Wagner, Richard

notated in brown ink on up to nine staves per page, including an extended draft of the Dutchman's aria (No.2) and several shorter sketches of the duet for the Dutchman and Daland (No.3), with the text, some deletions and alterations, including

1) a draft of the climax to the Dutchman's aria (No.2: "Die Frist ist um"), beginning "Wann alle Todten auferstehen" until the end, comprising 62 bars, including the main "Dutchman motif" notated on a 2-stave system, page 1, staves 1-6, [cf. pages 150-158 of the miniature full score by Eulenburg];  



2) six shorter drafts and sketches for the Dutchman's and Daland's duet in Act 1 (no.3):
i) the Dutchman's solo "Durch Sturm und bösen Wind verschlagen" [pp.168-169], page 1, stave 7, with, below, on stave 9, scale-passages notated in ink in another hand; page 2 containing 6 bars of an unidentified pencil draft for brass instruments by Wagner, the rest of the side various musical jottings, pen-trials and scales in an unidentified hand 
ii) an instrumental motif [page 168], page 3, stave 1
iii) Daland's interjection "Wie hört' ich recht" [pp.184], page 3, stave 2
 The duet section "...oh! So nimm eine Schätze dahin"/"...voll Entzükken schlage ich ein", comprising 21 bars, notated on 2-staves [pp.194-197], page 3, staves 3-6, with 3 bars of instrumental sketches
v) the Dutchman's solo "Wenn aus der Qualen Schreckgewalten", notated on 2 staves [p.205], page 3, staves 7 & 8
vi) the Dutchman's solo  "Ach! ohne Hoffnung wie ich bin" [pp.218-219], page 3, stave 9



3) Draft of part of the Faust overture, WWV 59, in short score, including one of the main themes, comprising 26 bars, page 4, staves 1-3 and 4-6, the rest of the page containing various rastrum- and pen-trials, and the words "chiffons" and "drap de lit"



4 pages, oblong 4to (c.17 x 27cms.), watermark "LAUW", a little splitting at folds, interspersed with various orchestral ideas, with a typed attestation of authenticity signed and dated by Siegfried Wagner (Bayreuth 22 November 1920), [Paris, c.1840], a small strip removed from the first page not affecting the text  

WWV 63 Musik IIIl (p.229); WWV 59 Ie.

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 an important group of working drafts by Wagner. Der fliegende Holländer ("The Flying Dutchman") is the first opera by Wagner to have maintained a firm position in the modern repertory.  The drafts represent an early stage in Wagner's composition of the opera and underline its close relationship with the "Faust Overture": both works share D minor as the main key and there are similarities both of texture and melody.  The manner in which Wagner sets various passages of his operatic text, not continuously, but almost as a Lieder composer might be attracted by individual lines, is noteworthy and suggests the early nature of these drafts. They are probably among the earliest pages of Der fliegende Hollander. It is possible that other sections of the manuscript (the scales and clefs, for example) were used by Wagner for didactic purposes, or else by a pupil. All these aspects, together with the shopping list ("chiffons", "drap de lit"), make this a highly remarkable document.