french conductor composer (51 Ergebnisse)

First edition hard back binding in publisher's original chestnut brown cloth covers, gilt title and author lettering to the spine. 4to. 10'' x 7½''. Contains 144 printed pages of text with monochrome illustrations and archive photographs throughout. Fine condition book in Fine condition dust wrapper, not price clipped, unused new book. Dust wrapper supplied in archive acetate film protection. Member of the P.B.F.A. ISBN 0859362663 MUSIC [Classical].

Vintage piano sheet music in illustrated white paper covers. 12'' x 9¾''. Contains 8 pp + 1 pp including the covers. Scored for the pianoforte and violin. Tape repairs to the covers, else in Good condition. Member of the P.B.F.A. SHEET MUSIC.

Publisher's original sun faded grey livery stiff card wrap covers [soft back]. 8vo. 8½'' x 6''. Contains 37 pp score. In Very Good condition, no dust wrapper as issued. From the private library of Brian Culverhouse (22nd October 1927 - 23rd August 2021) who was a leading and much admired classical music producer throughout the second half of the 20th century, initially associated with EMI, with his name to the top front cover 'Brian Culverhouse' and extensive production notes by Brian throughout. Member of the P.B.F.A. MUSIC [Classical].

Publisher's original classic banana yellow and black livery stiff card wrap covers [soft back]. 8vo. 7½'' x 5¼''. Contains 66 pp score. In Very Good condition, no dust wrapper as issued. From the private library of Brian Culverhouse (22nd October 1927 - 23rd August 2021) who was a leading and much admired classical music producer throughout the second half of the 20th century, initially associated with EMI, with his name to the front cover 'Brian Culverhouse'. Member of the P.B.F.A. MUSIC [Classical].

Vintage piano sheet music in black, red and white paper covers with small illustration to the front cover. 12'' x 9½''. Contains 7 pages scored for the piano. Old tape repair down the spine, couple of pencil notes to the margins and in Very Good clean condition. Member of the P.B.F.A. SHEET MUSIC.

s/w-Druckbild (aufgezogen auf Briefkarte, 1975), von Pierre Boulez eigenhändig signiert (dito : Fotoporträtpostkarte, eigenhändig signiert Euro 65,-).

Small-8vo. 3½ pp. on bifolium. To thank a journalist for favorable reviews of concerts in Marseille and a pleasant encounter there: "Monsieur Tollon m'a écrit dernièrement une tas de choses flatteuses que vous avez dits, parait-il, sur le compte de ma musique. Je tiens à bien vous remercier d'abord de l'accueil sympathique que j'ai reçu aussi de vous à Marseille. Je n'ai encore rien reçu de votre journal concernant le concert du 26. Et je commence à croire qu'on a oublié de m'envoyer ou qu'on a pas vu le n° qui contenait le compte rendu du concert. - Vous seriez mille fois aimable si vous pourriez me le faire envoyer - Je n'ai d'ailleurs reçu que : Le Soleil, le p.tit Provençal et le petit Marseillais. Je suis enchanté des 2 premiers, mais il parait que Mr. Gozlan n'a goûté que l'instrumentation de ma musique. C'est déjà q.q. chose [.]." - Well preserved.

12mo. 1 p. Interesting letter to the editor of the music journal Gazette du Midi, probably Charles Vincens, thanking him for favorable comments on Ropartz's "work of artistic decentralization" in Nancy and announcing to send him programs of the past concert-seasons: "On me communique un numéro de la Gazette du Midi" où vous voulez bien vous occuper, en termes très flatteurs, de l'uvre de décentralisation artistique que je poursuis à Nancy. Je me permets de vous envoyer la collection des programmes de nos derniers saisons, pensant que peut-être il vous sera intéressant de les parcourir." - While Charles Vincens brought attention to composers and musicians from the Midi and his native Marseille through his writing, Ropartz, a student of Massenet and Dubois, was a very political and prolific director of the conservatories of Nancy and later Strasbourg and, in his own art, a popularizer of his Breton heritage. - On stationery of the director of the Nancy Conservatory.

8vo and 12mo. Together 2 pp. With autograph address and 1 autograph envelope. The lettercard from 1907 to a singer named Roguet-Linder, scheduling a meeting between Büsser's rehearsals. - The letter with a postmark from 25 July 1925 to the Argentinian music critic Michel Raux Deledicque with information concerning the repetition of a concert. - The letter from 1925 on stationery with embossed letterhead of the Palace Hotel in Buenos Aires. The lettercard shows tears from opening.

8vo and visiting card format. Together 5 pp. Professional correspondence, mostly from Rabaud's time as director of the Paris Conservatory. The earliest letter from 6 July 1919 is to inform a friend as to when he will be home for a meeting. - On 29 July 1929 he writes to the Courrier Musical, informing the recipient that he has received a letter from a M. Imbert in relation to the journal. - An undated visiting card is to recommend the young composer and pianist Simone Féjard as a "remarkable musician" to the unnamed recipient: "Permettez-moi de recommander à votre bon accueil Mademoiselle Simone Féjard, qui voudrait vous montrer trois churs - et vous verrez tout de suite quelle remarquable musicienne elle est. Je serais heureux s'il vous était possible de faire entendre ses uvres". - Two letters from 1930 on stationery of the Paris Conservatory concern a meeting (5 January) and Rabaud's opinion on a recording (27 July). Rabaud had received two records and marked his preferred recording with "meilleur". In closing, he asks the recipient to send test takes of Saint-Saëns's symphonic poem "Le Rouet d'Omphale", op. 31, to the Conservatory. - Occasional stains.

Small 4to. 1 p. on bifolium. To an unnamed middleman explaining that, while he was spending the holidays in Versailles, he was informed that there has still been an old debt due to the legacy a Mr Villeneuve, possibly de composer Alexandre de Villeneuve who died some time after 1756. Although Berton is somewhat incredulous and wants to proof that he has been "condemned by error", he wants to put the whole affair behind himself and asks the recipient to negotiate deferred payment with the claimant: "Pendant le sejour Des Fêtes, Monsieur, que j'ai faites à Versailles, l'on a presentée chéz moi, un effet appartent à la succession de M.r Villeneuv. C'est une si vielle dêtte, qui je ne m'en souvenoit nullement, où que je la crois avoir acquité dans le tems; vous verrez par les papier [sic!] que j'ai l'honneur de vous envoyer, Monsieur, que l'on m'a condamné par deffaut, comme je reconnois de voir cette somme, et que je n'en jamais hesité de payer mes dettes; je vous prie en grace, Monsieur, de voir la personne qui est chargé de ce là, pour que je puisse payer a present cent cens, et le reste a la fin du mois de mars; je pars dans le moment pour Versailles, ou je suis obliger de rester trois jours; ainsi Dimanche matin je donneréz [sic!] l'argent, si cet arrangement peut se faire [.]". - In places minor ink set-off. Apart from light foxing very well preserved.

PIERRE BOULEZ IN SALZBURG Programmbuch der SALZBURGER FESTSPIELE 1992, Hrsg. Josef Häusler. Ein Eidolon-Buch, Salzburger Festspiele 1. Auflage 1992, ERSTAUSGABE, 167 SS. Pb. gr. 4°, mit vielen Fotos, gut erhalten - von Pierre Boulez mit Empfehlung eigenhändig signiert, neben zugeklebtem Original-Porträtfoto.

Pas de couverture. Zustand: Satisfaisant. Rare - Authentic card signed in 2001. + Photo 11.5x15 cm (recent print). Size : 10x15 cm. Condition : scribbles on the back, postal stamp, please see scans. Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Pas de couverture. Zustand: Bon. Rare - Album page signed in person in 1987 in Paris. + Photo 20x20 cm (recent print). Size : 21x14 cm. Condition : please see scans. Provenance : impressive collection of a Parisian autograph hunter called Thierry (or Terry). Certificate of Authenticity and lifetime guarantee. Signé par l'auteur.

Small-8vo. 3 pp. on bifolium. Charming letter to a journalist, thanking him enthusiastically for his very favorable criticism of a performance of a piece entitled Rêverie, possibly Hector Berlioz's Rêverie et caprice for violin and orchestra, and expressing some thoughts on the piece: "Comment vous remercier assez de toutes les choses flatteuses que vous avez bien voulu mettre sur ma musque dans votre critique ? Certes, d'après ce que vous m'aviez dit après la répétition, je m'attendais bien à q.q. compliments, mais je suis gâté, et tellement gâté qu'il ne faudrait que q.q. articles de ce genre pour me rendre insupportable, pour que je me gobe outre mesure ! Dans ce cas, vous en endosserez la responsabilité, n'est pas ??? - Permettez-moi de vous dire aussi, à mon tour, que vous avez fort bien compris la pensée toute intime de la Rêverie et cela prouve en faveur de votre savoir musical. Car la rêverie n'est pas de ces uvres qui empoignent au premier coup (J'en prends à témoin Mr. Gozlan). Puissent vos prédictions se réaliser dans un temps plus ou moins proche je travaillerai toujours ferme pour que vous ne mentiez pas." - Light foxing.

Visiting card format. 1 page. To the publisher Wilhelm Enoch (1840-1913) asking him to supply his orchestral and choir works, including marches, dances and genre works, his "Czarine" and his "Marche Russe" to his friend, the cellist and conductor Achille Kerrion (1868-1939), who conducts concerts at the "Palais de l'Industrie": "Veuillez donner à mon ami Mr. Kerrion, qui va diriger les concerts du Palais de l'Industrie, mes oeuvres orchestre et orchestre et choeurs: danses, marches, morceaux de genre, Czarine, Marche Russe etc. Merci et bien à vous [.]". - A strip of paper mounted on verso.

8vo. 1 p. on bifolium. To a pharmacist, ordering "12 bouteilles d'eau oxiazotique" to be sent to the restaurant A. Dreher, 1 rue St.-Denis.

8vo. 3 pp. on bifolium. To the composer and conductor Maurice Galerne, concerning a performance of d'Harcourt's Symphonie Néo-classique in Marseille, probably led by Galerne, and choral works by Galerne. D'Harcourt thanks Galerne for the well-received performance and praises Galerne's piece "Patrie", also suggesting a minor change: "Je vous envoie la photographie que vous avez bien voulu me demander. J'espère que la bonne impression première que vous avez eue de la Néoclassique vous est restée. Les coupures que je reçois des journaux de Marseille me paraissent favorables. Pour ma part j'ai conservé excellents souvenirs de l'orchestre et du public et je suis tout disposé à retourner à Marseille, le cas échéant. Vos churs me semblent très bien, quelquefois un peu difficiles ou plutôt troublants d'intonation, mais ils doivent sonner magnifiquement. L'évocation de la Marseillaise dans 'Patrie' doit produire un rude effet ! Voulez-vous me permettre une petite critique : je n'aime pas dans le mot 'maintenant' l'accent sur te [.]". - On stationery with printed letterhead. Traces of folds and former mounting.

4vo. 2pp. On the letterhead of the Cabinet du Général de Gaulle, Le Directeur du Cabinet, with addr. envelope. Letter by Gaston Palewski (1901-1984), French politician and close associate of Charles de Gaulle during and after World War II. The letter is dated October 11, 1945. "Sonia Galperine m'a transmis hier, avec votre charmante pensée, le portrait du palazzo. Aucun souvenir de notre chère Winnie ne pouvait m'etre plus precieux. Nous avons si souvent évoqué cette periode, qu'elle sentait déjà desparue. Nous avons fait tant de projets de retour au "palazzo". Agréez, je vous prie, Chère Madame, l'hommage de mas sentiments les plus respectueux."Sonia Galperine transmitted to me yesterday, with your charming thought, the portrait of the palazzo. No memory of our dear Winnie could be more precious to me. . Please accept, dear Madam, the homage of my most respectful feelings."Juliette Nadia Boulanger was a French composer, conductor, and teacher. She is notable for having taught many of the leading composers and musicians of the 20th century. She also performed occasionally as a pianist and organist.

8vo. 1 page on bifolium. To a friend about a funeral taking place the following day, which will prevent him from attending a breakfast at the Parisian Café de la Paix: "Il faut que je sois demain, à 1h, à un enterrement à Villejuif. Il m'est donc impossible d'assister au déjeuner du Café de la Paix. Veuillez croire à tous mes regrets [.]". - On headed stationery of the Conservatoire National.

8vo. 1 page. With autograph address verso. To the cellist and conductor Achille Kerrion (1868-1939) in Paris, whom he assumes to be as busy as he himself is, with thanks for his good wishes, accepting a request to assist with the text for a classic work, but refusing to conduct or remain attached to the "établissement": "Je pense que vous êtes, comme moi, fort occupé! Merci pour vos bons voeux [.] Vos directeurs m'ont demandé de les aider pour le texte d'un ouvrage classique en projet, j'ai accepté, mais c'est tout, je ne conduirai pas et ne resterai pas attaché à l'Etablissement, mais je reste attaché aux amis [.]". - With a strip of paper pasted on verso, slightly affecting the address.

8vo. 1 page. With autograph address on verso. To the cellist and conductor Achille Kerrion (1868-1939) in Paris, who had offered to perform some of Ropartz's compositions, announcing an adagio for cello and orchestra to be sent to Paris shortly, and discussing the role of the tuba in some of his works, suggesting his serenade for string orchestra (1892), his "Fantaisie en ré majeur" (1897), and "Les Landes" (1888) to be played by strings or bassoons in substitution of the tuba: "Un editeur de Nancy, Mr. Dupont-Metzner vous enverra un Adagio pour Violoncelle et orchestre. Vous connaissez la Sérénade pour Cordes (Baudaux). La Fantaisie en ré maj. n'a pas de tuba mais est très difficile. Les Landes ont une partie de tuba mais pas absolument indispensable. Dans un seul passage il faudrait remplacer le tuba absent par le 4e Cor[de] qui ne fait rien ou les Bassons. Ces deux oeuvres sont aussi parties et partitions gravées chez Baudoux: sont ceux pour répondre à votre aimable offre de me mettre à vos programmes [.]". - On headed stationery of the Nancy conservatory. With 2 small tears along the centerfold, as well as tiny flaws to upper margin.

8vo. 3 pp. on bifolium. To the cellist and conductor Achille Kerrion (1868-1939) with the offer of a position as a cellist at the Lyon Grand Théâtre, as well as as a professor at the conservatory, and suggesting he take both positions, giving the expected income and engagements, including performances at the Bellecour concerts, with the promise of a comfortable home and the opportunity quickly to achieve a high standard of living: "Vous serait-il agréable de venir vous fixer à Lyon comme Violoncelle solo au G[rand] Théâtre (en partage) et professeur au Conservatoire? Le Théâtre rapporte 200 fr. par mois pendant 7 ou 8 mois (à la volonté du Directeur) et les autres mois nous avons les Concerts-Bellecour qui, en société francs rapportent du 100 au 110% des appointements d'hiver et les solistes touchent un cachet fixe de 29 fr. chaque fois qu'ils jouent en public. Le Conservatoire est peu payé, il rapporte je crois 600 f. par an, mais le titre vous fait avoir les meilleurs séjours de la ville, et nous avons ici 440.000 habitants. Nous avons aussi 4 grands Concerts du Conservatoire par hiver qui nous rapportent une moyenne de 90 f. par Concert et qui sont subventionnés de l'Etat. Lyon est grand, un artiste de talent pouvra vite y faire une fort belle situation; veuillez y reflecter et me donner [.] une réponse le plutôt que vous pouvrez [.]". - Slightly creased; a strip of paper mounted on verso.

Porträtfotopostkarte (mit Violine) mit rs. eigenhändiger Widmung,Empfehlung,Jahr, Unterschrift 1947 Herzlichst an meiner Alte Bekannte und Freund Herrn Willy Weingartz. 1947 (dito : Odeon-Porträtpostkarte (Fot. Kellner, Bln.) mit eigenhändiger Widmung, Empfehlung, Jahr 1941, Unterschrift in grüner Tinte bildseitig signiert Euro 95,-).

Eigenhändiger Brief (1 p. 8 to, gedruckter Briefkopf als Directeur des Conservatoire National de Musique) mit Ort,Datum, Unterschrift signiert - an einen Freund; Nancy, 20.7.1933 (Autograph Letter signed by french composer, 1 p. 8 to, fine) (dito : Persönliche Visitenkarte als Directeur du Conservatoire de Nancy, in Tinte mit Datum 24 Decembre 1932 (!), 9 eigenhändigen Zeilen, Unterschrift signiert - an mon cher ami. Euro 48,-).

Quer-8vo. 1 p. Printed Street. Double sheet. To an unnamed person Madame", whom she offers condolences: Voulez-vous bien accepter ces petites fleurs, modestes - Elles viennent de tout cur vers vous, en ces jours si lourds.".

8vo. 1 page. To an acquaintance, inviting her to a premiere the following Wednesday: "Je crains de ne rien vous donner pour demain mais vous irez à la 1ère mercredi [.]".

Oblong 8vo (100 x 160 mm). 1 page. 3 bars on two staves of the solo piano part from the third movement of his "Concerto for Piano and Wind Instruments", written in 1923/24 and revised in 1950. The concerto was to prove one of Stravinsky's most important works of the 1920s, by virtue of the fact that he played it almost everywhere he went. It therefore became the one genuinely modern score of his that was widely known in that decade. The music is notated on staves drawn by Stravinsky on a blank sheet. For this purpose, the composer used "a certain instrument with little wheels invented by him for drawing the stave lines" (C. F. Ramuz, Souvenirs sur I. Stravinsky, 1946, p. 77). - Minor creasing and a few light marks.

160 x 235 mm (photograph). Mounted on cardboard backing bearing the inscription and signature (250 x 350 mm). To his friend Osio: "Ricordo al amico Osio e alla villetta". - Cardboard somewhat spotted; inscription slightly faded.

Gr.-4to. und 8vo. 12 pp. Important correspondence with Alfred Pochon (1878-1959), a Swiss violinist and member of the New York-based Flonzaley Quartet, concerning the first performance of Strawinsky's Three Pieces for String Quartet, K19 in 1915 and the commission, composition, and premiere of his Concertino for String Quartet, K35 between 1919 and 1922. The earliest postcard of the correspondence from 29. Mai 1915 is an invitation for dinner in Strawinsky's house in Morges. Strawinsky asks Pochon to bring the sheet music of the string quartet so that they can look at it together. This was only weeks after the not very successful premiere of the composition in Paris on 13 or 19 May 1915 by an ensemble surrounding Darius Milhaud. Pochon's Flonzaley Quartet first performed the composition on 8 November 1915 in Chicago, a few months after the proposed meeting. On 25 January 1917, Strawinsky wrote another postcard from Morges, asking Pochon to give "all of the material (sheet music for the ensemble and parts)" to Edward Bernays, his representative in America. Strawinsky thought "that this affair had been settled for a long time" and thanks Pochon for "taking care of the numerous proofs" of his quartet. Before 1918, the sheet music for the Three Pieces for String Quartet only circulated in manuscript-form. Although Strawinsky considered dedicating the second piece to Pochon, who had originally suggested the composition to him, he ultimately decided against it. Strawinsky's connection to the journalist, press agent, and theorist Edward Bernays (1891-1995), who is considered to be the father of public relations, was previously unknown. He certainly knew Bernays through Sergei Diaghilev who had hired Bernays as a press agent for his Ballets Russes on their American tours. - The larger part of the correspondence, stretching from 1919-22, concerns the Concertino for String Quartet that was commissioned by Alfred Pochon on behalf of the Flonzaley Quartet in a letter dated 17 August 1919. On 1 September 1919, Strawinsky responded to the request, accepting an offer of 500$ for "composing something" for the quartet and the exclusive performance rights for the United States for at least 1 year or until the publication. The piece should be dedicated to the musicians of the quartet and the American banker and collector André de Coppet. Strawinsky also gives condolences for the death of Pochon's infant son and thanks him for his "interest in the difficult situation" that him and his family found themselves in, "thanks to the war and the revolution" in Russia. In a curious remark, Strawinsky stresses that he has "always considered the exchange of musical production (like any other production) for money to be an entirely natural thing", thus explaining the "somewhat 'business-like' character" of his letter. - Over four months went by until Strawinsky responded to a letter from 14 October 1919 with apologies for his "long silence" and the reaffirmation of his "promise to compose a piece [une musique]" for Pochon's "marvelous ensemble", reassuring him: "Not only do I constantly think about it but I'm also, from time to time, accumulating material, bringing to paper some things that come to me 'through the ears', 'through the fingers', through the head". What he lacked was time but he announces to work on the composition during the summer. Strawinsky then addresses a "somewhat delicate subject", asking Pochon to pay the agreed-upon sum already, given his difficult financial situation following the Russian revolution: "I'm the only support not only of my own family but also of that of my sister who came here without any means of subsistence and of relatives that are very close to me and my wife who come from Russia one after the other [.]". In a short postscript, he agrees to extend the performance rights for the composition to all countries. (Morges, 25.02.1919). - On 3 May 1920, Strawinsky announces the reception of the sum and his plans to move to Italy, first Positano and then Rome, in order to safe expenses. He also mentions his departure to Paris for the premiere of Pulcinella by the Ballets Russes at the Paris Opera and invites Ponchon to visit him in Positano, where he plans to work on the quartet. - While the plans to move to Italy never materialized, Strawinsky did start the composition in the late summer of 1920. On 16 September 1920, he wrote a postcard from Coco Chanel's villa in Garches near Paris to schedule a meeting in Paris. Strawinsky explains: "I'm living temporarily in the house of a friend who offered her villa to me until I find accommodation, which is very difficult here". In two short postscripts he adds: "My children thank you in any case for the post stamps, the craze of which has not yet ebbed for them" and, more importantly: "The composition of the quartet is in full swing [bat son plein]". - Strawinsky completed the piece on 24 September and it was first performed on 3 November 1920 by the Flonzaley Quartet in New York. Strawinsky's first letter following the premiere didn't touch upon it, rather discussing a potential publication deal with the New York based publisher G. Schirmer. It seems that Schirmer's "new proposition" didn't include the Concertino, considering Strawinsky's somewhat cryptic remark: "I expected the answer with respect to the Concertino", which is also the first time that the title Concertino appears in the correspondence. Strawinsky does, however, accept an alternative deal with the demand of three changes to the contract: "I. I will gladly compose 3 small pieces for piano but without guarantee that they will be based on 'Russian folk-lore', I cannot do such a thing on command. - II. Instead of 5 little pieces for voice and piano, I propose to him to compose the same number of small pieces for flute and piano or violin and piano or flute and violin or two violins (something that I have wanted to do for a long time). - III. For the payment (for the 10 small piec.