GARDNER READ COLLECTION

Series 1: Compositions

Sub-series A: Manuscripts and Imprints

Box 1

folder 1 W216.  Incidental music for Garcia Lorca’s “Yerma,” Op. 115.  For flute, guitar, and percussion.  Instrumental parts.  Manuscript facsimile with corrections in pencil.  7 pp. of music.
folder 2 WT2.  Transcription of Claude Debussy, “La Boite a Joujoux.”  For flute, oboe, clarinet, bassoon, horn, and strings.  Instrumental parts.  Manuscript in ink with pencil corrections.  30 pp. of music.
folder 3 W203.  Incidental music for MacKaye’s “The Scarecrow,” Op. 103.  For tenor voice, horn, trumpet, trombone, organ, and harpsichord.  Vocal and instrumental parts.  Manuscript facsimile and manuscript in pencil.  21 pp. of music.
folder 4 W205.  Incidental music for Anderson’s “The Golden Six,” Op. 105.   For winds, brass, percussion, and organ.  Instrumental parts.  Manuscript in ink.  45 pp. of music.
folder 5 W88.  Songs for a Rainy Night, Op. 48.  For full orchestra.  Instrumental parts.  Manuscript in ink and manuscript facsimile with pencil corrections.
folder 6 W104.  American Circle, Op. 52a.  For full orchestra.  Instrumental parts.  Manuscript in ink, manuscript facsimile, manuscript in pencil.
folder 7 W197.  Incidental music for Barrie’s “The Admirable Crichton,” Op. 98.  For flute, clarinet, bassoon, horn, and piano.  Instrumental parts.  Manuscript in ink with pencil corrections.  30 pp. of music.
folder 8 WT4.  Transcription of Ottorino Respighi, “Nebbie (Mists).”  For full orchestra.  Instrumental parts.  Manuscript in ink with pencil corrections.  18 pp. of music.
folder 9 W215.  Incidental music for Sister Gretchen’s “Pilate,” Op. 114.  Instrumental parts.  For flute, clarinet, trumpet, horn, harp, and percussion.  Manuscript facsimile with pencil corrections.  53 pp. of music.

Box 2

folder 1 W12.  Prelude—To Spring, Op 10.  For full orchestra.  Instrumental parts: flute, oboe, clarinet (2), bassoon, horn (2), timpani, harp, piano, solo violin, and strings.  Manuscript in ink and pencil.  25 pp. of music.
folder 2 W15.  Gavotte, Op. 12, no. 2a.  For full orchestra.  Instrumental parts: flute (4), oboe (2), clarinet (2), bassoon (2), horn (4), trumpet (2), trombone (3), tuba, percussion, strings.  Manuscript in pencil.  25 pp. of music.
folder 3 W16.  Badinage—A Caprice.  Op. 13.  For full orchestra.  Instrumental parts:  flute (4), oboe, clarinet (2), bassoon, horn (4), trumpet (2), trombone (3), tuba, percussion, strings.  Manuscript in pencil.  41 pp. of music.
folder 4 W25.  The Lotus-Eaters, Op. 19.  For full orchestra.  Instrumental parts.  Manuscript in ink with pencil corrections.  44 pp. of music.
folder 5 W27.  Poeme, Op. 20a.  For violin, cello, and harp.  Instrumental parts.  Manuscript in ink.  5 pp. of music.
folder 6 W30.  The Painted Desert, Op. 22.  For full orchestra.  Instrumental parts.  Manuscript in ink with pencil annotations, Manuscript facsimile with pencil annotations.
folder 7 W60.  Suite for String Orchestra, Op. 33a.  Instrumental parts.  Manuscript facsimile with pencil annotations.
folder 8 W40.  Four Nocturnes, Op. 23b.  For flute, oboe, clarinet, bassoon, horn, harp, and strings.  Instrumental parts.  Manuscript in ink with pencil annotations.  40 pp. of music.
folder 9 W59.  Suite for String Quartet, Op. 33.  Instrumental parts.  Manuscript facsimile with pencil annotations.  20 pp. of music.
folder 10 W74.  Petite Pastorale, Op. 40a.  For flute, clarinet (2), bassoon (2), horn (2), and strings.  Instrumental parts.  Manuscript facsimile with pencil annotations.  24 pp. of music.
folder 11 W75.  Petite Pastorale, Op. 40b.  For flute, oboe, clarinet (2), bassoon, cornet (2), timpani, and strings.  Instrumental parts.  Manuscript facsimile.  64 pp. of music

Box 3

folder 1 W30.  The Painted Desert, Op. 22.  For strings.  Instrumental parts.  Ozalid manuscript.  27 pp. of music.
folder 2 W40.  Four Nocturnes, Op. 23 [b].  For contralto and chamber orchestra.  Score.  Ozalid manuscript.  27 pp. of music.
folder 3 W33.  The Unknown God, Op. 23, no. 2a {score reads erroneously Op. 23, no. 2a}  For three-part women’s chorus (SSA).  Score.  Ozalid manuscript.  7 pp. of music.
folder 4 W41.  Scherzino, Op. 24.  For woodwind quintet.  Instrumental parts. Ozalid manuscript.  10 pp. of music.
folder 5 W43.  Sketches of the City, Op. 26.  For full orchestra.  Instrumental parts: piccolo, flutes I and II, alto flute, oboes I and II, English horn, clarinets I and II, bass clarinet, bassoons I and II, horns I, II, and III, trumpets I, II, and III, trombones I, II, and III, tuba, percussion, celesta, harps I and II.  Manuscript in ink.  78 pp. of music.
folder 6 W43.  Sketches of the City, Op. 26.  For full orchestra.  Instrumental parts: violin I (7), violin II (7), viola (5), cello (5), bass (5).  Manuscript facsimile with pencil emendations.
folder 7 W43.  Sketches of the City, Op. 26.  For full orchestra.  Instrumental parts: violin I, violin II, viola, cello, bass.  Ozalid manuscript.  16 pp. of music.
folder 8 W58.  Meditations on “Jesu, Meine Freude,” Op. 32, no. 2b.  For solo organ.  Instrumental part.  Ozalid manuscript.  3 pp. of music.
folder 9 W60.  Suite for String Orchestra, Op. 33a.  Score.  Ozalid manuscript.  15 pp. of music.
folder 10 W59.  Suite for String Quartet, Op. 33.  Score and instrumental parts.  Ozalid manuscript.  46 pp. of music.
folder 11 W60.  Suite for String Orchestra, Op. 33a.  Instrumental parts.  Ozalid manuscript.  19 pp. of music.
folder 12 W64.  Passacaglia and Fugue in D minor for Organ, Op. 34b, transcribed for two pianos.  Score.  Ozalid manuscript.  22 pp. of music.
folder 13 W72.  May Madrigal, Op. 39a.  For mixed voices a cappella.  Score.  Ozalid manuscript.  7 pp. of music.  [The Dodd/Engquist bio-bibliography lists this work as Merry Madrigal]
folder 14 W73.  Petite Pastorale, Op. 40.  For unspecified solo keyboard instrument.  Instrumental part.  Ozalid manuscript.  2 pp. of music.
folder 15 W74, W75.  Petite Pastorale, Op. 40a/b.  Instrumental parts, Op. 40a: flute, oboe, clarinets I and II, bassoons I and II, horns I and II, violins I and II, viola, cello, bass.  Instrumental parts, Op. 40b: flute, oboe, clarinets I and II, bassoon, trombone, horns I and II, cornets I and II, violins I and II, viola, cello, bass, timpani.  Ozalid manuscript.  25 pp. of music.
folder 16 W80.  Intermezzo, Op. 42a.  For unspecified solo keyboard instrument.  Instrumental part.  Ozalid manuscript.  4 pp. of music.
folder 16a W77.  The Golden Journey to Samarkand, Op. 41.  For full orchestra, piano, mixed chorus, and SATB solo voices.  Piano score and SATB vocal parts.  Ozalid manuscript.  71 pp. of music.
folder 17 W89, W90.  Nocturne, Op. 48, no. 1a, for women’s chorus and piano; All Day I Hear, Op. 48, no. 2, for solo voice, mixed chorus, and piano.  Score.  Ozalid manuscript.  11 pp. of music.
folder 18 W88, W105.  I Hear an Army, Op. 48, no. 3, for low voice and unspecified keyboard instrument; American Circle, Op. 52b, for violin and piano.  Score.  Ozalid manuscript.  12 pp. of music.
folder 19 W94.  Where Corals Lie, Op. 49.  For mixed chorus and two pianos.  Score.  Ozalid manuscript.  31 pp. of music.
folder 20 W96.  Where Corals Lie, Op. 49b.  Transcribed for two pianos.  Score.  Ozalid manuscript.  10 pp. of music.
folder 21 W100.  Chorale-Fantasia on “Good King Wenceslas,” Op. 50b.  For two unspecified keyboard instruments.  Score.  Ozalid manuscript.  8 pp. of music.
folder 22 W114.  The Temptation of St. Anthony: A Dance Symphony, Op. 56a.  Two-piano score.  Ozalid manuscript.  77 pp. of music.
folder 23 W129.  Quiet Music for Organ, Op. 65a.  Score.  Ozalid manuscript.  8 pp. of music.
folder 24 W134, W136.  River Night, Op. 68, No. 2, for unspecified voice and unspecified keyboard instrument; River Night, Op. 68, No. 2a, for bass, piano, and mixed chorus; As I Walked Through the Meadows, Op. 68, No. 3, for voice and piano.  Scores.  Ozalid manuscript.  23 pp. of music.
folder 25 W138.  A Mountain Song, Op. 69a.  For mixed chorus, a cappella.  Ozalid manuscript.  6 pp. of music.
folder 26 W140.  De Profundis, Op. 71.  For horn and organ.  Score.  Ozalid manuscript.  10 pp. of music.
folder 27 W142.  A Bell Overture, Op. 72.  For full orchestra.  Instrumental parts: violin I and II, viola, cello, bass.  Ozalid manuscript.  22 pp. of music.
folder 28 W143.  Incidental music to Ibsen’s “Hedda Gabler,” Op. 73.  Piano score.  Ozalid manuscript.  9 pp. of music.
folder 29 W146.  Songs to Children, Op. 76.  For voice and piano.  Score.  Ozalid manuscript.  11 pp. of music.
folder 30 W150.  Lullaby for a Man-Child, Op. 76, No. 1b.  For women’s voices and piano.  Score.  Ozalid manuscript.  5 pp. of music.
folder 31 W159.  Sonatina (Hommage à Mozart), Op. 78.  For solo piano.  Ozalid manuscript.  13 pp. of music.
folder 32 W167.  Chorale and Fughetta, Op. 83, mvt. III.  For women’s voices, winds, brass, percussion, and piano.  Score.  Ozalid manuscript.  25 pp. of music.
folder 33 W170.  Festival Fanfare.  Originally scored for organ and orchestra; only contains instrumental parts for violin I and II, viola, cello and bass.  Ozalid MS.  5 pp. of music.
folder 34 W168.  Chorale and Fughetta, Op. 83, 1a (score reads Op. 83a).  For brass choir.  Score and instrumental parts: cornets I/II and III/IV, horns I/II and III/IV, trombones I/II and III, baritones I and II, tuba.  Ozalid MS.  38 pp. of music.

Box 4

folder 1 W44.  Prayers of Steel, Op. 26, No. 3.  For winds, brass, and percussion.  Instrumental parts: piccolo; flutes I and II; oboes I and II; E-flat clarinet; clarinets I, II, and II; E-flat alto clarinet; bass clarinet; alto, tenor, and baritone saxophones; bassoons I and II; horns I/II and III/IV; cornets I and II/III; trumpets I/II; baritones I/II; trombones I, II, and III; basses; timpani; percussion.  MS in ink.  81 pp. of music.
folder 2 W50.  Three Satirical Sarcasms, Op. 29a.  For full orchestra.  Wind, brass, and percussion parts: piccolo; flutes I and II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; contrabassoon; horns I, II, and III; trumpets I, II, and III; trombones I, II, and III; timpani; percussion; piano.  Manuscript facsimile.  64 pp. of music.
folder 3 W50.  Three Satirical Sarcasms , Op. 29.  For full orchestra.  String parts: violin I (6); violin II (5); viola (4); cello (4); bass (3).  Manuscript facsimile.  77 pp. of music.
folder 4 W63.  Passacaglia and Fugue, Op. 34a.  For full orchestra.  Wind, brass, and percussion parts: piccolo I; flute I; flute II/piccolo II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; double bassoon; horns I, II, III, and IV; trumpets I, II, and III; tenor trombones I and II; bass trombone; tuba; timpani; harp.  Manuscript facsimile.  69 pp. of music.
folder 5 W63.  Passacaglia and Fugue, Op. 34a.  For full orchestra.  String parts: violin I (9); violin II (8); viola (6); cello (6); bass (5).  Manuscript facsimile.  129 pp. of music.
folder 6 W68. Scherzotic Dance, Op. 37.  For unspecified solo keyboard instrument.  Photographic negative of a publisher’s imprint, with markings in red opaque ink.  4 pp. of music.
folder 7 W69.  Fantasy for Viola and Orchestra, Op. 38.  String parts: solo viola (3) violin I (7); violin II (6); viola (5); cello (5); bass (4).  Manuscript facsimile.  70 pp. of music.
folder 8 W69.  Fantasy for Viola and Orchestra, Op. 38.  Wind, brass, and percussion parts.  Manuscript in ink with pencil emendations.  62 pp. of music.

Box 5

folder 1 W83.  Symphony No. 2, Op. 45.  Wind parts (set 1): piccolo; flutes I and II; oboes I and II; English horn; clarinets I and II; bass clarinet; bassoons I and II; contrabassoon.  Manuscript facsimile.  92 pp. of music.
folder 2 W83.  Symphony No. 2, Op. 45.  Wind parts (set 2).  Manuscript facsimile.  92 pp. of music.
folder 3 W83.  Symphony No. 2, Op. 45.  Brass and percussion parts (set 1): horns I, II, III, and IV; trumpets I, II, and III; trombones I, II, and III; tuba; percussion.  Manuscript facsimile.  89 pp. of music.
folder 4 W83.  Symphony No. 2, Op. 45.  Brass and percussion parts (set 2).  Manuscript facsimile.  89 pp. of music.
folder 5 W101.  To a Skylark, Op. 51.  For mixed chorus a cappella.  Vocal-piano score.  Associated Music Publishers, Inc. imprint with pencil emendations in Gardner Read’s hand.  23 pp. of music.
folder 6 W107.  Pan e Dafni, Op. 53.  For full orchestra.   Instrumental parts: solo clarinet; piccolo; alto flute; flutes II and III; clarinets I and II; bass clarinet; bassoons I and II; double bassoon; horns I, II, III, and IV; trombones I, II, and III; percussion; harp; violin I (7); violin II (6); viola (5); cello (5); bass (4).  Manuscript facsimile.
folder 7 W109.  Driftwood Suite, Op. 54.  For unspecified solo keyboard instrument.  Score.  Ozalid manuscript.  15 pp. of music.
folder 8 W118.  Tryste Noel, Op. 59.  For mixed chorus with alto solo or youth choir.  Organ-vocal score.  Publisher’s proofs with corrections by Gardner Read in red pencil; facsimile of publisher’s imprint incorporating the emendations.  16 pp. of music.
folder 9 W123.  Night of All Nights, Op. 62.  For voice and piano.  Score.  Ozalid manuscript.  8 pp. of music.

Box 6

folder 1 W139.  Partita, Op. 70.  For full orchestra.  Instrumental parts: flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani, violins I and II, viola, cello, bass.  Ozalid manuscript.  61 pp. of music.
folder 2 W139.  Partita, Op. 70.  Instrumental parts.  Flute; oboe; clarinet; bassoon; horn; trumpet; trombone; timpani; violin I (4); violin II (4); viola (3); cello (3); bass (2).  Manuscript facsimile.  120 pp. of music.
folder 3 W139.  Partita, Op. 70.  Instrumental parts (set 2).  MS facsimile.  120 pp. of music.
folder 4 W142.  A Bell Overture, Op. 72.  For full orchestra.  Instrumental parts .  MS facsimile with pencil emendations; string parts bear the stamp of the Cleveland Symphony Orchestra.  218 pp. of music.
folder 5 W149.  Songs to Children, Op. 76a.  For flute, harp, and string quartet.  Instrumental parts.  Manuscript in ink with pencil emendations.  35 pp. of music.
folder 6 Camera-ready images for title page of Piano Solos for Young People, Op. 79: Dreaming, Night Song, Plantation Moods, Puck, Summer Afternoon.
folder 7 W160.  Piano Solos for Young People. Summer Afternoon, Op. 79, No. 1.  For piano solo.  Photographic negative of a publisher’s imprint, with markings in red opaque ink.  2 pp. of music.
folder 8 W160.  Piano Solos for Young People.  Plantation Moods, Op. 79, No. 2.  For piano solo.  Photographic negative of a publisher’s imprint, with markings in red opaque ink.  4 pp. of music.
folder 9 W160.  Piano Solos for Young People.  Night Song, Op. 79, No. 3.  For piano solo.  Photographic negative of a publisher’s imprint, with markings in red opaque ink.  3 pp. of music.
folder 10 W160.  Piano Solos for Young People.  Puck, Op. 79, No. 4.  For piano solo.  Photographic negative of a publisher’s imprint, with markings in red opaque ink.  2 pp. of music.
folder 11  W160.  Piano Solos for Young People.  Dreaming, Op. 79, No. 5.  For piano solo.  Photographic negative of a publisher’s imprint, with markings in red opaque ink.  3 pp. of music.

Box 7

folder 1 W171. A Sheaf of Songs. Op. 84. Sister, Awake, No. 2; The Lamb, No. 3; It is Pretty in the City, No. 3.  For voice and piano.  Scores.  Ozalid manuscript. 11 pp. of music.
folder 2 W177. Sister, Awake, No. 2a from Two Songs for Voice and Woodwind Quintet.  For voice, flute, oboe, clarinet, bassoon, and horn. Two sets of instrumental parts from the Rental Library of J. Fischer & Bro., New York. Manuscript facsimile. 10 pp. of music. Second copy of the oboe part is accompanied by a pencil MS, with performance markings in typescript, of the oboe part for arrangements of At Bedtime and It is Pretty in the City, songs 1 and 4 from W171, A Sheaf of Songs, Op. 84. 2 pp. of music.
folder 3 W175; W176.  Sister, Awake, Op. 84, No. 2a. For SSA chorus and piano; The Lamb, Op. 84, No. 3a. For SATB chorus and piano. Vocal-piano scores.  Ozalid manuscript.  13 pp. of music.
folder 4 W177.  The Lamb, Op. 84, No. 3a from Two Songs for Voice and Woodwind Quintet.  For voice, flute, oboe, clarinet, bassoon, and horn.  Two sets of instrumental parts from the Rental Library of J. Fischer & Bro., New York.  Manuscript facsimile; performance markings in pencil. 10 pp. of music. Flute, Bb clarinet, bassoon and horn in F are accompanied by their respective parts for arrangements of At Bedtime and It is Pretty in the City, songs 1 and 4 from W171, A Sheaf of Songs, Op. 84. MS in pencil. 8 pp. of music.
folder 5 W176, W175.  The Lamb, Op. 84, No. 3b and 3a; Sister, Awake, Op. 84, No. 2a.  For voice, flute, oboe, clarinet, bassoon, and horn.  Score and parts.  Ozalid manuscript.  34 pp. of music.
folder 6 W179.  Nine by Six, Op. 86.  For piccolo/flute, oboe/English horn, clarinet/bass clarinet, trumpet, horn, and bassoon.  Instrumental parts.  Ozalid manuscript.  42 pp. of music.
folder 7 W179.  Nine by Six, Op. 86.  For piccolo/flute, oboe/English horn, clarinet/bass clarinet, trumpet, horn, and bassoon.  Score.  Ozalid manuscript.  38 pp. of music.
folder 8 W181.  Song Heard in Sleep, Op. 88.  For soprano, tenor, and piano.  Score.  Ozalid manuscript.  14 pp. of music.
folder 9 W182. Song Heard in Sleep, Op. 88a.  For soprano, alto, tenor, bass, and piano.  Score.  Ozalid manuscript.  12 pp. of music.
folder 10 W185.  The Reveille, Op. 89b.  For mixed chorus.  17 parts.  Manuscript facsimile.
folder 11 W185.  The Reveille, Op. 89b.  For mixed chorus.  25 parts.  Manuscript facsimile.
folder 12 W188.  Elegiac Aria, Op. 91a.  For organ.  Ozalid manuscript.  5 pp. of music.

Box 8

folder 1 W189.  Symphony No. 4, Op. 92.  Instrumental parts (strings):  violin I (9);  violin II (8); viola (6); cello (6); bass (5).  Manuscript facsimile with pencil emendations.
folder 2 W189.  Symphony No. 4, Op. 92.  Instrumental parts (winds, brass, percussion): piccolo, flute (2), oboe (2), English horn, clarinet (2), bass clarinet, bassoon (2), contrabassoon, horn (6), trumpet (3), trombone (3), tuba, percussion (6).  Manuscript facsimile with pencil emendations.

Box 9

folder 1 W192.  Two Marches for Children.  The Little Soldiers, Op. 95, No. 1; Toy Parade, Op. 95, No. 2.  For piano solo.  Ozalid manuscript.  4 pp. of music.
folder 2 W197.  Incidental music to J. M. Barrie’s “The Admirable Crichton,” Op. 98.  For woodwind quintet and piano.  Score.  Ozalid manuscript.  23 pp. of music.
folder 3 W198.  Two American Hymns.  Lord of All Being, Op. 99, No. 1; This New Day, Op. 99, No. 2.  Chorale harmonizations for unspecified instrumentation.  Ozalid manuscript.  2 pp. of music.
folder 4 W202.  Sonoric Fantasia No. 1, Op. 102.  For celesta, harp, and harpsichord.  Score.  Ozalid manuscript.  46 pp. of music.
folder 5 W203.  Ravensbane’s Ballade, from the incidental Music for MacKaye’s “The Scarecrow,” Op. 103.  For tenor, horn, trumpet, and trombone.  Parts (3 sets).  Manuscript facsimile.
folder 6 W204.  Fanfares for a Maske, Op. 104.  For horns, trumpets, and trombone.  Score.  Ozalid manuscript.  9 pp. of music.
folder 7 W206.  Boston Arts Festival Fanfare, Op. 106.  For orchestra.  Score.  Ozalid manuscript.  5 pp. of music.
folder 8 W207.  Los Dioses Aztecas, Op. 107.  Suite for percussion ensemble.  Score.  Ozalid manuscript.  69 pp. of music.
folder 9 W207.  Los Dioses Aztecas, Op. 107.  Instrumental parts.  Ozalid manuscript.
folder 10 W207.  Los Dioses Aztecas, Op. 107.  Instrumental parts.  Manuscript facsimile.
folder 11 W208.  Incidental Music to Harding’s “Kinderspiel,” Op. 108.  For percussion, organ, and piano.  Instrumental parts.  Manuscript facsimile.
folder 12 W208.  Incidental music to Harding’s “Kinderspiel,” Op. 108.  Score.  Ozalid manuscript.  12 pp. of music.
folder 13 W209.  Though I Speak with the Tongues of Men, Op. 109.  For mixed choir and organ.  Score.  Ozalid manuscript.  17 pp. of music.
folder 14 W213.  Six Preludes on Old Southern Hymns (Second Set), Op. 112.  For organ.  Ozalid manuscript.  23 pp. of music.
folder 15 W214.  Incidental music to James Forsyth’s version of Ibsen’s “Brand,” Op. 113.  For soprano, tenor, organ, oboe, horn, trumpet (4) , trombone (4), tuba, and percussion.  Parts.  Manuscript in ink.
folder 16 W214.  Incidental music to James Forsyth’s version of Ibsen’s “Brand,” Op. 113.  Score.  Ozalid manuscript.  44 pp. of music.
folder 17 W215.  Incidental music to “Pilate,” Op. 114.  For flute, clarinet, trumpet (3), harp, and percussion.  Instrumental parts.  Ozalid manuscript.

Box 10

folder 1 W220.  Chants d’Auvergne, Op. 117.  For mixed chorus, flute, English horn, bassoon, horn, percussion, harp, viola, and cello.  Score.  Ozalid manuscript.  169 pp. of music.  Accompanied by: –An Ozalid manuscript for W225, Un berger, dedans sa cabane, Op. 117a, No. 7.  For SATB chorus, viola and organ.  Score.  7 pp. of music.  –An itemized bill from Harry Silberman, a music copyist, to Gardner Read. Typescript; annotated in pencil and ink. 2 pp.  –Documents containing translations of the texts for Chants d’Auvergne.  Repro of typescript.  4 pp.
folder 2 W220.  Chants d’Auvergne, Op. 117.  For mixed chorus, flute, English horn, bassoon, horn, percussion, harp, viola, and cello.  Parts.  Ozalid manuscript.  149 pp. of music.
folder 3 W221, W223, W224, W226. Chants d’Auvergne, Op. 117a, Nos. 1 (for SATB chorus, piano and viola), 3 (for SATB chorus), 5 (for SATB chorus), and 9 (for SATB chorus, harp [or piano], and French horn).  Ozalid manuscript. 39 pp. of music.  Accompanied by English translations of the French text. Typescript. 4 pp.
folder 4 W229.  Petite Suite, Op. 118.  For recorders or flutes and harpsichord or piano.  Ozalid manuscript.  6 pp. of music.
folder 5 W233.  Villon, Op. 122.  Act I.  Piano-vocal score.  Manuscript facsimile.  100 pp. of music.  (Note: Final version of the opera is divided into three rather than four acts, and is scored for solo voices, chorus and orchestra).
folder 6 W233.  Villon, Op. 122.  Act II.  Piano-vocal score.  Manuscript facsimile.  57 pp. of music.
folder 7 W233.  Villon, Op. 122.  Acts III and IV. Piano-vocal score.  Manuscript facsimile.  142 pp. of music.
folder 8 W233.  Villon, Op. 122.  Act IV.  Piano-vocal score.  Manuscript facsimile.  65 pp. of music.
folder 9 W235.  Sonoric Fantasia No. 2, Op. 123.  For violin (solo, I, II), viola, flute, harp, and percussion.  Instrumental parts.  Manuscript facsimile.
folder 10 W238.  Sonoric Fantasia No. 3, Op. 125.  For piccolo, E-flat flute, alto flute, bass flute, harp, and percussion.  Instrumental parts.  Manuscript facsimile.

Box 11

folder 1 W240.  Canzone di Notte, Op. 127.  For guitar.  Instrumental part and explication of notation.  Ozalid manuscript.  1 p. of text, 3 pp. of music.
folder 2 W241.  Hexadic, Op. 128.  For six instrumentalists.  Score and instructions.  Ozalid manuscript.  4 pp. of text, 3 pp. of music.
folder 3 W242.  The Storke (A Christmas Ballad), Op. 129.  For mixed voices, a cappella.  Score.  Ozalid manuscript.  10 pp. of music.
folder 4 W243.  Concerto for Piano and Orchestra, Op. 130.  Instrumental parts: flutes I and II; oboes I and II; clarinets I and II; bassoons I and II; horns I (2), II, III, and IV; trumpets I, II, and III; trombones I, II, and III; timpani; percussion (2).  Privately printed for the composer.
folder 5 W243.  Concerto for Piano and Orchestra, Op. 130.  Instrumental parts:  violin I (9); violin II (9).  Privately printed for the composer.
folder 6 W243.  Concerto for Piano and Orchestra, Op. 130.  Instrumental parts:  viola (8); cello (8); bass (5).  Privately printed for the composer.
folder 7 W247.  As White as Jade, Op. 131, No. 2.  For four voices and piano.  Score.  Ozalid manuscript.  3 pp. of music.
folder 8 W245.  Da Capo, Op. 131, No. 3 from Music to Sing.  For mixed voices, a cappella.  Score.  Ozalid manuscript.  8 pp. of music.
folder 9 W251.  “and there appeared unto them tongues as of fire,” Op. 134.  For organ.  Score and instructions.  Ozalid manuscript.  16 pp. of music, 1 p. of text.
folder 10 W252.  Invocation, Op. 135.  For tenor trombone and organ.  Score.  Ozalid manuscript.  9 pp. of music.
folder 11 W253.  Galactic Novae, Op. 136.  For organ and percussion.  Score and instructions.  Ozalid manuscript.  24 pp. of music, 1 p. of text.
folder 12 W255.  Diabolic Dialogue, Op. 137.  For double bass and four pedal timpani.  Score and instructions.  Ozalid manuscript.  9 pp. of music, 1 p. of text.
folder 13 W255.  Diabolic Dialogue, Op. 137.  For double bass and four pedal timpani.  Score.  Privately printed for the composer.  Photocopy with emendations in red pencil.  8 pp. of music.
folder 14 W256.  By-Low, My Babe, Op. 138.  For mixed voices, flute, English horn, and harp.  Parts.  Manuscript in ink and pencil; Ozalid manuscript.
folder 15 W259.  Music for Chamber Winds, Op. 141.  For double wind quintet and percussion.  Score.  Ozalid manuscript.  30 pp. of music.
folder 16 W261.  Chicago Anthem, Op. 142.  For voice and unspecified keyboard instrument.  Score.  Manuscript in pencil.  4 pp. of music.
folder 17 W261.  The Chicago Anthem, Op. 142.  For voice and unspecified keyboard instrument.  Score.  Ozalid manuscript.  3 pp. of music.
folder 18  W262.  Anniversary Prelude, Op. 143.  For string trio.  Score.  Ozalid manuscript.  5 pp. of music.
folder 19 W262.  Anniversary Prelude, Op. 143.  For string trio.  Score.  Manuscript in pencil.  5 pp. of music.

Box 12

folder 1 W265.  Epistle to the Corinthians, Op. 144b. For soprano or tenor and organ.  Score.  Manuscript in pencil.  8 pp. of music.
folder 2 W266.  Nocturnal Visions, Op. 145.  For baritone and piano.  Score.  Ozalid manuscript.  24 pp. of music.
folder 3 W267.  Paean for St. Mark’s, Op. 146.  For mixed voices and organ.  Score.  Ozalid manuscript.  28 pp. of music.
folder 4 W267.  Paean for St. Mark’s, Op. 146.  For mixed voices and organ.  Score.  Manuscript in pencil.  18 pp. of music.
folder 5  W268.  Phantasmagoria, Op. 147.  For English horn and organ.  Score.  Photocopy with pencil emendations in Gardner Read’s hand.  30 pp. of music.
folder 6 W268.  Phantasmagoria, Op. 147.  For English horn and organ.  Score.  Manuscript in pencil.  12 pp. of music.
folder 7 W269.  Phantasmagoria, Op. 147a.  For English horn and organ.  Score.  Ozalid manuscript.  30 pp. of music.
folder 8 W268.  Phantasmagoria, Op. 147.  For English horn and organ.  Score and instructions.  Ozalid manuscript.  30 pp. of music, 1 p. of text.
folder 9 W270.  Fantasy-Toccata, Op. 148.  For unspecified keyboard instrument.  Manuscript in pencil.  6 pp. of music.
folder 10 W270.  Fantasy-Toccata, Op. 148.  For solo harpsichord.  Ozalid manuscript.  8 pp. of music.
folder 11 W272.  Five Aphorisms for Violin and Piano, Op. 150.  Manuscript in pencil.  22 pp. of music.
folder 12 W273.  Poem II, Op. 151.  For English horn and organ.  Score.  Ozalid manuscript.  2 pp. of music.
folder 13 “Bare ruin’d choirs . . .,” Op. 153.  For organ.  Score.  Manuscript in pencil.  3 pp. of music.
folder 14 WT6.  Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784).  Transcription for string orchestra.  Score and parts.  Ozalid manuscript.
folder 15 WT6.  Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784).  Transcription for string orchestra.  Parts: violin I (6, 5); violin II (6, 5); viola (4); cello (3); bass (2); cembalo (1).  Manuscript reproduction.
folder 16 WT6.  Prelude, Adagio and Fugue, from Sonata VII of Padre Martini (1706-1784).  Transcription for string orchestra:  Parts: violin I, violin II.  Ozalid manuscript.  6 pp. of music.
folder 17 Unidentified sketch, pp. 7-8.  Manuscript in pencil.  2 pp. of music.
folder 18 WS1.  Sketch for a Chorale, version 1.  For women’s voices.  Manuscript in pencil.  2 pp. of music.
folder 19 WS1.  Sketch for a Chorale, version 2.  For women’s voices.  Manuscript in pencil.  4 pp. of music.
folder 20 WS3.  For Sarah Caldwell’s Opera Company Fundraiser.  For soprano, tenor, and baritone.  Manuscript in pencil.  2 pp. of music.
folder 21 WS2.  Birthday Greeting to Nicolas Slonimsky.  Unspecified instrumentation.  Manuscript in pencil.  2 pp. of music.
folder 22 W101.  To a Skylark.  Op. 51.   For divided five-part chorus of mixed voices, unaccompanied.  Inscribed in ink to Wayne Barlow by the composer, 1949.  Associated Music Publishers, Inc. imprint (pl. no. A.M.P. 194516).  23 pp. of music.
folder 23 W51.  Symphony Number One.  Inscribed in ink to Homer Keller by the composer, June 30, 1939.  Affiliated Music Corporation imprint.  137 pp. of music.  Accompanied by a promotional flyer for Gardner Read, also inscribed in ink to Homer Keller by Gardner Read, December 30, 1939.

Box 13

folder 1 W243.  Concerto for Piano and Orchestra, Op. 130.  Score.  Manuscript in ink.  107 pp. of music.
folder 3 Miscellaneous sketches and orchestrations.  Various formats.  91 pp. of pp. of music.
folder 11 W43.  Sketches of the City, Op. 26.  Symphonic Suite for Large Orchestra After Poems of Carl Sandburg.  Score.  Ozalid manuscript.  40 pp. of music.
folder 12 W45.  Prayers of Steel, Op. 36, No. 3b.  After the poem by Carl Sandburg.  For wind ensemble.  Score.  Ozalid manuscript.  Date (at end): November 16-24, 1958.  29 pp. of music.
folder 13 W74.  Petite Pastorale, Op. 40a.  For full orchestra.  Score.  Ozalid manuscript.  3 pp. of music.
folder 14 W77.  The Golden Journey to Samarkand, Op. 41.  Based on the poem of James Elroy Flecker.  For mixed chorus, soloists, and orchestra.   Score.  Manuscript in pencil.  77 pp. of music.
folder 15 W139.  Partita for Small Orchestra, Op. 70.  Score.  Ozalid manuscript.  32 pp. of music.
folder 16 W142.  A Bell Overture, Op. 72.  For full orchestra.  Score.  Ozalid manuscript.  29 pp. of music.
folder 17 Ozalid MS fragments.  Folder includes: –pg. 12 of Scherzino, Op. 24. W41. For woodwind quintet; –pg. 1 of First Overture, Op. 58. W117. For orchestra; –pgs. 3 – 7 of Tryste Noel, Op. 59. W118. For contralto voice solo, SATB chorus and organ; –pg. 2 of Spiritual, Op. 63. W124. For double bass [or violoncello] and piano; –pg. 1 of Lullaby for Cindy, Op. 74. W144. For piano; –pg. 19 of The Hidden Lute, Op. 132a. W249. For soprano voice and piano; –Four pages from unidentified compositions. 14 pp. of music.

Box 14

folder 1 W233.  Villon, Op. 122.  Opera in three acts; libretto by James Forsyth.  Act I.  Score.  Manuscript in pencil.  217 pp. of music.
folder 2 W233.  Villon, Op. 122.  Act II.  Score.  Manuscript in pencil.  186 pp. of music.
folder 3 W233.  Villon, Op. 122.  Act III.  Score.  Manuscript in pencil.  98 pp. of music.

Box 66

folder 1 W271.  Kokopelli. Op. 149. For flute and percussion. MS in pencil and typescript. 5 pages of music. Accompanied by explanations of notation  (2 pages of MS in pencil; 2 pages of typescript, annotated in pencil; repro of typescript and pencil MS, 2 pages). Also accompanied by repro of MS in pencil and typescript. 2 pages of music. Also accompanied by 2 pages of the score that were created using music notation software.
folder 2 Pan e Dafni: II. Op. 154. For alto flute, viola and harp. MS in pencil; annotated in typescript. 4 pages of music.
folder 3 Klavier Klangfarben. Op. 155. For piano solo. MS in pencil; annotated with performance instructions in typescript. 3 pages of music.
folder 4 Unidentified fragments. MS in pencil. 3 pages of music.
folder 5 Twelve Tone Rows. Analysis of rows from works by Arnold Schoenberg and Alban Berg. MS in pencil.1 page of music.

Box 74

 

Motion Picture Incidental Music.  Op. 1.  For piano or organ solo.  Ink MS, bound.  108 pages of music.

Under Western Skies.  Op. 1, No. 45a.  For full orchestra.  Ink MS, bound.  12 pages of music.

Evanston High Song.  Op. 2.  For voice and piano.  Ink MS, bound.  2 pages of music.

An Ocean Rhapsody.  Op. 3.  For piano solo.  Ink MS, bound.  12 pages of music.

Christmas Bells.  Op. 4.  For voice and piano.  Ink MS, bound.  1 page of music.

All Things Bright and Beautiful.  Op. 5.  Ink MS, bound.  For SATB and piano accompaniment.  3 pages of music.

Saw You Never in the Twilight.  Op. 6.  Ink MS, bound.  For voice and piano or organ accompaniment.  2 pages of music.

Legend Suite.  Op. 7.  For piano solo.  Ink MS, bound.  5 pages of music.

Nocturne in D Major.  Op. 8.  For piano solo.  Ink MS, bound.  4 pages of music.

Snowflakes – A Caprice.  Op. 9.  For piano solo.  Ink MS, bound.  3 pages of music.

Prélude – To Spring.  Op. 10.  For full orchestra.  Ink MS, bound.  16 pages of music.  Accompanied by composer’s program notes in ink and typescript, 1 page.

Mountain Sketches.  Op. 11.  For full orchestra.  Ink MS, bound.  21 pages of music.  Accompanied by composer’s program notes in ink, 1 page.  Also accompanied by color illustration, 1 page.

Suite of Dance.  Op. 12.  For piano solo.  Ink MS, bound.  6 pages of music.

Badinage – A Caprice.  Op. 13.  For full orchestra.  Ink MS, bound.  27 pages of music.  Accompanied by composer’s program notes in ink and typescript, 1 page.  Also accompanied by illustrations, 2 pages.

Suite of Inventions.  Op. 14.  For piano solo.  Ink MS, bound.  6 pages of music.

Pierrot.  Op. 15.  For voice and piano accompaniment.  Words by Sara Teasdale.  Ink MS, bound.  3 pages of music.

Theme with Variations.  Op. 16.  For piano solo.  Ink MS, bound.  4 pages of music.

Sonata in C Minor.  Op. 17.  For piano solo.  Ink MS, bound.  14 pages of music.

Senior Class Song of ’32.  Op. 18.  For voice and keyboard accompaniment.  Printed copy extracted from Evanston Town High School Senior Year Book 1932.  1 page of music.  Accompanied by Op. 18b.  Arrangement for mixed voices – a capella.  Ink MS.  2 pages of music.

The Lotus-Eaters: A Symphonic Poem for Orchestra.  Op. 19.  After the poem by Alfred Lord Tennyson.  For full orchestra.  Ink MS, bound.  30 pages of music.  Accompanied by composer’s program notes in ink, 1 page.  Also accompanied by Tennyson’s poem in typescript, 1 page.  Also accompanied by black-and-white color illustration, 1 page.

Poeme.  Op. 20.  Dedicated to Muriel Joyce Reeves.  For piano solo.  Ink MS with red colored-pencil annotations, bound.  5 pages of music.

Suite pour Harpe.  Op. 21.  Dedicated to Henry J. Williams.  For harp solo.  Ink MS, bound.  11 pages of music.

The Painted Desert.  Op. 22.  For full orchestra.  Ink MS, bound.  74 pages of music.  Accompanied by 1 color illustration and 1 black-and-white illustration, 2 pages total.

Four Nocturnes.  Op. 23.  For voice and keyboard accompaniment.  When Moonlight Falls, No. 1; The Unknown God, No. 2; A White Blossom, No. 3; The Moon, No. 4.  Ink MS with red colored-pencil annotations, bound.  16 pages of music.

Four Nocturnes.  Op. 23a.  Arranged by Vail Read for two sopranos and alto with piano accompaniment.  When Moonlight Falls, No. 1; The Unknown God, No. 2; A White Blossom, No. 3; The Moon, No. 4.  Ink MS, bound.  18 pages of music.

Scherzino.  Op. 24.  For woodwind quintet.  Ink MS with red colored-pencil annotations, bound.  12 pages of music.

Soliloquy.  Op. 25.  For piano solo.  Ink MS, bound.  4 pages of music.

Sketches of the City.  Op. 26.  For full orchestra.  After poems by Carl Sandburg.  Ink MS with red and blue colored-pencil annotations, bound.  49 pages of music. Accompanied by composer’s program notes in typescript, 1 page.  Also accompanied by ink illustrations, 4 pages.  Also accompanied by Sandburg poems in ink, 3 pages.

Sketches of the City.  Op. 26.  For full orchestra.  After poems by Carl Sandburg.  Printed copy, Juilliard Edition.  Signature of Sandburg on the cover page.  36 pages of music.

Sonata in A Minor.  Op. 27.  For piano solo.  Ink MS, bound.  17 pages of music.

Four Inventions.  Op. 28.  For keyboard solo.  Ink MS, bound.  6 pages of music.

Three Satirical Sarcasms.  Op. 29.  For piano solo.  Proof copy, bound.  7 pages of music.

Three Satirical Sarcasms.  Op. 29.  For piano solo.  Ink MS, bound.  7 pages of music.

Three Satirical Sarcasms.  Op. 29.  For piano solo.  MS repro, bound.  7 pages of music.

Symphony No. 1 in A Minor.  Op. 30.  For full orchestra.  Ink MS with colored-pencil annotations, bound.  137 pages of music.

Symphony No. 1 in A Minor.  Op. 30a.  Transcribed by the composer for piano, four hands.  Ink MS with colored-pencil annotations, bound.  59 pages of music.

Poem.  Op. 31.  For horn and piano.  Ink MS, bound.  3 pages of music.

Three Chorale-Preludes.  Op. 32.  Dedicated to Archer Lambuth.  For organ solo.  Ink MS, bound.  9 pages of music.

Sarabande.  Op. 33, No. 3a.  Dedicated to Vail Read.  For solo keyboard.  Ink MS, bound.  2 pages of music.

Suite for String Orchestra.  Op. 33a.  For two violins, viola, cello, and bass.  MS repro with colored-pencil annotations, bound.  15 pages of music.

Passacaglia and Fugue.  Op. 34.  For organ solo.  Ink MS, bound.  21 pages of music.

Passacaglia and Fugue.  Op. 34a.  Transcribed by the composer for symphony orchestra.  Ink MS with colored-pencil annotations, bound.  58 pages of music.

Six Intimate Moods.  Op. 35.  For violin and piano.  Ink MS, bound.  12 pages of music.

Six Intimate Moods.  Op. 35.  For violin and piano.  Ink MS, bound.  18 pages of music.

From a Lute of Jade: Three Chinese Lyrics for Mezzo-Soprano.  Tears, No. 1; The River and the Leaf, No. 2; Ode, No. 3.  Op. 36 (1935).  For mezzo-soprano with piano accompaniment.  Ink MS, bound.  9 pages of music.

From a Lute of Jade.  Op. 36 (1936).  Tears, No. 1; Ode, No. 3; Op. 36 (1935).  For voice with piano accompaniment.  Ink MS, bound.  8 pages of music.

Scherzotic Dance.  Op. 37.  Dedicated to Doris Briggs.  For piano solo.  Ink MS, bound.  4 pages of music.

Fantasy for Viola and Orchestra.  Op. 38a.  For viola with piano accompaniment.  Ink MS, bound.  17 pages of music.

Fantasy for Viola and Orchestra.  Op. 38a.  For viola with piano accompaniment.  Ink MS, bound.  11 pages of music.

Petite Pastorale.  Op. 40b.  For high school orchestra.  Ink MS, bound.  7 pages of music.

The Golden Journey to Samarkand.  Op. 41a.  For SATB and piano.  Original orchestral parts indicated.  Ink MS, bound.  46 pages of music.

Impromptu.  Op. 42.  Dedicated to Mrs. Edward MacDowell.  For piano solo.  Ink MS, bound.  3 pages of music.

Symphony No. 2 in E-flat Minor.  Op. 45a.  Arranged by the composer for piano, four hands.  Ink MS, bound.  45 pages of music.

Sea-Scapes.  Op. 46.  For harp solo.  Ink MS, bound.  6 pages of music.

Sea-Scapes.  Op. 46.  For harp solo.  Ink MS, bound.  5 pages of music.

Piano Quintet.  Op. 47.  For string quartet and piano.  Ink MS, bound.  59 pages of music.

Songs for a Rainy Night.  Op. 48.  Nocturne, No. 1; All Day I Hear, No. 2; I Hear an Army, No. 3.  For baritone solo with piano accompaniment.  Words by Frances Frost (No. 1), James Joyce (Nos. 2 and 3).  Ink MS, bound.  7 pages of music.

Chorale-Fantasia.  Op. 50.  For organ solo.  MS repro, bound.  7 pages.

Chorale-Fantasia.  Op. 50a.  Transcribed for piano, four hands by Vail Read.  Ink MS, bound.  10 pages of music.

To a Skylark.  Op. 51a.  For SATB, a cappella, with rehearsal piano.  Words by Percy Bysshe Shelley.  Ink Ms, bound.  17 pages of music.

American Circle: Music for a Dance.  Op. 52.  For keyboard solo.  Ink MS, bound.  5 pages of music.

American Circle: Music for a Dance.  Op. 52a.  Transcribed for high school orchestra by the composer.  Ink MS with colored-pencil annotations, bound.  17 pages of music.

Circle Dance.  Op. 52c.  For piano solo.  Ink MS, bound.  6 pages of music.

Pan e Dafni.  Op. 53a.  Piano reduction.  Pencil MS, bound.  14 pages of music.

Jungle Garden by Moonlight.  Op. 54, No. 2a.  For harp solo.  MS repro, bound.  5 pages of music.

Concerto for Violoncello and Orchestra.  Op. 55a.  Dedicated to Gregor Piatigorsky.  Arranged for cello with piano accompaniment.  MS repro, bound.  52 pages of music.

Dance of the Locomotives.  Op. 57.  For piano solo.  MS repro, bound.  6 pages of music.

Dance of the Locomotives.  Op. 57a.  For full orchestra.  Ink MS, bound.  26 pages of music.

The Magic Hour.  Op. 60.  For two sopranos and alto with piano accompaniment.  Words by Nelle Richmond Eberhart.  MS repro, bound.  11 pages of music.

Sonata da Chiesa.  Op. 61.  For piano solo.  MS repro, bound.  14 pages of music.

Sonata da Chiesa.  Op. 61a.  Arranged for two pianos by the composer.  MS repro, bound.  20 pages of music.

Sinfonia da Chiesa.  Op. 61b.  For brass quintet and organ.  Ink MS, bound.  50  pages of music.

Spiritual.  Op. 63.  Dedicated to Jacques Posell.  For bass (or cello).  MS repro, bound.  5 pages of music.

Spiritual.  Op. 63b.  For full orchestra.  Orchestrated by Oscar Zimmerman.  MS repro, stapled in folder.  12 pages of music.

Music.  Op. 64.  For soprano and alto with piano accompaniment.  Words by Walter de la mare.  MS repro, bound.  5 pages of music.

Quiet Music for Strings.  Op. 65.  For three violins, two violas, two cellos, and bass.  MS repro, bound.  13 pages of music.

Threnody.  Op. 66.  Dedicated to David Van Vastor.  For flute and piano.  MS repro, bound.  5 pages of music.

Threnody.  Op. 66a.  For solo flute, harp, and strings.  MS repro, bound. 13 pages of music.

Box 75

 

Pennsylvaniana.  Op. 67.  For full orchestra.  MS repro, bound.  38 pages of music.

Dunlap’s Creek – A Folk-Hymn.  Op. 67a, No. 1.  For winds, brass, and percussion.  Ink MS, bound.  54 pages of music.

Three Songs for Baritone.  Op. 68.  For baritone and piano.  Lullaby for a Dark Hour, No. 1; River Night, No. 2; As I Walk Through the Meadows,  No. 3.  MS repro, bound.  15 pages of music.

Mountain Song.  Op. 69.  For SATB, a cappella.  Words by Frances Frost.  MS repro, bound.  4 pages of music.

Songs to Children.  Op. 76.  Lullaby for a Man-Child, No. 1; The First Jasmines, No. 2; Song of Innocence, No. 3.  For voice and piano.  MS repro, bound.  21 pages of music.

Songs to Children.  Op. 76a.  Lullaby for a Man-Child, No. 1; The First Jasmines, No. 2; Song of Innocence, No. 3.  For voice, flute, harp, and string quartet (score).  MS repro, unbound.  34 pages of music.  Accompanied by cover page with composer’s writing in ink, 1 page.

Six Easy Pieces for Piano.  Op. 77, Nos. 2, 3 (two versions), and 5.  For piano solo.  Ink MS with colored-pencil and pencil annotations, bound.  12 pages of music.

Piano Solos for Young People.  Op. 79.  For piano solo.  Ink MS with colored-pencil and pencil annotations, bound.  13 pages of music.

Two Moods for Band.  Op. 79a.  For concert band.  Ink MS with colored-pencil and pencil annotations, bound.  20 pages of music.

Sonata Brevis.  Op. 80.  Dedicated to Louis Kaufman.  For violin and piano. MS repro, bound.  26 pages of music.

Suite for Organ.  Op. 81.  For organ solo.  MS repro, bound.  41 pages of music.

Suite for Orchestra.  Op. 81a (incomplete).  For full orchestra.  Pencil MS.  17 pages of music.

Suite for Orchestra.  Op. 81a.  For full orchestra.  Pencil MS, bound.  30 pages of music

Sound Piece for Brass and Percussion.  Op. 82.  Dedicated to Boston University Brass Choir.  For trumpets (4), horns (4), baritone, trombones (3), tubas (2), timpanis (3), and percussion.  Pencil MS, bound.  103 pages of music.

Chorale and Fughetta.  Op. 83.  For S, S, A.  MS repro, bound.  6 pages of music.

Festival Fanfare.  Op. 83, No. 2.  For full orchestra and organ.  Ink MS, bound.  7 pages of music.

A Sheaf of Songs.  Op. 84.  At Bedtime, No. 1; Sister, Awake, No. 2; The Lamb, No. 3; It is Pretty in the City, No. 4.  For voice and piano.  MS repro, bound.  14 pages of music.

The Lamb.  Op. 84a, No. 3.  For SATB and piano.  Sister, Awake.  Op. 84a, No. 2.  For SSA and piano.  MS repro, bound.  13 pages of music.

At Bedtime.  Op. 84a, No. 1.  For SSA and piano.  MS repro, bound.  4 pages of music.

Songs for Voice and Wind Quintet.  Op. 84b.  At Bedtime, No. 1; It is Pretty in the City, No. 4.  For voice and wind quintet.  Pencil MS with typescript lyrics, in duotang.  (Listed erroneously as Op. 89b.  It is Pretty in the City listed erroneously as No. 2).

The Lamb.  Op. 84b, No. 3.  Sister, Awake.  Op. 84b, No. 2.  For voice and wind quintet.  MS repro, bound.  12 pages of music.

Tough Piece.  Op. 85.  For piano solo.  MS repro, bound.  15 pages of music.

Jesous Ahatonhia.  Op. 87.  Dedicated to Boston University Chorus, James R. Houghton, conductor.  For SATB and organ.  Ink MS, bound.  10 pages of music.

Jesous Ahatonhia.  Op. 87a.  For full orchestra.  MS repro, stapled.  14 pages of  music.  Accompanied by typewritten biography of composer and program notes, 1 page total.

The Reveille.  Op. 89.  Words by Bret Harte.  For two tenors, two basses, piano, and snare drum.  Ink MS, bound.  11 pages of music.

The Reveille.  Op. 89a.  Words by Bret Harte.  For SATB and piano accompaniment.  Ink MS, bound.  16 pages of music.

The Reveille.  Op. 89b.  Words by Bret Harte.  For bassoons, brass, percussion, organ, and SATB.  Ink MS, bound.  23 pages of music.

De Profundis.  Op. 71a.  For organ solo.  MS repro, bound.  6 pages of music.

Petite Berceuse (Lullaby for Cindy).  Op. 74.  For piano solo.  MS repro, bound.  2 pages of music.

Eight Preludes on Old Southern Hymns.  Op. 90.  My Soul Forsakes Her Vain Delight, No. 1; Thou Man of Grief, Remember Me, No. 2; David, the King, Was Grieved and Moved,  No. 3; On Jordan’s Stormy Banks I Stand, No. 4; Alas!  And Did My Saviour Bleed?, No. 5; Fight On, My Soul, No. 6; Do Not I Love Thee, O My Lord, No. 7; Once More, My Soul, the Rising Day, No. 8. For organ solo.  Ink MS with colored-pencil and typewritten annotations, bound.  35 pages of music.

The Golden Harp.  Op. 93.  For SATB, a cappella, with rehearsal piano.  MS repro, bound.  12 pages of music.

Two Marches for Children.  Op. 95a.  The Little Soldiers, No. 1; The Toy Parade, No. 2.  For piano, four hands.  Pencil MS with colored-pencil annotations, bound.  10 pages of music.

Three American Folk-Songs.  Op. 97.  Star in the East, No. 1; You Can Dig My Grave, No. 2; Hop Up, My Ladies, No. 3.  Ink MS with colored-pencil annotations, bound.  33 pages of music.

Incidental music to “The Admirable Crichton.”  Op. 98.  For wind quintet and piano.  MS repro, bound.  21 pages of music.

Incidental music to “The Shoemaker’s Prodigious Wife.”  Op. 101.  For (in order of appearance) guitar, SATB, flute, tambourine, trumpet, piccolo, bells.  Ink MS, bound.  15 pages of music.

Incidental music to “The Scarecrow.”  Op. 103.  For trumpets (4), horns (4), trombones, organ, voice, and harpsichord.  Ink MS with colored-pencil annotations.  26 pages of music.

Incidental music to “The Golden Six.”  Op. 105.  For winds, brass, percussion, harp, and organ.  Ink MS with colored-pencil annotations.  19 pages of music.

The Prophet.  Op. 110a.  Vocal score.  For baritone solo and SATB, with rehearsal piano.  MS repro, spiral bound.  72 pages of music.  Pages 55–58 (inclusive) missing.

The Prophet.  Op. 110a.  Vocal score.  For baritone solo and SATB, with rehearsal piano.  MS repro, bound.  76 pages of music.

Incidental music to “Pilate.”  Op. 114.  For flute, clarinet, trumpets (3), percussion, and harp.  Ink MS, bound.  23 pages of music.

Incidental music to “Yerma.”  Op. 115.  For flute, guitar, low tom-tom.  Ink MS, bound.  6 pages of music.

Incidental music to “Seven Scenes for Yeni.”  Op. 119.  For voice, guitar, trumpet, and flute.  Ink MS, bound.  5 pages of music.

Incidental music to “Everyman.” Op. 120.  For flute, oboe, clarinet, and bassoon.  MS repro, bound.  9 pages of music.

Variations on a Chromatic Ground.  Op. 121.  For organ solo.  Ink MS, bound.  5 pages of music.

Sonoric Fantasia No. 3.  Op. 125.  For piccolo, E-flat flute, C flute, alto flute, bass flute, harp, and percussion.  MS repro, bound.  25 pages of music.  Accompanied by explanation of notation, 1 page.

Praise Ye the Lord.  Op. 131, No. 1.  For eight vocalists.  Ink and typescript MS, bound.  4 pages of music.

The Hidden Lute.  Op. 132b.  The Island of Pines, No. 1; Sleeplessness, No. 2; The Ancient Wind, No. 3.  Piano reduction.  Pencil MS, bound.  11 pages of music.

Sonoric Fantasia No. 4.  Op. 133.  For organ and percussion.  MS repro, bound.  27 pages of music.  Accompanied by program notes, 1 page.  Also accompanied by explanation of notation, 1 page.

By-Low, My Babe.  Op. 138.  For mixed voices, flute, English horn, and harp.  Ink MS, bound.  23 pages of music.

Music for Chamber Winds.  Op. 141a.  Piano reduction.  Pencil MS, bound.  8 pages of music.

Epistle to the Corinthians.  Op. 144.  For mixed chorus, brass choir, timpani (ad lib.), and organ.  Piano-vocal score.  MS repro, spiral bound.  22 pages of music.

Music for “The Face of Innovation” (Video).  Op. 152.  For horn and harp.  MS repro, bound.  4 pages of music.

Epistle to the Corinthians.  Op. 144.  For mixed chorus, brass choir, timpani (ad lib.), and organ.  MS repro, spiral bound.  37 pages of music.

Epistle to the Corinthians.  Op. 144a.  For mixed chorus and piano.  MS repro, bound.  22 pages of music.

Epistle to the Corinthians.  Op. 144b.  For Soprano (or Tenor), and Organ.  MS repro, bound.  14 pages of music.

Two Fanfares.  No opus number.  Cherry Festival Fanfare, No. 1; Interlochen Bowl Fanfare, No. 2.  Ink MS, bound.  2 pages of music.

J. S. Bach: Prelude and Fugue in B Minor. Transcribed for Modern Orchestra by Gardner Read. Ink MS, bound.  60 pages of music.

Debussy: La Boîte à Joujoux.  Transcribed for Orchestra by Gardner Read.  Incomplete.  Pencil MS, bound.  25 pages of music

Lawes: Comus.  Arranged for String Quartet, Piano, and Harp by Gardner Read.  Pencil MS, bound.  11 pages of music.

Respighi: Mists.  Orchestrated by Gardner Read.  Ink MS, bound.  6 pages of music.

Palestrina: Laudate Dominum in Tympanis.  Transcribed for Triple Brass choir by Gardner Read.  Ink MS with colored-pencil annotations, bound.  16 pages of music.

Palestrina: In Festo Transfigurationis Domini.  Transcribed for Brass Quartet by Gardner Read.  Pencil MS with colored-pencil annotations, bound.  6 pages of music.

Birchard-Boston University Contemporary Music Series, ed. Gardner Read.  (Contents published by Birchard-Boston, unless otherwise stated.)  Jesous Ahatonhia by Gardner Read.  Jesous Ahatonhia by Gardner Read, published by Summy-Birchard.  That’s the Idea of Freedom by Aaron Copland. That’s the Idea of Freedom by Aaron Copland, published by Summy-Boston.  Song for a Tree by Henry Cowell.  Five Hymns by Ernst Bacon.  The Storke by Margaret Starr McLain.  There is a Garden in Her Face by Klaus George Roy.  The Golden Harp by Gardner Read.  The Golden Harp by Gardner Read, published by Summy-Boston.  Invocation to the Muse by Samuel Adler.  The Brightness of Our Noon by Alan Hovhaness.

Willmann, Rudolph R.  “An Experimental Investigation of the Creative Process in Music.”  Psychological Monographs, 57/1 (1944).  Music by Read appears on pp. 54, 60, and 64.  Items circled in red colored-pencil.  Pencil drafts inserted at the back of the issue, 2 pages.

Box 76

folder 1 Vernal Equinox.  Op. 96.  For full orchestra.  Score and parts.  Ozalid manuscript.  27 pages of music (score).
folder 2 String Quartet No. 1.  Op. 100.  Score and parts.  Ozalid manuscript.  58 pages of music (score).
folder 3 A Christmas Pastorale.  Op. 124.  For violin and organ.  Score and parts.  Ozalid manuscript.  1 page (violin) and 10 pages (organ) of music.
folder 4 Concerto for Piano and Orchestra.  Op. 130a.  Reduction for two pianos.  Score.  Ozalid manuscript.  58 pages of music.
folder 5 The Hidden Lute.  Op. 132.  For soprano, harp, alto flute, and percussion.  Score.  Ozalid manuscript.  37 pages of music.  Accompanied by explanation of notation, 1 page.

Sub-series B: Recordings

Folio I

sleeve 1 Symphony No. 1 in A minor, Op. 30.  New York Philharmonic-Symphony Orchestra; John Barbirolli, conductor.  5 November 1937.  Carnegie Hall, New York, NY.  Aluminin base sound disc. 2 sides.
sleeve 2 Symphony No. 1 in A minor, Op. 30 (cont.).
sleeve 3 Symphony No. 1 in A minor, Op. 30 (cont.).
sleeve 4 Symphony No. 1 in A minor, Op. 30 (cont.).  From Sketches of the City, Op. 26: Fog.  National High School Orchestra; Frederick Stock, conductor.  11 August 1940.  Interlochen Bowl, National Music Camp, Interlochen, Michigan  Aluminin base sound disc.  2 sides.
sleeve 5 Suite for String Quartet, Op. 33.  10 August 1940.  National Music Camp, Interlochen, Michigan.  Aluminin base sound disc.  2 sides.
sleeve 6 Suite for String Quartet, Op. 33 (cont.).
sleeve 7 Passacaglia and Fugue, Op. 34a.  Rochester Civic orchestra; Howard Hanson, conductor.  26 October 1939.  Kilbourn Hall, Eastman School of Music, Rochester, New York.  Aluminin base sound disc.  2 sides.
sleeve 8 From A Lute of Jade, Op. 36.  Erna-Mae Gilcher with the Rochester Civic Orchestra; Howard Hanson, conductor.  Kilbourn Hall, Eastman School of Music, Rochester, New York.  Aluminin base sound disc.  2 sides.
sleeve 9 From A Lute of Jade, Op. 36 (cont).  Prelude and Toccata, Op. 43.  Rochester Philharmonic Orchestra; Howard Hanson, conductor.  29 April 1937.  Eastman Theatre, Rochester, New York.  Aluminin base sound disc.  2 sides.
sleeve 10 Prelude and Toccata, Op. 43.  NBC Symphony Orchestra; Frank Black, conductor.  22 April 1941.  NBC Studios, Radio City, New York, New York.  Aluminin base sound disc.  2 sides.
sleeve 11 Fantasy for Viola and Orchestra, Op. 38.  Julia Wilkinson, viola; Rochester civic Orchestra; Howard Hanson, conductor.  22 April 1937.  Kilbourn Hall, Eastman School of Music, Rochester, New York.  Prayers of Steel. Op. 26a, No. 1.  Eastman School Symphony Band; Frederick Fennell, conductor.  26 April 1937.  Eastman Theatre, Rochester, New York.  Aluminin base sound disc.  2 sides.
sleeve 12 Where Corals Lie, Op. 49.  E. T. H. S. Chorus; Hadassah McGiffen; Sadie Rafferty, conductor.  19 November 1939.  NBC Studios, Chicago, Illinois.  Aluminin base sound disc.  1 side.

Folio II

sleeve 1 Symphony No. 2, Op. 45.  Boston Symphony Orchestra; Gardner Read, conductor.  27 November 1943.  Symphony Hall, Boston, Massachusetts.  Glass base sound disc.  2 sides.
sleeve 2 Symphony No. 2, Op. 45 (cont.).
sleeve 3 Symphony No. 2, Op. 45 (cont.).
sleeve 4 Symphony No. 2, Op. 45 (cont.).
sleeve 5 Sketches of the City, Op. 26.  Rochester Philharmonic Orchestra; Howard Hanson, conductor.  12 December 1935.  Eastman Theatre, Rochester, New York.  Aluminin base sound disc.  2 sides.
sleeve 6 Sketches of the City, Op. 26 (cont.).
sleeve 7 Night Flight, Op. 44.  Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor.  27 April 1944.  Eastman Theatre, Rochester, New York.  Glass base sound disc.  2 sides.
sleeve 8 Songs for a Rainy Night, Op. 48.  Mac Morgan; Eastman School Junior Symphony Orchestra; Gardner Read, conductor.  27 April 1942.  Eastman Theatre, Rochester, New York.  Aluminin base sound disc.  2 sides.
sleeve 9 The Magic Hour, Op. 60.  Millikin University Laboratory Choir; Carl Van Buskirk, conductor.  22 April 1945.  WSOY Studios, Decatur, Illinois.  Aluminin base sound disc.  1 side.
sleeve 10 Prelude and Toccata, Op. 43.  Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.  2 November 1945.  Syria Mosque, Pittsburgh, Pennsylvania.  Aluminin base sound disc.  2 sides.
sleeve 11 Night Flight, Op. 44.  Eastman-Rochester Symphony Orchestra; Howard Hanson, conductor.  28 April 1945.  Eastman Theatre, Rochester, New York.  Glass base sound disc.  1 side.
sleeve 12 De Profundis, Op. 71.  Harold Meek, horn; E. Power Biggs, organ.  17 November 946.  Germanic Museum, Harvard University, Cambridge, Massachusetts.  CBS Network.  Acetate base sound disc.  2 sides.

Folio III

sleeve 1 Symphony No. 1, Op. 30.  Rochester Civic Orchestra; Howard Hanson, conductor.  12 April 1935.  Kilbourn Hall, Eastman School of Music, Rochester, New York.  Aluminin sound disc.  2 sides.
sleeve 2 Symphony No. 1, Op. 30 (cont.).
sleeve 3 Symphony No. 1, Op. 30 (cont.).  Aluminin base sound disc.
sleeve 4 Symphony No. 1, Op. 30 (cont.).  Aluminin base sound disc.  1 side.
sleeve 5 Symphony No. 1, Op. 30.  New York Philharmonic Symphony; John Barbirolli, conductor.  5 November 1937.  Carnegie Hall, New York, New York.  Aluminin base sound disc.  2 sides.  Duplicate recording.
sleeve 6 Symphony No. 1, Op. 30 (cont.).
sleeve 7 Symphony No. 1, Op. 30 (cont.).
sleeve 8 Symphony No. 2, Op. 45.  Boston Symphony Orchestra; Gardner Read, conductor.  27 November 1943.  Symphony Hall, Boston, Massachusetts.  Glass base sound disc.  2 sides.  Duplicate recording.
sleeve 9 Symphony No. 2, Op. 45 (cont.)
sleeve 10  Symphony No. 2, Op. 45 (cont.)
sleeve 11 Symphony No. 2, Op. 45 (cont.)
sleeve 12 Where Corals Lie, Op. 49.  Cleveland Heights Choir; Gardner Read, conductor.  20 December 1947.  Masonic Auditorium.  Aluminin base sound disc.  2 sides.

Folio IV

sleeve 1 First Overture, Op. 58.  Rochester Philharmonic Orchestra; Guy Fraser Harrison, conductor.  15 February 1947.  Eastman School of Music, Rochester, New York.  Aluminin base sound disc.  2 sides.
sleeve 2 First Overture, Op. 58 (cont.).  1 side.
sleeve 3 Music for Piano and Strings, Op. 47a.  Leonard Shure, piano; CBS Symphony Orchestra; Daniel Saidenberg, conductor.  12 February 1947.  CBS Studio #4, New York, New York.  Sound disc.  2 sides.
sleeve 4 Music for Piano and Strings, Op. 47a (cont.).  2 sides.
sleeve 5 Music for Piano and Strings, Op. 47a (cont.).  2 sides.
sleeve 6 Music for Piano and Strings, Op. 47a (cont.).  Festival Fanfare, Op. 83, No. 2.  Boston University orchestra; Francis Findlay, conductor.  31 January 1951.  Symphony Hall, Boston, Massachusetts.  Aluminin base sound disc.  2 sides.
sleeve 7 Where Corals Lie, Op. 49.  Cleveland Heights Choir; Gardner Read, conductor.  20 December 1947.  Masonic Auditorium, Cleveland, Ohio.  Aluminin base sound disc.  2 sides.
sleeve 8 Pennsylvaniana Suite, Op. 67.  Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.  21 November 1947.  Syria Mosque, Pittsburgh, Pennsylvania.  Acetate base sound disc.
sleeve 9 Pennsylvaniana Suite, Op. 67 (cont.).  2 sides.
sleeve 10 Pennsylvaniana Suite, Op. 67.  Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.  23 November 1947.  Syria Mosque, Pittsburgh, Pennsylvania.  Aluminin base sound disc.  2 sides.
sleeve 11 Pennsylvaniana Suite, Op. 67 (cont.).
sleeve 12 Pennsylvaniana Suite, Op. 67 (cont.).

Folio V

sleeve 1 Threnody, Op. 66.  George Hambrecht, flute; Eastman School Senior Symphony; Howard Hanson, conductor.  14 May 1949.  Eastman Theatre, Rochester, New York.  NBC Network.  At Bedtime, Op. 84, No. 1.   Harriet Hayes, soprano; Kenneth Manzer, piano.  21 May 1951.  Recital Hall, College of Music, Boston, Massachusetts.  Acetate base sound disc.  2 sides.
sleeve 2 Dance of the Locomotives, Op. 57a.  NBC Studio Orchestra; Carmen Dragon, conductor.  16 December 1949.  NBC Studios, San Francisco, California.  Standard School Broadcast No. 10.  Acetate base sound disc.  2 sides.
sleeve 3 Dance of the Locomotives, Op. 57a (cont.).
sleeve 4 Dance of the Locomotives, Op. 57a (cont.).
sleeve 5 Dance of the Locomotives, Op. 57a (cont.).
sleeve 6 Sketches of the City, Op. 26.  Second and third movements.  NBC Studio Orchestra; Carmen Dragon, conductor.  16 March 1950.  NBC Studios, San Francisco, California.  Standard School Broadcast No. 20.  Acetate base sound disc.  2 sides.
sleeve 7 Suite for Organ, Op. 81.  Julian Williams, organist.  25 September, 1950.  Chapel, Pennsylvania College for Women, Pittsburgh, Pennsylvania.  Acetate base sound disc.  2 sides.
sleeve 8 Suite for Organ, Op. 81 (cont.).
sleeve 9 Suite for Organ, Op. 81 (cont.).
sleeve 10 Nine by Six, Op. 86.  New England Conservatory of Music Wind Sextet.  27 April 1951.  Jordan Hall, Boston, Massachusetts.  Acetate base sound recording.  2 sides.
sleeve 11 Eight Preludes on Old Southern Hymns, Op. 90.  Samuel Walter, organist.  29 October 1951.  Daniel L. Marsh Chapel, Boston University, Boston, Massachusetts.  Acetate sound recording.  2 sides.
sleeve 12 Eight Preludes on Old Southern Hymns, Op. 90 (cont.).

Folio VI

sleeve 1 Sound Piece for Brass and percussion, Op. 82.  Cincinnati Conservatory Brass Ensemble; Ernest N. Glover, conductor.  15 November 1950.  Cincinnati, Ohio.  Sound recording.  2 sides.
sleeve 2 Night Flight, Op. 44.  Louisville Orchestra; Nicolas Slonimsky, conductor.  6 February 1952.  Columbia Auditorium, Louisville, Kentucky.  Sound recording.
sleeve 3 Arioso Elegiaca, Op. 91.  Zimbler String Sinfonietta.  8 April 1953.  Jordan Hall, Boston, Massachusetts.  Sound recording.
sleeve 4 Chorale and Fughetta, Op. 83a.  Cincinnati Conservatory Brass Choir; Ernest N. Glover, conductor.  1 December 1954.  Cincinnati, Ohio.  Sound recording.
sleeve 5 The Temptation of St. Anthony, Op. 56.  Chicago Symphony Orchestra; Rafael Kubelik, conductor.  9 April 1953.  Orchestra Hall, Chicago, Illinois.  Sound recording.
sleeve 6 All Day I Hear, Op. 48, No. 2.  15 May 1952.  College of Music, Boston, Massachusetts.  Toccata Giocosa, Op. 94.  13 May 1954.  Louisville Orchestra; Robert Whitney, conductor.  Sound recording.
sleeve 7 The Temptation of St. Anthony, Op. 56.  Boston Symphony Orchestra; Gardner Read, conductor.  19 March 1954.  Symphony Hall, Boston, Massachusetts.  Sound recording.
sleeve 8 The Temptation of St. Anthony, Op. 56 (cont.).
sleeve 9 Where Corals Lie, Op. 49.  Evanston Township High School Festival Chorus; Sadie Rafferty, conductor.  15 May 1954.  Beardsley Gymnasium, Evanston, Illinois.  Sound recording.
sleeve 10 Sea-Scapes, Op. 46.  Roslyn Rensch, harp.  10 October 1950.  Evanston, Illinois.  Sound recording.
sleeve 11  Unidentified sound recording.
sleeve 12 Unidentified sound recording.

Folio VII

sleeve 1 Four Nocturnes, Op. 23.  Edna-mae Cleeland, contralto; Eastman Little Symphony; Karl Van Hoesen, conductor.  3 April 1935.  Kilbourn Hall, Eastman School of Music, Rochester, New York.  Sound recording.
sleeve 2 Four Nocturnes, Op. 23 (cont.).
sleeve 3 Sketches of the City, Op. 26.  Rochester Civic Orchestra; Howard Hanson, conductor.  19 April 1934.  Kilbourn Hall, Eastman School of Music, Rochester, New York.  Sound recording.
sleeve 4 Sketches of the City, Op. 26 (cont.).

Box 13

folder 7 Unidentified LP.
folder 8 “Pennsylvania Suite” premiere, Part I.  Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.  LP.
folder 9 “Pennsylvania Suite” premiere, Part II.  Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.  LP.
folder 10  “Mr. Read Leaves the Stage” (?).  LP.

Box 15

reel 1 “The Creative Way.”  Radio broadcast with Gardner Read and Dr. Kenneth D. Benne.  25 April 1958.  WEEI Studios, Boston, Massachusetts.  7” audio reel.
reel 2 “Our American Music,” No. 34.  Radio broadcast with Gardner Read and Nicolas Slonimsky.  3 May 1957.  WGBH-FM Studios, Boston, Massachusetts.  7” audio reel.
reel 3 “Our American Music,” No. 34 (cont.).
reel 4 “Voice of America” interview with Gardner Read and Wayne Hyde.  14 July 1964.  7” audio reel.
reel 5 “Brand.”  Version by James Forsyth after Ibsen; music by Gardner Read.  29 April 1963.  BBC Studios, London, England.  7” audio reel.
reel 6 Interview with Gardner Read and Jules Wolffers (discussing String Quartet No. 1, Op. 100.) and the Boston Fine Arts Quartet.  1 January 1959.  WGBH-FM TV Studios, Boston, Massachusetts.  7” audio reel.
reel 7 Selections from “A Program of Compositions By Gardner Read.”  5 April 1957.  University of Arkansas.  Recording includes Scherzino for Woodwind Quintet, Op. 24; From a Lute of Jade, Op. 36; Soundpiece for Brass and percussion, Op. 82; The Lamb, Op. 84, No. 3a; Mountain Song, Op. 69; The Unknown God, Op. 23, No. 2.  7” audio reel.
reel 8 Nine by Six, Op. 86; Chorale and Fughetta, Op. 83a; Mountain Song, Op. 69; The Golden Harp, Op. 93; To a Skylark, Op. 51; The Reveille, Op. 89b.  7” audio reel.

Box 16

reel 9 Selections from “Music of Gardner Read.”  Boston University Gardner Read Festival, 28 March 1963.  Recording includes Piano Quintet, Op. 47.  Sound Piece for Brass and Percussion, Op. 82.  The Lamb, Op. 84, No. 3a;  Sister, Awake, Op. 84, No. 2a; River Night, Op. 68, No. 2a; Three American Folk Songs, Op. 97.  7” audio reel.
reel 10 Selections from “Music of Gardner Read.”  Boston University Gardner Read Festival, 27 March 1963.  Recording includes Sonata da Chiesa, Op. 61a; Songs to Children, Op. 76a; Sonata Brevis, Op. 80; Sonoric Fantasia No. 1, Op. 102.  7” audio reel.
reel 11 Selections from “Music of Gardner Read.”  Boston University Gardner Read Festival, 28 March 1963.  For contents, see Reel 9 above.  7” audio reel.
reel 12 Selections from University of Kansas Read Festival.  Undated.  Recording includes River Night; A Mountain Song, Op. 68; The Golden Harp, Op. 93; The Reveille, Op. 89b; Los Dioses Aztecas, Op. 107; Sound Piece, Op. 82; Threnody for Flute, Harp, and Strings, Op. 66a; Arioso Elegiaca for Strings, Op. 91; Night Flight, Op. 44; Symphony No. 3, Op. 75.  7” audio reel.
reel 13 Selections from Northern Illinois University Gardner Read Festival.  21 February 1964.  Recording includes The Lamb, Op. 84, No. 3a; Sister, Awake, Op. 84, No. 2a; Los Dioses Aztecas, Op. 107; Nine by Six, Op. 86 (incomplete).  7” audio reel.
reel 14 Selections from Northern Illinois University Gardner Read Festival.  21 February and 26 April 1964.  Recording includes Sonata Brevis, Op. 80; From a Lute of Jade, Op. 36; Soundpiece for Brass and Percussion, Op. 82.  7” audio reel.
reel 15 Selections from the WNYC American Music Festival Boston University Composers’ Program.  Undated.  Recording includes River Night; Lullaby for a Man-Child; From a Lute of Jade.  7” audio reel.
reel 16 Symphony No. 1, Op. 30.  New York Philharmonic Symphony Orchestra; John Barbirolli, conductor.  4 November 1937.  Symphony No. II, Op. 45.  Boston Symphony Orchestra; Gardner Read, conductor.  26 November 1943.  Dubbed from acetate discs.  7” audio reel.
reel 17 Passacaglia and Fugue; Six Preludes on Old Southern Hymns.  David Craighead, organ.  Eastman School of Music, Rochester, New York.  Undated.  7” audio reel.
reel 18 Selections from the WGBH broadcast of the Boston Symphony Orchestra, Richard Burgin, conductor.  23 and 25 October 1958.  7” audio reel.
reel 19 Night Flight, Op. 44.  Philadelphia Orchestra; Gardner Read, conductor.  9 November 1964.  Night Flight, Op. 44.  Philadelphia Orchestra; William Smith, conductor.  13 December 1978.  Dance of the Locomotives, Op. 57a.  Boston Pops Orchestra; Arthur Fiedler, conductor.  20 May 1978.  7” audio reel.
reel 20 Partita for Small Orchestra, Op. 70.  Eastman Little Symphony; Frederick Fennell, conductor.  4 May 1947.  Spiritual, Op. 63.  Oscar Zimmerman, double bass; Eastman Little Symphony; Frederick Fennell, conductor.  25  January 1948.  Night Flight, Op. 44.  Eastman Rochester Symphony Orchestra; Howard Hanson, conductor.  3 May 1962.  7” audio reel.
reel 21 Concerto for Violoncello and Orchestra.  Barry Sills, cello; New Haven Symphony Orchestra; Erich Kunzel, conductor.  Dress rehearsal, 13 October 1975.  7” audio reel.

Box 17

reel 22 Concerto for Violoncello and Orchestra, Op. 55.  World premiere.  Barry Sills, cello; New Haven Symphony Orchestra; Erich Kunzel, conductor.  14 October 1975.  7” audio reel.
reel 22a Copy of reel 22.
reel 23 The Temptation of St. Anthony, Op. 56.  Chicago Symphony Orchestra; Rafael Kubelik, conductor.  8 April 1953 (premiere performance).  7” audio reel.
reel 24 The Temptation of St. Anthony, Op. 56.  Boston Symphony Orchestra; Gardner Read, conductor.  19-20 March 1954.  WGBH-FM broadcast.  7” audio reel.
reel 25 Copy of reel 24.
reel 26 First Overture, Op. 58.  Rochester Philharmonic Orchestra; Guy Fraser Harrison, conductor.  NBC Network.  15 February 1947.  Pennsylvaniana Suite, Op. 67.  Pittsburgh Symphony Orchestra; Fritz Reiner, conductor.  21 November 1947 (premiere).  Threnody, Op. 66a.  George Hambrecht, flute; Eastman Senior Symphony Orchestra; Howard Hanson, conductor.  14 May 1949.  7” audio reel, dubbed from LP recording.
reel 27 Excerpts from eight compositions by Gardner Read.  Selections include: ending of First Overture, Op. 58; “Dance of the Queen of Sheba” and “Anthony’s Dance of Longing” from The Temptation of St. Anthony, Op. 56; beginning of Sound Piece, Op. 82; beginning of Incidental Music to Anderson’s The Golden Six, Op. 105; “John Riley,” from Pennsylvaniana Suite, Op. 67; from Vernal Equinox, Op. 96; “Huitzilopochtli, Dios de la Guerra,” from Los Dioses Aztecas, Op. 107; Night Flight, Op. 44.  7” audio reel.
reel 28 Symphony No. 3.  Pittsburgh Symphony Orchestra; Steinberg, conductor.  Premiere.  7” audio reel.
reel 29 “At Bedtime,” Op. 84, No. 1; “it Is Pretty in the City,” Op. 84, No. 4; “Songs to Children, Op. 76.  Wilma Thompson, mezzo-soprano; Gardner Read, piano.  Brookline Public Library, Massachusetts.  14 November 1956.  “All Day I Hear,” Op 48, No. 2; “River Night,” Op. 68, No. 2; “From a Lute of Jade,” Op. 36.  Wilma Thompson, mezzo soprano; Edna Smith, piano.  Brookline Public Library, Massachusetts.  13 November 1958.  7” audio reel.
reel 30 Sonata Brevis, Op. 80.  Robert Koff, violin; Martin Boykan, piano.  27 December 1958 (premiere).  Slosberg Concert Hall, Brandeis University, Waltham, Massachusetts.  Incidental Music to Anderson’s “The Golden Six,” Op. 105.  Boston University Orchestra members; Gardner Read, conductor.  30 April 1958 (premiere).  Boston University Theatre, Boston, Massachusetts.  7” audio reel.
reel 31 Invocation, Op. 135; Sonata Brevis, Op. 80.  Joseph Fuchs and Arthur Balsam.  Undated.  7” audio reel.
reel 32 Suite for Organ, Op. 81.  Julian Williams, organ.  25 September 1950 (premiere).  Pennsylvania College for Women, Pittsburgh, Pennsylvania.  7” audio reel.
reel 33 Suite for Organ, Op. 81 (Anthony Newman); Suite for String Quartet, Op. 33 (National Music Camp student quartet); From a Lute of Jade, Op. 36a (premiere, Eastman School of Music); Sketches of the City, Op. 26 (Rochester Philharmonic Orchestra; Howard Hanson, conductor); Where Corals Lie, Op. 49 (Cleveland Heights Choir); Eight Preludes on Old Southern Hymns, Op. 90 (premiere, Samuel Walter); Sound Piece for Brass and Percussion (Cincinnati Conservatory Brass Ensemble); Where Corals Lie, Op. 49 (Evanston High School Festival); “Fog” from Sketches, Op. 26, No. 1 (National High School Orchestra); Sea Scapes, Op. 46 (Roslyn Rensch).  Undated.  7” audio reel.

Box 18

reel 34 Chorale and Fughetta, Op. 83a (Boston University Brass Ensemble, 1953); Mountain Song, Op. 69 (1946); The Golden Harp, Op. 93 (Choral Art Society, Max Miller, conductor, 1952); To a Skylark, Op. 51 (1939); The Reveille, Op. 89b (premiere, Choral Art Society, Brass Ensemble, Gardner Read, conductor, 1962).  7” audio reel.
reel 35 Sonoric Fantasia No. 4.  Leonard Raver, organ; John Grimes, percussion.  6 June 1977.  Trinity College, Hartford, Connecticut.  Chorale and Fughetta.  Boston Conservatory Brass Ensemble; Chester Roberts, conductor.  9 December 1974.  Boston Conservatory, Boston, Massachusetts.  7” audio reel.
reel 36 Nine by Six, Op. 86.  6 April 1959.  School of Fine Arts Ensemble, University of Kansas, Lawrence, Kansas.  River Night, Op. 68, No. 2a.  14 May 1960.  Boston University Choral Arts Society; Allen Lannom, conductor.  Three Preludes on Old Southern Hymns, Op. 90.  Frederick Swann, organ; Riverside Church, New York, New York.  Threnody, Op. 66a.  9 May 1957.  Vassar College Orchestra; Boris Koutzen, conductor.  7” audio reel.
reel 37 Arioso Elegiaca, Op. 91.  8 April 1953 (premiere).  Zimbler String Sinfonietta.  Jordan Hall, Boston, Massachusetts.  Incidental Music to “The Scarecrow,” Op. 103.  1 February 1958 (premiere).  Merle Puffer, tenor; Samuel Morris, harpsichord.  WGBH-TV broadcast, Cambridge, Massachusetts.  Six Intimate Moods, Op. 35.  April 1953.  Wilda Tinsley, violin; unidentified, piano.  Belmont College School of Music, Nashville, Tennessee.  7” audio reel.
reel 38 Read, Gardner.  Arioso Elegiaca for Strings.  Schuller, Gunther.  Fantasy for Unaccompanied Cello (W. Conable, cellist).  Ives, Charles.  The Unanswered Question.  7 March 1966.  The Chamber Ensemble WGBH-FM; James Rives Jones, conductor.  7” audio reel.
reel 39 Symphony No. 4, Op. 92.  30 January 1970 (world premiere).  Cincinnati Symphony Orchestra; Erich Kunzel, conductor.  WGUC (University of Cincinnati) broadcast.  7” audio reel.
reel 40 Symphony No. 4, Op. 92 (cont.).  7” audio reel.
reel 41 Vernal Equinox, Op. 96.  Brockton Orchestral Society; Moshe Paranov, conductor.  West Junior High School, Brockton, Massachusetts.  12 April 1955 (premiere).  Vernal Equinox, Op. 96.  Boston University Symphony Orchestra; Gardner Read, conductor.  2 March 1959.  Dance of the Locomotives, Op 57a.  Boston Pops Orchestra; Arthur Fiedler, conductor.  WCRB-FM broadcast.  31 May 1961.  Arioso Elegiaca, Op. 91.  The Chicago Strings; Francis Akos, conductor.  University Center Ballroom, Northern Illinois University, DeKalb, Illinois.  23 February 1964.  7” audio reel.
reel 42 Vernal Equinox, Op. 96.  Greater Boston Youth Symphony Orchestra; Walter Eisenberg, conductor.  Jerusalem, Israel.  18 August 1970.  Prayers of Steel, Op. 26, No. 3a.  MIT Concert Band; John Corley, conductor.  Kresge Auditorium, 15 May, 1971.  Though I Speak with the Tongues of Men, Op. 109.  University of Vermont Choral Union; James Chapman, conductor.  Burlington, Vermont, 18 April 1969.  Sonoric Fantasia No. 2, Op. 123.  Roman Totenberg, violin; Boston University Symphony Orchestra; Gardner Read, conductor.  War Memorial Auditorium, 26 February 1966 (premiere).  7” audio reel.
reel 43 Toccata Giocosa, Op. 94.  Louisville Orchestra; Robert Whitney, conductor.  Columbia Auditorium, Louisville, Kentucky.  20 March 1954 (premiere).  Toccata Giocosa, Op. 94.  Grosses Orchester des Berliner Rundfunks; Adolf Fritz Guhl, conductor.  Deutschen Staatsoper, East Berlin, Germany.  22 May 1959.  Dunlap’s Creek: A Folk Hymn, Op. 67, No. 1a.  Boston University Symphonic Band; Lee Chrisman, conductor.  1 March 1960.  Concert Hall, School of Fine and Applied Arts, Boston, Massachusetts.  Prayers of Steel, Op. 26, No. 3a.  Boston University Symphonic Band; Lee Chrisman, conductor.  Concert Hall, School of Fine and Applied Arts, Boston, Massachusetts.  28 March 1959 (premiere).  7” audio reel.
reel 44 String Quartet No. 1, Op. 100.  Quiet Music for String, Op. 65.  National Gallery Orchestra; Bales, conductor.  Washington, D. C.  Premiere.  Undated.  7” audio reel.
reel 45 String Quartet No. 1, Op. 100.  Boston Fine Arts Quartet.  WGBH-TV, 1 January 1959.  7” audio reel.
reel 46 String Quartet No. 1, Op. 100.  Eastman String Quartet.  Kilbourn Hall, Eastman School of Music.  2 May 1959.  Prelude and Toccata, Op. 43.  Indianapolis Symphony Orchestra; Izler Solomon, conductor.  16 January 1960.  7” audio reel.

Box 19

reel 47 Sonoric Fantasia No. 1, Op. 102.  Henrietta Pelta, celesta; Marjorie Call, harp; Malcolm Hamilton, harpsichord.  Sonata Brevis, Op. 80.  Stanley Plummer, violin; Natalie Limonick, piano.  UCLA, 1966.  7” audio reel.
reel 48 Los Dioses Aztecas, Op. 107.  Manhattan Percussion Ensemble; Paul Price, conductor.  Manhattan School of Music, New York, New York.  8 March 1960 (premiere).  Incidental Music to Barrie’s “The admirable Crichton,” Op. 98.  Boston University students; Gardner Read, conductor.  Boston University Theatre, 28 November 1955.  7” audio reel.
reel 49 Los Dioses Aztecas, Op. 107.  University of Illinois Percussion Ensemble; Jack McKenzie, conductor.  Urbana, Illinois, 19 April 1960.  7” audio reel.
reel 50 Los Dioses Aztecas, Op. 107.  Indiana University Percussion Ensemble; George Gabor, conductor.  15 April 1969.  7” audio reel.
reel 51 The Prophet, Op. 110.  Symphony Hall, Boston, Massachusetts.  23 February 1977 (premiere).  7” audio reel.
reel 52 The Prophet, Op. 110 (incomplete).  Symphony Hall, Boston, Massachusetts.  23 February 1977 (premiere).  7” audio reel.
reel 53 Incidental Music to “Pilate.”  Boston College, 1961.  Incidental Music to “Brand.”  Boston University, 1961 (premiere).  7” audio reel.
reel 53a Incidental Music to “Brand.”  Boston University, 1961 (premiere).  7” audio reel.
reel 53b Duplicate of reel 53a.
reel 54 Chants d’Auvergne, Op. 117.  Boston University Chorus and Instrumental Ensemble; James Cunningham, conductor.  23 November 1965 (premiere).  7” audio reel.
reel 55 Chants d’Auvergne, Op. 117 (cont.).  7” audio reel.
reel 56 Sonoric Fantasia No. 2.  Roman Totenberg, violin; Boston University Orchestra; Gardner Read, conductor.  Vernal Equinox (UCLA).  Vernal Equinox (GBYSO; Sanders, conductor).  Undated.  7” audio reel.
reel 57 Sonoric Fantasia No. 2.  Roman Totenberg, violin; Boston University Symphony Orchestra; Gardner Read, conductor.  26 and 27 February, 19– (premiere).  7” audio reel.

Box 20

reel 58 Haiku Seasons, Op. 126.  Gretchen Hackbarth, Steven Weiss, Karen MacDonald, and Robert Osolinski, speakers; Phillip Oliver, keyboard; Betsy Morse, harp; Peter Carnevale, Richard Ettelson, and Ronald Holdman, percussion; Gardner Read, conductor.  Boston University.  Premiere.  Undated.  7” audio reel.
reel 59 Haiku Seasons, Op. 126.  Eastman School of Music Percussion Ensemble.  12 September 1971.  7” audio reel.
reel 60 Haiku Seasons, Op. 126.  Northern Illinois University ensemble; Gardner Read, conductor.  14 March 1972.  7” audio reel.
reel 61 Haiku Seasons, Op. 126.  University of Texas, 21 March 1972.  Chorale and Fughetta, Op. 83a.  Cincinnati Conservatory Brass Choir; Ernest Glover, conductor.  1 December 1954 (premiere).  All Day I Hear, Op. 48, No. 2.  Dean Bouzianis, baritone; Marilyn Fogg, piano.  College of Music, Boston University, 15 May 1952.  At Bedtime, Op. 84, No. 1.  Boston University, 21 May 1951.  Nocturne in a Deserted Brickyard; Prayers of Steel, Op. 26.  NBC Studio Orchestra; Carmen Dragon, conductor.  16 March 1950.  7” audio reel.
reel 62 Haiku Seasons, Op. 126.  University of Kansas ensemble; Price, conductor.  1973.  7” audio reel.
reel 63 Suite for Organ: Preamble.  Elizabeth Sollenberger, organ. Trinity Church, Boston, Massachusetts, 5 April 1976.  Sonoric Fantasia No. 4, Op. 133.  Elizabeth Sollenberger, organ; Neil Grover, percussion.  Trinity Church, Boston, Massachusetts, 5 April 1976 (premiere).  Petite Pastorale, Op. 40a.  Faculty Little Symphony; Guy Fraser Harrison, conductor.  National Music Camp, 1 August 1940.  Music for Piano and Strings, Op. 47a.  Leonard Shure, piano; CBS Symphony Orchestra; Daniel Saidenburg, conductor.  CBS Studios, New York, New York, 12 February 1947 (premiere).  Festival Fanfare, Op. 82, No. 2.   Boston University Symphony Orchestra; Francis Findlay, conductor.  Symphony Hall, Boston, Massachusetts, 31 January 1951.  Nine by Six, Op. 86.  Student ensemble; Garner Read, conductor.  27 April 1951 (premiere).  7” audio reel.
reel 64 Trinity Church concert: Music of Gardner Read.  Suite for Organ, Op 81; Elegiac Aria, Op. 91 (George Faxon, organ).  Jungle Gardens by Moonlight, Op. 54, No. 2a (Faye Seeman, harp).  Six Preludes on Old Southern Hymns, Op. 112 (George Faxon, organ).  Invocation, Op. 135 (Jeffrey Price, trombone; R. Rice Nutting, organ).  Variations on a Chromatic Ground, Op. 121 (George Faxon, organ).  Sinfonia da Chiesa, Op. 61b (premiere).  13 March 19–.  7” audio reel.
reel 65 The Hidden Lute, Op. 132.  Joan Heller, soprano; Charles Fussell, conductor.  Boston University Omnibus concert, 23 April 1985 (premiere).  Prayers of Steel, Op. 26, No. 3a.  And There Appeared Unto Them Tongues As Of Fire, Op. 134.  David Craighead, organ.  St. Joseph’s Cathedral, Hartford, Connecticut.  American Guild of Organists Convention, 28 June 1977 (premiere).  7” audio reel.
reel 66 Symphony No. 3.  National Gallery Orchestra; Richard Bales, conductor.  Washington, D. C., 27 May 1979.  7” audio reel.
reel 66a Symphony No. 3 (cont.).  7” audio reel.
reel 67 Symphony No. 4, Op. 92.  Cleveland Orchestra; Lorin Maazel, conductor.  WCRB-FM broadcast, 11 June 1980 (recorded 12 April 1980).  Lecture by Gardner Read, 11 April 1980, Severance Chamber Music Hall.  7” audio reel.
reel 68 Symphony No. 4, Op. 92 (cont.).  7” audio reel.
reel 69 Haiku Seasons, Op. 126.  ASUC Conference, University of Cincinnati College-Conservatory of Music.  Leslie Dunner, conductor.  9 April 1981.  Sonoric Fantasia No. 3, Op. 125.  University of Massachusetts Percussion Ensemble; Peter Tanner, conductor.  12 March 1980.  7” audio reel.

Box 21

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

Box 22

reel 80 Our American Music, Program 30 (cont.).  7” audio reel (2 of 2).
reel 81 Galactic Novae.  Leonard Raver, organ; Gordon Gottlieb, percussion.  Premiere.  Undated.  “And there appeared to them tongues as of fire.”  David Craighead, organ.  Premiere.  Undated.  7” audio reel.
reel 82 Toccata Giocosa, Op. 94.  Seattle Youth Symphony Orchestra; Vilem Sokol, conductor.  Opera House, Seattle, Washington, 17 May 1982.  The Chicago Anthem, Op. 142.  Pamela Gore, soprano; David Carney, piano.  NECM Studio, Boston, 16 May 1983.  Faulty recording.  7” audio reel.
reel 83 Invocation, Op. 135.  Jeffrey Price, trombone; R. Rice-Nutting, organ.  Christ Church, Hamilton, Massachusetts, 17 March 1978.  Sonata Brevis, Op. 80.  Joseph Fuchs, violin; Arthur Balsam, piano.  WGBH Studios, Cambridge, Massachusetts, 26 April 1960.  7” audio reel.
reel 84 Sonoric Fantasia No. 1, Op. 102.  Henrietta Pelta, celesta; Marjorie Call, harp;
Malcolm Hamilton, harpsichord.  UCLA, 30 March 1966.  Sonata Brevis, Op. 80.  Roman Totenberg, violin; Edith Stearns, piano.  School of Fine and Applied Arts, Boston University, 27 March 1963.  7” audio reel.
reel 85 Symphony No. 4, Op. 92.  Cleveland Orchestra; Lorin Maazel, conductor.  CRI recording of WCRB broadcast 3 January 1987.  7” audio reel.
reel 86 Barbara Harbach plays American Hymn Preludes.  Barbara Harbach, organ.
Recording by WXXI-FM, Rochester, New York.  7” audio reel.
reel 87 Epistle to the Corinthians, Op. 144.  Cornell Chorale, Brass Choir, and Organ;
Thomas A. Sokol, conductor.  Sage Chapel, Cornell University.  10 May 1987
(premiere).  7” audio reel.

Box 23

contents  Cassette tapes of recording sessions (edited and unedited takes).  Works include: Sonata da Chiesa; Sonoric Fantasia No. 1; String Quartet No. 1; Five Aphorisms; Piano Sonata; various organ works.  22 audio cassettes; 6 audio mini-cassettes.

Series 2: Scholarly Publications

Sub-series A: Twentieth Century Notation [LW10]

Box 24

folder 1 Twentieth Century Notation:  preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Incomplete staves II) to (Insert ex.3).
folder 2 Twentieth Century Notation:  preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (#5) to (Pedal Symbols).
folder 3 Twentieth Century Notation:  preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (WW) to (muted effects).
folder 4 Twentieth Century Notation:  preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Globokar – Accord) to (note ref.).
folder 5 Twentieth Century Notation:  preliminary notes and examples. MS in pencil and colored pencil. Pages numbered (Repetitions) to (Ad lib.).

Box 25

folder 1 Twentieth Century Notation: first drafts, typed, examples. Typescript and repro of typescript MS; annotated in pencil. Pages run from title page to 8.4.
folder 2 Twentieth Century Notation: first drafts, typed, examples. Repro of typescript MS. Pages numbered II-9-(2) to III-13-(6).
folder 3 Twentieth Century Notation: first drafts, typed, examples. Repro of typescript MS. Pages numbered III-13-(6) to V-25-(2). Accompanied by excerpts from musical examples. 20 pages of music.
folder 4 Twentieth Century Notation: first drafts, typed, examples. Excerpts of musical examples.

Box 26

folder 1  Twentieth Century Notation:  first drafts, typed, examples. Introductory matter and Part One. Combination of MS in pencil and typescript featuring corrections in pencil. Pages run from cover page to page 15.
folder 2 Twentieth Century Notation:  first drafts, typed, examples. Part II, chapters 1 – 5. Typescript; annotated in pencil. Pages numbered 1 – 3.
folder 3 Twentieth Century Notation:  first drafts, typed, examples. Part II, chapters 6 – 10. Typescript; annotated in pencil. Pages numbered 1 – 3.
folder 4 Twentieth Century Notation:  first draft typed copy. Part III, chapters 11- 12.
Typescript; annotated in pencil. Pages numbered 1 – 5.
folder 5 Twentieth Century Notation:  first draft typed copy. Part III, chapters 13 – 17. Typescript; annotated in pencil. Pages numbered 1 – 3.
folder 6 Twentieth Century Notation:  first draft typed copy. Part III, chapters 18 – 20.
Typescript; annotated in pencil. Pages numbered 1 – 5.
folder 7 Twentieth Century Notation:  first draft typed copy. Parts IV, V, concluding matter. Typescript; annotated in pencil. Pages numbered 1 – 2.

Box 27

folder 1 Twentieth Century Notation: incomplete revised draft. Pages i – xix (front matter). MS in pencil and typescript featuring corrections in pencil.
folder 2 Twentieth Century Notation: incomplete revised draft. Pages 18 – 32 (part 1).
Repro of typescript; annotated in pencil.
folder 3 Twentieth Century Notation: incomplete revised draft. Pages 33 – 113 (part II, chapter 1). Repro of typescript; annotated in pencil.
folder 4 Twentieth Century Notation: incomplete revised draft. Part II, chapter 2. Pages numbered 99 – 139. Repro of typescript; annotated in pencil.
folder 5 Twentieth Century Notation: incomplete revised draft. Part II, chapter 3. Pages numbered 142 – 181. Repro of typescript; annotated in pencil and colored pencil.
folder 6 Twentieth Century Notation: incomplete revised draft. Part II, chapter 4. Pages numbered 182 – 267. Repro of typescript; annotated in pencil and colored pencil.
folder 7 Twentieth Century Notation: incomplete revised draft. Part II, chapter 5. Pages numbered 269 – 285. Repro of typescript; annotated in pencil.
folder 8 Twentieth Century Notation: incomplete revised draft. Part II, chapter 6. Pages numbered 287 – 312. Repro of typescript; annotated in pencil and colored pencil.
folder 9 Twentieth Century Notation: incomplete revised draft. Part II, chapter 7. Pages numbered II-6-(1) to II-7-(2). Repro of typescript; annotated in pencil.
folder 10 Twentieth Century Notation: incomplete revised draft. Part II, chapter 8. Pages numbered 376 – 402. Repro of typescript; annotated in pencil.
folder 11 Twentieth Century Notation: incomplete revised draft. Part II, chapter 9. Pages numbered 399 – 480. Repro of typescript; annotated in pencil and colored pencil.
folder 12 Twentieth Century Notation: incomplete revised draft. Part II, chapter 10. Pages numbered 483 – 492. Repro of typescript; annotated in pencil and colored pencil.
folder 13 Twentieth Century Notation: incomplete revised draft. Part III, chapter 11. Pages numbered 490 – {III-11-(4)}. Repro of typescript; annotated in pencil and colored pencil.
folder 14 Twentieth Century Notation: incomplete revised draft. Part III, chapter 12. Pages numbered 597 – 662. Repro of typescript; annotated in pencil and colored pencil.
folder 15 Twentieth Century Notation: incomplete revised draft. Part III, chapter 13. Pages numbered 708 – {III-13-(5)}. Repro of typescript; annotated in pencil and colored pencil.
folder 16 Twentieth Century Notation: incomplete revised draft. Part III, chapter 14. Pages numbered 784 – {III-14-(4)}. Repro of typescript; annotated in pencil and colored pencil.
folder 17 Twentieth Century Notation: incomplete revised draft. Part III, chapter 15. Pages numbered 839 – 905. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 18 Twentieth Century Notation: incomplete revised draft. Part III, chapter 16. Pages numbered 906 – 1037. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 19 Twentieth Century Notation: incomplete revised draft. Part III, chapter 17. Pages numbered 1038 – 1418. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 20 Twentieth Century Notation: incomplete revised draft. Part III, chapter 18. Pages numbered 1419 – 1523. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 21 Twentieth Century Notation: incomplete revised draft. Part III, chapter 19. Pages numbered 1524 – 1674. Repro of typescript; annotated in ink, pencil and colored pencil.

Box 28

folder 1 Twentieth Century Notation: incomplete revised draft. Part III, chapter 20. Pages numbered 1675 – 1711. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 2 Twentieth Century Notation: incomplete revised draft. Part III, chapter 21. Pages numbered 1712– 1775. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 3 Twentieth Century Notation: incomplete revised draft. Part III, chapter 22. Pages numbered 1776 – 1857. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 4 Twentieth Century Notation: incomplete revised draft. Part III, chapter 23. Pages numbered 1859 – 1951. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 5 Twentieth Century Notation: incomplete revised draft. Part III, chapter 24. Pages numbered 1952 – {V-24- (1)}. Repro of typescript; annotated in ink, pencil and colored pencil.
folder 6 Twentieth Century Notation: incomplete revised draft. Part III, chapter 25, bibliography. Pages numbered 1972 – 2002. Repro of typescript; annotated in ink and pencil.
folder 7 Twentieth Century Notation: revised examples (1-1-1) to (9-5-4). MS in typescript, pencil and ink.
folder 8 Twentieth Century Notation: miscellaneous drafts, notes and examples. Pages numbered {Vol. 1 (1-492)} to (Section 3). Combination of MS in pencil and repro of typescript; annotated in ink, pencil and colored pencil.
folder 9 Twentieth Century Notation: miscellaneous drafts, notes and examples. Pages numbered (Ex. 10.1–1) to (Ex. 13.6-2). MS in typescript.

Box 29

folder 1 Twentieth Century Notation: original typescript, front matter and Part 1. Pages numbered Box 1 to 15. Combination of MS in pencil and typescript; annotated in ink, pencil and colored pencil.
folder 2 Twentieth Century Notation: original typescript, Part II, chapter 1. Pages numbered 16 to 98. Typescript; annotated in ink, pencil and colored pencil.
folder 3 Twentieth Century Notation: original typescript, Part II, chapter 2. Pages numbered 99 to 141. Typescript; annotated in ink, pencil and colored pencil.
folder 4 Twentieth Century Notation: original typescript, Part II, chapter 3. Pages numbered 142 to 181. Typescript; annotated in ink, pencil and colored pencil.
folder 5 Twentieth Century Notation: original typescript, Part II, chapter 4. Pages numbered 182 to 268. Typescript; annotated in ink, pencil and colored pencil.
folder 6 Twentieth Century Notation: original typescript, Part II, chapter 5. Pages numbered 269 to 286. Typescript; annotated in ink, pencil and colored pencil.
folder 7 Twentieth Century Notation: original typescript, Part II, chapter 6. Pages numbered 287 to 332. Typescript; annotated in ink, pencil and colored pencil.
folder 8 Twentieth Century Notation: original typescript, Part II, chapter 7. Pages numbered 333 to 375. Typescript; annotated in ink, pencil and colored pencil.
folder 9 Twentieth Century Notation: original typescript, Part II, chapter 8. Pages numbered 376 to 398. Typescript; annotated in ink, pencil and colored pencil.
folder 10 Twentieth Century Notation: original typescript, Part II, chapter 9. Pages numbered 399 to 481. Typescript; annotated in ink, pencil and colored pencil.
folder 11 Twentieth Century Notation: original typescript, Part II, chapter 10. Pages numbered 482 to 489. Typescript; annotated in ink, pencil and colored pencil.
folder 12 Twentieth Century Notation: original typescript, Part III, chapter 11. Pages numbered 490 to 595. Typescript; annotated in ink, pencil and colored pencil.

Box 30

folder 1 Twentieth Century Notation:  original typescript, Part III, chapter 12.  Pages numbered 597 to 706. Typescript; annotated in ink, pencil and colored pencil.
folder 2 Twentieth Century Notation:  original typescript, Part III, chapter 13.  Pages numbered 708 to 783. Typescript; annotated in ink, pencil and colored pencil.
folder 3 Twentieth Century Notation:  original typescript, Part III, chapter 14.  Pages numbered 784 to 838. Typescript; annotated in ink, pencil and colored pencil.
folder 4 Twentieth Century Notation:  original typescript, Part III, chapter 15.  Pages numbered 839 to 905. Typescript; annotated in ink, pencil and colored pencil.
folder 5 Twentieth Century Notation:  original typescript, Part III, chapter 16.  Pages numbered 906 to 1037. Typescript; annotated in ink, pencil and colored pencil.
folder 6 Twentieth Century Notation:  original typescript, Part III, chapter 17.  Pages numbered 1038 to 1199. Typescript; annotated in ink, pencil and colored pencil.
folder 7 Twentieth Century Notation:  original typescript, Part III, chapter 17 continued.  Pages numbered 1200 to 1330. Typescript; annotated in ink, pencil and colored pencil.

Box 31

folder 1 Twentieth Century Notation:  original typescript, Part III, chapter 17 continued.  Pages numbered 1331 to 1418. Typescript; annotated in ink, pencil and colored pencil.
folder 2 Twentieth Century Notation:  original typescript, Part III, chapter 18.  Pages numbered 1419 to 1523. Typescript; annotated in ink, pencil and colored pencil.
folder 3 Twentieth Century Notation:  original typescript, Part III, chapter 19.  Pages numbered 1524 to 1674. Typescript; annotated in ink, pencil and colored pencil.
folder 4 Twentieth Century Notation:  original typescript, Part III, chapter 20.  Pages numbered 1575 to 1710. Typescript; annotated in ink, pencil and colored pencil.
folder 5 Twentieth Century Notation:  original typescript, Part IV, chapter 21.  Pages numbered 1711 to 1775. Typescript; annotated in ink, pencil and colored pencil.
folder 6 Twentieth Century Notation:  original typescript, Part IV, chapter 22.  Pages numbered 1776 to 1857. Typescript; annotated in ink, pencil and colored pencil.
folder 7 Twentieth Century Notation:  original typescript, Part IV, chapter 23.  Pages numbered 1859 to 1951. Typescript; annotated in ink, pencil and colored pencil.
folder 8 Twentieth Century Notation:  original typescript, Part V, chapter 24.  Pages numbered 1952 to 1971. Typescript; annotated in ink, pencil and colored pencil.
folder 9 Twentieth Century Notation:  original typescript, Part V, chapter 25.  Pages numbered 1972 to 1999. Typescript; annotated in ink, pencil and colored pencil.
folder 10 Twentieth Century Notation:  original typescript, concluding matter.  Typescript; annotated in ink. 3 pages. Ink MS; annotated in pencil and colored pencil. 1 page.

Box 32

item 1 Twentieth Century Notation: microfilm of unrevised manuscript. Roll 1 – D.
item 2 Twentieth Century Notation: microfilm of unrevised manuscript. Roll 2.

Sub-series B: Contemporary Instrumental Techniques [LW3]

Box 32

folder 1 Contemporary Instrumental Techniques:  permissions file. Pages run from “Permission Fees” to “PWN Edition”.
folder 2 Contemporary Instrumental Techniques:  Shirmer Books contract. Signed in ink by Gardner Read, August 5, 1974. Also signed by Robert A. Barton, president of the Macmillan Publishing Co., Inc.
folder 3 Contemporary Instrumental Techniques:  addenda (various instruments). Documents pertaining to innovations in the playing techniques of various instruments.
folder 4 Contemporary Instrumental Techniques:  addenda (Heiss articles). 8 pages.
folder 5 Contemporary Instrumental Techniques: notes. MS in pencil and colored pencil. 26 pages.
folder 6 Contemporary Instrumental Techniques: notes, chapter 1. MS in pencil and colored pencil. 5 pages.
folder 7 Contemporary Instrumental Techniques: notes, chapter 2. MS in pencil and colored pencil. 7 pages.
folder 8 Contemporary Instrumental Techniques: notes, chapter 3. MS in pencil and colored pencil. 4 pages.
folder 9 Contemporary Instrumental Techniques: notes, chapter 4. MS in pencil and colored pencil. 3 pages.
folder 10 Contemporary Instrumental Techniques: notes, chapter 5. MS in pencil and colored pencil. 4 pages.
folder 11 Contemporary Instrumental Techniques: notes, chapter 6. MS in pencil and colored pencil. 3 pages.
folder 12 Contemporary Instrumental Techniques: notes, chapter 7. MS in pencil and colored pencil. 7 pages.
folder 13 Contemporary Instrumental Techniques: notes, chapter 8. MS in pencil and colored pencil. 4 pages.
folder 14 Contemporary Instrumental Techniques: notes, chapter 9. MS in pencil and colored pencil. 16 pages.
folder 15 Contemporary Instrumental Techniques: notes, chapter 10. MS in pencil and colored pencil. 8 pages.
folder 16 Contemporary Instrumental Techniques: notes, chapter 11. MS in pencil and colored pencil. 9 pages.
folder 17 Contemporary Instrumental Techniques: notes, chapter 12. MS in pencil and colored pencil. 13 pages.
folder 18 Contemporary Instrumental Techniques: notes, chapter 13. MS in pencil and colored pencil. 11 pages.
folder 19 Contemporary Instrumental Techniques: notes, hybrid instruments. MS in pencil. 4 pages. Accompanied by a press clipping from Time Magazine. April 30, 1965.
folder 20 Contemporary Instrumental Techniques: notes, bibliography. MS in pencil. 5 pages.
folder 21 Contemporary Instrumental Techniques: notes, examples and list of publishers. MS in pencil and colored pencil. 7 pages.
folder 22 Contemporary Instrumental Techniques: edited draft, front matter. Pages numbered 1 to 11. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.
folder 23 Contemporary Instrumental Techniques: edited draft, Part I, chapter 1. Pages numbered 12 to 28. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.
folder 24 Contemporary Instrumental Techniques: edited draft, Part I, chapter 2. Pages numbered 29 to 50. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.
folder 25 Contemporary Instrumental Techniques: edited draft, Part I, chapter 3. Pages numbered 51 to 76. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.
folder 26 Contemporary Instrumental Techniques: edited draft, Part I, chapter 4. Pages numbered 77 to 85. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.
folder 27 Contemporary Instrumental Techniques: edited draft, Part I, chapter 5. Pages numbered 86 to 137. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.

Box 33

folder 1 Contemporary Instrumental Techniques: edited draft, Part I, chapter 6.
Pages numbered 138 to 151. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.
folder 2 Contemporary Instrumental Techniques: edited draft, Part I, chapter 7.
Pages numbered 152 to 161. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.
folder 3 Contemporary Instrumental Techniques: edited draft, Part I, chapter 8.
Pages numbered 162 to 176. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.
folder 4 Contemporary Instrumental Techniques: edited draft, Part II, chapter 9.
Pages numbered 177 to 209. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil.
folder 5 Contemporary Instrumental Techniques: edited draft, Part II, chapter 10.
Pages numbered 210 to 236. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil.
folder 6 Contemporary Instrumental Techniques: edited draft, Part II, chapter 11.
Pages numbered 237 to 248. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil.
folder 7 Contemporary Instrumental Techniques: edited draft, Part II, chapter 12.
Pages numbered 249 to 267. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil.
folder 8 Contemporary Instrumental Techniques: edited draft, Part II, chapter 13.
Pages numbered 268 to 296. Combination of repro of publisher’s proof copy and typescript; annotated in ink, pencil and colored pencil.
folder 9 Contemporary Instrumental Techniques: edited draft, Part II, concluding material.
Pages numbered 297 to 340. Combination of repro of publisher’s proof copy and typescript; annotated in pencil and colored pencil.

Box 78

folder 1 Contemporary Instrumental Techniques.  Letters, opinions, etc.

Sub-series C: Twentieth Century Microtonal Notation [LW7]

Box 33

folder 10 Twentieth Century Microtonal Notation: addenda. Pages run from (Addenda, pg 25-29) to (Bibliography addenda). Combination of MS in pencil and typescript.
folder 11 Twentieth Century Microtonal Notation: drafts. Pages run from title page to (chapter 3 – 15). Typescript; annotated in pencil.
folder 12 Twentieth Century Microtonal Notation: drafts. Pages run from (Chapter 4-1) to (Chapter 5-2). Typescript; annotated in pencil and colored pencil.

Box 34

folder 1 Twentieth Century Microtonal Notation: drafts. Pages run from (Chapter 5-3) to (1st chapter 5). Combination of MS in pencil and typescript; annotated in pencil.
folder 2 Twentieth Century Microtonal Notation: drafts. Pages run from (1st – chapter 5) to (13 –Chapter 3 exs.). MS in pencil; annotated in colored pencil.
folder 3 Twentieth Century Microtonal Notation: drafts. Pages run from (Chapter 4) to 47. MS in pencil; annotated in colored pencil.
folder 4 Twentieth Century Microtonal Notation: draft examples. Pages numbered 4 to 2. MS in pencil; annotated in colored pencil and typescript.
folder 5 Twentieth Century Microtonal Notation: first proofs. Pages numbered v to 201. Publisher’s proof copy; annotated in colored pencil.
folder 6 Twentieth Century Microtonal Notation: second proofs. Pages numbered v to 201. Publisher’s proof copy; annotated in colored pencil.
folder 7 Twentieth Century Microtonal Notation: unedited typescript. Pages numbered 1 to 210. Repro of annotated typescript. Accompanied by a letter inscribed by Gardner Read to Ms. Matera (first name omitted), November 29, 1989.
folder 8 Twentieth Century Microtonal Notation: addenda, corrections, clarifications (goes with unedited typescript). Pages run from (Ch.1 = 3rd) to (p. 156 – line 6). Publisher’s proof copy; annotated in colored pencil.

Box 35

folder 1 Twentieth Century Microtonal Notation: pre-publication edited draft. Pages numbered 1 to 105. Typescript; annotated in pencil and colored pencil.
folder 2 Twentieth Century Microtonal Notation: pre-publication edited draft. Pages numbered 106 to 210. Typescript; annotated in pencil and colored pencil.
folder 3 Twentieth Century Microtonal Notation: printer’s copy. Pages numbered i to 199. Publisher’s proof copy; annotated in ink and colored pencil.

Box 78

folder 2 Twentieth Century Microtonal Notation.  Letters.  2 duotangs.

Sub-series D: Genesis of an Opera [LW12]

Box 35

folder 4 Genesis of an Opera: first draft. Pages run from Table of Contents to 12. Typescript; annotated in pencil.
folder 5 Genesis of an Opera: discarded original version. Pages run from Title page to 203. Repro of typescript. Cover sheet: MS in pencil.

Box 78

folder 3 Genesis of an Opera.  Opinions – letters.

Box 79

 

Genesis of an Opera.  Draft.  Pages run from Title page to 281.  Typescript with  annotations in colored pencil.

Genesis of an Opera.  Chapter 8, beginning of 9.  Draft.  Pages run from 155 to 165.  Typescript.

Genesis of an Opera.  From chapter 9.  Draft.  Pages run from 183 to 203.  Typescript.

Genesis of an Opera.  From chapters 10 and 11.  Draft.  Pages run from 182 to 219.  Typescript.

Genesis of an Opera.  Chapter 10.  Draft.  Pages run from 181 to 203.  Typescript.

Genesis of an Opera.  From Chapter 10.  Draft.  Pages run from 188 to 190.  Typescript.

Box 80

 

Genesis of an Opera.  Musical figures 3 to 14c.  MS in typescript, pen and ink.

Genesis of an Opera.  Extra copies of Chapters 8-11.  Pages run from 155 to 203.  Typescript.

Genesis of an Opera.  Extra copies of Chapters 10-11.  Pages run from 181 to 219.  Typescript.

Sub-series E: Pictographic Score Notation [LW9]

Box 36

folder 1 Pictographic Score Notation: camera-ready copy (1997). Pages numbered xi to 150. Annotated in colored pencil.
folder 2 Pictographic Score Notation: camera-ready copy (1997). Pages numbered 151 to 282. Annotated in pencil.
folder 3 Pictographic Score Notation: original manuscript copy (edited), Part I. Pages numbered 1 to 61. Typescript; annotated in pencil and colored pencil.
folder 4 Pictographic Score Notation: original manuscript copy (edited), Part II A. Pages numbered 62 to 156. Typescript; annotated in pencil and colored pencil.
folder 5 Pictographic Score Notation: original manuscript copy (edited), Part II B. Pages numbered 157 to 177. Typescript; annotated in ink, pencil and colored pencil.
folder 6 Pictographic Score Notation: original manuscript copy (edited), Part II C – D. Pages numbered 178 to 261. Typescript; annotated in ink, pencil and colored pencil.
folder 7 Pictographic Score Notation: original manuscript copy (edited), Part II E – F. Pages numbered 262 to 339. Typescript; annotated in ink, pencil and colored pencil.
folder 8 Pictographic Score Notation: original manuscript copy (edited), Part II G. Pages numbered 340 to 388. Typescript; annotated in ink, pencil and colored pencil.
folder 9 Pictographic Score Notation: original manuscript copy (edited), Part III. Pages numbered 389 to 427. Typescript; annotated in ink, pencil and colored pencil.

Box 37

folder 1 Pictographic Score Notation: first draft, pencil notes, etc. Pages run from cover sheet to (Percussion Section – Exotica). Combination of MS in pencil and colored pencil, and typescript; annotated in pencil.
folder 2 Pictographic Score Notation: notes, examples, preliminary drafts, etc. Pages numbered II to 1002. Combination of MS in pencil and colored pencil, and repro of typescript; annotated in colored pencil.
folder 3 Pictographic Score Notation: first copy. Pages numbered 1 to 98. Typescript; annotated in pencil and colored pencil.
folder 4 Pictographic Score Notation: first copy. Pages numbered 99 to 199. Typescript; annotated in pencil and colored pencil.
folder 5 Pictographic Score Notation: first copy. Pages numbered 200 to 299. Typescript; annotated in pencil and colored pencil.
folder 6 Pictographic Score Notation: first copy. Pages numbered 300 to 385. Typescript; annotated in pencil and colored pencil.
folder 7 Pictographic Score Notation: first copy. Pages numbered 88 to 429. Typescript; annotated in pencil and colored pencil.

Box 78

folder 4 Pictographic Score Notation. Letters.

Box 81

  Pictographic Score Notation.  Third Copy.  Pages  numbered 1 to 430.  Typescript with pencil annotations.

Sub-series F: Modern Rhythmic Notation [LW4]

Box 38

folder 1 Modern Rhythmic Notation: addenda. MS in pencil. 26 pages. Accompanied by 5 press clippings. Also accompanied by a MS repro of an unidentified score. 1 page of music.
case 1 Modern Rhythmic Notation:  xerographic copy with editing by the author. Pages run from cover sheet to (Credit Lines cont.). Combination of typescript and repro of typescript; corrections in ink, pencil and colored pencil.

Box 47

folder 2 Modern Rhythmic Notation: corrections to first edition. Pages run from title page through 193. Publisher’s proof copy; corrections in colored pencil.

Box 78

folder 5 Modern Rhythmic Notation. Letters.

Sub-series G: Psychology of Polymeters

Box 38

case 2 Psychology of Polymeters: first draft. Typescript; annotated in pencil. 37 pages.

Box 78

folder 6 Psychology of Polymeters: complete draft.  MS in typescript.  25 pages.  Musical examples in ink, 33 pages.

Sub-series H: Thesaurus of Orchestral Devices [LW1]

Box 39

folder 1 Thesaurus of Orchestral Devices:  contract, correspondence (Greenwood Press / Pitman). 10 letters of correspondence pertaining to the publication of Gardner Read’s Thesaurus of Orchestral Devices.*
folder 2 Thesaurus of Orchestral Devices (supplement): preliminary notes. Pages run from cover sheet to (Hindemith – Sinf. – cont.). MS in pencil and colored pencil.
folder 3 Thesaurus of Orchestral Devices (supplement): materials, chapters 4 – 50. Pages numbered (chap. 4 S.) to (Chap. 50 S.). Typescript; annotated in pencil and colored pencil.
folder 4 Thesaurus of Orchestral Devices (supplement): materials, chapters 51 – 70. Pages numbered (Chap. 51 S.) to 2. Typescript; annotated in pencil.

Box 47

folder 3 Thesaurus of Orchestral Devices: corrected proofs. Pages run from cover sheet through 631. Publisher’s proof copy; corrections in pencil and colored pencil.

Sub-series I: Orchestral Combinations [LW11]

Box 39

folder 5 Orchestral Combinations (withdrawn version): typescript and examples, introductory matter. Pages numbered 1 to 8. Combination of MS in pencil and typescript.
folder 6 Orchestral Combinations (withdrawn version): typescript and examples, Part I. Pages run from cover page through (21.2). Combination of MS in pencil and typescript; annotated in ink.
folder 7 Orchestral Combinations (withdrawn version): typescript and examples, Part II. 1. Pages run from cover page through (7.12). Combination of MS in pencil and typescript; annotated in ink and pencil.

Box 40

folder 1 Orchestral Combinations (withdrawn version): typescript and examples, Part II. 2. Pages numbered 1 to 11. Typescript; annotated in ink, pencil and colored pencil.
folder 2 Orchestral Combinations (withdrawn version): typescript and examples, Part II. 2. Pages numbered 1 to 17. Typescript; annotated in ink, pencil and colored pencil.
folder 3 Orchestral Combinations: pencil notes, first drafts of text. Pages run from 1 to (WW – 8). MS in pencil and colored pencil.
folder 4 Orchestral Combinations: pencil notes, first drafts of text. Pages run from (WW – 8) through bibliography. MS in pencil and colored pencil.
folder 5 Orchestral Combinations: typescript draft, front matter and Part I. Pages numbered 1 to 141. Repro of typescript; annotated in ink, pencil and colored pencil.

Box 41

folder 1 Orchestral Combinations: typescript draft, Part II and concluding matter. Pages numbered 142 to 276. Repro of typescript; annotated in ink.
folder 2 Orchestral Combinations: revised typescript copy, 2000 discarded version, front matter and Part I. Pages numbered 1 to 101. Repro of typescript; annotated in ink.
folder 3 Orchestral Combinations: revised typescript copy, 2000 discarded version, Part II and end matter. Pages numbered 102 to 2. Repro of typescript.
folder 4 Orchestral Combinations: third revised version, intro and Part I. Pages numbered 3 to 101. Typescript; annotated in ink.
folder 5 Orchestral Combinations: third revised version, Part II and concluding matter. Pages numbered 102 to 198.  Typescript; annotated in ink.

Box 66

folder 12 Orchestral Combinations: The Science and Art of Instrumental Tone-Color. Scarecrow Press proof copy; corrections in ink and colored pencil. Two copies, numbered i – 267 and i – 276.

Box 67

folder 1 Orchestral Combinations: The Science and Art of Instrumental Tone-Color. Original MS copy. Typescript; annotated in pencil, colored pencil and ink. Pages numbered 1 – 297.
folder 2 Orchestral Combinations: Revised typescript with new formatting. Repro of typescript MS; corrections in ink and colored pencil. Pages numbered 1 – 300.
folder 3 Orchestral Combinations. Scarecrow Press proof copy; corrections in ink and colored pencil. Pages numbered 256 – 272.
folder 4 Orchestral Combinations: Index of techniques. 87 index cards; annotated in pencil. The information on the index cards pertains to the musical examples in the manuscript for the book, Orchestral Combinations.

Box 78

folder 7 Orchestral Combination.  Letters.

Sub-series J: Source Book of Proposed Music Notation Reforms [LW6]

Box 42

folder 1 Source Book of Proposed Music Notation Reforms:  notes. Pages run from (Duplicated staves – noteheads) through (City in which…). MS in pencil.
folder 2 Source Book of Proposed Music Notation Reforms:  drafts, front matter. Typescript; annotated in ink and pencil. 7 pages. MS in pencil. 1 page.
folder 3 Source Book of Proposed Music Notation Reforms:  drafts 1 – 4, chapter 1. Pages numbered 1 to 10. Typescript; annotated in red ink and pencil.
folder 4 Source Book of Proposed Music Notation Reforms:  drafts 1-4, chapter 2. Pages numbered 2 to 4. Combination of MS in pencil and typescript; annotated in pencil.
folder 5 Source Book of Proposed Music Notation Reforms:  drafts 1 – 4, chapter 3. Combination of pencil MS and typescript; annotated in pencil. 9 pages.
folder 6 Source Book of Proposed Music Notation Reforms:  drafts 1 – 4, chapter 4 – 1. Combination of pencil MS and typescript; annotated in red ink and pencil. 9 pages.
folder 7 Source Book of Proposed Music Notation Reforms:  drafts 1-3, chapter 4 – 2. Combination of pencil MS and typescript; annotated in pencil. 5 pages.
folder 8 Source Book of Proposed Music Notation Reforms:  drafts (various). Pages numbered 1672 to 3. Typescript; annotated in pencil.
folder 9 Source Book of Proposed Music Notation Reforms:  notes. Pages run from (Comparative Table of Staff Formats) to (Rambures 18). MS in pencil and colored pencil.
folder 10 Source Book of Proposed Music Notation Reforms:  drafts (various). Pages numbered 1650 to 19. Typescript; annotated in pencil.
folder 11 Source Book of Proposed Music Notation Reforms:  drafts 1 – 4, chapter 7. Combination of pencil MS and typescript; annotated in pencil. 9 pages.
folder 12 Source Book of Proposed Music Notation Reforms:  drafts (various). Pages run from 1799 to 600a. Typescript; annotated in pencil.

Box 43

folder 1 Source Book of Proposed Music Notation Reforms: drafts (various). Pages numbered 6-1 to 1560. Typescript; annotated in ink and pencil.
folder 2 Source Book of Proposed Music Notation Reforms:  drafts (various). Pages numbered 1909 to 1985. Combination of pencil MS and typescript; annotated in pencil.

Box 44

folder 1 Source Book of Proposed Music Notation Reforms:  draft. Pages run from (Johann Jakob) to footnotes. Combination of pencil MS and typescript; annotated in pencil.
folder 2 Source Book of Proposed Music Notation Reforms:  second complete draft, front matter. Pages numbered 1(iii) to 6a(xv). Combination of pencil MS and typescript; annotated in ink and pencil.
folder 3 Source Book of Proposed Music Notation Reforms:  second complete draft, chapter 1. Pages numbered 7 to 16a. Typescript; annotated in ink and pencil.
folder 4 Source Book of Proposed Music Notation Reforms:  second complete draft, chapter 2. Pages numbered 17 to 165e. Typescript; annotated in ink and pencil.
folder 5 Source Book of Proposed Music Notation Reforms:  second complete draft, chapter 3. Pages numbered 166 to 199a. Typescript; annotated in ink and pencil.
folder 6 Source Book of Proposed Music Notation Reforms:  second complete draft, chapter 4. Pages numbered 200 to 307. Typescript; annotated in ink, pencil and colored pencil.

Box 45

folder 1 Source Book of Proposed Music Notation Reforms:  second complete draft, chapter 4, continued. Pages numbered 308 to 427. Typescript; annotated in ink, pencil and colored pencil.
folder 2 Source Book of Proposed Music Notation Reforms:  second complete draft, chapter 5. Pages numbered 428 to 502. Typescript; annotated in ink, pencil and colored pencil.
folder 3 Source Book of Proposed Music Notation Reforms:  second complete draft, chapter 6. Pages numbered 503 to 555a. Typescript; annotated in ink, pencil and colored pencil.
folder 4 Source Book of Proposed Music Notation Reforms:  second complete draft, chapter 7. Pages numbered 556 to 600a. Typescript; annotated in ink and pencil.
folder 5 Source Book of Proposed Music Notation Reforms:  second complete draft, appendices. Pages numbered 601 to 671. Typescript; annotated in ink, pencil and colored pencil.
folder 6  Source Book of Proposed Music Notation Reforms:  final draft, front matter. Pages run from 1st page of index to 6d. Combination of ink MS, MS in colored pencil and typescript; annotated in ink and pencil.
folder 7 Source Book of Proposed Music Notation Reforms:  final draft, chapter 1. Pages numbered 7 to 16. Typescript; annotated in ink and colored pencil.
folder 8 Source Book of Proposed Music Notation Reforms:  final draft, chapter 2. Pages numbered 17 to 165d. Typescript; annotated in ink and colored pencil.
folder 9 Source Book of Proposed Music Notation Reforms:  final draft, chapter 3. Pages numbered 166 to 199. Typescript; annotated in ink and colored pencil.
folder 10 Source Book of Proposed Music Notation Reforms:  final draft, chapter 4. Pages numbered 200 to 346. Typescript; annotated in ink and colored pencil.

Box 46

folder 1 Source Book of Proposed Music Notation Reforms:  final draft, chapter 4, continued. Pages numbered 347 to 427. Typescript; annotated in ink and colored pencil.
folder 2 Source Book of Proposed Music Notation Reforms:  final draft, chapter 5. Pages numbered 428 to 502. Typescript; annotated in ink and colored pencil.
folder 3 Source Book of Proposed Music Notation Reforms:  final draft, chapter 6. Pages numbered 503 to 555. Typescript; annotated in ink and colored pencil.
folder 4 Source Book of Proposed Music Notation Reforms:  final draft, chapter 7. Pages numbered 556 to 600a. Typescript; annotated in ink and colored pencil.
folder 5 Source Book of Proposed Music Notation Reforms:  final draft, appendices. Pages numbered 601 to 667. Typescript; annotated in ink and colored pencil.
folder 6 Source Book of Proposed Music Notation Reforms:  final draft, bibliography. Pages numbered 668 to 683. Typescript; annotated in ink, pencil and colored pencil.
folder 7 Source Book of Proposed Music Notation Reforms:  addenda. Pages run from (List of Music Notation Proposals) through (Comments: compiled by Markus Klein).
folder 8 Source Book of Proposed Music Notation Reforms:  manuscript examples. Various musical fragments, extracted from unidentified compositions. MS in pencil. 10 pages of music.

Box 78

folder 8 Source Book of Proposed Music Notation Reforms. Letters.

Sub-series K: Style and Orchestration [LW5]

Box 47

folder 1 Style and Orchestration: corrected gallery proofs. Pages numbered BF-38 to CD-32. Publisher’s proof copy; corrections in colored pencil.

Box 68

folder 1 Style and Orchestration. Typescript MS; corrections in pencil and colored pencil. Pages numbered ix – 115.
folder 2 Style and Orchestration. Typescript MS; corrections in pencil and ink.  Pages numbered 115 – 286.
folder 3 Style and Orchestration. Typescript MS; corrections in pencil and ink. Pages numbered 1 – 363.
folder 4 Critique and Notes for Style and Orchestration. Combination of typescript and MS in pencil, ink and colored pencil. 46 pages. Accompanied by a letter to Nelson M. Jansky, music editor at Allyn and Bacon, from Gardner Read, 22 June 1962. Typescript; annotated in pencil. 2 pages. Also accompanied by a letter to Gardner and Vail Read from William Thomas, music editor at Allyn and Bacon, Inc., dated July 12, 1962. Typescript; inscribed in ink by William Thomas. 2 pages. Also accompanied by a letter to Vail Read from Paul F. Stanton, October 1, 1962. Typescript; inscribed in ink by Paul F. Stanton. 1 page.

Box 78

folder 9 Style and Orchestration.  Opinions – Letters.

Sub-series L: Other Writings

Box 48

folder 1 LW33.  “Our National Culture in Jeopardy.”  Commencement address by Gardner Read for the exercises at Doane College, Crete, Nebraska, June 1962.  Privately printed.  11 pp.

Box 68

folder 7 LW33.  Draft of speech – “Our National Culture in Jeopardy.” Commencement address by Gardner Read for the exercises at Doane College, Crete, Nebraska, June 1962. Typescript; corrections in red ink and pencil. 90 pages. Accompanied by 6 press clippings, 4 of which contain sections underlined in red ink. Also accompanied by a program for Doane College’s Commencement Exercises and Conferring of Degrees, 1961 and the Doane College Bulletin 1961.

Box 48

folder 2 LW50.  “The Dilemma of Notation.”  Lecture typescript and audio example list with emendations by Gardner Read.  31 pp. of text.
folder 3 LW38.  “To Hear—Or Not To Hear?”  Lecture typescript with emendations by Gardner Read.  14 pp. of text.

Box 68

folder 5 The Book of Knowledge – “The Orchestra” by Vail Read. Typescript; annotated in ink, pencil and colored pencil. 67 pages. Accompanied by a pamphlet titled “Information for Contributors to The Book of Knowledge”.
folder 6 LW42.  Draft of speech – “The Artist in Residence: Fact or Fancy.” Typescript; annotated in ink and pencil. 35 pages.
folder 8 LW38.  Draft of speech – “To hear – or not to hear?” Typescript; corrections in red ink and pencil. 58 pages. Accompanied by a press clipping titled “Light Cast on Dance by ‘The Chequer’d Shade’”; sections of the article have been underlined in red ink. (Speech was delivered presumably at Northern Illinois University in DeKalb, Illinois.)

Box 48

   
folder 4 Published music reviews in NOTES.  Typescript.  Dates include: June 1957 (LW98); September 1958 (LW99); September 1963 (LW101); June 1964 [sic] (actually published in the June, 1974 issue; LW117); June 1968 (LW102); March 1969 (LW103); June 1969 (LW104); December 1969 (LW105); March 1970 (LW106); June 1970 (LW107); December 1970 (LW108); March 1971 (LW109); June 1971 (LW110); December 1971 (LW111); March 1972 (LW112); June 1972 (LW113); September 1972 (LW114); June 1973 (LW115); December 1973 (LW116); September 1974 (LW118); December 1974 (LW119); March 1975 (LW120); December 1975 (LW121); March 1976 (LW122); September 1976 (LW123); September 1977 (LW124).
folder 2  

Box 60

folder 1 Typescript table of contents (unidentified book), with emendations in pencil by Gardner Read indicating paging of final typescript.  3 pages.

Box 78

folder 10 Articles and Essays.  Typescript.  I. (1933); II. (1934-36); IV. (1938­­-50); V. (1950-62); VI. (1962-64); VII. (1965­-75).  Also includes Articles on Mexico (1964).
folder 11 Copy of article.  “The Art of Listening,” in Fine Arts News 3/4 (March, 1964): 1, 3.
folder 12 Copy of journal containing article.  “Our National Culture in Jeopardy,” in The Illinois Music Educator 24/3 (1964): 27­-36.
folder 13 Typescript book reviews.
folder 14 Essay.  “The Artist in Residence: Fact or Fancy.”  Typescript.  12 pages.
folder 15 Collected essays. “The Composer in America: Reflections on a Theme of Stravinsky,” in College Music Symposium (volume/issue not marked). Gardner Read’s essay on pages 88-89.  2 copies.
folder 16  Introduction.  Program for the Boston University Festival of Music, 1950.
folder 17 Lecture.  “The Dilemma of Notation.”  Delivered at North Texas State University, 1969.
folder 18 Reviews published in Notes.  Typescript. Publication dates range from 1949 to 1977.
folder 19 Speech.  “Our National Culture in Jeopardy.”  Delivered at Doane College, June 4, 1962.

Sub-series M: Music Notation

Box 78

folder 20 Music Notation.  Evaluations.
Music Notation.  Letters: 1963–1971.
Music Notation.  Letters: 1972–1982.
Music Notation.  Letters: 1983–1988.
Music Notation.  Opinions.

Sub-series N: Compendium of Modern Instrumental Techniques.

Box 78

folder 21 Compendium of Modern Instrumental Techniques.  Letters, Opinions, etc.

Sub-series O: Twentieth-Century Music Notation

Box 80

  Twentieth-Century Music Notation.  Discarded Xerox pages from book project.  Never completed or published.

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