LISZT, Franz (1811-1886). Autograph manuscript signed ('F. Liszt') of his setting of Heine's 'Du bist wie eine Blume', inscribed on the last page 'à Madame de Gutmansthal, son très humble et affectioné serviteur F. Liszt', 'Wisnocenz' [?], 6 September [1847], scored for voice and keyboard, 41 bars in two systems of three staves per page, 3 pages, oblong folio (257 x 329mm) (tear of approx. 125mm to left margin of first leaf repaired with clear tape, some wear and discoloration around the edges), in a contemporary gilt-stamped roan portfolio. A presentation copy of 'Du bist wie eine Blume' of 1843, differing in a number of respects from the printed edition. In particular, Liszt has cut two bars from the introduction and reversed some of the adjectives in the second line of the text, as well as using slightly different harmonisation and note values on the second page; the ending differs considerably from the printed version. Liszt's habit seems to have been to copy out such presentation manuscripts from memory, and manuscripts such as the present one offer an opportunity to trace the evolution of these favourite compositions for some years after their original creation.
LISZT, Franz (1811-1886). Autograph manuscript signed ('F. Liszt') of his setting of Heine's 'Du bist wie eine Blume', inscribed on the last page 'à Madame de Gutmansthal, son très humble et affectioné serviteur F. Liszt', 'Wisnocenz' [?], 6 September [1847], scored for voice and keyboard, 41 bars in two systems of three staves per page, 3 pages, oblong folio (257 x 329mm) (tear of approx. 125mm to left margin of first leaf repaired with clear tape, some wear and discoloration around the edges), in a contemporary gilt-stamped roan portfolio. A presentation copy of 'Du bist wie eine Blume' of 1843, differing in a number of respects from the printed edition. In particular, Liszt has cut two bars from the introduction and reversed some of the adjectives in the second line of the text, as well as using slightly different harmonisation and note values on the second page; the ending differs considerably from the printed version. Liszt's habit seems to have been to copy out such presentation manuscripts from memory, and manuscripts such as the present one offer an opportunity to trace the evolution of these favourite compositions for some years after their original creation.
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