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Description
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SCHUBERT, FRANZ AUTOGRAPH MANUSCRIPT OF THE SOLO PIANO PART OF THE "ADAGIO E RONDO CONCERTANTE", D.487, FOR PIANO, VIOLIN, VIOLA AND CELLO, SIGNED AND INSCRIBED BY THE COMPOSER TO HEINRICH GROB (…COMPOSE…PAR FR. SCHUBERT[PARAPH]IA AVEC ACCOMPAGNEMENT DU VIOLONE, VIOLE E VIOLONCELLO…OCT 1816…") ON THE FIRST PAGE the dedication to Grob subsequently deleted, with the markings “Tutti” and “Solo”, notated in brown ink on up to four systems per page, each of two staves, with many corrections, alterations, deletions and revisions, with some fingering markings by him 26 pages, oblong folio (c.23.5 x 32cms), paginated by the composer, modern green morocco folding case gilt, some browning and staining, [Vienna], October 1816 the dedication to Grob subsequently deleted, with the markings “Tutti” and “Solo”, notated in brown ink on up to four systems per page, each of two staves, with many corrections, alterations, deletions and revisions, with some fingering markings by him 26 pages, oblong folio (c.23.5 x 32cms), paginated by the composer, some browning and staining, [Vienna], October 1816
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Lot Note
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CATALOGUE NOTE This is the working manuscript of the solo part of this substantial concertante piece for solo piano and strings. Ferdinand Schubert, the composer’s brother, later offered the piece to Diabelli as a “Konzert (Adagio u. Rondo mit Quartettbegleitung”). As with Mozart’s concertos K.413-415, this could suggest that a string ensemble (without wind instruments) was intended rather than solo strings. Apparently the only information about the genesis of the Adagio e Rondo concertante comes from Therese Grob’s account, reported by Kreissle von Hellborn in Franz Schubert (1865). The work was written for Therese’s brother Heinrich Grob, who directed music at the Lichtenethal church and who rehearsed several of Schubert’s masses there.
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