It may seem perverse to begin a report like this with one negative, let alone two, but experience has shown that it is wise to correct from the start two common misapprehensions about the Toscanini Memorial Archives.
First, the Toscanini Memorial Archives are not in any way connected with the personal collection of scores and recordings belonging to the late maestro Arturo Toscanini. The Archives are rather a collection of original sources for important musical works gathered together on microfilm as a memorial to the conductor, who believed that a musical artist should have access to this primary information when studying a work for performance.
Second, the Toscanini Memorial Archives cannot supply copies from the films in the collection since they are not the owners of the original materials. Agreements made with libraries and individuals almost invariably preclude the possibility of outside copying without the express permission of the current owner. Films in the Archives are open to on-site examination, however, by any interested person at The New York Public Library at Lincoln Center in New York.
Having disposed of the negatives, let us turn to the positive aspects of the collection. The Toscanini Memorial Archives are a unique microfilm collection of autographs and primary sources for major musical works. Over 3,000 items are presently listed in the catalogs, representing a wide range of vocal and instrumental music. A list of over 600 selected titles in the Archives, including symphonic, chamber, sacred, and operatic works, follows this report.
The conception of such a collection of musical autographs on microfilm dates back to the 1930s when it had the active support of the great conductor Arturo Toscanini. The realization of the project, however, did not occur until the 1960s. Under the guidance of the first curator, Sydney Beck, and two enthusiastic friends of the late Arturo Toscanini, Carolyn Perera and Dorle Soria, an initial endowment was raised, files describing the location of manuscript sources were developed, and initial orders were placed. The Archives' formal opening coincided with the move in 1965 of the Library's Music Division from 42nd Street to a new building in Lincoln Center.
Since the Archives were intended as a memorial to Toscanini, and since their avowed primary objective is the collection and preservation of autograph scores in particular, the focus of the Archives has been on the music of the 18th and 19th centuries. Before this time, there are virtually no autographs of significant importance. The few that exist, Monteverdi's score for the Coronation of Poppea, for example, have been published in facsimile. Moreover, there are already microfilm collections of source material for the earlier centuries which have been established in other parts of the country—the Isham Library at Harvard and the Archive for Renaissance Manuscript Studies at the University of Illinois, for instance. Twentieth century composers like Mahler and Strauss are also represented in the Archives, and there are plans to continue this aspect of the collection as manuscript scores of later composers become available for consultation and for microfilming.
The concentration in New York of performers of the so-called standard repertoire and the rich resources of The New York Public Library's research collection in 18th and 19th century scores and periodicals made the library an obvious site for the Archives. The Toscanini Memorial Archives are actually a part of the Music Division of The New York Public Library, open to the public without restriction at the same time that the other special collections of the division are available.1
The Library provides facilities, overhead, and the part-time services of the curator who is also in charge of the division's rare book and manuscript collections. Independent funding, dependent on direct contribution to the Archives, is used for acquisitions and support personnel. Microfilms acquired in the Archives before 1972 are listed in the on-going published Catalog of the Research Libraries. Titles acquired since that time are cataloged in card files available to the public in the Music Division's Special Collections reading room, and will ultimately be incorporated and published in the Library's overall catalog.
Another expressed aim of the Archives is to stimulate research and publication, and to offer artists and scholars the opportunity to demonstrate the results of their investigations. To this end, the Archives have sponsored a series of annual demonstration-recitals including live musical performance in the auditorium of the Library and Museum of the Performing Arts. Recent speakers have included Lewis Lockwood on Beethoven's cello sonata Op. 69, Carleton Sprague Smith on Mozart's Paris trios, Philip Gossett on Rossini's opera The Siege of Corinth, and Robert Winter on the relationship between Beethoven's manuscripts and the keyboard practice of his day.
One function of these lectures is to convey the importance of original sources directly to the performer. The practicing musician's need and working methods are necessarily different from those of the scholar researcher. The artist learns his repertoire first from standard published editions, and if these were completely definitive, or in fact if they even could be, there would be no need for him to look further. But we all know that even the best and most authoritative editions usually have alternate readings tucked away in a scholarly Revisionsbericht and that even long-studied standard scores have sometimes been found sadly lacking. A famous example of the latter case occurred when Ricordi published a facsimile of the autograph score of Verdi's Falstaff. Conductor Denis Vaughan, who had previously charged Ricordi with numerous errors in their published scores of Puccini operas, claimed to find over 27,000 discrepancies between the Verdi facsimile and the available printed score.2
Most editions of Brahms's first piano concerto in D minor omit a logical B-flat in the pianist's left hand at measure 239 of the final movement. This is the kind of error which can reasonably escape an editor, but which is likely to come to the attention of a sensitive and seasoned performer. He or she has played the passage an infinite number of times, yet something continues to feel wrong. There ought to be a B-flat there, the fifth finger wants to play it, yet what justification can the pianist find for his instinct? Sometimes the problem is even smaller, a slur, a dynamic marking, a possible fingering, but it is a significant one for the conscientious musician. This is where recourse to the original source, the autograph if possible, can be of such value.3
Since a performer's concern is usually with one troublesome spot, his use of the original source will be very different from the scholar who spends hours poring over the microfilms, but it is no less valid. For years the autograph of Mozart's Haffner Symphony was unavailable for examination, and for years conductor George Szell had tried in vain to get access to the score. When at last the National Orchestral Association acquired the manuscript and deposited it in The New York Public Library, Szell was the first to inquire after it. The staff prepared for the maestro's visit with great fanfare, chairs were set out, a carrel provided; but when the conductor arrived, he strode over to the manuscript, flipped open to the page he wanted, nodded briefly, and with a short "Just what I thought!" turned on his heels and departed.
Many famous concert artists spend a surprising amount of time searching out the authentic sources for the works they play. Sometimes the results are spectacular. In the 1930s Rudolf Serkin embarked on a search for the autograph of Mozart's last piano concerto, K. 595 in B-flat, in order to settle an argument with Toscanini. He eventually obtained a microfilm of the manuscript from the Prussian State Library which revealed, among other things, seven measures of music completely lacking in the scores available to the pianist and conductor.4 Serkin presented the film to Toscanini, and it may be seen today in the Toscanini Memorial Archives. It is doubly precious now, for the original manuscript has since vanished along with many other invaluable autographs, an apparent casualty of wartime disruption.
Excerpts from the now lost autograph of Mozart's piano concerto K. 595 (first movement) show an intended interpolation of seven measures, omitted from many editions once presumed authoritative.
Folio 3 v. shows Mozart's markings at measure 46, N.B., and a barely visible 7 Takte.
Folios 23 ro. and v. indicate by crosses the seven measures to be inserted after measure 46.
Another area where the performer can look to original manuscripts for practical suggestions is in the field of quasi-improvisational ornamentation. Many works, operatic arias and concerto cadenzas for example, were intended to be varied by the artist to display a show of personal bravura. Scores and notebooks belonging to particular performers, especially those associated with first or early performances of a work under the composer's direction, form a valuable source of practical information regarding authentic performance practice.
Scholars and students have other needs for source material. Their concern is frequently with the genesis of a work, its evolution as a part of the composer's compositional process. If they are also editors, or are involved with the overall determination of correct readings, their task is to determine the primacy of the source, the text which represents the composer's final decisions. For it is not always "the autograph" which proves to be the crucial link. A good example lies in the history of the first part of Schubert's magnificent song cycle Die Winterreise. The existing autograph is a rough copy with many blots and strikeovers, differing from the first engraved edition in several important respects. Faced with a decision in the 1880s as to which source to prefer, Schubert scholar, Max Friedlander chose the published score, not because it was the better source, but because his deep knowledge of the composer and his musical instincts suggested that it represented Schubert's final decisions. But did the composer supervise the edition? What concrete grounds were there for preferring these readings? When a copy made for the engraver and corrected by the composer himself came to light, many of Friedlander's decisions were vindicated.5
Unfortunately authentic proof copies of important music are very rare, and even these are not always reliable, composers being not necessarily more diligent at the painstakingly dreary task of proofreading than anyone else. For many well-known works, there are no remaining sources of any kind. For others, only a detailed comparison of sketches, drafts, and early editions can reveal the composer's intent. Musicologists engaged in the vital task of uncovering the most authentic text find that careful comparison of sources is essential.
For this, microfilm is an ideal solution. In the Toscanini Memorial Archives one can study differing versions of a work side by side—Debussy's short score for Pelléas from Boston alongside the fully orchestrated version of the autograph in Paris, for example, or two separate autographs of a Chopin nocturne, one in Poland, one in Chicago. The musicologist can compare the autograph scores of several Haydn symphonies with the parts prepared under the composer's direction for later performance in England, and if some points still require clarification, the entire scholarly periodical literature about Haydn is at hand along with the critical editions of his works in the regular collection of the Music Division. Beethoven is notorious for the number of sketches and drafts he produced; sometimes his changes extended right into the published versions of his works. Much of this material, including pages of sketchbooks which were originally adjacent, has been scattered over the globe in both public and private collections. Outside of private microfilm collections, it is only through collections of photocopies, like those at the Beethovenhaus in Bonn or the Toscanini Memorial Archives in New York, that meaningful research on these documents can be accomplished.
A final function of the Toscanini Memorial Archives is preservation. This operates in two ways. First, by providing a location for the copy far removed from the original, the existence of the Archives helps to insure that should natural or man-made disaster befall the manuscript itself, a copy of the text would still remain available. The Mozart concerto mentioned above, along with a number of his piano sonatas, are good examples of works whose autographs can today only be studied in photocopy. A second preservation function is served when the Archives provide a master negative to be retained by the owner of the original manuscript. By assisting libraries to film their own treasures systematically, the Archives aim to encourage local preservation programs and to protect unique manuscripts from damage through multiple handlings and overuse.
Films in the Toscanini Memorial Archives come from many sources, of which large library collections are the most prominent. Some libraries, notably the British Museum (now British Library) and the Library of Congress, have permitted films of virtually every suitable autograph in their collections. Other collections, including the Bibliothèque Nationale in Paris, the libraries in West and East Berlin, and the Glinka State Museum in Moscow, are well represented and continue to contribute films to the Archives. At the other end of the scale are the films made, sometimes by amateurs, of scores, sketches, and individual leaves owned by individual collectors. Considering the vicissitudes of such privately held manuscripts and the difficulty of public access to such works—a condition which plagues the owner as well as the would-be viewer—these films may someday be the most valuable resources in the collection.
The list which follows gives some idea of the breadth and depth of the Toscanini Memorial Archives. The selection is confined to major composers and works which may be familiar to Symposium readers, but the collection itself also includes a number of smaller items and more obscure figures which may be of concern to individual scholars. Since this is a checklist and not a catalog, familiar spellings and titles have sometimes been preferred to more formal ones. (Look for Chaikovskii, however, under C). Unless otherwise indicated, all entries indicate autograph scores, or "holographs" as the Library of Congress has established the term. In order to differentiate between contemporary manuscripts and holograph scores and parts, in the works of J.S. Bach for example, the abbreviations hol, ms, and pts have been used. In many cases manuscripts have been revised or corrected by the composer, and this too is noted. Collections of sketches are usually listed at the end of a composer's entry although some relevant sketches are mentioned with specific works. Since the Toscanini Memorial Archives are exclusively a collection of microfilms, no attempt has been made to include published facsimile editions which are a part of the regular collection of the Library's Music Division. However, if the Archives also have a microfilm copy of such a work, it will be listed.
THE TOSCANINI MEMORIAL ARCHIVES
| Adam, Adolphe—Giselle |
| Arne, Thomas—Whittington's feast (parody of Alexander's feast) |
| Bach, C.P.E.—Fantasia in B-flat for piano, W.61 |
| Bach, Johann Christian—Artaserse |
| |
Cefalo e Procri |
| |
Magnificats nos. 1-3 in C |
| |
Te Deums nos. 1, 2 in D |
| Bach, J.S.—Aria variata in the Italian manner, S.989 (ms) |
| |
Art of the Fugue, S.1080 (hol) |
| |
Brandenburg concerto no. 5 in D, S.1050 (ms) |
| |
Canonic variations on Vom Himmel hoch, S.769 (1st ed.) |
| |
Cantatas 1-4 (pts), 5 (ms, pts), 7 (pts), 8 (ms, pts), 9-10 (hol, pts), 11-12 (hol), |
| |
|
13 (hol, pts), 14 (hol, pts), 16-17 (hol, pts), 18 (hol), 19 (hol, ms, pts), 20- |
| |
|
21 (pts), 22 (ms, pts), 23 (hol, ms, pts), 24 (hol, pts), 25 (hol), 26-28 (hol, |
| |
|
pts), 29 (pts), 30 (hol, pts), 30a (hol), 32 (hol, pts), 33 (pts), 34 (hol), 34a |
| |
|
(hol), 35-36 (hol, pts), 36b (pts), 36c (hol), 37 (pts), 38-39 (hol, pts), 40 |
| |
|
(hol, ms), 41-43 (hol, pts), 44 (pts), 45 (hol, pts), 46 (pts), 47-49 (hol, pts), |
| |
|
50 (ms), 51-52 (hol, pts), 53 (pts), 55 (hol, pts), 56 (pts), 57 (hol, pts), 58 |
| |
|
(pts), 59 (hol, ms, pts), 60 (pts), 61 (hol), 62 (hol, pts), 64 (hol[?], pts), 65- |
| |
|
66 (hol), 67 (hol, pts), 68-70 (pts), 71 (hol, pts, 1st ed.), 72 (hol), 73 (ms, |
| |
|
pts), 74 (pts), 75 (hol), 76 (hol, ms, pts), 77 (hol), 78 (pts), 79 (hol, pts), 80 |
| |
|
(ms), 81 (hol, pts), 82 (hol, pts), 83 (hol), 84-85 (hol, pts), 86 (hol), 87 |
| |
|
(hol, pts), 88 (hol), 89 (ms), 90 (hol), 91 (hol, ms, pts), 92 (hol, pts), 93 |
| |
|
(pts), 94 (hol, pts), 95 (ms), 96-98 (hol, pts), 99 (pts), 100 (hol, pts), 101 |
| |
|
(ms, pts), 102-103 (hol, pts), 104 (ms), 105 (hol), 106 (ms), 107 (pts), 108- |
| |
|
110 (hol, pts), 111 (pts), 112 (hol, pts), 114 (pts), 115 (hol), 116 (pts), 117 |
| |
|
(ms), 119 (hol), 120a (hol, pts), 121 (pts), 122 (hol, ms, pts), 123 (ms, pts), |
| |
|
124 (hol, pts), 125 (pts), 126 (ms, pts), 127 (hol, pts), 128 (pts), 129 (ms, |
| |
|
pts), 130 (ms), 131 (hol), 132 (hol, pts), 133 (ms, pts), 134 (hol, pts), 134a |
| |
|
(ms), 136 (pts), 137 (ms, pts), 138 (hol), 139 (pts), 140 (ms, pts), 141 (hol), |
| |
|
144-146 (ms), 147 (hol, pts), 148 (ms), 149 (ms, pts), 151 (hol, pts), 152 |
| |
|
(hol), 153 (ms, pts), 154 (hol, pts), 157-158 (ms), 161 (ms), 162 (pts), 163 |
| |
|
(hol), 164 (hol, pts), 165-166 (ms), 167 (ms, pts), 168 (incomplete pts), 169 |
| |
|
(hol, pts), 172 (ms), 173 (hol), 173a (hol), 175 (hol), 176 (pts), 177 (hol, |
| |
|
pts), 178 (ms, pts), 179 (hol, ms, pts), 180 (hol, pts), 181 (pts), 182 (hol), |
| |
|
183-184 (hol, pts), 185 (ms), 186 (hol), 187 (pts), 188 (incomplete pts), 190 |
| |
|
(incomplete hol, pts), 191 (hol), 193 (pts), 194 (hol, pts), 195-196 (ms), 197 |
| |
|
(hol), 199 (hol), 201 (pts), 204 (ms), 205 (hol), 206-207 (hol, pts), 207a |
| |
|
(pts), 208 (ms), 210 (hol, ms), 212-213 (hol), 214 (pts), 215 (hol, pts), 216a |
| |
|
(ms text) |
| |
Chorale preludes, S.651-668 (mostly hol) |
| |
Chorales, S.250-252 (hol pts) |
| |
Chromatic fantasy and fugue in d, S.903 (ms) |
| |
Clavierübung, 3rd part (1st ed.) |
| |
Concerti for solo harpsichord, S.972-974, 976-977, 983-987 (ms) |
| |
Concerti for harpsichord & string orch., S.1052-1059 (hol) |
| |
Concerto in C for 2 harpsichords & string orch., S.1061 (hol harpsichord pt) |
| |
Concerti for solo organ, S.592, 594-596 (ms) |
| |
Concerto in a for violin & string orch., S.1041 (pts) |
| |
Goldberg variations, S.988 (1st ed.) |
| |
Inventions, 2 & 3 part, S.772-801 (hol, C.P.E. Bach ms) |
| |
Magnificat in D, S.243 (ms) |
| |
Magnificat in E-flat, S.243a (hol) |
| |
Mass in b, S.232 (ms); Sanctus (hol) |
| |
Masses, "Lutheran," S.234-235 (hol, ms) |
| |
Motet no. 1, "Singet dem Herrn ein neues Lied," S.225 (hol, pts) |
| |
Motet no. 2, "Der Geist hilft unsrer Schwachheit auf," S.226 (hol) |
| |
Musical offering, S.1079 (1st ed.) |
| |
Notebook for Anna Magdalena Bach [1722] (hol) |
| |
Orgel-Büchlein, S.599-644 (ms, autograph in part); excerpts (ms) |
| |
Partita in b for harpsichord, S.831 (hol) |
| |
Passacaglia in c for organ, S.582 (hol) |
| |
Prelude in C for organ, S.531 (hol) |
| |
Prelude and fugue in C for organ, S.547 (hol) |
| |
Prelude and fugue in e for organ, S.548 (hol) |
| |
Prelude and fugue in E-flat for lute or keyboard, S.998 (hol) |
| |
St. John Passion, S.245 (ms, pts) |
| |
St. Matthew Passion, S.244 (hol, ms) |
| |
Sanctus (4), S.237-240 (hol) |
| |
Sonata in b for flute & harpsichord, S.1030 (hol) |
| |
Sonatas for organ, S.525-530 (hol) |
| |
Sonata in G for viola da gamba & harpsichord, S.1027 (hol) |
| |
Sonatas for violin & harpsichord, S.1014-1019a (hol pts) |
| |
Suites for orchestra, S.1066-1068 (pts) |
| |
Well-tempered clavier, S.846-898. Book 1 (hol); Book 2 (incomplete hol) |
| Bach, W.F.—Duets for 2 flutes, F.54-59 (ms, largely autograph) |
| |
Sonata in D for harpsichord, F.3 (hol) |
| Bartók, Béla—Quartet no. 5 (sketch) |
| |
Sonata for 2 pianos & percussion (sketch) |
| |
Sonata for violin [1903, unpublished] (ms violin pt, hol 1st movement) |
| Beethoven, Ludwig van—An die ferne Geliebte, op. 98 |
| |
Bagatelles: op. 33, op. 126; draft score for op. 126 |
| |
Concerto for piano & orch. no. 1 in C, op. 15 (hol score and cadenzas) |
| |
Concerto for piano & orch. no. 2 in B-flat, op. 19 (hol score, piano pt, and cadenzas) |
| |
Concerto for piano & orch. no. 4 in G, op. 58 (hol cadenzas to 1st and 3rd movements) |
| |
Concerto for piano & orch. no. 5 in E-flat, op. 73 |
| |
Concerto for violin & orch. in D, op. 61 |
| |
Consecration of the house, op. 124 (ms with autograph corrections) |
| |
Coriolan overture, op. 62 |
| |
Fantasia in c for piano, chorus, & orch., op. 80 (hol vocal pts) |
| |
Fantasia in g for piano, op. 77 |
| |
Fidelio (and Leonore), op. 72 (some hol material; remainder, ms with autograph corrections) |
| |
Gesänge, op. 83 |
| |
In questa tomba oscura, WoO 133 |
| |
Mass in C, op. 86, Kyrie and Gloria |
| |
Missa solemnis in D, op. 123, Kyrie and Gloria |
| |
Quartets nos. 8 in e, 9 in C, op. 59, #2-3 |
| |
Quartet no. 12 in E-flat, op. 127 (Finale) |
| |
Quartet no. 13 in B-flat, op. 130 (Andante, Presto, Finale) |
| |
Quartet no. 15 in a, op. 132 |
| |
Quartet no. 16 in F, op. 135 (Allegretto, Finale; hol pts) |
| |
Romance no. 2 for violin & orch. in F, op. 50 |
| |
Rondo a capriccio for piano, op. 129 |
| |
Sonata for cello & piano in C, op. 102, no. 1 |
| |
Sonata for piano no. 14 in  , op. 27, #2 |
| |
Sonata for piano no. 15 in D, op. 28 |
| |
Sonata for piano no. 23 in F, op. 57 |
| |
Sonata for piano no. 24 in  , op. 78 |
| |
Sonata for piano no. 25 in G, op. 79 |
| |
Sonata for piano no. 30 in E, op. 109 (hol, 1st ed. with autograph corrections) |
| |
Sonata for piano no. 31 in A-flat, op. 110 |
| |
Sonatas for violin & piano nos. 6 in A, 7 in C, 8 in G, op. 30, #1-3 |
| |
Sonata for violin & piano no. 10 in G, Op. 96 |
| |
Symphony no. 4 in B-flat, op. 60 |
| |
Symphony no. 5 in c, op. 67 |
| |
Symphony no. 6 in F, op. 68 |
| |
Symphony no. 7 in A, op. 92 (Diabelli ms with autograph corrections) |
| |
Symphony no. 8 in f, op. 93 |
| |
Symphony no. 9 in d, op. 125 (ms with autograph corrections) |
| |
Variations and fugue in E-flat for piano, op. 35, "Eroica" |
| |
Variations on a theme by Count Waldstein for piano, 4 hands, WoO 67 |
| |
Variations on a theme by Diabelli, op. 120 (ms with autograph corrections) |
| |
Variations on Mozart's "Bei Mannern" for cello & piano, WoO 46 |
| |
Sketches for: |
| |
|
Ah, perfido, op. 65 |
| |
|
Concerto for piano & orch. no. 1 in C, op. 15 |
| |
|
Concerto for piano & orch. no. 4 in G, op. 58 |
| |
|
Concerto for piano & orch. no. 5 in E-flat, op. 73 |
| |
|
Consecration of the house, op. 124 |
| |
|
Egmont, op. 84 |
| |
|
Fantasia in c for piano, chorus, and orch., op. 80 |
| |
|
Fidelio (and Leonore), op. 72 |
| |
|
Der glorreiche Augenblick, op. 136 |
| |
|
Grosse Fuge in B-flat, op. 133 |
| |
|
King Stephen, op. 117 |
| |
|
Mass in C, op. 86 |
| |
|
Missa solemnis in D, op. 123 |
| |
|
Prometheus, op. 43 |
| |
|
Quartets: nos. 1-6, op. 18, #1-6; no. 8, op. 59, #2; no. 10, op. 74; no. 11, |
| |
|
|
op. 95; no. 12, op. 127; no. 13, op. 130; no. 14, op. 131; no. 15, op. |
| |
|
|
132; no. 16, op. 135 |
| |
|
Ruins of Athens, op. 113 |
| |
|
Sonata for cello & piano in A, op. 69 |
| |
|
Sonatas for piano: no. 9, op. 14, #1; no. 12, op. 26; no. 13, op. 27, #1; |
| |
|
|
nos. 19-20, op. 49, #1-2; no. 26, op. 81a; no. 28, op. 101; no. 29, op. |
| |
|
|
106; no. 31, op. 110; no. 32, op. 111 |
| |
|
Sonatas for violin & piano: no. 4, op. 23; no. 5, op. 24; no. 10, op. 96 |
| |
|
Symphonies: nos. 2, 4-9 |
| |
|
Trios for piano & strings: no. 2, op. 1, #2; nos. 4-5, op. 70, #1-2; no. 6, op. 97 |
| |
|
Variations on a theme by Diabelli, op. 120 |
| |
|
and sketches for these unfinished works: |
| |
|
|
Bach overture |
| |
|
|
Piano concerto in D, H.15 |
| |
|
|
Symphony no. 10 |
| |
Il pirata. Act 2, terzetto |
| |
La sonnambula |
| |
Sonata in G for organ |
| |
La straniera |
| Berg, Alban—Concerto for violin & orch. |
| Berlioz, Hector—Béatrice et Bénédict |
| |
Le corsaire, overture |
| |
La damnation de Faust, op. 24 |
| |
L'enfance du Christ, op. 25 (lacks part 2: La fuite en Egypt) |
| |
Harold in Italy for viola & orch., op. 16 |
| |
Requiem, op. 5 (includes some sketches) |
| |
Roméo et Juliette, op. 17 |
| |
Symphonie fantastique, op. 14 |
| Boito, Arrigo—Sketches for the unfinished opera Bossi e Bote |
| Bononcini, Giovanni—Muzio Scevolo (Act 2 of pasticcio opera) |
| Brahms, Johannes—Alto rhapsody, op. 53 |
| |
Ave Maria, op. 12 |
| |
Begräbnissgesang, op. 13 |
| |
Concerto for piano & orch. in d, op. 15 (hol score and arr. for piano, 4 hands) |
| |
Concerto for violin & orch. in D, op. 77 |
| |
Deutsche Volkslieder for 4 part chorus, nos. 1-14 |
| |
Lieder from: op. 32, 33, 44, 48, 49, 57, 58, 59, 63, 84, 85, 95 |
| |
Schicksalslied, op. 54 |
| |
Symphony no. 1 in c, op. 68 (hol score for movements 2-4; hol arr. for piano, 4 hands) |
| |
Symphony no. 3 in F, op. 90 (hol score and arr. for two pianos) |
| |
Symphony no. 4 in e, op. 98 |
| |
Tragic overture, op. 81 |
| |
Trio for piano and strings in C, op. 87, #2 |
| |
Variations and fugue on a theme by Händel for piano, op. 24 |
| |
Arrangement of J.S. Bach's Chaconne for violin in d, S.1004, for piano, left hand only |
| Britten, Benjamin—Sketches for the Spring symphony, op. 44 |
| Bruch, Max—Concerto no. 1 for violin & orch. in g, op. 26 |
| |
Romance for violin & orch., op. 42 |
| Bruckner, Anton—Sketches for symphonies nos. 8, 9 |
| Busoni, Ferruccio—Rondo arlecchinesco for orch. with tenor, op. 46 |
| Campra, André—Les fêtes venitiennes |
| Chaikovskii, Peter I.—Concerto for piano & orch. no. 1 in b-flat, op. 23 |
| |
Concerto for violin & orch. in D, op. 35 |
| |
Manfred, op. 58 |
| |
Nutcracker, op. 71 |
| |
Overture 1812, op. 49 |
| |
Quartets in D, op. 11; in F, op. 22; in e-flat, op. 30 |
| |
Romeo and Juliet (1st and 2nd drafts) |
| |
Suites for orchestra: op. 43, op. 53, op. 55 |
| |
Swan Lake (hol; Diaghilev's copy of the score and parts) |
| |
Symphony no. 3 in D, op. 29 |
| |
Symphony no. 4 in f, op. 36 |
| |
Symphony no. 5 in e, op. 64 |
| |
Symphony no. 6 in b, op. 74 (with sketches) |
| |
Trio for piano & strings in a, op. 50 |
| Chausson, Ernest—Poème for violin & orch., op. 25 |
| Cherubini, Luigi—Medea |
| Chopin, Fryderyk—Concerto for piano & orch. no. 2 in f, op. 21 (ms, hol piano pt) |
| |
Études for piano, op. 25 |
| |
Mazurkas for piano: op. 24, op. 33, op. 41, op. 56, op. 59, #2 (sketches) |
| |
Nocturnes for piano: op. 55, op. 62 |
| |
Polonaises for piano, op. 40 |
| |
Waltzes for piano, op. 64, #2-3 (sketches) |
| Cinti-Damoreau, Laure—Méthode de chant (7 notebooks of ornaments and variants) |
| Debussy, Claude—En blanc et noir for 2 pianos |
| |
La mer |
| |
Nocturnes for orch.: Nuages, Fêtes, Sirènes (draft) |
| |
Ode bachique |
| |
Pelléas et Mélisande (hol full score and condensed score) |
| |
Prélude à "L'après-midi d'un faune" (score and parts used by Diaghilev) |
| |
Sonata no. 1 for cello & piano |
| |
Sonata no. 2 for flute, viola, & harp |
| |
Sonata no. 3 for violin & piano |
| |
Sketch for La chûte de la maison Usher |
| Diabelli, Anton—Piano studies, op. 181 |
| Donizetti, Gaetano—Don Pasquale |
| |
Il duca d'Alba |
| |
La favorite |
| |
Linda di Chamounix |
| |
Lucrezia Borgia |
| Dukas, Paul—Sorcerer's apprentice |
| Dvořák, Antonin—Concerto for cello & orch. in A, arr. for cello & piano |
| |
Quartet no. 7 in A-flat, op. 105 (first draft of 1st movement) |
| Fauré, Gabriel—Requiem, op. 48 |
| Field, John—Nocturne for piano no. 5 in B-flat |
| |
Nocturne for piano no. 5, arr. for piano & orch. (ms, partly autograph) |
| |
Nocturne for piano no. 6 in F |
| Flotow, Friedrich—Martha |
| Franz, Robert—Gesänge, op. 44 |
| Geminiani, Francesco—Concerti grossi, op. 2, #1, 2, 5, 6 |
| |
Concerti grossi, op. 3, #3-6 |
| Gluck, Christoph Willibald von—Alceste [1767] (ms) |
| |
Armide [1777] |
| |
Orfeo [1762] (ms) |
| |
Orphée et Euridice [1774] (hol fragments) |
| Grieg, Edvard—5 Digte af Otto Benzon |
| Händel, Georg Friedrich—Aci, Galatea, e Polifemo [1708] |
| |
Acis and Galatea [ca. 1720 and 1732] |
| |
Agrippina [1709] |
| |
Alcina [1735] |
| |
Alessandro [1726] |
| |
Alexander Balus [1747] |
| |
Alexander's feast [1736] |
| |
L'allegro, il penseroso, ed il moderato [1740] |
| |
Aminta e Filide [1708 or 09] |
| |
Anthem for the funeral of Queen Caroline |
| |
Anthem for the wedding of Princess Anne (hol fragment) |
| |
Anthems for the coronation of George II |
| |
Apollo e Dafne [1708 or 09] |
| |
Arianna [1733] |
| |
Ariodante [1734] |
| |
Armida abbandonata [1708 or 09] |
| |
Arminio [1736] |
| |
Atalanta [1736] |
| |
Athalia [1733] (hol, ms copies) |
| |
Belshazzar [1744] (hol, ms with autograph corrections) |
| |
Berenice [1736-37] |
| |
The choice of Hercules [1750] |
| |
Concerti for organ & orch., op. 4, #1-4, 6; op. 7 |
| |
Concerti grossi, op. 6 |
| |
Deborah [1733] (ms, partly autograph) |
| |
Deidamia [1740] |
| |
Dettingen Te Deum (hol, ms, pts) |
| |
Dixit Dominus [1707] |
| |
Esther [1732] |
| |
Ezio [1731-32] |
| |
Faramondo [1737] |
| |
Flavio [1725] |
| |
Floridante [1727 and 1733] |
| |
Giulio Cesare [1723] |
| |
Giustino [1736] |
| |
Harpsichord suite, 1st collection |
| |
Hercules [1744] |
| |
Imeneo [1738-40] |
| |
Israel in Egypt [1738] |
| |
Jephtha [1751] |
| |
Judas Maccabaeus [1745] |
| |
Lothario [1729] |
| |
Messiah [1741] (hol, ms copies) |
| |
Muzio Scevolo (act 3 of pasticcio opera) (hol, ms) |
| |
Occasional oratorio [1746] |
| |
Ode for St. Cecilia's Day [1739] |
| |
Ode for the birthday of Queen Anne [1731] (incomplete hol) |
| |
Orlando [1732] |
| |
Ottone [1722] |
| |
Partenope [1730] |
| |
Il pastor fido [1712] |
| |
Poro [1730-31] |
| |
Radamisto [1720] |
| |
La resurezzione [1708] |
| |
Riccardo primo [1727] |
| |
Rinaldo [1711 and 1731] |
| |
Rinaldo [ca. 1712 and 1730] (ms of 1711 version with autograph alterations for the 1731 version) |
| |
Rodelinda [1725] |
| |
Rodrigo [1707?] |
| |
Royal fireworks music (hol, ms) |
| |
Samson [1741-42] |
| |
Saul [1738] |
| |
Scipione [1726] |
| |
Semele [1743] |
| |
Serse [1737-38] |
| |
Siroe [1728] |
| |
Solomon [1748] |
| |
Sonata for violin & orch. in B-flat [ca. 1710] |
| |
Sosarme [1732] |
| |
Susanna [1748] |
| |
Tamerlano [1724] |
| |
3 Te Deums in A, B-flat, and D |
| |
Theodora [1749] |
| |
Tolomeo [1728] |
| |
Trio sonatas for violins & continuo, op. 5, #5-6 |
| |
The triumph of time and truth [ca. 1737] (hol sketches and fragments) |
| |
Utrecht Te Deum |
| |
Water music (ms; 2 hol movements) |
| |
Sketches for various works and lessons for Princess Anne |
| |
Cantata for the birthday of Prince Esterhazy [1764] |
| |
Divertimento for piano in E-flat, arranged from Symphony no. 66 (4th mvt) |
| |
|
and Quartet, op. 33, #4 (2nd mvt) |
| |
Mass no. 12 in B-flat, "Harmoniemesse" |
| |
Nocturne, H.II, 32 |
| |
Orlando Paladino |
| |
Quartets, op. 20, #1-6 |
| |
Quartets in C and E-flat, op. 64, #1, 6 |
| |
Quartets in B-flat, D, and E-flat, op. 71, #1-3 |
| |
Quartets in C, F, and G, op. 74, #1-3 |
| |
Die sieben Worte des Erlösers am Kreuz (pts) |
| |
Sinfonie concertante, H.I, 105 |
| |
Sonata for piano no. 52 in E-flat |
| |
Symphony no. 40 in F (hol) |
| |
Symphony no. 55 in E-flat (hol) |
| |
Symphony no. 76 in E-flat (pts) |
| |
Symphony no. 77 in B-flat (pts) |
| |
Symphony no. 78 in c (pts) |
| |
Symphony no. 80 in d (pts) |
| |
Symphony no. 81 in G (pts) |
| |
Symphony no. 82 in C (hol, pts) |
| |
Symphony no. 83 in g (hol, pts) |
| |
Symphony no. 84 in E-flat (pts) |
| |
Symphony no. 85 in B-flat (pts) |
| |
Symphony no. 86 in D (hol, pts) |
| |
Symphony no. 87 in A (hol, pts) |
| |
Symphony no. 89 in F (hol) |
| |
Symphony no. 90 in C (hol) |
| |
Symphony no. 91 in E-flat (hol) |
| |
Symphony no. 92 in G (hol) |
| |
Symphony no. 94 in G (complete hol, hol Andante) |
| |
Symphony no. 95 in c (hol) |
| |
Symphony no. 96 in D (hol) |
| |
Symphony no. 102 in B-flat (hol) |
| |
Symphony no. 103 in E-flat (ms with hol additions) |
| |
Symphony no. 104 in D (hol) |
| |
Trios for piano, H.XV, 2-5, 9, 10 |
| |
Trios for violin, viola, cello, H.IV, 6-11 |
| Haydn, Michael—Choral vespers |
| Hérold, Louis Joseph—La fille mal gardée |
| Hindemith, Paul—Quartet in f, op. 10 (hol pts) |
| |
Repertorium für Militärmusik for string quartet |
| Hofmann, Josef—Chromaticon for piano & orch. |
| Hofmannstahl, Hugo von—Die Frau ohne Schatten, Act 3 (ms libretto with |
| |
sketches in Strauss's hand) |
| Hummel, Johann Nepomuk—Concerto for piano & orch. in A-flat, op. 113 (hol pts) |
| Keiser, Reinhard—St. Mark Passion (pts in J.S. Bach's hand) |
| Křenek, Ernst—2 suites for piano, op. 26 |
| Leoncavallo, Ruggiero—I Pagliacci |
| Liszt, Franz—Christus. Hirtengesang an der Krippe |
| |
Das deutsche Vaterland |
| |
Hungarian coronation Mass |
| |
Reminiscences de Boccanegra |
| |
Soirées de Vienne |
| |
Te Deum laudamus, no. 1 (hol and sketch) |
| |
Totentanz for piano |
| |
Valse oubliée for piano no. 1 in , no. 2 in A-flat |
| |
Arrangement of Beethoven's "Adelaide" for piano |
| Locke, Matthew—Incidental music to Macbeth |
| Loewe, Karl—Der barmherzige Bruder for piano |
| |
Die Hochzeit der Thetis |
| |
Das Hohe Lied Salomonis (hol piano-vocal score) |
| Lotti, Antonio—Mass no. 4 in C |
| Mahler, Gustav—Das klagende Lied (2 hol versions) |
| |
Das Lied von der Erde |
| |
Symphony no. 1 in D (with "Blumine" mvt) |
| |
Symphony no. 2 in c ("Urlicht" lacking) |
| |
Symphony no. 5 in |
| |
Symphony no. 8 in E-flat |
| |
Symphony no. 9 in D (hol & sketches) |
| |
Sketches and selections from various early works |
| Marchisio, Barbara—Cadenzas and variants, for operas by Bellini, Donizetti, |
| |
Flotow, Gluck, Mercadante, Meyerbeer, Puccini, Rossini, and Verdi |
| Martinů, Bohuslav—Sonata for cello & piano (sketches) |
| Mascagni, Pietro—Cavalleria rusticana |
| Massenet, Jules—Manon (hol score, hol piano-vocal score, hol supplement with sketches) |
| Mayr, Simone—Adelaide di Gueschino (hol, ms) |
| |
Aristo e Temira |
| |
Ginevra di Scozia |
| |
Medea in Corinto |
| Mendelssohn-Bartholdy, Felix—Calm sea and prosperous voyage |
| |
Concerto for piano & orch. no. 1 in g, op. 25 (hol, lacks piano pt) |
| |
Concerto for piano & orch. no. 2 in d, op. 40 ("alterations in the accompaniments") |
| |
Elijah, op. 70 (proof of 1st ed., ms with autograph corrections) |
| |
Fair Melusine overture, op. 32 |
| |
Lieder ohne Worte, op. 85 (ms; no. 2-3 hol) |
| |
Midsummer night's dream, op. 21. Overture arranged for piano, 4 hands |
| |
Octet for strings in E-flat, op. 20 |
| |
Quartet in E-flat [1822] |
| |
Quartet no. 2 in a, op. 13 |
| |
Quartet no. 3 in D, op. 44, #1 (ms) |
| |
Symphony for string orch. no. 9 in C |
| |
Symphony no. 1 in c, op. 11, arranged for piano, 4 hands |
| |
Symphony no. 4 in A, op. 90 |
| |
Variations sérieuses for piano, op. 54 |
| |
Sketches |
| Mercadante, Saverio—Partenope |
| Meyerbeer, Giacomo—Le prophète (ms with autograph additions) |
| Mozart, Wolfgang Amadeus—Al desio, di chi t'adora, K.577 (ms with autograph cadenza) |
| |
Concerto for clarinet & orch. in A, K.622 |
| |
Concerto for piano & orch. no. 1 in F, K.37 |
| |
Concerto for piano & orch. no. 2 in B-flat, K.39 |
| |
Concerto for piano & orch. no. 3 in D, K.40 (hol and hol cadenza) |
| |
Concerto for piano & orch. no. 4 in G, K.41 |
| |
Concerto for piano & orch. no. 6 in B-flat, K.238 |
| |
Concerto for piano & orch. no. 15 in B-flat, K.450 |
| |
Concerto for piano & orch. no. 19 in F, K.459 |
| |
Concerto for piano & orch. no. 20 in d, K.466. Cadenzas by Beethoven, |
| |
|
Brahms, and Clara Schumann |
| |
Concerto for piano & orch. no. 22 in E-flat, K.482 |
| |
Concerto for piano & orch. no. 23 in A, K.488 |
| |
Concerto for piano & orch. no. 25 in C, K.503 |
| |
Concerto for piano & orch. no. 27 in B-flat, K.595 |
| |
Concerto for violin & orch. no. 5 in A, K.219 |
| |
6 contre danses for 2 violins & bass, K.462 (448b) (hol score, and pts for 2 |
| |
|
oboes and 2 horns in another hol score) |
| |
Miserere, K.85 (ms mostly autograph) |
| |
Le nozze di Figaro, K.492 (ms) |
| |
Le nozze di Figaro, K.492. Acts 1 and 2 (hol); sketch for Act 2, scene 3; sketch |
| |
|
for no. 20, "Che soave zefiretto" |
| |
Quartet for oboe & strings in F, K.368b (370) |
| |
Quartet no. 12 in B-flat, K.172 |
| |
Quartet no. 14 in G, K.387 |
| |
Quartet no. 15 in d, K.417b (421) |
| |
Quartet no. 16 in E-flat, K.421b (428) |
| |
Quartet no. 17 in B-flat, K.458 |
| |
Quartet no. 18 in A, K.464 |
| |
Quartet no. 19 in C, K.465 |
| |
Quartet no. 20 in D, K.499 (hol, 1st ed. of parts) |
| |
Quartet no. 21 in D, K.575 |
| |
Quartet no. 22 in B-flat, K.589 |
| |
Quartet no. 23 in F, K.590 |
| |
Quintet for piano & winds in E-flat, K.452 (hol, sketch) |
| |
Quintet for strings in C, K.515 |
| |
Quintet for strings in c, K.516b (406) |
| |
Serenade no. 10 in B-flat for 13 wind instruments, K.370a (361) |
| |
Sinfonie concertante in E-flat for violin, viola, & orch., K.320d (364) (sketch) |
| |
Sonata for piano no. 1 in C, K.189d (279) |
| |
Sonata for piano no. 2 in F, K.189e (280) |
| |
Sonata for piano no. 3 in B-flat, K.189f (281) |
| |
Sonata for piano no. 4 in E-flat, K.189g (282) |
| |
Sonata for piano no. 5 in G, K.189h (283) |
| |
Sonata for piano no. 6 in D, K.205b (284) |
| |
Sonata for piano no. 8 in a, K.300d (310) |
| |
Sonata for piano no. 10 in C, K.300h (330) |
| |
Sonata for piano no. 12 in F, K.300k (332) |
| |
Sonatas for piano, 4 hands, in B-flat, K.186c (358); in F, K.497; in C, K.521 |
| |
Sonata for 2 pianos in B-flat, K.375b (Anh.42) (sketch) |
| |
Symphony no. 32 in G, K.318 (hol with 2 hol trumpet pts) |
| |
Symphony no. 35 in D, K.385 |
| |
Trio for clarinet, viola, & piano in E-flat, K.498 |
| Mozart, Wolfgang (the son)—Ich bin der erste Buffo, for insertion in his father's |
| Musorgskii, Modest—Kinder-scherzo for piano |
| Offenbach, Jacques—La permission de dix heures |
| |
Scapin et Mezzetin |
| |
Tales of Hoffmann. Act 4 (ms with autograph corrections) |
| |
Sketchbook (includes Tales of Hoffmann) |
| Paër, Ferdinando—Unidentified overture in D |
| Paderewski, Ignace Jan—Minuet in G, from op. 14 |
| Paganini, Nicolò—Quartets for violin, viola, cello, & guitar, nos. 11-14 (hol pts) |
| Paisiello, Giovanni—8 cantatas |
| Pepusch, John Christopher—Concerto for string orch. in a |
| Purcell, Henry—Dido and Aeneas (ms) |
| |
"A score booke, containing severall anthems with symphonies," |
| |
|
62 selections. British Library, R.M.20. h.8 (hol) |
| |
"The works of Hen: Purcell," selected sacred vocal and various instrumental |
| |
|
works. British Library Add. ms. 30930 (hol) |
| |
Songs, duets, and choruses from The fairy queen (hol) |
| Reger, Max—Stücke for organ, op. 65 |
| Reichardt, Johann Friedrich—Symphony no. 2 in d |
| Rossini, Gioacchino—Le comte Ory. Overture |
| |
Il barbiere de Siviglia (hol, ms with autograph alterations) |
| |
Cantata per Francesco I d'Austria |
| |
Guillaume Tell, with alternate versions for some scenes |
| |
L'Italiana in Algeri |
| |
Moïse |
| |
Mosè in Egitto (hol, sketch for the prayer of Moses) |
| |
Incidental music to Oedipe à Colonne (ms with autograph additions) |
| |
Petite messe solonnelle |
| |
Quartet (hol pts) |
| |
Semiramide |
| |
Le siège de Corinthe. Overture; Hymne, Act 2 |
| |
Il signor Bruschino |
| |
Tancredi |
| |
Il Turco in Italia |
| |
Sketches |
| Saint-Saëns, Camille—Sketches for Symphony no. 3 in c, op. 78 |
| Salieri, Antonio—Prima la musica poi le parole (ms) |
| Sarasate, Pablo de—Zigeunerweisen for violin & piano |
| Scarlatti, Alessandro—La caduta de' Decemviri |
| |
La fede reconosciuta |
| |
Salve regina |
| |
12 sinfonias or concerti grossi |
| Scarlatti, Dominico—12 Cantatas for one and two voices & continuo (ms) |
| Schneitzhöffer, Jean—La sylphide |
| Schoenberg, Arnold—Gurrelieder |
| Schubert, Franz—Am Fenster, D.878 |
| |
Auf den Tod einer Nachtigall, D.399 |
| |
Auguste jam coelestum, D.488 |
| |
Dem Unendlichen, D.291b |
| |
Einsamkeit, D.620 |
| |
Fantasia in c for piano, 4 hands, D.48 (hol?) |
| |
Der Fischer, D.255 |
| |
Die Forelle, D.550 |
| |
Frühlingslied, D.398 |
| |
Gesänge, D.902 |
| |
Heimliches Lieben, D.922a |
| |
Hermann und Thusnelda, D.322 |
| |
Mass in F, D.105 (hol pts) |
| |
Mass in B-flat, D.324 |
| |
Mass in C, D.452 |
| |
Octet in F for strings & winds, D.803 |
| |
Overture for string quintet, D.8 (1st and last versions) |
| |
Quartet no. 14 in d, D.810, "Death and the Maiden" (ms, partly autograph) |
| |
Salve regina, D.676 |
| |
Schwanengesang, D.957 |
| |
Die Sehnsucht, D.636a and 636b |
| |
Sonata for arpeggione & piano in a, D.821 |
| |
Sonata for piano in a, D.537 |
| |
Sonata for piano in A-flat, D.557 |
| |
Sonata for piano in G, D.894 |
| |
Sonatina for violin & piano in a, D.385 |
| |
Symphony no. 5 in B-flat, D.485, fragment arranged for piano |
| |
Symphony in E, D.729, draft |
| |
Die Verschworenen, D.787 |
| |
Wanderer fantasie in C for piano, D.760 (hol, 1st ed.) |
| |
Winterreise, D.911 |
| Schütz, Heinrich—Christmas oratorio |
| Schumann, Robert—Belsatzar, op. 57 |
| |
Concertstück in F for 4 horns & orch., op. 86 |
| |
Dichterliebe, op. 48 |
| |
Fantasiestück for piano, op. 111, #2 (sketches); #3 (hol) |
| |
Frauenliebe und -leben, op. 42 |
| |
Gedichte: op. 30, #1-3; op. 35, #1-12; op. 36, #1-6; op. 37, #1, 3, 5, 6, 8-10; op. 90 |
| |
Genoveva, op. 81 |
| |
Gesänge: op. 31, #1-3; op. 142, #1, 3 |
| |
Kinderscenen for piano, op. 15 (sketches for #6 and 9) |
| |
Lieder: op. 40; op. 43 |
| |
Lieder-Album für die Jugend, op. 79 |
| |
Lieder und Gesänge: op. 27, #2-4; op. 51, #1-4 |
| |
Liederkreise: op. 24; op. 39, #1, 2, 4, 5, 7-12 |
| |
Manfred, op. 115 |
| |
Myrthen, op. 25 |
| |
Papillons, op. 2 |
| |
Quartets, op. 41 (hol, sketches) |
| |
Romanzen und Balladen: op. 45, #2, 3, 11; op. 49, #1-3; op. 53, #1-3; op. 64, #1, 2 |
| |
Sonata for piano in f, op. 14 |
| |
Sonata for piano in g, op. 22 |
| |
Sonata for violin & piano no. 3 in a, op. 105 |
| |
Symphony no. 1 in B-flat, op. 83, "Spring" |
| |
Symphony no. 4 in d, op. 120 |
| |
Trio for violin, cello, & piano in f, op. 80 |
| |
Waldscenen, op. 82 |
| |
Sketches |
| Sibelius, Jean—Oceanides, op. 73 |
| Smetana, Bedřich—Bartered Bride. Overture |
| Soler, Antonio—12 sonatas for clavicembalo |
| Spohr, Louis—Alruna, die Eulenkönigen (ms) |
| |
Duo concertante no. 2 for 2 violins & orch. (ms) |
| |
Des Heilands letzte Stunde |
| |
Octet for clarinet, 2 horns & strings in E, op. 32 |
| |
Sonata concertante for violin & harp in G |
| Spontini, Gasparo—Agnes van Hohenstaufen (hol, ms) |
| |
Alcindor (ms) |
| |
Fernand Cortez (ms) |
| |
Nurmahal (ms) |
| |
Olympie |
| Strauss, Johann 1825-1899—Ritter Pásman |
| Strauss, Richard—Die ägyptische Helena. "Ein Feuer brennt, ein Tisch ist gedeckt" (hol of voice pt only) |
| |
Don Juan |
| |
Elektra (sketches) |
| |
Die Frau ohne Schatten, Act 3 (ms libretto, with sketches by Strauss) |
| |
Till Eulenspiegel |
| Stravinskii, Igor—Capriccio for piano & orch., arranged for 2 pianos |
| |
Danses concertantes |
| |
"Dumbarton Oaks" concerto in E-flat (hol with sketches) |
| |
Firebird (printed score and parts used by Diaghilev) |
| |
Rossignol |
| |
Symphony in 3 movements |
| |
Symphony of psalms (ms piano-vocal score) |
| Vaughan Williams, Ralph—Concerto for piano & orch. (piano pt with |
| |
reduced orchestral pt; arrangement for 4 hands) |
| Verdi, Giuseppe—Aida (ms with autograph additions) |
| |
Ave Maria, from Pezzi sacri |
| |
Don Carlos |
| |
Macbeth (ms with autograph corrections) |
| |
Rigoletto (sketches) |
| Vieuxtemps, Henri—Fantasie-caprice for violin & orch. |
| Vivaldi, Antonio—Armide al campo d'Egitto |
| |
Catone in Utica. Acts 2 and 3 |
| |
Il Giustino |
| |
Il Teuzzone |
| |
La verità in cimento |
| Wagner, Richard—Die Feen. Scene and aria from Act 2 |
| |
Der fliegende Holländer. Selections and sketches |
| |
Götterdämmerung. Early versions of prelude and sketches |
| |
Das Liebesverbot. Selections from Act 2 |
| |
Rienzi (hol short score of entire opera; sketches for parts of Acts 1 and 2) |
| |
Sonata for piano in B-flat |
| |
Symphony in C. Movements 2-4 arranged for piano |
| |
Tannhäuser (hol short score) |
| |
Tristan und Isolde. Sketches for Act 1 |
| Weber, Carl Maria—Concerto for clarinet & orch. no. 1 in f, op. 73 |
| |
Concerto for piano & orch. no. 1 in C, op. 11 |
| |
Euryanthe. Overture (ms) |
| |
Der Freischütz (ms of early English version) |
| |
Grand duo concertant for clarinet & piano in E-flat, op. 48 |
| |
Mass no. 2 in G, op. 76 |
| |
Oberon (ms with autograph corrections) |
| |
Quintet in B-flat for clarinet & strings, op. 34, arranged for piano and strings |
| |
Trio in g for cello, flute, & piano, op. 63 |
| Wolf, Hugo—Anakreon's Grab |
1At the time of this writing, the hours were Monday through Saturday 12-6.
2The fullest description of the case may be found in Opera News XXVI/21 (April 7, 1962), 8-12.
3The B-flat in the Brahms is clearly visible in the autograph, but in the first edition it was accidentally made smaller than the surrounding notes, and then overlooked. This and similar tales are related in Eva Badura-Skoda's "Textual problems in masterpieces of the 18th and 19th centuries," Musical Quarterly LI/2 (April 1965), 301-17.
4The history of those seven measures, inserted into the autograph by Mozart in such a way that they are not immediately obvious, is traced in the introduction of the edition of the concerto in the Neue Mozart Ausgabe, Serie V, Werkgruppe 15, Bd. 8 (Kassel, 1960), pp. xxiv-xxv.
5Maurice Brown, "Schubert's Winterreise Part I," Musical Quarterly XXXIX/2 (April 1953), 215-22. See also Julian Armitage-Smith, "Schubert's Winterreise Part I," Musical Quarterly LX/1 (Jan. 1974), 20-36, for further thoughts on the qualitative differences in the sources.
