HAHN Reynaldo (1874-1947).

Lot 217
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5000 - 7000 EUR
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Result : 4 500EUR
HAHN Reynaldo (1874-1947).
MUSICAL MANUSCRIT with autograph corrections, Le Dieu bleu, transcription for 2 pianos, (1912); 150 and 150 pages in-fol. (35 x 27 cm) in two worn folders bearing the Archives Heugel stamp. 5 0000 / A highly corrected manuscript of the music for the ballet for Diaghilev's Ballets Russes, used for rehearsals. The ballet Le Dieu bleu had been commissioned to Reynaldo Hahn by Serge de Diaghilev in the autumn of 1910 for the 1911 season, and the score was completed in its first draft in February 1911; but the premiere having been postponed, Le Dieu bleu was finally premiered at the Théâtre du Châtelet on 13 May 1912. The libretto of this one-act Hindu legend was written by Jean COCTEAU and Federico (Coco) de Madrazo, nephew of Reynaldo Hahn; Tamara Karsavina danced the role of the Young Girl and Vaslav NIJINSKY the role of Blue God, with choreography by Michel Fokine, and lavish scenery and costumes by Léon Bakst; the orchestra was conducted by Désiré-Émile Inghelbrecht. This was Cocteau's first contribution to Diaghilev's Ballets Russes, for which he had designed the two posters for Spectre de la Rose in 1911. The score was published by Heugel at the beginning of 1912. This transcription for two pianos was made by a copyist in two copies on 12-line paper, with the piano 1 and piano 2 parts superimposed at a rate of 3 systems of 4 lines per page, the part concerned being marked by a red pencil line. The Piano I part (paginated 1-46, 46 bis and ter, 47-72, an autograph page 73/74, 75-92, 92-112, 112 A-J, 113-131, and 1-8) bears this autograph note: "nuances and cuts are indicated on this piano-ci," as well as numerous autograph annotations, indications of nuances or movements, and corrections in blue pencil, with indications of instrumentation in pencil, which show that Reynaldo Hahn used this manuscript to orchestrate his ballet. On page 13, Reynaldo Hahn has noted in blue ink: "possible cut (Fokine will decide)". He also noted on the score in red ink episodes from the libretto: "She tries, with a seductive dance, to bring his gaze towards her. The priests are furious. They order her to leave, threatening her with the wrath of the Goddess. She cannot leave; she returns to her beloved. She expresses her heartbreak in a dance full of memories. Little by little, seeing that he is not insensitive, she becomes animated; she calls him, attracts him, shows him the horizon, the countryside, reminds him of their joyful races. She became more and more urgent. Her dancing, her mimicry, her pleading take on a passionate rapidity. Come, come over there, she says... and she runs lightly towards the door, with a (stylized) gesture of escape. The priests, at the height of their anger, seize the young woman violently, cover her with insults - while others snatch the young man from the spell he was under and drag him into the temple. The high priest, after a final and terrible threat, leaves in his turn. The crowd slowly disperses, casting a pitying glance at the young woman, who is being held by two sly and ferocious-looking priests. Golden chains were brought in and slowly her arms and ankles were bound. Then they leave her alone, giving her a last look of contempt and insulting commiseration. Silence; the moon shimmers on the water of the basin. Shadows move vaguely; an indecisive dread spreads over all things. The young woman, anguished, creeps along the massive walls in search of an exit. The part of Piano II (paginated 1-72, 75-112, 112 A-J, 113-131, 132 1-8 and 134) bears autograph annotations in blue pencil, and deletions of certain passages that have been crossed out. Bibliography: Jacques Depaulis, Reynaldo Hahn (Séguier, 2007), p. 83-85; complete text of the libretto, iconography, and articles on the rehearsals, the creation and the performances of the work: http://reynaldo-hahn.net/Html/ balletsDieuBleu.htm
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