Fantaisie sur des Thêmes favoris de l'Opera Masaniello de Carafa composée pour le Piano... Opus 162... Paris chez A. Brullé, Leipzig chez Breitkopf & Härtel, Londres chez Chappel. Pour le publication le 24 fevrier prochain (1849). Autograph musical manuscript. Franz HÜNTEN.
Fantaisie sur des Thêmes favoris de l'Opera Masaniello de Carafa composée pour le Piano... Opus 162... Paris chez A. Brullé, Leipzig chez Breitkopf & Härtel, Londres chez Chappel. Pour le publication le 24 fevrier prochain (1849). Autograph musical manuscript.

Fantaisie sur des Thêmes favoris de l'Opera Masaniello de Carafa composée pour le Piano... Opus 162... Paris chez A. Brullé, Leipzig chez Breitkopf & Härtel, Londres chez Chappel. Pour le publication le 24 fevrier prochain (1849). Autograph musical manuscript.

Folio (347 x 265 mm.). Sewn. Notated in dark brown ink on 12-stave music paper with small embossed stamp of Lard-Esnault Paris to upper inner margins of most leaves. [1] (autograph title), [2]-[13] (autograph music), [14] (blank). With autograph corrections to title; one measure crossed out and another extended into margin; editorial markings in pencil.

In 4 sections marked "Moderato," "Andantino," "Allegretto," and "Bolero."

Slightly worn, browned, and soiled; outer leaves separated at spine and with minor tears to edges; creased at central fold with short split to outer edge; some outer edges slightly trimmed just touching manuscript.

MGG (1) p. 842.

The Stichvorläge for the [?first] edition, listed in MGG as having being published by Breitkopf & Härtel in 1847 (perhaps Hünten's notation at the foot of the title giving 1849 as the projected date of publication was simply an error).

Hünten, a German composer and piano teacher, "entered the Paris Conservatoire [in 1819] at the suggestion of his friend Herz, studying the piano with Pradher and composition with Reicha and Cherubini. On completing his studies in 1821 he settled in Paris, quickly establishing a reputation as a fashionable piano teacher with prestigious aristocratic pupils and as a composer of salon music for the piano. He was regarded as the successor to Henri Karr in the genre of lightweight music, though more lively and elegant in style..."

"... Of Hünten’s 267 published works, all but a handful were written for piano solo or duet... As with Czerny, Herz, Kalkbrenner and Moscheles, the bulk of his output consisted chiefly of variations on the works of others, especially on popular operatic themes and dances of the day... Fink described Hünten in the Allgemeine musikalische Zeitung (1837) as the favourite piano composer of the day, played by more pianists than any other and at the peak of fame... His Méthode nouvelle et progressive pour le piano op.60 (1833) was widely used." John Rutter and Michael Musgrave in Grove Music Online. Item #31254

Price: $1,350.00  other currencies

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