Cornelius, Peter IMPORTANT COLLECTION OF TWELVE AUTOGRAPH LETTERS SIGNED ("DEIN CORNELIUS"; "DEIN PETER") AND PART OF ANOTHER AUTOGRAPH LETTER, TO CARL TAUSIG, ABOUT WAGNER AND THE REHEARSALS FOR TRISTAN UND ISOLDE, ONE LETTER IN VERSE FORM, describing the first rehearsal of Tristan in Vienna, his coaching of the singers Destinn and Dustmann, and the unheard of achievement of the orchestra, commenting on his relations with Wagner, referring to the composer's crushing reply to the opera management in reply to his request for an advance, mentioning a visit of Wagner to Venice where he met the Wesendoncks, and Wagner's intention to go to Paris to write 'a new, practical work', referring to his own fight for artistic and personal independence from Wagner, admitting that not attending the premiere of Tristan was a great mistake, observing Wagner's, and especially Cosima's, frosty treatment of him, relating in detail Cosima's calculating and unjustified criticism of Tausig in front of Wagner, stating that Wagner and Bülow do not understand his letters, expressing his dissatisfaction with Vienna, discussing his opera Der Cid, his fervent desire to dedicate to him his third opera ("...Dies sage ich dir mit Thränen der innigsten Liebe..."), Liszt, noting that many in Weimar did not rate his artistic products highly although they held his person in high regard, relating Carolyne zu Sayn-Wittgenstein's feelings after the cancellation of her marriage to Liszt ("...J'ai entièrement échouée..."), also reporting a remark by Liszt about Wagner ("...Jetzt ist der Unglückliche sogar des Exils beraubt..."), offering corrections with musical examples to one of his scores, mentioning Tausig's wife Seraphine, his mother and sister, Schott, Standhartner, Moritz Schwind, Robert Franz, and others, relating an embarrassing matter concerning Brahms, asking whether Tausig really gave him a scene from Tannhäuser in Wagner's autograph, since Cosima has asked him to ask Brahms for it back, and touching on many other matters ...das Orchester leistete bei der Probe das Unerhörte. Es wurde die Einleitung, erste Scene des zweiten Aktes, die As dur Stelle des Duettes, Gesang der Brangäne und Schluss der Oper, (Isolde) gespielt. Alles zweimal und ging wie in einer Generalprobe. Leider musste Esser die Scenen-Hörner auf dem Clavier spielen. - Es waren zwei schöne Stunden... 53 pages, 8vo (c.23 x 14.6cm), the letter of [4 April 1862] without the beginning and ending, one letter containing the remark concerning Carolyne zu Sayn-Wittgenstein as transmitted in Literarische Werke, i 269 (Vienna, 6 December 1861), but otherwise different, Vienna, Nonntal, Munich, 28 October 1861-29 December 1865, where indicated, some splitting along folds and a few tiny tears
Cornelius, Peter IMPORTANT COLLECTION OF TWELVE AUTOGRAPH LETTERS SIGNED ("DEIN CORNELIUS"; "DEIN PETER") AND PART OF ANOTHER AUTOGRAPH LETTER, TO CARL TAUSIG, ABOUT WAGNER AND THE REHEARSALS FOR TRISTAN UND ISOLDE, ONE LETTER IN VERSE FORM, describing the first rehearsal of Tristan in Vienna, his coaching of the singers Destinn and Dustmann, and the unheard of achievement of the orchestra, commenting on his relations with Wagner, referring to the composer's crushing reply to the opera management in reply to his request for an advance, mentioning a visit of Wagner to Venice where he met the Wesendoncks, and Wagner's intention to go to Paris to write 'a new, practical work', referring to his own fight for artistic and personal independence from Wagner, admitting that not attending the premiere of Tristan was a great mistake, observing Wagner's, and especially Cosima's, frosty treatment of him, relating in detail Cosima's calculating and unjustified criticism of Tausig in front of Wagner, stating that Wagner and Bülow do not understand his letters, expressing his dissatisfaction with Vienna, discussing his opera Der Cid, his fervent desire to dedicate to him his third opera ("...Dies sage ich dir mit Thränen der innigsten Liebe..."), Liszt, noting that many in Weimar did not rate his artistic products highly although they held his person in high regard, relating Carolyne zu Sayn-Wittgenstein's feelings after the cancellation of her marriage to Liszt ("...J'ai entièrement échouée..."), also reporting a remark by Liszt about Wagner ("...Jetzt ist der Unglückliche sogar des Exils beraubt..."), offering corrections with musical examples to one of his scores, mentioning Tausig's wife Seraphine, his mother and sister, Schott, Standhartner, Moritz Schwind, Robert Franz, and others, relating an embarrassing matter concerning Brahms, asking whether Tausig really gave him a scene from Tannhäuser in Wagner's autograph, since Cosima has asked him to ask Brahms for it back, and touching on many other matters ...das Orchester leistete bei der Probe das Unerhörte. Es wurde die Einleitung, erste Scene des zweiten Aktes, die As dur Stelle des Duettes, Gesang der Brangäne und Schluss der Oper, (Isolde) gespielt. Alles zweimal und ging wie in einer Generalprobe. Leider musste Esser die Scenen-Hörner auf dem Clavier spielen. - Es waren zwei schöne Stunden... 53 pages, 8vo (c.23 x 14.6cm), the letter of [4 April 1862] without the beginning and ending, one letter containing the remark concerning Carolyne zu Sayn-Wittgenstein as transmitted in Literarische Werke, i 269 (Vienna, 6 December 1861), but otherwise different, Vienna, Nonntal, Munich, 28 October 1861-29 December 1865, where indicated, some splitting along folds and a few tiny tears
Try LotSearch and its premium features for 7 days - without any costs!
Be notified automatically about new items in upcoming auctions.
Create an alert
.jpg "Source: Christie's")
.jpg "Source: Christie's")
