{"id":1286,"date":"2019-07-08T12:48:25","date_gmt":"2019-07-08T16:48:25","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?page_id=1286"},"modified":"2024-04-02T11:52:06","modified_gmt":"2024-04-02T15:52:06","slug":"gullo","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/","title":{"rendered":"GULLO HARP COLLECTION"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1614702473789{margin-top: -20px !important;}&#8221;]<\/p>\n<p>SC 1996.25<\/p>\n<p>Ruth T. Watanabe Special Collections<br \/>\nSibley Music Library<br \/>\nEastman School of Music<br \/>\nUniversity of Rochester<\/p>\n<p>prepared by Erica Ann Zumsteg<br \/>\nFall 1996<\/p>\n<p><a name=\"Contents\"><\/a><a name=\"Contents\"><\/a><\/p>\n<h3>CONTENTS<\/h3>\n<ul>\n<li><a href=\"#Descrip\">Description of Collection<\/a><\/li>\n<li><a href=\"#Series\">Description of Series<\/a><\/li>\n<li><a href=\"#Inventory\">Inventory<\/a><\/li>\n<li>Series 1: <a href=\"#S1\">Musical Instruments Catalog<\/a><\/li>\n<li>Series 2: <a href=\"#S2\">Music Imprints<\/a><\/li>\n<li>Series 3: <a title=\"GULLO HARP COLLECTION: Binders Collections\" href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/gullo1\/\">Binders Collections<\/a>\n<ul>\n<li><a title=\"GULLO HARP COLLECTION: Binders Collections (Harp)\" href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/gullo1\/#SSA\">Harp<\/a><\/li>\n<li><a title=\"GULLO HARP COLLECTION: Binders Collections (Piano or Harp)\" href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/gullo1\/#SSB\">Piano or Harp<\/a><\/li>\n<li><a title=\"GULLO HARP COLLECTION: Binders Collections (Piano and voice)\" href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/gullo1\/#SSC\">Piano and Voice<\/a><\/li>\n<\/ul>\n<\/li>\n<li><a title=\"GULLO HARP COLLECTION: Index to Binders Collections\" href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/gullo-index\/\">Index to Binders Collections<\/a><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><a id=\"Descrip\" name=\"Descrip\"><\/a><\/p>\n<h3>DESCRIPTION OF COLLECTION<\/h3>\n<p>Location: M1B 7, 5-7<br \/>\n3.25 linear feet<\/p>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;5171&#8243; img_size=&#8221;medium&#8221; add_caption=&#8221;yes&#8221; alignment=&#8221;center&#8221; style=&#8221;vc_box_outline&#8221; onclick=&#8221;link_image&#8221;][\/vc_column_inner][\/vc_row_inner][vc_column_text]<\/p>\n<h4>Biographical Sketch<\/h4>\n<p>Nan Gullo, harpist, received degrees from the Juilliard School and Pennsylvania State University, finishing with a D.M.A. at the Eastman School of Music. She has held several teaching positions in Pennsylvania and in New York. In addition to performing as a soloist and in orchestras such as the Pittsburgh Symphony Orchestra, Ms. Gullo is very active in the musical community and is a founding member of the American Harp Society and of its Central Pennsylvania Chapter. Currently, Nan Gullo teaches harp at Houghton College and in the Eastman School of Music\u2019s CED program. She also serves as the music director and organist at the Lutheran Church of the Redeemer in Rochester, New York.<\/p>\n<p>&nbsp;<\/p>\n<h4>Provenance<\/h4>\n<p>This collection was compiled by Nan Gullo and her husband, Charles W. Mann, Curator of Rare Books and Manuscripts at Penn State University. Ms. Gullo gave the collection to the Sibley Music Library in 1994.<\/p>\n<p>&nbsp;<\/p>\n<h4>Scope and Content<\/h4>\n<p>This collection mainly consists of eighteenth and nineteenth-century harp music formerly belonging to Nan Gullo. Most of the music is written for the double-action harp, an instrument which allowed for much greater virtuosity and variation than earlier harps could provide. The collection contains etudes, method books, exercises, duets, arrangements, and pieces, thereby providing any harp player with a wealth of literature and with an insight into the musical interests of society during these two centuries. It should also be noted that several of the binders collections consist of piano music which may be of interest to pianists, especially those interested in &#8220;salon&#8221; music.<\/p>\n<p>&nbsp;<\/p>\n<h4>Restrictions and Use<\/h4>\n<p>No restrictions.<\/p>\n<p>&nbsp;<\/p>\n<h4>Associations<\/h4>\n<p>Those interested in this collection may also find the <a title=\"GULLO HARP COLLECTION\" href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/neejer\/\">Neejer Collection<\/a> of interest. This collection is relatively small and is comprised of late nineteenth-century harp music. Also of interest, is the <a title=\"GULLO HARP COLLECTION\" href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/guide\/#rosenbloom\">Rosenbloom Collection<\/a> which is currently dispersed in the general rare books collection and several pieces from the Marie Mellman Naugle Collection which are also located in the general collection.<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p><a id=\"Series\" name=\"Series\"><\/a><\/p>\n<h3>DESCRIPTION OF SERIES<\/h3>\n<p>Series 1: <a href=\"#S1\">Musical Instruments Catalog<\/a><\/p>\n<p>This first series consists of one item which is a musical instrument catalog from the York Castle Museum in England.<\/p>\n<p>Series 2: <a href=\"#S2\">Music Imprints<\/a><\/p>\n<p>The second series consists of musical imprints. The music is arranged alphabetically by composer. Works without a known author can be found at the beginning of the series under &#8220;Anon.&#8221;<\/p>\n<p>Series 3: <a title=\"GULLO HARP COLLECTION: Binders Collections\" href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/gullo1\/\">Binders Collections<\/a><\/p>\n<p>Divided into three sub-series by instrumentation, this series contains a large number of binders collections made up of music, generally from the late-eighteenth and early-nineteenth centuries. The number designated to each collection has been made by the compiler of this finding aid and has no significance. Please note that there is an <a href=\"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/gullo-index\/\">index<\/a> at the end of this series to aid in locating specific works.<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p><a id=\"Inventory\" name=\"Inventory\"><\/a><\/p>\n<h3>INVENTORY<\/h3>\n<p><a name=\"S1\"><\/a><\/p>\n<p>Series 1: Musical Instruments Catalog<\/p>\n<p><strong>Box 1<\/strong><\/p>\n<table border=\"0\" cellpadding=\"0\">\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Musical Instruments in York Castle Museum<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a name=\"S2\"><\/a><\/p>\n<p>Series 2: Music Imprints<\/p>\n<table border=\"0\" cellpadding=\"0\">\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Anon. The Anti-Slavery Harp: a collection of songs for anti-slavery meetings. compiled by William W. Brown. Second edition. Boston: Bela Marsh. 1849. photocopy]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Anon. Scene pour la Harpe compos\u00e9e de Morceaux choisis dans les Oevres de Messieurs Cardon et Krumpholtz par un admirateur de leaur talent! Paris: adresses ordinaires de Musique.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>B\u00e9dard, J.B. Le Menuet de la Cour et la Gavotte de Vestris Pour Piano ou Harpe Avec Accompagnement de Violon arrang\u00e9s par J.B. Bedard. Paris: Corbaux.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Blagrove, R.M. The Peasants Joy. Rondo for the Harp or Pianoforte. London: J. Balls.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Bochsa, N.C. L&#8217;anima di musica, for the Harp. London: Goulding &amp; D&#8217;Almaine.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Bochsa, N.C. Batti batti, The favorite Air in Mozart&#8217;s Opera of Il Don Giovanni, Arranged for the Harp. London: Chappell &amp; Co. p.n.572.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Bochsa, N. Charles. Deux Grandes Sonates pour la Harpe, Op. 37. Paris: Ch. les Bochs. O.No.78.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Bochsa, N. Charles. Douze Pr\u00e9ludes Progressifs, Pour la Harpe, Op.25. Paris: Pacini. p.n.35.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Bochsa, C. Duo pour Cor et Harpe, ou Clarinette et Harpe. Paris: Duhan &amp; Co. p.n.5e Anne\u00e9 No.2 et 3.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Bochsa, N. Charles. Duo pour deux harpes Sur l&#8217;Air: Soyez sensibles, des Myst\u00e9res d&#8217;Isis, avec Variations, Op.19. Paris: Cousineau. p.n.342.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Bochsa, N.C. Eighteen Entirely New Studies for the Harp. Books I and II. London: Ashdown &amp; Parry. p.n. A &amp; P 8183 and 8184. [no title page for either book]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>Bochsa. Bochsa&#8217;s Explanations of his New Harp Effects. London: Goulding and D&#8217;Almaine.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Bochsa, N.C. The First Six Weeks, or Daily Precepts and Examples for the Harp. London: D&#8217;Almaine &amp; Co.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Bochsa, N.C. La ci darem la mano, Mozart&#8217;s Favorite Duett, in the Opera of Il Don Giovanni, with Variations and an Introduction for the harp. London: Chappell &amp; Co. p.n.570.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Bochsa, N.Ch. Nouvelle Methode de Harpe en deux Parties. Op. 60. Paris: Schonenberger. V.D et D.435.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 17<\/strong><\/td>\n<td>Bochsa, N.C. Quinze Pr\u00e9ludes. Op.207. Paris: Lemoine et Fils. V. D. et D.4536.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 18<\/strong><\/td>\n<td>Bochsa, N.C. Sul margine d&#8217;un rio, A favorite Air with an Introduction and Brilliant Variations for the Harp. London: F.T. Latour. p.n.1017.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 19<\/strong><\/td>\n<td>Bochsa, N.Ch. and Duport. Trois Nocturnes Concertans pour Harpe et Violoncelle (ou Violon). Op.70. Paris: Bochsa. p.n. 149.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 20<\/strong><\/td>\n<td>Bochsa, N.Ch. Trois Nocturnes Concertans Pour Harpe et Fl\u00fbte. Op.71, no.3. Paris: J.J. de Momigny. p.n. 3.R. No. 3.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 2<\/strong><\/p>\n<table border=\"0\" cellpadding=\"0\">\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Bochsa, N.Ch. Twenty \u00c9tudes faciles. Op.318, no.2. Paris: Henry Lemoine &amp; Co. p.n.334.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Bochsa and Oberthuer. Universal Method for the Harp. New York: Carl Fischer. p.n.15292-117.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Boieldieu, A. Troisieme Duo et Polonaise pour la Harpe et le Fort\u00e9 Piano ou pour deux Pianos. Paris: Gaveaux. p.n.33.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>B\u00fcrckhoffer, J.G. Divertissement pour la Harpe avec Accompagnement de Violon et Violoncelle oblig\u00e9s. Op.16. Paris: Cousineau.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>B\u00fcrckhoffer, J.G. Ouverture de La Frascatana del Signor Paesiello arrang\u00e9e pour la Harpe aves Accompagnement de Violon et Violoncelle. Op.18. Paris: Cousinau.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Cahusac, W.M. The German Flute Preceptor or the whole Art of playing the Flute rendered easy to every Capacity to which is added a favorite Collection of Songs, Minuetts, Marches, Duetts, etc. . . London: W.M. Cahusac.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Cardon, Jean-Baptiste. Quatri\u00e8me Livre de Sonates pour la Harpe avec accompagnement de Violon. Op.9. Paris: Cousineau. p.n. 9. [Violin and Harp parts]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Choron, Al. Et. and J. Adrien de Lafage. Manuel complet de musique ou encyclop\u00e9die musicale. Paris: Schonenberger.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Clark, Melville. How to Play The Harp. Philadelphia: Theodore Presser Co. H.M. 99.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Clarke, Dr. The Minstrel&#8217;s Harp from The Lap of the Last Minstrel, composed with an accompaniment for the Harp or Piano Forte. London: Clementi &amp; Co.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Concone, L. \u00c9tudes pour la harpe. Op.26. Trente morceaux dans tous le genres Pr\u00e9ludes, Caprices et Modulations. Paris: Costallat &amp; Co. p.n.3589 R.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Corri, Montague. Six Waltzes A March &amp; Fandango for the Piano Forte or Harp with an accompaniment for the Violin or Flute ad lib. London: J. Davis.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>Corsin. Sonate pour la Harpe termin\u00e9 par un Air vari\u00e9. Paris: Corsin. [Harp and accompaniment part]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Costellow, Tho. The favorite Irish Air as Performed by Mr. Wiepart, on the Harp, in the pantomine of Harlequin Amulet, adapted for the Piano Forte or Harp, with Variations. London: E.Riley&#8217;s.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Cosway, Madame. Deux Sonates pour le Clavecin, avec un Violon, arrang\u00e9es pour deux. Harpe et Clavecin, Piano-forte ou l&#8217;Orgue par Phil. Jac. Meyer. London: Birchall &amp; Andrews.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Dale, J. [arranged by]. The College Hornpipe. arranged as a Rondo for the Piano-forte or Harp. London: Dale.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 17<\/strong><\/td>\n<td>Delcourt, L. Exercices et Etudes doigt\u00e9s pour la Harpe chromatique. Paris: Alphonse Leduc. A.L.10,215.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 18<\/strong><\/td>\n<td>Deleplanque, Mr. Ouverture et Airs de Tarares arrang\u00e9e pour la Harpe. Paris: Imbault. p.n.110.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 19<\/strong><\/td>\n<td>D\u00e9sargus, Xavier. Nouvelle M\u00e9thode de Harpe. Paris: D\u00e9sargus.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 20<\/strong><\/td>\n<td>D\u00e9s Argus, Xavier. Trait\u00e9 G\u00e9n\u00e9ral sur l&#8217;Art de jouer de la Harpe. Paris: D\u00e9sargus.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 3<\/strong><\/p>\n<table border=\"0\" cellpadding=\"0\">\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Desserre, G.T. Trois \u00c9tudes pour Harpe. Paris: Les Nouvelles \u00c9ditions Meridian, 1956. p.n.1681.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Dizi, F.J. Forty-eight \u00c9tudes pour la Harpe, nouvelle \u00e9dition en deux livres. Paris: Lemoine &amp; Co. p.n.20525. H. [Book I only]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Ferrari, and Demar. Theme Vari\u00e9 Sur un Air National Russe (Les adieux du cosaque), arrang\u00e9 pour Harpe ou Piano. Paris: Ferrari. p.n.94.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Fioravanti. Couplets de&#8217;virtuosi ambulanti chantes par Mr. Zardi, arrang\u00e9e avec accompagnement de Piano ou Harpe par Pacini. Paris: a la Thipographie de la Syrene Peristille du Th\u00e9\u00e2tre Favart C\u00f4te de la Rue Mariveaux. p.n.29.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Fiorillo, F. Seventy-two Exercises for the Harp to which is added a Capricio, including an abstract of the whole work the Fingering by Mr. Dizi. Op.41. London: Wilkinson &amp; Cie.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Gatayes. Duo pour Harpe et Cor. Op.22. Paris: Corbaux. p.n. 33.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Godefroid, F\u00e9lix. Ballade de la F\u00e9e. Paris: Durdilly. V.D.et Cie.960.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Godefroid, F\u00e9lix. Chant des Exil\u00e9s. Op.188. Milano: Ricordi. p.n.44072.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Godefroid, F\u00e9lix. Le Coucou. Paris: F. Durdilly. V.D. et Cie. 4024.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Godefroid, F. La Danse des Sylphes, Etude caract\u00e9ristique. London: B. Schott&#8217;s. p.n.10654.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Godefroid, F\u00e9lix. La Harpe Eolienne. Paris: R. Deiss. B.a. 4394.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Godefroid, F. La M\u00e9lancolie. Le R\u00eave. London: Schott &amp; Co. p.n.10653.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>Godefroid, F\u00e9lix. Le Revoir, Romance sans Paroles pour Harpe. Paris: F. Durdilly. V.D.et Cie.961.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Godefroid, F\u00e9lix. \u00c9cole m\u00e9lodique pour la Harpe &#8211; Les Ris et les Pleurs, Fantasie. Milan: G. Ricordi &amp; C. p.n.83920.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Godefroid, F\u00e9lix. Sur le Lac (Nuit d&#8217;\u00e9t\u00e9), Op.191. Milan: G. Ricordi &amp; C. p.n.44668.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Godefroid, F. Trois Morceaux caract\u00e9ristiques-Les Gouttes de Ros\u00e9e, Andante. London: B. Schott. p.n.14907.3.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 17<\/strong><\/td>\n<td>Giornovichi, Mr. The Celebrated Concerto, arranged for the Harp or Piano Forte, with an Accompaniment for Violin and Bass, ad Libitum by S. Dussek. London: D. Corri.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 18<\/strong><\/td>\n<td>Gunn, John. An Historical Enquiry respecting the Performance on the Harp in the Highlands of Scotland; from the earliest times, until it was discontinued, about the year 1734. . . Edinburgh: J. Ballantyne and Co., 1807.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 19<\/strong><\/td>\n<td>Hart. First set of Scotch Quadrilles.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 20<\/strong><\/td>\n<td>Hart. Second set of &#8220;Royal Gallopades&#8221;.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 21<\/strong><\/td>\n<td>Hart. Thirteenth set of Quadrilles, &#8220;Macbeth&#8221;.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 22<\/strong><\/td>\n<td>Hart. Thirtieth set of Quadrilles.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 23<\/strong><\/td>\n<td>Hart. Twenty-fourth set of Quadrilles, &#8220;Il Barbiere di Siviglia&#8221;.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 24<\/strong><\/td>\n<td>Hook, Mr. Les adieux d&#8217;amis, A Favorite Bagatelle for the Harp &amp; Piano Forte. London: Bland &amp; Weller&#8217;s.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 25<\/strong><\/td>\n<td>Horn, Henry. Rudiments for the Single and Double Movement Harp exemplified in a clear concise manner with forty-two exercises. . . London: Goulding D&#8217;Almaine, Potter, &amp; Co.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 26<\/strong><\/td>\n<td>Jones, Edward. The Bardic Museum, of Primitive British Literature; and other admirable rarities; forming the second volume of the musical, poetica, and historical relics of the Welsh Bards and Druids. . . London: A. Strahan, 1802.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 27<\/strong><\/td>\n<td>Jones, Edward. Musical Miscellany for the Harp, or Harpsichord: Consisting of Pastorales, Notturnos, Military Airs, and Sonatas . . . London: No. 3 Green Street.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><strong>Box 4<\/strong><\/p>\n<table border=\"0\" cellpadding=\"0\">\n<tbody>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 1<\/strong><\/td>\n<td>Krumpholtz, J.B. Deux Duo pour deux Harpes, Dont la Seconde peut S&#8217;\u00e9x\u00e9cuter sur le piano-forte arrang\u00e9s en Simphonies Concertantes avec accompagnement de violon, fl\u00fbte, bassoon deux cors et contre-basse . . . Op.5. Paris: Bonjour. p.n.142. [Harp and accompaniment parts]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 2<\/strong><\/td>\n<td>Krumpholtz, M. Deux Simphonies pour la Harpe Seule ou avec accompagnement de Violon, Op.11. Paris: Mimigny. p.n.6.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 3<\/strong><\/td>\n<td>Krumpholtz, M. Sixieme Concerto pour la Harpe, avec Accompagnement de deux Ciolona, deux hautbois, deux Cors, une Fl\u00fbte, Taille et Basse, Op.9. Paris: Bonjour. p.n.6.C.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 4<\/strong><\/td>\n<td>Le Roy. Premier Potpourri D&#8217;Airs Choisis, tir\u00e9s des puis jolis opera-comiques etc., arrang\u00e9s pour la Harpe ou Forte-Piano avec accompagnement de Violon ad libitum, Op.6. Paris: Le Roy.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 5<\/strong><\/td>\n<td>Mozart. Mozart&#8217;s Admired Overture to Zauberflote. newly arranged as a duet for the Harp, and Piano Forte. London: L. Lee. p.n.36.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 6<\/strong><\/td>\n<td>Naderman, F.J. Nocturnes et M\u00e9langes d&#8217;Airs Connus et Vari\u00e9s pour Harpe et Cor, Op.44. Paris: Naderman. p.n.1614. [Harp, Horn, Violin, and Flute parts]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 7<\/strong><\/td>\n<td>Naderman, F.J. Sept Sonates Progressives pour la Harp., Op. 92. Paris: Costallat. p.n.44069.R.No.2.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 8<\/strong><\/td>\n<td>Naderman, F. Joseph. Trois Nocturnes pour Harpe et Cour ou Violon oblig\u00e9, Op.23. Paris: Naderman.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 9<\/strong><\/td>\n<td>Naderman, F. Joseph. Trois Nocturnes pour Harpe et Cor, Op.32. Paris: Naderman. p.n.1563. [Harp and Horn parts]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 10<\/strong><\/td>\n<td>Naderman, F.J., et Fr\u00e9d\u00e9ric Duvernoy. Trois Nocturnes pour Harpe &amp; Cor. Paris: Naderman. p.n.1566. [Harp and Violin parts]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 11<\/strong><\/td>\n<td>Naderman, F. Joseph, et Frederic Duvernoy. Trois Nocturnes pour Harpe et Cor. Paris: Naderman. p.n.1563. [Harp and Violin parts]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 12<\/strong><\/td>\n<td>Naderman. Trois Pi\u00e8ces pour Harpe et Orchestre de chambre, transcrites et orchestr\u00e9es par Manuel Rosenthal. Paris: Jean Jobert. J.J.520.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 13<\/strong><\/td>\n<td>Naderman, F.J. Trois Sonates Progressives et Chiffr\u00e9es pour la Harpe, Op.19. Paris: Naderman.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 14<\/strong><\/td>\n<td>Parish-Alvars, E. First Grand Concerto, for the Harp, Op.60. London: T. Boosey &amp; Co.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 15<\/strong><\/td>\n<td>Permon, M. de. Premier Pot-pourri pour la Harpe. Paris: Naderman.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 16<\/strong><\/td>\n<td>Petrini, Fran\u00e7ois. Battaille de Prague, Sonate pour la Harpe avec accompagnement de deux Violons et Basse ad-libitum, Op.35. Paris: Louis. p.n.21.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 17<\/strong><\/td>\n<td>Petrini, Francesco. Duo. Harpe et Clavecin. [First and second part bound separately; each signed by composer]<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 18<\/strong><\/td>\n<td>Plane, J.M. \u00c9tudes pour la Harpe, compos\u00e9es de Pr\u00e9ludes, d&#8217;Airs vari\u00e9s et d&#8217;Exercices avec la maniere de Doigter-Adopt\u00e9e par tous les Professeurs. Paris: Plane. p.n.3.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 19<\/strong><\/td>\n<td>Plane, J.M. Fantasie pour la Harpe. Paris: Plane. p.n.12.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 20<\/strong><\/td>\n<td>Roberts, Richard. Cambrian Harmony Being a Collection of Welch Airs . . . Dublin: Roberts.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 21<\/strong><\/td>\n<td>Shaeffer, Arling. The Ideal Harp Method. Chicago: Lyon &amp; Healy, 1894.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 22<\/strong><\/td>\n<td>Stevenson, Dr. The Harp in Softly Pleasing Strains. A new song with an accompaniment for the Pedal Harp or Piano Forte. New York: J.&amp;M. Paff.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 23<\/strong><\/td>\n<td>Target, Colonel. Tho&#8217;the day of my destiny&#8217;s over. Words by Lord Byron. Paris: Target. p.n.1206.<\/td>\n<\/tr>\n<tr valign=\"top\">\n<td nowrap=\"nowrap\"><strong>folder 24<\/strong><\/td>\n<td>Vito, Joseph. Twenty Etudes for Harp. New York: Belwin Inc., 1946. E.L.328.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row][vc_column][vc_row_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1614702473789{margin-top: -20px !important;}&#8221;] SC 1996.25 Ruth T. Watanabe Special Collections Sibley Music Library Eastman School of Music University of Rochester prepared by Erica Ann Zumsteg Fall 1996 CONTENTS Description of Collection Description of Series Inventory Series 1: Musical Instruments Catalog Series 2: Music Imprints Series 3: Binders Collections Harp Piano or Harp Piano [&hellip;]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":400,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"finding-aid","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[12],"class_list":["post-1286","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1286","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=1286"}],"version-history":[{"count":0,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1286\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/400"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=1286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=1286"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=1286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}