{"id":6392,"date":"2020-10-15T15:39:40","date_gmt":"2020-10-15T19:39:40","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?page_id=6392"},"modified":"2020-10-15T15:39:40","modified_gmt":"2020-10-15T19:39:40","slug":"sub3","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/falcinelli\/sub3\/","title":{"rendered":"ROLANDE FALCINELLI ARCHIVE"},"content":{"rendered":"

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SUB-GROUP III: ASSOCIATION WITH MARCEL DUPR\u00c9<\/h3>\n

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<\/a>Series 1: Original compositions and transcriptions<\/span><\/strong><\/p>\n

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folder 1<\/th>\n[opus 43]
\nParaphrase on \u201cTe Deum<\/em>\u201d. \u2014 18-29 \/ 4 \/ 1946.
\nFor organ.
\nIn ink; 7 pages of music. Annotated with performance markings and registrations.<\/td>\n<\/tr>\n
folder 2<\/th>\n[opus 44]
\nVision<\/em>. \u2014 movements completed between 25 Juin 1947 and 24 Mars 1948.
\nFor organ.
\nIn pencil, annotated with registrations; 28 pages of music. Dedication \u201cA Nina Falcinelli\u201d at head of page 1. An additional dedication, apparent in the caption of page 1, was previously rubbed out. Stamped with the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, ET EDITEURS DE MUSIQUE (no. 623,029).<\/td>\n<\/tr>\n
folder 3<\/th>\n[opus 49]
\nLa France au Calvaire.<\/em> \u2014 [without date]
\nLibretto, in MD\u2019s hand.
\nIn ink; 26 pages.
\nAccompanied by a r\u00e9sum\u00e9 (synopsis) of the oratorio\u2019s movements, appearing in pencil at the end of the manuscript; 6 pages.<\/td>\n<\/tr>\n
folder 4<\/th>\n[opus 52]
\nQuatuor<\/em>. \u2014 Movements completed between 8\/2\/58 and 7 Mars 58.
\nIn pencil. Movements paginated separately.
\nMovements: I. Preludio (7 pages of music) \u2014 II. Scherzando (13 pages of music) \u2014 III. Larghetto (9 pages of music) \u2014 IV. Rondo (11 pages of music).
\nAnnotated with performance markings.
\nDedication on page. 1: \u201cPour toi, avec l\u2019infinie tendresse de mon coeur, ma petite enfant ador\u00e9e le brouillon de ton quatuor\/Ton Mammy\/15 Juillet 1958\u201d<\/td>\n<\/tr>\n
folder 5<\/th>\n[opus 52]
\nQuatuor pour violon, alto, violoncelle et orgue<\/em>. \u2014 [without date]
\nIn ink; 26 pages of music.
\nDedication on title page: \u201cA Rolande Falcinelli\u201d
\nAnnotated with performance markings and with organ registrations, in pencil. Accompanied by organ registrations, in pencil, in RF\u2019s hand (2 leaves).<\/td>\n<\/tr>\n
folder 6<\/th>\n[opus 52]
\nQuatuor pour violon, alto, violoncelle et orgue<\/em>. \u2014 [without date]
\nMS. facsimile. Score (26 pages of music) and parts for violon, alto, and violoncello (each 8 pages of music).
\nScore and parts annotated in pencil with performance markings.
\nN.B. Score is a facsimile of the manuscript housed in box 31\/5.<\/td>\n<\/tr>\n
folder 7<\/th>\n[opus 57]
\nChoral et Fugue<\/em>. \u2014 29\/5\/62.
\nFor organ.
\nPencil draft; 8 pages of music, unnumbered.
\nAccompanied by analytical scheme in MD\u2019s hand (2 pages, in pencil).<\/td>\n<\/tr>\n
folder 8<\/th>\n[opus 61]
\nIn memoriam<\/em>. \u2014 1965.
\nFor organ.
\nManuscript facsimile; 29 pages of music.
\nDedication at head of title page: A ma fille.
\nMovements: I. Pr\u00e9lude \u2014 II. Allegretto \u2014 III. M\u00e9ditation \u2014 IV. Quodlibet \u2014 V. Ricercare \u2014 VI. Postlude.
\nCopy inscribed on title page, in pencil: \u201cPour ma Rolande ch\u00e9rie \/ dans le doux souvenir de Marguerite \/ Marcel Dupr\u00e9 26 Mars 1965\u201d<\/td>\n<\/tr>\n
folder 9<\/th>\n[opus 62]
\nEntr\u00e9e, Canzona, Sortie<\/em>. \u2014 Septembre 1967.
\nFor organ.
\nManuscript facsimile. Movements paginated individually (4, 2, 5 pages of music, respectively).<\/td>\n<\/tr>\n
folder 10<\/th>\nSur les Steppes de l\u2019Asie Centrale<\/em> \/ A. Borodine; r\u00e9duction pour orgue [par]
\nMarcel Dupr\u00e9. \u2014 [without date]
\nFor organ.
\nIn ink; 8 pages of music.<\/td>\n<\/tr>\n
folder 11<\/th>\nL\u2019apprenti sorcier<\/em> \/ Paul Dukas; transcription pour orgue. \u2014 1944
\nIn ink.; 27 pages of music.
\nPencilled at end (p. 27): \u201cCommence 27 Nov 44 \/ Brouillon 11 D\u00e9c 44 \/ Copie 19 D\u00e9c 44 \/ Perce 30 Dec 44\u201d
\nAccompanied by \u201cnum\u00e9rotage des combinaisons\u201d, in pencil, dated 24 \/ I \/ 45 (2 pages).<\/td>\n<\/tr>\n
folder 12<\/th>\nLe sommeil de Canope<\/em>. \u2014 [without date]
\nFor solo voice, not specified. In pencil. 2 pages of music.
\nAccompanied by handwritten text, Le sommeil de Canope (aux flancs du vase) \/ Albert Samain. In pencil (2 pages).<\/td>\n<\/tr>\n
folder 13<\/th>\nTh\u00e8mes<\/em>. In pencil; 1 page of music.
\nPresents the themes for his Trio; the purpose of this manifestation not apparent.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Series 2: Original writings<\/span><\/strong><\/p>\n

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<\/a>Sub-series A: Published<\/em><\/span><\/p>\n

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folder 1<\/th>\nCours d\u2019harmonie analytique<\/em>, 1\u00e8re ann\u00e9e.
\nParis: Alphonse Leduc, 1936.
\nSigned by RF on front cover.<\/td>\n<\/tr>\n
folder 2<\/th>\nCours d\u2019harmonie analytique<\/em>, 1\u00e8re ann\u00e9e.
\nParis: Alphonse Leduc, 1936.
\nPreviously accompanied by sheets bearing manuscript exercises; now separated to box 32\/3.<\/td>\n<\/tr>\n
folder 3<\/th>\nManuscript pages of exercises, removed from RF\u2019s copy of the Cours d\u2019harmonie analytique<\/em>, 1\u00e8re ann\u00e9e.<\/td>\n<\/tr>\n
folder 4<\/th>\nCours d\u2019harmonie analytique,<\/em> 2\u00e8me ann\u00e9e.
\nParis: Alphonse Leduc, 1936.
\nSigned by RF on front cover.<\/td>\n<\/tr>\n
folder 5<\/th>\nManuel d\u2019Accompagnement du plain chant gr\u00e9gorien<\/em>.
\nParis: Alponse Leduc, 1937.<\/td>\n<\/tr>\n
folder 6<\/th>\nDonn\u00e9es \u00e9l\u00e9mentaires d\u2019acoustique \u00e0 l\u2019usage des \u00e9tudiants organistes<\/em>.
\nParis: H. H\u00e9relle, [1937]<\/td>\n<\/tr>\n
folder 7<\/th>\nCours de contrepointi<\/em>.
\nParis: Alphonse Leduc, 1938.<\/td>\n<\/tr>\n
folder 8<\/th>\nAllocution de Marcel Dupr\u00e9<\/em>.
\nText of an address given by MD at an event on February 21, 1953. 14 pages.
\n\u201cR\u00e9union organis\u00e9e le 21 F\u00e9vrier 1953 dans la Salle d\u2019orgue de Marcel Dupr\u00e9. \u00e0 Meudon \u00e0 l\u2019occasion de la remise de la Croix de Chevalier de la L\u00e9gion d\u2019Honneur \u00e0 M. Jean PERROUX.\u201d\u2014on front cover.
\nPresentation copy. Inscribed to Nina Falcinelli by Marcel Dupr\u00e9. Also signed by Jean Perroux.<\/td>\n<\/tr>\n
folder 9<\/th>\nNotice sur la vie et les travaux de Marcel Samuel-Rousseau<\/em> (1882-1955).
\nParis: Typographie de Firmin-Didot, 1956.
\n\u201cLue \u00e0 l\u2019occasion de son installation comme membre de la Section de Composition Musicale: s\u00e9ance du Mercredi 11 Avril 1956.\u201d
\nAccompanied by handwritten lists of pupils (4 pages, in ink), and by a calling card bearing the name of Madame Marcel Samuel-Rousseau.<\/td>\n<\/tr>\n
folder 10<\/th>\nSouvenirs sur Ch.-M. Widor<\/em>.
\nParis: Typographie de Firmin-Didot, 1959. 10 pages.
\n\u201cS\u00e9ance publique annuelle des cinq Acad\u00e9mies, lundi, 26 Octobre 1959.\u201d Presentation copy. \u201cA ma ch\u00e8re petite Rolande \/ En profonde affection \/ Marcel Dupr\u00e9 \/ 21 Novembre 1959\u201d\u2014on title page.<\/td>\n<\/tr>\n
folder 11<\/th>\n\u00a0Factures d\u2019orgues.<\/em> \u2014 1982.
\n\u201cEdition par Hans Steinhaus et Roger Deleplace pour le compte de l\u2019Association des Amis de l\u2019Art de Marcel Dupr\u00e9 (Paris).\u201d 73 pages. Pr\u00e9face by RF (page 1).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/p>\n

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<\/a>Sub-series B: Unpublished<\/em><\/span><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n
folder 12<\/th>\nCours \u00e9l\u00e9mentaire de fugue. \u2014 [without date]
\nReproduction of typescript draft.
\nN.B. Later published as volume 1 of his Cours compl\u00e8t de fugue (Leduc, 1938).<\/td>\n<\/tr>\n
folder 13<\/th>\nFacture d\u2019orgue am\u00e9ricaine<\/em>. \u2014 [without date]
\nIn pencil. 21 pages, unnumbered. Written in a ruled schoolchild\u2019s manuscript book.<\/td>\n<\/tr>\n
folder 14<\/th>\nHistoire de la philo<\/em>. \u2014 [without date]
\nIn pencil. The content organized by RF around the following rubrics: Schur\u00e9; Grece; Bacon [et] Spinoza; Modernes; Taine; Divers; and several additional loose pages.<\/td>\n<\/tr>\n
folder 15<\/th>\nPhilosophie de la musique<\/em>. Tome I. \u2014 [without date]
\nCarbon copy of typescript manuscript. 111 pages. Table de mati\u00e8res appears on pages 132-139 of Tome II.
\nInscription at head of first page: \u201cPour toi, ma Rolande aim\u00e9e, ma petite fille, cette Philo qui fut \u00e9crite pour toi. Ton Mammy \/ Paris 13 D\u00e9cembre 1949\u201d<\/td>\n<\/tr>\n
folder 16<\/th>\nPhilosophie de la musique<\/em>. Tome II. \u2014 [without date]
\nCarbon copy of typescript manuscript. 139 pages. Table de mati\u00e8res<\/em> appears on pages 132-139 of Tome II.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/th>\nL\u2019orgue aux Etats-Unis<\/em>. \u2014 [without date]
\nIn ink. 14 pages.<\/td>\n<\/tr>\n
folder 2<\/th>\n[Projet d\u2019orgue symphonique] \u2014 [without date]
\nTitle page lacking. Carbon copy of typescript. 16 pages.
\nAccompanied by a carnet containing pencilled notes and bearing the appellation PROJECT MEUDON<\/em>.<\/td>\n<\/tr>\n
folder 3<\/th>\nSouvenirs<\/em>. \u2014 [without date]
\nCarbon copy of typescript manuscript. 159 pages.
\nDedication on title page: \u201cPour Lisette \/ Pour Jeannette \/ Pour Dominique\u201d
\nTable des mati\u00e8res<\/em> appears on pages 156-159.
\nAccompanied by Sylviane Falcinelli\u2019s handwritten comment: \u201cA copy of Marcel DUPRE\u2019s memories written for his grandchildren and for Rolande Falcinelli (his family and mine were the only owners of these private copies). S.F.\u201d<\/td>\n<\/tr>\n
folder 4<\/th>\nTrait\u00e9 de l\u2019improvisation \u00e0 l\u2019orgue<\/em>. \u2014 [without date]
\nTypescript. 273 pages, with numerous interpolations.
\n\u201cTraduction par J. Dupr\u00e9\u201d
\nTitle page lacking.
\nIndex [i.e., Table of Contents] appears on pages 271-273.<\/td>\n<\/tr>\n
folder 5<\/th>\nBulletin No. 4, G.A.M. (Groupe d\u2019Acoustique Musicale). \u2014 17 Avril 1964.
\nTypescript. 9 pages, with interpolations.
\nN.B. This bulletin bears an obvious thematic connection with MD\u2019s Donn\u00e9es \u00e9l\u00e9mentaires d\u2019acoustique<\/em>.<\/td>\n<\/tr>\n
folder 6<\/th>\nPrincipes de facture d\u2019orgues<\/em>. \u2014 [without date]
\nTypescript. 9 pages.
\n\u201cA ma Rolande ch\u00e9rie \/ Tendrement \/ Marcel Dupr\u00e9 \/ Meudon 9 F\u00e9vrier 1950\u201d\u2014Inscription at head of first page.
\nAccompanied by several leaves bearing pencilled notes; a diagram (in ink) of \u201cdiam\u00e8tres de tuyaux\u201d; a diagram of [two diapasons?]; a printed notice from E. F. Walcker & Cie. Orgelbau; and notes on \u201cOrgues du Conservatoire\u201d (3 pages).<\/td>\n<\/tr>\n
folder 7<\/th>\nProjet organologie<\/em>.
\nA dossier comprised of several documents, organized around the following rubrics (as itemized on the original file folder): Id\u00e9es; Noms \u2014 R\u00e9gions; Projet; Liste facteurs; Correspondants.<\/td>\n<\/tr>\n
folder 8<\/th>\nFacture d\u2019orgues<\/em>. \u2014 [without date]
\nIn ink. 138 pages.
\nAccompanied by Sylviane Falcinelli\u2019s handwritten comment: \u201c. . .the part \u2018Facture d\u2019orgues\u2019 is from my grandmother\u2019s hand (the painter Nina Falcinelli). Probably she helped him when he prepared his pedagogical book about organ-building.\u201d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Series 3:\u00a0 Pedagogical material<\/span><\/strong><\/p>\n

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<\/a>Sub-series A: Various<\/em><\/span><\/p>\n

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folder 1<\/th>\nR\u00e9sum\u00e9s d\u2019ann\u00e9es, Conservatoire de Fontainebleau.
\nA notebook containing comments in the hands of both M. Dupr\u00e9 and R. Falcinelli, providing information on their students at Fontainebleau. The rubrics indicated are: Listes d\u2019\u00e9l\u00e8ves<\/span>; Cours<\/span>; R\u00e9pertoire d\u2019\u00e9l\u00e8ves<\/span>; and, Examens<\/span>. Accompanied by a list of required repertory for the Organ Class, and by a concert program of August 27, 1949.\u201d<\/td>\n<\/tr>\n
folder 2<\/th>\nELEMENTS
\n[A gathering of notated musical themes grouped around the following rubrics: Harmoniques<\/span>; Rhythmiques<\/span>; Th\u00e9matiques<\/span>; and, P\u00e9riodes<\/span>.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/p>\n

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<\/a>Sub-series B: Tables de p\u00e9dagogie<\/em><\/span><\/p>\n

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folder 3<\/th>\nTables de p\u00e9dagogie
\nReproductions of the dedication, and of the summary of contents, from the original dossier file folder.
\n\u201cPour mon enfant spirituelle, \/ ma Rolande bien aim\u00e9e, \/ En souvenir de St. Ouen \/ 29 Juin 1948 \/ Ton Mammy \/ 21 Juin 1949\u201d\u2014inscription to RF by MD.
\nAccompanied by Sylviane Falcinelli\u2019s handwritten comments.<\/td>\n<\/tr>\n
folder 4<\/th>\nTables de r\u00e9partition
\nIn pencil. 5 leaves.<\/td>\n<\/tr>\n
folder 5<\/th>\nDegr\u00e9s \u00e9trangers<\/td>\n<\/tr>\n
folder 6<\/th>\n\u00a0Musique \u2014 Technique<\/td>\n<\/tr>\n
folder 7<\/th>\nSolf\u00e8ge<\/td>\n<\/tr>\n
folder 8<\/th>\nHarmonie analytique; Harmonie stylis\u00e9e<\/td>\n<\/tr>\n
folder 9<\/th>\nContrepoint; Fugue<\/td>\n<\/tr>\n
folder 10<\/th>\nComposition; Orchestration<\/td>\n<\/tr>\n
folder 11<\/th>\n\u00a0Piano<\/td>\n<\/tr>\n
folder 12<\/th>\nAccompagnement<\/td>\n<\/tr>\n
folder 13<\/th>\nOrgue
\nDocuments organized around the rubrics: Ex\u00e9cution; P\u00e9dale; Plain-chant [et] Improvisation. In addition, the dossier contains other typescript documents, together with pencilled notes in RF\u2019s hand.<\/td>\n<\/tr>\n
folder 14<\/th>\nHistoire<\/td>\n<\/tr>\n
folder 15<\/th>\nAcoustique; Facture d\u2019orgues<\/td>\n<\/tr>\n
folder 16<\/th>\nPhilosophie de la musique; Esth\u00e9tique; P\u00e9dagogie<\/td>\n<\/tr>\n
folder 17<\/th>\n[This dossier lacking any rubric.]<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Sub-series C: University of Chicago lectures<\/em><\/span><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 18<\/th>\n\u00a0Conf\u00e9rences \u00e0 l\u2019Universit\u00e9 de Chicago, 1946
\nA Schema-summary of the documents, reproduced from the original dossier folder in which MD had kept them.<\/td>\n<\/tr>\n
folder 19<\/th>\nR\u00e9sum\u00e9s des conf\u00e9rences, Chicago, 1946
\nDocuments organized under the following rubrics: Programmes; Id\u00e9es; Plans [de] conf\u00e9rences; Documents.<\/td>\n<\/tr>\n
folder 20<\/th>\nI. L\u2019\u00e9volution de la litt\u00e9rature de l\u2019orgue. (first of two<\/em>)<\/td>\n<\/tr>\n
folder 21<\/th>\nI. L\u2019\u00e9volution de la litt\u00e9rature de l\u2019orgue. (second of two<\/em>)<\/td>\n<\/tr>\n
folder 22<\/th>\nII. Technique; Interpr\u00e9tation<\/td>\n<\/tr>\n
folder 23<\/th>\nIII. Registration<\/td>\n<\/tr>\n
folder 24<\/th>\nIV. M\u00e9thode; Concert<\/td>\n<\/tr>\n
folder 25<\/th>\nV. P\u00e9dagogie<\/td>\n<\/tr>\n
folder 26<\/th>\nI. Histoire de la litt\u00e9rature de l\u2019orgue. ANGLAIS<\/td>\n<\/tr>\n
folder 27<\/th>\nII. Technique; Interp\u00e9tation. ANGLAIS<\/td>\n<\/tr>\n
folder 28<\/th>\nIII. Registration. ANGLAIS<\/td>\n<\/tr>\n
folder 29<\/th>\nIV. M\u00e9thode; Concert. ANGLAIS<\/td>\n<\/tr>\n
folder 30<\/th>\nV. P\u00e9dagogie. ANGLAIS<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Sub-series D: Themes given to his pupils<\/em><\/span><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 35″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1602788964082{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n
book 1<\/th>\nThemes given by MD to his pupils at the Conservatoire for improvisation.
\nContains fugal themes and also Th\u00eames libres<\/em> in their respective sequences in the following chronology. Certain themes bear attributions to their respective composers.
\nIn ink; 45 numbered pages.
\nMars-Avril-Mai 1926
\n1926-27
\n1927-28
\n1928-29
\n1929-30
\n1930-31
\n1931-32
\n1932-33
\n1933-34<\/td>\n<\/tr>\n
book 2<\/th>\nThemes given by MD to his pupils at the Conservatoire for improvisation.
\nContains themes in the following chronology. Certain themes bear attributions to their respective composers.
\nIn ink; 68 numbered pages.
\n1934-1935
\n1935-1936
\n1936-1937
\n1937-1938
\n1938-1939
\n1940\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 N.B. Change in hand evident for 1940 through 1941-1942.
\n\u00e9t\u00e9 1940
\n1940-1941
\n1941-1942
\n1942-1943\u00a0 \u00a0 \u00a0 N.B. Change in hand evident for 1942-1943.
\n1943-1944\u00a0 \u00a0 \u00a0 N.B. Change in hand evident for 1943-1944.<\/td>\n<\/tr>\n
book 3<\/th>\n\u00a0Themes given by MD to his pupils at the Conservatoire for improvisation.
\nContains themes for fugues in the following chronology. Certain themes bear attributions to their respective composers (RF in that number).
\nIn ink; 37 numbered pages.
\n1945-1946
\n1946-1947
\n1947-1948
\n1948-1949
\n1949-1950
\n1950-1951
\n1951-1952
\n1952-1953
\n1953-1954<\/td>\n<\/tr>\n
book 3<\/th>\nThemes given by MD to his pupils at the Conservatoire for improvisation.
\nContains themes for fugues and th\u00eames libres<\/em> in the following chronology. Certain themes bear attributions to their respective composers (RF in that number).
\nIn ink; 37 numbered pages.
\n1934-1935
\n1935-1936
\n1936-1937
\n1937-1938
\n1938-1939
\n1940
\n\u00e9t\u00e9 1940
\n1940-1941
\n\u00e9t\u00e9 1940
\n1941-1942
\n1942-1943
\n1943-1944
\n1944-1945<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Contents of this box altogether:
\nThemes given by MD to his pupils at the Conservatoire for improvisation.
\nAltogether, 25 manuscript books, their content in pencil throughout.<\/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
book 1<\/th>\nFugues analys\u00e9es. Mars \u2014 Mai 1926<\/td>\n<\/tr>\n
book 2<\/th>\nFugues analys\u00e9es. Oct. 1926 \u2014 Juin 1927<\/td>\n<\/tr>\n
book 3<\/th>\nTh\u00e8mes. 1928-1929<\/td>\n<\/tr>\n
book 4<\/th>\nCours. 1932-1933; 1933-1934; 1936 : 1944-45.<\/td>\n<\/tr>\n
book 5<\/th>\nOct. 1932 \u2014 Juin 1933<\/td>\n<\/tr>\n
book 6<\/th>\nOct. \u2014 D\u00e9c. 1933<\/td>\n<\/tr>\n
book 7<\/th>\nJanv. \u2014 Juin 1934<\/td>\n<\/tr>\n
book 8<\/th>\nOct. 1934 \u2014 Janv. 1935<\/td>\n<\/tr>\n
book 9<\/th>\nF\u00e9v. \u2014 Juin 1935<\/td>\n<\/tr>\n
book 10<\/th>\nTh\u00e8mes. Mars \u2014 Juin 1936<\/td>\n<\/tr>\n
book 11<\/th>\nTh\u00e8mes. Oct. 1936 \u2014 Juin 1937<\/td>\n<\/tr>\n
book 12<\/th>\nClasse. Oct. 1937 \u2014 F\u00e9v. 1938<\/td>\n<\/tr>\n
book 13<\/th>\nFugues. Mars \u2014 Mai 1938<\/td>\n<\/tr>\n
book 14<\/th>\nFugues. F\u00e9v. \u2014 Mai 1939<\/td>\n<\/tr>\n
book 15<\/th>\nJuin \u2014 Oct. 1940<\/td>\n<\/tr>\n
book 16<\/th>\nNovembre 1940 \u2014 F\u00e9v. 1941<\/td>\n<\/tr>\n
book 17<\/th>\nF\u00e9vrier 1941<\/td>\n<\/tr>\n
book 18<\/th>\nOct. 1941 \u2014 Juin 1942<\/td>\n<\/tr>\n
book 19<\/th>\nOct. 1942 \u2014 Juin 1943; Oct. 1943 \u2014 Mars 1944<\/td>\n<\/tr>\n
book 20<\/th>\nMars \u2014 Mai 1944; Oct. \u2014 Nov. 1944<\/td>\n<\/tr>\n
book 21<\/th>\nD\u00e9c. 1944 \u2014 Juin 1945<\/td>\n<\/tr>\n
book 22<\/th>\nOct. 1945 \u2014 Mai 1946<\/td>\n<\/tr>\n
book 23<\/th>\nOct. 1947; Janv. \u2014 Juin [1948]<\/td>\n<\/tr>\n
book 24<\/th>\nOct. 1947 \u2014 Juin 1948<\/td>\n<\/tr>\n
book 25<\/th>\nF\u00e9v. \u2014 Juin 1949; Oct. 1949 \u2014 F\u00e9v. 1950<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/p>\n

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In this box altogether<\/em>:
\nThemes given by MD to his pupils at the Conservatoire for improvisation.
\nAltogether, eight manuscript books (the content of books 1-6 in pencil; that of books 7 and 8 in ink), dated as follows.<\/p>\n\n\n\n\n\n\n\n\n\n\n
book 1<\/th>\nMars \u2014 D\u00e9c. 1950<\/td>\n<\/tr>\n
book 2<\/th>\nJanv. \u2014 Mai 1951<\/td>\n<\/tr>\n
book 3<\/th>\nOct. 1951 \u2014 F\u00e9v. 1952<\/td>\n<\/tr>\n
book 4<\/th>\nF\u00e9v. \u2014 Juin 1952; Oct. \u2014 D\u00e9c. 1952<\/td>\n<\/tr>\n
book 5<\/th>\nJanv. \u2014 Juin 1953<\/td>\n<\/tr>\n
book 6<\/th>\nOct. 1953 \u2014 Juin 1954<\/td>\n<\/tr>\n
book 7<\/th>\nManuscript book, without rubric.
\nBears the inscription \u201cA ma Ninette ador\u00e9e\u201d and is dated 16 Mai 1955. Contains one theme dated 5 Mars 1956, followed by themes labelled as being \u201cMusette\u201d and \u201cChaconne\u201d. Accompanied by three leaves tipped in loosely.<\/td>\n<\/tr>\n
book 8<\/th>\n\u201cSujets et th\u00e8mes. 1954-55.\u201d
\nAccompanied by several leaves tipped in loosely. Altogether, the content is more extensive than MD\u2019s rubric would indicate:
\nMai 1954
\nJanv. 1955
\nJanv. 1956
\nMai 1956
\nD\u00e9c. 1956
\nSept. 195
\nMars 60.
\nD\u00e9c. 60
\n1962
\nMai 63
\nJuin 64<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Series 4: Performance material<\/span><\/strong><\/p>\n

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<\/a>Sub-series A: Printed programs (i.e. MD\u2019s own performances) and other documents<\/em><\/span><\/p>\n

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folder 1<\/th>\nPrinted recital programs, 1930s<\/td>\n<\/tr>\n
folder 2<\/th>\nPrinted recital programs, 1940s<\/td>\n<\/tr>\n
folder 3<\/th>\nPrinted recital programs, 1950s<\/td>\n<\/tr>\n
folder 4<\/th>\nPrinted recital programs, 1960s<\/td>\n<\/tr>\n
folder 5<\/th>\nNotices<\/em> (i.e., program notes) regarding MD\u2019s programmed repertory selections.
\nCarbon copy of typescript. Accompanied by a word-processed list of the works and their composers.<\/td>\n<\/tr>\n
folder 6<\/th>\nVarious themes given to MD for improvisation in recital appearances<\/td>\n<\/tr>\n
folder 7<\/th>\nVarious themes given by MD to other performers for improvisation<\/td>\n<\/tr>\n
folder 8<\/th>\nVarious notes for recital preparation in Lyon and at the Salle Gaveau (Paris).
\nAccompanied by Sylviane Falcinelli\u2019s handwritten comment.<\/td>\n<\/tr>\n
folder 9<\/th>\nRegistrations for use at Meudon (first of two)
\nAccompanied by Sylviane Falcinelli\u2019s handwritten comment.<\/td>\n<\/tr>\n
folder 10<\/th>\nRegistrations for use at Meudon (second of two<\/em>)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Sub-series B: Dossier of themes submitted by renowned individuals<\/em><\/span><\/p>\n

[\/vc_column_text][vc_column_text]<\/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
folder 11<\/th>\nPaul Hindemith<\/td>\n<\/tr>\n
folder 12<\/th>\nPercy Grainger<\/td>\n<\/tr>\n
folder 13<\/th>\nVincent d\u2019Indy<\/td>\n<\/tr>\n
folder 14<\/th>\nGabriel Piern\u00e9<\/td>\n<\/tr>\n
folder 15<\/th>\nGabriel Piern\u00e9<\/td>\n<\/tr>\n
folder 16<\/th>\nReynaldo Hayn<\/td>\n<\/tr>\n
folder 17<\/th>\nFlorent Schmitt<\/td>\n<\/tr>\n
folder 18<\/th>\nFlorent Schmitt<\/td>\n<\/tr>\n
folder 19<\/th>\nAlbert Roussel<\/td>\n<\/tr>\n
folder 20<\/th>\nGabriel Faur\u00e9<\/td>\n<\/tr>\n
folder 21<\/th>\nEmmanuel Bondeville<\/td>\n<\/tr>\n
folder 22<\/th>\nGeorges Auric.<\/td>\n<\/tr>\n
folder 23<\/th>\nMarcel Samuel-Rousseau<\/td>\n<\/tr>\n
folder 24<\/th>\nHenri Busser<\/td>\n<\/tr>\n
folder 25<\/th>\nCharles Heus<\/td>\n<\/tr>\n
folder 26<\/th>\nMaurice Durufl\u00e9<\/td>\n<\/tr>\n
folder 27<\/th>\nLeopold Stokowski<\/td>\n<\/tr>\n
folder 28<\/th>\nVittorio Guy<\/td>\n<\/tr>\n
folder 29<\/th>\nWalter Damrosch<\/td>\n<\/tr>\n
folder 30<\/th>\nNadia Boulanger.<\/td>\n<\/tr>\n
folder 31<\/th>\nDesir\u00e9 Inghelbrecht<\/td>\n<\/tr>\n
folder 32<\/th>\nRhen\u00e9 Baton<\/td>\n<\/tr>\n
folder 33<\/th>\nPaul Paray<\/td>\n<\/tr>\n
folder 34<\/th>\nArthur Bodansky<\/td>\n<\/tr>\n
folder 35<\/th>\nJosef Lhevinne<\/td>\n<\/tr>\n
folder 36<\/th>\nAlfred Cortot<\/td>\n<\/tr>\n
folder 37<\/th>\nWilhelm Kempf<\/td>\n<\/tr>\n
folder 38<\/th>\nHenri Gagnebin<\/td>\n<\/tr>\n
folder 39<\/th>\nHarold Bauer<\/td>\n<\/tr>\n
folder 40<\/th>\nEnrico Bossi<\/td>\n<\/tr>\n
folder 41<\/th>\nFrederic Lamond<\/td>\n<\/tr>\n
folder 42<\/th>\n\u00a0? Caldara<\/td>\n<\/tr>\n
folder 43<\/th>\n\u00a0? MacPherson<\/td>\n<\/tr>\n
folder 44<\/th>\nEmile Vuillermoz<\/td>\n<\/tr>\n
folder 45<\/th>\nHenri Dallier<\/td>\n<\/tr>\n
folder 46<\/th>\nLeanne Loulain<\/td>\n<\/tr>\n
folder 47<\/th>\nM. Chevalier<\/td>\n<\/tr>\n
folder 48<\/th>\nJoseph Cardinal Lefebre, Archbishop of Bourges<\/td>\n<\/tr>\n
folder 49<\/th>\nMonsignor Johan, Bishop of Agen<\/td>\n<\/tr>\n
folder 50<\/th>\nAlfred Holhuis<\/td>\n<\/tr>\n
folder 51<\/th>\nLouis Tuluy<\/td>\n<\/tr>\n
folder 52<\/th>\n[Illegible] 1926<\/td>\n<\/tr>\n
folder 53<\/th>\n[Illegible] 1911<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

<\/a><\/p>\n

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<\/a>Series 5: Correspondence<\/span><\/strong><\/p>\n

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folder 54<\/th>\n\n

Letters received from various cardinals, archbishops, and bishops (first of two<\/em>)<\/p>\n

    \n
  • postcard, 15 Mai 1920<\/li>\n
  • letter, 15 Aout 1922 (five reproductions)<\/li>\n
  • letter, 19 Janvier 1935<\/li>\n
  • letter, 23 Mars 1937<\/li>\n
  • letter, 25 Mars 1937 (accompanied by a reproduction of same)<\/li>\n
  • two prayer cards, received 20 Aout 1937<\/li>\n
  • letter, 6 Avril 1955<\/li>\n
  • letter, 7 Juillet 1955<\/li>\n
  • letter, 19 Juin 1957<\/li>\n
  • letter, 2 Juin 1958<\/li>\n
  • letter, 16 Juillet 1964<\/li>\n
  • letter, 3 Novembre 1964<\/li>\n
  • letter, 9 D\u00e9c. 1964<\/li>\n
  • letter, 4 Avril 1965<\/li>\n
  • autograph, 5 Avril 1965<\/li>\n
  • letter, 5 Mai 1966<\/li>\n
  • letter, 15 Avril 1967<\/li>\n
  • letter, 26 Novembre 1968<\/li>\n
  • letter, 10 Avril 1969<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 55<\/th>\n\n

Letters received from various cardinals, archbishops, and bishops (second of two<\/em>)<\/p>\n

    \n
  • calling card, Le Cardinal Tisserant [without date]<\/li>\n
  • calling card, L\u2019Archv\u00eaque de Bordeaux, 1er F\u00e9vrier 1956<\/li>\n
  • calling card, L\u2019Archev\u00eaque de Bordeaux, 12 Janvier 1955<\/li>\n
  • calling card, Le Cardinal Feltin, ancien Archev\u00eaque de Paris, 4 Janvier 1967<\/li>\n
  • calling card, Le Cardinal Feltin, ancien Archev\u00eaque de Paris, 2 Octobre 1967<\/li>\n
  • calling card, Le Cardinal Feltin, ancien Archev\u00eaque de Paris, 6 Janvier 1968<\/li>\n
  • calling card, Le Cardinal Feltin, ancien Archev\u00eaque de Paris, 3 Janvier 1969<\/li>\n
  • calling card, Le Cardinal Li\u00e9nart, Ev\u00eaque de Lille [without date]<\/li>\n
  • photo, [1933?] Mde Dupr\u00e9, Cardinal Tisserant, Marcel Dupr\u00e9; with second print of same image, annotated \u201cWhitby Hall 1933\u201d on its reverse side<\/li>\n
  • photo, unidentified cleric; no annotations present<\/li>\n
  • photo, unidentified cleric; no annotations present<\/li>\n
  • calling card, Le Cardinal Dubois, Archv\u00eaque de Paris [without date]<\/li>\n
  • calling card, Le Cardinal Verdier, Archev\u00eaque de Paris; accompanied by a handwritten list of dates<\/li>\n
  • calling card, L\u2019Archev\u00eaque Coadjuteur de Paris [without date]<\/li>\n
  • calling card, Monseigneur Pierre Veuillot [without date]<\/li>\n
  • calling card, Le Cardinal Feltin, ancien Archev\u00eaque de Paris, 10 Janvier 1970<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 56<\/th>\nNouveau Conservatoire.
\nA dossier containing administrative documents sketching out plans for a new Conservatoire building.<\/p>\n
    \n
  • \u00a0letter (23 Aout 1956) from Paul E. Koch to MD; accompanied by 1 page of manuscript notes<\/li>\n
  • \u00a0letter (14 Aout 1956) from Paul E. Koch to MD; accompanied by a project proposal (14 Aout 1956, signed by Mr. Koch) outlining the PROJET de PROGRAMME concernant la construction d\u2019un CONSERVATOIRE
    \nNATIONAL de MUSIQUE de le DECLAMATION (carbon copy of typescript; 3 pages)<\/li>\n
  • project proposal, headed by the rubric PROJET de PROGRAMME concernant la construction d\u2019un CONSERVATOIRE NATIONAL de MUSIQUE et de DECLAMATION, signed Raymond Loucheur (21 Aout
    \n1956); typescript (7 pages)<\/li>\n
  • \u00a0memorandum, 6 Janvier 1955: Allocution de Monsieur le Directeur prononc\u00e9e \u00e0 l\u2019occasion de la r\u00e9union des \u00e9l\u00e9ves du Conservatoire, le vendredi 17 D\u00e9cembre 1954 (typescript, 4 pages). Two copies, the second
    \nlightly annotated<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 57<\/th>\nCharles Kiesgen.
\nCorrespondence regarding RF\u2019s recording of MD\u2019s organ works. Documents typescript unless otherwise indicated.<\/p>\n
    \n
  • letter, 8 Novembre 1967, Ch. Kiesgen to MD<\/li>\n
  • carbon copy of letter, 31 Octobre 1967, Ch. Kiesgen to RF<\/li>\n
  • \u00a0letter, 21 Octobre 1967, Ch. Kiesgen to MD<\/li>\n
  • \u00a0letter, 17 Octobre 1967, Jacques R. Bertrand to Ch. Kiesgen [reproduction]<\/li>\n
  • \u00a0letter, 29 Septembre 1967, Ch. Kiesgen to MD<\/li>\n
  • carbon copy of letter, 3 Octobre 1967, Ch. Kiesgen to Jacques R. Bertrand<\/li>\n
  • \u00a0letter, 14 Juin 1967, Ch. Kiesgen to MD<\/li>\n
  • letter, 6 Juin 1967, J. Bertrand to MD [addressed \u201cCher Ma\u00eetre\u201d] (3 pages, manuscript)<\/li>\n
  • \u00a0letter, 4 Juin 1967, J. Bertrand to MD [addressed \u201cMon Cher Ma\u00eetre\u201d] (3 pages)<\/li>\n
  • letter, 20 mars 1967, Ch. Kiesgen to MD<\/li>\n
  • postcard, RF and members of her family to M. and Mme Dupr\u00e9 [without date; postmarked Cagnes-sur-Mer]<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 58<\/th>\n\n

Le Centenaire d\u2019Alexandre Guilmant, 1937.<\/p>\n