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

(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

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