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D'Albert, Eugen. (1862–1932). Autograph Letter Signed.
Autograph letter signed from the Scotch-born German pianist/composer who was one of Liszt's last pupils. Stamped at the head with date received: February 8, 1928. 2 pp. To the editor of opera publication "Oper der Heute," D'Albert writes a long letter of praise for the current state of the Leipzig Theater and its opera productions. Translated from the German, in part: "Dear Sir, You wished to hear my impression of today's Leipzig Theater. When I was invited to Leipzig for a production of my "Golem," I certainly expected a good performance. Nevertheless, I was quite surprised to find such a complete improvement in all the circumstances of German theater. After only five minutes of following the production, it was clear to me that the organism of the Leipzig Oper was in safe and purposeful hands [...] I say this not because of the performance of my own works, which after all are only links in the chain of the varied program, but rather to emphasize my happiness that in today's world, which is otherwise so lacking in artistic joys, we have such a theater!" Several corrections in D'Albert's hand. Folding creases with partial splits; toning; overall very good. 9 x 11 inches (22.5 x 28.3 cm).

D'Albert, Eugen. (1862–1932) Autograph Letter Signed

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D'Albert, Eugen. (1862–1932). Autograph Letter Signed.
Autograph letter signed from the Scotch-born German pianist/composer who was one of Liszt's last pupils. Stamped at the head with date received: February 8, 1928. 2 pp. To the editor of opera publication "Oper der Heute," D'Albert writes a long letter of praise for the current state of the Leipzig Theater and its opera productions. Translated from the German, in part: "Dear Sir, You wished to hear my impression of today's Leipzig Theater. When I was invited to Leipzig for a production of my "Golem," I certainly expected a good performance. Nevertheless, I was quite surprised to find such a complete improvement in all the circumstances of German theater. After only five minutes of following the production, it was clear to me that the organism of the Leipzig Oper was in safe and purposeful hands [...] I say this not because of the performance of my own works, which after all are only links in the chain of the varied program, but rather to emphasize my happiness that in today's world, which is otherwise so lacking in artistic joys, we have such a theater!" Several corrections in D'Albert's hand. Folding creases with partial splits; toning; overall very good. 9 x 11 inches (22.5 x 28.3 cm).