[Violinist] Vieuxtemps, Henri. (1820-1881) & Frezzolini, Erminia. (1818 - 1884) & Sylvestre, Armand. (1837 - 1901) & Barbier, Paul Jules. (1825-1901) & Sarcey, Francisque. (1827 - 1899)[Ugalde, Delphine. (1829 - 1910)] . Autograph Musical Quotations to Delphine Ugalde. Rare boldly penned AMQS of the great violinist to the celebrated soprano Delphine Ugalde. Four detailed measures, titled "Preludio" and marked "Andante espress.," inscribed "à la Grande Artiste Madame Ugalde," signed "H. Vieuxtemps" and dated Paris, 16 June 1874. An additional AMQS by the important soprano Erminia Frezzolini, of seven bars of 'Non mi dir' (Act II, Scene V of Mozart's Don Giovanni), is neatly penned beneath, similarly inscribed "A ma Celebre ami Madame Ugalde), signed and dated 1 January, 1878 and with a trimmed image of her affixed above. The verso of the page features inscriptions and signed poetry quotations by the poet Armand Sylvestre (10 lines from his "Sapho," together with a trimmed photograph); poet and librettist Paul Jules Barbier; and the important journalist and music/theater crtitic Francisque Sarcey. 31.5 x 23.5 cm [12.5 x 9.5 inches]. Fine.


Vieuxtemps was one of the most imporant musicians of the 19th century. As one of the greatest of all violin virtuosos, he was compared to Paganini by both Schumann and Berlioz. As a composer, he was an important reformer of the concerto and in this regard, according to Grove, "can be compared to Liszt."


Erminia Frezzolini "is identified with Romantic opera and especially with Verdi, two of whose heroines she created: Giselda in I Lombardi and Giovanna d'Arco, at La Scala, Milan (in 1843 and 1845 respectively). Trained mainly by her father, Giuseppe Frezzolini (1789–1861), a noted bass, and Domenico Ronconi, she had bel canto skills but sang in the new manner called for by Verdi's works, uniting smooth legato and dramatic power. Her sensational début, at Florence in 1837, was in the title role of Bellini's Beatrice di Tenda; this remained one of her most effective parts, along with Donizetti's Lucrezia Borgia (in which she caused another sensation, at La Scala in 1840), Bellini's Elvira (I puritani), and Verdi's Giselda, Gilda (Rigoletto) and Leonora (Il trovatore). She was compared to Maria Malibran for boldness, intensity and pathos, with an added sweetness of timbre; Fétis wrote of her beauty and nobility on stage." (John Rosselli, Grove Online)


Ugalde "studied in Paris with Cinti-Damoreau and made her début in 1848 at the Opéra-Comique as Angèle in Auber’s Le domino noir, a role created by her teacher. In 1851 she sang at Her Majesty’s Theatre, London, as Delilah in Auber’s L’enfant prodigue. In 1858 she sang Leonora (Il trovatore) at the Paris Opéra and was then engaged at the Théâtre Lyrique. In 1863 she moved to the Bouffes-Parisiens, where in 1867 she sang in her own operetta, Halte au moulin. She retired in 1871." (Elizabeth Forbes, Grove Online)