Die Toten Augen Eine Bühnendichtung von Hanns Heinz Ewers und Marc Henry... Vollständiger Klavierauszug mit Text. (Otto Singer)... M. 16, _ ... Dr. Gustav Harpner freundschaftlichst gewidmet. [Piano-vocal score]. Eugen d' ALBERT.
Die Toten Augen Eine Bühnendichtung von Hanns Heinz Ewers und Marc Henry... Vollständiger Klavierauszug mit Text. (Otto Singer)... M. 16, _ ... Dr. Gustav Harpner freundschaftlichst gewidmet. [Piano-vocal score]

Die Toten Augen Eine Bühnendichtung von Hanns Heinz Ewers und Marc Henry... Vollständiger Klavierauszug mit Text. (Otto Singer)... M. 16, _ ... Dr. Gustav Harpner freundschaftlichst gewidmet. [Piano-vocal score]

Berlin: Ed. Bote & G. Bock [PN B. & B. 18142], [1913]. Folio. Full brown cloth with titling gilt to spine, textured dark ivory endpapers. 1f. (half-title with colour illustration by Frau Ilna Ewers-Wunderwald), [3] (title printed in brown), [4] (cast list and orchestration), 5-204 pp.

Binding slightly worn. Trimmed; very lightly browned; preliminary leaves slightly creased at inner margins and soiled at lower outer corners. A very good, clean copy overall.

First Edition (?later issue). OCLC no. 79744763.

Die Toten Augen was first performed at the Hofoper in Dresden on March 5, 1916. "The first performance of Die toten Augen was strongly cast, with Helena Forti as Myrtocle, Curt Taucher as Aurelius Galba and Friedrich Plaschke as Arcesius, but the opera, with its rather heavy mixture of mysticism, symbolism and realism, was only moderately successful. The most Wagnerian of all d’Albert’s stage works, it derives much of its style from Parsifal. It also shows the influence of Richard Strauss (the ensembles of Jewish men and women inevitably recall Salome and Elektra) and, in the orchestration, of Debussy. While Myrtocle and Arcesius, both firmly characterized by their music, carry dramatic conviction, the unfortunate Aurelius Galba, less well drawn, remains a cipher, a symbol of Myrtocle’s illusions." Elizabeth Forbes in Grove Music Online. Item #26921

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