GOUNOD CHARLES: (1818-1893) French Composer. A very good content with good association A.L.S., `Ch. Gounod´, two pages, 12mo, n.p., n.d. [c. 1861], to Monsieur Choudens, in French. Gounod refers first to his musical changes on the 3rd act Duet of his opera La Reine de Saba (`The Queen of Sheba´), 1862, and urges his editor Choudens to sen dit to Georges Bizet and to have it promptly back, stating in part `Je viens de faire des changements assez notables dans le Duo du 3eme Acte (Balkis et Adoniram) et dans le final du 5eme Acte. Communiquez-les immédiatement à Bizet et qu´il me les rende aussitôt que possible…´ (Translation: `I have just made some rather considerable changes in the 3rd Act Duet (Balkis and Adoniram) and in the finale of the 5th act. Send them to Bizet immediately and tell him to have them returned to me as soon as possible…´) Further again, Gounod sends precise instructions and clearly explains that everything must be ready upon his return, saying `…les attend afin de de régler les répétitions du chant et celui des chœurs : c´est très important et je ne veux pas que tout cela traine en longueur : il faut qu´à mon retour samedi soir, tout cela soit prêt- Mes changements sont indiqués avec la plus grande clarté, et très faciles à comprendre´ (Translation: `…waiting for them to be able to schedule the rehearsals for the singers and the chorus rehearsals too: it is very important and I do not want all this to be dragged out: upon my return on Saturday night, all must be ready. My changes have been indicated with the greatest clarity and are very easy to understand´) With address leaf in Gounod´s hand. G

Gounod´s opera La Reine de Saba was premiered on 28th February 1862 at the Salle Le Peletier of Paris.

Georges Bizet (1838-1875) French Composer. Author of the worldwide acclaimed opera Carmen (1875)

Before collaborating with Gounod on La Reine de Saba, Bizet had already composed four-hand piano versions of two of Gounod´s works, one of them was Gounod´s Symphony in D which inspired Bizet´s own Symphony in C, and although it shows close resemblance to Gounod´s one, it is performed more frequently than his mentor´s one at today´s date.