Schnittke, Alfred

including "Anitra" ["Anitra's Dance"] and the Epilogue, scored for 3 flutes ("III muta in Picc"), 3 oboes ("III muta in Cor. ingl."), 3 clarinets ("III muta in Cl Es, II muta in Cl. basso"), 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, flex, side drum, bass drum, cymbals, tam-tam, tubular bells, xylophone, vibraphone, marimba, harp, celesta, piano, harpsichord, organ, strings, mixed choir (tape), Acts I and II, "Anitra" ["Anitra's Dance"] signed and entitled at the head in Cyrillic and Roman script ("...A. Schnittke - "Per Gynt" (Ballett)..."), the Epilogue signed in Cyrillic and Roman script at the end and on the autograph title ("...A. Schnittke..."Peer Gynt"...Ballet in 3 Akten...Epilog 1986"), Epilogue with prefatory listing of instrumentation, autograph listing of instrument, notated in black ballpoint and ink, with autograph title on upper wrapper ("Alfred Schnittke [in Roman and Cyrillic script] / "Per Gynt" / Ballett / 1987"), some instrumental designations written first in pencil and overwritten in ink, a replacement version of p.134 of Act II entered on a single leaf and fastened to the original page, in one place (Act II, p.171) music for piccolo and flutes entered on hand-drawn staves and entered above the system in the upper margin, containing extensive erasures, emendations, alterations and revisions, some corrections entered on small strips of paper and affixed to the score, 106 (Act I: paginated "1"-"106"; pages 76-80 blank except for pagination), 66 (Act II; paginated "107"-"172"), 7 ("Anitra" ["Anitra's Dance"]), 40 (Act III: paginated "1"-"40") and 51 (Epilogue: paginated "1"-"49") pages, plus blanks (Act I: four gatherings of 12 leaves each, plus one of 5 leaves; Act II: two gatherings of 12 leaves and one of 10; "Anitra" ["Anitra's Dance"]: one gathering of four leaves; Act III: one gathering of 12 leaves and one of 8; Epilogue: two gatherings of 12 leaves each and one bifolium), folio (39 x 25.6cm), 30-stave paper, manuscript-paper wrappers with autograph title, no place, 1986-1987, a few tiny tears to head of upper wrapper

Condition is described in the main body of the cataloguing, where appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This is a truly stunning music manuscript, and the most important autograph by the composer ever offered, or likely to be offered, at auction. We understand that the score is complete as it stands, although pages 76-80 of Act I (covering figs.140-147d) are blank, while being nevertheless paginated by Schnittke.

Schnittke's ballet score is perhaps the most notable example of the composer's polystylistic approach to composition, and is generally regarded as his masterpiece. Although the work was published in vocal-score form in 2000, the full score remains unpublished.

Peer Gynt received its first performance at the Hamburg State Opera on 22 January 1989 with a celebrated choreography by John Neumeier. The ballet, which takes as its point of departure Ibsen's play, unfolds in four "Kreise" or spheres of activity, the first three depicting Peer's Norwegian childhood, his retreat in to an illusory shadow world, and his dispirited return home. The fourth "Kreis" is formed by the celebrated Epilogue in which Peer continues the search for his elusive self. It was this movement which caused the composer to break down in tears during the dress rehearsal, and its music continued to resonate in the composer's imagination, begetting not only an independent version for orchestra (1987) but also a chamber version for violoncello, piano and tape (1993). With its unforgettable use of wordless choral voices on tape, this is one of Schnittke's most seamless structures whose visionary music ushered in the austere sound world of the composer's final compositions. Between its composition and the writing of the first three acts Schnittke suffered the first of several strokes (1985), and although the score betrays little of these dramatic events - Schnittke's hand is nothing less than awesomely poised throughout - there can be no doubt that the orchestration of this massive score - consisting of over 260 pages - represents a colossal act of creative determination, a triumph of spirit over weakened flesh.

The composer's orchestration draft for the ballet was sold in these rooms on 30 November 2011 (lot 159).