Robert Owen Lehman - J & J Lubrano, Music Antiquarians
Robert Owen Lehman - J & J Lubrano, Music Antiquarians
Robert Owen Lehman - J & J Lubrano, Music Antiquarians
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DESCRIPTION<br />
THE ROBERT OWEN LEHMAN COLLECTION<br />
of<br />
AUTOGRAPH MUSICAL MANUSCRIPTS<br />
- An Extraordinary Cultural Treasure -<br />
<br />
Offered for sale by<br />
J & J <strong>Lubrano</strong> <strong>Music</strong> <strong>Antiquarians</strong><br />
351 West Neck Road, Lloyd Harbor, NY 11743<br />
T 631-549-0672 F 631-421-1677<br />
info@lubranomusic.com www.lubranomusic.com<br />
AN INTRODUCTION TO THE COLLECTION<br />
The <strong>Robert</strong> <strong>Owen</strong> <strong>Lehman</strong> Collection consists of approximately 200 original autograph musical<br />
manuscripts by many of the most important composers in the history of the Western tradition including<br />
Bach, Beethoven, Berg, Brahms, Chopin, Debussy, Haydn, Liszt, Mahler, Mendelssohn, Mozart,<br />
Prokofiev, Puccini, Ravel, Schoenberg, Schubert, Schumann, Richard Strauss, Stravinsky and Weber. It<br />
represents what is undoubtedly the finest privately owned collection of musical manuscripts in the world<br />
today. While the majority of the material dates from the Romantic and post-Romantic periods, the<br />
collection includes a number of outstanding manuscripts from the Baroque and Classical periods as well.<br />
It is truly a “museum of musical masterworks.”<br />
Highlights from the Baroque and Classical periods include:<br />
- Johann Sebastian Bach. The cantata Gott, wie dein Name BWV171; the Organ Prelude and Fugue in B<br />
minor BWV544; and the Fantasia in C minor for keyboard from BWV906<br />
- Franz Joseph Haydn. The String Quartet op. 103; the Divertimento in E flat for Orchestra<br />
- Wolfgang Amadeus Mozart. An awe-inspiring group of manuscripts including full scores of no less<br />
than nine complete symphonies (numbers 22-30); three orchestral serenades; the Concertone for Two<br />
Violins and Orchestra K190; the duos for violin and viola K423-424; and the Piano Sonata in A minor<br />
K310. Over 1,000 pages in Mozart’s hand in total.
Highlights from the Romantic period include:<br />
- Ludwig van Beethoven. The Rondo a Capriccio for piano op. 129<br />
- Johannes Brahms. The full score of the composer’s monumental Second Symphony; scores of the<br />
Sonatas for Clarinet and Piano in F minor and E flat major op. 120 nos. 1 and 2<br />
- Frédric Chopin. Ten important manuscripts including the Sonata for Piano in C minor op. 4; the Etudes<br />
op. 10 nos. 3 and 9; and the Grande Valse Brillante op. 18<br />
- Franz Liszt. Of particular significance is the manuscript of Liszt’s famous Piano Sonata in B minor,<br />
regarded as one of the finest works in the genre<br />
- Felix Mendelssohn. Well-represented in various genres, including the full score of the Hebrides<br />
Overture; the Songs Without Words for piano solo op. 30; and the String Quintet op. 18<br />
- Franz Schubert. The full score of the Rondo for Violin and String Orchestra in A major D438; the first<br />
movement for the Sonata for Violin and Piano in G minor<br />
- <strong>Robert</strong> Schumann. The full score of the Second Symphony in C major op. 61, an important work in the<br />
composer’s oeuvre<br />
- Carl Maria von Weber. The full score of the Second Concerto for Clarinet and Orchestra in E flat<br />
major<br />
Highlights from the post-Romantic period include:<br />
- Bela Bartok. Piano Sonata op. 1<br />
- Alban Berg. Considering Berg’s relatively small output, it is impressive that the collection includes<br />
seven significant manuscripts in his hand, including a portion of his avant-garde opera Wozzeck inscribed<br />
to his teacher and fellow composer, Arnold Schoenberg; the Three Pieces for Orchestra op. 6; and the<br />
Concert Aria for Voice and Orchestra (Der Wein)<br />
- Claude Debussy. Particularly well-represented in the collection, with manuscripts of Pelléas et<br />
Mélisande; the Prélude à l’Après Midi d’un Faune; Images; Jeux; Iberia; and the Préludes for piano, all<br />
major works in the composer’s oeuvre<br />
- Gustav Mahler. Remarkable holdings including full scores of both the Symphony No. 3 and the<br />
Symphony No. 9; the third movement and a portion of the last movement of Symphony No. 2;<br />
manuscripts of portions of Symphony No. 4 and Symphony No. 5; the full score of Das Lied von der<br />
Erde; and manuscripts of portions of both the Kindertotenlieder and Des Knaben Wunderhorn. Over 900<br />
pages in Mahler’s hand in total.<br />
- Serge Prokofiev. Piano Concerto No. 5; piano scores of two ballets, Chout and Le Pas d’Acier<br />
- Giacomo Puccini. Manuscripts of Acts I and II of La Fanciulla del West, his opera inspired by the<br />
American West; a draft of Act II of Madama Butterfly including the famous Flower duet<br />
- Maurice Ravel. Complementing the exceptionally strong Debussy holdings is the equally impressive<br />
archive of Ravel manuscripts, including the full score of what is frequently reported as the single most<br />
often performed work of Western music, Bolero; Ravel’s famous orchestration of Mussorgsky’s Pictures<br />
at an Exhibition; the Piano Concerto for the Left Hand and Orchestra; L’Enfant et les Sortileges; and<br />
L’Heure Espagnole<br />
- Arnold Schoenberg. Of the four manuscripts in the hand of Schoenberg, the leader of the Second<br />
Viennese School, the collection holds the manuscript of one of this composer’s most famous works,<br />
Pierrot Lunaire<br />
- Richard Strauss. The symphonic fantasy in G major Aus Italien; sketchbooks with substantial drafts of<br />
Der Rosenkavalier and Die schweigsame Frau<br />
- Igor Stravinsky. Manuscripts of some of his most famous ballets including The Firebird, Petrouchka<br />
and Les Noces
HISTORY<br />
The <strong>Lehman</strong> Collection took nearly five decades to build, and a number of the manuscripts in the<br />
collection have a highly distinguished provenance. Previous owners include pianist Alfred Cortot; cellist<br />
and close friend of Chopin August Franchomme; musicologist Max Friedlaender; early 19 th century<br />
pioneering musicologist and collector Aloys Fuchs; pianist and life-long friend of Ravel Lucien Garban;<br />
composers Charles Gounod and Michael Haydn; violinist and friend of Ravel Hélène Jourdan-<br />
Morhange; distinguished collector Louis Koch of Frankfurt, Germany; Gustav Mahler’s widow Alma<br />
Mahler; Russian choreographer and ballet dancer Léonide Massine; French composer, music critic and<br />
pupil of Ravel Roland-Manuel; great patron of the arts Princess Edmond de Polignac; Mahler’s<br />
nephew, son of Arnold Rosé, founder of the Rosé Quartet, Alfred Rosé; pianist Arthur Rubinstein;<br />
Swiss music critic and Richard Strauss biographer Willi Schuh; composer and pianist Clara Schumann;<br />
noted 19 th century collector Edward Speyer; leading 19 th century French mezzo-soprano and composer<br />
Pauline Viardot; and the noted late 18 th -early 19 th century Wilhelm Collection.<br />
Of all of the previous owners, Alfred Cortot (1877-1962), whose important collection was formed in the<br />
early part of the 20 th century, features most often. It would be nearly impossible for a collection of this<br />
quality and depth to be replicated today as there are so few important musical manuscripts still remaining<br />
in private hands and thus potentially available to the market.<br />
The collection is currently on loan to the Morgan Library and Museum in New York City, which is very<br />
interested in adding it to its permanent holdings providing that funding can be secured. An acquisition by<br />
the Morgan would contribute significantly to the permanent musical resources of New York City by<br />
complementing the outstanding collections at such repositories as the New York Public Library and the<br />
Juilliard School. This does not preclude, however, a sale to an institution other than the Morgan, either in<br />
the US or abroad.<br />
The <strong>Lehman</strong> Collection has come to be regarded throughout the world by scholars, performers and<br />
informed music-lovers alike, as an outstanding resource. The importance of consulting original<br />
manuscripts is well established and cannot be overestimated. The examination of primary source material<br />
is vitally important to our understanding of the creative process involved in musical composition.<br />
PRICE and CONDITIONS OF SALE<br />
The price of the collection is $135 million, a figure fully in keeping with its fair market value, which can<br />
be supported by the public and private sales history of musical manuscripts over the last 50 years. The<br />
sale of the collection is conditional upon its remaining intact and residing in an appropriate educational<br />
institution affording scholarly and public access. It is Mr. <strong>Lehman</strong>’s intention to use the proceeds from<br />
the sale to establish a foundation to support music education, performance and related activities.<br />
It is hoped that either an individual, a group of individuals, a corporation, or a foundation will donate the<br />
required funds to an appropriate institution, thus enabling it to acquire the collection. This situation<br />
carries with it two significant benefits for the prospective donor. The first, of course, is the potentially<br />
considerable tax advantage that would result from such a charitable gift; the second is the knowledge that<br />
the proceeds from the sale will contribute significantly to the support of the musical community at large,<br />
enabling the funding of projects related to musical education, performance and associated activities at a<br />
time when such financing is seriously threatened by both the loss of government support and everdiminishing<br />
private sources.
A SHORT-TITLE LIST<br />
A full descriptive inventory is available upon request<br />
- - - All manuscripts are in the hand of the composer unless otherwise noted - - -<br />
1. BACH, Johann Sebastian. [BWV 171]. “Gott, wie dein Name, so ist auch dein Ruhm.” Cantata for<br />
voices and orchestra. 14 pp<br />
2. BACH. [BWV 544]. Organ Prelude and Fugue in B minor. 8 pp.<br />
3. BACH. [from BWV 906]. Fantasia in C minor for keyboard. 2 pp.<br />
4. BARTOK, Bela. Romanian folksong. 2ff. Melody and text.<br />
5. BARTOK. Rondos on Slovak folksongs for piano, nos. 2 and 3. 14 pp.<br />
6. BARTOK. Sonata op. 1 [=op. 19] for piano. 1898. 30 pp. .<br />
7. BARTOK. “Tot nepdal.” Slovak folksong for piano. 1 p.<br />
8. BEETHOVEN, Ludwig van. [Op. 129]. “Rondo a capriccio” for piano. 8 pp.<br />
9. BEETHOVEN. [Mozart]. Beethoven’s transcription of the first 41 bars and the last 14 bars of Mozart’s<br />
Fugue in C minor K426. 4 pp.<br />
10. BEETHOVEN. [Mozart]. Beethoven’s transcription of the last 42 measures of Mozart’s Fugue in C<br />
minor K426. 2 pp.<br />
11. BERG, Alban. [Op. 3]. String quartet. Copyist’s manuscript. With inscription signed to Schoenberg.<br />
22 pp.<br />
12. BERG. [Op. 4, nos. 3 and 4]. “Über die Grenzen des All and Nichts ist gekommen” for voice and<br />
piano. From the 5 Orchestra Songs. Copyist’s manuscript with autograph annotations. 6 pp.<br />
13. BERG. [Op. 6]. Three pieces for orchestra. Full score. 93 pp.<br />
14. BERG. “Schliesse mir die Augen beide” for voice and piano. 2 pp.<br />
15. BERG. “Der Wein.” Concert aria for voice and orchestra. Condensed score. 29 pp.<br />
16. BERG. “Wozzeck.”Act II, Scene 3. Full score. With a signed inscription to Arnold Schoenberg. 18<br />
pp.<br />
17. BERG. “Wozzeck.” Opera in 3 acts. Copyist’s manuscript. With Berg’s autograph inscription.<br />
18. BLOCH, Ernest. "Schelomo.” The composer’s arrangement for cello and piano. 38 pp.
19. BRAHMS, Johannes. [Op. 15]. Concerto no. 1 for piano and orchestra in D minor. Complete solo<br />
piano part and orchestral passages reduced for piano, both in Brahms’s and a copyist’s hand. 55 pp.<br />
20. BRAHMS. [Op. 29, no. 2]. "Schaffe in mir, Gott, ein rein Herz.” Motet for 5 voices a capella. 10 pp.<br />
21. BRAHMS. [Op. 39]. 16 Waltzes for piano duet. 16 pp.<br />
22. BRAHMS. [Op. 67]. String Quartet no. 3 in B flat major. Score. 55 pp.<br />
23. BRAHMS. [Op. 73]. Symphony no. 2 in D major. Full score. 132 pp.<br />
24. BRAHMS. [Op. 91, no. 2]. "Geistliches Wiegenlied." Song for voice, piano and viola. 8 pp.<br />
25. BRAHMS. [Op. 120, nos. 1 and 2]. Sonatas for Clarinet and Piano in F minor and E-flat major. Score<br />
and solo part to both works. 67 pp. With a signed inscription to the clarinetist Richard Muehlfeld.<br />
26. BRAHMS. [Schubert]. The composer’s arrangement of 15 dances for piano by Schubert, D366/4 and<br />
12 (piano two-hands), D814/1-4 (piano four-hands) and D366/9, 10, 1, 13, 6, 2, 8, 3 and 5 (piano two<br />
hands. 7 pp.<br />
27. CHOPIN, Frédéric. [Op. 2]. Variations on Mozart’s "La ci darem la mano" for piano and orchestra.<br />
Full score. 66 pp.<br />
28. CHOPIN. [Op. 4]. Sonata for piano in C minor. 23 pp.<br />
29. CHOPIN. [Op. 10, no. 3]. Étude for piano in E major. 2 pp.<br />
30. CHOPIN. [Op. 10, no. 9]. Étude for piano in F minor. 2 pp.<br />
31. CHOPIN. [Op. 15, no. 3]. Nocturne for piano in G minor. 1 p. A draft from measure 86 to the<br />
conclusion.<br />
32. CHOPIN. [Op. 18]. Grande Valse Brillante in E flat major. 4 pp.<br />
33. CHOPIN. [Op. 28, no. 14]. Unidentified composition, possibly a draft for the Prelude in E flat minor.<br />
l p.<br />
34. CHOPIN. [Op. 48, nos. 1 and 2]. Nocturne in C minor and Nocturne in F sharp minor. 20 pp.<br />
35. CHOPIN. [Op. 65]. Sonata for cello and piano in G minor. 2 pp. Sketches for an unused version of the<br />
Scherzo.<br />
36. CHOPIN. Sketches for a piano method. 19 pp. Manuscript drafts, both textual & musical, for a<br />
projected theoretical work.<br />
37. DALLAPICOLLA, Luigi. “Il prigioniero.” Opera. Condensed score. 72 pp., various sizes.<br />
38. DEBUSSY, Claude. [Op. 10]. “1er Quatuor.” Proof copy of the first edition of the score of the String
Quartet with manuscript corrections, some in Debussy's hand.<br />
39. DEBUSSY. “Les angelus” for voice and piano. 3 pp.<br />
40. DEBUSSY. Fantasy for piano and orchestra. Full score. 125 pp. (lacking pp. 101-104).<br />
41. DEBUSSY. "Fantoches" for voice and piano. 3 pp.<br />
42. DEBUSSY. “Fêtes galantes; En sourdine” for voice and piano. 2 pp.<br />
43. DEBUSSY. “Fêtes Galantes (En Sourdine; Claire de Lune; Fantouches)” for voice and piano. 8 pp. +<br />
title.<br />
44. DEBUSSY. “Gigues.” Short score draft. 7 leaves.<br />
45. DEBUSSY. Iberia. “Les parfums de la nuit" and "Le matin d'un jour de fete." Short score drafts. 11<br />
leaves.<br />
46. DEBUSSY. “Images” for orchestra. Drafts in piano score. 13 pp.<br />
47. DEBUSSY. “Jeux.” Full score. 31 leaves.<br />
48. DEBUSSY. Pélleas et Mélisande, Act IV, Scene 4. Short score draft. 12 leaves.<br />
49. DEBUSSY. Pélleas et Mélisande. Printed proof of the full score with extensive autograph corrections.<br />
50. DEBUSSY. Préludes for piano, Book I. 31 leaves.<br />
51. DEBUSSY. Prélude a l'après-midi d'un faune. Short score. 6 leaves.<br />
52. DEBUSSY. Prélude à l'Après midi d'un Faune. Transcription for 2 pianos. Title + 6 pp.<br />
53. DEBUSSY. “Premier cahier de proses lyriques. De rêve – De Grève – De soir.” For voice and piano.<br />
20 pp.<br />
54. DEBUSSY. “Rodrigue et Chimène.” Short score. 55 leaves, 40 pp., 28 leaves.<br />
55. DEBUSSY. “Suite d'Orchestre”<br />
1. “Fête.” Full score, notated on rectos only. Title + 37 pp.<br />
2. “Ballet.” Full score, notated on rectos only. Title + 18 pp.<br />
3. [“Rêve”- missing]<br />
4. “Cortege et Bacchante.” Full score, notated on rectos only. Title + 34 pp.<br />
56. DEBUSSY. “Suite d'Orchestre” for piano 4 hands<br />
1. “Fete.” 20 pp.<br />
2. “Ballet.” Pp. 21-32<br />
3. “Rêve.” Title + 8 pp.<br />
4. “Cortege et Bacchante.” Title + 11 pp.
57. DEBUSSY. Sketchbook containing sketches for “Images,” “Iberia,” “Préludes” for piano, Book I, and<br />
several other works. 110 pp.<br />
58. DUKAS, Paul. "Ariane et Barbe-Bleue." Drafts of Act II and most of Act III. 103 pp.<br />
59. DUKAS. Sonata for piano in E flat minor. Sketches. 31 pp.<br />
60. FRANCK. [Op. 18]. Prelude, Fugue and Variation from the Six Pieces for organ, op. 18. 10 pp.<br />
61. FRANCK. “Le Chasseur Maudit.” Symphonic poem. Full score. 102 pp.<br />
62. FRANCK. “Le Chasseur Maudit.” Symphonic poem. Franck’s arrangement for piano 4-hands. 33 pp.<br />
63. FRANCK. “Messe à 3 voix.” Franck’s arrangement for voices and organ. 57 pp.<br />
64. FRANCK. "Prélude, Choral et Fugue." 20 pp.<br />
65. FRANCK. "Prélude, aria et final" for piano. 27 pp.<br />
66. FRANCK. Sonata for violin and piano in A major. 46 pp. Inscribed to Eugene Ysaÿe.<br />
67. GRIEG, Edvard. [Op. 68]. “Lyrische Stücke” for piano, op. 68. 15 pp.<br />
68. HAYDN, Joseph. [HII, 24]. Divertimento in E flat for orchestra. 7 pp.<br />
69. HAYDN. [HIII, 83]. String Quartet op. 103. “Andante grazioso" in B flat major and "Menuet ma non<br />
troppo presto" in D minor (with a trio in D major). Score. 6 pp.<br />
70. LISZT, Franz. Concerto for piano and orchestra no. 1 in E flat major. Full score. Copyist’s manuscript<br />
with extensive corrections and revisions in Liszt's hand. 58 pp.<br />
71. LISZT. Hungarian rhapsody no. 17 for piano. 8 pp.<br />
72. LISZT. Sonata for piano in B minor. 29 pp.<br />
73. MAHLER, Gustav. “Blicke mir nicht in die Lieder” for voice and orchestra. Full score. 8 pp.<br />
74. MAHLER. “Kindertotenlieder” for voice and orchestra. Full score. 61 pp.<br />
75. MAHLER. “Kindertotenlieder” nos. 2-5 for voice and piano. 12 pp.<br />
76. MAHLER. “Des Knaben Wunderhorn: Des Antonius Padua Fischpredigt” for voice and piano. 4 pp.<br />
77. MAHLER. “Des Knaben Wunderhorn: Lied des Verfolgten im Thurm” for voice and piano. 5 pp.<br />
78. MAHLER. “Des Knaben Wunderhorn: Rheinlegendchen” for voice and orchestra. Full score. 2 pp.<br />
79. MAHLER. “Des Knaben Wunderhorn: Der Tamboursg'sell” for voice and orchestra. Full score. 16<br />
pp.
80. MAHLER. “Des Knaben Wunderhorn: Der Tamboursg'sell” for voice and piano. 2 pp.<br />
81. MAHLER. “Des Knaben Wunderhorn: Wo die schönen Trompeten blasen” for voice and piano. 4 pp.<br />
82. MAHLER. “Das Lied von der Erde: Das Trinklied von Jammer der Erde; Der Einsame im Herbst;<br />
Von der Schönheit; Der Trunkene im Frühling; Der Abschied” for vocal soloists and orchestra. Full score.<br />
204 pp.<br />
83. MAHLER. “Das Lied von der Erde: Von der Schonheit” for voice and orchestra. Full score. 20 pp.<br />
84. MAHLER. Symphony no. 2. Full score of the third movement. 46 pp.<br />
85. MAHLER. Symphony no. 2. Portion of last movement. Short-score draft from the last movement. 2<br />
pp.<br />
86. MAHLER. Symphony no. 3 in D minor. Full score. 296 pp.<br />
87. MAHLER. Symphony no. 3. “Was mir die Morgenglocken erzahlten” for voices and orchestra. 4 pp.<br />
88. MAHLER. Symphony no. 4. Short score draft of the third movement. 6 leaves + 4 pp.<br />
89. MAHLER. Symphony no. 5. Scherzo. Sketches. 33 pp.<br />
90. MAHLER. Symphony no. 9. Full score. 252 pp.<br />
91. MENDELSSOHN-BARTHOLDY, Felix. [Op. 7, no. 2]. “Characterstücke” for piano. With three<br />
additional works for piano: Allegro in C major; Allegro molto in B minor; Andante in D major. 4 pp.<br />
92. MENDELSSOHN-BARTHOLDY. [Op. 14]. “Rondo capriccioso” for piano. 4 pp. For piano<br />
93. MENDELSSOHN-BARTHOLDY. [Op. 18]. String quintet no. 1 in A major. 44 pp.<br />
94. MENDELSSOHN-BARTHOLDY. [Op. 30]. “Lieder ohne Worte” for piano. 9 pp.<br />
95. MENDELSSOHN-BARTHOLDY. [Op. 62, nos. 5 and 6]. “Lieder ohne Worte” for piano:<br />
“Venetianisches Gondellied” and “Frühlingslied.”4 pp.<br />
96. MENDELSSOHN-BARTHOLDY. The Hebrides Overture. Full score. 42 pp.<br />
97. MENDELSSOHN-BARTHOLDY. “Die Heimkehr aus der Fremde.” Full score. 102 pp.<br />
98. MENDELSSOHN-BARTHOLDY. “Die Liebende schreibt” for voice and piano. 3 pp.<br />
99. MENDELSSOHN-BARTHOLDY. “Reiselied” for voice and piano. 2 pp.<br />
100. MENDELSSOHN-BARTHOLDY. Symphony no 3 in E minor for string orchestra. Full score. 9 pp.<br />
101. MOZART, Wolfgang Amadeus. [K162]. Symphony no. 22 in C major. Full score. 40 pp.
102. MOZART. [K181]. Symphony no. 23 in D major, K162b/181]. Full score. 47 pp.<br />
103. MOZART. [K182]. Symphony no. 24 in B flat major, K173dA/182]. Full score. 40 pp.<br />
104. MOZART. [K183]. Symphony no. 25 in G minor, K173dB/183]. Full score. 76 pp.<br />
105. MOZART. [K184]. Symphony no. 26 in E flat major, K161a/184. Full score. 48 pp.<br />
106. MOZART. [K190]. Concertone for 2 solo violins and orchestra. K190. Full score. 84 pp.<br />
107. MOZART. [K199]. Symphony no. 27 in G major, K161b/199]. Full score. 52 pp.<br />
108. MOZART. [K200]. Symphony no. 28 in C major, K189/200]. Full score. 67 pp.<br />
109. MOZART. [K201]. Symphony no. 29 in A major, K186a/201]. Full score. 79 pp.<br />
110. MOZART. [K202]. Symphony no. 30 in D major, K186b/202]. Full score. 55 pp.<br />
111. MOZART. [K203]. Serenade for orchestra in D major. K203. Full score. 108 pp.<br />
112. MOZART. [K204]. Serenade for orchestra in D major. K204. Full score. 101 pp.<br />
113. MOZART. [K250]. Serenade for orchestra (the “Haffner”) in D major. K250. Full score. 157 pp.<br />
114. MOZART. [K310]. Sonata for piano in A minor, K310. 11 pp.<br />
115. MOZART. [K371]. Rondo for horn and orchestra in E flat major, K371. Full score. 20 pp.<br />
116. MOZART. [K423, 424]. Duos for violin and viola K423-424. 16 pp.<br />
117. MOZART. [K426]. Fugue for 2 pianos in C minor, K426. 5 pp.<br />
118. PROKOFIEV, Sergey. “Chout.” Short score of the ballet. 53 pp.<br />
119. PROKOFIEV. “Le pas d'acier.” Piano score of the ballet. 22 pp.<br />
120. PROKOFIEV. Piano Concerto no. 5. Short score in both autograph and copyist’s hands. 41 pp.<br />
121. PUCCINI, Giacomo. “La Fanciulla del West” [“The Girl of the Golden West”]. Opera. Short score<br />
draft of Acts I and II. 364 pp.<br />
122. PUCCINI. “Madama Butterfly.” Draft of Act II from the “flower duet” to shortly before the<br />
“humming chorus.” 26 pp.<br />
123. RAVEL, Maurice. “Bolero” for orchestra. Full score. 37 leaves.<br />
124. RAVEL. “Chanson Madecasses” for voice and piano. Sketches. 3 pp.<br />
125. RAVEL. “Chants populaires: Chanson hébraïque” for voice orchestra. 3 pp.
126. RAVEL. Concerto for the piano left hand and orchestra. Full score. 53 pp.<br />
127. RAVEL. “L'enfant et les sortileges.” Piano-vocal score. 75 pp.<br />
128. RAVEL. “L'heure espagnole.” Piano-vocal score. 64 pp.<br />
129. RAVEL. “Jeux d'eau” for piano. 7 pp.<br />
130. RAVEL. “Farfadetes” for piano. Sketches. 1 p.<br />
131. RAVEL. “Fugato” for piano trio. Sketches. 2 pp.<br />
132. RAVEL. “Gaspard de la Nuit.” Proof copy of the first edition with autograph corrections and<br />
annotations.<br />
133. RAVEL. “Ma mère l'oye. Pavane de la belle au bois dormant” for piano four-hands. 2 leaves.<br />
134. RAVEL. “Mélodies hébraïques” for voice and orchestra. Full score. 13 pp.<br />
135. RAVEL. “Miroirs. Noctuelles” for piano. 4 pp.<br />
136. RAVEL. “Morgiane.” Sketches, possibly for an unrealized opera-ballet. 2 pp.<br />
137. RAVEL. “Noël des Jouets.” First edition with autograph corrections.<br />
138. RAVEL. "La nonne maudite" for piano. Sketch. 1 p.<br />
139. RAVEL. "Passacaille" for piano and strings. 1 p.<br />
140. RAVEL. “Rhapsodie espagnole” for two pianos of part of the “Prélude a la nuit.” Sketches. 3 pp.<br />
141. RAVEL. Sonata for Piano and Violin. Score. 21 pp.<br />
Bound with 8 autograph letters, 3 postcards and 1 letter from Durand.<br />
142. RAVEL. Sonata for Violin and Cello. Sketches. 2 pp.<br />
143. RAVEL. Sonata for Violin and Cello, movements 2-4. Score. 20 pp.<br />
Bound with 3 autograph letters and a copy of the first edition.<br />
144. RAVEL. “Le tombeau de Couperin” for piano. 20 pp.<br />
145. RAVEL. “Le tombeau de Couperin” for orchestra. Full score. 26 pp.<br />
146. RAVEL. “Le tombeau de Couperin.”A draft in full score of Ravel’s orchestral arrangement. 16 pp.<br />
147. RAVEL. “Tzigane” for violin and orchestra. Full score. 19 pp.<br />
148. RAVEL. “Tzigane.” First edition with autograph corrections.
149. RAVEL. “La valse” for two pianos. Ravel’s own arrangement. 22 pp.<br />
150. RAVEL.. “La valse” for two pianos. A working manuscript. 25 pp.<br />
151. RAVEL. “La valse. Poème chorégraphique” for orchestra. Full score. 75 pp.<br />
152. RAVEL. Unidentified sketches for piano. 2 pp.<br />
153. RAVEL. Unidentified sketches for two works, one for chorus and orchestra. 2 pp.<br />
154. RAVEL. [Beethoven]. Sketches for a piano transcription of Beethoven's “Coriolanus” overture. 2 pp.<br />
155. RAVEL. [Chabrier]. “Pièces pittoresques.” A draft of Ravel’s orchestration of Chabrier’s “Menuet<br />
pompeux.” Full score. 4 pp.<br />
156. RAVEL. [Chopin]. Ravel’s orchestral arrangement of Chopin’s Étude for piano, op. 10, no. 11 in E<br />
flat major. Full score draft. 1 p.<br />
157. RAVEL. [Mussorgsky].” Pictures at an Exhibition.” Ravel’s working manuscript of his orchestration<br />
of Mussorgsky’s work. Full score. 99 pp.<br />
158. RAVEL. Unidentified sketches for piano trio. 2 pp.<br />
159. ROUSSEL, Albert. 3rd Symphony, op. 42, third movement. Short score. 6 pp.<br />
160. ROUSSEL. “Psalme LXXX, op. 37.” Short score. Title + 31 pp.<br />
161. SATIE, Erik. “Le fils des etoiles” for piano. Preludes to Acts I-III. 12 leaves.<br />
162. SCHOENBERG, Arnold. “Das Buch der hängenden Gärten,” nos. 3, 4, 5, and 8, for voice and piano.<br />
4 pp.<br />
163. SCHOENBERG. “Kammersymphonie” for 15 solo instruments. Full score. 56 pp.<br />
164. SCHOENBERG. “Pierrot Lunaire” for voice and instrumental ensemble. Full score. 85 pp.<br />
165. SCHOENBERG. “Unentrinnbar,” no. 1 from Four Pieces for Mixed Choir, op. 27, no. 1. Score. 2<br />
pp.<br />
166. SCHUBERT, Franz. [D408]. Sonata for Violin and Piano in G minor. The first movement in score. 6<br />
pp.<br />
167. SCHUBERT. [D438]. Rondo for violin and string orchestra in A major. Full score. 26 pp.<br />
168. SCHUBERT. 3 songs for voice and piano:<br />
- [D545]. “Der Jüngling und der Tod.” 4 pp.<br />
- [D546]. “Trost im Liede.” 4 pp.<br />
- [D547]. “An die Musik.” 2 pp.<br />
169. SCHUBERT. [D786]. “Viola,” song for voice and piano. 22 pp. For voice and piano. Text in
Schubert’s hand, the music in a copyist’s hand with autograph corrections and additions.<br />
170. SCHUBERT. [DAnhang II, 4]. Psalm no. 8. Schubert's arrangement of Maximillian Stadler’s setting<br />
of the 8 th psalm for voice, 2 oboes, 2 trumpets, timpani, violins, violas and organ. 15 pp.<br />
171. SCHUMANN, <strong>Robert</strong>. [Op. 7]. “Toccata for piano.” 8 pp.<br />
172. SCHUMANN. [Op. 21, no. 2]. “Noveletten” for piano. 6 pp.<br />
173. SCHUMANN. [Op. 61]. Second Symphony in C Major. Full score. 246 pp. Inscribed by Clara<br />
Schumann.<br />
174. SCHUMANN. [Op. 68]. “Album für die Jugend. 1 p. textual manuscript.<br />
175. SCHUMANN. [Op. 96, nos. 1 and 2]. “Lieder und Gesänge.” For voice and piano. 3 pp. Inscribed<br />
by Clara Schumann.<br />
176. STRAUSS, Richard. [Op. 7]. Serenade for wind instruments. Full score. 41 pp.<br />
177. STRAUSS. [Op. 23]. “Macbeth,” A Tone Poem for Orchestra. Full score. 79 pp.<br />
178. STRAUSS. [Op. 27]. 4 songs for voice and piano. 11 pp.<br />
179. STRAUSS. [Op.80]. “Die schweigsame Frau.” Sketchbook containing drafts of Act III. 46 pp.<br />
180. STRAUSS. "Aus Italien,” Symphonic Fantasy in G major for orchestra. Full score. 172 pp.<br />
181. STRAUSS. “Der Rosenkavalier.” Sketchbook for Act II. 99 pp.<br />
182. STRAVINSKY, Igor. “Le baiser de la fée.” Ballet arranged for piano. Copyist’s manuscript with<br />
autograph title and page 1. 76 pp.<br />
183. STRAVINSKY. “Chant du Rossignol” for orchestra. Full score. Title + 90 pp.<br />
184. STRAVINSKY. “Chant du Rossignol.” Drafts and sketches in both full and short score. 30 pp.<br />
185. STRAVINSKY. “Deux Poèsies de Balmont” for voice and piano. 10 pp.<br />
186. STRAVINSKY. "Les noces." Ballet. Drafts in full and short score. 34 pp.<br />
187. STRAVINSKY. “L'oiseau de feu.” Stravinsky’s own arrangement for piano. 44 pp.<br />
188. STRAVINSKY. “L'oiseau de feu.” Ballet. First edition of the piano score with numerous autograph<br />
annotations and revisions.<br />
189. STRAVINSKY. “Petrouchka.” Full score. 174 pp.<br />
190. STRAVINSKY. “Petrushka.” Working manuscript. Full score. 130 pp.<br />
191. STRAVINSKY. "Petrouchka." Version for piano two-hands. Title + 82 pp.
192. STRAVINSKY. "Piano Rag <strong>Music</strong>" for piano. Title + 8 pp.<br />
193. STRAVINSKY. “Ragtime” for piano. 8 pp.<br />
194. STRAVINSKY. "Renard," a burlesque in song and dance. Short score. 77 pp.<br />
195. STRAVINSKY. "Scherzo Fantastique" for orchestra. Full score. 64 pp.<br />
196. STRAVINSKY. Sonata for two pianos. Score. 41 pp.<br />
197. STRAVINSKY. “Sonate pour Piano.” 16 pp.<br />
198. STRAVINSKY. “Trois Poèsies de la Lyrique Japonaise: Akahito, Mazatsumi, Tsaraiuki.” For<br />
orchestra and in piano reduction. 15 pp. in total.<br />
199. VILLA-LOBOS, Heitor. “Uirapurú (The Magic Bird).” Full score. Title + 80 pp.<br />
200. WEBER, Carl Maria von. Concerto no. 2 for clarinet and orchestra in E flat major. Full score. 72 pp.