In addition, the Music Division holds an album of autographs, mostly from Paris, 1834–53, 44 11., compiled by Count Anatole Nicolaevich Demidoff (1812–1870), mainly pieces by prominent Western European composers (no Russians identified).
Resources (85)
(Michelle) Pauline Viardot-Garcia (1821-1910)
Etoile du soir, song with piano accompaniment, French text, holograph, 1 1., signed at the bottom: Pauline Garcia, and Francfort a 18 Aout 1838; [Vocal cadenza for an opera of Gluck], first line: Je vais braver le trepas, 1 1., holograph, signed and dated at end: Pauline Viardot, souvenir a monsieur [H. F.] Kufferath. Paris le 16 sebre. 1859; [Vocal cadenzas for various Italian operas] (1882?), holograph in pencil, 4 11., written in an album, with the composer's visiting card bearing a holograph dedication to Antonia Kufferath for whom the cadenzas were written; and Vocalises and cadenzas for various opera arias (n.d.), pencil holograph, 23 11., written for frau Gertrud Seeger-Engel.
Aaron A. Avshalomoff (1894-1965)
Symphony, no. 3 in B minor [1953], score, holograph in ink, on transparent paper, 169 11. On titlepage? Dedicated to the memory of Serge and Natalie Kou-sevitzky. Plus a reproduction of the same (black-line print).
Adolf von Henselt (1814-1889)
Album leaf, composer's holograph, signed and dated: A. Henselt, Dresden, 16. sept. 1842 (three bars for pianoforte, two hands); and a second album leaf in the composer's holograph, signed and dated: A. Henselt, St. Petersburg, den 8ten marz, 1845 (pianoforte, two hands), with a portrait of the composer on the verso.
Albert Schatz (1839-1910)
Collection of early opera libretti and research files, ca. 1541–1901, 30 ft. Primarily consists of over 12,000 printed libretti; also, "Operngeschichte Statistik"—60 card files of information about opera performances (title, composer, librettist, genre, number of acts, and date, city, and theater of premiere) plus shorter card catalogues of listings by title and librettist; notes; correspondence; manuscripts of articles; and clippings—all pertaining to the history of opera in Europe and the United States. Libretti and manuscripts have been microfilmed.
Aleksander Sergeyevich Taneev (Taneyev) (1850-1918)
Mazurka. Manuscript scores, in ink, include versions for full orchestra (60 pages; 38.1 x 27.2 cm) and for piano, four hands (22 pages; 39.9 x 28.2 cm). LC call number: M1047.T165 M3 Case. Description: These two unbound scores are laid within a presentation folder (40.4 x 29.0 cm) that has been covered in beige vellum and exhibiting an Imperial crown depicted in gold tooling on the upper right corner of its cover; the folder is lined in white satin. The cover of both scores bear handwritten dedications, in black ink, reading “Eia Imperatorskomu Velichestvu / Gosudarynie Imperatritsie / Marii Feodorovnie / vsepodannieishe posviashchaet / A. S. Tanieev” (“To Her Imperial Majesty, the Sovereign Empress Mariia Fëdorovna, A. S. Taneev humbly dedicates [this work]”). Pages are edged in gold.
Aleksandr Nikolaevich Cherepnin (1899-1977)
Exploring the piano; twelve duets to explore the piano (1958), holograph in ink, 25 pp., with editor's blue and red pencilled corrections (published, ca. 1959), plus letters between the composer and the piano editor, Roberta Savler, and a copy of the published work laid in.
Aleksandr Nikolaevich Skriabin (1872-1915)
Cinquieme sonate, for piano, op. 53, in F major [1911? ], publisher's proof with the composer's corrections in red ink, 19 11. (published, 1911).
Aleksandr Porfir'evich Borodin (1834-1887)
[Kniaz Igor: sketches], composer's holograph, 5 11., mostly in pencil (n.d.), four orchestral sketches and one melodic phrase, score.
Aleksandr Tikhonovich Grechaninov (1864-1956)
The Lord's prayer (Otche nash, op. 107, no. 3), for soprano solo and mixed choir, composer's holograph, 2 11., score (n.d.), title and text in English and Russian (published, English only, 1932); Missa oecumenica, for four solo voices, choir, orchestra, and organ, op. 142, partition (Paris, 1935), score, holograph in ink with additions and corrections in pencil, 148 pp.; and the same work, holograph in ink with additions in pencil (Paris, 1935), 75 pp.; both the last two dedicated to the memory of Natalie Koussevitzky.
Aleksei Antonovich Giubner
Den’ sviashchennago koronovaniia. Torzhestvennyi marsh. (The Day of Holy Coronation. Triumphal march.) Manuscript score, in ink, includes versions for piano solo (pianoforte) and for wind orchestra (garmoniia); undated; [3], [2], [14] pages; 40.0 x 27.0 cm. LC call number: M1247.G4 S Case. Description: Score is laid within a presentation folder that is covered in blue velvet and featuring a gilded metal Imperial crown, as well the gilded metal intertwined letters “M” and “F” on its cover; it is lined in beige satin. The score’s first recto page bears a dedication, in gold ink, reading “Eia Imperatorskomu Velichestvu / Gosudarynie Imperatritsie / Marii Feodorovnie.” (“To Her Imperial Highness, the Sovereign Empress Mariia Fëdorovna.”)
Aleksei Fedorovich L'vov (1798-1870)
Piesn' russkikh [Bozhe, Tsaria khrani], arrangement for tenor and orchestra (1834), score, photocopy of holograph, 13 11.
Alexander Siloti (1863-1945)
Papers, 1935, 11 items. Correspondence concerning his proposed emendations to the Scherzo of Beethoven's 9th Symphony. Correspondents include Sergei Rachmaninoff, Ernest Hutcheson, Pablo Casals, Walter Damrosch, and Joseph Achron. Also, listing of musical performances of works introduced into Russia by Siloti in the early part of this century.
Cortege triomphal, composer's holograph, n.d., 4 pp. score for orchestra (first 16 bars published as Cortege solonnel, op. 50); Preludio e fuga, 23 pp., for pianoforte, two hands, composer's holograph, signed and dated (at end): 31 iiuiia 1926, Gatchina. Okonchatel'no pererabotano 17 avgusta 1929 g., Antib, A. Glazunov; Quartet, second sonata for piano [Quartet, strings, no. 7. Allegro giocoso] (1930), score, composer's apographs in ink, each signed at end, with an autographed portrait, 2 1.1.; and [Muslque pour le drame de C. R. Le Roi des Juifs], full score for chorus and orchestra, publisher's proof (M. P. Belaieff, Leipzig, 1915) with corrections and additions by the composer in red and black ink, signed and dated (St. Petersburg, 1913).
Alexandrine Schtokvitch [Shtokvich]
Deux morceaux pour le piano [Moment triste. Valse; Mazurka de Salon]. Piano score. Manuscript score, in ink, 7 pages; undated. LC call number: M25.S Case. Description: Score (measuring 32.0 x 25.2 cm) is laid within a presentation folder (measuring 32.3 x 25.8 cm) of thick cardboard with beveled edges, which is lined in white textured (moiré) paper; the folder’s cover features a multi-color illustration (by A. Buinits?) of a harpist among clouds, a mountain, and a gold crown; it also includes the work’s composer and title, as well as a dedication reading “dédiés / à Sa Majesté Impériale / Marie Feodorovna / l’Impératrice de Toutes les Russies.” (“Dedicated to Her Imperial Majesty, Mariia Fëdorovna, Empress of All the Russias.”)
Alexei Haieff (b. 1914)
Concerto for piano and orchestra (1949–50), score, holograph in pencil, 128 pp.; Eclogue [1945], score and part, holograph in ink (in memory of Natalie Konstantinovna Koussevitzky), 10 pp., plus two photocopies of this same work (negative and positive); and Eloge, for four flutes, bassoon, trombone, two pianos, and wood block (1967), 2 11., score, holograph in ink on transparent paper (in memory of Serge and Natalie Koussevitzky), 62 11.
Anatol Constantinovich Liadov (1855-1914)
Bagatelle, 1 1., composer's holograph in pencil, dated at end: An. Liadov, 18go oktiabria 89g. ("V al'bom Antonu Grigor'evichu Rubinshteinu"), for pianoforte, two hands.
Anton de Kontski (1817-1899)
Romance "Priez pour moi!!", words of Milleboye, music of Antonin de Kontski, unpaged autograph, piano accompaniment, French text.
Anton Rubinstein (1830-1894)
Ballade (Leonore de Burger), for piano, two hands, op, 93, cah. 1, autograph, 7 pp., dedicated to a Monsieur Wenzel; Deux etudes, for the piano, two hands, op. 93, cah. 2, autograph, 7+1 pp., dedicated to Monsieur Kross; Deux serenades, for piano, two hands, op. 93, cah. 6, autograph, 6 pp., dedicated to Sophie Smiriaguine; Doumka et Polonaise, for piano, two hands, op. 93, cah. 3, autograph, 4 pp., dedicated to Monica Terminsky; Scherzo for piano, two hands, op. 93, cah. 5, autograph, 4 pp., dedicated to Pierre de Tschsikofsky—all of the preceding bound within the same cover; and Deux marches funebres, no. 2, pour le convois d'un heros (n.d.), holograph, 1 + 4 pp., for piano, two hands (op. 29, no. 2).
Arkadii A. Poluboiarinov
Kolybel'naia piesnia, composer's holograph (1896), 4 11,, dedicated to the Empress Aleksandra Feodorovna, with her portrait and that of the Grand Duchess Olga on the cover; song with pianoforte accompaniment; Kolybel’naia piesnia. (Cradle song.) Voice and piano. Russian lyrics. Manuscript piano-vocal score, in ink. LC call number: M1621.P Case (Folio). Description: The cover page of this manuscript score contains a portrait, in pencil, of Empress Aleksandra of Russia with her eldest daughter, the infant Grand Duchess Olga, and also features watercolor details and lettering. The manuscript is laid within a presentation folder, measuring 44.9 x 35.5 cm, that is covered in blue velvet and lined in ivory satin. Both the cover of the presentation folder and the title page of the manuscript bear a dedication reading “Eia Imperatorskomu Velichestvu / Gosudarynie Imperatritsie / Aleksandrie Feodorovnie.” (“To Her Imperial Majesty, Sovereign Empress Aleksandra Fëdorovna.”). On the cover of the presentation folder, this inscription appears in gold; following this inscription appear the additional words “6 Maia 1896 g. / vsepoddannieishe podnosit avtor.” (“[dated] 6 May 1896 / the author humbly dedicates [this work].”)
Arnold Schoenberg (1874-1951)
Papers, ca. 1907–51, 4 ft. Includes a letter of Wassily Kandinsky concerning his esthetic philosophy (Schoenberg exhibited his paintings with the Blue Rider group in 1912). Also, the holograph musical work entitled A Survivor from Warsaw (1947), Schoenberg's personal and business correspondence, concert programs, and clippings. Requires permission of the Schoenberg estate to use; preliminary inquiries should be addressed to the Music Division.
Boris A. Fitingof-Shel’ (1829-1901)
[Shel’, Boris.] Ioann Damaskin, op. 64. Oratoriia. (Saint John of Damascus, op. 64. Oratorio.) Vocal soloists (soprano, contralto, tenor, baritone, bass), mixed (SATB) chorus and orchestra. Piano-vocal score (piano reduction; reproduced from the composer’s manuscript). Russian lyrics. [No place of publication indicated]: [published by the author], 1879-80; 126 pages [[17, 3,] 11, 6, 8, 3, 5, 3, 8, 4, 16, 5, 7, 8, 22 pages; each section of the work is separately paginated]; 33.6 x 26.8 cm; no plate number. LC call number: M2003.F54 J5 Case. The work’s handwritten libretto (in Russian, in ink, and in the composer’s hand; in 17 unnumbered pages) precedes the score. Description: Score is bound in black leather and lined in white textured (moiré) paper; the letter “M,” above which appears a crown, has been stamped onto the score’s cover.
Boris Karlovich lanovskii (1875-1933)
Sulamit; muzykal'naia drama v 3-kh kartinakh [1916], holograph in ink, 170 pp., librettist unknown, but libretto based on A. I. Kuprin's Sulamif, piano-vocal score.
Boris Koutzen (1901-1966)
Second quartet for two violins, viola, and cello (1936), composer's holograph score, 1 1., 49 pp., dedicated to Mrs. Elizabeth Sprague Coolidge.
Burnet Corwin Tuthill (b. 1888)
His arrangement of Sergei Rachmaninoff's Serenade in Bb minor [Morceaux de fantaisie] for piano, op. 3 1914, score, 7 pp., and part (published edition of A. Siloti [New York], with revisions in green pencil by the arranger, part in ink.
Cesar Antonovich Cui (1835-1918)
Kinzhal (from seven romances, op. 49, no. 7), song with pianoforte accompaniment (St. Petersburg, 1892), words of M. Lermontov, composer's holograph, 2 11., dedicated to Aleksandr Andreevich Filonov; and [Three songs with pianoforte accompaniment], composer's holograph, n.d., 4 11., published by V. Bessel in 1886 as op. 33, nos. 5, 1, and 7 (contains: Oni liubili drug druga—words of Lermontov, Solovei—A. S. Pushkin, and Metel'shumit—Pushkin). See also under Philip James.
Charles Louis Seeger (1886-1979)
Collection, 1930s, 2 ft. (in process). Music and other materials relating to the Workers Music League (WML), an affiliate of the International Music Bureau, established in New York City in 1931. Includes WML songbooks, concert programs, news clippings, notes, and sheet music from the USSR, England, and the U.S.
Charles Martin Tornov Loeffler (1861-1935)
Papers, 1882–1935, 6 ft., ca. 1,700 items. Composer and violinist. Correspondence, sketches, photos, literary works, programs, clippings, and musical holographs: Memories of childhood (Life in a Russian village), composer's holograph, n.d., 1 1., 49 pp., score for full orchestra (published, 1925), title in Russian (Skazochnyi mir o selie) and English; Une nuit de mai, rhapsody after Nicolai Gogol, for violin, orchestra, and harp [1891], score, holograph of earliest version, in ink, 47 pp. (originally intended as the second movement for his suite Les veillees de l'Ukraine); the same work [189-?], score and part, holograph in ink, 42 pp., copyist's ms. of full score, in ink, with composer's additions and corrections in pencil and ink, 49 pp., laid in; the same work [189-?], score, holograph in ink, 16 pp., for violin and piano; Rhapsodie russe, for violin and orchestra, score, holograph in ink of the composer's reduction for violin and piano, 15 pp., with pencil sketches on p. 15, violin part extensively revised and incomplete, 3 pp., laid in: Les veillees de l'Ukraine after Nicolai Gogol [189-], score, holograph of suite for violin and orchestra, in ink, 116 pp. (omits second movement, Une nuit de mai, later reset as a separate work); same work, for violin and orchestra, violin principal [189-], holograph in ink, 25 pp.; same work, copyist's ms. in ink, parts, title-page wrapper in composer's hand (omits the third movement, Chansons russes); same work, suite for orchestra and harp [1891], score, holograph of early version in ink, 99 pp. (omits the second movement); and the same work, arranged for violin and piano [1891], score, holograph in ink (incomplete), 54 pp., with third movement missing. Music manuscripts reproduced on microfilm. (NUCMC 67–651)
Daniel Gregory Mason (1873-1953)
Papers, 1902–35, 101 items. Includes correspondence between Mason and Osip Gabrilowitsch concerning Mason's music, mutual criticisms of compositions, and other matters. Among his holograph musical works in this collection are: Russians; songs for baritone and orchestra, op. 18 [1915–17], score, 1 vol., holograph in ink, with markings in red and blue pencil by Leopold Stokowski and Osip Gabrilowitsch, with historical notes in the composer's hand, words by Witter Bynner (published, 1920); scoring of the same work, Sketches of Negro quartet, for string quartet, score, 1 vol., holograph in pencil (published, 1930); and [Sketch book of Love songs, op. 15; an unidentified string quartet; Intermezzo for string quartet, op. 17; Russians, op. 18; Negro quartet, op. 19; and various piano pieces. 1915–16], 1 vol., holograph in pencil, with some sketches for Love-songs, op. 15 (orchestrated much later), a memo, September 1946, and lists of Mason's compositions (op. 1–23) and literary works on inside front and back covers in composer's hand.
Dmitrii Borisovich Kabalevskii (b. 1904)
Improvizatsiia, op. 23 (sic), no. 1, Improvisation, violin and piano, op. 21, no. 1, 1934, score, holograph in ink, 5 pp.; at end: D. Kabalevskii—9/iv. 1934 g. Moskva.
Ekaterina Barteneva
Ozhidanie. Romans. (Expectation. Romance.) Voice and piano. Manuscript piano-vocal score. Russian lyrics. Undated; [5] pages; 35.7 x 26.5 cm. LC call number: M1621.B Case. Description: Score is laid within a presentation folder covered in purple cloth and lined in white textured (moiré) paper; gold tooling is used on its cover for a single line along its edges, as well as for decorative botanical motifs in each of the cover’s four corners. The second recto page of the score bears a dedication reading “Eia Korolevskomu Vysochestvu / Printsessie Dagmarie / S chuvstvom glubokoi predannosti / posviashchaet Ekaterina Barteneva.” (“To Her Royal Highness Princess Dagmar, [this work] is dedicated by Ekaterina Barteneva with deep sentiments of devotion.”) This inscription appears below a multi-color illustration, in watercolor, of the Danish Royal coat of arms.
Elizabeth Sprague Coolidge (1864-1953)
Composer and patron of music. The Elizabeth Sprague Coolidge Collection contains manuscript pieces commissioned by and dedicated or presented to her, or commissioned by the Coolidge Foundation, including items by Russian-born composers. Some of these items appear individually in this entry (e.g., works of N. Berezowski, N. Lopatnikov, S. Prokofiev, and Igor Stravinsky). (NUCMC 67–642)
Fabien Sevitzky (Koussevitzky) (1893-1967)
Papers, 1933–52, 1 ft., 1,122 items. Russianborn conductor came to America in 1923. Papers include correspondence with Paul Kletzki and others attempting to find employment for Kletzki in the United States, and with Arcady Dubensky. (NUCMC 67–660)
Feodor [Fëdor] Liuter
Bozhe, Tsaria khrani! Koronatsionnyi marsh dlia fortepiano. (God bless the Tsar! Coronation March for piano.) Piano solo. Manuscript score, in ink, dated Orel, 1883; 9 pages; 32.3 x 24.7 cm. LC call number: M25.L Case. Description: Score is laid within a presentation folder covered in blue leather with paper cover affixed; it is lined in white textured (moiré) paper. The manuscript itself appears on pre-printed score paper (five double staves); gold ink was used for both its staves and for its ornate border designs, the latter featuring intertwined musical and botanical motifs.
Feodosii Antonovich Rubtsov (b. 1904)
Compiler of a [Collection of White Russian folk songs. n.d,], in two portfolios, compiler's manuscript in ink, and some printed music sheets pasted on (unaccompanied melodies, White Russian words).
Fritz Kreisler (1875-1962)
Papers, 1883–1945, 4 ft. Transcriptions for violin (S. Rachmaninoff's Prelude in G minor, 1945, 7 pp.) and for violin and piano (Rachmaninoff's Prayer—Preghiera—from the second movement of piano concerto no. 2, op, 18, in C minor [1940], score, 8 pp.; N. Rimskii-Korsakov's Fantaisie sur des themes russes, newly edited and freely arranged by Kreisler, 1928, score, 17 pp.; and P. [Tchaikovsky] Chaikovskii's Chant sans paroles, score, 3 pp.; and his reduction for violin and piano of Henri Wieniawski's Air russes, score, 7 pp. (published ca. 1929). Also, holograph works of A. Gretchaninoff and L. Godowsky.
Gugo [Hugo] Shuman
Priviet vtoromu shefu. Marsh. (Greetings to the second chief. March.) Military band. Manuscript full score, in ink; [8] pages; 35.7 x 27.1 cm; undated. LC call number: M1247.S Case. Description: Score is laid within a presentation folder that has been covered in padded gold silk and lined in pale purple satin; its cover features a white and pale purple silk floral design. Its title page bears a dedication reading “Ego Imperatorskomu Vysochestvu / Nasliedniku Tsesarevichu / Aleksandru Aleksandrovichu. / S chuvstvom predannosti i viernopoddannichestva / posviashchaet / kapel’meister 13go Leib Grenaderskago Erivanskago / Ego Imperatorskago Velichestva Aleksandra Nikolaevicha polka / G. Shuman.” (“ To His Imperial Highness, the Heir Apparent, Tsarevich Aleksandr Aleksandrovich. With devotion and loyalty the Kapellmeister of the 13th Erevan Grenadiers dedicates His Imperial Highness Aleksandr Nikolaevich polka. G. Shuman.”)
Harry Rosenthal
Collection, on manuscripts and papers of Franz Liszt, 5 ft. Includes piano transcriptions of works by Cesar Cui and other composers.
Igor' Fedorovich Stravinskii (1882-1971)
Babel, cantata for chorus, orchestra, and narrator [n.p., 1945?], condensed score, blackline print from holograph, 19 11.; Mass for a mixed chorus and a double wind-quintet [n.p., ca. 1946], score (1. vol.), reproduced from holograph; Petrouchka (ca. 1946), score, ballet, photocopy of holograph, 2 vols., 174 pp.; and Praeludium (ca. 1937), orchestral score, positive photostat of composer's holograph, 5 11.
Igor Fedorovich Stravinsky (1882-1971)
Agon, ballet for twelve dancers (1957), score, holograph in pencil, 88 pp., arranged for two pianos, accompaniment originally for orchestra (published, 1957); Apollon-Musagete, ballet in two scenes (1928), score for string orchestra, holograph in ink, 70 pp., with letter of authenticity from G. Paitchadze (22 October 1928) to Carl Engel laid in (commissioned by the Elizabeth Sprague Coolidge Foundation), plus negative and positive photocopies of the same; same work, photocopy (negative) of composer's reduction for piano, originally for string orchestra, 1927, 38 pp., plus a positive photocopy of the same; Babel, cantata for chorus, orchestra, and narrator, in English (1944), score, holograph in ink on transparent paper, 23 11., chorus for men's voices, words from the Book of Genesis (published, 1952); the same work, condensed score, holograph in ink on transparent paper, 19 11., plus a reproduction of the same (blackline print) (1944); Le baiser de la fee, ballet, score for orchestra, holograph in pencil with additions and corrections in red pencil at end: 30 oct. 1928 a minuit et a Nice, 167 pp.; Ballad for violin and piano from Le baiser de la fee, the violin part established in collaboration with Jeanne Gautier [1951], score, holograph in ink on transparent paper, 17 11., originally for orchestra (published, 1951); Cantata, for mezzo-soprano, tenor, female choir, and small instrumental ensemble, anonymous 15th–16th c. lyrics, in English, music by Stravinsky (1952), score, holograph in ink on transparent paper, 84 11., accompaniment for two flutes, two oboes, English horn, and violoncello, holograph sketch in pencil, 4 11., laid in (published, 1952); Canticum sacrem, as honorem Sancti Marci nominis (1955), piano-vocal score, in Latin, for solo voices (TB), chorus (SATB), and piano, accompaniment originally for orchestra, holograph in pencil on transparent paper, 56 11. (published, 1956); Circus polka, for piano, composed for a young elephant [1942], holograph in ink, 14 pp. (published, 1942); Concerto in D for string orchestra (1946), score, holograph in ink, 57 11. (published, 1947); Concerto pour piano et orchestre d'harmonie (1924), score, holograph in ink, 95 pp., with corrections in pencil and red ink, composer's addition of caption title with date, 1931, possibly refers to corrections, composer's notes on performance dates on inside back cover (published, 1936); Credo (orthodox), new 1964 version (1964), score, holograph in pencil on transparent paper, 6 11., written in Church Slavonic language with phonetics in English letters (as the first one, 1932), for chorus (SATB) (published, 1966); Ebony concerto (1945), score for clarinet and jazz ensemble, holograph in ink on transparent paper, 45 11., dedicated to Woody Herman and his orchestra (published, 1946), plus a photocopy of the same; Elegie (1944), for viola, holograph in ink on transparent paper, 3 11. (published, 1945); same work, arranged for two violas [1944], score, holograph in ink on transparent paper, 3 11.; same work, arranged for violin (1944), holograph in ink on transparent paper, 3 11. (published, 1945); Elegy for J. F. K., by Wystan Auden and Igor Stravinsky (1964), score, for baritone and three clarinets, holograph in pencil, 5 11.; 4 [i.e. Quatre] etudes pour orchestre (1928), score, holograph in pencil, 8, 10, 8, 21 pp.; The flood (1962), score, English, holograph of the musical play, in pencil, on transparent paper, 80 11., text chosen and arranged by Robert Craft from the Book of Genesis and the York and Chester cycles of miracle plays (published, 1963) ; Eight instrumental miniatures (1962), score, 17 11., for two flutes, two oboes, two clarinets, two bassoons, horn, two violins, two violas, and two violoncellos in varying combinations (published, 1963); Introitus, T. S. Eliot in memoriam (1965), score, for chorus (TB), harp, piano, four percussion players, viola, and double bass, Latin words, holograph in pencil on transparent paper, 10 11. (published, 1965); Mass for a mixed chorus and a double wind quintet (1948), score, for solo voices (SATB), chorus (SSAATTBB), two oboes, English horn, two bassoons, two trumpets, and three trombones, holograph in ink on transparent paper, 15, 24, 28, 21, 10 11. (published, 1948); Russian maiden's song (Devich'i pesni) [Mavra. Drug moi milyi], lyrics by B. Kochno after A. S. Pushkin, English translation by R. Burness, music by Stravinsky [1947], holograph in ink on transparent paper, 7 11., accompaniment originally for orchestra (published, 1948); Monumentum pro Gesualdo di Venosa ad CD annum, 3 madrigals recomposed for instruments, 1960, score, holograph in pencil on transparent paper, 16 11., based on madrigals from libro 5 and 6, by Gesualdo (published, 1960); Four Norwegian moods, for orchestra (1942), score, holograph in pencil, 47 pp. (published, 1944); Ode, in three parts, for orchestra [1943], orchestra score, holograph in pencil, 24 pp., in memory of Natalie C. Koussevitzky (published, 1947); Oedipus rex (1927), libretto by Jean Cocteau, based on Sohpocles' Oedipus tyrannus, holograph of the opera-oratorio in ink, 128 (i.e., 100) 11. (published, 1928); Petrouchka, holograph sketches in pencil of an arrangement for the Pleyela (player-piano), 4 pp., originally for orchestra; Three songs from William Shakespeare (1953), score, holograph in pencil on transparent paper, 8, 4, 5 11., for mezzo-soprano, flute, clarinet, and viola (published, 1954); Suite pour violon et piano, after themes, fragments, and pieces of Giambatista Pergolesi (1925), score, holograph in ink with corrections in pencil, 21 pp. (published, 1926); Symphonie en ut, score, composer's holograph in pencil, 1 1. + 88 pp. +1 1. + 89–209 pp., signed and dated in ink at end: Igor Strawinsky, Beverly Hills, August 19/1940, dedicated to the Chicago Symphony Orchestra on its 50th anniversary; Symphonies d'instruments a vent (1920–47), score, holograph in ink on transparent paper, 35 11., to the memory of Claude Achille Debussy, revised version, for wind instruments (published, 1952); Tango, arranged for two pianos by Victor Babin [194-?], score, arranger's manuscript in ink, with corrections in red ink by the composer, 5 pp. (published, 1962), with two letters concerning the work from the composer in Russian, 7 August and 5 September 1941, and pencilled corrections for the music, in his hand, 1 1., laid in; another manuscript of the same work [194-], score, in ink, with additions in pencil, 5 pp., incorporating composer's corrections; Variations, Aldous Huxley in memoriam (1964), orchestral score, holograph in pencil on transparent paper, 13 11. (published, 1965); facsimile of the preceding, with composer's extensive corrections and alterations in red and blue ink, plus another facsimile of the same, with composer's minor manuscript corrections, and publisher's first and second proofs, with composer's corrections, 25 11. each, laid in; his arrangement of Petr I. [Tchaikovsky] Chaikovskii's Pas de deux (Bluebird) from the ballet The Sleeping Beauty, for small chamber orchestra (1941), score, arranger's manuscript in pencil, 26 pp. (published, 1953); and The Star-Spangled Banner, a standardized version of the melody (words by Francis Scott Key, music doubtfully ascribed to John Stafford Smith), harmonized by Walter Damrosch, published score (New York, [1937?]) with Stravinsky's red-pencil markings, apparently used as a source for his arrangements of the work: harmonization of the Star-Spangled Banner by Stravinsky (1941), score, arranger's ms. in ink, 3 pp., for chorus (SATB) and orchestra (published, 1941), with letters, photocopied sources, telegrams, and press notices laid in, plus a photocopy of this work without the laid-in material, and a second harmonization of the same work (1941), score, 3 pp., for chorus (SATB) and piano (published, 1941), plus negative and positive photocopies of this work.
Il’ia Efremov
Aleksiei. Marsh Potieshnykh Balashovskoi Gimnazii. (Aleksei. March of the Boy Soldiers of the Balashov School.) Piano solo. Manuscript score, in ink; undated; [3] pages; 37.1 x 26.6 cm. LC call number: M1757.E Case. Description: Score is laid within a presentation folder covered in ivory satin and lined in white textured (moiré) paper; gold tooling is used on its cover to indicate the work’s title and composer, as well as for a dedication reading “Posviashchaetsia / Ego Imperatorskomu Vysochestvu / Nasliedniku Tsesarevichu / i Velikomu Kniaziu / Aleksieiu Nikolaevichu” (“Dedicated to His Imperial Highness, the Heir Apparent Tsarevich and Great Prince Aleksei Nikolaevich”).
Iosif Platsako
Slavianskii tanets. posviashchaetsia Ego Imperatorskomu Vysochestvu Gosudariu Nasliedniku Tsesarevichu ot kapel’meistera khora trubachei Gvardeiskoi konno-artillerii brigady Iosifa Platsatka. (Slavonic dance, dedicated to His Imperial Highness, the Sovereign Heir Apparent Tsarevich, from the director of the trumpet choir of the Cavalry-Artillery Guard Brigade, Iosif Platsatko.) Piano solo. Manuscript score, in ink, undated; [8] pages; 22.2 x 29.4 cm. LC call number: M1757.P Case. Description: Score is bound in dark red velvet with gold tooling bearing the work’s title. Its bookplate (located on verso of cover) consists of the blue and white Imperial seal (the intertwined, embossed letters “N,” “A,” and “V,” in blue, above which appears a crown, also in blue, contained within a blue bordered circle). The score is lined in white satin, and the manuscript paper used features an elaborate border design in gold and dark green inks.
Johann Rudolph Zumsteeg (1760-1802)
Das tartarische gesez, eine oper in zwey aufzugen, n.d., text by Friedrich Wilhelm Gotter, manuscript, perhaps autograph, 114 11., full score, date of first performance, at Stuttgart, unknown.
John Field (1782-1837)
Rondeau, for pianoforte, two violins, alto, and bass [Rondo, piano quintet in Ab major] (St. Petersburg, ca. 1812), first edition of published score (incomplete, with string parts lacking), with additions, corrections, and fingerings in the composer's hand, written in ink and pencil on piano part and on slips pasted in for the purpose of performance as a piano solo; Andante, for two pianos, four hands, autograph, unpaged [3 pp.]; and Compositions for piano, holographs, seven numbers in one volume, for piano (n.d.), including: Preludio, 12 pp. [Composition without title], 5 pp., Concerto, 13 pp., Poco adagio, 3 pp., Rondo, 14 pp., Adagio, 11 pp., and Serenade, 3 pp.
Joseph Strimer (1881-1962)
Horovod (Round dance with singing), for four-part mixed chorus, unaccompanied (ca. 1935), score, holograph, 1 1. + 5 pp., Russian text; his arrangement of a Gopak (after Moussorgskii and Ukrainian folk songs), for choir a cappella (four-part mixed chorus), Ukrainian text (ca. 1936), score, holograph, 2 11.; arrangement of Chopin's Tristesse [op. 10, no. 3], for fourpart mixed chorus and soprano solo, unaccompanied (ca. 1936), score, 2 11., Russian text; and his arrangement of Yar-hmel (Spring-hops) from the opera La fiancee du Tsar by Nikolai Rimskii-Korsakov, for four-part mixed chorus a cappella (ca. 1936), score, 2 11., Russian text.
Jozef Kozlowski (1757-1831)
Trois polonaises, executed on the occasion of the marriage of Nikolai Pavlovich and Alexandra Feodorovna, arranged for the pianoforte [1817?], holograph [?] in ink, 7 pp.; on title-page: Joseph Koslovsky, Amateur, a St. Petersbourg.
Kurt Schindler (1882-1935)
Dunja, a Bessarabian song of the Danube, for mixed chorus and alto-solo, a cappella (ca. 1917), autograph, 5 11., English version from the Little Russian by D. Taylor and Schindler; the dying harper (David of the White Rock [Dafydd y Gareg Wen]), English words by John Ozenford, Old Welsh folk melody, choral setting with harp accompaniment (ca. 1917), autograph, 4 pp., quartet for mixed voices; The goldfinch's wedding, humorous part-song of Little Russia after the setting by A. Koshitz, for mixed chorus a cappella, English version by Deems Taylor and Schindler [1917], holograph, 3 11., written on one side; The home of liberty [Cariwyd y dydd], Old Welsh fighting song, English words by Walter Maynard, setting for mixed chorus by Schindler (1917), holograph, 4 pp., quartet for mixed chorus without accompaniment; El Paho, Spanish folksong from Andalusia, choral setting by Schindler (1917), holograph, 6 pp., sextet for mixed voices, unaccompanied; The prisoner in the Caucasus, Cossack lament for male chorus after a Little Russian folksong set by Kurt Schindler, English version by Deems Taylor and Schindler [1917], autograph partsong, a cappella, 6 11,; Serenade de Murica, paraphrase for baritone solo and choral accompaniment (1917), autograph vocal score, unaccompanied, 7 pp.; The three cavaliers, humoresque, Russian folksong, choral setting and English version after a song by A. Dargomyshky, for mezzo soprano solo and mixed chorus, a cappella (1917), autograph, 5 11.; and Alexander Tikhonovich Grechaninov's The hymn of Free Russia (March 1917) (Gimn svobodnoi Rossii), arranged and edited by Kurt Schindler (poem by Konstantin Balmont, music by Grechaninov), English translation by Vera and Kurt Schindler (1917), autograph song, piano accompaniment, 4 11.
Lazare Saminsky (1882-1959)
Eon hours, a concerto for vocal quartet, piano, viola, clarinet, and percussion, op. 44 (1935), pianovocal score, positive photocopy of holograph, 27 pp.; From Psalm of the west, for chorus, organ, piano, and percussion, poem by Sidney Lanier [n.p.] (1947), score, reproduced from holograph, 4 pp.; and A sonnet of Petrarch (Gli angeli eletti), for flutes (or organ), violin, viola, piano, and three sopranos [1947], score, positive photocopy of holograph, 7 pp.
Lazare Saminsky (1882-1959)
The daughter of Jephta; choreo-cantata, cantata-pantomime, op. 37 [1928], score, holograph in ink, 93 pp., for solo voices (STB), chorus (SATB), and orchestra, in English but with part of the text in transliterated Hebrew (published, ca. 1937); From east to west; a brotherhood of chants and dances, for violin and orchestra, op. 47 (1937), score, holograph in ink, 27 pp.; Hebrew rhapsody, op. 3, no. 2, holograph score for violin and orchestra (n.d.), 23 pp.; Julian, the Apostate Caesar, opera in three acts, op. 43 [193-?], book and music by Saminsky, score, holograph in ink, 233 pp.; Newfoundland air, a poem for chorus, op. 45, poem by Henry Thoreau (1935), score, holograph in ink, 6 pp. (published, ca. 1936); Le poeme de la mer et du vent. Etude, op. 17, no. 3, holograph, 6 pp., footnote: Conceived in Paris 1919. Finished and finely (!) written New York 1921 (March); Pueblo, a moon epic, op. 45, orchestral score, holograph, 1 1. + 52 pp., dated "summer 1936, Rye N.Y.," plus a negative photostat of the same; Psalm 93: The Lord reigneth, op. 42, for chorus (SATB), organ, and piano (1931–33), score, holograph in ink, 8 pp.; Requiem, op. 54, for chorus, soli, and orchestra (1945), score, in Latin, holograph in ink, 20 pp. (fifth movement in English); Spring garden [Le jardin printanier], poem by Igor Sieverianin, op. 18, no. 1, En Georgie Caucasienne (au printemps, 1918), printer's first proof, 6 11., with corrections, song with piano accompaniment, Russian, English transliteration, English, and French text, first line: Now is my garden full abloom with Spring, at head of title in composer's hand: To the Library of Congress, Washington, with deepest feelings of gratitude toward this noble country which sheltered my spirit and body. Lazare Saminsky 19/IV/23; liere symphonie (Symphonie des grands fleures), op. 10 (1914), holograph, 2 11. + 104 pp., orchestral score, title in French and Russian, plus a negative photostat of the same; Deuxieme symphonie (Partition d'orchestre), autograph orchestral score, 1 1.+ 73 pp., in captiontitle: Op. 19. A Assoureti, Georgie, Juillet–Aout 1918 (with blue and red pencil markings of Mr. Mengelberg, who gave the first performance of the work); IV symphony, op. 33 (1927?), orchestral score, holograph, 93 pp.; and Three shadows, poems for orchestra, op. 41 (1935), holograph in ink, 5 pp., of piano sketches.
Leopold Auer (1845-1930)
Aria Lenski, arrangement of score by Petr Il'ich Chaikovskii [Tchaikovsky], 12 pp., for violin and piano, arranger's manuscript in ink [Eugene Onegin. How far ye seem behind me].
Leopold Godowsky (1870-1938)
Papers, 1886–1938, ca. 12 ft. Pianist and composer. Business and financial papers, photographs, clippings, notes for a biography of Godowsky prepared by Leonard Saxe (his nephew and legal adviser), correspondence, much of it translated into English, and 52 music holographs, Including his transcriptions of works by Bach, Schubert, Schumann, and Keber; ten pieces arranged for the left hand (inspired by Chopin's Etudes); Java, suite for piano, holograph in ink, 1924–25, 67 pp., with pencil emendations (published, 1925); Passacaglia, in B minor, for piano, holograph in ink, 27 pp., with emendations in blue pencil (1927); Yearning, poem no. 4, for piano, in ink (1931), 3 pp.; Alt Wien, for piano, in ink, 5 pp., 1919 (published, 1920); and Tyrolean (Schuhplatter), score, composer's manuscript arrangement, in ink, 4 pp., of the piano piece, 1915 (published, 1919).
Leopold Stokowski (1882-1977)
Symphonic transcription of Modeste Moussorgskii's Tableaux d'une exposition [194-?], score, arranger's manuscript in pencil of the suite originally for piano, 96 pp., program notes by the arranger, typescript, mounted on cover.
Mikhail Lagunov
17-e Oktiabria 1888-go goda. (17 October 1888.) Mixed chorus (SATB) and piano. Russian lyrics. Lyrics by Ap. N. Maikov. Manuscript piano-vocal score, in ink; undated; [20] pages; 31.4 x 23.9 cm. LC call number: M1757.L Case. Description: Score is bound in blue cloth; gold tooling is used on its cover to indicate the work’s title and composer. The volume is lined in white textured (moiré) paper. Additional border designs, inc luding those at each corner of the volume’s cover, have been stamped directly into the cloth of the cover.
Modern Music
Archives, 1924–46, 4 ft. Business papers of the periodical Modern Music, published quarterly by the League of Composers of New York City (earlier title: The League of Composers' Review). Includes typescripts of articles, photographs of contributors, some original drawings of composers, and a large number of letters, in part photocopies, by Lazare Saminsky and others. List of correspondents. (NUCMC 78–392)
Modeste Petrovich Moussorgskii (1839-1881)
"Kinder-scherzo" dlia fortepiano, composer's holograph, 3 11., dated at end: Fine. Selo Toshkovo, maia 28go, 1860?g.; dedicated to Nikolai Aleksandrovich Levashov.
Moldenhauer archives at the Library of Congress
circa 1000-circa 1990. 3,600 items; 131 boxes; 206 linear feet. The archives consist primarily of music (both manuscript and printed), correspondence, photographs, sound recordings, books, newspaper clippings, printed programs, drawings, and engravings. They span years from the Middle Ages to the present, and include documents of composers, musicians, and literary figures, among others. The music in the collection includes holograph scores or sketches, both published and unpublished, as well as a number of copyists' and printed scores, transcriptions, and arrangements by composers and musicians such as Beethoven, Bloch, Brahms, Chopin, Franck, Mendelssohn, Puccini, Rimsky-Korsakov, Schoenberg, Webern, and many others. Also included is historically important correspondence, such as letters of Metastasio and Handel. Some composers (Arnold Schoenberg and Anton Webern, for example) are represented by numerous manuscripts. A sample of other composers, musicians, and literary figures that are represented by both music and nonmusical materials includes George Auric, Johann Sebastian Bach, Béla Bartók, Hector Berlioz, Georges Bizet, Pierre Boulez, Anton Bruckner, Charles Burney, Feruccio Busoni, Claude Debussy, Frederick Delius, Hermann Hesse, György Ligeti, Federico Garca Lorca, Wolfgang Amadeus Mozart, Marice Ravel, Rainer Maria Rilke, Frank Wedekind, Kurt Weill, and Gioseffo Zarlino.
Muzio Clementi (1752-1832)
Air Russe con basso di Clementi, autograph composition of 12 measures for piano (?) written on one side of one oblong leaf; on verso, unnamed autograph sketch.
Nicolai Berezowski (1900-1953)
Introduction and allegro, op. 8, composer's holograph, 45 pp., 1937, score for chamber orchestra—revision of his Poeme of 1927 (in Elizabeth Sprague Coolidge Collection); and Poeme, composer's holograph, score for chamber orchestra, 39 pp.
Nicolai von Wilm (1834-1911)
Humoreske, op. 47, no. 2, "for piano, two hands (n.d.), autograph, 7 pp., with a note at the end: Dieses autograph schenkte mir der Autor beim abschied von Wiesbaden den 30. Nov. 1890 zugleich mit Op. 47. 1. Arthur Smolian; and Romance, op. 47, no. 1 (n.d.), for piano, two hands, 6 pp., with a similar note at the end.
Nicolas Nabokov (1903-1978)
Serenata estiva (Summer serenade), for string quartet (1937), score, holograph in ink on transparent paper, 14 11., dedicated to Mrs. Elizabeth Sprague Coolidge.
Nicolas Nicolaef (Nicolaev)
Album leaf, for piano in F# major [1941?], holograph in ink, 4 pp. (published, ca. 1941); Concerto for piano in E minor [n.d.], score, 1 vol., holograph in ink; In modo russo [1942?], for piano, holograph in ink, 11 pp. (published, ca. 1942); La mouche, for piano, holograph in ink, 4 pp.; Ouverture [n.d.], score, holograph in ink, 84 pp., for orchestra; Poema-fantaziia [n.d.], score, for orchestra, holograph in ink, 96 pp.; Reverie, for piano, holograph in ink, 2 pp.; Scherzo [1944?], for piano in GD major, holograph in ink, 14 pp. (published, ca. 1944); and Song of the past, score and part, for violoncello and piano, holograph in ink, 4 pp.
Nicolas Slonimsky (b. 1894)
Papers, 1895–1969, 24 ft. (additions expected). Russianborn conductor, composer, and musicologist who emigrated to the U.S. in 1923. Correspondents include Aaron Avshalomoff, Vladimir Dukelsky (Vernon Duke), Alexander Grechaninoff, Nicolas Nabokoff, and Serge Prokofiev. There are also drafts of his writings and over 20 holograph scores of Slonimsky, including Studies in Black and White. Partial contents list. (NUCMC 70–2026)
Nikolai Andreevich Rimskii-Korsakov (1844-1908)
ALS to Nikolai Osipovich Khristoforov, dated 10 Jan [n.y.], 1 p. LC call no. ML95.R559
Nikolai Andreevich Rimskii-Korsakov (1844-1908)
Skazka o tsare Saltane; o syne ego slavnom i moguchem bogatyre kniaze Gvidone Saltanoviche i o prekrasnoi tsarevne Lebedi, opera in four acts with prologue (seven scenes), libretto of V. I. Bel'skii after Pushkin, St. Petersburg, 1900, 186 pp., for piano, on title-page, in ink, at end of five bars of holograph music: N. R-K. See also under Victor Babin.
Nikolai Iakovlevich Miaskovskii (1881-1950)
Symphonie no. 17, op. 41, in C# minor [1937], score, negative photocopy of holograph, 253 11.
Nikolai Karlovich Medtner (1880-1951)
Papers, 1914–54, 4 ft., 1,912 items. Russianborn composer and pianist. Includes holograph sketches by Medtner in the margins of books of poems by Pushkin and Lermontov; a copy of his book Musa i Moda with his holograph corrections; correspondence with Sergei Rachmaninoff, 30 letters from Medtner, Aleksandr Fedorovich Goedicke (6 letters), Konstantin Klimov (74 letters), Leon and Olga Conus, and Mr. and Mrs. Serge Conus; and Khorovodnaia skazka [Russian round dance], from op. 58 [194-], score, holograph in ink, 27 pp., for two pianos (published, 1946). Restriction: A small group of letters is sealed until 1985. Unpublished guide (NUCMC 67–652).
Nikolai Lopatnikoff (1903-1976)
Arabesque, for two pianos [194-], score, photoreproduction of holograph, 15 pp., with holograph corrections in pencil and a holograph, in ink, of five measures mounted (p. 14) to facilitate page turn, composer's arrangement from his unpublished orchestral work Russian nocturne no. 2 (published, 1948); Festival overture, op. 40 [1960], score, photoreproduction of holograph, 83 pp. (published, 1965); II [i.e., Seconde] symphonie, op. 24, in F minor [194-?], score, photoreproduction of holograph, 132 pp., Andante (second movement) replaces the second and third movements of the original version (1939); Symphony no. 3, op. 35 [195-?], score, photoreproduction of holograph, 153 pp. (published, 1956); and Variazioni concertanti, op. 38 [1958], score, photoreproduction of holograph, 112 pp. (published, 1968).
Nikolai Lopatnikoff (1903-1976)
Concerto for two pianos and orchestra, op. 33 [1949–50], orchestral score reduced for third piano by the composer, holograph in pencil, 18, 10, 17 pp. (published, 1953), L.C. copy imperfect (2 pp. of second movement wanting); Fantasia concertante, for violin and piano, op. 42 [ca. 1962], score, holograph in pencil, 18 pp. (published, 1967); Festival overture, for orchestra, op. 40 (1960), condensed score, holograph in pencil, 23 pp.; Music for orchestra, op. 39 (1958), condensed score, holograph in pencil, 17 pp.; Opus sinfonicum, for orchestra [1943], score, holograph in ink, 54 pp. (published, 1951); Quartet no. 2, for two violins, alto, and violoncello, op. 6 [1929], score and four parts, holograph in ink, 72 pp., dedicated to Elizabeth Sprague Coolidge (published by Belaieff, 1933), plus positive photocopy of this work; Quartet no. 2, for two violins, alto, and violoncello, op. 6a, arranged for piano, four hands, by the composer [193-?], holograph in ink, 88 pp.; Quartet no. 3, op. 36 [ca. 1956], score, holograph in pencil, 32 pp.; Piano sonata, op. 29 [1943], holograph in pencil, 22 pp. (published, 1946); Symphonie no. 2, in F minor, op. 24 [1939?], score, holograph in ink, 4 vols.; same work, Andante [194-?], condensed score, holograph sketches in pencil, 10 pp., of a new second movement to replace movements two and three of the original version (1939); Trio for piano, violin, and violoncello, op. 23 (193-], score, holograph in ink, 69 pp.; Variations and epilogue, for violoncello and piano, op. 31 [1946], score, holograph in pencil, 33 pp. (published, 1948); and Variazioni concertanti, op. 38 [1958], condensed score for orchestra, holograph in pencil, 34 pp.
Osip Solomonovich Gabrilowitsch (1878-1936)
Collection, 1932–37, 80 items. Russian-born conductor and pianist; married Clara Clemens, daughter of Mark Twain, in 1909. (NUCMC 68–2091)
Patty Stair (1869-1926)
Carpathian folk song, male voices with orchestra [1911], autograph full score, 16 pp., lent by the composer; and Refusal, words by A. Maykov, music by P. Stair (n.d.), autograph song, piano accompaniment, 4 pp., dedicated to Ernestine Schumann-Heink.
Petr Il'ich Chaikovskii [Tchaikovsky] (1840-1893)
Aveux passionne [1892?], holograph in ink, for piano, 3 pp. See also under V. Babin.
Philip James (1890-1975)
Partitur of arrangement for military band of Cesar Cui's Orientale (from Kaleidoscope), op. 50, no. 9, score, arranger's holograph in ink, 7 pp.
Rudolf and Richard Reti
Papers, ca. 12 ft. Papers of chess master Richard Reti (1889–1929) are in 5 boxes and comprise chiefly published works and printed matter. Also, correspondence, including 2 letters from the USSR: ALS, n.d., in German, from A. Troitzky in Pensa, and ALS from the Moscow chess section secretary, 18 November 1926?, concerning business with Reti; photographs of such chess players as E. Bogoljubow and A. Nimzowitsch; signed; and Reti's own postcard from Moscow, 16 November 1925?.
Sergei Aleksandrovich Kusevitskii [Serge Koussevitzky] (1874-1951)
Papers, ongoing, ca. 200 ft., of Serge and Olga Naoumoff Koussevitzky and of Natalie Ushkov Koussevitzky (1880–1942); and Archives of the Koussevitzky Foundation. Includes holograph scores owned by Koussevitzky, Russian-born composer and conductor of the Boston Symphony Orchestra (1924–49); holograph works commissioned by the Serge Koussevitzky Music Foundation since 1942, correspondence, financial and business records; concert programs, personal papers, correspondence with, inter alia, Vladimir Dukelsky, Nicolai Lopatnikoff, Nicolas Nabokov, Sergei Prokofiev, Igor Stravinsky, and Alexandre Tansman; and the holograph of at.least one of his own compositions: Concerto for Double Bass and Orchestra, partitura, op. 3, in F sharp minor [1902], score, in ink with the composer's conducting marks in pencil, 100 pp., some pages being reproductions of a copyist's manuscript (published, [1907]). (NUCMC 67–650)
Sergei Rachmaninoff (1873-1943)
Monna Vanna, piano-vocal score [1907], act one of an unfinished opera, positive microfilm copy of holograph in ink with pencil, 100 pp., sketches laid in, in slipcase with manuscript of the libretto by M. A. Slonov, plus negative microfilm of the same.
Sergei Rachmaninoff (1873-1943)
Papers, 1917–43, 24 ft. Composer and pianist. Includes financial papers, programs, books, articles, clippings by or about him, and correspondence with such figures as Mark A. Aldanov, Konstantin Balmont, Ivan A. Bunin, Mikhail M. Fedoroff, Mikhail M. Fokine, Alexander Glazounov, Boris D. Grigorieff, Ivan A. Ilyin, Nina Koshetz, Serge Koussevitzky, Emil Medtner, Nicolas Medtner, Nikita S. Morosov, Vladimir Nabokov, Gavriil Paitchadze, Anna Pavlova, Leonid Sabaneyev, Sophie Satin, Feodor Shaliapin, Eugene Somoff, Konstantin Stanislavsky, Leopold Stokowski, Alexandra Tolstoi, Ivan Wyshnegradsky, and Vladimir Wilshau, and with the American Relief Administration, the Committee for the Education of Russian Youths in Exile, the International Anticommunist League, Russian War Relief, Russian Students Fund Christian Association, and the Russian War Invalids Outside Russia. There is a card index for this collection, known as the Rachmaninoff Archives. In addition, the library holds the following manuscripts of his compositions: Oriental sketch [1917], 7 pp., holograph in ink, piano music, composer's copy of this work laid in (published, 1938), with his Andante semplice for piano, 2 pp. (published, 1919); Russian songs [Chansons russes], op. 41 [1926], holograph in pencil, 53 pp., for chorus (AAB) and orchestra, English words translated by Kurt Schindler (published, 1928) ; Concerto in G minor for the piano, no. 4, op. 40 [1927], score, holograph in ink, 171 + 4 pp., discarded sketches at end (published, 1928); Concerto no. 4 in G minor, for piano, op. 40, partition (Paris: Edition "TAIR," 1928), score, holograph revisions of composer in ink throughout, 144 pp. (published, 1944); Minuet (from L'Arlesienne Suite No. 1) by Georges Bizet, arranged for piano, holograph, 8 pp. (published, ca. 1923); Moment musical, op. 16 [Moments musicaux, No. 21, [1940], holograph in pencil, 11 pp., for piano (published, 1941); Melodie, op. 3 [Morceaux de fantaisie, for piano], [1940], holograph in pencil, 11 pp. (published, 1941); Serenade, op. 3, no. 5 [Morceaux de fantaisie], revised and as played by the composer [194-?], holograph in ink, 11 pp., piano music (published, 1941); Serenade, op. 3, no. 5 (revised version) [194-?], holograph in ink, 9 pp., piano music (composer's incomplete copy published, 1941); Humoresque, op. 10 [Morceaux de salon], piano music [1940], holograph in pencil, 15 pp. (revised version published, 1941); Prelude in C-sharp Minor, op. 3, no. 2, 10 pp., n.d.—transcription for two pianos; Polka italienne, for piano, four hands, arrangement [193-?], score, holograph in ink, 5 pp.; [Rhapsodie sur un theme de Paganini, for piano and orchestra, op. 43 (1934)], score, holograph in ink, 176 pp., at end: 18e avgusta 1934. "Senar." Slava Bogu! (published, 1934), based on a theme from Paganini's Caprice, op. 1, no. 24; Symphonic dances, op. 45 [1940], score, holograph in ink, 196 pp., 2 pp. reversed in binding, pencil sketches on one page, at end: 29 oktiabria 1940, New York. Blagodariu Tebia, Gospodi! (published, [1941]); same work, arranged for two pianos [1940], score, holograph in pencil, 73 pp., sketches on one page, transcription by the composer (published, 1942); Symphony no. 3, op. 44 [1935–36], score, holograph in ink, 194 pp., at end: Koncheno. Blagodariu Boga! 6–30 iiulia 1936. Senar; and Variations sur un theme de Corelli, op. 42, for piano [1931], holograph in ink, 50 pp., based on Corelli's La folia (published, 1931). Published finding aid in Library of Congress Quarterly Journal (November 1951). See also under Victor Babin.
Sergei Sergeevich Prokofiev (1891-1953)
Quartet no. 1, op. 50, for strings (1930), score, holograph in ink, 33 pp., commissioned by the Elizabeth Sprague Coolidge Foundation (published, 1931), plus negative and positive photocopies of the same work; and Second concerto, op. 16, in G minor, for piano (1930), holograph, 1 1., two themes from the work, in ink.
Sophie Menter (1846-1918)
Correspondence, 1865–1916, 102 items. Includes letters 1860s-1880s written by Mily Alexeyevich Balakirev. Other correspondents include Adolph von Henselt and Alexander Ilyich Siloti. (NUCMC 67–653)
Tadeusz Iarecki (1888-1955)
Quartet for two violins, alto, and violoncello, score and parts (1918), composer's holograph (Elizabeth Sprague Coolidge Collection).
Theodor Leschititzky (1830-1915)
Die erste falte: un coup de hasard; frei nach dem Franzosischem von Mosenthal, opera in one act, partitur, one volume, autograph full score, vii + 208 pp., German text, first performed in Prague, 9 October 1867.
Valentin Silvestrov (b. 1937)
Eschatophony (1966), score for orchestra, holograph in ink, 101 pp., dedicated to the memory of Serge Koussevitzky; plus a photocopy of same.
Valerian Kashin
Utrenniaia zaria. Val’s. (Daybreak. Waltz.) Piano solo. Manuscript score, in ink, undated; [17] pages; 34.3 x 26.2 cm. LC call number: M25.K Case. Description: Score is bound in blue leather with gold tooling, and lined in white textured (moiré) paper. Title page carries a dedication reading “Eia Imperatorskomu Vysochestvu / Gosudarynie Tsesarevnie / Marii Feodorovnie / posviashchaet / vospitannik Imperatorskago Cheloviekoliubivago Obshchestva / Instituta Sliepykh / Valerian Kashin.” (“To Her Imperial Highness, the Sovereign Empress Mariia Fëdorovna., is dedicated [this work] from Valerian Kashin, pupil at the Imperial Philanthropic Society, Institute for the Blind.”)
Description: Score is bound in blue leather with gold tooling, and lined in white textured (moiré) paper. Title page carries a dedication reading “Eia Imperatorskomu Vysochestvu / Gosudarynie Tsesarevnie / Marii Feodorovnie / posviashchaet / vospitannik Imperatorskago Cheloviekoliubivago Obshchestva / Instituta Sliepykh / Valerian Kashin.” (“To Her Imperial Highness, the Sovereign Empress Mariia Fëdorovna., is dedicated [this work] from Valerian Kashin, pupil at the Imperial Philanthropic Society, Institute for the Blind.”)
Victor Babin (1908-1972)
Etudes, two pianos (1936–38), score, positive photocopy of holograph, 25 pp.
Victor Babin (1908-1972)
Lepers, 1935–73, of this Russian-born composer and pianist, ca. 174 items, include correspondence between him and his wife, letters from Vera Stravinsky, and the following musical items: Strains from far-off lands, three pieces for two pianos, four hands, based on folk melodies [Fantasies on old themes] (1943–45), score, holograph in ink, 31 11., on transparent paper (published, 1948) [contains The piper of Polmood, Hebrew slumber song, and Russian village]; Twelve variations on a theme by Henry Purcell, for cello and piano (1945), score, 19 11., and part, holograph in ink, on transparent paper (theme is a trumpet tune by J. Clarke, erroneously attributed to Purcell); Road to life, vocalise, holograph in pencil with additions in ink, for voice and piano, 4 pp.; Variations on a theme of Beethoven (Marcia alla turca, from Die Ruinen von Athen), piano [1957], holograph sketches in pencil, 11 pp. (published, [1960]); Etude 6, two pianos, score, holograph in pencil with emendations in ink, 14 pp.; Etude No. 5, two pianos, score (1937), holograph in pencil with emendations in ink, 6 pp.; Ballade heroique for cello and piano, score, holograph in pencil, 24 pp.; David and Goliath, score, holograph in pencil with emendations in ink, for piano, four hands, 24 pp. (published, 1954); Concerto no. 1 for two pianos and orchestra (1937), score, holograph in pencil and ink, 5 vols.; Three march rhythms for two pianos, four hands, score, holograph in ink, 26 pp., plus second holograph [194-?], 19 pp., in pencil (rough draft); Beloved stranger, eleven poems by Witter Bynner, for baritone or mezzo-soprano (1947), holograph in pencil, 24 pp., accompanied by sketches, 1 1., and with piano accompaniment; Drei Gedichte von Stefan Zweig, for voice and piano [1935], holograph in ink with pencil annotations, 11 pp.; Pour deux pianos (1934), score, holograph in ink with annotations in pencil, 14 pp.; Concerto no. 2, for two pianos and orchestra, score, publisher's first proof with composer's corrections in ink, 71 11. (M. P. Belaieff, 1961), accompanied by arrangement for third piano; and his arrangements of: Igor Federovich Stravinsky—Tango, arr. for two pianos [194-], score, 5 pp., arranger's ms. in ink with corrections in red pencil by the composer (published, 1962), two letters about the work from the composer to Babin in Russian (7 August and 5 September 1941) plus pencilled corrections for the music in Stravinsky's hand laid in, and another manuscript in ink [194-], 5 pp., with additions in pencil incorporating the composer's corrections; Petrouchka, ballet excerpts for two pianos [19—], score, 31 pp., Babin's holograph in pencil with emendations in ink (published, [1953]); Sergei Rachmaninoff—It's lovely here (Songs, op. 21, How fair this spot), arranged for two pianos (1939), score, arranger's holograph in pencil, 2 pp.; Floods of spring (Songs, op. 14, Spring waters), arr. for two pianos [195-?], score, 4 pp., Babin's ms. in pencil; Nikolai Andreevich Rimskii-Korsakov—Dance of the buffoons (from The snow maiden), complete sketch by V. Babin, arr. for two pianos [19—], score, arranger's holograph in pencil with emendations in ink, 14 pp.; Cradle song, arr. for two pianos [1937], score, Babin's holograph in ink, 3 pp.; Petr Il'ich Chaikovskii [Tchaikovsky] —Valse sentimentale ([Morceaux, piano, op. 51]), arr. for two pianos, score, arranger's holograph in pencil, 8 pp.; Johann Sebastian Bach—five organ sonatas arranged for two pianos: no. 1 in Eb major, 13 pp., 1942; no. 2 in C minor, 18 pp., 1942; no. 3 in D minor, 18 pp. [19—]; the fifth, in C major, 23 pp. [19—]; and Sonata in G major, 18 pp. [19—]; Choral, Jesu, joy... (Herz und mund und Tat und Leben. Jesus bleibet meine Freude), arr. for two pianos, 4 pp. [1944]; and Recitativo and aria [Was mir behagt. Soll dann der Pales Opfer hier das letzte sein?], arr. for two pianos (1943), score, 4 pp.—all Bach items being the arranger's holograph in ink and/or pencil; Franz Peter Schubert—An die Musik, op. 88, no. 4, arr. for two pianos (1943), score, Babin's holograph in ink, 3 pp., plus unidentified sketch, holograph in pencil, 3 pp.; and Christoph Willibald Gluck—Melodie (no. 30) from the opera Orpheus and Eurydice, arr. for two pianos, four hands (1964), score, Babin's holograph in ink on transparent paper, 4 11. Contents lists available.
W. Landstein. [Lundstein, W.; Landshtein, V. R.]
Dix pièces mélodiques, op. 14. Piano solo. Manuscript copy, in ink, undated [ca. 1911]; 24 pages; 31.7 x 24.8 cm. LC call number: M25.L Case. Description: Score is laid within a presentation folder covered in red satin and lined in ivory satin; gold tooling appears on its cover for a dedication reading “Ego Imperatorskomy Vysochestvu / Velikomu Kniaziu Nasliedniku Tsesarevichu / Aleksieiu Nikolaevichu / Vsepredannieishe posviashchaet avtor / V. R. Landshtein / Prepodavatel’ Imper. Litseia v pamiat’ Tsesarevicha Nikolaia / 30 VII 1911” (“To His Imperial Highness, the Great Prince and Heir Apparent, Tsarevich Aleksei Nikolaevich, is humbly dedicated [this work] by V. R. Landshtein, teacher at the Imperial Lyceum, in memory of Tsarevich Nikolai, 30 August 1911”). A gold metal crown in bold relief appears above the folder’s cover text.
W. W. Kwiatkowski
Partitura from the opera Talisman in five acts, autograph full score, Polish text, signed by Kwiatkowski and dated: Pisal w Lublinie dnia 14 maja 1857.
