BURRILL PHILLIPS COLLECTION
Box 1
| folder 1 | The Black Stranger, op. 3, no. 1 (undated). Operetta. [Unfinished.] Piano vocal score. Fair copy (ink), in bound sketchbook. 11 pages of music. Interleaved in sketchbook: manuscript notes (pencil). 10 pages of text. |
| folder 2 | Dance (1940). Ballet. Unknown instrumentation. Instrumental parts (incomplete): violin II. Manuscript facsimile. 3 pages of music. |
| folder 3 | Dr. Faustus (1957). Incidental music for the play by Christopher Marlowe. For organ, brass quartet, and timpani. Pencil holograph. Manuscript sketches and drafts (pencil). 20 pages of music. |
| folder 4 | Dr. Faustus (1957). Worksheets and sketches. List of organ stops. Typescript, with annotations in pencil and colored pencil. 1 page of text. Manuscript notes (pencil). 3 pages of text. Manuscript sketches (pencil). 12 leaves of music. Manuscript sketches and drafts (pencil). 8 leaves of music. |
| folder 5 | Dr. Folly [1951/53?]. [Opera. Unknown instrumentation.] Score, pencil holograph. Manuscript notes (pencil). 3 pages of text. “Act I, sc. 1 (after curtain).” Draft of reduced score. Manuscript (pencil). 35 pages of music. “Dr. Folly.” Draft of full score (excerpt). Manuscript (pencil). 10 pages of music. Draft of reduced score (excerpt; pages numbered 1-48). Manuscript (pencil). 48 pages of music. “(end of curtain).” Draft of reduced score (excerpt; pages numbered 1-12). Manuscript (pencil). 12 pages of music.
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| folder 6 | Dr. Folly (1950/53). Experiments and sketches. Manuscript sketches (pencil). 19 leaves of music. |
| folder 7 | Don’t We All (1947). Opera buffa in one act. Piano vocal score [1]. Piano vocal score. Manuscript facsimile, with performance markings in pencil and ink. 2 copies. 67 pages of music, each. |
| folder 8 | Don’t We All (1947). Piano vocal score [2]. Piano vocal score. Manuscript facsimile, with performance markings in pencil, colored pencil, and ink. 2 copies. 67 pages of music, each. |
| folder 9 | Don’t We All (1947). Piano vocal score [3]. Piano vocal score. Manuscript facsimile, with performance markings in pencil, colored pencil, and ink. 2 copies. 67 pages of music, each. |
| folder 10 | Don’t We All (1947). Piano vocal score [3]. Piano vocal score. Manuscript facsimile, with performance markings in pencil, colored pencil, and ink. Affixed to inside front cover: typescript production information, with manuscript note (in ink). 2 copies. 67 pages of music, each. |
Box 2
| folder 1 | Don’t We All (1947). Draft of score. Draft of score (reduced score) (pencil), with annotations in ink. 100 leaves of music. |
| folder 2 | “Children at Back of Theater.” From Don’t We All (1947). Typed transparencies; condensed score. Piano vocal score. Typescript Ozalid masters. 6 pages of music. |
| folder 3 | Don’t We All (1947). Vocal score: ink holograph onion skin. Piano vocal score. Ozalid manuscript (ink). 67 pages of music. |
| folder 4 | Don’t We All (1947). Parts: ink holograph transparencies. Instrumental parts: flute, oboe, clarinet I, clarinet II, bassoon, horn I, horn II, trumpet in C, trombone, violin I, violin II, viola, cello, bass, piano. 155 pages of music. |
| folder 5 | Don’t We All (1947). Sketches in pencil. Manuscript sketches (pencil). 4 pages of music. |
| folder 6 | Don’t We All (1947). Pencil holograph; full score. Draft of full score (pencil); dated August 20, 1947. 77 leaves of music. |
| folder 7 | Don’t We All (1947). Wind parts: Ozalid copies. Instrumental parts (winds): flute, oboe, clarinet I, clarinet II, bassoon, horn I, horn II, trumpet in C, trombone, Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 72 pages of music. |
| folder 8 | Don’t We All (1947). 1st and 2nd violin parts: Ozalid copies. Instrumental parts: violin I (3 copies), violin II (2 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 81 pages of music. |
| folder 9 | Don’t We All (1947). Viola, cello, bass, and piano parts: Ozalid copies. Instrumental parts: viola (2 copies), cello, bass, and piano. Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 67 pages of music. |
| folder 10 | The Flies (1951). Incidental music for the play by Jean-Paul Sartre. Draft of score (pencil and ink). 18 pages of music. Instrumental parts (incomplete): percussion I, percussion II. Fair copies of parts (ink), with performance markings in pencil. 10 pages of music. “Suite from Music for The Flies by Jean Paul Sartre.” Full score (incomplete; consists of pages 1-2 only). Ink. 2 pages of music. Director’s notes. Typescript, with annotations in colored pencil and pencil. 2 pages of text. |
| folder 11 | Katmanusha (1932/33). Ballet. Piano score: ink holograph transparencies. Piano score. Ozalid manuscript (ink). 57 pages of music. |
| folder 12 | Katmanusha (1932/33). Ballet. Piano score: Ozalid copy. Piano score. Manuscript facsimile (from Ozalid master), bound. 57 pages of music. Score labeled: “Piano Score; No. 4.” |
Box 3
| folder 1 | Katmanusha (1932/33). Ballet. Pencil sketches and worksheets. Manuscript sketches and drafts (pencil, colored pencil, and ink). 13 leaves of music. “Phillips; Act I, etc.; sketches + score.” Folder containing manuscript sketches and drafts (pencil and ink). 52 leaves of music. Draft of full score (pencil). 96 pages of music. |
| folder 2 | La Piñata (1969). Ballet on Mexican children’s game-songs, collected by José Limón. For chamber orchestra (dancers, semi-mariachi ensemble, and soprano voice). Score and parts: ink holograph transparencies. “Prologue to La Piñata.” For percussion only.
Full score. Ozalid manuscript (ink). 1 page of text (title page); 115 pages of music. |
| folder 3 | La Piñata (1969). Score: Ozalid copy, bound. “Prologue to La Piñata.” For percussion only. Full score. Manuscript facsimile (from Ozalid master). 9 pages of music. Full score. Manuscript facsimile (from Ozalid master), bound. 1 page of text (title page); 115 pages of music. |
| folder 4 | La Piñata (1969). 1 pencil holograph; 1 xerographic copy. Reduced score (pencil), with annotations in colored pencil. 34 pages of music. Copy 2 (duplicate facsimile). 34 pages of music. |
| folder 5 | La Piñata (1969). Prologue and score: pencil holograph. “Prologue to La Piñata.” For percussion only. Draft of score (pencil). 7 pages of music. Draft of full score (pencil), with annotations in colored pencil. 118 pages of music. |
| folder 6 | La Piñata (1969). Worksheets. Manuscript sketches and drafts (pencil). 56 leaves of music. |
| folder 7 | Play Ball! (1937). Ballet. Condensed two-piano score. Condensed score for two pianos (pencil). 35 pages of music. Condensed score for two pianos. Fair copy (ink). 34 pages of music. |
| folder 8 | Play Ball! (1937). Wind parts: ink holograph. Instrumental parts (winds): flute I, flute II, piccolo, oboe I, oboe II, clarinet I, clarinet II, bassoon I, bassoon II, horn I, horn II, horn III, horn IV, trumpet I, trumpet II, trumpet III, trombone I, trombone II, bass trombone III, tuba, timpani, percussion I, percussion II, percussion III. Fair copy (ink), with annotations in pencil and colored pencil.167 pages of music. |
| folder 9 | Play Ball! (1937). String parts: ink holograph. Instrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 50 pages of music. |
Box 4
| folder 1 | Play Ball! (1937). String parts: ink holograph. Instrumental parts (strings): violin I (5 copies), violin II (4 copies), viola (3 copies), cello (3 copies), bass (3 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 182 pages of music. |
| folder 2 | Princess and Puppet (1933). Ballet based on a Bengal folk tale. Wind and percussion parts: ink holograph. Instrumental parts: flute I, flute II, piccolo, oboe I, oboe II, English horn, clarinet I, clarinet II, bass clarinet, bassoon I, bassoon II, contrabassoon, horn I, horn II, horn III, horn IV, trumpet I, trumpet II, trumpet III, trombone I, trombone II, trombone III, tuba, timpani, percussion I, percussion II, percussion III, percussion IV, piano and celeste, harp. Manuscript facsimile. 319 pages of music. |
| folder 3 | Princess and Puppet (1933). String parts: ink holograph transparencies. Instrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 87 pages of music. |
| folder 4 | Princess and Puppet (1933). 1st and 2nd violin parts: Ozalid copies. Instrumental parts (violins): violin I (4 copies), violin II (3 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil and colored pencil. 134 pages of music. |
| folder 5 | Princess and Puppet (1933). Viola, cello, and bass parts: Ozalid copies. Instrumental parts (low strings): viola (2 copies), cello (2 copies), bass (2 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil and colored pencil. 98 pages of music. |
Box 5
| folder 1 | Step into My Parlor (1942). Ballet. Score: pencil holograph. Draft of full score (pencil). 84 pages of music. |
| folder 2 | Step into My Parlor (1942). Score: ink holograph transparencies. Full score. Ozalid manuscript (ink). 72 pages of music. |
| folder 3 | Step into My Parlor (1942). Parts: ink holograph transparencies; parts. Instrumental parts: flute 1, flute 2, oboe 1, oboe 2, clarinet 1, clarinet 2, bassoon 1, bassoon 2, horn 1, horn 2, trumpet in C, trombone, timpani, percussion 1, percussion 2, percussion 3, violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 129 pages of music. |
| folder 4 | Step into My Parlor (1942). Ozalid copies; parts. Instrumental parts: flute 1, flute 2, oboe 1, oboe 2, clarinet 1, clarinet 2, bassoon 1, bassoon 2, horn 1, horn 2, trumpet in C, trombone, timpani, percussion 1, percussion 2, percussion 3, violin I, violin II, viola, cello. Manuscript facsimile (from Ozalid masters). 122 pages of music. |
| folder 5 | Step into My Parlor (1942). 1st and 2nd violin parts: Ozalid copies. Instrumental parts: violin I (7 copies), violin II (9 copies). Manuscript facsimile (from Ozalid masters). 144 pages of music. |
| folder 6 | Step into My Parlor (1942). Viola, cello, and bass parts: Ozalid copies. Instrumental parts: viola (6 copies), cello (6 copies), bass (4 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 136 pages of music. |
| folder 7 | Three Satiric Fragments (1941). Ballet. Full score: pencil holograph; condensed score: ink holograph. Draft of full score (pencil). 19 pages of music. Reduced piano score. Fair copy (ink). 8 pages of music.
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| folder 8 | Three Satiric Fragments (1941). Wind parts: ink holograph. Instrumental parts (winds): flute I, flute II, oboe I, oboe II, clarinet I, clarinet II, bassoon I, bassoon II, horn I, horn II, tenor trombone, timpani, percussion I, percussion II. Fair copies of parts (ink). 38 pages of music. |
| folder 9 | Three Satiric Fragments (1941). String parts: ink holograph transparencies. Instrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 19 pages of music. |
| folder 10 | Three Satiric Fragments (1941). Ozalid copies; strings parts. Instrumental parts (strings): violin I (8 copies), violin II (6 copies), viola (5 copies), cello (5 copies), bass (4 copies). Manuscript facsimile (from Ozalid masters). 108 pages of music. |
Box 6
| folder 1 | The Thumb: A Serious Vaudeville (1954). Incidental music for the play by S. R. Zitner. Full score: pencil holograph. Full score. Ozalid manuscript (pencil). 37 pages of music. |
| folder 2 | The Thumb: A Serious Vaudeville (1954). Director’s copy of the play. P. Zitner. The Thumb: A Serious Vaudeville with a Prologue, Five Scenes, and an Entr’acte. Typescript script, with annotations and stage directions in pencil, colored pencil, and ink [Director’s copy]. 42 pages of text. |
| folder 3 | The Thumb: A Serious Vaudeville (1954). Score and parts: Ozalid copies. Full score. Manuscript facsimile (from Ozalid masters), with performance markings in colored pencil, bound. 37 pages of music. Instrumental parts: flute I, flute II, flute III, percussion I, percussion II. Manuscript facsimiles (from Ozalid masters), with performance markings in pencil and colored pencil. 34 pages of music. |
| folder 4 | The Thumb: A Serious Vaudeville (1954). Parts: pencil holograph transparencies. Instrumental parts: flute I, flute II, flute III, percussion I, percussion II. Ozalid manuscript (pencil). 34 pages of music. |
| folder 5 | The Unforgiven (1981). Opera in three acts, with libretto by Alberta Libretto. Draft of full score (incomplete; pages out of order). Manuscript draft (pencil), with annotations in colored pencil. 29 leaves of music. |
| folder 6 | The Unforgiven (1981). Act I score: pencil holograph. Act I. Draft of full score (pencil). 198 pages of music. |
| folder 7 | The Unforgiven (1981). Act II score: pencil holograph. Act II. Draft of full score (pencil), with annotations in colored pencil and ink. 156 pages of music. |
| folder 8 | The Unforgiven (1981). Act I piano vocal score: ink holograph transparencies. Act I. Piano vocal score. Ozalid manuscript (ink). 115 pages of music. |
| folder 9 | The Unforgiven (1981). Act II piano vocal score: ink holograph transparencies. Act II. Piano vocal score. Ozalid manuscript (ink). 81 pages of music. |
| folder 10 | The Unforgiven (1981). Act III piano vocal score: ink holograph transparencies. Act III. Piano vocal score. Ozalid manuscript (ink). 133 pages of music. |
| folder 11 | The Unforgiven (1981). Sketches and worksheets. Assorted sketches and notes, enclosed in folder labeled “from trial to finish Unforgiven sketches + work sheets of score + libretto of Act III.” Manuscript sketches (pencil); dated between November 24, 1981, and April 3, 1982. 66 leaves of music and text. |
Box 7
| folder 1 | The Unforgiven (1981). Sketches; dated 3/9/1978-9/10/1978. Manuscript sketches, titled “Worksheet for prelude to Act III” (pencil); dated March 9-September 10, 1978. 79 leaves of music. |
| folder 2 | The Unforgiven (1981). Sketches; dated 6/6/1978-8/4/1978. Manuscript sketches and notes, titled “Worksheet for 1st Time interval” (pencil); dated June 6-August 4, 1978. 54 leaves of music and text. |
| folder 3 | The Unforgiven (1981). Sketches; dated “February 29-April 12.” Manuscript sketches and notes (pencil); dated February 29–April 12. 32 leaves of music and text. |
| folder 4 | The Unforgiven (1981). Sketches; dated 2/16/78-3/1/78. Manuscript sketches and notes, titled “Inserted scene” [Act II, scene 1] (pencil and ink); dated February 16-March 1, 1978. 29 pages of music and text. |
| folder 5 | The Unforgiven (1981). Sketches; dated 2/23/79-7/10/79. Manuscript sketches, titled “Judge enters”; dated February 23-July 10, 1979. 24 pages of music. |
| folder 6 | The Unforgiven (1981). Sketches, labeled “Reworking finals before scoring” [1]. Manuscript sketches, labeled “Reworking finals before scoring.” Includes:
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| folder 7 | The Unforgiven (1981). Sketches, labeled “Reworking finals before scoring” [2]. Manuscript sketches (pencil), labeled “Reworking finals before scoring,” labeled pp. 194-357. 164 pages of music. Stage directions (ink). 13 pages of text. Accompanied by excerpt from score, labeled “p. 100” (ink). 1 page of music. “Children at back of theater.” Piano vocal score. Manuscript facsimile, labeled “Alberta Phillips, Category II: Sample of libretto set to music by Burrill Phillips.” 6 pages of music. |
| folder 8 | The Unforgiven (1981). Libretto (typescript). Typescript libretto, labeled “Personal Copy,” bound. 72 pages of text. |
| folder 9 | Yerma (1955?). Incidental music for the play by Federico Garcia Lorca. For (untrained) voice, flute, guitar, and a large group of percussionists. Manuscript sketches (pencil). 6 leaves of music. “For Victor’s Voice, singing (p. 116).” For flute and tambourine. Score. Manuscript facsimile, with annotations in ink. 1 page of music. |
| folder 10 | Untitled opera. Act I only: Ozalid copy of condensed score. Piano vocal score. Manuscript facsimile (from Ozalid masters, see folder 5), bound. 157 pages of music. |
| folder 11 | Untitled opera. Act I: ink holograph transparencies of condensed score. Piano vocal score. Ozalid manuscript (ink). 157 pages of music. |
Box 8
| folder 1 | Untitled opera [“The Big Unfinished Opera”]. Piano sketches. Manuscript sketches (pencil and ink), labeled “The Big Unfinished Opera.” 112 leaves of music.
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| folder 2 | Untitled opera [unknown title]. Sketches. Manuscript sketches (pencil and colored pencil), untitled. 38 leaves of music. |
| folder 3 | Opera overture [unknown title]. Sketches. Manuscript drafts and sketches (pencil), untitled; dated July 23, 1947. 14 leaves of music. |
| folder 4 | Opera overture [unknown title; unfinished]. Pencil score. Draft of condensed score (pencil). 15 pages of music. |
| folder 5 | Music for a projected opera (1955/56). Full score: pencil holograph. Draft of full score (pencil), labeled “First Version.” 14 pages of music. Draft of full score (pencil), labeled “2nd version.” 28 pages of music. |
| folder 6 | Music for a projected opera. Worksheets and sketches. “Mi Tradi.” Draft of piano vocal score (pencil and ink), labeled “First Version,” pages numbered 211-217; dated July 6, 1954. 7 pages of music. “Mi Tradi.” Draft of piano vocal score (pencil and ink), labeled “Second version,” pages numbered 211-[223]. 13 pages of music. “Dance for projected opera.” Draft of condensed score (pencil). 8 pages of music. |
Box 8 [cont.]
| folder 7 | Concert Piece for Bassoon and Strings (1940). Holograph scores. Full score. Fair copy (ink). 1 page of text (title page); 10 pages of music. Draft of full score (pencil). 7 pages of music. |
| folder 8 | Concert Piece for Bassoon and Strings (1940). Worksheets and sketches in pencil. Manuscript sketches (pencil). 14 pages of music. |
| folder 9 | Concert Piece for Bassoon and Wind Band (1940/62). Arrangement for wind band. Holograph scores. Full score. Fair copy (ink). 1 page of text (title page); 29 pages of music. Draft of full score (pencil). 28 pages of music. |
| folder 10 | Concert Piece for Bassoon and Strings (1940/62). Arrangement for wind band. Worksheets and sketches. Manuscript sketches (pencil); dated June 6, 1962. 13 pages of music. |
| folder 11 | Concerto in E Minor for Piano (1942). Arrangement for two pianos. Score: ink holograph. Full score. Fair copy (ink). 77 pages of music. Full score. Fair copy (ink). 73 pages of music. |
| folder 12 | Concerto Grosso for String Quartet and Orchestra (1950). Ozalid copies of parts: winds. Instrumental parts (winds): flute, oboe, clarinet, bassoon, horn. Manuscript facsimiles (from Ozalid masters). 25 pages of music. |
| folder 13 | Concerto Grosso for String Quartet and Orchestra (1950). Ozalid copies of parts: viola, cello, bass. Instrumental parts (low strings): viola (4 copies), cello (4 copies), bass (3 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 63 pages of music. |
| folder 14 | Concerto Grosso for String Quartet and Orchestra (1950). Ozalid copies of parts: violins 1, 2. Instrumental parts (violins): violin I (6 copies), violin II (5 copies). Manuscript facsimiles (from Ozalid masters). 77 pages of music. |
| folder 15 | Concerto Grosso for String Quartet and Orchestra (1950). Ozalid copies of parts: solo strings. Instrumental parts (solo strings): solo violin I, solo violin II, solo viola, solo cello. Manuscript facsimiles (from Ozalid masters). 34 pages of music. |
| folder 16 | Concerto Grosso for String Quartet and Orchestra (1950). Ink holograph transparencies: winds. Instrumental parts (winds): flute, oboe, clarinet, bassoon, horn. Ozalid manuscript (ink). 25 pages of music. |
| folder 17 | Concerto Grosso for String Quartet and Orchestra (1950). Ink holograph transparencies: strings. Instrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 43 pages of music. |
Box 9
| folder 1 | Concerto Grosso for String Quartet and Orchestra (1950). Ink holograph transparencies: solo parts. Instrumental parts (solo strings): solo violin I, solo violin II, solo viola, solo cello. Ozalid manuscript (ink). 34 pages of music. |
| folder 2 | Concerto Grosso for String Quartet and Orchestra (1950). Pencil sketches. Manuscript sketches (pencil). 28 leaves of music. |
| folder 3 | Concerto Grosso for String Quartet and Orchestra (1950). Pencil holograph score. Full score. Fair copy (pencil). 66 pages of music. |
| folder 4 | Courthouse Square: Suite for Orchestra (1936). Pencil holograph score. Full score. Fair copy (pencil). 57 pages of music. |
| folder 5 | Courthouse Square: Suite for Orchestra (1936). Ink holograph transparencies: string parts. Instrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 29 pages of music. |
| folder 6 | Courthouse Square: Suite for Orchestra (1936). Ozalid copies: wind and percussion parts. Instrumental parts (winds and percussion): flute I, flute II, piccolo (and 3rd flute), oboe I, oboe II, English horn, clarinet I, clarinet II, bass clarinet, bassoon I, bassoon II, contrabassoon, horn I, horn II, horn III, horn IV, trumpet I, trumpet II, trumpet III, trombone I, trombone II, bass trombone, tuba, timpani, percussion I, percussion II, percussion III, harp. Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 99 pages of music. |
| folder 7 | Courthouse Square: Suite for Orchestra (1936). Ozalid copies: 1st and 2nd violin parts. Instrumental parts (violins): violin I (15 copies), violin II (5 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 138 pages of music. |
| folder 8 | Courthouse Square: Suite for Orchestra (1936). Ozalid copies: viola, cello, bass parts. Instrumental parts (low strings): viola (7 copies), cello (6 copies), bass (5 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 103 pages of music. |
| folder 9 | Declaratives (1943). For SSAA chorus and small orchestra. 3 Ozalid copies of piano/vocal scores. Piano vocal score. Manuscript facsimile (from Ozalid master), with performance markings in pencil. 3 copies. 51 pages of music, each. |
| folder 10 | Declaratives (1943). Ink holograph transparencies: piano-vocal score. Piano vocal score. Ozalid manuscript (ink). 51 pages of music of music. |
| folder 11 | Declaratives (1943). Ink holograph transparences: string parts. Instrumental parts: violin I, violin II, viola, cello. Ozalid manuscript (ink). 28 pages of music. |
| folder 12 | Declaratives (1943). Sketches and worksheets. Manuscript sketches (pencil). 17 pages of music. |
| folder 13 | Declaratives (1943). Pencil holograph score. Full score. Manuscript (pencil). 65 pages of music. |
Box 10
| folder 1 | Divertimento for Strings (1951). Ozalid copies: 1st and 2nd violins. Instrumental parts: violin I (5 copies), violin II (4 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 95 pages of music. |
| folder 2 | Divertimento for Strings (1951). Ozalid copies: viola, cello, and bass. Instrumental parts: viola (3 copies), cello (3 copies), bass (3 copies). Manuscript facsimiles (from Ozalid masters), with performance markings in pencil. 75 pages of music. |
| folder 3 | Divertimento for Strings (1951). Ink holograph transparencies: parts. Instrumental parts: violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 46 pages of music. |
| folder 4 | Divertimento for Strings (1951). Draft of score. Draft of full score (pencil), with annotations in ink. 23 pages of music. |
| folder 5 | Fantasia for Concert Band (1968). Pencil holograph: final full score. Full score. Manuscript (pencil), with annotations in pencil and colored pencil. 62 pages of music. |
| folder 6 | Fantasia for Concert Band (1968). Pencil sketches: short score. Drafts of score and sketches (pencil), with annotations in colored pencil. 20 pages of music. |
| folder 7 | Fantasia for Concert Band (1968). Sketches and worksheets. Schedule of instrumentation. Typescript document, with annotations in pencil and ink. 1 page. List of instrumentation. Manuscript (pencil). 1 page. Manuscript sketches (pencil and ink). 50 leaves. |
| folder 8 | Grotesque Dance (1932). For orchestra. Full score; ink holograph. Full score. Fair copy (ink), bound, with performance markings in colored pencil and pencil. 29 pages of music. Interleaved in score: Piano reduction. Fair copy (ink). 6 pages of music. |
| folder 9 | Imaginary Boundaries for String Orchestra (1986). Score: facsimile. Full score. Manuscript facsimile, on translucent paper. 32 pages of music. Manuscript note (“Bound w/ soft board…”), accompanied by two leaves of adhesive labels (“Imaginary Boundaries for”; “String Orchestra by Burrill Phillips”). 3 pages of text. |
| folder 10 | Music for Strings (1939). Full score: pencil holograph. Draft of full score (pencil); dated February 19, 1939. 17 pages of music. |
| folder 11 | Music for Strings (1939). Score and parts: ink holograph transparencies. Full score. Ozalid manuscript (ink). 1 page of text (title page); 43 pages of music. Instrumental parts: violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 34 pages of music. |
| folder 12 | Music for Strings (1939). Score: Ozalid copy. Full score. Manuscript facsimile (from Ozalid masters), labeled “Copy II.” 1 page of text (title page); 43 pages of music. “3. American Mercury—1928.” Full score. Manuscript facsimile (from Ozalid masters). 20 pages of music. |
| folder 13 | Perspectives in a Labyrinth (1962). For three string orchestras. Scores: pencil holographs. Partial draft of score (pencil), labeled “Second sketch based on 12-set plan on 6/14/62”; dated June 21, 1962. 4 pages of music. Draft of score (pencil); dated June 27, 1962. 14 pages of music. Draft of score (pencil), labeled “3rd version”; dated July 10-11, 1962. 9 pages of music. Draft of score (pencil), labeled “1st vers.”; dated July 27-August 1, 1962. 11 pages of music. Draft of score (pencil), labeled “2nd version”; dated August 11-29, 1962. 12 pages of music. Draft of score (pencil), labeled “3rd version; Final pencil score”; dated October 13-20, 1962. 20 pages of music. Draft of score (pencil), labeled “3rd mov’t”; dated February 16, 1963. 11 pages of music. |
| folder 14 | Perspectives in a Labyrinth (1962). Orchestra I performance parts: Ozalid copies. Instrumental parts: high, middle, low. Manuscript facsimile, with performance markings in pencil and ink. 58 pages of music. |
Box 11
| folder 1 | Perspectives in a Labyrinth (1962). Orchestra II performance parts: Ozalid copies. Instrumental parts: high, middle, low. Manuscript facsimile, with performance markings in pencil and ink. 57 pages of music. |
| folder 2 | Perspectives in a Labyrinth (1962). Orchestra III performance parts: Ozalid copies. Instrumental parts: high, middle, low. Manuscript facsimile, with performance markings in pencil and ink. 56 pages of music |
| folder 3 | Perspectives in a Labyrinth (1962). Worksheets, sketches, notes and criticisms. “Comprehensive criticism of 2nd version.” Typescript document; dated September 16, 1962. 1 page of text. Manuscript sketches and notes (pencil); dated June 1962. 60 leaves of music and text. |
| folder 4 | Piano Concerto (1942). String parts: ink holograph transparencies. Instrumental parts (strings): violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 51 pages of music. |
| folder 5 | Piano Concerto (1942). 2-piano arrangement: Ozalid copy. Two-piano score. Manuscript facsimile, unbound, with performance markings in pencil. 76 pages of music. |
| folder 6 | Piano Concerto (1942). 2-piano arrangement: Ozalid copies. Two-piano score. Manuscript facsimile, bound. 2 copies. 76 pages of music, each.
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| folder 7 | Piano Concerto (1942). Piano II part of 2-piano arrangement: pencil holograph. Manuscript draft of part (pencil) (incomplete; pages numbered 15-19). 7 pages of music. |
| folder 8 | Piano Concerto (1942). Pencil sketches. “Two piano reduction—last mov’t.” Draft of score (pencil). 14 pages of music. “2a sketches—used + unused for II of Piano concerto.” Manuscript sketches (pencil); dated December 21. 24 pages of music. “3b unused sketches for III of Piano concerto.” Manuscript sketches (pencil). 43 pages of music. |
| folder 9 | Scena (1946). For small orchestra. Parts: Ozalid copies. Instrumental parts: flute, oboe (2 copies), 1st clarinet, 2nd clarinet, bassoon (2 copies), 1st horn, 2nd horn, 1st trumpet in C, 2nd trumpet in C, tenor trombone (2 copies), timpani, violin I (6 copies), violin II (6 copies), viola (4 copies), cello (4 copies), bass (4 copies). Manuscript facsimile, with performance markings in pencil. 63 pages of music. |
| folder 10 | Scena (1946). Worksheets and sketches. “Worksheet #1 (5/6/85).” Manuscript sketches (pencil). 10 pages of music. “Worksheet #2 (5/6/85).” Manuscript sketches (pencil). 25 pages of music. |
| folder 11 | Scherzo for Orchestra (1944). Holograph full score. Draft of full score (pencil); dated October 15, 1944. 87 pages of music. |
| folder 12 | Scherzo for Orchestra (1944). Pencil worksheets and sketches. Manuscript sketches (pencil). 25 pages of music. |
| folder 13 | Selections from McGuffey’s Reader (1934). Suite for orchestra. Full score: pencil holograph. Draft of full score (pencil). 90 pages of music. |
Box 12
| folder 1 | Selections from McGuffey’s Reader (1934). 2-piano arrangement: pencil holograph. Draft of condensed two-piano score (pencil). 45 pages of music. |
| folder 2 | Selections from McGuffey’s Reader (1934). Sketches and worksheets in pencil. Manuscript sketches and drafts (pencil, ink, and colored pencil). 52 leaves of music. |
| folder 3 | Soleriana Concertante (1965). For small orchestra. Performing parts: manuscript facsimile. Instrumental parts: flute, oboe, clarinet, bassoon, horns I and II (2 copies), trumpet, trombone, timpani, percussion I and II (2 copies), violin I (8 copies), violin II (6 copies), viola (4 copies), cello (4 copies), bass (2 copies). Manuscript facsimile, with performance markings in pencil. 209 pages of music. |
| folder 4 | Soleriana Concertante (1965). Pencil sketches. Manuscript sketches and notes (pencil and colored pencil). 67 leaves of music and text. |
| folder 5 | Symphony Concertante (1942). For small orchestra. Full score (pencil) and notes. K. Van Hoesen to Burrill Phillips. 1 letter (ink); undated. 2 pages. – Correspondence pertains to instrumentation for Symphony Concertante. Full score. Fair copy (pencil). 37 pages of music. Manuscript sketches (pencil). 8 leaves of music. |
| folder 6 | Symphony Concertante (1942). Score: ink holograph. Full score. Fair copy (ink), bound, with performance markings in pencil. 2 pages of text; 86 pages of music. |
| folder 7 | Symphony Concertante (1942). Complete parts: ink holograph. Instrumental parts: flute, oboe, clarinet I, clarinet II/bass clarinet, bassoon, horn I, horn II, trumpet in C, tenor trombone, timpani, percussion/timpani, percussion, piano, violin I (3 copies), violin II (3 copies), viola (2 copies), cello (2 copies), bass. Fair copies (ink), with performance markings in pencil. 124 pages of music. |
| folder 8 | Symphony Concertante (1942). Bass part: facsimile. Bass part. Manuscript facsimile. 2 copies. 4 pages of music, each. Bass part. Manuscript facsimile, negative photocopy. 4 pages of music. |
| folder 9 | Theater Dances for Orchestra (1967). Score: pencil holograph. Draft of full score (pencil); dated November 26, 1966. 65 pages of music. |
| folder 10 | Theater Dances (1967). Parts: typescript transparencies. Instrumental parts: flute I and II, oboe I and II, clarinet I and II, bassoon I and II, horn I, horn II, horn III, horn IV, trumpet I, trumpet II, trumpet III, trombone I, trombone II, trombone III, tuba, timpani, percussion I and II, violin I, violin II, viola, cello, string bass. Ozalid masters (typescript). 82 pages of music. |
| folder 11 | Theater Dances (1967). Pencil sketches and worksheets. Manuscript sketches (pencil). 41 leaves of music. |
| folder 12 | Three Easy Pieces for String Orchestra (1954). Worksheets. Manuscript sketches and drafts (pencil); dated between March 26 and June 8, 1954. 9 leaves of music. |
| folder 13 | Tom Paine Overture (1946). Wind and percussion parts: Ozalid copies. Instrumental parts: piccolo, flute I, flute II, oboe I, oboe II, clarinet I, clarinet II, bassoon I, bassoon II, trumpet I, trumpet II, horn I, horn II, horn III, horn IV, tenor trombone I, tenor trombone II, trombone III (bass), tuba, timpani, percussion (2 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 92 pages of music. |
Box 13
| folder 1 | Tom Paine Overture (1946). String parts: Ozalid copies. Instrumental parts: violin I (8 copies), violin II (7 copies), viola (5 copies), violoncello (5 copies), contrabass (4 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 173 pages of music. |
| folder 2 | Triple Concerto (1953). For clarinet, viola, piano, and orchestra. Parts: ink holograph transparencies. Instrumental parts: clarinet solo, solo viola, piano solo, flute (and piccolo), oboe, clarinet, bassoon, horn I, horn II, trumpet, trombone (tenor), timpani, percussion, violin I, violin II, viola, cello, bass. Ozalid manuscript (ink). 144 pages of music. |
| folder 3 | Triple Concerto (1953). Solo parts: Ozalid copies. Instrumental parts (solos): clarinet solo, solo viola, piano solo. Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 45 pages of music. |
| folder 4 | Triple Concerto (1953). Sketches. Manuscript sketches and drafts (pencil). 102 leaves of music. |
| folder 5 | Yellowstone, Yates and Yosemite (1972). For tenor saxophone and symphonic band. Full score: pencil holograph. Draft of full score (pencil); dated March 8-May 1, 1972. 27 pages of music. |
| folder 6 | Yellowstone, Yates and Yosemite (1972). Parts: typed transparencies. Instrumental parts: tenor saxophone solo, flute I, flute II, oboe I, oboe II, clarinet I, clarinet II, clarinet III, E-flat alto clarinet, bass clarinet, bassoon I, bassoon II, alto saxophone I, alto saxophone II, baritone saxophone, cornet I, cornet II, cornet III, trumpet I, trumpet II, horn I, horn II, horn III, horn IV, trombone I, trombone II, trombone III, euphonium, tuba, timpani, snare drum. Ozalid manuscript (ink). 60 pages of music. |
| folder 7 | Yellowstone, Yates and Yosemite (1972). First pencil sketches, band sketches, and worksheets. Manuscript sketches (pencil). 10 leaves of music. Draft of full score (pencil), labeled “1st band sketch”; dated February 26, 1972. 18 pages of music. |
| folder 8 | Symphony. Sketch. Manuscript drafts and sketches (pencil). 85 leaves of music. |
Box 13 [cont.]
| folder 9 | The Age of Song (1953). For SATB chorus, unaccompanied. Texts by Sir Walter Raleigh, Thomas Campion, John Donne, and William Shakespeare. Score: ink holograph transparencies. Full score (mvmts. I, II, III only). Ozalid manuscript (ink). 24 pages of music. |
| folder 10 | The Age of Song (1953). Score: Ozalid copy. Full score. Manuscript facsimile (from Ozalid master), bound. 31 pages of music. |
| folder 11 | The Age of Song (1953). Score: manuscript facsimile (photocopy). Full score. Manuscript facsimile, copied by Pfautsch. 20 pages of music. |
| folder 12 | The Age of Song (1953). Sketches. Manuscript sketches and drafts (pencil). 43 pages of music. |
| folder 13 | A Bucket of Water (1952). For SATB chorus and piano. Text by Alberta Phillips. Score: pencil holograph. Draft of full score (pencil), with manuscript sketches and typescript text interleaved. 22 pages of music and text. |
| folder 14 | Canzona III (1964). For seven players and poet. Words by Alberta Phillips. Full score: pencil holograph. Draft of full score (pencil). 26 pages of music. |
Box 14
| folder 1 | Canzona III (1964). Full score: Ozalid copies. Full score. Manuscript facsimile (from Ozalid master), bound. 2 copies. 45 pages of music, each. |
| folder 2 | Canzona III (1964). Typed parts: Ozalid copies. Instrumental parts: flute, clarinet in A, trumpet, violin, cello, vibraphone, percussion, piano. Facsimile of typescript parts. 41 pages of music. |
| folder 3 | Canzona III (1964). Sketch sheets and work sheets. Manuscript sketches, sketch sheets, and notes (pencil, colored pencil, and ink). 27 leaves of music and text. |
| folder 4 | Canzona III (1964). Texts and stage notes. Typescript text (Words by Alberta Phillips), with annotations in ink. 5 pages of text. Manuscript notes (ink, pencil, and typescript). 38 leaves. Stage diagrams (pencil), in clear sleeve. 2 pages. |
| folder 5 | Canzona IV (1967). For soprano flute and percussion. Words by Alberta Phillips. Original staged version (later titled Concentrics). Full score: Ozalid copies. See also Concentrics (Concert version of Canzona IV), in Box 13, Folders 14-18; Box 14, Folders 1-2. Full score. Typescript (from Ozalid master), with performance markings in pencil. 32 pages of music. “2. Lyric Solo with piano and flute.” Full score. Typescript (from Ozalid master). 5 pages of music. Page from full score, numbered p. 20. Typescript Ozalid master. 1 page of music. |
| folder 6 | Canzona IV (1967). Pencil sketches and worksheets. See also Concentrics (Concert version of Canzona IV), in Box 13, Folders 14-18; Box 14, Folders 1-2. Manuscript sketches and notes (pencil). 60 leaves. |
| folder 7 | Canzona IV (1967). Notes by Alberta Phillips on text, lighting and stage directions. See also Concentrics (Concert version of Canzona IV), in Box 13, Folders 14-18; Box 14, Folders 1-2. Typescript and manuscript (ink) documents, with annotations in ink and colored pencil. 19 pages of text. |
| folder 8 | Canzona V (1971). For SATB chorus and piano. Text by Alberta Phillips. Score: ink holograph transparencies. Full score. Ozalid manuscript (ink). 67 pages of music. |
| folder 9 | Canzona V (1971). Score: Ozalid copies. Full score. Manuscript facsimile (from Ozalid masters). 2 copies. 67 pages of music, each. |
| folder 10 | Canzona V (1971). Score: Ozalid copy, reduced size. Full score. Manuscript facsimile (from Ozalid masters), reduced size. 67 pages of music. |
| folder 11 | Canzona V (1971). Ozalid copy of complete canzona, in reduced size. Full score (mvmt. I only). Manuscript facsimile (from Ozalid masters), with annotations in colored pencil. 22 pages of music. Full score (mvmts. II and III only). Manuscript facsimile (from Ozalid masters). 44 pages of music. |
| folder 12 | Canzona V (1971). Sketches and worksheets. “Sketches for Canzona V.” Manuscript sketches (pencil). 20 leaves of music. Row charts (pencil). 3 leaves of music. “Sketches for various aspects and movements of Canzona V.” Manuscript sketches (pencil); dated 1971. 42 leaves of music. |
| folder 13 | Canzona V (1971). Text in Alberta Phillips’s hand. Manuscript text (ink). 10 pages of text. |
| folder 14 | Concentrics (1976). For soprano, flute, piano, and percussion. Concert version of Canzona IV. Score: typed transparency. Full score. Typescript Ozalid masters. 1 page of text (title page); 32 pages of music. |
| folder 15 | Concentrics (1976). Score: Ozalid copies. Full score. Facsimile of typescript score (from Ozalid masters), with revisions and emendations in ink and pencil. 3 copies. 32 pages of music, each. Movement 3. Facsimile of typescript score (from Ozalid masters). 10 pages of music. |
| folder 16 | Concentrics (1976). Score: Ozalid copies. Full score. Facsimile of typescript score (from Ozalid masters), with revisions and emendations in ink and pencil. 3 copies. 32 pages of music, each. |
Box 15
| folder 1 | Concentrics (1976). Excerpts from vocal part: ink transparencies and Ozalid reproductions. Vocal part, excerpts. Ozalid manuscript (ink). 3 pages of music. Copy 2 (manuscript facsimile, from Ozalid masters). 3 pages of music. |
| folder 2 | Concentrics (1976). Pencil sketches. “Concentrics correction of 3rd mov’t.” Manuscript sketches (pencil). 6 pages of music. |
| folder 3 | Esta galapaguita (undated). For voice and piano. Score: ink holograph. Full score. Fair copy (ink), accompanied by manuscript sketches (ink and pencil). 14 pages of music. |
| folder 4 | Eve Learns a Little (1974). For soprano, flute, clarinet, trumpet, trombone, and piano. Text by Alberta Phillips. Complete score: pencil holograph. Draft of full score (pencil); dated February 1, 1974. 24 pages of music. |
| folder 5 | Eve Learns a Little (1974). Score: typed original transparencies. Full score. Typescript Ozalid masters. 26 pages of music. |
| folder 6 | Eve Learns a Little (1974). Score: Ozalid copies. Full score. Facsimile of typescript score (from Ozalid masters), with performance markings in pencil. 8 copies. 26 pages of music, each. |
| folder 7 | Eve Learns a Little (1974). Parts: paste-up copies. Instrumental parts: flute (2 copies), clarinet (2 copies), trumpet (2 copies), trombone (2 copies), piano (2 copies). Manuscript facsimile, with performance markings in pencil. 29 pages of music. |
| folder 8 | Eve Learns a Little (1974). Sketches and worksheets in pencil. Manuscript sketches and drafts (pencil). 21 leaves of music. |
| folder 9 | Eve Learns a Little (1974). Texts by Alberta Phillips. Typescript text. 2 copies. 1 page of text, each. Manuscript draft of text (ink), labeled “(a).” 3 pages of text. Manuscript draft of text (ink), labeled “(b).” 2 pages of text. |
| folder 10 | Federico’s Aria. For voice, flute, vibraphone, percussion, and guitar. Score: ink holograph. Full score. Fair copy (ink). 10 pages of music. Typescript text, with annotations in ink. 1 page of text. |
| folder 11 | The First Day of the World (1958). For men’s voices and piano. Text translated from Virgil’s Georgics by Alberta Phillips. Score: Ozalid copies. Full score. Facsimile of typescript score (from Ozalid master). 4 copies. 22 pages of music, each. |
| folder 12 | For Love I’ll Surely Die (1946). Cantata for mezzo-soprano, baritone, and piano. Text by Alberta Phillips. Score: 2 Ozalid copies. Piano vocal score. Manuscript facsimile (from Ozalid master), bound, with annotations in pencil and ink. 2 copies. 26 pages of music, each. – Scores include revised text on pages 19-26 (corrections affixed to original scores). |
| folder 13 | For Love I’ll Surely Die (1946). Score: 3 Ozalid copies. Piano vocal score. Manuscript facsimile (from Ozalid master), bound, with annotations in pencil and ink. 2 copies. 26 pages of music, each.
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| folder 14 | For Love I’ll Surely Die (1946). Score: ink holograph transparencies. Piano vocal score. Ozalid manuscript (ink). 26 pages of music.
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| folder 15 | For Love I’ll Surely Die (1946). Score: ink holograph transparencies. Piano vocal score. Manuscript facsimile (from Ozalid master), bound. 26 pages of music.
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| folder 16 | For Love I’ll Surely Die (1946). Sketches. Manuscript sketches (pencil). 21 leaves of music. Draft of text (incomplete; consists of pages 2-3 only). Typescript, with annotations in pencil. 2 pages. |
| folder 17 | If I am Persephone (1974). For actress, alto saxophone, and tape. Text by Alberta Phillips. Complete holograph score in pencil. Full score. Fair copy (pencil). 7 pages of music. |
| folder 18 | If I am Persephone (1974). Score: ink holograph transparencies. Full score. Ozalid manuscript (ink). 7 pages of music. |
| folder 19 | If I am Persephone (1974). Score: ink holograph transparencies. Full score. Manuscript facsimile (from Ozalid masters). 2 copies. 7 pages of music, each. |
| folder 20 | If I am Persephone (1974). Score: photocopies. Full score. Manuscript facsimile. 2 copies. 4 pages of music, each. Copy 2 has annotations in ink (regarding playability of saxophone parts). |
| folder 21 | If I am Persephone (1974). Sketches and exercises. Manuscript sketches and notes (pencil). 14 leaves. “Five Finger Exercises for K. D.” Manuscript sketches (pencil). 6 pages of music. “Saxophone Demonstration Tape.” Typescript document prepared by Ken Dorn, with annotations in ink; dated winter 1970-1971. 2 pages of text. |
| folder 22 | If I am Persephone (1974). Text. Manuscript text (ink), with annotations in pencil. 2 pages of text. |
Box 16
| folder 1 | Italy Hill Campaign Song (1972). For two voices. Words by Alberta Phillips. Pencil sketch and ink holograph. Manuscript sketches (pencil). 3 pages of music. Full score. Fair copy (ink). 2 pages of music. |
| folder 2 | “Just a Minimal Bite,” said Eve (1975). For two E-flat alto saxophones and actress. Text by Alberta Phillips. Score: ink holograph transparencies. Full score. Ozalid manuscript (ink); dated December 18, 1974. 13 pages of music. |
| folder 3 | “Just a Minimal Bite,” said Eve (1975). Full score: Ozalid copies. Full score. Manuscript facsimile (from Ozalid masters). 2 copies. 13 pages of music, each. |
| folder 4 | “Just a Minimal Bite,” said Eve (1975). Sketches and worksheets. “Preliminary sketches and worksheets.” Manuscript sketches and notes (pencil); dated between September 2, 1973, and October 24, 1974. 15 leaves. “2nd sketches.” Manuscript sketches and drafts (pencil); dated October 31. 14 leaves of music. “Last sketch and worksheet.” Draft of score with notes (pencil). 7 pages of music. |
| folder 5 | “Just a Minimal Bite,” said Eve (1975). Text by Alberta Phillips. “Eve Learns a Little (Saxophone words).” Manuscript text used in “Just a Minimal Bite,” said Eve (ink), with annotations in pencil. 3 pages of text. “Three Ladies of Today.” Notes on stage direction for projected project titled Three Ladies of Today [with three movements: I. “Just a Minimal Bite,” Said Eve”; II. If I Am Persephone; III. The Now Type]. Manuscript (ink). 3 pages of text. – Accompanied by correspondence from Alberta Phillips to “Sherry.” 1 letter (ink); undated. 2 pages of text. |
| folder 6 | Letters from Italy Hill (1983/84). Landscape with figures for soprano, flute, clarinet, string quartet, and piano. Text by Alberta Phillips. Full score: pencil holograph (original). Includes: I. Summer—Fall; II. From a Letter to Kathy; III. Winter; IV. For Vera; V. Spring. Full score. Fair copy (pencil). 2 pages of text (title pages); 136 pages of music. |
| folder 7 | Letters from Italy Hill (1983/84). Full score: photocopy. Full score. Manuscript facsimile, bound. 3 pages of text (title page and front matter); 125 pages of music. |
| folder 8 | Letters from Italy Hill (1983/84): III. Winter. Score: ink holograph and photocopies. “Winter.” Full score. Fair copy (ink). 33 pages of music. “Winter.” Full score. Manuscript facsimile (from fair copy). 2 copies. 33 pages of music, each. |
| folder 9 | Letters from Italy Hill (1983/84): II. From a Letter to Kathy; IV. For Vera. Piano vocal scores. “II. From a Letter to Kathy.” Piano vocal score (incomplete, consists of pages 2-4 only). Manuscript facsimile. 3 pages of music. – Accompanied by row chart (pencil). 1 page. “IV. For Vera.” Piano vocal score. Manuscript facsimile. 2 copies. 2 pages of text (title page); 9 pages of music; each. |
| folder 10 | Letters from Italy Hill (1983/84). Notes and sketches. Typescript title page. Draft of layout (paste up). 2 pages of text. Copy 2 (facsimile). 2 pages of text. Manuscript notes (ink and typescript). 13 pages of text. “First movement sketches (Summer—Fall).” Manuscript sketches, worksheets, and notes (pencil and ink); dated August 29, 1983. 19 pages of music and text. “Final worksheets for 1st mov’t.” Manuscript sketches and worksheets (pencil and ink); dated September 7-October 7. 28 pages of music. “From a Letter to Kathy.” Piano vocal score. Manuscript facsimile. 4 pages of music. “Worksheets for 2nd mov’t—(Winter).” Manuscript sketches and worksheets; dated February-June 1983. 35 pages of music. [IV. For Vera.] Manuscript sketches (pencil). 6 pages of music. “For Vera.” Piano vocal score. Manuscript facsimile. 9 pages of music. [Worksheets and sketches for III. Spring.] Manuscript sketches (pencil); dated October-November. 31 pages of music. “Discarded sketches for what?” Manuscript sketches and notes (pencil). 13 leaves of music and text. |
| folder 11 | Letters from Italy Hill (1983/84). Manuscript notebook containing sketches. Bound sketchbook, containing sketches (pencil), with additional sketches and texts interleaved in sketchbook. 27 leaves of music and text. |
| folder 12 | Letters from Italy Hill (1983/84). Texts, notes, and memos. “Letters from Italy Hill.” Text.
“Letters from Italy Hill.” Draft of front matter (ink). 4 pages of text.
Various poems. Ink manuscript. 8 pages of text. |
| folder 13 | The Man of Life Upright (1976). For male chorus and piano. Text by Thomas Campion. Score: pencil holograph. Draft of full score (pencil). 11 pages of music. Manuscript sketches (pencil); dated January 27, 1976. 6 pages of music. |
| folder 14 | The Man of Life Upright (1976). Score: ink holograph transparencies. Full score. Ozalid manuscript (ink). 11 pages of music. |
| folder 15 | The Man of Life Upright (1976). Score: Ozalid copy. Full score. Manuscript facsimile (from Ozalid master). 11 pages of music. |
| folder 16 | Misa Guadalpana (1962). For SATB chorus. Pencil sketches and incomplete typed transparencies. Full score (incomplete; consists of pp. 1-6 only). Typescript Ozalid masters. 6 pages of music. Manuscript sketches and drafts (pencil). 14 leaves of music. |
| folder 17 | Nine Latin Motets (undated). For SATB chorus. Score: typed transparencies. Includes: 1. Justus cor suum; 2. Fulgebunt justi; 3. Qui vult venire post me; 4. Serve bone; 5. Beatus homo qui invenit sapientiam; 6. Sancte mei; 7. Oculus non vidit; 8. Qui sequitur me; 9. Justi tulerunt. Full score. Typescript Ozalid masters. 41 pages of music. “Qui Sequitur Me.” Motet for mixed voices with rehearsal piano. Typescript Ozalid masters. 8 pages of music. |
| folder 18 | Nine Latin Motets (undated). Scores: Ozalid copy. Full score. Facsimile of typescript score (from Ozalid master). 41 pages of music. “Oculos non vidit.” Facsimile of manuscript score. 3 copies. 6 pages of music, each. “Qui Sequitur Me.” Motet for mixed voices by S. J. Mix [pseudonym for Burrill Phillips]. Full score. Facsimile of typescript score (from Ozalid master). 2 copies. 8 pages of music, each. |
| folder 19 | Nine Latin Motets (1958/59). Sketches, worksheets, and analysis. Manuscript sketches and notes (pencil). 41 leaves of text and music. |
| folder 20 | Nine Latin Motets. “Expectatio Justorum” [not included in the final set]. Typed transparencies and Ozalid copy. “Expectatio justorum.” Full score. Typescript Ozalid master. 5 pages of music. “Expectatio justorum.” Full score. Manuscript facsimile (from Ozalid master), with annotations in pencil. 5 pages of music. Note on first page of score: “(Not included in Nine Latin Motets but composed at the same time).” |
Box 17
| folder 1 | Oh Angel (1944). For SSAATTBB chorus, unaccompanied. Text from The People, Yes by Carl Sandburg. Score and worksheets: pencil holograph. Full score, with rehearsal piano. Fair copy (pencil). 9 pages of music. Manuscript sketches (pencil). 9 pages of music. |
| folder 2 | Ravvivando sequendo in Palco (1973). For soprano, clarinet, violoncello, and piano. Text anonymous. Score: Ozalid copy of typed score and instrumental parts. Full score. Draft of score (pencil); dated October-November 1973. 22 pages of music. |
| folder 3 | Ravvivando sequendo in Palco (1973). Score and parts: ink and typed transparencies. Full score. Ozalid manuscript (ink); dated December 3, 1973. 12 pages of music. Full score. Typescript Ozalid masters. 18 pages of music. Instrumental parts: clarinet, cello. Typescript Ozalid masters. 4 pages of music. |
| folder 4 | Ravvivando sequendo in Palco (1973). Ozalid copy of holograph; score. Full score. Manuscript facsimile (from Ozalid masters), with annotations in colored pencil; dated December 3, 1973. 12 pages of music. Full score. Manuscript facsimile (from Ozalid masters). 18 pages of music. Instrumental parts: clarinet, cello. Manuscript facsimile (from Ozalid masters). 4 pages of music. |
| folder 5 | Ravvivando sequendo in Palco (1973). Worksheets in pencil. Manuscript sketches (pencil). 12 pages of music. |
| folder 6 | The Recesses of My House (1977). For soprano, clarinet, piano, and percussion. Text by Alberta Phillips. Complete pencil score. Full score. Fair copy (pencil); dated September-November 1977. 34 pages of music. |
| folder 7 | The Recesses of My House (1977). Score: 7 Ozalid copies. Full score. Manuscript facsimile (from Ozalid masters), with annotations and performance markings in pencil and colored pencil. 7 copies. 34 pages of music, each. |
| folder 8 | The Recesses of My House (1977). Sketches and worksheets. Manuscript sketches and notes (pencil). 57 pages of music. |
| folder 9 | The Return of Odysseus (1956). For baritone solo, speaker, chorus, and orchestra or piano. Text by Alberta Phillips. Full score: pencil holograph. Draft of full score (pencil); dated July 31, 1956. 54 pages of music. |
| folder 10 | The Return of Odysseus (1956). Ozalid copy of vocal score. Piano vocal score. Manuscript facsimile (from Ozalid masters), with annotations and performance markings in pencil and colored pencil. 54 pages of music. |
| folder 11 | The Return of Odysseus (1956). Sketches and worksheets. Manuscript sketches (pencil). 23 leaves of music. |
| folder 12 | The Return of Odysseus (1956). Texts: worksheets and final draft. Typescript text, with annotations in pencil and colored pencil. 5 pages of text. Revised text (typescript), with annotations in pencil; dated October 3, 1956. 8 pages of text. |
| folder 13 | Sancti Mei (1963). Motet for mixed chorus. Negative film. Full score (excerpt; contains first page and p. 7 of score only). Negative film from published score ([Branchport, NY]: Italy Hill Press, 1963). 1 film. |
| folder 14 | Song in a Winter Night (1984). For soprano, flute, clarinet, string quartet, and piano. Text by Bink Noll. Score: pencil holograph and Ozalid copy. Facsimile of typescript text. 1 page of text. Full score. Fair copy (pencil). 19 pages of music. Piano vocal score. Manuscript facsimile (from Ozalid master), labeled “Personal copy.” 9 pages of music. – Interleaved in score: Title page. Typescript Ozalid master. 1 page of text. |
| folder 15 | That Time May Cease (1967). For TTBB chorus and piano. Text by Christopher Marlowe. Score: pencil holograph. Draft of full score (pencil); dated April-May 1966. 25 pages of music. |
| folder 16 | That Time May Cease (1967). Full score: typed transparencies. Full score. Typescript Ozalid masters. 16 pages of music. |
| folder 17 | That Time May Cease (1967). Score: Ozalid copy. Full score. Facsimile of typescript score (from Ozalid master). 16 pages of music. Copy 2 (duplicate facsimile), trimmed. 16 pages of music. |
| folder 18 | That Time May Cease (1967). Sketches and worksheets. Manuscript sketches (pencil and ink). 30 leaves of music. |
| folder 19 | That Time May Cease (1967). Typed text. Typescript text, with annotations in pencil and ink. 2 copies. 1 page, each. |
| folder 20 | A Tribute to E. W. (1923). For voice and piano. Words by Burrill Phillips. Score: ink holograph. Score, with manuscript note. Fair copy (ink); dated March 1923. 1 page. – Note reads: “This was my first composition …” |
| folder 21 | Two Italian Songs (1953). For high voice and piano. Text from The Ivory Campus. Ink holograph transparencies. Full score. Ozalid manuscript (ink); dated December 24, 1953. 14 pages of music. |
| folder 22 | Two Italian Songs (1953). Score: 3 Ozalid copies. Full score. Manuscript facsimile (from Ozalid masters). 3 copies. 14 pages of music, each. |
| folder 23 | Two Italian Songs (1953). Sketches and worksheets. Typescript text. 1 page of text. Manuscript text (pencil). 2 pages of text. Manuscript sketches and drafts (pencil). 13 leaves of music. |
| folder 24 | What Will Love Do? (1949). For SSAA chorus. Text by Robert Herrick. Rehearsal copies written by unknown hand. Vocal score. Manuscript facsimile; dated September 26, 1948. 2 copies. 5 pages of music, each. |
| folder 25 | What Will Love Do? (1949). Early drafts. “Upon Love.” Early draft of What Will Love Do? [first, unused version of “What Will Love Do?”]. Manuscript sketches (pencil); dated “September 15.” 11 pages of music. “The Hag.” Draft of score (incomplete; consists of pages numbered 10-13 only) (pencil). 4 pages of music. |
Box 17 [cont.]
| folder 26 | Canzona VI (1985). For flute, oboe, clarinet, bassoon, and horn. Scores: pencil holograph. Full score. Fair copy (pencil); dated February 19, 1985. 22 pages of music. (Page 1 of score is manuscript facsimile). |
| folder 27 | Canzona VI (1985). 1st movement sketches. Manuscript sketches and drafts (pencil). 68 leaves of music. |
Box 18
| folder 1 | Canzona VI (1985). Worksheets. Manuscript sketches and drafts (pencil). 65 leaves of music. |
| folder 2 | Concertinos for Violin and Viola. Sketches: pencil holographs. Manuscript sketches (pencil). 7 pages of music. |
| folder 3 | Conversations and Colloquies (1950). For two violins and two violas. Score: ink holograph transparencies. Full score. Ozalid manuscript (ink); dated October 1, 1951. 55 pages of music. |
| folder 4 | Conversations and Colloquies (1950). “III. Informal Colloquy” score: Ozalid copy. “III. Informal Colloquy.” Full score. Manuscript facsimile (from Ozalid master). 40 pages of music. |
| folder 5 | Conversations and Colloquies (1950). Parts: ink holograph transparencies. Instrumental parts: violin A, violin I, viola A, viola I. Ozalid manuscript (ink). 52 pages of music. |
| folder 6 | Conversations and Colloquies (1950). Parts: Ozalid copies. Instrumental parts: violin A, violin I, viola A, viola I. Manuscript facsimile (from Ozalid masters). 52 pages of music. |
| folder 7 | Conversations and Colloquies (1950). Sketches and worksheets. Manuscript sketches (pencil). 21 pages of music. |
| folder 8 | Diptych (1951). For woodwind quintet. Score: ink holograph transparencies. Full score. Ozalid manuscript (ink); dated December 5, 1952. 43 pages of music. |
| folder 9 | Diptych (1951). Parts: ink holograph transparencies. Instrumental parts: flute, oboe, clarinet, bassoon, horn. Ozalid manuscript (ink). 35 pages of music. |
| folder 10 | Diptych (1951). Score: Ozalid copy. Full score (incomplete; consists of pp. 15-43 only). Manuscript facsimile (from Ozalid master), with annotations in pencil. 29 pages of music. |
| folder 11 | Diptych (1951). Worksheets and sketches in pencil. Manuscript sketches and drafts (pencil). 22 pages of music. |
| folder 12 | Fanfare (1957). For 10-part brass choir and percussion. Score: pencil holograph. Full score. Manuscript draft (pencil); dated March 8, 1957. 6 pages of music. |
| folder 13 | Fanfare (1957). Score: typescript. Full score. Typescript, bound, with annotations in pencil. 12 pages of music. |
| folder 14 | Fanfare (1957). Score: pencil manuscripts and typescript publisher’s proofs. 1981. D. King to Burrill Phillips. 1 card (ink); dated July 6, 1981. 1 page of text. – Correspondence pertains to publisher’s proofs. Full score. Typescript publisher’s proofs (North Easton, MA: Robert King Music Co., 1982); interleaved in score: manuscript full score (pencil). 23 pages of music total. Typescript instrumentation (front matter for published score). 1 page of text. |
| folder 15 | Fanfare (1957). Pencil sketches. Manuscript sketches and drafts (pencil); dated March 8, 1957. 9 pages of music. |
| folder 16 | Four Figures in Time (1952). For flute and piano. Score and parts: ink holograph transparencies. Full score. Ozalid manuscript (ink). 12 pages of music. Flute part. Ozalid manuscript (ink). 4 pages of music. |
| folder 17 | Four Figures in Time (1952). Score and parts: Ozalid copies. Full score. Manuscript facsimile (from Ozalid master). 12 pages of music. Flute part. Manuscript facsimile (from Ozalid master). 4 pages of music. |
| folder 18 | Four Figures in Time (1952). Worksheets in pencil. Manuscript sketches (pencil); dated February-March 1952. 19 pages of music. |
| folder 19 | Gavotte and Musette (undated). Parts with sketches: ink and pencil. Instrumental parts (incomplete): 2nd oboe, 1st & 2nd bassoon, 1st & 2nd horns, violoncello. Fair copies (ink), with sketches on reverse (pencil). 6 leaves of music. |
| folder 20 | Huntington 2’s and 3’s (1975). For flute, oboe, and cello. Score and parts: typed transparencies. Full score. Typescript Ozalid masters. 1 page of text (title page); 30 pages of music. Instrumental parts: flute, oboe, cello. Typescript Ozalid masters. 12 pages of music. |
| folder 21 | Huntington 2’s and 3’s (1975). Score: Ozalid copies. Full score. Manuscript facsimile (from Ozalid master). 1 page of text (manuscript title page); 30 pages of music. |
| folder 22 | Huntington 2’s and 3’s (1975). Pencil drafts and sketches. Manuscript sketches and drafts (pencil); dated February 1975. 44 leaves of music. |
| folder 23 | Intrada (1975). For flute, clarinet, trumpet, violin, cello, vibraphone, and piano. Score and parts: typed transparencies. Full score. Typescript Ozalid masters. 22 pages of music. Instrumental parts: flute, clarinet, trumpet, violin, cello, vibraphone, piano. Typescript Ozalid masters. 12 pages of music. |
| folder 24 | Intrada (1975). Ozalid copy; parts and score. Full score. Facsimile of typescript score (from Ozalid masters). 22 pages of music. Instrumental parts: flute, clarinet, trumpet, violin, cello, vibraphone, piano. Facsimile of typescript parts (from Ozalid masters). 12 pages of music. |
| folder 25 | Intrada (1975). Pencil sketches. “1st sketches—Intrada (1).” Manuscript sketches (pencil). 7 leaves of music. “2nd sketches—Intrada (2).” Manuscript sketches (pencil). 10 pages of music. “Final sketches, Intrada.” Manuscript draft of score (pencil and colored pencil); dated January 3, 1975. 26 pages of music. |
| folder 26 | Music for This Time of Year (1954). For woodwind quintet. Score: typed transparencies. Full score. Typescript Ozalid masters. 105 pages of music. |
| folder 27 | Music for This Time of Year (1954). Typed transparencies, different version: Rondeau—Prelude. “Rondeau—Prelude” (alternate version). Typescript Ozalid masters; dated August 8, 1954. 9 pages of music. |
| folder 28 | Music for This Time of Year (1954). Ozalid copies of score and parts (selections). Full score (incomplete; includes duplicate pages). Facsimile of typescript score (from Ozalid masters). 40 pages of music. Book I (consists of movements 1-8). Full score. Facsimile of typescript score (from Ozalid masters), with performance markings in colored pencil and pencil. 19 pages of music. Instrumental parts (incomplete): flute, horn. Facsimile of typescript parts (from Ozalid masters). 9 pages of music. |
Box 19
| folder 1 | Music for This Time of Year (1954). Full score: two Ozalid copies. Full score. Facsimile of typescript score (from Ozalid masters). 2 copies. 105 pages, each. |
| folder 2 | Music for This Time of Year (1954). Parts. Instrumental parts: flute, oboe, clarinet, horn, bassoon. Typescript parts, comprised of strips excerpted from full score layout (paste-up). 44 pages of music. |
| folder 3 | Music for This Time of Year (1954). “Quintet Finale” Xerox copy. “Quintet Finale.” Full score. Facsimile of typescript score, with performance markings in pencil. 13 pages. |
| folder 4 | Music for This Time of Year (1954). Sketches and worksheets. Manuscript sketches and notes (pencil and colored pencil). 120 leaves of music and text. |
| folder 5 | Music for This Time of Year (1954). Additional sketches. Manuscript sketches and drafts (pencil). 30 leaves of music. |
| folder 6 | Partita for Piano Quartet (1946/47). On two Russian folksongs. Score and parts: ink holograph transparencies. Full score. Ozalid manuscript (ink); dated June 24, 1947. 1 page of text (title page); 66 pages of music. Instrumental parts: violin, viola, violoncello. Ozalid manuscript (ink). 29 pages of music. |
| folder 7 | Partita for Piano Quartet (1946/47). String parts: Ozalid copies. Instrumental parts: violin, viola, violoncello. Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 29 pages of music. |
| folder 8 | Partita for Piano Quartet (1946/47). Parts: Ozalid copies. Instrumental parts: violin (2 copies), viola (3 copies), violoncello (2 copies). Manuscript facsimile (from Ozalid masters), with performance markings in pencil. 68 pages of music. |
| folder 9 | Partita for Piano Quartet (1946/47). Worksheets in pencil. Manuscript drafts and sketches (pencil). 27 leaves of music. |
| folder 10 | Partita for Piano Quartet (1946/47). Source materials: Eight Soviet Folksongs. “Eight Soviet Folk Songs.” Vocal melodies (without words). Manuscript facsimile, with annotations in pencil. 3 pages of music. |
| folder 11 | Partita for Three Flutes (1941). Score: ink and pencil holographs. Draft of full score (pencil); dated November 24, 1941. 1 page of music. Full score. Fair copy (ink). 1 page of music. |
| folder 12 | Piano Trio in Rococo Style (undated). For violin, cello, and piano. Score and parts: ink holograph. Full score. Manuscript draft (ink). 33 pages of music. Full score. Fair copy (ink). 44 pages of music. 1 page of text (title page); 44 pages of music. On title page: “Written by König Schneider Pferdlieber (pseudonym).” Instrumental parts: violin, cello. Fair copies (ink), with performance markings in pencil. 26 pages of music. |
| folder 13 | Piece for Six Trombones (1940). For four tenor trombones and two bass trombones. Score: ink holograph transparencies. Full score. Ozalid manuscript (ink); dated January 7, 1940. 15 pages of music. |
| folder 14 | Piece for Six Trombones (1940). Scores and parts: Ozalid copies. Full score. Manuscript facsimile (from Ozalid master). 2 copies. 15 pages of music, each. Instrumental parts: trombone I, trombone II, trombone III, trombone IV, trombone V, trombone VI. Manuscript facsimile (from Ozalid masters). 12 pages of music. |
Box 20
| folder 1 | Piece for Six Trombones (1940). Pencil score and sketches. Manuscript sketch and draft of full score (pencil); dated “started December 12, 1937.” 16 pages of music. |
| folder 2 | Prelude for Brass Quintet (1953). Sketches: pencil holograph. Manuscript sketches and draft (pencil); dated March 8-19, 1953. 7 pages of music. |
| folder 3 | Quartet for Oboe and Strings (1967). For oboe, violin, viola, and cello. Score and parts: typed transparencies. Full score. Typescript Ozalid masters; dated April 6, 1968. 40 pages of music. Instrumental parts: oboe, violin, viola, cello. Typescript Ozalid masters. 36 pages of music. |
| folder 4 | Quartet for Oboe and Strings (1967). Score and parts: Ozalid copy. Full score. Manuscript facsimile (from Ozalid masters), bound; dated April 6, 1968. 40 pages of music. Instrumental parts: oboe, violin, viola, cello. Manuscript facsimile (from Ozalid masters). 36 pages of music. |
| folder 5 | Quartet for Oboe and Strings (1967). Sketches and worksheets. Manuscript notes, sketches, and drafts (pencil). 96 leaves of music and text. |
| folder 6 | Ranney’s Piece: A Duo for Violin and Viola. Parts: ink holograph. Instrumental parts: violin, viola. Fair copies (ink), with annotations in pencil. 8 pages of music. |
| folder 7 | Ranney’s Piece for Amateur Viola and Piano (1949). Score: pencil holograph. Full score. Manuscript draft (pencil); dated April 23, 1949. 4 pages of music. |
| folder 8 | A Rondo of Rondeaux (1954). For viola and piano. Score: pencil holograph. Full score. Manuscript draft (pencil); dated October 1954. 21 pages of music. |
| folder 9 | A Rondo of Rondeaux (1954). Score and solo part: ink holograph. Full score. Fair copy (ink), with performance markings in colored pencil and pencil. 25 pages of music. Viola part. Fair copy (ink), with performance markings in pencil and colored pencil. 7 pages of music. |
| folder 10 | A Rondo of Rondeaux (1954). Score and solo part: typed original transparencies. Full score. Typescript Ozalid masters. 25 pages of music. Viola part. Typescript Ozalid master. 6 pages of music. |
| folder 11 | Scena da Camera (1978). For violin and cello. Score: pencil holograph. First movement. Draft of score (pencil); dated November 1978. 10 pages of music. Second movement. Draft of score (pencil); dated November-December 1978. 18 pages of music. |
| folder 12 | Scena da Camera (1978). Score: ink holograph transparencies. Full score. Ozalid manuscript (ink). 14 pages of music. |
| folder 13 | Scena da Camera (1978). Score: Ozalid copy. Full score. Manuscript facsimile (from Ozalid masters). 14 pages of music. |
| folder 14 | Scena da Camera (1978). Sketches. Manuscript sketches (pencil), labeled “duo sketch”; dated August-September 1978. 20 pages of music. Manuscript sketches (pencil), labeled “sketch for I of duo”; dated October-November 1978. 21 pages of music. |
| folder 15 | Sonata for Cello and Piano (1948). Score and solo part: ink holograph transparencies. Correspondence. 3 items. Mrs. Depew [from Burrill Phillips?]. 1 note (pencil); undated. 1 page of text. Mrs. Stickler from Burrill Phillips. 1 letter (typescript); dated July 13, 1968. 1 page of text. “Little”(?) to Trudy. 1 note (ink); undated. 1 page of text. Manuscripts. 1 item. Full score. Ozalid manuscript (ink); dated December 18, 1948. 52 pages of music. Cello part. Ozalid manuscript (ink). 15 pages of music. |
| folder 16 | Sonata for Cello and Piano (1948). Score and solo part: Ozalid copies. Full score. Manuscript facsimile (from Ozalid masters), bound. 52 pages of music. Cello part. Manuscript facsimile (from Ozalid master). 15 pages of music. |
| folder 17 | Sonata for Cello and Piano (1948). Sketches and worksheets. Manuscript sketches and drafts (pencil); dated November 1948. 33 leaves of music. |
| folder 18 | Sonata for Violin and Piano (1949). Score: ink holograph transparencies. Full score. Ozalid manuscript (ink); dated November 23, 1942. 31 pages of music. |
| folder 19 | Sonata for Violin and Piano (1949). Score and solo part: Ozalid copies. Full score. Manuscript facsimile (from Ozalid master), with performance markings in pencil. 31 pages of music. Violin part. Manuscript facsimile (from Ozalid master), with performance markings in pencil. 11 pages of music. |
| folder 20 | Sonata for Violin and Piano (1949). Score and part: reduced size photocopies of published version. Full score (incomplete; consists of mvmt. I only). Facsimile of published score (New York: G. Schirmer, 1949). 11 pages of music. Violin part (complete). Facsimile of published part (New York: G. Schirmer, 1949). 11 pages of music. |
| folder 21 | Sonata for Violin and Piano (1949). Sketches and worksheets. Manuscript sketches and drafts (pencil). 36 leaves of music. |
| folder 22 | Sonata in Two Movements (1965). For violin and harpsichord. Score: pencil. Full score. Manuscript draft (pencil); dated November-December 1965. 22 pages of music. |
| folder 23 | Sonata in Two Movements (1965). Score: typed transparencies. Burrill Phillips to “Trudi.” 1 letter (ink); undated. 1 page of text. Full score. Typescript Ozalid master. 20 pages of music. |
| folder 24 | Sonata in Two Movements (1965). Score: Ozalid copy. Full score. Facsimile of typescript score (from Ozalid master), with performance markings in pencil. 20 pages of music. Copy 2 (duplicate facsimile). 20 pages of music. |
| folder 25 | Sonata in Two Movements (1965). Sketches and worksheets. Manuscript sketches (pencil) and facsimiles; dated November 1965. 22 leaves of music. |
Box 21
| folder 1 | String Quartet No. 1 (1939/40). Score and parts: ink holograph transparencies. Full score. Ozalid manuscript (ink); dated 1940. 31 pages of music. Instrumental parts: violin I, violin II, viola, cello. Ozalid manuscript (ink). 29 pages of music. |
| folder 2 | String Quartet No. 1 (1939/40). Score: Ozalid copy. Full score. Manuscript facsimile (from Ozalid masters). 31 pages of music. |
| folder 3 | String Quartet No. 1 (1939/40). Worksheets in pencil. Manuscript sketches (pencil). 16 leaves of music. |
| folder 4 | String Quartet No. 2 (1958). Score and parts: Ozalid copies. Full score. Facsimile of typescript score (from Ozalid masters), bound. 85 pages of music. Instrumental parts: violin I, violin II, viola, cello. Facsimiles of typescript parts, bound. 77 pages of music. |
| folder 5 | String Quartet No. 2 (1958). Pencil sketches. Manuscript sketches and drafts (pencil). 67 leaves of music. |
| folder 6 | Suite for String Quartet and Double Bass (undated). Score: ink holograph. Full score. Fair copy (ink). 39 pages of music. |
| folder 7 | Three Nostalgic Songs (1961). For flute and piano. Score: pencil holograph transparencies. Full score. Ozalid manuscript (pencil); dated March 29, 1961. 10 pages of music. |
| folder 8 | Three Nostalgic Songs (1961). Flute part: ink holograph. Flute part. Fair copy (ink). 5 pages of music. |
| folder 9 | Three Nostalgic Songs (1961). Score (1st movement only): Ozalid copy. Full score (incomplete; consists of mvmt. I only). Manuscript facsimile (from Ozalid master). 4 pages of music. |
| folder 10 | Three Nostalgic Songs (1961). Worksheets. Manuscript sketches (pencil); dated March 22, 1961. 14 pages of music. |
| folder 11 | Trio (1984/85). For clarinet, cello, and piano. Sketches and worksheets. Facsimile of page from unidentified book (p. 316; page lists events in musical history on November 9). 2 copies. 1 page of text, each. – Included on page: birth of Burrill Phillips (1907). Manuscript sketches, drafts, and notes (pencil and ink). 50 leaves. |
| folder 12 | Trio for Trumpets (1937). Score: ink holograph transparencies. Full score. Ozalid manuscript (ink). 17 pages of music. |
| folder 13 | Trio for Trumpets (1937). Score: Ozalid copy. Full score. Manuscript facsimile (from Ozalid master). 17 pages of music. |
| folder 14 | Trio for Trumpets (1937). Sketches and worksheets. Manuscript sketches (pencil); dated April-May 1938. 19 pages of music. |
| folder 15 | Violin Studies. Drafts and sketches: pencil holograph. Manuscript sketches and drafts; dated September-October 1940. 22 leaves of music. |
Box 21[cont.]
| folder 16 | Arioso (undated). For solo piano. Ink holograph. Score. Fair copy (ink), with annotations in colored pencil. 2 pages of music. |
| folder 17 | Barcelona (1961). For solo piano. Pencil draft. Score. Manuscript draft (pencil); dated June 1, 1961. 16 pages of music. |
| folder 18 | Cadenza for Mozart’s Piano Concerto K. 491 (1964). Pencil holograph. Score. Manuscript draft (pencil); dated March 10-11, 1964. 7 pages of music. |
| folder 19 | Cadenza for Mozart’s Piano Concert K. 491. Typed transparencies and Ozalid copy. Score. Typescript Ozalid master. 6 pages of music. Facsimile of typescript score (from Ozalid master). 6 pages of music. |
| folder 20 | The Chatterer (1956). For solo piano. Pencil sketches. Score. Manuscript draft (pencil). 3 pages of music. |
| folder 21 | Children’s Piano Pieces (1957-60). For solo piano. Pencil holograph. Score. Manuscript draft (pencil); dated 1957-1960. 13 leaves of music. |
| folder 22 | Commentaries for Piano Solo (undated). Score: photocopies. Score. Manuscript facsimile, bound. 3 copies. 22 pages of music, each. |
| folder 23 | Concertstück for Piano. Score: ink holograph. Score. Fair copy (ink), bound. 18 pages of music. On title page: “By König Schneider Pferdlieber (pseudonym).”
|
| folder 24 | Five Puigcerda Fugues (1961). For solo piano. Score: typed transparencies. Score. Typescript Ozalid masters. 11 pages of music. |
| folder 25 | Five Various and Sundry (1961). For solo keyboard. Pencil sketch. Manuscript draft and sketches (pencil), with annotations in colored pencil; dated July-August 1958. 9 pages of music. |
| folder 26 | For Harry Cumpson (undated). For solo piano. Score: Ozalid copy. Score. Facsimile of typescript score (from Ozalid master), with annotations in pencil. 9 pages of music. |
| folder 27 | For Harry Cumpson (undated). Score: typed transparencies (mvmts. IV, V, VIII, IX only). Score (incomplete; consists of mvmts. IV, V, VIII, IX only). Typescript Ozalid masters. 4 pages of music. |
| folder 28 | Mallorcan Prelude (1960). For solo piano. Score: ink holograph. Score. Fair copy (ink), with annotations in pencil; dated November 26-27, 1960. 3 pages of music.
|
| folder 29 | Mallorcan Prelude (1960). Typed transparencies. Score. Typescript Ozalid masters; dated November 26-27, 1960. 3 pages of music. |
| folder 30 | Music for Piano No. 1 (1949). Ink holograph transparencies. Score. Ozalid manuscript (ink); dated May 2, 1948. 17 pages of music. |
| folder 31 | Music for Piano No. 1 (1949). Pencil sketches. Manuscript sketches and drafts (pencil). 10 pages of music. |
| folder 32 | Music for Piano No. 2 (1954). Ink holograph transparencies. Score. Ozalid manuscript (ink). 21 pages of music. |
| folder 33 | Music for Piano No. 2 (1954). Ozalid copy. Score. Manuscript facsimile (from Ozalid master). 21 pages of music. |
| folder 34 | Music for Piano No. 2 (1954). Pencil sketches. Manuscript sketches (pencil). 13 leaves of music. |
Box 22
| folder 1 | The Octopus and a Little Fish (1964). Typed transparencies and 2 Ozalid copies. Score. Typescript Ozalid masters. 2 pages of music. Score. Facsimile of typescript score (from Ozalid masters). 2 copies. 2 pages of music, each. Manuscript draft of score (pencil); dated November 29, 1964. 2 pages of music. |
| folder 2 | Pueblo (1965). Typed copy. Score. Facsimile of typescript score (from Ozalid masters). 6 pages of music. |
| folder 3 | Serenade for Piano, Four-Hands. Typed transparencies. Full score. Typescript Ozalid masters; dated December 26-31, 1956. 25 pages of music. |
| folder 4 | A Set of Three Informalities (1934). For solo piano. Ink holograph transparencies. Score. Ozalid manuscript (ink). 12 pages of music. |
| folder 5 | Silly Sea Horse (1961). Typed original; drawings. Second movement from Music for Children. Score. Typescript score (from Ozalid masters), with performance markings in pencil. 2 pages of music. Drawings (pencil), with note: “Here’s Anita’s pictures for Burrill…” 2 pages. |
| folder 6 | Sinfonia Brevis (1958). For solo organ. Typed transparencies. Score. Typescript Ozalid masters; dated November 14-15, 1958. 26 pages of music. |
| folder 7 | Sinfonia Brevis (1958). Ozalid copy. Score. Facsimile of typescript score (from Ozalid master). 26 pages of music. |
| folder 8 | Sinfonia Brevis (1958). Pencil holograph score; sketches. Manuscript draft of score (pencil), with annotations in colored pencil. 26 pages of music. |
| folder 9 | Sonata da Camera (1964). For solo organ. Score (1st movement only): pencil holograph. Score (1st movement only). Fair copy (pencil), with annotations in colored pencil. 8 pages of music. |
| folder 10 | Sonata da Camera (1964). Original typed transparencies. Score. Typescript Ozalid masters. 28 pages of music. Title on first page of score: “Sonata for Organ.” |
| folder 11 | Sonata da Camera (1964). Ozalid copies. Score. Facsimile of typescript score (from Ozalid master). 28 pages of music. Score. Facsimile of typescript score (photocopy). 28 pages of music. Score (movements II and III only). Facsimile of typescript score (from Ozalid master), with annotations in colored pencil by Wesley Morgan. 18 pages of music. |
| folder 12 | Sonata da Camera (1964). Sketches. Manuscript sketches (pencil). 39 leaves of music. |
| folder 13 | [Sonata for Piano, No. 1] (1942). Ink holograph transparencies. Title on score: First Piano Sonata. Score (incomplete; missing p. 1 of score). Ozalid manuscript (ink); dated October 19, 1942. 24 pages of music. Score. Ozalid manuscript (ink); dated August 13, 1950. 31 pages of music. |
| folder 14 | [Sonata for Piano, No. 1] (1942). Sketches and partial score. Manuscript sketches and drafts (pencil). 19 leaves of music. Manuscript sketches (pencil). 5 pages of music. Score (incomplete; consists of pp. 1-2 only). Manuscript facsimile (from Ozalid master). 2 pages of music. |
| folder 15 | [Sonata for Piano, No. 2] (1949). Pencil holograph score. Score. Manuscript draft and sketches (pencil). 36 pages of music. |
| folder 16 | [Sonata for Piano, No. 2] (1949). Ink holograph transparencies. Title on score: Second Piano Sonata. Score. Ozalid manuscript (ink); dated June 15-28, 1949. 28 pages of music. |
| folder 17 | [Sonata for Piano, No. 2] (1949). Ozalid copies. Title on score: Second Piano Sonata. Score. Manuscript facsimile (from Ozalid masters), bound. 2 copies. 28 pages of music, each. |
| folder 18 | [Sonata for Piano, No. 3] (1952). Ink holograph transparencies. Title on score: Third Piano Sonata. Score. Ozalid manuscript (ink); dated May 29, 1952. 21 pages of music. |
| folder 19 | [Sonata for Piano, No. 3] (1952). Ozalid masters, spiral-bound. Title on score: Third Piano Sonata. Score. Manuscript facsimile (from Ozalid masters), bound. 21 pages of music. |
| folder 20 | [Sonata for Piano, No. 4] (1960). Ink holograph score. Title on score: Fourth Piano Sonata. Score. Fair copy (ink), with performance markings in pencil; dated June 23-July 13, 1960. 23 pages of music. |
| folder 21 | [Sonata for Piano, No. 4] (1960). Typed transparencies. Title on score: Fourth Piano Sonata. Score. Typescript Ozalid masters; dated June 23-July 13, 1960. 20 pages of music. |
| folder 22 | [Sonata for Piano, No. 4] (1960). Sketches and worksheets. “Log of composition at Yaddo starting June 8, 1960 to July 9, 1960.” Manuscript document (ink). 2 pages of text. Manuscript sketches, drafts, and notes (pencil). 58 leaves of music and text. |
| folder 23 | Sonata for Piano, Four Hands (undated). Score: pencil and ink holographs. Score. Draft of score (pencil). 22 leaves of music. Score. Fair copy (ink). 14 pages of music. |
| folder 24 | [Sonata for Piano, Four Hands] (1943?). Sketches. Title on folder: “Sketches for 2-piano sonata.” Manuscript sketches (pencil). 12 leaves of music. |
| folder 25 | Sonatina for Organ (1958). Pencil sketches. Manuscript sketches and drafts (pencil), with annotations in colored pencil; dated September-November 1958. 11 leaves of music. |
| folder 26 | Ten Divertimenti (1938). For piano solo. Ink holograph transparencies. Score. Ozalid manuscript (ink); dated August-September 1938. 1 page of text (title page); 20 pages of music. |
| folder 27 | Ten Divertimenti (1938). Photostatic copy. Score. Manuscript facsimile (from Ozalid masters). 1 page of text (title page); 20 pages of music. |
| folder 28 | Ten Divertimenti (1938). Sketches. Manuscript sketches, drafts, and notes (pencil and ink); dated June-August 1937. 30 leaves of music. |
| folder 29 | Toccata for Piano (1944). Ink holograph transparencies. Score. Ozalid manuscript (ink); dated July 23, 1944. 9 pages of music. |
| folder 30 | Toccata for Piano (1944). Ozalid copy. Score. Manuscript facsimile (from Ozalid master). 9 pages of music. |
| folder 31 | Toccata for Piano (1944). Pencil sketches. Manuscript sketches (draft of score; pencil). 9 pages of music. |
Box 23
| folder 1 | Two Piano Preludes (1950). Score: ink holograph transparencies. Score. Ozalid manuscript (ink); dated November 25, 1950. 6 pages of music. |
| folder 2 | Two Piano Preludes (1950). Score: Ozalid copies. Score. Manuscript facsimile (from Ozalid master). 2 copies. 6 pages of music, each. |
| folder 3 | Two Piano Preludes (1950). Pencil sketches. Manuscript draft of score (pencil and ink); dated November 14, 1950. 4 pages of music. |
| folder 4 | Two Sisters (undated). For solo piano. Pencil holograph. Manuscript sketches and drafts (pencil). 17 leaves of music. |
| folder 5 | Second piano addition to Bach’s English Suite No. 2 (1953). Pencil score. Piano part. Draft of score (pencil); dated June 22, 1953. 18 pages of music. |
| folder 6 | Second piano addition to Bach’s English Suite No. 3 (1955). Pencil score. Manuscript draft of piano part (pencil and colored pencil); dated October 27, 1955. 9 pages of music. |
| folder 7 | Second piano addition to Bach’s English Suite No. 3 (1955). Typed transparencies. Piano part. Typescript Ozalid masters. 10 pages of music. |
| folder 8 | Second piano addition to Bach’s English Suite No. 3 (1955). Ozalid copy. Piano part. Facsimile of typescript score (from Ozalid master). 10 pages of music. |
| folder 9 | Second piano addition to Bach’s English Suite No. 4 (1953). Pencil holograph. Piano part. Draft of part (pencil); dated August 14, 1953. 18 pages of music. |
| folder 10 | Second piano addition to Bach’s English Suite No. 5 (undated). Pencil holograph. Piano part. Draft of part (pencil). 17 pages of music. Piano part. Draft of part (pencil). 19 leaves of music. |
| folder 11 |
Second piano additions to Bach’s English Suite Nos. 1-3 & 4-5 (1955). Source material: G. Schirmer editions of J. S. Bach’s English Suites.
|
| folder 12 | Four-hand arrangement of Scarlatti’s Keyboard Sonatas, L. 211. Typed transparencies. Full score. Typescript Ozalid masters. 12 pages of music. |
| folder 13 | Four-hand arrangement of Scarlatti’s Keyboard Sonatas, L. 271. Typed score. Full score. Fair copy (typescript). 3 pages of music. |
| folder 14 | Four-hand arrangement of Scarlatti’s Keyboard Sonatas, L. 211 and L. 271. Pencil sketches. Manuscript sketches (pencil). 10 pages of music. |
Box 23[cont.]
| folder 15 | “Adagio/Allegro” (1924-25). For solo piano. Pencil holograph. Manuscript draft (pencil); dated October 15, 1924. On reverse: “Allegro.” Manuscript sketches and draft (pencil). 2 pages of music. |
| folder 16 | “Dance of the Little Woodfolk” (1923?). For solo piano. Ink holograph. Draft of score (ink); dated “about October or November 1923.” 2 pages of music. Score. Fair copy (ink). 3 pages of music. |
| folder 17 | “Dying Fire” (1924-25). For solo piano. Pencil and ink holograph. Score. Fair copy (ink); undated. 4 pages of music. Draft of score (pencil); dated 1924. 3 pages of music.
|
| folder 18 | “Etude Fantasy” (1924-25). For solo piano. Ink holograph. Score. Fair copy (ink); dated February 8, 1925. 2 pages of music |
| folder 19 | “Falling Leaves” (1924-25). For solo piano. Pencil holograph. Score. Draft of score (pencil); dated “about Oct 20, 1924.” – Title on first page of score: “No. 3: Falling Leaves.” |
| folder 20 | “Four Medieval [sic] Sketches for Piano” (1927). Ink holograph. Score. Fair copy (ink); dated July 1927-April 1928. 1 page of text (title page); 12 pages of music. |
| folder 21 | “Friendship Sonata” (1924-25). For solo piano. Pencil sketches. Manuscript sketches (pencil); dated “summer of ’25.” 5 pages of music.
“Outline of ‘Friendship’ Musical Essay (Revised): First Movement.” Draft of composer’s notes (pencil). 1 page of text. |
| folder 22 | “Harp of the North Wind” (1924-25). For solo piano. Unfinished, pencil. Manuscript sketches (pencil), unfinished; undated (1924-25). 1 page of music. |
| folder 23 | “An Intento” (1974). For solo piano. Sketches. Score. Manuscript draft (pencil); dated January 3, 1973. 4 pages of music. Score (incomplete; consists of first page of score only). Fair copy (typescript). 1 page of music. Manuscript sketches (pencil); dated September 17, 1974. 2 pages of music. |
| folder 24 | “Inventivo” (1981). For solo piano. Sketches. Score. Manuscript draft (pencil); dated May 1981. 4 pages of music. |
| folder 25 | “Liedchen” (1924-25). For voice and piano. Ink holograph. Score. Fair copy (ink); undated (1924-25). 1 page of music. |
| folder 26 | “Prelude” (1924-25). For solo piano. Pencil holograph. Score. Manuscript draft and sketches (pencil); dated “about October 1924.” 2 pages of music. |
| folder 27 | “Prelude for Flute and Violin” (1924-25). Parts: ink holograph. Instrumental parts: flute, violin. Fair copies (ink). 3 pages of music. |
| folder 28 | “Prelude: A Musical Thought” (1924-25). For solo piano. Pencil holograph. Score. Manuscript draft (pencil); dated October 16, 1924. 1 page of music. On reverse: page from unidentified score (fair copy, ink), crossed out. 1 page of music. |
| folder 29 | “Romance” (1924-25). For solo piano. Ink holograph. Score. Fair copy (ink); dated “about May 1924.” 2 pages of music. |
| folder 30 | “Sea Ranch” (1975; 1982). Sketches. Manuscript sketches (pencil and ink); dated December 1975. 9 pages of music. – Title on first page of sketches: “1. Sea Ranch, California, Dec 1975.” Manuscript sketches (pencil and ink); dated December 1982. 6 pages of music. – Title on first page of sketches: “extension of 3. Sea Ranch.” |
| folder 31 | “September Dark/Winter Fancies” (1924-25). For voice and piano. Texts by J. W. Riley. Pencil holograph. Score. Draft of score and sketches (pencil); dated “about October or November 1924.” 2 pages of music. |
| folder 32 | “Third French Suite (J. S. Bach) with a counterpoint for 2nd piano” (undated). Ink holograph. Transcription of Third French Suite by J. S. Bach, with counterpoint for second piano by Burrill Phillips. Full score. Fair copy (ink). 10 pages of music. “VI. Gigue.” Draft of full score (pencil). 4 pages of music. |
| folder 33 | “Valse Impromptu” (1924-25). For solo piano. Ink holograph. Score. Fair copy (ink). 2 pages of music. Draft of score (ink), with annotations in pencil. 2 pages of music. |
| folder 34 | “When Snow Lies Deep Along the Road” (1924-25). For solo piano. Pencil holograph. Score (incomplete; consists of pp. 1-2 only). Fair copy (ink); dated November 1924. 2 pages of music. |
| folder 35 | “Why?” (1924-25). For voice and piano. Pencil holograph (incomplete). Score (incomplete; consists of pp. 1-2 only). Manuscript draft (pencil). 2 pages of music. |
| folder 36 | “Winds of the Keyhole” (1924-25). Ink holograph. Score. Fair copy (ink); undated (1924-25). 4 pages of music. |
| folder 37 | Untitled opera (1948). Incomplete; pencil sketches. Full score (incomplete). Manuscript draft (pencil); dated July 1948. 180 pages of music. |
| folder 38 | Untitled opera (1955). Scores and sketches: pencil holograph. Full score. Manuscript draft (pencil), with annotations in colored pencil; dated July 1955. 354 pages of music. |
| folder 39 | Untitled piece for violin and piano (1924-25). Score and parts: ink holograph. Full score. Fair copy (ink); undated (1924-25). 6 pages of music. – On first page of score: “Written for Alberta Mayfield.” Violin part. Fair copy (ink). 2 pages of music. |
| folder 40 | Untitled piece for trombone ensemble (1937). Sketches. Full score (incomplete). Manuscript draft (pencil); dated April 15, 1937. 3 pages of music. |
| folder 41 | Unidentified score (1924-25). Pencil holograph (pp.1-3 missing). Full score (6 staves, instruments unlisted) (incomplete; pages 1-3 missing). Manuscript draft (pencil). 48 pages of music. |
Box 24
| folder 1 | Untitled sketches for staged work (opera?); dated June-July 1947. Pencil holograph. Manuscript sketches (pencil); dated June 30-July 22, 1947. 14 leaves of music. – Enclosed in folder labeled: “Questions; Phillips.” |
| folder 2 | Untitled sketches, from folder labeled “10.” Pencil holograph. Manuscript draft and sketches (pencil); dated “August 6” and “August 12.” 18 pages of music. – Pages numbered 12-29. |
| folder 3 | “First movement” (sketches), from folder labeled “11.” Pencil holograph. Manuscript sketches (pencil); undated. 6 pages of music. – Annotation on front cover: “1st movement—written in Kansas City—late.” |
| folder 4 | “At entrance of A & C” (draft), from folder labeled “12.” Pencil holograph. Draft of piano vocal score (pencil); dated 12854 [December 8, 1954, or January 28, 1954]. 6 pages of music. |
| folder 5 | Untitled fugue (sketches), from folder labeled “13.” Pencil holograph. Manuscript sketches (pencil). 1 page of music. |
| folder 6 | Untitled orchestral score (excerpt: pp. 35-38), from folder labeled “14.” Pencil holograph. Excerpt of orchestral score (pencil); pages numbered 35-38. 4 pages of music. |
| folder 7 | Untitled sketches, from folder labeled “15.” Pencil holograph. Manuscript sketches for keyboard (pencil). 8 pages of music. |
| folder 8 | Untitled sketches, from folder labeled “16.” Pencil holograph. Manuscript sketches (pencil); dated between November 17, 1955, and May 28, 1956. 11 leaves of music. |
| folder 9 | Assorted sketches, from folder labeled “17.” Pencil and ink holograph. “Chorus cantabile.” For voice and piano. Draft of score (pencil); dated Summer 1923. 1 page of music. On reverse: manuscript sketches and note (ink and pencil). Untitled sketches (pencil). 1 page of music. |
| folder 10 | Assorted sketches, from folder labeled “18.” Pencil holograph. Assorted sketches (pencil); dated between February 8, 1929, and January 13, 1942. 45 leaves of music. |
| folder 11 | Untitled sketches, from folder labeled “19.” Pencil holograph. Manuscript sketches (pencil); dated September 22-November 24. 17 pages of music. |
| folder 12 | Assorted sketches, from folder labeled “20.” Pencil holograph. “Act III Introduction.” Manuscript sketches (pencil). 2 pages of music. “Beginning of Last Dance.” Manuscript sketches (pencil). 2 pages of music. |
| folder 13 | Untitled sketches, from folder labeled “21.” Pencil holograph. Manuscript sketches (pencil); dated June 6, 1953. 2 pages of music. |
| folder 14 | Untitled sketches, from folder labeled “22.” Pencil holograph. Manuscript sketches (pencil); dated “January 26” and November 10, 1954. 6 pages of music. |
| folder 15 | Untitled piece for violin and piano, from folder labeled “23.” Pencil and ink holograph. Draft of score (incomplete) and violin part (ink). 2 pages of music. |
| folder 16 | Untitled sketches, from folder labeled “24.” Pencil holograph. Manuscript sketches and text (pencil); dated between December 8, 1954, and February 22, 1955. 23 pages of music; 1 page of text. |
| folder 17 | Assorted untitled sketches, from folder labeled “25.” Pencil holograph. Various manuscript sketches (pencil); dated between October 2, 1955, and June 27, 1956. 9 pages of music. |
| folder 18 | Assorted sketches, from folder labeled “26.” Pencil holograph. Manuscript sketches (pencil). 4 pages of music. |
| folder 19 | Untitled sketches, from folder labeled “27.” Pencil holograph. Manuscript sketches and notes (pencil). 1 page of text, 11 pages of music. |
| folder 20 | Untitled sketches, from folder labeled “28.” Pencil holograph. Manuscript sketches (pencil); dated August 8. 1 page of music. |
| folder 21 | Assorted drafts and sketches, from folder labeled “29.” “Christmas All Year Long.” For solo and piano. Draft of score (pencil); dated December 1, 1972. 1 page of music. Untitled song (first line: “Little Kate, darling Kate”). Typescript Ozalid master. 1 page of music. “A song by Eugene Godens.” For voice and piano. Draft of score (ink). 3 pages of music. |
| folder 22 | Untitled piano duet, from folder labeled “30.” Ink holograph. Score. Fair copy (ink). 15 pages of music. |
| folder 23 | “Violin arrangement: Suite” (violin part), from folder labeled “31.” Ink holograph. Violin part. Fair copy (ink). 10 pages of music. |
| folder 24 | “Fantasy Modene” (score), from folder labeled “32.” Ink holograph. For violin and piano. Score. Fair copy (ink). 11 pages of music. |
| folder 25 | Untitled orchestral score (incomplete), from folder labeled “34.” Pencil holograph. Orchestral score (incomplete; consists of pages numbered 7-24 only). Fair copy (pencil, colored pencil, and ink). 18 pages of music. |
| folder 26 | Assorted sketches, from folder labeled “35.” Pencil holograph. Manuscript sketches (pencil); dated between January 11, 1940, and June 19, 1953. 25 leaves of music. |
| folder 27 | Assorted sketches, from folder labeled “36.” Pencil holograph. Manuscript sketches (pencil); dated December 13, 1944. 15 pages of music. “Three Pieces for Four Clarinets.” Full score (incomplete; consist of first page of score only). Ozalid manuscript (ink). 1 page of music. |
| folder 28 | Orchestral sketches, from folder labeled “37.” Pencil holograph. “Allegro moderato.” Draft of orchestral score (incomplete; consists of pages numbered 1-12 only). Fair copy (pencil). 12 pages of music. “Adagio.” Draft of orchestral score (incomplete; consists of pages numbered 1-8 only). Fair copy (pencil). 8 pages of music. |
| folder 29 | “Class of ‘28” (score), from folder labeled “38.” Pencil holograph. For voice and piano. Words by Miss Pearl Winter. Score. Fair copy (ink). 2 pages of music. – Accompanied by manuscript note (pencil). 1 page of text. |
| folder 30 | Untitled suite for keyboard (drafts), from folder labeled “39.” Pencil holograph. Manuscript draft (pencil). 4 pages of music. Manuscript draft (pencil). 5 pages of music. |
| folder 31 | “Air and Variations (from 1st Quartet),” from folder labeled “40.” Ink holograph. For solo instrument and piano. Score. Fair copy (ink). 3 pages of music. |
| folder 32 | Untitled orchestral score (incomplete), from folder labeled “41.” Pencil holograph. Orchestral score (incomplete; pages numbered 22-48 and 55-64 only). Fair copy (pencil). 38 pages of music. |
| folder 33 | Untitled sketches, from folder labeled “42.” Pencil holograph. Manuscript sketches (pencil); dated June 19, 1954, and September 29, 1954. 11 pages of music. |
| folder 34 | Untitled stage work (draft; incomplete), from folder labeled “43.” Pencil holograph. Piano vocal score (incomplete; consists of pages numbered 32-81 only). Draft of score (pencil). 51 pages of music. |
| folder 35 | Untitled sketches, from folder labeled “44.” Pencil holograph. Manuscript sketches (pencil); dated December 26-29. 5 pages of music. |
Box 24[cont.]
| folder 36 | “Very early sketches (1923- ).” Pencil and ink. Partial sketchbook, containing various sketches and drafts (pencil and ink); dated between July 1923 and July 1924. 26 pages of music. “Ciaconna.” For flute, two violins, and clarinet.
“Minuet for Two Violins.” Instrumental parts. Fair copy (ink); dated March 14, 1928. 4 pages of music.
“Movements from a Suite.” For solo piano. Draft of score (pencil); dated July 18, 1923. 12 pages of music. |
| folder 37 | “Unidentified sketches (1923-25).” Pencil and ink. “Legend.” For solo piano. Draft of score (pencil); dated November 1924. 2 pages of music. “Written for Jessie Hodges.” For voice and piano. Draft of score (pencil); dated “March 3.” 4 pages of music. “Minuet.” For solo piano. Draft of score (pencil and ink); dated “July-August.” 6 pages of music. Untitled sketches (pencil); dated 1929. 16 pages of music. “Allemande.” For solo violin. Draft of part (pencil); dated 1929. 8 pages of music. Assorted untitled drafts, sketches, and notes (pencil and ink); dated between January 1924 and 1929. 61 leaves. |
| folder 38 | “Notebook for themes (1925).” Pencil sketches. Manuscript sketches, labeled “Notebook for themes” (pencil); dated “mostly 1925.” 10 leaves. |
| folder 39 | “Log Book—Junior Comp.; 1925-1926, vol. 1.” Ink holograph. Bound sketchbook, containing assorted sketches and drafts (ink); dated between September 1925 and January 1926. 45 pages of music. |
Box 25
| folder 1 | [Partial sketchbook] (1926). Ink holograph. Partial sketchbook, containing assorted sketches and drafts (ink); dated February-May 1926. 47 pages of music. |
| folder 2 | [Partial sketchbook] (1926). Ink holograph. Partial sketchbook, containing assorted sketches and drafts (ink); dated between May 1926 and May 1927. 41 pages of music. |
| folder 3 | Miscellaneous earlier sketches. 1928. Pencil and ink. “The Baker’s Dozen.” For voice(s) and piano.
“Day Before Yesterday.” Suite for violin and piano. Score and part. Fair copy (ink). 7 pages of music. |
| folder 4 | Collection of juvenilia (1928-1929). Ink holograph. Score. Fair copy (ink). 25 pages of music. Includes:
|
| folder 5 | Early manuscripts and sketches (1930-32). Pencil and ink. “Prelude.” For four clarinets in B-flat. Score (incomplete; consists of p. 1 only). Fair copy (ink). 1 page of music. “Suite … for String Quartette and Double Bass.” Score. Draft of score (pencil). 32 pages of music. Assorted sketches and drafts (pencil and ink). 16 pages of music. |
| folder 6 | Earlier works at Rochester [1931-1933]. Pencil and ink holograph. “Large Fugue.” For three violins. – Draft of score (pencil). 22 pages of music. – Instrumental parts: violin I, violin II, violin III. Fair copy (ink), with annotations in pencil. 12 pages of music. “String Quartet in F-sharp Minor.” Instrumental parts: violin I, violin II, viola, violoncello. Fair copies (ink). 59 pages of music. “Chromatic Fantasie.” For solo piano. Draft of score and sketches (ink and pencil). 8 pages of music. – Interleaved in score: manuscript notes (pencil). 1 page of text. “Gavotte and Musette.” Instrumental parts (incomplete): 2nd flute, 1st clarinet. Fair copies (ink), with annotations in colored pencil. 2 pages of music. – On reverse of parts: manuscript drafts and sketches (pencil). 2 pages of music. Untitled orchestral score. Fair copy (ink and pencil). 63 pages of music. Untitled sketch (pencil). 1 page of music. |
| folder 7 | Scores and sketches (1934-35). Pencil. Assorted sketches and drafts, untitled (pencil); dated 1934-1935. 44 leaves of music. |
| folder 8 | Miscellaneous sketches (1935-36). Pencil. Assorted sketches and drafts, untitled (pencil); dated 1935. 29 leaves of music. |
| folder 9 | Spiral manuscript notebook (1936-37). Bound manuscript notebook, containing assorted sketches and drafts (pencil). 52 pages of music. |
| folder 10 | Miscellaneous sketches (ca. 1942?). Pencil. Assorted sketches, drafts, and notes (pencil and ink). 117 leaves of music. – Includes sketches for a symphony (first movement and third movement). |
| folder 11 | Unknown projects and experiments (1959). Pencil. Assorted sketches and drafts (pencil) and facsimiles (mimeographs). 33 leaves of music. |
| folder 12 | Unidentified miscellaneous sketches (1950). Pencil. Manuscript notes (log of composition activities) (pencil); dated August 4, 1950. 4 pages of text. Assorted sketches and drafts (pencil). 31 leaves of music. |
| folder 13 | “Paris Music” (1961). Pencil holograph. Assorted sketches and drafts (pencil); dated August-November 1961. 44 leaves of music. |
| folder 14 | Sketches (1961-62). Pencil. Assorted sketches, drafts, and notes (pencil and ink); dated June 1961-December 1962. 36 leaves of music and text. |
| folder 15 | Sketches from 1961 (Mayica?) (1961). Pencil. Assorted sketches, worksheets, drafts, and notes (pencil); dated 1960-61. 37 leaves of music and text. |
| folder 16 | “69-70 Barcelona, Tangier, Italy Hill; 1975-Dec-Sea Ranch” (1969-70). Pencil. Collection of sketches and drafts (pencil); dated between December 1969 and June 1970. 15 leaves of music. |
Box 26
| folder 1 | “Random Sketches” (1977-78). Pencil. Assorted sketches and drafts (pencil), labeled “R. S. [Random Sketches]”; dated between July 1977 and January 1978. 56 pages of music. |
| folder 2 | Assorted sketches; dated 9/10/78-9/13/1979 (1978-79). Assorted sketches and drafts (pencil); dated between September 10, 1978, and September 13, 1979. 32 pages of music. |
| folder 3 | Assorted sketches; dated 12/12/1978-3/11/1979 (1978-79). Assorted sketches and drafts (pencil); dated between December 12, 1978, and March 11, 1979. 38 pages of music. |
| folder 4 | “Completion of #45 in supplements of Longo’s Scarlatti sonata” (1979). Sketches. Manuscript sketches (pencil); dated October-December 1979. 10 pages of music. |
| folder 5 | Miscellaneous sketches and worksheets (1979-81). Manuscript sketches, charts, and drafts (pencil); notes (pencil); and typescript text; dated between September 1979 and September 1981. 103 leaves. |
| folder 6 | Assorted sketches (1980-81). Assorted sketches and drafts (pencil); dated between March 1980 and May 1981. 33 leaves of music. |
| folder 7 | Assorted sketches (1982-83). Assorted sketches and drafts (pencil); dated between May 1982 and January 1983. 30 leaves of music. |
| folder 8 | Miscellaneous early sketches and manuscripts (undated). Miscellaneous sketches and drafts (pencil and ink), with annotations in colored pencil. 93 leaves of music. |
| folder 9 | Early sketches (undated). Assorted loose sketches, drafts, and notes (pencil) and typescript text. 22 leaves of music and text. Bound sketchbook (“Summy’s Octavo Music Tablet”) containing miscellaneous sketches, drafts, and notes (pencil). 54 leaves. |
| folder 10 | “Opera Sketches” (undated). Folder labeled “Burrill Phillips Opera Sketches”; contains miscellaneous sketches and drafts (pencil); some dated (1942, 1958, 1964, 1968), most undated. 43 leaves of music. |
| folder 11 | Undated sketches (undated). Pencil. Collection of manuscript sketches (pencil); undated (“August 29-September 5”). 12 pages of music. |
| folder 12 | Miscellaneous sketches (undated). Assorted sketches and drafts (pencil and ink). 32 leaves of music. |
| folder 13 | Miscellaneous sketches (undated). Assorted loose sketches, drafts, and notes (pencil and ink) and typescript texts. 145 leaves of music and text. – Oversized items (manuscript sketches) separated; see Box 55, Folder 4. Also in folder: – Helen Weiss to Burrill Phillips. 1 letter (ink); dated November 27, 1946. 1 page. |
Box 27
| folder 1 | Sketchbooks [1] (undated). Four sketchbooks (“Summy’s Octavo Music Tablet”), containing manuscript sketches and drafts (pencil); undated. Sketchbooks contain 35, 38, 34, and 40 leaves, respectively (147 leaves of music total). |
| folder 2 | Sketchbooks [2] (undated). Five sketchbooks (“Summy’s Octavo Music Tablet”), containing manuscript sketches and drafts (pencil); undated. Sketchbooks contain 21, 62, 67, 38, 70 leaves, respectively (258 leaves of music total). |
Box 27[cont.]
| folder 3 | A Bucket of Water. For mixed chorus and piano. Text by Alberta Phillips. Published score (Philadelphia: Elkan-Vogel, 1953). 19 pages of music. |
| folder 4 | Canzona VI. For flute, oboe, clarinet, horn, and bassoon. Published score and parts (Berkeley, CA: Fallen Leaf, 1985). 129 pages. |
| folder 5 | The Chatterer. For solo piano. Published score, edited by Isadore Freed (Bryn Mawr: Theodore Presser, 1957). 3 pages. |
| folder 6 | Concert Piece for Bassoon and Strings. Published score (Rochester, NY: Eastman School of Music American Composers’ Edition, 1940). 2 copies. 19 pages, each. Instrumental parts: bassoon solo, violin I, violin II, viola, violoncello, bass. Published parts (Rochester, NY: Eastman School of Music American Composers’ Edition, 1940). 20 pages. |
| folder 7 | Concert Piece for Bassoon and Strings. Piano reduction. Published reduction for bassoon and piano (Rochester, NY: Eastman School of Music American Composers’ Edition, 1940). 20 pages. |
| folder 8 | Concert Piece for Bassoon and Strings. Arrangement for bassoon solo and wind band. Published score (Rochester, NY: Eastman School of Music American Composers’ Edition, 1965). 31 pages. Instrumental parts: solo bassoon, flute I, flute II, oboe I, oboe II, clarinet I, clarinet II, alto clarinet, bass clarinet, alto saxophone, tenor saxophone, cornet I, cornet II, trumpet I, trumpet II, horn I, horn II, trombone I, trombone II, baritone (bass clef and treble clef), tuba, percussion (2 copies). Published parts (Rochester, NY: Eastman School of Music American Composers’ Edition, 1965). 49 pages. |
| folder 9 | Declaratives. For women’s voices and chamber orchestra. (Editions for chorus and piano). “I. Bells.” Text by Tom Boggs. Published piano vocal score (Philadelphia: Elkan-Vogel, 1945). 11 pages. “II. Love.” Text by e. e. cummings. Published piano vocal score (Philadelphia: Elkan-Vogel, 1945). 8 pages. “III. Pueblos.” Published piano vocal score (Philadelphia: Elkan-Vogel, 1945). 23 pages. |
| folder 10 | Fanfare. For ten-part brass choir with percussion. Published score (North Easton: Robert King Music, 1982). 12 pages. Instrumental parts: trumpet I, trumpet II, trumpet III, horn I, horn II, trombone I, trombone II, trombone III, baritone, tuba, timpani, snare drum/cymbals/triangle, tenor drum/bass drum. Published parts (North Easton: Robert King Music, 1982). 13 pages. |
| folder 11 | Five Various and Sundry. For solo piano. Published score (Philadelphia: Elkan-Vogel, 1961). 5 pages. |
| folder 12 | Four Figures in Time. For flute and piano. Published score and solo part (Philadelphia: Elkan-Vogel, 1953). 17 pages. |
| folder 13 | The Hag. For four-part chorus of women’s voices, a cappella. Text by Robert Herrick. Published score (Sigma Alpha Iota Modern Music Series. New York: Carl Fischer, 1949). 11 pages. |
| folder 14 | Huntington Twos and Threes. For flute, oboe, and cello. Published score and parts (New York: King’s Crown Music Press, 1977). 48 pages. |
| folder 15 | McGuffey’s Readers. Suite for orchestra. Published score (Rochester, NY: Eastman School of Music American Composers’ Edition, 1937). 85 pages. |
Box 28
| folder 1 | Oculus non vidit. Motet for mixed chorus. Published score (Branchport, NY: Italy Hill Press, 1964). 11 pages. |
| folder 2 | Piece for Six Trombones. Published score (North Easton: Robert King Music, 1953). 6 copies. 8 pages, each. |
| folder 3 | Prelude for Brass Quartet. For trumpet, trumpet or horn, and two trombones. Published score and parts (Philadelphia: Elkan-Vogel, 1953). 9 pages. |
| folder 4 | Qui vult venire. Motet for mixed chorus. Published score (Branchport, NY: Italy Hill Press, 1963). 7 pages. |
| folder 5 | Sancti Mei. Motet for mixed chorus. Published score (Branchport, NY: Italy Hill Press, 1963). 7 pages. |
| folder 6 | Scena. For small orchestra. Published score (New York: Hargail Music, 1947). 17 pages. |
| folder 7 | Serenade. For piano four hands. Published score (New York: Southern Music, 1963). 27 pages. |
| folder 8 | Serve bone. Motet for mixed chorus. Published score (Branchport, NY: Italy Hill Press, 1964). 10 pages. |
| folder 9 | A Set of Three Informalities. For solo piano. Published score (New York: G. Schirmer, 1945). 12 pages. |
| folder 10 | Silly Sea Horse. For solo piano. Published score (Philadelphia: Elkan-Vogel, 1961). 3 pages. |
| folder 11 | Sonata for Violin and Piano. Published score and solo part (New York: G. Schirmer, 1949). 43 pages. |
| folder 12 | Sonata for Violoncello and Piano. Published score and solo part (St. Louis: Washington University Press, 1957). 58 pages.
|
| folder 13 | Song in a Winter Night. For soprano and piano. Words by Bink Noll. Published score (Berkeley, CA: Fallen Leaf, 1985). 9 pages. |
| folder 14 | Tell Me Where is Fancy Bred. For mixed voices. Text by William Shakespeare. Published score (New York: Summy, [n.d.]). 12 pages. |
| folder 15 | Three Divertimenti. For solo piano. “Fancy Dance.” Published score (Philadelphia: Elkan-Vogel, 1946). 3 pages. “Homage to Monteverdi.” Published score (Philadelphia: Elkan-Vogel, 1946). 3 pages. “Brag.” Published score (Philadelphia: Elkan-Vogel, 1946). 5 pages. |
| folder 16 | Three Easy Pieces for String Orchestra. Published score (Interlochen, MI: Interlochen Press, 1959). 11 pages. Instrumental parts: violin I (2 copies), violin II (2 copies), viola, cello, bass. Published parts (Interlochen, MI: Interlochen Press, 1959). 20 pages. |
| folder 17 | Three for Piano. “I. Prelude.” For solo piano. Published score (New York: Hargail Music, 1950). 2 pages. |
| folder 18 | Three Nostalgic Songs. For flute and piano. Published score and solo part (Bryn Mawr: Theodore Presser, 1963). 11 pages. |
| folder 19 | Trio for Trumpets. Published score (North Easton, MA: Robert King Music, 1961). 2 copies. 21 pages, each. Instrumental parts: trumpet I, trumpet II, trumpet III. Published parts (North Easton, MA: Robert King Music, 1961). 22 pages. |
| folder 20 | What Will Love Do. For four-part chorus of women’s voices, a cappella. Text by Robert Herrick. Published score (Sigma Alpha Iota Modern Music Series. New York: Carl Fischer, 1949). 11 pages. |
Box 29
| folder 1 | Alberta Phillips’ worksheets and notebook. Bound notebook; contains manuscript notes on scenarios, characters, and staging and drafts of text (pencil and ink); dated November 1934-January 1936. 55 leaves.
|
| folder 2 | “Septet: Collected Poems of B. P.” Manuscript notes, labeled “Septet: Collected Poems of B. P.” Contains drafts of various poems and manuscript notes (pencil, ink, and typescript); dated 1950-51. 36 leaves of text. |
| folder 3 | Miscellaneous drafts, prose and poetry. “Dolphin Off Hippo.” Typescript libretto [by Alonzo Gibbs], with annotations in pencil and ink. 12 pages of text. Notebook; contains notes on Latin translations and other manuscript notes (ink and pencil). 30 leaves.
“Manipulation and Control in Contemporary Composition.” Typescript document. 4 pages of text. |
| folder 4 | “Beethoven as Composer.” Lecture. Typescript script for lecture, with annotations in pencil. 11 pages of text. Musical examples (pencil), with typescript annotations. 4 pages of music. |
| folder 5 | Lesson plans. Musical examples and worksheets, manuscript notes and drafts, and typescript lesson plans (pencil, ink, and typescript). 60 leaves. |
| folder 6 | “Folk Music and Art Music.” Articles. Typescript article, accompanied by manuscript drafts and notes (pencil). 31 leaves of text. |
| folder 7 | Articles. “Some Young American Composers.” Typescript article, with annotations in pencil. 8 pages of text. Untitled article pertaining to opera composition; first line: “As over half of these young composers have written …” (typescript). 2 pages of text. “Con[t]inuity and Techniques in Music.” Typescript article, with annotations and insertions in pencil and ink. 17 leaves of text. “Introduction to Contemporary Style through the Study of Early 20th-century Harmonic and Contrapuntal Techniques.” Manuscript draft and notes (pencil). 10 pages of text. “(abc) Classifications.” Manuscript draft and notes (pencil); dated November 26, 1941. 5 pages of text. |
| folder 8 | “Music of This Century.” Scripts. Scripts for radio series (typescript), with annotations in pencil; dated March-June 1936. 70 pages of text. |
| folder 9 | “Piano Ensemble Music of Bartok.” Essay text and musical examples. Typescript essay (for lecture or presentation?). 10 pages of text. Musical examples (typescript). 1 page of music. |
| folder 10 | “Draft for Book.” Manuscript drafts and notes (pencil). 29 leaves of text. |
| folder 11 | “Theory Notes.” Notebook for Theory 104 class; contains class and lecture notes, grades, and other material (pencil). 31 leaves of text.
Musical examples and worksheets (ink and pencil). 7 leaves of music. |
| folder 12 | “Notes for Compositions.” “Bernard Rogers’ Early Songs for Voice and Piano.” Typescript essay and draft, with annotations in ink. 12 pages of text. Mennin, Peter. “Theory as it Functions in the Life of a Composer.” Facsimile of typescript essay (mimeograph). 6 pages of text. “Last joint lecture—h. s. w.” Typescript lecture notes, with annotations in ink. 2 pages of text. “A Close Shave; or, A Good Neighbor Can Be a Pain in the Neck.” Typescript draft of libretto, with annotations in pencil. 4 pages of text.
“Speak the First Word.” Libretto for one-act opera.
“Don’t We All?”
Miscellaneous notes and texts (ink, pencil, and typescript). 23 leaves of text. |
| folder 13 | Completed lectures in Spanish. Typed. Drafts of lectures for the Conservatorio Superior de Música del Liceo/Conservatorio Superior de Música de Barcelona; includes drafts of lectures in English and Spanish translations (typescript, ink, and pencil), with annotations in pencil and ink. 218 leaves of text. Conference invitation. 1 card (typescript). 1 page. Brochure for the Instituto Norteamericano. 1 item. Press clipping, including schedule for conferences; dated November 30, 1960. 1 page. |
Box 29
| folder 1 | “Beecher and the Woodhull.” Synopsis, drafts, and worksheets. Draft of synopsis (typescript), accompanied by manuscript notes. 4 pages of text. Synopsis (typescript). 4 pages of text. Revised synopsis. Facsimile of typescript document. 3 copies. 5 pages of text, each. “Alberta Phillips: Category II.” Page from unidentified application; contains list of previous librettos written by Alberta Phillips (typescript), with annotations in ink. 1 page of text. Manuscript notes and drafts (ink and pencil). 65 leaves of text. |
| folder 2 | Catalogue of Representative Works by Resident Living Composers of Illinois. Bound catalogue. 28 pages.
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| folder 3 | Miscellaneous Notebooks—1 [unlabeled]. Three-tab notebook, containing addresses and notes about printing and sale of Latin motets (Sancti Mei; Serve Bone; Oculus Non Vidit). 7 pages with text. Interleaved in notebook (12 items): Correspondence (3 items):
Published music (2 items):
Papers (7 items):
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| folder 4 | Miscellaneous Notebooks—2 (labeled “Italy Hill Press”). Three-tab notebook, containing notes and budget/billing information (ink). 13 pages with text. Interleaved in notebook (6 items):
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| folder 5 | Miscellaneous Notebooks—3 (labeled “Burrill”). Three-tab notebook, containing various notes regarding publishing, including addresses of publishers and music directors and notes on various compositions (ink). 39 leaves with text. Interleaved in notebook:
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| folder 6 | Miscellaneous Notebooks—4 (labeled “Phillips Music Catalog—1963”). Three-tab notebook, containing various notes regarding Burrill Phillip’s compositions and their publication, including log of sales and/or rentals (ink). 50 leaves with text. Interleaved in notebook:
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| folder 7 | Miscellaneous drafts. Manuscript drafts and notes (pencil and ink); dated 1947-1953. [Unknown whether drafts are by Burrill or by Alberta.] 61 leaves of text. |