Composer, conductor, and influential music teacher (1887–1979) who wrote many vocal and instrumental works. Collection of sixteen ALSs, three TLSs, and three of her personal calling cards, dated from 1908 to 1977. Most are written to her publisher, Jacques Paul Heugel, many referring to appointments and invitations. One letter with an enthusiastic response to one of Heugel’s books, in part (translated): “allow me to thank you without delay for the great and deep joy that brings me your friendly attention—the high and noble thought, the strength of expression, purity of form…emerges from your book.” The most comprehensive letter is a report on the prelude of La Ville Morte [The Dead City] in part (translated): “We were, as I told you, at Carré’s house Sunday…both he and Mrs. Carre have shown themselves full of tireless attention in familiarizing themselves immediately with any of these issues…Do not laugh at my enthusiasm, dear Sir Heugel, and make no mistake on the feeling that dictates these lines…but you are interested in La Ville Morte so affectionately and faithfully, we want to let you know all events preceding its appearance—and without false modesty, we tell them. I would add that we had a very bad audition! Pugno had a very bad cold and could not sing, and as for me, my throat is in such a state that I am forced to leave Paris to take at least a month of complete rest—without saying a word.” In overall very good to fine condition.
La Ville Morte was a collaborative effort between Boulanger and Raoul Pugno based on a libretto by Gabrielle d'Annunzio. Work continued until Pugno’s death in January 1914, after which the arts world clamored for Albert Carre and the Opera-Comique to produce it as soon as possible to honor his legacy. Plans were soon made, roles were cast, and rehearsals were set to begin in August 1914 when the outbreak of World War I put the entire continent on hold. Nearly a decade later, at the suggestion of d'Annunzio, Carre recovered a portion of the score and Boulanger submitted a revision, but the project never came to fruition. It remained unheard until 2005, when Mauro Bonifacio completed the score based upon the extant fragments and premiered the opera at the Italian Chigiana Festival. Pre-certified PSA/DNA.
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