{"id":1524,"date":"2019-07-14T15:49:41","date_gmt":"2019-07-14T19:49:41","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?page_id=1524"},"modified":"2019-07-14T15:49:41","modified_gmt":"2019-07-14T19:49:41","slug":"gullo1","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gullo\/gullo1\/","title":{"rendered":"GULLO HARP COLLECTION: Binders Collections"},"content":{"rendered":"

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Series 3: Binders Collections<\/span><\/h4>\n

<\/a>Subseries A: Harp<\/span><\/p>\n

Box 5<\/strong><\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/th>\n<\/a><\/a>Binders Collection 1<\/th>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Batti Batti O Mio Masetto, Th\u00eame de Mozart tir\u00e9 de l’Opera de Don Juan, Vari\u00e9 pour la Harpe. Paris: Bochsa. p.n.197.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Marche et Polonaise pour Harpe, Op.81. Paris: Bochsa. p.n.130.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. La Temp\u00eate Rondeau pour la Harpe, Op.80. Paris: Bochsa. p.n.131.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Th\u00eame Favori de Rossini, sur l’air (Di tanti palpiti), Vari\u00e9 Pour la Harpe. Paris: Bochsa. p.n.198.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Fantasie et Variations sur un th\u00eame de l’opera de Don Juan, Pour Harpe. Paris: Bochsa. p.n.184.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Pastorale et Th\u00eame Vari\u00e9 Sur un Air Favori de Mozart, (Se protesse un suono eguali.) Pour Harpe. Paris: Bochsa. p.n.183.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Introduction et Th\u00eame Vari\u00e9 sur un air favori de Mozart (Ah perdona al primo affetto.) Pour Harpe, Op.77. Paris: Bochsa. p.n.178.<\/td>\n<\/tr>\n
folder 2<\/th>\n<\/a><\/a>Binders Collection 2<\/th>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Rondo a la Polonaise Pr\u00e9c\u00e9d\u00e9 d’une Introduction Pour la Harpe, Op.89. Paris: V. Dufeaut et Dubois. V.D et D.448.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, C. Mon coeur soupire de Mozart, Vari\u00e9 pour la Harpe. Paris: B.Pollet.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. La Belle Bourbonnaise, Solie, Vari\u00e9e pour la Harpe. Paris:<\/td>\n<\/tr>\n
 <\/td>\nBochsa. p.n.8.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, C. Le Gar\u00e7on Volage, contredanse, arrang\u00e9e pour la Harpe avec Introduction. Paris: Pacini. p.n.760.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Charles. Fantasie, avec sept variations, pour la Harpe, sur l’Air Toto- Carabo . . . dans l’op\u00e9ra de Cendrillon. Paris: Mme. Duhan. p.n. 320.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Charles. Fantasie Martiale, avec variations, pour la Harpe, sur l’Air favori, Partant pour la Syrie. Paris: Duilan. p.n.343.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Charles. Fantaisie, sur les folies d’Espagne, avec 9 variations, pour la Harpe. Paris: Omont. p.n. O.42.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, Charles. Fantasie, avec sept variations, pour la Harpe, sur la Marche des deuxs Avares. Paris: Duhan. p.n.333.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.Charles. Trois Airs Connus, vari\u00e9s pour la Harpe. Nel cor piu non me sento; de la Molinara. Valze Allemande favorite oh, mein hieber augustin. O ma Z\u00e9lie. Op.66. Paris: Bochsa. p.n.127.<\/td>\n<\/tr>\n
folder 3<\/th>\n<\/a><\/a>Binders Collection 3<\/th>\n<\/tr>\n
 <\/td>\nBudd, Jr. Thomas. A Collection of Divertimentos for the Harp, consisting of Rondeaus, Minuets, Gavots, Airs with Variations, Preludes &c . . . London: Preston.<\/td>\n<\/tr>\n
 <\/td>\nDuchatz, Wenceslaus. A Favorite Collection of Progressive Lessons, for the Pedal Harp . . . Op.2. London: L.Lavenu.<\/td>\n<\/tr>\n
 <\/td>\nWeippert, I.M. A Collection of Progressive Lessons, for the Pedal Harp. London: Monzani.<\/td>\n<\/tr>\n
 <\/td>\nFerrari, G.G. Four Sonatinas for the Pedal Harp, the three first with an accompaniment for the Violin, the last with an accompaniment for the Piano Forte ad libitum, Op.16. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. Bella rosa proporina, a favorite song, arranged for the Harp, no.7. London: Birchall. p.n.7.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. A me tutte le belle, the favorite rondo as sung bt Sig. Viganoni, in the Opera of La Modesta Raggiraratrice, adapted for the Harp, no.4. London: Birchall. p.n. No.4.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. Son gia tu o bel idol mio, terzetto in the opera of Nina, by Sigr. Paesiello, arranged for the Harp, no.2. London: Birchall. p.n. No.2.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. Allor che da pazzo sposai, sung by Sigr. Morelli in the Opera of La Scola di Maritati, arranged for the Harp, no. 9. London: Birchall. p.n. No.9.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. Pieta, the favorite quartett, in the Opera of L’Albore di Diana, arranged for the Harp, no.8. London: Birchall. p.n. No.8.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. The Celebrated Overture to Iphigenia in Aulide, by Sigr. Gluck, arranged for the Harp, no.5. London: Birchall. p.n. No.5.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. Io parto mio bene, the favorite rondo, sung by Sigr. Viganoni, in the Opera I Due Gobi, arranged for the Harp, no.3. London. Birchall. p.n. No.3.<\/td>\n<\/tr>\n
 <\/td>\nMozart, M. The Manly Heart, a favorite duett, for two voices, with an accompaniment for the Piano Forte. London: Preston.<\/td>\n<\/tr>\n
 <\/td>\nCallcott, J.W. Juvenile Improvement, Arithmetic. Multiplication Table, set to music, no.1.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. A compir gia vo l’impressa, air sung by Signora Banti, in the Opera of Semiramide, arranged for the Harp. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nCamidge, M. The Weeping Willow, a ballad, composed with an accompaniment for the Piano Forte. London: T. Preston.<\/td>\n<\/tr>\n
 <\/td>\nDussek, J.L. Viotti’s Favorite Pollacca, sung by Sigra. Banti, at the King’s Theatre Haymarket, arranged as a rondo for the Piano-forte. London: Corri, Dussek & Co.<\/td>\n<\/tr>\n
 <\/td>\nAdams, J.B. Select Songs, set to music. The Nightingale, a Canzonet, no. 13. London: Adams.<\/td>\n<\/tr>\n
 <\/td>\nElouis, J. Piche cornacchie e nottole, the favorite duett sung by Storace & Sigr. Morelli, in the Opera of Gli Schiavi per Amore, arranged for the Harp, no.6. London: Birchall. p.n. No.6.<\/td>\n<\/tr>\n
folder 4<\/th>\n<\/a>Binders Collection 4<\/th>\n<\/tr>\n
 <\/td>\nHolst, Gustavus. Amor possente nome, from Rossini’s Opera, Armida, as a duet, for the Harp and Piano Forte. London: R. Cocks & Co. p.n.54.<\/td>\n<\/tr>\n
 <\/td>\nHolst, Gustavus. The Celebrated Overture Der Freyschutz, composed by C.M. de Weber, arranged for the Harp and Piano Forte, with a Flute & Violoncello accompaniment (ad lib). London: R. Cocks & Co. p.n.51.<\/td>\n<\/tr>\n
 <\/td>\nHolst, Gustavus. Cielo il mio labbro ispira, a celebrated quartett, from Rossini’s Opera of Bianca e Falliero, arranged as a duet for the Harp & Piano Forte. London: Royal Harmonic Institution. p.n.1589.<\/td>\n<\/tr>\n
 <\/td>\nPole, J.F. The Rose Tree, the variations, composed for the Harp. London: J. Green.<\/td>\n<\/tr>\n
 <\/td>\nWeippert, J. Michael. Rossini’s Di piacermi balza il cor, from the Opera of La Gazza Ladra, arranged as a duet, for the Harp and Piano Forte. London: Preston.<\/td>\n<\/tr>\n
 <\/td>\nVon Esch, Louis. Divertissement Religieux, Op.14.<\/td>\n<\/tr>\n
 <\/td>\nDizi, F. A Second Air, composed originally for the Piano Forte by W.A. Mozart, arranged with additional variations for the Harp. London: Goulding, D.Almaine, Potter & Co.<\/td>\n<\/tr>\n
 <\/td>\nDizi, F. Six French Romances, arranged for the Harp, Book 1. London: Chappell & Co. p.n.1712.<\/td>\n<\/tr>\n
 <\/td>\nDizi, F. Toujours Toujours, a favorite French Air, with variations for the Harp. London: Chappell & Co. p.n. 1698.<\/td>\n<\/tr>\n
 <\/td>\nF. Dizi. Ferrari’s Favorite Air, Un bacio tenero, with variations for the Harp. London: Chappell & Co. p.n. 1357.<\/td>\n<\/tr>\n
 <\/td>\nBurrowes, J.F. Book 2 of Select Airs, from Rossini’s Celebrated Opera Semiramide, arranged as duets for the Harp & Piano Forte, with accompaniments (ad lib) for the Flute & Violoncello. London: Goulding, D’Almaine & Co.<\/td>\n<\/tr>\n
 <\/td>\nChalloner, N.B. Book 1 of Favorite Airs, selected from Meyerbeer’s celebrated Opera of Il Crociato in Egitto, arranged as concertante duets, for the Harp & Piano Forte, with accompaniments (ad lib.) for Flute (or Violin) & Violoncello. London: Birchall & Co. p.n.1803.<\/td>\n<\/tr>\n
 <\/td>\nChalloner, N.B. Book 2 of Favorite Airs, selected from Meyerbeer’s celebrated Opera of Il Crociato in Egitto . . . London: Birchall & Co. p.n.1803.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The celebrated March of the Emperor Alexander, with an Introduction and Variations for the Harp & Piano Forte. London: Chappell & Co. p.n.2571.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Nel cor piu non mi sento, with variations for the Harp. London: .Chappell & Co. p.n.1614.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Charles. “Pria che l’impegno”, a favorite air with variations for the Harp. London: Royal Harmonic Institution. p.n.937.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Charles. Fantaisie Martiale, avec Variations, pour la Harpe, sur l’air favori, Partant pour la Syrie. London: The Regent’s Harmonic Institution. p.n.48.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. “My Lodging is on the cold Ground”, a favorite melody, with an Introduction and Variations, for the Harp. London: Royal Harmonic Institution. p.n.839.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Les Adieux, Fantasia Guerriere, for the Harp. London: The Regent’s Harmonic Institution. p.n.49.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Home! Sweet Home! The admired Air in the Opera of Clari, or The Maid of Milan, arranged with variations. London: Goulding, D’Almaine, Potter, & Co.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The favorite Airs, in the Opera of Tancredi, arranged for the Harp, with an accomp. for the Flute, ad libitum. London: Chappell & Co. p.n.1715.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Variations, sur l’air favori, “Brulant d’amour et partant pour la guerre”, pour quatre mains surle Piano Forte avec accompagnement de Harpe et Flute ad libitum. London: Goulding, D’Almaine, Potter & Co.<\/td>\n<\/tr>\n
 <\/td>\nCasimir, Mr. A March, La Gerogette & La Fiev\u00e9e; Two Waltzes, for the Harp. London: Monzani & Co.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The favorite Masquerade Minuet, in Mozart’s Opera of Il Don Giovanni, with Variations and an Introduction, for the Harp. London: Chappell & Co. p.n.579.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Box 6<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/th>\n<\/a>Binders Collection 5<\/th>\n<\/tr>\n
 <\/td>\nBishop, H.R. Trio. Phipps & Co. [no title page]<\/td>\n<\/tr>\n
 <\/td>\nMasi, G. J’ai vu Lise hier au soir, A favorite French Air, with variations for the Harp. London: W & D. Galloway.<\/td>\n<\/tr>\n
 <\/td>\nNaderman, J.F. Le Point du Jour, Air, with variations for the Harp, no. 45. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nBoieldien. Boieldien’s Celebrated Pot Pourri for the Harp and Piano Forte with an accompaniment for the Violincello, arranged from the operas Myst\u00e9res D’Isis, Don Juan, & The Marriage da Figaro; composed by Mozart. London: J. Platts.<\/td>\n<\/tr>\n
 <\/td>\nKrumpholtz, Madlle. “Somebody,” Air, arranged with variations for the Harp, no.56. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Preludes for the Harp. London: Chappell & Co. p.n.573.<\/td>\n<\/tr>\n
 <\/td>\nKrumpholtz, Madame. The favorite Air of Pray Goody, arranged for the Harp. London: Joseph Dale.<\/td>\n<\/tr>\n
 <\/td>\nMeyer, P.J., Junr. A Favorite Sonate composed by Hulmandel, arranged with the addition of a Violin & Violoncello accompangment ad libitum, for the Harp. London: J. Platts.<\/td>\n<\/tr>\n
 <\/td>\nSteibelt, D. A Favorite Duet for the Harp and Piano Forte, as arranged & performed by Madame Krumpholtz & Mr. Dale, from the Castanet Rondo. London: Josh. Dale.<\/td>\n<\/tr>\n
 <\/td>\nKrumpholtz, Madlle. “Dans mon petit Reduit,” Air, arranged with variations for the Harp. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nDussek. Dussek’s Celebrated Duet, for the Harp & Pianoforte, as performed by the author & Madm. Dussek . . . to which is added an accompaniment for two French Horns ad libitum, Op.38. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nFiorillo, F. Serenata, for the Piano Forte & Harp, with an accompaniment for the Flute or Violin, & Violoncello (ad libitum), Op.50. London: Phipps & Co.<\/td>\n<\/tr>\n
 <\/td>\nMeyer, Phil. J. A Divertimento for the Harp, with an accompaniment (ad libitum) for the Piano Forte or Flute. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nKrumpholtz, J.B. Air “Avec les Jeux dans le Village”, with variations for the Harp, no. 19. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nEley, C. The Harmonious Blacksmith, a much admired Air with variations, composed by G.F. Handel . . . adapted from his score, as a Concertante duet for Harp & Piano Forte, with acct. for Flute, ad lib: London: Skillern & Challoner.<\/td>\n<\/tr>\n
 <\/td>\nSteil, W. Henry. Fantaisie Ecossaise, for the Harp, on the Air, O Nanny wilt thou gang with me, no. 1. London: Rutter & McCarthy. p.n.59.<\/td>\n<\/tr>\n
 <\/td>\nDussek. Dussek’s Favorite Sonate, for the Harp, with accompaniments for a Violin & Violoncello, Op.37. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nMeyer, Phil. James. Four Original Lessons, for the Harp, First Set. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. & L. Duport. No. to be Continued, Nocturnes, for the Harp & Violoncello or Violin, the Violin part arranged by Rodolphe Kreutzer. London: J. Platts.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. & L. Duport. Three Notturnos Concertante, for the Harp & Violoncello, or Violin, no.1. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nKrumpholtz, J.B. A Duett, for the Harp & Piano Forte, or two Harps, Op.10. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nCardon, Mr. Four Sonatas for the Harp, with an accompaniment for the Violin ad Libitum, Op.7. London: Birchall.<\/td>\n<\/tr>\n
folder 2<\/th>\n<\/a>Binders Collection 6<\/th>\n<\/tr>\n
 <\/td>\nDussek, S. The favorite Air, We’re A’Noddin, with an Introduction & Variations for the Harp. London: Chappell & Co. p.n.2229.<\/td>\n<\/tr>\n
 <\/td>\nDussek, S. A Second Favorite Waltz, with variations, for the Harp. London: Chappell & Co. p.n.784.<\/td>\n<\/tr>\n
 <\/td>\nDizi, F. Six French Romances, arranged for the Harp, Book 1 London: Birchall & Co. p.n.1253.<\/td>\n<\/tr>\n
 <\/td>\nDizi, F. Six French Romances, arranged for the Harp, Book 2. London: Chappell & Co. p.n.1713.<\/td>\n<\/tr>\n
 <\/td>\nHolst, Gustavus. Cara deh attendimi, a favorite air, for the Opera of Zelmira, arranged for the Harp. London: Lavenu & Co. p.n.1981.<\/td>\n<\/tr>\n
 <\/td>\nHolst, Gustavus. “Will you come to the Bower?”, a popular air, with variations for the Harp. London: Royal Harmonic Institution. p.n.1092.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.Ch. A favorite Quick March (in the Turkish Style), followed by le Pantalon, a French Quadrille, arranged as a Rondo for the Harp. London: Chappell & Co. p.n.854.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Aurora; che sorgerai, the admired song in Rossini’s Opera, La Donna del Lago, arranged for the Harp, with a Grand Introduction ( in which is introduced the fovore March in the same Opera). London: R. Cocks & Co.<\/td>\n<\/tr>\n
 <\/td>\nDizi, F. Paesiello’s Air, Quant \u00e9 piu bella, from the Opera of La Molinarella, with variations for the Harp. London: Birchall.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The favorite Air, De tanti palpiti, with variations for the Harp. London: Chappell & Co. p.n.710.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The Blue Bells, a favorite Ballad, arranged with new variations, and preceded by a Fantasia, for the Harp. London: Goulding, D’Almaine, Potter & Co.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Sul margine d’un rio, a favorite Air, with an Introduction and brilliant variations, for the Harp. London: Chappell & Co. p.n.1017.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. “Cease Your Funning”, Fantasia with variations for the Harp. London: Royal Harmonic Institution. p.n.992.<\/td>\n<\/tr>\n
 <\/td>\nSmith, Charles. O Softly Sleep, composed by Charles Smith, arranged for the Harp, and inscribed to Lady Caroline Beauclerc, by F. Dizi. London: J.Power. p.n.621.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. A favorite March and Polonoise, for the Harp. London: Chappell & Co. p.n.753.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. A Fantasia for the Harp, in which is introduced a favorite Irish melody. London: Chappell & Co. p.n.1676.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Mozart’s Favorite Air of Ah perdona al primo affetto, with variations and an Introduction for the Harp. London: Chappell & Co. p.n.554.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Sacred Fantaisie, for the Harp, on favorite Themes, by Handel, cheifly from the Messiah. London: Lavenu & Co. p.n.1995.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Forty Studies, expressly composed for Sebastian Erard’s Double Movement Harp, Book 1. London: Chappell & Co. p.n.772.<\/td>\n<\/tr>\n
folder 3<\/th>\n<\/a>Binders Collection 7<\/th>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Guillaume Tell, Musique de G. Rossini, Ouverture arrang\u00e9e pour la Harpe. Paris: E. Troupenas. p.n.379.<\/td>\n<\/tr>\n
 <\/td>\nLabarre, Th\u00e9odore. Fantaisie pour la Harpe, compos\u00e9es sur des motifs de Guillaume Tell, Op.44. Paris: E. Troupenas. p.n.355.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. R\u00e9miniscence d’Ecosse, Morceau de Concert, pour la Harpe, accompagnt. de Piano, ad libitum, Op.308. Paris: Schonenberger. S.N.105.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Airs Favoris de la Dame du Lac, Donna del Lago, musique de Rossini, arrang\u00e9s pour Harpe, avec accompt. de Fl\u00fbte (ad libitum), Op.201. Paris: Schonenberger. V.D.etD.1262.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Les Fleurs \u00e0 la Pisaroni en \u00e0 la Douzelli, Fantasie pour la Harpe, compos\u00e9e sud des th\u00eames favoris della Donna del Lago de Rossini, Op.298. Paris: Schonenberger. V.D.etD.1850.<\/td>\n<\/tr>\n
 <\/td>\nLabarre, T. Fantaisie et Variations, pour la Harpe, sur des motifs de L’Illusion, musique de F. Herold, Op.42. Paris: Erard. E.N.987.<\/td>\n<\/tr>\n
 <\/td>\nLabarre, Th\u00e9odore. Fantaisie pour la Harp, sur les motifs du Serment, de D.F.E. Auber, Op.60. Paris: Mayence et Anvers. p.n.621.<\/td>\n<\/tr>\n
 <\/td>\nLabarre, Th\u00e9odore. Fantaisie et Variations pour la Harpe, sur la Romance du Pr\u00e9 aux Clercs, de F. Herold, Op.63. Paris: Mayence et Anvers. p.n.633.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Fantaisie sur l’air favori du mariage de Figaro de Mozart, non so piu cosa son sosa faccio, Op.189. Paris: Dufaut et Dubois. V.D et D.627.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Second Petit M\u00e9lange, sur les airs favoris de l’Op\u00e9ra de Meyerb\u00e9er, Il Crociate in Egillo, arrang\u00e9 pour la Harpe, Op.267. Paris: Schonenberger. V.D et D.1687.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Gramachree, Air favori Irlandais, arrang\u00e9 avec Variations, pour la Harpe, Op.217. Paris: Schonenberger. V.D et D.1435.<\/td>\n<\/tr>\n
 <\/td>\nLabarre, Th\u00e9odore. 5 Airs de Ballets de Robert le Diable, de G. Meyerbeer, arrang\u00e9s en Rondo, pour la Harpe, Op.57, no. 4. Paris: Maurice Schlesinger. p.n. M.S.1295.<\/td>\n<\/tr>\n
 <\/td>\nLabarre, Th\u00e9odore. Air de ballet, du Dieu & La Bayad\u00e8re, de D.F.E. Auber, arrang\u00e9 en Rondo, pour la Harpe, Op.50. p.n. 3537.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N. Ch. Quinze Pr\u00e9ludes courts et brillants, pour la Harpe, dans les principaux tons majeurs et mineurs . . . compos\u00e9s express\u00e9ment pour ses \u00e9l\u00e8ves, Op.207. Paris: Schonenberger. V.D et D.1299.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Box 7<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/th>\n<\/a>Binders Collection 8<\/th>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The Original French Grenadier’s March, for Harp and Piano. London: Goulding & D’Almaine.<\/td>\n<\/tr>\n
 <\/td>\nLabarre, T. The Favorite Airs in the Ballet Opera of la Bayad\u00e9re, or The Maid of Cashmere, arranged as duets for the Harp & Piano Forte, Op.48. London: S. Chappell. p.n.4285.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Taglioni’s Last Pas-Galop . . . arranged for Harp and Piano Forte. London: T. Boosey & Co.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Rory O’More, the favorite Irish Air, arranged for the Harp and Piano Forte. London: Chappell. p.n.5698.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The Much Admired Pas de Valse \u00e0 la Tyrolienne, danced by Mdlle. Duvernay, in Mensr. Pilati’s Ballet, Le Brigand de Terracine, arranged for the Harp, and Piano Forte. London: Mori & Lavenu. p.n.4003.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Strauss’s \u00e0 Londres, selected from les Hommages, Bal Racketen, Brussler Spitzen, Les Somnambules, & Paris, and forming books 3 and 4, Valses favorites de Strauss, arrang\u00e9s pour Harp, et Piano, avec accompagnement de Flute, et Violoncello, Liv. 3. Londres, T. Boosey & Co.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. Strauss’s \u00e0 Londres . . . Liv. 4. Londres: T. Boosey & Co. Musard. Musard’s New Parisian Waltzes, arranged for Harp, and Piano Forte, [35th set]. London: T. Boosey & Co.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The Favorite Aria “Io l’udia”, from Donizetti’s Opera, Torquato Tasso, arranged for the Harp and Piano Forte, with ad lib. accompts. for Flute & Violoncello, no. 12. London: Mori & Lavenu’s. p.n.3789.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. the Favorite Cavatina, “Se Romeo,” from Bellini’s Opera, “I Capuletti e Montecchi,”, arranged for the Harp, & Pianoforte, with ad lib. accompts. for Flute & Violoncello, no.6. London: Mori & Lavenu. p.n.3431.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The Celebrated Duetto, “Deh! Con te”, from Bellini’s Opera, Norma, arranged for the Harp and Piano Forte, with accompts. (ad lib.) for Flute & Violoncello, no.17. London: Mori & Lavenu. p.n.3977.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. “Risplendi oh! suol beat”, the Admired Air, sung by Signor Rubini, arranged for the Harp & Piano Forte, with (ad lib.) accompts. for Flute & Violoncello, no.1. London: Mori & Lavenu. p.n.3147.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The Favorite Martial Duet, “Quando di Sangue tinto”, from Donizetti’s Opera, Belisario, arranged for the Harp & Piano, with Flute & Violoncello accompts. (ad lib). London: Chappell’s. p.n.8091.<\/td>\n<\/tr>\n
 <\/td>\nBochsa, N.C. The admired Krakoviak . . . composed & arranged as a duet for the Harp & Piano Forte. London: D’Almaine & Co.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a>Subseries B: Piano<\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 2<\/th>\n<\/a>Binders Collection 9<\/th>\n<\/tr>\n
 <\/td>\nHart, Joseph. Hart’s Royal Mazourkas, as danced at their Majesties grand fancy ball. London: Mayhew & Co.<\/td>\n<\/tr>\n
 <\/td>\nKendon, Henry. The Celebrated Original Polish Mazourka . . . arranged for the Piano Forte, by C.T. Sykes. London: Cramer, Addison & Beale.<\/td>\n<\/tr>\n
 <\/td>\nAuber. The Celebrated Galop, from the Opera of Lestocq, or the F\u00eate of the Hermitage, arranged for the Piano Forte, by S.T. Rosenberg. London: D’Almaine & Co.<\/td>\n<\/tr>\n
 <\/td>\nMusard, P. Musard’s Tenth Set, of Quadrilles, or Third Set from Masaniello ou la Muette de Portici . . . composed & arranged for the Piano Forte, with an ad lib. accompaniment for the Flute. London: T. Boosey & Co.<\/td>\n<\/tr>\n
 <\/td>\nMusard, P. Musard’s XLVIIIth Set of Quadrilles, from Herolds admired Opera, Marie . . . composed and arranged for the Piano Forte, with an ad lib accompaniment for the Flute. London: T. Boosey & Co.<\/td>\n<\/tr>\n
 <\/td>\nHart, Joseph. Hart’s Much Admired Second Set of Scotch Quadrilles. . . composed & arranged for the Piano Forte or Harp. London: Mayhew & Co.<\/td>\n<\/tr>\n
 <\/td>\nHart, Joseph. Hart’s Eighteenth Set of Quadrilles, selected from Meyerbeer’s Popular Opera of Il Crociato in Egitto . . . composed and arranged for the Piano Forte or Harp. London: Mayhew & Co.<\/td>\n<\/tr>\n
 <\/td>\n[most of title page missing] London: Cramer, Addison & Beale. p.n.1021.<\/td>\n<\/tr>\n
 <\/td>\n[no composer listed] Six admired Waltzes, Now Dancing in the Fashionable Circles, arranged for the Harp or Piano Forte. London: W.M. Cahussac.<\/td>\n<\/tr>\n
 <\/td>\nCianchettini, V.C. A Trip to Paris, A Favorite Reel Arranged as a Rondo for the Piano-forte, with or without the Additional Keys. London: Goulding, Phipps & D’Almaine.<\/td>\n<\/tr>\n
 <\/td>\nHolst, M. Variations on a French Air, J’aime meux m’amie, or In my Cottage, for the Harp or Piano Forte. London: G. Walker.<\/td>\n<\/tr>\n
 <\/td>\nMew, J.H. Albany House, Air with Variations, for the Piano Forte. London: Preston.<\/td>\n<\/tr>\n
 <\/td>\nLanza, F. The Caliph of Bagdad, A Grand Romantic Ballet, composed by Monsieur Vestris . . . composed and arranged for the Piano Forte, with an (ad libitum) accompaniment for the Harp. London: J.Power, Strand & W. Power.<\/td>\n<\/tr>\n
 <\/td>\nMozart. Mozart’s Variations to favorite Airs for the Piano Forte, no. 12. London: Preston.<\/td>\n<\/tr>\n
 <\/td>\n[author of Laurette] The Favorite Pas de Trois Ecossois . . . London: Smarts.<\/td>\n<\/tr>\n
 <\/td>\nLyon, Saml. Thoms. “Molly put the Kettle on”, arranged for the Piano-forte,<\/td>\n<\/tr>\n
 <\/td>\nLetter G. London: R. Birchall.<\/td>\n<\/tr>\n
 <\/td>\nFiorini, G.E. The Marseilles March, arranged for the Piano Forte, no.1. London:<\/td>\n<\/tr>\n
 <\/td>\nJ.B. Cramer, Addison and Beale. p.n.913.<\/td>\n<\/tr>\n
 <\/td>\nSteibelt, D. Blue Beard, A French Air in that Grand Pantomime . . . arranged as a Rondo for the Piano Forte. London: Longman, Clementi & Co.<\/td>\n<\/tr>\n
 <\/td>\nDance, William. The old Langolee, no.23. p.n.210.<\/td>\n<\/tr>\n
 <\/td>\nFiorillo, F. The favorite Air of Young Colinette, sung by Mrs. Jordan in the Comedy of Marriage Promise, composed by Michael Kelly, and arranged as a Rondo for the Piano Forte and Flute. London: M. Kelly’s.<\/td>\n<\/tr>\n
 <\/td>\nSteibelt, D. The favorite Ballet of La Belle Laiti\u00e8re, . . . composed and arranged for the Piano Forte with an accompaniment for the Harp, ad libitum. London: R. Birchall.<\/td>\n<\/tr>\n
 <\/td>\nMoschelles, I. The Tyrolese Family Rainer. A Divertimento for the Piano Forte, in which are introduced the Favorite National Swiss Airs . . . London: J.Willis & Co. p.n. 367.<\/td>\n<\/tr>\n
 <\/td>\nJouve, J. The Austrian Retreat, for Clarinetts, Horns & Bassoons, arranged for the band, of the First Regt. of Life Guards, also adapted for the Piano-forte. London: Goulding & Co.<\/td>\n<\/tr>\n
 <\/td>\n[no composer listed] Ar hy^d y n\u00f4s, the live long night, a favorite Welsh Air, with Variations for the Piano Forte. London: Clementi, Banger, Hyde, Collard & Davis.<\/td>\n<\/tr>\n
folder 3<\/th>\n<\/a>Binders Collection 10<\/th>\n<\/tr>\n
 <\/td>\nKetterer, Eug\u00e8ne. Fantaisie Brillante sur les Dragons de Villars, opera comique de A. Maillart, pour Piano, Op. 234. Paris: G. Brandus et S. Dufour. p.n. B. et D.11,391.<\/td>\n<\/tr>\n
 <\/td>\nKr\u00fcger, W. Sc\u00e8ne du bal du Don Juan de Mozart, Menuet, Trio des Masques, Air de Don Juan, Op.140. Heugel & Cie. p.n. H.4571.<\/td>\n<\/tr>\n
 <\/td>\nLeybach, J. Compositions of J. Leybach for the Piano Forte. [La Norma, Op.65]. New York: Jno. L. Peters. p.n.2186.13.<\/td>\n<\/tr>\n
 <\/td>\nLeybach, J. Fantaisie Brillante sur la Sonnambula, op\u00e9ra de Bellini, pour Piano, Op.27. B. Schott. p.n.15495.<\/td>\n<\/tr>\n
 <\/td>\nKetterer, E. Fantaisie de salon sur Rom\u00e9o et Juliette, op\u00e9ra de Ch. Guonod, Op.216. Paris: Choudens. p.n. A.C.1486.<\/td>\n<\/tr>\n
 <\/td>\nAscher, J. Illustration de l’opera de Martha. New Orleans: A.E. Blacmar. p.n.184.<\/td>\n<\/tr>\n
 <\/td>\nRummel, J. Il Trovatore, op\u00e9ra de Verdi, Air-Miserere-Duo, illustr\u00e9s pour le Piano. Paris: Leon Escudier. L.E.1774.<\/td>\n<\/tr>\n
 <\/td>\nBeyer, Ferd. Robert le Diable, de G. Meyerbeer. Bouquet de m\u00e9lodies, no.3. Amsterdam: J.H. Tielkemeyer. p.n.774.<\/td>\n<\/tr>\n
 <\/td>\nAscher, Joseph. Morceau de Concert sur un motif de Lucrezia Borcia de Donizetti pour Piano, Op.19. Paris: Henry Lemoine. p.n.3776.H.<\/td>\n<\/tr>\n
 <\/td>\nCramer, Henry. Beauties of the Opera: Being a Collection of Favorite Potpourris . . . [La Fille du Regiment, Donizetti] Philadelphia: Lee & Walker. p.n.5121.10.<\/td>\n<\/tr>\n
 <\/td>\nDonizetti, G. Cavatina de la Opera La Hija del Regimiento. Edelmann Comellas y Ca.<\/td>\n<\/tr>\n
 <\/td>\nRosellen, Henri. Fantaisie sur la Romance favorite de Beatrice de Tenda, de Bellini, pour le Piano, Op.40. Paris: A. Meissonnier et J.L. Heugel. M.H.1104.<\/td>\n<\/tr>\n
 <\/td>\nVilbac, R. de. Les Beaut\u00e9s Dramatiques arrang\u00e9es pour piano \u00e0 4 mains. [Beaut\u00e9s de Martha, 1re. suite] Paris: Henry Lemoine. p.n.6246H.<\/td>\n<\/tr>\n
folder 4<\/th>\n<\/a>Binders Collection 11<\/th>\n<\/tr>\n
 <\/td>\nMey, Auguste. Polka des Ouistitis, Op.10., pour Piano. Paris: M\u00e9nestrel. H.4164.<\/td>\n<\/tr>\n
 <\/td>\nArban. Le Premier Jour de Bonheur, op\u00e9ra comique d’Auber. Polka. Paris: L\u00e9on Escudier. L.E.2896.<\/td>\n<\/tr>\n
 <\/td>\nScholer, Richard. Pierrot Polka. Paris: G.Hartmann. G.H.110.<\/td>\n<\/tr>\n
 <\/td>\nD’Albert, Ch. Sultan Polka. Paris: Choudens. A.C.392.<\/td>\n<\/tr>\n
 <\/td>\nAscher, Joseph. Vaillance, Polka pour piano. Paris: Lemoine. 3785 H.<\/td>\n<\/tr>\n
 <\/td>\nStrakosch. Le Papillon Polka, (Butterfly.) New York: Firth Pond & Co. p.n.444.<\/td>\n<\/tr>\n
 <\/td>\nMerz, Carl. Deliciosa Polka. New Orleans: A.E. Blackmar.<\/td>\n<\/tr>\n
 <\/td>\nBurgm\u00fcller, Fr\u00e9d. Valse de Salon, sur l’op\u00e9ra comique Les Dragons de Villars, de<\/td>\n<\/tr>\n
 <\/td>\nA. Maillart, pour Piano. Paris: B. Schott. p.n.14824.<\/td>\n<\/tr>\n
 <\/td>\nStrauss, Johann. Thousand and One Night. Tausend und Eine Nacht. Walzer, Op.346. New York: G. Schirmer. p.n.8129.<\/td>\n<\/tr>\n
 <\/td>\nStrauss, Johann. Neu-Wien, New Vienna. Walzer f\u00fcr M\u00e4nnerchor, Op.342. New York: G.Schirmer. C.S.21.971.<\/td>\n<\/tr>\n
 <\/td>\nBar\u00e8s, Basile. La Capricieuse, Valse de Salon. New Orleans: A.E.Blackmar. p.n.111.7.<\/td>\n<\/tr>\n
 <\/td>\nSchulhoff, Jules. Grande Valse Brillante, pour le Piano. New Orleans: Louis Grunewald. p.n.157.<\/td>\n<\/tr>\n
 <\/td>\nBar\u00e8s, Basile. Delphine, Grande Valse Brillante, Op.11. G.91.7.<\/td>\n<\/tr>\n
 <\/td>\nJullien, Fo. La Rosita Vals. Habana: EdelmannComellas y Ca. p.n.7.<\/td>\n<\/tr>\n
 <\/td>\nFahrbach, Philipp. Varsovienne, Op.175. Wien: C.A. Spina. C.S.16,012.<\/td>\n<\/tr>\n
 <\/td>\nCoach, S.Low. The Unlucky Velocipedist. Galop. New Orleans: Blackmar & Co. p.n.112.4.<\/td>\n<\/tr>\n
 <\/td>\nMayer, Chas. Mine Own Love Galop, composed for Piano. New Orleans: A.E. Blackmar. p.n.114.4.<\/td>\n<\/tr>\n
 <\/td>\nSchultze, W., arranged by. The Brightest Eyes. Gallop.<\/td>\n<\/tr>\n
 <\/td>\nKerkel, F. Henriette Mazurka.<\/td>\n<\/tr>\n
 <\/td>\n[inserted music: Gottschalk, L.M. El Festival, Contradanza. Habana: Edelmann.]<\/td>\n<\/tr>\n
 <\/td>\nDavis, Auguste. Marie Mazurka. New Orleans: A.E. Blackmar. p.n.203.4.<\/td>\n<\/tr>\n
 <\/td>\nFrigerio, P.A. La Farfalletta, (The Butterfly) Mazurka for Piano. p.n.858.4.<\/td>\n<\/tr>\n
 <\/td>\nEttling, \u00c9mile. La Vie Parisienne, op\u00e9ra bouffe en 5 actes de J.Offenbach.<\/td>\n<\/tr>\n
 <\/td>\nM\u00e9tella. Polka-Maqurka, pour Piano, Op.118. Paris: E.Heu. E.H.752.<\/td>\n<\/tr>\n
 <\/td>\nArban. Lancers Quadrille, La Grande Duchesse de Gerolstein. p.n.828.5.<\/td>\n<\/tr>\n
 <\/td>\nLoss\u00e9, F. Prince Imperial, or Ladies Quadrille. Philadelphia, G. Andre & Co. G.A. & Co. 755.<\/td>\n<\/tr>\n
 <\/td>\nAscher, Joseph. Vaillance, Polka Militaire. Paris: Lemoine. p.n. 4115 H.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Box 8<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/th>\n<\/a>Binders Collection 12<\/th>\n<\/tr>\n
 <\/td>\nGrobe, Chas. New Star Spangled Banner, with Brilliant Variations, Op.1554. Chicago: H.M. Higgins.<\/td>\n<\/tr>\n
 <\/td>\nThalberg, S. Home! Sweet Home!, Air Anglais, Vari\u00e9, pour le Piano, Op.72. New York: G.Schirmer. p.n.149.<\/td>\n<\/tr>\n
 <\/td>\nWarren, G.W. [arranged by] The star spangled Banner. New York, G. Schirmer. p.n.159.<\/td>\n<\/tr>\n
 <\/td>\nWarren, G.W. [arranged by] Hail Columbia. New York, G. Schirmer. p.n. 158.<\/td>\n<\/tr>\n
 <\/td>\nKinkel, Charles. Treaty of Washington Grand March. New York: J.L. Peters. p.n.840-6.<\/td>\n<\/tr>\n
 <\/td>\nWallace, Wm. Vincent. Comin Thro’ the Rye. Favorite Scotch Melodies arranged in brilliant style with Variations for the Piano Forte. New York: Wm. Hall & Son. p.n.1084.<\/td>\n<\/tr>\n
 <\/td>\nGottschalk, L.M. The Last Hope. Religious meditation. New York: William Hall & Son. p.n.3515.<\/td>\n<\/tr>\n
 <\/td>\nGottschalk, L.M. Pasquinade, Caprice pour le Piano. New York: Wm. Hall & Son. p.n.6542.<\/td>\n<\/tr>\n
 <\/td>\nGottschalk, L. The Dying Poet. Meditation. Boston: Oliver Ditson & Co.<\/td>\n<\/tr>\n
 <\/td>\nRichards, Brinley. “Sweet spirit, hear my prayer”, from W.V. Wallace’s Opera, Lurline, arranged for the Piano forte. New York: Wm. Hall & Son. p.n.4667.<\/td>\n<\/tr>\n
 <\/td>\nGodefroid, F\u00e9lix. Le R\u00e9veil des Fauvettes, Allegretto, sur une m\u00e9lodie d’ Ad. de Groot, pour Piano, Op.90. Mayence: B. Schott. p.n.45561.<\/td>\n<\/tr>\n
 <\/td>\nHoffman, Edward. Grand Fantasia, on the popular theme, The Mocking Bird. Philadelphia: Lee & Walker. p.n.8988.15.<\/td>\n<\/tr>\n
 <\/td>\nvon Laheche, T. Morceau de salon, sur l’air anglais favori, Shells of Ocean, Op.497. New Orleans: Louis Gr\u00fcnewald. p.n.598.<\/td>\n<\/tr>\n
 <\/td>\nRichards, B. Warblings at Eve, Romance. New Orleans: A.E. Blackmar. p.n.183.<\/td>\n<\/tr>\n
 <\/td>\nWyman, A.P. Shew Fly! With Brilliant Variations. Boston: White, Smith & Perry. p.n.201.<\/td>\n<\/tr>\n
 <\/td>\nBurgm\u00fcller, Fr. A_ Chiquita, del Ma\u00ebstro Iradier, Valse Espagnole. Paris: Au M\u00e9nestrel. H.4100.<\/td>\n<\/tr>\n
 <\/td>\nHerz, Henri. La Tapada, Polka caract\u00e9ristique du P\u00e9rou, pour le Piano, Op.171. Mayence: B.Schott. p.n.11975.<\/td>\n<\/tr>\n
 <\/td>\nLeybach, J. Fantaisie, sur un th\u00eame allemand, Op.5. Philadelphia: G. Andr\u00e9 & Co. p.n.693.<\/td>\n<\/tr>\n
 <\/td>\nBull, Ole. Polaca Guerrera. [no title page] p.n.58a<\/td>\n<\/tr>\n
 <\/td>\nKetterer, E. Caprice Hongrois, etude de concert, en octaves, Op.7. [no title page] S. & C.50.<\/td>\n<\/tr>\n
 <\/td>\nLambert, Lucien. Au Clair de la Lune, Variations & Final, pour Piano, Op.30. Paris: Colombier. C.2333.<\/td>\n<\/tr>\n
 <\/td>\nLeybach, J. Premi\u00e9r Bol\u00e9ro Brillant, Op.64. Paris: Schott. S.288.<\/td>\n<\/tr>\n
 <\/td>\nMoniot, Eug\u00e9ne. Le Cr\u00e9puscule, R\u00eaverie, pour Piano, Op.20. Paris: Challiot & Cie. E.C.1225.<\/td>\n<\/tr>\n
 <\/td>\nBaumbach, A. Lluvia de Plata. [no title page] p.n.210a.<\/td>\n<\/tr>\n
 <\/td>\nAscher, J. Styrienne Originale, Op.35. [no title page] p.n.13710.<\/td>\n<\/tr>\n
 <\/td>\nLef\u00e9bure-Wely. Les Cloches du Monast\u00e8re, Nocturne. [no title page] p.n.139a.<\/td>\n<\/tr>\n
 <\/td>\nHerz, Henri. Variations brillantes, Introduction et Final alla Militare, sur la Cavatine favorite de La Violette de Carafa, pour Piano, Op.48. Paris: J. Meissonnier. J.M.2056.<\/td>\n<\/tr>\n
folder 2<\/th>\n<\/a>Binders Collection 13<\/th>\n<\/tr>\n
 <\/td>\nDonizetti. L’Elisire d’Amore, arrang\u00e9s pour Piano solo, sans paroles. Paris: Schonenberger. S.580.<\/td>\n<\/tr>\n
 <\/td>\nCramer. Les Dragons de Villars, Op\u00e9ra Comique de A. Maillart. Bouquet de Melodies. Paris: G. Brandus et S. Dufour. B.et D.11393.<\/td>\n<\/tr>\n
 <\/td>\nKetterer, Eug. Les Dragons de Villars, (A. Maillart.), Fantaisie Brillante, Op.234. Paris: G. Brandus et S. Dufour. B.et D.11,391.<\/td>\n<\/tr>\n
 <\/td>\nKetterer, Eug\u00e9ne. Fantaisie Brillante sur Les Dragons de Villars, Op\u00e9ra Comique de A. Maillart, pour Piano, Op.234. Paris: G. Brandus et S. Dufour. [title page only]<\/td>\n<\/tr>\n
 <\/td>\nCramer, H. M\u00e9lange sur Fra Diavolo. Paris: G. Brandus et S. Dufour. E.T. et Cie.2289.(1).<\/td>\n<\/tr>\n
 <\/td>\n[no composer listed] Recreo Musical, No.13, Los Puritanos. Habana: Edelmann y Ca. p.n.82b.<\/td>\n<\/tr>\n
 <\/td>\nComellas, Jos\u00e9. Potpourri sobre motivos de la opera Fausto, arreglado facilmente para piano. Habana: Edelmann y Ca. p.n.221a.<\/td>\n<\/tr>\n
 <\/td>\nL’\u00c9pine, Maurice. Marche Favorite des Invincibles Soldats de Plomb, arrang\u00e9e \u00e0 quatre mains. Paris: Gambogi. G.G.1792.<\/td>\n<\/tr>\n
 <\/td>\nBurgmuller, Fr\u00e9d\u00e9ric. Grande Valse Brillante sur le Juif Errant, arrang\u00e9e \u00e0 quatre mains. Paris: Brandus et Cie. B.et Cie.9242.<\/td>\n<\/tr>\n
 <\/td>\nKetterer, E. Le Premier Jour de Bonheur, Op\u00e9ra Comiquer d’Auber, Les Djins Melodie, transcrite pour le Piano, Op.229. Paris: L\u00e9on Escudier. L.E.2897.<\/td>\n<\/tr>\n
 <\/td>\nRummel, J. Le Premier Jour de Bonheur, (Der erste Gl\u00fcckstag), Op\u00e9ra en 3 Actes d’Auber. . . Bouquets de M\u00e9lodies, pour le Piano, no.2. Paris: Berlin & Posen. p.n.7741.<\/td>\n<\/tr>\n
 <\/td>\n[no composer listed] Coro de Brujas, en el tercer acto de la Opera Macbeth, del Maestro Verdi. Habana: Edelmann y Ca. p.n.2.<\/td>\n<\/tr>\n
 <\/td>\n[no composer listed] Duo de So. y Baritono, en el primer acto de la Opera Macbeth, del Maestro Verdi. Habana: Edelmann y Ca. p.n.7.<\/td>\n<\/tr>\n
 <\/td>\nMagnus, Eug. L’Africaine, (G. Meyerbeer.) Potpourri. New York: Beer & Schirmer. p.n.530.<\/td>\n<\/tr>\n
 <\/td>\nGodefroid, Felix. Don Carlos, Op\u00e9ra de Verdi. Romance, Duo, et Choeur, Illustration pour le Piano, Op.142. Paris: L\u00e9on Escudier. L.E.2797. Le_bach, J. Don Pasquale, Fantaisie pour Piano, Op.93. Paris: L\u00e9on Grus. L.G.2905.<\/td>\n<\/tr>\n
 <\/td>\nHess, J.Ch. R\u00eaverie, sur Semiramide, de Rossini, pour Piano, Op.62. Paris: Magasin de Musique du Conservatoire. p.n. H 3.<\/td>\n<\/tr>\n
 <\/td>\nCramer, Henri. Semiramide de Rossini. Potpourris dur des motifs d’Op\u00e9ras pour le Piano. Mayence: B. Schott. p.n.11532.<\/td>\n<\/tr>\n
 <\/td>\nLef\u00e9bure-W\u00e9ly. Les Cloches du Monast\u00e9re, Nocturne pour le Piano, Op.54. Mayence: B.Schott. p.n.11414.<\/td>\n<\/tr>\n
 <\/td>\nCramer, Henri. Norma, de Bellini. Potpourri. Paris: Schott. p.n. 7274.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a>Subseries C: Voice and Piano<\/span><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 3<\/th>\n<\/a>Binders Collection 14<\/th>\n<\/tr>\n
 <\/td>\nWiere, Edw. The Pipes at Lucknow, a descriptive song. New York: S.N Risley. Gounod, Ch. Sing, Smile, Slumber! (Canti, Ridi, Dormi!), Serenade. New York: G. Schirmer. p.n.370.<\/td>\n<\/tr>\n
 <\/td>\nBaker, John C. My Trundle Bed; or Recollections of Childhood, Ballad. New York: J. L. Peters.<\/td>\n<\/tr>\n
 <\/td>\nSpohr. To Minona. New York: S.T. Gordon.<\/td>\n<\/tr>\n
 <\/td>\nThomas, J. R. Happy Be Thy Dreams. New York: Wm. Hall & Son, 1859. p.n.4311.<\/td>\n<\/tr>\n
 <\/td>\nWebster, J.P. She Came to Us One Morn in May, no.76. Chicago: H. M. Higgins.<\/td>\n<\/tr>\n
 <\/td>\nRomer, F. Rhine, Thou’rt Queen of Waters, Ballad from The Rhine Boat or Lays of many Lands. New York: Dubois Bacon & Chambers.<\/td>\n<\/tr>\n
 <\/td>\nWebster, J. P. “Lorena”. Chicago: H. M. Higgins.<\/td>\n<\/tr>\n
 <\/td>\nWallace, W. V. In Happy Moments, from the Opera Maritana. New York: S.T. Gordon. p.n.6_3.<\/td>\n<\/tr>\n
 <\/td>\nRussell, Henry. Come Maidens Come. Tyrolien. New York: Willm. Hall, & Son. p.n.246.<\/td>\n<\/tr>\n
 <\/td>\nThomas, J. R. Beautiful Cloud, Ballad. New York: Wm. Hall & Son. p.n.4303. Norton, Mrs. Juanita, a Spanish Ballad. Philadelphia, Beck & Lawton.<\/td>\n<\/tr>\n
 <\/td>\nWrighton, W. T. “Her Bright Smile Haunts Me Still.” Ballad. New York: Firth, Pond & Co. p.n.5312.<\/td>\n<\/tr>\n
 <\/td>\nPorter, J. S. Hush Sweet Lute, Song. Boston: Oliver Ditson & Co. p.n.21824.<\/td>\n<\/tr>\n
 <\/td>\nArditi, L. Il Bacio, The Kiss. Boston: Oliver Ditson & Co. p.n.21797.<\/td>\n<\/tr>\n
 <\/td>\nConcone, J. The Holiday, chorus and solos. Les Harmoniennes, no.20. Boston:<\/td>\n<\/tr>\n
 <\/td>\nOliver Ditson & Co. p.n.21737.<\/td>\n<\/tr>\n
 <\/td>\nConcone, J. The Valley of Roses, Theme and Variations. Les Harmoniennes, No.12. Boston: Oliver Ditson. p.n.21622.<\/td>\n<\/tr>\n
 <\/td>\nPower, James. Faded Flowers. Boston: Russell & Tolman. p.n.508.<\/td>\n<\/tr>\n
 <\/td>\nRoot, G. F. (Wurzel). Departed Days, song & chorus, music arranged from the celebrated serenade by L. Louis. Boston: Russell & Tolman. p.n.3071.<\/td>\n<\/tr>\n
 <\/td>\nDrake, Mr. Pensez a moi, a favorite song, composed & arranged for the Piano Forte. Boston: G. P. Reed & Co. p.n.1607.<\/td>\n<\/tr>\n
 <\/td>\nPhillips, C. E. My Soul is Dark, written by Lord Byron. Boston: C. Bradlee.<\/td>\n<\/tr>\n
 <\/td>\nHandel. Angels Ever Bright and Fair, arranged by Thomas Baker. New York: Horace Waters.<\/td>\n<\/tr>\n
 <\/td>\nThomas, J. R. Down by the river side I stray. Ballad. New York: Firth, Pond & Co. p.n.5132.<\/td>\n<\/tr>\n
 <\/td>\nCherry, J. W. Trees of the Forest. Companion to Shells of Ocean. Philadelphia: Lee & Walker. p.n.5501.<\/td>\n<\/tr>\n
 <\/td>\nHime, Edward L. Morn is the time for me. Boston: Oliver Ditson & Co. p.n.21924.<\/td>\n<\/tr>\n
 <\/td>\nBalfe, M. W. Music from The Bohemian Girl. I dreamt that I dwelt in marble halls. Philadelphia: E. Ferrett & Co.<\/td>\n<\/tr>\n
 <\/td>\nLoder, Edward J. There’s a path by the river. As sung in the Operetta of Twas I. New York: S. T. Gordon.<\/td>\n<\/tr>\n
 <\/td>\nConverse, Charlie C. The Rock Beside the Sea, a Romanza. Philadelphia: Lee & Walker.<\/td>\n<\/tr>\n
 <\/td>\nCastle, Henry. Mother waiting for the news, song & chorus. Cleveland: S. Brainard & Co. p.n.1483-3.<\/td>\n<\/tr>\n
 <\/td>\n[no composer listed] “Joys that we’ve tasted”, an admired Ballad. Baltimore, F. D. Benteen. p.n.253.<\/td>\n<\/tr>\n
 <\/td>\nJones, J. P. The Mountain Legion. Chicago: H. M. Higgins.<\/td>\n<\/tr>\n
 <\/td>\nWiebe, Edward. Wiebe’s Music for the Million. No.11. Consolation. Brooklyn: Thompson & Badger.<\/td>\n<\/tr>\n
 <\/td>\nHime, Edward L. Wiebe’s Music for the Million. “The Joy that grows on the old Abbey wall.” No.18. Brooklyn: Thompson & Badger.<\/td>\n<\/tr>\n
 <\/td>\nDonizetti. Wiebe’s Music for the Million. No.12. “I’ll pray for thee” from Lucia di Lammermoor. Brooklyn: Thompson & Badger.<\/td>\n<\/tr>\n
 <\/td>\nHarvey, R. F. I breath once more my native air. Philadelphia: Lee & Walker. p.n.4189.<\/td>\n<\/tr>\n
 <\/td>\nStigelli. The Brightest Eyes, Die sch\u00f6nsten Augen. Boston: Oliver Ditson & Co. p.n.18118.<\/td>\n<\/tr>\n
 <\/td>\nTucker, Henry. “Weeping, Sad and lonely”, or “When this cruel war is over.” Song, with Chorus. Brooklyn: Sawyer & Thompson.<\/td>\n<\/tr>\n
 <\/td>\nHolmes, Dr. O. W. Selections from music performed at the Peace Festival Jubilee, Boston 1869. A Hymn of Peace. Boston: Oliver Ditson & Co. p.n.25338.<\/td>\n<\/tr>\n
 <\/td>\nMillard, Harrison. National Ode. The Flag of the free. New York: H. B. Dodworth.<\/td>\n<\/tr>\n
 <\/td>\nScott, Robert D. The Union_Now and Forever! Solo, Quartett & Chorus. Chicago: H. M. Higgins.<\/td>\n<\/tr>\n
 <\/td>\nGetze. J. A. Save Our Flag! Song and Chorus. Detroit: J. Henry Whittemore.<\/td>\n<\/tr>\n
 <\/td>\nTucker, Henry. Star of the Evening. Song and Chorus. Albany: J. H. Hidley.<\/td>\n<\/tr>\n
 <\/td>\nPerkins, H. S. The Parting Song, Quartette, as sung by Perkins’ Union Vocalists. Chicago: H. M. Higgins.<\/td>\n<\/tr>\n
 <\/td>\nLeslie. Rock me to sleep Mother. Boston: J. M. Russell. p.n.172.<\/td>\n<\/tr>\n
 <\/td>\nWhittredge, G. C. Weep no more for Willie. Song and Chorus, and the celebrated Equestrian Quickstep, arranged by J. W. Turner. Boston: Oliver Ditson & Co.<\/td>\n<\/tr>\n
 <\/td>\nBuckley, Frederick. Gentle Annie Ray, Song and Chorus. Boston: Oliver Ditson & Co. p.n.21782.<\/td>\n<\/tr>\n
 <\/td>\nGlover, Stephen. Our Beautiful Mountain Home, Duett. Boston: Oliver Ditson & Co. p.n.2910.<\/td>\n<\/tr>\n
 <\/td>\nBaker, Thomas. The Water Spirits, duet. New York: Horace Waters.<\/td>\n<\/tr>\n
 <\/td>\nAvery, H. Gentle maiden see before thee, Duett. Boston: Oliver Ditson & Co. p.n.14112.<\/td>\n<\/tr>\n
 <\/td>\nGlover, Stephen. Gently sighs the breeze, the popular Duet. New York: William Hall & Son. p.n.540.<\/td>\n<\/tr>\n
 <\/td>\nBeethoven. Thou art gone. Boston: Oliver Ditson. p.n.21486.<\/td>\n<\/tr>\n
 <\/td>\nEmanuel, Louis. The Syren & Friar; Duett. New York: Firth, Pond & Co. p.n.4079.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"

Series 3: Binders Collections Subseries A: Harp Box 5 folder 1 Binders Collection 1   Bochsa, N. Ch. Batti Batti O Mio Masetto, Th\u00eame de Mozart tir\u00e9 de l’Opera de Don Juan, Vari\u00e9 pour la Harpe. Paris: Bochsa. p.n.197.   Bochsa, N. Ch. Marche et Polonaise pour Harpe, Op.81. Paris: Bochsa. p.n.130.   Bochsa, N. […]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":1286,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template_Special_collections.php","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[12],"class_list":["post-1524","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1524","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=1524"}],"version-history":[{"count":0,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1524\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/1286"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=1524"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=1524"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=1524"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}