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Collection of autograph and copyists' manuscripts
1850s-1870s. AUTOGRAPH MANUSCRIPTS Tarantella for 'Cello & Piano Contemporary wrappers with autograph titling in English. Folio (346 x 267 mm.). Signature of two bifolia. [i] (blank), 2-7, [i] (blank) pp. Notated in black ink to 12- stave printed music paper with the circular blindstamp of Litolff, Braunschweig. With "by A Suck" to upper right corner of first page of music and "Dec[ember] 31. 1879" to lower right corner of p. 7. Final 12 measures notated on small leaf tipped in to lower right corner of p. 7 to be unfolded for performance. Alternate, extended version of mm. 60-79 sketched on separate bifolium in smaller format, in blueish ink; piano staves blank. Browned. All leaves creased at upper outer corner. [6] Capricen [and other works] für Violoncell Solo Contemporary wrappers with autograph titling in German. sewn except for final bifolium, which is unbound. Folio (slightly varying formats, ca. 345 x 270 mm.). Eight leaves, not paginated unless otherwise noted. Notated in black ink on various types of music paper. Fol. 1r: Caprice [unnumbered; A major]. Unsigned. With "Fine. componirt den 14. Janr. 1863, Göteborg" to lower right corner. Fol. 1v: Preludio [G major]. With "comp. v. A Suck" to upper right corner. Fol. 2r: Capricen für Violoncell No. 1 [G major]. With "von A Suck" to upper right corner. Fol. 2v-3r: Etüde No. 3. [G minor.] With "comp. von A Suck" to upper right corner of first page and "Anfang 31/12/1864 Ende 6/1/1865 Stockholm 1868[?]" to lower right corner of second page. One measure of first page and final three staves notated to overpastes. Fol. 3v: Capricen für Violoncell No. 2. [A major.] With "v. A Suck." to upper right corner and "14/1/1863" to lower right corner. Fol. 4r-4v: Caprice No. 4. [D minor-major.] Second page paginated "2." With "v. A Suck" to upper right corner of first page and "15/3 1875" to end of music on second page. Final two staves blank. Fol. 5r: blank Fol. 5v-6r: Etude für Violoncell No. 5. [D minor-major.] With "A Suck" to upper right corner of first page and "Juni 10. 1875. Boston" to lower right corner of second page, Five stave of second page notated to overpaste. Fol. 6v-7r: blank Fol. 7v-8r: No. 6 Caprice pour 'Cello. [G major.] With "A Suck" to upper right corner of first page and "Febr[uary] 4, 1876" to lower right corner of second page. Fol. 8v: blank The two etudes may be tentatively identified with the otherwise lacking caprices of the same numbers. The unnumbered first caprice and the "preludio" seem to belong to an earlier period. Nocturno [G major] and Andante [D major] for two violoncello. [Parts]. Folio (342 x 270 mm.). Notated in black ink on 12-stave printed music paper. Cello 1mo: one bifolium, unpaginated; Nocturno notated to inner pages, Andante to outer pages of bifolium. Cello 2ndo: one bifolium, unpaginated; Nocturno notated to inner pages, Andante to outer pages of bifolium; major autograph corrections to Andante including new ending. With "A Suck" to upper right corner of first page of Nocturno in both parts and "comp. v. A Suck" to upper right corner of first page of Andante in Cello 1mo, "comp. A Suck" in Cello 2do. Autograph date to original ending of Andante in Cello 2 part: "4/2 1868." Bifolium of Cello 2do detached. Nocturno [F major] [for Piano; fragment] Folio (346 x 268 mm). One bifolium, folded inside out. [i] (blank), [2]-4 pp. Notated in black ink to 12-stave printed music paper. Music breaks off in the middle of page 4; clefs and key signatures through end of page. No date. An einen Boten. [Lied for voice and piano] Small folio (306 x 235 mm.). One bifolium. Unpaginated. Notated in black ink to 12-stave paper. Music extends over first half of first page only (two systems of three staves). The German text (incipit: "Wenn du zu meim Schätzel kommst") is from Des Knaben Wunderhorn. Both stanzas are written as underlay. With corrections in pencil. Various sketches and fragments, possibly including composition exercises, to remaining staves of first page and to other pages, partially in ink, partially in pencil. The content of the sketches, signs of immaturity in the musical notation, and the use of paper without pre- printed staff lines suggest that the present bifolium dates from Suck's earlier years (ca. 1850). Unevenly trimmed. Frayed at edges. Wax drop and small stains to first page; ink stains to third page. Together with: [ROMBERG, Bernhard]. [Op. 46 (arr.)]. Divertimento über Oesterreichische Volkslieder für das Violoncello mit Begleitung des Pianoforte. [Score] Folio (348 x 271 mm.); signature of four bifolia. [i] (title), 2-14, [ii] (blank) pp. Notated in black ink on printed 12-stave music paper. No place, no date. Manuscript copy, probably in the hand of August Suck. Name "August Sack [!Suck]" in a different hand to upper right corner of title. The composition is in G major. The piano part, very basic and consisting primarily of simple chords, seems to be derived from the version for violoncello and guitar (Vienna: Tobias Haslinger, [1829], PNs 5210 and 5212). In the few instances where the piano has thematic material, the melodic line follows that of the guitar part, which is distinct from the one in the original piano accompaniment. The cello part is virtually identical with Haslinger's 1829 edition; it also mirrors its characteristic clef changes. The arrangement may or may not be Suck's work. First leaf partly detached. COPYISTS' MANUSCRIPTS [Untitled] Introduction, theme with two variations, and rondo for violoncello and orchestra. Full score. A minor-major. Folio (340 x 272 mm.). Sewn. 1-[50], [ii] (blank) pp. Notated in black ink on 14-stave music paper. Most probably in a copyist's hand; the shape of the C clef is quite different from those in Suck's autographs. Credits to upper right corner of p. 1, "von A. Suck," possibly autograph. Binding fragile; many bifolia entirely or partly detached. Paper browned and brittle; edges frayed; small holes to upper outer corner of final leaves. Concerto [D minor] für Violoncell. [Piano reduction] Gray wrappers with label to upper titled "Concert en ré mineur pour violoncelle, avec piano" using words cut from a newspaper. Folio (344 x 265 mm.). Signature of three bifolia. 12 pp. Notated in black ink on printed 16-stave music paper. No place, no date. Most probably in a copyist's hand; the shape of the C clef is quite different from those in Suck's autographs. Credits to upper right corner of p. 1, "von A. Suck," possibly autograph. The first movement is in D minor, the second in A major, the third in D minor-major. Some literals (tempi, dynamics, expressive marks) added in pencil. Wrappers partially detached, creased, and frayed at edges. . Little is known about cellist and composer August Suck. Born in the German-speaking lands (which then would include Bohemia), as the German titles and other literals in his manuscripts suggest, he moved to the United States in the early 1850s, making Boston his home. He played in the orchestra of the Boston Theatre from its inauguration in September 1854. From 1861, Suck was in Gothenburg, Sweden, where a new orchestra had been founded by German and Bohemian musicians, conducted by his friend Adalbert (properly, Vojt ch) H ímalý (1842-1908). He was, however, back in Boston by 1867; see the account of a quartet evening in Dwight's Journal of Music, February 27, 1867, p. 407 (the later concertmaster of the Boston Symphony, Bernhard Listemann, played the first violin). Dwight's Journal of Music of March 30, 1867, p. 7, includes a "Testimonial to Camilla Urso" signed by a large number of musicians, Suck, John Knowles Paine, and Otto Dresel among them; the "testimonial" was reprinted in the American Art Journal of April 13, 1867, p. 396. In 1881 Suck became one of the founding members of the Boston Symphony Orchestra. In tandem with his colleague Wulf Fries (1829-1902), Suck published a tutor, Practical Violoncello Instruction Book (Boston: Ditson & Co., 1879; 2nd edition 1901). He was noted for teaching the violoncello to girls, still frowned upon at the time; see the articles "A Cambridge Girl," Cambridge Chronicle, December 24, 1898, and "The Girl Cellist," The Etude 25, no. 9 (September 1907), p. 613. Josephine A. Spalding, from 1903 professor of violoncello at the University of Denver, was another student of his. Suck spent the summer of 1900 playing in a trio at the Algonquin hotel in St. Andrews, New Brunswick, as noted by the local paper, St. Andrews Beacon, on July 12, 1900. Apparently this assignment became an annual routine because the same paper still listed him on the hotel's roster on July 20, 1912, which is the last known record of his activity. Two photographic portraits, dated September 11, 1854, and "50 years later," are reproduced in Eugene Tompkins, The History of the Boston Theatre, 1854-1901 (Boston-New York: Houghton Mifflin, 1908), p. 19. The former shows Suck presumably in his early twenties, the latter in his seventies, when he participated in the anniversary performance.
      [Bookseller: J & J Lubrano Music Antiquarians LLC]
Last Found On: 2015-09-08           Check availability:      IOBABooks    

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