Franz Liszt

Austro-Hungarian composer and pianist, 1811-1886

"Liszt gained renown in Europe during the early nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age, and in the 1840s he was considered to be the greatest pianist of all time. Liszt was also a well-known and influential composer, piano teacher and conductor. He was a benefactor to other composers, including Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin. As a composer, Liszt was one of the most prominent representatives of the ""New German School"". He left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends."

Source: Wikipedia

Liszt, Franz

Austro-Hungarian composer (1811-1886). Autograph Letter Signed. Pest. 8vo. 3 pages.
$ 9,167 / 8.500 € (47410)

To „Madame Princess“ in French, thanking her for constant kindnesses, asking forgiveness for having failed to give her letter of recommendation to Mr. De Sournerand, and asking whether she would accept the enclosed book by Mr. Nohl [not present], who has written favorable reviews of Debussy's works in the Allgemeine Zeitung. "Your very gracious lines did not reach me until the moment of my departure from Vienna. […] [L]ast Tuesday has added yet another date to those [kindnesses] for which I am very sincerely grateful.

"Will you forgive me an unintentional fault of omission […] ? I only had a couple of hours to spend at the exhibition. Mr. De Sournerand was not there after all, and I had to leave for Pest without giving him your letter of recommendation. „[…] I […] send you […] the votive offering of Mr. Nohl, to whom I owe thanks for the kind opinion he recently gave in the Allgemeine Zeitung of my Messe de Grau and my Oratorio du Christ. Nohl will be coming here to listen to this work again at the festival on 9 November, and I want to be as helpful to him as possible. Thus I beg to ask your Highness to […] accept the dedication of his new volume which it is his ambition to offer to you. […]“.

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Liszt, Franz

composer and pianist (1811-1866). Autograph Letter Signed. Weimar. 8vo. 2 pages. With orgininal envelope.
$ 7,010 / 6.500 € (47460)

To the music publisher Karl Haslinger of Vienna. Liszt responds to a request for feedback on his composition, which Liszt is unable to give because he never received a copy of the score: „On returning yesterday from the Magdeburg Music Festival, I found your friendly letter of June 12, for which I express my most obliging thanks right away: however, I must regret not to be able to give you any information on the spatial fate of your so excellent and laudable score, as I have not received it and in consequence I also did not receive the letter which was enclosed in the package.

I am expecting corrections from Herr Spina soon, and probably he intends to send the score along – but in case there is further delay with the corrections, you would be me a big favor if you would ask Herr Spina to send me the oratorio by mail first. Permit, highly esteemed Sir, the expression of my utmost esteem“ (transl. from the German original). - Carl Anton Spina was another Austrian music publisher; he took over the firm of Diabelli when he retired in 1851. Spina printed works by Johann and Josef Strauss..

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Liszt, Franz

Komponist und Pianist (1811-1886). Autographed letter signed. o. O. u. D. 8vo. 2 1/2 SS. Leichte Bräunung. Eckausriss ohne Textverlust.
$ 4,853 / 4.500 € (60043)

To the editor Heinrich Brockhaus, pointing out some mistakes in the article concerning Liszt himself.

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Liszt, Franz

Komponist und Pianist (1811-1886). Autographed letter signed. o. O. u. D. 4to. 1 S. Leichte Bräunung. Eckausriss ohne Textverlust.
$ 4,853 / 4.500 € (60044)

To the editor Heinrich Brockhaus, pointing out some mistakes in the article concerning Liszt himself.

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Liszt, Franz

Komponist und Pianist (1811-1886). Autographed letter signed. o. O. 8vo. 1 S.
$ 5,932 / 5.500 € (60045)

To the editor Heinrich Brockhaus, pointing out some mistakes in the article concerning Liszt himself.

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Liszt, Franz

Komponist und Pianist (1811-1886). Autographed letter signed. Sexard. 8vo. 2 pp.
$ 13,481 / 12.500 € (60532)

To the editor Heinrich Brockhaus, pointing out some mistakes in the article concerning Liszt himself.

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Liszt, Franz

Komponist und Pianist (1811-1886). Autographed letter signed. o. O. u. D. 32mo. 1 p.
$ 971 / 900 € (60533)

To the editor Heinrich Brockhaus, pointing out some mistakes in the article concerning Liszt himself.

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Liszt, Franz

Komponist und Pianist (1811-1886). Kabinettphotographie mit eigenh. Widmung und Unterschrift. 220 : 135 mm.
$ 7,010 / 6.500 € (60637)

Hübesches Brustbild im Profil nach rechts. Die Widmung an die berühmte Sopranistin Luise Reuss-Belce (1862-1945): „Fr(äu)l(ein) Belce freundlichst […]“. Photographie: Kuntzenmüller, Baden-Baden. Reuss-Belce verkörperte in der Uraufführung von Wagners „Parsifal“ bei den Bayreuther Festspielen 1882 eines der Blumenmädchen. Das Foto entstand während Liszts Aufenthalt in Baden-Baden vom 17. bis zum 24. Mai 1880. Fehlstelle rechte untere Ecke außerhalb des Schriftzugs.

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Liszt, Franz

Letter Signed ("F. Liszt"). n. p. 1 p. Folio. Bifolium.
$ 3,451 / 3.200 € (60681)

To "Monsieur le Comte,". Lizst offers his gratitude for the diploma given to him by the Société de bienfaisance et de secours, regrets that his busy schedule prevents him from paying a visit in person, and informs the recipient that he will send his secretary over to deliver his subscription. A dealer's note penciled to the back of the letter reads, "Envelope 'a Monsieur M le Comte Ange de Brignola,'" above the date 17 Avril 1844 (excised from the envelope?) and mounted.

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Liszt, Franz

Komponist und Pianist (1811-1886). Autograph letter signed. Weimar. 8vo. 2 pp. Mit eigenh. Briefkuvert.
$ 4,853 / 4.500 € (61494)

To Madame Price, sending a recommendation: „[…] à son âge on ne tient pas grand compte des ronces et des pierres qui encombrent la carrière que les artistes sont obligés de parcourir! […]“.

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Liszt, Franz

Komponist u. Pianist (1811-1886). Autograph letter signed. Eilsen. 8vo. 2 pp.
$ 4,853 / 4.500 € (62469)

To Madame A[nna] Kuhlmann in Hildesheim, whose letter has affected him deeply, but nevertheless he has to refuse every offer to participate in a public event. In case that she is telling him the day of Wachsmuth’s performance, he will offer a small contribution.

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Liszt, Franz

Komponist und Klaviervirtuose (1811-1886). Autograph letter signed („F. Liszt“). [Paris], rue neuve des Mathurins, [Nov. 1836]. 8vo. 2 pp.
$ 7,010 / 6.500 € (62490)

To Monsieur Daponchel about a concert: „C'est encore moi, qui viens vous impatiencer Monsieur; mais le Concert ayant été annoncé pour Dimanche prochain, l'avis unanime de mes amis est qu'il voudrait infiniment mieux le fixer definitivement pour ce jour là. J'ai de mon coté plusieurs raisons qui me feraient préférer de beaucoup cet arrangement. Si donc il n'y a pas nécessité absolue (et j'ai toute lieu de croire que Mlle Bertin me céderait assez volontiers son tour) que la Esmeralda soit joué Dimanche prochain, je vous saurais un gré extrème de vouloir bien disposer de ce jour en ma faveur […]“.

- On November 14 1836, Louise Bertin’s opera La Esmeralda premiered at the Théâtre de l'Académie Royale de Musique in Paris; its libretto was written by Victor Hugo, who had adapted it from his novel Notre-Dame de Paris (The Hunchback of Notre Dame). - Such early specimens are very rare..

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Liszt, Franz

Komponist und Klaviervirtuose (1811-1886). Autograph letter signed. Weimar. 4to. 3 pp. Mit Kuvert.
$ 13,481 / 12.500 € (62569)

Comprehensive letter to the Dutch-French Romantic painter Ary Scheffer (1795-1858), sending a songbook and promising to continue his efforts to help realising a concert project in Weimar, which is quite difficult in view of the political turbulences the German revolutions of 1848/49 are causing.

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Liszt, Franz

Austro-Hungarian composer (1811-1886). Autograph Letter Signed, "F. Liszt," to Carl Gille ("Dear Friend"), in German. Rome. 3 1/2 pages, 8vo.
$ 10,246 / 9.500 € (62822)

Praising Carl Riedel's arrangement of Heinrich Schütz's Passions as well as other works performed by the Leipzig Congress of Musicians, suggesting that the Passions as well as the Psalm by [Heinrich] Schulz-Beuthen be published by the Music Society and performed at the Music Festival in 1870, intending to realize a proposal by [Julius?] Alsleben in time for the Beethoven Festival in Weimar, requesting that he write to [author of text for Liszt's 2nd Beethoven cantata, Adolf] Stern, noting that he would like to work on the cantata unimpeded, expressing uncertainty about the date of the Rheingold performance, and in a postscript, requesting his address.

Complete separations at folds, small closed tear repaired on terminal page with tissue, edges reinforced with tissue, remnants of prior mounting at upper edge of terminal page, some chipping at upper corners of first leaf, even toning overall. "With Heinrich Schütz, our excellent Riedel has made a master shot. The 4 Passions of this 'From womb to the profession of music, separated ("segregatus!")' are a splendid find and served the Leipzig Congress of Musicians worthily and brilliantly. As for the rest, the entire program was selected and arranged ingeniously; I was pleased to see Franz, Volkmann, Raff, Brahms, Draesecke, Blassmann, Lassen, Mueller, Hartung etc. in it. Only one name do I miss: Schulz-Beuthen, whose compositions are of special importance and interest. In my opinion, Schulz's Psalm should be designated as our Music Society's next publication--and be performed at the Music Festival ('70). It would also be fitting to publish the Schütz Passions along with the other three other works of his performed in St. Thomas Church, as publications of the A.D. Musikv[erein]. Communicate this to our Leipzig colleagues. 
"I intend to work zealously to bring Dr. Alsleben's proposal 'the Musical Art [. . .]' to fruition and likewise to obtain the funding to ensure that the Society's energy remains strong. Hopefully we will attain both results next year on the occasion of the Beethoven Festival in Weimar. 
"The Stern Beethoven cantata is still not visible on the Roman horizon. I have no lack of things to do, mind you; but I would just like to prepare this work unimpeded for the time being. Do me a favor and write a few pressing lines to Stern. 
"I have received no definite word about the Rheingold performance. If it takes place on the 25th of August as announced, I will travel from here to Munich on the 18th, where I hope to see you . . . ." 
Published in Adolf Stern's Franz Liszts Briefe an Carl Gille. No. 25. Leipzig, 1903. 
Liszt's Beethoven Cantata No. 2 was composed to celebrate the centenary of Beethoven's birth. Although the work premiered in May of 1870, Liszt himself conducted the performance in Pest in December of that year..

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Liszt, Franz

composer and pianist (1811-1886). Autograph letter signed. Weimar. 8vo. 2 pp.
$ 5,177 / 4.800 € (73652)

Liszt lui confie ses futurs projets à Paris en recommandant son secrétaire Belloni pour lequel il se sent tout chagrin de ne pouvoir lui faire un pas de conduite jusqu’à Paris. Je le charge de vous bien assurer du cordial et reconnaissant souvenir que je vous garde (…) de vous mettre au courant de mes projets et de mes espérances dont la réalisation ne saurait tarder beaucoup plus longtemps. Il adresse ses hommages à Madame Janin ; il vient d’apprendre que la partition du Petit souvenir Weymarois qu’il lui avait dédiée, lui a été retournée par les prohibitions de la douane française (…).

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Liszt, Franz

composer and pianist (1811-1886). Autograph letter signed. Pest. 8vo. 2 1/4 pp.
$ 5,177 / 4.800 € (73653)

Liszt recommande Mme BALAZS, une cantatrice de talent, fort applaudie au théâtre d’ici. Les lauriers weimarois de Mme Mombelli troublent son sommeil ; elle excelle dans les opéras italiens et les fioritures. (…) J’ajoute qu’elle a de 30 à 34 ans, jouit d’un certain embonpoint, non désavantageux, et qu’avant son mariage elle chantait avec succès sous le nom de Mlle Boguar, sur plusieurs scènes allemandes (Hanovre entre autres) ; ses appointements au théâtre de Pest montent à 8 000 florins ; mais elle voudrait y ajouter (pour ses feux intimes) les lauriers weimarois (…).

Il demande donc à son correspondant d’intervenir auprès du baron Loën [intendant du théâtre de Weimar] en faveur de Madame Balazs ; Peut-être lui accorderait-on aussi l’honneur de chanter à un concert de la cour….

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Liszt, Franz

Komponist und Pianist (1811-1886). Portraitphotographie mit eigenh. Widmung und U. ("F. Liszt") verso. Weimar. 125 : 214 mm.
$ 1,995 / 1.850 € (77105)

Hübsches Kniestück des Komponisten im Halbprofil nach rechts. Photographie: J. Ganz, Bruxelles. Die Unterschrift alt auf die Rückseite der Photographie montiert, 134 : 55 mm. Gerahmt.

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Liszt, Franz

Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, and organist of the Romantic era (1811-1886). Autograph Letter Signed „F. Liszt“. Weimar. 2 1/2 pages, 8vo, written on a single folded sheet; silked on first and terminal pages, Nearly complete separations at folds, moderate scattered soiling and foxing, blue pencil identification in unknown hand at lower edge of signature page, ink cataloguin.
$ 4,853 / 4.500 € (78178)

To the General German Music Association, in German, promising to send the score of Berlioz's Harold in Italy and piano music for four hands, giving travel plans, and requesting that [Hermann?] Reidel be prevented from performing Liszt's oratorio Christus in Leipzig or at next year's Musician's Assembly. „[…] I made a present of the score of the 'Harold' symphony by Berlioz to the library of the General German Music Association […] [T]he same copy was lent me […] for the purpose of revising of the piano abridgement.

It is being returned to you with today's post. […] 
"I beg you once more to dissuade Riedel from the performance of the 'Christus Oratorium' in Leipzig, because […] [it] would be unsuitable. Consequently, also at the Musician's Assembly in '81 […]“.

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Liszt, Franz

Komponist und Pianist (1811-1886). Dedication copy of "Six Etudes pour la main gauche seule". O. O. u. D. 41 SS. Folio. Zeitgenöss. Pappband in moderner Leinenkassette.
$ 3,775 / 3.500 € (33878/BN29526)

"A Mlle Vera Timanoff de la part de l'auteur | F. Liszt". - The Russian pianist had been a former pupil of Liszt in Budapest and became a prominent performer in Russia, France, Austria, Britain, Germany and Turkey. - Edges strongly frayed and somewhat dusty.

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[Liszt, Franz

Komponist und Pianist (1811-1886)]. Original photograph. [Weimar. 100:149 mm auf etwas größerem Untersatzkarton.
$ 1,025 / 950 € (34178/BN29966)

The picture by Louis Held, Weimar, shows Liszt in the study of his house at Weimar. Signed on the reverse by his housekeeper. - Somewhat spotty and silverish.

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Liszt, Franz

Komponist und Pianist (1811-1886). 14 autograph letter fragments, written in French and German, partly signed "FL". O. O. 9 Bll. 8vo.
$ 37,748 / 35.000 € (47114/BN31772)

Draft letters that for the greater part do not have an identifiable correpondent and that show a lot of cancellations. Amongst other things Liszt speaks about attacs on his person: "Before reading. (to Mme P.) I have not yet read the recollections in question; but from what has come back to me from it, the author enjoys to make me just as ridiculous as detestable. [...] to some scandals I would not know what to oppose but tacit decency that does not entrap me at all and leaves others the burden of their debasement.

[...] one or the other [has] previously written to me numerous letters of excitement about the nobility of my character and the straightness of my feelings. Concerning this, I will not deny at all and I will continue to ascribe to them their remarkbale and brilliant talents of Artists, writers and inventors, fully regretting that they so strongly turn them against my poor person (page no. 1). The sesond page can be identified as a draft letter to the Hungarian Nobleman Albert Apponyi (1846-1933), to whom Liszt writes about the Academy of Music in Budapest, his interest in Hungarian art and his desire to be useful for his country: "at the chamber of deputies the said academy would be useful to emphasize art in Hungary; [...] Can one not take into account similar precendents now and set back when one is concerned with going forward? I cannot and I position myself in your view as wisely as favourably. Despite of the difficulties of a situation confused by different obsessions and despite of the smallness of our financial means we definitely have to return to our plan and not become unmanagable. Regarding my 'personal conveniences' that you are so kind as to worry about, let me assure you once more that I do not aspire anything else than this: the peace to work in my room. Orare et laborare. The point of honour that noone but you will understand better attaches me to Hungary, our home country. Could I fill it with all my duty of recognition!" At the end of this side a fragement of a letter written in German can be found: "Honoured friend, Strongly attached to you with my heart and my spirit, I am rarely and insufficiently sad to be able to show you my sincere friendship. Many thanks for your kind letter and its joyful notification." - In another draft Liszt mentions the Villa d'Este, Cosima and Wagner as well as his mother (Marie d'Agoult, alias Daniel Stern): "After your departure from the Villa d'Este I wrote to Cosima and also spoke to her about your last incriminated articles. She answers to me [...] 'the Italien hou [...] seemed superbe to me'! But what did not at all seem superbe to me but on the contrary repellent, shameful and disgusting was the cunning and frivolous behaviour of Cosima's mother against her daughter. I mention it to you confidentially. [...] (page no. 3). - Enclosed one photography of Liszt mounted on cardboard by Nadar, shortly before his death in 1886. - Provenance: Robert Bory, musicologist..

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Liszt, Franz

Komponist und Pianist (1811-1886). Autograph letter signed ("FL"). [Rom. 2½ SS. Kl.-8vo.
$ 8,089 / 7.500 € (47115/BN31773)

To an unknown recipient, asking for calligraphic help regarding a manuscript: "More than others I am able to repent the charm of silence on the things that we take to heart [...] Let me ask you again for your calligraphic collaboration. Here is the manuscipt in question that you have to complete [...]". - Provenance: Robert Bory, musicologist.

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Liszt, Franz

Komponist und Pianist (1811-1886). 2 autograph letters signed ("FL"). "Dimanche" and "Dimanche matin", i. e. [Rom. 6 SS. Kl.-8vo.
$ 16,178 / 15.000 € (47116/BN31774)

To an unknown recipient, apparently a wealthy music lover and possibly a patron of the composer. In one of the letters Liszt invites himself with a friend at the recipient's place for a moment of musical relaxation and returns 20 francs to him that he has paid too much for concert tickets. In the other letter the pianist transmits him programmes and tickets for a concert and proposes to "honour the sight of Madonna des Rosario" and to let his correspondent know. The composer's time seems to be filled with musical social commitments: "All of my week is planned until Friday". - Provenance: Robert Bory, musicologist.

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Liszt, Franz

Komponist und Pianist (1811-1886). Autograph letter signed ("FL"). [Rom. 1 S. Kl.-8vo.
$ 12,942 / 12.000 € (47119/BN31777)

To an unknown recipient. Liszt thanks his correspondent for his "gift", possibly an icon or an object showing Saint Cosmas and Damian and telling him that he will visit him to thank him personally "but in a way that is not interested in material things". He mentions the fact that Switzerland is far away for him at the moment. - Provenance: Robert Bory, musicologist.

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Liszt, Franz

Komponist und Pianist (1811-1886). Autograph letter signed ("FL"). [Rom. 4 SS. Kl.-8vo.
$ 17,256 / 16.000 € (47120/BN31778)

To an unknown recipient. Liszt is sick in Madonna del Rosario, he felt "very unwell walking up Monte Mario after having had dinner at the Vatican". He writes to confirm his presence at an important concert by Lippi despite his state of health. "After that [he will] endorse himself to eight days of imprisonment". His sicckness does not keep him from maintaining his social commitments with his correspondent, "Haxthausen and Mme Colban". - Enclosed a framed reproduction of the famous photography by Hanfstaengl that shows the pianist playing. - Provenance: Robert Bory, musicologist.

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Liszt, Franz

Komponist und Pianist (1811-1886). Autograph letter signed. Weimar. 3 SS. 4to.
$ 30,198 / 28.000 € (47122/BN31780)

To the music publisher Carl Haslinger, asking him to have a look at "the arrangement for 2 pianofortes on which [he] has spent 3 days annotating and editing" in order to propose a new version, with many annotations for the piano and fewer parts for instruments. He also sends his Hungarian Rhapsody "properly instrumented" and asks Haslinger "to prepare a similar edition." Liszt leaves for Zurich to stay with his friend Wagner. - Inserted in Robert Bory's book "The Life of Franz Liszt in Pictures" (Editions du journal de Genève, 1936, 1st numbered copy on Holland Van Gelder paper, bound in bordeaux leather).

- Provenance: Robert Bory, musicologist. Together with several autograph letters signed by Alfred Cortot (2), Daniela Thode, Winifred Wagner, Bladine Gravina, and Daniel Ollivier..

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Liszt, Franz

Komponist und Pianist (1811-1886). Autograph letter draft, unsigned. O. O. 4 SS. 8vo.
$ 10,246 / 9.500 € (47123/BN31781)

Letter to an unnamed correspondent, in which Liszt expresses his ideas for a concert which will be held at the Salle Erard in Paris and which will comprise several of his compositions. The name of Madame Marchesi is mentioned twice, once for her "benevolence" that seems to make the concert possible, and a second time for the provision of a "brilliant" student to sing the part of "Joan of Arc at the Stake" which is included in the programme. The name of the pianist Madame Montigny is also mentioned twice, above all to take part in the programme and to carry out the "Hungarian Rhapsody" or a "Concerto".

Liszt honours the literary personalities of his time by reminding that his "Preludes" are "after Lamartine", "Mazeppa after Victor Hugo" and "Joan of Arc at the Stake" after "Dumas". He also mentions the editors of the programmes of his compositions (Breitkopf, Schott, Taborsky). Liszt adds an NB: "I would not like to take the risk of a danse macabre because of the great orchestral noise that will do injustice to that of Mazeppa". - Provenance: Family Nikita Magaloff and Joseph Szigeti..

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Liszt, Franz

compositeur et pianiste virtuose hongrois de l'Empire d'Autriche (1811-1886). Autograph letter signed ("FL"). [Rome. ½ p. petit in-8.
$ 2,373 / 2.200 € (47560/BN32120)

In French. To an unknown recipient, giving him the address of the French composer Louis Delâtre: "Voici l'adresse de M. Louis Delâtre: 73, Via della Scala, Firenze: et une infinité de remercimens […]". - Provenance: Robert Bory, musicologist.

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Liszt, Franz

Komponist (1811-1886). Autograph signature on printed concert announcement. (Paris. 1 S. 8vo.
$ 2,696 / 2.500 € (934207/BN934207)

Signature ("Liszt") written across the Salon Érard concert announcement ("Concert dans lequel on entendra Mr. Liszt pour la dernière fois avant son départ"). - Dated (?) "1840" in pencil on the reverse; numbered "VIII" in blue ballpoint on recto.

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Liszt, Franz

Austro-Hungarian composer (1811-1886). Autograph letter signed ("F. Liszt"). No place. 8vo. 1 p. on bifolium.
$ 2,804 / 2.600 € (62659/BN45929)

Asking a cashier to send him two tickets: "Ich ersuche den Herrn Cassir mir gefälligst zwey Parterre Billets für das heutige Conzert zu übersenden".

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Liszt, Franz

Komponist und Pianist (1811-1886). Autograph letter signed ("F. Liszt"). O. O. 2 SS. auf Doppelblatt. 8vo.
$ 9,167 / 8.500 € (72304/BN46086)

To Peter Cornelius ("Liebster Cornelius"), in German, telling him that he has just been informed that the full score of his opera, "Der Barbier von Bagdad", was not in the local theatre library as Cornelius had kept it, and asking that the score be sent to him by return, the trio being an essential part of the programme entitled "Performance of Manuscript Works of the Present Time". - Franz Liszt, Peter Cornelius's mentor and friend, was due to conduct a piece from Cornelius's controversial comic opera "Der Barbier von Bagdad" at the third concert of the Artists' Congress in Weimar on 7th August 1861.

The opera was first performed at the Hoftheater in Weimar on 15th December 1858, amidst a hostile demonstration organised by the theatre director, Franz Dingelstedt, who was in conflict with Liszt and the so-called neo-German school of composition. Liszt resigned his post after the fracas and both he and Cornelius left Weimar as a result. The opera was not played again in its entirety in the composer's lifetime but, as is clear from this letter, Liszt remained loyal to his friend and secretary, and continued to champion his work. According to Grove, Cornelius was a "gifted independent composer" who "may have been the composer from the Liszt circle who, after Liszt and Wagner themselves, most successfully realised the musical ideals of the New German school, albeit in a highly personal idiom" (New Grove Dictionary of Music and Musicians VI, 477)..

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Liszt, Franz

Komponist und Pianist (1811-1886). Portrait photograph signed ("F. Liszt"). [Wien. 92:58 mm.
$ 4,853 / 4.500 € (72847/BN46915)

Vintage albumen print from the studio of Fritz Luckhardt, Vienna.

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Liszt, Franz

Komponist und Pianist (1811-1886). Portrait photograph signed and dedicated ("F. Liszt"). Weimar. 152:103 mm auf etwas größerem Untersatzkarton.
$ 2,696 / 2.500 € (76283/BN49012)

A fine dedication to his housekeeper: "Meiner lieben Pauline - von der Altenburg bis zur Hofgärtnerei - | (also 30 Jahre) stets dankend | Wohlwollend | F. Liszt". - Pauline Apel was Liszt's long-standing housekeeper at his home in Weimar, given to him by Duke Carl Alexander, around the time of his death.

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Liszt, Franz

Komponist (1811-1886). Autograph letter signed. [Weimar. 2 SS. auf Doppelblatt. 8vo. Mit eh. Adresse.
$ 4,853 / 4.500 € (77549/BN49994)

In French, to the director of the Weimar Hoftheater, Ferdinand Baron von Ziegesar (1812-57), about his conviction that the best way to serve the Weimar theatre in his retirement would be no longer to interfere in its affairs, and asking the recipient to permit him to retire: "Ayant a[c]quis durant ces 3 dernières années l'entière conviction que le meilleur service que je sois en etat de rente au théâtre de Weymar présentement, c'est de ne point m'en méler, permettez-moi de me renfermer desormais dans la paisible approbation de tout ce qui se fera sans moi [...]".

Liszt also assures the recipient that there is no need of his presence at the performance of his concert paraphrase of Verdi's "Ernani", as the music director Goetz is experienced and perfectly prepared to conduct the work to everyone's satisfaction: "Pour l'Ernani il n'y a d'ailleurs aucun besoin de moi. Goetze qui est un excellent Maitre de Chapelle en a dirigé plusieurs repetitions et s'est annoté au crayon rouge toute la Partition, de manière qu'il n'y a aucun doute qu'il ne conduise cet ouvrage à la très grande satisfaction de notre Public - sans repetition quelconque". - On grey and blue stationery; small tear in the fold; mounted on backing paper. From the estate of Wolfgang Sawallisch..

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Liszt, Franz

composer and pianist (1811-1886). Partial autograph musical manuscript with text. No place, [1846]. 8 pp. on 4 ff. Brown ink on paper.
$ 21,570 / 20.000 € (74922)

Four-part harmony based on a poem by Jean Racine: the notation of the 3rd piece of “Cinq Chœrs” (S 18, R 506, LW J4), composed by Liszt in early 1846 for the musical competition “Nos patriæ fines” (from Virgil’s First Eclogue) instigated by the French Ministry of Public Education on 3 Nov. 1845. When the competition for a “collection of common, moral, religious and historical songs” was concluded on 1 April 1846, no fewer than 370 composers had submitted a total of 1731 pieces.

In March 1846, Liszt, then in Vienna, entrusted the manuscript to a Dr. Weber to deliver it to the composer’s mother in Paris, with written instructions to submit the pieces for the competition, emphasizing the importance of the task. The prizes were awarded on 21 March 1847; Liszt’s “Cinq Chœrs” had not been considered – either because Liszt was thought too much of a celebrity already or, more likely, because his entry arrived too late. The manuscript was prepared by a scribe who wrote the entire musical notation using 12 of 15 staves (3 sets of 4 bracketed staves) to a page for the four voices: Soprano 1, Soprano 2, Tenor, and Bass. In the upper left-hand corner of the first page the name of the contest (“Nos patriæ fines”) is written, and “No A” has been added in red ink. At the head of the page Liszt added the number “III (Texte de Racine n° 3)” in red crayon. He added the words to the five verses of the song under every first stave, marking the tempo as “Moderato” in brown ink and providing several performance instructions in red crayon: “dolce con sentimento”, “dolce”, “marqué”, accents, crescendos, etc. The harmony is in 4/4 time, in A major (as stipulated for the competition). The text is from Jean Racine’s translation of the “Wednesday Vespers” from the hymns of the Roman Breviary: “Grand Dieu qui fais briller sur la voûte étoilée / Ton trône glorieux, / Et d’une blancheur vive à la pourpre mêlée / Peins le cintre des cieux ; / Par toi roule à nos yeux, sur un char de lumière, / Le clair flambeau des jours, / De tant d’astres par toi la lune en sa carrière / Voit le différent cours”. This is the only known manuscript of the third harmony in private hands and the only manuscript bearing the complete autograph text. The autograph manuscript of “Cinq Chœrs” in the Goethe and Schiller Archive in Weimar includes only five written words, whereas the French National Library holds very similar manuscripts of the first and fourth choirs, copied by the same hand, with autograph texts and performance directions by Franz Liszt. ¶ Cf. Michael Short, “Liszt’s Cinq Chœurs. Background to unpublished works”, in: M. Saffle/R. Dalmonte (eds.), Liszt and the Birth of Modern Europe (New York 2003), pp. 281–286; Franz Liszt, Cinq Chœurs (ed. Leslie Howard, Sarastro Music 2003)..

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Liszt, Franz

Portraitpostkarte mit eigenh. U.
Autograph ist nicht mehr verfügbar


Liszt, Franz

Lettre autographe en français à l'encre noire, signé FL.
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To an unknown recipient, speaking of several concerts like that of "el Congregazione Pontificia Accademia di Santa Cecilia" for which he has a ticket to his correspondent in exchange for a ticket of Alessandro Parisotti held at the Palazzo Valentini, and a concert of his "Preludes" performed by Sgambiati. In French. - Provenance: Robert Bory, musicologist.


Liszt, Franz

E. musikalisches Albumblatt mit U.
Autograph ist nicht mehr verfügbar

Franz Liszt (1811–1886), composer. AMusQS. Riga, 8 April 1842. 1 p. Small oblong 8°. With note by another hand on reverse. Folded along the center. Three bars for piano, on two hand-drawn staves, captioned “Preludio”. – On March 14, 1842, Liszt had been awarded the honorary doctorate of Königsberg University; he then proceeded to Dresden via St. Petersburg. – The note on the reserve reads: “Perhaps Aunt Paula will be able to solve this riddle of ours? This leaf is by the great master Fr. Liszt, who was in Riga in 1842 and who probably handed it to Papa in the salon”.


Liszt, Franz

Portrait photograph signed ("F. Liszt").
Autograph ist nicht mehr verfügbar

Small black-and-white portrait of an older Liszt, on thin paper, formerly mounted, some paper still adhering to the verso, with the signature in black ink.


Liszt, Franz

Portraitphotographie m. e. U.
Autograph ist nicht mehr verfügbar

Franz Liszt (1811–1886), Austrian composer. Cabinet photograph signed. N. p., [c. 1882]. 166 x 111 mm. – Fine portrait of the aged composer in three-quarter profile by Louis Held, Weimar.


Liszt, Franz

Portraitphotographie mit eigenh. Widmung und U. verso.
Autograph ist nicht mehr verfügbar

For the Austrian soprano Amalie (Friedrich-)Materna (1844-1918), chamber singer in the Vienna Court Opera and the first Viennese "Brünhilde" in "Walküre" (1877) and "Siegfried" (1878): "Frau Materna / bewundernd ergeben / F. Liszt / Parzifal Vorstelllungen 84". - With the envelope.