SAINT-SAËNS Camille (1835-1921) AUTOGRAPHIC MUSICAL MANUSCRIPT for Hymn to Peace…

Description

SAINT-SAËNS Camille (1835-1921)

AUTOGRAPHIC MUSICAL MANUSCRIPT for Hymn to Peace, [1919]; 2 oblong pages in-fol. (27 x 35 cm). First draft manuscript of this melody for voice and piano composed in 1919 to lyrics by surgeon Jean-Louis FAURE (1863-1944): "Sonnez toujours, clairons de la Victoire"... The Hymne à la Paix (op. 159) was composed in 1919, and published in the Supplément musical du Figaro of Sunday, May 9, 1920, and then by Durand, almost at the same time. The manuscript is written in a rapid handwriting, in black ink, on a 12-line Italian sheet, with the dry stamp of Lard-Esnault-E. Bellamy, in six systems of two staves, the upper staff containing the vocal line and the right hand of the piano. These 72 measures, in B flat, correspond to the first part of the work which counts in all 201 measures. On the back, one notes a draft of 13 measures, beginning of a piece for violin and piano, followed by some sketches.

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SAINT-SAËNS Camille (1835-1921)

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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".

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