Folio (342 x 280 mm.). Unbound. Notated in ink on Maestro No. 109 14-stave onionskin.
1. Belinda Waltz, dedicated to Melinda Streeter. 6 pp. Signed and dated 1957.
2. Valse Caprice, dedicated to Florence Kirsch Du Bruhl. 13 pp. Signed and dated 1957.
3. Valse Champêtre, dedicated to Henri and Madeline Mounet. 8 pp. Signed and dated 1957.
4. Valse Légère, dedicated to Georges Auric. 6 pp. Signed and dated 1956.
5. Valse Lente, dedicated to Marie Blanche de Polignac. 10 pp. Signed and dated 1957.
6. Rondo Waltz, dedicated to Claire White. 11 pp. Signed and dated 1956.
These six waltzes were published together with the title "New Waltzes for Two Pianos" in ca. 1957.
Rieti was an American composer of Italian descent. "After brief war service in the Italian army, he settled in Rome with his family and took up his composition studies again with Casella; he also received some tuition in orchestration from Respighi. In 1921 he met Berg, Alma Mahler and Franz Werfel in Vienna where he signed an exclusive, eight-year contract with Universal Edition. Schoenberg also showed great interest in his works... In the early 1920s he was associated with Massarani and Labroca in a group that called itself I Tre, in imitation of Les Six... From 1925 to 1940 Rieti divided his time between Rome and Paris, where he formed close ties with Stravinsky, Prokofiev, Hindemith, Falla, Weill and Les Six. He wrote ballet music for Diaghilev... In 1940 he moved to the USA (he became a citizen in 1944). There his ballet music was choreographed by Balanchine, his orchestral music conducted by, among others, Toscanini and Mitropoulos... Casella’s praise (see Cobbett) has lost none of its relevance; elsewhere he wrote: ‘Rieti’s oeuvre stands apart in its specific clarity, gaiety and sophistication of a kind only he possesses; yet it hides a good deal of melancholia’." Boris Schwarz in Grove Music Online.
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