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Vendeur : Herbst-Auktionen, Detmold, Allemagne
Manuscrit / Papier ancien Signé
Eigenhändige Unterschrift in Tinte signiert - mit Repro-Porträtfoto (am Klavier) unter bordeauxrotes Passepartout (4 to) gerahmt.
Edité par no place, no date
Vendeur : Kotte Autographs GmbH, Roßhaupten, Allemagne
Manuscrit / Papier ancien
4to. 1 p. 200 : 298 mm. Signature "Fréd Chopin". Framed under passerpartout, underneath a reproduction of Eugène Delacroix's famous oil-sketch of Chopin's head from 1838 for the unfinished Portrait of Frédéric Chopin and George Sand.
Edité par London, 20. VII. 1837., 1837
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien Signé
1 page. Folio. 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.
Edité par "Paris 10 avril" [?1845]., 1845
Vendeur : Kotte Autographs GmbH, Roßhaupten, Allemagne
Manuscrit / Papier ancien Signé
1 page. Small 8vo (131 x 100 mm). In French. Very slightly worn; light vertical crease; minor remnants of adhesive to blank lower left corner; very slight staining to blank lower margin. Chopin plans to leave Paris within three weeks, most probably for Nohant, George Sand's summer estate, and tells his correspondent that he will be back in September or October. He thanks the addressee for the "good memories" and sends compliments to her aunt:"Je pars dans 15 ou 20 jours - Je reviens au mois de 7-embre ou 8-bre. Je vous remercie pour votre bon souvenir - et croyez-mois toujours dévoué Chopin Mille compliments à Mme votre tante."Together with:A bust-length portrait etching of the composer by the German artist Wilhelm Pech (1876-?), image size 120 x 95 mm., sheet size 199 x 150 mm. Signed ("W. Pech") in pencil at lower right, below image. Upper margin slightly abraided and with remnants of adhesive to recto and verso.Provenance:Previously in the collection of John and Johanna Bass, founders of the Bass Museum of Art in Miami, Florida.Sydow: Correspondance de Frédéric Chopin La Gloire 1840-1849, no. 579.The year of this letter saw the publication of opp. 57 (the Berceuse for piano) and 58 (the Sonata for piano). "The Sonata no. 3 in B minor, op. 58 - dedicated to Countess Emilie de Perthuis, a friend and wife of the royal aide-de-camp - and the Berceuse were published to great critical and public acclaim. The Third Piano Sonata, the last of this genre, represented, in the words of musicologist Anatole Leikin, Chopin's reconsideration 'not only of sonata form, but of the sonata genre as well' because 'his sonatas, like his mazurkas or nocturnes, are marked by a special musical idiom.' Zieli ski believes that the Sonata no. 3 is Chopin's 'deepest' work." Szulc: Chopin in Paris, pp. 302-303."Most of the winter of 1845 was a time of acute illness for Fryderyk. George Sand wrote Stefan Witwicke in Freiwald (Germany) late in March that between Chopin's 'coughing fits and his lessons, it is difficult to find a moment of peace and silence.' About the same time, she informed Ludwika [Chopin's sister] in Warsaw that 'our dear little one was greatly tired by the severe winter . but since the weather improved, he has been completely rejuvenated and revived. Two weeks of warmth helped him more than all the medicines . By mid-May, heat in Paris became oppressive, and George and Fryderyk began to think about moving to Nohant for the summer. George had started on a new novel, Isidora, and hoped to complete it in peaceful Berry. Chopin, too, was ready to go, purchasing a calèche, a vehicle with a folding top, to make their journey more private and pleasant than by diligences. But Dr. Papet warned them that a typhus epidemic had broken out in the region and urged a delay. Finally, they left Paris on June 12, with Pauline Viardot, just back from a Russian tournée, joining them in Nohant a few days later." op. cit., pp. 303-305.The year 1845 was important to Chopin for another reason, as it marked the beginning of a major rift in his relationship with George Sand:"When Chopin and Sand returned to Paris in August 1842 they moved to new accommodation in the Square d Orléans, close to their friends the Marlianis, and also incidentally to Kalkbrenner and Alkan. It was a satisfactory domestic arrangement. But Chopin s health was giving cause for real concern, and the relationship with Sand was deteriorating, partly due to growing tensions within the family. All of this, together with his inability to recapture his earlier fluency in composition, contributed to his low spirits in the winter of 1843 4. But the hardest blow of all came in May 1844, when he learnt of the death of his father. Sand immediately whisked him off to Nohant, but he refused to be consoled until his sister Ludwika, to whom he had always been close, announced her intention to visit France with her husband that summer. They met in Paris in July and the visitors divided their time between there and Nohant until they departed for Poland in early September. We are mad with happiness , Chopin wrote. But it was not to last. The winter season brought further strains in his relationship with Sand, and when they set out for Nohant in June 1845 tensions within the family circle were beginning to come to a head." Kornel Micha owski, revised by Jim Samson in Grove Music Online.Chopin's correspondent may very well be his pupil, the Austrian pianist Friederike Müller. Müller (1816- 1895) lived with three of her father's sisters in Vienna following the death of her mother. She arrived in Paris in 1839 to study with Chopin and was his pupil until 1841 and then again in the winter of 1844-1845. "She wrote a kind of diary in the form of approximately 230 letters to her Viennese aunts about her stay in Paris and her encounters with Chopin. They are an extremely valuable source for his biography . " Wikipedia. Müller often passed Chopin's best wishes on to her aunt/s in her letters. Chopin dedicated his Allegro de Concert, op. 46, to her. Grabowski & Rink p. 356.
Edité par N. p. o. d., "Vendredi matin".
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien
8vo. 3 lines. 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 c ur". - On blindstamped stationery. Traces of folds.
Edité par Paris, [1841]., 1841
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien
8vo. 1½ pp. In French. 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.
Edité par chateau de Nohant pres La Chatre, 13 September [18]46.
Vendeur : Kotte Autographs GmbH, Roßhaupten, Allemagne
Manuscrit / Papier ancien
8vo. 4 pp. With autograph envelope, with red seal, creased at folds. 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.
Edité par No place, [ca. 1832-1833]., 1833
Vendeur : Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Autriche
Manuscrit / Papier ancien Signé
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 (1931) and Vladimir Horowitz (1978), famed as interpreters of Chopin's music. 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. - Krystyna Kobylanska, Frédéric Chopin: Thematisch-bibliographisches Werkverzeichnis (1979), VII b (Transkriptionen von Volksweisen), nos. 7 and 8. First published in Jean-Jacques Eigeldinger, "Un autographe musical inédit de Chopin", Schweizerische Musikzeitung / Revue musicale suisse, CXV/1 (Jan.-Feb. 1975), pp. 18-23. F. L. M. Pattison, "A Folk Tune Associated with Chopin and Liszt", Journal of the American Liszt Society 20 (1986), pp. 38-41. J. M. Chominski & T. D. Turlo, Katalog dziel Fryderyka Chopina (1990), p. 240 (Sketches, fragments, exercises): "Folk melodies meticulously recorded on a single sheet".