2113 - 2257 MANUSCRIPTS, AUTOGRAPHS, DOCUMENTS
= Interesting collection of documents on behalf of Jacob Janszoon de Jager, a prisoner in the "Voorpoort van den Hove". The documents consist of testimonies by bystanders and pleas by his attorneys attesting to his good nature and his innocence in the supposed murder of Mouringh Claeszoon.
- Spine sl. rubbed; binding partly discoloured.
= Mostly notes of gratitude from persons to whom Van Looy sent out copies of the aforementioned publication. Also contains an autograph letter by JAC. VAN LOOY (to "Waarde Sam", (...) "Hartelijk bedankt voor het boekje waarin ik met groot genoegen je redevoering las. Ze is onderhoudend en leerzaam tevens en daarbij vol aardige toonaarden (...). Ik meen ergens gelezen te hebben dat een Duitsch geleerde onlangs onze Haarlemmer Laurens Koster als de éerste in zijn eer heeft hersteld. Is dat zoo? al doet het er dunkt mij weinig toe.") and short thank you notes from i.a. S.H. de Roos, S. Gouda Quint, P. Nijhoff and C.M. van Stockum.
= Letter expressing his gratitude to C.G. Boonzajer for his gift of his work on Hugo de Groot, titled: "Geschiedkundige aanteekeningen betrekkelijk het slot Loevestein", which he had presented to Louis Bonaparte on the 30 June. Provenance: Collectie Dr. J.G. de Lint.
- With the usual scuffing and soiling due to previous use as part of a later binding.
= Fragment from a 14th century German rhyme chronicle, mentioning "Symone und Juda".
- Contemp. annots. in blank margins; stained and sl. (finger) soiled.
ADDED: 6 fragments of maculature, Latin text in black ink on vellum, littera textualis, a few rubrications, mounted.
- Eighteenth cent. owner's entries on first and final 2 blank lvs.; fingersoiled. Vellum darkened, creased and worn.
= Curious collection of religious texts compiled in the eastern region of the Netherlands in the 15th century. Comprising i.a. a treatise on obedience; a treatise on simony; the short passion of St. Birgitta; 17 prayers for every hour of the day from 4 a.m. until 8 p.m.; a description of Paradise; "Die mynne quam van mynen"; the visionary voyage of Petrissa to Paradise; a sermon by Jan Brugman on a passage in Corinthians; a Middle-Dutch translation of Veni Sancte Spiritus; the fifth collation on Jesus by Mechtild van Hackeborn; "Item Mester Willem seet" and the punishment for nuns that lure towards the other sex. SEE ILLUSTRATION PLATE LXIII.
- Some sl. soiling in lower corners.
= Sixteen leaves from a manuscript containing part of the Dutch translation of Jordanus de Quedlinburgs' Meditacien vanden leven ende passie Ons Heeren Ihesu Christi.
- Three final lvs. sm. stain on fore-edge and sm. dam. spots due to former clasps; owner's stamp on verso first blank leaf and w. owner's entry "Dit buck hoert toe Ariaensgen van Muijwyck". Lacks clasps and catches; binding professionally restored w. use of leather.
= A lovely prayerbook probably compiled for a cistercian nun. Contains many prayers, i.a. "Een ghebet als men gaen wil ten heilig sacrament"; "Die seven bliscappen van Maria"; prayers to St. Bernard of Clairvaux; prayers for the dying; Stabat Mater; "Sinte augustijns gebet dat hi mitten engel maecte die hem die heer sente" and "Hier beghinnet die commendatie als een mensche stervet". SEE ILLUSTRATION PLATE LXIII.
- Some occas. sm. stains in outer blank margins. Otherwise contents in a very fine condition. Professionally rebacked; lacks clasps; binding sl. worn along extremities.
= The second part of the commentary on the Song of Songs from verse 3.7 onwards. SEE ILLUSTRATION PLATE LXIII.
- With the usual scuffing and soiling due to previous use as part of a later binding.
= Probably music for mass.
- Lacks first textleaf; waterstain in first and final blank, extending from inner margin.
= Contents: various meditations on sin and forgiveness and prayers for specific circumstances accompanied by scriptures as well as numerous reflections upon the Lord's Prayer and the creed of the Apostels. Probably written for a friar, leaf 22r mentions i.a. "lieve broeder". Written in a very elegant hand.
= High quality miniature. The exquisite execution of the extremely detailed italianate background indicates a highly skilled artist and a probable high provenance. SEE ILLUSTRATION PLATE LXIV.
- Some loss of paint in the canopy under which Mary is seated and from the cloak of one of the angels.
= Miniature accompanying the prayer to the Virgin Mary "Obscero te". SEE ILLUSTRATION PLATE LXIV.
- Text w. some craquelure and w. some loss of pigment.
= The nineteenth century knew a revival of medieval art and illumination.
- Lacks at least one plate; trifle foxed. Binding worn and w. acid bite.
= Treatise on the work of French marshal and military architect Sébastien Le Prestre de Vauban (1633-1707). With nice colourful plates. SEE ILLUSTRATION PLATE LXIV.
= Difficult handwriting, but apparently about a poem that Abt will try to set to music. "Durch Ihren lieben Brief wurde ich in angenehmer [Weise?] an die schönen Tage in Nürnberg erinnert, - als wir noch 25. Jahre jünger waren. Ich musste nun gerade [...?] diese 25. Jahre [...?] - zu mir eingesandten Gedicht gut treffen - und will die gern versuchen[?]. Augenblicklich bin ich aber mit einige Arbeiten für [...?] beschäftigt. [...]. Am 11. gehe ich dann in [...] für 8. Tage nach Leipzig. Es wird also noch Ende des Monats werden bis Sie wieder von mir hören. [...] wir dann abwarten[?] wie die Composition ausfällt [...]."
= N.H. Andriessen advertising his composition "Goe Nacht, Slaap Zacht" ("Mannenkooren van W.H. Andriessen"); Willem Andriessen thanks Alsbach for an enthousiastic letter written by Alsbach about an (unidentified) youth work (written around 1908) by Willem Andriessen; Hendrik Andriessen supplies Alsbach with answers to his questions for biographical information (for a new edition of Riemann's Lexicon).
Voormolen, Alexander (1895-1980). AUTOGRAPH LETTER SIGNED "Alexander Voormolen", to "Zeer geachte Heer Alsbach", dated "16/8/37", lead pencil, 1 leaf, recto and verso, (2)p.
= Interesting letter on i.a. the successful performances that his works for cello and his Trio had in Canada, as his friend Cornelius Ysselstein has informed him. Asking Alsbach, at the suggestion of Ysselstein, to send over a symphonic work of his as well as his violin sonata, his "Oud Nederl. Liederen en de Suite voor Clavecimbel".
Gilse, Jan van (1881-1944). AUTOGRAPH LETTER and TYPESCRIPT LETTER, both SIGNED "Jan van Gilse", to "Geachte redactie" and "Waarde vriend [Cor] Kuiler", dated "Bremen 6.4.4." and "Amsterdam (C) 20 Januari 1938", 3 fold. leaves, recto and verso, (6)p. and 2 leaves, recto only, (2)p.
= A rather long and remarkable autograph letter in which Van Gilse criticizes one of the questions posed by the editors of an unidentified publication (possibly Riemann's Lexicon), which is whether there are any printed works by the composer that have not yet been performed. As Van Gilse points out the question should have been phrased as follows: "Have any of your performed compositions been put into print yet?" He points out that printing a literary work is completely different from printing a composition. Publishers only wish to spend their money on works that have proven to be popular among concertgoers. Gives examples of famous works that were only published decades after the were composed (Wagner's Lohengrin and Humperdinck's Hänsel und Grethel). Also writing about his musical preferences, or the absence thereof, and writing about his excitement about the coming performance at the Münchener Tonkünstlerfest of the "Allgemeinen Deutschen Musikverein" of his third symphony for large orchestra and soprano. He sees it as a possible turningpoint in his career. The typescript letter to his firend Cor Kuiler is mainly about his gladness that his Kreis des Lebens will be performed at the yearly meeting of the K.N.T.V. Kuiler will be conducting the work and he suggests various cuts to make the piece easier to perform and to reduce the duration of the piece.
= Woldemar Bargiel, German composer, half brother of Clara Schumann, protegé of Robert Schumann and Felix Mendelssohn Bartholdy. [Letter dated "1 Febr. 76", 1 fold. leaf, (3)p.]: Partly inquiring after his family members but also mentioning plans to conduct the Johannes Passion. Woldemar Bargiel was the first to conduct Bach's Mattheus Passion in the Netherlands (in 1870); [letter dated "25, 1, 69", 1 fold. leaf, (1)p.]: asking Alsbach to ask a certain Mr Pollak on his behalf to sing in a concert. The other short letters concern practical (partly illegible) matters, i.a. on verso of a telegram by Stockhausen with a request by Bargiel ("Bitte durch Musikhandlung Packet Orchesternoten nach Stuttgart zumsteeg zu schicken") and a short note in pencil concerning a trio by?
- Both w. 2 filing holes in left margin.
= Harold Bauer, British pianist, who started out as violinist. Despite having been taught by i.a. Adolf Pollitzer and having toured Great Britain for about 10 years from his 10th year onwards, he decided to study the piano in 1892 with Ignace Paderewski and soon became a very successfull pianist, who premiered works by i.a. Debussy and Delius. These two letters were written when his fame had spread all over the world. The letters are about the programme for a concert at the provincial Dutch town of Almelo. Apparently the concert organiser had asked for "musique "'populaire"" to be played at the concert: "J'avoue que je ne sais pas trop bien ce que c'est que la musique "populaire" que demande Almelo. J'avais toujours cru que la musique de dance s'appelait ainsi et c'est justement pour cela que, désirant faire un programme pas trop lourd j'y ai mis pas moins de 17 valses! dont 16 de Brahms et une de Saint-Saens. Je ne puis cependant pas jouer la matchiche [a popular dance of Afro-Brazilian origin in the early 20th century]! Et je ne puis non plus faire un programme composé uniquement de petits morceaux - ce n'est pas mon genre." He goes on to propose a programme which the "Société folâtre (...) trouvera peutêtre plus "populaire"", consisting of music by Beethoven, Schumann, Chopin, Liszt, Schubert and Saint-Saëns. The second letter, writen a year later, concerns practical arrangements to be made for a second concert, showing that the first concert was a success.