Harmonie Autographs and Music, Inc. March 2023 Catalog

HARMONIE AUTOGRAPHS & MUSIC, INC

FEBRUARY 2022

COMPOSER, CONDUCTOR & INSTRUMENTALIST

HISTORICAL PRESENTATION BATONS, AUTOGRAPHS & PHOTOGRAPHY

harmonieautog@gmail,com

Our February selection including historical ivory presentation batons, Classical Music Autographs, Photographs and ephemera. All autographed items are one-of-a-kind, guaranteed authentic for the life of the original purchaser.

Oversized and special packaging will quote by the shipment

Federal Express, DHL and UPS is available by request

Returns accepted within 7 days of receipt of order

HARMONIE AUTOGRAPHS AND MUSIC, INC. Music Appraiser and Antiquarian

February 27, 2022

Dear Friends, Customers and Colleagues,

I am very excited to bring you this March catalog! While short and sweet, the catalog was a year in the making due to three special items. We offer three historical ivory presentation batons from conductor Gene Young’s Trust. They include a baton which belonged to the Russian composer and conductorAnatoly Lyadov, the baton presented by Luitpold, Prinzregent of Bavaria to Richard Strauss at the time of the Munich premiere of “Der Rosenkavalier” and the Bach Chorus baton presented to composer Ralph Vaughan-Williams at the time he assumed the Music Directorship of the famed Bach Chorus in London. Each is over 100 years in age. We are licensed by New York State to offer, sell and ship them within the United States to all states which allow the sale of antique ivory. Two may ship to 46 states and one to 48 states based upon the de minimus laws of the states which regulate the sale of ivory within their boundaries. Unfortunately due to the regulation of the sale of ivory to Canada, the UK, EU and even China, we will not be able to ship the batons outside of the United States. Each will be accompanied by a license which should be kept with the baton, as well as a court decree from the Probate Court of the State of Connecticut authorizing us to sell the batons on behalf of the trust.

In addition to the batons, there is an eclectic offering of classical composer and musician autographs, with letters that truly say something of importance by the writers, autographed photographs, historical carte de visite photographs, an engraving and my favorite paper item in this catalog, the World Premiere program of JohnAdams’s “AShort Ride InAFast Machine”, the number one performed classical work by a living composer, by far.

All items subject to prior sale, please contact us as soon as possible for items you may wish to acquire.

My best,

Bill Ecker

JOHN ADAMS & MICHAEL TILSON THOMAS

(1947 - ) ( 1944 - )

“Short Ride In A Fast Machine”

world premiere souvenir program, June 13, 1986

Great Woods Center, Mansfield, Massachusetts

Autographed eight-page program with a heavyweight embossed cover and a parchment printed insert, June 13, 1986. The occasion was the gala opening concert for the Great Woods Center for the PerformingArts in Mansfield, Massachusetts. The Pittsburgh Symphony Orchestra performed in the brand-new amphitheater with then Music Director Michael Tilson Thomas. JohnAdams wrote a new fanfare for the opening, which today is known as “Short Ride in a Fast Machine”. BothAdams and Thomas have autographed the program.

Adams work, originally known as “Fanfare For Great Woods (Short Ride InAFast Machine) has become the single most performed work by a classical composer internationally. During the post covid period, January 1, 2022 through March 31, 2023, it was performed, or will be performed 64 times internationally, in some cases by multiple orchestras within a given country including,Australia,Austria, Belgium, Canada, China, Denmark, Estonia, Germany, Greece, Finland, Great Britain, Hong Kong, Italy, Japan, Malta, The Netherlands, Poland, Sweden, Switzerland and Thailand. In the US, it was heard in, Denver, LosAngeles, Pittsburgh, Portland (OR). Salt Lake City and San Francisco. There is not another work by a living composer that comes close in the grand total of performances since the 1986 premiere.

Bernard Holland wrote this commentary in his post-concert review in The New York Times. …Mr. Adams's piece is an engaging hymn to glitz - crashing gongs, brass choirs screaming or else grunting in the lowest of registers. Here ''classical'' music took another step nearer popular culture - not a bad thing at all for it to do.

MaestroAdams told me that he attended the performance under what can only be described as soggy conditions with fog. As he was working on “Nixon in China” at the time, he did not stay long and he said he signed very few programs that night. So, this is a rarity of the debut of a important and lasting work.

$300

MAURICE BAQUET

(1911-2005)

Autographed Photograph

Autographed and inscribed 4” x 6” photograph of the French cellist, film star, Olympic skier and mountain climber. Baquet studied at the Lyon Conservatoire where he won a first and at the Paris Conservatoire where he was awarded a second and a medal in solfege. After a failed attempt at a seat with the Opera de Paris Orchestra, he turned to acting, where he became a beloved comic actor in film and the stage. However he never gave up his instrument where he became the Victor Borge of the cello. He made numerous recordings and his appearances were often televised,

$75

Two Page Autographed Letter Signed, 1864

The legendary cellist writes a two page autographed letter signed to the Hamburg based Kapellmeister and Director of the Kursaal Concerts,Anton Garbe, Paris,April 3, 1864 looking to play a recital in that city.

April 3, 1864

My dear Monsieur Garbe

I am profoundly requesting that this year there is certainly no misunderstanding in this letter that freely precedes yours, and a different interpretation given to my thought, which was the cause of the obstacle which prevented me of the pleasure that I would have loved to play for the fans and be heard in Hamburg. I said at that moment to ask if it would annoy you to hire me for the beginning of August, the sum which you manage to allocated to the artists of 500 fr. I will accept in advance if it may be convenient for the gentlemen of the musical committee and for you to assure me of the concert that these conditions are customary for you. I will be all the happier to perform your requests and those of the Directors who have the highest estimate of them, I do not assure them to have quiet thoughts and manner of acting.

I will be grateful to you if you are interested dear Mr. Garbe, to write a line to tell me that you can offer me a favorable welcome and to ask that you send it to me.

Mme Escudier Kastner and Mr. Escudier give me their best compliments for you. Believe my dear sir in my well-devoted feelings

Alexandre Batta

14 rue de Berlin (in Paris)

Batta writes to the Kapellmeister and Generaldirektor of the Concerts du Kursaal,Anton.Gabre. The conductor from the 1840’s was theArthur Fiedler of Hamburg, leading pops waltz concerts and balls throughout the City. By 1858, he was leading the important Kursaal concerts in what was described as a large concert hall. The series would including visiting orchestras, soloists, chamber groups and an annual choral concert. It would appear, Batta had attempted to come to terms for a series of concerts the prior year. He also mentions that Garbe and the directors could choose works for his programs. He wrote a significant amount of solo cello works to choose from. Batta also mentions music publisher Marie Pierre Escudier (1821 – 1880) and his wife,Austrian pianist Rosa Escudier-Kastner (1835 – 1880). Kastner was a pupil of Thalberg and Liszt, frequent concert duet partner of Marie Schumann and also played in a chamber trio with Batta and Camillo Sivori in the mid 1850’s in Paris.

Alexandre Batta (1816-1902) was a Dutch virtuoso cellist who spent his adult life in Paris. He was held by composers and the public alike as the cellist equivalent of Franz Liszt as a pianist. Batta’s fame grew exponentially and he and Franchomme were the “it” concert cellists of the period. Among the many, Liszt was a regular chamber music partner, Thalberg and Charles Hallé. Clara Schumann on her first trip to Paris wrote to her father on March 13, 1839, The day after tomorrow is Schlesinger’s matinée at Érard’ s…..I am playing the B flat major trio at it with Batta and Artot….You can easily imagine how I feel at playing in Paris for the first time…..The next day I was at a concert of Batta’s, who is adored by the ladies here…..because he flirts with them while he is playing till one can hardly bear it; he plays delicately, but (as I wrote in my diary) he has an affected, French soul. (Clara Schumann,AnArtist’s Life, Based on Material Found in Diaries and Letters, vol. I, Berlard Litzmann, 1913)

Batta made numerous solo cello tours throughout Europe collecting awards from assorted royals as he went. In his June, 1840, Liszt was his accompanist in London performing Beethoven violin sonatas among other works.

Arare letter, as the bulk of his correspondence is contained within the Bibliotheque Nationale in Paris.

$450

KARL BÖHM

(1894 -1981)

Autographed Photograph

Autographed, original blind stamped 3” x 5” Fred Fehl photograph on a postcard mount by the legendary German conductor in rehearsal in New York City. The photographs from this session are featured on the cover and frontispiece of his autobiography, Karl Böhm,A Life Remembered, English translation, Marion Boyars, London, 1992, however, they are not credited. Fehl was a pioneer in performing arts photography. From the George Sgalitzer collection.

$125

HANS VON BÜLOW

(1830 -1894 )

1887 Carte de Visite Photograph

Original Emilie Bieber of Hamburg near pristine carte de visite photograph of the legendary German virtuoso pianist, conductor, son-in-law and pupil of Liszt and cuckold of Richard Wagner. Bieber was one of the first female professional photographers in Germany and the court photographer to the Prussian Royal Family. The image is blind embossed with the year to the right under his lapel.

$200

ALFREDO CAMPIOLI

(1906 -1991)

Autographed “Gypsy” Photograph

Autographed 2” x 3” doubleweight photograph of the Italian-British concert violinist in Gypsy attire with a wig earring, costume and signed “Alfredo”. Amusingly, in his later career, he was often booked as “Campioli”. He arrived in London in 1911, a pupil of his father, the concertmaster of the Santa Cecilia Orchestra in Rome. He won the gold medal of the London Music Festival in 1919 and made his debut at Wigmore Hall in 1923. During the Depression, from 1929 to 1938 he performed with a light orchestra often in Gypsy attire at London Hotels and events. He was one of Britain’s great violinists on the concert stage and a prolific recording artist including a variety of records featuring Hungarian Gypsy music.

$150

GUSTAVO DUDAMEL

(1981 – )

Autographed Photograph

Autographed 9” x 12” original glossy photograph of the lauded Venezuelan conductor, currently Music Director of the LosAngeles Philharmonic, Opera de Paris and the Simon Bolivar Symphony Orchestra and future Music Director andArtistic Director of the New York Philharmonic. Here he is show exuberantly conducting the LosAngeles Philharmonic in 2010, the season he took up the reigns of the orchestra. It is noted on the verso the photograph was signed in 2011.

$100

ROBERT HECKMANN

(1848

–1891)

Carte de Visite Photograph

Scarce and pristine Roessinger-Yeanneres of Davos, Switzerland carte de visite photograph portrait of the great German violinist. Heckmann was a student of Ferdinand David in Leipzig and later Moritz Haptmann. Early in his career was a concertmaster of the Euterpe in Leipzig and the Gürzenich-Orchester in Cologne. He also led the Heckmann Quartet which first performed Grieg’s only string quartet which was dedicated to the violinist. Max Bruch dedicated his Romanze for solo violin op. 42 top Heckm ann who helped popularize the composers violin concertos outside of Germany..

$150

STEPHEN HELLER

(1813 –1888)

Autographed Musical Quotation

Tarantelle, Op. 53 in E Minor & Carte de Visite

Photograph

Generous and significant 16 double staved bars of the legendary pianist and composer’s most famous work for solo piano, ParisApril 5, 1846. The piece inscribed to Charles de Try, maître de chapelle of the cathédrale de Cambrai measures 4.5” x 12”. We offer with an original carte de visite photograph of Heller from a series by Pierre Petit of Paris, c. 1870.

Heller wrote several Tarantella's in his lifetime, the first which he quotes here is by far the most popular of his works. You will note that this quote, written in the year of publication is pre-publication and contains chords in the left hand which make up the configuration of the runs in the published score.

The Hungarian pianist, a pupil of Franz Brauer, Carl Czerny andAnton Halm toured Europe extensively until 1830 where he settled inAugsburg under a musical patron, Germany due to psychological illness brought on by stage fright. He arrived in Paris in 1838 where he became a member of the musical circle which included, Berlioz, Chopin, the Herz Brothers and Liszt. He set up shop as a teacher and composer of mostly solo piano works for the salon. Quite successful, he would occasionally perform in Paris. Critics of the time compared his performances as good, or better than his friend Frederic Chopin. His most important foray outside of France after 1838 were two trips to England in 1850 and 1862. There he performed in recital and in chamber concerts and also with the Hallé Orchestra in Birmingham. The Hungarian, later French pianist, Isidore Philipp was his most important pupil.

$800.00

ANATOLY LYADOV

(1855 - 1914)

Elephant Ivory & Sterling Silver Presentation Conductor Baton, 1904

The baton was presented to the composer, likely by the St. Petersburg Conservatoire in 1904. It was created in the studio of silversmith Yakov Lyupanov, a cousin of composer Sergei Lyupanov and bears his personal Imperial Russian kokoshnik stamp (hallmark) on the center band. The inscription reads, Anatoly Konstantinovich Lyadov, 1904.

Materials: Elephant tusk ivory shaft with cast sterling silver hardware caps at each end and an engraved central band. The baton has been carved with a narwhale motif. The top cap bears a lyre and the bottom cap is a knob.

Dimensions: 15.5" in length, 5.1 ounces

Condition: Stellar condition, with no visible cracks in the ivory.

Anatoly Lyadov a pupil of Rimsky Korsakov at the St. Petersburg Conservatoire was generally a miniaturist and an early arranger of Diaghilev’s Ballets Russe. He was a musical folklorist which he used throughout his works.Alater member of the powerful "Mighty Handful" a consortium of the best, politically astute composers in Russia, he was able to help his pupils in ways other composers could not, Lyadov was a composition and harmony Professor at the St. Petersburg Conservatoire and the Imperial Chapel. As a composer he also wrote two original ballets, symphonic poems, orchestral scherzos, ballet arrangements, choruses, songs, piano music and chamber music including string quartets.As a composition pedagogue, his pupils included: Stravinsky, Prokofiev, Myaskovsky, Asafyev and Malko.

Provenance, The Gene Young Trust, purchased from the Milanese firm of Piero e Pierangelo Il Segno.

** This baton can be shipped to all states with the exception of: California, New Jersey, New York and Washington State due to their de-minimus regulations. It cannot be shipped outside of the United States. Afull New York DEC license 140-2 and a copy of the Connecticut State Court Decree will accompany the baton.

$15,000

Anatoly Lyadov ivory and sterling presentation baton, 1904

Two Page Autographed Letter Signed & Walery of Paris Photograph

The composer writes a two page autographed letter (octavo, 2 attached leaves) signed to an unnamed friend after his return from Italy, January, 1896. We offer with an original mounted Walery of Paris photograph on the photographers printed mat.

Friday

Dear friend,

Arrival from Italy! It was Excellent!!

My daughter sends me your good letter – I'm leaving for Brussels Thaïs (rest with my Ninon is in order as well)

- I came back to Paris on Monday all day & Tuesday in the morning.

I would like to leave at 12:20 p.m. – at the latest if the academy is on Tuesday, I won't be out.

Thank you good friend!

A thank you to your friend Mr. Paul Hercer –

Massenet

The composer writes in his usual hieroglyphics.Anote upon returning from Milan, where he stopped unannounced to visit his colleague Giuseppe Verdi in Genoa along the way. The composer was in Milan for the rehearsals of the Milan premiere of “La Navarraise” at La Scala. He did not stay for the premiere. At that time all French composers had to publish at least their Italian edition with the publishing firm of Sonzogno, as Ettore, the proprietor of the publisher was also the General Director of La Scala. The Italian opera fans preferred Ricordi, where Massenet had placed his Italian editions, but allowed Sonzogno to publish “La Navarraise” so it was heard at La Scala. Unfortunately, it only received one performance in a French opera festival on February 6th. On January 30th, Massenet arrived in Nice, where a doctor put him on bed rest due to bronchitis and laryngitis. He was supposed to return to Paris on the Tuesday, the 4th of February, however, due to his illness, he did not arrive in Paris until Monday the 10th as stated in our letter. The composer and Paris Conservatoire Director passed away after a short illness

On the 12th and due to that death and the fact he was still under the weather and hoarse, he did not attend the premiere of Thaïs at the Theatre Monnaie in Brussels as he mentioned in plans in this letter.

Citation, Irvine, Demar, Massenet A Chronicle of His Life and Times, Amadeus Press, Portland, Oregon, 1994, pp 202204 $300

(1826 –1910)

One Page Autographed Letter Signed With A List Of Works Including One by Chopin

One page autographed letter signed by the virtuoso pianist, teacher, composer and Chopin pupil, to a woman of substance and also a well advanced pianist who he likely taught, or coached, Paris, November 25, no year. (He resided at this address from at least 1865 on, we know this due to dated letters, journal and newspaper articles mentioning this address.) We offer with a current 4” x 6” sepia photograph for display.

78 Rue Lafayette

Paris, 25 November Madam,

I hasten to give you new indications of movement. In the list there may be some that you already know, but I also hope that some of them will not be known to you.

Please, Madam, accept the expression of my most distinguished feelings

Your devoted servant

George Mathias

- Ritter, Waltz from Romeo and Juliet

- Spindler op: 164. The Song of the Spinner

(Just published by Maho)

- Blumental, The Caress

Litolff , The Spinner (difficult but very pretty)

- Krieger. Aeolian Harp (Maho)

Pauer. The Waterfall

- Matthias, Op: 13. 1st concert waltz

- Chopin, Op: 18. Grande Valse [Brillante]

- Weber, Op: 62 Rondo

Mozart. Ah! “I will say many, varied”

I especially recommend those marked with a line

Interestingly, most of the piano works Mathias recommends in this letter are recent and by composers of the day, save Chopin, Mozart and v. Weber. This letter should be invaluable to a piano historian, or perhaps an amateur pianist who would be interested in what a direct pupil of Frederic Chopin recommended to an advanced pupil.

Mathias was one of Chopin’s two most important pupils.Awunderkind, he began his serious studies at the age of twelve in 1838 at Paris Conservatoire with Kalkbrenner and Halevy. According to Mathias in an article about Chopin in the September, 1912 Etude Magazine, he also met Chopin in 1838, auditioning a Kalkbrenner piece for the master and was accepted as his pupil. Interestingly, similarly to this letter, Chopin at first assigned him pieces by Moscheles, a composer of the day.

Aslightly older Clara Schumann met him on her first trip to Paris in 1838 and wrote to her father, Yesterday I visited a Mr. Mathias, whose son is a second Liszt (twelve years old, I believe) in terms of genius. You should hear this child, an immense talent, a pupil of Chopin.

Mathias spent five years with the composer. Chopin described him as having a good head to George Sand. The young pianist embarked on a touring solo career after leaving Chopin in 1843. The fact he was a student of Chopin opened many doors in Europe to him and he was feted by kings and queens as well as the general public. Mathias became well known for his precise and delicate performances in similar fashion to his teacher.

In addition to continued solo recital, concert and chamber performances throughout his life, Mathias also taught at the Conservatoire from 1862 to his retirement in 1893. A friend of Rossini, he was the first pianist at the premiere of “Petite Messe Solennelle” in a soiree at the composer’s apartment with Rossini turning the pages for him as well as conducting the singers.

As a teacher, he was in great demand at the Conservatoire, as he was a direct link to Chopin’s style and technique. His pupils included: Teresa Carreño, Paul Dukas, Camille Erlanger, James Huneker, Henri O’Kelli, Isidor Philipp, Raoul Pugno,Alfonson Reynando, Erik Satie, Ernest Schelling and Jose Tregó.

Mathias who was also a composer including a large number of solo piano works and two piano concertos.

In 1889, The Musical Courier described him as The doyen of French pianists. High praise indeed in his lifetime, as pianists, Cesar Franck, Antoine Marmontel and Francis Planté were all performing at the time.

$600

IGNAZ MOSCHELES

(1794 –1870)

Original Stipple Engraving 1859

Original 1859 stipple engraving of the pianist by the Leipzig engraver C. O. Berger and dated February, 1859. The engraving was commissioned by Verlag v. Baumgärtner Buchh also of Leipzig and plate marks remain. The engraving produced on heavy stock measures 8” x 10.5”. It was reproduced in lesser formats through 1885.

This engraving of Moscheles whilst he was the Rector of the Leipzig Conservatory was taken either from a photograph, or a painting by his son Felix, a well known artist.

$125

LEONARD PENNARIO

(1924 — 2008 )

Autographed Photograph

Autographed original 8” x 10” photograph of theAmerican pianist, 1982.

Pennario a pupil of Isabelle Vengerova, was a musical grandson of Theodor Leschetizky andAnna Essipova. He had a highly successful career as a concert pianist and made some 60 lp’s. Pennario was also the much younger trio partner of Jascha Heifetz and Gregor Piatigorsky for a time. Amusingly this photograph is dedicated to another Isabel!

$125

THE PRAGUE QUARTET

Program, Bratislava, April 27, 1934

Autographed program excerpt by the famed string quartet, with the important arts organization Umelecká Beseda at the Reduta Theatre in Bratislava,April 27, 1934. This program autographed by the quartet at that time is top half of the program sheet only. The program is signed by 1st violinist Willibald Schweyda (1894-1969), 2nd violinist Herbert Berger (1890 –1963), violist Ladislav Cerny (1891-1975) and cellist Ivan Vectomov (1902-1981).

It was a great honor to perform with the organization which was founded by Bedrich Smetana in 1863). The Prague Quartet was the most famous Czech string quartet after the Bohemian String Quartet, who they followed from 1919 1955.

$185

GUNTHER RAMIN

(1898 -1956)

Two Page Autographed Letter Signed

June 16, 1955 & Photograph

Two page autographed letter signed to his SouthAmerican tour manager, Gerald Uhlfelder in German, on the ocean liner, Charles Tellier stationary, June 16, 1955.A substantial letter, so long in fact he signs on the left side of the second page. The organist and Thomaskantor who would die of a cerebral hemorrhage a year later at the age of 58, led this last tour of the Thomanerchor in concerts throughout SouthAmerica. Considered to be the master of improvisation in Germany in his day, unfortunately was the organist for the 1936 Nuremburg Rally. As he generally typed his letters, this hand written letter is quite scarce. Untranslated, but content rich about concerts, fees etc.

$200

(1840 - 1886 )

Two Page Autographed Letter Signed

The short-lived French virtuoso pianist, composer and student of Berlioz and Liszt writes to a pupil to collect a final bill for piano lessons on his letterhead, no place, not date, though we can safely assume it was Paris. He also mentions Henriette Stern Halphen which links the wealthy, Jewish, French banking family and supporter of the arts to Ritter.

Madame,

Madame Halphen has authorized me to let you know that you are indebted to me for 12 piano lessons. I come at the same time to express to you all my regrets for no longer counting you among my students.

Please Madam, accept my most respectful greetings

Th. Ritter

Ritter was raised in Nantes as Toussaint Prévost the third “son” of the conductor Eugène Prévost. In reality he was the illegitimate son of the wealthy Marseilles shipbuilder and amateur bassoonist Toussaint Bennet. Bennet supported his son for a number of years and brought him to a Berlioz concert in Paris, 1854 in order to meet and instroduce him to the composer. Apiano and composition prodigy, he was brought before the composer who challenged him to write the piano reduction of his latest work and after acquitting himself admirably was taken under the Berlioz’s wing.

The young pianist was introduced to Franz Liszt in Paris by Berlioz who after hearing the young pianist perform gave him the stage name of Théodore Ritter.

Ritter next met in 1856 Liszt after a Berlioz concert and it was decided the young pianist would go with them to Weimar, the next segment of their journey to study with Liszt for a few months. After Ritter returned to Paris, he decided to pursue an opera career and received a contract with the Theatre Monnaie in Brussels. He performed as a baritone under the single name Félix. After his return to Paris in 1857, he went back to Weimar for preparation with Liszt to pursue the career of a concert pianist. He then embarked after several months on his concert career, not returning to Paris untilAugust, 1859.

Upon his return, Berlioz requested Ritter perform as accompaniment for select guests, scenes from his new opera “Les Troyens”. At this point, Ritter began to take on private students and also his father stepped the Beethoven Conservatoire in Paris where Ritter taught. In 1860, Bennet founded the Société des Dermiers Concerts de Beethoven

with Ritter. When Ritter toured, his now retired father would accompany him and act as his manager until his death in 1870.

As a composer, Ritter was well known for his well-crafted solo piano works and even made a few attempts at opera. His most important work however were the piano reductions at Berlioz’s request of his “L’Enfance du Christ” and “Romeo et Juliette”. Berlioz instilled in him a love for the music of Gluck and he also edited the composer’s “Orphée et Euyridice”. For Saint-Saëns, he arranged the piano reduction of “Danse Macabre” and the incidental music to Mendelssohn’s “AMidsummer Night’s Dream”.

Henriette Halphen, (1836 -1905)who Ritter mentions in this letter was a member of the Stern family of wealthy Parisian bankers. Great supporters of the arts, they often held concerts at their Parisian home, Ville D’Array. Henriette gravitated to both the musical and visual arts and sponsored a number of painters and musicians. In addition to sponsoring these artists, she also to be helpful did the books of some of her favorites who would hold accounts in the Stern family bank. Her son Fernand Halpern, a pupil of Gabriel Fauré at the Conservatoire was killed during World War I, his promise unfulfilled.

$185

Theodore Ritter two page autographed letter signed

(1907—1984)

The “Der Rosenkavalier”

Ivory and Sterling Silver Presentation Conductor Baton, in it’s Original Custom

Leather & Velvet Box

The baton was presented to the composer by Prinz Luitpold, the Prinze Regent of Bavaria in Munich on February 1, 1911, at the time of the Munich Premiere of “Der Rosenkavalier and six days after the World Premiere of the opera in Dresden. It was created in the studio of the Royal Jeweler, Heiden of Munich and bears his hallmark beneath the crown cap. The inscription reads, Dem Komponisten Dr. Richard Strauss, zugeeignet, Luitpold Pz Regent v.Bayern, München, am 1 Feb 1911. Translated, The composer Dr. Richard Strauss dedicated by Leopold Prince Regent of Bavaria, Munich the 1st of February, 1911.

Materials: Lathe turned elephant tusk ivory shaft with cast sterling silver caps, an engraved band with gold electroplated highlights and 9 small set ruby adornments. The top cap is a lyre surrounded by a laurel wreath with a small ruby at the top. The bottom cap bears the crown of state of Bavaria with 8 tiny rubies surrounding the crown band and a cross with red enamel. (All set stones remain.) The central-band also features Prinz Luitpold’s engraved autograph. The baton is housed in the original custom Moroccan leather wrapped over wood box with brass hinges and closures.

Dimensions: 12.5” in length, 3.7 ounces, the case is 3” x 15”

Condition: Light ivory age toning, with a few cracks which are very typical for ivory of this age when set in a confined metal setting, as ivory is a natural material and will expand and contract over time. However, the surface is completely smooth, else superb condition. The case is in remarkably fine condition.

Prince Luitpold (1821-1912) the Prince Regent of Bavaria opened a an artistic Renaissance in his country and was the most important patron of the arts in Bavaria. He ruled in place of his two nephews, Ludwig II, and after his controversial death, Otto I. Both brothers were mentally incapacitated.

The composer Richard Strauss (1864-1949) was from Munich, his father was a French hornist in the Munich Hofoper orchestra.At the time of the gift, Strauss and Mahler were the two most important composers in the German speaking world. (Mahler would die inApril of 1911.) Whilst Mahler spent his career as a composer of symphonies and lieder, Strauss was more ambitious in a multitude of genres and was considered the greatest German opera composer of his time. Strauss, like Mahler took various positions in Germany andAustria as a conductor and opera house director. From 1894 to 1896, Strauss was 2nd conductor to Hermann Levi of the Munich Hoforchester. Prince Luitpold upon Levis’retirement in 1896 appointed Strauss Kapellmeister and Generalmusikdirektor of the Hoforchester. It is interesting to note that Strauss actually interviewed with Luitpold before he was appointed Hofkapellmeister. Luitpold wanted to know if he was related to the Austrian Strauss family, whose music he considered pedestrian. It is well documented that Prince Luitpold gave Strauss’s predecessor Levi a gold baton when he was awarded the Order of the Crown, third class in 1891. The Strauss baton whilst not solid gold is a precious piece, not only for its manufacture, but that it was presented to him by the then 90- year-old monarch. The date is the Munich premiere of “Der Rosenkavalier”, his most popular opera and six days after the world premiere. The opera which was Strauss’s greatest single triumph premiered in Dresden on January 26, 1911. London’s The Musical Times stated in theirApril 1, 1911 edition, (Der Rosenkavalier) was received with great enthusiasm when performed for the first time in the composer’s native town.

Interestingly, Kaiser Wilhelm II also presented an ivory and sterling baton to Strauss on a birthday which sold at auction 5 years after this baton in 2016. The Kaiser’s baton was not as impressive as this baton.

Provenance, The Gene Young Trust, purchased from Hermann Historica GmbH, Munich, Germany, October 27, 2011

** This baton can be shipped to all states with the exception of: California, New Jersey, New York and Washington State due to their de-minimus regulations. It cannot be shipped outside of the United States. Afull New York DEC license 140-1 and a copy of the Connecticut State Court Decree will accompany the baton.

$20,000

Richard Strauss “Der Rosenkavalier” Presentation baton

The Bach Chorus Presentation Baton, 1921

The London based Bach Chorus presented the baton to the composer in 1921 when he assumed the Music Directorship of the famed British choir. It was created in the studio of the renowned Birmingham silversmith John Paul Cooper (1869-1933) and is a superb example of British arts and crafts. The baton bears his hallmarks on the center band which bears the legend, To Ralph Vaughan/Williams/The Bach Choir 1921.

Materials: Lathe turned elephant tusk ivory beads and shagreen inserts mounted over hardwood with cast sterling silver caps and cage type bands and a central engraved band with shagreen tips at the top.

Dimensions: 13.75" in length, 6.8 ounces

Condition:As with the Strauss baton, there are a few cracks in the ivory which do not effect the surface, which is smooth to the touch. The shagreen (decorative sharkskin) is wrapped over wood in 2 places and features a cage style banding. The entire decorative engraving is accomplished by hand.

This is an important piece, not only for the historical value and craftsmanship, John Paul Cooper’s arts and crafts pieces with his signature shagreen coverings are sought after and frequently sold at auction.

Ralph Vaughan Williams was one of Britain's' finest and most unique composers of the late 19th and first half of the 20th Century. Based for most of his life at Cambridge University, Vaughan was part of the movement that brought British themes back to English music and away from the Germanic influenced composers like Sir Arthur Sullivan and Edward Elgar. He composed 9 symphonies, operas, ballets, incidental music, chamber music and solo music, but he is also remembered for his songs and choral music. Also of particular interest is his nautical music, "A Sea Symphony" and "SinfoniaAntarctica". He had a long association with the Bach Chorus beginning in 1902 as a singer. He accepted the Music Directorship in 1921 after SirAdrian Boult turned the position down and remained as Music Director until 1928, when amusingly Boult took it over. Vaughan-Williams wrote numerous choral works for the group and the chorus of the Sea Symphony in 1910 with them in mind.

The Bach Choir is a long-established musical group still operating in England. Otto Goldschmidt founded the chorus in 1875 to give the first performance in England of Bach's Mass in B minor. The group performs a much wider repertoire than Bach, including Brahms, Mozart, Handel and other major composers of choral works. Vaughan Williams performed the World Premiere of his "ASea Symphony" with the choir. Provenance, The Gene Young Trust, no previous ownership records remain prior to this.

** This baton can be shipped to all states with the exception of: New Jersey and Washington State as it meets California and New York State de-minimus regulations. It cannot be shipped outside of the United States.Afull New York DEC license 140-3 and a copy of the Connecticut State Court Decree will accompany the baton.

$10,000

ARTURO TOSCANINI

(1867 —

1957)

NANNY LÁRSEN-TODSEN

(1884 —1982 )

Autographed Letter on a Bayreuth

Festspiele Postcard Photograph

Original and rare example of the famousA. Pieperhof photograph of the Maestro posed in 1931 with the Wagner grandchildren the Summer after their father’s death on a postcard mount. The image features Verena, Toscanini, Friedlinde, Wieland and Wolfgang. This was Toscanini’s 2nd and final season at the Bayreuth Festspiele where he conducted performances of “Tannhäuser” and “Parisfal”. The Swedish soprano who was also in her final year at the Festival where she had sung since 1927, writes an un-translated autographed letter signed in pencil on the verso with the Bayreuth stamp cancellation.

$150

HENRYK WIENIAWSKI ( 1835–1880 )

Carte de Visite Photograph, St. Petersburg

Extraordinary 2” x 4” pristine carte de visite photograph of the legendary 19th Century violinist , his father-in law on the left, Thomas Inglis Hampton ( 1820 - 1875 ) and one other bearing resemblance, but not Paganini in hair style playing cards. The photograph is by the Italian-Russian award winning photographer Charles Bergamasco, who was the official theatre photographer to the Mariinsky and other theatres. The photograph would have been taken at some point from 1860-1870 whilst the Hampton’s visited their daughter, Isabelle, Henryk’s wife

The violinist married his English wife Isabelle Hampton onAugust 8, 1960. The Hamptons were patrons of the arts, her mother Bessie was the sister of the famed British painter, George Osborne and her father was one of England’s chess champions of the day. Osborne had invited Wieniawski to one of the family salons and the relationship ensued. He must have been utterly charming and impressive to her parents, as it was highly unusual for a member of British society to marry a Polish-Jewish man and be as accepted as he was. (Wieniawski’s father was a Jewish born physician who converted to Catholicism for political reasons and his mother was the daughter of a Jewish physician.)

Henryk had accepted a position at the St. Petersburg Conservatoire atAnton Rubinstein’s invitation for the school year 1860; the ceremony took place at St.Andrews Episcopal Church in Paris on their way to Russia. On their journey, the newlyweds stopped in Lublin, Poland to visit his parents and honeymoon. After a brief stay there, they went on to St. Petersburg, where Henryk had numerous responsibilities as the Court Violinist to the Tsar (with stipend), private teacher and then, Professor at the Conservatory as of 1862 when the school opened, Conductor of the Royal St. Petersburg Music Society, (for which he was not paid) and leader of the RMS String Quartet (for which he was paid). The couple remained in St. Petersburg through 1872, with regular time off for Henryk to perform in Europe and Scandinavia. He left Russia in 1872 to tourAmerica withAnton Rubinstein who acted as his accompanist on most of the tour.

Unusual!!

$300

Bergamasco cdv photograph of Henryk Wieniawski, his father-in-law and another playing cards

(1923 — 2019 )

Autographed Book

“Zeffirelli at The Met”

Autographed example of the first edition of the 2008 coffee table book, Zeffirelli at The MET, One thousand five hundred and forty-nine performances (so far) edited by Caternia Napoleone and privately published by Edizioni Polistampa, Firenze. The book was written for the Metropolitan Opera Guild luncheon March 31, 2008 honoring the opera designer, producer and film director. Zeffirelli autographed the book on the frontispiece for me at the luncheon. I had requested he not dedicate the signature on several copies I had obtained, of which this is the last. Fantastic descriptions of the designers productions with both color and black and white photography, as well as the history behind the productions and the original cast pages from each opera. Zeffirelli is back in the news recently over the nude scenes in his film “Romeo and Juliet” due to the fact Juliet was a minor.

This is a luxury paperbound volume using high quality paper stock and an even heavier cover. The spine has not been cracked and it is in new condition.

$150

HARMONIE AUTOGRAPHS AND MUSIC INC.

Since 2001

Anatoly Lyadov Ivory & Sterling Conductor Baton, 1904

Richard Strauss Ivory , Sterling, Gold Filigree and Ruby Conductor Baton, 1911

Ralph Vaughan Williams Ivory, Shagreen and Sterling Silver Conductor Baton, 1921