minor), signed ("Ch") twice at the end of each piece. No place. Oblong 4to (287 x 228 mm). 1 page, meticulously notated in 38 bars on five systems of two staves. Annotated in a 19th-century hand "copié par Chopin", loosely matted. Stored in a custom-made red morocco portfolio with cut signatures of Arthur Rubinstein (.
240.000 €
(82507/BN53632)
Two short piano works inspired by Polish folk music. Kobylanska considers that whilst both works are signed by Chopin, they are too unsophisticated to be his own compositions, and are perhaps transcriptions of Polish folk tunes: "Beide Stücke sind zwar mit Ch signiert, in ihrer ganzen Art jedoch zu primitiv, als daß man sie für eigene Kompositionen Chopins halten könnte. Wir ordnen sie in dieses Kapitel ein, da es sich vielleicht um Übertragungen von polnischen Volksweisen handeln mag." If so, it is fascinating not only to see Chopin in the posture of an ethnomusicologist some sixty or more years before the pioneering research of Bartók and Kodály, but also that the resulting works, notated with his characteristic exquisite neatness, should be granted the imprimatur of his discreet, repeated signature.
- Provenance: 1) collection of the actor, director and playwright Sacha Guitry (1885-1957); his sale, Drouot, Paris, 21 November 1974 (lot 15); 2) collection of the Canadian chemist and physician Frederick Lewis Maitland Pattison (1923-2010), with his bookplate on the portfolio's inside front cover..
Polish composer (1810-1849). Autograph letter signed ("Chopin"). N. p. o. d. 8vo. 3 lines.
40.000 €
(92794/BN62348)
Rare and beautiful letter thanking a close friend or relative and announcing when he will pick him up: "Merci, merci, cher. J'irai te prendre à 9 ¾ précises. À toi de cœur". - On blindstamped stationery. Traces of folds.
verkauft
Exceedingly rare handwritten notes in French, unsigned
Autograph ist nicht mehr verfügbar
Chopin pens seven lines, seemingly concerning a concert program. In part: “4. Sonatas Weber…Beethoven Sonata…primeur Concertos…Field 2nd Concerto…3rd Concerto.” An identification notation in another hand is penned below. Intersecting folds with a partial separation to a horizontal fold (passing through the last line of Chopin’s writing), heavy overall creases, and a few edge tears, otherwise very good condition. Accompanied by an export certificate from the French Ministry of Culture. This brief note was presumably prepared for a concert program or perhaps a pupil, and lists works by composers greatly admired by Chopin—Carl Maria von Weber, Ludwig van Beethoven, and John Field. Chopin is rare in any format, and this is a magnificent piece with crisp writing and extraordinary musical associations.
Document signed twice ("F. F. Chopin").
Autograph ist nicht mehr verfügbar
Rare document ("Memorandum") by which Chopin sold to the London-based music publishers C. R. Wessel & Co. the British (but not French or German) copyright for two piano works. A printed form filled in by hand, it reads (in part): "I have this day sold to Messrs. Christian Rudolph Wessel & Co. Importers and Publishers of Foreign Music [...] at the price or sum of Ten Pounds, - Shillings, sterling, all my Copyright and Interest, present and future, vested and contingent or otherwise, for the Kingdom of Great Britain [...] of and in the following Compositions (in M.S.) to be published conjointly in France & Germany, viz: Op. 28. Impromptu pour le Piano Solo dedié à Madame la Comtesse d’Agoult - to appear the 14th October 1837; Op. 30, Quatre Mazurkas being his 5th Set, dedicated to La Princesse de Wurtemberg [...]". Signed twice by Chopin (once for the assignment of copyright, once for the receipt of the funds), and counter-signed as witness by Chopin's friend, the the piano-maker and publisher Camille Pleyel. - The latter-named work, dedicated to Princess Maria Anna Czartoryska of Württemberg (Maria Wirtemberska), is a set of four pieces based on the traditional Polish Mazurka dance. Confusingly, "Opus 28" is in fact a set of 24 Preludes commissioned by Pleyel, and dedicated to the German pianist and composer Joseph Christoph Kessler. They were not published until 1839. Chopin's first published "Impromptu" (No. 1, in A flat major), on the other hand, composed in 1837 and published in December of that year, was Op. 29, which he dedicated to his pupil Lady Caroline de Lobau, while his Opus 25, "Douze Études", was indeed published in October 1837 with a dedication to Marie d'Agoult, a friend of Chopin's and the mistress of Franz Liszt. Interestingly, it appears that in July of 1837 Chopin was as yet undecided as to the title and dedicatee of what was to become opus 25 or 29; it also seems likely that the English publishers misread either figure in Chopin's manuscript for "28". - Founded by the Bremen-born Christian Rudolf Wessel (1797-1885), Wessel & Co. was active in publishing from 1824 onwards. Wessel began to publish the works of Chopin in 1833, later gaining exclusive British publishing rights for him. In 1860, Wessel retired and transferred his business to Edwin Ashdown and Henry John Parry, who had been his managers. This document originates from the collection of the Ashdown family. - A small repaired area of paper loss to right edge and chips to two corner tips, otherwise in fine condition.
Autograph letter signed „Chip“.
Autograph ist nicht mehr verfügbar
Unpublished letter written on his trip through to England, after he held his concert in Manchester on August 28 to his friend Thomas Albrecht, consul of Saxony in Paris and wine merchant (6 place Vendome), and dedicatee of the Scherzo in B minor op. 20. Chopin was the godfather of this daughter Thérèse. „[…] Dans cet endroit enfumé il y a une salle de musique la plus charmante possible. La ville y a donné un splendide concert. On a engagé ALBONI, CORBARI – on a eu l’heureuse idée de m’engager aussi. – Pour avoir joué 2 fois on m’a envoyé 60 £ (1500 fr – je crois)“, that he sent him in the form of a draft to London, through Mr. Schwabe, with whom he lived in the country near Manchester. He asks him to „faire payer avec cela le reste de votre note Place Vendôme – et 300 fr de mon loyer du Square [his home at Square d’Orléans] ainsi que les contributions dont je ne sais le montant. S’il n’y a pas assez pour tout cela – ayez la bonté de payer le percepteur et mon propriétaire avant vous“; he gives his address in Edinburgh to Dr. Lishinski „Donnez moi je vous prie de vos bonnes nouvelles – que vous êtes tous heureux et bien portant à Ville d’Avray, que vous avez meilleur temps qu’ici. – Malgré cela je quitte Manchester aujourd’hui pour aller en Écosse passer quelques semaines encore loin de Londres – et puis je ne sais ce que je ferai. – J’étoufferai, et je tousserai c’est sûr, et je vous aimerai tout autant“. He is erasing 5 lines and notes: „Je n’ai plus le temps de faire une autre lettre“, and he adds: „J’embrasse vos chers enfants. Dieu vous donne à tous deux le plus de bonheur possible. […] Si vous aviez moins de brouillons ou Londres moins de brouillards !“ He will write to „bon Kwiat“ [his friend the painter Teofil Kwiatkowski].
Autograph letter draft signed twice ("Ch").
Autograph ist nicht mehr verfügbar
Highly interesting and charming draft for a letter to the German pianist Anna Caroline Oury, concerning the dedication of his Waltz in F minor, op. posth. 70, no. 2, to her. Oury had apparently contacted Chopin on behalf of the English music publisher Beale, inquiring about new compositions. While Chopin could not give her a positive answer in that respect, as Christian Rudolph Wessel & Co held the exclusive publishing rights to his works in Britain since 1836, he asked her to keep for herself "the small waltz" that he would include with the letter. A great admirer of Oury, Chopin only expresses the wish to hear her perform the piece at one of her "elegant reunions" during which she interpreted "the masters of us all, the great composers like Mozart, Beethoven and Hummel". In closing, he is enthusiastic about Oury's performance of an adagio by Hummel several years earlier in Paris that "still rings" in his ears and to him remains unsurpassed: "The Hummel adagio that I heard you play a few years ago in Paris at Mr Érard's still rings in my ears, and I assure you that there is no piano, despite the great concerts here, that can make me forget the pleasure of having heard you this evening". - Chopin had first heard the young Anna Caroline Oury (1806-80) perform in Warsaw in 1829 and was immediately delighted by her. Between 1831 and 1839 she toured Europe with her repertoire of Beethoven, Henri Herz, Hummel, Mendelssohn Bartholdy, and Ignaz Moschels, among others. In 1839 she settled in London with her husband, the violinist Antonio James Oury, to whom Chopin sends greetings in this letter. Together with several other works not intended for publication, the Waltz in F minor was published posthumously in 1855 by Chopin's close friend and collaborator Julian Fontana, with the permission of Chopin's family but against the composer's wish, stated in the draft at hand, that it might not see "the light of day". - Several words stricken out and other corrections. The half page on the verso is a slightly different version of the second half of the letter. Traces of folds and minimal browning.