Lot 23
  • 23

Cornelius, Peter

Estimate
5,000 - 7,000 GBP
bidding is closed

Description

  • Cornelius, Peter
  • Important collection of twelve autograph letters signed ("Dein Cornelius"; "Dein Peter") and part of another autograph letter, to Carl Tausig,
  • paper, ink
ABOUT WAGNER AND THE REHEARSALS FOR TRISTAN UND ISOLDE, ONE LETTER IN VERSE FORM, describing the first rehearsal of Tristan in Vienna, his coaching of the singers Destinn and Dustmann, and the unheard of achievement of the orchestra, commenting on his relations with Wagner, referring to the composer's crushing reply to the opera management in reply to his request for an advance, mentioning a visit of Wagner to Venice where he met the Wesendoncks, and Wagner's intention to go to Paris to write 'a new, practical work', referring to his own fight for artistic and personal independence from Wagner, admitting that not attending the premiere of Tristan was a great mistake, observing Wagner's, and especially Cosima's, frosty treatment of him, relating in detail Cosima's calculating and unjustified criticism of Tausig in front of Wagner, stating that Wagner and Bülow do not understand his letters, expressing his dissatisfaction with Vienna, discussing his opera Der Cid, his fervent desire to dedicate to him his third opera ("...Dies sage ich dir mit Thränen der innigsten Liebe..."), Liszt, noting that many in Weimar did not rate his artistic products highly although they held his person in high regard, relating Carolyne zu Sayn-Wittgenstein's feelings after the cancellation of her marriage to Liszt ("...J'ai entièrement échouée..."), also reporting a remark by Liszt about Wagner ("...Jetzt ist der Unglückliche sogar des Exils beraubt..."), offering corrections with musical examples to one of his scores, mentioning Tausig's wife Seraphine, his mother and sister, Schott, Standhartner, Moritz Schwind, Robert Franz,  and others, relating an embarrassing matter concerning Brahms, asking whether Tausig really gave him a scene from Tannhäuser in Wagner's autograph, since Cosima has asked him to ask Brahms for it back, and touching on many other matters

...das Orchester leistete bei der Probe das Unerhörte. Es wurde die Einleitung, erste Scene des zweiten Aktes, die As dur Stelle des Duettes, Gesang der Brangäne und Schluss der Oper, (Isolde) gespielt. Alles zweimal und ging wie in einer Generalprobe. Leider musste Esser die Scenen-Hörner auf dem Clavier spielen. - Es waren zwei schöne Stunden...



53 pages, 8vo (c.23 x 14.6cm), the letter of [4 April 1862] without the beginning and ending, one letter containing the remark concerning Carolyne zu Sayn-Wittgenstein as transmitted in Literarische Werke, i 269 (Vienna, 6 December 1861), but otherwise different, Vienna, Nonntal, Munich, 28 October 1861-29 December 1865, where indicated, some splitting along folds and a few tiny tears

Literature

C.M. Cornelius (ed.), Peter Cornelius: Literarische Werke, i (Leipzig, 1904) pp. 616-7 (No.236: 28 October 1861), 617-9 (No.237: 2 November 1861), 619-20 (No.238: 14 November 1861), 646-50 (No.249: 4 April 1862); ii (Leipzig, 1905), pp.218-20 (No.416: 11 August 1865), 225-7 (No.419: 15 August 1865), 249-51 (No.432: 6 September 1865), 287-9 (No.450: 3 November 1865)

Condition

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."

Catalogue Note

AN IMPORTANT COLLECTION OF LETTERS PROVIDING AN EYEWITNESS ACCOUNT OF THE REHEARSALS OF ONE OF THE MOST SEMINAL WORKS IN MUSIC.

The composer, writer and poet Peter Cornelius (1824-1874), best-known in England as the composer of the Christmas carol Three Kings from Persian Lands afar, was introduced by his close friend and Liszt pupil Carl Tausig (1841-1871) - Cornelius's correspondent here - to Wagner in May 1861. Cornelius soon fell under Wagner's spell, and both he and Tausig were entrusted by Wagner with the task of coaching the singers in the rehearsals in Vienna of Wagner's Tristan. Notwithstanding over 70 rehearsals, the work proved too difficult however to stage in Vienna, and it was not until 1865 that the opera was finally performed in Munich, thanks to the financial support of the Bavarian king Ludwig II. By this time Cornelius had fallen out of love with Wagner and famously did not attend the Munich premiere. The effects of this decision of his are related here, as well as Cornelius's views on a great range of topics - including the appalling behaviour of Cosima ("...diese unselig kokette Frau..."), in her attempt to belittle Wagner's earlier friends - all expressed in his elegant literary style and illuminated by his highly sympathetic sensibility.

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