Paris: G. Hartmann & Cie. [PN G.H. 644.], [ca. 1890]. Octavo. Full dark red flexible textured paper boards, titling gilt to spine, original publisher's upper wrapper printed in sepia with titling within decorative border bound in. 1f. (title), 1f. (named cast list for several performances, including the premiere, and table of contents), 167, [i] (blank) pp. Lithographic transfer.
With publisher's handstamp to lower margin of title.
Binding slightly worn and rubbed, wrapper slightly worn and soiled with signature in red pencil to upper inner corner. Occasional very light foxing and soiling to margins, not affecting music. An attractive copy overall.
Together with two autograph musical quotations of 2 and 3 measures respectively, signed "J. Massenet" and affectionately inscribed to the noted French Oriental painter, Georges Clairin (1843-1919). 12mo. In black ink on French blue postal paper inserted into front free endpaper with small pieces of mounting tape to verso. The first, dated April 12, 1906, is a "souvenir of Marie-Magdeleine at the Opéra-Comique... "; the second, dated April 14, 1906, is set to the text "O bien aimé" (Act III, no. 13), under which Massenet has written "ami à nous." Both inscriptions thank the recipient for his letters.
With a concert program for the April 12, 1906 performance of Marie-Magdeleine at the Opéra-Comique laid down to front pastedown opposite the quotations. "À George Clairin" in pencil in another hand to upper margin of front free endpaper; autograph signature of Marie Clairin in purple ink to final free endpaper.
Lower outer corner of front free endpaper lacking.
OCLC no. 15813052.
Marie-Magdeleine, an oratorio to a libretto by Louis Gallet, was first performed at the Théâtre de l'Odéon in Paris on April 11, 1873.
"Massenet’s principal choral works are four biblical oratorios, all of which are designed somewhat like his operas with solo arias, choruses, dramatic tableaux, stage directions, local Middle-Eastern colour and an act-and-scene structure. Their tone ranges from the devotional to the erotic, and the solo parts are comparable to some of his operatic roles in range and expression. Méryem, for example, in Marie-Magdeleine, one of his first successes when sung on Good Friday 1873 with Pauline Viardot in the main role, has an impassioned C-minor solo aria in Act 3. Gallet’s libretto develops the story of Méryem, with Judas Iscariot cast as a scheming seducer. Its realism, derived from Renan’s La vie de Jésus, displayed a marked contrast with the traditional reflective oratorio, and the work was staged several times in Massenet’s lifetime. The closing scene is a full-blooded Resurrection Hymn." Hugh Macdonald in Grove Music Online.
In 1885 Georges Clairin visited Hungary with Massenet and several others. He also made the posters for the first performances of Massenet's Le cid and Saint Saëns's Samson et Dalila. Item #26624
Price: $475.00 other currencies