858 - MUSIC & COMPOSERS. A fine collection.

MUSIC & COMPOSERS. A fine collection. DEVÉRIA, Achille (1800–1857), painter. Autograph letter addressed to Antonio PACINI (1778–1866), Italian composer and renowned music publisher based on Boulevard des Italiens. Regarding the rehearsals of Eugenia Tadolini (1808–1872), one of the greatest sopranos of the era. Devéria did indeed portray Tadolini in Donizetti’s opera *Anne Boleyn*; FABRE, Gabriel (1858–1921), composer. Letter; ROLLÉ-JACQUES, Charlotte [?] (1835–1914), French composer. Autograph letter; PÉRILHON, A. Autograph letter signed. Maison Pleyel; SASSE, Marie (1838–1907), Belgian opera singer. Autograph letter signed. Saint Petersburg. 1897. 2 pp., oblong in-12; BRUNEAU, Alfred (1857–1934), composer and conductor. 2 letters from the author, 1902 and 1914. 2 pp., in-8. On the revival of her ballet *Les Baccantes* and regarding a trip to London: “As soon as Christmas approaches, the English think of nothing but the pantomimes of Christ […]”; BRÉVAL, Lucienne (1869–1935), opera singer. Autograph letter. No place, no date. 2 pp., in-12 oblong. Red ink; CHENAL, Marthe (1881–1947), opera singer. Autograph letter, 1½ pages, in-4; CALVÉ, Emma (1858–1942), opera singer. Autograph letter, May 3, 1909. 1 page, small in-4. Beautiful pearlescent letterhead featuring a cicada with the motto: “WHO SINGS OF HIS SORROWS ENCHANTS”; HALÉVY, Ludovic (1834–1908), playwright and librettist. Letterhead of the Institut de France. Handwritten letter; VIARDOT, Pauline (1821–1910), mezzo-soprano and composer. Handwritten letter, no place, no date. 1 p. in-8 and 1 p. in-12 on blue paper. Regarding the rehearsal and dress rehearsal of Gluck’s *Iphigénie en Tauride*; to the playwright and librettist Stéphan Bordèse (1847–1919): “Rêve de Jésus” is to be performed the following Sunday “at the Colonne concert,” with a rehearsal on Thursday, etc.; HOLMÈS, Augusta (1847–1903), composer. Autograph letter. No place, no date, May 30, 1902. 1 p. in-8. “On Monday I have a lesson at 1 o’clock […]”; RAUNAY, Jeanne (1868–1942), mezzo-soprano. Autograph letter. No place, no date. She requests her “orchestral materials” to rehearse at the Concert Touche; SAUER, Émile (born Emil von Sauer) (1862–1942), pianist and composer. Autograph calling card. Paris, March 5, 1913. ½ p., small oblong in-16; CAROLUS-DURAN, Pierre (1876–1945), composer. Autograph letter. Paris, January 29, 1903. 2 pp., in-12. Blue paper. An interesting letter regarding his dramatic poem “Calypso,” which lasts 21 minutes and for which rehearsals will begin shortly, etc.; VIDAL, Paul (1863–1931), composer. Autograph letter, Paris, March 29, 1910 (according to the postmark). Regarding his “Chansons d’Amiens”; GEORGES, Alexandre (1850–1938), composer and organist. Autograph letter, Choisy-au-Bac, July 23, 1910. 2 pp., small 8vo. He is to provide a melody for his correspondent and offers him several choices. Two names crossed out; TAFFANEL, Paul (1844–1908), flutist. Autographed business card. No place, no date. 1 p., oblong in-16; DIÉMER, Louis (1843–1919), pianist and composer. 2 documents. Autograph letter and autograph card. Regarding a dedication to the singer Gabrielle Krauss (1842–1906); she is going to sing his “melody” and mentions proofs to be corrected; SARASATE, Pablo de (1844–1908), violinist and composer. Autograph letter. No place, no date. 1 p., in-8. He requests a volume for the Marquise de Respaldiza at Frohsdorf Castle in Austria; CORTOT, Alfred (1877–1962), pianist. Autograph letter. Paris, March 20, 1905. 1 p., in-8. Letterhead of the Alfred Cortot Concert Association; GUILMANT, Alexandre (1837–1911), organist and composer. Autograph visiting card; DUBOIS, Théodore (1837–1924), organist and composer. Signed autograph calling card; HOLLMANN, Joseph (1852–1926), cellist and composer. Letter from the author, London, June 9, 1910. 2 pp., in-8. On Saint-Saëns and the success of his concert—“admirably successful; it could not have been otherwise with such artists,” etc.; HAHN, Reynaldo (1874–1947), composer and conductor. Autograph calling card; PLANTÉ, Francis (1839–1934), pianist. Autograph calling card; LECOCQ, Charles (1832–1918), composer. 2 signed autograph letters, one of which is addressed to the playwright and librettist Stéphan Bordèse (1847–1919). Mention of Max Eschig, a music publisher to be contacted regarding “changes in content and form,” and of Camille Saint-Saëns (1835–1921) “Saint-Saëns had the score of *Merowig* [a lyric drama in 3 acts and 5 scenes by Samuel Rousseau] returned to me—which I had lent him—along with a writer’s cramp, accompanied by a whimsical dedication; I took it to mean that this mailing was a farewell […]”; BOURGAULT-DUCOUDRAY, Louis-Albert (1840–1910), composer and conductor. C.V.A.S.; ROGER-MICLOS, Marie-Aimée (1860–1951), pianist. Autographed calling card; Léon MOREAU (1870–1946), composer. Letter from the author. He mentions his works “L’invocation à Bouddha” and “Bohémienne”; NADERMAN, François-Joseph (1781–1835), composer, harpist, and music publisher. Letter from the author.