Null PIANO MAKERS '' PLEYEL '' .
Auguste WOLFF (1821-1887). Pianist and composer…

Description

PIANO MAKERS '' PLEYEL '' . Auguste WOLFF (1821-1887). Pianist and composer, pupil of F. Halévy, he will become the director of the company of piano makers ''Pleyel''.. December 22, 1875, 1½ pages on the letterhead of the Pléyel-Wolff Cie. To a dear gentleman who had just been the victim of an accident, offering his friendship and help.

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PIANO MAKERS '' PLEYEL '' . Auguste WOLFF (1821-1887). Pianist and composer, pupil of F. Halévy, he will become the director of the company of piano makers ''Pleyel''.. December 22, 1875, 1½ pages on the letterhead of the Pléyel-Wolff Cie. To a dear gentleman who had just been the victim of an accident, offering his friendship and help.

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Estim. 3 000 EUR

Domaine Musical de Pétignac Ignace Pleyel" piano Mahogany cabinetry N° 17554 Domaine Musical de Pétignac was founded in 1986 Pétignac in the Charente region of France. Thirty-eight years of tuning and supplying the finest pianos for concerts and and festivals, restoring pianos and giving restoration restoration, training men and women to practise men and women to practice a wonderful craft and to love it for a lifetime, passing on knowledge, know-how and interpersonal skills. Gérard Fauvin, piano maker, after four years of studying musicology in Strasbourg, he left for a one-month a month's internship in Bamberg, Germany, and eventually stay there for over 4 years, during which time he passionately during which he passionately learned all aspects of his of his profession, culminating in restoration work for for German and Austrian museums. For this evening, we are offering an upright piano made by PLEYEL. Pleyel is one of the world's oldest piano in the world. Pleyel pianos are also distinguished by their romantic romantic sound known as "à la française", giving the notes and the music played a coloration coloration characterized by round basses and fine high notes with a powerful, rich timbre rich timbre, the hallmarks of the brand's instruments. It has a so-called "mechanism, with the dampers above the hammers. hammers. The basswood keyboard, with ivory / ebony cover and pearwood pediments, ranges from C to A6, i.e. 6 2/3 octaves. Wooden frame with heavy bracing 3-layer windchest, equipped with two pedals two pedals: Dolce and Forte. And a cylinder with two shelves to rest candelabras or glass of wine... Ignace Pleyel" piano This "Ignace Pleyel" piano, made in Paris around 1850 bears N° 17554. It features mahogany cabinetry of mahogany, magnified by time, and loaded with "inscriptions and scars, bearing witness to the rich the rich past of a very "high-end" musical instrument musical instrument, the successor to the famous 5 and 6 octaves played by Frédéric Chopin. Piano incredibly original condition, a rare piece, of course playable. Tuned to Baroque pitch, a full semitone lower (± 400 Hz).

Estim. 100 - 150 EUR

Meissen "Cupid as postman" Designed by August Ringler 1889-1890, underglaze blue pommel mark 1860-1924, cancelled once, incised model number O.175boss number 136 and painter's number 29, naturalistic moulding with polychrome overglaze painting and gold decoration, a boy with wings standing on a round rocaille base with tree stump support, draped in cloth and carrying a wallet, the letter bumped in the hand, otherwise in good condition for its age, h 14.5 cm, source: Bergmann, Meissener Figuren, Supplementband, p. 81, ill. 2155.

Estim. 60 000 - 80 000 EUR

Ludwig van Beethoven Autograph Letter Signed to the Brother-in-Law of Pianist Marie Pachler Scarce ALS in German, signed “Beethoven,” 4.5 x 7.75, April 22, 1816. Handwritten letter to Anton Pachler, in part (translated): "You can do me a great favor today if you will accompany me in the afternoon to Alsergasse, where the house appraisal will take place. Please kindly let me know in writing where I can pick you up around half past 2 this afternoon. I am still not feeling well, otherwise, I would have visited you long ago." In very good to fine condition, with overall creasing, and two areas of paper loss to the integral address leaf which have no effect on the letter itself. Accompanied by a carte-de-visite-type portrait of the composer, a contemporary identification slip, and an export certificate from the French Ministry of Culture. The recipient of the letter, jurist Anton Pachler, was the elder brother of the Graz lawyer Dr. Carl Pachler. The latter's wife, Marie Leopoldine Pachler (1794-1855), née Koschat, would become particularly esteemed by Beethoven as an interpreter of his piano compositions [cf. Theodor v. Frimmel, Beethoven-Handbuch, Vol. II, Leipzig 1926]. Notably, Marie Pachler was a close friend to Franz Schubert; Schubert dedicated his song, 'An Sylvia,' to her, and she performed with Schubert in an 1827 charity concert organized by the Graz Music Association. In April 1816, Beethoven lived "Auf der Seilerstädt" C. No. 1055/56 in the Count Lambert's house. The residence was first documented on May 15, 1816, by Charles Neate [Rudolf Klein, Beethovenstätten in Österreich, Vienna 1970, p. 89]; according to Smolle [Kurt Smolle, Wohnstätten Ludwig van Beethovens von 1792 bis zu seinem Tode, Munich/Duisburg 1970, p. 50], Beethoven had moved there after March 21, 1815, but possibly only lived there from autumn 1815 [Klein, Beethovenstätten, p. 90]. Aside from summer stays in Baden, the master remained here until the end of April 1817. On April 4, he wrote the two-part canon 'Ars longa, vita brevis' (WoO 170) for the departing Johann Nepomuk Hummel, and in the same month, he completed the song cycle 'An die ferne Geliebte' op. 98. Beethoven was in poor health at that time, a fact he acknowledges in this letter and others. 'I was unwell for some time,' he wrote to Ferdinand Ries on February 28, 'the death of my brother [on November 15, 1815] affected my mind and my works' [KK, p. 350]. On February 2, as the guardian of his nephew Karl, he placed him in the Giannatasio del Rio educational institution. In the following weeks, he was plagued by severe colic, but his health seems to have improved again in May. Why Beethoven was particularly interested in the house appraisal in Alservorstadt on April 16, where he had found his first Viennese residence in November 1792 at No. 45 Alsergasse (then called Alstergasse), is unknown. According to an entry in his diary, he seemed to be considering buying a house in the suburb at that time: 'To live and sustain oneself, a house in the suburb, nothing goes with Karl in the countryside' [Ludwig van Beethoven, Bericht der Zeitgenossen, edited by Albert Leitzmann, Leipzig 1921, Vol. II, p. 258, No. 98]. However, Beethoven did not move until about a year later, from the Sailerstätte to Gärnergasse in the suburb of Landstrasse [Smolle, Wohnstätten, p. 50].

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