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Partita [Inscribed and annotated by the composer - Krzysztof Penderecki [Felicja - 1971. 
B Schott's Sohne, Mainz, Germany 1971 - [3 vols] Full score and two soloist's parts which have been inscribed by Penderecki to the work's dedicatee and first performer, Felicja Blumental, who has also annotated the score for performance throughout with additional corrections in Penderecki's hand. All three scores are very much working copies which have endured the indignities of annotation and preparation for performance by Blumental under the guidance of the composer with resultant damage and emendation, including sections of score cut and reinserted in new positions. 1. Full score bound in card wrappers with old staining throughout, first leaf torn with loss at head of page affecting beginning of the composer's inscription which dates from April 1972. Heavily annotated throughout in extrovert fashion at least partly by the composer in the characteristic purple felt tip pen with which he made the inscription on the first page. One leaf of inserted printed music score apparently relating to the cadenza is laid in with additional notation at number '36' also in Penderecki's hand. 2. Solisten-Spielpartitur, inscribed to Felicja in Lisbon in Polish, 18 January 1972, three weeks before the premiere given in Rochester, New York, on February 7th. In this score the harpsichord notation is systematically and carefully annotated in order to allow the soloist to identify her position within the piece with additional dynamics markings and instructions often naming instruments playing alongside the soloist and providing numbers to count by. There is additional notation for the Cadenza and an additional printed insert at number '36'. A cut in the final section is registered by two pages being clipped together before a set of careful instructions for the pick-up after the cut. 3. [Solisten-Spielpartitur] sol score heavily used and amateurishly repaired with sellotape, lacking wrappers, annotated throughout, mostly reproducing the changes and additions introduced into the first solo score above. This score shows signs of very heavy use suggesting perhaps that it was used by Blumental as her main performing score in order to protect the copy inscribed to her by the composer, effectively the dedication copy above. Usual alterations at number '36'. Penderecki wrote his Partita for the pianist Felicja Blumental who was married to Penderecki¿s close friend, the painter and art collector Markus Mizne, persuading her to play his Partita on a harpsichord instead of her usual instrument. The work was first performed in the prestigious Eastman School of Music and revised in the early 1990s. Blumental premiered the work under Walter Hendl but recorded the Partita several times under the baton of the composer, notably for EMI in 1972 when she will have used these scores. The Partita has been described as drawing on 'the graphic ideas of Paul Klee, with interpenetrating sections varying in colour and structure, and Yves Klein, with static sections of vibrating ¿sound space¿ or of resonance alone, which had inspired the composer in the late 1950s and early 1960s, and on the Baroque concertante tradition, in which the concertino, ingeniously complemented by amplified guitars, is opposed to the full ensemble sound.' If you would like more information on this book please contact Christian White at Modernfirsteditions. [Attributes: Signed Copy; Soft Cover]
[Bookseller: Modernfirsteditions Ltd ABA/ ILAB/ PBFA]
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