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Home About Help Search. Privacy Policy Terms and Conditions. Remember me on this computer. Cancel Forgot your password? German View all editions and formats. For high voice and piano; originally for mixed voices and piano. The lower five staves on the verso are blank except for a clef written at the beginning of the first of them. All sections of the cantata are accounted for, as follows: Number in Hinterberger cat. IX added in pencil in lower margin of recto.
The dating of the cantata, to 29 Sept. Oddly, Zweig MS 2 was offered only in the first catalogue issued by Hinterberger cat. The supplementary leaf appeared there also, as a separate lot, and was offered again in the following year cat. Page 4 Reproduced: Written in brown ink on systems of two staves, using soprano and bass clefs. Repeated section of BWV marked by a sign. The preludes are numbered 32 and 33 in an apparently later hand. The pages numbered 1 on verso and 2 on recto in red.
The date of the presentation of Zweig MS 3 to the Schumanns is not known; Mendelssohn used copies from the Meissner manuscript in preparing his edition, and it is not clear why BWV a is not included. On his record card Zweig attributed the inscription by Clara Schumann on the verso of this manuscript to Robert Schumann. The British Library, , plate IV. Flute part, in D, to an unidentified concerto in three movements [c ? Written in ink on single staves on either side of a single leaf.
The following authentication is written in ink in the lower margin of the verso: IX added in pencil at foot of recto. The identification of the work as a flute concerto also seems far from certain, since the heading implies only that the manuscript contains a flute part to a concerto; indeed, the part begins with 26 bars rest for the instrument. Finally, there is no evidence on the manuscript itself to link the work with W. No notes by Zweig Page 6 survive about the circumstances in which he acquired the manuscript, and it may well be that there was once other material supporting the identification, at least of the composer; it has been catalogued here under the name W.
Zweig MS 4 is written in a fluent and apparently professional music hand, and the watermark shows that the paper was made in central Germany in the middle of the 18th century. The British Library, , plate V. Four Pieces for Orchestra, op. With five pasted-down slips: Written in ink on systems of up to 26 staves, with annotations in pencil and in blue and red crayon. Signed, with the opus number, in pencil f. The pieces are for differing forces and the instrumentation for nos. II-IV is noted at the foot of the first page of each.
The crotchet metronome mark altered in ink from Page 7 to An apparently unconnected folk-melody of 8 bars is written on a single free stave at the foot of f. The pencil annotations, mostly by the composer, include instructions in Hungarian for copying the score, references to the page numbers in that copy, and timings in minutes noted on the first page of each piece: Some of the corrections in ink, including those on pasted-down slips ff.
Cue numbers have been added in red crayon throughout. The former cover f. Also in pencil, perhaps in another hand: The front fly-leaf f. The Four Pieces for Orchestra were composed in , but not orchestrated until In a letter of 2 Feb. The following account of the use made of the Zweig MS 5 once completed is drawn from Somfai ibid. Her corrections in Zweig MS 5 incorporate the changes which the composer himself made to the copy.
British Library, , p. Sonata in A major for cello and piano, op. Stitching holes to the left margin of both leaves, approx mm apart.
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- Rabbit in the Road?
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- Bilgarra Springs (Bilgarra Springs Trilogy Book 1).
- The Brute Streets (Bello).
Written in ink, with some pencil on ff. The number added later in pencil at the bottom right of f. For accompanying note of provenance see Zweig MS 7. Zweig MS 8 Ludwig van Beethoven: The edges of the leaf are trimmed, and the recto shows signs of a former frame or mount. Written in ink on the recto and in pencil on the verso of a single leaf.
Sketched mostly on single staves, with the text written above or beneath. The leaf has a vertical fold, Page 10 and the sketches in pencil occur on the right half only of the verso. Later marginal annotations comprise: Biographie Critique Paris, , p. Zweig MS 9 Ludwig van Beethoven: Written in ink on systems of four staves. Passage of 2 bars struck through on f. Other annotations by Beethoven include the opening of the text to be spoken while this music is playing, which is interlined on f.
Henrici, Berlin, auction no. Zweig MSS 9 and 55 were purchased at the same sale. Henrici, Berlin, auction cat. The British Library, , plate X. Hans Halm, Das Werk Beethovens. Kompositionen Munich, , p. Inlibris, , pp. Zweig MS 10 Ludwig van Beethoven: The right-hand edges irregularly trimmed. Written in ink on systems of three staves; voice line in the treble clef.
Fair copy by Beethoven of a work composed perhaps as early as Das Werk Beethovens and Beethoven. Henle Verlag, , pp. The British Library, , plate XI. Kompositionen Munich, , pp. Zweig MS 11 Ludwig van Beethoven: Verso blank apart from added name. Unruled paper; all four edges gilt. Written in ink on the recto of a single leaf; staves drawn freehand by Beethoven. The music on five single staves with the text beneath. A bar in the third voice omitted by Beethoven has been inserted by Spohr.
Gipsy songs = Zigeunerlieder : op. 103
WoO is a separate three-part canon to the same text composed in Appendix to Spohr, Selbstbiographie, vol. Louis Spohr, Selbstbiographie Kassel, , vol. Zweig MS Ludwig van Beethoven: Johann Bihler Physical Characteristics x mm. Scope and Content [Baden, Summer, ]. Johann Bihler Apr Physical Characteristics x mm. Leaf roughly trimmed, especially at the bottom edge.
Scope and Content [Vienna, probably mid-April, ]. Zweig MS 14 Ludwig van Beethoven: Memorandum book [] Collection Area British Library: Memorandum book [] Physical Characteristics x 94mm. Scope and Content Autograph. Written in ink and pencil. The entries on ff. The first entries on f. A number of pages are left blank.
Thayer quotes most of the first three pages and discusses many of the later entries. Warren, Lewes House; G. Musical Times, 15 Dec. The leaves have been folded twice, marking out two or four compartments to which Beethoven has restricted his notes on the last page. With indications of metre added in pencil above the text. Set by Beethoven for voice and piano WoO ; the variant text from the published version of the last line, used in the setting, is also found here.
Set by Beethoven for voice and piano WoO Apparently written first in pencil, and subsequently written over in ink. In a larger, more irregular hand than the copies of the poems. Written in ink and pencil, on staves drawn freehand. Occupying the upper half of the page, but written with the paper reversed; using the divisions of the paper created by the folds. Observations on nature ff. Page 17 Reproduced: Zweig MS 16 Vincenzo Bellini: Collection Area British Library: Verso ruled with staves but otherwise blank. Verso has remnants of adhesive where the leaf has presumably been mounted, perhaps in an album.
Scope and Content Vocal line only, written in ink on a single stave, with the words beneath for the opening section and at the end. The role is for basso cantante, and though here originally written without clef or key signature, is notated in G in the bass clef; a soprano C clef has been inserted before it in a later hand. Below the vocal sketch, at the foot of the page, are four bars of the opening orchestral ritornello, again on a single stave, this time with treble clef and key and time signatures.
Gilardoni revised by Romani, was first given in Genoa in April The British Library, , plate XV. Prologue, written Collection Area British Library: Prologue, written out for presentation to Arnold Schoenberg, to whom the work is dedicated, on his 60th birthday [] Physical Characteristics x mm.
Sewn; subsequently bound in the British Library. Written in ink, with bar lines in pencil, on systems of up to 24 staves. Consequently the list of dramatis personae in the present manuscript f. Berg was a near contemporary and friend of Stefan Zweig, making this manuscript a particularly appropriate addition to the collection.
Apostel, ; piano score of Act III, ibid. Lulu Cambridge, , pl. The British Library, , p. Jarman, review of the full score in Music and Letters, vol. Lulu Cambridge, , p. Zweig MS 18 Luigi Boccherini: Thematic catalogue of 58 works ceded to the publisher Ignace Pleyel, with notarial certificate; Collection Area British Library: Thematic catalogue of 58 works ceded to the publisher Ignace Pleyel, with notarial certificate; Madrid, 14 November 14 Nov Physical Characteristics x mm. Ruled with staves grouped in threes: Old mount, with printed extract from sale catalogue of Cherubini collection attached and with number in Hinterberger cat.
IX added in pencil, is now Add. Written in ink; on paper with legal stamps, showing the seal of Charles IV and the year, at the top of ff. The incipits comprise a few bars only on a single stave, with the opening tempo direction. The works concerned, composed , are: MS annotation at bottom right corner in pencil: Signed by, and apparently in the hand of Antonio Martinez Llorente, royal notary, with the signatures of Josef Nerini and Manuel Canseco as witnesses. The number 17 from the Cherubini sale in black ink, and the name Boccherini in red ink, have been added at the top left of f.
The letter of 15 December Rothschild, pp. Catalogue de ces ouvrages. His Life and Work London, , pp. The top right corner of the leaf torn away. Written in ink on systems of two staves on both sides of a single leaf. The passages concerned are, on the recto: Throughout Brahms gives the relevant page numbers in the two-piano version published Jan. A later identification of the work and purpose of the manuscript is in ink [possibly in the hand of Max Kalbeck] at the top right of the recto.
McCorkle recounts, with reference to the published correspondence, how the solo piano score was prepared from a copy of the two-piano score, already published, into which Brahms had inserted solo piano arrangements of the tutti passages. Solo piano score, Berlin: Simrock, July see Margit L.
Thematisch-bibliographisches Werkverzeichnis Munich, Thematisch-bibliographisches Werkverzeichnis Munich, , p. Pagination [1] by Brahms in ink, where not every page has been numbered. Gatherings sewn but not bound. Written in black ink, with frequent corrections, on systems of up to six staves.
With additional annotations by the composer in pencil and blue crayon, mostly intended for the copyist. The songs are unnumbered, the order in which they are written, relative to the numbers in the first edition of , being , 10, 11, 8, 9; the final order is indicated by notes in blue crayon at the end of no. Greife in die Saiten ein! The setting seems originally to have been in a shorter form, ending on f. Between the staves of the first system f.
The Page 23 Stichvorlage is now lost. Carus-Verlag, ; Bernd Wiechert ed. CarusVerlag, , pp. Chorwerke und Vokalquartette, Munich: Henle, , pp. Zweig MS 21 Johannes Brahms: Verso printed with staves and border but otherwise blank. Leaf printed on both sides with 6 staves in blue ink, within a double line border in red formed into Greek key patterns at the four corners. The left hand edge of the leaf neatly torn. Written in black ink. In C; the two parts together on a single line preceded by bass and tenor clefs. The date of composition of this work is not known. Zweig MS Johannes Brahms: Simrock und Fritz Simrock, vol.
Deutsche Brahms-Gesellschaft, , as vol. Without envelope or address leaf. Kerfack 2 Nov Physical Characteristics x mm. Written in ink; signed and dated on f. The letter relates to Zweig MS He adds that he is not depriving himself by making this gift, because he has retained the manuscripts of nos. Sewn but not bound. Written in ink on systems of two and three staves. Against the end of the last system on f. With a title-page f. With number from Hinterberger catalogue IX in pencil at foot of f.
The piece takes the form of an improvisation on the American Indian Laguna corn-grinding song see Beaumont, p. Busoni had been introduced to American Indian music by a former pupil during his concert tour of the United States. A number of subsequent works are based on themes from this source; a version of the corn-grinding song is used again in the third piano piece in the first book of his Indianisches Tagebuch , published Leipzig: Busoni set out to return to Europe early in April Zweig was back in Vienna by 21 April.
Mahler was one of his fellow passengers on the ship home Prater ; the date and inscription on the present manuscript suggest that Busoni was also on board. On his return home Zweig wrote to Ferdinand Grigori that he was now beginning to appreciate Busoni as a composer as well as a pianist, a remark made when the gift of this little piece was presumably still fresh in his mind.
Zweig published an appreciation of Busoni in Oct. Page 28 Bibliography: A Biography of Stefan Zweig Oxford, , pp. Klawiter, Stefan Zweig, an international bibliography Riverside, Cal. Berlin, Natascha Weschenbach-Feggeler eds. Briefe Frankfurt am Main, , pp. Mazurka in F sharp minor for piano, op. Written in ink on systems of two staves. With many autograph corrections and alterations in ink.
The line and page endings marked by the engraver in this manuscript are not those of the Stern edition, though the first and last page numbers given, , are those found there. However, letters of Chopin suggest that there were once two other sets of autographs: Heinrich Hinterberger, Vienna, cat. Narodowy Instytut Fryderyka Chopina, Page 29 Bibliography: Katalog, vol iv Cologne, , p. ThematischBiblioghraphisches Werkverzeichnis Munich, , pp. Henle Verlag, , Kritischer Bericht, p. Barcarolle in F sharp major for piano, op. Written in ink, on systems of two staves.
With a small number of corrections, in ink. Henle Verlag, ; Paris: Page 31 Bibliography: Zweig, The World of Yesterday London, , p. Thematisch-Biblioghraphisches Werkverzeichnis Munich, , pp. Zweig MS 28 Domenico Cimarosa: Scope and Content Autograph full score. Written in ink on systems of five staves.
Zigeunerlieder = Gipsy songs : opus 103
Scored for violins, viola and unfigured bass; vocal part in the soprano clef. One full and two half bars struck through on f. Authenticated as autograph of Cimarosa by his son Paolo in ink at foot of f. Blind stamp on the right of ff. Schlitzer lists this arietta from the Succi Catalogue, without being able to identify it as part of a longer work. It may perhaps be an aria from a lost opera.
The authentication by Paolo Cimarosa may indicate that the present manuscript was part of the collection given to him by Cardinal Consalvi, a collection of autographs and copies that the elder Cimarosa had left to the Cardinal, his friend and admirer, before leaving for Russia in see Schlitzer. Egidio Francesco Succi, Catalogo degli autografi e documenti di celebri e distinti musicisti posseduti da Emilia Succi Bologna, , p. Fragment, apparently from a duet or trio in D Late 18th century Physical Characteristics x mm.
Written in ink on a single system of ten staves on either side of a single leaf. Although three lines are left for the vocal parts, only two of them contain music in this fragment. Neither key, time signature, clefs, nor indications of instrumentation are included in the fragment. The scoring is apparently for strings and winds: Note of authentication by Paolo Cimarosa added in ink at bottom of verso: Old wrappers in the hands of Zweig and others Add. Comparison with the Cimarosa manuscript reproduced by Gerstenberg would suggest that the accompaniment in Zweig MS 29 is scored for horns, oboe 1 and 2, violins 1 and 2, violas, with unfigured bass line.
The manuscript is possibly that listed by Schlitzer as appearing as no. Drawing of Beethoven on his deathbed, [after ] Physical Characteristics x mm. Formerly pasted to a board, now lifted. Scope and Content Copy. On the verso is part of a lithograph of a rural scene, apparently no. A sketch in oils by Danhauser also exists, and is reproduced as frontispiece to Brandenburg.
According to Thayer an autopsy had already been carried out involving the cutting and removal of temporal bone by the time Danhauser began work. Although when received in the British Library the present drawing was pasted on a card so that the verso of the leaf could not be seen, Zweig himself was aware that the drawing was made on the verso of a cut-down part of a lithograph, and writes of it on his record card Add. Maas establishes that Ernest Gambart came to London only in , at first trading with his partner Junin, and moved to Berners St. The conclusion has to be that Zweig MS 30 is a copy rather than the original drawing that Zweig, and others before him, took it to be.
However, his reproduction, captioned as the drawing, is not of Zweig MS The reproduction in Bekker appears to be of the same original as used by Frimmel. The lithograph, as reproduced in Anderson, has similar detail to the reproduction in Frimmel, but shows the head facing the same way as in Zweig MS Daily Telegraph, 17 June , p.
Paul Bekker, Beethoven Berlin and Leipzig, , pl. Prince of the Victorian Art World London, , pp. Fantaisie for piano and orchestra: Written in black ink on systems of four and five staves, one stave for the most part left blank; some clefs and key signatures in Part I ff. With a few annotations and corrections in pencil on.
Orchestral part only partially written in on one or two staves beneath the piano part; cue letters added in blue crayon throughout. The orchestral introduction and orchestral passages at cue letters E, H and I in the published full score are omitted but the number of bars they occupy marked in; following cue letter L the orchestral part is omitted until the last 7 bars, without indication.
Orchestral part given on a single stave only, written above the solo part, on ff. There are cancelled passages of 7 bars f. At some time the order of two leaves has been reversed, and the present binding preserves that error: Partially erased title in pencil on f. With an inserted note in ink f. Though Debussy thought of revising the work at various times, it remained unperformed during his lifetime, and the first performance was given, not in Paris but in London, by Alfred Cortot at a Royal Philharmonic Society concert on 20 Nov.
Zweig MS 31 provides yet another example of his seeking in the later s what might be considered as replacements - and often far better replacements - for items sold off through Hinterberger. A guide to research New York, , pp. Versos printed with staves but otherwise blank. Foliation in blue crayon. Leaves tied with cord at top left corner. Corrections in ink throughout. Comprising an additional scene, replacing spoken dialogue, headed f. Number in Hinterberger catalogue IX added in pencil at foot of f. The publication of the scene in full score includes the text of the note by Delibes which has been cancelled on f.
The revised vocal score includes the Page 37 footnote added to f. In the printed full score No. Heugel et fils, [circa ] , which also includes other material not in the first issue of Zweig MS 33 Gaetano Donizetti: Scope and Content Incomplete, bars; the last page f.
The name Donizetti added in lighter ink in the upper margin of f.
The opening Larghetto section corresponds to the opening of the overture to the original version of the opera Il diluvio universale. This material was reused later in the same year in Anna Bolena, and a new opening was substituted when Il diluvio universale was revised in The Allegro section, incomplete in this manuscript, remained in the version. The present manuscript may be either a piano duet arrangement of the overture or a separate piece closely related to the overture.
Stefan Zweig had considered the music to be an unrecorded piece for string quartet. Paginated in red ink in the hand of Aloys Fuchs. The comparatively faded nature of the ink on f. Henrici, Berlin, 29 Sept. Josef Liebeskind, from the present manuscript, then in his possession, Leipzig: Old pencil pagination , beginning at f.
Disbound within binding covers of black quarter leather and black paper-covered boards. Subsequently rebound in British Library; old covers kept with manuscript. Written in ink on systems of up to 18 staves. Contains the four numbers first performed by Grieg at Kristiania, 14 Nov. In all numbers extensive corrections and revisions have been made by almost completely erasing the earlier version from the page and writing over it.
Cue letters are marked in, apparently by the composer, as a separate series for each number, as in the published score. Metronome markings and titles in French at the beginning of each number have been added in pencil in another hand or hands; there are a few textual annotations in pencil, perhaps also in another hand. Benestad and Schjelderup-Ebbe relate that Grieg completed the Suite with the same four movements as are found in this manuscript in September , and conducted the first performance in Kristiania the following November. In the subsequent correspondence with his publisher C.
Peters and others which they then quote, Grieg expresses dissatisfaction with the form of the Suite. No further copies of the five-movement form were issued, and the abandoned number is not included in vol. The number pencilled at the foot of f. See Benestad and Schjelderup-Ebbe, and Commentary below. Finn Benestad and Dag Schjelderup-Ebbe eds. Peters, , pp. Per Gynt as above, , pp. Burrows and Ronish C Page 42 Scope and Content Autograph score. Written in ink on systems of two staves: Annotations by Vincent Novello in the upper margin of f. With a modern calligraphic title-page f.
This manuscript was not known to Chrysander, so only the first part of the cantata appears in his edition. Donald Burrows and Martha J. Burrows and Ronish B Written in ink on systems of nine staves. This information was of course supplied by Hopkinson, and it appears again in the First Edition Bookshop catalogue. MS accepted and noted the Aylesford and Jennens connections.
King in British Library ; purchased by Zweig through H. Walsh and Hare, [], as part of full score. Complete photographic facsimile, with an introduction by Cecil Hopkinson, as Manuscript of the Finale from Floridante by George Frederic Handel, privately printed edition of ten copies, London: Introduction to facsimile see above ; W. The verso has traces of sealing wax on the right margin, apparently used to fix the leaf in place, and there are sewing holes approximately 15mm. Scope and Content Autograph score. Joseph and his Brethren was composed during the late summer of and first performed at Covent Garden on 2 March This manuscript appears to have been written out by Handel for insertion in the conducting score drawn up by his copyists; traces of sealing wax and the sewing holes indicate how it was fixed in place.
He was always aware of their rarity, with very few in private hands, but his interest in Handel seems to have been further stimulated once he settled in London. As version A in F. The leaves all have pin-holes to top right and left. Watermark partially visible on end-papers: Written in ink on systems of 12 staves.
Signed and dated on the title-page f. In four movements, as follows: The first page of music f. A five-bar passage, bars , is written on the recto of a single inserted leaf f. Some numbering of bars has been added in pencil by a copyist in part of movements I and IV. Bound in at the front f. His Life in Contemporary Pictures, no. Rosen, Berlin, Berlin, April, see Add. Modern critical editions using Zweig MS Critical Edition of the Complete Symphonies, vol. Universal Edition, and Robert von Zahn ed. First page of music f.
His Life in Contemporary Pictures London, , pp. Zweig MS 40 Joseph Haydn: Piano trio in E flat minor Hob. There are two earlier pencil paginations. In two movements, as follows: At the head of f. At the end f. Page 47 On f. Two of these are from movement I of half a bar each, the other from movement II of a bar and a half; the place in the text to which the first of these corrections refers is indicated f. Later pencil annotations on f. The partially erased heading on f.
The London notebook list states that the manuscript has 5 leaves, presumably referring to the present second movement and a separate title-page now lost. Larsen, Die Haydn-Ueberlieferung Copenhagen, , p. Written in ink on systems of two staves, on the recto of a single leaf. The theme occupies the bottom four staves, and Variation I the upper eight staves. No key signature is given, and tempo directions and expression marks are also absent. On the verso is a note of authenticity, in Italian, by the publisher Artaria, dated Vienna, 11 May , when the manuscript was ceded to Count G.
The autograph, and hence the authenticity of this arrangement, was not known to commentators until recently. Anthony van Hoboken, Joseph Haydn. Thematisch-bibliographisches Werkverzeichnis Mainz, , vol. This MS and its companion leaf are among the sources for the text in F.
Zigeunerlieder = Gipsy songs : opus (Musical score, ) [theranchhands.com]
Wiener Urtext Edition, , pp. Paginated by the composer. Headed in upper margin of f. Comprising the following six movements: Numbers from Hinterberger catalogues IX and 18 added in pencil at the foot of f. This manuscript is a fair copy by the composer; it contains no corrections and is set out with each movement beginning on a new page. It was not known either to Perger or to Zehetmaier; the manuscript referred to as autograph by Perger is the Lang copy in Munich. The Hinterberger catalogues erroneously describe the present manuscript as of 14 pages.
Page 50 Bibliography: Lothar Herbert Perger ed. Zweig MS 43 Paul Hindemith: Notebook bound in boards covered with paper patterned in brown and crimson. The last movement incomplete. In short and condensed score. Written in pencil and ink on systems of two to six staves. In a small notebook, the two movements written from opposite ends of the volume. At some stage Hindemith wrote in titles for both movements, and created a full title-page on an otherwise blank leaf f.
In doing so it seems likely that he reversed the volume; if so Movement I was written first, and the notes on the present f. Note in pencil of instrumentation, with percussion listed in addition to the scoring found in published edition. All written with the page inverted. Cancelled sketches, in pencil in short score on four staves, and in ink on single staves. Movement IV [Finale], from the first piano entry to 3 bars before cue letter I in the published score.
Written in ink ff. Piano part written out in full on two staves, with the accompaniment in condensed score mostly on 3 or 4 additional staves; up to f. Instrumentation marked in ink on ff. Bar counts sporadically marked in up to 11 bars after cue E, thereafter [beginning of Fugato] a new sequence, given on each page. Unidentified sketch of 4 bars in score. Movement I, Page 51 complete, in short score. Piano part written out in full on two staves, accompaniment sketched on a single additional stave. Written in ink on systems of 10 staves.
In D; accompaniment scored for 2 violins, 2 oboes, 2 flutes, 2 horns, viola [? With a note of presentation to Ludwig Landshoff by H. Zumsteeg, dated Stuttgart, 10 August , in the right margin of f. Zumsteeg see Hinterberger cats. Scope and Content Both incomplete. A single leaf, originally part of a bifolium, with the page nos. Treuer Gott ich muss dir klagen. The first two systems cancelled with a single stroke in brown crayon.
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Systems and 5 cancelled with single strokes in ink. The separation of the two halves of the original bifolium has resulted in Zweig MS 45 containing the beginning of one work and, on the verso, the conclusion of another. The two leaves of the bifolium may have become separated by wear and tear. In any case, they were offered as two separate items in Hinterberger cat. Zweig MS 45 does not appear in Hinterberger cats. IX and retained in the Collection. Collected Works for organ and solo instrument Borough Green: Novello, , p. Zweig MS 46 Conradin Kreutzer: Scoring apparently for flute, 2 oboes, 2 clarinets, bassoon, 2 horns, trumpets, timpani and strings.
Number from Hinterberger catalogue IX added in pencil at foot of recto. This leaf is part of what appears to be an orchestral fantasia on the Rossini theme and to be unpublished in any form. Kreutzer held posts in Stuttgart , Donaueschingen and Vienna from Zweig MS 47 Josef Lanner: Written in ink on systems of thirteen staves. The post-horn plays a prominent part in the Introduction and the Trio, but is silent for the rest of the piece.
Zweig MS 48 Ruggero Leoncavallo: Written in violet ink on systems of 24 staves. Scored for piccolo, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion tambourine, castanets , 3 trombones, tuba, harp and strings. Also signed above the start of the music in the upper margin of f. The work appears to be unpublished in full score. Page 56 Reproduced: The British Library, , plate L.
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Zweig MS 49 Gustav Mahler: Written in ink on systems of 16 to 18 staves. Wieder langsam wie am Anfang! Bar lines ruled in pencil throughout. Corrections and alterations in ink; numerous revisions and annotations in pencil. Dated at end f. The number of horns written against the first system f. During the summer of , when the present manuscript was written, he was also working on the first three movements of the symphony.
The scoring in the Zweig manuscript is for smaller forces than the version used in the symphony and in which it was first published , with in particular fewer horns and one harp rather than two. The Kaplan manuscript of this movement has the additional harp though not the expanded brass parts of the final scoring for the symphony; it incorporates a number of the revisions made in pencil to the present manuscript, and has Page 57 further revisions of some of them more nearly to approach the final version.
But Mahler was a familiar and much admired figure: In February he presented to the Jewish National and University Library in Jerusalem, as an addition to letters and papers he had given the previous December, a manuscript of sketches and drafts for the first movement of the Second Symphony: Hofmeister, , and full score ibid. Weinberger, ; for voice and orchestra, ibid. Henry-Louis de La Grange, Mahler, vol. The Wunderhorn Years London, , pp. Facsimile New York, , pp. The fore-edges of the leaves slightly trimmed.
In the London edition English words are also given: Written in ink on single staves on the recto of a single leaf. Below the heading are instructions for the player: Where the numbers of bars rest is not indicated by the copyist these have been added in pencil in an apparently contemporary hand. Traces remain at the end of the Andante of a note in pencil, almost obliterated. Note on Leopold Mozart in German in ink in a later hand at the foot of the recto; with the number from Hinterberger catalogue IX added in pencil beside it.
Both the autograph title-page now in Vienna and a note in the published piano version p. The Hinterberger sale catalogues state that Zweig MS 51 was once part of the Moscheles collection, but it does not appear in the catalogue of the Moscheles sale, L. Version comprising 84 bars, shorter than that finally published. Names of the instruments are indicated in ink against the first system f.
Other later annotations in ink to f. The various numbers added to f. This shorter, and presumably earlier version of the movement remained unpublished until its inclusion in the appendices to the Wolfgang Amadeus Mozart. Banks, Malcolm Turner, Mozart: Prodigy of Nature New York and London, , p. The British Library, , plate LV. Aspects of the British Library Collections London, , p.
Pencil numeration has been added to ff. Alan Tyson, Wolfgang Amadeus Mozart. Written in ink on systems of three staves. Three movements, as follows: The upper system on f. The violin part is not entered in this variant version, which is apparently for piano alone, with repeats marked; in the final version on f.
The point at which those bars follow the repeated opening is marked f. Various numbers have been added to f. Kurtz at bottom right of recto. The present binding encloses old covers and rear fly-leaves from an earlier binding. To the first of these fly-leaves is pasted a printed extract in German [from V. Heck, Vienna, catalogue Dec.
Liepmannssohn, Berlin, auction 47, Dec. Page 62 , lot. Eisemann; purchased for the Zweig Collection through Eisemann, Feb. Eduard Rieser, Wolfgang Amadeus Mozart. March for orchestra in C K, no. Written in ink on systems of seven staves. Nissen] in the right upper margin. The numberings added to f. With K as no. Katalog Cologne, , vol. Searle, M, Turner eds. Essays on the British Library Collections London, , pp. Concerto for horn and orchestra in E flat K [? Written in ink on systems of six staves. Page 64 ff. Bar count entered in ink [by Mozart? Later annotations to f. This manuscript and Zweig MS 9 were purchased at the same sale.
A Facsimile London, , p. In his autobiography Speyer 14 May - Jan. In his catalogue no. Eisemann and returned to the Zweig Collection, London, Add. Page 66 Published: The manuscript has frequently been reproduced complete in facsimile, most notably inserted at the end of vol. More recent complete reproductions include in F. Ein Bildbiographie Munich, , pp. Early foliation 8 and 9 in red crayon at the bottom right of rectos. Fragmentary draft in score. Written in ink on systems of ten staves. Contains the opening 34 bars; all strings are scored in Page 67 for the first 6 bars f.