GOUNOD Charles.

Lot 293
Go to lot
Estimation :
30000 - 35000 EUR
Result without fees
Result : 28 000EUR
GOUNOD Charles.
MUSICAL MANUSCRIT autograph signed "Ch. Gounod", Mors et Vita, 1884; 513 pages in-fol. (36 x 27 cm), bound in contemporary midnight blue half-chagrin (binding a little worn). Important complete manuscript of the orchestral score of this immense oratorio, one of the composer's great masterpieces. The oratorio Mors et Vita [CG 33; Condé, pp. 514-520], for 4 soloists, mixed choir and large orchestra, was composed from 1882 to 1884; Gounod himself drew up the libretto, in Latin, of this new "Sacred Trilogy", successively from the liturgical text of the Mass of the Dead, the Gospel of S. Matthew (chap. 25)¸ and the Apocalypse of S. John. Gounod explained in a warning reproduced in the programme: "This work follows my sacred trilogy La Redemption. One may be surprised that, in the title, I have mentioned Death before Life. This is because Death is only the end of Existence which is a continuous dying; but it is the first instant and, in a way, the birth of that which no longer dies. The first part is devoted to the expression of the sadness caused by the loss of loved ones and to the solemn terrors of infallible Justice. The second contains the Awakening of the Dead by the trumpet of the Angels, and the Judgment of the Elect and the Reprobate. The third, taken from the Apocalypse, is the description of the New Jerusalem and the Blessed Life. The work thus becomes "an ascent as aesthetic as spiritual" (J. Gallois), an oratorio "extremely dramatic, grandiose but never theatrical" (G. Condé), a true "cathedral of sound", according to Saint-Saëns. Gounod dedicated the work to Pope Leo XIII. Having been condemned to a heavy fine in the lawsuit opposing him to Georgina Weldon, Gounod could not, as he had planned, go to direct the creation of the work at the Birmingham Festival; it was Hans Richter who conducted the first performance of Mors and Vita in Birmingham on 26 August 1885, with an immense success, which exceeded that of La Rédemption; Gounod conducted his work in Brussels on 30 January 1886 then in Paris at Trocadéro on 2 May (the Parisian first performance had taken place on 26 February, in his absence). The manuscript is carefully written in black ink on 26-stave paper; there are numerous corrections by scratching, with a few bars crossed out, and a break on p. 453. The score is paginated, and Gounod has written the measure count at the end of the first numbers. At the head of each part, an added sheet gives the detailed list and the "division of pieces" of this part. Gounod adds references to the Scriptures on the titles of the numbers. This manuscript was used as a conductor and bears autograph annotations in blue pencil. It is signed at the end and dated "1884". It includes the following numbers: 1ère Partie. Death. The title page bears this indication: "Note: This first part can be performed in a church, as a "Messe de Requiem", by deleting the Prologue and nos. I bis and 3 bis". [N°I ]. Prologue, marked Andante maëstoso: " Horrendum est incidere in manus Dei viventis "..., then Requiem and Kyrie (p. 1-27, 158 bars). - N° I (bis), Double choir without accompaniment, with this note: "The organ should only be used if absolutely necessary to maintain the voices in key": "A custodia matutina usque ad noctem" (p 48-55, 62 bars). - N° 2. Dies iræ, chorus (p. 55-87, 154 bars). - N° 3. Quartet and chorus : " Quid sum, miser "... (p. 88-122). - N° 4. Duo and chorus : " Quærens me, sedisti lassus "... (p. 123- 142). -N° 5. Quartet and chorus: " Ingemisco tanquam reus "... (p. 143-166). - N° 6. Solo tenor : " Inter oves locum præsta "... (p. 167- 178). - N° 7. Chorus and quartet : " Confutatis maledictis "... (p. 179-204). - N° 8. Chorus and soli : " Lacrymosa dies illa "... (p. 205- 219). - N° 9. Offertory. Choir, soprano solo and chorus: " Domine Jesu Christe "... (p. 220-247, these pages are sewn together by a red thread). - N° 10. Sanctus (Tenor solo, and choir) (p. 248-263). - N° 11. Pie Jesu (quartet) (p. 264-277). - N° 12. Agnus Dei and Communion (soprano solo and choir) (p. 278-300). - Epilogue (orchestra) (p. 278-300). Part 2. The Judgement. - Le Sommeil des Morts (Instrumental prelude) (p. 303-319). - The Trumpets of the Last Judgment (orchestra) (p. 320-332). - Le Réveil des Morts (orchestra) (p. 333-344). - The Judge: "Sedenti in Throno"... (p. 345-358). - The Judgment of the Elect, baritone solo: " Et congregabuntur ante Eum omnes gentes "... (p. 359-382). - The Jugement des réprouvés : " Tunc dicet his qui a sinistris Ejus sunt "... (p. 383-394). Part 3. The Life. - Vision of St. John. "New Heaven. New Earth", baritone solo: "Et vidi Cœlum novum"... (p. 397-408). - N° 2 and 3. La Jérusalem céleste : " Et ego Joannes "... (p. 409-438). - N° 4. "Et audivi vocem magnam"... (p.
My orders
Sale information
Sales conditions
Return to catalogue