{"id":7245,"date":"2021-02-12T14:14:54","date_gmt":"2021-02-12T19:14:54","guid":{"rendered":"https:\/\/esm4.esm.rochester.edu\/sibley\/?page_id=7245"},"modified":"2024-06-28T13:58:47","modified_gmt":"2024-06-28T17:58:47","slug":"ser1-3","status":"publish","type":"page","link":"https:\/\/esm4.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/gread\/ser1-3\/","title":{"rendered":"GARDNER READ COLLECTION"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text css=”.vc_custom_1719597467465{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 1: Compositions<\/h3>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1719597524815{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;}”]<\/a>Sub-series A: Manuscripts and Imprints<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613163864496{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 css=””]<\/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
folder 1<\/strong><\/td>\n\u00a0W1. Motion Picture Incidental Music. Op. 1. For piano or organ solo. Ink MS, bound. 108 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW2. Under Western Skies. Op. 1, no. 45a. For full orchestra. Ink MS, bound. 12 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW3. Evanston High Song. Op. 2. For voice and piano. Ink MS, bound. 2 pages of music<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW4. An Ocean Rhapsody. Op. 3. For piano solo. Ink MS, bound. 12 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW5. Christmas Bells. Op. 4. For voice and piano. Ink MS, bound. 1 page of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW6. All Things Bright and Beautiful. Op. 5. Ink MS, bound. For SATB and piano accompaniment. 3 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW7. Saw You Never in the Twilight. Op. 6. Ink MS, bound. For voice and piano or organ accompaniment. 2 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW9. Legend Suite. Op. 7. For piano solo. Ink MS, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW10. Nocturne in D Major. Op. 8. For piano solo. Ink MS, bound. 4 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW11. Snowflakes \u2013 A Caprice. Op. 9. For piano solo. Ink MS, bound. 3 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW12. Pr\u00e9lude \u2013 To Spring. Op. 10. For full orchestra. Ink MS, bound. 16 pages of music
\nAccompanied by composer\u2019s program notes in ink and typescript, 1 page.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW12. Prelude\u2014To Spring, Op 10. For full orchestra. Instrumental parts: flute, oboe, clarinet (2), bassoon, horn (2), timpani, harp, piano, solo violin, and strings. Manuscript in ink and pencil. 25 pp. of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW13. Mountain Sketches. Op. 11. For full orchestra. Ink MS, bound. 21 pages of music. Accompanied by composer\u2019s program notes in ink, 1 page. Also accompanied by color illustration, 1 page.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW14. Suite of Dance. Op. 12. For piano solo. Ink MS, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW15. Gavotte, Op. 12, no. 2a. For full orchestra. Instrumental parts: flute (4), oboe (2), clarinet (2), bassoon (2), horn (4), trumpet (2), trombone (3), tuba, percussion, strings. Manuscript in pencil. 25 pp. of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW15. Gavotte, Op. 12, no. 2a. For full orchestra. Instrumental parts: flute (4), oboe (2), clarinet (2), bassoon (2), horn (4), trumpet (2), trombone (3), tuba, percussion, strings. Manuscript in pencil. 25 pp. of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW16. Badinage\u2014A Caprice. Op. 13. For full orchestra. Instrumental parts: flute (4), oboe, clarinet (2), bassoon, horn (4), trumpet (2), trombone (3), tuba, percussion, strings. Manuscript in pencil. 41 pp. of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nW17. Suite of Inventions. Op. 14. For piano solo. Ink MS, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW18. Pierrot. Op. 15. For voice and piano accompaniment. Words by Sara Teasdale. Ink MS, bound. 3 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW19. Theme with Variations. Op. 16. For piano solo. Ink MS, bound. 4 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nW20. Sonata in C Minor. Op. 17. For piano solo. Ink MS, bound. 14 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nW22. Senior Class Song of \u201932. Op. 18. For voice and keyboard accompaniment. Printed copy extracted from Evanston Town High School Senior Year Book 1932. 1 page of music. Accompanied by W24\/Op. 18b. Arrangement for mixed voices \u2013 a capella. Ink MS. 2 pages of music.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nW25. The Lotus-Eaters: A Symphonic Poem for Orchestra. Op. 19. After the poem by Alfred Lord Tennyson. For full orchestra. Ink MS, bound. 30 pages of music. Accompanied by composer\u2019s program notes in ink, 1 page. Also accompanied by Tennyson\u2019s poem in typescript, 1 page. Also accompanied by black-and-white color illustration, 1 page.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nW25. The Lotus-Eaters: A Symphonic Poem for Orchestra. Op. 19. After the poem by Alfred Lord Tennyson. For full orchestra. Ink MS, bound. 30 pages of music. Accompanied by composer\u2019s program notes in ink, 1 page. Also accompanied by Tennyson\u2019s poem in typescript, 1 page. Also accompanied by black-and-white color illustration, 1 page.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 2″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613164061647{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 css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nW26. Poeme. Op. 20. Dedicated to Muriel Joyce Reeves. For piano solo. Ink MS with red colored-pencil annotations, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW27. Poeme, Op. 20a (score reads Op. 20b). For violin, cello, and harp. Instrumental parts. Manuscript in ink. 5 pp. of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW28. Suite pour Harpe. Op. 21. Dedicated to Henry J. Williams. For harp solo. Ink MS, bound. 11 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW30. The Painted Desert. Op. 22. For full orchestra. Ink MS, bound. 74 pages of music. Accompanied by 1 color illustration and 1 black-and-white illustration, 2 pages total.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW30. The Painted Desert, Op. 22. For full orchestra. Instrumental parts. Manuscript in ink with pencil annotations, Manuscript facsimile with pencil annotations.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW30. The Painted Desert, Op. 22. For strings. Instrumental parts. Ozalid manuscript. 27 pp. of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW31. Four Nocturnes. Op. 23. For voice and keyboard accompaniment. When Moonlight Falls, no. 1; The Unknown God, no. 2; A White Blossom, no. 3; The Moon, no. 4. Ink MS with red colored-pencil annotations, bound. 16 pages of music<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\n[W36\u201339]. Four Nocturnes. Op. 23, nos. 1b\u20134b (score reads Op. 23a). Arranged by Vail Read for two sopranos and alto with piano accompaniment. When Moonlight Falls, no. 1; The Unknown God, no. 2; A White Blossom, no. 3; The Moon, no. 4. Ink MS, bound. 18 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW37. The Unknown God, Op. 23, no. 2b (score reads erroneously Op. 23, no. 2a). For three-part women\u2019s chorus (SSA). Score. Ozalid manuscript. 7 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW40. Four Nocturnes, Op. 23b (score reads Op. 23). For contralto and chamber orchestra. Score. Ozalid manuscript. 27 pp. of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW40. Four Nocturnes, Op. 23b (score reads Op. 23). For contralto and chamber orchestra. Score. Ozalid manuscript. 27 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW41. Scherzino. Op. 24. For woodwind quintet. MS repro with red colored-pencil annotations, bound. 12 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW41. Scherzino, Op. 24. For woodwind quintet. Instrumental parts. Ozalid manuscript. 10 pp. of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW42. Soliloquy. Op. 25. For piano solo. Ink MS, bound. 4 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW43. Sketches of the City. Op. 26. For full orchestra. After poems by Carl Sandburg. Ink MS with red and blue colored-pencil annotations, bound. 49 pages of music. Accompanied by composer\u2019s program notes in typescript, 1 page. Also accompanied by ink illustrations, 4 pages. Also accompanied by Sandburg poems in ink, 3 pages.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW43. Sketches of the City, Op. 26. For full orchestra. Instrumental parts: piccolo, flutes I and II, alto flute, oboes I and II, English horn, clarinets I and II, bass clarinet, bassoons I and II, horns I, II, and III, trumpets I, II, and III, trombones I, II, and III, tuba, percussion, celesta, harps I and II. Manuscript in ink. 78 pp. of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 3″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613402024578{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 css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nW43. Sketches of the City, Op. 26. For full orchestra. Instrumental parts: piccolo, flutes I and II, alto flute, oboes I and II, English horn, clarinets I and II, bass clarinet, bassoons I and II, horns I, II, and III, trumpets I, II, and III, trombones I, II, and III, tuba, percussion, celesta, harps I and II. Manuscript in ink. 78 pp. of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW43. Sketches of the City, Op. 26. For full orchestra. Instrumental parts: violin I, violin II, viola, cello, bass. Ozalid manuscript. 16 pp. of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW43. Sketches of the City. Op. 26. For full orchestra. After poems by Carl Sandburg. Printed copy, Juilliard Edition. Signature of Sandburg on the cover page. 36 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW44. Prayers of Steel, Op. 26, no. 3. For winds, brass, and percussion. Instrumental parts: piccolo; flutes I and II; oboes I and II; E-flat clarinet; clarinets I, II, and II; E-flat alto clarinet; bass clarinet; alto, tenor, and baritone saxophones; bassoons I and II; horns I\/II and III\/IV; cornets I and II\/III; trumpets I\/II; baritones I\/II; trombones I, II, and III; basses; timpani; percussion. MS in ink. 81 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW46. Sonata in A Minor. Op. 27. For piano solo. Ink MS, bound. 17 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW48. Four Inventions. Op. 28. For keyboard solo. Ink MS, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW49. Three Satirical Sarcasms. Op. 29. For piano solo. Proof copy, bound. 7 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW49. Three Satirical Sarcasms. Op. 29. For piano solo. Ink MS, bound. 7 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW49. Three Satirical Sarcasms. Op. 29. For piano solo. MS repro, bound. 7 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW50. Three Satirical Sarcasms, Op. 29a. For full orchestra. Wind, brass, and percussion parts: piccolo; flutes I and II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; contrabassoon; horns I, II, and III; trumpets I, II, and III; trombones I, II, and III; timpani; percussion; piano. Manuscript facsimile. 64 pp. of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW50. Three Satirical Sarcasms , Op. 29. For full orchestra. String parts: violin I (6); violin II (5); viola (4); cello (4); bass (3). Manuscript facsimile. 77 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW51. Symphony No. 1 in A Minor. Op. 30. For full orchestra. Ink MS with colored-pencil annotations, bound. 137 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW51. Symphony No. 1, Op. 30. Inscribed in ink to Homer Keller by the composer, June 30, 1939. Affiliated Music Corporation imprint. 137 pp. of music. Accompanied by a promotional flyer for Gardner Read, also inscribed in ink to Homer Keller by Gardner Read, December 30, 1939.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW52. Symphony No. 1 in A Minor. Op. 30a. Transcribed by the composer for piano, four hands. Ink MS with colored-pencil annotations, bound. 59 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nW53. Poem. Op. 31. For horn and piano. Ink MS, bound. 3 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW56. Three Chorale-Preludes. Op. 32. Dedicated to Archer Lambuth. For organ solo. Ink MS, bound. 9 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW58. Meditations on \u201cJesu, Meine Freude,\u201d Op. 32, no. 2b. For solo organ. Instrumental part. Ozalid manuscript. 3 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW59. Suite for String Quartet, Op. 33. Score and instrumental parts. Ozalid manuscript. 46 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW59. Suite for String Quartet, Op. 33. Instrumental parts. Manuscript facsimile with pencil annotations. 20 pp. of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW60. Suite for String Orchestra, Op. 33a. Score. Ozalid manuscript. 15 pp. of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW60. Suite for String Orchestra. Op. 33a. For two violins, viola, cello, and bass. MS<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW60. Suite for String Orchestra. Op. 33a. For two violins, viola, cello, and bass. MS repro with colored-pencil annotations, bound. Stamps on front cover for Peer Musikverlag and Southern Music Publishing Co. (marked as rental material). 15 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW60. Suite for String Orchestra, Op. 33a. Instrumental parts. Ozalid manuscript. 19 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW60. Suite for String Orchestra, Op. 33a. Instrumental parts. Manuscript facsimile with pencil annotations.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW61. Sarabande. Op. 33, no. 3a. Dedicated to Vail Read. For solo keyboard. Ink MS, bound. 2 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW62. Passacaglia and Fugue. Op. 34. For organ solo. Ink MS, bound. 21 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW63. Passacaglia and Fugue. Op. 34a. Transcribed by the composer for symphony orchestra. Ink MS with colored-pencil annotations, bound. 58 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW63. Passacaglia and Fugue, Op. 34a. For full orchestra. Wind, brass, and percussion parts: piccolo I; flute I; flute II\/piccolo II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; double bassoon; horns I, II, III, and IV; trumpets I, II, and III; tenor trombones I and II; bass trombone; tuba; timpani; harp. Manuscript facsimile. 69 pp. of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW63. Passacaglia and Fugue, Op. 34a. For full orchestra. String parts: violin I (9); violin II (8); viola (6); cello (6); bass (5). Manuscript facsimile. 129 pp. of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW64. Passacaglia and Fugue in D minor for Organ, Op. 34b, transcribed for two pianos. Score. Ozalid manuscript. 22 pp. of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW65. Six Intimate Moods. Op. 35. For violin and piano. Ink MS, bound. 12 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nW65. Six Intimate Moods. Op. 35. For violin and piano. Ink MS, bound. 18 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW66. From a Lute of Jade: Three Chinese Lyrics for Mezzo-Soprano. Tears, no. 1; The River and the Leaf, no. 2; Ode, no. 3. Op. 36 (1935). For mezzo-soprano with piano accompaniment. Ink MS, bound. 9 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW66. From a Lute of Jade. Op. 36 (1936). Tears, no. 1; Ode, no. 3; Op. 36 (1935). For voice with piano accompaniment. Ink MS, bound. 8 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nW68. Scherzotic Dance. Op. 37. Dedicated to Doris Briggs. For piano solo. Ink MS, bound. 4 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW68. Scherzotic Dance, Op. 37. For unspecified solo keyboard instrument. Photographic negative of a publisher\u2019s imprint, with markings in red opaque ink. 4 pp. of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW69. Fantasy for Viola and Orchestra, Op. 38. Wind, brass, and percussion parts. Manuscript in ink with pencil emendations. 62 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW69. Fantasy for Viola and Orchestra, Op. 38. String parts: solo viola (3) violin I (7); violin II (6); viola (5); cello (5); bass (4). Manuscript facsimile. 70 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW70. Fantasy for Viola and Orchestra. Op. 38a. For viola with piano accompaniment. Ink MS, bound. 17 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW70. Fantasy for Viola and Orchestra. Op. 38a. For viola with piano accompaniment. Ink MS, bound. 11 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW72. May Madrigal, Op. 39a. For mixed voices a cappella. Score. Ozalid manuscript. 7 pp. of music. [The Dodd\/Engquist bio-bibliography lists this work as\u00a0Merry<\/em>\u00a0Madrigal]<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW73. Petite Pastorale, Op. 40. For piano. Score. Ozalid manuscript. 2 pp. of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW73. Petite Pastorale, Op. 40. For piano. Score. MS repro, bound. 2 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW74, W75. Petite Pastorale, Op. 40a\/b. Instrumental parts, Op. 40a: flute, oboe, clarinets I and II, bassoons I and II, horns I and II, violins I and II, viola, cello, bass. Instrumental parts, Op. 40b: flute, oboe, clarinets I and II, bassoon, trombone, horns I and II, cornets I and II, violins I and II, viola, cello, bass, timpani. Ozalid manuscript. 25 pp. of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW74. Petite Pastorale, Op. 40a. For flute, clarinet (2), bassoon (2), horn (2), and strings. Instrumental parts. Manuscript facsimile with pencil annotations. 24 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW75. Petite Pastorale, Op. 40b. For flute, oboe, clarinet (2), bassoon, cornet (2), timpani, and strings. Instrumental parts. Manuscript facsimile. 64 pp. of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW75. Petite Pastorale. Op. 40b. For high school orchestra. Ink MS, bound. 7 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW77. The Golden Journey to Samarkand, Op. 41. For full orchestra, piano, mixed chorus, and SATB solo voices. Piano score and SATB vocal parts. Ozalid manuscript. 71 pp. of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW78. The Golden Journey to Samarkand. Op. 41a. For SATB and piano. Original orchestral parts indicated. Ink MS, bound. 46 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW79. Impromptu. Op. 42. Dedicated to Mrs. Edward MacDowell. For piano solo. Ink MS, bound. 3 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW80. Intermezzo, Op. 42a. For unspecified solo keyboard instrument. Instrumental part. Ozalid manuscript. 4 pp. of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nW83. Symphony No. 2, Op. 45. Wind parts (set 1): piccolo; flutes I and II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; contrabassoon. Manuscript facsimile. 92 pp. of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW83. Symphony No. 2, Op. 45. Wind parts (set 2). Manuscript facsimile. 92 pp. of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW83. Symphony No. 2, Op. 45. Brass and percussion parts (set 1): horns I, II, III, and IV; trumpets I, II, and III; trombones I, II, and III; tuba; percussion. Manuscript facsimile. 89 pp. of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 6″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613403879257{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 css=””]<\/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
folder 1<\/strong><\/td>\nW83. Symphony No. 2, Op. 45. Brass and percussion parts (set 2). Manuscript facsimile. 89 pp. of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW84. Symphony No. 2 in E-flat Minor. Op. 45a. Arranged by the composer for piano, four hands. Ink MS, bound. 45 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW85. Sea-Scapes. Op. 46. For harp solo. Ink MS, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW85. Sea-Scapes. Op. 46. For harp solo. Ink MS, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW86. Piano Quintet. Op. 47. For string quartet and piano. Ink MS, bound. 59 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW88. Songs for a Rainy Night. Op. 48. Nocturne, no. 1; All Day I Hear, no. 2; I Hear an Army, no. 3. For baritone solo with piano accompaniment. Words by Frances Frost (No. 1), James Joyce (Nos. 2 and 3). Ink MS, bound. 7 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW88. I Hear an Army, Op. 48, no. 3, for low voice and unspecified keyboard instrument. Score. Ozalid manuscript. 7 pp. of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW91. Nocturne, Op. 48, no. 1b (score reads Op. 48, no. 1a). For women\u2019s chorus and piano. Score. Ozalid manuscript. 11 pp. of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW92. All Day I Hear, Op. 48, no. 2b (score reads Op. 48a, no. 2). For solo voice, mixed chorus, and piano. Score. Ozalid manuscript. 11 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW93. Songs for a Rainy Night, Op. 48b (parts read Op. 48). For full orchestra. Instrumental parts. Manuscript in ink and manuscript facsimile with pencil corrections.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW94. Where Corals Lie, Op. 49. For mixed chorus and two pianos. Score. Ozalid manuscript. 31 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW96. Where Corals Lie, Op. 49b. Transcribed for two pianos. Score. Ozalid manuscript. 10 pp. of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW98. Chorale-Fantasia, based on the traditional Christmas carol \u201cGood King Wenceslas.\u201d Op. 50. For organ solo. MS repro, bound. 7 pages.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW99. Chorale-Fantasia, based on the traditional Christmas carol \u201cGood King Wenceslas.\u201d Op. 50a. Transcribed for piano, four hands by Vail Read. Ink MS, bound. 10 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW100. [Chorale-Fantasia on \u201cGood King Wenceslas,\u201d Op. 50b.] For two unspecified keyboard instruments. Score. Ozalid manuscript. 8 pp. of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW101. To a Skylark, Op. 51. For [divided five-part chorus of] mixed voices, a cappella. Vocal-piano score. MS repro, bound. 10 pp. of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW101. To a Skylark, Op. 51. For divided five-part chorus of mixed voices, unaccompanied. Vocal-piano score. Associated Music Publishers, Inc. imprint with pencil emendations in Gardner Read\u2019s hand. 23 pp. of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nW101. To a Skylark. Op. 51. For divided five-part chorus of mixed voices, unaccompanied. Inscribed in ink to Wayne Barlow by the composer, 1949. Associated Music Publishers, Inc. imprint (pl. no. A.M.P. 194516). 23 pp. of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW102. To a Skylark. Op. 51a. For SATB, a cappella, with rehearsal piano. Words by Percy Bysshe Shelley. Ink MS, bound. 17 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW103. American Circle: Music for a Dance. Op. 52. For keyboard solo. Ink MS, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nW104. American Circle: Music for a Dance. Op. 52a. Transcribed for high school orchestra by the composer. Ink MS with colored-pencil annotations, bound. 17 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nW104. American Circle, Op. 52a. For full orchestra. Instrumental parts. Manuscript in ink, manuscript facsimile, manuscript in pencil.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nW105. American Circle, Op. 52b, for violin and piano. Score. Ozalid manuscript. 5 pp. of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nW106. Circle Dance. Op. 52c. For piano solo. Ink MS, bound. 6 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 7″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613405286484{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 css=””]<\/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
folder 1<\/strong><\/td>\nW107. Pan e Dafni, Op. 53. For full orchestra. Instrumental parts: solo clarinet; piccolo; alto flute; flutes II and III; clarinets I and II; bass clarinet; bassoons I and II; double bassoon; horns I, II, III, and IV; trombones I, II, and III; percussion; harp; violin I (7); violin II (6); viola (5); cello (5); bass (4). Manuscript facsimile.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW108. Pan e Dafni. Op. 53a. Piano reduction. Pencil MS, bound. 14 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW109. Driftwood Suite, Op. 54. For unspecified solo keyboard instrument. Score. Ozalid manuscript. 15 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW109. Driftwood Suite, Op. 54. For unspecified solo keyboard instrument. Score. MS repro, bound. 15 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW110. Jungle Garden by Moonlight. Op. 54, no. 2a. For harp solo. MS repro, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW112. Concerto for Violoncello and Orchestra. Op. 55a. Dedicated to Gregor Piatigorsky. Arranged for cello with piano accompaniment. MS repro, bound. 52 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW114. The Temptation of St. Anthony: A Dance Symphony, Op. 56a. Two-piano score. Ozalid manuscript. 77 pp. of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW115. Dance of the Locomotives. Op. 57. For piano solo. MS repro, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW116. Dance of the Locomotives. Op. 57a. For full orchestra. Ink MS, bound. 26 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW118. Tryste Noel, Op. 59. For mixed chorus with alto solo or youth choir. Organ-vocal score. Publisher\u2019s proofs with corrections by Gardner Read in red pencil; facsimile of publisher\u2019s imprint incorporating the emendations. 16 pp. of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW119. The Magic Hour. Op. 60. For two sopranos and alto with piano accompaniment. Words by Nelle Richmond Eberhart. MS repro, bound. 11 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW120. Sonata da Chiesa. Op. 61. For piano solo. MS repro, bound. 14 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW121. Sonata da Chiesa. Op. 61a. Arranged for two pianos by the composer. MS repro, bound. 20 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW122. Sinfonia da Chiesa. Op. 61b. For brass quintet and organ. Ink MS, bound. 50 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW123. Night of All Nights, Op. 62. For voice and piano. Score. Ozalid manuscript. 8 pp. of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW124. Spiritual. Op. 63. Dedicated to Jacques Posell. For bass (or cello). MS repro, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW126. Spiritual. Op. 63b. For full orchestra. Orchestrated by Oscar Zimmerman. MS repro, stapled in folder. 12 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nW127. Music. Op. 64. For soprano and alto with piano accompaniment. Words by Walter de la mare. MS repro, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW128. Quiet Music for Strings. Op. 65. For three violins, two violas, two cellos, and bass. MS repro, bound. 13 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW129. Quiet Music for Organ, Op. 65a. Score. Ozalid manuscript. 8 pp. of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nW130. Threnody. Op. 66. Dedicated to David Van Vastor. For flute and piano. MS repro, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nW131. Threnody. Op. 66a. For solo flute, harp, and strings. MS repro, bound. 13 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_1613405801439{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 css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nW132. Pennsylvaniana. Op. 67. For full orchestra. MS repro, bound. 38 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW133. Dunlap\u2019s Creek \u2013 A Folk-Hymn. Op. 67a, no. 1. For winds, brass, and percussion. Ink MS, bound. 54 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW134. Three Songs for Baritone. Op. 68. For baritone and piano. Lullaby for a Dark Hour, no. 1; River Night, no. 2; As I Walk Through the Meadows, no. 3. MS repro, bound. 15 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW134. River Night, Op. 68, no. 2, for unspecified voice and unspecified keyboard instrument. Score. Ozalid manuscript. 7 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW134. As I Walked Through the Meadows, Op. 68, no. 3, for voice and piano. Score. Ozalid manuscript. 5 pp. of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW136. River Night, Op. 68, no. 2a, for bass, piano, and mixed chorus. Score. Ozalid manuscript. 11 pp. of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW137. Mountain Song. Op. 69. For SATB, a cappella. Words by Frances Frost. MS repro, bound. 4 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW138. A Mountain Song, Op. 69a. For mixed chorus, a cappella. Ozalid manuscript. 6 pp. of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW139. Partita, Op. 70. For full orchestra. Instrumental parts: flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani, violins I and II, viola, cello, bass. Ozalid manuscript. 61 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW139. Partita, Op. 70. Instrumental parts. Flute; oboe; clarinet; bassoon; horn; trumpet; trombone; timpani; violin I (4); violin II (4); viola (3); cello (3); bass (2). Manuscript facsimile. 120 pp. of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW139. Partita, Op. 70. Instrumental parts (set 2). MS facsimile. 120 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW140. De Profundis, Op. 71. For horn and organ. Score. Ozalid manuscript. 10 pp. of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW141. De Profundis. Op. 71a. For organ solo. MS repro, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW142. A Bell Overture, Op. 72. For full orchestra. Instrumental parts: violin I and II, viola, cello, bass. Ozalid manuscript. 22 pp. of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW142. A Bell Overture, Op. 72. For full orchestra. Instrumental parts (winds and percussion): piccolo, flutes (3), oboes (3), English horn, clarinets (3), bass clarinet, bassoons (2), contrabassoon, horns (4), trumpets (4), trombones (3), tuba, percussion (5), bells (5), celesta. MS facsimile with pencil emendations. 182 pp. of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 9″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613406564967{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 css=””]<\/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>\nW142. A Bell Overture, Op. 72. For full orchestra. Instrumental parts (strings): harp, violin 1 (9), violin 2 (8), viola (7), cello (6), bass (5). MS facsimile with pencil emendations; string parts bear the stamp of the Cleveland Symphony Orchestra. 219 pp. of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW143. Incidental music to Ibsen\u2019s \u201cHedda Gabler,\u201d Op. 73. Piano score. Ozalid manuscript. 9 pp. of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW144. Petite Berceuse (Lullaby for Cindy). Op. 74. For piano solo. MS repro, bound. 2 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW146. Songs to Children, Op. 76. For voice and piano. Score. Ozalid manuscript. 11 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW146. Songs to Children. Op. 76. Lullaby for a Man-Child, no. 1; The First Jasmines, no. 2; Song of Innocence, no. 3. For voice and piano. MS repro, bound. 21 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW149. Songs to Children. Op. 76a. Lullaby for a Man-Child, no. 1; The First Jasmines, no. 2; Song of Innocence, no. 3. For voice, flute, harp, and string quartet (score). MS repro, unbound. 34 pages of music. Accompanied by cover page with composer\u2019s writing in ink, 1 page.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW149. Songs to Children, Op. 76a. For flute, harp, and string quartet. Instrumental parts. Manuscript in ink with pencil emendations. 35 pp. of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW150. Lullaby for a Man-Child, Op. 76, no. 1b. For women\u2019s voices and piano. Score. Ozalid manuscript. 5 pp. of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW150. Lullaby for a Man-Child, Op. 76, no. 1b. For women\u2019s voices and piano. Score. MS repro, bound. 5 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW151. Six Easy Pieces for Piano. Op. 77, Nos. 2, 3 (two versions), and 5. For piano solo. Ink MS with colored-pencil and pencil annotations, bound. 12 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW159. Sonatina (Hommage \u00e0 Mozart), Op. 78. For solo piano. Ozalid manuscript. 13 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW160. Piano Solos for Young People. Op. 79. For piano solo. Ink MS with colored-pencil and pencil annotations, bound. 13 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW160. Piano Solos for Young People. Summer Afternoon, Op. 79. Photographic negatives of title pages for publisher\u2019s imprint of: Dreaming, Night Song, Plantation Moods, Puck, Summer Afternoon (Chicago: Clayton F. Summy Co.).<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW160. Piano Solos for Young People. Summer Afternoon, Op. 79, no. 1. For piano solo. Photographic negative of a publisher\u2019s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 2 pp. of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW160. Piano Solos for Young People. Plantation Moods, Op. 79, no. 2. For piano solo. Photographic negative of a publisher\u2019s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 4 pp. of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW160. Piano Solos for Young People. Night Song, Op. 79, no. 3. For piano solo. Photographic negative of a publisher\u2019s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 3 pp. of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW160. Piano Solos for Young People. Puck, Op. 79, no. 4. For piano solo. Photographic negative of a publisher\u2019s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 2 pp. of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nW160. Piano Solos for Young People. Dreaming, Op. 79, no. 5. For piano solo. Photographic negative of a publisher\u2019s imprint (Chicago: Clayton F. Summy Co.), with markings in red opaque ink. 3 pp. of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW162. Two Moods for Band. Op. 79a. For concert band. Ink MS with colored-pencil and pencil annotations, bound. 20 pages of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW163. Sonata Brevis. Op. 80. Dedicated to Louis Kaufman. For violin and piano. MS repro, bound. 26 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nW164. Suite for Organ. Op. 81. For organ solo. MS repro, bound. 41 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nW165. Suite for Orchestra. Op. 81a (incomplete). For full orchestra. Pencil MS. 17 pages of music<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nW165. Suite for Orchestra. Op. 81a. For full orchestra. Pencil MS, bound. 113 pages of music<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nW166. Sound Piece for Brass and Percussion. Op. 82. Dedicated to Boston University Brass Choir. For trumpets (4), horns (4), baritone, trombones (3), tubas (2), timpanis (3), and percussion. Pencil MS, bound. 103 pages of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nW167. Chorale and Fughetta, Op. 83. For women\u2019s voices, winds, brass, percussion, and piano. Score. Ozalid manuscript. 25 pp. of music.
\nN.B. Movement III of For Serge Koussevitzky, in grato jubilo: an occasional cantata; see Box 129\/4.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nW167. Chorale and Fughetta. Op. 83. For SSA [and wind chamber orchestra]. Choral part. MS repro, bound. 6 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 10″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613409588057{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 css=””]<\/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>\nW168. Chorale and Fughetta, Op. 83, 1a (score reads Op. 83a). For brass choir. Score and instrumental parts: cornets I\/II and III\/IV, horns I\/II and III\/IV, trombones I\/II and III, baritones I and II, tuba. Ozalid MS. 38 pp. of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW170. Festival Fanfare. Op. 83, no. 2. For full orchestra and organ. Ink MS, bound. 7 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW170. Festival Fanfare, [Op. 83, no. 2]. Originally scored for organ and orchestra; only contains instrumental parts for violin I and II, viola, cello and bass. Ozalid MS. 5 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW171. A Sheaf of Songs. Op. 84. At Bedtime, no. 1; Sister, Awake, no. 2; The Lamb, no. 3; It is Pretty in the City, no. 4. For voice and piano. MS repro, bound. 14 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW171. A Sheaf of Songs. Op. 84. Sister, Awake, no. 2; The Lamb, no. 3; It is Pretty in the City, no. 3. For voice and piano. Scores. Ozalid manuscript. 11 pp. of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW174. At Bedtime. Op. 84a, no. 1. For SSA and piano. MS repro, bound. 4 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW175; W176. Sister, Awake, Op. 84, no. 2a. For SSA chorus and piano; The Lamb, Op. 84, no. 3a. For SATB chorus and piano. Vocal-piano scores. Ozalid manuscript. 13 pp. of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW176, W175. The Lamb, Op. 84, no. 3b and 3a; Sister, Awake, Op. 84, no. 2a. For voice, flute, oboe, clarinet, bassoon, and horn. Score and parts. Ozalid manuscript. 34 pp. of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW176, W175. The Lamb. Op. 84a, no. 3. For SATB and piano. Sister, Awake. Op. 84a, no. 2. For SSA and piano. MS repro, bound. 13 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\n[W177.] Songs for Voice and Wind Quintet. Op. 84b (score erroneously reads Op. 89b, and It is Pretty in the City erroneously listed as No. 2). At Bedtime, no. 1; It is Pretty in the City, no. 4. For voice and wind quintet. Pencil MS with typescript lyrics, in Duotang 3-prong folder.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW177. The Lamb. Op. 84b, no. 3. Sister, Awake. Op. 84b, no. 2. For voice and wind quintet. MS repro, bound. 12 pages of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW177. Sister, Awake, no. 2a from Two Songs for Voice and Woodwind Quintet. For voice, flute, oboe, clarinet, bassoon, and horn. Two sets of instrumental parts from the Rental Library of J. Fischer & Bro., New York. Manuscript facsimile. 10 pp. of music. Second copy of the oboe part is accompanied by a pencil MS, with performance markings in typescript, of the oboe part for arrangements of At Bedtime and It is Pretty in the City, songs 1 and 4 from W171,\u00a0A Sheaf of Songs, Op. 84<\/em>. 2 pp. of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW177. The Lamb, Op. 84, no. 3a from Two Songs for Voice and Woodwind Quintet. For voice, flute, oboe, clarinet, bassoon, and horn. Two sets of instrumental parts from the Rental Library of J. Fischer & Bro., New York. Manuscript facsimile; performance markings in pencil. 10 pp. of music. Flute, Bb clarinet, bassoon and horn in F are accompanied by their respective parts for arrangements of At Bedtime and It is Pretty in the City, songs 1 and 4 from W171,\u00a0A Sheaf of Songs, Op. 84<\/em>. MS in pencil. 8 pp. of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW178. Touch Piece. Op. 85. For piano solo. MS repro, bound. 15 pages of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW179. Nine by Six, Op. 86. For piccolo\/flute, oboe\/English horn, clarinet\/bass clarinet, trumpet, horn, and bassoon. Score. Ozalid manuscript. 38 pp. of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW179. Nine by Six, Op. 86. For piccolo\/flute, oboe\/English horn, clarinet\/bass clarinet, trumpet, horn, and bassoon. Instrumental parts. Ozalid manuscript. 42 pp. of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW180. Jesous Ahatonhia. Op. 87. Dedicated to Boston University Chorus, James R. Houghton, conductor. For SATB and organ. Ink MS, bound. 10 pages of music.<\/td>\n<\/tr>\n
folder ***<\/strong><\/td>\nW180. Jesous Ahatonhia. Op. 87. For SATB and organ.
\nSee Box 78\/1 (2 published imprints from Birchard-Boston University Contemporary Music Series, ed. Gardner Read).<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\n[W\u2014.] Jesous Ahatonhia. Op. 87a. For full orchestra. MS repro, stapled. 14 pages of music. Accompanied by typewritten biography of composer and program notes, 1 page total.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW181. Song Heard in Sleep, Op. 88. For soprano, tenor, and piano. Score. Ozalid manuscript. 14 pp. of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW182. Song Heard in Sleep, Op. 88a. For soprano, alto, tenor, bass, and piano. Score. Ozalid manuscript. 12 pp. of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nW183. The Reveille. Op. 89. Words by Bret Harte. For two tenors, two basses, piano, and snare drum. Ink MS, bound. 11 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nW184. The Reveille. Op. 89a. Words by Bret Harte. For SATB and piano accompaniment. Ink MS, bound. 16 pages of music.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nW185. The Reveille. Op. 89b. Words by Bret Harte. For wind orchestra, percussion, organ, and SATB. Ink MS, bound. 23 pages of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nW185. The Reveille, Op. 89b. For mixed chorus. Choral part. Manuscript facsimile. 13 pp. of music; 10 copies.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nW186. Eight Preludes on Old Southern Hymns. Op. 90. My Soul Forsakes Her Vain Delight, no. 1; Thou Man of Grief, Remember Me, no. 2; David, the King, Was Grieved and Moved, no. 3; On Jordan\u2019s Stormy Banks I Stand, no. 4; Alas! And Did My Saviour Bleed?, no. 5; Fight On, My Soul, no. 6; Do Not I Love Thee, O My Lord, no. 7; Once More, My Soul, the Rising Day, no. 8. For organ solo. Ink MS with colored-pencil and typewritten annotations, bound. 35 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 11″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613410221788{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 css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nW188. Elegiac Aria, Op. 91a. For organ. Ozalid manuscript. 5 pp. of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW189. Symphony No. 4, Op. 92. Instrumental parts (woodwinds): piccolo, flute (2), oboe (2), English horn, clarinet (2), bass clarinet, bassoon (2), contrabassoon. Manuscript facsimile with pencil emendations.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW189. Symphony No. 4, Op. 92. Instrumental parts (brass, percussion): horn (6), trumpet (3), trombone (3), tuba, percussion (6). Manuscript facsimile with pencil emendations.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW189. Symphony No. 4, Op. 92. Instrumental parts (violins): violin I (9); violin II (8). Manuscript facsimile with pencil emendations.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW189. Symphony No. 4, Op. 92. Instrumental parts (lower strings): viola (6); cello (6); bass (5). Manuscript facsimile with pencil emendations.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW190. The Golden Harp. Op. 93. For SATB, a cappella, with rehearsal piano. MS repro, bound. 12 pages of music.<\/td>\n<\/tr>\n
\u00a0***<\/strong><\/td>\nW190. The Golden Harp. Op. 93. For SATB, a cappella, with rehearsal piano.
\nSee Box 78\/1 (published imprint from Birchard-Boston University Contemporary Music Series, ed. Gardner Read).<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW192. Two Marches for Children. The Little Soldiers, Op. 95, no. 1; Toy Parade, Op. 95, no. 2. For piano solo. Ozalid manuscript. 4 pp. of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW193. Two Marches for Children. Op. 95a. The Little Soldiers, no. 1; The Toy Parade, no. 2. For piano, four hands. Pencil MS with colored-pencil annotations, bound. 10 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW194. Vernal Equinox. Op. 96. For full orchestra. Score and parts. Ozalid manuscript. 27 pages of music (score).<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW195. Three American Folk-Songs. Op. 97. Star in the East, no. 1; You Can Dig My Grave, no. 2; Hop Up, My Ladies, no. 3. Ink MS with colored-pencil annotations, bound. 33 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_1613410246220{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 css=””]<\/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
folder 1<\/strong><\/td>\nW197. Incidental music to J. M. Barrie\u2019s \u201cThe Admirable Crichton,\u201d Op. 98. For woodwind quintet and piano. Score. Ozalid manuscript. 23 pp. of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW197. Incidental music to \u201cThe Admirable Crichton.\u201d Op. 98. For wind quintet and piano. MS repro, bound. 21 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW197. Incidental music for Barrie\u2019s \u201cThe Admirable Crichton,\u201d Op. 98. For flute, clarinet, bassoon, horn, and piano. Instrumental parts. Manuscript in ink with pencil corrections. 30 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW198. Two American Hymns. Lord of All Being, Op. 99, no. 1; This New Day, Op. 99, no. 2. Chorale harmonizations for unspecified instrumentation. Ozalid manuscript. 2 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW200. String Quartet No. 1. Op. 100. Score and parts. Ozalid manuscript. 58 pages of music (score).<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW201. Incidental music to \u201cThe Shoemaker\u2019s Prodigious Wife.\u201d Op. 101. For (in order of appearance) guitar, SATB, flute, tambourine, trumpet, piccolo, bells. Ink MS, bound. 15 pages of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW202. Sonoric Fantasia No. 1, Op. 102. For celesta, harp, and harpsichord. Score. Ozalid manuscript. 46 pp. of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW203. Incidental music to \u201cThe Scarecrow.\u201d Op. 103. For trumpets (4), horns (4), trombones, organ, voice, and harpsichord. Score. Ink MS with colored-pencil annotations, bound. 26 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW203. Incidental music for MacKaye\u2019s \u201cThe Scarecrow,\u201d Op. 103. For tenor voice, horn, trumpet, trombone, organ, and harpsichord. Vocal and instrumental parts. Manuscript facsimile and manuscript in pencil. 21 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW203. Ravensbane\u2019s Ballade, from the incidental Music for MacKaye\u2019s \u201cThe Scarecrow,\u201d Op. 103. For tenor, horns, trumpets, and trombones. Parts: tenor, horns (4), trumpets (4), trombones (3). Manuscript facsimile.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW204. Fanfares for a Maske, Op. 104. For horns, trumpets, and trombone. Score. Ozalid manuscript. 9 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW205. Incidental music to \u201cThe Golden Six.\u201d Op. 105. For winds, brass, percussion, harp, and organ. Ink MS with colored-pencil annotations. 19 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW205. Incidental music for Anderson\u2019s \u201cThe Golden Six,\u201d Op. 105. For winds, brass, percussion, and organ. Instrumental parts. Manuscript in ink. 45 pp. of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW206. Boston Arts Festival Fanfare, Op. 106. For orchestra. Score. Ozalid manuscript. 5 pp. of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW207. Los Dioses Aztecas, Op. 107. Suite for percussion ensemble. Score. Ozalid manuscript. 69 pp. of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW207. Los Dioses Aztecas, Op. 107. Instrumental parts. Ozalid manuscript.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW207. Los Dioses Aztecas, Op. 107. Instrumental parts. Manuscript facsimile.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nW208. Incidental music to Harding\u2019s \u201cKinderspiel,\u201d Op. 108. Score. Ozalid manuscript. 12 pp. of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW208. Incidental Music to Harding\u2019s \u201cKinderspiel,\u201d Op. 108. For percussion, organ, and piano. Instrumental parts. Manuscript facsimile<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW209. Though I Speak with the Tongues of Men, Op. 109. For mixed choir and organ. Score. Ozalid manuscript. 17 pp. of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nW211. The Prophet. Op. 110a. Vocal score. For baritone solo and SATB, with rehearsal piano. MS repro, bound. 76 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 74″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717177737612{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nW211. The Prophet. Op. 110a. Vocal score. For baritone solo and SATB, with rehearsal piano. MS repro, spiral bound. 72 pages of music. Pages 55\u201358 (inclusive) missing.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW213. Six Preludes on Old Southern Hymns (Second Set), Op. 112. For organ. Ozalid manuscript. 23 pp. of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW214. Incidental music to James Forsyth\u2019s version of Ibsen\u2019s \u201cBrand,\u201d Op. 113. Score. Ozalid manuscript. 44 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW214. Incidental music to James Forsyth\u2019s version of Ibsen\u2019s \u201cBrand,\u201d Op. 113. For soprano, tenor, organ, oboe, horn, trumpet (4) , trombone (4), tuba, and percussion. Parts. Manuscript in ink.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW215. Incidental music to \u201cPilate.\u201d Op. 114. For flute, clarinet, trumpets (3), percussion, and harp. Ink MS, bound. 23 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW215. Incidental music to \u201cPilate,\u201d Op. 114. For flute, clarinet, trumpet (3), harp, and percussion. Instrumental parts. Ozalid manuscript.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW215. Incidental music for Sister Gretchen\u2019s \u201cPilate,\u201d Op. 114. Instrumental parts. For flute, clarinet, trumpet, horn, harp, and percussion. Manuscript facsimile with pencil corrections. 53 pp. of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW216. Incidental music to \u201cYerma.\u201d Op. 115. For flute, guitar, low tom-tom. Ink MS, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW216. Incidental music for Garcia Lorca\u2019s \u201cYerma,\u201d Op. 115. For flute, guitar, and percussion. Instrumental parts. Manuscript facsimile with corrections in pencil. 7 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW220. Chants d\u2019Auvergne, Op. 117. For mixed chorus, flute, English horn, bassoon, horn, percussion, harp, viola, and cello. Score. Ozalid manuscript. 169 pp. of music.
\nAccompanied by:
\n[1] An Ozalid manuscript for W225,\u00a0<\/span>Un berger, dedans sa cabane<\/em>, Op. 117a, no. 7. For SATB chorus, viola and organ. Score. 7 pp. of music.
\n<\/span>[2] An itemized bill from Harry Silberman, a music copyist, to Gardner Read. Typescript; annotated in pencil and ink. 2 pp.
\n[3] Documents containing translations of the texts for Chants d\u2019Auvergne. Repro of typescript. 4 pp.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW220. Chants d\u2019Auvergne, Op. 117. For mixed chorus, flute, English horn, bassoon, horn, percussion, harp, viola, and cello. Parts. Ozalid manuscript. 149 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW221, W223, W224, W226. Chants d\u2019Auvergne, Op. 117, Nos. 1a (for SATB chorus, piano and viola), 3a (for SATB chorus), 5a (for SATB chorus), and 9a (for SATB chorus, harp [or piano], and French horn). Ozalid manuscript. 39 pp. of music. Accompanied by English translations of the French text. Typescript. 4 pp.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW221, W225, W226. Chants d\u2019Auvergne, Op. 117, Nos. 1a (for SATB chorus, piano and viola), 7a (for SATB chorus, viola, and organ), and 9a (for SATB chorus, harp [or piano], and French horn). MS repro, bound. 23 pp. of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW229. Petite Suite, Op. 118. For recorders or flutes and harpsichord or piano. Ozalid manuscript. 6 pp. of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW230. Incidental music to \u201cSeven Scenes for Yeni.\u201d Op. 119. For voice, guitar, trumpet, and flute. Ink MS, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW231. Incidental music to \u201cEveryman.\u201d Op. 120. For flute, oboe, clarinet, and bassoon. MS repro, bound. 9 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 75″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717177837899{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nW232. Variations on a Chromatic Ground. Op. 121. For organ solo. Ink MS, bound. 5 pages of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW233. Villon, Op. 122. Act I. Piano-vocal score. Manuscript facsimile, unbound. 100 pp. of music. (Note: Final version of the opera is divided into three rather than four acts, and is scored for solo voices, chorus and orchestra).<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW233. Villon, Op. 122. Act II. Piano-vocal score. Manuscript facsimile, unbound. 57 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW233. Villon, Op. 122. Act III and Act IV, scene 1. Piano-vocal score. Manuscript facsimile, unbound. 142 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW233. Villon, Op. 122. Act IV. Piano-vocal score. Manuscript facsimile, unbound. 65 pp. of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW233. Villon, Op. 122. Act I. Piano-vocal score. Manuscript facsimile, bound. 157 pp. of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW233. Villon, Op. 122. Acts II and III. Piano-vocal score. Manuscript facsimile, bound. 176 pp. of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW235. Sonoric Fantasia No. 2, Op. 123. For violin (solo, I, II), viola, flute, harp, and percussion. Instrumental parts. Manuscript facsimile.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW237. A Christmas Pastorale. Op. 124. For violin and organ. Score and parts. Ozalid manuscript. 1 page (violin) and 10 pages (organ) of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW235. Sonoric Fantasia No. 3. Op. 125. For piccolo, E-flat flute, C flute, alto flute, bass flute, harp, and percussion. MS repro, bound. 25 pages of music. Accompanied by explanation of notation, 1 page.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW238. Sonoric Fantasia No. 3, Op. 125. For piccolo, E-flat flute, C flute, alto flute, bass flute, harp, and percussion (3 players). Instrumental parts (incomplete set; flutes): piccolo, E-flat flute, alto flute, bass flute. Manuscript facsimile.
\nN.B. Alto flute part is missing pages 16\u201317.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 76″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717177876900{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nW238. Sonoric Fantasia No. 3, Op. 125. For piccolo, E-flat flute, C flute, alto flute, bass flute, harp, and percussion (3 players). Instrumental parts (incomplete set; harp & percussion): harp, percussion 2 & 3 (2). Manuscript facsimile.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW240. Canzone di Notte, Op. 127. For guitar. Instrumental part and explication of notation. Ozalid manuscript. 1 p. of text, 3 pp. of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW241. Hexadic, Op. 128. For six instrumentalists. Score and instructions. Ozalid manuscript. 4 pp. of text, 3 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW242. The Storke (A Christmas Ballad), Op. 129. For mixed voices, a cappella. Score. Ozalid manuscript. 10 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nW243. Concerto for Piano and Orchestra, Op. 130. Instrumental parts (woodwinds): flutes I and II; oboes I and II; clarinets I and II; bassoons I and II. Computer-generated parts; privately printed for the composer.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW243. Concerto for Piano and Orchestra, Op. 130. Instrumental parts (brass and percussion): horns I (2), II, III, and IV; trumpets I, II, and III; trombones I, II, and III; timpani; percussion (2). Computer-generated parts; privately printed for the composer.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW243. Concerto for Piano and Orchestra, Op. 130. Instrumental parts (violins): violin I (9); violin II (9). Computer-generated parts; privately printed for the composer.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW243. Concerto for Piano and Orchestra, Op. 130. Instrumental parts (lower strings): viola (8); cello (8); bass (5). Computer-generated parts; privately printed for the composer.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW244. Concerto for Piano and Orchestra. Op. 130a. Reduction for two pianos. Score. Ozalid manuscript. 58 pages of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW244. Concerto for Piano and Orchestra. Op. 130a. Reduction for two pianos. Score. MS repro, bound. 58 pages of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW245. Praise Ye the Lord. Op. 131, no. 1. For eight vocalists. Ink and typescript MS, bound. 4 pages of music.<\/span><\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW245. Da Capo, Op. 131, no. 3 from Music to Sing. For mixed voices, a cappella. Score. Ozalid manuscript. 8 pp. of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW247. As White as Jade, Op. 131, no. 2. For four voices and piano. Score. Ozalid manuscript. 3 pp. of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nW248. The Hidden Lute. Op. 132. The Island of Pines, no. 1; Sleeplessness, no. 2; The Ancient Wind, no. 3. For soprano, harp, alto flute, and percussion. Score. Ozalid manuscript. 37 pages of music. Accompanied by explanation of notation, 1 page.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nW248. The Hidden Lute. Op. 132. For soprano, harp, alto flute, and percussion. Score. MS repro, bound. 37 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nW249. The Hidden Lute, Op. 132a. For soprano and piano. Score. Ozalid manuscript. 20 pp. of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nW249. The Hidden Lute, Op. 132a. For soprano and piano. Score. MS repro, bound. 20 pp. of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\n[W\u2014.] The Hidden Lute. Op. 132b. Piano reduction. Pencil MS, bound. 11 pages of music.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nW250. Sonoric Fantasia No. 4. Op. 133. For organ and percussion. MS repro, bound. 27 pages of music. Accompanied by program notes, 1 page. Also accompanied by explanation of notation, 1 page.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nW251. \u201cand there appeared unto them tongues as of fire,\u201d Op. 134. For organ. Score and instructions. Ozalid manuscript. 16 pp. of music, 1 p. of text.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nW252. Invocation, Op. 135. For tenor trombone and organ. Score. Ozalid manuscript. 9 pp. of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nW253. Galactic Novae, Op. 136. For organ and percussion. Score and instructions. Ozalid manuscript. 24 pp. of music, 1 p. of text.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nW255. Diabolic Dialogue, Op. 137. For double bass and four pedal timpani. Score and instructions. Ozalid manuscript. 9 pp. of music, 1 p. of text.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nW255. Diabolic Dialogue, Op. 137. For double bass and four pedal timpani. Score. Computer-generated parts; privately printed for the composer. Photocopy with emendations in red pencil. 8 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nW256. By-Low, My Babe. Op. 138. For mixed voices, flute, English horn, and harp. Ink MS, bound. 23 pages of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nW256. By-Low, My Babe, Op. 138. For mixed voices, flute, English horn, and harp. Parts. Manuscript in ink and pencil; Ozalid manuscript.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nW259. Music for Chamber Winds, Op. 141. For double wind quintet and percussion. Score. Ozalid manuscript. 30 pp. of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nW260. Music for Chamber Winds. Op. 141a. Piano reduction. Pencil MS, bound. 8 pages of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nW261. Chicago Anthem, Op. 142. For voice and unspecified keyboard instrument. Score. Manuscript in pencil. 4 pp. of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nW261. The Chicago Anthem, Op. 142. For voice and unspecified keyboard instrument. Score. Ozalid manuscript. 3 pp. of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nW262. Anniversary Prelude, Op. 143. For string trio. Score. Manuscript in pencil. 5 pp. of music.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nW262. Anniversary Prelude, Op. 143. For string trio. Score. Ozalid manuscript. 5 pp. of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nW263. Epistle to the Corinthians. Op. 144. For mixed chorus, brass choir, timpani (ad lib.), and organ. MS repro, spiral bound. 37 pages of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nW263. Epistle to the Corinthians. Op. 144. For mixed chorus, brass choir, timpani (ad lib.), and organ. Piano-vocal score. MS repro, spiral bound. 22 pages of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nW264. Epistle to the Corinthians. Op. 144a. For mixed chorus and piano. MS repro, bound. 22 pages of music.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nW265. Epistle to the Corinthians, Op. 144b. For soprano or tenor and organ. Score. Manuscript in pencil. 8 pp. of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nW265. Epistle to the Corinthians. Op. 144b. For Soprano (or Tenor), and Organ. MS repro, bound. 14 pages of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nW265. Epistle to the Corinthians. Op. 144b. For Soprano (or Tenor), and Organ. Score (incomplete; page 14 lacking). MS repro. 13 pages of music.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nW266. Nocturnal Visions, Op. 145. For baritone and piano. Score. Ozalid manuscript. 24 pp. of music.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nW267. Paean for St. Mark\u2019s, Op. 146. For mixed voices and organ. Score. Manuscript in pencil. 18 pp. of music.<\/td>\n<\/tr>\n
folder 28<\/strong><\/td>\nW267. Paean for St. Mark\u2019s, Op. 146. For mixed voices and organ. Score. Ozalid manuscript. 28 pp. of music.<\/td>\n<\/tr>\n
folder 29<\/strong><\/td>\nW268. Phantasmagoria, Op. 147. For English horn and organ. Score. Manuscript in pencil. 12 pp. of music.<\/td>\n<\/tr>\n
folder 30<\/strong><\/td>\nW268. Phantasmagoria, Op. 147. For English horn and organ. Score and instructions. Ozalid manuscript. 30 pp. of music, 1 p. of text.<\/td>\n<\/tr>\n
folder 31<\/strong><\/td>\nW268. Phantasmagoria, Op. 147. For English horn and organ. Score. Photocopy with pencil emendations in Gardner Read\u2019s hand. 30 pp. of music.<\/td>\n<\/tr>\n
folder 32<\/strong><\/td>\nW269. Phantasmagoria, Op. 147a. For English horn and organ. Score. Ozalid manuscript. 30 pp. of music.<\/td>\n<\/tr>\n
folder 33<\/strong><\/td>\nW270. Fantasy-Toccata, Op. 148. For unspecified keyboard instrument. Manuscript in pencil. 6 pp. of music.<\/td>\n<\/tr>\n
folder 34<\/strong><\/td>\nW270. Fantasy-Toccata, Op. 148. For solo harpsichord. Ozalid manuscript. 8 pp. of music.<\/td>\n<\/tr>\n
folder 35<\/strong><\/td>\nW271. Kokopelli. Op. 149. For flute and percussion. MS in pencil and typescript. 5 pages of music. Accompanied by explanations of notation (2 pages of MS in pencil; 2 pages of typescript, annotated in pencil; repro of typescript and pencil MS, 2 pages). Also accompanied by repro of MS in pencil and typescript. 2 pages of music. Also accompanied by 2 pages of the score that were created using music notation software.<\/td>\n<\/tr>\n
folder 36<\/strong><\/td>\nW272. Five Aphorisms for Violin and Piano, Op. 150. Manuscript in pencil. 22 pp. of music.<\/td>\n<\/tr>\n
folder 37<\/strong><\/td>\nW273. Poem II, Op. 151. For English horn and organ. Score. Ozalid manuscript. 2 pp. of music.<\/td>\n<\/tr>\n
folder 38<\/strong><\/td>\nW274. Music for \u201cThe Face of Innovation\u201d (Video). Op. 152. For horn and harp. MS repro, bound. 4 pages of music.<\/td>\n<\/tr>\n
folder 39<\/strong><\/td>\n[W\u2014.] \u201cBare ruin\u2019d choirs . . .,\u201d Op. 153. For organ. Score. Manuscript in pencil. 3 pp. of music.<\/td>\n<\/tr>\n
folder 40<\/strong><\/td>\n[W\u2014.] Pan e Dafni: II. Op. 154. For alto flute, viola and harp. MS in pencil; annotated in typescript. 4 pages of music.<\/td>\n<\/tr>\n
folder 41<\/strong><\/td>\n[W\u2014.] Klavier Klangfarben. Op. 155. For piano solo. MS in pencil; annotated with performance instructions in typescript. 3 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\n\u201cBirchard-Boston University Contemporary Music Series, ed. Gardner Read.\u201d 12 choral octavos (originally housed together in black spring binder):
\n[1] Read, Gardner. [W180.] Jesous Ahatonhia, Op. 87. For SATB chorus and organ. Boston: C. C. Birchard, c1950. No. 750. 12 pp. of music.
\n[2] Read, Gardner. [W180.] Jesous Ahatonhia, [Op. 87]. For SATB chorus and organ. [Evanston, IL]: Summy-Birchard, c1950. No. B-750. 12 pp. of music.
\n[3] Copland, Aaron. That\u2019s the Idea of Freedom. For SATB chorus and piano. Boston: C. C. Birchard, c1938. No. 751. 8 pp. of music.
\n[4] Copland, Aaron. That\u2019s the Idea of Freedom. For SATB chorus and piano. Evanston, IL: Summy-Birchard, c1938. No. B-751. 8 pp. of music.
\n[5] Cowell, Henry. Song for a Tree. For SSA chorus (a cappella or accompanied). Boston: C. C. Birchard, c1951. No. 752. 4 pp. of music.
\n[6] Bacon, Ernst. Five Hymns. For SATB chorus and piano or organ. Boston: C. C. Birchard, c1952. No. 753. 14 pp. of music.
\n[7] McLain, Margaret Starr. The Storke. For SATB chorus and piano. Boston: C. C. Birchard, c1942. No. 754. 13 pp. of music.
\n[8] Roy, Klaus George. There is a Garden in Her Face. For SATB chorus (a cappella). Boston: C. C. Birchard, c1952. No. 755. 7 pp. of music.
\n[9] Read, Gardner. [W190.] The Golden Harp, Op. 93. For SATB chorus (a cappella). Boston: C. C. Birchard, c1954. No. 756. 8 pp. of music.
\n[10] Read, Gardner. [W190.] The Golden Harp, Op. 93. For SATB chorus (a cappella). Evanston, IL: Summy-Birchard, c1954. No. B-756. 10 pp. of music.
\n[11] Adler, Samuel. Invocation to the Muse. For SATB chorus (a cappella). Boston: C. C. Birchard, c1957. No. 757. 5 pp. of music.
\n[12] Hovhaness, Alan. The Brightness of Our Noon, Op. 131. For SATB chorus [a cappella]. Boston: C. C. Birchard, c1957. No. 758. 6 pp. of music.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\n[WoO.] Two Fanfares. No opus number. Cherry Festival Fanfare, no. 1; Interlochen Bowl Fanfare, no. 2. Ink MS, bound. 2 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\n[WoO.] Willmann, Rudolph R. \u201cAn Experimental Investigation of the Creative Process in Music.\u201d\u00a0Psychological Monographs<\/u>, 57\/1 (1944). Music by Read appears on pp. 54, 60, and 64. Items circled in red colored-pencil. Pencil drafts inserted at the back of the issue, 2 pages.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717178006534{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;}”]<\/a>Sub-series B: Transcriptions<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 78″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717178066589{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 4<\/strong><\/td>\nWT1. [Incidental music to\u00a0Comus<\/em>.] Music by Henry and William Lawes and other contemporary composers. Arranged for String Quartet, Piano, and Harp by Gardner Read. Pencil MS, bound. 11 pages of music.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nWT2. La Bo\u00eete \u00e0 Joujoux. Music by Claude Debussy. Transcribed for Orchestra by Gardner Read. Incomplete (at end of score: \u201cnot completed \u2013 GR\u201d). Pencil MS, bound. 25 pages of music<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nWT2. La Bo\u00eete \u00e0 Joujoux. Music by Claude Debussy. Transcribed for Orchestra by Gardner Read. Instrumental parts: flute, oboe, clarinet, bassoon, horn, and strings. Manuscript in ink with pencil corrections. 30 pp. of music.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nWT3. Prelude and Fugue in B Minor. Music by J. S. Bach. Transcribed for Modern Orchestra by Gardner Read. Ink MS, bound. 60 pages of music.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nWT4. Mists [Nebbie] Music by Ottorino Respighi. Orchestrated by Gardner Read. Ink MS, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nWT4. Mists [Nebbie]. Music by Ottorino Respighi. Orchestrated by Gardner Read. Instrumental parts: flute, oboe, clarinets (2), bass clarinet, bassoon, horn, trumpet, trombone, harp, percussion, 1st violin (2), 2nd violin (2), viola, cello, bass. Manuscript in ink with pencil corrections. 18 pp. of music.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nWT6. Prelude, Adagio and Fugue, from Sonata VII. Music by Padre Martini (1706\u20131784). Transcribed for string orchestra by Gardner Read. Score. Ozalid manuscript. 15 pp. of music.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nWT6. Prelude, Adagio and Fugue, from Sonata VII. Music by Padre Martini (1706\u20131784). Transcribed for string orchestra by Gardner Read. Score. MS repro, bound. 15 pp. of music.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nWT6. Prelude, Adagio and Fugue, from Sonata VII. Music by Padre Martini (1706\u20131784). Transcribed for string orchestra by Gardner Read. Score. MS repro, spiral-bound. 15 pp. of music.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nWT6. Prelude, Adagio and Fugue, from Sonata VII. Music by Padre Martini (1706\u20131784). Transcribed for string orchestra by Gardner Read. Instrumental parts: violin I, violin II, viola, cello, bass. Ozalid manuscript. 20 pp. of music.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nWT6. Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784). Transcription for string orchestra. Parts: violin I (6), violin II (6), viola (4), cello (3), bass (2), cembalo (1). Manuscript reproduction; manuscript in ink (cembalo only). 97 pp. of music.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nWT6. Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784). Transcription for string orchestra. Parts (set 2): violin I, violin II. Ozalid manuscript. 6 pp. of music.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nWT6. Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784). Transcription for string orchestra. Parts (set 2): violin I (5), violin II (5). Manuscript reproduction; performance markings in pencil. 30 pp. of music.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nWT8. Palestrina: In Festo Transfigurationis Domini. Transcribed for Brass Quartet by Gardner Read. Pencil MS with colored-pencil annotations, bound. 6 pages of music.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nWT9. Palestrina: Laudate Dominum in Tympanis. Transcribed for Triple Brass choir by Gardner Read. Ink MS with colored-pencil annotations, bound. 16 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717178428640{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;}”]<\/a>Sub-series C: Sketches and Fragments<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 78″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717178456303{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n
folder 19<\/strong><\/td>\nWS1. Sketch for a Chorale, version 1. For women\u2019s voices. Manuscript in pencil. 2 pp. of music.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nWS1. Sketch for a Chorale, version 2. For women\u2019s voices. Manuscript in pencil. 4 pp. of music.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nWS2. Birthday Greeting to Nicolas Slonimsky. Unspecified instrumentation. Manuscript in pencil. 2 pp. of music.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nWS3. For Sarah Caldwell\u2019s Opera Company Fundraiser. For soprano, tenor, and baritone. Manuscript in pencil. 2 pp. of music.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nUnidentified sketch (pages numbered pp. 7\u20138). Manuscript in pencil. 2 pp. of music.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nUnidentified fragments. MS in pencil. 3 pages of music.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nTwelve Tone Rows. Analysis of rows from works by Arnold Schoenberg and Alban Berg. MS in pencil. 1 page of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717178571527{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: Recordings<\/h3>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717513826144{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;}”]<\/a>Sub-series A: Instantaneous Discs<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 79″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717515381372{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 10px !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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_custom_heading text=”Folio I” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717515408626{margin-top: 20px !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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
sleeve 1<\/strong><\/td>\nSymphony No. 1 in A minor, Op. 30.\u00a0 New York Philharmonic-Symphony Orchestra; John Barbirolli, conductor.\u00a0 5 November 1937.\u00a0 Carnegie Hall, New York, NY.\u00a0 Aluminin base sound disc. 2 sides.<\/td>\n<\/tr>\n
sleeve 2<\/strong><\/td>\nSymphony No. 1 in A minor, Op. 30 (cont.).<\/td>\n<\/tr>\n
sleeve 3<\/strong><\/td>\nSymphony No. 1 in A minor, Op. 30 (cont.).<\/td>\n<\/tr>\n
sleeve 4<\/strong><\/td>\nSymphony No. 1 in A minor, Op. 30 (cont.).\u00a0 From Sketches of the City, Op. 26: Fog.\u00a0 National High School Orchestra; Frederick Stock, conductor.\u00a0 11 August 1940.\u00a0 Interlochen Bowl, National Music Camp, Interlochen, Michigan\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 5<\/strong><\/td>\nSuite for String Quartet, Op. 33.\u00a0 10 August 1940.\u00a0 National Music Camp, Interlochen, Michigan.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 6<\/strong><\/td>\nSuite for String Quartet, Op. 33 (cont.).<\/td>\n<\/tr>\n
sleeve 7<\/strong><\/td>\nPassacaglia and Fugue, Op. 34a.\u00a0 Rochester Civic orchestra; Howard Hanson, conductor.\u00a0 26 October 1939.\u00a0 Kilbourn Hall, Eastman School of Music, Rochester, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 8<\/strong><\/td>\nFrom A Lute of Jade, Op. 36.\u00a0 Erna-Mae Gilcher with the Rochester Civic Orchestra; Howard Hanson, conductor.\u00a0 Kilbourn Hall, Eastman School of Music, Rochester, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 9<\/strong><\/td>\nFrom A Lute of Jade, Op. 36 (cont).\u00a0 Prelude and Toccata, Op. 43.\u00a0 Rochester Philharmonic Orchestra; Howard Hanson, conductor.\u00a0 29 April 1937.\u00a0 Eastman Theatre, Rochester, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 10<\/strong><\/td>\nPrelude and Toccata, Op. 43.\u00a0 NBC Symphony Orchestra; Frank Black, conductor.\u00a0 22 April 1941.\u00a0 NBC Studios, Radio City, New York, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 11<\/strong><\/td>\nFantasy for Viola and Orchestra, Op. 38.\u00a0 Julia Wilkinson, viola; Rochester civic Orchestra; Howard Hanson, conductor.\u00a0 22 April 1937.\u00a0 Kilbourn Hall, Eastman School of Music, Rochester, New York.\u00a0 Prayers of Steel. Op. 26a, No. 1.\u00a0 Eastman School Symphony Band; Frederick Fennell, conductor.\u00a0 26 April 1937.\u00a0 Eastman Theatre, Rochester, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 12<\/strong><\/td>\nWhere Corals Lie, Op. 49.\u00a0 E. T. H. S. Chorus; Hadassah McGiffen; Sadie Rafferty, conductor.\u00a0 19 November 1939.\u00a0 NBC Studios, Chicago, Illinois.\u00a0 Aluminin base sound disc.\u00a0 1 side.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Folio II” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717515398362{margin-top: 20px !important;margin-right: 0px !important;margin-bottom: 20px !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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
sleeve 1<\/strong><\/td>\nSymphony No. 2, Op. 45.\u00a0 Boston Symphony Orchestra; Gardner Read, conductor.\u00a0 27 November 1943.\u00a0 Symphony Hall, Boston, Massachusetts.\u00a0 Glass base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 2<\/strong><\/td>\nSymphony No. 2, Op. 45 (cont.).<\/td>\n<\/tr>\n
sleeve 3<\/strong><\/td>\nSymphony No. 2, Op. 45 (cont.).<\/td>\n<\/tr>\n
sleeve 4<\/strong><\/td>\nSymphony No. 2, Op. 45 (cont.).<\/td>\n<\/tr>\n
sleeve 5<\/strong><\/td>\nSketches of the City, Op. 26.\u00a0 Rochester Philharmonic Orchestra; Howard Hanson, conductor.\u00a0 12 December 1935.\u00a0 Eastman Theatre, Rochester, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 6<\/strong><\/td>\nSketches of the City, Op. 26 (cont.).<\/td>\n<\/tr>\n
sleeve 7<\/strong><\/td>\nNight Flight, Op. 44.\u00a0 Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor.\u00a0 27 April 1944.\u00a0 Eastman Theatre, Rochester, New York.\u00a0 Glass base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 8<\/strong><\/td>\nSongs for a Rainy Night, Op. 48.\u00a0 Mac Morgan; Eastman School Junior Symphony Orchestra; Gardner Read, conductor.\u00a0 27 April 1942.\u00a0 Eastman Theatre, Rochester, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 9<\/strong><\/td>\nThe Magic Hour, Op. 60.\u00a0 Millikin University Laboratory Choir; Carl Van Buskirk, conductor.\u00a0 22 April 1945.\u00a0 WSOY Studios, Decatur, Illinois.\u00a0 Aluminin base sound disc.\u00a0 1 side.<\/td>\n<\/tr>\n
sleeve 10<\/strong><\/td>\nPrelude and Toccata, Op. 43.\u00a0 Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.\u00a0 2 November 1945.\u00a0 Syria Mosque, Pittsburgh, Pennsylvania.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 11<\/strong><\/td>\nNight Flight, Op. 44.\u00a0 Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor.\u00a0 28 April 1945.\u00a0 Eastman Theatre, Rochester, New York.\u00a0 Glass base sound disc.\u00a0 1 side.<\/td>\n<\/tr>\n
sleeve 12<\/strong><\/td>\nDe Profundis, Op. 71.\u00a0 Harold Meek, horn; E. Power Biggs, organ.\u00a0 17 November 946.\u00a0 Germanic Museum, Harvard University, Cambridge, Massachusetts.\u00a0 CBS Network.\u00a0 Acetate base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Folio III” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613412673643{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
sleeve 1<\/strong><\/td>\nSymphony No. 1, Op. 30.\u00a0 Rochester Civic Orchestra; Howard Hanson, conductor.\u00a0 12 April 1935.\u00a0 Kilbourn Hall, Eastman School of Music, Rochester, New York.\u00a0 Aluminin sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 2<\/strong><\/td>\nSymphony No. 1, Op. 30 (cont.).<\/td>\n<\/tr>\n
sleeve 3<\/strong><\/td>\nSymphony No. 1, Op. 30 (cont.).\u00a0 Aluminin base sound disc.<\/td>\n<\/tr>\n
sleeve 4<\/strong><\/td>\nSymphony No. 1, Op. 30 (cont.).\u00a0 Aluminin base sound disc.\u00a0 1 side.<\/td>\n<\/tr>\n
sleeve 5<\/strong><\/td>\nSymphony No. 1, Op. 30.\u00a0 New York Philharmonic Symphony; John Barbirolli, conductor.\u00a0 5 November 1937.\u00a0 Carnegie Hall, New York, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.\u00a0 Duplicate recording.<\/td>\n<\/tr>\n
sleeve 6<\/strong><\/td>\nSymphony No. 1, Op. 30 (cont.).<\/td>\n<\/tr>\n
sleeve 7<\/strong><\/td>\nSymphony No. 1, Op. 30 (cont.).<\/td>\n<\/tr>\n
sleeve 8<\/strong><\/td>\nSymphony No. 2, Op. 45.\u00a0 Boston Symphony Orchestra; Gardner Read, conductor.\u00a0 27 November 1943.\u00a0 Symphony Hall, Boston, Massachusetts.\u00a0 Glass base sound disc.\u00a0 2 sides.\u00a0 Duplicate recording.<\/td>\n<\/tr>\n
sleeve 9<\/strong><\/td>\nSymphony No. 2, Op. 45 (cont.)<\/td>\n<\/tr>\n
sleeve 10<\/strong><\/td>\n\u00a0Symphony No. 2, Op. 45 (cont.)<\/td>\n<\/tr>\n
sleeve 11<\/strong><\/td>\nSymphony No. 2, Op. 45 (cont.)<\/td>\n<\/tr>\n
sleeve 12<\/strong><\/td>\nWhere Corals Lie, Op. 49.\u00a0 Cleveland Heights Choir; Gardner Read, conductor.\u00a0 20 December 1947.\u00a0 Masonic Auditorium.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 80″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717514036335{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_custom_heading text=”Folio IV” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717520765282{margin-top: 20px !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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
sleeve 1<\/strong><\/td>\nFirst Overture, Op. 58.\u00a0 Rochester Philharmonic Orchestra; Guy Fraser Harrison, conductor.\u00a0 15 February 1947.\u00a0 Eastman School of Music, Rochester, New York.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 2<\/strong><\/td>\nFirst Overture, Op. 58 (cont.).\u00a0 1 side.<\/td>\n<\/tr>\n
sleeve 3<\/strong><\/td>\nMusic for Piano and Strings, Op. 47a.\u00a0 Leonard Shure, piano; CBS Symphony Orchestra; Daniel Saidenberg, conductor.\u00a0 12 February 1947.\u00a0 CBS Studio #4, New York, New York.\u00a0 Sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 4<\/strong><\/td>\nMusic for Piano and Strings, Op. 47a (cont.).\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 5<\/strong><\/td>\nMusic for Piano and Strings, Op. 47a (cont.).\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 6<\/strong><\/td>\nMusic for Piano and Strings, Op. 47a (cont.).\u00a0 Festival Fanfare, Op. 83, No. 2.\u00a0 Boston University orchestra; Francis Findlay, conductor.\u00a0 31 January 1951.\u00a0 Symphony Hall, Boston, Massachusetts.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 7<\/strong><\/td>\nWhere Corals Lie, Op. 49.\u00a0 Cleveland Heights Choir; Gardner Read, conductor.\u00a0 20 December 1947.\u00a0 Masonic Auditorium, Cleveland, Ohio.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 8<\/strong><\/td>\nPennsylvaniana Suite, Op. 67.\u00a0 Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.\u00a0 21 November 1947.\u00a0 Syria Mosque, Pittsburgh, Pennsylvania.\u00a0 Acetate base sound disc.<\/td>\n<\/tr>\n
sleeve 9<\/strong><\/td>\nPennsylvaniana Suite, Op. 67 (cont.).\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 10<\/strong><\/td>\nPennsylvaniana Suite, Op. 67.\u00a0 Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.\u00a0 23 November 1947.\u00a0 Syria Mosque, Pittsburgh, Pennsylvania.\u00a0 Aluminin base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 11<\/strong><\/td>\nPennsylvaniana Suite, Op. 67 (cont.).<\/td>\n<\/tr>\n
sleeve 12<\/strong><\/td>\nPennsylvaniana Suite, Op. 67 (cont.).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Folio V” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613423248506{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
sleeve 1<\/strong><\/td>\nThrenody, Op. 66.\u00a0 George Hambrecht, flute; Eastman School Senior Symphony; Howard Hanson, conductor.\u00a0 14 May 1949.\u00a0 Eastman Theatre, Rochester, New York.\u00a0 NBC Network.\u00a0 At Bedtime, Op. 84, No. 1.\u00a0\u00a0 Harriet Hayes, soprano; Kenneth Manzer, piano.\u00a0 21 May 1951.\u00a0 Recital Hall, College of Music, Boston, Massachusetts.\u00a0 Acetate base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 2<\/strong><\/td>\nDance of the Locomotives, Op. 57a.\u00a0 NBC Studio Orchestra; Carmen Dragon, conductor.\u00a0 16 December 1949.\u00a0 NBC Studios, San Francisco, California.\u00a0 Standard School Broadcast No. 10.\u00a0 Acetate base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 3<\/strong><\/td>\nDance of the Locomotives, Op. 57a (cont.).<\/td>\n<\/tr>\n
sleeve 4<\/strong><\/td>\nDance of the Locomotives, Op. 57a (cont.).<\/td>\n<\/tr>\n
sleeve 5<\/strong><\/td>\nDance of the Locomotives, Op. 57a (cont.).<\/td>\n<\/tr>\n
sleeve 6<\/strong><\/td>\nSketches of the City, Op. 26.\u00a0 Second and third movements.\u00a0 NBC Studio Orchestra; Carmen Dragon, conductor.\u00a0 16 March 1950.\u00a0 NBC Studios, San Francisco, California.\u00a0 Standard School Broadcast No. 20.\u00a0 Acetate base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 7<\/strong><\/td>\nSuite for Organ, Op. 81.\u00a0 Julian Williams, organist.\u00a0 25 September, 1950.\u00a0 Chapel, Pennsylvania College for Women, Pittsburgh, Pennsylvania.\u00a0 Acetate base sound disc.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 8<\/strong><\/td>\nSuite for Organ, Op. 81 (cont.).<\/td>\n<\/tr>\n
sleeve 9<\/strong><\/td>\nSuite for Organ, Op. 81 (cont.).<\/td>\n<\/tr>\n
sleeve 10<\/strong><\/td>\nNine by Six, Op. 86.\u00a0 New England Conservatory of Music Wind Sextet.\u00a0 27 April 1951.\u00a0 Jordan Hall, Boston, Massachusetts.\u00a0 Acetate base sound recording.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 11<\/strong><\/td>\nEight Preludes on Old Southern Hymns, Op. 90.\u00a0 Samuel Walter, organist.\u00a0 29 October 1951.\u00a0 Daniel L. Marsh Chapel, Boston University, Boston, Massachusetts.\u00a0 Acetate sound recording.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 12<\/strong><\/td>\nEight Preludes on Old Southern Hymns, Op. 90 (cont.).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Folio VI” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613423627240{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
sleeve 1<\/strong><\/td>\nSound Piece for Brass and percussion, Op. 82.\u00a0 Cincinnati Conservatory Brass Ensemble; Ernest N. Glover, conductor.\u00a0 15 November 1950.\u00a0 Cincinnati, Ohio.\u00a0 Sound recording.\u00a0 2 sides.<\/td>\n<\/tr>\n
sleeve 2<\/strong><\/td>\nNight Flight, Op. 44.\u00a0 Louisville Orchestra; Nicolas Slonimsky, conductor.\u00a0 6 February 1952.\u00a0 Columbia Auditorium, Louisville, Kentucky.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 3<\/strong><\/td>\nArioso Elegiaca, Op. 91.\u00a0 Zimbler String Sinfonietta.\u00a0 8 April 1953.\u00a0 Jordan Hall, Boston, Massachusetts.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 4<\/strong><\/td>\nChorale and Fughetta, Op. 83a.\u00a0 Cincinnati Conservatory Brass Choir; Ernest N. Glover, conductor.\u00a0 1 December 1954.\u00a0 Cincinnati, Ohio.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 5<\/strong><\/td>\nThe Temptation of St. Anthony, Op. 56.\u00a0 Chicago Symphony Orchestra; Rafael Kubelik, conductor.\u00a0 9 April 1953.\u00a0 Orchestra Hall, Chicago, Illinois.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 6<\/strong><\/td>\nAll Day I Hear, Op. 48, No. 2.\u00a0 15 May 1952.\u00a0 College of Music, Boston, Massachusetts.\u00a0 Toccata Giocosa, Op. 94.\u00a0 13 May 1954.\u00a0 Louisville Orchestra; Robert Whitney, conductor.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 7<\/strong><\/td>\nThe Temptation of St. Anthony, Op. 56.\u00a0 Boston Symphony Orchestra; Gardner Read, conductor.\u00a0 19 March 1954.\u00a0 Symphony Hall, Boston, Massachusetts.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 8<\/strong><\/td>\nThe Temptation of St. Anthony, Op. 56 (cont.).<\/td>\n<\/tr>\n
sleeve 9<\/strong><\/td>\nWhere Corals Lie, Op. 49.\u00a0 Evanston Township High School Festival Chorus; Sadie Rafferty, conductor.\u00a0 15 May 1954.\u00a0 Beardsley Gymnasium, Evanston, Illinois.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 10<\/strong><\/td>\nSea-Scapes, Op. 46.\u00a0 Roslyn Rensch, harp.\u00a0 10 October 1950.\u00a0 Evanston, Illinois.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 11<\/strong><\/td>\n\u00a0Unidentified sound recording.<\/td>\n<\/tr>\n
sleeve 12<\/strong><\/td>\nUnidentified sound recording.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 81″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717514194080{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_custom_heading text=”Folio VII” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717520776529{margin-top: 20px !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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n
sleeve 1<\/strong><\/td>\nFour Nocturnes, Op. 23.\u00a0 Edna-mae Cleeland, contralto; Eastman Little Symphony; Karl Van Hoesen, conductor.\u00a0 3 April 1935.\u00a0 Kilbourn Hall, Eastman School of Music, Rochester, New York.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 2<\/strong><\/td>\nFour Nocturnes, Op. 23 (cont.).<\/td>\n<\/tr>\n
sleeve 3<\/strong><\/td>\nSketches of the City, Op. 26.\u00a0 Rochester Civic Orchestra; Howard Hanson, conductor.\u00a0 19 April 1934.\u00a0 Kilbourn Hall, Eastman School of Music, Rochester, New York.\u00a0 Sound recording.<\/td>\n<\/tr>\n
sleeve 4<\/strong><\/td>\nSketches of the City, Op. 26 (cont.).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 82″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717514237984{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n
item 1<\/strong><\/td>\nUnidentified LP.<\/td>\n<\/tr>\n
item 2<\/strong><\/td>\n\u201cPennsylvania Suite\u201d premiere, Part I.\u00a0 Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.\u00a0 LP.<\/td>\n<\/tr>\n
item 3<\/strong><\/td>\n\u201cPennsylvania Suite\u201d premiere, Part II.\u00a0 Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.\u00a0 LP.<\/td>\n<\/tr>\n
item 4<\/strong><\/td>\n\u00a0\u201cMr. Read Leaves the Stage\u201d (?).\u00a0 LP.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717514394379{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;}”]<\/a>Sub-series B: Reel-to-Reel Tapes<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 13″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717514315480{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n
reel 1<\/strong><\/td>\n\u201cThe Creative Way.\u201d\u00a0 Radio broadcast with Gardner Read and Dr. Kenneth D. Benne.\u00a0 25 April 1958.\u00a0 WEEI Studios, Boston, Massachusetts.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 2<\/strong><\/td>\n\u201cOur American Music,\u201d No. 34.\u00a0 Radio broadcast with Gardner Read and Nicolas Slonimsky.\u00a0 3 May 1957.\u00a0 WGBH-FM Studios, Boston, Massachusetts.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 3<\/strong><\/td>\n\u201cOur American Music,\u201d No. 34 (cont.).<\/td>\n<\/tr>\n
reel 4<\/strong><\/td>\n\u201cVoice of America\u201d interview with Gardner Read and Wayne Hyde.\u00a0 14 July 1964.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 5<\/strong><\/td>\n\u201cBrand.\u201d\u00a0 Version by James Forsyth after Ibsen; music by Gardner Read.\u00a0 29 April 1963.\u00a0 BBC Studios, London, England.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 6<\/strong><\/td>\nInterview with Gardner Read and Jules Wolffers (discussing String Quartet No. 1, Op. 100.) and the Boston Fine Arts Quartet.\u00a0 1 January 1959.\u00a0 WGBH-FM TV Studios, Boston, Massachusetts.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 7<\/strong><\/td>\nSelections from \u201cA Program of Compositions By Gardner Read.\u201d\u00a0 5 April 1957.\u00a0 University of Arkansas.\u00a0 Recording includes Scherzino for Woodwind Quintet, Op. 24; From a Lute of Jade, Op. 36; Soundpiece for Brass and percussion, Op. 82; The Lamb, Op. 84, No. 3a; Mountain Song, Op. 69; The Unknown God, Op. 23, No. 2.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 8<\/strong><\/td>\nNine by Six, Op. 86; Chorale and Fughetta, Op. 83a; Mountain Song, Op. 69; The Golden Harp, Op. 93; To a Skylark, Op. 51; The Reveille, Op. 89b.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n
reel 9<\/strong><\/td>\nSelections from \u201cMusic of Gardner Read.\u201d \u00a0Boston University Gardner Read Festival, 28 March 1963.\u00a0 Recording includes Piano Quintet, Op. 47.\u00a0 Sound Piece for Brass and Percussion, Op. 82.\u00a0 The Lamb, Op. 84, No. 3a;\u00a0 Sister, Awake, Op. 84, No. 2a; River Night, Op. 68, No. 2a; Three American Folk Songs, Op. 97.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 10<\/strong><\/td>\nSelections from \u201cMusic of Gardner Read.\u201d\u00a0 Boston University Gardner Read Festival, 27 March 1963.\u00a0 Recording includes Sonata da Chiesa, Op. 61a; Songs to Children, Op. 76a; Sonata Brevis, Op. 80; Sonoric Fantasia No. 1, Op. 102.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 11<\/strong><\/td>\nSelections from \u201cMusic of Gardner Read.\u201d\u00a0 Boston University Gardner Read Festival, 28 March 1963.\u00a0 For contents, see Reel 9 above.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 12<\/strong><\/td>\nSelections from University of Kansas Read Festival.\u00a0 Undated. \u00a0Recording includes River Night; A Mountain Song, Op. 68; The Golden Harp, Op. 93; The Reveille, Op. 89b; Los Dioses Aztecas, Op. 107; Sound Piece, Op. 82; Threnody for Flute, Harp, and Strings, Op. 66a; Arioso Elegiaca for Strings, Op. 91; Night Flight, Op. 44; Symphony No. 3, Op. 75.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 14″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717514536969{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
reel 13<\/strong><\/td>\nSelections from Northern Illinois University Gardner Read Festival.\u00a0 21 February 1964.\u00a0 Recording includes The Lamb, Op. 84, No. 3a; Sister, Awake, Op. 84, No. 2a; Los Dioses Aztecas, Op. 107; Nine by Six, Op. 86 (incomplete).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 14<\/strong><\/td>\nSelections from Northern Illinois University Gardner Read Festival.\u00a0 21 February and 26 April 1964.\u00a0 Recording includes Sonata Brevis, Op. 80; From a Lute of Jade, Op. 36; Soundpiece for Brass and Percussion, Op. 82.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 15<\/strong><\/td>\nSelections from the WNYC American Music Festival Boston University Composers\u2019 Program.\u00a0 Undated.\u00a0 Recording includes River Night; Lullaby for a Man-Child; From a Lute of Jade.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 16<\/strong><\/td>\nSymphony No. 1, Op. 30.\u00a0 New York Philharmonic Symphony Orchestra; John Barbirolli, conductor.\u00a0 4 November 1937.\u00a0 Symphony No. II, Op. 45.\u00a0 Boston Symphony Orchestra; Gardner Read, conductor.\u00a0 26 November 1943.\u00a0 Dubbed from acetate discs.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 17<\/strong><\/td>\nPassacaglia and Fugue; Six Preludes on Old Southern Hymns.\u00a0 David Craighead, organ.\u00a0 Eastman School of Music, Rochester, New York.\u00a0 Undated.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 18<\/strong><\/td>\nSelections from the WGBH broadcast of the Boston Symphony Orchestra, Richard Burgin, conductor.\u00a0 23 and 25 October 1958.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 19<\/strong><\/td>\nNight Flight, Op. 44.\u00a0 Philadelphia Orchestra; Gardner Read, conductor.\u00a0 9 November 1964.\u00a0 Night Flight, Op. 44.\u00a0 Philadelphia Orchestra; William Smith, conductor.\u00a0 13 December 1978.\u00a0 Dance of the Locomotives, Op. 57a.\u00a0 Boston Pops Orchestra; Arthur Fiedler, conductor.\u00a0 20 May 1978.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 20<\/strong><\/td>\nPartita for Small Orchestra, Op. 70.\u00a0 Eastman Little Symphony; Frederick Fennell, conductor.\u00a0 4 May 1947.\u00a0 Spiritual, Op. 63.\u00a0 Oscar Zimmerman, double bass; Eastman Little Symphony; Frederick Fennell, conductor.\u00a0 25\u00a0 January 1948.\u00a0 Night Flight, Op. 44.\u00a0 Eastman Rochester Symphony Orchestra; Howard Hanson, conductor.\u00a0 3 May 1962.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 21<\/strong><\/td>\nConcerto for Violoncello and Orchestra.\u00a0 Barry Sills, cello; New Haven Symphony Orchestra; Erich Kunzel, conductor.\u00a0 Dress rehearsal, 13 October 1975.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n
reel 22<\/strong><\/td>\nConcerto for Violoncello and Orchestra, Op. 55.\u00a0 World premiere.\u00a0 Barry Sills, cello; New Haven Symphony Orchestra; Erich Kunzel, conductor.\u00a0 14 October 1975.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 22a<\/strong><\/td>\nCopy of reel 22.<\/td>\n<\/tr>\n
reel 23<\/strong><\/td>\nThe Temptation of St. Anthony, Op. 56.\u00a0 Chicago Symphony Orchestra; Rafael Kubelik, conductor.\u00a0 8 April 1953 (premiere performance).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 24<\/strong><\/td>\nThe Temptation of St. Anthony, Op. 56.\u00a0 Boston Symphony Orchestra; Gardner Read, conductor.\u00a0 19-20 March 1954.\u00a0 WGBH-FM broadcast.\u00a0 7\u201d audio reel.<\/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_1717514629890{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
reel 25<\/strong><\/td>\nCopy of reel 24.<\/td>\n<\/tr>\n
reel 26<\/strong><\/td>\nFirst Overture, Op. 58.\u00a0 Rochester Philharmonic Orchestra; Guy Fraser Harrison, conductor.\u00a0 NBC Network.\u00a0 15 February 1947.\u00a0 Pennsylvaniana Suite, Op. 67.\u00a0 Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.\u00a0 21 November 1947 (premiere).\u00a0 Threnody, Op. 66a.\u00a0 George Hambrecht, flute; Eastman Senior Symphony Orchestra; Howard Hanson, conductor.\u00a0 14 May 1949.\u00a0 7\u201d audio reel, dubbed from LP recording.<\/td>\n<\/tr>\n
reel 27<\/strong><\/td>\nExcerpts from eight compositions by Gardner Read.\u00a0 Selections include: ending of First Overture, Op. 58; \u201cDance of the Queen of Sheba\u201d and \u201cAnthony\u2019s Dance of Longing\u201d from The Temptation of St. Anthony, Op. 56; beginning of Sound Piece, Op. 82; beginning of Incidental Music to Anderson\u2019s The Golden Six, Op. 105; \u201cJohn Riley,\u201d from Pennsylvaniana Suite, Op. 67; from Vernal Equinox, Op. 96; \u201cHuitzilopochtli, Dios de la Guerra,\u201d from Los Dioses Aztecas, Op. 107; Night Flight, Op. 44.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 28<\/strong><\/td>\nSymphony No. 3.\u00a0 Pittsburgh Symphony Orchestra; Steinberg, conductor.\u00a0 Premiere.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 29<\/strong><\/td>\n\u201cAt Bedtime,\u201d Op. 84, No. 1; \u201cit Is Pretty in the City,\u201d Op. 84, No. 4; \u201cSongs to Children, Op. 76.\u00a0 Wilma Thompson, mezzo-soprano; Gardner Read, piano.\u00a0 Brookline Public Library, Massachusetts.\u00a0 14 November 1956.\u00a0 \u201cAll Day I Hear,\u201d Op 48, No. 2; \u201cRiver Night,\u201d Op. 68, No. 2; \u201cFrom a Lute of Jade,\u201d Op. 36.\u00a0 Wilma Thompson, mezzo soprano; Edna Smith, piano.\u00a0 Brookline Public Library, Massachusetts.\u00a0 13 November 1958.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 30<\/strong><\/td>\nSonata Brevis, Op. 80.\u00a0 Robert Koff, violin; Martin Boykan, piano.\u00a0 27 December 1958 (premiere).\u00a0 Slosberg Concert Hall, Brandeis University, Waltham, Massachusetts.\u00a0 Incidental Music to Anderson\u2019s \u201cThe Golden Six,\u201d Op. 105.\u00a0 Boston University Orchestra members; Gardner Read, conductor.\u00a0 30 April 1958 (premiere).\u00a0 Boston University Theatre, Boston, Massachusetts.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 31<\/strong><\/td>\nInvocation, Op. 135; Sonata Brevis, Op. 80.\u00a0 Joseph Fuchs and Arthur Balsam.\u00a0 Undated.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 32<\/strong><\/td>\nSuite for Organ, Op. 81.\u00a0 Julian Williams, organ.\u00a0 25 September 1950 (premiere).\u00a0 Pennsylvania College for Women, Pittsburgh, Pennsylvania.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 33<\/strong><\/td>\nSuite for Organ, Op. 81 (Anthony Newman); Suite for String Quartet, Op. 33 (National Music Camp student quartet); From a Lute of Jade, Op. 36a (premiere, Eastman School of Music); Sketches of the City, Op. 26 (Rochester Philharmonic Orchestra; Howard Hanson, conductor); Where Corals Lie, Op. 49 (Cleveland Heights Choir); Eight Preludes on Old Southern Hymns, Op. 90 (premiere, Samuel Walter); Sound Piece for Brass and Percussion (Cincinnati Conservatory Brass Ensemble); Where Corals Lie, Op. 49 (Evanston High School Festival); \u201cFog\u201d from Sketches, Op. 26, No. 1 (National High School Orchestra); Sea Scapes, Op. 46 (Roslyn Rensch).\u00a0 Undated.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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reel 34<\/strong><\/td>\nChorale and Fughetta, Op. 83a (Boston University Brass Ensemble, 1953); Mountain Song, Op. 69 (1946); The Golden Harp, Op. 93 (Choral Art Society, Max Miller, conductor, 1952); To a Skylark, Op. 51 (1939); The Reveille, Op. 89b (premiere, Choral Art Society, Brass Ensemble, Gardner Read, conductor, 1962).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 35<\/strong><\/td>\nSonoric Fantasia No. 4.\u00a0 Leonard Raver, organ; John Grimes, percussion.\u00a0 6 June 1977.\u00a0 Trinity College, Hartford, Connecticut.\u00a0 Chorale and Fughetta.\u00a0 Boston Conservatory Brass Ensemble; Chester Roberts, conductor.\u00a0 9 December 1974.\u00a0 Boston Conservatory, Boston, Massachusetts.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 36<\/strong><\/td>\nNine by Six, Op. 86.\u00a0 6 April 1959.\u00a0 School of Fine Arts Ensemble, University of Kansas, Lawrence, Kansas.\u00a0 River Night, Op. 68, No. 2a.\u00a0 14 May 1960.\u00a0 Boston University Choral Arts Society; Allen Lannom, conductor.\u00a0 Three Preludes on Old Southern Hymns, Op. 90.\u00a0 Frederick Swann, organ; Riverside Church, New York, New York.\u00a0 Threnody, Op. 66a.\u00a0 9 May 1957.\u00a0 Vassar College Orchestra; Boris Koutzen, conductor.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 37<\/strong><\/td>\nArioso Elegiaca, Op. 91.\u00a0 8 April 1953 (premiere).\u00a0 Zimbler String Sinfonietta.\u00a0 Jordan Hall, Boston, Massachusetts.\u00a0 Incidental Music to \u201cThe Scarecrow,\u201d Op. 103.\u00a0 1 February 1958 (premiere).\u00a0 Merle Puffer, tenor; Samuel Morris, harpsichord.\u00a0 WGBH-TV broadcast, Cambridge, Massachusetts.\u00a0 Six Intimate Moods, Op. 35.\u00a0 April 1953.\u00a0 Wilda Tinsley, violin; unidentified, piano.\u00a0 Belmont College School of Music, Nashville, Tennessee.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 16″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717514730123{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
reel 38<\/strong><\/td>\nRead, Gardner.\u00a0 Arioso Elegiaca for Strings.\u00a0 Schuller, Gunther.\u00a0 Fantasy for Unaccompanied Cello (W. Conable, cellist).\u00a0 Ives, Charles.\u00a0 The Unanswered Question.\u00a0 7 March 1966.\u00a0 The Chamber Ensemble WGBH-FM; James Rives Jones, conductor.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 39<\/strong><\/td>\nSymphony No. 4, Op. 92.\u00a0 30 January 1970 (world premiere).\u00a0 Cincinnati Symphony Orchestra; Erich Kunzel, conductor.\u00a0 WGUC (University of Cincinnati) broadcast.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 40<\/strong><\/td>\nSymphony No. 4, Op. 92 (cont.).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 41<\/strong><\/td>\nVernal Equinox, Op. 96.\u00a0 Brockton Orchestral Society; Moshe Paranov, conductor.\u00a0 West Junior High School, Brockton, Massachusetts.\u00a0 12 April 1955 (premiere).\u00a0 Vernal Equinox, Op. 96.\u00a0 Boston University Symphony Orchestra; Gardner Read, conductor.\u00a0 2 March 1959.\u00a0 Dance of the Locomotives, Op 57a.\u00a0 Boston Pops Orchestra; Arthur Fiedler, conductor.\u00a0 WCRB-FM broadcast.\u00a0 31 May 1961.\u00a0 Arioso Elegiaca, Op. 91.\u00a0 The Chicago Strings; Francis Akos, conductor.\u00a0 University Center Ballroom, Northern Illinois University, DeKalb, Illinois.\u00a0 23 February 1964.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 42<\/strong><\/td>\nVernal Equinox, Op. 96.\u00a0 Greater Boston Youth Symphony Orchestra; Walter Eisenberg, conductor.\u00a0 Jerusalem, Israel.\u00a0 18 August 1970.\u00a0 Prayers of Steel, Op. 26, No. 3a.\u00a0 MIT Concert Band; John Corley, conductor.\u00a0 Kresge Auditorium, 15 May, 1971.\u00a0 Though I Speak with the Tongues of Men, Op. 109.\u00a0 University of Vermont Choral Union; James Chapman, conductor.\u00a0 Burlington, Vermont, 18 April 1969.\u00a0 Sonoric Fantasia No. 2, Op. 123.\u00a0 Roman Totenberg, violin; Boston University Symphony Orchestra; Gardner Read, conductor.\u00a0 War Memorial Auditorium, 26 February 1966 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 43<\/strong><\/td>\nToccata Giocosa, Op. 94.\u00a0 Louisville Orchestra; Robert Whitney, conductor.\u00a0 Columbia Auditorium, Louisville, Kentucky.\u00a0 20 March 1954 (premiere).\u00a0 Toccata Giocosa, Op. 94.\u00a0 Grosses Orchester des Berliner Rundfunks; Adolf Fritz Guhl, conductor.\u00a0 Deutschen Staatsoper, East Berlin, Germany.\u00a0 22 May 1959.\u00a0 Dunlap\u2019s Creek: A Folk Hymn, Op. 67, No. 1a.\u00a0 Boston University Symphonic Band; Lee Chrisman, conductor.\u00a0 1 March 1960.\u00a0 Concert Hall, School of Fine and Applied Arts, Boston, Massachusetts.\u00a0 Prayers of Steel, Op. 26, No. 3a.\u00a0 Boston University Symphonic Band; Lee Chrisman, conductor.\u00a0 Concert Hall, School of Fine and Applied Arts, Boston, Massachusetts.\u00a0 28 March 1959 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 44<\/strong><\/td>\nString Quartet No. 1, Op. 100.\u00a0 Quiet Music for String, Op. 65.\u00a0 National Gallery Orchestra; Bales, conductor.\u00a0 Washington, D. C.\u00a0 Premiere.\u00a0 Undated.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 45<\/strong><\/td>\nString Quartet No. 1, Op. 100.\u00a0 Boston Fine Arts Quartet.\u00a0 WGBH-TV, 1 January 1959.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 46<\/strong><\/td>\nString Quartet No. 1, Op. 100.\u00a0 Eastman String Quartet.\u00a0 Kilbourn Hall, Eastman School of Music.\u00a0 2 May 1959.\u00a0 Prelude and Toccata, Op. 43.\u00a0 Indianapolis Symphony Orchestra; Izler Solomon, conductor.\u00a0 16 January 1960.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n
reel 47<\/strong><\/td>\nSonoric Fantasia No. 1, Op. 102.\u00a0 Henrietta Pelta, celesta; Marjorie Call, harp; Malcolm Hamilton, harpsichord.\u00a0 Sonata Brevis, Op. 80.\u00a0 Stanley Plummer, violin; Natalie Limonick, piano.\u00a0 UCLA, 1966.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 48<\/strong><\/td>\nLos Dioses Aztecas, Op. 107.\u00a0 Manhattan Percussion Ensemble; Paul Price, conductor.\u00a0 Manhattan School of Music, New York, New York.\u00a0 8 March 1960 (premiere).\u00a0 Incidental Music to Barrie\u2019s \u201cThe admirable Crichton,\u201d Op. 98.\u00a0 Boston University students; Gardner Read, conductor.\u00a0 Boston University Theatre, 28 November 1955.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 49<\/strong><\/td>\nLos Dioses Aztecas, Op. 107.\u00a0 University of Illinois Percussion Ensemble; Jack McKenzie, conductor.\u00a0 Urbana, Illinois, 19 April 1960.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 50<\/strong><\/td>\nLos Dioses Aztecas, Op. 107.\u00a0 Indiana University Percussion Ensemble; George Gabor, conductor.\u00a0 15 April 1969.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 17″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717514814179{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
reel 51<\/strong><\/td>\nThe Prophet, Op. 110.\u00a0 Symphony Hall, Boston, Massachusetts.\u00a0 23 February 1977 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 52<\/strong><\/td>\nThe Prophet, Op. 110 (incomplete).\u00a0 Symphony Hall, Boston, Massachusetts.\u00a0 23 February 1977 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 53<\/strong><\/td>\nIncidental Music to \u201cPilate.\u201d\u00a0 Boston College, 1961.\u00a0 Incidental Music to \u201cBrand.\u201d\u00a0 Boston University, 1961 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 53a<\/strong><\/td>\nIncidental Music to \u201cBrand.\u201d\u00a0 Boston University, 1961 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 53b<\/strong><\/td>\nDuplicate of reel 53a.<\/td>\n<\/tr>\n
reel 54<\/strong><\/td>\nChants d\u2019Auvergne, Op. 117.\u00a0 Boston University Chorus and Instrumental Ensemble; James Cunningham, conductor.\u00a0 23 November 1965 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 55<\/strong><\/td>\nChants d\u2019Auvergne, Op. 117 (cont.).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 56<\/strong><\/td>\nSonoric Fantasia No. 2.\u00a0 Roman Totenberg, violin; Boston University Orchestra; Gardner Read, conductor.\u00a0 Vernal Equinox (UCLA).\u00a0 Vernal Equinox (GBYSO; Sanders, conductor).\u00a0 Undated.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 57<\/strong><\/td>\nSonoric Fantasia No. 2.\u00a0 Roman Totenberg, violin; Boston University Symphony Orchestra; Gardner Read, conductor.\u00a0 26 and 27 February, 19– (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n
reel 58<\/strong><\/td>\nHaiku Seasons, Op. 126.\u00a0 Gretchen Hackbarth, Steven Weiss, Karen MacDonald, and Robert Osolinski, speakers; Phillip Oliver, keyboard; Betsy Morse, harp; Peter Carnevale, Richard Ettelson, and Ronald Holdman, percussion; Gardner Read, conductor.\u00a0 Boston University.\u00a0 Premiere.\u00a0 Undated.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 59<\/strong><\/td>\nHaiku Seasons, Op. 126.\u00a0 Eastman School of Music Percussion Ensemble.\u00a0 12 September 1971.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 60<\/strong><\/td>\nHaiku Seasons, Op. 126.\u00a0 Northern Illinois University ensemble; Gardner Read, conductor.\u00a0 14 March 1972.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 18″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717521330941{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
reel 61<\/strong><\/td>\nHaiku Seasons, Op. 126.\u00a0 University of Texas, 21 March 1972.\u00a0 Chorale and Fughetta, Op. 83a.\u00a0 Cincinnati Conservatory Brass Choir; Ernest Glover, conductor.\u00a0 1 December 1954 (premiere).\u00a0 All Day I Hear, Op. 48, No. 2.\u00a0 Dean Bouzianis, baritone; Marilyn Fogg, piano.\u00a0 College of Music, Boston University, 15 May 1952.\u00a0 At Bedtime, Op. 84, No. 1.\u00a0 Boston University, 21 May 1951.\u00a0 Nocturne in a Deserted Brickyard; Prayers of Steel, Op. 26.\u00a0 NBC Studio Orchestra; Carmen Dragon, conductor.\u00a0 16 March 1950.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 62<\/strong><\/td>\nHaiku Seasons, Op. 126.\u00a0 University of Kansas ensemble; Price, conductor.\u00a0 1973.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 63<\/strong><\/td>\nSuite for Organ: Preamble.\u00a0 Elizabeth Sollenberger, organ. Trinity Church, Boston, Massachusetts, 5 April 1976.\u00a0 Sonoric Fantasia No. 4, Op. 133.\u00a0 Elizabeth Sollenberger, organ; Neil Grover, percussion.\u00a0 Trinity Church, Boston, Massachusetts, 5 April 1976 (premiere).\u00a0 Petite Pastorale, Op. 40a.\u00a0 Faculty Little Symphony; Guy Fraser Harrison, conductor.\u00a0 National Music Camp, 1 August 1940.\u00a0 Music for Piano and Strings, Op. 47a.\u00a0 Leonard Shure, piano; CBS Symphony Orchestra; Daniel Saidenburg, conductor.\u00a0 CBS Studios, New York, New York, 12 February 1947 (premiere).\u00a0 Festival Fanfare, Op. 82, No. 2.\u00a0\u00a0 Boston University Symphony Orchestra; Francis Findlay, conductor.\u00a0 Symphony Hall, Boston, Massachusetts, 31 January 1951.\u00a0 Nine by Six, Op. 86.\u00a0 Student ensemble; Garner Read, conductor.\u00a0 27 April 1951 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 64<\/strong><\/td>\nTrinity Church concert: Music of Gardner Read.\u00a0 Suite for Organ, Op 81; Elegiac Aria, Op. 91 (George Faxon, organ).\u00a0 Jungle Gardens by Moonlight, Op. 54, No. 2a (Faye Seeman, harp).\u00a0 Six Preludes on Old Southern Hymns, Op. 112 (George Faxon, organ).\u00a0 Invocation, Op. 135 (Jeffrey Price, trombone; R. Rice Nutting, organ).\u00a0 Variations on a Chromatic Ground, Op. 121 (George Faxon, organ).\u00a0 Sinfonia da Chiesa, Op. 61b (premiere).\u00a0 13 March 19–. \u00a07\u201d audio reel.<\/td>\n<\/tr>\n
reel 65<\/strong><\/td>\nThe Hidden Lute, Op. 132.\u00a0 Joan Heller, soprano; Charles Fussell, conductor.\u00a0 Boston University Omnibus concert, 23 April 1985 (premiere).\u00a0 Prayers of Steel, Op. 26, No. 3a.\u00a0 And There Appeared Unto Them Tongues As Of Fire, Op. 134.\u00a0 David Craighead, organ.\u00a0 St. Joseph\u2019s Cathedral, Hartford, Connecticut.\u00a0 American Guild of Organists Convention, 28 June 1977 (premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 66<\/strong><\/td>\nSymphony No. 3.\u00a0 National Gallery Orchestra; Richard Bales, conductor.\u00a0 Washington, D. C., 27 May 1979.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 66a<\/strong><\/td>\nSymphony No. 3 (cont.).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 67<\/strong><\/td>\nSymphony No. 4, Op. 92.\u00a0 Cleveland Orchestra; Lorin Maazel, conductor.\u00a0 WCRB-FM broadcast, 11 June 1980 (recorded 12 April 1980).\u00a0 Lecture by Gardner Read, 11 April 1980, Severance Chamber Music Hall.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 68<\/strong><\/td>\nSymphony No. 4, Op. 92 (cont.).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 69<\/strong><\/td>\nHaiku Seasons, Op. 126.\u00a0 ASUC Conference, University of Cincinnati College-Conservatory of Music.\u00a0 Leslie Dunner, conductor.\u00a0 9 April 1981.\u00a0 Sonoric Fantasia No. 3, Op. 125.\u00a0 University of Massachusetts Percussion Ensemble; Peter Tanner, conductor.\u00a0 12 March 1980.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n
reel 70<\/strong><\/td>\n\u00a07\u201d audio reel.cas, Op. 107.\u00a0 Recording session for Recording #444, Composers Recordings Inc.\u00a0 Paul Price Percussion Ensemble; Paul Price, conductor.\u00a0 24 June 1980.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 70a<\/strong><\/td>\nLos Dioses AzteLos Dioses Aztecas, Op. 107.\u00a0 Recording session (cont.).<\/td>\n<\/tr>\n
reel 70b<\/strong><\/td>\nLos Dioses Aztecas, Op. 107.\u00a0 Recording session (cont.).\u00a0 4\u201d audio reel.<\/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_1717521400203{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
reel 71<\/strong><\/td>\nLos Dioses Aztecas, Op. 107.\u00a0 Edited tape of recording session.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 72<\/strong><\/td>\nSymphony No. 4, Op. 92.\u00a0 Cleveland Orchestra; Lorin Maazel, conductor.\u00a0 Dub from reel 67?\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 72a<\/strong><\/td>\nSymphony No. 4, Op. 92 (cont.).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 73<\/strong><\/td>\nExcerpts from Villon, Op. 122\u00a0 Act I, from Scenes 1 and 3; Act II, from scene 1; Act III, from scene 1, 2, and 3.\u00a0 Robert Grayson as Francois; Charlotte Ellsaesser as Catherine; Melanie Sonnenberg as Marthe; Ralph Bassett as William.\u00a0 Paulette Haupt-Nolen and H. Wesley Balk, moderators.\u00a0 First Opera America Composer-Librettist Showcase and Seminar; Fairmont Hotel, New Orleans, Louisiana.\u00a0 7 January 1981.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 74<\/strong><\/td>\nNineteenth Annual Festival of Contemporary Music, DePauw University.\u00a0 Mennin, Canzona; D. H. White, Patterns; Hanson, Chorale and Alleluia.\u00a0 Gardner Read: Sound Piece for Brass and Percussion; Dunlap\u2019s Creek: A Folk Hymn; The Reveille.\u00a0 University Band and University Concert Choir; Hanna, White, and Read, conductors.\u00a0 Undated.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 75<\/strong><\/td>\nNineteenth Annual Festival of Contemporary Music, DePauw University.\u00a0 Barber, First Essay.\u00a0 Gardner Read: Night Flight; Vernal Equinox; Symphony No. 4; Prelude and Toccata.\u00a0 DePauw Symphony Orchestra; Gardner Read, conductor.\u00a0 Undated.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 76<\/strong><\/td>\nMusic for Chamber Winds, Op. 141.\u00a0 Four performances: The Chamber Winds; Gardner Read, conductor; Gordon College Chapel, Wenham, Massachusetts, 19 February 1981 (premiere).\u00a0 The Chamber Winds; Jeffrey Price, conductor; Grace Baptist Church, Bristol, Connecticut, 27 February 1981.\u00a0 The Chamber Winds; Jeffrey Price, conductor; Parkway Assembly of God Church, Norwalk, Connecticut, 28 February 1981.\u00a0 Lowell Wind Orchestra; Willis Traphagan, conductor; Fisher Recital Hall, Music Department, Lowell University, Lowell, Massachusetts, 11 December 1986.<\/td>\n<\/tr>\n
reel 77<\/strong><\/td>\nAnd there appeared unto them tongues as of fire, Op. 134.\u00a0 David Craighead, organ.\u00a0 American Guild of Organists New England Regional Convention, 1977.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 78<\/strong><\/td>\nGalactic Novae, Op. 136.\u00a0\u00a0 NPR Concert Hall, 12 March 1981 (premiere).\u00a0 Faulty recording.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 79<\/strong><\/td>\nOur American Music, Program 30.\u00a0 Gardner Read, host; Daniel Pinkham, guest.\u00a0 1957.\u00a0 7\u201d audio reel (1 of 2).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n
reel 80<\/strong><\/td>\nOur American Music, Program 30 (cont.).\u00a0 7\u201d audio reel (2 of 2).<\/td>\n<\/tr>\n
reel 81<\/strong><\/td>\nGalactic Novae.\u00a0 Leonard Raver, organ; Gordon Gottlieb, percussion.\u00a0 Premiere.\u00a0 Undated.\u00a0 \u201cAnd there appeared to them tongues as of fire.\u201d\u00a0 David Craighead, organ.\u00a0 Premiere.\u00a0 Undated.\u00a0 7\u201d audio reel.<\/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_1717521474398{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n
reel 82<\/strong><\/td>\nToccata Giocosa, Op. 94.\u00a0 Seattle Youth Symphony Orchestra; Vilem Sokol, conductor.\u00a0 Opera House, Seattle, Washington, 17 May 1982.\u00a0 The Chicago Anthem, Op. 142.\u00a0 Pamela Gore, soprano; David Carney, piano.\u00a0 NECM Studio, Boston, 16 May 1983.\u00a0 Faulty recording.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 83<\/strong><\/td>\nInvocation, Op. 135.\u00a0 Jeffrey Price, trombone; R. Rice-Nutting, organ.\u00a0 Christ Church, Hamilton, Massachusetts, 17 March 1978.\u00a0 Sonata Brevis, Op. 80.\u00a0 Joseph Fuchs, violin; Arthur Balsam, piano.\u00a0 WGBH Studios, Cambridge, Massachusetts, 26 April 1960.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 84<\/strong><\/td>\nSonoric Fantasia No. 1, Op. 102.\u00a0 Henrietta Pelta, celesta; Marjorie Call, harp;
\nMalcolm Hamilton, harpsichord.\u00a0 UCLA, 30 March 1966.\u00a0 Sonata Brevis, Op. 80.\u00a0 Roman Totenberg, violin; Edith Stearns, piano.\u00a0 School of Fine and Applied Arts, Boston University, 27 March 1963.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 85<\/strong><\/td>\nSymphony No. 4, Op. 92.\u00a0 Cleveland Orchestra; Lorin Maazel, conductor.\u00a0 CRI recording of WCRB broadcast 3 January 1987.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 86<\/strong><\/td>\nBarbara Harbach plays American Hymn Preludes.\u00a0 Barbara Harbach, organ.
\nRecording by WXXI-FM, Rochester, New York.\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 87<\/strong><\/td>\nEpistle to the Corinthians, Op. 144.\u00a0 Cornell Chorale, Brass Choir, and Organ;
\nThomas A. Sokol, conductor.\u00a0 Sage Chapel, Cornell University.\u00a0 10 May 1987
\n(premiere).\u00a0 7\u201d audio reel.<\/td>\n<\/tr>\n
reel 88<\/strong><\/td>\nPrelude and Toccata, Op. 43. Boston Symphony Orchestra; Richard Burgin, conductor. Undated. 4\u201d audio reel.
\nN.B. Not included in Gardner Read\u2019s original numbering.<\/td>\n<\/tr>\n
reel 89<\/strong><\/td>\n[Toccata, Op. 43?] Undated. 5\u201d audio reel.
\nNote in case: \u201cDouble exp.; (?) \u2013 Toccata.\u201d
\nN.B. Not included in Gardner Read\u2019s original numbering.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717521704569{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;}”]<\/a>Sub-series C: Audiocassette Tapes<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 70″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717521747993{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n
folder 16\u00a0<\/strong><\/td>\nList of cassettes transferred from reel-to-reel tapes; table lists the contents of tapes 1\u201323 (i.e., performances of Read compositions transferred from numbered audio reels in sub-series B); typescript. 1 index card and 5 pages.<\/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_1717522084044{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/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
tape 1<\/strong><\/td>\nScherzino for Woodwind Quintet, Op. 24. From a Lute of Jade, Op. 36. Sound Piece for Brass and Percussion, Op. 82. The Lamb, Op. 84, no. 3b. Mountain Song, Op. 69. The Unknown God, Op. 23. Nine by Six, Op. 86. Chorale and Fughette, Op. 83. Threnody, Op. 66a. Sound Piece, Op. 82. The Lamb, Op. 84, no. 3b. Sister, Awake, Op. 84, no. 2b. River Night, Op. 68, no. 2a. Three American Folksongs, Op. 97. The Lamb, Op. 84, no. 3b. Sister, Awake, Op. 84, no. 2b. The Aztec Gods, Op. 107. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 2<\/strong><\/td>\nSonata Brevis, Op. 80. Sonoric Fantasia No. 1, Op. 102. Sonata da Chiesa, Op. 61. Arioso Elegiaca, Op. 91. Songs to Children, Op. 76. River Night, Op. 68, no. 2a. Mountain Song, Op. 69. The Golden Harp, Op. 93. The Reveille, Op. 89. The Aztec Gods, Op. 107. Sound Piece, Op. 82. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 3<\/strong><\/td>\nPiano Quintet, Op. 47. Nine by Six, Op. 86. Sonata Brevis, Op. 80. From a Lute of Jade, Op. 36. Night Flight, Op. 44. Symphony No. 3, Op. 75. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 4<\/strong><\/td>\n\u201cThe Creative Way\u201d [talk]. \u201cVoice of America\u201d [talk]. River Night, Op. 68, no. 2a. Lullaby for a Man-Child, Op. 76, no. 1b. From a Lute of Jade, Op. 36. Passacaglia and Fugue, Op. 34. Preludes on Old Southern Hymns, Op. 112. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 5<\/strong><\/td>\nPrelude and Toccata, Op. 43. First Overture, Op. 58. The Temptation of St. Anthony, Op. 56. All Day I Hear, Op. 48, no. 2. River Night, Op. 68, no. 2a. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 6<\/strong><\/td>\nPartita for Small Orchestra, Op. 70. \u201cOur American Music\u201d [talk]. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 7<\/strong><\/td>\nSongs to Children, Op. 76. River Night, Op. 68, no. 2a. Cello Concerto, Op. 55 (rehearsal and premiere performance). The Golden Harp, Op. 93. To a Skylark, Op. 51. Mountain Song, Op. 69. Chorale and Fughette, Op. 83. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 8<\/strong><\/td>\nThe Aztec Gods, Op. 107. Music for \u201cThe Admirable Crichton,\u201d Op. 98. Chorale and Fughetta, Op. 83. Interview [with Gardner Read and Jules Wolffers and the Boston Fine Arts Quartet, 1 January 1959]. String Quartet No. 1, Op. 100. Threnody, Op. 66. At Bedtime, Op. 84, no. 1. It is Pretty in the City, Op. 84, no. 4. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 9<\/strong><\/td>\nSuite for Organ, Op. 81. Nine by Six, Op. 86. River Night, Op. 68. Arioso Elegiaca, Op. 91. Night Flight, Op. 44 [includes talk]. Dance of the Locomotives, Op. 57. Vernal Equinox, Op. 96. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 10<\/strong><\/td>\nVernal Equinox, Op. 96. Dance of the Locomotives, Op. 57. Suite for Organ, Op. 81. Arioso Elegiaca, Op. 91. Music for \u201cThe Scarecrow,\u201d Op. 103. Vernal Equinox, Op. 96. Prayers of Steel, Op. 26. Though I Speak, Op. 109. Sonoric Fantasia No. 2, Op. 123. Music for Chamber Winds, Op. 141. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 11<\/strong><\/td>\nThe Temptation of St. Anthony, Op. 56. Toccata Giocosa, Op. 94. Music for \u201cPilate,\u201d Op. 114. Galactic Novae, Op. 136 [incomplete]. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 12<\/strong><\/td>\nMusic for \u201cBrand,\u201d Op. 113. Night Flight, Op. 44. Sonoric Fantasia No. 2, Op. 123. Variations on a Chromatic Ground, Op. 121. String Quartet No. 1, Op. 100. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 13<\/strong><\/td>\nSymphony No. 3, Op. 75. Songs to Children, Op. 68. Sonoric Fantasia No. 2, Op. 125. Haiku Seasons, Op. 126. Dunlap\u2019s Creek, Op. 67, no. 1. The Reveille, Op. 89. Sound Piece, Op. 81. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 14<\/strong><\/td>\nMusic for \u201cThe Golden Six,\u201d Op. 105. Symphony No. 3, Op. 75. Symphony No. 4, Op. 92. Sonoric Fantasia No. 4, no. 133. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 15<\/strong><\/td>\nThe Prophet, Op. 110. Sonata Brevis, Op. 80. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 16<\/strong><\/td>\nSonoric Fantasia No. 3, Op. 125. Pennsylvaniana, Op. 67. Threnody, Op. 66. Vernal Equinox, Op. 96. Six Preludes on Old Southern Hymns, Op. 112 [incomplete]. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 17<\/strong><\/td>\nSuite for Organ, Op. 81; Elegiac Aria, Op. 91a; Jungle Gardens by Moonlight, Op. 54, no. 2; Invocation, Op. 135; Sinfonia da Chiesa, Op. 61b; Arioso Elegiaca, Op. 91a; Los Dioses Aztecas, Op. 107. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 18<\/strong><\/td>\nSonoric Fantasia No. 4, Op. 133; Music for Piano and Strings, Op. 47a; Festival Fanfare, Op. 83, no. 2; Nine by Six, Op. 86; Preamble, Op. 81, no. 1; Sonata Brevis, Op. 80. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 19<\/strong><\/td>\n\u201cOur American Music\u201d [talk, with Daniel Pinkham, guest composer]; Haiku Seasons, Op. 126. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 20<\/strong><\/td>\nThe Aztec Gods, Op. 107; Symphony No. 4, Op. 92. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 21<\/strong><\/td>\nSonoric Fantasia No. 1, Op. 101; Sonata Brevis, Op. 80; Haiku Seasons, Op. 126; Vernal Equinox, Op. 96. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 22<\/strong><\/td>\nHaiku Seasons, Op. 126; Toccata Giocosa, Op. 94; Dunlaps Creek, Op. 67, no. 1; Prayers of Steel, Op. 26, no. 3; Haiku Seasons, Op. 126; Invocation, Op. 135; Prelude and Toccata, Op. 43; Vernal Equinox, Op. 96. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 23<\/strong><\/td>\nVillon, Op. 122;\u00a0Music for Chamber Winds, Op. 141<\/span>; Tongues of Fire, Op. 134. Audiocassette tape.
\nN.B. Audio transferred from reel-to-reel tapes; see Box 70\/16 for index.<\/td>\n<\/tr>\n
tape 24<\/strong><\/td>\nPoem, [Op. 31a]. Rehearsal and concert. Patricia McCarty, viola; Martin Amlin, piano. Lexington. March 16, 1997. Audiocassette tape.<\/td>\n<\/tr>\n
tape 25<\/strong><\/td>\nPoem, Op. 31. Ralph Lockwood, horn; Albinas Prizgurtas, organ. A Christmas Pastorale, Op. 124. Cynthia Cummings, violin; David Owens, organ. Canzona di notte, Op. 127. Mike Pissano, guitar. Audiocassette tape.<\/td>\n<\/tr>\n
tape 26<\/strong><\/td>\nRecording session: Read Organ Works. Includes: [Passacaglia and Fugue in D Minor, Op. 34]. Live recording in Marsh Chapel. Audiocassette tape (1 of 4).<\/td>\n<\/tr>\n
tape 27<\/strong><\/td>\nRecording session: Read Organ Works. Includes: [Passacaglia and Fugue in D Minor, Op. 34; Elegaic Aria, Op. 91a; And there appeared unto them tongues as of fire, Op. 134; Suite for Organ, Op. 81]. Live recording in Marsh Chapel. Audiocassette tape (2 of 4).<\/td>\n<\/tr>\n
tape 28<\/strong><\/td>\nRecording session: Read Organ Works. Includes: [Suite for Organ, Op. 81; Chorale-Fantasia on Good King Wenceslas, Op. 50]. Live recording in Marsh Chapel. Audiocassette tape (3 of 4).<\/td>\n<\/tr>\n
tape 29<\/strong><\/td>\nRecording session: Read Organ Works. Includes: [Suite for Organ, Op. 81]. Live recording in Marsh Chapel. Audiocassette tape (4 of 4).<\/td>\n<\/tr>\n
tape 30<\/strong><\/td>\nRecording session II: Read Organ Works. Live recording in Marsh Chapel. Audiocassette tape (1 of 2).
\nNo tracklist given.<\/td>\n<\/tr>\n
tape 31<\/strong><\/td>\nRecording session II: Read Organ Works. Live recording in Marsh Chapel. Audiocassette tape (2 of 2).
\nNo tracklist given.<\/td>\n<\/tr>\n
tape 32<\/strong><\/td>\nSix Intimate Moods, Op. 35. Maria Benotti, violin; Eda Mazo-Shylam, piano. Two performances: February 2, 1997; January 26, 1997. Audiocassette tape.<\/td>\n<\/tr>\n
tape 33<\/strong><\/td>\nSix Intimate Moods, Op. 35. Maria Benotti, violin; Eda Mazo-Shylam, piano. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 34<\/strong><\/td>\nD\u2019Anna Fontunato, mezzo soprano; D. Keegan, piano. Music by Rossini, Mozart, Granados, Read: From a Lute of Jade, Op. 36, Foster, Malloy, Tilzer, and Faur\u00e9. January 30, 1995. Audiocassette tape.<\/td>\n<\/tr>\n
tape 35<\/strong><\/td>\nA Tribute to Gardner Read. From a Lute of Jade, Op. 36; Songs for a Rainy Night, Op. 48; Fantasy-Toccata, Op. 148; Three Songs, Op. 68; Driftwood Suite, Op. 54; unidentified composition by John MacDonald; Nocturnal Visions, Op. 145. Tsai Performance Center, Boston University. September 25, 1998. Audiocassette tape.<\/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_1717525692787{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
tape 36<\/strong><\/td>\nNight Flight, Op. 44. World Youth Symphony.1988. National Music Camp, Interlochen, MI. Audiocassette tape.<\/td>\n<\/tr>\n
tape 37<\/strong><\/td>\nPiano Quintet, Op. 47. Lydian String Quartet; John MacDonald, piano. June 16, 2001. Lydian String Quartet Chamber Music Festival, Brandeis University. Audiocassette tape.<\/td>\n<\/tr>\n
tape 38<\/strong><\/td>\n\u00a0Duplicate of tape 37.<\/td>\n<\/tr>\n
tape 39<\/strong><\/td>\nSongs for a Rainy Night, Op. 48; Three Songs, Op. 68; From a Lute of Jade, Op. 36. D\u2019Anna Fortunato, mezzo-soprano; John McDonald, piano. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 40<\/strong><\/td>\n[Leonard] Raver Concert, Hammond Castle. Bach: Toccata in C; Read: Chorale-Fantasia on Good King Wenceslas, Op. 50; Elegiac Aria, Op. 91; Soler: Concerto in G Major; Persichetti: Prelude and Toccata; Read: Passacaglia and Fugue in D Minor, Op. 34; Schumann: Sketch, Canon; Widor: Symphony No. 6, Allegro. June 24, 1988. Audiocassette tape.<\/td>\n<\/tr>\n
tape 41<\/strong><\/td>\nVirginia Dulaski Piano Recital. Read: Driftwood Suite, Op. 54; Galindo: Three Preludes; Albinez, Three Pieces; M\u00e9hul: Sonata in A Major; J. S. Bach: Partita in B-flat Major; Read: Sonata da Chiesa, Op. 61; American Circle, Op. 52. May 11, 1959. Phillips Gallery, Washington, DC. Audiocassette tape.<\/td>\n<\/tr>\n
tape 42<\/strong><\/td>\nConcerto for Violoncello and Orchestra, Op. 55; Symphony No. 3, Op. 75. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 43<\/strong><\/td>\nSonata da Chiesa, Op. 61. (First take, unedited.) Joseph Holt, piano. Undated. Washington, DC. Audiocassette tape.<\/td>\n<\/tr>\n
tape 44<\/strong><\/td>\nSonata da Chiesa, Op. 61. (Second\/final take, edited.) Joseph Holt, piano. Undated. Washington, DC. Audiocassette tape.<\/td>\n<\/tr>\n
tape 45<\/strong><\/td>\nSonata da Chiesa, Op. 61; Sonoric Fantasia No. 1, Op. 102. (Unedited tape.) Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 46<\/strong><\/td>\nA Concert of the Music of Gardner Read. Lecture: Why and How Composers Compose; Sonata da Chiesa, Op. 61; Nocturnal Visions, Op. 145; Sonata Brevis, Op. 80; String Quartet No. 1, Op. 100. Joseph Holt, piano; Richard Potter, baritone; Teri Lazar, violin; The Sunrise Quartet. May 10, 1992. Strathmore Hall. Audiocassette tape (1 of 2).<\/td>\n<\/tr>\n
tape 47<\/strong><\/td>\nA Concert of the Music of Gardner Read (cont.). Audiocassette tape (2 of 2).<\/td>\n<\/tr>\n
tape 48<\/strong><\/td>\nPennsylvaniana, Op. 67. Pittsburgh Symphony Orchestra; Lorin Maazel, conductor. April 12, 1996. Audiocassette tape.<\/td>\n<\/tr>\n
***\u00a0 \u00a0<\/strong><\/td>\nPennsylvaniana, Op. 67. Pittsburgh Symphony Orchestra; Lorin Maazel, conductor. April 13 and 14, 1996. Audiocassette tape.
\nSee tape 119.<\/td>\n<\/tr>\n
tape 49<\/strong><\/td>\nCape Ann Symphony Orchestra concert. Bernstein: Candide Overture; Barber: Knoxville: Summer 1914; Read: Pennsylvaniana Suite, Op. 67; Copland: Appalachian Spring. Kay George Roberts, conductor. May 7, 1988. Gloucester, MA. Audiocassette tape.<\/td>\n<\/tr>\n
tape 50<\/strong><\/td>\nA Grand Concert. J. S. Bach: Sonata for Oboe and Organ; F. J. Haydn: selection from The Creation; Read: De Profundis, Op. 71; G. Mahler: selection from R\u00fcckert-Lieder; C. Franck: Prelude, Fugue, Variation; J. S. Bach: selection from Mass in B Minor; R. Wagner: selection from Die Meistersinger. April 11, 1994. Audiocassette tape.<\/td>\n<\/tr>\n
tape 51<\/strong><\/td>\nSonata Brevis, Op. 80. Matthew Coid, violin; Yolanda Liepa, piano. June 12, 1985. Opus One test record. Sonoric Fantasia No. 2, Op. 123. Roman Totenberg, violin; Boston University Orchestra; Gardner Read, conductor. February 26, 1966 (premiere). Boston. Audiocassette tape.<\/td>\n<\/tr>\n
tape 52<\/strong><\/td>\nSonata Brevis, Op. 80; Epistle to the Corinthians, Op. 144; Nocturnal Visions, Op. 145 (incomplete). Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 53<\/strong><\/td>\nSuite for Organ, Op. 81. Leonard Raver, organ. Undated. Marsh Chapel, Boston University. Audiocassette tape.<\/td>\n<\/tr>\n
***<\/strong><\/td>\nN.B. Tape 54 omitted in numbering sequence.<\/td>\n<\/tr>\n
tape 55<\/strong><\/td>\nD\u2019Anna Fortunato [recording session]. At Bedtime, Op. 84, no. 1; Pretty In the City, Op. 84, no. 4; The Lamb, Op. 84, no. 3; Sister Awake, Op. 84, no. 2; When Moonlight Falls, Op. 23, no. 1; The Unknown God, Op. 23, no. 2; White Blossom, Op. 23, no. 3. Recorded by Bill Wolk, Music First. October 1, 1998. Audiocassette tape (1 of 3).<\/td>\n<\/tr>\n
tape 56<\/strong><\/td>\nD\u2019Anna Fortunato [recording session]. Lullaby for a Man-Child, Op. 76, no. 1; The First Jasmines, Op. 76, no. 2; Song of Innocence, Op. 76, no. 3. October 2, 1998. Audiocassette tape (2 of 3).<\/td>\n<\/tr>\n
tape 57<\/strong><\/td>\nD\u2019Anna Fortunato [recording session]. From a Lute of Jade, Op. 36: The River and the Leaf, no. 1; Ode, no. 2; Lullaby for a Dark Hour, Op. 68, no. 1; River Night, Op. 68, no. 2; As I Walk Through the Meadows, Op. 68, no. 3; The Moon, Op. 23, no. 4; The First Jasmines, Op. 76, no. 1; Night of All Nights, Op. 62; I Hear an Army, Op. 48, no. 3. October 3, 1998. Audiocassette tape (3 of 3).<\/td>\n<\/tr>\n
tape 58<\/strong><\/td>\nGardner Read, Composer. Sound Piece for Brass and Percussion, Op. 82. Eastman Wind Ensemble; Donald Hunsberger, conductor. February 2, 1996. ; Prelude and Toccata for Small Orchestra, Op. 43; Arioso Elegiaca, Op. 91; Night Flight, Op. 44. Eastman School Symphony Orchestra; Gardner Read, conductor. February 5, 1996. Kilbourn Hall, Eastman School of Music. Audiocassette tape.<\/td>\n<\/tr>\n
tape 59<\/strong><\/td>\nSymphony No. 4, Op. 92. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 60<\/strong><\/td>\nRead: Vernal Equinox, Op. 96; Vivaldi: Concerto in G Minor; Kabalevsky: Cello Concerto No. 2. Berkshire Symphony Orchestra; Feldman, conductor. November 15, 1996. Audiocassette tape.<\/td>\n<\/tr>\n
tape 61<\/strong><\/td>\nVernal Equinox, Op. 69. TBC Orchestra; Gardner Read, conductor. February 15, 1998. Church of the Covenant. Audiocassette tape.<\/td>\n<\/tr>\n
tape 62<\/strong><\/td>\nString Quartet No. 1, Op. 100. Recording session, Tape #1. Boston Composers String Quartet. May 28, 1993. Audiocassette tape (1 of 10).<\/td>\n<\/tr>\n
tape 63<\/strong><\/td>\nString Quartet No. 1, Op. 100. Recording session, Tape #2. Boston Composers String Quartet. May 28, 1993; June 2, 1993. Audiocassette tape (2 of 10).<\/td>\n<\/tr>\n
tape 64<\/strong><\/td>\nString Quartet No. 1, Op. 100. Recording takes. [Boston Composers String Quartet.] November 22, 1993. Audiocassette tape (3 of 10).<\/td>\n<\/tr>\n
tape 65<\/strong><\/td>\nString Quartet No. 1, Op. 100. Recording takes 1\u201335 and 36\u201366. [Boston Composers String Quartet.] November 22, 1993. Audiocassette tape (4 of 10).<\/td>\n<\/tr>\n
tape 66<\/strong><\/td>\nString Quartet No. 1, Op. 100. Recording takes 1\u201366. [Boston Composers String Quartet.] Audiocassette tape (5 of 10). Case only; tape lacking.<\/td>\n<\/tr>\n
tape 67<\/strong><\/td>\nString Quartet No. 1, Op. 100. Recording takes 67\u2013104. [Boston Composers String Quartet.] November 22, 1993; November 23, 1993. Audiocassette tape (6 of 10).<\/td>\n<\/tr>\n
tape 68<\/strong><\/td>\nString Quartet No. 1, Op. 100. Recording takes. [Boston Composers String Quartet.] November 23, 1993. Audiocassette tape (7 of 10).<\/td>\n<\/tr>\n
tape 69<\/strong><\/td>\nString Quartet No. 1, Op. 100. Edited tape for NE CD. Boston Composers String Quartet. Edited April 29, 1994. Audiocassette tape (8 of 10).<\/td>\n<\/tr>\n
tape 70<\/strong><\/td>\nString Quartet No. 1, Op. 100. Rough edit for CD (movements 2, 3, and 1). Boston Composers String Quartet. Undated. Audiocassette tape (9 of 10).<\/td>\n<\/tr>\n
tape 71<\/strong><\/td>\nString Quartet No. 1, Op. 100. Rough edit (movements 1 and 4; movements 2 and 3). Boston Composers String Quartet. Undated. Audiocassette tape (10 of 10).<\/td>\n<\/tr>\n
tape 72<\/strong><\/td>\nSunrise String Quartet. Read: String Quartet [String Quartet No. 1, Op. 100?]; Schumann: Piano Quintet. May 2, 1993. Audiocassette tape.<\/td>\n<\/tr>\n
tape 73<\/strong><\/td>\nSonoric Fantasia No. 1, Op. 102. Recording takes 1\u201316; 17\u201337. Undated. Audiocassette tape.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/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
tape 74<\/strong><\/td>\nSonoric Fantasia No. 1, Op. 102. Undated. Edited tape for CD. Audiocassette tape.<\/td>\n<\/tr>\n
tape 75<\/strong><\/td>\nThe Aztec Gods, Op. 107. Eastman Percussion Ensemble; J. Beck, director. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 76<\/strong><\/td>\nSongs of the Auvergne, Op. 117; The Reveille, Op. 89. Undated. University of Lowell. Audiocassette tape.<\/td>\n<\/tr>\n
tape 77<\/strong><\/td>\nThe Nashua Symphony Orchestra and Chamber Chorus in Concert. Vaughan-Williams: Serenade to Music; Read: Chants d\u2019Auvergne, Op. 117; Widor: Toccata; Saint-Saens: Symphony No. 3, Op. 78. James Johnston and Royston Nash, conductors. November 23, 1985. St. Francis Xavier Church, Nashua, NH. Audiocassette tape.<\/td>\n<\/tr>\n
tape 78<\/strong><\/td>\nScenes from Villon, Op. 122. 1981. Opera America, New Orleans. Audiocassette tape.<\/td>\n<\/tr>\n
tape 79<\/strong><\/td>\nConcerto for Piano and Orchestra, Op. 130. Eastman Philharmonia; Randall Hodgkinson, piano; David Effron, conductor. January 31, 1996. Eastman Theatre, Eastman School of Music. Audiocassette tape.<\/td>\n<\/tr>\n
tape 80<\/strong><\/td>\nDuplicate of tape 78.
\nN.B. Information on tape insert incorrect; see label on cassette tape and typescript label affixed to side of case.<\/td>\n<\/tr>\n
tape 81<\/strong><\/td>\nThe Hidden Lute, Op. 132. Joan Heller, soprano; Charles Fussel, conductor. [June 28, 1977] (premiere); [transferred to audiocassette tape] April 23, 1985. Boston University Omnibus Concert, Boston University School for the Arts. Audiocassette tape.<\/td>\n<\/tr>\n
tape 82<\/strong><\/td>\nThe Hidden Lute, Op. 132. Helen Pridmore, soprano; Jennie Oh, alto flute; Kathryn Rees, harp; Brian Bennett, percussion. April 30, 1996. Live recording from Kilbourn Hall, Eastman School of Music. Audiocassette tape.<\/td>\n<\/tr>\n
tape 83<\/strong><\/td>\nThe Hidden Lute, Op. 132; Epistle to the Corinthians, Op. 144. Undated. Audiocassette tape.
\nN.B. Typescript label of tape contents on side of case struck through in pencil.<\/td>\n<\/tr>\n
tape 84<\/strong><\/td>\nDavid Craighead, Marsh Chapel recital. Mendelssohn: Sonata No. 3 in A; Pierre Du Mage; Livre d\u2019orgue; J. S. Bach: Chorale-Partita; Read: And there appeared unto them tongues as of fire, Op. 134; Persichetti: Chorale-Prelude; Vierne: Sixth Symphonie. March 22, 1985. Audiocassette tape.<\/td>\n<\/tr>\n
tape 85<\/strong><\/td>\nDuplicate of tape 84.<\/td>\n<\/tr>\n
tape 86<\/strong><\/td>\nAnd there appeared unto them tongues as of fire, Op. 134. David Craighead, organ. Undated. Cathedral of St. John, New York, NY. Audiocassette tape.<\/td>\n<\/tr>\n
tape 87<\/strong><\/td>\nRaver Concert, Marsh Chapel. Includes (side 2): And there appeared unto them tongues as of fire, Op. 134; Sinfonia da Chiesa, Op. 61b. March 18, 1988. Audiocassette tape (1 of 2).<\/td>\n<\/tr>\n
tape 88<\/strong><\/td>\nRaver Concert, Marsh Chapel. Suite for Organ, Op. 81. March 18, 1988. Audiocassette tape (2 of 2).<\/td>\n<\/tr>\n
tape 89<\/strong><\/td>\nInvocation, Op. 135. Jayson Rod Engquist, organ; Golan Hermolin, trombone. April 10, 1995. Woolsey Hall, Yale School of Music. Audiocassette tape.<\/td>\n<\/tr>\n
tape 90<\/strong><\/td>\nDiabolic Dialogue, Op. 137. Jonathan Haas. April 17, 1981 (premiere). Washington Square Church. Sonata da Chiesa, Op. 61a. [Betty Allan] Brings and [Genevieve] Chinn, pianos. Undated [July 21, 1989?]. Audiocassette tape.<\/td>\n<\/tr>\n
tape 91<\/strong><\/td>\nBy-Low, My Babe, Op. 138. Sanford Dole Ensemble. [June 25, 1994] (premiere). Audiocassette tape.<\/td>\n<\/tr>\n
tape 92<\/strong><\/td>\nSanford Dole Ensemble concert. Includes: A. Zhurbin: A Part of Speech; Read: By-Low, My Babe, Op. 138; R. Convery: Springsong of the Earth; S. Dole: Yes; S. Dole: Be Joyful in the Lord; D. Pinkham: In Heaven Soaring Up. Sanford Dole Ensemble. June 27, 1994. San Francisco, CA. Audiocassette tape.<\/td>\n<\/tr>\n
tape 93<\/strong><\/td>\nMusic for Chamber Winds, Op. 141. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 94<\/strong><\/td>\nMusic for Chamber Winds, Op. 141. Two performances: (1) Boston University Omnibus Players; Antoniou, conductor. 1982. (2) Mark Kelly, conductor. Bowling Green State University New Music Festival 1987. Audiocassette tape.<\/td>\n<\/tr>\n
tape 95<\/strong><\/td>\nEpistle to the Corinthians, Op. 144. May 10, 1987 (premiere). Cornell University. Audiocassette tape.<\/td>\n<\/tr>\n
tape 96<\/strong><\/td>\nThe Music of Gardner Read (final edited tape for Albany Records CD). Epistle to the Corinthians, Op. 144; The Hidden Lute, Op. 132; By-Low, My Babe, Op. 138; Concerto for Piano and Orchestra, Op. 130. Audiocassette tape.<\/td>\n<\/tr>\n
tape 97<\/strong><\/td>\nDuplicate of tape 96.<\/td>\n<\/tr>\n
tape 98<\/strong><\/td>\nNocturnal Visions, Op. 145. Jean Sloop, soprano; William Wingfield, piano. March 16, 1995. KSU. Audiocassette tape.<\/td>\n<\/tr>\n
tape 99<\/strong><\/td>\nNocturnal Visions, Op. 145. Undated. Audiocassette tape.
\nLabel on side of case: \u201cRead: Nocturnal Visions (NATS); Robinson \u2013 Lerch, Los Angeles.\u201d
\nLabel in case (possibly from tape 102?): \u201cSinging Teachers 89, Art Song Winners Concert-Recital, Garner Read, David Francis Urrows, Tape 30.\u201d<\/td>\n<\/tr>\n
tape 100<\/strong><\/td>\nJack Coldiron, lyric baritone, recital. Includes: Nocturnal Visions, Op. 145. October 4, 1988. Reynolds Memorial Chapel, Cowden Hall, Southwestern Baptist Theological Seminary. Audiocassette tape.<\/td>\n<\/tr>\n
tape 101<\/strong><\/td>\nIan Geller, baritone. Gustav Mahler: Lieder eines fahrenden Gesellen; Gardner Read: Nocturnal Visions, Op. 145. With Linda Hirt, piano. Audiocassette tape.<\/td>\n<\/tr>\n
tape 102<\/strong><\/td>\nDuplicate of tape 101.<\/td>\n<\/tr>\n
tape 103<\/strong><\/td>\nNATS Art Song Composition Contest Winner\u2019s Recital. David Urrows: Five Songs from A New England Almanack; Ronald Perera: Sleep Now; Read: Nocturnal Visions, Op. 145; Read: I Hear an Army, Op. 48, no. 3; Mark Weiser: An Anthem for a Doomed Youth. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 104<\/strong><\/td>\nChoristers\u2019 100th Anniversary. Hymn: Come, Thou Holy Spirit, Come; Read: Paean for St. Mark\u2019s, Op. 146. June 7, 1987 (premiere). St. Mark\u2019s, Evanston, IL. Audiocassette tape.<\/td>\n<\/tr>\n
tape 105<\/strong><\/td>\nPhantasmagoria, Op. 147. Rehearsal. May 30, 19xx. Audiocassette tape.<\/td>\n<\/tr>\n
tape 106<\/strong><\/td>\nFantasy-Toccata, Op. 148. Barbara Harbach, harpsichord. November 3, 1991 (premiere). Trinity Lutheran Church, Pullman, WA. Audiocassette tape.<\/td>\n<\/tr>\n
tape 107<\/strong><\/td>\nFantasy-Toccata, Op. 148. Mark Kroll, harpsichord. November 2, 1994. ALEA III, American Performer\/American Composer, Boston University. Audiocassette tape.
\nWritten on tape insert in ink: \u201cDub: By-Low, My Babe; Sanford Dole Ensemble.\u201d<\/td>\n<\/tr>\n
tape 108<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Donald Berman, piano. February 26, 1993 (premiere). Olin Arts Center, Bates College. Audiocassette tape.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 137″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717611437668{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
tape 109<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Howard Karp, piano. Undated. Recording session, Tape #1. Audiocassette tape (1 of 3).<\/td>\n<\/tr>\n
tape 110<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Howard Karp, piano. May 18, 1993. Recording session, Tape #2. Audiocassette tape (2 of 3).<\/td>\n<\/tr>\n
tape 111<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin. Edited tape for CD; January 13, 1994. Audiocassette tape (3 of 3).<\/td>\n<\/tr>\n
tape 112<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150; Sonata da Chiesa, Op. 61. Sonoric Fantasia No. 1, Op. 102; String Quartet No. 1, Op. 100. Undated. \u201cNE CD copy of DAT master.\u201d Audiocassette tape.<\/td>\n<\/tr>\n
tape 113<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150; The Hidden Lute, Op. 132. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 114<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150; Haiku Seasons, Op. 124. TBC [The Boston Conservatory] Chamber Players. February 15, 1998. First & Second Church. Audiocassette tape.<\/td>\n<\/tr>\n
tape 115<\/strong><\/td>\nDuplicate of tape 114.<\/td>\n<\/tr>\n
tape 116<\/strong><\/td>\nChamber Music of Gardner Read. Five Aphorisms, Op. 150; Fantasy-Toccata, Op. 148; Sonata Brevis, Op. 81; The Hidden Lute, Op. 132; Nocturnal Visions, Op. 145 (see insert for performers). February 3, 1996. Kilbourn Hall, Eastman School of Music. Audiocassette tape.<\/td>\n<\/tr>\n
tape 117<\/strong><\/td>\nMusic for the Faces of Innovation, Op. 152 (video for the C. A. Dana Awards). Sample takes. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 118<\/strong><\/td>\nBare Ruin\u2019d Choirs, Op. 153. Undated. Audiocassette tape.<\/td>\n<\/tr>\n
tape 119<\/strong><\/td>\nPennsylvaniana, Op. 67. Pittsburgh Symphony Orchestra; Lorin Maazel, conductor. April 13 and 14, 1996. Audiocassette tape.
\nSee tape 48 for PSO performance of April 12, 1996.<\/td>\n<\/tr>\n
tape 120<\/strong><\/td>\nRead: Organ Music. Leonard Raver, organ. \u201cEdited tape.\u201d Audiocassette tape.<\/td>\n<\/tr>\n
tape 121<\/strong><\/td>\nPre-concert talk, Gardner Read and Klaus Roy (discussion of Sessions: Black Maskers, Bartok: Violin Concerto No. 2, Read: Symphony No. 4). April 10, 1980. Severance Hall, Cleveland, OH. Audiocassette tape.<\/td>\n<\/tr>\n
tape 122<\/strong><\/td>\nRead: Interview with Bruce Duffy, WNIB Chicago. January 2, 1988. Audiocassette tape.<\/td>\n<\/tr>\n
tape 123<\/strong><\/td>\nInterview with Robin Rilette, KRFA (NPR), Pullman, WA. November 1, 1991. Audiocassette tape.<\/td>\n<\/tr>\n
tape 124<\/strong><\/td>\nGardner Read interview (M. A. Dodd). July 29, 1992. Manchester, MA. Audiocassette tape.<\/td>\n<\/tr>\n
tape 125<\/strong><\/td>\nGardner Read and D\u2019Anna Fortunato interview and music, WBUR. January 10, 1999. Audiocassette tape.<\/td>\n<\/tr>\n
tape 126<\/strong><\/td>\nMather Pfeiffenberger interview with Gardner Read on Symphony No. 1, 1937 American Composers Contest, Aaron Copland. May 27, 2000.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717611755326{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;}”]<\/a>Sub-series D: Digital Audio Tapes (DATs)<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 137″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717611437668{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n
tape 127<\/strong><\/td>\nPiano Sonata; Sonoric Fantasia. Digital audio tape.
\nN.B. No indication of key\/opus nos.<\/td>\n<\/tr>\n
tape 128<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Gardner Read, piano. Original master, Session tape, takes 1\u201372. May 18, 1993. Digital audio tape (1 of 3).<\/td>\n<\/tr>\n
tape 129<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150. Janet Packer, violin; Gardner Read, piano. Original master, Session tape, takes 73\u2013122. May 18, 1993. Digital audio tape (2 of 3).
\nTape also includes Malcolm Arnold: Scottish Dance.<\/td>\n<\/tr>\n
tape 130<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150. [Janet Packer, violin; Gardner Read, piano.] Edit master. Digital audio tape (3 of 3).<\/td>\n<\/tr>\n
tape 131<\/strong><\/td>\n\u201cRead Quartet, Edit Master; Production master.\u201d March 1, 1994. Digital audio tape.
\nN.B. No indication of opus no.<\/td>\n<\/tr>\n
tape 132<\/strong><\/td>\nAlternate copy of tape 131.<\/td>\n<\/tr>\n
tape 133<\/strong><\/td>\n\u201cRead Quartet, take 22, ID26, 192\u2013end mvt.\u201d April 26, 1994. Digital audio tape.
\nN.B. No indication of opus no.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717611820495{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;}”]<\/a>Sub-series E: Compact Discs (CDs)<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 20″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717611869172{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n
CD 1<\/strong><\/td>\nSuite for String Orchestra, Op. 33a. Longy Orchestra; R. Feldman, conductor. Compact disc.<\/td>\n<\/tr>\n
CD 2<\/strong><\/td>\nPiano Quintet, Op. 47. Lydian String Quartet; John McDonald, piano. Compact disc.<\/td>\n<\/tr>\n
CD 3<\/strong><\/td>\nDe Profundis, [Op. 71]. John Aubrey, horn; Andrew Pane Holman, organ. Harvard-Epworth [United Methodist Church], Cambridge, [MA], 30 Sept 2001. Compact disc.<\/td>\n<\/tr>\n
CD 4<\/strong><\/td>\n\u201cGardner Read: Solo Piano Choices.\u201d Summer 2002. Compact disc.
\nWritten on disc: \u201cGardner Read: Piano Takes; New World CD.\u201d
\nNo tracklist given.<\/td>\n<\/tr>\n
***\u00a0<\/strong><\/td>\nUnidentified solo organ composition by Gardner Read.
\nSee CD 6; separated to Series 4: Library, sub-series E: Recordings.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717611938368{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;}”]<\/a>Sub-series F: VHS Videocassette Tapes<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 138″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717611965364{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n
VHS 1<\/strong><\/td>\nCharles A. Dana Foundation, 3rd Annual Awards. Title and closing music by Gardner Read (Toccata Giocosa, Op. 94). November 2, 1988. VHS videocassette tape.<\/td>\n<\/tr>\n
VHS 2<\/strong><\/td>\nUSIA documentary video (1963). Background music mainly from Read: String Quartet No. 1, Op. 100, performed by the Eastman String Quartet. VHS videocassette tape.<\/td>\n<\/tr>\n
VHS 3<\/strong><\/td>\nPart 1 of USIA documentary video (VHS 1).<\/td>\n<\/tr>\n
VHS 4<\/strong><\/td>\nParts 2\u20133 of USIA documentary video (VHS 1).<\/td>\n<\/tr>\n
VHS 5<\/strong><\/td>\nString Quartet No. 1, Op. 100. BCSQ [Boston Composers String Quartet]. April 1993. VHS videocassette tape.<\/td>\n<\/tr>\n
VHS 6<\/strong><\/td>\nFive Aphorisms for Violin and Piano, Op. 150. Dawn Perlner, violin; Victoria Gomez, piano. May 11, 2000. Lincoln Labs. VHS videocassette tape.<\/td>\n<\/tr>\n
VHS 7<\/strong><\/td>\nFaces of Innovation: Charles A. Dana Foundation, 10th Anniversary Awards. Music by Gardner Read, Op. 152. November 8, 1995. VHS videocassette tape.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717528543376{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: Scholarly Publications<\/h3>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717528607409{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;}”]<\/a>Sub-series A: Twentieth Century Notation [LW10]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 24″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613505340764{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
folder 1<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Incomplete staves II) to (Insert ex.3).<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (#5) to (Pedal Symbols).<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (WW) to (muted effects).<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Globokar \u2013 Accord) to (note ref.).<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Repetitions) to (Ad lib.).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n
folder 6<\/strong><\/td>\nTwentieth Century Notation<\/em>: first drafts, typed, examples. Typescript and repro of typescript MS; annotated in pencil. Pages run from title page to 8.4.<\/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_1613505404601{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 css=””]<\/p>\n\n\n\n\n\n
folder 1<\/strong><\/td>\nTwentieth Century Notation<\/em>: first drafts, typed, examples. Repro of typescript MS. Pages numbered II-9-(2) to III-13-(6).<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Notation<\/em>: first drafts, typed, examples. Repro of typescript MS. Pages numbered III-13-(6) to V-25-(2). Accompanied by excerpts from musical examples. 20 pages of music.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Notation<\/em>: first drafts, typed, examples. Excerpts of musical examples.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n
folder 4<\/strong><\/td>\n\u00a0Twentieth Century Notation<\/em>:\u00a0 first drafts, typed, examples. Introductory matter and Part One. Combination of MS in pencil and typescript featuring corrections in pencil. Pages run from cover page to page 15.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 first drafts, typed, examples. Part II, chapters 1 \u2013 5. Typescript; annotated in pencil. Pages numbered 1 \u2013 3.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 first drafts, typed, examples. Part II, chapters 6 \u2013 10. Typescript; annotated in pencil. Pages numbered 1 \u2013 3.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 first draft typed copy. Part III, chapters 11- 12.
\nTypescript; annotated in pencil. Pages numbered 1 \u2013 5.<\/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_1613505429007{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 css=””]<\/p>\n\n\n\n\n\n
folder 1<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 first draft typed copy. Part III, chapters 13 \u2013 17. Typescript; annotated in pencil. Pages numbered 1 \u2013 3.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 first draft typed copy. Part III, chapters 18 \u2013 20.
\nTypescript; annotated in pencil. Pages numbered 1 \u2013 5.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 first draft typed copy. Parts IV, V, concluding matter. Typescript; annotated in pencil. Pages numbered 1 \u2013 2.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 4<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Pages i \u2013 xix (front matter). MS in pencil and typescript featuring corrections in pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Pages 18 \u2013 32 (part 1).
\nRepro of typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Pages 33 \u2013 113 (part II, chapter 1). Repro of typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 2. Pages numbered 99 \u2013 139. Repro of typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 3. Pages numbered 142 \u2013 181. Repro of typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 4. Pages numbered 182 \u2013 267. Repro of typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 5. Pages numbered 269 \u2013 285. Repro of typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 6. Pages numbered 287 \u2013 312. Repro of typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 7. Pages numbered II-6-(1) to II-7-(2). Repro of typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 8. Pages numbered 376 \u2013 402. Repro of typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 9. Pages numbered 399 \u2013 480. Repro of typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part II, chapter 10. Pages numbered 483 \u2013 492. Repro of typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 11. Pages numbered 490 \u2013 {III-11-(4)}. Repro of typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 12. Pages numbered 597 \u2013 662. Repro of typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 13. Pages numbered 708 \u2013 {III-13-(5)}. Repro of typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 14. Pages numbered 784 \u2013 {III-14-(4)}. Repro of typescript; annotated in pencil and colored pencil.<\/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_1613505674673{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 css=””]<\/p>\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 15. Pages numbered 839 \u2013 905. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 16. Pages numbered 906 \u2013 1037. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 17. Pages numbered 1038 \u2013 1418. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 18. Pages numbered 1419 \u2013 1523. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 19. Pages numbered 1524 \u2013 1674. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n
folder 6<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 20. Pages numbered 1675 \u2013 1711. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 21. Pages numbered 1712\u2013 1775. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 22. Pages numbered 1776 \u2013 1857. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 23. Pages numbered 1859 \u2013 1951. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 24. Pages numbered 1952 \u2013 {V-24- (1)}. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nTwentieth Century Notation<\/em>: incomplete revised draft. Part III, chapter 25, bibliography. Pages numbered 1972 \u2013 2002. Repro of typescript; annotated in ink and pencil.<\/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_1613505690107{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 css=””]<\/p>\n\n\n\n\n\n
folder 1<\/strong><\/td>\nTwentieth Century Notation<\/em>: revised examples (1-1-1) to (9-5-4). MS in typescript, pencil and ink.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Notation<\/em>: miscellaneous drafts, notes and examples. Pages numbered {Vol. 1 (1-492)} to (Section 3). Combination of MS in pencil and repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Notation<\/em>: miscellaneous drafts, notes and examples. Pages numbered (Ex. 10.1\u20131) to (Ex. 13.6-2). MS in typescript.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n
folder 4<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, front matter and Part 1. Pages numbered Box 1 to 15. Combination of MS in pencil and typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 1. Pages numbered 16 to 98. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 2. Pages numbered 99 to 141. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 3. Pages numbered 142 to 181. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 4. Pages numbered 182 to 268. Typescript; annotated in ink, pencil and colored pencil.<\/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_1613505597144{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 css=””]<\/p>\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 5. Pages numbered 269 to 286. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 6. Pages numbered 287 to 332. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 7. Pages numbered 333 to 375. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 8. Pages numbered 376 to 398. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 9. Pages numbered 399 to 481. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part II, chapter 10. Pages numbered 482 to 489. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nTwentieth Century Notation<\/em>: original typescript, Part III, chapter 11. Pages numbered 490 to 595. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 30″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613505584496{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>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 12.\u00a0 Pages numbered 597 to 706. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 13.\u00a0 Pages numbered 708 to 783. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 14.\u00a0 Pages numbered 784 to 838. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 15.\u00a0 Pages numbered 839 to 905. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 16.\u00a0 Pages numbered 906 to 1037. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 17.\u00a0 Pages numbered 1038 to 1199. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 17 continued.\u00a0 Pages numbered 1200 to 1330. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 31″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613505569856{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
folder 1<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 17 continued.\u00a0 Pages numbered 1331 to 1418. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 18.\u00a0 Pages numbered 1419 to 1523. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 19.\u00a0 Pages numbered 1524 to 1674. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part III, chapter 20.\u00a0 Pages numbered 1575 to 1710. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part IV, chapter 21.\u00a0 Pages numbered 1711 to 1775. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part IV, chapter 22.\u00a0 Pages numbered 1776 to 1857. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part IV, chapter 23.\u00a0 Pages numbered 1859 to 1951. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part V, chapter 24.\u00a0 Pages numbered 1952 to 1971. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, Part V, chapter 25.\u00a0 Pages numbered 1972 to 1999. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nTwentieth Century Notation<\/em>:\u00a0 original typescript, concluding matter.\u00a0 Typescript; annotated in ink. 3 pages. Ink MS; annotated in pencil and colored pencil. 1 page.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 32″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613505536436{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
item 1<\/strong><\/td>\nTwentieth Century Notation<\/em>: microfilm of unrevised manuscript. Roll 1 \u2013 D.<\/td>\n<\/tr>\n
item 2<\/strong><\/td>\nTwentieth Century Notation<\/em>: microfilm of unrevised manuscript. Roll 2.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717528688160{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;}”]<\/a>Sub-series B: Contemporary Instrumental Techniques [LW3]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 32″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613580753309{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
folder 1<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>:\u00a0 permissions file. Pages run from \u201cPermission Fees\u201d to \u201cPWN Edition\u201d.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>:\u00a0 Shirmer Books contract. Signed in ink by Gardner Read, August 5, 1974. Also signed by Robert A. Barton, president of the Macmillan Publishing Co., Inc.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>:\u00a0 addenda (various instruments). Documents pertaining to innovations in the playing techniques of various instruments.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>:\u00a0 addenda (Heiss articles). 8 pages.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes. MS in pencil and colored pencil. 26 pages.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 1. MS in pencil and colored pencil. 5 pages.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 2. MS in pencil and colored pencil. 7 pages.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 3. MS in pencil and colored pencil. 4 pages.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 4. MS in pencil and colored pencil. 3 pages.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 5. MS in pencil and colored pencil. 4 pages.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 6. MS in pencil and colored pencil. 3 pages.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 7. MS in pencil and colored pencil. 7 pages.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 8. MS in pencil and colored pencil. 4 pages.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 9. MS in pencil and colored pencil. 16 pages.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 10. MS in pencil and colored pencil. 8 pages.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 11. MS in pencil and colored pencil. 9 pages.<\/td>\n<\/tr>\n
folder 17<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 12. MS in pencil and colored pencil. 13 pages.<\/td>\n<\/tr>\n
folder 18<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, chapter 13. MS in pencil and colored pencil. 11 pages.<\/td>\n<\/tr>\n
folder 19<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, hybrid instruments. MS in pencil. 4 pages. Accompanied by a press clipping from\u00a0Time Magazine<\/em>. April 30, 1965.<\/td>\n<\/tr>\n
folder 20<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, bibliography. MS in pencil. 5 pages.<\/td>\n<\/tr>\n
folder 21<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: notes, examples and list of publishers. MS in pencil and colored pencil. 7 pages.<\/td>\n<\/tr>\n
folder 22<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, front matter. Pages numbered 1 to 11. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 23<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part I, chapter 1. Pages numbered 12 to 28. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 24<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part I, chapter 2. Pages numbered 29 to 50. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 25<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part I, chapter 3. Pages numbered 51 to 76. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 26<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part I, chapter 4. Pages numbered 77 to 85. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 27<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part I, chapter 5. Pages numbered 86 to 137. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 33″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613591723841{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 css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part I, chapter 6.
\nPages numbered 138 to 151. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part I, chapter 7.
\nPages numbered 152 to 161. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part I, chapter 8.
\nPages numbered 162 to 176. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part II, chapter 9.
\nPages\u00a0numbered 177 to 209. Combination of repro of publisher\u2019s proof copy and typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part II, chapter 10.
\nPages numbered 210 to 236. Combination of repro of publisher\u2019s proof copy and typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part II, chapter 11.
\nPages numbered 237 to 248. Combination of repro of publisher\u2019s proof copy and typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part II, chapter 12.
\nPages numbered 249 to 267. Combination of repro of publisher\u2019s proof copy and typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part II, chapter 13.
\nPages numbered 268 to 296. Combination of repro of publisher\u2019s proof copy and typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>: edited draft, Part II, concluding material.
\nPages numbered 297 to 340. Combination of repro of publisher\u2019s proof copy and typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nContemporary Instrumental Techniques<\/em>. Letters, opinions, etc. Includes correspondence with potential publishers as well as reviews and comments from invited readers, reviewers, and others.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717528742809{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;}”]<\/a>Sub-series C: Twentieth Century Microtonal Notation [LW7]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 33″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613592117319{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 css=””]<\/p>\n\n\n\n\n\n
folder 11<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: addenda. Pages run from (Addenda, pg 25-29) to (Bibliography addenda). Combination of MS in pencil and typescript.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: drafts. Pages run from title page to (chapter 3 \u2013 15). Typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: drafts. Pages run from (Chapter 4-1) to (Chapter 5-2). Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 34″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613592195248{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>\nTwentieth Century Microtonal Notation<\/em>: drafts. Pages run from (Chapter 5-3) to (1st<\/span>\u00a0chapter 5). Combination of MS in pencil and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: drafts. Pages run from (1st <\/sup>\u2013 chapter 5) to (13 \u2013Chapter 3 exs.). MS in pencil; annotated in colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: drafts. Pages run from (Chapter 4) to 47. MS in pencil; annotated in colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: draft examples. Pages numbered 4 to 2. MS in pencil; annotated in colored pencil and typescript.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: first proofs. Pages numbered v to 201. Publisher\u2019s proof copy; annotated in colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: second proofs. Pages numbered v to 201. Publisher\u2019s proof copy; annotated in colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: unedited typescript. Pages numbered 1 to 210. Repro of annotated typescript. Accompanied by a letter inscribed by Gardner Read to Ms. Matera (first name omitted), November 29, 1989.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: addenda, corrections, clarifications (goes with unedited typescript). Pages run from (Ch.1 = 3rd<\/sup>) to (p. 156 \u2013 line 6). Publisher\u2019s proof copy; annotated in colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 35″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613592215644{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 css=””]<\/p>\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: pre-publication edited draft. Pages numbered 1 to 105. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: pre-publication edited draft. Pages numbered 106 to 210. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>: printer\u2019s copy. Pages numbered i to 199. Publisher\u2019s proof copy; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>. Letters. [Folder 1 of 2.] Includes correspondence with the publisher (Greenwood Press), permissions letters, and related documents.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nTwentieth Century Microtonal Notation<\/em>. Letters. [Folder 2 of 2.] Includes agreement with publisher (Greenwood Press), letters from various composers on their approach to microtonal notation, correspondence from readers.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717528774297{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;}”]<\/a>Sub-series D: Genesis of an Opera [LW12]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 35″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613592467818{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 css=””]<\/p>\n\n\n\n\n
folder 6<\/strong><\/td>\nGenesis of an Opera<\/em>: first draft. Pages run from Table of Contents to 12. Typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nGenesis of an Opera<\/em>: discarded original version. Pages run from Title page to 203. Repro of typescript. Cover sheet: MS in pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 36″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613592775736{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 css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nGenesis of an Opera<\/em>. Correspondence and evaluations. Includes correspondence with potential publishers and James [Forsyth] as well as related documents.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nGenesis of an Opera<\/em>. Draft, incomplete (1 of 2). Pages run from Title page to 143. Typescript with annotations in colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nGenesis of an Opera<\/em>. Draft, incomplete (2 of 2). Pages run from 144 to 281. Typescript with annotations in colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nGenesis of an Opera<\/em>. Chapter 8, beginning of 9. Draft. Pages run from 155 to 165. Typescript.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nGenesis of an Opera<\/em>. From chapter 9. Draft. Pages run from 183 to 203. Typescript.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nGenesis of an Opera<\/em>. From chapters 10 and 11. Draft. Pages run from 182 to 219. Typescript.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nGenesis of an Opera<\/em>. Chapter 10. Draft. Pages run from 181 to 203. Typescript.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nGenesis of an Opera<\/em>. From Chapter 10. Draft. Pages run from 188 to 190. Typescript.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nGenesis of an Opera<\/em>. Musical figures 3 to 14c. MS in typescript, pen and ink.<\/td>\n<\/tr>\n
folder 1<\/strong><\/td>\nGenesis of an Opera<\/em>. Extra copies of Chapters 8-11. Pages run from 155 to 203. Typescript.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nGenesis of an Opera<\/em>. Extra copies of Chapters 10-11. Pages run from 181 to 219. Typescript.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717597403521{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;}”]<\/a>Sub-series E: Pictographic Score Notation [LW9]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 36″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613592775736{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 css=””]<\/p>\n\n\n\n\n\n\n\n
folder 12<\/strong><\/td>\nPictographic Score Notation<\/em>: camera-ready copy (1997). Pages numbered xi to 150. Annotated in colored pencil.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nPictographic Score Notation<\/em>: camera-ready copy (1997). Pages numbered 151 to 282. Annotated in pencil.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nPictographic Score Notation<\/em>: original manuscript copy (edited), Part I. Pages numbered 1 to 61. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nPictographic Score Notation<\/em>: original manuscript copy (edited), Part II A. Pages numbered 62 to 156. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nPictographic Score Notation<\/em>: original manuscript copy (edited), Part II B. Pages numbered 157 to 177. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 37″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613659131403{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 css=””]<\/p>\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nPictographic Score Notation<\/em>: original manuscript copy (edited), Part II C – D. Pages numbered 178 to 261. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPictographic Score Notation<\/em>: original manuscript copy (edited), Part II E – F. Pages numbered 262 to 339. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPictographic Score Notation<\/em>: original manuscript copy (edited), Part II G. Pages numbered 340 to 388. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPictographic Score Notation<\/em>: original manuscript copy (edited), Part III. Pages numbered 389 to 427. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n
folder 5<\/strong><\/td>\nPictographic Score Notation<\/em>: first draft, pencil notes, etc. Pages run from cover sheet to (Percussion Section \u2013 Exotica). Combination of MS in pencil and colored pencil, and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nPictographic Score Notation<\/em>: notes, examples, preliminary drafts, etc. Pages numbered II to 1002. Combination of MS in pencil and colored pencil, and repro of typescript; annotated in colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPictographic Score Notation<\/em>: first copy. Pages numbered 1 to 98. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nPictographic Score Notation<\/em>: first copy. Pages numbered 99 to 199. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nPictographic Score Notation<\/em>: first copy. Pages numbered 200 to 299. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 38″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613659320467{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 css=””]<\/p>\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nPictographic Score Notation<\/em>: first copy. Pages numbered 300 to 385. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nPictographic Score Notation<\/em>: first copy. Pages numbered 88 to 429. Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nPictographic Score Notation<\/em>. Third Copy. Pages numbered 1 to 51. Typescript with pencil annotations.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nPictographic Score Notation<\/em>. Third Copy. Pages numbered 52 to 177. Typescript with pencil annotations.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nPictographic Score Notation<\/em>. Third Copy. Pages numbered 178 to 339. Typescript with pencil annotations.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nPictographic Score Notation<\/em>. Third Copy. Pages numbered 340 to 430. Typescript with pencil annotations.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nPictographic Score Notation<\/em>. Letters. Includes correspondence with publisher(s) and readers, and related documents.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717597991031{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;}”]<\/a>Sub-series F: Modern Rhythmic Notation [LW4]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 38″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613659320467{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 css=””]<\/p>\n\n\n\n\n
folder 8<\/strong><\/td>\nModern Rhythmic Notation<\/em>: addenda. MS in pencil. 26 pages. Accompanied by 5 press clippings. Also accompanied by a MS repro of an unidentified score. 1 page of music.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nModern Rhythmic Notation<\/em>.<\/em> Letters. Includes correspondence with publisher(s) and readers, and related documents.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 39″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717598123206{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n
case 1<\/strong><\/td>\nModern Rhythmic Notation<\/em>:\u00a0 xerographic copy with editing by the author. Pages run from cover sheet to (Credit Lines cont.). Combination of typescript and repro of typescript; corrections in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 86″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717598227087{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n
folder 1<\/strong><\/td>\nModern Rhythmic Notation<\/em>: corrections to first edition. Pages run from title page through 193. Publisher\u2019s proof copy; corrections in colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717598355585{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;}”]<\/a>Sub-series G: Psychology of Polymeters [LW94]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 39″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717598123206{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n
case 2<\/strong><\/td>\nPsychology of Polymeters<\/em>: first draft. Typescript; annotated in pencil. 37 pages.<\/td>\n<\/tr>\n
folder 1<\/strong><\/td>\nPsychology of Polymeters<\/em>:complete draft. MS in typescript. 25 pages. Musical examples in ink, 33 pages.
\nN.B. Materials originally housed in black spring binder<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717598712868{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;}”]<\/a>Sub-series H: Thesaurus of Orchestral Devices [LW1]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 39″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613661046618{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 css=””]<\/p>\n\n\n\n
folder 2<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em>:\u00a0 contract, correspondence (Greenwood Press \/ Pitman). 10 letters of correspondence pertaining to the publication of Gardner Read\u2019s\u00a0Thesaurus of Orchestral Devices<\/em>.*<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 40″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717598769835{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n
folder 1<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em> (supplement): preliminary notes. Pages run from cover sheet to (Hindemith \u2013 Sinf. \u2013 cont.). MS in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em> (supplement): materials, chapters 4 \u2013 50. Pages numbered (chap. 4 S.) to (Chap. 50 S.). Typescript; annotated in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nThesaurus of Orchestral Devices\u00a0<\/em>(supplement): materials, chapters 51 \u2013 70. Pages numbered (Chap. 51 S.) to 2. Typescript; annotated in pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n\n\n
folder 4<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em>: unmarked proofs. Pages run from cover sheet through 202. Publisher\u2019s proof copy, bound in signatures.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em>: unmarked proofs. Pages run from 203 through 426. Publisher\u2019s proof copy, bound in signatures.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em>: unmarked proofs. Pages run from 427 through 631. Publisher\u2019s proof copy, bound in signatures.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 41″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613754516345{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 css=””]<\/p>\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em>: corrected proofs. Pages run from cover sheet through 202. Publisher\u2019s proof copy, bound in signatures; corrections in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em>: corrected proofs. Pages run from 203 through 426. Publisher\u2019s proof copy, bound in signatures; corrections in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em>: corrected proofs. Pages run from 427 through 631. Publisher\u2019s proof copy, bound in signatures; corrections in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nThesaurus of Orchestral Devices<\/em>: Letters. Includes correspondence with publisher(s) and readers, and related documents.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717599247352{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;}”]<\/a>Sub-series I: Orchestral Combinations [LW11]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 41″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717599321439{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n
folder 5<\/strong><\/td>\nOrchestral Combinations<\/em> (withdrawn version): typescript and examples, introductory matter. Pages numbered 1 to 8. Combination of MS in pencil and typescript.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nOrchestral Combinations<\/em> (withdrawn version): typescript and examples, Part I. Pages run from cover page through (21.2). Combination of MS in pencil and typescript; annotated in ink.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nOrchestral Combinations<\/em> (withdrawn version): typescript and examples, Part II. 1. Pages run from cover page through (7.12). Combination of MS in pencil and typescript; annotated in ink and pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n
folder 8<\/strong><\/td>\nOrchestral Combinations<\/em>\u00a0(withdrawn version): typescript and examples, Part II. 2. Pages numbered 1 to 11. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 42″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717599417600{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nOrchestral Combinations<\/em> (withdrawn version): typescript and examples, Part II. 2. Pages numbered 1 to 17. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nOrchestral Combinations<\/em>: pencil notes, first drafts of text. Pages run from 1 to (WW \u2013 8). MS in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nOrchestral Combinations<\/em>: pencil notes, first drafts of text. Pages run from (WW \u2013 8) through bibliography. MS in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nOrchestral Combinations<\/em>: typescript draft, front matter and Part I. Pages numbered 1 to 141. Repro of typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nOrchestral Combinations<\/em>: typescript draft, Part II and concluding matter. Pages numbered 142 to 276. Repro of typescript; annotated in ink.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nOrchestral Combinations<\/em>: revised typescript copy, 2000 discarded version, front matter and Part I. Pages numbered 1 to 101. Repro of typescript; annotated in ink.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nOrchestral Combinations<\/em>: revised typescript copy, 2000 discarded version, Part II and end matter. Pages numbered 102 to 2. Repro of typescript.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 43″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717599611201{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n
folder 1<\/strong><\/td>\nOrchestral Combinations<\/em>: third revised version, intro and Part I. Pages numbered 3 to 101. Typescript; annotated in ink.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nOrchestral Combinations<\/em>: third revised version, Part II and concluding matter. Pages numbered 102 to 198.\u00a0 Typescript; annotated in ink.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 3<\/strong><\/td>\nOrchestral Combinations: The Science and Art of Instrumental Tone-Color<\/em>. , Proof copy (copy 1); intro and Part I. Pages numbered i\u2013110. Scarecrow Press proof copy; corrections in ink and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nOrchestral Combinations: The Science and Art of Instrumental Tone-Color<\/em>. , Proof copy (copy 1); Part II. Pages numbered 111\u2013267. Scarecrow Press proof copy; corrections in ink and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nOrchestral Combinations: The Science and Art of Instrumental Tone-Color<\/em>. , Proof copy (copy 2); intro and Part I. Pages numbered i\u2013110. Scarecrow Press proof copy; corrections in ink and colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nOrchestral Combinations: The Science and Art of Instrumental Tone-Color<\/em>. , Proof copy (copy 2); Part II. Pages numbered 111\u2013276. Scarecrow Press proof copy; corrections in ink and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 44″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717600709201{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nOrchestral Combinations: The Science and Art of Instrumental Tone-Color<\/em>. Original MS copy; intro and Part I. Pages numbered 1\u2013141. Typescript; annotated in pencil, colored pencil and ink.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nOrchestral Combinations: The Science and Art of Instrumental Tone-Color<\/em>. Original MS copy; Part II. Pages numbered 142\u2013297. Typescript; annotated in pencil, colored pencil and ink.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nOrchestral Combinations<\/em>: Revised typescript with new formatting. Pages numbered 1 \u2013 141. Repro of typescript MS; corrections in ink and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nOrchestral Combinations<\/em>: Revised typescript with new formatting. Pages numbered 142 \u2013 300. Repro of typescript MS; corrections in ink and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nOrchestral Combinations<\/em>. Proof copy: index. Pages numbered 256 \u2013 272. Scarecrow Press proof copy; corrections in ink and colored pencil. Interleaved in proof copy: repro of typescript pages and pencil MS notes.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nOrchestral Combinations<\/em>: Index of techniques. 87 index cards; annotated in pencil. The information on the index cards pertains to the musical examples in the manuscript for the book,\u00a0Orchestral Combinations<\/em>.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nOrchestral Combination<\/em>. Letters. Includes correspondence with publisher(s) and readers, and related documents.
\nN.B. Materials originally housed in labeled 3-prong folder<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717601149982{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;}”]<\/a>Sub-series J: Source Book of Proposed Music Notation Reforms [LW6]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 45″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717601173766{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 notes. Pages run from (Duplicated staves \u2013 noteheads) through (City in which\u2026). MS in pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts, front matter. Typescript; annotated in ink and pencil. 7 pages. MS in pencil. 1 page.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts 1 \u2013 4, chapter 1. Pages numbered 1 to 10. Typescript; annotated in red ink and pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts 1-4, chapter 2. Pages numbered 2 to 4. Combination of MS in pencil and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts 1 \u2013 4, chapter 3. Combination of pencil MS and typescript; annotated in pencil. 9 pages.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts 1 \u2013 4, chapter 4 \u2013 1. Combination of pencil MS and typescript; annotated in red ink and pencil. 9 pages.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts 1-3, chapter 4 \u2013 2. Combination of pencil MS and typescript; annotated in pencil. 5 pages.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts (various). Pages numbered 1672 to 3. Typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 notes. Pages run from (Comparative Table of Staff Formats) to (Rambures 18). MS in pencil and colored pencil.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts (various). Pages numbered 1650 to 19. Typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts 1 \u2013 4, chapter 7. Combination of pencil MS and typescript; annotated in pencil. 9 pages.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 drafts\/notes (various). Pages run from 1799 to 600a. Typescript; annotated in pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 13<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: drafts\/notes (various). Pages numbered 6-1 to 1560. Typescript; annotated in ink and pencil.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: drafts\/notes (various) (1 of 4). Pages run from (1909) to (1888. Christian A. B. Huth). Combination of pencil MS and typescript; annotated in pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: drafts\/notes (various) (1 of 4). Pages run from (Austman) to (La Salle\u2019s proposal). Combination of pencil MS and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: drafts\/notes (various) (1 of 4). Pages run from (Saveur) to (Hartmann). Combination of pencil MS and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: drafts\/notes (various) (1 of 4). Pages run from (1958. Rodney Fawcett) to (1985 William Tapley). Combination of pencil MS and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: drafts\/notes (1 of 3). Pages run from (Johann Jakob Froberger) to (Thelwall). Combination of pencil MS and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: drafts\/notes (2 of 3). Pages run from (1902. Paul Riesen) to (1934 Marguerita Roesgen-Champion). Combination of pencil MS and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: drafts\/notes (3 of 3). Pages run from (1936. Oewaron Nadjen) to (Footnotes). Combination of pencil MS and typescript; annotated in pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: second complete draft, front matter. Pages numbered 1(iii) to 6a(xv). Combination of pencil MS and typescript; annotated in ink and pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: second complete draft, chapter 1. Pages numbered 7 to 16a. Typescript; annotated in ink and pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 second complete draft, chapter 2. Pages numbered 17 to 165e. Typescript; annotated in ink and pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 second complete draft, chapter 3. Pages numbered 166 to 199a. Typescript; annotated in ink and pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 second complete draft, chapter 4. Pages numbered 200 to 307. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 4<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 second complete draft, chapter 4, continued. Pages numbered 308 to 427. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 second complete draft, chapter 5. Pages numbered 428 to 502. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 second complete draft, chapter 6. Pages numbered 503 to 555a. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 second complete draft, chapter 7. Pages numbered 556 to 600a. Typescript; annotated in ink and pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 second complete draft, appendices. Pages numbered 601 to 671. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, front matter. Pages run from 1st<\/span>\u00a0page of index to 6d. Combination of ink MS, MS in colored pencil and typescript; annotated in ink and pencil.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, chapter 1. Pages numbered 7 to 16. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, chapter 2. Pages numbered 17 to 165d. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, chapter 3. Pages numbered 166 to 199. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, chapter 4. Pages numbered 200 to 346. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 7<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, chapter 4, continued. Pages numbered 347 to 427. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, chapter 5. Pages numbered 428 to 502. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, chapter 6. Pages numbered 503 to 555. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, chapter 7. Pages numbered 556 to 600a. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, appendices. Pages numbered 601 to 667. Typescript; annotated in ink and colored pencil.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>:\u00a0 final draft, bibliography. Pages numbered 668 to 683. Typescript; annotated in ink, pencil and colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\n[Source Book of Proposed Music Notation Reforms<\/em>]: typescript table of contents, with emendations in pencil by Gardner Read indicating paging of final typescript. 3 pages.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: addenda. [Contains various handouts, research notes, patents, and other documents.] Pages run from (List of Music Notation Proposals) through (Comments: compiled by Markus Klein).<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>: manuscript examples. Various musical fragments, extracted from unidentified compositions. MS in pencil. 10 pages of music.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nSource Book of Proposed Music Notation Reforms<\/em>. Letters. Includes publishing agreement, correspondence with publisher(s) and readers, and related documents.
\nN.B. Materials originally housed in labeled 3-ring binder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717604234451{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;}”]<\/a>Sub-series K: Style and Orchestration [LW5]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 134″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717604273011{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n
folder 6<\/strong><\/td>\nStyle and Orchestration<\/em>: corrected gallery proofs. Pages numbered BF-38 to CD-32. Publisher\u2019s proof copy; corrections in colored pencil.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_custom_heading text=”Box 49″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717604328273{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n
folder 5<\/strong><\/td>\nStyle and Orchestration<\/em>. Typescript MS; corrections in pencil and colored pencil. Pages numbered ix \u2013 115.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\nStyle and Orchestration<\/em>. Typescript MS; corrections in pencil and ink.\u00a0 Pages numbered 115 \u2013 286.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nStyle and Orchestration<\/em>. Typescript MS; corrections in pencil and ink. Pages numbered 1 \u2013 363.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nCritique and Notes for Style and Orchestration<\/em>. Combination of typescript and MS in pencil, ink and colored pencil. 46 pages. Accompanied by a letter to Nelson M. Jansky, music editor at Allyn and Bacon, from Gardner Read, 22 June 1962. Typescript; annotated in pencil. 2 pages. Also accompanied by a letter to Gardner and Vail Read from William Thomas, music editor at Allyn and Bacon, Inc., dated July 12, 1962. Typescript; inscribed in ink by William Thomas. 2 pages. Also accompanied by a letter to Vail Read from Paul F. Stanton, October 1, 1962. Typescript; inscribed in ink by Paul F. Stanton. 1 page.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n
folder 9<\/strong><\/td>\nStyle and Orchestration<\/em>.\u00a0 Opinions \u2013 Letters.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717604473253{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;}”]<\/a>Sub-series L: Music Notation: A Manual of Modern Practice [LW2]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 50″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717604591765{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n\n\n\n
folder 1<\/strong><\/td>\nMusic Notation<\/em>. Evaluations. Contains typescript comments from 3 invited readers.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nMusic Notation<\/em>. Letters: 1963\u20131971. Includes correspondence with publisher(s), readers, and others.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 3<\/strong><\/td>\nMusic Notation<\/em>. Letters: 1972\u20131982. Includes correspondence with readers and others.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nMusic Notation<\/em>. Letters: 1983\u20131988. Includes correspondence with publisher(s), readers, and others.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nMusic Notation<\/em>. Opinions. Primarily correspondence from readers to the publisher (e.g., completed opinion\/comment forms sent with review copies).
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717605093194{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;}”]<\/a>Sub-series M: Compendium of Modern Instrumental Techniques [LW8]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 50″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717605273919{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n
folder 6<\/strong><\/td>\nCompendium of Modern Instrumental Techniques<\/em>. Letters, Opinions, etc. Includes publishing agreement, correspondence with publisher(s) and readers, and related documents.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717605323464{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;}”]<\/a>Sub-series N: Twentieth-Century Music Notation [LW10]<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 50″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717605273919{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n\n
folder 7<\/strong><\/td>\nTwentieth-Century Music Notation<\/em>. Excerpts from discarded draft (1 of 2). Repro of typescript. Pages numbered 28\u2013429.
\nAccompanied by pencil MS note: \u201cDiscarded Xerox pages from book project. Never completed or published. Not complete.\u201d<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nTwentieth-Century Music Notation<\/em>. Excerpts from discarded draft (2 of 2). Repro of typescript. Pages numbered 435\u2013958.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1717605496813{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;}”]<\/a>Sub-series O: Other Writings<\/span><\/em>[\/vc_column_text][vc_custom_heading text=”Box 50″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1717605518227{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-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #cccccc !important;}”][vc_column_text css=””]<\/p>\n\n\n\n
folder 9<\/strong><\/td>\nLW33.\u00a0 \u201cOur National Culture in Jeopardy.\u201d\u00a0 Commencement address by Gardner Read for the exercises at Doane College, Crete, Nebraska, June 1962.\u00a0 Privately printed.\u00a0 11 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 10<\/strong><\/td>\nLW33. \u201cOur National Culture in Jeopardy.\u201d Address delivered at Doane College, June 4, 1962. Typescript. 13 pp.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=””]<\/p>\n\n\n\n
folder 11<\/strong><\/td>\nLW33.\u00a0 \u201cOur National Culture in Jeopardy.\u201d Draft of\u00a0 commencement address by Gardner Read for the exercises at Doane College, Crete, Nebraska, June 1962. Typescript; corrections in red ink and pencil. 90 pages. Accompanied by 6 press clippings, 4 of which contain sections underlined in red ink. Also accompanied by a program for Doane College\u2019s Commencement Exercises and Conferring of Degrees, 1961 and the Doane College Bulletin 1961.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 12<\/strong><\/td>\nLW37. \u201cOur National Culture in Jeopardy.\u201d Reprinted in The Illinois Music Educator<\/em> 24\/3 (1964): 27-36.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 13<\/strong><\/td>\nLW38.\u00a0 \u201cTo Hear\u2014Or Not To Hear?\u201d\u00a0 Lecture typescript with emendations by Gardner Read.\u00a0 14 pp. of text.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 14<\/strong><\/td>\nLW38.\u00a0 \u201cTo hear – or not to hear?\u201d Draft of speech. Typescript; corrections in red ink and pencil. 58 pages. Accompanied by a press clipping titled \u201cLight Cast on Dance by \u2018The Chequer\u2019d Shade\u2019\u201d; sections of the article have been underlined in red ink. (Speech was delivered presumably at Northern Illinois University in DeKalb, Illinois.)<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\nLW39. \u201cThe Art of Listening\u201d Article [reprint of \u201cTo Hear\u2014Or Not To Hear?\u201d]. In\u00a0Fine Arts News<\/em>\u00a03\/4 (March, 1964): 1, 3.<\/td>\n<\/tr>\n
folder 2<\/strong><\/td>\nLW42. \u201cThe Artist in Residence: Fact or Fancy.\u201d Essay. Typescript. 12 pages.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 2<\/strong><\/td>\nLW42. Draft of speech \u2013 \u201cThe Artist in Residence: Fact or Fancy.\u201d Typescript; annotated in ink and pencil. 35 pages.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 3<\/strong><\/td>\nLW50. \u201cThe Dilemma of Notation.\u201d Lecture typescript and audio example list with emendations by Gardner Read. 31 pp. of text.<\/td>\n<\/tr>\n
folder 4<\/strong><\/td>\nLW50. \u201cThe Dilemma of Notation.\u201d Published lecture script. Printed with lectures by James Hearst and Halsey Stevens in North Texas State University,\u00a0Three Lectures<\/em>\u00a0(Denton, TX: North Texas State University, 1969).<\/td>\n<\/tr>\n
folder 5<\/strong><\/td>\nLW53. \u201cThe Composer in America: Reflections on a Theme of Stravinsky\u201d [collected essays by various composers]. In\u00a0College Music Symposium<\/em>\u00a0(volume\/issue not marked). Gardner Read\u2019s essay on pages 88-89. 2 copies.<\/td>\n<\/tr>\n
folder 6<\/strong><\/td>\n[LW\u2014.] \u201cIntroduction.\u201d In Boston University Festival of Music, 1950, program book.<\/td>\n<\/tr>\n
folder 7<\/strong><\/td>\nArticles and Essays. I. (1933). Unpublished essays submitted for courses at the Eastman School of Music. Typescript. Includes: Johann Sebastian Bach (LW60); The Harp (LW 61); The Oratorio (LW62); Chamber Music (LW63); The Literature of the Pianoforte (LW64); The Opera (LW65); The Orchestra (LW66); The Art Song (Lied) (LW67).
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 8<\/strong><\/td>\nArticles and Essays. II. (1934-36). Unpublished essays submitted for courses at the Eastman School of Music. Typescript. Includes: Symphony No. 5 in E Minor, \u201cFrom the New World\u201d (Dvorak) (LW68); The Nature of Romanticism in Music (LW69); Analytical Technic (LW70); A Composer\u2019s Approach to Musical Imagery and Imagination (LW71).
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 9<\/strong><\/td>\nArticles and Essays. IV. (1938-50). Typescript. Includes: Prizes versus Commissions (LW20); The Teaching of Contemporary Compositional Technic (LW25); Youth and Music (LW21); Problems of the Younger Composers of Today (LW23); What Is Modern Music (LW26); Pedantics versus Living Music (LW88); A Statement of the Aims and Objectives of the Theory Department (LW\u2014).
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 10<\/strong><\/td>\nArticles and Essays. V. (1950-62). Typescript. Includes: [untitled article] (LW\u2014); [Artist\u2019s Workshop] (LW28); Music: 1953 (LW29); A Discussion of Ralph Vaughan Williams\u2019 Symphony in E Minor (LW89); [untitled article] (LW\u2014).
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 11<\/strong><\/td>\nArticles and Essays. VI. (1962-64). Typescript. Includes: Our National Culture in Jeopardy (LW33); To Hear\u2014Or Not to Hear? (LW38); The Artist-in-Residence: Fact or Fancy? (LW42); The Orchestra (LW\u2014); Some Problems of Rhythmic Notation (LW48); The Pleasures of Music (LW91).
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 12<\/strong><\/td>\nArticles and Essays. VII. (1965-75). Typescript. Includes: The Dilemma of Notation (LW50); [Contemporary Vocal Music] (LW92); essay for Campus Focus: The Composer in Academia (LW53); What\u2019s in a Name. (LW54); The New Language of Modern Music (LW56); From the Scholar\u2019s Chair (LW59); liner notes for\u00a0Spirals\u00a0<\/em>and\u00a0Herstory II<\/em>\u00a0(LW58).
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 13<\/strong><\/td>\nArticles on Mexico (1964). Typescript. Includes: [Current Attractions: Festival of Contemporary Music] (LW46); [Composer and Government\u2014Welfare or Frustration?] (LW45); Mexico, Mission 2: 1964 (LW47); Mexico Diary, 1964 (LW90).
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n
folder 14<\/strong><\/td>\nReviews published in Notes<\/em>. Typescript (pages extracted from journal and affixed to letter-size paper). Publication dates range from 1949 to 1977.<\/td>\n<\/tr>\n
folder 15<\/strong><\/td>\nPublished music reviews in Notes<\/em>. Typescript drafts. Dates include: June 1957 (LW98); September 1958 (LW99); September 1963 (LW101); June 1964 [sic] (actually published in the June, 1974 issue; LW117); June 1968 (LW102); March 1969 (LW103); June 1969 (LW104); December 1969 (LW105); March 1970 (LW106); June 1970 (LW107); December 1970 (LW108); March 1971 (LW109); June 1971 (LW110); December 1971 (LW111); March 1972 (LW112); June 1972 (LW113); September 1972 (LW114); June 1973 (LW115); December 1973 (LW116); September 1974 (LW118); December 1974 (LW119); March 1975 (LW120); December 1975 (LW121); March 1976 (LW122); September 1976 (LW123); September 1977 (LW124).<\/td>\n<\/tr>\n
folder 16<\/strong><\/td>\nBook and Music Reviews. Typescript. Primarily reviews for\u00a0The Boston Globe,<\/em>\u00a0as well as one review for\u00a0The World of Music<\/em>.
\nN.B. Materials originally housed in labeled 3-prong folder.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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folder 1<\/strong><\/td>\n\u201cThe Orchestra\u201d by Vail Read. Article for The Book of Knowledge<\/em>. Typescript; annotated in ink, pencil and colored pencil. 67 pages. Accompanied by a pamphlet titled \u201cInformation for Contributors to The Book of Knowledge\u201d.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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\u2190 GARDNER READ COLLECTION<\/a><\/p>\n

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GARDNER READ COLLECTION; Series 4 to 6 \u2192<\/a><\/p>\n

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

[vc_row][vc_column][vc_column_text css=”.vc_custom_1719597467465{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;}”] Series 1: Compositions [\/vc_column_text][vc_column_text css=”.vc_custom_1719597524815{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;}”]Sub-series A: Manuscripts and Imprints[\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1613163864496{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px […]<\/p>\n","protected":false},"author":276,"featured_media":0,"parent":7234,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[3],"class_list":["post-7245","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7245","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=7245"}],"version-history":[{"count":0,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7245\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/7234"}],"wp:attachment":[{"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=7245"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=7245"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/esm4.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=7245"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}