Strauss richard composer (37 Ergebnisse)

Soft cover. Zustand: Near Fine. Reprint Edition. Dover's unabridged reissue of the 1916 Adolph Furstner Edition. Strauss's extravagantly shocking (in drama and music) retelling of the Greek story, premiered in Dresden in 1909. CONTENTS: Scenes; Glossary of German Terms, Characters, Instrumentation; Full Score. 370 pages. CONDITION: A bright, tight, square, unmarked NEAR FINE copy with light cover-wear and outer corner creasing on the back cover, its interior pages pristine. ***** NOTE: Because of the item's size and weight (ca.3 pounds securely packed) an additional shipping charge must be assessed for international orders and domestic (USA) Priority - but not to exceed the actual USPS rate. There will be no additional charge for domestic Media Mail. …

Paperback. Zustand: Brand New. 56 pages. 12.00x9.00x0.10 inches. In Stock.

Paperback. Zustand: Brand New. 32 pages. 12.00x9.00x0.10 inches. In Stock.

Paperback. Zustand: Brand New. 192 pages. 7.40x5.28x0.47 inches. In Stock.

Audio CD. Zustand: New. 5.5 X 5.0 X 0.5 inches; New copy, still sealed in publisher's shrinkwrap.

Paperback. Zustand: Brand New. 192 pages. 7.40x5.28x0.47 inches. In Stock.

Pamphlet. Zustand: Brand New. German language. 9.21x0.28x12.01 inches. In Stock.

Pamphlet. Zustand: Brand New. German language. 9.09x0.28x11.85 inches. In Stock.

Pamphlet. Zustand: Brand New. German language. 9.09x0.28x11.85 inches. In Stock.

Paperback. Zustand: Brand New. 240 pages. 7.32x5.35x0.55 inches. In Stock.

Soft cover. Zustand: Good. German and English lyrics. Heimliche Aufforderung, Op. 27 No. 3 /HIGH. The Lover's Pledge. Universal edition No 1097 GOOD 7 pages. Front cover present but detached. No unwanted markings.

Paperback. Zustand: Brand New. paperback/cd edition. 204 pages. 8.75x6.00x0.75 inches. In Stock.

Sheet music. Zustand: Brand New. 72 pages. German language. 11.77x8.98x0.35 inches. In Stock.

Paperback. Zustand: Brand New. 224 pages. 12.00x9.00x0.75 inches. In Stock.

Zustand: Near Fine. First edition hard back binding in publisher's original Wedgwood blue cloth covers, gilt title lettering to the spine and to the front cover. 8vo. 9½'' x 6¼''. Contains [xix] 195 (+ i) printed pages of text with colour and monochrome photographic stills throughout. Hint of dust to the top edge. Near Fine condition book in Fine condition dust wrapper, not price clipped. Dust wrapper supplied in archive acetate film protection, it does not adhere to the book or to the dust wrapper. Member of the P.B.F.A. ISBN 0718122100 OPERA.…

Paperback. Zustand: Brand New. 288 pages. 12.00x9.00x1.00 inches. In Stock.

Sheet Music. Zustand: Good. Good condition with wear and markings.

Large 4to (270 x 330 mm). (2), 442 pp. Contemporary half cloth with mounted original illustrated wrapper. Signed by the composer on the title-page, dated 24 May 1943. - Spine lightly cocked; upper cover slightly warped; generally in fine condition.

Ca. 45 x 85 mm. Matted and framed. Two bars of the main motifs from his tone poem "Till Eulenspiegels lustige Streiche", op. 28, the clarinet theme that suggests Till's laughter as he plots his next prank. - From the estate of Maestro Hans Bauer (1935-2023), a world-renowned Austro-Canadian conductor and accomplished violinist who formed a small but choice collection of musical autographs. His sister Hertha Bauer (1919-96), who worked at HP Kraus for more than 25 years, assisted him forming this collection.…

The postcard undated (ca. 1910). Altogether 2½ pp. (one letter on bifolium). 18 x 11.5 cm and 30 x 21 cm; the portrait postcard 14 x 8.5 cm. Three attractive items addressed to the conductor and composer Robert Heger (18861978), whom Strauss addresses as "Freund u. Collegen" ("friend and colleague").In the first letter, Strauss announces his arrival in Vichy for 1 September 1935, where he was to conduct a performance of his opera Salome during the International Music Congress. With characteristic irony and resignation he remarks: "Im Übrigen geht's, wie's gehen mag! Wie singt Florestan: meine Pflicht habe ich getan!" ("Otherwise things go as they may! As Florestan sings: I have done my duty!"), adding a brief autograph musical quotation from the famous aria "In des Lebens Frühlingstagen" from Beethoven's Fidelio. Heger himself was apparently unable to attend the congress, prompting Strauss to add in a postscript: "Schade, daß Sie nicht kommen!" ("A pity that you are not coming!").The second letter, written by the 79-year-old composer in 1943, touches upon the travel restrictions imposed by his advanced age and inquires about the progress of productions of two of his operas. Strauss asks Heger for details concerning Capriccio in Kassel under his direction, "particularly about the cast of soloists", adding with confidence that "conductor and orchestra are all right". He also comments on performances of Guntram in Berlin, observing that "alongside the popular Bohèmes, Butterflys, Barbiers von Sevilla, etc., the German Guntram might occasionally find a place again".Included is an undated studio portrait postcard by E. Bieber (Berlin & Hamburg), depicting Strauss seated in three-quarter length at approximately forty to forty-five years of age.…

8vo. Altogether 9¾ pages on 6 ff. In German. To Lotte Lehmann, discussing" Intermezzo" and "Die ägyptische Helena" with one of his greatest interpreters. On Christmas Day 1924, Strauss congratulates Lehmann on her performance in "Intermezzo", in which she had sung the role of Christine at the premiere on 4 November, and asks when she will return to Dresden, hoping it will be to perform as "Ariadne, the Marschallin and - Salome!", although perhaps Franz Schalk (at the Vienna Staatsoper) has other plans for her, such as Mascagni's "Freund Fritz" or Weber's "Euryanthe"; the question of whether "Intermezzo" will have a production at the Staatsoper (where Strauss had been joint-principal conductor with Schalk until earlier that year) is undecided. - On 13 September 1928 he tries to mollify Lehmann after the scandal over the "Die ägyptische Helena" (at the premiere on 6 June the Dresden Semperoper had refused to cast Maria Jeritza in the title role, even though Strauss had written it for her, casting Elisabeth Rethberg instead), insisting that "although I was very enthusiastic about Frau Jeritza's Helena, I still did not shed any tears over it" and apologising for not having fixed a date for Lehmann's own performance in the role. - Two days later, he writes again to say that Lehmann's performance as Helena has been put off from October, and that after two weeks' study of the role she will realise that "the the role is really not so hard, three times easier than Intermezzo, which you easily mastered in three weeks", and discussing when the Vienna premiere will take place (after Jeritza has left town), and asking in a postscript "So when will you be singing Ariadne, Marschallin, Christine again?". - The great soprano had a close association with Strauss's operas, and sang in the premieres of "Ariadne auf Naxos" (1916), "Die Frau ohne Schatten" (1919), and "Intermezzo" (1924). Her performance as the Marschallin in "Rosenkavalier" was particularly celebrated. - Bifolia, each with recipient's red date stamp. Somewhat spotty. - Sotheby's London, 18 & 19 May 1989, lots 516, 525 and 526.…

8vo. 2 pp. With addressed envelope. In German. To the opera director Bruno von Niessen, offering him a letter of recommendation for the Wiesbaden theatre: "The mayor of Wiesbaden has invited me to a Strauss week at the end of May, and I have agreed in principle, my health permitting. I have engagements in Paris from May 20th to 30th and could be in Wiesbaden on June 1st, where it would be my pleasure to see you as director of the theatre. I am happy to confirm to the gentlemen of the government and to the American High Command at any time that they could not choose a better man. You have all the requirements necessary for a director of a house and stage of such quality [.]" (transl.). In spite of Strauss's efforts, Niessen would ulimately not become director at Wiesbaden. - On stationery with printed letterhead of the "Montreux Palace" hotel.…

4to. (½+1 =) 1½ pages on 2 ff. With two autogr. envelopes. The musical quotation on 4 pages in-8 mimeographed concert programme. Several addenda. Interesting set addressed to the American commander of Garmisch, after the defeat of Germany. Major Herbert L. Snapp (1901-91) was the officer of the American occupation troops, appointed "Stadtcommandant" of Garmisch, where Strauss resided. - 1) Garmisch, 8 May 1945. On the very day of the armistice and the end of the war, Strauss greets Commander Snapp as the representative of the great American people ("als hiesiger Repräsentantendes grossen amerikanischen Volkes") on this day of peace ("zu dem heutigen Friedenstage") and warmly expresses the wish that America, friend to the arts, as it has delivered Germany from an undignified slavery, will in a beautiful future extend its protection to the descendants of Goethe and Wagner for the reconstruction of the country and its culture. - 2) Garmisch, 12 May 1945. Strauss asks for driving licenses and, for his son, daughter-in-law and grandson Richard, hunting licenses, so that his family can feed itself. - On a mimeographed concert programme, given by the students of the Music Department of St. Mary of the Springs on 12 April 1945, Richard Strauss inscribed a 3-bar quote from the beginning of the Rosenkavalier, with the inscription and signature. - Attached is an autograph letter from "Daddy" (i. e. Snapp) to his daughter Nancy, sending her, with comments, these documents, and a letter draft to Strauss in which the American military government makes three reassurances, "all of which will be in direct contrast to the period 1933-45" (written on the reverse of a stationery with printed letterhead of the Reichsministerium des Innern).…

4to. 2 pages. Curious letter about Strauss's attitude under Nazism. The letter shows Strauss's activity to create the STAGMA (Staatlich genehmigte Gesellschaft zur Verwertung musikalischer Aufführungsrechte) to replace the GEMA (Genossenschaft zur Verwertung musikalischer Aufführungsrechte), a governmental institution for the management of musicians' copyrights, and his attempt to compose the board of directors of the new society in such a way as to satisfy the Nazi leaders, who should not be part of it, while he himself wanted to be its president. Dr. Schmidt-Leonhardt must prepare the minister for Strauss's position. The early foundation is a chance for them, and if Dr. Goebbels confirms to give Strauss full powers according to the "Führer principle", Strauss will immediately determine autocratically (after liquidation of the last GEMA General Assembly) the board and the statutes of the Stagma: "Inhalt beiliegenden nicht abgesandten Briefes können Sie vielleicht vertraulich für Herrn Dr. Schmidt[-]Leonhar[d]t benützen, damit er in meinem Sinne den Herrn Minister schon präparieren kann. Wenn ich recht überlege, ist die voreilige Gründung für uns ein Glück u. wenn Dr. Goebbels Stand hält u. mir alle Vollmachten 'laut Führerprinzip' bestätigt, bestimme ich (nachdem die letzte Gemageneralversammlung liquidiert hat) nun Vorstand u. Statuten der Stagma selbstherrlich. Ich habe Kopsch telegrafisch nach Berlin beordert u. mir seine neuen fertigen Statuten nach hieher erbeten, damit ich Samstag ganz im Bilde bin. Bitte versichern Sie sich noch des Herrn Havemann, damit uns nicht von der Partei (etwa Herr Hinkel oder sonst wer) in den Rücken fällt u. dann will ich versuchen, Herrn Keudell ganz auszuschalten, den Vorstand u. die Geschäftsführung der Stagma neu zu ernennen. Vorher waren es doch drei bei der Gema: Ritter, Schmeling, Lehar? Kann man in die Stagma nicht 2 coordinierte Geschäftsführer: Kopsch - Stagma / Ritter - Gema [.] hineinnehmen? u. den ganz unnötigen Präsidenten Gräner mit dem hohen Gehalt einfach ausschiffen? [.]". - On headed paper ("Kurheim Rex"); left margin with punched holes (not touching text).…

Oblong folio. 2 pp. In pencil. A draft for the opera "Die ägyptische Helena" (op. 75), which premiered in 1928 in Dresden, as confirmed by the Richard-Strauss-Institute in Garmisch-Partenkirchen. - Hardly visible centrefold, slightly creased, two small ink blots in the left margin. From the estate of Wolfgang Sawallisch.…

8vo. 1 p. Address in the hand of the recipient. An appealing knee-length portrait en face, from the Vienna atelier Edith Barakovich. - Slightly spotty.

Oblong 8vo. 1 p. With autogr. address. To Edgar Luis's concert office in Innsbruck, requesting front-row tickets for two different concerts: "Besten Dank für das schöne Festprogramm! Bitte reservieren Sie mir für meine Familie zu beiden Konzerten je 3 Plätze in der ersten Reihe [.]". - Slight waterstaining.…

8vo. Altogether (4+1=) 5 pp. on double leaves. To the critic Alexander Berrsche. A long and comprehensive letter in which Strauss explains in detail what Berrsche had criticized in his review of an Academy Concert that Strauss had conducted: "You heard quite correctly that it was less 'vivacious', less 'dashing' than usual [.] the brass section remained 'unaffected' and 'subdued'. Beethoven's Scherzo was played (following Bulow's rule) in moderate tempo for the first time, and only the second repetition was played in full Vivace, the finale was played a third slower than is common among the world's most famous conductors and even Richard Wagner himself postulated (erroneously, in my opinion) [.]". - Includes a typed letter to Berrsche by the publisher, and a letter from Strauss to a Munich publishing house. …

8vo. ¾ p. on bifolium. To Edgar Luis at Innsbruck, regarding the impossibility to come to Vienna in April, and with his best wishes for a concert. - On headed paper.

Large 4to. 2 pp. Notes referring to a card game played with his son "Bubi" and "Klarw.", the singer Franz Klarwein (1914-1991). The reverse contains a typed poem in ten verses "Der Schöpfung Sinn" (by Strauss?) and, in the margin, an autograph draft for a letter of condolence to an unidentified recipient: "[.] schmerzlich ergriffen erfahre ich das Hinscheiden Ihres verehrten Vaters, meines gütigen Freundes u. hochherzigen Förderers [.]". - One large tear reinformed professionally; several traces of folds.…