Immerse yourself in the classical music world of the early 20th century with this extraordinary collection! Included are autographed postcards and correspondence exchanged between renowned musicians Eduardo Fabini, Avelino Baños, and Vicente Pablo during Eduardo Fabini's second journey to the Royal Conservatory of Brussels. These exchanges occurred just two years before the trio founded the Uruguayan Musical Conservatory in 1908 and the Uruguayan Chamber Music Association in 1910.

This unique and irreplaceable collection offers a glimpse into the personal and professional lives of these influential musicians, showcasing their dedication to classical music and their collaborative spirit. It exemplifies the classical music of the period and provides invaluable insight into the cultural and artistic landscape of Uruguay during that time.

As a bonus, this collection also includes postage stamps issued in homage to Eduardo Fabini, highlighting his status as a leading figure in Uruguayan classical music.

Don't miss this opportunity to own a piece of musical history and enrich your collection with these rare and significant artifacts. Bid now and elevate your appreciation for classical music with this exceptional collection!

This collection is an interesting item to integrate into an Open Class collection, as it aligns with the guidelines of Open Philately. Open Philately aims to broaden the scope of exhibiting by allowing collectors to include objects from other collecting fields, thereby enhancing the understanding and appreciation of philatelic material within its cultural, social, and historical contexts. By incorporating this unique collection, collectors can showcase the wider and deeper knowledge of the topic while attracting new enthusiasts to the hobby.

BIOGRAPHY OF EDUARDO FABINI

Eduardo Fabini was born on May 18, 1882, in Solís de Mataojo, Lavalleja department, Uruguay, into a family of musicians. His parents, Juan Fabini and Antonia Bianchi, were Italian immigrants from Genoa. He spent his early childhood there, immersed in nature.

His musical talents emerged at a young age. At the age of four, his favorite toy was the accordion, and by six, he impressed with his performances on the harmonium. He began studying violin with his older brother, continuing later in Montevideo at the "La lira" Conservatory from ages nine to thirteen, under the guidance of teachers Romeo Messi and Ítalo Casellas, and later with Scarabelli and Ferroni.

Upon the advice of maestro Pérez Badía, he obtained a scholarship that allowed him to travel to Europe in 1899, at the age of seventeen, where he enrolled at the Brussels Conservatory. There, he studied with masters Deloc and Thomson, as well as harmony with maestro Brouk.

He delved into composition, creating pieces such as "Tristes" for orchestra, two "Interludes," an "Arpeggian Study" for piano, and the choir "Las flores del campo". As a performer, he won the First Prize in Violin with Distinction awarded by the Brussels Conservatory, becoming the first South American to introduce expressions of native music into that environment.

Fabini returned to Uruguay in 1903, gaining recognition as a soloist through performances at the Solís Theater in Montevideo.

After another trip to Europe, where he spent two years in Spain, he returned to Montevideo in 1907. There, he participated in the founding of the Uruguayan Musical Conservatory (1907) and, in 1913, co-founded the Chamber Music Association, which sponsored numerous concerts where he performed as an interpreter.

From that time on, he retired to a rural life in Solís and Fuente Salus, avoiding public activity. During this period, he composed "Campo," his first symphonic poem, which was first publicly performed at the Albéniz Theater in Montevideo on April 29, 1922. "Campo" immediately received widespread recognition for its musical qualities and was also acclaimed in Buenos Aires, where it was performed at the Teatro Colón by the Vienna Philharmonic in 1925, and soon in New York, Washington, Madrid, Barcelona, Berlin, Moscow, Valencia, Rio de Janeiro, and other major musical venues such as Vienna, where it was performed by the city's Philharmonic under the baton of Richard Strauss.

Encouraged by this success, Fabini continued with intense activity composing works evoking the sounds and environments of the Uruguayan countryside, presenting shortly thereafter his other symphonic poem, titled "La isla de los ceibos." Among his notable works are numerous songs, school choirs, and fantasies for violin and orchestra, including a ballet piece based on a work by Fernán Silva Valdés, titled "Mburucuyá," the symphonic painting "Melga," and the children's ballet "Mañana de Reyes."

In 1927, he was appointed Artistic Attaché at the Uruguayan Embassy in the United States, allowing him to move to New York City where "Campo" and "La isla de los ceibos" were recorded by the Philharmonic Orchestra, released by Victor Records.

Fabini passed away in May 1950 due to a heart condition.