JULES MASSENET He has signed these autograph music and lyrics, the last four measures of his religious cantata, The Virgin, and dated it himself (1880) Autograph Musical Quotation signed: "J. Massenet/Paris 17-8-80", 1p, 10¾x3½. Inscribed by Massenet in French: "To Miss Eugenie Hautier/souvenir with respect". Massenet has identified the four long measures as the last measures of "Holy Friday", Third Scene of his religious cantata The Virgin scored by Massenet for four voices, one for each long measure, identified by Massenet as "Marie Salome", "Marie Magdalena", "Jean" and "Simon", with words penned in his hand. French composer Jules Massenet (1842-1912) made his name with the comic opera Don César de Bazan (1872). Other operas followed, including Manon (1884), considered by many to be his masterpiece, Le Cid (1885) and Werther (1892). In the 3rd Part of The Virgin, "Good Friday", Mary-Salomé, Mary-Magdeleine, John and Simon have sought refuge in the Virgin's home.

VERDI WRITES TO MARIA WALDMANN WHO APPEARED IN HIS FIRST PRODUCTION OF AIDA IN MILAN   GIUSEPPE VERDI. ALS: "G. Verdi", 1p, 4½x3½. Sant'Agate, 1889 November 18. To his close friend, Maria Massari Waldmann.In Italian, partially translated. In part: "Thank you, my dear Maria, and thanks to your kind Duke for the affectionate remembrance...Greetings to the Duke and a warm handshake...." On February 8, 1872, mezzo-soprano MARIA MASSARI WALDMANN starred as Amneris in the Milan premiere of Aida under Verdi's direction. At the time of this letter, Giuseppe Verdi (1813-1901) spent part of the year at the Villa Verdi at St. Agata diBusseto, close to his birthplace in Le Roncole, and part in Genoa in an apartment in the Palazzo Doria. Inscription on verso of Verdi's letter, in Italian: "To my dear/friend Margherita/from/Maria Massari/Zavaglia/Ferrara, 22-1-905". There is a collection of nearly 100 letters from Verdi to Waldmann in La Biblioteca del Conservatorio "G.B. Martini" in Bologna, Italy. Lightly stained. Overall, fine condition.

WOODY GUTHRIE Folk singer and songwriter Woody Guthrie wrote this manuscript for a proposed series of albums with Asch Record Company, only one of which, Struggle: Documentary #1, was ever released. This rare document, signed with Guthrie's rank in the U. S. Army and his service number, chronicles a confrontation with a racist soldier and gives insight into this reluctant soldier's time in the Armed Forces during World War II! Autograph manuscript signed "Pvt. Woody W. Guthrie, #42234634." 2 pages, 7x10½, 1 sheet, front and verso, two columns. Written at "Scott Field", Aug. 12, 1945. Titled: "American Document/art number one". In part: "I met a soldier out on a rifle range down in Texas that was telling a gang of men, 'There's good and bad in every church and every race. They just got to be put in their place and made to stay in it. I say give every color his part of town and make him stay in it. My home town had a fight or a killing just about every few days. I'm as good a trade union man as the next one, but I

GEORGE GERSHWIN This framed letter that features the composer's autograph shows his interest in new phonograph recording technology Typed Letter Signed, "George Gershwin". 8¼x10½. One page. Dated September 14, 1931. On his personal letterhead. Gershwin writes to a representative of R.C.A. which was the parent company of N.B.C. (created in 1926 to broadcast on radio) and Victor Labs (acquired in 1929 which built phonographs.). The conglomerate was able to remain at the forefront of early broadcasting technology for many years due to the unique merging of technologies. Gershwin's association with R.C.A. was a long and fruitful venture. It was R.C.A. that recorded "An American in Paris", which was used in the 1951 musical film of the same name. Gershwin's letter in full: " My dear Mr. Clark: I received your invitation to dinner at the Savoy-Plaza on September seventeenth. I am tremendously interested in hearing the new development in phonograph recording, which you will probably demonstrate account of a previous engagement which I have for that evening.

BUDDY HOLLY His handwritten answers to an English test at Lubbock High School, 1953 Autograph Manuscript signed: "Buddy Holley", 1p, 8x10½. Lubbock (Texas), 1953 March 17. An English grammar test. Holly (original spelling "Holley") has headed the page,signing his name in the upper left and writing "English 22v (2)" beneath his name. At the upper right, he has penned "Lubbock High School" and the date "March 17, 1953". Headed: "Test" by Holly, the test had 40 questions; just the answers are written. Holly had to identify parts of speech ("adv", "noun", "pronoun", "conjunction") and types of sentences ("run-on", "phrase", "sub. clause"). Only one answer (the first) is marked wrong. Holly was graduated from Lubbock High School in 1955 and within a year was recording for Decca Records. He was an innovator who wrote his own material and was among the first to use such advanced studio techniques as double-tracking. Holly pioneered and popularized the now-standard rock-band lineup of two guitars, bass and drums. He began experimenting with orchestration shortly before his death in 1959. His first song recorded with the Crickets in 1957 was "That'll Be the Day". "Peggy Sue" followed.

THELONIOUS MONK His rare signature on a letter of agreement with Columbia Records, concerning recorded distribution of his live performance at the 1963 Newport Jazz Festival. Documentary Letter signed: "Thelonious Monk", 1 page, 8½x11. Forest Hills, N.Y., 1963 September 23. On letterhead of Columbia Records. Monk signs his assent to a letter referencing a prior agreement by him with Columbia Records (1962 July 30), and declaring that no additional compensation will be owed him for the recording of his performance at the 1963 Newport Jazz Festival unless the company issues a complete LP album featuring his performance exclusively. Jazz pianist and composer Thelonius Monk (1917-1982) has been called "the high priest of bebop," although his idiosyncratic style defies glib categorization. Several of his compositions, including Round Midnight and Blue Monk are classics of the genre. Although Monk had been performing since the early 1940s and had already written some of his classic songs, it was not until the mid-1950s that his avant-garde style began to attract a wide audience. In 1956 he released Brilliant Corners, considered one of the classic jazz albums of all time.

THE MAMAS AND THE PAPAS: JOHN PHILLIPS, MICHELLE PHILLIPS, DENNIS DOHERTY and CASS ELLIOT The Mamas and Papas sign a document requesting that the royalties from Dunhill Records, Inc. be paid. Rare Typed Document Signed: "John Phillips", "Michelle Phillips", "Cass Elliot" and "Dennis Doherty", 1p, 8½x11. No place, 1967 September 26.To Dunhill Records, Beverly Hills.In full: "The undersigned hereby irrevocably instruct and direct you to pay a sum equal to twenty (20%) per cent of any and all royalties payable to us from Dunhill Records, Inc., attributable to the sale of records embodying our performances on master recordings produced by Lou Adler, to Mr. Lou Adler at 800 Stone Canyon Road, Los Angeles, California 90024. All recording costs are to be borne solely by us." Adler's name and address are crossed out in black pen, most probably before this document was sold to a collector/dealer. The day after this contract, Adler resigned from Dunhill Records and was hired by The Mamas and the Papas to be their producer and as an independent contractor to supervise, direct and produce their recording sessions.

JULES MASSENET Massenet handwrote, dated and signed this note with two bars of musical notation in Paris in 1887 Autograph musical quotation signed: "J. Massenet", in brown ink, 1p, 4½x7 (one sheet folded). To an unnamed recipient. In French, translated in full: "We will be there! Cou-nt on me!/ until Monday/ your affectionate/”. Paris, France, May 9, 1887. Massenet wrote two bars of music with lyrics (in French, not translated) on this note above his signature. French composer Jules Massenet (1842-1912) made his name with the comic opera Don César de Bazan (1872). Other operas followed, including The Virgin (1880), Manon (1884, considered by many to be his masterpiece), Le Cid (1885) and Werther (1892). In addition to his ambitious operas and orchestral works, Massenet wrote over 200 popular songs, many of them based on published poems. Lightly toned and creased. Random ink stains. Folded in half horizontally and unfolded. Otherwise, fine condition.

JAZZ GREATS: DJANGO REINHARDT, LOUIS ARMSTRONG, STEPHANE GRAPPELLI, JACK TEAGARDEN. EARL HINES and 17 OTHERS Program of the 1948 Jazz Festival in Nice, France, signed by 21 famed jazz musicians. The signatures are historic, but so is the program! Nice claims this event as the world's first ever jazz festival! Program signed: "D Reinhardt", "Louis Armstrong", "S Grappelli/xxx", "Jack Teagarden", "Barney Bigard", "Arvell Shaw", "Earl/Fatha/Hines" (twice!), "Rex Stewart", "Jimmy Archey", "Henry Goodwin", "Milton Mezz Mezzrow", "Big Sid Catlett", "Hugues Panassie", "Baby Dodds/2-25-48", "Good luck/George Kennedy", "Sandy Price", "Sandy Williams", "Lucky Thompson", and 3 unidentified signatures. 8 pages 9½x12. Accompanied by a 6¼x10 unsigned program, 5 pages. Program of the International Jazz Festival, Nice (France), February 22-28, 1948.In all 20 signatures! From February 22 to 28, 1948, the world's first ever jazz festival was held in Nice, France. Organized byHUGUES PANASSIE, President of Hot Club de France, the festival demonstrated Europe's recovery from World War II and helped popularize the new bop style of jazz in France. Especially renowned signers here include Belgian-born gypsy Jean Baptise "DJANGO" REINHARDT(1910-1953).