{"id":6808,"date":"2020-11-30T13:21:42","date_gmt":"2020-11-30T18:21:42","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?page_id=6808"},"modified":"2020-11-30T13:21:42","modified_gmt":"2020-11-30T18:21:42","slug":"ser1-3","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/bphillips\/ser1-3\/","title":{"rendered":"BURRILL PHILLIPS COLLECTION"},"content":{"rendered":"

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<\/a>Series 1: Musical manuscripts<\/h3>\n

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

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nThe Black Stranger, <\/em>op. 3, no. 1 (undated). Operetta. [Unfinished.]
\nPiano vocal score. Fair copy (ink), in bound sketchbook. 11 pages of music.
\nInterleaved in sketchbook: manuscript notes (pencil). 10 pages of text.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nDance<\/em> (1940). Ballet. Unknown instrumentation.
\nInstrumental parts (incomplete): violin II. Manuscript facsimile. 3 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nDr. Faustus <\/em>(1957). Incidental music for the play by Christopher Marlowe. For organ, brass quartet, and timpani. Pencil holograph.
\nManuscript sketches and drafts (pencil). 20 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nDr. Faustus<\/em> (1957).<\/em> Worksheets and sketches.
\nList of organ stops. Typescript, with annotations in pencil and colored pencil. 1 page of text.
\nManuscript notes (pencil). 3 pages of text.
\nManuscript sketches (pencil). 12 leaves of music.
\nManuscript sketches and drafts (pencil). 8 leaves of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nDr. Folly<\/em> [1951\/53?]. [Opera. Unknown instrumentation.] Score, pencil holograph.
\nManuscript notes (pencil). 3 pages of text.
\n\u201cAct I, sc. 1 (after curtain).\u201d Draft of reduced score. Manuscript (pencil). 35 pages of music.
\n\u201cDr. Folly.\u201d Draft of full score (excerpt). Manuscript (pencil). 10 pages of music.
\nDraft of reduced score (excerpt; pages numbered 1-48). Manuscript (pencil). 48 pages of music.
\n\u201c(end of curtain).\u201d Draft of reduced score (excerpt; pages numbered 1-12). Manuscript (pencil). 12 pages of music.<\/p>\n
    \n
  • Accompanied by additional page (numbered page 11). Manuscript (pencil). 1 page of music.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nDr. Folly<\/em> (1950\/53). Experiments and sketches.
\nManuscript sketches (pencil). 19 leaves of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Opera buffa in one act. Piano vocal score [1].
\nPiano vocal score. Manuscript facsimile, with performance markings in pencil and ink. 2 copies. 67 pages of music, each.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Piano vocal score [2].
\nPiano vocal score. Manuscript facsimile, with performance markings in pencil, colored pencil, and ink. 2 copies. 67 pages of music, each.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nDon\u2019t We All<\/em>\u00a0(1947). Piano vocal score [3].
\nPiano vocal score. Manuscript facsimile, with performance markings in pencil, colored pencil, and ink. 2 copies. 67 pages of music, each.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Piano vocal score [3].
\nPiano vocal score. Manuscript facsimile, with performance markings in pencil, colored pencil, and ink. Affixed to inside front cover: typescript production information, with manuscript note (in ink). 2 copies. 67 pages of music, each.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Draft of score.
\nDraft of score (reduced score) (pencil), with annotations in ink. 100 leaves of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n\u201cChildren at Back of Theater.\u201d From Don\u2019t We All<\/em> (1947). Typed transparencies; condensed score.
\nPiano vocal score. Typescript Ozalid masters. 6 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Vocal score: ink holograph onion skin.
\nPiano vocal score. Ozalid manuscript (ink). 67 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Parts: ink holograph transparencies.
\nInstrumental parts: flute, oboe, clarinet I, clarinet II, bassoon, horn I, horn II, trumpet in C, trombone, violin I, violin II, viola, cello, bass, piano. 155 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Sketches in pencil.
\nManuscript sketches (pencil). 4 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Pencil holograph; full score.
\nDraft of full score (pencil); dated August 20, 1947. 77 leaves of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Wind parts: Ozalid copies.
\nInstrumental parts (winds): flute, oboe, clarinet I, clarinet II, bassoon, horn I, horn II, trumpet in C, trombone, Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 72 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). 1st and 2nd violin parts: Ozalid copies.
\nInstrumental parts: violin I (3 copies), violin II (2 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 81 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nDon\u2019t We All<\/em> (1947). Viola, cello, bass, and piano parts: Ozalid copies.
\nInstrumental parts: viola (2 copies), cello, bass, and piano. Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 67 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nThe Flies <\/em>(1951).<\/em> Incidental music for the play by Jean-Paul Sartre.
\nDraft of score (pencil and ink). 18 pages of music.
\nInstrumental parts (incomplete): percussion I, percussion II. Fair copies of parts (ink), with performance markings in pencil. 10 pages of music.
\n\u201cSuite from Music for The Flies<\/em> by Jean Paul Sartre.\u201d Full score (incomplete; consists of pages 1-2 only). Ink. 2 pages of music.
\nDirector\u2019s notes. Typescript, with annotations in colored pencil and pencil. 2 pages of text.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nKatmanusha <\/em>(1932\/33). Ballet. Piano score: ink holograph transparencies.
\nPiano score. Ozalid manuscript (ink). 57 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nKatmanusha <\/em>(1932\/33). Ballet. Piano score: Ozalid copy.
\nPiano score. Manuscript facsimile (from Ozalid master), bound. 57 pages of music. Score labeled: \u201cPiano Score; No. 4.\u201d<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nKatmanusha <\/em>(1932\/33). Ballet. Pencil sketches and worksheets.
\nManuscript sketches and drafts (pencil, colored pencil, and ink). 13 leaves of music.
\n\u201cPhillips; Act I, etc.; sketches + score.\u201d Folder containing manuscript sketches and drafts (pencil and ink). 52 leaves of music.
\nDraft of full score (pencil). 96 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nLa Pi\u00f1ata<\/em> (1969). Ballet on Mexican children\u2019s game-songs, collected by Jos\u00e9 Lim\u00f3n. For chamber orchestra (dancers, semi-mariachi ensemble, and soprano voice). Score and parts: ink holograph transparencies.
\n\u201cPrologue to La Pi\u00f1ata<\/em>.\u201d For percussion only.<\/p>\n
    \n
  • Full score. Ozalid manuscript (ink). 9 pages of music.<\/li>\n
  • Instrumental parts: percussion I, percussion II, percussion III. Ozalid manuscript (ink). 11 pages of music.<\/li>\n<\/ul>\n

    Full score. Ozalid manuscript (ink). 1 page of text (title page); 115 pages of music.
    \nInstrumental parts: flute I, flute II and piccolo, trumpet I, trumpet II, violin I, violin II, string bass, harpsichord, percussion, marimba. Ozalid manuscript (ink). 108 pages of music.<\/p>\n<\/td>\n<\/tr>\n

folder 3<\/strong><\/td>\nLa Pi\u00f1ata<\/em> (1969). Score: Ozalid copy, bound.
\n\u201cPrologue to La Pi\u00f1ata<\/em>.\u201d For percussion only. Full score. Manuscript facsimile (from Ozalid master). 9 pages of music.
\nFull score. Manuscript facsimile (from Ozalid master), bound. 1 page of text (title page); 115 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nLa Pi\u00f1ata<\/em>\u00a0(1969). \u00a01 pencil holograph; 1 xerographic copy.
\nReduced score (pencil), with annotations in colored pencil. 34 pages of music.
\nCopy 2 (duplicate facsimile). 34 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nLa Pi\u00f1ata<\/em>\u00a0(1969). Prologue and score: pencil holograph.
\n\u201cPrologue to\u00a0La Pi\u00f1ata<\/em>.\u201d For percussion only. Draft of score (pencil). 7 pages of music.
\nDraft of full score (pencil), with annotations in colored pencil. 118 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nLa Pi\u00f1ata<\/em>\u00a0(1969). Worksheets.
\nManuscript sketches and drafts (pencil). 56 leaves of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPlay Ball!<\/em>\u00a0(1937). Ballet. Condensed two-piano score.
\nCondensed score for two pianos (pencil). 35 pages of music.
\nCondensed score for two pianos. Fair copy (ink). 34 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nPlay Ball!<\/em>\u00a0(1937). Wind parts: ink holograph.
\nInstrumental parts (winds): flute I, flute II, piccolo, oboe I, oboe II, clarinet I, clarinet II, bassoon I, bassoon II, horn I, horn II, horn III, horn IV, trumpet I, trumpet II, trumpet III, trombone I, trombone II, bass trombone III, tuba, timpani, percussion I, percussion II, percussion III. Fair copy (ink), with annotations in pencil and colored pencil.167 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPlay Ball!<\/em> (1937). String parts: ink holograph.
\nInstrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 50 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nPlay Ball!<\/em>\u00a0(1937). String parts: ink holograph.
\nInstrumental parts (strings): violin I (5 copies), violin II (4 copies), viola (3 copies), cello (3 copies), bass (3 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 182 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPrincess and Puppet <\/em>(1933). Ballet based on a Bengal folk tale. Wind and percussion parts: ink holograph.
\nInstrumental parts: flute I, flute II, piccolo, oboe I, oboe II, English horn, clarinet I, clarinet II, bass clarinet, bassoon I, bassoon II, contrabassoon, horn I, horn II, horn III, horn IV, trumpet I, trumpet II, trumpet III, trombone I, trombone II, trombone III, tuba, timpani, percussion I, percussion II, percussion III, percussion IV, piano and celeste, harp. Manuscript facsimile. 319 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPrincess and Puppet <\/em>(1933). String parts: ink holograph transparencies.
\nInstrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 87 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPrincess and Puppet <\/em>(1933). 1st and 2nd violin parts: Ozalid copies.
\nInstrumental parts (violins): violin I (4 copies), violin II (3 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil and colored pencil. 134 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nPrincess and Puppet <\/em>(1933). Viola, cello, and bass parts: Ozalid copies.
\nInstrumental parts (low strings): viola (2 copies), cello (2 copies), bass (2 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil and colored pencil. 98 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nStep into My Parlor<\/em> (1942). Ballet. Score: pencil holograph.
\nDraft of full score (pencil). 84 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nStep into My Parlor<\/em> (1942). Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink). 72 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nStep into My Parlor<\/em> (1942). Parts: ink holograph transparencies; parts.
\nInstrumental parts: flute 1, flute 2, oboe 1, oboe 2, clarinet 1, clarinet 2, bassoon 1, bassoon 2, horn 1, horn 2, trumpet in C, trombone, timpani, percussion 1, percussion 2, percussion 3, violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 129 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nStep into My Parlor<\/em> (1942). Ozalid copies; parts.
\nInstrumental parts: flute 1, flute 2, oboe 1, oboe 2, clarinet 1, clarinet 2, bassoon 1, bassoon 2, horn 1, horn 2, trumpet in C, trombone, timpani, percussion 1, percussion 2, percussion 3, violin I, violin II, viola, cello. Manuscript facsimile (from Ozalid masters). 122 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nStep into My Parlor<\/em> (1942). 1st and 2nd violin parts: Ozalid copies.
\nInstrumental parts: violin I (7 copies), violin II (9 copies). Manuscript facsimile (from Ozalid masters). 144 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nStep into My Parlor<\/em> (1942). Viola, cello, and bass parts: Ozalid copies.
\nInstrumental parts: viola (6 copies), cello (6 copies), bass (4 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 136 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nThree Satiric Fragments<\/em> (1941). Ballet. Full score: pencil holograph; condensed score: ink holograph.
\nDraft of full score (pencil). 19 pages of music.
\nReduced piano score. Fair copy (ink). 8 pages of music.<\/p>\n
    \n
  • Interleaved in score: \u201cDance.\u201d Condensed piano score (pencil). 6 pages of music.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nThree Satiric Fragments<\/em> (1941). Wind parts: ink holograph.
\nInstrumental parts (winds): flute I, flute II, oboe I, oboe II, clarinet I, clarinet II, bassoon I, bassoon II, horn I, horn II, tenor trombone, timpani, percussion I, percussion II. Fair copies of parts (ink). 38 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nThree Satiric Fragments<\/em> (1941). String parts: ink holograph transparencies.
\nInstrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 19 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nThree Satiric Fragments<\/em> (1941). Ozalid copies; strings parts.
\nInstrumental parts (strings): violin I (8 copies), violin II (6 copies), viola (5 copies), cello (5 copies), bass (4 copies). Manuscript facsimile (from Ozalid masters). 108 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nThe Thumb: A Serious Vaudeville <\/em>(1954). Incidental music for the play by S. R. Zitner. Full score: pencil holograph.
\nFull score. Ozalid manuscript (pencil). 37 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nThe Thumb: A Serious Vaudeville <\/em>(1954). Director’s copy of the play.
\nP. Zitner. The Thumb: A Serious Vaudeville with a Prologue, Five Scenes, and an Entr\u2019acte.<\/em> Typescript script, with annotations and stage directions in pencil, colored pencil, and ink [Director\u2019s copy]. 42 pages of text.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nThe Thumb: A Serious Vaudeville <\/em>(1954). Score and parts: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid masters), with performance markings in colored pencil, bound. 37 pages of music.
\nInstrumental parts: flute I, flute II, flute III, percussion I, percussion II. Manuscript facsimiles (from Ozalid masters), with performance markings in pencil and colored pencil. 34 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nThe Thumb: A Serious Vaudeville <\/em>(1954). Parts: pencil holograph transparencies.
\nInstrumental parts: flute I, flute II, flute III, percussion I, percussion II. Ozalid manuscript (pencil). 34 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Opera in three acts, with libretto by Alberta Libretto.
\nDraft of full score (incomplete; pages out of order). Manuscript draft (pencil), with annotations in colored pencil. 29 leaves of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Act I score: pencil holograph.
\nAct I. Draft of full score (pencil). 198 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Act II score: pencil holograph.
\nAct II. Draft of full score (pencil), with annotations in colored pencil and ink. 156 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Act I piano vocal score: ink holograph transparencies.
\nAct I. Piano vocal score. Ozalid manuscript (ink). 115 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Act II piano vocal score: ink holograph transparencies.
\nAct II. Piano vocal score. Ozalid manuscript (ink). 81 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Act III piano vocal score: ink holograph transparencies.
\nAct III. Piano vocal score. Ozalid manuscript (ink). 133 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Sketches and worksheets.
\nAssorted sketches and notes, enclosed in folder labeled \u201cfrom trial to finish Unforgiven sketches + work sheets of score + libretto of Act III.\u201d Manuscript sketches (pencil); dated between November 24, 1981, and April 3, 1982. 66 leaves of music and text.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Sketches; dated 3\/9\/1978-9\/10\/1978.
\nManuscript sketches, titled \u201cWorksheet for prelude to Act III\u201d (pencil); dated March 9-September 10, 1978. 79 leaves of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Sketches; dated 6\/6\/1978-8\/4\/1978.
\nManuscript sketches and notes, titled \u201cWorksheet for 1st Time interval\u201d (pencil); dated June 6\u00ad\u00ad-August 4, 1978. 54 leaves of music and text.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Sketches; dated \u201cFebruary 29-April 12.\u201d
\nManuscript sketches and notes (pencil); dated February 29\u2013April 12. 32 leaves of music and text.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Sketches; dated 2\/16\/78-3\/1\/78.
\nManuscript sketches and notes, titled \u201cInserted scene\u201d [Act II, scene 1] (pencil and ink); dated February 16-March 1, 1978. 29 pages of music and text.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Sketches; dated 2\/23\/79-7\/10\/79.
\nManuscript sketches, titled \u201cJudge enters\u201d; dated February 23-July 10, 1979. 24 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Sketches, labeled \u201cReworking finals before scoring\u201d [1].
\nManuscript sketches, labeled \u201cReworking finals before scoring.\u201d Includes:<\/p>\n
    \n
  • Sketches (ink and pencil); dated July 4-9, 1977. 9 pages of music.<\/li>\n
  • Sketches (pencil), labeled pp. 33-193; dated April 13-October 18. 161 pages of music.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Sketches, labeled \u201cReworking finals before scoring\u201d [2].
\nManuscript sketches (pencil), labeled \u201cReworking finals before scoring,\u201d labeled pp. 194-357. 164 pages of music.
\nStage directions (ink). 13 pages of text. Accompanied by excerpt from score, labeled \u201cp. 100\u201d (ink). 1 page of music.
\n\u201cChildren at back of theater.\u201d Piano vocal score. Manuscript facsimile, labeled \u201cAlberta Phillips, Category II: Sample of libretto set to music by Burrill Phillips.\u201d 6 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nThe Unforgiven<\/em> (1981). Libretto (typescript).
\nTypescript libretto, labeled \u201cPersonal Copy,\u201d bound. 72 pages of text.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nYerma <\/em>(1955?).<\/em> Incidental music for the play by Federico Garcia Lorca. For (untrained) voice, flute, guitar, and a large group of percussionists.
\nManuscript sketches (pencil). 6 leaves of music.
\n\u201cFor Victor\u2019s Voice, singing (p. 116).\u201d For flute and tambourine. Score. Manuscript facsimile, with annotations in ink. 1 page of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nUntitled opera. Act I only: Ozalid copy of condensed score.
\nPiano vocal score. Manuscript facsimile (from Ozalid masters, see folder 5), bound. 157 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nUntitled opera. Act I: ink holograph transparencies of condensed score.
\nPiano vocal score. Ozalid manuscript (ink). 157 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 8″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1605297694664{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\n\n
folder 1<\/strong><\/td>\nUntitled opera [\u201cThe Big Unfinished Opera\u201d]. Piano sketches.
\nManuscript sketches (pencil and ink), labeled \u201cThe Big Unfinished Opera.\u201d 112 leaves of music.<\/p>\n
    \n
  • See also Box 8, Folders 4-5.<\/em><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nUntitled opera [unknown title]. Sketches.
\nManuscript sketches (pencil and colored pencil), untitled. 38 leaves of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nOpera overture [unknown title]. Sketches.
\nManuscript drafts and sketches (pencil), untitled; dated July 23, 1947. 14 leaves of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nOpera overture [unknown title; unfinished]. Pencil score.
\nDraft of condensed score (pencil). 15 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nMusic for a projected opera (1955\/56). Full score: pencil holograph.
\nDraft of full score (pencil), labeled \u201cFirst Version.\u201d 14 pages of music.
\nDraft of full score (pencil), labeled \u201c2nd version.\u201d 28 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nMusic for a projected opera. Worksheets and sketches.
\n\u201cMi Tradi.\u201d Draft of piano vocal score (pencil and ink), labeled \u201cFirst Version,\u201d pages numbered 211-217; dated July 6, 1954. 7 pages of music.
\n\u201cMi Tradi.\u201d Draft of piano vocal score (pencil and ink), labeled \u201cSecond version,\u201d pages numbered 211-[223]. 13 pages of music.
\n\u201cDance for projected opera.\u201d Draft of condensed score (pencil). 8 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series B: Large ensemble works<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 8 `{`cont.`}`” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606759551865{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\n\n\n\n\n\n\n
folder 7<\/strong><\/td>\nConcert Piece for Bassoon and Strings<\/em> (1940). Holograph scores.
\nFull score. Fair copy (ink). 1 page of text (title page); 10 pages of music.
\nDraft of full score (pencil). 7 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nConcert Piece for Bassoon and Strings<\/em> (1940). Worksheets and sketches in pencil.
\nManuscript sketches (pencil). 14 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nConcert Piece for Bassoon and Wind Band<\/em> (1940\/62). Arrangement for wind band. Holograph scores.
\nFull score. Fair copy (ink). 1 page of text (title page); 29 pages of music.
\nDraft of full score (pencil). 28 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nConcert Piece for Bassoon and Strings<\/em> (1940\/62). Arrangement for wind band.
\nWorksheets and sketches.
\nManuscript sketches (pencil); dated June 6, 1962. 13 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nConcerto in E Minor for Piano<\/em> (1942). Arrangement for two pianos. Score: ink holograph.
\nFull score. Fair copy (ink). 77 pages of music.
\nFull score. Fair copy (ink). 73 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Ozalid copies of parts: winds.
\nInstrumental parts (winds): flute, oboe, clarinet, bassoon, horn. Manuscript facsimiles (from Ozalid masters). 25 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Ozalid copies of parts: viola, cello, bass.
\nInstrumental parts (low strings): viola (4 copies), cello (4 copies), bass (3 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 63 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Ozalid copies of parts: violins 1, 2.
\nInstrumental parts (violins): violin I (6 copies), violin II (5 copies). Manuscript facsimiles (from Ozalid masters). 77 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Ozalid copies of parts: solo strings.
\nInstrumental parts (solo strings): solo violin I, solo violin II, solo viola, solo cello. Manuscript facsimiles (from Ozalid masters). 34 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Ink holograph transparencies: winds.
\nInstrumental parts (winds): flute, oboe, clarinet, bassoon, horn. Ozalid manuscript (ink). 25 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Ink holograph transparencies: strings.
\nInstrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 43 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Ink holograph transparencies: solo parts.
\nInstrumental parts (solo strings): solo violin I, solo violin II, solo viola, solo cello. Ozalid manuscript (ink). 34 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Pencil sketches.
\nManuscript sketches (pencil). 28 leaves of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nConcerto Grosso for String Quartet and Orchestra<\/em> (1950). Pencil holograph score.
\nFull score. Fair copy (pencil). 66 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nCourthouse Square: Suite for Orchestra<\/em> (1936). Pencil holograph score.
\nFull score. Fair copy (pencil). 57 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nCourthouse Square: Suite for Orchestra<\/em> (1936). Ink holograph transparencies: string parts.
\nInstrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 29 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nCourthouse Square: Suite for Orchestra<\/em> (1936). Ozalid copies: wind and percussion parts.
\nInstrumental parts (winds and percussion): flute I, flute II, piccolo (and 3rd flute), oboe I, oboe II, English horn, clarinet I, clarinet II, bass clarinet, bassoon I, bassoon II, contrabassoon, horn I, horn II, horn III, horn IV, trumpet I, trumpet II, trumpet III, trombone I, trombone II, bass trombone, tuba, timpani, percussion I, percussion II, percussion III, harp. Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 99 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nCourthouse Square: Suite for Orchestra<\/em> (1936). Ozalid copies: 1st and 2nd violin parts.
\nInstrumental parts (violins): violin I (15 copies), violin II (5 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 138 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nCourthouse Square: Suite for Orchestra<\/em> (1936). Ozalid copies: viola, cello, bass parts.
\nInstrumental parts (low strings): viola (7 copies), cello (6 copies), bass (5 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 103 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nDeclaratives <\/em>(1943). <\/em>For SSAA chorus and small orchestra. 3 Ozalid copies of piano\/vocal scores.
\nPiano vocal score. Manuscript facsimile (from Ozalid master), with performance markings in pencil. 3 copies. 51 pages of music, each.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nDeclaratives <\/em>(1943). <\/em>Ink holograph transparencies: piano-vocal score.
\nPiano vocal score. Ozalid manuscript (ink). 51 pages of music of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nDeclaratives <\/em>(1943). <\/em>Ink holograph transparences: string parts.
\nInstrumental parts: violin I, violin II, viola, cello. Ozalid manuscript (ink). 28 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nDeclaratives <\/em>(1943). <\/em>Sketches and worksheets.
\nManuscript sketches (pencil). 17 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nDeclaratives <\/em>(1943). <\/em>Pencil holograph score.
\nFull score. Manuscript (pencil). 65 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nDivertimento for Strings<\/em> (1951). Ozalid copies: 1st and 2nd violins.
\nInstrumental parts: violin I (5 copies), violin II (4 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 95 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nDivertimento for Strings<\/em> (1951). Ozalid copies: viola, cello, and bass.
\nInstrumental parts: viola (3 copies), cello (3 copies), bass (3 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 75 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nDivertimento for Strings<\/em> (1951). Ink holograph transparencies: parts.
\nInstrumental parts: violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 46 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nDivertimento for Strings<\/em> (1951). Draft of score.
\nDraft of full score (pencil), with annotations in ink. 23 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nFantasia for Concert Band<\/em> (1968). Pencil holograph: final full score.
\nFull score. Manuscript (pencil), with annotations in pencil and colored pencil. 62 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nFantasia for Concert Band<\/em> (1968). Pencil sketches: short score.
\nDrafts of score and sketches (pencil), with annotations in colored pencil. 20 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nFantasia for Concert Band<\/em> (1968). Sketches and worksheets.
\nSchedule of instrumentation. Typescript document, with annotations in pencil and ink. 1 page.
\nList of instrumentation. Manuscript (pencil). 1 page.
\nManuscript sketches (pencil and ink). 50 leaves.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nGrotesque Dance<\/em>\u00a0(1932). For orchestra. Full score; ink holograph.
\nFull score. Fair copy (ink), bound, with performance markings in colored pencil and pencil. 29 pages of music.
\nInterleaved in score: Piano reduction. Fair copy (ink). 6 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nImaginary Boundaries for String Orchestra<\/em> (1986). Score: facsimile.
\nFull score. Manuscript facsimile, on translucent paper. 32 pages of music.
\nManuscript note (\u201cBound w\/ soft board…\u201d), accompanied by two leaves of adhesive labels (\u201cImaginary Boundaries for\u201d; \u201cString Orchestra by Burrill Phillips\u201d). 3 pages of text.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nMusic for Strings<\/em> (1939). Full score: pencil holograph.
\nDraft of full score (pencil); dated February 19, 1939. 17 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nMusic for Strings<\/em> (1939). Score and parts: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink). 1 page of text (title page); 43 pages of music.
\nInstrumental parts: violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 34 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nMusic for Strings<\/em> (1939). Score: Ozalid copy.
\nFull score. Manuscript facsimile (from Ozalid masters), labeled \u201cCopy II.\u201d 1 page of text (title page); 43 pages of music.
\n\u201c3. American Mercury\u20141928.\u201d Full score. Manuscript facsimile (from Ozalid masters). 20 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nPerspectives in a Labyrinth<\/em> (1962). For three string orchestras. Scores: pencil holographs.
\nPartial draft of score (pencil), labeled \u201cSecond sketch based on 12-set plan on 6\/14\/62\u201d; dated June 21, 1962. 4 pages of music.
\nDraft of score (pencil); dated June 27, 1962. 14 pages of music.
\nDraft of score (pencil), labeled \u201c3rd version\u201d; dated July 10-11, 1962. 9 pages of music.
\nDraft of score (pencil), labeled \u201c1st vers.\u201d; dated July 27-August 1, 1962. 11 pages of music.
\nDraft of score (pencil), labeled \u201c2nd version\u201d; dated August 11-29, 1962. 12 pages of music.
\nDraft of score (pencil), labeled \u201c3rd version; Final pencil score\u201d; dated October 13-20, 1962. 20 pages of music.
\nDraft of score (pencil), labeled \u201c3rd mov\u2019t\u201d; dated February 16, 1963. 11 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nPerspectives in a Labyrinth<\/em> (1962). Orchestra I performance parts: Ozalid copies.
\nInstrumental parts: high, middle, low. Manuscript facsimile, with performance markings in pencil and ink. 58 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nPerspectives in a Labyrinth<\/em> (1962). Orchestra II performance parts: Ozalid copies.
\nInstrumental parts: high, middle, low. Manuscript facsimile, with performance markings in pencil and ink. 57 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPerspectives in a Labyrinth<\/em> (1962). Orchestra III performance parts: Ozalid copies.
\nInstrumental parts: high, middle, low. Manuscript facsimile, with performance markings in pencil and ink. 56 pages of music<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPerspectives in a Labyrinth<\/em> (1962). Worksheets, sketches, notes and criticisms.
\n\u201cComprehensive criticism of 2nd version.\u201d Typescript document; dated September 16, 1962. 1 page of text.
\nManuscript sketches and notes (pencil); dated June 1962. 60 leaves of music and text.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPiano Concerto<\/em> (1942). String parts: ink holograph transparencies.
\nInstrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 51 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nPiano Concerto<\/em> (1942). 2-piano arrangement: Ozalid copy.
\nTwo-piano score. Manuscript facsimile, unbound, with performance markings in pencil. 76 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nPiano Concerto<\/em> (1942). 2-piano arrangement: Ozalid copies.
\nTwo-piano score. Manuscript facsimile, bound. 2 copies. 76 pages of music, each.<\/p>\n
    \n
  • Interleaved in copy 1: Untitled document (typescript); dated November 12, 1975. 4 pages. Manuscript annotations on reverse of page 4.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPiano Concerto<\/em> (1942). Piano II part of 2-piano arrangement: pencil holograph.
\nManuscript draft of part (pencil) (incomplete; pages numbered 15-19). 7 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nPiano Concerto<\/em> (1942). Pencil sketches.
\n\u201cTwo piano reduction\u2014last mov\u2019t.\u201d Draft of score (pencil). 14 pages of music.
\n\u201c2a sketches\u2014used + unused for II of Piano concerto.\u201d Manuscript sketches (pencil); dated December 21. 24 pages of music.
\n\u201c3b unused sketches for III of Piano concerto.\u201d Manuscript sketches (pencil). 43 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nScena<\/em> (1946). For small orchestra. Parts: Ozalid copies.
\nInstrumental parts: flute, oboe (2 copies), 1st clarinet, 2nd clarinet, bassoon (2 copies), 1st horn, 2nd horn, 1st trumpet in C, 2nd trumpet in C, tenor trombone (2 copies), timpani, violin I (6 copies), violin II (6 copies), viola (4 copies), cello (4 copies), bass (4 copies). Manuscript facsimile, with performance markings in pencil. 63 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nScena<\/em> (1946). Worksheets and sketches.
\n\u201cWorksheet #1 (5\/6\/85).\u201d Manuscript sketches (pencil). 10 pages of music.
\n\u201cWorksheet #2 (5\/6\/85).\u201d Manuscript sketches (pencil). 25 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nScherzo for Orchestra<\/em> (1944). Holograph full score.
\nDraft of full score (pencil); dated October 15, 1944. 87 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nScherzo for Orchestra<\/em> (1944). Pencil worksheets and sketches.
\nManuscript sketches (pencil). 25 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nSelections from McGuffey\u2019s Reader<\/em> (1934). Suite for orchestra. Full score: pencil holograph.
\nDraft of full score (pencil). 90 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 12″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1605298518453{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\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nSelections from McGuffey\u2019s Reader<\/em> (1934). 2-piano arrangement: pencil holograph.
\nDraft of condensed two-piano score (pencil). 45 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSelections from McGuffey\u2019s Reader<\/em> (1934). Sketches and worksheets in pencil.
\nManuscript sketches and drafts (pencil, ink, and colored pencil). 52 leaves of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSoleriana Concertante<\/em> (1965). For small orchestra. Performing parts: manuscript facsimile.
\nInstrumental parts: flute, oboe, clarinet, bassoon, horns I and II (2 copies), trumpet, trombone, timpani, percussion I and II (2 copies), violin I (8 copies), violin II (6 copies), viola (4 copies), cello (4 copies), bass (2 copies). Manuscript facsimile, with performance markings in pencil. 209 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSoleriana Concertante<\/em> (1965). Pencil sketches.
\nManuscript sketches and notes (pencil and colored pencil). 67 leaves of music and text.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSymphony Concertante<\/em> (1942). For small orchestra. Full score (pencil) and notes.
\nK. Van Hoesen to Burrill Phillips. 1 letter (ink); undated. 2 pages.
\n– Correspondence pertains to instrumentation for Symphony Concertante.
\n<\/em>Full score. Fair copy (pencil). 37 pages of music.
\nManuscript sketches (pencil). 8 leaves of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSymphony Concertante<\/em> (1942). Score: ink holograph.
\nFull score. Fair copy (ink), bound, with performance markings in pencil. 2 pages of text; 86 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSymphony Concertante<\/em> (1942). Complete parts: ink holograph.
\nInstrumental parts: flute, oboe, clarinet I, clarinet II\/bass clarinet, bassoon, horn I, horn II, trumpet in C, tenor trombone, timpani, percussion\/timpani, percussion, piano, violin I (3 copies), violin II (3 copies), viola (2 copies), cello (2 copies), bass. Fair copies (ink), with performance markings in pencil. 124 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSymphony Concertante<\/em> (1942). Bass part: facsimile.
\nBass part. Manuscript facsimile. 2 copies. 4 pages of music, each.
\nBass part. Manuscript facsimile, negative photocopy. 4 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nTheater Dances for Orchestra<\/em> (1967). Score: pencil holograph.
\nDraft of full score (pencil); dated November 26, 1966. 65 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nTheater Dances<\/em> (1967). Parts: typescript transparencies.
\nInstrumental parts: flute I and II, oboe I and II, clarinet I and II, bassoon I and II, horn I, horn II, horn III, horn IV, trumpet I, trumpet II, trumpet III, trombone I, trombone II, trombone III, tuba, timpani, percussion I and II, violin I, violin II, viola, cello, string bass. Ozalid masters (typescript). 82 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nTheater Dances<\/em> (1967). Pencil sketches and worksheets.
\nManuscript sketches (pencil). 41 leaves of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nThree Easy Pieces for String Orchestra<\/em> (1954). Worksheets.
\nManuscript sketches and drafts (pencil); dated between March 26 and June 8, 1954. 9 leaves of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nTom Paine Overture<\/em> (1946). Wind and percussion parts: Ozalid copies.
\nInstrumental parts: piccolo, flute I, flute II, oboe I, oboe II, clarinet I, clarinet II, bassoon I, bassoon II, trumpet I, trumpet II, horn I, horn II, horn III, horn IV, tenor trombone I, tenor trombone II, trombone III (bass), tuba, timpani, percussion (2 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 92 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 13″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1605298582746{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\n\n\n\n
folder 1<\/strong><\/td>\nTom Paine Overture<\/em> (1946). String parts: Ozalid copies.
\nInstrumental parts: violin I (8 copies), violin II (7 copies), viola (5 copies), violoncello (5 copies), contrabass (4 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 173 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTriple Concerto<\/em> (1953). For clarinet, viola, piano, and orchestra. Parts: ink holograph transparencies.
\nInstrumental parts: clarinet solo, solo viola, piano solo, flute (and piccolo), oboe, clarinet, bassoon, horn I, horn II, trumpet, trombone (tenor), timpani, percussion, violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 144 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTriple Concerto<\/em> (1953). Solo parts: Ozalid copies.
\nInstrumental parts (solos): clarinet solo, solo viola, piano solo. Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 45 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTriple Concerto<\/em> (1953). Sketches.
\nManuscript sketches and drafts (pencil). 102 leaves of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nYellowstone, Yates and Yosemite<\/em> (1972). For tenor saxophone and symphonic band. Full score: pencil holograph.
\nDraft of full score (pencil); dated March 8-May 1, 1972. 27 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nYellowstone, Yates and Yosemite<\/em> (1972). Parts: typed transparencies.
\nInstrumental parts: tenor saxophone solo, flute I, flute II, oboe I, oboe II, clarinet I, clarinet II, clarinet III, E-flat alto clarinet, bass clarinet, bassoon I, bassoon II, alto saxophone I, alto saxophone II, baritone saxophone, cornet I, cornet II, cornet III, trumpet I, trumpet II, horn I, horn II, horn III, horn IV, trombone I, trombone II, trombone III, euphonium, tuba, timpani, snare drum. Ozalid manuscript (ink). 60 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nYellowstone, Yates and Yosemite<\/em> (1972). First pencil sketches, band sketches, and worksheets.
\nManuscript sketches (pencil). 10 leaves of music.
\nDraft of full score (pencil), labeled \u201c1st band sketch\u201d; dated February 26, 1972. 18 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSymphony<\/em>. Sketch.
\nManuscript drafts and sketches (pencil). 85 leaves of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series C: Vocal works<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 13 `{`cont.`}`” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606759683546{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\n\n
folder 9<\/strong><\/td>\nThe Age of Song<\/em> (1953). For SATB chorus, unaccompanied. Texts by Sir Walter Raleigh, Thomas Campion, John Donne, and William Shakespeare. Score: ink holograph transparencies.
\nFull score (mvmts. I, II, III only). Ozalid manuscript (ink). 24 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nThe Age of Song<\/em> (1953). Score: Ozalid copy.
\nFull score. Manuscript facsimile (from Ozalid master), bound. 31 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nThe Age of Song<\/em> (1953). Score: manuscript facsimile (photocopy).
\nFull score. Manuscript facsimile, copied by Pfautsch. 20 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nThe Age of Song<\/em> (1953). Sketches.
\nManuscript sketches and drafts (pencil). 43 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nA Bucket of Water<\/em> (1952). For SATB chorus and piano. Text by Alberta Phillips. Score: pencil holograph.
\nDraft of full score (pencil), with manuscript sketches and typescript text interleaved. 22 pages of music and text.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nCanzona III<\/em> (1964). For seven players and poet. Words by Alberta Phillips. Full score: pencil holograph.
\nDraft of full score (pencil). 26 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nCanzona III<\/em> (1964). Full score: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid master), bound. 2 copies. 45 pages of music, each.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nCanzona III<\/em> (1964). Typed parts: Ozalid copies.
\nInstrumental parts: flute, clarinet in A, trumpet, violin, cello, vibraphone, percussion, piano. Facsimile of typescript parts. 41 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nCanzona III<\/em> (1964). Sketch sheets and work sheets.
\nManuscript sketches, sketch sheets, and notes (pencil, colored pencil, and ink). 27 leaves of music and text.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nCanzona III<\/em> (1964). Texts and stage notes.
\nTypescript text (Words by Alberta Phillips), with annotations in ink. 5 pages of text.
\nManuscript notes (ink, pencil, and typescript). 38 leaves.
\nStage diagrams (pencil), in clear sleeve. 2 pages.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nCanzona IV<\/em> (1967). For soprano flute and percussion. Words by Alberta Phillips. Original staged version (later titled Concentrics<\/em>). Full score: Ozalid copies.
\nSee also <\/em>Concentrics (Concert version of <\/em>Canzona IV), in Box 13, Folders 14-18; Box 14, Folders 1-2.
\n<\/em>Full score. Typescript (from Ozalid master), with performance markings in pencil. 32 pages of music.
\n\u201c2. Lyric Solo with piano and flute.\u201d Full score. Typescript (from Ozalid master). 5 pages of music.
\nPage from full score, numbered p. 20. Typescript Ozalid master. 1 page of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nCanzona IV<\/em> (1967). Pencil sketches and worksheets.
\nSee also <\/em>Concentrics (Concert version of <\/em>Canzona IV), in Box 13, Folders 14-18; Box 14, Folders 1-2.
\n<\/em>Manuscript sketches and notes (pencil). 60 leaves.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nCanzona <\/em>IV<\/em> (1967). Notes by Alberta Phillips on text, lighting and stage directions.
\nSee also <\/em>Concentrics (Concert version of <\/em>Canzona IV), in Box 13, Folders 14-18; Box 14, Folders 1-2.
\n<\/em>Typescript and manuscript (ink) documents, with annotations in ink and colored pencil. 19 pages of text.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nCanzona V<\/em> (1971). For SATB chorus and piano. Text by Alberta Phillips. Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink). 67 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nCanzona V<\/em> (1971). Score: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid masters). 2 copies. 67 pages of music, each.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nCanzona V<\/em> (1971). Score: Ozalid copy, reduced size.
\nFull score. Manuscript facsimile (from Ozalid masters), reduced size. 67 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nCanzona V<\/em> (1971). Ozalid copy of complete canzona, in reduced size.
\nFull score (mvmt. I only). Manuscript facsimile (from Ozalid masters), with annotations in colored pencil. 22 pages of music.
\nFull score (mvmts. II and III only). Manuscript facsimile (from Ozalid masters). 44 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nCanzona V<\/em> (1971). Sketches and worksheets.
\n\u201cSketches for Canzona V.\u201d Manuscript sketches (pencil). 20 leaves of music.
\nRow charts (pencil). 3 leaves of music.
\n\u201cSketches for various aspects and movements of Canzona V.\u201d Manuscript sketches (pencil); dated 1971. 42 leaves of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nCanzona V<\/em>\u00a0(1971). Text in Alberta Phillips\u2019s hand.
\nManuscript text (ink). 10 pages of text.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nConcentrics <\/em>(1976). For soprano, flute, piano, and percussion. Concert version of Canzona IV. <\/em>Score: typed transparency.
\nFull score. Typescript Ozalid masters. 1 page of text (title page); 32 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nConcentrics <\/em>(1976). Score: Ozalid copies.
\nFull score. Facsimile of typescript score (from Ozalid masters), with revisions and emendations in ink and pencil. 3 copies. 32 pages of music, each.
\nMovement 3. Facsimile of typescript score (from Ozalid masters). 10 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nConcentrics <\/em>(1976). Score: Ozalid copies.
\nFull score. Facsimile of typescript score (from Ozalid masters), with revisions and emendations in ink and pencil. 3 copies. 32 pages of music, each.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 15″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1605299807944{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\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nConcentrics<\/em> (1976). Excerpts from vocal part: ink transparencies and Ozalid reproductions.
\nVocal part, excerpts. Ozalid manuscript (ink). 3 pages of music.
\nCopy 2 (manuscript facsimile, from Ozalid masters). 3 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nConcentrics <\/em>(1976). Pencil sketches.
\n\u201cConcentrics correction of 3rd mov\u2019t.\u201d Manuscript sketches (pencil). 6 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nEsta galapaguita <\/em>(undated). For voice and piano. Score: ink holograph.
\nFull score. Fair copy (ink), accompanied by manuscript sketches (ink and pencil). 14 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nEve Learns a Little<\/em> (1974). For soprano, flute, clarinet, trumpet, trombone, and piano. Text by Alberta Phillips. Complete score: pencil holograph.
\nDraft of full score (pencil); dated February 1, 1974. 24 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nEve Learns a Little<\/em> (1974). Score: typed original transparencies.
\nFull score. Typescript Ozalid masters. 26 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nEve Learns a Little<\/em> (1974). Score: Ozalid copies.
\nFull score. Facsimile of typescript score (from Ozalid masters), with performance markings in pencil. 8 copies. 26 pages of music, each.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nEve Learns a Little<\/em> (1974). Parts: paste-up copies.
\nInstrumental parts: flute (2 copies), clarinet (2 copies), trumpet (2 copies), trombone (2 copies), piano (2 copies). Manuscript facsimile, with performance markings in pencil. 29 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nEve Learns a Little<\/em> (1974). Sketches and worksheets in pencil.
\nManuscript sketches and drafts (pencil). 21 leaves of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nEve Learns a Little<\/em> (1974). Texts by Alberta Phillips.
\nTypescript text. 2 copies. 1 page of text, each.
\nManuscript draft of text (ink), labeled \u201c(a).\u201d 3 pages of text.
\nManuscript draft of text (ink), labeled \u201c(b).\u201d 2 pages of text.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nFederico\u2019s Aria<\/em>. For voice, flute, vibraphone, percussion, and guitar. Score: ink holograph.
\nFull score. Fair copy (ink). 10 pages of music.
\nTypescript text, with annotations in ink. 1 page of text.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nThe First Day of the World<\/em> (1958). For men\u2019s voices and piano. Text translated from Virgil\u2019s Georgics <\/em>by Alberta Phillips. Score: Ozalid copies.
\nFull score. Facsimile of typescript score (from Ozalid master). 4 copies. 22 pages of music, each.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nFor Love I\u2019ll Surely Die<\/em> (1946). Cantata for mezzo-soprano, baritone, and piano. Text by Alberta Phillips. Score: 2 Ozalid copies.
\nPiano vocal score. Manuscript facsimile (from Ozalid master), bound, with annotations in pencil and ink. 2 copies. 26 pages of music, each.
\n– Scores include revised text on pages 19-26 (corrections affixed to original scores).<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nFor Love I\u2019ll Surely Die<\/em> (1946). Score: 3 Ozalid copies.
\nPiano vocal score. Manuscript facsimile (from Ozalid master), bound, with annotations in pencil and ink. 2 copies. 26 pages of music, each.<\/p>\n
    \n
  • Scores include revised text on pages 19-26 (corrections affixed to original scores).<\/li>\n
  • Title on copy 3: \u201cGo \u2018Way from My Window.\u201d<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nFor Love I\u2019ll Surely Die<\/em> (1946). Score: ink holograph transparencies.
\nPiano vocal score. Ozalid manuscript (ink). 26 pages of music.<\/p>\n
    \n
  • Title on score: \u201cGo \u2018Way from My Window.\u201d<\/li>\n
  • Includes original text.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nFor Love I\u2019ll Surely Die<\/em> (1946). Score: ink holograph transparencies.
\nPiano vocal score. Manuscript facsimile (from Ozalid master), bound. 26 pages of music.<\/p>\n
    \n
  • Title on score: \u201cGo \u2018Way from My Window.\u201d<\/li>\n
  • Includes original text.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nFor Love I\u2019ll Surely Die<\/em> (1946). Sketches.
\nManuscript sketches (pencil). 21 leaves of music.
\nDraft of text (incomplete; consists of pages 2-3 only). Typescript, with annotations in pencil. 2 pages.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nIf I am Persephone<\/em> (1974). For actress, alto saxophone, and tape. Text by Alberta Phillips. Complete holograph score in pencil.
\nFull score. Fair copy (pencil). 7 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nIf I am Persephone<\/em> (1974). Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink). 7 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nIf I am Persephone<\/em> (1974). Score: ink holograph transparencies.
\nFull score. Manuscript facsimile (from Ozalid masters). 2 copies. 7 pages of music, each.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nIf I am Persephone<\/em> (1974). Score: photocopies.
\nFull score. Manuscript facsimile. 2 copies. 4 pages of music, each. Copy 2 has annotations in ink (regarding playability of saxophone parts).<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nIf I am Persephone<\/em> (1974). Sketches and exercises.
\nManuscript sketches and notes (pencil). 14 leaves.
\n\u201cFive Finger Exercises for K. D.\u201d Manuscript sketches (pencil). 6 pages of music.
\n\u201cSaxophone Demonstration Tape.\u201d Typescript document prepared by Ken Dorn, with annotations in ink; dated winter 1970-1971. 2 pages of text.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nIf I am Persephone<\/em> (1974). Text.
\nManuscript text (ink), with annotations in pencil. 2 pages of text.<\/td>\n<\/tr>\n
\u00a0<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nItaly Hill Campaign Song<\/em> (1972). For two voices. Words by Alberta Phillips. Pencil sketch and ink holograph.
\nManuscript sketches (pencil). 3 pages of music.
\nFull score. Fair copy (ink). 2 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n\u201cJust a Minimal Bite,\u201d said Eve<\/em> (1975). For two E-flat alto saxophones and actress. Text by Alberta Phillips. Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink); dated December 18, 1974. 13 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n\u201cJust a Minimal Bite,\u201d said Eve<\/em> (1975). Full score: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid masters). 2 copies. 13 pages of music, each.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n\u201cJust a Minimal Bite,\u201d said Eve<\/em> (1975). Sketches and worksheets.
\n\u201cPreliminary sketches and worksheets.\u201d Manuscript sketches and notes (pencil); dated between September 2, 1973, and October 24, 1974. 15 leaves.
\n\u201c2nd sketches.\u201d Manuscript sketches and drafts (pencil); dated October 31. 14 leaves of music.
\n\u201cLast sketch and worksheet.\u201d Draft of score with notes (pencil). 7 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n\u201cJust a Minimal Bite,\u201d said Eve<\/em> (1975). Text by Alberta Phillips.
\n\u201cEve Learns a Little (Saxophone words).\u201d Manuscript text used in \u201cJust a Minimal Bite,\u201d said Eve<\/em> (ink), with annotations in pencil. 3 pages of text.
\n\u201cThree Ladies of Today.\u201d Notes on stage direction for projected project titled Three Ladies of Today <\/em>[with three movements: I. \u201cJust a Minimal Bite,\u201d Said Eve\u201d; II. If I Am Persephone; III. The Now Type]. Manuscript (ink). 3 pages of text.
\n–\u00a0 Accompanied by correspondence from Alberta Phillips to \u201cSherry.\u201d 1 letter (ink); undated. 2 pages of text.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nLetters from Italy Hill<\/em> (1983\/84). Landscape with figures for soprano, flute, clarinet, string quartet, and piano. Text by Alberta Phillips. Full score: pencil holograph (original).
\nIncludes: I. Summer\u2014Fall; II. From a Letter to Kathy; III. Winter; IV. For Vera; V. Spring.
\n<\/em>Full score. Fair copy (pencil). 2 pages of text (title pages); 136 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nLetters from Italy Hill<\/em> (1983\/84). Full score: photocopy.
\nFull score. Manuscript facsimile, bound. 3 pages of text (title page and front matter); 125 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nLetters from Italy Hill<\/em> (1983\/84): III. Winter. Score: ink holograph and photocopies.
\n\u201cWinter.\u201d Full score. Fair copy (ink). 33 pages of music.
\n\u201cWinter.\u201d Full score. Manuscript facsimile (from fair copy). 2 copies. 33 pages of music, each.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nLetters from Italy Hill<\/em> (1983\/84): II. From a Letter to Kathy; IV. For Vera. Piano vocal scores.
\n\u201cII. From a Letter to Kathy.\u201d Piano vocal score (incomplete, consists of pages 2-4 only). Manuscript facsimile. 3 pages of music.
\n–\u00a0 Accompanied by row chart (pencil). 1 page.
\n\u201cIV. For Vera.\u201d Piano vocal score. Manuscript facsimile. 2 copies. 2 pages of text (title page); 9 pages of music; each.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nLetters from Italy Hill<\/em> (1983\/84). Notes and sketches.
\nTypescript title page. Draft of layout (paste up). 2 pages of text. Copy 2 (facsimile). 2 pages of text.
\nManuscript notes (ink and typescript). 13 pages of text.
\n\u201cFirst movement sketches (Summer\u2014Fall).\u201d Manuscript sketches, worksheets, and notes (pencil and ink); dated August 29, 1983. 19 pages of music and text.
\n\u201cFinal worksheets for 1st mov\u2019t.\u201d Manuscript sketches and worksheets (pencil and ink); dated September 7-October 7. 28 pages of music.
\n\u201cFrom a Letter to Kathy.\u201d Piano vocal score. Manuscript facsimile. 4 pages of music.
\n\u201cWorksheets for 2nd mov\u2019t\u2014(Winter).\u201d Manuscript sketches and worksheets; dated February-June 1983. 35 pages of music.
\n[IV. For Vera.] Manuscript sketches (pencil). 6 pages of music.
\n\u201cFor Vera.\u201d Piano vocal score. Manuscript facsimile. 9 pages of music.
\n[Worksheets and sketches for III. Spring.] Manuscript sketches (pencil); dated October-November. 31 pages of music.
\n\u201cDiscarded sketches for what?\u201d Manuscript sketches and notes (pencil). 13 leaves of music and text.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nLetters from Italy Hill<\/em>\u00a0(1983\/84). Manuscript notebook containing sketches.
\nBound sketchbook, containing sketches (pencil), with additional sketches and texts interleaved in sketchbook. 27 leaves of music and text.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nLetters from Italy Hill<\/em> (1983\/84). Texts, notes, and memos.
\n\u201cLetters from Italy Hill.\u201d Text.<\/p>\n
    \n
  • Typescript texts. 2 copies. 2 pages of text, each.<\/li>\n
  • Manuscript (fair copy; ink). 3 pages of text.<\/li>\n<\/ul>\n

    \u201cLetters from Italy Hill.\u201d Draft of front matter (ink). 4 pages of text.
    \nNotes on postage and binding costs. Ink. 2 pages of text.
    \n\u201cHart Crane Settings.\u201d Words by Hart Crane. Music by James Willey. Text.<\/p>\n

      \n
    • Typescript texts. 2 copies. 3 pages of text, each.<\/li>\n<\/ul>\n

      Various poems. Ink manuscript. 8 pages of text.<\/p>\n<\/td>\n<\/tr>\n

folder 13<\/strong><\/td>\nThe Man of Life Upright<\/em> (1976). For male chorus and piano. Text by Thomas Campion. Score: pencil holograph.
\nDraft of full score (pencil). 11 pages of music.
\nManuscript sketches (pencil); dated January 27, 1976. 6 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nThe Man of Life Upright<\/em> (1976). Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink). 11 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nThe Man of Life Upright<\/em> (1976). Score: Ozalid copy.
\nFull score. Manuscript facsimile (from Ozalid master). 11 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nMisa Guadalpana<\/em> (1962). For SATB chorus. Pencil sketches and incomplete typed transparencies.
\nFull score (incomplete; consists of pp. 1-6 only). Typescript Ozalid masters. 6 pages of music.
\nManuscript sketches and drafts (pencil). 14 leaves of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nNine Latin Motets <\/em>(undated). For SATB chorus. Score: typed transparencies.
\nIncludes: 1. Justus cor suum; 2. Fulgebunt justi; 3. Qui vult venire post me; 4. Serve bone; 5. Beatus homo qui invenit sapientiam; 6. Sancte mei; 7. Oculus non vidit; 8. Qui sequitur me; 9. Justi tulerunt.
\n<\/em>Full score. Typescript Ozalid masters. 41 pages of music.
\n\u201cQui Sequitur Me.\u201d Motet for mixed voices with rehearsal piano. Typescript Ozalid masters. 8 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nNine Latin Motets <\/em>(undated). Scores: Ozalid copy.
\nFull score. Facsimile of typescript score (from Ozalid master). 41 pages of music.
\n\u201cOculos non vidit.\u201d Facsimile of manuscript score. 3 copies. 6 pages of music, each.
\n\u201cQui Sequitur Me.\u201d Motet for mixed voices by S. J. Mix [pseudonym for Burrill Phillips]. Full score. Facsimile of typescript score (from Ozalid master). 2 copies. 8 pages of music, each.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nNine Latin Motets<\/em> (1958\/59). Sketches, worksheets, and analysis.
\nManuscript sketches and notes (pencil). 41 leaves of text and music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nNine Latin Motets.<\/em> \u201cExpectatio Justorum\u201d [not included in the final set]. Typed transparencies and Ozalid copy.
\n\u201cExpectatio justorum.\u201d Full score. Typescript Ozalid master. 5 pages of music.
\n\u201cExpectatio justorum.\u201d Full score. Manuscript facsimile (from Ozalid master), with annotations in pencil. 5 pages of music. Note on first page of score: \u201c(Not included in Nine Latin Motets but composed at the same time).\u201d<\/td>\n<\/tr>\n
\u00a0<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nOh Angel<\/em> (1944). For SSAATTBB chorus, unaccompanied. Text from The People, Yes <\/em>by Carl Sandburg. Score and worksheets: pencil holograph.
\nFull score, with rehearsal piano. Fair copy (pencil). 9 pages of music.
\nManuscript sketches (pencil). 9 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nRavvivando sequendo in Palco<\/em> (1973). For soprano, clarinet, violoncello, and piano. Text anonymous. Score: Ozalid copy of typed score and instrumental parts.
\nFull score. Draft of score (pencil); dated October-November 1973. 22 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nRavvivando sequendo in Palco<\/em> (1973). Score and parts: ink and typed transparencies.
\nFull score. Ozalid manuscript (ink); dated December 3, 1973. 12 pages of music.
\nFull score. Typescript Ozalid masters. 18 pages of music.
\nInstrumental parts: clarinet, cello. Typescript Ozalid masters. 4 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nRavvivando sequendo in Palco<\/em> (1973). Ozalid copy of holograph; score.
\nFull score. Manuscript facsimile (from Ozalid masters), with annotations in colored pencil; dated December 3, 1973. 12 pages of music.
\nFull score. Manuscript facsimile (from Ozalid masters). 18 pages of music.
\nInstrumental parts: clarinet, cello. Manuscript facsimile (from Ozalid masters). 4 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nRavvivando sequendo in Palco<\/em> (1973). Worksheets in pencil.
\nManuscript sketches (pencil). 12 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nThe Recesses of My House<\/em> (1977). For soprano, clarinet, piano, and percussion. Text by Alberta Phillips. Complete pencil score.
\nFull score. Fair copy (pencil); dated September-November 1977. 34 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nThe Recesses of My House<\/em> (1977). Score: 7 Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid masters), with annotations and performance markings in pencil and colored pencil. 7 copies. 34 pages of music, each.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nThe Recesses of My House<\/em> (1977). Sketches and worksheets.
\nManuscript sketches and notes (pencil). 57 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nThe Return of Odysseus <\/em>(1956). For baritone solo, speaker, chorus, and orchestra or piano. Text by Alberta Phillips. Full score: pencil holograph.
\nDraft of full score (pencil); dated July 31, 1956. 54 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nThe Return of Odysseus <\/em>(1956). Ozalid copy of vocal score.
\nPiano vocal score. Manuscript facsimile (from Ozalid masters), with annotations and performance markings in pencil and colored pencil. 54 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nThe Return of Odysseus <\/em>(1956). Sketches and worksheets.
\nManuscript sketches (pencil). 23 leaves of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nThe Return of Odysseus <\/em>(1956). Texts: worksheets and final draft.
\nTypescript text, with annotations in pencil and colored pencil. 5 pages of text.
\nRevised text (typescript), with annotations in pencil; dated October 3, 1956. 8 pages of text.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nSancti Mei <\/em>(1963). Motet for mixed chorus. Negative film.
\nFull score (excerpt; contains first page and p. 7 of score only). Negative film from published score ([Branchport, NY]: Italy Hill Press, 1963). 1 film.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nSong in a Winter Night<\/em> (1984). For soprano, flute, clarinet, string quartet, and piano. Text by Bink Noll. Score: pencil holograph and Ozalid copy.
\nFacsimile of typescript text. 1 page of text.
\nFull score. Fair copy (pencil). 19 pages of music.
\nPiano vocal score. Manuscript facsimile (from Ozalid master), labeled \u201cPersonal copy.\u201d 9 pages of music.
\n– Interleaved in score: Title page. Typescript Ozalid master. 1 page of text.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nThat Time May Cease<\/em> (1967). For TTBB chorus and piano. Text by Christopher Marlowe. Score: pencil holograph.
\nDraft of full score (pencil); dated April-May 1966. 25 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nThat Time May Cease<\/em> (1967). Full score: typed transparencies.
\nFull score. Typescript Ozalid masters. 16 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nThat Time May Cease<\/em> (1967). Score: Ozalid copy.
\nFull score. Facsimile of typescript score (from Ozalid master). 16 pages of music. Copy 2 (duplicate facsimile), trimmed. 16 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nThat Time May Cease<\/em> (1967). Sketches and worksheets.
\nManuscript sketches (pencil and ink). 30 leaves of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nThat Time May Cease<\/em> (1967). Typed text.
\nTypescript text, with annotations in pencil and ink. 2 copies. 1 page, each.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nA Tribute to E. W.<\/em> (1923). For voice and piano. Words by Burrill Phillips. Score: ink holograph.
\nScore, with manuscript note. Fair copy (ink); dated March 1923. 1 page.
\n– Note reads: \u201cThis was my first composition \u2026\u201d<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nTwo Italian Songs<\/em> (1953). For high voice and piano. Text from The Ivory Campus.<\/em> Ink holograph transparencies.
\nFull score. Ozalid manuscript (ink); dated December 24, 1953. 14 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nTwo Italian Songs<\/em> (1953). Score: 3 Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid masters). 3 copies. 14 pages of music, each.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nTwo Italian Songs<\/em> (1953). Sketches and worksheets.
\nTypescript text. 1 page of text.
\nManuscript text (pencil). 2 pages of text.
\nManuscript sketches and drafts (pencil). 13 leaves of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nWhat Will Love Do<\/em>? (1949). For SSAA chorus. Text by Robert Herrick. Rehearsal copies written by unknown hand.
\nVocal score. Manuscript facsimile; dated September 26, 1948. 2 copies. 5 pages of music, each.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nWhat Will Love Do<\/em>? (1949). Early drafts.
\n\u201cUpon Love.\u201d Early draft of What Will Love Do?<\/em> [first, unused version of \u201cWhat Will Love Do?\u201d]. Manuscript sketches (pencil); dated \u201cSeptember 15.\u201d 11 pages of music.
\n\u201cThe Hag.\u201d Draft of score (incomplete; consists of pages numbered 10-13 only) (pencil). 4 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series D: Instrumental chamber works<\/span><\/em><\/p>\n

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folder 26<\/strong><\/td>\nCanzona VI <\/em>(1985). For flute, oboe, clarinet, bassoon, and horn. Scores: pencil holograph.
\nFull score. Fair copy (pencil); dated February 19, 1985. 22 pages of music. (Page 1 of score is manuscript facsimile).<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nCanzona VI\u00a0<\/em>(1985). 1st movement sketches.
\nManuscript sketches and drafts (pencil). 68 leaves of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nCanzona VI <\/em>(1985). Worksheets.
\nManuscript sketches and drafts (pencil). 65 leaves of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nConcertinos for Violin and Viola<\/em>. Sketches: pencil holographs.
\nManuscript sketches (pencil). 7 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nConversations and Colloquies<\/em> (1950). For two violins and two violas. Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink); dated October 1, 1951. 55 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nConversations and Colloquies<\/em> (1950). \u201cIII. Informal Colloquy\u201d score: Ozalid copy.
\n\u201cIII. Informal Colloquy.\u201d Full score. Manuscript facsimile (from Ozalid master). 40 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nConversations and Colloquies<\/em> (1950). Parts: ink holograph transparencies.
\nInstrumental parts: violin A, violin I, viola A, viola I. Ozalid manuscript (ink). 52 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nConversations and Colloquies<\/em> (1950). Parts: Ozalid copies.
\nInstrumental parts: violin A, violin I, viola A, viola I. Manuscript facsimile (from Ozalid masters). 52 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nConversations and Colloquies<\/em> (1950). Sketches and worksheets.
\nManuscript sketches (pencil). 21 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nDiptych<\/em> (1951). For woodwind quintet. Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink); dated December 5, 1952. 43 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nDiptych<\/em> (1951). Parts: ink holograph transparencies.
\nInstrumental parts: flute, oboe, clarinet, bassoon, horn. Ozalid manuscript (ink). 35 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nDiptych<\/em> (1951). Score: Ozalid copy.
\nFull score (incomplete; consists of pp. 15-43 only). Manuscript facsimile (from Ozalid master), with annotations in pencil. 29 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nDiptych<\/em> (1951). Worksheets and sketches in pencil.
\nManuscript sketches and drafts (pencil). 22 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nFanfare<\/em> (1957). For 10-part brass choir and percussion. Score: pencil holograph.
\nFull score. Manuscript draft (pencil); dated March 8, 1957. 6 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nFanfare<\/em> (1957). Score: typescript.
\nFull score. Typescript, bound, with annotations in pencil. 12 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nFanfare<\/em> (1957). Score: pencil manuscripts and typescript publisher\u2019s proofs.
\n1981. D. King to Burrill Phillips. 1 card (ink); dated July 6, 1981. 1 page of text.
\n–\u00a0 Correspondence pertains to publisher\u2019s proofs.
\nFull score. Typescript publisher\u2019s proofs (North Easton, MA: Robert King Music Co., 1982); interleaved in score: manuscript full score (pencil). 23 pages of music total.
\nTypescript instrumentation (front matter for published score). 1 page of text.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nFanfare<\/em> (1957). Pencil sketches.
\nManuscript sketches and drafts (pencil); dated March 8, 1957. 9 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nFour Figures in Time<\/em> (1952). For flute and piano. Score and parts: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink). 12 pages of music.
\nFlute part. Ozalid manuscript (ink). 4 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nFour Figures in Time<\/em> (1952). Score and parts: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid master). 12 pages of music.
\nFlute part. Manuscript facsimile (from Ozalid master). 4 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nFour Figures in Time<\/em> (1952). Worksheets in pencil.
\nManuscript sketches (pencil); dated February-March 1952. 19 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nGavotte and Musette <\/em>(undated). Parts with sketches: ink and pencil.
\nInstrumental parts (incomplete): 2nd oboe, 1st & 2nd bassoon, 1st & 2nd horns, violoncello. Fair copies (ink), with sketches on reverse (pencil). 6 leaves of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nHuntington 2\u2019s and 3\u2019s<\/em> (1975). For flute, oboe, and cello. Score and parts: typed transparencies.
\nFull score. Typescript Ozalid masters. 1 page of text (title page); 30 pages of music.
\nInstrumental parts: flute, oboe, cello. Typescript Ozalid masters. 12 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nHuntington 2\u2019s and 3\u2019s<\/em> (1975). Score: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid master). 1 page of text (manuscript title page); 30 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nHuntington 2\u2019s and 3\u2019s<\/em> (1975). Pencil drafts and sketches.
\nManuscript sketches and drafts (pencil); dated February 1975. 44 leaves of music.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nIntrada<\/em> (1975). For flute, clarinet, trumpet, violin, cello, vibraphone, and piano. Score and parts: typed transparencies.
\nFull score. Typescript Ozalid masters. 22 pages of music.
\nInstrumental parts: flute, clarinet, trumpet, violin, cello, vibraphone, piano. Typescript Ozalid masters. 12 pages of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nIntrada<\/em> (1975). Ozalid copy; parts and score.
\nFull score. Facsimile of typescript score (from Ozalid masters). 22 pages of music.
\nInstrumental parts: flute, clarinet, trumpet, violin, cello, vibraphone, piano. Facsimile of typescript parts (from Ozalid masters). 12 pages of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nIntrada<\/em> (1975). Pencil sketches.
\n\u201c1st sketches\u2014Intrada (1).\u201d Manuscript sketches (pencil). 7 leaves of music.
\n\u201c2nd sketches\u2014Intrada (2).\u201d Manuscript sketches (pencil). 10 pages of music.
\n\u201cFinal sketches, Intrada.\u201d Manuscript draft of score (pencil and colored pencil); dated January 3, 1975. 26 pages of music.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nMusic for This Time of Year<\/em> (1954). For woodwind quintet. Score: typed transparencies.
\nFull score. Typescript Ozalid masters. 105 pages of music.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nMusic for This Time of Year<\/em> (1954). Typed transparencies, different version: Rondeau\u2014Prelude.
\n\u201cRondeau\u2014Prelude\u201d (alternate version). Typescript Ozalid masters; dated August 8, 1954. 9 pages of music.<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nMusic for This Time of Year<\/em> (1954). Ozalid copies of score and parts (selections).
\nFull score (incomplete; includes duplicate pages). Facsimile of typescript score (from Ozalid masters). 40 pages of music.
\nBook I (consists of movements 1-8). Full score. Facsimile of typescript score (from Ozalid masters), with performance markings in colored pencil and pencil. 19 pages of music.
\nInstrumental parts (incomplete): flute, horn. Facsimile of typescript parts (from Ozalid masters). 9 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 19″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1605300865269{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\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nMusic for This Time of Year<\/em> (1954). Full score: two Ozalid copies.
\nFull score. Facsimile of typescript score (from Ozalid masters). 2 copies. 105 pages, each.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nMusic for This Time of Year<\/em> (1954). Parts.
\nInstrumental parts: flute, oboe, clarinet, horn, bassoon. Typescript parts, comprised of strips excerpted from full score layout (paste-up). 44 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nMusic for This Time of Year<\/em> (1954). \u201cQuintet Finale\u201d Xerox copy.
\n\u201cQuintet Finale.\u201d Full score. Facsimile of typescript score, with performance markings in pencil. 13 pages.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nMusic for This Time of Year<\/em> (1954). Sketches and worksheets.
\nManuscript sketches and notes (pencil and colored pencil). 120 leaves of music and text.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nMusic for This Time of Year<\/em> (1954). Additional sketches.
\nManuscript sketches and drafts (pencil). 30 leaves of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nPartita for Piano Quartet<\/em> (1946\/47). On two Russian folksongs. Score and parts: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink); dated June 24, 1947. 1 page of text (title page); 66 pages of music.
\nInstrumental parts: violin, viola, violoncello. Ozalid manuscript (ink). 29 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPartita for Piano Quartet<\/em> (1946\/47). String parts: Ozalid copies.
\nInstrumental parts: violin, viola, violoncello. Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 29 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nPartita for Piano Quartet<\/em> (1946\/47). Parts: Ozalid copies.
\nInstrumental parts: violin (2 copies), viola (3 copies), violoncello (2 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 68 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPartita for Piano Quartet<\/em> (1946\/47). Worksheets in pencil.
\nManuscript drafts and sketches (pencil). 27 leaves of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nPartita for Piano Quartet<\/em> (1946\/47). Source materials: Eight Soviet Folksongs.
\n\u201cEight Soviet Folk Songs.\u201d Vocal melodies (without words). Manuscript facsimile, with annotations in pencil. 3 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nPartita for Three Flutes<\/em> (1941). Score: ink and pencil holographs.
\nDraft of full score (pencil); dated November 24, 1941. 1 page of music.
\nFull score. Fair copy (ink). 1 page of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nPiano Trio in Rococo Style <\/em>(undated). For violin, cello, and piano. Score and parts: ink holograph.
\nFull score. Manuscript draft (ink). 33 pages of music.
\nFull score. Fair copy (ink). 44 pages of music. 1 page of text (title page); 44 pages of music. On title page: \u201cWritten by K\u00f6nig Schneider Pferdlieber (pseudonym).\u201d
\nInstrumental parts: violin, cello. Fair copies (ink), with performance markings in pencil. 26 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nPiece for Six Trombones <\/em>(1940). For four tenor trombones and two bass trombones. Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink); dated January 7, 1940. 15 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nPiece for Six Trombones <\/em>(1940). Scores and parts: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid master). 2 copies. 15 pages of music, each.
\nInstrumental parts: trombone I, trombone II, trombone III, trombone IV, trombone V, trombone VI. Manuscript facsimile (from Ozalid masters). 12 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 20″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1605559343171{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\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nPiece for Six Trombones <\/em>(1940). Pencil score and sketches.
\nManuscript sketch and draft of full score (pencil); dated \u201cstarted December 12, 1937.\u201d 16 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPrelude for Brass Quintet<\/em> (1953). Sketches: pencil holograph.
\nManuscript sketches and draft (pencil); dated March 8-19, 1953. 7 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nQuartet for Oboe and Strings<\/em> (1967). For oboe, violin, viola, and cello. Score and parts: typed transparencies.
\nFull score. Typescript Ozalid masters; dated April 6, 1968. 40 pages of music.
\nInstrumental parts: oboe, violin, viola, cello. Typescript Ozalid masters. 36 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nQuartet for Oboe and Strings<\/em> (1967). Score and parts: Ozalid copy.
\nFull score. Manuscript facsimile (from Ozalid masters), bound; dated April 6, 1968. 40 pages of music.
\nInstrumental parts: oboe, violin, viola, cello. Manuscript facsimile (from Ozalid masters). 36 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nQuartet for Oboe and Strings<\/em> (1967). Sketches and worksheets.
\nManuscript notes, sketches, and drafts (pencil). 96 leaves of music and text.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nRanney\u2019s Piece: A Duo for Violin and Viola<\/em>. Parts: ink holograph.
\nInstrumental parts: violin, viola. Fair copies (ink), with annotations in pencil. 8 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nRanney\u2019s Piece for Amateur Viola and Piano<\/em> (1949). Score: pencil holograph.
\nFull score. Manuscript draft (pencil); dated April 23, 1949. 4 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nA Rondo of Rondeaux <\/em>(1954). For viola and piano. Score: pencil holograph.
\nFull score. Manuscript draft (pencil); dated October 1954. 21 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nA Rondo of Rondeaux <\/em>(1954). Score and solo part: ink holograph.
\nFull score. Fair copy (ink), with performance markings in colored pencil and pencil. 25 pages of music.
\nViola part. Fair copy (ink), with performance markings in pencil and colored pencil. 7 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nA Rondo of Rondeaux <\/em>(1954). Score and solo part: typed original transparencies.
\nFull score. Typescript Ozalid masters. 25 pages of music.
\nViola part. Typescript Ozalid master. 6 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nScena da Camera <\/em>(1978). For violin and cello. Score: pencil holograph.
\nFirst movement. Draft of score (pencil); dated November 1978. 10 pages of music.
\nSecond movement. Draft of score (pencil); dated November-December 1978. 18 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nScena da Camera <\/em>(1978). Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink). 14 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nScena da Camera <\/em>(1978). Score: Ozalid copy.
\nFull score. Manuscript facsimile (from Ozalid masters). 14 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nScena da Camera <\/em>(1978). Sketches.
\nManuscript sketches (pencil), labeled \u201cduo sketch\u201d; dated August-September 1978. 20 pages of music.
\nManuscript sketches (pencil), labeled \u201csketch for I of duo\u201d; dated October-November 1978. 21 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nSonata for Cello and Piano<\/em> (1948). Score and solo part: ink holograph transparencies.
\nCorrespondence. 3 items.
\nMrs. Depew [from Burrill Phillips?]. 1 note (pencil); undated. 1 page of text.
\nMrs. Stickler from Burrill Phillips. 1 letter (typescript); dated July 13, 1968. 1 page of text.
\n\u201cLittle\u201d(?) to Trudy. 1 note (ink); undated. 1 page of text.
\nManuscripts. 1 item.
\nFull score. Ozalid manuscript (ink); dated December 18, 1948. 52 pages of music.
\nCello part. Ozalid manuscript (ink). 15 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nSonata for Cello and Piano<\/em>\u00a0(1948). Score and solo part: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid masters), bound. 52 pages of music.
\nCello part. Manuscript facsimile (from Ozalid master). 15 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nSonata for Cello and Piano<\/em> (1948). Sketches and worksheets.
\nManuscript sketches and drafts (pencil); dated November 1948. 33 leaves of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nSonata for Violin and Piano<\/em>\u00a0(1949). Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink); dated November 23, 1942. 31 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nSonata for Violin and Piano<\/em> (1949). Score and solo part: Ozalid copies.
\nFull score. Manuscript facsimile (from Ozalid master), with performance markings in pencil. 31 pages of music.
\nViolin part. Manuscript facsimile (from Ozalid master), with performance markings in pencil. 11 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nSonata for Violin and Piano<\/em> (1949). Score and part: reduced size photocopies of published version.
\nFull score (incomplete; consists of mvmt. I only). Facsimile of published score (New York: G. Schirmer, 1949). 11 pages of music.
\nViolin part (complete). Facsimile of published part (New York: G. Schirmer, 1949). 11 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nSonata for Violin and Piano<\/em> (1949). Sketches and worksheets.
\nManuscript sketches and drafts (pencil). 36 leaves of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nSonata in Two Movements<\/em> (1965). For violin and harpsichord. Score: pencil.
\nFull score. Manuscript draft (pencil); dated November-December 1965. 22 pages of music.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nSonata in Two Movements<\/em> (1965). Score: typed transparencies.
\nBurrill Phillips to \u201cTrudi.\u201d 1 letter (ink); undated. 1 page of text.
\nFull score. Typescript Ozalid master. 20 pages of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nSonata in Two Movements<\/em> (1965). Score: Ozalid copy.
\nFull score. Facsimile of typescript score (from Ozalid master), with performance markings in pencil. 20 pages of music. Copy 2 (duplicate facsimile). 20 pages of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nSonata in Two Movements<\/em>\u00a0(1965). Sketches and worksheets.
\nManuscript sketches (pencil) and facsimiles; dated November 1965. 22 leaves of music.<\/td>\n<\/tr>\n
\u00a0<\/td>\n <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 21″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1605561923675{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\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nString Quartet No. 1<\/em> (1939\/40). Score and parts: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink); dated 1940. 31 pages of music.
\nInstrumental parts: violin I, violin II, viola, cello. Ozalid manuscript (ink). 29 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nString Quartet No. 1<\/em> (1939\/40). Score: Ozalid copy.
\nFull score. Manuscript facsimile (from Ozalid masters). 31 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nString Quartet No. 1<\/em> (1939\/40). Worksheets in pencil.
\nManuscript sketches (pencil). 16 leaves of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nString Quartet No. 2<\/em> (1958). Score and parts: Ozalid copies.
\nFull score. Facsimile of typescript score (from Ozalid masters), bound. 85 pages of music.
\nInstrumental parts: violin I, violin II, viola, cello. Facsimiles of typescript parts, bound. 77 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nString Quartet No. 2<\/em> (1958). Pencil sketches.
\nManuscript sketches and drafts (pencil). 67 leaves of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSuite for String Quartet and Double Bass<\/em> (undated). Score: ink holograph.
\nFull score. Fair copy (ink). 39 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nThree Nostalgic Songs<\/em> (1961). For flute and piano. Score: pencil holograph transparencies.
\nFull score. Ozalid manuscript (pencil); dated March 29, 1961. 10 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nThree Nostalgic Songs<\/em> (1961). Flute part: ink holograph.
\nFlute part. Fair copy (ink). 5 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nThree Nostalgic Songs<\/em> (1961). Score (1st movement only): Ozalid copy.
\nFull score (incomplete; consists of mvmt. I only). Manuscript facsimile (from Ozalid master). 4 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nThree Nostalgic Songs<\/em> (1961). Worksheets.
\nManuscript sketches (pencil); dated March 22, 1961. 14 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nTrio<\/em> (1984\/85). For clarinet, cello, and piano. Sketches and worksheets.
\nFacsimile of page from unidentified book (p. 316; page lists events in musical history on November 9). 2 copies. 1 page of text, each.
\n–\u00a0 Included on page: birth of Burrill Phillips (1907).
\nManuscript sketches, drafts, and notes (pencil and ink). 50 leaves.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nTrio for Trumpets<\/em> (1937). Score: ink holograph transparencies.
\nFull score. Ozalid manuscript (ink). 17 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nTrio for Trumpets<\/em> (1937). Score: Ozalid copy.
\nFull score. Manuscript facsimile (from Ozalid master). 17 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nTrio for Trumpets<\/em> (1937). Sketches and worksheets.
\nManuscript sketches (pencil); dated April-May 1938. 19 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nViolin Studies.<\/em> Drafts and sketches: pencil holograph.
\nManuscript sketches and drafts; dated September-October 1940. 22 leaves of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series E: Keyboard works<\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 21`{`cont.`}`” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606759891611{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\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 16<\/strong><\/td>\nArioso <\/em>(undated). For solo piano. Ink holograph.
\nScore. Fair copy (ink), with annotations in colored pencil. 2 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nBarcelona<\/em> (1961). For solo piano. Pencil draft.
\nScore. Manuscript draft (pencil); dated June 1, 1961. 16 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nCadenza for Mozart’s Piano Concerto K. 491<\/em> (1964).<\/em> Pencil holograph.
\nScore. Manuscript draft (pencil); dated March 10-11, 1964. 7 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nCadenza for Mozart’s Piano Concert K. 491. Typed transparencies and Ozalid copy.
\nScore. Typescript Ozalid master. 6 pages of music.
\nFacsimile of typescript score (from Ozalid master). 6 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nThe Chatterer <\/em>(1956). For solo piano. Pencil sketches.
\nScore. Manuscript draft (pencil). 3 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nChildren’s Piano Pieces <\/em>(1957-60). For solo piano. Pencil holograph.
\nScore. Manuscript draft (pencil); dated 1957-1960. 13 leaves of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nCommentaries for Piano Solo<\/em> (undated). Score: photocopies.
\nScore. Manuscript facsimile, bound. 3 copies. 22 pages of music, each.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nConcertst\u00fcck for Piano<\/em>. Score: ink holograph.
\nScore. Fair copy (ink), bound. 18 pages of music. On title page: \u201cBy K\u00f6nig Schneider Pferdlieber (pseudonym).\u201d<\/p>\n
    \n
  • Envelope affixed to inside of front cover of score, containing typescript document with biographical and contact information for Burrill Phillips (\u201cMy real name is\u2026\u201d). 1 page of text.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nFive Puigcerda Fugues<\/em> (1961). For solo piano. Score: typed transparencies.
\nScore. Typescript Ozalid masters. 11 pages of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nFive Various and Sundry<\/em> (1961). For solo keyboard. Pencil sketch.
\nManuscript draft and sketches (pencil), with annotations in colored pencil; dated July-August 1958. 9 pages of music.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nFor Harry Cumpson <\/em>(undated). <\/em>For solo piano. Score: Ozalid copy.
\nScore. Facsimile of typescript score (from Ozalid master), with annotations in pencil. 9 pages of music.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nFor Harry Cumpson <\/em>(undated). <\/em>Score: typed transparencies (mvmts. IV, V, VIII, IX only).
\nScore (incomplete; consists of mvmts. IV, V, VIII, IX only). Typescript Ozalid masters. 4 pages of music.<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nMallorcan Prelude <\/em>(1960). For solo piano. Score: ink holograph.
\nScore. Fair copy (ink), with annotations in pencil; dated November 26-27, 1960. 3 pages of music.<\/p>\n
    \n
  • Title on first page of score: \u201cPreludio Mallorquin.\u201d<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\nMallorcan Prelude<\/em> (1960). Typed transparencies.
\nScore. Typescript Ozalid masters; dated November 26-27, 1960. 3 pages of music.<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\nMusic for Piano No. 1<\/em> (1949). Ink holograph transparencies.
\nScore. Ozalid manuscript (ink); dated May 2, 1948. 17 pages of music.<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\nMusic for Piano No. 1<\/em> (1949). Pencil sketches.
\nManuscript sketches and drafts (pencil). 10 pages of music.<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\nMusic for Piano No. 2<\/em> (1954). Ink holograph transparencies.
\nScore. Ozalid manuscript (ink). 21 pages of music.<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\nMusic for Piano No. 2<\/em> (1954). Ozalid copy.
\nScore. Manuscript facsimile (from Ozalid master). 21 pages of music.<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\nMusic for Piano No. 2<\/em> (1954). Pencil sketches.
\nManuscript sketches (pencil). 13 leaves of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 22″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606759919726{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\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<\/strong><\/td>\nThe Octopus and a Little Fish <\/em>(1964). Typed transparencies and 2 Ozalid copies.
\nScore. Typescript Ozalid masters. 2 pages of music.
\nScore. Facsimile of typescript score (from Ozalid masters). 2 copies. 2 pages of music, each.
\nManuscript draft of score (pencil); dated November 29, 1964. 2 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPueblo<\/em> (1965). Typed copy.
\nScore. Facsimile of typescript score (from Ozalid masters). 6 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSerenade for Piano, Four-Hands<\/em>. Typed transparencies.
\nFull score. Typescript Ozalid masters; dated December 26-31, 1956. 25 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nA Set of Three Informalities<\/em> (1934). For solo piano. Ink holograph transparencies.
\nScore. Ozalid manuscript (ink). 12 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSilly Sea Horse <\/em>(1961). Typed original; drawings.
\nSecond movement from <\/em>Music for Children.
\nScore. Typescript score (from Ozalid masters), with performance markings in pencil. 2 pages of music.
\nDrawings (pencil), with note: \u201cHere\u2019s Anita\u2019s pictures for Burrill\u2026\u201d 2 pages.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSinfonia Brevis<\/em> (1958). For solo organ. Typed transparencies.
\nScore. Typescript Ozalid masters; dated November 14-15, 1958. 26 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSinfonia Brevis<\/em> (1958). Ozalid copy.
\nScore. Facsimile of typescript score (from Ozalid master). 26 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSinfonia Brevis<\/em> (1958). Pencil holograph score; sketches.
\nManuscript draft of score (pencil), with annotations in colored pencil. 26 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nSonata da Camera<\/em> (1964). For solo organ. Score (1st movement only): pencil holograph.
\nScore (1st movement only). Fair copy (pencil), with annotations in colored pencil. 8 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nSonata da Camera<\/em> (1964). Original typed transparencies.
\nScore. Typescript Ozalid masters. 28 pages of music. Title on first page of score: \u201cSonata for Organ.\u201d<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nSonata da Camera<\/em> (1964). Ozalid copies.
\nScore. Facsimile of typescript score (from Ozalid master). 28 pages of music.
\nScore. Facsimile of typescript score (photocopy). 28 pages of music.
\nScore (movements II and III only). Facsimile of typescript score (from Ozalid master), with annotations in colored pencil by Wesley Morgan. 18 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nSonata da Camera<\/em> (1964). Sketches.
\nManuscript sketches (pencil). 39 leaves of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\n[Sonata for Piano, No. 1] (1942). Ink holograph transparencies.
\nTitle on score: First Piano Sonata.
\n<\/em>Score (incomplete; missing p. 1 of score). Ozalid manuscript (ink); dated October 19, 1942. 24 pages of music.
\nScore. Ozalid manuscript (ink); dated August 13, 1950. 31 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\n[Sonata for Piano, No. 1] (1942). Sketches and partial score.
\nManuscript sketches and drafts (pencil). 19 leaves of music.
\nManuscript sketches (pencil). 5 pages of music.
\nScore (incomplete; consists of pp. 1-2 only). Manuscript facsimile (from Ozalid master). 2 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\n[Sonata for Piano, No. 2] (1949). Pencil holograph score.
\nScore. Manuscript draft and sketches (pencil). 36 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\n[Sonata for Piano, No. 2] (1949). Ink holograph transparencies.
\nTitle on score: Second Piano Sonata.
\n<\/em>Score. Ozalid manuscript (ink); dated June 15-28, 1949. 28 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\n[Sonata for Piano, No. 2] (1949). Ozalid copies.
\nTitle on score: Second Piano Sonata.
\n<\/em>Score. Manuscript facsimile (from Ozalid masters), bound. 2 copies. 28 pages of music, each.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\n[Sonata for Piano, No. 3] (1952). Ink holograph transparencies.
\nTitle on score: Third Piano Sonata.
\n<\/em>Score. Ozalid manuscript (ink); dated May 29, 1952. 21 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\n[Sonata for Piano, No. 3] (1952). Ozalid masters, spiral-bound.
\nTitle on score: Third Piano Sonata.
\n<\/em>Score. Manuscript facsimile (from Ozalid masters), bound. 21 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\n[Sonata for Piano, No. 4] (1960). Ink holograph score.
\nTitle on score: Fourth Piano Sonata.
\n<\/em>Score. Fair copy (ink), with performance markings in pencil; dated June 23-July 13, 1960. 23 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\n[Sonata for Piano, No. 4] (1960). Typed transparencies.
\nTitle on score: Fourth Piano Sonata.
\n<\/em>Score. Typescript Ozalid masters; dated June 23-July 13, 1960. 20 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\n[Sonata for Piano, No. 4] (1960). Sketches and worksheets.
\n\u201cLog of composition at Yaddo starting June 8, 1960 to July 9, 1960.\u201d Manuscript document (ink). 2 pages of text.
\nManuscript sketches, drafts, and notes (pencil). 58 leaves of music and text.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nSonata for Piano, Four Hands<\/em> (undated). Score: pencil and ink holographs.
\nScore. Draft of score (pencil). 22 leaves of music.
\nScore. Fair copy (ink). 14 pages of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\n[Sonata for Piano, Four Hands] (1943?). Sketches.
\nTitle on folder: \u201cSketches for 2-piano sonata.\u201d
\n<\/em>Manuscript sketches (pencil). 12 leaves of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nSonatina for Organ<\/em> (1958). Pencil sketches.
\nManuscript sketches and drafts (pencil), with annotations in colored pencil; dated September-November 1958. 11 leaves of music.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nTen Divertimenti <\/em>(1938). For piano solo. Ink holograph transparencies.
\nScore. Ozalid manuscript (ink); dated August-September 1938. 1 page of text (title page); 20 pages of music.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nTen Divertimenti <\/em>(1938). Photostatic copy.
\nScore. Manuscript facsimile (from Ozalid masters). 1 page of text (title page); 20 pages of music.<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nTen Divertimenti <\/em>(1938). Sketches.
\nManuscript sketches, drafts, and notes (pencil and ink); dated June-August 1937. 30 leaves of music.<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\nToccata for Piano<\/em> (1944). Ink holograph transparencies.
\nScore. Ozalid manuscript (ink); dated July 23, 1944. 9 pages of music.<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\nToccata for Piano<\/em> (1944). Ozalid copy.
\nScore. Manuscript facsimile (from Ozalid master). 9 pages of music.<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\nToccata for Piano<\/em> (1944). Pencil sketches.
\nManuscript sketches (draft of score; pencil). 9 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 23″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606759936763{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\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nTwo Piano Preludes<\/em> (1950). Score: ink holograph transparencies.
\nScore. Ozalid manuscript (ink); dated November 25, 1950. 6 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwo Piano Preludes<\/em>\u00a0(1950). Score: Ozalid copies.
\nScore. Manuscript facsimile (from Ozalid master). 2 copies. 6 pages of music, each.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwo Piano Preludes<\/em> (1950). Pencil sketches.
\nManuscript draft of score (pencil and ink); dated November 14, 1950. 4 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTwo Sisters<\/em> (undated). For solo piano. Pencil holograph.
\nManuscript sketches and drafts (pencil). 17 leaves of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSecond piano addition to Bach\u2019s English Suite No. 2 <\/em>(1953). Pencil score.
\nPiano part. Draft of score (pencil); dated June 22, 1953. 18 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSecond piano addition to Bach\u2019s English Suite No. 3 <\/em>(1955). Pencil score.
\nManuscript draft of piano part (pencil and colored pencil); dated October 27, 1955. 9 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSecond piano addition to Bach\u2019s English Suite No. 3 <\/em>(1955). Typed transparencies.
\nPiano part. Typescript Ozalid masters. 10 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSecond piano addition to Bach\u2019s English Suite No. 3 <\/em>(1955). Ozalid copy.
\nPiano part. Facsimile of typescript score (from Ozalid master). 10 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nSecond piano addition to Bach\u2019s English Suite No. 4<\/em> (1953). Pencil holograph.
\nPiano part. Draft of part (pencil); dated August 14, 1953. 18 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nSecond piano addition to Bach\u2019s English Suite No. 5<\/em> (undated). Pencil holograph.
\nPiano part. Draft of part (pencil). 17 pages of music.
\nPiano part. Draft of part (pencil). 19 leaves of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\n\n

Second piano additions to Bach\u2019s English Suite Nos. 1-3 & 4-5 <\/em>(1955). Source material: G. Schirmer editions of J. S. Bach\u2019s English Suites<\/em>.<\/p>\n

    \n
  1. S. Bach, English Suites for the Piano,<\/em> Vol. I (Nos. 1-3) (New York: G. Schirmer, 1986), with annotations in pencil. 55 pages. Missing back cover of score.<\/li>\n
  2. S. Bach, English Suites for the Piano, <\/em>Vol. II (Nos. 4-6) (New York: G. Schirmer, n.d.), with annotations in pencil. 60 pages. Missing front and back covers of score.<\/li>\n<\/ol>\n<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nFour-hand arrangement of Scarlatti\u2019s Keyboard Sonatas, L. 211<\/em>. Typed transparencies.
\nFull score. Typescript Ozalid masters. 12 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nFour-hand arrangement of Scarlatti\u2019s Keyboard Sonatas, L. 271<\/em>. Typed score.
\nFull score. Fair copy (typescript). 3 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nFour-hand arrangement of Scarlatti\u2019s Keyboard Sonatas, L. 211 and L. 271<\/em>. Pencil sketches.
\nManuscript sketches (pencil). 10 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-series F: Sketches, worksheets, and notebooks<\/span><\/em><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-sub-series 1: Individual sketches and drafts<\/span><\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 23`{`cont.`}`” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760053518{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\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 15<\/strong><\/td>\n\u201cAdagio\/Allegro\u201d (1924-25). For solo piano. Pencil holograph.
\nManuscript draft (pencil); dated October 15, 1924. On reverse: \u201cAllegro.\u201d Manuscript sketches and draft (pencil). 2 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\n\u201cDance of the Little Woodfolk\u201d (1923?). For solo piano. Ink holograph.
\nDraft of score (ink); dated \u201cabout October or November 1923.\u201d 2 pages of music.
\nScore. Fair copy (ink). 3 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\n\u201cDying Fire\u201d (1924-25). For solo piano. Pencil and ink holograph.
\nScore. Fair copy (ink); undated. 4 pages of music.
\nDraft of score (pencil); dated 1924. 3 pages of music.<\/p>\n
    \n
  • Title on first page of score: \u201cTheme of \u2018Dying Fire.\u2019\u201d<\/li>\n
  • Annotation on first page of score: \u201cWritten about Nov 1924; Theme first written Oct, 1924.\u201d<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\n\u201cEtude Fantasy\u201d (1924-25). For solo piano. Ink holograph.
\nScore. Fair copy (ink); dated February 8, 1925. 2 pages of music<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\n\u201cFalling Leaves\u201d (1924-25). For solo piano. Pencil holograph.
\nScore. Draft of score (pencil); dated \u201cabout Oct 20, 1924.\u201d
\n–\u00a0 Title on first page of score: \u201cNo. 3: Falling Leaves.\u201d<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\n\u201cFour Medieval [sic]<\/em> Sketches for Piano\u201d (1927). Ink holograph.
\nScore. Fair copy (ink); dated July 1927-April 1928. 1 page of text (title page); 12 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\n\u201cFriendship Sonata\u201d (1924-25). For solo piano. Pencil sketches.
\nManuscript sketches (pencil); dated \u201csummer of \u201925.\u201d 5 pages of music.<\/p>\n
    \n
  • Title on first page of sketches: \u201cSketch of \u2018Friendship Sonata Essay.\u2019\u201d<\/li>\n
  • On reverse of pages 3-5 of sketches: manuscript notes (pencil).<\/li>\n<\/ul>\n

    \u201cOutline of \u2018Friendship\u2019 Musical Essay (Revised): First Movement.\u201d Draft of composer\u2019s notes (pencil). 1 page of text.<\/p>\n<\/td>\n<\/tr>\n

folder 22<\/strong><\/td>\n\u201cHarp of the North Wind\u201d (1924-25). For solo piano. Unfinished, pencil.
\nManuscript sketches (pencil), unfinished; undated (1924-25). 1 page of music.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\n\u201cAn Intento\u201d (1974). For solo piano. Sketches.
\nScore. Manuscript draft (pencil); dated January 3, 1973. 4 pages of music.
\nScore (incomplete; consists of first page of score only). Fair copy (typescript). 1 page of music.
\nManuscript sketches (pencil); dated September 17, 1974. 2 pages of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\n\u201cInventivo\u201d (1981). For solo piano. Sketches.
\nScore. Manuscript draft (pencil); dated May 1981. 4 pages of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\n\u201cLiedchen\u201d (1924-25). For voice and piano. Ink holograph.
\nScore. Fair copy (ink); undated (1924-25). 1 page of music.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\n\u201cPrelude\u201d (1924-25). For solo piano. Pencil holograph.
\nScore. Manuscript draft and sketches (pencil); dated \u201cabout October 1924.\u201d 2 pages of music.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\n\u201cPrelude for Flute and Violin\u201d (1924-25). Parts: ink holograph.
\nInstrumental parts: flute, violin. Fair copies (ink). 3 pages of music.<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\n\u201cPrelude: A Musical Thought\u201d (1924-25). For solo piano. Pencil holograph.
\nScore. Manuscript draft (pencil); dated October 16, 1924. 1 page of music. On reverse: page from unidentified score (fair copy, ink), crossed out. 1 page of music.<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\n\u201cRomance\u201d (1924-25). For solo piano. Ink holograph.
\nScore. Fair copy (ink); dated \u201cabout May 1924.\u201d 2 pages of music.<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\n\u201cSea Ranch\u201d (1975; 1982). Sketches.
\nManuscript sketches (pencil and ink); dated December 1975. 9 pages of music.
\n–\u00a0 Title on first page of sketches: \u201c1. Sea Ranch, California, Dec 1975.\u201d
\nManuscript sketches (pencil and ink); dated December 1982. 6 pages of music.
\n–\u00a0 Title on first page of sketches: \u201cextension of 3. Sea Ranch.\u201d<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\n\u201cSeptember Dark\/Winter Fancies\u201d (1924-25). For voice and piano. Texts by J. W. Riley. Pencil holograph.
\nScore. Draft of score and sketches (pencil); dated \u201cabout October or November 1924.\u201d 2 pages of music.<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\n\u201cThird French Suite (J. S. Bach) with a counterpoint for 2nd piano\u201d (undated). Ink holograph.
\nTranscription of Third French Suite<\/em> by J. S. Bach, with counterpoint for second piano by Burrill Phillips. Full score. Fair copy (ink). 10 pages of music.
\n\u201cVI. Gigue.\u201d Draft of full score (pencil). 4 pages of music.<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\n\u201cValse Impromptu\u201d (1924-25). For solo piano. Ink holograph.
\nScore. Fair copy (ink). 2 pages of music.
\nDraft of score (ink), with annotations in pencil. 2 pages of music.<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\n\u201cWhen Snow Lies Deep Along the Road\u201d (1924-25). For solo piano. Pencil holograph.
\nScore (incomplete; consists of pp. 1-2 only). Fair copy (ink); dated November 1924. 2 pages of music.<\/td>\n<\/tr>\n
folder 35<\/strong><\/td>\n\u201cWhy?\u201d (1924-25). For voice and piano. Pencil holograph (incomplete).
\nScore (incomplete; consists of pp. 1-2 only). Manuscript draft (pencil). 2 pages of music.<\/td>\n<\/tr>\n
folder 36<\/strong><\/td>\n\u201cWinds of the Keyhole\u201d (1924-25). Ink holograph.
\nScore. Fair copy (ink); undated (1924-25). 4 pages of music.<\/td>\n<\/tr>\n
folder 37<\/strong><\/td>\nUntitled opera (1948). Incomplete; pencil sketches.
\nFull score (incomplete). Manuscript draft (pencil); dated July 1948. 180 pages of music.<\/td>\n<\/tr>\n
folder 38<\/strong><\/td>\nUntitled opera (1955). Scores and sketches: pencil holograph.
\nFull score. Manuscript draft (pencil), with annotations in colored pencil; dated July 1955. 354 pages of music.<\/td>\n<\/tr>\n
folder 39<\/strong><\/td>\nUntitled piece for violin and piano (1924-25). Score and parts: ink holograph.
\nFull score. Fair copy (ink); undated (1924-25). 6 pages of music.
\n–\u00a0 On first page of score: \u201cWritten for Alberta Mayfield.\u201d
\nViolin part. Fair copy (ink). 2 pages of music.<\/td>\n<\/tr>\n
folder 40<\/strong><\/td>\nUntitled piece for trombone ensemble (1937). Sketches.
\nFull score (incomplete). Manuscript draft (pencil); dated April 15, 1937. 3 pages of music.<\/td>\n<\/tr>\n
folder 41<\/strong><\/td>\nUnidentified score (1924-25). Pencil holograph (pp.1-3 missing).
\nFull score (6 staves, instruments unlisted) (incomplete; pages 1-3 missing). Manuscript draft (pencil). 48 pages of music.<\/td>\n<\/tr>\n
\u00a0<\/td>\n\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 24″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760134366{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\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<\/strong><\/td>\nUntitled sketches for staged work (opera?); dated June-July 1947. Pencil holograph.
\nManuscript sketches (pencil); dated June 30-July 22, 1947. 14 leaves of music.
\n–\u00a0 \u00a0Enclosed in folder labeled: \u201cQuestions; Phillips.\u201d<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c10.\u201d Pencil holograph.
\nManuscript draft and sketches (pencil); dated \u201cAugust 6\u201d and \u201cAugust 12.\u201d 18 pages of music.
\n–\u00a0 Pages numbered 12-29.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n\u201cFirst movement\u201d (sketches), from folder labeled \u201c11.\u201d Pencil holograph.
\nManuscript sketches (pencil); undated. 6 pages of music.
\n–\u00a0 Annotation on front cover: \u201c1st movement\u2014written in Kansas City\u2014late.\u201d<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n\u201cAt entrance of A & C\u201d (draft), from folder labeled \u201c12.\u201d Pencil holograph.
\nDraft of piano vocal score (pencil); dated 12854 [December 8, 1954, or January 28, 1954]. 6 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nUntitled fugue (sketches), from folder labeled \u201c13.\u201d Pencil holograph.
\nManuscript sketches (pencil). 1 page of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nUntitled orchestral score (excerpt: pp. 35-38), from folder labeled \u201c14.\u201d Pencil holograph.
\nExcerpt of orchestral score (pencil); pages numbered 35-38. 4 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c15.\u201d Pencil holograph.
\nManuscript sketches for keyboard (pencil). 8 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c16.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated between November 17, 1955, and May 28, 1956. 11 leaves of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nAssorted sketches, from folder labeled \u201c17.\u201d Pencil and ink holograph.
\n\u201cChorus cantabile.\u201d For voice and piano. Draft of score (pencil); dated Summer 1923. 1 page of music. On reverse: manuscript sketches and note (ink and pencil).
\nUntitled sketches (pencil). 1 page of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nAssorted sketches, from folder labeled \u201c18.\u201d Pencil holograph.
\nAssorted sketches (pencil); dated between February 8, 1929, and January 13, 1942. 45 leaves of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c19.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated September 22-November 24. 17 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nAssorted sketches, from folder labeled \u201c20.\u201d Pencil holograph.
\n\u201cAct III Introduction.\u201d Manuscript sketches (pencil). 2 pages of music.
\n\u201cBeginning of Last Dance.\u201d Manuscript sketches (pencil). 2 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c21.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated June 6, 1953. 2 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c22.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated \u201cJanuary 26\u201d and November 10, 1954. 6 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nUntitled piece for violin and piano, from folder labeled \u201c23.\u201d Pencil and ink holograph.
\nDraft of score (incomplete) and violin part (ink). 2 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c24.\u201d Pencil holograph.
\nManuscript sketches and text (pencil); dated between December 8, 1954, and February 22, 1955. 23 pages of music; 1 page of text.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nAssorted untitled sketches, from folder labeled \u201c25.\u201d Pencil holograph.
\nVarious manuscript sketches (pencil); dated between October 2, 1955, and June 27, 1956. 9 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nAssorted sketches, from folder labeled \u201c26.\u201d Pencil holograph.
\nManuscript sketches (pencil). 4 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c27.\u201d Pencil holograph.
\nManuscript sketches and notes (pencil). 1 page of text, 11 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c28.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated August 8. 1 page of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nAssorted drafts and sketches, from folder labeled \u201c29.\u201d
\n\u201cChristmas All Year Long.\u201d For solo and piano. Draft of score (pencil); dated December 1, 1972. 1 page of music.
\nUntitled song (first line: \u201cLittle Kate, darling Kate\u201d). Typescript Ozalid master. 1 page of music.
\n\u201cA song by Eugene Godens.\u201d For voice and piano. Draft of score (ink). 3 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nUntitled piano duet, from folder labeled \u201c30.\u201d Ink holograph.
\nScore. Fair copy (ink). 15 pages of music.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\n\u201cViolin arrangement: Suite\u201d (violin part), from folder labeled \u201c31.\u201d Ink holograph.
\nViolin part. Fair copy (ink). 10 pages of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\n\u201cFantasy Modene\u201d (score), from folder labeled \u201c32.\u201d Ink holograph.
\nFor violin and piano. Score. Fair copy (ink). 11 pages of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nUntitled orchestral score (incomplete), from folder labeled \u201c34.\u201d Pencil holograph.
\nOrchestral score (incomplete; consists of pages numbered 7-24 only). Fair copy (pencil, colored pencil, and ink). 18 pages of music.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nAssorted sketches, from folder labeled \u201c35.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated between January 11, 1940, and June 19, 1953. 25 leaves of music.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nAssorted sketches, from folder labeled \u201c36.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated December 13, 1944. 15 pages of music.
\n\u201cThree Pieces for Four Clarinets.\u201d Full score (incomplete; consist of first page of score only). Ozalid manuscript (ink). 1 page of music.<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nOrchestral sketches, from folder labeled \u201c37.\u201d Pencil holograph.
\n\u201cAllegro moderato.\u201d Draft of orchestral score (incomplete; consists of pages numbered 1-12 only). Fair copy (pencil). 12 pages of music.
\n\u201cAdagio.\u201d Draft of orchestral score (incomplete; consists of pages numbered 1-8 only). Fair copy (pencil). 8 pages of music.<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\n\u201cClass of \u201828\u201d (score), from folder labeled \u201c38.\u201d Pencil holograph.
\nFor voice and piano. Words by Miss Pearl Winter. Score. Fair copy (ink). 2 pages of music.
\n–\u00a0 Accompanied by manuscript note (pencil). 1 page of text.<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\nUntitled suite for keyboard (drafts), from folder labeled \u201c39.\u201d Pencil holograph.
\nManuscript draft (pencil). 4 pages of music.
\nManuscript draft (pencil). 5 pages of music.<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\n\u201cAir and Variations (from 1st Quartet),\u201d from folder labeled \u201c40.\u201d Ink holograph.
\nFor solo instrument and piano. Score. Fair copy (ink). 3 pages of music.<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\nUntitled orchestral score (incomplete), from folder labeled \u201c41.\u201d Pencil holograph.
\nOrchestral score (incomplete; pages numbered 22-48 and 55-64 only). Fair copy (pencil). 38 pages of music.<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c42.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated June 19, 1954, and September 29, 1954. 11 pages of music.<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\nUntitled stage work (draft; incomplete), from folder labeled \u201c43.\u201d Pencil holograph.
\nPiano vocal score (incomplete; consists of pages numbered 32-81 only). Draft of score (pencil). 51 pages of music.<\/td>\n<\/tr>\n
folder 35<\/strong><\/td>\nUntitled sketches, from folder labeled \u201c44.\u201d Pencil holograph.
\nManuscript sketches (pencil); dated December 26-29. 5 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n

<\/a>Sub-sub-series 2: Compilations of sketches and notebooks<\/span><\/span><\/em><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 24`{`cont.`}`” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760229191{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
folder 36<\/strong><\/td>\n\u201cVery early sketches (1923- ).\u201d Pencil and ink.
\nPartial sketchbook, containing various sketches and drafts (pencil and ink); dated between July 1923 and July 1924. 26 pages of music.
\n\u201cCiaconna.\u201d For flute, two violins, and clarinet.<\/p>\n
    \n
  • Full score and parts. Fair copy (ink); dated December 1, 1930. 27 pages of music.<\/li>\n
  • Full score. Fair copy (ink). 17 pages of music.<\/li>\n<\/ul>\n

    \u201cMinuet for Two Violins.\u201d Instrumental parts. Fair copy (ink); dated March 14, 1928. 4 pages of music.
    \n\u201cPrelude.\u201d For violin and piano. Score and part. Fair copy (ink). 5 pages of music.
    \n\u201cAir and Variation (student work).\u201d For solo piano. Draft of score (pencil). 11 pages of music.<\/p>\n

      \n
    • On reverse of last page: \u201cWritten while at KOA (it shows it!).\u201d<\/li>\n<\/ul>\n

      \u201cMovements from a Suite.\u201d For solo piano. Draft of score (pencil); dated July 18, 1923. 12 pages of music.
      \n\u201cFughetto.\u201d For solo piano. Draft of score (pencil). 4 pages of music.
      \n\u201cString Quartet Sketches (not in order).\u201d Manuscript sketches (pencil). 61 pages of music.
      \n\u201cFugue.\u201d For solo piano. Draft of score (pencil); dated April-June 1928). 5 pages of music.
      \n\u201cModernistic studies.\u201d For solo piano. Draft of score (pencil). 4 pages of music.
      \n\u201cRecitative von Hummel Hoch.\u201d For voice and piano. Draft of score (pencil). 8 pages of music.
      \n\u201cFugue.\u201d For solo piano. Score. Fair copy (ink); dated \u201cSpring 1927.\u201d 2 pages of music.
      \n\u201cOriginal Sketch of School Song, sung Class Day, \u201924.\u201d For voice and piano. Draft of score (pencil). 4 pages of music.
      \nOversized item (manuscript sketches) separated; see Box 55, Folder 4.<\/em><\/p>\n<\/td>\n<\/tr>\n

folder 37<\/strong><\/td>\n\u201cUnidentified sketches (1923-25).\u201d Pencil and ink.
\n\u201cLegend.\u201d For solo piano. Draft of score (pencil); dated November 1924. 2 pages of music.
\n\u201cWritten for Jessie Hodges.\u201d For voice and piano. Draft of score (pencil); dated \u201cMarch 3.\u201d 4 pages of music.
\n\u201cMinuet.\u201d For solo piano. Draft of score (pencil and ink); dated \u201cJuly-August.\u201d 6 pages of music.
\nUntitled sketches (pencil); dated 1929. 16 pages of music.
\n\u201cAllemande.\u201d For solo violin. Draft of part (pencil); dated 1929. 8 pages of music.
\nAssorted untitled drafts, sketches, and notes (pencil and ink); dated between January 1924 and 1929. 61 leaves.<\/td>\n<\/tr>\n
folder 38<\/strong><\/td>\n\u201cNotebook for themes (1925).\u201d Pencil sketches.
\nManuscript sketches, labeled \u201cNotebook for themes\u201d (pencil); dated \u201cmostly 1925.\u201d 10 leaves.<\/td>\n<\/tr>\n
folder 39<\/strong><\/td>\n\u201cLog Book\u2014Junior Comp.; 1925-1926, vol. 1.\u201d Ink holograph.
\nBound sketchbook, containing assorted sketches and drafts (ink); dated between September 1925 and January 1926. 45 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 25″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760251271{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\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\n[Partial sketchbook] (1926). Ink holograph.
\nPartial sketchbook, containing assorted sketches and drafts (ink); dated February-May 1926. 47 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n[Partial sketchbook] (1926). Ink holograph.
\nPartial sketchbook, containing assorted sketches and drafts (ink); dated between May 1926 and May 1927. 41 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nMiscellaneous earlier sketches. 1928. Pencil and ink.
\n\u201cThe Baker\u2019s Dozen.\u201d For voice(s) and piano.<\/p>\n
    \n
  • Draft of score (pencil). 7 pages of music.<\/li>\n
  • Manuscript facsimile (mimeograph). 3 copies. 4 pages of music, each.<\/li>\n<\/ul>\n

    \u201cDay Before Yesterday.\u201d Suite for violin and piano. Score and part. Fair copy (ink). 7 pages of music.
    \n\u201cThree Dances.\u201d For violin and piano. Score and part. Fair copy (ink); dated May 1929. 9 pages of music.
    \nUntitled orchestral sketch, labeled \u201cOrchestrates Summer\u20141928\u201d (pencil). 20 pages of music.<\/p>\n<\/td>\n<\/tr>\n

folder 4<\/strong><\/td>\nCollection of juvenilia (1928-1929). Ink holograph.
\nScore. Fair copy (ink). 25 pages of music.
\nIncludes:<\/p>\n
    \n
  • \u201cSuite of Five Dances (Atonal).\u201d For solo piano.<\/li>\n
  • \u201cToccata in A Minor.\u201d For solo piano.<\/li>\n
  • \u201cFugue in F-sharp Minor.\u201d For solo piano.<\/li>\n
  • \u201cWenn du gute Augen hast.\u201d For voice and piano.<\/li>\n
  • \u201cSuite of Three Dances.\u201d For violin and piano.<\/li>\n
  • \u201cAllemande for Two Violins.\u201d<\/li>\n
  • Also in collection: \u201cA Norman Suite.\u201d For solo piano. Score (incomplete). Fair copy (ink); dated July 3, 1929.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nEarly manuscripts and sketches (1930-32). Pencil and ink.
\n\u201cPrelude.\u201d For four clarinets in B-flat. Score (incomplete; consists of p. 1 only). Fair copy (ink). 1 page of music.
\n\u201cSuite \u2026 for String Quartette and Double Bass.\u201d Score. Draft of score (pencil). 32 pages of music.
\nAssorted sketches and drafts (pencil and ink). 16 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nEarlier works at Rochester [1931-1933]. Pencil and ink holograph.
\n\u201cLarge Fugue.\u201d For three violins.
\n– Draft of score (pencil). 22 pages of music.
\n– Instrumental parts: violin I, violin II, violin III. Fair copy (ink), with annotations in pencil. 12 pages of music.
\n\u201cString Quartet in F-sharp Minor.\u201d Instrumental parts: violin I, violin II, viola, violoncello. Fair copies (ink). 59 pages of music.
\n\u201cChromatic Fantasie.\u201d For solo piano. Draft of score and sketches (ink and pencil). 8 pages of music.
\n–\u00a0 Interleaved in score: manuscript notes (pencil). 1 page of text.
\n\u201cGavotte and Musette.\u201d Instrumental parts (incomplete): 2nd flute, 1st clarinet. Fair copies (ink), with annotations in colored pencil. 2 pages of music.
\n–\u00a0 On reverse of parts: manuscript drafts and sketches (pencil). 2 pages of music.
\nUntitled orchestral score. Fair copy (ink and pencil). 63 pages of music.
\nUntitled sketch (pencil). 1 page of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nScores and sketches (1934-35). Pencil.
\nAssorted sketches and drafts, untitled (pencil); dated 1934-1935. 44 leaves of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nMiscellaneous sketches (1935-36). Pencil.
\nAssorted sketches and drafts, untitled (pencil); dated 1935. 29 leaves of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nSpiral manuscript notebook (1936-37).
\nBound manuscript notebook, containing assorted sketches and drafts (pencil). 52 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nMiscellaneous sketches (ca. 1942?). Pencil.
\nAssorted sketches, drafts, and notes (pencil and ink). 117 leaves of music.
\n–\u00a0 Includes sketches for a symphony (first movement and third movement).<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nUnknown projects and experiments (1959). Pencil.
\nAssorted sketches and drafts (pencil) and facsimiles (mimeographs). 33 leaves of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nUnidentified miscellaneous sketches (1950). Pencil.
\nManuscript notes (log of composition activities) (pencil); dated August 4, 1950. 4 pages of text.
\nAssorted sketches and drafts (pencil). 31 leaves of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\n\u201cParis Music\u201d (1961). Pencil holograph.
\nAssorted sketches and drafts (pencil); dated August-November 1961. 44 leaves of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nSketches (1961-62). Pencil.
\nAssorted sketches, drafts, and notes (pencil and ink); dated June 1961-December 1962. 36 leaves of music and text.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nSketches from 1961 (Mayica?) (1961). Pencil.
\nAssorted sketches, worksheets, drafts, and notes (pencil); dated 1960-61. 37 leaves of music and text.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\n\u201c69-70 Barcelona, Tangier, Italy Hill; 1975-Dec-Sea Ranch\u201d (1969-70). Pencil.
\nCollection of sketches and drafts (pencil); dated between December 1969 and June 1970. 15 leaves of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 26″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760279935{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\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\n\u201cRandom Sketches\u201d (1977-78). Pencil.
\nAssorted sketches and drafts (pencil), labeled \u201cR. S. [Random Sketches]\u201d; dated between July 1977 and January 1978. 56 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nAssorted sketches; dated 9\/10\/78-9\/13\/1979 (1978-79).
\nAssorted sketches and drafts (pencil); dated between September 10, 1978, and September 13, 1979. 32 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nAssorted sketches; dated 12\/12\/1978-3\/11\/1979 (1978-79).
\nAssorted sketches and drafts (pencil); dated between December 12, 1978, and March 11, 1979. 38 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\n\u201cCompletion of #45 in supplements of Longo\u2019s Scarlatti sonata\u201d (1979). Sketches.
\nManuscript sketches (pencil); dated October-December 1979. 10 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nMiscellaneous sketches and worksheets (1979-81).
\nManuscript sketches, charts, and drafts (pencil); notes (pencil); and typescript text; dated between September 1979 and September 1981. 103 leaves.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nAssorted sketches (1980-81).
\nAssorted sketches and drafts (pencil); dated between March 1980 and May 1981. 33 leaves of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nAssorted sketches (1982-83).
\nAssorted sketches and drafts (pencil); dated between May 1982 and January 1983. 30 leaves of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nMiscellaneous early sketches and manuscripts (undated).
\nMiscellaneous sketches and drafts (pencil and ink), with annotations in colored pencil. 93 leaves of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nEarly sketches (undated).
\nAssorted loose sketches, drafts, and notes (pencil) and typescript text. 22 leaves of music and text.
\nBound sketchbook (\u201cSummy\u2019s Octavo Music Tablet\u201d) containing miscellaneous sketches, drafts, and notes (pencil). 54 leaves.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n\u201cOpera Sketches\u201d (undated).
\nFolder labeled \u201cBurrill Phillips Opera Sketches\u201d; contains miscellaneous sketches and drafts (pencil); some dated (1942, 1958, 1964, 1968), most undated. 43 leaves of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nUndated sketches (undated). Pencil.
\nCollection of manuscript sketches (pencil); undated (\u201cAugust 29-September 5\u201d). 12 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nMiscellaneous sketches (undated).
\nAssorted sketches and drafts (pencil and ink). 32 leaves of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nMiscellaneous sketches (undated).
\nAssorted loose sketches, drafts, and notes (pencil and ink) and typescript texts. 145 leaves of music and text.
\n\u00a0 \u00a0 –\u00a0 Oversized items (manuscript sketches) separated; see Box 55, Folder 4.
\n<\/em>Also in folder:
\n–\u00a0 \u00a0Helen Weiss to Burrill Phillips. 1 letter (ink); dated November 27, 1946. 1 page.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 27″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760288207{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
folder 1<\/strong><\/td>\nSketchbooks [1] (undated).
\nFour sketchbooks (\u201cSummy\u2019s Octavo Music Tablet\u201d), containing manuscript sketches and drafts (pencil); undated. Sketchbooks contain 35, 38, 34, and 40 leaves, respectively (147 leaves of music total).<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSketchbooks [2] (undated).
\nFive sketchbooks (\u201cSummy\u2019s Octavo Music Tablet\u201d), containing manuscript sketches and drafts (pencil); undated. Sketchbooks contain 21, 62, 67, 38, 70 leaves, respectively (258 leaves of music total).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1606760313065{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Series 2: Published music<\/h3>\n

[\/vc_column_text][vc_custom_heading text=”Box 27`{`cont.`}`” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760339048{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\n\n\n\n\n\n\n\n\n
folder 3<\/strong><\/td>\nA Bucket of Water<\/em>. For mixed chorus and piano. Text by Alberta Phillips.
\nPublished score (Philadelphia: Elkan-Vogel, 1953). 19 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nCanzona VI<\/em>. For flute, oboe, clarinet, horn, and bassoon.
\nPublished score and parts (Berkeley, CA: Fallen Leaf, 1985). 129 pages.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nThe Chatterer<\/em>. For solo piano.
\nPublished score, edited by Isadore Freed (Bryn Mawr: Theodore Presser, 1957). 3 pages.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nConcert Piece for Bassoon and Strings<\/em>.
\nPublished score (Rochester, NY: Eastman School of Music American Composers\u2019 Edition, 1940). 2 copies. 19 pages, each.
\nInstrumental parts: bassoon solo, violin I, violin II, viola, violoncello, bass. Published parts (Rochester, NY: Eastman School of Music American Composers\u2019 Edition, 1940). 20 pages.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nConcert Piece for Bassoon and Strings<\/em>. Piano reduction.
\nPublished reduction for bassoon and piano (Rochester, NY: Eastman School of Music American Composers\u2019 Edition, 1940). 20 pages.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nConcert Piece for Bassoon and Strings<\/em>. Arrangement for bassoon solo and wind band.
\nPublished score (Rochester, NY: Eastman School of Music American Composers\u2019 Edition, 1965). 31 pages.
\nInstrumental parts: solo bassoon, flute I, flute II, oboe I, oboe II, clarinet I, clarinet II, alto clarinet, bass clarinet, alto saxophone, tenor saxophone, cornet I, cornet II, trumpet I, trumpet II, horn I, horn II, trombone I, trombone II, baritone (bass clef and treble clef), tuba, percussion (2 copies). Published parts (Rochester, NY: Eastman School of Music American Composers\u2019 Edition, 1965). 49 pages.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nDeclaratives<\/em>. For women\u2019s voices and chamber orchestra. (Editions for chorus and piano).
\n\u201cI. Bells.\u201d Text by Tom Boggs. Published piano vocal score (Philadelphia: Elkan-Vogel, 1945). 11 pages.
\n\u201cII. Love.\u201d Text by e. e. cummings. Published piano vocal score (Philadelphia: Elkan-Vogel, 1945). 8 pages.
\n\u201cIII. Pueblos.\u201d Published piano vocal score (Philadelphia: Elkan-Vogel, 1945). 23 pages.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nFanfare<\/em>. For ten-part brass choir with percussion.
\nPublished score (North Easton: Robert King Music, 1982). 12 pages.
\nInstrumental parts: trumpet I, trumpet II, trumpet III, horn I, horn II, trombone I, trombone II, trombone III, baritone, tuba, timpani, snare drum\/cymbals\/triangle, tenor drum\/bass drum. Published parts (North Easton: Robert King Music, 1982). 13 pages.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nFive Various and Sundry<\/em>. For solo piano.
\nPublished score (Philadelphia: Elkan-Vogel, 1961). 5 pages.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nFour Figures in Time<\/em>. For flute and piano.
\nPublished score and solo part (Philadelphia: Elkan-Vogel, 1953). 17 pages.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nThe Hag<\/em>. For four-part chorus of women\u2019s voices, a cappella. Text by Robert Herrick.
\nPublished score (Sigma Alpha Iota Modern Music Series. New York: Carl Fischer, 1949). 11 pages.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nHuntington Twos and Threes<\/em>. For flute, oboe, and cello.
\nPublished score and parts (New York: King\u2019s Crown Music Press, 1977). 48 pages.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nMcGuffey’s Readers.<\/em> Suite for orchestra.
\nPublished score (Rochester, NY: Eastman School of Music American Composers\u2019 Edition, 1937). 85 pages.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 28″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760363511{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\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nOculus non vidit<\/em>. Motet for mixed chorus.
\nPublished score (Branchport, NY: Italy Hill Press, 1964). 11 pages.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPiece for Six Trombones<\/em>.
\nPublished score (North Easton: Robert King Music, 1953). 6 copies. 8 pages, each.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPrelude for Brass Quartet<\/em>. For trumpet, trumpet or horn, and two trombones.
\nPublished score and parts (Philadelphia: Elkan-Vogel, 1953). 9 pages.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nQui vult venire<\/em>. Motet for mixed chorus.
\nPublished score (Branchport, NY: Italy Hill Press, 1963). 7 pages.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSancti Mei<\/em>. Motet for mixed chorus.
\nPublished score (Branchport, NY: Italy Hill Press, 1963). 7 pages.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nScena<\/em>. For small orchestra.
\nPublished score (New York: Hargail Music, 1947). 17 pages.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSerenade. <\/em>For piano four hands.
\nPublished score (New York: Southern Music, 1963). 27 pages.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nServe bone<\/em>. Motet for mixed chorus.
\nPublished score (Branchport, NY: Italy Hill Press, 1964). 10 pages.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nA Set of Three Informalities<\/em>. For solo piano.
\nPublished score (New York: G. Schirmer, 1945). 12 pages.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nSilly Sea Horse<\/em>. For solo piano.
\nPublished score (Philadelphia: Elkan-Vogel, 1961). 3 pages.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nSonata for Violin and Piano<\/em>.
\nPublished score and solo part (New York: G. Schirmer, 1949). 43 pages.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nSonata for Violoncello and Piano<\/em>.
\nPublished score and solo part (St. Louis: Washington University Press, 1957). 58 pages.<\/p>\n
    \n
  • Solo part has performance markings in pencil.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nSong in a Winter Night<\/em>. For soprano and piano. Words by Bink Noll.
\nPublished score (Berkeley, CA: Fallen Leaf, 1985). 9 pages.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nTell Me Where is Fancy Bred<\/em>. For mixed voices. Text by William Shakespeare.
\nPublished score (New York: Summy, [n.d.]). 12 pages.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nThree Divertimenti<\/em>. For solo piano.
\n\u201cFancy Dance.\u201d Published score (Philadelphia: Elkan-Vogel, 1946). 3 pages.
\n\u201cHomage to Monteverdi.\u201d Published score (Philadelphia: Elkan-Vogel, 1946). 3 pages.
\n\u201cBrag.\u201d Published score (Philadelphia: Elkan-Vogel, 1946). 5 pages.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nThree Easy Pieces for String Orchestra<\/em>.
\nPublished score (Interlochen, MI: Interlochen Press, 1959). 11 pages.
\nInstrumental parts: violin I (2 copies), violin II (2 copies), viola, cello, bass. Published parts (Interlochen, MI: Interlochen Press, 1959). 20 pages.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nThree for Piano<\/em>. \u201cI. Prelude.\u201d For solo piano.
\nPublished score (New York: Hargail Music, 1950). 2 pages.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nThree Nostalgic Songs.<\/em> For flute and piano.
\nPublished score and solo part (Bryn Mawr: Theodore Presser, 1963). 11 pages.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nTrio for Trumpets<\/em>.
\nPublished score (North Easton, MA: Robert King Music, 1961). 2 copies. 21 pages, each.
\nInstrumental parts: trumpet I, trumpet II, trumpet III. Published parts (North Easton, MA: Robert King Music, 1961). 22 pages.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nWhat Will Love Do<\/em>. For four-part chorus of women\u2019s voices, a cappella. Text by Robert Herrick.
\nPublished score (Sigma Alpha Iota Modern Music Series. New York: Carl Fischer, 1949). 11 pages.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1606760388457{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;padding-top: 10px !important;padding-right: 0px !important;padding-bottom: 10px !important;padding-left: 0px !important;}”]<\/p>\n

<\/a>Series 3: Non-music manuscripts<\/h3>\n

[\/vc_column_text][vc_custom_heading text=”Box 29″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606772284698{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\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nAlberta Phillips\u2019 worksheets and notebook.
\nBound notebook; contains manuscript notes on scenarios, characters, and staging and drafts of text (pencil and ink); dated November 1934-January 1936. 55 leaves.<\/p>\n
    \n
  • Interleaved in notebook (2 items):\n
      \n
    • \u201cThe Song of Johnny Appleseed.\u201d Typescript text, with annotations in pencil. 2 copies. 3 pages of text, each.<\/li>\n
    • Manuscript notes (pencil). 1 page of text.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n\u201cSeptet: Collected Poems of B. P.\u201d
\nManuscript notes, labeled \u201cSeptet: Collected Poems of B. P.\u201d Contains drafts of various poems and manuscript notes (pencil, ink, and typescript); dated 1950-51. 36 leaves of text.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nMiscellaneous drafts, prose and poetry.
\n\u201cDolphin Off Hippo.\u201d Typescript libretto [by Alonzo Gibbs], with annotations in pencil and ink. 12 pages of text.
\nNotebook; contains notes on Latin translations and other manuscript notes (ink and pencil). 30 leaves.<\/p>\n
    \n
  • Interleaved in notebook: drafts of poems (ink). 6 pages of text.<\/li>\n<\/ul>\n

    \u201cManipulation and Control in Contemporary Composition.\u201d Typescript document. 4 pages of text.
    \n\u201cA Student Looks at Bach.\u201d Typescript essay by Burrill Phillips. 10 pages of text.
    \n\u201cLeading American Symphonic Composers Today.\u201d Typescript essay by Burrill Phillips. 5 pages of text.
    \nManuscript drafts, poems, notes, drawings, and manuscript sketches [music] (ink, pencil, and typescript). 93 leaves of text; 5 leaves of music.
    \n\u201cThe Thumb: A Serious Vaudeville.\u201d Typescript libretto by S. P. Zitner, with annotations in pencil; dated December 23, 1959. 42 pages of text.<\/p>\n<\/td>\n<\/tr>\n

folder 4<\/strong><\/td>\n\u201cBeethoven as Composer.\u201d Lecture.
\nTypescript script for lecture, with annotations in pencil. 11 pages of text.
\nMusical examples (pencil), with typescript annotations. 4 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nLesson plans.
\nMusical examples and worksheets, manuscript notes and drafts, and typescript lesson plans (pencil, ink, and typescript). 60 leaves.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n\u201cFolk Music and Art Music.\u201d Articles.
\nTypescript article, accompanied by manuscript drafts and notes (pencil). 31 leaves of text.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nArticles.
\n\u201cSome Young American Composers.\u201d Typescript article, with annotations in pencil. 8 pages of text.
\nUntitled article pertaining to opera composition; first line: \u201cAs over half of these young composers have written \u2026\u201d (typescript). 2 pages of text.
\n\u201cCon[t]inuity and Techniques in Music.\u201d Typescript article, with annotations and insertions in pencil and ink. 17 leaves of text.
\n\u201cIntroduction to Contemporary Style through the Study of Early 20th-century Harmonic and Contrapuntal Techniques.\u201d Manuscript draft and notes (pencil). 10 pages of text.
\n\u201c(abc) Classifications.\u201d Manuscript draft and notes (pencil); dated November 26, 1941. 5 pages of text.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n\u201cMusic of This Century.\u201d Scripts.
\nScripts for radio series (typescript), with annotations in pencil; dated March-June 1936. 70 pages of text.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\n\u201cPiano Ensemble Music of Bartok.\u201d Essay text and musical examples.
\nTypescript essay (for lecture or presentation?). 10 pages of text.
\nMusical examples (typescript). 1 page of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n\u201cDraft for Book.\u201d
\nManuscript drafts and notes (pencil). 29 leaves of text.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\n\u201cTheory Notes.\u201d
\nNotebook for Theory 104 class; contains class and lecture notes, grades, and other material (pencil). 31 leaves of text.<\/p>\n
    \n
  • Interleaved in notebook: manuscript notes (pencil). 2 pages of text.<\/li>\n<\/ul>\n

    Musical examples and worksheets (ink and pencil). 7 leaves of music.
    \n\u201cPre-medieval music.\u201d Typescript essay, with annotations and insertions in pencil and ink. 43 pages of text.<\/p>\n<\/td>\n<\/tr>\n

folder 12<\/strong><\/td>\n\u201cNotes for Compositions.\u201d
\n\u201cBernard Rogers\u2019 Early Songs for Voice and Piano.\u201d Typescript essay and draft, with annotations in ink. 12 pages of text.
\nMennin, Peter. \u201cTheory as it Functions in the Life of a Composer.\u201d Facsimile of typescript essay (mimeograph). 6 pages of text.
\n\u201cLast joint lecture\u2014h. s. w.\u201d Typescript lecture notes, with annotations in ink. 2 pages of text.
\n\u201cA Close Shave; or, A Good Neighbor Can Be a Pain in the Neck.\u201d Typescript draft of libretto, with annotations in pencil. 4 pages of text.<\/p>\n
    \n
  • Accompanied by manuscript note: \u201cChamber Opera, 1st Draft.\u201d 1 page.<\/li>\n<\/ul>\n

    \u201cSpeak the First Word.\u201d Libretto for one-act opera.<\/p>\n

      \n
    • Typescript draft of libretto, with annotations in pencil. 17 pages of text.<\/li>\n
    • Typescript draft of libretto, with annotations in pencil and ink. 10 pages of text.<\/li>\n<\/ul>\n

      \u201cDon\u2019t We All?\u201d<\/p>\n

        \n
      • \u201cJournal of \u2018Don\u2019t We All?\u2019\u201d Manuscript notes (pencil and ink). 18 pages of text.<\/li>\n
      • \u201cStage Directions for \u2018Don\u2019t We All\u2019 \u2026 Tom.\u201d Typescript document, with annotations in colored pencil; accompanied by manuscript notes (pencil, colored pencil, and ink). 6 leaves of text.\n
          \n
        • Accompanied by manuscript note from Samuel Jones (\u201cI thought perhaps you\u2019d like these\u201d) (ink). 1 page.<\/li>\n<\/ul>\n<\/li>\n
        • \u201cOpera Workshop: New Rehearsal Schedule.\u201d Typescript document, with annotations in pencil. 1 page of text.<\/li>\n<\/ul>\n

          Miscellaneous notes and texts (ink, pencil, and typescript). 23 leaves of text.<\/p>\n<\/td>\n<\/tr>\n

folder 13<\/strong><\/td>\nCompleted lectures in Spanish. Typed.
\nDrafts of lectures for the Conservatorio Superior de M\u00fasica del Liceo\/Conservatorio Superior de M\u00fasica de Barcelona; includes drafts of lectures in English and Spanish translations (typescript, ink, and pencil), with annotations in pencil and ink. 218 leaves of text.
\nConference invitation. 1 card (typescript). 1 page.
\nBrochure for the Instituto Norteamericano. 1 item.
\nPress clipping, including schedule for conferences; dated November 30, 1960. 1 page.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 29″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1606760404615{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\n\n\n
folder 1<\/strong><\/td>\n\u201cBeecher and the Woodhull.\u201d Synopsis, drafts, and worksheets.
\nDraft of synopsis (typescript), accompanied by manuscript notes. 4 pages of text.
\nSynopsis (typescript). 4 pages of text.
\nRevised synopsis. Facsimile of typescript document. 3 copies. 5 pages of text, each.
\n\u201cAlberta Phillips: Category II.\u201d Page from unidentified application; contains list of previous librettos written by Alberta Phillips (typescript), with annotations in ink. 1 page of text.
\nManuscript notes and drafts (ink and pencil). 65 leaves of text.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nCatalogue of Representative Works by Resident Living Composers of Illinois.
\nBound catalogue. 28 pages.<\/p>\n
    \n
  • Interleaved in catalogue: \u201cGeographical List of Composers, (League of Composers).\u201d Typescript address list. 7 pages of text.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nMiscellaneous Notebooks\u20141 [unlabeled].
\nThree-tab notebook, containing addresses and notes about printing and sale of Latin motets (Sancti Mei; Serve Bone; Oculus Non Vidit<\/em>). 7 pages with text.
\nInterleaved in notebook (12 items):
\nCorrespondence (3 items):<\/p>\n
    \n
  • Robert Commanday to Burrill Phillips. 1 letter (typescript); dated February 10, 1964. 1 page. Accompanied by envelope.<\/li>\n
  • Russell Mathis (Director of Choral Activities, University of Oklahoma) to Burrill Phillips. 1 letter (typescript); dated December 10, 1963. 2 pages.<\/li>\n
  • \u201cCal\u201d to Burrill Phillips. 1 letter (typescript); dated \u201cApril 9.\u201d 2 pages.<\/li>\n<\/ul>\n

    Published music (2 items):<\/p>\n

      \n
    • Qui seqitur me.<\/em> Motet for mixed voices. Score. Facsimile of typescript score. 8 pages of music.<\/li>\n
    • Sancti Mei.<\/em> Motet for mixed voices. Published score (n.p.: Italy Hill Press, 1963). 7 pages of music.\n
        \n
      • Accompanied by letter from Alison Demarset (Vice President, Canyon Press, Inc.) to Burrill Phillips. 1 letter (typescript); dated February 4, 1964. 1 page.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n

        Papers (7 items):<\/p>\n

          \n
        • Invoices and vouchers. 3 items.<\/li>\n
        • \u201cAmerican Choral Directors Association Directory of Members.\u201d Bound directory; dated September 1962-August 1963. 37 pages.<\/li>\n
        • \u201cAssociated Music Publishers: 1963 Supplement.\u201d Typescript brochure of recent AMP publications. 12 pages.<\/li>\n
        • \u201cLetraset Instant Lettering.\u201d Brochure (advertisement).<\/li>\n
        • Brochure for \u201cMusicopy Autographing Kit.\u201d<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nMiscellaneous Notebooks\u20142 (labeled \u201cItaly Hill Press\u201d).
\nThree-tab notebook, containing notes and budget\/billing information (ink). 13 pages with text.
\nInterleaved in notebook (6 items):<\/p>\n
    \n
  • Invoices and vouchers, from various businesses. 4 invoices. 4 pages.<\/li>\n
  • Invoice from the University of Illinois Photographic Department; dated May 11. 1 page.<\/li>\n
  • Cancelled check from Burrill and Alberta Phillips (to the University of Illinois); dated May 22, 1964. 1 item.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nMiscellaneous Notebooks\u20143 (labeled \u201cBurrill\u201d).
\nThree-tab notebook, containing various notes regarding publishing, including addresses of publishers and music directors and notes on various compositions (ink). 39 leaves with text.
\nInterleaved in notebook:<\/p>\n
    \n
  • Composers Printing Service to Burrill Phillips. 1 letter (typescript); dated April 6, 1961. 1 page.<\/li>\n
  • List of Burrill Phillips masters in stock. Manuscript list by Ernest G. Hirsch (Composer\u2019s Printing Service); dated 1962. 1 page of text.<\/li>\n
  • Letter acknowledging receipt of master transparencies from Burrill Phillips (from Geneieve Dehussman). Typescript, with annotations in ink; dated September 29, 1959. 1 page of text.<\/li>\n
  • Receipt for insured parcel; dated May 17, 1962. 1 item.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nMiscellaneous Notebooks\u20144 (labeled \u201cPhillips Music Catalog\u20141963\u201d).
\nThree-tab notebook, containing various notes regarding Burrill Phillip\u2019s compositions and their publication, including log of sales and\/or rentals (ink). 50 leaves with text.
\nInterleaved in notebook:<\/p>\n
    \n
  • Invoice from Southern Music Publishing Co.; dated December 31, 1965. 1 page.<\/li>\n
  • Shipping receipts (from Uniform Express; Certified Mail) and manuscript note (ink); items affixed to notebook page. 3 items.<\/li>\n
  • Correspondence (3 items):\n
      \n
    • D. from Burrill Phillips. Draft of 1 letter (ink); undated. 2 pages.<\/li>\n
    • Sid Lipsky (Rochester Photocopy) to \u201cCustomer.\u201d 1 letter (typescript). 1 page.<\/li>\n
    • Harold Spivacke (Chief, Music Division, Library of Congress) from Burrill Phillips. 1 letter (pertaining to deposit of manuscripts) (typescript); dated November 24, 1964. 2 pages.<\/li>\n<\/ul>\n<\/li>\n
    • \u201cBurrill Phillips: Biographical Information.\u201d Typescript document. 1 page.<\/li>\n
    • \u201cNew AMC Reproduction Service.\u201d Typescript document. 1 page.<\/li>\n
    • Circular from the Composers Printing Service. 2 pages.<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nMiscellaneous drafts.
\nManuscript drafts and notes (pencil and ink); dated 1947-1953. [Unknown whether drafts are by Burrill or by Alberta.] 61 leaves of text.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]<\/p>\n

\u2190 BURRILL PHILLIPS COLLECTION<\/a><\/p>\n

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BURRILL PHILLIPS COLLECTION: Series 4-8 \u2192<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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