Null Maurice YVAIN (1891-1965). 2 autographed musical manuscripts ; 5 pages in-f…
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Maurice YVAIN (1891-1965). 2 autographed musical manuscripts ; 5 pages in-fol. each. Opening of the "musical in 3 acts Jean V, libretto by Jacques Bousquet and Henri Falk, lyrics by André Barde, premiered at the Daunou theatre in February 1929. The manuscript, in its piano version before orchestration, in black ink on 14-line paper, bears at the end this dispatch in blue pen: " For Mr Foussier In all cordiality this already old memory... 27.I.60 Maurice Yvain ". Souvenir de printemps, melody for voice and piano, on a poem by Albert Willemetz : " Auprès des rosiers vous rappelez-vous les exquises choses que vous supposiez ?"It is accompanied by autograph parts for violin and cello. It was sung by Yvonne Printemps in the show Du côté de chez Proust given at the Théâtre de la Michodière on 22 November 1948.

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Maurice YVAIN (1891-1965). 2 autographed musical manuscripts ; 5 pages in-fol. each. Opening of the "musical in 3 acts Jean V, libretto by Jacques Bousquet and Henri Falk, lyrics by André Barde, premiered at the Daunou theatre in February 1929. The manuscript, in its piano version before orchestration, in black ink on 14-line paper, bears at the end this dispatch in blue pen: " For Mr Foussier In all cordiality this already old memory... 27.I.60 Maurice Yvain ". Souvenir de printemps, melody for voice and piano, on a poem by Albert Willemetz : " Auprès des rosiers vous rappelez-vous les exquises choses que vous supposiez ?"It is accompanied by autograph parts for violin and cello. It was sung by Yvonne Printemps in the show Du côté de chez Proust given at the Théâtre de la Michodière on 22 November 1948.

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DUTILLEUX (Henri). 2 autograph manuscripts (one with musical notations), and one printed volume with signed autograph dispatch. - Autograph manuscript entitled "Analyse de la Sonate pour piano" (9 pp. 2/3 large in-folio on ruled paper, with numerous musical quotations). Full, detailed commentary: "Ier mouv[emen]t : Allegro con moto. The 1st theme, very simple, fits into a sixth and uses the Dorian mode (transposed to F #) [musical notation] The harmonization features the particularity of the A #, rubbing with the A ♮ of the melodic line. 1st theme [musical notation]. It deliberately goes round in circles, particularly in its eighth-note extensions [musical notation]... Its melodic contour changes a little as it develops, so [musical notation] and the alternation of measures at 3/2 2/2 7/8 4/8 (the value of the [eighth note] always remaining the same) accents the freedom of the rhythm during these first pages. The theme becomes more and more distorted, as secondary elements are integrated into it [musical notation], and it sometimes reverts to its initial physiognomy. Then a second motif appears (not yet a 2d theme), quite similar to the initial theme in that it contains identical cells [musical notation]...". - Autograph manuscript entitled "Quelques notes (pour mieux situer à quel stade d'évolution cette sonate se place par rapport à mes travaux antérieurs et postérieurs)" (approx. 5 pp. 1/2 on 6 ff. in-4). Henri Dutilleux situates his Piano Sonata not only in his own work, but also in the French music of his time, affirming his taste for the piano and underlining his temptation to confront the difficulty of sonata form. He also evokes Bach, Beethoven, Frank and Dukas, as well as Webern and Schönberg, with comments on his own relationship to twelve-tone music, etc. - Piano Sonata. Paris, Durand Cie, October 1949. In-folio, (2 of which the second is blank)-55-(3 of which the first 2 are blank) pp. in leaves with printed jacket. First edition. Autograph letter signed: "To Bernard Gavoty, who was present at the very first steps of this sonata and knew how to get it off to a good start. In friendly homage... 9. 11. 49" Organist and musicologist, Bernard Gavoty (1908-1981) succeeded Reynaldo Hahn as music critic at Le Figaro, under the pseudonym "Clarendon".