Richard Wagner: Overture in D, ‘Rule Britannia’ (WWV 42): short and full scores, with sketches for incidental music to the play Die letzte Heidenverschwörung in Preussen (J. Singer) (WWV 41)
Scope & Content:
Autograph. In Mein Leben Wagner describes this work as ‘a further step in the direction of a type of composition calculated to make the most overwhelming effect; at the close ... a large military band was to be added to an already overmanned orchestra ...’. This is born out by his annotation ‘Hi...
Richard Wagner: Overture in D, ‘Rule Britannia’ (WWV 42): full score
Scope & Content:
Written in ink; on systems of 22 staves throughout, with the exception of f. 2r, where the ophicleide part is written separately from the bass trombone, requiring 23 staves. Tempo directions ‘Maestoso e moderato (f. 1r) - Allegro maestoso (f. 4r) - Piu vivace (f. 14v) - Maestoso’ (f. 19v). Heade...
Richard Wagner: Sketches for ‘La tombe dit à la rose’ (WWV 56), ‘Extase’ (WWV 54) and ‘Attente’ (WWV 55), for voice and piano (all to words by Victor Hugo)
Scope & Content:
Autograph. Written in ink on systems of one or two staves. Folio 1r has many trial strokes with a rastrum. As follows: f. 1r. Vocal line and text of ‘La tombe dit à la rose’; written with the page inverted. Interspersed with untexted sketches on a single stave for ‘Attente’, using the page the...
Richard Wagner: Transcriptions of ‘La tombe dit à la rose’ and ‘Extase’ from Zweig MS 110
Scope & Content:
Written in dark blue ink. The hand is the same at that in Zweig MSS 105 and 107, ff. 2-11. As follows: ff. 1r, 2r. Texts of the two poems. f. 3r. Transcription of ‘La tombe dit à la rose’. On systems of three staves, but the accompaniment not filled in. ff. 3v-4v. Transcription of ‘Extase’...
Richard Wagner: ‘Descendons gaiement la courtille’ (text Dumersan?) (WWV 65), chorus for insertion in the vaudeville La descente de la courtille by Marion Dumersan and Dupeutys
Scope & Content:
Autograph. Draft in piano vocal score. Written in ink on systems of two and three staves. Two-part chorus, written on a single stave labelled ‘Choeur.’ against the first system on f. 1r, the other two staves designated ‘Orchestre.’. Indications of orchestration are also given in this system. Tem...
Richard Wagner: ‘Oui, dès ce moment’, duet from Fromental Halévy’s opera Le Guitarrero, arranged by Wagner for quartet of flute or first violin, second violin, viola and ‘cello (WWV 62D)
Scope & Content:
Autograph score. Written in black ink on systems of four and five staves. Where the flute part is not written out separately the top line of the system is designated ‘Fl: ou 1er V.’ On a single leaf, paginated 43, 44. Against the beginning of the music (f. 1r) is written ‘No: 13. / Duo et Final....
Richard Wagner: Correspondence relating to Zweig MS 112
Scope & Content:
As follows: f. 1. Postcard from Wilhelm Tappert to Albert Cohn, Berlin, confirming the authenticity of Zweig MS 112, and with notes on the work’s composition; Berlin, 18 June 1886. f. 2r. Letter from the book dealer Albert Cohn to an unidentified correspondent (‘Ew. Hochgeboren’) about a Wag...
Richard Wagner: ‘Der fliegende Holländer’ (WWV 63). Copyists’ full score of Overture, with autograph corrections and annotations; 1853, 1860
Scope & Content:
Overture; 1853, 1860. Full score. Written in ink on systems of 16 and 18 staves. In the hand of Adam Bauer, on 16 staves (ff. 1-27) and Carl Mehner, on 18 staves (ff. 28-34). The first section (ff. 1-27) extensively annotated and corrected throughout in red ink by Wagner, with his instructions t...
Richard Wagner: ‘Der fliegende Holländer’ (WWV 63), opera in three acts (libretto, the composer), 1840-1841: copyists’ full score of Overture with autograph annotations, revised ending to Overture and to Act III in autograph full score; 1853, 1860
Richard Wagner: ‘Der fliegende Holländer’ (WWV 63). Revised ending to Overture
Scope & Content:
Autograph full score. Written in ink on systems of 18 and 19 (f. 4r and v) staves. Headed ‘Zum fliegender Holländer Schluss der Ouvertüre (pag: 42 der autographirten Partitur nach der _ [underlined pause sign])’, with further references to pp. 42 and 43 of the original full score at top left and...
