French composer and music critic (1823-1909). 6 autograph letters signed, 2 autograph visiting cards signed, and 1 autograph lettercard signed. Paris, Le Lavandou, Marseille, and n. p. Various formats. Altogether 14½ pp. With one autograph envelope.
2.500 €
(45085/BN31157)
Interesting correspondence with the journalist and music critic Charles Vincens in Marseille, comprising valuable information on Reyer's chef-d'œuvre Sigurd well ahead of its premiere at the Brussels Opera in 1884. In the postscript of the earliest dated letter from 18 November 1876, that is otherwise of personal nature, Reyer mentions that the overture of Sigurd is orchestrated with "4 flutes (3 at least) and 2 harps" and that it will only be published after the premiere, also announcing an upcoming performance of extracts from Sigurd by Gabrielle Krauss with the orchestra of Jules Pasdeloup and a performance of the overture: "Quant à l'ouverture de Sigurd pour laquelle il faut 4 flûtes (3 au moins) et 2 harpes - elle n'est pas gravée et ne le sera pas avant la représentation de l'ouvrage.
- Mad. Krauss chant de Dimanche en huit chez Pasdeloup le fragment qu'elle a chanté au Conservatoire l'hiver dernier - l'ouverture sera jouée cette année par la Société des Concerts. - Already on 19 November 1876, Reyer wrote Vincens again to thank him and others for congratulating him, certainly on being elected to the Académie des Beaux-Arts in succession of Félicien David on 11 November 1876. - In a letter from La Lavandou dated only "jeudi", Reyer informs Vincens that he has received his "interesting article on Berlioz" and informs Vincens that he had tried to visit him in his office in Marseille that was unfortunately closed. - In a letter dated "jeudi", written from Marseille, Reyer proudly confirms to Vincens that a dedication copy of the "overture of Sigurd" for Jules Pasdeloup has been acquired by Jean-Baptiste Weckerlin and is now in the library of the Paris Conservatory: "C'est bien de l'ouverture de Sigurd qu'il s'agit. Je l'ai écrit à l'instigation de Pasdeloup et lui en ai offert le manuscrit avec une belle dédicace. Le manuscrit acheté par Weckerlin est aujourd'hui (honneur suprême !) dans la bibliothèque du Conservatoire. - The other cards and letters are to thank Vincens or schedule meetings. - Occasional stains and traces of former mounting. Well preserved..
composer and music critic (1823-1909). 7 autograph letters signed. Bruxelles, [Paris], [Baden], place illegible, and no place or date. 12mo and (oblong) 8vo. Together ca. 16½ pp. on 5 bifolia and 1 single leaf. Enclosure (see below).
1.500 €
(82782/BN54102)
A collection of letters written during preparations for performances of Reyer's operas "Sigurd" and "Salammbô", mirroring the European stages' vogue for orientalism in the 1860s. - Three letters to the theatre director Eugène Ritt. Through a letter by the composer Louis-Albert Bourgault-Ducoudray, Ritt should have been informed by the librettist Blau that Reyer could no more do to postpone Mily Balakirev's "Tamara". Rehearsals for "Salammbô" should start as soon as possible, and Reyer sends greetings to the director Pedro Gailhard: "Vous avez dû comprendre en lisant le lettre de M.
Bourgault-Ducoudray que j'ai prié Blau de vous communique, qu'il ne m'a plus guère possible de faire la moindre dèmarche officielle pour tâcher d'obtenir l'ajournement de Tamara [...]" (Friday). Reyer misses his star Rose-Lucille Meuniez, known as "Rose Caron". As regards a reprise of "Salammbô", he is satisfied with the conducting of the orchestra as well as with the musicians; he asks Ritt to let Gailhard know that a duo's solo performances are working out perfectly. Reyer announces his arrival in Paris for the next performance of "Sigurd": "Tout est bien qui finit bien [...] Mad. Carna m'a joliment manqué, à moi et à beaucoup d'autre [...] La reprise de Salammbô avait pourtant attiré beaucoup de monde [...] orchestre très-bien condit et artistes très delicieux de ne pas faire regretter leurs prédécesseurs [...]" (Bruxelles, Monday). Further about postponing "Tamara", which would permit staging "Salammbô" earlier (Saturday). - To Nérée Desarbres, Secretary of the administration of the Paris Opera, requesting two box tickets for "Guillaume Tell" for the Dutch senator M. Durand and his daughter, who wish to see the singer M.lle Thompson as Mathilde: "Mr Durand, Sénateur hollandais et sa fille tiennent beaucoup à voir Mlle Thompson dans Guillaume Tell [...]" (Tuesday, before 1863). - To minister Durand with a note that tickets are reserved for "Fidelio". - To a minister requesting an audience of five minutes ("24 rue Tour d'Auvergne", no date). - To his friend, the poet and librettist Joseph Méry, about the singer Caroline Lefebvre, who performs in "Maître Wolfram" (with a libretto by Méry), and who had made a critical statement about Reyer's expression in his letter to her, as he had mentioned her "pretty mouth". Reyer further invites Mèry to Baden, which is ravishing in spring, and mentions a Bavarian girl: "Elle me répondit de lui avoir écrit d'une manière pas convenable parce que je lui dis ceci dans une lettre que je lui ai adressée à propos de Maître Wolfram: ce j'aurais mieux aimé apprendre la visite par votre jolie bouche que par les plume de M. Méril. Voilà pourquoi je présume que votre visite lui fera infiniment plus agréable [...]" (Saturday, 21 May [before 1866]). - Enclosed is a note to receive the costumer E. Lacoste and communicate to him certain detailed instructions concerning the Act II of "Salammbô", especially regarding electric lighting, avoiding of any reflections on the costumes and jewellery so as to create a "milky" atmosphere; also with details for the costumes of the title character. - Partly with slight ink offsetting. One letter with blindstamped monogram..
French composer and music critic (1823-1909). 4 autograph letters signed. Le Lavandou and n. p. o. d. Various formats. Together 4 pp.
350 €
(90150/BN59601)
Interesting collection of letters, including one to Théophile Gaultier and one to the theatre director Charles Réty. - The letter to Réty can be dated with some certainty to 1860-62, as Reyer addresses him in his function as director of the Théâtre-Lyrique, joining an unidentified Mademoiselle, probably an opera singer, in recommending a tenor named Courtet for employment at the theatre: "Mlle [...] doit aller vous voir pour vous recommander un jeune ténor nommé Mr Courtet qui acceptera dans votre théâtre l'emploi le plus modeste et le moins rétribué.
C'est assez vous dire la position de cet artiste. Il ne manque pas absolument de talent et je joins volontiers ma recommandation à celle de notre charmante amie [...]". - A letter to an unnamed friend can be dated to 1883 with respect to the premiere of Reyer's most successful opera "Sigurd" on 7 January 1884 at La Monnaie in Brussels. Reyer asks his friend to collect the scores for "Sigurd" from Auguste Vaucorbeil, the director of the Paris Opera, as he has secured its premiere in Brussels for the coming winter: "Faites-moi le plaisir d'aller immédiatement chez Vaucorbeil lui reprendre le poème de Sigurd. L'ouvrage sera joué à Bruxelles l'hiver prochain - voir le Journal des Débats de demain". - The letter to his friend and collaborator Théophile Gaultier is to inform him that an illness of his eyes forced him to stay home, also congratulating Gaultier and Ernestine, possibly on the birth of a grandchild. - The final letter in the collection is addressed to a M. Ferrier from La Lavandou, possibly the librettist Paul Ferrier. Apparently, Ferrier had failed to secure sufficient votes in an unspecified election, possibly to the Académie des beaux-arts, and while Reyner would have given him his vote, he is already absent from Paris, as he spends his winters in Southern France. Thus, he can only promise to be present for the next election: "Je passe l'hiver dans le midi. Ma voix vous a manqué samedi, mais j'espère qu'elle ne vous manquera pas à la prochaine élection. Peut-être n'en aurez-vous pas besoin, mais je vous la donnerai tout de même. J'ai une grande admiration pour votre talent et une affectueuse sympathie pour votre personne". - Occasional minor stains and foxing..