Richard Wagner Composer, Signed (35 results)

Oblong octavo (101 x 160 mm. ). The first 8 measures. Notated in black ink on four staves, the four vocal parts incorporated into one stave. Inscribed below the quote: "Gesang der Pilger aus Tannhäuser, und der Sängerkrieg auf Wartburg . von Richard Wagner." With the date "Janu. 3d, 1846" in the hand of the British concert manager and critic John Ella (1802-1888) at lower left, presumably the day on which Wagner both penned the quotation and presented it to Ella. Together with: An original 19th century photograph of Wagner, 82 x 53 mm. The composer is depicted half-length, turned left, with his right hand extending into jacket pocket. Together with: A 1-page (167 x 245 mm.) autograph statement in Ella's hand relating how he acquired the present autograph: "The property of Prof. Ella, 9 Victoria Square S.W, XI/113. Written in my Album and presented to me in Dresden as a memento of my visit & a token of friendship. This Autograph was exhibited in the 'Loan Collection' at South Kensington 1885 Jno Ella. Entered in collection list by John Belcher." The three items laid down onto a triple-windowed mat, 360 x 278 mm. Minor foxing to Wagner autograph; photograph slightly faded. The ensemble in very good condition overall. Tannhäuser, a grand opera in three acts to a libretto by the composer, was first performed in Dresden at the Hoftheater on 19 October 1845. "Wagner's text is a conflation of two separate medieval legends: those concerning Tannhäuser, believed originally to have been a crusading knight from Franconia, and the song contest on the Wartburg drawing on a number of 19th-century versions, notably those of Ludwig Tieck, E. T. A. Hoffmann, Heinrich Heine, Friedrich de la Motte Fouqué and Joseph Eichendorff. The anachronistic linking of the two legends was originally made by Ludwig Bechstein, in Der Sagenschatz und die Sagenkreise des Thüringerlandes of 18358 (see Spencer 1976), and reinforced by a contemporary scholar, C. T. L. Lucas. . The uncomprehending response of the audience at the first performance on 19 October 1845 was largely due to the inability of Joseph Tichatschek, the singer of the leading role, to grasp the principle of melos towards which Wagner was progressing. His abnormal vocal demands also took their toll on Wilhelmine Schröder-Devrient (Venus), his niece Johanna Wagner (Elisabeth) and Anton Mitterwuizer (Wolfram). However, by the mid-1850s the work had established itself in the repertory of more than 40 German opera houses. An invitation from Emperor Napoleon III to stage Tannhäuser in Paris led to one of the most celebrated débâcles in the annals of operatic history . Tannhäuser, with its frequently abrupt contrasts and rudimentary motivic integration, falls well short of the mature Wagnerian music drama. Yet it marks a considerable advance over Der fliegende Holländer in the deployment of the orchestra, continues Wagner's preoccupation with the dramatic conception or 'poetic intent', and shows some awareness of what he later referred to as 'the beautiful, convincing necessity of transition'." Barry Millington in Grove Music Online "Tannhäuser is based on two German legends: 'Tannhäuser', the mythologized medieval German Minnesänger and poet, and the tale of the 'Wartburg Song Contest'. The story centers on the struggle between sacred and profane love, and redemption through love, a theme running through much of Wagner's mature work. One of the most famous parts from the opera is the 'Pilgrim's Chorus'. The theme of this chorus is already present in the overture of the opera and concludes this mighty stage work with the same music in the form of a majestic hymn, which glorifies the victory of pure love over sinful passion." Baton Music Online "Throughout his career Ella made regular trips to Europe, where he forged important contacts with foreign musicians. Thalberg, Meyerbeer and Berlioz were among his friends. . John Ella contributed meaningfully to musical life in London during the 19th century and promoted many musicians and singers who are still regarded today as preeminent among their contemporaries. His published writings include Musical Sketches, Abroad and at Home (London, 1869, 3/1878) and Lectures on Dramatic Music and Musical Education (London, 1872)." Christina Bashford in Grove Music Online.

Hardcover. Condition: New. Dust Jacket Condition: As New. 1st Edition. This copy is in new, unmarked condition bound in burgundy cloth covered boards with bright gilt titling to the spine. This copy is bright, tight, white and square. The unclipped dust wrapper has a small closed tear to the top edge but is still in as new condition, it has now been covered in clear, removable, mylar, protective film. International postal rates are calculated on a book weighing 1 Kilo, in cases where the book weighs more than 1 Kilo increased postal rates will be quoted, where the book weighs less then postage will be reduced accordingly. This copy has been signed by the author on the title page with no other dedication. In this fascinating book Nike Wagner, the great grand-daughter of the composer, exposes the dramas behind the ever-controversial Wagner family and the Bayreuth Festival. She discusses Richard Wagner's life, his character and the music-dramas he wrote; the Bayreuth Festival; her father and the new style of Wagner production which he inaugurated after the Second World War; their relationship to extreme right-wing political movements; and the battles for the succession of the principality of the Festival. The book chronicles in detail the often horrifying internecine warfare within the family, and its relationship to the extreme right-wing ideologies which have dominated much of its history. The extraordinary role that Wagner and the Bayreuth Festival have played in German life is relayed with irony but no animosity, as Nike Wagner attempts to understand how such a sublime art should have been appropriated by a gang of semi-illiterate thugs for their own purposes. This is a powerfully argued, richly informative book on Wagner, his operas and Bayreuth. Nike Wagner has performed a tour de force in writing a highly intelligent piece of cultural history on Wagner's life and the legacy of his music.Nike Wagner studied music, theatre history and literature at the School of Music in Cincinnati, USA. She is an active cultural commentator and participant in programmes, symposiums and in the media in France, Germany, Austria and England. Since 1975, she has published countless reviews and essays on European cultural history and on contemporary German history, with special emphasis on the history of new Bayreuth. Laid in is a re view of Richard Wagner in Bayreuth. Ref CC 4. Signed by Author(s).

Grey Cloth. Condition: Very Good +. First Edition. 408 Pp. Grey Cloth Embossed In Black, Spine Lettered And Decorated In Gilt, Gilt Lettering On Front Cover, Gilt Device On Rear Cover, Elaborately Patterned Endpapers, A Very Well Made And Sturdy Volume. Bright And Clean, No Fading, Touch Of Wear At Edges, Hinges Tight, Contents Clean And Unworn. Ownership Signature Of C And H Heinzen; Carl Heinzen Was A German-American Musician And Composer, And His Wife Henrietta Schwill Was An Opera Singer From A Well Known German-American Musical Family From Ohio. [A Variety Of Musical And Personal Materials By, Signed By, Or Inscribed To Them Are Also Available Separately]. Signed by Author(s).

CD Size. 2 CD's. Original Softcover Cardboard-Box. This rare set of 2 CD's is in excellent condition. Der fliegende Holländer (The Flying Dutchman), WWV 63, is a German-language opera, with libretto and music by Richard Wagner. The central theme is redemption through love. Wagner conducted the premiere at the Königliches Hoftheater Dresden in 1843. Wagner claimed in his 1870 autobiography Mein Leben that he had been inspired to write the opera following a stormy sea crossing he made from Riga to London in July and August 1839. In his 1843 Autobiographic Sketch, Wagner acknowledged he had taken the story from Heinrich Heine's retelling of the legend in his 1833 satirical novel The Memoirs of Mister von Schnabelewopski (Aus den Memoiren des Herrn von Schnabelewopski). This work shows early attempts at operatic styles that would characterise his later music dramas. In Der fliegende Holländer Wagner uses a number of leitmotivs (literally, "leading motifs") associated with the characters and themes. The leitmotifs are all introduced in the overture, which begins with a well-known ocean or storm motif before moving into the Dutchman and Senta motifs. Wagner originally wrote the work to be performed without intermission an example of his efforts to break with tradition and, while today's opera houses sometimes still follow this directive, it is also performed in a three-act version. (Wikipedia) Christoph von Dohnányi (born 8 September 1929) is a German conductor. Dohnányi was born in Berlin, Germany to Hans von Dohnanyi, a German jurist of Hungarian ancestry, and Christine Bonhoeffer. His uncle on his mother's side, and also his godfather, was Dietrich Bonhoeffer, a Lutheran pastor and theologian/ethicist. His grandfather was the pianist and composer Erno Dohnányi, also known as Ernst von Dohnányi. His father, uncle and other family members participated in the German Resistance movement against Nazism, and were arrested and detained in several Nazi concentration camps before being executed in 1945, when Christoph was 15 years old. Dohnányi's older brother is Klaus von Dohnanyi, a German politician and former mayor of Hamburg. Christoph von Dohnányi made his conducting debut with The Cleveland Orchestra in December 1981 and was named "Music Director Designate" the following year. However, he would not begin his tenure as music director until 1984. During the intervening two years, the Orchestra invited a number of guest conductors to lead the ensemble, including former music director Erich Leinsdorf for six weeks of subscription concerts. Leinsdorf would remark that he was the "bridge between the regimes." Before taking the podium as the Orchestra's sixth music director, Dohnányi made guest appearances with other American orchestras, including those in Detroit, Pittsburgh, and New York, as well as leading The Cleveland Orchestra in its annual gala concert and recordings at Severance Hall. As Dohnányi began his first season as music director, he brought with him contacts that would push the Orchestra forward with a variety of recording projects. Near the end of the 1984-85 season, Dohnányi announced an ambitious idea: The Cleveland Orchestra would use its summer home, Blossom Music Center, to perform a fully-staged opera: Mozart's The Magic Flute. The production, which was attended by 15,000 people, was labeled "the Ohio musical event of the summer" by The Columbus Dispatch.Dohnányi also oversaw the hiring of Indonesian-born conductor Jahja Ling, who would lead the newly-established Cleveland Orchestra Youth Orchestra, which had its first concert in February 1987. In addition to making recording a hallmark of his tenure as music director through the Orchestra's ongoing association with several labels (Teldec, Decca/London, and Telarc), Dohnányi focused much of his attention on international touring. In 1986, the Orchestra embarked on its sixth tour of Europe and its first international tour under Dohnányi, performing twenty-one concerts in seventeen cities across Western Europe. Not only would the Orchestra continue with international touring to Europe or East Asia nearly every season, it would also embark on tours of European festivals, including the Salzburg Festival, where the Orchestra's long-standing relationship would begin after a performance in 1990. Because of the departure or retirement of several musicians between 1988 and 1990, Dohnányi was tasked with hiring new Orchestra members, including a replacement for Robert Page, who had been the longtime director of the Cleveland Orchestra Chorus. Furthermore, Leonard Slatkin, the former music director of the St. Louis Symphony, was appointed Blossom Festival Director beginning in the summer of 1991. To celebrate The Cleveland Orchestra's 75th anniversary, Dohnányi led performances of Richard Wagner's Ring cycle at Severance Hall during the 199293 and 1993-94 seasons. Although the ensemble's intention was to become the first symphony orchestra in the United States to record the four-opera, fifteen-hour musical monument, financial restrictions limited the Orchestra to recording only the first two operas Das Rheingold and Die Walküre. In 1992, Dohnányi signed a new contract that extended his tenure as music director through the 1999-2000 season. A few years later, the Orchestra began a fundraising campaign for the renovation of Severance Hall, which included the removal of the "Szell Shell," a return of the E.M. Skinner organ to the stage, and an expansion of internal facilities to enhance the experience of concertgoers. Dohnányi signed his final contract as music director with the Orchestra in 1997, extending his tenure until 2002. As international touring continued, the Orchestra visited the People's Republic of China for the first time in 1998. During the spring of 1999, the Orchestra moved to Cleveland's Playhouse Square for a residency at the Allen Theatre until the renovation of Severance Hall was completed. On January 8, 2000, Do.

Oblong folio. Original publisher's mid-brown wrappers wrappers with facsimile excerpts from the autograph manuscript to upper printed in silver. 1f. (recto half-title, verso reproduction of an 1861 photograph of the composer), 1f. (recto title, verso copyright), 5-20 pp. textual commentary, illustrated, + 1f. (recto autograph musical manuscript facsimile printed in colour, verso blank).

Hardcover. Condition: VG. Dust Jacket Condition: None. Colour Art (illustrator). Apparent 1st. None. Apparent 1st. 20.5cm By 15.5cm. A semi-biographical study of Richard Wagner, his music and operas, this book examines six of his most notable operas --- Parsifal, Lohengrin, Tannhauser, Tristan and Isolde, Ring Des Nibelungen and Flying Dutchman. Each chapter presents some background of the composer, the opera, its characters, music and story-line, with some musical score lines, first production and cast. 234 pages, not dated, circa 1900, seven tipped in art works, five signed Norman Price, protected by tissue sheets with captions. Brown hard covers with front, spine decorations and white titles, VG with minimal wear, one small edge bump, top front corner bumped, two small spots. Decorated e/papers, front cover trifle loose. Text block excellent. Signed by Author(s).

Full-Leather. Condition: Fine. Rackham, Arthur (illustrator). First Edition. From signed limitation page: "This Edition is limited to eleven hundred and fifty copies, numbered and signed by the artist, of which one hundred and fifty are reserved for the United States of America. No. '716,' 'Arthure Rackham.'" Very attractive. 1910 at title page; no other dates. Cream full vellum (leather) boards, gilt cover titles and design, light shelf wear, edge wear, rub. Crisp gilt cover design features Brunnhilde riding to battle on her horse; above this, titles and richly stylized dragon eating its tail or variety of ourobouros. Spine with crisp titles and vignette of the classic circular dragon tail eater. Pages generally fine; moderate fox inside covers. Antiquarian bookplate featuring crest inside cover: "Mountstuart Elphinstone." Impressive volume richly illustrated with thirty-four mounted colour plates by Arthur Rackham with captioned tissue guards. Bind fine, square; hinges intact. Impressively, this volume retains the original gold satin ribbons to tie volume's cover closed or utilize as page markers. Near fine signed rarity of fine book craftsmanship. These works are based loosely on characters from the Norse sagas, and are translated here into English by Margaret Armour. The parts included in this volume are: 'The Rhinegold,' the prelude, and 'The Valkyrie,' the first day of the trilogy. Initially establishing his reputation as a romantic composer, Richard Wagner revolutionized opera through his concept of the Gesamtkunstwerk ('total work of art'), by which he sought to synthesize the poetic, visual, musical and dramatic arts. This edition of 'The Rhinegold & The Valkyrie' is heightened by the dazzling color illustrations of a master of the craft, Arthur Rackham. One of the most celebrated painters of the British Golden Age of Illustration - 1850 until the start of the First World War, Rackham's artistry is unparalleled. Throughout his career, he developed a unique style, combining haunting humour with dream-like romance. Presented alongside the text, these illustrations further refine and elucidate Wagner's captivating storytelling. Printed by Ballantyne & Co. Limited, Tavistock Street, Covent Garden, London. 161 pages of text with thirty-four tipped-in plates. Insured post. Size: 4to - over 9¾" - 12" tall. Signed by Artist.

Full-Leather. Condition: Good. Rackham, Arthur (illustrator). First Edition. From signed limitation page: "This Edition is limited to eleven hundred and fifty copies, numbered and signed by the artist, of which one hundred and fifty are reserved for the United States of America. No. '270,' 'Arthure Rackham.'" Very attractive. 1910 at title page; no other dates. Cream vellum boards, gilt cover titles, moderate shelf, corner wear, rub, discoloration. Exterior spine and bind professionally redone with sharp impressed gilt titles on white leather. Crisp gilt cover design features Brunnhilde riding to battle on her horse; above this, titles and richly stylized dragon eating its tail or variety of ourobouros. Thick, deckled leaves, near very good. Impressive volume richly illustrated with thirty-four mounted colour plates by Arthur Rackham with captioned tissue guards. Bind fine, square; hinges intact. Impressively, this volume retains the original golden ribbons to tie volume's cover closed or utilize as page markers. Near good signed rarity of fine book craftsmanship. These works are based loosely on characters from the Norse sagas, and are translated here into English by Margaret Armour. The parts included in this volume are: 'The Rhinegold,' the prelude, and 'The Valkyrie,' the first day of the trilogy. Initially establishing his reputation as a romantic composer, Richard Wagner revolutionized opera through his concept of the Gesamtkunstwerk ('total work of art'), by which he sought to synthesize the poetic, visual, musical and dramatic arts. This edition of 'The Rhinegold & The Valkyrie' is heightened by the dazzling color illustrations of a master of the craft, Arthur Rackham. One of the most celebrated painters of the British Golden Age of Illustration - 1850 until the start of the First World War, Rackham's artistry is unparalleled. Throughout his career, he developed a unique style, combining haunting humour with dream-like romance. Presented alongside the text, these illustrations further refine and elucidate Wagner's captivating storytelling. Printed by Ballantyne & Co. Limited, Tavistock Street, Covent Garden, London. 161 pages of text with thirty-four tipped-in plates. Insured post. Size: 4to - over 9¾" - 12" tall. Signed by Artist.

Large 8vo. 2 pp. on bifolium. Important letter, in German, to the publisher Adolf Fuerstner in Berlin about the publication of the final edition of "Tannhäuser", recorded in Wagner's catalogue of works as "state 4", which since 1876 has remained to this day the most widely used and staged version. Save for a short quotation in a 1977 Stargardt catalogue, this letter is unpublished and therefore especially valuable. Fuerstner had taken over the rights from Meser at Dresden, who had published the first edition in 1845. Now, Wagner sends him the signed contract, announces the revised full score, explains the main changes he has made, and remains in joyful anticipation of receiving the agreed sum of 3,000 Goldmarks. Moreover, he reports that the Russian-born pianist and composer Josef Rubinstein, a friend and ardent admirer of Wagner's, will finish the arrangement of the 'Venusberg' scene within the next few days and send it to Fuerstner: "Today I am posting the fully revised full score of my new 'Tannhäuser' to your address, enclose the contract, with my signature, and expect the payment of 3,000 Marks. Mr. Josef Rubinstein will have completed the arrangement of the 'Venusberg' within the next few days and will send it to you as well. I infer that you are, at the moment, mainly interested in the Venusberg scene [Act I]. When performed separately and not in immediate conjunction with the overture, this scene has a special beginning which is both enclosed with the score and is also being used by Rubinstein for his arrangement of this separate piece [.]". In its present form, however, it is abridged, and thus Wagner achieves a very skilful dramatic climax in the 5th state. "[.] However, for a separate edition of the unabriged overture, as an independent concert piece, I have introduced a change in the violins which you will glean from the inserted sheet in the old score. I strongly desire that the full edition of this work, which has been significantly revised in a great many parts, be undertaken quite soon []". Clearly, Wagner was impatient to see his "final" version performed as soon as possible. - Rubinstein was famous for excellent pianoforte transcriptions including the "Ring des Nibelungen"; in 1869 he was appointed "Kammerpianist" by Grand Duchess Helena. - WBV Nr. 7168; Altmann Nr. 2699.

Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st Edition. Scarce cloth hardcover, ix + 364 pages, NOT ex-library. A dedication to Wagner's great-granddaughter, signed by both Editors. Partial split in binding between pages 18-19 (cosmetic flaw). Book is clean and bright with unmarked text, free of stamps, securely bound. Bright dust jacket is torn along the lower flap edge of the rear panel. -- "New essays demonstrating and exploring the abiding fascination of Wagner's controversial work. Richard Wagner's Parsifal remains an inexhaustible yet highly controversial work. This "stage consecration festival play," as the composer described it, represents the culmination of his efforts to bring medieval myth and modern music together in a dynamic relationship. Wagner's engagement with religion - Buddhist as well as Christian - reaches a climax here, as he seeks through artistic means "to rescue the essence of religion by perceiving its mythical symbols, according to their figurative value, enabling us to see their profound, hidden truth through idealized representation." The contributors to this collection break fresh ground in exploring the text, the music, and the reception history of Parsifal. Wagner's borrowings - and departures - from the medieval sources of the Grail legend, Wolfram's Parzival and Chrétien's Perceval, are considered in detail, and the tensional relation of the work to Christianity is probed. New perspectives emerge that bear on the long genesis of the text and music, its affinities to Wagner's earlier works, particularly Tristan und Isolde, and the precise way in which the music was composed. Essays address the work's bold, modernistic musical language and its unprecedented soundscape involving hidden choruses and other unseen sources of sound. The turbulent, astonishing, and sometimes disturbing history of Parsifal performances from 1882 until 2004 is traced in vivid detail for the first time, demonstrating the abiding fascination exerted by this uniquely challenging work of art." -- Contents: Introduction: The Challenge of Wagner's Parsifal / William Kinderman; I. The Text: Sources and Sybmols 1. Medievalism and Metaphysics: The Literary Background for Parsifal / Mary Cicora; 2. Erotic Love in Chrétien's Perceval, Wolfram's Parzival, and Wagner's Parsifal / James M. McGlathery; 3. Parsifal and Religion: A Christian Music Drama? / Ulrike Kienzle; II. The Music: Evolution, Structure, Aesthetics 4. The Genesis of the Music / William Kinderman; 5. Unseen Voices: Wagner's Musical-Dramatic Shaping of the Grail Scene of Act 1 / Katherine R. Syer; 6. "Die Zeit ist da": Rotational Form and Hexatonic Magic in Act 2, Scene 1 / Warren Darcy; III. Reception and Interpretation 7. Die Weihe des Hauses (The Consecration of the House): Houston Stewart Chamberlain and the Early Reception of Parsifal / Roger Allen; 8. Parsifal on Stage / Katherine R. Syer; Works Cited; Notes on the Contributors; Index. Inscribed by Author(s).

Hardcover. Condition: Very Good. No Jacket. 1st Edition. John F. Runciman. Richard Wagner : composer of operas. London: Geo. Bell, 1913. 427pp. First edition. Thick 8vo., green cloth lettered in gilt. First edition. Includes portraits and music examples. Slight scuffs on front and rear boards, otherwise a fine copy. Inscribed on the title page by the author as a Christmas present to the unnamed daughter of the Cecil Court bookseller George Suckling. Runciman was described by his mentor George Bernard Shaw as "a skilled professional musician and a slashing journalist". James Hunker, in the 'Saturday Review' praised the book for its "swift, brilliant, naked narrative", but it was overshadowed in its time by Shaw's own 'The Perfect Wagnerite'. Inscribed by Author(s).

Paper. Condition: Good. First Edition. An Original Hand Written Letter and Signed by Sir John Everett Millais to Madam Wagner the wife of the Composer Richard Wagner. The letter dated 24 June 1877 , 2 Palace Gate , Kensington is addressed to Hungarian composer and wife of Richard Wagner (whom he sends his compliments). The letter reads . " Dear Madam Wagner , I must send you one line to say how much I appreciated your thoughtful telegram which reached me on my birthday . I hope you will again visit London and give me the great pleasure of seeing you again in my studio with compliments to your husband . " Sir John Everett Millais, 1st Baronet, 1829-1896 was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood.[3] He was a child prodigy who, aged eleven, became the youngest student to enter the Royal Academy Schools. The Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street (now number 7). Millais became the most famous exponent of the style, his painting Christ in the House of His Parents (1849-50) generating considerable controversy, and he produced a picture that could serve as the embodiment of the historical and naturalist focus of the group, Ophelia, in 1851-52. Millais's personal life has also played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, who had supported Millais's early work. The annulment of the Ruskin marriage and Effie's subsequent marriage to Millais have sometimes been linked to his change of style, but she became a powerful promoter of his work and they worked in concert to secure commissions and expand their social and intellectual circles. Size is 200mm x 120mm. Condition is good and light folding creases. More images can be taken upon request. Ref17062. Signed by Author(s).

Kein Einband. Condition: Sehr gut. Wagner, Richard (1813-1883) - Autograph letter signed to one of his students - German composer, theater director and conductor who is primarily known for his operas especially "The Ring of the Nibelung". Autograph letter signed "Richard Wagner". 1 page, 5.25 x 8.25 inch, bifolium, no place, no date (about 1860), written and signed in dark black ink. In German: "Meine verehrteste Schülerin! Wollen Sie die Güte haben, mit Vorweisung dieser Karte, baldmöglichst zu Mr. Giacomelli, 5 Rue Geoffroi-Marie Fbg Montm(artre) schicken, so werden Sie das Gewünschte noch erhalten können. Herzlich habe ich mich gefreut von Ihnen ein Lebenszeichen zu erhalten, und würde mit grossen Vergnügen Ihnen diese Freude persönlich mittheilen! Mit den besten Empfehlungen Ihr ergebenster". Translated: "My dearest student! If you would be so kind to send this card to Mr. Giacomelli, 5 Rue Geoffroi-Marie Fbg Montm(artre) as soon as possible, you will still be able to get what you want. I was very happy to receive a sign of life, and it would be my great pleasure to share this joy with you personally!" Mailing folds, else good condition. The music critic and impresario Adolphe GIACOMELLI (1825?-1893) was an ardent supporter of Wagner, who entrusted him with the organization of his concerts in France and Belgium in 1860. COMES WITH A CERTIFICATE OF AUTHENTICITY BY ANDREAS WIEMER HISTORICAL AUTOGRAPHS. Please do not hesitate to contact me with any questions. Signatur des Verfassers.

Kein Einband. Condition: Sehr gut. Wagner, Richard (1813-1883) - Typed letter signed concerning the Bayreuth Festival - German composer, theater director and conductor who is primarily known for his operas especially "The Ring of the Nibelung". Typed letter signed "Richard Wagner". 1 page, 8.75 x 10.75 inch, Bayreuth, 1876 April 6, signed by Wagner in dark ink. A fine printed circular letter concerning the Bayreuth Festival, in German, in part (translated): "As a result of the agreement that exists between us, which assures me of your valued participation in the orchestra of the Bayreuth Bühnenfestspiele during this year's rehearsals and performances, I hereby allow myself to send you the detailed rehearsal plan. You will see from this plan that I will occupy your presence for the full three months." Mailing folds, else in fine condition. Since its opening in 1876, the Bayreuth Festival has been a socio-cultural phenomenon. The inauguration took place on 13 August 1876 just a few months after this letter was written Uncommon circular letter with excellent signature. COMES WITH A CERTIFICATE OF AUTHENTICITY BY ANDREAS WIEMER HISTORICAL AUTOGRAPHS. Please do not hesitate to contact me with any questions. Signatur des Verfassers.

Hardcover. Condition: Very Good. No Jacket. 1st Edition. Blue cloth with red labels. No dust jacket. Flaps from dust jacket saved inside cover. No marks or tears inside book. Tight spine, clean pages. Pages show medium tanning. Signed Presentation by the Author. LEON STEIN THE RACIAL THINKING OF RICHARD WAGNER VOLK KULTUR GERMAN LIFE RELATIONSHIP RACE AND MUSIC ANIT-SEMITISM JEWISH COMPOSER. Inscribed by Author(s).

Hardcover. Condition: Very Good +. No Jacket. First Edition. First Printing (stated). Signed and inscribed by author to Conductor and Composer Felix Wolfes on front pastedown. Blue full-cloth boards with dark blue imprinting and gold foil stamped spine. VG++ condition. Heavy, clean and solid book with NO lean or markings of any kind. Flaws: several corners are lightly rubbed/NOT chipped or torn, spine edges are lightly bumped and gold foil is somewhat faded. Pastedowns are toned. NO other flaws. NO DJ. Inscribed by Author(s).

Soft cover. Condition: Very Good. Very Good Softcover; inscribed and flat signed by the famous composer David Ott on a contents page; attractively bound in photo-illustrated covers with bright, distinct lettering on covers and spine; some light shelf wear; NO highlighting; NO underlining; NO marginalia; 226 unpaginated pages including an illustration with caption of each composer; includes a chapter on each of the following composers: Josquin des Prez, Carlo Gesualdo, Johann Christian Bach, Gioachino Rossini, Robert Schumann, Frederick Chopin, Johann Strausses, Hector Berlioz, Camille Saint-Saens, Johannes Brahms, Modest Mussorgsky, Giuseppe Verdi, Richard Wagner, Maurice Ravel, Sergei Rachmaninoff, Giacomo Puccini, Arnold Schoenberg, Bela Bartok, Aaron Copland, Dmitri Shostakovich, and David Ott; 21 chapters; a securely bound book; scarce on Internet. Inscribed by Author(s).

Hardcover. Condition: Fine. Dust Jacket Condition: Very Good. 1st. (USA) Presumed 1st edition, INSCRIBED BY AUTHOR to the end paper: "27 April 1997/ with kindest regards/ Alan D. Aberbach', no other markings, Fine in Very Good dust jacket with a couple of minor edge faults; DJ is in mylar sleeve. Black cloth, 297pp, index, no illus. Thi sis a detailed examination of Richard Wagner's thoughts on religion and spirituality in his life and works. (1.9 JM HOZ 401/2 Size: 8vo - over 7¾" - 9¾". Inscribed By Author.

Paper. Condition: Good. First Edition. An Original Handwritten and Signed Autograph Note written during his last Musical Composition by Richard Strauss. Dated Montreux, 9 November 1948. Whist at Montreux in 1948 he completed September from the Vier Letzte Leider, presumed to be the last work penned by Richard Strauss. After his death an autograph manuscript reappeared containing a lied composed for solo voice and piano, and it is this which is now considered to be the last completed work of Strauss. It is entided Malven (Mallows), set to the poem by Swiss poet and novelist, Betty Wehrli-Knobel The lied was completed in Montreux on 23 November 1948, a full two months after Strauss had finished September. Richard Georg Strauss 1864 - 1949 was a German composer and conductor best known for his tone poems and operas. Considered a leading composer of the late Romantic and early modern eras, he has been described as a successor of Richard Wagner and Franz Liszt. Along with Gustav Mahler, he represents the late flowering of German Romanticism, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Size is 150mm x 105mm, In good condition. Ref 19046. Signed by Author(s).

Soft cover. Condition: Very Good. 1st Edition. AS PICTURED : FIVE IMAGES. Great Musicians (book 1 ) : Richard Wagner, Nicola Paganini, Frederick Chopin, Wolfgang Mozart, Sebastian Bach, Felix Mendelssohn. First Edition, 1901 - " Of this edition but nine hundred and forty-seven copies were printed and specially illumined by hand. This book is Number " No number is appended; instead the ink SIGNATURE of the author- 'Elbert Hubbard '. Squarish 8vo in thin card wraps, reverse calf yapped covers glued on, moire silk glued on recto. Leather title labels front and spine. The green suede is complete, sunned at edges, where they are wavy and wrinkled in places, worn through to a small hole at spine head. Soiling and with some ink marks at front. Suede lifting from underlying wraps at corners, at front lower corner more so. Prelims + 159pp + ROYCROFT Colophon page. ffep browning a little, but with beautifully hand-drawn and coloured name : 'Evelyn Ethelwyn Preston, May 17, 1904'. Printed on handmade paper with Roycroft name and motif watermarks. Securely sewn binding - no loose leaves or sections. Individual prints of composer portraits complete as called for: they, and their attendant tissue-guards and blanks have some light foxing (Mendelssohn tissue guard missing). The main body of the text predominantly free from foxing, clean and bright. No markings or inscriptions. Very much an Arts & Crafts styled production in font type, motifs at chapter ends, exquisite hand - finished gilt-framed decorative in panels as Chapter Initials. Gilt top edge, other edges deckled. Worn and marked externally, very nice within. FREE P&P IN UK. Shipping to non-UK customers quoted prior to purchasing. (25% proceeds to the Motor Neurone Disease Association). Signed by Author(s).

Cloth Over Boards. Condition: Good. No Jacket. Signed, First Edition. This first edition is bound in a medium blue cloth with red boxed gilt lettering of the spine and front cover. Head and tail of spine lightly worn with cloth beginning to fray at head. No corner bumping or edge wear. Very slight sunning of spine, mostly near head. Upper edge of textblock tinted red. Hinges and gutters are solid, some shadowing of endpapers. Ownership mark inked bottom edge of front paste-down, otherwise clean and tight in binding. Author has signed and inscribed the fep has follows: "To Father Carl Hager good friend and student, with best wishes {signature} 5/15/50". Size: 8vo - over 7¾" - 9¾" tall. Signed and Inscribed By Author.

Hardcover. xii, 333, [7] p. Includes: illustrations, diagrams. Footnotes. Preface dated 1912. Steinberg was the composer's son-in-law From Wikipedia: "Nikolai Andreyevich Rimsky-Korsakov (18 March [O.S. 6 March] 1844 21 June [O.S. 8 June] 1908) was a Russian composer, and a member of the group of composers known as The Five. He was a master of orchestration. His best-known orchestral compositions Capriccio Espagnol, the Russian Easter Festival Overture, and the symphonic suite Scheherazade are staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. Scheherazade is an example of his frequent use of fairy tale and folk subjects. Rimsky-Korsakov believed, as did fellow composer Mily Balakirev and critic Vladimir Stasov, in developing a nationalistic style of classical music. This style employed Russian folk song and lore along with exotic harmonic, melodic and rhythmic elements in a practice known as musical orientalism, and eschewed traditional Western compositional methods. However, Rimsky-Korsakov appreciated Western musical techniques after he became a professor of musical composition, harmony and orchestration at the Saint Petersburg Conservatory in 1871. He undertook a rigorous three-year program of self-education and became a master of Western methods, incorporating them alongside the influences of Mikhail Glinka and fellow members of The Five. His techniques of composition and orchestration were further enriched by his exposure to the works of Richard Wagner. For much of his life, Rimsky-Korsakov combined his composition and teaching with a career in the Russian military at first as an officer in the Imperial Russian Navy, then as the civilian Inspector of Naval Bands. He wrote that he developed a passion for the ocean in childhood from reading books and hearing of his older brother's exploits in the navy. This love of the sea might have influenced him to write two of his best-known orchestral works, the musical tableau Sadko (not his later opera of the same name) and Scheherazade. Through his service as Inspector of Naval Bands, Rimsky-Korsakov expanded his knowledge of woodwind and brass playing, which enhanced his abilities in orchestration. He passed this knowledge to his students, and also posthumously through a textbook on orchestration that was completed by his son-in-law, Maximilian Steinberg. Rimsky-Korsakov left a considerable body of original Russian nationalist compositions. He prepared works by The Five for performance, which brought them into the active classical repertoire (although there is controversy over his editing of the works of Modest Mussorgsky), and shaped a generation of younger composers and musicians during his decades as an educator. Rimsky-Korsakov is therefore considered "the main architect" of what the classical music public considers the Russian style of composition. His influence on younger composers was especially important, as he served as a transitional figure between the autodidactism which exemplified Glinka and The Five and professionally trained composers which would become the norm in Russia by the closing years of the 19th century. While Rimsky-Korsakov's style was based on those of Glinka, Balakirev, Hector Berlioz, and Franz Liszt, he "transmitted this style directly to two generations of Russian composers" and influenced non-Russian composers including Maurice Ravel, Claude Debussy, Paul Dukas and Ottorino Respighi." Fair. No dust jacket. Highlighting/underlining. Signed by previous owner. Signed by Timothy Leary Jr. in 1937 on fep! ! ! Some pencil marks/comments noted. Cover has some wear and soiling. Corners rubbed. Spine frayed. Lettering on spine faded.

Condition: Good. Etching on rag paper. Signed and titled in pencil. 25 x 19 cm sheet size.

6 3/8" x 9 1/4", vi, 215 pp. Dark red cloth (which appears lighter in the scan), with titling gilt at top of spine. This gold-stamped title has now completely faded; cloth on spine and cover margins shows some age-related fading. Light wear to spine & cover edges, corners; some light tanning to page edges/margins. No dustjacket present. Very scarce, original 1940 edition of this work, printed by Ward Ritchie. Very good/. Former owner's name and date (1940) at top of front flyleaf. Presentation copy in German, written, and signed in blue ink on the titlepage, by the author: "[-] dies Buch zur Erganzung des Kurses dienen, den Sie mit so freundlichen Interesse im Sommer 1940 besuchten FW Kaufmann". This copy was presented to fellow German language student, scholar, and teacher, Corning Chisholm, who added his signature and date (Bristol, 1940) to the top of the front flyleaf (mentioned above). Scan shows the spine & front cover of the binding. This classic work was reprinted in 1970; authors covered include: Heinrich von Kleist, Franz Grillparzer, Christian Dietrich Grabbe, Georg Buechner, Friedrich Hebbel, Richard Wagner (Composer), and Norwegian Dramatist Henrik Ibsen. "The book has grown out of courses in German literature given by the author at the German School of Middlebury College, at Smith College, and at Oberlin College [Oberlin, Ohio]." (From the Author's Preface, p. iv.).

very good dust-jacket, very good black hardcover, light indentations along bottom and top edges of covers, minor, book appears little used if at all. nicely INSCRIBED with admiration over 4-lines on title page to pianist and Liszt expert Russell Sherman (1930-2023) and SIGNED Alan Walker, 2011. WALKER, ALAN. Hans von Bülow: a life and times. Oxford ; New York: Oxford University Press, 2010, 1st printing number line ending in 1, xxv, 510pp., . "Hans von Bülow is a key figure in 19th century music whose career path was as broad as it was successful. Music history's first virtuoso orchestral conductor, Bülow created the model for the profession-both in musical brilliance and in domineering personality-which still holds forth today. He was an eminent and renowned concert pianist, a respected (and often feared) teacher and music critic, an influential editor of works by Bach, Mendelssohn, Chopin, and Beethoven, and a composer in a variety of musical genres. As a student and son-in-law of Franz Liszt, and estranged friend of Richard Wagner (for whom his wife Cosima famously left him), Bülow is intricately connected with the canonical greats of the period. Yet despite his critical and lasting importance for orchestral music, Bülow's life and significant achievements have yet to be heralded in biographical form. In Hans von Bülow: A Life and Times, Alan Walker, the acclaimed author of numerous award-winning books on the era's iconic composers, provides the first full-length English biography of this remarkable musical figure. Walker traces Bülow's life in illuminating and engaging detail, from the first piano lessons of his boyhood days, to his first American tour, to his last days as conductor of the Berlin Philharmonic. Unearthing Bülow's extensive and previously unavailable correspondence and writings, Walker conveys amusing and informative anecdotes about this unique musical legend- from his sardonic and clever personality to his meticulous devotion to his work-and reveals enlightening insights on the still-contested sensibilities of musical-compositional style and "idea" at play in the vibrant musical world of which Bülowwas a part." - CONTENTS: The Bülow chronicles -- Bülow's family tree -- Prologue. From alpha to omega ; Bülow's family background -- Book 1: On the slopes of Parnassus, 1830-1869. The early years ; With Liszt in Weimar ; The growing virtuoso, 1853-1855 ; Berlin, 1855-1864, I : a city of mingled chimes ; Berlin, 1855-1864, II : marriage to Cosima ; Catastrophe in Munich, 1864-1869 -- Book 2: Ascending the peak, 1870-1880. Bülow n Florence ; First tours of Britain -- and beyond, 1873-1875 ; The first tour of America, 1875-1876 ; A Scottish interlude, 1877-1878 ; At Hanover, 1877-1879 ; Britannia scorned, 1878-1879 : encounters and skirmishes in 'the land without music' -- Book 3: Vistas from the summit, 1880-1894. The Meiningen years, 1880-1885, I : the Meiningen miracle ; The Meiningen years, 1880-1885, II : enter Marie Schanzer ; The Meiningen years, 1880-1895, III : paths of glory ; Bülow the pedagogue : the Frankfurt masterclasses, 1884-1887 ; A new home in Hamburg, 1886 ; The Berlin Philharmonic, 1887-1892, I : the eagle's wings ; Return to America, 1889-1890 ; The Berlin Philharmonic, 1887-1892, II : 'Glory, honour, and good fortune' ; The last days and death of Bülow, 1893-1894 -- Appendix I: Bülow's autopsy report -- Appendix II: Complete catalogue of Bülow's compositions, transcriptions, and editions -- Appendix III: Bülow's titles and honours. ISBN 9780195368680.

Condition: Fine. original & in French. 12mo (7" x 4 1/2") as 4 leaves creased vertically, with traces of having been folded twice horizontally to fit into an envelope for mailing}, written in French in a clear hand using black ink on two sides/recto & verso of black-bordered stationery bearing an engraved black crown upper left (two leaves blank) & a large "Johnson 18[5?]1" watermark with 1/2" type, SIGNED boldly and clearly on verso: "Gout à Vous, J. Poniatowski "[with a flourish]. No envelope, though accompanied by a small greeting card (1 7/8" x 1 1/2") reading "Prince Joseph Poniatowski" with black border, stating like the letter: "28 Ebury Street" & "Eaton Square" in its lower left and right corners. Prince J[ózef] Poniatowski writes a personal note of thanks to musician M.[onsieur?] Ellerton's intention to dedicate his "quatrevous" [quartet?], for which the Prince feels honored by this indication of esteem and desires to meet M. Ellerton. Józef Micha Poniatowski (born Giuseppe Michele . Luci in Rome, July 24, 1814-London, July 4, 1873) was a Polish szlachcic, a composer, operatic tenor, sometime professor; as well as the Tuscan Plenipotentiary or Ambassador to Brussels (1849), London (1850-53), Paris (1854); who was made a Senator for Paris by Napoleon III and served in that capacity from 1854 to 1871. Born the natural son of Stanis aw Poniatowski (the Treasurer of Lithuania) and Cassandra Luci, Józef was formally legitimated in 1847 as a son of Stanis aw Poniatowski. Giuseppe/Józef was also the grand-nephew of Stanislaw II, the last king of Poland; as well as the nephew of the dashing Polish General/French Field Marshal Prince Józef Antoni Poniatowski (b.1763-died at the battle of Leipzig in 1813), one of the most famous warlords of the Napoleonic Epoch. A citizen of Tuscany, Józef studied music under Ceccherini at Florence. His career as an operatic tenor began around 1838. Thereafter, the prince wrote twelve operas between 1838 and 1872 for Italian and French theatres. Two noteworthy compositions are Pierre de Médicis, his fourth opera performed in 1860; and Au Travers du Mur, his ninth work, an Opera-Comique, produced in Paris, May of 1861. Prince Józef was created the 1st Conte di Monte Rotondo on November 20, 1847, and the first Principe di Monte Rotondo on November 19, 1850 by Grand Duke of Tuscany Lepold II. Prince Poniatowski was sent to Paris as plenipotentiary of Tuscany by Grand Duke Leopold II. In 1854. Emperor Napoleon III naturalized him as a French citizen and made Prince Józef a Senator. As noted, this talented nobleman served as a Senator for Paris from 1854-71. Following the Franco-Prussian war, the Prince relocated to London, where he died in 1873--age 58--the year after this charming note about music was written to M. Ellerton. It is not clear why this 1873 note bears a black border of presumed mourning. (The prince's wife Matilda died, for instance, in 1875.) The multi-talented musical Prince was buried in Chislehurst, Kent, where his gravesite has been restored by the Polish Heritage Society. We suggest--without adequate proof--that "M. Ellerton" was John Lodge Ellerton (1801-73), a near contemporary of Prince Poniatowski, who shared with him a love of opera and music generally, for which Ellerton had made numerous compositions. Educated at Rugby & Brasenose college, Oxford, John Lodge Ellerton was a highly talented ("amateur") musician, composer of operas, oratorios, quartets, and other classical music. He also wrote glees and choral compositions, and was highly respected for his chamber music. When Richard Wagner visited England, Ellerton entertained him in 1855, for which Wagner observed that his host was "a fine, amiable musician." J. L. Ellerton was resident in Hyde Park, London, near the time of this note. The Musical World commented in an obituary that "This admirable English amateur. was more of a musician than many who make music their exclusive study. Mr. Ellerton was an assiduous student and prolific worker in his art, to which he contributed in every style and every department of composition."--using Wikipedia & scattered references.

Condition: Good. Etching on rag paper. Signed and titled in pencil. 38 x 29 cm sheet size.

Paris, chez M. Le Marchand, rue Fromenteau, Et à l'Opéra, [1774]. In-folio (330 x 255 mm), plein vélin teinté vert de l'époque, dos lisse, (1) f. de titre, (1) f. de dédicace, 298 p., (1) f. de catalogue des ouvrages de musique de l'éditeur. Edition originale, entièrement gravée. C'est par l'intermédiaire du marquis Lebland du Roullet, attaché de l'ambassade de France à Vienne et auteur du livret, que Gluck entreprit de composer cet opéra en français adapté de Jean Racine. Grâce au soutien de Marie-Antoinette, Gluck vient à Paris en octobre 1773 et l'opéra connut, en dépit des critiques et des intrigues, un immense succès qui lui permit de se maintenir au répertoire jusqu'en 1824. Richard Wagner devait en réaliser une version en 1847. (Fétis, 2682. Grove IV, 528. Hopkinson, 'Bibliography of the Works of Gluck', 40 A(a). RISM, A/I, G 2747). Quelques rousseurs et petites taches d'encre. Incomplet des pages 95-96 et 135 à 138. Bon exemplaire, bien relié en vélin teinté vert de l'époque.

8vo. 1 p. Es ist sehr freundlich von Ihnen mich zum schönen [] einzuladen der Weg ist aber zu weit und es würde mich unmöglich seyn so lange Zeit von hier fortzukönnen. []"Autograph letter signed, dated 1 Oct 66 by the Dutch composer and conductor. Verhulst addresses a gentleman, concerning musical matters. 1 p. In-8. Included: receipt with autograph signature of the composer, to Herrn Sensal Schütz.Von 1838 bis 1842 war Verhulst Leiter der Musikgesellschaft Euterpe. Bei einem Besuch in den Niederlanden im Jahr 1842 war der König von Verhulst und seinen Werken derart angetan, dass er ihn zum Hofmusikdirektor ernannte. Hierauf verließ der Komponist Leipzig und ließ sich wieder in Den Haag nieder. Allerdings waren seine kompositorischen Werke in seiner Heimat, wo sich der Musikgeschmack mehr an Frankreich orientierte, anfangs weniger anerkannt und wurden nur in geringer Zahl gedruckt. Hingegen erwarb er sich in den darauf folgenden Jahren einen international bedeutenden Namen als Dirigent.1848 wurde er in Rotterdam Dirigent der Gesellschaft zur Beförderung der Tonkunst", 1860 Leiter der Diligentia und 1864 in Amsterdam Leiter der Gesellschaft Felix Meritis sowie der Cäcilien-Konzerte. In diesen führenden Positionen beherrschte er praktisch das gesamte Musikleben in den Niederlanden. 1886 wurde er anlässlich seines 70. Geburtstages zum Ehrenmitglied der Diligentia ernannt, doch zog er sich wenige Monate später ins Privatleben zurück, auch aufgrund seiner Ablehnung der musikalischen Neuerungen der Neudeutschen Schule. (Wenngleich er die Musik von Richard Wagner und Franz Liszt ablehnte, so leitete er dennoch die Uraufführung von Liszts Totentanz, ebenso wie die holländischen Erstaufführungen der 3. Symphonie Anton Bruckners und der Symphonie f-Moll von Richard Strauss). Wikipedia-Abfrage v. 1.3.2023.

Autograph letter signed, two pages (both sides) - addressed to the reverse of an adjoining sheet, 5,25 x 8,25 inch, 4.12.1862, in French, to Léon Escudier* (1821-1881) in Paris - concerning the journal `Paÿs`, Baudelaire`s article about `Salammbô`** and his works, , written and signed in black ink "Ch. Baudelaire", with mild browning, three horizontal letter folds, and two areas of paper loss of the adjoining sheet (due to the opening of the fold by the recipient) - in fine condition."Le 4 décembre 1862,Cher Monsieur,Vous devinez qu`après la belle réception que m`a faite M. A. Chevalier, cet illustre inconnu, je suis peu tenté de remettre les pieds au Paÿs. Si le Paÿs a envie de l`article Salammbô, il le fera demander à Michel Lévy, chez qui je le déposerai. Quant au Peintre de la Vie moderne, si souvent reçu, et que monsieur ne veut pas imprimer, bien que l`article soit payé, je le laisserai encore quelque temps entre les mains de M. Ribau, et puis le jour ou il me sera demandé ailleurs, je l`enverrai chercher. Je vais avoir montré assez longtemps que j`avais de la patience et que j`étais un homme assez bien élevé. Montrez ma lettre à qui bon vous semblera, à le Chevalier, ou à M. D`Anchald, dont les instructions n`ont pas été obéis./ Quant à vous personnellement, merci de tout coeur pour la bienveillance que vous m`avez montrée dans cette affaire. Je n`ai pas chez moi le Richard Wagner et Tannhäuser à Paris. Mais si je ne peux pas en trouver un exemplaire, qu`importe? J`ai pris votre nom pour un exemplaire de mes oeuvres complètes, qui infailliblement paraîtront l`année prochaine. Bien à vous - Ch. Baudelaire - 22 rue d`Amsterdam. Une idée: est-ce que le Paÿs parait tous les jours avec ses trois premières pages en blanc? quant aux annonces, je comprends qu`on ne les refasse pas."Translated:"December 4, 1862,Dear Sir,You can guess that, after the fine reception given to me by M. Chevalier, this illustrious stranger, I am not much tempted to return to the Paÿs. If the Paÿs wants the article about Salammbô, he will ask Michel Lévy, to whom I will deposit it.Regarding the Painter of Modern Life, so often received, and that Monsieur does not want to print, eventhough the article is paid, I will leave it for some time longer in the hands of M. Ribau, and on the day that it will be asked elsewhere, I will send it. I will have shown for a long time that I had patience and that I was a well-bred man. Show my letter to whoever seems good to you, to Le Chevalier, or to M. D`Anchald, whose instructions have not been obeyed./ As for you personally, thank you wholeheartedly for the benevolence you showed me in this matter. I do not have the Richard Wagner and Tannhäuser*** in Paris. But if I can not find a copy, what does it matter? I took your name for a copy of my complete works, which will inevitably be published next year. Yours sincerely - Ch. Baudelaire - 22 rue d 'Amsterdam.An idea: does the Paÿs appear every day with its first three pages blank? as for announcements, I understand that they are not redone."*Jacques-Victor says Leon Escudier (1821-1881) was a French journalist, critic and music publisher. He collaborated with the journal `Paÿs`, which is mentioned here, and with the newspaper of the Empire. He was also the French publisher of Giuseppe Verdi.** Salammbô (1862) is a historical novel by Gustave Flaubert.*** Baudelaire's essay `Richard Wagner et Tannhäuser à Paris` was highly regarded. In 1860, Baudelaire became an ardent supporter of Richard Wagner. After attending three Wagner concerts in Paris in 1860, Baudelaire wrote to the composer: "I had a feeling of pride and joy in understanding, in being possessed, in being overwhelmed, a truly sensual pleasure like that of rising in the air." Baudelaire`s writings contributed to the elevation of Wagner and to the cult of Wagnerism that swept Europe in the following decades.