- Emmanuel CHABRIER. Autograph musical manuscript,... - Lot 14 - Ader

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  3. - Emmanuel CHABRIER. Autograph musical manuscript,... - Lot 14 - Ader
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- Emmanuel CHABRIER. Autograph musical manuscript,... - Lot 14 - Ader
- Emmanuel CHABRIER. Autograph musical manuscript, La Sulamite, [1885]; 16 1/2 pages in-fol. (ca. 35 x 27.5 cm) on 9 leaves (and 4 blank ff), i.e. one single leaf and 6 double leaves in a quire (edges of the 1st leaf a little frayed with small marginal paper loss). Working manuscript of this magnificent lyrical scene. La Sulamite, a lyrical scene for mezzo-soprano and women's choir with orchestra, on poetry by Jean Richepin, was written in 1884, and premiered on 15 March 1885 at the Concerts Lamoureux under the direction of Charles Lamoureux, with Mme Brunet-Lafleur (the future Mme Lamoureux), to whom the work is dedicated. Chabrier produced a new orchestration in 1890, which was performed on 21 February 1892 by the same performers. The manuscript shows a neat layout in brown ink of the vocal part of the Sulamite (song and lyrics) and the dialogues with the choir, perhaps in a first state before the addition of the introductory and concluding choruses. A first part (7 pages), on Enoch Paris Londres paper with 14 lines, presenting 4 systems of three staves per page, gives the first air of the soloist, marked Andante, from " Par dessus les collines "... to " La chanson d'une fontaine ! "; on the first four pages, Chabrier has sketched the accompaniment (45 bars) in pencil, and twice he has noted themes at the bottom of pages 5 and 6. A second part (10 pages) is written on Lard-Esnault paper with 14 lines, and gives the second movement, marked here Allegro, from the chorus' intervention: " Pourquoi n'est-il point sur tes pas "... and the aria of the Sulamite, from " Lui ne m'aimer pas "... to " Ah ! je le vois ! The interventions of the choir are written in small notes and in a fine writing, whereas the solo part and its words are noted in a larger writing. The accompaniment here is written in ink throughout, and Chabrier has made four changes to the melody and prosody in blue pencil. There are sometimes significant differences with the published version. After the 1885 concert, Alfred Bruneau wrote: "It is a long cry of love, formidable in its final climax. The memory of the beloved, vague and so sweet at first, like a rocking of dreams, like a breath of breeze, escapes from the happy lips which then sing of the omnipotence of the eyes, the teeth, the hair, the golden skin under the devouring and caressing suns. It is a triumphant Hosanna which, in the progressive intoxication of sound, opens the paradisiacal doors of feminine, murderous, eternal religions. Debussy often told Gustave Samazeuilh that, without La Sulamite, he would not have written La Damoiselle élue. As for Poulenc, in his book on Chabrier, he proclaims: "La Sulamite is one of his most sumptuous orchestral pages." The manuscript is accompanied by the illustrated title page of the orchestral score, bearing a beautiful autograph dedication: "To Madame Brunet-Lafleur, it is appropriate to say! Were you delightful and charming enough in this piece that I took such care of. Have the three of us worked hard enough on it, you, my great and very dear friend Charles Lamoureux and your servant! How I have spent some sweet evenings at this 5th floor of the Rue St Lazare! How pretty it was! How far away it is and how one remembers it! To you both, Emmanuel Chabrier. 14 April 1893.
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