British Library: Western Manuscripts

Stefan Zweig Collection: Music, literary and historical manuscripts (1538-1936) (Zweig MS 1-218) Table of Contents

Stefan Zweig Collection: Music, literary and historical manuscripts (1538–1936)

Key Details...... 1

Arrangement...... 1

Provenance...... 1

Publications...... 1

Zweig MS 1–131 Stefan Zweig Collection: Music manuscripts ([1671–1999])...... 2

Zweig MS 132–200 Stefan Zweig Collection: Literary and historical manuscripts ([1542–1940])...... 159

Zweig MS 201–205 Stefan Zweig Collection: Printed books and music ([1538–1873])...... 212

Zweig MS 207–215 Stefan Zweig Collection: Manuscripts formerly on loan to the British Library as Music Loan 95 (1800–1980)...... 217

Key Details

Collection Area British Library: Western Manuscripts

Reference Zweig MS 1-218

Creation Date 1538-1936

Extent and Format 205 items

Languages of Material Danish; English; French; German; Latin; Italian; Norwegian; Russian; Spanish; Swedish

Access Conditions Restrictions to access apply please consult British Library staff

Title Stefan Zweig Collection: Music, literary and historical manuscripts (1538-1936)

Scope and Content Comprising items collected by Stefan Zweig and by his immediate heirs, with a number presented to Zweig by the writers. All manuscripts are autograph unless otherwise stated. A number of the music manuscripts from the collection were formerly placed on loan in the British Library, the Mozart manuscripts as British Library Music Loan 42, the Bach manuscripts as Loan 65, and other music manuscripts, including the Wagner material, as Loan 77.

Arrangement

Arranged as follows:

A. Music Manuscripts: Zweig MS 1-131.

B. Literary and Historical Manuscripts: Zweig MS 132-200 (see also Zweig MS 206).

C. Printed Books and Music: Zweig MS 201-205.

Provenance

Legal Status Not Public Record(s)

Immediate Source of Presented by the Trustees of the Stefan Zweig Collection, 9 May 1986. Acquisition

Publications

See O. W. Neighbour, 'The Stefan Zweig Collection', in The Musical Times, June 1986, reprinted in part in the programme book of the first British Library Stefan Zweig Series (1987), where a summary list of the collection is also given.

Page 1 2021-08-21 Zweig MS 1-131 Stefan Zweig Collection: Music manuscripts ([1671-1999])

Collection Area British Library: Music Collections

Reference Zweig MS 1-131

Creation Date [1671-1999]

Extent and Format 131 items

Languages of Material English; French; German; Italian; Norwegian; Latin; Russian; Spanish

Access Conditions Restrictions to access apply please consult British Library staff

Title Stefan Zweig Collection: Music manuscripts ([1671-1999])

Scope and Content Music manuscripts from the collection of Stefan Zweig.

Legal Status Not Public Record(s)

Zweig MS 1 Johann Sebastian Bach: Cantata for the 19th Sunday after Trinity, `Wo soll ich fliehen hin?' (words after Johann

Collection Area British Library: Music Collections

Reference Zweig MS 1

Creation Date [1724]

Extent and Format 1 volume (12 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johann Sebastian Bach: Cantata for the 19th Sunday after Trinity, `Wo soll ich fliehen hin?' (words after Johann Heermann), for four voices and instruments (BWV 5) ([1724])

Physical Characteristics 375 x 423mm. ff. 10r and v ruled with staves but otherwise blank; ff. 1v, 2v, 11r and v, and 12r and v blank. Structure: wrappers consisting of 2 nested bifolia, enclosing 2, 2, 2, 2. All staves individually ruled, with between 22 and 25 staves to each page; see Neue Bach-Ausgabe, I/24, Kritischer Bericht, ed. Matthias Wendt (Kassel: Bärenreiter Verlag, 1991), pp. 126-8 for detailed list. Watermark: ff. 1 and 12, a crowned eagle surmounting a letter R, countermark ‘HALLE’; ff. 2-11, crescent moon with a face = Weiss no. 96 (Katalog der Wasserzeichen in Bachs Original Handschriften). Individual bifolia are at present encased in perspex sheets.

Former Internal Reference Loan 65.1

Scope and Content Autograph full score. Written in brown ink on systems of two to ten staves. Headed (f. 3r) `J[esu]. J[uva]. Do[m]i[ni]ca 19 post Trinit. Wo soll ich fliehen hin? Concerto'. With revisions throughout also in Bach's hand (listed in detail in Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke (Kassel: Bärenreiter Verlag, 1954- ), I/24, Kritischer Bericht, pp. 128-136), apparently made for a later performance. The seven sections of the cantata occupy the following folios:

ff. 3r-5v. [1.] Chorus. In the lowest of the four systems on f. 3r the viola part is written partly on the same stave as the second violin and partly on a separate stave drawn freehand in the lower margin. At the end the instrumental parts are marked ‘DC' for a repeat of the introduction, and the vocal parts are marked with 18 bars rest.

Page 2 2021-08-21

f. 5v. [2.] ‘Recit’. ff. 5v-6v. [3.] ‘Aria’. In the lowest system on f. 6v the basso continuo part is written on an extra stave drawn freehand in the lower margin. Marked ‘DC’ at end.

f. 7r. [4.] ‘Recit.’.

ff. 7r-9r. [5.] ‘Aria’. The tromba and basso continuo parts for bars 5-6 are sketched on two otherwise empty staves at the bottom of f. 7r, which ends at bar 4 of the aria. The first half of bar 56 (an instrumental passage) is written across the lower margin of f. 8v on five separately drawn short staves, with the indications ‘Tr:’, ‘Viol i’, ‘Violin 2’, ‘Viola’ and ‘Cont’; the second half of the bar follows in score on f. 9r. Marked ‘DC’ at end.

f. 9v. [6.] ‘Recit’.

f. 9v. [7.] ‘Choral’.

The continuo line is figured in nos. 2-4, 6, and 7 only, and in each case this has been added in another hand.

There are two wrappers designed completely to enclose the four bifolia of Bach’s manuscript. The inner wrapper (ff. 2, 11) is of the same paper type and has on f. 2r in ink in the hand of Johann Andreas Kuhnau ‘Dom: 19 post Trinit: / Wo soll ich fliehen hin? Weil ich [etc.] / á 4 Voc: / Tromba / 2 Hautbois / 2 Violini / Viola / con / Continuo / di Sign: / J. S. Bach’. The title is repeated in ink in an unknown hand on f. 1r of the second, outer, wrapper (ff. 1, 12), which is of coarse blue paper, apparently dating from the time when the manuscript was in the possession of Wilhelm Friedemann Bach.

Dürr concludes that the cantata was written for performance on 15 Oct. 1724, and that the evidence of a supplementary organ part indicates that the revisions marked by Bach into Zweig MS 1 date from 1732/5. Kinsky attributes the outer wrapper to Carl Friedrich Zelter, and there are some similarities with his hand.

Legal Status Not Public Record(s)

Custodial History Wilhelm Friedemann Bach at the composer’s death; Carl Philipp Heinrich Pistor (d. 1847), Berlin; Ernst Friedrich Karl Rudorff; given by the last by 1888 to Joseph Joachim; purchased for Heyer Collection, Cologne at auction by firm of C.G. Boerner, [Leipzig], 8 and 9 May 1908 (all from Neue Bach-Ausgabe, I/24, Kritischer Bericht, ed. Matthias Wendt (Kassel: Bärenreiter Verlag, 1991)); purchased by Zweig at third Heyer sale, Henrici, Berlin, 29 Sept. 1927 (Zweig’s record card, Add. MS 73167, f.1, which includes a printed extract from the Henrici sale cat.); British Library, Loan 65.1 from 1975 to 1986.

Published: Johann Sebastian Bach’s Werke (Leipzig: Breitkopf & Härtel, [1851- 1926]), vol. i (1851), pp. 125-50; Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke (Kassel: Bärenreiter Verlag, 1954- ), I/24 (1990), pp. 133-72.

Reproduced: f. 3r, Georg Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog (Cologne, 1916), pl. xiii; British Library Zweig Concert Series programme book 1987, p. 4, and 1996, p. 6; Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke (Kassel: Bärenreiter Verlag, 1954- ), I/24, p. X; f. 3r, Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 355; ff. 3r, 8v-9r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates I-II.

Bibliography: Georg Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog (Cologne, 1916), pp. 100-1; Alfred Dürr, Zur Chronologie der Leipziger Vokalwerke J.S. Bachs (2nd revised edition, Kassel, 1976), esp. p. 75; Wisso Weiss, with Yoshitake Kobayashi, Neue Bach-Ausgabe, IX/1, Katalog der Wasserzeichen in Bachs Original Handschriften (1985), pp. 72-3; Neue Bach-Ausgabe, I/24, Kritischer Bericht, ed. Matthias Wendt (Kassel: Bärenreiter Verlag, 1991), pp. 125-61; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 354.

Page 3 2021-08-21 Zweig MS 2 Johann Sebastian Bach: Cantata ‘Herr Gott, dich loben alle wir’ (BWV 130): viola part ([1724])

Collection Area British Library: Music Collections

Reference Zweig MS 2

Creation Date [1724]

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johann Sebastian Bach: Cantata ‘Herr Gott, dich loben alle wir’ (BWV 130): viola part ([1724])

Physical Characteristics 357 x 213mm. 13 staves individually ruled on each page, total span 280-288mm. Watermark: crescent moon with a face = Weiss no. 96 (Katalog der Wasserzeichen in Bachs Original Handschriften).

Former Internal Reference Loan 65.2

Scope and Content In the hand of Christian Gottlob Meissner, with corrections and reference to a supplementary leaf (see ‘Related manuscripts’) added by the composer. Written in brown ink on single staves, on both sides of a single leaf. With cantata title and ‘Viola’ in upper margin of recto. Contains three of the four sections of the cantata in which the viola plays. A short passage, comprising parts of two bars, cancelled in ink at the foot of the recto. The lower five staves on the verso are blank except for a clef written at the beginning of the first of them. All sections of the cantata are accounted for, as follows:

[1.] ‘Vivace’ (opening chorus), starting on recto and continuing on verso. ‘Volti’ written beneath the last line of the recto, ‘Da Capo’ at the end (line 2 of verso).

[2.] ‘Recit. tacet’.

[3.] ‘Aria sequitur sub signo’ (referring to a supplementary leaf, formerly also in the Zweig Collection), after which is written ‘Recit. seq’.

[4.] ‘Recitat. piano’, occupying 2¼ lines.

[5.] ‘Aria Tenore sol. tacet.’.

[6.] ‘Choral’, 2 lines.

Number in Hinterberger cat. IX added in pencil in lower margin of recto.

The dating of the cantata, to 29 Sept. 1724, is from Dürr. This manuscript and the supplementary leaf containing the viola part for the cantata’s bass aria seem to have been kept together until the Hinterberger sales of manuscripts from Zweig’s collection. Oddly, Zweig MS 2 was offered only in the first catalogue issued by Hinterberger (cat. IX). The supplementary leaf appeared there also, as a separate lot, and was offered again in the following year (cat. 18), when it was bought by Martin Bodmer.

Legal Status Not Public Record(s)

Custodial History Henrici, Berlin, auction 24, 25 Jan. 1910, no. 417; Gilhofer, Vienna, cat. 113, circa 1913, no. 14 [?]; date of acquisition by Zweig not known; offered for sale through Hinterberger, Vienna, cat. IX [1936] no. 232; unsold and returned to the Collection; British Library, Loan 65.2 from 1975 to 1986.

Published: Full scores: Marianne Helms (ed.), Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke, I/30 (Kassel: Bärenreiter Verlag, 1973), pp. 1-54; Alfred Dörffel (ed.), Johann Sebastian Bach’s Werke, vol. xxvi (Leipzig: Breitkopf & Härtel, 1876), pp. 231-68.

Page 4 2021-08-21 Reproduced: Recto, Hinterberger, cat. IX [1936], pl. xlv; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate III.

Bibliography: Alfred Dürr, Zur Chronologie der Leipziger Vokalwerke J.S. Bachs (2nd revised edition, Kassel, 1976), esp. p. 74; Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke, I/30, Kritischer Bericht ed. Marianne Helms, (Kassel: Bärenreiter Verlag,1974), p. 24; Tilman Seebass, Musikhandschriften der Bodmeriana (Cologny - Geneva, 1986), pp. 24-5; Wisso Weiss, with Yoshitake Kobayashi, Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke, IX/1, Katalog der Wasserzeichen in Bachs Original Handschriften (1985), p. 78; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 354.

Zweig MS 3 Johann Sebastian Bach: Chorale preludes ‘Komm, Gott Schöpfer, heiliger Geist’ (BWV 631a) and ‘Herr Jesu Christ, dich

Collection Area British Library: Music Collections

Reference Zweig MS 3

Creation Date [c 1730]

Extent and Format 1 volume (1 folio)

Access Conditions Restrictions to access apply please consult British Library staff

Title Johann Sebastian Bach: Chorale preludes ‘Komm, Gott Schöpfer, heiliger Geist’ (BWV 631a) and ‘Herr Jesu Christ, dich zu uns wend’ (BWV 632), for organ, both from the ‘Orgel-Büchlein’ ([c 1730])

Physical Characteristics 168 x 200mm., edges unevenly trimmed. 8-stave paper; staves individually ruled, but arranged in pairs; total span: recto 131-4mm., verso 133-4mm. No watermark.

Former Internal Reference Loan 65.3

Scope and Content Copy in the hand of Christian Gottlob Meissner. Written in brown ink on systems of two staves, using soprano and bass clefs. On a single leaf, with BWV 631a on the recto and BWV 632 on the verso; the titles are given in the upper margins, that of BWV 632 followed by ‘Canon:’ perhaps in another hand. Repeated section of BWV 632 marked by a sign. Pedal part in both preludes is written on the lower stave with downward note-stems, marked in BWV 631a by ‘Ped’ and in BWV 632 by ‘Zp’.

The preludes are numbered 32 and 33 in an apparently later hand. The pages numbered 1 (on verso) and 2 (on recto) in red. At bottom left of verso over blank staves at the end of ‘Herr Jesu Christ’, in the hand of Clara Schumann: ‘Handschrift von J.S. Bach. / (Von Mendelssohn’s Frau geschenkt)’.

Meissner’s copies were for long considered to be Bach’s autograph. In the preface to his edition Mendelssohn writes ‘Of the 44 Short Preludes, I am fortunate enough to possess [Bach’s] own manuscript with the exception of but a few pages’; Zweig acquired the present leaf from the Schumann album as an autograph.

The date of the presentation of Zweig MS 3 to the Schumanns is not known; Mendelssohn used copies from the Meissner manuscript in preparing his edition, and it is not clear why BWV 631a is not included. On his record card Zweig attributed the inscription by Clara Schumann on the verso of this manuscript to Robert Schumann.

Page 5 2021-08-21 Legal Status Not Public Record(s)

Custodial History Carl Wilhelm Ferdinand Guhr, Frankfurt; given by Guhr to Felix Mendelssohn, 1839 (Neue Bach-Ausgabe, IV/1, Kritischer Bericht, ed. Heinz-Harald Löhlein, (Kassel: Bärenreiter Verlag, 1983), p. 67); given by Mendelssohn’s wife Cécile (d. 1853) to Robert and Clara Schumann for their album of music autographs; acquired by Zweig from Schumann’s grandson Robert Sommerhof (see also Zweig MS 27) ‘aus dem Album’, 2 March 1932 (Kritischer Bericht; Zweig’s record card, Add. MS 73167, f. 2); British Library, Loan 65.3 from 1975 to 1986.

Published: Heinz-Harald Löhlein (ed.), Johann Sebastian Bach. Neue Ausgabe Sämtlicher Werke, IV/1 (Kassel: Bärenreiter Verlag, 1983), pp. 82 (BWV 631a), 59; BWV 632 only, Felix Mendelssohn (ed.), John Sebastian Bach’s Organ Compositions on Corales Psalm Tunes, Edited from the Original Manuscripts (London: Coventry & Hollier, 1845).

Reproduced: verso, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate IV.

Bibliography: Neue Bach-Ausgabe, IV/1, Kritischer Bericht, ed. Heinz-Harald Löhlein, (Kassel: Bärenreiter Verlag, 1983), pp. 50-51, 66-7, 228; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 354.

Zweig MS 4 Wilhelm Friedemann Bach: Flute part, in D, to an unidentified concerto in three movements ([c 1740?])

Collection Area British Library: Music Collections

Reference Zweig MS 4

Creation Date [c 1740?]

Extent and Format 1 volume (1 folio)

Access Conditions Restrictions to access apply please consult British Library staff

Title Wilhelm Friedemann Bach: Flute part, in D, to an unidentified concerto in three movements ([c 1740?])

Physical Characteristics 330 x 205mm. 13 staves ruled individually on each page; total span 295-302mm. Watermark: shield with a swan crossed by a double bend, crest a helm surmounted by a post-horn.

Former Internal Reference Loan 65.4

Scope and Content Apparently not autograph; in an unidentified hand. Written in ink on single staves on either side of a single leaf. Headed ‘Concerto:’, and ‘Flaut Traversiere’. The first movement, in 2/4 time but with no tempo direction, is of 147 bars; movement II, ‘adagio’, 3/4, 40 bars; movement III (occupying the verso), ‘Allegro’, 3/8, 116 bars. The following authentication is written in ink in the lower margin of the verso: ‘Handschrift von Friedemann Bach, Sohn des grossen Joh. Sebastian Bach. Ächtheit nach Vergleichung von authentischen Originale der Berliner Königl: Bibliothek von F.W. Jähns’. Number in Hinterberger cat. IX added in pencil at foot of recto.

In Hinterberger catalogue IX this manuscript is described as the autograph solo part of a flute concerto by Wilhelm Friedemann Bach, formerly in the collection of the musicologist Friedrich Wilhelm Jähns (1809-1888). Despite the statement added at the foot of the verso by Jähns this manuscript appears not to be in the autograph of W.F. Bach. The identification of the work as a flute concerto also seems far from certain, since the heading implies only that the manuscript contains a flute part to a concerto; indeed, the part begins with 26 bars rest for the instrument. Finally, there is no evidence on the manuscript itself to link the work with W.F. Bach apart from Jähns’s annotation, so this too must be in doubt. No notes by Zweig

Page 6 2021-08-21 survive about the circumstances in which he acquired the manuscript, and it may well be that there was once other material supporting the identification, at least of the composer; it has been catalogued here under the name W.F. Bach, as it was when it was in Zweig’s possession. Zweig MS 4 is written in a fluent and apparently professional music hand, and the watermark shows that the paper was made in central Germany in the middle of the 18th century. The watermark has been identified with the help of Dr Rudolf Elvers, and is a form associated with the countermark ‘A C S’, a manufacturer at work from circa 1737 perhaps to 1753.

Legal Status Not Public Record(s)

Custodial History F.W. Jähns [?]; date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. IX [1936] no. 234, 18 [1937] no. 19, and XX [1937] no. 19; unsold and retained in the Collection; British Library, Loan 65.4 from 1975 to 1986.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate V.

Bibliography: Barry S. Brook (ed.), The Breitkopf Thematic Catalogue (New York, 1996), p.244.

Zweig MS 5 Béla Bartók: Four Pieces for Orchestra, op. 12 (BB 64) ([1921])

Collection Area British Library: Music Collections

Reference Zweig MS 5

Creation Date [1921]

Extent and Format 1 volume (i + 48 folios)

Languages of Material Hungarian

Access Conditions Restrictions to access apply please consult British Library staff

Title Béla Bartók: Four Pieces for Orchestra, op. 12 (BB 64) ([1921])

Physical Characteristics 384 x 264mm. With five pasted-down slips: 5 on 4v, 7 on 6r, 8 on 6v, 14 on 13v and 16 on 15r; 1v printed with staves but otherwise blank. ff. 2-48 paginated 1-84, perhaps by Bartók. Structure: 1 (cover), 21 stacked bifolia. f.1: 14-stave paper, total span 288mm., printer’s mark ‘J.E. & Co.’; ff. 2-16: 26-stave, total span 298mm., with the same printer’s mark; ff. 17-48: 24-stave, total span 291mm., without printer’s mark. No watermark. Bound by Devauchelle in black quarter leather, the spine lettered ‘BARTOK. 4 Pièces pour Orchestre. OP. 12’, in a slip-case covered in black paper stencilled in gold and silver.

Former Internal Reference Loan 77.14

Scope and Content Autograph draft full score. Written in ink on systems of up to 26 staves, with annotations in pencil and in blue and red crayon. Signed, with the opus number, in pencil (f. 2r). The pieces are for differing forces and the instrumentation for nos. II-IV is noted at the foot of the first page of each. The pieces are:

ff. 2r-16v. ‘I. (preludio)’; tempo direction ‘Moderato’.

ff. 17r-37v. ‘II. (Scherzo)’; ‘Allegro’. The dotted minim metronome marking altered from ‘92-96’ to ‘104’.

ff. 38r-44r. ‘III. (Intermezzo)’; ‘Moderato’. The crotchet metronome mark altered in ink from

Page 7 2021-08-21 110 to 132.

ff. 44v-48v. ‘IV. (Marcia funebre)’; opening tempo direction ‘Maestoso’. An apparently unconnected folk-melody of 8 bars is written on a single free stave at the foot of f. 47v.

The pencil annotations, mostly by the composer, include instructions in Hungarian for copying the score, references to the page numbers in that copy, and timings in minutes noted on the first page of each piece: 7 for no. I, 6 for II, 4 for III and 5 for IV. Some of the corrections in ink, including those on pasted-down slips (ff. 5, 7, 8, 14, 16), are in the hand of Bartók’s first wife Márta. Cue numbers have been added in red crayon throughout. The former cover (f. 1) is a sheet of music paper, with three bars of an unidentified work in ink in the hand of Márta Ziegler-Bartók at the top left. It has in pencil in Bartók’s hand ‘Preludio, Scherzo, Interm / Marcia funebre / Partiture’, with a note in French of possible variations in the order of the pieces: ‘ou: 1+2’, ‘ou: 4+3+2’, ‘ou: tous les 4re’. Also in pencil, perhaps in another hand: ‘Hotel Majestic (Avenue Kléber)’. The front fly-leaf (f. i) has the signature R. Lehman.

The Four Pieces for Orchestra were composed in 1912, but not orchestrated until 1921. In a letter of 2 Feb. 1922 to Universal Edition, Vienna (Somfai, ‘Bartók’s Draft’, p. 312 and n. 10), Bartók states that the work was sketched as orchestral music, though he had afterwards transcribed it for two pianos as an interim measure. The following account of the use made of the Zweig MS 5 once completed is drawn from Somfai (ibid., p. 317): from it Bartók’s wife Márta made a copy (now Peter Bartók’s Collection, 31FSFC1) which was used for the first performance on 9 January 1922 in Budapest, and was subsequently the source for the published edition. Her corrections in Zweig MS 5 incorporate the changes which the composer himself made to the copy. Bartók further annotated Zweig MS 5 during rehearsals for the first performance. It was then used for a performance in Paris in 1923, but was not returned to Bartók, who describes it as lost in a letter of 1938.

Legal Status Not Public Record(s)

Custodial History R.O. Lehman, [New York]; acquired with Zweig MSS 49, 74 for the Zweig Collection by exchange in [1962]; British Library, Loan 77.14 from 1981 to 1986.

Reproduced: f. 38r, Arthur Searle, Music Manuscripts (London: British Library, 1987), p. 74; f. 44v, in László Somfai, ‘Béla Bartók’s Draft of Four Pieces for Orchestra’, in Chris Banks, Arthur Searle and Malcolm Turner (eds.), Sundry Sorts of Music Books (London, 1993), p. 314, and in exhibition notes for ‘Béla Bartók (1881-1945)’, British Library, 1995; ff. 2r, 27r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates VI-VII.

Bibliography: László Somfai, ‘Béla Bartók’s Draft of Four Pieces for Orchestra’, in Chris Banks, Arthur Searle and Malcolm Turner (eds.), Sundry Sorts of Music Books (London, 1993), pp. 309-318; László Somfai, Bartók. Composition, Concepts and Autograph Scores (Berkeley, Cal., 1996), pp. 116, 119, and 306 (this last is part of the work-list giving definitive BB numbers for Bartók’s compositions).

Page 8 2021-08-21 Zweig MS 6 Ludwig van Beethoven: Sonata in A major for cello and piano, op. 69: sketches for movements III and IV ([1807-1808])

Collection Area British Library: Music Collections

Reference Zweig MS 6

Creation Date [1807-1808]

Extent and Format 1 volume (2 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: Sonata in A major for cello and piano, op. 69: sketches for movements III and IV ([1807-1808])

Physical Characteristics 216 x 294mm. Structure: 2. 8-stave paper ruled in pairs for piano score, total span 182mm. Watermark: ‘OA’ = paper type with countermark of a moon with a face (in Douglas Johnson, Alan Tyson and Robert Winter, The Beethoven Sketchbooks (Oxford, 1985), un-numbered). Stitching holes to the left margin of both leaves, approx 158mm apart.

Former Internal Reference Loan 77.15

Scope and Content Autograph. Written in ink, with some pencil on ff. 1v and 2r. The sketches are mostly on single staves, with piano or ‘cello indicated above at relevant points on ff. 1v, 2r and v. The number 350 added later in pencil at the bottom right of f. 1. For accompanying note of provenance see Zweig MS 7.

Legal Status Not Public Record(s)

Custodial History Vienna, Aloys Fuchs; Felix Mendelssohn (see Zweig MS 7); date of acquisition for Zweig Collection unknown [Gerd Rosen, Berlin, auction XV, 3 and 4 April, 1951, at which Zweig MS 39 was purchased for the Collection, included a ‘fragment’ of this sonata]; British Library, Loan 77.15 from 1981 to 1986.

Reproduced: f. 1v, much reduced, in 1987 exhibition leaflet The Creative Spirit in the Nineteenth Century (London: Christie’s, 1987); Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate VIII.

Bibliography: Alan Tyson, ‘Beethoven’s Home-Made Sketchbook of 1807-8’, Beethoven-Jahrbuch, vol. x (1983), pp. 185-200; Douglas Johnson, Alan Tyson and Robert Winter, The Beethoven Sketchbooks (Oxford, 1985), p. 163.

Page 9 2021-08-21 Zweig MS 7 Felix Mendelssohn: note relating to Zweig MS 6 [sketches for Beethoven's op. 69 cello sonata] (1st half of the 19th

Collection Area British Library: Music Collections

Reference Zweig MS 7

Creation Date 1st half of the 19th century

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Felix Mendelssohn: note relating to Zweig MS 6 [sketches for Beethoven's op. 69 cello sonata] (1st half of the 19th century)

Physical Characteristics 182 x 110mm. Watermark: chain lines only.

Former Internal Reference Loan 77.15

Scope and Content Written in ink on recto of a single leaf. Gives identification of Zweig MS 6, then ‘von mir in Wien aus der Autographensammlung des Herrn Aloys Fuchs erhalten. Felix Mendelssohn Bartholdy.’ Formerly kept with Zweig MS 6.

Legal Status Not Public Record(s)

Custodial History Acquired with Zweig MS 6.

Zweig MS 8 Ludwig van Beethoven: Music to ‘Egmont’ (text Johann Wolfgang von Goethe), op. 84: sketch for op. 84, no. 1,

Collection Area British Library: Music Collections

Reference Zweig MS 8

Creation Date [1809-1810]

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: Music to ‘Egmont’ (text Johann Wolfgang von Goethe), op. 84: sketch for op. 84, no. 1, Clärchen’s song ‘Die Trommel gerühret’ ([1809-1810])

Physical Characteristics 230 x 292mm. 16-stave paper, total span 195mm. Watermark: ‘[GEBR: K]IESLING’ and ‘21’ = Johnson/Tyson/Winter paper type 39, quadrant 4b. The edges of the leaf are trimmed, and the recto shows signs of a former frame or mount. In a blue cloth-covered portfolio, lettered ‘BEETHOVEN’ and ‘S.Z.’ on upper cover, with Zweig MSS 11-13.

Former Internal Reference Loan 77.16

Scope and Content Autograph. Written in ink on the recto and in pencil on the verso of a single leaf. Sketched mostly on single staves, with the text written above or beneath. The leaf has a vertical fold,

Page 10 2021-08-21 and the sketches in pencil occur on the right half only of the verso. Later marginal annotations comprise: in red ink [in the hand of Aloys Fuchs] ‘Ludwig van Beethoven’s Handschrift.’ and ‘Dem Herrn Moritz Hauptmann’; in black ink in French, in the hand of Vincent d’Indy with monogram ‘VI’, an identification and ‘provient de la collection Bovet’; the number 10 in pencil at the bottom right of the recto.

Legal Status Not Public Record(s)

Custodial History Vienna, Aloys Fuchs; Leipzig, Moritz Hauptmann; Vienna, Johann Nepomuk Kafka; Alfred Bovet; given by Bovet to Vincent d’Indy, 1883; purchased for Zweig (‘durch Kra[?]’) at d’Indy sale, Andrieux, Paris, 20 Jan. 1933, lot 19 (Zweig’s record card, Add. MS 73167, f. 3); British Library, Loan 77.16 from 1981 to 1986.

The early provenance of Zweig MS 8 is given on Zweig’s record card and in the catalogue of the sale of D’Indy’s collection, in each case derived from a letter then with the manuscript, but apparently no longer surviving.

Reproduced: Recto (lacking the first three staves and upper margin), Vincent d’Indy, Beethoven. Biographie Critique (Paris, 1911), p. 77; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate IX; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 357.

Bibliography: Douglas Johnson, Alan Tyson and Robert Winter, The Beethoven Sketchbooks (Oxford, 1985), pp. 195-200; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 356.

Zweig MS 9 Ludwig van Beethoven: Music to ‘Die Ruinen von Athen’ (text A. von Kotzebue), op. 113: [no. 5], Off-stage Music for

Collection Area British Library: Music Collections

Reference Zweig MS 9

Creation Date c 1811

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: Music to ‘Die Ruinen von Athen’ (text A. von Kotzebue), op. 113: [no. 5], Off-stage Music for wind band (c 1811)

Physical Characteristics 224 x 280mm. Structure: 2. 10-stave paper, total span 167-8mm. Watermark: upper part of shield with fleur-de-lys, crowned, similar to Douglas Johnson, Alan Tyson and Robert Winter, The Beethoven Sketchbooks (Oxford, 1985), paper-type 49.

Former Internal Reference Loan 77.19

Scope and Content Autograph condensed score. Written in ink on systems of four staves. Tempo direction ‘assai Allegro ma non troppo’ (f. 1r). Headed ‘No 6’ and ‘Harmonie auf dem Theater’ in upper margin of f. 1r. Passage of 2 bars struck through on f. 1r; 1 bar struck through on f. 2v, but with note underneath to retain it; ‘p’ added in pencil on f. 2v. Other annotations by Beethoven include the opening of the text to be spoken while this music is playing, which is interlined on f. 1r, and instructions to the copyists relating to the second bassoon part written below the first system on f. 1v. ‘Beethoven’ added [by Zweig?] in pencil at the foot of f. 1r.

Page 11 2021-08-21 Das Werk Beethovens gives a description of the major part of the full score in Berlin, with Beethoven’s numeration, making it clear that this off-stage music is no. 5, as published, despite the composer’s ‘No 6’ at the head of this manuscript.

Legal Status Not Public Record(s)

Custodial History K.E. Henrici, Berlin, auction no. CXLII, 7 Nov. 1928 (Das Werk Beethovens, p. 327); purchased by Zweig at L. Liepmannssohn, Berlin, auction 59, 20 May 1930, lot 9 (Zweig’s record card, Add MS 73167, f. 4); British Library, Loan 77.19 from 1981 to 1986.

Zweig MSS 9 and 55 were purchased at the same sale.

Published: Vienna: S.A. Steiner, [1823]; Ludwig van Beethoven’s Werke, XX/2, (Leipzig: Breitkopf & Härtl, [1864-7]) pp. 59-61.

Reproduced: f. 1r, K.E. Henrici, Berlin, auction cat. CXLII, title-page (see Das Werk Beethovens, p. 327); Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate X.

Bibliography: Georg Kinsky, ed. Hans Halm, Das Werk Beethovens. Thematisch- Bibliographisches Verzeichnis seiner ... Kompositionen (Munich, 1955), p. 327; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 356-357.

Zweig MS 10 Ludwig van Beethoven: [Ariette] ‘Der Kuss’, song with piano accompaniment (words Christian Felix Weisse), op. 128

Collection Area British Library: Music Collections

Reference Zweig MS 10

Creation Date 1822

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: [Ariette] ‘Der Kuss’, song with piano accompaniment (words Christian Felix Weisse), op. 128 (1822)

Physical Characteristics 308 x 348mm. Structure: 2. 20-stave paper, total span 260mm. No watermark. The right-hand edges irregularly trimmed.

Former Internal Reference Loan 77.17

Scope and Content Autograph score. Written in ink on systems of three staves; voice line in the treble clef. In A, marked ‘Allegretto’ and headed ‘Mit Lebhaftigkeit jedoch nicht in zu geschwindem Zeitmass, u[nd] scherzend vorgetragen’. Dated by Beethoven ‘1822 in decemb.’ at the head of f. 1r, and with his comment in the right margin ‘Was für ein Titel?’.

Fair copy by Beethoven of a work composed perhaps as early as 1798 (Das Werk Beethovens and Beethoven. Werke. Gesamtausgabe ..., XII/1, Kritischer Bericht).

Page 12 2021-08-21 Legal Status Not Public Record(s)

Custodial History Purchased by Johann Wolfmayer at sale of Beethovens Nachlass, 1827; auctioned at his death, Vienna, 1830; Leipzig, bookseller Otto August Schulz, cat. VII, 1867, no. 246 (see Das Werk Beethovens; Add. MS 73169, f. 7); belonged to ‘Bismarck’s Freund Keudell’; purchased by Zweig at K.E. Henrici, Berlin, auction CXXXII, 27 April 1928 (record card, not in Zweig’s hand, Add. MS 73167, f. 5); British Library, Loan 77.17 from 1981 to 1986.

Published: Ludwig van Beethoven’s Werke, XXIII/3 (Leipzig: Breitkopf & Härtl, [1864-7]), pp. 98-100; Beethoven. Werke. Gesamtausgabe ..., XII/1 (Munich: Henle Verlag, 1990), pp. 176-8.

Reproduced: f. 1r: K.E. Henrici, Berlin, auction cat. CXXXII, 1928, after p. 4 (see Das Werk Beethovens); British Library Zweig Concert Series programme book 1988, p. 34, 13 June 1989, p. 6, 11 April 1995, p. 18, and 1996, p. 13; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XI.

Bibliography: Georg Kinsky, ed. Hans Halm, Das Werk Beethovens. Thematisch- Bibliographisches Verzeichnis seiner ... Kompositionen (Munich, 1955), pp. 387-8; Helga Lühning, Beethoven. Werke. Gesamtausgabe ..., XII/1, Kritischer Bericht (Munich: Henle Verlag, 1990), pp. 76-8; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 357.

Zweig MS 11 Ludwig van Beethoven: Three-part canon ‘Kurz ist der Schmerz’ (words Friedrich von Schiller, from Die Jungfrau von

Collection Area British Library: Music Collections

Reference Zweig MS 11

Creation Date 1815

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: Three-part canon ‘Kurz ist der Schmerz’ (words Friedrich von Schiller, from Die Jungfrau von Orleans), WoO 166 (1815)

Physical Characteristics 103 x 157mm. Verso blank apart from added name. Unruled paper; all four edges gilt. No watermark. In a blue cloth-covered portfolio, lettered ‘BEETHOVEN’ and ‘S.Z.’ on upper cover, with Zweig MSS 8, 12, 13.

Former Internal Reference Loan 77.18

Scope and Content Autograph. Written in ink on the recto of a single leaf; staves drawn freehand by Beethoven. The music on five single staves with the text beneath. Dated ‘Wien am / 3ten März / 1815’ at the foot, with the signed dedication ‘Mögten sie doch lieber Spohr / überall, wo sie wahre Kunst und / wahre Künstler finden, gerne / meiner gedenken / ihres / freundes / ludwig wan Beethoven’. A bar in the third voice omitted by Beethoven has been inserted by Spohr. ‘Beethoven’ added in pencil on the verso.

Spohr describes in his Autobiography how Beethoven drew the lines for this album leaf ‘without the aid of a ruler’, and how he himself supplied the notes wanting in the third voice. WoO 163 is a separate three-part canon to the same text composed in 1813.

Page 13 2021-08-21 Legal Status Not Public Record(s)

Custodial History K.E. Henrici, Berlin, auction CXXXII, 27 April 1928, lot. 17 (Das Werk Beethovens); purchased by Zweig from Henrici ‘auserhalb der Auction’, May 1928 (record card, not in Zweig’s hand, Add. MS 73167, f. 6); British Library, Loan 77.18 from 1981 to 1986.

Published: Ludwig van Beethoven’s Werke, XXIII/3 (Leipzig: Breitkopf & Härtl, [1864-7]), pp. 180-2.

Reproduced: Appendix to Spohr, Selbstbiographie, vol. i; K.E. Henrici, Berlin, auction cat. CXXXII (1928), frontispiece (see Das Werk Beethovens); Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XII.

Bibliography: Louis Spohr, Selbstbiographie (Kassel, 1860), vol. i, p. 213, with English translation as Louis Spohr’s Autobiography (London, 1865), pp. 198-9; Georg Kinsky, ed. Hans Halm, Das Werk Beethovens. Thematisch-Bibliographisches Verzeichnis seiner ... Kompositionen (Munich, 1955), p. 674; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 357-358.

Zweig MS 12-13 Ludwig van Beethoven: Letters to Dr. Johann Bihler; [1813, 1817] (1813-1817)

Collection Area British Library: Music Collections

Reference Zweig MS 12-13

Creation Date 1813-1817

Extent and Format 2 volumes

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: Letters to Dr. Johann Bihler; [1813, 1817] (1813-1817)

Former Internal Reference Loan 77.21

Scope and Content Autograph. These letters consist of very brief notes, the first simply of greeting, the second giving Bihler the address in Vienna at which he might visit ‘this poor, persecuted and despised Austrian musical drudge’.

Legal Status Not Public Record(s)

Custodial History Date of acquisition for the Zweig Collection not known; British Library, Loan 77.21 from 1981 to 1986.

Published: Sieghard Brandenburg (ed.), Ludwig van Beethoven. Briefwechsel. Gesamtausgabe, vols. i, iv (Bonn, 1996). English translations in Emily Anderson, The Letters of Beethoven (London, 1961).

Page 14 2021-08-21 Zweig MS 12 Letter from Ludwig van Beethoven to Dr. Johann Bihler (1813)

Collection Area British Library: Music Collections

Reference Zweig MS 12

Creation Date 1813

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Letter from Ludwig van Beethoven to Dr. Johann Bihler (1813)

Physical Characteristics 123 x 185mm. Watermark: lower portion of a shield, ‘Geb: Kie[sling]’ in italic script (see Gesamtausgabe). In a blue cloth-covered portfolio, lettered ‘BEETHOVEN’ and ‘S.Z.’ on upper cover, with Zweig MSS 8, 11, 13.

Scope and Content [Baden, Summer, 1813]. Written in ink, addressed ‘Hr. von Bihler’ on the verso. An irregularly trimmed leaf, with bottom right hand corner, which presumably carried Beethoven’s signature, cut away.

Legal Status Not Public Record(s)

Published: Gesamtausgabe no. 659; Anderson n. 646.

Zweig MS 13 Letter from Ludwig van Beethoven to Dr. Johann Bihler (Apr 1817)

Collection Area British Library: Music Collections

Reference Zweig MS 13

Creation Date Apr 1817

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Letter from Ludwig van Beethoven to Dr. Johann Bihler (Apr 1817)

Physical Characteristics 143 x 206mm. Leaf roughly trimmed, especially at the bottom edge. No watermark. In a blue cloth-covered portfolio, lettered ‘BEETHOVEN’ and ‘S.Z.’ on upper cover, with Zweig MSS 8, 11, 12.

Scope and Content [Vienna, probably mid-April, 1817]. Written in pencil, addressed in ink on the verso ‘Hr. Dr. Von Bihler’.

Page 15 2021-08-21 Legal Status Not Public Record(s)

Published: Gesamtausgabe no. 1115; Anderson no. 795.

Zweig MS 14 Ludwig van Beethoven: Memorandum book ([1792-1794])

Collection Area British Library: Music Collections

Reference Zweig MS 14

Creation Date [1792-1794]

Extent and Format 1 volume (27 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: Memorandum book ([1792-1794])

Physical Characteristics 155 x 94mm. ff. 4r and v, 12v, 13r, 14r-17r, 20r-21r blank; 25 a blank stub. Structure: 6 (including unnumbered front pasted-down fly-leaf), 1, 1, 6, 2, 4, 6 (including rear pasted-down fly-leaf, numbered as f. 27). Watermark: arms of Amsterdam on a shield, crowned, with letter A below and with lion supporters, countermark ‘RA’ [?]. Bound in the original blue paper-covered boards, upper cover broken and repaired; in a blue leather box by Baynton of Bath, gold tooled and lettered ‘BEETHOVEN / NOTEBOOK’ on the upper cover.

Scope and Content Autograph. Written in ink and pencil. The entries on ff. 1r-2r comprise accounts of expenses on the journey from Bonn to Vienna, [1792]; the remainder is taken up with memoranda and accounts entered in Vienna. The first entries on f. 1r and another on f. 2r are not in Beethoven’s hand. A number of pages are left blank. One leaf (f. 25) largely torn away.

This little notebook was known to and used by Beethoven’s early biographers. (See Busch-Weise, ‘Beethovens Jugendtagebuch’, p. 69.) Thayer quotes most of the first three pages and discusses many of the later entries.

Legal Status Not Public Record(s)

Custodial History Artaria, Vienna, ‘Das sogenannte ‘Artaria’ tagebuch’ (annotation in Zweig’s hand to record card, Add. MS 73167, f. 7); Eugen von Miller, Vienna; Mrs Mackintosh [?]; E.P. Warren, Lewes House; G.W. Davy, Kingussie, Scotland (Busch-Weise); Sotheby’s, London, 4 June 1929, lot 400; purchased there by Zweig (Add. MS 73167, f. 7).

Published: Complete transcript, with introduction and commentary, Dagmar Busch- Weise, ‘Beethovens Jugendtagebuch’, Studien zur Musikwissenschaft, xv, (Graz, 1962), pp. 68-88. Reproduced: f. 5v, Arthur Searle, Haydn and England (London, 1989), p. 17; ff. 9v, 11r, 13v (with transcriptions), Musical Times, 15 Dec. 1892, p. 33; f. 9v (lower part), in Stefan Zweig ‘Meine Autographen-Sammlung’, Philobiblon, vol. iii (Vienna, 1930), p. 290; ff. 12r, 26v (part), in Busch-Weise, ‘Beethovens Jugendtagebuch’, opp. p.80; ff. 5r, 5v-6r, 9v-10r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates XII-XIII.

Bibliography: Musical Times, 15 Dec. 1892, special Beethoven issue, p. 33; Elliot Forbes (ed.), Thayer’s Life of Beethoven (Princeton, NJ, 1967), vol. 1, pp. 116-7, 135ff.; Busch-Weise, ‘Beethovens Jugendtagebuch’ [see Published above]; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 358.

Page 16 2021-08-21 Zweig MS 15 Ludwig van Beethoven: Copies by Beethoven of the text of five poems from ‘Morgenländische Blumenlese’ by Johann

Collection Area British Library: Music Collections

Reference Zweig MS 15

Creation Date [1815?]

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: Copies by Beethoven of the text of five poems from ‘Morgenländische Blumenlese’ by Johann Gottfried Herder, with brief observations on nature by Beethoven ([1815?])

Physical Characteristics 338 x 213mm. Structure: 2. Watermark: post-horn in a crowned shield, countermark ‘V’.

Former Internal Reference Loan 77.20

Scope and Content Autograph. Written in ink and pencil. The leaves have been folded twice, marking out two or four compartments to which Beethoven has restricted his notes on the last page. Contents as follows:

f. 1r, Herder: ‘Die laute Klage’. With indications of metre added in pencil above the text. Published in Zerstreute Blätter (1792), p. 89. Set by Beethoven for voice and piano (WoO 135); the variant text from the published version of the last line, used in the setting, is also found here.

f. 1r, Herder: ‘Morgengesang der Nachtigall’. With indications of metre added in pencil above the text. Zerstreute Blätter (1792), p. 55. Set by Beethoven for voice and piano (WoO 141).

f. 1r, Herder: ‘Die Perle’. Zerstreute Blätter (1792), p. 91.

f. 1r and v, Herder: ‘Anmuth des Gesanges’. Zerstreute Blätter (1792), pp. 86-7.

f. 1v, Herder: ‘Macht des Gesanges’. Zerstreute Blätter (1792), p. 87.

ff. 1v-2v, Beethoven’s notes on nature and country life. Apparently written first in pencil, and subsequently written over in ink. In a larger, more irregular hand than the copies of the poems.

f. 2v, Fragments of music, marked ‘Andante Vivace’ and apparently in A major; with indications of instrumentation: ‘Corni’, ‘flaut’, ‘clarinetto’, ‘arco’. Written in ink and pencil, on staves drawn freehand. Occupying the upper half of the page, but written with the paper reversed; using the divisions of the paper created by the folds.

Legal Status Not Public Record(s)

Custodial History Artaria collection, Vienna (see Solomon, Beethovens Tagebuch); Joseph Fischof, Vienna (see Frimmel, Beethoven Handbuch, p. 422); Guido Adler, Vienna (by 1927); acquired by Zweig from Erich Carlsohn, March 1931 (Zweig’s record card, which also states the MS was given to Adler by Artaria, Add. MS 73167, f. 8); British Library, Loan 77.20 from 1981 to 1986.

Published: Observations on nature (ff. 1v-2v): almost complete text in Ludwig Nohl, Beethovens Brevier (Leipzig, 1870), pp. 102-4 (with the Herder poems), in Albert Leitzmann, Beethovens persönliche Aufzeichnungen (Leipzig, [1918]), p. 19, and, reprinted from the last, in Theodor Frimmel, Beethoven Handbuch, vol. i (Leipzig, 1926, re-issued Hildesheim and Wiesbaden, 1968), p.423; inaccuracies in transcription in these sources are corrected in the partial transcription in Führer durch die Beethoven-Zentenarausstellung der Stadt Wien (Vienna, 1927), p. 110; poems (first five items above), first published in J. G. Herder, Zerstreute Blätter, vierte Sammlung (Gotha, 1792).

Page 17 2021-08-21 Reproduced: ff. 1v-2r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XIV; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 359.

Bibliography: Georg Kinsky, ed. Hans Halm, Das Werk Beethovens. Thematisch- Bibliographisches Verzeichnis seiner ... Kompositionen (Munich, 1955), p. 600; Theodor Frimmel, Beethoven Handbuch, vol. i (Leipzig, 1926, re-issued Hildesheim and Wiesbaden, 1968), p. 422; Maynard Solomon (ed. Sieghard Brandenburg), Beethovens Tagebuch (Mainz and Bonn, 1990), p. 127; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 358.

Zweig MS 16 Vincenzo Bellini: ‘Bianca e Fernando’, opera in two acts (libretto Felice Romani, after D. Gilardoni), 1828:

Collection Area British Library: Music Collections

Reference Zweig MS 16

Creation Date c 1828

Extent and Format 1 volume (1 folio)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Vincenzo Bellini: ‘Bianca e Fernando’, opera in two acts (libretto Felice Romani, after D. Gilardoni), 1828: autograph sketch for ‘O contento desiato’, the final section of Filippo’s aria in Act I (c 1828)

Physical Characteristics 210 x 270mm. Verso ruled with staves but otherwise blank. 16 staves, with a total span of 199mm.; the bottom edge is roughly cut, affecting some of the last stave, and it appears to be part of a larger sheet. Watermark: shield with letters ADN[?] and crescent moon with face. Verso has remnants of adhesive where the leaf has presumably been mounted, perhaps in an album.

Scope and Content Vocal line only, written in ink on a single stave, with the words beneath for the opening section and at the end. The role is for basso cantante, and though here originally written without clef or key signature, is notated in G in the bass clef; a soprano C clef has been inserted before it in a later hand. The melody and words both differ in minor detail from the Ricordi published vocal score, and the words of the opening phrase are corrected from ‘O bel giorno desiato’. Below the vocal sketch, at the foot of the page, are four bars of the opening orchestral ritornello, again on a single stave, this time with treble clef and key and time signatures. Composer’s name added in ink at the bottom right of recto.

The first version of the opera, as ‘Bianca e Gernando’, was written for Naples, 1826. ‘Bianca e Fernando’, with the libretto of D. Gilardoni revised by Romani, was first given in Genoa in April 1828. This Allegro section of Filippo’s aria ‘Estinto!... che ascoltai?’ was added for the revised version.

Legal Status Not Public Record(s)

Custodial History Purchased by Zweig from Francesco Torini, Milan, July 1938 (Zweig’s record card, Add. MS. 73167, f. 13, and Add. MS. 73172, f. 109v).

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XV.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 363.

Page 18 2021-08-21 Zweig MS 17 Alban Berg: ‘Lulu’, opera in three acts (libretto, the composer after Frank Wedekind), 1929-1935: Prologue, written

Collection Area British Library: Music Collections

Reference Zweig MS 17

Creation Date [1934]

Extent and Format 1 volume (12 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Alban Berg: ‘Lulu’, opera in three acts (libretto, the composer after Frank Wedekind), 1929-1935: Prologue, written out for presentation to Arnold Schoenberg, to whom the work is dedicated, on his 60th birthday ([1934])

Physical Characteristics 444 x 342mm. ff. 1r and v, 11v, 12r printed with staves but otherwise blank. Structure: 12. 24-stave paper, span 384mm.; printed, printer’s mark ‘J.E. & Co. No. 17a’. No watermark. Sewn; subsequently bound in the British Library.

Former Internal Reference Loan 77.1

Scope and Content Autograph full score. Written in ink, with bar lines in pencil, on systems of up to 24 staves. Marked ‘Attacca [crochet] = 80-90’ (f. 3r). The Prologue, consisting of the opera’s first 85 bars, occupies ff. 3r-10v; f. 11r has the next four bars, after the rise of the curtain, in score in pencil, followed by the comment ‘u.s.w. noch 3720 Takte’. The title-page (f. 2r) includes the dedication ‘Arnold Schoenberg zum 60. Geburtstag’; it is followed (f. 2v) by a list of dramatis personae giving the roles played in all three acts, and details of the orchestral forces. Berg has written Schoenberg’s U.S. address above his own Wörthersee address stamp at the foot of f. 12v.

Berg died before completing the orchestration of the opera, and during his wife’s lifetime only Acts I and II, with the music for Act III that he had already orchestrated and used in the concert suite of Symphonische Stücke from the opera (first performed in Nov. 1934), were published and performed. In its complete three act form the structure of the opera requires the doubling of certain roles - the link between Lulu’s victims in the first two acts and her attackers in Act III is made in this way as well as musically. Consequently the list of dramatis personae in the present manuscript (f. 2v) is of particular interest. The early published scores give only the stage roles of the first two acts; a full list first appeared in print only with the publication of the complete libretto (copyrighted 1977) and with Friedrich Cerha’s revision of Erwin Stein’s piano score, finally published in 1978. The only lists compiled by Berg himself are those in Zweig MS 17 and among the sketch material in the Östereichische Nationalbibliothek, Vienna. The list in Zweig MS 17 closely follows the latter, discussed by Perle and by Jarman in ‘Lulu: The Sketches’, with the character Alwa described as a writer (rather than composer), the Acrobat’s name given as Rodrigo, and the roles of the Theatre Director, the Commissioner of Police and the Banker all allocated to the same singer, a deep buffo bass. Berg was a near contemporary and friend of Stefan Zweig, making this manuscript a particularly appropriate addition to the collection. However, Berg’s letter to Zweig of 1935, thanking him for sending a copy of his historical study Maria Stuart, is not connected with Zweig MS 17, as Rosemary Hilmar (Schriftstücke, p. 81) suggests in an annotation to her catalogue entry for the letter. The letters reprinted in Berg-Schoenberg Correspondence document the despatch to and receipt by Schoenberg of Zweig MS 17; it is one of the additions made to the collection after Zweig’s death, and never belonged to Zweig himself.

Page 19 2021-08-21 Legal Status Not Public Record(s)

Custodial History Given by Berg to Schoenberg, 1934; Schoenberg and his heirs, Los Angeles; acquired for the Zweig Collection with Zweig MSS 77 and 128, Dec. 1960; British Library, Loan 77.1 from 1981 to 1986.

Published: Piano score of Acts I and II, Vienna: Universal Edition, 1936; full score of Acts I and II, ibid., 1960, and, with parts of Act III, ed. H.E. Apostel, 1964; piano score of Act III, ibid., 1979; complete full score, with Act III prepared by Friedrich Cerha, ibid, 1985.

Reproduced: f. 2v (list of dramatis personae), D. Jarman, Alban Berg: Lulu (Cambridge, 1991), pl. 2; f. 7v, Arthur Searle, Music manuscripts (London: The British Library, 1987), p.69, and in British Library Zweig Concert Series programme book 1987, p. 17; ff. 2v, 3r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates XVI- XVII.

Bibliography: Douglas Jarman, ‘Lulu: The Sketches’ in International Alban Berg Society Newsletter, no. 6 (June 1978), pp. 4-8; Rosemary Hilmar, Katalog der Musikhandschriften, Schriften und Studien Alban Bergs in Fond Alban Berg (Vienna, 1980), pp. 25-35, 113-4, 132, and Katalog der Schriftstücke von der Hand Alban Bergs (Vienna, 1985), p. 81; George Perle, The Operas of Alban Berg, vol. ii, Lulu (Berkeley, Cal., 1985), pp. 62-5, 278-9; Juliane Brand, Christopher Hailey, Donald Harris (eds.), The Berg-Schoenberg Correspondence (New York, 1987), pp. 452-464; D. Jarman, review of the 1985 full score in Music and Letters, vol. lxviii (1987), pp. 84-6; ibid., Alban Berg: Lulu (Cambridge, 1991), p. 21.

Zweig MS 18 Luigi Boccherini: Thematic catalogue of 58 works ceded to the publisher Ignace Pleyel, with notarial certificate;

Collection Area British Library: Music Collections

Reference Zweig MS 18

Creation Date 14 Nov 1796

Extent and Format 1 volume (2 folios)

Languages of Material Spanish; Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Luigi Boccherini: Thematic catalogue of 58 works ceded to the publisher Ignace Pleyel, with notarial certificate; Madrid, 14 November 1796 (14 Nov 1796)

Physical Characteristics 310 x 218mm. f. 2r blank. Structure: 2. Ruled with staves grouped in threes: 15 staves on f. 1r, span 229mm.; 18 staves on f. 1v, span 278mm. Watermark: cross on a shield, ‘VELLARES’ beneath. Old mount, with printed extract from sale catalogue of Cherubini collection attached and with number in Hinterberger cat. IX added in pencil, is now Add. MS 73171, f. 75.

Former Internal Reference Loan 77.51

Scope and Content Autograph. Written in ink; on paper with legal stamps, showing the seal of Charles IV and the year, at the top of ff. 1r and 2v. As follows:

f. 1r and v. Thematic catalogne, headed ‘Catalogo delle opere da me Luigi Boccherini cedute in tutta Proprietá al Sig[no]r Ignazio Pleyel’ (f. 1r), with, at the end, ‘Sono in tutto Cinquanta otto pezze. Luigi Boccherini. mano propria.’ (f. 1v). The incipits comprise a few bars only on a single stave, with the opening tempo direction. The works concerned, composed 1792-6, are: six ‘quartettini’, op. 44; four quintets, op. 45, with a symphony for large

Page 20 2021-08-21 orchestra in D minor, also apparently part of op. 45; six quintets, op. 46; six ‘terzettini’, op. 47; six ‘quartettini’, op. 48; five quintets, op. 49; six ‘quintettini’, op 50; two quintets, op. 51; four quartets, op. 52; six ‘quartettini’, op. 53; six trios, op. 54. Each opus is described as ‘opera piccola’ or ‘opera grande’.

f. 2r. MS annotation at bottom right corner in pencil: ‘M. Norblin’, most likely referring to the cellist Louis-Pierre-Martin Norblin (1781-1854).

f. 2v. Certificate. Signed by, and apparently in the hand of Antonio Martinez Llorente, royal notary, with the signatures of Josef Nerini and Manuel Canseco as witnesses.

The number 17 (from the Cherubini sale) in black ink, and the name Boccherini in red ink, have been added at the top left of f. 1.

Boccherini’s letters from the Pleyel archive dealing with negotiations for the sale of works in 1796-7 are printed in Rothschild. The letter of 15 December 1796 (Rothschild, pp. 112-113) includes a translation of the notarial certificate in the present manuscript and makes it clear that although the document is dated 14 November, that being ‘when the business was settled’, it was drawn up retrospectively in December.

Legal Status Not Public Record(s)

Custodial History Formerly in the possession of the publisher Ignaz Joseph Pleyel, and then possibly also of the cellist Louis-Pierre-Martin Norblin; Cherubini collection, item 17 in Catalogue de la Collection Cherubini (Paris, 1878): ‘Boccherini. Catalogue de ces ouvrages. (Année 1796.)’; Speyer collection; [presumably acquired by Zweig 1934 or 1935]; offered for sale by Zweig through Heinrich Hinterberger, Vienna, catalogues IX [1936] no. 240, 18 [1937] no. 20, and XX [1937] no. 49; unsold and retained in the collection; British Library, Loan 77.51 from 1981 to 1986.

Reproduced: f. 1r, H. Hinterberger, Vienna, cats. IX [1936] (pl. xlviii) and XX [1937] (pl. iv); Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XVIII.

Bibliography. Arnaldo Bonaventura, Boccherini (Milan, 1931); Germaine de Rothschild, Luigi Boccherini. His Life and Work (London, 1965), pp. 99-127; Yves Gérard, Thematic, Bibliographical and Critical Catalogue of the Works of Luigi Boccherini (London, 1969), p. 684; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 363.

Page 21 2021-08-21 Zweig MS 19 Johannes Brahms: Piano Concerto no. 2 in B flat, op. 83, 1881: reduction of tutti passages from movements II, III and

Collection Area British Library: Music Collections

Reference Zweig MS 19

Creation Date [1882]

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johannes Brahms: Piano Concerto no. 2 in B flat, op. 83, 1881: reduction of tutti passages from movements II, III and IV, for the published solo piano score (issued July 1882) ([1882])

Physical Characteristics 273 x 353mm. The top right corner of the leaf torn away. 12-stave paper, bracketed in pairs, total span 213mm.; printed, without printer’s mark. No watermark.

Former Internal Reference Loan 77.23

Scope and Content Autograph. Written in ink on systems of two staves on both sides of a single leaf. The passages concerned are, on the recto: movement II, bars 200-203, apparently the conclusion of a passage begun on another leaf; movement III, bars 1-22; movement IV, bars 39-47; and on the verso:- movement IV, bars 274-282 and 293-299. Throughout Brahms gives the relevant page numbers in the two-piano version (published Jan. 1882), and all are tutti passages divided there between the two pianos and here reduced for piano solo. All except the brief passage from movement II are annotated in blue and red crayon, and have in pencil editorial additions and the engraver’s markings of line-ends and page numbers in the solo piano score. A later identification of the work and purpose of the manuscript is in ink [possibly in the hand of Max Kalbeck] at the top right of the recto.

McCorkle recounts, with reference to the published correspondence, how the solo piano score was prepared from a copy of the two-piano score, already published, into which Brahms had inserted solo piano arrangements of the tutti passages. The engraver’s markings on the present manuscript indicate that, rather than a draft, it was one of the slips used in preparing the plates for that edition.

Legal Status Not Public Record(s)

Custodial History Date of acquisition for Zweig Collection not known; British Library, Loan 77.23 from 1981 to 1986.

Published: Solo piano score, Berlin: Simrock, July 1882 (see Margit L. McCorkle, Johannes Brahms. Thematisch-bibliographisches Werkverzeichnis (Munich, 1984)).

Reproduced: Part of recto, exhibition leaflet 75 Musical and Literary Autographs from the Stefan Zweig Collection, 1986; recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XIX.

Bibliography: Margit L. McCorkle, Johannes Brahms. Thematisch-bibliographisches Werkverzeichnis (Munich, 1984), p. 345.

Page 22 2021-08-21 Zweig MS 20 Johannes Brahms: ‘Zigeunerlieder’, for four voices and piano (words translated from Hungarian folk-songs by Hugo

Collection Area British Library: Music Collections

Reference Zweig MS 20

Creation Date [1888]

Extent and Format 1 volume (12 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johannes Brahms: ‘Zigeunerlieder’, for four voices and piano (words translated from Hungarian folk-songs by Hugo Conrat), op. 103 ([1888])

Physical Characteristics 237 x 330mm. ff. 12r and v printed with staves but otherwise blank. Pagination [1]-16 by Brahms in ink, where not every page has been numbered. Structure: 4, 4, 4. 12-stave paper, total span 205mm. Printed, without printer’s mark. No watermark. Gatherings sewn but not bound. In blue cloth-covered portfolio lettered ‘BRAHMS’ and ‘S.Z.’ on upper cover.

Former Internal Reference Loan 77.24

Scope and Content Autograph score. Written in black ink, with frequent corrections, on systems of up to six staves. With additional annotations by the composer in pencil and blue crayon, mostly intended for the copyist. The songs are unnumbered, the order in which they are written, relative to the numbers in the first edition of 1888, being 1-7, 10, 11, 8, 9; the final order is indicated by notes in blue crayon at the end of no. 7 and beginning of no. 10 (f. 7r and v). The songs are:

ff. 1r-2r. [1.] ‘He Zigeuner! Greife in die Saiten ein!’. Tempo direction ‘Allegro agitato - piu presto’; incomplete, lacking the last 28 bars, with the marking ‘3a’ at the end of the last system of f. 2r (Brahms’s p.3) indicating that the conclusion was written on an inserted leaf now lost. The setting seems originally to have been in a shorter form, ending on f. 2r; Brahms subsequently struck through the pause marking over his original last bar, added the first five bars of the new ‘piu presto’ ending in the space at the end of the page, and continued it on the inserted leaf.

ff. 2v-3r. [2.] ‘Hochgethürmte Rimafluth, wie bist du so trüb’. ‘Allegro molto’.

ff. 3v-4r. [3.] ‘Wisst ihr, wann mein Kindchen am allerschönsten ist?’. ‘Allegretto’.

f. 4v. [4.] ‘Lieber Gott, du weisst, wie oft bereut ich hab’. ‘Vivace grazioso’.

f. 5r and v. [5.] ‘Brauner Bursche führt zum Tanze sein blauäugig schönes Kind’. ‘Allegro giocoso’.

ff. 5v-6r. [6.] ‘Röslein dreie in der Reihe blühn so roth’. ‘Vivace grazioso’.

ff. 6v-7r. [7.] ‘Kommt dir manchmal in den Sinn, mein süsses Lieb’. ‘Andantino grazioso’; at the end (f. 7r) in blue crayon is ‘vide pag. 18’ (f. 9v).

ff. 7v-8r. [10.] ‘Mond verhüllt sein Angesicht’. ‘Andantino’. Between the staves of the first system (f. 7v) is Brahms’s note in blue pencil that the repeats are to be written out.

ff. 8r-9r. [11.] ‘Rothe Abendwolken ziehn am Firmament’. ‘Allegro passionato’.

ff. 9v-10r. [8.] ‘Horch, der Wind klagt in den Zweigen traurig sacht’. ‘Andantino semplice’.

ff. 10v-11v. [9.] ‘Weit und breit schaut Niemand mich an’. ‘Allegro’.

The Stichvorlage for the first edition of 1888 would have been the copy made for Brahms from this manuscript, and discrepancies between it and the printed score can be accounted for by Brahms’s further revisions both on the copy and at proof stage (Rogowoj). The

Page 23 2021-08-21 Stichvorlage is now lost.

Legal Status Not Public Record(s)

Custodial History Vienna, Frau Ida Conrat (see Sämtliche Werke, p. vi); acquired by Zweig through K.E. Henrici, Berlin, April 1927 (copy of Zweig’s record card, Add. MS 73169, f. 16); British Library, Loan 77.24 from 1981 to 1986.

Published: Brahms. Sämtliche Werke, vol. 20, Mehrstimmige Gesänge mit Klavier oder Orgel (Leipzig: Breitkopf & Härtel, [1926]), pp. 165-192; Sergej Rogowoj (ed.), Johannes Brahms. Zigeunerlieder (Stuttgart: Carus-Verlag, 1998); Bernd Wiechert (ed.), Johannes Brahms. Neue Sämtliche Werke VI/2, (Munich, 2008), pp. 59-85.

Reproduced: f. 2r, Rogowoj, Zigeunerlieder, p. 7; f. 8r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XX; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 364; ff. 4v, 6v, Bernd Wiechert (ed.), Johannes Brahms. Neue Sämtliche Werke VI/2, (Munich, 2008), p. 203, frontispiece.

Bibliography: ‘Meine Autographen-Sammlung’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 39; Stefan Zweig, The World of Yesterday (London, 1943), p. 266; Sämtliche Werke (as above), p. vi; Margit L. McCorkle, Johannes Brahms. Thematisch-bibliographisches Werkverzeichnis (Munich, 1984), p. 419; Sergej Rogowoj (ed.), Johannes Brahms. Zigeunerlieder (Stuttgart: Carus- Verlag, 1998), pp. 38-40; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 363; Bernd Wiechert (ed.), Johannes Brahms. Neue Sämtliche Werke VI/2: Chorwerke und Vokalquartette, (Munich: Henle, 2008), pp.160-161.

Zweig MS 21 Johannes Brahms: Canon for four voices ‘Ans Auge des Liebsten’ (words Friedrich Rückert), op. 113, no. 9: on an album

Collection Area British Library: Music Collections

Reference Zweig MS 21

Creation Date 1873

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johannes Brahms: Canon for four voices ‘Ans Auge des Liebsten’ (words Friedrich Rückert), op. 113, no. 9: on an album leaf (1873)

Physical Characteristics 155 x 242mm. Verso printed with staves and border but otherwise blank. Leaf printed on both sides with 6 staves in blue ink, within a double line border in red formed into Greek key patterns at the four corners. Without printer’s mark. No watermark. The left hand edge of the leaf neatly torn.

Former Internal Reference Loan 77.26

Scope and Content Autograph. Written in black ink. Headed ‘à 4’ and signed at foot ‘Wien, Jan: 1873. Joh[anne]s Brahms’. In C; the two parts together on a single line preceded by bass and tenor clefs. The date of composition of this work is not known.

Page 24 2021-08-21 Legal Status Not Public Record(s)

Custodial History Date of acquisition for Zweig Collection not known; British Library, Loan 77.26 from 1981 to 1986.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXI.

Bibliography: Margit L. McCorkle, Johannes Brahms. Thematisch-bibliographisches Werkverzeichnis (Munich, 1984), p. 456; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 364.

Zweig MS 22-23 Johannes Brahms: Letters to Peter Joseph Simrock; 1861, [1865] (1861-1865)

Collection Area British Library: Music Collections

Reference Zweig MS 22-23

Creation Date 1861-1865

Extent and Format 2 volumes

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johannes Brahms: Letters to Peter Joseph Simrock; 1861, [1865] (1861-1865)

Former Internal Reference Loan 77.25

Scope and Content Autograph.

Legal Status Not Public Record(s)

Custodial History Date of acquisition for Zweig Collection not known; British Library, Loan 77.25 from 1981 to 1986.

Published: Max Kalbeck (ed.), Johannes Brahms. Briefe an P.J. Simrock und Fritz Simrock, vol. I (Berlin: Deutsche Brahms-Gesellschaft, 1917, as vol. IX of Brahms. Briefwechsel), pp. 33-5, 46-7.

Page 25 2021-08-21 Zweig MS 22 Johannes Brahms: Letter to Peter Joseph Simrock (Jul 1861)

Collection Area British Library: Music Collections

Reference Zweig MS 22

Creation Date Jul 1861

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johannes Brahms: Letter to Peter Joseph Simrock (Jul 1861)

Physical Characteristics 215 x 134mm. Structure: 2. Without envelope or address leaf. No watermark.

Scope and Content No place; dated ‘Juli 61’ (f. 1r). Numbers ‘524/1’ and ‘913’ added in pencil on f. 1r appear to be by dealers or previous owners.

Legal Status Not Public Record(s)

Zweig MS 23 Johannes Brahms: Letter to Peter Joseph Simrock ([1865])

Collection Area British Library: Music Collections

Reference Zweig MS 23

Creation Date [1865]

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johannes Brahms: Letter to Peter Joseph Simrock ([1865])

Physical Characteristics 217 x 133mm. f. 2v blank except for endorsement quoted above. Structure: 2. Without envelope or address leaf. No watermark.

Scope and Content Autograph. ‘Lilienthal 136, Baden-Baden’ (f. 2r); n.d., but endorsed ‘No. 1092. Baden-Baden d. 2/10.65. Brahms’ in another hand (f. 2v). Pencil numbers ‘524/2’ and ‘914’, in sequence with those on Zweig 22, added at foot of f. 1r.

Legal Status Not Public Record(s)

Page 26 2021-08-21 Zweig MS 24 Hans von Bülow: Letter to C. Kerfack (2 Nov 1864)

Collection Area British Library: Music Collections

Reference Zweig MS 24

Creation Date 2 Nov 1864

Extent and Format 1 volume (3 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Hans von Bülow: Letter to C. Kerfack (2 Nov 1864)

Physical Characteristics 217 x 141mm. (letter); 119 x 150mm. (envelope). ff. 2r and v blank. Structure: 2, 1. Watermark: chain lines only. 217 x 141mm. (letter); 119 x 150mm. (envelope). ff. 3; 2r and v blank. Structure: 2, 1. Watermark: chain lines only.

Scope and Content Autograph. Written in ink; signed and dated on f. 1v. With envelope (f. 3) addressed by von Bülow, where Kerfack is described as ‘Generalagent der Londoner "Union"‘, [Berlin]; closed with seal impression depicting an eagle bearing a shield. The letter relates to Zweig MS 26.

In the letter von Bülow writes that he is sending Kerfack as a gift the autograph manuscript of Chopin’s Mazurka op. 59, no. 3 (now Zweig MS 26). He adds that he is not depriving himself by making this gift, because he has retained the manuscripts of nos. 1 and 2 of this set of Chopin Mazurkas.

Legal Status Not Public Record(s)

Custodial History Wilhelm Heyer, Cologne; presumably acquired by Zweig with Zweig MS 26.

Reproduced: ff. 1r and v, British Library Zweig Concert Series programme book, 24 May 1989, p. 10; f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXI.

Bibliography: Georg Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog, vol. iv (1916), p. 370.

Page 27 2021-08-21 Zweig MS 25 Ferruccio Busoni: ‘Indianisches Erntelied’ (Indian Harvest Song), for piano (12 Apr 1911)

Collection Area British Library: Music Collections

Reference Zweig MS 25

Creation Date 12 Apr 1911

Extent and Format 1 volume (4 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ferruccio Busoni: ‘Indianisches Erntelied’ (Indian Harvest Song), for piano (12 Apr 1911)

Physical Characteristics 357 x 271mm. ff. 4r and all versos printed with staves but otherwise blank. Structure: 4. 24-stave paper; span 294mm. Printed, with printer’s mark ‘B. & H. Nr. 14. C.’ No watermark. Sewn but not bound.

Former Internal Reference Loan 77.52

Scope and Content Autograph. Written in ink on systems of two and three staves. Music on ff. 2r and 3r only; f. 2r. headed ‘Indianische Erntelied / Erster Versuch einer Verwerthung für das Clavier’. Tempo direction ‘Allegretto vivace’ (f. 2r). Against the end of the last system on f. 3r is the date ‘12 April 1911’, and under it the inscription ‘diese Skizze wurde eigens niedergeschrieben / für Herrn Stephan Zweig / zur Erinnerung an Amerika / und an Ferruccio Busoni’. With a title-page (f.1r), ‘Klavier Skizze / (Versuch über ein Indianer Lied) / Herrn Stefan Zweig’, signed ‘Ferruccio Busoni’.

With number from Hinterberger catalogue IX in pencil at foot of f. 1r.

The piece takes the form of an improvisation on the American Indian Laguna corn-grinding song (see Beaumont, p. 200), and is apparently unpublished. Busoni had been introduced to American Indian music by a former pupil during his 1910-11 concert tour of the United States. A number of subsequent works are based on themes from this source; a version of the corn-grinding song is used again in the third piano piece in the first book of his Indianisches Tagebuch (1915, published Leipzig: Breitkopf & Härtel, 1916). Busoni set out to return to Europe early in April 1911. Zweig writes in The World of Yesterday of his admiration for Busoni’s playing ‘from my early youth’; he made his first visit to central and North America for two months early in 1911, and met Busoni in the USA (see Prater, European of Yesterday, and Zweig. Briefe). Zweig was back in Vienna by 21 April. Mahler was one of his fellow passengers on the ship home (Prater); the date and inscription on the present manuscript suggest that Busoni was also on board. On his return home Zweig wrote to Ferdinand Grigori that he was now beginning to appreciate Busoni as a composer as well as a pianist, a remark made when the gift of this little piece was presumably still fresh in his mind. Zweig published an appreciation of Busoni in Oct. 1911 (in Blätter des deutschen Theaters, vol. i, no. 6), and the earliest of the surviving letters to him from Busoni (Jewish National and University Library) is dated 6 Dec. 1911; from it it is clear that the two men were already on cordial terms. Later Busoni was among the group of exiles in Zürich when Zweig was there in 1918 before the end of the first World War.

Legal Status Not Public Record(s)

Custodial History Presented to Zweig by the composer; offered for sale through H. Hinterberger, Vienna, cats. IX [1936] no. 243, 18 [1937] no. 25, and XX [1937] no.81; unsold and retained in the Collection; British Library, Loan 77.52 from 1981 to 1986.

Reproduced: f. 2r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXII.

Page 28 2021-08-21 Bibliography: Stefan Zweig, The World of Yesterday (London, 1943), p. 211; Donald Prater, European of Yesterday. A Biography of Stefan Zweig (Oxford, 1972), pp. 48-9, 97, 99; Anthony Beaumont, Busoni the Composer (London, 1985), p. 190-200; Marc- André Roberge, Ferruccio Busoni: a bio-bibliography (New York, 1991), pp. 248, 288; Randolph J. Klawiter, Stefan Zweig, an international bibliography (Riverside, Cal., 1991), pp. 324, 484; Knut Beck, Jeffrey B. Berlin, Natascha Weschenbach-Feggeler (eds.), Stefan Zweig. Briefe 1897-1914 (Frankfurt am Main, 1995), pp. 228-9; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 365.

Zweig MS 26 Frédèric Chopin: Mazurka in F sharp minor for piano, op. 59, no. 3 ([1845])

Collection Area British Library: Music Collections

Reference Zweig MS 26

Creation Date [1845]

Extent and Format 1 volume (2 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Frédèric Chopin: Mazurka in F sharp minor for piano, op. 59, no. 3 ([1845])

Physical Characteristics 219 x 285mm. f. 2v ruled with staves but otherwise blank. Structure: 2. 14-stave paper; span 181-2mm. No watermark.

Former Internal Reference Loan 77.2

Scope and Content Autograph. Written in ink on systems of two staves. Tempo direction ‘Vivace’. Headed ‘Nro 3.’ in upper margin of f. 1r; ‘fine’ written at the end (f. 2r). With many autograph corrections and alterations in ink. Engraver’s markings have been added in pencil beneath the systems.

The line and page endings marked by the engraver in this manuscript are not those of the Stern edition, though the first and last page numbers given, 12-15, are those found there. Von Bülow’s letter of 1864 (Zweig MS 24) documents the separation of Zweig MS 26 from the manuscripts of the other two mazurkas of op. 59, all three originally having been sent as a set to the publisher Stern in Berlin. Nos. 1 and 2 from the Stern set are now in Mainz; no other manuscripts of op. 59 are now known apart from the early version in the Pierpont Morgan Library, New York. However, letters of Chopin suggest that there were once two other sets of autographs: with his letter to Augusts Léo of 9 Oct. 1845 he appears also to have sent copies for transmission to Wessel in London (see Kobylańska, p. 127), and on 9 November 1845 he wrote from Nohant to Schlesinger in Paris, forwarding the same works ‘a publier sans dedicace’ (letter offered for sale by Autographes Castaing, Librairie de l’Echiqiuer, Paris, undated catalogue [June 1987]).

Legal Status Not Public Record(s)

Custodial History Sent by Chopin, with op. 59 nos. 1 and 2, to Auguste Léo, 9 Oct. 1845; from Léo to the Berlin publisher Stern; given by Julius Stern to Hans von Bülow (see Kobylańska, below); no. 3 only given by von Bülow to C. Kerfack, Berlin, 1864 (see Zweig MS 24); Wilhelm Heyer, Cologne; acquired by Zweig at or after the 1926-7 Berlin auction sales from the Heyer Collection; offered for sale through Heinrich Hinterberger, Vienna, cat. XX [1937], no. 90a; not sold, retained in the collection (see Add. MS 73169, f. 18); British Library, Loan 77.2 from 1981 to 1986.

Published: Ewald Zimmerman (ed.), Chopin Mazurken (Munich: G. Henle Verlag, 1975). Reproduced: f. 1r: Heinrich Hinterberger, Vienna, cat. XX [1937], pl. V; Music Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 44; exhibition leaflet ‘The Creative Spirit in the Nineteenth Century’ (London, Amsterdam and Vienna: Christie’s, 1987-8); ff. 1v, 2r: British Library Zweig Concert Series programme book, London, Wigmore Hall, 24 May 1989, pp. 8-9; f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXIII. Facsimile edition, with a source commentary by Jim Samson, Dzieła Chopina Wydanie faksymilowe, A/IV/59/3a (Warsaw: Narodowy Instytut Fryderyka Chopina, 2009).

Page 29 2021-08-21 Bibliography: Georg Kinsky (ed.), Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog, vol iv (Cologne, 1916), p. 370; ‘Meine Autographen-Sammlung’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 37; Maurice J.E. Brown, Chopin. An Index of his Works in Chronological Order (London, 1960), pp. 151-2; Krystina Kobylańska, Frédéric Chopin. Thematisch- Biblioghraphisches Werkverzeichnis (Munich, 1979), pp. 127-9; Zimmerman (ed.), Chopin. Mazurken (Munich: G. Henle Verlag, 1975), Kritischer Bericht, p. 9; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p.365.

Zweig MS 27 Frédéric Chopin: Barcarolle in F sharp major for piano, op. 60 ([1846])

Collection Area British Library: Music Collections

Reference Zweig MS 27

Creation Date [1846]

Extent and Format 1 volume (4 folios)

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Title Frédéric Chopin: Barcarolle in F sharp major for piano, op. 60 ([1846])

Physical Characteristics 219 x 285mm. f. 4v ruled with staves but otherwise blank. Structure: 2, 2. 14-stave paper; span 181-2mm. No watermark. Sewn.

Former Internal Reference Loan 77.3

Scope and Content Autograph. Written in ink, on systems of two staves. Tempo direction ‘Allegretto’. Headed by the composer ‘Barcarolle / pour le piano / dedié a Madame la Baronne de Stockhausen / par F Chopin. Op. 60 / Leipsic Haertel. Paris Brandus (Schl.) - Londres Wessel.’ (f. 1r); ‘fine’ at end (f. 4r). With a small number of corrections, in ink. With engraver’s markings in pencil, some partially erased. The numbers ‘6’ in pink crayon and ‘7545’ in pencil added at top left of f. 1r.

This manuscript was used in the preparation of the first edition issued by Breitkopf & Härtel: the engraver’s markings agree with the line and page endings, and the number 7545 pencilled on f. 1 is the plate number in this edition. The Kraków manuscript, from which the Paris first edition was prepared, is much more heavily corrected than Zweig MS 27 and was presumably written out first. The apparent discrepancy between Zweig’s account of the provenance of Zweig MS 27 and Kobylańska’s statement that it was used by Brahms in 1880 may perhaps be explained by its having been acquired by Clara for the Schumann album at a later date. Zweig MS 3 was another of Zweig’s acquisitions from the same album.

Legal Status Not Public Record(s)

Custodial History Sent by Chopin to A. Franchomme, Paris, for transmission to Breitkopf & Härtel, Aug. 1846; lent by Breitkopf to Brahms, 1880 (see Kobylańska, pp. 130-1); acquired by Zweig from Robert Schumann’s grandson, Robert Sommerhoff, 2 March 1932, formerly part of the album compiled jointly by Robert and Clara Schumann, as Zweig MS 3 (Zweig’s provenance card, Add. MS 73167, f. 15); British Library, Loan 77.3 from 1981 to 1986.

Published: Leipzig: Breitkopf & Härtel: 1846; Ernst Herttrich (ed.), Chopin. Klavierstücke (Munich: G. Henle Verlag, 1978); Paris: Brandus & Cie, and London: Chr. Wessel, both 1846.

Reproduced: f. 4r (part), British Library exhibition leaflet 75 Musical and Literary Autographs (1986), p. 5; ff. 3v-4r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXIV.

Page 31 2021-08-21 Bibliography: Zweig, The World of Yesterday (London, 1943), p. 266; Maurice J.E. Brown, Chopin. An Index of his Works in Chronological Order (London, 1960), pp. 152-3; Krystina Kobylańska, Frédéric Chopin. Thematisch-Biblioghraphisches Werkverzeichnis (Munich, 1979), pp. 130-1; Ernst Hettrich (ed.), Chopin. Klavierstücke (see above), Kritischer Bericht, pp. 6-8; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p.365. For facsimile of the autograph manuscript in Kraków, see Fryderyk Chopin. Barkarola, Gesamtfaksimile, vol. iv (Krakow: PWM, 1953).

Zweig MS 28 Domenico Cimarosa: ‘Giovinotti mentre in volto’, rondo for soprano and strings (Late 18th century)

Collection Area British Library: Music Collections

Reference Zweig MS 28

Creation Date Late 18th century

Extent and Format 1 volume (4 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Domenico Cimarosa: ‘Giovinotti mentre in volto’, rondo for soprano and strings (Late 18th century)

Physical Characteristics 220 x 298mm. f. 4v blank. Stucture: 4. 10-stave paper, span 180mm. Watermark: device (indistinct) in a circle.

Scope and Content Autograph full score. Written in ink on systems of five staves. Headed ‘Rondo’ in left upper margin of f. 1r. Tempo direction ‘And[ant]e’; the name of the character singing given as ‘Candida’ (f. 1r). Scored for violins, viola and unfigured bass; vocal part in the soprano clef. ‘Del Sig[no]r D. Dom[eni]co Cimarosa’, added in upper margin of f. 1r, apparently in a different hand. One full and two half bars struck through on f. 2v. Authenticated as autograph of Cimarosa by his son Paolo in ink at foot of f. 2r: ‘Tanto la musica che le parole son di proprio pugno della cara memoria di mio padre, P. Cimarosa [paraph]’. Blind stamp on the right of ff. 1-3 ‘Collezione Musicale Masseangioli’. Composer’s name added in pencil at bottom right of f. 1r.

Schlitzer lists this arietta from the Succi Catalogue, without being able to identify it as part of a longer work. It may perhaps be an aria from a lost opera. Schlitzer (p. 76), quoting the reference to a catalogue of Cimarosa’s works in the collection of Messeangelo Messeangeli bequeathed to the Accademia Filarmonica in Bologna but now apparently lost, states that Cimarosa wrote many operas which are not listed by Fétis. The authentication by Paolo Cimarosa (1788-1864) may indicate that the present manuscript was part of the collection given to him by Cardinal Consalvi, a collection of autographs and copies that the elder Cimarosa had left to the Cardinal, his friend and admirer, before leaving for Russia in 1787 (see Schlitzer).

Legal Status Not Public Record(s)

Custodial History Acquired by Egidio Francesco Succi from the Abate Masseangelo Masseangeli, before the latter’s death in 1878; Wilhelm Heyer, Cologne by 1916; purchased by Zweig at auction of Heyer collection, Henrici, Berlin, 7 Dec. 1926 (record card, not in Zweig’s hand, Add. MS 73167, f. 14).

Reproduced: f. 2r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXV.

Bibliography: Egidio Francesco Succi, Catalogo degli autografi e documenti di celebri e distinti musicisti posseduti da Emilia Succi (Bologna, 1888), p. 51 (no. 252), which includes the complete text of the words; Georg Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog (Cologne, 1916), pp. 50-1, also includes the words; ‘Meine Autographen-Sammlung’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 37; F. Schlitzer ‘Annali delle opere di Cimarosa’ in Per il Bicentenario della Nascita di Domenico Cimarosa 1749-1949 (Aversa, 1949), pp.130-131; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 366.

Page 32 2021-08-21 Zweig MS 29 Domenico Cimarosa: Fragment, apparently from a duet or trio in D (Late 18th century)

Collection Area British Library: Music Collections

Reference Zweig MS 29

Creation Date Late 18th century

Extent and Format 1 volume (1 folio)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Domenico Cimarosa: Fragment, apparently from a duet or trio in D (Late 18th century)

Physical Characteristics 232 x 300mm. 10-stave paper, span 183mm. Watermark: eagle in a double circle [incomplete]

Scope and Content Autograph full score. Written in ink on a single system of ten staves on either side of a single leaf. In common time, with the text ‘a vostr’ordine potete entrar’ (recto), ‘Quando mi trova gia maritata sara da ridere col mio Papa’ (verso). Although three lines are left for the vocal parts, only two of them contain music in this fragment. Neither key, time signature, clefs, nor indications of instrumentation are included in the fragment. The scoring is apparently for strings and winds: at bar one the sixth stave has the indication ‘coll’oboi’, and the music on the first stave appears to be for a pair of horns. Note of authentication by Paolo Cimarosa added in ink at bottom of verso: ‘Autenticato Paolo Cimarosa [paraph]’.

Old wrappers in the hands of Zweig and others (Add. MS 73171, ff. 81-2) state that this manuscript contains music from Cimarosa’s best-known opera, ‘Il matrimonio segreto’, but this is apparently not the case. Comparison with the Cimarosa manuscript reproduced by Gerstenberg would suggest that the accompaniment in Zweig MS 29 is scored for horns, oboe 1 and 2, violins 1 and 2, violas, with unfigured bass line. The manuscript is possibly that listed by Schlitzer as appearing as no. 39 in Raccolta Hoepli. Autografi (Milan, 1933).

Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known.

Reproduced: f.1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXVI.

Bibliography: F. Schlitzer ‘Annali delle opere di Cimarosa’ in Per il Bicentenario della Nascita di Domenico Cimarosa 1749-1949 (Aversa, 1949), p.131 [?]; Walter Gerstenberg, Musiker Handschriften von Palestrina bis Beethoven (Zürich, 1960), no. 83; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 366.

Page 34 2021-08-21 Zweig MS 30 Josef Danhauser: Drawing of Beethoven on his deathbed, 1827 ([after 1844])

Collection Area British Library: Music Collections

Reference Zweig MS 30

Creation Date [after 1844]

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Josef Danhauser: Drawing of Beethoven on his deathbed, 1827 ([after 1844])

Physical Characteristics 227 x 180mm. No watermark. Formerly pasted to a board, now lifted.

Scope and Content Copy. In pencil. Shows Beethoven’s head turned to the left and resting on a pillow, a cover drawn up beneath his chin. With copy of Danhauser’s signature and the date 1827 diagonally to the left. Below is the faint pencil inscription ‘Beethoven / Den 28ten März an seinem / Todtenbette gezeichnet zum / Zweke einer lithographie’, and in the bottom right corner of the leaf ‘1/1’. On the verso is part of a lithograph of a rural scene, apparently no. 34 in a series, printed by Auguste Bry, Paris, and published in Paris by Francois Delarue Succ. and in London by ‘Gambart et Co. 25 Bern[ers Street]’, the last part of the address being on the portion of leaf cut away.

Danhauser was given permission two days after Beethoven’s death to take a plaster cast of his features and at the same time apparently made the drawing of which Zweig MS 30 is a copy, from which he subsequently published a lithograph. A sketch in oils by Danhauser also exists, and is reproduced as frontispiece to Brandenburg. According to Thayer an autopsy had already been carried out involving the cutting and removal of temporal bone by the time Danhauser began work. Although when received in the British Library the present drawing was pasted on a card so that the verso of the leaf could not be seen, Zweig himself was aware that the drawing was made on the verso of a cut-down part of a lithograph, and writes of it on his record card (Add. MS 73167, f. 9r); however, he can hardly have known that the partial address given for the London publishers Gambart, ‘25 Bern[ers Street]’ was one they did not occupy until 1844. Maas establishes that Ernest Gambart came to London only in 1840, at first trading with his partner Junin, and moved to Berners St. in 1844, still trading under their joint names. The conclusion has to be that Zweig MS 30 is a copy rather than the original drawing that Zweig, and others before him, took it to be. Frimmel (1923) writes that the drawing had come to light again ‘in unseren Tagen’, and he quotes the inscription as found on Zweig MS 30. However, his reproduction, captioned as the drawing, is not of Zweig MS 30: it differs in minor detail as well as in the major point that the head faces to the other direction. The reproduction in Bekker appears to be of the same original as used by Frimmel. The lithograph, as reproduced in Anderson, has similar detail to the reproduction in Frimmel, but shows the head facing the same way as in Zweig MS 30.

Legal Status Not Public Record(s)

Custodial History Otto Strakosch, London; purchased by Zweig through H. Eisemann and Kaufmann, 19 June 1939 (Zweig’s record card, Add. MS 73167, f. 9).

Reproduced: Daily Telegraph, 17 June 1939, p. 20, as in the collection of Otto Strakosch, London; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXVII.

Bibliography: Paul Bekker, Beethoven (Berlin and Leipzig, 1911), pl. 146; Theodor Frimmel, Beethoven in zeitgenössischen Bildnis (Vienna, 1923), pp. 60-1 and pl. 28; Stefan Zweig, The World of Yesterday (London, 1943), p. 267; Emily Anderson, The Letters of Beethoven (London, 1961), vol. iii (opp. p. 1345); Elliott Forbes (ed.), Thayer’s Life of Beethoven (Princeton, NJ, 1967), p. 1052; Jeremy Maas, Gambart. Prince of the Victorian Art World (London, 1975), pp. 26, 34; Sieghard Brandenburg (ed.), Ludwig van Beethoven. Briefwechsel. Gesamtausgabe, vol. vi (Munich, 1996), frontispiece; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 362.

Page 35 2021-08-21 Zweig MS 31 Claude Debussy: Fantaisie for piano and orchestra: solo piano part, with reduction of orchestral accompaniment for a

Collection Area British Library: Music Collections

Reference Zweig MS 31

Creation Date 1889-1890

Extent and Format 1 volume (19 folios)

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Title Claude Debussy: Fantaisie for piano and orchestra: solo piano part, with reduction of orchestral accompaniment for a second piano (1889-1890)

Physical Characteristics 350 x 265mm. ff. 1v, 8v and 19v printed with staves but otherwise blank. Structure: f. 2 inserted, otherwise the present binding does not allow the structure to be discerned. 26-stave paper, span 311mm.; printed, with blind-stamp ‘Lard-Esnault, Paris, 25, Rue Feydeau’. f. 2 a different paper, unruled. No watermark. Bound in full blue morocco, gold tooled, lettered in gold on the upper cover ‘CLAUDE DEBUSSY / FANTASIA POUR PIANOFORTE / 1890’, by Baynton of Bath.

Scope and Content Autograph. In score. Written in black ink on systems of four and five staves, one stave for the most part left blank; some clefs and key signatures in Part I (ff. 3v-8r) are in red ink. With a few annotations and corrections in pencil on. ff. 10r and v, 11r, 16r. Contents as follows:

f. 3r. Title-page: ‘(Piano) / Fantaisie, piano et orchestre / (1er Partie)’.

ff. 3v-8r. Part I: ‘Andante’. Orchestral part only partially written in on one or two staves beneath the piano part; cue letters added in blue crayon throughout. The orchestral introduction and orchestral passages at cue letters E, H and I (in the published full score) are omitted but the number of bars they occupy marked in; following cue letter L the orchestral part is omitted until the last 7 bars, without indication.

f. 9r. Title-page: ‘(Fantaisie / 2: Partie)’.

ff. 9v-19r. Part II: [no tempo marking] - ‘Même mouvement - Allegro Moto - Un peu retenu - a Tempo - Piu Mosso poco a poco - Vivace’. Orchestral part given on a single stave only, written above the solo part, on ff. 9v-11v; thereafter as a complete piano reduction below the solo part. There are cancelled passages of 7 bars (f. 11r and v), 1 bar (f. 15v) and 4 bars (f. 17v). At some time the order of two leaves has been reversed, and the present binding preserves that error: the content of the present f. 18 precedes that of the present f. 17.

Partially erased title in pencil on f.1r apparently added later; ‘9296’ added in pencil in upper margin of f. 1r. With an inserted note in ink (f. 2) by René Chansarel stating that the manuscript, ‘celui du premier jet sur lequel j’ai travaillé avec Debussy’, was presented to him by the composer in 1890.

Debussy began work on the ‘Fantaisie’ in October 1889, intending it as one of his Prix de Rome works, though it was in fact never submitted. The work is dedicated to his friend the pianist René Chansarel, who was to have given the first performance at a concert of the Société Nationale de Musique on 21 April 1890. At the last moment Debussy withdrew it from the programme, apparently because Vincent D’Indy, who was conducting the concert, had decided to perform only the first part (see Vallas, Lesure). Chansarel’s note inserted in the present manuscript states that it is the copy with which he and Debussy worked in preparation for this concert, and the presence of cue letters in Part I only suggests, at least, that Part II had not been prepared in such detail. Though Debussy thought of revising the work at various times, it remained unperformed during his lifetime, and the first performance was given, not in Paris but in London, by Alfred Cortot at a Royal Philharmonic Society concert on 20 Nov. 1919. Briscoe identifies the present manuscript with that listed by Lesure as being formerly in Marguerite Long’s collection, but ‘Esquisses pré-orchestrales’ for the work from her collection were included in the 1962 exhibition at the Bibliothèque Nationale. Samazeuilh’s

Page 36 2021-08-21 piano reduction of the orchestral part differs from the fully realized sections of Zweig MS 31. Zweig had acquired a Debussy manuscript as early as 1926, presumably the Banville setting ‘Les baisers’ sold from Hinterberger cat. IX (no. 246). Zweig MS 31 provides yet another example of his seeking in the later 1930s what might be considered as replacements - and often far better replacements - for items sold off through Hinterberger.

Legal Status Not Public Record(s)

Custodial History Given by Debussy to Chansarel; acquired by Zweig from Pierre Berés (cat. 22), Paris, May 1939 (Zweig’s record card, Add. MS 73167, f. 16).

Bibliography: Léon Vallas, Claude Debussy et son temps (Paris [?], 1932), pp. 64-6; [François Lesure], Claude Debussy (Bibliothèque Nationale exhibition catalogue, Paris, 1962), pp. 36-7; ibid., Catalogue de l’oeuvre de Claude Debussy (Geneva, 1977), p.72; J. R. Briscoe, Debussy. A guide to research (New York, 1990), pp. 8, 31; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 367.

Zweig MS 32 Léo Delibes: ‘Lakmé’, opera in three acts (libretto by Edmond Gondinet and Philippe Gille), 1883: duet ‘J’ai marché

Collection Area British Library: Music Collections

Reference Zweig MS 32

Creation Date 25 Aug 1883

Extent and Format 1 volume (7 folios)

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Title Léo Delibes: ‘Lakmé’, opera in three acts (libretto by Edmond Gondinet and Philippe Gille), 1883: duet ‘J’ai marché sous les hautes fougères’ for Gèrald and Frédéric (25 Aug 1883)

Physical Characteristics 268 x 351mm. Versos printed with staves but otherwise blank. Foliation in blue crayon. Structure: single leaves. 14-stave paper, span 231mm; printed, with blind stamp ‘Lard-Esnault, Paris, 25 Rue Feydeau’. No watermark. Leaves tied with cord at top left corner.

Former Internal Reference Loan 77.53

Scope and Content Autograph. Vocal score. Written in ink on systems of four staves. Corrections in ink throughout. Tempo direction (at bar 3) ‘Moderato’. Comprising an additional scene, replacing spoken dialogue, headed (f. 1r) ‘No.18 (Nouveau) Scène (G)’, with a note that the first bar replaces the last bar of the preceding piece, no. 17. With at the end the instruction ‘enchainez avec le No. 19’, and initialled and dated ‘Meggen. 25 août 83’ (f.7r). The opera was first performed 14 April 1883 at the Thèatre Nationale de l’Opèra-Comique, Paris. On f. 1r ‘(Nouveau)’ and ‘G’ and the composer’s note at the head of the page have been cancelled in blue crayon, and a replacement note, ‘si l’on adopte la version chantée, pour cette scène ...’ added in another hand in violet ink at the foot of the page. With a few editorial annotations and corrections in pencil as well as blue crayon, and engraver’s markings in pencil throughout; some of the latter are partially erased, but those remaining legible refer to page nos. 236-245. Number in Hinterberger catalogue IX added in pencil at foot of f. 1r.

In the first bar of this scene Frédéric’s spoken ‘il est vivant!’, cued in above the last bars of no. 17 in the first published vocal score, is replaced by his sung ‘Vivant!’. The publication of the scene in full score includes the text of the note by Delibes which has been cancelled on f. 1r of the Zweig manuscript; the heading in the printed full score is also the same as this manuscript: ‘No. 18 (Nouveau) / Scène (G)’. The revised vocal score includes the

Page 37 2021-08-21 footnote added to f. 1r of this manuscript as well as the other editorial changes found there. In the printed full score No. 19 begins with the note ‘Pour l’Édition de Gd Opèra voir le nouveau No. 18, Scène G.’

Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. IX [1936] no. 247, 18 [1937] no. 38, and XX [1937] no. 109; not sold, and retained in the Collection; British Library, Loan 77.53 from 1981 to 1986.

Published: Included as pp. 236-245 in a revised vocal score (Paris: Heugel et fils, [circa 1885]), which also includes other material not in the first issue of 1883.

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXX.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 367.

Zweig MS 33 Gaetano Donizetti: early version of the overture to Il diluvio universale, in D major/minor, in a version for piano

Collection Area British Library: Music Collections

Reference Zweig MS 33

Creation Date [1830?]

Extent and Format 1 volume (4 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Gaetano Donizetti: early version of the overture to Il diluvio universale, in D major/minor, in a version for piano duet ([1830?])

Physical Characteristics 231 x 291mm. Structure: 4. 20-stave paper, span 199mm. Watermark: three fleurs de lys within a decorated double circle, with under it ‘D. Carm. Baccari’. Sewn.

Scope and Content Incomplete, 270 bars; the last page (f. 4v), though completely full, does not contain the conclusion of the work. Autograph full score. Written in ink on systems of four staves. Tempo direction ‘Larghetto - Allegro’. The name Donizetti added in lighter ink in the upper margin of f. 1r. ‘N 3’ added in pencil at top right of f. 1r.

The opening Larghetto section corresponds to the opening of the overture to the original 1830 version of the opera Il diluvio universale. This material was reused later in the same year in Anna Bolena, and a new opening was substituted when Il diluvio universale was revised in 1834. The Allegro section, incomplete in this manuscript, remained in the 1834 version. The present manuscript may be either a piano duet arrangement of the 1830 overture or a separate piece closely related to the overture. Stefan Zweig had considered the music to be an unrecorded piece for string quartet.

Page 38 2021-08-21 Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from Francesco Torrini, Milan, July 1938 (copy of record card, Add. MS 73169, f. 23, and Add. MS 73171, ff. 95-96).

Reproduced: ff. 1r, 4v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates XXXI- XXXII.

Bibliography: Christopher Scobie, 'A Donizetti Manuscript in the Zweig Collection', Electronic British Library Journal 2014, article 12; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 367.

Zweig MS 34 Christoph Willibald Gluck: [‘I lamenti d’amore’], cantata beginning ‘Misero! e che farò! e come, e con qual cor i

Collection Area British Library: Music Collections

Reference Zweig MS 34

Creation Date [1767?]

Extent and Format 1 volume (8 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Christoph Willibald Gluck: [‘I lamenti d’amore’], cantata beginning ‘Misero! e che farò! e come, e con qual cor i figli abbraccerò’ for soprano and strings (words, Raniero de Calzabigi), arranged by the composer from the aria for Admeto (tenor) ‘Misero! e che farò’ from act III of his opera ‘Alceste’ ([1767?])

Physical Characteristics 226 x 311mm. Paginated 1-16 in red ink in the hand of Aloys Fuchs. Structure: 4, 4. 8-stave paper; span 190mm. Watermark: not discernable. Sewn; kept in a blue cloth-covered portfolio lettered ‘GLUCK’ and ‘S.Z.’ on the upper cover.

Former Internal Reference Loan 77.27

Scope and Content Autograph full score. Written in ink on systems of five staves. In C minor. Tempo directions ‘Andante un poco - Recit. - lento - presto - lento - presto - moderato - andante - Presto - Lento - Presto - Lento - Presto’. The music and text begin as in the first printed edition of the opera, though with reduced orchestration, but end with an apparently newly-composed ‘Presto’ section of 48 bars (ff. 7r-8v), beginning ‘Che acerbo tormento che strazio, che morte la dolce compagna vedersi rapir!’. The name ‘Gluck’ added in pencil in the upper left margin of f. 1r.

The work is a concert version of the aria from Gluck’s Italian Alceste, with the solo part in the soprano clef, a reduced orchestration, and a revised ending. ‘Misero, e che farò’ in the form in which it is found in this manuscript appears to be unrelated to Gluck’s rewriting of the role of Admetus for soprano castrato for performances of the opera in Vienna in 1770. Its standing as a separate work stems from Liebeskind’s publication and from the description in Schmid (Christoph Willibald Ritter von Gluck, p. 441), of an autograph manuscript of it formerly in the possession of Aloys Fuchs which had the title ‘I Lamenti d’Amore. Cantata a Soprano solo’ in Gluck’s hand. It seems certain that the present manuscript, purchased by Zweig in the wake of the Liebeskind sale, was the one used by Liebeskind in preparing the work for publication, and by implication, Liebeskind ( Ergänzungen, p. 16) links his manuscript with that described by Schmid (p. 441) as having belonged to Fuchs. Zweig’s own notes and the added pagination on Zweig MS 34 both also identify it as having belonged to Fuchs. There is no title on Zweig MS 34 as it now stands, but the possibility remains that Gluck’s title was on a

Page 39 2021-08-21 separate wrapper now lost. The comparatively faded nature of the ink on f. 1r suggests that any separate title-page has been absent for a considerable time.

Legal Status Not Public Record(s)

Custodial History - Pieringer, [Vienna] (see Schmid, Christoph Willibald Ritter von Gluck, p. 438); Aloys Fuchs, Vienna; Sigismunmd Thalberg, Naples; Thalberg sale, Naples, 1872; Josef Liebeskind, [Leipzig]; Liebeskind sale, K.E.Henrici, Berlin, 29 Sept. 1927; purchased by Zweig from Henrici, 24 Oct. 1927 (copy of Zweig’s record card, with his annotations, Add. MS 73169, f. 24); British Library, Loan 77.27 from 1981 to 1986.

Published: As cantata ‘I lamenti d’amore’, ed. Josef Liebeskind, from the present manuscript, then in his possession, Leipzig: Gebrüder Reinecke, 1908; Gerhard Croll (ed.), Christoph Willibald Gluck: Alceste (Wiener Fassung von 1767), Vorwort, Notenanhang und Kritischer Bericht, C.W. Gluck Sämtliche Werke, Abteilung I, vol. 3, part vol. b (Kassel, 2005), includes complete facsimile (pp. LXI-LXVIII), description of manuscript (pp. L, 619) and transcription/edition (pp. 500-511).

Reproduced: f. 4v, Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 33; f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXXIII; complete facsimile, Gerhard Croll (ed.), Christoph Willibald Gluck: Alceste (Wiener Fassung von 1767), Vorwort, Notenanhang und Kritischer Bericht (Kassel, 2005), pp. LXI-LXVIII.

Bibliography: Anton Schmid, Christoph Willibald Ritter von Gluck. Dessen Leben und Tonkünstlerisches Werken (Leipzig, 1854), pp. 438-441; A. Wotquenne, ed. Josef Liebeskind, Ergänzungen und Nachträge zu dem Thematischen Verzeichnis der Werke von Chr. W. von Gluck (Leipzig, 1911), pp. 16-17; ‘Meine Autographen-Sammlung’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 37; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 368; Gerhard Croll (ed.), Christoph Willibald Gluck: Alceste (Wiener Fassung von 1767), Vorwort, Notenanhang und Kritischer Bericht, C.W. Gluck Sämtliche Werke, Abteilung I, vol. 3, part vol. b (Kassel, 205), pp. L, 619.

Page 40 2021-08-21 Zweig MS 35 Edvard Grieg: ‘Peer Gynt’ Suite no. 2, op. 55 ([1891-1892])

Collection Area British Library: Music Collections

Reference Zweig MS 35

Creation Date [1891-1892]

Extent and Format 1 volume (i + 31 folios)

Languages of Material German; French; Norwegian

Access Conditions Restrictions to access apply please consult British Library staff

Title Edvard Grieg: ‘Peer Gynt’ Suite no. 2, op. 55 ([1891-1892])

Physical Characteristics 336 x 260mm. ff. 1v, 2r and v, 8v, 14v, 31v printed with staves but otherwise blank. Old pencil pagination 2-57, beginning at f. 3v. Structure: old fly-leaf (f. i), 2, 6, 1, 1, 1, 1, 1 (with conjoint stub, unfoliated), 1 (with conjoint stub, unfoliated), 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1 (with conjoint stub, unfoliated), 4. 20-stave paper, span 298mm.; printed, with blind-stamp ‘Lard-Esnault, Paris, 25 Rue Feydeau’. No watermark. Disbound within binding covers of black quarter leather and black paper-covered boards. Subsequently rebound in British Library; old covers kept with manuscript.

Scope and Content Autograph full score. Written in ink on systems of up to 18 staves. Contains the four numbers first performed by Grieg at Kristiania, 14 Nov. 1891, but with the revised ending to no. 3. As follows: ff. 3v-8r. ‘Der Brautraub (Ingrids Klage)’, tempo directions ‘Allegro furioso - Andante - Allegro furioso - Andante doloroso - Allegro furioso - Andante - Allegro furioso’. ff. 9r-14r. ‘Tanz der Bergkönigs Tochter’, tempo directions ‘Allegretto alla burla - Allegro molto (Doppio movimento)’; f. 9r is a title-page, though the titles are repeated above the beginning of the music on f. 9v. ff. 15r-27v. ‘Per Gynts Heimkehr. (Stürmischer Abend an der Küste)’, tempo direction ‘Allegro agitato’; ‘attacca’ at end, to lead to next no. ff. 28r-31r. ‘Solvejgs Lied’, tempo directions ‘Andante’ [preceded by ‘Poco’ partially erased from the page] - Allegretto tranquillamente - Andante (Tempo 1mo) - Allegretto tranquillamente - Andante (Tempo 1mo)’; details of violin fingering and of strings to be used, all of which appear in the published score, are added in a darker ink, as is the foot-note ‘sehr weich, die Sechzehntel nicht zu kurz.’ (f. 29r). In all numbers extensive corrections and revisions have been made by almost completely erasing the earlier version from the page and writing over it. Title-page (f. 1r) also in Grieg’s hand: ‘Zweite Orchestersuite / aus der Musik zu ‘Per Gynt’ / (Dramatische Dichtung von Henrik Ibsen) / von / Edvard Grieg. / op. 55 / Partitur.’; f. 3r serves as a contents list, giving in Grieg’s hand the titles of all four numbers in German and Norwegian. Titles at the head of each number are given in German first and then in Norwegian, again both in Grieg’s hand. Cue letters are marked in, apparently by the composer, as a separate series for each number, as in the published score. Metronome markings and titles in French at the beginning of each number have been added in pencil in another hand or hands; there are a few textual annotations in pencil, perhaps also in another hand. With engraver’s markings in pencil in all numbers, giving a running series of page numbers from 3-43. Old fly-leaf (f. i) has ‘Wie Vorlage’ and the number ‘78448’ in blue crayon at the top, with ‘7672’ added in pencil below.

Benestad and Schjelderup-Ebbe relate that Grieg completed the Suite with the same four movements as are found in this manuscript in September 1891, and conducted the first performance in Kristiania the following November. In the subsequent correspondence with his publisher C.F. Peters and others which they then quote, Grieg expresses dissatisfaction with the form of the Suite. In March 1892 he writes that he has added an ‘interlude’ to the end of ‘Peer Gynt’s Homecoming’ so that it and ‘Solveig’s Song’ can be played without interruption (the form in which the two numbers appear in this mansucript), and that he has re-orchestrated one more movement (‘Arabian Dance’) for possible inclusion. ‘Arabian Dance’ subsequently became the second number, with ‘Dance of the Mountain King’s Daughter’, the original no. 2, moved to the end. The Suite was printed in this form, but by February 1893 Grieg had already decided that ‘Solveig’s Song’ was the right ending and that ‘Dance of the Mountain King’s Daughter’ should be dropped. No further copies of the five-movement form were issued, and the abandoned number is not included in vol. xii of Samlede Verker. Zweig MS 35 appears to have served as the Stichvorlage for the numbers it contains; the page breaks indicated by the engraver’s markings in nos. 1, 3 and 4 are those of the first edition, though only the page numbers marked there in no. 1 (pp. 3-11) agree with those in the printed score; no copy of the

Page 41 2021-08-21 initial five-movement printing is available in the British Library for comparison, but Benestad and Schjelderup-Ebbe state that in it ‘Dance of the Mountain King’s Daughter’, as no. 5, is paginated 58-67. The number pencilled at the foot of f. i of Zweig MS 35 is the plate number of the first edition. In the critical commentary to his edition of the complete Peer Gynt music in the Samlede Verker Benestad deals with the other sources for the ‘Dance of the Mountain King’s Daughter’ and states that the first edition in full score of 1908 follows the text from the suppressed first printing; this must therefore represent the first proper publication of the piece in the form found in this manuscript. It is possible that the disbound state of Zweig MS 35 was the result of the reordering of the numbers in the publishing house; the separation of leaves in what must originally have been gatherings begins at the start of ‘Dance of the Mountain King’s Daughter’. The editors of the Complete Works were not aware of the existence of Zweig MS 35.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from [Max] Hinrichsen, formerly of Peters in Leipzig, London, 1940 (copy of [Zweig’s] record card, Add. MS 73169, f. 25, ‘Erworben ... vom Original Verleger Griegs’, dem Früheren Inhaber der Firma Peters in Leipzig (Herrn Hinrichsen)’).

Published: Nos. 1, 3, 4 first published, with ‘Arabian Dance’ as no. 2 in place of ‘Dance of the Mountain King’s Daughter’, Leipzig: C.F. Peters 1893. (See Benestad and Schjelderup-Ebbe, and Commentary below.)

Reproduced: f. 28r, Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 58; ff.3v, 13v-14r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates XXXIV-XXXV; f. 28r, Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 370.

Bibliography: Finn Benestad and Dag Schjelderup-Ebbe (eds.), Edvard Grieg. Samlede Verker, vol. xii: Orkestersuiter (Frankfurt: C.F. Peters, 1985), pp. 137-153; F. Benestad (ed.), ibid., vol. xviii: Per Gynt (as above, 1988), pp. 271-2, 301; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 369.

Zweig MS 36 George Frideric Handel: Aria ‘E troppo bella troppo amorosa la Pastorella’, part of the cantata ‘Ho fuggito Amore

Collection Area British Library: Music Collections

Reference Zweig MS 36

Creation Date 1st half of the 18th century

Extent and Format 1 volume (ii + 2 folios)

Languages of Material English; Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title George Frideric Handel: Aria ‘E troppo bella troppo amorosa la Pastorella’, part of the cantata ‘Ho fuggito Amore anch’io’ (HWV 118), for voice and basso continuo (1st half of the 18th century)

Physical Characteristics 241 x 295mm. f. 2v ruled with staves but otherwise blank. Structure: 2. 10-stave paper, ruled in pairs with a span of 27.5-28mm. (see Burrows and Ronish); total span ranges between 186-189mm. Watermark: Burrows and Ronish C20. Tipped onto a recessed board and bound in full brown leather, gold tooled, by Sangorski & Sutcliffe, London, the upper cover lettered ‘AUTOGRAPH MUSICAL MANUSCRIPT / A LOVE SONG / GEORGE FREDERICK HANDEL’ [sic].

Page 42 2021-08-21 Scope and Content Autograph score. Written in ink on systems of two staves: vocal line in the alto clef and figured bass. In D; tempo direction ‘allegro’ (f. 1r). Annotations by Vincent Novello in the upper margin of f. 1r record that the manuscript formerly belonged to Domenico Dragonetti and attest to its authenticity. With a modern calligraphic title-page (f. i) in black and red inks, including an English verse translation of the words.

This manuscript was not known to Chrysander, so only the first part of the cantata appears in his edition. Burrows and Ronish point out that Novello’s annotations on f. 1 do not necessarily indicate that he was the owner of the manuscript after Dragonetti’s death.

Legal Status Not Public Record(s)

Custodial History Domenico Dragonetti (d. 1846); Vincent Novello [?]; W.H. Cummings; Cummings sale, Sotheby’s, 17-24 May 1917, lot 132; Maggs Bros, cat. 362, Christmas 1917, item 2674; William Clark; W.H. Rothwell, Los Angeles; 1938, Paul Gottschalk, from whom it was purchased for Zweig (see Burrows and Ronish, A Catalogue of Handel’s Musical Autographs); purchased by Zweig through H. Eisemann, London, 28 July 1938 (Zweig’s record card, Add. MS 73167, f. 19, and Add. MS 73171, ff. 102-5).

Published: As ‘La Bella Pastorella’, edited and arranged ‘From Original M.S.’ by W.H. Cummings, London: C. Lonsdale, Gemme d’Antichità, no. 237, [circa 1877].

Reproduced: f. 1r. (excluding Novello’s annotations) in Maggs Bros. cat. 362, 1917, pl. v; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXXVI.

Bibliography: Donald Burrows and Martha J. Ronish, A Catalogue of Handel’s Musical Autographs (Oxford, 1994), p. 300; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 369-70.

Zweig MS 37 George Frideric Handel: ‘Floridante’, opera in three acts (libretto Paolo Antonio Rolli): final chorus ‘Quando pena

Collection Area British Library: Music Collections

Reference Zweig MS 37

Creation Date 1721

Extent and Format 1 volume (4 folios)

Languages of Material English; Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title George Frideric Handel: ‘Floridante’, opera in three acts (libretto Paolo Antonio Rolli): final chorus ‘Quando pena la costanza’ from Act III (1721)

Physical Characteristics 235 x 295mm. f. 4v ruled with staves but otherwise blank. Structure: 4; ff. 1 and 4 now detached. Numbered ‘7’ at top right of 1r. 10-stave paper ruled in pairs, span 30.5mm. (see Burrows and Ronish, A Catalogue of Handel’s Musical Autographs); total span ranges between 190-200mm. Watermark: Burrows and Ronish B10. In a box covered with blue morocco, gold tooled, by Rivière and Son, with the ‘spine’ lettered ‘HANDEL MANUSCRIPT / FINALE FROM THE OPERA FLORIDANTE / 1721’.

Scope and Content Autograph full score. Written in ink on systems of nine staves. No tempo direction. Headed ‘Coro’ (f. 1r) and with ‘Fine dell’ Opera à Londres ce 28 de Novembre 1721’ at the end (f. 4r). Part of Handel’s composition score of the opera.

Page 43 2021-08-21

The discovery of this hitherto missing conclusion to the composition score confirmed Handel’s own dating for the completion of work on ‘Floridante’; a note of the date had been added by Charles Jennens to an early manuscript copy full score. The first performance of the opera took place at the King’s Theatre, Haymarket, 9 December 1721 (Dean and Knapp, Handel’s Operas, p. 400). In his introduction to the facsimile edition Hopkinson states both that the manuscript was ‘found by me in London’ - reputedly he had found it in one of the trays of second-hand material at Foyles bookshop in Charing Cross Road - and that it had ‘until recently’ belonged to the family of the Earl of Aylesford, and so must have been one of the Handel manuscripts formerly in the possession of Jennens. Sotheby’s sale catalogue, 16 March 1937, states that the manuscript ‘comes from a family closely associated with Handel’. This information was of course supplied by Hopkinson, and it appears again in the First Edition Bookshop catalogue. Zweig (Add. MS 73167) accepted and noted the Aylesford and Jennens connections. However, Burrows and Ronish (A Catalogue of Handel’s Musical Autographs, p. 301) point out that though this provenance is possible, there seems to be no evidence to substantiate it, and the ownership of the manuscript before 1936 must be considered unknown.

Legal Status Not Public Record(s)

Custodial History Cecil Hopkinson, London, circa 1936; offered for sale by Hopkinson through Sotheby’s, London, 16 March 1937, lot 385 (bought in, see unpublished correspondence between Hopkinson and A. H. King in British Library); purchased by Zweig through H. Eisemann, from Hopkinson’s First Edition Bookshop, March 1940 (Zweig’s record card, Add. MS 73167, f. 20; see also Add. MS 73171, ff. 109-117, and memorandum of Zweig’s purchases in 1940 in Add. MS 73174).

Published: London: Walsh and Hare, [1722], as part of full score.

Reproduced: Complete photographic facsimile, with an introduction by Cecil Hopkinson, as Manuscript of the Finale from Floridante by George Frederic Handel, privately printed edition of ten copies, (London: the First Edition Bookshop, 1936); ff. 1r, 4r, Sotheby’s Sale Catalogue of 15-16 March 1937; ff. 1r, 4r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates XXXVII-XXXVIII; f. 2r, Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 371.

Bibliography: Introduction to facsimile (see above); W.C. Smith, ‘Recently Discovered Handel Manuscripts’, Musical Times, vol. lxxviii (1937), pp. 312-5; Addenda to cat. 25, First Edition Bookshop, London, May 1937; Alec Hyatt King, Some British Collectors of Music (Cambridge, 1963), p.99; ibid., Handel and his Autographs (London, 1967), pp. 9-10; Winton Dean and J. Merrill Knapp, Handel’s Operas, 1704-1726 (Oxford, 1987), pp. 385-417; Donald Burrows and Martha J. Ronish, A Catalogue of Handel’s Musical Autographs (Oxford, 1994), pp. 31-2, 301; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 369; Nicolas Bell, ‘A British Museum Book Order Ticket in the Hand of Stefan Zweig’, Brio, 45/1 (2008), pp. 58-59.

Page 44 2021-08-21 Zweig MS 38 George Frideric Handel: Oratorio ‘Joseph and his Brethren’ (words James Miller, after the book of Genesis), 1743:

Collection Area British Library: Music Collections

Reference Zweig MS 38

Creation Date 1743-1744

Extent and Format 1 volume (1 folio)

Access Conditions Restrictions to access apply please consult British Library staff

Title George Frideric Handel: Oratorio ‘Joseph and his Brethren’ (words James Miller, after the book of Genesis), 1743: recitative ‘With Songs of ardent gratitude, and Praise’ (1743-1744)

Physical Characteristics 228 x 270mm. Verso ruled with staves but otherwise blank. 10-stave paper, ruled in fives, span 90mm. (see Burrows and Ronish, A Catalogue of Handel’s Musical Autographs); total span 190mm. Watermark: chain lines only, identified by Burrows and Ronish as possibly their C80. The top of the leaf, affecting the heading ‘Joseph’, and the side margins have been trimmed. The verso has traces of sealing wax on the right margin, apparently used to fix the leaf in place, and there are sewing holes approximately 15mm. from the opposite edge of the leaf.

Scope and Content Autograph score. Written in ink on systems of two staves: vocal line in the alto clef and figured bass. Headed ‘Joseph’ in the upper margin, the music followed by ‘Segue il Coro Alleluja we will rejoice’, and with ‘Fine dell oratio. [sic] Joseph’ in the lower margin.

Joseph and his Brethren was composed during the late summer of 1743 and first performed at Covent Garden on 2 March 1744. It was revived in four subsequent seasons during Handel’s lifetime (see Dean, Handel’s Dramatic Oratorios and Masques). This manuscript appears to have been written out by Handel for insertion in the conducting score drawn up by his copyists; traces of sealing wax and the sewing holes indicate how it was fixed in place. The final chorus of the oratorio to which Handel’s note on the manuscript refers was taken from the ‘Dettingen’ Anthem (HWV 265), composed earlier in 1743. This was Zweig’s first Handel manuscript. He was always aware of their rarity, with very few in private hands, but his interest in Handel seems to have been further stimulated once he settled in London. His ‘historical miniature’ Georg Friedrich Händel’s Auferstehung includes a lively evocation of Brook Street and the surrounding area of London in Handel’s day; it was published in an elegant limited edition by his Viennese publisher Reichner in 1937. There followed the purchase of Zweig MS 36 in 1938 and of Zweig MS 37 in 1940.

Legal Status Not Public Record(s)

Custodial History Friedrich Chrysander (Add. MS 73171, f. 116-9); acquired by Zweig from Leo Liepmannssohn, apparently an exchange (‘in Tauschwege’), Berlin, November 1922 (record card, Add MS 73167, f. 21).

Published: As version A in F.W. Chrysander (ed.), G. F. Händels Werke, vol. xlii (Leipzig, 1883), p. 248.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XXXVIII.

Bibliography: Winton Dean, Handel’s Dramatic Oratorios and Masques (London, 1959), pp. 406-7; Hans Dieter Clausen, Händels Direktionspartituren (‘Handexemplare’), Hamburger Beiträge zur Musikwissenschaft, vol. vii (Hamburg, 1972), p. 166; Donald Burrows and Martha J. Ronish, A Catalogue of Handel’s Musical Autographs (Oxford, 1994), p. 302; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 369.

Page 45 2021-08-21 Zweig MS 39 Joseph Haydn: Symphony no. 97 in C (1792)

Collection Area British Library: Music Collections

Reference Zweig MS 39

Creation Date 1792

Extent and Format 1 volume (ii + 43 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Joseph Haydn: Symphony no. 97 in C (1792)

Physical Characteristics 233 x 290mm. ff. 13v, 14r and v, 17v, 25v, 31r and v and 43r and v ruled with staves but otherwise blank. Structure: 4, 4, 4, 2, 6 (with f. 17 a single leaf inserted into the gathering), 4, 4, 2, 6, 4, 2; the gatherings are numbered in pencil in order 1-6 and 1-5. 12-stave paper; span 202-3mm. The leaves all have pin-holes to top right and left. Watermark: shield with a bend, a fleur-de-lys above and flourish incorporating the letter W below, countermark ‘J WHATMAN’, similar to no. 104 in Edward Heawood, Watermarks (Hilversum, 1950). Bound in white moiré linen, blind-stamped with a decorative border, the upper cover lettered ‘HAYDN’ in gold; the edges of the leaves slightly trimmed in binding. Watermark partially visible on end-papers: ‘[PROPATRIA EIUSQUE] LIBERTATE’ in a double circle with a crown surmounted by a tree above, enclosing a lion holding a sheaf of arrows, similar to Heawood, no. 3151.

Former Internal Reference Loan 77.30

Scope and Content Autograph full score. Written in ink on systems of 12 staves. Signed and dated on the title-page (f. 1r): ‘Sinfonia in C / di me giuseppe Haydn m[anu] p[ro]pria London. 792 [line above]’. In four movements, as follows:

ff. 1v-13r. ‘Adagio (f. 1v) - Vivace’ (f. 2r). The first page of music (f. 1v) headed ‘In Nomine Domine’; ‘Laus Deo’ written at the end (f. 13r).

ff. 15r-25r. ‘Adagio ma non troppo.’ (f. 15r). A five-bar passage, bars 36-40, is written on the recto of a single inserted leaf (f. 17), the insertion marked with signs on ff. 16v and 18r.

ff. 26r-30v. ‘Menuet’ ‘Allegretto’ (f. 26r) and ‘Trio’ (f. 28v). Above the first violin line at bar 108 in the Trio is written ‘in 8va Salomon Solo ma piano’ (f. 30r).

ff. 32r-42v. ‘Finale’ ‘Spiritoso’ (f. 32r). ‘Fine Laus Deo’ written at the end of the work (f. 42v).

The composer’s total of bar numbers is given at the end of each movement (including both Minuet and Trio). Some numbering of bars has been added in pencil by a copyist in part of movements I and IV.

Bound in at the front (f. ii) is a copy of the portrait engraving of Haydn by David Weiss, published by Artaria & Co., Vienna, 1808 (Somfai, Josef Haydn. His Life in Contemporary Pictures, no. 21 in the ‘Iconography of Authentic Haydn Pictures’). The manuscript is not identifiable in any of the lists or catalogues of scores in Haydn’s possession made during the last years of his life, and its history until 1951 seems to be quite unknown. Robbins Landon’s was the first modern edition to make use of it.

Page 46 2021-08-21 Legal Status Not Public Record(s)

Custodial History Purchased for Zweig Collection at auction G. Rosen, Berlin, Berlin, 3-4 April, 1951 (see Add. MS 73171, ff. 127-34, including an off-print from the Rosen auction catalogue); British Library, Loan 77.30 from 1981 to 1986.

Published: Modern critical editions using Zweig MS 39: H.C. Robbins Landon (ed.), Joseph Haydn. Critical Edition of the Complete Symphonies, vol. xi (Vienna: Universal Edition, 1966) and Robert von Zahn (ed.), Joseph Haydn-Institut, Cologne, Joseph Haydn. Werke, I:16, Londoner Sinfonien, vol ii (Munich: Henle Verlag, 1997), pp. 122-190.

Reproduced: First page of music (f. 1v) and inscription from title-page (f. 1r), Rosen, Cat. XV; f. 30r, frontispiece to Joseph Haydn. Werke, I/16, and (detail only), Arthur Searle, Haydn and England (London, 1989), p. 23; ff. 1v, 30r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates XXXIX-XL.

Bibliography: Georg Kinsky, in Gerd Rosen, Berlin, Cat. no. XV, 1951; Hob., vol. i, p. 195; Robbins Landon (ed.), Joseph Haydn ... Symphonies, vol. xi, pp. xix-xxii; Robert von Zahn (ed.), Joseph Haydn-Institut, Cologne, Joseph Haydn. Werke, I:16, Londoner Sinfonien, vol ii (Munich: Henle Verlag, 1997), pp. 195-209. For the portrait engraving by Weiss, see László Somfai, Josef Haydn. His Life in Contemporary Pictures (London, 1969), pp. 201, 216.

Zweig MS 40 Joseph Haydn: Piano trio in E flat minor (Hob. XV:31) (1794- 1795)

Collection Area British Library: Music Collections

Reference Zweig MS 40

Creation Date 1794-1795

Extent and Format 1 volume (9 folios)

Languages of Material English; German; Italian; Latin

Access Conditions Restrictions to access apply please consult British Library staff

Title Joseph Haydn: Piano trio in E flat minor (Hob. XV:31) (1794-1795)

Physical Characteristics 245 x 305mm. f. 5v ruled with staves but otherwise blank. There are two earlier pencil paginations. Structure: 1, 1, 1, 1, 1 [Watermark indicates originally 4, 1], 4. 10-stave paper, span 200mm. (ff. 1-5) and 198mm. Watermark: ff. 1-5: fleur-de-lys in a shield, with ‘GR’ beneath, countermark ‘PORTAL & BRIDGES / 1794’; ff. 6-9: shield with a bend, with a flourish incorporating the letter W below, countermark ‘J. WHATMAN / 1794’. Unbound. With Zweig MS 41 in a blue buckram folder lettered ‘HAYDN’ and ‘S.Z.’ on the upper cover.

Former Internal Reference Loan 77.28

Scope and Content Autograph score. Written in ink on systems of four staves. In two movements, as follows:

ff. 1v-5r. ‘Andante’; instrumental lines marked ‘Violino’, ‘Cembalo o p:f:’ and ‘Violoncello’ (f. 1v). Headed ‘In Nomine Domini’ and ‘di me giuseppe Haydn m[anu] p[ro]pria / 795 [line over]’ on f. 1v.

ff. 6r-9v. ‘Allegro’; instrumental lines marked ‘Violin’, ‘Cembalo’ and ‘Violoncello’ (f. 6r). At the head of f. 6r, all partially erased, the composer has written ‘Sonata’, ‘Jacob’s Dream ! by Dr Haydn’ and ‘794’ [line above]. At the end f. 9v is the composer’s ‘Laus Deo’.

Page 47 2021-08-21 On f. 1r is Haydn’s title ‘Sonata’; beneath are three brief passages from the piano part, numbered 1-3, added by the composer as corrections or clarification. Two of these are from movement I of half a bar each, the other from movement II of a bar and a half; the place in the text to which the first of these corrections refers is indicated (f. 2v) with ‘No. 1.’. Smudges of printer’s ink are visible on f. 4r, and there are offset impressions on the last page (f. 9v) of music and of part of a printed title. Annotation of authenticity signed ‘André’ (Johann Anton André, see Irmgard Becker-Glauch (ed.), Joseph Haydn. Werke, XVII:3, Klaviertrios iii, p. 365) added on f. 1r. Later pencil annotations on f. 1r include ‘No. 2’ and ‘J. Haydn’ in the upper margin, and identifications in German of the points in the text to which the three passages of corrections refer.

The partially erased heading on f. 6r identifies movement II as the ‘Jacob’s Dream’ Sonata, long thought lost. It appears as ‘The Dream’ in Haydn’s list of his compositions written in England (see Robbins Landon, Correspondence and London Notebooks), and as ‘Jacobs Dream. Ein Allegro fürs Pianoforte’ in Johann Elssler’s catalogue of Haydn’s library (Add. MS 32070, f. 23v). The London notebook list states that the manuscript has 5 leaves, presumably referring to the present second movement and a separate title-page now lost. This in turn suggests that, though on English paper, movement I was composed, or completed, after Haydn’s departure in August 1795.

Legal Status Not Public Record(s)

Custodial History J. Traeg, Vienna (see Larsen, Die Haydn-Ueberlieferung, p.154); André, Offenbach; offered for sale in London, 1838/9 (see Becker-Glauch, Joseph Haydn. Werke, XVII:3, Klaviertrios iii, p. 366); purchased by Zweig at the second auction of André manuscripts, Leo Liepmannssohn, Berlin, 9 Dec. 1932, cat. 62, lot 32 (Zweig’s record card, Add. MS 73167, f. 22); British Library, Loan 77.28 from 1981 to 1986.

Published: Vienna: J. Traeg, 1803, ‘d’apres le manuscrit original’ [no copy available in British Library for comparison]; Irmgard Becker-Glauch (ed.), Joseph Haydn-Institut, Cologne, Joseph Haydn. Werke, XVII:3, Klaviertrios iii (Munich: Henle Verlag, 1986), pp. 265-83.

Reproduced: ff. 1v and 6r and detail of upper portion of f. 6r, Joseph Haydn. Werke, XVII:3, Klaviertrios iii, frontispiece and p. 365; f. 1v, British Library Zweig Concert Series programme book, 1996, p. 32; opening bars of Movement II from f. 6r, Arthur Searle, Haydn and England (London, 1989), p. 28; f. 6r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XLI.

Bibliography: J.P. Larsen, Die Haydn-Ueberlieferung (Copenhagen, 1939), p. 154; Hob., vol. i, p. 715; H.C. Robbins Landon (ed.), The Collected Correspondence and London Notebooks of Joseph Haydn (London, 1959), pp. 309-10; Irmgard Becker- Glauch (ed.), Joseph Haydn-Institut, Cologne, Joseph Haydn. Werke, XVII:3, Klaviertrios iii (Munich: Henle Verlag, 1986), pp. 365-8; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 372.

Page 48 2021-08-21 Zweig MS 41 Joseph Haydn: Variations in G on the anthem ‘Gott erhalte den Kaiser’, for keyboard; theme and Variation I

Collection Area British Library: Music Collections

Reference Zweig MS 41

Creation Date [1797-1799]

Extent and Format 1 volume (1 folio)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Joseph Haydn: Variations in G on the anthem ‘Gott erhalte den Kaiser’, for keyboard; theme and Variation I ([1797-1799])

Physical Characteristics 230 x 320mm. 12-stave paper; span 188mm. Watermark: three crescent moons.

Former Internal Reference Loan 77.29

Scope and Content Autograph. Written in ink on systems of two staves, on the recto of a single leaf. The theme occupies the bottom four staves, and Variation I the upper eight staves. No key signature is given, and tempo directions and expression marks are also absent. On the verso is a note of authenticity, in Italian, by the publisher Artaria, dated Vienna, 11 May 1839, when the manuscript was ceded to Count G. Esterhazy.

Haydn’s own arrangement of movement II from his string quartet op. 76, no. 3. The autograph, and hence the authenticity of this arrangement, was not known to commentators until recently. Anthony van Hoboken, Joseph Haydn. Thematisch-bibliographisches Werkverzeichnis (Mainz, 1957), vol. i, pp. 799-804, discusses the work only in the appendix to the appropriate section.

Legal Status Not Public Record(s)

Custodial History Artaria, Vienna; 1839, Sandor György Esterhazy, Count of Galanta; Esterhazy sale, Paris, March 1857, lot no. 347; Wilhelm Friedrich Heyer, Cologne; purchased by Zweig at sale of Heyer Collection, Henrici, auction 114, Berlin, 7 Dec. 1926 (Zweig’s record card, Add. MS 73167, f. 23); British Library, Loan 77.29 from 1981 to 1986.

Published: This MS and its companion leaf are among the sources for the text in F. Eibner and G. Jarecki (eds.), Josef Haydn. Klavierstücke, Vienna: Wiener Urtext Edition, 1975, pp. 64-8.

Reproduced: recto, Kinsky, Heyer. Katalog, following p. 120; Arthur Searle, Haydn and England (London, 1989), p. 26; British Library Zweig Concert Series programme book, 1996, p. 18; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XLII; theme only from recto, Eibner and Jarecki (eds.), Josef Haydn. Klavierstücke, frontispiece; upper three lines only of variation from recto, Stefan Zweig, ‘Meine Autographen-Sammlung’, in Philobiblon, vol. iii (Vienna, 1930), p. 283.

Bibliography: Georg Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog, vol. iv (Cologne, 1916), pp. 118-120; ‘Meine Autographen-Sammlung’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 59; Stefan Zweig, The World of Yesterday (London, 1943), p. 266; F. Eibner and G. Jarecki (eds.), Josef Haydn. Klavierstücke (Vienna: Wiener Urtext Edition, 1975), pp. xxxiv-xxxvii, li-liii; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 371.

Page 49 2021-08-21 Zweig MS 42 Michael Haydn: String quartet in B flat, ‘Divertimento Notturno’ (Perger 125) (c 1785)

Collection Area British Library: Music Collections

Reference Zweig MS 42

Creation Date c 1785

Extent and Format 1 volume (8 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Michael Haydn: String quartet in B flat, ‘Divertimento Notturno’ (Perger 125) (c 1785)

Physical Characteristics 232 x 322mm. Paginated 1-16 by the composer. Structure: 4, 4. 10-stave paper, span 182-3mm. Watermark: ‘W’ on a crowned rococo shield, three crescent moons with ‘REAL’ beneath. Sewn, with a strip of brown/pink paper pasted round the outside of the gutter edges of ff. 1 and 8.

Former Internal Reference Loan 77.54

Scope and Content Incomplete, lacking the last 100 bars of the final ‘Rondeau’. Autograph full score. Written in ink on systems of four staves. Headed in upper margin of f. 1r ‘Divertimento notturno. à 4. 2 Violini, Viola e Basso.’, with the signature ‘di G. Michele Haydn m[anu] p[ropr]ia’. Comprising the following six movements:

f. 1r. ‘Marcia’, tempo direction ‘Scherzoso’; the opening bars marked ‘a. mez. voc.’.

ff. 1v-3r. ‘All[egr]o assai’.

f. 3v. ‘Menuetto’ ‘Allegretto’, and ‘Trio’.

ff. 4r-5r. ‘molto Adagio e cantabile’, the first and last two words in lighter ink.

ff. 5v-6r. ‘Menuetto’ and ‘Trio’, no tempo marking.

ff. 7r-8v. ‘Rondeau’, ‘Presto’; breaks off at the end of the page at key change after bar 163. An ad. lib. repeat of the central section is marked (ff. 7v-8r).

With the composer’s page numbers throughout in the outer margin against the first line of the upper system on each page, and his bar counts at the end of the first four movements. Numbers from Hinterberger catalogues IX and 18 added in pencil at the foot of f. 1r.

This manuscript is a fair copy by the composer; it contains no corrections and is set out with each movement beginning on a new page. It was not known either to Perger or to Zehetmaier; the manuscript referred to as autograph by Perger is the Lang copy in Munich. In his transcriptions of Michael Haydn works Lang copied both the composer’s orthography and his signature. The Munich copy is headed ‘Divertimento à 4. 2 Violini, Viola e Contrabasso’, and the tempo direction for the first movement appears as ‘Scherzante’. The Hinterberger catalogues erroneously describe the present manuscript as of 14 pages.

Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, catalogues IX [1936] no. 255, 18 [1937] no. 87, and XX [1937] no. 216; unsold and retained in the Collection; British Library, Loan 77.54 from 1981 to 1986.

Reproduced: ff. 1r, 3v-4r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates XLIII- XLIV.

Page 50 2021-08-21 Bibliography: Lothar Herbert Perger (ed.), Michael Haydn. Instrumentalwerke I, Denkmäler der Tonkunst Österreich, Jahrgang xiv, part i (vol. xxix) (Vienna, 1907), no. 125 in Thematic Catalogue; for N. Lang’s copies of works by M. Haydn see Robert Münster, ‘Nikolaus Lang und seine Michael-Haydn-Kopien in der Bayerischen Staatsbibliothek’, Österreichische Musikzeitschrift, vol. xxvii (1972), pp. 25-9; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 372.

Zweig MS 43 Paul Hindemith: Kammermusik no. 2 (Piano Concerto), op. 36, no. 1, for piano and 12 solo instruments: draft of the

Collection Area British Library: Music Collections

Reference Zweig MS 43

Creation Date [1924]

Extent and Format 1 volume (30 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Paul Hindemith: Kammermusik no. 2 (Piano Concerto), op. 36, no. 1, for piano and 12 solo instruments: draft of the first and last movements ([1924])

Physical Characteristics 80 x 129mm. Structure: 6, 8, 10, 6 - first and last gatherings including pasted-down fly-leaves. 6-stave paper, span 63mm.; printed, with printer’s/supplier’s mark ‘Max Liebers Musikhaus, Freiburg i. B.’. No Watermark. Notebook bound in boards covered with paper patterned in brown and crimson.

Former Internal Reference Loan 77.31

Scope and Content Autograph. The last movement incomplete. In short and condensed score. Written in pencil and ink on systems of two to six staves. No tempo directions. In a small notebook, the two movements written from opposite ends of the volume. At some stage Hindemith wrote in titles for both movements, and created a full title-page on an otherwise blank leaf (f. 2r). In doing so it seems likely that he reversed the volume; if so Movement I was written first, and the notes on the present f. 1 would originally have been on the inside back cover. Contents as follows:

f. 1 (pasted-down fly-leaf). Note in pencil of instrumentation, with percussion listed in addition to the scoring found in published edition. ‘Paul Hindemith’ in ink, perhaps in another hand. All written with the page inverted.

f. 2r. Hindemith’s title-page, in ink: ‘Paul Hindemith / Op 36 I / Kammermusik II / (Klavierkonzert) / Originalmanuskript des ersten und letzten Satzes’.

ff. 2v-3r. Cancelled sketches, in pencil in short score on four staves, and in ink on single staves.

ff. 3v-21r. Movement IV [Finale], from the first piano entry to 3 bars before cue letter I in the published score. Written in ink (ff. 3v-6r) and pencil (ff. 6r-21r). Piano part written out in full on two staves, with the accompaniment in condensed score mostly on 3 or 4 additional staves; up to f. 15r the piano solo occupies the top two staves of each system, the bottom two from f. 15v. Cancelled passages: 1 bar (f. 8v), 2 bars (f. 10r-v), 2 bars (f. 12r), and 1 bar (f. 13v); the accompaniment in the 3 bars on f. 20v, and the whole of the following 2 bars on f. 21r, cancelled. Instrumentation marked in ink on ff. 6v-7r. Bar counts sporadically marked in up to 11 bars after cue E, thereafter [beginning of Fugato] a new sequence, given on each page. Title ‘Paul Hindemith Klavierkonzert Op 36 I, letzter Satz’ added in ink at foot of f. 3v.

ff. 21v-22r. Unidentified sketch of 4 bars in score.

ff. 30-22r; written with the volume reversed, f. 30 a pasted-down fly-leaf. Movement I,

Page 51 2021-08-21 complete, in short score. In pencil throughout. Piano part written out in full on two staves, accompaniment sketched on a single additional stave. Repeated section bars 49-65 indicated by ‘Solo von Anfang ½ Ton tiefer’ (f. 26v). Cancelled passages: 2 bars (f. 27r), 2 bars (f. 26v), 1 bar (f. 24r). Title ‘Paul Hindemith, Klavierkonzert Op 36, I Satz.’ added in ink in upper margin of f. 30.

Numbers in Hinterberger catalogues IX and XX added in pencil in upper margins of ff. 1 and 2r.

Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig unknown; offered for sale through Heinrich Hinterberger, Vienna, cat. IX [1936] no. 256, 18 [1937] no. 93, and XX [1937] no. 232; not sold, retained in the Collection; British Library, Loan 77.31 from 1981 to 1986.

Reproduced: ff. 3v-4r, 6v-7r, 27r-26v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XLV.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 372.

Zweig MS 44 Nicolò Jommelli: Aria ‘Per voi Donzellette sospiro’, for bass voice and orchestra (between 1754-1768)

Collection Area British Library: Music Collections

Reference Zweig MS 44

Creation Date between 1754-1768

Extent and Format 1 volume (2 folios)

Languages of Material Italian; German

Access Conditions Restrictions to access apply please consult British Library staff

Title Nicolò Jommelli: Aria ‘Per voi Donzellette sospiro’, for bass voice and orchestra (between 1754-1768)

Physical Characteristics 229 x 329mm. Structure: 2. 10-stave paper; span 190mm. Watermark: three crescent moons.

Former Internal Reference Loan 77.55

Scope and Content Autograph full score. Written in ink on systems of 10 staves. In D; accompaniment scored for 2 violins, 2 oboes, 2 flutes, 2 horns, viola [?] (marked to play with the bass throughout), and unfigured bass. In 3/4 time; the end is followed by a single bar of the vocal line in 2/4, with the text ‘Bravi’. Headed in ink in a later hand ‘Originale di Jomelli’ (upper margin of f. 1r). With a note of presentation to Ludwig Landshoff by H.R. Zumsteeg, dated Stuttgart, 10 August 1898, in the right margin of f.2v; ‘(Enkel des Komponisten)’ has been added in pencil after Zumsteeg’s name. Number in Hinterberger catalogue IX added in pencil at foot of f.1r.

The text of this arietta and the Stuttgart provenance suggest, as the Hinterberger catalogue entry states, that it is from one of the comic operas or interludes composed by Jomelli for the Duke of Würtemberg during the years 1754-1768.

Page 52 2021-08-21 Legal Status Not Public Record(s)

Custodial History J. R. Zumsteeg (see Hinterberger cats.); given by his grandson Rudolf Zumsteeg, Stuttgart, to Ludwig Landshoff, 1898; date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. IX [1936] no. 258, 18 [1937] no. 110, and XX [1937] no. 249; unsold and retained in the Collection; British Library, Loan 77.55 from 1981 to 1986.

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XLVI.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 373.

Zweig MS 45 Johann Ludwig Krebs: Chorales ‘Treuer Gott ich muss dir klagen’ in G, for oboe d’amore and organ, and ‘Wie schön

Collection Area British Library: Music Collections

Reference Zweig MS 45

Creation Date 1746

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johann Ludwig Krebs: Chorales ‘Treuer Gott ich muss dir klagen’ in G, for oboe d’amore and organ, and ‘Wie schön leuchtet der Morgenstern’ in E, for oboe d’amore [or oboe?] and organ (1746)

Physical Characteristics 336 x 225mm. 16 staves on recto, 20 on verso; individually ruled, but arranged in groups of four. Overall span: recto 290-292mm., verso 305-308mm. No watermark.

Scope and Content Both incomplete. Autograph score. Written in ink on systems of four staves. A single leaf, originally part of a bifolium, with the page nos. ‘1’ at top left of the recto and ‘4’ at top right of the verso, apparently not in the composer’s hand. Contents:

Recto. The first 18½ bars of ‘Treuer Gott’. Tempo direction ‘Largo’. Headed ‘Choral. Treuer Gott ich muss dir klagen. a Hautbois d’Amour. 2 Clavier et Pedale. di J. L. Krebs’ in the upper margin. The oboe d’amore is notated in C. The first two systems cancelled with a single stroke in brown crayon.

Verso. The concluding 36 bars of ‘Wie schön leuchtet der Morgenstern’, with at the end ‘S.D. Gloria. d[ie] 4 octob. 1746.’. The second instrument, which like the oboe d’amore in ‘Treuer Gott’ simply plays the chorale melody, is notated in A. Systems 2-4 and 5 cancelled with single strokes in ink.

Number in H. Hinterberger, Vienna, cat. IX added in pencil at foot of recto.

The separation of the two halves of the original bifolium has resulted in Zweig MS 45 containing the beginning of one work and, on the verso, the conclusion of another. The two leaves of the bifolium may have become separated by wear and tear. In any case, they were offered as two separate items in Hinterberger cat. IX. Zweig MS 45 does not appear in Hinterberger cats. 18 and XX of 1937, but the second leaf of the bifolium is also listed in cat. 18, and was one of a number of items from that catalogue purchased by Martin Bodmer. The description of the other leaf of the original bifolium in Seebass gives the heading ‘Wie schön leuchtet der Morgenstern. a Hautbois d’Amour & [recte 2?] Clavier et Pedale di J.L. Krebs’, which is followed by the note ‘in Dis transp: con Oboe ord: Fr. [sharp].’ in another hand (see McLean, Krebs Collected Works, p. xix for note on key notation for oboe d’amore and

Page 53 2021-08-21 oboe); the verso, the continuation of ‘Treuer Gott ich muss dir klagen’ (identified by Seebass , Musikhandschriften der Bodmeriana, by the alternative text for the chorale melody, ‘Freue dich sehr, o meine Seele’) from Zweig MS 45, has at the end ‘S.D. Gloria’. The publication of ‘Treuer Gott’ by Herzog has the tempo direction ‘Largo’ as in the present manuscript. McLean (p. xxi) includes ‘Wie schön leuchtet der Morgenstern’ in his appendix of missing works; it apparently remains unpublished.

Legal Status Not Public Record(s)

Custodial History The complete bifolium was offered for sale by Leo Liepmannssohn, Berlin, Auction XXXV, 26-7 May, 1905, lot. no. 905; Speyer collection (see Hinterberger cats.); acquired by Zweig [1934-5]; offered for sale as two single leaves through Heinrich Hinterberger, Vienna, cat. IX [1936] nos. 259 and 260; the second leaf only offered for sale in Hinterberger cat. 18 [1937] no. 127, and acquired by Martin Bodmer; Zweig MS 45 not sold from Hinterberger cat. IX and retained in the Collection.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XLVII.

Bibliography: Hugh McLean (ed.), Johann Ludwig Krebs. Collected Works for organ and solo instrument (Borough Green: Novello, 1981), p. xix; Tilman Seebass, Musikhandschriften der Bodmeriana (Cologny - Geneva, 1986), p. 30; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 373.

Zweig MS 46 Conradin Kreutzer: Extract from an orchestral work featuring a theme from Rossini’s opera Tancredi (1st quarter of

Collection Area British Library: Music Collections

Reference Zweig MS 46

Creation Date 1st quarter of the 19th century

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Conradin Kreutzer: Extract from an orchestral work featuring a theme from Rossini’s opera Tancredi (1st quarter of the 19th century)

Physical Characteristics 271 x 353mm. 12-stave paper; span 220mm. No watermark.

Former Internal Reference Loan 77.56

Scope and Content Incomplete, comprises 22 bars on 2 pages, on either side of a single leaf, numbered ‘2’ at top right of recto. Autograph full score. Written in ink on systems of 12 staves. Not from the beginning of the work, so lacking title, tempo direction and key- and time-signatures, but headed, in another hand ‘No. 26. Handschrift v. Conradin Kreutzer’ (upper margin of recto). The Rossini theme, ‘Di tanti palpiti’ from Tancredi, is identified against its [first] appearance, on solo oboe, with ‘Thema aus Tancred’ (bar 6, recto). Scoring apparently for flute, 2 oboes, 2 clarinets, bassoon, 2 horns, trumpets, timpani and strings.

Number from Hinterberger catalogue IX added in pencil at foot of recto.

This leaf is part of what appears to be an orchestral fantasia on the Rossini theme and to be unpublished in any form. Rossini’s Tancredi was first performed in Venice in February 1813 and was quickly taken up in other cities; it was performed in Darmstadt in 1816 and Stuttgart the following year, and was first given in Vienna in Italian in December 1816 and in German in

Page 54 2021-08-21 March 1818. Kreutzer held posts in Stuttgart (1812-16), Donaueschingen (1818-22) and Vienna (from 1822).

Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. IX [1936] no. 261, and 18 [1937] no. 128; not sold, retained in the Collection; British Library, Loan 77.56 from 1981 to 1986.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XLVIII.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 373.

Zweig MS 47 Josef Lanner: ‘Winter Gallope’ for orchestra (1829)

Collection Area British Library: Music Collections

Reference Zweig MS 47

Creation Date 1829

Extent and Format 1 volume (4 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Josef Lanner: ‘Winter Gallope’ for orchestra (1829)

Physical Characteristics 249 x 318mm. ff. 4r and v ruled with staves but otherwise blank. Structure: 4. 16-stave paper, span 196mm. Watermark: shield with a bend, fleur-de-lys. Sewn.

Former Internal Reference Loan 77.57

Scope and Content Autograph full score. Written in ink on systems of thirteen staves. Tempo directions: ‘Introduction Andante’ (f. 1r), ‘All[egr]o’ (f. 1v), ‘Trio’ (f. 2r) and ‘Finale’ (f. 3r). Scored for 3 violins, bass, flute, clarinet, oboe, bassoon, horn, post-horn, trombone, tympani and cymbals (‘Schellen’). At the end (f. 3v) ‘Finis’, and a note that the Finale is to be played after the Gallope and not after the Trio, signed ‘Lanner’. After the title ‘Winter Gallope v. Jos. Lanner’ (upper margin of f. 1r) is added, perhaps in another hand, ‘ausgeführt am 24[ten] Febr. 829 [line over]. als Benefizabend’; then at top right ‘Mit Gott’. With assignment to Diabelli & Co., signed ‘Lanner’, at foot of f. 1r.

No. from Hinterberger catalogue IX added in pencil at foot of f. 1r.

The post-horn plays a prominent part in the Introduction and the Trio, but is silent for the rest of the piece.

Page 55 2021-08-21 Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna cats. IX [1936] no. 262, and 18 [1937] no. 131; unsold and retained in the Collection; British Library, Loan 77.57 from 1981 to 1986.

Reproduced: ff. 1r, 3v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XLIX. Bibliography: Alexander Weinmann, Verzeichnis der im Druck erschienenen Werke von Josef Lanner (Vienna, 1948), p. 20; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 374.

Zweig MS 48 Ruggero Leoncavallo: ‘Cortège de Pulcinella’, ‘marche humoristique’ for orchestra ([1903])

Collection Area British Library: Music Collections

Reference Zweig MS 48

Creation Date [1903]

Extent and Format 1 volume (iii + 12 folios)

Languages of Material French; German; Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Ruggero Leoncavallo: ‘Cortège de Pulcinella’, ‘marche humoristique’ for orchestra ([1903])

Physical Characteristics 324 x 245mm. ff. 1v and 12v printed with staves but otherwise blank. Composer’s pagination 1-21 on ff. 2-12. Structure: f. 1 inserted, remainder obscured by present binding; possibly 4, 4, 1, 2. f.1: 12-stave paper, span 255mm.; ff.2-12: 24-stave paper, span 284mm. Both printed, without printer’s mark. No watermark. Bound in quarter red leather with marbled boards, the spine lettered ‘AUTOGRAFO LEONCAVALLO’; fragmentary watermark ‘P’ in end-papers.

Scope and Content Autograph full score. Written in violet ink on systems of 24 staves. Scored for piccolo, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion (tambourine, castanets), 3 trombones, tuba, harp and strings. Calligraphic title-page (f.1) in French, perhaps in another hand, but with a note in Italian of presentation to Angelo Berlinghi signed by the composer. Also signed above the start of the music in the upper margin of f. 2r. With conductor’s markings throughout in blue crayon and in pencil, and cue letters inserted in red crayon. ‘Parti N 34’ added in pencil at foot of f. 1r. Item nos. in Hinterberger sale catalogues added in pencil on front fly-leaves (ff. i-iii). The work appears to be unpublished in full score.

Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hingterberger, Vienna, cats. IX [1936] no. 263, 18 [1937] no. 135, and XX [1937] no. 283; not sold, retained in the Collection.

Published: For piano solo, with sub-title ‘Petite marche humoristique’ and a dedication to Mme Antonietta Carminati, Leipzig: Gebrüder Reinecke, 1903.

Page 56 2021-08-21 Reproduced: f. 2r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate L.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 374.

Zweig MS 49 Gustav Mahler: ‘Urlicht’, song for voice and orchestra (words from Des Knaben Wunderhorn by L.A. von Arnim and

Collection Area British Library: Music Collections

Reference Zweig MS 49

Creation Date 1893

Extent and Format 1 volume (6 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Gustav Mahler: ‘Urlicht’, song for voice and orchestra (words from Des Knaben Wunderhorn by L.A. von Arnim and Clemens Brentano) (1893)

Physical Characteristics 328 x 244mm. ff. 1v and 6v printed with staves but otherwise blank. With Mahler’s numbering in ink 1 (f. 2r), 2 (f. 4r), and 3 (f. 6r). Structure: all leaves cut at gutter edge in binding, but Mahler’s numbering indicates that ff. 2-5 were originally two bifolia. 18-stave paper, span 276mm.; printed, without printer’s mark. No watermark. Quarter binding of red leather with marbled boards, in a slip-case; black spine-panel lettered in gold ‘MAHLER. URLICHT’.

Former Internal Reference Loan 77.32

Scope and Content Autograph full score. Written in ink on systems of 16 to 18 staves. Music begins f. 2r; tempo directions ‘Sehr feierlich aber [corrected in pencil from ‘und’] schlicht!’ (f. 2r) - ‘Rit.’ (f. 4v), then, added in pencil ‘Drängend!’ (f. 5r) - ‘Molto rit! Wieder langsam wie am Anfang!’ (f. 5v). Bar lines ruled in pencil throughout. Corrections and alterations in ink; numerous revisions and annotations in pencil. Title-page (f. 1r) ‘Urlicht +++ / (aus des Knaben [‘h’ crossed out in pencil] Wunderhorn) / No. 7 / für eine Singstim[m]e / mit Orchester / von / Gustav Mahler’. Dated at end (f. 6r) ‘Steinbach / 19 Juli 1893’.

Scored for 2 flutes/piccolos, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, harp, bell (‘Glocke’), and strings. The number of horns written against the first system (f. 2r) is corrected from 3 to 2.

A revised orchestration of ‘Urlicht’ was incorporated into the Second Symphony as movement IV, and the composition was first performed as part of that work in 1895. Though no manuscript of the voice and piano version of ‘Urlicht’ has survived, it seems likely that this was composed in 1892 (Mitchell). A letter of 1895 from Mahler to Hermann Behn (Blaukopf; Kaplan p. 81) indicates that he had composed the song before he decided to orchestrate it or to include it in the symphony. During the summer of 1893, when the present manuscript was written, he was also working on the first three movements of the symphony. But the orchestral forces employed in Zweig MS 49 and the ‘No. 7’ on f. 1 relate it to the series of orchestrated ‘Wunderhorn’ songs (Mitchell).

It seems that the Zweig manuscript represents Mahler’s first thoughts on the orchestration of his setting of ‘Urlicht’. The orchestration in the publication of the setting as one of the orchestral versions of songs from ‘Das Knaben Wunderhorn’ has most of the smaller-scale characteristics found in Zweig MS 49 (though it employs four rather than two horns), but differs in many details. The scoring in the Zweig manuscript is for smaller forces than the version used in the symphony (and in which it was first published), with in particular fewer horns and one harp rather than two. The Kaplan manuscript of this movement has the additional harp though not the expanded brass parts of the final scoring for the symphony; it incorporates a number of the revisions made in pencil to the present manuscript, and has

Page 57 2021-08-21 further revisions of some of them more nearly to approach the final version. For example, in Zweig MS 49 the original vocal line of the two bars with the words ‘und wollt’ mich abweisen’, written in ink, has been scratched out and revised in pencil; the Kaplan score has on the voice line at this point the original ink version from Zweig MS 49, but on a separate stave underneath a version combining the pencil revision from the Zweig MS (in the first bar) with the final version (in the second bar). Zweig MS 49 is one of the items added to the Collection after Zweig’s death. But Mahler was a familiar and much admired figure: Zweig contributed a poem, ‘Der Dirigent’ to a volume published in Mahler’s honour in 1910, and himself owned at least two Mahler manuscripts. In February 1934 he presented to the Jewish National and University Library in Jerusalem, as an addition to letters and papers he had given the previous December, a manuscript of sketches and drafts for the first movement of the Second Symphony: it comprises a single page of sketches in short score and 21 (not all consecutive) pages of drafts in partial full score; this is presumably the manuscript he lists in ‘Meine Autographen-Sammlung’ (in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 39). In addition, a piano score of the fourth movement of the Third Symphony, ‘O Mensch! Gieb acht!’, was put up for sale in 1936 in the first of the Hinterberger catalogues (cat. IX no. 267) and purchased with Zweig’s approval by Gisela Selden-Goth, a fellow collector.

Legal Status Not Public Record(s)

Custodial History Robert Owen Lehman Collection, [New York]; acquired with Zweig MSS 5 and 74 for the Zweig Collection by exchange in [1962]; British Library, Loan 77.32 from 1981 to 1986.

Published: In Symphony no. 2: arr. for two pianos by Hermann Behn, Leipzig: Hofmeister, 1896, and full score ibid. 1897; separate issue of the song, described as from Symphony no. 2, ibid., 1896. As one of the songs from ‘Des Knaben Wunderhorn’: for voice and piano, Vienna: Weinberger, 1899; for voice and orchestra, ibid., [1900?].

Reproduced: f. 5v, Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 66 (in colour); exhibition leaflet 75 Musical and Literary Autographs from the Stefan Zweig Collection (1986); British Library Zweig Concert Series programme book 1987, p. 34; exhibition leaflet The Creative Spirit in the Nineteenth Century (London, Christie’s, 1987); ff. 4v, 5v-6r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates LI-LII.

Bibliography: Henry-Louis de La Grange, Mahler, vol. i (London, 1974), pp. 276, 790- 1; Donald Mitchell, Gustav Mahler. The Wunderhorn Years (London, 1975), pp. 136, 147, 185, 256-7; Herta Blaukopf (ed.), Mahler’s Unknown Letters (London, 1987), pp. 26-7; Gilbert E. Kaplan (ed.), Gustav Mahler. Symphony No. 2 in C Minor "Resurrection". Facsimile (New York, 1986), pp. 60-61, and facsimile.

Page 58 2021-08-21 Zweig MS 50 Felix Mendelssohn-Bartholdy: Duet ‘Ich wollt’ meine Lieb’ ergösse sich’ (words, Heinrich Heine), op. 63, no. 1, for

Collection Area British Library: Music Collections

Reference Zweig MS 50

Creation Date c 1836

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Felix Mendelssohn-Bartholdy: Duet ‘Ich wollt’ meine Lieb’ ergösse sich’ (words, Heinrich Heine), op. 63, no. 1, for two soprano voices and piano (c 1836)

Physical Characteristics 295 x 230mm. f. 2v ruled but otherwise blank. Structure: 2. 16-stave paper; span 248mm. Watermark: ‘IIILD’ [?]. The fore-edges of the leaves slightly trimmed.

Scope and Content Autograph score. Written in ink on systems of four staves. Tempo direction: ‘And[an]te con moto’. The first two verses are indicated by repeat signs with the words, marked ‘Strophe I’ and ‘II’, written separately one under each of the two vocal lines. Music occupies ff. 1v and 2r. Attestation of authenticity and presentation inscription to ‘meinen lieben Mariane’, signed Mariane [sic] Willemer, undated, in ink on f. 1r.

There are a number of very minor variants between this manuscript and the published score, where the tempo marking is given as ‘Allegretto con moto’. In the London edition English words are also given: ‘I would that my love could silently flow’. Presumably Mendelssohn wrote out this manuscript of the song for Marianne von Willemer (1784-1860), Goethe’s ‘Zuleika’ and herself a poet, before she presented it to a namesake.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from the Speyer collection, [1934-5] (copy of record card, Add. MS 73169, f. 38).

Reproduced: ff. 1v-2r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LIII.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 375; Ralf Wehner, Felix Mendelssohn-Bartholdy. Thematisch-systenatisches Verzeichnis der musikalischen Werke (MWV), Studien-Ausgabe (Leipzig: Breitkopf, 2009).

Page 59 2021-08-21 Zweig MS 51 Leopold Mozart: Divertimento ‘Die musikalische Schlittenfahrt’: part for [one of five] sleigh-bells, headed

Collection Area British Library: Music Collections

Reference Zweig MS 51

Creation Date [1755]

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Leopold Mozart: Divertimento ‘Die musikalische Schlittenfahrt’: part for [one of five] sleigh-bells, headed ‘Schlittengeleüth Ex.A’. ([1755])

Physical Characteristics 225 x 310mm. Verso ruled with staves but otherwise blank. 10-stave paper; span 187mm. Watermark: upper part of shield, with fleur-de-lys crown [shield with wild man?], perhaps similar to no.1 in Tyson cat. (see Zweig MSS 52-69).

Former Internal Reference Loan 77.58

Scope and Content Contemporary copy, probably in the hand of Joseph Richard Estlinger. Written in ink on single staves on the recto of a single leaf. Below the heading are instructions for the player: ‘Intrada Tacet / wird 2 mahl gemacht’, ‘Presto Tacet’, ‘nach diesem Presto machen die Trompetten und Paucken ein Intrada’, ‘Nachwelchem die folgende Schlittfahrt anfängt’. This is followed by the music for two movements, headed ‘Die Schlittenfahrt’ and ‘Das Schitteln der Pferde. / Andante’. Below the bottom stave, perhaps in another hand, is ‘Das übrige Tacet. zu lezt wird nach dem Kehraus die Schlittenfahrt widerhollet’. Where the numbers of bars rest is not indicated by the copyist these have been added in pencil in an apparently contemporary hand. Traces remain at the end of the Andante of a note in pencil, almost obliterated. Note on Leopold Mozart in German in ink in a later hand at the foot of the recto; with the number from Hinterberger catalogue IX added in pencil beside it.

Both the autograph title-page now in Vienna and a note in the published piano version (p. 4) state that the work employs five sleigh bells, in F, A, C, E, and G. The Hinterberger sale catalogues state that Zweig MS 51 was once part of the Moscheles collection, but it does not appear in the catalogue of the Moscheles sale, L. Liepmannsohn, Berlin, Nov. 1911, whereas the timpani part now in Vienna was included in that sale.

Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. IX [1936] no. 271, 18 [1937] no. 167, and XX [1937] no. 364; not sold and retained in the Collection; British Library, Loan 77.58 from 1981 to 1986.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LIV.

Bibliography: Cliff Eisen, ‘Leopold Mozart. Musikalische Schlittenfahrt. Ed. by R. Rüegge’ (review), Music Libraries Association journal Notes, vol. 44/2 (Dec. 1987), pp.348-50; idem., ‘The Mozarts’ Salzburg Copyists’, in Eisen (ed.), Mozart Studies (Oxford, 1991), pp. 253-99. The title-page in Leopold Mozart’s hand with the timpani part now in Vienna is reproduced in Sotheby’s, London, auction sale catalogue 21 Nov. 1990, pp. 106-107. Max Seiffert (ed.), Ausgewählte Werke von Leopold Mozart, Denkmäler der Tonkunst in Bayern, 9.ii (Leipzig: Breitkopf & Härtel, 1908), pp. xxxii, xlii gives Mozart’s programme for the work and incipits of the movements (taken from the piano transcription), although the work is not included in the edition; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 376- 77.

Page 60 2021-08-21 Zweig MS 52 Wolfgang Amadeus Mozart: String quartet in D minor (K173), movement IV only ([1773])

Collection Area British Library: Music Collections

Reference Zweig MS 52

Creation Date [1773]

Extent and Format 1 volume (3 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: String quartet in D minor (K173), movement IV only ([1773])

Physical Characteristics 171 x 216mm. Structure: 2, 1. 10-stave paper; span 137mm. Watermark: Tyson, Wasserzeichen-Katalog, no. 31. Bound [1957] in blue quarter-leather, lettered ‘Z’ and ‘MOZART. QUARTET MOVEMENT. K. 173.’ on spine.

Former Internal Reference Loan 42.9

Scope and Content Autograph score. Written in ink on systems of four staves. No tempo direction. Version comprising 84 bars, shorter than that finally published. Names of the instruments are indicated in ink against the first system (f. 1r) [by J.A. André]. Other later annotations in ink to f. 1r are: heading [in the hand of Maximilian Stadler] ‘Fuga für 2 Violini, Viola e Violoncello.’ with ‘oder Violone’ struck through; below this, on the first (otherwise blank) stave ‘Ist eine etwas veränderte Umschrift, oder vielmehr frühere Schrift der Fuge des 6[.] Quartettes vom [word struck through] 1773. vide No. 68 /: No. 237:/’ [in the hand of J.A. André]; and in top right margin an attestation of Mozart’s autograph [in the hand of G.N. Nissen] with the date 1773 added below [by André]. The various numbers added to f. 1r include ‘N. 45’ [in Nissen’s hand] in ink at top left.

This shorter, and presumably earlier version of the movement remained unpublished until its inclusion in the appendices to the Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke volume. The identification of the various hands of those who annotated the manuscript after Mozart’s death is taken from the Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, Kritischer Bericht.

Legal Status Not Public Record(s)

Custodial History André family; sale of André manuscripts, Berlin, Liepmannssohn, auction 62, 9 Dec. 1932, no. 4, and auction 64, 23-4 May 1934, no. 727; purchased by Zweig at or after this sale (reord card, only partly in Zweig’s hand, Add. MS 73167, f. 24, has ‘Liepmannssohn’, ‘1929’ [struck through] and ‘1932 siehe Katalog’); British Library, Loan 42.9 from 1957 to 1986.

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:20/1/i (Kassel: Bärenreiter Verlag, 1966), pp. 198-201.

Reproduced: ff. 1r and 3v, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:20/1/i, pl. xviii, xix; f.1r, Chris A. Banks, Malcolm Turner, Mozart: Prodigy of Nature (New York and London, 1991), p. 34, and Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LV.

Bibliography: Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), p. 46; Wolf Dieter Seiffert, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:20/1/i, Kritischer Bericht (Kassel: Bärenreiter Verlag, 1989), pp. a/91-2, a/107-8; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 377-78.

Page 61 2021-08-21 Zweig MS 53 Wolfgang Amadeus Mozart: Sonata for violin and piano in F (K377/374e) ([1781])

Collection Area British Library: Music Collections

Reference Zweig MS 53

Creation Date [1781]

Extent and Format 1 volume (iv +8 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Sonata for violin and piano in F (K377/374e) ([1781])

Physical Characteristics 225 x 308mm. ff. 7v and 8r and v ruled with staves but otherwise blank. Pencil numeration 94-101 has been added to ff. 1-8. Structure: 4, 4. 12-stave paper; span 186.5-187mm. Watermark: Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no. 56. In 19th-cent. green paper covers, with two free fly-leaves at the rear (see description above). Bound [1957] in blue quarter leather, lettered ‘Z’ and ‘MOZART. VIOLIN SONATA. K. 377.’ on spine.

Former Internal Reference Loan 42.13

Scope and Content Autograph score. Written in ink on systems of three staves. Mozart’s title ‘Sonata III’ is at the head of the music (f. 1r). The instruments marked ‘Violino’ and ‘Cembalo’ against the first system of each movement. Three movements, as follows: ff. 1r-3r. ‘All.[egr]o’. The upper system on f. 2v contains the final bars of the movement; it is followed (ff. 2v-3r) by a passage of 17 bars (and one bar struck through) marked for insertion 4 bars before the end of the movement. ff. 3r-5v. No tempo direction [theme and variations, Andante], the variations marked and numbered by Mozart, variation 6 also headed ‘Siciliana’ (f. 5r). Begins on f. 3v; f. 3r has, below the end of the insert for movement I, a variant beginning for this movement, struck through in ink. The violin part is not entered in this variant version, which is apparently for piano alone, with repeats marked; in the final version on f. 3v, which includes the violin, the repeats are varied and written out. ff. 5v-7r. ‘Tempo di Menuetto’. On f. 6v the repeat of the opening is indicated by ‘Thema da capo: 46 tackt’, followed by the concluding 29 bars. The point at which those bars follow the repeated opening is marked (f. 6r) with a sign and ‘das Zweytemal’. Marked ‘1781’ in top right margin [by. J.A. André]. Various numbers have been added to f. 1r, including in pencil at the foot, ‘229’, the manuscript’s number in André 1841. With a note of purchase in 1872 signed ‘A & E O [?] Kurtz’ at the bottom right of f. 1r; all 7 written folios initialled and numbered by A.G. Kurtz at bottom right of recto. The present binding encloses old covers and rear fly-leaves from an earlier binding. To the first of these fly-leaves is pasted a printed extract in German [from V.A. Heck, Vienna, catalogue Dec. 1925, see Custodial History] (f.ii), and beside it is a note in German in ink by Eusebius Mandyszewski, 1926 (f. iii); inside the old back cover is a brief description of the manuscript in German, written in pencil (f. iv).

Legal Status Not Public Record(s)

Custodial History André, Offenbach; purchased Sotheby’s, London, 12 July 1872, lot no. 316, by A.G Kurtz of Wavertree, Liverpool; (perhaps lot 54 in Kurtz sale, Sotheby’s, London, 5 July 1895 - ‘air with variations for violin and piano’ - purchased Charavay); collection Ferdinand Bischoff, Graz until 1920, then collection Béla Blank (see Ludwig von Köchel, ed. F. Giegling, A. Weinmann and G. Sievers, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th edition, Wiesbaden, 1964); L. Liepmannssohn, Berlin, auction 47, 2-3 Dec. 1921, lot 177; V.A. Heck, Vienna, cat. 26, Dec. 1925, no. 82; collection Wilhelm Kux, Vienna and Chur from 1926 (see Köchel, Chronol ogisch-thematisches Verzeichnis); auctioned Paris, Hotel Drouot, 26 Feb.

Page 62 2021-08-21 1953, lot. no. 81, purchased by H. Eisemann; purchased for the Zweig Collection through Eisemann, Feb. 1955 (Add. MS 73172, ff. 14-33, including a copy of the Paris auction catalogue); British Library, Loan 42.13 from 1957 to 1986.

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:23/ii (Kassel: Bärenreiter Verlag, 1965), pp. 32-47.

Reproduced: f. 1r in Liepmannssohn, Berlin, cat. 47, 1921, and in Paris auction cat., Feb. 1953; f. 6v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LVI.

Bibliography: Eduard Rieser, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:23/i and ii, Kritischer Bericht (Kassel: Bärenreiter Verlag, 1977), pp. 79- 83; Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), p.47.

Zweig MS 54 Wolfgang Amadeus Mozart: March for orchestra in C (K408, no. 1/383e) ([1782?])

Collection Area British Library: Music Collections

Reference Zweig MS 54

Creation Date [1782?]

Extent and Format 1 volume (3 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: March for orchestra in C (K408, no. 1/383e) ([1782?])

Physical Characteristics 306 x 232mm. Mozart’s pagination 1-6. Structure: a single leaf inserted in a bifolium. 14-stave paper; span 252-252.5mm. Watermark: grapes on a shield, crowned, with countermark ‘DANNONAY / 1777’, Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no. 44, also reproduced in Tyson, ‘Problems’. Bound [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. MARCH IN C. K.408 NO.1.’ on spine.

Former Internal Reference Loan 42.10

Scope and Content Autograph full score. Written in ink on systems of seven staves. Headed ‘Marcia’, and signed ‘di Wolfgango Amadeo Mozart m[anu] p[ropria]’ at top right, on f. 1r. Tempo direction ‘Maestoso’. ‘No. 1’ beneath the title is presumably a later addition; other additions are the date 1782 (altered from 1781) below Mozart’s signature [in hand of J.A. André], and ‘Eigner Handschrift’ [in the hand of G.N. Nissen] in the right upper margin. The numberings added to f. 1r include, in pencil at the foot of the page ‘155’, the manuscript’s number in André 1841.

Mozart subsequently made a keyboard arrangement of K 408/1 for his wife, Constanze (see Köchel, Verzeichnis; Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke IX:27/2).

Page 63 2021-08-21 Legal Status Not Public Record(s)

Custodial History André family, Offenbach and Berlin; Stargardt, [Berlin], auction 3 Dec. 1888, lot 2306; A. Pozsonyi, Vienna until 1900 (see Ludwig von Köchel, ed. F. Giegling, A. Weinmann and G. Sievers, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th edition, Wiesbaden, 1964); collection W. Heyer, Cologne; purchased by Zweig at the Heyer auction, Henrici, Berlin, 25 April, 1927 (record card, Add. MS 73167, f. 25); BL, Loan 42.10 from 1957 to 1986.

Published: (With K335) as no. 1 of Two Marches for orchestra, ‘faite d’après le manuscrit original de l’auteur’, Offenbach: André, 1802 (Gertrud Haberkamp, Die Erstdrucke der Werke von Wolfgang Amadeus Mozart, (Tutzing, 1986), vol. i, p. 195); Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, IV:13/2 (Kassel: Bärenreiter Verlag, 1978), pp. 49-56.

Reproduced: f. 1r in Kinsky, Heyer. Katalog, vol. iv, opp. p. 128 and in Tyson, ‘Problems ...’, p. 250, and in Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LVII.

Bibliography: Georg Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog (Cologne, 1916), vol. iv, pp. 130-1; ‘Meine Autographen-Sammlung’, Bircher, p. 39; Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, IV:13/2 (Kassel: Bärenreiter Verlag, 1978), pp. ix-x; A. Tyson, ‘Problems in three Mozart Autographs in the Zweig Collection’ in C. Banks, A. Searle, M, Turner (eds.), Sundry Sorts of Music Books. Essays on the British Library Collections (London, 1993), pp. 248-55; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 378.

Zweig MS 55 Wolfgang Amadeus Mozart: Concerto for horn and orchestra in E flat (K447) ([1787?])

Collection Area British Library: Music Collections

Reference Zweig MS 55

Creation Date [1787?]

Extent and Format 1 volume (11 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Concerto for horn and orchestra in E flat (K447) ([1787?])

Physical Characteristics 233 x 323mm. Mozart’s folio nos.: 1-5 (movement I) and 1-6 (movements II, III). Structure: 1, 2, 2, 1, 1, 1, 1, 1, 1. 12-stave paper; span 189 (ff. 1, 4, 5, 8), 185.5 (ff. 2, 3, 11), 188.5 (f. 6), 183 (f. 7), 186 (f. 9) and 187.5mm (f. 10). Watermark: Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), nos. 11 (f. 9), 55 (f. 10), 56 (f. 8), 60 (f. 1), 66 (f. 7), 71 (f. 6), 80 (ff. 2, 3, 11), 93 (ff. 4, 5). Bound [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. HORN CONCERTO. K.447.’ on spine.

Former Internal Reference Loan 42.7

Scope and Content Autograph full score. Written in ink on systems of six staves. Three movements, as follows:

ff. 1r-5v. ‘All[egr]o’; this and the heading ‘Concerto per il Corno Solo’ on f. 1r are apparently not in Mozart’s hand.

Page 64 2021-08-21

ff. 6r-7v. ‘Larghetto’. Headed ‘Romance’, and signed at top right ‘di Wolfgango Amadeo Mozart m[anu] p[ropria]’ (f. 6r).

ff. 8r-11v. Movement III: ‘All:[egr]o’. ‘Leitgeb’ [for Joseph Leutgeb, horn player] appears against the horn line above the lower system on f. 8r and the upper on 11v. Bar count entered in ink [by Mozart?] at the end of the verso of each leaf.

Later annotations to f. 1r, all in ink, include ‘Von Mozart und seine Handschrift’ [in the hand of G.N. Nissen], and the date ‘1783’ [added by J.A. André]. The various numbers added on the same page include, in pencil at the foot of the leaf, 258, the manuscript’s number in André 1841.

Tyson’s date of 1787 is based on a study of the eight different paper types, revealing a structure ‘different from that of virtually any other autograph manuscript of Mozart’. Tyson suggest that the work is not entered in Mozart’s own Verzeichnüss (Zweig MS 63), because it was unlikely to be played by anyone but Leutgeb and the purpose of the Verzeichnüss was primarily to let people know what works were available (Tyson, ‘Problems’). The Liepmannssohn catalogue describes a separate note of authentication by André at that time kept with the manuscript. This manuscript and Zweig MS 9 were purchased at the same sale.

Legal Status Not Public Record(s)

Custodial History C.A. André, Frankfurt am Main (see Ludwig von Köchel, ed. F. Giegling, A. Weinmann and G. Sievers, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th edition, Wiesbaden, 1964)); purchased by Zweig at Leo Liepmannssohn, auction no. 59, Berlin, 20 May 1930, lot 233 (Add. MS 73167, f. 26); British Library, Loan 42.7 from 1957 to 1986.

Published: Offenbach: J. André, 1800, ‘d’apres la partition en manuscrit’ (Gertrud Haberkamp, Die Erstdrucke der Werke von Wolfgang Amadeus Mozart (Tutzing, 1986), vol. i. p. 214); Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, V:14/5 (Kassel: Bärenreiter Verlag, 1987), pp. 29-56.

Reproduced: f. 1r in Albi Rosenthal and A. Tyson (eds.), Mozart’s Thematic Catalogue. A Facsimile (London, 1990), p. 19; f. 6r in Leo Liepmannssohn, Berlin, auction cat. no. 59, 20-21 May, 1930, plate X, and in Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, V:14/5, p. xxi; f. 11v, upper four staves, with the name ‘Leitgeb’, in Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), p. 49; f. 8r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LVIII.

Bibliography: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, V:14/5 (Kassel: Bärenreiter Verlag, 1987), pp. xii-xiii, and Franz Giegling, ibid., Kritischer Bericht (1988), pp. e26-e37; A. Tyson, ‘Problems ...’ in C. Banks, A. Searle, M, Turner (eds.), Sundry Sorts of Music Books. Essays on the British Library Collections (London, 1993), pp. 252-5; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 378.

Page 65 2021-08-21 Zweig MS 56 Wolfgang Amadeus Mozart: Song ‘Das Veilchen’ (words, Goethe), for voice and piano (K476) (1785)

Collection Area British Library: Music Collections

Reference Zweig MS 56

Creation Date 1785

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Song ‘Das Veilchen’ (words, Goethe), for voice and piano (K476) (1785)

Physical Characteristics 220 x 308mm. f. 2r and v ruled with staves but otherwise blank. Structure: 2. 12-stave paper; span 183-4mm. Watermark: Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no. 66. Bound [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. DAS VEILCHEN. K.476.’ on spine.

Former Internal Reference Loan 42.4

Scope and Content Autograph score. Written in ink on systems of three staves. In G; tempo direction ‘Allegretto:’. Vocal line written in the soprano clef (apparently written over a treble clef); the parts labelled ‘Singstim[m]e.’ and ‘Klavier:’ against the first system (f. 1r). The heading ‘Das veilchen.’ ‘von göthe’ also in Mozart’s hand (f. 1r). Later annotations to f. 1r, all in ink, are: ‘Mozarts Handschrift’, ‘8 Jun. 1785’ [both in the hand of G.N. Nissen] and ‘Breitkopfs 5tes Heft’. At the end (f. 1v) ownership note of Wilhelm Speyer, in ink.

Entered in Mozart’s own Verzeichnüss (Zweig MS 63) under the date of 8 June 1785. Jahn’s letter to Speyer, 23 Feb. 1855, asking if he might reproduce the manuscript - ‘Ich wünsche der Biographie Mozarts... ein hübsches Faksimile mitzugeben, und da weiss ich nichts, was so anziehend und passend wäre, als Ihr ‘Veilchen’’ - is printed in Edward Speyer’s, Wilhelm Speyer. In his autobiography Speyer (14 May 1839 - Jan. 1934) gives an account of showing the manuscript to Brahms in 1889, and to Elizabeth Schumann in 1926. ‘Das Veilchen’ was one of the manuscripts singled out for mention in ‘Sinn und Schönheit der Autographen’, Zweig’s address at the 1934 Sunday Times Book Exhibition at which treasures from the Speyer collection were on show. In The World of Yesterday he describes it as ‘the immortal Veilchen’. Although Zweig records the date of his acquisition of ‘das Veilchen’ as 1935, and although it was displayed at the 1934 Sunday Times book exhibition in the context of the Speyer Collection, Desmond Flower, who organised the exhibition, recalls it as lent by Zweig and already ‘his own favourite’. In his catalogue no. 39 of 1948 the London dealer Leonard Hyman offered the ‘Original Manuscript’ of ‘Das Veilchen’, quoting its ‘well-known’ provenance down to its acquisition by Zweig in 1935. This information has been taken into the entry in Köchel, Verzeichnis, but in fact what Hyman had, ‘2 pages, oblong, framed’, was a facsimile.

Legal Status Not Public Record(s)

Custodial History Sent by Constanze Mozart to Breitkopf & Härtel, 1799, and sold by them to J.A. André (Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, III:8, Kritischer Bericht); given by André to Wilhelm Speyer (1790-1878), Frankfurt, before 1855 (see Ludwig von Köchel, ed. F. Giegling, A. Weinmann and G. Sievers, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th edition, Wiesbaden, 1964); Edward Speyer (d. 1934), London; purchased by Zweig from the Speyer Collection, 1935 (Zweig’s record card, Add. MS 73167, f. 27); given to Friderike Zweig after Stefan Zweig’s death in 1942, in accordance with his wishes; purchased through H. Eisemann and returned to the Zweig Collection, London, 1955 (Add. MSS 73169, f. 44, and 73172, f. 40); British Library, Loan 42.4 from 1957 to 1986.

Page 66 2021-08-21

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, III:8 (Kassel: Bärenreiter Verlag, 1963), pp. 26-7.

Reproduced: The manuscript has frequently been reproduced complete in facsimile, most notably inserted at the end of vol. i of Otto Jahn, W.A. Mozart (Leipzig, 1856), with an acknowledgement to ‘my friend Wilhelm Speyer’, in subsequent editions, and in the revision of Jahn’s work by H. Abert. Zweig arranged publication of a facsimile, with an afterword by Alfred Einstein, by his Viennese publisher Reichner in 1936, shortly after his acquisition of the manuscript (see Zohn and Baricelli, ‘Music in Stefan Zweig’s Last Years’); another was published in New York in 1949, after the manuscript had passed to Friderike Zweig. More recent complete reproductions include in F.M. Zweig, Stefan Zweig. Ein Bildbiographie (Munich, 1961), pp. 94-5, and in Musical Times, 1989 (see Bibliography below); f.1r is in Walther Gerstenberg, Musikerhandschiften von Palestrina bis Beethoven (Zürich, 1960), pl. 110, in Chris A. Banks, Malcolm Turner, Mozart: Prodigy of Nature (New York and London, 1991), p. 64, in Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LIX, and in Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 379.

Bibliography: Edward Speyer, Wilhelm Speyer der Liederkomponist (Munich, 1925), p. 357; ibid., My Life and Friends (London, 1937), pp. 90, 227; ‘Sinn und Schönheit’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 42; Stefan Zweig, The World of Yesterday (London, 1943), p. 266; Harry Zohn and Jean- Pierre Baricelli, ‘Music in Stefan Zweig’s Last Years’, in The Juilliard Review, vol. iii/2 (1956), pp. 5-6; Alec Hyatt King, Some British Collectors of Music (Cambridge, 1963), p. 99; Ernst August Ballin, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, III:8, Kritischer Bericht (Kassel: Bärenreiter Verlag, 1964), pp. 105-13; John Arthur, ‘Mozart’s Das Veilchen. A commentary on the autograph’, in Musical Times, vol. cxxx (1989), pp. 149-50 (with a facsimile of the manuscript); Desmond Flower, Fellows in Foolscap (London, 1991), p. 125; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 378.

Zweig MS 57 Wolfgang Amadeus Mozart: ‘Le Nozze di Figaro’, opera in four acts (libretto, Lorenzo da Ponte), 1786: draft of part

Collection Area British Library: Music Collections

Reference Zweig MS 57

Creation Date [1785-1786]

Extent and Format 1 volume (2 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: ‘Le Nozze di Figaro’, opera in four acts (libretto, Lorenzo da Ponte), 1786: draft of part of Cherubino’s Act I aria ‘Non so più cosa son’ (K492, no. 6) ([1785-1786])

Physical Characteristics 240 x 325mm. Early foliation 8 and 9 in red crayon at the bottom right of rectos. Structure: 2. 12-stave paper; span 183.5mm. Watermark: Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no.74. Bound [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. NON SO PIU. K.492. NO.6.’ on spine.

Former Internal Reference Loan 42.8

Scope and Content Autograph. Fragmentary draft in score. Written in ink on systems of ten staves. Tempo direction ‘Allegro vivace’ (f. 1r). Contains the opening 34 bars; all strings are scored in

Page 67 2021-08-21 for the first 6 bars (f. 1r), thereafter only the vocal and bass lines are entered. Mozart’s headings ‘Atto 1mo’, ‘Aria di cherubino’ and ‘Scena V.’ are at the top of f. 1r. On the blank upper staves on f. 2v Mozart has sketched 16 bars of a piece in E minor for strings and two oboes, and 8 bars of an untexted vocal piece in four parts. Later additions include ‘Mozarts Handschrift’ in ink at top right of f. 1r. [in the hand of G.N. Nissen].

Legal Status Not Public Record(s)

Custodial History C.A. André, Frankfurt am Main; purchased by Zweig at auction of manuscripts of the heirs of André, L. Liepmannssohn, Berlin, auction 55, 12 October 1929, lot no. 20 (record card, Add. MS 73167, f. 28); British Library, Loan 42.8 from 1957 to 1986.

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, II:5/xvi, 2 (Kassel: Bärenreiter Verlag, 1973), app. no. III 3, pp. 629-30.

Reproduced: f. 1r, L. Liepmannssohn, Berlin, auction cat. no. 55, plate vol., plate XI, Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), p. 51, and Chris A. Banks, Malcolm Turner, Mozart: Prodigy of Nature (New York and London, 1991), p. 68; f. 1r (heading and upper three staves only), Stefan Zweig, ‘Meine Autographen-Sammlung’, in Philobiblon, vol. iii (1930), p. 283; ff. 1r, 2v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates LX-LXI.

Bibliography: ‘Meine Autographen-Sammlung’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 39; Stefan Zweig, The World of Yesterday (London, 1943), p. 266; Ulrich Konrad, Mozarts Schaffensweise. Studien zu den Werkautographen, Skizzen und Entwürfen (Göttingen, 1992), pp. 170-4, and, for the first of the two sketches on f. 2v, p. 256; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 379.

Zweig MS 58 Wolfgang Amadeus Mozart: Three- and four-part canons for voices, ‘Difficile lectu mihi Mars’ (K559) and ‘O du

Collection Area British Library: Music Collections

Reference Zweig MS 58

Creation Date [1788]

Extent and Format 1 volume (1 folio)

Languages of Material Latin; German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Three- and four-part canons for voices, ‘Difficile lectu mihi Mars’ (K559) and ‘O du eselhafter Peierl’ (K559a) ([1788])

Physical Characteristics 160 x 317mm. The right hand edge of the leaf has been torn away and made good with later paper. The annotation noted above is written on the repair. 8 staves; span 123mm. The lower part of a leaf of twelve-stave paper. Watermark: Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no. 95. Bound [1957] in quarter blue leather with blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. TWO CANONS. K.559. 560A.’ [sic] on spine.

Former Internal Reference Loan 42.12

Scope and Content Autograph. Written in ink on either side of a single leaf. Each comprising a single vocal line in the soprano clef. Annotations include, in the right margin of the recto,

Page 68 2021-08-21 ‘Originalhandschrift von Mozart’, in an unidentified hand.

K559 is entered in Mozart’s own Verzeichnüss (Zweig MS 63) with a number of other canons, 2 Sept. 1788. John Arthur has suggested that the words ‘Originalhandschrift von Mozart’ added to the recto may be in the hand of Gottfried Weber.

Legal Status Not Public Record(s)

Custodial History Giessen, Dr. F.S. Gassner; Henrici, Berlin, auction 36, Dec. 1916 (both from Ludwig von Köchel, ed. F. Giegling, A. Weinmann and G. Sievers, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th edition, Wiesbaden, 1964); L. Liepmannssohn, Berlin, auction 46, 30 May 1921 (record card, Add. MS 73167, f. 29); Anderson auction no. 1624, Jan. 1922 (see Köchel, Verzeichnis); acquired by Zweig from Otto Erich Deutsch, Sept. 1922 (record card, as above); British Library, Loan 42.12 from 1957 to 1986.

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, III:10 (Kassel: Bärenreiter Verlag, 1974), pp. 47-54.

Reproduced: recto and verso, Caecilia, vol. i (see Bibliography below), between pp. 180 and 181; W. Gerstenberg, Musiker Handschriften von Palestrina bis Beethoven (Zürich, 1960), pl. 116, 117; Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, III:10, p. xxi; recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXII.

Bibliography: Gottfried Weber, ‘Originalhandschrift von Mozart’, in Caecilia, vol. i (Mainz, March 1824), pp. 179-82; Stefan Zweig, The World of Yesterday (London, 1943), p. 266; Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, III:10 (Kassel: Bärenreiter Verlag, 1974), p. xiv; Ulrich Konrad, Mozarts Schaffensweise. Studien zu den Werkautographen, Skizzen und Entwürfen (Göttingen, 1992), pp. 187, 333; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 380.

Zweig MS 59 Wolfgang Amadeus Mozart: Five contredanses for flute, strings (2 violins, cello and bass) and drum (K609)

Collection Area British Library: Music Collections

Reference Zweig MS 59

Creation Date [1787-1788?]

Extent and Format 1 volume (3 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Five contredanses for flute, strings (2 violins, cello and bass) and drum (K609) ([1787-1788?])

Physical Characteristics 228 x 308mm. Structure: 2, 1. 12-stave paper; span 187.5mm. Watermark: Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, render="italic" Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no. 55. Bound [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. FIVE CONTREDANCES. K. 609.’ on spine.

Former Internal Reference Loan 42.11

Page 69 2021-08-21

Scope and Content Autograph full score. Written in ink on systems of four or six staves. Headed by Mozart ‘Contredanses’ (f. 1r), with the nos. 1-5 at the head of the individual dances. No.1: f. 1r; no. 2: f. 1v; no. 3: f. 2r and v; no. 4: ff. 2v, 3r; no. 5: f. 3v. No. 4 is in ‘da capo’ form, with three alternative middle sections. Later annotations on f. 1r include the insertion of ‘V’ before Mozart’s title, ‘N. 17.18.19.20.21.’ in ink [in the hand of G.N. Nissen] to its left, and at top right the date ‘1786’ and an attestation of authenticity signed ‘[J.A.] André’. The number and date from Mozart’s own Verzeichnüss (Zweig MS 63, see below) has been noted in ink in the upper margin of f. 3v. [apparently also by André], with the no. 132 ‘des gedruckten Catalog’, referring to André’s revised 1828 edition of the Verzeichnüss (A. André (ed.), Thematisches Verzeichniss sämmtlicher Kompositionen von W.A Mozart ... (Offenbach: Johann André, 1805).

No. 1 incorporates the melody of Figaro’s ‘Non più andrai’ from Act I of Le nozze di Figaro. These dances are not entered in Mozart’s own Verzeichnüss, though K610, a differently scored version of no. 5 from this set, appears there under 1791. For this reason the dances K609 have previously also been dated to 1791. But Tyson dates them to 1787-8? on the basis of the paper used, and discusses in ‘Problems ...’ the link between them and K610, concluding that the latter is likely in fact to be a revised version of a much earlier work. Zweig purchased this manuscript from the last of the Hinterberger catalogues through which other items from his collection were being offered for sale.

Legal Status Not Public Record(s)

Custodial History J.A. André; purchased by Zweig 1938 from Heinrich Hinterberger, Vienna, cat. XX, item 373a (Zweig’s record card, Add. MS 73167, f. 30); British Library, Loan 42.11 from 1957 to 1986.

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, IV:13/1/ii (Kassel: Bärenreiter Verlag, 1988), pp. 203-9.

Reproduced: Heading and first system from f. 1r, Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), p. 49; f. 3v, A. Rosenthal and A. Tyson (eds.), Mozart’s Thematic Catalogue: A Facsimile (London, 1990), p. 23; f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXII.

Bibliography: Stefan Zweig, The World of Yesterday (London, 1943), p. 266; Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, IV:13/1/ii, p. xvi; Marius Flothuis, ibid., Kritischer Bericht (Kassel, 1995), pp. b115-b118; A. Tyson, ‘Problems in three Mozart Autographs in the Zweig Collection’ in C. Banks, A. Searle, M, Turner (eds.), Sundry Sorts of Music Books. Essays on the British Library Collections (London, 1993), pp. 251-2; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 380.

Page 70 2021-08-21 Zweig MS 60 Wolfgang Amadeus Mozart: String Quintet in E flat, for two violins, two violas and cello (K614) ([1791])

Collection Area British Library: Music Collections

Reference Zweig MS 60

Creation Date [1791]

Extent and Format 1 volume (18 folios)

Languages of Material English; Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: String Quintet in E flat, for two violins, two violas and cello (K614) ([1791])

Physical Characteristics 237 x 310mm. Mozart’s foliation 1-18 in ink at top right of rectos; a second, non-autograph but apparently contemporary foliation is in ink in centre right margin of rectos. Structure: 9 stacked bifolia. 12-stave paper; span 189mm. Watermark: Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no. 102. Old cover (now in Add. MS 73176) of brown paper with title of work and Stumpff’s signature and address. Bound [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. STRING QUINTET. K.614.’ on spine.

Former Internal Reference Loan 42.5

Scope and Content Autograph full score. Written in ink on systems of five staves. Movement I (ff. 1r-6v), ‘All[egr]o di molto’; movement II (ff. 7r-10v) ‘Andante’; movement III (ff. 11r-12v) ‘Menuetto: Allegretto’ and ‘Trio’; movement IV (ff. 13r-18v) ‘All[egr]o’. Headed by Mozart ‘Quintetto:’ (f. 1r) and with his description of the work and signature, ‘Quintetto / à / 2 Violini / 2 Viole / e / Violoncello. / di Wolfgango Amadeo Mozart’, at the end (f. 18v). Bar counts in ink or pencil at the end of most systems seem not to be in Mozart’s hand. Later annotations to f. 1r include ownership inscription of J.A. Stumpff, with his note ‘at the end is Mozarts Name’ (bottom left), and in the top margin ‘N. 26’ (struck through) followed by ‘N. 27’ [in the hand of G.N. Nissen].

Entered in Mozart’s own Verzeichnüss (Zweig MS 63) under date of 12 April 1791. Johann Andreas Stumpff (1769-1846), earlier a friend of Beethoven, was a harp maker resident in London. He purchased a number of Mozart chamber music autographs from J.A. André in 1811 or 1814. Reportedly André later enlisted Stumpff’s help in an attempt to sell the main group of his Mozart autographs to the English crown. Stumpff’s collection, which also included Beethoven manuscripts and a lock of Goethe’s hair, was auctioned the year after his death. In addition to Zweig MS 60 he owned the autograph manuscripts of the last ten Mozart string quartets, now Add. MSS 37763-5 and of the C minor string quintet K 406/516b, now in Add. MS 31748. As a collector Stumpff was one of Zweig’s true predecessors: his was ‘one of the best collections of Mozart autographs ever owned privately in England’ (King, Collectors).

Legal Status Not Public Record(s)

Custodial History Sold by Constanze Mozart to J.A. André, 1799; purchased from André by J.A. Stumpff, London, 1811 or 1814 (see King); Stumpff sale, Puttick & Simpson, London, 30 March 1847, lot no. 39, purchased by Schmidt; purchased by Zweig at sale of manuscripts of heirs of André, L. Liepmannssohn, Berlin, auction no. 62, 9 Dec. 1932, lot. no. 30 (Zweig’s record card, Add. MS 73167, f. 31); British Library, Loan 42.5 from 1957 to 1986.

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:19/i (Kassel: Bärenreiter Verlag, 1967), pp. 143-72.

Page 71 2021-08-21 Reproduced: complete facsimile, Mozart. The Late Chamber Works for Strings (see Bibliography below), pp. 117-54, f. 7r, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:19/i, p. xviii; f. 18v, L. Liepmannssohn, Berlin, auction cat. no. 62, 1932, pl. IX; f. 13r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXIV.

Bibliography: A. Hyatt King, Some British Collectors of Music (Cambridge, 1963), p. 46; Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), pp. 35-6, 46; A. Tyson (ed.), Wolfgang Amadeus Mozart. The Late Chamber Works for Strings: A Facsimile of the Autograph Manuscripts in the British Library, British Library Music Facsimiles, vol. v (London, 1987), pp. 10-13; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 380.

Zweig MS 61 Wolfgang Amadeus Mozart: Adagio and Rondo in C minor/major for armonica, flute, oboe, viola and cello (K617) ([1791])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 61

Creation Date [1791]

Extent and Format 1 volume (11 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Adagio and Rondo in C minor/major for armonica, flute, oboe, viola and cello (K617) ([1791])

Physical Characteristics 233 x 316mm. (score); 240 x 320mm. (part). f. 8v ruled with staves but otherwise blank. Mozart’s foliation 1-8 in ink on score. Structure: score (ff. 1-8) 2, 2, 4; armonica part (ff. 9-11) obscured by present binding [possibly 1, 2]. Score: 12-stave paper, span 189 mm. Armonica part: 12-stave paper, span 188mm. Watermark: score, Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no. 86; armonica part: three crescent moons, countermark [baroque shield, with letters ‘IA’?]. Autograph and copy bound together [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. QUINTET. K.617.’ on spine.

Former Internal Reference Loan 42.6

Scope and Content Autograph full score. Written in ink on systems of 6 staves. The movements are ‘Adagio’ (ff. 1r-2v), and [Rondo] ‘Allegretto’ (ff. 2v-8r). The names of the instruments against the first system on f. 1r include ‘Harmonique’ for the glass harmonica. Later annotations in ink to f. 1r are ‘Von Breitkopf herausgegeben’ and ‘Mozart’s handschrift’ [both in G.N. Nissen’s hand], and a further attestation of authenticity signed ‘H[einrich] Henkel K[on]z[er]t M[eister]’. Below this last, in the right hand margin, Zweig has written in pencil ‘Harmonikaquintett’; various numbers added include in pencil ‘260’, the number in André 1841. With the autograph score is an apparently contemporary copy (ff. 9r-11v) of the armonica part; written in ink on systems of two staves, headed ‘Harmonique’, and also annotated by H. Henkel. Entered in Mozart’s own Verzeichnüss (Zweig MS 63) under date of 23 May 1791, where the entry reads ‘Adagio und Rondeau für Harmonica, 1 flauto, 1 oboe, 1 viola e Violoncello’.

Page 72 2021-08-21 Legal Status Not Public Record(s)

Custodial History C.A. André, Frankfurt am Main; Gustav André, New York (both from Ludwig von Köchel, ed. F. Giegling, A. Weinmann and G. Sievers, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th edition, Wiesbaden, 1964); André sale, L. Liepmannssohn, Berlin, auction 55, 12 Oct. 1929, lot 33; purchased by Zweig directly from Liepmannsohn, March 1930 (Zweig’s record card, Add. MS 73167, f. 32); offered for sale through Heinrich Hinterberger, Vienna, cat. 18, [1938], no. 168; not sold, retained in the Collection; British Library, Loan 42.6 from 1957 to 1986.

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:22/1 (Kassel: Bärenreiter Verlag, 1957), pp. 147-165; Leipzig: Breitkopf & Härtel, [1799] (Gertrud Haberkamp, Die Erstdrucke der Werke von Wolfgang Amadeus Mozart (Tutzing, 1986), i, pp. 351-2).

Reproduced: f. 1r, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:22/1, after p. x; f. 2v, L. Liepmannssohn, Berlin, auction cat. no. 55, 1929, pl. XIII; ff. 1r, 9r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates LXV-LXVI.

Bibliography: ‘Meine Autographen-Sammlung’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 39; Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, VIII:22/1, pp. vii-viii, and Hellmut Federhofer, ibid., Kritischer Bericht (Kassel, 1958), pp. 79-91; Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), p. 47.

Zweig MS 62 Wolfgang Amadeus Mozart: ‘La clemenza di Tito’, opera in two acts (libretto: Caterino Mazzola after Pietro

Collection Area British Library: Music Collections

Reference Zweig MS 62

Creation Date [1791]

Extent and Format 1 volume (2 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: ‘La clemenza di Tito’, opera in two acts (libretto: Caterino Mazzola after Pietro Metastasio), 1791: duettino ‘Deh prendi un dolce amplesso’, for Sesto and Annio, from Act I (K621, no. 3). ([1791])

Physical Characteristics 230 x 315mm. f. 2v ruled with staves but otherwise blank. Structure: 2. 12-stave paper; span 187mm. Watermark: Alan Tyson, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/2, Wasserzeichen-Katalog (Kassel: Bärenreiter, 1993), no. 105. Old covers (now in Add. MS 73176) comprise binding of red cloth-covered boards, with leather label lettered ‘MOZART’S HANDSCHRI[FT]’ on upper cover, and with on the front fly-leaf printed notice (from Dresdner-Anzeiger, 16 May 1923) and manuscript note, Dresden Nov. 1923, both by Ernst Lewicki and in German, about the manuscript and its provenance. Bound [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZART. DUETTINO. K.621.NO.3’ on spine.

Former Internal Reference Loan 42.15

Scope and Content Autograph full score. Written in ink on systems of ten staves. Headed ‘Duettino.’, with ‘No. 3’ at left, and ‘Atto I’ at right, all in Mozart’s hand in upper margin of f.1r. ‘No. 2’ added

Page 73 2021-08-21 in upper margin of f. 1r in brown crayon. Other additions include, at the end (f. 2r) in ink, a bar count and ‘Seg[ue?] subito la marcia 3½’. The opera is entered in Mozart’s own Verzeichnüss (Zweig MS 63) under the date 5 Sept. 1791.

Legal Status Not Public Record(s)

Custodial History Removed from autograph full score by Constanze Mozart and given to August Christian Exner, Zittau; then Johanna Gebauer, and so to Theo. Bauer (Exner’s great-grandson), Dresden, 1923 (see Giegling and Add. MS 73176); L. Liepmannssohn, Berlin, auction no. 52, 16-17 Nov. 1928, lot no. 421a; purchased by Zweig at L. Liepmannsohn, Berlin, auction no. 53, 8 March, 1929, lot no. 118 (Zweig’s record card, Add. MS 73167, f. 33, see also Add. MS 73169, f. 50); British Library, Loan 42.15 from 1957 to 1986.

Published: Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, II:5/xx (Kassel: Bärenreiter Verlag, 1970), pp. 47-9.

Reproduced: f. 1r, L. Liepmannssohn, Berlin, auction cat. no. 53, 1929, pl. IV; Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, II:5/xx, p. xiv; ff. 1v-2r, Chris A. Banks, Malcolm Turner, Mozart: Prodigy of Nature (New York and London, 1991), pp. 80-81, and Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXVII.

Bibliography: Franz Giegling, ‘Zu den Rezitativen von Mozarts Oper ‘Titus’’, Mozart Jahrbuch 1967 (Salzburg, 1968), p. 121; Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, II:5/xx, pp. ix-x; A. Tyson, ‘La Clemenza di Tito and its Chronology’, in ibid. Mozart: Studies of the Autograph Scores (Cambridge, Mass., 1987), pp. 48- 60; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 380.

Zweig MS 63 Wolfgang Amadeus Mozart: Thematic Catalogue, ‘Verzeichnüss / aller meiner Werke / vom Monath febrario 1784 bis Monath

Collection Area British Library: Music Collections

Reference Zweig MS 63

Creation Date 1784-1791

Extent and Format 1 volume (i + 44 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Thematic Catalogue, ‘Verzeichnüss / aller meiner Werke / vom Monath febrario 1784 bis Monath [November] 1[791]’ (1784-1791)

Physical Characteristics 223 x 170mm. Numbered as follows: [0], 1-24 (numbers in Mozart’s hand), 25-28 (numbers added later in pencil) [29-43]; [29v] blank, [30-43] ruled with staves on rectos, otherwise blank. Structure: 8 [the first 2 pasted down and unnumbered], 8, 8, 8, 8, 8 [the last two pasted down and unnumbered] (see structure diagram in Rosenthal and Tyson, p. 12). Rectos ruled with 10 staves grouped in pairs; the span of each pair of staves 22mm., the total span variable (smallest 164mm., largest 188mm.). Watermark: a unicorn, counter-mark ‘J.H.I.’ (see Rosenthal and Tyson, p. 12). Bound in quarter brown leather with coloured patterned stencilled boards; label [f.i] with title in Mozart’s hand pasted to upper cover. See Rosenthal and Tyson, frontispiece, for reproduction in colour of upper cover. In a box covered with dark-blue morocco, gold tooled, by Baynton of Bath, lettered ‘MOZART. VERZEICHNÜSS MEINER WERKE. 1781-1792’ [sic] on upper cover.

Page 74 2021-08-21

Former Internal Reference Loan 42.1

Scope and Content Autograph. Mozart's catalogue of his own works, which he kept from 1784 to just before his death in 1791. Cover label (f. i) and contents entirely in Mozart’s hand. Written in ink. Signed ‘Wolfgang Amadé Mozart [paraph]’ on the cover label (f. i). Contents arranged with dates and description of each work on versos, and musical incipits opposite on rectos. Each opening usually contains the entries for five works; the incipits are written on systems of two staves, the rectos pre-ruled for this purpose with ten staves grouped in pairs. The first entry, dated 9 February 1784, is for the Piano Concerto in E flat (K449), the last (ff. 28v-29r), dated 15 November 1791, for the Masonic cantata ‘Laut verkünde unsre Freude’ (K623); thereafter folios are ruled with staves on the rectos but otherwise blank. The first ten entries are numbered in ink [perhaps by G.N. Nissen], thereafter numbers are inserted in pencil, with the number 30 used twice. With various other later markings in ink and pencil, notably crosses in groups of three against the beginning of many of the text entries, single crosses at the end of some of the incipits, and an incomplete numeration system on the incipit pages grouping the works by fours.

Though the first work in the Verzeichnüss is dated 9 Feb. 1784, it has been suggested that the entries for the opening group of works were transcribed retrospectively in Nov. of that year (for a discussion of this matter see Leeson and Whitwell, and Rosenthal and Tyson pp. 14-15). It has since been suggested (Konrad, Mozarts Schaffensweise), on the basis of the inks used, that a much larger group of entries occupying the first ten leaves of the Verzeichnüss may have been taken from an earlier catalogue and transferred to the present book in 1786. The Verzeichnüss has been known to Mozart scholars from the beginning, either in the original or in the form of the André publications listed above. It forms the basis of summary lists in the biographies by G.N. Nissen (1828) and, its first ‘publication’ in English, G. Holmes (1845); the dates given in the Verzeichnüss, together with a full transcription of Mozart’s descriptions, are included in the entries for the relevant works in Ludwig von Köchel, ed. F. Giegling, A. Weinmann and G. Sievers, Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts (6th edition, Wiesbaden, 1964). The publication in 1938 by Reichner in Vienna of the facsimile editied by Deutsch, follows the issue through the same house of a facsimile of ‘das Veilchen’ (Zweig MS 56) in 1936 as well as Zweig’s own 1931 facsimile edition of the first of his letters of Mozart to his cousin (see Zweig MS 64).

Legal Status Not Public Record(s)

Custodial History Sent by Constanze Mozart to J.A. André, Offenbach, 1800; sale of manuscripts of the heirs of André, L. Liepmannssohn, Berlin, auction 55, 12 Oct. 1929, lot no. 17 [unsold]; subsequently purchased from Liepmannssohn for Zweig by Paul Graupe (see Rosenthal, ‘A Footnote’), and purchased by Zweig through H. Eisemann, 1935 (Zweig’s record card, Add. MS 73167, f. 34); British Library, Loan 42.1 from 1957 to 1986.

Published: A. André (ed.), Thematisches Verzeichniss sämmtlicher Kompositionen von W.A Mozart ... (Offenbach: Johann André, 1805) giving incipits in full, with summary descriptions of the works in German and French; ibid., W.A. Mozarts thematische Catalog ... nebst einen erläuternden Vorbericht von A. André. Neue mit dem Original- Manuscript nochmals verglichene Ausgabe (Offenbach: Johann André, [1828]), giving incipits in full and a complete transcription of Mozart’s descriptions of the works. In both editions the entries are numbered 1-145. A transcription of the text, with incipits, is given in E.H. Müller von Asow (ed.), Wolfgang Amadeus Mozart. Verzeichnis aller meiner Werke (Vienna, 1943), where the faulty numeration found in the manuscript is followed. The Rosenthal/Tyson Facsimile (see below) includes a complete transcription of the text.

Reproduced: Individual pages and openings from the manuscript have been reproduced widely, amongst others ff. 27v-28r in Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXVIII, and ff. 4v-5r in Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 381. Two full facsimiles have been published: (1) Otto Erich Deutsch (ed.), Wolfgang Amadé Mozart. Verzeichnis aller meiner Werke. Facsimile der Handschrift ... (Vienna: Herbert Reichner, 1938, in a limited edition; reissued New York 1956, with an English translation of Deutsch’s commentary), and (2) Albi Rosenthal and Alan Tyson (eds.), Mozart’s Thematic Catalogue. A Facsimile (London, 1990); also published with the introduction in German translation as Mozart. Eigenhändiges Werkverzeichnis. Faksimile, Wolfgang Amadeus Mozart. Neue Ausgabe Sämtliche Werke, X:33/1 (Kassel: Bärenreiter Verlag, 1991). The earlier facsimile is slightly reduced and lacks the blank leaves at the end of the manuscript; the Rosenthal/Tyson, at actual size, includes these leaves. Page 75 2021-08-21 Bibliography: D.N. Leeson and D. Whitwell, ‘Mozart’s Thematic Catalogue’ Musical Times, vol. civ (1973), pp. 781-3; Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), pp. 53-6; Albi Rosenthal, ‘A Footnote to the Recent History of Mozart’s ‘Verzeichnüss’ Manuscript’, in C. Banks, A. Searle, M, Turner (eds.), Sundry Sorts of Music Books. Essays on the British Library Collections (London, 1993), pp. 256-8; Ulrich Konrad, Mozarts Schaffensweise. Studien zu den Werkautographen, Skizzen und Entwürfen (Göttingen, 1992), p. 355; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 381. The introduction to Rosenthal and Tyson (eds.), Mozart’s Thematic Catalogue. A Facsimile (London, 1990 and Kassel, 1991, see Reproduced above) includes a history of the manuscript, a detailed description and commentary, and a full transcription of Mozart’s text.

Zweig MS 64-67 Wolfgang Amadeus Mozart: Letters to Maria Anna Thekla Mozart (Mozart’s cousin, whom he calls ‘Bäsle’) (1777-1779)

Collection Area British Library: Music Collections

Reference Zweig MS 64-67

Creation Date 1777-1779

Extent and Format 4 items

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Letters to Maria Anna Thekla Mozart (Mozart’s cousin, whom he calls ‘Bäsle’) (1777-1779)

Physical Characteristics Four letters, bound [1957] together, with Zweig MS 68, in quarter blue leather and cloth-covered boards, lettered ‘Z’ and ‘MOZART. FIVE LETTERS.’ on spine.

Former Internal Reference Loan 42.3

Scope and Content Autograph.

Legal Status Not Public Record(s)

Custodial History Carl Thomas Mozart (d. 1858); - Wagner, executor of the last (Zweig, Ein Brief von Wolfgang Amadeus Mozart an seine Augsburger Bäsle), acquired by Zweig from Robert F. Petri, Berlin, May 1931 (Zweig’s record card, Add. MS 73167, f. 35, reproduced in Oliver Matuschek, ‘The Horror of his Biographers: a letter from Mozart to his Augsburg cousin’, Brio, 45/1 (2008), p. 55); British Library, Loan 42.3 from 1957 to 1986.

Published: In addition to the authoritative published texts in Wilhelm A. Bauer, Otto Erich Deutsch, Joseph Heinz Eibl, Mozart. Briefe und Aufzeichnungen, 7 vols. (Kassel, 1962-1975), cited below, the texts of all of Mozart’s letters to his cousin, together with an extensive commentary, are printed in J.H. Eibl, W. Senn, Mozarts Bäsle-Briefe (Kassel, 1978). English translations are printed in Emily Anderson, The Letters of Mozart and his Family; references are to the third edition, ed. A. Hyatt King and M. Carolan, rev. S. Sadie and F. Smart (London, 1985).

Bibliography: Stefan Zweig (ed.), Ein Brief von Wolfgang Amadeus Mozart an seine Augsburger Bäsle (Salzburg, 1931), Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 52. Although Stefan Zweig acquired all four letters in 1931 he chose to publish only the first. He includes in the introduction his own explanation of Mozart’s childish and often scatological language in these letters. The privately printed edition was limited to 50 copies. The published record of Zweig’s friendship and collaboration with Richard Strauss begins with the presentation of a copy (W. Schuh, ed., Richard Strauss, Stefan Zweig. Briefwechsel, Frankfurt, 1957, p. 7); there is also a copy inscribed to Paul Hirsch in the Hirsch Collection in the British Library (Hirsch 3755), and a copy presented to Sigmund Freud is reproduced by Oliver Matuschek in Das Entsetzen aller seiner Biografen (Vienna, 2006).

Page 77 2021-08-21 Zweig MS 64 Wolfgang Amadeus Mozart: Letter to Maria Anna Thekla Mozart, 5 November 1777 (1777)

Collection Area British Library: Music Collections

Reference Zweig MS 64

Creation Date 1777

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Letter to Maria Anna Thekla Mozart, 5 November 1777 (1777)

Physical Characteristics 226 x 182mm. Structure: 2. Watermark obscured.

Scope and Content Dated Mannheim, 5 October [recte November], 1777, the date written in reverse at the end of the letter (f. 2v).

Legal Status Not Public Record(s)

Published: Wilhelm A. Bauer, Otto Erich Deutsch, Joseph Heinz Eibl, Mozart. Briefe und Aufzeichnungen (Kassel, 1962-1975), no. 364; Emily Anderson, The Letters of Mozart and his Family (London, 1985), no. 236.

Reproduced: (With a transcription) in Stefan Zweig (ed.), Ein Brief von Wolfgang Amadeus Mozart an seine Augsburger Bäsle (Salzburg, 1931); reprinted with an introduction by Oliver Matuschek as Das Entsetzen aller seiner Biografen (Vienna, 2006).

Page 79 2021-08-21 Zweig MS 65 Wolfgang Amadeus Mozart: Letter to Maria Anna Thekla Mozart, 28 February 1778 (1778)

Collection Area British Library: Music Collections

Reference Zweig MS 65

Creation Date 1778

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Letter to Maria Anna Thekla Mozart, 28 February 1778 (1778)

Physical Characteristics 226 x 182mm. Structure: 2. Watermark obscured.

Scope and Content Dated Mannheim, 28 Feb. 1778 at the foot of f. 2v.

Legal Status Not Public Record(s)

Published: Wilhelm A. Bauer, Otto Erich Deutsch, Joseph Heinz Eibl, Mozart. Briefe und Aufzeichnungen (Kassel, 1962-1975), no. 432; Emily Anderson, The Letters of Mozart and his Family (London, 1985), no. 293.

Zweig MS 66 Wolfgang Amadeus Mozart: Letter to Maria Anna Thekla Mozart, 23 December 1778 (1778)

Collection Area British Library: Music Collections

Reference Zweig MS 66

Creation Date 1778

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Letter to Maria Anna Thekla Mozart, 23 December 1778 (1778)

Physical Characteristics 226 x 182mm. Watermark: chain lines only.

Scope and Content Dated Kaisheim, 23 Dec. 1778. Written principally on the recto, with the postscript (Mozart. Briefe und Aufzeichnungen, lines 30-32) on the verso. The bottom right corner, with most of the word ‘C[ousin]’ and Mozart’s signature after the letters ‘W: A’, torn away.

Page 80 2021-08-21 Legal Status Not Public Record(s)

Published: Wilhelm A. Bauer, Otto Erich Deutsch, Joseph Heinz Eibl, Mozart. Briefe und Aufzeichnungen (Kassel, 1962-1975), no. 511, where lines 30-32 are taken from another source; Emily Anderson, The Letters of Mozart and his Family (London, 1985), no. 346.

Zweig MS 67 Wolfgang Amadeus Mozart: Letter to Maria Anna Thekla Mozart ([1779])

Collection Area British Library: Music Collections

Reference Zweig MS 67

Creation Date [1779]

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Letter to Maria Anna Thekla Mozart ([1779])

Physical Characteristics 241 x 193mm. Structure: 2. Watermark: crowned shield, ‘D & C BLAUW’ beneath.

Scope and Content Dated Salzburg, 10 May [1779]. The year, at the head of f. 1r, written as’1709’. A drawing of Maria Anna Thekla Mozart, his cousin, head and shoulders in three-quarter profile, occupies part of f. 2r. On f. 2v is the address (only partly in Mozart’s hand), the words ‘Engel’ and ‘Adieu - Adieu -’, and traces of a seal.

Legal Status Not Public Record(s)

Published: Wilhelm A. Bauer, Otto Erich Deutsch, Joseph Heinz Eibl, Mozart. Briefe und Aufzeichnungen, 7 vols. (Kassel, 1962-1975), no. 525; Emily Anderson, The Letters of Mozart and his Family (London, 1985), no. 354.

Reproduced: f. 2r has been often reproduced, including in Mozart. Briefe und Aufzeichnungen, vol. ii, opp. p. 545; in Anderson, The letters of Mozart, following p. 510; in Chris A. Banks, Malcolm Turner, Mozart: Prodigy of Nature (New York and London, 1991), p. 42; in Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXIX.

Page 81 2021-08-21 Zweig MS 68 Wolfgang Amadeus Mozart: Letter to Anton Klein; Vienna, 21 May 1785 (1785)

Collection Area British Library: Music Collections

Reference Zweig MS 68

Creation Date 1785

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Wolfgang Amadeus Mozart: Letter to Anton Klein; Vienna, 21 May 1785 (1785)

Physical Characteristics 241 x 193mm. Watermark: crowned shield. Bound [1957] with Zweig MS 64-7, in quarter blue leather and cloth-covered boards, lettered ‘Z’ and ‘MOZART. FIVE LETTERS.’ on spine.

Former Internal Reference Loan 42.3

Scope and Content Autograph. Dated at the end, on the verso. Annotated in later hands on both recto and verso. In this well-known letter Mozart puts forward his ideas for German opera. Anderson, The Letters of Mozart [3rd edn.], strangely records the original as ‘formerly in the possession of the heirs of Stefan Zweig’.

Legal Status Not Public Record(s)

Custodial History Purchased by Stefan Zweig at Stargardt auction, 8 Feb. 1923 (Zweig’s record card, Add. MS 73167, f. 36); British Library, Loan 42.3 from 1957 to 1986.

Published: Wilhelm A. Bauer, Otto Erich Deutsch, Joseph Heinz Eibl, Mozart. Briefe und Aufzeichnungen, (Kassel, 1962-1975), no. 867, from facsimiles and an earlier publication, the original stated as lost; Emily Anderson, The Letters of Mozart and his Family, ed. A. Hyatt King and M. Carolan, rev. S. Sadie and F. Smart (London, 1985), no. 528. Reproduced: F.S. Gassner, Zeitschrift für Deutschlands Musik-Vereine und Dilettanten, vol. ii (Karlsruhe, 1842), betw. pp. 160-161.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 382.

Page 82 2021-08-21 Zweig MS 69 Contract of marriage between Wolfgang Amadeus Mozart and Constanze Weber (3 Aug 1782)

Collection Area British Library: Music Collections

Reference Zweig MS 69

Creation Date 3 Aug 1782

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Contract of marriage between Wolfgang Amadeus Mozart and Constanze Weber (3 Aug 1782)

Physical Characteristics 347 x 231mm. f. 2r and v blank apart from the later addition in ink on the verso of the words ‘original Heuraths [sic] Kontrakt’. On paper with heraldic stamp in black ink at top left of f. 1r. Structure: 2. The upper part of f. 2 torn away and replaced with a later repair. Watermark: [indistinct, crowned eagle with a shield, holding orb and sceptre?], countermark, cartouche with ‘ICP’. Formerly bound [1957] in quarter blue leather and blue cloth-covered boards, lettered ‘Z’ and ‘MOZARTS MARRIAGE CONTRACT. 3 AUG. 1782.’ on spine.

Former Internal Reference Loan 42.2

Scope and Content The marriage contract is written in ink in a notary's hand and signed on the reverse by Constanze Weber, her mother Maria Caecilia Weber, her witness Johann Carl Cetto von Kronstorff and her guardian Johann Thorwart, and by Mozart (‘Wolfgang Amadè Mozart’) and his witness Franz Gilowsky. With impressions of seals against each signature, all armorial except Mozart’s own ‘WAM’ seal. The text of the contract stipulates that two copies were to be drawn up and signed, one for each contractor.

Mozart described the wedding in his letter to his father of 7 August 1782. The only person present in addition to the signatories to this contract was Constanze’s youngest sister, Sophie.

Legal Status Not Public Record(s)

Custodial History Auction of Hauser (Karlsruhe) collection, C.G. Boerner, Leipzig, 1-3 May 1905, lot 146; acquired by Zweig from the Speyer Collection, 1935 (Zweig’s record card, Add. MS 73167, f. 37); British Library, Loan 42.2 from 1957 to 1986.

Published: O.E. Deutsch, Mozart: die Dokumente seines Lebens (Kassel, 1961), pp. 180-1; English translation ibid., Mozart: A Documentary Biography (London, 1965, rev. 1966), pp. 203-4; the complete text is also given in O. Jahn, W.A. Mozart, vol. iii (Leipzig, 1858), pp. 474-5, in subsequent editions, and in the revision of Jahn by H. Abert. Jahn’s source was a certified copy supplied to him by J. Laimegger, ‘k.k. Landesgerichts-Archivs-Vorstand’, and is taken over unchanged into later editions and Abert’s revision; Deutsch uses Zweig MS 69.

Reproduced: f.1r, in colour, Krasa (ed.), Zaubertöne, p. 225; f.1v, Alec Hyatt King, A Mozart Legacy. Aspects of the British Library Collections (London, 1984), p. 60; Chris A. Banks, Malcolm Turner, Mozart: Prodigy of Nature (New York and London, 1991), opp. p. 56 [in colour]; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXX.

Bibliography: ‘Sinn und Schönheit’, Bircher, p. 11; Selma Krasa and others (eds.), Zaubertöne. Mozart in Wien 1781-1791 (Vienna, 1990), pp. 224-5; Maynard Solomon, Mozart. A Life (London, 1996), p. 278; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 382. For Mozart's letter about the wedding, see Wilhelm A. Bauer, Otto Erich Deutsch, Joseph Heinz Eibl, Mozart. Briefe und Aufzeichnungen (Kassel, 1962-1975), no.684; Emily Anderson, The Letters of Mozart and his Family, ed. A. Hyatt King and M. Carolan, rev. S. Sadie and F. Smart (London, 1985), no. 258.

Page 83 2021-08-21 Zweig MS 70 Modest Musorgsky: Songs ‘Svietik Savishna’ (words, the composer) and ‘Iz slez moikh vyroslo mnogo’ (words, translated

Collection Area British Library: Music Collections

Reference Zweig MS 70

Creation Date 1866

Extent and Format 1 volume (4 folios)

Languages of Material Russian

Access Conditions Restrictions to access apply please consult British Library staff

Title Modest Musorgsky: Songs ‘Svietik Savishna’ (words, the composer) and ‘Iz slez moikh vyroslo mnogo’ (words, translated by M. Mikhaylov from ‘Aus meinem Tränen’ by Heinrich Heine), for voice and piano (1866)

Physical Characteristics 261 x 380mm. f. 4v printed with staves but otherwise blank. Structure: 4. 9-stave paper, staves grouped in threes, total span 210mm.; printed, without printer’s mark. No watermark. Sewn.

Former Internal Reference Loan 77.33

Scope and Content Autograph score. Written in black ink on systems of three staves. Written out as a pair, with title-page (f. 1r) giving dedications of ‘Svietik Savishna’ to Tsezar Antonovich Kiui, and ‘Iz slez moikh’ to Vladimir Petrovich Opochinin. As follows:

ff. 1v-3r. ‘Svietik Savishna’. Vocal line in the bass clef, for baritone; tempo direction ‘Dovol’no skoro’ [quite fast] (f. 1v). Signed, and dated Pavlovsk, 2 Sept. 1866 (f. 3r). Sub-titled ‘piesenka durachka’ [the fool’s song] on title-page.

ff. 3v-4r. ‘Iz slez moikh’. Vocal line in the treble clef, for soprano; tempo directions ‘Ne slishkom, Medlenno spokoino ‘ [not too slow, calmly] and ‘skoriee - s uvlecheniem’ [faster, with passion] (ff. 3v, 4r). Signed, and dated Pavlovsk, 1 Sept. 1866 (f. 4r). Sub-titled ‘Intermezzo’ on title-page.

This manuscript was not known to the editor of the complete edition and contains variants from the text given there; the differences are very minor in ‘Svietik Savishna’, more substantial in the second song, where the version in Zweig MS 70 is a bar shorter. The typewritten record card has a note of a letter of 1927 from Nicolai Likhachev referring to an autograph of the first song in the St Petersburg Conservatory; the letter, originally with the manuscript, appears no longer to survive.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from V.A. Heck, Vienna, 6 July 1929 (record card, Add. MS 73167, f. 38); British Library, Loan 77.33 from 1981 to 1986.

Published: ‘Svietik Savishna’, St. Petersburg: Johannsen, 1867, and Leipzig: M.P. Belaieff, 1898; both songs in M. Mussorgsky. Sämtliche Werke, vol. v, fasc. 3, Lieder und Gesänge, ed. Paul Lamm (Moscow: Staatsmusikverlag R.S.F.S.R., 1933).

Reproduced: f. 4r, Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 49; British Library Zweig Concert Series programme book 1987, p. 7; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXI.

Bibliography: ‘Meine Autographen-Sammlung’, in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 39; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 382.

Page 85 2021-08-21 Zweig MS 71 Friedrich Nietzsche: ‘Nachklang einer Sylvesternacht’ for piano duet (Nov 1871)

Collection Area British Library: Music Collections

Reference Zweig MS 71

Creation Date Nov 1871

Extent and Format 1 volume (14 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Friedrich Nietzsche: ‘Nachklang einer Sylvesternacht’ for piano duet (Nov 1871)

Physical Characteristics 262 x 335mm. ff. 1r and v, 13v, 14r and v ruled with staves but otherwise blank. Music paginated 2-23 by the composer. Structure: 14. 12-stave paper, total span 213mm. No watermark. Bound in dark green mottled cloth, blind-stamped with a border design.

Scope and Content 1-7 November 1871. Written in dark brown ink on systems of two staves, the two parts on facing pages. Autograph fair copy. Music occupies ff. 2v-13r. Opening tempo direction ‘Langsam’. Title-page (f. 2r): ‘Nachklang einer Sylvesternacht / mit Prozessionslied, Bauerntanz und Mitternachtsglocke / componiert / von / Friedrich Nietzsche / (1-7 November 1871)’. With a very small number of corrections and performance annotations in pencil.

This manuscript seems not to have been known to the editor of Der musikalische Nachlass. There are a small number of textual variants between it and the published edition. The last word of the title in the Weimar autograph is ‘Glockengeläut’, rather than as in Zweig MS 71.

Legal Status Not Public Record(s)

Custodial History Date of acquisition for Zweig Collection not known.

Published: Curt Paul Janz (ed.), Friedrich Nietzsche. Der musikalische Nachlass, (Basel, 1976), pp. 86-105, from the autograph manuscript in the Goethe-und Schiller- Archiv, Weimar.

Reproduced: ff. 2v-3r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXII.

Bibliography: Curt Paul Janz (ed.), Friedrich Nietzsche. Der musikalische Nachlass, (Basel, 1976), pp. 336-7.

Page 86 2021-08-21 Zweig MS 72 Jacques Offenbach: ‘La belle Hélène’, operetta in three acts (libretto by Henri Meilhac and Ludovic Halévy) ([1864])

Collection Area British Library: Music Collections

Reference Zweig MS 72

Creation Date [1864]

Extent and Format 1 volume (iii + 205 folios)

Languages of Material French; German

Access Conditions Restrictions to access apply please consult British Library staff

Title Jacques Offenbach: ‘La belle Hélène’, operetta in three acts (libretto by Henri Meilhac and Ludovic Halévy) ([1864])

Physical Characteristics 262 x 338mm., and 256 x 325mm. (ff. 194-6). ff. 21, 42, 62, 66 inserted slips; 1v, 2r and v, 5v, 6v, 13r and v, 14v, 16v, 17r and v, 21v, 20r, 23v, 30v, 31v, 36v, 38v, 39v, 42v, 49v, 51r, 62v, 64v, 66v, 70v, 76r-77v, 78v, 79v, 84r and v, 107v, 123v, 124r, 144v, 152v, 153r and v, 154v, 157r and v, 166r-167v, 179v, 188v, 204r, 205r and v all ruled with staves but otherwise blank. Structure: volume assembled from various loose pages and gatherings, structure not discernible. Some sections have original foliation (e.g. ff. 24-7) and in others bifolia are numbered (e.g. ff. 169-179); many such numbers have been at least partly removed by the cropping of the leaves in binding. 24-stave paper, span 238mm., blind stamped ‘Lard-Esnault, Paris, 25 Rue Feydeau’; ff.194-6 of 16-stave paper, span 215mm. No watermark. Bound in quarter red leather and marbled boards, spine lettered in gold ‘PARTITION MANUSCRITE / J. OFFENBACH / LA / BELLE HÉLÈNE / J. O.’.

Scope and Content Autograph full score. Written in ink on systems of 15 to 24 staves. With corrections and additions in ink, some on inserted leaves, and a few pencil annotations also in autograph. Repeated passages are usually not entered in full and are instead indicated by numbered or lettered bars. In some numbers two staves at the foot of each page are allocated to a piano reduction of the orchestral part. A bar count is given at the end of almost all numbers, and some at least of these figures are in Offenbach’s hand. Part of the Finale to Act III is represented only by a copyist’s score with words in German (ff. 194-6). A variant version of Nos. 7-8 in vocal score is bound in at the end of Act I (ff. 70-75) and a variant, apparently discarded, ending to the Act III Finale at the end of that act (ff. 199-203). There are extensive annotations, in both ink and pencil, in other hands, including tempo indications and other apparent conductor’s markings, the insertion of spoken cues (in French and on occasion in German), instructions, presumably to copyists, concerning transposition, etc. There are many entirely blank leaves between numbers, and others that are blank save for titles or item numbers; these seem to have served as title-pages and wrappers for individual sections before the manuscript was bound. Some of the later annotations, mostly in French, relate to the collation of the manuscript and its relationship to the published French vocal score. The work was first performed at the Théatre des Variétés, Paris, 17 Dec. 1864, and in German at the Theater an der Wien, Vienna, 17 March 1865. The summary list of contents of the volume which follows makes reference to the numbers given in the published French vocal score of 1865; reference is also made where appropriate to a late 19th/early 20th cent. German manuscript full score in the Hirsch Collection in British Library (Hirsch II.690):

ff. 1, 3r-5r. Introduction. Incomplete, lacking the opening; music begins (f. 3r) 10 bars before ‘Andantino’, followed by ‘All[eg]ro’. Title-page (f. 1) has on recto Offenbach’s heading ‘La belle Helene / Introduction’, with a brief pencil sketch on two staves below; verso blank.

ff. 5r-12v. No.1. Chorus, ‘Vers tes autels, Jupin’. Tempo direction ‘All[egret]to’. Title-page (f. 5) has in upper margin of recto Offenbach’s heading ‘No. 1 Introduction - 1er acte La belle Helene’; verso blank. Piano reduction of the orchestral parts partially entered on bottom two staves. Passage of 81 bars (ff. 9r-11v) lightly cancelled in pencil.

ff. 14r-17r. No. 1 bis. Chorus, ‘C’est le devoir des jeunes filles’. Tempo direction ‘Andantino’. Title-page (f. 14) has Offenbach’s heading ‘No 2 et 3’ (subsequently struck

Page 87 2021-08-21 through) in the upper margin of the recto, with the later heading ‘No. 1bis - 2 - 3 - et 3bis’; verso blank. Some of the text has been struck through and new words (agreeing with the published French vocal score) added beneath. Piano reduction on bottom two staves.

ff. 18r-21r (f. 21 an insert). No. 2. Air, ‘Amours divins, Ardentes flammes’. Tempo direction ‘All[eg]ro’. 2 bars on f. 21r (first and second time bars providing for a repeat of first section of orchestral postlude) cancelled in ink. Brief cancelled texted sketch on f. 22r, otherwise blank.

ff. 23r-27r. Nos. 2 bis, followed without a break (f. 24v) by No. 3, couplets, headed ‘Chanson d’Oreste’. Tempo direction ‘All[egret]to - All[eg]ro’. Title-page (f. 23) with Offenbach’s heading ‘1er Acte No. 3’ in upper margin of recto; verso blank. Passage of 3 bars cancelled in ink on f. 25r.

f. 28r. No. 3 bis. Incomplete, the first bar only, with only the top line [flute] entered. Headed by Offenbach ‘Sortie d’Oreste’. Tempo direction ‘All[egret]to’. Apart from note in pencil in German on verso the leaf is otherwise blank.

ff. 29r-30r. Nos. 4, 5. Headed ‘Melodrame’ by Offenbach (f. 29r). Tempo marking ‘Andante Moderato - Andante’.

ff. 31r-36r. No. 6. Judgement of Paris, ‘Au mont Ida’. Tempo direction ‘All[egret]to’. Title page (f. 31) headed by Offenbach [?] ‘No 6’; verso blank.

f. 38r. No. 6 ter. Tempo marking ‘Maestoso’. Headed by Offenbach ‘avant le No. 7’ and ‘Avant l’Entrée des Rois au Ier. Acte’, and with his note ‘enchainez la marche’ at the end. Preceded (f. 37r) by the note, in another hand, ‘No. 6 bis And[an]te reprenez le No. 5’.

ff. 39r-49r. Nos. 7(A) march, 7(B) couplets for the kings, and 7bis. Tempo markings ‘All[eg]ro Marziale - All[egret]to - All[eg]ro’. Title-page (f. 39) headed by Offenbach ‘Marche - et Couplets des Rois’ in the upper margin of the recto, with a brief sketch on two staves for the revised ending of no. 7(A) below; verso blank. The end of 7(A) and opening bars of 7(B) are revised on an inserted leaf (f. 42r). Two bars cancelled in ink on f. 40v.

f. 50r and v. Nos. 7 ter - quinter. Tempo marking ‘All[eg]ro’.

ff. 52r-69v. No. 8, Act I Finale. Tempo directions ‘All[eg]ro Moderato [the second word struck through in pencil] - Andante - All[eg]ro Moderato - All[eg]ro - Moderato - Moderato - Andante - Allegro’. Revisions of two cancelled passages are on inserted portions of leaves (ff. 62r, 66r); f. 64v blank, passage of 15 bars on f. 65r, cancelled in ink. In places, notably the second Moderato, the words differ from those in the published vocal score.

ff. 70r-75v. Nos. 7-8. Variant [presumably earlier] version, both in music and words. Vocal score. Incomplete, no. 8 breaks off after 3 bars of Moderato, ‘Ce coup de tonnere’. Title-page (f. 70) headed ‘No. 7 choeur et Couplets des Rois’ and ‘No. 8 Finale’ by Offenbach on recto; verso blank.

f. 79r. [Not in published French vocal score; in Hirsch II.690.] Introduction’ (title in pencil in another hand). 12 bars, tempo direction ‘Moderato - All[eg]ro’. Preceded by title-page (f. 78) headed by Offenbach ‘No. 1. No. 2 2d. acte’ in upper margin of recto; verso blank.

ff. 80r-83v. No. 9. Entracte to Act II. Tempo direction ‘Maestoso - All[eg]ro - Moderato’.

ff. 85r-88r. No. 10. Chorus, ‘O Reine, en ce jour’. Tempo direction ‘Moderato’. Headed (f. 85r) ‘No.1 2d Acte’ by Offenbach.

ff. 89r-91r. No. 11. Invocation to Venus, ‘Nous naissons toutes soucieuses’. Tempo direction ‘All[eg]ro’. Words of two verses only, printed as vv. 2 and 3 in the published vocal score, which has a note that only these two were included at performances. Piano reduction entered partially at foot of systems.

ff. 92r-93v. No. 12. Chorus ‘Le voici, le rois des rois’. Tempo direction ‘All[eg]ro Marziale’.

ff. 94r-106v. No. 13. Scene of the Game, ‘A ce Calchas qui tremblotte’. Tempo direction ‘All[eg]ro - Lento - Andante Moderato - Allegro - Recit. - Allegro - All[eg]ro Vivo’. Title-page (f. 94) headed by Offenbach ‘No 4’ in upper margin of recto; verso blank except for later annotation. Lengthy opening section not in published vocal score, which gives the concluding recit. and Allegro, ‘Vous le voyez, j’ai trois’, only (from f. 102v). Passage of 48

Page 88 2021-08-21 bars (ff. 104r-105v) lightly cancelled in pencil.

f. 108. Leaf with numbers and spoken cue in [later hands] in upper margin of recto referring to no. 14.

ff. 109r-111v. [Not in published vocal score; not in Hirsch II.690.] Air with two verses for Paris, ‘Je la vois ... elle dort ... le vent du soir caresse sa divine beauté’. Tempo direction ‘Andante - Moderato’. Headed (f. 109r) ‘No. 5. 2d. acte’ by Offenbach; beside this the later annotation in pencil ‘Morceau supprimé dans la partition’. The first page lightly cancelled in pencil; four bars cancelled in pencil on f. 111r. Piano reduction entered partially at foot of systems.

ff. 107r, 112r-123r. No. 15. Duet, ‘C’est le ciel qui m’envoie’. Tempo direction ‘Andante - All[eg]ro - All[egret]to - All[eg]ro’. Title-page f. 112, headed in upper margin by Offenbach ‘No 6 2d acte’, below this a sketch on a single line, apparently for this or the previous number, but with text which appears in neither; verso blank except for later annotation. Words in pencil in a different hand, f. 113r and v. Cancelled passage of 8 bars, f. 122r and v. Piano reduction entered partially at foot of systems. A cancelled 6-bar sketch for the vocal lines of this number appears on f. 107r.

ff. 125r-141v. No. 16 (A, B). Act II Finale. Tempo direction ‘All[eg]ro - Andante Maestoso - All[eg]ro - Moderato - All[eg]ro très modere - All[eg]ro - Moderato - All[eg]ro Moderato - Vivo - All[eg]ro - All[egret]to - All[eg]ro’. Headed by Offenbach ‘No. 7 Final 2d Acte’ in upper margin of f. 125r. Cancelled passages of 15 bars (ff. 128r-129r), 2 bars (f. 130r) and 3 bars (f. 133v).

ff. 142r-143v. No. 17. Entracte to Act III. Tempo direction ‘Andante - All[egret]to’. At end (f. 143v) ‘enchainez l’Introduction du 3em Acte’ in Offenbach’s hand.

ff. 144r-152r. No. 18. Chorus and song of Oreste, ‘Dansons, aimons’. Tempo direction ‘All[eg]ro - Moderato - All[eg]ro’. Title-page (f. 144) headed by Offenbach ‘No 1 [altered in pencil to 18] du 3em Acte Introduction et chanson d’Oreste’ in upper margin of recto, with a brief partially erased sketch below; verso blank. Piano reduction entered at foot of systems. The Moderato section (ff. 149v-150r) lightly cancelled in pencil.

f. 154r. No. 18 bis. Melodrama. Offenbach’s heading ‘No 18 bis’.

ff. 155r-156v. No. 19. Song of Hélène, ‘La vrai, je ne suis pas coupable’. Tempo direction ‘All[eg]ro - Lento - All[eg]ro Vivo’. Piano accompaniment partially entered at foot of systems.

ff. 158r-165v. [Not in published vocal score; in Hirsch II.690.] Song of Hélène, ‘Ich schuldbe[wusst du kannst es wagen]’. Words in German. Orchestration in full, but vocal line only partially entered. Tempo direction ‘All[eg]ro - Recit - All[eg]ro - Lento - Andante - All[eg]ro - All[egret]to - All[eg]ro - All[egret]to’. Later pencil annotations include ‘Einlage 19’ (upper margin of f. 158r). No bar count at end.

ff. 168r-179r. No. 20. Trio, ‘Lorsque la Grèce est un champ de carnage’. Tempo direction ‘Moderato - All[eg]ro - All[egret]to - Maestoso - Allegro’. Title-page (f. 168) has Offenbach’s heading ‘No 3 [altered in pencil to 20] 3em Acte’ in upper margin of recto, otherwise blank; verso blank except for later annotation. Headed ‘Trio’ by Offenbach in upper margin of f. 169r. Passage of 4 bars cancelled on f. 173v. Piano accompaniment partially entered at foot of systems. Bar count entered at various points in blue crayon.

ff. 180r-187v. No. 21. Chorus and song of Paris, ‘La galère de Cythère’. Tempo direction ‘All[eg]ro Moderato - Andante - Andantino - Moderato - All[egret]to’. Title-page (f. 180) has number in later hands on recto, later annotation on verso, otherwise blank. The entire Andante of 35 bars (ff. 182r-183r), ‘O peuple de la Grèce’ for Menelas, is cancelled in ink and not in the published vocal score. Also separate passages of 9 bars heavily cancelled in ink (f. 186v), and of 4 bars (f. 187r) and 2 bars (f. 187v) both cancelled in pencil. Piano reduction partially entered at foot of systems up to f. 184r.

ff. 188r-198v, 204v. No. 22. Act III Finale. Tempo direction ‘Andantino non troppo - All[eg]ro [‘Moderato’ added in pencil] - Andantino [corrected in pencil to ‘Allegretto’] - All[eg]ro’. Title-page (f. 188) has in the upper margin of the recto Offenbach’s headings ‘3em acte No [illegible, heavily altered to 22]’ and ‘Choeur et Couplets de Paris’, the latter struck through with ‘final du 3em Acte’ written above; recto otherwise blank, verso blank. The autograph runs directly from the brief duet passage for Hélène and Paris ‘Ma fois! partons pour Cythère’ to the final general chorus, the latter represented by the vocal lines only (ff. 193v, 197r-198v); the intervening solo for Paris, ensemble, and recit. for Paris are on

Page 89 2021-08-21 inserted leaves of different paper (ff. 194r-196v), written in another hand with words in German, the French words added in pencil on f. 194r. The recit. for Paris from this section, ‘Ne l’attends plus’, with the words in French, is in autograph on f. 204v. Passage of 16 bars on f. 191r and v cancelled in ink and pencil. Bar counts in blue crayon up to f. 191r; no bar count at end.

ff. 199r-203v. [Not in published vocal score; partly in Hirsch II.690.] Variant ending to Finale, the continuation of the cancelled passage on f. 191. Uses different words from the eventual version. Tempo direction, ‘All[egret]to (f. 200r) - Meme mouvement - All[eg]ro’. Words partly in pencil. Bar count in blue crayon and original numbering of bifolia both continue from f. 191.

The leaves have been cropped in binding, affecting the upper margins of some pages, particularly where headings or numbers are given, both on music- and title-pages. The following are tipped-in at the front of the volume: presentation inscription from Offenbach’s widow Herminie to Paul Gallimard, dated Paris 29 May 1886 (f. i), and a description by L. Halévy of Offenbach at work orchestrating a piece, unceasingly and with great speed, in the midst of the comings and goings of his family and friends, signed and dated 1 July 1883 (f. ii).

The French published vocal score (Paris: Gerard, 1865) indicates orchestration in some detail, and these indications agree with the scoring in this manuscript. The manuscript includes one number in Offenbach’s hand with German words, and other numbers and passages not found in the published French vocal score. There is no copy in British Library of the published German vocal score; however, much of this music appears in full or in part in a manuscript full score of German provenance and with words in German in the British Library Hirsch Collection (Hirsch II.690.); this has for example the ‘Introduction’ to Act II (f. 79r above) replacing the Entracte no. 9, includes more of no. 13 (from Lento, f. 98v above), and has the whole of the ‘Einlage’ air for Hélène after no. 19 (ff. 158-65 above). The Hirsch manuscript does not include the air for Paris ‘Je la vois’ (ff. 109-111 above); in the case of the Act III Finale it has elements from both versions found in Zweig MS 72: it follows the published French vocal score up to the recit. of Paris, which is then followed by the concluding Allegro from the variant version (ff. 202r-203v above). Although some sections at least of Zweig MS 72 appear to have been used for conducting purposes, it is clear that the manuscript was collated and assembled for binding some time after both initial composition and revision for the first performances of the German version were complete. It is not clear whether binding took place before or after the composer’s death. Before binding the manuscript must have been an assembly of loose leaves and gatherings; no doubt, as in other Offenbach operetta manuscripts, each individual number was made up of stacked (and numbered) bifolia within its own wrapper. This, and the ordering of the sections as nearly as possible to correspond to both versions, has resulted in frequent blank leaves between numbers, with the extra material from Act I placed at the end of that act.

Legal Status Not Public Record(s)

Custodial History Presented to Paul Gallimard by Offenbach's widow in 1886; acquired for the Zweig Collection through Heinrich Eisemann, March 1957 (Add. MS 73172, f. 71).

Reproduced: f. 169r, exhibition leaflet The Creative Spirit in the Nineteenth Century (London, Christie’s, 1987); Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 56; ff. 32r, 130r, 181r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates LXXIII-LXXV.

Page 90 2021-08-21 Zweig MS 73 Jacques Offenbach: Sketches for unidentified works ([c 1855?])

Collection Area British Library: Music Collections

Reference Zweig MS 73

Creation Date [c 1855?]

Extent and Format 1 volume (iii + 10 folios)

Languages of Material German; French

Access Conditions Restrictions to access apply please consult British Library staff

Title Jacques Offenbach: Sketches for unidentified works ([c 1855?])

Physical Characteristics 348 x 268mm. Structure of ff. 1-10: 4 nested bifolia, ff. 8 and 9 single leaves with conjoint unfoliated stubs between ff. 1 and 2. 20-stave paper; span 290mm. Watermark: [name in gutter, indecipherable]. Preserved with the manuscript are the covers of an old binding [not for this manuscript] (f. i - iii), annotated as noted above and formerly used as a portfolio to protect the manuscript; they are of oblong format and have the princely Borghese bookplate (f. ii).

Scope and Content Autograph. Written in ink, with some pencil, mostly on single staves but with some sections in score on up to four staves. In a sketch-book made from leaves or bifolia roughly sewn. Apparently first used, in what is now reverse order, for a sequence of instrumental waltzes, very incompletely sketched in score, mostly occupying the top four staves of each page; the first is headed ‘Vals’ and instructions regarding repeats are given in French on f. 2v. For the present order the volume was subsequently reversed, and the main part of each page filled with sketches. Many of these are of a single musical line, using bass, tenor and treble clefs, often within the same piece, which would suggest they are cello lines. Verbal indications of key within these single line sketches are given in German, and one of them (f. 4v) is headed ‘Marsch’. A four-part instrumental work appears on f. 4r. Attestations of authenticity in French in pencil in a later hand appear on f. 1r and, in the same hand and with the date 1855 added, on f. i (front free fly-leaf of portfolio). The upper cover of the old binding used as a portfolio for the manuscript has, in French in ink in another hand, an identification of the sketches as ‘pour ses oeuvres La belle Hélène etc.’

Despite the inscription on the old portfolio no sketches for La belle Hélène have been identified in this little book. The presence of sketches for unaccompanied cello, and perhaps also the format and paper, suggest an early date.

Legal Status Not Public Record(s)

Custodial History Acquired for the Zweig Collection through Philobiblon, Hertford, April 1950 [?] (Add. MS 73172, f. 73).

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXVI.

Page 91 2021-08-21 Zweig MS 74 Maurice Ravel: ‘Boléro’, ballet for orchestra, 1928: version for piano duet ([1929?])

Collection Area British Library: Music Collections

Reference Zweig MS 74

Creation Date [1929?]

Extent and Format 1 volume (8 folios)

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Title Maurice Ravel: ‘Boléro’, ballet for orchestra, 1928: version for piano duet ([1929?])

Physical Characteristics 266 x 348mm. f. 8v printed with staves but otherwise blank. Paginated 2-15 in ink by the composer. 22-stave paper, span 224mm.; printed, without printer’s mark. Structure: single leaves. In binding the gutter edges have been cut and individual folios mounted on guards, so that the original structure of the manuscript is no longer evident. No watermark. Bound in quarter blue leather and marbled boards, the spine gold-tooled and with two red leather panels lettered ‘RAVEL’ and ‘BOLERO / PIANO / 4 / MAINS’.

Former Internal Reference Loan 77.34

Scope and Content Autograph score. Written in ink, on systems of five staves (centre stave blank). Headed ‘Bolero’, with tempo direction ‘Tempo di bolero moderato assai [crotchet] = 76’ (f. 1r). The Secondo part is marked ‘Sordina’ at the beginning, and ‘senza sord.’ two bars after cue no. 4 (f. 2v). There are many minor differences from the published piano duet score, for example in the chording in the Primo part at various points and in the left hand accompanying figures in the Secondo part between cues 7 and 8. There are annotations and corrections in pencil to notation and phrasing throughout; additional tempo directions, cue nos. and occasional fingerings have also been inserted in pencil. Some of these annotations appear to be autograph, more are in another hand, apparently editorial, and bring the manuscript into line with some, though not all of the differences from the published score. Engraver’s markings of line endings and page turns appear to have been almost completely erased from the manuscript throughout. At the top left of f. 1r the words ‘Reduction pour Piano a 4 mains (original)’ in pencil have been almost completely erased, with beneath them, ‘Maurice Ravel’ still easily legible. Over the erased portion, in what appears to be the same hand, is written in pencil ‘1 - Manuscrit Piano 4 m.’.

Legal Status Not Public Record(s)

Custodial History Lehman collection [New York]; acquired for the Zweig Collection with Zweig MSS 5 and 49 by exchange, [1962]; British Library, Loan 77.34 from 1981 to 1986.

Reproduced: f. 1r, Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 76; f. 3v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXVII.

Bibliography: Arbie Orenstein, Ravel. Man and Musician (New York, 1975), p. 239; Marcel Maynat, Maurice Ravel (Paris, 1986), pp. 774-6. Neither Orenstein nor Maynat include this manuscript in their work lists.

Page 92 2021-08-21 Zweig MS 75 Anton Rubinstein: ‘Sérénade russe’ for piano ([1879])

Collection Area British Library: Music Collections

Reference Zweig MS 75

Creation Date [1879]

Extent and Format 1 volume (1 folio)

Languages of Material French; German

Access Conditions Restrictions to access apply please consult British Library staff

Title Anton Rubinstein: ‘Sérénade russe’ for piano ([1879])

Physical Characteristics 352 x 269mm. 24-stave paper, span 310mm.; printed, with blind stamp ‘Lard-Esnault, Paris, 25 rue Feydeau’. No watermark. Leaf roughly torn at gutter edge.

Scope and Content Autograph. Written in ink, on systems of two staves. Tempo direction ‘Moderato, con moto [quaver]’. Title and ‘composé pour l’Album Bellini par Ant. Rubinstein’ at head of recto. The first 15 bars are numbered by the composer, and the numbers used to indicate a repeat of the passage towards the end of the piece. With engraver’s markings in pencil for the Leipzig first edition, and the publisher and plate-number of that edition, ‘Verlag und Eigenthum Bartholf Senff in Leipzig. 1397.’, in red ink at the foot of the recto. Other annotations include ‘30897’ in blue crayon at top right of recto. With the number from Hinterberger cat. IX added in pencil at foot of recto.

Legal Status Not Public Record(s)

Custodial History Date acquired by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. IX [1936] no. 281, 18 [1937] no. 200, and XX [1937] no. 454; unsold and retained in the Collection.

Published: Leipzig: Bartholf Senff, [1879].

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXVIII.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 383.

Page 93 2021-08-21 Zweig MS 76 Alessandro Scarlatti: Cantata, ‘Ombre tacite e sole’, for soprano solo, two violins, viola and basso continuo (31 Oct

Collection Area British Library: Music Collections

Reference Zweig MS 76

Creation Date 31 Oct 1716

Extent and Format 1 volume (8 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Alessandro Scarlatti: Cantata, ‘Ombre tacite e sole’, for soprano solo, two violins, viola and basso continuo (31 Oct 1716)

Physical Characteristics 213 x 275mm. Late pagination in pencil on rectos only. Structure: 4, 4. 10-stave paper, ruled in fives, span 88mm.; total span 185-7mm. Watermark: device [indistinct - animal?] in a circle. Sewn.

Former Internal Reference Loan 77.59

Scope and Content Autograph full score. Written in ink, on systems of four and five staves. The bass is figured throughout. Signed ‘Cav[alier]e Aless[andr]o Scarlatti’ at top left, and headed ‘Cantata p[er] / Camera / Sopr[an]o Solo / con Strom[en]ti d’Arco. / 31 8bre 1716’ at left of first system (f. 1r). The work is in the following sections: ff. 1r-2v. Accompanied recitative ‘Ombre tacite, e sole’; tempo marking ‘adagio’. ff. 3r-4v. Aria ‘Con piede errante’; ‘lento’. ff. 5r-6r. Accompanied recit. ‘Qui, fra tenebre oscure’; no tempo marking. Though figuring occurs all through the bass line, alternate passages are marked ‘Senza Cembalo’ and ‘Con Cembalo’. ff. 6r-8v. ‘Aria’ ‘Allor d’intorno a te’; ‘and[ant]e lento’. In the lower system on f. 7v the vocal line and text only have been entered and then the whole struck through; the continuation on f. 8r is a variant setting of the same text. The no. ‘25’ is in ink at top left of f. 1r; at bottom right of the same folio, in pencil, ‘IV 137’, the no. of the manuscript in Kinsky, Heyer. Katalog.

Legal Status Not Public Record(s)

Custodial History Wilhelm Heyer, Cologne; acquired by Zweig after first auction of Heyer collection, Henrici, Berlin, 11 May 1927 (Zweig’s record card, Add. MS 73176, f. 40); British Library, Loan 77.59 from 1981 to 1986.

Reproduced: f. 1r in Kinsky, Heyer. Katalog, pl. x; f. 1r, 5v-6r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates LXXIX-LXXX.

Bibliography: Georg Kinsky, Musikhistorisches Museum von Wilhelm Heyer in Cöln. Katalog, vol. iv (Cologne, 1916), p. 79; Roberto Pagano, Lino Bianchi, Giancarlo Rostirolla, Alessandro Scarlatti (Turin, 1972), p. 388; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 384. Although not listed in E.J. Dent’s pioneering Alessandro Scarlatti (London, 1905), this cantata appears in the work lists in Musik in Geschichte und Gegenwart (vol. xi), G.M. Gatti and A.Basso (eds.), La Musica (vol. iv), and The New Grove, as well as Pagano, Bianchi, Rostirolla, Scarlatti, but in each case the information appears to originate from Kinsky’s Heyer. Katalog without direct knowledge of the manuscript or its location.

Page 94 2021-08-21 Zweig MS 77 Arnold Schoenberg: Five Orchestral Pieces, op. 16, 1909: copy, written out by the composer and Erwin Stein (1909-1910)

Collection Area British Library: Music Collections

Reference Zweig MS 77

Creation Date 1909-1910

Extent and Format 1 volume (17 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Arnold Schoenberg: Five Orchestral Pieces, op. 16, 1909: copy, written out by the composer and Erwin Stein (1909-1910)

Physical Characteristics 345 x 268mm. ff. 8 a paste-down on 7; 6v, 10v, 15v, 17r and v printed with staves but otherwise blank. Schoenberg’s [?] page nos. 1-6 on ff. 1-3. Structure: 6, 2, 1, 4, 1, 2. The first single folio formerly attached to the preceding bifolium by a hinge at gutter edge; second single folio still so attached to the preceding gathering. 30-stave paper, span 316mm.; printed, printer’s mark ‘J.E & Co. No. 31’. No watermark.

Former Internal Reference Loan 77.38

Scope and Content Autograph full score. Written in ink, on systems of up to 30 staves. Incomplete, comprising nos. I, III, IV and bars 1-16 only of no. V. No. I written jointly by Schoenberg and Stein, the remaining numbers entirely in the hand of the composer. As follows:

ff. 1-6r. No. I; tempo marking (f. 1r) ‘Sehr rasch ([quaver])’. In Schoenberg’s hand are all of ff. 1r-3r and the names of the instruments in the left margin of f. 3v; the music on f. 3v and all of the remaining pages are written out by Erwin Stein, with corrections by Schoenberg. ‘I’ in red crayon in the upper margin of f. 1r.

ff. 7r-10r. No. III; no tempo marking. An extra stave has been added at the foot of f. 9v to accommodate the solo double-bass parts. ‘III’ in pencil on f. 8. Bar 29 (f. 9v) has been ruled vertically in pencil and in red crayon to indicate each of the four beats and their semi-quaver divisions.

ff. 11v-15r. No. IV; ‘Sehr rasche ([crotchet])’ (f. 11v). ‘IV’ in red crayon in upper margin of f. 11r.

f. 16v. No. V; ‘bewegte ([crotchet])’. Bars 1-16 only, filling the whole of f. 16v. Rehearsal cue nos. have been added in pencil in no. IV. Later note in pencil on f. 16r identifying no. V as beginning overleaf on f. 16v.

The manuscript of no. II which formerly belonged with this manuscript has a note by Schoenberg (Kritischer Bericht, p.7) explaining that the entire copy was made when it became necessary for him to part with the original score - so certainly before the publication of the full score in 1912, and most likely before Stein’s period of study with Schoenberg came to an end in 1910. The Five Orchestral Pieces were first performed in London in 1912, and, again in London, this time conducted by the composer, in 1914 (Kritischer Bericht, pp. XIV-XV). After this performance Schoenberg decided to revise the pieces; a list of corrections was printed for insertion in copies of the first edition, and a revised score issued in 1922. (This was also the first edition to include the titles of the pieces, although these had been requested by the publisher in 1912.) Zweig MS 77 neither incorporates these revisions nor gives the titles. Kokkinis notes in the Kritischer Bericht that the fragment of no. V in Zweig MS 77 occupies a complete page, and breaks off at the end of it in a way which might suggest that the score once continued on pages now lost; O.W. Neighbour has pointed out that it is also possible that Zweig MS 77 may date from as early as the summer of 1909, before the composition of no. V was complete. The photocopy of the manuscript among the provenance papers (Add. MS 73179), apparently made at the time of or shortly before its acquisition for the Zweig Collection, contains no more than the pages now present in Zweig MS 77.

Page 95 2021-08-21 Legal Status Not Public Record(s)

Custodial History Arnold Schoenberg and his heirs, Los Angeles; acquired for the Zweig Collection in Dec. 1960 with Zweig MSS 17 and 128; British Library, Loan 77.35 from 1981 to 1986.

Publication: Nikos Kokkinis (ed.), Arnold Schoenberg. Sämtliche Werke, series A, vol. iv/12, Orchesterwerk I (Mainz: B. Schott’s Söhne, 1980), pp. 1-69.

Reproduced: f. 3r (upper portion only), Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 68; ff. 1r, 9r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates LXXXI-LXXXII.

Bibliography: Nikos Kokkinis, Schoenberg. Sämtliche Werke, series B, vol. iv/12, Kritischer Bericht (Mainz, 1984), pp. XIII-XV, 5-7; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 384.

Zweig MS 78 Franz Schubert: ‘Misero pargoletto’ (text Pietro Metastasio, from Demofoonte), aria in B flat for high voice and

Collection Area British Library: Music Collections

Reference Zweig MS 78

Creation Date [Sep 1813]

Extent and Format 1 volume (4 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: ‘Misero pargoletto’ (text Pietro Metastasio, from Demofoonte), aria in B flat for high voice and keyboard accompaniment (D 42) ([Sep 1813])

Physical Characteristics 240 x 315mm. Structure: 4. 12-stave paper, span 185mm. Watermark: ‘KIESLING’ AND ‘JJ’, similar to paper type 37 in Douglas Johnson, Alan Tyson and Robert Winter, The Beethoven Sketchbooks (Oxford, 1985), p. 556. Sewn.

Former Internal Reference Loan 77.37

Scope and Content Autograph. Partly score, partly vocal line only. Written in ink, on single staves and on systems of two and three staves. With corrections in ink and pencil, some apparently in the hand of Antonio Salieri, with whom Schubert studied. In two versions; one of them, less fully realised, but setting a longer version of the text, is in two variant forms. As follows: ff. 1r-2v. Setting of shorter version of text, with accompaniment fully written out, on systems of three staves. Headed ‘Aria.’; tempo direction ‘Allegro con moto’ (f. 1r). The parts identified as ‘Voce:’ and ‘Clav:’ against the first system. Uses a shorter version of the text of the middle section. ff. 3r and v. A setting of the complete text, vocal line only on a single stave. Headed ‘Aria’; tempo direction ‘Andante con expressione’ (f. 3r). ff. 3v-4v. Variant of the preceding setting, beginning similarly, but the musical text widely divergent thereafter. The first section has vocal line only on a single stave, but with occasional indications of accompaniment (f. 3v); the final bar of this section has an accompaniment written in on a second stave, and this leads in to the remainder of the aria (f. 4r and v), mostly similarly written out on two staves. Between the first and middle sections are three deleted bars of a further variant setting of the middle section. Tempo direction (f. 3v) ‘Andante’, above which are two words, perhaps ‘Andante con’, heavily scratched from the page. The way in which the two nested bifolia of the manuscript are at present folded places the more completely realised version, listed in Otto Erich Deutsch (ed.), Neue Schubert Ausgabe and Werner Aderhold, Franz Schubert. Thematisches Verzeichnis seiner Werke in chronologischer Folge (Kassel, 1978), as the second, first; a large ink smudge at top left of f. 3 suggests that when the folios were

Page 96 2021-08-21 written on they were almost certainly folded in the reverse direction, so that f. 3 would have been the first leaf of the gathering. A small hole has been torn in the upper left centre of all leaves, affecting the text; the holes have been neatly repaired and blank staves ruled across both sides of the repair to match the original staves.

There are seven Metastasio settings in Italian by Schubert from 1812-1813 (D 17, 33, 34, 35, 42, 76 and 78). All have been linked to his period of study with Salieri and the manuscripts of at least some have corrections by the teacher. The status of the corrections in Zweig MS 78 is unclear: most if not all of the corrections in ink appear to be by Schubert, but some of the pencil additions, particularly on f. 3v, may well be in Salieri’s hand. The hole in the manuscript and its repair are already mentioned in the description in the first of the Heck catalogues. The provenance papers include an extract from V.A. Heck, cat. 54, annotated by Zweig: ‘März 1940 Wengraf London unvergleichlich billiger’ (Add. MS 73172, f. 76).

Legal Status Not Public Record(s)

Custodial History Dr Max Friedländer; Antiquariat V.A. Heck, Vienna, cat. 44, 1928, no. 1, and cat. 54 [1929?], no. 274; purchased by Zweig from The Arcade Gallery, Old Bond St., London, March 1940 (Zweig’s record card, Add. MS 73167, f. 41; see also Add. MS 73172, ff. 75-7); British Library, Loan 77.37 from 1981 to 1986.

Zweig MS 79 Franz Schubert: Four German Dances for piano (D 146 no.2, 769 no. 1, and 783 Deutsche nos. 1, 2) (1824)

Collection Area British Library: Music Collections

Reference Zweig MS 79

Creation Date 1824

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: Four German Dances for piano (D 146 no.2, 769 no. 1, and 783 Deutsche nos. 1, 2) (1824)

Physical Characteristics 244 x 305mm. 10-stave paper, span 187-8mm. Watermark: ‘[KI]ESLING’, possibly similar to paper type 39 in Douglas Johnson, Alan Tyson and Robert Winter, The Beethoven Sketchbooks (Oxford, 1985).

Former Internal Reference Loan 77.38

Scope and Content Autograph. Written in brown ink on systems of two staves. On a single leaf, the dances from D 146 and 769 on the recto, the others on the verso. D 769 no. 1 marked ‘Mit Verschiebung’. Headed ‘Deutsch’, dated 1824, and signed ‘Fr. Schubert M[anu propr]ia’, all at head of recto; signature in lighter brown ink. Pin-holes at upper corners. Later annotations include ‘J. R.’ at upper left corner of verso.

Zweig MS 79 is described in Deutsch as lost, though known through the copy in the Photogramme Archiv, Vienna. Hinterberger catalogue XX is undated, but assigned by Deutsch, Verzeichnis (and by James Coover, Antiquarian Catalogues of Musical Interest (London, 1988), p. 119) to 1937; the precise wording on Zweig’s record card, under the printed heading ‘Erworben’, is ‘Katalog Hinterberger XX (1938)’. Material from Zweig’s collection was also offered for sale in this catalogue; it seems that with this manuscript, as in the case of the Mozart Contredanses (Zweig MS 59) and his Wagner collection (see Zweig MS 99), he was acquiring new items at the same time as a large part of his existing holding was up for sale with the same dealer.

Page 97 2021-08-21

Legal Status Not Public Record(s)

Custodial History Vienna, Franz Schober, then to his niece Isabella Raab (Brown; Nottebohm); sale of Kuh collection, Vienna, 1906, then auction II, Henrici, Berlin, 1909 (Hinterberger, cat. XX); acquired by Zweig from Heinrich Hinterberger, Vienna, (cat. XX, item 477), 1938 (Zweig’s record card, Add. MS 73167, f. 42); British Library, Loan 77.38 from 1981 to 1986.

Published: All four dances: Walburga Litschauer (ed.), Franz Schubert, Neue Ausgabe sämtlicher Werke, VII:2/6 (Kassel, 1989), pp. 131-2.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXXIV.

Bibliography: G Nottebohm, Thematisches Verzeichniss der... Werke von Franz Schubert (Vienna, 1874), p. 136; Deutsch, as above under Related Manuscripts; Maurice J. E. Brown, ‘The Dance-music Manuscripts’, in Essays on Schubert (London, 1966), p. 239 (MS 50); Franz Schubert, Neue Ausgabe sämtlicher Werke, VII:2/6, p. 172; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 384.

Zweig MS 80 Franz Schubert: Dance (‘Deutscher’) in A flat for piano (D 365, no. 2), with the beginning of Evangelium Johannis 6

Collection Area British Library: Music Collections

Reference Zweig MS 80

Creation Date Mar 1818

Extent and Format 1 volume (1 folio)

Languages of Material German; Latin

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: Dance (‘Deutscher’) in A flat for piano (D 365, no. 2), with the beginning of Evangelium Johannis 6 (D 607) (Mar 1818)

Physical Characteristics 241 x 321mm. 10-stave paper, span 188mm. Watermark: chain lines only.

Former Internal Reference Loan 77.41

Scope and Content Autograph. Written on recto and verso of a single leaf, as follows: f. 1r. Evangelium Johannis 6, vers. 55-58 (text in German from St. John’s Gospel in Luther’s translation), for voice with figured bass accompaniment; [1818]. Bars 1-33 only. Written in ink, on systems of two staves. Headed ‘Evangelium Joh. 6. K.’. Above the heading, on the top stave of the page, are eight cancelled bars of an unidentified piece, written without text in two parts on a single stave. Schubert has written an additional stave freehand at the foot of the page to carry the accompaniment to the last line. The text, an extract from the teaching of Jesus in the synagogue at Capernaum, has introductory words which do not appear in the Gospel. f. 1v. Dance, headed ‘Deutscher von Franz Schubert M[anu] p[ropr]ia in März 818 [line above]’. Written in ink on systems of two staves; ‘Forte= / Piano’ written against the first system. Opens with a single crotchet rather than the three quavers of the published version (see Brown, ‘The Dance-music Manuscripts’, pp. 292ff). Two systems only; the remainder of the page carries a humorous dedication to Ignaz Assmayer, in German and Latin, beginning ‘Hier hast du diesen Deutschen, Mein allerliebster Asma’r’ and signed ‘Francesco Seraphico vulgo Schubert’.

Page 98 2021-08-21

Legal Status Not Public Record(s)

Custodial History Anna Assmayer, Vienna (Schubert Exhibition catalogue, 1897); purchased by Zweig from Antiquariat J. Schwarz, Vienna, July 1932 (record card, partly in Zweig’s hand, Add. MS 73167, f. 43); British Library, Loan 77.41 from 1981 to 1986.

Published: D 356, no. 2: Franz Schubert, Neue Ausgabe sämtlicher Werke, VII:2/6 (Kassel, 1989), p. 73. Transcription of the dedication on the dance is given in O.E. Deutsch, Franz Schubert. Die Dokumente seines Lebens, vol. ii (Munich 1914), pp. 45-6 and Franz Schubert, Neue Ausgabe sämtlicher Werke, VII:2/6, p. xv; see also O.E. Deutsch, Schubert. A Documentary Biography (London, 1946), p. 89, where an English translation of the German text is given.

Reproduced: Verso: Heuberger, Franz Schubert (Berlin, 1902), opp. p. 56; Walter Dahms, Schubert (Berlin, 1912), pl. 34; Franz Schubert, Neue Ausgabe sämtlicher Werke, VII:2/6, p. xxiii; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXXV.

Bibliography: Catalogue, Schubert-Ausstellung (Vienna, 1897), no. 934; Richard Heuberger, Franz Schubert (Berlin, 1902), p. 55; Maurice J.E. Brown, ‘The Dance- music Manuscripts’ in Essays on Schubert (London, 1966), p. 230 (MS 26); idem., ‘The story of the ‘Trauerwalzer’’, loc. cit., pp. 291-305; Walburga Litschauer (ed.), Franz Schubert, Neue Ausgabe sämtlicher Werke, VII:2/6, pp. xv, 168; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 385. Brown describes this work as ‘Schubert’s most popular waltz’.

Zweig MS 81 A Franz Schubert: ‘An die Musik’ (words Franz von Schober), for voice and piano (D 547) ([1827?])

Collection Area British Library: Music Collections

Reference Zweig MS 81 A

Creation Date [1827?]

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: ‘An die Musik’ (words Franz von Schober), for voice and piano (D 547) ([1827?])

Physical Characteristics 270 x 225mm. Verso ruled with staves but otherwise blank. 15 staves, span 239mm. The leaf trimmed at all edges; with a single line, the remains of a sixteenth stave, at the foot of the verso. Watermark: chain lines only. See Zweig MS 81B for old covers.

Former Internal Reference Loan 77.36

Scope and Content Autograph. Written in brown ink on systems of three staves, on the recto of a single leaf. Headed ‘An die Musik / Gedicht von Schober’ and signed ‘Franz Schubert m[anu propr]ia’. In D major, the vocal line in the treble clef; tempo direction ‘Mässig’. The lines labelled ‘Voce’ and ‘Pianoforte’ against the first system. The second of the two versions of the song listed by Otto Erich Deutsch (ed.), Neue Schubert Ausgabe and Werner Aderhold, Franz Schubert. Thematisches Verzeichnis seiner Werke in chronologischer Folge (Kassel, 1978). For material with which the manuscript was mounted when received in the British Library, see Zweig MS 81B.

This manuscript appears, like the autographs of the earlier version of the song, to take the

Page 99 2021-08-21 form of an album leaf, but it is not known when or for whom it was written out. It remains the only known autograph of the version in which the song was published in Schubert’s lifetime. As early as 1923, in ‘Die Welt der Autographen’ (in Martin Bircher (ed.), Stefan Zweig’s Welt der Autographen (Zurich, 1996), p. 22), Zweig had written of the incomparably greater impact made by the embodiment of a Schubert song in the composer’s autograph than by its publication in the cold pages of a printed edition - a view which alone would justify the manuscript’s frequent reproduction. Of the three autograph Schubert song manuscripts from his collection which Zweig offered for sale in 1936 through Hinterberger’s catalogue IX one went to the Wiener Stadtbibliothek and two to the Bibliotheca Bodmeriana. The collection was then without any Schubert song manuscript until his acquisition of Zweig MSS 79 and 81A in the early months of 1940. Zweig’s delight at acquiring the autograph of this most famous of Schubert’s songs is evident from his remarks on his record card (Add. MS 73167, f. 44, and his own variant copy in Add. MS 73169, f. 62): ‘Ein Kronstück der Liedkunst ... Auch grafisch ausserordentlich schön’, a counterpart (both ‘Gegenpart’ and ‘Pendant’) to Mozart’s ‘Das Veilchen’, the manuscipt of which he had owned since 1934 or 1935. Both autographs were among the select group of manuscripts he chose to take with him to the United States in June 1940 and on to Brazil. Renoldner reproduces Zweig’s record card in addition to the manuscript.

Legal Status Not Public Record(s)

Custodial History Provenance: Ludwig Landsberg, Rome; given 1852 to wife of French Ambassador (see Zweig MS 81B); Siegfried Ochs; offered to Zweig by Otto Haas, London, April 1939 (Add. MS 73172, f. 84); acquired by Zweig through Otto Haas, May 1940 (Zweig’s provenance card, Add. MS 73167, f. 44); British Library, Loan 77.36 from 1981 to 1986.

Published: Franz Schubert, Neue Ausgabe sämtlicher Werke, IV:4a (Kassel, 1979), pp. 108-9.

Reproduced: Walter Dahms, Schubert (Berlin, 1912), pl. 33; Werner Jaspert, Franz Schubert. Zeugnisse seines irdischen Daseins (Frankfurt am Main, 1941), after p. 448 (see Deutsch, Verzeichnis ); exhibition leaflet 75 Musical and Literary Autographs from the Stefan Zweig Collection (1986), p. 4; British Library Zweig Concert Series programme book 1987, p. 13, 13 June 1989, p. 8, 1 July 1991, p. 12, 11 April 1995, p. 9, 1996, p. 10, and 9 May 1997, p. 9; Klemens Renoldner, Hildemar Holl and Peter Karlhuber, Stefan Zweig. Bilde, Texte, Documente (Salzburg, 1993), p. 97; Facsimile edition Pleiades Folios Ltd, 1990; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXXVI; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 387.

Bibliography: Walther Dürr (ed.), Franz Schubert, Neue Ausgabe sämtlicher Werke IV:4b, p. 299; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 386.

Page 100 2021-08-21 Zweig MS 81 B Franz Schubert: Folder in which Zweig MS 81A (Schubert’s autograph of ‘An die Musik’) was mounted before its

Collection Area British Library: Music Collections

Reference Zweig MS 81 B

Creation Date 1852

Extent and Format 1 volume (2 folios)

Languages of Material German; French

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: Folder in which Zweig MS 81A (Schubert’s autograph of ‘An die Musik’) was mounted before its presentation to the British Library (1852)

Physical Characteristics 237 x 196mm. (f. 1); 275 x 230mm. (f. 2). The inner pages and lower cover of the folder are blank. No watermark in f. 1. With the lithograph and the mount are the strips of gold paper edging which surrounded the portrait in the original assembly.

Scope and Content As follows: f. 1. Portrait of Schubert, lithograph by Josef Teltscher, 1826, published by Mansfeld & Co.; [1829]. The first of the two versions issued by Mansfeld & Co., with below the image a reproduction of Schubert’s signature and the words ‘Ehrenmitglied der Musik-Vereine zu Grätz und Linz. / Geboren zu Wien den 31. Jänner 1797, gestorben / den 19. November 1828.’. Originally mounted within 2 below, facing Zweig MS 81A. f. 2. Folder of pink paper-covered boards, calligraphically lettered on upper cover ‘Originale / von / Franz Schubert.’ Beneath this is the added inscription ‘Autographe de Schubert offert a Madame l’Ambassadrice de France par son devoué serviteur Landsberg’, ‘Rome 2 May 1852’.

The manuscript of ‘An die Musik’ was completely pasted down into this folder, made for it, apparently by the collector Ludwig Landsberg, before 1852. It was lifted and removed in the British Library. The published reproduction shows the assembly as it was, with the manuscript facing the portrait inside the folder.

Legal Status Not Public Record(s)

Custodial History Ludwig Landsberg, Rome; given 1852 to wife of French Ambassador; Siegfried Ochs; offered to Zweig by Otto Haas, London, April 1939 (Add. MS 73172, f. 84); acquired by Zweig through Otto Haas, May 1940 (Zweig’s provenance card, Add. MS 73167, f. 44); British Library, Loan 77.36 from 1981 to 1986.

Reproduced: f. 1, with Zweig MS 81A, R.C. Alston, The British Library Past Present and Future (London, 1989), p. 29.

Bibliography: For the portrait: O.E. Deutsch, Franz Schubert. Die Dokumente seines Lebens und Schaffens, vol. iii: Sein Leben in Bildern (Munich, 1913), no. 12; idem., Schubert. A Documentary Bibliography (London, 1946), pl. xxvi and p. 928 (no. 8); Maurice J.E. Brown, Essays on Schubert (London, 1966), pp. 147-8 (no. viii).

Page 101 2021-08-21 Zweig MS 82 Franz Schubert: ‘Schlachtlied’ (words F.G. Klopstock) for double male-voice choir (D 912) (28 Feb 1827)

Collection Area British Library: Music Collections

Reference Zweig MS 82

Creation Date 28 Feb 1827

Extent and Format 1 volume (ii + 7 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: ‘Schlachtlied’ (words F.G. Klopstock) for double male-voice choir (D 912) (28 Feb 1827)

Physical Characteristics 240 x 313mm. ff. 4v and 7v ruled with staves but otherwise blank; three unnumbered stubs between ff. 4 and 5. Structure: 4 + 2 unnumbered stubs, 1 unnumbered stub + 3 (ff. 3-4 inserted at the time of the excision of the leaves of which only stubs remain). 16-stave paper, span 206-7mm. (ff. 1, 2, 5-7), 194mm. (ff. 3, 4). Watermark: fleur de lys. Bound in green paper-covered boards, lettered ‘F. SCHUBERT.’ on upper cover. Front fly-leaves of this later binding are ff. i and ii; rear fly-leaves unnumbered.

Former Internal Reference Loan 77.40

Scope and Content Autograph full score. Written in dark brown ink on systems of eight staves. Tempo direction ‘Nicht zu geschwind, kraftvoll’ (f. 1r). Minor autograph corrections to music and text in ink in a number of places. Title ‘Schlachtlied. Von Klopstock. / Doppel=Chor.’, with date and signature ‘28. Febr. 1827 Frz. Schubert M[anu propr]ia’, at head of f. 1r. A different paper, differently ruled, from the rest of the manuscript is used for ff. 3-4 (f. 4v ruled but otherwise blank and cancelled in pencil); there follow the stubs of three excised leaves, and the first four bars on f. 5r have been struck through. From this it appears that the bifolium ff. 3-4 was inserted as a revision of the text on the excised folios, the cancelled bars on f. 5r being the continuation of that earlier version. Various engraver’s or copyist’s markings in pencil throughout, with a few pencil corrections to the music; the markings include the page breaks (unnumbered) in the first edition, though the line-ends marked into the manuscript do not correspond to those in this publication. The number ‘108’ and the posthumous opus no. ‘op. 151.’ added in ink in another hand or hands beneath the title. A calligraphic title-page (f. ii) is part of the later binding. D 432 is a setting of the same Klopstock text, for choir or four solo voices and piano, made in 1816.

Legal Status Not Public Record(s)

Custodial History Liebeskind collection, auctioned at Henrici, Berlin, 1928; date of acquisition by Zweig unknown; offered for sale through Heinrich Hinterberger, Vienna, Cat. XX [1937], item 479; unsold and returned to the Collection; British Library, Loan 77.40 from 1981 to 1986.

Published: Vienna: A. Diabelli & Co., [circa 1845]; Franz Schubert, Neue Ausgabe sämtlicher Werke, III:4 (Kassel, 1974), pp. 156-65.

Reproduced: f. 1r as plate xvii in Hinterberger cat. XX [1937]; f. 5r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXXVII.

Bibliography: Dietrich Berke (ed.), Franz Schubert, Neue Ausgabe sämtlicher Werke, III:4, pp. 208-9; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 387.

Page 102 2021-08-21 Zweig MS 83 Franz Schubert: ‘Mirjams Siegesgesang’ (words Franz Grillparzer), for soprano solo, choir and piano (D 942) (Mar 1828)

Collection Area British Library: Music Collections

Reference Zweig MS 83

Creation Date Mar 1828

Extent and Format 1 volume (18 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: ‘Mirjams Siegesgesang’ (words Franz Grillparzer), for soprano solo, choir and piano (D 942) (Mar 1828)

Physical Characteristics 245 x 320mm. f. 1v ruled with staves but otherwise blank. Later pencil pagination ‘1-34’ from f. 2r. Structure: 1 and 18 conjoint, 2-9 and 10-17 each comprising 4 nested bifolia. 12-stave paper, span 185mm. Watermark: fleur de lys. Unbound and unsewn. In blue cloth-covered portfolio lettered ‘SCHUBERT’ on spine and upper cover, and ‘S.Z.’ on upper cover.

Former Internal Reference Loan 77.39

Scope and Content Autograph full score. Written in dark brown ink; mostly on systems of 6 staves: soloist and chorus sopranos parts on the same stave and marked ‘solo’ or ‘tutti’, systems of 3 staves for passages for soprano solo and piano only. Tempo directions ‘All[egr]o giusto (f. 2r) - Allegretto (f. 4r) - All[egr]o molto (end of f. 8r) [followed by] All[egr]o agitato (top of f. 8v) - An[dan]tino’ (f. 12v). Minor autograph corrections to text and music throughout; one bar added at end of first system (f. 2r) by extending staves into right-hand margin. Title ‘Mirjams Siegesgesang / Von Grillparzer / Chor mit Sopran Solo / Franz Schubert m[anu] p[ropr]ia / März 1828’ written over staves on recto of f. 1; verso blank except for stave ruling. Music begins f. 2r, where title, date and signature are given again. Markings in pencil ‘3-42’ possibly indicate page numbers in a copy or edition, but do not coincide with pages in the first edition; bar count in pencil at end of each section, totalled at end of work (f. 18v). Numbers 31 (top right f. 1r) and 33 (top left f. 18v) added in pencil.

Legal Status Not Public Record(s)

Custodial History Weinberger & Hofbauer, Vienna (Kinsky, p. 204); Sotheby’s, London, 1 July 1907, lot 20, ‘from the library of Stuart M. Samuel, M.P.’; Wilhelm Heyer, Cologne; purchased by Zweig at Henrici, Berlin, 23 Feb. 1928 (record card, Add. MS 73167, f. 45); British Library, Loan 77.39 from 1981 to 1986.

Published: Salome Reiser (ed.), Franz Schubert. Mirjams Siegesgesang (Stuttgart: Carus-Verlag, 1998).

Reproduced: f. 2r, Kinsky, Heyer. Katalog, pl. xxix; Reiser, Franz Schubert. Mirjams Siegesgesang, p. 5; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate LXXXVIII.

Bibliography: Georg Kinsky, Muisikhistorisches Museum Wilhelm Heyer in Cöln. Katalog, vol. iv (Cologne, 1916), pp. 204-6; O. E. Deutsch (ed.), Schubert. Die Erinnerungen seiner Freunde (Leipzig, 1966), p. 17. Deutsch's Erinnerungen records Schubert’s intention to prepare a version of this work with full orchestra; Dietrich Berke (ed.), Franz Schubert, Neue Ausgabe sämtlicher Werke, III:2a (1996), pp. XXII-IV; Reiser, Franz Schubert. Mirjams Siegesgesang, p. 43; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 387-88.

Page 103 2021-08-21 Zweig MS 84 Heinrich Schütz: [‘Schwanengesang’], setting in German of Psalm 119, with Psalm 100 and the German Magnificat (SWV

Collection Area British Library: Music Collections

Reference Zweig MS 84

Creation Date 1671

Extent and Format 1 volume (i + 28 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Heinrich Schütz: [‘Schwanengesang’], setting in German of Psalm 119, with Psalm 100 and the German Magnificat (SWV 482-494), for two four-part choirs with organ continuo: organ continuo part (1671)

Physical Characteristics 228 x 190mm. ff. 1v, 2v, 27v and 28r and v blank, 23v and 24r-26v ruled with staves but otherwise blank. Structure: 1 (front free fly-leaf), 1 (inserted title-page), 6, 6, 6, 6, 1 (printed list of contents), 1 (back free fly-leaf). 8-stave paper, total span 216-218mm. Watermark (ff. 3-26 only): drawn bow and arrow, with initials HSC. Bound in quarter parchment, with orange paper-covered boards; label (f. i) lettered ‘ORGANUM’ in ink on upper cover. In blue buckram portfolio lettered ‘SCHUTZ ORGANUM’ on upper cover and spine, and with ‘S.Z.’ at bottom right of upper cover.

Former Internal Reference Loan 77.42

Scope and Content Copy, with autograph annotations. Figured bass line, written in dark brown ink on single staves, with key words and phrases of the text written in beneath, and indicating the sections allocated to each of the two choirs. In a volume labelled ‘ORGANUM’ (f. i) on the upper cover. The music is in a copyist’s hand, with in the composer’s autograph a dedication to the Elector of Saxony and an annotation, and a printed title-page and list of contents. All texts in German. As follows: f. 1r. Dedication page in Schütz’s hand: ‘Wornebenst An Ihre Churfurstl. Durchl. Meinem Gnädigsten Herrn ... Author’. f. 2r. Printed title-page, beginning ‘Königs und Propheten / Davids / Hundert und Neunzehender / Psalm / in / Eilf Stukken ...’, ‘Organum / Dresden / Gedruckt mit Seyfferts Schrifften. / 1671.’. ff. 3r-23r. Music. With the composer’s annotations on f. 5r correcting a note and adding to the textual underlay. f. 27r. Printed list of contents, beginning ‘Catalogus, / über / Heinrich Schützens / 119. Psalm ...’.

The name ‘Der Schwanengesang’ seems to have been given to this group of works, the final compositions of Schütz, almost immediately they were written (see Steude, p. xv). The presence of the composer’s autograph note of dedication at the front of Zweig MS 84 suggests that the set of which it originally formed a part was the presentation copy to the Elector. That set, made up of the vocal books in Dresden and the Zweig organ part, now forms the only source for the whole group of works. Steude’s edition supplies the two vocal parts missing from the Dresden books. The paper on which the books are written, with its distinctive watermark, is from the composer’s own private stock.

Legal Status Not Public Record(s)

Custodial History Removed from Dresden to Guben (now Gubin, Poland), and acquired by Lengfeldsche Buchhandlung from a bookseller there (see Steude, p. xviii); acquired by Zweig from Lengfeldsche Buchhandlung, Cologne, Nov. 1930 (Zweig’s record card, Add. MS 73167, f. 46); British Library, Loan 77.42 from 1981 to 1986.

Published: Wolfram Steude (ed.), Heinrich Schütz. Der Schwanengesang (Leipzig: VEB deutscher Verlag für Musik, 1984).

Page 104 2021-08-21 Reproduced: Printed title-page and opening lines of the autograph dedication (f. 5r), British Library Zweig Concert Series programme book 1987, p. 28. The title-page and printed list of contents are also reproduced from the Dresden part-books in Steude, pp. xxii, xxiv. Watermark, reproduced from Dresden books, in Steude, p. 275; ff. 2r, 5r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates LXXXIX-XC.

Bibliography: Werner Bittinger, Schütz-Werke-Verzeichnis (Kassel, 1960), pp. 148- 151; Steude edition (see Published above), esp. p. 275, where the description of this manuscript includes a full transcription of the dedication statement from f. 5r. Schütz’s dedication and textual additions are also transcribed in a note by Georg Kinsky in Zeitschrift für Musikwissenschaft, vol. xii (Leipzig, 1930), pp. 597-8; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 388.

Zweig MS 85 Robert Schumann: ‘Beim Abschied zu singen’ (text E. von Feuchtersleben), for chorus and wind ensemble, op. 84 (7 May

Collection Area British Library: Music Collections

Reference Zweig MS 85

Creation Date 7 May 1847

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Robert Schumann: ‘Beim Abschied zu singen’ (text E. von Feuchtersleben), for chorus and wind ensemble, op. 84 (7 May 1847)

Physical Characteristics 315 x 230mm. Versos blank. Structure: single leaves. 16-stave paper, span 246mm.; printed, without printer’s mark. No watermark. The leaves were originally tied together with pink tape, preserved with the manuscript.

Scope and Content Autograph draft in short score. Written in ink on systems of two staves. Tempo direction ‘Langsam’. Text begins ‘Es ist bestimmt in Gothes Rath’. Headed ‘Lied zum Abschied’ at top left and dated ‘7 Mai 47.’ at top right of f. 1r. With indication of instrumentation above the first system on f. 1r: ‘Fl. Ob. Clar. Fag. 4 Corni. Vcell. Bass’. Full choir or solo voices indicated above the systems throughout, though not always in accord with the published scores. The central section, which repeats the music of the opening though to different words, is written as a single vocal line marked ‘wie vorher’, and cued in to the opening by signs in pencil. Two brief sketches on single staves appear on f. 2r, beneath the conclusion of the work. Presentation inscription by Clara Schumann in blue ink in right and top margin of f. 1r: ‘Original-Handschrift Robert Schumann’s an Miss Metcalfe von Clara Schumann. Berlin 1858’.

The work was composed for a music festival in Schumann’s home town of Zwickau on 30 June 1847. In the final version, as represented by the autograph full score and the published scores, Schumann dispensed with the lower strings and two of the four horns which he included in his note on the instrumentation in the margin of this draft. Dr Bernhard R. Appel of the Robert-Schumann-Gesellschaft has pointed out that the version of Feuchtersleben’s text which Schumann uses differs from that published, and that in this Schumann follows the variant used by Mendelssohn in his setting of the same words (as op. 47, no. 4, for voice and piano).

Page 105 2021-08-21 Legal Status Not Public Record(s)

Custodial History Acquired for the Zweig Collection through Otto Haas, March 1950 (Add. MS 73172, f. 112).

Reproduced: British Library Zweig Concert Series programme book 23 June 1994, p. 11; f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XCI.

Bibliography: Thematisches Verzeichnis sämmtlicher im Druck erschienenen Werke Robert Schumanns (Leipzig 1869), p. 68; K. Hofmann, Die Erstdrucke der Werke von Robert Schumann (Tutzing, 1979), p.184-5.

Zweig MS 86 Gaspare Spontini: ‘Olympie’, opera in three acts, second version (libretto by Dieulafoy and Briffaut after Voltaire,

Collection Area British Library: Music Collections

Reference Zweig MS 86

Creation Date [1839]

Extent and Format 1 volume (2 folios)

Languages of Material French; Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Gaspare Spontini: ‘Olympie’, opera in three acts, second version (libretto by Dieulafoy and Briffaut after Voltaire, revised by E.T.A. Hoffman), 1821: chorus ‘Ciel! Il expire’ with following recitative for the Hièrophante and Cassandra, from Act III, scene viii ([1839])

Physical Characteristics 347 x 265mm. Structure: 2. 16-stave paper, span 293mm. Watermark: ‘D & C Blauw’.

Scope and Content Autograph full score. Written in ink on systems of up to 16 staves. Tempo direction ‘Andante un poco sostenuto’ (f. 1r). Staves extended into the right margin by the composer on f. 2r. The recitative is given in a shorter version than that found in the published score, and the parts for the two soloists, who in the published score sing in unison with the chorus, are not marked in during the chorus.

At the bottom of f. 1r is the composer’s description ‘Fragment d’une Scene dans Olimpie’, and a presentation inscription from Spontini to Cherubini is at the bottom of f. 2v: ‘Au très rèvèré Maitre Cherubini par son très dèvoué admirateur Spontini’, ‘Paris, 8 Mai 1839’. Later additions include the composer’s name in red at top left of f. 1r, and the no. ‘130’ beneath that in pencil and in ink at top left of f. 2v. Also in pencil at the foot of f. 1r, identification of the extract as Act III, no. 24.

This manuscript was apparently written out specially for presentation to Cherubini. It no doubt relates to the revised version of the opera, first given in Berlin, in German, on 14 May 1821, and, in a slightly revised form, in French at the Theatre de l’Académie Royale de Musique in Paris in February 1826. The published full score refers to these Paris performances.

Page 106 2021-08-21 Legal Status Not Public Record(s)

Custodial History Cherubini collection, no. 130 in Catalogue de la Collection Cherubini (Paris, 1878); acquired by Zweig from J.V. Heck, Jan. 1931 (Zweig’s folder for this manuscript, Add. MS 73170, f. 1); offered for sale through Heinrich Hinterberger, Vienna, cat. IX [1936] no. 291, cat. 18 [1937] no. 225, and cat. XX [1937] no. 512; not sold, retained in the Collection.

Published: Full score, Paris: Erard, [1826], pp. 170-76.

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XCII.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 388-89.

Zweig MS 87 Gaspare Spontini: Credo in G for two voices and obbligato solo organ (1793?-1795?)

Collection Area British Library: Music Collections

Reference Zweig MS 87

Creation Date 1793?-1795?

Extent and Format 1 volume (8 folios)

Languages of Material Latin; Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Gaspare Spontini: Credo in G for two voices and obbligato solo organ (1793?-1795?)

Physical Characteristics 232 x 288mm. ff. 8r and v ruled with staves but otherwise blank. Structure: 8. 12-stave paper, span 183mm. Watermark: animal in a circle, surmounted by the lower half of a cross. Sewn.

Scope and Content Autograph score. Written in ink on systems of four staves. Title on f. 1r: ‘Credo a / Due Voci con / L’organo solo obbligato / Di / Gaspare Spontini’, with, also in the composer’s hand at top right, ‘Originale’. Scored for organ (written on the single uppermost stave), Canto (in soprano clef), Alto, and with a bass line on the lowest single stave. The bass unfigured except for 2 bars on 6v, but elsewhere includes written out harmonies. The organ stave includes instructions in Italian (f. 1v) to play the vocal lines where this upper stave is otherwise left blank. Music begins on f. 1v. The sections are ‘Andante’ ‘Credo in unum Deum’ (ff. 1v-2v), ‘Larghetto’ ‘Et incarnatus est’ (ff. 3r and v), ‘Allegretto’ ‘Et resurrexit’ (ff. 3v-4v), ‘Andante’ ‘Et in spiritum sanctum’ (ff. 4v-5v), ‘Allegro assai’ ‘Confiteor’ (ff. 5v-6v), and ‘Piu presto assai’ ‘Et vitam venturi’ (ff. 6v-7v).

This work does not appear in the lists given in Musik in Geschichte und Gegenwart and The New Grove, nor in the table of sources in Paolo Fragapane, Spontini (Florence, 1983). The presence of instructions for the performer in Italian suggests that the manuscript dates from Spontini’s early years in Italy, and this is born out by comparison with manuscripts from this period of his life reproduced in Bouvet and Ghislanzoni. It may date from his period at the Conservatorio di Santa Maria della Pieta in Naples (January 1793 to October 1795), where settings of sacred texts were frequently required from students. Zweig expressed doubts about the authenticity of this manuscript on his record card and in an annotation to the copy of it, but comparison with the reproductions in Bouvet and Ghislanzoni indicates that his doubts were unjustified.

Page 107 2021-08-21 Legal Status Not Public Record(s)

Custodial History Purchased by Zweig from Francesco Torrini, Milan, July 1938 (Zweig’s record card and copy, Add. MSS. 73167, f. 47, and 73169, f. 67; see also Add. MS 73172, f. 108).

Reproduced: f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XCIII.

Bibliography: Charles Bouvet, Spontini (Paris, 1930), pl. vi, viii; Alberto Ghislanzoni, Gaspare Spontini (Rome, 1951), illustration after p. 272; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 389.

Zweig MS 88 Johann Strauss, the elder: ‘Redoute-Quadrille’, op.158 ([1843])

Collection Area British Library: Music Collections

Reference Zweig MS 88

Creation Date [1843]

Extent and Format 1 volume (10 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Johann Strauss, the elder: ‘Redoute-Quadrille’, op.158 ([1843])

Physical Characteristics 319 x 256mm. The bifolia have a later pencil numbering 1-5. Structure: 5 stacked bifolia, with sewing holes in gutter-edge margins. 16-stave paper, span 255mm. Watermark: chain lines only.

Former Internal Reference Loan 77.61

Scope and Content Possibly not autograph. Full score. Written in ink on systems of 16 staves. Music begins f. 1v. Scored for piccolo, flute, 2 clarinets, oboe, bassoon, 2 horns, 2 trumpets, timpani, bass drum, side drum, 2 trombones, and strings. An extra stave is added in ink and pencil beneath the system on f. 9r and v, to accommodate the timpani, which at that point play at the same time as the other two drums. Movements are ‘Pantalon’ (ff. 1v-3r), ‘Été’ (ff. 3v-4v), ‘Poule’ (ff. 5r-6v), ‘Pastourelle’ (ff. 7r-8v), and ‘Finale’ (ff. 9r-10v). Title-page (f. 1r): ‘Redoute-Quadrille / für das Orchester componirt / von / J. Strauss’, with, over the bottom stave the opus number, ‘158tes Werk’. Later additions, in pencil are the number in Hinterberger catalogue IX in lower margin of f. 1v, and ‘Joh. Strauss Vater’ at bottom left of f. 10v.

The Viennese quadrille consisted of six movements (Pantalon, Eté, Poule, Trénis, Pastourelle, Finale); almost all by Johann Strauss Sr. follow this pattern, as according to the published piano score does the ‘Redoute Quadrille’. It is possible that a bifolium is missing from the present manuscript, being originally between ff. 6v and 7r. and accounting for the 25 bar ‘Trénis’ found in the published versions. If this is the case, the bifolium was removed before the pencil numbering of the bifolia, and before publication of the first Hinterberger catalogue, where the manuscript is already described as of 20 pages.

Page 108 2021-08-21 Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. IX [1936] no. 292, 18 [1937] no. 227, and XX [1937] no. 518; unsold and retained in the Collection; British Library, Loan 77.61 from 1981 to 1986.

Publication: Full score and piano reduction, Wien: Tobias Haslinger’s Witwe u. Sohn, 1844 (see Schönherr and Reinöhl); piano reduction also in Johann Strauss the younger (ed.), Johannes Strauss Werke, vol.vii (‘Quadrillen’), pp.36-39, Leipzig: Breitkopf & Härtel, 1887-89.

Reproduced: f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate XCIV.

Bibliography: C. Hamme (ed.), Verzeichnis der sämtlichen, im Druck erschienenen Kompositionen von Johann Strauss (Vater), Johann Strauss (Sohn), Joseph Strauss und Eduard Strauss (Leipzig: Breitkopf and Härtel, 1898); Max Schönherr, Karl Reinöhl, Johann Strauss Vater. Ein Werkverzeichnis (Wien: Universal Edition, 1954); Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 389.

Zweig MS 89-92 Richard Strauss: Opera in three acts, ‘Die schweigsame Frau’ (libretto, Stefan Zweig, after Ben Jonson), op. 80

Collection Area British Library: Music Collections

Reference Zweig MS 89-92

Creation Date 1933-1935

Extent and Format 4 volumes

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Strauss: Opera in three acts, ‘Die schweigsame Frau’ (libretto, Stefan Zweig, after Ben Jonson), op. 80 (1933-1935)

Physical Characteristics 272 x 342mm. 14-stave paper, span 218mm.; printed, with printer’s mark ‘B. & H. No 7’. No watermark.

Scope and Content Autograph. Vocal score, the orchestral part in short and compressed score on up to five staves. Written in blue-black ink. Includes full stage directions and spoken dialogue; the scenes within each act, which mostly follow one another without a break, are not always indicated. Staves are frequently extended freehand into the right-hand margins, as the music requires. With annotations in pencil, apparently made by the composer during orchestration of the work and principally giving page and bar numbers in the autograph full score; page nos. are followed by letters where a page in the full score has more than one system. Indications of orchestration occur in both ink and pencil, and are most frequent in Act I.

Zweig gives his own account of his collaboration with Strauss in The World of Yesterday. He wrote the libretto during 1932, at the same time as he was also working on Marie Antoinette, a productive and happy period (Prater). When Strauss received the completed text in January 1933 he wrote to Anton Kippenberg (Zweig’s publisher, who had brought the two men together) describing it as ‘the best text created in comic opera since Figaro’ (Prater, p.206). The derivation of the text, ‘frei nach Ben Jonson’, echoes the even more free version of Volpone which Zweig had written in 1926, and which met with international success. Zweig’s letters (Briefwechsel) show how great was his desire to own this manuscript, which was apparently agreed as a part of his ‘fee’ - in the contract signed by librettist and composer in August 1933, in a separate clause after the stipulation of Zweig’s financial interest in the opera, it is stated that Strauss will provide him with ‘eine handschriftliche Klavierauszugsskizze für dessen Autographensammlung’. Zweig was also concerned, and rightly so

Page 109 2021-08-21 as was very soon apparent, that their collaboration might damage Strauss in the eyes of the Nazi authorities in Germany. He undertook to keep his ownership of the manuscript entirely private, and urged the composer before presenting it to him to record in it the date when they had begun work (which was before Hitler assumed office) as well as of its completion ( Briefwechsel, p. 109; Prater, p. 235).

Legal Status Not Public Record(s)

Custodial History Presented by the composer to Zweig, April - May 1935 (see Briefwechsel, pp. 99-120).

Published: Vocal and full scores, the former prepared by Felix Wolfes, Berlin: Adolph Fürstner, 1935.

Reproduced: Zweig MS 89, f.1r, Briefwechsel, opp. p. 49; Zweig MS 90, f. 16r, Zweig Series PB 1988, p. 21, and 13 June 1989, p. 10; Zweig MS 89 ff. 1r, 6r, MS 90 ff. 16r, 20r, MS 91 f. 31v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates XCV- XCIX.

Bibliography: Stefan Zweig, The World of Yesterday (London, 1943), pp. 278-85; Willi Schuh (ed.), Richard Strauss, Stefan Zweig. Briefwechsel (Frankfurt am Main, 1957), also published in English translation by M. Knight, with a foreword by E.E. Lowinsky, as A Confidential Matter. The Letters of Richard Strauss and Stefan Zweig, 1931-1935 (Berkeley, Cal., 1977); Donald Prater, European of Yesterday. A Biography of Stefan Zweig (Oxford, 1972), pp. 204-5, 235; F. Trenner, Die Skizzenbücher von Richard Strauss (Tutzing, 1977); Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 389-390. A photograph of Strauss at work drawing up the full score from this manuscript is reproduced in The New Grove (London, 1980), vol. xviii, p. 222.

Zweig MS 89 Act I of Richard Strauss's opera in three acts 'Die schweigsame Frau' (11 Mar 1933)

Collection Area British Library: Music Collections

Reference Zweig MS 89

Creation Date 11 Mar 1933

Extent and Format 1 volume (i + 40 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Act I of Richard Strauss's opera in three acts 'Die schweigsame Frau' (11 Mar 1933)

Physical Characteristics 40v printed with staves but otherwise blank. Paginated 1-78 in ink by the composer. Structure: 10 stacked gatherings of 4. Bound in blue paper covers, label (f. i) with ‘Die schweigsame Frau I. AKT.’ in composer’s autograph pasted to upper cover.

Scope and Content Opening tempo direction ‘Allegro’ (f. 1r). Signed at upper right of f. 1r, and with ‘begonnen 16. Februar 1933’ [added] at bottom left; dated Garmisch, 11 March 1933 at end (f. 40r). Timings are given in pencil on ff. 11v, 19v, 40r. As follows: ff. 1r-4v. Scene I. ff. 4v-11v. [Scene II.] The beginning of the scene not marked by Strauss. Extended score, with indications of instrumentation, added in pencil beneath 15 bars of short score on ff. 5v-6r. ff. 11v-19v.

Page 110 2021-08-21 Scene III. ff. 20r-30v. ‘Letzte Scene:’. ff. 30v-40r. ‘Finale’. Variants or additional passages are sketched in short score in pencil beneath the systems on ff. 32v, 34r, and 38r-v. Corrections of Italian words used in the text occur on ff. 18v and 21r in pencil, and these corrections appear in the published vocal score.

Legal Status Not Public Record(s)

Zweig MS 90 Act II of Richard Strauss's opera in three acts 'Die schweigsame Frau' (18 Jun 1933)

Collection Area British Library: Music Collections

Reference Zweig MS 90

Creation Date 18 Jun 1933

Extent and Format 1 volume (44 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Act II of Richard Strauss's opera in three acts 'Die schweigsame Frau' (18 Jun 1933)

Physical Characteristics 43v, 44r and v printed with staves but otherwise blank. Paginated 1-82 (ending at f. 42r) by the composer in ink. Structure: 11 stacked gatherings of 4. Full binding of dark green leather, with ‘II. Akt.’ stamped in gold on the upper cover.

Scope and Content Opening tempo direction ‘Tempo di Minuetto’ (f. 1r). Signed at upper right of f. 1r; dated Garmisch 18 June 1933 at end (f. 42r). With a draft of the last scene of Act III (ff. 42v, 43r). As follows: ff. 1r-3r. [Scene I.]. ff. 3r-5r. [Scene II.]. ff. 5r-12r. [Scene III.]. ff. 12r-15v. [Scene IV.]. f. 15v. Scene V (comprises only spoken dialogue). ff. 15v-21r. Scene VI. ff. 21r-23v. [Scene VII.]. ff. 24r-30r. Scene VIII. ff. 30r-35r. Scene IX. Tempo direction ‘Molto allegro’ between cue nos. 148 and 149 in the published vocal score is here ‘Sehr schnelles Walzertempo’ (f. 33v). ff. 35r-37r. Scene X. An additional stave drawn freehand in the lower margin of f. 36r to accommodate the orchestral part. ff. 37r-39r. Scene XI. ff. 39r-42r. Scene XII. ff. 42v, 43r. Act III, last scene. Complete draft; for subsequent revised version see Zweig MS 91, ff. 33v, 34v.

Legal Status Not Public Record(s)

Page 111 2021-08-21 Zweig MS 91 Act III of Richard Strauss's opera in three acts 'Die schweigsame Frau' (13 May 1934)

Collection Area British Library: Music Collections

Reference Zweig MS 91

Creation Date 13 May 1934

Extent and Format 1 volume (34 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Act III of Richard Strauss's opera in three acts 'Die schweigsame Frau' (13 May 1934)

Physical Characteristics 1v, 4v and 34r printed with staves but otherwise blank. Paginated 1-64 by the composer in ink. Structure: 1, 8 stacked gatherings of 4, 1. Full binding of dark green leather, with ‘Die schweigsame Frau III.’ stamped in gold on the upper cover.

Scope and Content Opening tempo direction ‘Allegro molto’ (f. 2r). Signed at upper right of f. 2r; dated Kissingen, 13 May 1934 (f. 33v). Additions in brown ink occupy two single inserted folios (ff. 1, 34) bound at the front and rear of the volume as well as part of the final page of the last gathering, as noted below. In addition to the blue-black ink found throughout, ff. 26v, 28v-33r are written partly or entirely in blue ink. As follows: ff. 2r-3v. [Introduction]. ff. 3v-4r. Scene I. A sign (f. 4r) indicates a repeat of the ending of the introduction at two bars after cue no. 13 in the published vocal score. ff. 5r-5v. Scene II. ff. 5v-10r. Scene III. ff. 10r-13r. Scene IV. ff. 13r-13v. Scene V. ff. 13v-15v. [Scene VI.]. ff. 15v-17r. Scene VII. One bar struck through in ink on f. 15v. ff. 17r-19v. [Scene VII.]. ff. 19v-26v. [Scene IX.] One bar struck through in ink on f. 24r. Additional material sketched in pencil on f. 20v. ff. 26v-33v, f. 1r. ‘Finale’. Additional stave drawn freehand in the lower margin of f. 31v to accommodate orchestral part. There are minor variants from the final version at a number of points, and on f. 1r is a revised version marked ‘Einlage zu Seite 62’ of 14 bars from f. 32v (cue nos. 113+5-115 in the published vocal score); the passage is marked for insertion on f. 32v in the same brown ink in which it is written. Variant sketch of vocal line in pencil at foot of f. 29v. ff. 33v, 34v. [Last scene.] Revised from the draft written at the end of Act II (Zweig MS 90, ff. 42v, 43r), and with pencil annotations relating the version here to the full score. Before these additions were made f. 33v. ended with the first bar of this concluding ‘Molto Moderato’ followed by the note ‘Schluss siehe II Akt’.

Legal Status Not Public Record(s)

Page 112 2021-08-21 Zweig MS 92 Richard Strauss: ‘Potpourri’ (Overture) (10 Jan 1935)

Collection Area British Library: Music Collections

Reference Zweig MS 92

Creation Date 10 Jan 1935

Extent and Format 1 volume (4 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Strauss: ‘Potpourri’ (Overture) (10 Jan 1935)

Physical Characteristics Structure: 4.

Scope and Content Signed at upper right of f. 1r; dated Garmisch, 10 Jan. 1935 (f. 4v). In a passage heavily annotated in pencil on f. 3v the score system is extended for 2 bars to 6 staves.

Legal Status Not Public Record(s)

Zweig MS 93 Igor Stravinsky: [Z har-ptitsa] - ‘L’Oiseau de feu’, ballet in two scenes (scenario M. Fokine after a Russian

Collection Area British Library: Music Collections

Reference Zweig MS 93

Creation Date 2 Dec 1910

Extent and Format 1 volume (1 folio)

Access Conditions Restrictions to access apply please consult British Library staff

Title Igor Stravinsky: [Z har-ptitsa] - ‘L’Oiseau de feu’, ballet in two scenes (scenario M. Fokine after a Russian national fairy tale), 1910: album-leaf quotation from the ‘Berceuse’ (2 Dec 1910)

Physical Characteristics 261 x 289mm. Verso printed with staves but otherwise blank. 20-stave paper, span 222mm.; printed, without printer’s mark. No watermark. The leaf trimmed, affecting staves, at right-hand edge.

Scope and Content Autograph full score. Written in ink on 14 staves, on one side of a single leaf. Six bars, beginning at cue no. 184 in the published full score; a stave is marked for the second harp, which plays during this passage, but no notes are entered, and in the last two bars of the extract the second viola part is also not entered. Tempo direction ‘[crotchet] = 60 - Berceuse’. Signed and dated ‘Igor Stravinsky 2-XII 1910 Beaulieu s/m’ at bottom right. First performance of the ballet, Paris, 25 June, 1910. Number from Hinterberger catalogue IX added later in pencil at the bottom left.

Page 113 2021-08-21 Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. IX [1936] no. 295, 18 [1937] no. 231, and XX [1937] no. 530; not sold and retained in the Collection.

Published: Moscow: Jurgensen, 1911 (reissued in reproduction, New York: Broude Bros., circa 1950).

Reproduced: Hinterberger, cat. IX, pl. 57; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate C.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 390.

Zweig MS 94 Igor Stravinsky: ‘Pulcinella’, ballet with song in one act (music after Pergolesi and others, scenario Serge

Collection Area British Library: Music Collections

Reference Zweig MS 94

Creation Date 25 Sep 1919-11 Apr 1920

Extent and Format 1 volume (121 pages + xxxiii folios)

Languages of Material French; Italian; Russian

Access Conditions Restrictions to access apply please consult British Library staff

Title Igor Stravinsky: ‘Pulcinella’, ballet with song in one act (music after Pergolesi and others, scenario Serge Diaghilev, Leonide Massine and the composer), for small orchestra and soprano, tenor and bass soloists: notebook containing drafts and sketches (25 Sep 1919-11 Apr 1920)

Physical Characteristics 147 x 246mm. Verso of p. 91 not numbered; p. 54 blank, f. i has the title in the composer’s hand, ff. xii-xv and xxiv-xxxiii are ruled with vertical columns but not otherwise used, and the remaining folios are blank. Pagination 1-89 is in ink in Stravinsky’s hand, 90-121 added in another hand in ink. A label, with a black border but otherwise blank, is pasted to the (unnumbered) front free fly-leaf. Structure: stacked gatherings of 12. No watermark. Bound in quarter parchment, the boards covered in brown paper stencilled with a block pattern in dark red. Lettered ‘PULCINELLA’ in ink on the spine.

Former Internal Reference Loan 75.52

Scope and Content Autograph. In short, condensed and full score. Written in black ink and pencil, with additions and annotations in red ink and blue crayon, on systems of two to twelve staves; staves are ruled individually as required on each page. Where pages contain more than one system the music is often written across the full width of the opening. Contains material for all sections of the work except Andantino ‘Se tu m’ami’ [no. 14] and Gavotta with variations [no. 16]. Comments, references to the scenario, details of orchestration etc. are variously written in French, Italian and Russian. The work was first performed (choreography Massine, decor Pablo Picasso), Théatre National de l’Opéra, Paris, 15 May 1920. The following description of the contents of the volume uses its original pagination and the cue nos. in the published full scores (Pfs); the sections of the work are also identified by the numbers assigned to them in Brook, pp. 63-4:

f. i. ‘PULCINELLA’, the composer’s title in pencil.

pp. 1-11. ‘Serenata’, [no. 2]. Draft in full score on five to ten staves. In ink. ‘I Str. 25

Page 114 2021-08-21 Sept 19’ at end (p. 11). Also at the end (p.11), indicating the next section, ‘No 2’. Pfs cue nos.: 1-9.

pp. 12-22. [Scherzino, no. 3a.] Draft in full score on 9 to 12 staves. In pencil, with a few annotations in ink. ‘IStr 28 Sept 19’ at end (p. 22). Also on p. 22, after the double bar line, the first two bars of the succeeding no., [Poco più vivo, no. 3b], are entered in ink (instrumentation in pencil) under the heading ‘più mosso / Chanson de Pulcinello sur la page 37’ [recte p. 35, see below], with above this the pencilled Russian heading ‘Piesenka Pulchinelly’ [song of Pulcinella]. Pfs cue nos.: 9-20.

p. 23. Sketches for [Allegro, no. 4], and [Andantino, no. 5]. Short score on two staves of 6 bars from [no. 4] at Pfs cue no. 34; headed in Russian ‘Konets variatsii Pulchin. i perekhod k "Prudentsie"’ [end of Pulcin. variation and transition to Prudenza]. Below this a three bar sketch for [no. 5], on three staves; headed ‘[minim] poco meno mosso’. In pencil.

pp. 24-34. [Allegro, no. 4], headed in Russian ‘Vykhod Pulchinelly (ego variatsiia)’ [exit of Pulcinella (his variation)]. Draft in full score on five to twelve staves. In pencil with additions and annotations in ink on pp. 24, 28 and 34. The nos. ‘24’-’33’ (page nos. in the autograph full score) are written in succession under the music at various points. ‘Suite sur page 36’ and ‘Igor Str 4 Oct 19’ in ink at the end (p. 34). Pfs cue nos.: 23-35.

p. 35. [Poco più vivo, no. 3b], headed ‘Chanson de Pulcinella’. Draft in score on systems of three staves, shorter than the final version and followed by the first bar of [Allegro, no. 4]. In ink. ‘IStr 6 Oct. 19’ at end. Pfs cue nos.: 20-23.

pp. 36-39. [Andantino, no.5.] Draft in short and condensed score on two to five staves. In ink, with additions and annotations in pencil and red ink. Nos. ‘34’-’42’ (page nos. in autograph full score) written in succession under the music at various points. The last bar (p. 39) marked ‘pour finir’. ‘IStr 18 oct’ at end (p. 39). Pfs cue nos.: 35-46. (See also p. 23)

pp. 40, 41 (upper portion). [Allegro, no. 6], opening section (continuation on p. 43). Draft in condensed score on three and four staves. In ink, with additions in pencil; cancellation and replacement of one passage marked with blue crayon. Pfs cue nos.: 46-49.

pp. 41 (lower portion), 42. [Allegretto, no. 7.] Below the last on p. 41, under the heading ‘Enchainement du No. 5 au No. 6’, are the last 6 bars of [Allegro, no. 6], marked ‘Fin du No. 5’, in ink on two staves with pencil and red ink additions. Beneath that on p. 41 is the opening of [no. 7], marked ‘Enchaînement au N 6’, in ink on three staves. This is continued on p. 42, in short score on two and three staves, partly in ink over pencil and partly in pencil alone. Pfs cue nos.: 59-63. (See also lower portions of pp. 48-9).

pp. 43-47, 48-9 (top stave). [Allegro, no. 6.] Continuation from p. 41. Draft in condensed score on three to eight staves. In pencil. Nos. ‘45’ and ‘46’ (page nos. in autograph full score) marked above the systems on p. 43. Though the concluding bars are set out in full (pp. 46-7), the central section is represented by brief sketches only, including a sketch on a single stave for cue nos. 57-59 written across the upper part of pp. 48-9. Pfs cue nos.: 49-61.

pp. 48-9 (lower portions). Sketches for [Allegretto, no. 7]: (a) Vocal entry, one bar before and two after cue no. 63, sketched on two staves, in pencil (p. 48), (b) The last four bars of the no. (ending at cue no. 68), in short score on two staves (p. 49). In pencil, with in Russian against the begining ‘Okonchanie stseny revnosti’ [end of jealousy scene], and at the end, for the next no., ‘Le Scandale’.

pp. 50, 52-3, 51, 55-7 (p. 54 blank). [Allegro assai, no. 8.] Draft, the opening bars (Pfs cue nos. 68-9) sketched in full score on six staves (p. 50) and headed ‘Il Scandolo’, the remainder in short score on two to four staves. In pencil, with annotations in ink. The order of the pages is indicated in blue crayon on pp. 51 and 55. Pfs cue nos.: 68-91.

pp. 64-5, 62-3, 58-61. [Allegro, no. 9.] Draft in full score of the second part of the bass aria ‘Con queste paroline’, on six to nine staves. In pencil and ink, with annotations in red ink (p. 58). The no. ‘96’ (page no. in autograph full score) written above the system on p. 63. Pfs cue nos. 97-104.

pp. 66, 70-71, 67-9, 72-7. [Andante - Allegro, nos. 10a-c, 11a,b.] Draft in full score, the words of the trio ‘Sento dire’ not always written out in full. Written in pencil and ink, on five to twelve staves. Nos. ‘102’-’105’ (page nos. in autograph full score) written above the systems on pp. 70-71, 68. Pfs cue nos.: 6 bars after 104-117. (Continued on p. 86.)

Page 115 2021-08-21 pp. 78, 80, 79, 81 (lower portion). [Allegro alla breve, no. 12.] Draft in short and condensed score on two to four staves. In ink with annotations and additions in pencil and in red ink (p. 81). Headed in Russian ‘MAG’ [magus] and with tempo marking ‘Allo alla breve [minim] = 108’ (p. 78). In the left hand margin of p. 79 is the note ‘Pour le No du Mage’. Pfs cue nos.: 123-132.

p. 81 (upper portion). ‘TARANTELLA’, [no. 13]. Brief sketches in ink on two and three staves. (See also pp. 89, 103-4).

pp. 82-3. [Allegro (Toccata), no. 15], central section only. Draft in full and short score on two to five staves. In pencil with annotations and additions in ink. The lower systems on the page precede the upper. Pfs cue nos.: four bars after 151-156.

pp. 84-5. [Vivo, no. 17], part only. Draft in short and condensed score, on two and four staves. In pencil with annotations in ink. Headed in Russian ‘K vykhodu Pulchinelly’ [for the exit of Pulcinella] and ‘(Concert pour C. Basse)’. Pfs cue nos. 173-175.

pp. 86-88. [Presto - Largo assai, no. 11c,d.] Draft in condensed score on four staves of the tenor aria ‘Una te falan’; draft of Larghetto (lower part of p. 88) in short score on two staves. In ink and pencil. Pfs cue nos. 119-123.

p. 89. ‘TARANTELLA’, [no. 13], opening section. Draft in condensed score on three staves. In pencil, heading in ink. Pfs cue nos.: five bars after 132-134.

pp. 91, 90, 92, 97-8, 99-100, 95-6, and 93-4. ‘MENUET’, [no. 18]. Draft in short, condensed and full score on two to eight staves. Mainly in pencil, with portions in ink on pp. 90, 91 and 98; the order of the sections is indicated by roman numerals in blue crayon; at the end of the last section (p. 96) is written in blue crayon ‘poi il Finale’. Heading in ink on p. 91; ‘21 mars 1920’ at end (p. 96). Pp. 93-4 contain a sketch for cue nos. 184-187, worked in more detail on pp. 99-100 and 95-6. With two brief sketches for [no. 19]: on p. 90 in ink and pencil, headed ‘Finale’ and marked off from the rest of the page within a border of blue crayon, and in pencil on the verso of p. 91, which is unpaginated and otherwise blank. Pfs cue nos.: 179-187.

pp. 101-2, 105-111, and 112. ‘Finale’ [no. 19]. Draft in condensed and full score on three to seven staves. With brief sketches in score for woodwind and horn parts at Pfs cue nos. 191 and 201 (p. 112). In pencil, annotated in ink on pp. 101, 111. Heading in ink on p. 101. ‘Morges 11 Avril 1920 I Stravinsky’ in ink at end (p. 111). Pfs cue nos.: 187-end.

pp. 103-4. [Tarantella, no. 13.] Sketches in full score for final section, the lower strings sketched separately on p. 103. Pfs cue nos.: 141-three bars after 143.

pp. 113-121. ‘OUVERTURE’, [no. 1], lacking final section. Draft in condensed score, mostly on four staves, with brief passages on two, three or five staves. In pencil. Heading in ink on pp. 113-4. Pfs cue nos.: beginning to one bar after VI.

Stravinsky was asked to provide the music for Pulcinella at a relatively late stage in the project - Diaghilev and Massine, and apparently Picasso too, had been working on it since the early summer of 1919 (Taruskin, p. 1462); both the speed and the precision with which he worked are everywhere evident in this sketchbook. He set about his task by marking numbers for the different sections of the music in blue crayon on the manuscript synopsis of the action of the ballet sent to him by Massine in Oct. 1919 (reproduced Mosch, p. 224). References to this numbering system appear occasionally in Zweig MS 94, e.g. pp. 11, 41. In the autograph full score Stravinsky uses a series of roman numbers for the successive scenes, with lettered sections within each to distinguish individual musical numbers (for reproduction of the first page of the Scherzino, see Mosch, p. 227). For the purposes of the description of the content of the sketchbook in this catalogue the numbering of the musical sections in Brook has been used; Taruskin also gives a list of the musical sections (un-numbered but related to the cue numbers) of the ballet with their sources in Pergolesi and others. Brook, of course, begins his numeration with the Overture, but the order of the items in Zweig MS 94 makes it clear that this was composed last: in the autograph full score, as in the published scores, it has a separate series of cue nos. in roman numerals, and in the autograph vocal score it occupies a separate bifolium, paginated in roman numerals. Though a detailed comparison between Zweig MS 94 and the autograph full score in Basel has not been possible, it is clear that the numbers added by the composer at various points above or below the systems of music in the sketchbook relate to page numbers in the full score. The format of the volume appears to be identical to that of Sketchbook VI in the Stravinsky Nachlass in the Paul Sacher Stiftung, Basel (see H.J. Jans, pp. 78-9), though the boards are covered in paper of similar style but differently patterned. Brook (p. 61) suggests that Zweig MS 94 may be the manuscript of ‘Pulcinella’ given by the composer to Picasso in June 1920.

Page 116 2021-08-21

Legal Status Not Public Record(s)

Custodial History Pablo Picasso [?, see postcard from Picasso to Stravinsky dated 26 June 1920, in Basel, Paul Sacher Stiftung]; date of acquisition for the Zweig Collection not known; exhibited at Ashmolean Museum, Oxford, 1964, by which time it was apparently acquired by the heirs (see S. Walsh, Musical Times, spring 2007, p.27).

Published: Piano vocal score, London: Chester, 1920; full score, Berlin: Edition Russe de Musique, 1924; full score ‘Revised 1965’, London: Boosey & Hawkes, 1966.

Reproduced: pp. 40-41, Arthur Searle, Music manuscripts (London: The British Library, 1987), pp. 74-5; p. 90, British Library Zweig Concert Series programme book 1987, p. 19; pp. 10-11, 38-39, 60-61, 81, 84, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CI-CIII.

Bibliography: Eric Walter White, Stravinsky: The Composer and his Works (London, 1979), pp. 282-9, 605; Hans Jörg Jans and others, Strawinsky. Sein Nachlass. Sein Bild (Basel, 1984), esp. pp. 40-41; Barry S. Brook, ‘Stravinsky’s Pulcinella: the ‘Pergolesi’ Sources’, in Joël-Marie Fauquet (ed.), Musique Signes Images (Geneva, 1988), pp. 41-66; Ulrich Mosch, ‘On Relations between Music and Art in the Classical Ballets Pulcinella and La Giara’, in Gottfried Boehm, U. Mosch and Katharina Schmidt (eds.), Canto d’amore. Classicism in Modern Art and Music 1914-1935 (Basel, 1996), pp. 222-40; Richard Taruskin, Stravinsky and the Russian Traditions: a biography of the works through Mavra (Berkeley, Cal., 1996), pp. 1462-5.

Zweig MS 95 Giuseppe Verdi: ‘Luisa Miller’, opera in three acts (libretto Salvatore Cammarano, after Schiller): album leaf with

Collection Area British Library: Music Collections

Reference Zweig MS 95

Creation Date 1849

Extent and Format 1 volume (1 folio)

Languages of Material Italian; German

Access Conditions Restrictions to access apply please consult British Library staff

Title Giuseppe Verdi: ‘Luisa Miller’, opera in three acts (libretto Salvatore Cammarano, after Schiller): album leaf with an extract from Act III (1849)

Physical Characteristics 192 x 268mm. 8-stave paper, span 124mm.; printed, without printer’s mark. No watermark.

Former Internal Reference Loan 77.44

Scope and Content Autograph. Passage of 9 bars for Luisa (soprano), from the final section of her duet with her father, comprising the lines beginning ‘Andrem, raminghi e poveri’. Written, on the recto of the leaf only, in ink on sytems of two staves giving the vocal line and accompaniment. Marked ‘and[ant]e’ against the first system. Signed and dated Naples, 10 Dec. 1849. With a note in ink in German dated 12 Dec. 1849 on the verso: ‘durch meinen Freund Bucher [?] in Neapel erhalten’. The première of Luisa Miller, at the Teatro San Carlo, Naples, had taken place two days before the date of this album leaf, on 8 December 1849.

Page 117 2021-08-21 Legal Status Not Public Record(s)

Custodial History Purchased by Zweig through Eisemann, 1940 (Zweig’s record card, Add. MS 73167, f. 48, and Add. MS 73172, ff. 131-4); British Library, Loan 77.44 from 1981 to 1986.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CIV.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 390.

Zweig MS 96 Giuseppe Verdi: ‘Falstaff’, opera in three acts (libretto Arrigo Boito), 1893: draft in short score of 16 bars from

Collection Area British Library: Music Collections

Reference Zweig MS 96

Creation Date [Jan 1894-Feb 1894]

Extent and Format 1 volume (1 folio)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Giuseppe Verdi: ‘Falstaff’, opera in three acts (libretto Arrigo Boito), 1893: draft in short score of 16 bars from Act III, part ii ([Jan 1894-Feb 1894])

Physical Characteristics 134 x 192mm. Verso printed with staves but otherwise blank except for later annotation. 6-stave paper, span 104mm.; printed, without printer’s mark. The leaf has three sewing holes at its left-hand (gutter) edge, and a vertical row of perforations extends the full height of the leaf 11mm. from this edge. No watermark.

Former Internal Reference Loan 77.43

Scope and Content In the hand of Arrigo Boito. Written, on the recto of the leaf only, in ink on systems of two staves giving vocal line and accompaniment (in the treble clef). Text in Italian. The passage begins 4 bars after fig. 50, and represents the revisions to the text and vocal line sung over the wedding minuet made early in 1894 for the Paris performances, beginning, at bar 4 of the extract, with Ford’s ‘Gia s’avanza il corteggio nuziale’. Later dealer’s annotations in pencil in upper margins of recto and verso.

The French text of Falstaff had been prepared by Boito and Paul Solanges, in close collaboration with Verdi, in the late summer of 1893, but minor revisions to the musical text made early in 1894 necessitated further adjustments (Hepokoski). Verdi wrote to Ricordi on 21 January 1894, expressing his desire to insert new words to accompany the wedding minuet: ‘Se Boito trova un mezzo verso per compire l’Alessandrino che faccia rima con cortège, tutto è a posto’ (Carteggio, vol. ii). From this it seems that Ricordi was the intermediary and that he passed to Boito the leaf (see ‘Related manuscript’ above) containing Verdi’s ideas for this revision. Once Verdi was satisfied with the French text, he must have asked Boito to translate it back into Italian, just as he had done a few days earlier for the similar revision they had made to an earlier passage in Act III, ii (Carteggio, vol. i). In Zweig MS 96 Boito provides this Italian translation matched to a short score which follows Verdi’s draft almost exactly. Verdi was in Milan in February and early March of 1894 and saw Boito frequently during that time, so it is not surprising that no mention of the present manuscript is to be found in their correspondence.

Page 118 2021-08-21 Legal Status Not Public Record(s)

Custodial History Sotheby’s, London, 11 May 1959 (purchased by Eisemann), lot no. 77; acquired then or later for the Zweig Collection; British Library, Loan 77.43 from 1981 to 1986.

Published: With the text as here, Italian vocal score, Ricordi: Milan, 1897.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CIV.

Bibliography: Marcello Conati and Mario Medici (eds.), Carteggio Verdi-Boito (Parma, 1978), vol. i, p. 223 and vol. ii, p. 445; James A. Hepokoski, Giuseppe Verdi. Falstaff (Cambridge, 1983), pp. 76-7, 81-2.

Zweig MS 97 Giuseppe Verdi: Letter to the publisher Tito Ricordi; Rome, 4 Feb. 1859 (4 Feb 1859)

Collection Area British Library: Music Collections

Reference Zweig MS 97

Creation Date 4 Feb 1859

Extent and Format 1 volume (2 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Giuseppe Verdi: Letter to the publisher Tito Ricordi; Rome, 4 Feb. 1859 (4 Feb 1859)

Physical Characteristics 207 x 134mm. Structure: originally 2, now separated and joined with a hinge. No watermark.

Former Internal Reference Loan 77.45

Scope and Content Autograph. Italian. The text, with a postscript, occupies ff. 1r-2r, the address, to Ricordi in Milan, impression of Verdi’s oval ‘G.V.’ seal, and Rome and Milan franking stamps, f. 2v. Part of the upper margin of f. 1 is torn away, leaving part of a number added in ink in another hand at the top right of f. 1r.

The letter contains Verdi’s ‘well-known outburst ... about the ingratitude and discourtesy of the public’ (Budden, vol. ii), prompted by the fiasco at the first performance in Milan of Simon Boccanegra (the première had taken place in Venice in March 1857), and recalling the treatment of Un giorno di regno, the first of his works to be staged. The letter is printed in the Appendix to the Copialettere, but without the postscript in which Verdi expresses doubt about the quality of the forthcoming performances of his new opera Un Ballo in Maschera, for the preparation of which he was in Rome, and also refers to the printing of the ballet music for Il Trovatore.

Page 119 2021-08-21 Legal Status Not Public Record(s)

Custodial History Sotheby’s, London, 11 May 1959, lot. no. 89 (purchased Eisemann); acquired then or later for the Zweig Collection; British Library, Loan 77.45 from 1981 to 1986.

Reproduced: f. 2r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CV.

Bibliography: Julian Budden, The Operas of Verdi: vol. i, From Oberto to Rigoletto (London, 1973), p. 72 (including partial translation into English), and vol. ii, From Il Trovatore to La Forza del Destino (London, 1978), p. 254; Mary Jane Phillips-Matz, Verdi. A Biography (Oxford, 1993), pp. 382-3 (also with an extract in English translation); Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 390.

Zweig MS 98 Christoph Georg Wagenseil: Aria ‘Se del fiume altera l’onda’ (text, Pietro Metastasio), for medium voice and

Collection Area British Library: Music Collections

Reference Zweig MS 98

Creation Date 1761

Extent and Format 1 volume (8 folios)

Languages of Material Italian

Access Conditions Restrictions to access apply please consult British Library staff

Title Christoph Georg Wagenseil: Aria ‘Se del fiume altera l’onda’ (text, Pietro Metastasio), for medium voice and orchestra of 2 horns, 2 flutes and strings (1761)

Physical Characteristics 225 x 320mm. Structure: 4, 4. 10-stave paper, span 185mm. Watermark: three crescent moons. Sewn.

Former Internal Reference Loan 77.62

Scope and Content Autograph full score. Written in ink on systems of eight staves. Tempo direction ‘Andante’ (f. 1r); ‘Da Capo’ at end (f. 8v). ‘Wagenseil 761 [line over]’ is written in ink of a darker colour in the upper right margin of f. 1r, and the name ‘Arcid:[ucessa] Joanna’, in a different ink and hand, at the top left. Number in Hinterberger catalogue IX added in pencil in lower margin of f. 1r.

The text of this da capo aria is from Metastasio’s Artaserse, Act III, scene vii, for the character Semira. No complete setting of the opera by Wagenseil is recorded in the work lists in Musik in Geschichte und Gegenwart or The New Grove. Wagenseil was appointed ‘Hofklaviermeister’ to the young Austrian archduchesses in 1745; the Archduchess Johanna Gabriele, born 1750, died in 1762 (J. Alexander Mahan, Maria Theresa of Austria, London, 1932, p. 305). Zweig’s other Wagenseil aria, ‘Io so qual pena sia quella d’un cor geloso’, offered for sale in the same Hinterberger catalogues as this manuscript, was written for Johanna Gabriele in 1760.

Page 120 2021-08-21 Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; the second of the two Wagenseil manuscripts offered for sale through Hinterberger, Vienna, cats. IX (nos. 288, 299), 18 (nos. 244, 245) and XX (together as 553); not sold, returned to the Collection; British Library, Loan 77.62 from 1981 to 1986.

Reproduced: Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CVI.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 391.

Zweig MS 99 Richard Wagner: Overture in E minor to Ernst Raupach’s König Enzio (WWV 24) ([1831-1832])

Collection Area British Library: Music Collections

Reference Zweig MS 99

Creation Date [1831-1832]

Extent and Format 1 volume (2 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Overture in E minor to Ernst Raupach’s König Enzio (WWV 24) ([1831-1832])

Physical Characteristics 326 x 268mm. Structure: 2. 22-stave paper, staves individually ruled, grouped in pairs; variable total span, approx 284-294mm. Fore and bottom edges untrimmed. No watermark.

Former Internal Reference Loan 77.5

Scope and Content Autograph draft in piano score. Written in ink on systems of two staves, with additions in red ink (f. 2v). Tempo directions ‘Sostenuto - Allegro’ (f. 1r); ‘Fine’ at end (f. 2v). The draft of the Overture ends on the fourth system on f. 2v; below this are brief sketches for the Concert Overture in C (WWV 27) and for an unidentified work in E, the latter in red ink. Many trial pen strokes appear in the margins and between staves on all folios. The number 22 added in pencil at the top left of f. 1r; the leaves numbered 195, 196, in pencil, inked over, at top right.

Zweig MS 99 is part of an extensive group of early Wagner manuscripts acquired by Zweig from Hinterberger in 1937 (see provenance information). For the whole group the provenance papers include a typed general description (Add. MS 73173, ff. 32-3), and draft detailed descriptions in manuscript (ibid., ff. 2-30), with typed and annotated copies of these (ibid., ff. 33-71), prepared by a cataloguer for or at Hinterberger; the detailed descriptions are individually numbered, and many (in the manuscript drafts) priced. The typed description has a pencil reminder that Hinterberger should be asked about the provenance of the manuscripts. Zweig’s note on his record card may incorporate the answer: ‘Stammt aus Sammlung Graf Thun, der es [?] Anfang der achtziger Jahre diese Sammlung zusammenstellte. Teil Katalog Liepmannssohn 21. Nov. 1887, teils Albert Cohn vorher und nachher’. (For Cohn see Zweig MS 114.) The collector was perhaps Graf Leo Thun-Hohenstein (1811-1888), Austrian minister for culture and education, and a keen musical amateur (see Allgemeine deutsche Biographie, vol. xxxviii (Leipzig, 1894), pp. 178-212). The numbering of the leaves is in a hand which can with certainty be identified as that which also appears on Zweig MSS 100, 101, 103, 104, 106, 110, 118, 119, 121, and 125; numbers added to Zweig MSS 102, 112, 120 and 122 may also possibly be in this same hand. It appears to be a numbering of an unordered group of manuscripts, added perhaps by an early owner; its ocurrence on other autographs of the period is noted in Wagner Werk-Verzeichnis (pp. 72 etc.), and discussed in Egon Voss, ‘Wagners fragmentarisches Orchesterwerk in e-moll - die früheste der erhaltenen Kompositionen?’, Die Musikforschung, vol. xxiii (1970), pp. 50-54. In the Zweig Wagner manuscripts the numbers from

Page 121 2021-08-21 this series where the identification of the annotating hand is clear are 18, 19, 57-60, 100-103, 106-8, 110, 115-17, 123, 152, 166-7, 170-1, 177-181, 195-8, 202-9, 212, 300 and 303-4; possible further numbers from the series are 31-2, 46-7, 61-89, 160 and 163. Zweig acquired this extensive collection at a time when Hinterberger were selling many of the literary and musical manuscripts which he had collected in previous years. Among them was an autograph manuscript of part of the libretto for Siegfried given by Wagner to Princess Marie von Seyn-Wittgenstein (Hinterberger, cat. IX, no. 300). The autograph libretto of the first version of Der fliegender Holländer in the Bibliotheca Bodmeriana, though acquired by Bodmer from Hinterberger in 1936, would appear never to have belonged to Zweig.

Legal Status Not Public Record(s)

Custodial History Collection of Count Thun [?]; partly sold by Albert Cohn, Berlin [late 1880s] and by Leo Liepmanssohn, Berlin, 21 November, 1887; acquired by Zweig from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 100-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.5 from 1981 to 1986.

Published: Leipzig: Breitkopf & Härtel, 1907 (full score, ed. Felix Mottl), 1908 (piano reduction by Mottl); Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 18/I, Orchesterwerke (Mainz: Schott Musik International,1973), pp. 94-116 (full score). All taken from the Bayreuth score.

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CVII.

Bibliography: Richard Wagner, Sämtliche Werke, 18/I, pp. IX-XI (documentation for composition and first performance of the work); Wagner Werk-Verzeichnis, pp. 88- 90; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 5; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 391.

Zweig MS 100-101 Richard Wagner: Entracte tragique in D (WWV 25, no. 1) ([1832])

Collection Area British Library: Music Collections

Reference Zweig MS 100-101

Creation Date [1832]

Extent and Format 2 volumes

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Entracte tragique in D (WWV 25, no. 1) ([1832])

Former Internal Reference Loan 77.5

Scope and Content Autograph draft in short score and fragmentary full score.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937 (see Zweig MS 99); British Library, Loan 77.5 from 1981 to 1986.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 91-2, 97-8; Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 18/I, Orchesterwerke (Mainz: Schott Musik International,1973), pp. 305, 318; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), pp. 5-6; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 391. Page 122 2021-08-21 Zweig MS 100 Richard Wagner: Entracte tragique in D (WWV 25, no. 1) (1832)

Collection Area British Library: Music Collections

Reference Zweig MS 100

Creation Date 1832

Extent and Format 1 volume (1 folio)

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Entracte tragique in D (WWV 25, no. 1) (1832)

Physical Characteristics 253 x 250mm. 15 staves individually ruled, recto and verso; span between 190 and 195mm. No watermark.

Scope and Content Complete autograph draft in short score. Written in ink on systems of two staves; with a very few indications of orchestration. On a single leaf, headed ‘Entreacte tragique No: 1.’ (recto). Top left corner of the leaf torn away, removing tempo direction on the recto and affecting text on the verso. Numerous trial pen strokes in the margins of both pages. With brief texted sketches on two single staves at the foot of the verso, possibly related to the lost Scena and Aria for soprano and orchestra of 1832 (WWV 28). The leaf is numbered 60 in ink over pencil (see description of Zweig MS 99).

Legal Status Not Public Record(s)

Recto reproduced: Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CVIII.

Zweig MS 101 Richard Wagner: Entracte tragique in D (WWV 25, no. 1) (1832)

Collection Area British Library: Music Collections

Reference Zweig MS 101

Creation Date 1832

Extent and Format 1 volume (6 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Entracte tragique in D (WWV 25, no. 1) (1832)

Physical Characteristics 245 x 315mm. ff. 3v-6v blank, not ruled. Structure: 6. 11 individually ruled staves on ff. 1r-3r, span between 135 and 142mm. Leaves trimmed at the upper edge only. Watermark: chain lines only.

Scope and Content Fragmentary autograph full score. Written in ink on systems of 11 staves. Incomplete, the first 52 bars only, occupying the whole of ff. 1-3r. Headed ‘No. 1’ and ‘Entreacte tragique No: 1.’ (f. 1r). Tempo direction ‘Allegro’ (f. 1r). Numbered 57-9 in ink over pencil (see description of Zweig MS 99) on ff. 1-3; the number 20 added in pencil at top left of f. 1r. This manuscript is the only source for the work in full score.

Page 124 2021-08-21 Legal Status Not Public Record(s)

Published: Richard Wagner, Sämtliche Werke, 18/I (1973), pp. 117-121.

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CIX.

Zweig MS 102 Richard Wagner: Symphony in C (WWV 29): piano duet version of part of movement I ([1832-1833?])

Collection Area British Library: Music Collections

Reference Zweig MS 102

Creation Date [1832-1833?]

Extent and Format 1 volume (2 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Symphony in C (WWV 29): piano duet version of part of movement I ([1832-1833?])

Physical Characteristics 315 x 265mm. Structure: separate leaves, but apparently originally part of a sewn gathering, with sewing holes, cord and the stubs of conjoint folios remaining. Staves individually ruled, in groups of four:- f. 1r: 20, span 251-260mm.; ff. 1v-2v: 24, span 273-283mm. Watermark: chain lines, [possibly name or initials at gutter edge, indistinct].

Former Internal Reference Loan 77.12

Scope and Content Autograph score. Incomplete, breaking off after 116 bars of the Allegro. Written in ink on systems of four staves. ‘Sinfonia’ at head of f. 1r. Tempo directions ‘Sostenuto e maestoso (f. 1r) - Allegro con brio’ (f. 1v). The last two bars are written in the ‘primo’ part only, and the lower two systems on f. 2v are left blank. Top right of f. 1r has been numbered 46 in pencil, f. 2r 12 in pencil and 1 in ink.

This manuscript and Zweig MS 103 seem, on the evidence of their measurements, ruling, watermark, and the measurements of the sewing holes remaining in Zweig MS 102 and in Zweig MS 103, f. 2, to have once formed part of the same gathering or volume. This appears to be the case despite the absence from Zweig MS 102 of the numbering of the leaves in the hand, using ink over pencil, to be found on Zweig MS 103 and other manuscripts.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937 (see Zweig MS 99); British Library, Loan 77.12 from 1981 to 1986.

Published: Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 18/I, Orchesterwerke (Mainz: Schott Musik International,1973), pp. 158-292. See John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk-Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), p. 100 for earlier published full scores.

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CX.

Bibliography: Richard Wagner, Sämtliche Werke, 18/I, pp. XII-XIV (for documentation of composition and first performance of work); Wagner Werk-Verzeichnis, pp. 98- 101; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 9; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 391.

Page 125 2021-08-21 Zweig MS 103 Richard Wagner: Music for ‘Beim Antritt des neuen Jahr 1835’, allegorical festival play in one act by Wilhelm

Collection Area British Library: Music Collections

Reference Zweig MS 103

Creation Date [1834]

Extent and Format 1 volume (5 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Music for ‘Beim Antritt des neuen Jahr 1835’, allegorical festival play in one act by Wilhelm Schmale (WWV 36): autograph draft of Overture and two choral numbers, nos. 3 and 5 ([1834])

Physical Characteristics 320 x 240mm. Structure: single leaves, but f. 2 has stub of conjoint folio, with sewing holes. 24-stave paper, staves individually ruled, arranged in fours; total span between 265 and 284mm. Watermark: chain lines, [possibly name or initials at gutter edge, indistinct].

Former Internal Reference Loan 77.9

Scope and Content Autograph. Short (piano) score, and piano vocal score. Written in ink, the Overture on systems of two staves, the vocal numbers on systems of up to five staves. Contents: ff. 1r-2v. Overture; headed (f. 1r) ‘No: 1: Ouverture’. Tempo directions ‘Sostenuto - Allegro assai’ (f. 1r). f. 3r and v. [No. 3], ‘Wir nahen mit frohen Gesängen’; ‘Allegretto’. ff. 4r-5v. [No. 5], ‘Heil! Heil!’; ‘All[egr]o: molto’. The leaves numbered 300 (f. 1, repeated f. 2), 163 (f. 3), 303, 304 (ff. ff. 4,5). Numbers on ff. 1, 4, 5 in ink over pencil.

This manuscript and Zweig MS 102 seem, on the evidence of their measurements, ruling, watermark, and the measurements of the sewing holes remaining in Zweig MS 102 and in Zweig MS 103, f. 2, to have once formed part of the same gathering or volume. This appears to be the case despite the absence from Zweig MS 102 of the numbering of the leaves in the hand, using ink over pencil, to be found on Zweig MS 103 and other manuscripts.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 99, 100-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.9 from 1981 to 1986.

Published: Full score, Michael Balling (ed.), Richard Wagners Werke, vol. xvi, Chorgesänge (Leipzig: Breitkopf & Härtel, 1913), pp. 62-114 (from Bayreuth full score).

Reproduced: f. 4r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXI.

Bibliography. John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 124-6; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 8; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 392.

Page 126 2021-08-21 Zweig MS 104 Richard Wagner: ‘Das Liebesverbot’ or ‘Die Novize von Palermo’ (WWV 38), comic opera in two acts (libretto by the

Collection Area British Library: Music Collections

Reference Zweig MS 104

Creation Date [1835]

Extent and Format 1 volume (6 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Das Liebesverbot’ or ‘Die Novize von Palermo’ (WWV 38), comic opera in two acts (libretto by the composer, after Shakespeare’s Measure for Measure), 1834-6: incomplete draft of Overture, sketches for nos. 6, 7 and 11, and unidentified sketches ([1835])

Physical Characteristics 330 x 250mm. (ff. 1-4) and 355 x 220mm. (ff. 5, 6). f. 5v ruled with staves but otherwise blank, 6r with sketches on the top 3 staves only. Structure: 2, 2, 2. Staves individually ruled (grouped in pairs on ff. 1r-2v) as follows:- f. 1r: 22, with span between 281-290mm.; ff. 1v-2v: 24, 298-304mm.; f.3r and v: 26, 298-304mm.; f. 4r: 24, 284-5mm.; f. 4v: 25, 295-8mm; ff. 5 and 6 regularly ruled, apparently with a rastrum, with 15 staves, span 296mm. No watermark in either paper. Kept in blue cloth-covered portfolio, lettered ‘WAGNER’ on the spine and ‘WAGNER’ and ‘S.Z.’ on the upper cover, with Zweig MSS 105-112.

Former Internal Reference Loan 77.47

Scope and Content Autograph short score. Written mostly in ink on one stave or systems of two staves, partly in pencil (f. 3v), and with annotations in red ink (f. 2r, v). Trial stave rulings in lower margin of f. 1r. The identifiable sketches, using cue numbers from the published full score, are as follows:

ff. 1r-2v. ‘No: 1. Ouverture.’ (f. 1r). Incomplete continuous draft, on systems of two staves; tempo directions ‘Molto vivace - Allo con fuoco (f. 1r) - Presto’ (f. 2v). The section of the Presto included (80 bars, with repeats marked) runs to the end of f. 2v.

ff. 5r, 6v. [No. 6, Finale to Act I, aria for Isabella], from 4 bars after cue no. 15 - cue 19 in the published full score. Mostly vocal line only, with text, a small portion with accompaniment on a second stave. Written using the paper different ways up and in sections on each page, the order indicated by later numbering in pencil. See Zweig MS 105 for a modern transcription.

f. 4r. [No. 6, Finale to Act I, duet for Isabella and Friedrich and ensemble], cue 33 - 8 bars before cue 36 in published score. On two staves, mostly with text.

ff. 3r and v. [No. 6, Finale to Act I, ensemble], cue 42 - cue 54. All on two staves, without text.

f. 4v (lower half). [No. 7, duet for Claudio and Isabella]. Fragmentary sketches, almost all on one stave, the second texted: cue 5 - 4 bars before cue 7, cue 9 - cue 10, 5 bars at 33 bars after cue 13.

f. 5r (centre). [No. 11, Finale to Act II]: brief sketch on a single line, headed ‘2: Final’.

The folios (in their present order) are numbered in a later hand in ink over pencil 197, 198, 170, 171, 166, 167. In addition, f.1 has the number 21 in pencil at top left [cf. no. 20 added to Zweig MS 101], and 166 in pencil is written upside down in the lower margin of f. 6v. The different sections of music on ff. 5r, 6v are numbered in pencil (see above). For the autograph libretto see Zweig MSS 119, 120.

Page 127 2021-08-21 Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937 with Zweig MSS. 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.47 from 1981 to 1986.

Published: Full score, Michael Balling (ed.), Richard Wagners Werke, vol. XIV, Leipzig: Breitkopf & Härtel, 1923.

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXII.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 131-143; : Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 10; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 392.

Zweig MS 105 Richard Wagner: ‘Das Liebesverbot’: modern transcription of texted passages from Zweig MS 104 (19th century-20th

Collection Area British Library: Music Collections

Reference Zweig MS 105

Creation Date 19th century-20th century

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Das Liebesverbot’: modern transcription of texted passages from Zweig MS 104 (19th century-20th century)

Physical Characteristics 330 x 255mm. ff. 2; 1r and 2v printed with staves but otherwise blank. Structure: 2. 12-stave paper, span 275m.; printed, without printer’s mark. No watermark.

Scope and Content Comprising sketch for Isabella’s aria from No. 6, Finale to Act I, from Zweig MS 104, ff. 5r, 6v. Written in dark blue ink on single staves and systems of two staves. The hand is the same as that in Zweig MSS 107, ff. 2 - 11, and 111.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937 with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71).

Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 392.

Page 128 2021-08-21 Zweig MS 106 Richard Wagner: Overture in C, ‘Polonia’ (WWV 39), 1836: piano reduction, with sketch for song ‘Les adieux de Marie

Collection Area British Library: Music Collections

Reference Zweig MS 106

Creation Date 1840

Extent and Format 1 volume (4 folios)

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Overture in C, ‘Polonia’ (WWV 39), 1836: piano reduction, with sketch for song ‘Les adieux de Marie Stuart’ (words J.P. de Béranger) for voice and piano (WWV 61); [early 1840] (1840)

Physical Characteristics 353 x 270mm. Structure: 2, 2. Staves individually ruled:- ff. 1r-2v: 16, grouped in pairs, span 290-310mm.; f. 3r and v: 26, span 320-330mm.; f. 4r and v: 25, span 310-316mm. Watermark: ‘D & C BLAUW’.

Former Internal Reference Loan 77.10

Scope and Content Autograph. Written in ink on systems of two staves. As follows: ff. 1r-4r. Overture, headed ‘Polonia. Ouverture.’ (f. 1r); tempo directions ‘Sostenuto - Tempo 1mo (f. 1r) - Allegretto - Allo: molto vivace (f. 1v) - Allegretto (f. 3v) - Presto’ (f. 4r). Copying instructions for bars or sections to be repeated are given in French. f. 4v. Song. Draft of bars 1-77 only; on two staves with full text and vocal line, and outline accompaniment. Folios numbered in a later hand in ink over pencil 180, 181, 178, 179 (see below); 325 added in pencil at foot of f. 1r.

Wagner made a number of minor revisions to the ‘Polonia’ Overture; the piano reduction in Zweig MS 106 represents the revised form, but with further changes (see Richard Wagner, Sämtliche Werke, 18/II, pp. 373-4). Mottl’s piano arrangement is quite different from that in this manuscript. The numbering of the leaves is in a hand which can with certainty be identified as that which also appears on Zweig MSS 99, 100, 101, 103, 104, 106, 110, 118, 119, 121, and 125; numbers added to Zweig MSS 102, 112, 120 and 122 may also possibly be in this same hand.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937 with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.10 from 1981 to 1986.

Published: Piano reduction of Overture: Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 18/II, Orchesterwerke (Mainz: Schott Musik International, 1997), pp. 314- 324. Full score of first version of Overture: Richard Wagner, Sämtliche Werke, 18/I, pp. 55-138; full score and piano arrangement (by Felix Mottl), Leipzig: Breitkopf & Härtel, 1908. Song: Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 17, Klavierlieder (1976), pp. 52-61 (from Bayreuth and Stanford autograph fair copies).

Reproduced: f. 4r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXIII.

Bibliography: Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 17, Klavierlieder (1976), 17, p. XI (for documentation of composition of song); John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk-Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 143-146, 212-3; Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 18/II, Orchesterwerke (Mainz: Schott Musik International, 1997), pp. XXVII-XXIX (for documentation of composition and performance of Overture), 340, 373-4; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 8; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 393.

Page 129 2021-08-21 Zweig MS 107 Richard Wagner: Papers and transcriptions relating to Zweig MS 106 (19th century-20th century)

Collection Area British Library: Music Collections

Reference Zweig MS 107

Creation Date 19th century-20th century

Extent and Format 1 volume (11 folios)

Languages of Material French; German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Papers and transcriptions relating to Zweig MS 106 (19th century-20th century)

Physical Characteristics Various sizes: f. 1: 208 x 165mm.; ff. 2-6: 337 x 260mm.; ff. 8, 9: 177 x 115mm.; ff. 10, 11: 330 x 255mm.; 7 a paste-down on 6; 1v and 9v blank, 4v printed with staves but otherwise blank. Structure: various. ff. 2-7: 14-stave paper, span 288mm. (ff. 2, 3, 6) and 265mm. (f. 5), with an additional stave added free hand at the foot of the page where needed. ff. 10-11: 12-stave paper, span 275mm. Watermark: ff. 8-9 ‘Original Margaret Mill. Vienna Manufacture’; the remainder no watermark.

Scope and Content Written in dark blue or black ink. As follows:

f. 1r. Note on Zweig MS 106, and attestation that it is in Wagner’s hand, signed Wilhelm Tappert; 1 Dec. 1889.

ff. 2r-6v, 7. Score of Overture, with I and II violins, cello and bass parts only; a shortened [or incomplete] version, apparently scored up from an incomplete set of parts and not taking into account textual details to be found in Zweig MS 106. Written on systems of 4 or 5 staves (inner stave blank). In the same hand as Zweig MSS 105 and 111. With annotations in red crayon on ff. 5r-6v. Titled in pencil (f. 2r) in a different hand ‘(Wagner) Polonia-Ouverture Nach dem Originale 1890 abgeschrieben’.

ff. 8r-9r. Words of Béranger’s poem. In the same hand as the above.

ff. 10r-11v. Transcription of the song ‘Les adieux de Marie Stuart’ from Zweig MS 106, f. 4v. Written on systems of three staves, with an attempt to expand the accompaniment added in pencil. In the same hand as the above.

Legal Status Not Public Record(s)

Custodial History Acquired with Zweig MS 106 from Heinrich Hinterberger, Vienna, 1937.

Page 130 2021-08-21 Zweig MS 108-109 Richard Wagner: Overture in D, ‘Rule Britannia’ (WWV 42): short and full scores, with sketches for incidental

Collection Area British Library: Music Collections

Reference Zweig MS 108-109

Creation Date [1836]-1837

Extent and Format 2 volumes

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Overture in D, ‘Rule Britannia’ (WWV 42): short and full scores, with sketches for incidental music to the play Die letzte Heidenverschwörung in Preussen (J. Singer) (WWV 41) ([1836]-1837)

Scope and Content Autograph. In Mein Leben Wagner describes this work as ‘a further step in the direction of a type of composition calculated to make the most overwhelming effect; at the close ... a large military band was to be added to an already overmanned orchestra ...’. This is born out by his annotation ‘Hier fällt die Militärmisik ein’ on the score. Mitteilungen even states that with the manuscript was an arrangement of the coda of the overture for military band, but there is no mention of this in any other source. The illustrations in Mitteilungen show the manuscript with stitching and what appears to be the remnants of a binding, as if it had perhaps been removed from a larger tract volume; this supports the impression given by the structure details above that the manuscript originally comprised a series of bifolia, the leaves of some of which have since become detached.

The evidence is that Wagner performed the piece at one of his concerts in Riga in March 1838. But it seems he had already parted with this full score, with the prospect of securing performance further afield. John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk-Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), p. 154 outlines the history of the manuscript, with the sources - principally Wagner’s own account in Mein Leben and the correspondence and minutes in the archive of the Royal Philharmonic Society (British Library, Loan 48); these are augmented and printed in full in Richard Wagner, Sämtliche Werke, 18/II, pp. XXX-XXXII. Wagner sent the score to Sir George Smart in London in 1837 in the hope that he would perform it at a music festival or a Philharmonic Society concert; it was neglected by Smart, but eventually considered by the Philharmonic directors in 1840. They decided against a performance - ‘being written on a Theme which is here considered common place’ - and the manuscript was returned to Wagner, by then in Paris and unable to pay the carriage.

As a result it was finally sent back to England, where it was lost sight of until 1904, when the Leicester music dealer Cyrus Gamble found it among music he had purchased some years earlier from the executors of Evan William Thomas. Thomas, whose later career was spent in Liverpool (Brown and Stratton), can be identified from concert programmes and the London Philharmonic Society accounts (Loan 48.9/1) as a violinist with the Society in the late 1830s. Following the rediscovery of the manuscript Henry Wood gave the first modern performance of the work at the Queen’s Hall in London, 2 Jan. 1905. Elkin adds circumstantial details about the rediscovery of the manuscript this century.

In one letter among the Royal Philharmonic Society correspondence Smart quotes Wagner as being aware that a musical phrase is missing from the verse of Arne’s tune in his setting, and as having the intention of putting this right before any performance in England [Loan 48. 13/32, f. 49, of 17 September 1839]. In Richard Wagner, Sämtliche Werke, vol. 18/II, Egon Voss demonstrates that Mottl’s edition is based on the copy score now in Berlin, made from a set of parts from which that for the first valve trumpet was missing and incorporating a number of minor revisions made by the composer. Voss bases his edition in Sämtliche Werke on Zweig MS 109.

Page 131 2021-08-21 Legal Status Not Public Record(s)

Zweig MS 108 Richard Wagner: Overture in D, ‘Rule Britannia’ (WWV 42): draft of overture with sketches for incidental music to

Collection Area British Library: Music Collections

Reference Zweig MS 108

Creation Date [1836]-1837

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Overture in D, ‘Rule Britannia’ (WWV 42): draft of overture with sketches for incidental music to the play Die letzte Heidenverschwörung in Preussen (J. Singer) (WWV 41) ([1836]-1837)

Physical Characteristics 355 x 214mm. Structure: 2. Staves individually ruled as follows: f. 1r and v: 22, span 312-20mm.; f. 2r: 18, span approx 285mm.; f. 2v: 19, span 305-10mm. Watermark: two crowns, with ‘TRUTENAU’, ‘1835’.

Former Internal Reference Loan 77.48

Scope and Content Written in ink on systems of two staves. Trial stave rulings on ff. 1v and 2r. Contents as follows:

ff. 1r, 2v, 2r (lower half). Overture. Tempo directions (f. 1r) ‘Maestoso moderato - Allegro maestoso’. Incomplete, consisting of bars 1-74 (f. 1r) and 164-256 (f. 2v, 2r lower portion), using bar nos. in published full score (see Zweig MS 109). The last system of f. 2v is of 3 staves.

ff. 1v, 2r (upper systems). Sketches for incidental music. For three numbers:- march and chorus of priests, ‘Hört der Götter Spruch!’, headed ‘Marcia, moderato’ and with instrumentation indicated for ‘trombe’, ‘Trombone’ and ‘Tamtam’; chorus [?] of boys and young women, ‘Piculos nimm auf blutigem Altar’; chorus of priests ‘Die Flamme sprüht’. The last two are preceded by cues from the text of the play. The numbers 5 added later in pencil at top right of f. 1r, and 39, also in pencil, at bottom of f. 2v.

The incidental music is known only from this manuscript.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937 with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.48 from 1981 to 1986.

Reproduced: f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXIV.

Bibliography: Wilhelm Tappert, ‘Percunos und Lohengrin’, Musikalisches Wochenblatt, vol. 18 (Leipzig, 1887), pp. 413-5, where the complete text of the incidental numbers is transcribed, with music examples; John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk-Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 150-4; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 10; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 393.

Page 132 2021-08-21 Zweig MS 109 Richard Wagner: Overture in D, ‘Rule Britannia’ (WWV 42): full score (1837)

Collection Area British Library: Music Collections

Reference Zweig MS 109

Creation Date 1837

Extent and Format 1 volume (21 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Overture in D, ‘Rule Britannia’ (WWV 42): full score (1837)

Physical Characteristics 340 x 245mm. f. 21v blank except for later stamp. Later pagination added in ink. Structure: some original bifolia apparently separated, giving 1, 1, 2, 2, 2, 2, 1, 1, 1, 1, 2, 1, 1, 2, 1. Staves individually ruled: all 22 staves, span 265-78mm., except for f. 2r with 23 staves, span 280mm. No watermark.

Former Internal Reference Loan 77.49

Scope and Content Written in ink; on systems of 22 staves throughout, with the exception of f. 2r, where the ophicleide part is written separately from the bass trombone, requiring 23 staves. Tempo directions ‘Maestoso e moderato (f. 1r) - Allegro maestoso (f. 4r) - Piu vivace (f. 14v) - Maestoso’ (f. 19v). Headed ‘Rule Britannia. Ouverture.’ (f. 1r), the title ‘Rule Britannia’ repeated again, beneath the note ‘Hier fällt die Militärmusik ein.’ on f. 19v. Signed and dated at the end ‘Richard Wagner, den 15ten März 1837: Königsberg in Preussen’ (f. 21r). The stamp of ‘Cyrus Gamble, Pianoforte and Music Warehouse, Walford St., Leicester’ has been added on f. 21v.

Legal Status Not Public Record(s)

Custodial History Sent by Wagner to Sir George Smart in London, 1837; sent to Wagner in Paris by Philharmonic Society of London, 1840; carriage not paid on delivery, presumed returned to England; purchased by Cyrus Gamble, Leicester, from executors of Evan William Thomas (died 1892); offered for sale by Bernard Quaritch, London, cats. 380 (Dec. 1923) and 429 (1929); purchased by Zweig from Quaritch, London, 1932 (Zweig’s record card, Add. MS 73167, f. 52, gives no date, but the copy of the card, Add. MS 73169, f. 74, has his annotation ‘cca 1932’); British Library, Loan 77.49 from 1981 to 1986.

Published: Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 18/II, Orchesterwerke (1997), pp. 139-202; in Felix Mottl (ed.), Richard Wagner. Vier Ouvertüren für Orchester (Leipzig: Breitkopf & Härtel, 1907).

Reproduced: ff. 1r and 21r, The Morning Leader, London, 18 May 1904; Mitteilungen, pp. 3724-5; Illustrirte Zeitung, Leipzig, 13 February 1908, p. 239 (see Wagner Werk- Verzeichnis); f. 1r, Erich W. Engel, Richard Wagners Leben und Werke im Bilde (Vienna, 1913), p. 61; Barry Millington, The Master Musicians. Wagner (London, 1984), pl. 4; British Library Zweig Concert Series programme book 1996, p. 7; detail (upper part only), exhibition leaflet 75 Musical and Literary Autographs from the Stefan Zweig Collection (London, 1986); f. 21r, Quaritch, London, cat. 380, Dec. 1923, no. 203 and cat. 429, 1929, no. 190; ff. 1r, 19v, 21r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates CXV-CXVII. Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 152-154; Otto Taubmann, ‘Richard Wagner, Vier Ouvertüren’, in Mitteilungen der Musikalienhandlung Breitkopf & Härtel (Leipzig, Nov. 1907), pp. 3722-6; Stewart Spencer, ‘Wagner Autographs in London’, in Wagner, vol. iv (1983), pp. 99-101; Wagner viii, p. 10; Richard Wagner, Sämtliche Werke, 18/II, pp. XI, XXIII, XXX-XXXII (documentation of composition, first performance of work and later history of manuscript, including correspondence and relevant extracts from Wagner’s Mein Leben), pp. 360-6; Mein Leben, trans. Andrew Gray and ed. Mary Whittall, as Richard Wagner, My Life (Cambridge, 1983), pp. 134, 143, 166, 183. See also: James D. Brown and Stephen S. Stratton, British Musical Biography (Birmingham, 1897), p. 409; Robert Elkin, Royal Philharmonic (London, [1946]), pp. 39-40.

Page 133 2021-08-21 Zweig MS 110 Richard Wagner: Sketches for ‘La tombe dit à la rose’ (WWV 56), ‘Extase’ (WWV 54) and ‘Attente’ (WWV 55), for voice

Collection Area British Library: Music Collections

Reference Zweig MS 110

Creation Date [1839]

Extent and Format 1 volume (2 folios)

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Sketches for ‘La tombe dit à la rose’ (WWV 56), ‘Extase’ (WWV 54) and ‘Attente’ (WWV 55), for voice and piano (all to words by Victor Hugo) ([1839])

Physical Characteristics 320 x 240mm. f. 2r and v unruled and blank. Structure: 2. Staves individually ruled:- f. 1r: 14 staves, span approx. 270mm.; f. 1v: 22, grouped in pairs, span 290-4mm. No watermark.

Former Internal Reference Loan 77.8

Scope and Content Autograph. Written in ink on systems of one or two staves. Folio 1r has many trial strokes with a rastrum. As follows:

f. 1r. Vocal line and text of ‘La tombe dit à la rose’; written with the page inverted. Interspersed with untexted sketches on a single stave for ‘Attente’, using the page the other way up. In the upper half of the page is an unidentified fragment on a single line.

f. 1v. Sketches for an unidentified work for piano. Sketch for ‘Extase’ on two staves, with text. Vocal line and text of ‘Attente’.

Numbered 177 in pencil (f. 1r) and in ink (f. 1v), in a hand which can with certainty be identified as the same which also appears on Zweig MSS 99, 100, 101, 103, 104, 106, 110, 118, 119, 121, and 125; numbers added to Zweig MSS 102, 112, 120 and 122 may also possibly be in this same hand. It appears to be a numbering of an unordered group of manuscripts, added perhaps by an early owner; its occurrence on other autographs of the period is noted in Wagner Werk-Verzeichnis (pp. 72 etc.), and discussed in Egon Voss, ‘Wagners fragmentarisches Orchesterwerk in e-moll - die früheste der erhaltenen Kompositionen?’, Die Musikforschung, vol. xxiii (1970), pp. 50-54.

Legal Status Not Public Record(s)

Custodial History Acquired from Hinterberger, Vienna, 1937, with Zweig MSS 99-108, 111-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.8 from 1981 to 1986.

Published: Egon Voss (ed.), Richard Wagner, Sämtliche Werke, 17 (Mainz: Schott Musik International, 1976), pp. 32-7; ‘Attente’ first published as supplement to Europa. Chronik der gebildeten Welt, Leipzig-Stuttgart, 1842.

Reproduced: Part of f. 1v, British Library Zweig Concert Series programme book 1988, p. 26, and 3 April 1990, p. 7; f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXVIII.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 199-202; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), pp. 7-8; Richard Wagner, Sämtliche Werke, 17, pp. X-XII (for documentation of composition of songs), 110-12; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 393-394.

Page 135 2021-08-21 Zweig MS 111 Richard Wagner: Transcriptions of ‘La tombe dit à la rose’ and ‘Extase’ from Zweig MS 110 (19th century-20th century)

Collection Area British Library: Music Collections

Reference Zweig MS 111

Creation Date 19th century-20th century

Extent and Format 1 volume (4 folios)

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Transcriptions of ‘La tombe dit à la rose’ and ‘Extase’ from Zweig MS 110 (19th century-20th century)

Physical Characteristics 178 x 112mm. (ff. 1, 2); 333 x 255mm. (ff. 2, 3). ff. 1r and 2r blank. Structure: 1, 1, 2 (ff. 3 and 4 a bifolium formed by pasting two leaves together at the gutter). 12-stave paper, span 275mm. (ff. 3, 4). Watermark: ‘Original Myrtle Mill’ (ff. 1, 2).

Scope and Content Written in dark blue ink. The hand is the same at that in Zweig MSS 105 and 107, ff. 2-11. As follows:

ff. 1r, 2r. Texts of the two poems.

f. 3r. Transcription of ‘La tombe dit à la rose’. On systems of three staves, but the accompaniment not filled in.

ff. 3v-4v. Transcription of ‘Extase’. On systems of three staves.

Legal Status Not Public Record(s)

Custodial History Acquired with Zweig MS 110 from Hinterberger, Vienna, 1937.

Page 136 2021-08-21 Zweig MS 112 Richard Wagner: ‘Descendons gaiement la courtille’ (text Dumersan?) (WWV 65), chorus for insertion in the vaudeville

Collection Area British Library: Music Collections

Reference Zweig MS 112

Creation Date [1841?]

Extent and Format 1 volume (3 folios)

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Descendons gaiement la courtille’ (text Dumersan?) (WWV 65), chorus for insertion in the vaudeville La descente de la courtille by Marion Dumersan and Dupeutys ([1841?])

Physical Characteristics 310 x 240mm. f. 3v ruled with staves but otherwise blank. Structure: 2, 1. Staves ruled individually, as follows: f. 1r: 16 staves, span 283-5mm.; ff. 1v, 2r and v: 17, span 275-85mm.; f. 3r: 15, span approx. 275mm.; f. 3v: 14, span approx. 252mm. No watermark.

Former Internal Reference Loan 77.4

Scope and Content Autograph. Draft in piano vocal score. Written in ink on systems of two and three staves. Two-part chorus, written on a single stave labelled ‘Choeur.’ against the first system on f. 1r, the other two staves designated ‘Orchestre.’. Indications of orchestration are also given in this system. Tempo direction ‘Très vive’. With annotations in pencil throughout. Trial staves occur at the foot of f. 3v. The numbers 32, 31 are added in pencil in the upper margins of ff. 1v and 2v.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.4 from 1981 to 1986.

Published: Full score, in Michael Balling, (ed.), Richard Wagners Werke, vol. xvi: Chorgesänge (Leipzig: Breitkopf & Härtel, 1913), pp. 124-47 (from Bayreuth full score).

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXIX.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 242-4; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 5; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 394.

Page 137 2021-08-21 Zweig MS 113 Richard Wagner: ‘Oui, dès ce moment’, duet from Fromental Halévy’s opera Le Guitarrero, arranged by Wagner for

Collection Area British Library: Music Collections

Reference Zweig MS 113

Creation Date [1841]

Extent and Format 1 volume (1 folio)

Languages of Material German; French

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Oui, dès ce moment’, duet from Fromental Halévy’s opera Le Guitarrero, arranged by Wagner for quartet of flute or first violin, second violin, viola and ‘cello (WWV 62D) ([1841])

Physical Characteristics 350 x 267mm. 18-stave paper, span 282mm.; with blind stamp ‘Lard-Esnault, Paris, 25 rue Feydeau’. Watermark: ‘D & C BLAUW’

Former Internal Reference Loan 77.4

Scope and Content Autograph score. Written in black ink on systems of four and five staves. Where the flute part is not written out separately the top line of the system is designated ‘Fl: ou 1er V.’ On a single leaf, paginated 43, 44. Against the beginning of the music (f. 1r) is written ‘No: 13. / Duo et Final. / Oui, dès ce moment.’, though the arrangement includes only the duet, the finale perhaps having been written on another leaf. Tempo direction ‘Andantino appassionato.’. Numbering of bars, signs and a marginal note, all in red ink, indicate a repeat. Title in red struck through and completely obscured. Pencil annotations throughout appear to be the engraver’s markings for the Paris first edition. In the upper margin of the verso, in another hand is ‘Notenhandschrift de. Richard Wagner zu Dresden [?] erhalten v. seinem Freund Rietz in Paris am 12ten März 1848’, with below this in pencil ‘Peter Cavallo [?] Paris Aug. 1856’.

The title on the related manuscripts in Bayreuth, as well as the published edition, gives the instrumentation as first violin or flute, second violin, viola and ‘cello. In the notes prepared by Hinterberger at the time of Zweig’s acquisition of the group of Wagner manuscripts (see Custodial history) this item is associated with Zweig MS 112.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937 with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.4 from 1981 to 1986.

Published: Paris: Maurice Schlesinger, [1841] (see Wagner Werk-Verzeichnis). Recto reproduced: Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXX.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 215-6; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 5; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 394.

Page 138 2021-08-21 Zweig MS 114 Richard Wagner: Correspondence relating to Zweig MS 112 (1886-1887)

Collection Area British Library: Music Collections

Reference Zweig MS 114

Creation Date 1886-1887

Extent and Format 1 volume (3 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Correspondence relating to Zweig MS 112 (1886-1887)

Physical Characteristics 140 x 92mm.; 194 x 124mm. ff. 2v-3v blank. Structure: 1, 2. Watermark: ‘Pirie’s Old Style’ (ff. 2, 3).

Scope and Content As follows:

f. 1. Postcard from Wilhelm Tappert to Albert Cohn, Berlin, confirming the authenticity of Zweig MS 112, and with notes on the work’s composition; Berlin, 18 June 1886.

f. 2r. Letter from the book dealer Albert Cohn to an unidentified correspondent (‘Ew. Hochgeboren’) about a Wagner manuscript from his catalogue no. 177, the authenticity of which is attested by Tappert, and which comes ‘aus der Sammlung eines Liebhabers ... der nicht genannt sein will, ursprunglich vermutlich aus der Petter’schen Sammlung in Wien’; Berlin, 20 Jan. 1887.

Folios 2v-3v are blank.

Part of the provenance papers of Zweig MS 112, see also description of Zweig MS 99.

Legal Status Not Public Record(s)

Custodial History Acquired with Zweig MSS 112, 113 and a group of others from Heinrich Hinterberger, Vienna, 1937.

Page 139 2021-08-21 Zweig MS 115-117 Richard Wagner: ‘Der fliegende Holländer’ (WWV 63), opera in three acts (libretto, the composer), 1840-1841:

Collection Area British Library: Music Collections

Reference Zweig MS 115-117

Creation Date 1853-1860

Extent and Format 3 volumes

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Der fliegende Holländer’ (WWV 63), opera in three acts (libretto, the composer), 1840-1841: copyists’ full score of Overture with autograph annotations, revised ending to Overture and to Act III in autograph full score; 1853, 1860 (1853-1860)

Legal Status Not Public Record(s)

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 220-41; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), pp. 6-7.

Zweig MS 115 Richard Wagner: ‘Der fliegende Holländer’ (WWV 63). Copyists’ full score of Overture, with autograph corrections and

Collection Area British Library: Music Collections

Reference Zweig MS 115

Creation Date 1853-1860

Extent and Format 1 volume (i + 34 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Der fliegende Holländer’ (WWV 63). Copyists’ full score of Overture, with autograph corrections and annotations; 1853, 1860 (1853-1860)

Physical Characteristics 423 x 292mm. With paste-downs 6 on 5r, 15 on 14r and 30 on 29v; f. 34v ruled with staves but otherwise blank. Paginated 1-50 (ff. 1-27) in both pencil and red ink (by Wagner), 51-61 in ink (ff. 28-34). Structure: some original bifolia probably now separated, giving 1, 2, 2, 2, 1, 1, 2, 1, 4, 1, 2, 1, 1, 2, 1, 1, 1, 4, 1. 16-stave paper, span 329mm. (ff. 1-27); 18-stave paper, span 345mm. (ff. 28-34). No watermark. In a red cloth-covered portfolio lettered on spine ‘MASTER PIO CIANCHETTINI’, and with the bookplate of Arthur F. Hill (f. i) inside the front cover; added in ink on the outside of the front cover, ‘R. Wagner / Ouverture ‘Fliegende Holländer’ / Copie mit eigenhändigen Verbesserungen’.

Former Internal Reference Loan 77.6

Scope and Content Overture; 1853, 1860. Full score. Written in ink on systems of 16 and 18 staves. In the hand of Adam Bauer, on 16 staves (ff. 1-27) and Carl Mehner, on 18 staves (ff. 28-34). The first section (ff. 1-27) extensively annotated and corrected throughout in red ink by Wagner, with his instructions to the engraver at foot of f. 18v, and at the end of f. 27v the note ‘Von

Page 140 2021-08-21 hier an der neue Schluss. RW.’ The manuscript to that point is part of the score prepared by Bauer for performance at a concert in Zurich in 1853 (see Wagner Werk-Verzeichnis, p. 231). The revised ending of 1860 (see Zweig MS 116) is added by Mehner; the additional staves in this section are occupied by the harp. Cue letters added in pencil. With engraver’s annotation of page numbers in pencil on ff. 1-27 and in red/brown crayon on ff. 28-34; the numbers are those of the pagination of the score of the overture published by C. F. Meser (Hermann Müller), Dresden.

The portfolio in which this manuscript is kept does not provide a guide to its past ownership. Zweig MS 115 was not among the manuscripts from the collection of Arthur F. Hill, of the violin making family, sold at Sotheby’s, London, on 16, 17 July 1947. A number of items at this sale were purchased by Haas, and the portfolio with Hill’s bookplate in which Zweig MS 115 is now kept seems likely to have originally belonged with lot 231 in the sale, a portrait of ‘Master’ Pio Cianchettini with associated manuscripts.

Legal Status Not Public Record(s)

Custodial History Purchased for the Zweig Collection from Otto Haas, July 1950 (Add. MS 73181); British Library, Loan 77.6 from 1981 to 1986.

Published: Dresden: C. F. Meser (Hermann Müller), [1861].

Reproduced: ff. 24v, 28, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates CXXI- CXXII.

Zweig MS 116 Richard Wagner: ‘Der fliegende Holländer’ (WWV 63). Revised ending to Overture ([1860])

Collection Area British Library: Music Collections

Reference Zweig MS 116

Creation Date [1860]

Extent and Format 1 volume (6 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Der fliegende Holländer’ (WWV 63). Revised ending to Overture ([1860])

Physical Characteristics 332 x 250mm. f. 6v printed with staves but otherwise blank. Wagner’s pagination 1-11. Structure: 1, 1, 2, 1, 1, with sewing holes in gutter of ff. 3-4 suggesting an original sewn gathering of 6. 21-stave paper, span 293mm.; printed, without printer’s mark. No watermark.

Former Internal Reference Loan 77.6

Scope and Content Autograph full score. Written in ink on systems of 18 and 19 (f. 4r and v) staves. Headed ‘Zum fliegender Holländer Schluss der Ouvertüre (pag: 42 der autographirten Partitur nach der _ [underlined pause sign])’, with further references to pp. 42 and 43 of the original full score at top left and above the music (f. 1r). Cue letters added in pencil.

This manuscript was sent with Zweig MS 117 to Adolf Julius Rühlemann, in Dresden, for the preparation of copies, 16 March 1860 (see Wagner Werk-Verzeichnis, p. 231).

Page 141 2021-08-21 Legal Status Not Public Record(s)

Custodial History Purchased by Zweig at Leo Liepmannssohn, Berlin, auction no. 63, 9 Dec. 1932, lot no. 185, comprising Zweig MSS 116 and 117 together (Zweig’s record card, Add. MS 73167, f. 53, has the year struck through, altered to 1922 in blue crayon, with 1932 written beneath this by Zweig); British Library, Loan 77.6 from 1981 to 1986.

Published: Dresden: C. F. Meser (Hermann Müller), [1861].

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXIII.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 394.

Zweig MS 117 Richard Wagner: ‘Der fliegende Holländer’ (WWV 63). Revised ending to Act III ([1860])

Collection Area British Library: Music Collections

Reference Zweig MS 117

Creation Date [1860]

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Der fliegende Holländer’ (WWV 63). Revised ending to Act III ([1860])

Physical Characteristics 332 x 250mm. ff. 2r and v printed with staves but otherwise blank. Wagner’s pagination [1]-2. 21-stave paper, span 293mm.; printed, without printer’s mark. No watermark.

Former Internal Reference Loan 77.6

Scope and Content Autograph full score. Written in ink on systems of 18 (f. 1r) and 20 staves (f. 1v). Headed ‘Schluss des dritten Actes’, and with extensive instructions for the copyist relating this score to the autograph full score and to Zweig MS 116. At the end (f. 1v) are detailed stage directions for the new ending.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig with Zweig MS 116; British Library, Loan 77.6 from 1981 to 1986.

Published: Transcription and translation into English of the stage directions on f. 1v, Stewart Spencer: ‘The Stefan Zweig collection’ in Wagner, vol. viii (1987), pp. 6-7.

Reproduced: f. 1r, L. Liepmannssohn, Berlin, auction cat. 63, frontispiece; f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXIV.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 394-395.

Page 142 2021-08-21 Zweig MS 118 Richard Wagner: ‘Die Feen’ (WWV 32), opera in three acts (libretto, the composer after Carlo Goldoni), 1833-4: draft

Collection Area British Library: Music Collections

Reference Zweig MS 118

Creation Date [1834]

Extent and Format 1 volume (4 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Die Feen’ (WWV 32), opera in three acts (libretto, the composer after Carlo Goldoni), 1833-4: draft of dialogue ([1834])

Physical Characteristics 232 x 161mm. Structure: 2, 2. No watermark, ff. 1, 2; chain lines only, ff. 2, 3.

Former Internal Reference Loan 77.46

Scope and Content Autograph. Written in brown ink, with corrections and additions also in autograph. Headed ‘Feen: Dialoge’ (f. 1r). The scenes are Act I, sc. 2 and 4 (ff. 1-3v), Act II, sc. 3 (ff. 3v-4v), and Act III, sc. 5, incomplete (f. 4v). Lacking Act III, sc. 3 of those scenes with dialogue. The leaves are numbered in ink over pencil 18, 19, 100, 101 in a hand which can with certainty be identified as the same which also appears on Zweig MSS 99, 100, 101, 103, 104, 106, 110, 118, 119, 121, and 125; numbers added to Zweig MSS 102, 112, 120 and 122 may also possibly be in this same hand. It appears to be a numbering of an unordered group of manuscripts, added perhaps by an early owner; its occurrence on other autographs of the period is noted in Wagner Werk-Verzeichnis (pp. 72 etc.), and discussed in Egon Voss, ‘Wagners fragmentarisches Orchesterwerk in e-moll - die früheste der erhaltenen Kompositionen?’, Die Musikforschung, vol. xxiii (1970), pp. 50-54.

The dialogue was intended by Wagner as a substitute for the recitative in Acts I and II, and as an addition in Act III (see Wagner Werk-Verzeichnis). The concluding dialogue for Act III, sc. 5 was presumably on an additional leaf now lost.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.46 from 1981 to 1986.

Published: Critical edition of the opera in preparation, Richard Wagner, Sämtliche Werke, 23.

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXV.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), p. 114; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 10; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 392.

Page 143 2021-08-21 Zweig MS 119-120 Richard Wagner: ‘Das Liebesverbot’ (WWV 38), comic opera in two acts (libretto, the composer after Shakespeare’s

Collection Area British Library: Music Collections

Reference Zweig MS 119-120

Creation Date 1834-1840

Extent and Format 2 volumes

Languages of Material German; French

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Das Liebesverbot’ (WWV 38), comic opera in two acts (libretto, the composer after Shakespeare’s Measure for Measure), 1834-40: draft libretto, and French translation, with draft of a letter to Giacomo Meyerbeer (1834-1840)

Scope and Content [1834, 1839-1840]. Autograph.

Legal Status Not Public Record(s)

Zweig MS 119 Richard Wagner: ‘Das Liebesverbot’. Draft libretto ([1834])

Collection Area British Library: Music Collections

Reference Zweig MS 119

Creation Date [1834]

Extent and Format 1 volume (10 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Das Liebesverbot’. Draft libretto ([1834])

Physical Characteristics 273 x 225mm. With the following earlier page and folio castings in pencil: foliation ‘a-j’ using the present order, foliation ‘20-28’ (imperfect) using a different order, and pagination ‘17-23’ (imperfect and partially erased) also in a different order. Structure: 4, 4, 2; gutters of the 3 bifolia comprising ff. 1 and 4, and 5-8 have all been hinged. Watermark: ‘G J F / London’. In a red leather-covered box, gold tooled and lettered ‘RICHARD WAGNER / DAS LIEBESVERBOT / 1835’ on upper cover, by Bayntun, Bath.

Former Internal Reference Loan 77.47

Scope and Content Written in brown ink, with corrections and additions (ff. 1r, 2v, 3r, 6v, 8v, 9r) in red ink. Incomplete, lacking Act I, scene i, and the end of the last scene of Act II. Portions of a number of leaves are torn or cut away. Of these, the following affect the text: lower fore-edge ff. 1, 2, and lower gutter edge corners ff. 9, 10. Those not affecting the text are: lower gutter edge corners ff. 5, 6, and upper gutter edge corners ff. 6, 7. There are later pencil doodling on the name Wagner on f. 3r, and markings in black crayon on ff. 7v, 8r and v. In addition to the paginations and foliations noted below are the numbers 206 (f. 1v), 205 (f. 2v), 204 (f. 3v), 203 (f. 4v), 202 (f. 5v), 212 (f. 6r), 209 (f. 7r), 208 (f. 8r) and 207 (f. 9r) added in ink, apparently in the hand which can with certainty be identified as the same which also appears on Zweig MSS 99, 100, 101, 103, 104, 106, 110, 118, 119, 121, and 125; numbers added to Zweig MSS 102, 112, 120 and 122 may also possibly be in this same hand. It appears to be a numbering of an unordered group of manuscripts, added perhaps by an early

Page 144 2021-08-21 owner; its occurrence on other autographs of the period is noted in Wagner Werk-Verzeichnis (pp. 72 etc.), and discussed in Egon Voss, ‘Wagners fragmentarisches Orchesterwerk in e-moll - die früheste der erhaltenen Kompositionen?’, Die Musikforschung, vol. xxiii (1970), pp. 50-54.

Legal Status Not Public Record(s)

Immediate Source of Acquired by Zweig from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS Acquisition 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.47 from 1981 to 1986.

Published: Final version, Richard Wagner, Sämtliche Schriften und Dichtungen, vol. xi (Leipzig [1912]), pp. 59-124. [Critical edition of opera in preparation, Richard Wagner, Sämtliche Werke, 22].

Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXVI.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), p. 136; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 10; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 392.

Zweig MS 120 Richard Wagner: ‘Das Liebesverbot’. French translation, with draft of a letter to Giacomo Meyerbeer (1839-1840)

Collection Area British Library: Music Collections

Reference Zweig MS 120

Creation Date 1839-1840

Extent and Format 1 volume (30 folios)

Languages of Material German; French

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Das Liebesverbot’. French translation, with draft of a letter to Giacomo Meyerbeer (1839-1840)

Physical Characteristics 340 x 205mm. Structure: 8, 8, 8, 6. No watermark. Gatherings sewn but with no cover or binding. In a grey leather-covered box, gold tooled and lettered ‘RICHARD WAGNER / LA NOVICE DE PALERMO / 1840’ on the upper cover, by Bayntun, Bath.

Former Internal Reference Loan 77.47

Scope and Content Translation of libretto as ‘La défense d’amour / ou / La novice de Palerme’. With draft of letter to Giacomo Meyerbeer; [1839, 1840]. Autograph. As follows:

ff. 1-30r. Libretto; [1839]. French. Title and list of dramatis personae on f. 1; text (ff. 1v-30r) has marginal diagrams relating to metrical structure at many points. Written in brown ink. With, in another hand in ink, corrections and additions to text throughout and note in French (f. 12v) on metre and rhyme scheme.

ff. 30v, 1r. Draft letter to Meyerbeer; [18 Jan. 1840]. German. Begins on f. 30v and is continued above, below and to either side of the title and list of dramatis personae on

Page 145 2021-08-21 f. 1r; written in brown ink, with a small number of autograph deletions. A number of ink blots on the upper part of f. 1r. Numbered 19 in pencil at top left of f.1r; foliation 61-89 in pencil, is possibly in the hand similarly annotating Zweig MS 119 and others (see description of Zweig MS 119).

‘Das Liebesverbot’ was first performed in Magdeburg, 29 March 1836. The translation was apparently made with the help of Dumersan, probably in the autumn of 1839, in preparation for a possible performance at the Théâtre de la Renaissance, Paris; Wagner revised some music, and there was a trial performance of at least some numbers. (See Wagner Werk-Verzeichnis, pp. 142-3). In the letter Wagner seeks the help of Meyerbeer, then in Baden-Baden, in achieving a performance at the Renaissance; it is published in an abbreviated variant form in Gertrud Strobel, Werner Wolf (eds.), Richard Wagner. Sämtliche Briefe (Leipzig, 1967- ), vol. i, pp. 378-9, drawn from earlier printed sources. The text in Becker, Meyerbeer, which agrees almost exactly with Zweig MS 120 as corrected by Wagner, is taken from publication in the Schweizerische Musikzeitung, 1934, a source apparently not known to the editors of Richard Wagner. Sämtliche Briefe. The letter itself, sent by Wagner, seems now to be lost.

Legal Status Not Public Record(s)

Immediate Source of Acquired from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 99-108, Acquisition 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.47 from 1981 to 1986.

Published: Letter: Heinz und Gudrun Becker (eds.), Giacomo Meyerbeer. Briefwechsel und Tagebücher, vol. iii (Berlin, 1975), pp. 229-232; English translation, from the latter, Stewart Spencer and Barry Millington (eds.), Selected Letters of Richard Wagner (London, 1987), pp. 62-6.

Reproduced: ff. 1r, 12v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plates CXXVII-CXXVIII.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 136-7, 142-3; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 10; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 392.

Page 146 2021-08-21 Zweig MS 121 Richard Wagner: Notes and drafts, comprising translation into French of prose sketch for the opera ‘Die hohe Braut’,

Collection Area British Library: Music Collections

Reference Zweig MS 121

Creation Date 1840

Extent and Format 1 volume (3 folios)

Languages of Material French; German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Notes and drafts, comprising translation into French of prose sketch for the opera ‘Die hohe Braut’, translations into French of text of three numbers from the opera ‘Der fliegende Holländer’, and notes on the ‘cornet à 3 pistons’ (1840)

Physical Characteristics 362 x 233. Structure: 2, 1. Watermark: ‘G D’ in italic characters.

Former Internal Reference Loan 77.7

Scope and Content Autograph. As follows:

ff. 1r, 3r and v. ‘Die hohe Braut’ (WWV 40), opera in 5 acts (libretto Wagner after Heinrich Koenig), [1835-1842]: translation of prose sketch; 1840. French. Written in brown ink, with autograph corrections and additions.

ff. 2r, 1v. ‘Der fliegende Holländer’ (WWV 63), opera in three acts (libretto Wagner), 1840-1841: translation of text of Senta’s ballad (f. 2r), chorus of Scottish/Norwegian sailors (f. 2r), chorus of the Dutchman’s crew (f. 1v); with French parodies of the first two (f. 1v). French. Written in brown ink, with autograph corrections and additions.

Also on f. 1v ‘Minna Wagner Paris d. 11 September porter[?] 1840’, pen flourishes, and in a fine italic hand ‘Minna Wagner née Planer Richard Wagner’.

f. 2v. ‘cornet à 3 pistons’, notes for a projected tutor for the instrument. Mostly German. Written in brown ink, sideways on the page, in the first of four columns marked by pencil lines.

Numbered 116 (f. 1r), 117 (f. 2r) and 152 (f. 3r) in ink over pencil in a hand which can be identified as the same which also appears on Zweig MSS 99, 100, 101, 103, 104, 106, 110, 118, 119, 121, and 125; numbers added to Zweig MSS 102, 112, 120 and 122 may also possibly be in this same hand. It appears to be a numbering of an unordered group of manuscripts, added perhaps by an early owner; its occurrence on other autographs of the period is noted in Wagner Werk-Verzeichnis (pp. 72 etc.), and discussed in Egon Voss, ‘Wagners fragmentarisches Orchesterwerk in e-moll - die früheste der erhaltenen Kompositionen?’, Die Musikforschung, vol. xxiii (1970), pp. 50-54.

Wagner seems never to have written any music for ‘Die hohe Braut’ and, with his encouragement, the libretto was eventually set by Johann Friedrich Kittl as ‘Bianca und Giuseppe, oder: Die Franzosen vor Nizza’, first performed in Prague in 1848 (see Wagner Werk-Verzeichnis, p. 149).

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.7 from 1981 to 1986.

Page 147 2021-08-21 Published: Prose sketch: complete transcription with commentary and English translation, [Stewart Spencer], ‘Die hohe Braut’: an unpublished sketch’, Wagner, journal of the Wagner Society, new series (London, 1983), vol. iv, pp. 13-26. Senta’s ballad: transcription with commentary, in Stewart Spencer, ‘Some notes on ‘Der fliegende Holländer’’, Wagner, journal of the Wagner Society, new series (London, 1982), vol. iii, pp. 82-4.

Reproduced: All folios, Wagner, journal of the Wagner Society, new series (London, 1983), vol. iv, pp. 16-21; f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXIX.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 147, 225; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 7; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 393. Final version of libretto for ‘Die hohe Braut’: Richard Wagner, Sämtliche Schriften und Dichtungen, vol. xi (Leipzig, [1912]), pp. 136-77.

Zweig MS 122 Richard Wagner: ‘Rienzi’ (WWV 49), grand opera in 5 acts (libretto, the composer after Edward Bulwer-Lytton),

Collection Area British Library: Music Collections

Reference Zweig MS 122

Creation Date [1841]

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: ‘Rienzi’ (WWV 49), grand opera in 5 acts (libretto, the composer after Edward Bulwer-Lytton), 1837-1840: instructions for staging for the Dresden performances ([1841])

Physical Characteristics 265 x 177mm. Watermark: chain lines only. Leaf trimmed at all edges.

Former Internal Reference Loan 77.11

Scope and Content Autograph. Written in brown ink on both sides of a single leaf, with autograph deletions and additions. Arranged under headings of acts and vocal numbers. Numbered in pencil 160 at the head and 327 at the foot of the recto.

The memorandum in this manuscript is principally concerned with ways of using a small chorus to meet the extensive requirements of the opera. It is perhaps a draft of the document referred to in Wagner’s letters of 7 Sept. 1841 to the Dresden producer Ferdinand Heine and of 4 Oct. 1841 to the chorus-master Wilhelm Fischer (see Gertrud Strobel, Werner Wolf (eds.), Richard Wagner. Sämtliche Briefe (Leipzig, 1967-), vol. i, pp. 510, 530). The first performance of Rienzi took place in Dresden 20 Oct. 1842.

Page 148 2021-08-21 Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.11 from 1981 to 1986.

Published: Reinhard Strohm (ed.), Richard Wagner, Sämtliche Werke, vol. xxiii (Mainz, ca.1980 ), pp. 39-41; English translation in Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), pp. 11-13.

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXX.

Bibliography: John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk- Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), p. 183; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 8; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 393.

Zweig MS 123 Richard Wagner (1813-1833): Letter to [C.F.] Peters, Bureau de Musique, Leipzig; Leipzig, 6 August 1831 (1831)

Collection Area British Library: Music Collections

Reference Zweig MS 123

Creation Date 1831

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner (1813-1833): Letter to [C.F.] Peters, Bureau de Musique, Leipzig; Leipzig, 6 August 1831 (1831)

Physical Characteristics 274 x 230mm. ff. 1v and 2r blank. Structure: 2. Watermark: ‘J WHATMAN’.

Former Internal Reference Loan 77.13

Scope and Content Autograph. Written in brown ink. Text on f. 1r; address, to ‘Herrn Herr Peter’s (Bureu [sic] de Musique)’, f. 2v. Dated by Wagner at head of f. 1r, and signed ‘Richard Wagner stud: mus:’. Fragment of seal attached to upper edge of f. 2v. Annotated by the recipient (f. 2v) in ink; later annotations in German describing the letter, added in pencil at head of f. 1r.

In this, one the earliest of his letters to survive, Wagner offers his services as an arranger to Peters. The text is substantially that published in Richard Wagner. Sämtliche Briefe.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig through Heinrich Eisemann, London, Oct. 1939 (Add. MS 73167, f. 54); British Library, Loan 77.13 from 1981 to 1986.

Published: W. Tappert, Richard Wagner, sein Leben und seine Werke (Elberfeld, 1883), pp. 5-6; Gertrud Strobel, Werner Wolf (eds.), Richard Wagner. Sämtliche Briefe (Leipzig, 1967- ), vol. i, pp. 118-9, from copy in Nationalarchiv der Richard- Wagner-Stiftung, Bayreuth.

Page 149 2021-08-21 Reproduced: f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXXI.

Bibliography: Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 9; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 395.

Zweig MS 124 Richard Wagner: Letter to Baron Ferdinand von Biedenfeld; Dresden, 17 January 1849 (1849)

Collection Area British Library: Music Collections

Reference Zweig MS 124

Creation Date 1849

Extent and Format 1 volume (2 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Letter to Baron Ferdinand von Biedenfeld; Dresden, 17 January 1849 (1849)

Physical Characteristics 260 x 210mm. f. 2r blank. Structure: 2. No watermark. The fore-edge of f. 2 trimmed, apparently not affecting text.

Former Internal Reference Loan 77.13

Scope and Content Autograph. Written in brown ink in italic script. Text on f. 1r and v; address f. 2v. Signed and dated by Wagner at foot of f. 1v.

Weimar and Dresden postage franks, cancellation [?] ‘26’ in red crayon, and remnants of seal, all on f. 2v. Numbered 23 in pencil at top left of f. 1r.

In this well-known letter, Wagner outlines his belief in the interdependence of poetry and music, making music drama the highest form of art, and cites the effect made in performance by the Song Contest scene in his opera Tannhäuser. Later in 1849 he embarked on the ‘Zurich essays’ - Art and Revolution, The Artwork of the Future, and Opera and Drama (1850-1).

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.13 from 1981 to 1986.

Published: Allgemeine Musikzeitung, vol. xxx (27 July 1883), p. 302; Gertrud Strobel, Werner Wolf (eds.), Richard Wagner. Sämtliche Briefe (Leipzig, 1967- ), vol. ii, pp. 636-8, from copy in Nationalarchiv der Richard-Wagner-Stiftung, Bayreuth; English translation from the latter, Stewart Spencer and Barry Millington (eds.), Selected Letters of Richard Wagner (London, 1987), pp. 142-4.

Reproduced: f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXXII.

Bibliography: Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), p. 9; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 395-396.

Page 150 2021-08-21 Zweig MS 125 Richard Wagner: Drafts of fourteen letters, with one fair copy, to various recipients, mostly written from Paris

Collection Area British Library: Music Collections

Reference Zweig MS 125

Creation Date 1839-1842

Extent and Format 1 volume (11 folios)

Languages of Material German; French

Access Conditions Restrictions to access apply please consult British Library staff

Title Richard Wagner: Drafts of fourteen letters, with one fair copy, to various recipients, mostly written from Paris (1839-1842)

Physical Characteristics Various sizes: smallest (f. 5) 92 x 136mm., largest (f. 6) 271 x 210mm. Structure: single leaves, except for bifolium ff. 9-10. Various papers, none with watermark; ff. 3 and 6 on paper blind-stamped with initials ‘R W’ in a cartouche.

Scope and Content Autograph. Written in ink on paper of various sizes, some leaves little more than slips. All but the fair copy (no. [8.]) unsigned; all but one of the remainder undated.

As follows:

[1.] f. 1r. To [Léon Pillet, director of the Paris Grand Opéra]; [Paris, Sept./Oct. 1840]. French. Written in brown ink, with corrections and additions [in another hand?] in brown and red inks.

[2.] f. 1v. To an un-named music publisher; [Paris, Winter, 1839/40]. French. Written in brown ink with autograph corrections and additions.

[3.] f. 2r. To [Samuel Lehrs]; [Paris, 9 March 1841]. German. Written in brown ink, crossways, at left edge of f. 2r. Lehrs’s surname written in Greek characters.

[4.] f. 2r and v. To [August von Lüttichau]; [Paris, 23 March 1841]. German. Written in brown ink with autograph corrections, with paper lengthways and using space on recto left by previous item, and all of verso.

[5.] f. 3r and v. To [Friedrich] Brockhaus; [March 1841]. German. Written in brown ink, crossways; with autograph corrections. With brief notes, perhaps for an intended essay on the musical scene in Paris, at right angles to the remaining text in left margin of f. 3v.

[6.] f. 4r. To [Edouard Monnais?]; [May 1840?]. French. Written in brown ink, with autograph corrections and additions, on recto only; pen trials on verso. Bottom right corner torn away, affecting text.

[7.] f. 5r and v. To [August von Lüttichau]; [Meudon, 30 June 1841]. German. Written in brown ink, with autograph corrections and additions. The left hand side of the leaf has been torn away, not affecting the text of the letter, but removing part of the text of four unrelated lines at the bottom of the verso. For fair copy of this draft see the following item. Annotated in pencil on verso ‘Paris 4.12.40’.

[8.] f. 6r and v. To [August von Lüttichau]; Meudon, 30 June 1841. German. Fair copy of the above. Written in brown ink; signed and dated by Wagner on verso. Leaf subsequently used to draft the next item. Pencil annotations in German on recto identifying recipient.

[9.] f. 6r. To [August von Lüttichau]; [Paris, 9 July 1841]. German. Written in brown ink, with autograph corrections and additions. Written sideways in left margin, and with paper inverted in top margin, of first page of fair copy [no. 8] above.

[10.] f. 7v. To [an unknown recipient]; Paris, 15 Sept. 1841. German. Incomplete, beginning only.

Page 151 2021-08-21 [11.] f. 7r. To [August von Lüttichau]; [Paris, 14 Oct. 1841]. German. Written in brown ink, with autograph corrections and additions. Written with the paper reversed.

[12]. f. 8r. To [Friedrich Sebald Ringelhardt]; [Paris, Nov. 1841]. German. Written in brown ink, with autograph corrections and additions. Text on recto; pen trials only on verso. Leaf roughly torn at the upper edge, not affecting the text.

[13.] f. 9r and v, 10r. To [Wilhelm Fischer]; [Paris, 8 Dec. 1841]. German. Written in brown ink, with autograph corrections. On f. 10v, later pencil annotation in French identifying letter, otherwise blank.

[14.] f. 11r. To [Ferdinand Heine]; [Paris, Jan. 1842?]. German. Incomplete fair copy, breaking off in mid sentence, the whole text struck through. Written in brown ink.

[15.] f. 11v. To [ - Loizeau, tailor, Paris]; [Jan. 1842]. French. Written in brown ink, with autograph corrections and additions. The paper inverted for the last part of the letter. Bottom left corner torn away, affecting the text.

Numbers added in ink over pencil, in a hand which can be identified as the same which also appears on Zweig MSS 99, 100, 101, 103, 104, 106, 110, 118, 119, and 121 [it appears to be a numbering of an unordered group of manuscripts, added perhaps by an early owner; its occurrence on other autographs of the period is noted in John Deathridge, Martin Geck, Egon Voss (eds.), Wagner Werk-Verzeichnis (WWV). Verzeichnis der musikalischen Werke Richard Wagners und ihrer Quellen (Mainz, 1986), pp. 72 etc., and discussed in Egon Voss, ‘Wagners fragmentarisches Orchesterwerk in e-moll - die früheste der erhaltenen Kompositionen?’, Die Musikforschung, vol. xxiii (1970), pp. 50-54]: 107 (f. 1), 122 (f. 2v), 147 (f. 3r), 108 (f. 4r), 110 (f. 5r), 123 (f. 7r), 106 (f. 8r), 102 (f. 9r), 103 (in pencil, f. 10r), 115 (f. 11r). In addition are pencil numbers, assigned to these letter drafts by the Hinterberger cataloguer and also found on his draft descriptions of them (Add. MS 73173, ff. 20-29): 11-12 (f. 1), 2 (f. 2), 10 (f. 4), 7 (f. 5), 1 (f. 6v), 6 (f. 7), 3 (f. 8), 9 (f. 9), 4-5 (f. 11).

Most of these drafts are concerned with a possible performance of at least parts of Das Liebesverbot in Paris (see also Zweig MS 120), and with the performance of Rienzi in Dresden which eventually took place in 1842. Baron von Lüttichau was the Intendant of the Court Theatre in Dresden, Fischer the stage manager and chorus master, and Heine the costume designer. The use of the fair copy of the letter to Lüttichau of 30 June 1841 (no. 8 above) for a further draft suggests that the letter may not have been sent in any form. The same may be true of some of the other drafts.

Legal Status Not Public Record(s)

Custodial History Acquired from Heinrich Hinterberger, Vienna, 1937, with Zweig MSS 99-108, 110-114, 118-22, 124-5 (Zweig’s record card, Add. MS 73167, f. 51; see also Add. MS 73173, ff. 1-71); British Library, Loan 77.13 from 1981 to 1986.

The following items published, with commentary and English translation, in Wagner, Journal of the Wagner Society, new series, vol. v (London, 1984): [1.] pp. 3-4; [2.] pp. 4-6; [3.] p. 6; [5.] pp. 6, 10-13; [6.] pp. 14-17; [7.] pp. 17-18; [9.] pp. 19-20; [11.] pp. 45-7; [12.] pp. 47-8; [14.] pp. 48-50; [15.] pp. 50-52. Items nos.: [4.], ff. 2r and v (to Lüttichau, 1841), in Gertrud Strobel, Werner Wolf (eds.), Richard Wagner. Sämtliche Briefe (Leipzig, 1967- ), vol. i, pp. 458-60, where the text is substantially that of this draft as corrected, taken from Die neue Rundschau, year 19, vol. 6, June 1908, p. 859; [13.], ff. 9r-10r (to Fischer, 1841), Richard Wagner. Sämtliche Briefe, vol. i, pp. 548-554, the text substantially that of this draft as corrected, taken from original letter in Nationalarchiv der Richard-Wagner-Stiftung, Bayreuth.

Reproduced: In Wagner, Journal of the Wagner Society, vol. v (1984), [no. 1.], p.1; [2.], p. 33; [3.] (f. 2r only), p. 7; [6.] (f. 5r only), p.8; [8., 9.] (f. 6r only), p. 9; f. 1r, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXXIII.

Bibliography: [Stewart Spencer], ‘Wagner Autographs in London’, in Wagner, vol. v (1984), pp. 2-20, 45-52; Stewart Spencer, ‘The Stefan Zweig Collection’, in Wagner, Journal of the Wagner Society, vol. viii (London, 1987), pp. 9-10; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 396.

Page 152 2021-08-21 Zweig MS 126 Carl Maria von Weber: Incidental music to ‘Preciosa’ (play by P.A. Wolff): no. 7, song ‘Einsam bin ich nicht

Collection Area British Library: Music Collections

Reference Zweig MS 126

Creation Date 1820

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Carl Maria von Weber: Incidental music to ‘Preciosa’ (play by P.A. Wolff): no. 7, song ‘Einsam bin ich nicht alleine’, for voice [and guitar] (1820)

Physical Characteristics 165 x 206mm. Recto: 10 individually ruled staves, total span 139mm.Watermark: lower part of a shield with bars and a bendlet over all, surrounded by a garland.

Scope and Content Not autograph; in an unidentified hand. Written in ink on systems of two staves, on the recto of a single leaf. In D major in 6/8 time; tempo marking ‘larghetto’. On the verso are unidentified verses, headed ‘Sängers [?] Abendlied’, with two lines of music, one above [guitar accompaniment?] and one below [apparently melody]. The music on the verso is in G major, 3/8 time, and apparently written in the same hand as the recto.

Legal Status Not Public Record(s)

Custodial History Purchased by Zweig from Heinrich Eisemann, 31 May 1939 (Add. MS 73173, ff. 147-8).

Reproduced: Recto, British Library Zweig Concert Series programme book, 13 June 1989, p. 7; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXXIV.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 396.

Page 153 2021-08-21 Zweig MS 127 Carl Maria von Weber: ‘Oberon’, opera in three acts (libretto by James Robinson Planché after C.M. Wieland):

Collection Area British Library: Music Collections

Reference Zweig MS 127

Creation Date before 1826

Extent and Format 1 volume (3 folios)

Access Conditions Restrictions to access apply please consult British Library staff

Title Carl Maria von Weber: ‘Oberon’, opera in three acts (libretto by James Robinson Planché after C.M. Wieland): sketches for part of Overture and of Act III (before 1826)

Physical Characteristics 240 x 322mm. Lower portion of f. 3 cut away (see Related Manuscripts, 2c). Structure: 1, 2. 20 individually ruled staves to each full page; span 213-223mm. The upper eight staves only remain on f. 3. Watermark: ‘DRESDEN’.

Former Internal Reference Loan 77.63

Scope and Content Autograph short or condensed score. Written in ink on systems of two, three or four staves. As follows: f. 1r. ‘O Araby, dear Araby’ [no. 16]. Headed ‘Song Fatima’. f. 1v. ‘Mourn thou poor heart’ [no. 19]. Headed ‘Cavatina’. With annotations in red crayon and in pencil. f. 1v. Overture, eight bars only, at foot of page. Annotated as above. ff. 2r-3r. Act III finale [no. 22], lacking the final chorus. Headed ‘Finale. Oberon.’, and with lists of instruments for orchestration in the upper margin (f. 2r). f. 3v. ‘I revel in hope and joy again’ [no. 20]. 41 bars only, the lower part of the leaf cut away. Tempo direction ‘Vivace assai’. ‘Weber aus Oberon’ added later in pencil in upper margin of. f. 1v.

The lower portion of f. 3 of this manuscript must be presumed to have been cut off, perhaps to be given away, after it came into Moscheles’s possession; the verso of the leaf is written on systems of three staves, and the excision has removed the lower stave of the third system. Moscheles was able to acquire the leaf as a result of his friendship with Smart. Documentation of this friendship includes the charming drawing of the two together, Moscheles at the piano, Smart standing by, in Charlotte Moscheles’s autograph album (British Library, Loan 102.2, reproduced in Cyril Ehrlich, First Philharmonic (Oxford, 1995), p. 45). In a letter to his Paris publisher Moscheles describes how he and Smart went together into Weber’s room on 5 June, discovering the composer dead at his writing table. Moscheles had no entry from Weber in his own autograph album (Zweig MS 215, the earliest entries in which date from 1825; this may have strengthened his resolve, despite the tragic occasion, to add these leaves to his collection.

Legal Status Not Public Record(s)

Custodial History Collection of Ignaz Moscheles, removed by him from Weber’s room at the house of Sir George Smart in London, after the composer’s death (see Charlotte Moscheles); Moscheles sale, Liepmannssohn, Berlin, 17 Nov. 1911, lot. 161; purchased by Zweig, Maggs Brothers, London, April 1924 (Zweig’s record card, Add. MS 73167, f. 49); British Library, Loan 77.63 from 1981 to 1986.

Reproduced: Part of f. 1r, Liepmannssohn cat. 39 (1911), pl. XVII; f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXXV.

Bibliography: Friedrich Wilhelm Jähns, Carl Maria von Weber ... Chronologisch- thematisches Verzeichniss seiner sämmtlichen Compositionen (Berlin, 1871), pp. 391- 2; Charlotte Moscheles, Life of Moscheles (London, 1873), p. 123; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 396.

Page 154 2021-08-21 Zweig MS 128 Anton Webern: Six Pieces for Large Orchestra, op. 6, [1909]: fair copy made by the composer for presentation to

Collection Area British Library: Music Collections

Reference Zweig MS 128

Creation Date [1911]

Extent and Format 1 volume (ii + 17 folios)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Anton Webern: Six Pieces for Large Orchestra, op. 6, [1909]: fair copy made by the composer for presentation to Arnold Schoenberg ([1911])

Physical Characteristics 350 x 270mm. ff. 6v pasted to 7r; 14 a paste-down on 13r; 17v printed with staves and annotated as noted above but otherwise blank. Paginated 1-28 by Webern. Structure: 1 + 1 (joined at gutter with a narrow blank strip), 2, 2, 2, 2, 2, 2, 1 + 1 (joined as first two folios); the cut halves (presumably once joined) of a further blank strip are pasted at the gutter edges of 1r and 17v. 32 stave paper, span 314mm.; printed, without printer’s mark. Watermark: a lyre. Sewn into a grey card cover, the gutter strengthened with a strip of stiff white paper, with unruled free fly-leaves at front (f. ii) and back (blank, unfoliated). Over the cover is a sleeve of translucent waxed paper (f. i) bearing the title as described above.

Former Internal Reference Loan 77.50

Scope and Content Autograph full score. Written in ink on systems of between five and 32 staves. Bar lines ruled in pencil, with corrections, additions and marginal notes in pencil. The pieces occupy the following folios:

ff. 1-2v. I.; tempo direction ‘Etwas bewegte Achtel’. Unpitched rhythmic sketches in pencil in lower margin of f. 1v.

ff. 3r-6r. II.; ‘Bewegt ([quaver])’. Unpitched rhythmic sketches in pencil in lower margin of f. 4r; written comment in pencil in lower and right margins of f. 5r and lower margin of 5v.

ff. 7v-8r. III.; ‘Zart bewegt ([quaver])’.

ff. 8v-11r. IV.; ‘Langsam ([crotchet]) marcia funebre’. Comment in pencil added in lower margin of f. 9r.

ff. 11v-13v, 14. V.; ‘Sehr langsam (quaver])’. Comment in pencil in lower margin of f. 12v partially erased.

ff. 15-17r. VI.; ‘Zart bewegt’. The cover (f. i) has Webern’s title ‘Anton von Webern / Sechs Stücke / für / Orchester / op. 4’, the opus number added in pencil; ‘Anton von Webern op. 4’ also appears at the head of the first page of music (f. 1r). The recto of the front fly-leaf (f. ii) carries Webern’s dedication ‘Arnold Schönberg / meinem Lehrer / in höchster Liebe’. The numbers ‘I’ and ‘II’ in pencil on f. 17v, printed with staves but otherwise blank, appear also to be in Webern’s hand. The marginal comments or queries on ff. 5r, 5v, 9r and 12v are in a hand other than that of the composer. Cue numbers have been added in blue crayon in each piece, and all except no. II also have markings in red crayon, mostly relating to phrasing.

This manuscript is closer to the publication of 1913 than to the (presumably earlier) autograph full score now in the Vienna Stadt- und Landesbibliothek, notably in layout and in tempo directions; it has only a single pastedown, compared to the Vienna autograph’s 21. There seems little reason to doubt that the Zweig manuscript is the copy, ‘sauber abgeschrieben’, about which Webern wrote to Schoenberg on 31 May 1911 (Ernst Hilmar, ‘Dokumente zur Entstehungs- und Aufführungsgeschichte der Orchesterstücke op. 6’, in 1983 facsimile publication, Commentary volume, p. 12), even though in February 1912 it could not be found in Schoenberg’s house (Moldenhauer). The cue markings and other annotations suggest that it was used in some way in connection with the first performance, conducted by Schoenberg, on 31

Page 155 2021-08-21 March 1913.

Legal Status Not Public Record(s)

Custodial History Given by Webern to Schoenberg, [May-June 1911]; Schoenberg and his heirs, Los Angeles; acquired for the Zweig Collection with Zweig MSS 17 and 77, Dec. 1960; British Library, Loan 77.50 from 1981 to 1986.

Published: Vienna: ‘Im Selbstverlag des Komponisten’, [1913], as ‘Sechs Stücke für grosses Orchester von Anton von Webern op. 4’, with the dedication reading ‘Arnold Schönberg, meinem Lehrer und Freunde in höchster Liebe’ (reproduced from a fair copy, calligraphically written by the composer); revised version, in reduced orchestration prepared by the composer in 1928, Vienna: Universal Edition, 1956.

Reproduced: Lower portion of f. 9r, Arthur Searle, Music manuscripts (London: The British Library, 1987), p. 68; f. 1v, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXVI.

Bibliography: Hans Moldenhauer, Anton von Webern. A Chronicle of his Life and Work (London, 1978), p. 656; Anton v. Webern. Sechs Stücke für grosses Orchester Opus 6 (Vienna: Wiener Stadt- und Landesbibliothek, 1983), facsimile of the Vienna autograph score and of the composer’s corrected copy of the first published edition, with introduction and notes by Claudio Abbado and others.

Zweig MS 129 Hugo Wolf: ‘Ernst ist die Frühling’ (words Heinrich Heine), song for voice and piano; 13, 16 Oct. 1878 (Oct 1878)

Collection Area British Library: Music Collections

Reference Zweig MS 129

Creation Date Oct 1878

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Hugo Wolf: ‘Ernst ist die Frühling’ (words Heinrich Heine), song for voice and piano; 13, 16 Oct. 1878 (Oct 1878)

Physical Characteristics 328 x 259mm. Twenty-stave paper, total span 273-4mm.; printed, without printer’s mark. No watermark.

Scope and Content Autograph. Written in ink on systems of three staves, on a single leaf; the single system on the verso contains the concluding five bars. Headed ‘Neue Gedichte / aus dem Liederstrauss v. H. Heine’, numbered ‘X’ beneath the title, signed at top right, and dated ‘Wien am 13, 16 Octob. 1878’ at top left (all on recto). Tempo direction ‘Sehr ruhig’, the vocal part marked ‘leise’.

The published score gives the dates of composition as 16 and 17 Oct. 1878. For most of the song the variants between this manuscript and the published score are minimal, but the piano accompaniment to the phrase ‘es bebt geheime Wehmut im Nachtigallenlaut’ is substantially different.

Page 156 2021-08-21 Legal Status Not Public Record(s)

Custodial History Acquired for the Zweig Collection through Heinrich Hinterberger, Vienna, 1948 (Add. MS 73169, f. 78).

Published: As no. 12 of Wolf, Lieder aus der Jugendzeit, Berlin: Bote & Bock, [1903].

Reproduced: Recto, British Library Zweig Concert Series programme book 1988, p. 4; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXXVII.

Zweig MS 130 Hugo Wolf: ‘Gesang Weylas’ (words Eduard Mörike), song for voice and piano ([1888])

Collection Area British Library: Music Collections

Reference Zweig MS 130

Creation Date [1888]

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Hugo Wolf: ‘Gesang Weylas’ (words Eduard Mörike), song for voice and piano ([1888])

Physical Characteristics 345 x 265mm. Twelve-stave paper, span 276mm., bracketed for voice and piano; printer’s mark ‘J.E. & Co. ... No. 12’. No watermark.

Scope and Content Autograph. Written in ink on systems of three staves, on a single leaf; the single system on the verso contains the concluding four bars. Headed ‘Gesang Weyla’s’. Without time signature, tempo direction ‘Langsam u[nd]. feierlich.’; tempo direction and dynamic markings and phrasing are all added in blue crayon by the composer. The number ‘26225’ in blue crayon in an unidentified hand added in upper left margin. Engraver’s markings beneath the systems in red crayon agree with the line-endings and paging in the first published edition. The composer’s name has been added in pencil at top right of the recto.

The song was composed at Unterach am Attersee, 9 Oct. 1888 (Jancik). This manuscript has been used as the Stichvorlage. As there are no differences in music text or layout in this song between the 1889 editions cited above, it would seem that this manuscript was the source for the first publication. No plate numbers appear on either edition.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig 18 Dec. 1928 from V.A. Heck, Vienna, cat. 48, no. 289[?] (record card, not in Zweig’s hand, Add. MS 73167, f. 50).

Published: As no. 46 in Gedichte von Eduard Mörike:- Vienna: Em. Wetzler (Julius Engelmann), 1889; ‘zweiter verbesserte Gesamt-Ausgabe’, Vienna: C. Lacom, 1889; As no. 46 in Hans Jancik (ed.), Hugo Wolf. Sämtliche Werke, vol. i, (Vienna: Musikwissenschaftlicher Verlag, 1963), pp. 179-80.

Reproduced: Recto, British Library Zweig Concert Series programme book 1987, p. 32, and 3 April 1990, p. 9; Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXXVIII.

Page 157 2021-08-21 Bibliography: Hans Jancik (ed.), Hugo Wolf. Sämtliche Werke, vol. i (see Published above), foreword and notes; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), pp. 396-397.

Zweig MS 131 Carl Michael Ziehrer: Musical quotation on an album leaf (1897)

Collection Area British Library: Music Collections

Reference Zweig MS 131

Creation Date 1897

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Carl Michael Ziehrer: Musical quotation on an album leaf (1897)

Physical Characteristics 143 x 216mm. Verso blank. No watermark. The upper (gutter) edge neatly torn, with signs of sewing holes.

Scope and Content Autograph. Unidentified; 4 bars in G major in 3/4 time. Written in ink, on a single stave drawn free-hand, on the recto of a single leaf. Signed ‘C M. Ziehrer / Wien 21/12 897’ [line over]. Later annotations in pencil include numbers from Hinterberger catalogues 18 and XX.

Legal Status Not Public Record(s)

Custodial History Date of acquisition by Zweig not known; offered for sale through Heinrich Hinterberger, Vienna, cats. 18 [1937] no. 254 and XX [1937] no. 586; unsold, and retained in the Collection.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 397.

Page 158 2021-08-21 Zweig MS 132-200 Stefan Zweig Collection: Literary and historical manuscripts ([1542-1940])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 132-200

Creation Date [1542-1940]

Extent and Format 69 items

Languages of Material Danish; English; French; German; Latin; Italian; Norwegian; Russian; Spanish; Swedish

Access Conditions Restrictions to access apply please consult British Library staff

Title Stefan Zweig Collection: Literary and historical manuscripts ([1542-1940])

Legal Status Not Public Record(s)

Zweig MS 132 Hans Christian Andersen: Poem 'Fest-Sang til Landsoldaten' (1851) ([1851])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 132

Creation Date [1851]

Extent and Format 1 item

Languages of Material Danish

Access Conditions Restrictions to access apply please consult British Library staff

Title Hans Christian Andersen: Poem 'Fest-Sang til Landsoldaten' (1851) ([1851])

Physical Characteristics 272 x 212 mm. f. 1. Written in black ink on both sides of a single leaf of pink wove paper, stanzas 1 and 2 on the recto and stanzas 3 and 4 on the verso. No watermark.

Scope and Content Autograph fair copy in Kurrentschrift. Poem of four stanzas celebrating the return of soldiers from the First Schleswig-Holstein War. Heading 'Fest-Sang til Landsoldaten' (underlined). ‘Mel. Dengang jeg drog afsted’.

Begins: 'Dengang Du drog afsted'

Ends: ‘Hurra, Hurra, Hurra’

Stanzas 1, 2 and 4 consist of 10 lines and Stanza 3 of 11 lines, including the refrain. The symbol :/: appears at both ends of the first lines of Stanzas 1, 2 and 4. Stanza 2, line 2, Stanza 3, line 3 and Stanza 4, line 2 are emphasised by repetition preceded by the word ‘Ja’. Some words are underlined in the manuscript (for spacing in print). Signed at end 'H. C. Andersen'.

Andersen’s verses were modelled on a song with the title ‘Dengang jeg drog af sted’ by Peter Christian Frederik Faber (b.1810, d.1877), which had been written to celebrate the Danish victory at Battle of Bov on 9 April 1848. Faber’s work was set to an existing march tune by the Danish composer Emil Hornemann (b.1809, d.1870), and the same setting is indicated in the heading for Andersen’s poem. Soldiers returning from war were often presented with patriotic songbooks, to which Andersen was a contributor, as well as participating in homecoming

Page 159 2021-08-21 celebrations (see for example his diary for 9-12 February 1851 on the triumphal entry into Copenhagen).

The festival at Glorup with which this poem is associated took place at the end of the First Schleswig-Holstein War on 7 July 1851, marking the anniversary of the Danish victory in the Battle of Fredericia on 6 July 1849. Glorup Castle was home of Gebhard and Adam Gottlob Moltke-Hvidtfeldt with whom Andersen often stayed. On this occasion, Andersen himself organised the outdoor event for some 400 people with a triumphal arch, tent and decorations (for the preparations see C. Behrend and H. Topsøe-Jensen (eds.), H C Andersens Brevveksling med Edvard og Henriette Collin (Copenhagen, 1933-1937). Vol. II, pp. 204-219 passim).

Andersen’s diary for 7 July 1851 (http://www.hcandersen-homepage.dk/?page_id=4817) describes the feast where he recited his poem to great acclaim – ' jeg sagde som Digt min Vise til Landsoldaten . . . og jeg fik et skingrende Hurra'. The scene is also captured in a letter to Henriette Wulff on 15 July (H. C. Andersen og Henriette Wulff. En Brevveksling, 1959. Vol. II, pp. 81-83).

Zweig also owned the poem ‘Was ich liebe’ (Andersen's own translation of ‘Hvad jeg elsker’ with signature), acquired in 1909 from Boerner of Leipzig and now at the Bodmer Foundation, Geneva.

Legal Status Not Public Record(s)

Custodial History Purchased by Zweig from Heinrich Eisemann, London, 29 May 1940 (receipted invoice, Add. MS 73174, f. 2, and list of purchases f. 17). A cutting from a sale catalogue at Add MS 73174, f. 1 attached to the Eisemann invoice describes an autograph letter from Andersen to Miss Henriette Wulff enclosing a poem of four 10- line stanzas but this is not the present poem (see the letter of 4 August 1829 in H. Topsøe-Jensen (ed.), H. C. Andersen og Henriette Wulff. En Brevveksling. Odense: Flensteds Forlag, 1959. Vol. I, pp. 72-74).

First published in Folkekalender for Danmark (Copenhagen: Lose & Delbanco, 1852), pp. 55-56. With same heading and text as Zweig MS 132.

H. C. Andersen, Samlede Skrifter, vol. 12 (2nd ed. Copenhagen: C. A. Reitzels Forlag, 1879), pp. 344-345. Title and note as Collin MS 58. The repeated lines are omitted and there are minor variants in capitalisation.

Johan de Mylius (ed.), H. C. Andersen. Samlede digte (Copenhagen: Aschehoug, 2000), p. 548. [A version in modern Danish. No copy is available in the British Library for comparison].

Page 160 2021-08-21 Zweig MS 133-135 STEFAN ZWEIG COLLECTION. Vols. CXXXIII- CXXXV. Honoré de Balzac: literary manuscripts and letter; 1823-before

Collection Area British Library: Western Manuscripts

Reference Zweig MS 133-135

Creation Date 1823-before 1842

Extent and Format 3 items

Languages of Material English; French

Title STEFAN ZWEIG COLLECTION. Vols. CXXXIII- CXXXV. Honoré de Balzac: literary manuscripts and letter; 1823-before 1842. Three volumes. (1823-before 1842)

Legal Status Not Public Record(s)

Zweig MS 136 ([1859])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 136

Creation Date [1859]

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXXXVI. Charles Baudelaire: poems 'Les sept vieillards' and 'Les petites vieilles'; [1859]. Fair copy made for Victor Hugo to whom the poems are dedicated. French. See C. Baudelaire, Oeuvres Complètes, ed. C. Pichois, vol. 1 (Paris, 1975), pp. 87-90.

ff. 2. 208 x 133mm.

Poetry FRENCH: Charles Pierre Baudelaire, poet: Vicomte Victor Marie Hugo,; author: Two poems 'Les sept vieillards' and 'Les petites vieilles' by Charles Pierre Baudelaire, dedicated to and copied out for Victor Hugo: [1859]: Fr: Autogr. fair copy.

Legal Status Not Public Record(s)

Digitised copy available on British Library Digitised Manuscripts: http://www.bl.uk/manuscripts/FullDisplay.aspx?index=126&ref=Zweig_MS_136

Page 161 2021-08-21 Zweig MS 139 (1911)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 139

Creation Date 1911

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXXXIX. Paul Claudel: play 'L'Annonce faite à Marie'; 1911 (see f. 145v). Fair copy, with a few revisions. French. See Oeuvres Complètes de Paul Claudel, ed. R. Mallet, vol. 9, 'Théâtre' (Paris, 1955). Author's presentation inscription to Zweig, 1913 (f. 2v).

ff. 145. Binding of green leather, gold-tooled. 300 x 240mm.

Paul Louis Charles Marie Claudel, author: Drama FRENCH: Play 'L'Annonce faite à Marie' by Paul Louis Charles Marie Claudel: 1911: Fr: Autogr. fair copy.

Legal Status Not Public Record(s)

Zweig MS 140 (c 1904)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 140

Creation Date c 1904

Extent and Format 1 item

Languages of Material Italian

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXL. Gabriele D'Annunzio: poem 'La Laude di Dante'; circa 1904. Fair copy. Italian. See Laudi del cielo, del mare, della terra e degli eroi, Istituto Nazionale per la Edizione di Tutti le Opere di Gabriele D'Annunzio, Book 2, Elettra (Verona, 1928), pp. 4-10.

ff. 22. 235 x 335mm. Bound loosely into light green cloth-covered boards with gold-stamped title and decorated endpapers. Binding measures 245 x 180mm.

Gabriele d' Annunzio, poet: Poetry ITALIAN: Poem 'La Laude di Dante' by Gabriele d' Annunzio: circa 1904: Ital: Autogr. fair copy.

Legal Status Not Public Record(s)

Page 162 2021-08-21 Zweig MS 141 (19th century)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 141

Creation Date 19th century

Extent and Format 1 item

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXLI. Charles Darwin: fragment of 'Insectivorous Plants', with some mathematical calculations relating to meridians on the verso; n.d. Draft. Published in 1875. See The Works of Charles Darwin, ed. P. H. Barrett and R. B. Freeman, vol. 24 (1989), p. 307.

f. 1. 165 x 200mm.

Charles Robert Darwin, naturalist: Insectivorous Plants by Charles Robert Darwin: n.d: Fragm: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 142 (before 1606)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 142

Creation Date before 1606

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXLII. Philippe Des Portes: rhymed maxims, epigrams and aphorisms; before 1606. Fair copies, with a few additions in other hands at the end. French.

ff. 5. 190 x 138mm.

Poetry FRENCH: Philippe Des Portes, poet: Rhymed maxims, etc., by Philippe Des Portes: bef. 1606: Fr: Autogr. fair copies.

Legal Status Not Public Record(s)

Page 163 2021-08-21 Zweig MS 143 Fedor Mikhailovich Dostoevskii: ChapterII of part 3 of the novel Униженные и оскорбленные [The Insulted and Injured]

Collection Area British Library: Western Manuscripts

Reference Zweig MS 143

Creation Date [1861]

Extent and Format 1 item

Languages of Material Russian

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Fedor Mikhailovich Dostoevskii: ChapterII of part 3 of the novel Униженные и оскорбленные [The Insulted and Injured] ([1861])

Physical Characteristics 285 x 232mm. ff. 5. 3 single leaves + 1 bifolium. The text covers both sides of the leaves using the full width, except for f. 5 where it ends half way down the recto. No watermark. Written in black ink on flimsy cream wove paper.

Scope and Content Autograph draft. Cyrillic script in a small neat cursive hand. One complete chapter of Dostoevskii’s first full-length novel, headed Глава 6 in the manuscript but published as the second chapter in part 3.

Begins: Онь именно влетель, с каким-то сияющимь лицомь,

Ends: я выскажу все, все!

The chapter describes a tense conversation between Prince Alexei (Alyosha), his father Prince Valkovsky and his lover Natalya Nikolaevna (Natasha) following a visit to Katerina Fedorovna (Katya), whom his father wants Alyosha to marry.

There are autograph corrections and insertions of words or phrases on the manuscript, and ink blots on ff. 1v, 2, and 4. Four and a half lines on f. 3 are struck through for deletion. Paragraphs are indicated in the margin. The leaves are numbered at the top left in the author’s hand. Folio 3 was wrongly numbered 2 and is corrected.

In his Introduction to the Drei Meister publication, Stefan Zweig said that he considered Balzac, Dickens and Dostoevskii the supremely great novelists of the nineteenth century. He went on to claim that no German novelists could be compared with the Russian author. In a letter to Maxim Gorki in March 1928 (See Richard Friedenthal (ed.), Briefe an Freunde, (Frankfurt am Main: Fischer Taschenbuch, 1984), p.186), he spoke of the impact of discovering Tolstoi and Dostoevskii whilst at university, although he may not have read their work in the original language.

Inspired to promote Dostoevskii for German-speakers, he encouraged Anton Kippenberg to publish his novels and stories in the Insel Verlag. A twenty-five volume edition appeared in 1921. Meanwhile in November 1915 he had written to Hermann Hesse 'ein Buch über Dostojewski ist ganz fertig, in dem drei Jahre Arbeit und viel Liebe auf hundert Seiten zusammengepreßt sind' (See Richard Friedenthal, p.60).

Whilst in Zurich in 1917/8, Zweig continued to work intensively on Dostoevskii, having asked Friderike to bring him a draft which he felt ready to complete (See Richard Friedenthal, p.82). He gave a public lecture and left behind a manuscript ‘Die deutsche Dostojewski-Ausgabe 1918’, now in the Staatsarchiv des Kantons Zürich (W 30.17). On his visit to Moscow for the Tolstoi centenary celebration in 1928, he made a point of also seeing the Dostoevskii Museum.

The present manuscript is apparently the only Dostoevskii autograph that Zweig owned. He described it in his essay ‘Die Autographensammlung als Kunstwerk’ as 'Ein Unikum im Privatbesitz' and declared he would never part with it (Add. MS 74269, ff. 5-5v). His comments

Page 164 2021-08-21 on Dostoevskii’s methods and techniques reflect his interest in the creative processes of great writers, as demonstrated by their manuscripts:

'But Dostoeffsky only allows us to examine his finished work; the outline sketches which might have enlightened us as to his motives have been consumed in 'the fires of creation' '.

'Dostoeffsky writes in a fever, just as he lives and thinks in a fever. He has the nervous and hasty calligraphy of the ardent type of man, and when he sets pen to paper the words flow forth like chains of tiny beads; yet in his wrist, the while, his pulse is beating at redoubled speed'.

‘He loves to the pitch of fanaticism the exquisite and delicate art of finishing and perfecting’ (Quotations from the translation by Eden and Cedar Paul, Master Builders, Vol. 1, (London: Allen & Unwin, 1930), pp. 102, 107, 200).

Legal Status Not Public Record(s)

Custodial History Zweig acquired the manuscript on 13 September 1912 from the dealer Martin Breslauer of Berlin. No further details of the sale been discovered, but on 29 August 1923 Zweig wrote to Maxim Gorki that he had obtained his Dostoevskii and Tolstoi manuscripts ‘mit viel Geld und Mühe’ (See Richard Friedenthal, p.142-143). Index card and annotated envelope in Add. MS 73174, ff. 48-51.

The novel was first published in 1861 as a serial in the first seven issues of Vremya magazine, as follows: no. 1 January, pp. 5-92; no. 2 February, pp. 417-474; no. 3 March, pp. 235-324; no. 4 April, pp. 615-683; no. 5 May, pp. 269-314; no. 6 June, pp. 535-582; no. 7 July, pp. 287-314 (Details from W. J. Leatherbarrow, Fedor Dostoevsky a reference guide, (Boston, Mass.: G. K. Hall, c. 1990). The magazine Vremya (St Petersburg: Pratz, 1861-1863) is not available for consultation at the British Library). The text of Part 3 chapter II which is found in Zweig MS 143 appeared in the third issue on 19 March. Vremya was a serious monthly journal of literary and sociopolitical content edited by Fedor Dostoevskii and his brother Mikhail. It was founded in January 1861 and ran to twenty-eight issues before being closed by the government in May 1863 (See Kenneth Lantz, The Dostoevsky Encyclopedia, (Westport and London: Greenwood Press, 2004), pp. 433-436).

F. M. Dostoevskii, Unizhennye i oskorblennye, (St Petersburg: Pratz, 1861), 2 vols. A revised version, with the subheading and some passages removed and chapters rearranged, published in book form in September following the serial publication.

L. P. Grossman et al. (eds.), F. M. Dostoevskii, Sobranie sochinenii, tom 3, (Moscow: Gosudarstvennoe Izdatelstvo, 1956), pp. 7-386. The chapter corresponding to Zweig MS 143 is on pp. 194-207.

V. N. Zakharov (ed.), Polnoe sobranie sochineniĭ: kanonicheskie teksty F. M. Dostoevskiĭ, (Petrozavodsk: Petrozavodskogo universiteta, 1995-2012), Vol. IV (2000). Novel pp. 47-404, Zweig MS chapter pp. 225-236, notes and commentary pp. 838-877

V. N. Zakharov et al. (eds.), Polnoe sobranie sochineniĭ F.M. Dostoevskogo v XVIII tomakh, (Moscow: Voskresene, 2003-2005, Vol. IV (2004). Novel pp. 24-273, Zweig MS chapter pp.148-156, notes pp. 522-543.

Variants

Page 165 2021-08-21 Variants between Zakharov’s text (based on the corrected 5th edition published at St Petersburg in 1879), and Zweig MS 143 (siglum ΗΡ) are listed on pp. 852-853 of the Petrozavodsk 2000 publication.

Zweig MS 144 Georges Duhamel: Complete short story 'Le dernier voyage de Candide' (1936)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 144

Creation Date 1936

Extent and Format 1 item

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Georges Duhamel: Complete short story 'Le dernier voyage de Candide' (1936)

Physical Characteristics 303 x 200mm ff. 3 Written in black ink on white wove paper; folios 1 and 2 on the rectos only; folio 3 has 6 lines representing the last paragraph of the published text on the verso. 53-58 lines per page. No watermark.

Scope and Content Autograph draft. Heavily corrected with numerous deletions and insertions; the opening line and half struck through.

A picaresque continuation of Voltaire's satire Candide, first published in 1759.

Begins: ' Candide cultivait son jardin depuis bien de années . . .'

Ends: ' . . . Candide faisait de son mieux pour imaginer le néant.'

In Duhamel’s story, the aging Candide embarks optimistically on a voyage to see the 'magnificent world' for one last time. Everywhere he goes, fellow travellers point out innocent-looking places where political opponents and convicts are incarcerated. Disillusioned, Candide only wants to retire to his garden, but he dies when the ship is blown up and is conducted to paradise by a guardian angel. There too he hears of dissenters, Lucifer and other agitators, and in the end can only try to imagine nothingness.

Zweig and Duhamel were friends for thirty years although the date of their first meeting is uncertain. Zweig in The World of Yesterday claimed that he met Duhamel with other members of the Abbaye de Créteil commune in Paris, in 1904, whereas Duhamel dated their first encounter around 1909. Besides being a doctor, author and founder of the commune for young writers, musicians and painters, Duhamel was a member of Académie française and director of the publishers Mercure de France. Zweig persuaded Anton Kippenberg to appoint Duhamel editor of the French poetry volume in the Bibliotheca Mundi series, Anthologie de la poésie lyrique française de la fin du XVe siècle à la fin du XIXe siècle (Leipzig: Insel, 1923). He collaborated with Zweig and Maxim Gorky on the production of the Liber Amicorum in celebration of Romain Rolland’s 60th birthday (Erlenbach-Zürich: Rotapfel-Verlag 1926). In a letter of 22 January 1921, Zweig said of Duhamel 'au dela de la difference des nos langues, je me sens plus proche de vous que de beaucoup de mes confrères’

The relationship cooled briefly following elections at the International PEN Club meeting in Buenos Aires in September 1936. Duhamel had ambitions to succeed H. G. Wells as President, but Zweig, failed to rally to his support and his rival Jules Romains was elected. Zweig knew both candidates personally and admitted his dilemma in a letter to Raoul Auernheimer written on the return voyage (17 September 1936 in Knut Beck and Jeffrey B. Berlin (eds.), Stefan Zweig

Page 166 2021-08-21 Briefe 1932-1942, Frankfurt am Main: Fischer, 2005). Duhamel’s view of Zweig’s conduct is reflected in his journal, published as Le livre de l’amertume (Paris: Mercure de France,1984), p. 258, where he also quotes a conciliatory note from Zweig. The gift of the present manuscript, made in the following month of October, might be seen as a gesture of apology.

Zweig did not own any other Duhamel manuscripts, but two Voltaire autographs passed through his hands: a fragment from ‘La philosophie’ acquired in 1916 and now Institut et Musée Voltaire, Geneva, and ‘Morale’ prepared for the Dictionary, acquired in 1921 and now in the Bodmer Foundation, Geneva.

Legal Status Not Public Record(s)

Custodial History Presented to Zweig by the author 21 October 1936. Inscription on f. 1 ‘pour Stefan Z. Souvenir de Duhamel Octobre 36’ i.e. before publication.

Annotated envelope and separate leaf in Add MS 73174, ff. 50-54. 'Manuscrit de Georges Duhamel reçu le de lui même le 21 Oct. 1936 Stefan Zweig'.

First published with other short pieces in Vol. 2 of Les Artisans du Style (Paris: Fernand Sorlot, [1938]), pp. 9-18. The text follows the manuscript as corrected.

Held in the HathiTrust Digital Library (copyright restricted)

Zweig MS 145 (1787)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 145

Creation Date 1787

Extent and Format 1 item

Languages of Material Swedish

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXLV. Fredrik Axel von Fersen: document sent with some sealed papers to the Tribunal of the Swedish Court; 1787 (dated by the Tribunal, f. 1). Signed. Swedish. Included are two transcripts of the document, one typewritten, together with a German translation.

ff. 3. 317 x 206mm.

Count Fredrik Axel von Fersen,; Swedish politician: Document sent to the Tribunal of the Swedish Court by Count Fredrik Axel von Fersen: 1787: Swedish: Signed.

Legal Status Not Public Record(s)

Page 167 2021-08-21 Zweig MS 146 (1836)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 146

Creation Date 1836

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXLVI. Gustave Flaubert: short story 'Bibliomanie'; 1836. Fair copy. French. See G. Flaubert, Oeuvres Complètes. Oeuvres de Jeunesse Inédites, vol. 1 (Paris, 1910), pp. 132-147.

ff. 14. 310 x 200mm.

Gustave Flaubert, novelist: Short story Bibliomanie by Gustave Flaubert: 1836: Fr: Autogr. fair copy.

Legal Status Not Public Record(s)

Zweig MS 147 (1794)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 147

Creation Date 1794

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXLVII. Joseph Fouché: letter to his colleagues and friends; 1794. French.

ff. 2. 305 x 200mm.

Joseph Fouché, Duc d'Otrante: Letter to his colleagues and friends: 1794: Fr.

Legal Status Not Public Record(s)

Page 168 2021-08-21 Zweig MS 148 Autograph annotations by Anatole France. Signed ‘A.F’ at end. Anatole France [pseudonym of Jacques Anatole François

Collection Area British Library: Western Manuscripts

Reference Zweig MS 148

Creation Date 1898

Extent and Format 1 item

Languages of Material French

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Autograph annotations by Anatole France. Signed ‘A.F’ at end. Anatole France [pseudonym of Jacques Anatole François Thibault]: Letter from M. B. in response to an article on orthography by Anatole France, marked up for printing by France; May 1898 (1898)

Physical Characteristics Overall measurement 207 x 183mm. ff. i+6. Pages originally numbered 17, 18 and 9. The complete original letter (minus the signature) is cut into four mounted pieces measuring 120 x 160mm, 80 x 156mm, 62 x 154mm, 134 x 155mm. Folio 6 measures 200 x 156mm. No watermark visible. Written in black ink on white wove paper with annotations in blue crayon. In a cover of grey card 207 x 183mm. The reverse of front cover (f. i) is stamped Petito, with Hinterberger number XX/653 in pencil and SZ over AZ.

Scope and Content Begins: ‘Monsieur, Au sujet de votre article de ce matin, ‘l'Orthographe' . . .

Ends: ‘Veuillez , je vous prie etc.’

The letter is dated 16 May 1898 but probably in error for 17 May when Anatole France’s first article on orthography and spelling reform was published in the morning daily newspaper L’Echo de Paris. The writer, M[onsieur?] B, whose signature was deliberately cut off for publication, was an unidentified ‘instituteur’ (schoolmaster or tutor). He agreed entirely with France’s view that time is wasted teaching children orthography which could be better spent inculcating social and moral values.

Instructions for printing, including type size, have been added in France’s hand with black ink and blue crayon. At the head of f. 1 is the note which introduces the letter, following his second article in L’Echo de Paris on 24 May, ‘PS J'ai recu de M. B ..., une lettre dont voici le texte’. On f. 6 are five lines in France’s autograph ‘Cette lettre exprime, ce me semble, les idées les plus [deletion] justes et les plus sages. M. B. souhaite, comme M. Francisque Sarcey, qu'on ne donne pas d'importance à ce qui n'en a pas. A. F.’ These lines are published in the newspaper following the letter.

Folio 6v bears a fragmentary note or minute in another hand referring to an album.

For the background to the controversy over French orthography in the late 19th and early 20th centuries, and the role of Anatole France, see the articles by A Schinz, 'The Reform of French Orthography' I and II, 'The Simplification of French Orthography' I and II in Modern Language Notes Vol. 15 no. 8 (Dec 1900) pp. 225-234, Vol. 16 no. 3 (March 1901) pp. 80-81, Vol. 21 no. 4 (April 1906) pp 113-117, and Vol. 21 no. 5 (May 1906) pp. 139-143 all available on JSTOR.

Francisque Sarcey (b.1827, d.1899) mentioned in France’s note was a French journalist and drama critic who believed that spelling should be ignored in examinations and only syntactical errors penalised.

Zweig also owned a manuscript of ‘La Psychologie de la femme moderne’ by Anatole France, acquired in 1925 and now in the Bodmer Foundation, Geneva.

Page 169 2021-08-21

Legal Status Not Public Record(s)

Custodial History The date of acquisition by Zweig and the provenance of this item are not known.

An annotated envelope in Add MS 73174 states 'nicht im Katalog'.

Offered for sale by Zweig in 1937 through Hinterberger, Vienna, cat. XX, no. 653 (Add. MS. 73183 D); not sold and returned to the collection.

The letter with introductory and concluding comments by Anatole France was published on Tuesday 24 May 1898 on the front page of L'Écho de Paris, following the second of France’s two articles on orthography and spelling reform (http://gallica.bnf.fr/ark:/12148/bpt6k8018236.langFR ). The only variant from the manuscript is the expansion of ‘2m’ to ‘deuxième’. France’s first article which prompted the letter was published on Tuesday 17 May 1898 in the same newspaper.

Listed in the British Library exhibition brochure 75 Musical and Literary Autographs from the Stefan Zweig Collection (1986) and in the programme book for the Stefan Zweig Series of Concerts, Lectures and Exhibitions April - May 1987.

Catalogue of Additions to the Manuscripts 1986-1990, (London: British Library, 1993), Part I, p. 70.

Oliver Matuschek, Ich kenne den Zauber der Schrift, (Vienna: Inlibris, 2005), p. 205.

Zweig MS 149 Benjamin Franklin: Letter to William Strahan; Philad[elphia] 12 Feb. 1744/5 ([1745])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 149

Creation Date [1745]

Extent and Format 1 item

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Benjamin Franklin: Letter to William Strahan; Philad[elphia] 12 Feb. 1744/5 ([1745])

Physical Characteristics 330 x 208mm. ff. 2. Written in black ink on white laid paper, recto and verso of f. 1. Watermark: a palisade. Remains of seal impression in red wax.

Scope and Content Autograph. Signed.

Begins: ‘Sir I receiv'd your Favour p[er] Mr Chew dayed Sept. 10. and a Copy via Boston.’

Ends: ‘Your obliged humble Servant B Franklin’

Page 170 2021-08-21

Franklin acknowledges receipt from Strahan of 'Mr Middleton's Pieces' and places new orders: a range of pamphlets for friends of different tastes, six sets of Warburton’s new edition of Pope if published, a dozen copies of whatever the poet Thomson writes. He will send details of the books he wants to sell in his shop which must be obtained cheaply to match a competitor’s prices. Pamphlets and newspapers may be sent via New York and Boston if there is no direct ship to Philadelphia. He hopes Caslon will not delay in casting the English fount he wrote for. Mr Hall is gaining a good reputation.

Postscript by James Read promising a long letter to be sent in duplicate by different ships.

Addressed on f. 2v ‘To Mr Wm Strahan Printer in Wine Office Court Fleetstreet London

via Maryland P[er] Capt. Harrison.’

William Strahan (b.1715, d.1785) was a London printer and publisher, established from 1740 at Wine Office Court in the parish of St Bride's where this letter is addressed. The Dictionary of National Biography article (http://www.oxforddnb.com/view/article/26631?docPos=1) explains how through contact with the American James Read, he set up a wholesale trade in books to Philadelphia. Read also facilitated the appointment of Strahan’s friend and employee David Hall as manager of Franklin’s fourth printing company in America.

For account books and business papers of the Strahan Printing House, see BL Additional MSS 48800–48918 and the bibliography given in the catalogue description. David Hall’s papers, including his correspondence with Strahan and Franklin, are held by the American Philosophical Society (http://www.amphilsoc.org/mole/view?docId=ead/Mss.B.H142.1-3-ead.xml).

Benjamin Franklin (b.1706, d.1790) had worked as a journeyman printer in England and was postmaster of Philadelphia before embarking on his career as statesman and diplomat. He maintained a correspondence with William Strahan for many years before the latter’s attitude to the struggles of the American colonists led to friction between them.

There are references in the letter to pamphlets about Captain Christopher Middleton’s controversial attempt to discover the Hudson’s Bay Passage; William Warburton’s projected edition of Pope’s works, eventually published in nine volumes in 1751; new poems by James Thomson (b. 1700, d.1748), author of ‘The Seasons’; and William Caslon’s typeface which became widely adopted in America, notably for printing the Declaration of Independence.

Post stamp 6 MA

Legal Status Not Public Record(s)

Custodial History The article in The Atlantic (http://www.theatlantic.com/magazine/archive/1888/01/unpublished-letters-of- franklin-to-strahan/305437/ ) states:

‘a group of letters, in Franklin’s own hand, recently came to light in England. These letters were long kept in the family of Mr. Strahan, and for some unexplained reason were finally placed in the hands of a London bookseller, for sale. They were shown immediately after that to an American gentleman, who purchased them and brought them to this country last summer [i.e. in 1887].’

Purchased by Zweig from Heinrich Eisemann, London, 26 August 1941 (Eisemann's invoice and an annotated envelope in Add. MS. 73174, ff. 66-69).

Possibly one of Zweig's last purchases which he may not have seen. He had left for America in July 1940 a year before the date of the invoice, expecting to be back in England in October. However he remained in New York and South America until he came to the decision early in 1941 not to return to live in Europe. The invoice is addressed to him in Bath but the manuscript was apparently not sent on to him as it was not amongst those he had with him at his death in February 1942.

First published with other Franklin letters in S. G. W. Benjamin (ed.), 'Unpublished Letters of Franklin to Strahan' in The Atlantic, January 1 1888 ((http://www.theatlantic.com/magazine/archive/1888/01/unpublished-letters-of- franklin-to-strahan/305437/ ). The compiler was Samuel Greene Wheeler Benjamin (b.1837, d.1914), American statesman and writer.

Page 171 2021-08-21

Letter published separately as a broadside [New York] Museum Press [1936]. Copies held at Sterling Memorial Library, Yale University and Princeton University Library but not available in the British Library.

Reprinted from The Atlantic in Leonard W. Labaree (ed.), The Papers of Benjamin Franklin (New Haven: Yale University Press, 1961), vol. 3, pp. 13–14 (Online from this edition at http://founders.archives.gov/documents/Franklin/01-03-02-).

Zweig MS 150 ([1907])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 150

Creation Date [1907]

Extent and Format 1 item

Languages of Material German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CL. Sigmund Freud: lecture 'Der Dichter und das Phantasieren'; [1907]. Draft. German. See S. Freud, Gesammelte Werke, vol. 7 (1941), pp. 213-223.

ff. 5. 400 x 250mm.

Sigmund Freud, psychoanalyst: Lecture 'Der Dichter und das Phantasieren' by Sigmund Freud: 1907: Germ: Autogr. draft.

Legal Status Not Public Record(s)

Page 172 2021-08-21 Zweig MS 151 (1903)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 151

Creation Date 1903

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLI. André Gide: lecture 'De l'importance du public'; 1903 (see f. 2). Draft. French. See Oeuvres Complètes d'André Gide, ed. L. Martin-Chauffier, vol. 4 [Paris, 1937], pp. 181-197. Author's presentation letter to Zweig, 1914 (f. 1).

ff. 24. 218 x 167mm.

André Paul Guillaume Gide, author: Lecture 'De l'importance du public' by André Paul Guillaume Gide: 1903: Fr: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 152-155 STEFAN ZWEIG COLLECTION. Vols. CLII-CLV. Johann Wolfgang von Goethe: literary manuscripts, etc.; 1808-circa

Collection Area British Library: Western Manuscripts

Reference Zweig MS 152-155

Creation Date 1808-c 1830

Extent and Format 4 items

Languages of Material English; German

Access Conditions Restrictions to access apply please consult British Library staff

Title STEFAN ZWEIG COLLECTION. Vols. CLII-CLV. Johann Wolfgang von Goethe: literary manuscripts, etc.; 1808-circa 1830. Four volumes. (1808-c 1830)

Legal Status Not Public Record(s)

Page 173 2021-08-21 Zweig MS 152 (c 1830)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 152

Creation Date c 1830

Extent and Format 1 item

Languages of Material English; German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLII. Fragment of Act 1 of 'Faust, Part 2'; circa 1830. Fair copy. German. The fragment contains lines 5884-5935. See J. W. von Goethe, Gedenkausgabe der Werke, Briefe und Gespräche, ed. E. Beutler, vol. 5 (Zurich, 1950), pp. 328-330. Note of presentation to Franz Grillparzer by Goethe's daughter, Ottilie (f. 1v).

f. 1. 333 x 210mm.

Ottilie von Goethe, daughter of J W von Goethe: Drama GERMAN: Johann Wolfgang von Goethe, author: Faust, Part 2, Act I by Johann Wolfgang von Goethe, with note by Ottilie von Goethe: circa 1830: Germ: Fragm: Autogr.

Legal Status Not Public Record(s)

Custodial History Franz Grillparzer, dramatist: Owned in 19th cent.

Zweig MS 153 Carl Friedrich Zelter: [‘Vorstand und Recht’], beginning ‘So lang man nüchtern ist’, four-part song in F for male

Collection Area British Library: Western Manuscripts

Reference Zweig MS 153

Creation Date 1814-1816

Extent and Format 1 volume (1 folio)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Carl Friedrich Zelter: [‘Vorstand und Recht’], beginning ‘So lang man nüchtern ist’, four-part song in F for male voices (words Johann Wolfgang von Goethe, from West-östliches Divan) (1814-1816)

Physical Characteristics 312 x 200mm. Watermark: crowned shield with a bend invecked.

Scope and Content 1814, [1816?]. Autograph score. Written in brown ink on systems of two staves; the staves drawn freehand. On a single leaf. The upper two-thirds of the recto have the text of the poem written out by Goethe, and dated by him ‘26 Jul 1814’. Zelter’s setting, which itself bears no date, begins below this and continues on the verso; beneath each stave he has written the text of the first of the two verses written out by Goethe. In another hand in ink at the foot of the verso is ‘Original-handschrift von Göthe und’, with ‘Zelter’ added in pencil; the lower edge of the leaf is trimmed, affecting the word ‘Original-handschrift’ and presumably removing Zelter’s name by the original annotator.

Page 174 2021-08-21 This setting appears as no. 94 in Kruse’s list of Zelter’s compositions for the Berlin Liedertafel. It is apparently unpublished. The Liedertafel was set up in 1809 and Zelter took part until his death. The record card in the provenance papers states that the leaf was sent by Goethe to Zelter in July 1814, but this seems unlikely on two grounds. First, from the published correspondence it is evident that the two men were together in Wiesbaden in the latter part of that month, Zelter making the journey first and arranging accommodation for Goethe. Then, in response to a letter from Goethe of 11 March 1816, enclosing verses beginning ‘Dir zu eröffnen mein Herz’, Zelter replied (in a letter written on 18 and 19 March) enclosing a setting of that text togther with ‘ein Pröbchen aus dem "Diwan"’. His enclosure is reproduced in facsimle in Hecker (between pp. 458 and 459). On the verso it contains the setting of ‘So lang man nüchtern ist’ also found in the present manuscript; it is also written on two staves, and the only difference is the slightly more complex harmonisation found in bars 19-24 in the source reproduced by Hecker.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from Stargardt, 9 Sept. 1930 (record card, annotated by Zweig, Add. MS 73168, f. 13).

Reproduced: recto, Arthur Searle, The British Library Stefan Zweig Collection: catalogue of the music manuscripts (London: The British Library, 1999), plate CXXXIX.

Bibliography: Max Hecker, Der briefwechsel zwischen Goethe und Zelter, vol. i (Leipzig, 1913), pp. 394-5, 458-9; Georg Richard Kruse, Zelter (Leipzig, 1915), p. 27- 30, 37-40, 89; Oliver Matuschek, Ich kenne den Zauber der Schrift (Vienna: Inlibris, 2005), p. 218.

Zweig MS 154 ([1808])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 154

Creation Date [1808]

Extent and Format 1 item

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLIV. Ink and wash drawing of the observatory at Seeberg bei Eger; [1808]. See Corpus der Goethezeichnungen, vol. VI B (Leipzig, 1971), p. 119, no. B 86 C. Vb, 207. The inscription 'Goethes Handzeichnung Gustav Schueler Jena' has been added by a former owner.

f. 1. 191 x 327mm.

Art. Illuminations and Drawings GERMAN: Johann Wolfgang von Goethe, author: Drawing by Johann Wolfgang von Goethe: [1808].

Legal Status Not Public Record(s)

Custodial History Gustav Schueler, of Jena: Owned.

Page 175 2021-08-21 Zweig MS 155 (19th century)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 155

Creation Date 19th century

Extent and Format 1 item

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLV. Lock of hair of Johann Wolfgang von Goethe, in envelope with note by Ottilie von Goethe his daughter-in-law

Legal Status Not Public Record(s)

Zweig MS 156 ([1844])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 156

Creation Date [1844]

Extent and Format 1 item

Languages of Material German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLVI. Heinrich Heine: poem 'Die armen Weber'; [1844]. Draft. German. Published as 'Die Schlesischen Weber'. See Heinrich Heine, Sämtliche Schriften, ed. K. Briegleb, vol. 4 (Munich, 1971), p. 455.

f. 1. 269 x 209mm.

Heinrich Heine, author: Poetry GERMAN: Poem 'Die armen Weber' by Heinrich Heine: [1844]: Germ.

Legal Status Not Public Record(s)

Page 176 2021-08-21 Zweig MS 157 (1933)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 157

Creation Date 1933

Extent and Format 1 item

Languages of Material German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLVII. Hermann Hesse: poems 'Sommer 1933'; 1933. Typewritten, with an autograph title-page (f. 1), autograph titles to the poems and some watercolour illustrations (ff. 2, 4, 6, 8, 10, 12, 14). German. See Hermann Hesse, Gesammelte Dichtungen, vol. 5 (Zurich, 1952), pp. 732-740. Author's presentation inscription (f. 1v).

ff. 22. 156 x 139mm.

1. f. 2. Blumen nach einem Unwetter.

2. f. 4. Häuser am Abend.

3. f. 6. Heisser Mittag.

4. f. 8. Höhe des Sommers.

5. f. 10. Sommerglut.

6. f. 12. Gewitter.

7. f. 14. Verwahrloster Park.

8. f. 16. Nächtlicher Regen.

9. f. 17. Rückgedenken.

10. f. 18. Schmetterlinge im August.

11. f. 19. Scheingewitter.

12. f. 20. Sommer ward alt.

13. f. 21. Welkes Blatt.

Hermann Hesse, author: Poetry GERMAN: Art. Illuminations and Drawings GERMAN: Poems 'Sommer 1933', with watercolour illustrations by Hermann Hesse: 1933: Germ: Partly typewritten: Partly autogr.

Legal Status Not Public Record(s)

Page 177 2021-08-21 Zweig MS 158 ([1928])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 158

Creation Date [1928]

Extent and Format 1 item

Languages of Material German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLVIII. Adolf Hitler: outline in note form for a speech made in Berlin; [1928]. Draft. German.

ff. 13. 330 x 210mm.

Adolf Hitler, German Chancellor: Outline for a speech by Adolf Hitler: 1928: Germ: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 159 Hugo von Hofmannsthal: Poem 'Vor Tag' (c 1907)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 159

Creation Date c 1907

Extent and Format 1 item

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Hugo von Hofmannsthal: Poem 'Vor Tag' (c 1907)

Physical Characteristics 290 x 229mm. ff. 2 (original foliation). Written in black ink on white wove paper, lines 1-23 on f. 1, lines 24-38 on f. 2; the versos are blank except for the instruction to a typist on f. 2v. Wide margins on the left, varying from 400 to 700mm. No watermark.

Scope and Content Autographfair copy. Hofmannsthal’s hand shows characteristics of both roman script and Kurrentschrift.

Thirty-eight lines of blank verse in iambic pentameters. It describes man and nature awaking at daybreak after a storm, a vision of Christ and his mother, and a guilty young man returning to his own room after spending the night with a woman.

Begins: ‘Nun liegt und zuckt am fahlen Himmelsrand . . .’

Ends: ‘Nun geht die Stalltür. Und nun ist auch Tag.’

With autograph annotations 'Hofmannsthal' at the top left and 'für die 'Morgan' at the top right (referring to the first publication). There are minor corrections to ‘false starts’ in

Page 178 2021-08-21 lines 17, 29, 31.

On f. 2v is an instruction in pencil in another hand, struck through, ‘Bitte in 2 Exemplaren typieren . . .’

There is no reason to doubt that ‘Vor Tag’ was composed on 7 August 1907, as indicated on the Frankfurt manuscript, at Hofmannsthal’s home in Rodaun (today in Vienna's 23rd district). Olga, wife of the dramatist Arthur Schnitzler, quoted the whole poem and described the circumstances in which it was written in her Spiegelbild der Freundschaft (Salzburg: Residenz Verlag, 1962), p. 76. Hofmannsthal, who was currently working on Die Briefe des Zurückgekehrten, took an evening walk with the Schnitzlers, passing a wayside shrine depicting Christ and Mary. This inspired the vision incorporated into the poem, and its inscription was echoed in the words 'O meine Mutter' and 'Ach mein lieber Sohn'.

Eugene Weber in his Euphorion article notes that Hofmannsthal generally only made one draft of his poems, and would produce a fair copy with minimal revision soon afterwards. Zweig MS must therefore have been written in the short space of time between the August draft and the publication on 1 November of the same year. It was too late for inclusion in 1907 Gesammelte Gedichte published by Insel, but it was included in subsequent collections.

Stefan Zweig’s relationship with Hofmannsthal was based on admiration which was not reciprocated. He hoped to emulate the success of the slightly older Viennese Jewish writer and ventured to engage in correspondence with him; letters received by Zweig are preserved in the Jewish National and University Library in Jerusalem. Hofmannsthal did acknowledge the merits of Zweig’s Balzac essay, and he did make a gesture of friendship in giving him the present manuscript. However he did not regard him as a serious writer, calling him a mere journalist or littérateur, and claiming later not to know of his Novellen. The fact that both published their work through the Insel Verlag may have created professional tensions. In 1906 the young Zweig had shared with others a bursary from the Viennese Bauernfeld Fund. Hofmannsthal disapproved of the arts policy with which the Fund was associated, and was scathing in belittling the recipients of its awards. During the First World War, Hofmannsthal’s support for monarchy and his active official role did not accord with Zweig’s views, but political differences were not the cause of their personal and intellectual distance. Nevertheless Zweig gave the address or ‘Gedächtnisrede’ at Hofmannthal’s funeral in 1929, and he took on his mantle as librettist for Richard Strauss’s opera ‘Die schweigsame Frau’.

Zweig also owned the following autograph manuscripts of Hofmannsthal:

• 'Aus einer Alkestis', acquired in 1912 and now in the Bodmer Foundation, Geneva. • 'Reiselied', acquired in 1912 and now in the Bodmer Foundation, Geneva. • ‘Verse zum Gedächtnis des Schauspielers Josef Kainz’, presented by the author in 1910 and now in the Österreichisches Theatermuseum, Vienna.

‘Was die Braut geträumt hat’, acquired in 1930 and now in the Bodmer Foundation, Geneva.

Legal Status Not Public Record(s)

Custodial History Presented to Zweig by Hofmannsthal in February 1908. Zweig’s letter of 16 February thanks him for a poem which must be the present manuscript: 'ich danke Ihnen innigst für Ihr schönes Geschenk, das mir doppelt wertvoll ist: als Gedicht und als gütiges Zeichen freundlicher Gesinnung'. He offers in return Spoelbergh van Loevenjoul's Histoire des oeuvres de Balzac, referring modestly to his essay on the French writer in comparison with Hofmanthal’s own (See Richard Friedenthal (ed.), Briefe an Freunde, (Frankfurt am Main: Fischer Taschenbuch, 1984), pp. 17-18).

Annotated envelope in Add. MS 73174, ff. 105-106 marked 'nicht im Katalog'.

Record card in Add. MS 73168, f. 29.

First published:

Werner Sombart (ed.) Morgen. Wochenschrift für deutsche Kultur, (Berlin: Marquardt & Co), 1 Jahrgang, Nummer 21, 1 Nov. 1907, p. 664. Hofmannsthal was a co- founder and co-editor of this journal. Published simultaneously in Neues Wiener Journal, Nr 5039, 1 Nov. 1907, p. 8.

Page 179 2021-08-21 Hugo von Hofmannsthal. Die Gedichte und kleinen Dramen, (Leipzig: Insel, 1911), pp. 6-7.

Herbert Steiner (ed.), Hugo von Hofmannsthal.Gesammelte Werke in Einzelausgaben.Gedichte und Lyrische Dramen, (Frankfurt: Fischer, 1970), text pp. 9- 10,notes p. 536.

Eugene Weber (ed.), Hugo von Hofmannsthal. Sämtliche Werke I. Gedichte 1. (Frankfurt am Main: Fischer, 1984), text pp. 106-107, notes pp. 416-419.

Variants:

The editor of the 1984 Sämtliche Werke was unaware of Zweig MS 159 and lists variants between the edition (based on the first publication) and the Frankfurt MS.

The text of Zweig MS 159 is identical with that of the Sämtliche Werke, which means that it differs in certain words and phrases from the other extant manuscript. It is clear from the annotation that the Zweig version was the one prepared for publication.

Stefan Zweig, ‘Hugo von Hofmannsthal Gedächtnisrede zur Trauerfeier im Wiener Burghteater’ (1929), in Zeit und Welt, (Stockholm: Bermann-Fisher, 1946), pp. 33-48.

Eugene M. Weber, 'A Chronology of Hofmannsthal's poems', in Euphorion, Band 63, Heft 1/2, (Heidelberg: Carl Winter, 1969), pp. 284-328. 'Vor Tag' is no. 124 on p. 326.

Horst Weber, Hugo von Hofmannsthal Bibliographie, (Berlin: Walter de Gruyter, 1972), no. 140, pp. 223-224.

Listed in the brochure for the British Library exhibition 75 Musical and Literary Autographs from the Stefan Zweig Collection (1986) and in the programme book for the Stefan Zweig Series of Concerts, Lectures and Exhibitions April - May 1987.

Catalogue of Additions to the Manuscripts 1986-1990, (London: British Library, 1993), Part I, p. 72.

Oliver Matuschek, Ich kenne den Zauber der Schrift, (Vienna: Inlibris, 2005), p. 245.

Hofmannsthal-Gesellschaft, Hofmannsthal Bibliographie online (At http://hofmannsthal.bibliographie.de/)

Page 180 2021-08-21 Zweig MS 160-161 STEFAN ZWEIG COLLECTION. Vols. CLX, CLXI. Friedrich Hölderlin: manuscripts of poems; circa 1798-1800. Two

Collection Area British Library: Western Manuscripts

Reference Zweig MS 160-161

Creation Date c 1798-1800

Extent and Format 2 items

Languages of Material English; German

Access Conditions Restrictions to access apply please consult British Library staff

Title STEFAN ZWEIG COLLECTION. Vols. CLX, CLXI. Friedrich Hölderlin: manuscripts of poems; circa 1798-1800. Two volumes. (c 1798-1800)

Legal Status Not Public Record(s)

Zweig MS 160 Johann Christian Friedrich Hölderlin: Poem 'Stuttgart' [1800- 1801] (c 1800)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 160

Creation Date c 1800

Extent and Format 1 item

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Johann Christian Friedrich Hölderlin: Poem 'Stuttgart' [1800-1801] (c 1800)

Physical Characteristics 247 x 204mm. ff. 3. Two bifolia, originally interleaved but now separated. The second half of the outer bifolium is blank on recto and verso. One stanza per page occupying the whole width, with longer lines running on at the right hand edge of the line below. Watermark: J WHATMAN 1794 Written in black ink on white wove paper. (See Add. MS 73174, f. 110 for the draft physical description prepared by Dr Friedenthal in 1947 for Beissner’s edition of the works.

Scope and Content Autograph fair copy in Kurrentschrift. Folio 1 annotated by other hands as described above.

An elegy of six stanzas with the title spelled ‘Stutgard’. Each strophe is formed of nine distiches in groups of three. The poem reflects the celebration of autumn in a landscape through which the wanderer and a companion pass, considering the role of the gods. They come to his birthplace which evokes memories of the past and its heroes, and a vision of Stuttgart as priestess. The wanderer appeals to the town and the spirits of the land, recognising that celebrations will end and life is short.

Begins: ‘Wieder ein Glük ist erlebt. Die gefährliche Dürre geneset,’

Ends: ‘Aber die größere Lust sparen dem Enkel wir auf.’

Below the title is the autograph dedication 'An Siegfried Schmidt'. Folio 1 bears annotations

Page 181 2021-08-21 in various hands which have been identified and interpreted by Autenrieth and Kelletat (Johanna Autenrieth and Alfred Kelletat, Katalog der Hölderlin-Handschriften, (Stuttgart: Kohlhammer, 1961), no.443. Cf. the same annotators in the Württembergische Landesbibliothek MS, no. 5). According to their findings, the deletion of the autograph title and the insertion (top centre in ink) of the alternative ‘Herbstfeyer’ are in the hand of the poet Justinus Kerner (Zweig thought the alternative title was in the hand of Hölderlin’s friend Isaac von Sinclair (see record card at Add. MS 73168, f. 1). However he was not confident of his opinion as he also suggested and deleted the names of Seckendorf or Mörike). Kerner also wrote ‘steht schon in der Samlung’ at the top left in ink and ‘(in Sekendorfs Musenalm. gedrukt.)’ at the top right in ink. Two annotations in red crayon, ‘p.99’ at top left and ‘Creutze zu vergleichen’ at top right are thought to be by Fritz Breunlin, Hölderlin’s nephew. Also at the top right are the figures ‘41/99’ in ink and ‘Nr. 98’ in pencil written by Karl Gok, Hölderlin’s step-brother, the latter overwritten with the figure 5 in ink. At the bottom of the page are ‘8 C’ over W on the left in pencil, possibly a dealer’s mark, and on the right ‘Hölderlin’ in very faint pencil, attributed tentatively to Carl Künzel.

Sattler believes that Hölderlin started writing the present poem in Stuttgart in September 1800 at the earliest. The composition may have continued through the winter and even into the New Year of 1801. On 3 February Siegfried Schmid wrote a letter of thanks to Hölderlin, but not necessarily relating to this poem (see Beissner 2.2 p.584). Philipp Siegfried Schmid (b.1774, d.1859), was a writer and a cadet in the Imperial army. He first met Hölderlin in Frankfurt in 1797 and they became part of the same circle of friends in Homburg. Hölderlin dedicated ‘Stuttgart’ to him to welcome him back from the war, but Zweig MS 160 may not be the copy he sent to his friend. Hölderlin was able to make amendments to the Homburg manuscript, possibly in spring 1804, but when the time came for publication in the Musenalmanach he was already insane, and his friends Isaac von Sinclair and Leo Freiherr von Seckendorf saw it into print (Sattler, p. 181). It is not clear who made the decision to change the title to ‘Herbstfeier’.

In his essay ‘Handschriften als schöpferische Dokumente’, Stefan Zweig gave as an example of a manuscript which sparked his schoolboy interest in collecting ‘ein Wahnsinnsgedicht Hölderlins mit seinem wirr durcheinander fahrenden Zeilen’. He was sufficiently fascinated by the poet to include him in the second volume of his Baumeister der Welt series, alongside Kleist and Nietsche, under the title Der Kampf mit dem Dämon, (Leipzig, Insel Verlag, 1925), pp. 23-151. He wrote here of Hölderlin’s perfecting lyrical form and creating heroic rhythm, and of his habit of excessive revision, creating new versions of poems in several layers on the same manuscript (as evidenced by the Homburg MS). He spoke of thousands of pages destroyed and of lack of recognition from a whole generation, but concluded that despite his weakness as an artist and incompetence for life, Hölderlin triumphed through singleness of purpose and the music of his words.

Zweig published articles about Hölderlin including: ‘Die Heilige Schar. Vorklang zu einem Hölderlin-Bildnis’, in Die Horen, Heft I, (Berlin, 1924); ‘Phaeton oder die Begeisterung’, in Die Literatur, 27 Jahrgang, Heft 3, (Berlin, 1924); ‘Hölderlins Untergang’, in Neue Freie Presse, (Vienna, 11 Nov. 1924).

Zweig also owned the following autograph manuscripts of Hölderlin:

‘Burg Tübingen’, acquired in 1929 and now in the Bodmer Foundation, Geneva.

‘Der Frühling’, acquired in 1927 and now in the Bodmer Foundation, Geneva.

‘Der Herbst’, acquired in 1926 and now in the Bodmer Foundation, Geneva.

Three fragments of ‘Hyperion’, acquired in 1925 and 1931 and now in the Bodmer Foundation, Geneva.

‘Lied der Freundschaft’, acquired in 1929 and now in the Bodmer Foundation, Geneva (Facsimile in Martin Bircher, Musik und Dichtung,[catalogue of an exhibition at the Bodmer Foundation], (Munich: Saur, 2002), pp. 195-198).

Three poems, ‘Die Kürze’, ‘Ehemals und jetzt’, ‘Lebenslauf’, acquired in 1921 and now in the Bodmer Foundation, Geneva.

‘Patmos’, date of acquisition unknown, now in the Bodmer Foundation, Geneva.

Two poems, ‘Dem Sonnengott’, ‘Der Mensch’, acquired in 1926 and now in the Bodmer Foundation, Geneva.

‘Stimme des Volkes’, acquired before 1930 and now in the Bodmer Foundation, Geneva.

Page 182 2021-08-21

‘Der Winter’, acquired in 1909, and now in the Bodmer Foundation, Geneva.

Seven pieces of Pindar fragments, date of acquisition unknown, now in the Bodmer Foundation, Geneva

Legal Status Not Public Record(s)

Custodial History The Hölderlin-Gesellschaft facsimile publication states that this manuscript was apparently amongst Hölderlin’s papers when the first collection of his poems was made about 1820. It may subsequently have belonged to Carl Künzel, the autograph collector (b.1808, d.1877) whose hand has possibly been detected on f. 1, and then to his nephew Wilhelm Künzel (d. 1896).

On 1 March 1898 the manuscript was sold by Leo Liepmannssohn of Berlin, auction 22, lot 446. It was offered again by Liepmannssohn on 21 October 1926, auction 48, lot 437, and purchased by Zweig through Heinrich Rosenberg. Zweig’s record card in Add. MS 73168, f. 31 notes ‘Prachtstück ersten Ranges! Nie gelangte ein Gedicht Hölderlins von [deletion] ähnlichem Umfang zum Verkauf’.

The Zweig Provenance Papers in Add. MS 73174, ff. 107-112 include two letters from the Hölderlin Archiv in Stuttgart to Dr M. Altmann (ff. 108, 109) relating to the inclusion of the poems in Beissner’s edition (April and August 1947), and a draft physical description (f. 110) prepared by Dr Friedenthal for the same edition.

First published

Leo Freiherr von Seckendorf (ed.), Musenalmanach für das Jahr 1807, (Regensburg: Montag- und Weißischen Buchhandlung, 1807), pp 3-12. Title ‘Die Herbstfeier’. Based on the Homburg text or a derivative (Online at http://www.textkritik.de/hoelderlin/hoelderlin_drucke.htm from this page click on 1807, then on each double opening).

Franz Zinkernagel (ed.), Friedrich Hölderlin Gedichte, (Leipzig: Insel, 1922), pp. 291- 296.

Friedrich Beissner (ed.), Hölderlin. Sämtliche Werke, (Stuttgart, Kohlhammer, 1951),text vol. 2.1, Gedichte nach 1800, pp. 86-89, commentary vol. 2.2, pp. 584- 591. The Stuttgarter Ausgabe.

Günter Mieth (ed.), Friedrich Hölderlin. Sämtliche Werke und Briefe, (Darmstadt: Wissenschaftliche Buchgesellschaft, 1970), vol. 1, text, pp. 305-308, notes, pp. 1025- 1029.

D. E. Sattler (ed.), Friedrich Hölderlin. Sämtliche Werke, (Frankfurt am Main: Roter Stern, 1976-2008), Vol. 6. Elegien und Epigramme. Includes text and facsimile of H3, text of the 1807 printing, and a reconstructed text, pp. 181-201, and text and facsimile of the five lines of H1. The Frankfurter Ausgabe.

Variants

Page 183 2021-08-21 There are few variants between the three fair copy manuscripts, mainly in punctuation. Beissner’s Stuttgarter Ausgabe (2.2 pp. 585-588) has a full critical apparatus, and the Hölderlin-Gesellschaft facsimile of Zweig MS 160 lists the readings that are different in these two sources as well as the minor Schreibfehler corrected in the Zweig manuscript. The only unique wording in the present manuscript is at line 91 ‘Genien des Landes!’ where the other sources all have ‘Engel des Vaterlandes!’

Reproduced:

Christian Waas, Siegfried Schmid aus Friedberg in der Wetterau, der Freund Hölderlins, in Hessische Volksbücher, Bd 66-69 (Darmstadt, 1928), following p. 310. A facsimile Zweig MS 160, f. 1 but not showing the annotations at the top of the leaf.

Hölderlin Stutgard. ‘Originalgetreue Wiedergabe der Londoner Handschrift. Erläuterungen von Cyrus Hamlin’. Schriften der Hölderlin-Gesellschaft, Bd 8. (Tübingen, 1970). Full facsimile, text and variants of Zweig MS 160, with introduction, notes and structural analysis.

Bibliography:

Stefan Zweig, Der Kampf mit dem Dämon, ‘Baumeister der Welt’, Vol. 2, (Leipzig, Insel Verlag, 1925), pp. 23-151.

Stefan Zweig, ‘Meine Autographen-Sammlung’, in Philobiblon (Vienna), 3. Jahrgang, Heft 7, Sept. 1930, pp. 279 ff. Reprinted in Matuschek pp. 128-132.

Wilhelm Frels, Deutsche Dichterhandschriften von 1400 bis 1900, (Leipzig: Hiersemann, 1934), pp. 134-135. Bibliographical Publications Germanic Section Modern Language Association of America Vol. II.

Listed in the brochure for the British Library exhibition 75 Musical and Literary Autographs from the Stefan Zweig Collection (1986) and in the programme book for the Stefan Zweig Series of Concerts, Lectures and Exhibitions April - May 1987.

Catalogue of Additions to the Manuscripts 1986-1990, (London: British Library, 1993), Part I, p. 72.

Oliver Matuschek, Ich kenne den Zauber der Schrift, (Vienna: Inlibris, 2005), p. 243.

Page 184 2021-08-21 Zweig MS 161 Johann Christian Friedrich Hölderlin: Two poems 'An die Deutschen' and 'Die scheinheiligen Dichter' (c 1798)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 161

Creation Date c 1798

Extent and Format 1 item

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Johann Christian Friedrich Hölderlin: Two poems 'An die Deutschen' and 'Die scheinheiligen Dichter' (c 1798)

Physical Characteristics 160 x 120mm. f. 1. The bottom edge is cut away with loss of one line of text on the verso. Each poem occupies one side of the leaf, across the whole width with longer lines running on at the right hand edge of the line below. Watermark: BRENN (ER & COMP IN ) BA (SEL) Written in black ink on white laid paper with wire lines. (See Add. MS 73174, f. 111 for the draft physical description prepared by Dr Friedenthal in 1947 for Beissner’s edition of the works.

Scope and Content Autograph drafts in Kurrentschrift. Signed at the foot of the recto (the corresponding signature on the verso is cut away).

Two of the twelve epigrammatic odes that Hölderlin prepared for publication in 1798.

Both of eight lines in two stanzas.

'An die Deutschen': a call to action for Germans who, like a child playing on a wooden horse, are more inclined to thoughts than deeds.

Begins: ‘Spottet ja nicht des Kinds, wenn es mit Peitsch’ und Sporn’

Ends: ‘Daß ich büße die Lästerung.’

The first version of a poem that Hölderlin later expanded. There is an erased pencil note in an unidentified hand at the head of the leaf. In line 1, the K of ‘Kinds’ and the e of ‘Peitsch’ overwrite an erroneous D and s respectively. The word ‘glüklich’ in line 2 is deleted.

'Die scheinheiligen Dichter': hypocritical poets must not speak of gods in whom they have no belief – the gods are manifest in Nature.

Begins: ‘Ihr kalten Heuchler, sprecht von den Göttern nicht!’

Ends: ‘Und ist ein großes Wort vonnöthen,’ with the missing final line ‘Mutter Natur so denkt man deiner.’ added in pencil in the margin by another hand.

Hölderlin expanded 'An die Deutschen' to fourteen stanzas circa 1800, and developed opening of the separate poem ‘Rousseau’ from folios 41 and following of this version (see Beissner 2.1 pp. 9-11 and 2.2 pp. 396-403).

For Zweig’s writings on Hölderlin and the other autograph manuscripts that he owned, see the description of Zweig MS 160

Page 185 2021-08-21 Legal Status Not Public Record(s)

Custodial History Auctioned by Liepmannssohn, Berlin, 7 June 1886, lot 370 (See Johanna Autenrieth and Alfred Kelletat, Katalog der Hölderlin-Handschriften, (Stuttgart: Kohlhammer, 1961), no. 442).

Purchased by Zweig from Karl Ernst Henrici of Berlin, 22 February 1926, auction 107, the sale of Gustav Könnecke’s collection, lot 276 (see record card in Add. MS 73168, f. 30).

C. L. Neuffer (ed.), Taschenbuch fur Frauenzimmer von Bildung, auf das Jahr 1799. (Stuttgart, Steinkopf, 1799), p. 68 ‘An die Deutschen’.

—— Taschenbuch fur Frauenzimmer von Bildung, auf das Jahr 1800. p. 280 'Die scheinheiligen Dichter' (Both publications available online at http://www.textkritik.de/hoelderlin/hoelderlin_drucke.htm from this page click on year and link from title).

Franz Zinkernagel (ed.), Friedrich Hölderlin Gedichte, (Leipzig: Insel, 1922), 'Die scheinheiligen Dichter' p. 132, and ‘An die Deutschen’, two versions, pp. 185-187.

Friedrich Beissner (ed.), Hölderlin. Sämtliche Werke, (Stuttgart, Kohlhammer, 1946),text vol. 1.1 Gedichte bis 1800, pp. 256, 257, commentary vol. 1.2, pp. 570- 572 and 2.2 pp. 1002-1003 (belated recognition of Zweig MS 161). The Stuttgarter Ausgabe.

Günter Mieth (ed.), Friedrich Hölderlin. Sämtliche Werke und Briefe, (Darmstadt: Wissenschaftliche Buchgesellschaft, 1970), vol. 1, p. 224, see also pp. 990-991.

D. E. Sattler (ed.), Friedrich Hölderlin. Sämtliche Werke, (Frankfurt am Main: Roter Stern, 1976-2008), Vol. 4. Oden I. Texts and reproductions pp. 78-81. Vol. 5. Oden II. Commentary pp. 525-538. The Frankfurter Ausgabe.

Variants:

Variants from the published texts are very minor. See the apparatus in Beissner 1.2, pp. 571, 572 and Sattler 5, pp.526, 538.

The strip removed from the manuscripts differs from the text added in the margin in having an exclamation mark after Natur and ‘gedenkt’ for ‘denkt’.

Bibliography:

Stefan Zweig, ‘Meine Autographen-Sammlung’, in Philobiblon (Vienna), 3. Jahrgang, Heft 7, Sept. 1930, pp. 279 ff. Reprinted in Matuschek pp. 128-132.

Wilhelm Frels, Deutsche Dichterhandschriften von 1400 bis 1900, (Leipzig: Hiersemann, 1934), pp. 134-135. Bibliographical Publications Germanic Section Modern Language Association of America Vol. II.

Johanna Autenrieth and Alfred Kelletat, Katalog der Hölderlin-Handschriften, (Stuttgart: Kohlhammer, 1961), no. 442.

Listed in the brochure for the Stefan Zweig Series of Concerts, Lectures and Exhibitions April - May 1987.

Catalogue of Additions to the Manuscripts 1986-1990, (London, British Library, 1993), Part I, p. 72.

Page 186 2021-08-21 Zweig MS 162 Henrik Johan Ibsen: Fragment of article 'En Udflugt til Abydos' ([1869])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 162

Creation Date [1869]

Extent and Format 1 item

Languages of Material Norwegian

Access Conditions Restrictions to access apply please consult British Library staff

Conditions of Use Letter of introduction required to view this manuscript

Title Henrik Johan Ibsen: Fragment of article 'En Udflugt til Abydos' ([1869])

Physical Characteristics 216 x 138mm. f. 1. A single leaf written closely on both sides across the whole width. Interlineations and additions at the head and in the left margin on the recto

Scope and Content Autograph draft with corrections and additions.

The article describes Ibsen’s visit to the ruins of Abydos in Egypt on his way to the ceremony for the opening of the Suez Canal in 1869. The manuscript contains notes describing the journey by steamship from Quenneh in Nubia and the activities of those on board.

Begins: ‘Mandagen den 8 de November dampede vi paa "Ferous" nedover Nilen’

Apart from title and first line, the manuscript appears to be a quick first draft of incomplete phrases. The name 'Ibsen' is written in pencil in another hand at the top left, and 20/7 07 at the bottom left on f. 1.

Zweig also owned a manuscript of ‘Verbrannte Schiffe’, Ibsen’s translation into German of his own poem ‘Braendte Skibe’. He acquired it in 1926, and it is now in the Bodmer Foundation, Geneva.

Legal Status Not Public Record(s)

Custodial History Purchased by Zweig from Antiquariat Ignaz Schwarz, Vienna, Auction 11, 9 April 1924.

Provenance Papers Add. MS 73175, ff. 1-3 annotated 'nicht im Katalog'.

An index card relating to this manuscript is in private hands in Switzerland.

Offered for sale by Zweig in 1937 through Hinterberger, Vienna, cat. XX, nr. 707 but returned to the collection unsold.

First published in the Norwegian magazine Samtiden, editor Gerhard Gran, (Kristiania: Aschehoug & Co.), No. 2, 1908, pp. 108-116 from the text prepared for Ibsen’s Efterladte skrifter. An English translation by Lee M. Hollander from the magazine publication appeared in Poet Lore, vol. 20, no. 3 (Philadelphia, 1909), pp. 192-200 (Online at http://search.proquest.com/docview/1296786384/fulltext/).

Halvdan Koht and Julius Elias (eds.), Henrik Ibsen, Efterladte skrifter, (Kristiania: Gyldendal, 1909) Vol. 1, Digte, Prosastykker etc. pp. 288-298. Variant readings are given in Vol. 3, pp. 359-363.

F. Bull, H. Koht, D. Arup Seip (eds.), Henrik Ibsens Samlede Verker, Hundreårsutgave, vol. XV, (Oslo: Gyldendal, 1930), pp. 340-351.

Page 187 2021-08-21 University of Oslo, Henrik Ibsens Skrifter, Vol. 16 Sakprosa (Oslo: Aschehoug, 2010). Text volume pp. 430-450 and 451-472 (two versions) and description of the manuscripts pp. 545-549; commentary volume, pp. 565-584.

Henrik Ibsen’s Writings Project: electronic editions and commentaries with links to online facsimiles, forthcoming on the Text Encoding Initiative website (For details of the itinerary and passengers, see the University of Oslo edition, Vol. 16 commentary, pp. 565-566).

Variants:

The Efterladte skrifter in which the text is based on NBO Ms.8o 1216b includes a list of the variants in NBO Ms.8o 1216a on pp. 360-362. Because the Zweig MS is only an incomplete draft, it is not possible to compare variants between this manuscript and those in Oslo or between the Zweig MS and the print versions. The most obvious change is the date in the first line from 8 November in Zweig MS 162 and NBO Ms.8o 1216a to 15 November in NBO Ms.8o 1216b and the editions based on it.

Bibliography:

Hinterberger sale catalogue XX, Nr 707 (Add. MS. 73183 D).

Listed in the brochure for the British Library exhibition 75 Musical and Literary Autographs from the Stefan Zweig Collection (1986) and in the programme book for the Stefan Zweig Series of Concerts, Lectures and Exhibitions April - May 1987.

Catalogue of Additions to the Manuscripts 1986-1990, (London: British Library, 1993), Part I, p. 72.

Oliver Matuschek, Ich kenne den Zauber der Schrift, (Vienna: Inlibris, 2005), p. 248, with facsimile p. 249.

For Ibsen’s attitude to Egypt, see Elisabeth Oxfeldt, Nordic Orientalism. Paris and the Cosmopolitan Imagination 1800-1900 (Copenhagen: Museum Tusculanum Press, 2005), pp. 153-154, 157-158.

Zweig MS 164 (1806)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 164

Creation Date 1806

Extent and Format 1 item

Languages of Material German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXIV. Heinrich von Kleist: three patriotic poems; 1806. Fair copies. German. See Heinrich von Kleist, Sämtliche Werke und Briefe, ed. H. Sembdner, vol. 1 (Munich, 1964), pp. 24-28.

ff. 5. 211 x 163mm.

1. ff. 1-3v. 'Germania an ihre Kinder'.

2. ff. 4-4v. 'An Kaiser Franz I'.

3. ff. 5-5v. 'Kriegslied der Deutschen'.

Bernd Heinrich Wilhelm von Kleist, author: Poetry GERMAN: Three patriotic poems by Heinrich von Kleist: 1806: Germ: Autogr. fair copies.

Page 188 2021-08-21 Legal Status Not Public Record(s)

Zweig MS 165 (1660)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 165

Creation Date 1660

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXV. Jean de la Fontaine: five poems; 1660. Fair copies. French. See Oeuvres Diverses de la Fontaine, ed. P. Clarac (Paris, 1948), pp. 500, 501, 509.

f. 1. 226 x 167mm.

1. f. 1. 'Madrigal Au Roy et a l'Infante'.

2. f. 1. 'Autre Pour le Roy'.

3. f. 1. 'Autre Sur le mesme suiect'

4. f. 1v. 'Épigramme A Monseigneur le surintend-ant qui ne s'éstoit pas Contententé de trois madrigaux'.

5. f. 1v. 'Autre Pour l'Infante'.

Poetry FRENCH: Jean de La Fontaine, poet: Five poems by Jean de La Fontaine: 1660: Fr: Autogr. fair copies.

Legal Status Not Public Record(s)

Page 189 2021-08-21 Zweig MS 166 (1770)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 166

Creation Date 1770

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXVI. Henri Masers de Latude: part 20 of the Mémoire sent from Vincennes to M. de Sartine, Lieutenant-General of the Police; 1770. French.

ff. 24. 159 x 88mm. Notebook with marbled paper covers, inserted in a portfolio of matching paper-covered boards, half bound in red morocco and gold-tooled. Outer binding measures 164 x 100mm.

Antoine Raymond Jean Gualbert Gabriel de Sartine, Comte d'Alby: Henri Masers de Latude, French adventurer: Part 20 of a Mémoire from Vincennes sent to A. Sartine by Henri Masers de Latude: 1770: Fr: Autogr.

Legal Status Not Public Record(s)

Zweig MS 167 (Early 19th century)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 167

Creation Date Early 19th century

Extent and Format 1 item

Languages of Material Italian

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXVII. Giacomo Leopardi: poem headed 'XXXVIII. Dal greco di Simonide'; early 19th cent. Draft. Italian. See Tutti le Opere di Giacomo Leopardi, ed. Francesco Flora, 'Le Poesie e le Prose', vol. I (Milan, 1945), p. 135.

ff. 2. 133 x 97mm.

Giacomo Leopardi, poet: Poetry ITALIAN: Poem headed 'XXXVIII. Dal greco di Simonide' by Giacomo Leopardi: early 19th cent: Ital: Autogr. draft.

Legal Status Not Public Record(s)

Page 190 2021-08-21 Zweig MS 168 (Unspecified)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 168

Creation Date Unspecified

Extent and Format 1 item

Languages of Material English; Latin

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXVIII. John Locke; Latin epitaph on Descartes; n.d. Fair copy. Accompanied by an engraving of Descartes by J. B. Grateloup after F. Hals.

ff. 4. 271 x 212mm. overall. Epitaph (f. 4) 94 x 75mm; engraving (f. 2 pasted down) 103 x 72mm.

includes:

• f. 2 Jean Baptiste Grateloup, engraver: Réne Descartes, philosopher: Frans Hals, portrait painter: Art. Engravings, etc: Portrait of Descartes by Jean Baptiste Grateloup, after Frans Hals: n.d: Engr. • f. 4 Réne Descartes, philosopher: John Locke, philosopher: Epitaph by John Locke on Réne Descartes: n.d: Lat: Autogr. fair copy.

Legal Status Not Public Record(s)

Zweig MS 169 (1791)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 169

Creation Date 1791

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXIX. Louis XVI: Decree to the Assemblée Législative; 1791 (see f. 1). French.

ff. 2. 230 x 187mm.

Louis XVI of France: Decree to the Assemblée Législative from Louis: 1791: Fr: Autogr.

Legal Status Not Public Record(s)

Page 191 2021-08-21 Zweig MS 170 (c 1887)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 170

Creation Date c 1887

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXX. Stéphane Mallarmé: sonnet 'La chevelure vol d'une flamme à l'extrême'; circa 1887. Fair copy. French. See S. Mallarmé, Oeuvres Complètes, ed. H. Mondor and G. Jean-Aubry (Paris, 1945), p. 53.

f. 1. 230 x 187mm.

Poetry FRENCH: Stéphane Mallarmé, poet: Sonnet 'La chevelure vol d'une flamme à l'extrême' by Stéphane Mallarmé: circa 1887: Fr: Autogr. fair copy.

Legal Status Not Public Record(s)

Zweig MS 171 ([1775])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 171

Creation Date [1775]

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXI. Marie Antoinette: letter, with seal, to Count Rosenberg; [1775]. French.

ff. 2. 189 x 146mm.

Louis XVI of France; Marie Antoinette: Count Rosenberg: Letter to Count — Rosenberg from Marie Antoinette: [1775]: Fr.

Legal Status Not Public Record(s)

Page 192 2021-08-21 Zweig MS 172 (c 1813)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 172

Creation Date c 1813

Extent and Format 1 item

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXII. Thomas Moore: poem 'The Last Rose of Summer'; circa 1813. Fair copy. See The Works of Thomas Moore, Esq., (Paris: Galignani, 1820), vol. iv, pp. 121-122.

ff. 2. 199 x 165mm.

Poetry ENGLISH: Thomas Moore, poet: Poem 'The Last Rose of Summer' by Thomas Moore: circa 1813: Autogr. fair copy.

Legal Status Not Public Record(s)

Zweig MS 173 (after Aug 1808)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 173

Creation Date after Aug 1808

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXIII. Joachim Murat: letter as King of Naples; after Aug. 1808. French.

ff. 2. 247 x 200mm.

Joachim Murat of Naples and Sicily: Letter to — from JOACHIM MURAT: aft. Aug. 1808: Fr: Autogr.

Legal Status Not Public Record(s)

Page 193 2021-08-21 Zweig MS 174 ([1921])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 174

Creation Date [1921]

Extent and Format 1 item

Languages of Material Italian

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXIV. Benito Mussolini: article 'Responsibilità'; [1921]. Fair copy. Italian.

ff. 4. 233 x 214mm. (f. 1); 232 x 149mm. (f. 2); 213 x 138mm. (f. 3); 221 x 186mm. (f. 4).

Benito Mussolini, Italian dictator: Article 'Responsibilità' by Benito Mussolini: 1921: Ital: Autogr. fair copy.

Legal Status Not Public Record(s)

Zweig MS 175 (1870)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 175

Creation Date 1870

Extent and Format 1 item

Languages of Material German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXV. Friedrich Nietzsche: treatise 'Die Geburt des tragischen Gedankens'; 1870 (see f. 1). Fair copy made for Cosima Wagner. German. Early version of Nietzsche's first major work The Birth of Tragedy. See F. Nietzsche, Werke, ed. A. Baeumler, vol. I (Leipzig, 1930), pp. 27-191.

ff.i+30. Contemporary binding of brown cloth. 230 x 196mm.

Friedrich Wilhelm Nietzsche, philosopher: Cosima Wagner, wife of R Wagner: Treatise 'Die Geburt des tragischen Gedankens' , copied out by the author for Cosima Wagner by Friedrich Wilhelm Nietzsche: 1870: Germ: Autogr. fair copy.

Legal Status Not Public Record(s)

Page 194 2021-08-21 Zweig MS 176 (c 1800)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 176

Creation Date c 1800

Extent and Format 1 item

Languages of Material German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXVI. 'Novalis', [pseudonym of Friedrich von Hardenberg]: 'Die Erfüllung', the beginning of the unfinished second part of the novel 'Heinrich von Ofterdingen'; circa 1800. Draft. German. See Novalis, Schriften, ed. P. Kluckhohn and R. Samuel, vol. 1, 'Das dichterische Werk' (2nd ed. Stuttgart, 1960), pp. 317-319.

ff. 2. 244 x 196mm.

Baron Friedrich Leopold von Hardenberg,; alias 'Novalis'; author: Part of novel Heinrich von Ofterdingen by Baron Friedrich Leopold von Hardenberg: circa 1800: Germ: Fragm: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 177 (c 1728)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 177

Creation Date c 1728

Extent and Format 1 item

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXVII. Alexander Pope: poem addressed to the Earl of Oxford; circa 1728. See The Twickenham Edition of the Works of Alexander Pope, vol. VI, 'Minor Poems', ed. N. Ault (1954), p. 294.

ff. 3. 201 x 165mm. (f. 3) and 101 x 114mm. (f. 2) pasted down on sheet 367 x 194mm.

Alexander Pope, poet: Poem 'To the Earl of Oxford upon a piece of News . . .' by Alexander Pope: circa 1728: Autogr.

Legal Status Not Public Record(s)

Page 195 2021-08-21 Zweig MS 178 (1849)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 178

Creation Date 1849

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXVIII. Pierre Joseph Proudhon: article 'A propos de Louis Blanc'; 1849 (see f. 2). Draft. French. See Oeuvres Complètes de Pierre Joseph Proudhon, vol. xix, 'Mélanges' iii (Paris, 1870), pp. 41-47.

ff. 7. Paper covers. 350 x 227mm.

Pierre Joseph Proudhon, political writer: Article 'A propos de Louis Blanc' by Pierre Joseph Proudhon: 1849: Fr: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 179-180 STEFAN ZWEIG COLLECTION. Vols. CLXXIX, CLXXX. Rainer Maria Rilke: prose narrative and letter; 1899, 1920. Two

Collection Area British Library: Western Manuscripts

Reference Zweig MS 179-180

Creation Date 1899-1920

Extent and Format 2 items

Languages of Material English; German

Title STEFAN ZWEIG COLLECTION. Vols. CLXXIX, CLXXX. Rainer Maria Rilke: prose narrative and letter; 1899, 1920. Two volumes. (1899-1920)

Legal Status Not Public Record(s)

Page 196 2021-08-21 Zweig MS 179 (1899)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 179

Creation Date 1899

Extent and Format 1 item

Languages of Material English; German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXIX. Prose narrative 'Die Weise von Liebe und Tod des Cornets Christoph Rilke'; 1899 (see f. 1). Fair copy. German. See R. M. Rilke, Gesammelte Werke, vol. 4 (Leipzig, 1930), 'Schriften in Prosa', pp. 5-34. Zweig's note of gift by the author (f. i).

ff. i+27. Binding of brown morocco, gold-tooled by E. A. Enders of Leipzig. 200 x 144mm.

E. A Enders; bookbinders, Leipzig: Bindings GERMAN: Bindings in Stefan Zweig Collection by Enders of Leipzig: 20th cent.

Rainer Maria Rilke, poet: Prose narrative Die Weise von Liebe und Tod des Cornets Christoph Rilke by Rainer Maria Rilke: 1899: Germ: Autogr. fair copy.

Legal Status Not Public Record(s)

Zweig MS 180 (1920)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 180

Creation Date 1920

Extent and Format 1 item

Languages of Material German

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXX. Letter to A. Wolfenstein; 1920. German.

f. 1. 175 x 135mm.

Rainer Maria Rilke, poet: A. Wolfenstein: Letter to A. Wolfenstein from Rainer Maria Rilke: 1920: Germ.

Legal Status Not Public Record(s)

Page 197 2021-08-21 Zweig MS 181 (1870-[1871])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 181

Creation Date 1870-[1871]

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXXI. Arthur Rimbaud: 'Poésies'; 1870-[1871]. Fair copies. French. See Oeuvres Complètes de Arthur Rimbaud, ed. R. de Renéville and J. Monquet (Paris, 1946), pp. 40-69.

ff. 47. Late 19th-cent. binding of red cloth, with gilt-stamped title, decorated spine and marbled endpapers. 323 x 220mm.

1. ff. 2-3v. 'Les Reparties de Nina'.

2. f. 5. 'Venus Anadyomène'.

3. f. 5v. 'Un français de soixante dix'. Dated 3 Sept. 1870.

4. ff. 7-7v. 'Première Soirée'.

5. f. 7v. 'Sensation'. Dated March 1870.

6. ff. 9-9v. 'Bal des pendus'.

7. ff. 11-11v. 'Les effarés'. Dated 20 Sept. 1870.

8. ff. 13-13v. 'Roman'. Dated 29 Sept. 1870.

9. f. 15. 'Rages de Césars'.

10. f. 17. 'Le mal'.

11. ff. 19-19v. 'Ophélie'.

12. f. 21. 'Le châtiment de Tartufe'.

14. f. 23. 'A la Musique'.

15. ff. 25-28. 'Le Forgeron'.

16. ff. 30-32v. 'Soleil et Chair'.

17. f. 35. 'Le Dormeur du Val'. Dated Oct. 1870.

18. f. 37. 'Au Cabaret Vert'. Dated Oct. 1870.

19. f. 39. 'La Maline'. Dated Oct. 1870.

20. f. 41. 'L'éclatante victoire de Sarrebrück'. Dated Oct. 1870.

21. f. 43. 'Rêvé pour l'Hiver'. Dated Oct. 1870.

22. f. 45. 'Le Buffet'. Oct. 1870.

23. f. 47. 'Ma Bohème'.

Poetry FRENCH: Jean Nicolas Arthur Rimbaud, poet: 'Poésies' by Jean Nicolas Arthur Rimbaud: 1870-[1871]: Fr: Autogr. fair copies.

Page 198 2021-08-21 Legal Status Not Public Record(s)

Zweig MS 182 (c 1787)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 182

Creation Date c 1787

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXXII. Maximilien de Robespierre: speech 'La rose croît pour tous les hommes'; circa 1787. Draft. French.

ff. 7. 300 x 194mm.

Maximilien de Robespierre, French politician: Speech 'La rose croÎt pour tous les hommes' by Maximilien de Robespierre: circa 1787: Fr: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 183 (18th century)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 183

Creation Date 18th century

Extent and Format 1 item

Languages of Material English; French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXXIII. Madame Manon-Jeanne Roland de la Platière: 'Rêveries Philosophiques', 'Pensées Détachées' and 'Lettres à Madame P.'; 18th cent. French.

ff. ii+32. Binding of red morocco, gold-tooled by Rivière and Son. 244 x 196mm.

Rivière and Son; bookbinders: Bindings ENGLISH: Bindings in Stefan Zweig Collection by Rivière: 20th cent.

Madame Manon-Jeanne Roland de la Platière, wife of J M Roland de la Platière: 'Rêveries Philosophiques', etc., by Mme Manon-Jeanne Roland de la Platière: late 18th cent: Fr: Autogr.

Page 199 2021-08-21 Legal Status Not Public Record(s)

Zweig MS 184-186 STEFAN ZWEIG COLLECTION. Vols. CLXXXIV-CLXXXVI. Romain Rolland: literary works; early 20th cent. Three volumes.

Collection Area British Library: Western Manuscripts

Reference Zweig MS 184-186

Creation Date Early 20th century

Extent and Format 3 items

Languages of Material English; French

Title STEFAN ZWEIG COLLECTION. Vols. CLXXXIV-CLXXXVI. Romain Rolland: literary works; early 20th cent. Three volumes. (Early 20th century)

Legal Status Not Public Record(s)

Zweig MS 184-185 STEFAN ZWEIG COLLECTION. Vols. CLXXXIV, CLXXXV. Two notebooks containing the final part of the novel

Collection Area British Library: Western Manuscripts

Reference Zweig MS 184-185

Creation Date 1911-1912

Extent and Format 2 items

Languages of Material English; French

Title STEFAN ZWEIG COLLECTION. Vols. CLXXXIV, CLXXXV. Two notebooks containing the final part of the novel 'Jean-Christophe'; 1911-1912. Draft. French. Entitled 'L'Aube Nouvelle', but published in the section 'La fin du voyage' as 'La Nouvelle Journée'. See Cahiers de la Quinzaine, series xiv, cahiers 2, 3 (Paris, 1912). ff. 111, 108. 219 x 177mm. Bound volumes. (1911-1912)

Legal Status Not Public Record(s)

Page 200 2021-08-21 Zweig MS 184 (1911-1912)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 184

Creation Date 1911-1912

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content Vol. CLXXXIV (ff.111)

Romain Rolland, French author: Final part of the novel Jean-Christophe by Romain Rolland: 1911-1912: Fr: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 185 (1911-1912)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 185

Creation Date 1911-1912

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content Vol. CLXXXV (ff.108)

Romain Rolland, French author: Final part of the novel Jean-Christophe by Romain Rolland: 1911-1912: Fr: Autogr. draft.

Legal Status Not Public Record(s)

Page 201 2021-08-21 Zweig MS 186 (1917-1919)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 186

Creation Date 1917-1919

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXXVI. Essays; early 20th cent. French.

ff. 18. 273 x 207mm.

1. ff. 1-17. 'La Jeunesse Suisse'; 1917 (see f. 17). Draft. Printed in R. Rolland, Les Précurseurs, (Paris, 1919), pp. 71-89.

2. f. 18. Declaration of independence of spirit at the end of the First World War; 1919 (f. 18v). Fair copy. Printed op. cit. pp. 221-222.

Romain Rolland, French author: Essays by Romain Rolland: 1917, 1919: Fr: Autogr.

Legal Status Not Public Record(s)

Zweig MS 187 ([1794])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 187

Creation Date [1794]

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXXVII. Louis Antoine de Saint-Just: draft decree concerning the creation of censorship; [1794]. French. See Oeuvres Complètes de Saint-Just, ed. C. Vellay, vol. II (Paris, 1908), pp. 538-539.

ff. 2. 257 x 192mm.

Louis Antoine de Saint Just, Member of Committee of Public Safety: Decree rel. to creation of censorship by Louis Antoine de Saint Just: [1794]: Fr: Autogr. draft.

Legal Status Not Public Record(s)

Page 202 2021-08-21 Zweig MS 188 Percy Bysshe Shelley: ‘Lines to —’, a sonnet to Lord Byron: autograph fair copy; headed ‘Jan 22.’ [composed 1821 or

Collection Area British Library: Western Manuscripts

Reference Zweig MS 188

Creation Date c 1821-1822

Extent and Format 1 item (1 folio; f. 1v blank)

Access Conditions Available for research unless otherwise stated

Conditions of Use Letter of introduction required to view this manuscript

Title Percy Bysshe Shelley: ‘Lines to —’, a sonnet to Lord Byron: autograph fair copy; headed ‘Jan 22.’ [composed 1821 or 1822] (c 1821-1822)

Physical Characteristics 165 x 122mm.Black ink on wove paper.No watermark.

Scope and Content Begins: ‘If I esteemed you less, Envy would kill / Pleasure’.Ends: ‘The worm beneath the sod / May lift itself in worship to the God’.

A sonnet of fourteen lines, divided into two stanzas of eight and six lines. The addressee or subject of the sonnet was first publicly identified as Lord Byron by Thomas Medwin in 1833. This poem should be distinguished from another entitled ‘Lord Byron’.The poem acknowledges Byron’s genius and reflects Shelley’s own sense of inferiority. The introductory prose line ‘I am afraid these verses will not please you, but’, which appears before Shelley’s rough draft in Bodleian MS Shelley adds. e. 17, is lacking in the present fair copy, which suggests that Shelley did not intend it to be included in the final version. The number ‘200’ is written on the verso.

The date of composition of the sonnet is disputed. Zweig noted January 1822 on his record card (Add MS 73168, f. 61), and the evidence of Mary Shelley’s headnote and social events in Italy at the start of the year would support this. From the jottings in the Hellas notebook, and the association of the autograph draft with the Charles the First manuscript, Robinson argues that it might have been begun in November 1821 and finalised in the following January. If Crook’s theory about the matching paper is correct, there is no need for a long gestation, as the fair copy could have been written immediately after the draft, on one of the following pages of the notebook which was then torn out.

In Thomas Medwin’s Life of Shelley, as revised by H. Buxton Forman in 1913, there is a reconstruction, possibly imagined, of the circumstances in which this sonnet was composed when both Shelley and Byron were staying in Pisa. It is suggested that Shelley was inspired by reading Byron’s Corsair, and wrote the poem the very next day. Crook and Reiman demonstrate from other sources that Byron’s work was familiar to the circle at Pisa at the start of 1822. Medwin claimed that Byron himself never saw the poem, though, if true, it is not clear whether the reason was Shelley’s premature death by drowning in July, or because friends advised him that the tone was too self-effacing.

Zweig described this maunscript on his record card as ‘eines der wichtigsten Documente aus der Heroenzeit der englischen Literatur’.

Legal Status Not Public Record(s)

Custodial History The present manuscript was owned by Mary Shelley who, after copying, gave it to her acquaintance Charlotte Murchison sometime between 1831 and 1833; sold at Sotheby’s in 1931 as the property of Sir Kenneth Murchison, of Hargrave Hall, Huntingdonshire, from the collection of Sir Roderick Murchison; purchased by Zweig at Sotheby’s sale, 16 December 1931, lot 713, through Maggs; BL 1986. Published: First published by Thomas Medwin, Shelley’s cousin, seven lines only, in his ‘Memoir of Shelley’ in the Athenaeum (London: J. Francis), Issue 248, 28 July 1832, p. 489; Medwin reprinted the lines unchanged in The Shelley Papers (London: Whittaker, Treacher & Co., 1833), p. 37, and with corrections and four additional lines in The Life of Percy Bysshe Shelley, ii (London: Thomas Cautley Newby, 1847), pp. 35 and 162; The Poetical Works of Percy Bysshe Shelley, ii, ed. William Michael Rossetti (London: E. Moxon, 1870), p. 362, note p. 585, fourteen lines published, with the first printing of the introductory prose line; The Life of Percy Bysshe Shelley by Thomas Medwin, ed. H. Buxton Forman, amended and extended ed. (London: Humphrey Milford / Oxford University Press, 1913), where a version of the poem in twelve lines from Medwin’s 1847 Life is on p. 258; Sotheby’s sale catalogue, 16 December 1931, lot 713, p. 93, the fourteen lines of Zweig MS 188 quoted; Fair-Copy Manuscripts of Shelley’s Poems in European and American Libraries. The Manuscripts of the Younger Romantics. Percy Bysshe Shelley, 7, ed. Donald H. Reiman and Michael O’Neill (New York; London: Garland, 1997), containing a thorough physical and textual analysis of Zweig MS 188, with reference to the publication history and related manuscripts, pp. 246–53.

Page 203 2021-08-21 Bibliography: William J. Burling, ‘New light on Shelley’s ‘Lines to —’, Keats–Shelley Journal (New York: Keats–Shelley Association of America, 1986), 35, pp. 20–3; BL Programme Book, 1987; Catalogue of Additions, p. 76; Matuschek, p. 327.

Zweig MS 189 (1836)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 189

Creation Date 1836

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CLXXXIX. Marie Henri Beyle al. 'Stendhal': will sent to Raymond Colomb; 1836. French.

ff. 2. 328 x 234mm.

Marie Henri Beyle, alias 'Stendhal'; author: Raymond Colomb: Will sent to Raymond Colomb of Marie Henri Beyle: 1836: Fr: Autogr.

Legal Status Not Public Record(s)

Zweig MS 190 (1888)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 190

Creation Date 1888

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXC. R. F. A. Sully Prudhomme: poem 'Le vase brisé', included in a letter to ; 1888. French. Fair copy.

ff. 2. 180 x 112mm.

Poetry FRENCH: René François Armand Sully-Prudhomme, poet: Poem 'Le vase brisé', included in a letter to — from René François Armand Sully-Prudhomme: 1888: Fr: Autogr. fair copy.

Legal Status Not Public Record(s)

Page 205 2021-08-21 Zweig MS 191 ([1888])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 191

Creation Date [1888]

Extent and Format 1 item

Languages of Material Russian

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCI. Lev Nikolaevich Tolstoi: short story 'Kreitserova sonata' [The Kreutzer Sonata]; [1888]. Draft fragment. Russian. Comprises the end of Chapter 23, Chapter 24 and the beginning of Chapter 25. See L. N. Tolstoi, Polnoe sobranie sochinenii, tom 27 (Moscow, 1933), pp. 5-78.

ff. 2. 221 x 176mm.

Count Lev Nikolaevich Tolstoi,; author: Short story Kreitserova sonata [The Kreutzer Sonata] by Count Lev Nikolaevich Tolstoi: [1888]: Russ: Draft. Fragm.

Legal Status Not Public Record(s)

Zweig MS 192 (1633)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 192

Creation Date 1633

Extent and Format 1 item

Languages of Material Spanish

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCII. Lope de Vega: play 'La Corona de Ungria y la Injusta Venganza'; 1633 (see f. 54v). Fair copy, with revisions. Spanish. The licence to perform the play has been added at the end (f. 55). See Obras de Lope de Vega, Real Academia Española, vol. 2 (Madrid, 1916), pp. 29-56. Presentation inscription of Sebastiano de Olozaga, Spanish Ambassador in Paris, to Lady Esthope [Easthope], 1831 (f. i).

ff. ii+55. Binding of brown leather, blind-stamped, for inclusion in the library of S. de Olozaga. 222 x 160mm.

Lope Felix de Vega Carpio, dramatist: Drama SPANISH: Play La Corona de Ungria y la Injusta Venganza by Lope Felix de Vega Carpio: 1633: Span: Autogr. fair copy.

Legal Status Not Public Record(s)

Page 206 2021-08-21 Zweig MS 193-194 STEFAN ZWEIG COLLECTION. Vols. CXCIII, CXCIV. Émile Verhaeren: poems; [1894], 1906. Two volumes. (1894-1906)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 193-194

Creation Date 1894-1906

Extent and Format 2 items

Languages of Material English; French

Title STEFAN ZWEIG COLLECTION. Vols. CXCIII, CXCIV. Émile Verhaeren: poems; [1894], 1906. Two volumes. (1894-1906)

Legal Status Not Public Record(s)

Zweig MS 193 (1906)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 193

Creation Date 1906

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCIII. Collection of poems entitled 'Admirez vous les uns les autres'; 1906. Drafts, including two corrected printed proof sheets. French. Early version of a collection published as La Multiple Splendeur. Zweig's note of presentation to him by the author, 1909 (f. 1).

ff. 98. Loose sheets in a box made to resemble a bound volume in red calf with marbled fore-edges and gold-stamped title. 252 x 210mm.

Poetry FRENCH: Émile Verhaeren, poet: Collection of poems entitled 'Admirez vous les uns les autres' by Émile Verhaeren: 1906: Fr: Partly printed: Partly autogr. drafts.

Legal Status Not Public Record(s)

Page 207 2021-08-21 Zweig MS 194 ([1894])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 194

Creation Date [1894]

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCIV. Poem 'Le Meunier'; [1894]. Draft. French. See E. Verhaeren, Oeuvres, Slatkine Reprints, vol. 2 (Geneva, 1977), pp. 229-234.

Paper; ff. 5. 227 x 227mm.

Poetry FRENCH: Émile Verhaeren, poet: Poem 'Le Meunier' by Émile Verhaeren: [1894]: Fr: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 195-196 STEFAN ZWEIG COLLECTION. Vols. CXCV, CXCVI. Paul Verlaine: poetry and prose; circa 1869, [1880]. Two volumes.

Collection Area British Library: Western Manuscripts

Reference Zweig MS 195-196

Creation Date 1864-1880

Extent and Format 2 items

Languages of Material English; French

Title STEFAN ZWEIG COLLECTION. Vols. CXCV, CXCVI. Paul Verlaine: poetry and prose; circa 1869, [1880]. Two volumes. (1864-1880)

Legal Status Not Public Record(s)

Page 208 2021-08-21 Zweig MS 195 (c 1869)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 195

Creation Date c 1869

Extent and Format 1 item

Languages of Material English; French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCV. Collection of poems 'Fêtes Galantes'; circa 1869. Fair copies and drafts, including two printed proofs. French. See P. Verlaine, Oeuvres Poétiques Complètes, ed. Y. G. Le Dantec (Paris, 1962), pp. 107-121.

ff. 31. Binding of red morocco, gold-tooled by E. A. Enders of Leipzig. 215 x 160mm.

E. A Enders; bookbinders, Leipzig: Bindings GERMAN: Bindings in Stefan Zweig Collection by Enders of Leipzig: 20th cent.

Poetry FRENCH: Paul Verlaine, poet: Collection of poems 'Fêtes Galantes' by Paul Verlaine: circa 1869: Fr: Partly printed: Partly autogr. fair copies and drafts.

Legal Status Not Public Record(s)

Zweig MS 196 ([1880])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 196

Creation Date [1880]

Extent and Format 1 item

Languages of Material English; French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCVI. 'Voyage d'un Français en France'; [1880]. Draft fragment. French. See P. Verlaine, Oeuvres en Prose Complètes, ed. J. Borel (Paris, 1972), pp. 993-1046. Presentation inscription of Ernest Delahaye to Zweig (f. 1).

f. 1. 220 x 175mm.

Paul Verlaine, poet: 'Voyage d'un Français en France' by Paul Verlaine: [1880]: Fr: Fragm: Autogr. draft.

Legal Status Not Public Record(s)

Custodial History Ernest Delahaye: Owned.

Page 209 2021-08-21 Zweig MS 197 (Unspecified)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 197

Creation Date Unspecified

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCVII. Jules Verne: letter to Charles Carter, Captain of the Mayfly at St. Malo; n.d. French.

ff. 2. 134 x 104mm.

Jules Verne, author: Charles Carter, captain of the 'Mayfly': Letter to Charles Carter from Jules Verne: n.d: Fr.

Legal Status Not Public Record(s)

Zweig MS 198 (Unspecified)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 198

Creation Date Unspecified

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCVIII. 'Charles Vildrac', [pseudonym of Charles Messager]: play 'Le Paquebot Tenacity', Act II, Scene I, written in a school exercise book; n.d. Draft. French. Published Geneva, 1919. Author's presentation inscription to Zweig (f. 1v).

ff. 10. 220 x 172mm.

Charles Messager, alias 'Charles Vildrac'; author: Play Le Paquebot Tenacity, Act II, Sc. I by Charles Messager: n.d: Fr: Autogr. draft.

Legal Status Not Public Record(s)

Page 210 2021-08-21 Zweig MS 199 ([1881])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 199

Creation Date [1881]

Extent and Format 1 item

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CXCIX. Oscar Wilde: poem 'In the Gold Room'; [1881]. Draft. First published among 'Flowers of Gold' in Wilde's Poems (1881). See The Poems of Oscar Wilde (1908), p. 159.

f. 1. 259 x 206mm.

Poetry ENGLISH: Oscar Fingal O'Flahertie Wills Wilde, author: Poem 'In the Gold Room' by Oscar Wilde: [1881]: Autogr. draft.

Legal Status Not Public Record(s)

Zweig MS 200 (1542)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 200

Creation Date 1542

Extent and Format 1 item

Languages of Material English; German; Latin

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CC. Reformatoren-Gedenkbuch; 1542. German and Latin. Album with entries by Reformers and others, including Martin Luther, Johannes Bugenhagen, Philipp Melanchthon and Caspar Creutziger. The volume also includes a letter of 1554 from Philipp Melanchthon to Theodor Fabricius, Superintendent at Zerbst (f. 5), and a late 19th-century index and notes with the stamp of the Library of the Counts of Stolberg-Wernigerode (f. 2).

ff. i+9. Late 19th-cent. binding of dark green cloth, enclosing the original paper cover. 353 x 238mm. The handwritten press-mark of the Stolberg-Wernigerode Library, Zm, has been pasted down both on the binding and on the inner paper cover.

Albums: 'Reformatoren-Gedenkbuch': 1542: Germ. and Lat.

includes:

• f. 3 Martin Luther, reformer: Entry in an album by Martin Luther: 1542: Germ: Autogr. • f. 3v Johannes Bugenhagen, Pomeranus: Entry in an album by Johannes Bugenhagen: 1542: Germ: Autogr. • f. 4 Philipp Melanchthon, reformer: Entry in an album by Philipp Melanchthon: 1542: Lat: Autogr. • f. 4v Caspar Creutziger, reformer: Entry in an abum by Caspar Creutziger: 1542: Germ: Autogr. • f. 5 Theodor Fabricius, Superintendent at Zerbst: Philipp Melanchthon, reformer: Letter to Theodor Fabricius from Philipp Melanchthon: 1554: Lat: Autogr.

Page 211 2021-08-21 Legal Status Not Public Record(s)

Custodial History Counts of Stolberg-Wernigerode; family: Owned.

Zweig MS 201-205 Stefan Zweig Collection: Printed books and music ([1538-1873])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 201-205

Creation Date [1538-1873]

Extent and Format 5 items

Languages of Material English; French; German; Spanish

Access Conditions Restrictions to access apply please consult British Library staff

Title Stefan Zweig Collection: Printed books and music ([1538-1873])

Legal Status Not Public Record(s)

Zweig MS 201 (1604-1605)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 201

Creation Date 1604-1605

Extent and Format 1 item

Languages of Material Spanish

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CCI. Miguel de Cervantes: El Ingenioso Hidalgo Don Quixote De La Mancha (Madrid: Por Iuan de la Cuesta; vendese en casa de Francisco de Robles, 1605). Printed. Including the Privilege dated 26 Sept. and the Tassa dated 20 Dec. 1604, together with the Privilege for Portugal dated 9 Feb. 1605. Described on slipcase as 'First edition second issue' (although it is, actually, the second edition) and 'Countess of Buckinghamshire's (Camperdown House) copy'.

ff. [xi]+316+[iv]. 196 x 136mm. Vellum cover stamped 'Camperdown Library'.

Miguel de Cervantes Saavedra, author: El Ingenioso Hidalgo Don Quixote De La Mancha by Miguel de Cervantes Saavedra: 1605: Span: Printed.

Legal Status Not Public Record(s)

Page 212 2021-08-21 Zweig MS 202 (1873)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 202

Creation Date 1873

Extent and Format 1 item

Languages of Material English; French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CCII. Arthur Rimbaud: Une Saison en Enfer (Brussels, 1873). Printed. Dedicated on verso of title-page to Stefan Zweig from O. Van den Daele, Mons, 8 Oct. 1908. See also Zweig 181 and Chris Michaelides 'Stefan Zweig's copy of Rimbaud, Une Saison en Enfer (1873) in The British Library Journal, vol. 14, no. 2 (Autumn 1988), pp. 199-203. This article refutes Zweig's claim (in an autograph note inside the box), that the author destroyed all but about seven copies of the first edition.

pp. 53. 175 x 113mm. Binding of brown morocco, gold-tooled, by E. A. Enders of Leipzig.

E. A Enders; bookbinders, Leipzig: Bindings GERMAN: Bindings in Stefan Zweig Collection by Enders of Leipzig: 20th cent.

Jean Nicolas Arthur Rimbaud, poet: Une Saison en Enfer by Jean Nicolas Arthur Rimbaud: 1873: Fr: Printed.

Legal Status Not Public Record(s)

Zweig MS 203 (1538)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 203

Creation Date 1538

Extent and Format 1 item

Languages of Material French

Conditions of Use Letter of introduction required to view this manuscript

Scope and Content STEFAN ZWEIG COLLECTION. Vol. CCIII. Les Simulachres & historiees faces de la Mort (Lyon, Soubz l'escu de Coloigne: [Melchior et Gaspar Trechsel fratres], 1538). Printed. Containing Holbein's 'Dance of Death' designs. Bookplate 'From the Library of John Charrington, The Grange, Shenley'.

Gatherings of four leaves with signatures A to N. Gii and Giii are transposed. 159 x 111mm. Binding of brown leather, gold-tooled on spine.

Hans Holbein, painter: Les Simulachres & historiees faces de la Mort , containing Dance of Death designs by Hans Holbein: 1538: Fr: Printed.

Page 213 2021-08-21 Legal Status Not Public Record(s)

Zweig MS 204-205 Franz Schubert: Printed vocal music (1838-1842)

Collection Area British Library: Music Collections

Reference Zweig MS 204-205

Creation Date 1838-1842

Extent and Format 2 volumes

Languages of Material English; German

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: Printed vocal music (1838-1842)

Legal Status Not Public Record(s)

Zweig MS 204 Franz Schubert: 'Auflösung', D.807 (words, J. Mayrhofer) and 'Blondel zu Marien', D.626 (words, anon), for voice and

Collection Area British Library: Music Collections

Reference Zweig MS 204

Creation Date [1842?]

Extent and Format 1 volume (i folio + 11 pages)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: 'Auflösung', D.807 (words, J. Mayrhofer) and 'Blondel zu Marien', D.626 (words, anon), for voice and piano, from Franz Schubert's nachgelassene musikalische Dichtungen für Gesang und Pianoforte. Lieferung 34. Wien: Bey A. Diabelli & Comp., [1842]. Auflösung. [D 807.] Gedicht von J. Mayrhofer. Blondel zu Marien. [D 626. Text anon.] In Musik gesetzt für eine singstimme mit Begleitung des Piano Forte ... Nachlass No 34. Wien: bei Ant. Diabelli und Comp., [1842?] [Franz Schubert's nachgelassene musikalische Dichtungen für Gesang und Pianoforte, Lieferung 34.] ([1842?])

Physical Characteristics Oblong folio: 252 x 335mm. Plate number 7412.

Scope and Content Printed score. Publication advertised in the Wiener Zeitung of 23 June 1842. The manuscript copy of Blondel zu Marien in the Witteczek-Spaun Collection, now in the Gesellschaft der Musikfreunde, Vienna, names Grillparzer as the author of the text, but this may be a later addition. Nottebohm, Thematisches Verzeichnis, also ascribes the text to Grillparzer, presumably on the basis of the Witteczek-Spaun copy. The text is not found in any of Grillparzer's published works. Einstein suggests Aloys Wilhelm Schreiber as the author; Schubert set four other poems by Schreiber in 1818, the year he composed Blondel zu Marien. In the autograph Blondel zu Marien is in the key of E flat minor; in the Witteczek-Spaun copy and in this printing it is in C minor.

Page 214 2021-08-21 Legal Status Not Public Record(s)

Critical edition. Auflösung: Internationale Schubert Gesellschaft (ed.), Franz Schubert, Neue Ausgabe sämtlicher Werke (NGA), IV:13 (Kassel, 1992), pp. 140-7; Blondel zu Marien: NGA, IV:12 (1996), pp. 40-2.

Bibliography: Otto Erich Deutsch, ed. Neue Schubert Ausgabe and Werner Aderhold, Franz Schubert. Thematisches Verzeichnis seiner Werke in chronologischer Folge (Kassel, 1978), p. 364; Albert Einstein, Schubert: a Musical Portrait (New York, London, 1951), p. 184.

Zweig MS 205 Franz Schubert: Mirjams Siegesgesang [D 942]. Gedicht von Grillparzer. Sopran Solo mit Chor, mit Begleitung des

Collection Area British Library: Music Collections

Reference Zweig MS 205

Creation Date c 1839

Extent and Format 1 volume (43 pages)

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Franz Schubert: Mirjams Siegesgesang [D 942]. Gedicht von Grillparzer. Sopran Solo mit Chor, mit Begleitung des Pianoforte ... 136tes Werk. Dem Herrn Hofrathe Joseph Witeczek hochachtungsvoll gewidmet von den Verlegern Ant. Diabelli & Co. Wien: bei Ant. Diabelli u. Comp. (c 1839)

Physical Characteristics 345 x 265mm. Plate number 6267. Imperfect: wanting the five voice parts.

Scope and Content Printed score.

Legal Status Not Public Record(s)

Bibliography: Alexander Weinmann, Verlagsverzeichnis Anton Diabelli & Co. (1824 bis 1840) (Vienna, 1985), p. 392 [Beiträge zur Geschichte des alt-Wiener Musikverlages, Reihe 2, Folge 24].

Page 215 2021-08-21 Zweig MS 206 Stefan Zweig Collection: Giorgio Vasari: account of the life of the painter Luca Signorelli ([16th century])

Collection Area British Library: Western Manuscripts

Reference Zweig MS 206

Creation Date [16th century]

Extent and Format 1 item

Languages of Material Italian; English

Conditions of Use Letter of introduction required to view this manuscript

Title Stefan Zweig Collection: Giorgio Vasari: account of the life of the painter Luca Signorelli ([16th century])

Scope and Content Incomplete copy from Le Vite dei piu Eccellente Architetti, Pittori e Scultori Italiani (1550). Italian. With a typewritten English translation (ff. 3-7), and the relevant pages removed from a later printed edition (ff. 8-11). Presented by the Trustees of the Stefan Zweig Collection, 27 Sept. 1989.

ff. 11. Largest size 292 x 218mm.

Incorporated as an Additional Manuscript but also numbered separately within the Zweig Collection, of which a detailed catalogue will be published. For Zweig MSS. 1-205 see Add. 63855-64059 above. The Zweig number 206 should be used in referring to this manuscript.

Giorgio Vasari, painter, architect and writer: Luca Signorelli, alias 'Luca da Cortona'; painter: Life by Giorgio Vasari of Luca Signorelli: 16th cent: Ital. with Engl. transl: Incomplete copy.

Stefan Zweig, writer and collector: Manuscripts collected by S. Zweig and his heirs: 1542-1936, n.d.

Legal Status Not Public Record(s)

Page 216 2021-08-21 Zweig MS 207-215 Stefan Zweig Collection: Manuscripts formerly on loan to the British Library as Music Loan 95 (1800-1980)

Collection Area British Library: Music Collections

Reference Zweig MS 207-215

Creation Date 1800-1980

Extent and Format 11 volumes

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Stefan Zweig Collection: Manuscripts formerly on loan to the British Library as Music Loan 95 (1800-1980)

Legal Status Not Public Record(s)

Zweig MS 207 Sketchbook of Josef Teltscher, including drawings of Beethoven on his deathbed (1827)

Collection Area British Library: Music Collections

Reference Zweig MS 207

Creation Date 1827

Extent and Format 1 volume (iii + 25 folios)

Languages of Material German

Title Sketchbook of Josef Teltscher, including drawings of Beethoven on his deathbed (1827)

Physical Characteristics 182 x 225mm. Housed in a brown wrapper with the inscription in Zweig’s hand “Scizzenbüch des Wiener Malers Teltscher” and notes on three Beethoven drawings on his deathbed.

Former Internal Reference Music Loan 95.1

Scope and Content The notebook includes sketches, portraits (with some sitters named) and drawings finished to varying degrees, in pencil, with colour added to some. The items in pencil alone include two views of Beethoven's deathbed, and one very rough sketch of the scene. The notebook is listed in Zweig MS 214 (f. 17-18, item O).

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig from Dr. August Heymann in 1931; formerly on loan to the British Library (Loan 95.1).

Reproduced: ff. 1v, 2r and 16v with sketches of Beethoven on his deathbed in Drei Begräbnisse und ein Todesfall: Beethovens Ende und die Erinnerungskultur seiner Zeit (Verlag Beethoven-Haus Bonn, 2002), pp. 48-49.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna: Inlibris, 2005), no. 845; Drei Begräbnisse und ein Todesfall: Beethovens Ende und die Erinnerungskultur seiner Zeit (Verlag Beethoven-Haus Bonn, 2002); pp. 47-60; Stefan Zweig, The World of Yesterday, 1943, p. 267.

Page 217 2021-08-21 Zweig MS 208 Ludwig van Beethoven: Letter to Stephan von Breuning (between 1805 and May 1813)

Collection Area British Library: Music Collections

Reference Zweig MS 208

Creation Date between 1805 and May 1813

Extent and Format 1 folio

Languages of Material German

Title Ludwig van Beethoven: Letter to Stephan von Breuning (between 1805 and May 1813)

Physical Characteristics 257 x 395 mm

Former Internal Reference Loan 95.11

Scope and Content Autograph. Written in pencil on light brown course paper. Originally folded in two. The letter reads:

f. 1r: Wenn du vieleicht / über die Glacis heute / spazieren gehst findest / du mich swischen 4 / u. 5 uhr.

f. 1v: Für Herrn / Hof-Sekretär / von Breuning.

Legal Status Not Public Record(s)

Custodial History Formerly in the possession of the von Breuning family, the letter was purchased in 1929 by Zweig from Heinrich Hinterberger, Vienna; subsequently on loan to the British Library (Loan 95.11).

Reproduced: Stephan Ley, Beethoven als Freund der Familie Wegeler-v. Breuning nach den Familien-Sammlungen und -Erinnerungen (Bonn: Verlag von Frierdrich Cohen, 1927), p. 149.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna: Inlibris, 2005), no. 826; Sieghard Brandenburg (ed.), Ludwig van Beethoven Briefwechsel Gesamtausgabe, 7 vols (München: G. Henle Verlag, 1996-1998), vol.1 no. 241; Emily Anderson, The Letters of Beethoven: Collected, Translated and Edited with an Introduction, Appendixes, Notes and Indexes, 3 vols (London: Macmillan & Co. Ltd, 1961), vol.1 no. 38; Stephan Ley, Beethoven als Freund der Familie Wegeler-v. Breuning nach den Familien-Sammlungen und -Erinnerungen (Bonn: Verlag von Frierdrich Cohen, 1927), pp. 149-150; Gerhard von Breuning: Aus dem Schwarzspanierhause: Erinnerungen an L. van Beethoven aus meiner Jugendzeit (Wien: Verlag von L. Rosner, 1874), p. 43.

Page 218 2021-08-21 Zweig MS 209 Ludwig van Beethoven: Kitchen accounts (before 1827)

Collection Area British Library: Music Collections

Reference Zweig MS 209

Creation Date before 1827

Extent and Format 2 folios

Languages of Material German

Title Ludwig van Beethoven: Kitchen accounts (before 1827)

Physical Characteristics 390 x 240mm and 392 x 242mm

Former Internal Reference Music Loan 95.3 Music Loan 95.10

Scope and Content Autograph. Written on both sides in ink and pencil. Folio 1r has accounts for 23, 24, 26 and 27 July. The items are listed in ink with the price marked next to them, and the total is marked below in pencil. Folio 1v has the list for 25 July and other accounts marked in pencil, upside-down. Folio 2r has accounts for 4 August and 17 July and folio 2v for 18 July and 2 and 3 August.

Legal Status Not Public Record(s)

Custodial History Sold by Leo Liepmanssohn, Berlin, Auction 61 (20 May 1931) and Auction 63 (9 November 1932).

Oliver Matuschek, Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna: Inlibris, 2005), nos. 829- 830.

Page 219 2021-08-21 Zweig MS 210 Ludwig van Beethoven: Laundry list (c 1827)

Collection Area British Library: Music Collections

Reference Zweig MS 210

Creation Date c 1827

Extent and Format 1 folio

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Ludwig van Beethoven: Laundry list (c 1827)

Physical Characteristics 260 x 208 mm. Originally folded in two. Watermark: half watermark with the lower part of an anchor inside a circle.

Former Internal Reference Music Loan 95.9

Scope and Content Beethoven's last laundry list, with the quantity listed next to each item. Written in pencil on the right column of the recto and the upper left column of the verso. Laundry items listed include: 'Hemden 12, Leintücher 10, Handtüchen 8'. Marked on verso in red crayon 'das letzte Wäschzettel' and 'von Beethoven' in the hand, according to Zweig's notes, of Anton Schindler. With the pencil marks: '8' on the recto and 'A 19/31', '13/31' and '12' at the lower left of the verso.

The list is included in Zweig MS 214 (f. 15, item K) and was also transcribed by Zweig in Zweig MS 214 (f. 7). Zweig has noted on the verso the clothing items that were listed in the auction of Beethoven's household which closely match the items on the laundry list.

Legal Status Not Public Record(s)

Custodial History Formerly in the possession of the von Breuning family; purchased by Zweig in 1929 from Heinrich Hinterberger, Vienna; subsequently on loan to the British Library (Loan 95.9).

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna: Inlibris, 2005); no. 831.

Page 220 2021-08-21 Zweig MS 211 Announcement of Beethoven's death in the form of an invitation to his funeral (1827)

Collection Area British Library: Music Collections

Reference Zweig MS 211

Creation Date 1827

Extent and Format 1 folio

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Announcement of Beethoven's death in the form of an invitation to his funeral (1827)

Physical Characteristics 132 x 191mm. Watermark: chain lines only.

Former Internal Reference Music Loan 95.4

Scope and Content [27 March 1827]. Printed. Printed on thin paper. Invitation reads: 'Einladung / zu / Ludwig van Beethoven's / Leichenbegängniss, / welches am 29. März um 3 Uhr Nachmittags Statt finden wird. / Man versammelt sich in der Wohnung des Verstorbenen im Schwarzspanier-hause Nr. 200, / am Glacis vor dem Schottenthore. / Der Zug begibt sich von da nach der Dreyfaltigkeits-Kirche / bey den P.P. Minoriten in der Alsergasse. / Die musikalische Welt erlitt den unersetzlichen Verlust des berühmten Tondichters am 26. Marz 1827 Abends gegen 6 Uhr. / Beethoven starb an den Folgen der Wassersucht, im 56. Jahre seines Alters, / nach empfangenen heil. Sacramenten. / Der Tag der Exequien wird nachträglich bekannt gemacht von / L. van Beethoven's / Verehrern und Freunden. (Diese Karte wird in Tob. Haslingers Musikhandlung vertheilt.) Gedruckt bey Anton Strauß.'

With the pencil numbers 'W.DSZ' and '19176' on the verso. The invitation is listed in Zweig MS 214 (f. 15, item J).

Legal Status Not Public Record(s)

Custodial History According to Zweig's notes in Zweig MS 214, the invitation was in the possession of the von Breuning family. Purchased by Zweig in 1940 through Heinrich Eisemann, London. Formerly on loan to the British Library (Loan 95.4).

Reproduced: Stephan Ley, Beethoven als Freund der Familie Wegeler-v. Breuning nach den Familien-Sammlungen und -Erinnerungen (Bonn: Verlag von Frierdrich Cohen, 1927), p. 205; Another copy in Drei Begräbnisse und ein Todesfall: Beethovens Ende und die Erinnerungskultur seiner Zeit, Verlag Beethoven-Haus Bonn, 2002), no. 38, p. 90; Another copy which includes a watermark image is available on the Beethoven-Haus Digital Archives: http://www.beethoven-haus- bonn.de/sixcms/detail.php?id=&template=dokseite_digitales_archiv_en&_d okid=bb:T00024158&_seite=1.

Bibliography: Gerhard von Breuning: Aus dem Schwarzspanierhause: Erinnerungen an L. van Beethoven aus meiner Jugendzeit (Wien: Verlag von L. Rosner, 1874), pp. 163-164; Stephan Ley, Beethoven als Freund der Familie Wegeler-v. Breuning nach den Familien-Sammlungen und -Erinnerungen (Bonn: Verlag von Frierdrich Cohen, 1927), pp. 204-205; Drei Begräbnisse und ein Todesfall: Beethovens Ende und die Erinnerungskultur seiner Zeit (Verlag Beethoven-Haus Bonn, 2002), pp. 90-91; Oliver Matuschek, Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna: Inlibris, 2005), no. 841.

Page 221 2021-08-21 Zweig MS 212 Itemised receipt of expenses for Beethoven’s funeral (31 Mar 1827)

Collection Area British Library: Music Collections

Reference Zweig MS 212

Creation Date 31 Mar 1827

Extent and Format 2 folios

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Itemised receipt of expenses for Beethoven’s funeral (31 Mar 1827)

Physical Characteristics 364 x 220mm. Watermark: fleur-de-lis.

Former Internal Reference Music Loan 95.6

Scope and Content “Quittung über die Beiträge zur Leichenbegängnies des Wohlgebohrnen berühmten Tondichters sellig Herrn Ludwig von Beethovens”. In the hand of the “bürgerlich-magistratischen Konductsansagers” Andreas Zeller. The document is listed in Zweig MS 214 (f. 15, item M) which includes a transcription of items listed and their cost. These included the cost of priests, roses, candles etc. Attached is a separate bill for the cost of candles by Michael Stessl (f. 2).

Legal Status Not Public Record(s)

Custodial History Sold by Heinrich Eisemann, London in 1940. Formerly on loan to the British Library (Loan 95.6)

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna: Inlibris, 2005), no. 842; Drei Begräbnisse und ein Todesfall: Beethovens Ende und die Erinnerungskultur seiner Zeit (Verlag Beethoven-Haus Bonn, 2002).

Page 222 2021-08-21 Zweig MS 213 List of those contributing to a collection for Beethoven's servants after his death, with receipts from two servants

Collection Area British Library: Music Collections

Reference Zweig MS 213

Creation Date 1827

Extent and Format 4 folios

Languages of Material German

Title List of those contributing to a collection for Beethoven's servants after his death, with receipts from two servants (1827)

Physical Characteristics 371 x 239mm (Donation request); 374 x 233mm (Receipts). Watermark: chain lines (Donation request); fleur-de-lis and Neusicol [?] countermark (Receipts)

Former Internal Reference Music Loan 95.5

Scope and Content April-May 1827. Written in ink. The documents are listed in Zweig MS 214 (f. 16, item N) which includes a detailed description by Zweig and identification of most donors listed in the 'Ansuchen' document.

f. 1: Donation request ('Ansuchen'). Written in ink in the hand of Tobias Haslinger who also appears as the first donor on the list. Other names listed include that of the publishers S.A. Steiner, Artaria, Mollo and Diabelli, the piano maker Graff, Baron Pasqualati, and the musicians Kreisler, Schuppanzigh, Czerny, Ferdinand von Hiller. Joseph Lincke, and others.

f. 3: Acknowledgement of receipt of donation sum, by Rosalie Sch...[?], dated 8 May 1827. Written in ink on light blue paper.

f. 4: Acknowledgement of receipt of donation sum by Barbara Ripplin, dated 8 May 1827. Written in ink on light blue paper.

Legal Status Not Public Record(s)

Custodial History Acquired by Zweig in 1940 through Heinrich Eisemann, London.

Bibliography: Oliver Matuschek, Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna: Inlibris, 2005), no. 843.

Page 223 2021-08-21 Zweig MS 214 Provenance notes relating to the Beethoven relics in Zweig MS 207, 208, 210, 211, 212, 213 (19th-20th century) and

Collection Area British Library: Music Collections

Reference Zweig MS 214

Creation Date 1800-1940

Extent and Format 19 folios

Languages of Material German

Access Conditions Restrictions to access apply please consult British Library staff

Title Provenance notes relating to the Beethoven relics in Zweig MS 207, 208, 210, 211, 212, 213 (19th-20th century) and 'Lebensreliquien Beethovens': typewritten account of the above [1939/1940] (1800-1940)

Physical Characteristics Various formats. Largest size: 341 x 210 mm; smallest size: 113 x 87 mm

Former Internal Reference Music Loan 95.7 Music Loan 95.8

Scope and Content 19th- and 20th-century papers relating to the Beethoven relics owned by Zweig, including a detailed typewritten inventory of these.

f. 1: large brown envelope with annotations in pencil, blue crayon and ink. 'Belege für Beethoven dinge in Wien' is marked in Stefan Zweig's hand. Another heading with a list of artists' names below has been crossed out. With the pencil mark DEP.8730, 3-6.

f. 2: provenance note concerning Beethoven's violin formerly in Zweig's collection (Zweig MS 214, f. 13, item G).

f. 3: provenance note concerning Beethoven's compass ('Magnetnadel') formerly in Zweig's collection (Zweig MS 214, f. 13, item E).

f. 4: provenance note concerning Beethoven's cream-spoon 'Obersschöpfer' formerly in Zweig's collection (Zweig MS 214, f. 13, item F).

f. 5: provenance note concerning Beethoven's money box [?] formerly in Zweig's collection (Zweig MS 214, f. 12, item C).

f. 6: another provenance note relating to Beethoven's violin [?] (Zweig MS 214, f. 13, item G

f. 7: transcription and notes of Beethoven's last laundry list (Zweig MS 210) in Zweig's hand (Zweig MS 214, f. 15, item K).

f. 8: note relating to Zweig MS 213 with transcriptions of names contributing to the collection for Beethoven's servants after his death (Zweig MS 214, f. 15, item M).

ff. 9-19: 'Lebensreliquien Beethovens'. Typewritten inventory and extensive notes of Zweig's possessions from Beethoven's household and documents relating to his funeral; with annotations in Zweig's hand. The inventory lists 15 items (A-P), including Beethoven's writing desks, money box, two miniature portraits, a violin, a lock of his hair and other. Only papers and documents listed in this inventory have remained in the Zweig Collection at the British Library (Zweig MS 207, 208, 210, 211, 212, 213). Dimensions: 341 x 210 mm.

Page 224 2021-08-21 Legal Status Not Public Record(s)

Custodial History Following Beethoven's death most items listed in the 'Lebensreliquien Beethovens' were purchased by Beethoven's friend Stefan von Breuning and remained in the possession of the Breuning family until 1929, when they were acquired by Zweig through Heinrich Hinterberger. The relics not in the possession of the Breuning family were acquired by Zweig from various antiquarian dealers (see Custodial history of individual items and bibliography).

Gerhard von Breuning, Aus dem Schwarzspanierhause: Erinnerungen an L. van Beethoven aus meiner Jugendzeit (Wien: Verlag von L. Rosner, 1874); Stephan Ley, Beethoven als Freund der Familie Wegeler-v. Breuning nach den Familien- Sammlungen und -Erinnerungen (Bonn: Verlag von Frierdrich Cohen, 1927); Drei Begräbnisse und ein Todesfall: Beethovens Ende und die Erinnerungskultur seiner Zeit (Verlag Beethoven-Haus Bonn, 2002); Oliver Matuschek, Ich kenne den Zauber der Schrift: Katalog und Geschichte der Autographensammlung Stefan Zweig mit kommentiertem Abdruck von Stefan Zweigs Aufsätzen über das Sammeln von Handschriften (Vienna: Inlibris, 2005); Oliver Matuschek, Three Lives: A Biography of Stefan Zweig, translated from the German by Allan Blunden (London: Pushkin Press), 2011.

Zweig MS 215 Autograph book of Ignaz Moscheles (1764-1869)

Collection Area British Library: Music Collections

Reference Zweig MS 215

Creation Date 1764-1869

Extent and Format 1 volume (159 folios)

Languages of Material German; French; Italian; English; Latin; Greek, Modern; Russian

Access Conditions Restrictions to access apply please consult British Library staff

Title Autograph book of Ignaz Moscheles (1764-1869)

Scope and Content Autograph book of the pianist and composer Ignaz Moscheles. Most entries are written directly into the volume and are by musicians contributing musical quotations or complete short pieces. In addition, a number of items, including letters and drawings, are inserted. Includes inserted items dated 1764, 1823 and 1824. With an index of names at the front.

• f. 3r. Sichling, Lazarus Gottlieb, 1812-1863. Engraving of Wolfgang Amadeus Mozart in 1770, after a painting by Saverio dalla Rosa. • f. 5r. Crawford, Thomas Gibson, 1814-1857. Image of a statue of Ludwig van Beethoven. • f. 7r. Lyser, Johann Peter Theodor, 1803-1870. Engraving after the pencil sketch of Beethoven walking • f. 9r. Still life image by 'Mrs Lee'. • f. 11r. Kreins, Hilaire Antoine, 1806-1862. Image, dated 1835. • f. 13r. Madou, Jean-Baptiste, 1796-1877. Image, dated 1832. • f. 14r. Braekeleer, Ferdinand, de, 1792-1883. Image, dated 1842. • f. 16r. Bossuet, François Antoine, 1798-1889. Image, dated 1835. • f. 18r. Leys, Jan August Hendrik, 1815-1869. Image, dated 1842. • f. 17v. Martin, Aime, 1781-1844. Entry dated 1839. • f. 19r. Grillparzer, Franz, 1791-1872. Entry dated 1826. • f. 19v. Scott, Sir, Walter, 1771-1832. • ff. 20r-23. Goethe, Johann Wolfgang, von, 1749-1832. Including a signed copy of the poem 'Die Feier' and other documents in Goethe's hand. 1832. • f. 25r. Image by 'S. A. Gream', 1840. • f. 26r. Pocci, Count, Franz Graf von, 1807-1876. Drawing in ink. • f. 27r. Image by 'Kleinig', 1862. • f. 30r. Vocal cadenza by Henriette Sontag (Countess Rossi), 1852. • f. 32r. Heine, Heinrich, 1797-1856. Entry dated 1827. • f. 34r Tieck, Ludwig, 1773-1853. Entry dated 1826.

Page 225 2021-08-21 • f. 36r. Rosen, Georg, 1820-1891. Entry dated 1853. • f. 37r. Pasta, Giuditta Maria Constanza, 1797-1865, née Negri. Entry dated 1853. • f. 38r. Devrient, Emil, 1803-1872. Entry dated 1863. • ff. 39-40r. Rochlitz, Friedrich Johann, 1769-1842. Entry dated 1839-1840. • f. 41r. Entry by 'Rudolf', dated 1861. • f. 44r. Mazzini, Giuseppe, 1805-1872. Entry dated 1861. • f. 45r Bodenstedt, Friedrich Martin, von, 1819-1892. Entry dated 1866. • ff. 46-49r are blank. • f. 49v. Triqueti, Henri Joseph François, de, 1804-1874. Image, undated. • ff. 50-51r. Beer, Michael, 1800-1833. Entry dated 1825. • f. 51r. Janin, Jules Gabriel, 1804-1874. • f. 52r. Hensel, Wilhelm, 1794-1861. Image, undated. • f. 53r. Werner, Carl Friedrich Heinrich, 1809-1894. Iimage dated 1855. • ff. 54-57 are blank. • f. 58r. Castelli, Ignaz Franz, 1781-1862. Entry dated 1826. • f. 59r. Grisi, Giulia, 1811-1869. Entry dated 1843. • f. 60r. Garcia, Michelle Ferdinande Pauline Viardot-, 1821-1910, singer and teacher. Vocal cadenza dated 1849. • f. 59v. Artôt, Marguerite-Joséphine Desirée Montagney, 1835-1907, singer. Vocal cadenza for an aria from Rossini's 'Il barbiere di siviglia' dated 1862. • f. 61r. Hummel, Johann Nepomuk, 1778-1837, composer and pianist. 'Canone a 4 violoncelli', 1825. • f. 61v. Weyse, Christoph Ernst Friedrich, 1774-1842, composer. 'Canon a 4', 1829. • f. 62v. Winter, Peter, von, 1754-1825, violinist and composer. Short piece for three instrusments, 1823. • f. 63r. Telemann, Georg Philipp, 1681-1767, composer. Note signed by the composer in 1764. • ff. 64r-65r. Lafont, Charles Philippe, 1781-1839, violinist and composer. 'Petit caprice par Lafont. 1er violon du la chambre du Roi', and 'motif de Rondeau par Lafont…etc', 1825. • f. 65v. Pixis, Johann Peter, 1788-1874, pianist and composer. Arrangement of 'God Save the Queen' for four voices in B minor, with a text in German, 1825. • f. 66r. Meyerbeer, Giacomo, 1791-1864, composer. Short piece for string quartet based on the melody of 'God Save the Queen', 1825. • f. 66v. Cramer, Johann Baptist, 1771-1858, pianist, composer and publisher. 'Petit Souvenir', short piece for keyboard instrument, 1825. • f. 67r. Fränzl, Ferdinand, 1767-1833, violinist and composer. 'Prélude pour deux violons', 1825. • ff. 67v and 69v. Kalkbrenner, Friedrich Wilhelm Michael, 1785-1849, pianist and composer. 'Romanza', for piano, 1825. • f. 68r. Romberg, Bernhard Heinrich, 1767-1841, cellist and composer. 'Cantilena', for keyboard instrument, 1824. • f. 69v. Clementi, Muzio, 1752-1832, pianist, composer and publisher. 'Canone', for keyboard instrument. • f. 70r. Mayseder, Joseph, 1789-1863, violinist and composer. 'Canon', in three parts, 1826.

• f. 70v. Weigl, Joseph, 1766-1846, composer. Vocal line, dated 1826. • f. 71r. Spontini, Gasparo Luigi Pacifico, 1774-1851, composer. Extract of the 'Trio religieux du mariage' from Olimpie ('Dieux, auteurs de mon être enchainez' in Act I, scene VIII), 1826.

• f. 71v. Neukomm, Sigismund Ritter, von, 1778-1858, composer. 'Canon' for seven voices, 1829.

• ff. 72r-73v. Klengel, August Alexander, 1783-1852, composer. 'Canone all'unisono', for keyboard instrument, 1824. • f. 74v. Schmitt, Aloys, 1788-1866, organist and composer. 'Lento', for keyboard instrument, 1827. • ff. 75r-76r. Stadler, Abbé Maximilian, 1748-1833, composer. 'Menuetto' and 'Trio', for piano, 1826. • f. 77r. Wesley, Samuel, 1766-1837, composer and organist. 'Aria', for piano, 1827. • f. 77v. Chopin, Fryderyk Franciszek, 1810-1849, composer. Theme from the 'Andantino quasi Alegretto' movement of Moscheles's Grande Sonata for piano four hands, op. 47 ('Souvenir de St. Cloud'); also extract from Chopin's Prélude in Ab, op. 28, no. 17, 1839. • f. 78r. Herz, Henri, 1803-1888, pianist, composer and teacher. 'Prélude', for piano, 1838. • ff. 78v-80r. Mendelssohn-Bartholdy, Jakob Ludwig Felix, 1809-1847, composer. 'Perpetuum Mobile' (published in 1837 as op. 119), 1826. • f. 80v. Thalberg, Sigismond Fortuné François, 1812-1871, pianist, composer. 'Fragment', for piano, 1836. • f. 81r. Bériot, Charles Auguste de, 1802-1870, violinist and composer. Piece for the violin, in the manner of an exercise, dated 1836. • ff. 81v-82r. Methfessel, Albrecht Gottlieb, 1785-1869, composer and conductor. 'Sehnsucht', song for voice and piano, 1826. • ff. 82v-84r. Maurer, Ludwig Wilhelm, 1789-1878, violinist and composer. Piece for four voices,

Page 226 2021-08-21 1827. • ff. 84v-85r. Spohr, Louis, 1784-1859, violinist and composer. 'Heilig is Gott der Herr' from Die letzten Dinge, for solo voice, choir and a piano reduction. Dated 1827. • ff. 85v-87r. Fétis, Françoise Joseph, 1784-1871, composer and writer. 'Canon énigmatique' and 'Résolution simultanée des trois canons', laid out over 10 staves. Dated 1829. • f. 87v. Döhler, Theodore, 1814-1856, pianist and composer. 'Étude', extract for piano, dated 1838. • f. 88r. Rosenhain, Jakob, pianist, composer, 1813-1894. Short piece for piano titled 'presto', dated 1839. • ff. 89v-90v. Auber, Daniel François Esprit, 1782-1871, composer. Version of the chorus 'O dieu puissant' from La muette di Portici for four voices, unaccompanied. Dated 1830. • f. 91r. Cherubini, Luigi Carlo Zanobi Salvadore Maria, 1760-1842, composer. A canon in four parts with the text 'Guarda bene di non stonar', dated 1830. • f. 92r. Boieldieu, François-Adrien, composer, 1775-1834. Short piece for piano, dated 1830.

• f. 93r. Castelli, Ignaz Franz, 1781-1862, poet and dramatist. Short inscription with the theme from Moscheles's Piano Concerto in C major, op. 87. Undated. • f. 94r. Field, John, 1782-1837, composer and pianist. Short eight-bar piece for piano, dated 1831. • f. 94r. Lablache, Luigi, 1794-1858, singer. Short eight-bar piece for piano, 1836. • ff. 94v-95r. Kuhlau, Friedrich Daniel Rudolf, 1786-1832, composer, pianist. 'Canon a 4', 1829.

• ff. 95v-96v. Paër, Ferdinando, 1771-1839. Piece for string quartet titled 'Andante'. Undated.

• f. 97r. Paganini piece for solo violin 1831 • f. 98r. Malibran, Maria Felicia, 1808-1836, singer. Song for voice and piano, signed Maria Felicia de Beriot. Dated 1836. • ff. 98v-99r. Halévy, Fromental, 1799-1862, composer. Song in F minor for voice and piano, 1839. • f. 99v. Ernst, Heinrich Wilhelm Ernst, 1812-1865, violinist and composer. 'Fragment d'une etude pour le violon', 1843. • f. 100r. Molique, Wilhelm Bernhard, 1802-1869, violinist and composer. A canon, dated 1840.

• f. 100r. Prume, François Hubert, 1816-1849, violinist and composer. 'Duetto pour un seul violon', 1845. • f. 100v. Saint-Saëns, Charles Camille, 1835-1921, composer. Opening of a piece for organ, 1868. • f. 101r. David, Ferdinand Ernst Victor Carl, 1810-1873, violinist and composer. Piece for string quartet, 1840. • f. 101v. Sivori, Ernesto Camillo, 1817-1894, violinist and compsoer. 'Cantabile', for solo instrument with accompaniment, 1843. • f. 102r. Giovanni Matteo di Candia, also known as Mario, 1810-1883, singer. Vocalise for voice with piano accompaniment. Undated. • ff. 102v-104r. Tomášek, Václav Jan, 1774-1850, composer. 'La Promessa', for voice and piano, 1840. • f. 104v. Rubini, Giovanni Battista, 1794-1854, singer. Vocal line of 'Ah! Non fia sempre odiata' from Il Pirata by Vincenzo Bellini, 1842. • f. 105r. Haizinger, Anton, 1796-1869, singer. Piece for voice and piano, 1844. • ff. 105v-106r. Heller, Stephen, 1815-1888, pianist and composer. Piece for piano, 1843. • ff. 106v-107r. Rubinstein, Anton, 1829-1894, pianist and composer. 'Cadence de la Fantaisie (en Fa) pour Pianoforte et Orchestre', 1854. • f. 107v. Pixis, Friedrich Wilhelm, 1755-1820, violinist and composer. Instrumental piece, dated 1840. • ff. 108r-108v. Weber, Bedřich Diviš, 1766-1842. 'Fuga', in three parts. Dated 1840. • f. 109r. Litolff, Henry, 1818-1891, composer and pianist. Extract from the finale of the 'Concerto symphonique (no. 4)', 1856. • f. 109v. Stockhausen, Julius, 1826-1906, singer. Part of 'Der Wandern' from Schubert's Die Schone Mullerin, 1860. • f. 110r. Joachim, Joseph, 1831-1907, violinist. Entry dated 1865. • f. 110r. Joachim, Amalie, 1839-1899, singer. Entry dated 1865. • ff. 111r-112r. Rossini, Gioachino Antonio, 1792-1868, composer. One of several settings of the text 'Mi lagnerò tacendo' by the composer, this one with a time signature of 5/4. Dated 1860.

• f. 113r. Patti, Carlotta, 1835-1889, singer. Entry dated 1864. • f. 116. Patti, Adelina, 1843-1919, singer. Vocal cadenza, dated 1861 • ff. 114-115. Rossini, Gioachino Antonio, 1792-1868, composer. Letter dated 1864. • ff. 113v and 117. Dreyschock, Alexander, 1818-1869, pianist and composer. Piece for keyboard, dated 1843. • f. 117v. Dreyschock, Raimund, 1824-1869, violinist. Part of a work for violin and piano, dated

Page 227 2021-08-21 1850. • f. 118. Lachner, Franz, 1803-1890, composer and conductor. A short song, dated 1844. • f. 119r. Parepa-Rosa, Euphrosyne, 1836-1874, singer. Vocal cadenza, dated 1863. • ff. 119v-121v. Hesse, Adolph, 1809-1863, organist and composer. Piece for organ, dated 1845.

• f. 121v. Armingaud, Jules, 1820-1900, pianist and composer. 'Étude pour le violon', dated 1845. • f. 122r David, Felicién-César, 1810-1876, composer' Part of 'Marche de la caravane' from Le désert. Dated 1845. • 122r Gouvy, Th. (Théodore), 1819-1898, composer. Extract entitled 'Sinfonia 4', dated 1856.

• f. 122v. Pauer, Ernst, 1826-1905, pianist and composer. Extract of 'Tarantelle op. 30', dated 1857. • f. 123r. Taubert, Wilhelm, 1811-1891, pianist and composer. Short piece for violin and two violas, 1862. • f. 123v. Bruch, Max, 1838-1920, composer. Part of a song, dated 1865. • f. 124r. Damcke, Berthold, 1812-1875, composer and pianist. Canon, dated 1860. • f. 124v. Orgeni, Aglaja, 1841-1926, singer. Cadenza, date 1868. • f. 125r. Schumann, Robert Alexander, 1810-1856, composer. Theme from the second movement ('Molto Vivace') of the composer's symphony no. 2. Dated 1846. • f. 126. Drouet, Louis François Philippe, 1792-1873, musician. Instrumental cadenza, dated 1847. • f. 127r. Schumann, Clara Josephine, 1819-1896, née Wieck, pianist and composer, wife of Robert Schumann. Opening of the scherzo in C minor, op. 14. Dated 1846. • ff. 127v-128r. Rietz, Julius, 1812-1877, composer and conductor. Piece for male voices, 1848.

• f. 128v. Henselt, Adolf von, 1814-1889, composer and pianist. Part of a piece for keyboard instrument, 1867. • f. 129r. Hauptmann, Moritz, 1792-1868, music theorist and composer. Canon, dated 1849. • f. 129v. Davydov, K. (Karl), 1838-1889, cellist and composer. Extract of the andante movement from the composer's concerto no. 2 for cello and orchestra. Dated 1868. • f. 130r. Strauss, Ludwig, 1835-1899, conductor and violinist. Entry dated 1868. • f. 130v. Vocal line, in the hand of 'Anna Strauss', dated 1869. • f. 132r. Extract of 'Capriccio a Fr Hermann', by 'Friedrich Raizek'. Dated 1856. • ff. 132v-134r. Dessauer, Josef, 1798-1876, composer. 'Nachklang', song for voice and piano. Undated. • f. 135r. Hiller, Ferdinand, 1811-1885, composer. Short piece for keyboard instrument, dated 1845. • f. 136r. Dupont, Auguste, 1827-1890, pianist and composer. Short piece for keyboard instrument, dated 1859. • f. 136v. Veit, Václav, 1806-1864, composer and pianist. Part of a scherzo movement, dated 1859. • f. 137r. Besekirsky, Wassili, 1835-1919. Part of a piece for solo violin, dated 1868. • f. 137r. Vieuxtemps, Henri, 1820-1881, composer and violinist. Part of a concerto for violin, dated 1859. • f. 137v. Becker, Jean, 1833-1884, violinist. Part of a piece for solo violin, dated 1860. • f. 138r. Smart, Sir, George Thomas, 1776-1867, conductor, organist and composer. 'Chant', together with photograph (f. 139). Dated 1861. • f. 138v. Monasterio, Jesús de, 1836-1903, violinist and composer.'Adios a la Alhambra', piece for violin and piano. Dated 1862. • f. 140r. Bennett, Sir, William Sterndale, 1816-1875, Knight, composer. 'Minuetto' for keyboard instrument, 1866. • ff. 140v-141r. 'Lied ohne Worte', dated 1852. • f. 141r. Singer, Edmund, 1831-1912, violinist. 'Lassan Magyar', 1852. • ff. 141v-142r. Lipiński, Karol Józef, 1790-1861, composer and violinist. 'Étude', for solo violin, 1844 • f. 141v. Bull, Ole, 1810-1880, violinist and composer. Cadenza for violin, 1840. • f. 142v. Kątski, Apolinary, 1825-1879, violinist and composer. 'La dispute', subtitled 'Caprice fantastique pour violon'. Dated 1848. • ff. 143r-v. Liszt, Franz, 1811-1886, composer. Short piano piece, dated 1840. • f. 144r. Strauss, Johann Baptist, 1804-1849, the elder, composer. 'Tempo di valse', short piece on two staves, 1838. • f. 144v. Seyfried, Ignaz, Ritter von, 1776-1841, composer. 'Canone a 9', dated 1826. • f. 145r. Oehlenschläger, Adam, 1779-1850, poet. Copy of a poem, dated 1829. • ff. 146v-148v. Saphir, Moritz Gottlieb, 1795-1858, journalist. Illustration and text, dated 1826. • f. 150r. Heun, Carl Gottlieb Samuel, 1771-1854, known as Heinrich Clauren, author. Copy of a poem, dated 1826. • f. 152r. Riesser, Gabriel, 1806-1863, politician. Entry dated 1835. • f. 156v. Albrechtsberger, Johann Georg, 1736-1809, composer. Undated entry.

Page 228 2021-08-21

Legal Status Not Public Record(s)

Zweig MS 216 Honore de Balzac proof (n.d.)

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Title Honore de Balzac proof (n.d.)

Former Internal Reference Loan 95.12

Scope and Content Printed sheet with proof corrections [part of an essay on journalism?]

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Immediate Source of Purchased by private treaty, March 2009 Acquisition

Zweig MS 217 Johann Wolfgang von Goethe drawings (n.d.)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 217

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Title Johann Wolfgang von Goethe drawings (n.d.)

Former Internal Reference Loan 95.13

Scope and Content Two drawings, one in ink and wash, the other in pencil on either side of a single leaf

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Page 229 2021-08-21 Zweig MS 218 Maurice Maeterlinck: Le Tresor des Humbles (n.d.)

Collection Area British Library: Western Manuscripts

Reference Zweig MS 218

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Languages of Material French

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Title Maurice Maeterlinck: Le Tresor des Humbles (n.d.)

Former Internal Reference Loan 95.19

Scope and Content Manuscript with proofs of the novel Le Tresor des Humbles

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Page 230 2021-08-21