My research let me find a few rare and important manuscripts without a prominent violin part at all. I would like to make these documents traceable for those who are researching on their topic. In these cases I am also willing to sell the manuscripts to serious persons for a serious price. Drop me line and make an offer, if you would like to own one of the manuscripts below.
Max Kowalski (1882-1956): Song for high voice and piano "Ihre Locken" (1947). Autograph manuscript.
Max Kowalski was born on 10 August 1882 in Kowal (at that point of time Russia, now Poland), but the family moved to Frankfurt am Main in Germany just a year after his birth. After school he began to study law, but also voice (under Alexander Heinemann) and composition (under Bernhard Sekles). Max Kowalski then worked as a lawyer and was an authority on copyright. For example he represented Arnold Schoenberg in an action against the Frankfurt opera house in 1930. Beside that he composed several song cycles which were published and widely performed in Germany by renowned singers like Heinrich Schlusnus, Paul Bender or Heinrich Rehkemper. Due to his Jewish faith, Max Kowalski was imprisoned in a concentration camp in 1938, but released in 1939 and immediately emigrated to London. There he made a living from working as a piano tuner and voice teacher. Max Kowalski died on 4 June 1956 in London.
Beside 2 early piano pieces Max Kowalski only composed songs. All the works he composed before the Nazi regime were published through Simrock, Leuckart or Zimmermann, all compositions from his time in London remained unpublished. Max Kowalski always composed song cycles, therefore the song "Ihre Locken" seems to be unusual as it stands alone. The manuscript is dated 10 February 1947 and consists of only 22 measures. The text was originally written by Nâbi (1642-1712), a Kurdish poet and translated into German by Hans Bethge (1876-1946). The autograph also bears a handwritten dedication to the famous German bass-baritone Hans Hotter and is dated "London, 13 April 1947: Ich habe mich aufrichtig gefreut, Herrn Hans Hotter hier zu sehen und zu hören - einen wirklichen Künstler und einen lieben Menschen. Ich bitte ihn, mich nicht zu vergessen." (I was truly delighted to meet and to listen to Mr Hans Hotter here - a true artist and a dear person. I beg him to remember me).
Louis Fourestier (1892-1976): A saint Valery, pour piano a quatre mains. Autograph manuscript of the fair copy with little remarks.
Louis Fourestier was born 31 May 1892 in Montpellier. He first studied music and cello in Montpellier, later in Paris with Andre Gedalge, Vincent d'Indy and Paul Dukas. He was an acclaimed composer winning the Prix Rossini in 1924, the Premier Prix de Rome in 1925 and the Prix Heugel in 1927. He then became a renowned conductor and taught conducting at the Conservatoire de Paris from 1946. Louis Fourestier died on 30 September 1976 in Boulogne-Billancourt.
The composition "A saint Valery" was composed in 1927 and is originally scored for orchestra. The title refers to the text "Pierre Noziere" by poet Anatole France. The work was successfully premiered on 23 March 1930 by the Orchestre de Concerts Colonne under the baton of Gabriel Pierne in Paris. It exists also a reduction for piano four hands which was published by Heugel in 1929. The work is dedicated to the father of Louis Fourestier.
Joseph Noyon (1888-1962): L'enfance de l'Immaculee - mystic frescoes for voices, female chorus, organ and orchestra on words by Jean Coeur. Fair copy of the full score in the composer's handwriting.
The composition is scored for 1110-2000-10-1-str-org and consists of 15 parts which are: Prelude; I. Allegro con brio; II. Grave; III. Moderato; IV. Allegretto; V. Andantino; VI. Allegro scherzando; VII. Andantino religioso; VIII. Allegretto non troppo; IX. Poco lento; X. Andantino grazioso; XI. Poco andante; XII. [no title]; XIII. Molto allegro quasi vivo; XIV. Moderato; XV. Allegro con brio
The work was the accompanying music to the silent film "L'enfance de l'Immaculee" which was presented to the public at the "XVIIe Congres des oeuvres de Conferences et de Projections" in Paris in 1927, hold by "La Bonne Presse".
The work is dedicated to Rose-Marie Paillet (*1924), a French classical dancer. Due to the birth date of Ms Paillet and the first performance the work was later dedicated to her.
Joseph Noyon (1888-1962): Requiem for soli, chorus and orchestra (1949). Fair copy of the piano reduction in the composer's handwriting.
The Requiem consists of the common 9 parts: Introit - Kyrie - Offertoire - Sanctus - Pie Jesu - Agnus Dei - Communion - Absoute (Prelude symphonique) - Libera me - In paradisum.
The work is dedicated to the memory of Madame Rene Coty, the wife of the former president of France. The dedication is special because Germaine Coty, the "Madame Rene Coty", deceased just in 1955, so 6 years after the composition of the Requiem!
Francisco Mignone (1897-1986): Sei felice, mio tesor, for voice and piano (1932). Fair copy with a few remarks all in the composer's hand.
The song "Sei felice, mio tesor" was composed in 1932 and never published as far as I know. My manuscript is dated "29.04.1932" and signed both by Francisco Mignone and also by famous Polish soprano Wanda Werminska.
Hanns Holenia (1890-1972): Opera "Viola" - final quartet (1932). Autograph full score of the final quartet from the opera "Viola".
Hanns Holenia was born 5 July 1890 in Graz (Austria). He first studied philosophy and music in Graz under Roderich Mojsisovics von Mojsvar and later under Emil Nikolaus von Reznicek in Berlin. After World War I Hanns Holenia worked for the provincial government in Graz and became Kapellmeister in St. Gallen and Zürich from 1922 to 1932. During the World War II he taught at the School for Musical Education in Graz. After the war Hanns Holenia focused on composing and was one of the most distinguished and renowned composers in Austria. He died on 8 November 1972 in Graz.
The opera "Viola" was composed in 1932 and premiered on 17 November 1934 in Graz. The orchestra was conducted by Karl Rankl, leading parts sang by Harriet Henders (soprano) and Hanns Hauschild (tenor) and production by Herbert Furreg.
A review of the world premiere hailed the composition: "Finally an opera for our hearts, an opera as it should be, an opera that deserves the name".
The autograph in my possession is the full score of the final quartet from the opera. The score starts at rehearsal mark 124 (Andante dolce) and ends after mark 150. The score bears also an inscription from Hanns Holenia on the title page to Karl Rankl, the conductor of the world premiere, dated 17 November 1934, the day of the world premiere.
Wolfgang Steffen (1923-1993): Concerto for piano and orchestra op.16 (first version 1956). Draft full score in the composer's handwriting.
The piano concerto op.16 was composed in 1956 (my manuscript is dated "August 1956" at the end), but the score and sketches got lost in 1957. Wolfgang Steffen then composed a second version in 1960, which now is the common one. So this is the "lost" original version of the piano concerto. It is interesting to mention that in my manuscript of the first version the work got the opus 26!
The archive for most of the manuscripts by Wolfgang Steffen is the "Akademie der Künste" in Berlin. They do not hold any documents about this first original version of the piano concerto op.16.
Paul Wiese (1894-1977): Suite for orchestra "Dumky", op.13 (1946). Autograph manuscript of the full score.
Paul Wiese was born on 10 June 1894 in Braunschweig (Germany), but grew up in Poznan where he was musically influenced by the Polish folk culture. In 1913 Paul Wiese began his music studies at the Conservatory of Braunschweig and later graduated at the Dresden Conservatory. He worked as Kapellmeister and repetiteur in Chemnitz, Erfurt and Dresden. In 1928 Paul Wiese began additional studies in church music under Hans Joachim Moser in Berlin which he finished in 1932. He later moved to Pirna and lived and worked there for the rest of his life. Paul Wiese died on 11 December 1977 in Pirna.
The Suite for orchestra "Dumky" was composed in 1946 and is the most successful and most popular composition of Paul Wiese. It was composed in 1946 and premiered in 1949 by the Städtisches Orchester Zwickau under Werner Schöniger. It received several further performances in the next decades, among them a concert by the North Bohemian Symphony Orchestra Teplice and the Dresdner Philharmonie under the baton of Siegfried Geißler in 1961. A review about the latter performance in the Sächsische Zeitung said: "The composition sounds good and reveals the experienced professional in its melodic ideas as well as through its technical-compositional realisation. The work creates rhythmically clear and beautiful highlights."
Prinz Albrecht von Preußen (1837-1906): Sieges-Hymnus for military band (1866). Handwritten manuscript of the full score, most likely by a copyist.
Prinz Albrecht von Preußen (engl. Prince Albert of Prussia) was born 8 May 1837 in Berlin. His father was Prince Albert of Prussia (1809-1872), his uncles were the German Emperor William I. and Frederick William IV., later King of Prussia. Later he became a general field marshal and fought in the Austro-Prussian War in 1866 as well as in the Franco-Prussian War in 1870. In 1885 Prince Albert was chosen Regent of the Duchy of Brunswick. Prince Albert died on 13 September 1906 on Schloss Kamenz.
Beside his royal and military tasks Prince Albert also composed music, mainly marches. The full title of this composition is "Sieges Hymnus 1866 zur Feier des 1sten Januar 1867" and is scored for a full set of wind and brass instruments with percussion. The work remains unpublished, but was quite popular during the lifetime of Prince Albert and was performed several times. The manuscript was written most likely by a copyist. But this copy gains value through the fact that the archive of Prince Albert was completely destroyed by a fire in 1945, and no other copy of this composition is in existence as far as I know.
Gerhard Schumann (1914-1976): Concertino for piano and orchestra op.63 (1956). Fair copies of the full score and the piano reduction in the composer's handwriting.
The full score of the manuscript shows a first dedication to pianist Sondra Bianca, which later was crossed out and replaced by a dedication to pianist Jürgen Meyer-Josten.
The main archive for the musical documents of Gerhard Schumann is the "Staatsbibliothek zu Berlin". They do not hold any other manuscript of this composition but found a note about the existence of such a composition in the work catalogue of the composer.
Kenjiro Ezaki (*1926, 江崎健次郎): Symphonic poem "Japanese scenery", for orchestra. Fair copy of the full score in the composer's handwriting.
I could not find out much about this composition, as far as I know it is not published and not listed in the common work catalogues of the composer. The manuscript gives at the end the date "June 1958" and should be one of the first compositions by the composer.
Norman Demuth (1898-1968): Concerto for piano and orchestra (1941). Fair copy of the piano reduction in the composer's hand.
The score contains 118 bars of the beginning of a piano concerto, but seems to be incomplete. Most sources give the year 1943 for the first piano concerto by Norman Demuth, so maybe this is an early version or a withdrawn first effort. I don't know the location of the manuscripts or scores of the later piano concertos, so I could not compare my manuscript with other versions.
Rudi Stephan (1887-1915): handwritten postcard.
There exist only a few handwritten documents of Rudi Stephan, because first he deceased early (he was just 28 years old) and second the main archive of his manuscripts was bombed in World War II and nearly all original documents were destroyed.
In this postcard from 04.04.1913 he wrote to his friend Ludwig Peter Ehrensberger (veterinary from Augsburg) about the upcoming world premiere of his (second) "Musik für Orchester". The world premiere took place in Jena on 06.06.1913 at the Tonkünstlerfest of the "Allgemeiner Deutscher Musikverein".
The postcard says: "Erhalte eben von einem Vorstandsmitglied privatim die Mitteilung, dass mein ‘M. f. Orchester’ für das diesj. Tonkünstlerfest angenommen wurde! Diese Tatsache gibt mir meine Schaffenslust, die in den letzten Wochen einer unzufriedenen Untätigkeit gewichen war, wieder und setzt mich in die Lage, die Versäumnisse verschiedener Art nachzuholen! Kommst du morgen?"
Wilhelm Furtwängler (1886-1954): Kleines vierhändiges Stück für Piano. Autograph of the composition.
This small piece for piano four hands is one of the many juvenile compositions of Wilhelm Furtwängler. The autograph is not dated but should be written around 1895. The composition consists of 32 bars of a simple Andante.
Edward Michael (1921-2006): Divertimento in 5 movements for piano. Fair copy of the score in the composer's hand.
The Divertimento consists of the five movements 1) The seeker, 2) The gathering, 3) The bringer of news, 4) Contemplation and 5) Rite. It first was titled "Suite" but that is crossed out and replaced through "Divertimento".
Edward Selim Michael was a serious violinist and started a career as a soloist, but due to health problems he had to give up the performing and so focussed on composing. He lived most of his life in France and adopted the French spelling of his first name, so he is also known as "Edouard Michael".
Richard Mohaupt (1904-1957): Concerto for piano and orchestra (revised version, 1950). Fair copy of the arrangement for 2 pianos in the composer's handwriting.
The piano concerto by Richard Mohaupt was composed in 1938, but the composer made a revision in 1950. The world premiere of the revised version took place on 28.06.1951 at the "Darmstädter Ferienkursen" with Helmuth Roloff (piano), the orchestra of the Süddeutschen Rundfunks with Hans Müller-Kray (conductor).
The manuscript here was in the possession of pianist Helmuth Roloff. Therefore it is likely that Richard Mohaupt made the piano reduction for Helmuth Roloff in preparation to the upcoming premiere performance. The piano reduction was in 1952 published by Associated Music Publishers.
Peter Michael Hamel (*1947): Ballade, for marimba (1995). Fair copy of the score in the composer's handwriting.
The piece is in the minimal music style which is characteristic for Peter Michael Hamel. The work was later published by EPR in Berlin and recorded by percussionist Edith Salmen. My manuscript is dated "X.95" and signed later by the composer together with a dedication to Tobias Stephan in April 1999.
Carl Ueter (1900-1985):
Kammer-Kantate "Der kleine Tod", for baritone, cello and piano op. 36 No.1 (1934). Fair copy of the full score in the composer's hand.
The work was finished on 15.8.1934 and sets the poems "Der kleine Tod", "Stimme eines jungen Bruders" and "Wenn es nur einmal so ganz still wäre" by Rainer Maria Rilke into music.
Kammer-Kantate "Liebe zu Gott", for alto, violin and piano op. 36 No.2 (1934). Fair copy of the full score and the violin part in the composer's hand.
The work sets the poems "Ich liebe dich, du sanftestes Gesetz", "Lösch mir die Augen aus", "Ich will ihn preisen" and "Du bist so groß" by Rainer Maria Rilke into music.
Carl Ueter (1900-1985): Romanische Gesänge, for low voice and piano (1947). Fair copy of the full score in the composer's hand.
The composition consists of four little songs on words by different poets from specific Romanic regions. The movements are: I. Unmut (words by Peire Cardenal) - Provencal; II. Einsamkeit (words by Lope de Vega) - Spanish; III. Geistige Minne (words by Ausias March) - Catalan; IV. Allegorie (words by Dante Alighieri) - Italian. The work was finished in December 1947 and is dedicated to the wife of Carl Ueter.
Alfred Uhl (1909-1992): Perpetuum mobile, for flute and guitar (no date given). Fair copy of the score in the composer's hand.
According to work catalogue Alfred Uhl only composed one work for flute and guitar, the "3 Stücke" from the year 1982. The "3 Stücke" consists of the parts "Scherzo capriccioso", "Notturno" and "Humoreske", so the Perpetuum mobile in the manuscript seems to be an independent work. The duration is around 2 minutes.
Alfred Dregert (1836-1893): Zieh' hinaus, for voice and piano. Autograph manuscript
Alfred Dregert was born 26 September 1836 in Frankfurt a.O. (Germany). He studied music at the Marx-Sternschen-Konservatorium in Berlin under Richard Wüerst, Georg Vierling, Hans von Bülow and Bernhard Marx. Later he worked as the principal conductor at different opera houses like Szczecin, Rostock, Bamberg or Trier. Since the year 1875 Alfred Dregert dedicated his work to several male choral societies in Köln, Elberfeld and Barmen which he led as their chorus master. Alfred Dregert died on 14 March 1893 in Elberfeld (Germany).
Alfred Dregert composed many songs, especially for (male) chorus. A lot of his songs were very famous in Germany in the late 19th and early 20th century, for example "Hoho, du stolzes Mädel", "Der tote Kamerad" or "Des deutschen Mannes Wort und Lied".
The song "Zieh' hinaus" is also one of the most famous songs of Alfred Dregert and for example was recorded in 1928 by the Prof.-Felix-Schmidt-Doppelquartett and published on a shellac record by Grammophon. The composition "Zieh' hinaus" is Alfred Dregert's op. 98 No.2 and belongs to a set of three songs "Drei Lieder op.98". The two other songs are "Mein Vaterland" (No.1) and "Hoch lebe der Wein!" (No.3).
The text of the composition is by Otto Hausmann (1837-1916), an Elberfelder poet.
The song "Zieh' hinaus" was published by Otto Forberg around 1900 and is set for 2 tenor and 2 bass voices. In contrast to the published version my autograph manuscript is set for voice and piano. I received information that this version was especially composed for the wedding of consul Friedrich Wandel from Dessau.
Frits Koeberg (1876-1961): Pastorale for small orchestra and oboe obligato (1899). Fair copy of the full score in the composer's hand.
Frits Ehrhardt Adriaan Koeberg was a Dutch composer. The Pastorale is a small orchestral composition and the score I own is dedicated to a mister "P. Kruyswijk".
Enrico Martinelli (1852-1922): Symphony. Fair copy of the full score in the composer's hand.
Enrico Martinelli was born in Modena (Italy) and it is little known about him nowadays. He must have stayed most of his life in Modena, because the Symphony is dated at the end "Modena, 29. July 1903". The Symphony is titled "Sinfonia - Marta Flotow".
Wilhelm Bantelmann: Europa-Festmarsch, for symphonic wind orchestra (1978). Sketches and fair copy of the full score as well as all parts in the composer's hand.
Wilhelm "Willi" Bantelmann was born in the region around Hannover (Germany) around 1900. He became the music director and conductor of the "Stadttheater Mährisch-Ostrau" (now: Ostrava) in the 1940s and was an important figure in the musical life in the region at that time. In later years he became the "Operettenkapellmeister" of the Stadttheater Chemnitz, in 1950-51 the conductor of the Brandenburger Symphoniker. In his late years he moved back to the region of Hannover.
Anton Schoendlinger (1919-1983): Symphony No.3 (1965). Fair copy of the full score handwritten by the composer.
Most of the musical documents of Anton Schoendlinger are archived at the "Akademie der Künste" in Berlin (Germany). They also hold the draft score of the Symphony No.3.
Eberhard Werdin (1911-1991): Die Wunderuhr (1950), a youth opera in 3 pictures on a fairy tale by Hand Christian Andersen. Fair copy of middle part in the composer's handwriting.
The work "Die Wunderuhr" is an opera for amateur ensembles and was performed several times since is composition by school pupils and orchestras. The work was published immediately after its completion through Schwann and is still available nowadays from the Edition Peters.
My manuscript contains only the middle part of the whole work with the movements: 1. Der Nachtwächter, 2. Das Paar, 3. Die drei Könige, 4. Die vier Jahreszeiten, 5. Die fünf Sinne, 6. Der Würfel, 7. Frau Woche, 8. Die Tonleiter, 9. Die Kegel, 10. Die zehn Zwerge, 11. Die Brüder 1 u. 1
Wilhelm Rettich (1892-1988): Sinfonische Variationen, for 2 pianos op.54 (1945/88). Copy of the composer's handwritten manuscript.
The "Sinfonische Variationen op.54" were originally composed between 1943 and 1945 and scored for piano and orchestra. The version for 2 pianos was made by Rettich in 1988 (according to the website of the publishing house Schott).
The orchestral version was published by the Astoria Verlag in 1962. The now defunct Astoria Verlag gave later its complete archive to Schott. Schott told me that the folder of the piano version is surprisingly empty! So they do not hold any documents about this version. So no other copy of the 2 piano version is known.
My copy was in the possession of German pianist Erika Frieser and contains a lot of performance markings by her. But I could not find any information about a performance of the work neither by Erika Frieser nor any other pianist.