Tchaikovsky pyotr composer (21 Ergebnisse)

Paperback. Zustand: Brand New. 32 pages. Russian language. 11.50x8.03x0.24 inches. In Stock.

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paperback. Zustand: Good. Good with wear and markings. Looks like an interesting title.

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Paperback. Zustand: Brand New. pap/psc edition. 63 pages. 11.75x8.75x0.50 inches. In Stock.

School and Library Binding. Zustand: Brand New. 32 pages. 11.25x9.25x0.50 inches. In Stock. Zwerger, Lisbeth (illustrator).

Paperback. Zustand: Brand New. paperback/cd edition. 49 pages. 12.00x9.00x0.25 inches. In Stock.

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Paperback. Zustand: Brand New. 168 pages. 12.00x9.00x0.41 inches. In Stock.

Paperback. Zustand: Brand New. critical edition. 104 pages. 12.00x9.00x0.41 inches. In Stock.

Paperback. Zustand: Brand New. 999 pages. In Stock.

Partial score. Secretarial manuscript with autograph amendments. 20 pp. (without end and solo parts). One gathering of 5 four-page sheets, staff paper by Breitkopf & Härtel, Leipzig (22 staves). Modern half calf (1968) with gilt title and ownership. 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). - Light browning and occasional staining. Early typescript description affixed to half-title. Incomplete (wants end and solo part). Includes expert opinion by Professor Dr. Thomas Kohlhase (Cologne, 7. Oct. 2022). - 1) In the manuscript collection of Stefan Zweig until 1938, then sold by Heinrich Hinterberger, Vienna. 2) Louis Koch collection, Frankfurt/Main. 3) 1968: Dr. Friedrich Frauenberger collection, Munich. 4) Zisska & Kistner, sale 35 (2000), lot 419. 5) Last in a German private collection. - Hinterberger, cat. IX, p. 78, lot 296. Matuschek, p. 390, no. 954. Georg Kinsky, Manuskripte - Briefe - Dokumente von Scarlatti bis Strawinsky. Kat. der Musikautographen-Slg. Louis Koch (Stuttgart, 1953), pp. 300 f.…

Albumen print (vintage), 129 x 100 mm on backing cardboard (152 x 106 mm) with gilt imprint of the Müller & Pilgram studio in Leipzig. Gilt and bevelled edges. 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.…

Oblong folio (353 x 270 mm). Full score for orchestra. Manuscript in black ink on 20-stave paper by "D.T. Éditeur, Paris", mainly on one system per page. 12 pp. on 3 bifolia (only ff. 2-3 still conjoined), lacking one bifolium after f. 5 (portions of f. 1 and f. 5 roughly torn off). Extremely rare musical manuscript: the orchestral score for a dance from "The Maid of Orleans". Composed in 1878-79, with a libretto by the composer, Tchaikovsky's opera in 4 acts premiered on 25 February 1881 at the Mariinsky Theatre in St Petersburg; in the following year it became the first of Tchaikovsky's operas to be performed outside Russia, with a production in Prague opening on 28 July. - The part in this manuscript belongs to Act II, nearing the central moment of the opera when Joan of Arc's victory is announced: at the Château de Chinon, King Charles VII, absorbed in his worries, seeks to distract himself by listening to the minstrels, and three dances follow one another: "Dance of the Gypsies" (Allegro vivace), "Dance of the Pages and Dwarfs" (Allegro moderato), and finally the present "Dance of the Buffoons" (Allegro molto). - Though lacking a bifolium (bars 173-233), the manuscript is otherwise complete in orchestration and includes a number of revisions by the composer. An elegant copy, the manuscript nevertheless shows some haste in writing, with corrections to the text, a whole bar crossed through, and other corrections (with a slightly thicker pen nib) probably made on checking through. The text offers a number of minor variants from the received printed score, chiefly relating to dynamics and slurrings. - The manuscript's dating poses a puzzle: Tchaikovsky was working on the libretto from about 21 November to 3 December, though in a letter to Mme. von Meck he indicated he did not intend to begin composition until after he had finished work on the orchestral Suite no. 1, whose last two movements he completed on 27 November (the same day as the present manuscript). In the event he did not begin work on the composition until 4 December, according to a letter to his brother Anatoli of the following day; at the end of the opera's autograph he writes that it was begun in Florence on 23 December. The present manuscript therefore precedes the accepted dates for the beginning of composition: its finished condition, and the fact that the "Dance of the Buffoons" would not represent the most obvious starting point for the opera, may mean that it originally formed part of a separate composition, and the coincidence of dates hints at some association with the Suite no. 1 itself. Tchaikovsky had left home late in 1878 for a trip to Florence and Paris, arriving in Florence on 20 November. - Musical manuscripts by Tchaikovsky are extremely rare on the market: prior to the appearance of this manuscript at Christie's more than a decade ago, only a single leaf had been offered for sale in the preceding 30 years, and no substantial manuscript had appeared since before the war. Since then, a 16-leaf working manuscript comprising score drafts of several movements of the orchestral Suite no. 2 was sold at Sotheby's in 2015, commanding £270,000. - Only ff. 2-3 still conjoined. Lacking one bifolium after fol. 5 (portions of fol. 1 and fol. 5 roughly torn off). - The editors of the Thematic and Bibliographical Catalogue of P. I. Tchaikovsky's Works refer to the composer's "rather careless attitude towards his own manuscripts [.] Many of them were handed to various people and were later partly lost". The present manuscript, of a movement which was subsequently incorporated into a larger work, would have been a suitable candidate for presentation. It was most likely acquired from the composer, or shortly afterwards, by a cousin of Anton and Nikolai Rubinstein, Aaron Rubinstein (b. 1850); at some subsequent stage ownership stamps appear to have been roughly removed from the first and fifth leaves. Sold at Christie's London for Aaron Rubinstein's descendants on 3 June 2009 (lot 41: £97,250).…

8vo. 2½ pp. on bifolium. With autograph envelope. Unpublished letter in Russian to Aleksandr Glazunov (1865-1936) in which Tchaikovsky expresses his fatigue and anxieties three weeks before the premiere of "The Queen of Spades" and asks a favour: "I am deadly tired from the opera's rehearsals; tomorrow awaits another one, demanding again great attention and all kinds of anxieties of an author. I am afraid for my disease not to repeat, not going to the concert today. Laziness is unfortunate, but it is necessary [.]. I have a request for you: ask to visit me on Tuesday evening Lyadov [Anatoly Lyadov], both Blumenfelds [Felix and his brother Stanislav Blumenfeld] and Lavrov [Nikolay Stepanovich Lavrov], whom you will not see today, but perhaps you'll write him a note. I do not know his address. Remind as well Nikolay Andreevich [Rimsky-Korsakov], I am most convincingly asking him to be at my place on Tuesday evening. And please, do not forget! [.]" (transl.). - This important letter adds to only twelve known letters from Tchaikovsky to his friend and protegé Glazunov, dating from 1887 to 1892. It provides insights into Tchaikovsky's St. Petersburg circle, members of which included the composers Glazunov, Nikolay Rimsky-Korsakov and Anatoly Lyadov, who were part of the so called Belyayev circle, the composer and conductor Felix Blumenfeld (1863-1931), his brother the piano teacher Stanislav Blumenfeld (1850-97), and the pianist Nikolay Stepanovich Lavrov (1861-1927). The letter was written during the rehearsals for "The Queen of Spades" which premiered successfully at Mariinsky Theatre in St. Petersburg on 19 Dec. 1890 (Gregorian calendar). - Folded and slightly smudged; envelope somewhat foxed. …

8vo. 1 page. On yellow stationery, light creasing and thumbing, matted with pastel portrait of Tchaikovsky and albumen print photo of Mozart portrait and framed. Tchaikovsky discusses his newly-composed Orchestral Suite No. 4 Op. 61, usually referred to as "Mozartiana", composed to celebrate the centennial of Mozart's "Don Giovanni". Tchaikovsky personally conducted the debut performance of "Mozartiana" in Moscow in November of 1887. The composition's title is referred to in the heading and in the body of the manuscript.…