1 page of a bifolium Octavo. N.p., n.d. With autograph address panel. In French (with translation).
Boieldieu is anxious to get together with Pixérécourt but is very busy with commissions; he laments his poor state of health.
"I have so much work to do for the baptism, for the opera, and for city hall... Therefore you must be kind enough to wait until I give you a time to meet when I am rid of my music for special occasions... The poor state of my health does not permit me to accept an invitation to lunch or dinner... The most important thing is that we hurry to see each other..."
With several autograph corrections.
Slightly worn and browned; edges reinforced with narrow strip of paper; creased at folds and slightly overall; small hole to blank corner and remnants of former mount to address panel.
Together with a small bust-length stipple engraving of the composer by Wachsmann printed in Zwickau, image size 84 x 67 mm. within octagonal border, sheet size 198 x 138 mm. Very slightly browned and foxed; minor remnants of former mount to upper edges of verso.
Boieldieu "was the leading opera composer in France during the first quarter of the 19th century and remains the central figure in the opéra comique tradition... [His] lifetime spanned the last quarter of the 18th century and the first third of the 19th, the end and beginning of two widely different eras, and he witnessed the passing of an entire generation of musicians. The changes in operatic style that were beginning to appear in the works of his own and younger generations – a shift of emphasis from the melodic to the harmonic aspect and an increased importance given to the orchestral accompaniment – are to some extent reflected in the evolution of Boieldieu’s style, and this qualifies him for a place at the head of a line of composers beginning with Herold, Auber and Adam and continuing with Gounod, Bizet and Chabrier. Insofar as his ideas sound fresh and spontaneous, his melodic lines clear, Boieldieu has sometimes been compared to Mozart, and it does indeed seem that his intelligent and lucid mind may have caught a spark from Mozart’s fire. Thus, even without pushing the comparison to extremes, the title Boieldieu was given by his compatriots, ‘the French Mozart’, can be considered the highest accolade that he has been granted." Georges Favre, revised by Thomas Betzwieser in Grove Music Online.
René Charles Guilbert de Pixérécourt (1773-1844) was a French librettist and dramatist. "Dubbed ‘the Corneille of the Boulevards’, Pixérécourt was practically the inventor, and certainly the codifier, of the popular French stage form mélodrame... Though Pixérécourt’s melodramas are best known for the influence they exercised on Romantic drama, they were no less influential on the genre that came to be known as French grand opera." Karin Pendle in Grove Music Online.
Price: $550.00 other currencies