{"id":6371,"date":"2020-10-15T09:52:38","date_gmt":"2020-10-15T13:52:38","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?page_id=6371"},"modified":"2020-10-15T09:52:38","modified_gmt":"2020-10-15T13:52:38","slug":"sub1","status":"publish","type":"page","link":"https:\/\/www.esm.rochester.edu\/sibley\/specialcollections\/findingaids\/falcinelli\/sub1\/","title":{"rendered":"ROLANDE FALCINELLI ARCHIVE"},"content":{"rendered":"

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SUB-GROUP I: MUSIC MANUSCRIPTS<\/h3>\n

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<\/a>Series 1: Early works<\/span><\/strong><\/p>\n

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folder 1<\/th>\nGathering of short compositions. In ink; 20 pages of music.
\nR\u00e9verie.<\/em> \u2014 17 Mai 1928.
\nFor piano. Dedication: \u201cA mon papa ch\u00e9ri.\u201d
\nExtase.<\/em> \u2014 Juillet 1929.
\nFor voice and piano. Poesie de Victor Hugo.
\nSouvenir de Meudon<\/em>. \u2014 Juillet 1929.
\nFor piano.
\nLe russeau<\/em>. \u2014 9 Decembre 1928.
\nFor piano.
\nLe soir<\/em>. \u2014 24 Decembre 1927.
\nFor piano.
\nLe muletie<\/em>r. \u2014 26 Decembre 1927.
\nFor piano.
\nLe soir<\/em>. \u2014 24 Decembre 1927.
\nFor piano. Dedication: \u201cA ma ch\u00e8re petite mama ador\u00e9e et \u00e0 mon cher petit papa.\u201d
\nLe muletier<\/em>. \u2014 26 Decembre 1927.
\nFor piano. Dedication: \u201cA ma ch\u00e8re mem\u00e9e que j\u2019aime beaucoup.\u201d
\nExtase<\/em>. \u2014 Juillet 1929.
\nFor voice and piano. Poesie de Victor Hugo.<\/td>\n<\/tr>\n
folder 2<\/th>\nGathering of short compositions. In ink except where otherwise noted; 28 pages of music.
\nDans la Lande<\/em>. \u2014 5 Juillet 1932.
\nFor piano.
\nDans la Montagne<\/em>. \u2014 1 Septembre 1932.
\nFor piano.
\n[Without title.] \u2014 1 Octobre 1932.
\nFor piano.
\nSonate.<\/em> \u2014 Without date.
\nFor violin. In pencil.
\nSonate<\/em>. \u2014 3 November [without year].
\nFor piano. Allegro; Andante molto espressione; Finale: Allegro.
\nMenuet<\/em>. \u2014 26 Decembre 1932.
\nFor violin and piano: part and score present.
\nNocturne<\/em>. \u2014 29 Decembre 1932.
\nFor piano.<\/td>\n<\/tr>\n
folder 3<\/th>\nThree compositions. In ink.
\nSonate pour piano et violon<\/em>. \u2014 6 Juin 1933.
\nPiano score present; violin part lacking. 17 pages of music.
\nAllegro decisio; Andante molto sostenuto; Finale: Allegro vivace.
\nM\u00e9lodie pour violon<\/em> [et piano]. \u2014 10 Aout 1933.
\nPiano score present; violin part lacking. 4 pages of music.
\nChanson<\/em>. \u2014 17 Decembre 1933.
\nFor voice and piano. Text by A. de Musset.
\n3 pages of music.<\/td>\n<\/tr>\n
folder 4<\/th>\nThree compositions. In ink.
\nChanson<\/em>. \u2014 14 Janvier 1934.
\nFor voice and piano. Text by A. de Musset.
\n3 pages of music.
\nM\u00e9lodie<\/em> (pour violon). \u2014 17 Mars 1934.
\nFor violin and piano.
\nPiano score present; violin part lacking. 4 pages of music.
\nM\u00e9lodie<\/em> (pour violon). \u2014 11 Avril 1934.
\nFor violin and piano.
\nPiano score present; violin part lacking. 4 pages of music.
\nElegie<\/em>. \u2014 24 Septembre 1934.
\nFor violoncello and piano.
\nPiano score present; violoncello part lacking. 4 pages of music.<\/td>\n<\/tr>\n
folder 5<\/th>\nThree compositions. In ink. Pr\u00e8s d\u2019Avrenches<\/em>. \u2014 Septembre 1935.
\nFor voice and piano. Text by Victor Hugo.
\nTwo copies of score, each 4 pages of music.
\nChanson<\/em>. \u2014 Septembre 1935.
\nFor voice and piano. Text by Alfred de Musset.
\nTwo copies of score, each 3 pages of music.
\n[Without title] \u2014 Novembre 1935.
\nFor piano. 8 pages of music.<\/td>\n<\/tr>\n
folder 6<\/th>\nScherzo<\/em>. \u2014 1er Janvier 1936.
\nFor piano.
\nIn ink; 12 pages of music.<\/td>\n<\/tr>\n
folder 7<\/th>\nKeepsake (Souvenir d\u2019amiti\u00e9)<\/em>. \u2014 Mars 1936.
\nFor voice and piano. Text by Albert Samain.
\nIn ink; 5 pages of music.<\/td>\n<\/tr>\n
folder 8<\/th>\nLa Noce: chanson bretonne<\/em>. \u2014 30 Septembre 1936.
\nFor mezzo-soprano, chorus, and piano accompaniment. Text by P. Fort.
\nIn ink. Three copies (11, 11, and 10 pages of music, respectively).<\/td>\n<\/tr>\n
folder 9<\/th>\nTrois pi\u00e8ces sur le m\u00eame th\u00eame<\/em>. \u2014 Octobre 1936.
\nFor violin and piano.
\nIn ink. Violin part (5 pages) and two copies of score (each 9 pages of music).<\/td>\n<\/tr>\n
folder 10<\/th>\nLe Papillon<\/em>. \u2014 Novembre 1936.
\nFor voice and piano. Text by Lamartine.
\nIn ink. Two copies of score (each 4 pages of music).<\/td>\n<\/tr>\n
folder 11<\/th>\nLe Berceuse.<\/em> \u2014 27 Janvier 1937.
\nFor voice and piano. Text by Lope de Vega.
\nIn ink; 6 pages of music.<\/td>\n<\/tr>\n
folder 12<\/th>\nQuintette<\/em>. \u2014 Janvier 1937.
\nFor string quartet and piano.
\nIn ink. Four parts (each 6 pages of music) and score (23 pages of music).<\/td>\n<\/tr>\n
folder 13<\/th>\nMenuet<\/em>. \u2014 Mars 1937.
\nFor string quartet.
\nIn ink. Score (16 pages of music) and four parts (each 6 pages of music).<\/td>\n<\/tr>\n
folder 14<\/th>\nLa pluie a choisi le printemps<\/em>. \u2014 Mars 1937.
\nFor mixed chorus and piano accompaniment. Text by Henriette Charasson.
\nIn ink; 14 pages of music.<\/td>\n<\/tr>\n
folder 15<\/th>\nTwo compositions. In ink.
\n[Without title] \u2014 [without date]. \u2014 ? 1937.
\nFor voice and piano.
\nIn ink; 11 pages of music, numbered 3-13. (First leaf lacking.)
\nExtase<\/em>. \u2014 Mars 1937.
\nFor voice and piano. Text by V. Hugo. 4 pages of music.<\/td>\n<\/tr>\n
folder 16<\/th>\nStreets<\/em>. \u2014 Juin 1937.
\nFor soprano, mezzo-soprano, contralto, and piano accompaniment. Text by P. Verlaine.
\nIn ink; 10 pages of music.<\/td>\n<\/tr>\n
folder 17<\/th>\n[Without title] \u2014 Juillet 1937.
\nFor mixed chorus and orchestra.
\nIn ink; 21 pages of music. 19<\/td>\n<\/tr>\n
folder 18<\/th>\nExposition-37<\/em>: suite pour piano. \u2014 Aout 1937.
\nFor piano.
\nIn ink; 20 pages of music, with interpolations.
\nMovements: No. 1. Pr\u00e9ambule \u2014 No. 2. Fontaines \u2014 No. 3. Russe \u2014 No. 4. Espagne \u2014 No. 5. Japon \u2014 No. 6. Allemagne \u2014 No. 7. Egypte \u2014 No. 8. Bresil \u2014 No. 9. Norv\u00e8ge \u2014 No. 10. Italie \u2014 No. 11. Pologne \u2014 No. 12. Maroc \u2014 No. 13. Hongrie \u2014 No. 14. France.<\/td>\n<\/tr>\n
folder 19<\/th>\n[Exposition-37<\/em>] Selected movements from the Suite, orchestrated.
\nIn ink; 24 pages of music.
\nMovements in this order: Allemagne. \u2014 Italie. \u2014 Pologne. \u2014 France.<\/td>\n<\/tr>\n
folder 20<\/th>\nTrois m\u00e9lodies sur des po\u00e8sies de Paul Fort<\/em>. \u2014 Octobre 1937.
\nFor voice and piano.
\nIn ink; 10 pages of music.
\nNo. 1. La Ronde \u2014 No. 2. Berceuse \u2014 No. 3. La France.<\/td>\n<\/tr>\n
folder 21<\/th>\nPr\u00e8s du soir, le jour se repose<\/em>. \u2014 Novembre 1937.
\nFor three-part chorus and baritone solo. Text by Andr\u00e9 Bellesort.
\nIn ink; 10 pages of music.<\/td>\n<\/tr>\n
folder 22<\/th>\nContemplation<\/em>. \u2014 Decembre 1937.
\nFor voice and piano. Extrait de Jocelyn 2e \u00e9poque \/ Lamartine.
\nIn ink; 4 pages of music.<\/td>\n<\/tr>\n
folder 23<\/th>\nFaust et H\u00e9l\u00e8ne: d\u2019apr\u00e8s le second Faust de Goethe.<\/em> \u2014 1er Janvier 1938.
\nFor voice and piano.
\nIn ink; 10 pages of music. Ends inconclusively.\u00a0 3 pp.<\/td>\n<\/tr>\n
folder 24<\/th>\nL\u2019hiver<\/em>. \u2014 Mars 1938.
\nChoeur pour 3 voix de femme (soprano, mezzo-soprano, contralto) [et accompagnement de piano]. Text by Desbordes-Valmore.
\nIn ink. Two scores, scored for piano accompaniment (6 pages of music) and for orchestra (6 pages of music; incomplete).<\/td>\n<\/tr>\n
folder 25<\/th>\nEpitaphe. \u2014 Avril 1938.
\nFor voice and piano. Text by P. Corneille.
\nIn ink; 4 pages of music.<\/td>\n<\/tr>\n
folder 26<\/th>\nPierrot Gamin<\/em>. \u2014 Avril 1938.
\nFor mixed chorus and orchestra. Text by P. Verlaine.
\nIn ink; 16 pages of music.
\n\u201cVu par la Commission d\u2019examen des bulletins\u201d\u2014stamped on page 1.<\/td>\n<\/tr>\n
folder 27<\/th>\nLa Soir devant Sybaris.<\/em> \u2014 Janvier 1939.
\nFor mixed chorus, soprano solo, and orchestra. Text by Georges-Eug\u00e8ne Bertin.
\nIn ink; 12 pages of music.<\/td>\n<\/tr>\n
folder 28<\/th>\nTrois m\u00e9lodies sur des po\u00e9sies de Paul Fort<\/em>.\u201417 Janvier 1939.
\nIn ink; 10 pages of music.
\n\u201cVu par la Commission d\u2019examen des bulletins\u201d\u2014stamped on page 1.
\n\u201cComposition: Examen du 17 Janvier 1939\u201d\u2014in RF\u2019s hand.<\/td>\n<\/tr>\n
folder 29<\/th>\nDeux chansons: duos pour soprano et t\u00e8nor<\/em>.\u2014 Avril 1939.
\nText by Andr\u00e9 Fontainas.
\nIn ink. Two copies of score (each 16 pages of music), accompanied by soprano part (8 pages of music) and tenor part (8 pages of music).
\nI. Chanson \u2014 II. Affection r\u00e9compens\u00e9e
\n\u201cVu par la Commission d\u2019examen des bulletins\u201d\u2014stamped on page 1 of one copy of score.<\/td>\n<\/tr>\n
folder 30<\/th>\nPr\u00e9lude et Scherzo: pour septuor<\/em>. \u2014 Avril 1939. For flute, oboe, two violins, viola, violoncello, and piano.
\nIn ink. Score (39 pages of music).<\/td>\n<\/tr>\n
folder 31<\/th>\nSoir de bataille<\/em>. \u2014 [without date].
\nFor men\u2019s chorus (tenors and baritones), solo baritone, and orchestra. Text not herein identified (neither its title nor authorship).
\nIn pencil. 24 pages of music (numbered 1-23).<\/td>\n<\/tr>\n
folder 32<\/th>\nSoir de bataille.<\/em> \u2014 1939.
\nFor men\u2019s chorus (tenors and baritones), baritone solo, and piano accompaniment. Text by J. M. (Jos\u00e9-Mar\u00eda) de Heredia.
\nIn ink. Vocal score (7 pages of music), accompanied by solo baritone part (2 pages of music).
\nIn caption of page 1: \u201cConcours d\u2019essai de 1939.\u201d<\/td>\n<\/tr>\n
folder 33<\/th>\nFugue sur un sujet de H. Rabaud<\/em>. \u2014 1939.
\nFugue in four voices; performing forces not identified. The subject notated on the title page.
\nIn ink. 5 pages of music.
\n\u201c1er Prix. Concours de 13 Juin 1939\u201d \u2014 on title page.<\/td>\n<\/tr>\n
folder 34<\/th>\nPr\u00e9lude Septuor: Scherzo.<\/em> \u2014 1939.
\nFor mixed quintet (flute, oboe, two violines, viola, violoncello) and piano.
\nIn ink; 39 pages of music.
\n\u201cConcours de Composition: 20 Juin 1939. 2r Prix\u201d\u2014in RF\u2019s hand on title page.
\n\u201cVu par la Commission d\u2019Examens de bulletins\u201d\u2014stamped on title page. 21<\/td>\n<\/tr>\n
folder 35<\/th>\nTrois m\u00e9lodies sur des po\u00e9sies de Th. Gautier<\/em>.\u2014Octobre-Novembre 1939.
\nFor voice and piano. Text by Th\u00e9ophile Gautier.
\nIn ink. Score (14 pages of music), accompanied by one vocal part (4 pages of music). I. Dernier Voeu. \u2014 II. No\u00ebl. \u2014 III. Carmen.<\/td>\n<\/tr>\n
folder 36<\/th>\nTrois m\u00e9lodies sur des po\u00e9sies de Th. Gautier<\/em>.\u20141939.
\nFor solo voice and orchestra. Text by Th\u00e9ophile Gautier.
\nIn ink. Score (36 pages of music). I. Dernier Voeu. \u2014 II. No\u00ebl. \u2014 III. Carmen. \u201cComposition: Examen du 24 Janvier 1940\u201d\u2014in RF\u2019s hand on title page.
\n\u201cVu par la Commission d\u2019examen des bulletins\u201d\u2014stamped on title page.<\/td>\n<\/tr>\n
folder 37<\/th>\nSuite fantaisiste<\/em>. \u2014 Janvier 1940.
\nFor violin and piano.
\nIn ink. Score (30 pages of music); no violin part present. Movements: I. Fantoches \u2014 II. Chanson tch\u00e8que \u2014 III. Epitaphe \u2014 IV. Petit soldat \u2014 V. Berceuse \u2014 VI. Lucioles.<\/td>\n<\/tr>\n
folder 38<\/th>\nSuite fantaisite<\/em>. \u2014 Janvier 1940.
\nFor violin and piano.
\nIn ink. Score (30 pages of music); no violin part present. I. Fantoches \u2014 II. Chanson tch\u00e8que \u2014 III. Epitaphe \u2014 IV. Petit soldat \u2014 V. Berceuse \u2014 VI. Lucioles. \u201cComposition: Examen du 24 Janvier 1940\u201d\u2014in RF\u2019s hand on title page.
\n\u201cVu par la Commission d\u2019examen des bulletins\u201d\u2014stamped on title page.
\nStamped on several pages throughout score is the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, & EDITEURS DE MUSIQUE.<\/td>\n<\/tr>\n
folder 39<\/th>\n[Eight songs]. \u2014 1940.
\nFor voice and piano. Texts of different origins, as indicated below.
\nIn ink; 36 pages of music.
\nContents: Je n\u2019ai pas de barbe au menton (Canada) \u2014 J\u2019ai ceuilli la belle rose (Canada) \u2014 C\u2019est le veut frivolaut (Canada) \u2014 Trimousett\u2019 (chant de qui\u00e8te de Champagne) \u2014 Pastorale chaalomoise \u2014 Le petit bossu (Champagne) \u2014 Fanchette la qu\u00e9teuse (Lorraine) \u2014 En passant par la Lorraine (Lorraine)
\n\u201cVu par la Commission d\u2019examen des bulletins\u201d\u2014stamped on page 1.
\nStamped at the beginning of each song throughout score is the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, & EDITEURS DE MUSIQUE; numbers 569778 pertain to the first three titles, and 569779 to all of the rest.<\/td>\n<\/tr>\n
folder 40<\/th>\nTwo manuscripts of Soleil couchant<\/em>. \u2014 1940.
\nFor voice and piano. Text by Th\u00e9ophile Gautier.
\nIn ink. Vocal score (10 pages of music)
\nFor solo voice and instrumental ensemble.
\nIn ink. Score (25 pages of music).
\n\u201cConcours de Composition du 23 Septembre 1940.\u201d\u2014in RF\u2019s hand on the title pages of both scores.
\nInstrumental score stamped with the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, & EDITEURS DE MUSIQUE (no. 570951).<\/td>\n<\/tr>\n
folder 41<\/th>\nChoeur pour voix \u00e0 hommes (a capella)<\/em>. \u2014 13 Octobre 1940.
\nFor tenor, baritone, and bass voices. Text by Charles Clerc.
\nIn ink; 4 pages of music. Accompanied by a pencil draft (2 pages of music)<\/td>\n<\/tr>\n
folder 42<\/th>\nTrois m\u00e9lodies sur des po\u00e9sies de Th. Gautier<\/em>. \u2014 Mai-Juin 1941.
\nFor orchestra and solo voice.
\nIn ink. Each song paginated separately (14, 14, and 17 pages of music, respectively).
\nI. Dernier voeu \u2014 II. No\u00ebl \u2014 III. Carmen.
\n\u201cConcours de composition du 17 Juin 1941\u201d\u2014on page 1 of Dernier voeu, in RF\u2019s hand.<\/td>\n<\/tr>\n
folder 43<\/th>\nTwo manuscripts of Trois chansons champenoises<\/em>. \u2014 1942
\nFor voice and piano.
\nIn ink; 8 pages of music.
\nFor solo voice and orchestra.
\nIn ink; 16 pages of music.
\nI. Trimousett\u2019 (Chant de qu\u00e8te) \u2014 II. Pastorale chaalomoise \u2014 III. Le petit Bossu.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Series 2: Mature works<\/span><\/strong><\/p>\n

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<\/a>Sub-series A: Completed manuscripts, original works<\/em><\/span><\/p>\n

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folder 1<\/th>\n[opus 10]
\nLa Messiade: po\u00e8me en trois chants d\u2019apr\u00e8s Klopstock par Eug\u00e8ne Adenis<\/em>. \u2014 [without date].
\nFull score. In ink (206 pages of music).
\nFor baritone, bass, tenor, mezzo-soprano, mixed chorus, children\u2019s chorus, and orchestra.
\nChant I. La trahison \u2014 Chant II. Le Jugement \u2014 Chant III. La mort sur le Golgotha.
\nOn title page, in RF\u2019s hand: \u201cMon P\u00e8re, entre tes mains je remets mon esprit!\u201d\u2014La Messiade. Klopstick. Ch. X.
\nStamped with the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, ET EDITEURS DE MUSIQUE (no. 584867).<\/td>\n<\/tr>\n
folder 2<\/th>\n[opus 10]
\nLa Messiade: po\u00e8me en trois chants d\u2019apr\u00e8s Klopstock par Eug\u00e8ne Adenis<\/em>. \u2014 [without date].
\nPiano reduction.
\nIn ink. Each chant paginated separately (46, 32, 20 pages of music, respectively).
\nStamped with the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, ET EDITEURS DE MUSIQUE (no. 584867).<\/td>\n<\/tr>\n
folder 3<\/th>\n[opus 14]
\nPygmalion d\u00e9livr\u00e9<\/em>. \u2014 [without date].
\nFull score. In ink. 110 pages of music.
\nText by Raoul Brunel.
\nFor three vocal soloists and instrumental ensemble.
\nScored for 2 flutes, 2 oboes, 2 B-flat clarinets, 2 bassoons, 4 horns in F, harp, triangle, Timbales, and string quintet.
\nOn outer housing, in RF\u2019s hand: \u201cConcours de Rome 1942\u201d and \u201c2me. Second Grand Prix.\u201d
\nOn title page, in RF\u2019s hand: \u201cIl y a parfois quelque chose de pire que d\u2019\u00eatre d\u00e8\u00e7u, c\u2019est d\u2019\u00eatre exonc\u00e9 . . . . .\u201d\u2014Paul Claudel<\/td>\n<\/tr>\n
folder 4<\/th>\n[opus 17]
\nIcare: sc\u00e8ne lyrique de Jean Supervielle.<\/em> \u2014 [without date]
\nFull score. In ink. Score (109 pages of music) plus three solo vocal parts (each 4 pages of music).
\nFor three vocal soloists and orchestra.
\nOn outer housing, in RF\u2019s hand: \u201cConcours de Rome 1943\u201d.
\nOn title page of score, in RF\u2019s hand: \u201cSic itur ad astra.\u201d
\nAccompanied by pencil sketch (39 pages of music).<\/td>\n<\/tr>\n
folder 5<\/th>\n[opus 18]
\nOuargla.<\/em> \u2014 Novembre 1943.
\nText by Georges Eug\u00e8ne Bertin.
\nVocal score. In ink. 8 pages of music.
\nStamped with the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, ET EDITEURS DE MUSIQUE (no. 593129).<\/td>\n<\/tr>\n
folder 6<\/th>\n[opus 20]
\nLouise de la Mis\u00e9ricorde: sc\u00e8ne lyrique en deux tableaux<\/em>. \u2014 [without date].
\nInk MS. Full score (89 pages of music) and vocal parts for two of the three soloist roles (11 and 7 pages of music, respectively).
\nFor three vocal soloists, orchestra, and orchestre de coulisse.
\nOn outer housing, in RF\u2019s hand: \u201cConcours de Rome 1944.\u201d
\nAccompanied by pencil sketch (46 pages of music).<\/td>\n<\/tr>\n
folder 7<\/th>\n[opus 37]
\n4 motets \u00e0 la Vierge<\/em>. \u2014 1959
\nNo. 1, Ego lilium convallium. \u2014 5 Avril 1959.
\nMotet for soprano solo, baritone solo, mixed chorus, and organ.
\nIn ink. 7 pages of music.
\nNo. 2, Regina coeli. \u2014 11 Avril 1959.
\nMotet for soprano solo, 3-part women\u2019s chorus, and organ.
\nIn ink. 5 pages of music.
\nNo. 3, Tota pulchra es. \u2014 28 Avril 1959.
\nMotet for soprano or tenor solo with organ accompaniment.
\nIn ink. 6 pages of music.
\nNo. 4, Virgo, Mater, filia: motet pour le temps de No\u00ebl. \u2014 17 Mai 1959.
\nFor medium voice and organ.
\nIn ink. 3 pages of music. Accompanied by typescript text (1 page) in Latin and in French translation.
\nEach manuscript stamped with the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, ET EDITEURS DE MUSIQUE (No. 743, 735).<\/td>\n<\/tr>\n
folder 8<\/th>\n[opus 45]
\nEsquisses symphoniques en forme de variations<\/em>. III, A Marie-Dani\u00e8le Mercier Manuscript facsimile. 5 pages of music, numbered 8-12.<\/td>\n<\/tr>\n
folder 9<\/th>\n[opus 74]
\nMarana Tha<\/em>. \u2014 1989
\nFull score. MS repro. 32 pages of music.
\nFor orchestra.
\n\u201cA Olivier Holt\u201d\u2014at head of music.
\n\u201cMoi, je suis l\u2019Alpha et l\u2019omega\u201d (1.8 Apocalypse de Jean).\u2014Epigram on first page of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Sub-series B: Completed manuscripts, transcriptions<\/em><\/span><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n
folder 10<\/th>\nL\u2019Offrande<\/em> musicale \/ J. S. Bach; transcription pour orgue par Rolande Falcinelli.
\nA hybrid manuscript comprised of 25 leaves of ink manuscript and 31 leaves from the Edition Peters publication of Das Musikalisches Opfer (pl. no. 8403), the latter extensively annotated by RF and accounting for the three movements Fuga canonica, Sonata (Trio), and Canon perpetuus.
\nStamped with the registration of the SOCIETE DES AUTEURS, COMPOSITEURS, ET EDITEURS DE MUSIQUE (no. 723,745).
\nAccompanied by handwritten drafts of RF\u2019s avant-propos for the impending
\npublication of her transcription.<\/td>\n<\/tr>\n
folder 11<\/th>\nL\u2019Offrande musicale de Johann Sebastien Bach<\/em>. Transcription pour orgue: r\u00e9vision, annotations, doigt\u00e9s de Rolande Falcinelli.
\nFacsimile of the score housed in box 2\/10.<\/td>\n<\/tr>\n
folder 12<\/th>\nVariations<\/em> Goldberg, by J. S. Bach. Transcription for organ by RF. \u2014 [without date].
\nIn ink. 62 pages of music.<\/td>\n<\/tr>\n
folder 13<\/th>\nCarnaval, by Robert Schumann. Transcription for orchestra by RF. \u2014 [without date].
\nIn ink. 47 pages of music<\/td>\n<\/tr>\n
folder 14<\/th>\nTwo movements from the Suite Bergamasque, by Claude Debussy. Orchestration by RF. \u2014 1938.
\nIn ink. I. Pr\u00e9lude(8 pages of music) \u2014 II. Menuet. (9 pages of music).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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<\/a>Sub-series C: Completed manuscripts, pedagogical works<\/em><\/span><\/p>\n

[\/vc_column_text][vc_custom_heading text=”Box 3″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1601408891372{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text css=”.vc_custom_1603119676086{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”]<\/p>\n\n\n\n\n\n\n
folder 1<\/th>\n\u00a0[Ecole de la technique moderne de l\u2019orgue.]
\n1\u00e8re Partie: Th\u00e9orie de la Technique.
\nInk manuscript in a spiral-bound notebook; 48 numbered pages.
\n\u201cA mon Ma\u00eetre v\u00e9n\u00e9r\u00e9 Marcel Dupr\u00e9 modeste t\u00e9moignage de ma reconnaisance pour toute la lumi\u00e8re qu\u2019il m\u2019a donn\u00e9e dans le domaine artistique.\u201d\u2014dedication on first page, in RF\u2019s hand.
\nAccompanied by Sylviane Falcinelli\u2019s handwritten notes (1 page) concerning this work.<\/td>\n<\/tr>\n
folder 2<\/th>\n[Ecole de la technique moderne de l\u2019orgue.]2\u00e8me Partie: Pratique de la technique de p\u00e9dale. A. Gammes.
\nInk manuscript in a spiral-bound music stave book; 60 numbered pages.
\nThis part consisting entirely of pedal exercises, subdivided into 13 series.<\/td>\n<\/tr>\n
folder 3<\/th>\n\u00a0[Ecole de la Technique moderne de l\u2019orgue]2\u00e8me Partie: Pratique de la Technique de p\u00e9dale. B. Arp\u00e8ges.26
\nInk manuscript in a spiral-bound music stave book; 75 numbered pages.
\nThis part consisting entirely of pedal exercises, subdivided into 28 series.<\/td>\n<\/tr>\n
folder 4<\/th>\n\u00a0[Ecole de la Technique moderne de l\u2019orgue.]
\n2\u00e8me Partie, Pratique de la technique de la p\u00e9dale.
\nPencil draft, representing the Introduction (pages numbered 1-12, 15-16, 1-8, together with 12 unnumbered pages on leaves of disparate dimensions), and the Exercises (135 numbered pages).
\nAccompanied by one copy of the Tenue chapter in typescript facsimile (8 pages).<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1603381651138{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 0px !important;border-bottom-width: 0px !important;padding-top: 0px !important;padding-bottom: 2px !important;}”]<\/p>\n

<\/a>Sub-series D: Drafts<\/em><\/span><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
folder 5<\/th>\n[opus 14]
\nPygmalion d\u00e9livr\u00e9.<\/em>
\nPencil draft; 24 numbered pages of music.<\/td>\n<\/tr>\n
folder 6<\/th>\n[opus 33]
\nBerceuse.<\/em>
\nPencil draft; 3 pages of music.<\/td>\n<\/tr>\n
folder 7<\/th>\n[various, including opus 35]
\nFour compositions for cembalo:
\n\u00a0Arietta: d\u00e9chiffrage de clavecin.<\/em> \u2014 19 Sept. 1956.
\nPencil draft; 3 pages of music.
\nRecit(atif) pour clavecin.<\/em> \u2014 28 Aout 1956.
\nPencil draft; 2 pages of music.
\nGavotte pour clavecin<\/em>. \u2014 20 Dec. 1955.
\nPencil draft; 2 pages of music. \u201cExamen du 10 Janvier 56.\u201d
\nM\u00e9morial W. A. Mozart<\/em>, opus 35.
\nPencil draft, incomplete; various pages, numbered 1-8, 13-17.<\/td>\n<\/tr>\n
folder 8<\/th>\n\u00a0[opus 36]
\nCor Jesu Sacratissimum.<\/em>
\nPencil draft; 7 numbered pages of music.<\/td>\n<\/tr>\n
folder 9<\/th>\n\u00a0[opus 37]
\n4 Motets \u00e0 la Vierge<\/em>.
\nPencil drafts; 15 pages of music.<\/td>\n<\/tr>\n
folder 10<\/th>\n[opus 33]
\nLa Cath\u00e9drale de l\u2019\u00c2me.<\/em>
\nPencil draft of movement Portail; 8 pages of music, numbered 1-4 and 1-4.<\/td>\n<\/tr>\n
folder 11<\/th>\n[opus 49]
\nAffinit\u00e9s secr\u00e8tes<\/em>.
\nPencil draft; 10 pages of music.<\/td>\n<\/tr>\n
folder 12<\/th>\n\u00a0[opus 50]
\nMathnavi<\/em>.
\nPencil draft. The two movements paginated separately (10 and 22 pages of music, respectively). 2 leaves of notes.<\/td>\n<\/tr>\n
folder 13<\/th>\n[opus 52]
\nMiniatures persanes<\/em>.
\nPencil draft; the four movements paginated separately: 5, 5, 6, and 5 pages of music, respectively.<\/td>\n<\/tr>\n
folder 14<\/th>\n\u00a0[opus 53]
\nChant de peine et de lutte<\/em>, opus 53.
\nPencil draft; 19 numbered pages of music.
\nVarious of the leaves bear sketches for other works, including the Chant <\/em>d\u2019Ombre et de Clart\u00e9<\/em>, opus 55. on their verso sides.<\/td>\n<\/tr>\n
folder 15<\/th>\n[opus 55]
\nTrois Chants profanes<\/em>. Voix et orgue.
\nPencil drafts of the three song settings, paginated separately (5, 6, and 5 numbered pages of music, respectively). Accompanied by RF\u2019s handwritten copies of the texts.
\nI. Aurore d\u2019hiver \u2014 II. Ronsard \u00e0 son \u00e2me \u2014 III. Lumi\u00e8re! ma lumi\u00e8re<\/td>\n<\/tr>\n
folder 16<\/th>\n[opus 56]
\nChant d\u2019ombre et de clart\u00e9<\/em>. Violoncelle seul.
\nPencil draft; 9 pages of music.<\/td>\n<\/tr>\n
folder 17<\/th>\n\u00a0[opus 57]
\nCanzon per sonar<\/em>, op. 57.
\nPencil draft; 10 pages of music.<\/td>\n<\/tr>\n
folder 18<\/th>\n[without opus number]
\n[Composition without title for solo piano] \u2014 4 Mai 1953.
\nPencil draft; 3 pages of music.
\nAccompanied by Sylviane Falcinelli\u2019s handwritten comments.<\/td>\n<\/tr>\n
folder 19<\/th>\n[Various liturgical pieces composed for the collection ORGUE<\/em> et LITURGIE<\/em> ]
\nAccompanied by Sylviane Falcinelli\u2019s handwritten comments.<\/td>\n<\/tr>\n
folder 20<\/th>\n[opus 42]
\nProph\u00e9tie d\u2019apr\u00e8s Ez\u00e9chiel.<\/em>
\nPencil draft; 8 numbered pages of music.
\nAccompanied by Sylviane Falcinelli\u2019s handwritten comments.<\/td>\n<\/tr>\n
folder 21<\/th>\nPsaumes<\/em>, by Eug\u00e8ne Bozza. Reduction for piano, 4 hands by RF.
\nPencil sketch; 7 numbered pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

[\/vc_column_text][vc_column_text css=”.vc_custom_1625671267543{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 2px !important;}”]<\/p>\n

<\/a>Series 3:\u00a0 Other drafts and sketches, not elsewhere assigned<\/span><\/strong><\/p>\n

[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\n\n\n
folder 22<\/th>\n\u00a0[Without title]
\nPencil draft; 6 pages of music.
\nAt end: Concours de Rome (Essai 1944). Fontainebleau.<\/td>\n<\/tr>\n
folder 23<\/th>\n[Without title] \u2014 [without date].
\nPencil draft; pages numbered 3-32.
\nScored variously for 4 or 5 staves reflecting the scoring for two keyboard instruments.<\/td>\n<\/tr>\n
folder 24<\/th>\nOph\u00e9lia.<\/em> For voice and piano; only the vocal line scored. Text: Arthur Rimbaud. Fair copy in ink; 2 pages of music.<\/td>\n<\/tr>\n
folder 25<\/th>\nDanse de nymphes<\/em>. For voices and instrumental ensemble; vocal ensemble; vocal score with piano reduction. Pencil sketch; 10 pages of music.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

[\/vc_column_text][vc_custom_heading text=”Box 4″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1602773691085{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc !important;border-left-style: solid !important;border-right-color: #cccccc !important;border-right-style: solid !important;border-top-color: #cccccc !important;border-top-style: solid !important;border-bottom-color: #cccccc !important;border-bottom-style: solid !important;}”][vc_column_text]<\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Reel 1<\/th>\nMesse de Saint-Dominique,<\/em> opus 25.<\/td>\n<\/tr>\n
Reel 2<\/th>\nPo\u00e8mes-\u00c9tudes<\/em>, opus 26:
\nLa guitare enchant\u00e9e; Danse eternelle de Laksmi; Tro\u00efka<\/td>\n<\/tr>\n
Reel 3<\/th>\nPo\u00e8mes-\u00c9tudes<\/em>, opus 26:
\nLa guitare enchant\u00e9e; Danse eternelle de Laksmi; Tro\u00efka<\/td>\n<\/tr>\n
Reel 4<\/th>\nM\u00e9morial W. A. Mozart<\/em>, opus 35<\/td>\n<\/tr>\n
Reel 5<\/th>\nCor Jesu Sacratissimum<\/em>, opus 36.<\/td>\n<\/tr>\n
Reel 6<\/th>\nLa Cath\u00e9drale de l\u2019\u00c2me<\/em>, opus 39<\/td>\n<\/tr>\n
Reel 7<\/th>\nLa Cath\u00e9drale de l\u2019\u00c2me<\/em>, opus 39.<\/td>\n<\/tr>\n
Reel 8<\/th>\nR\u00e9sonances po\u00e9tiques<\/em>, opus 4029<\/td>\n<\/tr>\n
Reel 9<\/th>\nLe Sermon sur la Montagne<\/em>, opus 46<\/td>\n<\/tr>\n
Reel 10<\/th>\nVariations-\u00c9tudes sur une Berceuse<\/em>, opus 48<\/td>\n<\/tr>\n
Reel 11<\/th>\nQuatre quatrains d\u2019Omar Khayyam<\/em>, opus 51<\/td>\n<\/tr>\n
Reel 12<\/th>\nChant de Peine et de Lutte<\/em>, opus 53<\/td>\n<\/tr>\n
Reel 13<\/th>\nR\u00e9sonances romantiques<\/em>, opus 54<\/td>\n<\/tr>\n
Reel 14<\/th>\nTrois Chants profanes<\/em>, opus 55<\/td>\n<\/tr>\n
Reel 15<\/th>\nChant d\u2019Ombre et de Clart\u00e9<\/em>, opus 56<\/td>\n<\/tr>\n
Reel 16<\/th>\nCanzon per sonar<\/em>, opus 57.<\/td>\n<\/tr>\n
Reel 17<\/th>\nAz\u00e2n<\/em>, opus 61<\/td>\n<\/tr>\n
Reel 18<\/th>\n\u201cQuand sonnera le glas. . .\u201d<\/em> opus 62<\/td>\n<\/tr>\n
Reel 19<\/th>\nPsaume XIII<\/em>, opus 63<\/td>\n<\/tr>\n
Reel 20<\/th>\nAphorismes<\/em>, opus 64<\/td>\n<\/tr>\n
Reel 21<\/th>\nPsautier<\/em>, opus 65<\/td>\n<\/tr>\n
Reel 22<\/th>\nKrishna-Gopala<\/em>, opus 66.<\/td>\n<\/tr>\n
Reel 23<\/th>\nL\u2019Offrande musicale<\/em>. Transcription pour orgue par RF.<\/td>\n<\/tr>\n
Reel 24<\/th>\nSpiritualit\u00e9 de la musique<\/em>.\u2014 Paris 17 janvier 1961.<\/td>\n<\/tr>\n
Reel 25<\/th>\nDict\u00e9es musicales.
\nA spiral-bound manuscript book containing notation in RF\u2019s hand.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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

\u2190 ROLANDE FALCINELLI ARCHIVE: Sub-group V<\/a><\/p>\n

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

ROLANDE FALCINELLI ARCHIVE: Sub-group II \u2192<\/a><\/p>\n

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

ROLANDE FALCINELLI ARCHIVE<\/a><\/p>\n

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

[vc_row][vc_column][vc_column_text css=”.vc_custom_1603208465489{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”] SUB-GROUP I: MUSIC MANUSCRIPTS [\/vc_column_text][vc_column_text css=”.vc_custom_1625671224588{margin-bottom: 5px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;}”] Series 1: Early works [\/vc_column_text][vc_custom_heading text=”Box 1″ font_container=”tag:h4|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1601408683716{margin-top: 0px !important;margin-right: 0px !important;margin-bottom: 0px !important;margin-left: 0px !important;border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;padding-top: 0px !important;padding-right: 0px !important;padding-bottom: 0px !important;padding-left: 0px !important;border-left-color: #cccccc […]<\/p>\n","protected":false},"author":42,"featured_media":0,"parent":6360,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template_Finding_Aids.php","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[],"coauthors":[12],"class_list":["post-6371","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6371","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/42"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=6371"}],"version-history":[{"count":0,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6371\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/pages\/6360"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=6371"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=6371"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=6371"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}