MUSIC]. LISZT, FRANZ, 1811-1886. Autograph letter signed ("F.Liszt") to his former pupil, Juliusz Zarembski, Professor at the Royal Conservatory, WITH A TWO-BAR MUSICAL QUOTATION IN THE TEXT, Rome, 24 January 1882. 4 pages, 8vo, with original postmarked envelope boldly addressed in Liszt's hand, in French. LISZT TO A FAVORITE STUDENT Liszt writes, "Your satisfaction with my humble efforts in orchestration has given me great pleasure," although he thinks that in the work on which they are collaborating, "the mazurka should be placed between the two 'danses galiciennes.'" His own portion of the score ("particella") is complete. Friedheim is copying out the instrumental parts and commenting on the role of the kettle-drums generally and in this work. Liszt will ask Friedheim for the autograph sketches which he had given him and which his correspondent has requested; the recipient should add tempo markings and nuances as he sees fit. Liszt closes by asking to be told when the orchestrated "Danses polonaises" are ready; the idea that that version might in turn be transcribed for piano pleases him greatly. Finally, Liszt announces that he will travel to Budapest and remain there until April. The Polish composer and pianist Juliusz Zerembski (1854-1885) had been Liszt's favourite pupil in Rome in 1874. In 1881 Liszt orchestrated Zarembski's "Danses galiciennes"; Zarembski also wrote a series of polonaises at this time, although they do not appear to have been orchestrated. Friedheim, the copyist mentioned here, was the Russian pianist, and composer Arthur Friedheim (1859-1932) was one of Liszt's many pupils between 1880-1886.
MUSIC]. LISZT, FRANZ, 1811-1886. Autograph letter signed ("F.Liszt") to his former pupil, Juliusz Zarembski, Professor at the Royal Conservatory, WITH A TWO-BAR MUSICAL QUOTATION IN THE TEXT, Rome, 24 January 1882. 4 pages, 8vo, with original postmarked envelope boldly addressed in Liszt's hand, in French. LISZT TO A FAVORITE STUDENT Liszt writes, "Your satisfaction with my humble efforts in orchestration has given me great pleasure," although he thinks that in the work on which they are collaborating, "the mazurka should be placed between the two 'danses galiciennes.'" His own portion of the score ("particella") is complete. Friedheim is copying out the instrumental parts and commenting on the role of the kettle-drums generally and in this work. Liszt will ask Friedheim for the autograph sketches which he had given him and which his correspondent has requested; the recipient should add tempo markings and nuances as he sees fit. Liszt closes by asking to be told when the orchestrated "Danses polonaises" are ready; the idea that that version might in turn be transcribed for piano pleases him greatly. Finally, Liszt announces that he will travel to Budapest and remain there until April. The Polish composer and pianist Juliusz Zerembski (1854-1885) had been Liszt's favourite pupil in Rome in 1874. In 1881 Liszt orchestrated Zarembski's "Danses galiciennes"; Zarembski also wrote a series of polonaises at this time, although they do not appear to have been orchestrated. Friedheim, the copyist mentioned here, was the Russian pianist, and composer Arthur Friedheim (1859-1932) was one of Liszt's many pupils between 1880-1886.
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