Add MS 34182

ff. 1-105. 'Christus': Oratorio in three parts, for solo voices (Christus, Mary Magdalene, etc.), and choruses of from 4 to 10 voices (Disciples, Women of Jerusalem, etc.), with symphonies and accompaniments for flutes (piccolo, etc.), oboes, clarinets, horns (English, etc.), trumpets, trombones, bassoons, tuba, drums, cymbals, strings, harp, harmonium and organ, in score, by F. Liszt; 1863-1866. Autograph. At f. 83 follows a pianoforte accompaniment, which appears to have been missing till 1886, when it was discovered by Fraulein Lina Schmalhausen (afterwards the possessor of the score) and presented to her by the composer. The principal variations from the score published at Leipzig by Schuberth are the transposition of the order of the Shepherds' song and the 'Stabat Mater Speciosa'; and the omission in the present MS. of the Beatitudes (for which reference is made to the work of that name previously published by Kahnt), and also of the instrumental accompaniments to the 'Tu es Petrus' and of the Easter hymn, 'O Filii et Filial,' which should precede the final scene 'Resurrexit.'

ff. 106-111. Inno del Papa [Pio IX], beginning ‘Dall' alma Roma sommo Pastore‘; for 8 voices, with organ ccompaniment, in score, by F. Liszt; about 1866 (date of publication). Printed at Rome in 1866, with autograph alterations by the composer. The melody is taken from the ‘Tu es Petrus‘ on f. 37 of the same volume (see Oratorios, 1863-1866).

ff. 112-113b. Arrangement for Pianoforte, by Liszt, 1877, of his string-quartet 'Angelus,' here entitled 'Der Schutz-Engel' [Années de Pélerinage, 3rd year, no. 1]; 1877. Autograph. Evidently written for the composer's grand-daughter Daniela von Bülow [afterwards Frau von Thode], her name appearing at what must have been originally the commencement of the piece (f. 113), since pasted over.