1930. Folio (356 x 271 mm). Unbound. 8 bifolia. 1-9 (I. Introduction et Allegro), [i] (blank), 10-14 (II. Canzone), [i] (blank), 15-26 (III. Scherzo), [iv] (blank) pp. Notated in black ink on three different types of pre-printed music paper: first movement on 24-staff paper with narrow staves; second movement on 24-staff paper with wider staves; third movement on 18-staff paper.
Numbers of second and third movement written over earlier, illegible numbers. Second movement originally titled "Andantino"; title crossed out and replaced in pencil with "Canzone"; "Andantino" added as tempo above first measure. Occasional autograph corrections in pencil to all movements; third movement with substantive cut in pencil from pp. 22 to 23. Directions to engraver in pencil, most probably autograph. Pagination from p. 9 in pencil, possibly in a different hand.
Engraver's markup in pencil; publisher's number "A.L. 17779" in red ink to foot of all pages of music. Handstamps to foot of first page: "Paris, Alphonse Leduc Editions Musicales 635 rue St-Honoré (près l'Avenue de l'Opéra)" to left; "Copyright by Alphonse Leduc et Cie 19" to center; "Tous droits d'exécution de reproduction de transcription et d'adaptation réservés pour tous pays" to right. The "30" in the year is written in the same red ink as the publisher's numbers. Note "200 ex. [copies] 26 9/30" in same red ink between left and central handstamp.
Slightly worn and soiled; minor fraying to edges.
The present manuscript was used by the engraver for the first (and only) edition of the work, published by Alphonse Leduc, Paris, in 1930 with the plate number A.L. 17779. Tansman composed the work in 1928. Trio Filomusi premiered it at the Ecole Normale de Musique de Bruxelles on November 7, 1929. After Tansman composed another serenade - for violin, viola, and violoncello - in 1938, the present work was listed as "Serenade no. 1."
"... Tansman was a French composer and pianist of Polish birth... Disappointed with his reception in Poland, he moved to Paris, giving a début recital in February 1920. Soon after his arrival, he became friendly with Stravinsky and Ravel, both of whom encouraged and advised him... Acquainted with many leading musical figures in Paris during these years, Tansman was part of the circle of foreign musicians, known as the Ecole de Paris, that included Martinů, Alexander Tcherepnin, Conrad Beck and Marcel Mihalovici. While his music retained many distinctively Polish features, such as Mazurka rhythms and Polish folk melodies, and while he wrote collections of Polonaises, Nocturnes, Impromptus, Waltzes and other Chopinesque miniatures, neo-classical traits appear in works [from about 1925]... Although he never completely abandoned a diatonic framework, critics of the 1920s and 30s described his harmony at times as Scriabinesque and atonal... Tansman was quick to achieve international success... He settled in Los Angeles in 1941 where he became acquainted with Schoenberg, renewed friendships with other European émigrés, including Milhaud and Stravinsky, and composed a number of film scores. He returned to Paris in 1946." Caroline Rae in Grove Music Online. Item #25318
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