Autograph letter signed "Eugene Zador" to "Tyler"
2 pp. Large quarto. Dated [Los Angeles,] May 6, [19]60. In blue ink on personal stationery with Zador's California addresses printed and handstamped at head. With autograph corrections to printed address.
Concerning the Suite for Brass Instruments (1960-61), which Zador hopes his correspondent, a brass player, will premiere at a music festival in Colorado. He is sending a piano recording of his "experimental" piece later than anticipated because his wife has just had a "severe operation."
"... I am enclosing a record to save you some time. You will find out that I am not a pianist, in fact I never learned the piano, and sometimes I had to turn the pages too. Because it is an experimental work (though [!]absolut tonal), I feel that the world premiere should take place at a music festival... by writing the score myself, I saved about $150 – which I gladly would turn over to you to pay the other 6 brass players (but of course very confidentially)... I was never performed in a music festival in America and besides, I am looking for a good excuse to see Colorado... "
Creased at central fold; blank left margin of verso lightly browned, with small paper clip stain not affecting text.
The Suite for Brass Instruments (for four trumpets, four horns, three trombones, one tuba) comprises three movements, and "is intended as a real virtuoso display for brass performers." It is dedicated to Gustav Koslik (1902-1989), a noted Austrian conductor. Since its publication in 1961, it has appeared on many American concert programs, and was professionally recorded for the first time in 1967. Denys Killick, "Project Brass," in Tape Recording Magazine (May 1967), pp. 186-187. Worldcat.
Zador "left Hungary in 1939 and finally settled in Hollywood, where he orchestrated more than 120 film scores. Apart from these, the bulk of his output consists of stage works and orchestral pieces, among them the popular Hungarian Caprice. Stylistically Zador did not move beyond the innovations of Strauss and Reger; his own view was that he occupied a position midway between Verdi's La traviata and Berg's Lulu. Nonetheless his operas exhibit strong characterization and skilful orchestration. He also experimented with novel colours in the Studies for orchestra and composed concertos for such instruments as cimbalom and accordion." János Demény and Michael Meckna in Grove Music Online.
Item #25301
Price: $150.00 other currencies