Goldberg Coins and Collectibles

Sale 86

The Manuscripts, Collectibles & Space Auction

The William K. Steiner Collection - Composers & Musicians

Lot	Photo	Description	Realized
Lot 1		Arlen, Harold (1905-1986) American composer of popular music during the 1930s and 40s; one of the great American composers of the 20th century. He composed the entire score to the movie, "The Wizard of Oz," including the ever-popular "Over the Rainbow"; other songs include "Get Happy," "Stormy Weather," "I've Got the World on a String," and "Last Night When We Were Young." Photograph signed ("Harold Arlen") in blue ink on the lower border, 8 x 10 in., no place, no date. A pensive, left-profile of the prolific composer, chin in hand. Estimated Value $300 - 400. View details and enlarged photo	Realized $475
Lot 2		Bartók, Béla (1881-1945) Hungarian composer and pianist, considered one of Hungary's two greatest composers. Sepia-toned photograph inscribed and signed "To Mici with love Béla" in Hungarian, on the lower margin of the mount, 8½ x 6½ in. photo on 11¾ x 9 in. mount, 1921. A chest-up portrait which is signed and dated by the photographer (Werner Trice 1921) on the mount at lower right. A few tiny scratches to photo and one small tear at lower right edge; some dampstaining to mount, which does not touch the inscription or signature. Estimated Value $800 - 1,000. View details and enlarged photo	Realized $1,500
Lot 3		Bartók, Béla. Typed letter signed ("Béla Bartók"), in Hungarian, 1 page, folio (13½ x 8¼ in.), Budapest, September 14, 1937. To the literature historian and general secretary of the Hungarian Academy of Science, Géza Voinovich (1877-1952) about the publication of the Hungarian folk songs collected by Bartók and Kodály: "Since September 1924 the work for printing [the collection] is on the way. During that time I have revised the transcript of all the phonograph cylinders - 1062 cylinders - at the same time Kodály selected from the existing literature any related material….The material to be published comprises circa 12 thousand melodies, and the publication will consist of about 4000 pages 4to. In three years it will be possible to give the entire material to print…." In September 1937 the Hungarian Academy of Science planned to request financial support for the publication of the Bartók-Kodály collection of folk songs from the Secretary of Cultural Affairs. For that purpose, Voinovich had asked Bartók for information, which this letter provides. The subsidies, however, were not granted and the "Corpus musicae popularis Hungaricae" wasn't published until the 1950s. Some underlining in pencil by the recipient. Some repairs to margins and middle fold. This letter is published and commented by Demeny, #272. Estimated Value $600 - 800. Sotheby's London, Dec. 8, 2000. View details and enlarged photo	Realized $1,860
Lot 4		[Beethoven, Ludwig von] Collection of 1827 Newspapers About His Illness & Death. Collection of six London newspapers regarding Beethoven's last days and death, which occurred on March 26, 1827 in Vienna. The March 27 issue of The Courier, not having learned of Beethoven's death the day before, notes on the back page, column 2 that the King had given 100 guineas for the relief of "the celebrated composer, who…was labouring under complicated evils of sickness and poverty." Column 3 on the same page reports that "Beethoven's grand sinfonia in C" opened the season for the Royal Academic Concerts at the "Hanover-square Rooms"; horizontal fold is split. The March 28 issue of The Courier gives the circumstances of how the King came to discover Beethoven's pitiful plight and to donate the money (p. 3, col. 2). Four issues of The London Packet and Chronicle, and Lloyd's Evening Post, give news of the composer. The April 4 to 6 issue, still unaware of Beethoven's death, quotes an Austrian newspaper story from March 22 about a 1,000 florin gift to the composer by the London Philharmonic Society (p. 2, col. 2). The April 9 to 11 issue reports Beethoven's death, giving a quick biography, noting his deafness and how "nothing more distressing could have happened to a musician," and describing him as "…extremely singular in his manners, and not very attentive to his personal appearance; but he was most honourable in his principles and moral in his conduct…." (Front page, col. 2). The April 11 to 13 issue quotes a letter Beethoven sent to a professor in London who had visited him in Vienna in 1824, dated March 6, describing his pitiful state: "…Alas!…I see no hopes of a termination to my dreadful malady; on the contrary, my sufferings, and with them my cares, increase. On the 27th of February I was operated upon (tapped) for the fourth time….If this continues, my illness will then last half the summer--and in that case what is to become of me? Upon what am I to live until I regain my lost strength, so as to enable me to earn my subsistence with my pen?…I…entreat you to exert all your influence to persuade the Philharmnic Society to carry promptly into effect their former resolution, relative to the academy, for my advantage. My strength does not permit me to say more…." (Back page, col. 4). The April 13 to 16 issue contains an article titled "Beethoven and M. Moscheles," regarding a statement made in the newspaper on April 11, that "Mr. Moscheles has taken the liberty to make a subscription in London for the benefit of the deceased [Beethoven]." Mr. Moscheles defends himself at length from what he considers an unfair accusation and quotes from three letters Beethoven dictated and signed in February, with the same request: "The Phiharmonic Society some years ago had the kind intention of giving a Concert for my benefit. The time has now come when the fulfilment of that design would be of the greeatest service to me. I am labouring under severe sickness, and can make no calculation of the probable period of my recovery. As I chiefly live on the productions of my pen, and know not when it may be in my power to use it again, I may shortly, perhaps, be exposed to the danger of want. I trust that, in conjunction with my friends, Sir George Smart, Messrs. Stumpff, Neate, Potter, and others, you will kindly urge the Philharmonic Society to fulfill my request." Moscheles states that he personally had sent money from the Society and had received a receipt in Beethoven's hand, with a letter expressing his gratitude, etc. etc. and which concluded, "To return in some sort my obligations to the society I hope shortly to be able to finish for them a symphony, the sketch of which I have already in my desk; or to write an overture, or any other piece they may desire…." The names of George Smart, Charles Neate, François Cramer, Cipriani Potter, and J.A. Stumppf are undersigned to confirm Mr. Mosceles' statement. This article. on p. 3 takes up more than half of the 5th column. Estimated Value $500 - 1,000. View details and enlarged photo	Realized $1,440
Lot 5		Berlin, Irving (1888-1989) Russian-born Jewish-American composer and lyricist; one of the greatest songwriters in American history. Typed letter signed ("Irving"), on personal letterhead, 1 page, 11 x 7¼ in., no place, November 20, 1933. To Harry Ruby (1895-1974) a Jewish American composer and screenwriter who was inducted into the Songwriters Hall of Fame in 1970, as was lyricist Bert Kalmar (1884-1947), his longtime writing partner. In part: "…I had your numbers played for me and I like them all, but am especially crazy about KEEP ON DOIN' WHAT YOU'RE DOIN'. I am sorry I didn't get to see more of you during my short visit, but I hope you and Bert decide to come back and do a show. Really Harry you ought to think about this. It's tough getting a manager with money, but if you have an idea and some of it written, it is not hard to get backing…". Estimated Value $300 - 500. View details and enlarged photo	Realized $275
Lot 6		Berlioz, Hector (1803-1869) French Romantic composer. Important autograph letter signed ("H. Berlioz"), in French, 3 pages, 8vo, Paris, Setember 20 (1838). Heavy deletions and revisions by Berlioz, integral autograph address panel, postmarked, remains of seal, affecting one word, trace of mount, affecting one word; some creasing, slight spotting to first leaf. To Humbert Ferrand about the first performances of his opera "Benvenuto Cellini" and about related artistic matters, admitting that they were mistaken in believing that an opera dealing with art and the passion of an artist might please a Parisian audience, commenting on the more successful second and third performances ("…La seconde et la troisième representation ont marché à souhait…."), listing the newspapers favorably disposed towards the opera, discusing the replacement of the tenor Duprez by Dupont, giving his own assessment of the artistic worth of his score ("…Ma partition se défend d'elle même…."), comparing the overture with that of Weber's "Freischütz," discussing earler works which he destroyed, and reaffirming his belief in the value of his composition ("…Cette partition est doué [sic] de toutes les qualités qui donnent la vie aux oeuvres d'art…."). The manuscript of this letter, one of the most famous of all of Berlioz letters, is of exceptional interest because of the many divergences from the text published in the French collected edition. The failure of Berlioz's opera semiseria "Benvenuto Cellini," one of the composer's most important and original works (it received only three full performances in 1838 on September 10, 12, and 14, and a few fragmentary ones the following year) was emblematic of the essentially tragic trajectory of the French composer's career. In no doubt about his own genius, and conveying this with eloquence in the present letter, he nevertheless failed to gain the public recognition he deserved. Henceforth, the Paris Opera was closed to him, a bitter and humiliating blow, which renders the composer's tone of sanguine resignation here all the more remarkable. References: Citron, Correspondance générale, no. 579. Estimated Value $6,000 - 8,000. Sotheby's, London, Dec. 8, 2000, lot 51. View details and enlarged photos	Realized $6,600
Lot 7		Berlioz, Hector. Autograph letter signed ("H. Berlioz"), in French, 1 page, 8vo, Paris, August 1, 1843. To Thalberg ("Mon cher Thalberg"), about Berlioz's "Symphonie funèbre et triomphale," asking Thalberg to interrupt his honeymoon for a moment to write six lines confirming that he has received his Symphonie and telling Berlioz when he will have the goodness to send the piece that he has promised. "Everything has come to a stop because of the absence of your manuscript and this delay upsets me a great deal. Even though you are married, be a good boy and get rid of me as soon as possible!" Sigismunde Thalberg (1812-1871) had married Francesca ("Cecchina"), the eldest daughter of Luigi Lablache, in London on July 22, 1843. The piece he had promised Berlioz was the work ultimately known as the "Grand caprice sur la Marche de l'Apothéose de la Symphonie triomphale," which was published in 1845. Berlioz's enthusiastic reaction to the work is recorded in his letter to Thalberg in mid February 1845. Reference: Citron, Correspondance générale, no. 844. Estimated Value $900 - 1,200. Sotheby's, London, Dec. 8, 2000, lot 14. View details and enlarged photo	Realized $2,760
Lot 8		Bernstein, Leonard (1918-1990) American composer, conductor, and pianist; West Side Story was his most popular and commercially-successful work. Autograph manuscript of a composition entitled "Valse Gaea," signed and dated ("Leonard Bernstein 25 Aug 67") on first page, and at foot of third page ("Love & happy birthday! Lenny B."), 3 pages (11¾ x 9 in; 298 x 229 mm), printed bifolium titled, signed and dated on first page, with composition written on the inner two pages, in pencil with annotations in red pencil, blue pencil and black ink on three and four two-stave systems per page, with the tempo marking at the beginning "Valse lente, Rubato" and with the "Gaea" marked by the composer over the notes throughout; some soiling, small split at bottom of page fold. Leonard Bernstein composed "Valse Gaea" for Gaea Pallavicini, a friend in Rome, as a birthday gift. The piece was never printed or performed publicly. Ms. Pallavicini's name is spelled out in the musical notation throughout the piece: here the main theme uses notes G A E A (flat) and Bernstein marks the "Gaea" theme over the notes whenever the sequence of pitches (at whatever octave) recurs. Bernstein thus employs the same charming technique that Robert Schumann used of the dedicatée, Meta Abegg, in the opening theme, which is the basis for the ensuing series of the variations. Together with two autograph notes, one on personal note paper signed "Lenny" and dated 15 June '89" and the other signed "Lenny, Nina, David, Frankie, Jamie, Alexander & Chuck"), each 1 page (3¾ x 5 ½ in. and 2¾ x 4 1/8 in., both being effusive notes of thanks; one note with envelope; both notes affixed to a piece of cardboard. Estimated Value $4,000 - 6,000. Ex the property of Gaea Pallavicini; Sotheby's New York, June 26, 2000), Lot 133. View details and enlarged photos	Realized $3,000
Lot 9		Blake, Eubie (1883-1983) African American composer and entertainer, known for his famous campaign song for Harry Truman, "I'm Just Wild About Harry." Autograph musical quotation signed ("Eubie Blake"), one page, 4 x 8¾ in., no place, no date. Four bars of music in Blake's hand from his famous song and signed on musical staves, all written with a black felt pen. Estimated Value $400 - 600. View details	Realized $480
Lot 10		Blitzstein, Marc (1905-1964) American composer, lyricist, and librettist; best known for "The Cradle Will Rock" and for his Off-Broadway translation/adaptation of "The Threepenny Opera" by Bertolt Brecht and Kurt Weill. Autograph musical quotation signed, "Sincerely, Marc Blitzstein / Jan. 31, 1955." With "(From 'Reuben Reuben,' Act I, Scene1.)" in the artist's hand and holograph five bars of music with lyrics: "The cir-cus, the cir-cus. And al-ways on my mind, the cir-cus." Very fine. Estimated Value $400 - 600. View details and enlarged photo	Realized $420
Lot 11		Britten, Benjamin (1913-1976) English composer, conductor, and pianist. Photograph inscribed and signed, "With best wishes / Benj Britten / 1971," 10 x 8 in., no place. Britten (1913-1976) was an English composer, conductor and pianist whose works include opera, other vocal music, orchestral and chamber pieces. Among his best-known works are the opera "Peter Grimes" (1945), the "War Requiem" (1962) and the orchestral showpiece "The Young Person's Guide to the Orchestra" (1945). Estimated Value $300 - 400. View details and enlarged photo	Realized $656
Lot 12		Britten, Benjamin. Typed letter signed ("Benj Britten"), one page, on "The Red House, Aldeburgh, Suffolk" letterhead, 10 x 8 in., April 17, 1968. Writing as president of the Society for the Promotion of New Music, he shares with the chairman of that organization his reasons for refusing to participate in a vote for a new constitution: "I am disturbed by the fact that the S.P.N.M. has chosen to take on such a complicated constitution which, I am advised, may enormously complicate the carrying out of the Society's work, a constitution which with so many and complex checks and balances between the three Arms of the S.P.N.M….may be very difficult to operate in practice….I do not propose to take part in the Vote…." Signed in blue ink. Estimated Value $300 - 400. View details and enlarged photo	Realized $192
Lot 13		Callas, Maria (1923-1977) American-born Greek soprano considered by many to be the most exciting opera singer of her time. Her wide-ranging repertoire included the bel canto operas of Donizetti, Bellini and Rossini, as well as the works of Verdi and Puccini, and, in her early career, the music dramas of Wagner. Photograph signed ("Maria Callas / 1961"), 7 x 4½ i n. A waist-lenth photo of "La Divina." Logo of Angel Records is at lower right. Estimated Value $500 - 600. View details and enlarged photo	Realized $630
Lot 14		Carmichael, Hoagy (1899-1981) American songwriter ("Stardust," "Georgia on My Mind"), composer, pianist, actor and singer. Autograph musical quotation signed on cardstock, 3¾ x 5½ in., no place, no date. Music and lyrics for the beginning of "Rockin' Chair," a 1929 popular song for which Carmichael composed the music: " Old Rock-in chair got me - cane by my side." Estimated Value $250 - 300. View details and enlarged photo	Realized $361
Lot 15		Caruso, Enrico (1873-1921) World-famous Italian tenor. Photograph inscribed and signed, "Alla gentile Margherita Tirendelli con simpatia Enrico Caruso," 7¾ x 5 in., no place, no date. Imprint of photographer C. Mishkin N.Y. at lower right. A waist-up portrait of the popular Italian operatic tenor. Moderate silvering and one crease. Boldly penned and signed in dark brown ink. Estimated Value $500 - 600. Christie's, New York, April 17, 1996, lot 227. View details and enlarged photo	Realized $432
Lot 16		Caruso, Enrico. Large signature and date ("11.9.1921") on a 3 x 6 in. piece of paper. Toned with old mounting remnants on verso. Estimated Value $200 - 250. View details and enlarged photo	Realized $240
Lot 17		Chopin, Fryderyk (1810-1849) Polish composer and virtuoso pianist. Autograph letter signed ("Ch."), in Polish, 1 page, 8vo from a larger sheet, with deletions and alterations by the author, Edinburgh, October 3 (1848). To Count Woychek Grzymala, informing him about his concerts in Scotland, Jenny Lind and Mario, informing Grzymala of his concert in Edinburgh the next day and admitting that he has not seen the hall or even decided on the program, discussing Lind's performances that season, and noting the weakness of her tenor (Gustave) Roger in Bellini's "La sonnambula." Partial translation: "…Grisi, Mario and Alboni and all the others have been here. After Glasgow Jenny Lind will be going to Dublin. They did not have quite the same success this year as last: the novelty has worn off. Roger was the tenor in Sonnambula, - but between ourselves--he was what he has always been--a complete mediocrity…." Chopin also asks Grzymala to convey his regards to Delacroix. With deletions and alterations by the author [Sydow 739; Opienski 265; Hedley 320; Kobylanska, p. 280] This letter was written a year before Chopin's death, during his final tragic tour of Scotland, where he had gone as a result of the revolutionary turmoil in Paris and the consequent departure of all his friends and pupils. Although very ill, he had to undertake constant travel and endure the attentions of his Scottish pupil and admirer, Jane Stirling. He played at soirées in London; on May 27, at the home of the Duke and Duchess of Sutherland, his audience included Queen Victoria, Prince Albert, and the Duke of Wellington. He then visited all of Jane's relatives and gave exhausting concerts in Manchester, Glasgow and Edinburgh. Chopin's concerts in London and Scotland typically took the form of four appearances, interspersed with songs sung by artists like Mario and Viardot. He had given one such concert on September 27. Mario was a leading singer of Italian opera and sang frequently with Jenny Lind in one of her greatest successes, Bellini's "La sonnambula." Gustave Roger, however, was a tenor in the French mold, rather than in the more delicate Italian tradition of Mario and Rubini; he had sung in the premiere of Berlioz's "La damnation de Faust." The original manuscript contains some divergences from the text given by Kobylanska. Estimated Value $15,000 - 20,000. Sotheby's May 26, 2000, lot 36. View details and enlarged photo	Realized $37,200
Lot 18		Crouch, Frederick Nicolls (1808-1896) English musician and composer who settled in Baltimore in 1849 and is best remembered for the popular song "Kathleen Mavourneen!" Autograph music manuscript signed of the song "Kathleen Mavourneen!" dated at end "Baltimore, November 25, 1887" (first composed 1835), 6 pages, folio (13½ x 10¾ in.), notated in ink on rectos and versos of ruled staff paper with 12 staff lines to the page, paper lightly browned, last page tipped to a larger sheet. Written for presentation to First Lady Frances Folsome Cleveland, wife of the 22nd and 24th President. The first page headed "Author's Transcription… Revived for Mrs. Crawford, Music by F. Nichols Crouch, F.R.S." Piano-vocal score with full text underlay, signed at the end. With two autograph letters signed, one to Hubert Maine, the other to Frances Cleveland, both Baltimore, April 15, 1979 and November 25, 1887, together 5 ½ pages, folio, the first answering numerous questions pertaining to the composition and performance of "Kathleen Mavourneen!" the second presenting the manuscript of "Kathleen Mavourneen!" ("The world renowned ballad… after the English model…") to Mrs. Cleveland. (3 items). Rare. Estimated Value $800 - 1,000. Christie's New York, April 25, 1995, lot 217. View details and enlarged photo	Realized $600
Lot 19		Debussy, Claude (1862-1918) French composer. Autograph letter signed ("Claude Debussy"), 2 pages, 5 7/8 x 5 in. (c. 150 x 129mm) (Paris), Oct. 8, 1906. Light toning; a horizontal fold traverses the signature. To the singer Georgette Leblanc, about "Pélléas et Mélisande," informing her that Jacques Durand has just shown him an article in "L'Eventail," a Belgian magazine, which does not mention her name in connection with an upcoming performance of "Pélléas" in Brussels. He assures her that he had nothing to do with this change and that he would have been happy to see her in the role of Mélisande. He didn't doubt that she would have made a "more than interesting creation" of the role. He pleads ignorance of the workings of the Théâtre de la Monnaie in Brussels and is unable to assign blame. Pelléas et Mélisande is an opera in five acts with music by Debussy. The libretto was adapted from Maurice Maeterlinck's eponymous play. Georgette Leblanc was playwright Maeterlinck's longtime mistress and Maeterlinck had wanted her to create the role of Mélisande. For the 1902 premiere of the opera, Debussy had insisted that Mary Gardner sing the role. Four years later, Debussy is anxious to avoid incurring the wrath of Maeterlinck. Estimated Value $2,500 - 3,000. Sotheby's London, Dec. 8, 2000, lot 51. View details and enlarged photo	Realized $3,960
Lot 20		Debussy, Claude. Autograph letter signed ("Claude Debussy"), 2 pages, 5 7/8 x 5 in. ((c. 150 x 129mm) (Paris), Oct. 12, 1906. Toning to second page, creasing to top right corner, last line of text slightly affected by horizontal fold. To the singer Georgette Leblanc, reiterating what he had already written her about the casting of the role of Mélisande in his opera "Pélléas et Mélisande." The directors of the (Théâtre de) la Monnaie had only asked his advice once things had been decided. He had the right to expect that she had been cast a long time ago. Now it seems that it is Mademoiselle (Mary) Garden. So say the newspapers but Miss Garden denies it. Debussy asks how he can figure out the truth in this contradictory story. He only asks to be on good terms with her husband, whose complete collaboration this time would be so valuable to him ("Je ne demande qu'à être d'accord avec votre mari, dont la collaboration, entière cette fois ci, me serait si précieuse…." Since Maeterlinck is much more powerful than Debussy in Brussels (Maeterlinck was Belgian), Debussy leaves it to Maeterlinck to achieve the result that they all wish for. Estimated Value $2,500 - 3,000. Sotheby's London, Dec. 8, 2000, lot 52. View details and enlarged photo	Realized $4,200
Lot 21		Donizetti, Gaetano (1797-1848) Italian composer.; a proponent of the bel canto opera style. A rare and beautifully-penned autograph musical quotation signed ("G. Donizatti"), on an 8vo allbum leaf, 4 7/8 x 4 7/8 in., "Napoli 13=14=Giugnio. 1838" [Naples 13-14 June 1838]. Donizetti also wrote the title, "Roberto Devereux," and ten bars of music, as well as the lyrics: "Questo addio fatale, estremo è un abisso di tormenti, le mie lagrime cocenti più del ciglio sparge il cor…." "Roberto Devereux," a lyric tragedy in three acts, was first performed on October 29, 1837 at the Teatro di San Carlo in Naples. Accompanied by a glossy photo of Donizetti with stamp of "H. Roger Viollet… Paris…Collection Viollet", with condition problems to edges. Estimated Value $5,000 - 6,000. View details and enlarged photo	Realized $7,800
Lot 22		Dvorák, Antonín (1841-1904) Czech composer who incorporated Moravian and Bohemian folk music into his compositions. Autograph letter signed ("Antonín Dvorák"), 4 pages, in English, 8 x 4 7/8 in., Vysoká, Príbrami, July 20, 1894. To Madame (Jeannette) Thurber, wife of a wealthy grocer in New York, who, in the spring of 1891, had invited Dvorák to assume the directorship of the National Conservatory of Music, which she had founded in 1885. The Conservatory was advanced for its time, admitting men and women, blacks and whites. Dvorák was offered $15,000 per year, a large amount at the time, but with the depression of 1893, which affected the Thurber fortune, the money was not always forthcoming. Dvorák and his family arrived in September 1892 and stayed until April 1895. While at the conservatory, Dvorák composed his famous E minor Symphony, subtitled "From the New World." Dvorák, who had gone back to Bohemia for the summer of 1894, writes that he could not write her before because "we had to make a little trip to my friends in Pisek a small city about 5 miles far from Vysoká. Now we are back and I have to answer your question about 'American Flag.' [a cantata written by Dvorák to celebrate the 400th anniversary of Columbus in 1892]. I am willing to meet your wishes but as to the copyright…you have to make fro [sic] me some steps in Washington….I was very pleased to heare [sic] from you of Hiawatha, and I hope with your help I can do something good." He discusses which ship he and his family should take back to New York, says they have not decided how many children they are taking back with them, gives news of a sick child and of the boys, Tony and Otokar who "care only for horses and other animals…." Dvorák made no setting of Hiawatha, but he felt that American music should incorporate Native American and African American music into a national style of music. Estimated Value $2,000 - 3,000. View details and enlarged photos	Realized $4,680
Lot 23		Franck, César (1822-1890) Belgian/French composer, pianist, organist, and music teacher. Autograph letter signed, 2½ pages, in French, 8¼ x 5¼ in., Paris, Wednesday (c. 1886-90). To an unknown recipient: "Dear Sir and Friend You must have received the score for orchestra and the copy of my songs. They will be performed on Sunday, at the Pops concert. I would be very happy if you could attend. They are also going to perform on Saturday evening, at the concert of the National Society, selections from my opera (Hulda), a march and some ballet pieces, two of which will be sung with choir which I have arranged for two pianos. Would it be putting you out too much if I asked for two adjacent seats for me. Do what you can and I will be most grateful for whatever you do. I would very much like to acquaint you with my opera (It will not be performed in Paris). I believe you would find it interesting. So, see you Saturday, or Sunday, I hope. Your very devoted, César Franck." Accompanied by English translation. Hulda is a four-act opera based on a Scandanavian legend. Franck letters with musical content are rare. Estimated Value $750 - 900. View details and enlarged photos	Realized $960
Lot 24		Glazunov, Alexander (1865-1936) Russian composer, music teacher and conductor. Autograph musical quotation inscribed and signed ("A. Glazunov") on a photograph, 8¼ x 11½ in. (photo is 6½ x 8 5/8 in.). Inscription reads, in part: …To a talented musician and a nice person Mikhail Isaakovich Jacobson [or Yakobson] for memory from the honestly [?] author of this line. A Glazunov. 3 May, 1910 / SPB [St. Petersburg]." Glazunov identifies the musical quotation as being from his "4th Symphony." Glazunov was director of the Saint Petersburg Conservatory at this time. Photograph has imprint of a Saint Petersburg photographer. Photo has some overall abrasions. Estimated Value $500 - 700. View details and enlarged photo	Realized $1,020
Lot 25		Gounod, Charles-François (1818-1893) French composer. Autograph letter signed ("Ch. Gounod"), in French, 2½ pages, 8vo, Belgium, July 15 (18)86. To "My dear son," informing him of his activities, that he is rewriting his speech on nature and art, and he is also working, but slowly, on his mass of Joan of Arc, which he would like to be as devoid as possible of any personal trace ("aussi pure que possible de toute trace personnelle"). He signs, "Your old father and friend…" Gounod's "Messe à la mémoire de Jeanne d'Arc" was finished in 1887. This lot also contains a 2-page autograph letter in French signed by conductor Charles Lamoureux (1834-1899) in 1889, the year his orchestra, the Société des Nouveaux-Concerts, merged with Concerts de l'Opéra and became Concerts Lamoureux, sending a pass to his concerts (not present) to a journalist, M.E. Daudel; also, an autograph telegram from Lamoureux to M. Delibes, congratulating him on being nominated to the Institute. Two other letters, in French, are undated and signed by unknown parties. Estimated Value $400 - 600. View details and enlarged photo	Realized $576
Lot 26		Handy, W. C (1873-1958) American blues composer and musician; known as the "Father of the Blues"; his best-known song is "St. Louis Blues." Signature on the verso of a 2¾ x 2¾ in. piece of advertising material for Joe Laurie's "Memory Lane" revue, with which Handy toured, c. 1933-34. Other members of the revue also signed, including Joe Laurie, Jr., J. Rosamond Johnson, Tim Phillips, Lizzie Wilson, Emma Francis, and Annie Hart. Laurie (1892-1954) was a vaudeville and Broadway performer; he also wrote a book titled Vaudeville: From the Honky-Tonks to the Palace (New York, Henry Holt, 1953). With two photographic prints: one of a young Handy as a member of Mahara's Minstrels (c. 1896), and one as director of a black band organized by the Knights of Pythias in Clarksdale, Mississippi, c. 1903-09. Matted together to 12 x 18½ in. Estimated Value $200 - 300. View details and enlarged photo	Realized $264
Lot 27		Haydn, Joseph - Johann Peter Salomon. Autograph working manuscript in the hand of Salomon of his arrangement for flute and string quartet of Haydn's Symphony No. 80 in D minor, the working manuscript in score notated in dark brown ink on two systems per page, each of five staves, with alterations, deletions and revisions, with the autograph title above the music, "Symphony Giuseppe Haydn…No. 12 8th Set adapted for 5 Instruments" (the figures altered, possibly in another hand), 28 pages, oblong folio (c. 27.5 x 39.5 cms), 10-stave paper, wide margins uncut, no place or date (possibly c. 1798), browning to the first and last page, tears to the first 2 leaves slightly touching the text. putograph manuscriots in the hand of Salomon are of the utmost rarity on the market. The violinist J.P. Salomon (1745-1815) was of great importance in Haydn's career. It was Salomon who engineered Haydn's two visits to England (1791 and 1794), for which Haydn composed the twelve "London" or "Salomon" symphonies. Salomon signed contracts securing the rights for these symphonies in 1795 and 1796. Salomon's arrangement is recorded by Hoboken (Hob.I/80 c). It is a sophisticated arrangement for "Flauto, Violino 1mo, Violino 2do, Viola and Violoncello." The flute is frequently paired in unison with the violin, or at the octave with viol, in order to recreate tutti effects, even where the other strings are thereby rquired to play double-stopping. This is obviously a working score, with many erasures, deletions and revisions. The pattern of the ink quality assists in investigation of the arrangers' methods and with its smudges,variety and speed of Salomon's work. This was evidently arranged from an early source, possibly the autograph manuscript or one of the Royal Philharmonic Society scores, and thus has an importance for the early state of Haydn's symphony and its performance practice. Salomon's editions for flute quintet of his arrangements of the twelve "London" symphonies were first announced in 1798 and published under his own name around the same time. For illustrations of Salomon's handwriting, see C. Hogwood, "In Praise of Arrangements: the Symphony Quintello," Studies in Music History presented to H.C. Robbins Landon, edited by O. Biba;& D. Wyn Jones, London, 1996, pp 82-104. Estimated Value $15,000 - 20,000. Sotheby's, London, Dec. 8, 2000, lot 96. View details and enlarged photos	Realized $9,063
Lot 28		Herbert, Victor. Two autograph musical quotations signed, "Sincerely Yours Victor Herbert / April 1904," 6¾ x 4½ in. Written on stationery from Hotel Marie Antoinette, one quotation is from "Badinage," written in 1895, and the other is from "Toyland," written in 1903. Estimated Value $400 - 600. View details and enlarged photo	Realized $238
Lot 29		Herbert, Victor. Photograph signed with autograph musical quotation, 12 x 8¾ in. (image measures 8 x 6 in.). Some creasing at lower border. A bust-length portrait photograph inscribed above the image "To Miss Caroline M. Birch with best wishes from Victor Herbert, June 27 1915" The musical quotation is a bar from "Natoma," an opera written by Herbert in 1911. Estimated Value $400 - 600. View details and enlarged photo	Realized $250
Lot 30		Herbert, Victor and John Philip Sousa. Two autograph musical quotations on a postcard photograph signed, "Sincerely yours Victor Herbert / Febr. 1914." At upper left are five bars from Herbert's one-act opera "Madeleine" and at upper right three bars from his three-act opera "Natoma." Boldly penned and signed. Mounting remnants on verso affect nothing. Herbert (1859-1924) was an Irish-born, German-raised American composer, cellist and conductor, best known for composing many operettas that premiered on Broadway from the 1890s to World War I. With 5 x 7½ in. album page signed "John Philip Sousa / Dec 31st 1890". Sousa (1854-1932) was a composer and conductor, primarily of military and patriotic marches, including "The Stars and Stripes Forever." Estimated Value $350 - 450. View details and enlarged photo	Realized $240
Lot 31		Hines, Earl "Fatha" (1903-1983) American jazz pianist and bandleader who was one of the most influential figures in the development of jazz piano. Vintage original photograph inscribed and signed, "To George Clark Jr. Keep Smilin / Yours fingerly / Earl 'Fatha' Hines," 10 x 8 in., no place, no date. One small ink smear. Photo issued by Associated Booking Corp., N.Y. With a glossy print of Hines playing a Steinway grand piano and puffing on a cigar, signed "Earl 'Fatha' Hines," 10 x 8 in. no place, no date. Estimated Value $250 - 300. View details and enlarged photo	Realized $150
Lot 32		Humperdinck, Engelbert. Autograph musical quotation signed ("E Hümperdinck"), on a card, 3½ x 4½ in., no place, no date. Two bars of music by the German composer (1854-1921) best known for his opera "Hansel and Gretel." Minor soiling. Together with a 9 x 6½ in. image of Humperdinck. Estimated Value $400 - 600. View details and enlarged photo	Realized $576
Lot 33		Kern, Jerome (1885-1945) American composer who wrote more than 100 scores for popular Broadway musicals and film adaptations. Typed letter signed, on personal letterhead, 1 page, 11 x 8½, Beverly Hills, California, April 23, 1941. To Mr. Upton in Garland, Pennsylvania, regarding "Ol' Man River." In part: "I am somewhat mystified by your letter…in which you say you are not in any way connected with the Drake Memorial Museum and that the first edition copy of 'Ol' Man River' is not for the Museum. This hardly squares with you letter…in which you plainly ask 'Can you supply us with a first edition copy of the words and music of the song, too?' If, as I suspect, there has been some change in your status at the Museum, your request upon its behalf was made…and I see no reason why…it should be arbrarily decided that the Museum is not the proper destination for it…." Kern wrote the music (and Oscar Hammerstein II wrote the lyrics) for "Ol' Man River" for the 1927 musical "Show Boat"; Paul Robeson's rendition is the best remembered version of the song. Estimated Value $600 - 800. View details and enlarged photo	Realized $384
Lot 34		Leoncavallo, Ruggiero (1857-1919) Italian composer. Autograph manuscript of the song "Meriggiata," the manuscript for the printer, signed and inscribed on the autograph title,"Meriggiata Parole e musica di R. Leoncavallo" (Daydream Words and music by R. Leoncavallo), for bass voice and piano, text beginning, "Alto splende nel cielo d'azzuro…," 8 pages, folio, 14-stave paper, no place, November 17, 1908, also signed and dated at the end, "R. Leoncallo 17 November 1908." Notated in pencil on mostly three systems of four staves each per page, marked for and by the printer, comprising 40 bars in all. Some staining and discoloration to outer leaves; a few tears to margins. The dedication at the upper right-hand corner of the title to the celebrated Italian baritone Titta Ruffo ("a Titta Ruffo") is possibly also in Leoncavallo's hand. Estimated Value $1,600 - 2,000. Sotheby's, London, Dec. 8, 2000, lot 110. View details and enlarged photos	Realized $1,800
Lot 35		Liszt, Franz (1811-1886) Hungarian composer and virtuoso pianist. Autograph working manuscript of Liszt's cadenza for the first movement of Beethoven's Third piano Concerto, prepared for Liszt's edition of the work for two pianos (LWV C27), signed and inscribed at the end, "Villa d'Este 17 Sept: 79 / F. Liszt ' an…Hermann Dimmler," 3 pages, large folio (c. 35 x 27cms), 14-stave paper (B & H. No. 2 C.). The cadenza is notated in dark red and black ink, for the piano solo (lmo), on four or five two-stave systems per page, extended into the right-hand margin in eight places, the first bar for two pianos, with autograph fingering and pedalling, and title ("Cadenza, ad libitum"), annotated ("Fortsetzung des Cadenz") and paginated by the composer in orange crayon (17, 18 and 18 Bis, last page blank) and annotated by him at the end in purple ink, "Weiter Pag 19 [deleted: 4 Takte[?]" Liszt's cadenza for the first movement of this concerto is an original composition and not a transcription of Beethoven's version. He performed Beethoven's Third Piano Concerto frequently during his years as a traveling virtuoso and also made transcriptions of this, as well as the fourth and fifth concertos for two pianos, published by Cotta (Stuttgart, 1879) (see also Searle (Grove 6) no. 657A and Raabe p. 363). Liszt's cadenza is full of harmonic daring, including introducing the second subject in B major and then F major, rather than in D major as in Beethoven's own cadenza. Liszt also made famous piano transcriptions of Beethoven's symphonies, including one of the Ninth for two pianos, and was involved in a complete edition of Beethoven's works, published by Holle of Wolfenbüttel in 1857-1861. Liszt met Beethoven as a child and is said to have performed on the piano before the deaf composer. Light toning and foxing; edge chips at top margin affect nothing. Estimated Value $40,000 - 60,000. Sotheby's, London, May 17, 2002. View details and enlarged photo	Realized $40,800
Lot 36		Liszt, Franz. Autograph letter signed ("F. Liszt") in German, 2 pages, 8 x 5¼ in., Weimar, October 31 (18)82. To an unnamed recipient (Richard Wagner): "Esteemed Friend, Today I am sending the transcription of your very successful 3 'Tannenhäuser Lieder' (Heute sende ich Innen die Transciption Ihrer sehr gelungenen 3 'Tannhäuser Lieder'). Be so kind and accept this little offering and publish them as entirely as you like. (Nehmen Sie diese kleine Gabe freundschaftlich auf, und verfügen Sie gänzich nach Belieben, über deren Veröffentlichung). Bowing in gratitude, F. Liszt." A postscript follows: "P.S. Upon return I wish that the poems be enclosed-- either on a separate page, or, even better underneath the music itself. Send me the last corrections bound. (P.S. Der Rückgabe wünsche ich, dass die Gedichte beigegeben werden. Entweder auf einem separat Blatt, oder besser unter den Noten selbst. Die letzten Correcturen senden Sie mir geheftet)." Toning around edges from a previous framing; partial fold to page one. The postscript, written on a 5¼ x 8¼ in. sheet, is partly separated at center fold, has light soiling and and chipping at lower edge. Estimated Value $3,000 - 5,000. View details and enlarged photo	Realized $4,080
Lot 37		Mahler, Gustave (1860-1911) Austrian late-Romantic composer. Autograph letter signed ("Mahler"), in German 2 pages, on first and last pages of a bifolium, no place or date (possibly Steinbach am Attersee, summer 1894). To his friend Emil Freund (" Lieber Emil"), about financial matters, informing him that he will be at the present address until August 20th, and asking him to send the money immediately to his bank in Budapest, first giving 500 fl[orints] to old Lowi ("dem alten Lowi"), who will pay back the sum in September or whenever is comfortable for him ("…Mir ist der Zeitpunkt übrigens egal, mache das mit ihm nach seiner Bequemlichkeit ab…."). Splitting along folds, central fold of second page repaired on verso, some creasing, and light staining to second page. The lawyer Emil Freund (1859-1928) was a close friend of Mahler, as well as being his financial adviser. Following Mahler's death in 1911, Freund acted as executor of his will. Martner follows Alma Mahler in supplying merely the initial "L" for the name "Lowi," and erroneously suggests that this may be a reference to Siegfried Lipiner. Reference: Alma Mahler 137; Martner 123. Estimated Value $2,000 - 2,500. Sotheby's, London, Dec. 8, 2000, lot 121. View details and enlarged photo	Realized $3,960
Lot 38		Massenet, Jules (1842-1912) French composer best known for his operas. Autograph musical quotation from "Le Roi de Lahore," signed "J. Massenet / Paris, 3 avril 1878," 10¼ x 13 in. Nine bars from Act 1, "Andante Cantabile Sostenuto," notated in brown/black ink. "Le Roi de Lahore," an opera in five acts with libretto by Louis Gallet, was first performed in Paris at the Palais Garnier on April 27, 1877. Estimated Value $1,200 - 1,500. View details and enlarged photo	Realized $1,800
Lot 39		Mendelssohn Bartholdy, Felix (1809-1847) German Romantic composer, pianist, organist and conductor. Letter signed ("Felix Mendelssohn Bartholdy"), in German, 1 page, 9 7/8 x 7 7/8 in., Frankfurt, January 25, 1845. The letter is unevenly toned, lighter at top, with marks from an earlier framing; seal tear repair touches one word of closing. Script is quite legible and the signature is nice and clear. To the Leipzig publisher Julius Kistner, referring to the death of his brother, Friedrich Kistner, who died in December 1844 and who was Mendelssohn's publisher, thanking Julius Kistner for his letter of January 10th, and pressing for an answer on an urgent matter. Translation: "Most Esteemed Sir, Since you write in your friendly letter dated the tenth that you have taken over the affairs of your late brother, I thus request of you to provide me a definite answer regarding the issue of the Parisian reprint (or rather pre-print) as soon as possible. [so richte ich die Bitte an Sie mir doch in der Pariser Nachdrucks (oder vielmehr Vordrucks) Sache bald möglichst eine bestimmte Antwort zu verschaffen]. You mention in your letter that the lawyer S. apparently wrote me or will supposedly do so. Neither of the two has happened, and I am in a bit of a problem on account of the prolonged absence of an answer. [Sie erwähnen in Ihrem Briefe, der Herr Advokat S. habe mir darüber geschrieben oder werde es thun, beides ist aber bis jetzt nicht geschehen, und ich gerathe durch das längere Ausbleiben der Antwort wirklich in Verlegenheit].Would you therefore be so kind and provide me with a decision immediately. I must dictate this letter because I have been bedridden for fourteen days, and although I am now getting better, I am still not able to hold the pen on my own. Hopefully your sister-in-law and niece are doing physically well. Tell them I send my warmest greetings. With fullest respect, Felix Mendelssohn Bartholdy / Frankfurt, January 25, 1845." Mendelssohn forwarded this letter to Heinrich Conrad Schleinitz (1802-1881), the lawyer mentioned as "Herr Advokat S."; this explains the verso of the letter, which is addressed to "Herrn Advocat Conrad Schleinitz / Eigenhaendig." Schleinitz became director of the Leipzig Conservatory after Mendelssohn's death in 1847. This letter was printed in 1968 in Briefe an deutsche Verleger, edited by Rudolf Elvers. Kistner's letter of January 10th to Mendelssohn is in the Green Books Collection of Letters to Mendelssohn, held in the Bodleian Library, University of Oxford. Thanks to Dr. Ralf Wehner of the Leipziger Mendelssohn Ausgabe for clarifying the recipient of this letter. Estimated Value $800 - 1,000. View details	Realized $1,620
Lot 40		Menuhin, Yehudi (1916-1999) American-born violinist and conductor who spent most of his career in Switzerland and the U.K.; considered one of the greatest violinists of the 20th century. Beautiful sepia-toned silver-print photograph inscribed and signed, "To Virginia Sturm with sincere greetings, Yehudi Menuhin. Feb., 1934," 10 x 8 in. Photo by Samuel Lumiere, N.Y. A portrait of Mehuhin playing the violin at age 14. Sturm was the arts critic for the Dayton (Ohio) Daily News. Estimated Value $650 - 800. View details and enlarged photo	Realized $488
Lot 41		Paderewski, Ignacy Jan. Vintage sepia-toned photograph signed ("I.J. Paderewski"), 9½ x 7½ in. photo on an 11¾ x 9 1/8 in. mount, no place, no date. Photo by Hartsook, S.F.-L.A. Signed in brown ink on the lower mount. Tiny chips to upper corners of mount; one scratch at upper right corner of photo, affecting nothing. A wonderful, dramatic pose of Polish pianist, composer, and statesman, who was prime minister of Poland in 1919. Paderewski (1860-1941) was known for his brilliant piano playing and was popular with concert audiences all over the world. He also composed many pieces for piano, and his opera "Manru," which had its American premiere in 1902 at the Metropolitan Opera, remains the only Polish opera by a Polish composer ever performed there. Estimated Value $600 - 800. View details and enlarged photo	Realized $840
Lot 42		Puccini, Giacomo (1858-1924). Italian composer best known for "La Boheme," "Tosca" and "Madame Butterfly." Photograph signed and inscribed, "To Miss Violet Severson / From Giacomo Puccini / Torre del Lago / 5.12.07." Photograph is the recto of a Viennese postcard. Puccini faces backward in a chair, his arms resting on the back of the chair. Silvering around edges. From 1891, Puccini (1858-1924) lived in Torre del Lago, a villa he restored on Lake Massaciuccoli, and where he finished "Manon Lescaut" and composed "Madama Butterfly," "La Bohème," "Tosca," parts of "La Fanciulla del West," "La Rondine," and "Il Trittico." He is buried there. Estimated Value $900 - 1,200. Christie's, April 17, 1996, lot 251. View details and enlarged photo	Realized $1,740
Lot 43		Rachmaninoff, Sergei (1873-1943) Russian composer, pianist, and conductor. Autograph musical quotation signed ("Sergei Rachmaninoff") being the first four bars for first violin, 1 page, 6¾ x 4¼ in., with autograph place and date, "Boston / 20 September 1909." The quotation is identified in the composer's hand as being for "Viol[in] I" from "2nd Concerto for Piano Op. 18." Rachmaninoff (1873-1943) made his first tour of the United States in 1909. Estimated Value $2,500 - 3,000. View details and enlarged photo	Realized $4,375
Lot 44		Randall, James R (1839 -1908) American journalist and poet, best remembered as the author of "Maryland, My Maryland." The nine-stanza poem was written by Randall in 1861 as a call for the South to fight the Union. It refers to President Lincoln as a "tyrant," "despot," and "Vandal," and to the Union as "Northern scum." It also uses the phrase "sic semper," [thus always] which was shouted by Marylander John Wilkes Booth while assassinating Lincoln. The poem was set to the tune of "Lauriger Horatius" ("O Tannenbaum") and was used as a battle hymn by the South during the Civil War. In 1939, the song was adopted by Maryland's state assembly as the state song. Autograph quotation signed "James R. Randall," being the seventh stanza of his poem "Maryland, My Maryland," one page, 7 x 7¾ in., no date. Written on the verso of letterhead of The Augusta Chronicle, the stanza reads: "I see the blush upon thy cheek, Maryland! For thou wast ever bravely meek, Maryland! But lo! there surges forth a shriek, From hill to hill, from creek to creek- Potomac calls to Chesapeake, Maryland! My Maryland!" Estimated Value $900 - 1,200. Smythe, June 6, 1996, lot 49. View details and enlarged photo	Unsold
Lot 45		Ravel, Maurice (1875-1937) French composer, pianist and conductor. Autograph letter signed ("Maurice Ravel") followed by three tiny drawings symbolizing the Légion d'Honneur, 3 pages, 8vo, on a letter-card with autograph address pane, Lapras par Lamastre (Ardèche) January 22, 1920. To Roland-Manuel about Ravel's refusal of the order of the Légion d'Honneur. Ravel gives his account of the crossed messages and bad timing of the whole affair, comparing it to a comedy of Calderón. He explains that he had already telegraphed his refusal of the award on Monday morning, only to receive from Jacques [Durand] the official papers, and the information that the whole thing had been got up by the journalist Lucien Garban. Ravel describes his anger and frustration since he had already asked Garban not to offer the award to him, causing him to spoil his work with the orchestra and his sleep the following night, apologizing for the reproachful nature of his replies, but confiding to Roland-Manuel his contempt for the self-congratulatory intrigues of legionnaires like Garban who press for others to join them in order to justify their passion, like addicts to morphine. Ravel acknowledges Roland-Manuel's letters and telegram about the award, explaining that his reply was immediately given, but only sent by telegraph later that afternoon. With deletions and corrections by Ravel. Ravel had attained a position of eminence among French composers after the death of Débussy in 1918. In 1920 the Republic conferred on him the order of the Légion d'Honneur, and due to Ravel's slowness in responding, news of the nomination was made public. His subsequent refusal of the nomination caused ill feelings all around. Estimated Value $3,500 - 4,500. Sotheby's, London, Dec. 8, 2000, lot 187. View details and enlarged photo	Realized $3,375
Lot 46		Rodgers, Richard (1902- 1979) Popular and influential American composer of music for more than 900 songs and for 43 Broadway musicals, as well as for films and television. He is best known for his songwriting partnerships with the lyricists Lorenz Hart and Oscar Hammerstein II. Typed letter signed "Dick" on personal letterhead, 1 page, 10½ x 7¼ in., New York, July 23, 1976. To Eva Marshall, in part: "I am so glad you enjoyed reading 'MUSICAL STAGES'. I haven't thought of "A Penny for Your Thoughts" in many years…." Estimated Value $160 - 200. View details and enlarged photo	Unsold
Lot 47		Romberg, Sigmund (1887-1951) Austro-Hungarian composer who lived in the United States most of his life; he composed numerous musicals and operettas, including "The New Moon," "The Student Prince" and "The Desert Song." Autograph musical quotation inscribed and signed, "To Lionel A. Aucoin from Sig Romberg / May 15/42," 1 page, 3¼ x 9 in., no place. Romberg signed again to right of the quotation, and wrote "Moderato" at top left and "Lover come back to me." The song was written by Romberg with lyrics by Oscar Hammerstein II for the Broadway show "The New Moon." Published in 1928, it was sung by various artists over the years, including Jeanette MacDonald and Nelson Eddy and Barbra Streisand. Estimated Value $500 - 700. View details and enlarged photo	Unsold
Lot 48		Rome, Harold (1908-1993) American composer, lyricist, and writer for musical theater. Autograph musical quotation inscribed and signed, "For Anna Sosenko / With warm regards / Harold Rome / 5 May 1973," one page, 12 x 8½ in., no place. Autograph title, "Wish You Were Here" and signature at top. Lyrics also written in Rome's hand. Estimated Value $900 - 1,200. R.M. Smythe & Co., Inc., May 10, 2001, lot 209. View details and enlarged photo	Realized $660
Lot 49		Root, George Frederick (1820-1895) American composer and teacher. He founded the New York Normal Institute for the training of music teachers (1853), as well as the music-publishing firm of Root & Cady. Autograph musical quotation signed ("Geo. F. Root"), one page, 6¼ x 4 in., Chicago, February 1892. On two separate treble clefs, Root has penned the refrain from his famous battle song: "Yes, we'll rally 'round the flag, boys, We'll rally once again!" "The Battle Cry of Freedom" was Root's second Civil War song, written just hours after he had read Lincoln's proclamation calling for troops (1861). The song was often sung as Union soldiers marched into battle. Estimated Value $800 - 1,000. View details and enlarged photo	Realized $990
Lot 50		Rubinstein, Anton (1829-1894) Russian composer and piano virtuoso; founder of the Saint Petersburg Conservatory. Unusual musical autograph manuscript signed ("Ant. Rubinstein"), 4 pages, folio (13 x 9¾ in.), no place (New York), undated (c.1873). Complete holograph score of his "Barcarole No. 5 for Piano," written out by Rubinstein for his American music publisher, G. Schirmer. On the otherwise blank first page, the composer penned a dedication: "A Madame la Comtesse / Marie Döhnhof / née / Princesse de Campo Reale," and has written the title of the work in French, incorporating his signature: "5th Barcarolle / pour le Piano / composée / par / Ant. Rubinstein." He pens the title again at the top of page two where the composition begins. At the bottom of this page the music publisher has penned: "Copyright of G Schirmer / Entd. 1873 - New York" and added his presentation inscription at far upper blank margin: "Presented to / Mr. Geo. J. Huss / with the kindest regards of / G. Schirmer." The once fragile manuscript paper was expertly silked some years ago for preservation. It is uniformly age-toned. A boldly penned manuscript, undoubtedly written out for Schirmer during the composer's American tour in 1873. Publisher's copies of original musical manuscripts rarely come on the market. Estimated Value $2,000 - 2,500. R. M. Smythe, June 6, 1996, lot 467. View details and enlarged photos	Realized $2,760

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