Reichardt, Johann Friedrich Contemporary scribal manuscript of Reichardt's aria "Luci amate", WITH POSSIBLY AUTOGRAPH ADDITIONS notated in dark ink on three six-stave systems per page, scored for soprano, oboe solo and strings, inscribed at the head "Aria Andante. Luci amate di Giov: Feder: Reichardt.", the numerous pencil and ink additions to the voice and oboe parts possibly in Reichardt's hand, 14 pages, no place or date [Berlin, c.1778?] bound in with: a manuscript of a keyboard Rondo in G by Clementi, possibly in Reichardt's hand (?), 4 pages, C18th; apparently scribal manuscripts of a March in D for keyboard by Reichardt, 1 page, presumably C18th; a Fughetta in D minor by Graun (a keyboard arrangement of music from Graun's opera L'Europa galante of 1748), 1 page, presumably C18th; a divertissement in A for keyboard and violin and bass ad libitum by Vanhall, 7 pages, C18th; and the keyboard part for the trio in C, B 431, by Pleyel, 21 pages, plus blanks, with pencil drawings of faces on the originally blank last page, after 1788; ALSO CONTAINING A MANUSCRIPT COPY OF MOZART'S KEYBOARD VARIATIONS K.265 AND 573, IN A POSSIBLY PROFESSIONAL HAND, 12 pages, presumably C18th; and the following early printed edition of Mozart: Menuet de Mr J. P. Duport, varié pour le Clavecin ou Piano forté [K.573], Offenbach: André, [1792], 7 pages, plate number 455, old repairs to edges, some dust-staining and spotting all 8 items 4to (overall size: c.35.8 x 25cm), contemporary or slightly later (early C19th) marbled boards, second half of the C18th, manuscript label to upper cover itemising the contents, browning to some items, including the aria "Luci amate", corners and edges rubbed A significant Reichardt discovery. Reichardt's setting of the aria "Luci amate" (on a Metastasio text) was written as a replacement for the original setting in a performance of Hasse's Artemisia (Berlin 1778). The copyist, known to Bach scholars as 'Anon. V 19' (called thus by Yoshitake Kobayashi) or 'Anon. Palestrina II' (according to Eva-Renate Blechschmidt's catalogue of the Amalienbibliothek), features very prominently in collections from Berlin around 1770-1780, particularly in music manuscripts belonging to the children of the Jewish banker Daniel Itzig (Sarah Levy, Zippora Wulff, Veilchen Itzig, Benjamin Itzig and others). Since Reichardt, as he mentions in his autobiography, was a regular guest at the Itzig residence on Burgstrasse, in Berlin Mitte, it is possible that the manuscript originated there. Reichardt (1752-1814), the last Kapellmeister of Frederick the Great (from 1775), was held in particular esteem by his great-grandson, the Berlin pianist, composer and conductor Ernst Rudorff (1840-1916), from whose collection the present volume derives. Sotheby's gratefully acknowledges the assistance of Professor Peter Wollny in the cataloguing of this lot.
Reichardt, Johann Friedrich Contemporary scribal manuscript of Reichardt's aria "Luci amate", WITH POSSIBLY AUTOGRAPH ADDITIONS notated in dark ink on three six-stave systems per page, scored for soprano, oboe solo and strings, inscribed at the head "Aria Andante. Luci amate di Giov: Feder: Reichardt.", the numerous pencil and ink additions to the voice and oboe parts possibly in Reichardt's hand, 14 pages, no place or date [Berlin, c.1778?] bound in with: a manuscript of a keyboard Rondo in G by Clementi, possibly in Reichardt's hand (?), 4 pages, C18th; apparently scribal manuscripts of a March in D for keyboard by Reichardt, 1 page, presumably C18th; a Fughetta in D minor by Graun (a keyboard arrangement of music from Graun's opera L'Europa galante of 1748), 1 page, presumably C18th; a divertissement in A for keyboard and violin and bass ad libitum by Vanhall, 7 pages, C18th; and the keyboard part for the trio in C, B 431, by Pleyel, 21 pages, plus blanks, with pencil drawings of faces on the originally blank last page, after 1788; ALSO CONTAINING A MANUSCRIPT COPY OF MOZART'S KEYBOARD VARIATIONS K.265 AND 573, IN A POSSIBLY PROFESSIONAL HAND, 12 pages, presumably C18th; and the following early printed edition of Mozart: Menuet de Mr J. P. Duport, varié pour le Clavecin ou Piano forté [K.573], Offenbach: André, [1792], 7 pages, plate number 455, old repairs to edges, some dust-staining and spotting all 8 items 4to (overall size: c.35.8 x 25cm), contemporary or slightly later (early C19th) marbled boards, second half of the C18th, manuscript label to upper cover itemising the contents, browning to some items, including the aria "Luci amate", corners and edges rubbed A significant Reichardt discovery. Reichardt's setting of the aria "Luci amate" (on a Metastasio text) was written as a replacement for the original setting in a performance of Hasse's Artemisia (Berlin 1778). The copyist, known to Bach scholars as 'Anon. V 19' (called thus by Yoshitake Kobayashi) or 'Anon. Palestrina II' (according to Eva-Renate Blechschmidt's catalogue of the Amalienbibliothek), features very prominently in collections from Berlin around 1770-1780, particularly in music manuscripts belonging to the children of the Jewish banker Daniel Itzig (Sarah Levy, Zippora Wulff, Veilchen Itzig, Benjamin Itzig and others). Since Reichardt, as he mentions in his autobiography, was a regular guest at the Itzig residence on Burgstrasse, in Berlin Mitte, it is possible that the manuscript originated there. Reichardt (1752-1814), the last Kapellmeister of Frederick the Great (from 1775), was held in particular esteem by his great-grandson, the Berlin pianist, composer and conductor Ernst Rudorff (1840-1916), from whose collection the present volume derives. Sotheby's gratefully acknowledges the assistance of Professor Peter Wollny in the cataloguing of this lot.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
