Lot n° 50
Estimation :
5000 - 7000
EUR
Result with fees
Result
: 1 950EUR
HAHN Reynaldo (1874-1947).
Partly autograph MUSICAL MANUSCRIPT, Mozart (1925); one volume in-folio of 39-245 pages mounted on tabs, bound in half black cloth with corners (binding worn, some leaves chipped with a few tears; publisher's stamps).
Complete manuscript of the orchestral score for the musical Mozart, based on a libretto by Sacha Guitry. To compose the music of the musical he wrote about Mozart, whom he loved so much, and for his wife Yvonne PRINTEMPS, both a wonderful actress and a delightful singer,
Sacha GUITRY had first approached his friend André Messager, who had refused outright; he then turned to Reynaldo Hahn, an excellent connoisseur of Mozart's operas, whom he had directed in Salzburg as early as 1910. The play, a delightful marivaudage, features the young Mozart during his stay in Paris, where he is welcomed in the famous salon of Mme d'Épinay, under the protection of Baron de Grimm, and where he meets his first love. Mozart, a musical comedy in 3 acts, was created at the Théâtre Édouard VII on December 2, 1925, with Yvonne Printemps in the role of Mozart, Sacha Guitry in the role (spoken) of Baron de Grimm, surrounded by Germaine Gallois (Mme d'Épinay), René Maupré (Marquis de Chambreuil), Gaston Gerlys (Vestris), Léonce Dupré (the lackey Grimaud), Marthe Lenclud (the Guimard), Édith Mérannes (Mlle de Saint-Pons) and Madeleine Lebergy (the maid Louise). The orchestra was conducted by Raoul Labis. The score was published in 1926 by Heugel. The play was a great success, and Reynaldo Hahn's music was much appreciated, even by the most demanding musicians, such as Arthur Honegger: "It was to Mr. Reynaldo Hahn that fell the perilous honor of making Mozart sing. [...] It was very difficult. Either to pastiche Mozart, or to carve out small pieces from the composer's own works; both solutions led to error. Reynaldo Hahn was able to avoid both. He too has recreated a character to whom he has lent his art. There is, in this score, a wonderful skill and theatrical sense. Each note gives its maximum effect, everything carries. The passages sung by Mrs. Yvonne Printemps are models of this musical declamation so personal to the author. From this exquisite music, one will retain in particular the delicious air of the Letter and that of the Farewells, which Yvonne Printemps immortalized. The manuscript is written in blue ink on 18-line paper, with numerous erasures and corrections, and some passages crossed out. The Overture is entirely autograph, as well as the orchestration by Reynaldo Hahn on the score prepared by a copyist with the armatures and the sung parts (according to the chantpiano score). The orchestra includes: flute, oboe, clarinet, bassoon, 2 horns in F, a trumpet in C, piano, 1st and 2nd violins, violas, cellos and double basses. The manuscript served as a conductor for the performances. It is divided as follows: Overture, entirely autograph (39 pages), marked Allegro animato; N° 1. Melodrama (p. 1-9); N° 2. Scene (p. 10-34); N° 3. Scene and aria (pp. 35-74); 2nd Act [No. 4] (pp. 75-98); No. 5. Melodrama (99-101); N° 6. Scene and ballet (p. 102-159, partly by a copyist after Mozart); N° 7. Letter (p. 160-167); 3rd Act. N° 8. Introduction (p. 168-177); No. 9. Duo (p. 178-200); No. 10. Couplets (p. 201-215) ; No 11. Melodrama (p. 216-225) ; N° 12. Scene (p. 226-245). Bibliography : Jacques Depaulis, Reynaldo Hahn (Séguier, 2007), p. 108-110 ; Jacques Lorcey, Tout Guitry de A à Z (Séguier, 2007), p. 231-232. Discography: excerpts by Yvonne Printemps (EMI 1988); complete works: Geori Boué, Roger Bourdin, Marthe Alicia, Bernard Dhéran, Radio-Lyrique Orchestra conducted by Pierre-Michel Leconte (Musidisc 1991).
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