untraced composers
The autograph music manuscripts presented on this page are by composers about whom I have so far been unable to find any further biographical information. In most cases, little more is known than the name appearing on the manuscript itself, together with whatever information can be derived from the manuscript, such as a title, date, place, dedication, or other annotations.
Rather than leaving these few surviving traces unpublished and inaccessible, I have decided to make them available here. Even such fragmentary information may be useful to future researchers and, above all, will make these names searchable online.
Perhaps someone searching for one of these composers will eventually find this page and be able to provide further information. If you know anything about any of the individuals listed here, I would be very grateful to hear from you.
1) opera
Piano-vocal score of a three-act opera or operetta without any indication of the composer’s name. The text is in German, with the following characters: Kaiser, Prinz, Prinzessin, Hannes, Astra, Kanzler, General, Mohr, Kleidermarschall, Räte, Volk (Emperor, Prince, Princess, Hannes, Astra, Chancellor, General, Moor, Master of the Wardrobe, Councillors, and People). According to the manuscript, the work was composed in 1942. Act I opens with Hannes singing: “Prosit, lieber Märchenkaiser!”
2) Hermann Müller
A “Ballade for Pianoforte”, Op. 119, composed by Hermann Müller and dated “Altenburg, 1 October 1894”. The manuscript also bears the dedication: “Herrn Dr. Hugo Bonde / Frau Dr. Mathilde Bonde gewidmet” (“Dedicated to Dr Hugo Bonde / Dr Mathilde Bonde”).
3) Geoffrey Weston
Cello part of a trio for violin, cello, and piano by Geoffrey Weston. At the end of the manuscript is the dating: “Köln/Rhein – London, Feb.–Apr. 1957”.
4) String trio
Parts for violin, viola, and cello for a trio (?) with the following movement indications: 1. langsame Viertel, nicht schleppen (Ruhig bewegt), 2. Schnelle Viertel, 3. langsame Viertel, 4. sehr schnelle Achtel, 5. sehr langsame Viertel. Written on Sünova manuscript paper, type “Nr. 5 – 14 zeilig”.
5) Anton Weidl
Composition for two groups of cellos by Anton Weidl. The manuscript bears the dedication: "Der Cellogruppe des großen Orchesters des Österreichischen Rundfunks, den lieben Damen und Herren zu Weihnachten 1956. Bearbeitung 2 Volkslieder für Cello Duett" Contains the parts 1. Lied and 2. Lied.
6) Paul Henckel
A Mazurka, an Adagio, and an Andante espressivo for piano by Paul Henckel. Written on music paper bearing the mark “1874 / WEH / Schutzmarke” and of the type “6er doppelt 4 hoch”. Two of the compositions are dated at the end “19.12.015 d. O.” and “20.12.015 d. O.” respectively. From the estate of the pianist Elly Ney.
7) Evelind Riese
A “Phantasie” for piano by Evelind Riese, dated “Guben, 5 Februar 1939” and dedicated to Elly Ney. Written on Ashelm manuscript paper, type “1068 48”. From the estate of the pianist Elly Ney.
8) Erich Eggert
A collection of manuscripts by Erich Eggert. The collection includes “Variationen und Fuge über ein Thema von Mozart” (“Variations and Fugue on a Theme by Mozart”), composed in 1936; a “Tanz” (“Dance”) from the “Kleine Stücke für Klavier” (“Little Pieces for Piano”), composed in 1936; No. 5 from the “Fünf kleine Stücke für Klavier” (“Five Little Pieces for Piano”), composed in 1937; a “Basso ostinato (Geschichte einer Jugend)” (“Basso ostinato (Story of a Youth)”) for piano, composed in 1939; and a “Rondo capriccioso” for piano, composed in 1942.
The manuscript of the “Tanz” was written out for Elly Ney in 1941 and gives Erich Eggert’s address as “Frankfurtmain 21 / Am alten Schloss 17 I”. The “Rondo capriccioso” was likewise written out for Elly Ney, this time at Christmas 1943, and gives the address “Anorgana Gendorf/Alz (Obay) Post Burgkirchen”. In the 1943 manuscript he names himself "Dr. Erich Eggert".
All manuscripts come from the estate of the pianist Elly Ney.
Some research brought up the following biographical details of Erich Eggert, that are interesting but missing important details like birth and death dates. So I am still looking for more information here:
Erich Eggert was probably a German chemist and amateur composer. He may be identical with Dr. Erich Eggert, a chemist employed by I.G. Farbenindustrie AG in Frankfurt am Main, who is documented as a co-inventor of several chemical patents from 1932 onwards. This identification is strongly supported by the addresses found in the music manuscripts: Frankfurt am Main in 1941 and Anorgana Gendorf in 1943. The Anorgana GmbH, which operated the Gendorf chemical works, was a subsidiary of I.G. Farben, and numerous chemists from the I.G. Farben organisation were transferred to Gendorf during the war. No further biographical details, including his dates of birth and death, have yet been identified.
9) Walter Rothe
Several compositions by Walter Rothe. These include the (first movement?) “Allegro con brio” of a piano sonata, composed in 1946; working manuscripts of the songs “Der Sprudel” (beginning with the words “Dampfe nur immer empor, brause hervor aus der Tiefe”) and “Erinnerung” (beginning with “Schweigend in des Mondes Stille bricht des Mondes Silberlicht”), both composed in 1939; and a duet for two voices and piano, composed in 1943, probably taken from a stage work, as the vocal parts are designated “Karl” and “Elsa”.
10) Mme R. Vivier
Manuscript of a song for two voices and piano entitled “Les Adieux” and subtitled “Nocturne à deux voix égales”. It bears the dedication “Dédié à Madame Granbesancon” and identifies the composer as “par l’auteur Mme R. Vivier”. The text begins with the words: “Tu vas partir, le vent gonfle la voile”.
