Nat, Yves. (1890 - 1956). Collection of Autograph Letters and Poetry. Four Autograph Letters and a poem manuscript from the French virtuoso pianist and composer to Robert Krettly, the violinist and founder of the avant-garde quartet "Quatuor Krettly."
1.) ALS, postmarked 9 April 1918, 1 page. Written to Krettly while stationed in Rouen as a Sargeant. Nat is advising Krettly about his next move after the end of the First World War: "J'imagine que vous irez vivre à Paris. Et cela evidemment m'est une tristesse. Mais je comprends! Il faut que Robert prenne sa place, qu'il se mette à la tete d'un orchestra puissant qui jouera des choses neuves." Nat also ruminates about his own career after the war, hoping to return to his music: "Voici, après la guerre, je travaille et je travaille. Et ma virtuosité que je ne abandonnerai pas donnera peut-etre raison à ceux qui ont ri justement de ma colére."
2.) ALS, 1 page, no date [ca. 1921]. A moving letter about the separation from his first wife. He has left Lourdes, "de splendides promenades dans le Pyrenees tout de meme en voiture (2 chevaux)...Le beau ciel bleu. Des sources. Tout cela pour des coeurs meurtris a jamais. Il faut etre resigné, bien bon sur la terre. J'ai pu embrasser mes enfants dans des conditions atroces...sois tranquille l'absence de ma pauvre femme a ete constatée...ma douleur est gardée par un loup aussi..."
3.) ALS, after 22 April 1925 [?] lamenting the recent death of "André" [Caplet?] and remarking that the newspapers have been cruel to Debussy. In part: "Je suis seul. Quand viendras-tu te saouler avec moi? Arrange toi. Je veux dire quand auras-tu le droit a ta permission de detente?...Les journaux on eté miserables pour Debussy. Tout est logique. C'est bien. Il faut que 'ca soye' comme ca. Je t'embrasse." A later hand has written "Laporte" in pencil next to "André" in the first sentence, but the composer André Laporte (b. 1931) is a Belgian composer. The more likely André referenced here is André Caplet (1878-1925) a French composer and conductor who is known for his orchestrations of Debussy, who died of complications related to encountering chemical weapons in the First World War.
4.) ALS, 1 page, 31 August 1937. Writing on vacation from Cavalaire, Nat is hard at work on his symphonic poem L'Enfer (1942). In part: "Entre nous j'ai du tout recreer, tout remanier, recopier, recopier, et ceci malgré l'affreuse chaleur et les moustiques ... après 10 étés l'ouvre est achevée et très avancée au point de vue de son orchestration. Deo gratias!" In 1937 Nat retired from the stage to devote himself to teaching and composition.
5.) Autograph Poem Manuscript. Titled "Pluie," 4 pp. Undated, but ca. 1920 and also from the collection of Krettly.
Usual folds to all letters, else fine and sold together with the original envelope for the first ALS and a pair of programs featuring a portrait of Nat on the front for his concerts from 15 January 1924 and 2 February 1924 at the Salle Erard.
A student of Louis Diémer, Nat appeared regurarly with violinists Jacques Thibaud, George Enescu and Eugène Ysaÿe. Considered something of a specialist in Schubert, Schumann and Brahms, between 1951 and 1955, he also recorded all 32 of the Beethoven piano sonatas. Autograph material is surprisingly uncommon, and this correspondence, which also includes mention of Nat's family, offers an intimate and candid view of Nat's personal and professional life. Autograph material of any kind is elusive.
1.) ALS, postmarked 9 April 1918, 1 page. Written to Krettly while stationed in Rouen as a Sargeant. Nat is advising Krettly about his next move after the end of the First World War: "J'imagine que vous irez vivre à Paris. Et cela evidemment m'est une tristesse. Mais je comprends! Il faut que Robert prenne sa place, qu'il se mette à la tete d'un orchestra puissant qui jouera des choses neuves." Nat also ruminates about his own career after the war, hoping to return to his music: "Voici, après la guerre, je travaille et je travaille. Et ma virtuosité que je ne abandonnerai pas donnera peut-etre raison à ceux qui ont ri justement de ma colére."
2.) ALS, 1 page, no date [ca. 1921]. A moving letter about the separation from his first wife. He has left Lourdes, "de splendides promenades dans le Pyrenees tout de meme en voiture (2 chevaux)...Le beau ciel bleu. Des sources. Tout cela pour des coeurs meurtris a jamais. Il faut etre resigné, bien bon sur la terre. J'ai pu embrasser mes enfants dans des conditions atroces...sois tranquille l'absence de ma pauvre femme a ete constatée...ma douleur est gardée par un loup aussi..."
3.) ALS, after 22 April 1925 [?] lamenting the recent death of "André" [Caplet?] and remarking that the newspapers have been cruel to Debussy. In part: "Je suis seul. Quand viendras-tu te saouler avec moi? Arrange toi. Je veux dire quand auras-tu le droit a ta permission de detente?...Les journaux on eté miserables pour Debussy. Tout est logique. C'est bien. Il faut que 'ca soye' comme ca. Je t'embrasse." A later hand has written "Laporte" in pencil next to "André" in the first sentence, but the composer André Laporte (b. 1931) is a Belgian composer. The more likely André referenced here is André Caplet (1878-1925) a French composer and conductor who is known for his orchestrations of Debussy, who died of complications related to encountering chemical weapons in the First World War.
4.) ALS, 1 page, 31 August 1937. Writing on vacation from Cavalaire, Nat is hard at work on his symphonic poem L'Enfer (1942). In part: "Entre nous j'ai du tout recreer, tout remanier, recopier, recopier, et ceci malgré l'affreuse chaleur et les moustiques ... après 10 étés l'ouvre est achevée et très avancée au point de vue de son orchestration. Deo gratias!" In 1937 Nat retired from the stage to devote himself to teaching and composition.
5.) Autograph Poem Manuscript. Titled "Pluie," 4 pp. Undated, but ca. 1920 and also from the collection of Krettly.
Usual folds to all letters, else fine and sold together with the original envelope for the first ALS and a pair of programs featuring a portrait of Nat on the front for his concerts from 15 January 1924 and 2 February 1924 at the Salle Erard.
A student of Louis Diémer, Nat appeared regurarly with violinists Jacques Thibaud, George Enescu and Eugène Ysaÿe. Considered something of a specialist in Schubert, Schumann and Brahms, between 1951 and 1955, he also recorded all 32 of the Beethoven piano sonatas. Autograph material is surprisingly uncommon, and this correspondence, which also includes mention of Nat's family, offers an intimate and candid view of Nat's personal and professional life. Autograph material of any kind is elusive.
Nat, Yves. (1890 - 1956). Collection of Autograph Letters and Poetry. Four Autograph Letters and a poem manuscript from the French virtuoso pianist and composer to Robert Krettly, the violinist and founder of the avant-garde quartet "Quatuor Krettly."
1.) ALS, postmarked 9 April 1918, 1 page. Written to Krettly while stationed in Rouen as a Sargeant. Nat is advising Krettly about his next move after the end of the First World War: "J'imagine que vous irez vivre à Paris. Et cela evidemment m'est une tristesse. Mais je comprends! Il faut que Robert prenne sa place, qu'il se mette à la tete d'un orchestra puissant qui jouera des choses neuves." Nat also ruminates about his own career after the war, hoping to return to his music: "Voici, après la guerre, je travaille et je travaille. Et ma virtuosité que je ne abandonnerai pas donnera peut-etre raison à ceux qui ont ri justement de ma colére."
2.) ALS, 1 page, no date [ca. 1921]. A moving letter about the separation from his first wife. He has left Lourdes, "de splendides promenades dans le Pyrenees tout de meme en voiture (2 chevaux)...Le beau ciel bleu. Des sources. Tout cela pour des coeurs meurtris a jamais. Il faut etre resigné, bien bon sur la terre. J'ai pu embrasser mes enfants dans des conditions atroces...sois tranquille l'absence de ma pauvre femme a ete constatée...ma douleur est gardée par un loup aussi..."
3.) ALS, after 22 April 1925 [?] lamenting the recent death of "André" [Caplet?] and remarking that the newspapers have been cruel to Debussy. In part: "Je suis seul. Quand viendras-tu te saouler avec moi? Arrange toi. Je veux dire quand auras-tu le droit a ta permission de detente?...Les journaux on eté miserables pour Debussy. Tout est logique. C'est bien. Il faut que 'ca soye' comme ca. Je t'embrasse." A later hand has written "Laporte" in pencil next to "André" in the first sentence, but the composer André Laporte (b. 1931) is a Belgian composer. The more likely André referenced here is André Caplet (1878-1925) a French composer and conductor who is known for his orchestrations of Debussy, who died of complications related to encountering chemical weapons in the First World War.
4.) ALS, 1 page, 31 August 1937. Writing on vacation from Cavalaire, Nat is hard at work on his symphonic poem L'Enfer (1942). In part: "Entre nous j'ai du tout recreer, tout remanier, recopier, recopier, et ceci malgré l'affreuse chaleur et les moustiques ... après 10 étés l'ouvre est achevée et très avancée au point de vue de son orchestration. Deo gratias!" In 1937 Nat retired from the stage to devote himself to teaching and composition.
5.) Autograph Poem Manuscript. Titled "Pluie," 4 pp. Undated, but ca. 1920 and also from the collection of Krettly.
Usual folds to all letters, else fine and sold together with the original envelope for the first ALS and a pair of programs featuring a portrait of Nat on the front for his concerts from 15 January 1924 and 2 February 1924 at the Salle Erard.
A student of Louis Diémer, Nat appeared regurarly with violinists Jacques Thibaud, George Enescu and Eugène Ysaÿe. Considered something of a specialist in Schubert, Schumann and Brahms, between 1951 and 1955, he also recorded all 32 of the Beethoven piano sonatas. Autograph material is surprisingly uncommon, and this correspondence, which also includes mention of Nat's family, offers an intimate and candid view of Nat's personal and professional life. Autograph material of any kind is elusive.
1.) ALS, postmarked 9 April 1918, 1 page. Written to Krettly while stationed in Rouen as a Sargeant. Nat is advising Krettly about his next move after the end of the First World War: "J'imagine que vous irez vivre à Paris. Et cela evidemment m'est une tristesse. Mais je comprends! Il faut que Robert prenne sa place, qu'il se mette à la tete d'un orchestra puissant qui jouera des choses neuves." Nat also ruminates about his own career after the war, hoping to return to his music: "Voici, après la guerre, je travaille et je travaille. Et ma virtuosité que je ne abandonnerai pas donnera peut-etre raison à ceux qui ont ri justement de ma colére."
2.) ALS, 1 page, no date [ca. 1921]. A moving letter about the separation from his first wife. He has left Lourdes, "de splendides promenades dans le Pyrenees tout de meme en voiture (2 chevaux)...Le beau ciel bleu. Des sources. Tout cela pour des coeurs meurtris a jamais. Il faut etre resigné, bien bon sur la terre. J'ai pu embrasser mes enfants dans des conditions atroces...sois tranquille l'absence de ma pauvre femme a ete constatée...ma douleur est gardée par un loup aussi..."
3.) ALS, after 22 April 1925 [?] lamenting the recent death of "André" [Caplet?] and remarking that the newspapers have been cruel to Debussy. In part: "Je suis seul. Quand viendras-tu te saouler avec moi? Arrange toi. Je veux dire quand auras-tu le droit a ta permission de detente?...Les journaux on eté miserables pour Debussy. Tout est logique. C'est bien. Il faut que 'ca soye' comme ca. Je t'embrasse." A later hand has written "Laporte" in pencil next to "André" in the first sentence, but the composer André Laporte (b. 1931) is a Belgian composer. The more likely André referenced here is André Caplet (1878-1925) a French composer and conductor who is known for his orchestrations of Debussy, who died of complications related to encountering chemical weapons in the First World War.
4.) ALS, 1 page, 31 August 1937. Writing on vacation from Cavalaire, Nat is hard at work on his symphonic poem L'Enfer (1942). In part: "Entre nous j'ai du tout recreer, tout remanier, recopier, recopier, et ceci malgré l'affreuse chaleur et les moustiques ... après 10 étés l'ouvre est achevée et très avancée au point de vue de son orchestration. Deo gratias!" In 1937 Nat retired from the stage to devote himself to teaching and composition.
5.) Autograph Poem Manuscript. Titled "Pluie," 4 pp. Undated, but ca. 1920 and also from the collection of Krettly.
Usual folds to all letters, else fine and sold together with the original envelope for the first ALS and a pair of programs featuring a portrait of Nat on the front for his concerts from 15 January 1924 and 2 February 1924 at the Salle Erard.
A student of Louis Diémer, Nat appeared regurarly with violinists Jacques Thibaud, George Enescu and Eugène Ysaÿe. Considered something of a specialist in Schubert, Schumann and Brahms, between 1951 and 1955, he also recorded all 32 of the Beethoven piano sonatas. Autograph material is surprisingly uncommon, and this correspondence, which also includes mention of Nat's family, offers an intimate and candid view of Nat's personal and professional life. Autograph material of any kind is elusive.