Concerto d'Orphée pour violon et orchestre... Réduction pour violon et piano par l'auteur. Autograph musical manuscript of the complete work. Signed twice and dated "1953" and "Janvier-Juin 1953" on title, signed and dated at head of first page of music, and signed and dated again at the conclusion of the work. With design of a lyre in fuschia ink to title and an autograph note relative to the composition and dedication of the work in the same ink laid in.

Folio. 1f. (recto autograph title, verso blank), 35 pp. Notated in black ink on 18-line paper.

A working manuscript, with corrections, alterations, and deletions.

With performance annotations in pencil; time changes in blue ink; occasional annotations in fuchsia ink relative to dynamics, etc.; overpaste to final brace of page 12 consisting of 10 additional measures written on both recto and verso; pencilled notations to lower margin of title.

Slightly worn and browned, especially at edges; some smudging, not affecting legibility; old tape to overpaste.

The Concerto d'Orphée was composed by Sauguet in the first half of 1953 and first performed on July 26, 1953 at the Festival d'Aix-en-Provence by Adolf Bus (violin) with the Orchestre de la Südwestfunk de Baden-Baden conducted by Hans Rosbaud; it was first performed in Paris on November 21, 1961 at the Théâtre des Champs-Élysées by Devy Erlih (violin) with the Orchestre Nationale conducted by Manuel Rosenthal. The work was first published in 1954 by Heugel. The movements are entitled Allegro giusto; Andantino dolce; Andantino gracioso e delicate; Poco meno (espressivo); Lento, quasi adagio; Allegro vivo (alla breve), and Allegro scherzando.

An interesting figure, Sauguet worked in many genres. Perhaps best-known for his ballets, his output includes operas, symphonies, concertos, chamber and choral music, numerous songs, and film music. Sauguet also worked as a music critic in the 1930s and 40s.

"In 1920, in imitation of the Groupe des Six, Poupard, as he was then known, formed the Groupe des Trois with Émié and the composer Jean-Marcel Lizotte. For their first concert on 12 December, he assumed his mother’s maiden name, Sauguet, so as not to embarrass his father by any association with modern music. Sauguet’s by now regular correspondence with Milhaud resulted in an invitation to Paris in January 1922, where he met Les Six, Jean Wiéner and Cocteau. More significant still were his encounters with Satie (around whom he formed the École d’Arcueil with Henri Cliquet-Pleyel, Roger Désormière and Maxime Jacob) and Koechlin, from whom, on Milhaud’s recommendation, he took composition lessons until at least 1927... A sensitive, humane man with a great sense of fun, he composed with spontaneity and lightness of touch, though his finest works possess a sense of tragic grandeur and profound compassion for the human condition." Jeremy Drake in Grove Music Online.

"In 1923, together with three other admirers of Satie's music (Henri Clicquot-Pleyell, Roger Désormière, Maxime Jacob), Sauguet formed the 'School of Arcueil', named after the location of Satie's home. With his support, they had their first concert on 25 October 1923 at Théâtre des Champs-Elysées. In 1924 Erik Satie introduced Sauguet to Serge Diaghilev, the flamboyant impresario of the Ballets Russes, and he wrote his first ballet, Les Roses... that year. In 1927 Diaghilev's company produced the ballet La Chatte... with music by Sauguet, which premiered in Monte Carlo on April 30... The work was choreographed by the young George Balanchine..."

"... The war period brought a change to Sauguet's work, which had previously been marked by his high spirits. He used his reputation during this time to help his Jewish friends but lost the oldest-established among them, Max Jacob, who died in the Drancy internment camp. At the war's end he completed his Symphony No. 1, known as Expiatoire (Expiatory), in tribute to the war's innocent victims." Wikipedia. Item #30279

Price: $4,500.00  other currencies

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