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Musicians attach increasing importance to the selection of edition they use for playing. There is a growing awareness of the influence of score material selection on interpretation. Historical performance raises the bar as well by encouraging the use of autographs, manuscripts and first editions. Thanks to referring to historical materials, we can quickly appreciate the effort of contemporary editors who – once publishing scores today – make them much more accessible. It would seem that basing one’s interpretation on an urtext edition should be a perfect solution combining today’s clarity with historical truth. The analysis shows, however, that even these trustworthy urtext editions differ from one another, thus differ from the autograph. Using Sonata in A Minor D 385 by Franz Schubert as an example, the article shows different approaches to music text edition. There are distinct ways in which editors interpret articulation, dynamics, and even sound pitch. The biggest number of differences can be found in terms of articulation, which it largely connected with the necessity to read handwritten material. Unambiguous deciphering (and exact placement) of numerous music markings can sometimes be downright impossible. That is why editors often use the method which consists in searching for analogies between fragments and parts, yet this method does not always seem right. As performance practice shows, treating each part individually, playing a similar fragment in a dissimilar way, often brings interesting results interpretation-wise. The article encourages own experiments, using doubts as material for interpretation, and using the benefits of contemporary editions cautiously.

Le manuscrit conservé à la Biblioteca Nacional de España avec la cote Res/134 contient, entre autres œuvres, le premier acte considéré comme autographe de El favor agradecido de Lope de Vega. Dans le présent travail, on réalise une étude paléographique de son écriture pour répondre à deux questions qui se posent, l’une quant à la relation que l’on pourrait établir entre différents changements graphiques que l’on observe dans le texte et l’existence de plusieurs écritures dans le manuscrit, et, ensuite, la possibilité d’établir si l’exemplaire en question doit être considéré comme autographe de l’autor, étant donné que l’on observe de notables différences graphiques vis-à-vis de l’écriture canonique de Lope. Une analyse rigoureuse a permis, également, de corriger une erreur de datation de cet exemplaire, qui se répète depuis la date qui apparaît sur la première page. The manuscript preserved in the National Library of Spain under the signature Res/134 contains, among other works, the first act considered autograph of Lope de Vega’s El favor agradecido. In this work a paleographic study of his writing is carried out to answer two questions that arise from this field, one as to whether the different graphic changes observed in the text may be related to the existence of several hands in the manuscript and establish whether such an act should continue to be considered an autograph by the author, as there are several graphic differences observed regarding Lope’s canonical writing. The application of a rigorous analysis has also made it possible to correct a mistake that has been repeated in the dating of this testimony, from the date it appears on the cover. El manuscrito conservado en la Biblioteca Nacional de España con la signatura Res/134 contiene, entre otras obras, el primer acto considerado autógrafo de El favor agradecido de Lope de Vega. En el presente trabajo se realiza un estudio paleográfico de su escritura para dar respuesta a dos cuestiones que se plantean desde dicho ámbito, una referente a si los diferentes cambios gráficos que se observan en el texto pueden estar relacionados con la existencia de varias manos en el manuscrito y, a continuación, establecer si dicho acto debe seguir considerándose autógrafo del autor, ya que se observan notables diferencias gráficas con respecto a la escritura canónica de Lope. La aplicación de un riguroso análisis ha permitido, asimismo, corregir un error que se viene repitiendo en la datación de este testimonio, a partir de la fecha que aparece en la portada.

In the Manuscripts and Rare Books Division of the Regional Scientific Library of Saratov State University, an early autograph of Ivan Bunin, which has not yet been introduced in scientific circulation, has been discovered. This is a signed copy of the translation of G. G. Byron’s Manfred published by the “Znanie” Partnership. It is known that Fyodor Batyushkov, holding the post of the editor-in-chief of the magazine Mir Bojiy (The World of God), wrote reviews of the works of authors nominated for the Pushkin Prize.

The papyrus on which the so-called Tbilisi hymn to Dionysus survives (P. Ross. Georg. I 11 [LDAB 4911 = MP3 01861.000]) is remarkable for preserving, along with the hymn’s text, a number of marginal and interlinear variant readings, which, interpreted as authorial variants, have led to the conclusion that the papyrus represents an autograph draft. As the present study argues, it is in fact more likely that the variants belong to a copyist or reviser rather than to the hymn’s author.

The poems and translations of John Polwhele ( c.1606–1672) are preserved in a single autograph manuscript, Bodleian MS English poetry f. 16. Some have received intermittent scholarly attention in recent times, often on account of Polwhele's admiration for and emulation of Ben Jonson. As well as other classical translations, Polwhele's manuscript includes eleven poems and passages from Horace, nearly all of them versions of odes and epodes. A handful have been printed or partially printed before. The purpose of this contribution is to provide transcribed texts of the complete set in a uniform way in a single document. As well as the Jonsonian connections of Polwhele's Horatian writings, they are of scholarly interest because they use Horace as a vehicle for comment on the translator's own times, including events of the English civil war period such as the regicide of 1649.

The article is an introduction to the issues of Adam Naruszewicz’s editorial techniques, revealed in the preserved autographs of his literary prose and scientific works. These manuscripts are divided into texts written by Naruszewicz and those dictated and edited by him. Initial research shows that the bishop's editorial work was done in line with the following criteria: clarity and credibility of the argument, substantive correctness, and shaping the content, the aim of which was to create a positive image of the king, Stanisław August. This often determined intervening in areas, which are difficult to be accused of being incorrect today. This is why the article attempts to indicate those editorial activities of the bishop, which could now be perceived as variants of the text, while, according to the author, they required amending. As an editor, Naruszewicz interfered with various aspects: factual errors, style, structure, punctuation, making clarifying additions, as well as self-censoring. All these editorial efforts show the literary skills of one of the most outstanding minds of Polish Enlightenment.

The proposed article assumes a continuation of the conversation about one of the most polemical texts by Alexander Ostrovsky, begun on the pages of this journal by Vladimir Tikhomirov, who in his article “Comedy "The Forest" by Alexander Ostrovsky: holding out for a hero. Experience of a commentˮ drew attention to the problem of evaluating the heroes of the comedy "The Forest" by critics of the 19th century. The genre-compositional features of the play, which included old and new types of heroes in familiar and new conflict collisions, acquired even more explicit outlines when referring to the manuscript sources of the play in the process of preparing the complete collected works of Alexander Ostrovsky. In our opinion, the reaction of the playwright's contemporaries, who did not see anything fundamentally new in the play "The Forest", is due, in particular, to the complex drawing of the images of the main characters, the concept of which took shape gradually. At the same time, the evolution of the characters of the heroes of the comedy had a direct impact on the formation of the author's intention. Also, the attempt to restore the general drawing of the author's work to create the characters of the main heroes of the play, to comprehend the specifics of the contradictions implicitly present in their images, is a logical continuation of the discourse begun earlier.

The article is devoted to the history of the creation and compositional features of P.Chevalier de Brissol’s ballet to the music of G.A. Pari “The Village Heroine”. Information was collected and clarified on the performances of the play, its authors and performers. Discrepancies were revealed in the studies (the date and place of the premiere, the number of acts, the names of choreographers and composers do not match). The creative continuity of the choreographers in working with the plot is noted and documentary information on the resumption of the ballet performed by A. Poireau, I. Walberh and A. Glushkovsky is provided. The libretto compositions were found and studied. In the article, the history of the plot related to the opera of P.Monsigny “Deserter”, the ballet of the same name by J.Doberval and other works are considered. For the first time, little-known handwritten musical sources of the ballet and its musical material are discussed. Textual features were studied, including handwritten litters containing the names of the creators, the dates of the ballet, as well as a rare autograph of the composer and bandmaster I. F. Kerzelli. The place of the composition in the work of Pari is determined and the conclusion is made that the musical score was compiled from the well-known works of different authors. In search of the authors of musical fragments, a complete verification of the score of the opera by P.Monsigny “Deserter” and the musical source “Village Heroine” was conducted. In the course of checking the score, a quote from the opera “Orpheus and Eurydice” by C.W. Gluck was discovered. The advantages of instrumentation and musical drama of ballet, built on thorough development and a system of thematic reprise, are revealed. It is established that Pari wrote music for its sequel — the ballet in three acts “The Consequence of the Village Heroine” (1806?), choreographed by Poireau and Valberkh.

This article comments on one detail of the artistic world of the novella Uncle’s Dream. The mention of monk Misail in Svetozersky Hermitage is considered as a topographic sign, which allows one to accurately determine the local attribution of Dostoevsky’s text. According to the author of the article, the prototype of the priest is Father Macarius (Mikhail Yakovlevich Glukharev), also known as “the Apostle of the Altai Land”. The author introduces into scholarly circulation M. Ya. Glukharev’s autograph found in Barnaul and analyses the missionary activity of the Archimandrite and the reasons for his getting closer to Tobolsk Decembrists M. A. Fonvizin and his wife N. D. Fonvizina, P. S. Bobrischev-Pushkin, and P. N. Svistunov. The paper also discusses the question of F. M. Dostoevsky’s interest in the personality of the Archimandrite and the channels through which the writer could know about the old man: Fonvizin’s circle, the book about father Macarius of his succеssоr S. Landyshev, Dostoevsky’s Semipalatinsk fellow ethnographer N. A. Abramov, or oral legends, including raskolnik ones. The extant humorous stories about the Archimandrite might have served as an impetus for the comic transformation of his image in the novella Uncle’s Dream, in which the writer easily and ironically used facts known to him encrypting Father Macarius and using the secular name Mikhail. In the writer’s later works, the figure of Macarius is presented in the rough drafts of the novel The Brothers Karamazov and “the monk of Obdor” is included in the environment of Elder Zosima in the final text of the work. Long before the emergence of the conception of The Brothers Karamazov, M. Ya. Glukharev becomes not only a catalyst in the creative process and one of the prototypes for Dostoevsky, but also an example of the “romantic missionary”, a popular spiritual leader and reformer of the Church.

espanolEl objetivo de este trabajo es analizar la escritura que, a mediados del siglo XVI en Santiago de Compostela, desarrollaban los individuos que no tenian en el ejercicio escrito su sustento economico. Para ello, seleccionamos uno de los libros de cuentas del Hospital Real, en el cual figuran las firmas de una gran variedad de vecinos de Santiago, asi como diversos documentos autografos de algunos de los miembros de la institucion. A traves de su analisis nos aproxi-maremos a la cultura grafica de los no profesionales de la escritura, atendiendo a tres variables: la difusion social de la escritura, los niveles de destreza grafica y los modelos graficos empleados EnglishThe aim of this study is to analyse the handwriting of those in-dividuals from Santiago de Compostela, who did not make a living by writing professionally in the 16th century. We have chosen one of the accounting books from the Royal Hospital, in which we can see the signatures of many inhabitants from Santiago, as well as some autograph documents issued by different members of the institution. We will study the graphical culture of those individuals, taking into account three factors: the social spread of handwriting, the different levels of writing skills and the graphic models used.

This special issue eruditely demonstrates the deep interconnections between British antiquarianism, natural philosophy and medicine in the eighteenth and nineteenth centuries. These stimulating papers, representing the state of the field, include: analysis of classical antecedents for balneology; Sir Isaac Newton's attempts to restore the prisca sapientia and use of mathematics to reform knowledge of antiquity; editors and autograph collectors who preserved the still extant correspondence (and hence the intellectual geography and networks) of early modern antiquaries; and the re‐enactment of ancient landscapes and relics using geological theory and three‐dimensional museum exhibits. As Susan Pearce pointed out, Jeremiah Milles, in his presidential address to the Society of Antiquaries in 1781, remarked that ‘History, Science and Art may claim an equal share in the Attention and Labour of the Antiquary’.

This article transcribes eight hitherto unpublished George Eliot letters arranged in chronological order. The sources for the letters are book and autograph dealers’ catalogues, auction houses, the...

The article is devoted to the study of autographed books from the personal library of the famous Tatar poet-hero Musa Jalil, which is exhibited in the Museum-apartment of the poet.

Preparado no âmbito da edição crítica em curso do Romanceiro de Almeida Garrett (1799-1854), este trabalho estuda um importante legado documental do eminente escritor português. Referimo-nos aos Documentos 59 a 63 do Espólio Literário de Almeida Garrett, que se encontram depositados na Biblioteca Geral da Universidade de Coimbra e que abarcam manuscritos autógrafos e originais de imprensa do autor com vista sobretudo à publicação de Garrett (1843), bem como à Coleção Futscher Pereira. Partindo do facto de que o núcleo documental coimbrão se apresenta como uma verdadeira miscelânea, o que perturba o reconhecimento do seu importante valor cultural e patrimonial, propomo- nos contribuir para o reposicionamento destes materiais a partir de uma abordagem essencialmente material e filológica. Discutir-se-ão, assim, algumas das características do espólio, as quais espelham as práticas (por vezes questionáveis) que nortearam a organização destes materiais no passado.

There is given the review of documents related to the family life of Ukrainian classic poet and public fi gure M. T. Rylsky (1895–1964). These documents, found out in the collection of the State Archives of Kyiv City were unknown to researchers or general public, although some of the facts described in the documents were known to the family and those, who studied biography of T. R. Rylsky, his sons and grandson. Among these sources are the autographs of the poet. The documents apply to M. T. Rylsky’s residence in Kyiv. Therefore, the purpose of the publication is to highlight these fi ndings for scientifi c targets and to popularize these rare archival sources. Research methods. The research is based on general scientifi c methods (objective-factual, historical, analyticalcomparative). The scientifi c novelty of the publication. The documents discovered by the author relate to the death of poet’s brother Ivan and the giving birth by the wife of M. T. Rylsky’s, Kateryna Mykolaivna, to their fi rst son, Bohdan. These archival sources (personal documents of family members) are described fi rstly, researched and introduced into scientifi c community. Thanks to these documents and recently published sources, some facts of life of M. T. Rylsky and his family in Kyiv in the 1930s have been clarifi ed. There is also given the information about the personal fi le of the student of the Medical Faculty of Kyiv University M. T. Rylsky, that is stored in the State Archives of Kyiv City. The article also presents family photo of 1900, which depicts the poet’s parents, young Maksym and his two older brothers, including Ivan, noticed in the study, and another family friend – a prominent ethnographer J. V. Yurkevych. Conclusions. The State Archives of Kyiv City is a treasury of documentary sources. There is preserved also the decision of the Executive Committee of Kyiv City Council dated by 1965 about renaming of Radyanska Street to Maksym Rylsky Street in order to perpetuate the memory about the poet. Copies of the documents can be used in literary museums, museums of M. T. Rylsky in Ukraine, in researches about life and work of poet, in archival exhibitions. The documents expand the source base about life of M. T. Rylsky and his family. References: Ilyenko, I. & Zhaha, O. (1995). Trudy i dni Maksyma Rylskoho. Dokumentalnyj zhyttiepys. [Maksym Rylsky’s writings and days. Documentary biography]. Kyiv: Dnipro. [in Ukrainian]. Kolyada, I. & Kolyada, Yu. (2015). Maksym Rylskyj. Kharkiv: «Folio». Retrieved March 20, 2020, from http://enpuir.npu.edu.ua/bitstream/123456789/17413/1/Rylsky.pdf [in Ukrainian]. Okipnyuk, V. (2011). Shtatna struktura i personalnyj sklad prokurorskoho nahlyadu za orhanamy derzhavnoyi bezpeky radyanskoyi Ukrayiny v 1920–1930-h rr. [Public prosecutor’s staff structure and personnel, its control over the state security agencies of Soviet Ukraine in 1920s-1930s]. Z arhiviv VUChK-HPUNKVD-KHB, 2(37), 142–147. [in Ukrainian]. Rylskyj, B. M. (1995). Mandrivka v molodist batka. [Journey to the father’s youth]. Kyiv: Molod. [in Ukrainian]. Rylskyj, B. M. (1989). Te, shho prysnylos navesni. [What appears in dreams in spring]. Ukraina, 23. [in Ukrainian].

En este artículo se estudia la historia textual del poema “Testamento” de Valle-Inclán a partir de una relación actualizada de los testimonios de la tradición directa del texto, para luego editar el primer y desconocido testimonio impreso del poema. Se llega a la conclusión de que tanto los autógrafos como los impresos son en realidad copias de manuscritos de trabajo todavía en una fase redaccional, y se desvelan al menos dos estados genéticos cuya datación se intenta precisar. Asimismo, se presentan argumentos que parecen revelar que los testimonios impresos muestran diversas alteraciones debidas a la manipulación de sus editores.

This paper aims to report the existence of an 18th-century manuscript, copying a censure against Quevedo’s Discurso de Todos los Diablos, dated July 1629. Previous editors published it, based on an alleged autograph by Diego Niseno, now lost. Due to its loss, the new source in the Royal Library in Madrid is the only one preserved. The manuscript lacks attribution and its title is longer.

Today it may look strange to liken Ezra Pound to half-forgotten American poet and writer George Sylvester Viereck (1884 –1962) as literary figures, but contemporary critics compared them. Pound never met Viereck in person, but their roads crossed more than once for several decades. In the 1910s William Marion Reedy known as “literary boss of Midwest” published poems by both Viereck and Pound in his weekly The Mirror. In 1928 they both refused to sign a group protest against Samuel Roth who printed fragments of James Joyce’s Ulysses in his magazine Two Worlds Monthly. During the World War II Pound broadcasted over Fascist Rome Radio, after it he was arrested for treason and sentenced to death but lately admitted to a psychiatric clinic for life. Before the USA entry into war Viereck cooperated with pro-Nazi propagandists, in 1942 he was convicted and imprisoned up to 1947. After the war Viereck befriended many right-wing political activists without accepting their views. One of them was Eustace Mullins who worked for Pound’s liberation. Viereck wrote in 1952, “As to Ezra Pound, he is an important literary figure, but he travels along erratic paths. I do not pretend to understand him, especially in his present phase. But I am against caging nightingales, even if the nightingale is naughty. And after all, he is a poet”. This article includes the first publication of Pound’s greetings to Viereck on his 70th birthday (autograph in the author’s collection).

This paper identifies, describes and analyses Isaac Newton's known inscriptions in alba amicorum (autograph books). It begins with an introduction to the early modern autograph book and its social utility for travelling students. Each Newton inscription is contextualized with brief biographies of the individual album owners. The potential reasons for Newton's use of his chosen epigrams are considered, as are possible reflexive dynamics between him and the album owners that may have helped to inform these choices. An allied consideration is the degree to which Newton's epigrams relate to scholarly projects with which he was engaged when he penned them. A special feature is the identification of the owner of an album from which a Newton inscription was stolen more than half a century ago. This study offers a glimpse of Newton's intellectual reputation across several decades, both on the Continent and in his native England. More broadly, this paper makes contributions to our understanding of Newton's personal life and the strategic use of alba amicorum in the late seventeenth and early eighteenth centuries within the Republic of Letters.

There are two surviving copies of La Male Regle by Thomas Hoccleve, a lively account of his dissolute life as a clerk of the Privy Seal. One is part of an autograph manuscript of Hoccleve’s works in the Huntington Library, the other an incomplete version in Canterbury Cathedral Archives. Reference to a third copy survives in the will of William Hoton, proved in 1447. As well as La Male Regle, Hoton bequeathed a letter of Pharaoh, a chronicle and statutes, together with a mazer and pious donations. This information, coupled with records of Hoton’s family members, his burial place and associates, produces a profile of William Hoton linking him with the law and the book trade, and possibly with Neville’s Inn, the London town house used by a noble family to whose members Hoccleve addressed some of his poems. Hoton’s will also leads to a second individual who owned La Male Regle—the person who received it as a bequest, the common attorney and citizen, John Mordon. Neither Hoton nor Mordon has hitherto featured in discussions of the reception of the poem, which enjoyed a wider circulation than previously thought.

The study of alba amicorum is still a relatively obscure yet growing pursuit in the Anglophone world. By browsing through these autograph albums, it is possible to unlock the names of Scots so long...

Se analizan en este trabajo ejemplos representativos de manuscritos autógrafos de comedias áureas en los que se conservan cambios realizados sobre el autógrafo. Se tienen en cuenta los realizados por el propio dramaturgo sobre su primer texto o, incluso, sobre su autógrafo una vez utilizado y marcado por el responsable de la compañía teatral. Pero, sobre todo, se examinan los vestigios de la intervención de las gentes de teatro sobre el texto que llevaron a escena. Entre ellos se encuentran huellas de sustituciones de un actor por otro, incrementos y eliminaciones de texto en el papel adjudicado a un comediante, simplificación de pasajes, atajos, enmiendas y añadidos varios, tanto de versos como de didascalias. A partir de estos resultados se analizan las razones que pudieron llevar a los dramaturgos a intervenir por segunda vez en su texto y a los comediantes a trabajar con esa libertad sobre el texto autógrafo de dramaturgos consagrados. This is a study of the changes to autograph manuscripts of Golden Age comedies, whether by the author himself, or by the theatrical companies that performed the plays, in particular the latter. The alterations under consideration –additions, cuts and cues in the text and in stage directions– were made because of the substitution of one actor for another in a particular role. Based on this evidence, the study analyzes the reasons that led playwrights to revise their own texts, and actors to take such liberties.

The autograph corpus of the Damascene scholar Ibn Ṭūlūn is dispersed throughout collections in North America, Europe, and West Asia. As an initial probe into these materials, I will describe, identify, and analyze two compendia in the Princeton University collection: Garrett MSS 196B and 1011H. They contain, among other things, a portion of al-Thaghr al-bassām, an autograph draft of his biographical dictionary of Damascene judges, which is later than the one edited and published in 1959, and a heretofore missing portion of al-Qalāʿid al-jawhari- yya, his topography of al-Ṣāliḥiyya. I will also positively identify an anonymous, untitled manuscript in the Bodleian Library (Pococke 26) and show its relationship to the al-Thaghr al-bassām autograph.

The elements of expert analysis established in Russian academic circles by the late nineteenth century, when auxiliary historical disciplines became an indispensable part of the academic base of historical knowledge, are described in this article with reference to a lost letter by Peter I to Georg Wilhelm de Henning sent on 24 December 1724. These elements include the study of the letter, the stages and methods of introducing it into scholarly circulation, and the assessment of its significance and value in monetary terms. It is established that the original of the letter ended up in a private collection in the early twentieth century and became inaccessible to historians. However, handwritten copies, a draft, and descriptions have survived. The article analyses the work with Peter I’s letter performed by the members of the commission for the publication of Peter the Great’s letters and papers, as well as by the first owner of the letter, N. K. Bogushevsky, the Parisian antiquarian Noël Charavay, into whose hands the letter fell a decade after its former owner’s death, and N. P. Likhachev, a prominent specialist in a number of auxiliary historical disciplines to whom the antiquary turned for an expert opinion. While researching the copies and descriptions of Peter I’s letter, the authors used traditional methods of expert analysis of the missing original found in the collections of St Petersburg Institute of History (Russian Academy of Sciences), the Russian State Archive of Ancient Acts, and the National Archives of France. Referring to handwritten materials from the Russian State Archive of Literature and Arts, the Russian State Library, and sales catalogues, the authors carry out a brief analysis of the Western European and Russian antiques market in the late nineteenth – early twentieth centuries in relation to Russian documents from the eighteenth century (prices and demand). The attribution of authenticity to historical documents (including the first Russian emperor’s autographs) was not only an issue of the reliability of historical knowledge or academic interest, but also one of reputation of connoisseurs, collectors, antiquarians, and the experts they turned to. At the same time, reputation helped ensure the quality of expertise and was a tool for raising this through horizontal connections within the professional community.

The career of William Babell (1688–1723), an English composer of German birth, has recently been reassessed by me following identification of a manuscript source in Bergamo, which appears to be a collection of his harpsichord music. The manuscript shows he was an important keyboard composer active in Britain immediately prior to the publication of Handel's Suites de Pieces pour le Clavecin (1720), and it has provided insights into his working methods. The major items – eleven substantial toccatas mostly in prelude–fugue form together with two suites – are replete with the cadenza-like passagework familiar from his arrangements of arias from operas produced at the Haymarket Theatre between 1706 and 1714, which were published in three collections in his lifetime (in 1709, 1711 and 1717). They also reveal the range of influences on his keyboard style, illustrating how he adapted material from music by French, Italian, German and English composers. Though the source is not an autograph, it was copied towards the end of Babell's life by an individual close to him, to judge from the large number of pencil corrections that appear to be the composer's own. The manuscript therefore has biographical implications, suggesting that there was a composer-supervised project to bring together his keyboard music, perhaps in order to prepare some of it for publication, which never saw completion.

The article is devoted to the autographs of I. A. Bunin, preserved at the Archival and Manuscript Department of А. А. Bakhrushin State Central Theatre Museum. One of these autographs has previously been published, the other four have so far remained in obscurity. These latter formed the main subject of the study undertaken by the author

A. N. Tolstoy’s handwritten notebook of 1909 (Manuscript Department of the Institute of Russian Literature (Pushkinskij Dom), Russian Academy of Sciences) contains a draft autograph of "The Poem at Seventeen" (1910) which could be probed as an earlier version of the short story based on Tolstoy’s personal impressions. The draft autograph is published here, using the text from the handwritten notebook. The text includes the plot and the main characters, the young poet, Lyubochka and her father — the antique dealer. They were subsequently made more specifi c and acquired psychological traits.

The article considers the late works of the Novosibirsk artist N.D. Gritsiuk and analyzes several pieces from the series “Fantasies and Interpretations” which was a vehicle for his free self-expression. In some abstract compositions of the late 1960s and early 1970s, Gritsiuk strives to make sense out of the contemporary political events, through the use of metaphorical imagery which occasionally turns into an allegorical language. The main source of this technique are the numerous “doodles” and autographs of the artist which reflect the automatism and intuitive quality of his writing. The method of fantasizing, as well as abstraction and realistic rendering of reality, becomes for the artist yet another instrument for making sense both of his own inner feelings and the overall world. Thus, Gritsiuk’s works on political topics harmoniously unite the abstraction, surreal imagery, and the principles of fantasizing.

The article analyses a rare source of the manuscript legacy of St. Paisius Velichkovsky. The autograph of the Second Epistle to Theodosius, dispatched to the Sofroniev Monastery, was discovered in the collection of E. V. Barsov. This Epistle is an important text for the reconstruction of the Athos period of the life of St. Paisius. The research is focused on the pattern of the convolution with the autograph entwined into it, on the analysis of the owners’ records tracing the relocations of the manuscript, and on the source of the fi rst publication of the Second Epistle.

The article reveals the history of the autograph of Taras Shevchenko’s poem “Once I Was Walking at Νight” (“Yakos’-to yduchy unochi”). The poet wrote it in the autumn of 1861. The existence of this autograph was reported by Dmytro Zatyrkevych, who found it while sorting the archive of his late father Ivan Zatyrkevych. The latter himself was a talented poet and began to write poetry being a student of the classical school in Nizhyn. His fable “Puddle” was published in the journal “Osnova” and became popular thanks to the famous Ukrainian actress Hanna Zatyrkevych-Karpinska. She advised the fable to Marko Kropyvnytskyi, who repeatedly and with constant success read it from the stage. Having graduated from Nizhyn, Ivan Zatyrkevych became a military man and participated in the Crimean War. In 1861 he served in Orel, where on May 2 the farewell procession with the body of Taras Shevchenko came. Ivan Zatyrkevych took an active part in preparing the farewell ceremony in Orel. In gratitude, Ivan Lazarevskyi, who was the main organizer of the mournful procession in honor of Taras Shevchenko in Orel, presented the autograph of the poem “Once I Was Walking at Night” to Zatyrkevych. At the top of the autograph, there is an inscription made by an unknown hand: “Autograph by T. H. Shevchenko presented to me by Lazarevskyi in Orel.” A comparison of the handwritings made it possible to establish that this inscription belongs to Ivan Zatyrkevych. In the summer of 1911 Dmytro Zatyrkevych announced his ȇnd to Mykhailo Hrushevskyi and then offered selling an autograph, as he needed money. Apparently, Mykhailo Hrushevskyi agreed and bought an autograph. Hrushevsky published fragments of the correspondence with Dmytro Zatyrkevych and selected poetic and prose works of Ivan Zatyrkevych within the article “One from Nizhyn” in the journal “Literaturno-Naukovyi Visnik”.

The article gives a holistic understanding of Lermontov’s poem “Dispute” (1841) in the dynamics of its birth from conception to publication in the journal of Slavophile orientation “Moskvityanin.” Creative history of the poem for the first time is fully reconstructed. The results of a comparative analysis of the draft and two finishing manuscripts of the poem having minor discrepancies between are presented. The reasons and mechanisms of Lermontov’s text corrections, which help to understand the movement of the author’s thought, are indicated. The conclusion is made about the peculiarities of artistic imagery of the poem. The process of Lermontov’s work on the text is associated with the saturation of specific images with symbolic sound. The artistic image created by the poet is the bearer of the pan-Slavic concept. The novelty of the study is associated with the clarification of the features of the birth and impact of poetic imagery of Lermontov’s poem significant for understanding his worldview. The urgency of the problem is associated with the need to clarify the features of Lermontov’s thinking; his work, being a reflection of the real pictures of his time, has a visionary potential. The question of Lermontov’s historiosophy is raised, his views on the role of Russia in the world historical process are clarified. Russia is portrayed by Lermontov as a great empire which power is likened to elemental force, exceeding capacity of once historically significant states.

Despite the continuously growing interest in the music of Sergei Rachmaninoff, his piano music still contains compositions which have remained un studied in full measure. These works include the Sonata No. 1 for piano, opus 28 in D minor. Various versions of the musical text of the composition are compared in the article, including the three preserved manuscripts. The following musical score texts are examined: the manuscript which belonged to Konstantin Igumnov (dated May 14, 1907); two autograph scores (from September 17, 1907 and March 30, 1908); early publications of the Sonata (the first publication from 1908 in the company “A. Gutheil”; the British publication from 1908 by “Hawkes & Son”) and the most popular Russian editions (from 1948, 1964, 1981 and 2012). The author also analyzes certain moments of the composer’s biography, which present the possibility to gain insight into the reasons for the fragmentarily cardinal differences between the various manuscripts. The methods used in the research make it possible to approach an objective understanding of the composer’s conception and the arising doubts in the genuineness of the musical score text which may appear in the pianist’s mind during the process of work on Rachmaninoff’s Sonata No. 1 for piano. Keywords: Sergei Rachmaninoff, Sonata No. 1 for piano, musical score autograph, Konstantin Igumnov, musical text.

In a letter to the publisher Ricordi dated 6 February 1821, the Italian guitarist and composer Mauro Giuliani wrote that, after getting acquainted with Gioachino Rossini in Rome, Rossini lent him many autographs of his operas so that the guitarist could transcribe whatever he liked from them. From this loan were born Le Rossiniane Opp. 119–124, six potpourris for solo guitar which are considered Giuliani’s greatest musical accomplishment. Although it is likely that most of the sources of Le Rossiniane were Rossini’s originals, there is also epistolary evidence that Giuliani also transcribed themes from scores provided to him by his publishers. This fact is the point of departure from which this article explores the possible sources for two opera themes transcribed in Le Rossiniane No. 2, Op. 120, and No. 3, Op. 121. The data presented here, coming from opera and music publishing history, conveys that such themes may have been transcribed from two specific vocal scores issued by Vienna-based publishing houses – ‘Cappi and Diabelli’ and ‘Artaria’. Additionally, the exploration of the context of the opera themes at issue has also brought to light some interesting unpublished facts.

This study expands the understanding of rare books — witnesses of the events of the World War II.The initial stage of formation of the library collections of Zelinsky Institute of Organic Chemistry of the Russian Academy of Sciences (IOC RAS, Department of the Library for Natural Sciences of the Russian Academy of Sciences) occurred in the 1940s. Acquisition sources of literature were very diverse, so the collections contain books from the libraries of various institutions of the Russian Empire and the USSR. Among foreign publications, there are monographs and periodicals from the displaced collections of libraries of the German industrial organizations and educational institutions, received after the Great Patriotic War. Monographs of the library of the German Chemical Society were returned to the GDR in 1956. Books of industrial companies “Vereinigte Stahlwerke”, “Deutsches Kalisyndikat Bucherei”, “Berndorfer Metallwarenfabrik Arthur Krupp A.G.”, “I.G. Farbenindustrie” and other are hitherto stored in the library holdings of IOC RAS. I.G. Farbenindustrie was the largest German chemical concern; it had its own laboratories for carrying out scientific research. Many famous chemists, including four Nobel laureates, worked there. The concern collaborated with the Nazi regime, developing artificial fuel, synthetic rubber, toxic substances. It had its own factories (Werk Auschwitz) and concentration camp in Auschwitz. The laboratories conducted chemical studies, and prisoners were involved in it. Providing scientific work with literature was an important component, so the laboratories had their own libraries. After the end of the War, most of the books probably remained on the territory of the plant, which was given to Poland. On its basis, the scientific and technical library of the laboratory was formed there, which later became part of the Chemical Institute. Some of the books from the Werk Auschwitz library got to the USSR, and some of them were transferred to the library of IOC RAS.This article for the first time considers the collections of IOC RAS from the point of view of the field-specific literature published before 1945. Copies with marks of domestic and foreign organizations, personal signs and autographs of scientists are especially valuable. These books can be attributed to the book monuments of the World War II. Thus, one of the most important tasks of the library now is to preserve and study them.

This article traces the history of the only surviving autograph manuscript of Ode to a Nightingale, composed two hundred years ago in May 2019, and preserved since 1933 in the Fitzwilliam M...

This essay describes outstanding features of two types of responsa preserved in the Geniza autographs of individual responsa and collections. An example of each type is provided: an autograph responsum of Maimonides and a collection of responsa issued by the academy of Sura under the aegis of Natronai b. Hilai Gaon.

The article describes unknown autographs of Ivan Bunin presented at the exhibition of autographs, which was recently held at the University of Cambridge, the history of their discovery, attribution, provenance. The article also adresses the issue of the history of books of the first wave of Russian émigrés from the Slavic Collections of the University Library of Cambridge.

Fanny Hensel was attentive to declamation, with respect to both correct accentuation and text expression. Her song autographs at the Mendelssohn Archive of the Staatsbibliothek in Berlin provide ample evidence for her meticulous, yet creative and artistic approach to declamation. The autographs contain numerous examples of her honing of text underlay, with the apparent aim of achieving optimal metrical placement of syllables, words, and lines, and/or of expressing the meaning of the poem. She experiments with the elongation of particular words or lines, with the metrical placement of individual words, and even with the metrical placement of entire texts. The chapter discusses numerous relevant song excerpts and complete songs, many of them unpublished.

In this article I will study the hagiographic play Barlaán y Josafat, by Lope de Vega, from two different perspectives. On the one hand, I will analyze the dialogue between the two texts, as the comedia has a version transmitted by an autograph manuscript by Lope and another one transmitted through printed books and sueltas. On the other hand, I will focus my attention on the dialogues in the play, since they are useful to better understand the work of composition and preparation of the copy of the comedia by the playwright, as well as the company’s work on the text.

This volume presents the critical edition of Cammino di Dante, the first topo-chronographic summary of Dante's Comedy, written by the Florentine notary, ser Piero Bonaccorsi (1410-1477), for the friar of Santa Croce, Romolo de' Medici. The edition of the text is opened by a bio-bibliographical introduction on the author, that hightlights some new aspects of his notarial career, his literary activity and his relationship with notable figures of his age. The text then presents the seven manuscripts that handed down the Cammino, including four original manuscripts by Bonaccorsi, and analyses their textual relations. The edition offers a critical text based on the codex Riccardiano 1122, the last complete autograph edition, whose unreleased appendix is also published.Il volume presenta l’edizione critica del Cammino di Dante, prima sintesi topo-cronografica della Commedia dantesca, scritta dal notaio fiorentino ser Piero Bonaccorsi (1410-1477) per il frate di Santa Croce Romolo de’ Medici. L’edizione e preceduta da un’introduzione bio-bibliografica sull’autore, in cui sono messi in risalto alcuni aspetti inediti relativi alla sua carriera notarile, alla sua attivita letteraria e al rapporto con personaggi significativi del tempo. Sono poi presentati i sette manoscritti testimoni dell’opera, tra i quali figurano ben quattro autografi bonaccorsiani, e se ne definiscono i rapporti testuali. Viene proposto infine un testo critico basato sul codice Riccardiano 1122, ultima redazione autografa completa, di cui si pubblica anche l’inedita appendice teologica.

Russian Abstract: В альбоме представлены материалы истории взаимоотношений Владимирского филиала РАНХиГС и Центра подготовки космонавтов. English Abstract: The materials of the illustrated album demonstrate the history of the relationship between Vladimir branch of RANEPA и Gagarin Research & Test Cosmonaut Training Center.