BERLIOZ HectorMareMagnum
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1862- Michel Lévy Frères, Paris 1862, 12,5x19cm, relié. - Édition originale. Reliure en demi chagrin, dos à cinq nerfs orné de fleurons dorés, date en queue, plats de papier marbré à motifs il-de-chat, premier plat de couverture conservé. Rare et précieux envoi autographe signé du compositeur?: «?à mon ami Seligmann - Hector Berlioz.?» Hippolyte-Prosper Seligmann (1817-1882), violoncelliste et compositeur, fut un membre actif de la Société philharmonique qu'avait créée Berlioz en 1849. Provenance : bibliothèque R. & B. L. avec son ex-libris encollé au dos de la première garde. [ENGLISH DESCRIPTION ON DEMAND]
1859- A. Bourdilliat & Cie, Paris 1859, 11,5x18cm, reliure de l'éditeur. - Les Grotesques de la musique [The Musical Madhouse] A. Bourdilliat & Cie | Paris 1859 | 11.5 x 18 cm | publisher's original binding First edition. Publisher's green cloth, blindruled frame to boards, yellow endpapers and pastedowns, pastedowns soiled, edges spotted. A little light foxing. A rare and handsome autograph inscription signed by Hector Berlioz in pencil to title: «à mon ami Théodore Ritter, souvenirs affectueux.» Théodore Ritter, son of the composer Eugène Prévost, was Berlioz's student, producing a piano arrangement of L'Enfance du Christ. Inscriptions by Berlioz are rare and highly sought-after. [FRENCH VERSION FOLLOWS] Édition originale. Reliure de l'éditeur en pleine toile verte, dos lisse orné de caissons à froid, encadrement de filets à froid sur les plats, gardes et contreplats de papier jaune, contreplats salis, tranches mouchetées. Quelques petites rousseurs. Rare et précieux envoi autographe signé d'Hector Berlioz au crayon de papier sur la page de titre?: «?à mon ami Théodore Ritter, souvenirs affectueux.?» Théodore Ritter, fils du compositeur Eugène Prévost, fut l'élève de Berlioz pour lequel il réalisa une version pour piano de L'Enfance du Christ.
1969- 1969, 16,8x21,6cm, carnet en spirales. - Handwritten personal diary for the year 1969 1969 | 16.8 x 21.6 cm | spiral-bound notebook Personal diary handwritten by Maurice Béjart, written in a 1969 diary celebrating the centenary of the birth of Mahatma Gandhi. 52 handwritten leaves, written in red and blue pen in a spiral-bound notebook. This diary features amongst Béjart's very rare, privately owned manuscripts, the choreographer's archives being shared between his house in Brussels, the Béjart foundation in Lausanne and the Théâtre Royal de la Monnaie. The choreographer Maurice Béjart's diary written during the year 1969. An extremely rare collection of thoughts, questions and introspections from the point of view of Hinduism and Buddhist wisdom, which Béjart adopts following his first trip to India in 1967. The diary is an emblematic testimony of the indo-hippie era of the 1960s, spiritual and artistic renaissance that inspired numerous ballets of the choreographer (Messe pour le temps présent, Bhakti, Les Vainqueurs). A selection from this diary was published by Maurice Béjart in the second volume of his memoirs (La Vie de Qui ? Flammarion, 1996). During the year 1969, Béjart wrote daily notes in a diary published in memory of Mahatma Gandhi. Fascinated by Hindu mysticism since his trip to India in 1967, he filled in this spiritual journal with numerous mantras and prayers ("Krishna guide my chariot, the light is at the end of the path. OM"; "Buddha is everywhere"; "Let God enter, but how to open the door") and he calls upon the Hindu deities as well as the Bodhisattvas Mañju?r? et T?r? - soothing figures of the Buddhist pantheon. Béjart's "Indian period" was particularly rich in choreographic masterpieces, the progress of which can be followed in his diary (Baudelaire at the beginning of the year, the first performance of the Vainqueurs in Brussels and the Quatre fils Aymon in Avignon, as well as the filming and screening of his Indian ballet Bhakti). At the crossroads of New Age and the hippie movement, Béjart's "conversion" is symptomatic of an era that refuses progress and has a thirst for spirituality: "Calcutta is not India, but our western face. It is not religion or traditional thinking that is to blame, but capitalism. India, a rich country before colonisation." The Beatle's visit to the guru Maharishi's ?shram and Ravi Shankar's concert at Woodstock in 1969 marks the beginning of a real western passion for Indian music and culture, which was decisive in Béjart's ballets at the time. In Béjart's eyes, India presents itself as a place where art and ancestral traditions have not suffered the perversions of positivity. In his creations he seeks to express the spirit of a culture that intimately links the body and the spirit, and in which dance plays a major cosmic and spiritual role. Included in his ballets were Indian dance systems and Vedic songs that were discovered thanks to Alain Daniélou - in 1968 he opened the Messe pour temps présent with a long vînâ solo that lasted fifteen minutes: "Béjart is in his Hindu quarter-hour. And over there, Hindu quarter hours, can last for hours..." commented Jean Vilar, director of the Avignon festival. A wave of Indian fashion also passes through the costumes of the Ballet du XXe siècle company: large silk trousers, tunics, jewellery and oriental eyes. In the diary, Béjart states that there is "no truth without yoga," an art discovered from an Indian master that can be found in many of his ballets in the form of dance exercises on the barre. He also decides to make Bhakti "an act of Faith" by filming himself the ballet choreographer, and during the summer he prepares the Vainqueurs, an unusual meeting between Wagner and traditional Indian ragas. Beyond the prolific artist, we also discover the choreographer's troubled personality in the diary, in the grips of doubt and melancholy: "vague state of physical weightlessness and moral emptiness. Lethargy or laziness. Weakness.
1600in-4, (ff. 12), pp. 370, (ff. 3), legatura coeva in pergamena floscia, titolo ms. al dorso. Frontespizio inciso, con titolo entro elaborata cornice architettonica, tavola incisa con ritratti in ovale dei Duca e Duchessa di Parma e Piacenza e 35 magnifiche incisioni a piena pagina di coppie di ballerini, realizzate da Giacomo Franco. Ciascuna tavola ritrae una dama e un gentiluomo, in magnifici abiti d'epoca testimonianza della moda del tempo, con rimarcabili dettaglio e nitidezza. Seconda edizione, dedicata a Ranuccio Farnese e Margherita Aldobrandina, largamente ampliata dal Caroso stesso (compositore e coreografo, 1526- ca. 1605) rispetto alla prima, pubblicata nel 1581. Celebre quanto bella opera cincequecentesca dedicata al ballo e alla musica di accompagnamento alla danza: descrive i balli più apprezzati presso le corti italiana, francese e spagnola, includendo anche le arie musicali, con relativa notazione per liuto. (C. W. Beaumont, Bibl. Of Dancing, pp.24-25). Esemplare assai bello, fresco e marginoso.. Magriel, Bibl. of dancing, p.44; Eitner II, 341. Derra de Moroda, 528. Teatro Regio, Mostra del libro e documento di danza, p.58. Non presente in: Mortimer Italia e Beaumont. .
1920- 1920-1922, oeuvres : 23x30cm ; cadres : 38,4x48,6cm, trois feuilles sous cadres. - Three original gouaches around dance by Loïs Hutton. 1. Original gouache with dancers May 16th 1920 | work: 23 x 30 cm frame: 38,4 x 48,6 cm | framed leaf This early composition, one of the rare ones still preserved, attests to her modernism and total symbiosis with her choreography. The dominant curves of the bodies in this Gouache with dancers, dated "May 16th 1920" evokes the androgynous silhouettes of Matisse's round dance (La Danse, 1910), as does the choice of vibrant blue and dark ochre tints. A Cubist aesthetic appears in the movement of the dancers with their unrelenting symmetrical balance - while the boldly contoured kaleidoscopic designs betray the influence of Vorticism, whose members during the same period assiduously frequented the underground club of Loïs' lover, Margaret Morris. This work from the London era will find its fulfilment the following year in the choreographies created in France where the Margaret Morris School settle in the summer. The photographs of these sensational performances from Dinard to Cap d'Antibes show very similar compositions, notably one of the scenes of Hutton's ballet, entitled Étincelles, created in 1922 to music by Maurice Ravel. 2. Signed original gouache "Background design, 1922" 1922 | work: 26,5 x 36 cm frame: 40 x 50 cm one framed leaf One of the only original preserved stage decor sketches by Loïs Hutton, also one of the first of her career. This abstract composition reflects the artist's incredible versatility. She flourished both as a principal dancer at her lover's school, the Margaret Morris School as well as a choreographer, set and costume designer. These painted sets on large fabrics served as the backdrop to the school's dance troupe productions and solo dances by Loïs who had previously painted a design on canvas based on a sketch by her mentor the Fauvist painter John Duncan Fergusson. Trying her hand here at a radically new and ambitious style, her design joinsthe angular movements of her dances and is inspired by the teachings of Cézanne: "Everything in nature is modelled on the sphere, the cone and the cylinder" (letter to Emile Bernard). This vital attention paid to volumes goes hand in hand with a fragmentation of motives close to Edward Wadsworth's Vorticism. Hutton visited at that time Wadsworth and the group of Vorticists in Morris' Chelsea underground club, a laboratory of modern dance where the set in its large-format version may have been displayed in December 1921 or the following year as suggested by the two dates on the lower part of the composition and on the back. 3. Signed original gouache "Composition - Ground design of dance, fool's dance" may 22 1919 | work: 20 x 25,5 cm; frame: 30 x 40 cm | one leaf One of Loïs Hutton's rare abstract works, a horizontal and graphic exploration (entitled "Ground design") of her Fool's Dance choreography. A hypnotic solo dance that she performed for the first time in January 1920 to music by Edvard Grieg. In this interesting and innovative vision of dance, Loïs Hutton lays down the products of the force of her choreographic movements on paper: a ballet of lines and curves filled with vivid colours. This fluid and dynamic composition is marked out by a square with asserted outlines, acting as both a physical support for the painting and a material surface for the scene where its movements unfold - an essential space of creation to be compared with the "original plan" theorised several years later by Kandinsky in Point et ligne sur plan (1926). Presented at the Margaret Morris Club in Chelsea where her very first creations were born, Fool's Dance will be performed again at the Château des Deux Rives in Dinard in July of the same year. It earned Hutton one of her first mentions as a performer and choreographer in the French press, in the newspaper Comoedia on 20 July 1920, and marks the beginning of her notoriety in France.
