Auction 739 April.

AMS signed and dated at the head, "Leonard Bernstein, Apr. 8, 1935," four pages on two sheets, 6.5 x 8.5, entitled: "A Musical Dream." The 16-year-old Boston Latin School student pens an essay, in part: "There is so much talk in the air about Utopias of different sorts that I venture to present my own little plan for an ideal musical world. If we enter a house of worship, we very often hear a sermon on the subject of a religious Utopia, one in which all nations, races, and groups shall worship a common God and see Him in a common light. Socialize religion! In periodicals, page after page is given over to the discussion of a Utopia in which the basis of exchange shall be production. Socialize government! Then why not socialize music?

I submit that it would be a very uninteresting world if people did not have differences of opinion, and bring those differences into an open field of combat. Yet the little idea I have devised seems to me to be the only solution for peace in musical circles.

The Keynote of my Utopia is: give every composer a 'break'! Whether or not he seems promising…let him have a fair chance to plead his case! Veritable wars have arisen among musicians over the competence of particular music-makers…

There is a certain Mr. D— who is designated as being a confirmed hater of Wagner's music-dramas. Now, surely, a person who has the intelligence to decide for himself that Wagner is contrary to his every idea about what music should be must have the intelligence to see that there is much to be said for Wagner. He should admit that the music is strangely eloquent—unlike anything else ever written. He should recognize the intense emotional display in the music. He should consider that there must be a reason that the Opera House sold out for 'Die Walkuere.'

The other factor in the building of my Utopia is the education of the lay class—or the laymen who show any interest in this field—to mark a composer for what he is worth…Here is a typical female gush: 'Me? Oh, I just adore music. Do you know Gershwin's Rhapsody? Or, is it Ravel's? These composers are so confusing….' The Rhapsody has inherent quality; that cannot be denied. But that is not the reason for the above gushing. That was brought on by the sweeping success of the piece among the people at large, and is valid in so far as it is sincere.

First educate your people; then teach them to consider carefully, with the education they have, the merits and faults of each composer. Then shall the wolf lie down with the lamb, and the Schubertian with the Strawinskian." In fine condition.

AMQS on an off-white 6 x 3.5 card, signed below in ink, "Edward Elgar, Chicago, Ap. 1907." Elgar pens four bars of music from one of his works. In very good condition, with a stain touching the first bar of music.

Choice 2.5 x 4.25 carte-de-visite photo of the great composer in a bust-length pose by Fritz Luckhardt, signed on the mount in ink, "F. Liszt." In very fine condition.

ALS in French, signed “F. Liszt,” three pages on two adjoining sheets, 5 x 7.5, April 9, 1866. Handwritten letter to his friend Joseph d'Ortigue, arranging a small recital with fellow composers Hector Berlioz and Berthold Damcke. In part (translated): "Yes, dear d'Ortigue, I need you to do me a favor, and I hope you will do it heartily. United at heart on so many essential matters, I really would like us to become one in spirit on others. For this, I think a half hour of frank talk should suffice.

From the very first days of my arrival here I have told Léon Kreutzer that I did not want to let my old friends have an equivocal opinion about my sincere and serious good will in Music. Before I leave, I am going to explain my pieces to him by hand and with the help of the piano under my fingers, and I will ask you, dear d'Ortigue, to attend this private meeting, along with Berlioz and maybe Damcke (if Léon wants to invite him).

Do not think that I am playing the role of Oronte and saying 'my verse is pretty good!' For your part, don't be more like Misanthropes than necessary, and let me communicate loyally with you, for our reciprocal instruction." He adds a handwritten postscript, signed "F.," in full (translated): "I will have the great pleasure of seeing you tomorrow night at Madame Mathieu's, and on Friday at 2:00 for [Cesar] Franck's organ performance at Sainte Clotilde that interests me greatly." In fine condition.

ALS in Italian, one page both sides, 8.25 x 10.75, personal letterhead, January 30, 1922. Handwritten letter regarding the performance of Il Trittico at the Teatro alla Scala in Milan. In part (translated): "Last night was the greatest evening—tremendous—a complete triumph. There were many disputes in the theatre—always a sure sign of success for me. You know how it was for the premiere of Butterfly. Thus a really complete and hard-won success. But I am dead tired…Foranzo has given all of himself as far as the lights and scenery…the performance was marvelous—a million times better than the one in Rome." In very good to fine condition, with some light staining and creasing.

Il Trittico is a trio of one-act operas by Giacomo Puccini—Il tabarro, Suor Angelica, and Gianni Schicchi—that premiered at the Metropolitan Opera in 1918. Each opera presents a distinct mood and setting, ranging from dark verismo tragedy to spiritual drama to sharp comedy. Together, the three works showcase Puccini’s versatility in blending intense emotion, vivid orchestration, and memorable melodic writing.

ALS in Italian, signed “G. Verdi,” one page, 5 x 7.75, no date. Untranslated handwritten letter by Giuseppe Verdi to his close friend, Giuseppe Demalde. Addressed on the integral leaf in Verdi's own hand. In fine condition, with a small area of seal-related paper loss to the integral address leaf.

ALS in French, signed “Rich. Wagner,” one page, 4.5 x 7.25, no date. Handwritten letter by the celebrated opera composer, in full (translated): "You appeared to me like a phenomenon, and then you disappeared! Do you know that that’s a little cruel? Tell me (since I suppose that you are in town) what I need to do in order to find out what my modest copyrights have earned me through the company of which you made me a member, and how I can withdraw the proceeds. I have 10 francs left. I would therefore not be unhappy to have something at my disposition. Forgive me! Look after me!" Double-matted and framed with a portrait to an overall size of 17 x 14. In fine condition.

ALS in French, signed “H. Berlioz,” one page, 5 x 7.5, November 9, 1850. Handwritten letter to "Monsieur Riciardi," in part (translated): "I am going to make all necessary from today's date to contact Lumley and to talk to him about your affair. If I do not meet him this evening, I will write to him, and I will not neglect any opportunity to obtain a good response that I will promptly forward to you." Berlioz thanks his correspondent for having chosen him for this request, explaining that it is a proof of confidence. In very good to fine condition, with a rough top edge, light toning, and scattered light foxing.

Original self-portrait sketch by Enrico Caruso, accomplished in black ink on a light green 5 x 6.5 album page, signed below, "Enrico Caruso, Montevideo, 1915." In very good to fine condition, with toning to the left edge, and residue from a removed clipping in the upper right corner. An outstanding drawing from the hand of the acclaimed Italian operatic tenor.

Vintage ballpoint signature, "Jacqueline du Pre,” on a 5.25 x 4 slip clipped from a program. In fine condition.

LS in Hungarian, signed “Liszt Ferencz,” one page both sides, 8.25 x 13.5, October 25, 1876. Letter to the director of the Royal National Hungarian Academy of Music, making recommendations for a stipend to be awarded to talented students. In fine condition. In 1925, the Academy was renamed in honor of its founder, Franz Liszt.

ALS in Italian, signed “G. Puccini,” two pages, 4.75 x 6.5, Grand Hotel de Londres (Paris) letterhead, December 7, 1906. Untranslated handwritten letter from the revered composer regarding his legendary opera Madama Butterfly. Archivally double-matted and framed with a photo of Giacomo Puccini to an overall size of 22.5 x 13. In fine condition, with a couple of small stains to the last page. In 1907, Puccini completed his final revisions to the opera, creating a fifth version that became known as the 'standard version.' Today, this standard version is the one most frequently performed around the world.

TLS, one page, 5 x 8.5, January 26, 1944. Letter to "Mr. Fekete," in full: "Thank you for your letter. We are all going to do our best, and I am sure we are going to do wonderful things. I shall be glad to have your cooperation, and I know we have your good wishes." In fine condition, with some light toning to the tastefully trimmed edges.

TLS in German, one page, 8 x 10, June 11, 1917. Untranslated letter to a friend and colleague. In very good condition, with light creasing, and the typed text badly faded but readable with effort.

Vintage ballpoint signature, "I. Stravinsky, London, Oct. 29/61,” on an off-white 5.5 x 4.25 album page. In very fine condition. Accompanied by a vintage French postcard portrait of the composer.

LS, one page, 4.5 x 7, personal Queen's Mansions letterhead, June 7, 1887. Addressed from London, a letter to Paul Richard, in part: “With regard to your attractive proposition, for which I am obliged, I think it would be better that, sometime when I am in Berlin, or, if you should be in London that we should meet and personally discuss the subject. I am unable, until that has been done, to give you a definite reply to the subjects mentioned in your letter of the 7th.” Notation to the reverse indicates that the letter was penned in the hand of Sullivan's secretary, Walter Smythe. In fine condition.