细节
LISZT, Franz (1811-1886). Autograph manuscript signed with extensive autograph notes of the opening of Liszt's edition of Weber's Momento Capricioso for piano (Jähns no.56), comprising the opening 4 bars, written out twice and bars 9-16 of the righthand, two staves and one bar on a third stave, with approximately 15 lines of notes and instructions to the engraver, brown ink and red crayon, 1 page, quarto, 330 x 250mm., (some discoloration, the page laid down on card mounted on backing). Sold with a colour photographic reproduction of a portrait of Liszt.
The manuscript is clearly intended for use by the engraver. The autograph instructions concern dynamic markings and the relation of the markings to the notes, as well as comments on pedal markings, fingering and the symbols to be used for pedalling. In the lefthand margin Liszt has written vertically Mit Ausmahme der Conzerstücke, Momento Capricioso und den 1sten Satz der 1stten Sonate hab ich überall das Pedal mit den Zeichen...abgemerkt.
The annotations to the opening bars concern the time of the piece, specifically whether within the 6/4 time signature the crochets and quavers should be played as duplets or triplets and the consequent grouping of them on the printed page. For example, Liszt groups the quavers of the second stave, which he entitles B, in fours, whereas Weber had grouped them in sixes.
Liszt's elaborated version of Momento Capricioso was published by Cotta.
We are grateful to Mr Robert Threlfall for his assistance in identifying this manuscript.
The manuscript is clearly intended for use by the engraver. The autograph instructions concern dynamic markings and the relation of the markings to the notes, as well as comments on pedal markings, fingering and the symbols to be used for pedalling. In the lefthand margin Liszt has written vertically Mit Ausmahme der Conzerstücke, Momento Capricioso und den 1sten Satz der 1stten Sonate hab ich überall das Pedal mit den Zeichen...abgemerkt.
The annotations to the opening bars concern the time of the piece, specifically whether within the 6/4 time signature the crochets and quavers should be played as duplets or triplets and the consequent grouping of them on the printed page. For example, Liszt groups the quavers of the second stave, which he entitles B, in fours, whereas Weber had grouped them in sixes.
Liszt's elaborated version of Momento Capricioso was published by Cotta.
We are grateful to Mr Robert Threlfall for his assistance in identifying this manuscript.