C. ORFF, AUTOGRAPH WORKING MANUSCRIPT OF "TANZENDE FAUNE", OP.21

a composing manuscript, notated in black ink on up to 28 staves per page, without title, signed and dated at the head of the manuscript ("Carl Orff op 21 (1914)"), with many autograph additions and corrections in cerise ink, some entries in pencil and crayon, with numerous cancellations, revisions and alterations

57 pages, plus blanks, folio (35 x 27cm), in two fascicles of six leaves, one fascicle of eight, and one of ten, 28-stave paper ("C. Peters, München."), [Munich,] 23 January 1914, browning, thumbed, corners creased, tears to pp.35/36 and 39/40

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."

A SUBSTANTIAL AUTOGRAPH OF AN EARLY SCORE BY THE COMPOSER OF "CARMINA BURANA". This remarkable and gloriously messy score was written when Orff was only 18, and is a testament to his discovery of the music of Debussy around this time. The impressionistic harmonies and instrumentation (which calls for two harps and celesta, and dispenses with the low brass instruments), and also the title, recall Debussy's L'Après-midi d'un faune. Indeed, Orff himself observed that the work was a  ‘dance piece in disguise for the stage’. After this score, Orff would break free of late romantic and impressionistic influences, gradually finding his way in the 1930s to a truly individual musical voice.  A presumably fair-copy of the work is preserved in the Bayerische Staatsbibliothek (Orff.ms. 59).   This lot is illustrated on page 26.