Beschreibung:

Bruch, Max, (1838-1920) IMPORTANT COLLECTION OF AUTOGRAPH AND CORRECTED WORKING MANUSCRIPTS OF THE OPERA "DIE LORELEY" OP.16, IN BRUCH’S ORIGINAL FOUR-ACT VERSION OF 1863 1) Autograph manuscript full score of the overture: “Einleitung zur Loreley. Partitur” (the original title “Overture” deleted), dated "Mannheim April 1863" on the title, notated for orchestra in full score, in dark brown ink on seventeen staves per page, with deletions and alterations, and additions in pencil 19 pages, folio ( c. 33 x 24cm), 20-stave paper, two blanks between pp.15 & 16 originally stuck together, Mannheim, April 1863 (“Instrumentiert an Pfingst-Sonntag 1863”), some staining, browning on title, modern cloth-backed boards, publishers’ stamp: Kistner & Siegel of Leipzig, trimmed by the binder. 2) The twenty-three orchestral parts used for the premiere of the opera in June 1863, in scribal hands, WITH AUTOGRAPH REVISIONS AND ADDITIONS BY BRUCH, including new music written on slips of paper laid down over the old versions in most of the parts (nos 14 'Gesang der Loreley' and 24 'Finale'), including whole pages in places, extensively marked up in red and blue crayon for a later performance (including many cuts marked “Vi….de”) 23 volumes, folio ( c. 33 x 26cms), 12-stave paper, a few stamps of the Mannheim opera house ("Gr. Bad. M. Theater. Mannheim"), the overture ('Einleitung') on a separately-titled bifolio (loose in the string and wind parts), most volumes dated by the scribe at the end (Mannheim, 19-30 May 1863), with contemporary and later inscriptions documenting performances in 1863-1866 ("Zum 1 ten male den 14 ten Juni 1863"), 1916 (Strassburg, under Hans Pfitzner) and in 1938 (Munich broadcast under Pfitzner), contemporary cloth-backed wrappers with manuscript labels, including Violin I (4 desks), Violin II (2), Viola (2), Violoncello (1, lacking Cello I), Basso (2), Flutes, Oboes, Clarinets, Bassoons, Horns (2), Trumpets, Trombones (2), Harp, Tympani and Cymbals . the overture and some additional inserts (“Einlage”) loose (some others possibly missing), corners well-thumbed and stained, some tears to margins and rust-stains from paper-clips; together with a later set of manuscript orchestral parts for No.5 Ensemble in G major (they are pitched down in F major in the original parts), in a wrapper inscribed: “Verl[age] no. 5346, Bruch Op.16…Alte Ausgabe” 3) Die Loreley, Grosse romantische Oper...op.16 Partitur, Breslau: F.E.C. Leuckart, [c.1863-1865], FIRST EDITION, FULL SCORE, 124, 48, 111, & 91 pages, large 4to ( c. 34.5 x 26.5cm), lithographed from a manuscript full score, marked up for a later performance (possibly Hans Pfitzner's in 1916), in red & blue crayon and pencil, some later cuts with pages folded back and secured with paper-clips, the publisher’s imprint deleted and stamped “C.F.W. Siegel’s Musikalienhandlung”, blue lithographed cloth-backed boards 4) Collection of four printed choral parts, PROOF COPIES, CORRECTED BY THE COMPOSER, for the edition in three acts (performed by Mahler in Leipzig in 1887) , lithographed music, plate no. 8318, AUTOGRAPH WRAPPER SIGNED AND INSCRIBED BY BRUCH ("An die Siegel’sche Verlagshandlung (Herrn R. Linnemann) Leipzig/ Loreley/ 4 Chorstimmen/ Bad Landeck, 20. Juli 1887/ Max Bruch"), annotated by the editor ("Korrektur Exemplar"); the four choral parts MARKED UP BY THE COMPOSER IN BLUE CRAYON, with titles ("Sopran" etc.), tempo and dynamic markings, the pieces renumbered throughout ([1] to 21), but not exactly conforming to the 1887 vocal score [ Leipzig: C.F.W. Siegel, c. 1887, pl.no.8137], EACH SIGNED AT THE END (“Revid, M.B. Bad Landeck, 18. Juli 87”), together with 42 further uncorrected copies: Soprano (8), Alt (12), Tenor (10) and Bass (12)