Pyotr Ilyich Tchaikovsky
Russian composer, 1840-1893
Tchaikovsky was the first Russian composer whose music made a lasting impression internationally, bolstered by his appearances as a guest conductor in Europe and the United States. Some of his works are among the most popular music in the classical repertoire, including Romeo and Juliet, the 1812 Overture, his three ballets (The Nutcracker, Swan Lake, The Sleeping Beauty) and Marche Slave. These, along with his First Piano Concerto and his Violin Concerto, the last three of his six numbered symphonies and his operas The Queen of Spades and Eugene Onegin, are among his most familiar works.
Source: Wikipedia
Komponist (1840-1893). Portrait photograph inscribed and signed. O. O. Albuminabzug (Vintage), 129:100 mm auf Untersatzkarton (152 x 106 mm) mit goldgepr. Signet des Studios Müller & Pilgram, Leipzig. Vergoldete Facettenränder.
$ 44,566 / 38.000 €
(89975/BN59417)
Fine head-and-shoulders portrait in quarter profile, within a white vignette, inscribed by Tchaikovsky to the French conductor and violinist Édouard Colonne (1838-1910), thanking him warmly for having made his music successful in France: "A mon cher ami Edouard Colonne de la part d’un artiste fier de ses succès Parisiens qu'il n'a obtenus que grâce au chef éminent du célèbre orchestre du Chatelet". - Colonne's orchestra, the "Association Artistique des Concerts Colonne" situated at the Théâtre du Châtelet since 1875, famously performed the works of contemporary French composers (doing much to rehabilitate Berlioz in his native country), but also devoted itself to the works of foreign masters, notably Richard Wagner and Richard Strauss.
The orchestra would also invide great composers such as Mahler, Debussy, or Prokofiev to perform their works. Colonne had met Tchaikovsky as early as 1878 during the Russian composer's visit to Paris and gave the local premiere of his 4th Symphony. In return, from 1890 onwards Tchaikovsky mediated several 'exchange' concert trips for Colonne to Russia. - A few old pencil notes on the reverse; very finely preserved..
Komponist (1840-1893). "Fantaisie de Concert pour Piano, avec accompagnement d‘Orchestre par P. Tschaikowsky. Partition" [Concert Fantasia in G, Op. 56, for piano and orchestra]. [Wohl Leipzig bzw. möglicherweise Paris. Teilpartitur. Manuskript von Schreiberhand mit eigenh. Ergänzungen und Korrekturen. 20 SS. (ohne Ende und Solopart). Eine Lage von 5 ineinander gelegten Bögen zu 4 Seiten, Notenpapier von Breitkopf & Härtel, Leipzig (22 Notensysteme). Moderner Halblederba.
$ 87,960 / 75.000 €
(99296/BN65593)
Highly appealing manuscript of the Concert Fantasia for piano and orchestra, Op. 56, formerly in the collection of Stefan Zweig: a secretarial copy prepared at the time of the work's composition, containing several autograph additions in Tchaikovsky's own hand. The manuscript was long considered by scholarship to be fully holograph; a more recent expert opinion by the musicologist Thomas Kohlhase of Cologne (included) proves its more complex genesis. - Tchaikovsky made several changes to the manuscript with his own pen: the first of these is on pp.
11/12, bars 36-39 of the first movement (three bars on p. 11 and the first bar of page 12, Violin I). Another correction is in the final four bars of the last page of music (p. 20), in the accolade of two staves of the horn voices I/II and III/IV (bars 59-62 of the first movement). In addition, there are a few autograph insertions on the first and last page of music as well as on p. 12, in each case indicating the instruments more precisely. - While some questions regarding the incompleteness of the manuscript and its purpose remain unresolved, "there can be virtually no doubt that this well-preserved item, even if largely a copy by a different hand, was created in Tchaikovsky's sphere and was reviewed and, in some places, revised by the composer himself. There are various indications that it was penned during Tchaikovsky's first tour abroad in 1887/88, either in Paris in the spring of 1888 or - more likely - in Leipzig and the end of 1887 or early in 1888 [...] Thus, this manuscript, although it comprises only a part of the entire work and can no longer be flatly considered 'holograph', remains a valuable and notable document that complements the complete original sources of the Concert Fantasia Op. 56, not only for collectors of old, attractive and interesting musical manuscripts, but also for the musicologist investigating the tradition and reception of music as well as philological and more specifically editorial aspects“ (expert opinion, p. 9)..
sold
Eigenh. Brief mit U. ("P. Tschaikovsky").
Autograph ist nicht mehr verfügbar
Fine letter of friendship to Austrian pianist and music educator Anton Door (1833-1919), who was once a pupil of Carl Czerny and Simon Sechter; Tchaikovsky dedicated his Valse-Caprice, Op. 4 (1868) to him. "Cher ami! Depuis bien longtemps je me propose de Vs. écrire pour Vs. remercier de l'amitié que Vs. n'avez jamais cessé de me témoigner et de l'attention dont Vs. honorez mes compositions. Si j'ai tant tardé à remplir cette dette de reconnaissance, c'est que Vs. ne pouvez pas Vs. imaginer combien je suis devenu paresseux pour tout ce qui n'entre pas dans le cercle de mes occupations quotidiennes. Mais, après une conversation que j'ai eu ce matin avec Jurgenson, qui m'appris que Vs. avez eu encore une fois l'extrême bonté de mettre dans votre programme des morceaux à moi, je n'ai pu y tenir et je m'empresse maintenant de Vs. annoncer que je ne suis pas un ingrat et que je suis on ne peut plus touché des marques de votre amitié qui m'est d'autant plus chère, que j'ai toujours professé pour Vs. une grande et sincère simpathie. J'apprecie à la juste valeur le service énorme que Vs. rendez à ma carrière de compositeur, en jouant mes morceaux et en me faisant connaître à Vienne. Merci, merci et mille fois merci, cher et bon ami! - Maintenant, laissez moi Vs. adresser une prière. Jurgenson me dit que d'après Votre lettre, il ne serait pas impossible qu'on jouât à Vienne une de mes compositions simphoniques. Si jamais ce bonheur pourrait arriver, je voudrais qu'on commence par une de mes pièces qui puisse donner au public de Vienne une aussi bonne idée que possible. Si jamais il'y aura sérieusement question de jouer quelque chose de moi, je suis sûr que c'est à Vs. que l'on s'adressera pour le choix de la pièce. Je Vs. supplie, cher Door, de recommander à ceux de qui cela depend les compositions suivantes: 1) "Roméo et Juliette", ouverture, 2) "La Tempète", fantaisie sur le drame de Schakespeare, 3) Troisième simphonie, composée récemment et jouée à Moscou et à Petersbourg avec succès [...] Je sais très bien qu'en fait de compositeurs comme moi, il y en a plusieurs dizaines et même centaines en Allemagne [...]". - Traces of folding; in fine condition.