Fantaisie brillante sur deux motifs de Charles VI de Halevy... Op. 37. [Piano solo]. Autograph musical manuscript signed of the complete work. Undated, but Paris, ca. 1844. Stephen HELLER.

Fantaisie brillante sur deux motifs de Charles VI de Halevy... Op. 37. [Piano solo]. Autograph musical manuscript signed of the complete work. Undated, but Paris, ca. 1844.

Oblong folio (275 x 345 mm.). Sewn. [i] (autograph title, 11 pp. music. Notated in dark brown ink on rastrum-drawn 12-stave paper. Small embossed stamp of the Parisian paperseller "Lard-Esnault 25 rue Feydeau" to upper inner corners. No place, no date, but in all likelihood Paris, ca. 1844.

With occasional autograph corrections and annotations, including notes to the engraver, and additional editorial markings in pencil. The words "sur deux motifs" to title crossed out, with "sur la Romance en respect mon amour se change" added in pencil. Plate number "M.S. 3890" added to foot of page 2 (referring to the publisher Maurice Schlesinger).

Slightly worn and soiled; creased at central fold.

Together with a printed copy of of a re-issue of an edition published by Breitkopf & Härtel in ca. 1844.

Heller was a French pianist and composer of Hungarian birth. "His parents were of Jewish descent and came from the vicinity of Eger (Cheb, Bohemia)... He took composition lessons from an organist called Cibulka and then went to Vienna to study with Carl Czerny, but his father soon found that he could not afford the celebrated teacher’s high fees. Stephen became a pupil of Anton Halm, the teacher of Adolf Henselt and other 19th-century virtuosos. Through Halm, Heller met Schubert and Beethoven..."

"A few years after his arrival in Augsburg, he submitted some compositions for criticism to Schumann, who reviewed them enthusiastically in the Neue Zeitschrift für Musik. He soon became one of Schumann’s favourite ‘Davidsbündler'... In 1838 Heller moved to Paris, where he was to remain for the rest of his life, numbering Berlioz among his closest friends..."

"Heller was first noticed in Paris as a composer when he published his group of studies L’art de phraser (op.16) and when his concert study La chasse (op.29) was performed by Liszt and other virtuosos throughout Europe... It was in these works and the operatic fantasias that Heller’s originality first showed itself, with chains of dissonances and chromatic shifts..."

"The exhilarating effect of his music for the performer owes much to its incisive, vital rhythms and the grateful manner in which the notes lie under the fingers." Ronald Earl Booth and Matthias Thiemel in Grove Music Online.

A dynamic and interesting manuscript. Item #31203

Price: $3,500.00  other currencies

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