4 parts, 11 pages each, quarto, engraved. Fine condition. Liszt's marks are additions to the parts regarding dynamics and agogics, as he states in his note: "I did not look through the parts in detail. I have full confidence in the very kind precision of your corrector. FL" ["Die einzelnen Stimmen habe ich nicht durchgeshen. Ich verlasse mich aber mit gänzlicher Zuversicht auf die sehr liebenswerthe Genauigkeit Ihres Correctors FL"]. Liszt's markings are important interpretative prescriptions he wanted to add to the already engraved work, perhaps as a result of a recent performance. These additions are capable of changing the musical sense in several places, since signs such as poco ritenuto -- a tempo," "rallentando," and "smozando" elucidate the musical structure. This Mass was originally composed in 1848 for the church of Szekszard in Hungary (the first draft without organ), and was dedicated to the Franciscan father Stanislaus Albach, a close friend of Liszt since his youth. The first performance however was not until August 15, 1852 in Weimar, on the occasion of the visit of Louis Napoléon, then President of the French Republic. Liszt had high consideration for this work, which uses Gregorian melodies in the Gloria and the Agnus Dei, and he published revised versions of it in in 1869 and 1870. This Mass represents fully Liszt's split religiosity "imposing on him," as he wrote to Princess Wittgenstein, a style which he knew would displease the ecclesiastical authorities. Bookseller Inventory #
Title: Proof copy of Missa [quattuor vocum ad ...
Publisher: Breitkopf & Härtel
Publication Date: 1853
Edition: First edition.
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