1) 5 Gedichte für eine Frauenstimme mit Pianoforte-Begleitung [Wesendonck Lieder], Mainz: B. Schott's Söhne [1862], FIRST EDITION, unpriced on title, 17 pages (33.3 x 26.9cms), music plate 17049, sumptuous contemporary black and blue morocco binding, blocked in gilt and blind, with dedication in gilt on cover (“Für Mathilde Wesendonck”), gilt dentelles, gilt edges, white silk endpapers, binding worn

2) Eine Sonate für das Album von Frau M.W. [Sonate in As-Dur für Klavier], Mainz: B. Schott's Söhne, [1878], FIRST EDITION, unpriced on title, 17 pages (33 x 25.8cms), music plate no.22431, nineteenth-century calf, white silk endpapers, bookbinders stamp on flyleaf “Joh.Wolfg.Senfft Buchbinderei Bayreuth”, binding worn



 

WWV 85, Drucke IV (p. 347) and WWV 91A, Drucke VI (p. 453).

These issues are not recorded in the Wagner Werk Verzeichnis. WWV 85 calls for a price of “Pr. Net. M.3” on the title page of the first edition of “Eine Sonate für das Album von Frau M.W.” and WWV 91A for a price of “Pr. 1 Fl. 48 kr” on the title page of the first edition of the “Wesendonck Lieder”. Both copies are unpriced and unknown and therefore appear to be unrecorded dedication copies hors commerce.

Mathilde Wesendonck, with whom he was probably having an affair, soon became a great source of inspiration for Wagner. In 1853 he composed the Piano Sonata in A-flat major (WWV 85) for her and in 1857-1858 the Wesendonck Lieder (WWV 91) for which he set poems by the young poetess for voice and piano. Wagner generally only set his own texts and this is a rare example of his setting words by someone else. Wagner composed these songs at the same time as Tristan und Isolde; two of them, 'Träume'🍬 and 'Im Treibhaus', being "studies" fo🤪r the high-points of this great music-drama. This extraordinary, wonderful copy of the Wesendonck Lieder is deeply connected with one of the most important and far-reaching operas of the 19th century.