Adam Bosze Recent Acquisitions January 2014

Adam Bosze
Recent Acquisitions
January 2014
(30.)
Adam Bosze
Budapest, 2014
© 2014 Ars Trade Kft.
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Autographs, Manuscripts
1. Bartók Béla: Important collection of
autograph letters and postcards written
by Bartók to Szalay Stefania (and Pongrac
Kacsoh), his pupil and propagator of his
music in Nagyvarad (now Oradea) –
Budapest, between 1908 and 1935. In
Hungarian.
5900,a. Autograph postcard to „Szalay Stefi –
Nagyvárad” – Budapest, „1908. Sep. 9.”
Brown ink. Two pages, 135x90 mm –
Demény 164. Bartók’s first letter to her.
Address not by him.
b. Autograph letter to Pongrac Kacsoh
regarding Szalay Stafania’s request –
Budapest, „1917. máj. 23.” Brown ink.
One page. 170x110 mm – Demény 345.
With envelop (address by the composer).
Fine.
Kacsoh,
Pongrác
(1873-1923).
Hungarian
composer, teacher and writer on music. He studied
the piano and flute at the University of Kolozsvár
(now Cluj-Napoca) and theory with Ödön Farkas;
he also organized a student orchestra. From 1892 to 1896 he studied physics, and he taught mathematics and physics in
Budapest before turning to composition and criticism. As a contributor to the journal Zenevilág he was among the first to
recognize Bartók’s talent. The popularity of some songs and the musical play Csipkerózsa led to a commission for the operetta
János vitéz (1904), which provided a welcome antidote to the Viennese works then in vogue and has remained the most
popular Hungarian national operetta. It was followed by Rákóczi (1906), Mary-Ann (1908) and incidental music for Molnár’s
Liliom (1909). After a period in Kecskemét, Kacsoh returned to Budapest in 1912, where he held various positions as a teacher
and chorus master. He composed many songs and some choral and piano music and also published textbooks on music.
(Andrew Lamb in Grove Online)
c. Autograph postcard to „özv. Fischerné Szalay Stefánia Urnőnek” – Budapest, „1929. okt. 15.” Black
ink. Two pages, 145x105 mm – Demény 542. Addressed by Bartók. Fine.
d. Autograph letter to „Fischerné Szalay Stefánia” – Budapest, „1930. ápr. 16.” Gray (former blue) ink.
One page. 280x220 mm – Demény 551. Folded, minor tears. With envelop, adressed not by Bartók.
e. Autograph letter to „Ngys. özv. Fischerné Szalay Stefánia Urhölgynek” – Budapest, „1934. aug. 25.”
Black ink. Two pages, 220x140 mm – Demény 715. Folded. With envelop, addressed by Bartók.
f. Autograph postcard to „Ngys. özv. Fischer Ervinné Urnőnek” – Budapest, „1935. nov. 11.” Brown ink.
Two pages, 145x105 mm – Demény 760. His last letter to her. Addressed by Bartók. Fine.
g. „Reisepass” Fischer Stefanie’s passport. With autograph signature of her – „29. Oktober 1919”. 24
p. 145 mm – Soiled.
Excerpts from the diary of Stefania Szalay
„In autumn I received a letter with the sad news that Istvan Thoman retired. ( ... ) A few days later Thoman sent a letter to
Bartók: „Bela, play through your Scherzo with Stefi” and wrote something nice about me. Bartok took Thoman’s job at the
Academy of Music. I handed out Thoman’s letter to him and he was willing to hear my play. […] On a Friday morning I went
to him and played. He was satisfied with my technique and memory. „Well enough for now” he said then. I suffered for several
days, until I found an article „Béla Bartók excellent pianist and composer became professor of the Academy of Music”. I wrote
immediately a letter which was answered immediately: „Your request is happilly accepted. Bartók”. [See letter a.] What a
happiness, joy! I can not describe my feelings. I was one of the firsts who stood up to this baptism of fire well!”
Stefania Szalay (1886-1964) was co-founder of the Fischer–Szalay Music School, music teacher, organizer of the sparkling
musical life in Oradea. (...) Playing music, especially chamber music was absolutely natural in Szalay’s world. After graduating
from the Academy of Music in Budapest (under Istvan Thoman and Béla Bartók), she returned to Oradea in 1912 where she
became Erno Fischer’s (piano teacher) wife. They established the Fischer-Szalay Music School. Stefania Szalay propagated
Bartók’s music throughout her life.
2. Siklós Albert – Photograph on postcard with autograph
signature of the composer – [Budapest], „1926 I/14.”
Black ink. 135x85 mm – Photo by Vajda M. Pál.
60,Siklós [Schönwald] Albert (1878-1942). Hungarian composer and
cellist. He began to compose at the age of six and started piano and
theory lessons the next year. At the Hungarian Music School he
studied the cello, composition and chamber music. He made his début
as a performer in 1891 and played his own Cello Concerto in 1896.
Then he studied composition with Hans Koessler at the National
Hungarian Royal Academy of Music until 1899, while reading law at
the University of Jurisprudence, Budapest. He was a cellist in the
Budapest PO (1901–4) and a teacher at the Ernő Fodor School of Music
(1905–19) and at the High School of Musical Art (from 1910). He was
appointed professor at the High School in 1913, and from 1919 until
his death taught one of the composition classes there, the other being
taken by Weiner, then Kodály from 1921. The name Siklós was
adopted by the composer in about 1901.

Books
3. Bie, Oskar: Die Oper – Berlin, 1913, S. Fischer Verlag.
11 t., 571, [1] p. 280 mm – First edition. Spine replaced
with modern (simple) cloth.
35,-
4. Libretto – Nessler, Victor: A säckingeni trombitás.
Dalmű három felvonásban, előjátékkal. Scheffel költői
elbeszélése nyomán írta Bunge Rudolf. Fordította
Ábrányi Emil. Zenéjét írta Nessler Viktor – Leipzig,
[c1887], Schuberth. 84 p. 165 mm – Minor tears. 20,-
5. Libretto – Grisar, Albert: Jó éjt Pantalon úr! Víg opera
egy felvonásban. Zenéjét írta Grisar Albert. Szövegét
írták Lockroy és de Morvan. Franczából Ábrányi Emil –
Budapest, [c1887], Pfeifer. 44 p. 165 mm – Soiled.
10,-
6. Libretto – Lortzing, Albert: A vadorzó. Vígopera három felvonásban. Szövegét és zenéjét írta:
Lortzing Albert. Fordította Ábrányi Emil – Budapest, 1894, Müller. 136 p. 185 mm – Minor tears. Rare.
20,-
7. Libretto – Máder Rezső: Mályvácska királykisasszony. Mesebalett. Írta Kéméndy Jenő, zenéjét
szerzette Máder Rezső, koreográfiáját készítette Brada Ede – Budapest, 1921, Globus. 20 p. 170 mm –
Soiled.
10,-
8. Polko, Elise: Musikalische Märchen, Phantasieen und Skizzen von Elise Polko. Erster [und] zweiter
Band. 25. Auflage. Neue durchgesehene Ausgabe in zwei Bänden. Mit Tite- Leipzig, 1903, Barth. 1 tp.,
[8], 454, [2]; 1 tp., [8], 460 p. 170 mm – Full cloth gilt in art nouveau style. Fine.
20,-

Printed Music
9. Boulez, Pierre: I. don. Partition [Conductor’s Score] – London, cop. 1967, [1967], Universal Edition.
VN UE 13614 LW. [2], 38 p. 440 mm – First edition.
80,-
10. Brahms, Johannes: Akademische Fest-Ouvertüre für grosses Orchester von Johannes Brahms. Op.
80. Clavier-Auszug für vier Hände – Berlin, 1881, Simrock. VN 8195. 25, [1] p. 310 mm - McCorkle,
BraWV, S. 336f, Brahms Institut Inv.-Nr.: ABH 1.7.6.245. First edition of the piano version. Without
wrappers. Spine not fine. Disbound.
60,-
11. Brahms, Johannes: Gesang der Parzen von Goethe für sechsstimmigen Chor und Orchester von
Johannes Brahms. Op. 89. Partitur. [Full Score] Translated into English by Mrs. Natalie Macfarren –
Berlin, 1883, N. Simrock. VN 8317. 31, [1] p. 340 mm – McCorkle p. 368. First bilingual edition. Title
page disbound. Some minor tears.
80,-
12. Brahms, Johannes: Op. 18. Erstes Sextett, B dur, für 2 Violinen, 2 Bratschen u. 2 Vcellis, arr. – Berlin,
[c1880], Simrock. VN 6200. 47, [1] p. 310 mm – Titelauflage. Disbound. Not fine.
20,-
13. Britten, Benjamin: Phaedra. Dramatic cantata for mezzo-soprano and small orchestra. Op. 93.
Words from a verse translation of Racine’s Phèdre by Robert Lowell – London, cop. 1977, [not later
than 1979], Faber. VN -. [2], 38 p. 380 mm – Most likely first edition of the conductor’s score. Soiled.
120,Phaedra was first performed by Janet Baker ant the English Chamber Orchestra conducted by Steuart Bedford (harpsichord)
at the Maltings, Snape on 16 June 1976 as part of the 29th Aldeburgh Festival.
14. Espen, Theodor: Träume am Bosporus. […] Dreams on the Bosporos. Salonstück für Pianoforte von
Theodor Espen. Op. 32 – Leipzig, [1894], Eulenburg. VN EE 1039. 5, [1] p. 340 mm – Soiled. Titel
lithographed.
20,-
15. Goldmark, Carl: Zwei Novelletten, Praeludium und
Fuge für das Pianoforte von Carl Goldmark. Op. 29 –
Mainz, [1878], Schott. VN 22541. 38, [2] p. 310 mm –
Kecskeméti p. 183. Hofmeister September 1878. First
edition. Cut.
80,-
16. Hofmann, Heinrich: Serenade für Streich-Orchester componirt von Heinrich Hofmann. Op. 72.
Hieraus einzeln: Gavotte für das Pianoforte zu zwei Händen eingerichtet vom Komponisten – Leipzig
und Brüssel, [1884], Breitkopf & Härtel. PN 16753. 7, [1] p. 310 mm – Hofmeister August 1884. 25,-
17. Kodály Zoltán: Marosszéki táncok. Marosszéker
Tänze. Dances of Marosszék. Partitura. [Full Score] –
Wien, cop. 1930, [cover date: „IX. 1930.”], Universal
Edition. VN U. E. 6038. 75, [1] p. 305 mm – Eősze 64.
Breuer p. 111. First edition of the conductor’s score.
120,„Inevitably these dances smacked more of the soil than the sort of
Hungarian music that in the last century became all too polpular in
the restaurants of two continents. The full, dark scoring, rather
strikingly relieved by lightly accompanied woodwind solos, retained
a rural svour that set off ruddily the folk rhythms and folk
phraseology of the tunes.” (Oscar Thompson) First performance of
the orchestral version was in Dresden Opera House, November 28,
1930, Sachsische Hofkapelle conducted by Fritz Busch. From the
library of Laszlo Heltay, Kodaly’s close collegaue in England.
18. Lutosławski, Witold: […] Three Poems by Henri
Michaux for 20-part choir and orchestra. Orchestral
and vocal score – Warszawa, cop. 1963, [1965],
PWM. VN -. 48, 51, [1] p. 380 mm – Nordwall p. 79,
133-134. First edition of the conductor’s scores.
Original wrappers, spine damaged. Soiled. Not fine.
250,With his Three Poems by Henri Michaux, Witold Lutoslawski
was the first composer to win the Koussevitzky International
Recording Award in New York 1963. The work obtained the
highest distinction of the Tribune Internationale des
Compositeurs UNESCO in Paris 1964. The work was written for
the Muzicki Biennale Zagreb 1963, where it was first performed
on May 9th, 1963 by the orchestra and choir of Radio Zagreb
under Witold Lutoslawski and Slavko Zlatic.
19. Lutosławski, Witold: Variations Symphoniques. Partition [Conductor’s Score] – Kraków, [1947],
PWM. VN P. W. M. 82. 45, [1] p. 420 mm – Nordwall p. 127. Original wrappers (disbound).
80,-
20. Moszkowski, Maurice: Drei Clavierstücke in Tanzform componirt und Fräulein Anna Hahlweg
hochachtungsvoll gewidmet von Moritz Moszkowski. Op. 17. Heft 2. Menuett – Breslau, [1878],
Hainauer. VN J. 1923 H. 13, [1] p. 310 mm – Hofmeister Februar 1878. First edition. Title lithographed.
Cut. Spine damaged.
20,-
21. Moszkowski, Maurice: Drei Klavierstücke von Moritz Moszkowski. Op. 32. No. 1. In tempo di
minuetto – Breslau, [1883], Hainauer. VN 12832. 6, [2] p. 310 mm – Hofmeister May 1883. First edition.
Title lithographed. Cut. Stamped.
20,-
22. Moszkowski, Maurice: Fünf Clavierstücke componirt von Moritz Moszkowski. Op. 18. No. 2.
Scherzino – Breslau, [1879], Hainauer. VN J. 2013 H. p. 5-9. 310 mm – Hofmeister Oktober 1879. First
edition. Title lithographed. Cut. Stamped.
20,-
23. Moszkowski, Maurice: Fünf Clavierstücke componirt von Moritz Moszkowski. Op. 18. No. 3. Etude
– Breslau, [1879], Hainauer. VN J. 2013 H. p. 10-13. 310 mm – Hofmeister Oktober 1879. First edition.
Title lithographed. Cut.
20,-
24. Moszkowski, Maurice: Intermezzo tiré de la premiére Suite d’orchestre […] par Moritz
Moszkowski. Oeuvre 39. Arrangement de concert pour Piano par l’auteur – Breslau, [c1886], Hainauer.
VN J. 2906 H. 10, [2] p. 310 mm – Not in Hofmeister. First edition. Title lithographed. Cut.
30,-
25. Moszkowski, Maurice: Quatre Morceaux pour Piano par Maurice Moszkowski. Oeuvre 38. [No 14] A ma chére mére. Complete – Breslau, [1886], Hainauer. VN J. 2893 [1-4] H. 23, [1] p. 310 mm –
Hofmeister July 1886. Title lithographed. Cut.
20,-
26. Moszkowski, Moritz: Trois moments musicaux pour le Piano par Moritz Moszkowski. Oeuvre 7. A
son Ami Constantin Sternberg – Breslau, [c1883], Hainauer. VN J. 1574 H. 23, [1] p. 310 mm – Early
edition. Cut.
15,-
27. Penderecki, Krzysztof: Passio et mors Domini nostri Iesu Christi secundum Lucam. [Conductor’s
Score] – Kraków, Celle, 1969, PWM, Moeck Verlag. VN -. 114, [2] p. 420 mm – Spine damaged. 100,-
28. Pfitzner, Hans: Das dunkle Reich. Eine
Chorphantasie mit Orchester, Orgel, Sopran- und
Bariton-Solo unter Benutzung von Gedichten des
Michelangelo, Goethe, C. F. Meyer und R. Dehmel von
Hans Pfitzner. Op. 38. Englische Übersetzung von
Rosa Newmarch. Klavierauszug von Felix Wolfes –
Leipzig, cop. 1930, Max Brockhaus. VN MB 726. [2],
63, [1] p. 330 mm – Original wrappers (soiled). 80,-
29. Shostakovich, Dmitri: Two Pieces. I. Prelude, II. Scherzo for String Octet. 4 Violins, 2 Violas, 2
’Cellos. Op. 11. [Parts] – London, [c1950], Anglo-Soviet Music Press Ltd. VN ASMP 30. [2], 5, [1]; 4; 6,
[2]; 6, [2]; [2], 5, [1]; 4; 4; 4 p. 310 mm – Later issue (first published by Universal Edition Wien 1929).
Original wrappers.
60,-
„The first proclamation of my new doctrine”
Bozhestvennaya poema - The Divine Poem
30. Skryabin, Aleksandr Nikolayevich: Le Divin
Poème. Troisiéme symphonie (Ut) pour grand
Orchestre composée par A. Scriabine. Op. 43.
Partition d’orchestre – Leipzig, 1905, Belaieff. VN
2539. 207, [1] p. 330 mm – First edition of the
conductor’s score. Exceptionally rare. Binding
slightly worn.
1200,Freed from his teaching duties, Skryabin spent summer 1902 at
Obolenskoye, starting work on his Third Symphony, the
Bozhestvennaya poema (‘Poème divin’). In August his wife gave
birth to a fourth child, a boy, Lev, but soon after was nonetheless
asked by Skryabin to start preparing the score of the Second
Symphony for a performance by Lyadov the next March.
Skryabin took a brief cure in Yalta before resuming work in
earnest on the Third Symphony; the composition was not
completed until 1904. He began to read more philosophy and
Greek myth, often in Solov′yov's translations, and joined the
Moscow Philosophical Society founded by Prince Sergey
Trubetskoy, with whom he became friendly. During summer
1903 Skryabin saw much of Boris de Schloezer and, more
importantly, his sister Tat′yana. She had been instantly
captivated by Skryabin's music in 1901, when she heard Buyulki
play the Third Piano Sonata; she was thus deeply flattered when Skryabin became her lover in late summer or early autumn
of 1903. The group of works from op.30 to op.43 (3rd symphony) reflect the intense sensuality which had enveloped the
composer's spirit; these compositions were all presented to Belyayev on his nameday in November of that year. Scarcely a
few days after this event, Skryabin accepted an offer from the recently widowed Margarita Morozova, a former student, of a
monthly income of 200 rubles. Little more than a month later his publisher Belyayev died at the age of 67; Skryabin was griefstricken.
After Belyayev's death, the monthly payments from the publishers ceased and a row ensued; to add to this difficulty Skryabin
seduced a former pupil, Mariya Bogoslovskaya, still in her teens, and was forced to resign from St Catherine's Institute. The
move abroad he had long dreamed of was now necessary; ten days after he had arrived in Switzerland, in March 1904, Vera
and the children did so. He had arranged for Tat′yana to live in a neighbouring village and explained her presence through
reasons of health. Vera, however, was soon informed of the real state of affairs and, after she had left, Tat′yana took her
place in the Villa des Lilas in Vézenaz. There Skryabin finished the Third Symphony in November before setting off for Paris
where, with difficulty, he arranged for the work to be conducted by Arthur Nikisch in May 1905. He wrote to Morozova that
the performance would be ‘the first proclamation of my new doctrine’, more than hinting that music was by then not the
only expression of his intellect and creativity and also that the doctrine and the music were two different forms of expression
of the same entity: Aleksandr Skryabin. The reception of the work was mixed; when it was heard in St Petersburg in 1906 it
prompted an outburst of enthusiasm from the 80-year-old Stasov. (After Jonathan Powell in Grove Online)
31. [Songbook.] – Dumas, Jean: Cantiques tirés en partie des pseaumes et en partie des poésies
sacrées des meilleurs poetes francois. Avec des airs notés. Par Mr. Jean Dumas pasteur francois de
l’église réformée de Leipsic – Leipzig, 1775, Les Heritiers Weidmann et Reich. I-XVI, 744, [28] p. 190
mm – Full leather (spine damaged).
450,-
32. Stockhausen, Karlheinz: Punkte 1952/62 für Orchester. Revision 1964. Partitur [Conductor’s
Score]. Francesco Agnello gewidmet. Nach der Handschrift des Komponisten – London, cop. 1964, [not
after 1965], Universal Edition. VN 13844 LW. [4], 58 p. 420 mm – First edition of the revised verion.
80,-
33. Strauss, Richard: Eine Alpensinfonie. Op. 64.
Übertragungen von Otto Singer. Für Pianoforte zu zwei
Händen. Dem Grafen Nicolaus Seebach und der
Königlichen Kapelle zu Dresden in Dankbarkeit gewidmet
– Leipzig, cop. 1915, Leuckart. VN F. E. C. L. 7532. 66, [2]
310 mm – Asow vol. 2, p. 659 (with PN 7551). First edition
of the piano version for two hands.
80,-
34. Strawinsky, Igor: Canticum Sacrum ad honorem Sancti Marci nominis für tenor and baritone soli,
chorus and orchestra. Full score – London etc., cop. 1956, [1956], Boosey & Hawkes. VN B. & H. 18168.
40 p. 340 mm – Kirchmeyer p. 484. First edition. Original wrappers.
80,-
35. Swerkoff, E. L.: 50 russische Volkslieder für Gesang
und Klavier bearbeitet von E. L. Swerkoff. Deutsche
Übersetzung von August Scholz […] – Leipzig, Berlin,
[c1921], Zimmermann. VN Z. 10771. 59, [1] p. 300 mm
– Paperboard.
120,-
36. Tchaikovsky, Pyotr Il′yich: Manfred.
Symphonie en tableaux d’aprés le poéme
dramatique de Byron. Composée par P.
Tschaikowsky. Op. 58. A Mr. Mili Balakireff.
A 4 mains. [Price: 5 Rb.] – Moscow, Leipzig,
[1885], P. Jurgenson. VN 6764. 105, [1] p.
310 mm – Jurgenson p. 59. First edition of
the piano version for four hands.
Exceptionally rare edition of the composer’s
version. Disbound, cut.
850,While orchestrating the symphony, Tchaikovsky
simultaneously made his own arrangement for piano
duet (4 hands). The fair copy of the arrangement is
dated 3 September 1885. Concerned that this
arrangement might prove too difficult, and contain
mistakes, Tchaikovsky asked Aleksandra Hubert to
look through it. And so, there appeared a second
version of the arrangement of the symphony, written
by Aleksandra Hubert and containing numerous
corrections and additions by Tchaikovsky. In
November the autograph of the arrangement was
sent to Balakirev, for him to look over. Balakirev did
not return the manuscript until March, attaching some
additional pages containing his own notes.
Unfortunately, these notes were misplaced, so that it
is not possible to ascertain whether Tchaikovsky took them into account when the arrangement was published.
37. Var.: Tánc album [Collection of Dances]. A legújabb és kedvelt táncdarabok gyűjteménye zongorára
[Collection of the Newest and Popular Dance Compositions for Piano] – Budapest, [c1906], Rózsavölgyi.
VN R. és Tsa. 3257. 55, [1] p. Oblong shape format, 120 mm – Half-cloth. Disbound, soiled and bumped.
25,Contains pieces by Bela Radics (Pommery Valse), Fr. Bounett (Danse de Uruguay), Bela Angyan jr. (Jogász keringő), John Philip
Sousa (Sávok és csillagok – March), R. Berger (Quand l’amour fleurt), Neil Moret (Moonlight Serenade), I. Ivanovici (Suspinul.
Valse), Szirmai Albert (Spanyol tánc [Spanish Dance]), Julius Fucik (Il Soldato. Marsch), Máder Rezso (Nagymama Keringő
[Grandmother Valse]), Kerry Mills (Georgia Cake-Walk).
38. Weckerlin, Jean-Baptiste: Chansons et rondes enfantines des provinces de la France avec notices
et accompagnement de piano par J.-B. Weckerlin. Ouvrage enrichi de huit dessins en
chromotypographie par F. Lix – Paris, 1889, Garnier Fréres. VN -. I-IX, [1], 91, [3] p. 280 mm – Full cloth.
Gilt. Soiled.
120,
Sammelstücke
39. [Elssler, Fanny.] – Surch, J.: Fanny Elszler. In
dem Ballete [sic]: des Malers Traumbild. Portrait
of Fanny Elssler [written in Hungarian spelling].
As supplement [Spiegel] – [Pest], 1844. 250x175
mm – Near fine. Very rare, technically rather
simple portrait of Fanny Elssler.
150,Fanny Elssler (1810-1884), Austrian ballerina, daughter of
Johann Florian Elssler, a second generation employee of
Nikolaus I, Prince Esterházy. Both Johann and his brother
Josef were employed as copyists to the Prince's
Kapellmeister, Joseph Haydn. Johann was to eventually
become valet to Haydn and attended Haydn up to and was
present at Haydn's death. From her earliest years she was
trained for the ballet, and made her appearance at the
Kärntnertortheater in Vienna before she was 7. She almost
invariably danced with her sister Therese, who was 2 years
her senior; the sisters studied dancing with Jean-Pierre
Aumer and Friedrich Horschelt beginning when Fanny was
9 years old, also traveling to Naples to study with Gaetano
Gioja. After some years experience together in Vienna, the
sisters went in 1827 to Naples. While there, she had an
affair with Leopold, Prince of Salerno, the son of King
Ferdinand I of the Two Sicilies, which resulted in the birth of
a son, Franz. Their success in Naples, to which Fanny
contributed more largely than her sister, led to an engagement in Berlin in 1830. This was the beginning of a series of triumphs
for Fanny's personal beauty and skill in dancing. After captivating all hearts in Berlin and Vienna, and inspiring the aged
statesman Friedrich von Gentz with a remarkable passion, she paid a visit to London, where she received much kindness at
the hands of Mr. and Mrs. Grote, who practically adopted the little girl who was born three months after the mother's arrival
in England. In September 1834 Elssler appeared with the Ballet du Théâtre de l'Académie Royale de Musique (today known
as the Paris Opera Ballet), a step to which she looked forward with much misgiving on account of Marie Taglioni's supremacy
on that stage. However, Elssler and Taglioni were exceptionally different dancers. Taglioni was known as a danseur ballonné,
represented by the lightness of her leaps and jumps. Elssler, on the other hand, distinguished her dancing with the precision
in which she performed small, quick steps. Elssler's type of dancing was known as danse tacquetée. The results of her
performances, however, were another triumph for Elssler, and the temporary eclipse of Taglioni. Taglioni, although the finer
artist of the two, could not for the moment compete with the newcomer's personal fascination. In 1840 she sailed with her
sister for New York for a tour arranged by Henry Wikoff, and after two years unmixed success they returned to Europe. While
in New York City, Fanny dined with and was escorted by John Van Buren, son of the President of the United States, Martin
Van Buren. During the following five years Fanny appeared in Germany, Austria, France, England, and Russia. In 1845, she
refused to perform along with her rivals Marie Taglioni, Carlotta Grisi, Fanny Cerrito, and Lucile Grahn in Jules Perrot's Pas de
Quatre in London. In the same year, having amassed a fortune, she retired from the stage and settled near Hamburg. A few
years later her sister Theresa contracted a morganatic marriage with Prince Adalbert of Prussia, and was ennobled under the
title of Baroness von Barnim. Elssler died in Vienna on 27 November 1884. Theresa was left a widow in 1873, and died on 19
November 1878.
40. [Fodor-Mainvielle, Joséphine.] – Unknown
artist: Portrait in lithography of Giusep.na Fodor as
supplement (Guerra) – No place. 1823. 380x295
mm – Slightly mistaken print. Very rare portrait of
Joséphine Fodor-Mainvielle as Desdemona in
Rossini’s Otello, played by her 1822 in Teatro San
Carlo, Neaples.
180,Fodor-Mainvielle, Josephine (1789-1870). French soprano.
She studied in St Petersburg with Eliodoro Bianchi. After some
public appearances as a pianist and harpist, she made her
stage début about 1810 in Fioravanti’s Le cantatrici villane. In
1812 she married the French actor Mainvielle, and after
singing in Stockholm and Copenhagen, returned to Paris,
where she made her début at the Opéra-Comique on 9 August
1814 in Grétry’s La fausse magie and Berton’s Le concert
interrompu; she also sang in numerous roles at the Théâtre
Italien. Her London début was in 1816 as Paer’s Griselda at the
King’s Theatre, where her many other roles included Mozart’s
Vitellia, Fiordiligi, Countess Almaviva, Zerlina and Susanna.
The Morning Post described her voice as ‘rich, harmonious,
and, without possessing extraordinary power, of a
considerable compass. Her taste is chaste, her execution
correct, easy and elegant, and her science evidently profound.
To the brilliance of ornamental flights, she joins the still greater charm of feeling’.mIn 1818 Fodor-Mainvielle took part in the
first London performances of Rossini’s Il barbiere di Siviglia and Elisabetta, regina d’Inghilterra. That year she also appeared
at La Fenice. She later took part in the first Paris performances of Rossini’s La gazza ladra and Elisabetta, regina d’Inghilterra
(1822) and also in 1822 was engaged at the S Carlo, Naples. She appeared at the Kärntnertortheater, Vienna, scoring an
immense success as Semiramide, a role she also sang at the first Paris performance of Rossini’s opera at the Théâtre Italien
in 1825; but not completely recovered from an illness, she lost her voice during the performance, and was later replaced by
Pasta. She retired from the stage in 1833. Her book Réflexions et conseils sur l’art du chant was published in 1857.
41. Programme – Rijeka [Fiume], 1910: Trattenimento Musicale sostenuto dai suoi allievi di Violino
che avrá luogo la sera di Domenica 24 Aprile, all ore 8 e mezzo nella sala maggiore dell’Hotel Deák.
Fiume, 18 Aprile 1910. Alessandro Scaramelli professore di violino – Rijeka, 1910. [4] p. 235 mm –
Folded, soiled.
20,-
42. Programme – Budapest, 1914: A Budai Zeneakadémia 1914. évi február hó 24-én este 8 órakor a
Székesfővárosi (Budai) Vigadó nagytermében tartandó s tánccal egybekötött tréfás hangversenyének
műsora – Budapest, 1914. [2] p. 235x155 mm – Not fine.
10,-
43. Programme – Vienna, 1920: Festaufführung Gustav Mahler Siebente Sinfonie in fünf Sätzen für
grosses Orchester […] aufführend das Sinfonieorchester […] Dirigent. Generalmusikdirektor Bruno
Walter. Grosser Musikvereinssaal. Samstag, den 6. März 1920, abends 6 Uhr – Wien, 1920. [4] p. 295
mm – Folded.
60,-
44. Programme – Budapest, 1930: Városliget-Iparcsarnok. Budapest Székesfőváros Népművelési
Bizottsága hangversenyeinek műsora. 1930. június 22, 24, 26 és 28-án – Budapest, 1930. [4] p. 250 mm
– Folded, minor tears.
15,-
45. Programme – Budapest, 1936-37: A BESZKÁRT Közművelődési Egyesületének zenekari
hangversenyei. 1936. december 5., 1937. január 23., 1937. február 27. – Budapest, 1936. One leaf
print. 240x170 mm – Folded.
15,-
46. Programme – Budapest, 1939-40: Országos Magyar Királyi Liszt Ferenc Zeneművészeti Főiskola
1939-40. 1940. évi április hó 18-án, csütörtökön d. u. pontban ½ 6 órakor az intézet nagy
hangversenytermében rendezett tizedik hangverseny (házi) műsora – Budapest, 1940. 2 p. 235x150
mm – Folded.
15,-
47. Programme – Budapest, 1940-41: Országos Magyar Királyi Liszt Ferenc Zeneművészeti Főiskola
1940-41. 1941. évi február hó 17-én, hétfőn d. u. pontban ½ 6 órakor az intézet nagy
hangversenytermében rendezett nyolcadik hangverseny (házi) műsora – Budapest, 1941. 2 p. 235x150
mm – Folded.
15,-
48. Programme – Budapest, 1941-42: Országos Magyar Királyi Liszt Ferenc Zeneművészeti Főiskola
1941-42. 1942. évi április hó 29-én, szerdán d. u. pontban ½ 6 órakor az intézet nagy
hangversenytermében rendezett tizenhatodik hangverseny műsora (4-ik Mozart-est) – Budapest,
1942. 2 p. 235x150 mm – Folded.
15,-
49. Programme – Budapest, 1942: A Balatoni Társaság Irodalmi, Művészeti és Tudományos Egyesület
a bolsevizmus elleni hadjárat hősei árváinak és visszamaradt családtagjainak javára 1942. évi május hó
16-án […] műsoros díszhangversenyt rendez – Budapest, 1942. [4] p. 205 mm – Folded.
15,-
50. [Violinists.] – Kneisch [?], A.: Portrait of
Ole Bull and Heinrich [sic] Vieuxtemps in
lithography. Signature by Bull (facsimile) –
No place, [c1835]. 210x195 mm – Cut.
120,-
A non-musical item
51. Kriehuber, Josef: Hirschfeld Moritz Dr. Rabbi of
Temesvar. Lithography – Vienna, 1863, Valentin Weisz
(Temesvar). Black and white. 520x390 mm – Fine.
220,Temesvar is one of the oldest Jewish cities in Transylvania (now in
Romania). The oldest gravestone in the Jewish cemetery is dated
1636, and was erected in memory of Azriel Assach of Salonica.
Between 1552 and 1716 large numbers of Spanish Jews settled in
Temesvar, where the Turkish government received them with
favor; but after the capture of the city in 1716 by Prince Eugene
their treatment became less favorable, for Temesvar and its
district were annexed to Hungary and administered as an Austrian
province. In 1718 the provincial government ordered the
expulsion of the Jews from the city on the charge of being Turkish
spies. The order was not strictly enforced, however, on account of
the influence of Moses Lopez Pereira Diego d' Aguilar, the founder
of the Sephardic community; Maria Theresa even permitted five
other Spanish Jewish families to settle in the city. D'Aguilar
presented to the Sephardic community mantles of the Law and
silver crowns for the scrolls of the Torah. At that time the Spanish
Jews had a society for the promotion of the study of the Bible,
while another association received official recognition from the
Count of Wallis, the commander-in-chief of the citadel.
As in Bohemia and Moravia, the Jews of Temesvar were oppressed by the restrictions formulated by Maria Theresa in 1776.
Only forty-nine were permitted to reside in the city. They were restricted to a single community, headed by a dayyan and a
rabbi; nor might they contract marriages or leave the city without the permission of the authorities. Only eight were allowed
to engage in commerce; and the distinction between Ashkenazim and Sephardim was abolished, the whole Jewry being
comprised under the term "protected Jews of the cities and counties of the Banat." Jews from other places were forbidden
to enter the city except for commercial purposes, when they were required to pay a daily tax of five groschen for protection,
and were obliged to leave the city at night.
Temesvar has had the following rabbis: Jacob Moses of Belgrade (Sephardi; 1739); Eliezer Lipmann, author of the commentary
"Migdal Dawid" (1748); Jonathan Trebitsch, chief rabbi of Transylvania (1752); Johanan b. Isaiah (1775); Ẓebi Hirschb. Israel
(Hershele Ḥarif; 1782); and David b. Ẓebi Oppenheim (1801), and his son David Hirsch Oppenheim, author of "'Ene ha-Da'at"
(Budapest, 1829). In 1863 Moritz Hirschfeld was elected rabbi, and was succeeded by Moritz Löwy.
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