catalogue 86 - March 2020 100 YEARS OF HUNGARIAN MUSIC PRESENTED IN 4 ACTS FRANZ LISZT - NATIONALISM & FOLK IDENTITY - FRANZ LEHAR - OPERETTA & POPULAR SONG HUNGARY 1840 - 1940 J & J LUBR ANO MUSIC ANTIQUARIANS www.lubranomusic.com 6 1 W 79 ater Y 11 ford Way Syosset, N 516 922 2192 • [email protected] Contents Liszt Ferenc (1811-1886) Autographs 6 Printed music (original works) 10 Paraphrases and transcriptions 24 Books and iconography 33 Nationalism & Folk Identity 1840-1867 36 1867-1940 61 Lehár Ferenc (1870-1948) Autographs 72 Printed Music 78 Operetta & Popular Music Glossary Operetta 92 Popular Music 111 ajánlja.................................dedicated ár [-a] ........................................price Index of Publishers & Composers 118 átirta....................................arranged References 120 daljáték................................singspiel ének...........................................voice Conditions of Sale 121 eredeti....................................original hen the Magyars (Hungarians) settled in the Carpathian Basin in the és................................................ and Middle Ages, they brought with them a language and culture distinct felvonás [-ban]..............................act from those around them. Centuries of socio-political dynamics brought fordít [-ás]............................translate W influence from the Latin West, neighboring Slavs, occupying Turks, and one of the füzet ...........................................part largest Romani populations in Europe. This unique combination helped to create the három........................................three induló......................................march modern Hungarian identity that exists today. irtá [-k]..............................written by The history of Hungarian music is intrinsically linked to this diversity of factors, kéz [-re] .................................hand(s) leading to difficulty discerning and classifying what is truly “Hungarian” (a problem kiadás........................... issue, edition Liszt experienced, see item 68), and whether such distinction is possible or even kép [-ben] ................................. scene két...............................................two desirable. Likewise, identifying clear beginnings and endings of individual styles mesejáték .............................fairy tale and movements is impossible without imposing artificial boundaries and omitting mű ...................................work, opus transitional figures. nagy........................................ grand népdal [-ok]........................ folk song What we present here is a selection from one of the most significant eras, a “Potpourri négyes.................................quadrille on Hungarian Themes” if you will. The fame of Liszt is unquestionable, and nyitány................................. overture Lehár is known to operetta fans the world over, but even major figures like Erkel are színház ................................... theatre scarcely known outside Hungary, to say nothing of Ábrányi, Hubay, Kéler, Szirmai, szöveg [-ét].........................text, lyrics Travnyik, and dozens of other composers that fill these pages. Researching this music vigjáték..................................comedy zene.......................................... music has been a process of nearly constant discovery and delight. Our hope is that you too zeneműkiadó............music publisher will find much to explore and enjoy. zeneszerző.........................composer zongora...................................piano 2 3 Liszt autographs Liszt Ferenc 1811-1886 Nearly every discussion of Hungarian music begins and ends with Franz Liszt. The piano virtuoso who took Europe by storm is undoubtedly the most famous Hungarian musician and composer of the nineteenth century. Yet Liszt spent the majority of his life outside his native country, and never spoke the language. In this way he is similar to other Central and Eastern European composers who served as emissaries to the West and helped to bridge their cultures. “As president and spiritual leader of the Academy, [Liszt] will become permanently linked to the country, and while in touch with the domestic talent in the field of the highest artistic interpretation and practical instruction, his creative and inspiring flame-like soul will illuminate, first and foremost, the altar of Hungarian art.” Ferenc Erkel, Opening Address to the Royal Academy of Music, 1875 (Liszt served as the new institution’s first president) 4 < Item 70 5 LisztLiszt autographs 1. [LW A141]. Deux transcriptions d’après Rossini. [Manuscript] Autograph musical manuscript in the hand of Joachim Raff, with Liszt’s autograph corrections and annotations. Signed (“F Liszt”). [ca. 1852]. Folio (357 x 308 mm). Contemporary heavy black textured cloth wrappers rebacked in modern dark brown cloth. Housed in a custom-made full charcoal gray clamshell box with black leather title label gilt to spine. 4 pages of music in two sewn gatherings, each titled in manuscript: 1. “Air du Stabat Mater (Cujus animam) de Rossini pour Piano par F. LISZT.” 1f. (recto title, verso blank), 7 pp., [1] (blank). 2. “La Charité Transcription pour Piano d’après Rossini par F. LISZT.” 1f. (recto title, verso blank), 7 pp., [1] (blank). Item 1, detail Notated in brown ink on heavy hand-ruled 12-stave with one of his earliest compositions, the Sept paper: Liszt’s inscription signed to verso of upper variations brillantes sur un thème de Rossini (1824), wrapper in pencil: “1r titre (sure la couverture), qui written while still a teenage virtuoso. sevirà pour les deux morceaux: Deux Transcriptions The Deux transcriptions were composed in 1847, (d’après Rossini) pour le piano par F. Liszt – 1- Air du the end of Liszt’s touring years, and the start of his Stabat Mater 2- La Charité.” new phase in Weimar. The transcriptions are of With Liszt’s autograph markings in pencil and ink the famour tenor aria “Cujus animam” from the including annotations and corrections to dynamics, Stabat Mater (1842), and “La Charité” for women’s pedalling, expressive markings, and accents. Engraver’s voices and piano from Trois choeurs religieux (1844), notations throughout, including Schott’s plate foreshadowing Rossini’s later Petite messe solennelle. numbers (“11618.1” and “11618.2”) to foot of titles, and These late works were written by Rossini over a indications of page and stave breaks. decade following his retirement from opera, yet Liszt Later inscription in another hand to first page of music: approaches them with no less enthusiasm, adding “This music was bought at the Liszt house in Weimar, his characteristic embellishments to the vocal lines. Germany & was said to be a manuscript of his.” German composer Joachim Raff (1822-1882) was Wrappers worn and rubbed. Slightly faded; minor Liszt’s student and assistant for over a decade. browning and soiling throughout; scattered ink stains He later succeeded in establishing himself as a A significant manuscript representing and smudges, not affecting music; occasional archival composer in his own right, well-regarded by his repairs. contemporaries. LW A141. Searle 553. Raabe 238. The present manuscript was copied by Raff for Liszt’s final authorized version publication by Schott in Mainz. Liszt went over Autograph manuscripts and drafts of the present the manuscript carefully, making corrections and work are held at the Goethe- und Schiller-Archiv in changes before signing off and sending to the Weimar (D-WRgs), GSA 60/ U 28, 47, 79. publisher. Schott’s engraver then used it to prepare Liszt is well known for his numerous transcriptions, the printed edition issued in the Spring of 1852. arrangements, paraphrases, and fantasies for solo $15,000 (31609) piano. Rossini was a perennial favorite, beginning 6 7 LisztLiszt autographs Autograph Letters 2. 3. 4. Autograph letter signed “F Liszt” to Autograph letter signed “F Liszt” to Autograph letter signed “F. Liszt” to an unidentified male correspondent Belgian banker Charles Dubois an unidentified female correspondent 2-1/2 pp. of a bifolium. Small octavo. No place, no date 2 pp. of a bifolium. Small octavo. Dated April 10. 3 pp. of a bifolium. Small octavo. Dated February 26, (“Jeudi matin”), but in all likelihood ca. 1830-1845. Postmarked April 13, 1841. With integral address 1847. In French, with transcription and translation. On light gray laid paper with “J Rump” watermark. panel. In black ink. In French (with translation). Slightly worn and browned; minor dampstaining to In French (with translation). Slightly worn and browned; creased at folds with small lower outer corner of first page; remnants of paper to Slightly worn and soiled; two small tears to blank splits, some repaired with tape; small portion of blank central vertical fold of blank final page from former lower margin of second leaf; creased at folds and outer corner lacking; ink blots to address panel. mount. slightly overall. Liszt entreats his friend Dubois to come to Paris: A rather cryptic letter in which Liszt mentions a “green book” entrusted to him by his correspondent Liszt apologizes for his delay in responding, because “... we must chat seriously about business, and he felt his correspondent would be disappointed in which she asks the composer to “allow the writing more than business in Paris. Write to me. You will of those who have the honor of being known to with his answer and because he has been ill. He be received with open arms and open heart.” mentions an upcoming concert