GOUNOD Charles.

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GOUNOD Charles.
AUTOGRAPHIC MUSICAL MANUSCRIT, Polyeucte, [1878]; ca. 640 folio pages plus 118 folio pages (35.5 x 27.5 cm). Important working manuscript of the orchestral score of the opera Polyeucte. It was in Rome in the winter of 1868-1869 that Gounod is said to have conceived the project of writing Polyeucte [CG 11; Condé pp. 439-451], on a libretto by Jules Barbier and Michel Carré, a faithful adaptation of Corneille's tragedy; the genesis of Polyeucte lasted almost ten years, and the manuscript was sequestered by Georgina Weldon, who only agreed to send it back (with the pages crossed out with her large signature) to Gounod in January 185, when Gounod had almost finished reconstituting his opera from memory, which will be created at the Opéra Garnier on October 7, 1878, in a sumptuous staging, with Marius Salomon (Polyeucte), Gabrielle Krauss (Pauline), Jean Lassalle (Sévère), and Charles Bérardi (Félix), in the main roles. It was a painful failure for Gounod, the work was only performed 29 times. A. First manuscript returned by Georgina Weldon who crossed out each sheet with her large signature in blue, red or black pencil (sometimes erased). The manuscript is written in brown ink on 26-stave Lard-Esnault bifeuillets, with numerous corrections by scratching, and a few bars crossed out (approx. 640 pages in-fol.).bifeuillets are numbered from 1 to 161. The orchestra is composed of flutes, small flute, oboes, clarinets, bassoons, horns in E flat and in C, pistons, 3 trombones, bass-tuba, timpani, cymbal and bass drum, harps, and strings. The manuscript includes the following numbers: 1st act. 1st tableau. Title, with note: "Dated this day, 6 8ber 1876, I, the undersigned". Without the prelude, it opens with the duet chorus of Pauline's followers: " Déjà, dans l'azur des cieux "... (ff. 1-22). -2nd table. It includes: "Festive chorus (in the wings)", "Recit and Cantilena (Severus)", "No. 3 (Recit and Invocation.) Pauline", "(Duet.) Pauline, Severus". (ff. 23-56). Act II. It opens with the song of a young pagan accompanied by a harp: " Nymphs attentive In the reeds "... (ff. 57-82). Act III. 1st tableau. "Duo (Polyeucte, Nearchus)", the orchestra alone (except for the first two bars of the song). (ff. 83-91). 2nd panel. "March with chorus". (ff. 92-100). - "Final. (The breaking of the Idols)". (ff. 101-113). Act IV. - (A prison.) Scene 1. (Stanzas.) Polyeucte alone": "Delightful source"... - " Scene 2. (Duet.) Polyeucte, Pauline". - Scene 3. (Trio.) Pauline, Polyeucte, Severus. - Scene 4. (Pauline, Polyeucte, Sévère, Félix.)" (ff. 114-141). Act V. "The Martyrdom (1st Table: the march to the torture; the Credo)". (ff. 142-159). -2nd Panel: "The Interior of the Arena" (ff. 160-161). B. Second manuscript. Act 1: " The Dream ". The title page bears this note a.s. This manuscript (the second of this work) is the only complete and authentic one. Ch. Gounod 9 April 1875". Page 42 bears this note: "(to be reinstated up to and including page 46) ". Manuscript in black ink on Lard-Esnault paper with 26 staves. In all 368 bars. (Title and 87 pages numbered in blue pencil, stamped Bibliothèque musicale de l'Opéra). - 4 pages for the end of the 1st tableau. Une fête de Jupiter. "March with full orchestra. (Versions without chorus) (Variation of the March with chorus from the 3rd act of Polyeucte)". Ms a.s. "Ch. Gounod". (Title and 31 pages 38 x 28 cm, in violet ink on 26-stave paper). Plus a copy stamped Georgina Weldon for the Orphanage. A draft preface (12 pages small in-4, the first 3 in ink, the rest in pencil), partly published in Le Figaro 27 April 1878, collected in Mémoires d'un artiste (2018, pp. 272-284), is attached. Discography: G. Casciarri, N. Vezzu, L. Grassi, P. Naviglio, V. Taormina, Orchestra internazionale d'Italia, dir. Manlio Benzi (Dynamic, 2005)
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