Auction Date:2011 Jul 13 @ 18:00 (UTC-05:00 : EST/CDT)
Location:5 Rt 101A Suite 5, Amherst, New Hampshire, 03031, United States
ALS - Autograph Letter Signed
ANS - Autograph Note Signed
AQS - Autograph Quotation Signed
AMQS - Autograph Musical Quotation Signed
DS - Document Signed
FDC - First Day Cover
Inscribed - “Personalized”
ISP - Inscribed Signed Photograph
LS - Letter Signed
SP - Signed Photograph
TLS - Typed Letter Signed
Important German composer (1813–1883) who, by expanding harmonic, instrumental, and dramatic forces to a previously undreamed-of degree, single-handedly revolutionized opera and attained status as one of the most influential geniuses in the history of music. ALS in German, one page both sides, 5.25 x 8.25, April 21, 1861. Letter to Heinrich Esser, conductor of the Vienna Court Opera, addressed as “Dearest Friend.” In full (translated): “I hope I may–despite all apparent lack of gratitude for your kindness– ask you most sincerely to send me word as soon as possible as to how much longer it may be possible for me to count on seeing the current cast of the Vienna opera. –It would mean a lot to me to finally meet your excellent singers myself, and I intend to get to Vienna shortly for that specific purpose (in the month of May in any case). My departure will hinge on this specific information. For now, I would like to request that you not tell anybody of my intention: I shall explain my important reasons for this to you in person before long. I hope then that you will meet my impulsive and urgent request with your usual friendly understanding and that you will be able to send encouraging news very soon…” Narrow mounting strips along horizontal edges, which could be matted out, a mild shade of uniform toning, and light show-through from writing on opposite sides, otherwise fine condition.
Esser conducted the orchestra of the Vienna Court Opera from 1857 to 1869, and as referenced in this letter, welcomed Wagner to Vienna in 1861. The German composer, intent “on seeing the current cast of the Vienna opera”—as once promised by Esser—received an ovation from the singers and orchestra when he attended a rehearsal of ‘Lohengrin.’ Wagner later wrote of this very trip, noting that the visit to Vienna was ‘the first time I saw my own Lohengrin...The orchestra played the prelude with such delightful warmth, the voices of the singers and many of their good qualities were so conspicuously and surprisingly pleasing, that I was too much overcome by the sensation created by them to have any desire to criticise the general performance.’ Interestingly, the “important reasons” mentioned in the letter here offered, for Wagner’s coming to Vienna, concerned his desire to use the chief singers of the Vienna Court Opera in a proposed performance of ‘Tristan’ in Germany. Great reference to an ultimately well-document excursion.
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5 Rt 101A Suite 5, Amherst, New Hampshire, 03031, United States
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