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ROUSSEAU JEAN-JACQUES: (1712-1778) French philosopher,
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Beschreibung
ROUSSEAU JEAN-JACQUES: (1712-1778) French philosopher, writer and composer who influenced the progress of the Age of Enlightenment throughout Europe. A fine, rare Autograph Musical Manuscript Signed (with his initials, 'E.59 JJR. cop'), twenty pages (including title page), oblong folio, n.p., 1st June 1777. The musical manuscript is entitled 'Che faro Senza Euridice, Aria del Sigr. Ferdinando Bertoni', each page comprising ten staves traced by hand in a pale ink, the musical notes for the aria attractively penned in a darker ink for two parts violin ('Violini'), two parts oboe ('Oboe'), two parts horn ('Corni'), two parts viola ('Viole') and the voice part ('Orfeo') with lyrics penned in Rousseau's hand, the indications of movement ('Andantino', 'Presto', 'Andno' etc.), as well as the indications of intensity and nuance, all penned in red ink. Each measure is divided in the middle by a very light vertical pencil line. With four blank pages of staves at the conclusion, the whole tied with a small pale blue ribbon. An elegant manuscript which still retains Rousseau's light pencil annotation ('19p. a 8S - 7L12') at the head of the title page, indicating the price charged for this copy. Some very light, minor staining and foxing throughout, a few small pinholes to the title page, and one page with a small area of paper loss to the lower right corner, only very minimally affecting the manuscript. G Ferdinando Bertoni (1725-1813) Italian composer and organist who composed 70 operas, all of which fell into oblivion with the exception of Orfeo which was first performed in Venice in 1776. The work was based on the same libretto for the work of Christoph Willibald Gluck entitled Orfeo ed Euridice. The aria Rousseau copied is the most famous of the opera; in the third act, Orfeo mourns the loss of Euridice: 'Che faro senza Euridice'. In his autobiographical work Confessions (Volume VIII) Rousseau recounted how, in 1751, he ceased working for Dupin de Francueil and started working as a professional music copyist in order to provide a consistent and reliable source of income. In September 1770 he resumed his work as a music copyist and practiced it until 1777, charging ten sols per page. Rousseau's work as a music copyist has been described as remarkable for its beauty and reliability and in his Dictionary of Music Rousseau argued in favour of the superiority of copied music over engraving, observing 'It is of great importance that music should be correctly and neatly copied….the understanding of a difficult piece of music depends greatly on the manner of its being copied…...the most ingenious copier is he whose music is executed with the most ease…..I must primarily suppose that the copier is possessed of all the knowledge necessary to his profession…..As written music, particularly in partition, is made to be read by concertants at a distance, the chief thing to be observed by the copier, is to make use of the convenient materials for rendering his notes most neat and legible. For this reason he should choose strong fair paper….the ink ought to be very black, without either gloss or gum; the ruling neat, equal, and well fixed, but not so black as the notes; on the contrary, the lines should be rather pale, so that the crotchets, double crotchets, pauses, and other smaller signs may not be confounded with them, and that the note may be expressed the fuller. The paleness of the lines, far from preventing the music to be read at a fixed distance, on the contrary, assists it by its neatness, and tho' the line should now and then escape the sight for a moment, the position of the notes very often of itself denotes it. The ruling of the paper is but an useless labour. If the copier would gain himself credit, let him rule his paper himself…..There are several intermediaries between what the composer plans, and what the audience hear. 'Tis the duty of the copier to connect these two terms as near as possible, to mark with precision every thing which should be done, that the music when executed may render to the composer's ear, exactly what was plann'd within his head at the time of the composition'.
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ROUSSEAU JEAN-JACQUES: (1712-1778) French philosopher, writer and composer who influenced the progress of the Age of Enlightenment throughout Europe. A fine, rare Autograph Musical Manuscript Signed (with his initials, 'E.59 JJR. cop'), twenty pages (including title page), oblong folio, n.p., 1st June 1777. The musical manuscript is entitled 'Che faro Senza Euridice, Aria del Sigr. Ferdinando Bertoni', each page comprising ten staves traced by hand in a pale ink, the musical notes for the aria attractively penned in a darker ink for two parts violin ('Violini'), two parts oboe ('Oboe'), two parts horn ('Corni'), two parts viola ('Viole') and the voice part ('Orfeo') with lyrics penned in Rousseau's hand, the indications of movement ('Andantino', 'Presto', 'Andno' etc.), as well as the indications of intensity and nuance, all penned in red ink. Each measure is divided in the middle by a very light vertical pencil line. With four blank pages of staves at the conclusion, the whole tied with a small pale blue ribbon. An elegant manuscript which still retains Rousseau's light pencil annotation ('19p. a 8S - 7L12') at the head of the title page, indicating the price charged for this copy. Some very light, minor staining and foxing throughout, a few small pinholes to the title page, and one page with a small area of paper loss to the lower right corner, only very minimally affecting the manuscript. G Ferdinando Bertoni (1725-1813) Italian composer and organist who composed 70 operas, all of which fell into oblivion with the exception of Orfeo which was first performed in Venice in 1776. The work was based on the same libretto for the work of Christoph Willibald Gluck entitled Orfeo ed Euridice. The aria Rousseau copied is the most famous of the opera; in the third act, Orfeo mourns the loss of Euridice: 'Che faro senza Euridice'. In his autobiographical work Confessions (Volume VIII) Rousseau recounted how, in 1751, he ceased working for Dupin de Francueil and started working as a professional music copyist in order to provide a consistent and reliable source of income. In September 1770 he resumed his work as a music copyist and practiced it until 1777, charging ten sols per page. Rousseau's work as a music copyist has been described as remarkable for its beauty and reliability and in his Dictionary of Music Rousseau argued in favour of the superiority of copied music over engraving, observing 'It is of great importance that music should be correctly and neatly copied….the understanding of a difficult piece of music depends greatly on the manner of its being copied…...the most ingenious copier is he whose music is executed with the most ease…..I must primarily suppose that the copier is possessed of all the knowledge necessary to his profession…..As written music, particularly in partition, is made to be read by concertants at a distance, the chief thing to be observed by the copier, is to make use of the convenient materials for rendering his notes most neat and legible. For this reason he should choose strong fair paper….the ink ought to be very black, without either gloss or gum; the ruling neat, equal, and well fixed, but not so black as the notes; on the contrary, the lines should be rather pale, so that the crotchets, double crotchets, pauses, and other smaller signs may not be confounded with them, and that the note may be expressed the fuller. The paleness of the lines, far from preventing the music to be read at a fixed distance, on the contrary, assists it by its neatness, and tho' the line should now and then escape the sight for a moment, the position of the notes very often of itself denotes it. The ruling of the paper is but an useless labour. If the copier would gain himself credit, let him rule his paper himself…..There are several intermediaries between what the composer plans, and what the audience hear. 'Tis the duty of the copier to connect these two terms as near as possible, to mark with precision every thing which should be done, that the music when executed may render to the composer's ear, exactly what was plann'd within his head at the time of the composition'.
AUTOGRAPH LETTERS, MANUSCRIPTS & HISTORICAL DOCUMENTS AUCTION
Auktionsdatum
Lose: 650
Lose: 650
Ort der Versteigerung
El Real del Campanario
num.12 Bajo B
Estepona
Malaga
29688
Spain
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Day One - Lots 1 - 650
Day Two - Lots 651- 1300
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